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Speaker 1: It's very difficult to keep the line between the past.

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Speaker 2: And the place.

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Speaker 3: You believe that someone out of the past can enter

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Speaker 3: and take possession of a living beat.

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Speaker 1: We may be through with the past, but the past

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Speaker 1: is not through with us. Welcome back to the Next

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Speaker 1: Picture Show, a movie of the Week podcast devoted to

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Speaker 1: a classic film and the way it's shaped our thoughts

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Speaker 1: on a recent release. I'm Tasha Robinson here again.

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Speaker 2: With Scott Tobias Keith Phipps.

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Speaker 1: Oh, okay, good, we just have the one.

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Speaker 2: Scott, Tasha, I feel like Brito let Us is a

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Speaker 2: texturally displeasing. You don't want that crunch, you want a nice,

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Speaker 2: soft consistency with the burrito.

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Speaker 1: Great, we ended up with that, Scott, all right. Well,

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Speaker 1: you can't win them all. In our last episode, we

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Speaker 1: discussed Invasion of the Body Snatchers, the nineteen seventy eight

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Speaker 1: adaptation of a Jack Finney novel about alien invaders that

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Speaker 1: steal human forms and memories in the name of species survival,

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Speaker 1: and nineteen seventies paranoia. This week, we'll see how Philip

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Speaker 1: Coffman's brand of nineteen seventies paranoia compares to the twenty

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Speaker 1: nineteen brand with Jordan Peele's horror movie US, forcing a

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Speaker 1: privileged family to confront duplicates of themselves who've had a

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Speaker 1: much harder and more horrifying life. Jordan Peel has said

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Speaker 1: that his movie US is fundamentally about America and how

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Speaker 1: Americans tend to want to find a vaguely defined other

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Speaker 1: to blame for all its troubles, whether that other is

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Speaker 1: people from other countries who want to steal our jobs

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Speaker 1: and freedoms, or people within this country who are trying

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Speaker 1: to run things in ways we disagree with. Introducing the

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Speaker 1: film at itself by Southwest Premiere, he said he felt

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Speaker 1: Americans need to confront the idea that maybe the real

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Speaker 1: threat is us. Hence US, a movie where people are

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Speaker 1: confronted by exact duplicates of themselves, which seem to represent

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Speaker 1: roads not taken. We'll warn you on this one. A

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Speaker 1: lot of the experience of US comes in the ways

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Speaker 1: that the mysteries unfold, and it's impossible to discuss what's

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Speaker 1: both interesting and troublesome about this movie without giving away

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Speaker 1: things you're clearly meant to experience for yourself. So keep

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Speaker 1: in mind that this is a spoiler filled podcast, and

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Speaker 1: here we go with What's going on in Us. In

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Speaker 1: the film, Lapina Niango and Winced and Duke play a

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Speaker 1: couple Adelaide and Gabe, who are headed off to a

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Speaker 1: vacation with their two kids, teenager Zora and quiet kid Jason.

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Speaker 1: Their trip takes them to a Santa Cruz beach. Adelaide

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Speaker 1: remembers from childhood when she encountered a spooky double of

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Speaker 1: herself in a funhouse. Shortly after they arrive, that double,

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Speaker 1: now grown too adulthood, shows up at her home with

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Speaker 1: doubles of Gabe and the kids in tow, and a

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Speaker 1: night of bloody mayhem ensues. Adelaide's double, who the script

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Speaker 1: name's read, has some pointed messages about Adelaide's life of

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Speaker 1: privilege and comfort and how it contrasts with the pain

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Speaker 1: and privation Red has lived with. Red in her band

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Speaker 1: want to kill Adelaide in her family and replace them.

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Speaker 1: This seems like a fairly simple metaphor about the rich

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Speaker 1: versus the poor in America, except that new elements keep emerging,

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Speaker 1: and every time the audience thinks it's got a handle

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Speaker 1: on the rules for Red's people, those rules change, shifting

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Speaker 1: the metaphor and the focus of the film. We'll get

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Speaker 1: into the details after this.

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Speaker 2: There's a family in our driveway. It's probably the neighbors,

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Speaker 2: but ask you have a family, How can I help

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Speaker 2: you out?

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Speaker 4: Zora, put your shoes on. If you want to get crazy,

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Speaker 4: we can get crazy.

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Speaker 1: What are you people?

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Speaker 4: They look exactly like us, they think like us, They

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Speaker 4: know where we are.

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Speaker 1: We need to move and keep moving.

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Speaker 4: They won't stop until they kill us and we kill them.

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Speaker 1: So, guys, normally we start this thing with what do

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Speaker 1: you think of the movie? But I think there's actually

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Speaker 1: a bigger question here, which is how much are you

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Speaker 1: engaging with the bigger conversation about the movie? Like did

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Speaker 1: you just watch it? Or are you reading the umpty

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Speaker 1: Jillian like think pieces and analysis pieces around it.

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Speaker 3: I have a thing called insta paper where I read

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Speaker 3: later for articles which I theoretically get around to later.

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Speaker 3: But there's been so many interesting looking articles about this.

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Speaker 3: I haven't actually dug into that much, but I'm excited

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Speaker 3: to explore it. I think Matt Zeller sites referred to

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Speaker 3: the commentary around it as prismatic because there's just so

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Speaker 3: many different takes on it, and they're all intriguing and

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Speaker 3: necessarily wrong either. There's a lot of different ways to

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Speaker 3: look at this film, and I think that's part of

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Speaker 3: what makes it so compelling.

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Speaker 2: Well, there's the one about it being about how socialism

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Speaker 2: is bad. Is I think you can say that one

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Speaker 2: is wrong. But now I haven't been following the commentary

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Speaker 2: on the movie as much as I should, mostly because

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Speaker 2: I just have this mentality now as a freelance er

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Speaker 2: that I'm just going to move on to the next thing.

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Speaker 2: I'm just going to keep moving forward, and so if

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Speaker 2: the discussion is really about a film where all the

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Speaker 2: pieces are in, then I'm going to kind of move

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Speaker 2: forward to something else. But there's also a part of

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Speaker 2: me that's like gonna let this movie be a little

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Speaker 2: bit as slippery as it is. I mean, one of

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Speaker 2: the things that's both benefit and detriment with us, especially

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Speaker 2: compared to Peele's last film, get Out, is that it's

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Speaker 2: not as graspable as allegory. You think you have a

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Speaker 2: handle on what the film is trying to say, but

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Speaker 2: then it gets away from you, or it doesn't make

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Speaker 2: internal sense, or you know. I think the more the

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Speaker 2: movie explains itself, the more impossible I think it is

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Speaker 2: to understand or to really feel as consistent, you know,

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Speaker 2: And I'm trying to figure out how forgiving of that

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Speaker 2: I should be, because I think the film wants to

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Speaker 2: be telling us something and wouldn't have a line like

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Speaker 2: we are Americans if it weren't. But I think it's

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Speaker 2: it feels better to let a lot of that stuff

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Speaker 2: go and not try to pin the film to anyone

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Speaker 2: meaning or the other.

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Speaker 1: I guess I haven't been reading much of the let's

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Speaker 1: try to pin this to a specific meaning takes, but

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Speaker 1: I've been reading about the symbolism. I've been reading about

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Speaker 1: some of the wilder fan theories. Rebecca Alter has a

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Speaker 1: really interesting piece at Vulture called Unpacking Reddit's Wildest Theory

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Speaker 1: about Us, which I read just like, Okay, here we

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Speaker 1: go with another one of these again. And when I

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Speaker 1: saw what the theory was, I was like, no, that's ridiculous,

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Speaker 1: And then I read the evidence for it. I'm like,

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Speaker 1: somebody thought through this, like really closely. And I'm not

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Speaker 1: entirely convinced that it's Jordan Peele rather than Rebecca, But

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Speaker 1: I respect a film that has this many moving parts,

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Speaker 1: that invites this kind of conversation, that supports this kind

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Speaker 1: of conversation, And I think Get Out was so complicated

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Speaker 1: and rich and nuanced, and then Us is so detail

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Speaker 1: oriented and referential, and it moved so rapidly in so

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Speaker 1: many different directions that both of those films encourage this

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Speaker 1: kind of conversation in a way that's very modern to

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Speaker 1: the film moment, you know, in the way that Westworld

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Speaker 1: was a show designed for the Reddit detectives to pick

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Speaker 1: over endlessly. This feels like a film that is designed

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Speaker 1: to be analyzed up one side and down the other.

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Speaker 1: In the theater, I enjoyed it as a scary movie,

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Speaker 1: as a well designed, well choreographed, like visually interesting movie,

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Speaker 1: but I walked out of it feeling pretty unsatisfied, and

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Speaker 1: like all of this conversation has kind of given me

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Speaker 1: that satisfaction. So I don't know how it would play

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Speaker 1: on a second viewing. I don't know what it's going

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Speaker 1: to look like ten years from now, But right in

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Speaker 1: this moment, I find myself respecting it more than I

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Speaker 1: necessarily did. Just from watching the film.

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Speaker 3: I get that, I think Get Out of such a

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Speaker 3: clean metaphor, it's just such a this what's moving about?

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Speaker 3: This is an extremely effective metaphor for depicting it and us.

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Speaker 3: I feel like there's a couple of different things going

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Speaker 3: on at once, the most obvious one being about the underclass,

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Speaker 3: about how your success in America means someone else's failure.

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Speaker 3: I mean, it's just set up in such a way

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Speaker 3: that prosperity for this group of people means poverty for

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Speaker 3: this group of people. But also, you know, because the

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Speaker 3: other characters, because the alternate version of Adelaide's family that

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Speaker 3: we see is such a periodic version of the people

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Speaker 3: that we do know, it's sort of their most you know,

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Speaker 3: sort of fairal caricatures of their of the behavior we've

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Speaker 3: seen them undertake. It's also I think there's sort of

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Speaker 3: a psychological reading into it too, where this is what

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Speaker 3: we repressed, This is the worst of us, but just

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Speaker 3: because we don't express it or we try to tamp

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Speaker 3: it down doesn't mean it goes away. I think that's

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Speaker 3: a really interesting way to look at it as well.

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Speaker 3: And I think those can live side by side quite well,

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Speaker 3: and they do in this movie. But it's not an

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Speaker 3: easily penned in bit of symbolism, and I think that's fine.

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Speaker 3: I think, you know, I'm not a fan of the

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Speaker 3: Ready to detective approach to talking about pop culture. But

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Speaker 3: I do think spending some time poking around and exploring

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Speaker 3: what everything and you know how what all the pieces

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Speaker 3: of this movie are and how they fit together is

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Speaker 3: only makes it richard, and I'm looking forward to seeing

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Speaker 3: it again.

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Speaker 2: Yeah, I mean, I think your first reaction has to

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Speaker 2: be doesn't work. I mean, I mean, I was somebody

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Speaker 2: who recapped two seasons worth of Westworld, and I think

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Speaker 2: the show was terribly crippled by the let's, you know,

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Speaker 2: get read and involved mentality and just like, let's make

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Speaker 2: this as convoluted and twisty and as much of a

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Speaker 2: puzzle box as possible, and then you lose the real

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Speaker 2: thematic resonence that I think makes the show interesting. That

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Speaker 2: was a big problem with the second season of West World.

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Speaker 2: I don't feel like that's a problem with us though.

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Speaker 2: I think what I like about Us is that it's

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Speaker 2: such a robust and confident second feature, and that Peel

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Speaker 2: I think has grown as a director from one film

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Speaker 2: to the next. Just the whole thing feels blown out

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Speaker 2: and exciting and engaged and not sheepish as a secon.

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Speaker 2: You know, he's not somebody who's making this second movie

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Speaker 2: in a cautious way, or trying to duplicate a past

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Speaker 2: success or trying to play it safe. I mean, he's

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Speaker 2: doing all kinds of interesting things. And one thing that

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Speaker 2: I really appreciate about us and about Peel in general,

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Speaker 2: is that he has the ability to sell you on

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Speaker 2: the mundane moments that other horror films all have. I mean,

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Speaker 2: even the masters like Daria Argento. You're gonna have some

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Speaker 2: dead space leading from one set piece to the next.

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Speaker 2: But what Peel is really good at is taking something

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Speaker 2: like a conversation and a station wagon and making it pop,

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Speaker 2: you know, making it lively, giving you a really good dialogue,

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Speaker 2: and always giving you something to look at and respond to.

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Speaker 2: He's there's really not a moment in this movie where

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Speaker 2: I was bored or disengaged or you know, just the

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Speaker 2: whole thing felt just kind of exciting on a superficial

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Speaker 2: level and a substantive level to experience.

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Speaker 3: Yeah, at the siege happens, the first siege happens, It

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Speaker 3: felt like very early in the film, and we get

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Speaker 3: the set up, we get the beach scene, and then

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Speaker 3: the other family shows up, and from there never really

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Speaker 3: takes the foot off the gas, there's some moments of

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Speaker 3: humor thrown in, and I don't think people haven't really

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Speaker 3: talked about that much of that. I've read that it's

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Speaker 3: pretty funny movie on everything else. But you know, I

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Speaker 3: was surprised by how the slow build up I was

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Speaker 3: expecting wasn't really there.

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Speaker 1: So I mean, it sounds like we're all kind of

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Speaker 1: sold on it as a discussion piece. Did you find

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Speaker 1: it scary? Does it work as horror?

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Speaker 3: I did. I thought it was a pretty exciting piece

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Speaker 3: of filmmaking. It didn't have that hereditary feeling that Scott

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Speaker 3: had where I wanted to flee the theater at any point,

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Speaker 3: but I did find it scary. I thought Neango's performance

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Speaker 3: as red was such an odd sort of you know,

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Speaker 3: parody of human behavior and in a really interesting way.

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Speaker 3: And I never really knew where that was going or

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Speaker 3: really what the others were up to, even at the

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Speaker 3: until the end of the movie, although I did guess

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Speaker 3: the big twist about about Reddin and.

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Speaker 1: Did you really yeah, pretty early on it came so

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Speaker 1: for me.

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Speaker 3: No, no, I I saw that coming in my allway.

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Speaker 1: Huh.

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Speaker 3: Well, I know I'm usually a person I'm not bragging

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Speaker 3: because I'm usually the last person to pick up on

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Speaker 3: it twist like that, but I that one.

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Speaker 2: I figured it out. Yeah, well it also, you know,

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Speaker 2: the film is basically sort of the horror version of

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Speaker 2: that Simpsons episode with the treehousehole horror thing where where

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Speaker 2: Bart has an evil twain lives in the attic and

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Speaker 2: eats fish heads, and the kid it turns out to

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Speaker 2: be the good one, right.

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Speaker 1: Yes, sort of, or doppelgangers here don't exactly turn out

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Speaker 1: to be the good ones. I mean despite that ending.

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Speaker 2: Yes, what I'll say about the scariness of this to me,

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Speaker 2: the scariness ended as soon as they entered the house.

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Speaker 2: I was quite on edge when this family is just

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Speaker 2: standing in the driveway and then trying to figure out

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Speaker 2: what in the world they're going to do. But once

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Speaker 2: they kind of get in the house, I mean, it

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Speaker 2: is it's exciting, intense, so like a thriller would be,

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Speaker 2: but it becomes basically a home invasion thriller. And that's

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Speaker 2: a slightly different genre for me than horror, and one

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Speaker 2: that is more about, you know, giving you a thrill

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Speaker 2: than scarying the hell out of you.

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Speaker 3: Yeah. I keep calling them the others because I'm thinking

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Speaker 3: the others.

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Speaker 1: Isn't the Home the Strangers?

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Speaker 3: Yeah?

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Speaker 2: Strangers? Oh yeah, that that is definitely. There's so many

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Speaker 2: film references in this movie, but The Strangers is certainly

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Speaker 2: one of them.

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Speaker 1: Yeah, let's let's get to the film references in a

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Speaker 1: in a minute. I think first it Scott. I think

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Speaker 1: I had the exact opposite reaction like I was. I

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Speaker 1: was really unnerved by the duplicates outside the house. But

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Speaker 1: at the same time, it kind of felt like it

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Speaker 1: felt like The Strangers. It felt like something I'd seen before.

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Speaker 1: I kind of felt like, all right, I know how

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Speaker 1: this is going to go. It's going to be a siege.

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Speaker 1: They're going to break in, it's going to be cabin

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Speaker 1: in the woods, they're going to be chasing them around.

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Speaker 1: And instead they broke in and started talking. And from

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Speaker 1: the moment Red started talking, I entered into this space

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Speaker 1: of this is deeply uncanny and I don't know where

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Speaker 1: it's going. And that, for me, was a lot more

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Speaker 1: frightening than an endless amount of, you know, chasing around

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Speaker 1: in the wood with knives would have been. So I

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Speaker 1: put so much of what works in this film on

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Speaker 1: Yongo's performance, specifically as Red, which just Incidentally, she apparently

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Speaker 1: recently revealed that that weird vocal thing that she's doing

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Speaker 1: is inspired by like an actual condition that some people have.

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Speaker 1: And now there are a bunch of people who are

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Speaker 1: up in arms about her mocking disabilities and saying that

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Speaker 1: people with disabilities are evil, and it's turned into whole thing.

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Speaker 1: So sometimes, well sometimes maybe you just shouldn't tell people

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Speaker 1: what inspires you because then they'll get on your case

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Speaker 1: about it. And yeah, it's her performance, her dual performance

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Speaker 1: for me just fundamentally makes this movie.

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Speaker 2: No, he's great for the reasons you mentioned though, though, Yeah,

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Speaker 2: the twist tip off is, you know, there the fact

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Speaker 2: that she can say things.

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Speaker 1: So among the umpty bazillion references to other movies, the

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Speaker 1: one that we I think most have to talk about

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Speaker 1: here is the fact that in that opening shot of

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Speaker 1: the TV doing the hands across America ad there is

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Speaker 1: a series of VHS boxes for Chud, which, as we know,

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Speaker 1: is about monsters underground.

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Speaker 3: No back up there, It's about cannibalistic humanoid underground dwellers underground.

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Speaker 2: Huh.

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Speaker 1: There is a box for night Mare on Elm Street,

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Speaker 1: which there's some debate about exactly how that's being referenced here.

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Speaker 1: But it's a touch stone in some ways. And there's

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Speaker 1: a box for the Right Stuff, which seems to be

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Speaker 1: baffling people a little in terms of how it applies.

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Speaker 1: But the Right Stuff directed by one Philip Kaufman, and

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Speaker 1: I think it's just meant to q us into the

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Speaker 1: invasion of the body statures.

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Speaker 3: That's interesting because I could beyond the presence of a

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Speaker 3: government program of some kind. It was like the vaguest

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Speaker 3: possible connection you can make. But the Goodies isn't there too?

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Speaker 3: I believe another film about underground adventures.

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Speaker 2: Yeah. Well, and also it was of course interesting to

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Speaker 2: see that distinct to VHS Box of the Right Stuff

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Speaker 2: probably featured in Captain Marvel as well. I know, I'm

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Speaker 2: ready like another one in weeks of each other. It's

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Speaker 2: very strange.

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Speaker 1: Kaufman is just out there doing his like his promo thing,

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Speaker 1: trying to get his box in there.

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Speaker 3: People caught up on the Right Store.

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Speaker 2: It wasn't a huge hit in theaters. It did not

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Speaker 2: do as well as it should have, and so people

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Speaker 2: caught it up with it at home.

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Speaker 1: Are there any other film references in this that particularly

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Speaker 1: like caught you or interested you?

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Speaker 2: I mean to me. One of the key references is

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Speaker 2: to the film Don't Look Now. Speaking of past ps

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Speaker 2: shows just this idea of this trauma that happened at

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Speaker 2: a certain age, and it reverberating through time and person

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Speaker 2: being triggered into revisiting these moments by being in a

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Speaker 2: certain place or you know, seeing a certain symbol, and

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Speaker 2: that that visual symbol it takes on a significance that

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Speaker 2: it wouldn't have otherwise. I mean, that feels so indebted

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Speaker 2: to Don't Look Now.

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Speaker 3: The really obvious one is Jaws, which is just, you know,

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Speaker 3: he just signposts that by having a kid wear a

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Speaker 3: Jaws T shirt but then making the beach a scene

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Speaker 3: of tension and Jaws almost seems like a challenge because

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Speaker 3: it doesn't seem the kind of it's the place you think,

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Speaker 3: you know, you relaxing your mind on a beach, and

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Speaker 3: to do that here and also realize you had to

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Speaker 3: like avoid doing exactly what Jaws did. I think it's

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Speaker 3: it's really interesting what he does with that, and it's

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Speaker 3: like the last sort of peaceful moment this film has

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Speaker 3: before anything, before all hell breaks loose.

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Speaker 1: There's also that moment where Adelaide's mom says that they're

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Speaker 1: filming a movie on the Santa Cruz Boardwalk, which is

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Speaker 1: very clearly meant to be Lost Boys, the Joel Schumacher

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Speaker 1: Vampire film, which is a junkie ass movie from my youth.

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Speaker 3: Oh, here come the letters. I love that movie.

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Speaker 1: I love it too. It's a junkie ass movie for

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Speaker 1: my youth that I have a Let me finish my

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Speaker 1: sentence before you write the angry letters. Oh wait, I'm sorry,

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Speaker 1: it's the Internet. I'm getting tweets now and we haven't

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Speaker 1: even posted this.

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Speaker 3: To cancel, Tasha, I.

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Speaker 1: Have such a love for that movie, so of course,

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Speaker 1: just having somebody throw a completely throw away a line

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Speaker 1: towards it kind of gave me a hohot. And then

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Speaker 1: there's a little reference towards Big, with the idea of

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Speaker 1: that Alleide does not big enough yet to ride the

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Speaker 1: roller coaster, which I guess happens at the beginning of

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Speaker 1: Big as well, and leads to the main character there

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Speaker 1: wishing he was big. Just the degree to which he

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Speaker 1: sandwiches in these little things in passing. Is this lazy

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Speaker 1: pop culture collection of references or is this as much

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Speaker 1: fun as I think?

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Speaker 3: I think? It's both he's a very movie literate filmmaker.

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Speaker 3: But I think also a film that's so interested in

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Speaker 3: how the past connects to the present and how yesterday's

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Speaker 3: semi misguided charity movement becomes this sort of a symbol

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Speaker 3: for the failure of that kind of charity and then

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Speaker 3: also returns as a strange parody between the others, emerging

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Speaker 3: the inspiration for these dappelgangers, just to announce their presence

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Speaker 3: to the world. This this for you know, forgotten moment

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Speaker 3: in American history or semi forgotten moment in American history,

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Speaker 3: doesn't really go away, it just returns. And this is

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Speaker 3: the sort of grotesque form I don't I think it's fine.

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Speaker 3: I think I think that kind of film is you

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Speaker 3: can pack as many references you want to, and it's

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Speaker 3: it's appropriate.

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Speaker 2: Of course, Famously, Hands Across America did not, you know,

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Speaker 2: fully work.

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Speaker 3: So it's not fully worked, really raise that much money.

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Speaker 2: But I do like the idea that maybe the idea

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Speaker 2: of them, you know, there's there's some revenge in rising up,

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Speaker 2: but also let's just do it right this time. Let's

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Speaker 2: do Hands across America. We'll go, We'll get it across

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Speaker 2: the seas. And the in the mountains at the end,

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Speaker 2: it's like all these places where the where the connections

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Speaker 2: weren't made, They're going to make it happen.

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Speaker 3: Now those lesseners may not even know what hands across

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Speaker 3: the America is. I wrote a little explainer for Slate,

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Speaker 3: but just just briefly, it's the same organization that did

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Speaker 3: the We Are the World were inspired to organize this

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Speaker 3: event that on May six was going to be a

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Speaker 3: human chain from sea to Shining Sea, and everyone from

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Speaker 3: Ronald Reagan to Chewbacca was going to be.

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Speaker 2: By the country.

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Speaker 1: It's a big The problem Isbaca is a big Wookie.

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Speaker 1: He's got a he's got a big reach.

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Speaker 3: There were large gaps, and the other problem is they

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Speaker 3: raised a fair amount of money, but it also costs

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Speaker 3: a lot of money. I think they were left with

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Speaker 3: like fifteen million dollars to distribute, which is you know great,

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Speaker 3: you know not the we're not going to end homelessness

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Speaker 3: with us.

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Speaker 1: Well, you have a hard time ending homelessness with anyone

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Speaker 1: charity movement. There is a lot more to discuss about us,

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Speaker 1: but there's also a lot to discuss about invasion of

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Speaker 1: the body snatchers. So why don't we stick the two

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Speaker 1: of those things together. We'll be right back after this

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Speaker 1: break to talk about the connections between us and invasion

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Speaker 1: of the body snatchers.

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Speaker 2: Okay, let's call the cops.

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Speaker 4: I did. They're fourteen minutes away.

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Speaker 1: What fourteen minutes Okay, okay, okay, okay, okay, okay, okay, okay, Jason.

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Speaker 3: Give me the bat?

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Speaker 2: What that the baseball? Bat?

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Speaker 3: The bat?

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Speaker 2: There's one in the court. Thank you. All right, hold

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Speaker 2: on this, Let's try this again.

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Speaker 1: No no, no, no, no, no, no no no.

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Speaker 3: All right, yeah, I got this now.

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Speaker 4: I thought I already done, told y'all to get off

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Speaker 4: my property. Okay, so if y'all want to get crazy,

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Speaker 4: we can get crazy. Not a cops already on big way.

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Speaker 1: Now it's time for connections, when we bring these two

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Speaker 1: films together and talk about all the things they have

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Speaker 1: in common. I want to start with the world's pettiest thing,

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Speaker 1: which is the fact that the others, as you keep

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Speaker 1: calling them in US, wear these red jumpsuits and the

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Speaker 1: single brown glove. And Jordan Peele has confirmed that as

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Speaker 1: like a reference a visual reference to Michael Jackson in

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Speaker 1: the thriller video to his obsessive single gloved like to

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Speaker 1: the red jacket that he wears. The costume designer has

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Speaker 1: done interviews about how these things were inspired by Michael Jackson.

437
00:21:37,880 --> 00:21:40,920
Speaker 1: It all hinges on the Thriller shirt that Adelaide ends

438
00:21:41,000 --> 00:21:43,439
Speaker 1: up wearing in the opening scene. So what are we

439
00:21:43,520 --> 00:21:46,760
Speaker 1: to make of the fact that we've got Leonard Nimoy

440
00:21:46,840 --> 00:21:49,080
Speaker 1: walking around an invasion of the Body Snatchers in this

441
00:21:49,320 --> 00:21:52,119
Speaker 1: bright red jumper with a single brown leather glove on

442
00:21:52,720 --> 00:21:54,600
Speaker 1: like that cannot be a coincidence?

443
00:21:54,880 --> 00:21:57,760
Speaker 3: No, I mean, Jordan Peele did press for this movie

444
00:21:58,119 --> 00:22:01,280
Speaker 3: in the exact same outfit that Jack Nicholason Warren is

445
00:22:01,280 --> 00:22:01,800
Speaker 3: shiny and.

446
00:22:01,720 --> 00:22:02,840
Speaker 1: Something that's amazing.

447
00:22:02,920 --> 00:22:04,879
Speaker 3: I love it so much. I think with Henry, if

448
00:22:04,920 --> 00:22:06,840
Speaker 3: you think it's a reference to something, it probably is

449
00:22:06,880 --> 00:22:07,960
Speaker 3: a reference to something.

450
00:22:08,119 --> 00:22:11,560
Speaker 2: The glove looks more similar to Body Snatchers than Michael Jackson.

451
00:22:11,960 --> 00:22:15,439
Speaker 2: Aesthetically speaking. It's so brown leather glove right in both cases.

452
00:22:15,800 --> 00:22:18,560
Speaker 1: Yeah, I mean it's not. It's like a driving glove

453
00:22:18,760 --> 00:22:22,680
Speaker 1: in US and in Body Snatchers. It's this weird sort

454
00:22:22,680 --> 00:22:27,880
Speaker 1: of like hatch on a strap thing. Apparently Nimoy came

455
00:22:28,000 --> 00:22:30,439
Speaker 1: up with it as just a way to distinguish the character,

456
00:22:30,560 --> 00:22:33,159
Speaker 1: because like a friend of his was wearing something similar

457
00:22:33,160 --> 00:22:35,600
Speaker 1: to cover up a burn on his hand. So it's

458
00:22:35,680 --> 00:22:38,320
Speaker 1: just like this weird little character twitch that he thought

459
00:22:38,320 --> 00:22:41,760
Speaker 1: would be interesting. But it's memorable because it's so weird,

460
00:22:41,960 --> 00:22:44,800
Speaker 1: because it's so distinctive. There's a moment midway through Body

461
00:22:44,800 --> 00:22:48,159
Speaker 1: Snatchers where Brook Adams and Veronica Cartwraiders standing next to

462
00:22:48,200 --> 00:22:52,000
Speaker 1: each other and they're both wearing these vibrant red dresses,

463
00:22:52,200 --> 00:22:56,040
Speaker 1: like throat to knees red dresses. They're different designs, but

464
00:22:56,080 --> 00:22:59,240
Speaker 1: they're the same color. And again I was thinking, this

465
00:22:59,440 --> 00:23:02,879
Speaker 1: just feel like the jumpsuits. This feels like something that

466
00:23:03,000 --> 00:23:08,159
Speaker 1: Kaufman designed to pop off the screen, and again nobody's

467
00:23:08,160 --> 00:23:10,800
Speaker 1: bringing it up. I couldn't find a good picture of

468
00:23:10,800 --> 00:23:12,240
Speaker 1: it online or I would have put that one on

469
00:23:12,280 --> 00:23:15,680
Speaker 1: social media too, But it just it feels like this

470
00:23:15,880 --> 00:23:18,720
Speaker 1: has to have been an influence on these red jumpsuits.

471
00:23:18,760 --> 00:23:21,800
Speaker 1: It's the same color red, and it's so odd that

472
00:23:21,840 --> 00:23:25,159
Speaker 1: he would have two women like wearing these things that

473
00:23:25,320 --> 00:23:31,120
Speaker 1: look like Handmaid's tail costumes almost in the same sequence. Obviously,

474
00:23:31,160 --> 00:23:33,440
Speaker 1: they do pop off the screen because it's bright red

475
00:23:33,480 --> 00:23:36,160
Speaker 1: in a dark background. But it's just it's so odd

476
00:23:36,200 --> 00:23:39,480
Speaker 1: to me that people aren't bringing this up as they're

477
00:23:39,520 --> 00:23:41,919
Speaker 1: obsessively mining this movie for connections.

478
00:23:42,119 --> 00:23:44,320
Speaker 3: Yeah, I know this movie is stuck around. I don't

479
00:23:44,320 --> 00:23:47,000
Speaker 3: know if it's necessarily like the first movie people would

480
00:23:47,040 --> 00:23:49,760
Speaker 3: even think to go to though, even despite the similarities.

481
00:23:49,800 --> 00:23:52,480
Speaker 3: Except for us, we're on.

482
00:23:52,480 --> 00:23:55,119
Speaker 1: The cutting edge of US journalism. What do you guys

483
00:23:55,119 --> 00:23:58,720
Speaker 1: make of how the two films handle the duplicates storyline,

484
00:23:58,760 --> 00:24:01,840
Speaker 1: the idea of like the sort of metaphorical there's another

485
00:24:01,920 --> 00:24:03,439
Speaker 1: version of you kind of image.

486
00:24:03,640 --> 00:24:06,000
Speaker 2: I mean, for one, I guess in us we're meant

487
00:24:06,000 --> 00:24:08,960
Speaker 2: to sympathize a bit with the others in a way

488
00:24:08,960 --> 00:24:12,160
Speaker 2: that we're not. In body Snatches and body Snatchers, they're

489
00:24:12,240 --> 00:24:16,520
Speaker 2: an alien force of unambiguous evil. You know, it's an

490
00:24:16,560 --> 00:24:19,440
Speaker 2: alien invasion movie. So they're taken over. But in us,

491
00:24:19,480 --> 00:24:22,360
Speaker 2: the others are us, and so we have to contemplate

492
00:24:22,680 --> 00:24:25,399
Speaker 2: what relationship they have to the characters, and then and

493
00:24:25,400 --> 00:24:29,640
Speaker 2: then how what relationship we the viewers have to those

494
00:24:29,680 --> 00:24:37,000
Speaker 2: fellow Americans that are unseen and undesirable and not privileged

495
00:24:37,040 --> 00:24:39,399
Speaker 2: in our out of sight. So the film isn't forcing

496
00:24:39,480 --> 00:24:44,320
Speaker 2: us to confront and to some extent, sympathize with the

497
00:24:44,320 --> 00:24:46,560
Speaker 2: threat that the characters have been faced with in.

498
00:24:46,400 --> 00:24:48,919
Speaker 3: Invasions body stashes. I think the horror comes from the

499
00:24:48,920 --> 00:24:53,000
Speaker 3: idea of losing your identity, whereas in this I think

500
00:24:53,080 --> 00:24:55,840
Speaker 3: it really kind of comes in us. It's more of

501
00:24:55,880 --> 00:25:00,159
Speaker 3: sort of the horror at seeing a twisted version and

502
00:25:00,200 --> 00:25:04,119
Speaker 3: of yourself. These people, the doppelgangers, aren't necessarily there to

503
00:25:04,760 --> 00:25:06,480
Speaker 3: I guess they do a fair amount of replacing, but

504
00:25:06,880 --> 00:25:10,600
Speaker 3: no one's going to mistake these doppel gangers for the original.

505
00:25:10,760 --> 00:25:14,600
Speaker 3: Their personalities are incredibly different. Where I think the horror

506
00:25:14,600 --> 00:25:17,080
Speaker 3: and invasion of body seeschers comes from, you know, what

507
00:25:17,119 --> 00:25:20,360
Speaker 3: if I disappeared and nobody noticed? What if you know

508
00:25:20,800 --> 00:25:23,960
Speaker 3: everything that makes me me? It can be successfully duplicated.

509
00:25:24,359 --> 00:25:27,480
Speaker 3: It's a different kind of scary what if I'm disposable? Right?

510
00:25:27,520 --> 00:25:30,119
Speaker 3: What if I'm disposable? I feel not as like what

511
00:25:30,160 --> 00:25:31,920
Speaker 3: if I'm going to get my throat slipp by someone

512
00:25:31,920 --> 00:25:33,800
Speaker 3: of the most just like me? Which is a scary

513
00:25:33,840 --> 00:25:36,439
Speaker 3: prospect of its own way, but it's less of a

514
00:25:36,480 --> 00:25:38,000
Speaker 3: philosophical sort of horror.

515
00:25:38,080 --> 00:25:40,640
Speaker 1: Yeah, I feel like there's so many different versions of

516
00:25:40,680 --> 00:25:44,240
Speaker 1: the body Snatcher's theme. And some of them. It seems

517
00:25:44,280 --> 00:25:46,560
Speaker 1: like you're meant a little bit more to, if not

518
00:25:46,600 --> 00:25:49,919
Speaker 1: sympathize with the body snatchers, at least think maybe this

519
00:25:49,960 --> 00:25:52,199
Speaker 1: wouldn't be the worst thing. It might be bad for

520
00:25:52,280 --> 00:25:55,159
Speaker 1: individual people, but maybe it wouldn't be so bad for

521
00:25:55,280 --> 00:25:58,439
Speaker 1: humanity as a whole. We might lose love, but if

522
00:25:58,480 --> 00:26:01,359
Speaker 1: we lost hate in the process us would that be better?

523
00:26:01,640 --> 00:26:04,480
Speaker 3: Tasha, You're way too persuasive on this front, are you

524
00:26:04,560 --> 00:26:05,080
Speaker 3: one of them?

525
00:26:05,760 --> 00:26:07,439
Speaker 1: I've got this pod over here that I was going

526
00:26:07,520 --> 00:26:10,160
Speaker 1: to send home with you. But in us, like, there's

527
00:26:10,160 --> 00:26:13,119
Speaker 1: no question of that. Like the world that the duplicates

528
00:26:13,119 --> 00:26:15,879
Speaker 1: are creating, we've seen what that world looks like, and

529
00:26:15,920 --> 00:26:20,399
Speaker 1: it's incomprehensible. It's inhuman. First of all, it involves a

530
00:26:20,440 --> 00:26:23,439
Speaker 1: whole lot of stabbing. But second of all, it's just

531
00:26:23,520 --> 00:26:26,920
Speaker 1: like the inmates come out of the asylum, and there's

532
00:26:27,000 --> 00:26:30,040
Speaker 1: never a sense that, you know, things might settle down

533
00:26:30,119 --> 00:26:34,280
Speaker 1: into a quieter like a much less human, a much

534
00:26:34,320 --> 00:26:38,560
Speaker 1: less warm, a much less spontaneous and emotional and nuanced

535
00:26:38,560 --> 00:26:41,880
Speaker 1: in creative world, but at least like a quieter, calmer

536
00:26:41,920 --> 00:26:45,879
Speaker 1: one that's not going to destroy the planet. The people

537
00:26:45,920 --> 00:26:48,200
Speaker 1: in US we don't know what that world's going to

538
00:26:48,240 --> 00:26:51,399
Speaker 1: look like, although that that weird final image of the

539
00:26:51,480 --> 00:26:55,840
Speaker 1: line of them maybe suggests less chaotic than would think otherwise.

540
00:26:56,080 --> 00:26:58,720
Speaker 1: But as far as sympathizing with the other goes, I'm

541
00:26:58,760 --> 00:27:01,679
Speaker 1: really curious what the final twist in Us does to

542
00:27:01,760 --> 00:27:06,280
Speaker 1: your sympathies, because for me, it really threw my feelings

543
00:27:06,320 --> 00:27:10,320
Speaker 1: for Adelaide, Like we see this family that's trying to

544
00:27:10,480 --> 00:27:13,359
Speaker 1: just trying to survive, just trying to fend off these monsters,

545
00:27:13,640 --> 00:27:15,400
Speaker 1: and then we find out in the end that well

546
00:27:15,400 --> 00:27:17,640
Speaker 1: one of them actually is one of the monsters. Did

547
00:27:17,640 --> 00:27:19,400
Speaker 1: it change how you felt about the film at all?

548
00:27:19,640 --> 00:27:22,400
Speaker 1: You saw it coming so far in advance, Like, did

549
00:27:22,400 --> 00:27:23,480
Speaker 1: it change your calculus?

550
00:27:23,520 --> 00:27:25,400
Speaker 3: I think it's just another complication of it. I think

551
00:27:25,440 --> 00:27:27,840
Speaker 3: it's it's a it's a messing movie by design, the

552
00:27:27,880 --> 00:27:31,080
Speaker 3: feelings that wants to evoke are messy as well, and

553
00:27:31,119 --> 00:27:34,399
Speaker 3: by putting, you know, making that switch in between the

554
00:27:34,400 --> 00:27:38,040
Speaker 3: two camps, it's just more even more complicated. And the

555
00:27:38,119 --> 00:27:41,320
Speaker 3: fact that's the I mean, it's almost kind of you

556
00:27:41,359 --> 00:27:43,439
Speaker 3: get to throw in another reference. It's almost sort of

557
00:27:43,560 --> 00:27:47,280
Speaker 3: a trading places thing as well, because the idea that

558
00:27:47,320 --> 00:27:50,639
Speaker 3: this you know, everyone we see these toppel gamers are

559
00:27:50,640 --> 00:27:54,440
Speaker 3: all fairal semi human in many ways. But the one

560
00:27:54,440 --> 00:27:57,160
Speaker 3: who had a chance, who had the opportunities, who had

561
00:27:58,119 --> 00:28:01,960
Speaker 3: some privilege, was able to, you, carve out a nice

562
00:28:02,000 --> 00:28:06,119
Speaker 3: life for herself, educate herself, and and so on. So

563
00:28:06,800 --> 00:28:10,920
Speaker 3: if you want to see this whole strata of people

564
00:28:11,200 --> 00:28:13,879
Speaker 3: as subhuman, you can't because that's not the case.

565
00:28:14,040 --> 00:28:16,879
Speaker 2: And yet, and yet she's not changed by that, though.

566
00:28:17,000 --> 00:28:21,240
Speaker 2: I mean, this is an extraordinarily long con when you

567
00:28:21,240 --> 00:28:23,440
Speaker 2: think about it. I mean, she doesn't that this other

568
00:28:23,520 --> 00:28:26,800
Speaker 2: has taken on since she was what eight or something

569
00:28:26,880 --> 00:28:28,720
Speaker 2: like that, or ten or however the old the kid

570
00:28:28,800 --> 00:28:30,880
Speaker 2: is at the beginning of the movie, and that she's

571
00:28:31,040 --> 00:28:34,520
Speaker 2: gone all the way through to adulthood, she's gotten married,

572
00:28:34,600 --> 00:28:36,800
Speaker 2: she has two kids, they have money, they go on

573
00:28:36,880 --> 00:28:41,239
Speaker 2: nice vacations. For that not to have really altered the

574
00:28:41,280 --> 00:28:43,160
Speaker 2: plan in any way is kind of strange.

575
00:28:43,440 --> 00:28:44,880
Speaker 3: What do you think about it? Isn't it a point

576
00:28:44,920 --> 00:28:48,400
Speaker 3: of clarity? The idea was that Adelaide, the Adelaide on

577
00:28:48,440 --> 00:28:51,040
Speaker 3: the surface, does not know this is going to happen, right, Oh.

578
00:28:50,960 --> 00:28:54,000
Speaker 1: I don't think she knows that the chuds are coming.

579
00:28:54,120 --> 00:28:56,160
Speaker 3: If that's right, you're asking exactly. So she's kind of

580
00:28:56,320 --> 00:28:59,560
Speaker 3: she's basically just divorced herself from that chud world.

581
00:28:59,840 --> 00:29:03,840
Speaker 1: I think the implication is that she's like I find

582
00:29:03,840 --> 00:29:07,320
Speaker 1: it impossible to believe that she's actually completely forgotten it,

583
00:29:07,360 --> 00:29:08,960
Speaker 1: but I think she's repressed.

584
00:29:08,520 --> 00:29:12,240
Speaker 2: It, right exactly of the flashbacks of her as a

585
00:29:12,320 --> 00:29:14,800
Speaker 2: kid just kind of like, ah, right, I'm kind of,

586
00:29:15,320 --> 00:29:16,600
Speaker 2: you know, hatching the scheme.

587
00:29:16,640 --> 00:29:18,360
Speaker 3: I think the only scheme is to fit in with

588
00:29:18,520 --> 00:29:19,440
Speaker 3: the above ground people.

589
00:29:19,600 --> 00:29:21,800
Speaker 1: Yeah, I think that the scheme that we see.

590
00:29:21,720 --> 00:29:23,120
Speaker 3: She's not like the leader of the chads.

591
00:29:23,360 --> 00:29:26,680
Speaker 1: Yeah. I think that we're meant to interpret the scheme

592
00:29:26,720 --> 00:29:29,000
Speaker 1: in one way, but that's not actually what the scheme is.

593
00:29:29,080 --> 00:29:30,480
Speaker 3: I want to make sure we're on the same page

594
00:29:30,520 --> 00:29:31,240
Speaker 3: in terms of no.

595
00:29:31,400 --> 00:29:32,600
Speaker 2: We weren't. We weren't. But I guess.

596
00:29:32,600 --> 00:29:35,960
Speaker 1: I mean, I think that there's there's enough going on

597
00:29:36,280 --> 00:29:39,880
Speaker 1: in us and that some of it is obscure enough.

598
00:29:39,960 --> 00:29:43,000
Speaker 1: I do think that where the film becomes problematic is

599
00:29:43,240 --> 00:29:47,960
Speaker 1: sometimes not really knowing like how any of this could

600
00:29:48,120 --> 00:29:53,360
Speaker 1: possibly meaningfully work. Like, I feel like everything that you

601
00:29:53,560 --> 00:29:56,600
Speaker 1: don't understand in Invasion of the Body Snatchers in terms

602
00:29:56,600 --> 00:29:58,719
Speaker 1: of how could this possibly work? Like how could they

603
00:29:58,720 --> 00:30:02,360
Speaker 1: have built those those pods centers so quickly? Or how

604
00:30:02,440 --> 00:30:06,520
Speaker 1: are they communicating with each other? All falls into kind

605
00:30:06,560 --> 00:30:10,120
Speaker 1: of a place of you know, where it's alien mysticism.

606
00:30:10,240 --> 00:30:13,719
Speaker 1: It's all stuff that can be obscure without hurting the story,

607
00:30:14,000 --> 00:30:16,360
Speaker 1: whereas there's an awful lot in us that you're just like,

608
00:30:17,120 --> 00:30:19,840
Speaker 1: but those rabbits live in the real world. They come

609
00:30:19,920 --> 00:30:23,480
Speaker 1: from the real world. They're real rabbits. So theoretically they

610
00:30:23,520 --> 00:30:26,920
Speaker 1: need food and they're producing poop and then maybe having

611
00:30:26,920 --> 00:30:29,959
Speaker 1: baby rabbits right and left, and that's why the chuds

612
00:30:30,080 --> 00:30:32,600
Speaker 1: still have something to eat. But how could any of

613
00:30:32,600 --> 00:30:36,560
Speaker 1: that system work and still leave that place glistening clean?

614
00:30:36,920 --> 00:30:40,400
Speaker 1: Like there's just a lot of but how is this happening?

615
00:30:40,840 --> 00:30:42,800
Speaker 3: Yeah? I can't get hung up.

616
00:30:43,280 --> 00:30:46,680
Speaker 2: Yeah, yeah, exactly. I mean it's not a film that,

617
00:30:46,960 --> 00:30:49,160
Speaker 2: for all these little reasons, holds up to a huge

618
00:30:49,160 --> 00:30:54,040
Speaker 2: amount of scrutiny, because yeah, it's but which is again fine.

619
00:30:54,080 --> 00:30:56,720
Speaker 2: I mean I do like how different it is from

620
00:30:56,760 --> 00:30:59,160
Speaker 2: Get Out in that sense that we Get Out as

621
00:30:59,240 --> 00:31:02,200
Speaker 2: much tidier and more programmatic in approach than this one,

622
00:31:02,240 --> 00:31:04,600
Speaker 2: And so I think it's there's a certain amount of

623
00:31:04,640 --> 00:31:08,320
Speaker 2: growth on the part of Peel as a filmmaker, audacity

624
00:31:08,360 --> 00:31:11,280
Speaker 2: to allow this film to be just to kind of

625
00:31:11,440 --> 00:31:13,520
Speaker 2: blow out as much as it does, and maybe not

626
00:31:14,320 --> 00:31:16,160
Speaker 2: entirely makes sense.

627
00:31:16,360 --> 00:31:18,800
Speaker 1: I just I find it fascinating that the film is

628
00:31:19,360 --> 00:31:23,400
Speaker 1: sturdily enough constructed to support like an endless amount of

629
00:31:23,560 --> 00:31:28,880
Speaker 1: theorizing about the relationship between Pluto and Jason, but can't

630
00:31:28,920 --> 00:31:32,480
Speaker 1: handle the single question of who's feeding the rabbits. Yeah,

631
00:31:32,520 --> 00:31:35,240
Speaker 1: it's just it's a weird thing. Moving on to another connection,

632
00:31:35,320 --> 00:31:37,959
Speaker 1: I think it's interesting that both of these films kind

633
00:31:38,000 --> 00:31:41,440
Speaker 1: of play with the idea of like horrible friends. I

634
00:31:41,720 --> 00:31:45,720
Speaker 1: think it's really unclear in US what exactly Adelaide and

635
00:31:45,800 --> 00:31:49,680
Speaker 1: Gabe are getting out of their relationship with Tim Heideker

636
00:31:49,680 --> 00:31:53,360
Speaker 1: and Elizabeth Moss's characters. These two people who are apparently

637
00:31:53,400 --> 00:31:56,360
Speaker 1: their best chums, and they're just they're kind of awful people,

638
00:31:57,080 --> 00:31:59,920
Speaker 1: Like in the same sort of way that Donald souther

639
00:32:00,080 --> 00:32:03,040
Speaker 1: One's character defends his friendship with Nimoy and kind of

640
00:32:03,120 --> 00:32:06,480
Speaker 1: forces Jeff Goldbloom to get along with him. But you're like,

641
00:32:06,840 --> 00:32:09,600
Speaker 1: but what do they see in each other? Like Nimoy's

642
00:32:09,680 --> 00:32:13,640
Speaker 1: character is kind of a terrible person. Uh, And I

643
00:32:13,720 --> 00:32:15,719
Speaker 1: just I think it's interesting that both of these films

644
00:32:15,760 --> 00:32:19,360
Speaker 1: just kind of like play with relationships that invite you

645
00:32:19,440 --> 00:32:21,240
Speaker 1: to ask, why are any of these people friends?

646
00:32:21,400 --> 00:32:24,280
Speaker 2: That question was a lot harder to puzzle out in

647
00:32:24,400 --> 00:32:28,160
Speaker 2: us because you don't really see how these two couples

648
00:32:28,160 --> 00:32:31,040
Speaker 2: could be really close friends, and even their kids are

649
00:32:31,080 --> 00:32:32,600
Speaker 2: not the same age and so they can't. It's not

650
00:32:32,640 --> 00:32:34,280
Speaker 2: like you could say, well, there's maybe in a past

651
00:32:34,320 --> 00:32:37,840
Speaker 2: where the kids would play together, the husband's worked together.

652
00:32:37,880 --> 00:32:39,680
Speaker 3: I think that's how they're tied together. It's sort of

653
00:32:39,680 --> 00:32:42,880
Speaker 3: I think it's sort of an obligatory away from work

654
00:32:42,960 --> 00:32:45,520
Speaker 3: fun time for the sake of this business relationship.

655
00:32:45,560 --> 00:32:47,800
Speaker 2: Maybe it was the thing like yeah, we're just we're hey,

656
00:32:47,840 --> 00:32:49,760
Speaker 2: we're going to be in Santa Cruz too, and we

657
00:32:49,840 --> 00:32:52,760
Speaker 2: can kind of, yeah, hang out one night or something

658
00:32:52,840 --> 00:32:54,600
Speaker 2: like that, or like on the on the beach one

659
00:32:54,680 --> 00:32:55,320
Speaker 2: day or so there's that.

660
00:32:55,280 --> 00:32:58,720
Speaker 3: Weird competitiveness between them too. As he got the new car,

661
00:32:58,800 --> 00:33:00,600
Speaker 3: I think it's a new car and just kind of

662
00:33:00,600 --> 00:33:01,880
Speaker 3: like there to rub it in his face.

663
00:33:01,920 --> 00:33:06,680
Speaker 2: So yeah, I love the different tone that Hidaker and

664
00:33:07,200 --> 00:33:09,280
Speaker 2: Moss bring to the table of as. I mean, it's

665
00:33:09,280 --> 00:33:12,720
Speaker 2: almost like, you know, it reminded me of the characters

666
00:33:12,720 --> 00:33:14,280
Speaker 2: and who's afraid of Virginia Woolf?

667
00:33:14,600 --> 00:33:16,920
Speaker 3: Yeah, for sure the katy I was looking for this

668
00:33:17,000 --> 00:33:19,600
Speaker 3: Katie Hasty and Entertainment Weekly has a couple of great

669
00:33:19,680 --> 00:33:23,120
Speaker 3: tweets about Elizabeth Moss's characters. I'll just read them. The

670
00:33:23,200 --> 00:33:26,280
Speaker 3: Vodko clock and royal windeness of Elizabeth Moss's character and

671
00:33:26,440 --> 00:33:29,360
Speaker 3: us really, if peripherally, illustrates such a dark culture of

672
00:33:29,400 --> 00:33:32,000
Speaker 3: women's cute relationship to alcohol and the very pervasive of

673
00:33:32,200 --> 00:33:36,240
Speaker 3: of alcoholism. There's ruins to it, the offspring and the spouse.

674
00:33:36,280 --> 00:33:38,040
Speaker 3: Like you know, she is like, you know, sort of

675
00:33:38,080 --> 00:33:41,120
Speaker 3: a fun drunk, but there's you can kind of even

676
00:33:41,160 --> 00:33:42,680
Speaker 3: though you only see a little bit of it there,

677
00:33:42,720 --> 00:33:44,720
Speaker 3: you can kind of see the toll that's taken on

678
00:33:44,800 --> 00:33:47,280
Speaker 3: her kids, who kind of turned out to be terrors,

679
00:33:47,280 --> 00:33:51,520
Speaker 3: and the horrible relationship that she has with with Tim Heideker,

680
00:33:51,760 --> 00:33:54,000
Speaker 3: whose character clearly has some issues of his own.

681
00:33:53,920 --> 00:33:58,240
Speaker 2: And I think Hidaker handles the other character so brilliantly.

682
00:33:59,520 --> 00:34:01,560
Speaker 2: At the same time, it's so funny. It's like a

683
00:34:01,600 --> 00:34:04,200
Speaker 2: silent comedy because he's a you know it can be

684
00:34:04,240 --> 00:34:05,760
Speaker 2: a big guy and the way he's the way he's

685
00:34:05,760 --> 00:34:08,719
Speaker 2: photographed makes him seem you know, like a monster, but

686
00:34:08,760 --> 00:34:12,040
Speaker 2: he's also you know, a stumbling drunk as well, and

687
00:34:12,080 --> 00:34:15,000
Speaker 2: the way those two things come together again gives the

688
00:34:15,040 --> 00:34:18,040
Speaker 2: film another a different flavor and makes it makes it fun.

689
00:34:18,239 --> 00:34:20,520
Speaker 1: I think both of these movies do some interesting things

690
00:34:20,520 --> 00:34:24,400
Speaker 1: with inviting people to play dark versions of themselves. Like

691
00:34:24,480 --> 00:34:29,040
Speaker 1: I don't feel like Nimoy's pod version of himself feels

692
00:34:29,160 --> 00:34:32,480
Speaker 1: all that different, as Keith comment, and all that different

693
00:34:32,480 --> 00:34:35,120
Speaker 1: from the non pod version of himself, assuming we've seen

694
00:34:35,120 --> 00:34:38,880
Speaker 1: a non pod version of himself. But the difference between

695
00:34:38,960 --> 00:34:43,720
Speaker 1: Jeff Goldbloom as a stressed out poet who half owns

696
00:34:43,760 --> 00:34:48,240
Speaker 1: a mud bath company and you know, monster version who's

697
00:34:48,239 --> 00:34:51,000
Speaker 1: only interested in telling people to shut up and sit

698
00:34:51,040 --> 00:34:55,040
Speaker 1: down and conform, is really stark, and the performance is

699
00:34:55,080 --> 00:34:58,120
Speaker 1: really interesting. And then you look at something like Winston

700
00:34:58,200 --> 00:35:01,719
Speaker 1: Duke and Us and like the different between that just

701
00:35:01,800 --> 00:35:07,080
Speaker 1: like affable, charming dad joke telling everybody get along, hang

702
00:35:07,120 --> 00:35:11,960
Speaker 1: out with Tim Heidecker kind of guy, and the like mute, grunting,

703
00:35:12,160 --> 00:35:17,799
Speaker 1: animalistic version of himself as an other. I think it's

704
00:35:17,840 --> 00:35:21,600
Speaker 1: just is like the physical performance alone is very interesting.

705
00:35:22,080 --> 00:35:25,200
Speaker 3: He's not scary at all as the dad, and he's

706
00:35:25,239 --> 00:35:29,080
Speaker 3: his physicality in a really different way as the doppelganger.

707
00:35:29,280 --> 00:35:32,360
Speaker 2: Yeah. I mean, that's an interesting thought because the dappelgangers

708
00:35:32,400 --> 00:35:37,200
Speaker 2: and us do contrast so sharply with their human selves,

709
00:35:37,200 --> 00:35:41,120
Speaker 2: accept for Adelaide and her other where they do have

710
00:35:41,200 --> 00:35:43,799
Speaker 2: this thing in common and they are having this conversation

711
00:35:43,920 --> 00:35:45,960
Speaker 2: and they feel like extensions of each other in the

712
00:35:46,000 --> 00:35:48,600
Speaker 2: way that the other characters don't in their doppelgangers don't

713
00:35:49,000 --> 00:35:51,560
Speaker 2: because maybe or how they have that shared history that

714
00:35:51,680 --> 00:35:53,560
Speaker 2: the other characters don't have with their doppelgangers.

715
00:35:53,680 --> 00:35:55,839
Speaker 1: I do have to give a shout out for us

716
00:35:55,880 --> 00:36:00,160
Speaker 1: as shatty right Joseph who plays Zora the Teenager, I

717
00:36:00,200 --> 00:36:04,160
Speaker 1: honestly think one of the strongest weirdest performances in that film,

718
00:36:04,520 --> 00:36:07,560
Speaker 1: apart from Lapita Yango's, is the way she brings her

719
00:36:07,640 --> 00:36:13,120
Speaker 1: cross her doppelganger as just this like eerily smiling, like

720
00:36:13,480 --> 00:36:17,479
Speaker 1: nightmare version of teen perfection. You know, the non other

721
00:36:17,719 --> 00:36:20,759
Speaker 1: version of her is a kid who's just edging into

722
00:36:20,760 --> 00:36:23,480
Speaker 1: teenager and is just like just learning to kind of

723
00:36:23,560 --> 00:36:26,440
Speaker 1: sass her parents and roll her eyes at how lame

724
00:36:26,480 --> 00:36:30,160
Speaker 1: everything is. And then we see the perfect, polished version

725
00:36:30,160 --> 00:36:34,200
Speaker 1: of her who never stops smiling, and it's deeply unsettling.

726
00:36:34,360 --> 00:36:34,640
Speaker 3: Yeah.

727
00:36:34,680 --> 00:36:36,520
Speaker 2: Well, also think I think there's a sense that she

728
00:36:37,520 --> 00:36:41,680
Speaker 2: really wants to do this. You know, she's very engaged

729
00:36:41,719 --> 00:36:44,440
Speaker 2: in being you know, in the hunt. So yeah, that

730
00:36:44,680 --> 00:36:49,120
Speaker 2: of the doppelganger characters she has projects the most kind

731
00:36:49,160 --> 00:36:51,160
Speaker 2: of creep in menace for me for sure.

732
00:36:51,239 --> 00:36:53,320
Speaker 1: What do we think about how the two films use humor.

733
00:36:53,880 --> 00:36:56,320
Speaker 1: I mean, both of them kind of have their lapses

734
00:36:56,360 --> 00:36:57,399
Speaker 1: into jokiness.

735
00:36:57,719 --> 00:37:01,040
Speaker 2: As I said previously, that's a bit big plus for

736
00:37:01,360 --> 00:37:04,160
Speaker 2: the Peel film to be able to have as many laughs,

737
00:37:04,239 --> 00:37:04,600
Speaker 2: isn't it.

738
00:37:04,840 --> 00:37:06,960
Speaker 3: I don't know if I'll ever not laugh at a

739
00:37:07,040 --> 00:37:10,560
Speaker 3: voice recognition gone wrong. Yeah, Oh that's okay. It just

740
00:37:10,600 --> 00:37:11,399
Speaker 3: works every time.

741
00:37:11,480 --> 00:37:14,319
Speaker 2: Oh that was so it was such a perfect song

742
00:37:14,480 --> 00:37:17,080
Speaker 2: choice too. I mean, I guess there's not as much

743
00:37:17,320 --> 00:37:20,920
Speaker 2: comic relief in the Kaufman version, but it is it's

744
00:37:20,920 --> 00:37:23,520
Speaker 2: sprinkled in there. And you know, particularly I think of

745
00:37:23,600 --> 00:37:27,920
Speaker 2: that tension between Nimoy and gold Bloom, I think that

746
00:37:27,960 --> 00:37:30,200
Speaker 2: I think the film has some good comic payoffs on

747
00:37:30,239 --> 00:37:30,879
Speaker 2: that and.

748
00:37:30,840 --> 00:37:34,480
Speaker 1: Just the weirdness of gold Bloom's non pod character. Although

749
00:37:34,520 --> 00:37:37,480
Speaker 1: I still find the dog in the mask thing hilarious,

750
00:37:38,080 --> 00:37:41,640
Speaker 1: like like laugh out loud. Okay, that's weird and uncanny,

751
00:37:41,680 --> 00:37:42,960
Speaker 1: but it's still pretty darn funny.

752
00:37:43,040 --> 00:37:44,239
Speaker 2: Do you think it was Yeah, I guess it was

753
00:37:44,280 --> 00:37:46,080
Speaker 2: probably intended. Is sort of a shock.

754
00:37:46,200 --> 00:37:49,640
Speaker 3: Laugh yeah, and laugh, and then you'll dream about it

755
00:37:49,640 --> 00:37:50,799
Speaker 3: for the rest of your life.

756
00:37:52,600 --> 00:37:54,640
Speaker 1: Apparently there used to be more laughs in the film,

757
00:37:54,680 --> 00:37:57,400
Speaker 1: and the studio told Kaufman to take him out, Like

758
00:37:57,640 --> 00:38:00,480
Speaker 1: he described a test screening where people but we're going

759
00:38:00,520 --> 00:38:03,840
Speaker 1: back between back and forth between laughing and horror, and

760
00:38:03,880 --> 00:38:06,719
Speaker 1: how he they were told to kind of cut some

761
00:38:06,760 --> 00:38:07,240
Speaker 1: of the laughs.

762
00:38:07,280 --> 00:38:08,120
Speaker 3: It's not a bad note.

763
00:38:08,160 --> 00:38:08,640
Speaker 2: I don't think.

764
00:38:08,719 --> 00:38:11,000
Speaker 3: I think that film works best if at a certain

765
00:38:11,000 --> 00:38:12,000
Speaker 3: point you stop laughing.

766
00:38:12,160 --> 00:38:14,120
Speaker 1: I'm gonna say the same thing about us, Like I

767
00:38:14,160 --> 00:38:17,759
Speaker 1: didn't love the Alexa joke, much like I didn't love

768
00:38:17,800 --> 00:38:22,440
Speaker 1: the comic interludes in Get Out. Like for me, successfully

769
00:38:22,480 --> 00:38:26,239
Speaker 1: pulling off tension and horror is so complicated and difficult,

770
00:38:26,280 --> 00:38:31,080
Speaker 1: like deliberately puncturing it. It always surprises me when filmmakers

771
00:38:31,160 --> 00:38:34,200
Speaker 1: choose to do that outside an actual horror comedy.

772
00:38:34,480 --> 00:38:36,600
Speaker 3: I think at a certain point you have to stop though,

773
00:38:36,640 --> 00:38:38,279
Speaker 3: and I think I think US does that as well.

774
00:38:38,760 --> 00:38:41,000
Speaker 3: After a while the laughs dry up.

775
00:38:41,360 --> 00:38:42,960
Speaker 2: I don't know, maybe you still have all this stuff

776
00:38:43,040 --> 00:38:46,440
Speaker 2: with Heidaker and Moss and when they turn and everything.

777
00:38:46,800 --> 00:38:49,440
Speaker 3: I mean after that I turned, but when they're yeah whatever.

778
00:38:49,640 --> 00:38:52,120
Speaker 2: Yeah. Maybe. So I'm fine with comic relief and my

779
00:38:52,280 --> 00:38:55,080
Speaker 2: horror films as long as it feels organic and not

780
00:38:55,080 --> 00:38:58,040
Speaker 2: not forced. I don't feel like it breaks up the

781
00:38:58,120 --> 00:39:00,960
Speaker 2: tension too much, and it can and sort of enhance

782
00:39:01,040 --> 00:39:03,160
Speaker 2: the entertainment value. I mean US as just a wildly

783
00:39:03,280 --> 00:39:06,960
Speaker 2: entertaining movie. I don't know, it could have been scarier

784
00:39:07,080 --> 00:39:09,879
Speaker 2: for the less funny, I'm not sure. Well.

785
00:39:09,880 --> 00:39:13,800
Speaker 1: We talked some about the sound effects in uh Body Snatchers.

786
00:39:13,840 --> 00:39:16,440
Speaker 1: In particular, we talk a little about the music in

787
00:39:16,480 --> 00:39:20,920
Speaker 1: both movies, like the score in US by composer Michael Abels,

788
00:39:20,960 --> 00:39:23,640
Speaker 1: who also did the score for Get Out. It's just

789
00:39:23,680 --> 00:39:29,200
Speaker 1: so strong. I think it's it's mostly like drumming and chanting.

790
00:39:29,320 --> 00:39:33,680
Speaker 1: It's there's just a sense of again tension and otherworldliness

791
00:39:33,719 --> 00:39:37,160
Speaker 1: about it, especially early on, that I think really contributes.

792
00:39:37,440 --> 00:39:40,480
Speaker 1: But part of what it contributes is that uncanny feeling

793
00:39:40,600 --> 00:39:43,640
Speaker 1: that we get from the sound effect and Body Snatchers, he's.

794
00:39:43,480 --> 00:39:45,279
Speaker 3: Crazy someone I look forward to hearing aary more of it.

795
00:39:45,320 --> 00:39:47,600
Speaker 3: And I think in both this and in Body Snatchers,

796
00:39:47,719 --> 00:39:51,719
Speaker 3: or they're not traditional film scores or not the expected

797
00:39:51,880 --> 00:39:55,480
Speaker 3: sounds necessarily and the qualities you point out about the

798
00:39:55,600 --> 00:39:58,120
Speaker 3: ES score if I you know, I don't think they're

799
00:39:58,160 --> 00:40:01,279
Speaker 3: necessarily the obvious tones to go for in the sort

800
00:40:01,280 --> 00:40:03,080
Speaker 3: of movie, but it works out really well.

801
00:40:03,200 --> 00:40:06,000
Speaker 1: I think. Just to wrap up, like we've we've written

802
00:40:06,120 --> 00:40:08,880
Speaker 1: between the three of us a ton about how horror

803
00:40:08,920 --> 00:40:12,160
Speaker 1: movies tend to reflect their era and how horror is

804
00:40:12,200 --> 00:40:16,520
Speaker 1: just one of those genres that inevitably kind of kind

805
00:40:16,560 --> 00:40:19,880
Speaker 1: of tells you what people find scary at a certain time.

806
00:40:20,239 --> 00:40:22,280
Speaker 1: You have any thoughts on how either of these films

807
00:40:22,280 --> 00:40:24,600
Speaker 1: we talked to for a bit, I guess about seventies

808
00:40:24,640 --> 00:40:29,319
Speaker 1: paranoia and you know, the Parallax view era filmmaking of

809
00:40:29,960 --> 00:40:33,560
Speaker 1: just don't trust authority, don't trust anything that anybody has

810
00:40:33,600 --> 00:40:37,680
Speaker 1: to say. How does us compare in terms of channeling

811
00:40:37,719 --> 00:40:39,640
Speaker 1: like modern horrors, modern fears?

812
00:40:39,719 --> 00:40:43,440
Speaker 3: Well, I think ultimately it's another way it works. Is

813
00:40:43,640 --> 00:40:46,759
Speaker 3: one of the shadow results of success is you get

814
00:40:46,800 --> 00:40:49,040
Speaker 3: all this stuff, but then someone of them might take

815
00:40:49,080 --> 00:40:52,240
Speaker 3: your stuff away, you know, And that's the central family

816
00:40:52,320 --> 00:40:56,759
Speaker 3: has enjoyed a certain amount of benefits of the economy,

817
00:40:56,960 --> 00:41:00,799
Speaker 3: and that could change. They could you know. The thing

818
00:41:00,880 --> 00:41:04,520
Speaker 3: about having a doppelganger who's living this deprived existence is

819
00:41:04,880 --> 00:41:07,400
Speaker 3: maybe you could switch places with them, and that maybe

820
00:41:08,719 --> 00:41:10,760
Speaker 3: that's another way this film is scary.

821
00:41:11,120 --> 00:41:13,359
Speaker 1: I feel like both of these films just kind of

822
00:41:14,080 --> 00:41:17,160
Speaker 1: rely heavily on the idea that other people are essentially

823
00:41:17,239 --> 00:41:22,160
Speaker 1: unknowable sure that it's just very difficult you can maybe

824
00:41:22,239 --> 00:41:24,680
Speaker 1: know the people who are closest to you, and body

825
00:41:24,680 --> 00:41:29,040
Speaker 1: Snatchers in particular, I think makes a strong point that

826
00:41:29,320 --> 00:41:31,880
Speaker 1: the people who are closest to you, or the people

827
00:41:31,880 --> 00:41:33,640
Speaker 1: that you know best, the people that you might be

828
00:41:33,640 --> 00:41:36,479
Speaker 1: able to rely on most in a pinch, but out

829
00:41:36,600 --> 00:41:40,279
Speaker 1: beyond the immediate circle of your loved ones and your

830
00:41:40,360 --> 00:41:44,080
Speaker 1: friends is a vast, vast circle of people you don't

831
00:41:44,120 --> 00:41:46,719
Speaker 1: know and may have a very hard time understanding. And

832
00:41:47,040 --> 00:41:50,799
Speaker 1: as they form political movements or social movements, as they

833
00:41:51,320 --> 00:41:54,560
Speaker 1: engage in group behavior that you can see in public places,

834
00:41:54,600 --> 00:41:57,120
Speaker 1: they become just more and more mysterious and more and

835
00:41:57,120 --> 00:41:59,960
Speaker 1: more threatening. If you allow yourself to be threatened by it.

836
00:42:00,040 --> 00:42:03,480
Speaker 3: I thought another some contemporary resonances in Invasion of the

837
00:42:03,480 --> 00:42:07,040
Speaker 3: Body Snatchers too, which anyone wants to remake it for

838
00:42:07,200 --> 00:42:11,960
Speaker 3: twenty nineteen. Here's my free screenwriting idea is so much

839
00:42:12,000 --> 00:42:16,600
Speaker 3: the idea of people being radicalized online and suddenly believing

840
00:42:16,680 --> 00:42:18,960
Speaker 3: things they didn't believe before, and all of a sudden,

841
00:42:18,960 --> 00:42:22,759
Speaker 3: you know, we have a film critic friend who talks

842
00:42:22,800 --> 00:42:25,080
Speaker 3: about a friend of his who's always send to him

843
00:42:25,120 --> 00:42:28,400
Speaker 3: Jordan Peterson videos to watch, and you know, these these

844
00:42:28,880 --> 00:42:33,399
Speaker 3: ideas that spread like I don't know, seed pods, there's

845
00:42:33,400 --> 00:42:37,799
Speaker 3: something through the Internet, and I think there it works

846
00:42:37,800 --> 00:42:40,399
Speaker 3: as a metaphor for that. However, many decades before that

847
00:42:40,760 --> 00:42:46,160
Speaker 3: particular form of ideologies and strange ideas and hateful thoughts

848
00:42:46,200 --> 00:42:47,760
Speaker 3: spreading even existent.

849
00:42:48,040 --> 00:42:49,960
Speaker 2: Yeah, yeah, I mean, I mean that's the nice thing

850
00:42:50,000 --> 00:42:53,960
Speaker 2: about this Invasion story is it's adaptability different. I mean,

851
00:42:54,000 --> 00:42:56,640
Speaker 2: I think if I recall that var Our film, I mean,

852
00:42:56,680 --> 00:43:00,279
Speaker 2: which takes place on a military basis about conformity, which

853
00:43:00,320 --> 00:43:02,480
Speaker 2: seems like kind of seems kind of a natural for

854
00:43:02,520 --> 00:43:05,160
Speaker 2: that setting, but I would say, like with us, I mean,

855
00:43:05,200 --> 00:43:09,920
Speaker 2: that's so reflective of an era of fierce division, between

856
00:43:10,040 --> 00:43:13,080
Speaker 2: people in the country of us not being able to

857
00:43:14,080 --> 00:43:17,480
Speaker 2: get along see each other, you know, and being able

858
00:43:17,480 --> 00:43:20,040
Speaker 2: to you know. I mean, if we're sort of literally

859
00:43:20,080 --> 00:43:24,360
Speaker 2: divided amongst ourselves, you know, war with ourselves. That I think, really,

860
00:43:24,880 --> 00:43:29,240
Speaker 2: you know, reflects this very fraud and fractured and tense

861
00:43:29,400 --> 00:43:33,240
Speaker 2: and hostile time in America. So I think it's plugged

862
00:43:33,280 --> 00:43:34,120
Speaker 2: right in there. Yeah.

863
00:43:34,120 --> 00:43:35,839
Speaker 1: I think there's always going to be a space for

864
00:43:36,160 --> 00:43:39,800
Speaker 1: films about our fear of other people and our fear

865
00:43:39,920 --> 00:43:43,080
Speaker 1: of what we could become, and fear that we're maybe

866
00:43:43,719 --> 00:43:46,760
Speaker 1: individually speaking, not the most important person in the world

867
00:43:46,920 --> 00:43:52,719
Speaker 1: and not necessarily irreplaceable. Speak for yourself well. Invasion of

868
00:43:52,719 --> 00:43:55,200
Speaker 1: the Body Snatchers is available on DVD and Blu ray,

869
00:43:55,360 --> 00:43:59,080
Speaker 1: and for digital rental via streaming services like Voodoo and iTunes.

870
00:43:59,360 --> 00:44:01,959
Speaker 1: US is currently in the theaters. We'll be right back

871
00:44:02,040 --> 00:44:14,520
Speaker 1: with Your Next Picture Show. Finally, it's time to catch

872
00:44:14,560 --> 00:44:17,000
Speaker 1: each other up on films or film related items we've

873
00:44:17,040 --> 00:44:19,719
Speaker 1: seen in the interim since our last podcast. We call

874
00:44:19,760 --> 00:44:21,680
Speaker 1: it Your Next Picture Show in the hopes that it'll

875
00:44:21,719 --> 00:44:24,640
Speaker 1: put some interesting choices in your radar. Scott, what in

876
00:44:24,680 --> 00:44:26,080
Speaker 1: the film world has been good for you.

877
00:44:26,080 --> 00:44:28,200
Speaker 2: Lately well, I wanted to do kind of a mini

878
00:44:28,280 --> 00:44:31,240
Speaker 2: roundup of some of the highlights of the True False

879
00:44:31,280 --> 00:44:34,480
Speaker 2: Film Festival I went to earlier this month that I

880
00:44:34,520 --> 00:44:37,520
Speaker 2: know are coming out and that people can catch pretty

881
00:44:37,560 --> 00:44:43,080
Speaker 2: soon on either on streaming services or in theaters. The

882
00:44:43,120 --> 00:44:45,719
Speaker 2: best film I saw at True False is a movie

883
00:44:45,760 --> 00:44:51,040
Speaker 2: called American Factory. This is a documentary that Netflix picked up.

884
00:44:51,080 --> 00:44:55,400
Speaker 2: It's about this Chinese company, window company named Fuyau, that

885
00:44:55,440 --> 00:44:59,160
Speaker 2: took over a shuttered GM plant in Dayton, Ohio and

886
00:44:59,400 --> 00:45:03,120
Speaker 2: took over in There was this absolutely massive culture change

887
00:45:03,120 --> 00:45:06,160
Speaker 2: in terms of what they expected from American workers and

888
00:45:06,160 --> 00:45:09,440
Speaker 2: what they actually got from American workers. The safety conditions

889
00:45:09,440 --> 00:45:12,680
Speaker 2: which ended up being quite deplorable, the wages which were

890
00:45:12,680 --> 00:45:14,600
Speaker 2: also not not up to up to snuff. I mean,

891
00:45:14,600 --> 00:45:18,680
Speaker 2: there was just a whole It's such a It's a fascinating, funny,

892
00:45:18,800 --> 00:45:24,600
Speaker 2: humane film about different approaches to culture and labor and

893
00:45:24,680 --> 00:45:28,680
Speaker 2: how difficult it is for you know, the global economy

894
00:45:28,719 --> 00:45:35,799
Speaker 2: to function smoothly. So it's endlessly fascinating and something you

895
00:45:35,800 --> 00:45:38,440
Speaker 2: can unpack from a million different angles. Maybe it's something

896
00:45:38,480 --> 00:45:40,520
Speaker 2: we can put a pin and catch later, but it

897
00:45:40,560 --> 00:45:42,839
Speaker 2: is going to be on Netflix. At some point. They

898
00:45:42,840 --> 00:45:45,560
Speaker 2: haven't announced when. Another film that's going to be on

899
00:45:45,640 --> 00:45:48,719
Speaker 2: Netflix that I saw that just was announced today. It's

900
00:45:48,760 --> 00:45:51,040
Speaker 2: coming on the service on May first. It's called Knock

901
00:45:51,080 --> 00:45:54,920
Speaker 2: Down the House. This is a film by Rachel Lears

902
00:45:54,960 --> 00:46:00,760
Speaker 2: about four you know, insurgent leftist candidates in their attempts

903
00:46:00,800 --> 00:46:05,280
Speaker 2: to seek public office. And of course what's so exciting

904
00:46:05,320 --> 00:46:08,040
Speaker 2: about about it is that one of those four candidates

905
00:46:08,080 --> 00:46:13,880
Speaker 2: is Alexandria Acazio Cortez. And it is remarkable the degree

906
00:46:13,880 --> 00:46:17,799
Speaker 2: to which this film was absolutely on the ground floor for,

907
00:46:18,200 --> 00:46:20,759
Speaker 2: you know, the year's biggest political story. I mean, they

908
00:46:20,840 --> 00:46:25,279
Speaker 2: catch Acasio Cortes when she's a bartender and when she's

909
00:46:25,400 --> 00:46:28,000
Speaker 2: actually at a point where she's just considering running. I mean,

910
00:46:28,040 --> 00:46:30,319
Speaker 2: that's how early they get her. And you get these

911
00:46:30,360 --> 00:46:34,080
Speaker 2: angles on this momentum that's building around her campaign, and

912
00:46:34,160 --> 00:46:37,120
Speaker 2: also just the sheer shock of her winning, which which

913
00:46:37,200 --> 00:46:39,919
Speaker 2: which nobody expected to be. The one poll that ran

914
00:46:40,400 --> 00:46:44,080
Speaker 2: prior to the election itself had her down over thirty points.

915
00:46:44,120 --> 00:46:47,480
Speaker 2: It was a shock to everyone. So it's fascinating. You know,

916
00:46:47,560 --> 00:46:49,760
Speaker 2: she dominates the film. I mean, clearly it was a

917
00:46:49,800 --> 00:46:54,640
Speaker 2: situation where the filmmaker Rachel Lears had footage of all

918
00:46:54,760 --> 00:46:56,920
Speaker 2: four of these women, and then you know, the documentary

919
00:46:56,960 --> 00:47:00,840
Speaker 2: is almost knocked off, balanced by Acasio Cortez, but it's fascinating.

920
00:47:00,840 --> 00:47:04,280
Speaker 2: And the other three women from you know, one in Nevada,

921
00:47:04,320 --> 00:47:08,040
Speaker 2: one in Missouri, one in West Virginia, all are interesting.

922
00:47:08,040 --> 00:47:09,920
Speaker 2: And I also kind of give you a sense of

923
00:47:09,960 --> 00:47:12,920
Speaker 2: like where things are at in the Democratic Party and

924
00:47:12,920 --> 00:47:16,720
Speaker 2: and the potential for you know, a much more leftist,

925
00:47:16,800 --> 00:47:20,279
Speaker 2: much more progressive future than what we were used to.

926
00:47:20,520 --> 00:47:21,960
Speaker 2: So that's pretty good. And then the last one I

927
00:47:21,960 --> 00:47:25,160
Speaker 2: wanted to recommend is a film called Midnight Traveler. It's

928
00:47:25,200 --> 00:47:28,200
Speaker 2: going to be a silloscope. Just picked it up. Say.

929
00:47:28,280 --> 00:47:30,360
Speaker 2: It's a film that was shot on three phones. It

930
00:47:30,400 --> 00:47:34,120
Speaker 2: was about about a family. Hassan Vazzili is the director.

931
00:47:35,040 --> 00:47:38,520
Speaker 2: He is wife and his two children flee Afghanistan because

932
00:47:38,520 --> 00:47:40,879
Speaker 2: the Taliban of call for his death. He's an artist

933
00:47:40,960 --> 00:47:44,160
Speaker 2: who had this cafe that ran a file of a mullah.

934
00:47:44,520 --> 00:47:46,680
Speaker 2: So they're on the run and they spend three years

935
00:47:47,560 --> 00:47:51,600
Speaker 2: in peril, and all at peril is captured via phone

936
00:47:51,680 --> 00:47:55,080
Speaker 2: and was sent to a French filmmaker. And her name

937
00:47:55,080 --> 00:47:58,560
Speaker 2: is Emily Madavian and she assembled the footage and put together,

938
00:47:58,600 --> 00:48:00,840
Speaker 2: but I think is almost like the visual equivalent of

939
00:48:00,880 --> 00:48:02,800
Speaker 2: like a message in a bottle. I mean, this family

940
00:48:02,880 --> 00:48:05,319
Speaker 2: is still in trouble, They're still in Germany, They're still

941
00:48:05,360 --> 00:48:07,759
Speaker 2: they still have not figured out where their home is

942
00:48:07,760 --> 00:48:10,759
Speaker 2: going to be. And it is a very interesting sort

943
00:48:10,760 --> 00:48:13,520
Speaker 2: of inside look of what refuge you like is really like.

944
00:48:13,640 --> 00:48:16,200
Speaker 2: So those are the three films i'd recommend, American Factory

945
00:48:16,600 --> 00:48:18,960
Speaker 2: and Knocked on the House, which you're both Netflix, and

946
00:48:19,080 --> 00:48:22,319
Speaker 2: Midnight Traveler, which will come out via a soloscope lader

947
00:48:22,320 --> 00:48:22,640
Speaker 2: in the year.

948
00:48:22,680 --> 00:48:24,600
Speaker 1: I'm really excited about the chance to see Knocked on

949
00:48:24,680 --> 00:48:27,360
Speaker 1: the House. That's It's been at a couple different festivals

950
00:48:27,360 --> 00:48:29,759
Speaker 1: that I've been at where the times just haven't lined up,

951
00:48:29,800 --> 00:48:31,680
Speaker 1: but I have heard so many good things about it.

952
00:48:31,600 --> 00:48:33,680
Speaker 2: It's pretty emity for it. It's yeah, I mean, just

953
00:48:33,680 --> 00:48:35,920
Speaker 2: just to see that part of it's lightning in a bottle,

954
00:48:35,960 --> 00:48:38,719
Speaker 2: that specific it just I mean, apart from its other qualities,

955
00:48:39,320 --> 00:48:42,239
Speaker 2: and I think it really reinforces her story in a

956
00:48:42,680 --> 00:48:46,840
Speaker 2: strong way, makes her authenticity, her charisma, all that stuff

957
00:48:46,880 --> 00:48:49,360
Speaker 2: comes through so so strongly in that movie.

958
00:48:49,400 --> 00:48:52,200
Speaker 1: Tasha, Well, I would not be doing my job as

959
00:48:52,200 --> 00:48:54,520
Speaker 1: a married person. If I did not, in fact take

960
00:48:54,520 --> 00:48:58,120
Speaker 1: this opportunity to plug my husband's podcast, I'm honestly a

961
00:48:58,200 --> 00:49:01,720
Speaker 1: huge fan of Immunities, the drama that he's been doing

962
00:49:02,200 --> 00:49:05,280
Speaker 1: just finished up its third season that very much comes

963
00:49:05,280 --> 00:49:09,680
Speaker 1: off of Invasion of the Body Snatcher's style stories. It's

964
00:49:09,800 --> 00:49:13,560
Speaker 1: specifically about an alien takeover the world that happens through

965
00:49:13,800 --> 00:49:18,240
Speaker 1: people looking at each other, and it's very much a

966
00:49:18,080 --> 00:49:21,440
Speaker 1: like a Body Snatcher's story about people whose individuality and

967
00:49:21,560 --> 00:49:25,480
Speaker 1: uniqueness disappears when they're taken over, but their personalities remain.

968
00:49:25,880 --> 00:49:28,600
Speaker 1: I love this story. But more to the point, given

969
00:49:28,600 --> 00:49:32,560
Speaker 1: that he has just wrapped up a four podcast series

970
00:49:32,640 --> 00:49:35,239
Speaker 1: about the Body Snatchers movies, if you want to hear

971
00:49:35,239 --> 00:49:37,200
Speaker 1: more about this film, or if you want to hear

972
00:49:37,320 --> 00:49:40,759
Speaker 1: in depth analysis of the nineteen fifty six version or

973
00:49:40,840 --> 00:49:44,360
Speaker 1: the other two versions which are perhaps somewhat less classic

974
00:49:44,400 --> 00:49:46,759
Speaker 1: and memorable but still have a lot to talk about,

975
00:49:47,520 --> 00:49:50,879
Speaker 1: you can go look him up. The podcast is called Immunities.

976
00:49:51,320 --> 00:49:55,720
Speaker 1: The discussion of the Body Snatcher's movies are rolling out

977
00:49:56,320 --> 00:49:59,600
Speaker 1: currently and you can find it at Dueling Genres, the

978
00:50:00,280 --> 00:50:03,880
Speaker 1: podcast network that he belongs to. But in terms of

979
00:50:04,440 --> 00:50:08,920
Speaker 1: more filmic stuff, There's a little film from two thousand

980
00:50:08,920 --> 00:50:11,480
Speaker 1: and two called Lost in La Mancha, which is a

981
00:50:11,520 --> 00:50:16,840
Speaker 1: delightful documentary about Terry Gilliam's miserable failure and an attempt

982
00:50:16,960 --> 00:50:19,359
Speaker 1: to put together a film called The Man Who Killed

983
00:50:19,400 --> 00:50:23,080
Speaker 1: don Quixote. That film is now finally coming out. I

984
00:50:23,120 --> 00:50:24,880
Speaker 1: know that there are people that don't believe it. My

985
00:50:24,960 --> 00:50:27,080
Speaker 1: husband every time I bring it up, laughs at me.

986
00:50:27,440 --> 00:50:30,520
Speaker 1: I say, I've seen this film. I actually sat through

987
00:50:30,560 --> 00:50:32,560
Speaker 1: the whole thing. It exists, and he's like, yeah, whatever,

988
00:50:32,640 --> 00:50:36,600
Speaker 1: this is a cute prank. But no, Terry Gilliams Man

989
00:50:36,640 --> 00:50:39,400
Speaker 1: Who Killed don Quixote is actually in the world. It

990
00:50:39,520 --> 00:50:43,400
Speaker 1: is coming to theaters on April tenth as part of

991
00:50:43,760 --> 00:50:47,800
Speaker 1: a Fathom event, so like one of those strange special

992
00:50:47,800 --> 00:50:50,400
Speaker 1: event things that will be like seven hundred theaters and

993
00:50:50,440 --> 00:50:53,600
Speaker 1: then it's going to have a theatrical run starring April nineteenth.

994
00:50:54,080 --> 00:50:59,200
Speaker 2: Get all those prints around, Prince.

995
00:50:58,280 --> 00:51:01,359
Speaker 1: Someday their film prints will come. I tried to make

996
00:51:01,400 --> 00:51:04,360
Speaker 1: an argument for doing a Man Who Killed don Quixote

997
00:51:04,800 --> 00:51:07,400
Speaker 1: paired with another Gillium on this podcast, but there are

998
00:51:07,480 --> 00:51:09,399
Speaker 1: so many other things coming up that we want to hit.

999
00:51:09,760 --> 00:51:11,839
Speaker 1: We don't think we're going to get to this one,

1000
00:51:12,200 --> 00:51:14,200
Speaker 1: so I figured I would just bring it up. It's

1001
00:51:14,239 --> 00:51:18,440
Speaker 1: been getting some bad, bad reviews, and I understand why

1002
00:51:19,040 --> 00:51:22,840
Speaker 1: for people perhaps who are not as into the Terry

1003
00:51:22,880 --> 00:51:27,160
Speaker 1: Gilliam story as I am. I feel like it's a

1004
00:51:27,280 --> 00:51:31,239
Speaker 1: lesser Gillium In some ways, I feel like it's repeating

1005
00:51:31,440 --> 00:51:35,520
Speaker 1: some themes that he's just obsessed with over the course

1006
00:51:35,520 --> 00:51:38,759
Speaker 1: of his entire career, about the place of fantasy and

1007
00:51:38,800 --> 00:51:42,680
Speaker 1: storytelling and escapism in the world, About the way that

1008
00:51:42,719 --> 00:51:45,400
Speaker 1: the world presses down on us and makes us all crazy,

1009
00:51:45,719 --> 00:51:49,200
Speaker 1: about the way that creativity is your only outlet, and

1010
00:51:49,760 --> 00:51:52,400
Speaker 1: pretending the world is something other than it is is

1011
00:51:52,440 --> 00:51:54,640
Speaker 1: the only way to make the world better than it is.

1012
00:51:55,440 --> 00:52:00,160
Speaker 1: So in some ways, watching it is like experiencing a

1013
00:52:00,320 --> 00:52:02,759
Speaker 1: best of But I feel like this one goes in

1014
00:52:02,800 --> 00:52:05,200
Speaker 1: the direction of the Fisher King in terms of being

1015
00:52:05,320 --> 00:52:07,759
Speaker 1: a little more tight and pointed about some of these

1016
00:52:07,800 --> 00:52:11,000
Speaker 1: themes than some of his films are. It centers on

1017
00:52:11,040 --> 00:52:14,880
Speaker 1: a performance by Adam Driver that I think is just delightful.

1018
00:52:15,280 --> 00:52:19,319
Speaker 1: He kind of famously lost his original Don Quixote for

1019
00:52:19,360 --> 00:52:22,799
Speaker 1: the film and replaced him with Jonathan Price, who he's

1020
00:52:22,840 --> 00:52:25,600
Speaker 1: been working with since Brazil, and he just seems a

1021
00:52:25,640 --> 00:52:28,680
Speaker 1: really appropriate person for the role. It is a Terry

1022
00:52:28,680 --> 00:52:31,520
Speaker 1: Gilliam movie. It is shaggy, it is anarchic, it is

1023
00:52:31,600 --> 00:52:35,239
Speaker 1: all over the place. Its themes are being shouted through

1024
00:52:35,239 --> 00:52:39,360
Speaker 1: a megaphone. But it's also funny and strange and sad,

1025
00:52:39,440 --> 00:52:42,279
Speaker 1: and I think it's pretty delightful. I would like for

1026
00:52:42,360 --> 00:52:45,080
Speaker 1: people to see it, even if Terry Gilliam himself has

1027
00:52:45,120 --> 00:52:49,879
Speaker 1: become a deeply problematic fave of late with his delightful

1028
00:52:49,960 --> 00:52:54,239
Speaker 1: comments about me too and representation and how people, just

1029
00:52:54,719 --> 00:52:57,160
Speaker 1: women just have to sleep with Harvey Weinstein to get ahead.

1030
00:52:57,200 --> 00:53:00,960
Speaker 1: That's just the way the business works. I understand people

1031
00:53:00,960 --> 00:53:03,840
Speaker 1: who want to cancel Terry Gilliam. I will never be

1032
00:53:03,880 --> 00:53:05,839
Speaker 1: able to cancel him because he made my favorite film

1033
00:53:05,880 --> 00:53:09,560
Speaker 1: of all time. So I'm telling people, you know, he's

1034
00:53:09,600 --> 00:53:15,200
Speaker 1: got a movie. It's coming out into theaterland. It's Hush,

1035
00:53:15,239 --> 00:53:19,080
Speaker 1: you Pod, Creature, You Pod. Scott's favorite film of all

1036
00:53:19,080 --> 00:53:22,000
Speaker 1: time is tideland my favorite film of all time is Brazil.

1037
00:53:22,239 --> 00:53:24,600
Speaker 1: I still really like Terry Gilliam. I wish he wasn't

1038
00:53:24,600 --> 00:53:27,920
Speaker 1: being a jerk right now. Go see his movie Keith on.

1039
00:53:27,760 --> 00:53:30,920
Speaker 3: The Sunday I saw the passing of Larry Cohen, the

1040
00:53:31,280 --> 00:53:35,759
Speaker 3: B movie filmmaker who made one memorable film after the

1041
00:53:35,800 --> 00:53:38,560
Speaker 3: other in the seventies and eighties. Last year's till the

1042
00:53:38,560 --> 00:53:41,400
Speaker 3: release of a film called King Cohen, director by Steve Mitchell,

1043
00:53:41,400 --> 00:53:45,120
Speaker 3: which is a really nice overview of Larry Cohen's career

1044
00:53:45,719 --> 00:53:52,120
Speaker 3: that gets into his methods and the madness behind him.

1045
00:53:52,200 --> 00:53:54,160
Speaker 3: And some of those early films were just shot on

1046
00:53:54,200 --> 00:53:57,399
Speaker 3: the streets in New York, no permits, just show up,

1047
00:53:57,440 --> 00:54:00,799
Speaker 3: shoot and leave before anyone can notice. And he talks

1048
00:54:00,800 --> 00:54:03,120
Speaker 3: to people who work with like Fred Williamson as someone

1049
00:54:03,120 --> 00:54:05,439
Speaker 3: who starred in a lot of his films, and also

1050
00:54:05,480 --> 00:54:07,799
Speaker 3: people that appreciate his work like J. J. Abrams and March.

1051
00:54:08,120 --> 00:54:10,680
Speaker 3: He's on there singing his praises as well. I recommend

1052
00:54:10,760 --> 00:54:14,799
Speaker 3: this movie before so, I know, definitely if you want

1053
00:54:14,800 --> 00:54:16,640
Speaker 3: to know more about Coen, it's a good place to look,

1054
00:54:17,080 --> 00:54:19,560
Speaker 3: just to go a little deeper. Some Coen films that

1055
00:54:19,600 --> 00:54:21,480
Speaker 3: you might enjoy if you just want to sample, if

1056
00:54:21,480 --> 00:54:24,000
Speaker 3: you're sort of intrigued by the obituaries or breaking Cohen,

1057
00:54:24,520 --> 00:54:27,840
Speaker 3: I would go with the stuff, which is this strange

1058
00:54:27,880 --> 00:54:31,319
Speaker 3: sort of anti consumerism of film he made in the

1059
00:54:31,520 --> 00:54:34,800
Speaker 3: nineteen eighties about a food product that consumes the people

1060
00:54:34,800 --> 00:54:38,680
Speaker 3: that eat it, or alternately. Probably the weirdest family he

1061
00:54:38,719 --> 00:54:41,520
Speaker 3: made was called God Told Me To, which is probably

1062
00:54:41,600 --> 00:54:44,560
Speaker 3: less set about the better, but it's about a policeman

1063
00:54:44,640 --> 00:54:50,200
Speaker 3: investigating some very strange crimes that seem to have a

1064
00:54:50,239 --> 00:54:53,239
Speaker 3: bunch of unrelating people creating murders in the same way,

1065
00:54:53,320 --> 00:54:57,240
Speaker 3: including Andy Kaufman in one scene. It's a very odd

1066
00:54:57,280 --> 00:54:59,279
Speaker 3: movie that goes to some very strange places. But that's

1067
00:54:59,280 --> 00:55:02,080
Speaker 3: part of what makes Cohen appealing is he had a

1068
00:55:02,160 --> 00:55:07,920
Speaker 3: very peculiar vision. He made sort of wild. He was

1069
00:55:07,920 --> 00:55:11,480
Speaker 3: a great idea man. He created these wild premises and

1070
00:55:11,800 --> 00:55:15,960
Speaker 3: would just kind of make films for the audience that

1071
00:55:16,000 --> 00:55:19,200
Speaker 3: are willing to go places with them and with actors

1072
00:55:19,200 --> 00:55:21,000
Speaker 3: who were willing to play along. He had sort of

1073
00:55:21,000 --> 00:55:24,680
Speaker 3: a little stable of regulars like Michael Moriarty, who would

1074
00:55:24,680 --> 00:55:28,440
Speaker 3: just show up and do very intense method of performances

1075
00:55:28,440 --> 00:55:30,759
Speaker 3: in the middle of these genre movies. There really wasn't

1076
00:55:30,760 --> 00:55:33,040
Speaker 3: anyone else like him, and I think there were, you know,

1077
00:55:33,120 --> 00:55:35,720
Speaker 3: would be better if there were more more like him today,

1078
00:55:35,960 --> 00:55:38,520
Speaker 3: But he left behind it a very fine body of

1079
00:55:38,560 --> 00:55:39,920
Speaker 3: work that's worth exploring.

1080
00:55:40,160 --> 00:55:43,320
Speaker 2: Yeah, I mean it's so much fun watching his films.

1081
00:55:43,320 --> 00:55:45,400
Speaker 2: I mean, they're none of them he's never made like

1082
00:55:45,440 --> 00:55:49,520
Speaker 2: a flawless film. No, they always have these concepts that

1083
00:55:49,800 --> 00:55:53,480
Speaker 2: just weren't quite realized as perfectly as you'd want them

1084
00:55:53,480 --> 00:55:57,240
Speaker 2: to be. But they're full of surprise, isn't fun. Q's

1085
00:55:57,239 --> 00:56:00,239
Speaker 2: are really good. One good one, and I'm with you

1086
00:56:00,520 --> 00:56:04,200
Speaker 2: on the Stuff, which has the line everybody has to

1087
00:56:04,239 --> 00:56:05,720
Speaker 2: eat shaving cream every once.

1088
00:56:05,520 --> 00:56:06,000
Speaker 1: In a while.

1089
00:56:07,400 --> 00:56:08,560
Speaker 2: So I like that.

1090
00:56:08,880 --> 00:56:10,960
Speaker 3: Like even like later in his career, he was just

1091
00:56:11,239 --> 00:56:15,960
Speaker 3: a great idea guy. He wrote the first script of

1092
00:56:16,000 --> 00:56:19,080
Speaker 3: Phone Booth, in which someone is trapped in a phone booth,

1093
00:56:19,239 --> 00:56:21,400
Speaker 3: and he followed it with the script for Cellular, which

1094
00:56:21,400 --> 00:56:24,440
Speaker 3: should follow someone using a cellular phone. So it's kind

1095
00:56:24,440 --> 00:56:26,640
Speaker 3: of like we did the stationary phone. Maybe let's do

1096
00:56:26,680 --> 00:56:28,120
Speaker 3: the Phone on the run.

1097
00:56:28,239 --> 00:56:30,759
Speaker 2: Definitely. Yeah, No, I think if you're a genre fan,

1098
00:56:31,040 --> 00:56:32,799
Speaker 2: you have to have spend some time with Larry Cohen.

1099
00:56:32,880 --> 00:56:35,160
Speaker 1: I just never quite got over the poster for Q

1100
00:56:35,440 --> 00:56:38,719
Speaker 1: with its tagline its name is quetzal quattal. Just call

1101
00:56:38,760 --> 00:56:40,960
Speaker 1: it Q. That's all you'll have time to say before

1102
00:56:41,000 --> 00:56:41,800
Speaker 1: it tears you apart.

1103
00:56:42,280 --> 00:56:44,480
Speaker 2: That's a great line. That's a great tagline.

1104
00:56:44,520 --> 00:56:45,680
Speaker 1: It's such a great tagline.

1105
00:56:45,760 --> 00:56:46,520
Speaker 3: Great poster too.

1106
00:56:46,719 --> 00:56:48,680
Speaker 1: Yeah, if that was one of those films that UH

1107
00:56:49,320 --> 00:56:51,880
Speaker 1: kind of based on the poster and the tagline and

1108
00:56:51,880 --> 00:56:54,839
Speaker 1: the image like obsessed me as a kid, and then

1109
00:56:54,840 --> 00:56:56,759
Speaker 1: I finally saw it as an adult and I'm like,

1110
00:56:57,160 --> 00:56:59,200
Speaker 1: this is so much more fun than I would have

1111
00:56:59,200 --> 00:57:02,319
Speaker 1: thought it was. You know, it's not very scary, but

1112
00:57:02,360 --> 00:57:10,200
Speaker 1: it's a really enjoyable film. Well, that's it for this

1113
00:57:10,360 --> 00:57:12,400
Speaker 1: edition of the Next Picture Show. Our next pairing will

1114
00:57:12,400 --> 00:57:15,960
Speaker 1: come out April sixteenth and twenty third, Genevieve, what are

1115
00:57:16,000 --> 00:57:16,720
Speaker 1: we doing next?

1116
00:57:17,000 --> 00:57:19,960
Speaker 5: In the new DCEU movie Shazam, a fourteen year old

1117
00:57:19,960 --> 00:57:23,800
Speaker 5: misfit gets transformed into an adult superhero. He has super strength,

1118
00:57:23,920 --> 00:57:26,680
Speaker 5: he's bulletproof, and he can almost sleep tall buildings in

1119
00:57:26,720 --> 00:57:29,160
Speaker 5: a single bound. But he can also buy beer and

1120
00:57:29,200 --> 00:57:30,880
Speaker 5: all the junk food he wants because he has the

1121
00:57:30,960 --> 00:57:34,200
Speaker 5: superpower of being a grown up. In that respect, Shazam

1122
00:57:34,200 --> 00:57:36,360
Speaker 5: has drawn a lot of comparisons to the nineteen eighty

1123
00:57:36,400 --> 00:57:39,600
Speaker 5: eight Coming of age Fantasy Big, a connection that acknowledges

1124
00:57:39,640 --> 00:57:42,600
Speaker 5: by paying homage to the film's most famous scene In

1125
00:57:42,640 --> 00:57:44,480
Speaker 5: our next set of episodes, we'll look at Big and

1126
00:57:44,520 --> 00:57:46,560
Speaker 5: Shazam and what they tell us about boys in their

1127
00:57:46,600 --> 00:57:49,480
Speaker 5: early teens suddenly turning into men and how that gift

1128
00:57:49,560 --> 00:57:50,600
Speaker 5: can seem like a curse.

1129
00:57:50,800 --> 00:57:52,640
Speaker 1: In the meantime, we'd love to hear your feedback on

1130
00:57:52,680 --> 00:57:55,640
Speaker 1: this week's discussion of Invasion of the Body Snatchers US

1131
00:57:55,680 --> 00:57:58,000
Speaker 1: and anything else film related you'd like to talk about.

1132
00:57:58,160 --> 00:58:00,400
Speaker 1: We want to include your thoughts on future eppisodes of

1133
00:58:00,440 --> 00:58:02,760
Speaker 1: the show. You can leave a short voicemail at seven

1134
00:58:02,760 --> 00:58:05,320
Speaker 1: to seven three two three four nine seven three zero,

1135
00:58:05,720 --> 00:58:08,240
Speaker 1: or email us at comments at Next Picture Show do Net.

1136
00:58:08,400 --> 00:58:10,760
Speaker 1: We may post your response on Facebook for discussion or

1137
00:58:10,800 --> 00:58:13,640
Speaker 1: read it on a future episode of the show. Finally,

1138
00:58:13,800 --> 00:58:16,240
Speaker 1: before we close out this week's episode, where can we

1139
00:58:16,280 --> 00:58:17,480
Speaker 1: find everyone these days?

1140
00:58:17,600 --> 00:58:19,720
Speaker 3: Keith Oh you can find me on Twitter at kfips

1141
00:58:19,760 --> 00:58:22,600
Speaker 3: three thousand. You can find my writing at places like

1142
00:58:22,720 --> 00:58:28,600
Speaker 3: Vulture and Slate and The Verge, Polygon Decider. I'm all

1143
00:58:28,600 --> 00:58:30,800
Speaker 3: over the place these days. Scott, how about you?

1144
00:58:31,080 --> 00:58:33,920
Speaker 2: You can find me on Twitter at Scott Underscore Tobias,

1145
00:58:33,960 --> 00:58:37,800
Speaker 2: and you can find my work times Vulture, in pr

1146
00:58:38,280 --> 00:58:42,560
Speaker 2: The Ringer. I have a piece on the Matrix that

1147
00:58:42,600 --> 00:58:47,040
Speaker 2: I'm sure that has already torn up the Internet as

1148
00:58:47,040 --> 00:58:50,000
Speaker 2: we're recording it. It runs, it's running tomorrow, so who

1149
00:58:50,040 --> 00:58:50,640
Speaker 2: knows how.

1150
00:58:50,880 --> 00:58:52,960
Speaker 3: What's what's what's the just to this piece? What's it about?

1151
00:58:53,000 --> 00:58:56,760
Speaker 2: It's about the mailieability of it in terms of the

1152
00:58:56,760 --> 00:59:01,200
Speaker 2: way it's interpreted. About how you can have people on

1153
00:59:01,280 --> 00:59:03,280
Speaker 2: the alt right red pilling you, and you can have

1154
00:59:03,360 --> 00:59:06,160
Speaker 2: people who see it as a as a trans allegory

1155
00:59:06,200 --> 00:59:09,480
Speaker 2: and a metaphor for change, and how you come across

1156
00:59:09,520 --> 00:59:11,640
Speaker 2: both of those readings, and how those readings of the

1157
00:59:11,640 --> 00:59:16,520
Speaker 2: film were not didn't really service until recently, and we're

1158
00:59:16,520 --> 00:59:18,160
Speaker 2: not really part of the way the film was received

1159
00:59:18,200 --> 00:59:20,480
Speaker 2: in ninety nine. So it gets it all that stuff.

1160
00:59:20,680 --> 00:59:22,480
Speaker 3: We should do a Matrix episode.

1161
00:59:23,160 --> 00:59:25,120
Speaker 2: He should. That's a great idea.

1162
00:59:25,160 --> 00:59:27,600
Speaker 1: Compare it with the other two Matrix movies. Everybody would

1163
00:59:27,680 --> 00:59:31,320
Speaker 1: enjoy that well. Tasha, I am the film and TV

1164
00:59:31,520 --> 00:59:33,640
Speaker 1: editor at the Verge dot Com. You can find my

1165
00:59:33,680 --> 00:59:36,280
Speaker 1: writing over there. You can find me on Twitter at

1166
00:59:36,440 --> 00:59:39,480
Speaker 1: Tasha Robinson. You can find me on an upcoming or

1167
00:59:39,560 --> 00:59:43,160
Speaker 1: possibly outgoing by now episode of Pop Culture Happy Hour

1168
00:59:43,200 --> 00:59:45,320
Speaker 1: where they had me on to talk about what we

1169
00:59:45,400 --> 00:59:48,920
Speaker 1: do in the Shadows. Our producer geneviev Cosky is on

1170
00:59:49,000 --> 00:59:52,680
Speaker 1: Twitter at geneviev Coski. She's the deputy TV editor over

1171
00:59:52,720 --> 00:59:55,360
Speaker 1: at Vulture, where you can find possibly her work and

1172
00:59:55,440 --> 00:59:58,920
Speaker 1: definitely many many things she was commissioned and edited. You

1173
00:59:58,960 --> 01:00:01,320
Speaker 1: can stay updated on the New Picture Show or find

1174
01:00:01,320 --> 01:00:04,440
Speaker 1: our keynote essays, which we've started posting online by visiting

1175
01:00:04,560 --> 01:00:07,400
Speaker 1: Next pictureshow dot net. Find us on Twitter at Next

1176
01:00:07,400 --> 01:00:10,240
Speaker 1: Picture Pod and on Facebook at Facebook dot com slash

1177
01:00:10,360 --> 01:00:13,720
Speaker 1: Next Picture Show. And if you haven't subscribed to the

1178
01:00:13,760 --> 01:00:17,440
Speaker 1: show on Apple Podcasts already and you've tuned me out

1179
01:00:17,440 --> 01:00:21,640
Speaker 1: because you've heard this so many times, please consider it anyway,

1180
01:00:21,840 --> 01:00:25,920
Speaker 1: because Apple Podcasts subscriptions are an important way of getting

1181
01:00:25,960 --> 01:00:30,360
Speaker 1: podcasts more prominence and more listeners. I don't know why

1182
01:00:30,360 --> 01:00:32,120
Speaker 1: I'm singing. I think the pods have taken over. I'm

1183
01:00:32,200 --> 01:00:36,000
Speaker 1: very tired. I just I just need some sleep, It's

1184
01:00:36,000 --> 01:00:36,520
Speaker 1: all I need.

1185
01:00:36,720 --> 01:00:40,720
Speaker 2: What would our level of appreciation be for ratings and reviews, Tasha,

1186
01:00:40,800 --> 01:00:43,000
Speaker 2: if people were to go on Apple podcasts, think.

1187
01:00:42,840 --> 01:00:46,560
Speaker 1: Our appreciation would be pretty high. Unlike pod people, we

1188
01:00:46,640 --> 01:00:49,240
Speaker 1: still have need for love and hate. We want to

1189
01:00:49,240 --> 01:00:51,640
Speaker 1: hear your love. Hell will take your hate.

1190
01:00:52,240 --> 01:00:57,960
Speaker 2: We won't just like you if you don't like the show,

1191
01:00:58,680 --> 01:00:59,160
Speaker 2: I mean, if.

1192
01:00:59,040 --> 01:01:01,040
Speaker 1: You don't like the show, effect that you're still listening

1193
01:01:01,040 --> 01:01:06,200
Speaker 1: through this rambling closing is why did they listen to

1194
01:01:06,280 --> 01:01:08,800
Speaker 1: every last second of this podcast just to boo us?

1195
01:01:09,040 --> 01:01:11,920
Speaker 1: We don't know, but we would like to continue doing

1196
01:01:11,960 --> 01:01:14,880
Speaker 1: this podcast, and that means finding new listeners to keep

1197
01:01:14,880 --> 01:01:17,680
Speaker 1: the show going, and every thumbs up helps us do that.

1198
01:01:18,520 --> 01:01:20,640
Speaker 1: Thanks to Dan the Snake Jakes for his assistance in

1199
01:01:20,720 --> 01:01:23,480
Speaker 1: producing this podcast. The Next Picture Show is proud to

1200
01:01:23,480 --> 01:01:26,520
Speaker 1: be part of the Film Spotting family of podcasts. Please

1201
01:01:26,560 --> 01:01:27,400
Speaker 1: tune in next time.