1
00:00:03,080 --> 00:00:06,120
Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

2
00:00:13,440 --> 00:00:16,200
Speaker 2: Hey you welcome to Weird House Cinema. This is Rob

3
00:00:16,320 --> 00:00:19,040
Speaker 2: Lamb and you know, at this very moment Joe is away.

4
00:00:19,120 --> 00:00:22,960
Speaker 2: So I reached out once more to Seth Nicholas Johnson

5
00:00:23,040 --> 00:00:26,320
Speaker 2: of Rusty Needles Record Club to discuss a film here

6
00:00:26,360 --> 00:00:28,880
Speaker 2: on Weird House Cinema. Seth, welcome back to the show.

7
00:00:29,080 --> 00:00:31,360
Speaker 3: Thank you for having me again, Always happy to return.

8
00:00:31,840 --> 00:00:35,639
Speaker 2: Now, this is an interesting pick. This is not a

9
00:00:35,640 --> 00:00:38,400
Speaker 2: film that I was familiar with at all. It is

10
00:00:38,640 --> 00:00:41,720
Speaker 2: I guess you might describe it as an overlooked Jim

11
00:00:42,320 --> 00:00:47,000
Speaker 2: the Year two thousand's Psycho Beach Party, a wonderfully campy

12
00:00:47,200 --> 00:00:51,159
Speaker 2: comedy that takes the nineteen sixties beach Party movie by

13
00:00:51,200 --> 00:00:55,080
Speaker 2: way of a little seventies horror and uses this to

14
00:00:55,480 --> 00:00:59,080
Speaker 2: like a send up of gender norms, pop culture, astro turfing,

15
00:00:59,160 --> 00:01:03,400
Speaker 2: of diverse Russian and more, while also just firmly committing

16
00:01:03,520 --> 00:01:06,440
Speaker 2: to laughs. Seth, I had never even heard of this

17
00:01:06,520 --> 00:01:09,560
Speaker 2: film before you brought it up in email. Could you

18
00:01:09,640 --> 00:01:11,000
Speaker 2: share your history with this film?

19
00:01:11,000 --> 00:01:11,720
Speaker 3: Like? Where did you?

20
00:01:11,880 --> 00:01:13,679
Speaker 2: Where did you learn about this? Because I feel like

21
00:01:13,720 --> 00:01:15,920
Speaker 2: this is one that it doesn't seem like it was

22
00:01:15,959 --> 00:01:19,080
Speaker 2: appreciated as much when it came out, and it seems

23
00:01:19,080 --> 00:01:21,600
Speaker 2: like it was ahead of its time, and it doesn't

24
00:01:21,800 --> 00:01:24,679
Speaker 2: seem like it has the cult following it deserves.

25
00:01:25,120 --> 00:01:28,000
Speaker 3: Agreed, Agreed on all counts. I have to give all

26
00:01:28,040 --> 00:01:30,920
Speaker 3: credit to my wife. Back when her and I were

27
00:01:30,920 --> 00:01:34,560
Speaker 3: first dating, we were living down in Los Angeles, and

28
00:01:34,640 --> 00:01:36,280
Speaker 3: she told me how much she loved this movie. I

29
00:01:36,319 --> 00:01:39,039
Speaker 3: also had never heard of it, and so on a

30
00:01:39,120 --> 00:01:41,640
Speaker 3: date one night, we went on a little DVD hunt.

31
00:01:41,720 --> 00:01:43,679
Speaker 3: We had to scour Los Angeles trying to find a

32
00:01:43,680 --> 00:01:47,200
Speaker 3: copy of this. We eventually found a copy at one

33
00:01:47,200 --> 00:01:49,880
Speaker 3: of the best record stores that ever existed in Meba Hollywood,

34
00:01:50,480 --> 00:01:54,000
Speaker 3: And yeah, we watched it, and it immediately became just

35
00:01:54,160 --> 00:01:57,160
Speaker 3: a perennial household favorite of ours, and we just watched

36
00:01:57,200 --> 00:01:59,840
Speaker 3: it whenever we had the chance. And yeah, I have

37
00:01:59,920 --> 00:02:02,080
Speaker 3: to ask her where she first heard of it, too,

38
00:02:02,200 --> 00:02:06,440
Speaker 3: because this does seem like a chain of like, all right,

39
00:02:06,480 --> 00:02:09,760
Speaker 3: who's the one person who knew someone who was like,

40
00:02:09,800 --> 00:02:12,680
Speaker 3: you know, a grip on the movie, who told their

41
00:02:12,800 --> 00:02:15,720
Speaker 3: friend and it just kind of continued on. But yeah,

42
00:02:16,000 --> 00:02:18,200
Speaker 3: I mean, honestly, there's there's quite a few people of

43
00:02:18,440 --> 00:02:21,160
Speaker 3: note in this film too, So maybe that's kind of

44
00:02:21,360 --> 00:02:24,880
Speaker 3: where she first came across it, but I'll ask her later.

45
00:02:25,600 --> 00:02:27,600
Speaker 2: Yeah, yeah, yeah. There are a number of folks that

46
00:02:27,680 --> 00:02:29,720
Speaker 2: are very talented folks in here that went on to

47
00:02:29,800 --> 00:02:33,920
Speaker 2: some really great things. And also, I guess depending on

48
00:02:34,040 --> 00:02:39,840
Speaker 2: how connected or into the off Broadway and ultimately Broadway

49
00:02:40,400 --> 00:02:43,280
Speaker 2: a scene of the eighties and nineties you happen to be,

50
00:02:43,560 --> 00:02:45,760
Speaker 2: you also might have a leg up on knowing about

51
00:02:45,760 --> 00:02:48,760
Speaker 2: this movie. I guess the other main thing that might

52
00:02:48,840 --> 00:02:51,480
Speaker 2: draw folks into this particular film is that it is

53
00:02:51,560 --> 00:02:55,440
Speaker 2: a parody of sixties beach movies, and we're gonna have to,

54
00:02:55,560 --> 00:02:58,800
Speaker 2: I think, unpack that for a lot of listeners. So

55
00:02:58,840 --> 00:03:00,720
Speaker 2: we certainly have listeners out there who know the way

56
00:03:00,720 --> 00:03:03,800
Speaker 2: around sixties beach movies. But I think even if you

57
00:03:03,840 --> 00:03:07,000
Speaker 2: haven't watched a lot of them, you probably have some

58
00:03:07,240 --> 00:03:09,400
Speaker 2: idea of what we're talking about here. There are a

59
00:03:09,480 --> 00:03:15,639
Speaker 2: lot of common elements. Bikinis, romance, oftentine romance, there's comedy,

60
00:03:15,680 --> 00:03:19,720
Speaker 2: there's surfers, there's rock and roll. Occasional appearances by other

61
00:03:19,760 --> 00:03:23,680
Speaker 2: subsets of youth culture, you know, so pre hippie generally

62
00:03:23,720 --> 00:03:27,280
Speaker 2: with beat nicks and greasers, maybe some bikers and more

63
00:03:27,800 --> 00:03:31,520
Speaker 2: and Seth, I'm delighted that you have done a much

64
00:03:31,600 --> 00:03:36,200
Speaker 2: deeper dive into the world of beach movies. Give us

65
00:03:36,240 --> 00:03:39,000
Speaker 2: a little primary here on the beach movie so we

66
00:03:39,000 --> 00:03:43,240
Speaker 2: can better appreciate what is being lampooned and subverted in

67
00:03:43,320 --> 00:03:43,880
Speaker 2: this picture.

68
00:03:44,600 --> 00:03:47,480
Speaker 3: Not too long ago, I went on quite the beach

69
00:03:47,560 --> 00:03:49,800
Speaker 3: movie binge. I'm not sure kind of what got it

70
00:03:49,840 --> 00:03:52,600
Speaker 3: in my head, but I decided that, like this entire

71
00:03:52,720 --> 00:03:56,120
Speaker 3: genre was unexplored territory for me, and so I decided

72
00:03:56,160 --> 00:03:58,520
Speaker 3: to watch them all. And first of all, there is

73
00:03:58,560 --> 00:04:03,320
Speaker 3: a very specific, i guess, cinematic universe of beach movies

74
00:04:03,800 --> 00:04:07,960
Speaker 3: that are primarily focused on the actors Frankie Avlon and

75
00:04:07,960 --> 00:04:11,640
Speaker 3: an Nett Funicello. And I literally think if you pull

76
00:04:11,720 --> 00:04:13,960
Speaker 3: up the Wikipedia page on this, it's probably something like

77
00:04:14,000 --> 00:04:18,279
Speaker 3: twelve movies. And they just keep going and going and going,

78
00:04:18,640 --> 00:04:23,160
Speaker 3: and they are so much better and so much stranger

79
00:04:23,400 --> 00:04:26,200
Speaker 3: than I thought they would be. So, for example, here's

80
00:04:26,240 --> 00:04:29,240
Speaker 3: the few of my favorites. There was one called Pajama

81
00:04:29,279 --> 00:04:33,440
Speaker 3: Party from nineteen sixty four Tommy Kirk Old Disney actor

82
00:04:33,480 --> 00:04:35,919
Speaker 3: favorite you know from like you know Old Yeller and

83
00:04:35,960 --> 00:04:39,680
Speaker 3: many other hits. He plays a martian named Go Go

84
00:04:40,320 --> 00:04:43,880
Speaker 3: who he is in an advanced scout for a Mars invasion,

85
00:04:44,400 --> 00:04:46,440
Speaker 3: and of course he has to kind of disguise himself

86
00:04:46,480 --> 00:04:48,720
Speaker 3: as like a local teenager and he kind of learns,

87
00:04:48,800 --> 00:04:51,960
Speaker 3: you know, the fun of like being an earth teenager

88
00:04:52,000 --> 00:04:55,280
Speaker 3: at the beach, and that ultimately, you know, dissuades him

89
00:04:54,960 --> 00:04:59,000
Speaker 3: from destroying the Earth. Another one which I think a

90
00:04:59,040 --> 00:05:01,680
Speaker 3: lot of people have heard of. It's such a ridiculous title.

91
00:05:02,600 --> 00:05:06,080
Speaker 3: It's called Doctor Goldfoot and the Bikini Machine. This is

92
00:05:06,080 --> 00:05:09,279
Speaker 3: from nineteen sixty five, still the same film series. It

93
00:05:09,360 --> 00:05:12,640
Speaker 3: stars Vincent Price as a mad scientist and he builds

94
00:05:12,640 --> 00:05:16,560
Speaker 3: an army of female robots to rob rich, gullible men,

95
00:05:17,000 --> 00:05:19,560
Speaker 3: and of course that ties into Frankie and Annette having

96
00:05:19,640 --> 00:05:24,159
Speaker 3: their own melodrama as well. And well, one more I'll mention,

97
00:05:24,760 --> 00:05:27,680
Speaker 3: let's see one more year later The Ghost in the

98
00:05:27,720 --> 00:05:32,719
Speaker 3: Invisible Bikini from nineteen sixty six, again same film series.

99
00:05:33,240 --> 00:05:36,279
Speaker 3: In this one, Boris Karloff is a ghost that needs

100
00:05:36,320 --> 00:05:39,880
Speaker 3: to perform one good deed before he can finally get

101
00:05:39,880 --> 00:05:45,279
Speaker 3: into heaven. These just they're the strangest franchise of films.

102
00:05:45,320 --> 00:05:49,360
Speaker 3: I mean, I think Buster Keaton appears in nearly every

103
00:05:49,400 --> 00:05:53,039
Speaker 3: single one of them for one reason or another. And

104
00:05:53,080 --> 00:05:56,720
Speaker 3: there's also this reoccurring character I love he is. His

105
00:05:56,800 --> 00:05:59,679
Speaker 3: name is Eric von Zipper, and he's the dim witted

106
00:05:59,720 --> 00:06:03,640
Speaker 3: leader of a biker gang, and he is often referred

107
00:06:03,680 --> 00:06:07,320
Speaker 3: to both outside and inside the movies as a middle

108
00:06:07,360 --> 00:06:11,680
Speaker 3: aged teenage delinquent. And I think what what they were

109
00:06:11,680 --> 00:06:15,760
Speaker 3: doing is in the sixties, the idea of the rebel

110
00:06:15,760 --> 00:06:19,279
Speaker 3: without a cause, greaser motorcycle gang was now long in

111
00:06:19,279 --> 00:06:22,960
Speaker 3: the tooth. So the concept was that, hey, what happens

112
00:06:23,000 --> 00:06:26,960
Speaker 3: to all these what happens to the previous generations youth?

113
00:06:27,160 --> 00:06:30,400
Speaker 3: Where does it go? Do they just stay? You know,

114
00:06:30,520 --> 00:06:34,159
Speaker 3: these leather clad biker gangs that are gonna be middle

115
00:06:34,200 --> 00:06:38,359
Speaker 3: aged teenage delinquents. And it's just I suppose, perhaps a

116
00:06:38,400 --> 00:06:44,240
Speaker 3: subtle dig at their parents, perhaps, But it's a far

117
00:06:44,480 --> 00:06:47,440
Speaker 3: better film series than I ever would have realized. And

118
00:06:47,480 --> 00:06:49,520
Speaker 3: I'll throw in one more because I think it ties

119
00:06:49,520 --> 00:06:51,960
Speaker 3: in directly to what we're talking about today. There's also

120
00:06:52,040 --> 00:06:55,800
Speaker 3: a series all about Gidget. The first film was called

121
00:06:55,960 --> 00:06:58,560
Speaker 3: Just Gidget, and then there were many many others which

122
00:06:58,600 --> 00:07:02,359
Speaker 3: you can go into if you like. And this film

123
00:07:02,400 --> 00:07:06,400
Speaker 3: is almost a direct Gidget parody, like all of the

124
00:07:06,440 --> 00:07:09,720
Speaker 3: setup of her like befriending a gang of surfers who

125
00:07:09,720 --> 00:07:12,680
Speaker 3: then give her like a cute scene nickname, and you know,

126
00:07:13,040 --> 00:07:15,280
Speaker 3: falling in love with one of them, all that stuff,

127
00:07:15,440 --> 00:07:20,800
Speaker 3: that's all pure the first Gidget film. So yeah, I

128
00:07:20,840 --> 00:07:23,560
Speaker 3: would say in many ways, I when I first saw

129
00:07:23,640 --> 00:07:26,120
Speaker 3: this movie, I had not seen Gidget. I had not

130
00:07:26,200 --> 00:07:29,040
Speaker 3: seen any of the beach Party Frankie in Anette films,

131
00:07:29,320 --> 00:07:31,320
Speaker 3: and so I just took this almost like as its

132
00:07:31,360 --> 00:07:34,480
Speaker 3: own creation. I knew obviously the beach parties had existed,

133
00:07:35,200 --> 00:07:37,800
Speaker 3: but after seeing those, I'm like, oh, this is nearly

134
00:07:37,880 --> 00:07:40,280
Speaker 3: direct parody. Yeah.

135
00:07:40,920 --> 00:07:44,200
Speaker 2: I think the original sort of brainstorm title for this

136
00:07:44,440 --> 00:07:47,840
Speaker 2: of what would become Psycho Beach Party was Gidget Ghost Psychotic.

137
00:07:49,440 --> 00:07:51,920
Speaker 3: And are you talking about I hope not getting too

138
00:07:51,960 --> 00:07:54,920
Speaker 3: far ahead of us here, but talking about the original play,

139
00:07:54,960 --> 00:07:56,160
Speaker 3: Is that correct? Yeah?

140
00:07:56,280 --> 00:08:00,000
Speaker 2: Yeah, from what I read before it even really solidified

141
00:08:00,120 --> 00:08:03,000
Speaker 2: as a play. Apparently Charles Bush, who will get into

142
00:08:03,720 --> 00:08:05,280
Speaker 2: a lot of these shows they would do, they would

143
00:08:05,280 --> 00:08:07,480
Speaker 2: put it on like a different show with you know,

144
00:08:07,840 --> 00:08:10,280
Speaker 2: a lot of like diverse like drag elements, and other

145
00:08:10,400 --> 00:08:13,119
Speaker 2: like comedic elements, and then they would sort of tease

146
00:08:13,200 --> 00:08:15,400
Speaker 2: what the next one might be, but in kind of

147
00:08:15,440 --> 00:08:18,440
Speaker 2: like almost kind of an arrested development, you know, closing

148
00:08:18,480 --> 00:08:22,360
Speaker 2: credit style. It's not necessarily something they planned to produce.

149
00:08:22,680 --> 00:08:25,800
Speaker 2: They would just be like, next next week's show is

150
00:08:25,840 --> 00:08:30,160
Speaker 2: going to be a gidget goho psychotic And apparently they

151
00:08:30,240 --> 00:08:32,719
Speaker 2: just once the idea was unleashed, they were like, oh,

152
00:08:32,760 --> 00:08:34,880
Speaker 2: what if we did it, what would it consist of?

153
00:08:35,000 --> 00:08:36,320
Speaker 2: And it grew from there.

154
00:08:36,800 --> 00:08:40,199
Speaker 3: The only reason I knew this was a play originally

155
00:08:40,640 --> 00:08:42,040
Speaker 3: was that at some point when I was looking it

156
00:08:42,080 --> 00:08:45,480
Speaker 3: up online, I saw a poster for it that was

157
00:08:45,640 --> 00:08:49,160
Speaker 3: not the film poster, but we had the same title

158
00:08:49,600 --> 00:08:52,600
Speaker 3: Psycho Beach Party, but I believe the date said nineteen

159
00:08:52,640 --> 00:08:55,600
Speaker 3: eighty seven, and I was so confused. I'm like, oh,

160
00:08:55,640 --> 00:08:58,400
Speaker 3: was this based on something else? Did they perhaps originally

161
00:08:58,440 --> 00:09:00,920
Speaker 3: make it in eighty seven, et cetera. And then as

162
00:09:00,920 --> 00:09:03,160
Speaker 3: soon as I do a little bit of research and like, oh,

163
00:09:03,280 --> 00:09:06,600
Speaker 3: it's all the same. It just at least this poster

164
00:09:06,720 --> 00:09:08,480
Speaker 3: is from eighty seven because they were doing it that

165
00:09:08,679 --> 00:09:11,440
Speaker 3: long ago. That's how long this play took to become

166
00:09:11,440 --> 00:09:13,160
Speaker 3: a film. I'm sure you'll talk about that soon.

167
00:09:13,640 --> 00:09:15,839
Speaker 2: Yeah, yeah, I think that would have been the original run,

168
00:09:15,920 --> 00:09:18,800
Speaker 2: the original off Broadway run, And if memory serves when

169
00:09:18,800 --> 00:09:21,480
Speaker 2: I was looking around, I believe there have been more

170
00:09:21,520 --> 00:09:24,960
Speaker 2: recent productions of it. I think one was either done

171
00:09:24,960 --> 00:09:27,600
Speaker 2: in or came through Atlanta at some point, but again,

172
00:09:27,640 --> 00:09:30,080
Speaker 2: it was totally off my radar at the time, so

173
00:09:30,480 --> 00:09:31,319
Speaker 2: I didn't know about it.

174
00:09:31,760 --> 00:09:34,640
Speaker 3: I'd be very curious to see a stage version of this.

175
00:09:34,920 --> 00:09:37,120
Speaker 3: I honestly don't really know how they would do it.

176
00:09:39,600 --> 00:09:40,920
Speaker 2: I think one of the great things to keep in

177
00:09:40,960 --> 00:09:43,439
Speaker 2: mind about this movie's humor and perhaps sort of the

178
00:09:43,520 --> 00:09:46,800
Speaker 2: origins of the play. I think it summed up well

179
00:09:46,840 --> 00:09:50,200
Speaker 2: in actually a letterbox review that I ran across by

180
00:09:50,240 --> 00:09:55,160
Speaker 2: the late Eli Hayes, who was a real prolific letterbox reviewer,

181
00:09:55,200 --> 00:09:57,319
Speaker 2: and if you spend any amount of time on that website,

182
00:09:57,360 --> 00:10:00,439
Speaker 2: you'll probably run across reviews that he did. So it's

183
00:10:00,440 --> 00:10:03,880
Speaker 2: just a very brief write up, but he summarizes this

184
00:10:03,920 --> 00:10:07,840
Speaker 2: film as being quote a relatively neglected, should be contemporary

185
00:10:07,880 --> 00:10:13,160
Speaker 2: cult classic of burlesque, lampoonery and maximal camp. So yeah,

186
00:10:13,200 --> 00:10:16,720
Speaker 2: I mean, obviously it's a very campy film. It gets

187
00:10:16,720 --> 00:10:21,640
Speaker 2: into some subversive elements and some social commentary, but the

188
00:10:21,720 --> 00:10:25,520
Speaker 2: laughs always come first, and I think the burlesque observation

189
00:10:25,640 --> 00:10:27,560
Speaker 2: is key here as well. It's that kind of like

190
00:10:28,280 --> 00:10:31,520
Speaker 2: at times body humor, but the pasties are on too,

191
00:10:31,640 --> 00:10:35,000
Speaker 2: so it's not going too far, and it's again laughs first.

192
00:10:35,280 --> 00:10:36,760
Speaker 3: That's very true. Yeah, I like that.

193
00:10:37,200 --> 00:10:39,280
Speaker 2: Now, coming back just real quick to Gidget.

194
00:10:39,640 --> 00:10:39,880
Speaker 3: Yeah.

195
00:10:40,040 --> 00:10:41,839
Speaker 2: I don't have a lot of experience with the beach

196
00:10:41,960 --> 00:10:45,680
Speaker 2: movie a beach party movie genre myself, but when you

197
00:10:45,679 --> 00:10:48,160
Speaker 2: start reading about it, everyone points to the gidget movies.

198
00:10:48,280 --> 00:10:52,120
Speaker 2: They kind of point to nineteen fifty nine's Gidget starring

199
00:10:52,160 --> 00:10:53,679
Speaker 2: Sandra d who would go on to be in The

200
00:10:53,760 --> 00:10:57,080
Speaker 2: Dunwich Horror, among other things. This was general This is

201
00:10:57,080 --> 00:11:00,000
Speaker 2: generally regarded as the beginning of the beach movie crazy,

202
00:11:00,640 --> 00:11:03,800
Speaker 2: and it spawned the sequels Gidget goes Hawaiian, Gidget goes

203
00:11:03,840 --> 00:11:08,640
Speaker 2: to Rome, so that's where we get the natural continuation

204
00:11:08,720 --> 00:11:12,079
Speaker 2: of that Gidget go Psychotic. There are also a couple

205
00:11:12,080 --> 00:11:14,920
Speaker 2: of TV movies, but it goes on from there, like

206
00:11:14,920 --> 00:11:17,920
Speaker 2: there are Elvis movies that are clearly beach party movies,

207
00:11:18,559 --> 00:11:22,679
Speaker 2: and there are a There are also some other genre examples,

208
00:11:22,720 --> 00:11:25,000
Speaker 2: two that come to mind for me, and these are

209
00:11:25,000 --> 00:11:26,640
Speaker 2: the two that I had really seen before because they

210
00:11:26,640 --> 00:11:29,920
Speaker 2: were on Mystery Science Theater. Three thousand would be nineteen

211
00:11:29,960 --> 00:11:33,120
Speaker 2: sixty four as the Horror at Party Beach, which is

212
00:11:33,320 --> 00:11:35,960
Speaker 2: both a beach party movie and a monster movie with

213
00:11:36,160 --> 00:11:40,160
Speaker 2: ridiculous monster and a musical performance by the dell Airs.

214
00:11:40,760 --> 00:11:43,600
Speaker 2: Another example that I really like is the nineteen sixty

215
00:11:43,640 --> 00:11:46,920
Speaker 2: seven film Catalina Kaper, also featured on Mystery Science Theater.

216
00:11:47,240 --> 00:11:49,840
Speaker 2: That one had Tommy Kirk in it and a musical

217
00:11:49,920 --> 00:11:53,440
Speaker 2: number on the Beach by Little Richard. Pretty amazing, so

218
00:11:53,480 --> 00:11:56,080
Speaker 2: that one's worth checking out, if for nothing else, for

219
00:11:56,160 --> 00:11:59,000
Speaker 2: Tommy Kirk, for Little Richard, and I believe there's a

220
00:11:59,040 --> 00:12:02,600
Speaker 2: scene where like surf dudes battle beat Nick, not beat Nicks,

221
00:12:02,840 --> 00:12:04,199
Speaker 2: they battle greasers on the beach.

222
00:12:04,320 --> 00:12:08,680
Speaker 3: So again that must have been a reoccurring theme of Hey,

223
00:12:08,720 --> 00:12:11,840
Speaker 3: that that's your generation, mom and dad, we're on the

224
00:12:11,840 --> 00:12:12,439
Speaker 3: beach now.

225
00:12:13,640 --> 00:12:15,960
Speaker 2: And it does seem to I wonder if the subtext

226
00:12:16,040 --> 00:12:19,160
Speaker 2: too there is kind of like, oh, the previous generations

227
00:12:19,360 --> 00:12:22,760
Speaker 2: counterculture group, they never integrated, They're always going to be

228
00:12:22,760 --> 00:12:25,240
Speaker 2: outsiders and maybe they're a little bit losers, you know.

229
00:12:25,400 --> 00:12:26,840
Speaker 2: It kind of ties in with kind of like the

230
00:12:26,880 --> 00:12:31,320
Speaker 2: straight laced veneer that you get in the mainstream sixties

231
00:12:31,440 --> 00:12:34,640
Speaker 2: pictures of this this era before you know, the more

232
00:12:34,760 --> 00:12:39,280
Speaker 2: counterculture hippie movement really becomes more standard.

233
00:12:39,559 --> 00:12:40,520
Speaker 3: That's a good observation.

234
00:12:40,679 --> 00:12:42,600
Speaker 2: Yeah, all right, well, let's go ahead and listen to

235
00:12:42,679 --> 00:12:51,040
Speaker 2: the audio from the trailer for Psycho Beach Party. I

236
00:12:51,040 --> 00:12:53,120
Speaker 2: guess we are the only ones watching the movie.

237
00:12:53,720 --> 00:12:56,000
Speaker 3: These guys have only on their minds.

238
00:12:57,600 --> 00:13:07,720
Speaker 1: Want a winner. Check with the splat person.

239
00:13:07,760 --> 00:13:13,079
Speaker 2: He should I unpack my gongles. I intend to unpack my.

240
00:13:17,920 --> 00:13:19,520
Speaker 3: Alright, guys, come on, that's an.

241
00:13:23,440 --> 00:13:25,000
Speaker 2: I like to say this, but I think our little

242
00:13:25,040 --> 00:13:27,080
Speaker 2: chicken maybe the butcher melody.

243
00:13:26,840 --> 00:13:30,040
Speaker 3: Beach hardy till you drop dead.

244
00:13:32,760 --> 00:13:34,720
Speaker 2: I hope you put some baccino that scratch.

245
00:13:37,160 --> 00:13:38,360
Speaker 3: Psycho Beach Party.

246
00:13:38,920 --> 00:13:41,840
Speaker 2: That's the most exciting story idea I've.

247
00:13:41,720 --> 00:13:42,679
Speaker 3: Heard in years.

248
00:13:51,000 --> 00:13:52,360
Speaker 2: Now. I'm not sure if we used all that, we

249
00:13:52,440 --> 00:13:54,040
Speaker 2: might have had to cut a little of that out.

250
00:13:55,400 --> 00:13:57,200
Speaker 2: Some of it might not have worked out of context.

251
00:13:57,920 --> 00:13:59,800
Speaker 2: But hey, if you want to go watch Psycho Beach

252
00:14:00,000 --> 00:14:03,920
Speaker 2: already before continuing with this episode. Fortunately, it is widely

253
00:14:04,000 --> 00:14:08,240
Speaker 2: available for digital rental or purchase. It's currently streaming on

254
00:14:08,400 --> 00:14:10,599
Speaker 2: TB I believe. If you don't, I think you have to,

255
00:14:10,760 --> 00:14:13,520
Speaker 2: you know, deal with some ads. There. Also Strand Home

256
00:14:13,600 --> 00:14:16,880
Speaker 2: Video put out a multi format disc in twenty fifteen,

257
00:14:16,880 --> 00:14:19,280
Speaker 2: which of course includes the Blu Ray. I know there

258
00:14:19,600 --> 00:14:22,320
Speaker 2: was a DVD director's commentary at some point because I've

259
00:14:22,320 --> 00:14:24,760
Speaker 2: seen it reference, so I'm assuming it might be on

260
00:14:24,880 --> 00:14:25,320
Speaker 2: that disc.

261
00:14:25,720 --> 00:14:28,040
Speaker 3: I'm holding it right here in my hand, and yes,

262
00:14:28,280 --> 00:14:30,760
Speaker 3: it is on this disc, and I've listened to it before,

263
00:14:30,800 --> 00:14:33,200
Speaker 3: and you you got some nice insights on there. Oh cool?

264
00:14:33,280 --> 00:14:34,960
Speaker 2: Is it? Is it just Charles Bush or is there

265
00:14:35,040 --> 00:14:36,080
Speaker 2: someone else in there as well?

266
00:14:36,320 --> 00:14:39,320
Speaker 3: I remember it being just Charles Bush. And this is

267
00:14:39,400 --> 00:14:43,040
Speaker 3: the era of DVD also where they would be like, oh,

268
00:14:43,440 --> 00:14:46,440
Speaker 3: we're including a fun music video and like original trail,

269
00:14:46,520 --> 00:14:51,960
Speaker 3: you know, like the classic DVDs of the early early

270
00:14:52,080 --> 00:14:54,160
Speaker 3: two thousands, where they weren't quite sure what to do

271
00:14:54,400 --> 00:14:56,080
Speaker 3: with all that extra space on the disc. They just

272
00:14:56,440 --> 00:14:58,840
Speaker 3: kind of filled it with stuff, you know, whatever was

273
00:14:58,840 --> 00:15:00,640
Speaker 3: sitting around. I kind of like that.

274
00:15:01,560 --> 00:15:03,520
Speaker 2: But yeah, I bet that's a great commentary track because

275
00:15:03,760 --> 00:15:05,800
Speaker 2: I didn't get to listen to that, but I did

276
00:15:06,320 --> 00:15:08,840
Speaker 2: check out like an old nineteen ninety three fresh air

277
00:15:09,000 --> 00:15:11,360
Speaker 2: Terry Gross interview with Bush.

278
00:15:11,400 --> 00:15:12,160
Speaker 3: That was really cool.

279
00:15:12,280 --> 00:15:14,400
Speaker 2: It was very short, but it was insightful. And I've

280
00:15:14,560 --> 00:15:16,960
Speaker 2: got a few other things on YouTube where he's talking

281
00:15:17,000 --> 00:15:19,840
Speaker 2: about his past and his projects and so forth.

282
00:15:20,240 --> 00:15:22,520
Speaker 3: He's definitely had a pretty amazing career, that's for sure.

283
00:15:22,920 --> 00:15:34,360
Speaker 2: Yeah. All right, well, let's talk about the people involved here,

284
00:15:34,840 --> 00:15:37,800
Speaker 2: starting at the top with the director. The director is

285
00:15:37,920 --> 00:15:41,120
Speaker 2: Robert Lee King. I don't have a birth date on him,

286
00:15:41,640 --> 00:15:45,120
Speaker 2: American writer and director whose father, Robert L. King, worked

287
00:15:45,160 --> 00:15:47,480
Speaker 2: on the screenplay for the nineteen seventy two Disney film

288
00:15:47,560 --> 00:15:49,720
Speaker 2: Now You See Him, Now You Don't, starring Kurt Russell

289
00:15:49,800 --> 00:15:53,520
Speaker 2: and Caesar Romero. Robert Lee King. However, the sun here

290
00:15:54,160 --> 00:15:57,080
Speaker 2: only has a handful of movie credits. Nineteen ninety one

291
00:15:57,200 --> 00:16:00,240
Speaker 2: short titled The Disco Years, which he also wrote, two

292
00:16:00,280 --> 00:16:03,440
Speaker 2: thousand and two She Gets What She Wants with Michael McKean,

293
00:16:04,000 --> 00:16:06,600
Speaker 2: and he also co wrote that one. And then there's

294
00:16:06,760 --> 00:16:10,760
Speaker 2: twenty Eleven's Bad Actress, which he directed. That one features

295
00:16:11,640 --> 00:16:14,720
Speaker 2: Beth Broderick. More on her in a minute, and Ryan Hanson,

296
00:16:15,000 --> 00:16:17,240
Speaker 2: who a lot of you know is Kyle from Party Down.

297
00:16:17,720 --> 00:16:21,400
Speaker 2: All right, but then we come to the writing credit

298
00:16:21,480 --> 00:16:25,320
Speaker 2: here for the screenplay, also the original play of which

299
00:16:25,360 --> 00:16:28,440
Speaker 2: he adapted. This is Charles Busch, who've already been talking about.

300
00:16:29,120 --> 00:16:34,120
Speaker 2: Born nineteen fifty four, writer, director, actor, and drag performer

301
00:16:34,200 --> 00:16:37,000
Speaker 2: who initially made him a name for himself in off

302
00:16:37,080 --> 00:16:42,080
Speaker 2: Broadway theater, often in drag performances, where he apparently initially

303
00:16:42,160 --> 00:16:43,000
Speaker 2: found his voice.

304
00:16:44,040 --> 00:16:44,280
Speaker 3: Again.

305
00:16:44,400 --> 00:16:48,240
Speaker 2: I listened to this nineteen ninety three Terry Gross interview

306
00:16:48,280 --> 00:16:51,960
Speaker 2: with Bush, and in that and again, this is the

307
00:16:52,080 --> 00:16:54,840
Speaker 2: way before the movie Psycho Beach Party comes out. But

308
00:16:54,920 --> 00:16:58,760
Speaker 2: Psycho Beach Party does exist at that point. Unfortunately, at

309
00:16:58,880 --> 00:17:00,880
Speaker 2: least in the clip I heard, Terry didn't get a

310
00:17:00,960 --> 00:17:03,600
Speaker 2: chance to ask him about that production. But at any rate,

311
00:17:04,400 --> 00:17:07,159
Speaker 2: in that interview he says that, Okay, he's doing like

312
00:17:07,320 --> 00:17:10,480
Speaker 2: various characters on stage, and I think in like a

313
00:17:10,560 --> 00:17:13,159
Speaker 2: one man show he was doing. But most of the

314
00:17:13,240 --> 00:17:16,320
Speaker 2: male characters, he said, felt very locked down, very static,

315
00:17:16,920 --> 00:17:18,840
Speaker 2: And it was in the female characters that he was

316
00:17:18,880 --> 00:17:21,560
Speaker 2: able to really bring everything to life. And so that

317
00:17:21,880 --> 00:17:24,920
Speaker 2: becomes like part of major part of his work moving forward.

318
00:17:25,440 --> 00:17:28,760
Speaker 2: His first big off Broadway hit was nineteen eighty four's

319
00:17:28,840 --> 00:17:34,600
Speaker 2: Vampire Lesbians of Sodom, a very provocative title that He

320
00:17:34,640 --> 00:17:37,760
Speaker 2: says that the New York Times in their their advertisements

321
00:17:37,800 --> 00:17:41,080
Speaker 2: for local theater, they were very hesitant or even refused

322
00:17:41,119 --> 00:17:43,000
Speaker 2: to use the full title. He says, you could have

323
00:17:43,080 --> 00:17:45,760
Speaker 2: called it vampires, lesbians or sodom and they would have

324
00:17:45,800 --> 00:17:47,000
Speaker 2: been cool with it. But he put all of them

325
00:17:47,040 --> 00:17:50,680
Speaker 2: together and it's gonna make people want to push the

326
00:17:50,760 --> 00:17:51,280
Speaker 2: elite button.

327
00:17:52,080 --> 00:17:52,560
Speaker 3: That's great.

328
00:17:54,280 --> 00:17:56,320
Speaker 2: I've not seen this, and it hasn't been adapted, to

329
00:17:56,400 --> 00:17:59,920
Speaker 2: my knowledge, into any kind of like film or TV property,

330
00:18:00,400 --> 00:18:04,639
Speaker 2: but it's apparently a series of comedy skits throughout time

331
00:18:04,920 --> 00:18:09,000
Speaker 2: about a pair of immortal vampires who keep encountering each other.

332
00:18:09,119 --> 00:18:12,080
Speaker 2: So it's like, you know, biblical sodom all the way

333
00:18:12,160 --> 00:18:14,280
Speaker 2: up through like mid eighties Las Vegas.

334
00:18:14,920 --> 00:18:17,680
Speaker 3: I'd only heard of this because in an interview that

335
00:18:17,800 --> 00:18:20,960
Speaker 3: I saw with Charles Bush, he was describing that this

336
00:18:21,280 --> 00:18:23,040
Speaker 3: was the play that he was in the middle of

337
00:18:23,160 --> 00:18:26,600
Speaker 3: actually performing and was already a success and already a hit.

338
00:18:27,200 --> 00:18:30,920
Speaker 3: And then after they would finish their off Broadway performances

339
00:18:31,640 --> 00:18:35,200
Speaker 3: of Vampire Lesbians of Sodom, they would be invited to

340
00:18:35,280 --> 00:18:38,119
Speaker 3: go perform like these little one act plays, like on

341
00:18:38,280 --> 00:18:41,000
Speaker 3: tiny little stages, like just you know, a little hole

342
00:18:41,080 --> 00:18:43,879
Speaker 3: in the wall type places, and because he loved stage

343
00:18:43,920 --> 00:18:46,200
Speaker 3: time and loved to perform, he always said yes, he

344
00:18:46,320 --> 00:18:49,160
Speaker 3: always took them up on it. And those little ideas

345
00:18:49,240 --> 00:18:53,800
Speaker 3: there are eventually what turned into Psycho Beach Party. Nice Nice.

346
00:18:54,680 --> 00:18:59,240
Speaker 2: So among the performances to follow coming out of Off

347
00:18:59,280 --> 00:19:02,720
Speaker 2: Broadway Easte Performances and the like was this concept for

348
00:19:02,840 --> 00:19:05,440
Speaker 2: gidget go psychotic. You know, I saw this interview where

349
00:19:05,440 --> 00:19:08,119
Speaker 2: Bush says it, you know, initially wasn't fully developed or

350
00:19:08,160 --> 00:19:11,000
Speaker 2: a full fledged idea, but just kind of a humorous teaser.

351
00:19:11,119 --> 00:19:13,960
Speaker 2: But it then grows into Psycho Beach Party, which initially

352
00:19:14,040 --> 00:19:17,359
Speaker 2: ran eighty seven through eighty nine, with Bush himself playing

353
00:19:17,359 --> 00:19:21,120
Speaker 2: the role of Florence Chicklet Forrest, the gidget character here,

354
00:19:21,640 --> 00:19:23,760
Speaker 2: and it was a hit with audiences. You know, it's campy,

355
00:19:23,960 --> 00:19:26,679
Speaker 2: over the top, a send up of beach party movies,

356
00:19:27,040 --> 00:19:30,280
Speaker 2: you know, has some social commentary in there and more.

357
00:19:31,000 --> 00:19:31,160
Speaker 3: Now.

358
00:19:31,200 --> 00:19:33,719
Speaker 2: Bush also had some early TV and screen credits as

359
00:19:33,720 --> 00:19:38,400
Speaker 2: an actor. Notably there's nineteen ninety three's Adams Family Values,

360
00:19:38,880 --> 00:19:42,600
Speaker 2: in which we see him as in Drag as Countess

361
00:19:42,760 --> 00:19:47,480
Speaker 2: cousin of Phasia DuBarry. I haven't seen this Adams Family

362
00:19:47,560 --> 00:19:49,440
Speaker 2: movie in a long time. But you know, I looked

363
00:19:49,520 --> 00:19:51,200
Speaker 2: up some stills and there she is, like standing in

364
00:19:51,280 --> 00:19:54,240
Speaker 2: the background at a funeral perhaps, or it could be

365
00:19:54,320 --> 00:19:57,960
Speaker 2: any other function since it's the Adams Family, right. He

366
00:19:58,160 --> 00:20:00,560
Speaker 2: also was on Let's See nineteen ninety Wars, it Could

367
00:20:00,560 --> 00:20:03,639
Speaker 2: Happen to You, nineteen ninety seven's Trouble on the Corner,

368
00:20:03,800 --> 00:20:07,399
Speaker 2: and eight episodes of HBO's ODZ between nineteen ninety nine

369
00:20:07,440 --> 00:20:11,119
Speaker 2: and two thousand. During this time, there were efforts to

370
00:20:11,200 --> 00:20:13,479
Speaker 2: bring Psycho Beach Party to the screen, but it apparently

371
00:20:13,520 --> 00:20:16,120
Speaker 2: took a long time, and it wasn't until two thousand

372
00:20:16,560 --> 00:20:19,080
Speaker 2: that it finally comes out. You know, so late nineties

373
00:20:19,119 --> 00:20:22,000
Speaker 2: before this thing finally begins to roll in earnest and

374
00:20:22,040 --> 00:20:24,040
Speaker 2: then they end up shooting it in twenty one days,

375
00:20:24,119 --> 00:20:26,879
Speaker 2: which pretty pretty tight schedule even for a film you

376
00:20:26,960 --> 00:20:29,680
Speaker 2: know like this that you know, it doesn't have space

377
00:20:29,720 --> 00:20:32,200
Speaker 2: stations or anything like that in it. They cranked it

378
00:20:32,240 --> 00:20:33,760
Speaker 2: out in it and it looks good for.

379
00:20:33,840 --> 00:20:36,840
Speaker 3: Sure, you know, even like we'll talk about this when

380
00:20:36,880 --> 00:20:39,600
Speaker 3: we talked about the movie, even like little kind of

381
00:20:39,840 --> 00:20:42,760
Speaker 3: just esthetic choices that are made throughout this film. Sure,

382
00:20:42,760 --> 00:20:45,919
Speaker 3: it's not a high budget affair, but like the visual

383
00:20:45,960 --> 00:20:49,720
Speaker 3: effects that are thrown in there, the sets, everything was

384
00:20:49,760 --> 00:20:52,320
Speaker 3: done with care and with attention, even if it isn't

385
00:20:52,320 --> 00:20:53,200
Speaker 3: a high budget film.

386
00:20:53,480 --> 00:20:56,359
Speaker 2: Yeah, there's clearly a lot of love for the cinema

387
00:20:56,440 --> 00:20:59,320
Speaker 2: of the time period that they're referencing, and even with

388
00:20:59,400 --> 00:21:01,239
Speaker 2: a limited by you know, it's not one of these

389
00:21:01,280 --> 00:21:03,000
Speaker 2: things where you watch it and you're like, this could

390
00:21:03,080 --> 00:21:05,520
Speaker 2: just be mistaken for a product of the nineteen sixties,

391
00:21:05,600 --> 00:21:08,440
Speaker 2: Like it's not, you know, it's not that level of recreation,

392
00:21:08,880 --> 00:21:11,520
Speaker 2: but the homage is still very strong, and you totally

393
00:21:11,560 --> 00:21:13,760
Speaker 2: get it. It's a it's a it's a great callback

394
00:21:13,840 --> 00:21:16,560
Speaker 2: to those films now as we reference already. The film

395
00:21:16,680 --> 00:21:18,640
Speaker 2: was seemingly not a hit. I don't think it made

396
00:21:18,640 --> 00:21:21,840
Speaker 2: its money back. Critical reviews were also kind of mixed.

397
00:21:21,920 --> 00:21:24,679
Speaker 2: It looks like and I'm not sure again that it's

398
00:21:24,760 --> 00:21:28,040
Speaker 2: truly established the cult following that it's that it's that

399
00:21:28,119 --> 00:21:30,640
Speaker 2: it deserves at least not to not to the degree

400
00:21:30,680 --> 00:21:33,000
Speaker 2: that you know, it feels like it should have because

401
00:21:33,160 --> 00:21:34,960
Speaker 2: you look at some of the I don't know, I

402
00:21:35,000 --> 00:21:37,320
Speaker 2: feel like some of the elements here it strongly reminds

403
00:21:37,400 --> 00:21:40,639
Speaker 2: me of me of say, John Waters movie or an

404
00:21:40,640 --> 00:21:43,960
Speaker 2: episode of say Strangers with Candy, which is probably a

405
00:21:44,040 --> 00:21:46,480
Speaker 2: solid comparison to be made there, given the time period

406
00:21:46,640 --> 00:21:48,480
Speaker 2: and the sorts of humor you could get away with

407
00:21:48,680 --> 00:21:49,959
Speaker 2: during during this period.

408
00:21:50,359 --> 00:21:50,560
Speaker 3: Yeah.

409
00:21:50,680 --> 00:21:53,280
Speaker 2: Absolutely, So it really feels like this one should be

410
00:21:53,359 --> 00:21:57,160
Speaker 2: circulating more so to whatever small extent we can help

411
00:21:57,400 --> 00:22:01,040
Speaker 2: raise awareness for Psycho Beach Party. Then, you know, I'm

412
00:22:01,119 --> 00:22:01,919
Speaker 2: very much in favor.

413
00:22:02,480 --> 00:22:04,119
Speaker 3: And you know, it's it's easy to watch things on

414
00:22:04,240 --> 00:22:07,040
Speaker 3: too Be. Anyone can just pop open two Beat anytime

415
00:22:07,240 --> 00:22:09,680
Speaker 3: watch something. Not an ad for two B, but I

416
00:22:10,160 --> 00:22:12,960
Speaker 3: if they wanted to, I'd throw an ad for two B.

417
00:22:13,119 --> 00:22:14,960
Speaker 3: Two Be's a great channel. I think I watched them

418
00:22:15,000 --> 00:22:18,000
Speaker 3: more than any other streaming service these days. Yeah.

419
00:22:18,080 --> 00:22:20,200
Speaker 2: Yeah, so it's out there, it's available, and you don't

420
00:22:20,240 --> 00:22:22,479
Speaker 2: have to watch it in some sort of degraded format

421
00:22:22,640 --> 00:22:25,919
Speaker 2: or anything. Now, continuing on about Bush just a little bit,

422
00:22:25,960 --> 00:22:29,600
Speaker 2: since he's, you know, sort of this the central dreamer

423
00:22:29,680 --> 00:22:31,040
Speaker 2: here behind this for this project.

424
00:22:31,280 --> 00:22:31,399
Speaker 3: Now.

425
00:22:31,480 --> 00:22:34,600
Speaker 2: The same year, in two thousand, one of Bush's plays

426
00:22:34,840 --> 00:22:38,200
Speaker 2: made its Broadway to debut with the Tale of the

427
00:22:38,280 --> 00:22:41,920
Speaker 2: Allergist Wife. It was apparently a big hit, even earning

428
00:22:41,960 --> 00:22:45,080
Speaker 2: him a tony nomination, and he won the Outer Critics

429
00:22:45,160 --> 00:22:48,120
Speaker 2: Circle John Gasner Award for Outstanding Play.

430
00:22:48,240 --> 00:22:51,000
Speaker 3: Right on that piece, I'd actually be pretty curious to

431
00:22:51,080 --> 00:22:55,119
Speaker 3: see perhaps some more mainstream work from Bush, because this

432
00:22:55,240 --> 00:22:57,840
Speaker 3: is the only piece of media I've consumed that he

433
00:22:57,960 --> 00:23:02,920
Speaker 3: has written. I wonder if this same campy, off kilter

434
00:23:03,640 --> 00:23:06,600
Speaker 3: take is just kind of prevalent throughout his work. I'd

435
00:23:06,640 --> 00:23:07,240
Speaker 3: love to see more.

436
00:23:07,320 --> 00:23:10,639
Speaker 2: Actually, I suspect so I think the basic premise of

437
00:23:10,760 --> 00:23:13,120
Speaker 2: the Tale of the houris Wife is maybe less wacky,

438
00:23:13,600 --> 00:23:16,160
Speaker 2: But I mean I assume that that the same sort

439
00:23:16,200 --> 00:23:20,240
Speaker 2: of comedy is still present there right now. Film wise.

440
00:23:20,359 --> 00:23:23,439
Speaker 2: In two thousand and three, Mark Ruckner directed an adaptation

441
00:23:24,040 --> 00:23:27,240
Speaker 2: and Bush adapted it of his play Die, Mommy Die.

442
00:23:27,800 --> 00:23:30,960
Speaker 2: This starred Bush, but it also had Natasha Leone and

443
00:23:31,119 --> 00:23:35,200
Speaker 2: Jason Priestley. He pinned a Very Serious Person in two

444
00:23:35,200 --> 00:23:38,120
Speaker 2: thousand and six, and in twenty twenty one he co wrote,

445
00:23:38,200 --> 00:23:41,720
Speaker 2: co directed, and starred in the sixth reel his book

446
00:23:42,280 --> 00:23:45,760
Speaker 2: Leading Lady, a Memoir of the most Unusual boy, release

447
00:23:45,920 --> 00:23:46,520
Speaker 2: just last year.

448
00:23:46,920 --> 00:23:47,560
Speaker 3: Oh that's fun.

449
00:23:48,320 --> 00:23:51,399
Speaker 2: Yeah, So let's see. Let's get into the cast a

450
00:23:51,480 --> 00:23:56,600
Speaker 2: bit here. So again, Bush played the role of Chick

451
00:23:56,640 --> 00:23:59,959
Speaker 2: Lit in the original stage performance. But I've heard him

452
00:24:00,240 --> 00:24:02,399
Speaker 2: acknowledging in a couple of different formats that, Okay, by

453
00:24:02,440 --> 00:24:04,720
Speaker 2: the time they were actually able to make the movie,

454
00:24:05,240 --> 00:24:06,880
Speaker 2: he felt like he was too old for the part,

455
00:24:07,040 --> 00:24:10,280
Speaker 2: even though traditionally you have people who are too old

456
00:24:10,359 --> 00:24:13,080
Speaker 2: for the part playing the teenagers and beach movies.

457
00:24:13,440 --> 00:24:15,280
Speaker 3: Yeah, if I'm just doing the simple math in my head,

458
00:24:15,359 --> 00:24:17,960
Speaker 3: he would have been thirty or so when he was

459
00:24:18,080 --> 00:24:22,600
Speaker 3: performing Chicklets in the stage play, so he would have

460
00:24:22,680 --> 00:24:25,639
Speaker 3: been over No, No, I guess a little under fifty ish,

461
00:24:25,720 --> 00:24:28,080
Speaker 3: around fifty ish when this movie was in production.

462
00:24:28,560 --> 00:24:31,200
Speaker 2: Yeah, And he's said elsewhere that like, okay, you know,

463
00:24:31,400 --> 00:24:32,920
Speaker 2: the role of chick Lit doesn't have to be a

464
00:24:33,000 --> 00:24:36,320
Speaker 2: drag performance. It just that's how it worked out, right,

465
00:24:36,520 --> 00:24:40,760
Speaker 2: So we end up with the excellent Lauren Ambrose playing

466
00:24:41,040 --> 00:24:46,159
Speaker 2: Florence chick Lit forest Here born nineteen seventy eight. Just

467
00:24:46,440 --> 00:24:51,120
Speaker 2: a delightful and energetic performance, just just absolutely perfect, delivering

468
00:24:51,240 --> 00:24:53,560
Speaker 2: just this you know, get pitch perfect, g golly all

469
00:24:53,600 --> 00:24:56,800
Speaker 2: American girl. While also, as we'll discuss, you know, she

470
00:24:56,840 --> 00:24:59,880
Speaker 2: gets we get into these alternate personalities, and she's able

471
00:24:59,920 --> 00:25:02,560
Speaker 2: to just really throw herself into those as well, and

472
00:25:02,680 --> 00:25:05,080
Speaker 2: she gets to sing a little opera because Ambrose apparently

473
00:25:05,240 --> 00:25:09,679
Speaker 2: is trained in opera. Now, a lot of you are

474
00:25:09,720 --> 00:25:12,520
Speaker 2: going to be familiar with her from her work as

475
00:25:12,680 --> 00:25:16,120
Speaker 2: Claire Fisher on HBO's Six Feet Under. She was great

476
00:25:16,200 --> 00:25:19,639
Speaker 2: on that, and let's see. More recently, she acted in

477
00:25:19,680 --> 00:25:21,560
Speaker 2: a couple of series that I haven't watched yet. One

478
00:25:21,640 --> 00:25:26,400
Speaker 2: is the Apple series Servant and the highly regarded Yellowjacket series.

479
00:25:26,520 --> 00:25:28,960
Speaker 2: Other credits include two thousand and nines Where the Wild

480
00:25:29,000 --> 00:25:33,200
Speaker 2: Things Are, twenty eleven's Torchwood Mini series, and twenty twelve

481
00:25:33,359 --> 00:25:34,280
Speaker 2: Sleepwalk with Me.

482
00:25:35,000 --> 00:25:37,439
Speaker 3: I'm gonna throw in a couple others my personal favorites too.

483
00:25:39,119 --> 00:25:42,600
Speaker 3: In nineteen ninety eight, she had a I don't know

484
00:25:42,640 --> 00:25:44,200
Speaker 3: if it's actually a hit or just a hit with

485
00:25:44,200 --> 00:25:46,600
Speaker 3: people who are children. In nineteen ninety eight, it's the

486
00:25:46,720 --> 00:25:51,159
Speaker 3: high school graduation comedy can't hardly wait, a classic amongst

487
00:25:51,280 --> 00:25:53,440
Speaker 3: my age group, but I don't know if it was

488
00:25:53,560 --> 00:25:56,520
Speaker 3: just a flash in the pan or not. And more importantly,

489
00:25:56,960 --> 00:26:00,639
Speaker 3: she plays the character Special Agent Einstein from The X

490
00:26:00,720 --> 00:26:04,640
Speaker 3: Files during seasons ten and eleven. I don't know if

491
00:26:04,680 --> 00:26:06,800
Speaker 3: this is absolutely true, but this is the way my

492
00:26:06,840 --> 00:26:09,800
Speaker 3: wife and I always interpreted it that they were trying

493
00:26:09,880 --> 00:26:13,240
Speaker 3: to make a backdoor pilot for basically, hey, what if

494
00:26:13,760 --> 00:26:18,960
Speaker 3: you know Scold Mully, No, not Molly and Scolder, Scully

495
00:26:19,480 --> 00:26:23,520
Speaker 3: and Molder, what if they left the show, could we

496
00:26:23,680 --> 00:26:27,399
Speaker 3: replace them with two new actors and kind of like

497
00:26:27,600 --> 00:26:29,600
Speaker 3: just keep the show going with like a brand new

498
00:26:29,720 --> 00:26:35,320
Speaker 3: set of FBI agents because her character, Agent Liz Einstein,

499
00:26:35,720 --> 00:26:40,080
Speaker 3: was absolutely a Scully replacement, Like it was just a

500
00:26:40,280 --> 00:26:44,040
Speaker 3: redheaded young FBI agent who was very skeptical of everything

501
00:26:44,119 --> 00:26:47,399
Speaker 3: she saw, et cetera, et cetera. And I really dug her.

502
00:26:47,520 --> 00:26:49,760
Speaker 3: In fact, anyway, I could go on for X Files

503
00:26:49,800 --> 00:26:52,200
Speaker 3: all day, but I'll skip past it. But between that

504
00:26:52,480 --> 00:26:57,080
Speaker 3: role can't hardly wait six and six feet under. I

505
00:26:57,200 --> 00:27:00,560
Speaker 3: have real affection for Lauren Ambrose. I think she's great now.

506
00:27:00,880 --> 00:27:03,080
Speaker 2: X File season ten and eleven. Was this like original

507
00:27:03,280 --> 00:27:05,480
Speaker 2: X Files run or is this like a return run?

508
00:27:06,280 --> 00:27:10,520
Speaker 3: Yes, this would have been right at the new revival

509
00:27:12,080 --> 00:27:14,119
Speaker 3: back in gosh, I don't even remember what year this was,

510
00:27:14,240 --> 00:27:16,920
Speaker 3: but yeah, back when the X Files were just coming

511
00:27:17,040 --> 00:27:19,639
Speaker 3: back and like the future of the X Files is

512
00:27:19,680 --> 00:27:22,600
Speaker 3: an uncertain thing. They're only doing like six episodes per season.

513
00:27:22,680 --> 00:27:27,320
Speaker 3: Et cetera, et cetera. I assume they were attempting to

514
00:27:27,440 --> 00:27:30,280
Speaker 3: do a backdoor pilot to see what if these new

515
00:27:30,440 --> 00:27:36,359
Speaker 3: characters continued on the show instead of having, you know,

516
00:27:36,520 --> 00:27:40,280
Speaker 3: these actors who are clearly not as interested in sticking

517
00:27:40,359 --> 00:27:43,119
Speaker 3: around and are too busy with their own careers. That

518
00:27:43,280 --> 00:27:46,720
Speaker 3: was my guess. But anyway, I'm speculating entirely on that.

519
00:27:47,320 --> 00:27:49,120
Speaker 2: Okay, it would have been The X Files and Next

520
00:27:49,160 --> 00:27:50,359
Speaker 2: Generation or something.

521
00:27:50,440 --> 00:27:52,399
Speaker 3: Exactly, which I definitely would have watched.

522
00:27:53,480 --> 00:27:55,520
Speaker 2: All Right, Well, anyway, I'm interested to check it out

523
00:27:55,520 --> 00:27:59,080
Speaker 2: because she's terrific in this just you know, she's awkward,

524
00:27:59,400 --> 00:28:02,639
Speaker 2: she's she's confident, and she's able to really pour herself

525
00:28:02,680 --> 00:28:05,760
Speaker 2: into these over the top alternate personalities as well, for sure.

526
00:28:06,040 --> 00:28:09,320
Speaker 2: All right, who else is occupying this beach party world? Well,

527
00:28:09,320 --> 00:28:11,560
Speaker 2: of course we have the surfers, and the leader of

528
00:28:11,640 --> 00:28:14,080
Speaker 2: the surfers, the alpha, or so it seems on the beach,

529
00:28:14,240 --> 00:28:17,679
Speaker 2: is Kanaka, played by Thomas Gibson born nineteen sixty two.

530
00:28:17,760 --> 00:28:20,960
Speaker 2: This is Greg from Darman Greg, which ran a bunch

531
00:28:21,000 --> 00:28:23,640
Speaker 2: of seasons twenty five through twenty sixteen. He was also

532
00:28:23,800 --> 00:28:27,840
Speaker 2: on Chicago Hope, Actor of Stage, Screen and tv AT.

533
00:28:27,840 --> 00:28:30,440
Speaker 2: Their credits include ninety twos Far and Away, ninety nine's

534
00:28:30,520 --> 00:28:34,200
Speaker 2: Eyes Wide Shut, and two thousands The Flintstones in Viva

535
00:28:34,320 --> 00:28:38,320
Speaker 2: Rock Vegas. I don't remember who he played in that one.

536
00:28:39,040 --> 00:28:41,560
Speaker 3: I did see. I was doing some research on this

537
00:28:41,720 --> 00:28:45,440
Speaker 3: movie and he was apparently filming Flintstones in Viva Rock

538
00:28:45,520 --> 00:28:49,479
Speaker 3: Vegas simultaneously while he filmed this movie. And there were

539
00:28:49,560 --> 00:28:51,680
Speaker 3: even one or two scenes that were supposed to be

540
00:28:51,760 --> 00:28:55,880
Speaker 3: Kanaka scenes, but because he was busy in the Flintstones movie,

541
00:28:56,120 --> 00:28:58,520
Speaker 3: they had to just give the scene to somebody else.

542
00:28:58,920 --> 00:29:03,520
Speaker 2: Oh wow, so he's good in this see he plays again.

543
00:29:03,600 --> 00:29:06,120
Speaker 2: It's on one level, this is our you know, macho

544
00:29:06,520 --> 00:29:10,400
Speaker 2: surfer alpha. But like I think most of the characters

545
00:29:10,440 --> 00:29:14,320
Speaker 2: in this film, there's a buried web of desire that

546
00:29:14,520 --> 00:29:19,360
Speaker 2: runs counter to gender stereotypes and social standards. Yeah, pretty

547
00:29:19,440 --> 00:29:22,800
Speaker 2: much everyone in the film has some sort of like

548
00:29:23,440 --> 00:29:25,800
Speaker 2: sexual or gender repression going on here.

549
00:29:26,520 --> 00:29:28,600
Speaker 3: I would say the whole movie in many ways is

550
00:29:28,640 --> 00:29:32,880
Speaker 3: intentionally queer coded. And there's basically, yeah, the whole concept

551
00:29:33,200 --> 00:29:36,040
Speaker 3: of no matter what someone looks like on the outside,

552
00:29:36,360 --> 00:29:39,480
Speaker 3: there's something inside of them that makes them other or

553
00:29:39,560 --> 00:29:42,800
Speaker 3: perhaps just feel like an other and it being the

554
00:29:42,880 --> 00:29:47,680
Speaker 3: repressed nineteen sixties. You know, hopefully the world has gotten

555
00:29:47,720 --> 00:29:50,120
Speaker 3: better since then and people can express themselves a bit

556
00:29:50,160 --> 00:29:51,440
Speaker 3: more freely, we hope.

557
00:29:52,040 --> 00:29:54,920
Speaker 2: Yeah. At the same time, again, I'll stress that everything's

558
00:29:54,920 --> 00:29:57,920
Speaker 2: played for laughs here, so you know that, don't go

559
00:29:58,000 --> 00:30:00,600
Speaker 2: into it expecting like a really you know, in a

560
00:30:01,000 --> 00:30:04,840
Speaker 2: deep contemplation of these themes. I mean, I think there

561
00:30:04,920 --> 00:30:07,320
Speaker 2: is depth there, but also everything is played for laughs

562
00:30:07,640 --> 00:30:17,560
Speaker 2: for sure. All right. We also have the character star

563
00:30:17,680 --> 00:30:21,120
Speaker 2: Cat now Starkat is a SYCH dropout turned surfer dude

564
00:30:21,520 --> 00:30:24,280
Speaker 2: who's very much a part of the Kanaka cult there

565
00:30:24,360 --> 00:30:27,120
Speaker 2: on the beach, and he is played by Nicholas Brendan

566
00:30:27,440 --> 00:30:30,720
Speaker 2: born nineteen seventy one. Yep, it's Xander from Buffy, the

567
00:30:30,840 --> 00:30:35,480
Speaker 2: Heart and Soul of the Scooby Gang. Yeah, it's a

568
00:30:35,520 --> 00:30:37,880
Speaker 2: fun performance. He gives it is all here. This was

569
00:30:38,000 --> 00:30:41,280
Speaker 2: only his I think second film role, following Children of

570
00:30:41,320 --> 00:30:44,600
Speaker 2: the Corn three in ninety five, and Buffy would have

571
00:30:44,680 --> 00:30:47,920
Speaker 2: kicked off in ninety seven. So he's worked on plenty

572
00:30:47,960 --> 00:30:50,040
Speaker 2: of other projects over the years, and it's still active,

573
00:30:50,720 --> 00:30:52,440
Speaker 2: though I think mostly smaller productions.

574
00:30:52,680 --> 00:30:55,760
Speaker 3: I wonder if he was the biggest star at the time. No,

575
00:30:56,080 --> 00:30:59,520
Speaker 3: well no, Darbyn Greg right, no, no Starvin Greg hadn't

576
00:30:59,520 --> 00:31:04,120
Speaker 3: started well no, no, anyway, he could have been.

577
00:31:04,240 --> 00:31:07,320
Speaker 2: He might have been the biggest, the biggest star of

578
00:31:07,400 --> 00:31:10,719
Speaker 2: the time. Yeah, because Buffy would have been in earnest

579
00:31:10,880 --> 00:31:11,680
Speaker 2: at that point.

580
00:31:11,880 --> 00:31:14,200
Speaker 3: And some of these other actors who will mention very

581
00:31:14,320 --> 00:31:18,000
Speaker 3: soon were not stars yet. So I think when I

582
00:31:18,160 --> 00:31:20,520
Speaker 3: first saw this movie, he was the biggest star to me.

583
00:31:21,280 --> 00:31:25,160
Speaker 2: Yeah, all right, let's see host we have Okay, we

584
00:31:25,280 --> 00:31:28,120
Speaker 2: have a character by the name of Betina Barnes. This

585
00:31:28,320 --> 00:31:32,480
Speaker 2: is a screen starlet who has run away from the

586
00:31:32,520 --> 00:31:34,920
Speaker 2: studio system and her agents and so forth, and she's

587
00:31:35,000 --> 00:31:38,120
Speaker 2: living incognito or trying to in a creepy old beach

588
00:31:38,200 --> 00:31:42,640
Speaker 2: house with a dark history. And this character is played

589
00:31:42,640 --> 00:31:47,560
Speaker 2: by Kimberly Davies born nineteen seventy three, active on screen

590
00:31:47,680 --> 00:31:50,240
Speaker 2: from the mid nineties through twenty twelve, with credits that

591
00:31:50,320 --> 00:31:54,200
Speaker 2: include small roles in nineteen ninety nine Stormcatcher in two

592
00:31:54,240 --> 00:31:56,440
Speaker 2: thousand and ones made, as well as one shots in

593
00:31:56,480 --> 00:32:00,320
Speaker 2: such TV shows as Silk Stockings and Friends. It seems

594
00:32:00,320 --> 00:32:02,720
Speaker 2: like her longest gig, however, was two hundred and thirty

595
00:32:02,720 --> 00:32:06,200
Speaker 2: seven episodes of the Australian soap opera Neighbors from ninety

596
00:32:06,240 --> 00:32:09,080
Speaker 2: three through two thousand and five. So it's a pretty

597
00:32:09,120 --> 00:32:10,160
Speaker 2: fun performance here.

598
00:32:10,880 --> 00:32:14,920
Speaker 3: Definitely a spot on understanding of what the role is

599
00:32:15,240 --> 00:32:18,560
Speaker 3: and then delivering that to the audience on the screen.

600
00:32:18,720 --> 00:32:23,920
Speaker 2: All right. Also the Forest family, chick Litz family. They

601
00:32:24,040 --> 00:32:27,360
Speaker 2: have a Swedish exchange student, a hot Swedish exchange student

602
00:32:27,400 --> 00:32:30,560
Speaker 2: living with them, by the name of Lars, which is

603
00:32:30,920 --> 00:32:34,320
Speaker 2: generally you know, played for I like everything played for laugh.

604
00:32:34,400 --> 00:32:37,760
Speaker 2: There's a lot of exchange student humor here, and Lars

605
00:32:37,840 --> 00:32:41,640
Speaker 2: is played by Matt Kessler. Born in seventy two, Kessler

606
00:32:41,760 --> 00:32:44,360
Speaker 2: was active from mostly from ninety four through twenty ten,

607
00:32:44,840 --> 00:32:47,000
Speaker 2: after which he retired from acting to pursue a career

608
00:32:47,080 --> 00:32:50,200
Speaker 2: in science. I Believe I've read, with just a brief

609
00:32:50,280 --> 00:32:52,400
Speaker 2: return for a guest shot on the TV series Grim

610
00:32:52,640 --> 00:32:56,160
Speaker 2: in twenty fifteen, but his credits include ninety four's Quiz Show,

611
00:32:56,280 --> 00:32:59,040
Speaker 2: ninety six is Waiting for Guffman, ninety eight's The Last

612
00:32:59,120 --> 00:33:02,720
Speaker 2: Days of Disco, two thousand Scream three, and Ooh this

613
00:33:02,800 --> 00:33:05,080
Speaker 2: one kind of flew under my radar until the last minute.

614
00:33:05,160 --> 00:33:09,200
Speaker 2: But he was in the two thousand Dune miniseries on

615
00:33:09,440 --> 00:33:13,200
Speaker 2: Sci Fi in which he played fade Rotha Harkanan, so

616
00:33:13,440 --> 00:33:16,840
Speaker 2: a major role in the Doom miniseries that I completely

617
00:33:17,480 --> 00:33:18,880
Speaker 2: blinked on until the last minute.

618
00:33:18,880 --> 00:33:22,320
Speaker 3: Here he was missing his horn rimmed glasses so we

619
00:33:22,360 --> 00:33:23,360
Speaker 3: couldn't recognize him.

620
00:33:23,960 --> 00:33:26,560
Speaker 2: Yeah, yeah, yeah, the horn room glasses would have worked

621
00:33:26,640 --> 00:33:29,560
Speaker 2: worked great in Dune. That mini series did have a

622
00:33:29,600 --> 00:33:33,320
Speaker 2: lot of great costumes in it, but I don't remember

623
00:33:33,400 --> 00:33:37,520
Speaker 2: this performance so much from it, but I've been very

624
00:33:37,600 --> 00:33:39,600
Speaker 2: tempted to go back and check it out with all

625
00:33:39,720 --> 00:33:42,480
Speaker 2: the Dune enthusiasm happening now. But it also has some

626
00:33:42,920 --> 00:33:45,440
Speaker 2: i think rather rough cgi in it, so I'm a

627
00:33:45,480 --> 00:33:46,120
Speaker 2: little hesitant.

628
00:33:46,480 --> 00:33:48,920
Speaker 3: How far did that mini series gets into the book series.

629
00:33:49,440 --> 00:33:51,320
Speaker 2: Well, they did Dune and then they came back and

630
00:33:51,440 --> 00:33:56,240
Speaker 2: did one titled Children of Doune, which adapts the second book, Messiah,

631
00:33:56,360 --> 00:33:57,720
Speaker 2: as well as the third book.

632
00:33:57,600 --> 00:34:01,800
Speaker 3: Children of Dune. Okay, so they pretty much did just

633
00:34:02,200 --> 00:34:03,960
Speaker 3: the original trilogy more or less.

634
00:34:04,280 --> 00:34:06,800
Speaker 2: Okay, right, Yeah, the big the big hurdle is when

635
00:34:06,840 --> 00:34:09,800
Speaker 2: you get to God Emperor of Dune with the giant

636
00:34:10,080 --> 00:34:14,520
Speaker 2: sandworm human Space Emperor, and that's that's that's more of

637
00:34:14,560 --> 00:34:17,279
Speaker 2: a hurdle we'll see how far they get with the

638
00:34:17,360 --> 00:34:18,040
Speaker 2: current efforts.

639
00:34:18,440 --> 00:34:21,640
Speaker 3: I feel like Dune is in many ways very similar

640
00:34:21,840 --> 00:34:25,160
Speaker 3: to the Chronicles of Narnia, where many people want to

641
00:34:25,280 --> 00:34:28,040
Speaker 3: attempt to adapt the whole thing and everyone runs out

642
00:34:28,080 --> 00:34:30,279
Speaker 3: of gas after like two or three They're like, eh,

643
00:34:31,320 --> 00:34:33,360
Speaker 3: you know what this is. This is getting to be

644
00:34:33,440 --> 00:34:35,319
Speaker 3: a lot of work. We're just gonna stop now.

645
00:34:35,880 --> 00:34:39,080
Speaker 2: Yeah. Yeah, it's and anytime Dune is, I mean, Dune

646
00:34:39,160 --> 00:34:41,080
Speaker 2: is is so successful. And again, I like, I just

647
00:34:41,080 --> 00:34:43,640
Speaker 2: saw the other day on an article where there's studios

648
00:34:43,680 --> 00:34:45,520
Speaker 2: are re looking at other Herbert novels. You know, they

649
00:34:45,560 --> 00:34:50,840
Speaker 2: want to get in on that that huge Frank Herbert payday.

650
00:34:51,360 --> 00:34:53,120
Speaker 2: But I'm also thinking it's like, all right, I haven't

651
00:34:53,120 --> 00:34:54,960
Speaker 2: read all of Frank Herbert's other books, but you know,

652
00:34:55,160 --> 00:34:57,880
Speaker 2: it's like, not everything is going to be Dune. Not

653
00:34:58,040 --> 00:35:01,720
Speaker 2: everything in the Dune series is what you're expecting from Dune.

654
00:35:02,440 --> 00:35:05,960
Speaker 3: But I would love it if Denis Villaneu actually completes

655
00:35:06,320 --> 00:35:11,040
Speaker 3: the complete Dune saga. I can't for a second believe

656
00:35:11,120 --> 00:35:14,200
Speaker 3: that he will, but I would love it if he did.

657
00:35:14,239 --> 00:35:17,320
Speaker 3: I think that would be an incredible feats of filmmaking.

658
00:35:17,960 --> 00:35:20,839
Speaker 2: I think Messiah is gonna happen. I hope so Dune

659
00:35:20,880 --> 00:35:23,200
Speaker 2: part three, if you want to call it that, And

660
00:35:23,440 --> 00:35:26,120
Speaker 2: if he gets that far, I will.

661
00:35:26,000 --> 00:35:28,759
Speaker 3: Be very pleased. Agreed. Yeah, it'll at least feel like

662
00:35:29,040 --> 00:35:32,160
Speaker 3: a complete story if he finishes Messiah.

663
00:35:32,520 --> 00:35:34,719
Speaker 2: Yeah, all right, let's see the rest of the cast.

664
00:35:34,840 --> 00:35:38,600
Speaker 2: Oh no, there's Chicklet's mom. This is Missus Ruth Forrest,

665
00:35:39,239 --> 00:35:42,759
Speaker 2: played by Beth Broderick, and it's interesting. One of her

666
00:35:42,800 --> 00:35:46,040
Speaker 2: other key roles of note was playing Sabrina's mom on

667
00:35:46,120 --> 00:35:48,080
Speaker 2: the ninety six through two thousand and three Sabrina the

668
00:35:48,120 --> 00:35:51,439
Speaker 2: Teenage Witch series. She also directed three episodes of that show.

669
00:35:52,520 --> 00:35:54,239
Speaker 2: She started out in her career I think more and

670
00:35:54,320 --> 00:35:57,520
Speaker 2: more like Erotic Fair and then some sex comedies. There's

671
00:35:57,560 --> 00:36:00,680
Speaker 2: a spoof of women's prison movies in their titled slam Girls,

672
00:36:01,320 --> 00:36:03,880
Speaker 2: and then you know, this would have been early in

673
00:36:03,960 --> 00:36:08,719
Speaker 2: mid eighties, before transitioning increasingly into TV roles. She also

674
00:36:09,040 --> 00:36:11,520
Speaker 2: pops up in film. She's in nineteen nineties, The Bonfire,

675
00:36:11,600 --> 00:36:14,719
Speaker 2: The Vanities, and Yeah. She acted in such TV shows

676
00:36:14,760 --> 00:36:18,000
Speaker 2: as Murphy Brown, Hearts of Fire, The Five Missus Buchanans.

677
00:36:18,160 --> 00:36:19,799
Speaker 2: She plays one of the Buchanans in that I think

678
00:36:20,239 --> 00:36:24,200
Speaker 2: CSI Miami Lost Sharp Objects, which we'll come back to

679
00:36:24,280 --> 00:36:27,280
Speaker 2: in a second, and two episodes of The Chilling Adventures

680
00:36:27,320 --> 00:36:30,520
Speaker 2: of Sabrina. I believe these are crossover episodes in which

681
00:36:30,560 --> 00:36:33,239
Speaker 2: they kind of like travel back to the previous adaptation.

682
00:36:33,920 --> 00:36:34,200
Speaker 1: Wow.

683
00:36:35,120 --> 00:36:36,840
Speaker 3: I watched quite a bit of that series, but I

684
00:36:36,920 --> 00:36:39,840
Speaker 3: never finished it. I definitely never saw that, and that

685
00:36:40,120 --> 00:36:41,480
Speaker 3: sounds fascinating.

686
00:36:41,800 --> 00:36:44,320
Speaker 2: Yeah. I didn't make it that far either, but was

687
00:36:44,360 --> 00:36:45,520
Speaker 2: impressed with what I had seen.

688
00:36:46,280 --> 00:36:46,680
Speaker 3: Interesting.

689
00:36:47,040 --> 00:36:48,799
Speaker 2: All right, we've been talking about people that went onto

690
00:36:48,800 --> 00:36:52,840
Speaker 2: big things. One of them is Amy Adams, who plays

691
00:36:53,040 --> 00:36:56,120
Speaker 2: marvel Anne, who is I guess she's kind of just

692
00:36:56,160 --> 00:36:59,160
Speaker 2: not maybe not the Queen Bee of teenage social world,

693
00:36:59,200 --> 00:37:01,879
Speaker 2: but she's up there. She's definitely one of the cool

694
00:37:01,920 --> 00:37:02,560
Speaker 2: beach girls.

695
00:37:03,200 --> 00:37:06,680
Speaker 3: As a very very side note from what I heard,

696
00:37:07,239 --> 00:37:10,600
Speaker 3: marvel Anne on the original stage play was also a

697
00:37:10,800 --> 00:37:14,400
Speaker 3: drag role, and I'm assuming just like when they adapted

698
00:37:15,080 --> 00:37:17,640
Speaker 3: the whole play, they're like, oh this doesn't need to

699
00:37:17,680 --> 00:37:20,839
Speaker 3: be drag either, Okay whatever. Yeah.

700
00:37:21,120 --> 00:37:23,840
Speaker 2: Yeah, Charles Bush I saw in one interview where he's like,

701
00:37:24,160 --> 00:37:26,279
Speaker 2: oh yeah, part of me was like, oh, now I

702
00:37:26,320 --> 00:37:28,600
Speaker 2: can finally get all my friends cast all my friends

703
00:37:28,640 --> 00:37:30,480
Speaker 2: in this and then he's like, oh, no, we're all

704
00:37:30,560 --> 00:37:35,239
Speaker 2: too old, but yeah, we have Amy Adams here born

705
00:37:35,360 --> 00:37:39,799
Speaker 2: seventy four, six time Oscar nominee. This is only her

706
00:37:39,960 --> 00:37:42,960
Speaker 2: second film or TV role. She started out in Dance

707
00:37:43,000 --> 00:37:44,960
Speaker 2: in Theater and after this film did a lot of

708
00:37:45,000 --> 00:37:47,440
Speaker 2: TV and smaller film roles, even popping up in one

709
00:37:47,480 --> 00:37:50,319
Speaker 2: episode of Buffy. I don't remember her from that either,

710
00:37:50,719 --> 00:37:53,080
Speaker 2: before hitting it big in Spielberg's two thousand and two

711
00:37:53,120 --> 00:37:57,279
Speaker 2: film Catch Me If you Can. Subsequent movies include Let's

712
00:37:57,280 --> 00:37:59,600
Speaker 2: See There's June Bug. That was two thousand and six,

713
00:37:59,640 --> 00:38:02,680
Speaker 2: I think, two thousand and nine's Doubt, twenty eleven's The Fighter,

714
00:38:02,800 --> 00:38:07,320
Speaker 2: twenty thirteen's The Master, twenty fourteen's American Hustle, twenty sixteen's

715
00:38:07,360 --> 00:38:11,640
Speaker 2: The Arrival. In twenty nineteens Vice, she played Lois Lane

716
00:38:11,680 --> 00:38:14,600
Speaker 2: in the DC Snyder Verse movies and was nominated for

717
00:38:14,640 --> 00:38:17,800
Speaker 2: an Emmy for the twenty nineteen series Sharp Objects. So

718
00:38:17,920 --> 00:38:20,000
Speaker 2: it's one of these you know, she's great in it,

719
00:38:20,200 --> 00:38:23,160
Speaker 2: but it's also one of those roles that it's just

720
00:38:23,280 --> 00:38:25,479
Speaker 2: interesting because you know how big she's going to become,

721
00:38:25,520 --> 00:38:28,280
Speaker 2: and you can and you can see the tools already present.

722
00:38:28,320 --> 00:38:30,840
Speaker 2: In her craft for sure. The queen Bee of the

723
00:38:30,920 --> 00:38:34,000
Speaker 2: high school is played is Roda, played by Kathleen Robertson.

724
00:38:34,719 --> 00:38:36,560
Speaker 2: This is a Canadian actress with a lot of TV

725
00:38:36,640 --> 00:38:40,040
Speaker 2: and film credits, including a series regular role on season

726
00:38:40,120 --> 00:38:42,800
Speaker 2: six of The Expanse. She was also in Bates Motel

727
00:38:42,920 --> 00:38:46,040
Speaker 2: and earlier on a series called Maniac Mansion. All right,

728
00:38:46,120 --> 00:38:49,719
Speaker 2: but okay, so I don't think we've really hinted at

729
00:38:49,760 --> 00:38:52,080
Speaker 2: this yet, but this is a murder film as well.

730
00:38:52,239 --> 00:38:55,160
Speaker 2: This is in addition to being a send up of

731
00:38:55,280 --> 00:38:58,759
Speaker 2: sixties beach comedies, it's also a little bit of a

732
00:38:58,840 --> 00:39:01,000
Speaker 2: send up of seventy slasher picks.

733
00:39:01,040 --> 00:39:05,200
Speaker 3: Right. Oh, for sure, there's some Jello influences that are

734
00:39:05,440 --> 00:39:09,239
Speaker 3: very very obvious, and I think perhaps too, I think

735
00:39:09,280 --> 00:39:12,200
Speaker 3: there are some obvious like Scooby Doo references as well,

736
00:39:12,640 --> 00:39:16,400
Speaker 3: where they've just heightened the what if Scooby Doo was

737
00:39:16,400 --> 00:39:19,000
Speaker 3: a Jello film? I think that kind of ties into it.

738
00:39:19,600 --> 00:39:22,400
Speaker 2: Yeah, so since we have crimes, we also don't have

739
00:39:22,480 --> 00:39:26,200
Speaker 2: to have an investigator. That investigator is Captain Monica Stark

740
00:39:26,280 --> 00:39:29,880
Speaker 2: played by Charles Bush. So, as we pointed out earlier,

741
00:39:29,920 --> 00:39:32,400
Speaker 2: it considered himself too old at this point to convincingly

742
00:39:32,480 --> 00:39:35,840
Speaker 2: play chicklet, So he wrote himself a new character, Captain

743
00:39:35,880 --> 00:39:39,480
Speaker 2: Monica Stark, a no nonsense police investigator. And this is

744
00:39:39,520 --> 00:39:42,480
Speaker 2: also very much a drag performance played for camp and

745
00:39:42,600 --> 00:39:43,080
Speaker 2: for humor.

746
00:39:44,239 --> 00:39:44,359
Speaker 3: Now.

747
00:39:44,440 --> 00:39:48,080
Speaker 2: In that ninety three Fresh Air interview, again predates this film,

748
00:39:48,960 --> 00:39:51,640
Speaker 2: Bush stated that he thought, at least the time of

749
00:39:51,719 --> 00:39:55,080
Speaker 2: drag performances is often falling into sort of two broad categories,

750
00:39:55,600 --> 00:39:58,640
Speaker 2: like the beautiful and the stylish, and then something that's

751
00:39:58,680 --> 00:40:02,440
Speaker 2: maybe a bit more intent intionally lurid. I'm not sure

752
00:40:02,480 --> 00:40:05,319
Speaker 2: if these classifications really hold true today, because i mean,

753
00:40:05,360 --> 00:40:07,480
Speaker 2: I'm one hand. Drag performance has certainly always been a

754
00:40:07,520 --> 00:40:10,239
Speaker 2: part of human performance culture, but it's also come a

755
00:40:10,280 --> 00:40:13,040
Speaker 2: long way in American culture over the past few decades,

756
00:40:13,480 --> 00:40:17,200
Speaker 2: and Bush played a big role in popularizing and elevating

757
00:40:17,239 --> 00:40:20,560
Speaker 2: it early on. So at any rate, he said in

758
00:40:20,640 --> 00:40:24,880
Speaker 2: ninety three that his performances, he felt fell somewhere in between.

759
00:40:25,000 --> 00:40:28,000
Speaker 2: And I'd say I'd see Starkling's more classy, you know,

760
00:40:28,200 --> 00:40:31,319
Speaker 2: more of a classic Hollywood feminine strength kind of a role,

761
00:40:31,600 --> 00:40:33,960
Speaker 2: but of course again with lots of camp layered on,

762
00:40:34,239 --> 00:40:36,120
Speaker 2: and ultimately for laughs.

763
00:40:36,640 --> 00:40:37,359
Speaker 3: Yeah, for sure.

764
00:40:37,840 --> 00:40:40,680
Speaker 2: Oh and then of course it's a beach party movie,

765
00:40:40,880 --> 00:40:47,160
Speaker 2: so the music is incredibly important, and Seth, you're you're

766
00:40:47,200 --> 00:40:49,920
Speaker 2: more plugged into it, into the music scene than me,

767
00:40:50,080 --> 00:40:52,960
Speaker 2: so you'll have to jump in and talk about some

768
00:40:53,080 --> 00:40:56,080
Speaker 2: of these acts. You know more brought them than me.

769
00:40:56,200 --> 00:41:01,680
Speaker 2: But the main score here is composed by being American

770
00:41:01,760 --> 00:41:04,560
Speaker 2: musician and music producer who's been associated with a number

771
00:41:04,600 --> 00:41:07,000
Speaker 2: of bands and tons of releases over the years, going

772
00:41:07,040 --> 00:41:10,200
Speaker 2: back to at least the late seventies, of note being

773
00:41:10,320 --> 00:41:14,600
Speaker 2: what the Ben Von Combo, the Ben Vn Quintet. His

774
00:41:14,760 --> 00:41:18,560
Speaker 2: nineteen ninety seven album Rambler sixty five is apparently of note,

775
00:41:18,600 --> 00:41:21,720
Speaker 2: as he recorded it entirely in his car, a nineteen

776
00:41:21,719 --> 00:41:24,960
Speaker 2: sixty five Rambler American. So were you familiar with Ben

777
00:41:25,040 --> 00:41:26,600
Speaker 2: Vaughn prior to this picture.

778
00:41:26,960 --> 00:41:30,640
Speaker 3: Only by name, not by something that I had personally

779
00:41:30,719 --> 00:41:33,840
Speaker 3: listened to. But someone who I had personally listened to

780
00:41:34,000 --> 00:41:36,840
Speaker 3: is also involved in this movie. But we'll get to

781
00:41:36,920 --> 00:41:37,960
Speaker 3: that soon when it.

782
00:41:38,000 --> 00:41:42,279
Speaker 2: Comes to scores for Ben Vaughn. Weirdly enough, one of

783
00:41:42,320 --> 00:41:45,640
Speaker 2: the earliest credited scores ninety six is a Sue Hart

784
00:41:45,760 --> 00:41:49,280
Speaker 2: produced and co written Hong Kong action film titled Black Masks,

785
00:41:49,400 --> 00:41:52,600
Speaker 2: directed by Danny Lee and starring Jet Lee. He's one

786
00:41:52,640 --> 00:41:54,560
Speaker 2: of like three credit composers on that. But I think

787
00:41:54,600 --> 00:41:56,640
Speaker 2: this has more to do with music changes made for

788
00:41:56,880 --> 00:42:00,640
Speaker 2: release in the UK and in the US, so I'm

789
00:42:00,640 --> 00:42:03,920
Speaker 2: going to mark that one is uncertain. But his scores

790
00:42:04,040 --> 00:42:06,880
Speaker 2: certainly go back to ninety seven's Lewis and Clark and George,

791
00:42:07,360 --> 00:42:09,800
Speaker 2: then Psycho Beach Party, and you followed this up with

792
00:42:09,920 --> 00:42:12,839
Speaker 2: work on TV's Third Rock from the Sun, that seventies show,

793
00:42:13,200 --> 00:42:17,120
Speaker 2: that eighty show and Grounded for Life makes sense now.

794
00:42:17,160 --> 00:42:20,480
Speaker 2: The soundtrack is also of note here. The film score

795
00:42:20,600 --> 00:42:24,520
Speaker 2: features several tracks by Love Strait Jackets, who also appear

796
00:42:24,560 --> 00:42:27,280
Speaker 2: in the film. They get to perform at the titular

797
00:42:27,400 --> 00:42:29,640
Speaker 2: beach party that happens late in the picture, you know,

798
00:42:29,840 --> 00:42:32,560
Speaker 2: very much in the style of you know, having Little

799
00:42:32,640 --> 00:42:35,680
Speaker 2: Richard pop up in your your old beach party movie.

800
00:42:36,760 --> 00:42:39,719
Speaker 2: And other artists featured on the soundtrack include man Or

801
00:42:39,760 --> 00:42:43,960
Speaker 2: Astro Man, The Fathoms, The Halibuts, four Piece Suit, and

802
00:42:44,080 --> 00:42:46,000
Speaker 2: the Hillbilly Soul Surfers.

803
00:42:46,680 --> 00:42:49,560
Speaker 3: I would say Low Straight Jackets is a band I'm

804
00:42:49,640 --> 00:42:52,799
Speaker 3: very familiar with. They've been around for such a long

805
00:42:52,920 --> 00:42:56,600
Speaker 3: time now. I think they have somewhere around thirteen or

806
00:42:56,640 --> 00:42:59,719
Speaker 3: fourteen albums at this point, and it's just, you know,

807
00:42:59,800 --> 00:43:05,279
Speaker 3: it's such a fun genre, and you know, being a

808
00:43:05,440 --> 00:43:08,160
Speaker 3: beach rock surf rock band, just kind of deciding that

809
00:43:08,239 --> 00:43:10,880
Speaker 3: that's the route you're gonna go down. In many ways,

810
00:43:10,960 --> 00:43:14,080
Speaker 3: it seems very limiting, but I think in many ways

811
00:43:14,080 --> 00:43:16,560
Speaker 3: it's also very liberating that once you're kind of in

812
00:43:16,719 --> 00:43:18,880
Speaker 3: that realm, you can just kind of like mess around

813
00:43:18,920 --> 00:43:20,440
Speaker 3: all you want as long as you kind of hit

814
00:43:20,560 --> 00:43:24,080
Speaker 3: certain like, you know, as long as you have like

815
00:43:24,160 --> 00:43:26,560
Speaker 3: certain tropes that you revisit every once in a while,

816
00:43:26,960 --> 00:43:30,120
Speaker 3: everything else is free game. And a quick shout out

817
00:43:30,160 --> 00:43:32,520
Speaker 3: to an Atlanta based surf rock band, I really like

818
00:43:32,960 --> 00:43:36,080
Speaker 3: the Mystery Men very very good. Yeah, yeah, yea.

819
00:43:36,120 --> 00:43:37,560
Speaker 2: I guess, like you said, it's kind of a decision

820
00:43:37,640 --> 00:43:40,960
Speaker 2: to never be You're never gonna go after like super

821
00:43:41,040 --> 00:43:46,279
Speaker 2: mainstream popularity. But if you succeed in this genre, you're

822
00:43:46,320 --> 00:43:49,319
Speaker 2: gonna have You're gonna have a place moving forward. You're

823
00:43:49,320 --> 00:43:51,680
Speaker 2: always people are gonna keep coming back to you for

824
00:43:51,760 --> 00:43:54,799
Speaker 2: this particular sound, this particular vibe, and.

825
00:43:55,120 --> 00:43:58,920
Speaker 3: I think it never quite reached the level of like

826
00:43:59,160 --> 00:44:04,000
Speaker 3: mainstream success that turned it into something that could kind

827
00:44:04,000 --> 00:44:05,880
Speaker 3: of like fall by the wayside, like for example, it

828
00:44:05,960 --> 00:44:10,400
Speaker 3: took something like SKA. SKA suddenly became mainstream popular at

829
00:44:10,440 --> 00:44:13,600
Speaker 3: one point, and therefore there was a backlash and suddenly

830
00:44:13,640 --> 00:44:17,279
Speaker 3: people hated SCAT. Come on, how could you hate SCA?

831
00:44:18,360 --> 00:44:21,520
Speaker 3: But it happened thanks too many you know, swing dances

832
00:44:21,640 --> 00:44:24,240
Speaker 3: and too many gap commercials and all that kind of stuff.

833
00:44:24,719 --> 00:44:27,879
Speaker 3: So that being the case, surf rock never really got

834
00:44:28,000 --> 00:44:32,680
Speaker 3: that like mainstream success, and so therefore it's always just

835
00:44:32,760 --> 00:44:34,640
Speaker 3: kind of like been this like casual fun thing that

836
00:44:34,760 --> 00:44:37,960
Speaker 3: everybody likes in the background, just for funnel throughout. Another

837
00:44:38,200 --> 00:44:40,680
Speaker 3: surf rock band I really love this is a band

838
00:44:40,760 --> 00:44:45,640
Speaker 3: called La Louse La Luz and they're from Seattle, and

839
00:44:46,640 --> 00:44:50,319
Speaker 3: they are often called surf Noir, which is very fun,

840
00:44:50,640 --> 00:44:54,000
Speaker 3: very very very slow. I mean, honestly, just picture what

841
00:44:54,080 --> 00:44:56,080
Speaker 3: you think surf music out of Seattle would sound like.

842
00:44:56,320 --> 00:44:59,640
Speaker 3: That's what they sound like, kind of sad, depressed beach music.

843
00:45:01,280 --> 00:45:03,239
Speaker 2: That's a great point on SKA. You know, I hadn't

844
00:45:03,239 --> 00:45:05,680
Speaker 2: thought about this before, but I listened to a number

845
00:45:05,680 --> 00:45:08,920
Speaker 2: of the channels on Soma FM, which anyone out there

846
00:45:08,960 --> 00:45:12,120
Speaker 2: if you want a nice alternative to mainstream radio without

847
00:45:12,200 --> 00:45:16,440
Speaker 2: ads in multiple music genres. Some of them is a mainstay.

848
00:45:16,560 --> 00:45:18,840
Speaker 2: I love them and I try to support them, but

849
00:45:20,360 --> 00:45:23,359
Speaker 2: they'll occasionally, you know, they'll they'll sneak some SKA into

850
00:45:24,560 --> 00:45:26,800
Speaker 2: if he's one of their channels or or one of

851
00:45:26,880 --> 00:45:30,239
Speaker 2: their sub shows, and yeah, there is. I hadn't really

852
00:45:30,239 --> 00:45:31,719
Speaker 2: thought about it, but there is this kind of sense

853
00:45:31,760 --> 00:45:35,520
Speaker 2: where like SKA was just ragged on so much that

854
00:45:36,160 --> 00:45:38,000
Speaker 2: to enjoy it you kind of have to sneak it

855
00:45:38,040 --> 00:45:41,879
Speaker 2: in under the radar, sometimes alongside like you know, sort

856
00:45:41,920 --> 00:45:44,040
Speaker 2: of other reggae inspire.

857
00:45:43,680 --> 00:45:46,880
Speaker 3: Genres, right right, But you know, people can't deny, you know,

858
00:45:46,960 --> 00:45:52,080
Speaker 3: the specials are amazing, so is you know, uh Operation Ivy,

859
00:45:52,239 --> 00:45:55,959
Speaker 3: you know, like like there's some amazing perennial hit SKA

860
00:45:56,160 --> 00:45:59,520
Speaker 3: out there. I actually, I'll throw out another little plug.

861
00:45:59,719 --> 00:46:04,719
Speaker 3: There was an amazing little documentary I saw called I

862
00:46:04,840 --> 00:46:06,879
Speaker 3: want to say it's called pick It Up. I'm gonna

863
00:46:06,880 --> 00:46:09,120
Speaker 3: google that to make sure real quick, but it was.

864
00:46:09,239 --> 00:46:12,799
Speaker 3: It was really good actually, And also I'll throw out

865
00:46:12,800 --> 00:46:16,279
Speaker 3: a quick little plug. There's a documentary I saw not

866
00:46:16,320 --> 00:46:19,560
Speaker 3: too long ago called pick It Up SCA in the nineties,

867
00:46:19,960 --> 00:46:23,840
Speaker 3: and it goes through all of like the stages between

868
00:46:24,040 --> 00:46:28,080
Speaker 3: like you know, first wave SKA, second wave SCA, third

869
00:46:28,160 --> 00:46:32,280
Speaker 3: wave SKA and it's like backlash against that and hopefully

870
00:46:32,360 --> 00:46:35,520
Speaker 3: what's coming now, which is fourth wave SKA and hey,

871
00:46:35,800 --> 00:46:37,960
Speaker 3: another plug for someone who's not paying me. It's on

872
00:46:38,040 --> 00:46:38,920
Speaker 3: Tooby go watch it.

873
00:46:41,520 --> 00:46:45,040
Speaker 2: Yeah, yeah, I think I When it comes to surf music,

874
00:46:45,360 --> 00:46:47,439
Speaker 2: I do listen to a little bit of surf music

875
00:46:47,480 --> 00:46:49,759
Speaker 2: here and there on Soma FM, but I'm not really

876
00:46:49,800 --> 00:46:52,560
Speaker 2: familiar with a lot of the band specifically. I do

877
00:46:52,640 --> 00:46:54,719
Speaker 2: occasionally like look up and see who's playing. I know

878
00:46:54,800 --> 00:46:58,360
Speaker 2: the Blue Hawaiians are featured a lot there, but so

879
00:46:58,480 --> 00:47:01,200
Speaker 2: they probably were playing jackets as well. I listened to

880
00:47:01,239 --> 00:47:02,880
Speaker 2: a bunch of them while working on the notes for

881
00:47:02,960 --> 00:47:06,840
Speaker 2: this episode, and in particular I was really taken with

882
00:47:07,640 --> 00:47:11,240
Speaker 2: a great horror themed surf album from twenty thirteen titled

883
00:47:11,320 --> 00:47:15,399
Speaker 2: Mondo Zombie Boogaloo. They're one of three artists on there.

884
00:47:15,440 --> 00:47:18,719
Speaker 2: There's the Flesh Tones, Southern Culture on the Skids, and

885
00:47:19,000 --> 00:47:21,080
Speaker 2: lots straight Jackets and it's a lot of fun. There

886
00:47:21,080 --> 00:47:23,520
Speaker 2: are tracks of I think Southern Culture on the Skids

887
00:47:23,560 --> 00:47:26,360
Speaker 2: has a track about the Tingler on there. I know

888
00:47:26,480 --> 00:47:29,000
Speaker 2: that song yeah, yeah, yeah, yeah, Tingler Blues, I think

889
00:47:30,320 --> 00:47:32,520
Speaker 2: Southern culture on the skids. By the way, their first

890
00:47:32,680 --> 00:47:35,960
Speaker 2: EP was nineteen eighty four's Voodoo Beach Party, so they

891
00:47:36,000 --> 00:47:38,439
Speaker 2: have a little bit of that beach party DNA as well.

892
00:47:38,960 --> 00:47:39,359
Speaker 3: Very nice.

893
00:47:47,320 --> 00:47:51,000
Speaker 2: All right, Well, let's let's jump into the plot of

894
00:47:51,040 --> 00:47:52,680
Speaker 2: the film. I don't think we're gonna go blow for

895
00:47:52,800 --> 00:47:55,560
Speaker 2: blow on everything here, but there's a lot of fun

896
00:47:55,600 --> 00:47:59,000
Speaker 2: stuff to talk about. Well, let's go to the Psycho

897
00:47:59,040 --> 00:47:59,840
Speaker 2: Beach Party.

898
00:48:00,000 --> 00:48:02,840
Speaker 3: All right. In the very beginning, we are already in

899
00:48:02,960 --> 00:48:05,399
Speaker 3: a movie, in a movie. We don't know that yet,

900
00:48:05,880 --> 00:48:08,640
Speaker 3: but we are. The screen is black and white. We

901
00:48:08,760 --> 00:48:12,000
Speaker 3: are in uh, what seems like a oh, I'm going

902
00:48:12,080 --> 00:48:14,880
Speaker 3: to say, like a late fifties you know, kind of

903
00:48:15,000 --> 00:48:20,320
Speaker 3: like schlocky b movie drive in film. And it's ridiculous.

904
00:48:20,360 --> 00:48:24,360
Speaker 3: We're in a fifties diner where we see a greaser

905
00:48:24,480 --> 00:48:26,440
Speaker 3: man trying to talk to the woman that he loves,

906
00:48:26,520 --> 00:48:28,440
Speaker 3: who can he can only see her face. She's a

907
00:48:28,760 --> 00:48:33,239
Speaker 3: what is a pizza what are those called when you

908
00:48:33,280 --> 00:48:35,600
Speaker 3: serve people food waitress? A pizza waitress.

909
00:48:36,719 --> 00:48:39,319
Speaker 2: But she's like, there's like a tiny window, right, She's

910
00:48:39,400 --> 00:48:42,359
Speaker 2: in the back and it's almost like she's been if

911
00:48:42,360 --> 00:48:46,920
Speaker 2: you're familiar with bow not bower birds, hornbills the way

912
00:48:47,080 --> 00:48:49,640
Speaker 2: a male hornbill will put the female hornbill like in

913
00:48:49,800 --> 00:48:52,200
Speaker 2: the tree and like fill in, so the feeds her

914
00:48:52,239 --> 00:48:53,919
Speaker 2: through a tiny hole. It's like that kind of vibe.

915
00:48:53,920 --> 00:48:54,279
Speaker 2: It's strange.

916
00:48:54,400 --> 00:48:56,719
Speaker 3: It's like she's like behind the register at the front

917
00:48:56,760 --> 00:48:59,960
Speaker 3: of a diner, except there's a huge partition that blocked

918
00:49:00,160 --> 00:49:05,320
Speaker 3: off everything except her face. And this man cannot hold

919
00:49:05,440 --> 00:49:08,279
Speaker 3: back his affection and his need to see her, so

920
00:49:08,400 --> 00:49:10,840
Speaker 3: he tears down the partition, and oh no, she is

921
00:49:10,920 --> 00:49:14,279
Speaker 3: a three headed mutant. And the two other heads are

922
00:49:14,360 --> 00:49:18,040
Speaker 3: the fakest heads you've ever seen. They are essentially rubber

923
00:49:18,360 --> 00:49:21,520
Speaker 3: Halloween masks, just kind of like glued to each shoulder.

924
00:49:22,239 --> 00:49:24,960
Speaker 3: And we now see that this is a film within

925
00:49:25,040 --> 00:49:27,279
Speaker 3: a film, and we are at a drive in, and

926
00:49:27,520 --> 00:49:30,400
Speaker 3: we are going to be introduced to some characters in

927
00:49:30,480 --> 00:49:34,319
Speaker 3: pretty quick succession. At this drive in, we see little

928
00:49:34,320 --> 00:49:37,440
Speaker 3: glimpses of what happens on the screen, and we'll get

929
00:49:37,440 --> 00:49:40,239
Speaker 3: to know this character who's playing on the screen a

930
00:49:40,280 --> 00:49:43,040
Speaker 3: little bit later. But yeah, suddenly her two heads are

931
00:49:43,080 --> 00:49:46,000
Speaker 3: gone and she's a giant attack of the fifty foot

932
00:49:46,040 --> 00:49:49,719
Speaker 3: woman style monster, and like where'd her heads go? I

933
00:49:49,760 --> 00:49:52,480
Speaker 3: always wondered that, like why when she got bigger, did

934
00:49:52,560 --> 00:49:54,000
Speaker 3: she lose the other two heads?

935
00:49:54,680 --> 00:49:56,759
Speaker 2: Yeah, I know, I guess in a way, it's kind

936
00:49:56,800 --> 00:50:00,440
Speaker 2: of reminding you that nobody here except for let and

937
00:50:00,480 --> 00:50:03,080
Speaker 2: her friend are actually here to see the movie. Everyone

938
00:50:03,200 --> 00:50:06,360
Speaker 2: is here to at least make out, So it doesn't

939
00:50:06,400 --> 00:50:09,360
Speaker 2: matter that that everything is out of whack on the screen.

940
00:50:09,920 --> 00:50:12,640
Speaker 2: But again, it's mostly played for last. But I also

941
00:50:12,719 --> 00:50:15,240
Speaker 2: kind of like the the tableau here at the beginning

942
00:50:15,280 --> 00:50:18,120
Speaker 2: of like here's this guy and you know, he's having

943
00:50:18,160 --> 00:50:20,360
Speaker 2: to look through this little screen to see this the

944
00:50:20,400 --> 00:50:22,560
Speaker 2: woman that he's in love with. It's like you can

945
00:50:22,640 --> 00:50:26,680
Speaker 2: only you know, view her through this like thin window,

946
00:50:26,920 --> 00:50:30,640
Speaker 2: this thin frame. And then when that frame is torn away,

947
00:50:31,040 --> 00:50:33,640
Speaker 2: it's too much for him, like he loses his mind,

948
00:50:33,800 --> 00:50:37,279
Speaker 2: she goes on a rampage. Like It's probably like a

949
00:50:37,440 --> 00:50:42,280
Speaker 2: nice way to summarize sort of the shackles of nineteen

950
00:50:42,320 --> 00:50:45,919
Speaker 2: sixties and or just general mainstream American culture as seen

951
00:50:45,960 --> 00:50:48,680
Speaker 2: by people by everyone who has any any kind of

952
00:50:49,120 --> 00:50:52,440
Speaker 2: inclination to break free from those confines.

953
00:50:52,800 --> 00:50:56,600
Speaker 3: That's a good interpretation. I like it. So, as you mentioned,

954
00:50:56,680 --> 00:51:01,120
Speaker 3: we have our protagonist Florence aka chick Lit. I'm sure

955
00:51:01,120 --> 00:51:04,200
Speaker 3: we will call her both throughout our discussion here, but yeah,

956
00:51:04,239 --> 00:51:06,520
Speaker 3: Florence and chick Lit are the same person. However, at

957
00:51:06,520 --> 00:51:08,640
Speaker 3: this point in the movie, she is not chick Lit yet.

958
00:51:08,840 --> 00:51:12,759
Speaker 3: She is just Florence. She's there with her friend, I

959
00:51:12,840 --> 00:51:17,040
Speaker 3: forget her nerdy friend's name, but anyway, her Dean I believe,

960
00:51:17,120 --> 00:51:21,040
Speaker 3: played by Danny Wheeler Nice Burdeen. Yes, So Florence and

961
00:51:21,160 --> 00:51:23,600
Speaker 3: her very nerdy friend Berdein are at this drive in,

962
00:51:23,760 --> 00:51:25,440
Speaker 3: and as you mentioned, they're the only ones. They're not

963
00:51:25,560 --> 00:51:28,040
Speaker 3: on dates. They're just two friends trying to watch the

964
00:51:28,080 --> 00:51:30,680
Speaker 3: movie while everyone else is making out around them and

965
00:51:31,040 --> 00:51:34,920
Speaker 3: being very sexually charged, et cetera, et cetera. So they

966
00:51:34,960 --> 00:51:40,040
Speaker 3: are frustrated with this situation in general. But as Florence

967
00:51:40,160 --> 00:51:42,880
Speaker 3: goes up to the concession stand, we do get a

968
00:51:42,920 --> 00:51:45,960
Speaker 3: quick kind of introduction to many little characters all over

969
00:51:46,000 --> 00:51:48,960
Speaker 3: the place. We see this gang of surfers hanging out

970
00:51:49,000 --> 00:51:54,320
Speaker 3: in one car. We see our main Xander character. He

971
00:51:54,520 --> 00:51:56,800
Speaker 3: is on a date with some girlfriend of their school.

972
00:51:57,040 --> 00:52:00,200
Speaker 3: We meet the popular girl Marvel, and she is very

973
00:52:00,360 --> 00:52:02,800
Speaker 3: enticed with this boy. She doesn't know the Xander character.

974
00:52:03,800 --> 00:52:08,560
Speaker 3: We slowly, not slowly, we briefly pass by the Swedish

975
00:52:08,600 --> 00:52:11,080
Speaker 3: exchange student, who of course knows Florence, and we meet

976
00:52:11,160 --> 00:52:15,280
Speaker 3: him briefly. It's actually kind of fascinating because they quickly

977
00:52:15,440 --> 00:52:17,960
Speaker 3: throw you into all of this. It's not a traditional

978
00:52:18,080 --> 00:52:22,200
Speaker 3: structure for introducing characters. It's very much just like almost

979
00:52:22,239 --> 00:52:24,520
Speaker 3: like an overture to the film we're about to see

980
00:52:24,840 --> 00:52:28,440
Speaker 3: with very little, like hand holding, very little. There's plenty

981
00:52:28,440 --> 00:52:32,600
Speaker 3: of exposition, but it's not traditional exposition. It's just it's

982
00:52:32,600 --> 00:52:35,920
Speaker 3: almost just like a pile of exposition that you are

983
00:52:36,000 --> 00:52:38,640
Speaker 3: expected to kind of sift through and catch up quickly.

984
00:52:39,280 --> 00:52:43,440
Speaker 3: And it works, It works just fine. Yeah, yeah, So

985
00:52:43,920 --> 00:52:48,840
Speaker 3: we are given a very subtle hint during this scene

986
00:52:49,200 --> 00:52:53,080
Speaker 3: of the character. Florence suddenly goes into a bit of

987
00:52:53,120 --> 00:52:56,120
Speaker 3: a trance, and then more or less she just kind

988
00:52:56,120 --> 00:52:58,399
Speaker 3: of like disappears from the scene. We aren't really sure

989
00:52:58,440 --> 00:53:01,040
Speaker 3: what's happening, what's going on, It's just we know something

990
00:53:01,160 --> 00:53:04,920
Speaker 3: happened to Florence when she was up at the hot

991
00:53:04,960 --> 00:53:08,399
Speaker 3: dog concession stand at this drive in theater. Then very

992
00:53:08,480 --> 00:53:12,720
Speaker 3: quickly afterwards, we see that someone has been murdered.

993
00:53:13,600 --> 00:53:16,120
Speaker 2: That's right, first murder of the film, and it won't.

994
00:53:15,920 --> 00:53:19,000
Speaker 3: Be the last, absolutely not. And what we'll get more

995
00:53:19,040 --> 00:53:21,680
Speaker 3: into the reasons for these murders later on, but at first,

996
00:53:21,760 --> 00:53:25,360
Speaker 3: all we know is that someone has been murdered. So

997
00:53:26,600 --> 00:53:28,840
Speaker 3: now we are thrown into the opening credits and it

998
00:53:28,960 --> 00:53:31,759
Speaker 3: is a go go dancer, and that's exactly what you need.

999
00:53:31,920 --> 00:53:34,280
Speaker 3: Surf music and a go go dancer while the opening

1000
00:53:34,320 --> 00:53:36,520
Speaker 3: credits go on. It kind of reminds me of like

1001
00:53:36,560 --> 00:53:39,640
Speaker 3: the opening credits for like do the right thing, you know,

1002
00:53:39,880 --> 00:53:42,840
Speaker 3: or like Rosie Perez is dancing along to it. It's

1003
00:53:42,920 --> 00:53:46,560
Speaker 3: that kind of just extended solo dancer over music while

1004
00:53:46,719 --> 00:53:49,880
Speaker 3: you are being introduced to all the actors and directors

1005
00:53:49,880 --> 00:53:50,560
Speaker 3: and and whatnot.

1006
00:53:50,760 --> 00:53:54,120
Speaker 2: It's very aggressive. She is dancing right at you, daring

1007
00:53:54,239 --> 00:53:54,759
Speaker 2: at you the.

1008
00:53:54,840 --> 00:53:57,200
Speaker 3: Viewer, much like Rosie Perez and do the right thing.

1009
00:53:58,719 --> 00:54:03,080
Speaker 3: Then we are back and suddenly there is an investigation

1010
00:54:03,280 --> 00:54:06,920
Speaker 3: going on. We see the police captain investigating the murder

1011
00:54:07,080 --> 00:54:14,279
Speaker 3: along with a uniform cop and it's all very I guess,

1012
00:54:14,320 --> 00:54:18,000
Speaker 3: it's all very procedural, like there's nothing like had the

1013
00:54:18,120 --> 00:54:21,600
Speaker 3: ordinary that's going on, but it's all everything is everything

1014
00:54:22,080 --> 00:54:24,600
Speaker 3: that we explain throughout this whole movie is going to

1015
00:54:24,600 --> 00:54:28,279
Speaker 3: be very tongue in cheek, very intentionally corny. But here's

1016
00:54:28,320 --> 00:54:30,960
Speaker 3: the compliment I can give to this entire movie, which

1017
00:54:31,000 --> 00:54:35,440
Speaker 3: I really think is outstanding. Everybody's giving the same level

1018
00:54:35,680 --> 00:54:40,520
Speaker 3: of a corny delivery. Therefore, it's clearly intentional. Everything is

1019
00:54:41,000 --> 00:54:45,600
Speaker 3: happening in a very molded, very directed way, and therefore

1020
00:54:45,680 --> 00:54:49,080
Speaker 3: it works perfectly. Like to compare it to something that

1021
00:54:49,160 --> 00:54:52,279
Speaker 3: doesn't work, think about the movie Batman and Robin Right,

1022
00:54:52,440 --> 00:54:56,520
Speaker 3: the Joel Schumacher second Batman movie from him. That movie

1023
00:54:57,200 --> 00:55:00,600
Speaker 3: is incredible if you only watch Uma Thurman playing a

1024
00:55:00,680 --> 00:55:04,560
Speaker 3: Batman sixty six character like she she understood the assignment.

1025
00:55:04,640 --> 00:55:08,600
Speaker 3: She got it. Uma Thurman delivered the Batman sixty six

1026
00:55:08,800 --> 00:55:12,240
Speaker 3: character that I think Joel Schumacher was looking for, whereas,

1027
00:55:12,440 --> 00:55:15,359
Speaker 3: you know, no offense to every other actor in the movie.

1028
00:55:16,600 --> 00:55:20,360
Speaker 3: They did not. You know, George what's his name, George

1029
00:55:20,960 --> 00:55:24,440
Speaker 3: Clinton played Batman in that movie. Cloney, Yeah, thank you,

1030
00:55:24,760 --> 00:55:29,960
Speaker 3: George Clooney. He was absolutely playing as like a jaded

1031
00:55:30,200 --> 00:55:34,680
Speaker 3: ninety Hollywood star, like that's not the role. He needed

1032
00:55:34,719 --> 00:55:38,400
Speaker 3: to be Adam West in that film, and he didn't. Anyway,

1033
00:55:38,840 --> 00:55:42,640
Speaker 3: Everyone in this film knows that it's Batman sixty six.

1034
00:55:42,920 --> 00:55:46,720
Speaker 3: Everyone is camping it up, all giving the same style

1035
00:55:46,960 --> 00:55:49,480
Speaker 3: of delivery, and it's really wonderful. This is going to

1036
00:55:49,520 --> 00:55:53,239
Speaker 3: be a bit of a strange association, but I do

1037
00:55:53,400 --> 00:55:57,160
Speaker 3: mean it. This movie is almost a trauma film, but

1038
00:55:57,800 --> 00:56:01,880
Speaker 3: it's like a G rated trauma film, which by comparison,

1039
00:56:02,000 --> 00:56:06,560
Speaker 3: is still in R but compared to trauma, it never

1040
00:56:06,680 --> 00:56:11,080
Speaker 3: goes that extreme, but it's still it feels like a

1041
00:56:11,320 --> 00:56:15,040
Speaker 3: gentle light trauma film for the family. That's what it

1042
00:56:15,160 --> 00:56:19,600
Speaker 3: feels like. The pasties are on exactly. Yeah, the bur

1043
00:56:19,680 --> 00:56:25,840
Speaker 3: last click you mentioned, so the murder investigation is happening

1044
00:56:25,880 --> 00:56:27,920
Speaker 3: in the background throughout this film. We will we will

1045
00:56:28,040 --> 00:56:30,480
Speaker 3: check in more with the police captain as things go on.

1046
00:56:30,920 --> 00:56:33,680
Speaker 3: But Florence and Burden are now at the beach and

1047
00:56:34,160 --> 00:56:36,520
Speaker 3: Florence sees all the surfers and she decides that she

1048
00:56:36,680 --> 00:56:39,560
Speaker 3: really wants to be a surfer. You know, she wants

1049
00:56:39,600 --> 00:56:41,360
Speaker 3: to go do this, but everyone is telling her she

1050
00:56:41,480 --> 00:56:43,879
Speaker 3: can't because of her gender. They're saying, no, you can't surf,

1051
00:56:43,920 --> 00:56:47,680
Speaker 3: you're a girl. Get out of here. And ultimately she

1052
00:56:48,160 --> 00:56:51,560
Speaker 3: goes up to this same group of gosh I has

1053
00:56:51,640 --> 00:56:55,000
Speaker 3: to call them a gang a crew. Yeah, I suppose

1054
00:56:55,040 --> 00:56:56,960
Speaker 3: a surf crew is the best word for them. None

1055
00:56:57,000 --> 00:57:00,479
Speaker 3: of them are particularly intimidating. This is where I'm gonna

1056
00:57:00,520 --> 00:57:03,560
Speaker 3: keep calling him Xander. This is where Xander and all

1057
00:57:03,680 --> 00:57:05,719
Speaker 3: his surf friends are all hanging out. Gosh, I want

1058
00:57:05,719 --> 00:57:08,160
Speaker 3: to say, there's like five of them, and they're all

1059
00:57:08,239 --> 00:57:10,120
Speaker 3: more or less, you know, the same kind of guy.

1060
00:57:11,040 --> 00:57:14,279
Speaker 3: So they inform her that they're definitely not gonna teach

1061
00:57:14,320 --> 00:57:18,920
Speaker 3: her how to serve. Florence because they're like boss, the

1062
00:57:19,160 --> 00:57:23,280
Speaker 3: like the head surf bum. The Great Kanaka would think

1063
00:57:23,320 --> 00:57:26,280
Speaker 3: that they were, you know, being completely ridiculous if they

1064
00:57:26,320 --> 00:57:30,000
Speaker 3: were teaching some girl how to surf. So Florence, being

1065
00:57:30,040 --> 00:57:33,440
Speaker 3: a driven female protagonist, goes no, no, no, I will

1066
00:57:33,480 --> 00:57:35,240
Speaker 3: go talk to the Great Kanaka and I will convince

1067
00:57:35,360 --> 00:57:38,120
Speaker 3: him to teach me how to surf because I am driven.

1068
00:57:38,520 --> 00:57:41,440
Speaker 3: So she goes off. She's being very proactive when she

1069
00:57:41,520 --> 00:57:46,040
Speaker 3: goes and finds the Great Kanaka in his very archetypical

1070
00:57:47,080 --> 00:57:52,440
Speaker 3: surf bum shack. Then when she goes in there, he

1071
00:57:52,600 --> 00:57:54,919
Speaker 3: gives the same reaction at first, go away, go away,

1072
00:57:55,000 --> 00:57:56,880
Speaker 3: get out of here. You know, I'm not interested in

1073
00:57:56,960 --> 00:57:58,640
Speaker 3: like hanging out with like a teenage girl and teaching

1074
00:57:58,640 --> 00:58:00,760
Speaker 3: her how to serf. This is ridiculous because I think

1075
00:58:00,840 --> 00:58:04,040
Speaker 3: even in this context her his character, the Great Kanaka

1076
00:58:04,040 --> 00:58:06,440
Speaker 3: is supposed to probably be in his oh thirties at

1077
00:58:06,520 --> 00:58:08,400
Speaker 3: least right late twenties, early thirties.

1078
00:58:08,720 --> 00:58:10,960
Speaker 2: Yeah, because he's the king of the beach here, and

1079
00:58:11,120 --> 00:58:13,760
Speaker 2: so he's been around probably a bit too long, literally

1080
00:58:14,000 --> 00:58:15,400
Speaker 2: taky shack on the beach.

1081
00:58:15,600 --> 00:58:19,520
Speaker 3: For sure, and so therefore he's like, no, get out

1082
00:58:19,520 --> 00:58:21,240
Speaker 3: of here, I'm not going to teach you. But then

1083
00:58:21,320 --> 00:58:24,600
Speaker 3: at this point we see another one of these spells

1084
00:58:25,080 --> 00:58:30,800
Speaker 3: that Florence experiences a bit of a blackout but a

1085
00:58:30,840 --> 00:58:32,840
Speaker 3: bit of a something. We still aren't quite sure what's

1086
00:58:32,880 --> 00:58:35,800
Speaker 3: going on, but what was teased at in the earlier scene.

1087
00:58:36,640 --> 00:58:39,320
Speaker 3: And suddenly we see that she has thrown herself into

1088
00:58:39,360 --> 00:58:43,920
Speaker 3: a completely different personality named Anne Bowman, and Bowman is

1089
00:58:44,000 --> 00:58:46,480
Speaker 3: now in charge, and Anne Bowman is a is a

1090
00:58:46,640 --> 00:58:51,160
Speaker 3: no nonsense, you know gosh in many ways that is

1091
00:58:51,200 --> 00:58:54,720
Speaker 3: referenced later very much a dominatrix type role, very much

1092
00:58:54,800 --> 00:58:58,200
Speaker 3: an I'm in charge, shut up, I'm getting my way.

1093
00:58:58,360 --> 00:59:01,000
Speaker 3: I'm in Bowman, you know, Yeah, and.

1094
00:59:01,360 --> 00:59:03,560
Speaker 2: Very much an old Hollywood kind of vibe too, like

1095
00:59:03,640 --> 00:59:06,960
Speaker 2: that kind of like an old Hollywood vixen vibe, but

1096
00:59:07,080 --> 00:59:10,800
Speaker 2: with these with these kinky corners as well, where she's like,

1097
00:59:11,280 --> 00:59:13,479
Speaker 2: I'm gonna what if I put you on a leash

1098
00:59:13,520 --> 00:59:16,400
Speaker 2: and walk you down the beach? And he's excited and

1099
00:59:16,520 --> 00:59:19,000
Speaker 2: terrified by this at the same time, but he's like, like, like,

1100
00:59:19,120 --> 00:59:19,840
Speaker 2: that would be great.

1101
00:59:19,880 --> 00:59:23,200
Speaker 3: What would the guys say? Though, it's almost like a

1102
00:59:23,400 --> 00:59:28,480
Speaker 3: Tululah Bankhead performance, very very big and yeah, no no,

1103
00:59:28,960 --> 00:59:32,640
Speaker 3: so yeah, he has no interest in Florence, but a Bowman, Hey,

1104
00:59:33,240 --> 00:59:37,120
Speaker 3: this is great. So he decides he will keep her around.

1105
00:59:37,240 --> 00:59:39,560
Speaker 3: He will teach her, not because he likes Florence, but

1106
00:59:39,640 --> 00:59:43,000
Speaker 3: because he likes Anne Bowman, this alternate personality of hers

1107
00:59:43,080 --> 00:59:46,120
Speaker 3: that is somewhere deep inside of her. So this continues,

1108
00:59:46,200 --> 00:59:49,160
Speaker 3: and it's confusing. No one really knows how to deal

1109
00:59:49,240 --> 00:59:53,480
Speaker 3: with this, including the audience. But he brings her down

1110
00:59:53,560 --> 00:59:56,760
Speaker 3: to the beach and shows her to the guys and goes, no, no, no,

1111
00:59:57,360 --> 01:00:00,080
Speaker 3: we're hanging out with her. She's gonna she's gonna be

1112
01:00:00,120 --> 01:00:02,760
Speaker 3: a part of our crew and we're gonna do this. Uh.

1113
01:00:02,840 --> 01:00:05,880
Speaker 3: She learns how she's introduced to, you know, the gang,

1114
01:00:06,200 --> 01:00:11,240
Speaker 3: and everything's going fine, but quickly they still tease her

1115
01:00:11,560 --> 01:00:13,520
Speaker 3: for for for being a girl, for not being very

1116
01:00:13,520 --> 01:00:15,640
Speaker 3: good at surfing yet to all that stuff, and they

1117
01:00:15,720 --> 01:00:18,240
Speaker 3: give her the nickname of chick Lit because yeah, she's

1118
01:00:18,240 --> 01:00:20,040
Speaker 3: a chick, but she's not even a full chick. She's

1119
01:00:20,080 --> 01:00:20,920
Speaker 3: a chick flat.

1120
01:00:22,240 --> 01:00:24,880
Speaker 2: And of course obviously it sounds a bit like Gidget,

1121
01:00:25,000 --> 01:00:28,640
Speaker 2: so it works. We also get all these great scenes

1122
01:00:28,680 --> 01:00:31,680
Speaker 2: of the actual surfing, which I couldn't get enough of

1123
01:00:31,840 --> 01:00:34,160
Speaker 2: because it's like, it's, I guess this is in keeping

1124
01:00:34,280 --> 01:00:37,600
Speaker 2: with the old beach movies, right, it's a it's a

1125
01:00:37,680 --> 01:00:41,520
Speaker 2: combination of actual beach surfing footage and then these totally

1126
01:00:41,640 --> 01:00:44,320
Speaker 2: fake blue or green screen sequences, right.

1127
01:00:45,480 --> 01:00:48,240
Speaker 3: Yeah, no, it's it's all completely phony and very fun.

1128
01:00:49,520 --> 01:00:52,360
Speaker 3: And so yeah, she embraces it. She goes, yeah, I'll

1129
01:00:52,400 --> 01:00:54,800
Speaker 3: be chick Lit. You know, I'm in for this. This

1130
01:00:54,880 --> 01:00:58,320
Speaker 3: is this is gonna be fun. Uh So, now at

1131
01:00:58,400 --> 01:01:01,400
Speaker 3: this point we're starting to kind of sow the seeds

1132
01:01:01,840 --> 01:01:04,960
Speaker 3: of what's going to come as like the murder mystery

1133
01:01:05,080 --> 01:01:10,560
Speaker 3: aspect of this, and Florence aka Chicklet aka and Bowman

1134
01:01:10,880 --> 01:01:15,360
Speaker 3: is definitely like the first, let's say, potential killer. They

1135
01:01:15,440 --> 01:01:18,880
Speaker 3: set up several, well a few potential killers, and Florence

1136
01:01:18,960 --> 01:01:22,240
Speaker 3: is definitely the first one, with her discussing how when

1137
01:01:22,280 --> 01:01:28,840
Speaker 3: she goes into these alternate personalities, the Florence character blacks out. Basically,

1138
01:01:29,000 --> 01:01:32,120
Speaker 3: she goes through these spells of not knowing what's happening

1139
01:01:32,160 --> 01:01:35,840
Speaker 3: at all. Therefore she could be doing anything during that time.

1140
01:01:36,160 --> 01:01:38,920
Speaker 3: So not even Florence herself knows if she is this

1141
01:01:39,160 --> 01:01:42,160
Speaker 3: potential killer that the police captain is investigating.

1142
01:01:42,560 --> 01:01:46,320
Speaker 2: Yeah, she didn't even know why it occurs. We the viewer,

1143
01:01:47,080 --> 01:01:49,680
Speaker 2: we quickly realize that it seems to be triggered by

1144
01:01:49,920 --> 01:01:54,320
Speaker 2: sexism to a large degree. But then also we eventually

1145
01:01:54,440 --> 01:01:59,200
Speaker 2: realize and Kanaka realizes this is a little bit later on.

1146
01:01:59,240 --> 01:02:01,280
Speaker 2: Am I be getting hit myself here? But it's something

1147
01:02:01,280 --> 01:02:02,880
Speaker 2: about circle patterns as well.

1148
01:02:03,640 --> 01:02:07,520
Speaker 3: Yeah, it's it's a triggering method that kind of kicks

1149
01:02:07,560 --> 01:02:10,040
Speaker 3: off from multiple personalities, of which she has at least

1150
01:02:10,160 --> 01:02:13,560
Speaker 3: three or four. I think we definitely see around four

1151
01:02:13,640 --> 01:02:16,200
Speaker 3: of them, but perhaps more in like rapid succession at

1152
01:02:16,240 --> 01:02:16,720
Speaker 3: some points.

1153
01:02:17,200 --> 01:02:19,680
Speaker 2: Yeah, an Bowman's the main one, but there's another one

1154
01:02:19,760 --> 01:02:22,560
Speaker 2: that I think she says is based on like a

1155
01:02:23,440 --> 01:02:25,040
Speaker 2: cashier at the local grocery store.

1156
01:02:25,760 --> 01:02:28,200
Speaker 3: Yeah. Yeah, a strong willed woman.

1157
01:02:28,480 --> 01:02:30,280
Speaker 2: And I don't I kind of get the impression there

1158
01:02:30,320 --> 01:02:32,840
Speaker 2: might have been more in the original stage version of this,

1159
01:02:33,280 --> 01:02:36,440
Speaker 2: because again Bush's specialty was like multiple.

1160
01:02:36,120 --> 01:02:39,040
Speaker 3: Characters, right, Yeah, I feel like there was at least

1161
01:02:39,080 --> 01:02:41,160
Speaker 3: one that was speaking Spanish. I feel like there was

1162
01:02:41,160 --> 01:02:42,600
Speaker 3: at least one that was an opera singer that you

1163
01:02:42,680 --> 01:02:45,360
Speaker 3: mentioned earlier. Yeah, there were a few in there, but

1164
01:02:45,640 --> 01:02:49,600
Speaker 3: and Bowman is the main one for sure. So we're

1165
01:02:49,640 --> 01:02:52,760
Speaker 3: back at the beach, and this is setting up more characters.

1166
01:02:53,280 --> 01:02:55,800
Speaker 3: There's like this spooky old beach house that has like

1167
01:02:55,840 --> 01:02:58,480
Speaker 3: a lot of rumors about it, and they see that

1168
01:02:58,560 --> 01:03:02,600
Speaker 3: there's this beautiful who is staying in this what's considered

1169
01:03:02,640 --> 01:03:05,360
Speaker 3: to be like a cursed house. It turns out that

1170
01:03:05,480 --> 01:03:08,960
Speaker 3: it's Betina Barnes, the actress that played the three headed

1171
01:03:09,000 --> 01:03:11,080
Speaker 3: woman in that drive in movie. From the beginning of

1172
01:03:11,120 --> 01:03:13,920
Speaker 3: the film, she is renting this house and staying there,

1173
01:03:13,960 --> 01:03:16,080
Speaker 3: and she's staying a bit incognito, just trying to like,

1174
01:03:16,160 --> 01:03:20,400
Speaker 3: you know, have like a nice separation from her Hollywood life.

1175
01:03:21,440 --> 01:03:24,960
Speaker 3: But she very quickly befriends the surf crew and more

1176
01:03:24,960 --> 01:03:29,280
Speaker 3: specifically Burdeen is that's her name, Yes, the nerd friend

1177
01:03:29,360 --> 01:03:33,360
Speaker 3: of Florence. She's feeling a bit neglected by Florence with

1178
01:03:33,480 --> 01:03:35,720
Speaker 3: her finding her new friends with the surf crew, so

1179
01:03:35,960 --> 01:03:40,240
Speaker 3: Berdein becomes like the Gal Friday, the assistant personal assistant

1180
01:03:40,280 --> 01:03:43,080
Speaker 3: to Beatina Barnes. And so that's setting up like another

1181
01:03:43,240 --> 01:03:47,600
Speaker 3: like you know, b story happening throughout this movie. So

1182
01:03:48,520 --> 01:03:51,680
Speaker 3: lots of clues, lots of backstories, lots of setting up

1183
01:03:51,760 --> 01:03:55,000
Speaker 3: all these different little threads and potential red herrings, et cetera,

1184
01:03:55,080 --> 01:03:59,600
Speaker 3: et cetera. But ultimately we are setting up four killers. Okay,

1185
01:03:59,760 --> 01:04:01,520
Speaker 3: we're going to kind of skip the middle of the

1186
01:04:01,560 --> 01:04:04,000
Speaker 3: Scooby Doo episode and kind of kind of get towards

1187
01:04:04,040 --> 01:04:06,560
Speaker 3: closer to the end. The four killers that are being

1188
01:04:06,600 --> 01:04:10,240
Speaker 3: set up. I mentioned Florence, I mentioned Betina Barnes. They

1189
01:04:10,280 --> 01:04:12,560
Speaker 3: never really give Betina Barnes much of like a motive.

1190
01:04:12,760 --> 01:04:14,800
Speaker 3: It's just basically that she's like an outsider, that she

1191
01:04:15,000 --> 01:04:18,560
Speaker 3: is just like like she by coincidence, has arrived around

1192
01:04:18,600 --> 01:04:21,680
Speaker 3: the same time these murders are happening. The other character

1193
01:04:21,800 --> 01:04:24,760
Speaker 3: is Florence's mom. We only see these little bits and

1194
01:04:24,840 --> 01:04:28,200
Speaker 3: pieces of her, but she's strongly implied to be a

1195
01:04:28,320 --> 01:04:32,640
Speaker 3: killer just because she's quite the stickler, quite quite regimented,

1196
01:04:32,920 --> 01:04:35,000
Speaker 3: which ties into the kind of victims we are getting,

1197
01:04:35,000 --> 01:04:38,880
Speaker 3: which I'll get into soon. Yeah. Then the fourth and

1198
01:04:39,000 --> 01:04:44,160
Speaker 3: last is the Great Kanaka. Once again, barely any reasons

1199
01:04:44,160 --> 01:04:48,520
Speaker 3: are given why the Great Kanaka is considered a suspect

1200
01:04:48,560 --> 01:04:52,040
Speaker 3: in this but the Captain is definitely investigating him as

1201
01:04:52,120 --> 01:04:55,000
Speaker 3: one of the four potential killers. I suppose it's just

1202
01:04:55,040 --> 01:04:57,040
Speaker 3: because he's a loner on the beach and he could

1203
01:04:57,120 --> 01:04:59,640
Speaker 3: kind of like get away with whatever he wants, et cetera,

1204
01:04:59,640 --> 01:05:01,720
Speaker 3: et cetera. We also see in a flashback that he's

1205
01:05:01,760 --> 01:05:04,240
Speaker 3: a former police officer and he was the partner of

1206
01:05:04,360 --> 01:05:07,320
Speaker 3: the police captain and they had a romantic relationship that

1207
01:05:07,560 --> 01:05:10,920
Speaker 3: fell apart because of her ambition to raise higher and

1208
01:05:11,280 --> 01:05:13,760
Speaker 3: blah blah blah and not just be a housewife and

1209
01:05:13,840 --> 01:05:14,560
Speaker 3: all that stuff.

1210
01:05:14,800 --> 01:05:17,000
Speaker 2: Yeah, there's there's not There's not a love triangle in

1211
01:05:17,080 --> 01:05:19,520
Speaker 2: this film. It's more of like a love cat's cradle

1212
01:05:19,640 --> 01:05:23,720
Speaker 2: because we have chick lit kind of pursuing starcat Aka Xander,

1213
01:05:24,480 --> 01:05:28,240
Speaker 2: and Xander is pursuing marvel Ann and I believe dating her,

1214
01:05:28,720 --> 01:05:31,560
Speaker 2: but also like all the male characters are enraptured by

1215
01:05:31,600 --> 01:05:35,560
Speaker 2: Betina Barnes, right, And and then we have Anne Bowman,

1216
01:05:36,400 --> 01:05:41,000
Speaker 2: the an Bowman personality is in this sexually dominating again

1217
01:05:41,040 --> 01:05:44,360
Speaker 2: played for comedy relationship with Kanaka. And then, like you said,

1218
01:05:44,400 --> 01:05:47,760
Speaker 2: we learn that Kanaka was previously in a steamy relationship

1219
01:05:47,840 --> 01:05:52,080
Speaker 2: with Captain Monica Stark. So there's there's a lot of

1220
01:05:52,240 --> 01:05:53,720
Speaker 2: intricacy to this scenario.

1221
01:05:54,080 --> 01:05:56,280
Speaker 3: And to make it even more complex, because why not

1222
01:05:57,120 --> 01:05:59,920
Speaker 3: two of the members of the surf crew are clearly

1223
01:06:00,120 --> 01:06:02,800
Speaker 3: in love with each other. Oh yeah, and at every

1224
01:06:02,920 --> 01:06:06,480
Speaker 3: opportunity they will oil each other up and wrestle on

1225
01:06:06,600 --> 01:06:10,400
Speaker 3: the beach, and you know, it's revealed they're somewhat aware.

1226
01:06:10,560 --> 01:06:14,080
Speaker 3: They're like like they they almost want to tell each

1227
01:06:14,120 --> 01:06:16,560
Speaker 3: other they love each other. They almost want to just

1228
01:06:16,680 --> 01:06:18,920
Speaker 3: be a couple. But you know, it's it being the

1229
01:06:19,320 --> 01:06:22,440
Speaker 3: repressed nineteen sixties. They haven't quite found a way to

1230
01:06:22,600 --> 01:06:26,600
Speaker 3: get there yet. But it's it is funny. They're homoerotic

1231
01:06:26,640 --> 01:06:30,760
Speaker 3: wrestling on the pose. Yes, just just it comes out

1232
01:06:30,800 --> 01:06:33,520
Speaker 3: of nowhere. It just lasts for a very long time,

1233
01:06:34,280 --> 01:06:36,840
Speaker 3: and we even see later on, Like I said, this

1234
01:06:36,880 --> 01:06:42,520
Speaker 3: whole movie is very queer coded. Bettina attempts a kiss

1235
01:06:42,800 --> 01:06:46,200
Speaker 3: with Florence pretty late into the film as well, and

1236
01:06:47,040 --> 01:06:49,520
Speaker 3: it does seem, like you said, a cat's cradle. Everyone

1237
01:06:49,760 --> 01:06:53,080
Speaker 3: wants something, and everyone's a little repressed, and no one

1238
01:06:53,160 --> 01:06:56,600
Speaker 3: can quite just say what they want. No one can

1239
01:06:57,000 --> 01:06:59,280
Speaker 3: can quite just kind of get there and be honest

1240
01:06:59,360 --> 01:07:02,200
Speaker 3: and communicate openly and in many ways just kind of

1241
01:07:02,240 --> 01:07:05,240
Speaker 3: be themselves. That's that's not really in anyone's DNA at

1242
01:07:05,280 --> 01:07:17,720
Speaker 3: this point in this story. So more more kills are happening,

1243
01:07:17,800 --> 01:07:21,160
Speaker 3: and during each of these murders it's very jollo and

1244
01:07:21,360 --> 01:07:23,960
Speaker 3: by that I mean all we see is that the

1245
01:07:24,160 --> 01:07:27,240
Speaker 3: camera is the killer's perspective, and we see a gloved

1246
01:07:27,360 --> 01:07:30,720
Speaker 3: hand performing these deeds, whether it be a stabbing with

1247
01:07:30,840 --> 01:07:34,840
Speaker 3: like a butcher's knife, or whether it be a gosh,

1248
01:07:34,880 --> 01:07:37,360
Speaker 3: what's what are some other murders, they're all pretty ridiculous.

1249
01:07:37,640 --> 01:07:39,760
Speaker 2: Yeah, I don't even remember if we see the method

1250
01:07:39,880 --> 01:07:43,760
Speaker 2: necessarily in like Rhoda's murder, the wheelchair bound sort of

1251
01:07:43,920 --> 01:07:46,680
Speaker 2: queen Bee of the high school social scene, but like

1252
01:07:46,840 --> 01:07:48,480
Speaker 2: she's just we see her in the next scene is

1253
01:07:48,520 --> 01:07:51,880
Speaker 2: like they found her body. Her head very faith looking

1254
01:07:52,280 --> 01:07:54,120
Speaker 2: is just on top of the one of the wheels

1255
01:07:54,120 --> 01:07:55,800
Speaker 2: of the wheelchair spinning in circles.

1256
01:07:56,640 --> 01:07:58,720
Speaker 3: That's that's right, And so this is a great time

1257
01:07:58,760 --> 01:08:02,040
Speaker 3: to talk about the kill counts and the reasons why s. Yeah,

1258
01:08:02,080 --> 01:08:04,600
Speaker 3: you mentioned Roda. Roda is like, honestly, she's like the

1259
01:08:05,080 --> 01:08:07,720
Speaker 3: school mean girl more or less. Like I would say,

1260
01:08:07,920 --> 01:08:10,080
Speaker 3: anytime you talk to her, she's going to say something

1261
01:08:10,200 --> 01:08:14,120
Speaker 3: cutting and insulting to anyone who she's talking to. She's

1262
01:08:14,160 --> 01:08:17,720
Speaker 3: not a nice woman at all. And then we have

1263
01:08:18,920 --> 01:08:22,920
Speaker 3: let's see, one of the beach guys has psoriasis, and

1264
01:08:23,560 --> 01:08:24,880
Speaker 3: the only way we know that is because he's the

1265
01:08:24,880 --> 01:08:27,480
Speaker 3: one who's always wearing a T shirt because he's embarrassed.

1266
01:08:28,000 --> 01:08:30,400
Speaker 3: And then the other one is this other guy who

1267
01:08:30,760 --> 01:08:33,880
Speaker 3: there are many references to his testicles. That's just like

1268
01:08:34,400 --> 01:08:38,280
Speaker 3: he's like psychic through his testicles or something. It's many

1269
01:08:38,360 --> 01:08:41,120
Speaker 3: references are made to this that don't quite make sense,

1270
01:08:41,360 --> 01:08:43,680
Speaker 3: and I don't think it's supposed to. And then we

1271
01:08:43,760 --> 01:08:46,799
Speaker 3: had the woman from the drive in at the beginning.

1272
01:08:46,840 --> 01:08:48,800
Speaker 3: So those four are the four victims that we are

1273
01:08:48,840 --> 01:08:53,360
Speaker 3: given throughout this film. What the police captain discovers is

1274
01:08:53,439 --> 01:08:59,800
Speaker 3: that each victim has some sort of like biological otherness

1275
01:09:00,120 --> 01:09:04,600
Speaker 3: to them, something is making them not the average American

1276
01:09:05,000 --> 01:09:07,960
Speaker 3: straightforward person, which of course seems to be like this

1277
01:09:08,080 --> 01:09:10,839
Speaker 3: ongoing theme about here is that, you know, what's the appearance,

1278
01:09:10,920 --> 01:09:13,840
Speaker 3: what's the facade, what are we really? What are we inside?

1279
01:09:14,400 --> 01:09:17,439
Speaker 3: Et cetera. So the first victim from the drive in,

1280
01:09:17,560 --> 01:09:19,880
Speaker 3: she had a hairlip, the second victim, as I mentioned,

1281
01:09:19,920 --> 01:09:25,200
Speaker 3: he had psoriasis, the third victim he only had one testicle.

1282
01:09:25,800 --> 01:09:29,320
Speaker 3: And then the fourth victim, as you mentioned, Robert, she

1283
01:09:29,479 --> 01:09:32,200
Speaker 3: was in a wheelchair. So so there was something quote

1284
01:09:32,280 --> 01:09:35,719
Speaker 3: unquote wrong with them, and by wrong in the eyes

1285
01:09:35,760 --> 01:09:38,559
Speaker 3: of the killer, just means not average, not perfect.

1286
01:09:39,040 --> 01:09:42,080
Speaker 2: So we're looking for someone Monica Stark in particular, Captain

1287
01:09:42,120 --> 01:09:45,559
Speaker 2: Monica Stark is looking for somebody who is really down

1288
01:09:45,720 --> 01:09:49,760
Speaker 2: on outsiders, on anyone that's not fitting the thin definition

1289
01:09:50,000 --> 01:09:52,960
Speaker 2: of what a a quote unquote normal person should be

1290
01:09:53,200 --> 01:09:57,280
Speaker 2: in this, you know, this sixty cinematic film world. And

1291
01:09:57,520 --> 01:10:00,599
Speaker 2: of course that means that chick Lit's mom is pretty

1292
01:10:00,640 --> 01:10:03,599
Speaker 2: high up on the suspect list. And for me, as

1293
01:10:03,640 --> 01:10:06,400
Speaker 2: a viewer, like you know, if this war were indeed

1294
01:10:07,240 --> 01:10:09,400
Speaker 2: an Italian horror film, I would be like, oh, well,

1295
01:10:09,439 --> 01:10:11,679
Speaker 2: it's chick lit, right, we were investing this much time

1296
01:10:11,760 --> 01:10:15,200
Speaker 2: in someone's mental illness, like they're probably going to be

1297
01:10:15,280 --> 01:10:17,920
Speaker 2: the killer unless you go for the twist. But it's

1298
01:10:17,920 --> 01:10:19,719
Speaker 2: probably going to be her, but not in this film,

1299
01:10:19,800 --> 01:10:21,360
Speaker 2: Like we like chick lit too much. I feel like

1300
01:10:21,439 --> 01:10:24,040
Speaker 2: she's safe. But the mother seems to be the prime

1301
01:10:24,200 --> 01:10:26,280
Speaker 2: suspect that they're building up. And so that's where I

1302
01:10:26,320 --> 01:10:27,040
Speaker 2: thought it was going.

1303
01:10:27,520 --> 01:10:30,120
Speaker 3: And ultimately the police agreed with you. At a point

1304
01:10:30,160 --> 01:10:32,799
Speaker 3: later on in the film, all these killings have happened,

1305
01:10:32,920 --> 01:10:35,000
Speaker 3: all of the set up, all these red herrings, everything's

1306
01:10:35,040 --> 01:10:36,840
Speaker 3: going on, Like I said, very Scooby do. If you

1307
01:10:36,960 --> 01:10:41,320
Speaker 3: like Scooby Doo, you'll like this. The police eventually arrest

1308
01:10:41,880 --> 01:10:45,160
Speaker 3: Florence's mother. They go, no, you are the killer. We

1309
01:10:45,320 --> 01:10:49,599
Speaker 3: know that you've done all these things. That's it. You're

1310
01:10:49,640 --> 01:10:54,000
Speaker 3: going to jail. And it all kind of I would say,

1311
01:10:54,040 --> 01:10:56,639
Speaker 3: it fully pieces together, but like all the puzzle pieces

1312
01:10:56,760 --> 01:11:01,479
Speaker 3: kind of formed together. So Florence has like this memory

1313
01:11:01,680 --> 01:11:05,320
Speaker 3: of herself when she was younger, where her mom like

1314
01:11:05,520 --> 01:11:07,000
Speaker 3: you know, she liked to like, you know, meet the

1315
01:11:07,080 --> 01:11:10,160
Speaker 3: sailors at the port and like, you know, I guess

1316
01:11:10,240 --> 01:11:11,840
Speaker 3: just be promiscuous.

1317
01:11:11,280 --> 01:11:12,320
Speaker 2: Yeah, but she was a patriot.

1318
01:11:12,520 --> 01:11:16,880
Speaker 3: Yes, that's true. She was a patriot in her promiscuity

1319
01:11:17,800 --> 01:11:21,439
Speaker 3: and all of this, I guess just had like a

1320
01:11:21,960 --> 01:11:26,519
Speaker 3: sort of an effect on Florence as a child. Ultimately

1321
01:11:26,600 --> 01:11:29,600
Speaker 3: she was pushed aside often so where mother could go

1322
01:11:29,680 --> 01:11:33,000
Speaker 3: off and be a patriot. And so this led to

1323
01:11:33,240 --> 01:11:37,439
Speaker 3: a traumatic event that happened in Florence's very very very

1324
01:11:37,520 --> 01:11:40,720
Speaker 3: young childhood that she had completely blocked out, which was

1325
01:11:40,760 --> 01:11:42,960
Speaker 3: that her and her little brother, which we didn't even

1326
01:11:43,000 --> 01:11:47,280
Speaker 3: know she had, were playing on the swings. Florence, I guess,

1327
01:11:47,320 --> 01:11:50,760
Speaker 3: pushed him too hard and she went over the top

1328
01:11:50,840 --> 01:11:53,160
Speaker 3: of the bar and just flew off like a bottle

1329
01:11:53,240 --> 01:11:57,800
Speaker 3: rocket like it definitely the most ridiculous death in this fiel.

1330
01:11:57,840 --> 01:12:00,439
Speaker 2: Oh yes, this is played so over the top and

1331
01:12:00,560 --> 01:12:04,280
Speaker 2: for laughs, is this is not a pet cemetery in

1332
01:12:04,400 --> 01:12:07,520
Speaker 2: this sequence? This is more like a scene from Matilda.

1333
01:12:07,760 --> 01:12:10,960
Speaker 3: Oh yeah, you know, it's looney Tunes for sure. I

1334
01:12:11,000 --> 01:12:13,799
Speaker 3: think there are literal smoke lines from the boy flying

1335
01:12:13,880 --> 01:12:17,960
Speaker 3: off the swing set. So yes, she accidentally was involved

1336
01:12:18,000 --> 01:12:21,040
Speaker 3: in her little brother's death and this affected her and

1337
01:12:21,160 --> 01:12:25,879
Speaker 3: I think perhaps kicked off this whole multiple personalities disorder

1338
01:12:25,920 --> 01:12:30,479
Speaker 3: for her that she was repressing these memories and hopefully

1339
01:12:30,560 --> 01:12:32,280
Speaker 3: blocking them out as a way to deal with them.

1340
01:12:33,120 --> 01:12:35,400
Speaker 3: So this is all sad, and she's worried about this,

1341
01:12:35,600 --> 01:12:38,040
Speaker 3: and her mom has just been arrested. Like a lot's

1342
01:12:38,080 --> 01:12:41,800
Speaker 3: going on. She's not having a great evening. So I'm

1343
01:12:41,800 --> 01:12:44,080
Speaker 3: not sure if you all remember early on we mentioned

1344
01:12:44,120 --> 01:12:47,320
Speaker 3: that there is a Swedish exchange student staying in the

1345
01:12:47,360 --> 01:12:50,320
Speaker 3: house with them. His name is Lars. Lars goes here,

1346
01:12:50,560 --> 01:12:52,720
Speaker 3: I'll drive you home, Florence, come on, let's get out

1347
01:12:52,760 --> 01:12:55,160
Speaker 3: of here, so that they leave, and oh, we got

1348
01:12:55,200 --> 01:13:00,800
Speaker 3: some twists coming. Big twist, Lars is the killer. Spoilers,

1349
01:13:02,600 --> 01:13:07,080
Speaker 3: I'll take that back. Spoilers, Lars is the killer. And

1350
01:13:07,840 --> 01:13:11,720
Speaker 3: ultimately it turns out that when we were referencing that

1351
01:13:11,840 --> 01:13:14,080
Speaker 3: beach house earlier in this film, the one that was

1352
01:13:14,160 --> 01:13:16,800
Speaker 3: like cursed, that there was a big murder spree that

1353
01:13:16,920 --> 01:13:20,439
Speaker 3: happened there where very Michael Meyers esque. It was the

1354
01:13:20,600 --> 01:13:23,320
Speaker 3: young son who was fed up with all of the

1355
01:13:23,960 --> 01:13:27,479
Speaker 3: what he viewed as like weaknesses in his family, all

1356
01:13:27,520 --> 01:13:30,160
Speaker 3: the abnormalities, like I believe what did they say, like

1357
01:13:30,280 --> 01:13:32,760
Speaker 3: you know, one was deaf or something like that, Like

1358
01:13:33,040 --> 01:13:38,720
Speaker 3: each family member had a non average, you know, physical thing,

1359
01:13:39,400 --> 01:13:42,080
Speaker 3: and he hated that. He just wanted to be normal.

1360
01:13:42,160 --> 01:13:44,320
Speaker 3: He wanted everyone to be normal, et cetera, et cetera,

1361
01:13:44,360 --> 01:13:46,479
Speaker 3: et cetera. So he killed his whole family and he

1362
01:13:46,520 --> 01:13:49,479
Speaker 3: went on the lamb. So he's continued this that this

1363
01:13:49,560 --> 01:13:51,840
Speaker 3: has been his serial killer thing that he's been doing.

1364
01:13:52,080 --> 01:13:54,920
Speaker 3: His real name is Larry, He's not from Sweden. This

1365
01:13:55,479 --> 01:13:59,840
Speaker 3: is a whole facade. Now. He thought Florence was a

1366
01:14:00,120 --> 01:14:04,760
Speaker 3: perfectly average, normal American girl, and that's what he is

1367
01:14:04,920 --> 01:14:07,360
Speaker 3: fine with. He wants everyone to be normal. But in

1368
01:14:07,520 --> 01:14:12,439
Speaker 3: the revelation that she has a multiple personality disorder, he

1369
01:14:12,600 --> 01:14:15,400
Speaker 3: now has to kill Florence too. So now it's a

1370
01:14:15,439 --> 01:14:18,719
Speaker 3: big chase that they end up at the drive in again.

1371
01:14:19,240 --> 01:14:21,400
Speaker 3: I love the symmetry of the film starting at the

1372
01:14:21,439 --> 01:14:24,080
Speaker 3: drive in and ending at the drive in, very very

1373
01:14:24,200 --> 01:14:28,280
Speaker 3: nice filmmaking there, and you know, chase and chasing, running, running,

1374
01:14:28,320 --> 01:14:32,639
Speaker 3: all that kind of stuff, and Lars is he falls

1375
01:14:32,680 --> 01:14:35,400
Speaker 3: off the top of the drive in screen and falls

1376
01:14:35,439 --> 01:14:39,320
Speaker 3: to his death. Everything is resolved, happy ending, right, Everyone's

1377
01:14:39,400 --> 01:14:40,800
Speaker 3: everyone's happy. This is all I think.

1378
01:14:40,880 --> 01:14:43,120
Speaker 2: Monica like shoots him off of it. It's like she's

1379
01:14:43,200 --> 01:14:43,760
Speaker 2: up there too.

1380
01:14:43,880 --> 01:14:47,599
Speaker 3: Right, So yeah, it's it's a it's a whole action

1381
01:14:47,880 --> 01:14:51,880
Speaker 3: running around scene. But yeah, there we go, happy ending.

1382
01:14:52,000 --> 01:14:57,720
Speaker 3: The killer has been dealt with. But wait, twist, this

1383
01:14:58,280 --> 01:15:04,120
Speaker 3: entire film was a delusion inside Florence's head. She is

1384
01:15:04,200 --> 01:15:07,280
Speaker 3: in a modern mental health institute and she is receiving

1385
01:15:07,360 --> 01:15:10,679
Speaker 3: electroshock therapy. She's looking around at her and everyone around

1386
01:15:10,760 --> 01:15:14,400
Speaker 3: her are characters that are inside of this psycho beach

1387
01:15:14,479 --> 01:15:18,040
Speaker 3: party story, like I believe Roda was like the nurse

1388
01:15:18,120 --> 01:15:20,800
Speaker 3: who was like applying the electrodes, and we get a

1389
01:15:20,840 --> 01:15:22,800
Speaker 3: bit of a wizard of Oz like oh and you

1390
01:15:22,920 --> 01:15:24,920
Speaker 3: were there, and you were there. We got one of

1391
01:15:24,960 --> 01:15:30,040
Speaker 3: those moments. And then twist, twist, twist. It turns out

1392
01:15:30,120 --> 01:15:32,960
Speaker 3: this is a movie in a movie in a movie,

1393
01:15:33,920 --> 01:15:36,439
Speaker 3: and we see a couple of youths at a modern

1394
01:15:36,560 --> 01:15:42,600
Speaker 3: drive in watching this film, the film of Florence inside

1395
01:15:43,200 --> 01:15:47,920
Speaker 3: the mental institute. So they're upset about this. They're like,

1396
01:15:48,000 --> 01:15:52,400
Speaker 3: what's it was all a dream? What a terrible ending?

1397
01:15:52,479 --> 01:15:56,400
Speaker 3: This is corny, And then we are treated with a

1398
01:15:56,560 --> 01:15:59,760
Speaker 3: final scare in which Anne Bowman jumps out of the

1399
01:15:59,800 --> 01:16:04,400
Speaker 3: back seed of their car wielding a butcher knife. Yea

1400
01:16:04,840 --> 01:16:06,479
Speaker 3: then we cut to the go Go Dan serum, we

1401
01:16:06,520 --> 01:16:08,320
Speaker 3: get some credits. I love it.

1402
01:16:08,439 --> 01:16:10,840
Speaker 2: Yeah, they just to drive home that this was all

1403
01:16:10,880 --> 01:16:15,080
Speaker 2: about laughs guys. Yeah, and I also I do love

1404
01:16:15,160 --> 01:16:17,519
Speaker 2: that the initial twist of like, oh no, it's the

1405
01:16:17,800 --> 01:16:22,960
Speaker 2: electroshock scenario. It does seem to reference, of course overtly

1406
01:16:23,600 --> 01:16:25,680
Speaker 2: the Wizard of Oz that they and you were there

1407
01:16:25,680 --> 01:16:28,639
Speaker 2: and you were there, but also nineteen eighty five's Returned

1408
01:16:28,680 --> 01:16:32,759
Speaker 2: to Oz, in which electroshock therapy is plays a major

1409
01:16:32,960 --> 01:16:35,799
Speaker 2: plot point in the you know, the non Oz portions

1410
01:16:35,800 --> 01:16:39,240
Speaker 2: of the film. Yeah, so yeah, they they ended with laughs,

1411
01:16:39,479 --> 01:16:42,799
Speaker 2: end it very broadly and ridiculously, you know, repeat yourself.

1412
01:16:42,840 --> 01:16:46,720
Speaker 2: It's just a show that's sort of a feel. But yeah,

1413
01:16:46,840 --> 01:16:49,040
Speaker 2: this one was. This was such a fun film, you know,

1414
01:16:49,160 --> 01:16:51,439
Speaker 2: never a dull moment, a lot of a lot of laughs,

1415
01:16:52,800 --> 01:16:57,120
Speaker 2: and not everything necessarily lands. And this is I think

1416
01:16:57,160 --> 01:16:59,960
Speaker 2: I've got to come back to the Strangers with Candy compare,

1417
01:17:00,280 --> 01:17:02,000
Speaker 2: and you know, like this is this is again a

1418
01:17:02,240 --> 01:17:06,840
Speaker 2: nineteen eighties like late eighties comedy that was adapted to

1419
01:17:07,040 --> 01:17:11,960
Speaker 2: a two thousand comedy film. So not all the comedy,

1420
01:17:12,640 --> 01:17:15,240
Speaker 2: especially since it's you know, it's kind of burless dragstyle

1421
01:17:15,360 --> 01:17:18,000
Speaker 2: humor of the time period. Not everything's going to necessarily

1422
01:17:18,080 --> 01:17:23,120
Speaker 2: translate as well to for modern viewers, but for the

1423
01:17:23,160 --> 01:17:24,880
Speaker 2: most part it works really well. And yeah, if you're

1424
01:17:24,960 --> 01:17:27,200
Speaker 2: if you're a fan of things like Strangers with Candy,

1425
01:17:27,520 --> 01:17:30,200
Speaker 2: if you're a fan of John Waters films and anything

1426
01:17:30,320 --> 01:17:32,280
Speaker 2: like that, I highly recommend it. I think it's a

1427
01:17:32,360 --> 01:17:33,120
Speaker 2: really fun flick.

1428
01:17:33,439 --> 01:17:36,680
Speaker 3: It definitely deserves a larger audience. So even if you

1429
01:17:36,920 --> 01:17:39,439
Speaker 3: listener want to be just one more person who has

1430
01:17:39,479 --> 01:17:42,160
Speaker 3: said that they've seen Psycho Beach Party, I recommend that

1431
01:17:42,240 --> 01:17:42,560
Speaker 3: you do that.

1432
01:17:43,200 --> 01:17:46,000
Speaker 2: Yeah. Yeah, if you're fans in any of the actors

1433
01:17:46,040 --> 01:17:48,760
Speaker 2: are creatives involved here, are definitely worth looking them up.

1434
01:17:48,920 --> 01:17:50,840
Speaker 2: And if you just just want to want a surf movie,

1435
01:17:50,920 --> 01:17:52,880
Speaker 2: you just want to go to a beach party, and

1436
01:17:53,200 --> 01:17:54,920
Speaker 2: we do get a beach party. Late. We didn't really

1437
01:17:54,960 --> 01:17:56,679
Speaker 2: talk about this much, but this is this whole scene

1438
01:17:56,680 --> 01:17:59,400
Speaker 2: where there the surfers are going to do a virgin

1439
01:17:59,520 --> 01:18:04,280
Speaker 2: sacrifice to some sort of a god, and of course

1440
01:18:04,360 --> 01:18:06,560
Speaker 2: chick Lit ends up she's going to be the virgin sacrifice,

1441
01:18:06,600 --> 01:18:10,880
Speaker 2: but then goes into Ann Bowman mode mid sacrifice, and

1442
01:18:10,960 --> 01:18:13,599
Speaker 2: they're like, oh, and Bowman's not a virgin. We can't

1443
01:18:13,680 --> 01:18:15,280
Speaker 2: do this shuts the whole thing down.

1444
01:18:16,040 --> 01:18:19,879
Speaker 3: And there's of course a dance off between Tina Barnes

1445
01:18:20,160 --> 01:18:24,240
Speaker 3: and marvel Anne, which is really wonderful. I mean, like

1446
01:18:24,680 --> 01:18:28,559
Speaker 3: all the tropes from a beach movie are in here,

1447
01:18:29,120 --> 01:18:31,320
Speaker 3: and yeah, we skipped over pretty much all of the middle.

1448
01:18:31,479 --> 01:18:34,240
Speaker 3: So there's a lot to enjoy and have unfold for you,

1449
01:18:34,400 --> 01:18:35,639
Speaker 3: even if you've heard our description.

1450
01:18:36,120 --> 01:18:38,519
Speaker 2: Yeah, and if you know the spoiler, it doesn't matter.

1451
01:18:39,680 --> 01:18:40,840
Speaker 2: Does not really depend on.

1452
01:18:41,040 --> 01:18:42,960
Speaker 3: Knowing or not knowing this, I mean it is it

1453
01:18:43,280 --> 01:18:45,920
Speaker 3: does feel actually like like I said, very Scooby Doo

1454
01:18:45,960 --> 01:18:48,400
Speaker 3: and like, wait, who's the killer that person that we

1455
01:18:48,520 --> 01:18:49,840
Speaker 3: saw once an hour ago?

1456
01:18:50,280 --> 01:18:50,320
Speaker 2: What?

1457
01:18:51,920 --> 01:18:54,880
Speaker 3: Yeah, yeah, it doesn't really factor in. I think. I

1458
01:18:54,920 --> 01:18:57,439
Speaker 3: think the way they discover it is they see a

1459
01:18:57,600 --> 01:19:00,519
Speaker 3: picture of the child who you used to live in

1460
01:19:00,560 --> 01:19:03,080
Speaker 3: the house and they get out a felt tip pen

1461
01:19:03,240 --> 01:19:07,280
Speaker 3: and draw the horn rimmed glasses. Yeah, fars I have

1462
01:19:07,360 --> 01:19:13,720
Speaker 3: the photoco like it's him, so good, so good.

1463
01:19:14,040 --> 01:19:16,000
Speaker 2: Yeah all right, Steph, Well, I've got I got a

1464
01:19:16,000 --> 01:19:19,040
Speaker 2: two part question for you. First of all, on Rusty

1465
01:19:19,080 --> 01:19:24,479
Speaker 2: Needles Record Club, have you ever discussed surf beach party music?

1466
01:19:24,720 --> 01:19:27,360
Speaker 2: And either way what have you been talking about recently

1467
01:19:27,360 --> 01:19:29,519
Speaker 2: on Rusty Needles Record Club and where can folks.

1468
01:19:29,320 --> 01:19:32,679
Speaker 3: Listen to it? Yes, we have discussed surf and beach

1469
01:19:32,800 --> 01:19:36,800
Speaker 3: music in particular around let's see what have been around

1470
01:19:36,920 --> 01:19:40,800
Speaker 3: Halloween of this last year. One of the things I

1471
01:19:41,000 --> 01:19:44,519
Speaker 3: love about the nineteen sixties is that a lot of

1472
01:19:44,680 --> 01:19:47,519
Speaker 3: trends happened around the same time, and so they all

1473
01:19:47,760 --> 01:19:52,040
Speaker 3: kind of overlapped. Like you know, there was there was

1474
01:19:52,120 --> 01:19:55,040
Speaker 3: a monster craze in the nineteen sixties at the same

1475
01:19:55,120 --> 01:19:57,720
Speaker 3: time that there was a beach craze happening. So there

1476
01:19:57,800 --> 01:20:01,519
Speaker 3: are a lot of gosh, what's what's the word for it,

1477
01:20:01,720 --> 01:20:05,360
Speaker 3: I guess synergies. And so we were covering a lot

1478
01:20:05,479 --> 01:20:10,400
Speaker 3: of the the monster craze, beach music and surf music

1479
01:20:10,640 --> 01:20:15,439
Speaker 3: from the nineteen sixties this last October, and gosh, it's fun.

1480
01:20:15,640 --> 01:20:18,080
Speaker 3: It's such a fun, fun genre. In fact, as long

1481
01:20:18,120 --> 01:20:22,880
Speaker 3: as I'm talking about sixties movie monster surf music, I

1482
01:20:23,000 --> 01:20:26,040
Speaker 3: will mention one of my favorite compilations of that era.

1483
01:20:26,880 --> 01:20:31,320
Speaker 3: It's a three disc set called Halloween Nuggets Monster Sixties

1484
01:20:31,360 --> 01:20:37,320
Speaker 3: A Go Go Oh. It's like every novelty sixties surf

1485
01:20:37,560 --> 01:20:42,560
Speaker 3: monster song that's ever existed all in one collection. It's incredible.

1486
01:20:42,760 --> 01:20:45,799
Speaker 3: So yeah, yeah check that out. Halloween Nuggets, Monster Sixties

1487
01:20:45,840 --> 01:20:46,920
Speaker 3: A go go have a good time.

1488
01:20:47,360 --> 01:20:49,880
Speaker 2: Oh wow, I just looked this up. This this does

1489
01:20:49,960 --> 01:20:50,519
Speaker 2: look amazing.

1490
01:20:50,800 --> 01:20:53,400
Speaker 3: It's really good and if you can't track that down.

1491
01:20:54,479 --> 01:20:58,000
Speaker 3: It was very much inspired by these series of compilations

1492
01:20:58,160 --> 01:21:02,760
Speaker 3: called Lux and Ivy's Favorites, which was just a fan

1493
01:21:02,880 --> 01:21:05,920
Speaker 3: made compilation of all the music that Lux and Ivy

1494
01:21:06,000 --> 01:21:09,639
Speaker 3: from the Cramps really enjoy. There are I think eighteen

1495
01:21:09,840 --> 01:21:12,080
Speaker 3: volumes of it at this point. Another place you can

1496
01:21:12,120 --> 01:21:14,720
Speaker 3: get really good just kind of like spooky out there,

1497
01:21:14,880 --> 01:21:19,639
Speaker 3: like psychobilly and like surf music. So yeah, anyway, if

1498
01:21:19,680 --> 01:21:22,679
Speaker 3: you like music, talk, that's what I do on Rusty

1499
01:21:22,760 --> 01:21:25,120
Speaker 3: Needles Record Club every week. And what have we been

1500
01:21:25,200 --> 01:21:28,400
Speaker 3: up to lately? To answer your other question, Robert, we

1501
01:21:28,479 --> 01:21:32,040
Speaker 3: are currently doing a alphabetical trip through the record store

1502
01:21:32,120 --> 01:21:35,400
Speaker 3: where each week we are going one letter deeper into

1503
01:21:35,439 --> 01:21:38,840
Speaker 3: the alphabet and we're trading between our listeners, myself and

1504
01:21:38,920 --> 01:21:42,280
Speaker 3: my co host and deciding which album is next. So

1505
01:21:42,840 --> 01:21:45,639
Speaker 3: let's see. We did o Toboke Beaver this last week,

1506
01:21:45,960 --> 01:21:50,000
Speaker 3: an incredible punk band from Japan. I believe next week

1507
01:21:50,040 --> 01:21:53,760
Speaker 3: we're doing the Pete's Dragon soundtrack, which is utterly ridiculous.

1508
01:21:53,920 --> 01:21:57,400
Speaker 3: Oh wow, and the ultimate goal. If you've never heard

1509
01:21:57,439 --> 01:21:59,720
Speaker 3: my show before, Rusty Needles Record Club is a show

1510
01:21:59,760 --> 01:22:03,040
Speaker 3: where I am going to listen to every single album

1511
01:22:03,120 --> 01:22:06,240
Speaker 3: that has ever existed. I am greedy in my music

1512
01:22:06,320 --> 01:22:08,640
Speaker 3: consumption and I must hear it all and then I

1513
01:22:08,720 --> 01:22:10,560
Speaker 3: must talk about it with my friends, because that's what

1514
01:22:10,640 --> 01:22:14,280
Speaker 3: I enjoy doing. So so far, so good, so far.

1515
01:22:14,400 --> 01:22:17,320
Speaker 3: I am on track to listen to every album ever made.

1516
01:22:17,880 --> 01:22:20,800
Speaker 3: We do one episode per week, every Friday, and it

1517
01:22:20,960 --> 01:22:24,160
Speaker 3: is one album per episode, and it's a fun time

1518
01:22:24,280 --> 01:22:28,600
Speaker 3: and ultimately we are very genre agnostic, and it's just

1519
01:22:28,800 --> 01:22:32,280
Speaker 3: about being a music fan. It's about loving all music

1520
01:22:32,360 --> 01:22:35,040
Speaker 3: and wanting to hear everything that's ever been So that's

1521
01:22:35,120 --> 01:22:37,160
Speaker 3: that's Rusty Needles Record Club. It's a fun series.

1522
01:22:37,360 --> 01:22:41,120
Speaker 2: It's a noble suit and yeah, I encourage the listeners to,

1523
01:22:41,479 --> 01:22:43,320
Speaker 2: if nothing else, check in and just take a look,

1524
01:22:43,360 --> 01:22:46,880
Speaker 2: because whatever genre you're into, there's a very good chance

1525
01:22:46,960 --> 01:22:48,800
Speaker 2: you guys have touched on it at one point or another.

1526
01:22:49,280 --> 01:22:51,840
Speaker 3: Very true. We want it all, we'll cover it all

1527
01:22:52,320 --> 01:22:52,800
Speaker 3: all right.

1528
01:22:53,600 --> 01:22:55,640
Speaker 2: Well, Seth, thanks for coming on the show. Again and

1529
01:22:55,680 --> 01:22:58,559
Speaker 2: chatting about movies. I'm sure we'll ask you back again

1530
01:22:58,600 --> 01:23:02,479
Speaker 2: in the future. Here just a reminder to everybody out there,

1531
01:23:02,920 --> 01:23:06,479
Speaker 2: Weird House Cinema occurs Fridays in the Stuff to Blow

1532
01:23:06,520 --> 01:23:10,040
Speaker 2: Your Mind podcast Feed. Podcast Feed is primarily concerned with

1533
01:23:10,280 --> 01:23:12,960
Speaker 2: science and culture, but on Fridays we set aside most

1534
01:23:13,040 --> 01:23:15,680
Speaker 2: serious concerns to just talk about a weird film on

1535
01:23:15,840 --> 01:23:18,599
Speaker 2: Weird House Cinema. If you want a list of all

1536
01:23:18,720 --> 01:23:21,599
Speaker 2: the movies we've covered thus far, as well as sometimes

1537
01:23:21,640 --> 01:23:23,320
Speaker 2: a peek ahead at what's coming out next, go to

1538
01:23:23,439 --> 01:23:25,479
Speaker 2: letterbox dot com. It's l E T T E R

1539
01:23:25,600 --> 01:23:28,560
Speaker 2: B O x D dot com. Our user profile on

1540
01:23:28,640 --> 01:23:30,840
Speaker 2: there is weird House, and there is in fact a list,

1541
01:23:31,479 --> 01:23:33,200
Speaker 2: and it's fun to interact with. If you can, you know,

1542
01:23:33,360 --> 01:23:36,960
Speaker 2: divide things up by genre a decade, and just in general,

1543
01:23:37,160 --> 01:23:39,120
Speaker 2: you know, you can give your own little reviews and

1544
01:23:39,680 --> 01:23:43,120
Speaker 2: cataloging and wish lists for films that you've watched or

1545
01:23:43,160 --> 01:23:45,680
Speaker 2: wished to watch in the future. Thanks as always to

1546
01:23:45,800 --> 01:23:49,800
Speaker 2: jj Possway the excellent Jjpossway for producing this show, and

1547
01:23:49,880 --> 01:23:51,720
Speaker 2: if you want to get in touch with us, you

1548
01:23:51,800 --> 01:23:55,760
Speaker 2: can email Joe and myself at contact at Stuff to

1549
01:23:55,760 --> 01:23:57,280
Speaker 2: Blow Your Mind dot com.

1550
01:24:03,800 --> 01:24:06,720
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1551
01:24:06,840 --> 01:24:10,640
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1552
01:24:10,760 --> 01:24:12,479
Speaker 1: or wherever you listen to your favorite shows.