1 00:00:18,340 --> 00:00:21,480 Speaker 1: Good people of Hollywood land, my name is Zeth Lundy, writer, showrunner, 2 00:00:21,560 --> 00:00:24,720 Speaker 1: and good doctor here at Double Elvis, and it is Friday, 3 00:00:25,100 --> 00:00:27,840 Speaker 1: which means it's time yet again for another installment of 4 00:00:27,880 --> 00:00:30,760 Speaker 1: The Screening Room, our weekly episode of the podcast. in 5 00:00:30,780 --> 00:00:32,479 Speaker 1: which we watch a movie that has something to do 6 00:00:32,500 --> 00:00:35,320 Speaker 1: with our main episode's subject and themes of the week, 7 00:00:35,740 --> 00:00:38,060 Speaker 1: and then we talk about it. This week, we ran 8 00:00:38,100 --> 00:00:41,879 Speaker 1: our fully scripted and sound design episode on Jane Mansfield 9 00:00:42,000 --> 00:00:45,180 Speaker 1: and her strange relationship with the founder of the Church 10 00:00:45,220 --> 00:00:49,290 Speaker 1: of Satan, Anton LaVey. We also disrupted the long-running myth 11 00:00:49,650 --> 00:00:53,490 Speaker 1: that she was decapitated upon her death. She was involved 12 00:00:53,550 --> 00:00:57,209 Speaker 1: in a gruesome car crash in 1967, and she was 13 00:00:57,290 --> 00:01:01,030 Speaker 1: killed along with her boyfriend, Sam Brody. and the car's driver, 14 00:01:01,090 --> 00:01:05,240 Speaker 1: Ronnie Harrison, but no one was decapitated despite that legend. 15 00:01:06,120 --> 00:01:09,540 Speaker 1: Surviving the crash in the backseat were three of her 16 00:01:09,600 --> 00:01:14,580 Speaker 1: five children, including Mariska Hargitay, who grew up to become 17 00:01:14,600 --> 00:01:16,810 Speaker 1: an actress in her own right and is probably best 18 00:01:16,870 --> 00:01:20,970 Speaker 1: known for her long-time role in Law & Order SVU. 19 00:01:22,130 --> 00:01:26,209 Speaker 1: Jane Mansfield had a fascinating film career, like fellow on-screen 20 00:01:26,250 --> 00:01:30,009 Speaker 1: blonde bombshell Marilyn Monroe. She was In some noirs early 21 00:01:30,170 --> 00:01:34,569 Speaker 1: on in her career, movies like Female Jungle and Illegal, 22 00:01:34,870 --> 00:01:38,209 Speaker 1: the latter with Edward G. Robinson. And then, of course, 23 00:01:38,830 --> 00:01:40,890 Speaker 1: The Girl Can't Help It. Not a great movie, but 24 00:01:40,970 --> 00:01:44,590 Speaker 1: a major movie in the trajectory of rock and roll 25 00:01:44,630 --> 00:01:47,870 Speaker 1: because of its Little Richard performance and how that performance 26 00:01:47,890 --> 00:01:49,850 Speaker 1: and that film made it across the pond to people 27 00:01:49,890 --> 00:01:53,090 Speaker 1: like the Beatles. And then also films like Will Success 28 00:01:53,130 --> 00:01:56,830 Speaker 1: Spoil Rock Hunter, a satire in which she co-starred alongside 29 00:01:56,890 --> 00:01:59,960 Speaker 1: Tony Randall. But here we are at the end of October, 30 00:02:00,720 --> 00:02:03,850 Speaker 1: one day away from Halloween, and I decided to feature 31 00:02:03,870 --> 00:02:06,630 Speaker 1: a movie here in the screening room today that is 32 00:02:06,670 --> 00:02:09,510 Speaker 1: not a Jane Mansfield movie, but which connects a bit 33 00:02:09,570 --> 00:02:13,290 Speaker 1: thematically in a few different ways. One being the gnarly 34 00:02:13,340 --> 00:02:17,440 Speaker 1: myth of Jane Mansfield's decapitation, and the other being her 35 00:02:17,580 --> 00:02:21,120 Speaker 1: proximity to the Church of Satan. And for those reasons, 36 00:02:21,260 --> 00:02:26,480 Speaker 1: I chose Ari Aster's 2018 horror film, Hereditary. I do 37 00:02:26,500 --> 00:02:28,220 Speaker 1: this in good faith, by the way, not as some 38 00:02:28,540 --> 00:02:31,620 Speaker 1: morbid joke. I hope no one takes offense by my 39 00:02:31,680 --> 00:02:35,600 Speaker 1: linking the Jane Mansfield story to this film in that way, 40 00:02:36,380 --> 00:02:38,900 Speaker 1: but it just seems to make sense to me. And 41 00:02:38,919 --> 00:02:42,720 Speaker 1: I believe truly that Hereditary is one of the great 42 00:02:42,940 --> 00:02:47,120 Speaker 1: debut films of all time. It's unbelievable how good this 43 00:02:47,200 --> 00:02:50,390 Speaker 1: film is when you realize it was Ari Aster's first 44 00:02:50,730 --> 00:02:53,720 Speaker 1: feature film. Prior to this, as a student at the 45 00:02:53,790 --> 00:02:57,220 Speaker 1: AFI Conservatory, he had made two short films, The Strange 46 00:02:57,260 --> 00:03:02,079 Speaker 1: Thing About the Johnsons and Munchausen. The former, The Strange 47 00:03:02,120 --> 00:03:05,760 Speaker 1: Thing About the Johnsons, that was leaked online in 2011, 48 00:03:05,760 --> 00:03:08,470 Speaker 1: and it created this buzz, not only because people liked it, 49 00:03:09,060 --> 00:03:11,720 Speaker 1: but because just as many people hated it, because it 50 00:03:11,760 --> 00:03:16,119 Speaker 1: was daring, it was shocking, it dared to tell the 51 00:03:16,180 --> 00:03:19,700 Speaker 1: shocking story of a black middle-class family who harbored a 52 00:03:19,800 --> 00:03:22,820 Speaker 1: dark secret, a secret that The son had been sexually 53 00:03:22,840 --> 00:03:27,700 Speaker 1: abusing the father for years. I haven't seen that film. 54 00:03:28,419 --> 00:03:30,800 Speaker 1: I believe you can watch it on YouTube. Because if 55 00:03:30,840 --> 00:03:33,200 Speaker 1: I'm being completely honest, I don't know that I want 56 00:03:33,240 --> 00:03:36,380 Speaker 1: to see that film, even from an academic point of view. 57 00:03:36,440 --> 00:03:38,780 Speaker 1: Many who have seen it have said it's one of 58 00:03:38,810 --> 00:03:42,410 Speaker 1: the most disturbing things they've watched. And of course, I'm 59 00:03:42,470 --> 00:03:45,890 Speaker 1: sure this was Ari Aster's intent. He's always been interested 60 00:03:45,930 --> 00:03:48,430 Speaker 1: in pushing against the coming tide. He's a bit of 61 00:03:48,490 --> 00:03:51,920 Speaker 1: a provocateur in that way. And from what he said, 62 00:03:51,940 --> 00:03:55,560 Speaker 1: the idea for that short film was born out of 63 00:03:55,600 --> 00:03:58,160 Speaker 1: this conversation that he had with the actor who plays 64 00:03:58,200 --> 00:04:01,900 Speaker 1: the son, a conversation about the most taboo subjects for 65 00:04:02,000 --> 00:04:05,660 Speaker 1: a movie, which then turned into a conversation about subjects 66 00:04:05,690 --> 00:04:10,190 Speaker 1: that transcend taboo, things which you could never imagine seeing 67 00:04:10,730 --> 00:04:13,750 Speaker 1: in a film. There are many things you see in 68 00:04:13,790 --> 00:04:17,890 Speaker 1: Hereditary that you could never have imagined seeing or hearing before. 69 00:04:18,330 --> 00:04:20,370 Speaker 1: Spoiler alert, because I'm coming right out of the gate. 70 00:04:20,950 --> 00:04:25,529 Speaker 1: fully spoiling what happens in this thing, okay? You can 71 00:04:25,570 --> 00:04:28,479 Speaker 1: never imagine that one of the characters that you thought 72 00:04:28,900 --> 00:04:32,400 Speaker 1: was a lead would be decapitated so early on in 73 00:04:32,420 --> 00:04:35,359 Speaker 1: the film, a child, no less. You could never imagine 74 00:04:35,880 --> 00:04:38,059 Speaker 1: a mother cutting off her own head with piano wire. 75 00:04:38,400 --> 00:04:41,440 Speaker 1: You could never imagine the sound of a clicking tongue 76 00:04:41,600 --> 00:04:44,880 Speaker 1: haunting you for weeks and months after you watch this 77 00:04:45,080 --> 00:04:48,690 Speaker 1: for the first time. I mean, you could imagine these things, 78 00:04:48,790 --> 00:04:53,260 Speaker 1: of course. I'm not saying it's impossible, but Ari Aster 79 00:04:53,300 --> 00:04:56,880 Speaker 1: has this brazen quality as a first-time director to completely 80 00:04:57,050 --> 00:05:01,850 Speaker 1: erase the guardrails. There is a confidence here with the vision, right? 81 00:05:01,950 --> 00:05:06,070 Speaker 1: It's so patently disturbing and yet so rooted in domesticity 82 00:05:06,589 --> 00:05:10,980 Speaker 1: that the wildest, most unhinged aspect of the plot, the 83 00:05:11,020 --> 00:05:14,840 Speaker 1: part of the plot about a demon king summoned from 84 00:05:14,880 --> 00:05:17,880 Speaker 1: the depths of hell to take human form and reclaim 85 00:05:17,920 --> 00:05:22,339 Speaker 1: his long dormant power This all feels so real. I 86 00:05:22,440 --> 00:05:26,000 Speaker 1: think that's why the film is so frightening. And it 87 00:05:26,140 --> 00:05:30,190 Speaker 1: also feels like something new within the form. Talked about 88 00:05:31,210 --> 00:05:35,570 Speaker 1: the new Nathan Fielder, Lance Oppenheim documentary. You can see 89 00:05:35,710 --> 00:05:40,290 Speaker 1: everything earlier this week in the wrap party and about, uh, 90 00:05:40,750 --> 00:05:44,380 Speaker 1: talked with Jake from disgrace land about movies and albums 91 00:05:44,400 --> 00:05:46,780 Speaker 1: that sort of broke the mold and did things differently. Uh, 92 00:05:47,600 --> 00:05:51,420 Speaker 1: And I think it applies here to this film as well, 93 00:05:51,480 --> 00:05:55,420 Speaker 1: to Ari Aster and to Hereditary. It's like Terrence Malick 94 00:05:55,460 --> 00:05:58,800 Speaker 1: in Badlands or Francois Truffaut in The 400 Blows or 95 00:05:59,279 --> 00:06:03,480 Speaker 1: Spike Jonze in Being John Malkovich. We'd seen surreal comedy before, 96 00:06:03,860 --> 00:06:06,200 Speaker 1: but never like that. We never found a way inside 97 00:06:06,220 --> 00:06:09,940 Speaker 1: the mind of an actual actor via this awkward puppeteer 98 00:06:10,350 --> 00:06:13,360 Speaker 1: like Spike Jonze did. in being John Malkovich. We'd never 99 00:06:13,400 --> 00:06:17,780 Speaker 1: seen adolescence with total rawness and zero sentimentality like we 100 00:06:17,820 --> 00:06:22,099 Speaker 1: did with Truffaut and the 400 Blows. Terrence Malick infused 101 00:06:22,120 --> 00:06:24,960 Speaker 1: the crime drama with this sense of poetry, right? I 102 00:06:25,020 --> 00:06:26,880 Speaker 1: find Ari Aster to be on the level with these 103 00:06:26,980 --> 00:06:29,159 Speaker 1: other dudes, just like his film is on the level 104 00:06:29,520 --> 00:06:33,859 Speaker 1: with new Hollywood horror classics like The Exorcist and Rosemary's Baby. 105 00:06:34,360 --> 00:06:37,000 Speaker 1: And I say this, and I praise this as my 106 00:06:38,550 --> 00:06:42,589 Speaker 1: platonic ideal for a horror film fully recognizing that I 107 00:06:42,630 --> 00:06:45,330 Speaker 1: have a troubled history with the horror genre. I'll be 108 00:06:45,370 --> 00:06:48,030 Speaker 1: upfront about it. And not even in like the, I 109 00:06:48,070 --> 00:06:50,830 Speaker 1: scare easy part of the equation. I'm fine with being scared. 110 00:06:51,860 --> 00:06:54,300 Speaker 1: Even if in the moment it completely terrifies me, I 111 00:06:54,320 --> 00:06:57,080 Speaker 1: have a harder time with gore and with depravity. And 112 00:06:57,100 --> 00:07:00,140 Speaker 1: that covers a whole wide swath of horror from the 113 00:07:00,180 --> 00:07:03,950 Speaker 1: Texas chainsaw massacre to the saw franchise. It also covers 114 00:07:04,050 --> 00:07:06,450 Speaker 1: decades of body horror films, which I also have a 115 00:07:06,470 --> 00:07:09,650 Speaker 1: hard time with. I made a big stink recently. entering 116 00:07:09,670 --> 00:07:12,490 Speaker 1: my David Cronenberg phase over on Substack, and I haven't 117 00:07:12,910 --> 00:07:15,930 Speaker 1: even followed through as I intended because I keep hesitating 118 00:07:16,470 --> 00:07:18,530 Speaker 1: to fully get in there, right? It's almost like a 119 00:07:18,790 --> 00:07:22,290 Speaker 1: synesthesia thing for me, in a way. I see or 120 00:07:22,310 --> 00:07:25,110 Speaker 1: I hear stuff like that, and I get this overwhelming 121 00:07:25,190 --> 00:07:27,330 Speaker 1: feeling of like, I don't know, like I need to 122 00:07:27,370 --> 00:07:29,570 Speaker 1: wash my hands or something. I can't quite explain it. 123 00:07:29,630 --> 00:07:32,770 Speaker 1: So I've always shied away from so many kinds of 124 00:07:32,810 --> 00:07:36,720 Speaker 1: horror films, while at the same time leaning into I 125 00:07:36,760 --> 00:07:39,620 Speaker 1: know it sounds so bougie, but like elevated horror, I guess? 126 00:07:40,020 --> 00:07:43,150 Speaker 1: I don't know. This is definitely trauma horror, but it's 127 00:07:43,190 --> 00:07:46,330 Speaker 1: not in a bad way. It's kind of about the 128 00:07:46,390 --> 00:07:49,890 Speaker 1: horror of being in a family, the horror of becoming 129 00:07:50,210 --> 00:07:52,030 Speaker 1: your mother or your father, or in the case of 130 00:07:52,090 --> 00:07:55,290 Speaker 1: Toni Collette's character, Annie Graham, the horror that you could 131 00:07:55,330 --> 00:07:59,850 Speaker 1: possess the same mental illnesses that had run through your family, depression, schizophrenia. 132 00:08:00,230 --> 00:08:03,070 Speaker 1: Although unbeknownst to any of the people in this family, 133 00:08:03,630 --> 00:08:08,260 Speaker 1: there's another horror here, an unknowable horror, something that the 134 00:08:08,300 --> 00:08:11,140 Speaker 1: grandmother is going to pass on, which goes back to 135 00:08:11,190 --> 00:08:15,330 Speaker 1: this idea about things you can't imagine, right? The horror 136 00:08:15,410 --> 00:08:19,130 Speaker 1: of not knowing some hidden secret about someone in your family, 137 00:08:19,390 --> 00:08:22,570 Speaker 1: someone you thought you knew. And then as that secret 138 00:08:22,650 --> 00:08:26,770 Speaker 1: unfolds and as the thread unravels, the horror becomes, you know, 139 00:08:27,090 --> 00:08:29,030 Speaker 1: what if this deep, dark secret that my own mother 140 00:08:29,070 --> 00:08:31,570 Speaker 1: was involved with, what if it's going to come for 141 00:08:31,630 --> 00:08:36,540 Speaker 1: me too, right? There's a fine line between losing your 142 00:08:36,580 --> 00:08:41,360 Speaker 1: mind and having some, you know, legit demonic evil force, 143 00:08:42,660 --> 00:08:44,760 Speaker 1: you know, the spirit of one of the kings of 144 00:08:44,830 --> 00:08:47,530 Speaker 1: hell take you over and take over your family. And 145 00:08:47,570 --> 00:08:50,550 Speaker 1: Toni Collette rides that fine line in what is arguably 146 00:08:50,990 --> 00:08:53,710 Speaker 1: the greatest performance of her career. She should have received 147 00:08:53,750 --> 00:08:57,730 Speaker 1: an Academy Award nomination for this. She should have received 148 00:08:57,750 --> 00:09:01,910 Speaker 1: the award, at least a nomination, but no dice. Olivia 149 00:09:01,950 --> 00:09:04,770 Speaker 1: Colman won for this year playing Queen Anne in The Favourite. 150 00:09:05,770 --> 00:09:09,860 Speaker 1: But Toni Collette, she's like in Jenna Rollins' territory. She's 151 00:09:09,960 --> 00:09:13,100 Speaker 1: in a woman under the influence territory. You're watching her 152 00:09:13,160 --> 00:09:15,940 Speaker 1: life fall apart and her mind come undone. You're watching 153 00:09:15,980 --> 00:09:20,200 Speaker 1: her bounce between the most primal grief and utter terror 154 00:09:20,240 --> 00:09:22,280 Speaker 1: and then this desperate brand of hope when she thinks 155 00:09:22,300 --> 00:09:24,510 Speaker 1: she's found a way out of it all. I think 156 00:09:24,550 --> 00:09:27,110 Speaker 1: she was Ari Aster's first choice for this. And I 157 00:09:27,190 --> 00:09:29,910 Speaker 1: don't know who could have played it better. Maybe Meryl Streep, 158 00:09:30,050 --> 00:09:33,870 Speaker 1: like 20, 30 years earlier. But there's this rawness to 159 00:09:33,929 --> 00:09:38,070 Speaker 1: Toni Collette. Meryl Streep doesn't quite have that allows her 160 00:09:38,090 --> 00:09:42,370 Speaker 1: to vacillate between being the most sympathetic and empathetic character 161 00:09:42,470 --> 00:09:46,070 Speaker 1: on the screen to being one of utter callous disdain 162 00:09:46,190 --> 00:09:52,590 Speaker 1: and disgust. She's feeling callous disdain and disgust for someone else, right? 163 00:09:53,990 --> 00:09:56,830 Speaker 1: It's a movie about being a mom, about all the 164 00:09:56,870 --> 00:09:58,910 Speaker 1: shit moms do for their families and how it goes 165 00:09:59,250 --> 00:10:02,250 Speaker 1: unappreciated and mean, perhaps that's a little on the nose, 166 00:10:02,350 --> 00:10:04,929 Speaker 1: and perhaps I'm allowing the scene at the dinner table. 167 00:10:05,410 --> 00:10:08,770 Speaker 1: I'm thinking of this pivotal scene at the dinner table 168 00:10:09,710 --> 00:10:14,100 Speaker 1: with Toni Collette and Gabriel Byrne playing her husband, and 169 00:10:14,120 --> 00:10:18,420 Speaker 1: then Alex Wolff playing the son, Peter. And Toni Collette 170 00:10:18,460 --> 00:10:22,290 Speaker 1: explodes at the son, tells him that she does all 171 00:10:22,330 --> 00:10:23,930 Speaker 1: these things for him and all she gets back is 172 00:10:23,970 --> 00:10:27,780 Speaker 1: that fucking face on your face is the line. Perhaps 173 00:10:27,820 --> 00:10:29,920 Speaker 1: I'm letting that scene guide me here in my reading 174 00:10:29,940 --> 00:10:33,660 Speaker 1: of this film, but the underappreciated mom angle, I believe, 175 00:10:33,679 --> 00:10:37,640 Speaker 1: is legit. And I realized watching this again for probably 176 00:10:37,679 --> 00:10:41,319 Speaker 1: the seventh or eighth time in my life that if 177 00:10:41,340 --> 00:10:45,330 Speaker 1: you've never seen this movie before, the final third feels 178 00:10:45,670 --> 00:10:48,880 Speaker 1: so bonkers to you when you first watch it. Ari 179 00:10:48,940 --> 00:10:51,959 Speaker 1: Aster does this great job of slowly revealing what is 180 00:10:52,020 --> 00:10:55,320 Speaker 1: going on with this family and what the grandmother was 181 00:10:55,340 --> 00:10:58,090 Speaker 1: getting into and how that's affecting this family. It feels 182 00:10:58,110 --> 00:11:02,210 Speaker 1: like a mystery, like a psychological supernatural thriller at times. 183 00:11:02,710 --> 00:11:04,510 Speaker 1: And the thrill of the ride is how you are 184 00:11:04,570 --> 00:11:07,929 Speaker 1: led down this dark occult tunnel. And when it gets 185 00:11:07,950 --> 00:11:10,270 Speaker 1: to where it's going, it's a huge what the fuck moment. 186 00:11:10,790 --> 00:11:13,170 Speaker 1: And the what the fuckness of it is so massive 187 00:11:13,190 --> 00:11:16,170 Speaker 1: that it sort of obscures your understanding of it a 188 00:11:16,210 --> 00:11:18,710 Speaker 1: little bit, you know? Like it smacks you across the 189 00:11:18,770 --> 00:11:21,290 Speaker 1: face and it dazes you a bit. So it's all 190 00:11:21,330 --> 00:11:24,170 Speaker 1: to say, the first time you watch it, this film 191 00:11:24,210 --> 00:11:26,949 Speaker 1: is a way homer, as Glenn would say in Raising Arizona. 192 00:11:26,970 --> 00:11:29,450 Speaker 1: You only get it on the way home. Or better put, 193 00:11:29,530 --> 00:11:32,770 Speaker 1: this really, really rewards repeated viewings because the more you 194 00:11:32,790 --> 00:11:35,189 Speaker 1: watch it, the more you see all the clues that 195 00:11:35,309 --> 00:11:38,460 Speaker 1: Ari Aster plants from the very first scene. And once 196 00:11:38,500 --> 00:11:40,760 Speaker 1: you know where the film is going, you could pick 197 00:11:40,820 --> 00:11:43,240 Speaker 1: up on these clues and these motifs and And it 198 00:11:43,320 --> 00:11:46,920 Speaker 1: brings the denouement into a very, very clear focus. And 199 00:11:46,960 --> 00:11:49,740 Speaker 1: repeated viewings, by the way, have not lessened this film's 200 00:11:49,780 --> 00:11:52,530 Speaker 1: ability to scare me in the slightest. It's not a 201 00:11:52,570 --> 00:11:54,690 Speaker 1: jump scare film, but it does have a few jump 202 00:11:54,710 --> 00:11:58,930 Speaker 1: scares that are well-earned and not cheap. It's an atmosphere film. 203 00:11:59,010 --> 00:12:01,690 Speaker 1: It's something you can make out hiding in the shadows 204 00:12:01,730 --> 00:12:03,929 Speaker 1: in the corner of the room kind of film. It's 205 00:12:04,010 --> 00:12:08,569 Speaker 1: a stranger smiling you in the wrong way kind of film. 206 00:12:08,610 --> 00:12:12,760 Speaker 1: It's how the score by the brilliant Colin Stetson It's 207 00:12:12,900 --> 00:12:16,219 Speaker 1: always making your stomach turn. This is a film about families, 208 00:12:16,440 --> 00:12:20,870 Speaker 1: about grief, and about loss. It's about seances and miniatures 209 00:12:21,040 --> 00:12:24,510 Speaker 1: and tree houses and the haunting sound of a clicking tongue. 210 00:12:25,010 --> 00:12:26,670 Speaker 1: And we're going to get into it right after this. 211 00:12:51,010 --> 00:12:56,130 Speaker 1: Hereditary opens with a truly Herculean shot. It's a shot 212 00:12:56,690 --> 00:12:59,270 Speaker 1: that basically sets up where this movie will begin and 213 00:12:59,309 --> 00:13:03,010 Speaker 1: where it will end without you even knowing. First, however, 214 00:13:03,809 --> 00:13:07,429 Speaker 1: we get texts on the screen. It's an obituary for 215 00:13:07,450 --> 00:13:10,830 Speaker 1: a 78-year-old woman named Ellen Lee. We learn that she 216 00:13:10,890 --> 00:13:13,750 Speaker 1: died at her daughter Annie's house after a prolonged illness, 217 00:13:14,330 --> 00:13:16,830 Speaker 1: that she was pre-deceased by her husband and her son, 218 00:13:17,309 --> 00:13:20,760 Speaker 1: Annie's brother. And then we get that shot. The camera 219 00:13:20,820 --> 00:13:22,780 Speaker 1: is looking through the window of a house at a 220 00:13:22,860 --> 00:13:26,240 Speaker 1: tree house in the backyard. It slowly pans to the 221 00:13:26,280 --> 00:13:29,880 Speaker 1: right and proceeds to pan around the entire room, revealing 222 00:13:30,400 --> 00:13:33,809 Speaker 1: that we are in a workstation for miniatures. Toni Collette's 223 00:13:33,850 --> 00:13:38,090 Speaker 1: character Annie is an artist who makes miniatures, but more precisely, 224 00:13:38,170 --> 00:13:41,430 Speaker 1: she makes miniatures based on her own life. So as 225 00:13:41,450 --> 00:13:45,130 Speaker 1: the camera finishes panning, it starts to zoom in deliberately 226 00:13:45,309 --> 00:13:48,459 Speaker 1: on a miniature house and a miniature bedroom. where a 227 00:13:48,559 --> 00:13:51,980 Speaker 1: miniature person sleeps in a miniature bed. And as the 228 00:13:52,020 --> 00:13:57,319 Speaker 1: camera gets in close, and the square footage of the 229 00:13:57,360 --> 00:14:00,120 Speaker 1: bedroom is now the frame of the picture, there's a 230 00:14:00,200 --> 00:14:03,559 Speaker 1: seamless transition into this no longer being a miniature scene, 231 00:14:04,260 --> 00:14:07,140 Speaker 1: but it's now a real bedroom. And we watch as 232 00:14:07,179 --> 00:14:10,580 Speaker 1: the father of the family, Stephen, played by Gabriel Byrne, 233 00:14:10,780 --> 00:14:13,400 Speaker 1: opens the door, walks up to his son, who's sleeping 234 00:14:13,420 --> 00:14:16,360 Speaker 1: in bed, wakes him up for the funeral. of the grandmother, 235 00:14:16,480 --> 00:14:19,420 Speaker 1: Annie's mother, who has just passed away. Peter, the son, 236 00:14:19,460 --> 00:14:22,500 Speaker 1: is 16, and his sister, Charlie, is 13. They find 237 00:14:22,560 --> 00:14:24,920 Speaker 1: Charlie not in her room, but asleep in the tree 238 00:14:24,960 --> 00:14:27,600 Speaker 1: house out back. And as this film starts, it's a 239 00:14:27,660 --> 00:14:30,740 Speaker 1: fairly typical portrait of, you know, a dad trying to 240 00:14:30,760 --> 00:14:33,740 Speaker 1: arouse his sleepy teenage kids to go to a funeral 241 00:14:33,760 --> 00:14:36,979 Speaker 1: that they probably don't want to go to, while the mom, who's, 242 00:14:37,580 --> 00:14:40,660 Speaker 1: you know, in sort of this like fog of grief, 243 00:14:41,250 --> 00:14:44,950 Speaker 1: is waiting in the car outside the house. At the funeral, 244 00:14:45,110 --> 00:14:48,670 Speaker 1: there's this big photo on display of Ellen, deceased grandmother. 245 00:14:49,130 --> 00:14:51,230 Speaker 1: It strikes me as a little creepy, only because she 246 00:14:51,270 --> 00:14:54,369 Speaker 1: looks so happy in the photo, and the score is 247 00:14:54,490 --> 00:14:57,690 Speaker 1: so unsettling at the same time. Even more creepy is 248 00:14:57,730 --> 00:15:00,890 Speaker 1: some guy near the casket who gives Charlie this weird grin. 249 00:15:01,370 --> 00:15:04,310 Speaker 1: But you know, funerals are strange, and people act strangely 250 00:15:04,390 --> 00:15:07,369 Speaker 1: around grieving people, so you're not entirely sure how to 251 00:15:07,410 --> 00:15:11,010 Speaker 1: react to this. It's at this funeral that we're introduced 252 00:15:11,030 --> 00:15:13,480 Speaker 1: to two things about Charlie. First of all, she has 253 00:15:13,520 --> 00:15:16,270 Speaker 1: a tick. she makes this clicking sound with her tongue. 254 00:15:16,770 --> 00:15:20,500 Speaker 1: Second of all, she is allergic to nuts. She's eating 255 00:15:20,540 --> 00:15:22,600 Speaker 1: a chocolate bar and both her mom and her dad 256 00:15:23,020 --> 00:15:26,500 Speaker 1: point out the common, you know, there's no nuts in that, right? 257 00:15:26,520 --> 00:15:28,400 Speaker 1: Because they didn't bring the EpiPen and they don't want 258 00:15:28,420 --> 00:15:31,880 Speaker 1: to have a situation on their hands. Both of these 259 00:15:31,900 --> 00:15:34,870 Speaker 1: things just seem like, you know, facts about this character, 260 00:15:34,990 --> 00:15:38,150 Speaker 1: idiosyncrasies or whatever, but they will soon come to represent 261 00:15:38,190 --> 00:15:42,430 Speaker 1: something much more. And in fact, the clicking sound that 262 00:15:42,470 --> 00:15:46,930 Speaker 1: Charlie makes will become this mnemonic for the great horror 263 00:15:47,010 --> 00:15:50,220 Speaker 1: that is at the core of this movie. Back home, 264 00:15:50,860 --> 00:15:53,340 Speaker 1: Annie is preparing her latest art exhibit. She's working on 265 00:15:53,880 --> 00:15:56,520 Speaker 1: the scene where her mother is in the hospital. She 266 00:15:56,580 --> 00:15:59,470 Speaker 1: talks to Charlie about how she was their grandmother's favorite, 267 00:15:59,540 --> 00:16:01,950 Speaker 1: so much so that she insisted on feeding Charlie when 268 00:16:01,970 --> 00:16:04,630 Speaker 1: Charlie was a baby. And Charlie makes this comment that 269 00:16:05,110 --> 00:16:07,890 Speaker 1: her grandmother always wished she had been a boy. Again, 270 00:16:07,910 --> 00:16:10,500 Speaker 1: it's little things like this that Ari Aster is seeding 271 00:16:10,600 --> 00:16:12,920 Speaker 1: in here, details that on the surface are seem to 272 00:16:12,960 --> 00:16:15,090 Speaker 1: be about a family dynamic, but will become much more 273 00:16:15,120 --> 00:16:18,090 Speaker 1: important in the grand scheme of things. And it's a 274 00:16:18,130 --> 00:16:20,450 Speaker 1: reason why this film is so great on the rewatch. 275 00:16:20,490 --> 00:16:23,310 Speaker 1: The first watch, you're just letting all this wash over you, 276 00:16:23,350 --> 00:16:26,110 Speaker 1: and it's freaking you out and confusing you. But watching 277 00:16:26,150 --> 00:16:29,990 Speaker 1: it again, you see how intricate the design is. Intricate 278 00:16:30,030 --> 00:16:34,320 Speaker 1: like a miniature, I suppose. Annie then goes through boxes 279 00:16:34,360 --> 00:16:37,500 Speaker 1: of her mom's stuff. We see these books on spiritualism. 280 00:16:37,840 --> 00:16:41,550 Speaker 1: There's a note from her mom asking for forgiveness. for 281 00:16:41,590 --> 00:16:44,890 Speaker 1: her not telling her everything, whatever that is. Annie has 282 00:16:44,910 --> 00:16:47,080 Speaker 1: this moment where you can see she's thinking of her mom, 283 00:16:47,560 --> 00:16:50,479 Speaker 1: pouring through these things, and she's obviously having very conflicted 284 00:16:50,520 --> 00:16:53,320 Speaker 1: thoughts on this person. You can just see it in 285 00:16:53,400 --> 00:16:55,680 Speaker 1: Toni Collette's face. And then it's almost like she can 286 00:16:55,760 --> 00:16:58,300 Speaker 1: sense the presence of something in the room. So she 287 00:16:58,360 --> 00:17:01,110 Speaker 1: stuffs the books back in the box. She spins around 288 00:17:01,130 --> 00:17:03,530 Speaker 1: one of the miniature sets that she's working on, that 289 00:17:03,570 --> 00:17:05,369 Speaker 1: she's kind of like staring at her. And when she does, 290 00:17:05,990 --> 00:17:07,550 Speaker 1: we can see the scene is one in which a 291 00:17:07,590 --> 00:17:10,710 Speaker 1: mother is in bed breastfeeding her newborn, And there's an 292 00:17:10,890 --> 00:17:13,330 Speaker 1: older woman standing next to her in a nightgown with 293 00:17:13,369 --> 00:17:16,889 Speaker 1: her breasts exposed like she's trying to also feed the child. 294 00:17:17,390 --> 00:17:21,379 Speaker 1: Totally normal, right? We start to get more information and 295 00:17:21,410 --> 00:17:24,100 Speaker 1: learn things. There's a triangle on the floor of the 296 00:17:24,119 --> 00:17:27,060 Speaker 1: room the grandmother was staying in. The cemetery calls to 297 00:17:27,100 --> 00:17:30,780 Speaker 1: report that the grandmother's grave has been desecrated. Stephen takes 298 00:17:30,820 --> 00:17:33,920 Speaker 1: the call and does not tell Annie about it. Annie lies. 299 00:17:33,960 --> 00:17:35,330 Speaker 1: She says she's going to go to the movies for 300 00:17:35,369 --> 00:17:38,210 Speaker 1: some alone time, but instead she goes to a grief 301 00:17:38,250 --> 00:17:41,360 Speaker 1: recovery group where we learn that Her father suffered from 302 00:17:41,400 --> 00:17:44,740 Speaker 1: depression and died of starvation, and her brother was a 303 00:17:44,780 --> 00:17:48,520 Speaker 1: schizophrenic who hanged himself. Her own relationship with her mother 304 00:17:48,640 --> 00:17:51,570 Speaker 1: has been fraught at best, and when Peter was born, 305 00:17:51,920 --> 00:17:54,230 Speaker 1: she kept her mother out of her life and didn't 306 00:17:54,250 --> 00:17:57,709 Speaker 1: let her back in until Charlie was born. Now, speaking 307 00:17:57,750 --> 00:18:01,930 Speaker 1: of Charlie, Charlie sees this bright blue light fluttering around 308 00:18:01,950 --> 00:18:06,439 Speaker 1: her room. Charlie sees an old woman sitting in fire 309 00:18:06,580 --> 00:18:09,340 Speaker 1: out in the fields past their backyard, Charlie sees a 310 00:18:09,380 --> 00:18:12,000 Speaker 1: strange woman wave at her from across the street at school. 311 00:18:12,900 --> 00:18:16,700 Speaker 1: Charlie cuts the head off of a bird. There's a 312 00:18:16,720 --> 00:18:19,189 Speaker 1: high school party happening one night, and Peter tells his 313 00:18:19,230 --> 00:18:22,369 Speaker 1: mom he's going. She says, you got to bring your sister, 314 00:18:23,210 --> 00:18:25,510 Speaker 1: which means you're really not going to drink at this party. 315 00:18:26,090 --> 00:18:27,830 Speaker 1: And Peter's like, yeah, I wasn't planning on it in 316 00:18:27,850 --> 00:18:30,419 Speaker 1: the first place. So he takes his sister kind of 317 00:18:30,460 --> 00:18:33,760 Speaker 1: begrudgingly to this party. It's raging when they get there, 318 00:18:34,240 --> 00:18:36,939 Speaker 1: and Peter immediately spots this girl that he's into. So 319 00:18:36,960 --> 00:18:38,890 Speaker 1: he walks up to her. pulls a bag of weed 320 00:18:38,930 --> 00:18:40,649 Speaker 1: from his pocket, and is like, do you want to 321 00:18:40,670 --> 00:18:43,929 Speaker 1: go smoke this? So they disappear to a room somewhere upstairs, 322 00:18:43,990 --> 00:18:48,149 Speaker 1: leaving Charlie alone among the drunk and stoned throngs downstairs. 323 00:18:49,109 --> 00:18:51,500 Speaker 1: She gets a piece of chocolate cake. She eats it. 324 00:18:52,130 --> 00:18:55,550 Speaker 1: And immediately after, we can hear her belabor breathing under 325 00:18:55,630 --> 00:18:58,510 Speaker 1: the din of the party. The cake obviously had nuts 326 00:18:58,690 --> 00:19:01,010 Speaker 1: in it, right? And now she's going into anaphylactic shock. 327 00:19:02,090 --> 00:19:04,230 Speaker 1: Peter is taking a big rip from the bong when 328 00:19:04,270 --> 00:19:08,169 Speaker 1: Charlie appears upstairs in this room, telling him she can't breathe. 329 00:19:09,630 --> 00:19:12,710 Speaker 1: He clearly sees something is wrong, and we cut to 330 00:19:13,230 --> 00:19:16,690 Speaker 1: the exterior. Peter has Charlie in his arms. He's running 331 00:19:16,730 --> 00:19:19,730 Speaker 1: to the car. Her breathing is getting worse. The score 332 00:19:19,790 --> 00:19:22,390 Speaker 1: is pulsing and droning at the same time. The car 333 00:19:22,410 --> 00:19:24,649 Speaker 1: is flying down this dark stretch of highway in the 334 00:19:24,690 --> 00:19:27,770 Speaker 1: middle of nowhere. Charlie is clawing at her throat. She's 335 00:19:27,869 --> 00:19:30,210 Speaker 1: kicking her feet. Peter is trying to reassure her that 336 00:19:30,230 --> 00:19:31,890 Speaker 1: they're almost at the hospital, but they're in the middle 337 00:19:31,910 --> 00:19:34,650 Speaker 1: of fucking nowhere, and there's no lights anywhere around, right? 338 00:19:35,330 --> 00:19:37,739 Speaker 1: She rolls the window down, She sticks her head out 339 00:19:37,780 --> 00:19:40,359 Speaker 1: in a desperate attempt to get some air. Just as 340 00:19:40,380 --> 00:19:42,960 Speaker 1: she does this, Peter has to swerve to avoid a 341 00:19:43,000 --> 00:19:45,419 Speaker 1: dead animal in the middle of the road. And as 342 00:19:45,470 --> 00:19:48,390 Speaker 1: he does, the car brushes up near a telephone pole. 343 00:19:48,910 --> 00:19:52,920 Speaker 1: And in this instant, shocking, horrifying moment, Charlie's head hits 344 00:19:52,960 --> 00:19:57,300 Speaker 1: the pole and is decapitated. The camera hangs on Peter's 345 00:19:57,340 --> 00:20:00,480 Speaker 1: face for an uncomfortable amount of time, a lot longer 346 00:20:00,510 --> 00:20:04,390 Speaker 1: than you'd expect. He's slammed on the brakes, sitting there 347 00:20:04,810 --> 00:20:07,950 Speaker 1: in shock, unsure what to do, afraid to look back 348 00:20:08,010 --> 00:20:10,439 Speaker 1: and confirm what he knows to be true. that his 349 00:20:10,480 --> 00:20:13,520 Speaker 1: sister is dead. So he goes home, still in shock, 350 00:20:13,560 --> 00:20:16,379 Speaker 1: goes straight to bed. And the camera stays on his face, 351 00:20:16,420 --> 00:20:19,159 Speaker 1: this tight shot into his big dead eyes that are 352 00:20:19,220 --> 00:20:22,859 Speaker 1: wide open, staring straight ahead. Morning has broken. The camera's 353 00:20:22,920 --> 00:20:26,510 Speaker 1: still on his face. We can hear Annie downstairs saying 354 00:20:26,550 --> 00:20:28,330 Speaker 1: she's running out. Then we hear the sound of the 355 00:20:28,350 --> 00:20:31,590 Speaker 1: front door closing. And then comes this anguished, this ancient 356 00:20:31,730 --> 00:20:35,609 Speaker 1: howl that Annie lets out. She's discovered Charlie's headless body 357 00:20:35,710 --> 00:20:37,770 Speaker 1: in the car, right? We don't see it. We just 358 00:20:37,790 --> 00:20:41,359 Speaker 1: see Peter. who's continuing to not react at all. And 359 00:20:41,380 --> 00:20:43,280 Speaker 1: then we see Annie on her knees in the floor 360 00:20:43,300 --> 00:20:45,659 Speaker 1: of the house, screaming, steaming with his arms around her, 361 00:20:45,700 --> 00:20:49,440 Speaker 1: trying to comfort her. And before, Astor gives us another 362 00:20:49,480 --> 00:20:52,939 Speaker 1: shock by cutting to an image of Charlie's head on 363 00:20:52,980 --> 00:20:56,170 Speaker 1: the side of the road, covered in ants. So imagine that, 364 00:20:56,230 --> 00:20:59,370 Speaker 1: your Annie, your own mother, who you had a troubled 365 00:20:59,410 --> 00:21:02,110 Speaker 1: relationship with, has just died. And then what, a week 366 00:21:02,150 --> 00:21:05,109 Speaker 1: or so after that, your 13-year-old daughter dies in this 367 00:21:05,150 --> 00:21:08,600 Speaker 1: horrific freak accident. Your entire world is dimming, You try 368 00:21:08,619 --> 00:21:10,399 Speaker 1: to cope by making your art, but the art is 369 00:21:10,440 --> 00:21:13,420 Speaker 1: becoming increasingly macabre and upsetting. So when you meet a 370 00:21:13,460 --> 00:21:17,330 Speaker 1: stranger who is going through similar challenges and she offers 371 00:21:17,369 --> 00:21:19,649 Speaker 1: you what appears to be a rope to pull yourself 372 00:21:19,710 --> 00:21:22,270 Speaker 1: up out of the quicksand to give you some sort 373 00:21:22,310 --> 00:21:25,450 Speaker 1: of hope, you take it. You take it not knowing 374 00:21:25,470 --> 00:21:28,450 Speaker 1: the truth behind what you're taking, not knowing the full 375 00:21:28,530 --> 00:21:31,389 Speaker 1: truth of your own family, of your mother, of who 376 00:21:31,430 --> 00:21:34,340 Speaker 1: she really was and what she really wanted with your children. 377 00:21:34,780 --> 00:21:37,560 Speaker 1: And while the decapitation of Charlie is the first holy 378 00:21:37,700 --> 00:21:41,570 Speaker 1: shit horror moment in this film, the true horror awaits. 379 00:21:42,130 --> 00:21:44,620 Speaker 1: It hides in the corners and up on the ceiling, 380 00:21:44,930 --> 00:21:48,719 Speaker 1: and it's conjured by candles and incantations. And that's all 381 00:21:48,740 --> 00:21:50,480 Speaker 1: I'm going to say about that, because if you haven't 382 00:21:50,520 --> 00:21:53,000 Speaker 1: seen this, you know, it's kind of just getting started 383 00:21:53,020 --> 00:21:55,619 Speaker 1: at this point. And where it goes, the experience of 384 00:21:55,660 --> 00:21:58,400 Speaker 1: it happening in the moment is too good to sort 385 00:21:58,420 --> 00:22:01,260 Speaker 1: of sully here with whatever futile description I could offer. 386 00:22:02,200 --> 00:22:04,820 Speaker 1: Here we are eight years later, This movie still rocks 387 00:22:04,859 --> 00:22:06,680 Speaker 1: me to the core when I watch it. And it 388 00:22:06,720 --> 00:22:10,419 Speaker 1: was no fluke either, okay? One year after this, in 2019, 389 00:22:10,420 --> 00:22:15,300 Speaker 1: Ari Aster made Midsommar, a horror film set in broad daylight, 390 00:22:15,359 --> 00:22:19,700 Speaker 1: which is not easy to pull off. Starring Florence Pugh, again, 391 00:22:19,740 --> 00:22:22,260 Speaker 1: this is a story set into motion by loss and grief, 392 00:22:22,780 --> 00:22:25,880 Speaker 1: and you will never look at an idyllic pastoral summer 393 00:22:25,920 --> 00:22:31,460 Speaker 1: festival in Scandinavia quite the same way ever again. After that, 2023, 394 00:22:31,450 --> 00:22:34,210 Speaker 1: his first collaboration with Joaquin Phoenix in Bo is Afraid, 395 00:22:34,310 --> 00:22:37,730 Speaker 1: which is his most nutso movie to date. And the first, 396 00:22:37,750 --> 00:22:39,850 Speaker 1: I don't know how long it is, 30 to 40 minutes, 397 00:22:40,490 --> 00:22:43,990 Speaker 1: is perhaps the greatest depiction of urban paranoia and anxiety 398 00:22:44,410 --> 00:22:47,570 Speaker 1: ever put on film before. Joaquin Phoenix having to leave 399 00:22:47,609 --> 00:22:49,330 Speaker 1: his apartment to go to the store and then get 400 00:22:49,369 --> 00:22:51,689 Speaker 1: back is just one of the greatest scenes Astro has 401 00:22:51,830 --> 00:22:55,520 Speaker 1: ever shot. It's a masterpiece. Two years after that, 2025, 402 00:22:55,520 --> 00:22:59,340 Speaker 1: we got Eddington, also starring Joaquin Phoenix as a sheriff 403 00:22:59,880 --> 00:23:03,120 Speaker 1: running for mayor against the incumbent, played by Pedro Pascal. 404 00:23:03,700 --> 00:23:06,000 Speaker 1: This is set during the height of the COVID pandemic, 405 00:23:06,580 --> 00:23:10,300 Speaker 1: and the horror here, guys, is us. It's us, guys. 406 00:23:11,080 --> 00:23:14,879 Speaker 1: It's the rifts in humanity which COVID exposed and weaponized. 407 00:23:15,800 --> 00:23:18,639 Speaker 1: But back to Hereditary. Killer score, as I mentioned, by 408 00:23:18,680 --> 00:23:23,040 Speaker 1: Colin Stetson. Definitely has some Trent Reznor, Atticus Ross vibes 409 00:23:23,140 --> 00:23:26,879 Speaker 1: to it. The only other music in this, I believe... 410 00:23:27,030 --> 00:23:30,149 Speaker 1: is whatever's playing on the stereo at the high school 411 00:23:30,490 --> 00:23:34,560 Speaker 1: house party. But if we were to make a hypothetical, theoretical, metaphorical, 412 00:23:34,619 --> 00:23:38,980 Speaker 1: potentially possible mixtape inspired by this film, what would be 413 00:23:39,240 --> 00:23:41,959 Speaker 1: on it? Don't touch that dial, and we will reveal 414 00:23:42,160 --> 00:23:58,180 Speaker 1: all right after this. All right, what's up, everybody? Dr. 415 00:23:58,240 --> 00:24:03,000 Speaker 1: Zeth Lundy, Esquire, hanging here with you in Hollywoodland Screening Room. 416 00:24:03,920 --> 00:24:06,840 Speaker 1: We're going to make a hypothetical, theoretical, metaphorical, potentially possible 417 00:24:06,920 --> 00:24:12,820 Speaker 1: mixtape inspired by the 2018 film, Hereditary. You know, talks 418 00:24:12,840 --> 00:24:17,119 Speaker 1: a lot about moms, about the mom POV of this movie. 419 00:24:17,560 --> 00:24:20,350 Speaker 1: Toni Collette as the mother having this nervous breakdown, her 420 00:24:20,400 --> 00:24:22,730 Speaker 1: own mother in the movie being involved in some really 421 00:24:22,810 --> 00:24:26,129 Speaker 1: fucking weird shit. So I wanted to put some mom 422 00:24:26,190 --> 00:24:29,230 Speaker 1: songs in here. And one of my favorite mom songs 423 00:24:29,510 --> 00:24:33,550 Speaker 1: is a song called Mother, not by Danzig, but by 424 00:24:33,810 --> 00:24:37,580 Speaker 1: John Lennon from the Plastic Ono Band record. I'm not 425 00:24:37,619 --> 00:24:41,240 Speaker 1: looking this up. I think it's 70, 1970, I believe. 426 00:24:41,280 --> 00:24:43,000 Speaker 1: This is right after the Beatles break up. This is 427 00:24:43,040 --> 00:24:47,359 Speaker 1: John Lennon's first solo album, if you don't count the 428 00:24:47,560 --> 00:24:49,850 Speaker 1: Naked album there, The Two Virgins, the one of him 429 00:24:49,890 --> 00:24:52,270 Speaker 1: and Yoko naked on the cover, which wasn't really music 430 00:24:52,310 --> 00:24:54,359 Speaker 1: at all. It was more of a What do you 431 00:24:54,380 --> 00:25:01,310 Speaker 1: call that? Shit? I don't know. Unlistenable? Is that what 432 00:25:01,330 --> 00:25:06,110 Speaker 1: you call it? I mean, definitely a major moment in 433 00:25:06,450 --> 00:25:09,929 Speaker 1: music history, but not something I'm re-listening to, I'll admit. 434 00:25:10,609 --> 00:25:15,080 Speaker 1: Plastic Ono Band. This record and this song famously made 435 00:25:15,320 --> 00:25:19,320 Speaker 1: after John and Yoko went through this primal scream therapy, right? 436 00:25:20,040 --> 00:25:23,530 Speaker 1: And so you hear this primal scream vibe in this 437 00:25:23,630 --> 00:25:27,530 Speaker 1: piano ballad, Mother, in which, you know, Lennon is like 438 00:25:27,650 --> 00:25:30,590 Speaker 1: shredding his vocal cords in a way that perhaps he 439 00:25:30,630 --> 00:25:35,629 Speaker 1: hasn't shredded them since Twist and Shout back in 1963, right? Just, 440 00:25:35,930 --> 00:25:39,690 Speaker 1: you know, again, a primal scream of a song, screaming 441 00:25:39,760 --> 00:25:43,060 Speaker 1: out for, you know, mommy don't go and daddy come home. 442 00:25:43,180 --> 00:25:46,880 Speaker 1: It's very, it's intense, man. It's a very intense song. 443 00:25:47,440 --> 00:25:48,840 Speaker 1: But I think one that kind of sets the table 444 00:25:48,880 --> 00:25:52,510 Speaker 1: nicely here with mom songs, right? And to stay with 445 00:25:52,550 --> 00:25:54,510 Speaker 1: that same sort of like part of the world and 446 00:25:54,550 --> 00:25:57,510 Speaker 1: that same sort of era, we can throw in one 447 00:25:57,530 --> 00:26:00,310 Speaker 1: of two stone songs or maybe both of these Rolling Stones. 448 00:26:00,430 --> 00:26:04,369 Speaker 1: There's 19th Nervous Breakdown and there's also Mother's Little Helper. 449 00:26:04,930 --> 00:26:08,430 Speaker 1: These come from my favorite era of the Rolling Stones. 450 00:26:08,490 --> 00:26:12,720 Speaker 1: It's like right after the blues cover origin, right? When 451 00:26:12,740 --> 00:26:17,080 Speaker 1: they're covering all these American blues songs and before Brian 452 00:26:17,100 --> 00:26:20,230 Speaker 1: Jones dies. So when they're writing all their own original 453 00:26:20,290 --> 00:26:24,770 Speaker 1: stuff in the mid-60s, mid to late 60s. So Paint 454 00:26:24,790 --> 00:26:28,619 Speaker 1: It Black, Play With Fire, all these songs are... I 455 00:26:28,660 --> 00:26:33,060 Speaker 1: love them. They're weird because they don't really ever sound like... 456 00:26:33,140 --> 00:26:36,900 Speaker 1: The Stones became something else entirely. Once you get to 457 00:26:37,500 --> 00:26:41,240 Speaker 1: Sticky Fingers and Exile on Main Street, the 70s Stones 458 00:26:41,760 --> 00:26:44,380 Speaker 1: kind of took over as what the Stones sound like 459 00:26:44,440 --> 00:26:45,879 Speaker 1: now and what you think of when you think of 460 00:26:45,900 --> 00:26:48,710 Speaker 1: the Rolling Stones. And even When they play these like 461 00:26:48,840 --> 00:26:51,160 Speaker 1: older songs, like I Can't Get No Satisfaction or Paint 462 00:26:51,200 --> 00:26:53,320 Speaker 1: It Black, when they play these now, they play them 463 00:26:53,359 --> 00:26:56,560 Speaker 1: through this lens of the 70s stones, right? The sucking 464 00:26:56,580 --> 00:26:59,600 Speaker 1: in the 70s thing. But I really like this. It's 465 00:26:59,640 --> 00:27:03,419 Speaker 1: almost like, it's like a tea party Rolling Stones. You 466 00:27:03,460 --> 00:27:05,920 Speaker 1: know what I mean? You kind of get that vibe here. 467 00:27:06,580 --> 00:27:11,300 Speaker 1: And these songs are incredible. 19th Nervous Breakdown, Mother's Little Helper. Again, 468 00:27:11,560 --> 00:27:14,000 Speaker 1: both songs that we could put on this mixtape for 469 00:27:14,510 --> 00:27:19,869 Speaker 1: moms who are struggling, right? Speaking of mom songs, I 470 00:27:19,890 --> 00:27:21,270 Speaker 1: got to put this one on here just because I 471 00:27:21,310 --> 00:27:22,930 Speaker 1: want to recommend it to you guys because it's so 472 00:27:23,070 --> 00:27:27,590 Speaker 1: fucking batshit awesome. It's a song called Mama Soul by 473 00:27:27,650 --> 00:27:31,170 Speaker 1: Harold Alexander. This is from a 1971 record called Sunshine 474 00:27:31,210 --> 00:27:35,270 Speaker 1: Man on Ace Records. I first heard this song through 475 00:27:35,530 --> 00:27:38,970 Speaker 1: a sort of like a mixtape compilation called Come Get It, 476 00:27:39,260 --> 00:27:42,659 Speaker 1: I Got It by David Holmes, the great David Holmes 477 00:27:42,720 --> 00:27:47,100 Speaker 1: who has scored pretty much every Steven Soderbergh film of 478 00:27:47,119 --> 00:27:51,760 Speaker 1: the last 20-something years. David Holmes is a producer. He's 479 00:27:51,780 --> 00:27:53,780 Speaker 1: a DJ. He makes his own records. He has these 480 00:27:53,800 --> 00:27:56,040 Speaker 1: very cinematic records that he makes on his own as well. 481 00:27:56,800 --> 00:27:59,820 Speaker 1: But this compilation, Come Get It, I Got It, again, 482 00:27:59,859 --> 00:28:02,980 Speaker 1: it's like a mixtape with some just really great songs 483 00:28:03,070 --> 00:28:05,570 Speaker 1: on here, deep cuts, lots of stuff I'd never heard 484 00:28:05,590 --> 00:28:08,950 Speaker 1: of before, including this song, Mama Soul by Harold Alexander, 485 00:28:09,330 --> 00:28:15,449 Speaker 1: which is essentially an instrumental. It's one of the is 486 00:28:15,510 --> 00:28:19,050 Speaker 1: playing like lead flute, right? And he's playing this melody 487 00:28:19,150 --> 00:28:21,290 Speaker 1: on the flute. But as he's playing the melody, he's 488 00:28:21,470 --> 00:28:26,040 Speaker 1: also like scat singing the melody with this wildly unhinged voice. 489 00:28:26,600 --> 00:28:31,160 Speaker 1: It's like, it's like crazy. And I remember the first 490 00:28:31,200 --> 00:28:33,500 Speaker 1: time I put it on for my kids, my kids 491 00:28:33,520 --> 00:28:35,980 Speaker 1: were just like, Dad, are you okay? What the fuck 492 00:28:36,000 --> 00:28:38,880 Speaker 1: are you listening to? It's one of those kind of songs. 493 00:28:39,520 --> 00:28:43,150 Speaker 1: So anyways, Harold Alexander, Mama Soul from the album Sunshine Man. 494 00:28:43,250 --> 00:28:45,270 Speaker 1: I know you can get You can listen to Sunshine 495 00:28:45,310 --> 00:28:47,989 Speaker 1: Man streaming. This David Holmes compilation I mentioned, I don't 496 00:28:48,010 --> 00:28:51,150 Speaker 1: know that that's available streaming because of copyright permissions. I 497 00:28:51,190 --> 00:28:55,470 Speaker 1: have it on vinyl, but seriously worth hunting down if 498 00:28:55,510 --> 00:28:58,670 Speaker 1: you're into that kind of thing. Okay, thinking about this demon, 499 00:28:58,890 --> 00:29:01,980 Speaker 1: the spirit of this demon king from hell taking possession 500 00:29:02,020 --> 00:29:08,020 Speaker 1: of people's bodies, let's include the song Possession by Elvis 501 00:29:08,040 --> 00:29:11,780 Speaker 1: Costello and the attractions from the album Get Happy. This 502 00:29:11,860 --> 00:29:16,950 Speaker 1: is Elvis's fourth studio album from 1980. For the longest time, 503 00:29:17,070 --> 00:29:19,910 Speaker 1: it was my favorite Elvis record. It probably still is, 504 00:29:20,470 --> 00:29:22,680 Speaker 1: probably because it's got... Well, first of all, it's got 505 00:29:22,720 --> 00:29:25,300 Speaker 1: like 20 songs. They had to cram these songs on 506 00:29:25,320 --> 00:29:29,520 Speaker 1: the original vinyl. The grooves are so tiny in this thing. 507 00:29:30,400 --> 00:29:32,940 Speaker 1: But it's also Elvis in the zone. He was just 508 00:29:33,030 --> 00:29:36,050 Speaker 1: cranking them out year after year, songs and records. But 509 00:29:36,110 --> 00:29:39,330 Speaker 1: his wordplay was also at an all-time high. I just 510 00:29:39,390 --> 00:29:41,330 Speaker 1: loved when I was young, to sort of try to decipher. 511 00:29:41,730 --> 00:29:43,670 Speaker 1: It was almost like decoding what he was talking about. 512 00:29:44,630 --> 00:29:47,050 Speaker 1: The wordplay is so dense that there's some things that 513 00:29:47,070 --> 00:29:49,810 Speaker 1: I still don't fully understand, but it all just sounds 514 00:29:49,850 --> 00:29:53,590 Speaker 1: so cool. And the sort of visuals that it evokes 515 00:29:54,090 --> 00:29:56,290 Speaker 1: is worth it to me to not understand it because 516 00:29:56,310 --> 00:29:58,350 Speaker 1: I don't need to understand what he's talking about. There's 517 00:29:58,370 --> 00:30:01,070 Speaker 1: a lot of like British slang in here. that he's using. 518 00:30:01,090 --> 00:30:03,570 Speaker 1: That's sort of a barrier for me. I think it's 519 00:30:03,590 --> 00:30:07,480 Speaker 1: just in his pill and alcohol addled mind at the time. 520 00:30:08,200 --> 00:30:11,340 Speaker 1: The density comes from that as well. Possession is one 521 00:30:11,360 --> 00:30:14,720 Speaker 1: of the great tracks from this record. Get Happy, again, 522 00:30:15,000 --> 00:30:18,580 Speaker 1: my favorite Elvis record. Perhaps a better Elvis song is 523 00:30:18,740 --> 00:30:21,980 Speaker 1: Tear Off Your Own Head. It's a doll revolution from 524 00:30:22,080 --> 00:30:25,770 Speaker 1: his 2002 album, When I Was Cruel, a very underrated 525 00:30:25,940 --> 00:30:29,530 Speaker 1: Elvis record. Thinking about dolls, because I'm thinking about the 526 00:30:29,610 --> 00:30:33,380 Speaker 1: miniature's that Tony Collette's character makes in this movie. And 527 00:30:33,440 --> 00:30:36,600 Speaker 1: speaking of miniatures, that makes me think of the song 528 00:30:37,290 --> 00:30:40,990 Speaker 1: Miniature by Super Fairy Animals from their 2001 album Rings 529 00:30:41,030 --> 00:30:45,590 Speaker 1: Around the World. This is like an interstitial instrumental piece. 530 00:30:45,610 --> 00:30:47,870 Speaker 1: I don't even think it's a minute long. It's just 531 00:30:48,310 --> 00:30:50,770 Speaker 1: meant to sort of like, you know, bridge the gap. 532 00:30:51,270 --> 00:30:55,270 Speaker 1: It's a palate cleanser, as it were. It's an amuse-bouche, right? 533 00:30:56,110 --> 00:30:59,070 Speaker 1: More mixtapes, I'm realizing, even my own. We need more 534 00:30:59,210 --> 00:31:02,590 Speaker 1: interstitial pieces like this, just a couple of seconds of 535 00:31:03,330 --> 00:31:06,890 Speaker 1: dialogue or of a short, tiny track like this. It's 536 00:31:06,930 --> 00:31:10,770 Speaker 1: sort of like, I don't know, it's like punctuation, you know? So, 537 00:31:11,130 --> 00:31:16,910 Speaker 1: miniature by Super Furry Animals. Speaking of miniatures and dollhouses 538 00:31:17,070 --> 00:31:20,990 Speaker 1: and such, how about the Ann Peebles song, I'm Gonna 539 00:31:21,020 --> 00:31:25,820 Speaker 1: Tear Your Playhouse Down from 1973. This is from her record, 540 00:31:25,940 --> 00:31:28,580 Speaker 1: I Can't Stand the Rain, which has that incredible title 541 00:31:28,600 --> 00:31:30,600 Speaker 1: track on it. And you know what? I learned For 542 00:31:30,620 --> 00:31:33,300 Speaker 1: the first time, guys, did not know this, and maybe 543 00:31:33,340 --> 00:31:37,160 Speaker 1: shame on me for not knowing, but Ann Peebles made 544 00:31:37,200 --> 00:31:41,620 Speaker 1: this record in 1973 at Royal Studios in Memphis with 545 00:31:41,680 --> 00:31:47,520 Speaker 1: Willie Mitchell for High Records, which Royal, Willie Mitchell, High, 546 00:31:47,780 --> 00:31:51,140 Speaker 1: this is where Al Green made his greatest records in 547 00:31:51,160 --> 00:31:54,840 Speaker 1: the 70s. He and Willie Mitchell were like this incredible 548 00:31:54,900 --> 00:31:57,480 Speaker 1: creative duo. Well, there were other people too, the Hodges 549 00:31:57,510 --> 00:32:00,710 Speaker 1: brothers and whatnot. I just learned about this because I'm 550 00:32:01,380 --> 00:32:04,720 Speaker 1: about to write an episode on Al Green for Disgraceland. 551 00:32:05,140 --> 00:32:07,740 Speaker 1: So I did a lot of deep research into Memphis 552 00:32:07,760 --> 00:32:10,620 Speaker 1: at the time and Royal and High and Willie Mitchell 553 00:32:10,640 --> 00:32:13,660 Speaker 1: and everything. And, and People's name came up and it 554 00:32:13,680 --> 00:32:16,090 Speaker 1: was like, oh damn, I didn't realize Ann Peebles made 555 00:32:16,170 --> 00:32:17,970 Speaker 1: all of her shit there. But of course, I mean, 556 00:32:18,010 --> 00:32:20,590 Speaker 1: listen to it. Listen to these records. Listen to, I'm 557 00:32:20,610 --> 00:32:22,550 Speaker 1: going to tear your playhouse down. Listen to, I can't 558 00:32:22,590 --> 00:32:25,490 Speaker 1: stand the rain. And it sounds like Al Green left 559 00:32:25,510 --> 00:32:27,890 Speaker 1: the session and Ann Peebles walked in, right? The band, 560 00:32:28,300 --> 00:32:32,200 Speaker 1: The horn section, everything sounds exactly the same. So if 561 00:32:32,240 --> 00:32:35,010 Speaker 1: you've listened to all those Al Green records a million 562 00:32:35,050 --> 00:32:36,710 Speaker 1: times and you're like, I wish I had some more 563 00:32:36,790 --> 00:32:39,190 Speaker 1: Al Green from that era, check out Ann Peebles because 564 00:32:39,730 --> 00:32:42,610 Speaker 1: it's going to scratch that same itch, okay? All right, 565 00:32:42,670 --> 00:32:46,010 Speaker 1: there's a scene in this film in which Gabriel Byrne 566 00:32:46,430 --> 00:32:56,120 Speaker 1: catches on fire. So let's include Morrissey's B-side hairdresser on fire. 567 00:32:56,140 --> 00:33:00,470 Speaker 1: This is his 1988 B-side hairdresser. to his great, great single, Suedehead. 568 00:33:00,830 --> 00:33:03,090 Speaker 1: You can find both of these songs, I believe, on 569 00:33:03,130 --> 00:33:06,470 Speaker 1: the Bone & Drag compilation. You know, Jake and I 570 00:33:06,490 --> 00:33:08,610 Speaker 1: joke about Morrissey over in this film should be played 571 00:33:08,630 --> 00:33:11,010 Speaker 1: loud all the time. One of the categories in that 572 00:33:11,070 --> 00:33:13,570 Speaker 1: show is best line from the movie that could also 573 00:33:13,650 --> 00:33:18,010 Speaker 1: double as a Morrissey song title. You know, immediate post-Smiths, 574 00:33:19,010 --> 00:33:21,270 Speaker 1: the song titles are still pretty strong. They're starting to 575 00:33:21,650 --> 00:33:23,600 Speaker 1: suffer a little bit, but there's still some great ones, 576 00:33:23,630 --> 00:33:27,370 Speaker 1: you know, Hairdresser on Fire, November Spawned a Monster, the 577 00:33:27,410 --> 00:33:31,230 Speaker 1: last of the International Playboys. And I really, really like 578 00:33:31,310 --> 00:33:34,920 Speaker 1: these first couple of solo Morrissey records, even though he 579 00:33:34,940 --> 00:33:38,480 Speaker 1: basically hires a guitar player whose job apparently was to 580 00:33:38,620 --> 00:33:42,360 Speaker 1: sound as much like Johnny Marr as you can, to A, 581 00:33:42,440 --> 00:33:45,330 Speaker 1: piss off Johnny Marr, and to B, retain all my 582 00:33:45,370 --> 00:33:48,530 Speaker 1: fan base. I like these first couple of records right 583 00:33:48,810 --> 00:33:51,760 Speaker 1: after the Smiths broke up. Hairdresser on Fire, love it. 584 00:33:52,170 --> 00:33:55,110 Speaker 1: So let's put it on the mixtape here. All right, 585 00:33:55,170 --> 00:33:58,910 Speaker 1: so I talked earlier about the scenes where the son, Peter, 586 00:33:59,850 --> 00:34:03,470 Speaker 1: after Charlie dies, just has this like dead-eyed stare or whatever. 587 00:34:04,170 --> 00:34:05,770 Speaker 1: So I got a couple of songs to play to that. 588 00:34:06,130 --> 00:34:10,489 Speaker 1: One is this project called Elton John versus Pinau. I 589 00:34:10,510 --> 00:34:15,660 Speaker 1: hope I'm saying this right. P-N-A-U. How would you pronounce that? Now? Pinau? 590 00:34:16,960 --> 00:34:18,859 Speaker 1: I'm going to go with Pinau. Any Australians out there 591 00:34:18,900 --> 00:34:21,279 Speaker 1: want to correct me on this because Pinau is an 592 00:34:21,360 --> 00:34:24,900 Speaker 1: Australian trio, right? And what they did is that they 593 00:34:24,960 --> 00:34:28,719 Speaker 1: took these vocal tracks from early Elton John songs and 594 00:34:28,780 --> 00:34:31,750 Speaker 1: not even necessarily well-known vocal tracks. I think a lot 595 00:34:31,770 --> 00:34:34,090 Speaker 1: of them are from just like the verses and not 596 00:34:34,110 --> 00:34:38,530 Speaker 1: even the choruses. And they created entirely new electronic dance 597 00:34:38,610 --> 00:34:44,239 Speaker 1: track songs around these vocals, right? Basically remixed Elton John. 598 00:34:44,820 --> 00:34:47,360 Speaker 1: And they put out this EP called Good Morning to 599 00:34:47,400 --> 00:34:49,680 Speaker 1: the Night. That's the name of the remix album. And 600 00:34:49,760 --> 00:34:52,549 Speaker 1: it is fucking dynamite. It's the kind of thing that 601 00:34:52,590 --> 00:34:54,450 Speaker 1: when you hear it, you realize that you've always wanted 602 00:34:54,510 --> 00:34:57,770 Speaker 1: Elton John to do this, like lend his vocals to 603 00:34:57,810 --> 00:35:01,680 Speaker 1: some sort of incredible electronic record, like an Avalanches record, right? 604 00:35:01,719 --> 00:35:04,240 Speaker 1: It feels like that. It feels like the first Avalanches 605 00:35:04,280 --> 00:35:08,000 Speaker 1: record since I left you, but with Elton John on vocals. Anyways, 606 00:35:08,040 --> 00:35:11,259 Speaker 1: there's a song on here called Black Icy Stare that 607 00:35:11,400 --> 00:35:14,120 Speaker 1: I'm going to put on the mixtape for the dead-eyed 608 00:35:14,160 --> 00:35:17,650 Speaker 1: stare thing. And let me know, Australians, about the pronunciation 609 00:35:17,730 --> 00:35:20,759 Speaker 1: of panau. All right, and speaking of stares... like the 610 00:35:20,940 --> 00:35:23,940 Speaker 1: S-T-A-R-E kind of stare. I'm going to throw on a 611 00:35:23,980 --> 00:35:27,739 Speaker 1: song called Dead Red Eyes by Archers of Loaf. This 612 00:35:27,820 --> 00:35:31,540 Speaker 1: is from the indie band's final studio album, White Trash Heroes, 613 00:35:31,580 --> 00:35:35,420 Speaker 1: one of my favorite albums from the 90s. The interplay 614 00:35:35,460 --> 00:35:37,740 Speaker 1: between the guitars and this record is just so great. 615 00:35:37,840 --> 00:35:41,690 Speaker 1: It's like Prime Stones in the 70s, honestly, but for 616 00:35:41,710 --> 00:35:45,550 Speaker 1: 90s indie rock. And this song, speaking of the guitars, 617 00:35:45,590 --> 00:35:47,029 Speaker 1: this starts out a little bit differently. It starts out 618 00:35:47,050 --> 00:35:50,470 Speaker 1: with just a keyboard playing these Steve Reich Philip Glass 619 00:35:50,510 --> 00:35:53,569 Speaker 1: kind of repetitions, and the band eventually kicks in. The 620 00:35:53,610 --> 00:35:56,250 Speaker 1: song is just so dark and muscular. It has this 621 00:35:56,450 --> 00:36:01,109 Speaker 1: muscular groove, and the bass is really in control here 622 00:36:01,530 --> 00:36:05,320 Speaker 1: once things get grooving. I really connected with this record 623 00:36:05,460 --> 00:36:08,160 Speaker 1: in a way that I never connected with any other 624 00:36:08,239 --> 00:36:11,240 Speaker 1: Archers of Loaf album. All the nation's airports, I tried. 625 00:36:11,560 --> 00:36:13,899 Speaker 1: The speed of cattle, I tried. I had a hard 626 00:36:13,940 --> 00:36:16,890 Speaker 1: time with those. But this one really, really connected with 627 00:36:16,910 --> 00:36:20,190 Speaker 1: me for whatever reason. And I remember writing some big 628 00:36:20,230 --> 00:36:23,380 Speaker 1: think piece about it years ago in another life. But 629 00:36:23,390 --> 00:36:25,760 Speaker 1: it's a great record. White Trash Heroes and this song, 630 00:36:25,820 --> 00:36:29,380 Speaker 1: Dead Red Eyes, perfect for our mixtape. Thinking about the 631 00:36:29,460 --> 00:36:31,899 Speaker 1: end of this film without giving it away too much, 632 00:36:32,719 --> 00:36:35,680 Speaker 1: I'm going to choose a song called Ascension Day by 633 00:36:35,780 --> 00:36:40,770 Speaker 1: Talk Talk from their 1991 album, Laughingstock. Now listen. One 634 00:36:40,810 --> 00:36:44,520 Speaker 1: of the most drastic and unexpected about faces in pop 635 00:36:44,560 --> 00:36:48,919 Speaker 1: music history happened for the last two albums of Talk 636 00:36:48,960 --> 00:36:52,620 Speaker 1: Talk's career. Talk Talk was this synth pop band, this 637 00:36:52,760 --> 00:36:55,820 Speaker 1: English synth pop band fronted by Mark Hollis, who possesses 638 00:36:55,900 --> 00:36:58,739 Speaker 1: one of the greatest voices in pop music ever, in 639 00:36:58,780 --> 00:37:02,640 Speaker 1: my opinion. And they had these synthy pop confections like 640 00:37:02,780 --> 00:37:04,830 Speaker 1: It's My Life, you know, that song that No Doubt 641 00:37:04,950 --> 00:37:08,430 Speaker 1: famously covered years later. But four years after It's My Life, 642 00:37:08,730 --> 00:37:12,430 Speaker 1: in 1988, they dropped this record called The Spirit of Eden. 643 00:37:13,100 --> 00:37:15,960 Speaker 1: that was followed a few years later by Laughingstock. The 644 00:37:15,980 --> 00:37:18,980 Speaker 1: Spirit of Eden was inspired by Miles Davis' In a 645 00:37:19,040 --> 00:37:22,280 Speaker 1: Silent Way and Bitches Brew. It was inspired by Bela 646 00:37:22,320 --> 00:37:26,279 Speaker 1: Bartok and Claude Debussy. The songs are like unhurried and 647 00:37:26,300 --> 00:37:29,460 Speaker 1: they're sprawling and they are seemingly improvised at times, but 648 00:37:29,500 --> 00:37:34,240 Speaker 1: you get this overwhelming sense of space and time and place, 649 00:37:34,380 --> 00:37:37,580 Speaker 1: more so in Spirit of Eden than Laughingstock. Laughingstock is 650 00:37:37,600 --> 00:37:40,660 Speaker 1: like a tighter version of Spirit of Eden. But it's 651 00:37:40,820 --> 00:37:44,549 Speaker 1: almost like this cinematic version This like aural movie that's 652 00:37:44,610 --> 00:37:48,190 Speaker 1: playing out in your head. And the music is great. 653 00:37:48,250 --> 00:37:51,810 Speaker 1: The textures of the music is great. It's truly, these 654 00:37:51,850 --> 00:37:54,669 Speaker 1: two records are truly unlike anything else that you've ever heard. 655 00:37:55,090 --> 00:37:57,540 Speaker 1: If you haven't heard them, they're totally worth seeking out. 656 00:37:58,000 --> 00:38:00,140 Speaker 1: I suggest you start with Spirit of Eden and then 657 00:38:00,160 --> 00:38:03,600 Speaker 1: go to Laughing Sock, just like the chronology. But this song, 658 00:38:03,660 --> 00:38:07,100 Speaker 1: Ascension Day, which is one of the heaviest, hardest rocking 659 00:38:07,120 --> 00:38:10,219 Speaker 1: songs from these two records, is going on our mixtape here. 660 00:38:10,700 --> 00:38:13,819 Speaker 1: inspired by Hereditary. So now I want to know, what 661 00:38:13,960 --> 00:38:16,390 Speaker 1: do you guys have? Songs that could go on a mixtape? 662 00:38:16,510 --> 00:38:19,529 Speaker 1: If one was to make a mixtape inspired by the 663 00:38:19,530 --> 00:38:22,130 Speaker 1: 2018 film Hereditary in some way, get at me and 664 00:38:22,150 --> 00:38:26,989 Speaker 1: let me know. 617-906-6638. You can call or text. You 665 00:38:27,010 --> 00:38:30,759 Speaker 1: can email me at disgracelandpod at gmail.com. And while you're 666 00:38:30,780 --> 00:38:32,180 Speaker 1: doing that, I'm going to take another break, but I 667 00:38:32,219 --> 00:38:44,930 Speaker 1: will be right back. Don't nobody go nowhere. All right, 668 00:38:45,030 --> 00:38:48,400 Speaker 1: Hollywoodland gang, Hereditary. If you're trying to squeeze in one 669 00:38:48,420 --> 00:38:52,080 Speaker 1: more scary movie today or tomorrow before the Halloween season 670 00:38:52,180 --> 00:38:55,239 Speaker 1: is over, this is a great choice. I believe it's 671 00:38:55,260 --> 00:38:59,140 Speaker 1: streaming on Hulu and Disney Plus currently. Midsommar is also 672 00:38:59,180 --> 00:39:01,719 Speaker 1: a great choice, but Hereditary has the seasonal feel to 673 00:39:01,780 --> 00:39:04,550 Speaker 1: it for sure. Ari Aster, working on a new film 674 00:39:04,620 --> 00:39:08,290 Speaker 1: I heard with Scarlett Johansson and someone else I cannot remember, 675 00:39:08,730 --> 00:39:10,570 Speaker 1: and I don't remember what it's about, but of course 676 00:39:10,870 --> 00:39:13,590 Speaker 1: I await it with bated breath. He's made all of 677 00:39:13,630 --> 00:39:16,170 Speaker 1: his films for A24. I'm assuming the new one will 678 00:39:16,210 --> 00:39:19,620 Speaker 1: be as well. Speaking of A24, if you guys missed it, 679 00:39:19,850 --> 00:39:22,150 Speaker 1: in the wrap party this week, I spoke about the 680 00:39:22,210 --> 00:39:25,930 Speaker 1: new A24 documentary, You Can See Everything. I spoke about 681 00:39:25,950 --> 00:39:28,029 Speaker 1: it at great length in the wrap party, which is 682 00:39:28,070 --> 00:39:30,480 Speaker 1: right behind this episode in your feed. So if you 683 00:39:30,520 --> 00:39:33,239 Speaker 1: missed that, check it out. Curious as always to know 684 00:39:33,280 --> 00:39:36,140 Speaker 1: what you guys think about all this. Have you seen Hereditary? 685 00:39:36,520 --> 00:39:38,540 Speaker 1: Do you love it? Do you hate it? What about 686 00:39:38,580 --> 00:39:41,300 Speaker 1: You Can See Everything? Hit me up and let me know. 617-906-6638. 687 00:39:41,390 --> 00:39:45,630 Speaker 1: If you want more movie content and more music content, 688 00:39:46,110 --> 00:39:52,430 Speaker 1: if you want the sweet spot overlap of Hollywoodland and Disgraceland, 689 00:39:52,450 --> 00:39:54,969 Speaker 1: then make sure you are checking out This Film Should 690 00:39:54,989 --> 00:39:58,360 Speaker 1: Be Played Loud. That's our video podcast available exclusively to 691 00:39:58,380 --> 00:40:02,140 Speaker 1: members of Disgraceland, all access over on Patreon. This again 692 00:40:02,280 --> 00:40:05,779 Speaker 1: is our monthly video podcast co-hosted by yours truly and 693 00:40:05,820 --> 00:40:08,660 Speaker 1: Jake Brennan of Disgraceland in which we break down the 694 00:40:08,700 --> 00:40:11,300 Speaker 1: great music and some of our favorite films of all time. 695 00:40:12,200 --> 00:40:15,340 Speaker 1: And in honor of Halloween season, we just dropped a 696 00:40:15,380 --> 00:40:18,060 Speaker 1: brand new episode on Shaun of the Dead. So we're 697 00:40:18,080 --> 00:40:22,290 Speaker 1: talking the specials, We're talking the Smiths. We're talking Melly Mel, Queen, 698 00:40:22,410 --> 00:40:25,600 Speaker 1: and so much more. Check that out. And guys, if 699 00:40:25,620 --> 00:40:29,160 Speaker 1: you're not yet a member, go to disgracelandpod.com for more 700 00:40:29,260 --> 00:40:32,379 Speaker 1: info and to sign up. Membership gives you other great 701 00:40:32,460 --> 00:40:35,969 Speaker 1: perks like ad-free listening and bonus content, as well as 702 00:40:36,010 --> 00:40:39,810 Speaker 1: a 24-7 chat with me, Jake, and Matt from Double Elvis, 703 00:40:39,969 --> 00:40:43,430 Speaker 1: plus your fellow discos. You can become a free member. 704 00:40:43,710 --> 00:40:46,370 Speaker 1: You can become a member for audio content only. or 705 00:40:46,390 --> 00:40:48,430 Speaker 1: you can become a member at the Sound and Fury tier, 706 00:40:48,469 --> 00:40:51,590 Speaker 1: that's our video tier, where you can watch this film, 707 00:40:52,010 --> 00:40:54,360 Speaker 1: should be played loud. And if you are a member, 708 00:40:54,880 --> 00:40:57,779 Speaker 1: thank you. We appreciate you, each and every one of you. 709 00:40:58,320 --> 00:41:00,560 Speaker 1: You all make what we do possible and fun, and 710 00:41:00,580 --> 00:41:03,500 Speaker 1: we've got lots more cool shit coming down the pike. 711 00:41:04,040 --> 00:41:06,080 Speaker 1: So keep on keeping on and stay tuned, all right? 712 00:41:06,540 --> 00:41:08,940 Speaker 1: Next week, guys, here in the Hollywood Land feed on Monday, 713 00:41:09,280 --> 00:41:12,009 Speaker 1: we've got our fully scripted and sound design episode all 714 00:41:12,050 --> 00:41:16,180 Speaker 1: about Jodie Foster. It's also about Taxi Driver. and it's 715 00:41:16,219 --> 00:41:21,750 Speaker 1: about the attempted assassination of Ronald Reagan. In our sister show, Disgraceland, 716 00:41:21,790 --> 00:41:25,830 Speaker 1: next week, we've got our previously exclusive episode on Shannon Hoon, 717 00:41:26,270 --> 00:41:28,049 Speaker 1: which is going to be new to most of you. 718 00:41:28,640 --> 00:41:32,120 Speaker 1: Shannon Hoon, of course, the vocalist behind Blind Melon. That 719 00:41:32,140 --> 00:41:34,060 Speaker 1: was the band in the 90s with the girl in 720 00:41:34,100 --> 00:41:36,980 Speaker 1: the bumblebee costume in that one video. I hope you 721 00:41:37,000 --> 00:41:39,640 Speaker 1: guys have a great weekend lined up. Hope there's some 722 00:41:39,780 --> 00:41:42,070 Speaker 1: good movies in your future. If so, give me a holler. 723 00:41:42,130 --> 00:41:43,899 Speaker 1: Let me know what you saw. and what you thought 724 00:41:43,920 --> 00:41:48,080 Speaker 1: of it, 617-906-6638. Perhaps I'll play or read your message 725 00:41:48,219 --> 00:41:50,520 Speaker 1: on the wrap party next week. But until then, I'm 726 00:41:50,540 --> 00:41:52,859 Speaker 1: going to leave you with this. Here's what America was 727 00:41:52,900 --> 00:41:56,180 Speaker 1: watching at the movies in July 2018, the month that 728 00:41:56,219 --> 00:42:02,770 Speaker 1: Hereditary was released in theaters. Number one, Incredibles 2, directed 729 00:42:02,790 --> 00:42:07,510 Speaker 1: by Brad Bird. Number two, Jurassic World, Fallen Kingdom, directed 730 00:42:07,550 --> 00:42:13,340 Speaker 1: by J.A. Benaiah. Number three, Oceans 8, Directed by Gary Ross. 731 00:42:13,460 --> 00:42:18,140 Speaker 1: Number 4. Solo. A Star Wars Story. Directed by Ron Howard. 732 00:42:18,600 --> 00:42:23,900 Speaker 1: Number 5. Deadpool 2. Directed by David Leitch. Number 6. 733 00:42:23,900 --> 00:42:28,960 Speaker 1: Avengers Infinity War. Directed by Russo Brothers. Number 7. Tag. 734 00:42:29,540 --> 00:42:34,899 Speaker 1: Directed by Jeff Thompson. Number 8. Hereditary. Directed by Arnie. 735 00:42:35,239 --> 00:42:37,740 Speaker 1: Quit talking and start mixing!