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

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Speaker 1: You Did.

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Speaker 2: My name is Millie to Jericho, I'm Danielle Henderson and.

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Speaker 1: Yes, yes, yes, we are back here to talk about

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Speaker 1: film and oh my god, Danielle, I can hardly contain

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Speaker 1: myself because we have we have a mail bag today

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Speaker 1: that is so great an epic.

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Speaker 2: I agree, and it's perfectly time because I have nothing

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Speaker 2: to discuss in my personal life this way.

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Speaker 3: I don't either.

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Speaker 1: Strangely enough, I've been kind of traveling a lot, and

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Speaker 1: I just I don't even have any tales to tell.

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Speaker 3: It's been kind of boring, to be honest.

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Speaker 2: I'm just taking pictures of farms and looking at the

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Speaker 2: days go by like I've got nothing.

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Speaker 1: Well, then listen, in lieu of that, let's just read

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Speaker 1: the shit out of this mail bag. I mean, we

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Speaker 1: get a lot of good letters, by the way, all

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Speaker 1: the time. If you want to write to us I

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Speaker 1: Saw what You Did pod at gmail dot com, And

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Speaker 1: typically we do the mail bag on our bonus episodes

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Speaker 1: where we read a lot of your letters and answer

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Speaker 1: them that kind of stuff. But sometimes we have the

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Speaker 1: pluck one out of the inbox and bring in a

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Speaker 1: professional Millie.

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Speaker 2: I am so excited about this mail bag because the

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Speaker 2: guest that we have brought on to answer this question

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Speaker 2: is someone that I am a huge fan of. Yes,

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Speaker 2: her podcast, one of her podcasts makes me feel so

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Speaker 2: much smarter and has me really re examining a lot

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Speaker 2: of things that I just took as fact in my life.

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Speaker 2: It's made me a more inquisitive person. And her voice

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Speaker 2: is just like like honey dripping into your ear, Yes,

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Speaker 2: Like what more could you walk from? On like our

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Speaker 2: podcast where we're screaming and laughing all the time. She's

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Speaker 2: just like so calm and wonderful and just so smart,

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Speaker 2: and I think is the exact right person to answer

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Speaker 2: this question. So, folks, I have to tell you that

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Speaker 2: the person we've brought in for this mail bag is

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Speaker 2: none other than writer, critic, host of the podcast You're

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Speaker 2: Wrong About and co host of the podcast You Are

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Speaker 2: Good With Alex Dead is the one and only Sarah Marshall.

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Speaker 2: Ha ha hi.

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Speaker 4: I feel like I should be bursting out from behind

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Speaker 4: a curtain.

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Speaker 2: That was incredible. We did send glitter, but it may

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Speaker 2: not have arrived. You know, supply chain issues.

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Speaker 4: Yes, yeah, the glitter supply chain is a mess.

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Speaker 2: We are so psyched to have you here. How are you.

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Speaker 4: I'm like, my day is much improved after hearing that.

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Speaker 4: My voice is like, honey in the year. I've never

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Speaker 4: heard that before. That makes me so happy. I think that,

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Speaker 4: like a shouty show is hot. Honey in the year.

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Speaker 3: How about that?

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Speaker 2: I like the way you're thinking. It's like that. Has

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Speaker 2: anyone ever tried to give you because you live on

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Speaker 2: the West coast, you live in Oregon, right, anyone ever

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Speaker 2: tried to give you that? Like in the winter, They're like,

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Speaker 2: you have to drink this and not get a cold,

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Speaker 2: and it's just basically like honey and apple cider vinegar

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Speaker 2: and like oh like and yeah, yeah, oh totally No.

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Speaker 4: I just visited a friend who like gave me firesider

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Speaker 4: to take on the road. Yes, we can't. I mean,

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Speaker 4: the thing about the Northwest is that we're thirty percent

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Speaker 4: for ment, so we really have to keep a levels.

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Speaker 2: Yeah, Like we're working with a lot of dampness here,

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Speaker 2: so we have to just yeah, you know, meet it

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Speaker 2: where it lives. We must nerd our spores completely completely.

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Speaker 2: That should be on the state motto. But you are

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Speaker 2: just I've truly been a fan of you and your podcast.

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Speaker 2: You're wrong about for a very long time and pretty

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Speaker 2: much since the beginning, And I have to say that,

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Speaker 2: like for listeners who may not be familiar with your

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Speaker 2: wrong about it is such an important factor of the

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Speaker 2: society that we now live in, of the culture that

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Speaker 2: we now live in, to go back and re examine

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Speaker 2: things that we've been told or facts or even in

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Speaker 2: my case, sometimes things that I lived through and just

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Speaker 2: misremembered or we're only giving bare bones facts about. So

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Speaker 2: my favorite episodes are the Kitty Genevie's and the Bystander

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Speaker 2: Apathy episode dan Quail versus Murphy Brown. You did a

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Speaker 2: very deep dive into the OJ Simpson.

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Speaker 4: Case down there.

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Speaker 2: Yeah, still doing it, still doing it, but even things

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Speaker 2: like you know, recently you had an episode about reconstruction

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Speaker 2: with Jamel Bowie and it made me want to go

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Speaker 2: back and read more books about reconstruction and kind of

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Speaker 2: really get into it. So I just, I don't know,

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Speaker 2: I just really appreciate the way your brain works and

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Speaker 2: the things that you want to dig into. And I

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Speaker 2: just kind of wondered if you could tell folks who

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Speaker 2: might not be familiar with your podcast, like how do

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Speaker 2: you come to these topics.

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Speaker 4: Thank you so much. Yeah, And I think, I mean,

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Speaker 4: the Reconstruction episode makes me think, you know, A, it's

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Speaker 4: the way Jamel's brain works is we're just so lucky

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Speaker 4: to have his brain in the world.

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Speaker 1: And B.

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Speaker 4: I think what I love about that episode and the

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Speaker 4: kind of you know, pre nineteen eighties content that the

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Speaker 4: show has been leaning more toward lately, is that it's

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Speaker 4: like it's it's just always a gossipy, surreal, very tabloidy story,

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Speaker 4: no matter how far you go back in history. And

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Speaker 4: I think one of the things that's important to me

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Speaker 4: is showing people that, like, we don't study history because

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Speaker 4: it's refined or because it makes us, you know, intellectual,

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Speaker 4: We do it because it's fun and because people make

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Speaker 4: the same mistakes at incredibly regular intervals over and over,

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Speaker 4: and it's, you know, it's endlessly entertained. I think that

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Speaker 4: costume dramas really fall short because they think we want

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Speaker 4: to see people being dignified, you know, and like reading

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Speaker 4: a letter in a wide shot and being like, good

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Speaker 4: tell Edmund, I won't come and it's like, no, show

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Speaker 4: me give me. Like the John Adams miniseries Treatment, where

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Speaker 4: we get like slutty Ben Franklin in a bath with

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Speaker 4: his mistress in France, refusing to do diplomacy because he's

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Speaker 4: having sex. Because that really happened.

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Speaker 2: I could not agree more. And it makes me think

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Speaker 2: of a mini series that I just watched, apparently did

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Speaker 2: a second season of a very British scandal, and it's

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Speaker 2: about the Argyles, the Argyle divorce, and I'm like, this

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Speaker 2: is what I want to see. I want to see that,

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Speaker 2: Like this woman took a picture with her lover while

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Speaker 2: she was giving him a blowjob and it was just like,

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Speaker 2: ruined the country. I want to know the blowjob that

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Speaker 2: ruined the country.

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Speaker 4: I guess that these are these are all real people,

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Speaker 4: you know, and I think we feel less alone. Is

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Speaker 4: another thing when you know, even like Slettie Ben Franklin,

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Speaker 4: I'm just like, you know what, Like you're a person,

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Speaker 4: I'm a person. All of history is just people doing

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Speaker 4: what seemed like a good idea at the time, and

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Speaker 4: I think that can make us feel less alienated from

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Speaker 4: ourselves too.

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Speaker 1: Yeah, I have to say, there was something that you

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Speaker 1: wrote for BuzzFeed Back. I think it was a few

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Speaker 1: years ago about Annonicole Smith.

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Speaker 4: Yeah, and five years ago.

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Speaker 1: Yeah, I loved that article, Thank you so much. Yeah,

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Speaker 1: it really was like very interesting to see how you

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Speaker 1: kind of like laid out sort of what the common

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Speaker 1: perception of her was at like different moments, and like

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Speaker 1: the two the things that really struck me too, was

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Speaker 1: like showing sort of like what her or.

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Speaker 3: Like the magazine cover that she had.

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Speaker 1: Had at the beginning of her career towards the end

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Speaker 1: of her career, and I just thought that was so

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Speaker 1: interesting and I was wrapped up in her too. Don't

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Speaker 1: get me wrong, but I just love how you have

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Speaker 1: this ability to and you do this on the podcast,

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Speaker 1: but I just remember this article being sort of my

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Speaker 1: first foray into your work, if you will. But just

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Speaker 1: the way that you're able to sort of like take

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Speaker 1: what we sort of generally knew about something, but then

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Speaker 1: like go even further into it and re examine it.

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Speaker 1: And I just think that's such a wonderful thing that

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Speaker 1: you do in your work.

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Speaker 4: Thank you so much. That means so much to me.

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Speaker 4: And I think you know, I now that I podcast

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Speaker 4: kind of that's where my energy goes most of the time,

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Speaker 4: and so I feel like the stuff that I would

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Speaker 4: have written in the past now I just I say,

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Speaker 4: which I love, but I also I feel it makes

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Speaker 4: me feel more nostalgic for when I used to write

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Speaker 4: these long pieces that I feel like I always felt

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Speaker 4: like I was kind of like just exhausting the reader

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Speaker 4: over time, because I feel like the arguments I was

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Speaker 4: making were often relatively simple, but just things that people

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Speaker 4: like had a lot of defensiveness around. And for me,

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Speaker 4: the thing with Anna Nicole Smith was like, if you're

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Speaker 4: a young single mom who's like really struggling to support

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Speaker 4: herself and like working her way up in this incredibly

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Speaker 4: dedicated way, like through the echelons of increasingly higher class

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Speaker 4: strip clubs in Houston, and this very old can't physically

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Speaker 4: harm you, incredibly rich guy like is lobbying aggressively to

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Speaker 4: give you a lot of his money. Like what was

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Speaker 4: she supposed to do? Like what is her response supposed

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Speaker 4: to have been to that? And I feel like that's

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Speaker 4: just so evident, But I think it takes time to

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Speaker 4: kind of soften a reader toward kind of allowing themselves

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Speaker 4: to be like, well, yeah, I would taken the money,

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Speaker 4: Like I'm not not everyone would, but my god, I would.

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Speaker 2: Have absolutely And that's something that you again like you're

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Speaker 2: so deft at doing in your writing and in your

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Speaker 2: podcasting is pointing out the ways that we tend to

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Speaker 2: villainize people without humanizing them first, And so you're able

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Speaker 2: to humanize a lot of these situations, which makes people question, like, Yeah,

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Speaker 2: why was I so mad about that? She's a single

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Speaker 2: mom who's trying to get by in life. If she

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Speaker 2: hadn't become a model, we wouldn't have never She's like

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Speaker 2: millions of women out there that we would never have

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Speaker 2: heard about. Yeah, if she had not taken her career

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Speaker 2: to the next level. So yeah, I think that you're

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Speaker 2: You're right that we have to kind of question our

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Speaker 2: own how how complicit we are in villainy truly, and.

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Speaker 4: Also that everyone is connected to O. J. Simpson because

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Speaker 4: Anna Nicole Smith was in The Naked Gun two and

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Speaker 4: a half.

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Speaker 2: I think, yes, I mean again, we've got the new

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Speaker 2: when an Angel gets its wings. Now we have a

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Speaker 2: new six degrees of Kevin Bacon game. No Jay Sampson, Yeah,

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Speaker 2: I mean he's on Twitter. He's just like he's gonna

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Speaker 2: he's I just picture him like holding on to like

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Speaker 2: a rope attached to a helicopter, shouting I'm still relevant.

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Speaker 2: I have not even processed the fact that he's on Twitter. True,

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Speaker 2: it's been years, and I still know it's unprocessable. It's

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Speaker 2: like we're having an epidemic. We're having a pandemic in fact,

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Speaker 2: and OJ Simpson is tweeting about it like somehow that's

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Speaker 2: the weirder part.

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Speaker 3: Yeah.

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Speaker 2: Completely, this is the world that we now inhabit, and

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Speaker 2: I don't know how to feel about it most days.

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Speaker 2: But there's a lot of people on Twitter that I'm like,

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Speaker 2: you still really now? I obviously we are a big

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Speaker 2: part of the Sarah Marshall fan club. We could do

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Speaker 2: this all day. I feel like we owe it to

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Speaker 2: the person who sent us a question to maybe read it,

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Speaker 2: even though I'd rather just do this and just keep

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Speaker 2: talking about But.

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Speaker 3: That's another way that.

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Speaker 2: We can just talk to you is through this question. So, Millie,

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Speaker 2: do you want to lay it on us?

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Speaker 3: Yes? I shall. Hi, Millie and Danielle.

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Speaker 1: I love the podcast and can't thank you enough for

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Speaker 1: getting me to watch movies that I've never heard of

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Speaker 1: or haven't seen in a while. I've noticed that a

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Speaker 1: lot of TV I'm watching is about ripped from the

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Speaker 1: headlines kind of stories The Dropout, The Girl from Plainville,

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Speaker 1: the Thing about Pam.

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Speaker 3: A lot of them.

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Speaker 1: Are also based on podcasts coincidence, But I also remember

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Speaker 1: that documentary about Lorena Bobbitt that came out a couple

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Speaker 1: of years ago, and it really focuses on how much

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Speaker 1: we didn't know about that story, or the Monica Lewinsky

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Speaker 1: show that really made it about her point of view.

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Speaker 1: I guess my question is, with all of these movies

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Speaker 1: and TV shows focusing on recent stories, do you think

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Speaker 1: there's going to be some kind of reckoning in twenty

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Speaker 1: years about how we didn't know.

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Speaker 3: The real story?

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Speaker 1: Is it ever even a good idea to base movies

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Speaker 1: and TV on real life stories that are super complicated

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Speaker 1: or still evolving. Thank you for all that you do

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Speaker 1: and for making my neighbors think I'm weird as I'm

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Speaker 1: laughing out loud while listening and walking my dog Anita. Wow.

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Speaker 2: Thanks Anita. We'd love to make people think everyone's weird.

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Speaker 2: This is a good question because I've been watching some

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Speaker 2: of these shows, and you know, movies and documentaries, and

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Speaker 2: I think the same exact thing, Like I lived through

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Speaker 2: a lot of this and didn't have any of this information.

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Speaker 2: I also think too that.

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Speaker 3: God, I don't.

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Speaker 1: I was actually trying to think about this the other

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Speaker 1: day when this started. I and I think we were

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Speaker 1: trying to remember this about we were talking about that

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Speaker 1: documentary Wild Wild Country. Do you remember that they came

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Speaker 1: on Netflix? And about that was huge, huge documentary, and

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Speaker 1: I feel like sort of kickstarted a lot of the

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Speaker 1: kind of stuff that's going on right now.

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Speaker 3: There's so many, Like.

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Speaker 1: I just watched one about Von Dutch, the Von Dutch brand,

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Speaker 1: but I felt like that was kind of like one

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Speaker 1: of the first of the modern era to kind of

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Speaker 1: take it there to this new We all have this

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Speaker 1: interest now in this kind of stuff, as evident by

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Speaker 1: the amount of documentaries that they're making, right But I

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Speaker 1: actually never remembered Wild Wilde Country, even though it happened

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Speaker 1: during my lifetime, I like never remembered it.

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Speaker 3: And so when I read this.

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Speaker 1: Question, I was like, oh my god, this is perfect

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Speaker 1: because I feel like I was just thinking the same thing. So, Sarah,

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Speaker 1: I know it's a lot to chew on, But you

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Speaker 1: have any thoughts about it?

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Speaker 4: Yeah, I have multiple conflicting thoughts as always. I mean,

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Speaker 4: I recently really enjoyed watching The Dropout, and I had

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Speaker 4: the experience of watching it the way I think a

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Speaker 4: lot of people did, of being like I already know

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Speaker 4: exactly what's going on to happen, and I'm coming to

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Speaker 4: the story not because I'm curious exactly, but because like,

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Speaker 4: I know what the story beats are and I want

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Speaker 4: to see them be hit. So it's like it's kind

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Speaker 4: of like seeing A Star is Born, when you're like,

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Speaker 4: I've seen all the other versions of A Star is Born,

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Speaker 4: and now I am watching the one with Lady Gaga

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Speaker 4: in it, and I wonder, you know, what kind of

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Speaker 4: beats will hit and how will hit them? And I

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Speaker 4: and so with the dropout, I, you know, because I

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Speaker 4: can't do anything halfway. Like I've watched each episode several times.

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Speaker 4: I've kind of thought quite a bit about it. I

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Speaker 4: have compared it, you know, thinking about the accuracy of

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Speaker 4: what is being depicted to kind of you know, the

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Speaker 4: eight million other versions of the Fair Noose story they're

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Speaker 4: now available, and you know there are ways that it

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Speaker 4: creates scene and it expresses ideas through scene in a

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Speaker 4: way that you know didn't literally happen, but is fairly

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Speaker 4: conventional for this kind of media, and which I have

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Speaker 4: mixed feelings about because I I think, you know, I

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Speaker 4: think Scorsese is like surprisingly extremely faithful to source material

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Speaker 4: in a way people maybe don't realize. And I think

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Speaker 4: movies like Goodfellas and Casino are really great demonstrations of

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Speaker 4: like how you can just take the literal truth and

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Speaker 4: not try and you know, push it through the kind

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Speaker 4: of Hollywood velvita machine at all, and you're gonna end

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Speaker 4: up with something really great because people, you know, react

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Speaker 4: well to things that actually happened a lot of the time.

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Speaker 1: Yeah, when we did Wolf of Wall Street on the podcast,

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Speaker 1: I was actually when I was doing research for it,

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Speaker 1: I was so surprised about how much of that actually happened,

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Speaker 1: like a lot of the sensational stuff that I was like,

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Speaker 1: oh my god, this has to be some kind of

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Speaker 1: like artistic license. And I was like, actually, no, they

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Speaker 1: were that crazy.

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Speaker 3: Yeah, so I totally know.

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Speaker 4: Yeah, And there's like, I mean, I think there's stuff

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Speaker 4: in Casina that's actually toned down because there's a degree

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Speaker 4: of mobster violence that like doesn't really translate to a

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Speaker 4: narrative arc where you're like, God, this this patchy character

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Speaker 4: just came in and fully unhinged, didn't he oh, yeah.

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Speaker 2: We could talk about clipping off fingers, but we can't

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Speaker 2: show clipping off fingers, like yeah.

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Speaker 4: Exactly, exactly so so and then and with farahnose and

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Speaker 4: like and then there's changes like, for example, in reality,

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Speaker 4: John Kerry Row's editor was an Italian American guy, and

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Speaker 4: which kind of makes more sense about why he would

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Speaker 4: tell a long anecdote about Sicily. But in the dropout,

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Speaker 4: his editor is played by Lisa Gay Hamilton, and I'm like, well,

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Speaker 4: I really love all these scenes of this kind of

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Speaker 4: classic newspaper guy and his editor who is played not

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Speaker 4: by another white guy who's yelling at him about how

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Speaker 4: he needs pictures of Spider Man, but is a woman

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Speaker 4: of color who he is very respectful towards, and who

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Speaker 4: also has to explain journalism to him because we don't

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Speaker 4: trust the audience, but who's able to do it in

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Speaker 4: a role that's very satisfying. So I feel like, basically,

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Speaker 4: and then I have to speak to how I personally

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Speaker 4: feel about this, which is that I am a junkie.

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Speaker 4: I need more theranose content. I need it every day

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Speaker 4: until I'm ready to move on. And I think that

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Speaker 4: we need to put more faith in the audience to

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Speaker 4: enjoy the drama of reality. But I also think that

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Speaker 4: I think I guess it's always it's always going to

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Speaker 4: be ethically, it's always going to be ethically a little

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Speaker 4: bit squishy to some degree to try and depict real people,

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Speaker 4: especially if this is a recent story that there's a

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Speaker 4: rabid desire for, which can make it harder to kind

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Speaker 4: of gauge what's.

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Speaker 2: Ethical to do.

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Speaker 4: And also you're going to have less information if you

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Speaker 4: don't wait twenty years until some of the bodies start,

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Speaker 4: you know, standing up and walking around. But I think

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Speaker 4: also if you're producing a series in an atmosphere that

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Speaker 4: has like fifty other pieces of media about the same story,

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Speaker 4: I think that's actually good because I think it's it's

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Speaker 4: great for an audience to be able to treat what

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Speaker 4: you do not as definitive or the truth, but an

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Speaker 4: attempt to depick the truth, and then you can go

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Speaker 4: find more if you want more.

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Speaker 2: I cannot agree with that more. I think that it's

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Speaker 2: it's interesting as someone who read Bad Blood the book

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Speaker 2: and kind of followed the magazine articles that I was

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Speaker 2: so excited about watching the drop out that for the

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Speaker 2: same reasons that you've just laid out, and I think

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Speaker 2: it's true that you kind of have to trust the

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Speaker 2: audience to be able to figure out where some of

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Speaker 2: the artistic licenses, but you know where we're staying true

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Speaker 2: to the story. And I think that in terms of

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Speaker 2: like Anita's question, you know, I don't know that we

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Speaker 2: I don't know that it's a bad idea to kind

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Speaker 2: of base these stories on real life, because that is

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Speaker 2: how we learn about a lot of this information, and

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Speaker 2: it also depends on who's willing to talk and win.

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Speaker 2: A lot of players, and a lot of stories are

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Speaker 2: not forthcoming until you know the person who wronged them

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Speaker 2: has died, or until they get, you know, to a

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Speaker 2: certain place in their own life where they feel more

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Speaker 2: confident and more comfortable, and you know, where it's kind

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Speaker 2: of blown over a little bit and is not as sensational.

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Speaker 2: So I think that it's there's no way we can

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Speaker 2: ever know everything that happened inside of any story, so

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Speaker 2: we may as well depict what we can while we can.

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Speaker 2: And who's who's this, I mean, they'll they'll be I

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Speaker 2: guarantee there will be another version of The Dropout that

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Speaker 2: comes out in twenty five years, and they'll have a

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Speaker 2: whole no watch it, and I'll watch it. I'll watch it,

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Speaker 2: and they'll just be like, and then we found out this,

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Speaker 2: and like, I had no idea until I watched that

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Speaker 2: that series that she had kind of like gone to

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Speaker 2: Burning Man and found herself and reinvented herself and had

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Speaker 2: a baby, and like, I didn't know any of that.

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Speaker 2: So I think there's always little nuggets that you can

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Speaker 2: glean depending on what type of media you're ingesting.

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Speaker 4: Yes, this is I'm going to use the classic. I'm

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Speaker 4: going to use a stoner metaphor, which is there's always

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Speaker 4: more nugs. There's always a nuggy for God. But it's

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Speaker 4: somewhere in the house. There's a little crumb in your keyboard.

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Speaker 2: Did you do that?

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Speaker 1: Like, do you remember the Paradise Loss documentaries?

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Speaker 3: Yeah, West Memphis three.

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Speaker 1: They updated that at some point, didn't they. And I

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Speaker 1: thought that was a really interesting move because I thought, Okay, well,

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Speaker 1: obviously everybody is a lot older and new information has

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Speaker 1: come to the surface, so why not. I mean, if

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Speaker 1: they have to update the Tiger King at some point

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Speaker 1: because we've found out new info.

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Speaker 3: I don't know. I might be on board for that,

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Speaker 3: who knows.

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Speaker 1: But I do like this idea though, of having you know,

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Speaker 1: somebody kind of come in and tell a different side

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Speaker 1: of it or a different story, and then maybe if

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Speaker 1: it is like history is still working itself out, if

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Speaker 1: they have to come back to it later, that might

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Speaker 1: be like something I'd watched, you know what I mean?

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Speaker 2: Yeah, Or even the staircase, which has been evolving for

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Speaker 2: what like twenty years, there's a new update on that

415
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Speaker 2: every year. It seems there's a whole new like view

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Speaker 2: on that case. And I think that there's what's weird too.

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Speaker 2: What I like about this question is I think that

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Speaker 2: there's there's no way that we can really say that

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Speaker 2: we even need to have a reckoning with these stories.

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Speaker 2: I think that, you know, and again, something that I

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Speaker 2: truly love about your podcast. You know you're wrong about

422
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Speaker 2: podcasts is that we can always have more perspectives on

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Speaker 2: what happened through the lens of our own interests and experience. So,

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Speaker 2: you know, like you said, John Carreyrew's editor was this

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Speaker 2: Italian guy. But I want to hear about this story

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Speaker 2: through the lens of like a woman who might have

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Speaker 2: picked up on something that none of these guys did

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Speaker 2: and are like, why is she you know, I just

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Speaker 2: I want to hear more perspectives, and so I don't

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Speaker 2: think there's ever I don't think that we need to

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Speaker 2: reckon with any of these stories as long as it's

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Speaker 2: not misinformation. I think that more perspectives are always valid, right.

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Speaker 4: There's such a difference between like a good fing effort

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Speaker 4: to depict what happened with the information you have, which

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Speaker 4: also I love that. I think as they were filming

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Speaker 4: the Dropout, they were integrating trial testimony into scenes that

437
00:23:10,119 --> 00:23:12,159
Speaker 4: they were doing, so they were like writing it, you know,

438
00:23:12,280 --> 00:23:15,560
Speaker 4: right till the very end and still you know, and

439
00:23:15,600 --> 00:23:19,240
Speaker 4: then once that was you know, fully cooked, then stuff

440
00:23:19,320 --> 00:23:21,400
Speaker 4: kept coming out. Stuff is still coming out and will

441
00:23:21,440 --> 00:23:25,080
Speaker 4: keep coming out as presumably people continue to implicate each other.

442
00:23:25,560 --> 00:23:29,520
Speaker 4: That's one of the ways. But yeah, I think there's

443
00:23:29,560 --> 00:23:31,720
Speaker 4: such a difference between doing the best you have with

444
00:23:31,800 --> 00:23:38,200
Speaker 4: the information you have and alternatively looking at a story

445
00:23:38,600 --> 00:23:43,000
Speaker 4: and being like, let's do the evil woman's story. That's evergreen.

446
00:23:43,080 --> 00:23:45,719
Speaker 4: People always want to buy that we're doing evil women today.

447
00:23:47,840 --> 00:23:51,000
Speaker 2: That to me is the Lorna Bobbittt documentary. Because growing up,

448
00:23:51,119 --> 00:23:53,720
Speaker 2: all I heard was the jokes about this woman who

449
00:23:53,760 --> 00:23:57,600
Speaker 2: cut her husband's penis off and never once in my

450
00:23:57,680 --> 00:23:59,960
Speaker 2: youth did I hear about the abuse that she said.

451
00:24:00,920 --> 00:24:02,960
Speaker 2: And so you're right, it's like the evil woman is

452
00:24:03,000 --> 00:24:04,960
Speaker 2: always there for you. There's always a trope that you

453
00:24:05,000 --> 00:24:08,160
Speaker 2: can dig into if that's your perspective, if you want

454
00:24:08,200 --> 00:24:09,400
Speaker 2: to put it on. I don't even know if this

455
00:24:09,440 --> 00:24:12,760
Speaker 2: network exists anymore, but like, what was that network for

456
00:24:12,840 --> 00:24:19,159
Speaker 2: dudes like stuff or something. Yeah, Like there's going to

457
00:24:19,200 --> 00:24:23,639
Speaker 2: be a spike perspective always that has that bent. But

458
00:24:23,760 --> 00:24:25,800
Speaker 2: I do think that it's I don't know, I kind

459
00:24:25,800 --> 00:24:30,160
Speaker 2: of I like seeing these multiple perspectives years later because

460
00:24:30,160 --> 00:24:35,080
Speaker 2: I think people feel more comfortable being more honest and truly.

461
00:24:35,119 --> 00:24:37,440
Speaker 2: There are a lot of things that come out right

462
00:24:37,520 --> 00:24:41,000
Speaker 2: after some cases broken or right after some news event

463
00:24:41,040 --> 00:24:43,359
Speaker 2: has happened, and it feels a little boring to me

464
00:24:43,359 --> 00:24:46,560
Speaker 2: because there is no perspective other than well, this is

465
00:24:46,560 --> 00:24:48,840
Speaker 2: what happened, and you're like, yeah, but what else. There's like,

466
00:24:48,880 --> 00:24:50,680
Speaker 2: you haven't talked to any of the victims, you haven't

467
00:24:50,680 --> 00:24:53,000
Speaker 2: talked to any of the you know, you haven't had

468
00:24:53,040 --> 00:24:56,439
Speaker 2: the benefit of time to really give yourself space to

469
00:24:56,480 --> 00:25:00,679
Speaker 2: explore what the actual real story is here. Yeah, So

470
00:25:00,760 --> 00:25:02,000
Speaker 2: I kind of appreciate that.

471
00:25:02,520 --> 00:25:05,240
Speaker 1: And Sarah, I was curious on your thoughts on this

472
00:25:05,400 --> 00:25:07,359
Speaker 1: because I was listening to the episode you did with

473
00:25:07,440 --> 00:25:10,919
Speaker 1: Janis Schwartz about the medieval torture devices.

474
00:25:11,240 --> 00:25:15,560
Speaker 4: Oh yeah, yeah, and you made this like surprisingly funny

475
00:25:15,560 --> 00:25:16,800
Speaker 4: one yeah no, no.

476
00:25:16,560 --> 00:25:17,600
Speaker 2: No, yeah.

477
00:25:17,600 --> 00:25:21,560
Speaker 1: You made this point about sort of why people gravitate

478
00:25:21,600 --> 00:25:25,040
Speaker 1: towards like the macabre or horror or something, and maybe

479
00:25:25,040 --> 00:25:28,640
Speaker 1: this is sort of related. But what are your thoughts

480
00:25:28,680 --> 00:25:33,080
Speaker 1: on sort of why there's been kind of a proliferation

481
00:25:33,200 --> 00:25:35,040
Speaker 1: of this kind of rit from the headline stuff. I mean,

482
00:25:35,080 --> 00:25:38,040
Speaker 1: do you think it's like a new thing that we're

483
00:25:38,080 --> 00:25:40,560
Speaker 1: all experiencing, Like why suddenly there's so many of these

484
00:25:40,640 --> 00:25:43,880
Speaker 1: kind of like documentaries about true cases.

485
00:25:43,960 --> 00:25:46,440
Speaker 3: I mean, is it like a reddit? Is it true crime?

486
00:25:46,520 --> 00:25:46,719
Speaker 2: Is it?

487
00:25:46,800 --> 00:25:48,320
Speaker 3: Do you have any thoughts on that?

488
00:25:49,200 --> 00:25:52,920
Speaker 4: I mean, I suspect that true crime will just always

489
00:25:52,960 --> 00:25:56,520
Speaker 4: expand to fill whatever space is available to it, and

490
00:25:56,680 --> 00:26:01,080
Speaker 4: that that's what we're seeing really, because like I'm convinced

491
00:26:01,080 --> 00:26:03,160
Speaker 4: that true crime is just like it has always been

492
00:26:03,200 --> 00:26:06,480
Speaker 4: with us. It's never had a boom, like the market

493
00:26:06,520 --> 00:26:11,119
Speaker 4: has changed and it has had more platforms to ooze onto.

494
00:26:11,240 --> 00:26:13,240
Speaker 4: And I use ooze in a positive way.

495
00:26:15,080 --> 00:26:16,200
Speaker 2: As we always did.

496
00:26:16,440 --> 00:26:21,040
Speaker 4: Yes, but like like oil you know, in the movie Giant.

497
00:26:21,080 --> 00:26:24,600
Speaker 4: But but you know, and you know, in the eighteenth

498
00:26:24,600 --> 00:26:29,960
Speaker 4: century there were Staffordshire murder scenes. There were these lovely,

499
00:26:30,400 --> 00:26:38,560
Speaker 4: you know, beautifully painted, beautifully crafted porcelain little dioramas of

500
00:26:38,640 --> 00:26:42,920
Speaker 4: famous murders that relatively wealthy people could own and display

501
00:26:43,400 --> 00:26:46,560
Speaker 4: and look at. So like, clearly, we have not invented

502
00:26:46,560 --> 00:26:49,120
Speaker 4: anything new here, We just have new platforms to look

503
00:26:49,160 --> 00:26:52,359
Speaker 4: at it on. But I mean I and then also,

504
00:26:52,520 --> 00:26:54,720
Speaker 4: you know, speaking to that, I grew up watching lifetime

505
00:26:54,720 --> 00:26:56,200
Speaker 4: movies just constantly.

506
00:26:56,600 --> 00:26:57,919
Speaker 3: Yeah, and a lot of those.

507
00:26:58,080 --> 00:27:03,920
Speaker 4: Yeah, and look at me now, and a lot of those,

508
00:27:04,000 --> 00:27:06,800
Speaker 4: you know, some of them were Lifetime originals, and a

509
00:27:06,880 --> 00:27:10,520
Speaker 4: lot of them were basically like TV movies from the

510
00:27:10,560 --> 00:27:14,520
Speaker 4: eighties and nineties that had come to live at the

511
00:27:14,560 --> 00:27:17,760
Speaker 4: lifetime rank and be reared over and over. So and

512
00:27:17,800 --> 00:27:19,880
Speaker 4: that was a ton of rip from the headline stuff

513
00:27:20,320 --> 00:27:22,600
Speaker 4: people either you know, going by their real names, like

514
00:27:22,640 --> 00:27:26,480
Speaker 4: Betty Broderick or a movie that made a huge impression

515
00:27:26,480 --> 00:27:31,119
Speaker 4: on me, which was The Lori Kellogg's Story, which was

516
00:27:31,160 --> 00:27:35,200
Speaker 4: a pseudonym in which starred Jenny Garth as a lad

517
00:27:35,359 --> 00:27:38,159
Speaker 4: who got married very young to a guy who was

518
00:27:38,280 --> 00:27:41,760
Speaker 4: very abusive and eventually conspired with some teenagers she knew

519
00:27:42,280 --> 00:27:45,840
Speaker 4: to kill him, And I just like that movie really

520
00:27:46,080 --> 00:27:48,479
Speaker 4: lodged in my consciousness. And one where I think, like

521
00:27:48,600 --> 00:27:51,760
Speaker 4: Cheryl Ladd got framed for drug possession and had to

522
00:27:51,800 --> 00:27:55,280
Speaker 4: like be a mom in prison, and she like befriended

523
00:27:55,280 --> 00:27:58,320
Speaker 4: this younger woman who had a baby in prison and

524
00:27:58,320 --> 00:28:01,320
Speaker 4: then they took her baby away, and like, I wasn't

525
00:28:01,400 --> 00:28:03,639
Speaker 4: learning about that in school, I was learning about it

526
00:28:03,640 --> 00:28:04,760
Speaker 4: from life.

527
00:28:06,320 --> 00:28:08,200
Speaker 2: And this is the other point is that it's the

528
00:28:09,119 --> 00:28:12,440
Speaker 2: relevance of these stories, and the importance of these stories

529
00:28:12,520 --> 00:28:15,360
Speaker 2: is not from a reckoning point of view, because how

530
00:28:15,400 --> 00:28:17,560
Speaker 2: else are we gonna know about this stuff? There are

531
00:28:17,600 --> 00:28:20,080
Speaker 2: only certain people who are focusing on things that are

532
00:28:20,119 --> 00:28:24,320
Speaker 2: actually interesting about the world that don't seem newsworthy to

533
00:28:24,400 --> 00:28:26,760
Speaker 2: the people who are making the news. I want to

534
00:28:26,800 --> 00:28:28,879
Speaker 2: know this stuff, want to I want to see that

535
00:28:29,000 --> 00:28:32,439
Speaker 2: there was a Meredith Baxter Bernie lifetime movie where she

536
00:28:32,440 --> 00:28:34,199
Speaker 2: would I forget the name of she kind of like

537
00:28:34,320 --> 00:28:37,000
Speaker 2: ended up sliding down a shower and just sitting and

538
00:28:37,040 --> 00:28:39,040
Speaker 2: crying in the shower, and I'm like, I want to

539
00:28:39,040 --> 00:28:40,960
Speaker 2: know that it's possible for me to cry in the shower.

540
00:28:41,000 --> 00:28:42,959
Speaker 2: That's what I need when I'm nine years old. I

541
00:28:43,040 --> 00:28:45,640
Speaker 2: need to know that, like women go through this shit.

542
00:28:45,760 --> 00:28:47,560
Speaker 2: I need to know that this is an emotion that's

543
00:28:47,600 --> 00:28:51,200
Speaker 2: available to me. It's important to the scope of our

544
00:28:51,240 --> 00:28:54,400
Speaker 2: lives to kind of see how people are living through

545
00:28:54,440 --> 00:28:57,760
Speaker 2: crimes and living through injustice. I think it really is

546
00:28:57,840 --> 00:29:00,200
Speaker 2: helpful in lifetime for it.

547
00:29:00,320 --> 00:29:03,440
Speaker 4: Was an incredible mix of, like I would say eighty

548
00:29:03,480 --> 00:29:09,000
Speaker 4: five percent women either committing relatable crimes or like being

549
00:29:09,080 --> 00:29:12,959
Speaker 4: framed for crimes, something being you know, something terrible happening

550
00:29:13,040 --> 00:29:17,080
Speaker 4: to them, essentially in a patriarchal world, and then fifteen

551
00:29:17,120 --> 00:29:20,480
Speaker 4: percent just fully unhinged movies about women who got to

552
00:29:20,560 --> 00:29:26,520
Speaker 4: be murderers, like Stephanie Zimbalist in The Babysitter and that

553
00:29:26,560 --> 00:29:31,440
Speaker 4: one with Tracy Gold where she contrary into college.

554
00:29:32,560 --> 00:29:34,800
Speaker 1: Well then now they've got I don't know if you've

555
00:29:34,800 --> 00:29:36,680
Speaker 1: been keeping up with them, but you know, they've got

556
00:29:36,720 --> 00:29:39,720
Speaker 1: their own kind of movie network and there's an app

557
00:29:39,760 --> 00:29:40,560
Speaker 1: and I don't know if you know.

558
00:29:40,480 --> 00:29:43,480
Speaker 3: About the all the Vivica Fox movies that they're doing.

559
00:29:43,600 --> 00:29:45,120
Speaker 2: No, Like, oh my.

560
00:29:45,080 --> 00:29:48,360
Speaker 1: God, it is like Oh yeah, I think it's brilliant.

561
00:29:48,400 --> 00:29:52,880
Speaker 1: I think it's brilliant that they're doing multiple films starring

562
00:29:52,960 --> 00:29:56,560
Speaker 1: Vivica Fox and it's always like the wrong blank like

563
00:29:56,760 --> 00:30:01,000
Speaker 1: the wrong caterer, the wrong big sitter.

564
00:30:00,960 --> 00:30:01,600
Speaker 3: Or the wrong whatever.

565
00:30:01,800 --> 00:30:04,480
Speaker 1: And it's to me, I think they're like, I don't know,

566
00:30:04,520 --> 00:30:05,440
Speaker 1: I'm a cult movie fan.

567
00:30:05,480 --> 00:30:06,760
Speaker 3: They kind of seem cult movie is.

568
00:30:06,840 --> 00:30:10,160
Speaker 1: It's like it's like this entire series of like these

569
00:30:10,400 --> 00:30:15,160
Speaker 1: you know, Lifetime films with her, and it's always like crazy, salacious,

570
00:30:15,520 --> 00:30:17,840
Speaker 1: you know stuff, And I just I love that they

571
00:30:17,960 --> 00:30:20,800
Speaker 1: kind of like kept it going and now they're kind.

572
00:30:20,640 --> 00:30:22,880
Speaker 3: Of like kind of leaning into it a little bit.

573
00:30:22,920 --> 00:30:23,840
Speaker 3: I appreciate that.

574
00:30:24,120 --> 00:30:28,160
Speaker 4: So, yeah, you know, I got I gotta check it out.

575
00:30:28,200 --> 00:30:30,720
Speaker 4: I will always defend Lifetime. I think it made me

576
00:30:30,760 --> 00:30:33,280
Speaker 4: who I am. And yeah, and then speaking of you

577
00:30:33,280 --> 00:30:35,680
Speaker 4: know the shows that we're seeing now, these you know,

578
00:30:35,720 --> 00:30:41,160
Speaker 4: these limited series specifically, I feel like it feels like

579
00:30:41,200 --> 00:30:43,640
Speaker 4: something new because it's a new format for TV to

580
00:30:43,680 --> 00:30:46,400
Speaker 4: be reaching us in. And I think often like you

581
00:30:46,520 --> 00:30:50,320
Speaker 4: have more time, you have more money, you have maybe

582
00:30:50,400 --> 00:30:53,440
Speaker 4: not better actors, nobody's better than Stephanie Zimbalist, but like

583
00:30:54,120 --> 00:30:56,440
Speaker 4: there's more resources going into it, and I think that's

584
00:30:56,480 --> 00:30:58,800
Speaker 4: new and I think that's a really positive development. But

585
00:30:58,880 --> 00:31:02,800
Speaker 4: like Lifetime has always been on this beat, so yeah, yeah,

586
00:31:04,240 --> 00:31:04,680
Speaker 4: I agree.

587
00:31:04,720 --> 00:31:06,440
Speaker 2: I think that it's it was always. It's always strange

588
00:31:06,440 --> 00:31:08,000
Speaker 2: to me in the past few years when people are

589
00:31:08,000 --> 00:31:10,720
Speaker 2: like surprised that true crime is popular, but it's always

590
00:31:10,720 --> 00:31:12,600
Speaker 2: been popular to a lot of us weirdo.

591
00:31:12,720 --> 00:31:16,480
Speaker 4: Right, it's like what paperbacks were you looking at when

592
00:31:16,520 --> 00:31:19,440
Speaker 4: you were loitering at the grocery store with your mom?

593
00:31:19,920 --> 00:31:24,920
Speaker 1: Yeah too, Like there's also to me it seems that

594
00:31:25,040 --> 00:31:27,400
Speaker 1: like as much as we've all loved this for so long,

595
00:31:27,480 --> 00:31:30,120
Speaker 1: but there's also this new generation of people who I

596
00:31:30,160 --> 00:31:33,520
Speaker 1: think have grown up with sort of the most information

597
00:31:33,600 --> 00:31:35,440
Speaker 1: they could ever get and one time, so they're like

598
00:31:35,840 --> 00:31:40,120
Speaker 1: really into the fact finding part of it. So like

599
00:31:40,200 --> 00:31:42,520
Speaker 1: I know so many people that go to Reddit and

600
00:31:42,560 --> 00:31:45,480
Speaker 1: like look up crimes on Reddit and so they can

601
00:31:45,520 --> 00:31:49,320
Speaker 1: like just talk about details and people like doing like

602
00:31:49,400 --> 00:31:53,880
Speaker 1: really hard research on things that I'm like, it's fascinating

603
00:31:53,880 --> 00:31:56,040
Speaker 1: to me because I mean, I know, we obviously never

604
00:31:56,080 --> 00:31:58,479
Speaker 1: had that ability when we were growing up to like

605
00:31:58,560 --> 00:32:02,959
Speaker 1: congregate and become detectives with other people about stuff we

606
00:32:03,120 --> 00:32:04,120
Speaker 1: liked you know what I mean.

607
00:32:04,720 --> 00:32:06,800
Speaker 4: No, or like you could, but you had to be

608
00:32:06,880 --> 00:32:09,920
Speaker 4: like a full time after school detective like Shelby Woue.

609
00:32:10,040 --> 00:32:12,160
Speaker 4: Like you couldn't just dip into it on the internet.

610
00:32:12,240 --> 00:32:12,480
Speaker 1: Yeah.

611
00:32:12,640 --> 00:32:15,240
Speaker 3: Yeah, it was a dedicated thing.

612
00:32:15,960 --> 00:32:18,560
Speaker 2: The hold on ghostwriter about it, like you had to

613
00:32:18,640 --> 00:32:22,360
Speaker 2: have a haunted typewriter and three friends. Yeah, you gotta

614
00:32:22,400 --> 00:32:28,520
Speaker 2: have a ghost Well, this has been so much fun.

615
00:32:28,720 --> 00:32:32,440
Speaker 2: I truly cannot thank you enough, and again cannot tell

616
00:32:32,480 --> 00:32:35,040
Speaker 2: you how how big a fans we are of your work,

617
00:32:35,120 --> 00:32:37,440
Speaker 2: everything you do. We would love to have you come

618
00:32:37,480 --> 00:32:40,320
Speaker 2: back anytime to answer any questions.

619
00:32:41,200 --> 00:32:43,120
Speaker 4: And I would love to come back anytime too. And

620
00:32:43,160 --> 00:32:47,479
Speaker 4: this was I mean, yeah, just pure joy. Thank you

621
00:32:47,520 --> 00:32:48,560
Speaker 4: for being pure joy.

622
00:32:49,480 --> 00:32:52,240
Speaker 2: Thank you as well, Honey in the ears, folks, I'm

623
00:32:52,280 --> 00:32:52,760
Speaker 2: not kidding.

624
00:33:01,360 --> 00:33:04,440
Speaker 1: Oh my gosh, so great to have Sarah on the

625
00:33:04,560 --> 00:33:05,080
Speaker 1: on the pod.

626
00:33:05,520 --> 00:33:08,360
Speaker 2: I mean that to me is like the way people

627
00:33:08,440 --> 00:33:11,920
Speaker 2: react to seeing Harry Styles. That's how I feel about

628
00:33:12,000 --> 00:33:13,520
Speaker 2: getting to talk to Aarah Marshall.

629
00:33:14,440 --> 00:33:16,680
Speaker 1: I know, it's like I listen to her podcast, I'm like, God,

630
00:33:16,680 --> 00:33:20,800
Speaker 1: I'm so jealous that I'm not this eloquent and intelligent,

631
00:33:21,000 --> 00:33:24,160
Speaker 1: and you know, she just like has this, she radiates

632
00:33:24,320 --> 00:33:27,920
Speaker 1: this like I don't know, this like very authentic voice,

633
00:33:28,160 --> 00:33:31,160
Speaker 1: and I just love that she's tackling these kind of

634
00:33:31,240 --> 00:33:33,800
Speaker 1: big questions and I don't know, I.

635
00:33:33,720 --> 00:33:36,000
Speaker 3: Think she's doing a lot of good for people and.

636
00:33:36,200 --> 00:33:41,200
Speaker 2: So funny, so funny and so warm and just charming

637
00:33:41,280 --> 00:33:43,640
Speaker 2: and just as wonderful as you think she is going

638
00:33:43,680 --> 00:33:44,320
Speaker 2: to be. She is.

639
00:33:45,880 --> 00:33:48,600
Speaker 1: Well, these movies we got this week are just as

640
00:33:48,640 --> 00:33:49,720
Speaker 1: wonderful as you think.

641
00:33:50,200 --> 00:33:56,080
Speaker 2: Great segue. I think we have a lot to answer

642
00:33:56,120 --> 00:33:59,240
Speaker 2: for with our choices and our theme this week, So

643
00:34:00,640 --> 00:34:03,000
Speaker 2: we both have a lot of explaining to you.

644
00:34:04,440 --> 00:34:08,520
Speaker 1: Oh my god, you you said at the end of

645
00:34:08,560 --> 00:34:11,560
Speaker 1: the last episode that you could not wait to do this,

646
00:34:12,160 --> 00:34:14,400
Speaker 1: So it's finally here. How do you feel? Are you

647
00:34:14,520 --> 00:34:17,319
Speaker 1: ready to fucking explode the.

648
00:34:17,360 --> 00:34:18,440
Speaker 3: Speakers right now?

649
00:34:18,719 --> 00:34:19,839
Speaker 2: I'm so ready?

650
00:34:20,000 --> 00:34:24,919
Speaker 3: Okay, why don't you tell the listeners what the theme

651
00:34:25,000 --> 00:34:25,520
Speaker 3: is this week?

652
00:34:26,360 --> 00:34:31,160
Speaker 2: This theme is it's one we've done before, correct, So

653
00:34:31,360 --> 00:34:34,160
Speaker 2: this is act This is the theme that brought us

654
00:34:34,200 --> 00:34:38,839
Speaker 2: to the now legendary response that Millie had to Hereditary,

655
00:34:41,080 --> 00:34:43,759
Speaker 2: and we're going there again, folks, because this week our

656
00:34:43,800 --> 00:34:46,520
Speaker 2: theme is I wish you were never born.

657
00:34:48,280 --> 00:34:51,279
Speaker 3: That's right, we are bringing it back for you.

658
00:34:53,000 --> 00:34:58,879
Speaker 1: A theme that is usually about siblings. Right, That's kind

659
00:34:58,880 --> 00:35:04,000
Speaker 1: of how we establish it the first time, about family, right,

660
00:35:04,239 --> 00:35:07,920
Speaker 1: but just this idea of like, you can't choose your family,

661
00:35:09,040 --> 00:35:14,720
Speaker 1: and uh, sometimes we we have wonderful moments with family,

662
00:35:14,840 --> 00:35:17,440
Speaker 1: wonderful moments with brothers and sisters and whatnot. But then

663
00:35:17,480 --> 00:35:21,960
Speaker 1: sometimes it's it's a it's a little glarly and.

664
00:35:23,600 --> 00:35:24,920
Speaker 2: To varying degrees.

665
00:35:25,840 --> 00:35:30,120
Speaker 1: And honestly, I can't I cannot stress this enough. When

666
00:35:30,320 --> 00:35:32,359
Speaker 1: when when I picked my movie, I think I picked

667
00:35:32,400 --> 00:35:32,880
Speaker 1: it first.

668
00:35:33,360 --> 00:35:34,239
Speaker 3: Okay, you you.

669
00:35:34,200 --> 00:35:38,319
Speaker 2: Would not listeners. You would not believe the alacrity with

670
00:35:38,360 --> 00:35:41,640
Speaker 2: which Millie said her film When I said should we

671
00:35:41,640 --> 00:35:44,080
Speaker 2: do this theme again? And she just went boom, like

672
00:35:44,120 --> 00:35:47,080
Speaker 2: it was boom, ready to go, Yes, let's do this theme.

673
00:35:47,400 --> 00:35:50,319
Speaker 3: I was. I was. I was ready to place my

674
00:35:50,400 --> 00:35:52,719
Speaker 3: film in any theme. To be honest, I was like.

675
00:35:52,640 --> 00:35:54,200
Speaker 1: That's how much I wanted to talk about it. I

676
00:35:54,200 --> 00:35:55,960
Speaker 1: was like, yo, like we can put we can make

677
00:35:55,960 --> 00:35:58,600
Speaker 1: a theme for for this three sixty five.

678
00:35:58,840 --> 00:36:00,440
Speaker 3: But then the.

679
00:36:00,160 --> 00:36:05,120
Speaker 1: Best part came when you chose your film as the

680
00:36:05,200 --> 00:36:08,840
Speaker 1: double feature, and I screamed, laughing, I'm not joking.

681
00:36:08,880 --> 00:36:12,120
Speaker 3: I screamed, laughing, because I thought, what a fucked up

682
00:36:12,239 --> 00:36:15,560
Speaker 3: pairing of movies like that is so brilliant. I love

683
00:36:15,600 --> 00:36:16,160
Speaker 3: it so much.

684
00:36:16,960 --> 00:36:18,880
Speaker 2: Like I said, we both have a lot to answer for.

685
00:36:21,440 --> 00:36:23,320
Speaker 2: We because I also was like, oh, yeah, I know

686
00:36:23,400 --> 00:36:25,919
Speaker 2: what I'm gonna pick for this this theme as well.

687
00:36:26,560 --> 00:36:28,719
Speaker 1: Yes, I mean consider it kind of like a high

688
00:36:28,800 --> 00:36:30,200
Speaker 1: key and low key or something.

689
00:36:30,400 --> 00:36:32,440
Speaker 3: There's there's two ends of a spectrum.

690
00:36:32,480 --> 00:36:37,080
Speaker 1: I don't know what to say about that, but I

691
00:36:37,080 --> 00:36:40,239
Speaker 1: think it's so twisted to sit and watch these two

692
00:36:40,239 --> 00:36:43,879
Speaker 1: movies together, which I basically did. I basically watched them

693
00:36:43,880 --> 00:36:47,960
Speaker 1: together and it was so fun. I watched them on

694
00:36:48,000 --> 00:36:49,319
Speaker 1: an airplane by the.

695
00:36:51,640 --> 00:36:54,200
Speaker 2: Really freaking out the squares.

696
00:36:56,080 --> 00:36:59,040
Speaker 1: And listen, let me tell you right now, I can't

697
00:36:59,080 --> 00:37:02,440
Speaker 1: imagine what some was thinking behind me as I'm like, oh,

698
00:37:02,480 --> 00:37:05,759
Speaker 1: I'm watching you can count on me. You know that's

699
00:37:05,760 --> 00:37:08,800
Speaker 1: a movie, a plane movie, sure, But then to watch

700
00:37:09,000 --> 00:37:10,919
Speaker 1: basket Case afterwards, they're like.

701
00:37:11,160 --> 00:37:13,239
Speaker 3: What the fuck is wrong with this woman? Like she

702
00:37:13,440 --> 00:37:14,919
Speaker 3: really downshifted.

703
00:37:15,280 --> 00:37:18,120
Speaker 2: I can't believe there was an air marshal intervention or

704
00:37:18,160 --> 00:37:20,560
Speaker 2: like the TSA waiting for you at the gate or

705
00:37:20,840 --> 00:37:27,000
Speaker 2: something like you really escaped a possible situation there, like

706
00:37:27,040 --> 00:37:27,680
Speaker 2: this woman is.

707
00:37:27,680 --> 00:37:30,280
Speaker 3: Watching two completely different movies.

708
00:37:29,920 --> 00:37:33,160
Speaker 1: Together and we don't understand why, and she has to

709
00:37:33,160 --> 00:37:36,799
Speaker 1: be put in a detention center because we can't we

710
00:37:36,800 --> 00:37:37,640
Speaker 1: can't understand it.

711
00:37:38,000 --> 00:37:41,920
Speaker 2: And both of them were making my child cry.

712
00:37:41,960 --> 00:37:47,399
Speaker 1: Well, listen, I haven't seen your film, got it. It's

713
00:37:47,400 --> 00:37:50,520
Speaker 1: been so long since I've seen your film, probably since

714
00:37:50,600 --> 00:37:54,160
Speaker 1: around the time it came out, and it's so fucking good.

715
00:37:54,239 --> 00:37:55,719
Speaker 3: I can't wait for you to talk about it.

716
00:37:56,120 --> 00:37:58,759
Speaker 2: Well, I'm gonna jump right in because my film for

717
00:37:58,840 --> 00:38:02,680
Speaker 2: our theme, I Wish You Were Never Born, was released

718
00:38:02,680 --> 00:38:06,360
Speaker 2: in the year two thousand. It was written and directed

719
00:38:06,400 --> 00:38:10,160
Speaker 2: by Kenneth Laannergan and my movie is you Can count

720
00:38:10,280 --> 00:38:10,799
Speaker 2: On Me.

721
00:38:11,160 --> 00:38:13,240
Speaker 4: I got a postcard from you from Alaska.

722
00:38:13,440 --> 00:38:15,439
Speaker 3: Yeah, yeah, I was all at that for a little while.

723
00:38:15,600 --> 00:38:19,399
Speaker 2: That was in the fall, Terry, I was in jail

724
00:38:19,480 --> 00:38:25,560
Speaker 2: for a little while. What I have such just fond

725
00:38:25,600 --> 00:38:27,560
Speaker 2: memories of this movie because I also hadn't seen it

726
00:38:27,600 --> 00:38:31,680
Speaker 2: in a while, But it stuck with me, this relationship

727
00:38:31,719 --> 00:38:34,239
Speaker 2: between brother and sister, the relationships in the film to

728
00:38:34,320 --> 00:38:37,200
Speaker 2: the people in the town, like it just was one

729
00:38:37,200 --> 00:38:40,239
Speaker 2: of those that stuck with me. And I didn't know

730
00:38:40,520 --> 00:38:44,560
Speaker 2: that or forgot that Martin Scorsese produced it. What was

731
00:38:44,600 --> 00:38:47,440
Speaker 2: one of the executive producers on this movie? Hmmm, interesting,

732
00:38:47,600 --> 00:38:51,160
Speaker 2: didn't know that. Yeah, And just to get into a

733
00:38:51,200 --> 00:38:56,719
Speaker 2: little bit of background, Kenneth Laannergan is by now very

734
00:38:56,760 --> 00:38:59,600
Speaker 2: well known, but he started out as a playwright. He

735
00:38:59,640 --> 00:39:03,280
Speaker 2: was a playwright as well as a screenwriter and director.

736
00:39:03,480 --> 00:39:07,080
Speaker 2: He's won tons of awards, has some great plays like

737
00:39:07,120 --> 00:39:12,040
Speaker 2: This is Our Youth Lobby Hero. He also directed Manchester

738
00:39:12,120 --> 00:39:14,800
Speaker 2: by the Sea, which was nominated for a ton of awards,

739
00:39:15,080 --> 00:39:18,239
Speaker 2: and he's just he just has this ability as a

740
00:39:18,280 --> 00:39:24,160
Speaker 2: director to tap into the worst emotional core of what

741
00:39:24,200 --> 00:39:27,000
Speaker 2: we have to offer as people and present it in

742
00:39:27,040 --> 00:39:31,360
Speaker 2: a beautiful and delicate way. And I just always appreciate

743
00:39:31,360 --> 00:39:34,359
Speaker 2: that about him. And there's also a small role in

744
00:39:34,400 --> 00:39:38,520
Speaker 2: this film for j Smith Cameron, who most of you

745
00:39:38,560 --> 00:39:42,520
Speaker 2: by now know as Jerry in Succession, but has also

746
00:39:42,719 --> 00:39:47,120
Speaker 2: been in beautiful little TV shows like Rectify and is

747
00:39:47,160 --> 00:39:52,160
Speaker 2: also not only a famed theater actor in her own right,

748
00:39:52,239 --> 00:39:55,520
Speaker 2: but is also married to Kenneth Latergan. Oh.

749
00:39:55,719 --> 00:40:00,799
Speaker 1: Interesting, You know what, I've never seen a Rectify or success.

750
00:40:00,440 --> 00:40:04,560
Speaker 2: Oh lord, I don't know that there's ever a good

751
00:40:04,600 --> 00:40:05,960
Speaker 2: time to dig into those shows.

752
00:40:06,080 --> 00:40:09,080
Speaker 3: But but I'm on the list.

753
00:40:09,800 --> 00:40:15,040
Speaker 2: Rectify is even though it's TV, it will be one

754
00:40:15,080 --> 00:40:18,759
Speaker 2: of those TV shows that is stressful and traumatizing, like

755
00:40:18,760 --> 00:40:24,280
Speaker 2: one of my regular suggestions. Mm hmm, okay, stressful but beautiful,

756
00:40:24,480 --> 00:40:32,120
Speaker 2: beautiful and very very underrated. So my one sentence synopsis

757
00:40:32,600 --> 00:40:38,320
Speaker 2: of this film is the reappearance of a wayward younger

758
00:40:38,360 --> 00:40:42,279
Speaker 2: brother forces a single mother to question not only the

759
00:40:42,320 --> 00:40:45,960
Speaker 2: meaning but the real life application of love.

760
00:40:47,920 --> 00:40:48,640
Speaker 3: That's a good one.

761
00:40:49,320 --> 00:40:51,400
Speaker 2: So I was really trying to think about how do

762
00:40:51,440 --> 00:40:53,000
Speaker 2: you sew up this movie and in one sentence that's

763
00:40:53,080 --> 00:40:58,240
Speaker 2: very difficult. But for a kind of more more expansive summary,

764
00:40:58,719 --> 00:41:01,240
Speaker 2: this movie is about Sammy, who's played by Laura Lenny

765
00:41:02,360 --> 00:41:06,440
Speaker 2: and she's this older sister to Terry. She's a single

766
00:41:06,480 --> 00:41:10,399
Speaker 2: mom who hasn't told her very precocious and adorable eight

767
00:41:10,440 --> 00:41:14,279
Speaker 2: year old son much about his father beyond he's not

768
00:41:14,360 --> 00:41:18,359
Speaker 2: a nice person. She works at a bank. She's lived

769
00:41:18,360 --> 00:41:20,319
Speaker 2: in the same house and the same small town her

770
00:41:20,320 --> 00:41:24,520
Speaker 2: whole life, and her brother Terry couldn't get out of

771
00:41:24,520 --> 00:41:26,719
Speaker 2: there fast enough. He's the exact polar opposite of her,

772
00:41:28,480 --> 00:41:31,480
Speaker 2: but he still finds himself really needing Sammy like he

773
00:41:31,560 --> 00:41:35,319
Speaker 2: needs a sister, often for money, but also for kind

774
00:41:35,360 --> 00:41:38,840
Speaker 2: of like an unquestioning affection or for like a tiny

775
00:41:38,920 --> 00:41:41,919
Speaker 2: hit of stability every now and then. And I think

776
00:41:41,960 --> 00:41:44,640
Speaker 2: that the reason I picked this movie for the theme

777
00:41:44,640 --> 00:41:46,839
Speaker 2: of I Wish You Were Never Born is that there's

778
00:41:46,880 --> 00:41:50,719
Speaker 2: not like an outright animosity in this movie, but a

779
00:41:50,760 --> 00:41:57,120
Speaker 2: lot of siblings bond over shared childhood experiences. But when

780
00:41:57,120 --> 00:42:01,560
Speaker 2: those shared experiences are painful, does that translate to a

781
00:42:01,600 --> 00:42:05,279
Speaker 2: relationship as adults? So for me, I wish you were

782
00:42:05,320 --> 00:42:09,719
Speaker 2: never born. Sometimes sometimes it turns into I wish I

783
00:42:09,760 --> 00:42:13,360
Speaker 2: was never born, or sometimes it just translates as like

784
00:42:13,440 --> 00:42:16,520
Speaker 2: I wish I was not thrown into this dynamic with you,

785
00:42:17,200 --> 00:42:19,600
Speaker 2: Like I just wish we didn't have to be these

786
00:42:19,600 --> 00:42:23,440
Speaker 2: people doing this thing. And a big part of that

787
00:42:23,640 --> 00:42:27,640
Speaker 2: is that, in true Kenneth Lonerkan's style, this movie starts

788
00:42:27,640 --> 00:42:30,560
Speaker 2: with a good old New England tragedy, which is that

789
00:42:30,600 --> 00:42:33,400
Speaker 2: both of their parents die in a car accident, right,

790
00:42:34,040 --> 00:42:38,200
Speaker 2: so they are instantly bonded by this traumatic event.

791
00:42:39,200 --> 00:42:44,840
Speaker 1: I'm just curious about your relationship.

792
00:42:45,320 --> 00:42:47,720
Speaker 3: Were you the oldest or was your brother older?

793
00:42:47,880 --> 00:42:50,480
Speaker 2: Right? He's older? Right? Yeah? But Corey's older than me

794
00:42:50,560 --> 00:42:53,080
Speaker 2: by a year and a half. Okay, and then I

795
00:42:53,120 --> 00:42:55,880
Speaker 2: have three younger siblings who I never lived with or

796
00:42:55,880 --> 00:42:56,400
Speaker 2: grew up with.

797
00:42:56,920 --> 00:43:00,279
Speaker 3: Okay, got it. So were you did you have?

798
00:43:00,480 --> 00:43:04,480
Speaker 1: Like I'm so curious about I never had brothers, And

799
00:43:04,520 --> 00:43:06,160
Speaker 1: this is part of the movie for me that I

800
00:43:06,160 --> 00:43:09,080
Speaker 1: think is really interesting. It's just the brother and sister dynamic.

801
00:43:09,440 --> 00:43:12,040
Speaker 1: And I know you've talked about Corey before on the podcast,

802
00:43:12,080 --> 00:43:16,879
Speaker 1: but did you see sort of any similarities between you

803
00:43:16,960 --> 00:43:20,440
Speaker 1: and your relationship? And there's Sammy and.

804
00:43:21,160 --> 00:43:25,560
Speaker 2: Completely completely and he listens to this podcast, so he's

805
00:43:25,600 --> 00:43:28,760
Speaker 2: gonna hear this. And it's fine because I've said it, Hey, Corey,

806
00:43:31,160 --> 00:43:33,839
Speaker 2: I have said it to his face. But yeah, there's

807
00:43:33,840 --> 00:43:36,120
Speaker 2: that dynamic and we talk about it sometimes because it's

808
00:43:36,239 --> 00:43:38,680
Speaker 2: very strange that I'm the younger sibling, but I've always

809
00:43:39,000 --> 00:43:41,480
Speaker 2: kind of had to act like the older sibling. Yeah,

810
00:43:41,520 --> 00:43:43,760
Speaker 2: and I've always been the more responsible one. I've always

811
00:43:43,760 --> 00:43:46,799
Speaker 2: been the more, you know, direct one. I've always been

812
00:43:47,400 --> 00:43:50,480
Speaker 2: the one who kind of sucked up most of the trauma.

813
00:43:50,560 --> 00:43:53,520
Speaker 2: And so we've talked about that a lot because we

814
00:43:53,640 --> 00:43:57,279
Speaker 2: have had this dynamic. This dynamic felt very very real

815
00:43:57,320 --> 00:44:00,000
Speaker 2: to me. You know, Corey kind of floated through life

816
00:44:00,200 --> 00:44:02,440
Speaker 2: for a while and didn't know what he wanted to do,

817
00:44:02,520 --> 00:44:04,719
Speaker 2: and let you know, women take care of him, and

818
00:44:05,080 --> 00:44:06,800
Speaker 2: you know, he was just kind of like that guy.

819
00:44:06,880 --> 00:44:09,080
Speaker 2: And I think there are a lot of that guys.

820
00:44:09,360 --> 00:44:12,160
Speaker 2: Like that's not a condemnation of him. I just think

821
00:44:12,160 --> 00:44:14,880
Speaker 2: that there's a lot of that guy out there who's

822
00:44:14,960 --> 00:44:16,759
Speaker 2: just kind of like, I don't know, like I don't

823
00:44:16,760 --> 00:44:19,120
Speaker 2: want to do this, so I'll just do whatever.

824
00:44:20,040 --> 00:44:21,839
Speaker 1: Yeah, I know, I know, And like that's a big

825
00:44:21,880 --> 00:44:26,400
Speaker 1: part of the film too, is sort of like the

826
00:44:26,520 --> 00:44:32,759
Speaker 1: dynamic between the quote unquote responsible one, the sibling that

827
00:44:32,880 --> 00:44:35,479
Speaker 1: stays in the town and has the kid and has

828
00:44:35,520 --> 00:44:39,160
Speaker 1: the house, versus the one that goes off into the

829
00:44:39,239 --> 00:44:41,880
Speaker 1: universe and sort of just you know, has more of

830
00:44:41,880 --> 00:44:45,279
Speaker 1: a free spirit, kind of takes jobs wherever. When when

831
00:44:45,320 --> 00:44:48,120
Speaker 1: he mentioned when the Mark Ruffalo character mentioned he'd been

832
00:44:48,160 --> 00:44:50,960
Speaker 1: in Alaska, I was like, ooh, Danielle went to Alaska.

833
00:44:51,239 --> 00:44:51,960
Speaker 1: That's cool.

834
00:44:52,320 --> 00:44:55,000
Speaker 2: Well, but it's it's also strange about my dynamic with

835
00:44:55,080 --> 00:44:59,399
Speaker 2: Corey is that right, somehow was the responsible one and

836
00:45:00,600 --> 00:45:02,840
Speaker 2: I still was also the person who went out in

837
00:45:02,880 --> 00:45:05,759
Speaker 2: the world and did a bunch of weird shit. Yeah, yeah,

838
00:45:05,960 --> 00:45:07,960
Speaker 2: so I was kind of both of these characters.

839
00:45:09,239 --> 00:45:11,319
Speaker 1: Yeah, no, and that, and I'll get it. I'm sure

840
00:45:11,320 --> 00:45:13,200
Speaker 1: I will get into it in a second. But yeah,

841
00:45:13,239 --> 00:45:16,799
Speaker 1: the the sort of roles that the two of them

842
00:45:17,000 --> 00:45:20,400
Speaker 1: have in the family, and then you know, sort of

843
00:45:20,400 --> 00:45:24,120
Speaker 1: how they're it's not great like for either one of them,

844
00:45:24,400 --> 00:45:27,480
Speaker 1: where she might be the responsible one, but she has.

845
00:45:27,320 --> 00:45:29,680
Speaker 3: Her own drama too, don't get it twisted.

846
00:45:30,280 --> 00:45:34,080
Speaker 1: And I just but I just love thinking about siblings,

847
00:45:34,120 --> 00:45:36,799
Speaker 1: and I was I'm fascinated by you and Corey's relationship

848
00:45:36,840 --> 00:45:38,480
Speaker 1: again because I didn't have brothers.

849
00:45:38,520 --> 00:45:41,359
Speaker 3: So yeah, I just wondered about that.

850
00:45:41,600 --> 00:45:43,520
Speaker 2: Oh yeah, we're gonna and we will definitely get into it.

851
00:45:43,560 --> 00:45:47,400
Speaker 2: Sorry Corey, but we'll definitely get into it. But I

852
00:45:47,440 --> 00:45:49,279
Speaker 2: think you're you're what you hit upon. There too, is

853
00:45:49,280 --> 00:45:53,960
Speaker 2: something that is true of all older siblings or responsible siblings,

854
00:45:54,000 --> 00:45:56,160
Speaker 2: which is that, like, it's not always fun for us,

855
00:45:56,920 --> 00:46:00,000
Speaker 2: and so there's a lot of kind of unseen pressure

856
00:46:00,160 --> 00:46:04,360
Speaker 2: that comes with being the one who everyone turns to

857
00:46:05,480 --> 00:46:07,640
Speaker 2: to do things. Like I just I'm feeling it a

858
00:46:07,680 --> 00:46:11,680
Speaker 2: lot now in my own life because I've you know again,

859
00:46:11,719 --> 00:46:13,800
Speaker 2: I've moved home I'm moving my grandmother into my house,

860
00:46:13,840 --> 00:46:16,680
Speaker 2: and it just comes with a lot of management and

861
00:46:16,719 --> 00:46:19,560
Speaker 2: a lot of responsibility, and I'm happy to take it on.

862
00:46:19,880 --> 00:46:22,719
Speaker 2: But I also there have just been moments where I

863
00:46:22,719 --> 00:46:26,240
Speaker 2: feel like Corey in particular, like resents me for coming

864
00:46:26,280 --> 00:46:30,840
Speaker 2: back and being that person, and he doesn't hesitate to

865
00:46:30,880 --> 00:46:34,480
Speaker 2: tell me that. So I'm like, well, that fucking sucks

866
00:46:34,520 --> 00:46:37,879
Speaker 2: that you feel that way, because in my mind, I'm

867
00:46:37,880 --> 00:46:40,440
Speaker 2: just trying to do something good and that will make

868
00:46:40,440 --> 00:46:44,239
Speaker 2: it easier for all of us. But sometimes for him,

869
00:46:44,320 --> 00:46:46,920
Speaker 2: I think he feels like I don't take him seriously,

870
00:46:47,040 --> 00:46:49,719
Speaker 2: or like he's not pulling his weight or doing as

871
00:46:49,840 --> 00:46:52,200
Speaker 2: much or whatever. I don't want to make him feel

872
00:46:52,200 --> 00:46:54,920
Speaker 2: that way, but again, it's like when you're the responsible sibling,

873
00:46:55,640 --> 00:46:58,920
Speaker 2: you can't wait to act like things. Shit has to

874
00:46:58,920 --> 00:47:02,560
Speaker 2: get done and you can't wait for someone's feelings to feel,

875
00:47:03,280 --> 00:47:06,359
Speaker 2: you know, to be on par with what you need

876
00:47:06,400 --> 00:47:06,640
Speaker 2: to do.

877
00:47:07,520 --> 00:47:10,520
Speaker 1: Yeah, But at the same time too, I feel that

878
00:47:10,760 --> 00:47:13,000
Speaker 1: I feel like, and it's weird to say that, but

879
00:47:13,080 --> 00:47:15,360
Speaker 1: it's like I feel like there's this.

880
00:47:17,040 --> 00:47:18,760
Speaker 3: I don't know, there's this notion that.

881
00:47:20,360 --> 00:47:23,759
Speaker 1: Of stability, right, Like who is quote unquote stable, Like

882
00:47:23,880 --> 00:47:26,600
Speaker 1: how do you measure stability? Is it that you own

883
00:47:26,640 --> 00:47:30,840
Speaker 1: a house, Is it that you you know, aren't doing heroin?

884
00:47:31,000 --> 00:47:32,719
Speaker 3: I don't know what does that mean? What does that

885
00:47:32,760 --> 00:47:33,120
Speaker 3: look like?

886
00:47:33,600 --> 00:47:37,440
Speaker 1: And for me sometimes I feel and this is just

887
00:47:37,520 --> 00:47:39,560
Speaker 1: you know, kind of getting into the weeds a little

888
00:47:39,560 --> 00:47:40,600
Speaker 1: bit about my family.

889
00:47:40,680 --> 00:47:43,080
Speaker 3: But like I sometimes feel.

890
00:47:42,800 --> 00:47:47,000
Speaker 1: Like I'm the non stable one because I don't, you know,

891
00:47:47,280 --> 00:47:49,480
Speaker 1: have kids, or I'm not married and I don't have

892
00:47:49,520 --> 00:47:52,000
Speaker 1: a family. And there are times where I sort of

893
00:47:52,160 --> 00:47:56,000
Speaker 1: resent that within my sister, that she lives so close

894
00:47:56,040 --> 00:47:59,239
Speaker 1: to my parents and that you know, maybe they see

895
00:47:59,280 --> 00:48:01,239
Speaker 1: me as as fuck freak that's like roam in the

896
00:48:01,280 --> 00:48:05,120
Speaker 1: world with no ties, and that I'm irresponsible that I

897
00:48:05,440 --> 00:48:09,440
Speaker 1: wouldn't come for you know, a big serious event because

898
00:48:09,440 --> 00:48:13,520
Speaker 1: I'm out in the world having a podcast and watching

899
00:48:13,640 --> 00:48:16,360
Speaker 1: movies or some shit it's on my podcast.

900
00:48:16,520 --> 00:48:19,400
Speaker 2: Is preventing you from going to your parents' wedding anniversary?

901
00:48:19,440 --> 00:48:21,520
Speaker 2: And then we got some fucking problems to work out.

902
00:48:21,880 --> 00:48:25,480
Speaker 1: That bitch is wild, she's she's got no ties, she

903
00:48:25,520 --> 00:48:26,799
Speaker 1: has a film podcast.

904
00:48:26,920 --> 00:48:30,560
Speaker 3: Well, she's fucked up, no, I.

905
00:48:29,960 --> 00:48:31,880
Speaker 2: Know, But I understand what you mean because then the

906
00:48:31,880 --> 00:48:33,920
Speaker 2: flip side of that is that you're still the older

907
00:48:33,920 --> 00:48:37,520
Speaker 2: sibling who everyone turns to and is like, well, you'll

908
00:48:37,560 --> 00:48:39,640
Speaker 2: do this because you don't have a family or kids

909
00:48:39,719 --> 00:48:42,600
Speaker 2: or whatever, right, And it's a weird dynamic to be

910
00:48:42,719 --> 00:48:44,759
Speaker 2: in where you're like, I don't feel like you see

911
00:48:44,800 --> 00:48:49,120
Speaker 2: me as responsible or as you know, settled as my sister,

912
00:48:49,719 --> 00:48:52,839
Speaker 2: but yet I'm naturally going to inherit a lot of

913
00:48:53,400 --> 00:48:56,680
Speaker 2: the responsibility of this family as you age and as

914
00:48:57,400 --> 00:49:01,000
Speaker 2: things change because I don't have that. Yeah, it's very weird.

915
00:49:01,480 --> 00:49:03,520
Speaker 1: Well I know, and like that's why I think ultimately

916
00:49:03,840 --> 00:49:06,960
Speaker 1: we should, as it is a society, drop the fucking

917
00:49:07,040 --> 00:49:11,920
Speaker 1: bullshit about who's you know, what stability and what responsibility

918
00:49:11,960 --> 00:49:14,520
Speaker 1: and what growth sort of looks like in that very

919
00:49:14,560 --> 00:49:18,040
Speaker 1: traditional way, because it's like, you know, it's complicated, as

920
00:49:18,239 --> 00:49:20,319
Speaker 1: as you'll see in your film. I mean, it's like

921
00:49:20,400 --> 00:49:22,279
Speaker 1: just because you own a house and have a kid

922
00:49:22,480 --> 00:49:24,000
Speaker 1: doesn't mean you have your shit together.

923
00:49:24,120 --> 00:49:25,279
Speaker 3: It's like a lot of.

924
00:49:25,200 --> 00:49:30,880
Speaker 1: Times people and that that responsibility for that person is

925
00:49:31,320 --> 00:49:34,640
Speaker 1: probably really really affects them too, and it makes them

926
00:49:34,680 --> 00:49:38,240
Speaker 1: feel boxed in and limited. And so let's just drop

927
00:49:38,280 --> 00:49:43,360
Speaker 1: all the bullshit and like, let's stop like judging people

928
00:49:43,440 --> 00:49:45,919
Speaker 1: about this right, So anyway, and let's stop.

929
00:49:46,000 --> 00:49:51,279
Speaker 2: Let's stop conscripting people into these familial roles like learn

930
00:49:51,320 --> 00:49:53,160
Speaker 2: who they are and what they want and how they

931
00:49:53,160 --> 00:49:55,600
Speaker 2: can help you or not help you, and go from there.

932
00:49:55,760 --> 00:50:00,200
Speaker 2: Let's stop assuming that someone, because they are a certain way,

933
00:50:00,800 --> 00:50:04,800
Speaker 2: wants to or can take on the whole responsibility of

934
00:50:04,840 --> 00:50:08,080
Speaker 2: your fucking family. This is very personal to me, but

935
00:50:08,239 --> 00:50:10,240
Speaker 2: I think it also lies to a lot of people,

936
00:50:11,840 --> 00:50:14,640
Speaker 2: because you know, I turn into my base or self

937
00:50:14,760 --> 00:50:18,239
Speaker 2: when I'm pushed into that corner, and I don't like it.

938
00:50:18,320 --> 00:50:20,040
Speaker 2: I don't like it. I don't like shouting like a

939
00:50:20,040 --> 00:50:22,880
Speaker 2: teenager that I also want to have a life, you

940
00:50:22,920 --> 00:50:27,480
Speaker 2: know what I mean. But one thing about this movie

941
00:50:27,719 --> 00:50:30,000
Speaker 2: that I really dig, and it kind of helps us

942
00:50:30,000 --> 00:50:32,320
Speaker 2: set up this dynamic of who these who these people

943
00:50:32,320 --> 00:50:36,120
Speaker 2: are to each other. We don't learn much of anything

944
00:50:36,160 --> 00:50:40,040
Speaker 2: about what happened to these kids directly after the car crash,

945
00:50:40,520 --> 00:50:42,399
Speaker 2: so we don't know if a family member took them

946
00:50:42,400 --> 00:50:45,319
Speaker 2: in or what. But that, but you know, we kind

947
00:50:45,360 --> 00:50:47,600
Speaker 2: of it's easy to get the impression that at a

948
00:50:47,680 --> 00:50:51,000
Speaker 2: certain point Sammy took care of them both or from

949
00:50:51,000 --> 00:50:54,239
Speaker 2: that point forward had always taken care of them, even

950
00:50:54,280 --> 00:50:56,680
Speaker 2: if they did live with a family member, and we

951
00:50:56,719 --> 00:50:59,520
Speaker 2: also learned that both Sammy and Terry have a shared

952
00:50:59,520 --> 00:51:02,520
Speaker 2: ownership of this house, so even though she lives in

953
00:51:02,520 --> 00:51:05,000
Speaker 2: it and is raising her son in it, it's a

954
00:51:05,120 --> 00:51:07,799
Speaker 2: house that belongs to both to them. And in the

955
00:51:07,800 --> 00:51:10,280
Speaker 2: beginning of the movie, Terry writes a letter to Sammy,

956
00:51:10,320 --> 00:51:12,120
Speaker 2: and she keeps this big file folder with all of

957
00:51:12,120 --> 00:51:16,239
Speaker 2: his letters. It's pretty thick. And that was the first

958
00:51:16,280 --> 00:51:18,239
Speaker 2: part that gave me pause, because yes, it's the year

959
00:51:18,280 --> 00:51:21,479
Speaker 2: two thousands, so we weren't all inundated with our electronics yet.

960
00:51:21,960 --> 00:51:24,959
Speaker 2: But writing a letter is so selective, like there's there's

961
00:51:24,960 --> 00:51:28,040
Speaker 2: so much that she can't glean about his life beyond

962
00:51:28,040 --> 00:51:31,120
Speaker 2: what he's willing to put on the page. And Terry

963
00:51:31,200 --> 00:51:35,000
Speaker 2: is a mess, Like Terry is a sweaty mess. He's

964
00:51:35,239 --> 00:51:38,239
Speaker 2: very quick to anger. He's the kind of guy who

965
00:51:38,239 --> 00:51:40,759
Speaker 2: will smoke pot in the bathroom on the bus that

966
00:51:40,800 --> 00:51:44,840
Speaker 2: he's taking to see them. He has a very sparse

967
00:51:44,840 --> 00:51:47,760
Speaker 2: apartment with like an old speaker for a coffee table,

968
00:51:49,320 --> 00:51:52,279
Speaker 2: like he's borrowing money from his girlfriend as he has

969
00:51:52,320 --> 00:51:55,759
Speaker 2: one foot out the door. And then what's wild is

970
00:51:55,840 --> 00:51:57,839
Speaker 2: in that scene where you first meet Terry, and he's

971
00:51:57,880 --> 00:52:01,160
Speaker 2: talking to Gabby Hoffman, who's playing his girl friend Sheila.

972
00:52:02,200 --> 00:52:05,000
Speaker 2: He said, he makes a statement that I think is

973
00:52:05,040 --> 00:52:08,000
Speaker 2: really indicative of who this character is. He says, I'm

974
00:52:08,040 --> 00:52:11,840
Speaker 2: not the guy that everyone says I am. So he

975
00:52:11,960 --> 00:52:14,640
Speaker 2: knows how he's perceived, but he's not really willing to

976
00:52:14,800 --> 00:52:18,439
Speaker 2: change it. So even though it's and it's not even

977
00:52:18,480 --> 00:52:20,799
Speaker 2: clear if he actually likes himself, but he's just not

978
00:52:20,920 --> 00:52:24,600
Speaker 2: willing to make any movement in that way beyond I'm

979
00:52:24,640 --> 00:52:26,439
Speaker 2: not what you think I am. It's still a very

980
00:52:26,440 --> 00:52:32,319
Speaker 2: defensive posture for an adult to have. So Terry immediately

981
00:52:33,200 --> 00:52:36,200
Speaker 2: has to grapple with the fact that all of us

982
00:52:36,200 --> 00:52:39,319
Speaker 2: who have eventually come home have to deal with as

983
00:52:39,360 --> 00:52:42,880
Speaker 2: he goes to visit his sister to ask her for money.

984
00:52:43,000 --> 00:52:45,280
Speaker 2: How weird it is to come home to a small

985
00:52:45,320 --> 00:52:49,600
Speaker 2: town when your early life was soaked in tragedy and

986
00:52:49,640 --> 00:52:53,400
Speaker 2: you're not quite a fully formed adult. So he like

987
00:52:53,719 --> 00:52:55,799
Speaker 2: feet as soon as his feet leave the bus and

988
00:52:55,880 --> 00:52:59,440
Speaker 2: hit that small town pavement, he's seeing the fucking cop

989
00:52:59,520 --> 00:53:02,719
Speaker 2: that he's now his whole life and like he's just

990
00:53:02,840 --> 00:53:05,800
Speaker 2: in it immediately, and he's so tense and uncomfortable and

991
00:53:05,840 --> 00:53:10,400
Speaker 2: I think that Mark Ruffalo, who plays Terry, is so

992
00:53:10,760 --> 00:53:14,040
Speaker 2: inhabits that discomfort so well, Like, he's just such a

993
00:53:14,080 --> 00:53:18,479
Speaker 2: great actor in this in this movie because he he's

994
00:53:18,560 --> 00:53:21,920
Speaker 2: never comfortable and it just radiates off of him. He

995
00:53:21,920 --> 00:53:24,879
Speaker 2: wasn't comfortable with Sheila, He's not comfortable here. But it's

996
00:53:24,960 --> 00:53:26,680
Speaker 2: just I don't know, I just that'd something I really

997
00:53:26,760 --> 00:53:30,040
Speaker 2: loved and appreciated about his his acting. And I also

998
00:53:30,160 --> 00:53:33,840
Speaker 2: love when Sammy first sees him through the restaurant window.

999
00:53:33,880 --> 00:53:35,880
Speaker 2: She's so excited to see him that she like waves

1000
00:53:35,920 --> 00:53:37,640
Speaker 2: at him with both hands. It's very cute.

1001
00:53:38,000 --> 00:53:39,480
Speaker 3: Oh I know, I know.

1002
00:53:39,600 --> 00:53:43,080
Speaker 1: And she was like baking cookies and stuff like that

1003
00:53:43,200 --> 00:53:45,840
Speaker 1: when he she was really excited to see him. Was

1004
00:53:45,840 --> 00:53:48,520
Speaker 1: this the movie that brought us Mark Ruffalo? Did we like,

1005
00:53:48,840 --> 00:53:50,960
Speaker 1: did he come into our lives with this movie?

1006
00:53:51,000 --> 00:53:51,560
Speaker 3: I can't remember.

1007
00:53:51,800 --> 00:53:54,719
Speaker 2: Yeah, he'd done some roles before that, but this is like,

1008
00:53:55,160 --> 00:53:58,000
Speaker 2: this is definitely the movie that shot him into the stratosphere.

1009
00:53:58,440 --> 00:53:59,239
Speaker 3: Okay, got it.

1010
00:53:59,360 --> 00:54:04,560
Speaker 1: Yeah, he was adorable in this film.

1011
00:54:04,120 --> 00:54:11,640
Speaker 2: So adorable and so squirrelly. Yeah, this first scene in

1012
00:54:11,680 --> 00:54:13,760
Speaker 2: the restaurant, this first time that we see them together

1013
00:54:14,560 --> 00:54:16,560
Speaker 2: is great. It is one of my it's one of

1014
00:54:16,600 --> 00:54:20,640
Speaker 2: my favorite establishing scenes. It's where we learn that they

1015
00:54:20,640 --> 00:54:24,480
Speaker 2: are very different and they are very tense together. They

1016
00:54:24,520 --> 00:54:27,319
Speaker 2: don't have an ease, and that again, that's what I

1017
00:54:27,360 --> 00:54:30,160
Speaker 2: really loved about this movie, is that so many films,

1018
00:54:30,360 --> 00:54:34,880
Speaker 2: so many films, when they're portraying the sibling dynamic of adults,

1019
00:54:35,440 --> 00:54:38,200
Speaker 2: always go to that kind of jocular place where it's like, oh,

1020
00:54:38,200 --> 00:54:40,200
Speaker 2: we have inside jokes and we laugh and we poke

1021
00:54:40,239 --> 00:54:41,960
Speaker 2: it each other, and it's just like when we were kids,

1022
00:54:41,960 --> 00:54:43,879
Speaker 2: and I'm like, now, it's not like that for most

1023
00:54:43,880 --> 00:54:46,560
Speaker 2: of us, Like some of you have that, a lot

1024
00:54:46,640 --> 00:54:48,960
Speaker 2: of us are like, no, we've been like looking at

1025
00:54:49,000 --> 00:54:51,439
Speaker 2: how to pay the bills since we were seventeen, right,

1026
00:54:51,760 --> 00:54:54,959
Speaker 2: and like having real conversations for a very long time,

1027
00:54:55,000 --> 00:54:59,520
Speaker 2: and now we're fucking tired of each other. So he

1028
00:55:00,080 --> 00:55:03,080
Speaker 2: kind of, you know, she's excited because she thinks he's

1029
00:55:03,120 --> 00:55:07,120
Speaker 2: gonna stay for a while, and he's like, oh, you know,

1030
00:55:07,160 --> 00:55:08,920
Speaker 2: she's like, she's like, I don't know. She's like, well,

1031
00:55:08,920 --> 00:55:10,440
Speaker 2: I haven't heard from you in a while, and you know,

1032
00:55:10,480 --> 00:55:12,040
Speaker 2: I was worried about you. And this is where he

1033
00:55:12,080 --> 00:55:14,920
Speaker 2: reveals to her that he was in jail in Florida

1034
00:55:14,960 --> 00:55:16,560
Speaker 2: because he got into a bar fight, so he was

1035
00:55:16,600 --> 00:55:18,560
Speaker 2: in jail for three months and couldn't write to her,

1036
00:55:19,200 --> 00:55:22,319
Speaker 2: and she's freaking out. And then he he asked to

1037
00:55:22,320 --> 00:55:25,840
Speaker 2: borrow some money and his whole countenance here, like he's like,

1038
00:55:25,880 --> 00:55:27,920
Speaker 2: i'll pay you back, man, Like he talks to her

1039
00:55:27,920 --> 00:55:32,560
Speaker 2: like he would talk to a buddy, right, I'll pay

1040
00:55:32,600 --> 00:55:34,360
Speaker 2: you back, man. And then he kind of goes to

1041
00:55:34,440 --> 00:55:36,160
Speaker 2: this anger place where he's like, oh, do you even

1042
00:55:36,160 --> 00:55:40,080
Speaker 2: want me to visit now? And he's so hurt so easily,

1043
00:55:40,800 --> 00:55:43,120
Speaker 2: and they're both very quick to anger, so it's like

1044
00:55:43,160 --> 00:55:45,880
Speaker 2: they're both still in that stunted, little kid place with

1045
00:55:45,960 --> 00:55:49,560
Speaker 2: each other, right. And it's something I can't stand because

1046
00:55:50,160 --> 00:55:52,040
Speaker 2: my own brother and I do this and I hate it.

1047
00:55:52,080 --> 00:55:54,000
Speaker 2: It's like what I say, and I said, I hate that.

1048
00:55:54,080 --> 00:55:57,560
Speaker 2: It makes me kind of like our relationship sometimes pushes

1049
00:55:57,600 --> 00:56:00,040
Speaker 2: me back to my bas or functions. This is what

1050
00:55:59,880 --> 00:56:02,680
Speaker 2: I mean. When you're like you're being direct and clear

1051
00:56:03,200 --> 00:56:07,000
Speaker 2: and they're reacting in a way that's very hurt and

1052
00:56:07,040 --> 00:56:08,640
Speaker 2: you're like, this is all happening in your head. I

1053
00:56:08,680 --> 00:56:10,399
Speaker 2: didn't say that, and you're just pushed to this little

1054
00:56:10,480 --> 00:56:13,839
Speaker 2: kid place where suddenly you're fighting about how you said

1055
00:56:13,880 --> 00:56:15,440
Speaker 2: something instead of what you actually said.

1056
00:56:15,800 --> 00:56:16,440
Speaker 3: Oh yeah, I.

1057
00:56:16,400 --> 00:56:20,279
Speaker 1: Mean listen, I walk around in this world trying to

1058
00:56:20,320 --> 00:56:25,240
Speaker 1: act like I've got this like very you know, healthy

1059
00:56:25,400 --> 00:56:30,280
Speaker 1: way of like arguing with people and having like confrontations.

1060
00:56:30,320 --> 00:56:31,640
Speaker 3: I'm like, I've been to therapy.

1061
00:56:31,680 --> 00:56:33,360
Speaker 1: I know how this works, Like I know how to

1062
00:56:33,360 --> 00:56:36,120
Speaker 1: have a confrontation that all goes out the window. When

1063
00:56:36,160 --> 00:56:41,200
Speaker 1: I'm with my sister, like we fight like fucking animals,

1064
00:56:41,239 --> 00:56:44,080
Speaker 1: like we're school fuck you, fuck you then, and you're

1065
00:56:44,200 --> 00:56:47,160
Speaker 1: ugly and your hair sucks and blah blah blah blah blah, like.

1066
00:56:47,160 --> 00:56:48,960
Speaker 3: We're doing the things that we were doing when we

1067
00:56:48,960 --> 00:56:50,000
Speaker 3: were like kids.

1068
00:56:50,040 --> 00:56:53,560
Speaker 1: Because it's like it's so primal, Like it's such a

1069
00:56:53,600 --> 00:56:58,239
Speaker 1: primal feeling when you're with your family to fight with

1070
00:56:58,320 --> 00:57:01,960
Speaker 1: them and you're like all and emotional intelligence goes out

1071
00:57:01,960 --> 00:57:04,839
Speaker 1: the fucking window. You're just like throwing mud, like you're

1072
00:57:04,880 --> 00:57:08,280
Speaker 1: just like whatever gets the job done to hurt this person.

1073
00:57:08,640 --> 00:57:09,319
Speaker 3: I'm doing it.

1074
00:57:09,920 --> 00:57:14,399
Speaker 2: Yeah, completely, it's so fucked. It does not feel good.

1075
00:57:14,440 --> 00:57:16,640
Speaker 2: But it's also like you both are doing it, like

1076
00:57:16,720 --> 00:57:19,240
Speaker 2: neither one of you and you're right, Like I feel

1077
00:57:19,280 --> 00:57:22,840
Speaker 2: like I have the emotional intelligence to like have a

1078
00:57:22,880 --> 00:57:25,880
Speaker 2: normal argument or discussion with somebody when I'm feeling a

1079
00:57:25,920 --> 00:57:29,120
Speaker 2: certain way. But my brother hasn't been through as much

1080
00:57:29,160 --> 00:57:31,880
Speaker 2: therapy as I've been through, so he doesn't respond in

1081
00:57:31,880 --> 00:57:34,120
Speaker 2: the way that my therapist responds when I say this

1082
00:57:34,200 --> 00:57:36,560
Speaker 2: kind of shit to her or to my friends, or like,

1083
00:57:36,600 --> 00:57:40,680
Speaker 2: he hasn't had therapy right the therapies are talking to

1084
00:57:40,760 --> 00:57:43,120
Speaker 2: him like that. He's just like, I'm going to remind

1085
00:57:43,120 --> 00:57:44,680
Speaker 2: you that you're a piece of shit, and I'm like, oh,

1086
00:57:44,720 --> 00:57:46,680
Speaker 2: you are also a piece of shit. And then that's

1087
00:57:46,680 --> 00:57:48,640
Speaker 2: where we have find our fucking commonality.

1088
00:57:49,080 --> 00:57:52,280
Speaker 3: I know, I know it's so crazy, it's.

1089
00:57:52,280 --> 00:57:55,240
Speaker 2: Wild and in this movie, but what the scene does

1090
00:57:55,240 --> 00:57:58,360
Speaker 2: for me, and it's exactly what we're talking about here,

1091
00:57:58,480 --> 00:58:02,520
Speaker 2: is that Sammy is so weirdly unwilling to see Terry

1092
00:58:02,560 --> 00:58:04,280
Speaker 2: for who he is, like to the point where she

1093
00:58:04,400 --> 00:58:08,080
Speaker 2: still asks him if he goes to church, and Terry

1094
00:58:08,120 --> 00:58:10,919
Speaker 2: is unwilling to see Sammy for who she is, right,

1095
00:58:11,600 --> 00:58:14,000
Speaker 2: because he's like, you're stable, you're cool, you'll give me money,

1096
00:58:14,040 --> 00:58:17,120
Speaker 2: you always do like whatever, You'll roll with this.

1097
00:58:17,840 --> 00:58:18,680
Speaker 3: Yeah. Yeah.

1098
00:58:18,920 --> 00:58:20,520
Speaker 1: The minute she said I was like, I'm gonna say no,

1099
00:58:20,680 --> 00:58:22,880
Speaker 1: I'm that church thing. That's not I don't.

1100
00:58:22,680 --> 00:58:24,480
Speaker 3: Think that's happening for him.

1101
00:58:24,880 --> 00:58:27,840
Speaker 2: Absolutely not, And as we find out in the film,

1102
00:58:27,880 --> 00:58:30,880
Speaker 2: she does kind of keep pushing it, but there's no way.

1103
00:58:30,880 --> 00:58:33,040
Speaker 2: But again, this is that unspoken thing that like maybe

1104
00:58:33,080 --> 00:58:34,560
Speaker 2: when they were kids they went to church as a

1105
00:58:34,560 --> 00:58:36,040
Speaker 2: way to deal with the fact that both of their

1106
00:58:36,080 --> 00:58:38,840
Speaker 2: parents died in a car accident, and like we don't

1107
00:58:38,840 --> 00:58:41,600
Speaker 2: know what role church played in their lives, but for

1108
00:58:41,640 --> 00:58:46,440
Speaker 2: whatever reason, Sammy held on to it and Terry did not. Right,

1109
00:58:46,920 --> 00:58:49,560
Speaker 2: So Terry does actually decide to say when he figures

1110
00:58:49,600 --> 00:58:53,160
Speaker 2: out that Sheila, his girlfriend, has tried to kill herself,

1111
00:58:53,760 --> 00:58:55,840
Speaker 2: and it kind of ends up being a good arrangement

1112
00:58:55,920 --> 00:58:58,720
Speaker 2: because Sammy needs some help with with Rudy after school,

1113
00:58:58,840 --> 00:59:01,480
Speaker 2: and so Terry he just kind of settles into this

1114
00:59:01,560 --> 00:59:05,240
Speaker 2: life with Sammy, but it's not like he reaches or

1115
00:59:05,240 --> 00:59:07,920
Speaker 2: meets her at her level. Like he's at home watching

1116
00:59:07,960 --> 00:59:12,040
Speaker 2: Maury and smoking cigarettes and playing Rudy's game boy, and

1117
00:59:12,240 --> 00:59:14,720
Speaker 2: he like will rip up her plumbing and fuck it

1118
00:59:14,800 --> 00:59:17,800
Speaker 2: up and then get mad when she calls an actual

1119
00:59:17,800 --> 00:59:22,320
Speaker 2: plumber to fix it, Like he's just re enacting all

1120
00:59:22,360 --> 00:59:24,640
Speaker 2: this shit that he's clearly done with other women in

1121
00:59:24,680 --> 00:59:27,000
Speaker 2: his life, but now he's doing this with a sister.

1122
00:59:27,600 --> 00:59:29,360
Speaker 1: Yeah, And I think he had that moment too of

1123
00:59:29,520 --> 00:59:31,800
Speaker 1: like he was like, look, I can do a thing,

1124
00:59:32,000 --> 00:59:35,240
Speaker 1: like I can help you because you think I'm just

1125
00:59:35,280 --> 00:59:36,200
Speaker 1: such a fuck up.

1126
00:59:36,680 --> 00:59:39,120
Speaker 3: And you know, basically it was like his.

1127
00:59:39,160 --> 00:59:41,280
Speaker 1: One moment where he thought he could like prove otherwise

1128
00:59:41,360 --> 00:59:43,320
Speaker 1: and then it didn't work and it's.

1129
00:59:44,400 --> 00:59:48,040
Speaker 2: At all to fuck it up their house, yeah, and yeah,

1130
00:59:48,080 --> 00:59:50,040
Speaker 2: it's really and it again, it's like he has a

1131
00:59:50,080 --> 00:59:52,640
Speaker 2: feeling of ownership over this place because this is where

1132
00:59:52,640 --> 00:59:54,920
Speaker 2: he grew up, but he clearly had no idea what

1133
00:59:54,960 --> 00:59:57,440
Speaker 2: he's doing. When I watched the movie this time, the

1134
00:59:57,480 --> 01:00:00,520
Speaker 2: thing that really hit me about how to understand Terry

1135
01:00:01,240 --> 01:00:05,720
Speaker 2: was looking at his relationship with Rudy Junior. And it's

1136
01:00:05,840 --> 01:00:10,520
Speaker 2: kind of like simultaneously watching him try to be the

1137
01:00:10,640 --> 01:00:13,840
Speaker 2: parent that he needed at Rudy's age because he was

1138
01:00:13,920 --> 01:00:16,560
Speaker 2: kind of around Rudy's age when his parents died, but

1139
01:00:16,680 --> 01:00:18,960
Speaker 2: also watching him talk to this kid like he's a

1140
01:00:19,040 --> 01:00:23,240
Speaker 2: drinking buddy. Yeah. Yeah, Like he treats his eight year

1141
01:00:23,240 --> 01:00:26,360
Speaker 2: old like he's a drinking buddy, and it's funny and

1142
01:00:26,440 --> 01:00:29,240
Speaker 2: scary at the same time, because you're like, this child

1143
01:00:29,360 --> 01:00:33,440
Speaker 2: has no supervision when he's with his uncle. But also

1144
01:00:33,520 --> 01:00:35,000
Speaker 2: how adorable are they together?

1145
01:00:35,880 --> 01:00:38,400
Speaker 1: I know they had kind of this like paper moon

1146
01:00:39,040 --> 01:00:41,480
Speaker 1: scenario when they were like at the pool hall and

1147
01:00:41,560 --> 01:00:46,520
Speaker 1: they were hustling people or whatever, and that was very adorable, problematic,

1148
01:00:46,560 --> 01:00:47,520
Speaker 1: but very adorable.

1149
01:00:47,600 --> 01:00:50,680
Speaker 2: It is so problematic, and he's like his life there

1150
01:00:50,760 --> 01:00:52,480
Speaker 2: is really sad because he's like, well, what else am

1151
01:00:52,520 --> 01:00:54,440
Speaker 2: I gonna do? I could sit at the local bar

1152
01:00:54,520 --> 01:01:03,240
Speaker 2: and listen to mendocino and drink alone. Or I could

1153
01:01:03,280 --> 01:01:06,040
Speaker 2: go home and tell my nephew about what a fuck

1154
01:01:06,120 --> 01:01:09,080
Speaker 2: up piece of shit his dad was, even though his

1155
01:01:09,120 --> 01:01:12,440
Speaker 2: mom has never taught, Like he just crosses boundaries left

1156
01:01:12,480 --> 01:01:15,000
Speaker 2: and right with this kid, I know.

1157
01:01:15,120 --> 01:01:19,240
Speaker 1: And I had there's a moment too where I think

1158
01:01:19,520 --> 01:01:23,360
Speaker 1: Sammy finally is like all right, dude, like it is

1159
01:01:23,440 --> 01:01:27,080
Speaker 1: not your job to fucking teach my kid about the

1160
01:01:27,120 --> 01:01:29,600
Speaker 1: ills of the world. Like he'll figure it out eventually,

1161
01:01:30,160 --> 01:01:31,480
Speaker 1: but you know, you don't need to give him these

1162
01:01:31,520 --> 01:01:36,120
Speaker 1: like hard truths. And it made me stop as an aunt,

1163
01:01:36,320 --> 01:01:38,040
Speaker 1: going do I do that?

1164
01:01:38,200 --> 01:01:38,600
Speaker 2: Do? I?

1165
01:01:38,760 --> 01:01:41,080
Speaker 1: Like? Am I that kind of person that's like walking

1166
01:01:41,080 --> 01:01:44,040
Speaker 1: around with like my nephew being like, see this, this

1167
01:01:44,120 --> 01:01:46,120
Speaker 1: is good. This is what's gonna fuck you up later

1168
01:01:46,160 --> 01:01:48,920
Speaker 1: in life. Just remember this, remember this for later, you know.

1169
01:01:49,320 --> 01:01:53,280
Speaker 3: Uh. And they're probably like, uh, why are you teaching me?

1170
01:01:53,360 --> 01:01:56,160
Speaker 1: They're like, why not that I'm like doing what h

1171
01:01:56,360 --> 01:01:58,600
Speaker 1: Terry's doing. But you know, just in general, like I'm

1172
01:01:59,200 --> 01:02:02,800
Speaker 1: I think my advice to the kids is is more

1173
01:02:02,880 --> 01:02:06,640
Speaker 1: coming from like my like lived experience as an adult

1174
01:02:06,760 --> 01:02:09,000
Speaker 1: being like, well, this is coming down the bike, you

1175
01:02:09,040 --> 01:02:11,240
Speaker 1: better get ready for it, Like you're gonna get bullied.

1176
01:02:11,480 --> 01:02:13,480
Speaker 3: And if you get bullied, punch a guy in the face.

1177
01:02:13,520 --> 01:02:16,600
Speaker 1: And my sister's like, what don't do that, Like there's

1178
01:02:16,640 --> 01:02:19,480
Speaker 1: a different way of handling it, and it's not, you know,

1179
01:02:19,800 --> 01:02:22,000
Speaker 1: maybe the way that you learned it.

1180
01:02:22,200 --> 01:02:25,160
Speaker 2: Right, right right. And I think there is this unspoken

1181
01:02:25,240 --> 01:02:27,880
Speaker 2: idea that Terry's kind of supposed to be the positive

1182
01:02:27,880 --> 01:02:31,440
Speaker 2: male influence in Roman's life, Like he takes that upon himself,

1183
01:02:31,600 --> 01:02:34,360
Speaker 2: but he is not a positive influence in his own life.

1184
01:02:34,680 --> 01:02:36,480
Speaker 2: So like he like, yeah, he could teach this kid

1185
01:02:36,480 --> 01:02:39,400
Speaker 2: how to hammer and nail, but he also freaks everyone

1186
01:02:39,400 --> 01:02:41,760
Speaker 2: out in the process because he didn't tell anyone that

1187
01:02:41,880 --> 01:02:43,960
Speaker 2: the kid was gonna be with him. So Stammy's like,

1188
01:02:44,120 --> 01:02:46,680
Speaker 2: where's my fucking kid? And it's like he doesn't have

1189
01:02:46,800 --> 01:02:50,439
Speaker 2: that balance. And I feel like my like my role

1190
01:02:50,720 --> 01:02:53,040
Speaker 2: as a you know, an aunt or a godmother or whatever.

1191
01:02:53,080 --> 01:02:55,360
Speaker 2: I feel like my role when they were very little,

1192
01:02:55,560 --> 01:02:57,640
Speaker 2: like two and three, I'm like, I need to teach

1193
01:02:57,640 --> 01:02:59,720
Speaker 2: you about the world so you're prepared. Yeah, But then

1194
01:02:59,720 --> 01:03:01,240
Speaker 2: as I watch them grow up and just kind of

1195
01:03:01,320 --> 01:03:04,600
Speaker 2: learn their personalities, I'm like, Okay, my role is just

1196
01:03:04,640 --> 01:03:08,360
Speaker 2: to support you as a person and what you're into.

1197
01:03:08,560 --> 01:03:10,720
Speaker 2: Like if you, I want to be an open enough

1198
01:03:10,760 --> 01:03:13,000
Speaker 2: person with you that when you do start having questions

1199
01:03:13,040 --> 01:03:14,960
Speaker 2: about the world, you will come to me with them.

1200
01:03:15,400 --> 01:03:15,600
Speaker 3: Right.

1201
01:03:15,600 --> 01:03:17,720
Speaker 2: But I can't. I can't just make our relationship be

1202
01:03:17,800 --> 01:03:19,000
Speaker 2: based purely on terror.

1203
01:03:19,640 --> 01:03:23,000
Speaker 1: Right Like if you, if you, as a child naturally

1204
01:03:23,160 --> 01:03:25,520
Speaker 1: gravitate towards a construction site.

1205
01:03:25,280 --> 01:03:29,920
Speaker 3: Where you work with no protective equipment. I will support that,

1206
01:03:30,160 --> 01:03:31,480
Speaker 3: but I'm not gonna do it for you.

1207
01:03:31,520 --> 01:03:36,200
Speaker 1: I'm not gonna like bring you there, would he.

1208
01:03:36,360 --> 01:03:38,440
Speaker 2: If you don't know what to do with a child,

1209
01:03:38,720 --> 01:03:41,240
Speaker 2: if besides watch TV or take them to a bar

1210
01:03:41,360 --> 01:03:45,840
Speaker 2: and have them help you hustle pool, then you should

1211
01:03:45,920 --> 01:03:48,400
Speaker 2: err on the side of like just not damaging the

1212
01:03:48,480 --> 01:03:50,880
Speaker 2: kid further, like just let them. It's less damaging to

1213
01:03:50,960 --> 01:03:53,160
Speaker 2: let them watch an extra hour of TV than to

1214
01:03:53,200 --> 01:03:54,920
Speaker 2: take into a fucking bar and teach him how to

1215
01:03:55,280 --> 01:03:58,120
Speaker 2: hustle pool and then actually get mad at him when

1216
01:03:58,160 --> 01:03:59,280
Speaker 2: he says he can't play.

1217
01:04:00,120 --> 01:04:02,000
Speaker 1: I know, Like, there are multiple times in this movie

1218
01:04:02,040 --> 01:04:05,720
Speaker 1: where Terry's basically like calling his nephew a snitch and

1219
01:04:05,760 --> 01:04:07,440
Speaker 1: it's like, you fucking snitched on me.

1220
01:04:07,480 --> 01:04:09,440
Speaker 3: You're like, man, you suck at this. You know what

1221
01:04:09,400 --> 01:04:12,200
Speaker 3: I mean? You're like, wow, ha ha.

1222
01:04:13,640 --> 01:04:16,880
Speaker 2: That man, Thank God completely And this is and again

1223
01:04:16,920 --> 01:04:20,280
Speaker 2: it just drives home how like unhinged Terry is in

1224
01:04:20,320 --> 01:04:23,800
Speaker 2: his emotional development. But then you realize he never had

1225
01:04:23,840 --> 01:04:26,360
Speaker 2: any Like what this movie is trying to tell you

1226
01:04:26,480 --> 01:04:30,840
Speaker 2: is that this inciting incident that happened when their parents died,

1227
01:04:31,480 --> 01:04:36,200
Speaker 2: that is where his emotional progress stopped. Right And Sammy too.

1228
01:04:36,240 --> 01:04:38,240
Speaker 2: We learn a lot about Sammy in this movie because

1229
01:04:38,240 --> 01:04:41,200
Speaker 2: Sammy's on her own journey and look, she starts to

1230
01:04:41,240 --> 01:04:43,720
Speaker 2: have an affair with her boss who's played by Matthew Broderick,

1231
01:04:44,200 --> 01:04:46,400
Speaker 2: and he's so annoying as a boss.

1232
01:04:46,800 --> 01:04:47,560
Speaker 3: Oh my god.

1233
01:04:47,800 --> 01:04:51,920
Speaker 1: One of the worst. Oh, he creeped me out. He

1234
01:04:52,080 --> 01:04:56,040
Speaker 1: grossed me out. I was like, Ferris Bueller has gone

1235
01:04:56,160 --> 01:05:00,000
Speaker 1: so far down. I'm like, like I could not stand

1236
01:05:00,200 --> 01:05:02,960
Speaker 1: him in this movie for so many reasons, for so

1237
01:05:03,040 --> 01:05:03,760
Speaker 1: many reasons.

1238
01:05:04,640 --> 01:05:06,360
Speaker 2: He brought back a lot of trauma to me of

1239
01:05:06,360 --> 01:05:11,760
Speaker 2: old bosses. Yes, but he just he's just annoying, Like

1240
01:05:11,760 --> 01:05:14,320
Speaker 2: he is just that guy that's annoying. And she very

1241
01:05:14,360 --> 01:05:18,400
Speaker 2: slowly starts realizing it's one of those things, those things

1242
01:05:18,440 --> 01:05:22,000
Speaker 2: where she realizes she first thinks that sleeping with him

1243
01:05:22,040 --> 01:05:23,800
Speaker 2: is the way to get what she wants, and then

1244
01:05:23,800 --> 01:05:26,840
Speaker 2: she realizes, oh, no, I want to be the boss,

1245
01:05:27,080 --> 01:05:29,360
Speaker 2: Like I can do your job better than you and

1246
01:05:29,680 --> 01:05:33,440
Speaker 2: less annoyingly. But she's also having this real problem with

1247
01:05:33,440 --> 01:05:35,720
Speaker 2: with Bob, this guy that she has this on again,

1248
01:05:35,920 --> 01:05:39,680
Speaker 2: off again relationship with, and he proposes to her without

1249
01:05:39,720 --> 01:05:42,760
Speaker 2: even spending time with Rudy, which I find is very strange,

1250
01:05:42,760 --> 01:05:45,280
Speaker 2: Like men, if you're dating single moms, don't propose to

1251
01:05:45,320 --> 01:05:47,400
Speaker 2: them without meeting the kid or hanging out with the kid.

1252
01:05:47,800 --> 01:05:51,520
Speaker 2: Like I ain't gonna work for anybody, right. But she's

1253
01:05:51,640 --> 01:05:53,800
Speaker 2: like she's kind of stuck, like she's stuck in her

1254
01:05:53,840 --> 01:05:57,680
Speaker 2: life she's not she's not like deeply unhappy, she's just

1255
01:05:57,760 --> 01:06:02,280
Speaker 2: kind of immobilized. And so she has these moments that

1256
01:06:02,320 --> 01:06:06,280
Speaker 2: feel like to me, very sammy moments, the first being

1257
01:06:06,320 --> 01:06:09,520
Speaker 2: that she's trying to figure out she's in her bedroom

1258
01:06:09,600 --> 01:06:13,479
Speaker 2: smoking like Jane smoking on the phone, and she's trying

1259
01:06:13,480 --> 01:06:16,880
Speaker 2: to figure out, well, I can't call Brian because he's

1260
01:06:17,000 --> 01:06:20,440
Speaker 2: married that's her boss, and I can't call Bob because

1261
01:06:20,480 --> 01:06:23,960
Speaker 2: I really don't like him. And this is all accompanied

1262
01:06:24,000 --> 01:06:28,240
Speaker 2: by like a Yo Yoma Cello suite, and she's just

1263
01:06:28,360 --> 01:06:32,560
Speaker 2: like going through it. I'm like that sometimes it'd be

1264
01:06:32,720 --> 01:06:34,360
Speaker 2: like that where you're just like, I don't know what

1265
01:06:34,480 --> 01:06:39,200
Speaker 2: to do. It's me and Yo yo ma, and I

1266
01:06:39,640 --> 01:06:42,160
Speaker 2: got nobody but myself, and I don't trust myself to

1267
01:06:42,160 --> 01:06:49,720
Speaker 2: make a goddamn decisions. But then all the next kind

1268
01:06:49,720 --> 01:06:52,160
Speaker 2: of really sammy moment for me like brings all of

1269
01:06:52,200 --> 01:06:55,440
Speaker 2: that to a head. Because Kenneth Lonergan plays also plays

1270
01:06:55,440 --> 01:06:58,919
Speaker 2: the priest in this film, her priest, and she tries

1271
01:06:58,960 --> 01:07:00,640
Speaker 2: to get him to talk to Terry. That doesn't really

1272
01:07:00,640 --> 01:07:03,760
Speaker 2: work out because you know, he's like asking Terry if

1273
01:07:03,800 --> 01:07:06,320
Speaker 2: he actually thinks his life is important, and Terry's like,

1274
01:07:06,360 --> 01:07:09,840
Speaker 2: what the fuck, dude, But she goes to him and

1275
01:07:09,920 --> 01:07:13,040
Speaker 2: she confides in him that she thinks she's in this

1276
01:07:13,080 --> 01:07:16,840
Speaker 2: situation with all of these men in her life because

1277
01:07:16,880 --> 01:07:20,240
Speaker 2: she feels sorry for them. It's like this huge revelation

1278
01:07:20,360 --> 01:07:24,000
Speaker 2: that is so downplayed in the film but really stuck

1279
01:07:24,160 --> 01:07:26,080
Speaker 2: to me this time. Or she's just like, yeah, I

1280
01:07:26,080 --> 01:07:28,880
Speaker 2: feel bad for all of them, and it shakes something

1281
01:07:28,920 --> 01:07:32,360
Speaker 2: really loose in her that starts the trajectory of the

1282
01:07:32,360 --> 01:07:35,640
Speaker 2: film going in a different way. And then all hell

1283
01:07:35,720 --> 01:07:39,440
Speaker 2: breaks loose when Terry takes Rudy to meet his dad,

1284
01:07:39,680 --> 01:07:42,160
Speaker 2: because it turns out he just lives a couple of

1285
01:07:42,200 --> 01:07:45,760
Speaker 2: towns over. He's played by Josh Lucas. I will not

1286
01:07:45,880 --> 01:07:47,840
Speaker 2: ruin it, but I will say that there is a

1287
01:07:47,880 --> 01:07:50,680
Speaker 2: fistfight involved, and it reminded me of one of my

1288
01:07:50,720 --> 01:07:54,320
Speaker 2: favorite tweets that I've seen recently. And I'm paraphrasing here,

1289
01:07:54,480 --> 01:07:57,840
Speaker 2: but the tweet was basically, therapy is no longer good enough.

1290
01:07:57,880 --> 01:07:59,439
Speaker 2: I need to actually fight my dad.

1291
01:08:00,960 --> 01:08:04,840
Speaker 1: Classic, Like everybody I knew sent me that tweet, Like

1292
01:08:04,960 --> 01:08:06,960
Speaker 1: everybody I knew, I was like, we're all thinking the

1293
01:08:07,000 --> 01:08:08,320
Speaker 1: same thing, aren't we.

1294
01:08:08,320 --> 01:08:10,240
Speaker 2: We all want to fight our dads like, if we can,

1295
01:08:10,440 --> 01:08:13,520
Speaker 2: just because they won't go to therapy, you let's meet

1296
01:08:13,520 --> 01:08:16,160
Speaker 2: them where we live, meet them where they live, and

1297
01:08:16,240 --> 01:08:17,439
Speaker 2: just fucking box it out.

1298
01:08:17,960 --> 01:08:18,920
Speaker 3: Yes, exactly.

1299
01:08:19,600 --> 01:08:21,680
Speaker 2: But what I love about that scene, and again I

1300
01:08:21,720 --> 01:08:23,200
Speaker 2: don't want to ruin it or ruin the end of

1301
01:08:23,200 --> 01:08:26,400
Speaker 2: the movie too much. But Terry's response to that theme,

1302
01:08:26,640 --> 01:08:29,240
Speaker 2: to that scene, as he's talking to of course Rudy

1303
01:08:29,640 --> 01:08:31,760
Speaker 2: instead of his sister, he's talking to his eight year

1304
01:08:31,760 --> 01:08:36,280
Speaker 2: old nephew, he says a line which is so totally

1305
01:08:36,320 --> 01:08:39,960
Speaker 2: indicative of who this character is. So he's packing his

1306
01:08:40,080 --> 01:08:42,719
Speaker 2: bags and he's mad about this fight, and he says,

1307
01:08:43,800 --> 01:08:46,439
Speaker 2: I fucked up a little bit, which I was totally

1308
01:08:46,479 --> 01:08:50,880
Speaker 2: ready to admit. So that line alone, you're like, oh god,

1309
01:08:50,920 --> 01:08:54,679
Speaker 2: he lies to himself all the fucking time, right because

1310
01:08:54,680 --> 01:08:58,120
Speaker 2: he didn't admit it, but now he instantly backtracks to, well,

1311
01:08:58,160 --> 01:09:01,040
Speaker 2: I would have admitted it, right. That kind of shit

1312
01:09:01,160 --> 01:09:02,560
Speaker 2: drives me crazy.

1313
01:09:03,280 --> 01:09:04,839
Speaker 3: Yeah, yeah, in an argument.

1314
01:09:05,760 --> 01:09:11,040
Speaker 1: Yeah, I I it's so weird because this was probably

1315
01:09:11,120 --> 01:09:15,920
Speaker 1: one of the first movies where I felt like I

1316
01:09:15,960 --> 01:09:19,320
Speaker 1: had been both Sammy and Terry right those characters where

1317
01:09:19,360 --> 01:09:22,719
Speaker 1: I was like, because usually when you have this kind

1318
01:09:22,720 --> 01:09:25,200
Speaker 1: of film, like when you have like a family drama,

1319
01:09:25,439 --> 01:09:29,280
Speaker 1: when you have it between brothers and sisters or just siblings,

1320
01:09:30,160 --> 01:09:33,200
Speaker 1: there tends to be sort of like a very clear

1321
01:09:33,280 --> 01:09:36,120
Speaker 1: line between who's right and who's wrong, like who's the

1322
01:09:36,120 --> 01:09:39,719
Speaker 1: fuck up and who's not, And so you're always like, God,

1323
01:09:39,760 --> 01:09:42,000
Speaker 1: that little brother sucks, like why is.

1324
01:09:41,920 --> 01:09:43,080
Speaker 3: He so irresponsible?

1325
01:09:43,320 --> 01:09:45,559
Speaker 1: But honestly, in this movie, and this is why this

1326
01:09:45,640 --> 01:09:48,520
Speaker 1: movie is so fucking good, is that you're like, oh,

1327
01:09:48,640 --> 01:09:51,200
Speaker 1: I could be both of these people. Like I can

1328
01:09:51,240 --> 01:09:54,439
Speaker 1: be I can see I can be enraged by what

1329
01:09:54,600 --> 01:09:58,360
Speaker 1: Terry does. Uh, But at the same time, I've also

1330
01:09:58,400 --> 01:10:00,840
Speaker 1: been in his position where he felt like he needed

1331
01:10:00,840 --> 01:10:06,360
Speaker 1: to like constantly legitimize his existence to his sister, and

1332
01:10:06,439 --> 01:10:10,160
Speaker 1: how he's always like, you know, I, deep down I

1333
01:10:10,200 --> 01:10:12,880
Speaker 1: have some good intentions, even though I don't fucking know

1334
01:10:12,920 --> 01:10:15,080
Speaker 1: how to express them a lot of times in the

1335
01:10:15,160 --> 01:10:18,599
Speaker 1: right ways. So it's like that moment where I was like, yeah,

1336
01:10:18,640 --> 01:10:21,920
Speaker 1: there's I keep wavering back and forth between these two,

1337
01:10:21,960 --> 01:10:23,439
Speaker 1: it's it's amazing.

1338
01:10:23,400 --> 01:10:26,240
Speaker 2: Yeah, it's you're you're right. Like I think that is

1339
01:10:26,920 --> 01:10:29,240
Speaker 2: possibly why this film stuck with me for so long,

1340
01:10:29,320 --> 01:10:31,360
Speaker 2: and why like watching it again, I felt the same

1341
01:10:31,400 --> 01:10:35,000
Speaker 2: exact thing, and I'll admit it like I am. I

1342
01:10:35,000 --> 01:10:37,800
Speaker 2: am absolutely both of these characters, and it sometimes doesn't

1343
01:10:37,880 --> 01:10:39,920
Speaker 2: feel great, you know, it does not feel great. And

1344
01:10:39,960 --> 01:10:43,920
Speaker 2: I think that one thing that this movie gets to

1345
01:10:43,960 --> 01:10:47,639
Speaker 2: the heart of is the frustration of trying to get

1346
01:10:47,680 --> 01:10:50,519
Speaker 2: your siblings to kind of see you for who you

1347
01:10:50,760 --> 01:10:54,519
Speaker 2: are and not who you were, right And I'm guilty

1348
01:10:54,560 --> 01:10:56,559
Speaker 2: of that. I'm totally guilty of that. I'm like, my

1349
01:10:56,560 --> 01:10:58,479
Speaker 2: brother's always been this way, so I will always treat

1350
01:10:58,560 --> 01:11:01,120
Speaker 2: him this way. And I have to really stop and say, no,

1351
01:11:01,760 --> 01:11:07,280
Speaker 2: he's grown, he's evolved, he's changed, he's trying, and you know,

1352
01:11:07,360 --> 01:11:10,720
Speaker 2: wanting the same in return, because it's really difficult. This

1353
01:11:10,840 --> 01:11:14,840
Speaker 2: is someone you've spent for eighteen years, presumably most of

1354
01:11:14,920 --> 01:11:19,799
Speaker 2: us spent every other minute with this person, like there

1355
01:11:19,920 --> 01:11:22,280
Speaker 2: was there's no one that you've spent more time with

1356
01:11:22,360 --> 01:11:23,200
Speaker 2: on this planet.

1357
01:11:23,600 --> 01:11:28,360
Speaker 1: Right, But and also too, it's also that that we

1358
01:11:29,000 --> 01:11:31,360
Speaker 1: a lot of times tend to view family as like

1359
01:11:31,400 --> 01:11:35,160
Speaker 1: the metronome, like the constant, steady metronome of our lives.

1360
01:11:35,160 --> 01:11:36,719
Speaker 1: So we could go out and do whatever the fuck

1361
01:11:36,760 --> 01:11:38,639
Speaker 1: we want to do, but we'll always have the family,

1362
01:11:38,640 --> 01:11:42,479
Speaker 1: will always have the consistency of those people, and that

1363
01:11:42,600 --> 01:11:46,640
Speaker 1: I think is something that I have realized is unrealistic

1364
01:11:46,680 --> 01:11:48,960
Speaker 1: over time, where I'm like, I can't just expect that

1365
01:11:49,000 --> 01:11:50,760
Speaker 1: my family is always going to be the people that

1366
01:11:50,800 --> 01:11:53,479
Speaker 1: they have always been, forever and ever and ever. And

1367
01:11:53,520 --> 01:11:57,960
Speaker 1: I just come back to this constant beat, yeah, anytime

1368
01:11:58,000 --> 01:12:01,479
Speaker 1: I'm out in the world, because it really like boxes

1369
01:12:01,600 --> 01:12:05,080
Speaker 1: people in and so when they don't act the way

1370
01:12:05,120 --> 01:12:07,759
Speaker 1: that you think that they should act, it like fucks

1371
01:12:07,760 --> 01:12:10,559
Speaker 1: with you. And you're just like, exactly, you know, pissed

1372
01:12:10,560 --> 01:12:12,759
Speaker 1: about it, Like why aren't they this person that I

1373
01:12:12,760 --> 01:12:14,960
Speaker 1: grew you know, when I was eight years old. But

1374
01:12:15,040 --> 01:12:17,479
Speaker 1: that's not a realistic thought, right, You can't expect out

1375
01:12:17,479 --> 01:12:18,240
Speaker 1: of people.

1376
01:12:18,400 --> 01:12:21,000
Speaker 2: At all at all. And I, yeah, I think that

1377
01:12:21,640 --> 01:12:24,320
Speaker 2: it's something I try now that I'm back in this

1378
01:12:25,240 --> 01:12:28,680
Speaker 2: you know, geographical proximity to my family. I try to

1379
01:12:28,720 --> 01:12:32,160
Speaker 2: remember that every day, right. And you know, one thing

1380
01:12:32,200 --> 01:12:36,080
Speaker 2: I will say about the end of this movie is

1381
01:12:36,120 --> 01:12:39,800
Speaker 2: that in the end, Sammy kind of puts both of

1382
01:12:39,840 --> 01:12:41,520
Speaker 2: her kids on the bus.

1383
01:12:42,800 --> 01:12:51,719
Speaker 1: Sends them to school, Zamby. That's not to say, good observation.

1384
01:12:53,400 --> 01:12:55,799
Speaker 2: Dayah, she puts both of her kids on the bus

1385
01:12:55,880 --> 01:12:58,000
Speaker 2: and sends them, sends them out in the world, and

1386
01:12:59,200 --> 01:13:01,639
Speaker 2: you know, I just it just really made me feel

1387
01:13:01,760 --> 01:13:04,879
Speaker 2: lucky to have my brother in my life, to feel

1388
01:13:05,040 --> 01:13:08,320
Speaker 2: like all of my frustrations with him and us are valid,

1389
01:13:08,880 --> 01:13:12,800
Speaker 2: and also that I need to be more vigilant about,

1390
01:13:12,960 --> 01:13:16,280
Speaker 2: you know, being a part of my family and not

1391
01:13:16,520 --> 01:13:19,080
Speaker 2: just being like I can't, I can't keep myself at

1392
01:13:19,160 --> 01:13:20,680
Speaker 2: arm's length. I think I've been trying to kind of

1393
01:13:20,680 --> 01:13:23,400
Speaker 2: have it both ways, where I'll just be here doing

1394
01:13:23,439 --> 01:13:25,600
Speaker 2: my thing the way I always have been, whether I

1395
01:13:25,640 --> 01:13:27,960
Speaker 2: lived in Alaska or fucking England or whatever, like I'll

1396
01:13:28,000 --> 01:13:30,920
Speaker 2: just be here doing my thing. And when you live

1397
01:13:31,040 --> 01:13:33,040
Speaker 2: next to these people, now you can't do that. So

1398
01:13:33,080 --> 01:13:36,320
Speaker 2: I think I'm just trying to adjust to my own advice,

1399
01:13:36,360 --> 01:13:38,360
Speaker 2: which is like see me, see people for.

1400
01:13:38,320 --> 01:13:41,880
Speaker 3: Who they are and not who they were right now.

1401
01:13:42,120 --> 01:13:43,080
Speaker 3: This you're exactly.

1402
01:13:43,200 --> 01:13:46,760
Speaker 1: This movie brought up a lot for me too, in

1403
01:13:46,880 --> 01:13:52,720
Speaker 1: terms of family and relationships between siblings. I think this

1404
01:13:52,800 --> 01:13:58,200
Speaker 1: movie is wonderful, Like I miss almost miss this era

1405
01:13:58,520 --> 01:14:04,360
Speaker 1: in film, like I miss the kind of like indie drama,

1406
01:14:04,680 --> 01:14:07,280
Speaker 1: you know what happens occasionally. I mean, not every movie

1407
01:14:07,320 --> 01:14:09,240
Speaker 1: is a Marvel movie, right, No, but.

1408
01:14:09,240 --> 01:14:13,360
Speaker 2: Like a movie for adults. Yes, like a movie for adults.

1409
01:14:13,400 --> 01:14:13,960
Speaker 2: I miss that.

1410
01:14:14,600 --> 01:14:15,599
Speaker 3: Yeah, I do too.

1411
01:14:15,720 --> 01:14:20,559
Speaker 1: I love the I love to contemplate that these things

1412
01:14:20,600 --> 01:14:25,120
Speaker 1: while watching movies like this. And yeah, this movie is

1413
01:14:25,160 --> 01:14:27,040
Speaker 1: great and I hadn't seen it in a long time,

1414
01:14:27,120 --> 01:14:30,960
Speaker 1: and it's well acted. It's very natural, which I love,

1415
01:14:30,960 --> 01:14:33,320
Speaker 1: and I obviously I think that's Laura Lennie and Mark Ruffalo.

1416
01:14:33,360 --> 01:14:37,960
Speaker 1: They have that kind of acting style. And I'm so

1417
01:14:38,080 --> 01:14:40,280
Speaker 1: glad that you picked it because honestly, it really did

1418
01:14:40,360 --> 01:14:43,280
Speaker 1: make me think about my own in the in the

1419
01:14:43,280 --> 01:14:46,360
Speaker 1: birth order of my family and sort of.

1420
01:14:46,280 --> 01:14:51,000
Speaker 3: Like how I how I am to my family. It

1421
01:14:51,040 --> 01:14:52,639
Speaker 3: made me wonder a lot about that.

1422
01:14:53,000 --> 01:14:56,880
Speaker 1: And you know, I just love your movie, as I

1423
01:14:56,920 --> 01:15:00,280
Speaker 1: always do. Technically a two thousands movie.

1424
01:15:00,280 --> 01:15:04,840
Speaker 2: But you've seen it. Sound stressful, stressful, but you've seen it.

1425
01:15:05,160 --> 01:15:08,640
Speaker 1: Yes, not as stressful as Hereditary obviously.

1426
01:15:09,320 --> 01:15:13,479
Speaker 2: Actually, I say, nothing will be. But I have a

1427
01:15:13,520 --> 01:15:16,040
Speaker 2: movie coming up I think in a couple of weeks

1428
01:15:17,000 --> 01:15:18,960
Speaker 2: that I'm gonna put on par with Herreditary that I

1429
01:15:19,680 --> 01:15:22,439
Speaker 2: know you haven't seen. I know you haven't seen it,

1430
01:15:23,120 --> 01:15:25,840
Speaker 2: and I cannot fucking wait.

1431
01:15:26,760 --> 01:15:27,400
Speaker 3: Oh my god.

1432
01:15:27,439 --> 01:15:30,080
Speaker 1: This is like a social experiment in real time, like

1433
01:15:30,120 --> 01:15:35,280
Speaker 1: you're just crumbling me with every selection.

1434
01:15:36,400 --> 01:15:40,040
Speaker 2: Well, Corey and Stephanie, we love you, and please keep

1435
01:15:40,080 --> 01:15:45,480
Speaker 2: listening as I torture Millie from the early two thousands.

1436
01:15:46,560 --> 01:15:48,800
Speaker 3: Well, speaking of crumbling.

1437
01:15:48,840 --> 01:15:54,559
Speaker 2: Oh shit, your movie goddamn okay, I cannot wait.

1438
01:15:55,600 --> 01:15:59,160
Speaker 1: We and I say this, this is not petorative.

1439
01:15:59,760 --> 01:16:01,559
Speaker 3: I say this with the best intentions.

1440
01:16:01,600 --> 01:16:11,040
Speaker 1: We are going to be devolving slightly from your film.

1441
01:16:11,120 --> 01:16:15,479
Speaker 1: Not quite the indie the acclaimed indie drama that we

1442
01:16:15,720 --> 01:16:16,560
Speaker 1: just discussed.

1443
01:16:17,080 --> 01:16:19,880
Speaker 2: Although this film this is the first time. I really

1444
01:16:19,920 --> 01:16:22,040
Speaker 2: I've seen this film before several times, but I never

1445
01:16:22,120 --> 01:16:25,160
Speaker 2: realized that it was like preserved by MoMA. So maybe

1446
01:16:25,200 --> 01:16:26,320
Speaker 2: we're not taking.

1447
01:16:26,000 --> 01:16:29,640
Speaker 3: A step down. I'm about to pop off on that.

1448
01:16:31,120 --> 01:16:36,960
Speaker 1: But also too, this movie, dare I say, has some

1449
01:16:37,720 --> 01:16:39,520
Speaker 1: legit tender.

1450
01:16:39,160 --> 01:16:45,679
Speaker 3: Moments I might make. I might make that argument. We'll

1451
01:16:45,680 --> 01:16:46,799
Speaker 3: see where it goes.

1452
01:16:46,880 --> 01:16:48,200
Speaker 2: But so.

1453
01:16:50,240 --> 01:16:54,120
Speaker 1: My movie for the theme I Wish You Were Never

1454
01:16:54,320 --> 01:17:05,400
Speaker 1: born Sorry is a movie from nineteen eighty two. It

1455
01:17:05,560 --> 01:17:09,519
Speaker 1: was written and directed by Frank Hennenlatter and it's called

1456
01:17:09,760 --> 01:17:10,719
Speaker 1: basket Case.

1457
01:17:11,479 --> 01:17:18,719
Speaker 2: What is the secret Dwayne is hiding in the basket.

1458
01:17:19,120 --> 01:17:21,960
Speaker 3: To set this up properly, I feel it is my.

1459
01:17:22,000 --> 01:17:26,200
Speaker 1: Duty to kind of talk a little bit about the

1460
01:17:26,680 --> 01:17:32,439
Speaker 1: grindhouse era, if you will, because Frank hennenlatter is he

1461
01:17:32,520 --> 01:17:35,360
Speaker 1: calls himself an exploitation director, he won't call himself a

1462
01:17:35,400 --> 01:17:41,759
Speaker 1: horror director. And basket Cases is effectively a horror comedy. Okay,

1463
01:17:42,040 --> 01:17:44,240
Speaker 1: as you will see as I talk about the plot

1464
01:17:44,280 --> 01:17:48,160
Speaker 1: a little bit. But Frank hennonlatter is very much steeped

1465
01:17:48,200 --> 01:17:51,080
Speaker 1: in that forty second Street grindhouse tradition.

1466
01:17:51,280 --> 01:17:52,839
Speaker 3: Now pre.

1467
01:17:54,360 --> 01:17:57,120
Speaker 1: I would say late fifties, So like back in the day,

1468
01:17:57,960 --> 01:17:58,759
Speaker 1: forty second.

1469
01:17:58,560 --> 01:18:01,080
Speaker 3: Street was kind of like where all of the.

1470
01:18:00,760 --> 01:18:03,479
Speaker 1: Theater stuff was happening in New York City, right, So

1471
01:18:03,720 --> 01:18:06,160
Speaker 1: I mean there was that old musical forty second Street.

1472
01:18:06,200 --> 01:18:08,599
Speaker 1: I mean it was very much like an esteemed place

1473
01:18:08,720 --> 01:18:10,200
Speaker 1: to go see theater.

1474
01:18:10,520 --> 01:18:10,920
Speaker 3: Okay.

1475
01:18:11,920 --> 01:18:14,880
Speaker 1: Then towards like the late fifties, early nineteen sixties it

1476
01:18:14,960 --> 01:18:19,240
Speaker 1: turned into what was called The Deuce. Okay, so I

1477
01:18:19,280 --> 01:18:23,559
Speaker 1: think you saw you remember the show The Deuce from HBO,

1478
01:18:24,520 --> 01:18:27,599
Speaker 1: and The Deuce was basically kind of this like den

1479
01:18:27,640 --> 01:18:31,960
Speaker 1: of iniquity, right. It was like where they had strip

1480
01:18:32,000 --> 01:18:35,840
Speaker 1: Tea's shows, like all the you know, people hung out

1481
01:18:35,880 --> 01:18:42,360
Speaker 1: and would get you anything you needed and the term grindhouse,

1482
01:18:42,720 --> 01:18:45,200
Speaker 1: Like some people use the term grindhouse to talk about

1483
01:18:45,240 --> 01:18:47,880
Speaker 1: like the strip clubs or the burlesque shows in that area.

1484
01:18:47,920 --> 01:18:50,560
Speaker 1: But the real definition of grindhouse, or at least the

1485
01:18:50,600 --> 01:18:54,200
Speaker 1: one that we're using for our purposes, is that it's

1486
01:18:54,240 --> 01:18:58,080
Speaker 1: the name for these movie theaters that in this area,

1487
01:18:58,120 --> 01:19:01,719
Speaker 1: in this district of New York City that showed low

1488
01:19:01,760 --> 01:19:06,679
Speaker 1: budget film okay, mostly horror, mostly expectation, and they were

1489
01:19:06,760 --> 01:19:10,479
Speaker 1: usually cheap, and they would watch the they would play

1490
01:19:10,520 --> 01:19:12,360
Speaker 1: all day and night, and they would encourage people to

1491
01:19:12,439 --> 01:19:18,559
Speaker 1: kind of sit through multiple movies. Okay, and maybe sometime again,

1492
01:19:18,640 --> 01:19:20,679
Speaker 1: I'll have to go into like a boring schpiel about

1493
01:19:20,720 --> 01:19:23,320
Speaker 1: like double features, like the original, like the origins of

1494
01:19:23,360 --> 01:19:25,720
Speaker 1: the double feature or whatever. But this was like an

1495
01:19:25,720 --> 01:19:29,080
Speaker 1: era where they were like, you're gonna see exploitation movies

1496
01:19:29,160 --> 01:19:31,840
Speaker 1: day and night and just sit around and soak it

1497
01:19:31,880 --> 01:19:32,240
Speaker 1: all in.

1498
01:19:32,400 --> 01:19:36,000
Speaker 3: But they would show cheap movies that were cheaply made.

1499
01:19:36,120 --> 01:19:38,080
Speaker 3: So this is a lot of B movies.

1500
01:19:37,720 --> 01:19:40,960
Speaker 1: A lot of horror, a lot of genre films outside

1501
01:19:40,960 --> 01:19:44,439
Speaker 1: of Hollywood stuff. So they weren't even showing like second run.

1502
01:19:44,520 --> 01:19:46,040
Speaker 1: This isn't like a dollar movie theater.

1503
01:19:46,080 --> 01:19:46,400
Speaker 3: Scenario.

1504
01:19:46,520 --> 01:19:52,720
Speaker 1: Then they were showing like actual badly made movies quote unquote, right,

1505
01:19:53,360 --> 01:19:56,240
Speaker 1: and the vibe was if you would go to grindhouses,

1506
01:19:56,280 --> 01:20:00,360
Speaker 1: you were a freak. Basically, we were like you were

1507
01:20:00,360 --> 01:20:05,720
Speaker 1: basically like into the underbelly of society and you were like,

1508
01:20:06,200 --> 01:20:09,400
Speaker 1: you know, interested and weird, weird.

1509
01:20:09,200 --> 01:20:10,160
Speaker 3: Stuff, right.

1510
01:20:10,640 --> 01:20:14,639
Speaker 1: And so this this this era kind of happened through

1511
01:20:14,680 --> 01:20:17,920
Speaker 1: the advent of television, and then once television came around,

1512
01:20:18,760 --> 01:20:21,760
Speaker 1: these theaters really kind of doubled down on the salaciousness.

1513
01:20:21,800 --> 01:20:24,880
Speaker 1: So you would see like softcore and hardcore porn, I mean,

1514
01:20:25,120 --> 01:20:29,160
Speaker 1: slasher films, a lot of like imported kind of soft

1515
01:20:29,439 --> 01:20:32,759
Speaker 1: core stuff from Europe, but also like martial arts movies.

1516
01:20:33,720 --> 01:20:36,040
Speaker 1: And there's actually a scene in my movie in basket

1517
01:20:36,120 --> 01:20:38,280
Speaker 1: Case where one of the main character is at a

1518
01:20:38,320 --> 01:20:42,880
Speaker 1: grindhouse watching an action or a martial arts film. So

1519
01:20:44,000 --> 01:20:46,680
Speaker 1: after the eighties, of course with home video, they kind

1520
01:20:46,720 --> 01:20:50,679
Speaker 1: of just like died off. But the idea of them,

1521
01:20:51,000 --> 01:20:55,000
Speaker 1: the idea of this era inspired an entire generation of

1522
01:20:55,000 --> 01:20:59,439
Speaker 1: filmmakers and film watchers, including myself. It was a it

1523
01:20:59,479 --> 01:21:01,559
Speaker 1: was a huge influence on me and what I do

1524
01:21:01,720 --> 01:21:05,840
Speaker 1: for my job. And then now I think the grindhouse

1525
01:21:05,920 --> 01:21:10,280
Speaker 1: has almost become an esthetic almost, And like I don't

1526
01:21:10,320 --> 01:21:13,720
Speaker 1: know if you if anybody saw the movie X by

1527
01:21:13,800 --> 01:21:16,040
Speaker 1: Ty West, the one that just has come out recently,

1528
01:21:16,520 --> 01:21:19,520
Speaker 1: I think that is very influenced by the grindhouse cinema.

1529
01:21:19,600 --> 01:21:22,160
Speaker 1: And obviously there's that movie Grindhouse that was made by

1530
01:21:22,280 --> 01:21:25,080
Speaker 1: Robert Rodriguez and Quentin Tarantino a while back. So it's

1531
01:21:25,160 --> 01:21:27,880
Speaker 1: kind of that thing now it's become like an aesthetic,

1532
01:21:28,400 --> 01:21:31,559
Speaker 1: if you know what I mean. And like I said,

1533
01:21:31,680 --> 01:21:35,120
Speaker 1: Frank Hennen laughter, he loved this era. And one of

1534
01:21:35,160 --> 01:21:38,600
Speaker 1: his first shorts was played on the grindhouse circuit and

1535
01:21:38,600 --> 01:21:41,800
Speaker 1: actually played with pink flamingos by John Waters, which was

1536
01:21:41,880 --> 01:21:45,519
Speaker 1: also like a classic midnight kind of grindhouse film. And

1537
01:21:45,560 --> 01:21:49,439
Speaker 1: Frank Hennen laughter. He's the champion of these films, and

1538
01:21:49,560 --> 01:21:52,880
Speaker 1: he's been working alongside something Weird Video and he's trying

1539
01:21:52,920 --> 01:21:56,800
Speaker 1: to preserve a lot of these lost sort of grindhouse classics,

1540
01:21:56,840 --> 01:21:59,640
Speaker 1: and so you know, he's he's a real one. He

1541
01:22:00,080 --> 01:22:04,599
Speaker 1: loves the exploitation world. So for me, basket Case was

1542
01:22:04,680 --> 01:22:07,799
Speaker 1: actually one of the first exploitation movies I ever loved

1543
01:22:08,000 --> 01:22:10,320
Speaker 1: as a teen. I mean, like I said, it's a

1544
01:22:10,320 --> 01:22:16,240
Speaker 1: horror comedy. It has very twisted, in ridiculous premise if

1545
01:22:16,240 --> 01:22:20,360
Speaker 1: you will, but like I said, has moments of depth,

1546
01:22:20,520 --> 01:22:23,720
Speaker 1: I will say, considering that it was made for like

1547
01:22:23,760 --> 01:22:28,479
Speaker 1: thirty five thousand dollars, which is no money, by the way,

1548
01:22:28,560 --> 01:22:31,360
Speaker 1: like it to this it's like that's like twenty dollars

1549
01:22:31,520 --> 01:22:35,439
Speaker 1: in film movie budgets at this point, right.

1550
01:22:35,360 --> 01:22:37,360
Speaker 2: And it has a narrative which a lot of these

1551
01:22:37,360 --> 01:22:39,839
Speaker 2: movies didn't even have, So I'll give it that totally.

1552
01:22:39,920 --> 01:22:41,120
Speaker 3: Yeah, totally totally.

1553
01:22:41,160 --> 01:22:44,360
Speaker 1: And it was shot on sixteen millimeter, which, like we

1554
01:22:44,439 --> 01:22:46,719
Speaker 1: talked about in like with the Far and Away episode,

1555
01:22:46,720 --> 01:22:49,640
Speaker 1: shooting in seventy millimeter, sixteen.

1556
01:22:49,240 --> 01:22:50,840
Speaker 3: Is basically the opposite of that.

1557
01:22:51,040 --> 01:22:55,080
Speaker 1: It's it was used because it's cheaper than thirty five millimeter.

1558
01:22:56,320 --> 01:22:58,200
Speaker 1: You if you were if you went to film school

1559
01:22:58,240 --> 01:23:01,200
Speaker 1: like me, like pre internet, you probably if you took

1560
01:23:01,240 --> 01:23:04,559
Speaker 1: a film production class, you shot in sixteen millimeters. I

1561
01:23:04,600 --> 01:23:07,800
Speaker 1: know I did badly, by the way, Oh my god,

1562
01:23:07,840 --> 01:23:11,320
Speaker 1: it was I destroyed the first movie I ever made.

1563
01:23:11,840 --> 01:23:13,439
Speaker 3: Literally, it never came out.

1564
01:23:14,120 --> 01:23:17,439
Speaker 1: I filmed a movie in my film one o one

1565
01:23:17,479 --> 01:23:21,240
Speaker 1: class or my filmmaking one on one class, and it

1566
01:23:21,320 --> 01:23:22,880
Speaker 1: I don't know if I left the lens cap on,

1567
01:23:23,080 --> 01:23:25,559
Speaker 1: but it didn't come up. And that's what I knew.

1568
01:23:26,920 --> 01:23:29,400
Speaker 1: I that's what I knew. I am not a filmmaker.

1569
01:23:29,720 --> 01:23:34,040
Speaker 1: Like I was so deeply depressed by that that I

1570
01:23:34,120 --> 01:23:36,679
Speaker 1: never picked up a camera again.

1571
01:23:37,160 --> 01:23:39,880
Speaker 2: That's so sad. You could have it again and taken

1572
01:23:39,880 --> 01:23:40,479
Speaker 2: the cap off.

1573
01:23:41,400 --> 01:23:43,880
Speaker 1: I know, if you if you understood the amount of

1574
01:23:43,960 --> 01:23:45,800
Speaker 1: work that I put into that shit.

1575
01:23:46,000 --> 01:23:46,240
Speaker 2: Dude.

1576
01:23:46,360 --> 01:23:49,360
Speaker 1: I don't know if I ever told this story, but

1577
01:23:49,520 --> 01:23:52,040
Speaker 1: essentially it was like the first project I ever made

1578
01:23:52,120 --> 01:23:56,080
Speaker 1: in my filmmaking one on one class, and I was

1579
01:23:56,360 --> 01:23:59,479
Speaker 1: fucking so ambitious about it, Like I was very influenced

1580
01:23:59,520 --> 01:24:01,519
Speaker 1: by Herschel Gordon Lewis at the time, and I was like,

1581
01:24:01,640 --> 01:24:04,760
Speaker 1: I'm gonna do a horror movie. I got like five

1582
01:24:04,800 --> 01:24:07,160
Speaker 1: of my friends. We filmed in my friend's house. It

1583
01:24:07,240 --> 01:24:10,200
Speaker 1: was a story about a guy that goes to a

1584
01:24:10,240 --> 01:24:12,479
Speaker 1: bar and he meets a woman and then she steals

1585
01:24:12,479 --> 01:24:14,639
Speaker 1: his kidneys. Because I guess that was like a big,

1586
01:24:15,400 --> 01:24:19,439
Speaker 1: a big urban legend at the time. I fucking we

1587
01:24:19,479 --> 01:24:24,280
Speaker 1: made fake blood like you this way. My roommate at

1588
01:24:24,280 --> 01:24:28,000
Speaker 1: the time ended up being the fake blood guy for

1589
01:24:28,040 --> 01:24:29,040
Speaker 1: The Walking Dead.

1590
01:24:29,560 --> 01:24:32,599
Speaker 3: This was before he got the job. This was when

1591
01:24:32,600 --> 01:24:34,680
Speaker 3: we were in college. So I had the guy that

1592
01:24:34,800 --> 01:24:37,000
Speaker 3: made the blood for The Walking Dead make the.

1593
01:24:36,960 --> 01:24:43,600
Speaker 1: Fake blood in my shitty, two minute, sixteen mili soundless

1594
01:24:43,640 --> 01:24:47,280
Speaker 1: film that did not come out, like I swear to god.

1595
01:24:47,439 --> 01:24:50,360
Speaker 3: We put it through the projector and it was blank, and.

1596
01:24:50,320 --> 01:24:55,880
Speaker 1: I was like, I want to kill myself. I can't

1597
01:24:55,920 --> 01:24:59,479
Speaker 1: believe this didn't just didn't turn out. And like I said,

1598
01:24:59,720 --> 01:25:03,640
Speaker 1: that's when I knew I'm not a filmmaker. I am

1599
01:25:03,680 --> 01:25:06,800
Speaker 1: a fucking film something else I will, I will talk

1600
01:25:06,840 --> 01:25:08,639
Speaker 1: about them, I will never shoot them.

1601
01:25:08,680 --> 01:25:10,000
Speaker 3: But anyway, holy shit.

1602
01:25:11,240 --> 01:25:13,880
Speaker 1: So back to the point originally, which is basically like

1603
01:25:13,960 --> 01:25:17,760
Speaker 1: this film was cheaply made on sixteen milimeter, so it

1604
01:25:17,880 --> 01:25:21,439
Speaker 1: was definitely inspired by the kind of like B movie

1605
01:25:21,520 --> 01:25:22,760
Speaker 1: grindhouse stuff, right.

1606
01:25:23,240 --> 01:25:26,480
Speaker 3: However, the version I watched.

1607
01:25:26,680 --> 01:25:28,920
Speaker 1: And had a title card at the beginning it was

1608
01:25:28,960 --> 01:25:30,519
Speaker 1: restored by the Museum of.

1609
01:25:30,600 --> 01:25:36,320
Speaker 3: Modern Arts, which just threw me through me the Listen.

1610
01:25:37,160 --> 01:25:39,240
Speaker 1: You know, I have thought about this in the past

1611
01:25:39,320 --> 01:25:41,360
Speaker 1: couple of years where I'm like, yo, the Grindhouse has

1612
01:25:41,400 --> 01:25:42,240
Speaker 1: gone legit.

1613
01:25:42,439 --> 01:25:43,439
Speaker 3: And here is why.

1614
01:25:44,160 --> 01:25:47,600
Speaker 1: It's not just that, like Doris Wishman, movies are on

1615
01:25:47,640 --> 01:25:51,360
Speaker 1: Criterion Channel. Now it is that literally MoMA is restoring

1616
01:25:51,479 --> 01:25:52,360
Speaker 1: basket Case.

1617
01:25:52,400 --> 01:25:53,439
Speaker 2: That is crazy.

1618
01:25:54,120 --> 01:25:57,000
Speaker 1: Did I ever expect this when I was like seventeen.

1619
01:25:56,960 --> 01:26:00,760
Speaker 2: No, that was an approved budget item at some point

1620
01:26:00,840 --> 01:26:04,240
Speaker 2: in a meeting where they're like, uh, should we restore

1621
01:26:04,280 --> 01:26:06,720
Speaker 2: a basket case and they don't have a vote about it,

1622
01:26:06,880 --> 01:26:07,519
Speaker 2: and like.

1623
01:26:08,479 --> 01:26:13,439
Speaker 1: And it looks gorgeous, Yeah, but it is gorgeous looking.

1624
01:26:14,400 --> 01:26:15,320
Speaker 3: It just blows my mind.

1625
01:26:15,360 --> 01:26:17,679
Speaker 1: It blows my mind that any of this stuff would

1626
01:26:17,680 --> 01:26:22,040
Speaker 1: ever be preserved in a like perfect state. But you

1627
01:26:22,080 --> 01:26:25,840
Speaker 1: know what, here's the one sentenced synopsis of basket Case.

1628
01:26:26,840 --> 01:26:28,960
Speaker 1: It's it's very simple, because we're going to get into

1629
01:26:28,960 --> 01:26:31,200
Speaker 1: the beats of it and it's just going to be

1630
01:26:31,240 --> 01:26:34,040
Speaker 1: a lot. So the simpleness of this one sentence synopsis.

1631
01:26:34,320 --> 01:26:37,680
Speaker 1: A man and his twin brothers seek revenge on the

1632
01:26:37,720 --> 01:26:43,280
Speaker 1: doctors who separated them. That's the underlying story. But that's

1633
01:26:43,320 --> 01:26:48,559
Speaker 1: so much more than that, so much more, Okay. So

1634
01:26:49,560 --> 01:26:52,719
Speaker 1: the main character of Basketcase is this guy named Dwayne

1635
01:26:52,720 --> 01:26:57,960
Speaker 1: Bradley and he's played by an actor named Kevin Van Henteneric. Okay,

1636
01:26:58,520 --> 01:27:00,400
Speaker 1: And at the beginning of the film, he is walking

1637
01:27:00,439 --> 01:27:04,080
Speaker 1: down forty second Street as we just talked about, it's

1638
01:27:04,120 --> 01:27:06,960
Speaker 1: really popping in this era. There's a guy following him

1639
01:27:06,960 --> 01:27:09,560
Speaker 1: who literally lists every drug.

1640
01:27:09,479 --> 01:27:11,639
Speaker 3: Known to mankind that he has.

1641
01:27:11,720 --> 01:27:18,080
Speaker 1: He's like, what you need, I've got ty sticks, poppers, meth, heroin, opium.

1642
01:27:18,160 --> 01:27:18,880
Speaker 3: Like he's the.

1643
01:27:18,880 --> 01:27:23,080
Speaker 1: Amazon of drug dealers, this guy, he has everything he needs.

1644
01:27:23,560 --> 01:27:26,200
Speaker 2: That scene goes on for like two solid minutes, and

1645
01:27:26,200 --> 01:27:28,800
Speaker 2: you're like, damn, he's still going right, And this is.

1646
01:27:28,760 --> 01:27:31,960
Speaker 1: The perfect that's the perfect encapsulation of what this part

1647
01:27:32,000 --> 01:27:36,960
Speaker 1: of town is. Okay, because variably Dwayne is walking down

1648
01:27:36,960 --> 01:27:40,479
Speaker 1: the street, he is clearly from another place. He is

1649
01:27:40,520 --> 01:27:44,400
Speaker 1: from upstate, Okay. He does not fit into forty second

1650
01:27:44,439 --> 01:27:47,799
Speaker 1: Street at all. And he's carrying this like wicker basket

1651
01:27:47,840 --> 01:27:51,200
Speaker 1: that has a padlock, and he as the little kid

1652
01:27:51,240 --> 01:27:56,920
Speaker 1: from Big does he checks into the shittiest motel, the shittiest,

1653
01:27:56,960 --> 01:27:58,519
Speaker 1: scariest motel in New York.

1654
01:27:59,120 --> 01:28:01,120
Speaker 2: I think when I was watching this, I had a

1655
01:28:01,160 --> 01:28:04,840
Speaker 2: thought that in an all timeline, when Josh and Big

1656
01:28:04,960 --> 01:28:07,320
Speaker 2: is hearing the people fight and things crashing around me,

1657
01:28:07,360 --> 01:28:09,639
Speaker 2: he's having that horrible night in the hotel room, it's

1658
01:28:09,680 --> 01:28:11,439
Speaker 2: because basket Keise was happening at the same time.

1659
01:28:11,960 --> 01:28:17,479
Speaker 1: Fuck, that is absolutely what it was like if we could,

1660
01:28:17,640 --> 01:28:23,599
Speaker 1: these two universes have connected, and basically big is happening.

1661
01:28:23,680 --> 01:28:27,320
Speaker 1: Like they're shooting a silly string and they're eating pizza

1662
01:28:27,360 --> 01:28:28,080
Speaker 1: in one.

1663
01:28:27,960 --> 01:28:34,000
Speaker 3: Room while Bill All is torching the place. Basically, that's

1664
01:28:34,240 --> 01:28:35,040
Speaker 3: that's what's happening.

1665
01:28:35,479 --> 01:28:38,559
Speaker 1: I fucking love that we are changing the Wikipedia articles

1666
01:28:38,600 --> 01:28:41,960
Speaker 1: for both movies the minute we press stop. Okay, So

1667
01:28:42,560 --> 01:28:47,639
Speaker 1: basically checks into this motel forty second Street, very seedy,

1668
01:28:48,200 --> 01:28:52,080
Speaker 1: lots of real peanut gallery residents, like they're just they're

1669
01:28:52,080 --> 01:28:52,800
Speaker 1: all kind of.

1670
01:28:52,720 --> 01:28:54,240
Speaker 3: Like living in this shitty hotel.

1671
01:28:54,640 --> 01:28:57,679
Speaker 1: And so he goes into the room, he gets settled,

1672
01:28:57,680 --> 01:29:00,679
Speaker 1: and then like he opens the basket. Now, a lot

1673
01:29:00,680 --> 01:29:02,800
Speaker 1: of the drama of the first part of this movie

1674
01:29:02,840 --> 01:29:04,559
Speaker 1: is because you don't know what's in the basket, and

1675
01:29:04,600 --> 01:29:07,960
Speaker 1: obviously we are spoiling that. So if you really don't

1676
01:29:07,960 --> 01:29:11,160
Speaker 1: want to know, if you want to be very like

1677
01:29:11,760 --> 01:29:15,840
Speaker 1: Marcellus Wallace pulp fiction about shit, then just fast forward

1678
01:29:15,880 --> 01:29:18,040
Speaker 1: the rest of the episode because we're talking about what's in.

1679
01:29:17,960 --> 01:29:18,959
Speaker 3: The basket obviously.

1680
01:29:19,040 --> 01:29:23,240
Speaker 1: So he basically opens a basket and he starts talking

1681
01:29:23,280 --> 01:29:25,240
Speaker 1: to the basket. He's kind of like, Okay, what's in

1682
01:29:25,280 --> 01:29:30,760
Speaker 1: the basket, right, And then fucking like throws down four cheeseburgers,

1683
01:29:30,760 --> 01:29:33,920
Speaker 1: and whatever's in the basket just houses these cheeseburgers and

1684
01:29:33,960 --> 01:29:37,320
Speaker 1: making these like snorting noises and you're like, yo, what

1685
01:29:37,360 --> 01:29:39,880
Speaker 1: the fuck is that a dog or a rat or like.

1686
01:29:39,800 --> 01:29:42,920
Speaker 2: A what is There is a scene where he just

1687
01:29:43,000 --> 01:29:46,320
Speaker 2: like like slices open a package of hot dogs, like

1688
01:29:46,520 --> 01:29:50,240
Speaker 2: raw hot dogs, and just starts dropping them in like

1689
01:29:50,280 --> 01:29:53,439
Speaker 2: little logs, and you're hearing this like snarf and snort,

1690
01:29:53,640 --> 01:29:57,560
Speaker 2: like god damn yes, You're like, holy.

1691
01:29:57,280 --> 01:29:58,519
Speaker 3: Shit, what the fuck? Right?

1692
01:29:59,160 --> 01:30:02,559
Speaker 1: So, as it turns out, the reason why Dwayne and

1693
01:30:02,640 --> 01:30:05,360
Speaker 1: his basket are in this part of town is because

1694
01:30:05,360 --> 01:30:08,679
Speaker 1: they're trying to track down this doctor. And the doctor

1695
01:30:08,720 --> 01:30:11,280
Speaker 1: is named doctor Needleman, which is a great name for

1696
01:30:11,320 --> 01:30:14,680
Speaker 1: a doctor, and goes into the office, starts talking with

1697
01:30:14,720 --> 01:30:16,840
Speaker 1: the woman in the in the front office and they're

1698
01:30:16,880 --> 01:30:19,000
Speaker 1: kind of flirting back and forth. She pops up later

1699
01:30:19,040 --> 01:30:21,320
Speaker 1: in the film charms his way in.

1700
01:30:21,360 --> 01:30:24,600
Speaker 3: And I have to say it should be said that doctor.

1701
01:30:24,280 --> 01:30:28,920
Speaker 1: Needleman, the guy who plays Doctor Needleman, looks exactly like

1702
01:30:29,520 --> 01:30:32,240
Speaker 1: Mark Rebier the fucking loop Daddy.

1703
01:30:33,120 --> 01:30:35,720
Speaker 2: Yes, holy shit.

1704
01:30:36,400 --> 01:30:39,120
Speaker 1: This guy is Loop Daddy, And I don't know if

1705
01:30:39,120 --> 01:30:42,000
Speaker 1: you guys know who Loop Daddy is. He is the

1706
01:30:42,160 --> 01:30:45,440
Speaker 1: he is one of the kings of the Internet right now,

1707
01:30:45,560 --> 01:30:48,560
Speaker 1: but go find him on Instagram.

1708
01:30:48,560 --> 01:30:48,800
Speaker 4: Good.

1709
01:30:49,360 --> 01:30:54,719
Speaker 1: He's basically the guy that makes improvised songs on his keyboard.

1710
01:30:54,720 --> 01:30:56,360
Speaker 3: I'm sure you've seen him. He's a lot of times

1711
01:30:56,360 --> 01:30:57,080
Speaker 3: in his underwear.

1712
01:30:57,800 --> 01:30:58,040
Speaker 2: You know.

1713
01:30:59,000 --> 01:31:00,920
Speaker 3: Do with that information what you may.

1714
01:31:01,000 --> 01:31:04,240
Speaker 1: But anyway, the doctor looks exactly like him, which really

1715
01:31:04,479 --> 01:31:10,000
Speaker 1: made me laugh. So Dwayne basically is like takes off

1716
01:31:10,040 --> 01:31:12,720
Speaker 1: his shirt and shows the doctor that he's got this

1717
01:31:12,840 --> 01:31:16,000
Speaker 1: giant scar running down the side of his body that

1718
01:31:16,080 --> 01:31:18,719
Speaker 1: basically looks like the cover of that Joy Division album.

1719
01:31:18,840 --> 01:31:21,080
Speaker 1: I don't know how to say it. I also have

1720
01:31:21,120 --> 01:31:23,280
Speaker 1: a giant scar running down my body and I only

1721
01:31:23,360 --> 01:31:26,920
Speaker 1: wish it looked like that because it was like cascading.

1722
01:31:27,280 --> 01:31:29,360
Speaker 1: You're like, what in the hell is this? Like what

1723
01:31:29,520 --> 01:31:37,120
Speaker 1: is this thing? But basically he's trying to get in

1724
01:31:37,200 --> 01:31:41,280
Speaker 1: touch with some other doctor via doctor Needleman, right, And

1725
01:31:41,320 --> 01:31:43,800
Speaker 1: it's very mysterious and you don't really know why. But

1726
01:31:44,000 --> 01:31:48,240
Speaker 1: basically there are times where he goes back to the

1727
01:31:48,400 --> 01:31:49,960
Speaker 1: he actually goes to the Grindhouse.

1728
01:31:50,000 --> 01:31:52,639
Speaker 3: One of the Grindhouse leads to kind of pass some time.

1729
01:31:53,520 --> 01:31:55,880
Speaker 1: One of the weirdos in the Grindhouse, Theater, tries to

1730
01:31:55,920 --> 01:31:59,640
Speaker 1: steal the basket. He goes into the bathroom, opens up

1731
01:31:59,640 --> 01:32:00,200
Speaker 1: the basket.

1732
01:32:00,240 --> 01:32:01,240
Speaker 3: And he's like, holy shit.

1733
01:32:01,320 --> 01:32:03,320
Speaker 1: And again, you don't know what's in this basket yet,

1734
01:32:03,360 --> 01:32:06,719
Speaker 1: You're just like everybody is flipped out about what's what's

1735
01:32:06,880 --> 01:32:09,200
Speaker 1: and everybody in the hotel is trying to figure out

1736
01:32:09,240 --> 01:32:10,040
Speaker 1: what's in the basket.

1737
01:32:10,080 --> 01:32:12,759
Speaker 3: It's like this big fucking question. Okay.

1738
01:32:13,080 --> 01:32:17,040
Speaker 1: So basically, as it turns out, they both go back.

1739
01:32:17,120 --> 01:32:20,360
Speaker 1: Both the basket and Dwayne go back to doctor Ingdoman's

1740
01:32:20,360 --> 01:32:23,760
Speaker 1: office when it's closed because they want to confront him. Okay, Now,

1741
01:32:23,960 --> 01:32:27,920
Speaker 1: Dwayne opens the basket and whatever is in it comes

1742
01:32:27,920 --> 01:32:32,040
Speaker 1: out and is he Dwayne's like, I'm staying here. You

1743
01:32:32,120 --> 01:32:34,360
Speaker 1: go take care of business. So immediately you're like, what

1744
01:32:34,400 --> 01:32:36,360
Speaker 1: the fuck. It's gotta be some kind of like creature.

1745
01:32:36,800 --> 01:32:40,160
Speaker 1: Then all of a sudden, you see this creepy little

1746
01:32:40,200 --> 01:32:45,120
Speaker 1: hand open a doorknob, and you're like, oh fuck, Now

1747
01:32:45,200 --> 01:32:46,880
Speaker 1: we're starting to get a little bit more of an

1748
01:32:46,960 --> 01:32:51,360
Speaker 1: understanding of what's in the basket. Okay, Now what ends.

1749
01:32:51,280 --> 01:32:53,839
Speaker 3: Up happening is that this.

1750
01:32:55,040 --> 01:33:03,280
Speaker 1: Whatever it is is revealed as this slightly booger colored

1751
01:33:04,000 --> 01:33:10,920
Speaker 1: creature that has it's like kind of bumpy and has arms,

1752
01:33:12,080 --> 01:33:15,040
Speaker 1: has arms and like a weird humanish face.

1753
01:33:15,880 --> 01:33:17,800
Speaker 2: It's just it's a bumpy head with arms that's no

1754
01:33:18,200 --> 01:33:18,920
Speaker 2: other body part.

1755
01:33:19,400 --> 01:33:20,519
Speaker 3: Yes, I think.

1756
01:33:20,560 --> 01:33:20,920
Speaker 2: I think.

1757
01:33:21,520 --> 01:33:24,840
Speaker 1: Imagine like you remember when you were in elementary school

1758
01:33:24,880 --> 01:33:26,960
Speaker 1: and you use those pencil toppers with the like the

1759
01:33:27,000 --> 01:33:32,439
Speaker 1: wiggly arms. Ah ah, imagine that is what is in

1760
01:33:32,479 --> 01:33:35,040
Speaker 1: the basket, except sort of more boger colored.

1761
01:33:35,080 --> 01:33:39,920
Speaker 3: It's just it's gray. It's like a gray Uh. It

1762
01:33:40,040 --> 01:33:42,120
Speaker 3: is really freaky.

1763
01:33:42,160 --> 01:33:45,639
Speaker 1: When you first say this thing, you're like, oh my god.

1764
01:33:46,200 --> 01:33:49,679
Speaker 3: And then he rips the doctor to fucking shreds.

1765
01:33:49,760 --> 01:33:52,160
Speaker 2: Like just let me also point out that this little

1766
01:33:52,160 --> 01:33:58,360
Speaker 2: bit communicates exclusively through shrieking. Yes, like the shouting in

1767
01:33:58,400 --> 01:34:04,479
Speaker 2: the hotel has increased seven hundred percent since Dwayne moved in, And.

1768
01:34:05,360 --> 01:34:08,799
Speaker 1: This is no more evident than the scene that comes

1769
01:34:08,800 --> 01:34:13,559
Speaker 1: pretty much immediately after when he murders doctor Needleman, which

1770
01:34:13,600 --> 01:34:17,200
Speaker 1: is that Dwayne has decided that he wants to go

1771
01:34:17,680 --> 01:34:21,040
Speaker 1: spend some time with the lady in the front office. Right,

1772
01:34:21,280 --> 01:34:23,759
Speaker 1: They kind of had a connection. He wants to go out.

1773
01:34:23,880 --> 01:34:27,080
Speaker 1: So just like in all that Heaven allows, Dwayne goes

1774
01:34:27,120 --> 01:34:31,160
Speaker 1: and buys the thing at TV and is like, just

1775
01:34:31,160 --> 01:34:33,479
Speaker 1: sit here and watch TV and he won't be lonely.

1776
01:34:34,080 --> 01:34:36,320
Speaker 1: I'm gonna go out and have fun with this woman.

1777
01:34:36,520 --> 01:34:36,880
Speaker 3: Okay.

1778
01:34:38,439 --> 01:34:40,960
Speaker 1: The craziest part, and this is this is this is

1779
01:34:40,960 --> 01:34:43,920
Speaker 1: what happens before it's revealed what this actually is. But

1780
01:34:44,320 --> 01:34:48,719
Speaker 1: it seems that Dwayne is able to kind of telepathically communicate.

1781
01:34:48,320 --> 01:34:50,000
Speaker 3: With whatever's in the basket.

1782
01:34:50,120 --> 01:34:55,679
Speaker 1: Okay, so essentially they're kind of like communicating with each

1783
01:34:55,720 --> 01:35:03,759
Speaker 1: other wordlessly, but also in different places. So essentially, the creature,

1784
01:35:03,880 --> 01:35:07,760
Speaker 1: if you will, realizes that Dwayne is out on a

1785
01:35:07,840 --> 01:35:12,519
Speaker 1: date and then he flips the entire hotel room upside down.

1786
01:35:12,720 --> 01:35:18,000
Speaker 1: He's like fucking smashing the TV. And what I tell

1787
01:35:18,040 --> 01:35:21,439
Speaker 1: you that I cry laughing when this happens. Like this

1788
01:35:21,680 --> 01:35:26,960
Speaker 1: entire trashing of the hotel has me in stitches every

1789
01:35:27,400 --> 01:35:28,240
Speaker 1: fucking time.

1790
01:35:28,680 --> 01:35:33,280
Speaker 2: I lose my mind, especially when he grabs the post

1791
01:35:33,400 --> 01:35:35,719
Speaker 2: of the bed on the floor and just starts slamming

1792
01:35:35,720 --> 01:35:37,040
Speaker 2: the bed up and down.

1793
01:35:39,120 --> 01:35:42,280
Speaker 3: And the best part, Okay, keep in mind this is

1794
01:35:42,360 --> 01:35:43,240
Speaker 3: a low.

1795
01:35:43,040 --> 01:35:45,960
Speaker 1: Budget film, so there are parts of it where his

1796
01:35:46,160 --> 01:35:49,640
Speaker 1: movements is actual, like stop motion animation. So it's like

1797
01:35:49,680 --> 01:35:52,559
Speaker 1: this really kind of bad stop motion animation of this

1798
01:35:52,640 --> 01:35:55,160
Speaker 1: like booger guy that's.

1799
01:35:55,200 --> 01:35:56,439
Speaker 3: Trashing a hotel room.

1800
01:35:56,439 --> 01:35:59,280
Speaker 1: And then like his actual hands are like when you

1801
01:35:59,280 --> 01:36:01,479
Speaker 1: see his hands are like human hands, it's actually Frank

1802
01:36:01,560 --> 01:36:06,240
Speaker 1: Henwater's hand. So you're just like watching this little guy

1803
01:36:06,640 --> 01:36:09,599
Speaker 1: smash up this hotel room and I scream.

1804
01:36:09,840 --> 01:36:14,120
Speaker 2: I just scream every shrieking the whole time, like not

1805
01:36:14,160 --> 01:36:18,040
Speaker 2: trying to play it cool at all, because nobody knows

1806
01:36:18,080 --> 01:36:21,479
Speaker 2: he's in there. Now, He's definitely everyone in the hotel

1807
01:36:21,560 --> 01:36:22,400
Speaker 2: knows he's in there.

1808
01:36:22,600 --> 01:36:24,600
Speaker 1: Oh yeah, and they all try to they break in.

1809
01:36:24,680 --> 01:36:27,120
Speaker 1: They're like, who the fuck is trash in this place? Meanwhile,

1810
01:36:28,000 --> 01:36:30,800
Speaker 1: basket Case is out the fucking window like he's like

1811
01:36:31,120 --> 01:36:35,759
Speaker 1: piecing right. And then what ends up happening is Dwayne

1812
01:36:36,040 --> 01:36:38,800
Speaker 1: shows up and it's like, oh fuck, what happened in here?

1813
01:36:39,840 --> 01:36:44,720
Speaker 1: Little buddy was hiding in the toilet from these.

1814
01:36:45,960 --> 01:36:47,520
Speaker 3: Nosey ass neighbors.

1815
01:36:47,720 --> 01:36:52,400
Speaker 1: And so here is the tender moment that I'm talking about,

1816
01:36:52,680 --> 01:36:56,400
Speaker 1: And it is fucking insane to be like, oh, here's

1817
01:36:56,439 --> 01:37:00,000
Speaker 1: this tender moment between this little guy and his human

1818
01:37:00,400 --> 01:37:03,559
Speaker 1: counterpart while he's being pulled out of a toilet, and

1819
01:37:03,640 --> 01:37:06,000
Speaker 1: like Dwayne pulls him out of the toilet and like

1820
01:37:06,080 --> 01:37:08,840
Speaker 1: kind of swaddles him and a towel and is like,

1821
01:37:09,560 --> 01:37:12,360
Speaker 1: I'll never leave you, Like don't like I know you

1822
01:37:12,400 --> 01:37:13,120
Speaker 1: were angry at me.

1823
01:37:13,200 --> 01:37:16,960
Speaker 3: I'll never leave you. And I'm like, this is fucking insane, right.

1824
01:37:17,920 --> 01:37:21,400
Speaker 2: He absolutely cradles him like you would a child getting

1825
01:37:21,400 --> 01:37:22,719
Speaker 2: out of a bath, like a bath.

1826
01:37:22,640 --> 01:37:26,760
Speaker 1: Kid, and he's pulling him out of a toilet, and

1827
01:37:26,800 --> 01:37:29,040
Speaker 1: you just see the little basket case face and you're

1828
01:37:29,120 --> 01:37:35,000
Speaker 1: just like like wow, like this is absurd.

1829
01:37:35,320 --> 01:37:39,160
Speaker 3: But also, why am I emotional right now? I'm feeling emotional?

1830
01:37:40,520 --> 01:37:43,600
Speaker 2: I was not feeling emotional. That scene also makes me

1831
01:37:43,680 --> 01:37:46,360
Speaker 2: laugh every fucking time see it, because he pulls him

1832
01:37:46,400 --> 01:37:47,400
Speaker 2: out of a toilet.

1833
01:37:47,920 --> 01:37:50,400
Speaker 1: Yes, you are laughing your ass off, But also like,

1834
01:37:50,560 --> 01:37:54,439
Speaker 1: oh my god, why am I feeling emotional about these two?

1835
01:37:55,479 --> 01:37:57,920
Speaker 3: So here's what happens.

1836
01:37:57,960 --> 01:38:02,360
Speaker 1: So they're not in a closer to reaching these doctors

1837
01:38:02,400 --> 01:38:05,720
Speaker 1: that they really want to talk to. Okay, now what

1838
01:38:06,240 --> 01:38:08,320
Speaker 1: ends up happening is that Dwayne gets drunk and starts

1839
01:38:08,320 --> 01:38:10,559
Speaker 1: talking to this woman named Casey who is a sex

1840
01:38:10,600 --> 01:38:13,200
Speaker 1: worker who lives across the hall from him, right, and

1841
01:38:13,240 --> 01:38:16,639
Speaker 1: he lays out the entire scenario, and this is when

1842
01:38:16,680 --> 01:38:22,600
Speaker 1: you finally find out what this is. So essentially, the

1843
01:38:22,640 --> 01:38:29,439
Speaker 1: thing in the basket is actually Dwayne's separated, conjoined twin

1844
01:38:30,960 --> 01:38:35,080
Speaker 1: that has some kind of like congenital disorder. And then

1845
01:38:35,280 --> 01:38:38,840
Speaker 1: Dwayne goes into this whole story about his parents and

1846
01:38:38,960 --> 01:38:44,599
Speaker 1: essentially like they were born together. There's this really crazy

1847
01:38:44,600 --> 01:38:47,880
Speaker 1: flashback sequence where the dad is basically like it's a

1848
01:38:48,040 --> 01:38:50,920
Speaker 1: very it's a live moment where he's like that thing

1849
01:38:51,080 --> 01:38:53,599
Speaker 1: is not human, like get rid of it, and then

1850
01:38:53,760 --> 01:38:58,839
Speaker 1: forces them to separate, like gets these doctors. I'm assuming

1851
01:38:58,880 --> 01:39:01,280
Speaker 1: this happened in their home. I was like, where is

1852
01:39:01,320 --> 01:39:06,120
Speaker 1: the surgery happening? I was like, oh, home, surgeons, Like

1853
01:39:06,160 --> 01:39:07,880
Speaker 1: they just come and show up and they do it in.

1854
01:39:07,840 --> 01:39:10,360
Speaker 2: Your home, like in the dining room.

1855
01:39:10,800 --> 01:39:12,120
Speaker 3: Yes, in the dining.

1856
01:39:11,840 --> 01:39:13,800
Speaker 1: Room, and you have like you see like all these

1857
01:39:13,840 --> 01:39:17,800
Speaker 1: doctors in there, and basically, you know, Dwayne is like no, no, no, no, no, no,

1858
01:39:18,040 --> 01:39:21,840
Speaker 1: don't do it. But they they slice it off and

1859
01:39:21,880 --> 01:39:24,000
Speaker 1: then they put it in a fucking garbage bag and

1860
01:39:24,040 --> 01:39:24,960
Speaker 1: put it out on the curb.

1861
01:39:25,240 --> 01:39:28,360
Speaker 2: Okay, and that Foley guy had a really good time

1862
01:39:28,400 --> 01:39:31,160
Speaker 2: with that scene because it just sounds like Velcrow being

1863
01:39:31,280 --> 01:39:35,360
Speaker 2: separated when they separate the bodies, and you're like, fucking hell, dude,

1864
01:39:35,520 --> 01:39:37,240
Speaker 2: you did not have to go that hard.

1865
01:39:37,960 --> 01:39:38,280
Speaker 3: Yo.

1866
01:39:38,680 --> 01:39:41,519
Speaker 1: I was on the sorry to people who were flying

1867
01:39:41,560 --> 01:39:44,439
Speaker 1: Delta on the day that I watched this on the plane,

1868
01:39:44,479 --> 01:39:46,599
Speaker 1: but you know what, I fast forward into that part

1869
01:39:46,760 --> 01:39:47,920
Speaker 1: for your.

1870
01:39:48,200 --> 01:39:49,200
Speaker 3: For your convenience.

1871
01:39:49,320 --> 01:39:50,240
Speaker 2: So it's rough.

1872
01:39:50,560 --> 01:39:53,439
Speaker 1: It's rough, and I mean it definitely veers into this

1873
01:39:53,520 --> 01:39:55,320
Speaker 1: like body horror stuff.

1874
01:39:55,400 --> 01:39:57,679
Speaker 3: Obviously very traumatic for the kid.

1875
01:39:58,080 --> 01:40:01,280
Speaker 1: And like I said, they just put we find out

1876
01:40:01,439 --> 01:40:04,920
Speaker 1: the twin is named Balall by the way, so he's

1877
01:40:04,960 --> 01:40:10,440
Speaker 1: got a name Ballall, and basically Dwayne comes out, realizes

1878
01:40:10,479 --> 01:40:13,599
Speaker 1: what happened, and then that's their bond moment. That's the

1879
01:40:13,600 --> 01:40:16,880
Speaker 1: moment that they're like, we're gonna be together forever. We're

1880
01:40:16,920 --> 01:40:19,600
Speaker 1: gonna get these motherfuckers that did this, and it's just

1881
01:40:19,680 --> 01:40:21,360
Speaker 1: you and me on the road.

1882
01:40:21,680 --> 01:40:22,280
Speaker 3: Let's hit it.

1883
01:40:22,680 --> 01:40:27,840
Speaker 1: So basically, from this point on, the movie kind of

1884
01:40:27,880 --> 01:40:33,320
Speaker 1: gets a little crazy, I will say, because from this point, yeah,

1885
01:40:33,439 --> 01:40:36,080
Speaker 1: it's already been crazy, but then it gets kicked up.

1886
01:40:36,400 --> 01:40:42,920
Speaker 2: Now it's been a merchant Ivory film.

1887
01:40:44,000 --> 01:40:46,920
Speaker 3: You were watching The Great British Bakeoff before this.

1888
01:40:48,640 --> 01:40:51,360
Speaker 1: No, it gets a little crazy, because here's the thing,

1889
01:40:51,400 --> 01:40:54,519
Speaker 1: and this is why it works for our theme this week.

1890
01:40:54,560 --> 01:40:58,120
Speaker 1: I think it's because you start to get the sense

1891
01:40:58,240 --> 01:41:02,639
Speaker 1: that that Dwayne has this very big responsibility and always has,

1892
01:41:03,240 --> 01:41:06,200
Speaker 1: and he is the person that's always taken care of

1893
01:41:06,240 --> 01:41:09,280
Speaker 1: Blall because they literally put him in a trash can,

1894
01:41:09,400 --> 01:41:10,960
Speaker 1: like they were like fuck him, like put him in

1895
01:41:10,960 --> 01:41:11,479
Speaker 1: a trash can.

1896
01:41:11,760 --> 01:41:13,320
Speaker 3: But Dwayne feels protective.

1897
01:41:13,840 --> 01:41:20,680
Speaker 1: And then you realize that Ballall is not right like

1898
01:41:20,760 --> 01:41:23,799
Speaker 1: in a lot of ways, like and that he's possibly

1899
01:41:23,840 --> 01:41:28,559
Speaker 1: been sabotaging Dwayne's like romantic relationships and if you want

1900
01:41:28,600 --> 01:41:32,040
Speaker 1: to get down to brass tax, Ballall is a sex

1901
01:41:32,120 --> 01:41:35,240
Speaker 1: pest and has maybe like assaulted a few women. Right,

1902
01:41:35,280 --> 01:41:36,920
Speaker 1: I'm not gonna give away the ending, but I'm just

1903
01:41:36,960 --> 01:41:42,400
Speaker 1: saying Ballall is not this innocent per person, if you

1904
01:41:42,439 --> 01:41:44,040
Speaker 1: will or whatever.

1905
01:41:44,560 --> 01:41:49,720
Speaker 3: So the movie goes pretty pretty crazy.

1906
01:41:49,800 --> 01:41:52,840
Speaker 1: It's like it was already at sixty miles per hour,

1907
01:41:52,960 --> 01:41:53,840
Speaker 1: it's going like one.

1908
01:41:53,800 --> 01:41:56,200
Speaker 3: Hundred and forty miles an hour at this point.

1909
01:41:56,680 --> 01:42:01,639
Speaker 1: And essentially there's a situation that happens with the woman

1910
01:42:01,680 --> 01:42:06,640
Speaker 1: from the front office. They eventually will find the doctors

1911
01:42:06,800 --> 01:42:10,040
Speaker 1: that and they have a reckoning. But and I won't

1912
01:42:10,040 --> 01:42:15,160
Speaker 1: give away the ending ending because it is very I

1913
01:42:15,200 --> 01:42:18,320
Speaker 1: don't know, I contemplated it more than I probably should have.

1914
01:42:20,640 --> 01:42:24,320
Speaker 3: Like I was like, this is fucking Shakespearean. Goddamn, why

1915
01:42:25,120 --> 01:42:25,519
Speaker 3: did you.

1916
01:42:25,479 --> 01:42:28,559
Speaker 2: Have PMS when you were watching this movie? What is

1917
01:42:28,560 --> 01:42:29,639
Speaker 2: happening right now?

1918
01:42:30,160 --> 01:42:31,799
Speaker 3: Oh listen, I am not trying.

1919
01:42:33,280 --> 01:42:38,920
Speaker 1: I am not trying to necessarily like intellectualized basket case

1920
01:42:39,080 --> 01:42:44,080
Speaker 1: as much as maybe you think I am. However, I

1921
01:42:44,120 --> 01:42:46,559
Speaker 1: will say that for a fucking movie that was made

1922
01:42:46,560 --> 01:42:49,840
Speaker 1: for thirty five thousand dollars about this insane premise, there

1923
01:42:49,920 --> 01:42:53,839
Speaker 1: are some moments where I'm like, damn, dude, like that's crazy,

1924
01:42:53,920 --> 01:42:57,360
Speaker 1: Like there's it steps out of that grind house to

1925
01:42:57,560 --> 01:42:59,160
Speaker 1: maybe a little something more thoughtful.

1926
01:42:59,479 --> 01:43:01,680
Speaker 3: And I appreciate that. I appreciate that.

1927
01:43:02,600 --> 01:43:06,160
Speaker 2: I think that's cool because the acting is deplorable. Yes,

1928
01:43:06,760 --> 01:43:09,439
Speaker 2: so I think it's great that you could find something

1929
01:43:09,520 --> 01:43:13,799
Speaker 2: redeemable to that level of like making you feel real emotion.

1930
01:43:14,640 --> 01:43:18,200
Speaker 1: I mean, you're like, this was preserved by the Museum

1931
01:43:18,240 --> 01:43:22,080
Speaker 1: of Modern not in New York. There has to be something.

1932
01:43:22,200 --> 01:43:25,080
Speaker 1: And I'm like maybe that, like, maybe there is something.

1933
01:43:25,400 --> 01:43:30,040
Speaker 2: Even a stop clock is right twice a day. They

1934
01:43:30,080 --> 01:43:32,320
Speaker 2: can't all be the artist's present.

1935
01:43:33,560 --> 01:43:37,080
Speaker 1: But okay, if you want to distill, if you want

1936
01:43:37,120 --> 01:43:41,720
Speaker 1: to distill something that applies to our theme, right, it

1937
01:43:41,800 --> 01:43:47,559
Speaker 1: is beyond this crazy film, this crazy, cheaply made exploitation film.

1938
01:43:48,320 --> 01:43:53,400
Speaker 1: The idea of the responsibility of the sibling responsibility comes

1939
01:43:53,479 --> 01:43:58,360
Speaker 1: back in my movie Somehow, where you're just like, imagine

1940
01:43:58,360 --> 01:44:02,080
Speaker 1: what it must feel like to just constantly have to protect,

1941
01:44:02,720 --> 01:44:05,240
Speaker 1: you know, and care about like a sibling.

1942
01:44:05,800 --> 01:44:09,200
Speaker 3: And you know that that concept I think.

1943
01:44:09,080 --> 01:44:13,439
Speaker 1: Is very universal, and it somehow applies in this hilarious film,

1944
01:44:14,080 --> 01:44:16,120
Speaker 1: no doubt. But it is that thing where it does

1945
01:44:16,200 --> 01:44:21,240
Speaker 1: make me think about my own somehow. The case makes

1946
01:44:21,240 --> 01:44:25,360
Speaker 1: me think about my own responsibility to my younger sister

1947
01:44:25,760 --> 01:44:28,280
Speaker 1: over the years and be like, oh man, my mom

1948
01:44:28,479 --> 01:44:33,519
Speaker 1: used to make me fucking take her everywhere everywhere, and

1949
01:44:34,680 --> 01:44:39,320
Speaker 1: in a way I was always protecting her, right right,

1950
01:44:39,479 --> 01:44:42,559
Speaker 1: But I didn't get that protection a lot of times,

1951
01:44:42,600 --> 01:44:44,599
Speaker 1: Like and I think that that's the case a lot

1952
01:44:44,640 --> 01:44:48,479
Speaker 1: with older kids, especially I'm gonna maybe project a little here,

1953
01:44:48,520 --> 01:44:52,960
Speaker 1: but older kids of immigrants, I feel like I've talked

1954
01:44:52,960 --> 01:44:53,680
Speaker 1: to them.

1955
01:44:54,200 --> 01:44:55,639
Speaker 3: You know, both my parents are immigrants.

1956
01:44:55,680 --> 01:44:58,360
Speaker 1: I feel like there is a there's a lot put

1957
01:44:58,439 --> 01:45:03,320
Speaker 1: on the oldest child those families, and I really felt

1958
01:45:03,400 --> 01:45:05,200
Speaker 1: that as I was growing up, where I was like,

1959
01:45:05,360 --> 01:45:08,320
Speaker 1: I have to basically be like a third parent to

1960
01:45:08,520 --> 01:45:11,719
Speaker 1: my little sister, you know. I mean, I'm not saying

1961
01:45:11,760 --> 01:45:14,120
Speaker 1: I was older. We're only three years apart. But I

1962
01:45:14,240 --> 01:45:18,160
Speaker 1: was always monitoring her and making sure she was okay

1963
01:45:18,360 --> 01:45:20,479
Speaker 1: coming up until this day. And I just felt like

1964
01:45:21,040 --> 01:45:24,400
Speaker 1: there was nobody that did that for me. And so,

1965
01:45:25,520 --> 01:45:27,599
Speaker 1: you know, it's just that thing that you think about

1966
01:45:27,600 --> 01:45:29,760
Speaker 1: sometimes we're like, oh, yeah, I never had anybody doing

1967
01:45:29,760 --> 01:45:31,280
Speaker 1: that for me, but I was doing it for somebody else.

1968
01:45:31,320 --> 01:45:33,840
Speaker 2: That's fair. But look, nobody ever put me in a basket,

1969
01:45:33,960 --> 01:45:38,360
Speaker 2: let me trash a fucking hotel room, and it's not

1970
01:45:38,400 --> 01:45:38,880
Speaker 2: too late.

1971
01:45:40,880 --> 01:45:44,000
Speaker 1: I have often wanted to eat twelve fucking hot dogs

1972
01:45:44,000 --> 01:45:46,680
Speaker 1: at once, and nobody fed me.

1973
01:45:46,640 --> 01:45:50,320
Speaker 3: Those, and I feel I feel a little something about that.

1974
01:45:50,560 --> 01:45:58,599
Speaker 2: Unfortunately, we can right these wrongs, and we can become

1975
01:45:59,320 --> 01:46:05,760
Speaker 2: a higher version of ourselves by and again, consider my

1976
01:46:05,840 --> 01:46:09,880
Speaker 2: mind blown that you are smart enough to take this

1977
01:46:09,960 --> 01:46:16,080
Speaker 2: movie and relate it to an immigrant narrative. Someone needs

1978
01:46:16,080 --> 01:46:18,519
Speaker 2: to put that shit and moment needs to preserve this

1979
01:46:18,680 --> 01:46:27,000
Speaker 2: conversation because that has blown my mind and spun me out. Look,

1980
01:46:27,320 --> 01:46:29,519
Speaker 2: but I will also put you in a basket, throw

1981
01:46:29,560 --> 01:46:31,720
Speaker 2: some real hotdogs in there, and let you trash a

1982
01:46:31,760 --> 01:46:33,799
Speaker 2: hotel room if that's what it takes.

1983
01:46:35,400 --> 01:46:35,759
Speaker 3: Listen.

1984
01:46:36,040 --> 01:46:41,919
Speaker 1: As as much as I have found a way into

1985
01:46:41,960 --> 01:46:46,040
Speaker 1: this film on an emotional level, please believe this movie

1986
01:46:46,080 --> 01:46:50,320
Speaker 1: is fucking hilarious. It's just like so stupid and funny,

1987
01:46:50,920 --> 01:46:56,519
Speaker 1: and every time Ball screams, I lose my mind. It

1988
01:46:56,600 --> 01:47:01,280
Speaker 1: is so hilarious to me, Like it is a horror

1989
01:47:01,280 --> 01:47:03,840
Speaker 1: comedy film, like don't no bones about that.

1990
01:47:03,920 --> 01:47:05,360
Speaker 3: Like I'm like I said, I'm not trying to.

1991
01:47:05,479 --> 01:47:11,960
Speaker 1: Make this into this like high art, okay, but considering

1992
01:47:12,360 --> 01:47:16,760
Speaker 1: how much garbage I've watched in the same vein of

1993
01:47:16,800 --> 01:47:19,160
Speaker 1: this film like over the years, I'm like, this is

1994
01:47:19,200 --> 01:47:22,960
Speaker 1: actually a fucking thoughtful movie compared to a lot that

1995
01:47:23,000 --> 01:47:25,760
Speaker 1: came out around this time under the same conditions.

1996
01:47:25,800 --> 01:47:27,800
Speaker 2: You know what I'm saying completely, Like I said, it

1997
01:47:27,800 --> 01:47:30,480
Speaker 2: has a narrative, it's got a good scope to it,

1998
01:47:30,479 --> 01:47:35,400
Speaker 2: it's funny. I am one hundred making belall scream my

1999
01:47:35,520 --> 01:47:39,679
Speaker 2: ring tone. Listen.

2000
01:47:40,520 --> 01:47:41,240
Speaker 3: I can't remember.

2001
01:47:41,280 --> 01:47:43,120
Speaker 1: There are so many times where we come screaming out

2002
01:47:43,120 --> 01:47:46,160
Speaker 1: of the basket. I think it's like towards like when

2003
01:47:46,200 --> 01:47:48,960
Speaker 1: he towards the end. Like I said, I won't spoil it.

2004
01:47:49,520 --> 01:47:53,160
Speaker 1: That particular scream that like pops out of the basket

2005
01:47:53,439 --> 01:47:58,360
Speaker 1: is truly I want that on loop at my wedding,

2006
01:47:58,760 --> 01:47:59,959
Speaker 1: Like I just want.

2007
01:47:59,760 --> 01:48:06,839
Speaker 2: That, like marching down the aisle to the ballall screech.

2008
01:48:12,840 --> 01:48:17,160
Speaker 1: So our wedding announcement is gonna be me and my

2009
01:48:17,640 --> 01:48:21,559
Speaker 1: you know fiance, Like he'll be in the toilet, I'll

2010
01:48:21,600 --> 01:48:26,400
Speaker 1: be swaddling his face. That'll be like our announcement to

2011
01:48:26,479 --> 01:48:31,120
Speaker 1: the world that we are that we are joining in

2012
01:48:31,160 --> 01:48:32,080
Speaker 1: holy matrimony.

2013
01:48:32,280 --> 01:48:35,760
Speaker 3: I don't know. I, like.

2014
01:48:35,680 --> 01:48:38,160
Speaker 1: I said, quite a bit different from your film this week,

2015
01:48:38,280 --> 01:48:43,559
Speaker 1: but ultimately a movie about siblings and how complicated it

2016
01:48:43,640 --> 01:48:43,960
Speaker 1: can be.

2017
01:48:45,800 --> 01:48:50,360
Speaker 2: We did it, folks. We got there in the end.

2018
01:48:52,560 --> 01:48:57,840
Speaker 2: I could not wait for this episode to hear all

2019
01:48:57,920 --> 01:49:00,639
Speaker 2: of this. It is my favorite thing we ever done.

2020
01:49:02,760 --> 01:49:07,360
Speaker 2: I can't leave. I would not be surprised if Kenneth

2021
01:49:07,400 --> 01:49:09,800
Speaker 2: laudergan there might be an article at this I'm where

2022
01:49:09,800 --> 01:49:13,080
Speaker 2: where he says, you know, he was influenced by basket Case,

2023
01:49:14,680 --> 01:49:20,880
Speaker 2: and then we will be we will be redeem I

2024
01:49:20,880 --> 01:49:23,040
Speaker 2: don't care if we're ever redeemed. This is a great

2025
01:49:23,280 --> 01:49:26,000
Speaker 2: goddamn theme and a wonderful pairing. This is the best

2026
01:49:26,000 --> 01:49:30,799
Speaker 2: double feature that has ever existed, as far as I'm concern.

2027
01:49:31,280 --> 01:49:33,840
Speaker 1: Yes, and not to toot our own horn, really, but

2028
01:49:34,280 --> 01:49:36,080
Speaker 1: this is the best of us you're gonna get.

2029
01:49:36,120 --> 01:49:37,360
Speaker 3: Honestly, I feel.

2030
01:49:37,120 --> 01:49:41,760
Speaker 1: Like, for my money, I'm like, like pairing these two

2031
01:49:41,760 --> 01:49:44,600
Speaker 1: films together, Like I don't even want to know, like

2032
01:49:44,640 --> 01:49:47,160
Speaker 1: what you guys were thinking about these two together. I mean,

2033
01:49:47,360 --> 01:49:51,360
Speaker 1: I don't know, Like some people really get it immediately,

2034
01:49:51,400 --> 01:49:52,479
Speaker 1: but other people are like, I.

2035
01:49:52,360 --> 01:49:53,599
Speaker 3: Don't even want to try.

2036
01:49:54,200 --> 01:49:56,679
Speaker 1: Yeah, And that's kind of how I felt like maybe

2037
01:49:56,720 --> 01:49:59,240
Speaker 1: people were like, we don't even know, like what this is,

2038
01:49:59,280 --> 01:50:01,760
Speaker 1: so let's just not think about it, let's wait for

2039
01:50:01,800 --> 01:50:03,680
Speaker 1: it to happen. And I just feel like this is

2040
01:50:03,720 --> 01:50:07,320
Speaker 1: the best representation of us as people. We like hi

2041
01:50:07,439 --> 01:50:11,559
Speaker 1: brow and lowbrow at the same time. That's how we

2042
01:50:11,600 --> 01:50:13,400
Speaker 1: are take it or leave it right.

2043
01:50:13,680 --> 01:50:17,840
Speaker 2: We will give you an artful indie film and then

2044
01:50:17,880 --> 01:50:21,840
Speaker 2: pair it with a grindhouse film. Yeah, And that's what

2045
01:50:21,880 --> 01:50:24,360
Speaker 2: this podcast is all about is making it make sense?

2046
01:50:24,439 --> 01:50:26,160
Speaker 2: And I think we did. I think we did.

2047
01:50:26,800 --> 01:50:28,840
Speaker 3: Yeah. No, I do love the thought experiment of that.

2048
01:50:28,920 --> 01:50:31,759
Speaker 1: I feel like, you know, that should be its own podcast,

2049
01:50:31,920 --> 01:50:33,800
Speaker 1: just like I'm sure it probably is. But it's that

2050
01:50:33,880 --> 01:50:37,120
Speaker 1: thing of like, yeah, taking a higher brow film and

2051
01:50:37,160 --> 01:50:38,719
Speaker 1: pairing it with a grindhouse film.

2052
01:50:39,040 --> 01:50:40,479
Speaker 3: I think that's that's a good.

2053
01:50:40,280 --> 01:50:44,439
Speaker 1: Thought experiment to have. But I had so much fun

2054
01:50:44,479 --> 01:50:47,760
Speaker 1: on this fucking episode. I'm so glad to be with

2055
01:50:47,840 --> 01:50:48,799
Speaker 1: you here again.

2056
01:50:49,000 --> 01:50:50,200
Speaker 3: As I always say.

2057
01:50:51,680 --> 01:50:57,120
Speaker 1: Look, if you have any thoughts, please email us at

2058
01:50:57,200 --> 01:50:59,240
Speaker 1: I Saw what you did pot at gmail dot com.

2059
01:51:00,080 --> 01:51:03,040
Speaker 1: As we always say, please send us questions for bonus episodes,

2060
01:51:03,600 --> 01:51:07,080
Speaker 1: stories about movie experiences. I mean, if you went to

2061
01:51:07,120 --> 01:51:10,960
Speaker 1: the Grindhouse when you were hanging out on forty second Street,

2062
01:51:11,479 --> 01:51:15,160
Speaker 1: please God tell us, Like if anybody was actually at

2063
01:51:15,200 --> 01:51:18,400
Speaker 1: the grindhouses, I would love to know that. Please email

2064
01:51:18,479 --> 01:51:20,760
Speaker 1: us I Saw what you did potgmail dot.

2065
01:51:20,680 --> 01:51:23,799
Speaker 2: Com and ask your parents, like, get make it real awkward,

2066
01:51:23,880 --> 01:51:25,680
Speaker 2: be like, hey, you lived in New York in the

2067
01:51:25,720 --> 01:51:28,040
Speaker 2: sixties and seventies, you ever go to these films? Just

2068
01:51:28,040 --> 01:51:29,519
Speaker 2: make it as awkward as possible.

2069
01:51:30,200 --> 01:51:33,760
Speaker 1: Yeah, did you and dad make me while you were

2070
01:51:33,800 --> 01:51:36,040
Speaker 1: watching Ballero with Bo Derek.

2071
01:51:36,120 --> 01:51:39,120
Speaker 2: I don't know like you just yeah, y'all ever pop

2072
01:51:39,160 --> 01:51:42,000
Speaker 2: in one of those quarter machine places where you pop

2073
01:51:42,000 --> 01:51:45,759
Speaker 2: in the corner peep show, give me the real business

2074
01:51:45,760 --> 01:51:49,960
Speaker 2: about your lives, mom and dad, and then you can

2075
01:51:50,000 --> 01:51:51,879
Speaker 2: tell us about it. You can also send us handwritten

2076
01:51:51,960 --> 01:51:54,719
Speaker 2: letters because we do have a po box you prefer,

2077
01:51:55,640 --> 01:51:57,439
Speaker 2: or you can find us on our social media accounts,

2078
01:51:57,439 --> 01:52:01,320
Speaker 2: which is ice at I saw pod on Twitter and Instagram.

2079
01:52:02,760 --> 01:52:06,160
Speaker 1: That's right, and as we say, we always have merch

2080
01:52:06,479 --> 01:52:09,559
Speaker 1: in the exactly Right shop at exactlyrightmedia dot com.

2081
01:52:10,160 --> 01:52:13,280
Speaker 2: And remember, please, you can now listen to new episodes

2082
01:52:13,439 --> 01:52:18,360
Speaker 2: one week early on Amazon Music or early and ad free,

2083
01:52:18,960 --> 01:52:22,559
Speaker 2: plus all of our bonus episodes by subscribing to Wondery

2084
01:52:22,560 --> 01:52:24,200
Speaker 2: Plus in the Wondery app.

2085
01:52:25,160 --> 01:52:27,080
Speaker 1: Yeah, and on that note, we actually we don't have

2086
01:52:27,120 --> 01:52:29,400
Speaker 1: an episode next week, but we do have a bonus

2087
01:52:29,439 --> 01:52:34,599
Speaker 1: coming out, so exactly what she just said, head over

2088
01:52:34,680 --> 01:52:38,479
Speaker 1: to the Wondery Plus app and then Danielle for the

2089
01:52:38,560 --> 01:52:41,360
Speaker 1: episode not next week but the week after.

2090
01:52:42,479 --> 01:52:44,920
Speaker 3: What are movies for that one?

2091
01:52:45,160 --> 01:52:48,639
Speaker 2: Yes, so our episode for June seventh. The movies are

2092
01:52:49,400 --> 01:52:53,840
Speaker 2: Blood Simple from nineteen eighty four and Miracle Mile from

2093
01:52:53,960 --> 01:52:56,320
Speaker 2: nineteen eighty eight. Fuck.

2094
01:52:56,680 --> 01:52:59,720
Speaker 3: Those are fantastic films. I got it.

2095
01:53:00,840 --> 01:53:01,240
Speaker 2: I oh.

2096
01:53:01,880 --> 01:53:06,800
Speaker 1: I am so excited to see those both together. Danielle

2097
01:53:07,000 --> 01:53:10,680
Speaker 1: as always, it's been a pleasure. Always love laughing with you.

2098
01:53:10,840 --> 01:53:16,000
Speaker 2: We did it, folks. This was great. This is so

2099
01:53:16,080 --> 01:53:16,519
Speaker 2: much fun.

2100
01:53:17,560 --> 01:53:20,000
Speaker 3: All right, see you guys next time, anybody.

2101
01:53:29,160 --> 01:53:31,760
Speaker 2: This has been an exactly right production. Produced and mixed

2102
01:53:31,760 --> 01:53:34,839
Speaker 2: by Casey O'Brien. Our theme song is by Tom Brian Foegel.

2103
01:53:35,240 --> 01:53:38,839
Speaker 2: Artwork by Garrett Ross. Our executive producers are Georgia Hartstark,

2104
01:53:38,960 --> 01:53:41,680
Speaker 2: caring Kill, Gareth and Danielle Kramer. You can follow us

2105
01:53:41,680 --> 01:53:45,000
Speaker 2: on Instagram and Twitter at I Saw Pod, and you

2106
01:53:45,040 --> 01:53:47,160
Speaker 2: can email us at I Saw What you Did Pod

2107
01:53:47,240 --> 01:53:50,320
Speaker 2: at Gmail. Listen, follow, and leave us a review on

2108
01:53:50,400 --> 01:53:53,680
Speaker 2: Amazon Music, Apple Podcast, or wherever you get your podcast

2109
01:53:54,160 --> 01:53:56,720
Speaker 2: and don't forget. You could listen to new episodes one

2110
01:53:56,760 --> 01:54:00,240
Speaker 2: week early on Amazon Music or early and at free

2111
01:54:00,400 --> 01:54:03,680
Speaker 2: plus bonus episodes by subscribing to Wondery Plus in the

2112
01:54:03,680 --> 01:54:04,360
Speaker 2: Wondery app