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

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Speaker 1: You Did. My name is Millie de Chericho.

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Speaker 2: I'm Danielle Henderson, and we're here.

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Speaker 1: Again with you on this episode to talk to you

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Speaker 1: about the wonderful world of films and film watching. Films.

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Speaker 1: Good and bad, peaceful and stressful.

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Speaker 3: What's up, well, mostly good, mostly good? Yeah, even the

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Speaker 3: stressful ones.

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Speaker 1: Yeah, no, listen. So let me point out at the beginning.

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Speaker 1: So we did an episode like a while ago, like

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Speaker 1: last month, for Father's Day, and a lot of people

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Speaker 1: were writing to us because apparently I completely missed the

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Speaker 1: female nudity in The Stepfather. And I don't know why,

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Speaker 1: because I've seen that movie many times and I must

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Speaker 1: have just forgotten or I don't know whiz past it.

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Speaker 3: But well, also, I mean it's like we were making

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Speaker 3: a point about how female nudity is egregious and male

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Speaker 3: nudity is rare, especially when this movie was made, right,

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Speaker 3: And so we didn't mean to kind of blanket statement

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Speaker 3: there's no female nudity in the film, like that was

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Speaker 3: if that's what we said, because you know, I don't

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Speaker 3: remember what we say. The minute it leaves my mouth,

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Speaker 3: it's gone out of my head. But no, our point

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Speaker 3: was just that, you know, our point was dick blood.

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Speaker 1: Yes, it was. The larger point was obviously Dick Blood,

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Speaker 1: which we talk about on multiple episodes. Now it feels

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Speaker 1: like a full character on our show at this point.

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Speaker 1: But yeah, I completely forgot. And then you know, whoever

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Speaker 1: pointed this out to me, and this was multiple people

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Speaker 1: obviously saying like, oh, but it was, you know, the

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Speaker 1: Jill Sholan character, so she was technically supposed to have

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Speaker 1: been sixteen, and how weird is that? I'm like, yeah,

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Speaker 1: that's really weird. I guess it isn't femine that I thought.

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Speaker 1: I think that was the thing that I said, was like, oh,

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Speaker 1: it's is it feminist that we only see Tario Quinn's

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Speaker 1: dick and nobody else's. But I'm like, oh no, I'm sorry.

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Speaker 1: I must have missed the fact that we saw a

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Speaker 1: teenage nude girl. I guess technically, even though the actresses

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Speaker 1: of age, but you know what I mean.

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Speaker 3: I think it's cool to point it out because a

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Speaker 3: few people did write in and we're eager to tell

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Speaker 3: us that we missed that.

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Speaker 1: Yeah, yeah, I just wanted to write or wrong. But

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Speaker 1: the only other thing I wanted to point out about

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Speaker 1: that episode in particular, which apparently was a barn Burner episode.

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Speaker 1: Everyone was like writing in about this, But the name

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Speaker 1: of the episode is called complex Sensual Humanity, and it's

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Speaker 1: because I said the term complex sensual humanity in reference

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Speaker 1: to Terrio Quinn's dick. Okay, that term is in fact

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Speaker 1: something that was not created by me. It was created

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Speaker 1: by one of our listeners. Her name is Emily, and

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Speaker 1: she wrote this unbelievable will email to us a long

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Speaker 1: time ago that we actually read on one of the

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Speaker 1: bonus episodes with Kurt Braunoler in fact, and we could

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Speaker 1: not stop laughing about that term, and so I just

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Speaker 1: used it because it's the best term to describe what

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Speaker 1: that is. And so Emily is a genius. Thank you

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Speaker 1: so much. She wrote again to us and said, oh

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Speaker 1: my god, I couldn't believe I heard my term on

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Speaker 1: a main Feed episode and I was like, you've influenced us,

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Speaker 1: so thank you.

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Speaker 2: You deserve the credit credit where credit is due.

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Speaker 1: Yes, And she also not for nothing, and this is

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Speaker 1: just this made me feel great personally, is that she

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Speaker 1: enjoyed the fact that I programmed the movie Wicked Stepmother

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Speaker 1: on TCM. I just have to say, it's a very

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Speaker 1: special film and I'm glad that somebody appreciated that. So

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Speaker 1: thank you, Thank you, Emily.

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Speaker 3: I feel like, if nothing else, this podcast has introduced

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Speaker 3: you to a potential friend for life.

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Speaker 2: I know, like you have so much in common.

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Speaker 1: I know, I'm like, I know Emily is probably like

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Speaker 1: I do not want friends that host podcast like I

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Speaker 1: have enough of those. Ah, don't all your friends host

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Speaker 1: podcasts at this point? Like everybody has a podcast?

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Speaker 3: So you know, I think there was definitely an in

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Speaker 3: an uptick in podcasting during the pandemic.

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Speaker 2: Yeah, and I think a lot of.

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Speaker 3: People, A couple people started, but actually most of my

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Speaker 3: friends don't, And so I know they don't listen to

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Speaker 3: this either because they don't have or listen to podcasts.

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Speaker 3: Like I cannot tell you how many of my friends

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Speaker 3: are like, maybe I'll listen one day, And I'm like,

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Speaker 3: we have been friends for thirty years and it would

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Speaker 3: mean a lot to me if you just would, yes,

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Speaker 3: like just one. But they're literally like, it's not personal.

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Speaker 3: They just do not even have that time or inclination

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Speaker 3: in their day to want to listen to any podcast.

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Speaker 2: Ever.

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Speaker 1: They are the coolest people on planet Earth. Let's just

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Speaker 1: say it. If you, if you just have refused the

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Speaker 1: world of podcasts, I salute you. It's like you're like

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Speaker 1: living in the world. You're you're living in a conscious state.

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Speaker 1: I have the opposite situation, which is that a lot

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Speaker 1: of my friends do podcasts because a lot of my

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Speaker 1: friends are actually and this is not a this is

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Speaker 1: not a flex obviously, but a lot of my friends

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Speaker 1: like do comedy or they're like, you know, sort of

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Speaker 1: media people, so a lot of them do podcasts, a

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Speaker 1: lot of classic movie people. But then my friends do

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Speaker 1: listen to our podcast, but they only tell me they

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Speaker 1: like you. And we talked about this before, where my

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Speaker 1: friends text me all the time and they're like, what's

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Speaker 1: Danielle doing. What's going on with her? Has she been

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Speaker 1: like I love her, I love her movies, I love

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Speaker 1: her vibe, And I'm like, cool, You're like.

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Speaker 3: Are we actually friends if you only text me about

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Speaker 3: another person?

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Speaker 1: This is my Maybe this is like a latent middle

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Speaker 1: schoo fear of mine that's come to the surface that

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Speaker 1: I'm just like, oh, like, I'm always constantly afraid that,

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Speaker 1: like my friends will want me to move out of

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Speaker 1: the way so they can meet the cooler, more interesting

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Speaker 1: friend that I've introduced them to.

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Speaker 3: Oh no, listen, if there's if nothing else, if you've

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Speaker 3: learned about friendship with me, particularly is that I will

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Speaker 3: kick those people in the face because you are the

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Speaker 3: coolest person I know.

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Speaker 1: Oh, thank you.

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Speaker 2: And if they can't see that, they can't be friends

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Speaker 2: with me.

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Speaker 1: Now I actually listen. To be completely honest, I mean

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Speaker 1: all the joking aside that I just did. I am

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Speaker 1: thrilled when people like are introduced to my other friends,

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Speaker 1: and that because I only keep cool friends. I mean,

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Speaker 1: that's kind of the secret of life, is that if

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Speaker 1: you have good friends that are interesting and awesome and

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Speaker 1: are better than you, then of course you want people

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Speaker 1: to like them and want people to be friends with them.

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Speaker 1: And that's kind of how I roll, at least at

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Speaker 1: this point in my life. Like, I have some questionable

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Speaker 1: friends and in my youth, but now only the hits, baby,

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Speaker 1: only the hits. And so anytime somebody literally will text me,

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Speaker 1: like in the middle of the night to tell me

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Speaker 1: something that you said on our podcast as if I

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Speaker 1: wasn't there, I hate it. I hate that. I'm like,

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Speaker 1: I'm like, yo, it's a fucking win for me.

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Speaker 3: So because you are the coolest and the most supportive

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Speaker 3: and the best and look, I ever want to get

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Speaker 3: on the level you're.

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Speaker 2: You're the best person. I know.

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Speaker 3: You're the greatest, the smartest, the funniest, and they don't

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Speaker 3: need to text you about the dumb shit I say.

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Speaker 1: I mean, listen, sometimes when we listen back to the edit,

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Speaker 1: I will will laugh again, Like I will listen to

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Speaker 1: something that you've said again and also the way that

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Speaker 1: you've said it. A lot of times it's kind of

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Speaker 1: like a I don't know, it's like your comic timing

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Speaker 1: or something just like jumps out at me again and

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Speaker 1: I'm like, I love this bitch. I'm so glad we

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Speaker 1: do this catch together because I'm laughing again.

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Speaker 2: I feel the same way.

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Speaker 3: I feel the same way, and it is It's just fun.

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Speaker 3: And I think that's why I also kind of want

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Speaker 3: more people in my life to listen. Is that, like

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Speaker 3: I'm like, well, one, it's a way to actually keep

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Speaker 3: up with my life, like I talk about my life

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Speaker 3: every week on this podcast, as to you, And so

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Speaker 3: it's maybe lame, of course, I'd rather sit and have

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Speaker 3: a glass of wine and catch up with you. But

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Speaker 3: if I don't see you for three years, it'd be

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Speaker 3: nice if you just, like, you know, tapped in sometimes

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Speaker 3: and we're like, hey, I heard this, and it's a way.

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Speaker 2: It's for me.

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Speaker 3: It's a way to keep in touch, a very latent

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Speaker 3: way to keep in touch. But I wish that that

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Speaker 3: people had that, because well, then I will talk to them.

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Speaker 2: And they'll be like, so, what's going on?

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Speaker 3: It must be awesome, And I'm like, oh, you had

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Speaker 3: no idea about the contractor as the groundhogs of this

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Speaker 3: that everything.

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Speaker 2: Yeah, and you could have if you just listened in

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Speaker 2: real time.

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Speaker 3: But yeah, I think it's it's strange that I don't

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Speaker 3: know a lot of people who podcasts, And I think

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Speaker 3: part of it is that I no longer live in

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Speaker 3: a city and most of my friends.

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Speaker 2: Have moved out of cities. But also.

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Speaker 3: I'm like trying to figure out, how do I say

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Speaker 3: this without offending ninety percent of our listeners. But I

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Speaker 3: don't fuck with a lot of comedians. I don't fuck

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Speaker 3: with a lot of actors. I don't fuck with performers

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Speaker 3: a lot. Yeah, and so there's only a couple and

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Speaker 3: you know those people who I you know, who are

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Speaker 3: my friends who are also performers. If they you know,

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Speaker 3: they have podcasts, they're really good, like Kurt Kirk Kurt

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Speaker 3: and Scotti's podcast is so good and makes me so happy.

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Speaker 3: But yeah, I just kind of just don't know a

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Speaker 3: lot of people who perform or do this kind of thing,

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Speaker 3: and you know, they don't want to sit in their

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Speaker 3: closet on a ninety degree day and fog.

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Speaker 2: Up their glasses to talk about some weird movies.

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Speaker 1: So well, yeah, I mean to anybody that is thinking

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Speaker 1: about starting a podcast, now, I'm like, okay, listen, it's

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Speaker 1: a lot of work. It's a lot of like closet

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Speaker 1: time sometimes like it's so hot, glasses are fogging up

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Speaker 1: as we're talking, like it's you know, it's a lot

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Speaker 1: of work. And but I will say this, I mean,

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Speaker 1: you know, when it comes down to it, I feel like,

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Speaker 1: you know, podcasting is sort of like a good way

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Speaker 1: if you have like really intense knowledge about something or

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Speaker 1: like just a way to like, you know, I don't know,

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Speaker 1: sort of like communicate your thoughts. I mean, it's kind

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Speaker 1: of just like a blog. But on yeah, do I

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Speaker 1: want to go down this road? I don't go.

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Speaker 3: Yeah, Well that's maybe also maybe like, but I think

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Speaker 3: part of it too is that, like maybe my affinity

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Speaker 3: for podcasts is that I used to love blogs and

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Speaker 3: reading blogs, so it seems like an extension of that

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Speaker 3: to kind of be like, I'm still learning about your life.

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Speaker 2: And so my friends who don't listen to.

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Speaker 3: Podcasts also never really fucked with blogs, and we're like,

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Speaker 3: that's not how I like to learn about people, and

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Speaker 3: that's fine. I love so many podcasts, Like I just

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Speaker 3: I don't listen to anything when I'm working, but it

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Speaker 3: is an nice way to relax when I'm driving around,

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Speaker 3: and like, I just love so many because they feel

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Speaker 3: informative about the world or about people, and that's kind.

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Speaker 2: Of something I've always been interested in. So I dig it.

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Speaker 1: Yeah, I mean, truth be told. I mean it's like

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Speaker 1: we came from that whole era of the early Internet

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Speaker 1: of blogs and live journal and all that stuff. So yeah,

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Speaker 1: I mean I feel like there is a moment of

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Speaker 1: like maybe if you didn't experience that, or maybe if

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Speaker 1: you know, then you just don't understand, like what is

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Speaker 1: the point of listening to a stranger talk about something

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Speaker 1: or something? You know what I mean? Like it's like

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Speaker 1: the idea of hearing somebody that you don't know pontificate

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Speaker 1: on any subject is weird to you, And I'm like, Okay,

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Speaker 1: well that's chill. I mean, I guess that's like another

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Speaker 1: source of energy that you can use to like deadlift

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Speaker 1: or you know, solve climate change. So I'm not begrudging

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Speaker 1: you for not doing it, but I'm just saying that, like,

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Speaker 1: you know, that's kind of like guess what I see

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Speaker 1: podcasting about it? And maybe that's probably why. I also

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Speaker 1: think a lot of my friends just want that attention.

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Speaker 1: They just want to be like a So maybe that's

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Speaker 1: why a lot of them are comics and performers.

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Speaker 3: This is also real, that's a primary motivation for a

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Speaker 3: lot of them.

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Speaker 1: Yeah, now that we've covered the spread on podcasting, I

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Speaker 1: was going to ask you, like, what's going on with

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Speaker 1: you this week?

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Speaker 2: Not much. I feel like.

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Speaker 3: I'm looking for a home healthcare aid because I'm starting

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Speaker 3: a new job soon, and it's just really it's weird

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Speaker 3: to interview people, and it's weird to like do background

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Speaker 3: checks and like have to dig into their life to

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Speaker 3: be like are you is it cool to have you

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Speaker 3: in my house? Like I just have a ton of

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Speaker 3: experience with that. So it's just really strange to be like.

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Speaker 2: Well the fuck are you and what the fuck have

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Speaker 2: you done.

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Speaker 1: In your life? Yeah, you know, I had a home

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Speaker 1: healthcare person when I was sick for about god, I

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Speaker 1: want to say it was probably about three or four

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Speaker 1: monthes and I didn't get to interview anybody. They just

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Speaker 1: sent somebody. So I was like, oh, okay, I guess

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Speaker 1: you're here. And so yeah, she was a woman who

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Speaker 1: was I think she was Romanian perhaps, and she was

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Speaker 1: very sweet. But the one thing that I thought was

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Speaker 1: so interesting was that she was really like dulled up

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Speaker 1: all the time. Like she came to the house and

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Speaker 1: she was wearing like I'm not saying stilettos, but like

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Speaker 1: very high heels, and she had like lots of like

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Speaker 1: fancy outfits and like you know, full face of makeup.

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Speaker 1: She had great hair, and I mean, I don't know,

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Speaker 1: maybe because this was La and maybe just like the

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Speaker 1: home healthcare people just look like this. They look beautiful

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Speaker 1: and like they're ready to go to like an awards

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Speaker 1: ceremony or whatever. But I was like, wow, you're coming

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Speaker 1: over here, and you were literally changing massy bandages from

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Speaker 1: my abdominal wound. In this beautiful outfit, and presumably you're

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Speaker 1: gonna leave here and you're gonna like change somebody's catheter out.

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Speaker 1: I'm like, yo, girl, you looking good for that. You're

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Speaker 1: looking good for that catheter work.

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Speaker 3: I'm just saying I gat at her work. I completely

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Speaker 3: agree that it's an LA thing because I think, more

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Speaker 3: than anything, I don't think it's the.

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Speaker 2: Standard that you have to look beautiful.

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Speaker 3: I think it's like if you're part of a service

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Speaker 3: where they just send you to somebody's house.

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Speaker 1: Yeah, you could be.

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Speaker 2: You could one.

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Speaker 3: Day just get it an assignment and someone's like, you

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Speaker 3: have to go to Brad Pitt's house and wipe his

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Speaker 3: ass and that.

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Speaker 2: Could change your fucking life. And if you look like shit,

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Speaker 2: maybe he ain't gonna put you on.

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Speaker 1: Like, not to brag, but I was Brad Pitt's ass wiper.

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Speaker 3: I mean, this is the kind of shit you hear

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Speaker 3: in coffee shops in LA. Like, You'll never guess I

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Speaker 3: was at Brad Pitt's house yesterday wiping his asshole.

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Speaker 2: And now I have a star in the.

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Speaker 1: Neck and I have an entire podcast talking about my

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Speaker 1: days as Brad Pitt's ass wiper.

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Speaker 2: This is how this shit goes down.

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Speaker 3: It's a very LA thing because let me tell you,

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Speaker 3: the home health care aids here are like, we need

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Speaker 3: sensible fucking sketchers. We need like a breathe, a whole

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Speaker 3: supportive shoe. We need a pant that we can very

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Speaker 3: loosely lift and lower people with. We will wear a

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Speaker 3: nurse's scrub if we have to, Like we are figs

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Speaker 3: as big in this area.

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Speaker 1: Yes, yeah, it's definitely like a sketcher or a dance

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00:15:38,880 --> 00:15:43,640
Speaker 1: go but the professional line, yes, so for people who

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Speaker 1: are on their feet all day. But yeah, they're very

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Speaker 1: like huge comfortable shoes, right, not stilettos completely.

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Speaker 3: So yeah, because in LA, you're like I could be

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Speaker 3: sent like I don't know, I just have an address

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Speaker 3: and I go to this an address and a list

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Speaker 3: of ailments, and then you show up and Peter Bogdanovich

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Speaker 3: is like, why don't you clean out my fucking fucking

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Speaker 3: cigarette hole or whatever, like you never know, Paris Hilton

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Speaker 3: could be like, I need you to fucking shave down

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Speaker 3: my bunyans.

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Speaker 1: Like I don't know, Peter Bugdanovich's cigarette hole and Paris

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Speaker 1: Hilton's bunyans.

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Speaker 3: Shit, Elis and the other thing is, you know, people

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Speaker 3: who are famous who have to have home healthcare aids

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Speaker 3: come by, are also very private. Yeah, so if you

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Speaker 3: look the part, like, if you look like you have

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Speaker 3: your shit together, it's probably better for you for your job.

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Speaker 1: Yeah, yeah, understood. Yeah. I was blown away by the

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Speaker 1: fucking opulence of these home healthy people. And I'm like,

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Speaker 1: I'm sorry to make to make you have to park

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Speaker 1: on you know, Fairfax and walk like five blocks to

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Speaker 1: my apartment because there's nowhere in a fucking park your

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Speaker 1: beautiful stilettos. I'm sorry. I don't have this like wall

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Speaker 1: driveway where you can just like pull up and my

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Speaker 1: rolls Royce is there.

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Speaker 3: You need a working girl sneaker change? Yes, yeah, Oh

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00:17:16,359 --> 00:17:19,640
Speaker 3: my god, it's a small working girl sneaker change. But yeah, man,

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Speaker 3: it's it's it's a whole different fucking world out there.

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Speaker 3: I don't I personally would never. It's already strange enough

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Speaker 3: to have someone come in your house to take care

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00:17:28,200 --> 00:17:31,800
Speaker 3: of you in any capacity. Yeah, And if somebody showed

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Speaker 3: up like full glam, I'd be like, you gotta get

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Speaker 3: the fuck out. I don't. I can't sit here and

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00:17:35,359 --> 00:17:38,760
Speaker 3: feel bad, feel even more terrible. About myself just because

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Speaker 3: you look good and I haven't showered in four days.

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Speaker 2: Yeah, like you gotta fucking go.

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Speaker 1: Yeah, I don't know what I was thinking. I was

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Speaker 1: in such like a fucking like chill state that I

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Speaker 1: was like, oh, yeah, here's this like beautiful woman coming

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Speaker 1: in here looking at me at my literal worst.

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Speaker 3: And.

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Speaker 1: I guess, I guess I'm just chill. I guess I'm gonna,

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Speaker 1: you know, diss so and just think about something else.

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Speaker 1: But well, let me ask you this. Do you have

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Speaker 1: any so you've been interviewing people, you're currently interviewing people.

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Speaker 3: Yeah, So what I've done two things. One is I

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Speaker 3: called a service that operates locally and kind of just

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Speaker 3: got the download from them about what what I would

355
00:18:18,680 --> 00:18:20,680
Speaker 3: need to do if I did want to hire them,

356
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Speaker 3: Because the reason I kind of don't want to use

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Speaker 3: a service is that I want because my grandma has dementia,

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Speaker 3: it has to be kind of the same person coming

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Speaker 3: every time so that she doesn't get freaked out. And

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Speaker 3: I think from what I've discovered with this one service,

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Speaker 3: at least, it's like we'll just send whoever, We'll try

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Speaker 3: to keep it the same person, but we will mostly

363
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Speaker 3: have to send whoever's available, and I'm like, ah, that's

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00:18:40,760 --> 00:18:45,160
Speaker 3: not really my jam. But then I have recommendations. Before

365
00:18:45,200 --> 00:18:48,800
Speaker 3: she left her her retirement community, I just I met

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Speaker 3: a couple of home health care aids while they were

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Speaker 3: doing their thing, So like when I was taking out

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Speaker 3: the garbage, I would see someone in like the nurses

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Speaker 3: scrubs and be like, hey, cool, do you work for

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Speaker 3: someone here? And like what do you do? Are you

371
00:18:59,640 --> 00:19:01,239
Speaker 3: with a c of us? Are you by yourself? So

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00:19:01,280 --> 00:19:04,640
Speaker 3: I got a couple of names, and I'm really confident

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Speaker 3: about that because they seem like they're used to working

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00:19:08,000 --> 00:19:11,280
Speaker 3: with dementia. And but you have to ask all these strange,

375
00:19:11,600 --> 00:19:14,200
Speaker 3: not strange, but like very practical questions. And I think

376
00:19:14,280 --> 00:19:16,960
Speaker 3: that that part is fine because it's more of a

377
00:19:17,320 --> 00:19:18,840
Speaker 3: it's more of a vibe like do I like them?

378
00:19:18,920 --> 00:19:21,080
Speaker 3: Does my grandmother like them? Do I feel comfortable with

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00:19:21,119 --> 00:19:23,879
Speaker 3: them being in the house. But what's really strange is

380
00:19:23,880 --> 00:19:27,200
Speaker 3: that I've had to admit to the two or three

381
00:19:27,200 --> 00:19:30,040
Speaker 3: people that I've interviewed so far, like, hey, I also

382
00:19:30,119 --> 00:19:32,600
Speaker 3: have a camera system downstairs, Like I have a security

383
00:19:32,600 --> 00:19:35,080
Speaker 3: system that has cameras, but I also have a camera

384
00:19:35,119 --> 00:19:38,680
Speaker 3: system specifically for my grandma, Like I have a nanny cam,

385
00:19:38,680 --> 00:19:41,879
Speaker 3: like a baby cam kind of thing. And one person

386
00:19:42,000 --> 00:19:44,880
Speaker 3: was like, oh, that's weird, and I'm like, is it

387
00:19:45,960 --> 00:19:47,879
Speaker 3: She's like, well, I just don't feel comfortable with that,

388
00:19:47,960 --> 00:19:49,880
Speaker 3: and I'm like, well, then you can't come in this hat.

389
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Speaker 3: Like I don't know what to do with that part

390
00:19:52,640 --> 00:19:55,000
Speaker 3: of it, because I feel like I ain't shutting off

391
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Speaker 3: those cameras. The reason I have them is so that

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Speaker 3: if my grandma wakes up middle of the night or something,

393
00:20:01,680 --> 00:20:04,760
Speaker 3: that I can see where she is in the house. Right,

394
00:20:04,960 --> 00:20:07,240
Speaker 3: But it also makes sense to me that like, if

395
00:20:07,280 --> 00:20:09,679
Speaker 3: I'm working upstairs and I'm still going to be in

396
00:20:09,760 --> 00:20:13,040
Speaker 3: the home that I know what's going on with you

397
00:20:13,560 --> 00:20:14,800
Speaker 3: while you're because I don't know you.

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Speaker 2: I don't know. I just feel I feel like a

399
00:20:16,280 --> 00:20:17,160
Speaker 2: creep essentially.

400
00:20:19,040 --> 00:20:23,520
Speaker 1: No, I mean, you know it's obviously some Yes, I

401
00:20:23,520 --> 00:20:26,040
Speaker 1: think it's a very important conversation to have with anybody

402
00:20:26,080 --> 00:20:27,840
Speaker 1: that's going to come work. Be like, by the way,

403
00:20:28,560 --> 00:20:31,720
Speaker 1: you're going to be on this cam and it's not

404
00:20:31,760 --> 00:20:33,960
Speaker 1: like I'm going to live stream it on my website.

405
00:20:34,000 --> 00:20:35,879
Speaker 1: I'm just telling you that, like this is has it

406
00:20:35,920 --> 00:20:39,879
Speaker 1: has a function? Are you chill with it, and you know,

407
00:20:40,160 --> 00:20:43,640
Speaker 1: I mean, if you're not doing anything wrong, then you'll

408
00:20:43,680 --> 00:20:46,000
Speaker 1: be chill with it right exactly.

409
00:20:46,880 --> 00:20:49,159
Speaker 3: And it's also like I'm not monitoring your work, Like

410
00:20:49,200 --> 00:20:51,040
Speaker 3: I try to make that clear to the person who

411
00:20:51,080 --> 00:20:52,240
Speaker 3: was like, I'm not comfortable with that, and I'm like

412
00:20:52,280 --> 00:20:52,960
Speaker 3: that's cool, but.

413
00:20:54,480 --> 00:20:56,240
Speaker 2: You know, I try to make it clear that like.

414
00:20:56,160 --> 00:21:00,879
Speaker 3: I'm not monitoring what you're doing. I'm just making sure

415
00:21:00,920 --> 00:21:03,280
Speaker 3: that she's all right. Like I don't know, you hear

416
00:21:03,320 --> 00:21:06,200
Speaker 3: horror stories like people beating up elderly people or losing

417
00:21:06,240 --> 00:21:08,359
Speaker 3: their patients and dropping them in shit, and I'm like,

418
00:21:09,119 --> 00:21:11,760
Speaker 3: I just don't want anything to happen to her. And

419
00:21:11,920 --> 00:21:15,119
Speaker 3: she's really you know, she's already in such a tender

420
00:21:15,119 --> 00:21:19,280
Speaker 3: position that it's like it has to be comfortable for all.

421
00:21:19,200 --> 00:21:20,800
Speaker 2: Of us and they don't have to stay on forever.

422
00:21:20,920 --> 00:21:22,080
Speaker 1: But yeah, I.

423
00:21:22,000 --> 00:21:25,320
Speaker 3: Personally feel more comfortable being able to see that she's

424
00:21:25,400 --> 00:21:27,040
Speaker 3: being taken care of the way I would take care

425
00:21:27,080 --> 00:21:27,400
Speaker 3: of her.

426
00:21:27,760 --> 00:21:30,879
Speaker 1: Yeah, you need you definitely need some kind of like

427
00:21:32,000 --> 00:21:36,560
Speaker 1: Philip Seymour Hoffman from Magnolia type who's extremely chill, who

428
00:21:36,640 --> 00:21:41,280
Speaker 1: is like, you know, gonna treat your grandmother correctly, is

429
00:21:41,359 --> 00:21:45,480
Speaker 1: going to be completely okay with the saw DVDs, Like

430
00:21:45,720 --> 00:21:47,800
Speaker 1: you know, just one person that's like kind of like,

431
00:21:48,640 --> 00:21:51,920
Speaker 1: you know, good at their job, but also like understands

432
00:21:51,920 --> 00:21:54,600
Speaker 1: your family and the situation in a really good way.

433
00:21:54,720 --> 00:21:57,840
Speaker 1: And yeah, yes, oh yeah.

434
00:21:57,640 --> 00:22:00,320
Speaker 3: Because there was definitely the person who was like uncomfortable

435
00:22:00,400 --> 00:22:04,080
Speaker 3: with the cameras. She also rolled in with like she

436
00:22:04,160 --> 00:22:06,600
Speaker 3: had so many she was wearing so many crosses of

437
00:22:06,640 --> 00:22:11,000
Speaker 3: so many different like necklaces, bracelets, charms. It was like

438
00:22:11,080 --> 00:22:15,280
Speaker 3: Madonna circa nineteen eighties, like she just had crosses everywhere.

439
00:22:15,359 --> 00:22:17,560
Speaker 3: And I'm like, you will not be able to handle

440
00:22:17,600 --> 00:22:22,200
Speaker 3: it when my grandmother says she wants to watch reservoir dogs. Yes,

441
00:22:23,480 --> 00:22:25,560
Speaker 3: this is not a good fit all around, because a

442
00:22:25,600 --> 00:22:27,800
Speaker 3: lot of old folks are not just like let me

443
00:22:27,840 --> 00:22:30,280
Speaker 3: sit down and read my Bible types, Like these are

444
00:22:30,320 --> 00:22:33,160
Speaker 3: people who were active in the sixties and seventies. Now

445
00:22:33,280 --> 00:22:35,600
Speaker 3: that's the kind of elderly person you're with now, Like

446
00:22:35,640 --> 00:22:37,320
Speaker 3: you are taking care of old people who have been

447
00:22:37,359 --> 00:22:43,719
Speaker 3: to orgies. So this is not like the Bible thumping

448
00:22:44,119 --> 00:22:45,560
Speaker 3: old granny and a cardigan.

449
00:22:45,880 --> 00:22:50,600
Speaker 1: This ain't your daddy's grandma, your daddy's grandma, My Grandma

450
00:22:50,680 --> 00:22:52,760
Speaker 1: straight up said to me the other day, you know

451
00:22:52,800 --> 00:22:53,440
Speaker 1: what I haven't.

452
00:22:53,200 --> 00:22:54,880
Speaker 2: Done in a long time. And I'm like, oh god,

453
00:22:54,880 --> 00:22:56,400
Speaker 2: what is it going to be? She goes, I haven't

454
00:22:56,400 --> 00:22:59,679
Speaker 2: gone to a casino? Would you take me? And I

455
00:22:59,720 --> 00:23:02,280
Speaker 2: was like, yeah, I take you. I'll give you ten dollars,

456
00:23:02,280 --> 00:23:03,600
Speaker 2: and when it's gone, it's gone.

457
00:23:04,280 --> 00:23:07,879
Speaker 1: Listen, if y'all go to Atlantic City or wherever the

458
00:23:07,920 --> 00:23:11,159
Speaker 1: hell you go, you call me, I will fly. I

459
00:23:11,200 --> 00:23:16,680
Speaker 1: will fly there. I've always wanted to go to Atlantic City. Also, look,

460
00:23:16,760 --> 00:23:21,640
Speaker 1: I've spent my time in some casinos and they are

461
00:23:22,080 --> 00:23:26,199
Speaker 1: wild and fun and great people watching, and if you

462
00:23:26,240 --> 00:23:30,880
Speaker 1: play with other people's money, it's super fun. But exactly exactly,

463
00:23:31,680 --> 00:23:33,679
Speaker 1: But I love the idea of your grandma just like

464
00:23:33,840 --> 00:23:36,840
Speaker 1: rolling up being like, let's go to the slots, babe.

465
00:23:37,160 --> 00:23:39,440
Speaker 3: Yeah, She's like, I want to do slots, I want

466
00:23:39,440 --> 00:23:41,639
Speaker 3: to play blackjack, and I want to do roulette. And

467
00:23:41,640 --> 00:23:44,040
Speaker 3: I was like, damn, And now I'm realizing, like this

468
00:23:44,080 --> 00:23:45,480
Speaker 3: is what she used to do with her fucking friends,

469
00:23:45,480 --> 00:23:47,800
Speaker 3: is go to Atlantic City and fucking gamble.

470
00:23:48,359 --> 00:23:51,160
Speaker 1: Yeah, oh man, Like I would so go with you guys,

471
00:23:51,160 --> 00:23:53,520
Speaker 1: are you joking? That would be amazing.

472
00:23:53,400 --> 00:23:55,960
Speaker 3: Okay, this is the plan. You're gonna come up and visit. Yes,

473
00:23:56,440 --> 00:23:58,840
Speaker 3: we're gonna have her. Or we're gonna find a way

474
00:23:58,880 --> 00:24:00,480
Speaker 3: to turn a gurney into a vehicle.

475
00:24:02,200 --> 00:24:03,760
Speaker 1: We've been trying to do that for years.

476
00:24:04,280 --> 00:24:07,160
Speaker 3: We're going to Atlantic City with my grandma and if

477
00:24:07,160 --> 00:24:09,080
Speaker 3: you want to bring your mom more power to like

478
00:24:09,160 --> 00:24:13,240
Speaker 3: even better. And we're going to have a little family

479
00:24:13,359 --> 00:24:15,920
Speaker 3: vacation where we just go to a casino and set

480
00:24:15,920 --> 00:24:16,680
Speaker 3: my grandma loose.

481
00:24:17,160 --> 00:24:20,439
Speaker 1: Look, we can go to the buffet. Come on, come on.

482
00:24:21,040 --> 00:24:23,879
Speaker 3: There's a buffa scene in my film this week that

483
00:24:25,440 --> 00:24:27,160
Speaker 3: kind of put me off buffets for a moment.

484
00:24:27,720 --> 00:24:30,119
Speaker 1: All right, are we going to talk about this film?

485
00:24:30,520 --> 00:24:31,359
Speaker 2: I think we have to.

486
00:24:33,040 --> 00:24:37,640
Speaker 1: Okay, I'm already.

487
00:24:37,080 --> 00:24:41,320
Speaker 3: I'm already laughing because I insisted that Milly text me

488
00:24:41,400 --> 00:24:44,720
Speaker 3: when she started watching my film this week, and the

489
00:24:44,800 --> 00:24:48,480
Speaker 3: texts were incredible.

490
00:24:49,080 --> 00:24:51,240
Speaker 1: Nobody can see me making this face right now. But

491
00:24:51,280 --> 00:25:02,000
Speaker 1: I'm looking at you like this. I don't even have

492
00:25:02,040 --> 00:25:06,760
Speaker 1: a good segue for this episode. It is shocking that

493
00:25:06,880 --> 00:25:10,879
Speaker 1: this episode will shock and awe you. Let's just let's

494
00:25:10,920 --> 00:25:16,280
Speaker 1: just talk about the theme, because this is again your theme,

495
00:25:17,119 --> 00:25:20,240
Speaker 1: your vision. I don't know what happened. I just like

496
00:25:20,320 --> 00:25:23,240
Speaker 1: completely fell off the face of the earth, and Dane

497
00:25:23,240 --> 00:25:24,840
Speaker 1: I was like out here being like, we're doing this

498
00:25:24,880 --> 00:25:27,240
Speaker 1: theme and that theme, and I'm like, and all of

499
00:25:27,280 --> 00:25:30,119
Speaker 1: them are wild, all of them are so fun and wild.

500
00:25:30,160 --> 00:25:32,600
Speaker 1: But this one, oh, my god.

501
00:25:32,800 --> 00:25:37,040
Speaker 3: Show, I feel like this would need several disclaimers. I'll

502
00:25:37,119 --> 00:25:40,719
Speaker 3: just wrap up the disclaimer. I'll give you a general disclaimer.

503
00:25:41,119 --> 00:25:43,800
Speaker 3: This episode is not for everyone, and these films are

504
00:25:43,840 --> 00:25:48,040
Speaker 3: definitely not for everyone. If you are squeamish about anything

505
00:25:48,320 --> 00:25:52,600
Speaker 3: in films, look these movies up first and do your

506
00:25:52,640 --> 00:25:54,800
Speaker 3: own research to see if you think you can handle it.

507
00:25:55,160 --> 00:25:58,480
Speaker 1: My god, yes to go to IMDb dot com that

508
00:25:58,720 --> 00:26:01,880
Speaker 1: there's usually like a con section. I think it's called

509
00:26:01,920 --> 00:26:04,399
Speaker 1: like parental Guide or parents Guide or something like that.

510
00:26:04,480 --> 00:26:08,040
Speaker 1: It usually will tell you like every instance of like cussing, nudity,

511
00:26:08,280 --> 00:26:12,960
Speaker 1: weird stuff, weird stuff. Okay, this is a weird these

512
00:26:13,000 --> 00:26:16,359
Speaker 1: are two really weird movies. But I first of all,

513
00:26:17,200 --> 00:26:20,560
Speaker 1: what is the theme? It's very The phrase is simple,

514
00:26:20,600 --> 00:26:22,240
Speaker 1: but it means so much.

515
00:26:22,720 --> 00:26:27,200
Speaker 3: It could be anything. Our theme this week is simply

516
00:26:28,160 --> 00:26:35,679
Speaker 3: wait what. And the reason the reason I wanted to

517
00:26:35,720 --> 00:26:38,000
Speaker 3: do a theme like this is because I feel like

518
00:26:38,040 --> 00:26:40,280
Speaker 3: every once in a while, I'll watch a movie and

519
00:26:40,320 --> 00:26:43,600
Speaker 3: I'll think, what the fuck did I just watch? Yeah,

520
00:26:44,359 --> 00:26:48,199
Speaker 3: like truly leaving a theater being like what, Like I

521
00:26:48,240 --> 00:26:52,240
Speaker 3: feel stunned or just in a state of paralysis, or

522
00:26:53,320 --> 00:26:56,639
Speaker 3: just truly not able to make sense of or just

523
00:26:56,760 --> 00:26:59,080
Speaker 3: leaving with a lot more questions.

524
00:26:58,720 --> 00:27:00,480
Speaker 2: Than I had when I went into the film.

525
00:27:00,880 --> 00:27:03,680
Speaker 1: Definitely, And this was I remember when we were kind

526
00:27:03,680 --> 00:27:07,080
Speaker 1: of brainstorming for something, like, you know, we had decided

527
00:27:07,119 --> 00:27:09,800
Speaker 1: we wanted to do something that was based around this theme,

528
00:27:10,960 --> 00:27:15,480
Speaker 1: and we listed all the movies that had ever fucking

529
00:27:15,600 --> 00:27:19,240
Speaker 1: perplexed and beguileless in our entire lives, and I was like, oh, yeah,

530
00:27:19,320 --> 00:27:22,120
Speaker 1: remember that one. Remember that one? Yeah, you didn't understand

531
00:27:22,119 --> 00:27:24,840
Speaker 1: that one. So we were just like creating this giant

532
00:27:24,840 --> 00:27:29,040
Speaker 1: list of movies to talk about, then settled on these two,

533
00:27:29,760 --> 00:27:32,960
Speaker 1: which I have to say, I find it interesting that

534
00:27:33,000 --> 00:27:36,200
Speaker 1: both of these movies are basically like in the fantasy

535
00:27:36,520 --> 00:27:37,760
Speaker 1: or sci fi realm.

536
00:27:38,119 --> 00:27:41,200
Speaker 2: Yeah, definitely, Yeah.

537
00:27:40,680 --> 00:27:42,600
Speaker 1: And a lot and I would say a lot of

538
00:27:42,960 --> 00:27:45,200
Speaker 1: I don't know, maybe I'm making a bad generalization here,

539
00:27:45,280 --> 00:27:48,160
Speaker 1: but quite a lot of like science fiction and fantasy

540
00:27:48,200 --> 00:27:51,680
Speaker 1: films have that quality of that, Like, wait, what quality?

541
00:27:51,720 --> 00:27:54,960
Speaker 1: Because it is like you know, you're you're dealing with

542
00:27:55,800 --> 00:27:58,760
Speaker 1: big ideas, big creative visions.

543
00:27:58,400 --> 00:27:59,879
Speaker 2: Right exactly.

544
00:28:00,080 --> 00:28:02,840
Speaker 3: And and like you said, when you're dealing with films

545
00:28:02,840 --> 00:28:05,199
Speaker 3: that are set in a different universe or in a

546
00:28:05,200 --> 00:28:08,680
Speaker 3: different timeframe or just in a fantasy space on the

547
00:28:08,720 --> 00:28:10,879
Speaker 3: same planet that you know on planet Earth. I was

548
00:28:10,920 --> 00:28:12,679
Speaker 3: gonna say, on the same planet you're on, like I'm

549
00:28:12,720 --> 00:28:14,120
Speaker 3: some kind of fucking alien.

550
00:28:14,000 --> 00:28:18,520
Speaker 2: But you know on your planet how you do that?

551
00:28:18,760 --> 00:28:20,800
Speaker 3: But yeah, like when you when you're dealing with a

552
00:28:20,880 --> 00:28:24,679
Speaker 3: genre that that kind of twists the norm in any way,

553
00:28:25,080 --> 00:28:29,680
Speaker 3: you're gonna get some strange shit sometimes. And I am

554
00:28:29,840 --> 00:28:33,240
Speaker 3: very perplexed by my film, but I also think it's

555
00:28:33,359 --> 00:28:34,680
Speaker 3: very strangely beautiful.

556
00:28:35,320 --> 00:28:40,680
Speaker 1: Yes, yes, it's I I am. I don't have to

557
00:28:40,720 --> 00:28:44,480
Speaker 1: tell you guys. Never heard of this film, never seen

558
00:28:44,480 --> 00:28:47,760
Speaker 1: this film, and it's it was a movie that was

559
00:28:47,800 --> 00:28:49,960
Speaker 1: made in twenty eighteen, so you know it's it's a

560
00:28:50,040 --> 00:28:52,760
Speaker 1: more recent film, And that is probably why I haven't

561
00:28:52,960 --> 00:28:56,600
Speaker 1: seen or heard of it, because unfortunately I just have

562
00:28:56,720 --> 00:28:59,800
Speaker 1: such a gap with like, like I try to say

563
00:28:59,840 --> 00:29:03,320
Speaker 1: new movies when they come out, but I always mean

564
00:29:03,400 --> 00:29:07,120
Speaker 1: to do something and then forget, and then two or

565
00:29:07,120 --> 00:29:10,120
Speaker 1: three years go by, and then somebody brings up a

566
00:29:10,200 --> 00:29:13,080
Speaker 1: movie and I'm like, oh, yeah, like that movie that

567
00:29:13,520 --> 00:29:16,040
Speaker 1: I never saw but meant to. And you know, of

568
00:29:16,080 --> 00:29:20,479
Speaker 1: course now like there's just so much going on. Let

569
00:29:20,560 --> 00:29:25,560
Speaker 1: me just say this. There are two production title cards

570
00:29:25,600 --> 00:29:27,600
Speaker 1: that show up in front of movies that you watch

571
00:29:27,720 --> 00:29:31,080
Speaker 1: and you make me watch on this podcast. And it's

572
00:29:31,120 --> 00:29:34,080
Speaker 1: either anytime I see an A twenty four or a Neon,

573
00:29:34,240 --> 00:29:36,960
Speaker 1: I'm like, uh uh, it's gonna be one of these.

574
00:29:37,080 --> 00:29:39,680
Speaker 1: It's gonna be one of these movies that's gonna fucking

575
00:29:39,720 --> 00:29:42,560
Speaker 1: keep me up all night. And this is a dance.

576
00:29:42,640 --> 00:29:44,680
Speaker 1: This is a Dannielle pick and I know it is,

577
00:29:45,040 --> 00:29:48,600
Speaker 1: and I'm in for it. I'm in for it. And

578
00:29:48,720 --> 00:29:50,920
Speaker 1: you did it again, you did it again.

579
00:29:51,720 --> 00:29:54,320
Speaker 3: I want to ask before we get into this film,

580
00:29:54,440 --> 00:29:58,320
Speaker 3: I want to ask, on a scale of one to Hereditary,

581
00:30:00,040 --> 00:30:04,840
Speaker 3: oh disturbed were you by this week's choice?

582
00:30:05,320 --> 00:30:13,160
Speaker 1: I mean it was definitely past Hereditary. The Hereditary had

583
00:30:15,400 --> 00:30:21,920
Speaker 1: moments of shock, but then once it was over, and

584
00:30:22,000 --> 00:30:23,600
Speaker 1: a lot of it was because I watched it with

585
00:30:23,640 --> 00:30:26,680
Speaker 1: my mom as as famously, you know, we've talked about

586
00:30:26,760 --> 00:30:28,760
Speaker 1: so there was a lot of that too, of just

587
00:30:28,800 --> 00:30:30,360
Speaker 1: sort of like, oh, I watched this with a family

588
00:30:30,400 --> 00:30:33,080
Speaker 1: member blah blah blah blah. So there was that component.

589
00:30:33,480 --> 00:30:38,120
Speaker 1: This is something that I I began to like. It

590
00:30:38,320 --> 00:30:40,920
Speaker 1: just like has haunted me for the past twenty four

591
00:30:40,920 --> 00:30:43,880
Speaker 1: hours because I only saw it twenty four hours ago people,

592
00:30:45,360 --> 00:30:48,960
Speaker 1: so it's fresh on the brain and I'm like, now,

593
00:30:49,040 --> 00:30:52,800
Speaker 1: I was like googling shit. I was literally down like

594
00:30:52,840 --> 00:30:56,720
Speaker 1: a Wikipedia hole at one am last night, googling like

595
00:30:57,160 --> 00:31:02,760
Speaker 1: Nordic fucking Nordic fairy tales and shit, and I'm like

596
00:31:02,800 --> 00:31:06,360
Speaker 1: what the fuck? And then yeah, I just there's like

597
00:31:06,400 --> 00:31:11,320
Speaker 1: a moment where I just was like feeling bad about

598
00:31:11,640 --> 00:31:14,560
Speaker 1: feeling bad. I don't know, we can talk about it,

599
00:31:14,600 --> 00:31:22,160
Speaker 1: but like it is truly replaced Hereditary now as the

600
00:31:22,200 --> 00:31:25,400
Speaker 1: most disturbing movie that you've made me.

601
00:31:25,320 --> 00:31:28,360
Speaker 3: Watch on this podcast. I have to say, I'm proud

602
00:31:28,360 --> 00:31:32,800
Speaker 3: of myself. I'm just I'm proud of myself. It's always

603
00:31:32,840 --> 00:31:36,240
Speaker 3: my goal. And I'm like, Millie has seen everything, she's

604
00:31:36,320 --> 00:31:38,440
Speaker 3: done everything. If I can freak her the fuck out,

605
00:31:39,040 --> 00:31:40,760
Speaker 3: I feel like I have accomplished something.

606
00:31:41,600 --> 00:31:46,360
Speaker 1: You have managed to move the needle once again. Yes,

607
00:31:46,800 --> 00:31:49,480
Speaker 1: and I will say this again, as I said on

608
00:31:49,480 --> 00:31:52,800
Speaker 1: the Hereditary episode, I don't know if I'll ever be

609
00:31:52,880 --> 00:31:53,840
Speaker 1: able to forgive you.

610
00:32:02,840 --> 00:32:05,840
Speaker 3: I feel like now, when I suggest films for these

611
00:32:06,440 --> 00:32:08,400
Speaker 3: these themes, I feel like you're gonna go immediately to

612
00:32:08,440 --> 00:32:11,760
Speaker 3: the IMDb and check it, check the parental controls for yourself.

613
00:32:12,560 --> 00:32:14,440
Speaker 2: You'd be like, which one is she on this week?

614
00:32:14,600 --> 00:32:14,880
Speaker 1: God?

615
00:32:15,200 --> 00:32:17,240
Speaker 2: Well, obviously I'm gonna jump into it. And I'm also

616
00:32:17,240 --> 00:32:18,800
Speaker 2: going to apologize right off the bat.

617
00:32:19,680 --> 00:32:24,840
Speaker 3: I am not awesome at scan the pronunciation of Scandinavian names.

618
00:32:26,400 --> 00:32:27,920
Speaker 3: So I'm gonna try my best because a lot of

619
00:32:27,960 --> 00:32:31,800
Speaker 3: these names are Swedish or Norwegian. But I'm just gonna

620
00:32:31,800 --> 00:32:34,400
Speaker 3: try it because I think it's I think I have

621
00:32:34,440 --> 00:32:36,600
Speaker 3: to and I love the language and I wish I.

622
00:32:36,600 --> 00:32:38,440
Speaker 2: Knew how to pronounce some of these things. Yeah.

623
00:32:38,760 --> 00:32:41,680
Speaker 3: I actually have a friend who's Norwegian, and I texted

624
00:32:41,680 --> 00:32:42,400
Speaker 3: her and I'm like, can.

625
00:32:42,320 --> 00:32:44,880
Speaker 2: You help me figure this sound?

626
00:32:45,000 --> 00:32:48,880
Speaker 3: She would send me like voice memoshee. That's the work

627
00:32:48,880 --> 00:32:52,800
Speaker 3: I do for this fucking pod. I will text someone

628
00:32:52,840 --> 00:32:54,360
Speaker 3: in Norway and be like, I don't know what time

629
00:32:54,360 --> 00:32:55,760
Speaker 3: it is or if I'm waking you up or not,

630
00:32:55,960 --> 00:32:58,600
Speaker 3: but I need to know how to say this. So

631
00:32:58,720 --> 00:33:03,800
Speaker 3: my film for our theme of wait what, was directed

632
00:33:04,200 --> 00:33:05,320
Speaker 3: by Ali Abassi.

633
00:33:06,360 --> 00:33:08,480
Speaker 2: The screenplay is by Ali.

634
00:33:08,240 --> 00:33:13,680
Speaker 3: Abassi, Isabella Eklof, and John asvid linked Vist, and it's

635
00:33:13,720 --> 00:33:18,360
Speaker 3: based on a short story called Grands by John azvid

636
00:33:19,040 --> 00:33:22,960
Speaker 3: link Fist. And my movie was released in twenty eighteen

637
00:33:23,240 --> 00:33:26,440
Speaker 3: and it's Border.

638
00:33:32,200 --> 00:33:32,320
Speaker 4: Now.

639
00:33:32,480 --> 00:33:34,880
Speaker 3: Let me tell you that when I went to see

640
00:33:34,880 --> 00:33:38,800
Speaker 3: this film, which I did see in the theater, it

641
00:33:38,880 --> 00:33:42,800
Speaker 3: was at the Arc Light, and I had no idea

642
00:33:42,840 --> 00:33:45,800
Speaker 3: what I was getting into. So a friend of mine,

643
00:33:45,880 --> 00:33:48,800
Speaker 3: my friend Emily, was like, had posted something about how

644
00:33:48,840 --> 00:33:51,320
Speaker 3: this is such a magical, wonderful film, you gotta go

645
00:33:51,360 --> 00:33:54,080
Speaker 3: see it, and I was like, yeah, I'm down. So

646
00:33:54,120 --> 00:33:59,400
Speaker 3: I went and was shook. And I think I believe

647
00:33:59,440 --> 00:34:02,239
Speaker 3: I texted you you when we were texting about this

648
00:34:02,280 --> 00:34:08,640
Speaker 3: film last night, share my shookness, because four years later

649
00:34:09,080 --> 00:34:12,000
Speaker 3: I have seen it two more times and I still

650
00:34:12,200 --> 00:34:15,720
Speaker 3: am shaken to my fucking core every time.

651
00:34:16,680 --> 00:34:17,520
Speaker 1: Oh my god.

652
00:34:17,600 --> 00:34:22,080
Speaker 3: So just to get into this a little bit, my

653
00:34:22,160 --> 00:34:29,800
Speaker 3: one sentence synopsis of Border is a maggot carrying weirdo

654
00:34:30,160 --> 00:34:33,359
Speaker 3: sets the life of a Swedish customs agent on a

655
00:34:33,400 --> 00:34:35,239
Speaker 3: trajectory of self discovery.

656
00:34:38,400 --> 00:34:40,480
Speaker 1: That is about as good as you can do for

657
00:34:40,560 --> 00:34:44,759
Speaker 1: one sentence, because it is so much more. But that

658
00:34:44,880 --> 00:34:49,120
Speaker 1: gives you a good idea, I think, a good bass idea.

659
00:34:50,680 --> 00:34:53,000
Speaker 2: I just tried to you know, I want to ease

660
00:34:53,000 --> 00:34:53,759
Speaker 2: people into it.

661
00:34:54,480 --> 00:34:57,600
Speaker 3: And I will also say that I feel like we

662
00:34:57,760 --> 00:35:01,360
Speaker 3: are going to have to just guss and spoil a

663
00:35:01,400 --> 00:35:03,839
Speaker 3: lot of the ending of the film, but not the

664
00:35:04,000 --> 00:35:07,080
Speaker 3: very end of the film. So I am going to

665
00:35:07,160 --> 00:35:09,120
Speaker 3: be talking about because there are things that happen in

666
00:35:09,160 --> 00:35:11,920
Speaker 3: this movie that are so disturbing that I feel I

667
00:35:11,920 --> 00:35:14,120
Speaker 3: would feel weird if we just left them hanging with

668
00:35:14,200 --> 00:35:17,200
Speaker 3: no discussion. So just to get into a little bit

669
00:35:17,200 --> 00:35:21,520
Speaker 3: of Ali Abasi, he's an Iranian Swedish Danish director and

670
00:35:21,560 --> 00:35:26,759
Speaker 3: writer and he has He's just pretty He's pretty well

671
00:35:26,760 --> 00:35:32,040
Speaker 3: acclaimed in that circle of like fantasy and filmmakers who

672
00:35:32,120 --> 00:35:33,920
Speaker 3: kind of pushed the envelope. Like He's only made a

673
00:35:33,920 --> 00:35:36,480
Speaker 3: few films, but he but all of them are definitely

674
00:35:36,560 --> 00:35:40,640
Speaker 3: like kind of like this. And so this is the

675
00:35:40,640 --> 00:35:43,160
Speaker 3: first film of his that I had seen. And the

676
00:35:43,200 --> 00:35:48,120
Speaker 3: main characters in this film are Tina and Vor. I'm

677
00:35:48,160 --> 00:35:51,920
Speaker 3: saying Vor, but I think it's Vora Vorat like Vora

678
00:35:52,239 --> 00:35:55,239
Speaker 3: is how he says it. And both of these characters

679
00:35:55,320 --> 00:35:59,800
Speaker 3: are really Neanderthalic in appearance, so they're in the modern world,

680
00:36:00,600 --> 00:36:03,280
Speaker 3: but they have pronounced brows and kind of snaggled teeth

681
00:36:03,280 --> 00:36:08,240
Speaker 3: and they just look very like Neanderthalic for sure. Tina

682
00:36:09,120 --> 00:36:12,920
Speaker 3: is our main character, and that's who we see this

683
00:36:13,000 --> 00:36:17,080
Speaker 3: world through. And Tina says at one point in the

684
00:36:17,080 --> 00:36:20,560
Speaker 3: film that she thinks of herself as an ugly, strange

685
00:36:20,640 --> 00:36:24,319
Speaker 3: human with a chromosome flaw, so she's doing her best

686
00:36:24,320 --> 00:36:26,920
Speaker 3: to kind of fit in to a world that she

687
00:36:27,080 --> 00:36:30,640
Speaker 3: knows is not made for her. And one of the

688
00:36:30,680 --> 00:36:34,080
Speaker 3: things that she excels at in her job as a

689
00:36:34,080 --> 00:36:40,640
Speaker 3: Swedish customs agent, she excels at kind of like literally

690
00:36:40,680 --> 00:36:45,640
Speaker 3: sniffing out smugglers and bad people, and she later reveals

691
00:36:45,960 --> 00:36:51,400
Speaker 3: that she can sense shame, guilt, and rage, So she

692
00:36:51,520 --> 00:36:54,680
Speaker 3: has this kind of like again, this extra sensory kind

693
00:36:54,680 --> 00:36:57,719
Speaker 3: of perception about the world that places this movie very

694
00:36:57,800 --> 00:37:01,799
Speaker 3: firmly in that fantasy realm. As a result, she lives

695
00:37:01,800 --> 00:37:06,399
Speaker 3: with Roland Roland, who is a dog trainer, even though

696
00:37:06,400 --> 00:37:09,160
Speaker 3: his dogs bark at her and seem to really hate her,

697
00:37:09,920 --> 00:37:12,839
Speaker 3: and it's not really a romantic relationship. Like Roland at

698
00:37:12,840 --> 00:37:14,520
Speaker 3: one point does try to have sex with her one

699
00:37:14,600 --> 00:37:16,560
Speaker 3: night when he's drunk and she's like, no, it'll her

700
00:37:16,640 --> 00:37:19,480
Speaker 3: I don't want to. And later, when she's visiting her

701
00:37:19,520 --> 00:37:22,759
Speaker 3: father in a nursing home, who is not neandrotholic at all,

702
00:37:23,760 --> 00:37:27,000
Speaker 3: he reveals that the house is actually hers. So he

703
00:37:27,080 --> 00:37:29,120
Speaker 3: just flat out asked, like, are you sleeping together? And

704
00:37:29,160 --> 00:37:30,960
Speaker 3: she says no, I just kind of like having someone

705
00:37:31,000 --> 00:37:33,960
Speaker 3: around who's nice to me, which is so sad. And

706
00:37:34,080 --> 00:37:39,000
Speaker 3: she's definitely she's definitely a lonely person, but she's really

707
00:37:39,080 --> 00:37:44,359
Speaker 3: kind and she connects to nature very deeply. So when

708
00:37:44,360 --> 00:37:46,560
Speaker 3: she says that, I'm just like, oh god, that's so sad.

709
00:37:47,040 --> 00:37:48,840
Speaker 3: And it also kind of made me question, like what

710
00:37:48,880 --> 00:37:51,480
Speaker 3: does this say about her that she would put herself

711
00:37:51,520 --> 00:37:54,880
Speaker 3: in such an uncomfortable position in order to live with anyone,

712
00:37:55,040 --> 00:37:58,279
Speaker 3: just someone. And this house is bleak, like Roland is

713
00:37:58,320 --> 00:38:00,719
Speaker 3: not the best fucking roommate. When she opens the fridge

714
00:38:00,719 --> 00:38:03,160
Speaker 3: at one point, there's like a tin can with a

715
00:38:03,200 --> 00:38:06,080
Speaker 3: spoon in it, and that's just a sure sign of

716
00:38:06,080 --> 00:38:07,960
Speaker 3: depression or mistreatment in some way.

717
00:38:08,560 --> 00:38:12,480
Speaker 1: Yeah, there's a there's a part where they're eating dinner together,

718
00:38:12,560 --> 00:38:15,320
Speaker 1: like towards the beginning of the movie, where he's made

719
00:38:15,920 --> 00:38:18,319
Speaker 1: spaghetti or some or some there's spaghetti on the table

720
00:38:18,360 --> 00:38:22,400
Speaker 1: and there's also a bottle of ketchup, and I'm like, oh, dude,

721
00:38:22,600 --> 00:38:24,799
Speaker 1: this is duty in spaghetti with ketchup. I don't know,

722
00:38:25,239 --> 00:38:25,480
Speaker 1: like this.

723
00:38:25,560 --> 00:38:28,920
Speaker 3: There has not been apasta eating scene that has disturbed

724
00:38:28,960 --> 00:38:30,640
Speaker 3: me more since I saw Gummo.

725
00:38:32,960 --> 00:38:37,000
Speaker 1: Great Spaghetti Moments on film. Yeah, definitely a part of

726
00:38:37,000 --> 00:38:39,239
Speaker 1: that tradition, but yeah, this one is in there now

727
00:38:39,360 --> 00:38:44,200
Speaker 1: because I was like, damn, maybe it should be depressing spaghetti.

728
00:38:44,320 --> 00:38:47,239
Speaker 3: Maybe that's very depressing spaghetti.

729
00:38:47,560 --> 00:38:49,000
Speaker 1: Yeah, maybe that's the category.

730
00:38:49,400 --> 00:38:52,960
Speaker 2: Can we call this episode depressing spaghetti? Yes, of course,

731
00:38:54,080 --> 00:38:55,160
Speaker 2: but it is it's bleak.

732
00:38:55,239 --> 00:38:57,680
Speaker 3: It's like a fucking bleak existence, and it's in the

733
00:38:57,680 --> 00:38:58,560
Speaker 3: woods and it's.

734
00:38:58,440 --> 00:38:59,960
Speaker 2: Very like secluded.

735
00:39:00,920 --> 00:39:04,400
Speaker 3: But she is also part of a community somehow because

736
00:39:04,480 --> 00:39:06,600
Speaker 3: she you know, she has a neighbor who goes into

737
00:39:06,640 --> 00:39:08,600
Speaker 3: labor that she gives a ride to at one point

738
00:39:08,680 --> 00:39:11,400
Speaker 3: in the film. But there's also like when she's at

739
00:39:11,400 --> 00:39:13,840
Speaker 3: work at one point she stops this guy who's smuggled

740
00:39:13,840 --> 00:39:17,239
Speaker 3: in a bunch of alcohol and he walks away and says,

741
00:39:17,239 --> 00:39:20,920
Speaker 3: I can't stand her kind. So she seems to like

742
00:39:20,920 --> 00:39:23,000
Speaker 3: like we kind of know that she's not the only

743
00:39:23,040 --> 00:39:25,640
Speaker 3: one of her kind in this world, but also that

744
00:39:25,680 --> 00:39:27,040
Speaker 3: she is a social cast out.

745
00:39:27,440 --> 00:39:31,920
Speaker 1: Yeah, that she's very othered by everybody else.

746
00:39:31,760 --> 00:39:36,239
Speaker 3: Right completely completely, and again like she loves nature, like

747
00:39:36,280 --> 00:39:38,120
Speaker 3: she she'll take off her shoes and go for a

748
00:39:38,160 --> 00:39:42,000
Speaker 3: barefoot walk in the woods, and she's very attuned to sounds,

749
00:39:42,040 --> 00:39:44,880
Speaker 3: and she plays with foxes, and it's not even. It

750
00:39:44,880 --> 00:39:47,880
Speaker 3: seems like she not only likes nature, but that she

751
00:39:47,960 --> 00:39:51,600
Speaker 3: attracts nature like she attracts animals to her. She she

752
00:39:51,680 --> 00:39:54,640
Speaker 3: kind of has something in her that again puts her

753
00:39:54,640 --> 00:39:57,400
Speaker 3: in this fantasy realm of animals.

754
00:39:56,920 --> 00:40:00,360
Speaker 2: Just flock to her. And one day it work.

755
00:40:00,560 --> 00:40:05,320
Speaker 3: She's using these extra senses and she kind of senses

756
00:40:05,320 --> 00:40:08,040
Speaker 3: something on this dude and she can't find anything in

757
00:40:08,040 --> 00:40:10,160
Speaker 3: his bag, and they're about to let him go, and

758
00:40:10,200 --> 00:40:13,279
Speaker 3: she's like, let me get a sniff of that phone,

759
00:40:13,800 --> 00:40:17,560
Speaker 3: and she smells his phone and then she takes out

760
00:40:17,600 --> 00:40:20,920
Speaker 3: the card and he tries to he snatches it and

761
00:40:21,000 --> 00:40:25,040
Speaker 3: tries to eat it, and as it turns out, it's

762
00:40:25,120 --> 00:40:28,600
Speaker 3: filled with child pornography. So they turn it over to

763
00:40:28,640 --> 00:40:32,120
Speaker 3: the cops, and the cops eventually are like, we need

764
00:40:32,160 --> 00:40:34,440
Speaker 3: to locate the people who made the film, so we

765
00:40:34,600 --> 00:40:37,720
Speaker 3: kind of need your help, Tina, to help us sniff

766
00:40:37,760 --> 00:40:39,879
Speaker 3: it out because we think we know what area they're in,

767
00:40:40,560 --> 00:40:44,680
Speaker 3: but we don't know specifically. So she is again awesome

768
00:40:44,719 --> 00:40:46,480
Speaker 3: at her job, but now she's also put in this

769
00:40:46,520 --> 00:40:49,560
Speaker 3: place where she's working with the police to try to

770
00:40:49,600 --> 00:40:53,160
Speaker 3: catch a deeper level of criminal. But this is also

771
00:40:53,200 --> 00:40:57,480
Speaker 3: how she meets vor at her job. Vorle So i'

772
00:40:57,520 --> 00:41:02,040
Speaker 3: mighta call him vor voras a fuck menace and he

773
00:41:02,160 --> 00:41:04,840
Speaker 3: is a kind of guy who he dumps an entire

774
00:41:05,000 --> 00:41:09,040
Speaker 3: container of locks onto his plate at a buffet and

775
00:41:09,040 --> 00:41:12,120
Speaker 3: then he like he growls at people and like he's

776
00:41:12,400 --> 00:41:17,560
Speaker 3: just hunched and again also neandrothalic in appearance, but just

777
00:41:17,800 --> 00:41:20,279
Speaker 3: a total fucking menace like he is. He is the

778
00:41:20,280 --> 00:41:23,200
Speaker 3: opposite of Tina in that he kind of has to

779
00:41:23,280 --> 00:41:25,920
Speaker 3: exist in this world but he does not want to.

780
00:41:26,080 --> 00:41:27,560
Speaker 3: And he's like, fuck you if you think I'm gonna

781
00:41:27,560 --> 00:41:30,680
Speaker 3: fit into your bullshit rules about how much locks I

782
00:41:30,680 --> 00:41:31,480
Speaker 3: could put on my plate.

783
00:41:32,520 --> 00:41:37,160
Speaker 1: Okay, I want to talk about war. Oh we don't

784
00:41:37,160 --> 00:41:42,319
Speaker 1: wanna because I was like, did they have to make

785
00:41:42,400 --> 00:41:46,560
Speaker 1: him look like Eddie Vedder? Like? And there was a

786
00:41:46,640 --> 00:41:49,120
Speaker 1: moment and this is okay. This is where I started

787
00:41:49,160 --> 00:41:53,400
Speaker 1: having the shame kick in about like how I was

788
00:41:53,440 --> 00:41:55,879
Speaker 1: sort of feeling at certain times of this film where

789
00:41:55,920 --> 00:42:00,880
Speaker 1: I'm like, Okay, this is this guy is kind of

790
00:42:00,920 --> 00:42:04,680
Speaker 1: coming in on a cool breeze for this for Tina, right,

791
00:42:04,960 --> 00:42:09,360
Speaker 1: he's like, yo, I'm coming through her line. And we

792
00:42:09,480 --> 00:42:11,480
Speaker 1: kind of have a connection obviously because we sort of

793
00:42:11,480 --> 00:42:15,560
Speaker 1: look similarly. But at the same time, he's cool, like

794
00:42:15,600 --> 00:42:19,080
Speaker 1: he's got like this crazy like kind of hipster haircut thing,

795
00:42:19,520 --> 00:42:23,560
Speaker 1: like you know, he looks like Eddie Vedder in the

796
00:42:23,680 --> 00:42:25,920
Speaker 1: nineties when he was in Pearl Jam. And I'm like,

797
00:42:26,760 --> 00:42:29,920
Speaker 1: what is up with this? Because it's not just like, oh,

798
00:42:30,000 --> 00:42:34,280
Speaker 1: here's like here's a you know, sort of a person

799
00:42:34,280 --> 00:42:36,920
Speaker 1: that you're seeing kind of you know, enter into her

800
00:42:36,960 --> 00:42:40,319
Speaker 1: life that sort of has the same physical characteristics. But

801
00:42:40,400 --> 00:42:43,040
Speaker 1: he also looks like a badass. And I'm like, I.

802
00:42:43,040 --> 00:42:45,120
Speaker 3: Don't know how I feel about this because I'm like,

803
00:42:45,280 --> 00:42:48,640
Speaker 3: because he's he's sinister, and he makes Tina uneasy, but

804
00:42:48,719 --> 00:42:51,600
Speaker 3: she's also really attracted to him, and he's like where's

805
00:42:51,600 --> 00:42:53,960
Speaker 3: a leather jacket, And like he does have like a

806
00:42:54,080 --> 00:42:55,160
Speaker 3: kind of like a cool.

807
00:42:55,040 --> 00:42:59,000
Speaker 1: Hipster vibe to him, but he's all so gross. But yeah,

808
00:42:59,280 --> 00:43:03,240
Speaker 1: he's at the same time, he is like fucking chuggin'

809
00:43:03,680 --> 00:43:08,320
Speaker 1: raw fish at the buffet, at the ship buffet, and

810
00:43:08,320 --> 00:43:10,000
Speaker 1: and that scene that you're just talked about is so

811
00:43:10,040 --> 00:43:12,680
Speaker 1: funny because it is that like woman in the back

812
00:43:12,719 --> 00:43:15,320
Speaker 1: that's going, excuse me, but that food is for everybody,

813
00:43:15,320 --> 00:43:18,040
Speaker 1: and he's just like starf starf snarf. He doesn't give

814
00:43:18,040 --> 00:43:18,359
Speaker 1: a fuck.

815
00:43:18,400 --> 00:43:20,279
Speaker 3: He's he's like, let me just keep scooping this on

816
00:43:20,320 --> 00:43:21,880
Speaker 3: my fucking plate. What' you're gonna say about it?

817
00:43:22,160 --> 00:43:25,719
Speaker 1: Yeah, exactly. But he's also like interested in, like, you know,

818
00:43:26,520 --> 00:43:29,360
Speaker 1: maggots and shit, like it's kind of gnarly. I gotta

819
00:43:29,360 --> 00:43:32,800
Speaker 1: admit it was gnarly like his Yeah, his whole vibe

820
00:43:32,880 --> 00:43:38,440
Speaker 1: was dirty, gnarly hipster. And I was like, completely, oh

821
00:43:38,480 --> 00:43:40,160
Speaker 1: my god, what do I think about this? I can't

822
00:43:40,280 --> 00:43:42,000
Speaker 1: can't even process it right.

823
00:43:42,239 --> 00:43:43,320
Speaker 2: And that's it's important.

824
00:43:43,320 --> 00:43:45,160
Speaker 3: I think it's important that you point that out because

825
00:43:45,160 --> 00:43:49,840
Speaker 3: that is something that I feel consistently in this movie

826
00:43:49,880 --> 00:43:51,680
Speaker 3: about both of them, Like how am I supposed to

827
00:43:51,719 --> 00:43:55,040
Speaker 3: feel about them yeah, and I'm not ever sure until

828
00:43:55,080 --> 00:43:57,520
Speaker 3: a certain moment and I'm like, oh fuck, yeah, okay,

829
00:43:58,440 --> 00:44:02,719
Speaker 3: but he is. He's like a menacing, sinister weirdo and like,

830
00:44:02,840 --> 00:44:03,640
Speaker 3: put it this way.

831
00:44:03,480 --> 00:44:04,239
Speaker 2: This is how they meet.

832
00:44:04,400 --> 00:44:07,000
Speaker 3: He's carrying a device in his bag that looks like

833
00:44:07,040 --> 00:44:09,799
Speaker 3: a bomb, and Tina like sniffs it and she's like,

834
00:44:09,800 --> 00:44:12,960
Speaker 3: what the fuck. This feels weird but not like bomb weird.

835
00:44:13,400 --> 00:44:15,880
Speaker 3: And he opens it and he's like, it's just a

836
00:44:15,920 --> 00:44:19,600
Speaker 3: bunch of maggots. It's like a fucking maggot hatchery. But

837
00:44:19,680 --> 00:44:22,120
Speaker 3: he designed it to look like a bomb on purpose,

838
00:44:22,680 --> 00:44:25,279
Speaker 3: like to fuck with her. He's like, I just got

839
00:44:25,280 --> 00:44:27,960
Speaker 3: some maggots And I'm like, yeah, that's creepy but somehow

840
00:44:28,000 --> 00:44:28,719
Speaker 3: not illegal.

841
00:44:28,880 --> 00:44:30,040
Speaker 2: But it's just creepy.

842
00:44:30,360 --> 00:44:34,799
Speaker 1: And he's doing this while hitting on her effect yes,

843
00:44:35,239 --> 00:44:37,360
Speaker 1: which I also had a problem with. Like I was

844
00:44:37,360 --> 00:44:40,600
Speaker 1: sitting here going like, okay, this guy also has game,

845
00:44:41,080 --> 00:44:44,760
Speaker 1: which I'm like, that is fucking weird. Is shit? I'm like, yo,

846
00:44:45,400 --> 00:44:48,920
Speaker 1: Like he's given her the whole, like his whole vibe.

847
00:44:48,920 --> 00:44:51,680
Speaker 1: He was very like Jim Morrison, like he was like, yeah,

848
00:44:51,719 --> 00:44:55,400
Speaker 1: what's up, Hey, Yamn, my name's or what's going on,

849
00:44:55,440 --> 00:44:58,239
Speaker 1: and I'm like, who the fuck is this motherfucker right here,

850
00:44:58,800 --> 00:45:02,839
Speaker 1: like hatching maggots in your duffel bag. But then you

851
00:45:02,880 --> 00:45:05,759
Speaker 1: come through with this like stud game. I'm like, this

852
00:45:05,920 --> 00:45:11,000
Speaker 1: is crazy, this is crazy. It's so disorienting.

853
00:45:11,640 --> 00:45:16,800
Speaker 3: It is so disorienting, and I should I should mention

854
00:45:16,960 --> 00:45:20,080
Speaker 3: here that also the actors who play these two characters,

855
00:45:20,120 --> 00:45:24,239
Speaker 3: Eva Malanda and EO. Milanoff are so fucking good in

856
00:45:24,320 --> 00:45:26,640
Speaker 3: these roles, not just because of the prosthetics, but just

857
00:45:26,680 --> 00:45:30,600
Speaker 3: like that whole the whole thing about how they carry themselves,

858
00:45:30,680 --> 00:45:33,839
Speaker 3: and they're so different, like she's so much more meek

859
00:45:34,160 --> 00:45:39,279
Speaker 3: in comparison to him and his like outward like creepy studdness.

860
00:45:39,360 --> 00:45:44,760
Speaker 3: It's just it's very disconcerting, very like Jim fucking Morrison

861
00:45:45,000 --> 00:45:48,399
Speaker 3: is perfect for this, Like dude, can you wash your

862
00:45:48,440 --> 00:45:50,399
Speaker 3: pants and just like stand up straight?

863
00:45:50,440 --> 00:45:51,920
Speaker 2: You don't have to come at me like that.

864
00:45:52,600 --> 00:45:56,160
Speaker 1: Yeah, I mean this guy is literally like short of

865
00:45:56,520 --> 00:46:01,080
Speaker 1: being like at Max Fish in New York nineties, like

866
00:46:01,200 --> 00:46:04,239
Speaker 1: hitting on women and like offering bumps of coke. I mean,

867
00:46:04,280 --> 00:46:07,799
Speaker 1: he's just like that guy, which is so weird because

868
00:46:07,800 --> 00:46:10,760
Speaker 1: you're just like, what's going on with this movie, and

869
00:46:11,040 --> 00:46:15,600
Speaker 1: you know, but she is definitely like she's enchanted, she's

870
00:46:15,680 --> 00:46:18,160
Speaker 1: she's feeling some type of way about meeting him right.

871
00:46:18,320 --> 00:46:20,560
Speaker 2: Oh, completely, And then he comes through again.

872
00:46:20,640 --> 00:46:23,759
Speaker 3: He comes through the line again at customs and he

873
00:46:23,840 --> 00:46:25,680
Speaker 3: tells her basically, she's like, what do you do? Like

874
00:46:25,719 --> 00:46:27,640
Speaker 3: why are you always here? And he's like, well, I'm

875
00:46:27,680 --> 00:46:29,880
Speaker 3: a traveler. That's what I travel for a living. And

876
00:46:29,920 --> 00:46:32,120
Speaker 3: it's like, doesn't go further than that, It's just I'm

877
00:46:32,160 --> 00:46:33,120
Speaker 3: a traveler.

878
00:46:32,800 --> 00:46:33,280
Speaker 1: Of course.

879
00:46:33,360 --> 00:46:36,560
Speaker 3: But she still keeps smelling something on him, so she

880
00:46:36,640 --> 00:46:39,160
Speaker 3: wants to have him strip search, and she has her

881
00:46:39,200 --> 00:46:44,560
Speaker 3: partner who's who's a man, strip search him. And this

882
00:46:44,680 --> 00:46:48,080
Speaker 3: is where we discover that Vor has a vagina because

883
00:46:48,080 --> 00:46:51,680
Speaker 3: the other guide, the other guard, was like, you should

884
00:46:51,680 --> 00:46:53,800
Speaker 3: have done this search and Tina's like, what are you

885
00:46:53,880 --> 00:46:57,080
Speaker 3: talking about? And then he tells her and when she

886
00:46:57,120 --> 00:47:01,600
Speaker 3: goes to apologize to him to Vor, this is where

887
00:47:01,600 --> 00:47:04,920
Speaker 3: we also learn that Tina and Voor have a lower

888
00:47:05,040 --> 00:47:08,640
Speaker 3: back scar that's similar. And we see Tina's scar when

889
00:47:08,680 --> 00:47:10,840
Speaker 3: she's kind of swimming naked in a lake near her house,

890
00:47:11,480 --> 00:47:13,759
Speaker 3: and then Vora's scars. He's getting dressed and she goes

891
00:47:13,760 --> 00:47:18,759
Speaker 3: to apologize. So they're having these like physical similarities. There's

892
00:47:18,760 --> 00:47:24,479
Speaker 3: an attraction there. She definitely can't explain it, and neither

893
00:47:24,520 --> 00:47:27,759
Speaker 3: can he, but she's her her interest is piqued when

894
00:47:27,800 --> 00:47:31,279
Speaker 3: she finds out that he has a vagina.

895
00:47:31,600 --> 00:47:39,600
Speaker 1: Yes, that was very interesting. I you know, so much

896
00:47:39,640 --> 00:47:44,200
Speaker 1: about these types of films, like these fantasy films is

897
00:47:44,320 --> 00:47:47,840
Speaker 1: kind of like the ways in which like you start

898
00:47:48,000 --> 00:47:52,440
Speaker 1: figuring out the world that you're in in terms of

899
00:47:52,560 --> 00:47:58,160
Speaker 1: like who these characters are, but as more information, like

900
00:47:58,200 --> 00:48:02,680
Speaker 1: so basically like part of like what was fascinating about

901
00:48:02,680 --> 00:48:06,480
Speaker 1: watching this film was being like, Okay, who are they?

902
00:48:07,440 --> 00:48:12,120
Speaker 1: How does this work? How do they connected? They're clearly

903
00:48:12,200 --> 00:48:15,440
Speaker 1: being othered by these you know, the rest of the

904
00:48:15,480 --> 00:48:19,239
Speaker 1: people that are in the movie, and why is that?

905
00:48:19,560 --> 00:48:22,640
Speaker 1: And then what is what? Well how is this being revealed?

906
00:48:22,680 --> 00:48:28,480
Speaker 1: And so when that part happened, I was like, wow, interesting, Okay,

907
00:48:28,680 --> 00:48:31,839
Speaker 1: well now I'm now now I have to know what's

908
00:48:31,880 --> 00:48:35,239
Speaker 1: going on. Like as much as I'm like, you know,

909
00:48:35,480 --> 00:48:40,239
Speaker 1: basically like disoriented by this guy's like you know, hipster bravado,

910
00:48:40,400 --> 00:48:44,560
Speaker 1: I'm like, Okay, now it's taken. Now it's taking a turn,

911
00:48:44,640 --> 00:48:46,759
Speaker 1: It's it's going in a different direction and now you

912
00:48:46,920 --> 00:48:49,680
Speaker 1: got me, I gotta watch the rest, even though.

913
00:48:49,960 --> 00:48:53,120
Speaker 3: Now there's a mystery, Yeah, yeah, there's a mystery element.

914
00:48:53,360 --> 00:48:54,120
Speaker 2: What Tina does.

915
00:48:54,280 --> 00:48:57,640
Speaker 3: She goes and finds Bora at his his hostel, and

916
00:48:58,880 --> 00:49:02,400
Speaker 3: he's genuinely like rooting around in the backyard of this hostel,

917
00:49:02,520 --> 00:49:04,120
Speaker 3: and he's like, you want to eat this maggot with me?

918
00:49:04,160 --> 00:49:06,080
Speaker 3: And she's like no, and he eats one and he's like, yes,

919
00:49:06,120 --> 00:49:09,920
Speaker 3: you do, and she fucking does and seems like euphoric

920
00:49:10,040 --> 00:49:13,719
Speaker 3: about it, like her world has been changed because she

921
00:49:13,960 --> 00:49:16,320
Speaker 3: ate this maggot, so she invites him home. She's like,

922
00:49:16,320 --> 00:49:17,799
Speaker 3: why don't you come live with me instead of living

923
00:49:17,840 --> 00:49:21,680
Speaker 3: in this fucking hostile much of the dismay of Roland

924
00:49:22,200 --> 00:49:25,600
Speaker 3: and his dogs because Vora rolls up and he's like

925
00:49:26,000 --> 00:49:29,200
Speaker 3: he instantly growls at the dogs and silences them when

926
00:49:29,239 --> 00:49:31,920
Speaker 3: they start barking at him, And it just made me wonder,

927
00:49:32,000 --> 00:49:35,320
Speaker 3: like Tina could have done this, Like why doesn't. She's

928
00:49:35,760 --> 00:49:39,480
Speaker 3: her desire to fit into this world so gently is

929
00:49:39,600 --> 00:49:43,240
Speaker 3: clearly putting herself. She's putting herself at risk, and Vora

930
00:49:43,320 --> 00:49:44,960
Speaker 3: is not doing that. He's like, I ain't doing it.

931
00:49:45,000 --> 00:49:48,000
Speaker 3: I'm growling back, and then while they're in the house,

932
00:49:48,080 --> 00:49:49,880
Speaker 3: like she has this guest house that he's staying in,

933
00:49:50,200 --> 00:49:53,040
Speaker 3: and this is where they discover that they've both been

934
00:49:53,080 --> 00:49:57,279
Speaker 3: struck and struck by and seemed to attract lightning. So

935
00:49:57,320 --> 00:49:59,480
Speaker 3: she has a lightning scar on her face, he has

936
00:49:59,480 --> 00:50:02,160
Speaker 3: one in his car, and he's just kind of living there.

937
00:50:02,160 --> 00:50:03,960
Speaker 3: And then he goes off into the woods one night

938
00:50:04,000 --> 00:50:09,400
Speaker 3: in pain. And then we see him later feeding maggots

939
00:50:09,920 --> 00:50:13,239
Speaker 3: to something that is in a cardboard box that he

940
00:50:13,320 --> 00:50:16,440
Speaker 3: keeps in the refrigerator, and you're like, all right, the

941
00:50:16,480 --> 00:50:17,400
Speaker 3: mystery is deepening.

942
00:50:17,440 --> 00:50:20,360
Speaker 2: Who is this guy? And why again, why the maggots?

943
00:50:20,480 --> 00:50:23,239
Speaker 3: Why there's so many bugs, so many different bugs in

944
00:50:23,239 --> 00:50:23,760
Speaker 3: those woods?

945
00:50:25,640 --> 00:50:26,600
Speaker 2: Why the magots?

946
00:50:28,480 --> 00:50:34,440
Speaker 1: Well, and this and then again sort of slowly revealing

947
00:50:34,920 --> 00:50:38,960
Speaker 1: what is like who these people are exactly? Yeah, I

948
00:50:39,040 --> 00:50:44,120
Speaker 1: was sitting here going like, Okay, it's clear that he

949
00:50:45,000 --> 00:50:49,960
Speaker 1: is like something like she has sort of entered into

950
00:50:50,000 --> 00:50:54,440
Speaker 1: this maybe like polite society, right, and he seems to

951
00:50:54,520 --> 00:50:59,160
Speaker 1: be of the mind that like I'm staying true to

952
00:50:59,680 --> 00:51:04,839
Speaker 1: who like this is my roofs? Baby, I fuck with maggots.

953
00:51:05,000 --> 00:51:08,080
Speaker 1: You don't because you're all fancy doing all the fancy

954
00:51:08,120 --> 00:51:11,640
Speaker 1: shit with all these other like humans, but like you know,

955
00:51:12,160 --> 00:51:15,120
Speaker 1: I'm keeping it real. And there was that moment Rose

956
00:51:15,160 --> 00:51:20,000
Speaker 1: like keeping it real equals eating maggots.

957
00:51:20,640 --> 00:51:22,080
Speaker 2: Yeah, in this fantasy world.

958
00:51:22,160 --> 00:51:25,040
Speaker 3: He's like, you eat lingen berries, and I refuse to

959
00:51:25,120 --> 00:51:31,120
Speaker 3: fuck with a fucking lingenberry. He has never been to Ikea.

960
00:51:31,560 --> 00:51:38,560
Speaker 3: He has never flat packed in his fucking life. He

961
00:51:38,560 --> 00:51:40,640
Speaker 3: does not know what an alan wrench looks like.

962
00:51:41,600 --> 00:51:44,400
Speaker 1: Yeah, and it's like it goes back to too, Like

963
00:51:45,320 --> 00:51:47,840
Speaker 1: I just kept seeing this guy is like the ultimate

964
00:51:47,960 --> 00:51:50,520
Speaker 1: fucking hipster, right because he was basically just like Yo,

965
00:51:50,600 --> 00:51:53,040
Speaker 1: I keep it real, like I don't have a home.

966
00:51:53,360 --> 00:51:58,480
Speaker 1: I travel all the time. I eat literal trash and bugs,

967
00:51:59,200 --> 00:52:01,080
Speaker 1: and this is me. I'm just keeping it real. I'm

968
00:52:01,120 --> 00:52:04,319
Speaker 1: just fucking keeping it real. Oh good, and this your

969
00:52:04,440 --> 00:52:07,280
Speaker 1: woman's like, God, I'm wrapped up with this fucking loser.

970
00:52:10,360 --> 00:52:12,680
Speaker 3: What is making me laugh about this is that this

971
00:52:12,760 --> 00:52:15,200
Speaker 3: is such a clear trauma response to you watching this

972
00:52:15,239 --> 00:52:17,239
Speaker 3: movie where you're like, he's just a hipster. He's just

973
00:52:17,280 --> 00:52:20,360
Speaker 3: a hipster. He's not eating maggots. I'm not seeing what

974
00:52:20,400 --> 00:52:20,920
Speaker 3: I'm seeing.

975
00:52:22,920 --> 00:52:26,320
Speaker 1: I know. It's like being filtered through like my twenties

976
00:52:26,320 --> 00:52:31,839
Speaker 1: and thirties of like dating like terrible men. I'm like, oh,

977
00:52:31,920 --> 00:52:34,440
Speaker 1: I have a job and this guy just collects maggots

978
00:52:34,440 --> 00:52:37,480
Speaker 1: all day. Okay, but I guess this is the only

979
00:52:37,520 --> 00:52:39,719
Speaker 1: way I'm able to process what I'm seeing, which is

980
00:52:39,760 --> 00:52:44,120
Speaker 1: completely unbelievable. By the way, Oh good, it's incredible.

981
00:52:44,360 --> 00:52:48,240
Speaker 3: I'm like, yeah, I traumatize Millie with this bill, yes, Jesus.

982
00:52:49,520 --> 00:52:51,160
Speaker 3: She's like, Nope, I'm not seeing any of this. I'm

983
00:52:51,200 --> 00:52:55,120
Speaker 3: just seeing Eddie Vedder eating a fucking bug. That's what

984
00:52:55,160 --> 00:52:58,960
Speaker 3: I'm telling my therapist. And then like, five years down

985
00:52:59,000 --> 00:53:00,160
Speaker 3: the road is gonna be like a.

986
00:53:00,160 --> 00:53:01,960
Speaker 2: Breakthrough moment of like it.

987
00:53:01,840 --> 00:53:09,120
Speaker 1: Was this fucking dude, he was not a hipster at all. Good.

988
00:53:10,200 --> 00:53:13,560
Speaker 3: Well, Tina's having a similar response and h But then

989
00:53:13,600 --> 00:53:17,359
Speaker 3: it rains one night. So it rains and they're kind

990
00:53:17,400 --> 00:53:23,040
Speaker 3: of huddled together and after, you know, because it's lightning

991
00:53:23,040 --> 00:53:24,960
Speaker 3: and thunder, and they're both really scared because again they

992
00:53:24,960 --> 00:53:31,520
Speaker 3: seem to attract lightning. She's kicked Roland out. She's definitely like,

993
00:53:32,160 --> 00:53:36,160
Speaker 3: you got stuffucking go. So they're there together and then

994
00:53:36,280 --> 00:53:39,120
Speaker 3: after the rain they go out for a walk and

995
00:53:39,760 --> 00:53:45,720
Speaker 3: we get to a sex scene that is so wild,

996
00:53:46,200 --> 00:53:48,360
Speaker 3: but for not there. I think it's wild for a

997
00:53:48,360 --> 00:53:50,520
Speaker 3: certain reason. I know you probably think it's well for

998
00:53:50,560 --> 00:53:52,960
Speaker 3: a totally different reason, because you texted me about this.

999
00:53:53,880 --> 00:53:54,680
Speaker 2: I'm going to read you.

1000
00:53:54,640 --> 00:53:57,680
Speaker 3: A little something that I found on Ebert dot com

1001
00:53:58,040 --> 00:53:59,239
Speaker 3: by Simon Abrams.

1002
00:53:59,239 --> 00:54:02,239
Speaker 2: And Simon Abrams seems to.

1003
00:54:02,200 --> 00:54:04,920
Speaker 3: Have been as disturbed by this movie as you are,

1004
00:54:06,040 --> 00:54:08,960
Speaker 3: and he says Tina and Vora's sex scene is a

1005
00:54:08,960 --> 00:54:13,160
Speaker 3: bit much, to put it mildly. He previously identified as

1006
00:54:13,160 --> 00:54:16,680
Speaker 3: a trans or intersex character pretty early on, when Tina's

1007
00:54:16,680 --> 00:54:19,080
Speaker 3: colleague Strip searched him and discover that Vora has a

1008
00:54:19,120 --> 00:54:22,040
Speaker 3: vagina instead of a penis. But when Tina and Vora

1009
00:54:22,080 --> 00:54:25,680
Speaker 3: have sex, the scene isn't just indelicate about his transidentity,

1010
00:54:25,719 --> 00:54:30,840
Speaker 3: it's disappointingly cavalier and insensitive. I'm pretty sure I get

1011
00:54:30,880 --> 00:54:33,080
Speaker 3: what a BOSSI and his colleagues are trying to do

1012
00:54:33,520 --> 00:54:38,160
Speaker 3: acknowledge how Tina feels about herself, while also not patronizing

1013
00:54:38,200 --> 00:54:42,120
Speaker 3: her character by making Tina seem any less ugly than

1014
00:54:42,160 --> 00:54:42,720
Speaker 3: she feels.

1015
00:54:43,800 --> 00:54:44,520
Speaker 2: Here's what's up.

1016
00:54:44,600 --> 00:54:48,279
Speaker 3: I disagree with Simon Abrams on this. I don't think

1017
00:54:48,320 --> 00:54:52,400
Speaker 3: that Vora identified as anything this is a fantasy realm. Yeah,

1018
00:54:52,480 --> 00:54:56,040
Speaker 3: I think that was him kind of projecting, And I

1019
00:54:56,080 --> 00:54:59,919
Speaker 3: think we don't need this many academic words to disco

1020
00:55:01,080 --> 00:55:05,839
Speaker 3: what is essentially a scene that is very animalistic, like

1021
00:55:06,080 --> 00:55:10,960
Speaker 3: drooling and snarling, and it is a fantasy world, so

1022
00:55:11,000 --> 00:55:11,960
Speaker 3: it doesn't really play.

1023
00:55:11,840 --> 00:55:13,480
Speaker 1: By the rules of the modern world.

1024
00:55:13,520 --> 00:55:15,400
Speaker 3: And part of me wishes that the writer and director

1025
00:55:15,480 --> 00:55:19,160
Speaker 3: focused on explaining this part more so that we wouldn't

1026
00:55:19,200 --> 00:55:21,920
Speaker 3: have these kinds of misinterpretations about it. But I actually

1027
00:55:21,960 --> 00:55:23,960
Speaker 3: think they did a pretty good job of showing and

1028
00:55:24,040 --> 00:55:27,960
Speaker 3: not telling what the rules of this world are, because basically,

1029
00:55:28,520 --> 00:55:34,000
Speaker 3: when Tina is aroused, a protrusion emerges that she has

1030
00:55:34,160 --> 00:55:38,839
Speaker 3: always considered a deformity in her own words, And I

1031
00:55:38,960 --> 00:55:43,759
Speaker 3: just think that, like, they are truly just pawing at

1032
00:55:43,760 --> 00:55:47,360
Speaker 3: each other and going at it in the woods on

1033
00:55:47,440 --> 00:55:50,160
Speaker 3: like a mossy ground, And isn't it beautiful when people

1034
00:55:50,200 --> 00:55:56,359
Speaker 3: find each other like that? I just think it's it's

1035
00:55:56,360 --> 00:55:59,279
Speaker 3: just a weirdly beautiful scene to me, because I'm like, Oh,

1036
00:55:59,360 --> 00:56:05,600
Speaker 3: she's never head the ability to be fully herself and

1037
00:56:05,640 --> 00:56:09,799
Speaker 3: fully free, and I don't know, I think it's really

1038
00:56:09,840 --> 00:56:14,000
Speaker 3: cool that she did, But it's also such a graphic

1039
00:56:14,960 --> 00:56:20,160
Speaker 3: scene and it is truly disturbing in so many ways.

1040
00:56:21,440 --> 00:56:24,720
Speaker 1: That is the center of how I felt this entire

1041
00:56:24,760 --> 00:56:31,440
Speaker 1: film is that there is a beautiful love story in

1042
00:56:31,480 --> 00:56:37,759
Speaker 1: this film between two people who are othered by quote

1043
00:56:37,840 --> 00:56:42,600
Speaker 1: unquote normal society. Right. They have anxieties about the way

1044
00:56:42,640 --> 00:56:45,320
Speaker 1: that they look and how they behave and their bodies

1045
00:56:45,400 --> 00:56:49,920
Speaker 1: like all of us do, right, And there is something

1046
00:56:51,239 --> 00:56:57,880
Speaker 1: beautiful about somebody who is in a vulnerable moment in

1047
00:56:57,920 --> 00:57:04,600
Speaker 1: an intimate sexual situation being like, here's like me, you know,

1048
00:57:05,080 --> 00:57:07,759
Speaker 1: and I hope that you're not freaked out by that, right,

1049
00:57:08,000 --> 00:57:10,960
Speaker 1: and somebody saying I'm not, by the way, I'm not

1050
00:57:10,960 --> 00:57:13,040
Speaker 1: going to be like that to me is like one

1051
00:57:13,040 --> 00:57:19,160
Speaker 1: of the most beautiful tender experiences right in an intimate situation.

1052
00:57:19,240 --> 00:57:21,960
Speaker 1: And then like in that part of it to me

1053
00:57:22,960 --> 00:57:26,200
Speaker 1: was wonderful, Like I thought, oh my god, like this

1054
00:57:26,320 --> 00:57:31,080
Speaker 1: is like you know, for this film, for this fantasy world, right,

1055
00:57:31,200 --> 00:57:35,760
Speaker 1: like that moment is very universal in a way.

1056
00:57:35,720 --> 00:57:35,919
Speaker 2: Yeah.

1057
00:57:35,960 --> 00:57:39,600
Speaker 1: But then when I think the problem was that I

1058
00:57:39,920 --> 00:57:44,520
Speaker 1: just had like they just showed the thing, right, and

1059
00:57:44,560 --> 00:57:47,880
Speaker 1: then it just was so not what I was expecting

1060
00:57:48,160 --> 00:57:51,720
Speaker 1: at all. And then just like the thought experiment of it,

1061
00:57:51,800 --> 00:57:53,640
Speaker 1: like the thought experiment of what they showed.

1062
00:57:53,680 --> 00:57:59,360
Speaker 3: I was like, oh, fuck, Like, okay, because it's not

1063
00:57:59,480 --> 00:58:04,040
Speaker 3: a dick, like, it's not it's not a human penis,

1064
00:58:04,480 --> 00:58:08,000
Speaker 3: I'll say that, which is why I disagree with with

1065
00:58:08,120 --> 00:58:10,360
Speaker 3: Simon Abrams about how this is about like a trans

1066
00:58:10,440 --> 00:58:15,280
Speaker 3: or intersex character. Yeah, because they are very pointedly not

1067
00:58:15,560 --> 00:58:19,720
Speaker 3: making their genitals human in any way.

1068
00:58:20,480 --> 00:58:22,640
Speaker 1: Right, Yeah, because I wanted to ask you about that too,

1069
00:58:22,680 --> 00:58:24,919
Speaker 1: because I was like, yeah, I don't think I saw

1070
00:58:25,120 --> 00:58:29,480
Speaker 1: I saw these characters like that either. I definitely said, oh,

1071
00:58:29,520 --> 00:58:32,200
Speaker 1: this is like a fantasy realm. All bets are off,

1072
00:58:32,440 --> 00:58:35,560
Speaker 1: like they're just kind of making up what these characters are.

1073
00:58:36,160 --> 00:58:38,200
Speaker 1: Do they even have gender? Like do you know what

1074
00:58:38,240 --> 00:58:38,480
Speaker 1: I mean?

1075
00:58:38,520 --> 00:58:41,200
Speaker 3: It's that kind of thing, yes, right, yeah, exactly exactly.

1076
00:58:41,240 --> 00:58:44,040
Speaker 3: And that's again not to dismiss the fact that it

1077
00:58:44,120 --> 00:58:46,440
Speaker 3: could have been that could have been a narrative, but

1078
00:58:47,640 --> 00:58:50,320
Speaker 3: the director and writers never expressed that, so I don't

1079
00:58:50,360 --> 00:58:51,880
Speaker 3: That's why I kind of said before I wish they

1080
00:58:51,920 --> 00:58:55,640
Speaker 3: either had explained it more, yeah, or done a little

1081
00:58:55,640 --> 00:58:58,439
Speaker 3: bit more mining of this the rules of this world

1082
00:58:58,520 --> 00:59:00,840
Speaker 3: to explain it, because I don't think that it's you know,

1083
00:59:00,880 --> 00:59:02,680
Speaker 3: I don't want to be dismissive of it if some

1084
00:59:02,720 --> 00:59:05,160
Speaker 3: people are seeing that in the film, but I just didn't.

1085
00:59:05,280 --> 00:59:06,000
Speaker 2: I really didn't.

1086
00:59:06,480 --> 00:59:11,280
Speaker 3: And part of it is that the protrusion that Tina

1087
00:59:11,360 --> 00:59:17,160
Speaker 3: has it looks like the like the pistol of a flower. Yes,

1088
00:59:18,480 --> 00:59:20,480
Speaker 3: you know, like it's not even it's not dick like

1089
00:59:20,600 --> 00:59:24,880
Speaker 3: at all in the way that we would classify it

1090
00:59:24,920 --> 00:59:25,400
Speaker 3: as a dick.

1091
00:59:26,800 --> 00:59:27,960
Speaker 2: It's just like a little thin.

1092
00:59:28,280 --> 00:59:31,120
Speaker 3: The way Millie texted it to me, She's like, basically,

1093
00:59:31,200 --> 00:59:36,360
Speaker 3: am I looking at a skinny dick mushroom? And I'm like, yeah,

1094
00:59:36,440 --> 00:59:38,680
Speaker 3: you kind of are, like, that's it looks like the

1095
00:59:38,720 --> 00:59:40,040
Speaker 3: pistol of a flower to me.

1096
00:59:41,000 --> 00:59:42,600
Speaker 1: Oh my god, how my mom is not listening to

1097
00:59:42,600 --> 00:59:45,600
Speaker 1: this episode, you know she is, oh my god, Mom,

1098
00:59:47,320 --> 00:59:47,960
Speaker 1: Oh my god.

1099
00:59:48,120 --> 00:59:52,720
Speaker 3: But it's true, like it doesn't look penile in the

1100
00:59:52,800 --> 00:59:55,440
Speaker 3: human sense. So that adds to me the ads in

1101
00:59:55,520 --> 00:59:58,400
Speaker 3: the mystery of what are the rules of this world?

1102
00:59:58,480 --> 01:00:01,800
Speaker 2: How do people connect? And how beautiful it.

1103
01:00:01,760 --> 01:00:03,760
Speaker 3: Is that she could discover because the feeling I got

1104
01:00:03,800 --> 01:00:08,200
Speaker 3: when watching this was also that Tina had genuinely never

1105
01:00:08,280 --> 01:00:12,440
Speaker 3: let herself get that aroused before, so she saw it

1106
01:00:12,440 --> 01:00:14,720
Speaker 3: as a deformity. It might have happened once or twice,

1107
01:00:15,400 --> 01:00:17,840
Speaker 3: and it seems like she has done everything in her

1108
01:00:17,960 --> 01:00:21,880
Speaker 3: power to never get that aroused again and never feel

1109
01:00:21,920 --> 01:00:23,240
Speaker 3: that in touch with herself again.

1110
01:00:24,040 --> 01:00:28,360
Speaker 2: So yeah, it's very very animalistic.

1111
01:00:28,400 --> 01:00:32,720
Speaker 3: And after they have sex, she kind of says to

1112
01:00:32,720 --> 01:00:37,200
Speaker 3: to Vora, like what am I and he straight up says,

1113
01:00:37,600 --> 01:00:38,440
Speaker 3: you are a troll.

1114
01:00:38,800 --> 01:00:40,600
Speaker 2: We're trolls now.

1115
01:00:40,760 --> 01:00:45,000
Speaker 3: Trolls are very prominent in Scandinavian culture and folklore, you know,

1116
01:00:45,280 --> 01:00:48,960
Speaker 3: especially in Norwegian and there are Icelandic trolls.

1117
01:00:49,160 --> 01:00:50,240
Speaker 2: They're specific to the.

1118
01:00:50,200 --> 01:00:54,280
Speaker 3: Region and in Sweden, and they're kind of like supernatural

1119
01:00:54,400 --> 01:01:01,400
Speaker 3: humans in these folklore ways. But they also like like

1120
01:01:01,480 --> 01:01:05,040
Speaker 3: they stole babies and swapped them with human babies. And

1121
01:01:05,160 --> 01:01:10,120
Speaker 3: Vora kind of explains that later about what these changelings are,

1122
01:01:10,560 --> 01:01:13,440
Speaker 3: and he tells her there's like a nomadic community of

1123
01:01:14,080 --> 01:01:17,280
Speaker 3: trolls in Finland, and you know, that's where they should

1124
01:01:17,320 --> 01:01:19,720
Speaker 3: go because they can live the way they were supposed

1125
01:01:19,760 --> 01:01:23,240
Speaker 3: to live. So he rocks her world because he's like,

1126
01:01:23,280 --> 01:01:25,920
Speaker 3: we are trolls, and she's like, what the fuck I know?

1127
01:01:26,360 --> 01:01:28,000
Speaker 1: And it was at this moment where I stopped the

1128
01:01:28,000 --> 01:01:30,439
Speaker 1: film and I went on the Wikipedia hole. I thought,

1129
01:01:30,440 --> 01:01:33,400
Speaker 1: I was like, do I not know what trolls actually are?

1130
01:01:33,440 --> 01:01:37,280
Speaker 1: Like I'm like, I'm I doubt that I know what

1131
01:01:37,400 --> 01:01:41,040
Speaker 1: an actual troll is, right, because all I know is

1132
01:01:41,120 --> 01:01:45,600
Speaker 1: troll the film Control two the film, but it's a

1133
01:01:45,680 --> 01:01:47,680
Speaker 1: thing where I was like, oh, I had to go

1134
01:01:47,720 --> 01:01:51,080
Speaker 1: back and read all about that, sort of like historical,

1135
01:01:52,960 --> 01:01:56,200
Speaker 1: you know, the depictions of it within mythology and stuff

1136
01:01:56,240 --> 01:01:58,960
Speaker 1: like that. And then I actually read because the part

1137
01:01:59,000 --> 01:02:03,160
Speaker 1: where they were afraid of the lightning and they were

1138
01:02:03,240 --> 01:02:06,280
Speaker 1: hiding under the table, I thought was so like I

1139
01:02:06,360 --> 01:02:08,600
Speaker 1: felt so bad for them in that moment. I was like,

1140
01:02:08,640 --> 01:02:10,680
Speaker 1: despite the fact that, you know, whatever I thought about

1141
01:02:10,720 --> 01:02:13,240
Speaker 1: this movie before, I'm like, oh, I actually feel bad

1142
01:02:13,240 --> 01:02:16,120
Speaker 1: for them, Like they're completely freaked out by lightning. And

1143
01:02:16,760 --> 01:02:21,480
Speaker 1: then I read like, you know, basically like certain trolls

1144
01:02:21,560 --> 01:02:23,959
Speaker 1: are afraid of lightning, so that was kind of part

1145
01:02:24,000 --> 01:02:27,120
Speaker 1: of the mythology of that, you know, that creature or whatever.

1146
01:02:27,160 --> 01:02:30,200
Speaker 1: And I was like, oh, that's interesting, but yeah.

1147
01:02:29,960 --> 01:02:32,160
Speaker 3: Yeah, And that's what this film does so well is

1148
01:02:32,200 --> 01:02:35,040
Speaker 3: that they take these things that were part of folklore

1149
01:02:35,160 --> 01:02:36,760
Speaker 3: and just kind of say, well, what if, like what

1150
01:02:36,800 --> 01:02:37,640
Speaker 3: if they weren't folklore.

1151
01:02:37,680 --> 01:02:39,000
Speaker 2: What if it was part of our real world.

1152
01:02:39,720 --> 01:02:42,280
Speaker 3: Yeah, And I think that's what to me heightens the

1153
01:02:42,320 --> 01:02:45,360
Speaker 3: film and takes it out of that purely human realm

1154
01:02:45,920 --> 01:02:48,080
Speaker 3: because and let me tell you, Tina is like, I

1155
01:02:48,720 --> 01:02:51,800
Speaker 3: don't know what you're talking about, because she has truly

1156
01:02:51,840 --> 01:02:55,640
Speaker 3: been raised by humans who think she was humans, that

1157
01:02:55,720 --> 01:02:57,400
Speaker 3: she was a human with a chromosome flaw.

1158
01:02:57,800 --> 01:02:58,440
Speaker 1: Wow. Yeah.

1159
01:02:59,560 --> 01:03:02,640
Speaker 3: So and this also, this scene, you know, this kind

1160
01:03:02,680 --> 01:03:07,840
Speaker 3: of this kind of post sexual scene, reveals a really

1161
01:03:07,880 --> 01:03:11,240
Speaker 3: fundamental difference between the two of them. So Vora basically

1162
01:03:11,240 --> 01:03:15,200
Speaker 3: thinks that humans deserve vengeance and that it is coming

1163
01:03:15,880 --> 01:03:21,960
Speaker 3: that they have abused and killed this froll culture and

1164
01:03:22,000 --> 01:03:25,560
Speaker 3: they deserve what's coming to them. And he says, and

1165
01:03:25,640 --> 01:03:29,200
Speaker 3: I quote, humans are parasites. The human race is a disease.

1166
01:03:29,640 --> 01:03:31,840
Speaker 3: And to prove it, because she's like, nah, humans aren't

1167
01:03:31,880 --> 01:03:34,120
Speaker 3: that bad. But to prove it, he points out that

1168
01:03:34,240 --> 01:03:37,200
Speaker 3: her father has been lying to her for her entire

1169
01:03:37,760 --> 01:03:41,040
Speaker 3: life about who she is. And it leads her to

1170
01:03:41,080 --> 01:03:46,760
Speaker 3: confront her father in a very beautifully intense scene. But

1171
01:03:46,920 --> 01:03:50,200
Speaker 3: she wants to know who she is, and it also

1172
01:03:50,320 --> 01:03:53,400
Speaker 3: leads her to some personal freedom, like you know, when

1173
01:03:53,400 --> 01:03:55,200
Speaker 3: she kicks out Rolan and she says, I don't want

1174
01:03:55,240 --> 01:03:59,080
Speaker 3: to live like I did before. But then she also

1175
01:03:59,080 --> 01:04:01,920
Speaker 3: looks at the box in Vora's fridge and it's a

1176
01:04:01,960 --> 01:04:02,800
Speaker 3: fucking baby.

1177
01:04:03,520 --> 01:04:08,400
Speaker 1: Yes, yes, this is where the movie starts to take

1178
01:04:08,440 --> 01:04:08,920
Speaker 1: a turn.

1179
01:04:10,960 --> 01:04:14,960
Speaker 3: This is where shit gets real and we are connecting

1180
01:04:15,080 --> 01:04:18,640
Speaker 3: dots that I did not expect to connect, and we're

1181
01:04:18,640 --> 01:04:21,160
Speaker 3: looking at this little baby in a fucking box that's

1182
01:04:21,200 --> 01:04:25,040
Speaker 3: eating maggots, and Vora is like, it's not actually a baby,

1183
01:04:25,080 --> 01:04:29,680
Speaker 3: it's an unfertilized egg. It's a heat seat. And he's like,

1184
01:04:29,760 --> 01:04:32,160
Speaker 3: I drop them all the time, Like I drop these

1185
01:04:32,280 --> 01:04:35,480
Speaker 3: baby look in unfertilized eggs all the time. And this

1186
01:04:35,560 --> 01:04:38,480
Speaker 3: is just how cavalier dudes would be about childbirth if

1187
01:04:38,520 --> 01:04:41,040
Speaker 3: they could fucking do it. They're like, yeah, I just

1188
01:04:41,120 --> 01:04:43,960
Speaker 3: dropped a baby nine months blah blah blah, but you know,

1189
01:04:44,760 --> 01:04:46,400
Speaker 3: I just dropped one. So he's like, yeah, I just

1190
01:04:46,440 --> 01:04:49,560
Speaker 3: drop these fucking eggs all the time, and they don't

1191
01:04:49,600 --> 01:04:53,200
Speaker 3: feel anything, and they only eat bugs, sleep, and then

1192
01:04:53,400 --> 01:04:55,480
Speaker 3: die if they're not turned into changelings.

1193
01:04:56,400 --> 01:04:59,640
Speaker 1: Oh wait, so explain to me if you can. I

1194
01:04:59,640 --> 01:05:02,320
Speaker 1: don't know even can. I don't want to put you

1195
01:05:02,400 --> 01:05:05,080
Speaker 1: on the spot. Tell me about a change link, because

1196
01:05:05,120 --> 01:05:07,680
Speaker 1: I was like very confused about what those were.

1197
01:05:08,640 --> 01:05:10,800
Speaker 3: Yeah, I had to look it up myself and I

1198
01:05:10,840 --> 01:05:13,600
Speaker 3: had to try to do some some research. But essentially

1199
01:05:13,640 --> 01:05:18,640
Speaker 3: a changeling is it's like a baby, a human baby

1200
01:05:18,680 --> 01:05:21,560
Speaker 3: that has been merged with a troll baby as a

1201
01:05:21,640 --> 01:05:24,280
Speaker 3: way to keep the troll population.

1202
01:05:25,280 --> 01:05:25,640
Speaker 2: Alive.

1203
01:05:26,200 --> 01:05:29,680
Speaker 3: Okay, So there's some kind of magic witchery stuff that happens,

1204
01:05:29,680 --> 01:05:33,320
Speaker 3: I guess, and that merges these two things. The unfertilized

1205
01:05:33,360 --> 01:05:38,360
Speaker 3: egg now has like consciousness and a human form and

1206
01:05:38,400 --> 01:05:42,160
Speaker 3: it won't die, okay, And the human baby is like

1207
01:05:42,840 --> 01:05:48,280
Speaker 3: peace out, like you've taken over and I'm gone, which

1208
01:05:48,320 --> 01:05:51,200
Speaker 3: we do see later in the film, you know. And

1209
01:05:51,280 --> 01:05:55,280
Speaker 3: again spoilers. Spoilers are ahead, so if you do not

1210
01:05:55,360 --> 01:05:58,600
Speaker 3: want this movie spoiled, please fast forward.

1211
01:05:58,320 --> 01:05:59,040
Speaker 2: Like five minutes.

1212
01:05:59,320 --> 01:06:00,280
Speaker 1: Oh my god.

1213
01:06:00,360 --> 01:06:04,320
Speaker 3: But the neighbor that Tina helps to the hospital when

1214
01:06:04,360 --> 01:06:07,680
Speaker 3: she's preged, when she's in labor, they're friendly with Tina,

1215
01:06:07,720 --> 01:06:09,200
Speaker 3: and so she goes and sees the baby and they

1216
01:06:09,200 --> 01:06:12,120
Speaker 3: bring the baby over, and when Vora is living there,

1217
01:06:12,200 --> 01:06:17,800
Speaker 3: he sees the baby and towards the end of the film,

1218
01:06:19,040 --> 01:06:21,560
Speaker 3: Tina goes over to visit and the parents because there's

1219
01:06:21,600 --> 01:06:24,240
Speaker 3: like an ambulance in the driveway and the parents are

1220
01:06:24,240 --> 01:06:27,840
Speaker 3: freaking out. And what has essentially happened is that Vora

1221
01:06:27,880 --> 01:06:31,640
Speaker 3: has taken his unfertilized egg and merged it with that baby.

1222
01:06:32,000 --> 01:06:35,480
Speaker 3: So the baby has like very white or cloudy eyes

1223
01:06:35,760 --> 01:06:37,880
Speaker 3: and spots on its face and his nose is kind

1224
01:06:37,880 --> 01:06:40,920
Speaker 3: of deformed. And the mother says like, I just went

1225
01:06:41,000 --> 01:06:44,520
Speaker 3: to check the mail. I don't know what happened, and

1226
01:06:44,560 --> 01:06:47,760
Speaker 3: so we know what happens, and Tina knows what happened,

1227
01:06:48,480 --> 01:06:50,280
Speaker 3: and that to me is like, so that baby is

1228
01:06:50,320 --> 01:06:51,720
Speaker 3: now like what a changeling is?

1229
01:06:51,760 --> 01:06:52,160
Speaker 2: I think?

1230
01:06:52,680 --> 01:06:55,120
Speaker 3: Okay, And if I got that wrong, if there's any

1231
01:06:55,200 --> 01:06:59,800
Speaker 3: scholars of Scandinavian mythology, please let us know.

1232
01:07:00,400 --> 01:07:03,640
Speaker 2: Yes, but that's what I interpreted is happening.

1233
01:07:04,040 --> 01:07:06,440
Speaker 1: Okay, Yeah, because I gotta tell you, when he first

1234
01:07:06,440 --> 01:07:09,840
Speaker 1: sees the baby, like the neighbor's baby, he's really he's like,

1235
01:07:09,920 --> 01:07:13,560
Speaker 1: oh hey, what's up, wow, little meaning like yeah, it

1236
01:07:13,640 --> 01:07:18,480
Speaker 1: is like Jim Morrison swag. He's like, yeah, howdorable. So

1237
01:07:18,640 --> 01:07:22,800
Speaker 1: I was like, oh, now we know why he was

1238
01:07:22,840 --> 01:07:26,560
Speaker 1: acting such so cool around this baby. Is because he's

1239
01:07:27,440 --> 01:07:31,600
Speaker 1: he's got skin in the game, I guess exactly.

1240
01:07:31,680 --> 01:07:33,200
Speaker 2: He's like, I'm gonna swap these babies.

1241
01:07:33,800 --> 01:07:35,800
Speaker 1: Yeah, I'm not gonna.

1242
01:07:35,600 --> 01:07:38,360
Speaker 3: Being cool for no reason. I'm just gonna straight up

1243
01:07:38,400 --> 01:07:40,760
Speaker 3: swap your baby with a his seat.

1244
01:07:41,320 --> 01:07:41,840
Speaker 1: Oh my god.

1245
01:07:41,920 --> 01:07:43,960
Speaker 3: And he does this because he says like this is

1246
01:07:44,000 --> 01:07:50,320
Speaker 3: a way that he is teaching humans a lesson. And

1247
01:07:50,600 --> 01:07:53,360
Speaker 3: the big reveal, which again, if you do not want

1248
01:07:53,360 --> 01:07:56,280
Speaker 3: this spoiled, please fast forward a few minutes. The big

1249
01:07:56,320 --> 01:08:00,120
Speaker 3: reveal is that this also very strangely ties into to

1250
01:08:00,720 --> 01:08:06,080
Speaker 3: the child pornography storyline. Right, So, the child pornographers have

1251
01:08:06,160 --> 01:08:10,080
Speaker 3: been caught with the help of Tina, and we see

1252
01:08:10,080 --> 01:08:12,840
Speaker 3: a scene where one of them, the guy, is in

1253
01:08:12,840 --> 01:08:16,360
Speaker 3: the back of a policeman being taken away. They stop

1254
01:08:16,400 --> 01:08:19,080
Speaker 3: because there's a moose in the road, and then something

1255
01:08:19,280 --> 01:08:23,760
Speaker 3: comes out of the woods and drags this man out

1256
01:08:23,760 --> 01:08:26,479
Speaker 3: of the car and smashes his head on the ground

1257
01:08:26,479 --> 01:08:29,880
Speaker 3: and kills him. And it's Voor. We know it who

1258
01:08:29,880 --> 01:08:31,680
Speaker 3: it is, like, it's not ever revealed, but we know

1259
01:08:31,720 --> 01:08:36,240
Speaker 3: who it is. And he has done this because apparently

1260
01:08:36,600 --> 01:08:41,800
Speaker 3: he has been selling his seats to child pornographers, and

1261
01:08:43,479 --> 01:08:45,920
Speaker 3: that is how he makes a living and it is

1262
01:08:45,960 --> 01:08:50,160
Speaker 3: so fucking disturbing. That storyline rocks me to my.

1263
01:08:50,160 --> 01:08:51,400
Speaker 2: Core, Like I hate it.

1264
01:08:53,160 --> 01:08:55,720
Speaker 1: Yeah, I mean, I gotta be honest, Like it was

1265
01:08:55,760 --> 01:08:57,679
Speaker 1: that moment where I was like, Okay, this has taken

1266
01:08:57,760 --> 01:09:04,280
Speaker 1: a turn that I don't know, I don't know what

1267
01:09:04,360 --> 01:09:07,800
Speaker 1: I think. I mean, it's it's just gotten disturbing. Like

1268
01:09:08,040 --> 01:09:11,120
Speaker 1: you know, I mean I could sit here and look

1269
01:09:11,160 --> 01:09:12,880
Speaker 1: at the front part of the film and be like, oh,

1270
01:09:12,880 --> 01:09:15,519
Speaker 1: this is just like a very tender love story about

1271
01:09:15,520 --> 01:09:18,280
Speaker 1: two people who are like finding each other and their differences,

1272
01:09:18,600 --> 01:09:21,640
Speaker 1: and then it just becomes this, like you know, that

1273
01:09:21,840 --> 01:09:25,760
Speaker 1: part of it was like wow, Okay, this is like yeah,

1274
01:09:26,000 --> 01:09:28,559
Speaker 1: kind of shaken me, you know what I mean. Like

1275
01:09:28,600 --> 01:09:32,439
Speaker 1: the shookness comes a lot from this part of the

1276
01:09:32,479 --> 01:09:34,560
Speaker 1: movie completely.

1277
01:09:35,000 --> 01:09:38,400
Speaker 3: It is completely even when they like first catch the

1278
01:09:38,400 --> 01:09:40,439
Speaker 3: guy in the airport, I'm like, oh, fuck man, Like

1279
01:09:40,479 --> 01:09:43,000
Speaker 3: I don't want to deal with child. I don't watch

1280
01:09:43,080 --> 01:09:45,120
Speaker 3: Law and Order SVU for this reason, Like there are

1281
01:09:45,160 --> 01:09:48,240
Speaker 3: just some things I can't handle, yes, and this is

1282
01:09:48,280 --> 01:09:51,839
Speaker 3: one of them. And so it's a very strange connection

1283
01:09:51,960 --> 01:09:55,040
Speaker 3: because again he has told us that these unfertilized eggs

1284
01:09:55,120 --> 01:09:58,960
Speaker 3: don't feel anything, and they're not human, but the fact

1285
01:09:58,960 --> 01:10:01,559
Speaker 3: that he sells them on as if they are human

1286
01:10:01,760 --> 01:10:05,160
Speaker 3: to child pornographers is just something I cannot abide.

1287
01:10:06,640 --> 01:10:08,960
Speaker 1: Yeah, it kind of made me think did it have

1288
01:10:09,080 --> 01:10:11,360
Speaker 1: to go that far in that way? Like I was

1289
01:10:11,439 --> 01:10:14,280
Speaker 1: just like, Okay, we understand that, you know, as a

1290
01:10:14,360 --> 01:10:18,680
Speaker 1: narrative structure, like this woman meets this mysterious guy and

1291
01:10:18,760 --> 01:10:21,160
Speaker 1: he's you know, encouraging her to be kind of her

1292
01:10:21,360 --> 01:10:24,800
Speaker 1: full self in this way, like except the fact that

1293
01:10:24,880 --> 01:10:28,840
Speaker 1: she's you know, this creature and that they can like

1294
01:10:28,920 --> 01:10:33,639
Speaker 1: live a pure existence in that way. But then he

1295
01:10:33,760 --> 01:10:35,600
Speaker 1: turns out to be a little bit more of a

1296
01:10:35,640 --> 01:10:40,200
Speaker 1: shady character. But then he just becomes the ultimate shady

1297
01:10:40,320 --> 01:10:43,840
Speaker 1: character by involving himself in that part of it. Like

1298
01:10:43,920 --> 01:10:46,840
Speaker 1: if he was just making changelings or whatever, then that's

1299
01:10:46,880 --> 01:10:49,519
Speaker 1: one thing. But then they just tumbled into this whole

1300
01:10:49,560 --> 01:10:51,439
Speaker 1: like child pornography thing, and I was kind of like, Okay,

1301
01:10:51,479 --> 01:10:51,840
Speaker 1: this is.

1302
01:10:51,800 --> 01:10:57,920
Speaker 3: Like too dark, too dark, too dark for sure, But

1303
01:10:58,439 --> 01:11:00,439
Speaker 3: I will say that's not where the movie ends.

1304
01:11:00,520 --> 01:11:01,960
Speaker 2: It's just where it gets dark.

1305
01:11:02,400 --> 01:11:05,559
Speaker 3: Yes, the movie actually ends with a baby in a

1306
01:11:05,560 --> 01:11:09,439
Speaker 3: stunt beard a little little unfrozen cave man lawyer baby

1307
01:11:09,479 --> 01:11:15,280
Speaker 3: in a stunt beard and it kind of makes everything agay.

1308
01:11:15,360 --> 01:11:15,840
Speaker 2: No it doesn't.

1309
01:11:15,880 --> 01:11:18,519
Speaker 3: It does not make everything okay, but it at least

1310
01:11:18,560 --> 01:11:21,679
Speaker 3: lets you leave the theater feeling like, I'm not ending

1311
01:11:21,720 --> 01:11:25,360
Speaker 3: on a child pornography. Note. I've got a baby in

1312
01:11:25,400 --> 01:11:30,160
Speaker 3: a stunt beard and back hair, the baby hair, that

1313
01:11:30,240 --> 01:11:35,439
Speaker 3: baby head. You could braid that baby's back hair. It

1314
01:11:35,520 --> 01:11:38,479
Speaker 3: had a tail, it had a stunt beard.

1315
01:11:39,280 --> 01:11:45,720
Speaker 1: So you're so this baby is now a baby troll effectively, right?

1316
01:11:45,840 --> 01:11:48,719
Speaker 1: Is that what they're suggesting that basically it's gone from

1317
01:11:49,000 --> 01:11:52,439
Speaker 1: this kind of like middle changeling stage to like a

1318
01:11:52,479 --> 01:11:56,639
Speaker 1: fully formed baby troll. He's the back hair and the beard.

1319
01:11:57,280 --> 01:12:01,320
Speaker 3: Because Laura, after escaping the police, has gone to Finland

1320
01:12:01,640 --> 01:12:06,120
Speaker 3: essentially and sensor this postcard and a baby, and it's

1321
01:12:06,240 --> 01:12:08,720
Speaker 3: like here, like this shit's cool.

1322
01:12:08,760 --> 01:12:11,160
Speaker 2: Here, you can just have a troll baby and everything's fine.

1323
01:12:12,240 --> 01:12:14,200
Speaker 3: So he sends her He could have just sent the postcard,

1324
01:12:14,200 --> 01:12:16,439
Speaker 3: but he sent the baby to like compound the like

1325
01:12:16,520 --> 01:12:20,840
Speaker 3: Finland's great, and that's I think what he was What

1326
01:12:20,880 --> 01:12:23,720
Speaker 3: he was telegraphing is like, if you moved here, we

1327
01:12:23,800 --> 01:12:26,680
Speaker 3: could have the life we're meant to have. But if

1328
01:12:26,680 --> 01:12:28,439
Speaker 3: you stay where you are. At least now you have

1329
01:12:28,479 --> 01:12:29,479
Speaker 3: this cool troll baby.

1330
01:12:30,760 --> 01:12:36,679
Speaker 1: Wow. God, I mean I was sort of like going

1331
01:12:36,760 --> 01:12:40,439
Speaker 1: back to how I processed the trauma of watching this movie,

1332
01:12:41,000 --> 01:12:44,400
Speaker 1: being like, just like a fucking dude to like drop

1333
01:12:44,479 --> 01:12:49,040
Speaker 1: in a present that's this huge responsibility. I'm like you,

1334
01:12:49,280 --> 01:12:51,759
Speaker 1: it's like when your boyfriend thinks you want a dog

1335
01:12:51,840 --> 01:12:55,120
Speaker 1: and then just shows up with a dog on He's like, hey,

1336
01:12:55,200 --> 01:12:57,479
Speaker 1: got us a dog, and you're like, oh great, Now

1337
01:12:57,520 --> 01:13:01,040
Speaker 1: I have this responsibility for the next fifteen years, and

1338
01:13:01,080 --> 01:13:03,960
Speaker 1: you just thought it was some whimsical fucking present.

1339
01:13:07,000 --> 01:13:08,920
Speaker 3: Like there's no guarantee that we're gonna be together for

1340
01:13:08,920 --> 01:13:10,720
Speaker 3: fifteen years. But now I am with this dog for

1341
01:13:10,720 --> 01:13:14,400
Speaker 3: fifteen years straight out. This is a bold movement in.

1342
01:13:14,320 --> 01:13:18,000
Speaker 1: Your whimsical moment. Now I have to raise a troll baby. Go.

1343
01:13:18,720 --> 01:13:22,759
Speaker 3: Now I gotta learn how do I fucking comb back hair.

1344
01:13:24,040 --> 01:13:25,240
Speaker 2: Without hurting this baby.

1345
01:13:26,160 --> 01:13:29,080
Speaker 3: I gotta like brush his fucking body from his forehead

1346
01:13:29,080 --> 01:13:30,439
Speaker 3: all the way down to his ass.

1347
01:13:32,479 --> 01:13:34,519
Speaker 2: That is gonna take some time. There's not enough how

1348
01:13:34,520 --> 01:13:37,200
Speaker 2: do I get to Johnson's baby shampoo needed.

1349
01:13:38,880 --> 01:13:40,720
Speaker 3: To fucking keep But that's but again, this is the

1350
01:13:40,760 --> 01:13:43,000
Speaker 3: beautiful thing like you kind of feel like this baby

1351
01:13:43,000 --> 01:13:44,400
Speaker 3: traveled from Finland.

1352
01:13:44,000 --> 01:13:46,400
Speaker 2: In a fucking box and it was fine.

1353
01:13:46,720 --> 01:13:48,120
Speaker 1: She just had it was like a box with some

1354
01:13:48,200 --> 01:13:54,120
Speaker 1: air holes, just snarfling, snarfling his way to another country.

1355
01:13:54,600 --> 01:13:56,880
Speaker 2: And then he eats a cricket and he's cool.

1356
01:13:57,000 --> 01:13:58,839
Speaker 3: So you're like, all right, this is a low maintenance

1357
01:13:58,920 --> 01:14:01,519
Speaker 3: bearded baby.

1358
01:14:02,439 --> 01:14:05,080
Speaker 1: I just have to know, just out of fucking I

1359
01:14:05,280 --> 01:14:09,280
Speaker 1: have to know was this a real baby that they

1360
01:14:09,400 --> 01:14:14,919
Speaker 1: spirit gummed back hair and a beard? Two whose baby

1361
01:14:15,600 --> 01:14:17,640
Speaker 1: was in the makeup chair for like three hours, being like,

1362
01:14:17,640 --> 01:14:22,000
Speaker 1: we gotta turn this literal infant into a troll somehow.

1363
01:14:22,439 --> 01:14:27,000
Speaker 2: We gotta makeup crib let's flip them over in time

1364
01:14:27,040 --> 01:14:28,439
Speaker 2: to do that tail.

1365
01:14:28,760 --> 01:14:31,519
Speaker 1: I was like, if this is not the best CGI

1366
01:14:31,560 --> 01:14:34,040
Speaker 1: I've ever seen, or if this is an actual baby

1367
01:14:34,360 --> 01:14:37,920
Speaker 1: with back hair spirit gummed to?

1368
01:14:38,080 --> 01:14:40,599
Speaker 2: What say Tina and Vora.

1369
01:14:40,880 --> 01:14:45,880
Speaker 3: They had a very good prosthetics budget for the film. Yes,

1370
01:14:46,560 --> 01:14:56,680
Speaker 3: so as possible they were just spirit gum and a baby.

1371
01:14:52,760 --> 01:14:54,519
Speaker 2: Because they had the budget for it.

1372
01:14:56,880 --> 01:14:59,240
Speaker 3: They might have CGI the tail, but they had the

1373
01:14:59,280 --> 01:15:02,360
Speaker 3: budget for the little forehead and the face and everything.

1374
01:15:02,880 --> 01:15:06,640
Speaker 3: Oh my god, I want to talk to that.

1375
01:15:06,680 --> 01:15:07,040
Speaker 1: I want to.

1376
01:15:07,080 --> 01:15:08,960
Speaker 3: I want that baby and the baby who was on

1377
01:15:09,040 --> 01:15:12,640
Speaker 3: the cover of the Nirvana album to get together in

1378
01:15:12,720 --> 01:15:15,160
Speaker 3: like twenty years and be like we were those babies.

1379
01:15:18,360 --> 01:15:20,400
Speaker 1: Oh my god, Yeah, they throw in the.

1380
01:15:20,360 --> 01:15:22,720
Speaker 3: Baby with the stunt beard and I have I just

1381
01:15:22,760 --> 01:15:24,880
Speaker 3: this movie makes me think of so many questions like

1382
01:15:25,479 --> 01:15:28,280
Speaker 3: does being human mean that you have to hurt things?

1383
01:15:28,360 --> 01:15:32,040
Speaker 3: And is Tina's dad a gooder bad person? Is Tina

1384
01:15:32,080 --> 01:15:33,880
Speaker 3: a gooder a bad person? Is Vora a good or

1385
01:15:33,920 --> 01:15:37,200
Speaker 3: a bad person? Like how far do we fall when

1386
01:15:37,200 --> 01:15:41,160
Speaker 3: we deny our innate nature? But my biggest question when

1387
01:15:41,160 --> 01:15:43,200
Speaker 3: watching this film was what the fuck did I just watch?

1388
01:15:43,840 --> 01:15:49,000
Speaker 1: Oh my god, here here, my lady, Cause I again

1389
01:15:49,880 --> 01:15:52,880
Speaker 1: I I was feeling so many things when I watch

1390
01:15:52,960 --> 01:15:55,720
Speaker 1: this movie, Like I went in fucking blind. I mean

1391
01:15:55,760 --> 01:15:58,439
Speaker 1: you know that I went in blonde and had no

1392
01:15:58,520 --> 01:16:01,240
Speaker 1: idea what it was about. I didn't even look it up.

1393
01:16:01,920 --> 01:16:05,920
Speaker 1: And I was like, literally, this is the definition of

1394
01:16:05,920 --> 01:16:08,000
Speaker 1: wait what Because I was there was a moment where

1395
01:16:08,040 --> 01:16:10,400
Speaker 1: I was like, I truly said the words like I

1396
01:16:10,840 --> 01:16:13,280
Speaker 1: think it was when war was in the woods and

1397
01:16:13,320 --> 01:16:15,960
Speaker 1: he was screaming in pain, and I re winded like

1398
01:16:16,000 --> 01:16:19,679
Speaker 1: five times and I go, wait, what That phrase literally

1399
01:16:19,720 --> 01:16:20,479
Speaker 1: came out of my mouth.

1400
01:16:21,320 --> 01:16:23,640
Speaker 2: I mean that's how I felt when I watched it.

1401
01:16:24,040 --> 01:16:26,040
Speaker 3: It was not the first movie that it was the

1402
01:16:26,040 --> 01:16:28,240
Speaker 3: most prominent movie that came to mind for this theme. Like,

1403
01:16:28,240 --> 01:16:29,639
Speaker 3: I know, we ran through a list of a bunch

1404
01:16:29,680 --> 01:16:32,080
Speaker 3: of them, but I'm like, this has to be it,

1405
01:16:32,280 --> 01:16:37,360
Speaker 3: because I just I went in blind and was just

1406
01:16:37,680 --> 01:16:41,559
Speaker 3: astonished on several different levels when I left that theater.

1407
01:16:42,560 --> 01:16:46,880
Speaker 1: Well, you couldn't have picked a better film for the theme, obviously,

1408
01:16:47,439 --> 01:16:52,479
Speaker 1: And now this film has replaced Hereditary as the most

1409
01:16:53,600 --> 01:16:57,479
Speaker 1: shooketh I've been on this podcast. Thanks to you and

1410
01:16:57,560 --> 01:16:58,760
Speaker 1: your your selections.

1411
01:16:59,400 --> 01:17:01,800
Speaker 3: I'm gonna say, and you five get certificates for a

1412
01:17:01,840 --> 01:17:02,519
Speaker 3: therapy session.

1413
01:17:05,439 --> 01:17:07,800
Speaker 2: We will work it out.

1414
01:17:08,040 --> 01:17:10,360
Speaker 1: Had I known it was gonna be a baby eating crickets,

1415
01:17:10,439 --> 01:17:13,479
Speaker 1: I would have been like, wait a minute, there's so many,

1416
01:17:13,520 --> 01:17:16,240
Speaker 1: so many things. But but you know what, what what

1417
01:17:16,400 --> 01:17:19,960
Speaker 1: are movies if not to challenge us? I guess, oh,

1418
01:17:20,120 --> 01:17:23,879
Speaker 1: spa challenge literally every thought I've ever had about anything.

1419
01:17:24,640 --> 01:17:27,519
Speaker 2: Speaking of uh, we got your film still to discuss.

1420
01:17:27,840 --> 01:17:32,240
Speaker 1: Well, listen, this is the this is this movie is

1421
01:17:32,280 --> 01:17:34,519
Speaker 1: a walk in the fucking park compared to what we

1422
01:17:34,680 --> 01:17:38,400
Speaker 1: just talked about shit, I was like, oh, you just

1423
01:17:38,400 --> 01:17:42,679
Speaker 1: got like weird seventies movies after this? Okay, they really

1424
01:17:42,680 --> 01:17:45,240
Speaker 1: did make me think that too, Like after I watched

1425
01:17:45,240 --> 01:17:48,360
Speaker 1: your film, I was like, every movie that I ever

1426
01:17:48,400 --> 01:17:54,200
Speaker 1: thought was weird has been replaced, Like like people making

1427
01:17:54,360 --> 01:17:57,840
Speaker 1: weird outsider art in the seventies were basically making like

1428
01:17:58,000 --> 01:18:03,320
Speaker 1: children's programming compared to what they do now. Thank you

1429
01:18:03,400 --> 01:18:13,720
Speaker 1: A twenty four and Neon specifically fuck good Well, okay,

1430
01:18:13,320 --> 01:18:18,400
Speaker 1: so my selection for the theme wait, what is a

1431
01:18:18,400 --> 01:18:21,960
Speaker 1: movie from nineteen seventy four. It was produced, written, and

1432
01:18:22,080 --> 01:18:25,519
Speaker 1: directed by John Borman, and it's called Zardas.

1433
01:18:26,040 --> 01:18:30,000
Speaker 4: Who came here in the stone Head? I don't know

1434
01:18:31,320 --> 01:18:34,360
Speaker 4: it is the only path and passage into the vortex.

1435
01:18:35,560 --> 01:18:37,360
Speaker 4: You will show me how you come to be here?

1436
01:18:38,520 --> 01:18:40,479
Speaker 3: I right off the bet. I need to know a

1437
01:18:40,600 --> 01:18:42,200
Speaker 3: lot about John Borman.

1438
01:18:42,560 --> 01:18:45,280
Speaker 1: Oh God, well, you know John Borman, the director. We've

1439
01:18:45,280 --> 01:18:48,040
Speaker 1: talked about him before because when we talked about Deliverance,

1440
01:18:48,040 --> 01:18:54,519
Speaker 1: he directed Deliverance and zard Oz was the movie that

1441
01:18:54,560 --> 01:18:58,640
Speaker 1: he directed right after Deliverance, And not for nothing, I

1442
01:18:58,640 --> 01:19:02,720
Speaker 1: gotta say this. He after Zardov's he directed Exorcist to

1443
01:19:03,520 --> 01:19:08,840
Speaker 1: the heretic and what a fucking run if you ask me,

1444
01:19:09,120 --> 01:19:12,000
Speaker 1: it's like Deliverance, Zardo's Exorcist too, which, by the way,

1445
01:19:12,040 --> 01:19:16,080
Speaker 1: if you've not seen Extorses too, why wait watch it now.

1446
01:19:16,160 --> 01:19:20,360
Speaker 1: I'm sure it's playing on to be or Pluto or something.

1447
01:19:20,400 --> 01:19:23,080
Speaker 1: It's like hilariously.

1448
01:19:23,200 --> 01:19:25,759
Speaker 2: Terrible, but run.

1449
01:19:27,040 --> 01:19:32,919
Speaker 1: And he had a lot of success with Deliverance. Obviously,

1450
01:19:32,920 --> 01:19:35,720
Speaker 1: it was a smash hit changed the culture forever, as

1451
01:19:35,720 --> 01:19:41,600
Speaker 1: we discussed on that episode. But Zardoz came about because

1452
01:19:42,439 --> 01:19:46,360
Speaker 1: he had planned to do like the first kind of

1453
01:19:46,400 --> 01:19:48,400
Speaker 1: like film adaptation of Lord of the Rings.

1454
01:19:49,720 --> 01:19:52,360
Speaker 2: And wait, what that's what this is supposed to be.

1455
01:19:53,479 --> 01:19:57,439
Speaker 1: Well, it's basically his like, well, the studio won't let

1456
01:19:57,479 --> 01:20:00,360
Speaker 1: me adapt Lord of the Rings right now, so I

1457
01:20:00,400 --> 01:20:04,040
Speaker 1: still want to write a weird movie about a strange universe.

1458
01:20:04,040 --> 01:20:06,280
Speaker 1: So I guess I'll just do this movie called sart Oz.

1459
01:20:07,280 --> 01:20:11,559
Speaker 1: So he admits, like I've seen him in interviews, admit

1460
01:20:11,640 --> 01:20:15,920
Speaker 1: that sart Oz is a little self indulgent, okay.

1461
01:20:16,720 --> 01:20:19,520
Speaker 2: Understatement of the century.

1462
01:20:20,320 --> 01:20:24,559
Speaker 1: Yeah, and like, but you know, I guess to his credit,

1463
01:20:24,600 --> 01:20:26,559
Speaker 1: I mean, he had just come on, he had just

1464
01:20:26,600 --> 01:20:28,880
Speaker 1: come off of the big success of Deliverance, and I

1465
01:20:28,880 --> 01:20:32,400
Speaker 1: guess was Hollywood was like, you get to do whatever

1466
01:20:32,400 --> 01:20:35,080
Speaker 1: you want. You made a really popular movie, and so

1467
01:20:35,160 --> 01:20:38,200
Speaker 1: now you get to do your zart Os thing, which

1468
01:20:38,240 --> 01:20:42,560
Speaker 1: I think is kind of unbelievable, and and that's I

1469
01:20:42,600 --> 01:20:44,880
Speaker 1: think part of what this movie is for me is

1470
01:20:44,920 --> 01:20:48,479
Speaker 1: just sort of like the audacity of it, which I'll

1471
01:20:48,520 --> 01:20:52,200
Speaker 1: get into in just a second, but I will say this,

1472
01:20:52,280 --> 01:20:56,479
Speaker 1: I have seen this movie maybe three four times in

1473
01:20:56,520 --> 01:20:59,720
Speaker 1: my over the course of my entire life. I have

1474
01:20:59,800 --> 01:21:02,280
Speaker 1: pro this movie at film festivals and now on TV,

1475
01:21:02,600 --> 01:21:08,040
Speaker 1: and despite all of that, I'm still not entirely sure

1476
01:21:08,160 --> 01:21:09,639
Speaker 1: what it's about totally.

1477
01:21:12,120 --> 01:21:16,680
Speaker 3: So I just I have to drop in here and

1478
01:21:16,680 --> 01:21:20,080
Speaker 3: say that I have never done acid, but I have

1479
01:21:20,160 --> 01:21:22,080
Speaker 3: seen Zardas and I want to put that on a

1480
01:21:22,080 --> 01:21:24,400
Speaker 3: T shirt. Yeah, because I feel the same fucking way.

1481
01:21:24,400 --> 01:21:26,519
Speaker 3: It doesn't matter how how often you see it in

1482
01:21:26,560 --> 01:21:29,479
Speaker 3: what context, you will never know what's going on.

1483
01:21:29,760 --> 01:21:31,320
Speaker 1: Oh my god. And I got to tell you the

1484
01:21:31,360 --> 01:21:33,320
Speaker 1: first time I ever watched it, which I think was

1485
01:21:33,360 --> 01:21:35,840
Speaker 1: like I think I was probably like twenty three years

1486
01:21:35,880 --> 01:21:38,200
Speaker 1: old or something like that, I basically threw a fucking

1487
01:21:38,320 --> 01:21:42,120
Speaker 1: tantrum because I was pissed that I didn't get it,

1488
01:21:42,600 --> 01:21:45,760
Speaker 1: and then I thought, oh, they're trying to trick me intentionally.

1489
01:21:46,360 --> 01:21:50,519
Speaker 1: Do you try to make me feel stupid? Which the

1490
01:21:50,640 --> 01:21:54,280
Speaker 1: aries in me jumped out in that moment. I how good,

1491
01:21:54,640 --> 01:22:01,519
Speaker 1: but I was pissed. So like unlike other episodes, you know,

1492
01:22:02,960 --> 01:22:08,560
Speaker 1: we try to do like some kind of coherent plot,

1493
01:22:08,960 --> 01:22:12,920
Speaker 1: cohesive linear structure. I'm just gonna tell you what I

1494
01:22:12,920 --> 01:22:16,599
Speaker 1: think more or less understood in this film. It's not much.

1495
01:22:16,640 --> 01:22:18,920
Speaker 1: I'll just throw that out there. It's not much, and

1496
01:22:19,000 --> 01:22:21,760
Speaker 1: I'm hoping it makes sense. Okay, I this is this

1497
01:22:21,800 --> 01:22:23,240
Speaker 1: is how I have to do it this week, and

1498
01:22:23,600 --> 01:22:28,240
Speaker 1: a one sentence synopsis would be basically impossible. So please,

1499
01:22:28,400 --> 01:22:31,280
Speaker 1: I'm just gonna tell you the gist of the film

1500
01:22:31,720 --> 01:22:34,599
Speaker 1: from what I've cobbled together over the years.

1501
01:22:34,640 --> 01:22:38,240
Speaker 3: Okay, So I applaud you for even trying to do that,

1502
01:22:38,360 --> 01:22:40,280
Speaker 3: and if you just start barking like a dog for

1503
01:22:40,320 --> 01:22:41,440
Speaker 3: the next five minutes.

1504
01:22:41,120 --> 01:22:41,599
Speaker 2: That's fine.

1505
01:22:44,960 --> 01:22:48,519
Speaker 3: Completely applaud the effort here, because wow, I couldn't do it.

1506
01:22:49,000 --> 01:22:52,800
Speaker 1: I'm gonna try. Maybe it's not it's not much, Like

1507
01:22:52,840 --> 01:22:57,160
Speaker 1: I said warning to all of you, So zard Oz,

1508
01:22:58,240 --> 01:23:02,559
Speaker 1: here's my attempt. It's the your twenty two ninety three, Okay,

1509
01:23:03,600 --> 01:23:07,240
Speaker 1: And there appears to be some sort of like post

1510
01:23:07,280 --> 01:23:12,160
Speaker 1: apocalyptic existence that sort of resembles the Dark Ages, with

1511
01:23:12,280 --> 01:23:16,479
Speaker 1: like tribes and wars and open fires and people looking

1512
01:23:16,600 --> 01:23:20,040
Speaker 1: dirty and raggedy clothes, and and I want to ask

1513
01:23:20,080 --> 01:23:23,639
Speaker 1: you right off the bat about this, because Danielle, we've

1514
01:23:23,640 --> 01:23:26,120
Speaker 1: talked about this on the podcast before, you are famously

1515
01:23:26,160 --> 01:23:29,040
Speaker 1: into science fiction, and I'm famously not as much into

1516
01:23:29,080 --> 01:23:32,600
Speaker 1: science fiction. But I want to understand this because I

1517
01:23:32,640 --> 01:23:34,960
Speaker 1: feel like a lot of sort of that science fiction

1518
01:23:35,080 --> 01:23:39,360
Speaker 1: element of like the post apocalypse or like the sort

1519
01:23:39,400 --> 01:23:43,920
Speaker 1: of like post reality as we know it is like

1520
01:23:44,280 --> 01:23:46,920
Speaker 1: the Dark Ages, Like it's like dirty and raggedy, and

1521
01:23:46,960 --> 01:23:49,000
Speaker 1: there's horses and stuff. So I want to understand that

1522
01:23:49,360 --> 01:23:52,800
Speaker 1: because I'm like, why is that? Why? Why is the

1523
01:23:52,840 --> 01:23:57,000
Speaker 1: apocalypse not beautiful and instead has to be like dark

1524
01:23:57,040 --> 01:24:02,240
Speaker 1: and dirty and people know, using the bathroom in the streets.

1525
01:24:01,840 --> 01:24:04,479
Speaker 2: And that kind of stuff. Right, It's a great question.

1526
01:24:04,640 --> 01:24:07,240
Speaker 3: And again, nerds, do not come at me, because this

1527
01:24:07,320 --> 01:24:10,679
Speaker 3: is just my opinion and my interpretation. And I think

1528
01:24:10,680 --> 01:24:14,120
Speaker 3: it's because there's there's a there's a failure of imagination

1529
01:24:14,400 --> 01:24:16,240
Speaker 3: for what the future could look like if you're looking

1530
01:24:16,320 --> 01:24:20,479
Speaker 3: at what the present is. And so the only way

1531
01:24:20,520 --> 01:24:25,400
Speaker 3: a lot of people can interpret what how to rebuild

1532
01:24:25,400 --> 01:24:28,200
Speaker 3: a society is to go back to the beginning. Okay,

1533
01:24:28,240 --> 01:24:31,559
Speaker 3: so if it's a post apocalyptic world, how do we

1534
01:24:31,560 --> 01:24:32,400
Speaker 3: rebuild after that?

1535
01:24:32,640 --> 01:24:33,160
Speaker 2: You know we do?

1536
01:24:33,200 --> 01:24:35,000
Speaker 3: Are we using elements of the world that we know

1537
01:24:35,840 --> 01:24:38,559
Speaker 3: and just making them a little more cosmic?

1538
01:24:38,800 --> 01:24:39,559
Speaker 2: Or are we just.

1539
01:24:39,520 --> 01:24:43,880
Speaker 3: Completely scrapping that and saying new rules, no gods, no masters,

1540
01:24:44,000 --> 01:24:48,160
Speaker 3: like we're going over the top with this. But I

1541
01:24:48,200 --> 01:24:50,839
Speaker 3: think and in this instance, in this film, it seems

1542
01:24:50,920 --> 01:24:53,000
Speaker 3: like more of the former. Like, if we're going to

1543
01:24:53,160 --> 01:24:58,880
Speaker 3: use the current landscape that we live in and it's now,

1544
01:24:59,040 --> 01:25:01,400
Speaker 3: you know, so many years in the future, as twenty

1545
01:25:01,439 --> 01:25:04,240
Speaker 3: two ninety three, what does that world look like if

1546
01:25:04,280 --> 01:25:06,760
Speaker 3: we maintain elements of what humanity used to be?

1547
01:25:07,479 --> 01:25:09,880
Speaker 1: Right? And you know, part of it is that, I mean,

1548
01:25:10,560 --> 01:25:16,559
Speaker 1: this film was shot in Ireland, right, And so I'm like, okay, Well, so,

1549
01:25:16,760 --> 01:25:20,840
Speaker 1: like as a as a British director, he probably has

1550
01:25:20,880 --> 01:25:24,000
Speaker 1: a lot of working knowledge about like feudalism and like

1551
01:25:24,120 --> 01:25:25,640
Speaker 1: you know, the Dark Ages and all that stuff, and

1552
01:25:25,920 --> 01:25:29,040
Speaker 1: that obviously would affect sort of a story like this

1553
01:25:29,680 --> 01:25:34,439
Speaker 1: of his own damn creation, completely his own creation. So

1554
01:25:34,520 --> 01:25:36,120
Speaker 1: but I just was curious because it feels like a

1555
01:25:36,160 --> 01:25:38,840
Speaker 1: lot of science fiction kind of depends on that too,

1556
01:25:39,160 --> 01:25:41,000
Speaker 1: Like I'm like, well, if an asteroid hits the earth,

1557
01:25:41,000 --> 01:25:45,680
Speaker 1: how come the earth isn't beautiful? And uh, you know,

1558
01:25:45,800 --> 01:25:49,559
Speaker 1: and instead of being you know, with no power and

1559
01:25:49,600 --> 01:25:50,559
Speaker 1: no plumbing, but you.

1560
01:25:50,520 --> 01:25:53,120
Speaker 3: Know what well, And also I think that's that's a

1561
01:25:53,120 --> 01:25:56,800
Speaker 3: way to center the story in a way that people

1562
01:25:56,840 --> 01:26:00,000
Speaker 3: can understand, is like, this is what this world likes.

1563
01:26:00,880 --> 01:26:03,200
Speaker 3: And that sometimes is just as good as saying this

1564
01:26:03,240 --> 01:26:05,640
Speaker 3: is what this world is, yeah, because you need to

1565
01:26:05,680 --> 01:26:07,680
Speaker 3: kind of connect people to the stories of you're like,

1566
01:26:07,680 --> 01:26:09,640
Speaker 3: all right, we can't we shit in the streets or

1567
01:26:09,680 --> 01:26:12,759
Speaker 3: like we you know, we wear fucking tarps. Then people

1568
01:26:12,760 --> 01:26:15,679
Speaker 3: can understand what that is by looking at the world

1569
01:26:15,680 --> 01:26:17,000
Speaker 3: like we know what tarps are and we know that

1570
01:26:17,040 --> 01:26:19,400
Speaker 3: we don't wear them, like we know that we want

1571
01:26:19,439 --> 01:26:20,960
Speaker 3: to shit in a toilet or whatever it is, like

1572
01:26:21,000 --> 01:26:24,200
Speaker 3: they can kind of you know, connect it narratively.

1573
01:26:25,080 --> 01:26:27,120
Speaker 1: Well, thank you for explaining that a little bit to me,

1574
01:26:27,120 --> 01:26:28,640
Speaker 1: because I was just like, damn, we're back in the

1575
01:26:28,680 --> 01:26:32,400
Speaker 1: dark ages and again another science fiction thing where there's

1576
01:26:32,479 --> 01:26:37,200
Speaker 1: open fires Okay, So not that this helps the film whatsoever,

1577
01:26:37,560 --> 01:26:43,200
Speaker 1: but there is a slight prolog where it's basically a

1578
01:26:43,280 --> 01:26:48,439
Speaker 1: man's floating head and it looks like someone literally drew

1579
01:26:48,840 --> 01:26:52,519
Speaker 1: on a mustache and a goatee on his face with

1580
01:26:52,640 --> 01:26:54,519
Speaker 1: a fucking sharpie.

1581
01:26:54,800 --> 01:26:55,000
Speaker 2: Oh.

1582
01:26:55,080 --> 01:26:58,120
Speaker 3: This is like straight up Like when I saw this,

1583
01:26:58,240 --> 01:27:00,640
Speaker 3: I was like, why, why wy does this man have

1584
01:27:00,760 --> 01:27:07,840
Speaker 3: vaginal folds painted on his chin? Like someone took an

1585
01:27:07,880 --> 01:27:10,599
Speaker 3: eyeliner and an eyeliner pen and was like.

1586
01:27:10,640 --> 01:27:12,000
Speaker 2: Eh, close enough.

1587
01:27:12,320 --> 01:27:14,120
Speaker 3: Yeah, I think it's gonna be my next Halloween cost

1588
01:27:14,200 --> 01:27:15,840
Speaker 3: I'm like, I'm gonna put a blue pillow case on

1589
01:27:15,880 --> 01:27:19,040
Speaker 3: my head, yes, memorize this fucking speech, and then just

1590
01:27:19,120 --> 01:27:20,800
Speaker 3: paint a fucking vagina on my chin.

1591
01:27:21,280 --> 01:27:23,840
Speaker 1: Yes. And in the speech, by the way, it'll be

1592
01:27:24,000 --> 01:27:25,479
Speaker 1: very easy for you. All you have to do is

1593
01:27:25,520 --> 01:27:28,599
Speaker 1: just this big theatrical British accent and just say something

1594
01:27:28,640 --> 01:27:31,640
Speaker 1: about like how I can't die and it sucks. Like

1595
01:27:31,680 --> 01:27:34,479
Speaker 1: that's basically what he says. It's just like I can't die.

1596
01:27:35,160 --> 01:27:40,120
Speaker 1: It sucks, by the way, And I'm like, okay, thank

1597
01:27:40,160 --> 01:27:43,639
Speaker 1: you for that again, thanks so much. Does it help much?

1598
01:27:43,720 --> 01:27:46,439
Speaker 1: Not really, because you cut to the actual start of

1599
01:27:46,520 --> 01:27:50,320
Speaker 1: Zarda's where it seems like maybe this guy that we

1600
01:27:50,479 --> 01:27:53,160
Speaker 1: just saw, who was also named Arthur Frayne by the way,

1601
01:27:53,439 --> 01:27:57,240
Speaker 1: he's turned into this giant floating head that's made of stone,

1602
01:27:58,320 --> 01:28:02,240
Speaker 1: and it's wandering the country like this giant stone head,

1603
01:28:03,040 --> 01:28:07,920
Speaker 1: and the stonehead is named zart Oz. And you get this,

1604
01:28:08,240 --> 01:28:12,280
Speaker 1: You get the sensation that this stone head is in charge.

1605
01:28:12,360 --> 01:28:17,720
Speaker 1: It's like running everything down below. And let me just

1606
01:28:17,880 --> 01:28:24,160
Speaker 1: say this, much like Blall from Basketcase, zart Oz has

1607
01:28:24,240 --> 01:28:26,040
Speaker 1: weird ass teeth and screams a.

1608
01:28:26,040 --> 01:28:31,240
Speaker 3: Lot, homeboy, all he does is scream safe fucking talking

1609
01:28:31,320 --> 01:28:33,960
Speaker 3: on sequitors and then just spit guns and shells out

1610
01:28:33,960 --> 01:28:35,200
Speaker 3: of his fucking grip.

1611
01:28:35,920 --> 01:28:38,439
Speaker 1: Yes, the only thing I figured out is that this

1612
01:28:38,600 --> 01:28:44,880
Speaker 1: stonehead says that guns are awesome and that penises are evil, okay,

1613
01:28:45,960 --> 01:28:49,120
Speaker 1: which is like a half true statement. Basically, I'll let

1614
01:28:49,160 --> 01:28:53,280
Speaker 1: you decide which one is true. And then the head

1615
01:28:53,479 --> 01:28:57,800
Speaker 1: spits out a bunch of guns onto the people below.

1616
01:28:58,680 --> 01:29:02,280
Speaker 2: Just puking out guns. You're like, wait, John Boorman, talk

1617
01:29:02,360 --> 01:29:02,760
Speaker 2: me through this.

1618
01:29:03,439 --> 01:29:08,479
Speaker 1: Yes, these people are getting rained on with automatic rifles. So,

1619
01:29:08,880 --> 01:29:12,240
Speaker 1: as it turns out, the people I think are called

1620
01:29:12,479 --> 01:29:17,960
Speaker 1: brutals and They're all basically naked except for these like

1621
01:29:18,200 --> 01:29:22,160
Speaker 1: red fabric pieces that are being fashioned into some kind

1622
01:29:22,240 --> 01:29:24,320
Speaker 1: of underwear ensemble.

1623
01:29:25,240 --> 01:29:27,320
Speaker 2: Oh and please don't forget the thigh high boots.

1624
01:29:27,400 --> 01:29:29,479
Speaker 1: Oh yes, we'll move back to talk about the thig

1625
01:29:29,520 --> 01:29:33,439
Speaker 1: high boits right now, because here's the thing. Some of

1626
01:29:33,479 --> 01:29:39,280
Speaker 1: these brutals are also called exterminators, which I believe the

1627
01:29:39,320 --> 01:29:43,920
Speaker 1: distinction is simply that the exterminators really love guns and

1628
01:29:43,960 --> 01:29:46,320
Speaker 1: they love killing people. I think that's what the difference

1629
01:29:46,360 --> 01:29:49,240
Speaker 1: between an exterminator and a brutal was. I don't know,

1630
01:29:50,040 --> 01:29:54,360
Speaker 1: but I will say this. The lead actor of this

1631
01:29:54,479 --> 01:29:59,960
Speaker 1: film is Sean Connery, and he is one of these

1632
01:30:00,080 --> 01:30:04,679
Speaker 1: brutal exterminators. Okay, his name is Zed and we got

1633
01:30:04,680 --> 01:30:10,559
Speaker 1: to dip into this right now, thank you. Now, a

1634
01:30:10,600 --> 01:30:13,240
Speaker 1: tiny bit of background. So, at the time of making

1635
01:30:13,240 --> 01:30:16,559
Speaker 1: this film, Connery was just off the Bond franchise and

1636
01:30:16,560 --> 01:30:19,640
Speaker 1: he wasn't doing much I guess, so I guess he

1637
01:30:19,800 --> 01:30:25,439
Speaker 1: was down to appear in this outrageous fit.

1638
01:30:26,720 --> 01:30:29,360
Speaker 3: He's like, let me reset the dial on all this,

1639
01:30:29,520 --> 01:30:33,160
Speaker 3: like cool as a cucumber Bond shit by wearing the

1640
01:30:33,200 --> 01:30:35,200
Speaker 3: most intense thing I could possibly wear.

1641
01:30:36,360 --> 01:30:41,040
Speaker 1: I'm this is not hyperbole, folks. There are parts of

1642
01:30:41,080 --> 01:30:46,200
Speaker 1: this movie where Sean's nuts are barely hanging on this

1643
01:30:46,280 --> 01:30:50,720
Speaker 1: fabric like it's kind of like a tuck under. It's

1644
01:30:50,760 --> 01:30:52,960
Speaker 1: like they take the fabric and they kind of wrap

1645
01:30:53,000 --> 01:30:54,920
Speaker 1: it around his waist and then they kind of tuck

1646
01:30:55,000 --> 01:30:57,439
Speaker 1: it under the nuts, and I'm like, he's about to

1647
01:30:57,479 --> 01:30:58,080
Speaker 1: fall out of that.

1648
01:30:58,880 --> 01:31:03,200
Speaker 3: You need to swaddle the balls first, but can get

1649
01:31:03,200 --> 01:31:05,920
Speaker 3: someone in there who knows how to swaddle and start

1650
01:31:05,960 --> 01:31:08,719
Speaker 3: with the balls and then the rest is just dressing

1651
01:31:08,760 --> 01:31:10,760
Speaker 3: to keep it all together, so you don't see the.

1652
01:31:10,680 --> 01:31:15,679
Speaker 1: Balls right, And it's just he is running around. He's

1653
01:31:16,000 --> 01:31:17,200
Speaker 1: running around.

1654
01:31:17,760 --> 01:31:20,160
Speaker 3: He is trotting around like a fucking Shire horse. Like

1655
01:31:20,240 --> 01:31:23,080
Speaker 3: this man is moving and.

1656
01:31:23,000 --> 01:31:28,120
Speaker 1: This nut hammock is barely working, barely working in certain scenes.

1657
01:31:28,240 --> 01:31:31,240
Speaker 2: Okay, Plus, it's like a muslin fabric, like a like

1658
01:31:31,240 --> 01:31:34,760
Speaker 2: a linen. It's already in too lightweight for the work

1659
01:31:34,840 --> 01:31:35,640
Speaker 2: that they're two in.

1660
01:31:36,240 --> 01:31:40,200
Speaker 1: It's crazy. It's crazy how he didn't come out of it.

1661
01:31:40,760 --> 01:31:43,680
Speaker 1: But as Danielle said, he's also wearing these thigh high

1662
01:31:43,720 --> 01:31:49,759
Speaker 1: boots much like Julia Roberts and Pretty Woman, just add

1663
01:31:50,080 --> 01:31:51,919
Speaker 1: to the ridiculous of this outfit.

1664
01:31:52,160 --> 01:31:54,599
Speaker 2: Okay, and what if what a pretty woman?

1665
01:31:55,280 --> 01:32:01,040
Speaker 3: It took place in the Zardas universe, and the Julia

1666
01:32:01,160 --> 01:32:03,560
Speaker 3: Roberts character was actually a brutal extremist.

1667
01:32:05,520 --> 01:32:08,240
Speaker 2: I'm calling it right now. Pretty Woman is the sequel.

1668
01:32:07,880 --> 01:32:14,120
Speaker 1: To Zart Dollars change the Wikipedia, please someone now, and

1669
01:32:14,680 --> 01:32:17,200
Speaker 1: you know, not for nothing. Sean Connery is a fucking

1670
01:32:17,720 --> 01:32:23,040
Speaker 1: heresuit god, probably only second to Dan Hedea in Blood Simple.

1671
01:32:25,000 --> 01:32:27,120
Speaker 1: And he's also got this, like, I mean, the look

1672
01:32:27,320 --> 01:32:30,360
Speaker 1: is fucking utrageous. Okay, He's got that outfit, He's got

1673
01:32:30,360 --> 01:32:34,200
Speaker 1: the boots, he's got this long braided ponytail, and this

1674
01:32:34,320 --> 01:32:38,720
Speaker 1: like giant seventies mustache. And let me just tell you,

1675
01:32:38,800 --> 01:32:42,679
Speaker 1: he pretty much wears nothing but this look the entire movie,

1676
01:32:42,880 --> 01:32:46,320
Speaker 1: except for the scene where he wears a wedding dress.

1677
01:32:46,880 --> 01:32:54,120
Speaker 1: But that's it. Just this outfit, okay, which I'm talking

1678
01:32:54,160 --> 01:32:58,040
Speaker 1: about it so much because it is what people remember

1679
01:32:58,080 --> 01:33:03,040
Speaker 1: the most about Zardas, right absolutely, And like if you

1680
01:33:03,040 --> 01:33:05,439
Speaker 1: go to like a you know, like a comic con

1681
01:33:05,520 --> 01:33:08,759
Speaker 1: or like a convention, you will invariably see like groups

1682
01:33:08,800 --> 01:33:11,479
Speaker 1: of people dressed in these outfits. Because it's just like

1683
01:33:11,800 --> 01:33:16,200
Speaker 1: the homage to Sean Connery and zart Oz And I

1684
01:33:16,200 --> 01:33:19,719
Speaker 1: mean it's just wild. I could never wear that outfit

1685
01:33:20,160 --> 01:33:23,559
Speaker 1: for Halloween or otherwise. I'm just like not happening for me.

1686
01:33:24,040 --> 01:33:28,320
Speaker 3: Okay, I would wear it to a wedding. You should

1687
01:33:28,360 --> 01:33:29,760
Speaker 3: have a zart O's wedding, by the.

1688
01:33:29,760 --> 01:33:33,080
Speaker 1: Way, next next time you get married, think about it.

1689
01:33:34,080 --> 01:33:40,240
Speaker 3: The dress code is muslin, red shorts and thigh high boots.

1690
01:33:40,400 --> 01:33:44,200
Speaker 1: Yes, tell you those bandoliers, like those red bandoliers that

1691
01:33:44,240 --> 01:33:48,839
Speaker 1: like have giant shotgun bullets, and it's like such a look, dude,

1692
01:33:49,040 --> 01:33:53,280
Speaker 1: it would be so fit. So okay, going back to

1693
01:33:53,360 --> 01:33:55,720
Speaker 1: sort of what I have thought about in terms of

1694
01:33:55,760 --> 01:33:57,960
Speaker 1: the plot, So we figure out that z is like

1695
01:33:58,040 --> 01:34:03,280
Speaker 1: not he's not aligned with like the Zardaw's crap, and

1696
01:34:03,600 --> 01:34:05,280
Speaker 1: he is more or less, I guess, kind of like

1697
01:34:05,320 --> 01:34:07,960
Speaker 1: a freedom fighter or something. And he's trying to sneak

1698
01:34:08,000 --> 01:34:10,320
Speaker 1: into what's called the Vortex, which is this kind of

1699
01:34:10,360 --> 01:34:16,760
Speaker 1: like walled off dimension where these people called the Eternals live.

1700
01:34:18,080 --> 01:34:20,960
Speaker 1: And to me, I think the Eternals are like this.

1701
01:34:21,120 --> 01:34:24,760
Speaker 1: They look like this seventies hippie cult of all these

1702
01:34:24,760 --> 01:34:30,160
Speaker 1: like beautiful people and apparently they live forever. They're they're eternal, right,

1703
01:34:31,240 --> 01:34:34,080
Speaker 1: and they're kind of protected and encased in this like

1704
01:34:34,160 --> 01:34:39,120
Speaker 1: beautiful world, and you know, they're very much they prize intelligence.

1705
01:34:39,160 --> 01:34:41,679
Speaker 1: And then everybody else in the planet, by the way,

1706
01:34:41,760 --> 01:34:45,120
Speaker 1: like they're walled off in this fucking paradise, and then

1707
01:34:45,120 --> 01:34:47,280
Speaker 1: everybody else on the planet is just killing each other

1708
01:34:47,720 --> 01:34:52,560
Speaker 1: but also making them food, which I find very insulting.

1709
01:34:54,360 --> 01:34:56,639
Speaker 3: Oh yeah, everyone else is drugs the funk and they

1710
01:34:56,680 --> 01:34:59,960
Speaker 3: are like, can we have some more green bread?

1711
01:35:00,800 --> 01:35:03,760
Speaker 1: Yeah, We're like, we got to make these Eternals donuts

1712
01:35:04,200 --> 01:35:06,880
Speaker 1: with like the wheat that they break us off with

1713
01:35:07,080 --> 01:35:13,320
Speaker 1: once in a while. It's like bad, right. So I

1714
01:35:13,360 --> 01:35:15,960
Speaker 1: guess the one thing I will say about this movie

1715
01:35:15,960 --> 01:35:18,439
Speaker 1: that is very interesting, and John Borman actually does say

1716
01:35:18,479 --> 01:35:23,840
Speaker 1: that is this Eternals. This eternal society is matriarchal, which

1717
01:35:23,840 --> 01:35:27,559
Speaker 1: is pretty pretty tight. The heads of the the Eternals

1718
01:35:27,560 --> 01:35:30,799
Speaker 1: are these two women, May who is played by Sarah

1719
01:35:31,040 --> 01:35:34,640
Speaker 1: Kestelman and Consuela, who is played by one of my

1720
01:35:34,680 --> 01:35:40,479
Speaker 1: all time faves, Charlotte Rampling in her gorgeous self in

1721
01:35:40,520 --> 01:35:43,920
Speaker 1: the seventies. So Zeed sneaks into this vortex and he's

1722
01:35:43,960 --> 01:35:47,240
Speaker 1: eventually captured by these Eternals and needless to say, the

1723
01:35:47,280 --> 01:35:51,599
Speaker 1: Eternals are like gross, and they just start treating him

1724
01:35:51,640 --> 01:35:55,200
Speaker 1: like a slave and a lab rat. It's like, you know,

1725
01:35:59,479 --> 01:36:02,879
Speaker 1: but and they truly truly treat him like a laborat

1726
01:36:02,960 --> 01:36:06,479
Speaker 1: because they are running experiments on him. And you are

1727
01:36:06,479 --> 01:36:08,840
Speaker 1: going to think I'm joking when I say this, but

1728
01:36:08,880 --> 01:36:12,719
Speaker 1: I'm actually not. The Eternals are super interested in his boner,

1729
01:36:13,880 --> 01:36:17,120
Speaker 1: not a lie, not a joke. They want to know

1730
01:36:17,360 --> 01:36:18,639
Speaker 1: how his bone works.

1731
01:36:18,720 --> 01:36:22,080
Speaker 3: And I'm like, what, And what's interesting about that is

1732
01:36:22,080 --> 01:36:25,240
Speaker 3: that apparently the Eternals don't fuck like they're like, we

1733
01:36:25,280 --> 01:36:27,680
Speaker 3: have not seen a boner because it has been like

1734
01:36:27,800 --> 01:36:32,799
Speaker 3: bred out of us somehow. Yes, so we're very interested

1735
01:36:32,840 --> 01:36:35,479
Speaker 3: in what actually makes you aroused. And I'm like, these

1736
01:36:35,520 --> 01:36:38,320
Speaker 3: are people who keep their they keep their plants in

1737
01:36:38,360 --> 01:36:40,599
Speaker 3: like butt shaped plastic domes.

1738
01:36:40,640 --> 01:36:43,960
Speaker 2: So that's how you know it's the future. Yes, so

1739
01:36:44,000 --> 01:36:44,880
Speaker 2: they're all about like.

1740
01:36:44,840 --> 01:36:50,360
Speaker 3: An anatomical approach, but they don't understand boners at all.

1741
01:36:51,160 --> 01:36:55,120
Speaker 1: And it's it's like these scenes, this scene in particular

1742
01:36:55,240 --> 01:36:58,280
Speaker 1: is so dumb. It's like everybody's like, you know, spread

1743
01:36:58,280 --> 01:37:03,360
Speaker 1: across this like room where like they're showing actual porn

1744
01:37:04,280 --> 01:37:09,080
Speaker 1: and stuff and they're like, what's the subject doing nothing?

1745
01:37:09,360 --> 01:37:11,919
Speaker 1: He's not interested in a woman who is just literally

1746
01:37:11,960 --> 01:37:16,200
Speaker 1: soaping her boobs. It's also the kind.

1747
01:37:16,000 --> 01:37:20,280
Speaker 3: Of movie that survives because of all the horny teenage

1748
01:37:20,280 --> 01:37:24,120
Speaker 3: boys in the seventies, Like, there's fucking boobs in it, we.

1749
01:37:24,080 --> 01:37:27,880
Speaker 1: Don't care what. Yeah, there's two women mud wrestling in

1750
01:37:28,040 --> 01:37:34,920
Speaker 1: that hot Oh my gods. And the joke eventually is

1751
01:37:34,960 --> 01:37:38,880
Speaker 1: that Zed feels nothing of what he's shown, but the

1752
01:37:38,880 --> 01:37:42,439
Speaker 1: only time he pops one is when Consuela is looking

1753
01:37:42,479 --> 01:37:46,720
Speaker 1: at him, So it's kind of like, oh, Zed wants Consuela,

1754
01:37:46,840 --> 01:37:51,519
Speaker 1: isn't that hilarious? Uh? And she hates him of course

1755
01:37:51,720 --> 01:37:56,120
Speaker 1: for now. So then there's this other guy. His name

1756
01:37:56,200 --> 01:38:01,839
Speaker 1: is actually just friend uh, and he's played by John Alderton.

1757
01:38:02,280 --> 01:38:04,519
Speaker 1: He looks kind of like a cross between like David

1758
01:38:04,600 --> 01:38:10,559
Speaker 1: Hemmings and Roger Daltrey. And he's like the sassy dude

1759
01:38:10,760 --> 01:38:13,080
Speaker 1: of the Eternals who kind of takes Ze around, and

1760
01:38:13,120 --> 01:38:14,840
Speaker 1: he's given him kind of the lay of the lend,

1761
01:38:15,520 --> 01:38:16,439
Speaker 1: the lay of the lens.

1762
01:38:16,479 --> 01:38:20,080
Speaker 3: What did I say of the land?

1763
01:38:22,360 --> 01:38:24,200
Speaker 1: I don't know why I said it that way. He

1764
01:38:24,240 --> 01:38:28,760
Speaker 1: just watched dos Yes, sorry about that. That was a

1765
01:38:28,760 --> 01:38:33,400
Speaker 1: total total slip. I slipped into a Irish accent or something.

1766
01:38:33,400 --> 01:38:37,080
Speaker 1: But anyway, so yeah, so he gives him the lay

1767
01:38:37,080 --> 01:38:40,880
Speaker 1: of the land, okay, and friend ends up being cast

1768
01:38:40,880 --> 01:38:44,080
Speaker 1: out and send to this like old folks home or

1769
01:38:44,120 --> 01:38:48,960
Speaker 1: something that apparently is is the punishment for being a

1770
01:38:49,000 --> 01:38:53,720
Speaker 1: bad eternal. It means that you you are aged a

1771
01:38:53,800 --> 01:38:56,760
Speaker 1: certain amount of years, but you actually never die because

1772
01:38:56,760 --> 01:38:59,040
Speaker 1: you're an eternal. So instead you just get sent to

1773
01:38:59,080 --> 01:39:02,280
Speaker 1: this weird house that looks like the nineteen twenties party

1774
01:39:02,280 --> 01:39:04,360
Speaker 1: from the Shining. Everyone's just like waltzing.

1775
01:39:05,360 --> 01:39:08,280
Speaker 2: I don't understand, and they all have sinility.

1776
01:39:08,439 --> 01:39:10,679
Speaker 3: That's that's part of the punishment, is like you're your

1777
01:39:10,760 --> 01:39:12,440
Speaker 3: aged and your senile.

1778
01:39:13,320 --> 01:39:17,800
Speaker 1: Yeah. It is very strange. And there's this other like

1779
01:39:17,960 --> 01:39:21,160
Speaker 1: faction of eternals that are also I think they're called

1780
01:39:21,240 --> 01:39:23,920
Speaker 1: the Apathetics or something like that, and they just are

1781
01:39:23,960 --> 01:39:27,839
Speaker 1: like getting bread thrown in their faces and not doing anything,

1782
01:39:28,040 --> 01:39:31,599
Speaker 1: like they're just like uh duh. And I don't know

1783
01:39:31,640 --> 01:39:32,559
Speaker 1: what that's all about.

1784
01:39:33,320 --> 01:39:36,439
Speaker 3: There's I interpreted that as like they're so bored with

1785
01:39:36,479 --> 01:39:39,000
Speaker 3: being alive that they just don't want to do anything.

1786
01:39:39,640 --> 01:39:42,200
Speaker 1: Yeah, and I but I don't understand the distinction like

1787
01:39:42,200 --> 01:39:44,880
Speaker 1: like between like who gets to live in the main

1788
01:39:44,960 --> 01:39:47,599
Speaker 1: house with like all the hot hippies and then who

1789
01:39:47,640 --> 01:39:49,599
Speaker 1: gets sent to the old folks home and who gets

1790
01:39:49,640 --> 01:39:52,400
Speaker 1: sent to the bread face zone or whatever. It's like,

1791
01:39:52,439 --> 01:39:54,280
Speaker 1: I don't understand again, And.

1792
01:39:54,320 --> 01:39:56,760
Speaker 3: I also don't know where do the people who are

1793
01:39:56,880 --> 01:40:02,040
Speaker 3: voguing in the tree live, Like what house do they

1794
01:40:02,080 --> 01:40:05,760
Speaker 3: belong to? It?

1795
01:40:06,880 --> 01:40:09,880
Speaker 1: There's a lot of questions. Obviously this movie is beguiling

1796
01:40:09,960 --> 01:40:11,800
Speaker 1: for a reason, so that's all we could figure out.

1797
01:40:11,840 --> 01:40:14,680
Speaker 1: And then the rest of the movie is essentially Z

1798
01:40:16,120 --> 01:40:18,920
Speaker 1: starts just turning everybody on in this world with his

1799
01:40:19,040 --> 01:40:21,760
Speaker 1: nutthuggers and his disco chests and all that stuff, and

1800
01:40:21,800 --> 01:40:25,400
Speaker 1: then he eventually stages some kind of revolution among the

1801
01:40:25,400 --> 01:40:31,920
Speaker 1: eternals that somehow related to the Wizard of Oz. I'm like, oh,

1802
01:40:32,000 --> 01:40:34,679
Speaker 1: the Wizard of Oz has now entered the fucking chat.

1803
01:40:34,760 --> 01:40:45,240
Speaker 1: I had no idea like why entered the jet. So

1804
01:40:46,360 --> 01:40:49,040
Speaker 1: I'm sorry, folks. That is all I can really tell

1805
01:40:49,120 --> 01:40:54,479
Speaker 1: you about this film. Really, that's it. And I'm gonna

1806
01:40:54,479 --> 01:40:56,320
Speaker 1: say this so, like I said, I've seen this movie

1807
01:40:56,320 --> 01:40:59,080
Speaker 1: a lot in the over the course of my life.

1808
01:40:59,240 --> 01:41:02,439
Speaker 1: Still still can't tell you more than what I've just

1809
01:41:02,479 --> 01:41:05,080
Speaker 1: told you. And really I like to call this movie

1810
01:41:05,120 --> 01:41:11,800
Speaker 1: an unwatchable masterpiece, and it's just what that means. It's

1811
01:41:11,840 --> 01:41:16,040
Speaker 1: like I'm in awe of what this movie is trying

1812
01:41:16,120 --> 01:41:20,320
Speaker 1: to do. Maybe especially when again you consider how weird

1813
01:41:20,760 --> 01:41:23,840
Speaker 1: this movie is and that was made for a major

1814
01:41:23,880 --> 01:41:26,920
Speaker 1: Hollywood studio. I mean that is, like, you know, pretty

1815
01:41:26,920 --> 01:41:32,519
Speaker 1: impressive for me anyway. But I do think it's a

1816
01:41:32,520 --> 01:41:36,240
Speaker 1: hard to follow a movie. It feels like a lot

1817
01:41:37,000 --> 01:41:41,840
Speaker 1: of information is being thrown at you at all times,

1818
01:41:42,360 --> 01:41:44,080
Speaker 1: and it kind of goes back to what we were

1819
01:41:44,080 --> 01:41:46,880
Speaker 1: talking about with your film. I mean, it's like you're

1820
01:41:46,920 --> 01:41:49,800
Speaker 1: just trying to understand like the world you're in. You're

1821
01:41:49,800 --> 01:41:52,719
Speaker 1: trying to understand like who people are, what people do,

1822
01:41:53,120 --> 01:41:58,000
Speaker 1: how they function in this fantasy universe. And I can

1823
01:41:58,080 --> 01:42:00,400
Speaker 1: never figure this out, Like I'm like, yo, it's twenty

1824
01:42:00,400 --> 01:42:05,240
Speaker 1: two ninety three, but because like there's just so much

1825
01:42:05,280 --> 01:42:07,760
Speaker 1: crazy shit going on, Like they will establish something as

1826
01:42:07,800 --> 01:42:10,479
Speaker 1: being a thing, and then then the next scene something

1827
01:42:10,640 --> 01:42:13,840
Speaker 1: random happens, which, as it turns out, is a foundational

1828
01:42:13,920 --> 01:42:17,439
Speaker 1: piece of information that's crucial to the story, and you're like, what,

1829
01:42:18,560 --> 01:42:20,040
Speaker 1: like I have to rewind this again.

1830
01:42:20,360 --> 01:42:24,120
Speaker 3: What but they breeze over something like the apathetics.

1831
01:42:24,560 --> 01:42:27,920
Speaker 1: Yes, and why are they making out of each other?

1832
01:42:27,960 --> 01:42:31,719
Speaker 1: They're like licking this guy they lick at one point

1833
01:42:31,720 --> 01:42:35,000
Speaker 1: they lick Sean Connery and then they're just like and

1834
01:42:35,040 --> 01:42:37,320
Speaker 1: then they transfer the licks to each other. I'm like,

1835
01:42:37,360 --> 01:42:38,240
Speaker 1: what does this mean?

1836
01:42:39,600 --> 01:42:39,760
Speaker 2: There?

1837
01:42:39,920 --> 01:42:42,720
Speaker 3: This this movie suffers from a little something I like

1838
01:42:42,800 --> 01:42:48,439
Speaker 3: to call too many ideas. Yes, pull a few of

1839
01:42:48,439 --> 01:42:49,960
Speaker 3: those out save for another film.

1840
01:42:50,720 --> 01:42:54,200
Speaker 1: One hundred percent they're and that's I think what I

1841
01:42:54,200 --> 01:42:59,240
Speaker 1: think is maybe why it has persisted over the years.

1842
01:42:59,240 --> 01:43:04,080
Speaker 1: Besides the Nu Huggers, besides Sean Connery's look, and uh,

1843
01:43:04,240 --> 01:43:05,960
Speaker 1: you know some other stuff. But it's just like, you know,

1844
01:43:06,080 --> 01:43:08,400
Speaker 1: it is that thing where you're like, wow, imagine somebody

1845
01:43:08,400 --> 01:43:10,559
Speaker 1: who just had so many ideas at once and then

1846
01:43:10,600 --> 01:43:13,000
Speaker 1: they just put it in a movie and you're like, oh,

1847
01:43:13,120 --> 01:43:17,000
Speaker 1: like he tried it, he tried it, Like we gotta

1848
01:43:17,000 --> 01:43:21,160
Speaker 1: give him credit for that, right. But I will also

1849
01:43:21,200 --> 01:43:23,880
Speaker 1: say this, like having like if you can compart if

1850
01:43:23,920 --> 01:43:26,560
Speaker 1: you can compartmentalize this a little bit, there's actually a

1851
01:43:26,600 --> 01:43:29,680
Speaker 1: lot of like funny and absurd moments that happen that

1852
01:43:29,800 --> 01:43:32,040
Speaker 1: will make you legit laugh. I mean it is like

1853
01:43:32,160 --> 01:43:36,800
Speaker 1: so outrageous. The partner Sean Connery's in the library, He's

1854
01:43:36,840 --> 01:43:40,760
Speaker 1: like throwing books and he's like no, I'm like, that

1855
01:43:40,880 --> 01:43:44,960
Speaker 1: is so weird and dumb, like so weird. And I

1856
01:43:45,040 --> 01:43:46,160
Speaker 1: gotta say it's also a.

1857
01:43:46,080 --> 01:43:48,439
Speaker 3: Baller move to be like, I just made one of

1858
01:43:48,479 --> 01:43:51,919
Speaker 3: the biggest grossing films of this year, possibly this decade,

1859
01:43:52,120 --> 01:43:54,679
Speaker 3: like I have carte blanche to do whatever I want.

1860
01:43:55,080 --> 01:43:56,280
Speaker 2: I'm doing this weird shit.

1861
01:43:56,640 --> 01:44:00,000
Speaker 1: Yeah, no, exactly exactly. And it's if you think about

1862
01:44:00,200 --> 01:44:03,120
Speaker 1: in like a historical context too, it is on par

1863
01:44:03,240 --> 01:44:05,439
Speaker 1: with a lot of like weird, kind of off the

1864
01:44:05,479 --> 01:44:08,600
Speaker 1: cuff filmmaking that you saw in like the early to

1865
01:44:08,640 --> 01:44:11,120
Speaker 1: mid seventies. I mean it's like, basically, I feel like

1866
01:44:11,240 --> 01:44:16,639
Speaker 1: zart Oz maybe this was like John Borman's Alejandro Yaarowsky movie,

1867
01:44:16,680 --> 01:44:19,920
Speaker 1: Like who knows, maybe this was his like Holy Mountain.

1868
01:44:21,160 --> 01:44:24,719
Speaker 1: He was like, whatever, this is just my vision because

1869
01:44:24,720 --> 01:44:27,400
Speaker 1: I ste Lord of the Rings. I guess this is

1870
01:44:27,400 --> 01:44:28,559
Speaker 1: what I'm gonna do instead.

1871
01:44:29,960 --> 01:44:32,519
Speaker 3: And I think we're being very generous as well, Like

1872
01:44:32,560 --> 01:44:35,880
Speaker 3: it's because what it could actually be is a tantrum

1873
01:44:35,920 --> 01:44:36,439
Speaker 3: on film.

1874
01:44:36,760 --> 01:44:38,519
Speaker 1: Yes, it could be.

1875
01:44:38,680 --> 01:44:39,599
Speaker 2: I didn't get.

1876
01:44:39,400 --> 01:44:42,160
Speaker 3: To send Bilbo Baggins into the fucking out of the

1877
01:44:42,160 --> 01:44:46,679
Speaker 3: fucking shire. So now you're gonna get this fucking step

1878
01:44:46,720 --> 01:44:49,640
Speaker 3: into my mirror pyramid shit exactly.

1879
01:44:49,800 --> 01:44:54,040
Speaker 1: And I'm gonna end on this note because I want

1880
01:44:54,040 --> 01:44:58,839
Speaker 1: to say one of the best pieces of Trivia Slash,

1881
01:44:58,960 --> 01:45:03,120
Speaker 1: the best thought experiment in the world, is that Burt

1882
01:45:03,240 --> 01:45:07,240
Speaker 1: Reynolds was originally supposed to be the lead, but he

1883
01:45:07,280 --> 01:45:12,400
Speaker 1: got sick. That's why Sean Connery stepped in. Can you

1884
01:45:13,120 --> 01:45:17,200
Speaker 1: imagine Burt Reynolds being in zart Oz.

1885
01:45:17,960 --> 01:45:21,280
Speaker 3: I cannot imagine Burt Reynolds keeping a straight face through

1886
01:45:21,280 --> 01:45:25,800
Speaker 3: filming Zardaz. I don't think he had the countenance for it.

1887
01:45:26,720 --> 01:45:28,919
Speaker 1: I still feel like they'd allowed him to chew gum,

1888
01:45:28,960 --> 01:45:33,400
Speaker 1: Like he'd be just chewing gum, chewing gum, running around

1889
01:45:33,840 --> 01:45:43,280
Speaker 1: the Irish countryside in these like extremely tiny little fabric shorts, and.

1890
01:45:43,200 --> 01:45:45,479
Speaker 3: He'd just be like, I want to see it, but

1891
01:45:45,520 --> 01:45:48,880
Speaker 3: I couldn't see it. I can't see it but want to.

1892
01:45:49,400 --> 01:45:49,960
Speaker 2: I think they would.

1893
01:45:49,960 --> 01:45:51,840
Speaker 3: They would let him chew gum and never explain why

1894
01:45:51,920 --> 01:45:56,680
Speaker 3: gum still exists in this post apocalyptic world.

1895
01:45:58,280 --> 01:45:58,840
Speaker 2: Holy shit.

1896
01:45:58,960 --> 01:46:02,400
Speaker 1: Well, you know, listen, like I said, not as traumatic

1897
01:46:02,680 --> 01:46:06,519
Speaker 1: as your film, but I would argue equally as weird.

1898
01:46:07,479 --> 01:46:09,840
Speaker 3: Yes, and I'm glad I watched I haven't seen it

1899
01:46:09,880 --> 01:46:12,439
Speaker 3: in ages. I'm so glad I watched it again. It

1900
01:46:12,479 --> 01:46:16,720
Speaker 3: is just so wait what weird like? It just truly is.

1901
01:46:17,720 --> 01:46:23,559
Speaker 3: Like you said, it's an unwatchable masterpiece, and I'm glad

1902
01:46:23,680 --> 01:46:24,720
Speaker 3: for its existence.

1903
01:46:25,560 --> 01:46:28,840
Speaker 1: Yes, and listen, if any of you out there have

1904
01:46:29,120 --> 01:46:32,840
Speaker 1: watched both these films as part of this episode, and

1905
01:46:32,880 --> 01:46:36,240
Speaker 1: you watch them in a true double feature style, if

1906
01:46:36,280 --> 01:46:40,080
Speaker 1: you watched them back to back in one sitting, please

1907
01:46:40,160 --> 01:46:41,920
Speaker 1: email us at I Saw what you Did pot at

1908
01:46:41,920 --> 01:46:45,040
Speaker 1: gmail dot com. I might send you something. I might.

1909
01:46:45,160 --> 01:46:47,280
Speaker 1: I might send you a baby in a postcard in

1910
01:46:47,320 --> 01:46:51,559
Speaker 1: the mail. Who knows that's a feat, that's a fucking feat.

1911
01:46:52,439 --> 01:46:54,920
Speaker 3: She'll at least send you some fucking spirit gum and

1912
01:46:54,960 --> 01:46:59,800
Speaker 3: a fake beer to put on your own baby.

1913
01:47:00,560 --> 01:47:01,680
Speaker 2: Try that out.

1914
01:47:02,439 --> 01:47:04,840
Speaker 1: Well, Look, if you just want to send us mail

1915
01:47:04,880 --> 01:47:08,800
Speaker 1: in general, again, the email address is I Saw what

1916
01:47:08,840 --> 01:47:10,120
Speaker 1: you Did pot at gmail dot com.

1917
01:47:10,880 --> 01:47:12,400
Speaker 3: And we have a po box if you want to

1918
01:47:12,439 --> 01:47:15,679
Speaker 3: send us handwritten letters. And you can also mostly find

1919
01:47:15,720 --> 01:47:17,559
Speaker 3: us on our social media. We are at I saw

1920
01:47:17,680 --> 01:47:21,120
Speaker 3: pod on Instagram and Twitter. And why don't you tell

1921
01:47:21,280 --> 01:47:22,519
Speaker 3: some friends to follow us?

1922
01:47:22,520 --> 01:47:24,000
Speaker 2: And why don't you also go and leave us a

1923
01:47:24,040 --> 01:47:26,320
Speaker 2: five star review right now? I mean, all you have

1924
01:47:26,360 --> 01:47:28,920
Speaker 2: to do is press pause, pop that little review in,

1925
01:47:29,240 --> 01:47:30,320
Speaker 2: and then come on back.

1926
01:47:31,000 --> 01:47:34,559
Speaker 1: Yes, it's very simple, and we would be remiss if

1927
01:47:34,560 --> 01:47:36,800
Speaker 1: we didn't tell you that we also have merch in

1928
01:47:36,880 --> 01:47:42,479
Speaker 1: the exactly Right shop at exactly rightmedia dot com. Who

1929
01:47:43,000 --> 01:47:46,960
Speaker 1: do you want to announce the films for next week's episode?

1930
01:47:47,120 --> 01:47:47,720
Speaker 2: I sure do.

1931
01:47:49,080 --> 01:47:53,160
Speaker 3: Next week's films are Happy Go Lucky from two thousand

1932
01:47:53,200 --> 01:47:57,840
Speaker 3: and eight and The Heiress from nineteen forty nine.

1933
01:47:58,080 --> 01:48:02,519
Speaker 1: Yes, we had a cool off the heat of this

1934
01:48:02,640 --> 01:48:07,879
Speaker 1: deeply weird episode with two other movies.

1935
01:48:08,880 --> 01:48:10,720
Speaker 2: Next week's episode is going to be like taking a

1936
01:48:10,720 --> 01:48:11,519
Speaker 2: dip in a pool.

1937
01:48:12,920 --> 01:48:18,920
Speaker 1: Yes, it's like escaping the fiery pits of Hades and

1938
01:48:19,520 --> 01:48:23,080
Speaker 1: maybe jumping into a crystal lake.

1939
01:48:25,240 --> 01:48:25,839
Speaker 2: With beauty.

1940
01:48:26,720 --> 01:48:30,839
Speaker 3: Perhaps you're in a situation where a volcano has erupted

1941
01:48:31,040 --> 01:48:34,240
Speaker 3: and some bodies have popped up in that lake, but

1942
01:48:34,280 --> 01:48:37,000
Speaker 3: you've escaped and made it through the cool waters of

1943
01:48:37,040 --> 01:48:37,519
Speaker 3: the ocean.

1944
01:48:38,160 --> 01:48:45,080
Speaker 1: Yes, but Danielle, I gotta say I know that I'll

1945
01:48:45,120 --> 01:48:48,800
Speaker 1: never forgive you for making me watch Border. I will

1946
01:48:48,800 --> 01:48:51,360
Speaker 1: try my hardest to still remain friends with you after this.

1947
01:48:54,680 --> 01:48:55,600
Speaker 2: I hope you do.

1948
01:48:56,880 --> 01:49:00,240
Speaker 3: I promise that I will wait at least another year

1949
01:49:00,360 --> 01:49:02,840
Speaker 3: before I try to shake you up in this particular way.

1950
01:49:04,439 --> 01:49:06,719
Speaker 1: I mean, look, I don't want to go through our calendar,

1951
01:49:06,880 --> 01:49:08,759
Speaker 1: but I'm like, you know you can do this often.

1952
01:49:09,360 --> 01:49:11,360
Speaker 1: You think you only do it once in a while,

1953
01:49:11,400 --> 01:49:15,360
Speaker 1: but no, this has happened maybe five or six times

1954
01:49:15,360 --> 01:49:19,519
Speaker 1: in the past year, if not more. I know, I know,

1955
01:49:21,600 --> 01:49:25,879
Speaker 1: but this one, like I said, this one tops some all,

1956
01:49:26,360 --> 01:49:31,240
Speaker 1: top some all. So you're gonna have to really get

1957
01:49:31,320 --> 01:49:33,639
Speaker 1: You're gonna have to really find something to top this

1958
01:49:33,920 --> 01:49:36,960
Speaker 1: at some point, because I don't know. It's been hereditary,

1959
01:49:37,040 --> 01:49:39,680
Speaker 1: has been has been replaced.

1960
01:49:40,960 --> 01:49:44,160
Speaker 2: This is the new gold standard of being freaked out.

1961
01:49:45,240 --> 01:49:50,839
Speaker 1: Yes, and I can't thank you enough, honestly, all jokes aside.

1962
01:49:51,400 --> 01:49:54,400
Speaker 1: Thank you for challenging me, thank you for giving me

1963
01:49:54,479 --> 01:49:58,960
Speaker 1: sleepless nights, thank you for forcing me to watch movies

1964
01:49:59,000 --> 01:50:00,760
Speaker 1: that I normally wouldn't want.

1965
01:50:01,560 --> 01:50:04,120
Speaker 3: I feel the same way. I'm excited for next week.

1966
01:50:04,120 --> 01:50:07,519
Speaker 3: I've never seen The Heiress, and I just feel so

1967
01:50:07,640 --> 01:50:09,439
Speaker 3: lucky that we get to do this podcast and I

1968
01:50:09,479 --> 01:50:11,640
Speaker 3: get to keep you and your dog a week. I

1969
01:50:11,640 --> 01:50:15,920
Speaker 3: think Sophie probably was having some nightmares of her own,

1970
01:50:16,040 --> 01:50:18,200
Speaker 3: having watched this film way right next to you.

1971
01:50:19,000 --> 01:50:23,040
Speaker 1: She was probably responding to all the literal barking that

1972
01:50:23,200 --> 01:50:26,879
Speaker 1: was happening, like troll barking, basically that was happening.

1973
01:50:27,479 --> 01:50:29,720
Speaker 2: She's like, this is a stressful situation. Why are we

1974
01:50:29,800 --> 01:50:30,160
Speaker 2: doing this?

1975
01:50:30,280 --> 01:50:33,120
Speaker 1: She's like, I'm getting sent a message from Tina and Vore.

1976
01:50:34,080 --> 01:50:36,560
Speaker 1: I'm gonna go find some maggots to chew in the

1977
01:50:36,560 --> 01:50:37,360
Speaker 1: middle of the night.

1978
01:50:38,400 --> 01:50:40,360
Speaker 2: Let me add here, give him a maggots.

1979
01:50:41,640 --> 01:50:43,120
Speaker 1: Oh, I love this.

1980
01:50:43,240 --> 01:50:46,400
Speaker 3: I'm thankful that you remain my friend after I show

1981
01:50:46,439 --> 01:50:49,240
Speaker 3: you shit like this, and that we get to again

1982
01:50:49,360 --> 01:50:52,439
Speaker 3: do this pod and talk about films and it's just

1983
01:50:52,520 --> 01:50:53,240
Speaker 3: too much fun.

1984
01:50:53,680 --> 01:50:56,360
Speaker 1: Yes, it is so much fun. Thank you guys for listening.

1985
01:50:56,439 --> 01:50:58,439
Speaker 1: We'll see you next time. Flood.

1986
01:51:05,640 --> 01:51:08,400
Speaker 3: This has been an exactly right production, produced and mixed

1987
01:51:08,400 --> 01:51:11,479
Speaker 3: by Casey O'Brien. Our theme song is by Tom bry Fogel,

1988
01:51:11,800 --> 01:51:16,000
Speaker 3: artwork by Garrett Ross. Our executive producers are Georgia Hartstart, Carnkle,

1989
01:51:16,000 --> 01:51:18,960
Speaker 3: Garrett and Daniel Kramer. You can follow us on Instagram

1990
01:51:19,000 --> 01:51:21,759
Speaker 3: and Twitter at I Saw Pod and you can email

1991
01:51:21,880 --> 01:51:23,120
Speaker 3: us at I saw what you did.

1992
01:51:23,160 --> 01:51:24,160
Speaker 2: Pod at gmail