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Speaker 1: Worrying.

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Speaker 2: Today's episode contains spoilers for twenty twenty four's Nus far

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Speaker 2: to a film.

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Speaker 1: Bye the fuck is his name, Robert?

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Speaker 2: I guess a film, but I always want to call

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Speaker 2: him David. I would always want to call him David Edgar,

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Speaker 2: David Energy. So if you have not seen nus Feritu,

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Speaker 2: you are completely unaware of the over century year old

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Speaker 2: story of Dracula by Bram Stoker, then please go watch

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Speaker 2: any one of those films and including this one, and

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Speaker 2: then come back, because you're gonna be one.

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Speaker 3: Hello.

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Speaker 1: My name's Jascons Epsion and.

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Speaker 4: I'm droasday Night, and.

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Speaker 1: Welcome back to the extra remage of.

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Speaker 2: The podcast where we've dove deep into your rear and

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Speaker 2: shows those comics of pop culture.

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Speaker 1: We're coming to you from my Art podcast.

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Speaker 2: Where we're bringing you one two three episodes a week.

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Speaker 1: Every Tuesday and Thursday, and an extra episode every Wednesday.

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Speaker 3: In today's episode, we are concluding our Eggs retrospective by

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Speaker 3: talking about his latest.

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Speaker 4: Film, her Nospheratu.

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Speaker 3: A remake of the nineteen twenty to f Man Now

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Speaker 3: movie kind of and a remake of every other Dracula

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Speaker 3: movie definitely, And so we're gonna be breaking down the

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Speaker 3: creature design. Is it scary? Is the cost good? Is

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Speaker 3: it sexist?

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Speaker 1: Yes?

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Speaker 3: And a lack of atmosphere that kind of plagues Egger's

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Speaker 3: latest work. And then in the Omnibus, we're going to

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Speaker 3: be taking a little journey through our favorite versions of

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Speaker 3: Dracula and the more classic Dracula origin stories over the years.

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Speaker 1: But first.

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Speaker 3: The Children of the Night, The Child of the Night,

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Speaker 3: The Children of the Night.

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Speaker 2: All right, twenty twenty fours Christmas film for the ages,

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Speaker 2: Bring the whole family.

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Speaker 4: What a year it's going to be at the Where's

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Speaker 4: your Cinema?

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Speaker 3: With this?

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Speaker 4: And Baby Girl, Baby Who I told you? What was happening?

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Speaker 1: The musical sing along on top of it.

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Speaker 3: I will be there on the first day. I will

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Speaker 3: be there on Christmas singing along to the Wizard and

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Speaker 3: I don't come to my screening.

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Speaker 1: I can't sing.

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Speaker 2: We are here, of course, to discuss Robert Erger's newest film,

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Speaker 2: his latest film that's fair to a universal production, universal

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Speaker 2: of the Monster Verse?

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Speaker 1: Where is it? Is it?

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Speaker 3: Is it coming back like any time?

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Speaker 1: Is this the soft launch to the Monster Verse? Is

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Speaker 1: this the way?

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Speaker 2: Stay tuned, Stay tuned. Okay, we have seen the film, Rosie,

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Speaker 2: you have recently seen the film. I did see a

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Speaker 2: film in foggy London town. I did see it there

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Speaker 2: where this story is sometimes told, Yes, what do we

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Speaker 2: think of this movie?

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Speaker 1: Let's talk about it? Should we recap it? Bit? It

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Speaker 1: feels like if okay.

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Speaker 3: Let's do like, let's do a speed one where we

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Speaker 3: can just both interject, because really, if you've seen any

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Speaker 3: Dracula movie, you have seen this story. Actually, you know

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Speaker 3: what we should start with, no Sperratu. The nineteen twenty

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Speaker 3: two original version of Nosperati now s Manow's version, was

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Speaker 3: a bootleg version of Bramstokers Dracula because they could not

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Speaker 3: get the rights to make the movie, so they made

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Speaker 3: a silent film where they changed all the names, filed

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Speaker 3: the serial numbers off, but it is Dracula. They redesigned

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Speaker 3: the character. His name was Count Dracula, change to count

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Speaker 3: or Locke, and they made the movie and then they got,

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Speaker 3: you know whatever.

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Speaker 4: The nineteen twenties version of Seas.

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Speaker 3: And Desisted was, and all of the versions of the

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Speaker 3: movie were bun and one miraculously survived, and the silent

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Speaker 3: film became the kind of scene as the masterpiece. It

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Speaker 3: is today through that one reel that survived. So that

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Speaker 3: is the origin of Nosferatu, which you may be confused

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Speaker 3: about if you didn't know that when you go and

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Speaker 3: see this movie and realize it is just Dracula but

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Speaker 3: by any other name.

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Speaker 2: So the years eighteen thirty eight were in Germany. A

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Speaker 2: gentleman who named Thomas, who has just got a job

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Speaker 2: at a real estate agency and is recently newly married

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Speaker 2: to his wonderful wife Ellen, has been given the task

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Speaker 2: of going to Transylvania and meeting with this mysterious Count Orlock,

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Speaker 2: of an ancient royal lineage excent count. He's an exten

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Speaker 2: trick man. He would like to retire. He's he's sick

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Speaker 2: of the Carpathian Mountains in Transylvania, in this whole area,

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Speaker 2: and he wants to spend his sunset years in sunny Vienna.

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Speaker 1: Or somewhere in Germany.

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Speaker 3: Yes, Germany, I have Germany, but they say Germany right.

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Speaker 2: Unbeknownced to Thomas, his wife but not his boss at

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Speaker 2: the real estate industy, Count Orlock is a demonic vampire.

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Speaker 1: Who has been.

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Speaker 2: Seducing women at long range for a long time using

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Speaker 2: some sort of magical mystical ability to sense these people

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Speaker 2: who are sensitive themselves to the occult.

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Speaker 3: Yeah, he's like Charles Xavier of seduction correct sensing a sexy.

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Speaker 4: Woman who has second science.

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Speaker 1: And that's right.

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Speaker 2: He uses his like vampire cereubros to reach out to

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Speaker 2: these women and seduce them. And he's found Thomas's wife Ellen,

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Speaker 2: played by Lilly Rose Depp. And so that's why he

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Speaker 2: wants to move into their town, into some dilapidated old

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Speaker 2: mansion whereby he can at close range seduce Ellen, suck

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Speaker 2: her blood and the cycle continues.

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Speaker 3: Yeah, and kill everyone in the town with the plague.

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Speaker 2: He can't wait to do that. Thomas goes out there.

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Speaker 2: He eventually gets to the castle, where he has a

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Speaker 2: series of very very troubling encounters, like terrifying encounters with

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Speaker 2: count Orlock. Meanwhile, his wife back in Ursberg is having

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Speaker 2: a series of of terrifying nightmares, waking nightmares, night seizures

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Speaker 2: for which the medical professionals of the day can find no.

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Speaker 1: Reason. And she's ysthetical class and it fix it.

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Speaker 3: Yeah, too much blot, here's a leech, too much blood

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Speaker 3: in her system.

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Speaker 1: Mind, heir, we must bleed her.

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Speaker 3: That will you will have that line many times, when

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Speaker 3: many times Mistame watched this movie.

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Speaker 2: So count Orlock seals the deal with Thomas, signs the deed. Thomas,

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Speaker 2: in a fit of the waking fright, realizing that he

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Speaker 2: is face to face with something he doesn't understand, flees

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Speaker 2: the castle and washes up somewhere in Transylvania, Romania wherever. Meanwhile,

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Speaker 2: Orlock boards the ship a Russian ship sails for Germany.

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Speaker 2: In his pride that because that's how true, because at

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Speaker 2: some point he escapes the casket of dirt when he

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Speaker 2: sends his danger around him. The ship washes up in Germany.

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Speaker 2: Plague spreads through the town. People start dying, and this

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Speaker 2: sets up the final confrontation between the ancient doctor van Helsing,

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Speaker 2: who is to consult.

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Speaker 3: Who in this is called doctor van Franz.

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Speaker 1: Excuse me, doctor.

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Speaker 2: Van Franz played by William Dafoe. He comes to consult

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Speaker 2: with Thomas and his family through his former student, doctor

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Speaker 2: Wilhelm Savor, who runs the local asylum, and they have

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Speaker 2: this confrontation and Ellen lures count Orlock in. They Meanwhile,

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Speaker 2: her husband and doctor von Frantz are destroying his coffin

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Speaker 2: so he cannot return magically to the dirt of his homeland.

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Speaker 2: The sun rises, and count Orlock just turns into desiccated,

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Speaker 2: disgusting bones while getting busy atop young Ellen, who then perishes.

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Speaker 1: Because of because she has that.

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Speaker 2: She sacrificed herself in order to save Germany in the

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Speaker 2: world from the ravagers of count Orlock.

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Speaker 1: And there it is your movie, do we feel you know?

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Speaker 3: I just want to start by saying right yes, that

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Speaker 3: I hate that ending so deeply because it is the

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Speaker 3: biggest diversion from basically every Dracula law where Mina always

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Speaker 3: survives and Jonathan Harker always dies aka Ellen or Thomas.

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Speaker 3: I don't have some aversion to women always dying, but

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Speaker 3: Mina is one of the most fantastic, storied, brilliant final

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Speaker 3: girls essentially. And I did realize while watching this version

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Speaker 3: of the movie, how many early tropes for horror this

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Speaker 3: story does set up, like that feeling of wanting to

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Speaker 3: yell at Thomas and say, hey, don't go in there.

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Speaker 1: Yeah, like this is I was sitting in.

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Speaker 3: This cinema is like a three hundred people's cinema in

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Speaker 3: Piccadilly Circus in England, where definitely everyone was taking the

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Speaker 3: movie really seriously, and I was just dying to be

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Speaker 3: at like Burbank AMC, where I feel like there would

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Speaker 3: have just been a lot more people who were willing

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Speaker 3: to be like, bro, what the fuck are you doing

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Speaker 3: or at least like do like a some kind of

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Speaker 3: voice reaction. Like I was sitting there the whole time,

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Speaker 3: just like, oh my god, Thomas, please and yeah. I

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Speaker 3: just the ending of this movie is really at the

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Speaker 3: crux of what I think it doesn't understand about Dracula

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Speaker 3: and Nosferatu and also like the nature of vampirism and

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Speaker 3: women and sexuality, which is something that even like Bella

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Speaker 3: Lagosi understood in the thirties when he's talking about you

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Speaker 3: know his really famous quote where he's like, horror is

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Speaker 3: for women, like they are the ones who like live

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Speaker 3: with blood and violence. And I'm paraphrasing, but like that

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Speaker 3: is so missing from this story. And it's just like

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Speaker 3: that ending that was when I knew. I was just like,

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Speaker 3: this isn't for me, even though generally beautiful gowns, beautiful

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Speaker 3: production design, like it look, it does look nice. Like

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Speaker 3: I thought that Nicholas Holt was really really fantastic. I

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Speaker 3: loved Willem Dafoe. He knew he was essentially an howm

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Speaker 3: a horror movie and did what you should.

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Speaker 1: Do in a movie like this.

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Speaker 3: I always love Aaron Taylor Johnson. He always shows up

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Speaker 3: in a weird role, and in this role he literally

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Speaker 3: is a necrophiliac, So like, good for him, Like you

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Speaker 3: got your weird role. But just yeah, that ending, I

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Speaker 3: feel like, no, it's that that's wrong. I just I don't.

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Speaker 5: I don't.

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Speaker 4: I don't vibe on that ending. And what did you

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Speaker 4: guys think?

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Speaker 1: Oh man, I'm really with you. I think okay to

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Speaker 1: expand on what you were so beautifully laying out about

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Speaker 1: the ending and a lack of understanding of what makes

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Speaker 1: the story special, Like if you think about his only

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Speaker 1: change being like the woman sacrifices herself to save everybody,

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Speaker 1: it's really a daunting experience. And then have to turn

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Speaker 1: around to be like, how do I break down and

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Speaker 1: talk about this movie in a way that sort of

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Speaker 1: honors the intent? Like I can't understand why this story

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Speaker 1: is being told this way?

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Speaker 3: Right?

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Speaker 1: Yeah?

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Speaker 3: Now, I will just say like in twenty twenty two,

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Speaker 3: in nineteen twenty two, when they made the original version

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Speaker 3: of Nos Fratu, it does have an ending where Ellen

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Speaker 3: essentially like gives her blood to Orlac he dies and

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Speaker 3: then she kind of like faints and seemingly dies, but

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Speaker 3: she also doesn't have to like have sex with like

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Speaker 3: a rotten monster. There's like a lot more dignity in

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Speaker 3: that sacrifice and a lot more agency than what I.

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Speaker 1: Feel like we see thing.

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Speaker 4: But in this version.

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Speaker 1: That thought, like the idea of like what is a

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Speaker 1: sacrifice and why even is Again, if you're sacrificing, then

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Speaker 1: there should be like all of this love left behind.

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Speaker 1: Everybody's pretty much dead at this point, so you're like,

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Speaker 1: what are we? Who are we doing this? That's a

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Speaker 1: great points. Like if you think about the original Dracula,

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Speaker 1: the book comes out like it's talking about a plague

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Speaker 1: that has hit England and people are literally wasting away

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Speaker 1: and they are so young, and it's very tragic, and

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Speaker 1: what if in all of this horror there was some

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Speaker 1: way to preserve this person and they actually lived on forever.

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Speaker 1: It would be horrifying, horrible, But you could also understand

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Speaker 1: the seduction too, Like that back and forth. An element

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Speaker 1: of reflection on society is sort of an essential element

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Speaker 1: of Jacula, and all of it is gone here, and

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Speaker 1: then on top of that, you have a if Mina

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Speaker 1: is your main character, and the opening scene certainly seems

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Speaker 1: to set that up. You completely abandon her for about

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Speaker 1: a third of the movie and then come back and

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Speaker 1: there is no arc for this is a flatline story

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Speaker 1: for this girl. She starts aw seduced. She ends maybe

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Speaker 1: not fully under the spell, maybe sort of recognizing that

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Speaker 1: she has a choice. But the choice is awful. It's

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Speaker 1: not well thought out, it's not discussed with anybody, so

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Speaker 1: you kind of feel like she just took the first

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Speaker 1: like this is what yees to do. She's like, oh, yeah,

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Speaker 1: that is what I have to do, and then she

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Speaker 1: and then she dies and you're like, why am I

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Speaker 1: watching this movie?

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Speaker 4: I would also say as well, like the nineteen twenty.

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Speaker 3: Two, Like we said, it was a bootleg, right, so

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Speaker 3: there's a lot of really funny, like just really brief,

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Speaker 3: unthought out stuff that they were doing because A it

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Speaker 3: was like an hour long silent movie, and b it

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Speaker 3: was being done to avoid copyright. So like in that movie,

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Speaker 3: the reason that she decides that she's gonna do that

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Speaker 3: is because like somebody's like if a pure hearted woman,

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Speaker 3: like if he drinks from the neck of a pure

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Speaker 3: hearted woman, like he will die and all this that

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Speaker 3: stuff is so outdated. I'm like Robert Eggers, like, could

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Speaker 3: you not have considered new way? I like, I like

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Speaker 3: this notion of Ellen as like somebody with a second sight.

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Speaker 3: But if you're gonna I think that oftentimes with this movie,

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Speaker 3: there are moments when it could be subversive, and instead

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Speaker 3: it just leans on already established tropes like the hysterical woman. Yeah,

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Speaker 3: or there was no exploration of the notion of a

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Speaker 3: hysterical woman or mental health in that time or anything.

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Speaker 3: And really, and I will say this was my letterbox review,

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Speaker 3: and I do think this is the big takeaway head

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Speaker 3: from this movie. This is just more proof that the

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Speaker 3: most influential movie of twenty twenty four is Possession, movie

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Speaker 3: from like thirty years ago that they once again, you know,

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Speaker 3: we saw it with the first omen, we saw it

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Speaker 3: in multiple like religious horror, the Sidney Sweety movie, Immacula

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Speaker 3: and now here where it's very clear that they're showing

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Speaker 3: these actresses Isabella Johnny's performance, especially when she's you know,

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Speaker 3: going through the funnel and Possession and they're saying to

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Speaker 3: them like can you recreate this and honestly, I will

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Speaker 3: say Lily Rose Depp does insane hysteria, Well, she's me.

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Speaker 3: I have to say, I was not expecting that. I

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Speaker 3: I to.

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Speaker 1: Branch off what y'all have said.

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Speaker 2: I agree, and I think part of the problem of

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Speaker 2: the len character for me is that Joelle put her

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Speaker 2: finger on it. It's a straight line arc. Not only

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Speaker 2: is it a straight line arc at a certain point

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Speaker 2: in the story, to me, it feels like a straight

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Speaker 2: line from before you even meet her, because as you

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Speaker 2: eventually find out that this she's got, this sensitivity to

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Speaker 2: the occlultiness has been going on a while, maybe since

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Speaker 2: she's been a kid, and the fact that she has

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Speaker 2: I'm fine with her sacrificing herself behind. My issue is

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Speaker 2: that throughout the film it felt as if she had

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Speaker 2: no agency, did nothing.

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Speaker 4: She always knew she was gonna die.

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Speaker 2: Yeah, had had almost no impact on events. Is just

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Speaker 2: kind of hearing what her husband and the men are

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Speaker 2: plotting to do, and hearing what he's planning to do

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Speaker 2: and just decides, Okay, here's my part to play, and she.

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Speaker 1: Just accepts it. And I felt, and that was along

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Speaker 1: with the.

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Speaker 2: Pacing, is she's just really made for a very frustrating

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Speaker 2: second half of the movie. I thought, like, listen, Edgar's

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Speaker 2: visually stunning. I've been calling him desaturated. Terrence Malick, I

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Speaker 2: love looking at his pictures. I think the first I

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Speaker 2: think everything from the beginning to the Castle is amazing.

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Speaker 2: I really liked it. I love the journey of it.

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Speaker 2: The scope right so well, it's wonderful.

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Speaker 3: Terrifying to be in the castle before you really get

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Speaker 3: to see the monster, and it's that fear of the

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Speaker 3: imagined and and that stuff is really good.

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Speaker 2: And it felt like the color palette really worked in

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Speaker 2: that section of it.

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Speaker 1: And then it just.

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Speaker 2: Becomes a slog ping ponging back between scenes that are

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Speaker 2: just way too long. And unfortunately that part of the movie,

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Speaker 2: as you mentioned, Rosie, the horror tropes begin emerging, and

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Speaker 2: when they're happening at that pace good. The thing about

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Speaker 2: a good horror trope is that you got to slide

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Speaker 2: it by me, you.

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Speaker 1: Know, you gotta fasten it by.

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Speaker 3: Me so hard that, yeah, you're making a statement because

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Speaker 3: we all love genre film, so this is more like

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Speaker 3: trying to present them as original when there is no

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Speaker 3: twist and there is nothing new.

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Speaker 2: And when the trope is unfolding over the course of

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Speaker 2: a fifteen minute scene or something there it becomes a song.

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Speaker 2: And so I think this movie's fine, but like Joelle,

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Speaker 2: I'm a bit confused as to why it exists.

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Speaker 3: That was my biggest that was I actually put that

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Speaker 3: in our group chat when I got out of it.

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Speaker 3: Like the movie's fine, I actually didn't hate it.

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Speaker 1: It's I it.

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Speaker 3: Yeah, It's higher up for me than some of his

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Speaker 3: other movies because just visually I kind of enjoy a

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Speaker 3: gothic story, So this like hit a bit harder for

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Speaker 3: me than say The Northman. But I did come out

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Speaker 3: and I did text you guys and just go why

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Speaker 3: did he make it? Like I've seen not only have

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Speaker 3: I seen the nineteen twenty two on and this is

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Speaker 3: so similar. He did not really make many different choices

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Speaker 3: apart from this kind of interesting twist of the occult,

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Speaker 3: which I did enjoy, and Willem Dafoe does a great

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Speaker 3: job with that version of Van Helsing or Van Franz.

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Speaker 3: But I've seen the Bernerherzog noos Ferrari, which is one

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Speaker 3: of my all time favorite movies that I'll talk about later.

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Speaker 3: But like, I didn't understand the need to remake this

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Speaker 3: other than just it being something he wanted to do,

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Speaker 3: I don't necessarily know if it has a reason for existing.

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Speaker 4: And also, I will say one of the biggest issues I.

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Speaker 3: Think here, and one of the reasons why there was

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Speaker 3: ping ponging back between the two spaces doesn't appeal in

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Speaker 3: the same way as other movies is in the original Dracula,

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Speaker 3: you have the Carpathian Mountains and Transylvania, which is this

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Speaker 3: very wild, very incredible or inspiring space that many people

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Speaker 3: had never really seen before, and then you have Whitby,

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Speaker 3: which is like a cozy British seaside town. I think

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Speaker 3: the problem here is Whisper and then Transylvania. They don't

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Speaker 3: look very different, Like there is not a huge scale

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Speaker 3: of difference between where Thomas went, but.

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Speaker 4: She was able to get really easily.

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Speaker 3: On horse in like a couple of days or something,

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Speaker 3: and then where we are, So there isn't this kind

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Speaker 3: of dichotomy or juxtaposition of esthetic or even really vibe

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Speaker 3: like visperg fucking sucks and the Kapathian Mountains fucking suck,

358
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Speaker 3: like if you live there, not visually visually. I love

359
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Speaker 3: a little wintry space, but yeah, it was definitely in

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Speaker 3: that kind of like beautiful gowns kind of space, like, oh,

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Speaker 3: it looks nice, but am I feeling anything like I did?

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Speaker 3: And also I did see a really good meme that

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Speaker 3: somebody had made where they were like, I'm sorry, Robert Eggers,

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00:20:25,320 --> 00:20:28,000
Speaker 3: but this casting doesn't work for me, referring to Lily

365
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Speaker 3: Rose depth because they were like, I know those eyes

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Speaker 3: have seen an air.

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Speaker 1: On and I was like, you know what, They're not wrong.

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Speaker 1: Like every time I saw the one.

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Speaker 3: Thing I do I love something, I will say that

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Speaker 3: I loved about the way they dressed her and did

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Speaker 3: her costuming and her wig. She has a very high

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Speaker 3: forehead and when they would shoot her from the side,

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Speaker 3: she kind of has this peeking forehead with this very

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Speaker 3: severe black hair. And there were moments where I was like, Okay,

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Speaker 3: I get it, like this is kind of new Gothic,

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Speaker 3: like you're leaning into the tropes but showing more. But

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Speaker 3: in the end it did feel to me like more

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00:21:02,480 --> 00:21:06,399
Speaker 3: of a kind of an experiment for him that didn't

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Speaker 3: have anything to say, and also like didn't really reposition itself.

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Speaker 3: In the case of how Ellen was treated in the

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Speaker 3: original Nosferatu or in the context of how women understand

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Speaker 3: Dracula now and how like a movie even for example,

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Speaker 3: like nineteen ninety two is another movie I'll talk about

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Speaker 3: Bram Stokers Dracula Francis for cople of picture, but like

385
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Speaker 3: also as well, like yeah, that is a movie that

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Speaker 3: deeply innately understood the relationship between like vampires and sex.

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Speaker 2: The subduction, Yeah, the seduction. We'll be right back after

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Speaker 2: a quick break and we're back.

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Speaker 3: What did you guys think of that? Because I felt like, here,

390
00:21:53,440 --> 00:21:54,320
Speaker 3: there's no seduction.

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Speaker 2: I thought that there was a cool early in the film.

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Speaker 2: I thought there was this really cool dynamic that was

393
00:22:03,320 --> 00:22:08,160
Speaker 2: emerging that was like almost this was almost a class story.

394
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Speaker 2: This is a story about a working class guy who

395
00:22:11,200 --> 00:22:14,639
Speaker 2: needs money. He's borrowed money from his rich friend. He

396
00:22:14,840 --> 00:22:19,879
Speaker 2: desperately takes this job where he encounters this rich lord

397
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Speaker 2: who wants to fuck his wife, and he's gunnap no

398
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Speaker 2: matter what, no matter what.

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Speaker 1: This guy's really interesting read.

400
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Speaker 3: I like that indecent proposal gothic site.

401
00:22:29,720 --> 00:22:33,399
Speaker 2: And so there was a there was a an hour

402
00:22:33,560 --> 00:22:35,560
Speaker 2: or so where I'm like, oh, this is actually kind

403
00:22:35,560 --> 00:22:38,520
Speaker 2: of interesting, like that take, and then that just kind

404
00:22:38,560 --> 00:22:43,240
Speaker 2: of goes away, and it does become this really ham

405
00:22:43,359 --> 00:22:48,840
Speaker 2: fisted seduction story that feels as if it just didn't

406
00:22:49,000 --> 00:22:51,800
Speaker 2: it didn't work because one, there's there's none of the

407
00:22:51,880 --> 00:22:55,880
Speaker 2: sexiness or the sensuality to your shooting overlock in shadow

408
00:22:56,040 --> 00:22:58,480
Speaker 2: the whole time in the side of frames, out of

409
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Speaker 2: the corners of.

410
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Speaker 1: Characters get detail.

411
00:23:01,359 --> 00:23:02,719
Speaker 3: He is like rotting.

412
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Speaker 2: So it's like, what is the thing? What is this?

413
00:23:07,640 --> 00:23:11,320
Speaker 2: Where is what is the thing? Obviously he's got a

414
00:23:11,320 --> 00:23:13,840
Speaker 2: magical power, I get it, but like, take me into

415
00:23:13,880 --> 00:23:14,960
Speaker 2: that what is that?

416
00:23:15,320 --> 00:23:17,400
Speaker 1: What is that? What is that thing?

417
00:23:17,480 --> 00:23:20,520
Speaker 2: And I and it's and it's completely not there are.

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00:23:21,280 --> 00:23:24,520
Speaker 1: Supposed to be. Okay, let's let's hybrid Rosy's point with

419
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Speaker 1: Jason's point. There should be a dichotomy between the men.

420
00:23:27,960 --> 00:23:30,840
Speaker 1: If you're if you're our main female lead, you got

421
00:23:30,840 --> 00:23:36,600
Speaker 1: two choices. I mean, let's let's be real. Okay, Listen,

422
00:23:37,440 --> 00:23:39,879
Speaker 1: the romanticy is here where it's in full effect, and

423
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Speaker 1: to not tap into it at all in this storyline

424
00:23:42,240 --> 00:23:44,959
Speaker 1: is like bananas, Like she is so in love with her,

425
00:23:45,160 --> 00:23:49,160
Speaker 1: Like Jason, your point, the opening is so like their

426
00:23:49,240 --> 00:23:52,000
Speaker 1: relationship is so cute. Immediately, like I root for this couple.

427
00:23:52,040 --> 00:23:53,720
Speaker 1: I really want them to win.

428
00:23:54,760 --> 00:23:59,879
Speaker 3: He is so supportive of her troubles and want to

429
00:23:59,880 --> 00:24:03,359
Speaker 3: know their new root for them. And there's also the

430
00:24:03,400 --> 00:24:05,520
Speaker 3: one thing I do think is interesting is there are

431
00:24:05,560 --> 00:24:09,800
Speaker 3: these moments of impropriety, whether it's between Thomas and Ellen

432
00:24:09,920 --> 00:24:13,240
Speaker 3: or whether it's between the harding that Aaron Taylor Johnson's

433
00:24:13,359 --> 00:24:15,480
Speaker 3: character and his wife played by Emma Correy, who we

434
00:24:15,520 --> 00:24:17,760
Speaker 3: recently saw as a As soon as I saw her,

435
00:24:17,760 --> 00:24:20,919
Speaker 3: I was like, oh, it's Cassandra Nova Paul Wolverine. But

436
00:24:20,960 --> 00:24:23,960
Speaker 3: they have these moments of great impropriety where they're they're

437
00:24:24,040 --> 00:24:26,280
Speaker 3: lust sort of. They're out in public and they're not

438
00:24:26,320 --> 00:24:28,440
Speaker 3: supposed to kiss and they go, oh, but I can't

439
00:24:28,480 --> 00:24:32,000
Speaker 3: resist you. And her and Thomas we get these moments where.

440
00:24:32,080 --> 00:24:36,000
Speaker 4: They are actually she's sexually attracted to him. She pulls

441
00:24:36,040 --> 00:24:40,159
Speaker 4: him back into bed like there isn't that I feel

442
00:24:40,160 --> 00:24:45,160
Speaker 4: like usually like Jonathan Harker is this safe, sensible choice

443
00:24:45,200 --> 00:24:49,359
Speaker 4: and he will victory for Victorian era man obviously played

444
00:24:49,359 --> 00:24:52,359
Speaker 4: by Keanu Reeves very repressed.

445
00:24:52,640 --> 00:24:56,840
Speaker 1: The longing, the no touching, the propriety in society, all

446
00:24:57,040 --> 00:24:58,320
Speaker 1: necessary element missing.

447
00:24:59,200 --> 00:25:01,359
Speaker 3: Dracula repris sense this man who will go to the

448
00:25:01,440 --> 00:25:04,160
Speaker 3: end of the Earth for you? Who is this who

449
00:25:04,240 --> 00:25:09,200
Speaker 3: is exciting? He's Heath Clip exactly. And this movie sets

450
00:25:09,280 --> 00:25:12,920
Speaker 3: up the Thomas and Ellen relationship really well. But then,

451
00:25:13,280 --> 00:25:16,440
Speaker 3: like you say, Joelle does not have that dichotomy, and I.

452
00:25:16,400 --> 00:25:19,760
Speaker 1: Thought, for and like I knew, to be fair, I

453
00:25:19,840 --> 00:25:21,640
Speaker 1: knew we were sort of in trouble from the get

454
00:25:21,680 --> 00:25:24,040
Speaker 1: go because I was like, if this is a story,

455
00:25:24,200 --> 00:25:26,879
Speaker 1: if you're modernizing the story, I thought, for a second,

456
00:25:27,160 --> 00:25:29,760
Speaker 1: we'd be like, there's this old, creepy dude grooming this

457
00:25:29,920 --> 00:25:34,480
Speaker 1: young woman and offering what looks like liberation, but there's

458
00:25:34,520 --> 00:25:37,240
Speaker 1: really a trap to live under his thumb that gets

459
00:25:37,240 --> 00:25:42,240
Speaker 1: abandoned so fast, and it's it's not presented in maybe

460
00:25:42,280 --> 00:25:45,359
Speaker 1: the best way or like in reality, like this is

461
00:25:45,359 --> 00:25:47,119
Speaker 1: a real thing that happens to a lot of people.

462
00:25:47,160 --> 00:25:48,840
Speaker 1: There's a lot of stories out there about it that

463
00:25:48,840 --> 00:25:51,719
Speaker 1: you could tap into, and none of that sort of happens.

464
00:25:51,720 --> 00:25:54,160
Speaker 1: And so because there's not that dichonomy between your two

465
00:25:54,240 --> 00:25:56,840
Speaker 1: leading dudes, and because it's all sort of just like,

466
00:25:57,280 --> 00:25:59,560
Speaker 1: there's no element of you that is like, oh nos,

467
00:25:59,600 --> 00:26:01,640
Speaker 1: forrat too is a space that I want to be in.

468
00:26:01,800 --> 00:26:03,760
Speaker 1: I would want to live internal life like that, like

469
00:26:03,800 --> 00:26:07,720
Speaker 1: he's rotting, engrossed as opposed to like Regal and Swab.

470
00:26:07,840 --> 00:26:09,720
Speaker 1: But even that rounding grossness could have effect, like this

471
00:26:09,760 --> 00:26:12,080
Speaker 1: is a monster movie. It could have been like so

472
00:26:12,520 --> 00:26:15,439
Speaker 1: creepy and like Ghoulie and stuff. But really it's just

473
00:26:15,520 --> 00:26:18,359
Speaker 1: kind of gross, And I don't really for somebody who's

474
00:26:18,440 --> 00:26:22,800
Speaker 1: so tapped into the history of these narratives and how

475
00:26:22,800 --> 00:26:25,919
Speaker 1: they impacted people in the day, like it seems like

476
00:26:26,000 --> 00:26:28,840
Speaker 1: that's a huge thing to like a swing and a

477
00:26:28,920 --> 00:26:31,320
Speaker 1: miss on, like how this movie is going to connect

478
00:26:31,320 --> 00:26:34,280
Speaker 1: to audiences and it it didn't really work for me.

479
00:26:35,160 --> 00:26:38,119
Speaker 2: If it's a ninety minute movie, I think, I think

480
00:26:38,520 --> 00:26:40,120
Speaker 2: it's a much better movie.

481
00:26:40,320 --> 00:26:42,919
Speaker 3: I agree, I think I think if you shorten it,

482
00:26:42,960 --> 00:26:44,800
Speaker 3: I think it's a lot punchier.

483
00:26:45,440 --> 00:26:49,520
Speaker 4: I also think that the creature design for.

484
00:26:49,560 --> 00:26:52,080
Speaker 3: All Lock needed a few more it was. It did

485
00:26:52,119 --> 00:26:55,080
Speaker 3: not work for me, especially because I think we've seen

486
00:26:55,160 --> 00:27:00,119
Speaker 3: Bill Scarsgard do such incredible creature work prosthetics work in it,

487
00:27:00,600 --> 00:27:02,800
Speaker 3: you know, and to see him here, he's almost he's

488
00:27:02,880 --> 00:27:06,080
Speaker 3: lost under the prosthetics. There's not a lot of facial expression.

489
00:27:06,720 --> 00:27:09,480
Speaker 3: The best prosthetic at creature work is all on his back.

490
00:27:09,560 --> 00:27:11,800
Speaker 3: Which is when we kind of see that he's rotting

491
00:27:12,000 --> 00:27:16,119
Speaker 3: and gross and maggot filled. And the truth is, I look,

492
00:27:16,760 --> 00:27:20,520
Speaker 3: there are a huge contingent of monster fuckers, right, and

493
00:27:20,560 --> 00:27:22,679
Speaker 3: there are people who want to fuck every kind of monster.

494
00:27:22,760 --> 00:27:25,920
Speaker 4: And I am inspired and think it.

495
00:27:25,920 --> 00:27:29,719
Speaker 3: Is a cool idea to do a truly horrific monster

496
00:27:29,760 --> 00:27:33,480
Speaker 3: fucker where the monster is really monstrous. But there is

497
00:27:33,640 --> 00:27:37,680
Speaker 3: nothing here that shows us any reason why she would

498
00:27:37,680 --> 00:27:40,080
Speaker 3: want to be with him. There's a moment early on,

499
00:27:40,200 --> 00:27:43,159
Speaker 3: again like talking about that good first hour, there's a

500
00:27:43,200 --> 00:27:45,680
Speaker 3: moment early on where she tells Thomas about a dream

501
00:27:45,760 --> 00:27:48,200
Speaker 3: she had where she gets to the altar. She thinks

502
00:27:48,200 --> 00:27:50,200
Speaker 3: they're going to get married, but it's not him, it's

503
00:27:50,359 --> 00:27:54,480
Speaker 3: death and she should be horrified and she turns around

504
00:27:54,480 --> 00:27:57,800
Speaker 3: and everyone she knows is dead, but instead of being horrified,

505
00:27:58,160 --> 00:28:00,960
Speaker 3: she is so excited and happy than she's ever been.

506
00:28:01,200 --> 00:28:03,159
Speaker 3: I thought that was really interesting. I'm like, is this

507
00:28:03,200 --> 00:28:07,199
Speaker 3: an exploration of depression? Is this about the freedom of

508
00:28:07,480 --> 00:28:09,639
Speaker 3: wanting to not be in this world where she is

509
00:28:09,680 --> 00:28:12,280
Speaker 3: not understood in her powers, as seen as a cuss

510
00:28:12,520 --> 00:28:16,440
Speaker 3: and she is always being thrown with institutionalization. I thought

511
00:28:16,440 --> 00:28:19,720
Speaker 3: that was so many interesting threads, but I did feel

512
00:28:19,760 --> 00:28:21,360
Speaker 3: like by the end of the movie they were more

513
00:28:21,359 --> 00:28:24,520
Speaker 3: of a fluke than anything intentional.

514
00:28:24,920 --> 00:28:29,199
Speaker 1: Something definitely was missing because the lass romantic interaction we

515
00:28:29,280 --> 00:28:32,800
Speaker 1: have between husband and wife is so bizarre, Like I

516
00:28:32,840 --> 00:28:36,280
Speaker 1: was really trying to understand, like it's somewhat violent, it's

517
00:28:36,800 --> 00:28:40,880
Speaker 1: like they're missing each other emotionally. You're just like, why

518
00:28:41,840 --> 00:28:45,800
Speaker 1: what has led to this interaction between these two characters.

519
00:28:46,160 --> 00:28:48,440
Speaker 1: And I think that maybe there was something they we're

520
00:28:48,480 --> 00:28:51,560
Speaker 1: trying to say that just got lost in the translation,

521
00:28:51,840 --> 00:28:54,960
Speaker 1: because I don't think that there's a sexual repression around her,

522
00:28:55,280 --> 00:28:56,880
Speaker 1: like we see that she's sort of allowed to just

523
00:28:56,880 --> 00:28:59,160
Speaker 1: be who she wants to be and run around. I agree,

524
00:28:59,200 --> 00:28:59,960
Speaker 1: I hear's the thing.

525
00:29:00,120 --> 00:29:03,000
Speaker 2: Here's the thing I think it was Joelle to your point,

526
00:29:03,160 --> 00:29:06,400
Speaker 2: and Rosie you mentioned that really rose up as a

527
00:29:06,400 --> 00:29:09,440
Speaker 2: face that's seen in Arowon. I think that to me

528
00:29:09,600 --> 00:29:11,480
Speaker 2: what they were I've picked up on that as well.

529
00:29:11,520 --> 00:29:14,560
Speaker 2: And to me, the thing that Eggers I think was

530
00:29:14,600 --> 00:29:21,120
Speaker 2: trying to show was that these people in the past,

531
00:29:21,200 --> 00:29:24,600
Speaker 2: they're as smart as us, they have the same emotions

532
00:29:24,880 --> 00:29:26,880
Speaker 2: as us, they have the same problems. Here is this

533
00:29:26,960 --> 00:29:30,000
Speaker 2: couple that would have been right at home in Silver Lake,

534
00:29:30,080 --> 00:29:34,479
Speaker 2: going to Arowon but here in eighteen thirties Germany. And

535
00:29:34,600 --> 00:29:36,840
Speaker 2: they relate to each other in the same way that

536
00:29:37,880 --> 00:29:42,360
Speaker 2: a modern communicative couple that is a partnership would relate

537
00:29:42,400 --> 00:29:44,200
Speaker 2: to each other, only in this context.

538
00:29:44,200 --> 00:29:45,239
Speaker 1: And see how different it is.

539
00:29:45,280 --> 00:29:48,080
Speaker 2: And I thought that was kind of where it was going, because, yeah,

540
00:29:48,120 --> 00:29:50,880
Speaker 2: the way they communicate, the way he listens to her

541
00:29:52,040 --> 00:29:56,440
Speaker 2: and her troubles and is concerned and is trying to find.

542
00:29:56,240 --> 00:29:59,560
Speaker 1: A solution with her, not like outside of her, like.

543
00:30:00,000 --> 00:30:05,120
Speaker 2: It's very modern in that that relationship is extremely modern,

544
00:30:05,240 --> 00:30:12,800
Speaker 2: especially when contrasted with Aaron Taylor Johnson's marriage, which is

545
00:30:12,880 --> 00:30:15,120
Speaker 2: just like keep having the kids.

546
00:30:16,240 --> 00:30:18,080
Speaker 1: I'm going to go to work and.

547
00:30:18,240 --> 00:30:21,880
Speaker 3: Call your hair up for four hours.

548
00:30:22,400 --> 00:30:25,760
Speaker 2: I'll call on you when I need sex, and that's

549
00:30:25,800 --> 00:30:28,800
Speaker 2: about it, you know. And so and then that was

550
00:30:29,520 --> 00:30:31,640
Speaker 2: that part of it was very interesting and kind of

551
00:30:31,680 --> 00:30:35,080
Speaker 2: worked for me before they kind of went away from that.

552
00:30:35,480 --> 00:30:38,120
Speaker 3: Yeah, it's interesting because now we're talking about it, there's

553
00:30:38,160 --> 00:30:40,080
Speaker 3: all these different threads, Like you were talking about Jason,

554
00:30:40,160 --> 00:30:43,840
Speaker 3: like the class aspect and then Joelle the grooming aspect

555
00:30:43,960 --> 00:30:47,239
Speaker 3: and these kind of explorations. But it was almost like

556
00:30:47,280 --> 00:30:50,720
Speaker 3: the ideas were all there and then eventually it kind

557
00:30:50,760 --> 00:30:51,680
Speaker 3: of went away.

558
00:30:51,720 --> 00:30:52,760
Speaker 4: And I look, I get it.

559
00:30:52,800 --> 00:30:54,200
Speaker 3: Some people are going to say, well, why does it

560
00:30:54,240 --> 00:30:56,480
Speaker 3: need to be about anything other than a vampire who

561
00:30:56,560 --> 00:30:59,360
Speaker 3: is like killing people because this story has been told

562
00:30:59,400 --> 00:31:05,120
Speaker 3: five thousand Actually, like, I love a thoughtless horror movie.

563
00:31:05,160 --> 00:31:08,120
Speaker 3: I watched so many slashes. I watch so many bad movies.

564
00:31:08,560 --> 00:31:10,760
Speaker 3: I watch so many movies that have a straight down

565
00:31:10,800 --> 00:31:14,080
Speaker 3: the line plot, but you know what, they don't proclaim

566
00:31:14,120 --> 00:31:18,240
Speaker 3: to be any kind of artistic achievement. And also, even

567
00:31:18,240 --> 00:31:21,720
Speaker 3: though sometimes they definitely are, also like often they do

568
00:31:21,800 --> 00:31:24,479
Speaker 3: have a twist or something different, something they're trying to do.

569
00:31:24,520 --> 00:31:29,600
Speaker 4: And I think that with this, I don't feel like it.

570
00:31:29,640 --> 00:31:36,600
Speaker 3: Achieves a new reading that makes it that proves its

571
00:31:36,960 --> 00:31:40,160
Speaker 3: reason for existence when there are literally, like so many

572
00:31:40,200 --> 00:31:43,720
Speaker 3: other remakes of both Dracula and Nosferartu. Yeah, so I

573
00:31:44,200 --> 00:31:46,680
Speaker 3: think that it's interesting because there are so many cool

574
00:31:46,720 --> 00:31:49,120
Speaker 3: ideas that are seeded in that first hour, but by

575
00:31:49,160 --> 00:31:50,960
Speaker 3: the time you get to the second hour, I don't

576
00:31:51,000 --> 00:31:51,920
Speaker 3: think they pay off.

577
00:31:52,160 --> 00:31:54,760
Speaker 1: I was gonna ask if this is Egger's worst cast film.

578
00:31:55,120 --> 00:31:58,440
Speaker 3: I actually don't know. I think this is actually I

579
00:31:58,480 --> 00:32:01,080
Speaker 3: think this is a well cast film, and I like

580
00:32:01,200 --> 00:32:02,680
Speaker 3: the cast I like.

581
00:32:04,560 --> 00:32:06,560
Speaker 1: I just think for me, I felt like.

582
00:32:06,520 --> 00:32:09,040
Speaker 4: Everyone was in a different movie. That was the issue

583
00:32:09,080 --> 00:32:09,240
Speaker 4: I have.

584
00:32:09,400 --> 00:32:12,840
Speaker 3: But I felt like most of them they were pretty good.

585
00:32:13,480 --> 00:32:16,959
Speaker 1: Yeah, they'll be a directing issue if you cast not harmonious. Yeah.

586
00:32:17,120 --> 00:32:20,960
Speaker 3: Willem Dafoe, he's in like a campy hammer horror movie

587
00:32:20,960 --> 00:32:23,520
Speaker 3: and I love that film. Aaron Taylor Johnson, he's in

588
00:32:23,600 --> 00:32:25,240
Speaker 3: like a Jane Austin Pride.

589
00:32:24,960 --> 00:32:29,560
Speaker 1: And he's a villain, you know.

590
00:32:30,280 --> 00:32:35,400
Speaker 3: And you know, Thomas and Nicholas Holt and Liley rose

591
00:32:35,440 --> 00:32:38,040
Speaker 3: Deep are in this more kind of progressive modern reading

592
00:32:38,080 --> 00:32:40,280
Speaker 3: of like what would it really be like to exist

593
00:32:40,320 --> 00:32:42,400
Speaker 3: in these times? And are these people just the same

594
00:32:42,440 --> 00:32:45,200
Speaker 3: as us? But I don't necessarily found that it gelled

595
00:32:45,240 --> 00:32:49,160
Speaker 3: well together. My biggest casting issue I think that Renfield or.

596
00:32:49,120 --> 00:32:51,480
Speaker 4: In this who is the they make him the kind.

597
00:32:51,280 --> 00:32:53,400
Speaker 1: Of real estate her not.

598
00:32:53,680 --> 00:32:56,800
Speaker 3: Yeah, that for me was a miscasting just in or

599
00:32:56,840 --> 00:32:59,080
Speaker 3: a misdirection. There was something about it that didn't hit

600
00:32:59,120 --> 00:33:01,360
Speaker 3: when usually that, to me, is such a powerful and

601
00:33:01,480 --> 00:33:02,440
Speaker 3: terrifying character.

602
00:33:02,560 --> 00:33:02,920
Speaker 1: Yeah.

603
00:33:02,920 --> 00:33:05,080
Speaker 3: Stories, Joe al tell us, what was wrong with the

604
00:33:05,120 --> 00:33:06,080
Speaker 3: cost in your mind?

605
00:33:06,720 --> 00:33:08,960
Speaker 1: Okay, so a lot of people really love what Lily

606
00:33:09,040 --> 00:33:12,360
Speaker 1: Rose dep did. I think that she is giving her

607
00:33:12,400 --> 00:33:15,200
Speaker 1: all to these moments, but that does not a performance

608
00:33:15,280 --> 00:33:17,920
Speaker 1: make maybe this she's a very young actress. This is

609
00:33:17,960 --> 00:33:22,400
Speaker 1: not a well written part. But just from a choices perspective,

610
00:33:22,480 --> 00:33:26,600
Speaker 1: I think she doesn't lend a lot of opportunity to

611
00:33:26,760 --> 00:33:29,160
Speaker 1: give like a second layer of just performance, and that

612
00:33:29,240 --> 00:33:32,440
Speaker 1: to me is difficult when ostensibly she's the lead. Although

613
00:33:32,440 --> 00:33:35,320
Speaker 1: you could argue this is actually Nicholas Holt's movie.

614
00:33:35,040 --> 00:33:37,320
Speaker 3: I would say he is the lead, like honestly, because

615
00:33:37,320 --> 00:33:38,680
Speaker 3: we leave her behind for so.

616
00:33:38,760 --> 00:33:40,480
Speaker 1: Long, and we do spend a great deal of time

617
00:33:40,480 --> 00:33:41,800
Speaker 1: with him, but to be fair, then we leave him

618
00:33:41,800 --> 00:33:43,640
Speaker 1: behind for a long time, and so it's just it's

619
00:33:43,760 --> 00:33:45,920
Speaker 1: kind of a hot mess all over the place with

620
00:33:46,120 --> 00:33:48,200
Speaker 1: just whose story is this and who are we following?

621
00:33:48,640 --> 00:33:50,800
Speaker 1: I also think as good a job as Aaron Taylor

622
00:33:50,840 --> 00:33:54,120
Speaker 1: Johnson does, this poor costume designer was working her ass

623
00:33:54,120 --> 00:33:56,280
Speaker 1: off trying to hide that body. She was like, this

624
00:33:56,320 --> 00:33:58,960
Speaker 1: body does not belong in Victoria Times Giant.

625
00:33:59,000 --> 00:34:02,200
Speaker 3: This man's been he's walking on the MCU diet. Baby,

626
00:34:02,200 --> 00:34:05,160
Speaker 3: he's been lifting five hundred pounds a day. Like it

627
00:34:05,360 --> 00:34:06,280
Speaker 3: is so huge.

628
00:34:06,320 --> 00:34:10,000
Speaker 1: It's huge in this movie, Like you do not look

629
00:34:10,040 --> 00:34:12,279
Speaker 1: like the I mean you work at the shipyard, but

630
00:34:12,280 --> 00:34:14,319
Speaker 1: you're not the one lifting the crates to own it,

631
00:34:14,520 --> 00:34:15,799
Speaker 1: like what's happening here?

632
00:34:16,320 --> 00:34:18,840
Speaker 3: The truth is I did. I did really like the performance,

633
00:34:18,880 --> 00:34:21,960
Speaker 3: and I thought him and emmacuren was an interesting counterpoint.

634
00:34:22,080 --> 00:34:24,640
Speaker 3: But if we're talking about that ninety minute movie, you could.

635
00:34:24,480 --> 00:34:25,319
Speaker 1: Have just caught them out.

636
00:34:25,760 --> 00:34:29,120
Speaker 4: They actually really needed in any way shape.

637
00:34:28,920 --> 00:34:31,080
Speaker 2: Or for especially if you're not going to dive into

638
00:34:31,120 --> 00:34:35,759
Speaker 2: the redive into the class aspect, because you know that

639
00:34:35,880 --> 00:34:40,200
Speaker 2: has some juice. The fact that that Thomas owed Aaron

640
00:34:40,239 --> 00:34:44,160
Speaker 2: Taylor Johnson's character so much money I thought was interesting.

641
00:34:44,239 --> 00:34:46,960
Speaker 2: I will say that all of to me, I could

642
00:34:47,560 --> 00:34:50,360
Speaker 2: I think that Lily Rose Up was good, and she

643
00:34:50,400 --> 00:34:52,279
Speaker 2: oppressed me a little bit. I will just say that

644
00:34:52,400 --> 00:34:56,520
Speaker 2: I think for somebody who's maybe not there's not a

645
00:34:56,520 --> 00:34:59,400
Speaker 2: lot of story here for people to bite into. And

646
00:34:59,440 --> 00:35:01,839
Speaker 2: I think that to me is like a lot of

647
00:35:01,880 --> 00:35:08,160
Speaker 2: the Eggers. Thing is great vibes, incredible visuals, but always always,

648
00:35:08,239 --> 00:35:10,480
Speaker 2: always just a little thin on story. Obviously, I think

649
00:35:10,480 --> 00:35:11,160
Speaker 2: the Lighthouse is.

650
00:35:11,480 --> 00:35:14,160
Speaker 3: Like on like hot, not hot, like oh it has

651
00:35:14,200 --> 00:35:18,040
Speaker 3: to be nice, but like layers, like there's there's a

652
00:35:18,120 --> 00:35:22,600
Speaker 3: complexity that is missing in most of these films.

653
00:35:21,560 --> 00:35:24,319
Speaker 1: The which nothing happens. Some people like it.

654
00:35:24,360 --> 00:35:26,360
Speaker 3: I'm saying it, Jason.

655
00:35:26,120 --> 00:35:30,280
Speaker 1: Disagree, hard disagree, but respect. I'm that's okay. Nothing happens.

656
00:35:30,400 --> 00:35:34,120
Speaker 2: The Lighthouse Good The Northman adapted from Hamlet nos Feritu

657
00:35:34,560 --> 00:35:38,319
Speaker 2: adapted from one hundred and two year old movie, which

658
00:35:38,480 --> 00:35:42,439
Speaker 2: is in itself adapted from a novel. I'm not sure

659
00:35:42,520 --> 00:35:46,319
Speaker 2: story is really his strong point. And Joelle like he

660
00:35:46,400 --> 00:35:48,440
Speaker 2: has said things to that regard, where it's just like

661
00:35:48,480 --> 00:35:50,279
Speaker 2: you get got a cool idea and just shoot it.

662
00:35:50,320 --> 00:35:52,720
Speaker 1: Up pretty much. He was like, you're your sound should

663
00:35:52,719 --> 00:35:56,360
Speaker 1: be passable. You're you know, He's like, other than that,

664
00:35:56,360 --> 00:35:58,120
Speaker 1: as long as you have a haltycent story, you're pretty

665
00:35:58,200 --> 00:36:01,160
Speaker 1: much ready to go. So that's that's sort of like

666
00:36:01,200 --> 00:36:03,759
Speaker 1: where he's at in his bag. Wise and listen, I

667
00:36:03,800 --> 00:36:08,600
Speaker 1: think that's okay. I really I have a theory. Okay.

668
00:36:08,640 --> 00:36:11,759
Speaker 1: So Egress has this idea of a dollhouse, which he

669
00:36:11,800 --> 00:36:14,360
Speaker 1: talks about in The Witch. He builds this really intense cabin.

670
00:36:14,400 --> 00:36:15,759
Speaker 1: They spend a lot of time just looking at the

671
00:36:15,800 --> 00:36:18,480
Speaker 1: cabin and making it feel like really impressive and and

672
00:36:18,560 --> 00:36:21,520
Speaker 1: sort of showcasing how these people are out castking. Okay,

673
00:36:21,560 --> 00:36:24,719
Speaker 1: lighthouse is self explanatory. That's the dollhouse. It's the lighthouse.

674
00:36:24,800 --> 00:36:26,640
Speaker 1: It's all kind of set up. You get the full

675
00:36:26,719 --> 00:36:28,880
Speaker 1: of the for opening, like two minutes of that shot

676
00:36:29,320 --> 00:36:33,680
Speaker 1: in the Northman, suddenly no dollhouse. You're just open in wilderness.

677
00:36:33,719 --> 00:36:36,560
Speaker 1: There's a couple of different stage sets here, but it's

678
00:36:36,640 --> 00:36:41,080
Speaker 1: so open, so nebulous, so many additional people. And that's

679
00:36:41,080 --> 00:36:43,920
Speaker 1: I think where he starts to lose his footing. I

680
00:36:43,960 --> 00:36:46,960
Speaker 1: think he's in his bag and knows s Faratu in

681
00:36:47,000 --> 00:36:48,759
Speaker 1: that freaking castle. And we mentioned it a lot, but

682
00:36:48,800 --> 00:36:53,080
Speaker 1: what makes that castle scene so good is maddeningly disorienting,

683
00:36:53,120 --> 00:36:55,640
Speaker 1: like you're going up the stairs or following somebody and

684
00:36:55,680 --> 00:37:00,680
Speaker 1: then somewhere completely different. He can't get out. Well, the

685
00:37:00,719 --> 00:37:02,840
Speaker 1: angles are strange.

686
00:37:02,840 --> 00:37:06,080
Speaker 4: The lights are only firelight. But he is always in shadow.

687
00:37:06,160 --> 00:37:06,440
Speaker 1: Okay.

688
00:37:06,440 --> 00:37:08,760
Speaker 3: Another thing I will say that I loved, and obviously

689
00:37:08,800 --> 00:37:11,920
Speaker 3: this is taken from that very famous moment in the

690
00:37:11,960 --> 00:37:15,879
Speaker 3: original Nosferatu, but he does this thing with shadow where

691
00:37:15,880 --> 00:37:18,840
Speaker 3: like at the beginning especially he shows well act like

692
00:37:18,920 --> 00:37:21,239
Speaker 3: it's like he's the shadow behind the curtain, but when

693
00:37:21,239 --> 00:37:24,560
Speaker 3: the curtain blows away, he's there. So it's like you said, Joel,

694
00:37:24,560 --> 00:37:28,520
Speaker 3: I think you're right. The intimacy of a scene or

695
00:37:28,560 --> 00:37:31,640
Speaker 3: a space can really work in his favor with that

696
00:37:31,800 --> 00:37:34,480
Speaker 3: dollhouse technique. But when he spreads it out and you're

697
00:37:34,520 --> 00:37:38,000
Speaker 3: suddenly in five six different locations, you don't necessarily get

698
00:37:38,000 --> 00:37:40,439
Speaker 3: that magic all the time. It becomes very spread out.

699
00:37:40,520 --> 00:37:42,759
Speaker 1: There's a layer of creating an atmosphere that's just gone.

700
00:37:42,600 --> 00:37:46,319
Speaker 3: Yeah, okay, so let's do it because we've already had

701
00:37:46,360 --> 00:37:49,919
Speaker 3: the disagreements have already begun, Joel, what are you rank

702
00:37:50,200 --> 00:37:51,240
Speaker 3: Robert Eggers movies?

703
00:37:51,760 --> 00:37:55,920
Speaker 1: Okay, and give them a letter grade? Okay, okay, okay,

704
00:37:56,160 --> 00:37:59,360
Speaker 1: including uh no to me, the Witch is in a

705
00:37:59,760 --> 00:38:02,480
Speaker 1: I disagree that nothing happens. I think you're watching a

706
00:38:02,560 --> 00:38:06,440
Speaker 1: family completely turn on an individual member, and it's haunting

707
00:38:06,440 --> 00:38:09,840
Speaker 1: and horrifying and I love it. Okay. My next favorite

708
00:38:09,920 --> 00:38:12,400
Speaker 1: is The Northman. I'm gonna give it a C plus.

709
00:38:12,440 --> 00:38:15,000
Speaker 1: Here's why I like The Northman better than The Lighthouse.

710
00:38:15,080 --> 00:38:18,640
Speaker 1: Lighthouse is so disgusting. It's really a challenge it. It's

711
00:38:18,800 --> 00:38:22,000
Speaker 1: so disturbing to watch. It's very disgusting. Also, watching people

712
00:38:22,040 --> 00:38:23,799
Speaker 1: fight gives me anxiety belly, and I'm like, I just

713
00:38:23,800 --> 00:38:25,600
Speaker 1: don't know if I can do this. I will say

714
00:38:25,600 --> 00:38:29,080
Speaker 1: The Lighthouse is a better film than The Northmen. I

715
00:38:29,120 --> 00:38:31,719
Speaker 1: would give it a B plus maybe actually maybe like

716
00:38:31,760 --> 00:38:34,919
Speaker 1: a low A like the cinematography that movies off the chain.

717
00:38:35,239 --> 00:38:37,800
Speaker 1: And then yeah, my least favorite is No Saratu. I

718
00:38:37,880 --> 00:38:41,640
Speaker 1: just found it really challenging to connect with the story.

719
00:38:41,800 --> 00:38:45,920
Speaker 1: I don't like the creature design work at all, complete

720
00:38:45,920 --> 00:38:50,000
Speaker 1: waste of Bill Scar's guard icon and makeup total total,

721
00:38:50,280 --> 00:38:53,360
Speaker 1: and I just don't think it works on the horror

722
00:38:53,520 --> 00:38:59,279
Speaker 1: or romance or a creepy seduction factor or stylistically, We're

723
00:38:59,280 --> 00:39:01,759
Speaker 1: gonna talk about our favorite jacque Is coming up, but

724
00:39:01,800 --> 00:39:06,120
Speaker 1: all of them have such an intense visual style that

725
00:39:06,239 --> 00:39:08,879
Speaker 1: I really think that if your style is I'm want

726
00:39:08,880 --> 00:39:11,760
Speaker 1: to be grounded in reality, doesn't it work for this story?

727
00:39:12,040 --> 00:39:14,160
Speaker 3: Yeah? Also as well, like a style that has also

728
00:39:14,200 --> 00:39:16,880
Speaker 3: been done in the past by having like this just

729
00:39:16,960 --> 00:39:19,240
Speaker 3: replicate kind of old movie aesthetics.

730
00:39:19,520 --> 00:39:22,760
Speaker 1: Yeah. Yeah, So that's that's my ranking. What about you, Rosie?

731
00:39:23,360 --> 00:39:26,120
Speaker 3: Okay, So Lighthouse for me, that's an A plus movie.

732
00:39:26,160 --> 00:39:27,719
Speaker 3: I think it's like a masterpiece.

733
00:39:27,760 --> 00:39:29,960
Speaker 4: I love it. I saw it on the big screen.

734
00:39:30,040 --> 00:39:34,080
Speaker 3: It's fantastic, unbelievable performance is incredibly strange.

735
00:39:34,680 --> 00:39:35,839
Speaker 4: Just nothing else like it.

736
00:39:35,920 --> 00:39:38,919
Speaker 3: A cosmic horror that isn't from Lovecraft, which is so rare.

737
00:39:39,400 --> 00:39:41,759
Speaker 3: It's an A plus movie for me. This is going

738
00:39:41,800 --> 00:39:44,040
Speaker 3: to be very controversial, but honestly, I actually think like

739
00:39:44,640 --> 00:39:47,160
Speaker 3: the drop off is so big for me after the Lighthouse,

740
00:39:47,239 --> 00:39:50,400
Speaker 3: the next three are probably like interchangeable. I would say

741
00:39:51,000 --> 00:39:54,080
Speaker 3: currently probably recently biased because I do think it looks nice.

742
00:39:54,600 --> 00:39:57,440
Speaker 4: Nosferatu is like a B minus for me.

743
00:39:58,480 --> 00:40:03,720
Speaker 3: Yes, so nos too is probably actually currently my second

744
00:40:03,920 --> 00:40:07,840
Speaker 3: preferred Eggles movie, though I do think the Droppers that

745
00:40:07,960 --> 00:40:10,880
Speaker 3: I think the drop off for me is just too big.

746
00:40:11,000 --> 00:40:13,280
Speaker 4: I really disliked The Northman.

747
00:40:13,360 --> 00:40:15,880
Speaker 3: It just didn't work for me at all. But I

748
00:40:17,000 --> 00:40:19,439
Speaker 3: did enjoy this movie to a point. Then I would

749
00:40:19,440 --> 00:40:23,960
Speaker 3: say The Witch, which I love the last thirty minutes

750
00:40:24,000 --> 00:40:28,719
Speaker 3: of the Witch, but I don't love the Witch. I

751
00:40:28,719 --> 00:40:32,480
Speaker 3: don't disagree with Jason that the Witch has issues with pacing.

752
00:40:33,320 --> 00:40:34,320
Speaker 4: I think the best part.

753
00:40:34,200 --> 00:40:37,520
Speaker 3: Of the Witch is Black Philip. I also have a

754
00:40:37,560 --> 00:40:41,879
Speaker 3: fantastic friend. Black Philip's incredible, and I obviously ANNIEA. Taylor

755
00:40:41,960 --> 00:40:44,160
Speaker 3: Joy is also incredible. I love that line. I am

756
00:40:44,200 --> 00:40:46,520
Speaker 3: that Witch. But I also have a really brilliant friend

757
00:40:46,880 --> 00:40:49,959
Speaker 3: who's a cultural critic who I worked and a comic

758
00:40:49,960 --> 00:40:52,720
Speaker 3: book historian who I worked in Orbital Comics within London

759
00:40:52,760 --> 00:40:57,000
Speaker 3: called Adam Karena and the Sheriff. And when The Witch

760
00:40:57,120 --> 00:41:02,719
Speaker 3: came out, Adam was like, there an inherent misogyny in

761
00:41:02,880 --> 00:41:08,200
Speaker 3: making a movie about a time when women were persecuted

762
00:41:08,360 --> 00:41:12,719
Speaker 3: for made up crimes, essentially being witches. And they were

763
00:41:12,760 --> 00:41:15,839
Speaker 3: across the globe which just like wiped out, like they're

764
00:41:15,840 --> 00:41:18,440
Speaker 3: being tortured, they're being burnt at the steak. And then

765
00:41:18,480 --> 00:41:21,000
Speaker 3: nowadays men make movies and they're like, oh, actually they

766
00:41:21,000 --> 00:41:26,560
Speaker 3: were witches. And I was like, I was like that ship,

767
00:41:26,640 --> 00:41:28,000
Speaker 3: it's so fucking deep.

768
00:41:28,680 --> 00:41:31,520
Speaker 1: That's a really poignant thought. My counter to that is

769
00:41:31,560 --> 00:41:36,399
Speaker 1: you drive us to madness, like these crazy things drive

770
00:41:36,440 --> 00:41:39,319
Speaker 1: people to do insane shit. But I also hear, I

771
00:41:39,360 --> 00:41:39,640
Speaker 1: hear that.

772
00:41:40,280 --> 00:41:42,200
Speaker 3: No, No, I agree with that, and so yeah, The

773
00:41:42,600 --> 00:41:45,880
Speaker 3: Witch for me is probably like a C plus, and

774
00:41:45,880 --> 00:41:47,879
Speaker 3: then The Northman for me is a D. Even though

775
00:41:47,920 --> 00:41:51,480
Speaker 3: I love I love Nicole Kidman and I love Mother

776
00:41:52,920 --> 00:41:55,360
Speaker 3: Alex Scott's God, but it just did not work for me.

777
00:41:55,400 --> 00:41:59,120
Speaker 3: I've seen Conan the Barbarian before, guys, like I've read Ambler.

778
00:41:59,320 --> 00:42:01,319
Speaker 4: It just it just wasn't enough for me. Jason, how

779
00:42:01,320 --> 00:42:01,799
Speaker 4: about you?

780
00:42:02,239 --> 00:42:05,000
Speaker 2: I am going to go the Lighthouse, which I think

781
00:42:05,120 --> 00:42:08,680
Speaker 2: is in a minus. I think, you know, my biases

782
00:42:08,680 --> 00:42:10,560
Speaker 2: are going to show here. But it's the one Eggers

783
00:42:10,640 --> 00:42:14,960
Speaker 2: movie that's funny and and I like that. I think

784
00:42:15,000 --> 00:42:18,239
Speaker 2: it's two wonderful performances in like an all hander for

785
00:42:18,280 --> 00:42:22,440
Speaker 2: the Age is visually so crazy and weird. I feel

786
00:42:22,440 --> 00:42:26,319
Speaker 2: like Eggers should consider more black and white work, since

787
00:42:26,360 --> 00:42:29,720
Speaker 2: he seems to hate colors so so much. Think about

788
00:42:29,760 --> 00:42:33,640
Speaker 2: it like this was the grayscale. The richness of the

789
00:42:33,640 --> 00:42:37,800
Speaker 2: black and white was absolutely compelling. Then I am going

790
00:42:37,920 --> 00:42:41,000
Speaker 2: to go, and I agree with Rosie. I feel the

791
00:42:41,040 --> 00:42:43,640
Speaker 2: same in that after the Lighthouse it drops off pretty

792
00:42:43,640 --> 00:42:49,640
Speaker 2: precipitously for me. I am going to go. Uh Nos

793
00:42:49,640 --> 00:42:52,560
Speaker 2: fair too as a C minus. First half of the

794
00:42:52,560 --> 00:42:55,120
Speaker 2: movie I enjoyed. I think there are some interesting ideas

795
00:42:55,160 --> 00:42:58,280
Speaker 2: here that just ultimately don't that it needed to stay

796
00:42:58,400 --> 00:43:01,040
Speaker 2: in the oven for like another hour and a half

797
00:43:01,440 --> 00:43:05,279
Speaker 2: and come together more. Then I am going to go.

798
00:43:06,360 --> 00:43:08,560
Speaker 2: You know, I've slagged it a lot, but I'm gonna say,

799
00:43:09,440 --> 00:43:13,120
Speaker 2: I'm going to say The Witch as a again, he

800
00:43:13,200 --> 00:43:16,040
Speaker 2: hasn't really made a bad movie. It's just also like

801
00:43:16,080 --> 00:43:18,800
Speaker 2: a C minus, but like somehow a C minus below

802
00:43:18,840 --> 00:43:22,680
Speaker 2: the C minus of The Northman. You know, Anya Taylor

803
00:43:22,719 --> 00:43:24,320
Speaker 2: Jory gives a mesmerizing performance.

804
00:43:24,640 --> 00:43:25,520
Speaker 4: She's fantastic.

805
00:43:25,840 --> 00:43:26,560
Speaker 1: There is.

806
00:43:28,560 --> 00:43:32,319
Speaker 2: There is real value to be had in creepiness, and

807
00:43:32,400 --> 00:43:35,640
Speaker 2: I think this is a movie, along with like The

808
00:43:35,719 --> 00:43:39,280
Speaker 2: Baba Duck and other movies from that era, that brought

809
00:43:39,320 --> 00:43:40,239
Speaker 2: creepiness back.

810
00:43:40,360 --> 00:43:43,600
Speaker 4: And I think that an atmosphere.

811
00:43:43,320 --> 00:43:48,319
Speaker 2: Atmosphere and creepiness is really important in horror movies. And

812
00:43:48,640 --> 00:43:50,840
Speaker 2: to capture that, even though to me the pacing was

813
00:43:50,880 --> 00:43:52,640
Speaker 2: not there, Like there is that creepiness and I think

814
00:43:52,640 --> 00:43:53,240
Speaker 2: that was cool.

815
00:43:53,680 --> 00:43:54,279
Speaker 1: Then I'm going to.

816
00:43:54,280 --> 00:43:57,960
Speaker 2: Go The Northmen. It's like a D plus C minus.

817
00:43:58,920 --> 00:44:03,920
Speaker 2: Great performances again, and I was troubled by the decision.

818
00:44:04,080 --> 00:44:07,440
Speaker 2: You know, it's like weird to me. White supremacists love

819
00:44:07,520 --> 00:44:08,120
Speaker 2: this movie.

820
00:44:09,680 --> 00:44:13,080
Speaker 3: Also historically inaccurate to actually have a movie with the

821
00:44:13,160 --> 00:44:14,240
Speaker 3: white vikings.

822
00:44:14,280 --> 00:44:14,680
Speaker 1: Just saying.

823
00:44:15,320 --> 00:44:19,320
Speaker 2: I have also seen Conan the Barbarian. You know, I've

824
00:44:19,560 --> 00:44:24,160
Speaker 2: seen many adaptations of Hamlet, and.

825
00:44:25,920 --> 00:44:28,760
Speaker 1: It was one of those movies that left me feeling

826
00:44:28,920 --> 00:44:31,680
Speaker 1: like what are we trying to say here?

827
00:44:31,760 --> 00:44:33,719
Speaker 2: Which is often the thing I'm trying to figure out

828
00:44:34,000 --> 00:44:35,600
Speaker 2: with Beggars, like well, okay, what's.

829
00:44:35,520 --> 00:44:38,960
Speaker 1: Going to that? Like other than like Vibe and Alexanderscard's

830
00:44:38,960 --> 00:44:40,920
Speaker 1: cards looked hot fighting on the side of a volcano

831
00:44:41,000 --> 00:44:46,759
Speaker 1: of hot correct, his lats were fucking incredible.

832
00:44:47,440 --> 00:44:49,880
Speaker 3: When he's like doing the opening shot when he's like

833
00:44:49,920 --> 00:44:51,680
Speaker 3: half naked with the acts, ye.

834
00:44:53,200 --> 00:44:56,640
Speaker 1: Throws it back. Yeah, And that was a movie too.

835
00:44:56,520 --> 00:45:00,200
Speaker 2: Where like similarly to some of my critiques about Out

836
00:45:00,719 --> 00:45:02,680
Speaker 2: That's fair too, I think that there was like a

837
00:45:02,719 --> 00:45:07,240
Speaker 2: really interesting thing about cycles of trauma in this movie.

838
00:45:07,480 --> 00:45:10,560
Speaker 2: Here is this young man who is traumatized, and in

839
00:45:10,840 --> 00:45:15,520
Speaker 2: so doing his tormentors have created the next generation of

840
00:45:15,640 --> 00:45:20,319
Speaker 2: traumatizers and tormentors. You know, this cycle continues again in

841
00:45:20,360 --> 00:45:22,920
Speaker 2: an idea that's there and seed form and then is

842
00:45:23,000 --> 00:45:25,919
Speaker 2: kind of abandoned. And so you know, I would give

843
00:45:26,480 --> 00:45:30,000
Speaker 2: I would give the Viking like a D plus. D

844
00:45:30,239 --> 00:45:32,600
Speaker 2: D plus is like a passing price, right, like a

845
00:45:32,719 --> 00:45:36,000
Speaker 2: D Yeah, excuse me, the Northman, So I would give

846
00:45:36,000 --> 00:45:38,840
Speaker 2: that like a D plus. But the but the Lighthouse,

847
00:45:39,040 --> 00:45:41,800
Speaker 2: to me, his best movie.

848
00:45:42,000 --> 00:45:44,279
Speaker 3: I just think it's it's like a masterpiece. I think

849
00:45:44,280 --> 00:45:47,480
Speaker 3: you're right. I think the humor actually, I'm glad you

850
00:45:47,520 --> 00:45:50,120
Speaker 3: brought that out, because the humor in the Lighthouse I love.

851
00:45:50,239 --> 00:45:52,279
Speaker 3: I quote it all the time. I'm always talking about

852
00:45:52,280 --> 00:45:58,080
Speaker 3: people eating the lobsters and like and all that kind

853
00:45:58,080 --> 00:46:01,520
Speaker 3: of funny ship. But also it's not in this movie.

854
00:46:01,680 --> 00:46:04,640
Speaker 3: So often I was just like, is there no jokes?

855
00:46:04,760 --> 00:46:07,799
Speaker 3: I was like, is there not a single joke in Nosferatu? Like,

856
00:46:07,920 --> 00:46:11,840
Speaker 3: is there not snuck in a couple of he comes

857
00:46:11,880 --> 00:46:14,640
Speaker 3: in at the end. Then suddenly they're like, Okay, this

858
00:46:14,760 --> 00:46:16,680
Speaker 3: is the kind of ship that I'm looking for. Like

859
00:46:16,800 --> 00:46:20,120
Speaker 3: I'm a horror lover, I'm a bram Stokers Dracula lover.

860
00:46:20,400 --> 00:46:23,120
Speaker 3: There could be moments of levity, doesn't have to be

861
00:46:23,400 --> 00:46:27,280
Speaker 3: full on camp, but this was like so stone called

862
00:46:27,480 --> 00:46:30,759
Speaker 3: severe that I think when Williem Defoe came on, he

863
00:46:30,920 --> 00:46:35,800
Speaker 3: just like bright and the screen. I just I couldn't

864
00:46:35,840 --> 00:46:38,280
Speaker 3: the version of this where it's one France.

865
00:46:39,040 --> 00:46:45,080
Speaker 1: You know that interesting house in space is more interesting

866
00:46:45,160 --> 00:46:48,520
Speaker 1: visually than almost everything else we get in the film.

867
00:46:48,280 --> 00:46:51,280
Speaker 3: Very short backstory where we learn he was essentially pushed

868
00:46:51,280 --> 00:46:54,920
Speaker 3: out of scientific circles because he was seen as an occultist,

869
00:46:55,160 --> 00:46:57,279
Speaker 3: Like that is so interesting.

870
00:46:56,760 --> 00:46:58,919
Speaker 1: Even when in the visual details like when we first

871
00:46:58,920 --> 00:47:00,840
Speaker 1: see him like strange I was coat and there's like

872
00:47:00,880 --> 00:47:02,520
Speaker 1: a puff of dust rises off of it. You're like,

873
00:47:02,520 --> 00:47:04,439
Speaker 1: oh yeah yeah.

874
00:47:04,440 --> 00:47:06,759
Speaker 3: And also he's like literally they walk in and he's

875
00:47:06,760 --> 00:47:09,840
Speaker 3: trying to do alchemy, like he's literally trying to make gold.

876
00:47:10,239 --> 00:47:14,000
Speaker 3: That is so interesting and complex and strange. And I

877
00:47:14,040 --> 00:47:20,080
Speaker 3: think that is where Eggers is so strong. And I

878
00:47:20,160 --> 00:47:23,200
Speaker 3: think also that's that moments of Thomas in the Castle

879
00:47:23,280 --> 00:47:27,720
Speaker 3: with Orlac, Like there is that strangeness, that scariness, that horror,

880
00:47:27,760 --> 00:47:31,080
Speaker 3: that weirdness. He's so great in those moments, and I

881
00:47:31,080 --> 00:47:34,319
Speaker 3: think some of the other period aspects they just don't

882
00:47:34,360 --> 00:47:35,960
Speaker 3: hit for me in the same way that they hit.

883
00:47:35,840 --> 00:47:38,720
Speaker 4: For other people, like with the Witch or with with this.

884
00:47:38,600 --> 00:47:40,880
Speaker 3: Because i'ms my gut says, this is probably going to

885
00:47:40,920 --> 00:47:44,080
Speaker 3: be another kind of scene as a return to form

886
00:47:44,120 --> 00:47:46,840
Speaker 3: after The Northman, which didn't necessarily perform in the way

887
00:47:47,480 --> 00:47:48,880
Speaker 3: that studios were expecting.

888
00:47:49,080 --> 00:47:55,719
Speaker 2: Yeah, okay, well, let's take a break to you know,

889
00:47:55,840 --> 00:48:01,120
Speaker 2: send out our magic sensory feelers to any of the

890
00:48:02,080 --> 00:48:06,120
Speaker 2: sensitive magic sensitives out there so that we can suck

891
00:48:06,160 --> 00:48:08,920
Speaker 2: their blood and their life essences and steal everything from them.

892
00:48:08,920 --> 00:48:12,239
Speaker 2: When we come back, we are going to talk about

893
00:48:12,239 --> 00:48:15,960
Speaker 2: our favorite Draculas, favorite Tracula stories, favorite Dracula films.

894
00:48:16,640 --> 00:48:29,800
Speaker 5: You're right back after this, and we are back.

895
00:48:30,320 --> 00:48:30,799
Speaker 1: We're back.

896
00:48:31,440 --> 00:48:31,920
Speaker 5: Here we go.

897
00:48:32,120 --> 00:48:32,680
Speaker 1: Dracula.

898
00:48:33,080 --> 00:48:34,640
Speaker 3: Yes, Dracla.

899
00:48:35,480 --> 00:48:40,360
Speaker 2: We're talking Dracula origins. No, you know, no son of Dracula,

900
00:48:40,560 --> 00:48:42,440
Speaker 2: no bride of Dracula.

901
00:48:42,000 --> 00:48:46,000
Speaker 1: And none of that Twilight like centric.

902
00:48:46,640 --> 00:48:50,160
Speaker 3: This is Dracula specific, based on the Dracula book by

903
00:48:50,160 --> 00:48:51,360
Speaker 3: Bram Stokers Dracula.

904
00:48:51,960 --> 00:48:55,320
Speaker 2: Here are our favorites, Joel, would you like to go first?

905
00:48:55,800 --> 00:48:57,920
Speaker 1: Yeah, I'm gonna say one. That's probably all of ours.

906
00:48:58,320 --> 00:49:04,320
Speaker 1: Bram Stoker's Dracula nineteen eighty version isational. I remember seeing

907
00:49:04,320 --> 00:49:08,000
Speaker 1: this in production design, I mean productions. Off the chain.

908
00:49:08,040 --> 00:49:10,839
Speaker 1: There is a shot where there's like the chain train

909
00:49:10,920 --> 00:49:13,160
Speaker 1: in the foreground and like the map of London in

910
00:49:13,200 --> 00:49:16,880
Speaker 1: the back and the hand outstretching and oh my gosh.

911
00:49:16,880 --> 00:49:18,640
Speaker 1: But then when you get to Jacco's cats, it's all

912
00:49:18,680 --> 00:49:22,120
Speaker 1: red velvet and sensual women. The bisexual energy is off the.

913
00:49:22,120 --> 00:49:27,480
Speaker 3: Charting, the costume, the uh, the armor that he wears

914
00:49:27,520 --> 00:49:30,560
Speaker 3: that looks like it is the inside of his muscle.

915
00:49:30,920 --> 00:49:33,719
Speaker 4: It's so good, so red, Oh my god, so good.

916
00:49:33,840 --> 00:49:36,759
Speaker 2: Everything about this movie slaps in his you know, in

917
00:49:36,800 --> 00:49:39,880
Speaker 2: his old form where he's looking like a like a

918
00:49:39,960 --> 00:49:50,640
Speaker 2: regal like vampire mister burns, like yeah.

919
00:49:44,640 --> 00:49:51,319
Speaker 3: They never forget that, the instantly unforgettable bot hair where

920
00:49:51,320 --> 00:49:55,200
Speaker 3: it's like yeah, still talk. My nephew was literally talking

921
00:49:55,200 --> 00:49:57,000
Speaker 3: about the other day because we watched the episode of

922
00:49:58,160 --> 00:50:04,120
Speaker 3: How Simpsons you know Treehouse that's so so good.

923
00:50:04,480 --> 00:50:08,520
Speaker 1: And prime Keanu reeves classic right and went on a writer,

924
00:50:08,960 --> 00:50:10,080
Speaker 1: this is wonderful.

925
00:50:10,640 --> 00:50:11,880
Speaker 4: You want to go one for one or just do

926
00:50:11,960 --> 00:50:12,640
Speaker 4: all of the miner row.

927
00:50:13,160 --> 00:50:17,120
Speaker 1: Let's do all of them in a row. Okay, yeah, okay,

928
00:50:17,280 --> 00:50:22,240
Speaker 1: three three three, just three controversial opinion. I'm going okay

929
00:50:22,360 --> 00:50:25,000
Speaker 1: two thousand and four Van healthing Hell.

930
00:50:28,840 --> 00:50:32,280
Speaker 3: You know what, people come here for the unexpected takes.

931
00:50:32,600 --> 00:50:37,399
Speaker 3: They look Jason might be a classic. They know they

932
00:50:37,440 --> 00:50:39,600
Speaker 3: know that if I'm on the show, there's gonna be

933
00:50:39,680 --> 00:50:41,799
Speaker 3: some weird picks, So don't absolutely.

934
00:50:42,239 --> 00:50:44,960
Speaker 1: I will say that, I will say that I love it.

935
00:50:45,400 --> 00:50:48,759
Speaker 2: I will say that I think before I before you

936
00:50:48,800 --> 00:50:50,880
Speaker 2: continue that I think this is one of the ugliest

937
00:50:50,920 --> 00:50:51,840
Speaker 2: films ever made.

938
00:50:52,200 --> 00:50:54,680
Speaker 1: But I can go.

939
00:50:56,960 --> 00:50:59,080
Speaker 3: Like Nightmarriage Zero's horror Estate.

940
00:50:59,200 --> 00:51:02,240
Speaker 1: But us, why tell us? Why I speak to you? Okay,

941
00:51:02,280 --> 00:51:06,960
Speaker 1: if you haven't seen Van Heusing, imagine Hugh Jackman in

942
00:51:07,040 --> 00:51:14,320
Speaker 1: a cowboy slash musical esque variety show chaos an inscription

943
00:51:14,800 --> 00:51:18,280
Speaker 1: it is Jacula from Van Housing's POV. So you're getting

944
00:51:18,280 --> 00:51:22,000
Speaker 1: like we're unting the vampires. It feels like a set,

945
00:51:22,400 --> 00:51:25,400
Speaker 1: like like a time not in the classic way of

946
00:51:25,440 --> 00:51:28,359
Speaker 1: like the nineteen thirties style movies where you're like, Wow,

947
00:51:28,400 --> 00:51:31,080
Speaker 1: this is beautiful. It feels like those are some extra

948
00:51:31,120 --> 00:51:33,080
Speaker 1: sets at the MGM lot and they made it work.

949
00:51:33,400 --> 00:51:37,960
Speaker 1: But it's so funny and I really like part of

950
00:51:38,000 --> 00:51:39,920
Speaker 1: it is absolutely nostalgia. But there's just a part of

951
00:51:39,960 --> 00:51:42,040
Speaker 1: me that in two thousand and four was like, how

952
00:51:42,280 --> 00:51:45,480
Speaker 1: was I then? I would been fifteen. Yeah, I was

953
00:51:45,520 --> 00:51:47,320
Speaker 1: just very into this movie. I was like, the vibes

954
00:51:47,320 --> 00:51:49,880
Speaker 1: are immaculate. It's kind of creepy, it's kind of goffey,

955
00:51:49,960 --> 00:51:52,640
Speaker 1: it's kind of romantic. There's a lot of hot people here.

956
00:51:53,080 --> 00:51:55,520
Speaker 1: It's fun, but it's also kind of true to the narrative.

957
00:51:55,600 --> 00:51:58,839
Speaker 1: They don't take that many liberties with the story. So

958
00:51:59,280 --> 00:52:02,000
Speaker 1: if you're about it, like maybe their weaponry is a

959
00:52:02,040 --> 00:52:04,640
Speaker 1: little more advanced, you get like bow shoes. It's very dark.

960
00:52:05,000 --> 00:52:06,920
Speaker 1: It's very dark. Soul's in fluence.

961
00:52:07,040 --> 00:52:12,400
Speaker 3: Yeah. I feel like there's gonna be a Van heusing

962
00:52:12,680 --> 00:52:18,359
Speaker 3: like recon reconsideration soon because I feel like, aesthetically this

963
00:52:18,480 --> 00:52:21,520
Speaker 3: looks like what Universal used as the inspiration for that

964
00:52:21,600 --> 00:52:24,839
Speaker 3: new park they're doing. That's like dark yeah us, and

965
00:52:24,880 --> 00:52:28,480
Speaker 3: it's very like you're on a film set of eighteen

966
00:52:28,600 --> 00:52:31,239
Speaker 3: hundreds Germany, but it's a little bit modern and there's

967
00:52:31,280 --> 00:52:33,239
Speaker 3: a little bit of like a little bit more edge

968
00:52:33,280 --> 00:52:36,040
Speaker 3: and a little bit more like cool design. And I

969
00:52:36,080 --> 00:52:39,040
Speaker 3: really feel like immediately when I started to see the

970
00:52:39,080 --> 00:52:41,920
Speaker 3: designs coming out of Dark Universe, which is going to

971
00:52:41,960 --> 00:52:44,560
Speaker 3: be part of the Epic Universe parks, I was like, Oh,

972
00:52:44,600 --> 00:52:47,359
Speaker 3: I feel like somebody watched Van Housing, so I love

973
00:52:47,400 --> 00:52:47,840
Speaker 3: that picture.

974
00:52:47,920 --> 00:52:48,760
Speaker 4: Oh that was incredible.

975
00:52:48,760 --> 00:52:49,520
Speaker 3: What's your last ing?

976
00:52:50,200 --> 00:52:52,520
Speaker 1: I'll just go with the classic Nosperrato. If you haven't

977
00:52:52,520 --> 00:52:56,280
Speaker 1: seen it, it's man, it extremely holds up lighting wise,

978
00:52:56,320 --> 00:52:58,880
Speaker 1: you're just gonna be It's like watching Cabin of Calgary,

979
00:52:58,920 --> 00:53:02,359
Speaker 1: where you're just like, yeah, this is uh, I can't

980
00:53:02,360 --> 00:53:05,719
Speaker 1: believe someone made this so long ago, while filmmaking must

981
00:53:05,760 --> 00:53:08,319
Speaker 1: really be inherent in our blood, Like what could I

982
00:53:08,400 --> 00:53:13,279
Speaker 1: be doing with this level of just like basic skills

983
00:53:13,440 --> 00:53:16,480
Speaker 1: in filmmaking to make something this tightens and this artistic,

984
00:53:16,560 --> 00:53:20,400
Speaker 1: in this beautiful and truly like I wasn't sure how

985
00:53:20,400 --> 00:53:23,440
Speaker 1: I was going to receive silent fills. My dad found

986
00:53:23,440 --> 00:53:25,279
Speaker 1: like ripped a copy of the Internet when I was

987
00:53:25,320 --> 00:53:27,000
Speaker 1: thirteen because I was like, I have to see this

988
00:53:27,040 --> 00:53:31,000
Speaker 1: movie everyone's talking about, and I was blown away by

989
00:53:31,040 --> 00:53:33,200
Speaker 1: it remained blown away by it. So I would highly

990
00:53:33,239 --> 00:53:36,680
Speaker 1: recommend watching the original Astrauato. What about Rosie? You want

991
00:53:36,680 --> 00:53:37,240
Speaker 1: to go next?

992
00:53:37,600 --> 00:53:39,400
Speaker 3: Yeah, well, so one of mine was going to be

993
00:53:39,400 --> 00:53:42,080
Speaker 3: Brown Stoker is Dracula. I just I totally agree with you.

994
00:53:42,120 --> 00:53:44,120
Speaker 3: I think it's fantastic. I rewatch it all the time.

995
00:53:44,440 --> 00:53:47,920
Speaker 3: It's way too long in the best way. The costume

996
00:53:48,040 --> 00:53:53,880
Speaker 3: designs are like impeccable, the Oscar winning costume designs, and

997
00:53:54,160 --> 00:53:57,279
Speaker 3: I mean I even have a hat that celebrates the

998
00:53:57,320 --> 00:54:00,399
Speaker 3: costume designs winning an Oscar. So I have a hat

999
00:54:00,400 --> 00:54:03,600
Speaker 3: from Superachi that says and the winner of best costume

1000
00:54:03,680 --> 00:54:08,759
Speaker 3: design is Eco Ishioca for Bramstoga's Dracula. And I have

1001
00:54:09,320 --> 00:54:12,280
Speaker 3: actually visited her Oscar that is in the Academy Museum

1002
00:54:12,320 --> 00:54:14,080
Speaker 3: because I just think they're so perennial.

1003
00:54:14,440 --> 00:54:17,960
Speaker 4: I didn't commit to buying the three hundred dollars.

1004
00:54:18,360 --> 00:54:22,399
Speaker 3: Full size armor bag that I saw a place made

1005
00:54:22,480 --> 00:54:24,840
Speaker 3: recently that was super cool, So that was gonna be

1006
00:54:24,840 --> 00:54:28,720
Speaker 3: one of my I'm also gonna go for Dracula nineteen

1007
00:54:28,760 --> 00:54:31,920
Speaker 3: thirty one, but not the bell Lagosi version, which I

1008
00:54:31,960 --> 00:54:35,840
Speaker 3: do love, but because the secret of the nineteen thirty

1009
00:54:35,840 --> 00:54:39,279
Speaker 3: one Dracula made by Universal is that at night they

1010
00:54:39,400 --> 00:54:43,320
Speaker 3: filmed a Spanish language version, same script, completely different casts,

1011
00:54:43,400 --> 00:54:46,480
Speaker 3: same sets or Spanish language.

1012
00:54:46,680 --> 00:54:48,760
Speaker 4: It was very hard to find for a very long.

1013
00:54:48,600 --> 00:54:52,560
Speaker 3: Time, but now it just plays constantly on the Universal

1014
00:54:52,640 --> 00:54:55,359
Speaker 3: Monsters channel. They have a great rip of it. And

1015
00:54:55,440 --> 00:54:58,120
Speaker 3: I've just been completely obsessed with this kind of duel

1016
00:54:58,360 --> 00:55:01,799
Speaker 3: movie making history that they chose to do there to

1017
00:55:01,920 --> 00:55:04,600
Speaker 3: just you know, appeal to a wider audience, something they're

1018
00:55:04,640 --> 00:55:06,359
Speaker 3: not even doing now, you know. And they were doing

1019
00:55:06,360 --> 00:55:09,120
Speaker 3: that in nineteen thirty one. So that movie is incredible.

1020
00:55:09,239 --> 00:55:12,160
Speaker 3: The guy who plays Dracula is like, so not Bela Lagosi.

1021
00:55:12,280 --> 00:55:16,240
Speaker 3: It's incredible. That's definitely worth checking out. I love that version.

1022
00:55:16,440 --> 00:55:18,680
Speaker 3: I love the bel Lagosi version too, I'm a big

1023
00:55:18,719 --> 00:55:24,040
Speaker 3: bell Lagosi stan But my favorite version probably no surprise,

1024
00:55:24,120 --> 00:55:26,360
Speaker 3: as it's well known that I love Verna Herzog, but

1025
00:55:26,840 --> 00:55:31,000
Speaker 3: the nineteen seventy nine Verna Hazog version of Nosferatu, which

1026
00:55:31,040 --> 00:55:32,920
Speaker 3: I do think is the best version of Dracula or

1027
00:55:32,960 --> 00:55:37,520
Speaker 3: nos Faratu, with klaus Kinski as Nosferatu and Isabella Johnny

1028
00:55:37,560 --> 00:55:40,840
Speaker 3: actually in the Mina Harker role, and that sticks to

1029
00:55:40,880 --> 00:55:44,160
Speaker 3: the more classic Dracula ending where it's about Jonathan dying

1030
00:55:44,160 --> 00:55:47,040
Speaker 3: and Mina surviving, and I just think it's such a

1031
00:55:47,080 --> 00:55:48,360
Speaker 3: beautifully rendered movie.

1032
00:55:48,440 --> 00:55:49,400
Speaker 4: It's so tragic.

1033
00:55:49,520 --> 00:55:52,319
Speaker 3: Even though the design of klaus Kinski's Nosparatu is very

1034
00:55:52,360 --> 00:55:56,000
Speaker 3: similar to the classic design, very ugly, very horrifying, not

1035
00:55:56,280 --> 00:56:01,160
Speaker 3: the suave bel Lagosi version, he still is sensual and tragic.

1036
00:56:01,680 --> 00:56:07,279
Speaker 3: He emost so hard. There are even just photographs from

1037
00:56:07,280 --> 00:56:09,640
Speaker 3: that film where you can feel this kind of wrenching

1038
00:56:09,920 --> 00:56:13,040
Speaker 3: sadness and heartbreak. And also something that came to me

1039
00:56:13,080 --> 00:56:16,319
Speaker 3: a lot during watching nos Ferratu twenty twenty four was

1040
00:56:16,360 --> 00:56:18,759
Speaker 3: like there's no color, There was no It was this

1041
00:56:18,920 --> 00:56:21,759
Speaker 3: idea of like bleached out everything, which can work in

1042
00:56:21,800 --> 00:56:24,520
Speaker 3: certain ways. We talked about Sleepy Hollow, the Timberton movie.

1043
00:56:24,640 --> 00:56:27,680
Speaker 3: There are ways you can use gradients of gray and

1044
00:56:27,760 --> 00:56:30,800
Speaker 3: white and blacks that can be very affecting, and obviously

1045
00:56:30,840 --> 00:56:32,880
Speaker 3: just shooting black and white is one of those options,

1046
00:56:32,960 --> 00:56:33,920
Speaker 3: like Eggs did.

1047
00:56:33,760 --> 00:56:34,440
Speaker 1: With the Lighthouse.

1048
00:56:34,680 --> 00:56:39,440
Speaker 3: But Herzogs Nosferatu is actually incredibly colorful, and I feel

1049
00:56:39,440 --> 00:56:43,720
Speaker 3: like that adds to that kind of the surreal nature

1050
00:56:43,800 --> 00:56:47,840
Speaker 3: of when Nosferatu arrives and the difference between daytime and

1051
00:56:48,000 --> 00:56:50,880
Speaker 3: night time. Egg's Nosferratu is like, when she's out in

1052
00:56:50,880 --> 00:56:53,320
Speaker 3: the daytime, it's horrible and bleak, and when it's nighttime

1053
00:56:53,320 --> 00:56:56,360
Speaker 3: it's horrible and bleak. I think there's a duality and

1054
00:56:56,760 --> 00:56:59,799
Speaker 3: that kind of juxtaposition with Herzog's Nosphratu that is just

1055
00:56:59,840 --> 00:57:03,359
Speaker 3: so fantastic, And obviously every time him and Kinski wack together,

1056
00:57:03,480 --> 00:57:06,200
Speaker 3: it's a masterpiece because they were like the ultimate for enemies.

1057
00:57:06,840 --> 00:57:08,360
Speaker 3: So those of mind Jason wore about.

1058
00:57:08,120 --> 00:57:10,239
Speaker 1: Yours mine are.

1059
00:57:10,600 --> 00:57:15,840
Speaker 2: I'm gonna go first with Dracula nineteen seventy nine. Dracula,

1060
00:57:15,960 --> 00:57:19,800
Speaker 2: I'm so glad you love the story so starring Frank

1061
00:57:19,880 --> 00:57:25,520
Speaker 2: Langella as the extremely suave handsome and charming Count Dracula,

1062
00:57:26,040 --> 00:57:30,320
Speaker 2: incredible cast, Lawrence Olivier is how crazy, aging Van helsing,

1063
00:57:30,360 --> 00:57:35,280
Speaker 2: Donald pleasants doing this now now Donald Pleasant's thing, and

1064
00:57:36,440 --> 00:57:42,360
Speaker 2: just a operatic romantic like you feel like Dracula kind

1065
00:57:42,360 --> 00:57:44,320
Speaker 2: of falls in love in this movie and he is

1066
00:57:44,360 --> 00:57:49,040
Speaker 2: a monster, but like you, it's this depiction of Dracula

1067
00:57:49,080 --> 00:57:53,840
Speaker 2: as like this basically less love bomb monster who really

1068
00:57:53,880 --> 00:57:56,520
Speaker 2: does fall in love with his victims. Tremendously, such a

1069
00:57:56,560 --> 00:58:00,440
Speaker 2: stylistically pleasing movie too, Like every time you watch it

1070
00:58:00,480 --> 00:58:02,080
Speaker 2: you just want to be that, you want to.

1071
00:58:02,000 --> 00:58:03,640
Speaker 1: Be Yea, it looks great.

1072
00:58:03,760 --> 00:58:07,960
Speaker 2: The castle is creepy but looks great, and just a

1073
00:58:08,040 --> 00:58:11,000
Speaker 2: wonderful movie with wonderful performances.

1074
00:58:11,440 --> 00:58:12,920
Speaker 1: Then I'm gonna go I'm gonna.

1075
00:58:12,680 --> 00:58:15,400
Speaker 2: Echo Joel here the original nus Fair two nineteen twenty two.

1076
00:58:15,520 --> 00:58:19,120
Speaker 2: F Now, I mean, like it's just stunning.

1077
00:58:18,760 --> 00:58:21,280
Speaker 3: Still best boot like ever made. So proud of him.

1078
00:58:21,560 --> 00:58:25,840
Speaker 2: It is incredible. You can't believe. It's not like a

1079
00:58:25,920 --> 00:58:30,360
Speaker 2: technical achievement on the level of like you know, Citizen

1080
00:58:30,440 --> 00:58:35,840
Speaker 2: Kane or anything. But you can't believe that they created

1081
00:58:35,880 --> 00:58:39,080
Speaker 2: these effects, They created this atmosphere. There is no sound

1082
00:58:39,560 --> 00:58:46,000
Speaker 2: like it is immensely, immensely creepy and a wonderful achievement.

1083
00:58:46,560 --> 00:58:49,640
Speaker 2: And then next TI, I'm gonna go this is we

1084
00:58:49,720 --> 00:58:52,880
Speaker 2: all got one cheat version, and this is my cheat version,

1085
00:58:53,000 --> 00:59:00,760
Speaker 2: two thousand, Shadow of the Vampires. Love William Defoe, legend Williams.

1086
00:59:01,280 --> 00:59:03,760
Speaker 1: So this movie, which is super super fun.

1087
00:59:04,160 --> 00:59:08,160
Speaker 2: It's like a it's like a behind the scenes of

1088
00:59:08,240 --> 00:59:09,520
Speaker 2: the nineteen twenty.

1089
00:59:09,200 --> 00:59:10,200
Speaker 1: Two nos Feratu.

1090
00:59:10,280 --> 00:59:16,040
Speaker 2: You're watching FW Murnau create this movie and all the

1091
00:59:16,080 --> 00:59:19,160
Speaker 2: issues and troubles he's got trying to wrangle the actors

1092
00:59:19,200 --> 00:59:20,439
Speaker 2: and get everything to work.

1093
00:59:20,520 --> 00:59:23,120
Speaker 1: And he's got this star who.

1094
00:59:23,760 --> 00:59:29,160
Speaker 2: Played by Willem Dafoe, who is very mysterious and is

1095
00:59:29,480 --> 00:59:35,280
Speaker 2: maybe a real vampire, like it's unclear, And it's such

1096
00:59:35,280 --> 00:59:36,520
Speaker 2: a fun take on it.

1097
00:59:37,160 --> 00:59:39,720
Speaker 1: John Malkovich plays the director.

1098
00:59:39,400 --> 00:59:43,520
Speaker 2: Did John Malcavinci as like an absolute terror of a director.

1099
00:59:44,000 --> 00:59:49,080
Speaker 2: Is a wonderful film and a really cool twist on

1100
00:59:50,080 --> 00:59:53,680
Speaker 2: the Dracula origin story. A great movie that's worth your time.

1101
00:59:54,000 --> 00:59:55,920
Speaker 1: Such a good great list, guys.

1102
00:59:56,440 --> 00:59:58,440
Speaker 2: So yeah, wonderful lists all around.

1103
00:59:58,720 --> 00:59:58,840
Speaker 1: Uh.

1104
00:59:59,200 --> 01:00:01,680
Speaker 2: We're gonna be back again this week Tuesday for a

1105
01:00:01,720 --> 01:00:04,560
Speaker 2: recap of Skeleton Crew one oh five, and then Thursday

1106
01:00:04,880 --> 01:00:07,400
Speaker 2: We're looking ahead at the films, the TV shows, the

1107
01:00:07,480 --> 01:00:09,240
Speaker 2: video games we're most excited for.

1108
01:00:09,960 --> 01:00:11,720
Speaker 1: That's it for this episode, Thanks.

1109
01:00:11,440 --> 01:00:14,840
Speaker 3: For good bye.

1110
01:00:21,920 --> 01:00:25,280
Speaker 2: X ray Vision is hosted by Jason Kenseepsion and Rosie

1111
01:00:25,320 --> 01:00:29,560
Speaker 2: Knight and is a production of iHeart Podcasts. Our executive

1112
01:00:29,560 --> 01:00:33,800
Speaker 2: producers are Joelle Smith and Aaron Kaufman. Our supervising producer

1113
01:00:34,200 --> 01:00:38,920
Speaker 2: is a Boo Zafar. Our producers are Carmen Laurn and

1114
01:00:39,040 --> 01:00:42,480
Speaker 2: Mia Taylor. Our theme song is by Brian Basquez.

1115
01:00:42,960 --> 01:00:47,280
Speaker 3: Special thanks to Soul Rubin and Chris Lord, Kenny Goodman

1116
01:00:47,600 --> 01:00:49,680
Speaker 3: and Heidi on Discoll Moderata