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Speaker 1: Hello, everybody, Welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho.

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Speaker 2: I'm Danielle Henderson, and we're back once again to talk

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Speaker 2: about movies and other things.

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Speaker 3: How are you. I'm great now I've been serenaded.

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Speaker 1: Yeah, I just thought that up.

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Speaker 3: No, believe it. I know it's hard. No, I'm okay.

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Speaker 3: I'm okay.

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Speaker 2: This week, I've got a lot going on, but it's

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Speaker 2: always it's always stuff I can't talk about.

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Speaker 3: So it's like a very stressful week. But it'll be

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Speaker 3: all right. Can you give us like a ballpark? Will?

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Speaker 3: My book's out today, so that's happening.

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Speaker 1: Oh my god, we're so excited. Congratulations, Thank god. Did

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Speaker 1: you think that this day was ever gonna I mean, come.

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Speaker 3: On, I truly didn't. I truly didn't.

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Speaker 2: There are many times when I was writing it where

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Speaker 2: I thought I don't need to finish this.

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Speaker 4: Yeah.

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Speaker 1: I don't know if you maybe this is something that

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Speaker 1: you can't or won't answer. But I'm just simply curious

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Speaker 1: because I think, I mean, I've never written a book.

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Speaker 1: I think a lot of people out here listening have

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Speaker 1: probably not written a book.

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Speaker 3: How long does it take?

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Speaker 1: I mean, it feels like to me, just as your friend,

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Speaker 1: it feels like the process from like end to end

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Speaker 1: was a while. But you know, I'm sure that there

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Speaker 1: were reasons for that. But also, Tay, writing a book

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Speaker 1: takes a long time.

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Speaker 2: Right it can. It certainly can. Mine did because for

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Speaker 2: a few factors. I mean, I when I signed basically

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Speaker 2: it's been five years from end to end for this book.

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Speaker 2: And the reason is that I originally signed with a

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Speaker 2: publisher and I signed with Simon and Schuster, and they,

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Speaker 2: like a month or two after I signed with them,

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Speaker 2: also signed Milo Ianopolis, who was this horrible, wretched racist,

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Speaker 2: like virl racist, And I said, you know what, I'm

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Speaker 2: not going to share a publisher with that dude. So

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Speaker 2: I left my contract and they wouldn't actually let me

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Speaker 2: leave my contract, so they held the book, and so

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Speaker 2: they held me to my year contract. So that first

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Speaker 2: year was just literally because I could not write. So

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Speaker 2: then I the year was up, and I sold it

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Speaker 2: to Viking, who are fantastic, and I you know, said

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Speaker 2: I was setting out to write it in a year,

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Speaker 2: and then within that time, my grandma got dementia, and

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Speaker 2: things in my life just kind of took a turn

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Speaker 2: towards spending more time with family stuff. You know, I

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Speaker 2: was working in LA and the TV stuff took took

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Speaker 2: a lot of time away from the book writing.

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Speaker 3: So it took me a while to kind of get

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Speaker 3: get going. I get going on it, and then when

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Speaker 3: I did start writing, it was really emotional. So that

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Speaker 3: took longer than I thought it would take. So I

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Speaker 3: think that for a regular old person with nothing going

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Speaker 3: on but a book to write, it could take a year.

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Speaker 2: But it did not take me a year. Yeah, it

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Speaker 2: did not take me a year. But it's also it

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Speaker 2: took the time it needed to take basically also because

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Speaker 2: like the way that I end the book is very

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Speaker 2: specific to a timeframe closer to now, even though the

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Speaker 2: book's not about now, which only makes sense if you

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Speaker 2: read it.

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Speaker 3: Go pick it up, folks.

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Speaker 2: The Ugly Cry on sale now.

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Speaker 1: And do you recommend that people get it through like

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Speaker 1: their local bookstore or.

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Speaker 2: Is there Yeah, I mean, I think it's it's so

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Speaker 2: strange because I'm not I don't want to be provincial

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Speaker 2: about where and how people read. There are some towns

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Speaker 2: that have no bookstores. There are some towns that have

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Speaker 2: one bookstore a library. I truly don't mind how you

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Speaker 2: read it. I personally support independent bookstores as much as

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Speaker 2: possible because I love them. There are lots of independent

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Speaker 2: bookstore options online as well, but I'm not going to

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Speaker 2: judge you forgetting your book anywhere anywhere you want to

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Speaker 2: get it. I think that it's you know, libraries are fantastic.

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Speaker 2: I always support a library, and you know I will

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Speaker 2: however you want to get it. I'm not picky.

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Speaker 3: Yeah, well that's cool.

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Speaker 2: You know.

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Speaker 3: I love the library.

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Speaker 1: The digital option e book gosh, I couldn't believe that. Like, honestly,

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Speaker 1: I felt like I stepped out of the you know,

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Speaker 1: like I basically became a flapper the day that I

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Speaker 1: realized that you could get e books from the library. Like,

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Speaker 1: I was like, oh my god, this modern world. I

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Speaker 1: feel like a modern world. And a modern world.

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Speaker 3: They're changing all the gas lamps to electric. It's crazy.

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Speaker 1: I still buy a lot of books too, but I

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Speaker 1: like the ease of the e book from the library.

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Speaker 3: It's great. And audio books too. Maddison same. I just

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Speaker 3: love books, man, I love books. I love movies. I

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Speaker 3: just love however I can get that stuff.

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Speaker 2: You know, I've always been a big supporter of doing

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Speaker 2: it however, it makes sense to you, and I love

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Speaker 2: an ebook. I never thought I would like when they

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Speaker 2: first came out. They first became a thing, and I

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Speaker 2: was like reading a book on a computer. But I

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Speaker 2: have since come around it's awesome.

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Speaker 1: Well, I mean, yeah, I feel the same way, and

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Speaker 1: I think I'm going to admit this about myself because

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Speaker 1: you know, why not. The reason why I didn't take

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Speaker 1: to ebooks as quick as some of my other friends

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Speaker 1: is because I totally wanted people to see what I

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Speaker 1: was reading. Like, I was like, I want to be

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Speaker 1: in a coffee shop and I want people to think

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Speaker 1: that I'm smart and cool because I'm reading some like

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Speaker 1: awesome book.

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Speaker 2: This is coming from a person who joined a writing

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Speaker 2: club and basically wrote in the pitch black.

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Speaker 3: Of a cafe to be cool. So I totally believe it.

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Speaker 3: I totally believe it.

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Speaker 1: I I don't know, that's just you know, especially when

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Speaker 1: I was younger, I was like, I need people to

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Speaker 1: understand that I have good taste, right, and I can't

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Speaker 1: do that with a kindle.

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Speaker 3: Sorry, it doesn't look as cool, man.

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Speaker 2: I also like, I definitely I still prefer physical books,

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Speaker 2: even though I will read you know, my library, books

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Speaker 2: on an iPad or what have you. I prefer physical

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Speaker 2: books because I think they that holding the physical object

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Speaker 2: makes me literally calm down enough to sit and read.

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Speaker 2: Like if I'm looking at my iPad, I'm off playing

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Speaker 2: Animal Cross, Like I'm off playing games within two minutes

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Speaker 2: of sitting down with that thing.

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Speaker 3: Yeah, I know, it's so easy to be distracted.

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Speaker 1: Yeah, I'll tell you this like really quick story about

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Speaker 1: being in high school and doing something like this, like

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Speaker 1: showing off a book because it actually.

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Speaker 3: Destroyed me but made me stronger. Oh shit.

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Speaker 1: When I was in high school, we had this like

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Speaker 1: legendary freak teacher and he was this like really cool

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Speaker 1: hippie he.

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Speaker 3: You know, was he wore.

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Speaker 1: Birkenstocks to our high school, like I had never seen

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Speaker 1: Birkenstocks before that, and you know, he was like total

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Speaker 1: like he was from you know, New York, and he

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Speaker 1: was really cool and you know, had kind of a

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Speaker 1: cigarette smoky voice and you could tell that he was

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Speaker 1: into great stuff. And so I wanted to impress him

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Speaker 1: so badly. So I brought a copy of On the

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Speaker 1: Road by Jack Kerouact into class and I had it

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Speaker 1: like sitting on my desk. You know, and he starts

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Speaker 1: coming by handing out people's papers, and I'm like, he's

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Speaker 1: gonna see that I'm reading beat literature and he is

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Speaker 1: going to think I'm the coolest person alive. And I

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Speaker 1: remember he came past my desk and he looks at

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Speaker 1: on the road and goes, yeah, Caro acts not so.

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Speaker 3: Great, and I was like, night to start. Fuck just

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Speaker 3: got shot too down. Oh my god.

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Speaker 1: Yeah, But then it made me realize that I can't

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Speaker 1: be that person. I can't just like show off my

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Speaker 1: my off, you know, like I can't just go being

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Speaker 1: a show off about stuff that I like, even though

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Speaker 1: I would continue to show off books much later.

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Speaker 3: Into my life obviously.

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Speaker 1: But it's just that thing where I was like the

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Speaker 1: thing that I wanted so bad completely backfired so well.

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Speaker 2: Also, like you know, like if you're if you're going

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Speaker 2: to be a show off, then you just got to

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Speaker 2: be prepared for the good and the bad. And sometimes

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Speaker 2: people will call you on your on your shit, I know.

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Speaker 1: I mean it's kind of like that old thing too,

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Speaker 1: where I'm just sort of like that happens so much now,

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Speaker 1: especially in the age of social media. Somebody is always

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Speaker 1: there to shoot your balloon.

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Speaker 3: Out of the sky. Look I'm I'm in the club.

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Speaker 2: We are very We're all we had a very similar

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Speaker 2: teen trajectory well before we knew each other. I the

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Speaker 2: first time I went to college when I was right

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Speaker 2: out of high school at eighteen. I went to school

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Speaker 2: right outside of Boston, a little town called Newton, for

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Speaker 2: about a year at this college called Lacelle. And my

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Speaker 2: English professor was the cutest, just like kind of like

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Speaker 2: longish hair, little glasses. I just thought he was so cute.

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Speaker 2: Tried to impress him. So I go out to the

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Speaker 2: library and I bring Finnigan's Week to class. Didn't crack

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Speaker 2: it open, didn't crack it open. It is, brought it

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Speaker 2: to class yep. And I was like, have you read this?

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Speaker 2: And he was like are you reading that? And I

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Speaker 2: was like yeah, and he was like, let me know

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Speaker 2: how that goes when I tell you, Millie that I

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Speaker 2: cracked open that book. And I felt like I was

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Speaker 2: having a fucking stroke. That book does not make a

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Speaker 2: lick of sense to me to this day. And he

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Speaker 2: probably thought I was high. I don't know what he thought,

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Speaker 2: but he was like, are you reading it? And I'm like, yeah,

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Speaker 2: it's like a book of course I'm reading it. No,

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Speaker 2: it's like an aneurysm on the page. And I was

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Speaker 2: so embarrassed, so embarrassed.

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Speaker 1: Oh my god, this this was your jazz creep moment.

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Speaker 1: I mean, this is your Charles Mangus moment where you

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Speaker 1: were like, you know, I'm telegraphing my good taste to people,

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Speaker 1: and then.

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Speaker 3: It just nope.

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Speaker 2: You know, he was like, you are a wild He

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Speaker 2: probably thought I needed to be committed. I cannot even

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Speaker 2: tell you how he looked at me. It was like,

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Speaker 2: are you reading that? And I'm like, I'm your best student,

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Speaker 2: I'm the greatest. Of course I am. No, I was not.

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Speaker 2: I was not reading it, and I can't read it

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Speaker 2: to this day. There's a sentence that's the book that

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Speaker 2: the sentence at the end blends into the sentence at

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Speaker 2: the beginning. So it's like the last word and first

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Speaker 2: word is river run, and it's like, what is it

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Speaker 2: a like away along a last a love along the

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Speaker 2: river run or something like that. And I truly felt

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Speaker 2: like I was having a stroke, like I don't understand

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Speaker 2: what brain's doing right now. Who let him do this?

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Speaker 2: Who let him do this book? If you ever see

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Speaker 2: anyone caring Finigan's wig. They are a lie. They are

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Speaker 2: an entire ass lie.

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Speaker 1: But I will say this, if I saw somebody carrying

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Speaker 1: The Ugly Cry by Daniel Henderson, I would be like.

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Speaker 3: I mean, that would impress the shit out of me.

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Speaker 3: Let's just say that, thank you, homie.

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Speaker 1: Yeah.

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Speaker 3: I hope people read it. I hope they like it.

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Speaker 3: My part was writing it well, honestly, like I I.

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Speaker 1: That to me, I think would be the most satisfying

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Speaker 1: thing about writing a book is like seeing other people

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Speaker 1: read it, seeing it in a library, like all these

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Speaker 1: like little moments. I remember when feminist Ryan Gosling came

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Speaker 1: out and I was at like some kind of like

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Speaker 1: gift shop.

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Speaker 3: It was like a paper source or something like that.

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Speaker 1: And at the time I'm not even sure if we

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Speaker 1: had actually met yet.

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Speaker 3: No. I remember seeing it in the paper source and

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Speaker 3: I texted you and I was.

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Speaker 1: Like, oh my god, I'm like shopping with my mom

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Speaker 1: and my sister and I'm seeing this book that you wrote.

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Speaker 1: And what a I mean, what a fantastic moment. And

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Speaker 1: by that time I had probably feeled it about one

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Speaker 1: hundred of these texts already from your friends. But I

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Speaker 1: was just sort of like, oh my god, to me

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Speaker 1: would I mean, I was like happy to see it

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Speaker 1: and I didn't even write it.

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Speaker 2: Oh thanks Fred. I know those are always special texts.

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Speaker 2: That's the fun to me, because like I don't know,

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Speaker 2: I feel like, once you write something and put it

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Speaker 2: out in the world, it's not really yours anymore, Like

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Speaker 2: you kind of have to just let it go, and

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Speaker 2: however people experience it is how they experience it. So

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Speaker 2: I loved writing it, you know, like I really dug

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Speaker 2: into the writing process for that reason. But the other

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Speaker 2: small joy that I always forget on the other side

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Speaker 2: is that people I love and we'll also read it

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Speaker 2: and I'll get to talk to them about it. So

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Speaker 2: that's always a blast to like get texts and photos

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Speaker 2: and stuff, and it's cool. I think I'm going to

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Speaker 2: be seeing my grandma this summer. I'll be in my

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Speaker 2: hometown this summer, and I think it's going to be

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Speaker 2: a little overwhelming to see my book in my town

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Speaker 2: library from when I was a kid.

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Speaker 1: Ah.

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Speaker 2: I bet that might do it for me. That might

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Speaker 2: that might send me over the edge. But otherwise I'm

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Speaker 2: just like, cool, do your thing, man, it's out there.

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Speaker 3: Are your family getting free copies.

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Speaker 2: Absolutely not, like you want to read about yourself.

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Speaker 3: You spend that twenty seven ninety nine. Damn, even Corey

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Speaker 3: even drink.

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Speaker 2: Cory's already read it. He got a digital copy. No,

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Speaker 2: I'll give a copy. I'll give a copy to my mom,

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Speaker 2: I'm sure. And I just recorded the audiobook. I finished

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Speaker 2: recording the audiobook so my grandma will be able to

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Speaker 2: listen to it. You know, she can't calm down enough

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Speaker 2: to read an actual book these days.

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Speaker 1: Yeah, yeah, well no, it's great that you do the

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Speaker 1: audiobook too, because it's kind of like being in a

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Speaker 1: podcast with you without me, which is fantastic for people.

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Speaker 3: I wish you could have done my audio book, shut up.

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Speaker 3: I should have done the thing where I acted.

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Speaker 1: Out funny accents like I don't know if you have

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Speaker 1: a older British woman in your book, but I do

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Speaker 1: that person.

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Speaker 3: Sorry.

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Speaker 2: There is something that really surprised me about recording the

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Speaker 2: audiobook is there is a point in the book where

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Speaker 2: I have David Lee Wroth lyrics in my book Awesome.

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Speaker 3: There's a whole.

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Speaker 2: Chapter about something that involves those lyrics, and I wasn't

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Speaker 2: allowed to sing them.

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Speaker 3: I had to just say them.

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Speaker 2: Wow.

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Speaker 3: And just saying the words to a David Lee Roth

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Speaker 3: song just feels wrong in your heart. Yeah, it's just.

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Speaker 2: Like humbly babily zibbilly, but a babel and zibylop.

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Speaker 1: I'm like, man, that are right, because okay, you couldn't

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Speaker 1: sing it because it's some sort of like rights issue.

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Speaker 3: Is that, Yeah, it's a rights issue. That is wild.

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Speaker 2: But of course before I knew that, fully sang it

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Speaker 2: like top of my lungs, sang the lyrics out, and

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Speaker 2: then the director of the audiobook was like, you can't sing,

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Speaker 2: and I'm like, I'm glad I did. I'm glad I did.

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Speaker 2: Just now blow your fucking ear drums out.

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Speaker 3: I want to know.

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Speaker 1: I wonder if this is the first time that those

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Speaker 1: lyrics have been written in a book. I wonder if

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Speaker 1: if anybody else has referenced the hummel of baby Lazima

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Speaker 1: le Boma Lehamala.

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Speaker 3: You think, look library or Congress, hit us up.

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Speaker 1: It's like when you're writing a paper and you find

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Speaker 1: out how many times like a certain article has been used.

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Speaker 2: It'll just be the number one and it'll put me

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Speaker 2: on I'm sure, if I'm sure, I'm the only person

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Speaker 2: that has put those in a book that is not

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Speaker 2: a book of lyrics, and I also guarantee them on

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Speaker 2: some kind of watchless now because of it.

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Speaker 3: Well, let me just.

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Speaker 1: Tell you if we had had the forethought to clear

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Speaker 1: that with David Lee Roth, Like if we could have

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Speaker 1: gone to David Lee Roth and been like, hey, can

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Speaker 1: we sing this very brief you know, actually I don't

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Speaker 1: even think he wrote that.

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Speaker 2: Or did he No, because it's based on a song

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Speaker 2: by like Louis Prima or something, so you.

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Speaker 3: Would have to ask for Louis Prima's permission. Holy shit, Okay,

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Speaker 3: that changes things exactly.

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Speaker 2: You can't just roll up to Louis Prima as a

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Speaker 2: state and be like yo, and they're like absolutely not.

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Speaker 2: I'm ninety, I'm a husk. I'm the last person who

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Speaker 2: even knows this man, who.

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Speaker 1: This man was. Please let me die in peace. I

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Speaker 1: don't want you to use easily rings.

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Speaker 2: No offense if Louis Prima has any family members alive

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Speaker 2: and kick it out there.

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Speaker 3: My apologies. God.

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Speaker 1: So I do this kind of thing sometimes for work,

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Speaker 1: and it is almost exactly how you say, Like you

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Speaker 1: are finding the oldest living relative sometimes and you're like,

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Speaker 1: we want to license a a Dog.

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Speaker 3: Empire movie from you. It's like that thing where you're like, we.

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Speaker 1: Want to ask you for this like ludicrous thing, and

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Speaker 1: they're like, oh.

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Speaker 3: The tennis balls are flying off the walker. Make sure

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Speaker 3: that nobody in.

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Speaker 1: Her family has done some weird shit, because you will

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Speaker 1: be the last person alive and you will have to

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Speaker 1: invariably have some like weirdo approach you to try to

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Speaker 1: get rights to that thing.

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Speaker 3: You know what's gonna happen to your nephews.

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Speaker 2: One day, someone's gonna knock on their drough in they're

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Speaker 2: like ninety, and they'll be like, want to use this

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Speaker 2: clip of your aunt from this thing that used to

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Speaker 2: be called a podcast? Oh, we just want to use

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Speaker 2: this clip of her ripping a new one that was before.

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Speaker 1: The robots took over the podcast industractly.

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Speaker 3: They used to be digital and now they're just implanted

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Speaker 3: directly in your head. You remember that they're gonna get

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Speaker 3: that zapp and.

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Speaker 2: It'll be like, give me your aunt's likeness and they'll

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Speaker 2: be like okay, it'll be like my brain now, thank you.

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00:18:13,400 --> 00:18:15,520
Speaker 2: It'll be mad Max Fury Road. At that point they'll

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Speaker 2: be like, fine, can I have some water in return? Like,

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00:18:17,600 --> 00:18:20,840
Speaker 2: can't we do a trainse ease? Can I barter for

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Speaker 2: some water? You can have anything you want that my

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Speaker 2: aunt did ninety years ago. Oh my goodness, speaking of you.

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Speaker 2: What we got a mail bag? Oh it's a nice

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Speaker 2: mail bag.

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Speaker 3: Is it? Ah?

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Speaker 1: Yeah, thank you for telling me it's nice. I need

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Speaker 1: I need to hear a nice mail bag we got?

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Speaker 3: I got one teed up and ready to go for you.

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Speaker 3: Thank you so much.

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Speaker 2: How about this? It's from a listener named R. The

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Speaker 2: initial R and the subject is Filipina Girls Unite, Esteemed Queens.

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00:18:55,080 --> 00:18:56,800
Speaker 2: Now that's that's an opening.

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Speaker 3: Love it, Esteemed Queens.

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00:19:00,800 --> 00:19:02,639
Speaker 2: I have wanted to write to you since your first

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00:19:02,680 --> 00:19:06,280
Speaker 2: episode dropped, but after today's I could hold back no longer.

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00:19:06,840 --> 00:19:09,800
Speaker 2: Every week I find myself laugh crying as you two

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00:19:09,920 --> 00:19:12,520
Speaker 2: once again strum my pain with your fingers and sing

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00:19:12,520 --> 00:19:16,160
Speaker 2: my life with your words. Secret high school club, Yes,

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00:19:16,640 --> 00:19:20,520
Speaker 2: made my own clothes, yes, middle school medalhead, you know it.

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00:19:21,080 --> 00:19:24,280
Speaker 2: I too was a young misfit outcast. But y'all make

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00:19:24,320 --> 00:19:27,320
Speaker 2: me feel so seen, and nothing more so than today

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00:19:27,520 --> 00:19:32,280
Speaker 2: hearing you talk about in siong Millie. I cannot thank

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00:19:32,359 --> 00:19:35,280
Speaker 2: you enough for bringing a Filipino director to my attention.

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00:19:36,000 --> 00:19:39,399
Speaker 2: My grandmother and great grandmother fled the Philippines during World

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Speaker 2: War Two, and my great grandmother never looked back, throwing

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Speaker 2: herself into American culture. I was born and raised in Minnesota,

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Speaker 2: not a lot of Filipinos around, and grew up completely

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Speaker 2: disconnected from that part of my heritage. It has only

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Speaker 2: been in the last few years that I have started

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Speaker 2: to trace my genealogy and learn about the place and

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00:20:00,359 --> 00:20:04,000
Speaker 2: culture my family was forced to leave. Having grown up

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Speaker 2: without seeing any Filipino representation that I can remember in

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00:20:07,520 --> 00:20:10,560
Speaker 2: film or other media. This really means the world to me.

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00:20:11,480 --> 00:20:14,320
Speaker 2: Thank you both so much for doing this podcast. I

394
00:20:14,320 --> 00:20:17,040
Speaker 2: did my time in academia and it is so gloriously

395
00:20:17,080 --> 00:20:19,880
Speaker 2: refreshing to hear black and brown ladies talk about art

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Speaker 2: and culture rather than yet another white boy. Keep up

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Speaker 2: the excellent work. What you're doing is actually incredibly powerful

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Speaker 2: and important, in addition to being fun and truly hilarious.

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Speaker 3: With much love and appreciation, are Oh man, that's awesome.

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00:20:37,680 --> 00:20:41,240
Speaker 3: That's a tear jerker. Thank you, that's a good email.

401
00:20:41,800 --> 00:20:46,600
Speaker 3: Thank you so much. God, that's awesome. I loved that episode.

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00:20:46,880 --> 00:20:51,040
Speaker 1: Well, I'm glad, I'm glad. That you found something there

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00:20:51,400 --> 00:20:56,160
Speaker 1: are that makes me very happy and I love being

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Speaker 1: an esteemed queen.

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Speaker 3: That just sounds great. I mean, let's get tetch choose.

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Speaker 2: We're gonna make a hard fucking turn from Leno Braca

407
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Speaker 2: in the Art of the Philippines to our theme today.

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00:21:09,760 --> 00:21:12,040
Speaker 1: I'm gonna try to tie it together. I mean, Filipinos

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00:21:12,080 --> 00:21:16,000
Speaker 1: love dancing. There you go, and maybe that is the segway.

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00:21:16,400 --> 00:21:17,880
Speaker 1: It's not even that good of a segway.

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Speaker 3: Oh boy.

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Speaker 2: Our theme this week is just because you can doesn't

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Speaker 2: mean you should.

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00:21:39,080 --> 00:21:41,800
Speaker 3: Just because you can doesn't mean you should.

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Speaker 2: We're basically this is probably gonna be a recurring category,

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00:21:44,760 --> 00:21:48,040
Speaker 2: a recurring theme. And uh that's because we have a

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Speaker 2: lot of remakes to talk about, folks, and we don't

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Speaker 2: know how else to talk about them.

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Speaker 1: I want to ask you something, just generally, Yeah, So,

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Speaker 1: what is your immediate thought when it comes to a remake,

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00:22:02,720 --> 00:22:08,800
Speaker 1: like say, somebody decided to remake one of your favorite films?

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00:22:09,040 --> 00:22:15,960
Speaker 3: No? Right, no immediate thought? Nope.

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00:22:17,760 --> 00:22:21,399
Speaker 1: Well, and I'm curious, is it because because for me,

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Speaker 1: I have my own answers. Obviously, I think a lot

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Speaker 1: of people do it because I know certain people who

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Speaker 1: like are in whatever the intellectual property is, and however

427
00:22:31,880 --> 00:22:37,440
Speaker 1: far it goes into the universe, they are in with everything,

428
00:22:38,600 --> 00:22:42,000
Speaker 1: And clearly I think you and I are have a

429
00:22:42,000 --> 00:22:45,159
Speaker 1: little bit more, you know, we have more of a

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Speaker 1: curatorial eye when it comes to this kind of thing.

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Speaker 1: So I'm just curious, like is it, Like, what are

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00:22:50,760 --> 00:22:53,560
Speaker 1: your reasons? It's just sort of like, what don't remake

433
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Speaker 1: the thing that I like? I don't care it's over,

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Speaker 1: what do you think? Like?

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00:22:57,720 --> 00:23:00,760
Speaker 2: Yeah, well I answered no pretty quickly because I meant it.

436
00:23:00,800 --> 00:23:03,840
Speaker 2: But I will also say that it depends on what

437
00:23:04,200 --> 00:23:08,119
Speaker 2: the origin of the movie is for me personally. If

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Speaker 2: it is something that I have seen as a child

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00:23:10,320 --> 00:23:12,440
Speaker 2: or saw when I was younger, I don't want to

440
00:23:12,480 --> 00:23:14,560
Speaker 2: see the remake because I want to keep that moment

441
00:23:14,640 --> 00:23:16,399
Speaker 2: in time kind of crystallized.

442
00:23:16,440 --> 00:23:18,240
Speaker 3: And that's the version of the movie that I know

443
00:23:18,359 --> 00:23:20,399
Speaker 3: best and will probably like best.

444
00:23:20,520 --> 00:23:22,719
Speaker 2: You know, Like I kind of it's too jarring for

445
00:23:22,760 --> 00:23:25,800
Speaker 2: me to see the switching between the characters, and like

446
00:23:25,840 --> 00:23:27,720
Speaker 2: in our movies today, it's like they use some of

447
00:23:27,760 --> 00:23:29,439
Speaker 2: the dialogue with and they change so much to the

448
00:23:29,480 --> 00:23:32,119
Speaker 2: dialogue and it sounds weird coming out of other faces.

449
00:23:32,640 --> 00:23:34,560
Speaker 2: So It's that kind of thing. If it's a movie

450
00:23:34,600 --> 00:23:37,639
Speaker 2: I've never seen before and there's been a remake, I'll.

451
00:23:37,480 --> 00:23:39,680
Speaker 3: Give it a shot. I'll give it a shot.

452
00:23:39,720 --> 00:23:41,920
Speaker 2: But if I've never seen it and I'm not familiar

453
00:23:42,000 --> 00:23:43,760
Speaker 2: with the property and I'm not like tied to it,

454
00:23:43,800 --> 00:23:46,240
Speaker 2: so it's more like for me, it's more about being

455
00:23:46,320 --> 00:23:51,320
Speaker 2: tied to the emotional space of connecting when I first

456
00:23:51,320 --> 00:23:53,440
Speaker 2: connected to the film.

457
00:23:53,160 --> 00:23:55,359
Speaker 3: Right, So that's why I think I'll do the remains.

458
00:23:55,400 --> 00:23:58,000
Speaker 1: What about you though, Well, this because I've been obviously

459
00:23:58,200 --> 00:24:01,919
Speaker 1: mulling this over and we decided to do this episode

460
00:24:02,480 --> 00:24:04,879
Speaker 1: for me, I don't even think it's coming from a

461
00:24:04,920 --> 00:24:12,240
Speaker 1: place where I'm like overprotective of the original thing, because honestly,

462
00:24:12,359 --> 00:24:16,640
Speaker 1: like I like this movie, but I wasn't like obsessed

463
00:24:16,680 --> 00:24:19,040
Speaker 1: by it, So I come from it from a place

464
00:24:19,080 --> 00:24:23,480
Speaker 1: where I'm like not super protective of this thing, and

465
00:24:23,560 --> 00:24:25,920
Speaker 1: I don't want to see it be remade.

466
00:24:26,520 --> 00:24:28,280
Speaker 3: For me, I think that.

467
00:24:29,800 --> 00:24:32,760
Speaker 1: I just feel like certain things are made within a

468
00:24:32,800 --> 00:24:34,400
Speaker 1: specific time and place.

469
00:24:34,720 --> 00:24:40,560
Speaker 4: Yes, that is also true, and modernizing it is sort

470
00:24:40,600 --> 00:24:44,040
Speaker 4: of like why that's kind of how I feel like

471
00:24:45,040 --> 00:24:49,879
Speaker 4: this is happening so much obviously in current Hollywood it

472
00:24:49,960 --> 00:24:53,280
Speaker 4: has been happening for a long time, like obviously at

473
00:24:53,359 --> 00:24:56,080
Speaker 4: least a decade or more, where they are taking like

474
00:24:56,200 --> 00:24:58,960
Speaker 4: everything and just kind of like remaking it, you know,

475
00:25:01,119 --> 00:25:04,160
Speaker 4: adding character, Like there are characters that now have their

476
00:25:04,280 --> 00:25:08,200
Speaker 4: own movie and their own backstory and their own everything.

477
00:25:09,400 --> 00:25:11,880
Speaker 4: And there's a moment where I, as a film lover,

478
00:25:12,119 --> 00:25:14,160
Speaker 4: I'm kind of like, I don't know if I need

479
00:25:14,200 --> 00:25:16,360
Speaker 4: to see that thought experiment.

480
00:25:17,440 --> 00:25:18,480
Speaker 3: I don't know if I need to.

481
00:25:18,440 --> 00:25:22,520
Speaker 1: See that to the end in a lot of things

482
00:25:22,560 --> 00:25:23,200
Speaker 1: that have happened.

483
00:25:23,240 --> 00:25:25,560
Speaker 2: That is a good point because it also brings up

484
00:25:25,560 --> 00:25:28,719
Speaker 2: this notion, as someone who loves graphic novels and you know,

485
00:25:28,760 --> 00:25:32,359
Speaker 2: comic books, is there a difference between a remake and

486
00:25:32,400 --> 00:25:35,840
Speaker 2: a continuation. So for example, Teenage Ninja Turtles and We

487
00:25:35,840 --> 00:25:38,800
Speaker 2: Were Kids was a totally different bag of a movie

488
00:25:38,840 --> 00:25:40,240
Speaker 2: than the Teenage Mutant Ninja Turtles.

489
00:25:40,320 --> 00:25:40,520
Speaker 3: Now.

490
00:25:41,000 --> 00:25:43,560
Speaker 2: Yeah, and that to me doesn't qualify as a remake

491
00:25:43,640 --> 00:25:45,639
Speaker 2: because that, to me is just like you're continuing that

492
00:25:45,760 --> 00:25:48,639
Speaker 2: universe with your new characters that you've developed, maybe in

493
00:25:48,680 --> 00:25:50,280
Speaker 2: a book or that you just want to spin out

494
00:25:50,320 --> 00:25:51,120
Speaker 2: for another generation.

495
00:25:51,800 --> 00:25:53,639
Speaker 3: That I get. Like that I totally get.

496
00:25:53,920 --> 00:25:57,040
Speaker 2: I'm talking about like the movies where it's like it

497
00:25:57,119 --> 00:26:00,359
Speaker 2: had its own whole world dialogue and it hold a

498
00:26:00,400 --> 00:26:03,000
Speaker 2: complete story. That's the thing that I think is what

499
00:26:03,080 --> 00:26:05,200
Speaker 2: qualifies as a remake to me. It told a complete

500
00:26:05,200 --> 00:26:09,360
Speaker 2: story in the film and it doesn't need to be retold.

501
00:26:09,880 --> 00:26:12,359
Speaker 1: Yeah, so I think what's going to happen today in

502
00:26:12,359 --> 00:26:15,520
Speaker 1: today's episode is that, you know, like I said, I'm

503
00:26:15,520 --> 00:26:18,160
Speaker 1: sort of you know, coming from a place where again

504
00:26:18,200 --> 00:26:25,480
Speaker 1: I'm not overprotective of the original film, but I totally

505
00:26:25,520 --> 00:26:28,760
Speaker 1: think it's interesting to see what they did with this

506
00:26:29,600 --> 00:26:33,239
Speaker 1: with this remake because I don't even really think it

507
00:26:33,280 --> 00:26:35,840
Speaker 1: almost feels like there are moments where it's like the

508
00:26:35,920 --> 00:26:38,240
Speaker 1: exact same movie, and that is something that I feel

509
00:26:38,280 --> 00:26:40,879
Speaker 1: like doesn't actually happen a lot in remakes, Like they

510
00:26:40,880 --> 00:26:44,360
Speaker 1: don't really take a lot of the actual dialogue from

511
00:26:44,520 --> 00:26:48,000
Speaker 1: the film the first film and put it in the remake.

512
00:26:48,520 --> 00:26:52,679
Speaker 1: And so that's another interesting component to these films today.

513
00:26:53,400 --> 00:26:56,760
Speaker 1: But ultimately, there like there is how many years between

514
00:26:56,800 --> 00:27:01,280
Speaker 1: these films, right, it was like thirty years, I mean

515
00:27:02,160 --> 00:27:07,399
Speaker 1: thirty years, so different, and that'll be something that'll be

516
00:27:07,440 --> 00:27:08,760
Speaker 1: really interesting to talk about too.

517
00:27:09,200 --> 00:27:11,439
Speaker 2: Yeah, I have my reasons for why it was made.

518
00:27:12,000 --> 00:27:13,640
Speaker 2: I have my thoughts on why.

519
00:27:13,480 --> 00:27:16,960
Speaker 1: I'm so excited to hear I'm so excited to hear

520
00:27:17,160 --> 00:27:19,919
Speaker 1: They're not that great, but they are thoughts. Yes, yes, no,

521
00:27:20,040 --> 00:27:22,600
Speaker 1: I'm excited. I can't wait to talk about this.

522
00:27:22,760 --> 00:27:25,959
Speaker 2: But let's get on into it, right, Yeah, you're going first,

523
00:27:26,800 --> 00:27:30,480
Speaker 2: Lord of merse. All right, Well, I'm here to tell

524
00:27:30,520 --> 00:27:34,560
Speaker 2: you that our first film was released in nineteen eighty four,

525
00:27:35,240 --> 00:27:39,280
Speaker 2: directed by Herbert Ross, written by Dean Pitchford, and that

526
00:27:39,320 --> 00:27:41,000
Speaker 2: movie is Footloose.

527
00:27:41,359 --> 00:27:44,199
Speaker 3: He's the new kid in town and the music's on

528
00:27:44,320 --> 00:27:48,840
Speaker 3: his side. Go home, man.

529
00:27:52,280 --> 00:27:57,560
Speaker 2: Let me give you a brief synopsis. Okay, a very

530
00:27:57,600 --> 00:27:59,600
Speaker 2: brief synopsis. I've been trying to do my little one

531
00:27:59,640 --> 00:28:04,960
Speaker 2: sentence synopsis. Let's see if it works. Ren McCormick Dance

532
00:28:05,040 --> 00:28:09,439
Speaker 2: Machine moves from Chicago to Beaumont, a small town with

533
00:28:09,480 --> 00:28:14,160
Speaker 2: a quilt on every wall that has banned dancing, after

534
00:28:14,240 --> 00:28:17,720
Speaker 2: a group of teenagers dies on their way home from

535
00:28:17,720 --> 00:28:20,400
Speaker 2: a party. And we pick up in this movie five

536
00:28:20,480 --> 00:28:21,280
Speaker 2: years later.

537
00:28:21,600 --> 00:28:22,760
Speaker 3: And all hell breaks loose.

538
00:28:22,800 --> 00:28:29,399
Speaker 2: No, okay, and all dance breaks loose. What that's pretty

539
00:28:29,400 --> 00:28:29,719
Speaker 2: good for?

540
00:28:29,920 --> 00:28:33,879
Speaker 1: That's a pretty good, real tight short synopsis.

541
00:28:33,880 --> 00:28:37,520
Speaker 2: I love it, just a tight winner there. Yeah, so

542
00:28:37,600 --> 00:28:40,760
Speaker 2: this is really it's a movie that was just primed

543
00:28:40,760 --> 00:28:43,480
Speaker 2: for the eighties. I mean, nineteen eighty four was so

544
00:28:43,680 --> 00:28:46,960
Speaker 2: disgusting of a time. I mean it was a dirtbag extraordinaire.

545
00:28:47,640 --> 00:28:51,320
Speaker 2: It was greed and excess and just like this movie

546
00:28:51,760 --> 00:28:58,560
Speaker 2: was come in for someone and it's here. So the

547
00:28:58,640 --> 00:29:03,680
Speaker 2: Kazakasta characters is pretty cool. We've got Kevin Bacon playing Wren.

548
00:29:04,520 --> 00:29:09,000
Speaker 2: Laurie Singer plays Ariel, and Ariel is the preacher's daughter.

549
00:29:09,400 --> 00:29:10,440
Speaker 3: She's kind of wild.

550
00:29:10,760 --> 00:29:13,480
Speaker 2: She totally wants out of town and her brother was

551
00:29:13,520 --> 00:29:16,120
Speaker 2: one of the people that died in the car crash.

552
00:29:16,680 --> 00:29:20,840
Speaker 2: Then we have John Lithgow who plays the Reverend Shaw Moore,

553
00:29:21,800 --> 00:29:23,760
Speaker 2: and he's just like he's real sweaty.

554
00:29:24,120 --> 00:29:25,240
Speaker 3: He hates rock and roll.

555
00:29:25,360 --> 00:29:28,880
Speaker 2: He's like the original PRMC and he just bans everything

556
00:29:28,880 --> 00:29:31,440
Speaker 2: that he doesn't like, Like he's like mint Ew banned,

557
00:29:31,600 --> 00:29:34,280
Speaker 2: Like he just bans things all over town.

558
00:29:35,240 --> 00:29:35,920
Speaker 3: He don't like it.

559
00:29:36,400 --> 00:29:39,800
Speaker 2: Ren, by the way, is a gymnast and he just

560
00:29:39,880 --> 00:29:42,160
Speaker 2: like lives for rock and roll. So he's a gymnast.

561
00:29:42,320 --> 00:29:45,680
Speaker 2: Dance machine moves to the small town. Diane Weese plays

562
00:29:45,760 --> 00:29:50,120
Speaker 2: Vi Moore. She's the reverend's wife and real silent until

563
00:29:50,120 --> 00:29:54,320
Speaker 2: the end, like real pensive looks until the end. Chris

564
00:29:54,400 --> 00:29:59,000
Speaker 2: Penn plays Willard, who befriend's Wren in This First Day

565
00:29:59,040 --> 00:30:03,480
Speaker 2: of School. Willard is like he can't dance, he loves

566
00:30:03,520 --> 00:30:06,720
Speaker 2: to fight, and he can be wooed by a chicken

567
00:30:06,760 --> 00:30:11,280
Speaker 2: leg the size of a baby. Like that's Willard in

568
00:30:11,400 --> 00:30:15,360
Speaker 2: a nutshell. Totally forgot the Sarah Deska Parker was in

569
00:30:15,360 --> 00:30:20,240
Speaker 2: this movie. She plays Rusty Willard's girlfriend, and yeah, and

570
00:30:20,240 --> 00:30:22,000
Speaker 2: then you also have a cop that looks like Garth

571
00:30:22,040 --> 00:30:23,360
Speaker 2: MORANGI like, it's got this.

572
00:30:23,360 --> 00:30:27,200
Speaker 3: This movie's got everything. This movie's got everything.

573
00:30:27,520 --> 00:30:30,520
Speaker 2: So my main question is in this rewatch because I

574
00:30:30,560 --> 00:30:34,719
Speaker 2: have seen this movie several times on you know cable accents,

575
00:30:34,800 --> 00:30:37,040
Speaker 2: like just several times over the course of my life.

576
00:30:37,240 --> 00:30:39,880
Speaker 3: And I'm wondering.

577
00:30:40,040 --> 00:30:42,960
Speaker 2: I know why they've banned dancing and loud music and

578
00:30:43,000 --> 00:30:45,760
Speaker 2: all that stuff, But what I really want to know

579
00:30:45,920 --> 00:30:48,240
Speaker 2: is why is the preacher the one running this town?

580
00:30:48,640 --> 00:30:49,480
Speaker 3: Is there no government?

581
00:30:49,880 --> 00:30:53,080
Speaker 2: And also what is church probation because at one point

582
00:30:53,120 --> 00:30:54,920
Speaker 2: they say, you know, N's uncle is like, you know

583
00:30:54,960 --> 00:30:58,040
Speaker 2: you're gonna get up put on regular probation and church probation.

584
00:30:58,320 --> 00:31:00,760
Speaker 2: What is that, Like, you ext have to go to

585
00:31:00,840 --> 00:31:03,520
Speaker 2: church because not going to church is not probation, So

586
00:31:03,560 --> 00:31:05,680
Speaker 2: it's like church probation and you have to go more.

587
00:31:06,320 --> 00:31:09,000
Speaker 3: Yeah, hard to say. And that's the other thing too.

588
00:31:09,200 --> 00:31:12,800
Speaker 1: That's an interesting difference between your movie and my movie.

589
00:31:13,120 --> 00:31:17,320
Speaker 1: Is this idea that the preacher is like the moral

590
00:31:17,920 --> 00:31:24,040
Speaker 1: center of an entire town. And you know, I've lived

591
00:31:24,080 --> 00:31:28,520
Speaker 1: in very small towns before, and I certainly understand the

592
00:31:28,640 --> 00:31:32,480
Speaker 1: role that religion plays in law. I mean, I'm from Georgia,

593
00:31:32,520 --> 00:31:36,840
Speaker 1: for Christ's sake, but to me it felt very like.

594
00:31:38,680 --> 00:31:39,320
Speaker 3: Wow.

595
00:31:40,040 --> 00:31:41,560
Speaker 1: And I guess I'm looking at it from a twenty

596
00:31:41,600 --> 00:31:44,480
Speaker 1: twenty one perspective, but it's that thing where I was like, man,

597
00:31:44,560 --> 00:31:47,400
Speaker 1: he is he's almost like going to people's houses and

598
00:31:47,520 --> 00:31:49,640
Speaker 1: just sort of like selling him on all the ideas,

599
00:31:49,720 --> 00:31:52,880
Speaker 1: and there everybody's on board. And then like everybody on

600
00:31:52,520 --> 00:31:57,960
Speaker 1: the city council or whatever is like totally cool with it.

601
00:31:58,000 --> 00:31:59,200
Speaker 3: So I'm like wow.

602
00:32:00,160 --> 00:32:03,200
Speaker 2: One scene where you know, Wren eventually does go to

603
00:32:03,520 --> 00:32:06,000
Speaker 2: try to go to city council to get the law

604
00:32:06,160 --> 00:32:09,800
Speaker 2: the band against dancing removed, and his boss tells him that,

605
00:32:09,880 --> 00:32:12,520
Speaker 2: oh yeah, like Reverend Moore walked in with votes in

606
00:32:12,560 --> 00:32:14,520
Speaker 2: his pocket, like that's the kind of town it is,

607
00:32:15,040 --> 00:32:18,600
Speaker 2: and he's very influential, and it just isn't make any

608
00:32:18,680 --> 00:32:22,760
Speaker 2: sense to me. So Reren lands in town. Girls in

609
00:32:22,880 --> 00:32:25,840
Speaker 2: church are all staring. Ariel's trying to play it cool,

610
00:32:25,840 --> 00:32:28,920
Speaker 2: like she doesn't think he's hot. It's fine, is Ren

611
00:32:29,040 --> 00:32:31,480
Speaker 2: is focused on other shit. He and his mom just

612
00:32:31,480 --> 00:32:33,440
Speaker 2: moved to this place from Chicago. He's got he's got

613
00:32:33,480 --> 00:32:34,840
Speaker 2: to make some money, get the fuck out of here.

614
00:32:35,000 --> 00:32:38,160
Speaker 2: So he gets a job at the factory basically from

615
00:32:38,160 --> 00:32:45,800
Speaker 2: the graveyard shift, exactly like this fucking rat covered factory

616
00:32:46,280 --> 00:32:50,320
Speaker 2: where the rats are like smoking cigarettes and drinking martinis

617
00:32:51,600 --> 00:32:54,440
Speaker 2: and he's hucking bags of flower which, by the way,

618
00:32:55,120 --> 00:32:58,320
Speaker 2: now that I met my advanced age, he refuses to

619
00:32:58,360 --> 00:33:00,600
Speaker 2: lift with his knees like a bacon.

620
00:33:01,640 --> 00:33:04,400
Speaker 3: The folly of youth right there, he'll be needing lumbar

621
00:33:04,480 --> 00:33:05,560
Speaker 3: support later in life.

622
00:33:05,680 --> 00:33:08,200
Speaker 2: Let's just say, surely there's some copper braces in his

623
00:33:08,280 --> 00:33:13,920
Speaker 2: closet for sure. But Ren very quickly gets a reputation

624
00:33:13,960 --> 00:33:16,520
Speaker 2: as like a rebel and a bad kid because he

625
00:33:16,600 --> 00:33:19,960
Speaker 2: listens to music and he fights back, right, so he's

626
00:33:20,000 --> 00:33:24,760
Speaker 2: kind of getting this reputation. And there's one particular montage,

627
00:33:24,800 --> 00:33:27,800
Speaker 2: a dance montage where he's like just dancing down his

628
00:33:27,840 --> 00:33:33,240
Speaker 2: emotion ps Kenny Loggins just running all over this soundtrack,

629
00:33:33,360 --> 00:33:39,400
Speaker 2: just up and down, Okay, doing an emotional dance to

630
00:33:39,560 --> 00:33:41,880
Speaker 2: Kenny Loggins. That was nineteen eighty four.

631
00:33:41,880 --> 00:33:42,480
Speaker 3: In a nutshell.

632
00:33:42,800 --> 00:33:46,360
Speaker 1: They absolutely have this song playing at every moment they could,

633
00:33:47,200 --> 00:33:47,880
Speaker 1: and I get it.

634
00:33:47,880 --> 00:33:49,240
Speaker 3: It's infectious.

635
00:33:49,360 --> 00:33:51,640
Speaker 1: It's one of those eighty songs they play him at

636
00:33:51,640 --> 00:33:54,840
Speaker 1: a wedding, It's like everybody's on their feet going ape shit.

637
00:33:56,040 --> 00:34:00,200
Speaker 1: There's a moment where I think it's Ariel. Ariel's having

638
00:34:00,200 --> 00:34:03,040
Speaker 1: a conversation with Wren and they're sort of talking and

639
00:34:03,120 --> 00:34:06,360
Speaker 1: she hands him this like trinket.

640
00:34:05,920 --> 00:34:07,520
Speaker 3: Box y Eddie.

641
00:34:07,760 --> 00:34:11,759
Speaker 1: Eddie opens the box and I swear to god, I

642
00:34:11,840 --> 00:34:12,200
Speaker 1: was like, I.

643
00:34:12,239 --> 00:34:14,280
Speaker 3: Bet you Footlosos is gonna come out of that box.

644
00:34:17,200 --> 00:34:20,239
Speaker 2: But like the twinkly version of because they'll they'll give

645
00:34:20,239 --> 00:34:24,640
Speaker 2: you an acoustic footloose. They'll give you an interstitial footloose.

646
00:34:25,239 --> 00:34:27,880
Speaker 2: They've got it all, baby, they got it all. In

647
00:34:28,000 --> 00:34:32,240
Speaker 2: this dance scene, they got the body double from Gleaming

648
00:34:32,239 --> 00:34:32,760
Speaker 2: the Cube.

649
00:34:33,960 --> 00:34:35,279
Speaker 3: Did they really believe it?

650
00:34:35,640 --> 00:34:35,759
Speaker 1: No?

651
00:34:35,840 --> 00:34:37,399
Speaker 3: I don't know who it was, but it was like so.

652
00:34:39,120 --> 00:34:42,800
Speaker 1: It was so unrecog it was so like purely recognizably

653
00:34:42,840 --> 00:34:43,800
Speaker 1: not Kevin Bacon.

654
00:34:44,320 --> 00:34:47,040
Speaker 2: Yes that I instantly went to gleaming the cube. I'm like,

655
00:34:47,280 --> 00:34:53,839
Speaker 2: come on, say, spiky hair too tall. But he's just

656
00:34:53,840 --> 00:34:57,239
Speaker 2: doing just throwing himself around. He found parallel bars in

657
00:34:57,239 --> 00:35:00,840
Speaker 2: this old warehouse, like he's just doing it. So that

658
00:35:00,960 --> 00:35:04,680
Speaker 2: scene is just again a classic, an iconic scene for

659
00:35:05,480 --> 00:35:09,000
Speaker 2: better or worse. But as we get deeper into the story,

660
00:35:09,080 --> 00:35:12,560
Speaker 2: we're getting into this story with Chuck, who's Ariel's boyfriend

661
00:35:13,160 --> 00:35:16,920
Speaker 2: and he hates Wren, hates Ren so much, challenges Ren

662
00:35:17,000 --> 00:35:19,719
Speaker 2: to a tractor fight, which is like chicken like where

663
00:35:19,760 --> 00:35:22,560
Speaker 2: they're attractors that either ran kind of getting closer to

664
00:35:22,640 --> 00:35:25,920
Speaker 2: each other until someone decides to jump off. Yes, so

665
00:35:26,520 --> 00:35:29,480
Speaker 2: in this town again, in Beaumont, you cannot dance. You'll

666
00:35:29,520 --> 00:35:31,759
Speaker 2: be thrown in dale for jail for dancing. But you

667
00:35:31,880 --> 00:35:34,720
Speaker 2: can buy beer, you can buy cigarettes, you can have sex,

668
00:35:35,000 --> 00:35:39,200
Speaker 2: and you can race tractors into each other. Would you

669
00:35:39,320 --> 00:35:41,480
Speaker 2: not just rather have someone do a fucking two step?

670
00:35:42,880 --> 00:35:45,560
Speaker 2: These kids are pent up, man, these kids are pent up.

671
00:35:46,440 --> 00:35:50,120
Speaker 1: You can actually kill more people with a tractor chicken fight,

672
00:35:50,640 --> 00:35:55,000
Speaker 1: thank you versus dancing. So it feels like the priorities

673
00:35:55,040 --> 00:35:56,719
Speaker 1: in this town are a little fucked.

674
00:35:57,920 --> 00:35:58,840
Speaker 3: And I love this.

675
00:35:59,120 --> 00:36:02,680
Speaker 2: This scene is fantastic because for two reasons. One my

676
00:36:02,760 --> 00:36:05,239
Speaker 2: initial thought is whose fucking tractors are these? Because I

677
00:36:05,280 --> 00:36:08,520
Speaker 2: think they're his dad's tractors, Chuck's dad. But like, why

678
00:36:08,560 --> 00:36:11,520
Speaker 2: would you total your own family farm equipment? That made

679
00:36:11,560 --> 00:36:14,200
Speaker 2: no sense to me. But Chuck's pump up song is

680
00:36:14,320 --> 00:36:18,000
Speaker 2: I need a hero. So he goes and gets blazed

681
00:36:18,440 --> 00:36:19,880
Speaker 2: and then he's like, I'm gonna raise tractors.

682
00:36:19,920 --> 00:36:22,880
Speaker 3: What do I need? I need a hero. That's his

683
00:36:23,000 --> 00:36:26,440
Speaker 3: fucking pump up song. Yeah, He's like, man, this sissy

684
00:36:26,640 --> 00:36:29,880
Speaker 3: new wave guy that came to town. I fucking hate him,

685
00:36:30,840 --> 00:36:38,440
Speaker 3: but I love Boddy Tyler. It is incredible. It is incredible.

686
00:36:38,520 --> 00:36:41,120
Speaker 2: But these kids again, like they can't dance, but they

687
00:36:41,160 --> 00:36:43,040
Speaker 2: can do everything else, to the point where there's a

688
00:36:43,080 --> 00:36:47,239
Speaker 2: scene where Ariel is showing uh showing ran the library,

689
00:36:47,280 --> 00:36:48,879
Speaker 2: which is where they go and kind of like write

690
00:36:48,960 --> 00:36:51,640
Speaker 2: lyrics on the walls and listen to their contraband tapes

691
00:36:51,719 --> 00:36:53,759
Speaker 2: and all the kids in town know about it, which,

692
00:36:53,800 --> 00:36:55,759
Speaker 2: of course, by the way, if you live in a

693
00:36:55,800 --> 00:36:57,800
Speaker 2: place where all the kids in town know about it.

694
00:36:57,960 --> 00:37:01,160
Speaker 2: All the adults do too. You're not getting away with exactly,

695
00:37:02,000 --> 00:37:03,160
Speaker 2: but they're here.

696
00:37:03,080 --> 00:37:04,880
Speaker 3: At the library. She's like, you know what else we

697
00:37:05,000 --> 00:37:06,600
Speaker 3: do for fun around here?

698
00:37:06,960 --> 00:37:09,320
Speaker 2: And she goes out and stands in front of a train,

699
00:37:09,840 --> 00:37:13,000
Speaker 2: holds her hand out and screams as it's coming towards her.

700
00:37:14,000 --> 00:37:16,080
Speaker 2: And she's playing chicken with a train, and look, I

701
00:37:16,239 --> 00:37:18,520
Speaker 2: cannot take this kind of energy. I am a very

702
00:37:18,680 --> 00:37:21,600
Speaker 2: risk averse person. This is not my kind of friend.

703
00:37:21,960 --> 00:37:26,080
Speaker 2: Her energy in this movie was chaotic. She at the

704
00:37:26,160 --> 00:37:27,839
Speaker 2: beginning of this film.

705
00:37:29,880 --> 00:37:35,640
Speaker 1: Is literally on a desolate two lane highway standing on

706
00:37:36,400 --> 00:37:44,160
Speaker 1: two cars as they're driving side by side. And she's

707
00:37:44,239 --> 00:37:48,360
Speaker 1: doing this barreling down this road as an eighteen wheeler

708
00:37:49,160 --> 00:37:50,440
Speaker 1: comes from the other direction.

709
00:37:51,400 --> 00:37:54,160
Speaker 2: I mean, look, it's Beaumont. You can't dance, but you

710
00:37:54,239 --> 00:37:55,680
Speaker 2: can use cars as roller skates.

711
00:37:56,239 --> 00:38:02,680
Speaker 3: Ah. I was like, damn, this girl needs kicks.

712
00:38:02,680 --> 00:38:05,200
Speaker 2: That energy because her friends were really upset when she

713
00:38:05,280 --> 00:38:07,320
Speaker 2: did the car thing, and they met up at like,

714
00:38:07,400 --> 00:38:10,279
Speaker 2: you know, the kind of the diner later and she.

715
00:38:10,400 --> 00:38:13,120
Speaker 3: Was like hey guys, and they're like, fuck you. I

716
00:38:13,239 --> 00:38:13,680
Speaker 3: would that.

717
00:38:13,920 --> 00:38:15,560
Speaker 2: That was me through and through like, I would never

718
00:38:15,600 --> 00:38:16,840
Speaker 2: talk to her again if she did that with me.

719
00:38:16,960 --> 00:38:18,640
Speaker 2: I was such a scared a cat when I was

720
00:38:18,920 --> 00:38:20,520
Speaker 2: that age. I'm like, nope, nope, no, no, nope, I

721
00:38:20,520 --> 00:38:21,640
Speaker 2: don't need this. I don't need this.

722
00:38:21,880 --> 00:38:23,800
Speaker 1: If that was a friend of mine, I would be like,

723
00:38:24,640 --> 00:38:27,160
Speaker 1: I can't watch. I can't watch like this is you know,

724
00:38:27,360 --> 00:38:29,120
Speaker 1: like she's like, hey girl, what are you in front

725
00:38:29,160 --> 00:38:29,560
Speaker 1: of a train?

726
00:38:30,719 --> 00:38:30,879
Speaker 3: Hey?

727
00:38:31,000 --> 00:38:32,480
Speaker 2: Ariel, how about you just come up for and we

728
00:38:32,600 --> 00:38:34,360
Speaker 2: just talk, Like why don't we just talk in my

729
00:38:34,440 --> 00:38:38,439
Speaker 2: basement for a couple hours with some s'mores, Like let's

730
00:38:38,480 --> 00:38:41,640
Speaker 2: just have you not literally rolling yourself in front of

731
00:38:41,680 --> 00:38:43,719
Speaker 2: an eighteen wheel er to get your fucking kiss. Maybe

732
00:38:43,719 --> 00:38:46,920
Speaker 2: you just say to talk, talk it out. Ah my god,

733
00:38:47,120 --> 00:38:49,239
Speaker 2: let's pierce our ears. Let's have like a night in

734
00:38:49,600 --> 00:38:52,480
Speaker 2: Aeriel there. Al's not have a night in.

735
00:38:52,640 --> 00:38:55,080
Speaker 3: This in this movie, not a single night, no, ma'am.

736
00:38:55,920 --> 00:38:56,880
Speaker 3: But I did forget.

737
00:38:57,040 --> 00:39:00,319
Speaker 2: I actually forgot that her boyfriend Chuck actually eats her

738
00:39:00,360 --> 00:39:03,480
Speaker 2: pretty badly in this movie, Like it's pretty jarring. Yeah,

739
00:39:03,800 --> 00:39:07,560
Speaker 2: it's really jarring, and he's a real bastard. But in

740
00:39:07,680 --> 00:39:10,800
Speaker 2: the meantime, because now she's fallen for Wren, she's fallen

741
00:39:10,840 --> 00:39:12,600
Speaker 2: for him, so Chuck gets mad and he hits her

742
00:39:13,040 --> 00:39:17,279
Speaker 2: after she smashes his windshield. So Ren is kicked off

743
00:39:17,320 --> 00:39:21,120
Speaker 2: the gymnastics team, and that's when he decides to get

744
00:39:21,160 --> 00:39:24,080
Speaker 2: his revenge by having a dance. So he's going to

745
00:39:24,160 --> 00:39:26,719
Speaker 2: go to city council and he's going to read from

746
00:39:26,719 --> 00:39:29,080
Speaker 2: a Bible that Ariel's marked up for him about all

747
00:39:29,120 --> 00:39:31,759
Speaker 2: the times that all the Bible folk were dancing, and

748
00:39:32,520 --> 00:39:34,000
Speaker 2: he loses, so.

749
00:39:35,719 --> 00:39:37,440
Speaker 3: Then stays in place.

750
00:39:37,560 --> 00:39:41,239
Speaker 2: But luck of luck, the graveyard Shift factory is not

751
00:39:41,440 --> 00:39:44,480
Speaker 2: actually in Beaumont. It's right over the town line. So

752
00:39:44,560 --> 00:39:46,200
Speaker 2: his boss is like, why don't you just have the

753
00:39:46,320 --> 00:39:49,799
Speaker 2: dance here? And that is when all hill breaks loose.

754
00:39:50,080 --> 00:39:53,000
Speaker 2: So you've got Ariel yelling at her dad post getting

755
00:39:53,040 --> 00:39:55,560
Speaker 2: beaten up by her boyfriend. She's yelling about not being

756
00:39:55,560 --> 00:39:57,720
Speaker 2: a virgin in the middle of church, like just cannot

757
00:39:57,760 --> 00:40:01,160
Speaker 2: read a room at all. Ren Witt has to go

758
00:40:01,239 --> 00:40:04,080
Speaker 2: and win the pastor over so they can, you know,

759
00:40:04,160 --> 00:40:06,360
Speaker 2: he can have his permission to take Ariel to the dance,

760
00:40:06,880 --> 00:40:07,960
Speaker 2: and it works.

761
00:40:08,280 --> 00:40:08,680
Speaker 3: It works.

762
00:40:08,880 --> 00:40:10,480
Speaker 2: He gets to take Ariel to the dance, They get

763
00:40:10,520 --> 00:40:12,000
Speaker 2: to have the dance, and let me tell you This

764
00:40:12,200 --> 00:40:17,360
Speaker 2: dance has everything forty year old divorces, Greeks or TAKEI dancers,

765
00:40:17,880 --> 00:40:22,840
Speaker 2: uncoordinated hedgehogs, narcoleptic horses, and the vanilla popper.

766
00:40:23,160 --> 00:40:27,080
Speaker 3: Excuse me, I in a moment, I'm cutting you off.

767
00:40:27,800 --> 00:40:30,439
Speaker 1: No, I specifically put that last so that you could

768
00:40:30,440 --> 00:40:35,360
Speaker 1: talk about it. All right, people, So you know I

769
00:40:35,560 --> 00:40:39,400
Speaker 1: like a dance movie, all right. So clearly the ending

770
00:40:39,480 --> 00:40:44,000
Speaker 1: of Footloose was very much a thing I watched over

771
00:40:44,080 --> 00:40:44,919
Speaker 1: and over and over again.

772
00:40:45,120 --> 00:40:50,680
Speaker 3: Right, there is a person in the dance sequence.

773
00:40:51,960 --> 00:40:57,440
Speaker 1: He is the extremely tall, blonde guy in the tuxedo

774
00:40:57,800 --> 00:41:01,120
Speaker 1: that is doing the pop and locking routine.

775
00:41:01,880 --> 00:41:02,160
Speaker 3: Okay.

776
00:41:03,000 --> 00:41:06,160
Speaker 1: When I first saw that, I was literally like, he

777
00:41:06,400 --> 00:41:10,799
Speaker 1: is my god. I will follow him anywhere. Okay, I'm

778
00:41:10,920 --> 00:41:14,560
Speaker 1: talking about years. It's been years, like at least ten

779
00:41:14,680 --> 00:41:18,000
Speaker 1: years at least like since my old live journal days.

780
00:41:18,640 --> 00:41:22,000
Speaker 1: Or I was obsessed with finding out who this guy was. Okay,

781
00:41:22,640 --> 00:41:27,800
Speaker 1: I have searched the internet high and low for this person. Like,

782
00:41:27,880 --> 00:41:29,399
Speaker 1: I'm like, who is this guy?

783
00:41:30,040 --> 00:41:31,960
Speaker 3: I need to know his name. I need to know

784
00:41:32,120 --> 00:41:32,680
Speaker 3: his story.

785
00:41:33,160 --> 00:41:35,919
Speaker 1: Even if he's just like a professional backup dancer working

786
00:41:36,000 --> 00:41:36,920
Speaker 1: in Hollywood, I don't care.

787
00:41:36,960 --> 00:41:38,880
Speaker 3: I want to know who this is. So I have

788
00:41:39,080 --> 00:41:41,080
Speaker 3: googled it every type of way you can.

789
00:41:42,239 --> 00:41:47,320
Speaker 1: I've googled white Guy footloose dance sequence, footloose dancer, popping

790
00:41:47,360 --> 00:41:51,239
Speaker 1: and locking, break dancing Guy footloose sequence, like I've done

791
00:41:51,239 --> 00:41:53,480
Speaker 1: it in all kinds of ways. I've only been able

792
00:41:53,480 --> 00:41:56,640
Speaker 1: to find two things, and I'm talking about this has

793
00:41:56,680 --> 00:42:01,040
Speaker 1: been years that even recognize the person in the film

794
00:42:01,120 --> 00:42:04,319
Speaker 1: at all, and one of them is a YouTube clip

795
00:42:04,680 --> 00:42:11,840
Speaker 1: where they call the guy the Vanilla Popper. Okay, and

796
00:42:12,600 --> 00:42:16,839
Speaker 1: that is literally the funniest name for anyone. I don't

797
00:42:16,880 --> 00:42:19,080
Speaker 1: know if that was his name, because again I don't

798
00:42:19,120 --> 00:42:21,640
Speaker 1: know who he is, but it was that thing where

799
00:42:22,000 --> 00:42:24,719
Speaker 1: I just found the video and then I was like, well,

800
00:42:25,160 --> 00:42:27,320
Speaker 1: who's the Vanilla pop or somebody in the comments? No,

801
00:42:27,560 --> 00:42:30,719
Speaker 1: nobody in the comments mention it. And then later I

802
00:42:30,880 --> 00:42:36,799
Speaker 1: found a Twitter post that was made many years ago

803
00:42:37,640 --> 00:42:42,600
Speaker 1: talking about the Vanilla Popper and it was just a

804
00:42:42,640 --> 00:42:45,879
Speaker 1: tweet that said, here's the Vanilla Popper or something la

805
00:42:47,239 --> 00:42:50,759
Speaker 1: Street Dancer. That's all I know about him, And I'm

806
00:42:50,880 --> 00:42:54,760
Speaker 1: just like, what is the story with the Vanilla Popper?

807
00:42:54,920 --> 00:42:56,759
Speaker 3: Is he alive? Is he out there?

808
00:42:57,040 --> 00:43:00,360
Speaker 1: Will he be on this fucking podcast, like, who was it?

809
00:43:00,560 --> 00:43:00,880
Speaker 3: Guess what?

810
00:43:01,640 --> 00:43:07,839
Speaker 2: We just created a spinoff show, spinoff podcast, baby, Find

811
00:43:07,840 --> 00:43:10,879
Speaker 2: the Vanilla Popper. And we gotta call Kevin Bacon first

812
00:43:10,920 --> 00:43:13,360
Speaker 2: and foremost, Kenvy bakes.

813
00:43:14,120 --> 00:43:14,640
Speaker 3: Who was this?

814
00:43:14,800 --> 00:43:15,000
Speaker 2: Dude?

815
00:43:15,040 --> 00:43:16,640
Speaker 3: Did you get a first name? Do you remember it?

816
00:43:16,719 --> 00:43:18,239
Speaker 3: It's been forty years, do you remember it?

817
00:43:18,719 --> 00:43:19,000
Speaker 2: Okay?

818
00:43:19,080 --> 00:43:21,320
Speaker 1: And here's the other thing about this, because Kevin Bacon

819
00:43:21,400 --> 00:43:23,799
Speaker 1: knows something. I know he does because here's the thing.

820
00:43:24,440 --> 00:43:28,160
Speaker 1: There's a scene with the Vanilla Popper of during that

821
00:43:28,320 --> 00:43:31,160
Speaker 1: sequence at the end where they're doing that little shuffle

822
00:43:31,320 --> 00:43:34,880
Speaker 1: foot down, and he is with Kevin Bacon. So it

823
00:43:35,080 --> 00:43:37,440
Speaker 1: wasn't the kind of thing where Kevin Bacon did not

824
00:43:37,680 --> 00:43:40,719
Speaker 1: work with him that day that the Vanilla Popper was

825
00:43:40,760 --> 00:43:42,000
Speaker 1: popping and locking in the scene.

826
00:43:42,160 --> 00:43:44,080
Speaker 3: They were in the scene together, so they had to

827
00:43:44,200 --> 00:43:46,000
Speaker 3: have at least talked am I right?

828
00:43:46,520 --> 00:43:50,160
Speaker 2: All right, we're doing this spinoff pod. Find the Vanilla Popper.

829
00:43:50,520 --> 00:43:55,080
Speaker 2: Getjensen and holes on it, Karen and Georgia. This is

830
00:43:55,120 --> 00:43:59,040
Speaker 2: a company wide mission. Now we're fighting the Vanilla Popper.

831
00:43:59,360 --> 00:44:01,880
Speaker 2: Is your dad the Vanilla actually at this point is

832
00:44:01,920 --> 00:44:03,240
Speaker 2: your granddad the Vanilla Popper?

833
00:44:03,400 --> 00:44:04,520
Speaker 3: Oh my god, I know.

834
00:44:05,440 --> 00:44:07,319
Speaker 2: Are you working in a nursing home with someone who

835
00:44:07,360 --> 00:44:10,120
Speaker 2: can't stop popping and lock in. Please contact us.

836
00:44:11,160 --> 00:44:13,480
Speaker 1: I need to know. I just I just want to

837
00:44:14,160 --> 00:44:17,960
Speaker 1: I want to communicate just how formative he was yes

838
00:44:18,239 --> 00:44:23,360
Speaker 1: for me over the years, as like a dancer with

839
00:44:23,520 --> 00:44:26,239
Speaker 1: some level of whimsy. Not a professional one, just a

840
00:44:27,400 --> 00:44:30,960
Speaker 1: just a pedestrian dancer who loves washing, dance things.

841
00:44:31,239 --> 00:44:34,560
Speaker 3: We're gonna find it, folks, leave it to us. We

842
00:44:34,680 --> 00:44:34,960
Speaker 3: got this.

843
00:44:35,440 --> 00:44:38,280
Speaker 2: I will dedicate the rest of my year to finding

844
00:44:38,320 --> 00:44:40,279
Speaker 2: this man. Even if we just end with finding his

845
00:44:40,400 --> 00:44:41,759
Speaker 2: grave and we go and pour one out.

846
00:44:45,200 --> 00:44:46,560
Speaker 3: Well, you know, I gotta tell you that I have

847
00:44:46,600 --> 00:44:51,239
Speaker 3: another favorite character in this film. Is it Willard? I

848
00:44:51,360 --> 00:44:53,640
Speaker 3: love Willard? Who doesn't love Willard.

849
00:44:53,480 --> 00:44:56,040
Speaker 2: Because we haven't mentioned Willard yet, But he was really

850
00:44:56,440 --> 00:45:00,960
Speaker 2: fun in this movie and he his whole his whole arc,

851
00:45:01,040 --> 00:45:05,799
Speaker 2: his whole story arc, is that Wren basically tells him, yeah,

852
00:45:05,840 --> 00:45:08,279
Speaker 2: I'll go fight city council if you learn how to dance,

853
00:45:08,320 --> 00:45:11,520
Speaker 2: because poor Willard just doesn't know how to dance, and

854
00:45:11,640 --> 00:45:14,320
Speaker 2: Rusty his girlfriend wants him to dance and he won't

855
00:45:14,360 --> 00:45:16,719
Speaker 2: and he gets it fights because of it, and he

856
00:45:16,960 --> 00:45:19,280
Speaker 2: learns how to dance, and it's adorable.

857
00:45:19,960 --> 00:45:21,480
Speaker 3: But who's your favorite other character?

858
00:45:22,080 --> 00:45:24,520
Speaker 1: Well, no, I was gonna say I love Willard of

859
00:45:24,680 --> 00:45:29,320
Speaker 1: course forever, but I gotta tell you I love Woody,

860
00:45:30,360 --> 00:45:35,319
Speaker 1: who was played by John Laughlin, like just the hunkiest

861
00:45:35,520 --> 00:45:37,240
Speaker 1: bo hunkiest dude.

862
00:45:38,120 --> 00:45:40,520
Speaker 2: He's also a good wingman, like when they're getting on

863
00:45:40,600 --> 00:45:42,160
Speaker 2: that tractor and he's like, all right, do this with

864
00:45:42,280 --> 00:45:44,239
Speaker 2: the break, do this, do that, like you'll be fine.

865
00:45:45,239 --> 00:45:46,080
Speaker 3: He's a good wing man.

866
00:45:46,440 --> 00:45:48,279
Speaker 1: He puts those guys in the phone booth and I'm like,

867
00:45:48,360 --> 00:45:50,919
Speaker 1: oh my god, be still my beating heart.

868
00:45:51,040 --> 00:45:52,960
Speaker 3: Woody, Woody is your name?

869
00:45:53,040 --> 00:45:53,200
Speaker 1: Huh?

870
00:45:53,920 --> 00:45:56,680
Speaker 3: I see why? And it's just it's amazing what just

871
00:45:56,760 --> 00:45:59,520
Speaker 3: the normal ass dude can do to raise the old

872
00:45:59,560 --> 00:46:00,000
Speaker 3: blood friend.

873
00:46:00,120 --> 00:46:00,279
Speaker 1: Sure.

874
00:46:02,320 --> 00:46:04,319
Speaker 3: It's like you're sticking up with your friends and you're

875
00:46:04,400 --> 00:46:06,279
Speaker 3: just like a normal old dude man.

876
00:46:06,480 --> 00:46:09,000
Speaker 1: Love it. And like later he kind of has this

877
00:46:09,239 --> 00:46:12,120
Speaker 1: look like there's later in the Big Dance Secrets at

878
00:46:12,120 --> 00:46:16,320
Speaker 1: the end he is wearing like Clark Kent glasses and

879
00:46:16,440 --> 00:46:19,560
Speaker 1: then his lady pulls the glasses off and I'm like, hello,

880
00:46:21,280 --> 00:46:23,040
Speaker 1: get you a man who could do both. It's like

881
00:46:23,160 --> 00:46:27,239
Speaker 1: he's he's like a stud, like big muscle stud. But

882
00:46:27,280 --> 00:46:31,480
Speaker 1: then he wears glasses sometimes, Yes, what do he did?

883
00:46:31,560 --> 00:46:36,200
Speaker 1: You dance with Vanilla Popper? Get in touch, John Loughlin,

884
00:46:37,280 --> 00:46:39,880
Speaker 1: please please please, And this is Here's And just to

885
00:46:39,960 --> 00:46:41,360
Speaker 1: wrap this up a little bit, like this is a

886
00:46:41,440 --> 00:46:43,840
Speaker 1: good movie, but it's not the best movie, you know

887
00:46:43,880 --> 00:46:45,480
Speaker 1: what I mean, Like it's just it's a good movie.

888
00:46:45,560 --> 00:46:47,800
Speaker 3: It's like, totally, it's a good just hang out on

889
00:46:47,880 --> 00:46:48,280
Speaker 3: the couch.

890
00:46:48,560 --> 00:46:50,440
Speaker 2: This is one of those like Saturday afternoon, you just

891
00:46:50,440 --> 00:46:52,600
Speaker 2: finished cleaning your house and you just want to chill

892
00:46:52,640 --> 00:46:54,279
Speaker 2: and it's on and you'll like, yeah, I'll watch this.

893
00:46:54,840 --> 00:46:57,000
Speaker 3: Yeah. And that Dan scene at the end still makes

894
00:46:57,080 --> 00:47:00,320
Speaker 3: me very happy just watching people go buck I just

895
00:47:00,480 --> 00:47:02,320
Speaker 3: I love it. I love you feel the energy of

896
00:47:02,360 --> 00:47:04,839
Speaker 3: that movie for sure. Yeah.

897
00:47:05,440 --> 00:47:08,319
Speaker 2: And it's like the simplicity of it. All they wanted

898
00:47:08,360 --> 00:47:10,239
Speaker 2: to do was have a dance, and they did it

899
00:47:10,360 --> 00:47:13,160
Speaker 2: and the movie ended and that was it. Gotta Love

900
00:47:13,200 --> 00:47:14,000
Speaker 2: You nineteen eighty four.

901
00:47:14,239 --> 00:47:19,680
Speaker 1: Yeah, it's definitely teen movie. Territory totally gets the job

902
00:47:19,760 --> 00:47:22,840
Speaker 1: done in that regard. There's cute people all over it.

903
00:47:23,080 --> 00:47:26,200
Speaker 1: There's like a fight in the man's story.

904
00:47:26,400 --> 00:47:32,799
Speaker 3: It's great, and then there's yours buckle up?

905
00:47:32,920 --> 00:47:38,960
Speaker 1: Are you ready Okay, so we've given you the original

906
00:47:40,040 --> 00:47:42,800
Speaker 1: and now we're giving you the remake. So my movie

907
00:47:43,920 --> 00:47:48,040
Speaker 1: for the theme of just because you can doesn't mean

908
00:47:48,160 --> 00:47:52,840
Speaker 1: you should. It is from twenty eleven. It was directed

909
00:47:52,880 --> 00:47:55,799
Speaker 1: by Craig Brewer, and it's called Footloose.

910
00:47:56,280 --> 00:48:00,719
Speaker 3: We cannot be missing from our children's lives. They are

911
00:48:00,920 --> 00:48:05,160
Speaker 3: hours to protect public dancing. Momont's minors will be in

912
00:48:05,239 --> 00:48:06,200
Speaker 3: violation of the law.

913
00:48:07,320 --> 00:48:12,840
Speaker 1: Same screenwriter, same screenwriter, same screenwriter. Also Craig Brewer, the director,

914
00:48:13,960 --> 00:48:18,000
Speaker 1: co wrote it. So, like I said at the beginning

915
00:48:18,080 --> 00:48:22,560
Speaker 1: of the episode, you know, I'm a little weary of

916
00:48:22,880 --> 00:48:27,240
Speaker 1: remakes normally, So this remake and a lot of scenes,

917
00:48:27,680 --> 00:48:30,640
Speaker 1: it's literally a scene by scene remake. Like there are

918
00:48:30,719 --> 00:48:33,600
Speaker 1: moments where there's literally the same dialogue happening, and that's

919
00:48:33,719 --> 00:48:36,719
Speaker 1: very interesting to me. I'll get to that in just

920
00:48:36,800 --> 00:48:39,520
Speaker 1: a moment. But I would be remiss if I did

921
00:48:39,600 --> 00:48:46,160
Speaker 1: not tell people that this version of Footlooths was filmed

922
00:48:46,320 --> 00:48:53,320
Speaker 1: and takes place in Georgia, Plamala. The town is called Beaumont,

923
00:48:53,600 --> 00:48:57,680
Speaker 1: by the way. It's just now in Georgia, and I

924
00:48:57,719 --> 00:49:00,359
Speaker 1: don't know where it was before Oklahoma either.

925
00:49:00,480 --> 00:49:03,239
Speaker 2: I think it was yes somewhere somewhere. They don't really

926
00:49:03,280 --> 00:49:05,760
Speaker 2: say they kind of I think they leave it nebulous

927
00:49:05,760 --> 00:49:07,120
Speaker 2: because it could be any small town.

928
00:49:07,800 --> 00:49:10,799
Speaker 1: Yeah, but it definitely was Georgia because I was like, Oh,

929
00:49:10,880 --> 00:49:13,480
Speaker 1: there's the drive in that I fell down at and

930
00:49:13,560 --> 00:49:14,200
Speaker 1: broke my finger.

931
00:49:16,440 --> 00:49:18,480
Speaker 3: I was like, Oh, that's they build that at the Starlight.

932
00:49:19,760 --> 00:49:20,759
Speaker 3: You know, gotta love it.

933
00:49:20,880 --> 00:49:24,000
Speaker 2: But anyway, I just want to start by saying that

934
00:49:24,160 --> 00:49:28,239
Speaker 2: everything I say past this point will be couched by

935
00:49:28,280 --> 00:49:30,880
Speaker 2: what I'm about to say right now, and it is.

936
00:49:31,640 --> 00:49:34,480
Speaker 2: Everyone in this movie who is not Miles Teller can

937
00:49:34,560 --> 00:49:39,440
Speaker 2: go to hell. Just keep that in mind as I

938
00:49:39,560 --> 00:49:44,400
Speaker 2: discussed this film. Everyone who is not Miles Teller can

939
00:49:44,520 --> 00:49:45,359
Speaker 2: go to hell.

940
00:49:45,920 --> 00:49:51,160
Speaker 3: Even Annie McDowell. How everyone, all of them? All of them?

941
00:49:52,360 --> 00:49:57,400
Speaker 1: All right, duly noted, I'll show let the record be shown.

942
00:49:58,200 --> 00:50:03,600
Speaker 1: So this time, Wren is played by a young man

943
00:50:03,960 --> 00:50:05,880
Speaker 1: named Kenny Wormold.

944
00:50:06,480 --> 00:50:09,080
Speaker 3: Okay, he is a professional dancer.

945
00:50:09,520 --> 00:50:12,160
Speaker 1: If you don't know, he was in a shit ton

946
00:50:12,239 --> 00:50:17,520
Speaker 1: of films and TV that are loosely a part of

947
00:50:17,640 --> 00:50:22,160
Speaker 1: the dancing cinematic universe. If you will, he was in

948
00:50:22,600 --> 00:50:26,120
Speaker 1: You Got Served. He was in the made for TV

949
00:50:26,280 --> 00:50:27,640
Speaker 1: movie Center Stage.

950
00:50:28,320 --> 00:50:29,000
Speaker 3: Turn It Up.

951
00:50:29,960 --> 00:50:34,359
Speaker 1: And on a personal note, he co owns this dance

952
00:50:34,440 --> 00:50:37,440
Speaker 1: studio in Los Angeles that was two blocks from my

953
00:50:37,480 --> 00:50:41,440
Speaker 1: old apartment in West Hollywood called Playground LA, and I

954
00:50:41,680 --> 00:50:47,000
Speaker 1: try he co owns it, and it is a place

955
00:50:47,000 --> 00:50:50,600
Speaker 1: where I attempted to take a intro to hip hop

956
00:50:50,719 --> 00:50:55,239
Speaker 1: dance class once and fucking left because everyone in the

957
00:50:55,360 --> 00:51:00,600
Speaker 1: class was too good. I was like, oh, this is

958
00:51:00,600 --> 00:51:03,319
Speaker 1: an intro to dance, this is an intro to hip hop.

959
00:51:03,440 --> 00:51:05,800
Speaker 1: This this should be okay. I'm not saying I'm a

960
00:51:06,320 --> 00:51:13,040
Speaker 1: good dancer, but I'm not Willard, Okay. I swear to god,

961
00:51:13,080 --> 00:51:17,080
Speaker 1: there was like Britney Spears backup dancers taking this class.

962
00:51:17,160 --> 00:51:19,600
Speaker 1: Like I was like, I gotta leave, simply must go.

963
00:51:20,760 --> 00:51:23,239
Speaker 1: I will say too that the character of Ariel is

964
00:51:23,360 --> 00:51:27,439
Speaker 1: also played by a professional dancer, Julianne Huff, who most

965
00:51:27,520 --> 00:51:31,400
Speaker 1: people know from Dancing with the Stars and America's got talent,

966
00:51:32,960 --> 00:51:35,480
Speaker 1: And honestly, like, this is the first thing that I

967
00:51:35,600 --> 00:51:38,719
Speaker 1: noticed about this remake, okay, is that the leads are

968
00:51:38,800 --> 00:51:40,040
Speaker 1: professional dancers.

969
00:51:40,680 --> 00:51:41,360
Speaker 3: M okay.

970
00:51:42,080 --> 00:51:45,440
Speaker 1: And I'm not gonna front like for a movie that

971
00:51:45,600 --> 00:51:47,640
Speaker 1: was being made in the modern era like this, of

972
00:51:47,760 --> 00:51:52,120
Speaker 1: course they're professional dancers. Right, Like, there's no way that

973
00:51:52,320 --> 00:51:57,800
Speaker 1: Hollywood is making a dance themed movie without casting professional

974
00:51:57,920 --> 00:52:00,399
Speaker 1: dancers at this point, not in this day age.

975
00:52:00,520 --> 00:52:02,400
Speaker 3: And I have my theory.

976
00:52:02,480 --> 00:52:04,719
Speaker 2: This kind of plays into my theory about why and

977
00:52:04,800 --> 00:52:07,600
Speaker 2: how this remake even got made, and it is because

978
00:52:08,239 --> 00:52:13,359
Speaker 2: culturally we are at a point where dancing and these

979
00:52:13,480 --> 00:52:15,320
Speaker 2: kinds of TV shows that are like, you know, the

980
00:52:15,400 --> 00:52:18,480
Speaker 2: reality TV dance shows have taken the fuck over.

981
00:52:19,040 --> 00:52:19,239
Speaker 3: Yep.

982
00:52:19,960 --> 00:52:22,359
Speaker 2: So it's like, let's feed the masses and give them

983
00:52:22,440 --> 00:52:24,200
Speaker 2: more dance with some people they already know.

984
00:52:24,560 --> 00:52:25,719
Speaker 3: Absolutely one hundred percent.

985
00:52:26,120 --> 00:52:29,279
Speaker 1: Too many dance things have happened at this point when

986
00:52:29,320 --> 00:52:31,640
Speaker 1: this movie was made, right, because you had all the

987
00:52:31,640 --> 00:52:34,320
Speaker 1: step up movies, you had saved the last dance you

988
00:52:34,400 --> 00:52:38,080
Speaker 1: had honey, you had all that stuff right, and at

989
00:52:38,120 --> 00:52:42,239
Speaker 1: this point in twenty eleven, the professional dancer to dance

990
00:52:42,320 --> 00:52:45,120
Speaker 1: movie pipeline is real short and very direct.

991
00:52:45,400 --> 00:52:49,080
Speaker 3: So it totally makes sense that these two professional dancers.

992
00:52:48,840 --> 00:52:51,399
Speaker 1: Were cast in Footlooths, which is one of the most

993
00:52:51,440 --> 00:52:56,680
Speaker 1: popular dance movies ever. Right for me, knowing that and

994
00:52:58,000 --> 00:53:00,560
Speaker 1: knowing that they are cast as the leads this film,

995
00:53:00,960 --> 00:53:04,080
Speaker 1: I'm just basically, oh, they hired professional dancers and they

996
00:53:04,200 --> 00:53:08,040
Speaker 1: also have to act. Right. The charm of the first

997
00:53:08,120 --> 00:53:11,759
Speaker 1: movie is that all those people sucked at dancing, right

998
00:53:12,200 --> 00:53:15,000
Speaker 1: except for Vanilla Popper, we know, but I'm just saying,

999
00:53:15,320 --> 00:53:19,719
Speaker 1: the leads of the film they all sucked dancing, Like,

1000
00:53:19,800 --> 00:53:21,200
Speaker 1: for the most part, they weren't professional.

1001
00:53:21,520 --> 00:53:23,200
Speaker 3: I don't think they were professional dancers.

1002
00:53:23,239 --> 00:53:26,320
Speaker 1: I mean, I don't know if SJP was like, you know,

1003
00:53:26,920 --> 00:53:29,400
Speaker 1: doing some classical ballet shit or something, but for the

1004
00:53:29,440 --> 00:53:31,680
Speaker 1: most part, they were not great at dancing, and that

1005
00:53:32,760 --> 00:53:33,759
Speaker 1: made it fun for.

1006
00:53:33,880 --> 00:53:36,400
Speaker 3: Me, you know, well, And that's why I think the

1007
00:53:36,719 --> 00:53:38,880
Speaker 3: eighties version really made you.

1008
00:53:39,600 --> 00:53:41,520
Speaker 2: For me. I think it made me just kind of

1009
00:53:41,640 --> 00:53:45,200
Speaker 2: instantly aware of how personal dancing is from the beginning

1010
00:53:45,239 --> 00:53:48,000
Speaker 2: where you're seeing the singular pairs of feet dancing around

1011
00:53:48,800 --> 00:53:51,439
Speaker 2: and this version you're just starting out with a bunch

1012
00:53:51,520 --> 00:53:56,279
Speaker 2: of like red cup holding teens shout dancing, and that

1013
00:53:56,400 --> 00:53:59,480
Speaker 2: just doesn't make me want to dance, Like choreographed red

1014
00:53:59,560 --> 00:54:02,680
Speaker 2: cup dance dances is not my jam, and it was

1015
00:54:02,800 --> 00:54:05,040
Speaker 2: not personal. They took it out of the personal and

1016
00:54:05,160 --> 00:54:07,400
Speaker 2: made it more of a you know, a community thing,

1017
00:54:07,440 --> 00:54:07,960
Speaker 2: and it didn't work.

1018
00:54:08,000 --> 00:54:08,600
Speaker 3: It didn't work for me.

1019
00:54:08,840 --> 00:54:12,040
Speaker 1: Here's a group of professional dancers pretending to be loose

1020
00:54:12,080 --> 00:54:12,960
Speaker 1: at a party.

1021
00:54:13,000 --> 00:54:13,600
Speaker 3: You know what I mean.

1022
00:54:13,920 --> 00:54:19,239
Speaker 1: It was like a choreographed dance sequence at every moment, right.

1023
00:54:19,680 --> 00:54:23,000
Speaker 1: And the funny thing is is that even Miles Teller Okay,

1024
00:54:23,120 --> 00:54:28,560
Speaker 1: so Miles Teller plays the Willard character, Okay, even he

1025
00:54:28,760 --> 00:54:30,800
Speaker 1: knows how to dance a little bit, like he's not

1026
00:54:30,920 --> 00:54:34,600
Speaker 1: a bad dancer at all. Yeah, Like when you see

1027
00:54:34,680 --> 00:54:38,680
Speaker 1: him in the famous sequence of when Willard learns to dance,

1028
00:54:38,880 --> 00:54:43,120
Speaker 1: when Wren teaches him how to dance, Miles Teller is

1029
00:54:43,239 --> 00:54:48,000
Speaker 1: like body rolling by the end of it, exactly, okay, bullie,

1030
00:54:48,000 --> 00:54:51,919
Speaker 1: which that's not Chris Penn. Chris Penn is like still

1031
00:54:52,080 --> 00:54:55,160
Speaker 1: like I don't know what I'm doing, even after learning

1032
00:54:55,800 --> 00:54:58,000
Speaker 1: all of this shit in the sequence.

1033
00:54:57,840 --> 00:54:59,400
Speaker 3: Chris Penn is still Frankensteinen.

1034
00:55:01,800 --> 00:55:03,839
Speaker 2: And yes, I know, frankken Sign was not the mon

1035
00:55:03,960 --> 00:55:06,920
Speaker 2: Sarah was a nager, but he's Franken Sin and he's

1036
00:55:06,960 --> 00:55:08,040
Speaker 2: a heavy foot in it all.

1037
00:55:07,960 --> 00:55:08,479
Speaker 3: Over the place.

1038
00:55:08,880 --> 00:55:12,759
Speaker 1: Absolutely, So I feel like this obviously got leveled up

1039
00:55:12,920 --> 00:55:15,240
Speaker 1: in a big way when it comes to the dancing,

1040
00:55:15,360 --> 00:55:18,239
Speaker 1: which to me, I think makes it less charming than

1041
00:55:18,280 --> 00:55:18,759
Speaker 1: the first one.

1042
00:55:19,040 --> 00:55:21,239
Speaker 2: Well, and the type of dancing too, because I think that,

1043
00:55:21,440 --> 00:55:24,600
Speaker 2: especially like I, I truly don't know Juliane Huff from Adam.

1044
00:55:25,120 --> 00:55:27,160
Speaker 3: I don't think it's not my generation. I never heard

1045
00:55:27,160 --> 00:55:27,680
Speaker 3: of her before.

1046
00:55:28,000 --> 00:55:30,800
Speaker 2: Yes, but she does the kind of dance as do

1047
00:55:31,040 --> 00:55:34,520
Speaker 2: most people in the movie where it's just all hair.

1048
00:55:34,960 --> 00:55:36,759
Speaker 2: It's like I'm gonna thrust a hip and then I'm

1049
00:55:36,800 --> 00:55:38,920
Speaker 2: just gonna whip my head around for about five minutes

1050
00:55:38,920 --> 00:55:41,160
Speaker 2: and I'm gonna thrust a hip And that is not

1051
00:55:41,520 --> 00:55:42,560
Speaker 2: dancing to me either.

1052
00:55:42,760 --> 00:55:44,440
Speaker 3: It's a distraction. It's a distraction.

1053
00:55:44,920 --> 00:55:48,520
Speaker 1: Was it? There was so many blonde low light extensions

1054
00:55:48,680 --> 00:55:50,959
Speaker 1: being whipped around in this film.

1055
00:55:51,040 --> 00:55:54,640
Speaker 3: I was having I was triggered. I'll just say it.

1056
00:55:55,239 --> 00:55:57,760
Speaker 3: The tumble the tumble weaves on that set were mighty.

1057
00:56:02,200 --> 00:56:06,120
Speaker 1: I have to say, though, Miles Teller is my favorite

1058
00:56:06,239 --> 00:56:08,680
Speaker 1: person in this movie. I like you said, everyone can

1059
00:56:08,800 --> 00:56:11,400
Speaker 1: go to hell except for Miles Teller. I have a

1060
00:56:11,440 --> 00:56:14,480
Speaker 1: fondness for this Miles Teller character because he kind of

1061
00:56:14,520 --> 00:56:16,040
Speaker 1: reminds me of guys that I grew up with who

1062
00:56:16,080 --> 00:56:18,840
Speaker 1: were like these southern good old boys. But then you

1063
00:56:18,920 --> 00:56:21,279
Speaker 1: could like take them into the city and they would

1064
00:56:21,320 --> 00:56:23,160
Speaker 1: sort of like let go of their shit and just

1065
00:56:23,239 --> 00:56:24,080
Speaker 1: be like super fun.

1066
00:56:24,440 --> 00:56:27,120
Speaker 2: That's what I liked about his character because he seems

1067
00:56:27,160 --> 00:56:29,480
Speaker 2: like that kind of guy. He was great, he was

1068
00:56:29,600 --> 00:56:32,960
Speaker 2: so fun, he had the best lines. He's an actual actor,

1069
00:56:33,680 --> 00:56:35,040
Speaker 2: Like he was dope.

1070
00:56:35,480 --> 00:56:36,960
Speaker 3: He was so cute. It was just a door.

1071
00:56:37,040 --> 00:56:39,919
Speaker 2: It was just adorable to watch his trajectory in the film,

1072
00:56:40,600 --> 00:56:44,120
Speaker 2: and I liked him the most. And I also feel

1073
00:56:44,200 --> 00:56:47,480
Speaker 2: like the guy who plays the uncle in this one,

1074
00:56:47,600 --> 00:56:50,680
Speaker 2: Uncle Wes. Yes, it's like such a departure for him

1075
00:56:50,680 --> 00:56:53,239
Speaker 2: because Uncle Wes is played by Ray McKinnon, who was

1076
00:56:53,360 --> 00:56:58,080
Speaker 2: incredible actor and he created the TV series Rectify, which

1077
00:56:58,120 --> 00:57:00,360
Speaker 2: if you have not seen it, do your self the

1078
00:57:00,440 --> 00:57:03,880
Speaker 2: favor and watch it immediately. He's like a beautiful filmmaker.

1079
00:57:04,960 --> 00:57:06,759
Speaker 2: So to see him as Uncle Wes, I was like, wait,

1080
00:57:06,800 --> 00:57:07,440
Speaker 2: what's that?

1081
00:57:08,239 --> 00:57:10,720
Speaker 3: Yeah, And this is one of the things that changed

1082
00:57:11,160 --> 00:57:12,480
Speaker 3: from the first movie.

1083
00:57:12,640 --> 00:57:17,600
Speaker 1: So there's certain plots, there are certain things that are

1084
00:57:17,720 --> 00:57:22,960
Speaker 1: essentially the same as the first film. But then for

1085
00:57:23,120 --> 00:57:25,880
Speaker 1: this film, Wren instead of being from Chicago, he's not

1086
00:57:25,960 --> 00:57:28,600
Speaker 1: from Boston, and he's coming to Georgia to live with

1087
00:57:28,680 --> 00:57:31,320
Speaker 1: his aunt uncle, and it turns out that the mom

1088
00:57:32,160 --> 00:57:35,720
Speaker 1: from the first film actually died, which bums me.

1089
00:57:35,840 --> 00:57:38,560
Speaker 3: The fuck. Act the actress died. No, no, no, the

1090
00:57:38,720 --> 00:57:39,920
Speaker 3: mom character died.

1091
00:57:39,920 --> 00:57:43,520
Speaker 1: Oh okay, yeah, yeah, So the mom character who was

1092
00:57:43,640 --> 00:57:47,320
Speaker 1: in the first film, she came down with Wren.

1093
00:57:48,440 --> 00:57:51,600
Speaker 3: So in this second film she's dead. So he shows

1094
00:57:51,680 --> 00:57:52,360
Speaker 3: up alone.

1095
00:57:53,000 --> 00:57:55,600
Speaker 1: And I know that the mom didn't have like a

1096
00:57:55,720 --> 00:57:58,240
Speaker 1: ton of lines in the first film, but I also

1097
00:57:58,880 --> 00:58:01,360
Speaker 1: I loved that she was in the film because honestly,

1098
00:58:02,000 --> 00:58:05,040
Speaker 1: in the first film, she's present and she's almost as

1099
00:58:05,160 --> 00:58:08,720
Speaker 1: exasperated as Wren is about this like weird town, Like

1100
00:58:08,840 --> 00:58:11,400
Speaker 1: she said something like she calls him like David Bowie

1101
00:58:11,520 --> 00:58:14,360
Speaker 1: or something like that, and you can tell that she's

1102
00:58:14,480 --> 00:58:18,760
Speaker 1: at least understanding where he's coming from exactly. And so

1103
00:58:18,920 --> 00:58:21,760
Speaker 1: in the remake, the mom is no longer there, and

1104
00:58:21,840 --> 00:58:25,920
Speaker 1: now the uncle feels more present and sort of less

1105
00:58:26,080 --> 00:58:28,720
Speaker 1: judgy than my uncle from the first film.

1106
00:58:28,840 --> 00:58:30,400
Speaker 2: Yeah, and the uncle from the first film was very

1107
00:58:30,480 --> 00:58:32,680
Speaker 2: much like, here's what this town does. We play it

1108
00:58:32,720 --> 00:58:35,120
Speaker 2: by the book, like rules, rules, rules, and this uncle

1109
00:58:35,240 --> 00:58:35,600
Speaker 2: was not that.

1110
00:58:36,200 --> 00:58:39,520
Speaker 1: Yeah, this uncle kind of stands up Forren throughout the film,

1111
00:58:39,600 --> 00:58:41,760
Speaker 1: and he gets him out of a ticket at the courthouse.

1112
00:58:41,800 --> 00:58:44,240
Speaker 1: Like it's like the uncle is like he's not the

1113
00:58:44,400 --> 00:58:47,440
Speaker 1: first film uncle, he's like a different character.

1114
00:58:47,680 --> 00:58:49,840
Speaker 3: They do also make him sleep in a garage, though.

1115
00:58:50,320 --> 00:58:54,560
Speaker 1: They do, I mean in Georgia, I would have I

1116
00:58:54,600 --> 00:58:59,120
Speaker 1: would have problems with that, but you know what it

1117
00:58:59,160 --> 00:59:05,360
Speaker 1: comes down to it it okay. There are truly exact

1118
00:59:05,640 --> 00:59:07,440
Speaker 1: word for word dialogue scenes happening.

1119
00:59:07,800 --> 00:59:09,920
Speaker 3: Yep. And I'll just tell you this.

1120
00:59:10,800 --> 00:59:14,400
Speaker 1: I watched these two movies back to back in true

1121
00:59:14,680 --> 00:59:18,560
Speaker 1: double feature fashion, and I have to say, maybe I

1122
00:59:18,600 --> 00:59:25,520
Speaker 1: shouldn't have done that, because when you've when you've done that,

1123
00:59:27,000 --> 00:59:32,880
Speaker 1: the second film will definitely feel like some weird ghosts. Yeah, okay,

1124
00:59:33,600 --> 00:59:37,160
Speaker 1: especially knowing that the dialogue is the same in a

1125
00:59:37,200 --> 00:59:40,160
Speaker 1: lot of in a lot of these scenes, but there's

1126
00:59:40,200 --> 00:59:43,760
Speaker 1: also like differences. Like I said, the uncle is different,

1127
00:59:44,120 --> 00:59:47,280
Speaker 1: the mom is no longer in the picture, and this

1128
00:59:47,720 --> 00:59:49,520
Speaker 1: town Preacher character.

1129
00:59:49,760 --> 00:59:53,800
Speaker 2: Okay, okay, Dennis Quaid plays the Preacher in this film,

1130
00:59:54,440 --> 00:59:56,320
Speaker 2: and he just looks like he's on the verge of

1131
00:59:56,360 --> 00:59:57,320
Speaker 2: teers for the whole movie.

1132
00:59:58,360 --> 01:00:03,040
Speaker 3: It's very uncomfortable. Yes, And I will argue that.

1133
01:00:04,560 --> 01:00:09,520
Speaker 1: The John Lithgow Preacher seems like he's he's very much

1134
01:00:09,640 --> 01:00:12,680
Speaker 1: more fire and brimstone. He's kind of the scary, rural

1135
01:00:12,840 --> 01:00:15,360
Speaker 1: black suit preacher that we kind of think about when

1136
01:00:15,400 --> 01:00:17,760
Speaker 1: we see like movies about the South or something like that.

1137
01:00:18,560 --> 01:00:20,800
Speaker 1: And I don't know if it's because like modern preachers

1138
01:00:20,880 --> 01:00:25,960
Speaker 1: now are way more like clued into like the modern world,

1139
01:00:26,040 --> 01:00:28,920
Speaker 1: and there's like mega church preachers now, like preachers have

1140
01:00:29,040 --> 01:00:31,880
Speaker 1: like podcasts and are like cool now you know what

1141
01:00:31,920 --> 01:00:35,160
Speaker 1: I'm saying. So to me, it felt like Dennis Quad's

1142
01:00:35,200 --> 01:00:39,040
Speaker 1: preacher character what to me, he didn't feel scary and

1143
01:00:39,120 --> 01:00:42,280
Speaker 1: he didn't feel like he didn't he wasn't really selling

1144
01:00:42,360 --> 01:00:44,439
Speaker 1: me on the idea that he was running this town

1145
01:00:44,600 --> 01:00:49,600
Speaker 1: with an iron fist. There's this moment too where I

1146
01:00:49,800 --> 01:00:55,320
Speaker 1: feel like, you know, I don't know, like the whole cause,

1147
01:00:55,520 --> 01:00:58,680
Speaker 1: like the whole cause of Wrens to like get these

1148
01:00:58,800 --> 01:01:02,760
Speaker 1: people out of their backwards thinking and like dance their

1149
01:01:02,880 --> 01:01:05,600
Speaker 1: lives away doesn't feel as.

1150
01:01:05,600 --> 01:01:10,840
Speaker 3: Important rights right, And I don't know why. But there's

1151
01:01:10,960 --> 01:01:14,520
Speaker 3: no stakes for this for me in this movie, no stakes,

1152
01:01:14,680 --> 01:01:16,240
Speaker 3: and like and to.

1153
01:01:16,360 --> 01:01:19,320
Speaker 1: Me it's it's it's just sort of like the whole

1154
01:01:20,080 --> 01:01:21,720
Speaker 1: Like I said, I think it's just time. I think

1155
01:01:21,720 --> 01:01:23,720
Speaker 1: it's just time. I think it's the modern era that

1156
01:01:24,200 --> 01:01:28,360
Speaker 1: kind of rendered maybe the idea that this town was

1157
01:01:28,480 --> 01:01:30,760
Speaker 1: remote and off the grid and sort of that kind

1158
01:01:30,760 --> 01:01:31,000
Speaker 1: of thing.

1159
01:01:31,320 --> 01:01:35,040
Speaker 3: It rendered it kind of like a non issue or something, right.

1160
01:01:35,480 --> 01:01:38,360
Speaker 1: But the thing about it is like there are these

1161
01:01:38,400 --> 01:01:40,880
Speaker 1: like little moments of the film where you know, like

1162
01:01:41,760 --> 01:01:44,520
Speaker 1: Wren shows up to his uncle's house and the uncle

1163
01:01:44,600 --> 01:01:48,360
Speaker 1: gives him this like broken down VW beetle to fix up,

1164
01:01:49,000 --> 01:01:51,760
Speaker 1: just like Kevin Bacon drives in the first one and

1165
01:01:51,960 --> 01:01:53,600
Speaker 1: like new Jack.

1166
01:01:53,800 --> 01:01:56,560
Speaker 3: Wren seems real bummed about it, and I'm like, yo,

1167
01:01:56,680 --> 01:01:57,440
Speaker 3: it's a free car.

1168
01:01:58,080 --> 01:02:00,600
Speaker 2: So he also fixes it in like an hours, so

1169
01:02:00,760 --> 01:02:02,800
Speaker 2: like what the shit, He's like, I'm good with engines.

1170
01:02:02,880 --> 01:02:04,880
Speaker 3: Oops, the car is running. I guess it's fine.

1171
01:02:04,920 --> 01:02:08,240
Speaker 1: I'm like what, Yes, he's not even invested in it

1172
01:02:08,360 --> 01:02:11,000
Speaker 1: at all in the process of fixing the car. Yes,

1173
01:02:11,640 --> 01:02:14,200
Speaker 1: And like there's this scene where that sequence where he's

1174
01:02:14,280 --> 01:02:16,360
Speaker 1: fixing up the car and he's kind of going through

1175
01:02:16,400 --> 01:02:18,520
Speaker 1: the garage. He's thumbing through these like old records, and

1176
01:02:18,560 --> 01:02:22,640
Speaker 1: of course he finds that like Quiet Riot Metal Health album,

1177
01:02:22,760 --> 01:02:25,760
Speaker 1: because that's the thing. The first run is like listening

1178
01:02:25,840 --> 01:02:28,200
Speaker 1: to Bang your Head over and over and over again,

1179
01:02:28,600 --> 01:02:30,560
Speaker 1: and he's like throwing these records and then he finds

1180
01:02:30,640 --> 01:02:33,800
Speaker 1: this like Tanya Tucker album and he throws it aside,

1181
01:02:33,840 --> 01:02:37,960
Speaker 1: and I screamed. I was like, how very dare you

1182
01:02:38,720 --> 01:02:41,960
Speaker 1: throw a Tanya Tucker album, you little fucker?

1183
01:02:42,520 --> 01:02:43,040
Speaker 3: How dare you?

1184
01:02:46,360 --> 01:02:50,040
Speaker 1: He lost you real early, yes, I was like, oh no,

1185
01:02:50,680 --> 01:02:54,360
Speaker 1: please do not desecrate this fine piece of music.

1186
01:02:54,720 --> 01:02:56,800
Speaker 2: The other thing I love about this this VW is

1187
01:02:56,840 --> 01:02:59,200
Speaker 2: you watch him driving it throughout the movie. There's a

1188
01:02:59,240 --> 01:03:01,640
Speaker 2: scene where he gets really pissed and he speeds away

1189
01:03:01,720 --> 01:03:05,040
Speaker 2: from Ariel. There is nothing funnier than someone who's angry

1190
01:03:05,160 --> 01:03:08,440
Speaker 2: trying to leave in a Volkswagen making that like like

1191
01:03:08,560 --> 01:03:12,520
Speaker 2: that noise. So he's speeding away and it sounds like

1192
01:03:12,600 --> 01:03:16,880
Speaker 2: Hermie the fucking love Bug is just like it is

1193
01:03:17,200 --> 01:03:19,720
Speaker 2: the funniest scene in that film.

1194
01:03:20,360 --> 01:03:23,680
Speaker 1: Having to make a dramatic exit in a piece of

1195
01:03:23,720 --> 01:03:24,200
Speaker 1: shit car.

1196
01:03:25,000 --> 01:03:28,480
Speaker 3: I mean, who hasn't been there? Right? I want to

1197
01:03:28,480 --> 01:03:31,840
Speaker 3: talk about Ariel though, for real, because let me just

1198
01:03:32,200 --> 01:03:35,560
Speaker 3: let me just tell you this new Ariel.

1199
01:03:36,760 --> 01:03:41,000
Speaker 1: I mean, she is tame by old aerial standards, Thank you,

1200
01:03:42,360 --> 01:03:48,400
Speaker 1: very tame. There's a scene where the new Ariel goes

1201
01:03:48,480 --> 01:03:50,960
Speaker 1: down to like whatever the dirt track pit is to

1202
01:03:51,080 --> 01:03:54,920
Speaker 1: see her boyfriend, right, like the kind of much like

1203
01:03:54,960 --> 01:03:57,280
Speaker 1: the boyfriend in the first film. He's also kind of

1204
01:03:57,360 --> 01:04:00,960
Speaker 1: this like real country guy, and he goes down to

1205
01:04:01,160 --> 01:04:04,680
Speaker 1: see him. He's a dirt track driver, and there's like

1206
01:04:04,800 --> 01:04:07,840
Speaker 1: this big dangerous moment where she like runs onto the

1207
01:04:07,920 --> 01:04:09,720
Speaker 1: track and gets in the car and sits out the

1208
01:04:09,760 --> 01:04:12,520
Speaker 1: window as her boyfriend is like doing his victory lap,

1209
01:04:12,680 --> 01:04:13,960
Speaker 1: and I'm like, I'm sorry.

1210
01:04:13,920 --> 01:04:16,400
Speaker 3: Did you see the first movie where Ariels stood on

1211
01:04:16,560 --> 01:04:17,880
Speaker 3: two moving cars?

1212
01:04:18,320 --> 01:04:22,920
Speaker 2: Thank you? This is like just sipping water on the sidelines.

1213
01:04:22,920 --> 01:04:26,920
Speaker 2: Compared the first Ariel, the og Ariel is the kind

1214
01:04:26,960 --> 01:04:29,320
Speaker 2: of person who would like drink motor oil on a

1215
01:04:29,440 --> 01:04:33,919
Speaker 2: dare like this Ariol is like, look at me sitting

1216
01:04:33,960 --> 01:04:36,040
Speaker 2: at a car, and she's like, look at me flipping

1217
01:04:36,080 --> 01:04:38,000
Speaker 2: a car. That is the difference.

1218
01:04:40,320 --> 01:04:45,040
Speaker 3: Yeah, new Jack Ariel, I gotta say she didn't. I

1219
01:04:45,120 --> 01:04:45,440
Speaker 3: don't know.

1220
01:04:45,640 --> 01:04:48,800
Speaker 1: Her kicks are much different, much tamer in my opinion. Yeah,

1221
01:04:48,840 --> 01:04:52,000
Speaker 1: But also I gotta tell you her boyfriend, the new

1222
01:04:52,080 --> 01:04:54,080
Speaker 1: boyfriend is way scarier.

1223
01:04:54,640 --> 01:04:56,960
Speaker 3: In my car. He's like a grown ass man.

1224
01:04:57,320 --> 01:04:59,600
Speaker 1: He's a grown ass man, and he is straight up

1225
01:04:59,760 --> 01:05:04,120
Speaker 1: scared at as fuck, like like the drug dealer character,

1226
01:05:04,280 --> 01:05:06,320
Speaker 1: like his friend who's the drug dealer that tries to

1227
01:05:06,480 --> 01:05:08,320
Speaker 1: like plant the joint on ren.

1228
01:05:08,640 --> 01:05:11,200
Speaker 3: That motherfucker was sketchy as hell.

1229
01:05:11,600 --> 01:05:17,200
Speaker 1: Ohally, wow, this is these guys are are are bad

1230
01:05:17,320 --> 01:05:23,440
Speaker 1: news all around. Also, the Chicken fight tractor said, okay,

1231
01:05:24,480 --> 01:05:29,600
Speaker 1: thank you in the In the remake, that shit was

1232
01:05:29,680 --> 01:05:36,160
Speaker 1: replaced by some kind of extreme intense school bus situation.

1233
01:05:36,680 --> 01:05:38,360
Speaker 3: Tell me what was happening there? What was that with

1234
01:05:38,440 --> 01:05:39,200
Speaker 3: the goofy buses?

1235
01:05:39,640 --> 01:05:44,880
Speaker 1: Okay, they were like demolition derbying, actual fucking school buses. Okay,

1236
01:05:45,440 --> 01:05:49,520
Speaker 1: these are buses on fire. I'm like, who the fuck

1237
01:05:49,640 --> 01:05:52,440
Speaker 1: is letting this happen? We talked about the tractors who

1238
01:05:52,480 --> 01:05:53,280
Speaker 1: gave him these directors.

1239
01:05:53,440 --> 01:05:57,480
Speaker 3: Who the fuck is god? School buses on fire? But

1240
01:05:57,600 --> 01:05:59,320
Speaker 3: you can't dance? Don't you dare dance?

1241
01:05:59,360 --> 01:05:59,840
Speaker 1: You die in that?

1242
01:06:00,400 --> 01:06:05,680
Speaker 3: Don't you dare dance? Don't you wiggle that leg? Don't

1243
01:06:05,720 --> 01:06:07,840
Speaker 3: you wiggle a toe? How dare you?

1244
01:06:09,240 --> 01:06:12,680
Speaker 1: We can we can literally be having the same outcome

1245
01:06:12,760 --> 01:06:17,000
Speaker 1: as the whole reason why this movie happened, every second

1246
01:06:17,520 --> 01:06:18,800
Speaker 1: of this secret.

1247
01:06:20,120 --> 01:06:23,280
Speaker 3: But don't you dance? Don't you God damn dare.

1248
01:06:23,360 --> 01:06:25,960
Speaker 2: Everything these kids do, It's like we're in the parking

1249
01:06:26,040 --> 01:06:31,880
Speaker 2: lot of this drive in diner movie place ps crumping professionally,

1250
01:06:32,120 --> 01:06:34,720
Speaker 2: Like if you're in a town where dancing is banned,

1251
01:06:34,960 --> 01:06:36,040
Speaker 2: where did you learn to do that?

1252
01:06:36,400 --> 01:06:39,800
Speaker 3: Okay? And they're just like every they're just like rolling

1253
01:06:39,880 --> 01:06:40,480
Speaker 3: under cars.

1254
01:06:40,560 --> 01:06:43,240
Speaker 2: Everything they do is ten times worse than dancing and

1255
01:06:43,360 --> 01:06:46,080
Speaker 2: ten times more dangerous than what these kids did.

1256
01:06:47,040 --> 01:06:49,760
Speaker 1: Okay, listen, I'm happy that they thought to put in

1257
01:06:49,880 --> 01:06:53,840
Speaker 1: some non white people in this version. I have to say, however,

1258
01:06:54,840 --> 01:06:57,520
Speaker 1: they fully this is a town that doesn't allow dancing,

1259
01:06:57,600 --> 01:07:00,960
Speaker 1: yet they fully take over a damn like all of

1260
01:07:01,000 --> 01:07:04,160
Speaker 1: these students take over a damn drive.

1261
01:07:03,960 --> 01:07:08,560
Speaker 3: In, and the preacher is there watching it happen, and

1262
01:07:08,800 --> 01:07:11,720
Speaker 3: nothing is really happening, nothing like.

1263
01:07:12,480 --> 01:07:15,040
Speaker 1: I feel like those kids find a way to get wild,

1264
01:07:15,880 --> 01:07:18,240
Speaker 1: That's all I'm saying. And they have since before Red

1265
01:07:18,320 --> 01:07:21,560
Speaker 1: even showed up. So I don't get the sense that

1266
01:07:21,800 --> 01:07:25,120
Speaker 1: Wren needs to get in front of the city council

1267
01:07:25,320 --> 01:07:27,640
Speaker 1: to protect their right to dance. I was like, Yo,

1268
01:07:27,720 --> 01:07:30,800
Speaker 1: they're doing it Glee, so they're learning it somewhere because

1269
01:07:30,840 --> 01:07:35,160
Speaker 1: they are truly professional dancers out there, like crumping, so

1270
01:07:35,280 --> 01:07:36,800
Speaker 1: they are getting it from somewhere.

1271
01:07:37,000 --> 01:07:40,880
Speaker 3: And unlike the first movie, where they not only didn't dance.

1272
01:07:40,960 --> 01:07:44,120
Speaker 1: They were so hard up for fun that they were like, let's,

1273
01:07:44,160 --> 01:07:45,640
Speaker 1: I don't know, let's go in the river and hold

1274
01:07:45,680 --> 01:07:47,760
Speaker 1: each other underwater for ten minutes and seeve it can

1275
01:07:47,800 --> 01:07:49,760
Speaker 1: come out and breathe. Like they were just so hard

1276
01:07:49,880 --> 01:07:51,480
Speaker 1: up for fun, and you did not get the same

1277
01:07:51,520 --> 01:07:54,720
Speaker 1: impression with this group of kids at all. Yes, absolutely,

1278
01:07:54,960 --> 01:07:57,280
Speaker 1: that's what it is. They just didn't feel like they

1279
01:07:57,320 --> 01:08:02,320
Speaker 1: were hard up enough. Right, that's all totally all right.

1280
01:08:02,640 --> 01:08:03,600
Speaker 3: And I need to say this.

1281
01:08:03,880 --> 01:08:05,920
Speaker 1: I really need to say this, and I hope it

1282
01:08:05,960 --> 01:08:09,400
Speaker 1: doesn't ruffle any feathers, but I'm about what I'm about

1283
01:08:09,400 --> 01:08:11,720
Speaker 1: to say is completely a personal taste thing.

1284
01:08:12,160 --> 01:08:12,440
Speaker 3: Okay.

1285
01:08:13,680 --> 01:08:17,639
Speaker 1: I know that this entire franchise is based on rural life, Okay,

1286
01:08:18,360 --> 01:08:22,280
Speaker 1: but the first film was a little bit more like

1287
01:08:22,479 --> 01:08:27,040
Speaker 1: Urban Cowboy, and the second is way more like Keith Urban.

1288
01:08:28,840 --> 01:08:29,080
Speaker 3: Okay.

1289
01:08:29,600 --> 01:08:34,600
Speaker 1: It's this like new country style where it's sort of

1290
01:08:34,800 --> 01:08:39,439
Speaker 1: like country mixed with rap or something. I mean, I

1291
01:08:39,560 --> 01:08:41,240
Speaker 1: gotta tell you that shit is my worst.

1292
01:08:41,120 --> 01:08:46,719
Speaker 3: Nightmare, honestly, and like, oh my god, the music.

1293
01:08:46,960 --> 01:08:50,000
Speaker 1: I just they did this thing where they like got

1294
01:08:50,520 --> 01:08:54,080
Speaker 1: like modern artists to remake the original from the first movie,

1295
01:08:54,760 --> 01:08:56,800
Speaker 1: to remake the original music from the first movie, and

1296
01:08:56,880 --> 01:08:59,400
Speaker 1: it is simply the worst.

1297
01:09:00,000 --> 01:09:03,720
Speaker 3: It's unbearable. Cannot okay, the acoustic I need a hero.

1298
01:09:04,240 --> 01:09:06,280
Speaker 3: Oh I don't.

1299
01:09:06,360 --> 01:09:08,479
Speaker 1: I can't even. I couldn't even deal with it. And

1300
01:09:08,600 --> 01:09:12,760
Speaker 1: like listen again, I know that this is me. I

1301
01:09:12,960 --> 01:09:17,200
Speaker 1: simply just prefer Shallamar to like big and rich. I

1302
01:09:17,360 --> 01:09:22,600
Speaker 1: simply do, okay, But like Blake Shelton, sir, this is

1303
01:09:22,680 --> 01:09:25,160
Speaker 1: no disrespect to you, but what the fuck? I cannot

1304
01:09:25,280 --> 01:09:28,560
Speaker 1: with this, like remake of Footloose, I just cannot. And

1305
01:09:28,800 --> 01:09:31,280
Speaker 1: like the whole thing with Ariel too, like we said before,

1306
01:09:31,360 --> 01:09:36,040
Speaker 1: this like it's like this glam southern gal. Look, Okay,

1307
01:09:36,280 --> 01:09:39,360
Speaker 1: I've spent I have spent thirty years in the South,

1308
01:09:40,120 --> 01:09:42,800
Speaker 1: and I swear to God that look of like the

1309
01:09:42,920 --> 01:09:46,080
Speaker 1: low rise jean shorts with the cowboy boots and like

1310
01:09:46,200 --> 01:09:51,280
Speaker 1: the free people like crochet vest with over like a

1311
01:09:51,400 --> 01:09:52,479
Speaker 1: real tiny top.

1312
01:09:52,640 --> 01:09:55,360
Speaker 3: I mean, that is just not my thing. I just can't.

1313
01:09:59,320 --> 01:10:04,280
Speaker 3: I mean, no disrespect, but seriously, for me, it hurts.

1314
01:10:04,400 --> 01:10:05,080
Speaker 3: It just hurts.

1315
01:10:05,360 --> 01:10:10,000
Speaker 2: Yeah, it's a whole Yeah, it's it's there's something about

1316
01:10:10,040 --> 01:10:13,080
Speaker 2: it that instantly says no to me, and I don't

1317
01:10:13,080 --> 01:10:13,560
Speaker 2: know what it is.

1318
01:10:13,920 --> 01:10:17,760
Speaker 1: The whole like country with vouecorder stuff was happening, and

1319
01:10:17,800 --> 01:10:21,800
Speaker 1: I'm like, what, Like, no, I can't with this.

1320
01:10:22,560 --> 01:10:27,040
Speaker 2: Have you ever watched Bo Burnham has a special on

1321
01:10:27,400 --> 01:10:30,479
Speaker 2: Netflix called Make Happy? No, I haven't seen it, and

1322
01:10:30,560 --> 01:10:34,400
Speaker 2: he does a really funny song about this kind of

1323
01:10:34,479 --> 01:10:35,280
Speaker 2: new country stuff.

1324
01:10:35,280 --> 01:10:36,120
Speaker 3: It's really funny.

1325
01:10:37,560 --> 01:10:39,880
Speaker 1: And you know me, I'm not country reverse. We've talked

1326
01:10:39,880 --> 01:10:42,640
Speaker 1: about this. Me and your grandmother share a love of Alabama.

1327
01:10:44,640 --> 01:10:48,520
Speaker 1: But with this new stuff, I just could not The music.

1328
01:10:48,439 --> 01:10:51,519
Speaker 3: Was too much. I also, I would be remiss if

1329
01:10:51,600 --> 01:10:54,960
Speaker 3: I didn't mention the thing that made me laugh the most,

1330
01:10:55,520 --> 01:11:00,639
Speaker 3: which absolutely should not have in this high school.

1331
01:11:01,320 --> 01:11:04,080
Speaker 2: This is three years later, right after this accident, which,

1332
01:11:04,160 --> 01:11:06,080
Speaker 2: by the way, they started with the accident, which I

1333
01:11:06,120 --> 01:11:10,160
Speaker 2: think also bummed me out. Yes, because starting with the accident, like,

1334
01:11:10,200 --> 01:11:11,880
Speaker 2: I don't know these kids yet, they're having fun and

1335
01:11:11,920 --> 01:11:13,559
Speaker 2: they're dead, and it's just like it was heavy.

1336
01:11:13,640 --> 01:11:14,559
Speaker 3: It was almost too heavy.

1337
01:11:15,360 --> 01:11:19,799
Speaker 2: But in this school there is a glass case tribute

1338
01:11:20,200 --> 01:11:23,840
Speaker 2: for these children that died in this car accident, and

1339
01:11:24,200 --> 01:11:27,680
Speaker 2: along the bottom there's a little engraving that says you

1340
01:11:27,760 --> 01:11:30,640
Speaker 2: will be missing from our lives. And then as they

1341
01:11:30,800 --> 01:11:33,679
Speaker 2: pan up to the photo of the five kids together

1342
01:11:33,920 --> 01:11:37,719
Speaker 2: in a small frame. Underneath, in smaller print, it says,

1343
01:11:38,240 --> 01:11:40,439
Speaker 2: you will be missing from our lives. Like that's all

1344
01:11:40,479 --> 01:11:43,000
Speaker 2: they can say about these motherfuckers. You'll be missing from

1345
01:11:43,040 --> 01:11:45,120
Speaker 2: our lives. It's like a little ghost whisper, like you'll

1346
01:11:45,120 --> 01:11:46,160
Speaker 2: be missing from our lives.

1347
01:11:46,280 --> 01:11:47,799
Speaker 3: Yeah, you'll be missing from our lives.

1348
01:11:48,040 --> 01:11:48,080
Speaker 1: Like.

1349
01:11:48,360 --> 01:11:51,040
Speaker 3: It made me laugh so goddamn hard.

1350
01:11:51,240 --> 01:11:54,280
Speaker 1: If I die and a firing wreck and all you

1351
01:11:54,360 --> 01:11:56,840
Speaker 1: can say about me on a plaque is up, you're

1352
01:11:56,840 --> 01:11:58,000
Speaker 1: gonna be missing from our lives.

1353
01:11:58,520 --> 01:12:02,920
Speaker 3: Come up with something else. Please, don't say it twice.

1354
01:12:03,320 --> 01:12:05,599
Speaker 3: Just use it the one time. Definitely, don't say it twice.

1355
01:12:05,640 --> 01:12:07,960
Speaker 3: Whatever you're gonna say about me, make it hit that

1356
01:12:08,040 --> 01:12:08,519
Speaker 3: first time.

1357
01:12:08,600 --> 01:12:13,200
Speaker 2: Make it pop. If you go back and watch that scene,

1358
01:12:13,479 --> 01:12:14,880
Speaker 2: you will be missing from our lives.

1359
01:12:15,560 --> 01:12:18,160
Speaker 3: It leveled me. I was out. I was laughing for

1360
01:12:18,240 --> 01:12:22,200
Speaker 3: twenty minutes. To stop the movie. Oh my god, I mean, uh,

1361
01:12:23,000 --> 01:12:23,759
Speaker 3: just listen.

1362
01:12:23,960 --> 01:12:26,960
Speaker 1: I mean, like I said, I'm not overprotective of the

1363
01:12:27,000 --> 01:12:27,760
Speaker 1: first foot Loose.

1364
01:12:27,800 --> 01:12:29,720
Speaker 3: It's fine. It's a totally great movie.

1365
01:12:29,840 --> 01:12:33,600
Speaker 1: It's it's totally just like effervescent fun. I watch it

1366
01:12:33,640 --> 01:12:36,840
Speaker 1: when it's on, but I'm not But I'm.

1367
01:12:36,680 --> 01:12:39,680
Speaker 3: Also saying that this roommake did not need to be

1368
01:12:39,840 --> 01:12:44,600
Speaker 3: two hours long either, just did you like I was.

1369
01:12:44,680 --> 01:12:46,920
Speaker 2: There's a point where I genuinely stopped the movie and

1370
01:12:46,960 --> 01:12:49,800
Speaker 2: I'm like, how much longer do we here? Like? I

1371
01:12:49,960 --> 01:12:53,439
Speaker 2: was really concerned that I lost time somehow because it

1372
01:12:53,520 --> 01:12:57,639
Speaker 2: felt like it was going on for ages two hours,

1373
01:12:59,000 --> 01:13:01,520
Speaker 2: two hours of that fake Boston accent.

1374
01:13:03,439 --> 01:13:06,479
Speaker 3: From Boston. I couldn't.

1375
01:13:07,600 --> 01:13:10,000
Speaker 1: I will say, this is my age talking, but I

1376
01:13:10,120 --> 01:13:13,479
Speaker 1: swear like the new Wren was not new wave enough

1377
01:13:13,640 --> 01:13:14,000
Speaker 1: for me.

1378
01:13:14,560 --> 01:13:14,880
Speaker 3: Nope.

1379
01:13:15,080 --> 01:13:18,120
Speaker 2: He showed up with his with his coat hooked over

1380
01:13:18,240 --> 01:13:21,160
Speaker 2: his shoulder on a little finger like a European model.

1381
01:13:22,760 --> 01:13:26,519
Speaker 1: With some expensive ray bands. He was not at all

1382
01:13:26,880 --> 01:13:32,400
Speaker 1: alt enough for me exactly. I was like, you look

1383
01:13:32,640 --> 01:13:35,479
Speaker 1: like a guy that would live here. I don't like,

1384
01:13:36,560 --> 01:13:41,719
Speaker 1: like to me, you're dressed like everybody else in your school,

1385
01:13:42,240 --> 01:13:46,760
Speaker 1: so I don't really know, uh, And it looks.

1386
01:13:46,880 --> 01:13:48,920
Speaker 3: Yeah, he does that thing too when he dances where

1387
01:13:48,960 --> 01:13:49,519
Speaker 3: he goes ha.

1388
01:13:51,360 --> 01:13:54,360
Speaker 2: It's like so distracting to me in certain instances where

1389
01:13:54,400 --> 01:13:55,439
Speaker 2: it's like someone's just.

1390
01:13:55,479 --> 01:13:58,680
Speaker 3: Dancing and then they just go ha ha ha. I'm like,

1391
01:13:58,880 --> 01:14:08,200
Speaker 3: what's happening. It's like giving a second performance with his breathing.

1392
01:14:10,200 --> 01:14:15,240
Speaker 1: I mean, listen, okay, this is how I feel again

1393
01:14:15,560 --> 01:14:21,080
Speaker 1: personal opinion about this, but you know, I don't know.

1394
01:14:21,439 --> 01:14:24,840
Speaker 1: I honestly encourage everybody to see it for themselves, make

1395
01:14:24,920 --> 01:14:26,880
Speaker 1: their own damn minds up.

1396
01:14:27,000 --> 01:14:29,560
Speaker 3: But for me, I was a little like, did this

1397
01:14:29,720 --> 01:14:33,360
Speaker 3: need to happen? Maybe not? Just because you can doesn't

1398
01:14:33,400 --> 01:14:34,000
Speaker 3: mean it should.

1399
01:14:34,120 --> 01:14:37,680
Speaker 1: Sometimes and when it comes down to it, there was

1400
01:14:37,920 --> 01:14:41,439
Speaker 1: zero vanilla popper in the remake, and so it's a no.

1401
01:14:41,680 --> 01:14:45,000
Speaker 2: It's just a simple no for me because if anyone

1402
01:14:45,080 --> 01:14:47,000
Speaker 2: could have found the vanilla popper, it would have been

1403
01:14:47,080 --> 01:14:48,280
Speaker 2: them exactly.

1404
01:14:48,360 --> 01:14:52,680
Speaker 1: They managed to recreate literally like the same scenes from

1405
01:14:52,680 --> 01:14:54,599
Speaker 1: the first one, and they could not find the vanilla popper.

1406
01:14:56,000 --> 01:14:58,160
Speaker 3: I'm just saying. I'm just saying I did.

1407
01:14:58,320 --> 01:15:01,479
Speaker 2: I liked doing this. Uh, just because you can doesn't

1408
01:15:01,479 --> 01:15:03,439
Speaker 2: mean you should. Theme though I think we should do

1409
01:15:03,439 --> 01:15:04,400
Speaker 2: it again for sure.

1410
01:15:04,720 --> 01:15:08,640
Speaker 1: Wow, thirty years have gone by and it changed what

1411
01:15:08,920 --> 01:15:09,960
Speaker 1: Footloots could be.

1412
01:15:11,640 --> 01:15:14,720
Speaker 3: It truly did it? Truly did?

1413
01:15:14,800 --> 01:15:16,240
Speaker 2: I mean, there's not even enough time in the day

1414
01:15:16,280 --> 01:15:21,840
Speaker 2: to talk about that Mason Jar chandelier. That dance ended

1415
01:15:21,920 --> 01:15:24,920
Speaker 2: in shards and tears, and you know it, I was

1416
01:15:25,120 --> 01:15:26,719
Speaker 2: like somebody went.

1417
01:15:26,600 --> 01:15:33,439
Speaker 1: On Pinterest and looked up Barnyard Wedding and went to town.

1418
01:15:33,600 --> 01:15:37,719
Speaker 3: On that prom honestly went ham, Well, this was fun,

1419
01:15:37,960 --> 01:15:40,760
Speaker 3: this was good. Do you want to tell them what's

1420
01:15:40,800 --> 01:15:44,960
Speaker 3: coming up for next week? Yeah? Oh my goodness. Uh

1421
01:15:45,200 --> 01:15:49,000
Speaker 3: are you ready? I'm ready. I'm excited to tell you

1422
01:15:49,120 --> 01:15:49,559
Speaker 3: guys this.

1423
01:15:51,120 --> 01:15:51,439
Speaker 4: All right?

1424
01:15:51,520 --> 01:15:56,519
Speaker 1: The movies for next week are RoboCop from nineteen eighty

1425
01:15:56,560 --> 01:16:01,679
Speaker 1: seven and Terminator to Judgment from nineteen ninety one.

1426
01:16:02,680 --> 01:16:04,880
Speaker 3: What's that theme? Oh my god?

1427
01:16:06,800 --> 01:16:09,080
Speaker 1: Does it even matter at this point? What a couple

1428
01:16:09,160 --> 01:16:11,800
Speaker 1: of bangers? What else do you want? It's a couple

1429
01:16:11,920 --> 01:16:12,439
Speaker 1: of bangers.

1430
01:16:12,960 --> 01:16:16,920
Speaker 3: It's every every It's just it's a banger. What more

1431
01:16:16,960 --> 01:16:20,479
Speaker 3: do you want from us? Well? I just want to

1432
01:16:20,520 --> 01:16:22,800
Speaker 3: remind you all that if you're interested in our merch,

1433
01:16:23,120 --> 01:16:24,240
Speaker 3: we have it for you.

1434
01:16:24,720 --> 01:16:29,400
Speaker 1: We've got lots of different items and lots of different sizes.

1435
01:16:29,560 --> 01:16:32,920
Speaker 1: We've got pins, we've got stickers. It's over at the

1436
01:16:33,080 --> 01:16:36,920
Speaker 1: exactly Right Shop on exactly right media dot com.

1437
01:16:37,520 --> 01:16:39,479
Speaker 2: And if you really want to hear more from us,

1438
01:16:39,520 --> 01:16:42,439
Speaker 2: which come on, why wouldn't you, We've got a bunch

1439
01:16:42,479 --> 01:16:45,439
Speaker 2: of bonus episodes up at Stitcher Premium you can use

1440
01:16:45,479 --> 01:16:48,040
Speaker 2: the promo code saw for a free month, so it's

1441
01:16:48,080 --> 01:16:48,519
Speaker 2: stopping you.

1442
01:16:48,800 --> 01:16:50,760
Speaker 1: Yeah. And also we're going to answer a lot more

1443
01:16:50,800 --> 01:16:53,680
Speaker 1: of your mail on the bonus episodes because we get

1444
01:16:53,680 --> 01:16:55,200
Speaker 1: a lot of it, and so we were like, why

1445
01:16:55,200 --> 01:16:57,559
Speaker 1: don't we just do some for bonus, So that.

1446
01:16:57,680 --> 01:16:58,559
Speaker 3: Might be a fun way.

1447
01:16:58,920 --> 01:17:04,080
Speaker 1: Tot's k for emails and other things that we don't

1448
01:17:04,120 --> 01:17:05,479
Speaker 1: do on the main feed a lot.

1449
01:17:05,640 --> 01:17:09,360
Speaker 3: So check it out. Well, thanks for buying my book.

1450
01:17:09,400 --> 01:17:14,800
Speaker 1: If you did, yes, please do the Ugly Cry came

1451
01:17:14,840 --> 01:17:15,800
Speaker 1: out today.

1452
01:17:16,280 --> 01:17:20,679
Speaker 3: Baby, It's good ba great, Thanks friend, until next week.

1453
01:17:21,320 --> 01:17:27,080
Speaker 3: See you next time. Mack wock check off you ma.

1454
01:17:34,200 --> 01:17:37,120
Speaker 2: This has been an exactly right production. Our producers Alexis

1455
01:17:37,160 --> 01:17:40,679
Speaker 2: a Marissi, Our engineers Analise Nelson. Our social media manager

1456
01:17:40,760 --> 01:17:43,559
Speaker 2: is Tarren Mazza. Our theme songs by Tom bry Fogel.

1457
01:17:43,920 --> 01:17:47,519
Speaker 2: Artwork by Garrett Ross. Our executive producers are Georgia Hartstark,

1458
01:17:47,600 --> 01:17:50,759
Speaker 2: Karen Till, Gareth and Danielle Kramer. Follow us on Instagram

1459
01:17:50,840 --> 01:17:53,600
Speaker 2: and Twitter at I saw pod email us at I

1460
01:17:53,640 --> 01:17:55,920
Speaker 2: saw what you did pod at Gmail and please don't

1461
01:17:55,960 --> 01:17:58,920
Speaker 2: forget to listen. Subscribe, leave us a review on Apple

1462
01:17:58,960 --> 01:18:01,040
Speaker 2: Podcasts dit your wherever you listen