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

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Speaker 1: You Did.

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Speaker 2: My name is Millie de Jericho.

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Speaker 3: I'm Danielle Henderson, and we.

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Speaker 1: Are the little creeps coming in here and just reckon

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Speaker 1: your film life.

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Speaker 3: That could not be more true for this week, like

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Speaker 3: I feel that always, but could not be more true

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Speaker 3: than this week's selections and theme.

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Speaker 1: I cannot wait to dive into that psychology, by the way,

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Speaker 1: but first off, I have.

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Speaker 2: To just ask you, how are you doing?

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Speaker 3: I'm doing great? How are you.

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Speaker 2: Just fun? Just fine?

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Speaker 3: I'm doing all right. I feel like I know we've

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Speaker 3: talked about this a couple of weeks ago, but like

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Speaker 3: spring is making me feel better in so many ways.

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Speaker 3: And I don't think it's just weather orient and I think,

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Speaker 3: you know, it's like my life is feeling really good

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Speaker 3: right now.

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Speaker 2: Yes.

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Speaker 3: And I started going to a yoga class locally with

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Speaker 3: a friend of mine. I've only been to a couple

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Speaker 3: of classes. The first time I messed up terribly because

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Speaker 3: there are two yoga studios in my town. Ooh, and

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Speaker 3: a friend of mine who wanted to try it out,

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Speaker 3: was like, oh, I'll meet you this day, like on

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Speaker 3: Thursday at noon or whatever. And I just went to

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Speaker 3: the wrong place, and the right place was fifteen twenty

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Speaker 3: minutes away, so I was like, I'll meet you there

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Speaker 3: next time, okay, But then I went and it's I

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Speaker 3: just want to give a high five to a small

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Speaker 3: country yoga class, because yoga class. City yoga classes are

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Speaker 3: a fucking an athletic event. A country yoga class, I

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Speaker 3: could show up looking like fucking Jim Belushi in any

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Speaker 3: mood he's ever done, and it's fine, Like paint stained

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Speaker 3: sweats are fine in a country yoga class.

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Speaker 2: I thought you're talking about James Blushy, but I guess.

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Speaker 1: You're Wait, Jim, and who's James? Is it the same

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Speaker 1: as James? And then there's John John? Okay, oh James,

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Speaker 1: I'm thinking Jim Belushi and jumpin Jack Flash. You show

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Speaker 1: up in a Hawaiian shirt tucked into a pair of

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Speaker 1: dad jeans, a satin baseball jacket pretty much it Yeah,

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Speaker 1: And I would go like that, Yeah, that's those are

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Speaker 1: also my classmates, because who's going to yoga at twelve

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Speaker 1: o'clock on a Thursday here retired people? So okay, what's

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Speaker 1: the vibe. Let's let's iron this out. Is it are they? Are?

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Speaker 2: They? Burning Paulo Santo. Are they doing that whole thing?

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Speaker 3: That's the thing. The other yoga study that I wanted

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Speaker 3: to go to is like the pale, pink Paulo s to,

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Speaker 3: you know, like a written word messages on old pieces

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Speaker 3: of barn wood. Like it's a vibe place and it's

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Speaker 3: not bad. Like sometimes that's a great class to go

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Speaker 3: to as well. A classic yoga vibe, a classic yoga vibe.

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Speaker 3: But this is like, we're renting this place for ten dollars.

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Speaker 3: Your class is five dollars. It's in a strip mall.

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Speaker 3: Get in, get in, and it's lovely and comfortable, and

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Speaker 3: I'm so it's beautiful, but it is not the it

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Speaker 3: is not a prohibitive vibe. It's a very come as

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Speaker 3: you are vibe. And everything about the building says that,

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Speaker 3: and everything about the classes say that, and I just

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Speaker 3: I love it, and it was I think the classes

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Speaker 3: are like ten dollars. They're running a special in one

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Speaker 3: of the other yoga studio where you could go for

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Speaker 3: unlimited classes for forty seven dollars a month. Woo, that's

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Speaker 3: a bargain, girl, Yeah, like a new student special. Yeah,

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Speaker 3: for forty seven dollars a month, and I'm like, but

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Speaker 3: I'm I'm enjoying. I'm not really a get out of

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Speaker 3: my house and workout person. It's never worked for me.

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Speaker 3: I don't feel comfortable. I don't like it. So I'm

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Speaker 3: glad that I found something comfortable because I did not

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Speaker 3: realize this. I'm very dumb about my body and most

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Speaker 3: bodies in general just did not get that kind of

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Speaker 3: scientific education as a child. And my butt looks like

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Speaker 3: it's been just beat with a ball peen hammer, and

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Speaker 3: I just thought, well, that's my butt. I got dimples.

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Speaker 3: You just can't see them. That's just my butt. I

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Speaker 3: didn't know you could get rid of those. You could

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Speaker 3: or could not you could. I didn't know that. I thought, well,

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Speaker 3: this is just my butt. And I went to this

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Speaker 3: yoga class and the teacher was like, and this will

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Speaker 3: work those butt dimples or whatever, like this is a

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Speaker 3: good move for that. And I was like, really, like

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Speaker 3: you could get rid of those?

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Speaker 1: She was like, yeah, you're toning your body, and I

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Speaker 1: was like, I didn't realize what that meant.

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Speaker 3: I guess, I mean, I gotta say, I'm not sure

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Speaker 3: if that's is.

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Speaker 1: That actually true that you could like spot treat butt

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Speaker 1: dimples by doing I'm gonna find out by doing squats.

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Speaker 3: Like I'll report back, but I'm gonna find out. But

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Speaker 3: there's just so much I feel like everything bodily happens inside,

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Speaker 3: so I've never focused on the outside. Oh, like you're

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Speaker 3: working muscles and things that you can't see and like

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Speaker 3: your heart rate and all that shit. But apparently you

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Speaker 3: can fix fix your butt dimples.

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Speaker 1: Yeah, yeah, no, it This is interesting to me because

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Speaker 1: I'm on I'm definitely like, I'm definitely at the same

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Speaker 1: point you are where I'm sitting here going like, yeah,

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Speaker 1: I think I focused too much of my because you know,

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Speaker 1: I work out a lot.

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Speaker 2: I actually just joy this is.

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Speaker 1: Not a flex I just joined my third gym, and

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Speaker 1: I don't actually do not know why I've done a

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Speaker 1: third gym.

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Speaker 3: I don't know why either. Girl, What are you doing?

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Speaker 3: Tell me what each gym does for you? What is happening?

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Speaker 2: Okay, I say, jim loosely.

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Speaker 1: Because there's the dance studio that I belong to right

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Speaker 1: where I take my beloved hip hop dance class two

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Speaker 1: times a week. Okay, but it's just a studio, right,

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Speaker 1: there's no machines, there's no anything, right, then I'm at

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Speaker 1: Barbell Club, right, so that is weightlifting, and that Jim.

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Speaker 3: James Kahn on the regular basis.

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Speaker 1: I'm definitely lifting James Kahn off the ground and putting

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Speaker 1: him in the air.

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Speaker 3: And now you are getting strong enough where I think

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Speaker 3: you could lift him in his coffin.

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Speaker 1: Yes, if the cau like if we're talking about like

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Speaker 1: a hearty oak, like the old style coffins, you know,

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Speaker 1: I could probably do I could probably do the coffin.

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Speaker 2: I could probably bench press the coffin. I gotta be.

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Speaker 3: Honest to me, because coins are so heavy. Don't ask

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Speaker 3: me how I know that coffins are so heavy.

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Speaker 1: Well, and also so I this is something I figured

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Speaker 1: out over the course of this journey that I've been

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Speaker 1: on with the James Kahn deadlifting saga.

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Speaker 2: Which is this is the thing.

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Speaker 1: I just celebrated my two year anniversary in that Barbell Club,

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Speaker 1: which completely started because of this podcast.

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Speaker 3: Like whoa I know? Whoa I know?

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Speaker 1: And my and my coach sent me this little letter

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Speaker 1: and was like, gngratulations, it's been two years.

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Speaker 2: I'm like, what the fuck? Two years ago?

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Speaker 1: We made this go stupid joke, like do you know

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Speaker 1: that I'm here because of the movie Misery. Yes, I'm

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Speaker 1: here because of our podcast making a stupid joke you

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Speaker 1: and I laughed at and then now it's become real

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Speaker 1: two years later, it's it's it's here to stay.

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Speaker 3: But look, we're not We're not here to change lives,

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Speaker 3: but I'm glad we can change hours.

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Speaker 1: Yes, I mean, if this podcast is motivation for healthy

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Speaker 1: things once in a while, then great. But as I

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Speaker 1: figured out in the course of this journey, right, like,

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Speaker 1: my upper body strength is terrible compared to my lower

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Speaker 1: body strength. And I think that, according to my coach,

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Speaker 1: that's very common for women, is that a lot of

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Speaker 1: their strength is in their bottom half, in their legs,

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Speaker 1: you know. So you know, the deadlifting and the squatting

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Speaker 1: is like, you know, when I look at the numbers,

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Speaker 1: I'm like, oh, this is amazing.

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Speaker 2: This is I feel very you know, I feel very

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Speaker 2: accomplished being able to deadlift James Cohn or whatever.

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Speaker 1: But then I look at the bench press numbers, I'm like, wow,

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Speaker 1: I could only like lift ten pounds above my head.

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Speaker 1: What But I've been working towards it and now I

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Speaker 1: feel like I could probably bench press a coffin.

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Speaker 3: It's amazing.

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Speaker 1: I'm not saying like more than two reps, but I

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Speaker 1: could probably pr a coffin.

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Speaker 3: Yeah, if you can get it up in the air. Yeah,

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Speaker 3: I mean, that's all you have to do with a coffin.

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Speaker 3: If you're gonna be one of the people carries it

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Speaker 3: into the church or out of the church, you just

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Speaker 3: have to lift it up. Ones. That's great. You can

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Speaker 3: lift it up twice. That's the whole job. You can

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Speaker 3: do the whole job.

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Speaker 1: Okay, if my new goal is to bench press a

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Speaker 1: person in a coffin.

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Speaker 2: Yeah, is that what we're saying, is that that's what

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Speaker 2: I'm saying.

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Speaker 3: Oh my god, I love setting an arbitrary goal for

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Speaker 3: you that I don't have to have any part in.

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Speaker 1: All right, let me let me work that out mathematically.

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Speaker 1: But anyway, So that's the second gym, and then I

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Speaker 1: just joined a third gym, which is more of like

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Speaker 1: a multi purpose you know, it's got like a little

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Speaker 1: bit of everything. It's got weightlifting, but it's got cardio,

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Speaker 1: it's got classes, yoga classes. In fact, you know, I

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Speaker 1: don't know. I think it's kind of a country a

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Speaker 1: country yoga place too. In that way, it's a it's

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Speaker 1: not a commercial gym. It's a neighborhood gym, which I

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Speaker 1: felt very proud of. I was like, I'm still parting

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Speaker 1: my name and uh, you know, giving the name of

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Speaker 1: the community.

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Speaker 3: The neighborhood gyms are where you see those videos that

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Speaker 3: you like to send me of people bench pressing like

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Speaker 3: a table, Like they just grab a table out of

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Speaker 3: the hallway and wrap it around their neck and just

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Speaker 3: start lifting. I feel like you see that Planet fitnesses

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Speaker 3: across any city in America and a neighborhood gym. So

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Speaker 3: I'm very excited to see, Yeah, what someone's gonna grab

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Speaker 3: in your neighborhood.

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Speaker 1: Yeah, I know, and like there, and I also know

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Speaker 1: people that go to that gym.

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Speaker 3: Not for nothing.

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Speaker 1: I saw a lot of hot people walking around the

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Speaker 1: neighborhood gym, which is a nice treat.

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Speaker 3: How does it feel to know you live in a

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Speaker 3: hot neighborhood?

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Speaker 2: I mean, listen, I Atlanta's hot.

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Speaker 1: It's a hot there's a lot of hot people that

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Speaker 1: live here, and it's a different kind of hot than

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Speaker 1: maybe La I would say. I mean, there's a lot

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Speaker 1: of La hot here obviously now because of the you know,

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Speaker 1: they film a lot of stuff here and you definitely

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Speaker 1: say like la hot people walking around.

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Speaker 2: But then you got like the country.

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Speaker 1: Hot as we've talked talked about ah, which I love

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Speaker 1: the Daniel Kluya and notpe hot.

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Speaker 2: Yeah, just like thick country boys like.

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Speaker 1: You know do it doing like throwing tractor tires and

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Speaker 1: ship around.

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Speaker 2: I mean, I'm just like, I love you, I love you.

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Speaker 1: But like, but hot people just generally any gender, you know,

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Speaker 1: it's like they're hot people at this Jim totally and

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Speaker 1: I don't know, I feel like it's a that's unfortunately

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Speaker 1: a motivation for me sometimes is to show up and

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Speaker 1: be like I just want to, you know, be in

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Speaker 1: the world around people. But how is what so you're

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Speaker 1: saying the clientele of this country yoga studio is primarily retirees.

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Speaker 1: Are we talking like really fit like women or like

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Speaker 1: Grandpa's with the back problem.

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Speaker 3: It's a great mix, and it's really it's it's there's

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Speaker 3: a hippie element to my town that has been here

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Speaker 3: since I was before I was born obviously, so it's

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Speaker 3: a lot of that, a lot of like traditional like

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Speaker 3: I've been doing yoga since the seventies kind of people.

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Speaker 3: Oh I love that, it's so good. And then there's

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Speaker 3: definitely like a like a grandpa. I gotta stretch my

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Speaker 3: back because you know, I'm sitting down in my chair

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Speaker 3: all day is hurting now and my wife dragged me

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Speaker 3: to this, or my husband dragged me to this, and

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Speaker 3: here I am. But yeah, it's just a good vibe

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Speaker 3: and everyone's just like no one's paying attention to you.

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Speaker 3: It's a kind of yoga place where if you are

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Speaker 3: doing a downward dog, you're pretty sure no one's looking

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Speaker 3: at your butt, right, which I love. And it's a lot,

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Speaker 3: Oh my god, it's so much in my own yoga bag.

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Speaker 3: I have the blocks, I have the straps, I have

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Speaker 3: the blanket, I have the bolster. I have a kit

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Speaker 3: for my inflexibility. Yeah, like right now because I'm trying

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Speaker 3: to like not hurt myself while I'm getting flexible. And

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Speaker 3: it's all welcome. Like they start there, they don't like

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Speaker 3: modify to that place where they're like, we're gonna do

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Speaker 3: seventeen handstands and spin around like a helicopter with our

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Speaker 3: legs and if you can't do this, then you should

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Speaker 3: only spin one leg. It's like, no, we're gonna start

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Speaker 3: with your fucking blocks. And if you don't need the blocks. Great,

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Speaker 3: so it's just a script flip that I fucking love.

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Speaker 1: Yeah, look, I to me, I've done both types. I've

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Speaker 1: done the high key fitness yoga where it's like one

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Speaker 1: hundred and seventy five degrees and everybody's farting, And then

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Speaker 1: I've done this sleeping class. Remember when I used to

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Speaker 1: go to that restorative yoga class that I was just

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Speaker 1: like nap time.

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Speaker 3: Yes, I love restored if yoga. It's my favorite type.

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Speaker 1: Like, having done both, I get the fitness benefits of the.

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Speaker 2: Prior one, but the latter one is so great because

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Speaker 2: it's just like this.

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Speaker 1: It's like this feeling of like like using the tools,

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Speaker 1: like the bolsters, the blocks, it's like a feeling of support. Yes,

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Speaker 1: it really allows you to like get into the stretching

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Speaker 1: part of it, which is great, Like you don't have

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Speaker 1: to have the anxiety of being like can I hold

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Speaker 1: a pose? Ye? You know you're just like no, I'm

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Speaker 1: just gonna fucking put these blocks under my damn knees

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Speaker 1: and lay down for fifteen minutes.

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Speaker 3: You can walk in with like trekking sticks. They don't care,

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Speaker 3: they don't turn an eye. Yeah, I love it. I

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Speaker 3: love it.

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Speaker 1: My favorite is up the Wall. Do you guys do

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Speaker 1: up the wall at all?

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Speaker 3: Yeah? Yeah, I love that one.

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Speaker 1: The best is when you they take the strap or

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Speaker 1: you take the strap and he almost kind of like

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Speaker 1: bind your feet together and then you put them up

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Speaker 1: the wall and then he just tug on that fucking

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Speaker 1: strap and it's like the best hip stretchy, quad stretchy.

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Speaker 3: It's it's good, so good.

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Speaker 2: I love it.

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Speaker 3: And it's like to actually relax in that kind of

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Speaker 3: a pose. Is I don't ever get that in most

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Speaker 3: yoga classes because usually it's like push yourself harder, stretch deeper,

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Speaker 3: and this one is just like do whatever you can do,

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Speaker 3: get those feet up on the wall. They stay on

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Speaker 3: the wall. Great.

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Speaker 2: Yeah, it's so relaxing.

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Speaker 3: So I'm and it's mentally it's mentally amazing too, Like

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Speaker 3: I feel like there's I don't know, I've achieved a

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Speaker 3: lot of peace with myself over the past couple of years,

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Speaker 3: but you know, like you know, I did start meditating.

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Speaker 3: I added it to my rage workouts, and there's like

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Speaker 3: a mental peace and clarity that comes with these classes

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Speaker 3: that I also love, and I feel it throughout the week,

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Speaker 3: like I carry it with me. So I'm just I'm

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Speaker 3: very excited about it, and I think it's I just

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Speaker 3: feel good. I feel like there's a real I've made

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Speaker 3: a real connection between mind and body that I've been missing.

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Speaker 3: And I also feel like I just feel good about myself,

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Speaker 3: which is so foreign to me. Yeah, I'm not someone

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Speaker 3: who walks around with a lot of pride or a

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Speaker 3: lot of but I also don't want to keep walking

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Speaker 3: around with a lot of like shame. So I just

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Speaker 3: kind of feel good about who I am. It's really,

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Speaker 3: it's really wild. It's really now that it doesn't mean

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Speaker 3: that I'm not still making terrible decisions as an adult.

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Speaker 3: I have taken I've started taking myself out on dates

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Speaker 3: once a month and I go into the city and

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Speaker 3: see a show. So, like, like a couple of weeks ago,

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Speaker 3: I took myself to the city in the afternoon and

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Speaker 3: I just got dinner by myself and walked around one

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Speaker 3: of my favorite neighborhoods, and then I went and saw

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Speaker 3: Tony Hawk and Rodney Mullen give a little talk. Oh

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Speaker 3: my god, it was fucking great. Just like Little Beacon

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Speaker 3: Theater talk went too of my favorite skaters and people

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Speaker 3: of all time, and I was, of course treated myself

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Speaker 3: to like an orchestra seat, so I was like right

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Speaker 3: down there in front, Hell yeah, and it was awesome.

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Speaker 3: But just I've just been kind of really giving into

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Speaker 3: being good to myself because let me tell you, I

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Speaker 3: am out here dating and a disturbing trend that I

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Speaker 3: have discovered, and this has not happened to me once.

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Speaker 3: It hasn't even happened to me twice. It's happened to

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Speaker 3: me a few times where I'm talking to someone cute

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Speaker 3: and awesome and funny and friendly, and they will give

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Speaker 3: me their entire career criminal history, and I'm like, yo,

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Speaker 3: dating post opioid crisis is fucking wild. I did not

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Speaker 3: know that everyone has been in jail at some point. Now,

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Speaker 3: I did not know that. Wow, dude. Yeah. And the

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Speaker 3: look on my friend's face is when I'm like, oh,

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Speaker 3: yeyes gribes spending prison a lot, and they're like, girl,

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Speaker 3: I'm like, but I believe in prison or form. I

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Speaker 3: believe in change, and they're like, yeah, not through your vagina,

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Speaker 3: Like we can't start there. Maybe you can build up

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Speaker 3: to that once you feel comfortable.

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Speaker 2: Yeah, that's like an advanced seminar, right, yeah.

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Speaker 3: Trying your dating for the first time ever. You've only

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Speaker 3: ever been in relationships, You've never dated, Like you have

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Speaker 3: to get used to saying no to some things in

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Speaker 3: your life. And yeah, my friends are deeply concerned, but

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Speaker 3: also not setting me up with anyone. So I don't know.

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Speaker 3: I'm just saying the landscape has changed in a way

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Speaker 3: that I was not expecting and it is wonderful and terrifying.

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Speaker 2: Can I ask you?

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Speaker 1: Can I ask you this just out of pure curiosity

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Speaker 1: when you are I don't know how you date, Like,

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Speaker 1: I don't know if you use apps or if it's

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Speaker 1: just like an in person thing or like just meeting

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Speaker 1: people at the country yoga place, the.

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Speaker 3: Yep, meeting people out in the city, out and about.

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Speaker 2: Like absolutely, are you interested in younger people?

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Speaker 3: Not expressly, not expressly they have to be close to

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Speaker 3: my age, okay, So like late thirties is all right,

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Speaker 3: late thirties okay, So within a ten year window, even

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Speaker 3: five year window, like if you're forty one is if

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Speaker 3: it's going to be a younger person, Like that's the

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Speaker 3: youngest I want to go. But I have met a

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Speaker 3: few mid thirties and I'm like, all right, but mid

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Speaker 3: thirties is a different generation. They are millennials, and millennials

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Speaker 3: have been to jail a lot. I do not know

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Speaker 3: what millennials have been to jail a lot.

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Speaker 1: Correct me if I'm wrong, listeners, But I feel like,

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Speaker 1: through my limited experience of going on multiple days with

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Speaker 1: people who I'm just meeting in the wild, it's not

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Speaker 1: like I'm on a prison dating app, like millennials have

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Speaker 1: been to jail.

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Speaker 3: What makes them more like?

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Speaker 1: Because I feel like a lot of jet extras have

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Speaker 1: been to jail too, though, but we had our own bullshit,

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Speaker 1: trust me.

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Speaker 3: But when we've been to jail, it's more like I

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Speaker 3: was at a protest or I It wasn't like I

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Speaker 3: was a burglar straight up for years. See.

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Speaker 1: I feel like gen Z also goes to jail a

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Speaker 1: lot for for protesting.

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Speaker 3: So yeah, maybe gift a generation.

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Speaker 1: Maybe millennials are like, let's just go to jail the

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Speaker 1: old fashioned way.

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Speaker 3: And I think this is also a social backlash lash

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Speaker 3: issue of like the laws have changed to make it

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Speaker 3: possible for a lot of people to go to jail.

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Speaker 1: Now, Wow, oh we're gonna get so many emails from millennials.

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Speaker 3: They're gonna be like no, how dare you look, I'm

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Speaker 3: out here Dayton millennials. I'm not saying I don't like them.

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Speaker 3: I'm saying there is a generational shift that I did

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Speaker 3: not realize had happened, which is, y'all are okay with

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Speaker 3: going to jail a lot, a lot, a lot.

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Speaker 1: The reason why I'm conducting the straw pol okay is

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Speaker 1: that I think again, I think we talked about this

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Speaker 1: in a prior episode where springtime equals horniness. Springtime means

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Speaker 1: coming out of the woods, coming out of the womb,

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Speaker 1: you know, and like going out there and seeing what's

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Speaker 1: shaken loose, right, and the pollen and the bees. It's

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Speaker 1: like there's an energy, there's like a horny energy to

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Speaker 1: this moment, okay, And I'm experiencing that in my own way.

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Speaker 3: Right.

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Speaker 2: So, for some reason, I was on a group chat.

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Speaker 2: I'll just say I was on a group chat.

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Speaker 1: With a very highly curated selection of women my age

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Speaker 1: around our age, right, and we somehow, you know, I've

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Speaker 1: been on.

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Speaker 2: This group chat forever and ever and ever, But the

404
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Speaker 2: conversation was talking.

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Speaker 1: About dating, and like a friend of mine was basically like, yo,

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Speaker 1: you have to date younger if you are single at

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Speaker 1: our age, you will you will have to date younger

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Speaker 1: if you want to get laid.

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Speaker 2: But I was like, what, It's just the facts of

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Speaker 2: the fact of the matter.

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Speaker 1: And then I started thinking about I started kind of

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Speaker 1: going down the rolodex of like, who my single female

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Speaker 1: friends are who are around my age, and.

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Speaker 2: I'm like, yeah, they're all dating younger guys.

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Speaker 1: I have a friend who's dating like a much younger

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Speaker 1: guy and they are booed up like they are together

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Speaker 1: and he is so sweet. He's a thick country boy,

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Speaker 1: which I was like, I.

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Speaker 2: Was like in tears.

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Speaker 1: I was like, they are perfect together and they're they're

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Speaker 1: a great couple. And I'm sitting here going like, is

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Speaker 1: this what it is is all about?

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Speaker 2: Now?

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Speaker 1: Is that if you go out there at our age

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Speaker 1: and you're dating, You're like, I guess I'm gonna have

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Speaker 1: to dip in to the you know, the millennials, the

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Speaker 1: felonist millennials, and.

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Speaker 2: Maybe like some gen z.

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Speaker 1: Look what is the cutoff for gen z? That feels

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Speaker 1: too young to be honest, but I don't know.

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Speaker 3: Well, here's and here's my thoughts on this. Here's my

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Speaker 3: thoughts on this. Millennials. I can understand the statement or

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Speaker 3: the inclination for women our age to say you got

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Speaker 3: to date younger for a couple of standout reasons. One,

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Speaker 3: the millennial children were helicopter parented, so they have a

436
00:23:21,880 --> 00:23:25,439
Speaker 3: level of care that is instilled in them, and that

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Speaker 3: kind of raises their standards a bit about how they

438
00:23:27,960 --> 00:23:30,040
Speaker 3: take care of themselves and others. I totally get that.

439
00:23:30,600 --> 00:23:35,000
Speaker 3: But this is also the generation that created milts, So

440
00:23:35,040 --> 00:23:37,639
Speaker 3: they like to date older women. And I am not

441
00:23:37,880 --> 00:23:39,359
Speaker 3: about to be anyone's mama.

442
00:23:39,400 --> 00:23:39,639
Speaker 1: You know.

443
00:23:39,760 --> 00:23:42,919
Speaker 3: My main dating edict is I am not dragging anyone

444
00:23:42,920 --> 00:23:46,880
Speaker 3: through fucking life. And so they look at women our

445
00:23:46,920 --> 00:23:48,720
Speaker 3: age and they're like milk, and I'm like, I am

446
00:23:48,760 --> 00:23:51,840
Speaker 3: no one's mama, and I'm not about to mama you.

447
00:23:52,280 --> 00:23:55,240
Speaker 3: And if you think I'm attractive because I'm older, that's

448
00:23:55,240 --> 00:23:57,680
Speaker 3: something that's part of your generation. I told that's totally fine,

449
00:23:58,720 --> 00:24:01,639
Speaker 3: but I think it comes with extra added element of

450
00:24:01,800 --> 00:24:04,560
Speaker 3: you will take care of me and I am not

451
00:24:04,640 --> 00:24:07,600
Speaker 3: about to do that. Shit. Yeah, is there a.

452
00:24:07,800 --> 00:24:11,320
Speaker 1: It could there be a divorce between like can you

453
00:24:11,800 --> 00:24:15,639
Speaker 1: be into MILFs and not want to be parented?

454
00:24:15,800 --> 00:24:18,040
Speaker 2: Is that or is that just like part of.

455
00:24:19,320 --> 00:24:21,080
Speaker 1: Is that part of the process is that part and

456
00:24:21,119 --> 00:24:24,080
Speaker 1: party of wanting to get with a milf is that

457
00:24:24,080 --> 00:24:27,280
Speaker 1: you're like, I'm also directionless and I need somebody to

458
00:24:27,320 --> 00:24:30,080
Speaker 1: help me with my career and my laundry.

459
00:24:30,480 --> 00:24:34,000
Speaker 3: And I think subconsciously, yes, even if they don't.

460
00:24:33,800 --> 00:24:38,960
Speaker 2: Know it, yes, huh, that does not bode well for

461
00:24:40,200 --> 00:24:41,439
Speaker 2: my life.

462
00:24:42,600 --> 00:24:45,040
Speaker 3: Thank you and thank you because you know my again,

463
00:24:45,040 --> 00:24:47,320
Speaker 3: my knee jerk reaction is to go ten times older.

464
00:24:47,359 --> 00:24:49,119
Speaker 3: I'm like, let me find a seventy year old. I

465
00:24:49,119 --> 00:24:51,440
Speaker 3: have a friend who's got his own business and he

466
00:24:51,560 --> 00:24:54,280
Speaker 3: was talking about this investor who lives locally and I

467
00:24:54,320 --> 00:24:56,479
Speaker 3: was like, yo, what's his deal? And he's like, what

468
00:24:56,480 --> 00:24:58,040
Speaker 3: do you mean? And I'm like, will you hook me up?

469
00:24:58,440 --> 00:25:03,359
Speaker 3: Because he seems like he's an older gentleman who's divorced already,

470
00:25:03,359 --> 00:25:05,640
Speaker 3: has had his children, so he's not looking for any more,

471
00:25:07,119 --> 00:25:13,440
Speaker 3: is pretty secure in his job in life, and does

472
00:25:13,480 --> 00:25:14,960
Speaker 3: not want to be around me all the time. That

473
00:25:15,000 --> 00:25:17,920
Speaker 3: sounds great, and he's like, but that's my business partner,

474
00:25:18,000 --> 00:25:19,480
Speaker 3: and I'm like, I don't give a shit. I will

475
00:25:19,520 --> 00:25:22,040
Speaker 3: fuck up your business if it means I get to

476
00:25:22,119 --> 00:25:27,000
Speaker 3: get fucked a little bit. I don't care like you

477
00:25:27,119 --> 00:25:30,199
Speaker 3: got to be a true friend in these situations and

478
00:25:30,320 --> 00:25:35,720
Speaker 3: think globally, act locally. I'll fuck your investor, like let's

479
00:25:35,720 --> 00:25:37,399
Speaker 3: make it hast So that's where my brain goes, is

480
00:25:37,440 --> 00:25:40,320
Speaker 3: like go older, because they don't want to pressure you

481
00:25:40,400 --> 00:25:43,679
Speaker 3: to put more people on this planet. They don't want

482
00:25:43,720 --> 00:25:45,480
Speaker 3: to pressure you to like help them figure there. They

483
00:25:45,480 --> 00:25:48,720
Speaker 3: already have their shit figured out to a certain excess.

484
00:25:48,280 --> 00:25:48,840
Speaker 2: Some of them.

485
00:25:48,880 --> 00:25:51,600
Speaker 1: I mean, like we talked about in a previous episode,

486
00:25:51,680 --> 00:25:54,320
Speaker 1: sometimes they want you to go to the doctor's appointments

487
00:25:54,359 --> 00:25:57,800
Speaker 1: and help them get their lipitur yeah, refills. I mean

488
00:25:57,840 --> 00:26:01,240
Speaker 1: it's like it's not a perfect I mean my thing

489
00:26:01,280 --> 00:26:05,680
Speaker 1: about dating even guys my age, I just don't want

490
00:26:05,680 --> 00:26:11,960
Speaker 1: to date anybody who's just grumpy all the time. I'm like, yo,

491
00:26:12,119 --> 00:26:15,000
Speaker 1: I know so many grumpy jed X dudes who are

492
00:26:15,119 --> 00:26:16,800
Speaker 1: just so grouchy and so like.

493
00:26:17,760 --> 00:26:20,080
Speaker 2: Guided by voice, this is the best bet ever.

494
00:26:20,400 --> 00:26:24,840
Speaker 1: Do not bring that justin Bieber shit around me, Like

495
00:26:25,200 --> 00:26:27,560
Speaker 1: I like things the way I like them, hug.

496
00:26:27,680 --> 00:26:28,879
Speaker 3: Yeah, nobody wants to date that.

497
00:26:29,480 --> 00:26:29,880
Speaker 2: Yeah.

498
00:26:29,920 --> 00:26:31,719
Speaker 1: But that's the thing is that I feel like that

499
00:26:31,720 --> 00:26:34,000
Speaker 1: that is something that was part of our generation.

500
00:26:34,160 --> 00:26:36,119
Speaker 2: Is this like for better or for worse. I mean,

501
00:26:36,119 --> 00:26:36,879
Speaker 2: we've talked about it.

502
00:26:36,880 --> 00:26:40,600
Speaker 1: It's like that idea of saying true to your ideals

503
00:26:40,680 --> 00:26:43,560
Speaker 1: and you know, not selling out and these kind of things.

504
00:26:43,560 --> 00:26:45,440
Speaker 1: But I think that can extend to romance where I'm

505
00:26:45,480 --> 00:26:48,800
Speaker 1: just like, ugh, I need a little passion, I need

506
00:26:48,840 --> 00:26:49,600
Speaker 1: a little you know.

507
00:26:50,320 --> 00:26:53,520
Speaker 3: Yes, enjoy things. Just enjoy things in your life so

508
00:26:53,520 --> 00:26:55,760
Speaker 3: that when we hang out you we can talk about

509
00:26:55,800 --> 00:26:57,919
Speaker 3: and enjoy things together. Yeah.

510
00:26:58,000 --> 00:26:59,400
Speaker 2: I always told myself that.

511
00:26:59,560 --> 00:27:03,760
Speaker 1: I I always tell myself that I could never truly

512
00:27:04,400 --> 00:27:11,479
Speaker 1: be compatible with someone who was embarrassed to dance in public.

513
00:27:11,560 --> 00:27:12,359
Speaker 3: Yeah.

514
00:27:12,760 --> 00:27:14,840
Speaker 1: Oh yeah, because I'm a fool when I dance, and

515
00:27:14,880 --> 00:27:17,960
Speaker 1: I need someone who matches that full Yeah. I feel

516
00:27:18,000 --> 00:27:20,720
Speaker 1: like that is like something and I don't really have

517
00:27:20,840 --> 00:27:23,359
Speaker 1: hard and fast rules about that kind of stuff, but like,

518
00:27:24,480 --> 00:27:27,679
Speaker 1: I want to dance with somebody, with somebody who loves me.

519
00:27:28,000 --> 00:27:30,600
Speaker 1: And if you're not that, like, if you have a

520
00:27:30,680 --> 00:27:33,719
Speaker 1: reservation about it, I get like people have anxieties and

521
00:27:33,800 --> 00:27:36,919
Speaker 1: you know, people are not like always extroverted and stuff.

522
00:27:36,960 --> 00:27:39,159
Speaker 3: But if you're just like I do not dance.

523
00:27:39,200 --> 00:27:41,359
Speaker 1: I have a fundamental reason why I don't want to

524
00:27:41,359 --> 00:27:44,640
Speaker 1: look like an asshole, then I'm like this can't work

525
00:27:44,840 --> 00:27:48,520
Speaker 1: because I don't have that within me, you know, no.

526
00:27:49,000 --> 00:27:51,439
Speaker 3: Like I do. I'm like, oh, I don't dance because

527
00:27:51,680 --> 00:27:53,280
Speaker 3: I just don't have that kind of joy in my heart.

528
00:27:53,320 --> 00:27:55,840
Speaker 3: But sometimes I do. I'm not afraid of dancing. I

529
00:27:55,880 --> 00:27:58,760
Speaker 3: just have to feel it in the right way. You, however,

530
00:27:58,840 --> 00:28:02,960
Speaker 3: I would be intimidated to dance and date you because

531
00:28:03,000 --> 00:28:06,040
Speaker 3: you're like you take like Janet Jackson classes like you move,

532
00:28:06,880 --> 00:28:09,960
Speaker 3: but you can do Rhythm Nation eighteen fourteen from beginning

533
00:28:10,000 --> 00:28:12,840
Speaker 3: to end. You could do the cour I've been trying

534
00:28:12,840 --> 00:28:15,480
Speaker 3: to learn the choreography to new editions if it isn't

535
00:28:15,480 --> 00:28:18,080
Speaker 3: love for about ten years. Oh that's easy. That's like

536
00:28:18,119 --> 00:28:23,000
Speaker 3: botown are you for you? You brought Maha shouturday in

537
00:28:23,040 --> 00:28:28,520
Speaker 3: a thousand pieces. If it is love, you're doing it now.

538
00:28:28,600 --> 00:28:30,200
Speaker 3: You're doing all the moves just sitting down.

539
00:28:30,960 --> 00:28:32,919
Speaker 1: See that's because I'm a fucking idiot. Like I'm a

540
00:28:32,960 --> 00:28:36,040
Speaker 1: fucking idiot that has nothing to do with skill. That's

541
00:28:36,160 --> 00:28:38,960
Speaker 1: just because I'm still like perpetually in middle school where

542
00:28:38,960 --> 00:28:43,200
Speaker 1: I think that like everything is like a bell biv devot, Yeah,

543
00:28:43,280 --> 00:28:45,920
Speaker 1: dance number And I don't know what happened that that

544
00:28:46,000 --> 00:28:48,360
Speaker 1: part of my brain did not develop or I developed

545
00:28:48,360 --> 00:28:50,760
Speaker 1: a shame about what I look like when I'm dancing.

546
00:28:50,800 --> 00:28:53,160
Speaker 2: I just I'm like, oh, I'm fucking amazing.

547
00:28:53,840 --> 00:28:57,480
Speaker 3: And you are, You're very good at it. I feel.

548
00:28:59,040 --> 00:29:00,000
Speaker 2: Considers you are.

549
00:29:00,040 --> 00:29:02,680
Speaker 3: Regulate, but they need to know, like anyone who's dating

550
00:29:02,720 --> 00:29:05,240
Speaker 3: you needs to know, they don't have to match your energy.

551
00:29:05,280 --> 00:29:07,080
Speaker 3: They just have to be able to get out there.

552
00:29:07,720 --> 00:29:10,680
Speaker 1: I'm gonna tell you right now. There are times where

553
00:29:11,320 --> 00:29:13,680
Speaker 1: I come to my dance class on Saturday mornings and

554
00:29:13,720 --> 00:29:18,000
Speaker 1: I'm like, can is this a tworking day? If I

555
00:29:18,280 --> 00:29:20,240
Speaker 1: work in this class, I'm going to be out for

556
00:29:20,280 --> 00:29:21,160
Speaker 1: the rest of the weekend.

557
00:29:23,720 --> 00:29:25,800
Speaker 2: Like I'm literally like it is a.

558
00:29:25,800 --> 00:29:29,200
Speaker 1: Conscious decision to t work. Like I'm just like, if

559
00:29:29,200 --> 00:29:32,640
Speaker 1: I get that low, then I'm gonna be on the

560
00:29:32,640 --> 00:29:34,200
Speaker 1: couch all day long the next day.

561
00:29:34,480 --> 00:29:35,360
Speaker 2: Like there's like it's like.

562
00:29:35,280 --> 00:29:39,640
Speaker 1: A towerk hangover and I have to pourt myself in

563
00:29:39,720 --> 00:29:43,400
Speaker 1: that spot to do it. I am absolutely crying at

564
00:29:43,400 --> 00:29:45,840
Speaker 1: the idea that if you to work on Saturday, you

565
00:29:45,880 --> 00:29:47,560
Speaker 1: have to change your plans on Monday.

566
00:29:47,920 --> 00:29:51,040
Speaker 2: Oh, yes, like Sunday, I'm not doing shit.

567
00:29:51,760 --> 00:29:54,480
Speaker 1: Like if you call me on a Sunday after I

568
00:29:54,800 --> 00:29:58,000
Speaker 1: made the decision to to work the prior day. You're like,

569
00:29:58,200 --> 00:30:00,240
Speaker 1: I'm gonna be like, sorry, unless you're going one of

570
00:30:00,240 --> 00:30:03,160
Speaker 1: the movies with the heated seats so I can waste

571
00:30:03,160 --> 00:30:06,200
Speaker 1: my low back and my ass that we're in a

572
00:30:06,200 --> 00:30:06,800
Speaker 1: movie theater.

573
00:30:07,280 --> 00:30:10,640
Speaker 3: I cannot stand it is a just a fart feeling.

574
00:30:10,840 --> 00:30:12,640
Speaker 3: I don't want to sit in a fart feeling while

575
00:30:12,680 --> 00:30:16,840
Speaker 3: I'm watching a movie. I hate him. I hate the

576
00:30:16,880 --> 00:30:19,560
Speaker 3: fucking heat of seats. I'm like, just stay at home

577
00:30:19,600 --> 00:30:21,800
Speaker 3: with a heating pad. I don't need to sit in

578
00:30:22,000 --> 00:30:24,320
Speaker 3: because I know people are already farting into those seats.

579
00:30:24,360 --> 00:30:26,479
Speaker 3: I don't need to be brought to the surface of

580
00:30:26,520 --> 00:30:30,160
Speaker 3: my own consciousness that like, oh, yeah, I'm sitting in farts.

581
00:30:30,480 --> 00:30:32,200
Speaker 3: But I get it if you're trying to, like, you know,

582
00:30:32,480 --> 00:30:34,720
Speaker 3: relax in me. That's the only thing you're doing. The

583
00:30:34,720 --> 00:30:36,280
Speaker 3: next day of you're getting out of the house after

584
00:30:36,320 --> 00:30:38,880
Speaker 3: a tork class. But let me ask you this, does

585
00:30:38,880 --> 00:30:41,480
Speaker 3: your instructor offer twork modifications?

586
00:30:41,920 --> 00:30:44,560
Speaker 1: Oh, the whole class is about modification, Because that's that's

587
00:30:44,600 --> 00:30:48,520
Speaker 1: the thing is that Kevin, Kevin Maddox, who is the

588
00:30:48,520 --> 00:30:51,520
Speaker 1: teacher of this class, He's a legend I'm like obsessed

589
00:30:51,520 --> 00:30:54,280
Speaker 1: with his class. He's literally like a guru. He would

590
00:30:54,280 --> 00:30:56,080
Speaker 1: be like my guru if I if I had to

591
00:30:56,120 --> 00:30:58,840
Speaker 1: follow guru. You know a lot of older people take

592
00:30:58,880 --> 00:31:00,880
Speaker 1: his class because they've been follow him for thirty years.

593
00:31:00,920 --> 00:31:03,280
Speaker 2: So he's totally about It's like a playground. You get

594
00:31:03,320 --> 00:31:04,080
Speaker 2: to do whatever you want.

595
00:31:04,120 --> 00:31:06,680
Speaker 1: You could be very self contained and like do like

596
00:31:06,760 --> 00:31:09,160
Speaker 1: tiny little movements, or you could go to work up

597
00:31:09,200 --> 00:31:12,320
Speaker 1: the wall and do whatever you want. It's it's very

598
00:31:12,320 --> 00:31:14,960
Speaker 1: and and people take that option. I mean people are

599
00:31:15,000 --> 00:31:17,480
Speaker 1: like modifying here and there. So yeah, not it's that

600
00:31:17,600 --> 00:31:21,440
Speaker 1: required a towerk every class. I But to me, it's

601
00:31:21,520 --> 00:31:23,920
Speaker 1: kind of a fitness goal to twerk, if you know

602
00:31:23,960 --> 00:31:26,760
Speaker 1: what I'm saying, because it feels like, okay, that means

603
00:31:26,760 --> 00:31:28,760
Speaker 1: that I can get into a squat. That means my

604
00:31:28,800 --> 00:31:33,280
Speaker 1: lower back isn't a good good spot. There're no psiotica

605
00:31:33,320 --> 00:31:38,080
Speaker 1: and none of that. And so but the problem is

606
00:31:38,080 --> 00:31:39,400
Speaker 1: is that I can't just like do it all the

607
00:31:39,400 --> 00:31:40,120
Speaker 1: time anymore.

608
00:31:40,680 --> 00:31:42,600
Speaker 2: I have to make a conscious.

609
00:31:42,120 --> 00:31:46,880
Speaker 3: Decision if I'm gonna go full out. You know what,

610
00:31:46,880 --> 00:31:52,440
Speaker 3: if you're you're working up to twirk it out, I

611
00:31:52,520 --> 00:31:53,080
Speaker 3: don't want that.

612
00:31:53,080 --> 00:31:55,280
Speaker 1: Twerk hangover the next day where I'm like, uh, I

613
00:31:55,320 --> 00:31:57,480
Speaker 1: can't move heating pad.

614
00:31:59,320 --> 00:32:02,960
Speaker 2: You gotta use the what is it like, the tiger bomb?

615
00:32:03,320 --> 00:32:06,280
Speaker 3: A lot of tiger bomb. I'll take it back to Dones.

616
00:32:06,480 --> 00:32:12,120
Speaker 3: Give me some domes, just a radiating red patch on

617
00:32:12,160 --> 00:32:15,000
Speaker 3: the back of a black and white sketch. That is

618
00:32:15,000 --> 00:32:18,840
Speaker 3: where I'm at. I'll take some dons off of eBay.

619
00:32:18,840 --> 00:32:25,000
Speaker 3: I don't give a fuck. Vixvapo rub Let's make a

620
00:32:25,040 --> 00:32:29,120
Speaker 3: sandwich out of these bombs. Dones, Vix, tiger bomb, all

621
00:32:29,160 --> 00:32:31,320
Speaker 3: of you get together and do your thing. Light my

622
00:32:31,400 --> 00:32:35,480
Speaker 3: back on fucking fire with your medicine.

623
00:32:36,240 --> 00:32:39,560
Speaker 1: Also, the inner thighs, like when you're when you're doing

624
00:32:39,560 --> 00:32:42,840
Speaker 1: when you're in a deep tork state like that, sometimes

625
00:32:43,720 --> 00:32:48,760
Speaker 1: you're like, oh, yeah, I have pains in my inner thighs,

626
00:32:48,800 --> 00:32:51,520
Speaker 1: which doesn't look good recovery wise.

627
00:32:51,560 --> 00:32:57,360
Speaker 3: But whatever deep state should be a CIA operative initiative.

628
00:32:58,520 --> 00:33:01,440
Speaker 3: We're in deep tork state, locked on the target.

629
00:33:05,360 --> 00:33:09,760
Speaker 1: I don't know how we got to this point. I

630
00:33:09,760 --> 00:33:11,720
Speaker 1: don't know how we got here, but we had to

631
00:33:11,760 --> 00:33:14,920
Speaker 1: provide a map we couldn't. We started with yoga, We

632
00:33:14,960 --> 00:33:16,440
Speaker 1: started with country classes.

633
00:33:16,520 --> 00:33:20,040
Speaker 3: We worked up to felonies. We skidaddled over to.

634
00:33:21,600 --> 00:33:24,200
Speaker 2: Dating dating millennials.

635
00:33:23,840 --> 00:33:33,000
Speaker 3: Dating millennials, and that we got to work operatives, we

636
00:33:33,080 --> 00:33:36,200
Speaker 3: got range. I think that's a good place to start

637
00:33:36,240 --> 00:33:37,320
Speaker 3: the show from.

638
00:33:37,240 --> 00:33:40,120
Speaker 2: Let's go, Let's go, let's go, let's go.

639
00:33:40,320 --> 00:33:40,720
Speaker 3: Let's go.

640
00:33:40,920 --> 00:33:44,720
Speaker 2: Cuz I'm tworking in my chair.

641
00:33:45,400 --> 00:33:48,400
Speaker 1: Does it look like I'm talking?

642
00:33:48,600 --> 00:33:50,960
Speaker 3: It looks like your farts are lifting you into the air.

643
00:33:51,920 --> 00:33:52,920
Speaker 3: Let's go. Let's go.

644
00:33:54,160 --> 00:33:56,240
Speaker 2: Oh, maybe it broke my chair.

645
00:34:02,080 --> 00:34:05,400
Speaker 1: So that intro was very psychotic, and we're going to

646
00:34:05,520 --> 00:34:14,600
Speaker 1: keep it going with this theme this week, which this

647
00:34:14,680 --> 00:34:16,840
Speaker 1: is Danielle. This is all Danielle.

648
00:34:18,600 --> 00:34:22,279
Speaker 3: I mean, it really is. The theme is the and

649
00:34:22,480 --> 00:34:24,839
Speaker 3: the film choices are totally.

650
00:34:26,160 --> 00:34:28,319
Speaker 2: Tell tell them what it is, tell them the thing.

651
00:34:29,000 --> 00:34:33,440
Speaker 3: Our theme this week is Nicole Kidman. You're probably fine.

652
00:34:35,920 --> 00:34:39,640
Speaker 1: I bailed deeply in my bones in my experience as

653
00:34:39,680 --> 00:34:44,480
Speaker 1: a movie and television viewer that if Nicole Kidman is

654
00:34:44,560 --> 00:34:46,760
Speaker 1: acting with a child, something.

655
00:34:46,400 --> 00:34:48,520
Speaker 3: Is going to go terribly, terribly wrong.

656
00:34:50,600 --> 00:34:53,040
Speaker 1: Is this a Mother's Day tribute, by the way, a

657
00:34:53,239 --> 00:34:54,279
Speaker 1: Mother's Day?

658
00:34:55,160 --> 00:35:00,960
Speaker 3: This is our Mother's Day episode this year. Yes, And

659
00:35:01,000 --> 00:35:04,600
Speaker 3: I think when we were mapping out some future episodes,

660
00:35:04,640 --> 00:35:06,600
Speaker 3: I think I said that I'm like, oh, for Mother's Day,

661
00:35:07,200 --> 00:35:09,600
Speaker 3: this would be great, and you were like, excuse me.

662
00:35:12,719 --> 00:35:16,399
Speaker 1: I find that it's like a rewarding challenge to think

663
00:35:16,440 --> 00:35:19,719
Speaker 1: of the most fucked up ways to celebrate these holidays

664
00:35:19,719 --> 00:35:20,239
Speaker 1: that we have.

665
00:35:20,680 --> 00:35:22,480
Speaker 3: Absolutely, this is a.

666
00:35:22,480 --> 00:35:23,920
Speaker 2: Good one, honestly, like yours.

667
00:35:24,200 --> 00:35:27,200
Speaker 1: This is like such a funny theme to me because

668
00:35:27,760 --> 00:35:30,720
Speaker 1: you're so right, Like, how many times has Nicole Kidman

669
00:35:30,840 --> 00:35:37,520
Speaker 1: played the like beleaguered mother of like it like having

670
00:35:37,560 --> 00:35:42,760
Speaker 1: to deal with a truly deranged scenario within her own family.

671
00:35:46,040 --> 00:35:49,000
Speaker 3: The Woman's got a gift. The Woman's got a gift?

672
00:35:49,560 --> 00:35:51,520
Speaker 2: Wow? Wow?

673
00:35:51,680 --> 00:35:51,879
Speaker 3: Uh.

674
00:35:51,920 --> 00:35:54,360
Speaker 2: These two movies are entirely crazy.

675
00:35:55,080 --> 00:35:59,440
Speaker 3: Yeah, yeah, they're both different end of the spectrum. Like

676
00:35:59,440 --> 00:36:02,160
Speaker 3: if you're like, oh oh, here's a crazy spectrum, here's

677
00:36:02,239 --> 00:36:06,080
Speaker 3: wildness stretched out in a line at either end, as

678
00:36:06,160 --> 00:36:08,080
Speaker 3: Nicole Kidman acting in these films.

679
00:36:08,680 --> 00:36:12,279
Speaker 1: And I think an alternate theme for the week is

680
00:36:14,880 --> 00:36:17,640
Speaker 1: crazy little boys who are ruining families?

681
00:36:17,960 --> 00:36:21,520
Speaker 3: Like absolutely, oh absolutely, the allt theme is little boys,

682
00:36:22,040 --> 00:36:25,960
Speaker 3: Watch watch them.

683
00:36:26,200 --> 00:36:30,040
Speaker 1: Damien from the Omen has nothing on these two little motherfuckers.

684
00:36:30,239 --> 00:36:33,719
Speaker 1: Ah truly, because I feel like, you know what I

685
00:36:33,800 --> 00:36:36,560
Speaker 1: felt like happened. I feel like this week you all,

686
00:36:36,600 --> 00:36:38,640
Speaker 1: but I think you picked both the movies.

687
00:36:39,280 --> 00:36:40,040
Speaker 3: Yeah, and I.

688
00:36:40,120 --> 00:36:42,239
Speaker 1: And the funny thing is is that I actually thought

689
00:36:42,320 --> 00:36:45,319
Speaker 1: I had never seen my movie before, but in fact

690
00:36:45,360 --> 00:36:48,200
Speaker 1: I had. I had logged it on a letterbox, which

691
00:36:48,239 --> 00:36:50,600
Speaker 1: was so stupid of me. I was like, I've never

692
00:36:50,600 --> 00:36:53,880
Speaker 1: seen this movie, but I gotta say I liked it

693
00:36:53,920 --> 00:36:56,719
Speaker 1: a lot more now than I did whenever I watched it.

694
00:36:56,800 --> 00:37:00,239
Speaker 2: Oh yeah, we'll sure it has a different.

695
00:37:00,160 --> 00:37:05,359
Speaker 3: Spit now, but yeah, I definitely. Uh. I've always liked

696
00:37:05,520 --> 00:37:08,880
Speaker 3: liked your film this week for its weirdness, and it

697
00:37:08,920 --> 00:37:12,600
Speaker 3: was also my introduction to that director y and my

698
00:37:12,680 --> 00:37:15,680
Speaker 3: film I have not seen in ages, and it was

699
00:37:16,040 --> 00:37:19,400
Speaker 3: so much more fraud than I remembered it being. And

700
00:37:19,520 --> 00:37:22,840
Speaker 3: I'm I'm going to have to spoil my film because

701
00:37:23,360 --> 00:37:26,680
Speaker 3: there is something important for people to know so that

702
00:37:26,719 --> 00:37:29,160
Speaker 3: they want to keep listening to me discuss it.

703
00:37:29,800 --> 00:37:34,799
Speaker 1: Okay, that's that's a good ellipsies, I will say I was.

704
00:37:34,840 --> 00:37:37,960
Speaker 1: It was a first time watch, another fucked up first

705
00:37:38,000 --> 00:37:42,680
Speaker 1: time watch from you. And there was a moment of

706
00:37:42,719 --> 00:37:46,960
Speaker 1: your film where I literally paused it and was like,

707
00:37:47,400 --> 00:37:48,640
Speaker 1: baby girl, what is you doing?

708
00:37:48,840 --> 00:37:50,799
Speaker 2: Daniel Hunerson, like, baby girl, what is.

709
00:37:50,719 --> 00:37:51,359
Speaker 1: You doing here?

710
00:37:54,880 --> 00:37:57,399
Speaker 3: There's so many moments like that in my movie take

711
00:37:57,440 --> 00:37:57,759
Speaker 3: your pick.

712
00:37:58,160 --> 00:38:00,560
Speaker 1: Oh yeah, no, I will probably it'll probably come up

713
00:38:00,560 --> 00:38:04,360
Speaker 1: because it is I was like, whoa, what the phone?

714
00:38:04,880 --> 00:38:09,000
Speaker 2: But I dude, I love when these movies come up,

715
00:38:09,480 --> 00:38:10,640
Speaker 2: like these types of this.

716
00:38:10,640 --> 00:38:12,640
Speaker 1: Like week where it's like a week of a week

717
00:38:12,800 --> 00:38:16,319
Speaker 1: like two weird films, and I honestly can't wait to

718
00:38:16,400 --> 00:38:16,920
Speaker 1: get into it.

719
00:38:16,960 --> 00:38:18,440
Speaker 2: I think I'm going first this week.

720
00:38:18,200 --> 00:38:21,480
Speaker 3: You're first, so so not, Let's knock it out of

721
00:38:21,520 --> 00:38:22,000
Speaker 3: the park.

722
00:38:22,680 --> 00:38:24,840
Speaker 2: To working again, to working again in my chair.

723
00:38:25,960 --> 00:38:30,040
Speaker 3: New edition, new edition moves. I don't love a. I

724
00:38:30,080 --> 00:38:33,279
Speaker 3: try to tell myself love her.

725
00:38:33,719 --> 00:38:42,040
Speaker 1: What So my movie is from twenty seventeen written by

726
00:38:42,080 --> 00:38:46,240
Speaker 1: Eptinus Philippoo and your Ghost Lanthemos, directed by your Ghost Lanthemos,

727
00:38:46,239 --> 00:38:48,719
Speaker 1: that is called The Killing of a Sacred Deer. But

728
00:38:48,880 --> 00:38:51,280
Speaker 1: I don't understand why I should have to pay the price,

729
00:38:51,960 --> 00:38:53,760
Speaker 1: my children should have to pay the prize.

730
00:38:53,760 --> 00:38:56,399
Speaker 3: So this movie was my I know that a lot

731
00:38:56,440 --> 00:39:02,360
Speaker 3: of people recently were like, oh, Barry Kyogan Saltburn, what

732
00:39:02,440 --> 00:39:05,960
Speaker 3: a freak. This was my introduction to Barry Kyogen as

733
00:39:05,960 --> 00:39:09,279
Speaker 3: well as Yerogoaslanthemo's. And from the minute I saw that

734
00:39:09,320 --> 00:39:11,319
Speaker 3: little motherfucker pop on the screen. I was like, he

735
00:39:11,440 --> 00:39:13,520
Speaker 3: is a straight freak, and I cannot wait for the

736
00:39:13,640 --> 00:39:16,040
Speaker 3: decades of film he's going to give us.

737
00:39:16,600 --> 00:39:19,480
Speaker 1: I'm gonna read to you from my notes. This is

738
00:39:19,520 --> 00:39:23,480
Speaker 1: a direct quote from my notes on this movie. Martin

739
00:39:23,800 --> 00:39:27,400
Speaker 1: is played by y'all's weird sweetheart Barry Kyog. What is

740
00:39:27,440 --> 00:39:30,840
Speaker 1: wrong with y'all loving Barry Kyog? He literally plays a

741
00:39:30,880 --> 00:39:34,200
Speaker 1: creepy ass baby dude in every movie just because he

742
00:39:34,320 --> 00:39:37,879
Speaker 1: showed you his dick and Saltburn never trust a big

743
00:39:37,920 --> 00:39:38,760
Speaker 1: butt in a smile?

744
00:39:39,600 --> 00:39:40,960
Speaker 2: Why did everybody forget that?

745
00:39:49,239 --> 00:39:54,520
Speaker 1: Oh my god, listen, I'm telling you right now. On

746
00:39:54,560 --> 00:39:57,160
Speaker 1: my Facebook feed, which I don't even dip into Facebook,

747
00:39:57,200 --> 00:40:03,560
Speaker 1: that often, all of my jested reels are Barry Kyog related.

748
00:40:03,680 --> 00:40:06,840
Speaker 3: Really, And I do not know how that happened, because.

749
00:40:06,560 --> 00:40:08,520
Speaker 1: I certainly wasn't going to look for him, you know,

750
00:40:08,680 --> 00:40:12,000
Speaker 1: like whatever, after I saw Saltburn and realized he was

751
00:40:12,040 --> 00:40:15,120
Speaker 1: like fucking a grave, wasn't like I was like Berry

752
00:40:15,200 --> 00:40:18,560
Speaker 1: Kyog fucking grave scene, yes, yes, more, I'm like no, no, no.

753
00:40:18,960 --> 00:40:22,040
Speaker 1: He suddenly is just like all all over my Facebook feed,

754
00:40:22,440 --> 00:40:25,640
Speaker 1: and they're very horny. All these reels are very horny

755
00:40:25,640 --> 00:40:28,040
Speaker 1: fan videos, and I'm like, what is wrong with y'all?

756
00:40:29,719 --> 00:40:30,560
Speaker 2: That's wrong with y'all.

757
00:40:31,120 --> 00:40:36,240
Speaker 3: We'll also point out that he played a weird baby freak,

758
00:40:36,600 --> 00:40:38,239
Speaker 3: little baby man. How did she say? What was in

759
00:40:38,280 --> 00:40:39,080
Speaker 3: your notes? Oh?

760
00:40:39,080 --> 00:40:41,560
Speaker 2: I said, creepy ass baby dude.

761
00:40:42,800 --> 00:40:46,600
Speaker 3: He also played a creepy has baby dude. Incher Nobyle

762
00:40:46,680 --> 00:40:48,399
Speaker 3: Berry Kyogan is unstoppable.

763
00:40:49,080 --> 00:40:51,760
Speaker 1: Yes, that's what I'm saying, and so it's very.

764
00:40:51,680 --> 00:40:57,560
Speaker 3: Jarring to hear some of y'all saying yes, yes, daddy.

765
00:40:57,600 --> 00:41:00,279
Speaker 3: I'm like, no, he's knowing you who he is is

766
00:41:01,800 --> 00:41:05,279
Speaker 3: in every fucking role and I love I love him

767
00:41:05,320 --> 00:41:09,759
Speaker 3: for it. Yes, he's a great actor one telegraphing. He

768
00:41:09,840 --> 00:41:13,400
Speaker 3: is not pretending that he is not a straight up

769
00:41:13,440 --> 00:41:14,560
Speaker 3: creepy baby dude freak.

770
00:41:15,120 --> 00:41:15,440
Speaker 2: Yeah.

771
00:41:15,600 --> 00:41:18,120
Speaker 1: I mean, like this is again, I mean, maybe we're

772
00:41:18,160 --> 00:41:20,480
Speaker 1: gonna go back to these millennials and perhaps some Gen

773
00:41:20,600 --> 00:41:23,440
Speaker 1: Z people with like the horny the horny thing. I'm

774
00:41:23,520 --> 00:41:28,520
Speaker 1: just like, y'all, y'all, y'all love a weird dude.

775
00:41:28,680 --> 00:41:29,799
Speaker 2: Y'all love a weird dude.

776
00:41:30,440 --> 00:41:34,040
Speaker 3: As a fellow person who loves a weird dude, I

777
00:41:34,080 --> 00:41:38,600
Speaker 3: appreciate that it has continued through the Generations.

778
00:41:39,960 --> 00:41:42,160
Speaker 2: Well, he's a fantastic actor for this.

779
00:41:42,440 --> 00:41:44,440
Speaker 1: Yeah, and you know the fact that he was like

780
00:41:44,520 --> 00:41:46,600
Speaker 1: dancing around naked and Saulburne, I guess is good for

781
00:41:46,680 --> 00:41:48,560
Speaker 1: y'all too. But I mean I just was literally like

782
00:41:48,560 --> 00:41:51,879
Speaker 1: watching this movie going here it goes again, Like here

783
00:41:51,920 --> 00:41:54,040
Speaker 1: it goes again, because obviously you look at this movie

784
00:41:54,080 --> 00:41:56,319
Speaker 1: and you're like, okay, here's like a you know, this

785
00:41:56,480 --> 00:41:58,600
Speaker 1: was like pre banshe's of an a share in with

786
00:41:58,640 --> 00:42:01,400
Speaker 1: the Colin Farrell and you know, the very connection.

787
00:42:01,520 --> 00:42:03,800
Speaker 2: And I'm like, he was weird in that too, y'all.

788
00:42:04,040 --> 00:42:06,040
Speaker 3: Yeah, like super weird.

789
00:42:08,080 --> 00:42:10,720
Speaker 2: And just because he has a six pack, huh.

790
00:42:11,280 --> 00:42:15,239
Speaker 3: I see, he's tiny and he has a six pack.

791
00:42:15,280 --> 00:42:19,239
Speaker 3: He's unthreatening and that's the unthreatening sexiness that I think

792
00:42:19,440 --> 00:42:23,160
Speaker 3: a lot of people will appreciate. And he's beautiful. He's

793
00:42:23,160 --> 00:42:27,120
Speaker 3: a beautiful, beautiful man. But he has since he came

794
00:42:27,160 --> 00:42:29,200
Speaker 3: on the scene. For me, I have not been able

795
00:42:29,239 --> 00:42:32,240
Speaker 3: to approach any level of horniness because he has always

796
00:42:32,320 --> 00:42:34,320
Speaker 3: been this fucking freak.

797
00:42:34,800 --> 00:42:38,080
Speaker 1: Yes, sometimes it's like you're too good, You're too good

798
00:42:38,080 --> 00:42:39,000
Speaker 1: at doing a role.

799
00:42:39,080 --> 00:42:41,520
Speaker 3: Ah, imagine him in a comedy.

800
00:42:42,760 --> 00:42:45,560
Speaker 2: I'm just saying, no, I can't like it just ain't

801
00:42:45,560 --> 00:42:46,080
Speaker 2: doing it.

802
00:42:46,760 --> 00:42:49,120
Speaker 3: He ain't doing it. He's like, Oh, there's a comedy,

803
00:42:49,200 --> 00:42:52,239
Speaker 3: like a straight up Jim Carrey style ninety comedy where

804
00:42:52,239 --> 00:42:54,719
Speaker 3: I get to play a dad who doesn't get he's

805
00:42:54,800 --> 00:42:58,200
Speaker 3: wants custody of his son, and all of a sudden

806
00:42:58,239 --> 00:43:00,600
Speaker 3: he's just everything he says he's lying. Like imagine being

807
00:43:00,640 --> 00:43:04,080
Speaker 3: Barry Kyogan in Liar Liar, Yeah.

808
00:43:03,520 --> 00:43:06,560
Speaker 1: Like he would be like a six worshiper neighbor and

809
00:43:06,600 --> 00:43:07,280
Speaker 1: meet the Fokkers.

810
00:43:07,320 --> 00:43:09,920
Speaker 3: He wouldn't be like he's like, you know what I

811
00:43:09,920 --> 00:43:11,640
Speaker 3: want to do instead like this is a great role.

812
00:43:11,719 --> 00:43:14,160
Speaker 3: How fun can we remake hacksing?

813
00:43:16,000 --> 00:43:16,920
Speaker 2: Yeah?

814
00:43:17,280 --> 00:43:21,040
Speaker 3: Instead, Like I do not know this man, but I

815
00:43:21,080 --> 00:43:23,280
Speaker 3: do know that that's how his brain works. He's always

816
00:43:23,320 --> 00:43:26,920
Speaker 3: going to the weirdest, weirdest possible option and I love

817
00:43:26,960 --> 00:43:27,399
Speaker 3: him for it.

818
00:43:27,600 --> 00:43:28,120
Speaker 2: Oh true.

819
00:43:28,160 --> 00:43:29,799
Speaker 1: And like I listen, I did a lot of like

820
00:43:29,880 --> 00:43:33,279
Speaker 1: supplemental research for this episode, and I did watch the

821
00:43:33,680 --> 00:43:37,239
Speaker 1: episode of Hot Ones where he was and I was like,

822
00:43:37,280 --> 00:43:38,719
Speaker 1: he's weird on hot Ones too.

823
00:43:39,160 --> 00:43:44,759
Speaker 3: Gotta be honest, like, you know, I don't know, Like

824
00:43:45,000 --> 00:43:45,560
Speaker 3: I mean, I'm.

825
00:43:45,440 --> 00:43:48,799
Speaker 1: Kind of loving this for y'all, but you know, for me,

826
00:43:48,960 --> 00:43:50,759
Speaker 1: I'm just like, nah, too many, there was like too

827
00:43:50,760 --> 00:43:55,000
Speaker 1: many of the psycho roles that it formed, you know,

828
00:43:55,080 --> 00:43:57,040
Speaker 1: because he was crazy and Sulburn.

829
00:43:57,440 --> 00:44:00,680
Speaker 3: Hello, he's too good, too good.

830
00:44:01,040 --> 00:44:03,520
Speaker 1: Yeah, I'm just saying that this makes him an artist.

831
00:44:03,960 --> 00:44:07,680
Speaker 1: I'm not disparaging him or body shaming him or dick

832
00:44:07,680 --> 00:44:08,640
Speaker 1: shaming him or whatever.

833
00:44:09,040 --> 00:44:09,640
Speaker 2: We love him.

834
00:44:09,680 --> 00:44:10,160
Speaker 3: We love him.

835
00:44:10,160 --> 00:44:11,440
Speaker 2: He's so good in this movie.

836
00:44:11,800 --> 00:44:14,600
Speaker 1: So obviously, a one sentence synopsis for the film would

837
00:44:14,640 --> 00:44:18,279
Speaker 1: be a fucked up, freaky sixteen year old boy controls

838
00:44:18,320 --> 00:44:23,480
Speaker 1: the destiny of an entire family. Absolutely, that is pretty

839
00:44:23,520 --> 00:44:25,920
Speaker 1: much the basis of it. Okay, So I want to

840
00:44:25,960 --> 00:44:28,799
Speaker 1: talk just a tiny bit about your Ghost. Lanthemo's the

841
00:44:28,840 --> 00:44:31,520
Speaker 1: director of this film. I mean, I think we would

842
00:44:31,520 --> 00:44:33,879
Speaker 1: be fans, We would consider ourselves fans of him right

843
00:44:33,920 --> 00:44:34,399
Speaker 1: on the pod.

844
00:44:34,840 --> 00:44:39,000
Speaker 2: I think he directed Poor Things obviously, which has got

845
00:44:39,160 --> 00:44:40,759
Speaker 2: you know, all the Oscars.

846
00:44:41,160 --> 00:44:43,680
Speaker 1: But we love the Favorite. We've talked about the Favorite before,

847
00:44:44,239 --> 00:44:48,360
Speaker 1: and you know he's done Dog Tooth and the Lobster

848
00:44:48,600 --> 00:44:52,399
Speaker 1: where he worked with Colin Ferrell, Pryor. The one thing

849
00:44:53,120 --> 00:44:56,919
Speaker 1: that I think is just super great about yrgust Lanthemus though,

850
00:44:57,000 --> 00:45:02,160
Speaker 1: is that I was reading that before he started in

851
00:45:02,320 --> 00:45:07,359
Speaker 1: experimental theater yep. And I just had to say, I

852
00:45:07,400 --> 00:45:12,600
Speaker 1: think that some of the most interesting, highly creative people

853
00:45:13,320 --> 00:45:15,040
Speaker 1: ever come from that world.

854
00:45:15,640 --> 00:45:17,520
Speaker 3: Absolutely absolutely.

855
00:45:18,040 --> 00:45:23,640
Speaker 2: I was just I just watched I finally watched Yalodorowski's Dune.

856
00:45:23,920 --> 00:45:26,760
Speaker 1: I don't know if you've anybody seen that documentary about

857
00:45:26,800 --> 00:45:29,759
Speaker 1: Alejandro Yanarowski, the director of you know, El Topo and

858
00:45:29,760 --> 00:45:34,600
Speaker 1: Holy Mountain, who sort of had this very famous attempt

859
00:45:34,640 --> 00:45:40,640
Speaker 1: at making Dune in the seventies that didn't pan out

860
00:45:40,800 --> 00:45:45,759
Speaker 1: and then David Lynch made it. But Alejandro Yanarowski is

861
00:45:45,840 --> 00:45:47,480
Speaker 1: he was. It was that kind of thing where it

862
00:45:47,520 --> 00:45:51,279
Speaker 1: was like he's he was too creative to be in

863
00:45:51,320 --> 00:45:54,200
Speaker 1: Hollywood in that way, like they're like, oh, like we're

864
00:45:54,200 --> 00:46:01,279
Speaker 1: shopping around this like twelve hour insane like dude adaptation

865
00:46:01,520 --> 00:46:08,200
Speaker 1: with like Salvador Vali and Orson Wells and like you know,

866
00:46:08,360 --> 00:46:12,440
Speaker 1: like his son. Like it was just like too creative,

867
00:46:12,480 --> 00:46:16,680
Speaker 1: and they were like, sorry, we do not give money

868
00:46:16,760 --> 00:46:20,839
Speaker 1: to people that have creativity. So anyway, he's come from

869
00:46:20,920 --> 00:46:25,040
Speaker 1: experimental theater. Andy Milligan if anybody knows who Andy Milligan is,

870
00:46:25,080 --> 00:46:27,800
Speaker 1: the director, Uh, he was an experimental theater guy. But

871
00:46:27,920 --> 00:46:30,920
Speaker 1: you know, Willem Dafoe, who is we've talked about, Shirley Stoler,

872
00:46:30,960 --> 00:46:35,120
Speaker 1: who we've talked about, Like all these really interesting creative directors,

873
00:46:35,280 --> 00:46:37,719
Speaker 1: character actors, they've all come from experimental theater. And I

874
00:46:37,840 --> 00:46:42,400
Speaker 1: just think it's like, here's a pipeline for creating genuine,

875
00:46:42,880 --> 00:46:45,680
Speaker 1: actual weirdos in this world.

876
00:46:46,400 --> 00:46:49,120
Speaker 2: And I love it. I love it so agree I

877
00:46:49,120 --> 00:46:49,880
Speaker 2: could not agree with that.

878
00:46:50,400 --> 00:46:55,320
Speaker 3: I have some friends who belong to a kind of

879
00:46:55,400 --> 00:46:58,239
Speaker 3: experimental theater group in New York called the New York

880
00:46:58,239 --> 00:47:00,840
Speaker 3: New York Futurists, and I just went to their anniversary

881
00:47:00,880 --> 00:47:03,680
Speaker 3: show a few weeks ago, and it's just, you know,

882
00:47:03,719 --> 00:47:07,120
Speaker 3: like quick two to four minute plays, like just quick plays,

883
00:47:07,360 --> 00:47:09,520
Speaker 3: and they're so creative, and they're so interesting, and they

884
00:47:09,560 --> 00:47:12,279
Speaker 3: use their bodies in interesting ways, and they use things

885
00:47:12,320 --> 00:47:15,640
Speaker 3: that you would never even consider, and it just ends

886
00:47:15,719 --> 00:47:21,680
Speaker 3: up always being the most creative and hilarious and thoughtful experience.

887
00:47:22,080 --> 00:47:23,920
Speaker 3: Like there is something to be said for coming up

888
00:47:23,920 --> 00:47:25,640
Speaker 3: in that world, for sure, I know.

889
00:47:25,800 --> 00:47:28,719
Speaker 1: And that's the thing, kids, I'm speaking to you right now.

890
00:47:29,600 --> 00:47:35,920
Speaker 1: Get into experimental theater. Say save the planet, save the art,

891
00:47:36,520 --> 00:47:40,640
Speaker 1: be genuinely weird and make weird art.

892
00:47:40,719 --> 00:47:42,040
Speaker 2: We need you, and.

893
00:47:42,000 --> 00:47:45,480
Speaker 3: It's also like, I feel like you're Groslanthemus kind of

894
00:47:45,560 --> 00:47:49,480
Speaker 3: kicked off for a minute there. Maybe it's still I think.

895
00:47:49,480 --> 00:47:51,359
Speaker 3: I feel like it's still going on, but I feel

896
00:47:51,360 --> 00:47:56,600
Speaker 3: like he kicked off this era of Greek filmmakers who

897
00:47:56,600 --> 00:48:01,480
Speaker 3: were doing this kind of experimental stuff. I don't know

898
00:48:01,480 --> 00:48:04,920
Speaker 3: if you saw in the movie Apples by Christos Niku.

899
00:48:05,480 --> 00:48:08,000
Speaker 2: No, you've mentioned that before on the podcast.

900
00:48:08,080 --> 00:48:10,320
Speaker 3: I have to watch it again. I would encourage you

901
00:48:10,360 --> 00:48:12,400
Speaker 3: to watch it. I loved it, and I think it

902
00:48:12,600 --> 00:48:15,800
Speaker 3: fell through the cracks because it came out in November

903
00:48:15,840 --> 00:48:18,640
Speaker 3: of twenty twenty, and it is about a worldwide pandemic,

904
00:48:18,760 --> 00:48:21,560
Speaker 3: so it's about but the pandemic in the film is

905
00:48:22,040 --> 00:48:26,520
Speaker 3: that there's there's this thing happening where people just get

906
00:48:26,560 --> 00:48:31,040
Speaker 3: sudden amnesia and if you're not claimed, like if nobody

907
00:48:31,040 --> 00:48:33,319
Speaker 3: comes and says, yep, that's my dad, then you just

908
00:48:33,360 --> 00:48:36,360
Speaker 3: go to this facility, like this recovery program that's supposed

909
00:48:36,400 --> 00:48:38,160
Speaker 3: to help you to like figure out how to build

910
00:48:38,200 --> 00:48:40,200
Speaker 3: a new life because you forgot who you were completely.

911
00:48:40,840 --> 00:48:43,359
Speaker 3: And it's just an interesting, weird film, and I feel

912
00:48:43,360 --> 00:48:48,279
Speaker 3: like there's like this real Greek revival happening in that way,

913
00:48:48,320 --> 00:48:50,400
Speaker 3: in that experimental space. So I just I kind of

914
00:48:50,640 --> 00:48:51,960
Speaker 3: love to see it, And I know people had a

915
00:48:52,000 --> 00:48:53,719
Speaker 3: lot of problems with some people had a lot of

916
00:48:53,719 --> 00:48:56,440
Speaker 3: problems with poor things because you know, the premise is

917
00:48:56,440 --> 00:49:00,680
Speaker 3: that Emma Stone is playing a highly section old person

918
00:49:00,880 --> 00:49:04,279
Speaker 3: who has the mind of an actual baby. But I

919
00:49:04,320 --> 00:49:07,360
Speaker 3: think that you know, feel about that movie, how you

920
00:49:07,560 --> 00:49:11,320
Speaker 3: how you will. But your groslanthemos in general is pushing

921
00:49:12,000 --> 00:49:14,800
Speaker 3: every envelope, like pushing them across the table, making paper

922
00:49:14,840 --> 00:49:17,200
Speaker 3: airplanes out of them and throwing them into space. Like

923
00:49:17,360 --> 00:49:20,480
Speaker 3: I like and need that kind of creator. I need

924
00:49:20,520 --> 00:49:22,600
Speaker 3: someone who's willing to be like, what's the weirdest fucking

925
00:49:22,640 --> 00:49:24,839
Speaker 3: shit we can do? And then they do it and

926
00:49:24,880 --> 00:49:27,880
Speaker 3: it turns out fantastically.

927
00:49:27,800 --> 00:49:30,120
Speaker 1: I know, And like I get into these moments, I

928
00:49:30,160 --> 00:49:34,400
Speaker 1: think too where cyclically for me for my media consumption,

929
00:49:35,160 --> 00:49:39,040
Speaker 1: I go through these periods of of of like getting

930
00:49:39,120 --> 00:49:42,880
Speaker 1: into more kind of mass culture stuff. So like right now,

931
00:49:42,920 --> 00:49:45,000
Speaker 1: you know, like for the past couple months, I've been

932
00:49:45,040 --> 00:49:46,799
Speaker 1: in like a cheerful mood, so I'm listening to a

933
00:49:46,800 --> 00:49:50,560
Speaker 1: lot of like pop music and very like commercialized things.

934
00:49:50,719 --> 00:49:56,000
Speaker 1: Right I watch like Reality shows sometimes and uh, it's

935
00:49:56,040 --> 00:49:59,560
Speaker 1: it's usually I usually glom onto these things. I realize

936
00:50:00,080 --> 00:50:03,160
Speaker 1: when I'm in the war, like, so I want the

937
00:50:03,280 --> 00:50:06,719
Speaker 1: entertainment that is not what I'm doing in my everyday life,

938
00:50:06,719 --> 00:50:08,759
Speaker 1: which right now it's like I'm in grad school, I'm

939
00:50:08,760 --> 00:50:10,720
Speaker 1: doing a podcast, I'm writing about film.

940
00:50:10,880 --> 00:50:13,280
Speaker 2: I'm just constantly in this like theoretical space.

941
00:50:13,360 --> 00:50:15,879
Speaker 1: So whenever I want to tune out, I'm like, oh,

942
00:50:15,920 --> 00:50:19,160
Speaker 1: I want to go listen to freakin' you know whomever,

943
00:50:19,520 --> 00:50:23,399
Speaker 1: like Dua Lipa or you know, like dance music, very

944
00:50:24,360 --> 00:50:27,000
Speaker 1: you know, mass cultury types of things, fan or pump

945
00:50:27,200 --> 00:50:30,120
Speaker 1: this kind of stuff. And sometimes when I'm in that

946
00:50:30,280 --> 00:50:33,880
Speaker 1: mode too much, I start thinking I need to go

947
00:50:34,000 --> 00:50:38,799
Speaker 1: back to really weird, fucked up art again. You know.

948
00:50:38,920 --> 00:50:40,719
Speaker 3: I am along and I'm like, how about this for

949
00:50:40,760 --> 00:50:41,640
Speaker 3: our movie this week?

950
00:50:42,200 --> 00:50:44,720
Speaker 2: Welcome Home, Baby, Welcome Home.

951
00:50:45,360 --> 00:50:48,120
Speaker 1: So yes, so I've been this has been, this has

952
00:50:48,120 --> 00:50:49,919
Speaker 1: been on the brain for me for the last couple

953
00:50:49,960 --> 00:50:50,280
Speaker 1: of weeks.

954
00:50:50,280 --> 00:50:52,560
Speaker 2: So yeah, this is like, He's a director that.

955
00:50:52,520 --> 00:50:56,480
Speaker 1: I think is a perfect you know, come come back

956
00:50:56,560 --> 00:51:00,720
Speaker 1: from the Taylor Swift world and live in this fucked

957
00:51:00,760 --> 00:51:04,040
Speaker 1: up experimental theater director world. So anyway, I very much

958
00:51:04,040 --> 00:51:07,360
Speaker 1: appreciate him for that. But so, first thing off the

959
00:51:07,360 --> 00:51:07,719
Speaker 1: bat for.

960
00:51:07,680 --> 00:51:10,279
Speaker 2: This movie, if you haven't seen it, maybe you have,

961
00:51:10,480 --> 00:51:12,960
Speaker 2: maybe you haven't. This movie is very stylized.

962
00:51:13,280 --> 00:51:18,080
Speaker 1: Okay, there's this kind of like uncanny creepy quality to it,

963
00:51:18,200 --> 00:51:21,960
Speaker 1: I would say, because of the way it's shot. But

964
00:51:22,080 --> 00:51:25,880
Speaker 1: also everyone is doing that kind of flat acting style,

965
00:51:26,160 --> 00:51:30,239
Speaker 1: like kind of like in like Wes Anderson movies, where

966
00:51:31,120 --> 00:51:34,160
Speaker 1: this film my god, yeah, and it's everybody across the

967
00:51:34,160 --> 00:51:38,000
Speaker 1: board and they're saying ridiculous things, which is this is

968
00:51:38,080 --> 00:51:39,440
Speaker 1: kind of why it's also funny.

969
00:51:39,520 --> 00:51:41,359
Speaker 2: This movie is funny, which you thinking?

970
00:51:41,440 --> 00:51:42,759
Speaker 1: So do you think it's funny? I thought it was

971
00:51:42,840 --> 00:51:45,120
Speaker 1: kind of funny. Yes, There's so many points that are

972
00:51:45,160 --> 00:51:49,040
Speaker 1: fucking hilarious, especially when he's like my daughter started menstruating

973
00:51:49,040 --> 00:51:49,719
Speaker 1: today and you're like.

974
00:51:49,640 --> 00:51:50,920
Speaker 3: What I know?

975
00:51:51,080 --> 00:51:55,680
Speaker 1: And like at a party and like and Barry's character

976
00:51:55,800 --> 00:51:58,799
Speaker 1: is always like obsessed with like all the little boys

977
00:51:58,800 --> 00:52:01,440
Speaker 1: are obsessed with people's arm, hair and stuff. It's like, what,

978
00:52:01,800 --> 00:52:05,640
Speaker 1: like what is going on? But also just like moments

979
00:52:05,640 --> 00:52:09,400
Speaker 1: where we're gonna talk about Colin Farrell again, I'm sorry

980
00:52:09,680 --> 00:52:10,640
Speaker 1: we're gonna talk about me.

981
00:52:11,560 --> 00:52:16,080
Speaker 3: I cannot think of an actor that is currently working

982
00:52:16,360 --> 00:52:20,360
Speaker 3: that I adore more than just as a person on

983
00:52:20,400 --> 00:52:22,799
Speaker 3: the fucking planet, but also the work they're choosing to do.

984
00:52:23,239 --> 00:52:26,719
Speaker 2: Dude, I know this isn't the thing I was gonna say.

985
00:52:27,560 --> 00:52:31,760
Speaker 1: So. I watched several interviews with both your ghost Lanthemos

986
00:52:31,840 --> 00:52:34,680
Speaker 1: but also Colin Ferrell, and like, remember that episode we

987
00:52:34,680 --> 00:52:37,160
Speaker 1: did about in Bruges where we basically were like, remember

988
00:52:37,200 --> 00:52:39,120
Speaker 1: when he was a party boy and he sucked and

989
00:52:39,160 --> 00:52:39,960
Speaker 1: now he's awesome.

990
00:52:40,680 --> 00:52:42,240
Speaker 3: That's this again.

991
00:52:42,440 --> 00:52:46,000
Speaker 1: Was another moment where I was like, I love him

992
00:52:46,040 --> 00:52:48,040
Speaker 1: so much. Now I love him so much.

993
00:52:48,640 --> 00:52:52,799
Speaker 3: Like he's fantastic, and I have it on good authority

994
00:52:53,960 --> 00:52:56,560
Speaker 3: that he is a fantastic person in real life as well.

995
00:52:56,719 --> 00:52:59,719
Speaker 3: Like he's very dedicated to his children, one of whom

996
00:52:59,719 --> 00:53:07,120
Speaker 3: has disabilities. He's like super dedicated to his life now

997
00:53:07,239 --> 00:53:09,920
Speaker 3: as a parent and a person who wants to be

998
00:53:10,040 --> 00:53:12,000
Speaker 3: good in this world. He's always showing up for like

999
00:53:12,680 --> 00:53:15,400
Speaker 3: you know, protests and during the strikes, and like he's

1000
00:53:15,880 --> 00:53:19,480
Speaker 3: a good dude. He lives in my friend's neighborhood. Oh

1001
00:53:19,880 --> 00:53:21,200
Speaker 3: I oh yeah.

1002
00:53:21,280 --> 00:53:25,160
Speaker 1: Watching him do these interviews, he's very thoughtful and soulful,

1003
00:53:25,200 --> 00:53:29,359
Speaker 1: and he's really smart like I'm like, I love him,

1004
00:53:29,440 --> 00:53:31,480
Speaker 1: and like we said, like back in the kind of

1005
00:53:31,800 --> 00:53:34,880
Speaker 1: what is it early two thousands era where he was

1006
00:53:34,960 --> 00:53:43,160
Speaker 1: like wearing white slaveless undershirts with like big pants and

1007
00:53:43,200 --> 00:53:46,560
Speaker 1: he just kind of had that like party boy thing, right,

1008
00:53:46,640 --> 00:53:51,120
Speaker 1: and I was like, ugh, no, like he kind of

1009
00:53:51,200 --> 00:53:52,799
Speaker 1: was wrapped up in that hole, Like I don't know,

1010
00:53:52,880 --> 00:53:55,759
Speaker 1: did he date like Britney Spears or something, like he.

1011
00:53:55,760 --> 00:53:57,440
Speaker 3: Was wrapped up in that whole circle.

1012
00:53:57,680 --> 00:54:01,520
Speaker 1: And yeah, and now I'm like, oh, he made it

1013
00:54:01,560 --> 00:54:04,279
Speaker 1: through the wilderness. Somehow, he made it through and look

1014
00:54:04,280 --> 00:54:08,839
Speaker 1: at him now, he's like this totally amazing, Like I

1015
00:54:08,880 --> 00:54:09,520
Speaker 1: love him.

1016
00:54:09,480 --> 00:54:12,520
Speaker 3: I love him what I love him. He's so great.

1017
00:54:12,640 --> 00:54:18,480
Speaker 3: I think that there's something so special about having because

1018
00:54:18,520 --> 00:54:22,439
Speaker 3: he was shot onto the scene as a hot person. Yeah,

1019
00:54:22,440 --> 00:54:25,799
Speaker 3: so he believed that was his only value for a

1020
00:54:25,880 --> 00:54:28,040
Speaker 3: very long time, that he was a hot person. And

1021
00:54:28,080 --> 00:54:30,280
Speaker 3: I'm going I'm taking it back to Bally Kiss Angel.

1022
00:54:30,320 --> 00:54:32,440
Speaker 3: He was in this weird Irish TV show that I

1023
00:54:32,520 --> 00:54:34,839
Speaker 3: kind of love, but he was shot onto the scene

1024
00:54:34,840 --> 00:54:37,759
Speaker 3: as a hot person. We've watched him realize that he

1025
00:54:37,840 --> 00:54:40,240
Speaker 3: is actually an artist and that is fucking special.

1026
00:54:40,880 --> 00:54:43,600
Speaker 2: Yes, I think he doesn't believe his only.

1027
00:54:43,480 --> 00:54:47,319
Speaker 3: Value is in his looks anymore, because I think that's

1028
00:54:47,320 --> 00:54:49,440
Speaker 3: what fucked him up in the early two thousands. He's like, well,

1029
00:54:49,440 --> 00:54:51,080
Speaker 3: I'm hot, What else am I going to do? I know?

1030
00:54:51,160 --> 00:54:54,040
Speaker 1: And that's kind of like the best case scenario for

1031
00:54:54,160 --> 00:54:56,319
Speaker 1: like any young actor that's like hot on the scene

1032
00:54:56,360 --> 00:54:58,400
Speaker 1: right now, is that that they just grow into like

1033
00:54:58,880 --> 00:55:02,600
Speaker 1: a decent older person, you know what I mean. Absolutely,

1034
00:55:03,000 --> 00:55:06,480
Speaker 1: they have perspective and they can like come away from

1035
00:55:06,520 --> 00:55:08,400
Speaker 1: that like party day like where they're the center of

1036
00:55:08,440 --> 00:55:11,799
Speaker 1: attention and be like it even kills like, you know,

1037
00:55:12,080 --> 00:55:15,200
Speaker 1: like normal individual because I can't even imagine what it

1038
00:55:15,280 --> 00:55:18,920
Speaker 1: must be like to be like right, literally like the

1039
00:55:19,719 --> 00:55:23,239
Speaker 1: it boy of an entire industry, you know.

1040
00:55:23,280 --> 00:55:26,839
Speaker 3: Right, I know, I'm I'm proud of him. Weirdly, I

1041
00:55:26,880 --> 00:55:29,160
Speaker 3: love you know how much I love to project on

1042
00:55:29,360 --> 00:55:33,480
Speaker 3: certain actors. Sure, but I'm very proud of him, and

1043
00:55:33,560 --> 00:55:37,439
Speaker 3: I feel like there's been a mental health shift and

1044
00:55:37,480 --> 00:55:39,160
Speaker 3: he was in a really dangerous spot for a while

1045
00:55:39,200 --> 00:55:40,600
Speaker 3: where I'm like, I love this dude as long for

1046
00:55:40,640 --> 00:55:43,320
Speaker 3: this world. Yeah, talk about turning it the fuck around.

1047
00:55:44,560 --> 00:55:48,680
Speaker 3: He's forty seven. Yeah, he's from a place called Castle

1048
00:55:48,719 --> 00:55:53,120
Speaker 3: knock in Ireland, which what Yeah, I'll go check that

1049
00:55:53,160 --> 00:55:53,680
Speaker 3: place out.

1050
00:55:54,280 --> 00:55:56,719
Speaker 1: Yeah, let's hang Like I forgot that he's old, like

1051
00:55:56,760 --> 00:55:58,319
Speaker 1: a couple of years older than us, Like.

1052
00:55:58,280 --> 00:56:01,680
Speaker 3: What the he's a fucking see, he's our constituents, our

1053
00:56:01,719 --> 00:56:04,319
Speaker 3: age group, and be proud of him.

1054
00:56:04,360 --> 00:56:06,600
Speaker 2: We could be proud of him. He's one of us.

1055
00:56:06,480 --> 00:56:09,560
Speaker 3: He lost his fucking mind when he got hot and famous.

1056
00:56:09,719 --> 00:56:12,240
Speaker 3: No one from our generation was prepared for that shit.

1057
00:56:12,600 --> 00:56:14,160
Speaker 2: Yeah, no one literally.

1058
00:56:14,800 --> 00:56:17,200
Speaker 3: Yeah, but he kills He is so good in this

1059
00:56:17,239 --> 00:56:19,920
Speaker 3: fucking movie, and it presents such a different side of

1060
00:56:19,920 --> 00:56:21,200
Speaker 3: his abilities as an actor.

1061
00:56:21,280 --> 00:56:24,960
Speaker 1: Yeah, and also just like he can, he's so fucking funny.

1062
00:56:25,040 --> 00:56:26,960
Speaker 1: It's almost like he doesn't even know how funny he is.

1063
00:56:27,000 --> 00:56:29,600
Speaker 1: Sometimes there's like there are like line reads in this

1064
00:56:29,680 --> 00:56:31,520
Speaker 1: movie that fucking kill me. I'll like talk about that

1065
00:56:31,520 --> 00:56:34,439
Speaker 1: in a second. But but like the movie generally, though,

1066
00:56:34,600 --> 00:56:38,120
Speaker 1: is this like flat acting. There's this constant technique where

1067
00:56:38,160 --> 00:56:40,400
Speaker 1: they're like the cameras kind of like zooming in and

1068
00:56:40,440 --> 00:56:44,440
Speaker 1: out slowly from these like medium to kind of wide shots,

1069
00:56:44,760 --> 00:56:48,160
Speaker 1: and it's very Stanley Kubrick. I'm sure I'm not like

1070
00:56:48,320 --> 00:56:52,279
Speaker 1: discovering the Adam by saying that because I've seen there

1071
00:56:52,239 --> 00:56:54,880
Speaker 1: also are videos online where people were like, look at

1072
00:56:54,880 --> 00:56:58,640
Speaker 1: this movie, isn't it just like The Shining And I'm like, yes, probably, uh,

1073
00:56:59,000 --> 00:57:01,320
Speaker 1: but that's if you want to just get oriented about

1074
00:57:01,320 --> 00:57:05,640
Speaker 1: the style. It's very Kubrickian, I would say. Okay, So

1075
00:57:05,719 --> 00:57:09,880
Speaker 1: Colin Farrell plays this man named Stephen, and he is

1076
00:57:10,120 --> 00:57:14,279
Speaker 1: a cardiologist surgeon. He has a wife who's played by

1077
00:57:14,360 --> 00:57:20,040
Speaker 1: Nicole Kidman, two kids, and not for nothing, maybe has

1078
00:57:20,080 --> 00:57:21,520
Speaker 1: a little bit of a drinking problem.

1079
00:57:22,800 --> 00:57:25,200
Speaker 3: Right, So at the beginning of.

1080
00:57:25,160 --> 00:57:30,040
Speaker 1: The movie, he you understand, I guess that he's he's

1081
00:57:30,040 --> 00:57:34,400
Speaker 1: befriended this like sixteen year old boy named Martin who

1082
00:57:34,480 --> 00:57:40,360
Speaker 1: is played by creepy ass baby dude legend himself, Barry Kyogan.

1083
00:57:41,040 --> 00:57:46,480
Speaker 1: Now Martin's dad has passed away. Okay, so that is

1084
00:57:46,560 --> 00:57:52,080
Speaker 1: established pretty early. Satty said that there's also something definitely

1085
00:57:52,120 --> 00:57:56,280
Speaker 1: wrong with Martin. Apart from that treachy Like, I know,

1086
00:57:56,320 --> 00:57:58,600
Speaker 1: I just said that everybody in this movie has this

1087
00:57:58,720 --> 00:58:03,920
Speaker 1: like kind of detach dialogue style, but he's also intense

1088
00:58:03,960 --> 00:58:05,200
Speaker 1: as fuck on top of.

1089
00:58:05,120 --> 00:58:09,920
Speaker 2: That completely, So just to give you a taste.

1090
00:58:09,600 --> 00:58:14,440
Speaker 1: Of like what this kid is like, and he's very strange,

1091
00:58:14,600 --> 00:58:18,400
Speaker 1: very strange. Stephen takes you know, the kid home to

1092
00:58:18,440 --> 00:58:24,000
Speaker 1: the family almost immediately, right, and it really is kind

1093
00:58:24,040 --> 00:58:30,760
Speaker 1: of like Tioima slash Saltburn weirdly enough situation where this

1094
00:58:30,880 --> 00:58:33,400
Speaker 1: kid kind of comes in and he's just kind of

1095
00:58:33,440 --> 00:58:36,120
Speaker 1: like casting a weird spell on all these people in

1096
00:58:36,160 --> 00:58:38,760
Speaker 1: this family. Like people are like, huh, he's O great,

1097
00:58:38,840 --> 00:58:41,720
Speaker 1: what's going on. The kids are like, you know, oh

1098
00:58:41,720 --> 00:58:44,080
Speaker 1: my god, we we love hanging out with this guy.

1099
00:58:44,120 --> 00:58:47,480
Speaker 1: The young boy is like, show me your armpit hair.

1100
00:58:47,560 --> 00:58:50,000
Speaker 1: The girl is like, I think I'm in love with you. Like,

1101
00:58:50,560 --> 00:58:53,000
Speaker 1: he's just kind of like a presence in the family

1102
00:58:53,200 --> 00:58:56,720
Speaker 1: really immediately. And then you know there's this like Steven

1103
00:58:56,920 --> 00:58:59,959
Speaker 1: feeling kind of this I don't know, weird guilt about

1104
00:59:00,120 --> 00:59:03,840
Speaker 1: his situation. So he has made his way into this family. Okay,

1105
00:59:05,320 --> 00:59:09,320
Speaker 1: now all of that is about to change because one day,

1106
00:59:09,520 --> 00:59:13,480
Speaker 1: Martin confronts Stephen in the hospital and it's revealed that

1107
00:59:13,560 --> 00:59:19,600
Speaker 1: basically Stephen may have accidentally killed Martin's father in surgery

1108
00:59:20,080 --> 00:59:25,640
Speaker 1: because of his drinking. Okay, and the way that this

1109
00:59:25,760 --> 00:59:30,320
Speaker 1: is rolled out is one of like the creepiest conversations

1110
00:59:30,320 --> 00:59:31,600
Speaker 1: I think I've ever seen in a movie.

1111
00:59:31,960 --> 00:59:35,080
Speaker 3: Yeah, yeah, it is. It's intense.

1112
00:59:35,720 --> 00:59:39,280
Speaker 1: It is straight up sociopath hours from Martin, Like it's

1113
00:59:39,320 --> 00:59:42,840
Speaker 1: just very like his His style in that moment, like

1114
00:59:43,480 --> 00:59:48,240
Speaker 1: Barry Kogan's style in this moment is bone chilling basically,

1115
00:59:49,800 --> 00:59:53,600
Speaker 1: and he basically says. Martin says to Stephen that Okay,

1116
00:59:53,640 --> 00:59:56,120
Speaker 1: so this happened. You killed my fucking dad. So in

1117
00:59:56,200 --> 00:59:59,400
Speaker 1: order to balance the universe, you're gonna have to kill

1118
00:59:59,440 --> 01:00:02,560
Speaker 1: a member of of your family or if you don't,

1119
01:00:02,960 --> 01:00:04,720
Speaker 1: they're all gonna die.

1120
01:00:07,680 --> 01:00:10,400
Speaker 3: Which at first you're like, did he just think of

1121
01:00:10,440 --> 01:00:15,160
Speaker 3: this himself? Yeah, because like he's like, here's what's gonna

1122
01:00:15,160 --> 01:00:16,680
Speaker 3: happen if you don't do this, and there are like

1123
01:00:16,760 --> 01:00:20,600
Speaker 3: stages of the breakdown of his family, and you're like,

1124
01:00:20,640 --> 01:00:23,720
Speaker 3: this kid was already weird and intense. Who thinks a

1125
01:00:23,960 --> 01:00:26,000
Speaker 3: shit like this? And then when you're like, oh, wait,

1126
01:00:26,080 --> 01:00:27,920
Speaker 3: is this just the world we live in where it's possible?

1127
01:00:27,920 --> 01:00:30,600
Speaker 3: It's very very strange, but continue.

1128
01:00:30,360 --> 01:00:35,080
Speaker 1: Absolutely so obviously I think Steven at first is like

1129
01:00:35,120 --> 01:00:39,360
Speaker 1: the subsurd. But then one day his son, his youngest son,

1130
01:00:39,600 --> 01:00:40,280
Speaker 1: wakes up and he.

1131
01:00:40,280 --> 01:00:42,000
Speaker 2: Can't walk, legs don't work.

1132
01:00:43,120 --> 01:00:45,280
Speaker 1: They run a battery of tests on the kid and

1133
01:00:45,320 --> 01:00:50,680
Speaker 1: it's very Regan from The Exorcist, like lots of weird,

1134
01:00:50,880 --> 01:00:55,640
Speaker 1: clanky MRI machines and shit like that, like a lot

1135
01:00:55,640 --> 01:00:59,640
Speaker 1: of testing, scary, scary, scary, nothing's coming up. Like they're like,

1136
01:00:59,640 --> 01:01:01,640
Speaker 1: we don't know what's going on. So he's getting sacred

1137
01:01:01,680 --> 01:01:03,040
Speaker 1: by the minute though, that's the thing. And they put

1138
01:01:03,080 --> 01:01:05,880
Speaker 1: him in the hospital and he was like refusing to eat.

1139
01:01:06,520 --> 01:01:11,800
Speaker 1: There's a scene where Colin Ferrell's character is like shoving

1140
01:01:11,920 --> 01:01:13,760
Speaker 1: donuts in his son's mouth.

1141
01:01:16,280 --> 01:01:16,920
Speaker 2: And he's like, you.

1142
01:01:16,880 --> 01:01:18,680
Speaker 1: Better eat this dozen donuts before I.

1143
01:01:18,640 --> 01:01:20,040
Speaker 2: Get back or else.

1144
01:01:22,120 --> 01:01:25,920
Speaker 1: I'm like, God, I wish, I wish that was my life.

1145
01:01:28,000 --> 01:01:30,680
Speaker 1: Wish somebody would force me to eat donuts instead of

1146
01:01:30,720 --> 01:01:36,760
Speaker 1: just wanting to. Anyway, that's a great scene for me.

1147
01:01:36,840 --> 01:01:39,680
Speaker 1: I love that scene. But then also here comes the daughter.

1148
01:01:41,720 --> 01:01:46,800
Speaker 1: Now she fucking strugs to funk. As Danielle says, veryone's

1149
01:01:46,880 --> 01:01:49,800
Speaker 1: legs are being taken out, yeah, and they're crawling on

1150
01:01:49,800 --> 01:01:52,480
Speaker 1: the ground. I mean, this is it is like strugs

1151
01:01:52,720 --> 01:01:57,440
Speaker 1: too funk. And then Martin in the meantime, it's just

1152
01:01:57,440 --> 01:01:59,960
Speaker 1: sitting back on yo, I'm killing everybody with my goddamn

1153
01:02:00,160 --> 01:02:02,560
Speaker 1: and you can't do anything about it, like, oh, he

1154
01:02:02,680 --> 01:02:04,920
Speaker 1: is good, straight up chilling while this is happening.

1155
01:02:04,920 --> 01:02:05,440
Speaker 3: But it's like.

1156
01:02:06,920 --> 01:02:08,520
Speaker 1: The one of the scenes that I think is like

1157
01:02:08,640 --> 01:02:10,680
Speaker 1: one of the creepiest in the movie for me, was

1158
01:02:10,720 --> 01:02:12,960
Speaker 1: there was a scene where Martin is being visited after

1159
01:02:12,960 --> 01:02:15,720
Speaker 1: all this stuff is happening, and he's just straight up

1160
01:02:15,760 --> 01:02:17,720
Speaker 1: acting like a psycho and he's like eating a plate

1161
01:02:17,800 --> 01:02:21,720
Speaker 1: of spaghetti that is so this plate of spaghetti is

1162
01:02:21,760 --> 01:02:22,800
Speaker 1: so unappetizing.

1163
01:02:23,760 --> 01:02:27,200
Speaker 2: We have not seen the likes of this since.

1164
01:02:27,440 --> 01:02:32,680
Speaker 3: Gummo and border Hondo fucking percent blows both of them

1165
01:02:32,680 --> 01:02:35,640
Speaker 3: out of the water. And those are some creepy ass scenes.

1166
01:02:36,120 --> 01:02:38,960
Speaker 1: Listen, I'm going online right out a letterbox, and I'm

1167
01:02:39,000 --> 01:02:45,000
Speaker 1: creating a list that says movies where the spaghetti looks disgusting.

1168
01:02:45,480 --> 01:02:49,480
Speaker 3: And spaghetti adds a creep factor that is unparalleled.

1169
01:02:50,400 --> 01:02:53,160
Speaker 1: I mean, I can't even think of a food a

1170
01:02:53,200 --> 01:02:57,800
Speaker 1: food stuff that can be rendered this disgusting, Like I

1171
01:02:57,800 --> 01:03:00,400
Speaker 1: guess maybe a gross sandwich or something, but like a

1172
01:03:00,400 --> 01:03:03,520
Speaker 1: gross play of spaghetti. There's something extra. I don't know

1173
01:03:03,520 --> 01:03:06,360
Speaker 1: if it's because of the tendrils like I don't know what.

1174
01:03:06,760 --> 01:03:09,600
Speaker 3: Ugh, and the sauce all over the mouth like they're

1175
01:03:09,600 --> 01:03:12,400
Speaker 3: not paying attention to like cleaning it. It's very very

1176
01:03:12,440 --> 01:03:14,080
Speaker 3: intense to have bad spaghetti.

1177
01:03:16,040 --> 01:03:20,880
Speaker 1: Well, okay, so here comes Mama Bear, great big Mama

1178
01:03:20,920 --> 01:03:24,480
Speaker 1: Bear herself, Nicole, Thanks Sweepson. Sweeps In is like, we're

1179
01:03:24,480 --> 01:03:28,080
Speaker 1: gonna figure this shit out right fucking now. Everyone's falling

1180
01:03:28,120 --> 01:03:31,040
Speaker 1: apart in my family. She's got her husband like rifling

1181
01:03:31,080 --> 01:03:35,840
Speaker 1: through the kitchen cabinets looking for pubes because because they're like,

1182
01:03:36,720 --> 01:03:37,800
Speaker 1: we gotta break a spell.

1183
01:03:37,840 --> 01:03:38,720
Speaker 3: What are we gonna do here?

1184
01:03:39,000 --> 01:03:42,440
Speaker 1: Like, what's happening with our family? None of our kids

1185
01:03:42,440 --> 01:03:46,880
Speaker 1: can walk or eat? Where are the pubes? Where did

1186
01:03:46,880 --> 01:03:48,240
Speaker 1: you keep the pubes? That is like one of my

1187
01:03:48,240 --> 01:03:50,400
Speaker 1: favorite scenes. And actually that's the scene where I think

1188
01:03:50,840 --> 01:03:52,960
Speaker 1: Colin Ferrell is the funniest.

1189
01:03:53,040 --> 01:03:56,080
Speaker 3: Absolutely And you might think you're having a fever dream

1190
01:03:56,160 --> 01:03:58,800
Speaker 3: right now listening to this description, you're not. This is

1191
01:03:58,920 --> 01:04:00,400
Speaker 3: actually what happens in this movie.

1192
01:04:02,440 --> 01:04:05,840
Speaker 1: But he's like just like throwing up the like all

1193
01:04:05,840 --> 01:04:08,840
Speaker 1: of the you know, cutlery and shit, being like and

1194
01:04:08,880 --> 01:04:11,040
Speaker 1: they're like desperate to find out what the fuck is

1195
01:04:11,040 --> 01:04:11,720
Speaker 1: going on with their kids.

1196
01:04:11,760 --> 01:04:13,240
Speaker 2: I get it, but it's like that's.

1197
01:04:13,120 --> 01:04:16,400
Speaker 1: The line that this movie balances, is that there's like

1198
01:04:17,680 --> 01:04:21,480
Speaker 1: horrible things happening, but it's also kind of funny because it's.

1199
01:04:21,320 --> 01:04:24,800
Speaker 3: Weird, you know, So their reactions are really funny until

1200
01:04:24,840 --> 01:04:28,840
Speaker 3: they get like horror filled, of course, but the reactions

1201
01:04:28,840 --> 01:04:31,760
Speaker 3: are hilarious because they refuse to believe this little creepy

1202
01:04:31,800 --> 01:04:34,640
Speaker 3: baby dude who's like, I'm telling you what's happening, Yes,

1203
01:04:34,880 --> 01:04:35,760
Speaker 3: why don't you believe me?

1204
01:04:36,480 --> 01:04:40,400
Speaker 1: Of course, which is you know, like everyone's trying to

1205
01:04:40,680 --> 01:04:44,680
Speaker 1: base their lives on logic, but his little fucking menace

1206
01:04:45,360 --> 01:04:50,320
Speaker 1: is putting this shit out of the universe. Look, Nicole,

1207
01:04:50,720 --> 01:04:53,040
Speaker 1: she's just trying to keep it together. She's just trying

1208
01:04:53,040 --> 01:04:56,080
Speaker 1: to get information about this kid and her husband essentially

1209
01:04:56,400 --> 01:04:59,640
Speaker 1: and how they're involved. That she's so obsessed with trying

1210
01:04:59,640 --> 01:05:02,000
Speaker 1: to find out the truth that she gives one of

1211
01:05:02,080 --> 01:05:05,320
Speaker 1: the most dispassionate hand jobs in cinema.

1212
01:05:04,920 --> 01:05:08,520
Speaker 3: History another letterbox category, I.

1213
01:05:08,560 --> 01:05:15,200
Speaker 1: Know, dispassionate hand jobs in cinema, like very uncomfortable, And

1214
01:05:15,200 --> 01:05:18,240
Speaker 1: it's like the guy that works in the hospital with

1215
01:05:18,320 --> 01:05:20,800
Speaker 1: her husband and she's just like, I need to go

1216
01:05:20,840 --> 01:05:22,720
Speaker 1: through the files, and he's like, what am I gonna

1217
01:05:22,720 --> 01:05:23,800
Speaker 1: get out of it? And like, I don't know, I

1218
01:05:23,800 --> 01:05:25,360
Speaker 1: guess we're gonna go to the bottom of a fucking

1219
01:05:25,400 --> 01:05:25,919
Speaker 1: parking deck.

1220
01:05:27,480 --> 01:05:30,000
Speaker 3: Also, who says that to a mother who's like, my

1221
01:05:30,160 --> 01:05:33,440
Speaker 3: children can't walk? Suddenly? Yes, she's like, what am I

1222
01:05:33,480 --> 01:05:35,320
Speaker 3: gonna get out of it? You're like, you fucking creep?

1223
01:05:36,120 --> 01:05:40,160
Speaker 1: Look would we say that like straight white men are unstoppable?

1224
01:05:40,200 --> 01:05:42,240
Speaker 1: This is why it's because they're like, hey, when am

1225
01:05:42,280 --> 01:05:43,200
Speaker 1: I going to get out of it?

1226
01:05:43,280 --> 01:05:44,040
Speaker 2: You're grieving?

1227
01:05:44,560 --> 01:05:48,760
Speaker 3: He what will your grief do for me? And how

1228
01:05:48,800 --> 01:05:50,440
Speaker 3: will it involve my penis?

1229
01:05:50,800 --> 01:05:53,600
Speaker 1: Yeah, why don't you just like squeeze me off while

1230
01:05:53,640 --> 01:05:55,120
Speaker 1: you look into the middle distance?

1231
01:05:56,720 --> 01:06:01,400
Speaker 3: Can we call this episode grief penis? Why not?

1232
01:06:02,120 --> 01:06:05,760
Speaker 1: We named something titties the other day, So let's just

1233
01:06:05,840 --> 01:06:10,520
Speaker 1: keep going on that room. But it was it's like

1234
01:06:10,680 --> 01:06:14,200
Speaker 1: just as a disturbing scene, but it's also like she's

1235
01:06:14,280 --> 01:06:16,280
Speaker 1: like reached the point of no return at some point.

1236
01:06:16,440 --> 01:06:20,160
Speaker 1: At some point she actually says this to her husband,

1237
01:06:20,320 --> 01:06:21,320
Speaker 1: the Colin Farrell character.

1238
01:06:21,400 --> 01:06:24,439
Speaker 2: She's just like, let's just kill the kids.

1239
01:06:24,480 --> 01:06:25,560
Speaker 3: We can just have more.

1240
01:06:27,880 --> 01:06:31,240
Speaker 2: Like they're they're strugs to funk. I think they're gone.

1241
01:06:31,240 --> 01:06:32,080
Speaker 2: I think they're goners.

1242
01:06:32,120 --> 01:06:35,520
Speaker 1: When she's say like, we should just let's just have

1243
01:06:35,600 --> 01:06:38,920
Speaker 1: more kids. It's not too late. It's like, Wow, people

1244
01:06:38,960 --> 01:06:43,520
Speaker 1: are losing their goddamn minds. And I used to say,

1245
01:06:43,600 --> 01:06:46,080
Speaker 1: like not for nothing too, because we did talk about

1246
01:06:46,080 --> 01:06:50,120
Speaker 1: eyeswead Shut, and obviously we just invoked Kubrick in this episode.

1247
01:06:50,240 --> 01:06:53,200
Speaker 1: But like, she gets more naked in the killing of

1248
01:06:53,200 --> 01:06:55,280
Speaker 1: a Sacred Deer than she does an Eyeswead Shut. I'm

1249
01:06:55,280 --> 01:06:59,760
Speaker 1: just saying, yeah, much more naked and much more sexual weirdly,

1250
01:07:00,320 --> 01:07:02,280
Speaker 1: I know, and she gets her bottoms off of this

1251
01:07:02,360 --> 01:07:04,600
Speaker 1: movie and like everybody thought that I sweat shot was

1252
01:07:04,640 --> 01:07:06,080
Speaker 1: this like erotic masterpiece.

1253
01:07:06,120 --> 01:07:08,800
Speaker 2: I'm like, have you seen the Killing a Sacred Nearer?

1254
01:07:10,600 --> 01:07:13,320
Speaker 1: So sex life is so weird, Like it's just all

1255
01:07:13,440 --> 01:07:14,520
Speaker 1: so strange.

1256
01:07:14,560 --> 01:07:16,760
Speaker 3: It's a strange world that you're thrust into.

1257
01:07:17,120 --> 01:07:20,520
Speaker 1: I know, yeah, there's like this like we're not king

1258
01:07:20,600 --> 01:07:23,160
Speaker 1: Shame and anybody, why would we do that? But you know,

1259
01:07:23,320 --> 01:07:25,440
Speaker 1: she also acts like a dead body in order to

1260
01:07:25,440 --> 01:07:26,040
Speaker 1: have sex.

1261
01:07:25,840 --> 01:07:32,520
Speaker 3: With Also, necrophilia's on the table, which is a sentence

1262
01:07:32,560 --> 01:07:34,720
Speaker 3: I did not think I would say this week or ever.

1263
01:07:35,360 --> 01:07:37,600
Speaker 1: Yeah, a lot of weird shit entering the chat in

1264
01:07:37,600 --> 01:07:41,560
Speaker 1: this movie, for sure, But but then eventually, look, they

1265
01:07:41,560 --> 01:07:44,400
Speaker 1: get so desperate that they they take Martin and they

1266
01:07:44,440 --> 01:07:47,080
Speaker 1: trap him down in the basement and beat his ass

1267
01:07:47,120 --> 01:07:53,480
Speaker 1: like Hugh Jackman does in Prisoners, Like this kid is ruined.

1268
01:07:53,240 --> 01:07:53,640
Speaker 3: In my life.

1269
01:07:53,720 --> 01:07:55,840
Speaker 2: Let's just trap him and beat him up.

1270
01:07:58,600 --> 01:08:01,760
Speaker 1: And at one point Martin bites off his own skin,

1271
01:08:02,360 --> 01:08:03,760
Speaker 1: which is so lovely.

1272
01:08:05,240 --> 01:08:08,160
Speaker 3: Oh good in a movie full of creepy scenes, that

1273
01:08:08,280 --> 01:08:09,640
Speaker 3: has to be the creepiest.

1274
01:08:09,920 --> 01:08:13,160
Speaker 2: Oh it's it's pretty pretty gnarly, I will.

1275
01:08:12,960 --> 01:08:14,560
Speaker 3: Say, because.

1276
01:08:16,760 --> 01:08:19,240
Speaker 1: Yeah, I thought I was desensitize to.

1277
01:08:19,240 --> 01:08:22,120
Speaker 2: All this gore, but once in a while it rocks me.

1278
01:08:22,560 --> 01:08:26,040
Speaker 2: Gotta admit. But look, I mentioned all these details to you,

1279
01:08:26,280 --> 01:08:27,479
Speaker 2: but I gotta wrap this up.

1280
01:08:27,720 --> 01:08:32,040
Speaker 1: I would not ever give away the ending because it's

1281
01:08:32,120 --> 01:08:36,080
Speaker 1: just so bizarre, and it will. It is so easy,

1282
01:08:36,160 --> 01:08:38,840
Speaker 1: like once you finish this movie, it's so easy to

1283
01:08:38,880 --> 01:08:40,840
Speaker 1: go down that rabbit hole of what does it mean?

1284
01:08:42,040 --> 01:08:44,799
Speaker 3: And trust me, there's a lot.

1285
01:08:44,600 --> 01:08:48,080
Speaker 1: Of people making weird YouTube videos trying to ask that

1286
01:08:48,200 --> 01:08:49,920
Speaker 1: question of what does this movie mean? What is this

1287
01:08:50,000 --> 01:08:53,960
Speaker 1: movie about? And you'll see a lot of varied stuff.

1288
01:08:54,000 --> 01:08:59,080
Speaker 1: I mean, there's like very like poignant, well done you

1289
01:08:59,120 --> 01:09:02,559
Speaker 1: know what is this movie mean? Videos made by content creators.

1290
01:09:02,600 --> 01:09:07,040
Speaker 1: And then I watched one where literally like a middle

1291
01:09:07,080 --> 01:09:12,400
Speaker 1: aged man had two parrots sitting on his shoulder and

1292
01:09:12,600 --> 01:09:14,960
Speaker 1: it was like he was filmed in almost complete darkness.

1293
01:09:14,960 --> 01:09:17,439
Speaker 1: He didn't use a ring light or anything. He is

1294
01:09:17,520 --> 01:09:19,800
Speaker 1: just like an older guy sitting in darkness with two

1295
01:09:19,800 --> 01:09:22,560
Speaker 1: parrots on his shoulder, and he's like just casually discussing

1296
01:09:22,600 --> 01:09:23,320
Speaker 1: this film.

1297
01:09:23,720 --> 01:09:25,720
Speaker 3: Yeah, this movie was made for him. This movie was

1298
01:09:25,840 --> 01:09:26,759
Speaker 3: made for him.

1299
01:09:26,760 --> 01:09:29,719
Speaker 1: I know exactly. I was like, this is fucking brilliant.

1300
01:09:29,880 --> 01:09:36,080
Speaker 1: Like I love the disparate takes on this film on YouTube,

1301
01:09:36,600 --> 01:09:40,639
Speaker 1: but like this movie is, like I said, I think

1302
01:09:40,680 --> 01:09:42,360
Speaker 1: I liked it a lot more now than I did

1303
01:09:42,520 --> 01:09:45,320
Speaker 1: back when I guess when I first watched it. It's

1304
01:09:45,479 --> 01:09:49,640
Speaker 1: very stylish, very interesting, very weird. Colin Farrell is fantastic,

1305
01:09:49,720 --> 01:09:52,519
Speaker 1: Like he's really fantastic this movie. And I love Nicole,

1306
01:09:52,640 --> 01:09:55,559
Speaker 1: Like I always get reminded every time I watch Nicole

1307
01:09:55,600 --> 01:09:59,519
Speaker 1: Caman movies, I get reminded again and again how I

1308
01:10:00,000 --> 01:10:03,160
Speaker 1: I think she sort of transcends her fame where I

1309
01:10:03,160 --> 01:10:05,960
Speaker 1: think she's just a legit artist, Like she's like, you know, when.

1310
01:10:05,840 --> 01:10:08,240
Speaker 2: We talk about The Hours, when we've talked about.

1311
01:10:09,520 --> 01:10:11,880
Speaker 1: Far and Away, what other Nicole Kidman movies have we

1312
01:10:11,920 --> 01:10:14,400
Speaker 1: talked about on the podcast, like so many.

1313
01:10:14,720 --> 01:10:18,000
Speaker 3: So many, but she's, like you said, Stanley Kubrick, we

1314
01:10:18,040 --> 01:10:20,480
Speaker 3: did eyes shut. Yeah.

1315
01:10:20,520 --> 01:10:23,759
Speaker 1: So she's one of these rare people I think where

1316
01:10:24,000 --> 01:10:27,120
Speaker 1: she can straddle that line between being like an actual

1317
01:10:27,280 --> 01:10:31,200
Speaker 1: famous she can play like she can be in Bewitched

1318
01:10:31,520 --> 01:10:33,360
Speaker 1: with Will Ferrell, and then she can be in a

1319
01:10:33,360 --> 01:10:36,080
Speaker 1: movie like this, Like it's I think it's rare that

1320
01:10:36,160 --> 01:10:38,600
Speaker 1: you can be in both worlds. And I mean, trust me,

1321
01:10:38,640 --> 01:10:40,360
Speaker 1: a lot of like super famous people want to be

1322
01:10:40,400 --> 01:10:42,680
Speaker 1: in both worlds. Like they're like, yeah, cool, I want

1323
01:10:42,680 --> 01:10:44,920
Speaker 1: to be Brad Pitt in this movie, but then I

1324
01:10:45,000 --> 01:10:49,400
Speaker 1: also want to play like a scabies infested serial killer

1325
01:10:49,439 --> 01:10:51,040
Speaker 1: and stuff like indie drama.

1326
01:10:51,479 --> 01:10:54,200
Speaker 2: You know, like so many people want that for themselves.

1327
01:10:54,280 --> 01:10:57,000
Speaker 1: But I think it takes it's I think it's like

1328
01:10:57,040 --> 01:10:59,400
Speaker 1: a fine line that you actually achieve it in that way.

1329
01:10:59,439 --> 01:11:01,120
Speaker 2: And I think Kim and is that you know.

1330
01:11:01,840 --> 01:11:04,240
Speaker 3: I could not agree more. I could not agree more.

1331
01:11:04,640 --> 01:11:08,160
Speaker 1: But I gotta say, the medical stuff in this film

1332
01:11:08,200 --> 01:11:09,439
Speaker 1: will give you a panic attack.

1333
01:11:09,479 --> 01:11:10,880
Speaker 2: I texted you and I said that to you.

1334
01:11:10,960 --> 01:11:15,360
Speaker 1: I was like, I have definitely hit my fucking quota

1335
01:11:15,479 --> 01:11:19,320
Speaker 1: of watching little kids get spital taps on movies for

1336
01:11:19,400 --> 01:11:20,680
Speaker 1: this goddamn podcast.

1337
01:11:23,160 --> 01:11:30,040
Speaker 2: I'm done. I've watched too many, but.

1338
01:11:30,600 --> 01:11:35,920
Speaker 1: That contributes to the creepiness of this film. So having

1339
01:11:35,920 --> 01:11:39,160
Speaker 1: said all that, I think it's a banger. Thank you

1340
01:11:39,200 --> 01:11:41,440
Speaker 1: for picking it, honestly, thank you for picking.

1341
01:11:41,600 --> 01:11:44,080
Speaker 3: Thank you for being willing to watch it even though

1342
01:11:44,080 --> 01:11:45,519
Speaker 3: you forgot you already had.

1343
01:11:46,080 --> 01:11:47,800
Speaker 2: Yes, I did, but it was great. I love it

1344
01:11:47,840 --> 01:11:48,479
Speaker 2: when I forget.

1345
01:11:49,479 --> 01:11:52,919
Speaker 3: Yeah, it's I'm so and it fits the theme so perfectly.

1346
01:11:53,400 --> 01:11:56,360
Speaker 3: There's a philosophical element to this film. I love a

1347
01:11:56,400 --> 01:11:59,479
Speaker 3: movie where I walk away and I have my own thoughts,

1348
01:12:00,240 --> 01:12:02,679
Speaker 3: or where I can dig into someone else's thought process

1349
01:12:02,680 --> 01:12:06,040
Speaker 3: about what they saw. Like I just I love the

1350
01:12:06,160 --> 01:12:09,840
Speaker 3: universe of this movie because it makes you think while

1351
01:12:09,880 --> 01:12:12,479
Speaker 3: you're watching it. It throws you into a certain place

1352
01:12:12,840 --> 01:12:14,439
Speaker 3: while you're watching it, and then it takes you out

1353
01:12:14,479 --> 01:12:16,760
Speaker 3: and puts you in a totally different place. It is

1354
01:12:17,120 --> 01:12:22,240
Speaker 3: truly masterful. How much comes up just simply in viewing

1355
01:12:22,280 --> 01:12:22,759
Speaker 3: this film.

1356
01:12:23,360 --> 01:12:28,200
Speaker 1: Mm hmm, I one hundred percent agree. And your movie

1357
01:12:28,600 --> 01:12:31,759
Speaker 1: is next, and my movie.

1358
01:12:31,640 --> 01:12:32,880
Speaker 3: Does very similar things.

1359
01:12:33,280 --> 01:12:36,439
Speaker 1: Yeah, Now this was a first watch for you, it was,

1360
01:12:38,080 --> 01:12:39,280
Speaker 1: and you're welcome.

1361
01:12:41,560 --> 01:12:45,880
Speaker 2: Fuck you.

1362
01:12:45,880 --> 01:12:47,800
Speaker 3: You thought you were gonna skape by this year with

1363
01:12:47,840 --> 01:12:50,479
Speaker 3: no not being freaked out at all, and here I

1364
01:12:50,520 --> 01:12:54,920
Speaker 3: come on Mother's Day, like, guess what, motherfucker A two

1365
01:12:54,960 --> 01:12:57,160
Speaker 3: for a two for freak out?

1366
01:12:57,720 --> 01:12:59,040
Speaker 2: What a gift? What a gift.

1367
01:13:04,520 --> 01:13:06,920
Speaker 3: My movie was released in two thousand and four. It

1368
01:13:06,960 --> 01:13:11,799
Speaker 3: was written by Jean Claud Carrier, Milo Adisha, and Jonathan Glazer.

1369
01:13:12,520 --> 01:13:17,320
Speaker 3: It was directed by Jonathan Glazer. My movie is birth.

1370
01:13:17,760 --> 01:13:20,479
Speaker 4: I might understand that that ten year old boy that

1371
01:13:20,560 --> 01:13:24,639
Speaker 4: came to my birthday party unannounced, uninvited, is now claiming

1372
01:13:25,120 --> 01:13:28,040
Speaker 4: told you he was your late husband Sean.

1373
01:13:28,400 --> 01:13:30,080
Speaker 3: Now, I'm going to start with the one sentence, but

1374
01:13:30,080 --> 01:13:31,880
Speaker 3: we're going on a ride. I just want everyone to

1375
01:13:31,920 --> 01:13:37,599
Speaker 3: know that up top. The one sentence synopsis is if

1376
01:13:37,640 --> 01:13:39,920
Speaker 3: you live in a city, don't trust the little kid

1377
01:13:39,960 --> 01:13:45,960
Speaker 3: who says he's been reincarnated as your dead husband. Live

1378
01:13:46,000 --> 01:13:48,559
Speaker 3: in a city, I mean, if you live in the country,

1379
01:13:48,560 --> 01:13:49,519
Speaker 3: you expect that kind of shit.

1380
01:13:50,280 --> 01:13:52,560
Speaker 1: You're like, oh, yeah, that's Randy.

1381
01:13:52,240 --> 01:13:54,040
Speaker 3: Down the road. He thinks he's a reincarnation of my

1382
01:13:54,080 --> 01:13:54,719
Speaker 3: dead husband.

1383
01:13:56,160 --> 01:13:58,920
Speaker 2: Something about the city makes that terrible.

1384
01:14:02,160 --> 01:14:05,240
Speaker 3: So the whole premise of this film, which we get

1385
01:14:05,280 --> 01:14:08,320
Speaker 3: at the beginning and a beautiful shot, like a beautiful

1386
01:14:08,320 --> 01:14:12,840
Speaker 3: continuous shot. Is that Nicole Kidman's husband. She plays his

1387
01:14:12,920 --> 01:14:16,920
Speaker 3: character named Anna, and her husband dies while running in

1388
01:14:16,960 --> 01:14:21,160
Speaker 3: Central Park. He collapses in a tunnel and is gone.

1389
01:14:21,160 --> 01:14:23,160
Speaker 3: And they are young people, like there are people in

1390
01:14:22,840 --> 01:14:26,479
Speaker 3: their twenties, you would think, like mid to late twenties.

1391
01:14:26,520 --> 01:14:29,920
Speaker 3: And so it's a sudden collapse that is not We

1392
01:14:29,960 --> 01:14:32,519
Speaker 3: don't dig into the reason, the reasoning, like was it

1393
01:14:32,560 --> 01:14:34,920
Speaker 3: a hard thing? We don't know why. But he's dead.

1394
01:14:35,360 --> 01:14:38,960
Speaker 3: And Jonathan Glazer, a lot of you might know because

1395
01:14:39,000 --> 01:14:41,240
Speaker 3: he's kind of a He's not like a Yurgo's lanthemost

1396
01:14:41,400 --> 01:14:47,880
Speaker 3: level freak, but he definitely is that theatrical background freak

1397
01:14:47,920 --> 01:14:50,280
Speaker 3: that I love. And you know him whether you know

1398
01:14:50,360 --> 01:14:52,960
Speaker 3: it or not. He has done films like Sexy Beast.

1399
01:14:53,439 --> 01:14:55,920
Speaker 3: He just won an Oscar for his last film, The

1400
01:14:56,000 --> 01:14:59,320
Speaker 3: Zone of Interest. But what you might know him for

1401
01:14:59,520 --> 01:15:04,960
Speaker 3: the most is directing a little video called Virtual Insanity

1402
01:15:05,000 --> 01:15:05,800
Speaker 3: by Jamir Qui.

1403
01:15:06,960 --> 01:15:09,360
Speaker 2: Yes, a foundational text.

1404
01:15:09,600 --> 01:15:14,600
Speaker 3: Okay, he also directed Karma Police by Radiohead, but Jamierquiz

1405
01:15:14,760 --> 01:15:18,240
Speaker 3: Virtual Insanity was the pinnacle of music videos and we

1406
01:15:18,280 --> 01:15:19,599
Speaker 3: all know it, and I don't care if you want

1407
01:15:19,640 --> 01:15:22,200
Speaker 3: to admit it, nothing has been better or blown our

1408
01:15:22,200 --> 01:15:26,040
Speaker 3: minds the same way since, although I will say Missy

1409
01:15:26,080 --> 01:15:29,760
Speaker 3: Elliott is right under there, but not in that mind

1410
01:15:29,800 --> 01:15:32,320
Speaker 3: blowing way, but just in that like, oh shit, this

1411
01:15:32,479 --> 01:15:38,040
Speaker 3: is so cool way. Oh just so I'm looking at it.

1412
01:15:38,400 --> 01:15:41,360
Speaker 1: He directed the video for do you remember that Richard

1413
01:15:41,400 --> 01:15:42,160
Speaker 1: Ashcroft song?

1414
01:15:42,200 --> 01:15:43,240
Speaker 2: A song for the lovers?

1415
01:15:43,360 --> 01:15:50,080
Speaker 1: That song rules you play yourself with the lovers to night, dude,

1416
01:15:50,200 --> 01:15:50,800
Speaker 1: I love it.

1417
01:15:51,240 --> 01:15:56,719
Speaker 3: Yeah, he has done so much, also striving from Nick Cave,

1418
01:15:57,280 --> 01:16:00,479
Speaker 3: my favorite Nick Cave song, Into My Arms. He did

1419
01:16:00,479 --> 01:16:03,639
Speaker 3: a video for that. Yeah. Do you remember?

1420
01:16:04,240 --> 01:16:07,680
Speaker 1: Speaking of do you remember there was that year that

1421
01:16:07,800 --> 01:16:12,760
Speaker 1: Chris Rock hosted the MTV Music Awards and he did

1422
01:16:13,360 --> 01:16:16,760
Speaker 1: a spoof on that Jamiroquai video where a bird poked.

1423
01:16:16,520 --> 01:16:20,800
Speaker 2: Him in the eye. Hit that shit makes me laugh

1424
01:16:20,880 --> 01:16:21,280
Speaker 2: so much.

1425
01:16:22,120 --> 01:16:27,120
Speaker 3: I got that vie totally right. Oh good. So we're

1426
01:16:27,160 --> 01:16:29,280
Speaker 3: coming from the mind of someone who has a background

1427
01:16:29,360 --> 01:16:32,240
Speaker 3: in like this intensely artistic community that he talks about frequently.

1428
01:16:32,400 --> 01:16:34,400
Speaker 3: And you know, he has a background in theater as

1429
01:16:34,400 --> 01:16:36,559
Speaker 3: a background and as a lot of people who came

1430
01:16:36,680 --> 01:16:39,200
Speaker 3: up directing in the early two thousands. He has a

1431
01:16:39,400 --> 01:16:43,559
Speaker 3: deep background in music videos and commercials, and he's just

1432
01:16:43,640 --> 01:16:47,599
Speaker 3: kind of an interesting guy, and so this movie comes

1433
01:16:47,600 --> 01:16:51,080
Speaker 3: from that brain essentially. And so when we meet Anna,

1434
01:16:51,520 --> 01:16:54,000
Speaker 3: we can tell that she's still grieving, not just because

1435
01:16:54,000 --> 01:16:57,519
Speaker 3: we meet her in a graveyard ten years later, kind

1436
01:16:57,520 --> 01:17:01,639
Speaker 3: of crying over her husband's grave, but she's wearing ug

1437
01:17:01,680 --> 01:17:03,559
Speaker 3: boots with bare legs in the middle of the winter,

1438
01:17:03,840 --> 01:17:07,599
Speaker 3: so you're like, oh, there's something off here. And part

1439
01:17:07,600 --> 01:17:10,080
Speaker 3: of what's off is that she's rich, and rich people

1440
01:17:10,160 --> 01:17:12,800
Speaker 3: don't ever consider being outside for long. They don't have

1441
01:17:12,840 --> 01:17:14,040
Speaker 3: to be because they're just like, I'm just going to

1442
01:17:14,160 --> 01:17:17,320
Speaker 3: jump on my car that's always there waiting for me warm,

1443
01:17:18,600 --> 01:17:20,400
Speaker 3: and then I'm going to go jump on my private jet,

1444
01:17:20,400 --> 01:17:22,920
Speaker 3: Like why do I have a coat? Like who needs it?

1445
01:17:23,680 --> 01:17:26,599
Speaker 3: So her husband is dead, and then a baby is born,

1446
01:17:26,640 --> 01:17:28,120
Speaker 3: and then we cut to ten years later and she's

1447
01:17:28,160 --> 01:17:34,400
Speaker 3: in this graveyard and she is newly engaged to Joe Joseph,

1448
01:17:34,520 --> 01:17:38,400
Speaker 3: who's played by Danny Houston, who I must say has

1449
01:17:38,520 --> 01:17:40,479
Speaker 3: never looked taught her than he does in this film.

1450
01:17:40,680 --> 01:17:45,040
Speaker 3: Ooh interesting, just throwing that out there, and he's kind

1451
01:17:45,080 --> 01:17:46,840
Speaker 3: of like, you know, they're having this engagement party and

1452
01:17:46,920 --> 01:17:49,880
Speaker 3: he's talking about how it took her like five years

1453
01:17:49,920 --> 01:17:54,040
Speaker 3: to be ready to marry him, and he kept asking,

1454
01:17:54,120 --> 01:17:56,000
Speaker 3: like he really pursued her, he wanted to be with her,

1455
01:17:56,000 --> 01:17:58,639
Speaker 3: and she finally said yes, So they're getting married now.

1456
01:17:58,680 --> 01:18:03,679
Speaker 3: While this is happening upstairs. Downstairs is a couple who

1457
01:18:03,960 --> 01:18:07,519
Speaker 3: and the couple is comprised of Peter Stormyer who plays

1458
01:18:07,520 --> 01:18:10,120
Speaker 3: Clifford and you know him from every eighties villain role

1459
01:18:11,080 --> 01:18:14,360
Speaker 3: and Anne hash rest in Peace Queen who played Clara,

1460
01:18:14,960 --> 01:18:17,640
Speaker 3: his wife. And Clara does not want to go to

1461
01:18:17,680 --> 01:18:19,800
Speaker 3: this party. She's having an absolute fucking breakdown in the

1462
01:18:19,840 --> 01:18:22,800
Speaker 3: lobby about the present and she's like, I can't, like

1463
01:18:22,840 --> 01:18:25,320
Speaker 3: this isn't right. I forgot the bow and he goes

1464
01:18:25,400 --> 01:18:27,479
Speaker 3: up without her, and she's having her own private little

1465
01:18:27,520 --> 01:18:32,000
Speaker 3: breakdown moment while this incredibly eerie little kid is just

1466
01:18:32,040 --> 01:18:35,280
Speaker 3: sitting in the lobby staring at her, and she runs

1467
01:18:35,320 --> 01:18:37,719
Speaker 3: off to the park. We don't know why she's freaking

1468
01:18:37,720 --> 01:18:40,280
Speaker 3: out at this point. We will eventually learn why, but

1469
01:18:40,400 --> 01:18:42,280
Speaker 3: she runs off to the park because of course, this

1470
01:18:42,320 --> 01:18:46,320
Speaker 3: family lives on Central Park West, and buries the original

1471
01:18:46,360 --> 01:18:48,479
Speaker 3: present and then just goes and buys another present. But

1472
01:18:48,520 --> 01:18:50,720
Speaker 3: the kid follows her and she doesn't see him, but

1473
01:18:50,720 --> 01:18:52,920
Speaker 3: the kid kind of follows her while she's burying this present.

1474
01:18:53,439 --> 01:18:56,639
Speaker 3: So she shows back up at the party and she's

1475
01:18:56,640 --> 01:18:57,000
Speaker 3: got this.

1476
01:18:56,960 --> 01:19:00,880
Speaker 1: Whole new gift, and this little kid is there the

1477
01:19:00,880 --> 01:19:03,439
Speaker 1: whole time, and he looks haunted as fuck.

1478
01:19:03,479 --> 01:19:05,800
Speaker 3: Like we go to his house the next day and

1479
01:19:05,880 --> 01:19:09,599
Speaker 3: he just looks haunted, like remember the cover of the

1480
01:19:09,640 --> 01:19:13,200
Speaker 3: Afghan Whigs CD Gentleman with the Little Kid. I'm sitting

1481
01:19:13,200 --> 01:19:15,880
Speaker 3: on the edge of the bed looking off into the distance, like,

1482
01:19:16,000 --> 01:19:17,320
Speaker 3: hush shit, you want to do.

1483
01:19:17,720 --> 01:19:19,759
Speaker 2: Only one of my favorite albums of all time?

1484
01:19:20,320 --> 01:19:24,240
Speaker 3: Right? He looks like that little motherfucker. And look, I

1485
01:19:24,280 --> 01:19:26,639
Speaker 3: would be too if I think I used to live

1486
01:19:26,680 --> 01:19:28,880
Speaker 3: on Central Park West and now I live in Staten Island,

1487
01:19:28,920 --> 01:19:32,439
Speaker 3: Like I would be haunted too. But he basically keeps

1488
01:19:32,479 --> 01:19:36,200
Speaker 3: coming back to this fucking part this apartment, and you're like, one,

1489
01:19:36,320 --> 01:19:38,600
Speaker 3: how is it we do again? Eventually figure out that

1490
01:19:38,640 --> 01:19:40,640
Speaker 3: he's there all the time because his dad is a

1491
01:19:40,680 --> 01:19:43,519
Speaker 3: tutor in the building who's working in the building. But

1492
01:19:43,560 --> 01:19:47,080
Speaker 3: you know, he's just always kind of around. And there's

1493
01:19:47,080 --> 01:19:51,080
Speaker 3: a birthday party that happens because Anna lives with again,

1494
01:19:51,160 --> 01:19:53,559
Speaker 3: the cast is incredible, Like Lauren Bacall plays her mother,

1495
01:19:54,200 --> 01:19:57,760
Speaker 3: Arlas Howard is her her brother in law. You've got

1496
01:19:57,760 --> 01:20:02,759
Speaker 3: Ted Levine playing this kid Shan's parent, like Ted Levine

1497
01:20:02,760 --> 01:20:05,840
Speaker 3: and Kara Seymour are playing his parents. Is a great cast.

1498
01:20:05,920 --> 01:20:08,200
Speaker 3: But this little kid just kind of walks up to

1499
01:20:08,240 --> 01:20:11,280
Speaker 3: this party and goes in and he's like, hey, can

1500
01:20:11,320 --> 01:20:13,479
Speaker 3: I talk to you? Like he's talking like an adult

1501
01:20:13,479 --> 01:20:15,360
Speaker 3: and which is so weird coming out of a kid's body.

1502
01:20:16,080 --> 01:20:19,479
Speaker 3: But he basically says to Anna like, look, I don't

1503
01:20:19,479 --> 01:20:21,679
Speaker 3: want to say this in front of everyone, so let's

1504
01:20:21,680 --> 01:20:24,000
Speaker 3: go to the kitchen. And they do, and he's like,

1505
01:20:24,439 --> 01:20:29,200
Speaker 3: it's me, your boy, Sean, your fucking husband. You're my wife,

1506
01:20:29,439 --> 01:20:31,720
Speaker 3: and you'll be making a mistake if you marry Joseph.

1507
01:20:31,800 --> 01:20:34,160
Speaker 3: Just off the gate. And then the doorman comes in

1508
01:20:34,200 --> 01:20:35,600
Speaker 3: and kind of sends a little kid off to the

1509
01:20:35,680 --> 01:20:38,000
Speaker 3: night to take the subway home. He doesn't give a shit,

1510
01:20:39,040 --> 01:20:42,000
Speaker 3: but Anna is wrecked. She is like, the fuck did

1511
01:20:42,000 --> 01:20:46,479
Speaker 3: that kid just say to me? And truly, if I

1512
01:20:46,560 --> 01:20:50,080
Speaker 3: were a more cruel person, this would be an amazing

1513
01:20:50,320 --> 01:20:55,479
Speaker 3: trick to pull off on a widow or widower for

1514
01:20:55,640 --> 01:20:57,360
Speaker 3: the place of y'all out there that want to do

1515
01:20:57,439 --> 01:21:00,240
Speaker 3: something like that. If there's someone you truly just like

1516
01:21:00,280 --> 01:21:03,160
Speaker 3: in this world, get hold of a little kid, fill

1517
01:21:03,200 --> 01:21:06,120
Speaker 3: them with information about your enemy, and then when their

1518
01:21:06,160 --> 01:21:09,760
Speaker 3: partner dies, send them in there and be like it's me, Yeah,

1519
01:21:09,760 --> 01:21:11,040
Speaker 3: your fucking eggs.

1520
01:21:11,280 --> 01:21:16,599
Speaker 1: Get write a creepy little kid note that is just

1521
01:21:16,640 --> 01:21:21,639
Speaker 1: like I'm him or whatever it was on some loose

1522
01:21:21,720 --> 01:21:25,120
Speaker 1: leaf notebook paper with like the big pencil.

1523
01:21:26,560 --> 01:21:28,080
Speaker 2: Really fuck somebody's life up.

1524
01:21:28,400 --> 01:21:31,600
Speaker 3: I am making this my screenshot, and we have to

1525
01:21:31,640 --> 01:21:35,320
Speaker 3: actually post it this week. The next morning, the doorman

1526
01:21:35,439 --> 01:21:37,280
Speaker 3: hands an a letter and it is it is this

1527
01:21:37,320 --> 01:21:41,160
Speaker 3: little kid handwriting with the big pencil, and it simply says,

1528
01:21:41,600 --> 01:21:45,720
Speaker 3: don't marry Joseph. Like this is a joke that has legs.

1529
01:21:47,240 --> 01:21:47,920
Speaker 3: I hear that.

1530
01:21:50,160 --> 01:21:54,600
Speaker 1: I fell the fuck out when I saw that. I

1531
01:21:54,720 --> 01:21:58,880
Speaker 1: was like, they did not just show the kid's note

1532
01:21:59,280 --> 01:22:01,400
Speaker 1: with the handwriting on it.

1533
01:22:01,960 --> 01:22:05,960
Speaker 2: I was like, I was fucking hilarious.

1534
01:22:05,840 --> 01:22:10,200
Speaker 3: Ripped out of a trapper. Keeper doesn't even elaborate. He's like,

1535
01:22:10,240 --> 01:22:13,080
Speaker 3: I already told you I'm your fucking dead husband. So

1536
01:22:13,160 --> 01:22:16,840
Speaker 3: here's the message. Don't marry Joseph. We're still married. I'm here.

1537
01:22:16,960 --> 01:22:18,519
Speaker 3: I just happened to be ten years old.

1538
01:22:19,640 --> 01:22:23,720
Speaker 1: It's like it's like that part of mcgroober where like

1539
01:22:23,760 --> 01:22:25,679
Speaker 1: the mcgooper note says like meet me at the White

1540
01:22:25,680 --> 01:22:27,479
Speaker 1: House or whatever, and it's like the little kid handry.

1541
01:22:27,600 --> 01:22:28,639
Speaker 1: I don't know why that.

1542
01:22:28,600 --> 01:22:30,160
Speaker 2: Technique makes me laugh so hard.

1543
01:22:30,360 --> 01:22:33,519
Speaker 1: It's like when a little kid note is inserted into

1544
01:22:33,600 --> 01:22:36,000
Speaker 1: a very serious scene.

1545
01:22:40,840 --> 01:22:43,000
Speaker 2: I was so crazy technique.

1546
01:22:43,320 --> 01:22:47,320
Speaker 3: So Joe, her fiance, sees this note and he wants

1547
01:22:47,360 --> 01:22:49,120
Speaker 3: to call the doorman to find out, like who is

1548
01:22:49,160 --> 01:22:52,439
Speaker 3: this little kid? And Sean picks up the fucking phone.

1549
01:22:52,479 --> 01:22:57,000
Speaker 3: He's like it's me, Sean, Like I'm everywhere all the time.

1550
01:22:57,600 --> 01:23:00,559
Speaker 3: School doesn't matter. Yeah, my dad's a tutor. School doesn't matter.

1551
01:23:01,680 --> 01:23:04,479
Speaker 3: But Joe finally like goes downstairs, grabs this kid and

1552
01:23:04,520 --> 01:23:06,640
Speaker 3: he's like, where is your dad? Like he finds out

1553
01:23:06,680 --> 01:23:08,360
Speaker 3: the kid's dad works there, and then he goes up

1554
01:23:08,360 --> 01:23:12,320
Speaker 3: and talks to Ted Levine and you know, Sean gets

1555
01:23:12,320 --> 01:23:17,000
Speaker 3: in trouble and it basically they're like, you know, like

1556
01:23:17,080 --> 01:23:19,679
Speaker 3: tell Anna you're never gonna see her or bother her again,

1557
01:23:19,720 --> 01:23:21,880
Speaker 3: and he's like I can't do that, and he just

1558
01:23:21,960 --> 01:23:24,200
Speaker 3: keeps doubling down. He's like I can't do that. Oh

1559
01:23:24,360 --> 01:23:27,040
Speaker 3: and then he passes out to make his point, which again,

1560
01:23:27,360 --> 01:23:30,960
Speaker 3: if you can do that, amazing falls to the ground.

1561
01:23:31,680 --> 01:23:35,240
Speaker 3: That scene was insane.

1562
01:23:34,560 --> 01:23:38,040
Speaker 1: Where like because Nicole is all the way down the

1563
01:23:38,040 --> 01:23:40,439
Speaker 1: hallway and it's that thing where she's about to turn

1564
01:23:40,479 --> 01:23:43,280
Speaker 1: the corner and then she just peers around back at

1565
01:23:43,320 --> 01:23:46,120
Speaker 1: the kid and he's fallen to his fucking knees like

1566
01:23:46,240 --> 01:23:49,720
Speaker 1: he's you know, he's just seen the image of.

1567
01:23:49,760 --> 01:23:54,040
Speaker 3: God in whoo or something. And I'm like, holy shit,

1568
01:23:54,439 --> 01:23:55,200
Speaker 3: what the fuck?

1569
01:23:55,720 --> 01:23:57,479
Speaker 1: That was the first time that I was like, yo,

1570
01:23:57,600 --> 01:23:59,200
Speaker 1: this movie is insane, like.

1571
01:24:00,720 --> 01:24:03,040
Speaker 3: True, and it wouldn't be the last time, because then

1572
01:24:03,040 --> 01:24:05,479
Speaker 3: they go to the fucking opera and this is where

1573
01:24:05,560 --> 01:24:07,759
Speaker 3: Nicole Kidman, like you were just saying about how amazing

1574
01:24:07,800 --> 01:24:09,560
Speaker 3: she isn't as an actress. This is where, to me,

1575
01:24:10,680 --> 01:24:13,599
Speaker 3: her acting in this movie is brought into such sharp focus,

1576
01:24:13,640 --> 01:24:16,160
Speaker 3: because the beauty of this film is the tension that

1577
01:24:16,280 --> 01:24:19,120
Speaker 3: is created in all of these different ways, like emotionally

1578
01:24:19,160 --> 01:24:23,080
Speaker 3: and situationally, and it's all these different ways. The tension

1579
01:24:23,160 --> 01:24:27,000
Speaker 3: is constantly playing with itself in this Oh god, that's

1580
01:24:27,040 --> 01:24:30,040
Speaker 3: so disgusting, and attention's playing with itself. But you know

1581
01:24:30,080 --> 01:24:33,040
Speaker 3: what I mean, like in this film, Yes, And so

1582
01:24:33,080 --> 01:24:35,519
Speaker 3: they go to the opera and it's a close up,

1583
01:24:35,800 --> 01:24:38,200
Speaker 3: an amazing close up of her face, but she is

1584
01:24:38,240 --> 01:24:42,439
Speaker 3: conveying at least seventy five emotions in the span of

1585
01:24:42,560 --> 01:24:44,639
Speaker 3: the three minutes that this camera is on her face,

1586
01:24:45,479 --> 01:24:49,200
Speaker 3: and you're watching her realize, and you're realizing that she's

1587
01:24:49,200 --> 01:24:55,040
Speaker 3: starting to believe this little kid. Yeah, and to her credit, again,

1588
01:24:55,080 --> 01:24:57,559
Speaker 3: it's kind of an intense joke to be playing for

1589
01:24:57,600 --> 01:24:59,599
Speaker 3: a long time, or an intense situation to be carrying

1590
01:24:59,640 --> 01:25:01,840
Speaker 3: on if it's not true. But that's also the joy

1591
01:25:01,840 --> 01:25:04,120
Speaker 3: of the movie to me, is that it throws you

1592
01:25:04,200 --> 01:25:06,080
Speaker 3: into a space where you're not quite sure what to

1593
01:25:06,120 --> 01:25:09,200
Speaker 3: believe at any given moment. So as you're following Anna

1594
01:25:09,280 --> 01:25:12,840
Speaker 3: as she's realizing and realizing this could be true, and

1595
01:25:12,880 --> 01:25:16,519
Speaker 3: she is clearly still emotionally attached to her dead husband,

1596
01:25:17,160 --> 01:25:20,080
Speaker 3: because she's at this grave in the beginning, like, you know, crying,

1597
01:25:20,080 --> 01:25:21,160
Speaker 3: and then she kind of gets back in the car

1598
01:25:21,240 --> 01:25:23,559
Speaker 3: and she's like, no, I'm okay, it's cool. So she's

1599
01:25:23,600 --> 01:25:28,120
Speaker 3: clearly still emotionally attached to this and she's starting to

1600
01:25:28,160 --> 01:25:33,960
Speaker 3: believe it. Meanwhile, Shawn is at home and his dad

1601
01:25:34,000 --> 01:25:36,400
Speaker 3: and mom are talking and they're like, what could possibly

1602
01:25:36,400 --> 01:25:38,679
Speaker 3: be wrong with this kid? And his mom is trying

1603
01:25:38,680 --> 01:25:40,479
Speaker 3: to just kind of be lovely and play it off,

1604
01:25:40,560 --> 01:25:42,040
Speaker 3: and he looks at her and he's like, I'm not

1605
01:25:42,080 --> 01:25:46,120
Speaker 3: your stupid son anymore. Like he's just emotionally leveling people

1606
01:25:46,200 --> 01:25:49,000
Speaker 3: everywhere he goes. He's an emotional bulldozer in this movie.

1607
01:25:50,560 --> 01:25:53,360
Speaker 3: And he goes to school and you know, the principal

1608
01:25:53,400 --> 01:25:55,120
Speaker 3: wants him to explain why he's late, and he's like, well,

1609
01:25:55,120 --> 01:25:56,559
Speaker 3: it's because I'm like a forty year old man, Like

1610
01:25:56,560 --> 01:26:00,479
Speaker 3: what do you want from me? Like he's just so like,

1611
01:26:00,560 --> 01:26:03,040
Speaker 3: get off my fucker, dick, I'm an old dead man.

1612
01:26:05,360 --> 01:26:07,600
Speaker 3: And he like he skips school, and he goes to

1613
01:26:07,640 --> 01:26:09,400
Speaker 3: Anna and tells him to meet her in the park,

1614
01:26:09,479 --> 01:26:13,920
Speaker 3: and her mom actually gives her the message and she

1615
01:26:14,120 --> 01:26:17,000
Speaker 3: actually and Anna actually goes and the kid is in

1616
01:26:17,120 --> 01:26:19,240
Speaker 3: the death tunnel. So now you're like, there's no way

1617
01:26:19,280 --> 01:26:21,800
Speaker 3: he could know that. Yeah, that is not something that's

1618
01:26:21,880 --> 01:26:24,120
Speaker 3: usually in an obituary, Like he died in this tunnel

1619
01:26:24,120 --> 01:26:24,840
Speaker 3: in Central Park.

1620
01:26:25,160 --> 01:26:27,479
Speaker 2: Yeah, all sides important to he's in there.

1621
01:26:27,560 --> 01:26:30,320
Speaker 1: He's in that baby body's I'm going.

1622
01:26:30,200 --> 01:26:34,599
Speaker 3: On here, and she finally starts asking him personal questions,

1623
01:26:34,600 --> 01:26:36,599
Speaker 3: which if I were this kid, if I really wanted

1624
01:26:36,640 --> 01:26:38,759
Speaker 3: to like drive this home that I am your dead husband,

1625
01:26:38,960 --> 01:26:40,560
Speaker 3: I would have been spouting facts from the minute I

1626
01:26:40,600 --> 01:26:43,719
Speaker 3: walked into that birthday party. Yeah, like his favorite color

1627
01:26:43,800 --> 01:26:45,360
Speaker 3: is this? This is what kind of tampon you use?

1628
01:26:45,439 --> 01:26:46,880
Speaker 3: Like I would have been just spouting facts.

1629
01:26:47,080 --> 01:26:48,960
Speaker 1: It's like, I know that your butt looks like it's

1630
01:26:48,920 --> 01:26:50,320
Speaker 1: spin hammered with a ball peen.

1631
01:26:51,600 --> 01:26:56,400
Speaker 3: I know that yoga doesn't actually fix your butt. I'm

1632
01:26:56,520 --> 01:26:59,519
Speaker 3: ten and I'm your dead husband. But she finally starts

1633
01:26:59,560 --> 01:27:02,320
Speaker 3: asking you personal questions, and he's like, yo, yo yo. Instead,

1634
01:27:02,800 --> 01:27:04,760
Speaker 3: why don't you let Bob, my former brother in law,

1635
01:27:04,800 --> 01:27:06,800
Speaker 3: ask me some questions. He's like, I want everyone to

1636
01:27:06,840 --> 01:27:08,240
Speaker 3: know that I'm telling you the truth. And this is

1637
01:27:08,240 --> 01:27:12,280
Speaker 3: where Arles Howard comes in. Arles Howard is fucking shook

1638
01:27:12,320 --> 01:27:15,679
Speaker 3: by the end of this conversation because Sean starts saying

1639
01:27:15,960 --> 01:27:18,280
Speaker 3: some facts. He's like, oh, I didn't think your wife

1640
01:27:18,320 --> 01:27:22,559
Speaker 3: could have a baby. How cool that she's pregnant. Like, yeah,

1641
01:27:22,560 --> 01:27:26,000
Speaker 3: I'm married Anna thirty times and like thirty churches in

1642
01:27:26,080 --> 01:27:28,639
Speaker 3: thirty days, and we also fucked on your green sofa,

1643
01:27:28,880 --> 01:27:31,080
Speaker 3: Like he just saunters into the apartment and asks for

1644
01:27:31,160 --> 01:27:33,280
Speaker 3: apple juice and just levels this dude's life.

1645
01:27:33,880 --> 01:27:37,880
Speaker 1: Dude, it's like I was surprised, literally surprised that none

1646
01:27:37,920 --> 01:27:41,400
Speaker 1: of these people took his little body and threw him

1647
01:27:41,400 --> 01:27:44,400
Speaker 1: across the room like Mini me in that one Austin

1648
01:27:44,439 --> 01:27:45,320
Speaker 1: Powers movie.

1649
01:27:45,560 --> 01:27:47,439
Speaker 3: Like well, Joe Joy was coming up.

1650
01:27:47,800 --> 01:27:52,040
Speaker 1: Yeah, they are like shook, shook, And I have to say,

1651
01:27:52,080 --> 01:27:52,759
Speaker 1: for good reason.

1652
01:27:53,200 --> 01:27:56,280
Speaker 3: That's a lot of details, for good fucking reason. And

1653
01:27:56,360 --> 01:27:58,519
Speaker 3: here's the thing. This is a family that is already

1654
01:27:58,720 --> 01:28:02,000
Speaker 3: so intimate and close. They all live in again, the

1655
01:28:02,040 --> 01:28:06,519
Speaker 3: mother's Central Park West apartment, and you know, Anna and

1656
01:28:06,600 --> 01:28:08,400
Speaker 3: Joe are staying there is a way to save money

1657
01:28:08,479 --> 01:28:10,200
Speaker 3: to prep for their own wedding, and like, you know,

1658
01:28:10,240 --> 01:28:13,320
Speaker 3: the sister and her husband are there because they're doing

1659
01:28:13,320 --> 01:28:15,200
Speaker 3: stuff on their house. But it's a big enough apartment

1660
01:28:15,240 --> 01:28:17,600
Speaker 3: that they can hold all of these people, and so

1661
01:28:17,680 --> 01:28:20,240
Speaker 3: they're all kind of always present, and so they're all

1662
01:28:20,240 --> 01:28:23,120
Speaker 3: feeling the effects of this little kid coming back in

1663
01:28:23,160 --> 01:28:26,160
Speaker 3: and saying, hey, I'm Sean, the dead person that you

1664
01:28:26,240 --> 01:28:28,600
Speaker 3: used to love. Like he affects all of them, He

1665
01:28:28,640 --> 01:28:30,679
Speaker 3: affects Anna, the most, but he affects all of them,

1666
01:28:31,160 --> 01:28:34,320
Speaker 3: and the only person that is not into this is Lee,

1667
01:28:34,400 --> 01:28:37,280
Speaker 3: the housekeeper, who basically tells this kid, I will break

1668
01:28:37,320 --> 01:28:39,040
Speaker 3: your fucking face if you fuck with this family.

1669
01:28:39,680 --> 01:28:40,559
Speaker 2: She's like, I have.

1670
01:28:40,520 --> 01:28:44,679
Speaker 1: To come here every day and work in this nineteen

1671
01:28:45,040 --> 01:28:49,880
Speaker 1: forties funeral parlor ass apartment with these people.

1672
01:28:51,080 --> 01:28:53,600
Speaker 2: I'll be goddamned if you fuck this up from me.

1673
01:28:55,800 --> 01:29:02,639
Speaker 3: And he does so instantaneously. He's like, oh, by the way,

1674
01:29:02,680 --> 01:29:05,040
Speaker 3: I'm about to fuck it up a lot. So Anna

1675
01:29:05,200 --> 01:29:07,439
Speaker 3: kind of gets to this point where she's like, all right,

1676
01:29:07,520 --> 01:29:09,840
Speaker 3: I want him to spend a night in our apartment

1677
01:29:10,280 --> 01:29:12,960
Speaker 3: so we can break the spell. And his mom is

1678
01:29:13,040 --> 01:29:17,439
Speaker 3: weirdly into it. So this is where I have to say, okay,

1679
01:29:17,479 --> 01:29:19,120
Speaker 3: because the movie is going to get a little wild

1680
01:29:19,360 --> 01:29:21,440
Speaker 3: and there are going to be some vulnerable and uncomfortable

1681
01:29:21,439 --> 01:29:25,120
Speaker 3: things coming up. Nicole Kidman does not fuck this kid

1682
01:29:25,200 --> 01:29:28,760
Speaker 3: in this movie. Okay, that is not what happens. But

1683
01:29:28,880 --> 01:29:36,160
Speaker 3: she does push the line of appropriate behavior in not

1684
01:29:36,280 --> 01:29:39,000
Speaker 3: a physical way, but in an emotional way that makes

1685
01:29:39,040 --> 01:29:45,519
Speaker 3: me so goddamn uncomfortable. Woo. Yes, Okay, So Joe eventually

1686
01:29:45,520 --> 01:29:49,040
Speaker 3: loses his mind because they're at there. They're at this

1687
01:29:49,520 --> 01:29:51,960
Speaker 3: they're in the apartment and they're they're basically trying out

1688
01:29:52,000 --> 01:29:53,880
Speaker 3: wedding bands, so people are like, you know, playing their

1689
01:29:53,920 --> 01:29:57,960
Speaker 3: cellos and performing for them, and Sean's just sitting in

1690
01:29:58,040 --> 01:30:01,080
Speaker 3: back of Joe kicking a eat. He's like, hey, I'll

1691
01:30:01,120 --> 01:30:03,439
Speaker 3: fuck with you, and Joe truly loses, like he gets

1692
01:30:03,479 --> 01:30:06,920
Speaker 3: up and throws him across a piano and holding them back.

1693
01:30:07,080 --> 01:30:11,439
Speaker 3: And what's amazing though, is that Anna kind of sticks

1694
01:30:11,520 --> 01:30:18,800
Speaker 3: up for Sean. And she goes to see Clifford and

1695
01:30:18,960 --> 01:30:23,719
Speaker 3: Clara and she's like, I actually believe this is Sean,

1696
01:30:24,439 --> 01:30:28,400
Speaker 3: Like I truly believe it. And they're like, uh what.

1697
01:30:29,160 --> 01:30:32,120
Speaker 3: She's like yeah, huh and they're like yeah. She's like yeah,

1698
01:30:32,120 --> 01:30:33,559
Speaker 3: I don't want to fall in love with him again,

1699
01:30:33,560 --> 01:30:35,360
Speaker 3: like I want my life to move forward with Joe.

1700
01:30:36,120 --> 01:30:40,000
Speaker 3: But then in another scene, she takes Sean out for

1701
01:30:40,080 --> 01:30:44,599
Speaker 3: ice cream and starts peppering with questions, one of which is, oh,

1702
01:30:44,720 --> 01:30:46,280
Speaker 3: you think you're my dead husband? How are you going

1703
01:30:46,360 --> 01:30:49,280
Speaker 3: to fulfill my needs? And I'm like, bitch, you cannot

1704
01:30:49,280 --> 01:30:51,960
Speaker 3: be asking children this shit on these streets or ever.

1705
01:30:52,160 --> 01:30:53,080
Speaker 3: What are you doing?

1706
01:30:53,800 --> 01:30:54,120
Speaker 1: I know?

1707
01:30:54,520 --> 01:30:57,559
Speaker 2: I was like, yo, baby girl, what is you doing?

1708
01:30:58,120 --> 01:31:01,040
Speaker 3: And what is you doing? And we can see herself,

1709
01:31:01,520 --> 01:31:05,000
Speaker 3: we can see her talking herself into this while simultaneously

1710
01:31:05,000 --> 01:31:07,040
Speaker 3: trying to talk herself out of it. And again, I

1711
01:31:07,040 --> 01:31:10,040
Speaker 3: think that is the brilliance of Nicole Kidman, that she

1712
01:31:10,080 --> 01:31:13,240
Speaker 3: could do a movie like this and elicit that simultaneous

1713
01:31:13,280 --> 01:31:17,280
Speaker 3: emotion from this kind of a scene. Yeah, and Joe

1714
01:31:17,360 --> 01:31:19,880
Speaker 3: is like, you know, he's looking for apartments. He's really

1715
01:31:19,880 --> 01:31:22,000
Speaker 3: trying to push their life forward, and she keeps hanging

1716
01:31:22,000 --> 01:31:25,479
Speaker 3: out with Sean, so he eventually has had it at

1717
01:31:25,479 --> 01:31:29,080
Speaker 3: one point, like they take a bath together, which is

1718
01:31:29,120 --> 01:31:33,360
Speaker 3: so and again nothing happens, but it is so uncomfortable. Yeah,

1719
01:31:33,520 --> 01:31:36,000
Speaker 3: and Joe like walks in and he's like, I'm fucking

1720
01:31:36,200 --> 01:31:38,160
Speaker 3: done with this, Like he is out. He's like, you've

1721
01:31:38,160 --> 01:31:40,360
Speaker 3: been ditching me and you've been like falling in love

1722
01:31:40,400 --> 01:31:44,200
Speaker 3: with this little fucking kid. Like he can't have it,

1723
01:31:44,280 --> 01:31:46,559
Speaker 3: Like he spanks the kid during that wedding freak out

1724
01:31:46,840 --> 01:31:50,280
Speaker 3: band scene and he's just like, what the fuck is happening?

1725
01:31:50,800 --> 01:31:51,720
Speaker 2: Yeah, oh I know.

1726
01:31:51,840 --> 01:31:55,400
Speaker 1: And that's the thing is that, like you kind of

1727
01:31:55,400 --> 01:32:00,360
Speaker 1: think okay in her moment of grief or whatever. So

1728
01:32:00,560 --> 01:32:02,960
Speaker 1: grief pushes people to weird ass places. I mean, come on,

1729
01:32:03,080 --> 01:32:06,320
Speaker 1: we we just talked about vertigo, right, where people are

1730
01:32:06,360 --> 01:32:11,320
Speaker 1: like trying to find a memory of somebody in a

1731
01:32:11,479 --> 01:32:15,040
Speaker 1: very insane way sometimes, right.

1732
01:32:14,040 --> 01:32:16,960
Speaker 2: But the optics of this look bad. It's basically what

1733
01:32:17,080 --> 01:32:19,920
Speaker 2: he's saying. He's like, do not bathe with the kid,

1734
01:32:20,160 --> 01:32:21,040
Speaker 2: like so.

1735
01:32:21,439 --> 01:32:25,240
Speaker 1: Intellectually think about it, but like, once we're in this realm,

1736
01:32:25,560 --> 01:32:27,080
Speaker 1: the optics look terrible.

1737
01:32:27,360 --> 01:32:30,080
Speaker 3: And again it's a very killing of a sacred deer

1738
01:32:30,120 --> 01:32:32,640
Speaker 3: bath and that they're just like monotone and looking at

1739
01:32:32,680 --> 01:32:37,960
Speaker 3: each other. Right, but it's like so fucking uncomfortable. Yes, yes,

1740
01:32:38,800 --> 01:32:43,519
Speaker 3: it's wild. And so there's this you know, things kind

1741
01:32:43,520 --> 01:32:46,160
Speaker 3: of progress in that, like they actually like they share

1742
01:32:46,160 --> 01:32:49,080
Speaker 3: a little kiss on the sidewalk, which again was like,

1743
01:32:49,120 --> 01:32:52,920
Speaker 3: baby girl, what is you doing? It's so weird. But

1744
01:32:53,000 --> 01:32:56,599
Speaker 3: then Sean starts like he kind of runs into Clifford

1745
01:32:56,640 --> 01:32:59,680
Speaker 3: and Clara and you know, they come over one day

1746
01:32:59,720 --> 01:33:03,280
Speaker 3: and clip it's like, look, it's not Sean, Like You've

1747
01:33:03,320 --> 01:33:05,120
Speaker 3: got to stop this shit, Like there are people in

1748
01:33:05,160 --> 01:33:07,679
Speaker 3: an Anna's life who are like, please cut the shit.

1749
01:33:07,880 --> 01:33:12,120
Speaker 3: This is weird. Yes, but then when Clara comes into

1750
01:33:12,120 --> 01:33:14,640
Speaker 3: the picture, Anne Hage because her now her family is

1751
01:33:14,640 --> 01:33:17,800
Speaker 3: threatening to call the police if she doesn't send Sean home,

1752
01:33:18,000 --> 01:33:19,439
Speaker 3: like you got to get this kid out of here.

1753
01:33:19,600 --> 01:33:22,519
Speaker 3: And she does finally take the kid home, but there's

1754
01:33:22,560 --> 01:33:25,559
Speaker 3: a moment before she takes him home where she's tucking

1755
01:33:25,600 --> 01:33:29,160
Speaker 3: him in and you could almost see her deciding something

1756
01:33:29,200 --> 01:33:34,599
Speaker 3: in her head. Again, Nicole Kidman is so good at this,

1757
01:33:35,800 --> 01:33:39,760
Speaker 3: and she's good at making things deeply uncomfortable. But then

1758
01:33:39,840 --> 01:33:42,400
Speaker 3: she's pulling you back without saying a word, like she's

1759
01:33:42,400 --> 01:33:44,280
Speaker 3: making she makes you uncomfortable and then pulls you right

1760
01:33:44,360 --> 01:33:47,360
Speaker 3: back to Okay. There's a release of tension just in

1761
01:33:47,439 --> 01:33:51,160
Speaker 3: her face. It's fucking wild. So we're gonna cut back

1762
01:33:51,200 --> 01:33:53,320
Speaker 3: now to the opening scene. And I again, I am

1763
01:33:53,360 --> 01:33:56,120
Speaker 3: going to spoil this movie. I hope you watch it.

1764
01:33:56,240 --> 01:33:58,120
Speaker 3: I hope you watch it first. If you want to

1765
01:33:58,160 --> 01:34:00,400
Speaker 3: watch it and you don't want it spoiled, stop watching it,

1766
01:34:00,520 --> 01:34:02,920
Speaker 3: stop listening at this moment. But we cut back to

1767
01:34:02,960 --> 01:34:05,599
Speaker 3: the opening scene when Anne Hash was you know, Clara

1768
01:34:05,680 --> 01:34:07,800
Speaker 3: was burying something in the ground in the park her

1769
01:34:07,800 --> 01:34:10,600
Speaker 3: original gift. And as it turns.

1770
01:34:10,320 --> 01:34:24,000
Speaker 1: Out, Anne Hash Clara was Sean's lover, okay, And.

1771
01:34:21,479 --> 01:34:25,719
Speaker 3: And so the fact that little kid. Sean is saying,

1772
01:34:25,760 --> 01:34:29,320
Speaker 3: I'm dead Sean. But then also he didn't know her.

1773
01:34:30,160 --> 01:34:33,519
Speaker 3: She exposed his whole shit. And she's also a fucking

1774
01:34:33,560 --> 01:34:36,000
Speaker 3: weirdo because she's like, you know, if you really were Sean,

1775
01:34:36,040 --> 01:34:37,760
Speaker 3: you would have come to me first and we could

1776
01:34:37,800 --> 01:34:40,200
Speaker 3: have explored this. And I'm like, nobody should be exploring

1777
01:34:40,240 --> 01:34:44,719
Speaker 3: anything with a child. I don't care how pre stricken

1778
01:34:44,800 --> 01:34:47,960
Speaker 3: you are. It's been ten years. Yes, it's not the

1779
01:34:48,000 --> 01:34:48,639
Speaker 3: way to heal.

1780
01:34:49,800 --> 01:34:52,960
Speaker 1: We've gone from this.

1781
01:34:52,960 --> 01:34:53,800
Speaker 2: This kid is weird.

1782
01:34:53,840 --> 01:34:55,800
Speaker 1: Get him out of the apartment building too. How come

1783
01:34:55,840 --> 01:34:57,160
Speaker 1: you didn't fuck with me first?

1784
01:34:57,560 --> 01:34:59,519
Speaker 3: Right? What the fuck? And we're like, you know what, no, no, no,

1785
01:34:59,680 --> 01:35:02,040
Speaker 3: this is he's not good. No, no, no, I'm like, wait,

1786
01:35:02,080 --> 01:35:04,080
Speaker 3: are you saying you want to believe this little motherfucker?

1787
01:35:04,080 --> 01:35:06,080
Speaker 3: If he came to you first, then what what have happened?

1788
01:35:06,880 --> 01:35:07,360
Speaker 2: Wow?

1789
01:35:07,680 --> 01:35:12,880
Speaker 3: Crazy talk, crazy talk. But as it turns out, what

1790
01:35:12,960 --> 01:35:16,040
Speaker 3: she was doing in the park was burying all of

1791
01:35:16,320 --> 01:35:19,400
Speaker 3: all the letters that she and Sean sent to each other,

1792
01:35:19,560 --> 01:35:24,080
Speaker 3: and he gave her all of Anna's letters, so their

1793
01:35:24,200 --> 01:35:28,840
Speaker 3: relationship was so deep and from you, so from those letters,

1794
01:35:28,840 --> 01:35:32,040
Speaker 3: this little kid basically dug up that box read all

1795
01:35:32,080 --> 01:35:34,760
Speaker 3: those fucking letters and then showed up and was like

1796
01:35:34,840 --> 01:35:37,760
Speaker 3: it's me Sean. So what is actually fucking wrong with

1797
01:35:37,800 --> 01:35:38,320
Speaker 3: this kid?

1798
01:35:39,520 --> 01:35:41,160
Speaker 2: Yeah?

1799
01:35:41,240 --> 01:35:43,280
Speaker 3: Like there is something so wrong with him and he

1800
01:35:43,360 --> 01:35:47,280
Speaker 3: causes such emotional chaos in this family and we don't

1801
01:35:47,320 --> 01:35:51,679
Speaker 3: know why. And meanwhile, Anna's like, look, I've got a plan.

1802
01:35:51,760 --> 01:35:54,160
Speaker 3: We can run away together. I can marry you when

1803
01:35:54,160 --> 01:35:56,599
Speaker 3: you're twenty one. And he's like, oh, let me pump

1804
01:35:56,640 --> 01:35:58,439
Speaker 3: the brakes and just tell you right now that I lied.

1805
01:35:58,680 --> 01:36:00,519
Speaker 3: Like now's the time to tell you that I have

1806
01:36:00,600 --> 01:36:01,719
Speaker 3: been lying the whole time.

1807
01:36:03,040 --> 01:36:08,040
Speaker 1: Oh yeah, it's wild reveal, Like it's a wild reveal

1808
01:36:08,040 --> 01:36:10,640
Speaker 1: but like it has to happen and it's devastating, but

1809
01:36:10,720 --> 01:36:13,400
Speaker 1: it's also simultaneously like thank fucking god.

1810
01:36:13,960 --> 01:36:15,000
Speaker 2: Yeah.

1811
01:36:15,040 --> 01:36:19,720
Speaker 3: Again, the tension in this movie is unbelievable. And when

1812
01:36:19,720 --> 01:36:24,280
Speaker 3: he finally confesses and when she does finally see Joe

1813
01:36:24,479 --> 01:36:27,040
Speaker 3: and she's like, okay, can he take me back? Can

1814
01:36:27,080 --> 01:36:29,040
Speaker 3: you take me back? I'd like her to take me back,

1815
01:36:29,320 --> 01:36:31,360
Speaker 3: And she's kind of really emotional. She's like, you know,

1816
01:36:31,400 --> 01:36:33,280
Speaker 3: what happened to me wasn't my fault. She just keeps

1817
01:36:33,280 --> 01:36:37,000
Speaker 3: saying that, and it's again this exploration of grief that

1818
01:36:37,040 --> 01:36:39,840
Speaker 3: I don't think I've ever seen before. But her saying

1819
01:36:39,880 --> 01:36:42,479
Speaker 3: what's happened to me wasn't my fault is basically her

1820
01:36:43,200 --> 01:36:46,439
Speaker 3: trying to rationalize how she could start to fall in

1821
01:36:46,439 --> 01:36:49,960
Speaker 3: love with this stranger, this little kid, simply because he

1822
01:36:50,040 --> 01:36:51,960
Speaker 3: said he was her dead husband, Like she has been

1823
01:36:52,840 --> 01:36:54,840
Speaker 3: hanging on by a thread that I don't think she's

1824
01:36:54,880 --> 01:36:57,200
Speaker 3: been willing to acknowledge up to this point. So in

1825
01:36:57,240 --> 01:37:02,320
Speaker 3: a weird way, fake Sean kind of sets her free,

1826
01:37:02,479 --> 01:37:05,559
Speaker 3: in a strange way, I don't know, But they do

1827
01:37:05,640 --> 01:37:08,400
Speaker 3: have their wedding. He does take her back, and her

1828
01:37:08,439 --> 01:37:11,559
Speaker 3: whole family by this point has seen her go fucking

1829
01:37:11,720 --> 01:37:14,320
Speaker 3: bonkers and almost run away with a ten year old boy.

1830
01:37:14,880 --> 01:37:17,439
Speaker 3: So this wedding is not the joyous affair you think

1831
01:37:17,439 --> 01:37:20,120
Speaker 3: it's going to be. And there are some breakdowns at

1832
01:37:20,120 --> 01:37:22,360
Speaker 3: this wedding. There are some questions about like what is

1833
01:37:22,400 --> 01:37:24,880
Speaker 3: their life going to be? What is this marriage going

1834
01:37:24,920 --> 01:37:28,920
Speaker 3: to be? There are questions, And then you see little

1835
01:37:28,920 --> 01:37:32,160
Speaker 3: Sean and he's taking a school picture and just smiling,

1836
01:37:32,240 --> 01:37:34,439
Speaker 3: like he goes back to being a regular ass little kid,

1837
01:37:35,000 --> 01:37:37,840
Speaker 3: But there's something in him that feels like to me,

1838
01:37:37,960 --> 01:37:39,880
Speaker 3: this feels like the setup for a movie about a

1839
01:37:39,880 --> 01:37:43,320
Speaker 3: future serial killer. Like there's something so sociopathic about his

1840
01:37:43,400 --> 01:37:49,639
Speaker 3: behavior and his commitment to this bit. Yeah, like there's

1841
01:37:49,640 --> 01:37:52,720
Speaker 3: something go that's like you can't walk away from this

1842
01:37:52,800 --> 01:37:54,960
Speaker 3: movie and think that he's going to be okay or

1843
01:37:54,960 --> 01:37:57,439
Speaker 3: that anyone's going to be okay, Like something fucked up

1844
01:37:57,520 --> 01:37:59,920
Speaker 3: is about to happen, because this kid has this in him.

1845
01:38:00,520 --> 01:38:00,840
Speaker 2: Dude.

1846
01:38:01,280 --> 01:38:05,400
Speaker 1: I was like, where did he get that confidence? Where

1847
01:38:05,400 --> 01:38:07,200
Speaker 1: did he find out all this info?

1848
01:38:07,479 --> 01:38:10,200
Speaker 2: Period? If he was lying that to me?

1849
01:38:10,400 --> 01:38:12,800
Speaker 1: Was like a big question I had, And I was

1850
01:38:12,840 --> 01:38:15,479
Speaker 1: just like, Okay, So he found out the details of

1851
01:38:15,520 --> 01:38:19,479
Speaker 1: this entire family's lives, right, and then he used it

1852
01:38:19,600 --> 01:38:23,400
Speaker 1: against them and came forth with like the utmost confidence

1853
01:38:23,400 --> 01:38:25,439
Speaker 1: that he's gonna pull off this grift or whatever.

1854
01:38:25,479 --> 01:38:29,360
Speaker 2: And I'm just like, wow, that is an interesting like

1855
01:38:31,000 --> 01:38:33,599
Speaker 2: clearly clearly sociopath right.

1856
01:38:34,200 --> 01:38:36,599
Speaker 3: Like both movies this week were the kind of movies

1857
01:38:36,640 --> 01:38:38,720
Speaker 3: where at the end of even though I'd seen them

1858
01:38:38,760 --> 01:38:40,960
Speaker 3: both before, I just kind of sat for fifteen minutes

1859
01:38:41,360 --> 01:38:45,680
Speaker 3: in the dark, in silence by myself on the couch, thinking, yeah,

1860
01:38:45,720 --> 01:38:47,519
Speaker 3: like they just rocked me to my fucking core in

1861
01:38:47,520 --> 01:38:49,439
Speaker 3: a way that I can't explain, and Nicole Kidman is

1862
01:38:49,439 --> 01:38:50,360
Speaker 3: always at the center of that.

1863
01:38:51,000 --> 01:38:54,800
Speaker 1: Yeah again, like she's just like having to Like, she's

1864
01:38:54,920 --> 01:39:00,160
Speaker 1: just always like being put in these like very tense,

1865
01:39:00,600 --> 01:39:03,320
Speaker 1: strange familial situations.

1866
01:39:06,120 --> 01:39:11,479
Speaker 3: Alway, what's going on girl? And the way that Barry

1867
01:39:11,560 --> 01:39:15,679
Speaker 3: Kyogen is always gonna pick the creepiest possible role, Nicole

1868
01:39:15,720 --> 01:39:20,599
Speaker 3: Kidman is always going to pick the wildest familial role. Yeah,

1869
01:39:20,680 --> 01:39:22,599
Speaker 3: She's like, I'm never gonna just play like a mom

1870
01:39:22,880 --> 01:39:25,080
Speaker 3: who gets her kids off to school and everything's cool

1871
01:39:25,120 --> 01:39:26,120
Speaker 3: and then she goes to work.

1872
01:39:27,040 --> 01:39:31,520
Speaker 1: Yeah, can I please play a haunted fucking wife.

1873
01:39:32,200 --> 01:39:37,439
Speaker 2: Who like is always being like slow zoomed in on

1874
01:39:38,080 --> 01:39:39,080
Speaker 2: like just like.

1875
01:39:40,680 --> 01:39:43,360
Speaker 1: She's such a g But it's so funny because I'm

1876
01:39:43,400 --> 01:39:46,880
Speaker 1: just like, yo, Like Hollywood is like we want to

1877
01:39:47,120 --> 01:39:50,679
Speaker 1: rock this woman's world time and time again.

1878
01:39:52,800 --> 01:39:55,080
Speaker 3: And in my movie, they give her a lace front

1879
01:39:55,080 --> 01:40:01,160
Speaker 3: that is unstoppable, give her a bob. We will give

1880
01:40:01,200 --> 01:40:05,479
Speaker 3: her a bob for this fucking movie. And this is

1881
01:40:05,560 --> 01:40:06,639
Speaker 3: nothing you can do about it.

1882
01:40:06,960 --> 01:40:13,160
Speaker 1: I loved this week so much. It was so genuinely twisted, truly.

1883
01:40:13,040 --> 01:40:16,040
Speaker 3: Truly twisted, and again, like my movie still makes me think,

1884
01:40:16,080 --> 01:40:18,439
Speaker 3: like it's still to this day, and I've seen it

1885
01:40:18,439 --> 01:40:21,360
Speaker 3: a couple of times, and it makes me think so much,

1886
01:40:21,360 --> 01:40:24,960
Speaker 3: like it puts me in such an uncomfortable fucking position,

1887
01:40:25,600 --> 01:40:29,679
Speaker 3: because again, there's a power differential that's happening where the kid,

1888
01:40:29,760 --> 01:40:32,320
Speaker 3: like the little Sean kind of weirdly has a lot

1889
01:40:32,360 --> 01:40:37,160
Speaker 3: of power. Yeah, you're never quite fully fearful of what's

1890
01:40:37,200 --> 01:40:40,639
Speaker 3: going to happen to him, But then you're also realizing

1891
01:40:40,680 --> 01:40:42,599
Speaker 3: that no, no, no, in the dynamics of the world,

1892
01:40:43,000 --> 01:40:46,240
Speaker 3: no matter how much power he's conveying, he's a child,

1893
01:40:46,360 --> 01:40:48,840
Speaker 3: somebody should be stepping in. And that's a question I

1894
01:40:48,880 --> 01:40:51,240
Speaker 3: have continuously. It's like, why is not Why is somebody

1895
01:40:51,280 --> 01:40:54,000
Speaker 3: not stepping in so much sooner? Why are they letting

1896
01:40:54,040 --> 01:40:57,760
Speaker 3: Anna entertain this for even a second, Like it's not

1897
01:40:57,800 --> 01:41:01,879
Speaker 3: good for her, it's not good for him. Oh why

1898
01:41:01,920 --> 01:41:03,920
Speaker 3: are people in her life letting this carry on? And

1899
01:41:04,000 --> 01:41:05,840
Speaker 3: is that part of their grief that they kind of

1900
01:41:05,840 --> 01:41:08,000
Speaker 3: weirdly want to believe it. It's just it fucks me

1901
01:41:08,080 --> 01:41:09,880
Speaker 3: up every time I see this movie, But I know.

1902
01:41:10,960 --> 01:41:13,479
Speaker 2: It really is perfect for the theme. You're probably fine,

1903
01:41:13,960 --> 01:41:14,839
Speaker 2: question mark.

1904
01:41:16,120 --> 01:41:19,400
Speaker 3: You're probably not okay in this family. I don't know,

1905
01:41:19,800 --> 01:41:22,680
Speaker 3: Like maybe this family is not great for you, but

1906
01:41:22,960 --> 01:41:26,920
Speaker 3: you're in it and you see them all right. I

1907
01:41:26,960 --> 01:41:31,120
Speaker 3: mean you seem like you're losing your shit, but maybe

1908
01:41:31,120 --> 01:41:31,800
Speaker 3: it'll be all right.

1909
01:41:33,439 --> 01:41:40,320
Speaker 2: Happy Mothers Day, everybody. I love you to all the

1910
01:41:40,320 --> 01:41:41,120
Speaker 2: bombs out there.

1911
01:41:42,880 --> 01:41:46,519
Speaker 3: We hope you're doing fine. You're probably fine, right, You're

1912
01:41:46,560 --> 01:41:49,240
Speaker 3: probably fine. Well listen.

1913
01:41:49,280 --> 01:41:50,640
Speaker 1: If you want to email us, we are at a

1914
01:41:50,600 --> 01:41:52,960
Speaker 1: slig a pot at gmail dot com. As you know,

1915
01:41:53,240 --> 01:41:56,040
Speaker 1: please set us questions for the bonus episodes. Also, our

1916
01:41:56,080 --> 01:41:58,080
Speaker 1: po box is bumping now.

1917
01:41:58,600 --> 01:41:59,559
Speaker 2: The mail is here.

1918
01:42:00,520 --> 01:42:02,920
Speaker 1: If for some reason you were having trouble sending mail.

1919
01:42:03,280 --> 01:42:05,120
Speaker 1: I don't know, try to send it again. I don't know,

1920
01:42:05,520 --> 01:42:06,920
Speaker 1: I don't know what happened.

1921
01:42:06,520 --> 01:42:08,559
Speaker 2: But it's fixed apparently, so do that.

1922
01:42:09,720 --> 01:42:11,680
Speaker 3: And you can find us on our social media. We

1923
01:42:11,720 --> 01:42:14,320
Speaker 3: are at I Saw Pod on Instagram, Blue Skuy and Twitter.

1924
01:42:14,360 --> 01:42:16,160
Speaker 3: You can find the address for our po box on

1925
01:42:16,240 --> 01:42:19,040
Speaker 3: Instagram on our link tree, and you can also leave

1926
01:42:19,080 --> 01:42:21,840
Speaker 3: us a voicemail. Now. To play on the show, all

1927
01:42:21,840 --> 01:42:23,400
Speaker 3: you have to do is record a voice memo on

1928
01:42:23,439 --> 01:42:25,960
Speaker 3: your phone and email it to I Saw It at

1929
01:42:25,960 --> 01:42:28,679
Speaker 3: gmail dot com. Please make it sixty seconds or less

1930
01:42:28,800 --> 01:42:30,720
Speaker 3: and record it in a quiet space. And then send

1931
01:42:30,760 --> 01:42:31,200
Speaker 3: it our way.

1932
01:42:31,920 --> 01:42:33,599
Speaker 1: And if you want to get our brand new hat

1933
01:42:33,680 --> 01:42:37,160
Speaker 1: off the press's little kid note t shirt that says

1934
01:42:37,200 --> 01:42:40,120
Speaker 1: don't Marry Joseph.

1935
01:42:40,400 --> 01:42:40,840
Speaker 2: Just kidding.

1936
01:42:41,560 --> 01:42:44,479
Speaker 3: I wish remember those ads with that movie like the

1937
01:42:44,560 --> 01:42:47,360
Speaker 3: Snowman or something like that. I don't feel like that

1938
01:42:47,880 --> 01:42:49,840
Speaker 3: you could have saved him. I gave you all the

1939
01:42:49,840 --> 01:42:51,479
Speaker 3: clues don't Marry Joseph.

1940
01:42:51,840 --> 01:42:53,880
Speaker 1: If this merge was up to me, by the way,

1941
01:42:54,120 --> 01:42:55,960
Speaker 1: I would be making shit like this all the time.

1942
01:42:56,160 --> 01:42:59,479
Speaker 1: I'd be like, do you want a don't Marry Joseph

1943
01:42:59,560 --> 01:43:02,880
Speaker 1: little handwriting tote bag? But I'm just saying that, like

1944
01:43:03,000 --> 01:43:08,240
Speaker 1: I would be creating merch of every single thing that

1945
01:43:08,320 --> 01:43:11,240
Speaker 1: we've said. Anytime that we bring up something A A

1946
01:43:11,320 --> 01:43:13,080
Speaker 1: in a movie that's weird, it would be.

1947
01:43:13,040 --> 01:43:16,280
Speaker 3: More absolutely but you'll me both, you'll me both.

1948
01:43:16,680 --> 01:43:19,200
Speaker 1: It would be a full time job, and we just

1949
01:43:19,240 --> 01:43:22,400
Speaker 1: don't have time for that. But listen, if you want merch,

1950
01:43:22,600 --> 01:43:24,559
Speaker 1: just go to exactly whystore dot com and you can

1951
01:43:24,600 --> 01:43:25,000
Speaker 1: find it.

1952
01:43:25,680 --> 01:43:28,479
Speaker 3: And as you know, we have new bonus episodes, brand

1953
01:43:28,479 --> 01:43:31,120
Speaker 3: new that drop on the main feed every third Thursday

1954
01:43:31,200 --> 01:43:31,759
Speaker 3: of the month.

1955
01:43:32,920 --> 01:43:36,679
Speaker 1: That is right, Okay, Oh my god, these two movies

1956
01:43:36,720 --> 01:43:39,479
Speaker 1: for next week are absolute bangers.

1957
01:43:39,960 --> 01:43:43,760
Speaker 3: We're taking a hard turn away from weird, yes, but

1958
01:43:43,840 --> 01:43:46,680
Speaker 3: we're staying. We're staying in the two thousands, though.

1959
01:43:46,760 --> 01:43:49,679
Speaker 2: Which I think is the same year, same year, same year.

1960
01:43:50,640 --> 01:43:54,559
Speaker 1: Your movies for next episode are three ten Douma the

1961
01:43:54,600 --> 01:43:59,080
Speaker 1: two thousand and seven version and the Assassination of Jesse

1962
01:43:59,200 --> 01:44:01,599
Speaker 1: James by the cow Lord Robert Ford from two thousand

1963
01:44:01,600 --> 01:44:02,120
Speaker 1: and seven.

1964
01:44:03,120 --> 01:44:05,720
Speaker 3: Yeah, what you've been talking about for months now on

1965
01:44:05,760 --> 01:44:07,920
Speaker 3: the pod. I'm glad we're finally watching it forever.

1966
01:44:08,080 --> 01:44:12,920
Speaker 2: I'm stoked that we're finally doing it. So Yeah, as.

1967
01:44:12,320 --> 01:44:15,880
Speaker 1: Always stand yell a fucking pleasure of doing this weird

1968
01:44:15,880 --> 01:44:16,920
Speaker 1: ass podcast with you.

1969
01:44:17,280 --> 01:44:20,600
Speaker 3: Hell, thank you for letting me freak you out. Have

1970
01:44:20,720 --> 01:44:30,080
Speaker 3: a great day, Happy Melasday. This has been an exactly

1971
01:44:30,120 --> 01:44:33,840
Speaker 3: right production. Produced by Casey O'Brien, Episode mixing and theme

1972
01:44:33,920 --> 01:44:37,799
Speaker 3: music by Tom Bryfogel, artwork by Garrett Ross. Our executive

1973
01:44:37,800 --> 01:44:40,920
Speaker 3: producers are Georgia hert Start, karenkil Gareff, and Daniel Kramer.

1974
01:44:41,280 --> 01:44:43,640
Speaker 3: You can follow us on Instagram and Twitter at I

1975
01:44:43,680 --> 01:44:46,439
Speaker 3: Saw Pod, and you can email us at I Saw

1976
01:44:46,439 --> 01:44:47,920
Speaker 3: What You Did Pod at Gmail