1 00:00:03,240 --> 00:00:06,200 Speaker 1: This all comes back to show. No, it doesn't know, 2 00:00:06,320 --> 00:00:10,840 Speaker 1: it really does because Charlie and the Hugle Lot enough 3 00:00:11,000 --> 00:00:20,840 Speaker 1: starring Jennifer Lopez. You are not doing this. This is Halloween. 4 00:00:20,960 --> 00:00:27,400 Speaker 1: This is Halloween. I'm good screaming at night. It's only Halloween. 5 00:00:27,400 --> 00:00:30,960 Speaker 1: Because you've insisted that it is Halloween. It is Halloween. 6 00:00:30,960 --> 00:00:33,239 Speaker 1: You're recording this at the end of September. It's not 7 00:00:33,280 --> 00:00:37,920 Speaker 1: Halloween yet. Yeah, but it is officially spooky season. Sure, 8 00:00:37,960 --> 00:00:42,080 Speaker 1: it's pumpkin spice season. It's spooky season. It's here, babe. 9 00:00:42,159 --> 00:00:44,159 Speaker 1: Last night we watched two of the movies that I 10 00:00:44,200 --> 00:00:50,400 Speaker 1: watched every Halloween. The vibe has begun. It I better 11 00:00:50,440 --> 00:00:53,320 Speaker 1: catch it, um. And for the virgins who don't know, 12 00:00:53,880 --> 00:00:59,920 Speaker 1: we are continuing our oooky spooky series with the kind 13 00:01:00,120 --> 00:01:04,520 Speaker 1: the King of Ook and Spook. Yes, well, the King 14 00:01:04,600 --> 00:01:09,520 Speaker 1: and the King of sort of like contemporary like consumerist 15 00:01:10,200 --> 00:01:14,720 Speaker 1: scarity vibes. Yeah, yeah, yeah, exactly for kids. A creator 16 00:01:15,000 --> 00:01:18,080 Speaker 1: who has had quite a journey, um in a range 17 00:01:18,319 --> 00:01:20,840 Speaker 1: of films that people love and then films that people 18 00:01:20,959 --> 00:01:25,720 Speaker 1: don't love so much. Tim Burton is Today's discussion. As 19 00:01:25,800 --> 00:01:30,039 Speaker 1: Lydia Diets aka Winona writer once said I myself am 20 00:01:30,520 --> 00:01:33,680 Speaker 1: strange and unusual, That's correct. She also said that her 21 00:01:33,680 --> 00:01:36,440 Speaker 1: whole life was a dark room and she had really 22 00:01:36,520 --> 00:01:41,040 Speaker 1: spiky bangs, which I at one point wanted. You should 23 00:01:41,040 --> 00:01:43,400 Speaker 1: be her for Halloween. Honestly, I have thought about it. 24 00:01:43,640 --> 00:01:45,360 Speaker 1: You've never done that before. No, I've never done it. 25 00:01:45,360 --> 00:01:47,640 Speaker 1: You should never done it, never done Lydia diets and 26 00:01:47,680 --> 00:01:50,720 Speaker 1: I'll be beetlejuice and I'll marry you. Okay, just kidding. 27 00:01:50,720 --> 00:01:53,120 Speaker 1: I would hate that, would never be juice, but I 28 00:01:53,120 --> 00:01:54,960 Speaker 1: bet you could be sexy beetle juice. Let's look up 29 00:01:54,960 --> 00:02:00,680 Speaker 1: sexy beetle Justice for it anyway. We need it like 30 00:02:00,680 --> 00:02:02,760 Speaker 1: a virgin. This is like a virgin. The show we 31 00:02:02,800 --> 00:02:08,679 Speaker 1: give yesterday's pop culture, today's takes and Toronto, and I 32 00:02:08,760 --> 00:02:18,600 Speaker 1: found some beetlejuice. Hello virgins, Hello virgins. We are coming 33 00:02:18,639 --> 00:02:23,000 Speaker 1: to you from um a different coast or different time zone, 34 00:02:23,000 --> 00:02:27,120 Speaker 1: a different state of mind, a New York state of mind, 35 00:02:27,280 --> 00:02:30,560 Speaker 1: one might say. Definitely, I will say something that is 36 00:02:30,600 --> 00:02:33,000 Speaker 1: really amazing about you right now, being in New York 37 00:02:33,040 --> 00:02:36,120 Speaker 1: as you are. You're booked and busy, you are out, 38 00:02:36,200 --> 00:02:40,280 Speaker 1: you have plans, you are seeing people, you are doing things. Yes, 39 00:02:40,440 --> 00:02:44,560 Speaker 1: I I do have to say I did enjoy getting 40 00:02:44,600 --> 00:02:49,040 Speaker 1: to say to you twice this weekend. Oh sorry, Well 41 00:02:49,080 --> 00:02:52,200 Speaker 1: I didn't apologize because I would never do that. Um, 42 00:02:52,880 --> 00:02:55,520 Speaker 1: I did say I have plans, and you know what, 43 00:02:55,639 --> 00:02:57,960 Speaker 1: I think it was ugly of you to assume that 44 00:02:58,040 --> 00:03:03,760 Speaker 1: I didn't. Sure. I'm just kidding. I was definitely isn't 45 00:03:03,800 --> 00:03:07,000 Speaker 1: in accordance with the years that I've known you. Well, no, 46 00:03:07,280 --> 00:03:10,120 Speaker 1: but hey, you're only speaking from the experience of me 47 00:03:10,240 --> 00:03:14,120 Speaker 1: being a friendless loser in Los Angeles and in New York. 48 00:03:14,680 --> 00:03:18,560 Speaker 1: I am a loser with friends. Look, it takes one 49 00:03:18,600 --> 00:03:20,840 Speaker 1: to know, one says. And the reason I'm here in 50 00:03:20,840 --> 00:03:23,520 Speaker 1: New York a week early is because I realized all 51 00:03:23,520 --> 00:03:26,000 Speaker 1: my friends left l A and I was like, oh, no, no, 52 00:03:26,760 --> 00:03:29,480 Speaker 1: I need to get myself to New York's. Yeah, but 53 00:03:29,639 --> 00:03:33,200 Speaker 1: one thing you need to understand was that on Friday 54 00:03:33,240 --> 00:03:35,160 Speaker 1: when you texted me and asked if I wanted to 55 00:03:35,160 --> 00:03:37,000 Speaker 1: go out that night, and I said, oh, I have plans, 56 00:03:37,000 --> 00:03:39,160 Speaker 1: and he said, oh, well, the party doesn't start till eleven. 57 00:03:39,760 --> 00:03:44,120 Speaker 1: That's not going Just because baby, baby, listen, just because 58 00:03:44,120 --> 00:03:46,520 Speaker 1: you're on a different coast does not mean I'm a 59 00:03:46,560 --> 00:03:50,920 Speaker 1: different woman. And at eleven. At eleven o'clock, the only 60 00:03:50,960 --> 00:03:54,800 Speaker 1: place I want to be is leaving a movie, leaving dinner, 61 00:03:55,400 --> 00:03:59,720 Speaker 1: or already in bed, just because i might be a 62 00:03:59,720 --> 00:04:02,400 Speaker 1: New York City, but I'm not going out to like 63 00:04:02,560 --> 00:04:06,560 Speaker 1: a party that starts at eleven. Those days are behind me. 64 00:04:07,560 --> 00:04:10,280 Speaker 1: You just got here and I was thinking, look, the 65 00:04:10,320 --> 00:04:13,360 Speaker 1: time zones are in your favor. Maybe you know jet 66 00:04:13,400 --> 00:04:15,520 Speaker 1: lags keeping you up a little bit later. It's a 67 00:04:15,520 --> 00:04:18,039 Speaker 1: good time to go out. Um, I'm glad you didn't go. 68 00:04:18,080 --> 00:04:20,160 Speaker 1: You would have hated the show. Now the only thing 69 00:04:20,320 --> 00:04:23,880 Speaker 1: that's happened on the L train is me listening to 70 00:04:24,000 --> 00:04:27,280 Speaker 1: Thoroughfare by e fl Cane on a loop and attempting 71 00:04:27,400 --> 00:04:30,960 Speaker 1: not to have a public breakdown. Can we talk about 72 00:04:31,000 --> 00:04:36,240 Speaker 1: how that song is so like the new autumnal anthem, 73 00:04:36,279 --> 00:04:39,799 Speaker 1: like it is so like ethel Cane is so fall music, 74 00:04:40,400 --> 00:04:44,240 Speaker 1: and it also is summer music because it's like hot, sticky, sweaty, 75 00:04:44,640 --> 00:04:47,720 Speaker 1: But yes it is. It is very much helping me 76 00:04:47,839 --> 00:04:52,560 Speaker 1: feel the sad girl fall vibes. I've been doing the thing, 77 00:04:52,640 --> 00:04:56,159 Speaker 1: but just walking around the Upper east Side seeing places 78 00:04:56,200 --> 00:04:59,440 Speaker 1: where parts of You've Got Mail were shot and listening 79 00:04:59,560 --> 00:05:03,400 Speaker 1: to listen into ethel Caine seeing places where You've Got 80 00:05:03,440 --> 00:05:06,920 Speaker 1: Mail shot because you're on a personalized You've Got Mail 81 00:05:06,960 --> 00:05:10,200 Speaker 1: walking tour. It that that you pulled up, but like 82 00:05:10,440 --> 00:05:13,200 Speaker 1: there's like five different shooting locations from You've Got Mail 83 00:05:13,279 --> 00:05:15,640 Speaker 1: within like a five bluck radius. At my brother's apartment, 84 00:05:16,440 --> 00:05:20,479 Speaker 1: there's also there's also my brother when when you walk 85 00:05:20,520 --> 00:05:25,160 Speaker 1: out of his building, the Lincoln Center AMC is within eyesight. 86 00:05:25,279 --> 00:05:30,000 Speaker 1: It's right across the street. Whoas that's so convenient. I 87 00:05:30,040 --> 00:05:33,280 Speaker 1: do have to admit something though, which is that this 88 00:05:33,320 --> 00:05:38,960 Speaker 1: weekend this is really hard to say, I went to 89 00:05:39,160 --> 00:05:43,680 Speaker 1: a non AMC theater for the first time since I 90 00:05:43,760 --> 00:05:47,640 Speaker 1: became a Stubb Any stuff? No, which one? Did you 91 00:05:47,680 --> 00:05:52,560 Speaker 1: go to? Regal Union Square, which has now even to 92 00:05:52,640 --> 00:05:55,000 Speaker 1: go to like one of like the Art House Cinema 93 00:05:55,240 --> 00:05:57,680 Speaker 1: was even go to like fucking Nighthawk or something, and 94 00:05:57,839 --> 00:06:01,479 Speaker 1: the Metro Regal well Metric. You know, the last movie 95 00:06:01,480 --> 00:06:05,719 Speaker 1: I saw before COVID was a screening of Melancholia at Metrograph. 96 00:06:05,800 --> 00:06:09,919 Speaker 1: What did they know? What did they know? Um? They 97 00:06:10,520 --> 00:06:12,760 Speaker 1: a lot? No, but the Regal Union Square has been 98 00:06:12,800 --> 00:06:15,560 Speaker 1: totally redone inside it's very like dark and clubby and 99 00:06:15,600 --> 00:06:22,680 Speaker 1: that is where I saw Smile on Friday. Yeah, there's 100 00:06:22,680 --> 00:06:24,839 Speaker 1: like smoke machines. My friend Ryan and I were gonna 101 00:06:24,880 --> 00:06:28,479 Speaker 1: go see a Triangle of Sadness. Yeah, we were gonna 102 00:06:28,520 --> 00:06:30,680 Speaker 1: look bad. No, I'm really excited to see it, but 103 00:06:30,720 --> 00:06:32,560 Speaker 1: it was it was sold out, so we ended up 104 00:06:32,600 --> 00:06:35,920 Speaker 1: seeing Smile instead. And let me tell you, after seeing 105 00:06:36,120 --> 00:06:39,039 Speaker 1: a trailer for that movie, every time I saw a 106 00:06:39,080 --> 00:06:43,400 Speaker 1: movie for the past six months, I was not expecting 107 00:06:43,400 --> 00:06:46,520 Speaker 1: it to be very good. But it was surprisingly good 108 00:06:46,640 --> 00:06:50,599 Speaker 1: and scary. I would have expected all the good scenes 109 00:06:50,680 --> 00:06:53,360 Speaker 1: to be spoiled by the trailer. Was that we were 110 00:06:53,400 --> 00:06:55,320 Speaker 1: there a lot of other scenes as well. Were there 111 00:06:55,360 --> 00:06:58,240 Speaker 1: other scenes? There were other scenes. I will say, if 112 00:06:58,279 --> 00:07:01,719 Speaker 1: you've seen the trailer, like the full trailer, one of 113 00:07:01,760 --> 00:07:04,920 Speaker 1: the biggest jump scares in the movie is in the trailer. 114 00:07:04,920 --> 00:07:06,360 Speaker 1: It's the scene where she's sitting in the car and 115 00:07:06,400 --> 00:07:08,800 Speaker 1: the woman walks up to her and swings down. But 116 00:07:08,880 --> 00:07:12,640 Speaker 1: there's plenty of other good jump scares and I screamed 117 00:07:12,640 --> 00:07:18,120 Speaker 1: a lot. The main actress, Soci Bacon, who's Kevin Bacon's daughter, Um, 118 00:07:18,360 --> 00:07:20,960 Speaker 1: was very good. She was also kind of giving Flkane 119 00:07:20,960 --> 00:07:24,440 Speaker 1: a little bit. And yeah, it was a good movie 120 00:07:25,720 --> 00:07:27,880 Speaker 1: the theater as much as I love seeing a horror 121 00:07:27,920 --> 00:07:30,400 Speaker 1: movie with an audience full of people, and it becomes 122 00:07:30,560 --> 00:07:34,320 Speaker 1: very like communal and you know, everyone's screaming. It was 123 00:07:34,640 --> 00:07:39,640 Speaker 1: very noisy, and people were talking during the entire film. 124 00:07:39,720 --> 00:07:43,720 Speaker 1: But God, people talking during movies. That's so and yeah, 125 00:07:43,760 --> 00:07:46,560 Speaker 1: but but not but not like but not like you know, 126 00:07:47,000 --> 00:07:50,239 Speaker 1: little snippets of conversation every once in a while, which 127 00:07:50,560 --> 00:07:52,360 Speaker 1: my friend Ron and I were doing. At one point 128 00:07:52,400 --> 00:07:54,720 Speaker 1: we stopped, like like paying attention to the movie to 129 00:07:54,760 --> 00:08:00,360 Speaker 1: talk about partner track the Netflix show. Um, yeah, no, 130 00:08:00,440 --> 00:08:02,200 Speaker 1: but there were but everyone else was talking. No, but 131 00:08:02,280 --> 00:08:06,560 Speaker 1: everyone everyone else was talking throughout the entire year movie 132 00:08:07,000 --> 00:08:10,880 Speaker 1: and not really trying to keep it at a low volume. 133 00:08:11,640 --> 00:08:14,840 Speaker 1: You know, I will say, if it's like a scary movie, 134 00:08:15,320 --> 00:08:17,840 Speaker 1: I endorse that, like I you know, if we've all, 135 00:08:17,880 --> 00:08:19,520 Speaker 1: if well, if we've all come to the theater and 136 00:08:19,560 --> 00:08:21,560 Speaker 1: we're a green, that this is like a kind of 137 00:08:21,880 --> 00:08:24,000 Speaker 1: fine scary movie that we've seen the trailer for a 138 00:08:24,040 --> 00:08:25,840 Speaker 1: seven hundred times and so like we don't so we 139 00:08:25,880 --> 00:08:27,400 Speaker 1: can like act like we're gonna watch it at home. 140 00:08:27,680 --> 00:08:29,800 Speaker 1: I'm gonna be trash and say that, Um, you know, 141 00:08:30,080 --> 00:08:32,959 Speaker 1: I'll participate in that, but like I try to catch 142 00:08:33,000 --> 00:08:34,679 Speaker 1: the vibe of like what the theater is on, right, 143 00:08:34,679 --> 00:08:36,360 Speaker 1: I mean not all the time. Like sometimes you and 144 00:08:36,400 --> 00:08:39,800 Speaker 1: I are just fully talking, but we're still like we're 145 00:08:39,840 --> 00:08:44,160 Speaker 1: still like whispering and respectful. This was like running commentary. 146 00:08:44,280 --> 00:08:47,880 Speaker 1: This was like more talking than our Hocus Pocus DVD 147 00:08:48,000 --> 00:08:55,080 Speaker 1: commentary track. So we now have tried multiple times to 148 00:08:55,080 --> 00:08:57,840 Speaker 1: talk about the new Interview with the Vampire show, and 149 00:08:57,840 --> 00:08:59,800 Speaker 1: it has I worked out for one reason or not. 150 00:09:00,679 --> 00:09:05,440 Speaker 1: So I think now it's a good time to discuss. So, um, 151 00:09:05,480 --> 00:09:07,920 Speaker 1: I think we should have that conversation. Yes, and I 152 00:09:07,960 --> 00:09:11,800 Speaker 1: will preface it for you virgins by saying we are 153 00:09:12,200 --> 00:09:16,000 Speaker 1: going to dive a little deeper into interview with the 154 00:09:16,080 --> 00:09:20,560 Speaker 1: Vampire in our vampire centric episode. But when we recorded that, 155 00:09:20,640 --> 00:09:24,720 Speaker 1: we had not yet seen the new show. So I 156 00:09:24,760 --> 00:09:27,160 Speaker 1: think it's it's fine for us to just talk about 157 00:09:27,160 --> 00:09:29,679 Speaker 1: it now. And I've seen all three episodes that are 158 00:09:29,679 --> 00:09:32,640 Speaker 1: out for and you've seen the first two. I've seen 159 00:09:32,679 --> 00:09:36,600 Speaker 1: the first, so I have to say, you know, it 160 00:09:36,679 --> 00:09:41,120 Speaker 1: is now part of my must watch Sunday night TV 161 00:09:41,320 --> 00:09:45,560 Speaker 1: alongside House of the Dragon. Um. So some interesting things 162 00:09:45,559 --> 00:09:49,200 Speaker 1: about this this new adaptation of Anne Rice's you know, 163 00:09:49,440 --> 00:09:53,920 Speaker 1: I think most famous work is this new show, which 164 00:09:53,960 --> 00:09:57,800 Speaker 1: is on AMC Plus, has updated the source material, which 165 00:09:57,840 --> 00:10:00,800 Speaker 1: you know, is about a vampire giving an interview, and 166 00:10:00,920 --> 00:10:04,080 Speaker 1: the sort of framing device of this is that that 167 00:10:04,280 --> 00:10:08,160 Speaker 1: interview happened, but it wasn't like really true to life. 168 00:10:08,320 --> 00:10:12,440 Speaker 1: And so now the vampire and the journalists aart revisiting 169 00:10:12,480 --> 00:10:17,800 Speaker 1: their interview fifty years later, and Louis the titular vampires, 170 00:10:17,880 --> 00:10:22,240 Speaker 1: giving a more honest version of his story. And in 171 00:10:22,240 --> 00:10:25,920 Speaker 1: this updated version, Louis, rather than being you know, a 172 00:10:25,960 --> 00:10:30,080 Speaker 1: seventeenth century plantation owner, is now a black queer man 173 00:10:30,360 --> 00:10:34,880 Speaker 1: in the early nineteen hundreds in New Orleans who runs 174 00:10:34,920 --> 00:10:38,800 Speaker 1: a string of brothels after his family fortune, you know, 175 00:10:38,920 --> 00:10:41,360 Speaker 1: kind of like crumbles to dust when his father dies. 176 00:10:41,920 --> 00:10:48,040 Speaker 1: And he meets listat Lion Court, who Listed Delenne, who 177 00:10:48,240 --> 00:10:53,319 Speaker 1: is so hot in this new version, so French, and 178 00:10:53,440 --> 00:10:55,679 Speaker 1: they fall in love. And the thing about interview with 179 00:10:55,720 --> 00:10:57,640 Speaker 1: the vampire, and you know, we talk a little bit 180 00:10:57,640 --> 00:10:59,760 Speaker 1: about this in our Vampire episode, but like to give 181 00:10:59,800 --> 00:11:06,880 Speaker 1: you a preview. You know, Ann Rice's novel was very gay. 182 00:11:06,960 --> 00:11:12,400 Speaker 1: It was explicitly gay. It was, and the film, as 183 00:11:12,480 --> 00:11:16,120 Speaker 1: much as I love it, it made all of that 184 00:11:16,440 --> 00:11:20,280 Speaker 1: explicit queerness into subtexts and it's very homo erotic, but 185 00:11:20,360 --> 00:11:24,319 Speaker 1: it's not out not gay, so subtextual that when I 186 00:11:24,360 --> 00:11:26,640 Speaker 1: watched it, and again you'll hear this an episode, but 187 00:11:26,679 --> 00:11:29,719 Speaker 1: when I watched it and Rose told me that there 188 00:11:29,760 --> 00:11:31,600 Speaker 1: were that it was gay in the book, I was shook. 189 00:11:31,800 --> 00:11:33,920 Speaker 1: I was like, well, what it's like actually gay because 190 00:11:33,920 --> 00:11:36,880 Speaker 1: it's really just harmerotic subtexts. In the movie, it's like 191 00:11:36,960 --> 00:11:40,080 Speaker 1: really neutered. I'm not gonna But in Anne Rice's novel 192 00:11:40,240 --> 00:11:42,480 Speaker 1: and in all of her novels, it's very clear that 193 00:11:43,360 --> 00:11:46,839 Speaker 1: Listat and Louis are lovers, and in this new show 194 00:11:47,559 --> 00:11:52,559 Speaker 1: they are also lovers. It is gay. It is It 195 00:11:52,720 --> 00:11:56,840 Speaker 1: is so gay, and you know, the whole first episode 196 00:11:56,920 --> 00:12:01,760 Speaker 1: is Listat, you know, seducing Louis, who is already because 197 00:12:01,760 --> 00:12:03,600 Speaker 1: of the changes that have been made to his character, 198 00:12:04,360 --> 00:12:07,320 Speaker 1: is already an other um, you know, because he's a 199 00:12:07,360 --> 00:12:10,120 Speaker 1: black queer man in the early nine hundreds, and then 200 00:12:10,320 --> 00:12:14,280 Speaker 1: like that gets further exacerbated when he has turned into 201 00:12:14,320 --> 00:12:17,240 Speaker 1: a vampire. He's like the ultimate other. But in that 202 00:12:17,280 --> 00:12:21,559 Speaker 1: first episode, you know, they have this incredible love scene 203 00:12:22,040 --> 00:12:24,400 Speaker 1: before Lestat turns him into a vampire, he tells him 204 00:12:24,440 --> 00:12:30,880 Speaker 1: he loves him. It's just so good and sexy. And 205 00:12:31,679 --> 00:12:33,520 Speaker 1: in this new episode when you watch it, there's like 206 00:12:33,600 --> 00:12:39,640 Speaker 1: a discussion of open relationships and like polyamory, oh sexuality, 207 00:12:39,720 --> 00:12:44,160 Speaker 1: And you know, I just love that it's so explicit 208 00:12:44,600 --> 00:12:48,240 Speaker 1: but still like really sexy and romantic and all the 209 00:12:48,280 --> 00:12:52,160 Speaker 1: things that an and Rice adaptation should be. I love 210 00:12:52,360 --> 00:12:56,240 Speaker 1: the adaptation. It's I'm gonna keep watching. I am, you know, 211 00:12:56,400 --> 00:12:59,679 Speaker 1: definitely gonna finish out my AMCs free trial for that 212 00:12:59,760 --> 00:13:01,520 Speaker 1: can to you to give a m C plus my 213 00:13:01,559 --> 00:13:05,320 Speaker 1: money or whatever. And uh, just as you said, like, 214 00:13:05,400 --> 00:13:09,720 Speaker 1: I am just really enthralled by the raw sexuality of 215 00:13:09,800 --> 00:13:14,120 Speaker 1: the show, like sex shuality like with capital s or 216 00:13:14,280 --> 00:13:18,280 Speaker 1: non sensuality sexuality. Yeah, yeah, yeah, And I I really 217 00:13:18,320 --> 00:13:21,480 Speaker 1: appreciate that. I love how like horny it is. It's 218 00:13:21,640 --> 00:13:25,679 Speaker 1: very pulpy, right, like it leans into the kind of 219 00:13:26,160 --> 00:13:30,080 Speaker 1: graphic novel e also you know, Southern gothic kind of 220 00:13:30,320 --> 00:13:33,440 Speaker 1: edge of it. Um. I love that there's this kind 221 00:13:33,480 --> 00:13:36,760 Speaker 1: of new spin on this trope that you have pointed 222 00:13:36,760 --> 00:13:38,720 Speaker 1: out to me over and over again that like a 223 00:13:38,720 --> 00:13:43,520 Speaker 1: lot of like vampires fight in the Confederate War or something. Yeah, 224 00:13:43,720 --> 00:13:49,160 Speaker 1: well that's not an interview with the Hire, but that 225 00:13:49,440 --> 00:13:57,160 Speaker 1: is in UM True Blood, in Twilight, UM, in the 226 00:13:57,240 --> 00:14:00,840 Speaker 1: Vampire Diaries, those are all things. Were there vampires who 227 00:14:01,080 --> 00:14:04,640 Speaker 1: at one that we're Confederate soldiers? Literally all of them 228 00:14:04,640 --> 00:14:07,760 Speaker 1: were Confederate soldiers. So why so, Like what I'm saying 229 00:14:07,880 --> 00:14:10,520 Speaker 1: is like I feel because I'm the interview with Vampire 230 00:14:10,559 --> 00:14:13,839 Speaker 1: Reboot is a period drama. I'm like I feel this, Like, 231 00:14:14,160 --> 00:14:17,120 Speaker 1: I mean, it's already very racialized. They have conversations about 232 00:14:17,200 --> 00:14:19,480 Speaker 1: race that I think are really interesting, and I think 233 00:14:19,520 --> 00:14:21,560 Speaker 1: my one company is I do think Louis is like 234 00:14:21,640 --> 00:14:25,040 Speaker 1: can be occasionally like a little fart facey, Like sometimes 235 00:14:25,040 --> 00:14:28,680 Speaker 1: I wish that he was just a little less soap 236 00:14:28,960 --> 00:14:32,840 Speaker 1: and a little more like acting. I just like don't 237 00:14:32,880 --> 00:14:35,760 Speaker 1: really see that. I think he's really good. I just 238 00:14:35,800 --> 00:14:38,720 Speaker 1: think I'm sometimes I'm watching and I get a little 239 00:14:38,760 --> 00:14:40,880 Speaker 1: bit of like gladrill and rings of power, like I'm 240 00:14:40,920 --> 00:14:42,560 Speaker 1: not really getting the emotion that I want. But he 241 00:14:42,680 --> 00:14:44,760 Speaker 1: is also really he's not as bad as glad you. 242 00:14:44,920 --> 00:14:47,800 Speaker 1: Glad you literally cannot make an emotion to save her life, 243 00:14:47,840 --> 00:14:51,360 Speaker 1: Like still literally okay, sorry, can I spoiler alert something 244 00:14:51,360 --> 00:14:55,840 Speaker 1: really quick? Sure? Sure? I for for all the virgins listening. Um, 245 00:14:56,000 --> 00:14:58,560 Speaker 1: I have kind of stopped watching Rings of Power. I'm 246 00:14:58,560 --> 00:15:01,320 Speaker 1: gonna wait till all the episodes are out and just 247 00:15:01,360 --> 00:15:04,520 Speaker 1: binge it because I just got really bored. I actually 248 00:15:04,560 --> 00:15:06,640 Speaker 1: won't even spoil it that hard. All I'm gonna say 249 00:15:06,720 --> 00:15:09,640 Speaker 1: is that something happens. We're in a huge part of 250 00:15:09,680 --> 00:15:14,720 Speaker 1: the world literally explodes, and and glad Reel still cannot 251 00:15:15,080 --> 00:15:18,680 Speaker 1: make a facial expression, like the world is collapsing on 252 00:15:18,840 --> 00:15:22,400 Speaker 1: top of her and around her, smoke, fire, brimstone, and 253 00:15:22,480 --> 00:15:26,520 Speaker 1: she cannot raise an eyebrow. I was like, girl, like, 254 00:15:26,600 --> 00:15:30,000 Speaker 1: your botox is not like that restrictive, Like, I know 255 00:15:30,760 --> 00:15:34,440 Speaker 1: you can do this. It's actually comical at this point. 256 00:15:34,560 --> 00:15:36,720 Speaker 1: But when all the episodes are out and you do watch, 257 00:15:36,760 --> 00:15:39,240 Speaker 1: I'm very excited to debrief. Well, I'm not excited to 258 00:15:39,320 --> 00:15:42,200 Speaker 1: debrief because it's not an exciting show, but I still 259 00:15:42,200 --> 00:15:44,800 Speaker 1: want to talk to you about anyways. Interview with the 260 00:15:44,880 --> 00:15:48,160 Speaker 1: Vampire great much better than Rings of Power. Please watch it. 261 00:15:48,160 --> 00:15:51,600 Speaker 1: It's so good. You haven't you you've watched some of 262 00:15:51,840 --> 00:15:55,760 Speaker 1: last night's House of the Dragon. Yes, oh, yes, we 263 00:15:55,800 --> 00:15:57,520 Speaker 1: need to catch up on Okay, but you haven't watched 264 00:15:57,520 --> 00:16:00,920 Speaker 1: the whole thing, so we can't really catch up. No, 265 00:16:01,080 --> 00:16:03,960 Speaker 1: so we can't get Maybe for the for the Virsion's benefit, 266 00:16:04,000 --> 00:16:06,600 Speaker 1: we won't get into spoilers for last week's episode. But 267 00:16:06,800 --> 00:16:10,160 Speaker 1: as we are coming up on the end of the season, 268 00:16:10,320 --> 00:16:13,920 Speaker 1: because I believe there's only two episodes left, what are 269 00:16:13,960 --> 00:16:18,080 Speaker 1: you most excited about? What are you most excited to see? 270 00:16:18,120 --> 00:16:20,000 Speaker 1: Where do you think this how do you think the 271 00:16:20,000 --> 00:16:23,080 Speaker 1: season is going to wrap up? Obviously? Okay, So Rania 272 00:16:23,200 --> 00:16:25,440 Speaker 1: Damon are going to have like a wild fox sesh. 273 00:16:25,440 --> 00:16:27,560 Speaker 1: They're gonna kill everyone. Rania is gonna walk up to 274 00:16:27,600 --> 00:16:29,800 Speaker 1: the bar. She's gonna say, can I have a groaning? 275 00:16:30,960 --> 00:16:35,280 Speaker 1: Smuggliante not really just came out of nowhere this weekend. 276 00:16:36,000 --> 00:16:40,880 Speaker 1: Payton Dicks really put in the word should be paying 277 00:16:41,000 --> 00:16:43,960 Speaker 1: her honestly, But like I have to say, just to 278 00:16:44,080 --> 00:16:47,480 Speaker 1: be annoying as an online area, I have been ordering 279 00:16:47,520 --> 00:16:51,680 Speaker 1: the gronies at dive bars for like years, okay years. 280 00:16:51,920 --> 00:16:54,840 Speaker 1: I love ordering a groaning at like literally any bar 281 00:16:54,920 --> 00:16:56,800 Speaker 1: because it's really hard to funk up, you know what 282 00:16:56,840 --> 00:16:59,880 Speaker 1: I mean? Um, So I don't know like what all this, 283 00:17:00,160 --> 00:17:04,040 Speaker 1: like you know why everyone's going crazy over Emma because 284 00:17:04,040 --> 00:17:11,440 Speaker 1: of the way so hot. God, they are so hot 285 00:17:11,520 --> 00:17:17,840 Speaker 1: and they're so good like the acting and last night's episode. 286 00:17:17,880 --> 00:17:20,840 Speaker 1: I mean, I will say last night's episode was not 287 00:17:20,960 --> 00:17:22,800 Speaker 1: one of my favorites of the season. I thought it 288 00:17:22,840 --> 00:17:28,359 Speaker 1: was a bit clunky. Um, but the performances across the 289 00:17:28,400 --> 00:17:32,800 Speaker 1: board are just so good. Yeah. This so I'm a 290 00:17:32,840 --> 00:17:35,480 Speaker 1: part way through this most recent episode. It's really choppy 291 00:17:35,720 --> 00:17:39,919 Speaker 1: right there there, trying because they do another time jump, 292 00:17:40,240 --> 00:17:43,399 Speaker 1: but this is the last six years? Oh is it really? Okay? 293 00:17:43,440 --> 00:17:46,480 Speaker 1: That's great. So it's a six year time jump, allegedly 294 00:17:46,640 --> 00:17:50,199 Speaker 1: the last one. And um, it's like they are just 295 00:17:50,359 --> 00:17:53,680 Speaker 1: planting plot points in teeny tiny scenes scattered through the 296 00:17:53,720 --> 00:17:56,520 Speaker 1: whole episode to propel you forward and to kind of 297 00:17:56,680 --> 00:17:59,440 Speaker 1: get you up to speed, so to speak. And again, 298 00:17:59,480 --> 00:18:01,760 Speaker 1: like like we said last time, it doesn't feel like, 299 00:18:02,280 --> 00:18:05,119 Speaker 1: you know, poorly done or like I'm not getting what 300 00:18:05,160 --> 00:18:07,880 Speaker 1: I want, but I just I want more. So many eggs, 301 00:18:08,600 --> 00:18:12,439 Speaker 1: so many eggs. People really in medieval times or whatever 302 00:18:13,119 --> 00:18:15,840 Speaker 1: just kind of reuse the same five names over and 303 00:18:15,880 --> 00:18:17,679 Speaker 1: over again. But do you have do you have a 304 00:18:17,720 --> 00:18:22,000 Speaker 1: favorite character? Yeah, I mean Rania. I love also Rain 305 00:18:22,560 --> 00:18:26,880 Speaker 1: Rain rainis the who never was um. She she got 306 00:18:26,920 --> 00:18:29,000 Speaker 1: a lot to do in this episode, which was great. 307 00:18:29,359 --> 00:18:31,920 Speaker 1: She did, and she's becoming more of like a player, 308 00:18:32,000 --> 00:18:33,679 Speaker 1: like a real or she always has been, but it 309 00:18:33,720 --> 00:18:36,880 Speaker 1: is even more so like a player. I also like Helena, 310 00:18:36,960 --> 00:18:40,280 Speaker 1: who is the daughter of Allison, who seems to have 311 00:18:40,520 --> 00:18:46,040 Speaker 1: some kind of prophetic vision thing happening. She might have 312 00:18:46,080 --> 00:18:49,240 Speaker 1: the dragon dreams that some targe Arians have because she's 313 00:18:49,280 --> 00:18:52,679 Speaker 1: now predicted a couple of things over the course of 314 00:18:52,720 --> 00:18:55,920 Speaker 1: these episodes. And she has a sweet little moment in 315 00:18:55,960 --> 00:18:59,520 Speaker 1: this episode as well that you'll see. But you know, 316 00:18:59,600 --> 00:19:02,000 Speaker 1: the thing about the show is, as we've said, it's 317 00:19:02,040 --> 00:19:05,159 Speaker 1: everyone's bad, even the people that I'm rooting for, Like 318 00:19:05,240 --> 00:19:09,359 Speaker 1: obviously I'm Team Black, I'm on r near a side 319 00:19:09,760 --> 00:19:11,960 Speaker 1: at Team Inside, And I think the show is being 320 00:19:12,000 --> 00:19:15,080 Speaker 1: a little a little heavy handed with wanting you to 321 00:19:15,240 --> 00:19:20,160 Speaker 1: root for Rani a side by making Allison and the 322 00:19:20,200 --> 00:19:26,040 Speaker 1: Greens kind of like more obviously and almost cartoonishly villainous, 323 00:19:26,080 --> 00:19:28,520 Speaker 1: because I think, as we've said, when it comes down 324 00:19:28,560 --> 00:19:32,439 Speaker 1: to it, like these are all bad people doing bad 325 00:19:32,560 --> 00:19:36,600 Speaker 1: things for like the goal of what power. Like that's 326 00:19:36,680 --> 00:19:40,760 Speaker 1: kind of it, and so I'm not rooting for anyone 327 00:19:40,840 --> 00:19:44,320 Speaker 1: so much as I'm just enjoying the ride, because at 328 00:19:44,320 --> 00:19:45,800 Speaker 1: the end of the day, these are all bad people, 329 00:19:45,800 --> 00:19:48,800 Speaker 1: and I like I already we all we all already 330 00:19:48,840 --> 00:19:51,640 Speaker 1: know how it ends because we've all watched Game of Thrones, 331 00:19:52,040 --> 00:19:54,040 Speaker 1: so we know it's going to end badly. But it's 332 00:19:54,080 --> 00:19:56,800 Speaker 1: just so much fun to see how badly it's gonna end. 333 00:19:57,240 --> 00:20:00,520 Speaker 1: It is and I think, just like in the container 334 00:20:00,560 --> 00:20:04,640 Speaker 1: of the story is still so compelling. So yeah, I'm 335 00:20:04,720 --> 00:20:07,200 Speaker 1: I'm I hate how much I've grown to like the show, 336 00:20:07,240 --> 00:20:08,800 Speaker 1: but I think it's kind of my favorite thing on 337 00:20:08,920 --> 00:20:11,160 Speaker 1: right now. I'm going to be devastated with the vampire, 338 00:20:11,200 --> 00:20:15,120 Speaker 1: devastated when it ends. Maybe I should be something from 339 00:20:15,160 --> 00:20:17,639 Speaker 1: House of the Dragon for Halloween. Um, if you have 340 00:20:17,720 --> 00:20:20,960 Speaker 1: suggestions for what I should be for Halloween, please slide 341 00:20:20,960 --> 00:20:22,720 Speaker 1: into our d M s at like a Virgin four 342 00:20:22,760 --> 00:20:26,760 Speaker 1: twenty sixty nine to let me know, because I still 343 00:20:26,880 --> 00:20:48,719 Speaker 1: have no clue as someone who hasn't seen quite as 344 00:20:48,800 --> 00:20:54,040 Speaker 1: much of the Tim Burton cannon as I have. What 345 00:20:54,119 --> 00:20:59,520 Speaker 1: do you think defines a Tim Burton film? Well, he 346 00:20:59,640 --> 00:21:01,600 Speaker 1: is a bit than ookie spooky girl. I think like 347 00:21:01,640 --> 00:21:04,960 Speaker 1: an oogie spooky aesthetic. I think everyone in the movie 348 00:21:05,000 --> 00:21:08,520 Speaker 1: needs to look blue in the face, just like like 349 00:21:09,960 --> 00:21:13,520 Speaker 1: so white that they are blue. Like that actually is 350 00:21:14,040 --> 00:21:16,720 Speaker 1: the palette that he's working with. And I actually think 351 00:21:16,720 --> 00:21:20,320 Speaker 1: that palette and like escape of color is is really 352 00:21:20,359 --> 00:21:23,840 Speaker 1: big in his films, Like there is an aesthetic that 353 00:21:23,920 --> 00:21:27,000 Speaker 1: draws everything together. And then would you say, would you 354 00:21:27,040 --> 00:21:31,959 Speaker 1: say that above all Tim Burton movies are defined by 355 00:21:31,960 --> 00:21:37,440 Speaker 1: their aesthetic Unfortunately, yeah, um, and I you know it's 356 00:21:37,480 --> 00:21:40,520 Speaker 1: so funny is as someone who has on the pod said, 357 00:21:41,480 --> 00:21:45,040 Speaker 1: I'm like much more style over substance sometimes when we 358 00:21:45,040 --> 00:21:47,480 Speaker 1: were talking about like bas Learman, I do think that 359 00:21:47,560 --> 00:21:50,680 Speaker 1: Tim Burton is kind of that girl too. Yes, I 360 00:21:51,320 --> 00:21:56,960 Speaker 1: I will say that I think he has some themes 361 00:21:57,040 --> 00:21:59,680 Speaker 1: that he does return to that are not just stylistic. 362 00:22:00,160 --> 00:22:08,679 Speaker 1: Among them what death, death, the afterlife, um, you know, magic, darkness. 363 00:22:09,240 --> 00:22:16,240 Speaker 1: He also really likes um murder ghosts. Yes. Also, um, 364 00:22:16,359 --> 00:22:20,760 Speaker 1: he is very into revisiting sort of older pieces of 365 00:22:20,800 --> 00:22:25,080 Speaker 1: pop culture. I think he's very much stuck in his 366 00:22:25,720 --> 00:22:32,080 Speaker 1: childhood and looking back at those things through his lens. 367 00:22:32,160 --> 00:22:37,159 Speaker 1: So things like Batman, Alice in Wonderland, dark Shadows, Charlie 368 00:22:37,160 --> 00:22:42,200 Speaker 1: and the Chocolate Factory, and he is obsessed with youth 369 00:22:42,320 --> 00:22:47,399 Speaker 1: and innocence for a big chunk of his career. And 370 00:22:47,600 --> 00:22:51,720 Speaker 1: I would say like from the nineties to now, he 371 00:22:51,800 --> 00:22:58,399 Speaker 1: has primarily made ookie, spooky, family friendly films and entertainment. 372 00:22:58,640 --> 00:23:00,800 Speaker 1: And these are a lot of these are reboots, right, 373 00:23:00,960 --> 00:23:06,280 Speaker 1: A lot of these are adaptations of particularly dark stories 374 00:23:06,440 --> 00:23:09,880 Speaker 1: from the yore of children's storytelling. You know, I think 375 00:23:09,880 --> 00:23:13,360 Speaker 1: that darkness is something that you can say ends up 376 00:23:13,400 --> 00:23:16,960 Speaker 1: in every single one of his films, is some capacity 377 00:23:17,040 --> 00:23:20,439 Speaker 1: both literal and metaphorical darkness. But I also he is 378 00:23:20,800 --> 00:23:23,399 Speaker 1: thought of as an auteur, and I think there is 379 00:23:23,440 --> 00:23:29,639 Speaker 1: a cultural perception that with his films he is writing, directing, 380 00:23:30,600 --> 00:23:33,120 Speaker 1: doing all of the stylistic work, and in a lot 381 00:23:33,160 --> 00:23:37,440 Speaker 1: of cases that's not always true. You know, something like Beetlejuice, 382 00:23:37,440 --> 00:23:39,520 Speaker 1: which I think is a really good place for us 383 00:23:39,560 --> 00:23:42,600 Speaker 1: to start, because I do believe it his his best work, 384 00:23:43,119 --> 00:23:45,280 Speaker 1: and we watched it last night. Fran saw it for 385 00:23:45,280 --> 00:23:48,320 Speaker 1: the first time. Um, he didn't write the script to Beetlejuice. 386 00:23:48,320 --> 00:23:51,360 Speaker 1: Beetlejuice was a script that was kind of shuffling around 387 00:23:51,600 --> 00:23:55,399 Speaker 1: the studio system trying to find the right director and 388 00:23:55,440 --> 00:23:58,400 Speaker 1: went through a bunch of rewrites until it eventually made 389 00:23:58,400 --> 00:24:00,520 Speaker 1: its way to Tim Burton. It was a newly much 390 00:24:00,600 --> 00:24:05,080 Speaker 1: darker and was you know, through his work on it 391 00:24:05,119 --> 00:24:08,880 Speaker 1: became sort of a lighter. I mean obviously still very 392 00:24:08,920 --> 00:24:12,000 Speaker 1: you know, tongue in cheek and there are things now 393 00:24:12,040 --> 00:24:14,159 Speaker 1: that I don't think you'd get away with, and a 394 00:24:14,200 --> 00:24:18,640 Speaker 1: sort of like family comedy today. But yeah, I mean 395 00:24:18,680 --> 00:24:24,040 Speaker 1: it's still like palatable for a PG thirteen audience, even 396 00:24:24,080 --> 00:24:29,359 Speaker 1: though Beetlejuice does say fuck at least once. Oh, I 397 00:24:29,359 --> 00:24:32,120 Speaker 1: think in PG thirteen movies you actually can only say 398 00:24:32,240 --> 00:24:34,880 Speaker 1: fuck once and then if you say at a second time, 399 00:24:35,000 --> 00:24:38,040 Speaker 1: if you say a second time, it's radar ar. Yeah. Um, 400 00:24:38,080 --> 00:24:40,639 Speaker 1: I know that because my family, because of how I 401 00:24:40,680 --> 00:24:44,360 Speaker 1: grew up. Um, but how so you grew up not 402 00:24:44,440 --> 00:24:46,800 Speaker 1: really watching a lot of Tim Burton. No, Well, what 403 00:24:46,920 --> 00:24:51,640 Speaker 1: happened was, um, you know Tim Burton is the Devil. Yes, 404 00:24:51,720 --> 00:24:55,159 Speaker 1: the encapsulation of the devil and the Devil's presence in 405 00:24:55,520 --> 00:24:58,560 Speaker 1: mainstream media and was huge at the time of our 406 00:24:58,640 --> 00:25:00,679 Speaker 1: like growing up. And so I don't know if my 407 00:25:00,760 --> 00:25:04,359 Speaker 1: parents really knew explicitly like who Tim Burton was, and 408 00:25:04,359 --> 00:25:06,120 Speaker 1: then I couldn't watch his movies. But if they were 409 00:25:06,160 --> 00:25:08,359 Speaker 1: to see a trailer of literally any of his movies, 410 00:25:08,400 --> 00:25:10,480 Speaker 1: they'd be like, you're you're not watching that, that's like 411 00:25:10,520 --> 00:25:13,520 Speaker 1: the Devil, And like I didn't see, you know, things 412 00:25:13,600 --> 00:25:17,879 Speaker 1: like Nightmare before Christmas until I was like a late teen. 413 00:25:18,160 --> 00:25:20,480 Speaker 1: I didn't see a lot of those movies until I 414 00:25:20,520 --> 00:25:24,159 Speaker 1: was older, but I did. By the time I was 415 00:25:24,720 --> 00:25:29,239 Speaker 1: a teen and entering my hot topic era, I was 416 00:25:29,440 --> 00:25:32,640 Speaker 1: becoming obsessed quote unquote with Tim Burton, which really just 417 00:25:32,760 --> 00:25:35,280 Speaker 1: meant that, like I bought Tim Burton T shirts and 418 00:25:35,280 --> 00:25:39,200 Speaker 1: paraphernalia but actually didn't know that much about his Well, yeah, 419 00:25:39,240 --> 00:25:42,879 Speaker 1: I do think that the transformation of Tim Burton is 420 00:25:42,960 --> 00:25:48,919 Speaker 1: from someone who made very strange cult films to someone 421 00:25:48,960 --> 00:25:52,880 Speaker 1: who is kind of synonymous with the type of genre 422 00:25:53,080 --> 00:26:00,359 Speaker 1: fandom consumerism that exists at hot topic like Tim Burton 423 00:26:00,680 --> 00:26:05,400 Speaker 1: in is hot topic. Yeah, he is, literally, I mean 424 00:26:05,480 --> 00:26:08,520 Speaker 1: he was paying Hot Topics light bill, Like that's really 425 00:26:08,520 --> 00:26:10,760 Speaker 1: what was happening. If you walk into a hot topic, 426 00:26:10,840 --> 00:26:14,720 Speaker 1: you can get your Jack Skellington costume. You can get 427 00:26:14,760 --> 00:26:20,040 Speaker 1: your like dress that's like a shitty polyester that is like, um, 428 00:26:20,080 --> 00:26:22,600 Speaker 1: you know, going to spread my grol plastics in this 429 00:26:22,680 --> 00:26:25,840 Speaker 1: earth for then two years and it's printed with Sally's 430 00:26:25,880 --> 00:26:27,920 Speaker 1: dress on it. Yeah, and for some reason you can 431 00:26:27,960 --> 00:26:30,840 Speaker 1: still buy you know, a Charlie and the Chocolate Factory 432 00:26:30,840 --> 00:26:32,960 Speaker 1: t shirt or and Alison Wonderland t shirt. God knows 433 00:26:32,960 --> 00:26:35,560 Speaker 1: why because those are like among his worst films. So, like, 434 00:26:36,080 --> 00:26:38,800 Speaker 1: so you didn't spend a lot of time with his 435 00:26:38,880 --> 00:26:43,480 Speaker 1: work when you were a kid. Unsurprisingly, I did. I 436 00:26:43,720 --> 00:26:46,399 Speaker 1: actually did. I mean I did spend a lot of 437 00:26:46,440 --> 00:26:48,679 Speaker 1: time like not as a kid kid, but by the 438 00:26:48,680 --> 00:26:50,520 Speaker 1: time I was a teen, It's just like I did 439 00:26:50,560 --> 00:26:52,919 Speaker 1: become obsessed and I would tell people that Corpse Bride 440 00:26:52,960 --> 00:26:55,879 Speaker 1: was my favorite movie. Okay, yeah, Like that's like I 441 00:26:55,920 --> 00:26:59,680 Speaker 1: think pretending to like Tim Burton was a part of 442 00:27:00,280 --> 00:27:02,160 Speaker 1: how I was as a kid. But I do think 443 00:27:02,200 --> 00:27:05,240 Speaker 1: teenager is still different from kid because if we're talking 444 00:27:05,280 --> 00:27:11,080 Speaker 1: about the formative power of media, you know, Nightmare Before Christmas, 445 00:27:11,680 --> 00:27:14,840 Speaker 1: that was that was me as a child, because I 446 00:27:14,840 --> 00:27:18,240 Speaker 1: remember Before Christmas came out when I was five years old, 447 00:27:18,720 --> 00:27:21,920 Speaker 1: and I vividly remember the day that my parents got 448 00:27:21,960 --> 00:27:24,400 Speaker 1: it on VHS and brought it home. My dad also 449 00:27:24,440 --> 00:27:30,680 Speaker 1: bought me all the action figures. It was my entire world. Um. 450 00:27:30,800 --> 00:27:34,840 Speaker 1: And I think because I got it so early and 451 00:27:34,920 --> 00:27:40,280 Speaker 1: along with that also was into really into beetlejuice. Um, 452 00:27:40,400 --> 00:27:47,600 Speaker 1: it absolutely informed and formed my tastes and aesthetic and 453 00:27:48,160 --> 00:27:52,440 Speaker 1: me me being a spooky bitch. And I think if 454 00:27:52,480 --> 00:27:55,560 Speaker 1: I had gotten it even a little later in life 455 00:27:55,600 --> 00:27:57,720 Speaker 1: the way that you did, that might not have been true. 456 00:27:57,800 --> 00:28:00,320 Speaker 1: Or maybe I always would have been drawn to those 457 00:28:00,400 --> 00:28:04,280 Speaker 1: kinds of things. But I think tim Burton was really 458 00:28:04,359 --> 00:28:10,080 Speaker 1: the only person who was putting that kind of spook 459 00:28:10,760 --> 00:28:14,879 Speaker 1: into things specifically that kids could watch. Yeah, but I 460 00:28:14,960 --> 00:28:17,000 Speaker 1: mean to go back to the initial question, like what 461 00:28:17,080 --> 00:28:21,160 Speaker 1: are the other things that make a Tim Burton film 462 00:28:21,280 --> 00:28:23,960 Speaker 1: that you were like maybe attracted to as a kid, 463 00:28:24,040 --> 00:28:28,280 Speaker 1: Because I think for me, it's like there's the oooky 464 00:28:28,320 --> 00:28:33,000 Speaker 1: spooky factor. There's the Danny Elfman's score, there's like his 465 00:28:33,280 --> 00:28:37,760 Speaker 1: use usually a musical number, yes, usually several, if not several, 466 00:28:37,960 --> 00:28:43,000 Speaker 1: that's right. You have this kind of emo sensibility, I think, 467 00:28:43,040 --> 00:28:46,240 Speaker 1: and everything like in all of his films, there's always 468 00:28:46,280 --> 00:28:49,640 Speaker 1: some sad boy protagonists, yes, And and at the crux 469 00:28:49,680 --> 00:28:54,120 Speaker 1: of like pretty much every protagonist is an existential question 470 00:28:54,600 --> 00:28:58,640 Speaker 1: about like love and death honestly like and and how 471 00:28:58,720 --> 00:29:02,800 Speaker 1: those things are usually at odds, but also kind of 472 00:29:02,960 --> 00:29:08,360 Speaker 1: um self fulfillment because he does get pretty existential because 473 00:29:08,400 --> 00:29:12,040 Speaker 1: you look at like Jack Skellington in The Nightmare Before Christmas? 474 00:29:12,320 --> 00:29:14,760 Speaker 1: His whole thing is what what am I doing? What 475 00:29:15,360 --> 00:29:18,680 Speaker 1: is my purpose? What am I here? For? Edwards scissor Hands, 476 00:29:18,720 --> 00:29:21,160 Speaker 1: It's it's about why do I am? I? Why do 477 00:29:21,200 --> 00:29:24,920 Speaker 1: I exist? Even Beetlejuice, it's like, what do I do 478 00:29:25,000 --> 00:29:27,120 Speaker 1: with my life now that I'm dead? Yeah, now that 479 00:29:27,160 --> 00:29:29,480 Speaker 1: I'm dead? I think you have a version of that 480 00:29:29,760 --> 00:29:33,120 Speaker 1: even in Corpse Bride, which a movie that gets a 481 00:29:33,160 --> 00:29:36,280 Speaker 1: lot of flak, but like, I actually think perfectly distills 482 00:29:36,320 --> 00:29:39,800 Speaker 1: a lot like of his, of Tim Burton's like philosophical ideas. 483 00:29:39,880 --> 00:29:43,360 Speaker 1: It is not very good, No, it's not. I definitely 484 00:29:43,400 --> 00:29:46,520 Speaker 1: bought it in like the Blockbuster dollar bin. Like you know, 485 00:29:46,560 --> 00:29:48,960 Speaker 1: remember how Blockbuster used to have those like bins of 486 00:29:49,040 --> 00:29:52,520 Speaker 1: movies where it was like, when the movie comes out, 487 00:29:52,600 --> 00:29:55,080 Speaker 1: they buy like ten copies to rent, and then by 488 00:29:55,080 --> 00:29:57,440 Speaker 1: the time it's like no longer relevant, they don't need 489 00:29:57,480 --> 00:29:59,880 Speaker 1: ten copies of it, so they sell like nine of 490 00:30:00,240 --> 00:30:03,880 Speaker 1: for like two dollars I bought Corporate Bride probably for 491 00:30:03,920 --> 00:30:06,120 Speaker 1: two dollars, like that is like the vibe. But I 492 00:30:06,280 --> 00:30:10,480 Speaker 1: but I loved that movie because it was so melodramatic 493 00:30:10,520 --> 00:30:14,720 Speaker 1: and because as a child, I was attached to a 494 00:30:14,840 --> 00:30:18,400 Speaker 1: very adult idea of what it means to live the 495 00:30:18,440 --> 00:30:20,600 Speaker 1: same as like Jack Skellington. Right. And I think that 496 00:30:21,360 --> 00:30:26,600 Speaker 1: it makes sense that Tim Burton's movies primarily appeal to 497 00:30:26,720 --> 00:30:31,760 Speaker 1: children because his ideas about human existence are actually pretty shallow, 498 00:30:32,280 --> 00:30:35,160 Speaker 1: you know what I mean, Like they are childlike, they're 499 00:30:35,280 --> 00:30:39,360 Speaker 1: they're very there's something that a child can understand. Yeah, 500 00:30:39,400 --> 00:30:42,440 Speaker 1: there's not a lot of depth there. And I wonder 501 00:30:42,680 --> 00:30:46,200 Speaker 1: if it's a regression in a way, because his early 502 00:30:46,400 --> 00:30:50,600 Speaker 1: work is much more adult. You know, you have Edwood, 503 00:30:50,640 --> 00:30:52,880 Speaker 1: which neither of us have seen, but it's a biopic 504 00:30:52,920 --> 00:30:58,160 Speaker 1: about some flop director. And then he does things like 505 00:30:58,880 --> 00:31:02,280 Speaker 1: Peewee's Big Adventure or which you know ostensibly is still 506 00:31:02,320 --> 00:31:05,960 Speaker 1: a kids movie but is very adult and used to 507 00:31:06,120 --> 00:31:09,560 Speaker 1: terrify me as a child, Batman and Batman Returns, which 508 00:31:09,600 --> 00:31:14,120 Speaker 1: are very adult and sexy. Um, thank god for Tim 509 00:31:14,160 --> 00:31:17,760 Speaker 1: Burton giving us some shellfie first Catwoman. I think out 510 00:31:17,760 --> 00:31:19,880 Speaker 1: of all of these films that that is my favorite 511 00:31:19,920 --> 00:31:23,040 Speaker 1: Timburton film. I'm pretty gosh darn sure. Do you think 512 00:31:23,080 --> 00:31:28,840 Speaker 1: you have a favorite Timburton film. Yeah, it's this is tough, 513 00:31:29,080 --> 00:31:32,640 Speaker 1: It's tough. It's definitely between the night Remember Before Christmas 514 00:31:32,680 --> 00:31:39,840 Speaker 1: and Beetlejuice. I do think, as I have grown up, 515 00:31:40,600 --> 00:31:45,440 Speaker 1: it's Beetlejuice that just I will always have a place 516 00:31:45,440 --> 00:31:47,120 Speaker 1: in my heart for the night Remember Before Christmas. And 517 00:31:47,160 --> 00:31:50,280 Speaker 1: I think part of why I pulled away from it 518 00:31:50,360 --> 00:31:53,880 Speaker 1: is sort of the disnification of the Nightmare Before Christmas 519 00:31:54,240 --> 00:32:00,560 Speaker 1: and just how it's like every emo scene. Girl in 520 00:32:00,640 --> 00:32:04,160 Speaker 1: high school had a you know, a Jack Skellington patch 521 00:32:04,240 --> 00:32:08,440 Speaker 1: on her backpack from Hot Topic. Um, I still love it. 522 00:32:08,440 --> 00:32:11,000 Speaker 1: It's still amazing. It's not a Halloween movie. It's not 523 00:32:11,040 --> 00:32:14,280 Speaker 1: a Christmas movie. It's a Thanksgiving movie. It's it's not 524 00:32:14,400 --> 00:32:17,400 Speaker 1: it's not that's just fun. That's just fun. Mentally not true. 525 00:32:17,400 --> 00:32:19,600 Speaker 1: I Phoebe's in here in the studio laughing at you 526 00:32:19,680 --> 00:32:23,640 Speaker 1: because that is such an inaccurate take. But the older 527 00:32:23,680 --> 00:32:27,960 Speaker 1: I have grown, I do think of everything he's made, 528 00:32:28,320 --> 00:32:34,920 Speaker 1: Beetlejuice is the most perfectly aligned to my taste. Um, 529 00:32:34,960 --> 00:32:39,000 Speaker 1: it's funny, it's spooky, it's a little gross, it's adult, 530 00:32:39,200 --> 00:32:45,000 Speaker 1: it's adult. It's horny, it's very horny, inappropriately horny, inappropriately horny. Um. 531 00:32:45,400 --> 00:32:47,920 Speaker 1: I actually, so are you aware of all of the 532 00:32:47,920 --> 00:32:52,040 Speaker 1: Beetlejuice musical? Um? I actually am, yeah, but I've never 533 00:32:52,160 --> 00:32:54,920 Speaker 1: I I know that it was a hit, right, it 534 00:32:55,000 --> 00:32:58,280 Speaker 1: wasn't really a hit. And actually, so this is the 535 00:32:58,320 --> 00:33:01,040 Speaker 1: story of the Beetlejuice Musical is that it wasn't really 536 00:33:01,040 --> 00:33:03,360 Speaker 1: a hit, but it gained a huge cult following in 537 00:33:03,360 --> 00:33:06,600 Speaker 1: the way that a lot of contemporary musicals that appeal 538 00:33:06,760 --> 00:33:12,040 Speaker 1: to like people on Tumblr do. Um. But another show, 539 00:33:12,160 --> 00:33:15,160 Speaker 1: I think it was The Music Man, was moving in 540 00:33:15,200 --> 00:33:17,080 Speaker 1: to the theater where it was supposed to be. So 541 00:33:17,160 --> 00:33:21,320 Speaker 1: it closed two huge fan outcry and there was a 542 00:33:21,920 --> 00:33:24,880 Speaker 1: campaign to bring it back, and it is now back 543 00:33:24,920 --> 00:33:28,560 Speaker 1: on Broadway once again. Wait really and actually shook by 544 00:33:28,600 --> 00:33:33,360 Speaker 1: that because one thing you do not see in this 545 00:33:33,440 --> 00:33:36,640 Speaker 1: day and age is Tim Burton coming back to relevance 546 00:33:36,680 --> 00:33:40,440 Speaker 1: in any capacity. Like it's just doesn't He's not really there. 547 00:33:40,640 --> 00:33:43,360 Speaker 1: The musical is very different from the movie in a 548 00:33:43,400 --> 00:33:46,360 Speaker 1: lot of ways, and the music was I saw it 549 00:33:46,400 --> 00:33:49,600 Speaker 1: when it was still in previews, Um, and was not 550 00:33:49,760 --> 00:33:53,880 Speaker 1: expecting what it was. Um, but it's really good and 551 00:33:53,920 --> 00:33:58,160 Speaker 1: the song dead Mom slaps so hard. But anyway, you 552 00:33:58,200 --> 00:34:01,360 Speaker 1: watched Beetle Juice for the first time last now that 553 00:34:01,440 --> 00:34:03,880 Speaker 1: you know that it's my favorite Tim Burton movie and 554 00:34:03,960 --> 00:34:09,320 Speaker 1: it did come out the year I was born, So, um, 555 00:34:09,400 --> 00:34:14,839 Speaker 1: what did you think? I have such a This really 556 00:34:14,840 --> 00:34:17,640 Speaker 1: should be a very simple question. Um, but I have 557 00:34:17,680 --> 00:34:20,399 Speaker 1: a hard time answering it because I think I think 558 00:34:20,440 --> 00:34:22,840 Speaker 1: the more I think about it, I don't think I 559 00:34:23,320 --> 00:34:26,919 Speaker 1: necessarily personally enjoyed it as a movie. And I think 560 00:34:26,960 --> 00:34:31,920 Speaker 1: that as a kid, I would have really disliked it 561 00:34:32,160 --> 00:34:39,359 Speaker 1: because I just hadn't grown an affinity for the grotesque yet. Um, 562 00:34:39,400 --> 00:34:41,759 Speaker 1: it was something that I was still scared of. But 563 00:34:41,800 --> 00:34:44,160 Speaker 1: watching it now where I can see a movie like 564 00:34:44,200 --> 00:34:48,000 Speaker 1: Getle Juice and know that it is like objectively beautiful, 565 00:34:48,560 --> 00:34:52,800 Speaker 1: that it is objectively like cinematic invention in something that 566 00:34:53,040 --> 00:34:55,799 Speaker 1: other directors and creators were just not doing at the time, 567 00:34:55,920 --> 00:34:58,959 Speaker 1: right like for the Virgins, Like by this point tim 568 00:34:58,960 --> 00:35:01,640 Speaker 1: Burton had quit being being a Disney animator, right Like 569 00:35:01,719 --> 00:35:03,680 Speaker 1: when he quit being an animator, he was like, no 570 00:35:03,719 --> 00:35:05,600 Speaker 1: one's letting me do the kooky, spooky ship that I 571 00:35:05,640 --> 00:35:07,840 Speaker 1: want to do. Then he did frankn Weenie, and I 572 00:35:07,840 --> 00:35:11,560 Speaker 1: think another thing that caught the you know, attention of 573 00:35:11,960 --> 00:35:17,600 Speaker 1: Hollywood people. And then in came Beetlejuice, Peewee and Batman, 574 00:35:17,880 --> 00:35:20,919 Speaker 1: which I think are an amazing triad to show off 575 00:35:20,960 --> 00:35:23,480 Speaker 1: like what he does as a director, because there are 576 00:35:23,520 --> 00:35:26,920 Speaker 1: three very different kind of takes on Tim Burton Suoki 577 00:35:26,920 --> 00:35:30,680 Speaker 1: Spookies that Day. But it's also like very much um 578 00:35:30,800 --> 00:35:35,200 Speaker 1: the standard trajectory for directors that still exist today, which 579 00:35:35,239 --> 00:35:40,080 Speaker 1: is you make the small passion project that gets people's attention. Um, 580 00:35:40,200 --> 00:35:44,960 Speaker 1: then you make the somewhat larger movie the studio gives 581 00:35:44,960 --> 00:35:46,879 Speaker 1: you some money it turns out to be a big 582 00:35:46,960 --> 00:35:50,480 Speaker 1: hit than you do a superhero movie. Yeah, exam. And 583 00:35:50,800 --> 00:35:53,160 Speaker 1: after that you get to make whatever you want. And 584 00:35:53,200 --> 00:35:56,239 Speaker 1: what's interesting about Beetle Juice specifically is like, of these 585 00:35:56,280 --> 00:36:02,000 Speaker 1: three movies, Beetlejuice is the closest to Imburton's current and 586 00:36:02,560 --> 00:36:06,480 Speaker 1: ever president aesthetic, right Like it is this like the 587 00:36:06,719 --> 00:36:09,640 Speaker 1: most spooky, has the most claimation, has the most like 588 00:36:09,719 --> 00:36:14,279 Speaker 1: kind of like haunted house, dead diva goth superpower kind 589 00:36:14,280 --> 00:36:17,239 Speaker 1: of stuff. Um. On the on the service level. I mean, 590 00:36:17,280 --> 00:36:20,000 Speaker 1: you and I were having a great time, like an 591 00:36:20,000 --> 00:36:24,520 Speaker 1: O'Hara of it all. Watching you watch the dinner party 592 00:36:24,880 --> 00:36:28,000 Speaker 1: d O scene for the first time was very satisfying 593 00:36:28,120 --> 00:36:31,360 Speaker 1: for me. I didn't you were gagged. You were gagged. 594 00:36:31,600 --> 00:36:34,719 Speaker 1: I was gagged. But I didn't like. I didn't like 595 00:36:34,920 --> 00:36:37,560 Speaker 1: that scene. I didn't like. I think that's a lie. 596 00:36:38,120 --> 00:36:41,120 Speaker 1: I think you're revising history. You liked it? Well, can 597 00:36:41,160 --> 00:36:43,560 Speaker 1: you do what? What were my mannerisms that would describe 598 00:36:43,560 --> 00:36:46,440 Speaker 1: that you were my job? You were wrapped with attention. 599 00:36:46,520 --> 00:36:48,399 Speaker 1: Your job was on the floor, My job was open. 600 00:36:48,440 --> 00:36:51,680 Speaker 1: But did I say anything? No, because you were so transfixed, 601 00:36:51,680 --> 00:36:54,600 Speaker 1: because I was so transfixed. Okay, so if I'm being 602 00:36:54,760 --> 00:36:56,319 Speaker 1: really real with you, I don't really want to go 603 00:36:56,360 --> 00:37:00,160 Speaker 1: there right away. But I actually was really distract and 604 00:37:00,200 --> 00:37:03,200 Speaker 1: by the fact that they're singing like a Jamaican song 605 00:37:03,400 --> 00:37:05,960 Speaker 1: and it's like an all white cast, and I'm like 606 00:37:06,719 --> 00:37:10,560 Speaker 1: thinking about how Tim Burton thinks about these songs and 607 00:37:10,600 --> 00:37:14,000 Speaker 1: how his movies through this whole era were like all 608 00:37:14,400 --> 00:37:17,879 Speaker 1: white casts, and in his you know, defense of that, 609 00:37:18,120 --> 00:37:20,359 Speaker 1: he talks about how like people of color just don't 610 00:37:20,360 --> 00:37:23,040 Speaker 1: fit into a asthetic or whatever his words were, and 611 00:37:23,080 --> 00:37:25,840 Speaker 1: I'm like, but actually they do like their sensibilities and 612 00:37:25,880 --> 00:37:28,920 Speaker 1: their culture and like where and like well yeah, and 613 00:37:30,520 --> 00:37:34,480 Speaker 1: he's happy to steal from that, but not to at that, 614 00:37:34,520 --> 00:37:36,640 Speaker 1: and he's happy to have a bunch of white people 615 00:37:36,719 --> 00:37:40,320 Speaker 1: like lip sync songs that are like sung by white people, 616 00:37:40,400 --> 00:37:43,919 Speaker 1: but like are like literally historically like black songs are 617 00:37:43,920 --> 00:37:47,800 Speaker 1: like songs that like say shake shake, Senora or whatever. 618 00:37:47,880 --> 00:37:51,920 Speaker 1: And it's like, I don't know this, this is I'm like, honestly, 619 00:37:52,000 --> 00:37:53,719 Speaker 1: like I I the reason I don't want to I 620 00:37:53,719 --> 00:37:56,520 Speaker 1: didn't want to go into it is because it's such 621 00:37:56,560 --> 00:37:59,800 Speaker 1: a not fun reaction to a movie that is ultimately 622 00:37:59,840 --> 00:38:03,880 Speaker 1: actually very entertaining and inventive and good. And there are 623 00:38:03,880 --> 00:38:06,000 Speaker 1: a lot of things that I like about Tim Burton. 624 00:38:06,160 --> 00:38:09,640 Speaker 1: And yet because I guess this is what I'm taking 625 00:38:09,680 --> 00:38:12,359 Speaker 1: responsibility for for the Virgins, I think I went into 626 00:38:12,440 --> 00:38:16,399 Speaker 1: the viewing experience of Beetlejuice already feeling like I didn't 627 00:38:16,400 --> 00:38:19,680 Speaker 1: like Tim Burton. Well, because when we started watching the movie, 628 00:38:20,080 --> 00:38:23,880 Speaker 1: you were literally reading an article about Tim Burton being racist. 629 00:38:24,440 --> 00:38:27,400 Speaker 1: I would not look up from it to watch the movie. 630 00:38:27,600 --> 00:38:29,240 Speaker 1: No, no no, no, that was just in the first five minutes. 631 00:38:29,239 --> 00:38:30,879 Speaker 1: I was just the first five minutes I did watch 632 00:38:31,520 --> 00:38:34,480 Speaker 1: you did you did kind of set yourself up there. No, 633 00:38:34,600 --> 00:38:36,520 Speaker 1: But the thing is that would have been the case 634 00:38:37,320 --> 00:38:39,799 Speaker 1: even even if I hadn't read that article. I know 635 00:38:39,920 --> 00:38:42,120 Speaker 1: that I was coming into that experience with a net 636 00:38:42,160 --> 00:38:44,640 Speaker 1: distaste for Timber and as someone who used to be 637 00:38:44,680 --> 00:38:48,400 Speaker 1: obsessed with him. And I think that, you know, and 638 00:38:48,480 --> 00:38:51,240 Speaker 1: I understand the distaste. I think all of the things 639 00:38:51,280 --> 00:38:55,200 Speaker 1: that you're saying are true, and that I am biased 640 00:38:55,400 --> 00:38:58,120 Speaker 1: because I mean am white, So I'm like, I'm always 641 00:38:58,120 --> 00:39:03,440 Speaker 1: biased by that and be his movies were extremely important 642 00:39:03,520 --> 00:39:08,759 Speaker 1: to my understanding of my own, you know, sensibilities as 643 00:39:08,800 --> 00:39:11,839 Speaker 1: a child. Yeah, And I don't necessarily feel like me 644 00:39:11,920 --> 00:39:14,279 Speaker 1: bringing up my reaction to that scene is like, is 645 00:39:14,320 --> 00:39:17,240 Speaker 1: what makes this movie like problematic or cancelable or whatever? 646 00:39:17,239 --> 00:39:18,880 Speaker 1: That's like not really what I'm trying to say. It 647 00:39:18,960 --> 00:39:22,239 Speaker 1: was just like my pure naked reaction. And I kind 648 00:39:22,239 --> 00:39:25,200 Speaker 1: of just tried. I tried to like go back and think, like, 649 00:39:25,560 --> 00:39:27,399 Speaker 1: what would you be thinking about this if you had 650 00:39:27,440 --> 00:39:30,919 Speaker 1: watched it in the early nineties instead, Like what would 651 00:39:31,040 --> 00:39:33,400 Speaker 1: your reaction? I think they would have just been scared. 652 00:39:33,480 --> 00:39:35,319 Speaker 1: I think I would have been scared. Yeah, I don't. 653 00:39:35,520 --> 00:39:39,080 Speaker 1: I think I would have latched onto maybe Gina Davis's 654 00:39:39,160 --> 00:39:43,120 Speaker 1: character went on a writer's character. But Catherine O'Hara, No, yeah, 655 00:39:43,120 --> 00:39:44,600 Speaker 1: I would have No, that's true, that's true. I would 656 00:39:44,640 --> 00:39:48,320 Speaker 1: have loved Katherine Slay of the Millennium. Yeah, she really 657 00:39:48,400 --> 00:39:50,520 Speaker 1: did that. She really did that. But um, this was 658 00:39:50,560 --> 00:39:53,960 Speaker 1: not the only Tim Burton film that Katherine O'Hara did. Also, 659 00:39:54,480 --> 00:39:57,760 Speaker 1: she is the voice of Sally in The Nightmare Before Christmas. 660 00:39:58,440 --> 00:40:02,879 Speaker 1: Oh my god, I forgot that she did that, that 661 00:40:03,040 --> 00:40:07,879 Speaker 1: was her moment. But yeah, um, but I don't think 662 00:40:07,960 --> 00:40:12,080 Speaker 1: she's been in any of his other films. And yeah, 663 00:40:12,080 --> 00:40:16,520 Speaker 1: there's a couple of people obviously that Tim Burton has 664 00:40:16,560 --> 00:40:19,960 Speaker 1: worked with again and again there's some people who are 665 00:40:20,040 --> 00:40:22,680 Speaker 1: only in a few films. And then well there's kind 666 00:40:22,680 --> 00:40:24,879 Speaker 1: of really only one person, which is Helena Bottom Carter, 667 00:40:24,920 --> 00:40:28,960 Speaker 1: who's been in everything he's ever made because because they know, 668 00:40:29,080 --> 00:40:33,839 Speaker 1: because Johnny Depp has done Sleepy Hollow, Corpse Bride, Edward 669 00:40:33,880 --> 00:40:39,560 Speaker 1: Scissor Hands, Sweeney Todd, Alice in Wonderland, Okay Dark, Yeah, 670 00:40:39,920 --> 00:40:46,600 Speaker 1: so I think yeah, and Helena was married to him. Also, 671 00:40:46,880 --> 00:40:51,080 Speaker 1: have you ever heard the story that they um lived 672 00:40:51,080 --> 00:40:52,880 Speaker 1: in houses next story to each other and there was 673 00:40:52,920 --> 00:40:56,640 Speaker 1: a tunnel that went underneath the ground that connected them. 674 00:40:56,640 --> 00:40:58,440 Speaker 1: I've heard that we should probably fact check that, but 675 00:40:58,480 --> 00:41:02,719 Speaker 1: it is my ideal relation. It is also my ideal relationship. 676 00:41:03,120 --> 00:41:06,440 Speaker 1: But then, yeah, there are some people like Winona only 677 00:41:06,520 --> 00:41:10,640 Speaker 1: did two movies. She did Beetle Juice and Edwards is 678 00:41:10,680 --> 00:41:13,839 Speaker 1: her hands. And I feel like maybe unless you are 679 00:41:14,160 --> 00:41:17,600 Speaker 1: Tim Burton's partner, if you're a woman, you age out 680 00:41:17,600 --> 00:41:21,720 Speaker 1: of being his muse rather quickly, because as we've seen, 681 00:41:22,160 --> 00:41:27,360 Speaker 1: Tim Burton is obsessed with this ingenue figure. There's always 682 00:41:27,440 --> 00:41:32,080 Speaker 1: some bitch in his movie with big gass eyes, anywaist, 683 00:41:32,520 --> 00:41:37,480 Speaker 1: she's usually blonde or very dark hair. No, she's definitely 684 00:41:37,680 --> 00:41:41,760 Speaker 1: always They're actually like archetypes where it is the same 685 00:41:41,880 --> 00:41:45,000 Speaker 1: length long blonde like wavy curly hair. But then you 686 00:41:45,040 --> 00:41:46,960 Speaker 1: have Winona and Beetle Juice and she has dark hair. 687 00:41:47,080 --> 00:41:49,399 Speaker 1: But then she does have the blonde hair and Edwards 688 00:41:49,520 --> 00:41:51,359 Speaker 1: is her hand. That's what I'm Yeah, I don't think 689 00:41:51,400 --> 00:41:54,279 Speaker 1: that Winona and Beetle Juice fits the moment, but she does. 690 00:41:54,680 --> 00:41:56,960 Speaker 1: I think that throughout all of his films, we have 691 00:41:57,160 --> 00:42:04,359 Speaker 1: this supple virgin, all innocent, just on the cusp of adolescence. Girl. 692 00:42:04,480 --> 00:42:06,719 Speaker 1: And you noticed you noticed this when we were watching 693 00:42:06,800 --> 00:42:09,800 Speaker 1: last night, because we were watching Sleepy Hollow, which Christina 694 00:42:09,880 --> 00:42:13,719 Speaker 1: Ricci plays this character, but miawasa Kasa Kazakowski or whatever. 695 00:42:13,760 --> 00:42:16,640 Speaker 1: And Alison Wonderland is that girl, the girl from Sweeney This, 696 00:42:16,800 --> 00:42:20,200 Speaker 1: you know the Songbird Greenvench showeber Joanna is that in 697 00:42:20,320 --> 00:42:25,359 Speaker 1: Sweeney Todd Um And then there is um Spella heath 698 00:42:25,400 --> 00:42:28,479 Speaker 1: Coat and Dark Shadows. Yeah, and it's just like it's 699 00:42:28,520 --> 00:42:32,120 Speaker 1: amazing that Timberton's like I mean, it's just I don't know, 700 00:42:32,160 --> 00:42:36,800 Speaker 1: it's just like kind of um creepy. It's kind of creepy, 701 00:42:36,360 --> 00:42:39,720 Speaker 1: isn't ye the same? It's like it's t it's creepy, 702 00:42:39,760 --> 00:42:42,720 Speaker 1: but it's not surprising. It's almost boring. It's like creepy 703 00:42:42,719 --> 00:42:44,960 Speaker 1: on the level that like Quentin Tarantino always has these 704 00:42:44,960 --> 00:42:47,799 Speaker 1: scenes about like feet, you know what I mean, Like 705 00:42:47,920 --> 00:42:51,200 Speaker 1: that is like what it makes me think of um. 706 00:42:51,239 --> 00:42:55,719 Speaker 1: But but you know what, I am grateful that it 707 00:42:55,840 --> 00:43:02,320 Speaker 1: launched Winona's career because then because of because we have Wona. 708 00:43:02,480 --> 00:43:05,200 Speaker 1: It was so funny. We were watching um as we 709 00:43:05,200 --> 00:43:07,880 Speaker 1: were watching Beetle Juice from some angles. I was like, 710 00:43:07,920 --> 00:43:09,960 Speaker 1: I was like, oh my god, who looks exactly like 711 00:43:10,040 --> 00:43:12,080 Speaker 1: Millie Bobby Brown? And you were like, no, no, no, 712 00:43:12,640 --> 00:43:16,279 Speaker 1: Millie Bobby Brown looks like Winona. Like she was the 713 00:43:16,280 --> 00:43:19,840 Speaker 1: blueprint for the ooky spooky girl, which I think is 714 00:43:20,000 --> 00:43:24,799 Speaker 1: so smart. Um, she is all I wanted to be. 715 00:43:24,840 --> 00:43:26,759 Speaker 1: I also thought it was very funny last night when 716 00:43:26,800 --> 00:43:30,120 Speaker 1: you were trying to figure out why Lydia Diets is 717 00:43:30,160 --> 00:43:31,800 Speaker 1: the only one in Beetle Juice who can see the 718 00:43:31,840 --> 00:43:36,120 Speaker 1: ghosts and you decided it's just because she's I mean, 719 00:43:36,200 --> 00:43:39,680 Speaker 1: she literally says she is looking in the handbook and says, 720 00:43:40,000 --> 00:43:42,800 Speaker 1: don't see the strange and unusual. And she famously says, 721 00:43:43,160 --> 00:43:46,239 Speaker 1: I myself am strange and unusual. So yeah, she's just 722 00:43:46,320 --> 00:43:49,440 Speaker 1: a golf Also, I love our producer Phoebe pointed out 723 00:43:49,440 --> 00:43:54,240 Speaker 1: that Beetlejuice is at its core film about gentrification and displaced. 724 00:43:54,239 --> 00:43:57,760 Speaker 1: The displacement. Yeah, honestly, I wish that we as ghosts 725 00:43:57,800 --> 00:44:01,000 Speaker 1: could go back and haunt the gent frying populations of 726 00:44:01,080 --> 00:44:04,280 Speaker 1: like you know, four Green or whatever. But like I 727 00:44:04,360 --> 00:44:07,000 Speaker 1: was the gentrifier. Yeah, I know, I know, Yeah I was, 728 00:44:07,080 --> 00:44:22,279 Speaker 1: I was as well, when we're talking about like other 729 00:44:22,440 --> 00:44:28,960 Speaker 1: things that are recurring themes in like Timberton movies, I 730 00:44:29,000 --> 00:44:30,759 Speaker 1: feel like we saw a lot of those between the 731 00:44:30,800 --> 00:44:33,200 Speaker 1: double feature that we had last night in Sleepy Hollow 732 00:44:33,200 --> 00:44:37,120 Speaker 1: and Beetlejuice. Sleepy Hollow is one of my favorites. It 733 00:44:37,480 --> 00:44:41,960 Speaker 1: came out so I was eleven years old. I was like, 734 00:44:43,360 --> 00:44:46,880 Speaker 1: it was exactly the right time for me for that movie. 735 00:44:46,960 --> 00:44:48,680 Speaker 1: You know, it's a little bit more adult than the 736 00:44:48,719 --> 00:44:52,560 Speaker 1: other stuff he was making at the time. Um spooky vibes. 737 00:44:52,880 --> 00:44:55,960 Speaker 1: There's witches in it. As I told you last night, 738 00:44:56,000 --> 00:44:59,440 Speaker 1: I used to have an action figure of the Witch character, 739 00:44:59,680 --> 00:45:03,919 Speaker 1: which so stupid. When you squeezed her, the snakes would 740 00:45:03,920 --> 00:45:06,920 Speaker 1: pop out of her eyes and her mouth, and I 741 00:45:07,239 --> 00:45:09,799 Speaker 1: just she was my most prized possession. She was your 742 00:45:09,840 --> 00:45:12,719 Speaker 1: most prized Like. I also got an action figure of 743 00:45:12,960 --> 00:45:15,880 Speaker 1: Ichabod Crane and I was like, what am I Johnny 744 00:45:15,960 --> 00:45:18,479 Speaker 1: Depp version or a disnal version or the Johnny version. 745 00:45:18,600 --> 00:45:19,680 Speaker 1: I was like, what the fund am I going to 746 00:45:19,760 --> 00:45:22,239 Speaker 1: do with him? Yeah? His his eyes don't pop out. 747 00:45:22,239 --> 00:45:23,960 Speaker 1: And I also got the headless horseman who came with 748 00:45:24,000 --> 00:45:25,839 Speaker 1: a horse, and I was like, I want the horse. 749 00:45:25,920 --> 00:45:28,640 Speaker 1: I don't really care. Well, here's just want the witch 750 00:45:28,680 --> 00:45:30,960 Speaker 1: and the horse. That's it. Wait, let's get into it. 751 00:45:31,000 --> 00:45:34,200 Speaker 1: The headless Horseman, unbeknownst to me, was played by Christopher 752 00:45:34,200 --> 00:45:37,640 Speaker 1: walking And I said, and I have to say, Christopher 753 00:45:37,640 --> 00:45:43,759 Speaker 1: Watkins character selection across time and space is untouchable, is 754 00:45:43,880 --> 00:45:47,000 Speaker 1: so perfect, And it is so Christopher walk In and 755 00:45:47,200 --> 00:45:51,200 Speaker 1: like there what he what? The characters he chooses to 756 00:45:51,239 --> 00:45:55,680 Speaker 1: play are simultaneously predictable and yet perfectly in his ether. Also, 757 00:45:55,719 --> 00:45:57,400 Speaker 1: I revealed to you last night that he may or 758 00:45:57,440 --> 00:45:59,959 Speaker 1: may not have killed Natalie Wood, which I had no idea. 759 00:46:00,120 --> 00:46:02,919 Speaker 1: Did you know this, Phoebe, that Christopher Walkin has maybe 760 00:46:02,960 --> 00:46:06,040 Speaker 1: killed Natalie Wood? Okay, will you explain this? Yes, Natalie 761 00:46:06,040 --> 00:46:08,920 Speaker 1: Wood drowned on a boat and no one knows how 762 00:46:08,960 --> 00:46:11,279 Speaker 1: she died. And Christopher Walkin was on the boat, one 763 00:46:11,320 --> 00:46:13,319 Speaker 1: of three people on this boat. I don't know how 764 00:46:13,320 --> 00:46:15,080 Speaker 1: many people, not that many people on the boat. But 765 00:46:15,120 --> 00:46:18,239 Speaker 1: Christopher Walkin was another thing that you didn't know, was you? 766 00:46:18,400 --> 00:46:21,759 Speaker 1: It took you an hour until I mentioned it for 767 00:46:21,840 --> 00:46:24,400 Speaker 1: you to realize that that was a young Alec Baldwin 768 00:46:24,480 --> 00:46:27,360 Speaker 1: in Beetlejuice. I had no idea and let me say 769 00:46:27,480 --> 00:46:29,759 Speaker 1: he has a fat ass. He does. He has a 770 00:46:29,880 --> 00:46:33,840 Speaker 1: juicy as a juicy juicy ass. Listen, we don't support 771 00:46:33,840 --> 00:46:38,160 Speaker 1: Alec Baldwin or his wife or his wife and they're 772 00:46:38,200 --> 00:46:42,800 Speaker 1: like twenty five children about the woman that he killed 773 00:46:42,840 --> 00:46:49,160 Speaker 1: on the set of that movie. Um, but that is 774 00:46:49,239 --> 00:46:53,719 Speaker 1: really really hot in Beetle Juice. But honestly, actually, now 775 00:46:53,760 --> 00:46:56,440 Speaker 1: that we're like panning out a little bit, like the 776 00:46:56,520 --> 00:46:59,319 Speaker 1: fact that Timber is so comfortable working with like an 777 00:46:59,360 --> 00:47:01,480 Speaker 1: Alec bald Went or a Johnny Depp, I think it's 778 00:47:01,600 --> 00:47:05,000 Speaker 1: very telling of the people he might find in his circle. 779 00:47:06,000 --> 00:47:07,799 Speaker 1: And the fact that these a lot of I think 780 00:47:07,800 --> 00:47:11,080 Speaker 1: a lot of his films are produced by Scott Rudan. 781 00:47:12,120 --> 00:47:15,640 Speaker 1: I think there are some there are some connections here 782 00:47:16,120 --> 00:47:20,560 Speaker 1: Tim Burton in Hollywood suck. Yeah. Wow, I really cracked 783 00:47:20,560 --> 00:47:24,680 Speaker 1: the case on that one. This is what the people got, 784 00:47:24,680 --> 00:47:30,920 Speaker 1: the people. Someone please clip this out and the peabodies please. Okay, 785 00:47:30,960 --> 00:47:38,799 Speaker 1: so it must be okay, shut up, Okay, I need 786 00:47:38,880 --> 00:47:43,480 Speaker 1: to want Okay, Yes I did. I did fall asleep 787 00:47:43,520 --> 00:47:45,480 Speaker 1: halfway through the movie. And when I woke you up 788 00:47:45,520 --> 00:47:47,200 Speaker 1: to tell you I was leaving, you went that was 789 00:47:47,280 --> 00:47:51,920 Speaker 1: so good? Did I really would you always would you 790 00:47:52,120 --> 00:47:55,600 Speaker 1: always do. And when we watch something and you fall asleep, 791 00:47:55,640 --> 00:47:59,160 Speaker 1: you go, that was so good, and then you and 792 00:47:59,200 --> 00:48:01,799 Speaker 1: then you're and then yeah, and then you try to 793 00:48:01,840 --> 00:48:04,239 Speaker 1: get me to stay and hang out and I'm like, 794 00:48:04,360 --> 00:48:08,000 Speaker 1: you're sleeping. I was like saying, hang please, let's hang out, 795 00:48:08,120 --> 00:48:12,680 Speaker 1: let's sing out. Um okay. But here's what I do 796 00:48:12,760 --> 00:48:15,960 Speaker 1: remember actually that I do remember thinking that it was 797 00:48:16,120 --> 00:48:19,879 Speaker 1: pretty flawlessly gorgeous, like I remember beautiful. I remember thinking 798 00:48:19,880 --> 00:48:24,000 Speaker 1: it was beautiful. I thought it costumes, my god, Christina's 799 00:48:24,080 --> 00:48:28,160 Speaker 1: waste and her wigs and for Nanda Richardson. Yeah, so 800 00:48:28,239 --> 00:48:31,200 Speaker 1: many Harry Potter actors for one movie and for nine 801 00:48:31,280 --> 00:48:34,760 Speaker 1: did not feel dated at all, Like felt like fully 802 00:48:34,800 --> 00:48:38,040 Speaker 1: it's a very classic story, very classic story, like I 803 00:48:39,080 --> 00:48:43,239 Speaker 1: one of the oldest American myths. Yeah, and we were attracted. 804 00:48:43,440 --> 00:48:47,160 Speaker 1: We were attracted to Christopher Lee, who plays one of 805 00:48:47,200 --> 00:48:52,640 Speaker 1: the judges, because he is and when he came on screen, 806 00:48:52,640 --> 00:48:59,560 Speaker 1: I was like, look theself. He also plays an angry 807 00:48:59,560 --> 00:49:02,239 Speaker 1: priest in The Corpse Bride. I think and I love 808 00:49:02,360 --> 00:49:09,280 Speaker 1: actually that priests are like um uh villains in his 809 00:49:09,280 --> 00:49:14,640 Speaker 1: his films and stuff. That's dad in um Sleepy Hollow 810 00:49:14,800 --> 00:49:18,160 Speaker 1: is a priest who put it, finds out his wife 811 00:49:18,280 --> 00:49:20,920 Speaker 1: Johnny Depp's mother is a witch, and puts her in 812 00:49:21,000 --> 00:49:24,839 Speaker 1: an iron maiden and kills her. Yeah, I I thought 813 00:49:24,920 --> 00:49:28,160 Speaker 1: that was pretty pretty disgusting but beautiful. Like I guess 814 00:49:28,160 --> 00:49:30,799 Speaker 1: the first time I ever understood when an iron maiden was. 815 00:49:31,120 --> 00:49:33,600 Speaker 1: It was also the first time I understood what an 816 00:49:33,640 --> 00:49:37,239 Speaker 1: iron maiden was. Um, last night that is. But yeah, 817 00:49:37,280 --> 00:49:41,000 Speaker 1: watching Sleepy Hollow like I did, I was kind of like, Um, 818 00:49:41,040 --> 00:49:43,080 Speaker 1: I couldn't stop thinking about the thing that you noticed 819 00:49:43,080 --> 00:49:46,759 Speaker 1: about this, like long haired, blonde virgin archetype and the 820 00:49:46,800 --> 00:49:48,960 Speaker 1: fact that Johnny Depp is thirty six in this movie 821 00:49:49,080 --> 00:49:54,600 Speaker 1: and Christina Reggi is the actors actors, but the actress 822 00:49:54,600 --> 00:49:57,840 Speaker 1: thirty six and Christina Reriggi is eighteen. And I was 823 00:49:57,920 --> 00:50:02,080 Speaker 1: like Tim Burton when of his way to cast like this, 824 00:50:02,280 --> 00:50:05,960 Speaker 1: you know what also is And I'm not defending it again, 825 00:50:06,040 --> 00:50:09,560 Speaker 1: but also that's Hollywood. That's Hollywood. Sure, it's like old 826 00:50:09,920 --> 00:50:15,160 Speaker 1: decrepit man and baby girl. He didn't look decrepit. I 827 00:50:15,200 --> 00:50:17,680 Speaker 1: literally thought he was in his twenties. I literally thought 828 00:50:17,680 --> 00:50:19,520 Speaker 1: he was in his twenties. He looks really young. But 829 00:50:19,600 --> 00:50:22,239 Speaker 1: he um, you know, just just just to get it 830 00:50:22,239 --> 00:50:24,080 Speaker 1: out of the way, I must say that though he 831 00:50:24,200 --> 00:50:27,840 Speaker 1: is very Though Johnny Depp is very um cute in 832 00:50:27,840 --> 00:50:31,000 Speaker 1: in Sleepy Hollow, he is his hottest in the movie 833 00:50:31,040 --> 00:50:34,920 Speaker 1: Choke a Lot, which I did finally watch over the 834 00:50:35,719 --> 00:50:39,000 Speaker 1: talking no no, no no, no, we're we're not We're gonna 835 00:50:39,440 --> 00:50:41,680 Speaker 1: a lot is a Tim Burton felm shock a lot 836 00:50:44,680 --> 00:50:47,839 Speaker 1: must be this is not an episode about Johnny deppell 837 00:50:48,000 --> 00:50:50,640 Speaker 1: it's no. But I have to say no, no, no, no, 838 00:50:50,840 --> 00:50:53,520 Speaker 1: let me say let me say this yes and no no, 839 00:50:53,640 --> 00:51:00,480 Speaker 1: but I must say Johnny Depp was excruciatingly fine in 840 00:51:00,600 --> 00:51:03,920 Speaker 1: Chook a Lot. Like he was. I dare anyone, anyone 841 00:51:03,960 --> 00:51:06,400 Speaker 1: with a with a feminist perspective to watch Choko a 842 00:51:06,400 --> 00:51:13,920 Speaker 1: Lot and tell me that Johnny Depp is not fine. No, 843 00:51:14,000 --> 00:51:15,520 Speaker 1: I don't want to tell Amber heard that. But he 844 00:51:15,640 --> 00:51:18,480 Speaker 1: is so sexy and okay, great, are you one of 845 00:51:18,560 --> 00:51:23,879 Speaker 1: his bots? Now about you know about like Amber heard? 846 00:51:24,239 --> 00:51:26,680 Speaker 1: My body tells, wait wait wait wait wait wait, Actually 847 00:51:26,719 --> 00:51:29,000 Speaker 1: this is a really good this is a really good tangent, 848 00:51:29,040 --> 00:51:32,360 Speaker 1: because not if it's about Choke a Lot, Come on, 849 00:51:32,640 --> 00:51:36,719 Speaker 1: this is this is this is um I do think that, um, 850 00:51:36,880 --> 00:51:43,360 Speaker 1: there is something to be said about a cultural attachment 851 00:51:43,520 --> 00:51:46,840 Speaker 1: in the present day to Johnny Depp and Tim Burton's 852 00:51:46,920 --> 00:51:51,200 Speaker 1: part to play in that right, because he's he's looped 853 00:51:51,320 --> 00:51:54,279 Speaker 1: into our childhoods in this way that is very hard 854 00:51:54,320 --> 00:51:57,239 Speaker 1: to extricate ourselves from. Because he was both because of 855 00:51:57,280 --> 00:52:00,319 Speaker 1: this and because of Pirates of the Carabee, in which 856 00:52:00,360 --> 00:52:03,440 Speaker 1: we talked about a couple of episodes ago. Um, he 857 00:52:03,520 --> 00:52:06,680 Speaker 1: was everywhere and I was, um, you know, admittedly like 858 00:52:06,719 --> 00:52:10,760 Speaker 1: a bandwagon Timberton fan, because I didn't have access to culture, 859 00:52:10,880 --> 00:52:13,800 Speaker 1: you know, when he came out so to so to speak, 860 00:52:14,200 --> 00:52:16,640 Speaker 1: and so of the closet of the when I when 861 00:52:16,640 --> 00:52:19,880 Speaker 1: I can't, when I when he whatever, when I started 862 00:52:19,880 --> 00:52:23,920 Speaker 1: conducing timbers ever sucked and fucked. No, I think he's 863 00:52:23,960 --> 00:52:27,520 Speaker 1: really homophobic. Yeah, I think he's really I'm not joking. 864 00:52:27,560 --> 00:52:33,239 Speaker 1: I think that he is really retro retro homophobic, like 865 00:52:33,360 --> 00:52:37,160 Speaker 1: fire and Brimstone homophobics, not like not not not even 866 00:52:37,239 --> 00:52:39,279 Speaker 1: like I don't care what they do. I just don't 867 00:52:39,280 --> 00:52:41,640 Speaker 1: want to see it. It's like he's actively like I 868 00:52:41,719 --> 00:52:44,520 Speaker 1: don't want to see it, and you're going to hell. Yeah, 869 00:52:44,560 --> 00:52:47,440 Speaker 1: And I think he thinks I think his kind of 870 00:52:47,480 --> 00:52:50,680 Speaker 1: issue is really the poop poo in the butthole thing, 871 00:52:50,680 --> 00:52:54,080 Speaker 1: because like I've never been it's not he's all like, 872 00:52:56,320 --> 00:53:00,279 Speaker 1: there's never been any queerness and anything He's ever well, 873 00:53:00,320 --> 00:53:04,720 Speaker 1: let's be clear, there has been rampant queerness and gayness 874 00:53:04,800 --> 00:53:08,280 Speaker 1: in his films, but not of his design. Yes, and 875 00:53:08,280 --> 00:53:10,319 Speaker 1: and and that's the thing is, like we were watching 876 00:53:10,880 --> 00:53:15,200 Speaker 1: Beetle Juice and there's this faggot character who is almost 877 00:53:15,239 --> 00:53:18,759 Speaker 1: almost explicitly fag faget. Yeah, oh no, they like they 878 00:53:18,800 --> 00:53:22,000 Speaker 1: say it it coded like something about your kind or whatever. 879 00:53:22,440 --> 00:53:25,880 Speaker 1: But like again, it's like a homophobic remark. Like I 880 00:53:25,920 --> 00:53:29,480 Speaker 1: think that Timberton is like explicitly you know in the 881 00:53:29,560 --> 00:53:31,920 Speaker 1: musical Beetle Juice. So you know how in the movie 882 00:53:32,440 --> 00:53:36,880 Speaker 1: Beetle Juice keeps trying to hook up with Gina Davis. 883 00:53:37,280 --> 00:53:40,480 Speaker 1: In the musical they have it be the Alec Baldwin character. 884 00:53:42,239 --> 00:53:45,000 Speaker 1: Oh I love that. That's a nice little subversion. I 885 00:53:45,040 --> 00:53:47,279 Speaker 1: love that. Um. So, like on that note, as I 886 00:53:47,320 --> 00:53:50,799 Speaker 1: was saying, like I was a Bandwagon fan, so by 887 00:53:50,800 --> 00:53:54,160 Speaker 1: the time I started to love Timberton, he was starting 888 00:53:54,200 --> 00:53:57,800 Speaker 1: to sell out. So um, and what do you define 889 00:53:57,840 --> 00:54:00,960 Speaker 1: as him selling out. Well, it's funny because his career 890 00:54:01,040 --> 00:54:04,719 Speaker 1: started because he felt there was no place for him 891 00:54:04,800 --> 00:54:08,640 Speaker 1: in Hollywood. And when Hollywood started to give him vehicles 892 00:54:08,760 --> 00:54:12,799 Speaker 1: for his ookie spooky um aesthetic, and they understood how 893 00:54:12,840 --> 00:54:14,799 Speaker 1: that was like marketable and that there was like, you know, 894 00:54:14,840 --> 00:54:17,719 Speaker 1: an audience for this. He was making films that, like 895 00:54:17,760 --> 00:54:20,759 Speaker 1: I think a lot of timber and stance. He as 896 00:54:21,040 --> 00:54:26,239 Speaker 1: really amazing and untouchable, like Beetlejuice or Batman. And then 897 00:54:26,360 --> 00:54:30,160 Speaker 1: as he got more and more successful and created UM 898 00:54:30,239 --> 00:54:34,080 Speaker 1: things that were more truly just for commercial success and 899 00:54:34,120 --> 00:54:40,600 Speaker 1: not for the art that UM people saw the quality 900 00:54:40,600 --> 00:54:43,400 Speaker 1: of us work declins, like Alison wonder For me, that 901 00:54:43,560 --> 00:54:46,080 Speaker 1: was Charlie and the Chocolate Factory and Alice in Wonderland. 902 00:54:46,520 --> 00:54:49,200 Speaker 1: Charlie and the Chocolate Factory was two thousand five, Alison 903 00:54:49,200 --> 00:54:51,800 Speaker 1: Wonderland was two thousand and ten, so they weren't that close. 904 00:54:51,880 --> 00:54:55,120 Speaker 1: But um, I saw both of those movies in theaters. 905 00:54:55,440 --> 00:54:57,440 Speaker 1: I thought Charlie and the Chocolate Factor was actually pretty 906 00:54:57,440 --> 00:54:59,920 Speaker 1: good when I watched it, like I thought, I remember 907 00:55:00,040 --> 00:55:03,320 Speaker 1: really enjoying it. Unfortunately, I will always be a Willy 908 00:55:03,360 --> 00:55:06,120 Speaker 1: Wonka and the Chocolate Factory Truther. Yeah, I mean I 909 00:55:06,320 --> 00:55:09,919 Speaker 1: don't think they. I think Jean Wilder Forever. Obviously they're 910 00:55:09,920 --> 00:55:12,160 Speaker 1: going to be compared. But I do think Tim Burton 911 00:55:12,400 --> 00:55:16,320 Speaker 1: made something that was uniquely his own. I remember really 912 00:55:16,480 --> 00:55:19,040 Speaker 1: like by that time, I was a full blown stand 913 00:55:19,160 --> 00:55:21,080 Speaker 1: so I think my experience of the film was maybe 914 00:55:21,080 --> 00:55:24,480 Speaker 1: a little tainted. But I do think it um is 915 00:55:24,520 --> 00:55:27,280 Speaker 1: em nomatic of something that he does really well, which 916 00:55:27,680 --> 00:55:31,400 Speaker 1: is um show us how much he can push a 917 00:55:31,480 --> 00:55:35,000 Speaker 1: really dark edge UM into a children's film, like this 918 00:55:35,040 --> 00:55:38,600 Speaker 1: is a textual children's firm. But like Rolled Dahl, you know, 919 00:55:39,160 --> 00:55:44,359 Speaker 1: was um. His source material was always sanitized for movies, right, 920 00:55:44,440 --> 00:55:47,960 Speaker 1: Like his books were way darker than what the movies 921 00:55:48,160 --> 00:55:50,680 Speaker 1: made them out to me not always look at the Witches. 922 00:55:51,080 --> 00:55:54,000 Speaker 1: The Witches is one of the movies that scared me 923 00:55:54,080 --> 00:55:55,799 Speaker 1: the most when I was a kid. I but the 924 00:55:55,840 --> 00:55:58,080 Speaker 1: but the book is even I would say, yeah, that 925 00:55:58,120 --> 00:56:00,960 Speaker 1: the movie is a tried and true, very dark adaptation, 926 00:56:01,000 --> 00:56:02,759 Speaker 1: but I still think the book is darker. It is 927 00:56:02,840 --> 00:56:07,680 Speaker 1: darker in the way it ends because the in the 928 00:56:07,800 --> 00:56:11,160 Speaker 1: end of the book The Witches, Um, they talked about 929 00:56:11,239 --> 00:56:13,719 Speaker 1: how the boy is going to die in a couple 930 00:56:13,760 --> 00:56:16,200 Speaker 1: of years because he's a mouse, um, and the movie 931 00:56:16,320 --> 00:56:18,399 Speaker 1: ends with a happy ending with him getting turned back 932 00:56:18,440 --> 00:56:22,359 Speaker 1: into a human. Yeah. I honestly, Um, I don't know 933 00:56:22,440 --> 00:56:24,479 Speaker 1: why my brain is jumping to this, but I'm thinking 934 00:56:24,520 --> 00:56:30,080 Speaker 1: a lot just about like childhood and how like there 935 00:56:30,280 --> 00:56:35,080 Speaker 1: is this weird kind of childhood corruption and childhood trauma 936 00:56:35,200 --> 00:56:39,439 Speaker 1: narrative that flows through a lot of his movies, right, 937 00:56:39,600 --> 00:56:42,480 Speaker 1: like what happened to Tim Burton as a kid, Like 938 00:56:42,719 --> 00:56:47,440 Speaker 1: because when you think about his dog died with Alison 939 00:56:47,480 --> 00:56:50,800 Speaker 1: Wonderland Charlie and the Chocolate Factory. But I think Alison 940 00:56:50,880 --> 00:56:54,040 Speaker 1: Wonderland is like Frankie wanted to make it and they 941 00:56:54,120 --> 00:56:56,880 Speaker 1: hired him to do Sweeney Todd. Yeah, that's true. That's 942 00:56:56,920 --> 00:57:00,600 Speaker 1: true with Sweeney Todd, with that movie, Perelli's Helper and 943 00:57:00,760 --> 00:57:05,239 Speaker 1: also um, Joanna are these like archetypes that come in 944 00:57:05,320 --> 00:57:07,560 Speaker 1: and out of Tim Burton's movies where we have a 945 00:57:07,680 --> 00:57:13,000 Speaker 1: child that is being corrupted by people in their life 946 00:57:13,000 --> 00:57:16,280 Speaker 1: that are sometimes pedophilic, which I think is the case 947 00:57:16,280 --> 00:57:20,640 Speaker 1: of Joanna's dad. Well, Joanna's dad who is you know, 948 00:57:20,880 --> 00:57:25,720 Speaker 1: um the judge wants to marry her, right yeah, and 949 00:57:25,760 --> 00:57:29,760 Speaker 1: then we all and then also just like this child 950 00:57:29,800 --> 00:57:32,280 Speaker 1: who has been pushed over the edge and then murders someone. 951 00:57:32,920 --> 00:57:35,000 Speaker 1: I what do you think that is? Like? I think 952 00:57:35,000 --> 00:57:37,400 Speaker 1: it's kind of like what what like? I mean, I 953 00:57:37,440 --> 00:57:40,680 Speaker 1: don't know that that that that exactly? Well, I guess 954 00:57:40,720 --> 00:57:42,960 Speaker 1: there's a pervy kind of through line in some of 955 00:57:43,000 --> 00:57:47,919 Speaker 1: his films. Yeah, well, I think when you have a 956 00:57:47,960 --> 00:57:50,840 Speaker 1: male director, and this is something that I think about 957 00:57:50,840 --> 00:57:56,160 Speaker 1: a lot with people like Ryan Murphy, When you have 958 00:57:56,280 --> 00:58:00,760 Speaker 1: someone who only makes art about youth and young people, 959 00:58:01,480 --> 00:58:04,600 Speaker 1: what's that about? What trauma are you working through? When 960 00:58:04,680 --> 00:58:07,240 Speaker 1: is Ryan Murphy going to get over high school? When 961 00:58:07,360 --> 00:58:10,560 Speaker 1: is Tim Burton going to get over his childhood? Is 962 00:58:10,680 --> 00:58:13,520 Speaker 1: such a good way of putting it, because I do 963 00:58:13,880 --> 00:58:19,160 Speaker 1: think that in this era of Tim Burton, why didn't 964 00:58:19,240 --> 00:58:22,520 Speaker 1: he at some point go make an adult movie? Like 965 00:58:22,920 --> 00:58:25,920 Speaker 1: he had all of the blank checks that he like 966 00:58:26,040 --> 00:58:29,160 Speaker 1: available to cash, that he could have done that. But 967 00:58:29,360 --> 00:58:33,080 Speaker 1: clearly this is just what he's interested in doing, is 968 00:58:33,160 --> 00:58:38,920 Speaker 1: making movies about childhood and you know, adolescence and you 969 00:58:38,960 --> 00:58:42,720 Speaker 1: know these kming of age stories. Why is he so 970 00:58:42,720 --> 00:58:45,520 Speaker 1: stuck on it? And We're Sweet Todd is an adult movie? 971 00:58:45,680 --> 00:58:50,919 Speaker 1: I would say that his film's got progressively more child life. 972 00:58:50,920 --> 00:58:54,600 Speaker 1: He's only done a few things like Mars Attacks, you know, 973 00:58:54,920 --> 00:58:58,240 Speaker 1: is an adult movie. Yeah, but it also there are 974 00:58:58,280 --> 00:59:01,680 Speaker 1: several character point of view characters who were children, and 975 00:59:01,920 --> 00:59:04,760 Speaker 1: I think he's always in anything he does is going 976 00:59:04,880 --> 00:59:08,800 Speaker 1: to find that point of view to look from. Even 977 00:59:08,840 --> 00:59:12,840 Speaker 1: the next thing that he's doing is he's um executive 978 00:59:12,840 --> 00:59:17,920 Speaker 1: producing the New Wednesday Show for Netflix, which about Wednesday Adams, 979 00:59:18,080 --> 00:59:21,720 Speaker 1: which looks which looks really fun. I'm excited about it. Um, 980 00:59:21,760 --> 00:59:26,520 Speaker 1: But again he just I think this when he's dead 981 00:59:26,640 --> 00:59:28,800 Speaker 1: one day and we look back at the entirety of 982 00:59:28,880 --> 00:59:31,560 Speaker 1: his career, this will be one of the things we 983 00:59:31,680 --> 00:59:34,919 Speaker 1: pulled out is that this was a man who made 984 00:59:35,000 --> 00:59:40,560 Speaker 1: movies about youth and how scary being young could be. 985 00:59:41,120 --> 00:59:47,280 Speaker 1: And maybe the horror and the spookiness that he was 986 00:59:47,360 --> 00:59:52,000 Speaker 1: drawn to was a way of making literal how terrifying 987 00:59:52,040 --> 00:59:55,560 Speaker 1: it is to be a child. Yeah, which I appreciate, right, 988 00:59:55,720 --> 00:59:59,600 Speaker 1: Like we've discussed James and the Giant Peach before, which 989 00:59:59,760 --> 01:00:02,480 Speaker 1: I think he was only like a tangential producer on 990 01:00:02,600 --> 01:00:07,600 Speaker 1: or directed by Henry Selick who worked on the Nightmare 991 01:00:07,600 --> 01:00:10,880 Speaker 1: before Christmas. Okay, okay, so that all the connection the 992 01:00:10,920 --> 01:00:12,760 Speaker 1: connections are there, and I think James and the Giant 993 01:00:12,800 --> 01:00:15,840 Speaker 1: Peach is another film that really exemplifies the thing you 994 01:00:15,960 --> 01:00:21,400 Speaker 1: just kind of crystallized about childhood and what that may 995 01:00:21,400 --> 01:00:24,680 Speaker 1: be meant to Tim Burton. But I don't know. I 996 01:00:24,720 --> 01:00:26,920 Speaker 1: think that when we to your to your point, like 997 01:00:27,160 --> 01:00:29,400 Speaker 1: when he dies, I'll be curious to know what we 998 01:00:29,440 --> 01:00:32,560 Speaker 1: still think of him as a director and if he 999 01:00:32,680 --> 01:00:35,440 Speaker 1: still has a chance to contribute something to the culture 1000 01:00:36,000 --> 01:00:39,480 Speaker 1: that is as impactful as what he released in the 1001 01:00:40,520 --> 01:00:56,440 Speaker 1: you know, nineties. There are a lot of detractions to 1002 01:00:56,520 --> 01:00:59,960 Speaker 1: be made about his work, Like, as we already touched 1003 01:01:00,000 --> 01:01:02,840 Speaker 1: on briefly, he is a person who only makes movies 1004 01:01:02,880 --> 01:01:06,439 Speaker 1: about white people. Yeah, which is UM kind of kind 1005 01:01:06,440 --> 01:01:09,680 Speaker 1: of funny sometimes, Like I think that UM for the 1006 01:01:09,760 --> 01:01:13,680 Speaker 1: Virgins if you don't know, Like a Bustle interview like 1007 01:01:13,960 --> 01:01:17,440 Speaker 1: five six years ago, UM interviewed him and asked him 1008 01:01:17,480 --> 01:01:21,760 Speaker 1: specifically about how his films only have white people in them, 1009 01:01:21,840 --> 01:01:26,240 Speaker 1: and he said, um, nowadays, he's like, nowadays people are 1010 01:01:26,240 --> 01:01:29,400 Speaker 1: talking more about it, but he said, um, things either 1011 01:01:29,440 --> 01:01:31,520 Speaker 1: call for things or they don't. I remember back when 1012 01:01:31,560 --> 01:01:33,680 Speaker 1: I was a child watching The Brady Bunch and they 1013 01:01:33,720 --> 01:01:36,560 Speaker 1: started to get all politically correct, which is a term 1014 01:01:36,640 --> 01:01:39,320 Speaker 1: politically correct is something that Tim Burton says frequently, which 1015 01:01:39,360 --> 01:01:41,439 Speaker 1: I think is very telling about the type of person 1016 01:01:41,480 --> 01:01:44,000 Speaker 1: he is. UM. And then he says, like, okay, they 1017 01:01:44,040 --> 01:01:46,880 Speaker 1: have let's have an Asian child and a black a 1018 01:01:47,000 --> 01:01:49,320 Speaker 1: black UM. I used to get more offended by that 1019 01:01:49,360 --> 01:01:51,919 Speaker 1: than just I grew up watching black sploitation movies and 1020 01:01:52,040 --> 01:01:54,240 Speaker 1: I didn't say there should be more white people in 1021 01:01:54,280 --> 01:01:58,360 Speaker 1: these movies, which is and and it just ins He's 1022 01:01:58,520 --> 01:02:03,280 Speaker 1: like the reverse racism, you know, literally yeah, and like 1023 01:02:03,360 --> 01:02:05,520 Speaker 1: you know, it's it's a false equivalent. I mean, we 1024 01:02:05,560 --> 01:02:07,720 Speaker 1: don't have to explain why it's wrong, but it is 1025 01:02:07,760 --> 01:02:10,880 Speaker 1: like a false equivalency. Right. Like black exploitation films were 1026 01:02:10,920 --> 01:02:14,320 Speaker 1: created as like a political statement to combat the eraser 1027 01:02:14,400 --> 01:02:18,440 Speaker 1: of black people from films, Tim Burton's movies are not 1028 01:02:18,600 --> 01:02:22,760 Speaker 1: a political statement to provide more whiteness into the culture, 1029 01:02:22,880 --> 01:02:25,240 Speaker 1: right he What he's trying to say, I think is 1030 01:02:25,280 --> 01:02:29,160 Speaker 1: that this is his aesthetic. Right. Aesthetic is a word 1031 01:02:29,240 --> 01:02:31,760 Speaker 1: that comes up a lot and describing the whiteness of 1032 01:02:31,800 --> 01:02:34,840 Speaker 1: his film. And because this is what he's comfortable in, 1033 01:02:35,240 --> 01:02:37,280 Speaker 1: He's saying, this is the world that I live in, 1034 01:02:37,800 --> 01:02:40,680 Speaker 1: which is honestly, Like if he wants to say this 1035 01:02:40,760 --> 01:02:42,400 Speaker 1: is the world that I live in, which I don't think. 1036 01:02:42,480 --> 01:02:43,560 Speaker 1: I don't know if he said that, but like, this 1037 01:02:43,600 --> 01:02:44,560 Speaker 1: is the world that I want to live in. This 1038 01:02:44,600 --> 01:02:46,800 Speaker 1: is the world that I do live in. It's clearly 1039 01:02:46,840 --> 01:02:49,240 Speaker 1: the world that he sees, the world he's imagined. It 1040 01:02:49,360 --> 01:02:52,720 Speaker 1: is clearly his perfect world. Yes, that's what you do 1041 01:02:52,800 --> 01:02:55,640 Speaker 1: as a director is create this like idealized version of 1042 01:02:55,680 --> 01:02:58,560 Speaker 1: the world to make your little stories in. Yes. And 1043 01:02:58,600 --> 01:03:01,960 Speaker 1: it's like your films are not reclamation of white culture. 1044 01:03:02,040 --> 01:03:06,480 Speaker 1: Your films are like retention of white comfort, right like 1045 01:03:06,880 --> 01:03:09,240 Speaker 1: you are if you're saying this is the real world 1046 01:03:09,280 --> 01:03:11,600 Speaker 1: you live in, what you are telling us is that 1047 01:03:11,680 --> 01:03:14,840 Speaker 1: you don't have any friends of color or like queer friends. 1048 01:03:14,880 --> 01:03:16,440 Speaker 1: You know what I mean. I mean, I was watching 1049 01:03:17,160 --> 01:03:19,800 Speaker 1: the end of um Sleepy Hollow, which you were asleep 1050 01:03:19,880 --> 01:03:25,520 Speaker 1: during last night, and Christina Ricci's character, who's supposed to be, 1051 01:03:25,800 --> 01:03:30,760 Speaker 1: you know, so pure, but she is so white, she's 1052 01:03:31,480 --> 01:03:35,920 Speaker 1: glowing and per lessons. You know, he loves she she is. 1053 01:03:36,760 --> 01:03:41,560 Speaker 1: It's just so clear what he considers to be, you know, 1054 01:03:42,120 --> 01:03:49,120 Speaker 1: the um, the archetype, the ideal version of woman of 1055 01:03:49,160 --> 01:03:53,600 Speaker 1: womanhood of white womanhood, of whiteness, of just what it 1056 01:03:53,680 --> 01:03:55,760 Speaker 1: is to be a person. Look at like the self 1057 01:03:55,920 --> 01:03:58,080 Speaker 1: insert he puts in all of his movies, which is 1058 01:03:58,120 --> 01:04:01,800 Speaker 1: Johnny Depp, who is like the whitest man possible. Yeah, 1059 01:04:01,920 --> 01:04:06,240 Speaker 1: and and I and hit and almost like a a 1060 01:04:06,360 --> 01:04:10,040 Speaker 1: perversion of whiteness, right, Like, because there are reports that 1061 01:04:10,120 --> 01:04:13,880 Speaker 1: Johnny Depp's Willy Wonka was inspired by Michael Jackson. Have 1062 01:04:14,000 --> 01:04:17,440 Speaker 1: you heard this? Um? No, but that makes sense. It 1063 01:04:17,520 --> 01:04:23,360 Speaker 1: makes too much gross. It's really gross, but also feels 1064 01:04:23,520 --> 01:04:25,280 Speaker 1: in the line of what we were saying earlier about 1065 01:04:25,280 --> 01:04:29,080 Speaker 1: like childhood corruption, like things like that. It's like why 1066 01:04:29,280 --> 01:04:32,280 Speaker 1: it's like something that timber and keeps like latching onto 1067 01:04:32,640 --> 01:04:35,400 Speaker 1: I don't know. And then we um, there's the oggy 1068 01:04:35,440 --> 01:04:38,240 Speaker 1: boggie of it all. You were reading about last night, 1069 01:04:38,440 --> 01:04:40,520 Speaker 1: something I had you were describing to me. I had 1070 01:04:40,560 --> 01:04:43,800 Speaker 1: never heard about that, like oggie boogie was essentially like 1071 01:04:43,840 --> 01:04:47,960 Speaker 1: a slur used to describe jazz musician Cab Callaway, and 1072 01:04:48,040 --> 01:04:51,640 Speaker 1: that the ugg boogie man is kind of a a 1073 01:04:51,720 --> 01:04:56,680 Speaker 1: Cab Calloway reference. Right. He's a very he's a very racist. Um. 1074 01:04:56,720 --> 01:04:59,919 Speaker 1: You know. Caricature, Yeah, caricature and I think that it's 1075 01:05:00,240 --> 01:05:03,560 Speaker 1: I think that him and then Samuel L. Jackson in Um, 1076 01:05:03,600 --> 01:05:07,160 Speaker 1: the Miss Peregrine's Like Orphanage whatever the funk movie that was, 1077 01:05:07,600 --> 01:05:10,360 Speaker 1: are the only two black people to have ever had 1078 01:05:11,200 --> 01:05:14,280 Speaker 1: roles in a Timberton film, which is not great, but 1079 01:05:14,400 --> 01:05:16,880 Speaker 1: it does have a great Florence and the machine song 1080 01:05:16,920 --> 01:05:20,120 Speaker 1: on the soundtrack. Oh does it really? Um? I okay, 1081 01:05:20,240 --> 01:05:22,080 Speaker 1: so like I on it. But anyways, you know, I 1082 01:05:22,240 --> 01:05:24,280 Speaker 1: don't want to harp on like the timber and main 1083 01:05:24,320 --> 01:05:26,120 Speaker 1: problematic of it all because we've heard it all before. 1084 01:05:26,160 --> 01:05:32,280 Speaker 1: But I do think that his failure to see, truly 1085 01:05:32,360 --> 01:05:36,320 Speaker 1: see the world around him is part of the reason 1086 01:05:36,400 --> 01:05:39,200 Speaker 1: he's no longer relevant as a creator, Like he truly 1087 01:05:39,680 --> 01:05:42,800 Speaker 1: has not made anything relevant since Charlie and the Chalk Factory. 1088 01:05:42,920 --> 01:05:45,080 Speaker 1: I think because I think Alice in the wonder Alice 1089 01:05:45,120 --> 01:05:47,440 Speaker 1: in Wonderland, where I think it is his highest grossest 1090 01:05:47,520 --> 01:05:51,800 Speaker 1: grossing film, was a critical flop, right or like, at 1091 01:05:51,800 --> 01:05:54,840 Speaker 1: the very least all of his stands did not like it. Yeah. 1092 01:05:55,000 --> 01:05:57,800 Speaker 1: I think kind of what the thing is is that 1093 01:05:58,400 --> 01:06:01,600 Speaker 1: now we live in a world old, we live in 1094 01:06:01,600 --> 01:06:04,760 Speaker 1: a post tim Burton world where there are a lot 1095 01:06:04,840 --> 01:06:08,439 Speaker 1: of creators who were influenced by him and went on 1096 01:06:08,680 --> 01:06:12,000 Speaker 1: to make things in the same kind of you know, 1097 01:06:12,400 --> 01:06:18,560 Speaker 1: aesthetic vain or with the same tone, but they were 1098 01:06:19,240 --> 01:06:24,920 Speaker 1: people of color, queer people who created their work with 1099 01:06:25,440 --> 01:06:28,320 Speaker 1: diversity and inclusion in mind because that was their worldview. 1100 01:06:28,640 --> 01:06:31,200 Speaker 1: So now we we don't need this one man in 1101 01:06:31,240 --> 01:06:34,640 Speaker 1: his singular vision because the vision is kind of outdated, 1102 01:06:35,080 --> 01:06:37,640 Speaker 1: and the next generation of people that who he inspired, 1103 01:06:37,680 --> 01:06:41,120 Speaker 1: who like they definitely owe a debt to Um, are 1104 01:06:41,280 --> 01:06:44,000 Speaker 1: making the work that he just never could make, and 1105 01:06:44,000 --> 01:06:48,080 Speaker 1: they're doing it better, doing it better than he is currently. Yes, 1106 01:06:48,200 --> 01:06:50,680 Speaker 1: exactly in that same vein of what you were just 1107 01:06:50,720 --> 01:06:55,600 Speaker 1: talking about, Um, Jordan Peel's making this kind of Tim 1108 01:06:55,600 --> 01:07:00,960 Speaker 1: Burton esque claimation called Wendel and wild Um that I 1109 01:07:01,000 --> 01:07:04,480 Speaker 1: think is going to be a part of this legacy 1110 01:07:04,520 --> 01:07:07,040 Speaker 1: of creators that you're talking about about. It there's there's 1111 01:07:07,080 --> 01:07:09,360 Speaker 1: a trans character who's played by a transactor in it. 1112 01:07:09,520 --> 01:07:12,600 Speaker 1: Oh cool, that's awesome. And I also know that like this, 1113 01:07:12,720 --> 01:07:16,320 Speaker 1: I think this Wednesday series honestly, even though Tim Burton 1114 01:07:16,760 --> 01:07:19,600 Speaker 1: is a part of it, um, he's not like the 1115 01:07:19,960 --> 01:07:22,800 Speaker 1: person behind it, am I right about? Yeah, it's kind 1116 01:07:22,800 --> 01:07:25,640 Speaker 1: of like a Tim Burton presents. Yeah, but it's an 1117 01:07:25,680 --> 01:07:29,560 Speaker 1: all Latin story, so I'll be interested to see, you know, 1118 01:07:29,600 --> 01:07:31,840 Speaker 1: how far that's get that gets pushed and if this 1119 01:07:31,920 --> 01:07:35,240 Speaker 1: is something that is you know, inspired by timber and 1120 01:07:35,320 --> 01:07:38,320 Speaker 1: but not like created by Tim Burton. Um, but I'm 1121 01:07:38,360 --> 01:07:41,920 Speaker 1: probably He's probably the executive producer, so I'm sure his 1122 01:07:42,000 --> 01:07:47,200 Speaker 1: handprints are all over it stylistically, especially because it seems 1123 01:07:47,240 --> 01:07:51,600 Speaker 1: like it's more in the y A genre space. Um, 1124 01:07:51,640 --> 01:07:56,080 Speaker 1: it'll be pretty you know, diverse YEA and inclusive. And 1125 01:07:56,120 --> 01:07:58,360 Speaker 1: the trailer looks good. It looks like, Yeah, it looks fun. 1126 01:07:58,440 --> 01:08:01,680 Speaker 1: I'm excited to watch it. Yeah. Um. I like Jenna Ortiga, 1127 01:08:01,760 --> 01:08:05,400 Speaker 1: who is in literally everything, Wait, what else is she in? 1128 01:08:05,880 --> 01:08:09,760 Speaker 1: She was in the Babysitter movie, she was in the 1129 01:08:09,800 --> 01:08:14,640 Speaker 1: New Scream, she was in X, she was in the 1130 01:08:14,680 --> 01:08:18,320 Speaker 1: second season of You. She's just popping up everywhere. But 1131 01:08:18,400 --> 01:08:23,000 Speaker 1: this is her first big starring role. Should we talk 1132 01:08:23,040 --> 01:08:25,479 Speaker 1: about like our Timber and Blind spots, like the movies 1133 01:08:25,520 --> 01:08:28,920 Speaker 1: we haven't seen, like just to like acknowledge for the 1134 01:08:29,040 --> 01:08:31,559 Speaker 1: versions that we like we haven't seen Edwood, which we 1135 01:08:31,600 --> 01:08:34,559 Speaker 1: haven't seen Edward, one of us more critically acclaimed movies. 1136 01:08:34,680 --> 01:08:38,320 Speaker 1: Question Mark. I think it's one of his more serious movies. 1137 01:08:38,400 --> 01:08:42,439 Speaker 1: Sara Jessica Parker's in it, I believe what. And she's 1138 01:08:42,479 --> 01:08:45,400 Speaker 1: also in Mars Attacks, which I love. She she's in 1139 01:08:45,520 --> 01:08:48,479 Speaker 1: Mars Attacks. In Mars Attacks and she gets her head 1140 01:08:48,520 --> 01:08:52,120 Speaker 1: put on a dog's body. Oh my god, I've seen 1141 01:08:52,160 --> 01:08:55,760 Speaker 1: that on the cover of Mars Attacks. Her head is 1142 01:08:55,760 --> 01:08:57,719 Speaker 1: like literally on the covers. I have like an imprinted 1143 01:08:57,760 --> 01:09:00,679 Speaker 1: memory of being in Blackbuster. I think other than those 1144 01:09:00,920 --> 01:09:07,560 Speaker 1: and big guys, I've seen everything you've we haven't seen that. 1145 01:09:07,640 --> 01:09:10,519 Speaker 1: I haven't seen Frank and Weene or Dumbo. No, yeah, 1146 01:09:10,520 --> 01:09:13,840 Speaker 1: I haven't seen Dumbo Dumbo, or you've seen Miss Peregrine's 1147 01:09:13,880 --> 01:09:16,599 Speaker 1: Home for a Peculiar Children. Yeah, what was that like? 1148 01:09:16,880 --> 01:09:21,160 Speaker 1: I don't really remember. I'm sure Eva Green was great 1149 01:09:21,200 --> 01:09:24,439 Speaker 1: because Ava Green is great and everything. She's so fun. 1150 01:09:24,520 --> 01:09:28,040 Speaker 1: In Dark Shadows, Um, Chloe Grace Morette is a werewolf 1151 01:09:28,120 --> 01:09:31,360 Speaker 1: in it. That's all I need to know. Have you 1152 01:09:31,400 --> 01:09:34,800 Speaker 1: seen her carry? I have with Julianne Moore. I think 1153 01:09:34,800 --> 01:09:38,000 Speaker 1: it would maybe ruined carry for me. You wouldn't. You 1154 01:09:38,000 --> 01:09:42,160 Speaker 1: wouldn't like it because maybe a traditionalist. But for our 1155 01:09:42,200 --> 01:09:45,519 Speaker 1: Stephen King episode, it's good. I think you have you 1156 01:09:45,520 --> 01:09:49,280 Speaker 1: seen the original carry Okay, so you can't talk to 1157 01:09:49,320 --> 01:09:52,519 Speaker 1: me about that. We we've never have you ever seen 1158 01:09:52,520 --> 01:09:55,479 Speaker 1: Planet of the Apes? No, I've never seen Planet of 1159 01:09:55,520 --> 01:09:57,280 Speaker 1: the Apes. But you know what, I have seen a 1160 01:09:57,439 --> 01:10:03,160 Speaker 1: lot of Jack Skellington Sally porn. Oh my god, why 1161 01:10:03,400 --> 01:10:08,880 Speaker 1: I wonder if there's Jack Skellington gay porn. Let's see, 1162 01:10:09,520 --> 01:10:12,320 Speaker 1: there has to be, Okay, Jack Skellington getting sucked by 1163 01:10:12,400 --> 01:10:16,040 Speaker 1: Uggie Boogie. Oh no, Jack Skellington. Okay, there's he's Oh 1164 01:10:16,280 --> 01:10:20,680 Speaker 1: look look at the hot Jack O lantern. Wow, his 1165 01:10:21,320 --> 01:10:27,880 Speaker 1: dick is huge. That's very hot. There's Jack Skellington. I 1166 01:10:27,920 --> 01:10:31,800 Speaker 1: think he's with the slender Man. He's fucking the slender Man. 1167 01:10:31,840 --> 01:10:34,360 Speaker 1: Who's the slender Man? It's an urban legend. Oh, here's 1168 01:10:34,400 --> 01:10:37,639 Speaker 1: one where he's got Santa tied up and is tickling 1169 01:10:37,720 --> 01:10:41,599 Speaker 1: his feet. Oh my god, sort of non consensually, but 1170 01:10:41,800 --> 01:10:44,680 Speaker 1: also Santa seems to be into Maybe the non consensual 1171 01:10:44,680 --> 01:10:47,760 Speaker 1: part is part of the kank um. Oh yeah, there's 1172 01:10:47,760 --> 01:10:49,479 Speaker 1: just a lot of Jack and Sally porn. Oh, and 1173 01:10:49,520 --> 01:10:53,639 Speaker 1: then here's thick Jack Skellington. I like that. I'm into it. 1174 01:10:54,200 --> 01:11:05,240 Speaker 1: What fuck. We'll be back next week with two episodes, 1175 01:11:05,400 --> 01:11:13,040 Speaker 1: you know, continuing our October double Slam weekly um whatever, 1176 01:11:13,240 --> 01:11:17,919 Speaker 1: Double penetration UM. On Tuesday we have a special episode 1177 01:11:17,960 --> 01:11:21,160 Speaker 1: all about the Rocky Horror Picture Show, and then on 1178 01:11:21,240 --> 01:11:27,560 Speaker 1: Thursday an episode devoted to the Master of Murder Mystery Mayhem, 1179 01:11:27,600 --> 01:11:34,919 Speaker 1: Stephen King herself. So, um, tell us what your favorite 1180 01:11:34,920 --> 01:11:37,120 Speaker 1: Tim Burton movie is or if you have any hot 1181 01:11:37,160 --> 01:11:39,960 Speaker 1: takes about him. Tell us what you're being for Halloween. 1182 01:11:40,400 --> 01:11:43,680 Speaker 1: Tag us and all your spooky content. You can leave 1183 01:11:43,760 --> 01:11:46,800 Speaker 1: us a review on Apple Podcasts or rating on Spotify. 1184 01:11:46,920 --> 01:11:49,400 Speaker 1: It really helps us a lot. I am your co 1185 01:11:49,520 --> 01:11:51,960 Speaker 1: host Rose Damn You. You can find me anywhere on 1186 01:11:52,040 --> 01:11:55,080 Speaker 1: social at Rose Damn You. And I'm Fran Toronto. You 1187 01:11:55,080 --> 01:11:57,519 Speaker 1: can find me at Frands Squish Co anywhere you want. 1188 01:11:58,040 --> 01:12:01,639 Speaker 1: Also d m us at Like a Virgin nine. You 1189 01:12:01,680 --> 01:12:04,439 Speaker 1: can subscribe to Like a Virgin anywhere you listen. Like 1190 01:12:04,520 --> 01:12:07,240 Speaker 1: a Virgin is an I Heeart radio production our producers 1191 01:12:07,280 --> 01:12:11,360 Speaker 1: Phoebe Unter, with support from Lindsay Hoffman, Julian Weller, Jess 1192 01:12:11,360 --> 01:12:16,400 Speaker 1: Crane Chitch and Nikki Eatur. Until next week. This is Halloween, 1193 01:12:16,479 --> 01:12:27,360 Speaker 1: This Halloween, Oh my god, Okay, we have to go. 1194 01:12:27,600 --> 01:12:30,760 Speaker 1: That is this is Halloween.