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Seed Of Chucky - Thirsty For Gore · Thirsty For More - Movie Review

• 0:07
  Speaker 1: Hello, everyone, and welcome to Thirsty for Gore.
• 0:26
  Speaker 2: I am your host, Milenko. And I'm Alex.
• 0:28
  Speaker 3: Nice to meet you.
• 0:30
  Speaker 2: And.
• 0:31
  Speaker 4: Today, we're talking about a very post-9-11 Chucky.
• 0:37
  Speaker 2: Because we ourselves are post-9-11. 25th anniversary.
• 0:41
  Speaker 3: Oh, yeah, totally. I mean, I don't understand that. Is
• 0:45
  Speaker 3: it just because 9-11 happened yesterday? Yeah, basically.
• 0:49
  Speaker 2: Well, the movie is after 9-11, but nothing else about it.
• 0:54
  Speaker 2: It's our first post-9-11 Chucky, dude. That's why.
• 0:56
  Speaker 3: Yeah, for sure. He's moved on from the 80s to
• 1:00
  Speaker 3: the 90s to the 2000s.
• 1:02
  Speaker 2: He's in the 2000s. He's squarely in the 2000s. Hit me, baby,
• 1:06
  Speaker 2: one more time.
• 1:07
  Speaker 3: There's a lot of jizz. It's as satisfying to me
• 1:10
  Speaker 3: as the coming is. Having sex with a... In this movie,
• 1:13
  Speaker 3: there's so much jizz. So much jizz. In this movie.
• 1:16
  Speaker 2: I mean, we're talking, of course, about 2004's Seeds of Chucky. Seeds,
• 1:22
  Speaker 2: of course. Don Mancini's Seeds of Chucky.
• 1:26
  Speaker 3: Don Mancini finally seeds Chucky in his fake pussy to
• 1:30
  Speaker 3: create a... This abomination. This abomination. Really? I don't know.
• 1:35
  Speaker 3: I thought Glenn or Glenda was pretty cute. I love.
• 1:40
  Speaker 2: We can't wait. To talk about non-binary icon. Oh, well, actually,
• 1:44
  Speaker 2: I will make an argument that Glenn slash Glenda is
• 1:48
  Speaker 2: not a non-binary icon, but rather a bi-gender icon.
• 1:53
  Speaker 3: Okay. I don't know what bi-gender is. I don't know
• 1:55
  Speaker 3: what that means. Both genders at.
• 1:56
  Speaker 2: The same time?
• 1:57
  Speaker 3: Two chicks at the same time, man.
• 1:59
  Speaker 2: I mean, yeah, you got it.
• 2:00
  Speaker 3: Okay.
• 2:01
  Speaker 2: Well, like, not at the same time, but like, you know,
• 2:03
  Speaker 2: I think Glenn slash Glenda is gender fluid, right?
• 2:08
  Speaker 3: Yeah.
• 2:08
  Speaker 2: So oscillates between two, but is very squarely between one
• 2:12
  Speaker 2: or the other. Yeah, for sure. It's always a question
• 2:14
  Speaker 2: of one or the other. That's why it's bi-gender, because.
• 2:16
  Speaker 3: Like bisexual. They love having sex with each other.
• 2:19
  Speaker 2: It's true.
• 2:20
  Speaker 3: Yeah, we get a lot of jizz at the beginning.
• 2:22
  Speaker 3: You know, like, I will say.
• 2:24
  Speaker 2: Chucky is coming. He's coming in his own pussy, and
• 2:30
  Speaker 2: he's just dating.
• 2:31
  Speaker 3: It's just Arnold Schwarzenegger now.
• 2:34
  Speaker 2: I don't know.
• 2:36
  Speaker 3: Something about Chucky. something about chucky jizzy um this little
• 2:43
  Speaker 3: girl opens a box and she's like oh i hate
• 2:47
  Speaker 3: it i hate.
• 2:48
  Speaker 2: It and it's like the weird fake british in this
• 2:52
  Speaker 2: movie was so weird.
• 2:55
  Speaker 3: Also the people the the the amount of people eating
• 3:00
  Speaker 3: kind of gross shit in this movie red man Poorly
• 3:04
  Speaker 3: acting eating. Don't you mean Redmond? Redmond was hilarious. So yeah,
• 3:10
  Speaker 3: we get this British family. There's a lot of British
• 3:13
  Speaker 3: people in this movie.
• 3:14
  Speaker 2: Well, yeah, but are they British?
• 3:17
  Speaker 3: It's a weird co-production, maybe.
• 3:19
  Speaker 2: Is it?
• 3:20
  Speaker 3: Maybe.
• 3:20
  Speaker 2: No, I don't think they're really British. I think they
• 3:22
  Speaker 2: were faking it. Yeah?
• 3:24
  Speaker 1: Yeah.
• 3:24
  Speaker 2: Yeah. I think they were bad accents, dude. When we
• 3:29
  Speaker 2: get that guy, Supremo, or whatever, the Grievo of this movie. Wait,
• 3:36
  Speaker 2: hold on, hold on, sorry. Is it Seeds or Seed
• 3:39
  Speaker 2: of Chucky?
• 3:40
  Speaker 3: Seed of Chucky. But Seeds flows better for some reason.
• 3:45
  Speaker 2: I mean, he definitely Seeds multiple times.
• 3:47
  Speaker 3: Yeah, he definitely Seeds. He's the most fertile doll. Fertile
• 3:51
  Speaker 3: in this movie.
• 3:52
  Speaker 2: Yep.
• 3:53
  Speaker 3: And he did promise... i'll come back i always come
• 3:58
  Speaker 3: back yeah.
• 4:00
  Speaker 2: We gotta we gotta talk about we gotta talk about
• 4:04
  Speaker 2: the part that yeah i mean you know what dude
• 4:09
  Speaker 2: you were right i was right you were right don
• 4:12
  Speaker 2: mancini is what makes this series bad you know what
• 4:16
  Speaker 2: dude I've changed my mind.
• 4:19
  Speaker 3: I'm going to go to bat for this movie so hard.
• 4:22
  Speaker 3: Because I know, I know. I was like watching it
• 4:25
  Speaker 3: because it's funny because I watched this only once. And
• 4:28
  Speaker 3: as I was remembering it, I was like, you know what?
• 4:31
  Speaker 3: This movie's actually not as bad as I remember.
• 4:34
  Speaker 2: Both not as bad as you remember and.
• 4:36
  Speaker 3: And it's... Something that I find myself really irritated by
• 4:42
  Speaker 3: from the last one and this one is they're... feels
• 4:47
  Speaker 3: like there's a substitution of meta-ness in it that's substituting
• 4:54
  Speaker 3: for trying to write actual characters, interaction, dialogue, whatever. And
• 4:59
  Speaker 3: it's funny. I laughed so much during this movie.
• 5:04
  Speaker 2: It's so good. I mean, listen, and don't get me wrong,
• 5:08
  Speaker 2: I enjoyed it so much, dude. I had such a
• 5:12
  Speaker 2: fun time and I couldn't wait to talk to you
• 5:13
  Speaker 2: about it. But I think it's, like, it's kind of bad, dude.
• 5:20
  Speaker 3: Yeah. Like, not in a bad way. Daddy, this ugly
• 5:24
  Speaker 3: doll mommy bought me. It's like a weird, surreal kind
• 5:30
  Speaker 3: of fantasy where these two British parents have brought this, like,
• 5:37
  Speaker 3: weird doll that at first you assume is Chucky. but
• 5:41
  Speaker 3: really is the offspring of Chucky, Glenn or Glenda.
• 5:44
  Speaker 2: It's the seed of Chucky.
• 5:46
  Speaker 3: And Glenn or Glenda takes a knife from the cake.
• 5:49
  Speaker 3: And it goes up the stairs, and you hear the
• 5:51
  Speaker 3: dad upstairs being like, oh, honey, I'm coming to the
• 5:56
  Speaker 3: washroom to shower with you. And it's very strange and
• 6:01
  Speaker 3: kind of delirious. It feels like a fever dream. And
• 6:04
  Speaker 3: it turns out that it is a fever dream.
• 6:07
  Speaker 2: It is.
• 6:08
  Speaker 3: And then the dad is like, the British dad is like, Claudia,
• 6:12
  Speaker 3: why are you leaving your disgusting toys all around?
• 6:15
  Speaker 2: Yeah.
• 6:16
  Speaker 3: And realistically.
• 6:17
  Speaker 2: Everyone's, like, making it out again. Again, yeah. This time,
• 6:20
  Speaker 2: Chucky doesn't have to be the gross one. It's Glenn
• 6:22
  Speaker 2: slash Glenda.
• 6:23
  Speaker 3: And realistically, Glenn or Glenda is, like, weird-looking for a doll. It's, like, pale, sickly, weird.
• 6:35
  Speaker 2: Like a British child.
• 6:36
  Speaker 3: Please, sir, I want some more. Yeah, it is very, please, sir.
• 6:42
  Speaker 3: I want some more.
• 6:43
  Speaker 2: And I wanted to say, dude, because it's voiced by
• 6:45
  Speaker 2: Billy Boyd.
• 6:46
  Speaker 3: Yeah.
• 6:47
  Speaker 2: You know, we get Billy the Puppet, our first real
• 6:50
  Speaker 2: Billy the Puppet, dude.
• 6:51
  Speaker 3: Oh, yeah, totally. The dad gets fucking killed after confronting
• 6:55
  Speaker 3: Claudia about being such a bitch about leaving her toys everywhere.
• 6:59
  Speaker 2: Yeah, and he gets killed in this, like, POV way where, like,
• 7:03
  Speaker 2: the reason this part seems so surreal is because there's
• 7:06
  Speaker 2: a lot of, like, holding the camera, the, like, actual
• 7:10
  Speaker 2: first-person shot of, like, you feel like you are being
• 7:13
  Speaker 2: held by the person.
• 7:15
  Speaker 3: Yes.
• 7:16
  Speaker 2: And, like, Glenn slash Glenda, that we don't know yet,
• 7:20
  Speaker 2: stabs into the dad and makes the dad fall over
• 7:24
  Speaker 2: the rails.
• 7:25
  Speaker 3: Which, like, honestly, there are... References in this where I'm like,
• 7:30
  Speaker 3: this is actually kind of cool. Like the reference feels
• 7:33
  Speaker 3: kind of cool.
• 7:33
  Speaker 2: I agree.
• 7:34
  Speaker 3: This is specifically a reference to Psycho, which is a
• 7:37
  Speaker 3: reference to like having a man pretending being his mom.
• 7:42
  Speaker 3: And like that kind of stuff is interesting. As like
• 7:46
  Speaker 3: a film person, it's cool. It's interesting. But the meta-ness
• 7:51
  Speaker 3: really does feel like it's taken over the franchise at
• 7:55
  Speaker 3: this point. And it's like... The movie itself is about
• 8:02
  Speaker 3: how Hollywood works, kind of, and trying to be a criticism,
• 8:06
  Speaker 3: kind of, and even cast John Waters in it in
• 8:10
  Speaker 3: a way that feels a little bit like I've cast
• 8:14
  Speaker 3: John Waters in this.
• 8:15
  Speaker 2: I can be as silly as I want to be.
• 8:18
  Speaker 3: You know what? It's not even silly. It's that if
• 8:21
  Speaker 3: somebody places a criticism on the movie, it feels like
• 8:24
  Speaker 3: I can always step back and be like, it's camp!
• 8:27
  Speaker 3: You know what I mean? And I kind of resent
• 8:29
  Speaker 3: movies that feel like they can step back from criticism
• 8:33
  Speaker 3: by saying things like, it's a comic book movie. I
• 8:36
  Speaker 3: shouldn't have to look at a movie like this and
• 8:38
  Speaker 3: know several of the references in order for that hit
• 8:42
  Speaker 3: to happen where I'm like, huh, that was clever. You
• 8:44
  Speaker 3: know what I mean? As opposed to it functioning by itself.
• 8:46
  Speaker 2: Yeah. Yeah. And I, I don't like, it doesn't function
• 8:49
  Speaker 2: by itself. It functions in this, like. It's a Chucky movie.
• 8:54
  Speaker 2: It's a meta Chucky movie. It's like, look at all
• 8:58
  Speaker 2: these references. It's a Jennifer Tilly vehicle. We're going to
• 9:01
  Speaker 2: talk about that aspect too, because I'm of two minds
• 9:04
  Speaker 2: on it, much like Glenn slash Glenda. Well, of one mind,
• 9:07
  Speaker 2: but with two expressions.
• 9:09
  Speaker 3: Yeah, we get a, you know, psycho scene again. Not
• 9:14
  Speaker 3: just the falling off the railing, because that happens in Psycho.
• 9:17
  Speaker 2: The fly landing on the hand.
• 9:18
  Speaker 3: The fly landing on the hand. Like, I wouldn't even
• 9:22
  Speaker 3: hurt a fly. The lady getting, the mother getting killed
• 9:25
  Speaker 3: in the bathtub, that's also a reference.
• 9:29
  Speaker 2: Yeah.
• 9:29
  Speaker 3: And again, it's like.
• 9:30
  Speaker 2: It's a psycho reference.
• 9:32
  Speaker 3: It's a psycho reference. And it's like, those are all.
• 9:33
  Speaker 2: We see our first Chucky boobies.
• 9:35
  Speaker 3: Cool. Oh, Chucky boobies reminded me of Howard the Duck boobies.
• 9:40
  Speaker 2: There was never boobies. Well, we'll talk about Tiffany's boobies,
• 9:43
  Speaker 2: but now we see the mom's boobies. And it's our
• 9:46
  Speaker 2: first boobies Chucky, which... Chucky was never boobies.
• 9:52
  Speaker 3: Chucky was always a little bit sexual, but it's always
• 9:58
  Speaker 3: through the lens of a kid. that makes it, like.
• 10:00
  Speaker 2: Yeah, where, like, they have to kind of, like, do this, like,
• 10:03
  Speaker 2: it's shown in a roundabout way.
• 10:04
  Speaker 3: Yeah, it's shown in a roundabout way, and it's always
• 10:06
  Speaker 3: made to see Chucky as kind of, like, a gross person,
• 10:11
  Speaker 3: as opposed to, well, he's our main character now, so
• 10:14
  Speaker 3: we gotta make him kind of a good guy. We
• 10:16
  Speaker 3: gotta make him boobies! Yeah, it's true. He's got a pussy!
• 10:20
  Speaker 3: We've gotta make him boobies! Glenn and Glenda... Gets confronted
• 10:24
  Speaker 3: by the little girl who's like, you killed my mommy
• 10:27
  Speaker 3: and daddy. And then, and now you're pissing your pants.
• 10:31
  Speaker 3: You're pissing your pants. Oh, you're pissing your pants. Yeah.
• 10:35
  Speaker 3: I might, I might. You're pissing your pants. You're pissing
• 10:39
  Speaker 3: your pants.
• 10:41
  Speaker 2: Wait, does he say pants? That's a dead giveaway that
• 10:44
  Speaker 2: he's not British. Yeah.
• 10:45
  Speaker 3: Well, I mean, he's pissing his underwear too.
• 10:48
  Speaker 2: That's true. Yeah.
• 10:49
  Speaker 3: Pants are underwear.
• 10:50
  Speaker 2: You're pissing your pants. Yeah.
• 10:52
  Speaker 3: But also, he's American. Mate, you're pissing your trousers, mate. Trousers, yeah.
• 10:59
  Speaker 3: You've already got me started, mate. You've gone and pissed
• 11:02
  Speaker 3: your trousers, mate. Man, British people are there. Oh, yeah.
• 11:06
  Speaker 3: I'm going to spunk on you.
• 11:09
  Speaker 2: Get a load of this spunk while I've been dogging you.
• 11:13
  Speaker 3: There's so much spunk in this movie. It should be
• 11:15
  Speaker 3: called Spunk of Chucky. I've got foreskin. Chucky's got foreskin.
• 11:25
  Speaker 3: Metal international ventriloquist. Took the dummy from the first... You
• 11:30
  Speaker 3: know what?
• 11:31
  Speaker 4: I'm down.
• 11:32
  Speaker 2: I was down too.
• 11:33
  Speaker 3: Honestly, all the shit where it was like, yep, there
• 11:36
  Speaker 3: are jizz in the credits and a British guy for
• 11:39
  Speaker 3: some reason took the doll from the graveyard.
• 11:41
  Speaker 2: I like the jizz credits and I like a guy
• 11:46
  Speaker 2: taking the doll from the graveyard because... Yeah.
• 11:50
  Speaker 3: Yeah.
• 11:50
  Speaker 2: He would go, and he is pretending to be British.
• 11:53
  Speaker 2: He's American and he just stole that doll. And he's,
• 11:56
  Speaker 2: maybe he was like from Chicago, dude.
• 11:59
  Speaker 5: Yeah.
• 11:59
  Speaker 2: Who wanted a different life.
• 12:00
  Speaker 3: But also we find out that Chucky is from New Jersey.
• 12:06
  Speaker 3: He's not canonically from Chicago, dude.
• 12:09
  Speaker 2: I know. It's weird that they retconned that. New Jersey, Chucky.
• 12:12
  Speaker 3: What are you doing, Damballa? Yeah, so it's like the
• 12:17
  Speaker 3: British guy's like, eh, not even anatomically correct. Why should
• 12:22
  Speaker 3: I do a good British accent if this guy's not
• 12:24
  Speaker 3: even doing a good one? He's not trying to.
• 12:26
  Speaker 2: Well, you're doing a good impression of him.
• 12:29
  Speaker 3: You're doing a really good job of doing a really
• 12:32
  Speaker 3: bad accent, mate. Like, the thing is, like, there is.
• 12:38
  Speaker 3: There is kind of an interesting... thing here it just
• 12:43
  Speaker 3: feels like canonically if i'm comparing them it feels weird
• 12:47
  Speaker 3: because this one is so much from the perspective of
• 12:54
  Speaker 3: glenn and glenda where he's like I know I'm from Japan. That's, like,
• 12:58
  Speaker 3: a cute reference. In a way that I felt like
• 13:02
  Speaker 3: Don Mancini wanted the voodoo for dummies to be cute,
• 13:05
  Speaker 3: this is much cuter to me. This fits much better
• 13:09
  Speaker 3: as a character. I understand.
• 13:11
  Speaker 2: I agree. But I... I was not on board for
• 13:16
  Speaker 2: another retcon.
• 13:19
  Speaker 3: Oh, dude, there's so many retcons. I.
• 13:24
  Speaker 2: But, like, it's arbitrary, right?
• 13:25
  Speaker 3: Like, who cares?
• 13:26
  Speaker 2: If I accept voodoo for Chucky, like, I can accept, like,
• 13:31
  Speaker 2: voodoo dummies for Chucky.
• 13:33
  Speaker 3: But it's, like, interesting because, like, there are lines like, Oh,
• 13:37
  Speaker 3: I wouldn't even hurt a fly. And look. It's a,
• 13:41
  Speaker 3: he's flying back to his family. Like there's like really
• 13:44
  Speaker 3: interesting ways of subverting the same kinds of tropes that
• 13:49
  Speaker 3: are set in the previous movies that feel so much
• 13:53
  Speaker 3: better in this one than they do in the last one.
• 13:56
  Speaker 3: I don't know why.
• 13:57
  Speaker 2: Can I just say that every new thing they add
• 13:59
  Speaker 2: to the Chucky series ends up feeling better than actually
• 14:03
  Speaker 2: Chucky does in the movies. yeah like glenn does the
• 14:06
  Speaker 2: most interesting um jennifer tilly's mini arc as a slight
• 14:11
  Speaker 2: side main character in this also very interesting chucky kind
• 14:15
  Speaker 2: of being cucked and not the main character of his
• 14:17
  Speaker 2: own meta movie is extremely van damme dude he is so.
• 14:21
  Speaker 6: 100 the van damme of the series that's my brother
• 14:25
  Speaker 6: Meta Van Damme, about himself show Van Damme, about, like,
• 14:31
  Speaker 6: you know, not the main character in his own movie
• 14:34
  Speaker 6: Van Damme.
• 14:35
  Speaker 3: Basically, we get this arc of Glenn and Glenda not
• 14:39
  Speaker 3: knowing who he is. His name is Shitface at first.
• 14:42
  Speaker 3: His name is Shitface. And then he's like, I wonder
• 14:46
  Speaker 3: what my dad was like, or my mum. Probably some
• 14:49
  Speaker 3: sort of samurai. Some weird... And then it cuts to....
• 14:56
  Speaker 2: He's british dude i wonder what my dad is it's
• 15:01
  Speaker 2: our very our very first billy the puppet nobody's been
• 15:06
  Speaker 2: billy before this and he was billy.
• 15:09
  Speaker 3: And then for some reason jason fleming is in this
• 15:12
  Speaker 3: as santa he's like a real actor he's like a
• 15:16
  Speaker 3: real like fucking guy talk about british he.
• 15:20
  Speaker 2: Is british yeah He's one of the only British people
• 15:23
  Speaker 2: in the movie, dude.
• 15:25
  Speaker 3: I'm Santa Claus! Yeah, he comes out as Santa and.
• 15:31
  Speaker 2: Tiffany and Chucky are on a killing spree.
• 15:34
  Speaker 3: Yeah, Tiffany and Chucky are in a graveyard and it's
• 15:37
  Speaker 3: snowing and Tiffany comes out and she strangles him with...
• 15:44
  Speaker 3: She pulls him back with a slinky and then... Everyone
• 15:47
  Speaker 3: loves a slinky! You gotta get a slinky!
• 15:50
  Speaker 2: Slinky!
• 15:51
  Speaker 1: Slinky!
• 15:51
  Speaker 3: Slinky! chucky slashes santa's throat and he's like do you
• 15:56
  Speaker 3: know how much it fucks up a kid to not
• 15:59
  Speaker 3: know what santa is you.
• 16:01
  Speaker 2: Know and then he keeps stabbing him and and they
• 16:06
  Speaker 2: got brad dorf to voice the fake yeah yeah fucks.
• 16:10
  Speaker 3: With your mind fucks with your mind fucks with your
• 16:14
  Speaker 3: mind But yeah, we find out that these... Fuck, swords
• 16:18
  Speaker 3: are mine! Yeah, totally. It's very... It feels like a
• 16:24
  Speaker 3: little bit too late to do this kind of self-referential thing.
• 16:27
  Speaker 3: It's like 10 years... It's almost 10 years after Scream.
• 16:30
  Speaker 3: It's like, oh yeah, he's on a set and Don
• 16:34
  Speaker 3: Mancini is there.
• 16:35
  Speaker 2: This is the new nightmare, dude.
• 16:37
  Speaker 3: Yeah, it is very new nightmare.
• 16:39
  Speaker 2: Uh and see all the like the props you could
• 16:41
  Speaker 2: tell they were excited to show some of like how
• 16:44
  Speaker 2: how the puppets.
• 16:45
  Speaker 3: Work and stuff yeah and then all of a sudden.
• 16:47
  Speaker 2: Has wires in his ass chucky.
• 16:50
  Speaker 3: Also like it as jason fleming is is leaving don
• 16:55
  Speaker 3: don is following him there's like a news reporter who's
• 16:58
  Speaker 3: like chucky goes psycho the new movie uh starring jennifer
• 17:03
  Speaker 3: tilly yeah the guy who's working with the animatronics is
• 17:07
  Speaker 3: like oh let's see what tiffany's doing and then he
• 17:10
  Speaker 3: pulls the left arm and it hits him in the
• 17:12
  Speaker 3: balls and he's like oh it's just like i don't
• 17:16
  Speaker 3: know like i had i had such a uh I
• 17:22
  Speaker 3: just had kind of like such a loose way of
• 17:26
  Speaker 3: watching this movie because I had such low expectations.
• 17:29
  Speaker 2: I had such low expectations.
• 17:31
  Speaker 3: And then it like goes to Tilly. And she's, like, eating.
• 17:36
  Speaker 3: And there's this, like, subplot of her getting fatter that
• 17:40
  Speaker 3: they're like, oh, we can't get her because, like, Hollywood
• 17:43
  Speaker 3: loves small women. We can't.
• 17:45
  Speaker 2: It was, like, it was very, like, all of the
• 17:48
  Speaker 2: commentary that was, like, it was very, like, on point, right? Like,
• 17:52
  Speaker 2: he's not wrong in writing about all of those things
• 17:56
  Speaker 2: the way he did. It was just, like, extremely cartoonish
• 18:01
  Speaker 2: in a way that, like, you're, like, Is he making fun?
• 18:06
  Speaker 2: But it's like, it's meant to feel like a John
• 18:08
  Speaker 2: Waters movie. I just think that, like, I think that's
• 18:11
  Speaker 2: why John Waters is in this because I think that's
• 18:14
  Speaker 2: just what Don Mancini wanted to do.
• 18:16
  Speaker 3: I agree.
• 18:17
  Speaker 2: This one's all, like you said, it's camp. And it's,
• 18:21
  Speaker 2: Chucky's always been camp.
• 18:22
  Speaker 3: Yeah.
• 18:23
  Speaker 2: But, Chucky has always balanced the camp with stakes, and
• 18:27
  Speaker 2: this one has no stakes.
• 18:28
  Speaker 3: You know what, though? I don't know if Chucky's always
• 18:31
  Speaker 3: been camp. I feel like camp is something that- We've
• 18:33
  Speaker 3: talked about it. I know, but- He's a doll. It's
• 18:37
  Speaker 3: one of those things that camp is something you can
• 18:41
  Speaker 3: have- Without it being a shield to protect from criticism.
• 18:47
  Speaker 3: Without it being, like, bad. Yeah. You know what I mean? Like,
• 18:50
  Speaker 3: it just, it feels like, why I would want to
• 18:53
  Speaker 3: avoid kind of the use of it, so kind of arbitrarily,
• 18:56
  Speaker 3: not that it's not, you're right, Jason is camp, all
• 18:59
  Speaker 3: of them are camp, because if you kind of shine
• 19:01
  Speaker 3: a light on it, it, like, looks weird and it's, like,
• 19:03
  Speaker 3: silly and dumb, but, like, in context is very scary.
• 19:07
  Speaker 3: But it just, it feels like sometimes when we do
• 19:09
  Speaker 3: apply the term camp, It feels like it's just kind
• 19:13
  Speaker 3: of like covering up for something bad.
• 19:15
  Speaker 2: Yeah, it definitely feels like that here. Yeah, I mean,
• 19:20
  Speaker 2: you know what? Reminder though, I say that having completely
• 19:25
  Speaker 2: enjoyed the movie.
• 19:27
  Speaker 3: Yeah, totally. And I do think that.
• 19:29
  Speaker 2: It's- This one felt like the Alien Resurrection to me.
• 19:31
  Speaker 3: This one felt like- This one feels like, yeah, 100%. 100%.
• 19:35
  Speaker 2: Because, like, it's still good, but you're like, yeah, like,
• 19:38
  Speaker 2: you never fucked a robot.
• 19:40
  Speaker 3: Yeah, there is- I did.
• 19:41
  Speaker 2: I fucked Chucky's pussy.
• 19:42
  Speaker 3: Yeah. And then we get introduced to another British character.
• 19:48
  Speaker 2: Co-production Chucky.
• 19:51
  Speaker 3: Joan, who is the assistant to Jennifer Tilly. Yes. I'm
• 19:55
  Speaker 3: kind of glad that it's just Jennifer Tilly because.
• 19:58
  Speaker 2: It's... Me too. This manages to be a Chucky movie
• 20:02
  Speaker 2: insofar as it's under the 129 minute mark.
• 20:05
  Speaker 3: Yeah. And also.
• 20:07
  Speaker 2: It has, like, a very tight cast. Like, it's not
• 20:10
  Speaker 2: too many people.
• 20:11
  Speaker 3: It is not very too many people.
• 20:13
  Speaker 2: Which I like. This is actually probably the most people
• 20:17
  Speaker 2: that's been in a Chucky movie.
• 20:18
  Speaker 3: Yeah, for sure. They make fun of Julia Roberts having
• 20:21
  Speaker 3: stolen some roles from... I.
• 20:23
  Speaker 2: Hate Julia Roberts. That was so funny. It was the, like,
• 20:28
  Speaker 2: fuck Martha Stewart of this movie. Yeah, it was the
• 20:30
  Speaker 2: fuck Martha Stewart.
• 20:31
  Speaker 3: And then.
• 20:31
  Speaker 2: And there's a Martha Stewart reference of her getting arrested, dude.
• 20:34
  Speaker 3: Yes, absolutely.
• 20:35
  Speaker 2: Yeah.
• 20:37
  Speaker 3: And then Chucky being like, nice tits. And then Jennifer
• 20:41
  Speaker 3: Tilly being like, thanks. But then the puppet getting controlled
• 20:44
  Speaker 3: by the guy who is just... It was fun. I
• 20:48
  Speaker 3: just had a lot of fun.
• 20:53
  Speaker 2: Jennifer Tilly looks amazing, again, and also is such a
• 20:57
  Speaker 2: good sport.
• 20:59
  Speaker 3: Yeah, I mean, obviously she kind of involved herself in
• 21:03
  Speaker 3: this in a way that was like, Let's make fun
• 21:06
  Speaker 3: of me as much as possible.
• 21:08
  Speaker 2: I think they consulted her on how to do it.
• 21:11
  Speaker 3: For sure. Joan sets up the fact that Redman is
• 21:15
  Speaker 3: making a Virgin Mary movie. Did you know that hip-hop
• 21:18
  Speaker 3: star turned director Redman? Redman.
• 21:22
  Speaker 2: She calls him Redman through the entire.
• 21:23
  Speaker 3: Now, would you like me to call you Red or Mr.
• 21:26
  Speaker 2: Man? Mr.
• 21:26
  Speaker 3: Man. Uh, and then she wants to take the meeting
• 21:31
  Speaker 3: to be the Virgin Mary and Joan obviously sets that up.
• 21:34
  Speaker 2: And... Because Redman's making.
• 21:37
  Speaker 3: A Virgin Mary movie.
• 21:38
  Speaker 7: What if Mary was in the club? She met Joseph
• 21:42
  Speaker 7: with no love. Covered saint in lamb's wool. Was surrounded
• 21:47
  Speaker 7: by the fucking wolves.
• 21:50
  Speaker 4: As this is going on, the reporter from earlier is interviewing.
• 21:51
  Speaker 3: Uh, Chucky and Tiffany in where Glenn and Glenda sees
• 22:03
  Speaker 3: Chucky and he has the same made in Japan as.
• 22:07
  Speaker 2: Look at this it says made in Japan yeah no
• 22:11
  Speaker 2: wonder it's a piece of crap what are you talking
• 22:13
  Speaker 2: about all the best stuff is made in Japan I'm racist.
• 22:18
  Speaker 3: I'm unbelievable. Happy Halloween! Well, also, like, did they just
• 22:23
  Speaker 3: nuke them a few years before that?
• 22:25
  Speaker 2: Wait, look at this.
• 22:26
  Speaker 3: It's made in Japan. What could they have made there?
• 22:28
  Speaker 3: Those savages were bombed by us.
• 22:31
  Speaker 2: That's what he thinks, dude. It is what he thinks.
• 22:33
  Speaker 3: He's, but then we were the Von Braun's. Marty, my
• 22:37
  Speaker 3: dad was in the Nazi party, Marty. We left Germany. No, wait.
• 22:42
  Speaker 3: Marty is, wait, Doc is old. They left early in
• 22:45
  Speaker 3: the 1800s.
• 22:46
  Speaker 2: Well, no, Doc is an ex-Nazi doctor that moved to America, dude.
• 22:50
  Speaker 3: No, Operation Paperclip Doctor. Then we were the Von Braun's.
• 22:54
  Speaker 3: Then we were the Von Braun's.
• 22:58
  Speaker 2: Extended his life, Doc, or?
• 23:00
  Speaker 3: Hair repair, change your blood. Luckily, that Nazi background I
• 23:06
  Speaker 3: got helped me so much to extend my life. It's
• 23:09
  Speaker 3: my superior genes, Marty. I owe you Genesis, Marty. So, yeah, basically,
• 23:15
  Speaker 3: the British guy comes in to abuse Glenn and Glenda
• 23:20
  Speaker 3: by putting Bratz in his and her cage, their cage. Uh,
• 23:25
  Speaker 3: and it's, it's like, it sucks because he has a
• 23:28
  Speaker 3: lot of, I don't know. He was like very sad,
• 23:31
  Speaker 3: very sad, tragic character.
• 23:33
  Speaker 2: Who?
• 23:33
  Speaker 3: Glenn and Glenda. Uh, and then like when he, the,
• 23:36
  Speaker 3: the like guy who's like puppeteering him gives the rat
• 23:40
  Speaker 3: to them. And then, uh, he, they're like petting the
• 23:45
  Speaker 3: rat and like, it's like, there, there's such a like
• 23:47
  Speaker 3: a solid, uh, A level of care given to Glenn
• 23:53
  Speaker 3: and Glenda to be just like a kind person.
• 23:56
  Speaker 2: Yeah.
• 23:57
  Speaker 3: And then.
• 23:58
  Speaker 2: Did you talk about the ventriloquist act? Did you mention
• 24:01
  Speaker 2: some of the jokes, dude?
• 24:03
  Speaker 3: He's not even anatomically correct.
• 24:06
  Speaker 2: Ah!
• 24:07
  Speaker 3: I'm not anatomically correct and it's a problem you know
• 24:11
  Speaker 3: that's that's those are basically the jokes it's like how
• 24:14
  Speaker 3: shitty is this dummy but also how cool is this
• 24:18
  Speaker 3: is this amazing ventriloquism i.
• 24:20
  Speaker 2: Mean i i think i think um that party looks
• 24:24
  Speaker 2: fun it does whatever that been that punk rock ventriloquist
• 24:28
  Speaker 2: there's a lot of money to be made in it
• 24:29
  Speaker 2: dude it's like an underground circuit of punk rock underground ventriloquism.
• 24:34
  Speaker 3: That's the weird thing, is that, like, this person seems
• 24:38
  Speaker 3: so involved in that place, that type of place, whether
• 24:44
  Speaker 3: it be, like, a punk scene or, like, a nu
• 24:48
  Speaker 3: metal scene or a metal scene. Yeah, yeah. But all
• 24:50
  Speaker 3: of those people are terrible people. All of them are
• 24:53
  Speaker 3: terrible people.
• 24:55
  Speaker 2: How so?
• 24:56
  Speaker 3: Well, like, Alexis Arquette's character is, like, a fucking loser.
• 25:00
  Speaker 3: Mary Manson. Yeah, Marilyn Manson knockoff and a piece of
• 25:04
  Speaker 3: shit in that movie, and this guy is a piece
• 25:08
  Speaker 3: of shit in this movie. And it's like that kind of.
• 25:14
  Speaker 3: Riding the line between your community being like all terrible
• 25:18
  Speaker 3: and kind of using that as like kind of making
• 25:22
  Speaker 3: fun of that or making fun of that trope. But
• 25:24
  Speaker 3: then also like all of them are villains. All of
• 25:26
  Speaker 3: them are bad people.
• 25:27
  Speaker 2: I mean, but that's the part that's leaning into the
• 25:30
  Speaker 2: camp of it all, which I don't resent about it.
• 25:33
  Speaker 2: You know, like I'm like. whatever like that's that's like
• 25:36
  Speaker 2: that's the.
• 25:37
  Speaker 3: Part for the course for horror.
• 25:39
  Speaker 2: Yeah and like i think because it's being referential i
• 25:42
  Speaker 2: think it's just trying to do a lot of fan
• 25:44
  Speaker 2: service yeah and and because it's like it knows that
• 25:48
  Speaker 2: it has a queer audience the franchise is like alive
• 25:51
  Speaker 2: right yeah but it's kind of being crushed under the
• 25:54
  Speaker 2: weight of its own lore because chucky's always justifying his
• 25:59
  Speaker 2: place in the canon to us.
• 26:01
  Speaker 3: Yeah, totally. And here he's like, I don't need to. Yeah, totally.
• 26:06
  Speaker 3: And maybe he.
• 26:07
  Speaker 2: Still does, dude.
• 26:08
  Speaker 3: So Glenn runs out and has this run that's amazing. Dude,
• 26:13
  Speaker 3: the run is so cool, dude. The fucking puppet running.
• 26:17
  Speaker 3: Which is like... Fuck it, put it up me like puppet. Puppet,
• 26:22
  Speaker 3: fill me to the brim like bucket. On a green
• 26:24
  Speaker 3: screen and then cut out and then placed into this
• 26:28
  Speaker 3: camera moving shot. It looks so good. It looks really good.
• 26:33
  Speaker 3: And he escapes somehow getting on a plane flying over
• 26:37
  Speaker 3: to Los Angeles.
• 26:38
  Speaker 2: And they just Indiana Jones style show us the camera. 100%.
• 26:41
  Speaker 3: And I'm totally down. Me too.
• 26:43
  Speaker 2: I was like, yep, don't explain it.
• 26:45
  Speaker 3: Yep. Please don't explain it. Please don't explain this to me.
• 26:48
  Speaker 3: Somehow knowing to get to a set.
• 26:52
  Speaker 2: The exact set.
• 26:52
  Speaker 3: The exact set.
• 26:53
  Speaker 2: Where his parents are.
• 26:55
  Speaker 3: And then we get into... meth uh method man uh
• 27:00
  Speaker 3: red man i'm thinking of method man and red the
• 27:03
  Speaker 3: show uh redman uh reading the script with jennifer tilly and.
• 27:10
  Speaker 4: Jennifer tilly just being so into the the plot i
• 27:14
  Speaker 4: could do it faster i could do it slow now
• 27:17
  Speaker 4: i'm going what's her face uh The other one.
• 27:21
  Speaker 3: Oh, God. I became someone else. You became a different Jennifer.
• 27:27
  Speaker 3: Jennifer Coolidge.
• 27:28
  Speaker 2: I did, yep. You got it, dude.
• 27:30
  Speaker 3: Oh, no.
• 27:32
  Speaker 2: Oh, yes.
• 27:35
  Speaker 3: Oh, lads. Oh, lads. But yeah, this script sounds terrible.
• 27:43
  Speaker 3: This Mother Mary script sounds... Mother Mary was.
• 27:46
  Speaker 2: Basically, Redmond wanted to see.
• 27:48
  Speaker 7: If Mother Mary was in the club and she met
• 27:51
  Speaker 7: Joseph with double love.
• 27:54
  Speaker 2: And then.
• 27:55
  Speaker 8: Method.
• 27:56
  Speaker 3: Fuck. Redmond is like, you know, Julia Roberts is my
• 28:01
  Speaker 3: first choice. And it's like... Oh, what if I sucked
• 28:04
  Speaker 3: your dick? I mean, basically, it is what if I
• 28:06
  Speaker 3: sucked your dick. I mean... Okay.
• 28:10
  Speaker 2: So... it's interesting dude and we can talk about this
• 28:13
  Speaker 2: for a second because this trope of like sucking the
• 28:17
  Speaker 2: producer's dick sucking the director's dick like tale as old
• 28:20
  Speaker 2: as time right yeah but we now live in a
• 28:24
  Speaker 2: post weinstein world in a post me too world yeah
• 28:29
  Speaker 2: you know so i'm like how how do you feel
• 28:31
  Speaker 2: like this lands in today's uh day and age dude
• 28:34
  Speaker 2: i mean it's still relevant right but like They're making
• 28:36
  Speaker 2: a joke out of it, which, you know.
• 28:38
  Speaker 3: I mean, it lands really well. Like, all the trans
• 28:41
  Speaker 3: stuff lands, all of the.
• 28:43
  Speaker 2: It's a movie before its time, for sure.
• 28:44
  Speaker 3: Yeah, that kind of satire lands. It's just... It's a
• 28:50
  Speaker 3: very metamodern Chucky. It's like, so much of the movie
• 28:56
  Speaker 3: is people having fun and being like, winking at the camera,
• 29:01
  Speaker 3: but like still.
• 29:02
  Speaker 2: I don't think it's... It's very postmodern Chucky. Metamodern would
• 29:05
  Speaker 2: make it like... I don't know what the new Chucky's like,
• 29:09
  Speaker 2: but the Metamodern would make it more like, you know,
• 29:12
  Speaker 2: it's got to kind of have that Stark series hyper-reality.
• 29:16
  Speaker 3: No, I think what it has to have is sincerity.
• 29:19
  Speaker 3: Just sincerity.
• 29:20
  Speaker 2: Yeah, and this one doesn't.
• 29:22
  Speaker 3: I think it does have sincerity. You don't think it's sincere?
• 29:26
  Speaker 2: I guess it is in parts. Yeah, you're right. There's
• 29:30
  Speaker 2: a real arc to Glen Glenda.
• 29:33
  Speaker 3: But I think maybe you're right. Maybe it is just
• 29:35
  Speaker 3: postmodern because it doesn't have enough of the high brownness
• 29:41
  Speaker 3: to land the sincerity, I guess.
• 29:43
  Speaker 2: It needs to be a little more intellectual, I think,
• 29:45
  Speaker 2: in order to be metamodern.
• 29:47
  Speaker 3: Maybe. But yeah, basically, we've got Glenn Glenda.
• 29:56
  Speaker 3: Finding his parents, and they're just dolls. Like, being disappointed.
• 30:00
  Speaker 3: But then being like, look, I have this necklace you
• 30:03
  Speaker 3: left me. And I don't know, is this our family motto?
• 30:06
  Speaker 3: I liked that stuff, too, because it's like, oh yeah,
• 30:09
  Speaker 3: British people do have, like, mottos and family chants.
• 30:14
  Speaker 2: And... They have crests, too.
• 30:16
  Speaker 3: Yeah, they totally do. And, like, the comeback of Awake. Adé, Dewey, Dembele, Awake.
• 30:23
  Speaker 2: Oh, man. You know what? Awake coming back was like, okay.
• 30:26
  Speaker 3: All right. Awake is part of the lore. But then Switch.
• 30:32
  Speaker 2: Switch.
• 30:33
  Speaker 3: I love Switch. That was very cute. It felt like,
• 30:38
  Speaker 3: I don't know, her being like, Switch. The tiny hands.
• 30:42
  Speaker 2: I mean, you know what? If you say that you
• 30:45
  Speaker 2: don't like the Dembala lore and you don't like the
• 30:47
  Speaker 2: voodoo as a part of the lore and you make
• 30:49
  Speaker 2: a joke of the voodoo, but then double down on
• 30:52
  Speaker 2: including the voodoo both times. I'm like, how much can
• 30:55
  Speaker 2: you hate the voodoo, Don Mancini?
• 30:59
  Speaker 3: It's true. And them not knowing who the kid is,
• 31:05
  Speaker 3: is interesting. It's just like, this is where the, the,
• 31:10
  Speaker 3: there's like a judder. Do you know what a judder is?
• 31:13
  Speaker 2: I mean, is it when Glenda's eye starts shuddering like this?
• 31:18
  Speaker 3: It could be. But a judder in a car is
• 31:20
  Speaker 3: like when your transmission is fucked and you're like, no, no,
• 31:25
  Speaker 3: I have to step on the gas to give it
• 31:27
  Speaker 3: more RPM to switch gears. This is what I felt
• 31:31
  Speaker 3: like with this movie. There's too many moments of like,
• 31:36
  Speaker 3: there's some stuff that flows really nicely throughout and it's like,
• 31:39
  Speaker 3: let's get from scene to scene to scene. But then
• 31:41
  Speaker 3: we get this part, which is like, such a long
• 31:44
  Speaker 3: time of like, oh my God, we have to explain. Oh, like,
• 31:50
  Speaker 3: who are you? I'm your kid. And it's like, what?
• 31:54
  Speaker 3: You're so ugly. You're so, and it's like, you know,
• 31:58
  Speaker 3: it feels like.
• 32:00
  Speaker 2: I think that it was really unnecessary to make the
• 32:05
  Speaker 2: explanation happen like this. I think the British puppet going
• 32:09
  Speaker 2: to England and having to fly to America is is
• 32:12
  Speaker 2: too many steps. It feels like a little too many steps.
• 32:16
  Speaker 2: It really kneecaps the momentum of the movie.
• 32:20
  Speaker 3: In a.
• 32:25
  Speaker 2: Way to make an hour and 26 movie feel a
• 32:29
  Speaker 2: little long in parts. Because I didn't still need for
• 32:34
  Speaker 2: explanation to be happening at this point.
• 32:36
  Speaker 3: Yeah, for sure.
• 32:37
  Speaker 2: And this is also the first time... that the continuation
• 32:45
  Speaker 2: of how Chucky is brought back is a little bullshit.
• 32:50
  Speaker 2: It's not original parts, Chucky.
• 32:52
  Speaker 3: Yeah, it's just the Dembela. Yeah. And it's like, kind
• 32:56
  Speaker 3: of makes sense, because it's, I guess, his kid. So
• 33:00
  Speaker 3: it's like, oh, genes, or what it may be. Who knows? Like,
• 33:03
  Speaker 3: who cares? It makes no sense.
• 33:05
  Speaker 2: Well, none of it otherwise makes sense, but I just
• 33:08
  Speaker 2: felt like I was... thinking about that too much. Yeah, totally, totally.
• 33:12
  Speaker 2: And I never thought about things not making sense before.
• 33:15
  Speaker 3: Because only if you kind of pick at it, it
• 33:18
  Speaker 3: doesn't make sense. Because it flows just very quickly over it. Before. Yeah.
• 33:23
  Speaker 3: But now... And then it gets into the story. Whereas
• 33:26
  Speaker 3: because this is the story, you do have to kind
• 33:29
  Speaker 3: of sit through a lot of talking. Chucky being like, God,
• 33:33
  Speaker 3: he's so ugly. He fell out of a tree and
• 33:36
  Speaker 3: hit like... She's beautiful!
• 33:37
  Speaker 8: Yeah.
• 33:39
  Speaker 3: Shut up, you asshole. I did love how much she
• 33:43
  Speaker 3: loved the kid. That was very cute. It did feel
• 33:47
  Speaker 3: like a Jennifer Tilly movie, which I really liked a lot.
• 33:51
  Speaker 2: Me too.
• 33:52
  Speaker 3: Me too.
• 33:52
  Speaker 2: That was the best parts of this movie. The worst
• 33:56
  Speaker 2: part of this movie was Chucky. The worst part of
• 33:58
  Speaker 2: this movie was Chucky. For a number of reasons.
• 34:01
  Speaker 3: Interesting.
• 34:01
  Speaker 2: I'm going to give it low Dumbledore's, dude.
• 34:03
  Speaker 3: Interesting.
• 34:04
  Speaker 2: I'm going to give it low Chucky's. My number one
• 34:07
  Speaker 2: on my list is... I don't like the way Chucky's
• 34:09
  Speaker 2: mouth moved. It looked really bad. The top part of
• 34:13
  Speaker 2: the mouth moved too much.
• 34:15
  Speaker 3: Yeah.
• 34:15
  Speaker 2: In a way that, like, just, like, folded in. And
• 34:18
  Speaker 2: it didn't have as, like, realistic-looking mouth and teeth this time.
• 34:24
  Speaker 3: So, you went from hating the gum disease to liking
• 34:26
  Speaker 3: not gum disease. Well, they kept the gum disease, but
• 34:30
  Speaker 3: with a worse-looking mouth. So, it's the worst of all worlds.
• 34:34
  Speaker 3: It is seemingly... The puppets are getting weirder and uncannier
• 34:43
  Speaker 3: in ways that feel like I can't believe. It's like
• 34:48
  Speaker 3: more human.
• 34:49
  Speaker 2: I loved Glenda. I loved Glenn.
• 34:52
  Speaker 3: I loved.
• 34:54
  Speaker 2: Jennifer Tilly. Or, sorry, Tiffany. I love the Tiffany doll.
• 34:59
  Speaker 2: Just Chucky, I didn't like Chucky.
• 35:01
  Speaker 3: I mean, fair enough, dude.
• 35:03
  Speaker 2: The battle damage and all that stuff looked really good. Like,
• 35:05
  Speaker 2: the design of the Chucky was good. But the mouth
• 35:09
  Speaker 2: ruined it for me. The way the mouth moved.
• 35:11
  Speaker 3: Yeah, for sure.
• 35:12
  Speaker 2: And, like, we don't ever... He's never Michael Power's face anymore.
• 35:16
  Speaker 3: He's never Michael Power's face. But, yeah, Chucky, like, faints
• 35:20
  Speaker 3: a lot. And, um, they're like, they realize that they're,
• 35:25
  Speaker 3: they're dolls. They realize they're like animatronics or whatever. And the,
• 35:30
  Speaker 3: the animatronics guy comes in and he's like, I'm going
• 35:33
  Speaker 3: to take a look at the dolls. I got to
• 35:34
  Speaker 3: take them apart. Uh, and then he opens up, uh,
• 35:40
  Speaker 3: he opens up Tiffany and I loved the fact that
• 35:44
  Speaker 3: I love the fact that, that he, when he's opening
• 35:46
  Speaker 3: the port up and she's like, um, um, And.
• 35:53
  Speaker 2: Chucky's, like, jerking off in the background.
• 35:56
  Speaker 3: He definitely is.
• 35:57
  Speaker 2: Chucky's flicking his bean in the background.
• 35:59
  Speaker 3: And then she's got, like, very realistic guts in it.
• 36:02
  Speaker 3: I actually really liked the gore stuff and, like, them
• 36:06
  Speaker 3: cutting this dude's head off.
• 36:08
  Speaker 2: With, like, a fucking slicey cable.
• 36:10
  Speaker 3: Slicey cable. And Glenda being, like, Oh no, my parents
• 36:18
  Speaker 3: are horrible. They're stock raving mad.
• 36:20
  Speaker 2: That's the first realization that she has that they're like
• 36:23
  Speaker 2: terrible people.
• 36:24
  Speaker 3: Oh, and they're making out too. The making out is
• 36:27
  Speaker 3: like gross. It's very funny.
• 36:30
  Speaker 2: All of the like Chucky, like the embodied Chucky stuff was, yeah.
• 36:35
  Speaker 2: I think pretty gross.
• 36:36
  Speaker 3: Hey, you're pissing your pants. She just had an accident.
• 36:40
  Speaker 3: You mean he had an accident. Well, the only thing
• 36:44
  Speaker 3: that Greeks know how to play with is each other's balls.
• 36:47
  Speaker 2: Gender reinforcing.
• 36:50
  Speaker 3: Transvestigating. I mean, the funny thing is, is that it
• 36:53
  Speaker 3: feels like Brad Dorff is a dude who, who could,
• 36:57
  Speaker 3: play that kind of character so well. Oh, completely. But
• 37:01
  Speaker 3: in real life, he just seems like, oh no, I
• 37:04
  Speaker 3: love my trans friends. You know? I support my trans daughter.
• 37:12
  Speaker 3: And when they take off, they do transvestigate Glenda and
• 37:16
  Speaker 3: Chucky is like... Oh my god.
• 37:18
  Speaker 2: They're obsessed with... They're showing... how the cis are obsessed
• 37:21
  Speaker 2: with genitals.
• 37:22
  Speaker 3: That's a boy! He just hasn't gone through his growth
• 37:25
  Speaker 3: spurt yet.
• 37:27
  Speaker 2: See?
• 37:28
  Speaker 3: She is a girl. A beautiful girl. What kind of
• 37:32
  Speaker 3: name is Glenn? I mean, the kind of name that's
• 37:37
  Speaker 3: a movie reference that you're making.
• 37:39
  Speaker 2: Glenn or Glenda movie reference. You know, like, I mean,
• 37:42
  Speaker 2: you know, referring to, like, old school... camp movie referring
• 37:47
  Speaker 2: to an old school uh queer uh you know iconic
• 37:52
  Speaker 2: queer story in hollywood uh you know um yeah like
• 37:57
  Speaker 2: it's kind of in keeping with all the stuff like
• 38:00
  Speaker 2: don mantini's referencing all the things that he um cares
• 38:04
  Speaker 2: to reference but the.
• 38:05
  Speaker 3: True story of a hollywood legend and wood.
• 38:08
  Speaker 2: And action it just i don't know it feels clumsy
• 38:13
  Speaker 2: in a way where i'm like You're not John Waters. Yeah.
• 38:18
  Speaker 3: Then you never will be. Yeah, I mean, like, John
• 38:24
  Speaker 3: Waters occupies a space of anti-movies, anti-comedy, while at the
• 38:31
  Speaker 3: same time, you know, having, like, a great love of
• 38:36
  Speaker 3: Douglas Sirk and melodrama. And, like, that kind of clash
• 38:42
  Speaker 3: can evoke... something really beautiful and nice, but it also
• 38:48
  Speaker 3: feels like when you're reference upon reference, you're creating a
• 38:51
  Speaker 3: kind of simulacrum that can be also interesting. but you
• 38:56
  Speaker 3: need to kind of develop it.
• 38:58
  Speaker 2: Stick the landing?
• 38:59
  Speaker 3: Well, you need to stick the landing and you need
• 39:01
  Speaker 3: to develop it in a way that doesn't feel like
• 39:04
  Speaker 3: you need to watch a bunch of other stuff to
• 39:07
  Speaker 3: get it or understand it. You know what I mean?
• 39:08
  Speaker 3: There is something about movies. Doing homework? Yeah. Because all
• 39:12
  Speaker 3: of those movies are good, function on their own.
• 39:14
  Speaker 2: On their own, yeah. And this one can't function under
• 39:17
  Speaker 2: the weight of its own lore. That's what I'm saying.
• 39:19
  Speaker 3: Yeah. But also, I will say, in its defense, I
• 39:23
  Speaker 3: don't think it has to. Like, Does Freddy need to
• 39:25
  Speaker 3: function under its own lore? No. You don't need to.
• 39:28
  Speaker 2: Defend this movie. I enjoyed... I enjoyed watching this movie
• 39:32
  Speaker 2: out of watching all in the entire Final Destination series.
• 39:36
  Speaker 3: Yeah, 100%, 100%.
• 39:38
  Speaker 2: Nothing that we ever do in the Chucky series will
• 39:41
  Speaker 2: ever reach the depths of.
• 39:43
  Speaker 3: Final Destination Bad. Jennifer Tilly sneaks into the puppet room
• 39:54
  Speaker 3: to grab a chocolate bar that she hid in the
• 39:57
  Speaker 3: Chucky doll after hiding the fact that she's cheating on
• 40:01
  Speaker 3: her diet. And I love that Tiff is like, oh,
• 40:06
  Speaker 3: my God. I love Jennifer Tilly.
• 40:10
  Speaker 2: It's amazing.
• 40:11
  Speaker 3: It's very funny and totally realistic. It feels totally like
• 40:15
  Speaker 3: the arc of... Narcissistic story. That, to me, makes the
• 40:19
  Speaker 3: entire movie. Me too, dude. It's the best part. It's
• 40:24
  Speaker 3: a funny, weird obsession she has because it's like, yeah,
• 40:27
  Speaker 3: why not be a celebrity, right? Uh, and then she
• 40:31
  Speaker 3: picks up the guy's, Tana Fertilli picks up the guy's
• 40:33
  Speaker 3: head and is like, wow, you look so realistic and
• 40:37
  Speaker 3: is kissing it and then realizes it's a real head, uh,
• 40:41
  Speaker 3: and screams and.
• 40:44
  Speaker 2: And the police come in this one, dude.
• 40:45
  Speaker 3: Yeah.
• 40:46
  Speaker 2: The police actually come in this one, but it feels
• 40:49
  Speaker 2: very much like movie police. That's the thing is like,
• 40:51
  Speaker 2: because the movie is so meta and it's so goofy
• 40:54
  Speaker 2: and campy already, it kind of feels.
• 40:56
  Speaker 3: Like, it's like, what's going on?
• 40:58
  Speaker 2: It just feels like, What part of it is really
• 41:03
  Speaker 2: the movie?
• 41:04
  Speaker 3: Yeah, and the parody. Well, it's interesting you say the
• 41:08
  Speaker 3: police come, because the police come, I don't know if
• 41:10
  Speaker 3: you noticed this, but this is also a reference, is
• 41:12
  Speaker 3: that on the hood of the car is where the
• 41:16
  Speaker 3: sirens are, and that's the opening sequence to Naked Gun.
• 41:20
  Speaker 3: So it's like even that is like parody on parody
• 41:24
  Speaker 3: on parody. Right.
• 41:26
  Speaker 2: I guess it is a little metamodern in that way
• 41:28
  Speaker 2: because it's also referencing parody stuff.
• 41:30
  Speaker 3: Because it's– that would still function. We'll do a whole–
• 41:35
  Speaker 3: we'll do a course on metamodernism because the intersection between
• 41:41
  Speaker 3: postmodernism and metamodernism is kind of tough to bring in.
• 41:44
  Speaker 2: Yeah.
• 41:46
  Speaker 3: John Waters comes in right at that point, too. So
• 41:49
  Speaker 3: there is like a kind of ushering in the audience
• 41:52
  Speaker 3: knows we all know wink, wink, nudge, nudge. And man,
• 41:56
  Speaker 3: Pete Peters is such a piece of shit. He's amazing.
• 42:02
  Speaker 3: Like and John Waters is. He should have just done
• 42:05
  Speaker 3: more acting. He could be a main guy.
• 42:09
  Speaker 2: He was, like, so good at this movie.
• 42:12
  Speaker 3: Had, like, a pretty.
• 42:13
  Speaker 2: Meaty role, dude.
• 42:14
  Speaker 3: Yeah, and, you know, they're, like, asking all sorts of, like, Jennifer!
• 42:19
  Speaker 1: Jennifer!
• 42:20
  Speaker 3: Did you kill the guy?
• 42:23
  Speaker 2: Just also because he's such an insane presence. Like, That
• 42:27
  Speaker 2: guy looks so weird and he's so unforgettable. And then
• 42:32
  Speaker 2: for him to be like just acting like a guy, he's.
• 42:35
  Speaker 5: Playing a role in a movie and committing completely.
• 42:40
  Speaker 3: Because he knows, because a lot of directors, they know,
• 42:43
  Speaker 3: like they're not necessarily the best actors, but they know
• 42:47
  Speaker 3: what other directors often want. And it's like, oh, this guy,
• 42:51
  Speaker 3: I can be this guy.
• 42:52
  Speaker 2: Yeah, I know why Don Mancini cast me in this.
• 42:55
  Speaker 3: Yeah, totally. And then we get an insert of Stan,
• 42:58
  Speaker 3: the driver, who's in love with Jennifer Tilly. And he's like, Jennifer,
• 43:04
  Speaker 3: I love you.
• 43:05
  Speaker 2: I love you.
• 43:06
  Speaker 3: And he's like practicing trying to tell.
• 43:08
  Speaker 2: Jennifer, I love you. I love you.
• 43:14
  Speaker 3: Yeah, it's very like. She's trying to escape the paparazzi,
• 43:20
  Speaker 3: and Stan lets her in, and all the Chucky family
• 43:26
  Speaker 3: is like, fucking paparazzi, and they run to the car
• 43:30
  Speaker 3: to the back, and clearly, then Stan and Jennifer are kissing,
• 43:35
  Speaker 3: and Jennifer Tiff is looking outside at Hollywood being like,
• 43:41
  Speaker 3: oh my god, it's so smoggy, and Chuggy finally reveals,
• 43:47
  Speaker 3: he's like, we're not from Japan, we're from New Jersey!
• 43:51
  Speaker 3: And it's like, that's such a weird.
• 43:53
  Speaker 2: Chuggy's like, woke up this morning, got some gabagook.
• 44:01
  Speaker 3: And we can ditch these plastic bodies forever! Just like,
• 44:04
  Speaker 3: I don't know. Like, some of the lore stuff, I'm like.
• 44:07
  Speaker 2: Well, listen, I'm glad that Chuggy in this one is
• 44:10
  Speaker 2: finally like, I'm just.
• 44:11
  Speaker 3: Fucking Chuggy now!
• 44:13
  Speaker 2: Yeah!
• 44:15
  Speaker 3: I've got the pussy. I don't care. As long as
• 44:20
  Speaker 3: I can fuck. I really enjoyed that. I was like,
• 44:25
  Speaker 3: it kind of hits.
• 44:26
  Speaker 2: Chuckie embracing the pussy, dude.
• 44:27
  Speaker 3: But it hits in the way, I'll come back. I
• 44:31
  Speaker 3: always come back. But dying is such a bitch. And
• 44:38
  Speaker 3: then we cut it back to Joan, who's like, writing
• 44:42
  Speaker 3: fan letters to Jennifer Tilly? Is that what I was
• 44:45
  Speaker 3: supposed to get? Or reading fan letters?
• 44:48
  Speaker 2: Do you think when the guy, the puppet master, gets
• 44:51
  Speaker 2: his head sliced off, was making the Chucky pussy, and
• 44:54
  Speaker 2: somebody was watching, he's like, hey, what the fuck? He's like, oh, actually,
• 44:57
  Speaker 2: the real Chucky had a pussy.
• 44:59
  Speaker 3: Yeah, you don't know. I don't know if you know
• 45:00
  Speaker 3: the lore, dude. But Chucky canonically has a pussy. but yeah, there,
• 45:09
  Speaker 3: there's just like, you know, the, the kind of, it's
• 45:14
  Speaker 3: kind of a bunch of different movies, a little bit
• 45:16
  Speaker 3: slapped together. Uh, and, and it's amazing.
• 45:21
  Speaker 2: I never knew what was going on. I like, I
• 45:24
  Speaker 2: never knew what was going to happen next. I've never
• 45:25
  Speaker 2: seen this one. It was, it was really fun to watch.
• 45:28
  Speaker 2: It was, but it was like.
• 45:29
  Speaker 3: Very, well, it's a very new experience for you because
• 45:32
  Speaker 3: you're like, you haven't seen a new Chucky movie since 1998.
• 45:35
  Speaker 3: So it's like, 20 years ago. 20 years of not
• 45:42
  Speaker 3: seeing a Chucky and then being like... We haven't seen
• 45:44
  Speaker 3: Chucky in 20 years? Well, here's the thing that you're
• 45:47
  Speaker 3: going to be weirded out by next. Is his lower
• 45:50
  Speaker 3: voice register getting weirder, getting sort of Marge territory. Because
• 46:00
  Speaker 3: Chucky's always had a higher register. Now it's down here.
• 46:06
  Speaker 3: Now it's more old Mandor of....
• 46:12
  Speaker 2: I can't wait, dude.
• 46:13
  Speaker 3: Yeah. Well, when he did the Adedui Devil on.
• 46:15
  Speaker 2: This, he still got it, dude.
• 46:18
  Speaker 3: Yeah, 100%. So, they're putting Glenn Glenda to bed, and, like,
• 46:24
  Speaker 3: you know, Glenn Glenda is, like, asking, why do you kill?
• 46:27
  Speaker 3: And they're like, it helps us relax! But I like
• 46:30
  Speaker 3: the idea of treating it like an addiction. That's actually
• 46:34
  Speaker 3: kind of a.
• 46:35
  Speaker 2: It's a weird choice.
• 46:37
  Speaker 3: Yeah, I'm into it. Me too. But the jokes don't
• 46:42
  Speaker 3: really land. It feels weird, him being like.
• 46:47
  Speaker 3: TV always taught me violence was bad. Violence, son! It's
• 46:52
  Speaker 3: violence they said was bad! The screechingness!
• 46:57
  Speaker 2: Bad wordplay, Chucky.
• 46:59
  Speaker 3: Bad wordplay, Chucky. Being kind of a weird, shitty dad.
• 47:05
  Speaker 3: It's realistic, dude. It's an interesting exploration of it, but
• 47:10
  Speaker 3: it's also like... I don't know, meta in a weird way.
• 47:13
  Speaker 3: They decide to not kill throughout this movie. Promise me, Chucky.
• 47:19
  Speaker 3: Promise me you won't kill anymore.
• 47:21
  Speaker 2: I swear I will not kill anyone.
• 47:23
  Speaker 3: It is, I swear I will not kill anyone.
• 47:25
  Speaker 2: Dude, it's Terminator Chucky, keeping with the Terminator lore, dude.
• 47:29
  Speaker 2: I swear, I will not kill him.
• 47:31
  Speaker 3: But Chucky is also with his fingers crossing.
• 47:35
  Speaker 2: Oh, okay, so Chucky's got, like, fucking multiple digits in
• 47:38
  Speaker 2: this one. Like, he's got, like, the, like, fucking, like... Oh,
• 47:41
  Speaker 2: the knuckles? He's got different knuckles. Like, he's got pads.
• 47:44
  Speaker 2: He's very anatomically correct, Chucky, yeah.
• 47:47
  Speaker 3: Definitely. Oh, this fight felt so funny to me. This, like,
• 47:53
  Speaker 3: Joan being like, God, how could you prostitute yourself to Redmant?
• 47:59
  Speaker 3: That's terrible. That's evil. And I was like, whoa, dude. Yeah.
• 48:03
  Speaker 2: Like, well, it's funny. The slut shaming of the movie,
• 48:06
  Speaker 2: like it is very realistic of the early 2000s, but
• 48:10
  Speaker 2: it's also like so camp that like it is clearly
• 48:12
  Speaker 2: making fun of it.
• 48:13
  Speaker 3: Yeah. A hundred percent. Hell, would you want to end
• 48:16
  Speaker 3: up on Fear Fractor with Anna Nicole Smith eating ants?
• 48:20
  Speaker 8: Or Joe Rogan? Gross Joe Rogan, who will eventually... The
• 48:24
  Speaker 8: Joe Rogan of the left? The Joe Rogan experience? The
• 48:27
  Speaker 8: Joe Rogan experience. Would you like to have the Joe
• 48:36
  Speaker 8: Rogan experience?
• 48:37
  Speaker 2: I'm too Jennifer Coolidge now. I don't know what happened.
• 48:40
  Speaker 3: It's too Jennifer Coolidge.
• 48:42
  Speaker 2: I lost it, dude. I had it before.
• 48:46
  Speaker 3: I'm saying you're fired. Yeah, you're better now. But I'm also,
• 48:50
  Speaker 3: I'm drifting into Coolidge. Because Coolidge states a lot of things.
• 48:56
  Speaker 3: I'm saying I'm this. She's amazing. She is amazing, dude.
• 49:03
  Speaker 3: In a very Tilly kind of way.
• 49:06
  Speaker 2: Yeah, yeah. They're of the same milieu. Yeah, absolutely. Perpetual, like.
• 49:12
  Speaker 2: hot middle-aged ladies.
• 49:14
  Speaker 3: And then we cut... Okay, so we cut to red
• 49:17
  Speaker 3: men walking in and chucky is gonna jizz into a
• 49:22
  Speaker 3: cup because he doesn't want red man to have the
• 49:26
  Speaker 3: baby he wants his oh we didn't talk about we.
• 49:30
  Speaker 2: Didn't talk about chucky being excited to be black again.
• 49:33
  Speaker 3: Oh yeah he's gonna be a he's gonna be a
• 49:35
  Speaker 3: bro dude i yeah hey you're gonna give me some
• 49:40
  Speaker 3: help here tiff and then she shows the boobies the
• 49:44
  Speaker 3: anatomically correct boobies.
• 49:45
  Speaker 2: Uh i don't know how i felt about.
• 49:49
  Speaker 3: It it was a little bit howard the duck.
• 49:51
  Speaker 5: It was a little howard the duck and then when
• 49:53
  Speaker 5: he picks up the porno mags or just the regular
• 49:56
  Speaker 5: magazines ah lesbos and then he's like making chucky kind
• 50:03
  Speaker 5: of like this like It seems seemingly like this, like,
• 50:07
  Speaker 5: chuddy kind of dude. Like, that's kind of the most
• 50:13
  Speaker 5: interesting part about Chucky.
• 50:15
  Speaker 3: It's also making fun of its own audience, too, because
• 50:18
  Speaker 3: there's a lot of chuds in the horror, you know, club.
• 50:24
  Speaker 3: And he picks up Fangoria, and it's got, like, a
• 50:26
  Speaker 3: gory lady, and it's like, oh, that's cute. It's like.
• 50:30
  Speaker 2: He wants to jerk off to some... A lot of it's.
• 50:32
  Speaker 3: Very like, oh, that's cute. You know what I mean?
• 50:36
  Speaker 3: And then, oh man, fucking John Waters sneaking in surreptitiously
• 50:42
  Speaker 3: to like spy on Jennifer Tilly and then being like, oh,
• 50:46
  Speaker 3: there's midgets upstairs jerking off.
• 50:49
  Speaker 2: Outrageous, dude. Like, I mean, and then he sees like
• 50:57
  Speaker 2: Tiffany in the background as well and he's like, God
• 51:00
  Speaker 2: bless the little people.
• 51:01
  Speaker 3: Yeah, totally.
• 51:02
  Speaker 2: It's... It's so weird, dude.
• 51:06
  Speaker 3: It's very strange. And Tiffany goes down and drugs Jennifer
• 51:10
  Speaker 3: Tilly and Redmond. And....
• 51:14
  Speaker 2: Jerking off Chucky.
• 51:15
  Speaker 3: Jerking off Chucky. Dude, jerking off Chucky and then cum
• 51:19
  Speaker 3: face Chucky is.
• 51:20
  Speaker 2: Man, having a cum face Chucky but not having it
• 51:24
  Speaker 2: be the Michael Powers face?
• 51:26
  Speaker 3: I mean, they already knew canonically that it was Michael
• 51:28
  Speaker 3: Powers' face, dude.
• 51:32
  Speaker 2: I would have loved it if when Chucky was coming
• 51:35
  Speaker 2: he went.
• 51:37
  Speaker 3: Oh yeah, totally. Made a Mike Powers face.
• 51:39
  Speaker 2: Shut up, guys.
• 51:42
  Speaker 3: Which one of my movies did you like the most? Oh,
• 51:46
  Speaker 3: that movie where you're making out with that other chick?
• 51:48
  Speaker 2: Oh, Bound.
• 51:49
  Speaker 3: Everybody loves Bound.
• 51:52
  Speaker 2: I love everybody loves Bound.
• 51:53
  Speaker 3: Everybody loves Bound. It's true.
• 51:55
  Speaker 2: Everybody does love Bound. Whenever you wanted to reference Jennifer Tilly,
• 51:59
  Speaker 2: you'd be like, oh, you know that chick from Bound?
• 52:02
  Speaker 3: Yeah, totally.
• 52:03
  Speaker 2: Until she became Jennifer Tilly.
• 52:05
  Speaker 3: I love Bound. Bound is a great movie.
• 52:07
  Speaker 2: Everyone does, dude. And he wants to have a threesome
• 52:12
  Speaker 2: with Gina Gershon. He's like, oh, are you still friends?
• 52:16
  Speaker 3: Yeah, really good friends. Oh, yeah. And then like, you know.
• 52:21
  Speaker 4: We could maybe do a threesome sometime.
• 52:22
  Speaker 3: Yeah, basically.
• 52:25
  Speaker 2: Making Jennifer Tilly that desperate to be fucking lying and
• 52:28
  Speaker 2: making shit up and scheming.
• 52:31
  Speaker 3: Is really funny.
• 52:32
  Speaker 2: It is very funny.
• 52:34
  Speaker 3: Yeah. And then Redman also scheming, being like, God told
• 52:42
  Speaker 3: me that he wants you for the part. He's not
• 52:45
  Speaker 3: only talking to Mel Gibson. But my daughter is important now.
• 52:53
  Speaker 3: You have one more chance.
• 52:55
  Speaker 2: He doesn't think his daughter is important, dude. He doesn't
• 52:58
  Speaker 2: accept his daughter. Yeah. And.
• 53:03
  Speaker 3: Oh, man. When Tiff comes out after hitting Redman with
• 53:10
  Speaker 3: the fake award that Jennifer Tilly got.
• 53:13
  Speaker 2: She got a most improved award.
• 53:18
  Speaker 3: No, she's one of those actors that feels like she
• 53:22
  Speaker 3: got a lot of flack for her acting ability when
• 53:24
  Speaker 3: people didn't really understand her. What she was doing and
• 53:28
  Speaker 3: she was just like making choices.
• 53:30
  Speaker 2: Yeah.
• 53:30
  Speaker 3: Versus, you know, like other people who really ham it
• 53:34
  Speaker 3: up a lot and have had bad performances.
• 53:36
  Speaker 2: People don't give credits to women for their acting.
• 53:40
  Speaker 3: I would say that even like, you know, because people are...
• 53:44
  Speaker 3: obviously talking about the generational run of, of, uh, Robert Pattinson,
• 53:48
  Speaker 3: but he's had some weird, bad performances that are like
• 53:52
  Speaker 3: bad choices that I love, but like, they're like weird.
• 53:57
  Speaker 3: They're like bad in a way. That's like, this isn't good, dude.
• 54:00
  Speaker 3: You're making bad choices. Yeah. Whereas for Tilly, she's made
• 54:04
  Speaker 3: like pretty consistently good choices that are within a kind
• 54:08
  Speaker 3: of a, like a register of, that she's hitting in
• 54:13
  Speaker 3: a same kind of Schwartzy kind of way. Yeah. In
• 54:15
  Speaker 3: the same kind of Schwartzy kind of way, uh, that
• 54:18
  Speaker 3: like people weren't giving enough credit that like, she.
• 54:21
  Speaker 2: Screamed so much in this.
• 54:23
  Speaker 3: She screamed so much in this. When, when, uh, Tiff
• 54:26
  Speaker 3: comes out and she's like, you should be ashamed of yourself. Oh.
• 54:29
  Speaker 3: And that weird line, uh, My mother used to say,
• 54:34
  Speaker 3: dirty girls, you can always smell a girl who sells it.
• 54:40
  Speaker 2: You can smell it on them.
• 54:42
  Speaker 3: No, it's, where's your self-respect?
• 54:45
  Speaker 2: If there's a girl who sells it, you can smell
• 54:48
  Speaker 2: it on them, something like that.
• 54:50
  Speaker 3: You can always smell it on a girl who sells it.
• 54:55
  Speaker 3: Which is like, that's a brutal line. And then she goes, oh,
• 54:58
  Speaker 3: by the way, Miss Tilly, can I have your autograph?
• 55:01
  Speaker 3: I laughed a lot. I laughed a lot. It was
• 55:05
  Speaker 3: very funny. And then she's like, runs around. She runs
• 55:09
  Speaker 3: away and then confronts Chucky. And Chucky's like, what the
• 55:13
  Speaker 3: hell am I supposed to do with this? This jizz
• 55:16
  Speaker 3: cup that he has.
• 55:19
  Speaker 2: Oh, man. Do you think it's full of microplastics, dude?
• 55:23
  Speaker 3: It is microplastics, dude. It's all microplastics.
• 55:26
  Speaker 2: Chucky comes in microplastics.
• 55:28
  Speaker 3: Baby, I'm all rubber. Oh, I thought you were elastic. Jen,
• 55:35
  Speaker 3: or Tiff, kiss me. It felt like all of that scene,
• 55:41
  Speaker 3: all of the funniest scenes in that movie, just kind
• 55:45
  Speaker 3: of made into a long movie. It's just all kind
• 55:48
  Speaker 3: of one funny scene.
• 55:49
  Speaker 2: I agree, yeah.
• 55:52
  Speaker 3: And then she's like, Tiff is like, we can do
• 55:55
  Speaker 3: this the hard way or the easy way. And she
• 55:58
  Speaker 3: offers her to drug herself and then she runs away
• 56:02
  Speaker 3: and she hits her with the... And we get the
• 56:04
  Speaker 3: classic little people dragging from high up.
• 56:08
  Speaker 2: Yeah, I loved it. That as a visual is so good.
• 56:12
  Speaker 3: It's great.
• 56:13
  Speaker 2: Stole it from Ronnie Woo.
• 56:17
  Speaker 3: Yeah, totally. And then, oh man, Tiff is taking a
• 56:22
  Speaker 3: turkey baster to shove into Jennifer Tilly.
• 56:26
  Speaker 2: The forced pregnancy is outrageous.
• 56:29
  Speaker 3: And then the CGI jizz falling out of it. While Chucky.
• 56:33
  Speaker 2: The CGI jizz that looked just like icing.
• 56:36
  Speaker 3: While Chucky is looking out the window, seeing John Waters escape,
• 56:40
  Speaker 3: he comes up to Glenn Glenda to be like, Hey,
• 56:46
  Speaker 3: you're going to be my boy now. We're going to
• 56:49
  Speaker 3: do man shit together. Going hunting. And then they.
• 56:54
  Speaker 2: It's very... I go hunting.
• 56:56
  Speaker 3: Hunting.
• 56:57
  Speaker 2: I'm going hunting. I'm going hunting.
• 56:59
  Speaker 3: And then this weird... where they're driving... Pedal faster! They're
• 57:06
  Speaker 3: stealing a truck, and they see Britney Spears with a
• 57:11
  Speaker 3: fake Britney Spears song playing in the background. You also hear,
• 57:15
  Speaker 3: every time fucking Redman is on, you hear fake rap music.
• 57:20
  Speaker 2: It's amazing, dude.
• 57:22
  Speaker 3: Oh, man. John Waters' beautiful, beady face... And his thin
• 57:28
  Speaker 3: mustache and combed back hair. He's such a great face.
• 57:34
  Speaker 3: In the dark room, looking at the pictures, developing them.
• 57:41
  Speaker 3: And then looking at the Chucky picture and then turning
• 57:46
  Speaker 3: around seeing Chucky and then turning back. And he's turned
• 57:50
  Speaker 3: up the fucking brightness on the... He's turned up the
• 57:56
  Speaker 3: exposure on the picture, seeing Chucky. And he gets freaked out.
• 58:00
  Speaker 3: And Chucky's above him, holding the knife to stab him.
• 58:05
  Speaker 3: But then Glenn Glenda... scares john waters and he falls
• 58:12
  Speaker 3: back into some sulfuric acid which why would you have
• 58:15
  Speaker 3: sulfuric acid because i guess he's it's some sort of
• 58:20
  Speaker 3: chemical that he uses to develop pictures but then the
• 58:23
  Speaker 3: acid falls on his face and this is a it's
• 58:25
  Speaker 3: great this cg looks really good this like weird melting
• 58:30
  Speaker 3: face combo it looks so good and uh chucky's like
• 58:35
  Speaker 3: you're a fucking natural you're so good i love you
• 58:39
  Speaker 3: and they take a selfie with uh john waters.
• 58:50
  Speaker 2: That part's amazing.
• 58:52
  Speaker 3: Do you need a minute nope What's going on?
• 58:55
  Speaker 2: Oh, okay.
• 58:56
  Speaker 8: And then.
• 58:56
  Speaker 3: Okay, so Method... Method Man. Fuck, I keep doing that.
• 59:01
  Speaker 3: Red Man... Like, wakes up with Jennifer Tilly, and they're like, Oh,
• 59:09
  Speaker 3: last night... was such a blur.
• 59:10
  Speaker 2: It's again, Jabari Chucky tied to the bed.
• 59:13
  Speaker 3: No, they're not. They're just like, they just woke up.
• 59:16
  Speaker 2: Oh yeah.
• 59:17
  Speaker 3: They do tie them up to like impregnate them.
• 59:19
  Speaker 2: Oh yeah. Yeah.
• 59:20
  Speaker 3: Um, and then I love, I love when she recalls, wait,
• 59:25
  Speaker 3: I do remember. I had the strangest dream. My guardian
• 59:29
  Speaker 3: angel came to me. And she had the sweetest voice.
• 59:32
  Speaker 3: She had the sweetest voice. Yeah. She had the sweetest voice.
• 59:35
  Speaker 3: And then asked for my autograph. I don't know. I
• 59:38
  Speaker 3: thought it was pretty funny. And then Tiff reading the book,
• 59:41
  Speaker 3: 12 Steps in Three Days.
• 59:44
  Speaker 2: It's playing on the For Dummies book.
• 59:49
  Speaker 3: Yeah. That is very clever.
• 59:51
  Speaker 2: Tiff reading self-help books.
• 59:52
  Speaker 3: Yeah.
• 59:53
  Speaker 2: It's just chronically what she does.
• 59:55
  Speaker 3: And then when she calls a person that she kills,
• 1:00:01
  Speaker 3: like wife, and it's like.
• 1:00:04
  Speaker 2: Well, yeah, she called Bailey's, Officer Bailey's wife.
• 1:00:07
  Speaker 3: Officer Bailey's wife, yeah. Mrs. Bailey, I feel so much
• 1:00:12
  Speaker 3: better now.
• 1:00:13
  Speaker 2: Yeah.
• 1:00:14
  Speaker 3: I killed your husband. What? Why would you call me?
• 1:00:18
  Speaker 7: Why would you.
• 1:00:20
  Speaker 3: What kind of sick joke is this? I'm being completely serious.
• 1:00:25
  Speaker 3: And then the hysterical crying as she stops the phone.
• 1:00:29
  Speaker 2: We don't usually get to see women playing horror villains
• 1:00:35
  Speaker 2: and acting like this kind of unhinged. So I really
• 1:00:39
  Speaker 2: appreciate this addition to the Tiffany lore.
• 1:00:42
  Speaker 3: Yeah, totally. Jennifer comes down and sits with her driver, Stan,
• 1:00:46
  Speaker 3: in the front car. In the front, of course. And
• 1:00:49
  Speaker 3: she throws up in her bag that has a Jennifer
• 1:00:52
  Speaker 3: Tilly on it, which is very hilarious. And Stan still can't, like,
• 1:01:00
  Speaker 3: get himself to say that he loves her.
• 1:01:03
  Speaker 6: And....
• 1:01:06
  Speaker 3: Yeah, Chucky wants to, like, go out with his son to...
• 1:01:11
  Speaker 3: hang out and do stuff. And then Redman comes back
• 1:01:18
  Speaker 3: to have dinner with Jennifer Tilly and is not eating
• 1:01:22
  Speaker 3: the food at all or taking one piece of corn
• 1:01:25
  Speaker 3: off the plate. And bad eat acting on Redman. And
• 1:01:31
  Speaker 3: we get revealed that... I noticed that too. We get
• 1:01:34
  Speaker 3: revealed that he's had a vasectomy. And he was like,
• 1:01:37
  Speaker 3: I'm not an idiot. I didn't come to Hollywood to
• 1:01:39
  Speaker 3: get pregnant. And Jennifer Tilly is immediately pregnant. Because it's voodoo,
• 1:01:46
  Speaker 3: you know?
• 1:01:47
  Speaker 2: Ah, they do edemola. Yeah. And it's the mechanics of the, like,
• 1:01:51
  Speaker 2: microplastics pregnancy, dude. It's true. It's like a much faster
• 1:01:55
  Speaker 2: gestation period. It's like alien Romulus levels gestation period.
• 1:02:00
  Speaker 3: Yeah, 100%. Tiff gets the urge to kill because she
• 1:02:07
  Speaker 3: hates method... keep doing it red man uh and wants
• 1:02:12
  Speaker 3: to take over jennifer tilly and she calls a hotline
• 1:02:17
  Speaker 3: to i don't know it's just like dumb it's like
• 1:02:20
  Speaker 3: calling a hotline and being like oh my god i'm
• 1:02:25
  Speaker 3: feeling the urge and the guy on the hotline is
• 1:02:28
  Speaker 3: like i had.
• 1:02:29
  Speaker 2: A slip up the other day yeah it took me
• 1:02:31
  Speaker 2: three slip yeah totally she just wanted an excuse to
• 1:02:36
  Speaker 2: get a little murder dude yeah.
• 1:02:39
  Speaker 3: Cause it's in her too. Yeah, and then she fucking
• 1:02:43
  Speaker 3: kills Redman by cutting his dick out and all the
• 1:02:47
  Speaker 3: guts falling out of him.
• 1:02:49
  Speaker 2: Oh man, it was so gross, dude.
• 1:02:56
  Speaker 3: Oh, and then she gets a call that somebody else
• 1:02:59
  Speaker 3: gets killed. And she's, like, getting called to the police.
• 1:03:03
  Speaker 3: Goes nowhere, by the way. None of the, like, oh,
• 1:03:05
  Speaker 3: she's a suspect. It's totally, it feels like a reference
• 1:03:08
  Speaker 3: to the first one. But it's also, like, none of
• 1:03:10
  Speaker 3: it goes anywhere. There's no sense of, you're right, there
• 1:03:13
  Speaker 3: is no stakes in this movie. There's no real sense of, like,
• 1:03:19
  Speaker 3: it's more of a family drama between them. And, like,
• 1:03:22
  Speaker 3: the kids are, like, the kid is, like, sort of
• 1:03:26
  Speaker 3: the glue that holds everything back. Uh, or holds everything together. Uh,
• 1:03:31
  Speaker 3: and yeah, Tiff goes, sees Glenn Glenda and being like, shh,
• 1:03:39
  Speaker 3: it's only a slip up, sweetheart. Don't tell your dad. Uh,
• 1:03:43
  Speaker 3: and- Is.
• 1:03:43
  Speaker 2: That where Glenda starts like fucking- Yeah, the.
• 1:03:46
  Speaker 3: The eyeball starts, uh, twitching. And then we see Martha
• 1:03:50
  Speaker 3: Stewart going to prison. They're executing Martha Stewart tomorrow morning.
• 1:03:58
  Speaker 3: I don't think I can take nine months of this shit.
• 1:04:02
  Speaker 3: And then it's like she like Tiff knows somehow more
• 1:04:06
  Speaker 3: about voodoo because she was like, oh, it's a voodoo pregnancy.
• 1:04:11
  Speaker 3: So obviously she's going.
• 1:04:13
  Speaker 2: To be a retcon, dude. Yeah. Her knowledge. Well, she
• 1:04:16
  Speaker 2: read it in the book.
• 1:04:17
  Speaker 3: That's true. That's true. Totally. She did read that whole book.
• 1:04:20
  Speaker 3: And then Jennifer Tilly ends up being super pregnant. Like,
• 1:04:24
  Speaker 3: super pregnant.
• 1:04:25
  Speaker 2: Yeah.
• 1:04:25
  Speaker 3: And she calls Joan and she's like, I'm fat! She's like, no,
• 1:04:29
  Speaker 3: you're not fat. And she's like, no, I'm enormous! And
• 1:04:36
  Speaker 3: then on the phone, on two different lines, Tiff is
• 1:04:40
  Speaker 3: talking to Joan and Joan is like hearing....
• 1:04:47
  Speaker 2: Okay, so both Tiff and Jennifer Tilly are on the
• 1:04:51
  Speaker 2: phone with Joan.
• 1:04:52
  Speaker 3: Yes, which would never happen now because everyone has a
• 1:04:55
  Speaker 3: cell phone.
• 1:04:55
  Speaker 2: Well, because Tiff picked up the phone in the house.
• 1:04:59
  Speaker 2: It's on the same line. Yeah. If you're younger than
• 1:05:02
  Speaker 2: fucking remembering that, I don't know what to tell you.
• 1:05:06
  Speaker 2: But definitely, if you're a fan of this movie, you
• 1:05:10
  Speaker 2: better get your prostate checked.
• 1:05:12
  Speaker 3: And then Joan is like, I can still hear you screaming. Oh,
• 1:05:15
  Speaker 3: Bound is on TV. Jennifer Gershon is fingering me. Dude,
• 1:05:19
  Speaker 3: I laughed so much. I laughed so much. Oh, man. Jennifer...
• 1:05:29
  Speaker 3: Oh my god. And then Chucky goes to grab some boobies, dude.
• 1:05:33
  Speaker 2: And is like.
• 1:05:34
  Speaker 3: And Tiff comes in and she's like, what the hell
• 1:05:36
  Speaker 3: is going on? She came on to me!
• 1:05:41
  Speaker 2: He ties Jennifer Tilly up, dude.
• 1:05:43
  Speaker 3: And then shoves a sock in her mouth. And then
• 1:05:45
  Speaker 3: the picture of John Waters and the melted face getting...
• 1:05:50
  Speaker 3: Falls out of his pocket. Falls out of his pocket.
• 1:05:52
  Speaker 3: And she's like, I thought we weren't doing this shit anymore!
• 1:05:56
  Speaker 3: Just like you decided our son was going to be
• 1:06:00
  Speaker 3: a girl. He's just going to decide? Out of the
• 1:06:03
  Speaker 3: fucking blue? Like, I mean, there's some good stuff in here.
• 1:06:07
  Speaker 3: He is a girl. He is a girl, yeah. And then, obviously,
• 1:06:12
  Speaker 3: Glenn Glenda goes, You're tearing me apart, Lisa!
• 1:06:16
  Speaker 2: Was it? It was, right?
• 1:06:18
  Speaker 3: You know.
• 1:06:19
  Speaker 2: It was out.
• 1:06:20
  Speaker 3: It was out. It was a year out, probably. I mean,
• 1:06:24
  Speaker 3: Don Mancini seems like a person who probably know about
• 1:06:26
  Speaker 3: the movie early in. But it is also, that is
• 1:06:31
  Speaker 3: also in and of itself a reference to, I think
• 1:06:33
  Speaker 3: it's Rebel Without a Cause.
• 1:06:35
  Speaker 2: Oh, okay, okay.
• 1:06:37
  Speaker 3: Whatever the one of the James Dean movies was. Because
• 1:06:42
  Speaker 3: he literally goes, you're tearing me apart.
• 1:06:45
  Speaker 2: Lisa?
• 1:06:45
  Speaker 3: I think he says even Lisa. It's not an addiction!
• 1:06:49
  Speaker 3: It's a choice! And I'm proud of it! I don't
• 1:06:53
  Speaker 3: have to hide something in the closet! And then he
• 1:06:56
  Speaker 3: hits the door open and Redman falls out.
• 1:07:01
  Speaker 2: He's got a couple skeletons in the closet. Who are
• 1:07:03
  Speaker 2: those other dead people?
• 1:07:04
  Speaker 3: I mean, that was amazing that Chucky side-quested a bunch
• 1:07:08
  Speaker 3: of people. I thought that was pretty funny.
• 1:07:10
  Speaker 2: Inception kills, dude.
• 1:07:12
  Speaker 3: Yeah.
• 1:07:14
  Speaker 2: Well, but once you're incepting kills, that's when the franchise
• 1:07:17
  Speaker 2: doesn't matter anymore.
• 1:07:18
  Speaker 3: It's true. It's true. Glenglinda has the little eye twitch again,
• 1:07:24
  Speaker 3: and Tiff calls Stan and is like, Hello, it's Jennifer.
• 1:07:31
  Speaker 3: I need your body.
• 1:07:32
  Speaker 2: That was really funny, dude. And then the limo driver
• 1:07:38
  Speaker 2: also gets bound.
• 1:07:40
  Speaker 3: They both get bound.
• 1:07:41
  Speaker 2: Oh!
• 1:07:43
  Speaker 3: And we realize also that Chucky killed Tiff's mom.
• 1:07:48
  Speaker 2: Like weird Lord.
• 1:07:50
  Speaker 3: Yeah. Weird Lord Rob. You're a bitch of a mother. Yeah.
• 1:07:54
  Speaker 3: Hates his sister. Hates her sister too.
• 1:07:56
  Speaker 2: The only thing that hates her. I mean, that's what
• 1:07:58
  Speaker 2: narcissists do, dude. They make you hate your whole family.
• 1:08:00
  Speaker 3: They make you hate your whole family.
• 1:08:02
  Speaker 2: They make you hate your whole family. So you're easier
• 1:08:03
  Speaker 2: to control and they don't have to. And you know.
• 1:08:06
  Speaker 3: Yeah, that's true.
• 1:08:07
  Speaker 2: They're just like, yeah, you're cunt of a sister. You're
• 1:08:10
  Speaker 2: bitch of a mother. It's like, whoa, dude. Why do
• 1:08:14
  Speaker 2: you want to be the only one controlling me?
• 1:08:15
  Speaker 3: Yeah. It's that nosy bitch, Joan! So they set up
• 1:08:21
  Speaker 3: the Hadeidui Dembela, and Joan obviously is like, what the
• 1:08:26
  Speaker 3: fuck is going on with Jennifer Tilly, my boss? And
• 1:08:30
  Speaker 3: there's a key under the mat, and the alarm gets tripped,
• 1:08:34
  Speaker 3: so the police get called. And... Joan comes up to
• 1:08:41
  Speaker 3: find out what happened to Jennifer. And she sees Chucky
• 1:08:47
  Speaker 3: behind her. And we get what we think is Tiff
• 1:08:52
  Speaker 3: lighting a fire of Joan. There's a lot of crispy
• 1:08:57
  Speaker 3: people and crispy, like.
• 1:08:59
  Speaker 2: Your house.
• 1:09:00
  Speaker 3: Is extra fried.
• 1:09:01
  Speaker 2: Don't ever say that. Why? Extra fried is better than crispy. Stop.
• 1:09:07
  Speaker 2: Chuck loves the.
• 1:09:07
  Speaker 3: Crisp, dude. Yeah, totally. Weirdly enough, I think of this
• 1:09:12
  Speaker 3: being so much crispier than even Freddy, who's like a
• 1:09:15
  Speaker 3: crispy dude.
• 1:09:16
  Speaker 2: Yeah, like that's his whole thing.
• 1:09:19
  Speaker 3: And then we see this dummy of Joan fall down
• 1:09:22
  Speaker 3: the stairs and it's very funny.
• 1:09:24
  Speaker 2: Well, because Freddie is like the aftermath of the like
• 1:09:28
  Speaker 2: scarring from Burns. Whereas you see the char in Chucky.
• 1:09:33
  Speaker 3: Char. It's a very char, charizard type, type vibe. And
• 1:09:41
  Speaker 3: Chucky is like, Tiff, it's okay. Don't cry.
• 1:09:46
  Speaker 2: Okay.
• 1:09:48
  Speaker 3: And we realize that Glenn Glenda has now become Glenda.
• 1:10:00
  Speaker 3: That's my name, daddy! And, yeah, she's dressed in the, like.
• 1:10:07
  Speaker 2: She's dressed as Tiff.
• 1:10:08
  Speaker 3: As Tiff, yeah.
• 1:10:09
  Speaker 2: Yeah.
• 1:10:10
  Speaker 3: Which is, like, in keeping with the Psycho stuff, it's
• 1:10:13
  Speaker 3: very much.
• 1:10:14
  Speaker 2: I mean, like, the whole thing that we're led to
• 1:10:16
  Speaker 2: believe throughout the movie is that there's a kind of, like,
• 1:10:20
  Speaker 2: disassociation or separation that's happening. Like, a psycho-type disassociation, separation
• 1:10:27
  Speaker 2: that's happening for Glenn Glenda. Which, like... They worked around the, like,
• 1:10:34
  Speaker 2: because they don't, like, shame her for being, like, bigender, right?
• 1:10:39
  Speaker 3: Yeah.
• 1:10:40
  Speaker 2: But, like, they kind of, like, they want her to
• 1:10:44
  Speaker 2: choose one or the other, and then her strength becomes
• 1:10:48
  Speaker 2: that she's both. Because that's where she makes the bad
• 1:10:54
  Speaker 2: part live in the woman.
• 1:10:56
  Speaker 3: Yeah, totally. Well, it also kind of references... Because there's
• 1:11:00
  Speaker 3: a lot of those I-dressed-up-as-a-woman-and-killed-people movies.
• 1:11:04
  Speaker 2: Yeah, it's part of horror canon.
• 1:11:05
  Speaker 3: It's part of the canon, right?
• 1:11:07
  Speaker 2: And then.
• 1:11:10
  Speaker 3: But in a way, this movie acknowledges....
• 1:11:15
  Speaker 2: Like, the transness part of it, whereas those other movies
• 1:11:18
  Speaker 2: were just like, trans people are freaks that kill people.
• 1:11:22
  Speaker 3: And then, yeah, and then there is also the slap,
• 1:11:26
  Speaker 3: which is in reference to, she's my mother, my sister,
• 1:11:30
  Speaker 3: my mother, the, what's it called, Chinatown reference, the reveal scene.
• 1:11:36
  Speaker 3: Which is also like, there's kind of like an incest
• 1:11:39
  Speaker 3: thing in here as well. Because it's like, oh, I'm Tiff.
• 1:11:44
  Speaker 3: But I'm actually Glenn Glenda. But I'm actually... And then
• 1:11:48
  Speaker 3: Chucky feeling like, oh, you're actually... You were Tiff. You
• 1:11:52
  Speaker 3: know what I mean? Like, there's kind of like a
• 1:11:53
  Speaker 3: reference to it. And then Jennifer Tilly's just fucking having babies.
• 1:12:01
  Speaker 3: Just having two babies.
• 1:12:02
  Speaker 2: She's having twins.
• 1:12:04
  Speaker 3: Twins.
• 1:12:04
  Speaker 2: Which is... A place to place both Glenn and Glenda.
• 1:12:09
  Speaker 3: That's true. And all the badness goes into the daughter,
• 1:12:11
  Speaker 3: of course.
• 1:12:15
  Speaker 2: I mean, they've got to keep it horror, dude. Yeah, so...
• 1:12:24
  Speaker 2: This ending....
• 1:12:26
  Speaker 3: We're not even at the ending, dude. There's still like...
• 1:12:28
  Speaker 3: 20 more minutes. They pop out two kids and then, uh,
• 1:12:35
  Speaker 3: now we don't have to choose. It's Glenn and Glenda.
• 1:12:39
  Speaker 3: And like, this is an interesting part because this is
• 1:12:42
  Speaker 3: where the confrontation happens of, well, we can, we can, we're,
• 1:12:47
  Speaker 3: we've got the people we let's do the chance. Let's
• 1:12:50
  Speaker 3: fucking go. Right. And Chucky being like, look around you, Tiff,
• 1:12:58
  Speaker 3: this is nuts. And, And I have a very high
• 1:13:00
  Speaker 3: tolerance for nuts. What did he mean?
• 1:13:06
  Speaker 2: What was nuts?
• 1:13:07
  Speaker 3: Well, that, like, this is the fifth time we're doing this.
• 1:13:13
  Speaker 3: We're dolls. He'd rather take his chances being a supernatural doll.
• 1:13:18
  Speaker 2: I want to just be a supernatural possessed doll.
• 1:13:21
  Speaker 3: Yeah. And what's so great about being human anyway? You
• 1:13:25
  Speaker 3: get old, you're sick, and you die. You can't get
• 1:13:29
  Speaker 3: it up anymore, obviously.
• 1:13:30
  Speaker 2: Chucky wants to get fucked in the pussy. It's his
• 1:13:33
  Speaker 2: most important feature, dude.
• 1:13:36
  Speaker 3: And then, but there is like a really interesting part
• 1:13:39
  Speaker 3: where she's like, but I want to be Jennifer Dilley.
• 1:13:42
  Speaker 2: Yeah.
• 1:13:43
  Speaker 3: I want to be a star. And I don't want
• 1:13:46
  Speaker 3: to be your chauffeur. As a fucking doll, I'm infamous.
• 1:13:51
  Speaker 3: I'm a notorious serial killer. I'm Chucky the Killer Doll.
• 1:13:56
  Speaker 3: And I dig it. Which, I was like... It's cool.
• 1:14:01
  Speaker 3: And then Chucky does... Chucky realizes his own lore, dude. Yeah,
• 1:14:05
  Speaker 3: I have everything I want. A beautiful wife, a multi-talented kid.
• 1:14:10
  Speaker 3: This is who I am, Tiff.
• 1:14:12
  Speaker 2: Accepts his trans child, kid.
• 1:14:14
  Speaker 3: Yeah, of course.
• 1:14:17
  Speaker 2: Accepts his trans child, Chucky.
• 1:14:22
  Speaker 3: And then even Tiff goes, I don't know what the
• 1:14:25
  Speaker 3: fuck you're talking about. And it's not enough for her.
• 1:14:29
  Speaker 2: No, she wants to be Jennifer Tilly.
• 1:14:32
  Speaker 3: Yeah, she wants to be Jennifer Tilly. And I'm leaving you, Chucky,
• 1:14:36
  Speaker 3: and I'm taking the kid. Nobody leaves me! Nobody!
• 1:14:41
  Speaker 2: It's a violent Mel Gibson-style outburst. It's true.
• 1:14:45
  Speaker 3: And then as he goes to throw the knife at
• 1:14:49
  Speaker 3: the doll, he accidentally... Or what's his name? Stan breaks
• 1:14:55
  Speaker 3: free from his ties and he gets stabbed. And he
• 1:14:59
  Speaker 3: tries to tell Jennifer Tilly that he loves her, but
• 1:15:02
  Speaker 3: he just ends up dying. And then Jennifer Tilly, or Tiff,
• 1:15:07
  Speaker 3: she grabs the knife out of his heart and throws
• 1:15:11
  Speaker 3: it at Chucky. And they all escape. And the police
• 1:15:18
  Speaker 3: get up. And it's just two babies, a dead body...
• 1:15:22
  Speaker 3: and formerly pregnant Jennifer Tilly crying. It's kind of a
• 1:15:27
  Speaker 3: wild ending to that scene. And Jennifer Tilly in the
• 1:15:31
  Speaker 3: hospital with another British guy. I don't know if it's fake.
• 1:15:34
  Speaker 3: It seems a little fake. And she's like, I want
• 1:15:37
  Speaker 3: to know where my children are. It's weird to be
• 1:15:40
  Speaker 3: that attached to kids, even though you were pregnant for
• 1:15:42
  Speaker 3: a day, literally. And people would be so weirded out
• 1:15:47
  Speaker 3: being like, How did you get pregnant this quickly? How
• 1:15:50
  Speaker 3: did you hide this? I mean, what if Mary was
• 1:15:52
  Speaker 3: in the club?
• 1:15:53
  Speaker 2: I mean, I like the Immaculate Conception stuff with Redman
• 1:15:57
  Speaker 2: because that's referencing like the Bible and the Immaculate Conception
• 1:16:01
  Speaker 2: of like Chucky seeding and the seed part of it.
• 1:16:04
  Speaker 3: Seed part, yeah. I was kind of into it.
• 1:16:06
  Speaker 2: Me too.
• 1:16:08
  Speaker 3: And then the killer doll stuff is kind of fully
• 1:16:13
  Speaker 3: relinquished to not having lore at all anymore. It's like...
• 1:16:18
  Speaker 3: Because in the other ones, they're like, oh yeah, Chucky,
• 1:16:20
  Speaker 3: that doll, Chucky. Or not that doll, Chucky. The good
• 1:16:23
  Speaker 3: guy doll, you know?
• 1:16:25
  Speaker 2: People know about Chucky. But eventually people start knowing about
• 1:16:28
  Speaker 2: Chucky because they know about the killer part. Yeah, for sure.
• 1:16:34
  Speaker 2: And then.
• 1:16:36
  Speaker 3: Tiff comes in with some jizz that she injects into
• 1:16:40
  Speaker 3: Jennifer Tilly, and Jennifer Tilly has like, oh no, I'm
• 1:16:44
  Speaker 3: falling asleep.
• 1:16:46
  Speaker 2: Oh, yeah, she puts something in the IV, which is
• 1:16:49
  Speaker 2: like so terrifying. She puts jizz in the IV. It's
• 1:16:53
  Speaker 2: so weird, dude. Everything's jizz in this movie.
• 1:16:57
  Speaker 3: Everything jizz in this movie.
• 1:16:58
  Speaker 2: She puts fucking Chucky's microplastics in her. That makes her,
• 1:17:02
  Speaker 2: I guess, like it's supposed to make her fall asleep.
• 1:17:05
  Speaker 2: And then she does, awake, awake, awake, switch.
• 1:17:08
  Speaker 3: Switch. Yeah. She goes, switch. And then Chucky smashes an
• 1:17:16
  Speaker 3: ax through the door and he's like, I can't think
• 1:17:18
  Speaker 3: of anything to say.
• 1:17:19
  Speaker 2: I didn't like, I can't think of anything. Because again,
• 1:17:24
  Speaker 2: you're right. Like it requires you to have watched the
• 1:17:26
  Speaker 2: other movies. Like sometimes do the thing, commit to the
• 1:17:29
  Speaker 2: bit and do a here's Johnny. Maybe a kid will
• 1:17:33
  Speaker 2: watch and be like, here's Johnny.
• 1:17:35
  Speaker 3: Yeah, exactly.
• 1:17:35
  Speaker 2: And that's the first place a kid will see that. Yeah, totally.
• 1:17:38
  Speaker 3: And then he axes her.
• 1:17:40
  Speaker 2: And also boobies.
• 1:17:42
  Speaker 3: Yeah. He axes her in the face and is like,
• 1:17:45
  Speaker 3: nobody leaves me. And she falls and the Tiff doll dies.
• 1:17:52
  Speaker 3: And we know that. And she's like to Glenda, be
• 1:17:57
  Speaker 3: a good girl. And she dies. And Glenda is like,
• 1:18:04
  Speaker 3: She does karate moves and, like, kicks Chucky.
• 1:18:10
  Speaker 2: They do, like, a Matrix scene, a Matrix-style karate fight.
• 1:18:16
  Speaker 2: And Glenda very easily kills Chucky.
• 1:18:20
  Speaker 3: Yeah, I mean, she, like, grabs the axe and, like,
• 1:18:23
  Speaker 3: cuts off the body parts.
• 1:18:26
  Speaker 2: And then just cuts off Chucky's head.
• 1:18:28
  Speaker 3: And then she, but she's like, no, I'm your boy, dad.
• 1:18:32
  Speaker 3: To like, like get back at him to be like,
• 1:18:36
  Speaker 3: this is what you deserve for.
• 1:18:37
  Speaker 2: Me being a boy or whatever.
• 1:18:39
  Speaker 3: And he cuts off the arms and legs. And, Chucky
• 1:18:48
  Speaker 3: is proud. Chucky is like, and obviously he gets his
• 1:18:52
  Speaker 3: head chopped off. And Glenda is like crying. And Jennifer Tilly,
• 1:18:58
  Speaker 3: who is now Tiff, but also Jennifer Tilly, is comforted. uh,
• 1:19:04
  Speaker 3: comforts the, the weird doll. It's a very strange moment
• 1:19:08
  Speaker 3: at the end and it's all going to be all right,
• 1:19:11
  Speaker 3: but they have the amulet. It's all there. And we
• 1:19:14
  Speaker 3: get this like epilogue where.
• 1:19:18
  Speaker 2: It's like a birthday party.
• 1:19:20
  Speaker 3: It's a birthday party for Glenn and Glenda. And, uh,
• 1:19:25
  Speaker 3: the nanny is like, she called me the C word.
• 1:19:29
  Speaker 2: Take it anymore.
• 1:19:31
  Speaker 3: Yeah, she's like, Glenn is beautiful and lovely, but Glenda's
• 1:19:35
  Speaker 3: a weird freak. She's a very bad girl, Miss Tilly.
• 1:19:39
  Speaker 2: Also British? Yeah.
• 1:19:42
  Speaker 3: Oh no, she's like some sort of, I don't know,
• 1:19:44
  Speaker 3: I think she's putting on like a faux... Oh, okay.
• 1:19:47
  Speaker 1: Fluvia?
• 1:19:48
  Speaker 2: Okay, okay. So she's putting on a faux Fluvia accent.
• 1:19:53
  Speaker 3: A faux Fluvia accent. But yeah, what did you think
• 1:19:58
  Speaker 3: of this ending where it's like weird, like a birthday,
• 1:20:02
  Speaker 3: two kids. It's set five years later. It continues the box,
• 1:20:07
  Speaker 3: the big box of presents. It continues the lore of
• 1:20:11
  Speaker 3: being slightly in the future, dude. Cause this is now 2009.
• 1:20:13
  Speaker 3: It's like five years later.
• 1:20:15
  Speaker 2: Yeah. Weird, weird choice.
• 1:20:21
  Speaker 3: And then it continues the, the, um, narration that, that,
• 1:20:28
  Speaker 3: glenn has at the beginning where he's like and now
• 1:20:31
  Speaker 3: we're a happy family and we get the birthday box
• 1:20:40
  Speaker 3: with the good guy arm i mean it's chucky's arm
• 1:20:43
  Speaker 3: and it's chucky's arm and he pees himself again and there's.
• 1:20:47
  Speaker 2: No mention of good guy or good guy dolls.
• 1:20:49
  Speaker 3: No no and he gets the little eye twitch and
• 1:20:52
  Speaker 3: the arm grabs at him and that's the end That
• 1:20:55
  Speaker 3: is the end.
• 1:20:57
  Speaker 2: Yeah, thanks for doing the heavy lifting on the narrative part. Ultimately,
• 1:21:06
  Speaker 2: I really liked it. It gets a low Dembalas for me, dude.
• 1:21:10
  Speaker 2: It gets a low Chucky's. Some of the lore and stuff,
• 1:21:13
  Speaker 2: like the lore drops and the lines are funny, but
• 1:21:17
  Speaker 2: he seems like struggling under just better arcs. You know, like,
• 1:21:26
  Speaker 2: Tiff is great. Tiff and Jennifer Tilly together are great.
• 1:21:33
  Speaker 2: The Jennifer Tilly inclusion is so off-kilter and bizarre and such, like,
• 1:21:39
  Speaker 2: inspired and really cool. I love that it's her. I
• 1:21:42
  Speaker 2: love that she gets to shine. Like, there's a lot
• 1:21:47
  Speaker 2: about the movie that really works. But ultimately, like, it's...
• 1:21:52
  Speaker 2: This one is very... Alien vs. Predator 2.
• 1:21:59
  Speaker 3: Yeah, it's very Alien vs. Predator. It feels like they
• 1:22:04
  Speaker 3: do this weird recap at the end of the movie
• 1:22:07
  Speaker 3: where they're showing the people.
• 1:22:09
  Speaker 2: Yeah, it's kind of blooper realty.
• 1:22:11
  Speaker 3: It's blooper realty.
• 1:22:11
  Speaker 2: It shows the people, the actors, it gives their names.
• 1:22:14
  Speaker 2: It's kind of like Blues Brothers ending.
• 1:22:17
  Speaker 3: Yeah, or even weirder. Or even weirder, Predator ending.
• 1:22:21
  Speaker 2: Yeah, ensemble cast. It didn't feel like enough of an
• 1:22:26
  Speaker 2: ensemble to, you know, warrant an ensemble. But shout out
• 1:22:32
  Speaker 2: to them for showing each person, no matter the size
• 1:22:35
  Speaker 2: of their role in this movie.
• 1:22:37
  Speaker 3: Yeah, like, here's the thing.
• 1:22:41
  Speaker 2: There's no Danny Mulroons in this movie. There's no Serbian
• 1:22:43
  Speaker 2: guy in this movie.
• 1:22:44
  Speaker 3: Dude, I think all of the side characters were Danny Mulroons.
• 1:22:48
  Speaker 3: But we didn't have a Serbian guy. No, we didn't
• 1:22:51
  Speaker 3: have a Serbian guy.
• 1:22:52
  Speaker 2: And there's been a Serbian guy in all of them.
• 1:22:54
  Speaker 3: There has been very, yeah. Yeah, there's the garbage bin
• 1:22:56
  Speaker 3: in the third one. Who was the Serbian guy in
• 1:23:00
  Speaker 3: the first one?
• 1:23:02
  Speaker 2: The Serbian guy, the first one, well, he's also Croatian.
• 1:23:06
  Speaker 3: Oh, yeah.
• 1:23:07
  Speaker 2: The fucking, the bum guy.
• 1:23:09
  Speaker 3: Yeah, the bum guy is definitely, and then Beth Grant, obviously. Yeah,
• 1:23:13
  Speaker 3: she's Croatian. I mean, Balkan guy. But yeah, like, ultimately,
• 1:23:17
  Speaker 3: it's like a, it's a bad movie. Like, it's a
• 1:23:20
  Speaker 3: bad movie that I had, like, so much fun watching. Fun, really.
• 1:23:25
  Speaker 2: Fun.
• 1:23:26
  Speaker 3: Fun. That I want to give it a higher score. Like,
• 1:23:29
  Speaker 3: coming out of it, I was like, Do I kind
• 1:23:32
  Speaker 3: of like this more than.
• 1:23:34
  Speaker 2: The fourth one?
• 1:23:35
  Speaker 3: Because I kind of enjoy it more than the fourth one.
• 1:23:39
  Speaker 3: But as a movie, it's just not good.
• 1:23:45
  Speaker 2: It doesn't really stick the landing.
• 1:23:49
  Speaker 3: Yeah, it doesn't even stick the flight, dude.
• 1:23:52
  Speaker 2: It doesn't stick the takeoff.
• 1:23:54
  Speaker 3: It feels like it's kind of stopping and starting a lot.
• 1:23:57
  Speaker 3: It sucks because, like I said, I enjoyed watching it
• 1:24:01
  Speaker 3: and then looking at it, just looking at it from
• 1:24:07
  Speaker 3: the stuff I was looking at now on my laptop.
• 1:24:08
  Speaker 3: It's just like, this is not a movie. This is
• 1:24:12
  Speaker 3: not a movie.
• 1:24:13
  Speaker 2: Yeah.
• 1:24:14
  Speaker 3: And so I got to be like, it's like a five.
• 1:24:17
  Speaker 2: Yeah, I agree. As a movie.
• 1:24:20
  Speaker 3: As a movie. As a Dembela's. As a Dembela's. Like five.
• 1:24:25
  Speaker 2: Five i would also give it a five yeah like
• 1:24:27
  Speaker 2: i would give it a 10 10 glendas.
• 1:24:30
  Speaker 3: Yeah i mean that was like an interesting part i.
• 1:24:34
  Speaker 2: I would give it a i would give it a
• 1:24:35
  Speaker 2: 10 tiffs and a 10 jennifer.
• 1:24:37
  Speaker 3: Tilly's yeah jennifer tilly is really jennifer titties uh she's
• 1:24:46
  Speaker 3: great she's just like she's like all around great.
• 1:24:49
  Speaker 2: Um is she in the the cult one too.
• 1:24:52
  Speaker 3: I don't remember I don't remember you.
• 1:24:57
  Speaker 2: Because she's Tiff now.
• 1:24:58
  Speaker 3: I don't remember us. I don't even remember me.
• 1:25:02
  Speaker 7: Me.
• 1:25:06
  Speaker 3: What about you?
• 1:25:07
  Speaker 2: Same, dude. I just... I didn't, you.
• 1:25:10
  Speaker 3: Know, like.
• 1:25:11
  Speaker 2: Same.
• 1:25:12
  Speaker 3: I'm really, like, on the edge now with... Cult of Chucky. Like,
• 1:25:17
  Speaker 3: I'm like, man, like, I remember watching.
• 1:25:20
  Speaker 2: How much are we going to ruin the legacy, dude?
• 1:25:23
  Speaker 3: That's the thing, yeah. So we'll see. It feels like...
• 1:25:28
  Speaker 3: It'll offer something, I'm sure, that we can talk about.
• 1:25:30
  Speaker 3: But you kind of lose steam sometimes with shit like this,
• 1:25:35
  Speaker 3: where it's like, we just watched it, we're watching it again,
• 1:25:39
  Speaker 3: going through the motions. It's like, is this good?
• 1:25:42
  Speaker 2: I do think that this series probably has peaked with Bride.
• 1:25:48
  Speaker 3: I think it peaked with the third one.
• 1:25:50
  Speaker 2: It's riding on the high still with the third one.
• 1:25:53
  Speaker 2: And the fourth one does something so different that it
• 1:25:56
  Speaker 2: gives it life. This one feels like it's like.
• 1:26:02
  Speaker 2: It's not really committing.
• 1:26:04
  Speaker 3: But also the fourth one has the same problem the
• 1:26:06
  Speaker 3: second one had where it's like this in-between state. Where
• 1:26:10
  Speaker 3: it's like two... It's like a bunch of different movies
• 1:26:12
  Speaker 3: put together. This one feels a little bit more coherent.
• 1:26:16
  Speaker 2: Dude... Why not have the kid? Because we have like logic,
• 1:26:22
  Speaker 2: Chucky logic of like the Chucky doll of like of
• 1:26:26
  Speaker 2: Glenn Glenda gestating very quickly in part four in Bride.
• 1:26:30
  Speaker 2: So why not instead have Seed of Chucky gets born.
• 1:26:37
  Speaker 2: Glenn Glenda is the one that returns them, that awakes them,
• 1:26:41
  Speaker 2: has knowledge, has voodoo knowledge as a Seed of Chucky.
• 1:26:47
  Speaker 2: to bring them.
• 1:26:48
  Speaker 3: Back obsessed with child like this is what would have
• 1:26:51
  Speaker 3: been better you start with with um all of a
• 1:26:56
  Speaker 3: similar style you can do the the same things um
• 1:26:59
  Speaker 3: but instead of being like not wanting to kill it's
• 1:27:04
  Speaker 3: like we he does want to kill or she does
• 1:27:07
  Speaker 3: want to kill and it's like you know, trying to
• 1:27:11
  Speaker 3: get them back to life and then gets them back
• 1:27:13
  Speaker 3: to life and then is rejected. And then it's a
• 1:27:16
  Speaker 3: fight between all of them or something like that. I
• 1:27:18
  Speaker 3: don't know.
• 1:27:18
  Speaker 2: I don't know.
• 1:27:19
  Speaker 3: It's hard. What were you going to say? I don't know.
• 1:27:22
  Speaker 2: I just wish, I think that a different beginning would
• 1:27:26
  Speaker 2: have helped the movie. I think trying to stick to
• 1:27:30
  Speaker 2: the lore a bit more rigidly in terms of how
• 1:27:36
  Speaker 2: Chucky is brought back and Tiff, I think would have
• 1:27:39
  Speaker 2: given the movie, I think would have helped. Yeah. Because
• 1:27:44
  Speaker 2: then you've rooted it again, you know? Like, it doesn't
• 1:27:46
  Speaker 2: feel rooted in anything. It's just like, oh, seed of Chucky.
• 1:27:52
  Speaker 3: I don't know.
• 1:27:53
  Speaker 2: Yeah.
• 1:27:54
  Speaker 3: I mean, they set it up in the fourth one.
• 1:27:56
  Speaker 3: It's like, it's a baby. What are you going to do?
• 1:27:59
  Speaker 3: I do respect the fact that it's like, okay, well, like,
• 1:28:02
  Speaker 3: we've got all these things. Like, we've got the amulet.
• 1:28:05
  Speaker 3: We've got the... You know what I mean? The lore...
• 1:28:07
  Speaker 3: The retcon lore gets, like, pushed back in, you know?
• 1:28:11
  Speaker 3: And it's like, okay.
• 1:28:12
  Speaker 2: Well, it's like when Prometheus tries to pretend it was always.
• 1:28:17
  Speaker 3: Yeah, or like Romulus when it's like, oh, we've injected.
• 1:28:21
  Speaker 2: We're using Prometheus lore.
• 1:28:22
  Speaker 3: Prometheus lore, yeah. So it's like, I don't know. They're...
• 1:28:27
  Speaker 3: It's like very tiresome. You know what I mean? Like
• 1:28:30
  Speaker 3: some of it just gets a little exhausting.
• 1:28:32
  Speaker 2: We've lost the steam.
• 1:28:34
  Speaker 3: Yeah. It's lost the steam.
• 1:28:37
  Speaker 2: That's the thing.
• 1:28:37
  Speaker 4: Yeah.
• 1:28:37
  Speaker 3: Not we. We've never lost the steam. lose steam. We
• 1:28:40
  Speaker 3: never do.
• 1:28:41
  Speaker 2: Anyway.
• 1:28:42
  Speaker 3: See you next week.