Latest / What's Your (Least) Favorite Scary Movie? / #257: Tremors (1990)

Transcript

#257: Tremors (1990) · What's Your (Least) Favorite Scary Movie?

• 0:06
  Hello, what's your least favorite scary movie?
• 0:10
  Melvin, welcome to The Scary Movie, The podcast when we talk
• 0:15
  about the good, the bad, the ugly and the absurd, and all of
• 0:18
  our favorite. And least favorite?
• 0:20
  Scary movies. Because we believe every horror
• 0:22
  movie rightfully has its fan base.
• 0:24
  Always get. It my name is Travis.
• 0:26
  My name is Jesse, and pardon my French, but today we're talking
• 0:30
  about some fucking tremors. You tall?
• 0:33
  Hell yeah, Yeah. First announcement, if you are a
• 0:38
  budget to your patron, your bonus episode came out this
• 0:41
  weekend. It is a commentary on the purge
• 0:45
  election year. So commentary track.
• 0:48
  Listen to us talk about Frank Grillo.
• 0:50
  Yeah, and watch along. Yeah, if possible.
• 0:53
  If not, then just do it as a separate recording.
• 0:56
  I don't know. Whatever you want to do, it's
• 0:57
  your yeah, your thing to do what you choose with.
• 1:00
  With how you want to live, no other announcements, which means
• 1:04
  it's time for Travis to talk about poll results.
• 1:06
  Yeah, this one's super easy. So the poll was which doll would
• 1:12
  you rather have? Would you rather have a Good Guy
• 1:14
  doll or a Buddy doll? Very clear.
• 1:17
  And I put this on the poll. This is not a question of which
• 1:21
  movie you would prefer. This is a question of which doll
• 1:24
  you would prefer. And it was unanimous.
• 1:28
  Good guy. See, here's the thing, I've got
• 1:31
  my good Guy doll and I absolutely love it.
• 1:34
  And a big part of what I love about it is because of its
• 1:36
  connection to Child's Play. Now take away the take away the
• 1:42
  movies, right? If I was presented with the Good
• 1:45
  Guy doll versus the Buddy doll that can connect to technology,
• 1:49
  I feel like I'd want the doll that can connect to technology.
• 1:52
  Like, it's so cool. We're going against the grain on
• 1:54
  this one because I'm choosing the Buddy doll also, but I want
• 1:57
  that Buddy doll from not the one.
• 1:59
  I don't want him killing the cats, but I want him handing me
• 2:02
  broken popsicle popsicle popsicle.
• 2:04
  Yes. With a bow.
• 2:06
  On it, you want the Zoe Buddy doll.
• 2:08
  I want the Zoe slightly broken but still like affable looks at
• 2:12
  you with the big dumb eyes and you're like, I know you're doing
• 2:15
  your best. Baby, I don't want the buddy. 1
• 2:16
  I don't want the buddy. 2 I want the buddy. .55.
• 2:21
  Even down 1/4, I want the 2.25. That's the addition.
• 2:26
  OK, So yeah, I mean, and there wasn't like one person voting
• 2:29
  like it was pretty. Wow.
• 2:31
  But we do have some people that sit in some.
• 2:34
  OK, OK. I would like to hear this.
• 2:36
  Amber one of our bubbies on the Patreon.
• 2:39
  So based on the looks Good guy doll based on evil origin buddy.
• 2:43
  OK, OK, respect. Yeah, and I respect the fact
• 2:46
  that you don't want an evil doll.
• 2:48
  Yeah, that's, you know, I'd had never really considered that.
• 2:51
  But then again, you're getting an evil one no matter what here.
• 2:54
  OK. And then Kendra just says I
• 2:56
  don't trust those eyebrows on Buddy.
• 3:01
  Well, the other good guy doll, the eyebrows on there are
• 3:03
  nonexistent. It's like little tiny lines.
• 3:06
  That's all it is. Trust me, I've drawn it so many
• 3:08
  times over the past few months. Check you got the micro blades
• 3:12
  you know. Yeah, OK.
• 3:15
  Everybody's got their own reasoning.
• 3:17
  May I? Maybe I should have listed the
• 3:19
  additions of the buddies as well.
• 3:21
  Yeah. The .2. 5 because I'm pretty
• 3:24
  sure I said that if I was going to have one, any one of them,
• 3:27
  I'd want the buddy, too. That's the bear, Yeah.
• 3:29
  Yeah, Yeah. OK.
• 3:31
  Well, thank every thanks everybody for participating in
• 3:34
  the poll. Yeah, that's nice.
• 3:35
  OK, All right, so let's let's get on into perfection.
• 3:38
  Back to perfection. Let's get No, not yet.
• 3:41
  That's a few movies away. Beneath perfection, let's go
• 3:44
  underneath, yes? OK, so this week we're talking
• 3:47
  about Tremors, which released January 19th, 1990.
• 3:52
  We watched it on our Arrow 4K and I'm specifying that because
• 3:57
  if you are a nerd and like the behind the scenes info, there
• 4:00
  are a lot of really great special features.
• 4:03
  It's. A full undocumentary on there.
• 4:04
  Yes, there's also because I told Travis I didn't realize this
• 4:09
  until we watched this feature at last night.
• 4:12
  As we're watching this movie, I was like, man, there's a lot of
• 4:15
  swearing in this in a way that feels like it stands out to me,
• 4:19
  which I'm a potty mouse. So it's weird when stuff like
• 4:22
  that stands out to me. And it's because I remember
• 4:24
  always watching this on cable TV.
• 4:26
  So that's that's why it stood out because I never like my
• 4:31
  brain never registered how much swearing was actually meant to
• 4:33
  be in here. But one of the special
• 4:35
  featurettes, it's called Pardon My French.
• 4:37
  It is 16 minutes of showing the scenes back-to-back of the
• 4:40
  original cut versus the overdubbing they had to do for
• 4:44
  cable TV, which. It made me It gave me the
• 4:48
  greatest title for a book ever. Yeah, from pecker to.
• 4:52
  Pecker to passion pecker. To passion because they they
• 4:55
  were dubbed the word pecker to passions.
• 4:57
  I thought it was your pecker. I thought it was your passion.
• 5:00
  Yeah, they were all like I, they whoever was responsible for the
• 5:04
  overdubbing had like 20 minutes and 5 bucks to do it.
• 5:09
  Yeah. Whenever you have to work with
• 5:11
  they. OK, so available in the US as of
• 5:16
  today. You can rent it on Prime, Google
• 5:18
  Play or Fandango at home, is it not?
• 5:20
  Streaming anywhere? It is not streaming anywhere
• 5:22
  right now, but we are closing in on the end of the month, so who
• 5:26
  knows what next month's license renewals will bring us.
• 5:30
  True Written by S S Wilson, Brent Maddock and Ron Underwood
• 5:35
  Directed by Ron Underwood Music by Ernest Truce And I don't
• 5:41
  really have necessarily special makeup effects.
• 5:44
  This is a weird one. They brought in a lot of like
• 5:47
  effects teams that do multiple things like visual effects,
• 5:51
  creature design, special effects, rotoscoping, like there
• 5:57
  was a lot going on. But I do have the creature
• 5:59
  design came from Alec Gillis of Amalgamated Dynamics.
• 6:03
  OK. But there were a lot of people
• 6:04
  involved in various ways with the different effects, so.
• 6:08
  Yeah, they were super talented too, because there's a whole
• 6:12
  special feature that goes over how they did all this stuff and
• 6:15
  it's impressive. Yeah, yeah.
• 6:17
  And I've got I've got some of that I like.
• 6:19
  Honestly, I just ran out of room writing some of the background
• 6:21
  information. So starring Kevin Bacon is
• 6:25
  Valentine McKee, Fred Ward as Earl Bassett, Finn Carter as
• 6:30
  Rhonda Lebec, Michael Gross as Bert Gummer, Reba McIntyre as
• 6:34
  Heather Gummer, Bobby Jacoby as Melvin Plug, and Tom Woodruff
• 6:40
  Junior as the Graboid. I.
• 6:41
  Think it's interesting Kevin Bacon returning from the very
• 6:44
  first episode of the show. Here we are, 257 episodes later.
• 6:49
  Yeah. Welcome back, buddy.
• 6:51
  Eventually we'll have him again when we get to Maxine.
• 6:53
  We got to get Travis through Pearl 1st and then we can cover
• 6:58
  Maxine. OK, Travis.
• 7:02
  Yeah, time for our favorite game Budget or bug, Ted?
• 7:08
  They had a lot of things going with this, but I still have a
• 7:12
  feeling it's bug Ted. You're wrong really 11,000,000?
• 7:17
  OK, 11,000,000, yeah, pretty good then.
• 7:21
  Opening box office 3.7 million, Worldwide gross 16.6 million and
• 7:26
  an IMDb score of 7.2 out of 10. I am surprised it only made
• 7:34
  16,000,000. I know I this very much is a
• 7:39
  cult classic in that sense. Yeah.
• 7:41
  Wow. So I thought that was
• 7:42
  interesting. OK, 1990 I pulled 3 movies.
• 7:47
  It's not my most interesting theme but it was a very easy
• 7:50
  theme when you look at the list of 1990 movies because fans of
• 7:54
  creature features were eaten good that year.
• 7:57
  OK, so. So creature feature movies.
• 7:59
  Yes, the first one, Arachnophobia, yeah.
• 8:03
  Yeah, and not watch that one. No, for good reason, yeah.
• 8:06
  I just made Three Legged Freaks people and that one's cartoony
• 8:09
  and silly. I don't know if I can handle
• 8:10
  straight up spider horror. Yeah, I think that one would be,
• 8:14
  would be a rough pitch for you. I knew 8 legged freaks.
• 8:17
  I was like, no, listen, they've got all these stupid sound
• 8:19
  effects and you're like going to try it.
• 8:21
  Well, I don't know. It could be for me.
• 8:23
  I mean, that's kind of the whole point of watching a horror movie
• 8:26
  is to be scared. Yeah.
• 8:28
  That released July 18th, 1990. Budget of 22,000,000 and a
• 8:33
  worldwide gross of 53,000,000. IMDb score of 6.5 out of 10.
• 8:38
  Nice. Doesn't it have John Goodman?
• 8:40
  Yes, notably from the Flintstones.
• 8:43
  Yes, second movie Gremlins 2 the new batch.
• 8:48
  God I really want to watch that movie.
• 8:50
  I still have never seen it. That released June 15th, 1990.
• 8:55
  Budget of 50 million. Worldwide gross of 41 million.
• 8:58
  IMDb score of 6.4 out of 10. It's got a 6.4.
• 9:03
  Yeah. People shit on that movie all
• 9:05
  the time. You know, the people that love
• 9:07
  it, love it. Wow, you have heard Joe Dante
• 9:12
  shit on it himself. And he did it.
• 9:15
  And the third movie, it's called Meridian or Kiss of the Beast
• 9:21
  that. Is that the name or are those
• 9:24
  two alternate names? I saw it listed as Meridian kiss
• 9:28
  of the beast or Meridian colon kiss of the beast.
• 9:32
  Oh, OK. So so yes.
• 9:34
  Yes, yes, all inclusive, Yeah, that released November 22nd,
• 9:40
  1990. I don't have a budget.
• 9:42
  We're a gross. And do you want to know why that
• 9:44
  is? Because it is straight to PHS.
• 9:48
  Do you wanna guess why? Because it is a bad movie.
• 9:53
  Cuz it is written and directed by none other than when Charles
• 9:56
  Band. That doesn't necessarily make it
• 9:59
  a bad movie. Now.
• 10:01
  But it's not the. One that said bad.
• 10:03
  It's not off to a good start. It is about women in Italy who
• 10:10
  are drugs and then face these beast men.
• 10:12
  It's kind of a werewolf movie I guess.
• 10:15
  OK OK, but it has a 5 point O out of 10 on IMDb which I feel
• 10:19
  like is really high for a Charles Vander movie.
• 10:21
  Actually it's like. A Sun Good job, man.
• 10:25
  OK, I've got 3 tag lines. OK, the first one, the one
• 10:30
  that's on the poster, they say there's nothing new under the
• 10:33
  sun, but under the ground. I like that.
• 10:37
  That's really good. These are actually all pretty
• 10:40
  solid. They were firing on all
• 10:41
  cylinders. Of this movie, I mean this
• 10:43
  writing team, I got a lot of information about them.
• 10:46
  I feel like they had a had a part in the tag lines because
• 10:49
  they were also producers. Yeah, I hope so.
• 10:52
  The monster movie that breaks new ground.
• 10:56
  Man, that is good. So good.
• 11:00
  The ultimate underground movie. It'll leave you legless.
• 11:04
  Nice. Damn, they killed.
• 11:06
  It yeah, I would punch up that last one a little bit like it'll
• 11:10
  knock you off your feet maybe instead of it'll leave you
• 11:13
  legless. It'll consume you.
• 11:16
  OK, good. OK.
• 11:18
  Yeah, solid tag lines. We don't normally get such a
• 11:22
  smorgasbord. Maybe we just came up with our
• 11:24
  tag lines here. OK, you ready?
• 11:29
  For fun facts. For fun facts.
• 11:31
  Yeah, I love fun. OK, do you love facts?
• 11:34
  Yeah. So S S Wilkin, S S Wilson, one
• 11:44
  of the S S stands for Steve. I'm not sure which one.
• 11:47
  Steve. Steve Wilson.
• 11:51
  Both of them. He's afraid to admit the other
• 11:53
  one is also Steve. Steve Stevie Wilson.
• 11:57
  It's Steve with two s s. So it's Steve Wilson.
• 12:03
  He was doing some work. He was like a film director for
• 12:06
  something involving the US Navy. I don't know.
• 12:09
  OK, I didn't look any deeper than that.
• 12:11
  I didn't really want to know he was doing something involved in
• 12:15
  that where they were like having to like hike and climb rocks.
• 12:18
  But part of the climbing the rocks was pole vaulting between
• 12:21
  them. And he had a thought.
• 12:23
  He was like, what if there was something on the ground and I
• 12:25
  was just trapped on the rocks? So he's.
• 12:27
  Thinking like a kid. I mean, that's like any kid that
• 12:29
  plays hot a lot. Yeah, and he just kind of held
• 12:32
  on to that and eventually turned it into an idea that he would
• 12:35
  work on with his writing partners later.
• 12:37
  So it's cool. When Wilson and Maddock, they
• 12:41
  pulled out some old ideas after the success of their their short
• 12:44
  film Short Circuit, their agent, Nancy Roberts, encouraged them
• 12:49
  to pull some old stuff out. And one of those ideas was
• 12:52
  Tremors, which at the time was called, like, loosely concepted
• 12:57
  as landshark. That ended up getting changed to
• 12:59
  Beneath Perfection after the landshark bit on SNL gained
• 13:03
  popularity. So they did.
• 13:05
  How to call it landshark, Yeah. Wow, OK.
• 13:08
  She she encouraged them to pull it out and start working on it.
• 13:11
  They had worked with Ron Underwood in the past, but with
• 13:14
  all of them being so new, they thought it was a hard sell to do
• 13:17
  all three of them. And he's like, it's fine, and
• 13:19
  I'll go do my own thing. But they did want to bring him
• 13:21
  back in to help work on the story and direct because he'd
• 13:23
  been doing some National Geographic documentation
• 13:26
  memories. So he had a like some zoological
• 13:29
  experience. Like he knew some stuff about
• 13:31
  animals. So he kind of helped
• 13:32
  conceptualize our our big worm guy.
• 13:34
  Oh, cool. Yeah.
• 13:36
  So I thought that was, I thought that was pretty interesting.
• 13:38
  Yeah. And they, and they had promised
• 13:40
  him they were like, you know, we're going to find a way to get
• 13:42
  you like, pulled back in, you know?
• 13:44
  We were watching part of the special features that were kind
• 13:46
  of go. It was the agent telling.
• 13:48
  Herself. The story here?
• 13:49
  She seemed like an awesome agent.
• 13:51
  Yeah, she was talking about, I'm going to go ahead and skip down
• 13:53
  to her part on this. So she she went around like she
• 13:57
  was basically acting as a producer as well.
• 13:59
  And she was going to different production companies and
• 14:01
  different independent producers trying to get all of these
• 14:03
  pieces together, trying to find a studio that could work them,
• 14:06
  trying to find special effects and visual effects people that
• 14:08
  would work with them. One of the producers that she
• 14:11
  got with was Jim Jacks, who had worked with Cohen Brothers,
• 14:15
  which was good because she was like, I don't know who to sell
• 14:18
  this script to because it's such a genre crunch.
• 14:22
  So the fact that he worked with the Cohen brothers, she was
• 14:24
  like, OK, well, I'll work with you.
• 14:26
  And they were no bullshit with each other and developed a
• 14:28
  relationship that way. And then she also got GAIL Anne
• 14:31
  Hurd, who was a well known producer at the time as well,
• 14:34
  going around talking to different studios.
• 14:37
  And this was actually originally they had tried to like sell the
• 14:42
  concept of the movie, get a deal with the studio before writing
• 14:46
  the script. No studios would go with it.
• 14:48
  So they had to spec it, which means that like they wrote the
• 14:50
  script and had to go try and sell the script that way to
• 14:52
  studios. It was something, that's how it
• 14:55
  was done. But then again, I guess you also
• 14:57
  kind of come in with an idea sometimes and pitch that.
• 14:59
  Yeah, you can come in with like, like an outline, a pitch, like a
• 15:03
  good pitch deck and everything. And sometimes, like, studios
• 15:06
  will jump on that and then you write the script that way.
• 15:08
  But sometimes it's vice versa. And Speaking of writing these
• 15:13
  two, apparently one will start writing from one end, one will
• 15:16
  start writing from the other. When they meet at the end, they
• 15:18
  swap and they rewrite each other's.
• 15:20
  Yeah. Yeah, they.
• 15:22
  Yeah, and they rewrite each other's stuff and that's how
• 15:26
  they kind of make things blend, and they just go back and forth
• 15:28
  that way until it's written by both of them and blends really
• 15:31
  well. That was really cool hearing
• 15:33
  that. Yeah.
• 15:34
  I had never heard of a writing style like that.
• 15:35
  I feel like that'd be super effective.
• 15:37
  Yeah, I think that is what helps it not seem disjointed.
• 15:41
  Even though it has multiple writers, I think it works really
• 15:44
  well. Yeah, Yeah.
• 15:46
  Let's see. Oh, and she also encouraged
• 15:48
  Wilson and Matic to be producers too because they were so heavily
• 15:51
  involved. And she was like, and, you know,
• 15:53
  if we have something that say it doesn't work, when you try and
• 15:56
  film it, do you want the other producers that are on set to
• 15:59
  make the decision of what should replace it?
• 16:00
  Or do you want to be there and deciding what's going to replace
• 16:03
  it? And that was such a good way to
• 16:05
  sell it because, like, I could see, like me personally thinking
• 16:08
  if it was my baby, I'd be like, no, I'm making that decision.
• 16:11
  So that's a good way to sell producing.
• 16:13
  I. Would I think it's kind of weird
• 16:15
  you have to sell being a producer in the 1st place?
• 16:17
  I feel like a lot of people like that role.
• 16:19
  Yeah, at the same. Time.
• 16:21
  I feel like it's so interesting hearing her be like, well, this
• 16:23
  is hard to sell, nobody's gonna get it.
• 16:25
  Like, wow, is it really that? Was it really that novel of a
• 16:29
  thing back then where nobody's gonna get this?
• 16:32
  I I think it was more where it was like so tunneling a little
• 16:35
  bit like all over the place. It wasn't straight or horror
• 16:38
  wasn't straight. Action wasn't straight thriller
• 16:40
  wasn't straight. Comedy is.
• 16:41
  That that novel back then. I I mean I don't know if she
• 16:44
  makes it sound like it was though.
• 16:45
  Yeah, I think it's. Just I wasn't born yet.
• 16:50
  You sound just like her niece. I wasn't there yet.
• 16:55
  Yeah, I guess I don't know. I mean, I, I'm not, I don't, I
• 17:00
  think she's bullshitting or anything like that.
• 17:02
  It's kind of interesting that this is like a tough sell to
• 17:04
  people. I could also see it like she's
• 17:06
  an agent and she's being an agent for herself, too.
• 17:09
  To kind of be like model works for you, babe, Yeah.
• 17:13
  Yeah, you know what? She's probably selling herself
• 17:15
  with it. So they filmed over 50 days in
• 17:19
  1989 in California. The town of Perfection was
• 17:23
  actually a set that was built near a place called Aloncia, and
• 17:30
  the mountains that you can see in the background are actually
• 17:31
  the Sierra Nevada. Oh.
• 17:33
  Cool. Yeah, Bert's elephant gun was
• 17:37
  rented from a gun collector. I that went a different
• 17:43
  direction that for some reason my friends, like Bert's elephant
• 17:46
  gun was rented from an elephant. That's what my that's what I
• 17:52
  wanted to believe. The elephant's main condition
• 17:55
  was that the gun not be used on him.
• 17:57
  Yeah. I I didn't know that that was an
• 18:00
  elephant gun. I thought it was just a double
• 18:01
  barrel shotgun. OK, Reba says very clearly.
• 18:04
  That I know, I know, but like I'm looking at it.
• 18:07
  So I'm like, that's a double barrel shotgun.
• 18:11
  Some of the information from the effects.
• 18:13
  So a couple of the effects studios involved, one was called
• 18:15
  Forward and one was called Fantasy 2 films.
• 18:18
  The basement scene where the gummers are being attacked.
• 18:21
  It was half shot like with Michael Gross and Reba McEntire
• 18:26
  and half was done on 1/4 scale miniature and most of the props
• 18:31
  because the wall that the grab Boyd burst through of course is
• 18:34
  the one with like the shelf with books and their tool, their
• 18:38
  pegboard tools and all that. So they had to make over 100
• 18:43
  like miniature props custom because to match the set it was
• 18:47
  seamless. Man, they did a great job with
• 18:50
  it and seeing how they did that, the whole thing was miniatures
• 18:52
  so. Like, yeah.
• 18:53
  That, that was amazing. Yeah, they were talking about
• 18:56
  every time a set decorator would come on and add some other piece
• 18:58
  of the stuff they'd. Be like, no.
• 19:00
  And if you're wondering how any of this stuff was filmed, like
• 19:04
  we were last night, it's through miniatures.
• 19:07
  Yeah, like the stuff like with the Graboids going under the
• 19:09
  sand and everything. Yeah.
• 19:11
  So like, and it was even the one of the people involved with
• 19:15
  forward effects that when they were trying to figure out how to
• 19:20
  like switch between miniature and real life, like they had a
• 19:23
  scene of Bert dropping his gun and they linger on that for a
• 19:27
  second before flipping over to the Graboid in the miniature I.
• 19:30
  Like to imagine that that is only because of that decision.
• 19:34
  That creative decision is how we get Bert being a gun head.
• 19:38
  No, he already had all of those. I know, but.
• 19:40
  Maybe. I know, but we got to have a
• 19:42
  bunch of guns that he's got to keep grabbing guns.
• 19:45
  They also like they had to rotoscope all of the elements
• 19:49
  like to make like the dust effects.
• 19:51
  And if you want to know, like the way they described
• 19:53
  rotoscoping, if you're not familiar with the term,
• 19:55
  basically like they're tracing those dust effects onto the film
• 19:58
  and then they like print it out onto like the the film cells
• 20:01
  that end up being. Rotoscoping is just, yeah, that
• 20:03
  was a big thing back in animation, back whenever I was
• 20:06
  big in animating. And then finally the shot, like
• 20:10
  what Travis was saying about how to get the underground shot
• 20:13
  where we see the like from the Graboids POV of it tunneling.
• 20:17
  Basically they put the camera, they developed this little like
• 20:20
  miniature rocket ship is what I'm picturing in my head, 'cause
• 20:23
  they've got like a garbage can and they put a little clear
• 20:26
  bubble over the end and have lights in there so that way the
• 20:28
  camera can see. And they have it in this, like,
• 20:31
  bucket of dirt and they pull it out really fast and make sure
• 20:35
  that, like, dirt is filling in where it was being pulled out.
• 20:39
  And then they shot it in reverse.
• 20:40
  And that's how they show it being like, you know, traveling
• 20:43
  through the dirt. This team was super inventive,
• 20:46
  Yeah. Everything that they did, I was
• 20:48
  super impressed with how they did it.
• 20:50
  And I thought it was really cool too, listening to one of the
• 20:53
  people from the Fantastic Two Effects, because he was like,
• 20:56
  yeah, no, the brothers from Forward are like real big fans
• 20:59
  of my grandfather. And they used to always come
• 21:01
  around and talk about her work. And they developed their own
• 21:03
  company. And we didn't even feel
• 21:04
  threatened by them because it's just like, they respect what
• 21:07
  they do. We respect what they they do.
• 21:08
  They have the similar mission, similar ideas, and it's kind of
• 21:11
  cool that they work together. So yeah, boom.
• 21:13
  That was really neat. Yeah.
• 21:15
  Yeah. There was a visual effects like
• 21:17
  that was a niche market back in the 90s apparently.
• 21:21
  Oh I feel like practical shit was just more Oh yeah practical
• 21:27
  but more prevalent. Back then.
• 21:29
  Now everything's digital. Yeah, it's it's more novel when
• 21:32
  you get practical effects. These things, yes, And that's
• 21:35
  what makes like, you know, people with a similar.
• 21:39
  Ben says. Us so excited about movies like
• 21:42
  Terrifier that do so much practical effect work.
• 21:46
  Yeah. That's a big, that's a big draw.
• 21:48
  All right, so that is, that's not the limit of fun facts to
• 21:52
  these movies, but that's the limit to the space I had on my
• 21:56
  paper to write the facts. So there's a lot out there.
• 21:58
  Yeah. That guy, there's like so much
• 22:00
  shit on that disc, even like short films from them I want to
• 22:02
  watch a lot of. That yeah, there's multiple
• 22:04
  discs with the Arrow 4K too. The Arrow fork if you will
• 22:08
  freak. Freak.
• 22:09
  Yeah, so since we're done with that, that means it's time for
• 22:13
  our good, bad, ugly and absurd. And Travis, you kick it off
• 22:15
  because I just talked for 20 minutes straight, OK?
• 22:19
  So this movie I watched it for the first some last year and
• 22:23
  wasn't. Yeah, yeah, I, I couldn't
• 22:26
  believe you hadn't seen it. And I liked to joke around that
• 22:30
  like you weren't seeing it as the Lord intended.
• 22:32
  Which isn't an all day marathon on USA or TNT.
• 22:36
  After seeing that video of like the differences between the
• 22:39
  swearing and the not swearing, I kind of like the version that I
• 22:42
  watched. It didn't feel weird to me.
• 22:45
  It felt natural. Man, this movie is really good.
• 22:48
  It has some amazing characters. I love the dynamic between
• 22:52
  Valentine and Earl. Those two characters playoff
• 22:55
  each other so well. They have great chemistry.
• 22:58
  They're the perfect characters to follow in this story here.
• 23:03
  So I thought that they were really well written.
• 23:05
  I like the overall cast to the other minor characters that we
• 23:09
  get all stand out on their own too.
• 23:12
  I mean, we get Burt as, like, a central figure for the
• 23:14
  franchise, as his story goes, and he's a minor character in
• 23:18
  this, and he's like a really, really good character.
• 23:20
  Yeah, it was good, too. You know, I like having like, I
• 23:23
  wish she would have stuck around.
• 23:26
  I love Reba so much. Did they ever explain what
• 23:28
  happened to her in the sequels? I think they did, I don't
• 23:31
  remember though. OK.
• 23:34
  Like I need to cuz we've been going through them back-to-back,
• 23:37
  so I need to go back and revisit.
• 23:39
  OK. Well, yeah, either way.
• 23:41
  Return. It was really good.
• 23:43
  Good cast, good characters. It's really, really well
• 23:46
  written. I do like how they blend the
• 23:49
  different genres because I, I mean, this is basically a horror
• 23:55
  comedy if you kind of think about it, cuz it has like big
• 23:58
  comedic beats. Kevin Bacon has some good
• 24:01
  comedic timing, which I would have never really thought of him
• 24:03
  as a comedic actor. Yeah, he's pretty good.
• 24:05
  It's so funny because there's so many movies with him that I've
• 24:08
  watched that like I don't associate him with cuz in my
• 24:12
  head he's just always the Footloose guy and that's not
• 24:15
  fair to Kevin Bacon cuz he's got wider range than that.
• 24:18
  But I see him and I'm just like are you gonna cut loose?
• 24:22
  Cuz I feel like he got to. Yeah man, this is interesting
• 24:28
  too cuz we don't really cover a lot of monster movies on this
• 24:31
  show so. I'm real real fussy along with
• 24:37
  found footage. I'm real fussy about creature
• 24:40
  features. I'm with you on that with the
• 24:41
  creature features. Yeah.
• 24:43
  So it's nice that we have that on here, too.
• 24:46
  And this is an interesting creature.
• 24:48
  I like the idea of the Graboids, just like under the ground, the
• 24:52
  way that they move in. This is really well done.
• 24:57
  I mean, they like, pose like a like a legitimate threat and the
• 24:59
  way like, they attacked them. Like, I love the scenes where
• 25:02
  they like, they straight up like take the car underneath the
• 25:05
  ground and stuff like that. The effects are amazing in this
• 25:11
  movie. Everything looks so good.
• 25:15
  It just flows so well. I feel like they knocked this
• 25:17
  movie out of the park. They did an amazing job.
• 25:20
  So yeah, that, I mean, I could keep gushing about individual
• 25:24
  things, but it all just sums up that they did great.
• 25:28
  Yeah, I will say the cast or characters, like, like you said,
• 25:32
  perfection, population 14, you really get to know all 14 of
• 25:36
  them, it feels like. Yeah, you do.
• 25:38
  And I, I think that's real special because not all of them
• 25:41
  get a ton of screen time, but you get an idea.
• 25:43
  Like Mindy's mom, I don't remember her name, but like you
• 25:45
  immediately get an idea of who she is by how she's dressed,
• 25:49
  what her house looks like in her time, by her pottery.
• 25:52
  Like I was like, that is all the information I need from you.
• 25:54
  And it takes a talented rider to be able to do something like
• 25:57
  that so effectively. My favorite side character other
• 26:01
  than Melvin is Walter cuz he's like I love the scene.
• 26:07
  They have them all in there and he's like, get a picture, post a
• 26:10
  picture books game, yes. And I love how he's like, he's
• 26:15
  like a grifter almost. But it's like, who you grifting
• 26:17
  man? Like there's a dozen people
• 26:19
  here. They all know you.
• 26:21
  They all know you're fucking stick, dude.
• 26:23
  Basically, that's how good of a grifter.
• 26:25
  Yeah, it's like tell you he wills and deals.
• 26:28
  So I, I, I love that we like all of the characters feel real.
• 26:32
  They don't feel 2 dimensional. Even Bert with his like
• 26:35
  doomsday, like prepping and all of that like it, it helps having
• 26:40
  Reba there to ground him. But I, I think even he is like a
• 26:45
  multi dimensional character. I also say, so it's been we, we
• 26:50
  covered Children of the corn very, very, very early on in the
• 26:54
  show, almost four years ago. And I don't remember if I talked
• 27:00
  about this, but Children in the Corner was one of those movies
• 27:02
  that scared the shit out of me because we lived on a farm, not
• 27:07
  our farm. I'm not a farmer.
• 27:08
  I just want to, I don't want people to get the wrong
• 27:10
  impression of me. I don't have anything against
• 27:12
  farmers. I'm saying that I'm I would be
• 27:14
  useless as a farmer. OK, so I'm just throwing that
• 27:17
  out there. But I like whenever they would
• 27:21
  rotate the crops. Sometimes the cornfields would
• 27:24
  be next to my walk to the school bus and that scared the shit out
• 27:28
  of me. The other movie that scared the
• 27:31
  shit out of me living on this farm was Tremors.
• 27:34
  Because one of my favorite things to do was walk around the
• 27:38
  fields, like and just spend all that time out there.
• 27:41
  And then, like, sometimes I'd be like out there a full mile away
• 27:45
  from the house and I'd be like, went for grab weight just like,
• 27:49
  just like, came here. Like, what would I do?
• 27:51
  I can't run that far that fast. Like you fucked.
• 27:54
  Yeah, kind of rock. There were no rocks.
• 27:58
  You've seen where we used to live.
• 28:00
  Like, so like that would just be one of those things that I like.
• 28:03
  And that would be one of those that like, you know, where you
• 28:05
  get kind of sweaty and itchy and you're like, I think I need to
• 28:07
  head home now. So it would be like that kind of
• 28:10
  a thing. So this movie has a very special
• 28:12
  place in my heart for that. And I just think it is it is
• 28:16
  really effective with how it like blends the different genres
• 28:19
  because it's like it is a horror movie, but it's so funny at the
• 28:22
  same time. And it's got some real fun
• 28:23
  action sequences. And the way they like managed to
• 28:26
  make all the different ways they're evading the graboids and
• 28:31
  killing them. Like they make them interesting
• 28:33
  instead of just like retreading the same beats over and over.
• 28:37
  I feel like this is the era that really did a good job of meshing
• 28:40
  horror in action. Yeah, this is not really a thing
• 28:43
  anymore. Yeah, maybe here and there, but
• 28:45
  like, I feel like it was more prominent in this era.
• 28:49
  Yeah, well, like, Speaking of like some of the people involved
• 28:52
  in this, maybe we're also involved in like, the Terminator
• 28:54
  movies and the Alien movies. Aliens, which is a horror action
• 28:58
  movie basically. Yeah, so I, I just, I there's
• 29:02
  not enough good things to say about this movie.
• 29:04
  Yeah, it's amazing. It's a great, great movie.
• 29:07
  OK, so I guess let's try and think of some bad things to say.
• 29:09
  OK. Yeah, there's not a whole lot.
• 29:13
  I feel like they spend a lot of time on rocks with nothing
• 29:16
  happening, which, you know, I mean, that's kind of part of the
• 29:21
  movie, but like, I could handle like one or two scenes, but I
• 29:25
  think it happens for like 3 or 4, OK.
• 29:27
  And that's a lot, you know, maybe switch up the scenery if
• 29:31
  you're going to keep having them go on the different places.
• 29:34
  I don't know, like, I mean, that's like a small complaint
• 29:38
  that's nitpicky, but I mean, that's really like, I can't
• 29:42
  really think of like a lot of things to complain about with
• 29:44
  this movie. I love practical effects.
• 29:47
  I think the team involved did a wonderful job.
• 29:50
  I will say the only scene that really got me was when the
• 29:53
  doctor's wife was in her car and we see the graboids like hung
• 29:57
  worms coming at her. And I liked it Travis cuz I
• 30:01
  finally got him introduced to wild boys and I just went Black
• 30:04
  Mamba cuz that's what it looks like.
• 30:08
  You can tell it is. Yeah, it is people's hands in
• 30:12
  socks with googly eyes that. Is I wonder how they did the
• 30:14
  other ones though cuz the other ones yeah so snake like.
• 30:17
  Yeah, this one was. It was just very clear that it
• 30:19
  was somebody going like this. Yeah.
• 30:22
  So that was that was really the only moment where I was like.
• 30:27
  Yeah, yeah. But that's also part of the
• 30:30
  charm of doing practical effects.
• 30:31
  I like seeing that stuff. Yeah, OK, ugly.
• 30:36
  Ugly. I hate seeing all the wildlife
• 30:40
  killed in this movie. They didn't deserve that,
• 30:43
  especially in the alternate opening with the old man Edgar.
• 30:48
  Edgar, he's the one that dies up on the phone pole.
• 30:50
  We found out he was supposed to have card game night with old
• 30:54
  Fred and I couldn't because he was worried about his horse and
• 31:00
  he. Wouldn't go.
• 31:02
  Yeah, he was like stable. Yeah, he's like, I'm going to
• 31:04
  stay up with Justine tonight. She doesn't want to lay down.
• 31:07
  And we were both like hard relate because we've definitely
• 31:10
  stayed home with Talia before when she had spent it.
• 31:13
  Yeah. Have fun you.
• 31:13
  Gotta watch them. Cats being weird.
• 31:16
  Horse being weird cats. Being weird.
• 31:18
  Clean up the barn. Yeah.
• 31:21
  And that's like how it originally opens is the Graboid.
• 31:25
  Like he doesn't see it happening, but he comes in,
• 31:28
  smells the bad smell and just sees a hole in the ground where
• 31:31
  once there was Justine. Yeah, and there's always like a
• 31:33
  little chunks of the thing left behind, too.
• 31:35
  Yeah, and yeah, and then the horses, when Earl and Val are
• 31:40
  riding to big speed. Get consumed all of the sheep
• 31:45
  that old man Fred has in his. It's like the Swamp of despair,
• 31:48
  man. Yeah, I, you know, that's just
• 31:51
  the, you know, eat all the people you want, but if you eat
• 31:54
  that animal, I'm going to be sad.
• 31:58
  I like, yeah, I kept noticing in my notes, like I was picking sad
• 32:01
  faces next to the animal deaths, and then I'd be like, and Walt's
• 32:04
  dead. Yeah, fuck him.
• 32:07
  That Lamb didn't have any of that coming.
• 32:09
  No, it was a sweet lamb. Yeah, I think I'm just.
• 32:13
  I'm gonna agree with you on all of that.
• 32:16
  Also whatever school just sent a grad student out in the desert
• 32:20
  on her own with fuck all supervision.
• 32:23
  I feel like no check insurance. They gave her busy work.
• 32:26
  They're like, yeah, sure, go do that one.
• 32:28
  We'll go do this other fun stuff.
• 32:30
  You go to perfection. Yeah, Mesa State University.
• 32:35
  I'm gonna have the board do an inquiry on you.
• 32:38
  We'll give. You a seismograph to go?
• 32:40
  Fuck off. OK, absurd.
• 32:49
  I only wrote one thing and it was Melvin.
• 32:53
  Yeah, why does everybody in this town fucking hate Melvin?
• 32:57
  I get it, he is a preteen boy, but.
• 33:00
  Look, man, OK, the first time we watched this last year, it
• 33:02
  started off and like, OK, I get it, Melvin's a little shit.
• 33:05
  But like, no joke, anytime they address him in this movie, they
• 33:10
  come at him with that intensity every single time.
• 33:12
  It's always Melvin, what the fuck are you doing?
• 33:17
  It's just. But it's funny too.
• 33:19
  I love that he's like, fucking with him.
• 33:20
  Especially Earl. Yeah, it's just like I I love
• 33:24
  that little like character. It's been a ratting joke in our
• 33:28
  house since Travis saw it. Like anytime something bad
• 33:31
  happens and we don't have a good explanation, whenever it just
• 33:33
  goes. Melvin.
• 33:34
  Yeah. It's.
• 33:37
  Funny man. Yeah, that's that's my absurd
• 33:39
  too. Really.
• 33:40
  Yeah, we can't relate on everything.
• 33:42
  What's another absurd? Why can't we rely on everything?
• 33:45
  No, we can't. It doesn't always happen.
• 33:47
  Let it happen one time. OK, OK, let's do it.
• 33:52
  OK. OK, what are you rating?
• 33:54
  Do you want me to write first? That way you don't feel like I'm
• 33:56
  copying you? No.
• 33:58
  OK, no. I've got my rating in my heart
• 34:01
  already. I think.
• 34:04
  I'm writing it down so you know. I'm gonna give this shit, man.
• 34:10
  I'd give it a 10 OK. I hit it in a nine.
• 34:14
  OK, so we start off with a 9.5. All right, nice.
• 34:19
  That's a good little score right there.
• 34:20
  Yeah, OK. Yeah, let's do this.
• 34:24
  All right, so we start off with some cows lowing.
• 34:28
  Oh, that's interesting, because my first note is we start off
• 34:31
  with Kevin Bacon peeing off a Cliff.
• 34:33
  Well, I wrote cows lowing and peeing off a Cliff, but I made
• 34:37
  sure that like, the cows lowing was in parentheses, so I knew
• 34:40
  that that was like a subtitle and not that the cows were
• 34:44
  lowing and peeing off the Cliff. OK, yeah, it could have been
• 34:47
  very confusing. Very.
• 34:48
  Yeah. So yeah, y'all in the Patreon
• 34:50
  when you're looking at the notes.
• 34:52
  Hopefully no confusion there. No.
• 34:55
  Oh, you know what? Here's another absurd the fact
• 34:59
  that I have to look at Kevin Bacon and think of Roger from
• 35:03
  American Dad. It really is so bad.
• 35:07
  Like if you guys don't watch American Dad, there's an episode
• 35:11
  where he gets made fun of for not having a nose.
• 35:13
  Roger's an alien and he tries on several prosthetic noses.
• 35:18
  And then when he lands on is the Kevin Bacon nose and everybody
• 35:21
  in town is convinced he's Kevin Bacon and he wears this wig and
• 35:24
  like the whole time, like we're watching him, all we can think
• 35:28
  of as Roger is Kevin Bacon. He looks exactly like Kevin
• 35:30
  Bacon. Because.
• 35:31
  Of that, yeah, it's amazing. It really is, I mean.
• 35:33
  And he does have like a distinctive nose, too.
• 35:36
  He does. So every time I look at Kevin
• 35:38
  Bacon now, I think of Roger. Yep, Yep, it happens every time.
• 35:41
  All right, so he goes over and wakes up Fred, who is sleeping.
• 35:46
  Earl. Yeah, Fred is the actor's name.
• 35:48
  He's the actor at this point. I wrote down Fred here first
• 35:50
  because I forgot the actor the character name.
• 35:52
  Yeah, he rest in peace. Yes, Nastrovia.
• 35:55
  Nastrovia. We didn't Nastrovia to him last
• 35:57
  time, no. I I forgot he was dead when I
• 35:59
  first came on the screen. So Earl was sleeping in the bed
• 36:02
  of the truck and. Found the bed.
• 36:05
  I guess it's he can't argue with that.
• 36:07
  He wakes him up by fucking with him and starts shaking the truck
• 36:11
  and makes him roll out of the truck and onto the ground
• 36:13
  yelling Stampede. That's funny.
• 36:15
  Yep. Then he looks up and then it's
• 36:17
  the cows. Just kind of What were they
• 36:18
  doing again? Lowing.
• 36:20
  Lowing. Just cows lowing.
• 36:23
  Oh yeah, I think this morning, because I was trying to wake her
• 36:25
  up. I think she was trying to Kevin
• 36:27
  baking you because she kept rolling around and kicking you
• 36:29
  and you just weren't moving. In the bed, this.
• 36:31
  Morning. Yeah, yeah.
• 36:32
  Because I was like, do you want to go get bite bites?
• 36:34
  And she was just like rolling around and she kept kicking.
• 36:37
  At one point she was like halfway laying on you and then
• 36:39
  it was clear you weren't going to wake up.
• 36:41
  So she's just like. So she's like, well, I tried, I
• 36:44
  guess I. Was knocked out.
• 36:46
  All right, So these guys, they're just out in the middle
• 36:49
  of the desert putting up fence posts, I guess for cattle.
• 36:52
  Well, first, this is a minor thing, but they're rock paper
• 36:55
  scissors is a whole thing. Yeah, cuz they're arguing about
• 36:58
  breakfast and who made breakfast last night.
• 37:00
  Rock, paper, scissors to figure out who's responsible today.
• 37:04
  Yeah. And then they they start going
• 37:06
  and they're putting barbed wire up on post to make a fence.
• 37:09
  And they are complaining about being handyman in this town, not
• 37:14
  doing anything, not going anywhere and not having any
• 37:16
  money. Are they are they native to this
• 37:19
  place or did they move there? I I couldn't really tell.
• 37:22
  I feel like this is the type of place that you don't move to,
• 37:26
  you know? Yeah, but you moved to for work
• 37:28
  maybe, I don't know. Yeah, I guess you're right.
• 37:31
  But then it's garbage day. Val doesn't want to do it.
• 37:35
  He hates garbage day. And Earl's like he pays his
• 37:38
  $50.00, and that's $47 more than we got right now.
• 37:41
  You need vision. Let me RIP out your eyeballs.
• 37:45
  Yeah, I know how this one goes. Big running theme in this whole
• 37:47
  thing is having a plan. Plan, Yeah.
• 37:50
  He's already thinking about Wednesday.
• 37:51
  It's Monday. Yeah, Is it Monday?
• 37:54
  Yeah, so they drive off and they spot a truck out in the desert
• 37:59
  and like, who the hell is that? That doesn't look familiar.
• 38:02
  So. They know it's the new grad
• 38:03
  student, so I guess like Mesa State sends a lot of grad
• 38:08
  students out there. Over to perfection, I guess.
• 38:09
  So yeah. Maybe it's for like they're low
• 38:12
  performers, like they need a placement for them.
• 38:15
  It's the fuck off. Yeah.
• 38:17
  Position right there, go to perfection and fuck off.
• 38:19
  Yeah. So yeah, it's Rhonda.
• 38:22
  She's there studying seismology. She's like, I'm getting some
• 38:25
  strange readings. Have you guys seen or heard
• 38:27
  anything? And they're like, Nope, Yep.
• 38:31
  So they drive off and Earl is like trying to play matchmaker
• 38:34
  between Rhonda and Val and Val's like, Nah, she's not my type.
• 38:38
  And he's like your type has nothing interesting going on for
• 38:42
  them. Yeah, cuz I had a whole scene
• 38:43
  when they were driving up our. He's like, all right, she better
• 38:46
  have. Green eyes, blonde hairy legs
• 38:50
  that go all the way up, and ass that doesn't quit gigantic
• 38:53
  breasts. Yeah, and ass that won't quit,
• 38:56
  Yeah. But that won't quit.
• 39:00
  Yeah, and this is where he is like the whole pecker passion
• 39:03
  thing too. Yeah, got this.
• 39:06
  A pecker. Passion.
• 39:06
  He's like, he's like I'm a victim of my circumstances.
• 39:09
  He's like, I thought that was your picker.
• 39:10
  I thought that was your passion. It's funny.
• 39:15
  So. So they arrive in perfection.
• 39:17
  Population of 14. They meet up with Bert and Reba
• 39:21
  at the bar slash General Store. This is such small Township
• 39:25
  right there. Yeah, it's also Big Township
• 39:28
  because this is what we do at Whole Foods.
• 39:31
  I also think it's funny, like looking at the stuff in a
• 39:33
  general story because there's like 4 pairs of shoes and it's
• 39:36
  very clear. Like there's a child's pair, a
• 39:38
  woman's pair, a man's pair, and then another woman's pair is
• 39:41
  like, so did you order these shoes specifically for people?
• 39:45
  Like you asked them what they wanted and then you have to put
• 39:48
  it on the shelf for a certain amount of time.
• 39:49
  It's all they buy it. It's all an illusion.
• 39:52
  Like you, you special order it and he puts it on there that way
• 39:55
  you feel like you went there and you shopped for it.
• 39:57
  Yeah, yeah, that's the whole point of it.
• 39:58
  It's Walter. It's his, you know, other
• 40:00
  little. Thing that he's willing there.
• 40:03
  They talk about how Rhonda's been getting weird seismograph
• 40:06
  readings and Bert says, you know, if she finds something
• 40:09
  interesting like uranium or something under the soil, that
• 40:12
  the feds are going to come in, declare eminent domain and.
• 40:17
  Yeah, he's a paranoid guy. Yeah.
• 40:18
  Yeah. And so then we cut back over to
• 40:23
  Rhonda and a tremor occurs. Oh.
• 40:27
  Like in the name of them. Yeah, yeah, seismograph starts
• 40:31
  going off the charts. She drives off just before
• 40:35
  getting grabbed or just before a grab boy gets her.
• 40:39
  It's like a nights of a POV shot.
• 40:40
  Yeah, in a case of dramatic irony, she has no idea that it's
• 40:43
  happening. She just happens to get in her
• 40:45
  truck in time. So Val and Earl, they, they're
• 40:49
  taking a garbage break. That's how I wrote it, yeah.
• 40:52
  They're sick of this place and they they just pack up their
• 40:54
  shit because like they're over there working on is Melvin's, I
• 40:58
  guess. Yeah, they take a break, they're
• 41:01
  complaining, they're like, but we're never going to leave this
• 41:04
  place. And then they go and they have
• 41:05
  to pump a septic tank. And as they're pumping it, there
• 41:09
  are all kinds of leaks in this tankard and they get covered and
• 41:14
  shit. Not only are they catching shit
• 41:17
  from Melvin, they're also catching Melvin shit.
• 41:19
  Yeah, yeah. Nasty.
• 41:21
  And he's a laughing man the entire time.
• 41:24
  It's bad. And so then we cut to them, like
• 41:28
  loading up the truck, everything they own, including the vacuum
• 41:31
  cleaner, which Earl is dubious about.
• 41:35
  She's like, you ain't going to use that.
• 41:37
  Yeah, and they're on their way out.
• 41:40
  And Nancy? What about her name?
• 41:43
  Yeah, I think they named her after the agent.
• 41:46
  Maybe. That makes sense to me.
• 41:49
  But yeah, she, she's like, I need firewood.
• 41:52
  And I'm like, Nope, we're not doing that anymore.
• 41:54
  She goes, it's a full month's work.
• 41:55
  And they're like, Nope. And she was like, I will throw
• 41:56
  in lunch and free beer. I like that it cuts them
• 41:59
  thinking about it and then like they're thinking and it cuts
• 42:01
  them driving off and they're like sober yeehaw, we did it.
• 42:04
  We didn't say yes. I.
• 42:06
  You know what? I get that.
• 42:07
  Like they resisted the temptation.
• 42:09
  Respect to their guns. Good for them.
• 42:11
  Yeah, I I like that too. That's what I'm talking about,
• 42:13
  man. I fucking love these characters.
• 42:15
  They're like a fun group to follow.
• 42:17
  Yeah, they're, they're headed to Bixby.
• 42:18
  That's they're playing now. But as they're driving, they see
• 42:21
  Edgar Dean's up on a Neither of us could think of the term for
• 42:25
  it. Last night I wrote Power Tower.
• 42:28
  I like that way better. I just wrote Power grid pole.
• 42:33
  Anyway, he's up there, they figure he's drunk again and
• 42:36
  climbed up the power tower. Is that a good idea?
• 42:41
  It's like so Val climbs up to get him down and when he gets up
• 42:46
  there he sees that Edgar is very dead.
• 42:48
  Very dead. Very dead, yeah.
• 42:50
  So they take him to the doc and the doc's like, yeah, he died of
• 42:53
  dehydration and they're like, doesn't that take a couple days?
• 42:57
  Yeah, at. Least three to four days.
• 42:59
  Now, like, So what, he just got up there and didn't come down?
• 43:01
  Like maybe something chased him up there and he didn't feel like
• 43:03
  he could come down even with his gun up there with him.
• 43:07
  I like that we know we saw what happened with him too.
• 43:10
  Yeah, now that now I, I feel like 1000 yards stare thinking
• 43:16
  about what his life had been like those past three days.
• 43:19
  Oh man, yeah. Because it wasn't just that he
• 43:22
  got chased randomly, like he was also grieving Justine.
• 43:25
  I know. I feel bad for that.
• 43:26
  Man, fuck that fucking graboid. OK, so now.
• 43:32
  These graboids are just a real pack of Melvins, if you know
• 43:35
  what I mean. Yeah, like if they like Melvin
• 43:41
  and the Graboids, if they would have just set aside their
• 43:43
  differences, can. We at least start that band,
• 43:47
  Melvin and the. Yeah, Melvin and the Graboids.
• 43:57
  Every song is gonna have at least one Melvin.
• 43:59
  Yeah, it would be as obnoxious as first Jason.
• 44:05
  Yeah, when you get Bobby Jacobi on board.
• 44:08
  Oh. God.
• 44:10
  All right, so we come over to old Fred, the guy that he was
• 44:14
  supposed to be playing poker with, and sheep are acting
• 44:17
  weird. Sheep.
• 44:19
  Sheep are being weird. Clean up this pasture.
• 44:21
  Yeah, he's out there, He's farming.
• 44:23
  And yeah, he just noticed that they're acting strange.
• 44:25
  Yeah. And then we we cut to our own
• 44:30
  Val back on the road, and they pass by old Fred's farm and they
• 44:33
  see a bunch of dead sheep. And they're like, that's not
• 44:37
  good. So they get out to check on him
• 44:40
  and they look around for old Fred and they don't see him, but
• 44:42
  they do see his hat. So they go to pick it up.
• 44:45
  Oh, there's Fred. His face.
• 44:46
  There's his face, right? There underneath.
• 44:48
  Yeah, he didn't. He didn't do so good.
• 44:51
  And they they hightail it out of there as they're going, they see
• 44:54
  two Rd. workers and they're like, hey, you all need to get
• 44:57
  out of here. There's a serial killer killing
• 44:58
  people and burying them under the ground.
• 45:00
  And the killer's like, oh, they're fucking with us.
• 45:03
  And so they go back. And one of the things that I
• 45:04
  love about this is that like, as we're running into beyond Edgar,
• 45:10
  they're like from here on out, these people that are being
• 45:12
  attacked, We know that they're doing things that are causing
• 45:14
  the vibration because like old Fred, he was hoeing his garden.
• 45:17
  So like we saw him like, and he was like having a chisel
• 45:19
  attitude. And then we see these people.
• 45:22
  They got their large ground drills.
• 45:29
  Jackhammer, jackhammer. Large ground drills, is that
• 45:35
  what you called it? Yes.
• 45:37
  What did I write in here? Yeah, I just wrote drill last
• 45:40
  night because I couldn't remember the word.
• 45:42
  Jesse. I knew Jack was involved, but my
• 45:45
  brain just kept going back to power because I can't remember
• 45:48
  that word Jack. Power.
• 45:49
  Power, Jack. OK, what was what was Edgar
• 45:57
  Dean's doing then? Just walking with his horse.
• 46:00
  Yeah, I assume it was like after Yeah, like cuz the horse got in
• 46:03
  there. The horse was already feeling.
• 46:05
  It's cuz it wasn't laying down. Yeah, like walking around.
• 46:08
  And so the Grab boy gets it, and then he's like, already in the
• 46:11
  eerie running around. So, yeah, OK, yeah.
• 46:14
  All right, well, the road workers continue at it and they
• 46:17
  keep jackhammer until they accidentally jackhammer a
• 46:20
  gravel. Yeah, which is cool.
• 46:23
  But Can you imagine, like, this is a short film?
• 46:26
  Like, we just see somebody jackhammering and all of a
• 46:28
  sudden blood comes out of the ground.
• 46:29
  They're like, what? And then their jackhammer is
• 46:32
  like yanked away from them down the street, and then the thing
• 46:35
  attacks them. I do like that.
• 46:37
  I like that. It's like the setup that Earl
• 46:41
  was just proposing. Like this is a killer.
• 46:42
  He's shopping off ads, everything like oh shit, OK
• 46:44
  whatever. Yeah, so a.
• 46:45
  Jackhammer like a big worm underneath.
• 46:48
  Yeah. So yeah, it just kind of like
• 46:50
  drags a guy over the hill, kills him.
• 46:52
  Yep, I. Guess the other guy too I think
• 46:54
  is it causes like a landslide. Yes, Earl involved.
• 46:58
  At this point, we've gotten back to the general store and they're
• 47:00
  trying to use the phone, but it's not working.
• 47:03
  And they're like, OK, well somebody needs to go to Bixby
• 47:05
  and go to the place and tell them what's going on.
• 47:09
  So they try to drive back out, but as you said, there was a
• 47:13
  rock slide, so the the road out is blocked.
• 47:16
  And as Bert will go over here in a bit, like they're essentially
• 47:20
  like locked in to perfection because of the geography, which
• 47:23
  is why the Gummers sat down there in the 1st place, because
• 47:26
  they felt well protected. Anyways, they see, oh, chunks of
• 47:30
  flesh there too. So they investigate, and then
• 47:33
  they think that the killer is still on the loose.
• 47:35
  They don't really know why or what's happening so they get
• 47:38
  back in the truck to try and drive off.
• 47:40
  He backs into the Cliff and they think that they're just stuck on
• 47:44
  the Cliff. Like the truck stalls and he
• 47:47
  keeps just flooring it and then eventually they make it out.
• 47:50
  Yeah, But when they get back to Chang's, they see that a graboid
• 47:54
  like one of the little tongue worms has wrapped around the
• 47:57
  axle. And Walter buys it from them
• 48:00
  for, like, they negotiate. He's like, I'll buy it for $3,
• 48:03
  and they're like 20. He goes 10, 2015 OK, 15, yeah.
• 48:09
  Bird figures there has to be more of these things that they
• 48:13
  were able to eat an entire flock of sheep and old Fred.
• 48:18
  So they're they're kind of concerned now.
• 48:20
  Meanwhile, we see the doctor and his wife just out at night.
• 48:25
  They've been working on their house, so we know that they've
• 48:28
  been creating some vibrations as well with hammer and whatnot.
• 48:32
  And the wife says like we got to go to Bixby in the morning, our
• 48:35
  cement, our cinder blocks are ready.
• 48:38
  Like they're working on building their own house.
• 48:39
  I think it's kind of cool. Yeah, that's cool.
• 48:41
  Yeah, they got their old RV and they're just kind of star gazing
• 48:43
  there and like, you know what? Let's not even build a roof.
• 48:46
  Yeah, we're on dock. Then they hear the generator
• 48:49
  suddenly seems like it's cut off, so the doc goes to check on
• 48:52
  it and it's just not there. He's like, it looks like it's
• 48:56
  actually been pulled underground.
• 48:58
  And then he smells something and he's like, what if this is like,
• 49:02
  you know, like there's a geyser or something under the surface
• 49:05
  and then. And then it just shoots back up
• 49:07
  like I guess. Yep.
• 49:09
  And then he gets pulled and his wife is like trying to save him,
• 49:13
  but he ends up getting pulled underground.
• 49:15
  So she runs to the car and this is where we have all the black
• 49:18
  Mambas coming at her. Yeah.
• 49:20
  And eventually the whole car gets pulled under.
• 49:22
  That was really cool. Yeah, I like that scene a lot.
• 49:25
  All right, so come back over to perfection.
• 49:27
  Bert is recommending that they arm up and they stand their
• 49:30
  ground. Yeah, but and everybody else is
• 49:34
  like, no, we need to go get people.
• 49:37
  So we need to find a way out of here.
• 49:39
  What if somebody rides a horse to Bixby?
• 49:41
  They're like, but who can ride a horse that far?
• 49:44
  And everybody turns and looks at Earl and Val.
• 49:47
  So the point is they can't drive there because of the truck, but
• 49:49
  a horse can make that terrain, right?
• 49:52
  Yeah. OK.
• 49:54
  Because they don't have to. Yeah, They can go around.
• 49:56
  They don't have to be on the road.
• 49:57
  And the train's too rough for a vehicle, especially one that
• 50:00
  they assume had already gotten caught on a Cliff once.
• 50:03
  It's. Kind of funny considering they
• 50:05
  go off roading in this movie several times.
• 50:07
  Yeah, there's like no roads that exist in this area.
• 50:11
  The fact that Walter bought this snake body is coming back to
• 50:16
  bite them because Melvin will not stop fucking with people
• 50:18
  with it. Yeah, and of course, every
• 50:22
  adult. I think there's like a sequence
• 50:24
  of every single adult going Melvin.
• 50:25
  I think this is the part where Walter's like making him post
• 50:28
  through the picture too. He's like, I already know he's
• 50:29
  scared. Yeah, yeah, He'd already taken
• 50:31
  pictures with Mindy and the and the snake.
• 50:33
  Yeah. So Val and Earl are at the
• 50:38
  doctor's house, and they don't see any sign of them, but
• 50:41
  they're like, but the car is not here either.
• 50:42
  So that means that all we did was miss them.
• 50:46
  And then they hear the radio playing and they realize that
• 50:49
  the sound is coming from under the ground, and as they like are
• 50:53
  trying to brush away some of the sand, they find the the front
• 50:56
  grill. Yeah, and the headlights on.
• 50:57
  Oh my God, I love that. That's so.
• 50:59
  Cool. Yeah, Yeah.
• 51:00
  There are like so many things like this that are just like
• 51:02
  chilling. Yeah, Yep.
• 51:05
  So they they dig it up and then they ride off again and they're
• 51:09
  like, OK, we're going to ride off.
• 51:11
  We're not going to stop when the horses are tired.
• 51:13
  We're going to get off and we're going to walk.
• 51:15
  Them, yes, but the horses start getting really spooked and then
• 51:20
  they get attacked. They like kick him off and then
• 51:25
  the horses just get consumed so. They run and as they're running,
• 51:33
  like at one point they jump over like it's some kind of a
• 51:38
  structure. I don't know what it is, but
• 51:39
  it's like a cement ditch almost maybe for like irrigation.
• 51:43
  Or something. Yeah, I thought it was maybe
• 51:44
  like a drain, like a water drain, like when it actually
• 51:46
  does rain. And they jump.
• 51:48
  They don't quite make it across, but that's not a problem because
• 51:50
  the gravoid hits the cement and kills it too.
• 51:54
  Yep. Yep.
• 51:58
  So maybe not like the smart that's not the smartest graboid
• 52:00
  that they have in the pack. No, no, they tried, Yeah.
• 52:04
  So they they just examine the body and also Rhonda, just the
• 52:08
  refs like hey guys. Yeah, like, hey guys, I got more
• 52:10
  seismos. You definitely saw that this
• 52:14
  time, right? Yeah, and you definitely see
• 52:16
  this giant fucking beast here, right here.
• 52:19
  Yeah. And then they like, this is
• 52:21
  where Val gets his brand idea. He's like, hey, what can we do
• 52:24
  to get this out of here? Sell it big, big, big money.
• 52:27
  We're not selling it to Walter. We can make so much more money
• 52:31
  with this. And they're talking about it the
• 52:32
  whole time. Like Rhonda is trying to say
• 52:34
  eventually she's like, hey, listen, based on my readings
• 52:37
  when they happen and how far apart they were, there at least
• 52:39
  three more of these. So we should probably
• 52:42
  skeedaddle. Yeah.
• 52:44
  And then this is where they're like learning.
• 52:46
  They dig it up the whole body and kind of figure out how they
• 52:48
  operate. Yeah, they see those blind, so
• 52:51
  it must be operating like it's like it's Maven basis.
• 52:55
  Yeah, it's got like these little scale leg things that push it
• 53:01
  through the dirt. It kind of makes this like a
• 53:02
  centipede type thing. Yeah, basically.
• 53:04
  Like a very gigantic 1. Yeah, she said.
• 53:08
  They go running as they're talking about this because
• 53:13
  something comes up and they end up on top of a rock and they're
• 53:17
  stuck because the truck's too far away and the Graboid isn't
• 53:20
  leaving. So they are trying to guess what
• 53:23
  this thing is. Earl suspects it's a result of
• 53:26
  radiation. Rhonda thinks it's something
• 53:29
  that like, predates the fossil record and.
• 53:33
  Earl thinks they're from outer space.
• 53:36
  Valentine thinks that it's radiation.
• 53:39
  It's weird how you keep calling him Valentine instead of Val.
• 53:42
  Cuz that's what the caption. Said.
• 53:43
  Formal, and sometimes people call him Valentine.
• 53:46
  Most of the time I call him Val though.
• 53:48
  I switched between Val and Valentine.
• 53:50
  Look, man, snakes. Very formal so.
• 53:54
  So OK, yeah, it's they go to sleep and then it's the next day
• 53:58
  and they decide that they're gonna they see who if the grab
• 54:01
  boy's still there. So they play another round of
• 54:03
  rock, paper, scissors. Yeah.
• 54:05
  And then what happens is Val loses and he goes down and he
• 54:08
  tosses a shovel. And so they realize that it's
• 54:12
  still there and they're Val and Earl are equivalent, back and
• 54:15
  forth and all. It's like, I have an idea.
• 54:17
  I have an idea. The guys go wait and they're
• 54:19
  just not listening. So eventually she just takes a
• 54:21
  pole and she starts pole vaulting between rocks.
• 54:23
  And it's very Animal Crossing with the music too.
• 54:27
  So I thought that was cute. Very.
• 54:28
  Convenient that they had the sequence of rocks that lead
• 54:31
  right to the truck. Yeah, and that they had three
• 54:34
  poles large enough to pole vault with between the rocks.
• 54:36
  Exactly. Yeah, I like the shot of Earl
• 54:39
  going first and you get stuck halfway and falls all the way
• 54:41
  back. That would be me.
• 54:43
  Yeah, me too. I took gymnastics.
• 54:47
  I'm not a fearless enough person to do gymnastics.
• 54:50
  I can do some very basic acrobatics and that's it.
• 54:53
  But my coach tried to get me to do the uneven bars and I got
• 54:57
  stuck just on it. She's like, you need to go
• 54:59
  forward or backwards. I was like, I can't.
• 55:00
  She's like, you've got to do one or the other, you can't live up
• 55:03
  there. And I was like, I can't.
• 55:05
  So I relate very hard to Earl just like.
• 55:08
  I think you relate to Edgar Dean just like died of dehydration up
• 55:13
  there. This is my home for the next
• 55:15
  three days until I die. Damn, looks like some worms that
• 55:19
  we're keeping her up there. Nope, just afraid.
• 55:21
  She's just crippled with fear. So my body physically will not
• 55:26
  move, Yeah. All right, so they make it to
• 55:28
  the truck and they're like, OK, we all just got to jump for it
• 55:31
  at the same time because as soon as we hit that truck, it's
• 55:33
  common for us. So they all jump in the truck
• 55:36
  and then Rhonda climbs into the the front.
• 55:41
  Yes, yeah, she climbs into the cab and she sticks the Kia and
• 55:44
  then she hits the gas with her hands.
• 55:47
  So she's ass of like nobody's steering this truck somehow.
• 55:51
  It's just going they go, they get away and then she goes, hey,
• 55:54
  can someone help? I'm like, who's been steering
• 55:56
  the truck? This is very This isn't very
• 55:58
  bright of checking on. Something Yeah, Yeah, that's
• 56:00
  what I was thinking too. Back in popular or back at
• 56:03
  population? What's the place affection?
• 56:07
  I wrote population back at population back back at
• 56:12
  perfection. This is the opposite of
• 56:13
  perfection. Right now this is embarrassing.
• 56:16
  They are telling others about the graboids.
• 56:20
  They don't have a name for it yet.
• 56:22
  This is. Where they're arguing about what
• 56:23
  it should be called, if they should leave perfection
• 56:26
  completely. And then they realize that
• 56:29
  something is moving towards the store.
• 56:32
  Eventually somebody says something like, oh, they're
• 56:33
  going to grab us all up and that's what they come up with.
• 56:36
  Walter gets the credit for that. That's all Walter right there.
• 56:40
  Rhonda proposes that they find a way to get to the mountains
• 56:44
  because they know that they're safe with rocks.
• 56:46
  The Grab boys can't get through rocks, so that is what they need
• 56:49
  to figure out to do. Melvin Boy, who cried wolf
• 56:54
  himself? Yes.
• 56:55
  Yeah, he was fucking with Earl again, where he like threw it at
• 56:59
  Earl. I was like, watch out, Earl.
• 57:00
  He just like throws it at him and then he's laughing.
• 57:02
  He's back outside and he's playing with this ball.
• 57:05
  And then the grab boy, actually, he grabs his ball and he yells
• 57:07
  and everybody's like Melvin and. Then they go out there and
• 57:10
  they're like Melvin, and he's hiding in a shed, and so they're
• 57:15
  trying to gather everybody else inside.
• 57:16
  It's too far for him to run from the shed to the store with the
• 57:19
  Graboid right there. And they realize little Mindy's
• 57:21
  missing. And then they hear her Pogo
• 57:23
  stick outside, and they're like, I don't know, So attracting
• 57:26
  them. Yeah, Val runs for her, which,
• 57:29
  good. Good on him.
• 57:30
  Val and Mom. Yeah, it's not like just like,
• 57:32
  oh please go get my daughter. They jump on the truck and a
• 57:38
  second grab, Boyd arrives. Rhonda is caught in the barbed
• 57:41
  wire. She got like caught up at some
• 57:44
  point too so her leg is like wrapped up in it.
• 57:47
  Yeah, so she has to take off her pants to get out of that.
• 57:50
  Very convenient. Yeah, they managed to all get
• 57:54
  back into the store except for Melvin.
• 57:57
  Yeah, he's like in a shed by himself.
• 57:59
  And the cooler starts up, you know how, like, they'll cycle
• 58:03
  through and everybody freaks out and, like, unplugs it, but it's
• 58:06
  too late. So the gravel comes running
• 58:08
  through and it like messes up the flooring and eats Walter.
• 58:13
  Poor Walter. Yeah.
• 58:15
  It's causes Rhonda to fall through the window and then she.
• 58:19
  Well, she's it's not that she just she's.
• 58:22
  Climbing on top of the shelves? Yeah, trying.
• 58:24
  Not the they're. Climbing on top of the shelves
• 58:26
  to get through like the roof hatch.
• 58:28
  Like there's a roof accident. She's just like, whoa, yeah,
• 58:33
  just like dives through the window.
• 58:35
  Yeah, so they're climbing. The shelves fall over, so she
• 58:38
  falls through the window and Earl and Val, like, look over to
• 58:42
  see what's going on. She's not on the ground anymore.
• 58:44
  But then they look over to a water tower and she'd climbed up
• 58:47
  there, so she just made it. Yeah, then they clock Melvin
• 58:50
  over there in the building next door.
• 58:51
  He keeps shouting and they're like.
• 58:56
  Melvin, Melvin. Because they're all trying to
• 58:59
  like be quiet. So that way they're not creating
• 59:01
  as many vibrations by talking loudly.
• 59:03
  And Melvin doesn't this dude, he is like one of our nephews that
• 59:09
  has the an unreasonably deep voice for his Asian size.
• 59:13
  And that's, that's Melvin like you.
• 59:15
  Think Melvin has a deep voice? Yes.
• 59:17
  Oh, OK. No, I think our nephew has a
• 59:19
  deeper voice than him already. Yeah, yeah.
• 59:24
  It attacks him and then he climbs up on to the roof of his
• 59:28
  little shed there. Yep, Yep, Yep, Yep.
• 59:31
  So Bert and Heather had been outside, like away from all of
• 59:37
  this. They were trying to track the
• 59:38
  monster so that they're not caught up on current events at
• 59:41
  all. They had no luck.
• 59:43
  And they go into their house and they try and like call to the
• 59:46
  store on the radio. Yeah, Reba Heather takes some
• 59:50
  binoculars and, like, looks over there and she sees that
• 59:52
  everybody's standing on top of their building, which is weird.
• 59:55
  So yeah, Bert radios over, Val climbs into the store, they grab
• 1:00:00
  the radio, and then they're like, OK, Bert, Heather, it's
• 1:00:03
  come in your all's direction. It's underground.
• 1:00:06
  It's an underground monster. It goes based off of vibrations,
• 1:00:10
  so. You need to get to your roof
• 1:00:12
  now. But by the time they understand
• 1:00:15
  what they're saying, and they have argued the point of whether
• 1:00:18
  they need to get to the roof or not, it's too late and the grab
• 1:00:21
  boy bursts through their basement wall.
• 1:00:24
  Yeah, this seems amazing. Yeah, and they're just shooting.
• 1:00:26
  They've got like an Armory down there, so they're just shooting
• 1:00:30
  at this thing and it's like it's one of the worst types of video
• 1:00:34
  game bosses, which there's no magic trick, it's just you have
• 1:00:38
  to hit it 500 times to kill it. The.
• 1:00:41
  The term for that bullet sponge. OK.
• 1:00:44
  Thank you. I did.
• 1:00:45
  I assumed there was a name for it.
• 1:00:49
  Yeah, I'm glad to know. Yeah.
• 1:00:50
  They have a lot of health, and you just gotta, like, dwindle it
• 1:00:53
  down. Really.
• 1:00:53
  Yeah. That's all it is.
• 1:00:54
  Yeah. But I mean, they just, like,
• 1:00:56
  shouldn't have blighted this thing up with 50 different guns,
• 1:00:58
  like every single gun that they have.
• 1:01:00
  Until Bert gets the elephant gun, Yeah.
• 1:01:03
  Won't generously buy an elephant and shoots the graboid in the
• 1:01:08
  mouth, that's why. It's called an elephant gun.
• 1:01:10
  Yes, it belongs to the elephant. Yeah, that's why I'm not.
• 1:01:13
  Used to shoot elephants. That would be absurd.
• 1:01:16
  Yeah, they're always forgetting the apostrophe S.
• 1:01:18
  The elephant's gun. Yeah, well, you have to pay by
• 1:01:21
  ladder. Yeah, so it's extra cost for
• 1:01:24
  every apostrophe S. There's a Schitt's Creek
• 1:01:27
  reference for you all out there. Yes, they make it up to the top
• 1:01:31
  of their building. And they try and shoot down at
• 1:01:34
  the next graboid that has arrived and they realize they
• 1:01:36
  can't shoot through the dirt. So what you have to remember is
• 1:01:38
  this is the desert, like the sun has like baked the surface of
• 1:01:43
  the ground. So it's even though it's like
• 1:01:45
  sand and dirt, it is hard packed.
• 1:01:47
  So yeah. So every time they shoot down
• 1:01:50
  into the ground, the the dirt is the dirt and sand and whatnot,
• 1:01:54
  it's just absorbing the bullet before it has the chance to get
• 1:01:58
  to the grab away to make any meaningful impact.
• 1:02:00
  Yeah. And even the elephant's gun.
• 1:02:02
  Even the elephant's gun. Yeah, grab boys are getting
• 1:02:05
  smarter. So they are just kind of trying
• 1:02:08
  shit. They're just attacking
• 1:02:09
  buildings. They are taking the Zoe method
• 1:02:12
  to figuring out how to get what she wants.
• 1:02:15
  She's like, I'm going to rub my mouth against this thing and see
• 1:02:19
  if it knocks something loose and I can eat.
• 1:02:21
  Yeah, yeah. You know what?
• 1:02:23
  Sometimes it. Works, and in this case it is
• 1:02:26
  starting to work because this building is no longer
• 1:02:29
  structurally sound. Yeah, the roof is starting to
• 1:02:32
  collapse and then they go over to Nestor's trailer and knock it
• 1:02:36
  over, which causes him to fall off and then he just gets eaten.
• 1:02:40
  Is he related to? Nothing.
• 1:02:59
  I don't know how to have conversations with these
• 1:03:01
  sometimes. He looks like Buffalo Bill, does
• 1:03:07
  he not? I wondered last night.
• 1:03:11
  Is that Buffalo Bill's actor? I thought you would come in with
• 1:03:14
  the fun facts. I like how that's one thing,
• 1:03:18
  because sometimes you'll ask me to look specific stuff up.
• 1:03:21
  I like that you sat on that and you're like Shirley, Shirley.
• 1:03:25
  Jesse will have looked at this. I that's why I slept in so
• 1:03:29
  waiting, because I was up all night just giddy about the idea
• 1:03:32
  of a Buffalo Bill. You wanted the Buffalo Bill to
• 1:03:35
  tremors connection. You wanted to hear it.
• 1:03:38
  Yeah, and that was, I was searching for it right there.
• 1:03:42
  I was putting words in your mouth.
• 1:03:47
  I really was he Melvin's dad or Big Brother the way Melvin is
• 1:03:51
  like, not upset about anybody else that has died, but he's
• 1:03:53
  upset about Nestor. That's what I was trying to say.
• 1:03:57
  I, I, I really don't know honestly.
• 1:03:59
  And no, it's not Buffalo Bill. So, you know, everybody hope you
• 1:04:03
  guys are just as disappointed as I am.
• 1:04:06
  I thought that he was with. I thought he was like the dad,
• 1:04:11
  Mindy and Nancy's husband or something.
• 1:04:16
  I didn't know. I don't know.
• 1:04:17
  She's just. Kind of there Nancy is in her
• 1:04:19
  own separate house like she's got like the like multi colored
• 1:04:23
  little awnings over her windows and like a very eastery porch.
• 1:04:29
  You're. Right.
• 1:04:29
  Yeah, they do have their own. They want their own place right
• 1:04:31
  here, right. OK.
• 1:04:33
  Anyways, they plan to take the Cats, which is short for
• 1:04:39
  Caterpillar, which is a ground vehicle built from moving the
• 1:04:45
  ground bulldozer there you. Go.
• 1:04:50
  Well, if you struggle with jackhammer, I'm struggling with
• 1:04:52
  a bulldozer, OK. That's right.
• 1:04:54
  That's right. Yeah, they Caterpillar is a
• 1:04:57
  construction like vehicle tool. Yeah, Company.
• 1:05:02
  Very familiar with my dad's line of work.
• 1:05:04
  Yes, well you seemed unsure so I just chose trying to help.
• 1:05:12
  So yeah, they're like, OK, we got that out there.
• 1:05:14
  That should be powerful enough to not be stopped by the
• 1:05:17
  graboids. But just in case, Miguel sets a
• 1:05:20
  decoy by running a tractor off in the other direction.
• 1:05:23
  Yeah, well, you got to run to it first.
• 1:05:25
  And it's down. Like Earl was like, I'm going to
• 1:05:29
  do it because, you know, this seems like a job for Earl and
• 1:05:34
  they do rock, paper, scissors for it.
• 1:05:37
  And Earl's like, I win. That means I choose, I get to do
• 1:05:40
  it. And then Val goes to shake his
• 1:05:42
  hand and then hits him in the chest, knocks his wind out and
• 1:05:44
  he goes running. But he is being followed by a
• 1:05:48
  graboid. So Rhonda kicks the pipe away
• 1:05:50
  from the water tower to set like kind of a waterfall off and
• 1:05:55
  distract this graboid. Val comes and he picks the rest
• 1:05:59
  of them up in the Caterpillar and he heads for Bert and
• 1:06:04
  Heather. They can't stop moving or
• 1:06:06
  they're going to be attacked. And Bert and Heather are like
• 1:06:08
  those people that over pack for every occasion.
• 1:06:12
  Like every gun they gotta have. Them all.
• 1:06:13
  It's Bert. Yes, and as they're going, the
• 1:06:16
  Caterpillar hits a trap. Oh yeah, the graboid had made
• 1:06:20
  for them. And then Bert throws some TNT to
• 1:06:25
  scare them off, so they make a run for some rocks because they
• 1:06:32
  can't run the Caterpillar anymore.
• 1:06:33
  Yeah, they busted. Yeah.
• 1:06:36
  So. So they're all on the rocks.
• 1:06:37
  And Bert is furious once he realizes that the plan was to
• 1:06:41
  get to the Rockies and that they are now stuck because he's like,
• 1:06:45
  we had shelter, food, water, munitions, everything we needed
• 1:06:51
  back at the house. And you took us away from there.
• 1:06:53
  And they're like, you were already attacked in your
• 1:06:55
  basement. So you first of all, you should
• 1:06:57
  probably calm down. Yeah, they were going to die.
• 1:06:58
  Yeah, yeah. They start throwing.
• 1:07:02
  Oh, wait. I like how?
• 1:07:02
  Like when they make it to the Rock, they make the run for it.
• 1:07:05
  Yeah, I like whenever, like, cuz, like the whole time.
• 1:07:08
  Like Melvin's like, give me a gun and I go, I ain't gonna give
• 1:07:10
  you Jack shit. And then eventually Bert's like,
• 1:07:12
  here you go, Melvin. He hands him a gun and then they
• 1:07:15
  run. They make it back to the rock.
• 1:07:17
  It's like, you didn't tell me this thing didn't have bullets.
• 1:07:21
  It's so funny. That is Bert's version of
• 1:07:23
  Melvin. Yeah.
• 1:07:26
  So they come up with a plan and part of what it involves is
• 1:07:29
  throwing rocks to get the grab boy to attack.
• 1:07:32
  And then they kind of do like they call it dynamite fishing.
• 1:07:35
  So they throw the bomb down there, the grab boy bites onto
• 1:07:38
  it and then so it's. Also filmed with miniatures, by
• 1:07:41
  the way. Yeah, which is super impressive
• 1:07:44
  that they, like they went through the whole process of how
• 1:07:46
  they did this. They said it was extremely
• 1:07:48
  difficult to film, but it looks so good.
• 1:07:50
  Yeah, between, like, trying to like, have the smoke and then
• 1:07:53
  the explosion and like, all of the moving pizzas with it.
• 1:07:56
  But it's really effective. So we're down just one graboid
• 1:08:02
  left, right. So they've got to figure out
• 1:08:04
  they they're going to do the same thing.
• 1:08:06
  But because this movie doesn't want to keep retreading old
• 1:08:09
  ground, I appreciate that it doesn't work on this one because
• 1:08:12
  it's smart. It's evolving.
• 1:08:13
  It's always evolving. So it spits it back out at them,
• 1:08:16
  which means that Val and Earl and Rhonda are like thrown, like
• 1:08:20
  they're displaced from the rock because of it.
• 1:08:23
  So they are like out in open territory.
• 1:08:27
  And the rest of them that are still safely up on the rocks are
• 1:08:31
  like calling and making sound and hitting the rocks, trying to
• 1:08:34
  do everything they can to distract the crab boy.
• 1:08:36
  Val has an idea. He's got one last bomb, one last
• 1:08:40
  stick of Dine Night, one last TNT, whatever the fuck it is he.
• 1:08:43
  Learned his lesson, he planned. He's like, I got a plan.
• 1:08:46
  So he goes running towards the Cliff because he wants this
• 1:08:50
  graboid to land in his puddle of pee from the previous day.
• 1:08:55
  He throws the bomb off the Cliff.
• 1:08:57
  The graboid is going for him and it dives off the Cliff.
• 1:09:00
  No, he throws the bomb behind the graboid which scares it and
• 1:09:05
  causes it to Stampede which is his idea it.
• 1:09:08
  Just panics and just goes. Forward, which causes it to go
• 1:09:10
  through the Cliff. And I did not write my note very
• 1:09:12
  clearly. Yeah, it's OK.
• 1:09:14
  Yeah, it just eats itself off of the.
• 1:09:16
  OK, Jay, you so yeah. Dork.
• 1:09:21
  Yeah. So yeah, they.
• 1:09:26
  That that Val and Earl are fixing their truck.
• 1:09:29
  Val and Rhonda talk. They have a missed opportunity.
• 1:09:33
  She's very much hinting that she's interested in him.
• 1:09:36
  She's wanting him to make the move, but he doesn't make the
• 1:09:38
  move. And he starts to walk away, and
• 1:09:40
  then he goes, ah, Hail goes back and kisses her.
• 1:09:45
  Yep. That's it, That's it.
• 1:09:46
  That's how it ends. Click it 9.5.
• 1:09:50
  It's just such a good fucking movie, man.
• 1:09:51
  All right. I think the only thing I would
• 1:09:53
  really fix are the little sock puppet.
• 1:09:55
  That's it. Yeah, yeah.
• 1:09:57
  And that's just a small little piece right there, cuz
• 1:09:59
  everything else is really good. I'm keeping in mind 10, so 975
• 1:10:02
  is their final score. It should come as a shock to
• 1:10:07
  nobody that Talia was immediately intrigued, But the
• 1:10:10
  cows lowing at the very beginning?
• 1:10:11
  Yeah. Every time cows were on screen,
• 1:10:13
  her ears perked right up. There were lots of cows here.
• 1:10:16
  There's a lot of digging. Ty enjoys digging.
• 1:10:18
  She also watched the game where like, I put my hand underneath a
• 1:10:22
  blanket and I'm like, it's like going underneath the ground and
• 1:10:24
  she likes to like attack it. And she also finds it
• 1:10:27
  frightening when she sees my feet under a blanket at bedtime.
• 1:10:31
  Yeah, like every single night. If I adjust my foot, I see her
• 1:10:34
  like, right, Yeah. So I think she's going to give
• 1:10:38
  this an 8. OK.
• 1:10:39
  I think this is a very effective maybe for her.
• 1:10:41
  Yeah, I agree. And we already talked about
• 1:10:43
  Zoe's a Graboid. She's a graboid, She's a
• 1:10:46
  graboid. She respects the graboid.
• 1:10:47
  Those are her ultimate hunters. I don't, I don't make the rules
• 1:10:51
  for this. That's just what it is.
• 1:10:52
  She, like, modeled her whole system based off of them.
• 1:10:55
  Yeah. Yeah.
• 1:10:57
  OK. All right.
• 1:10:59
  Who'd you roll it to? I did I relate to.
• 1:11:10
  I related to Val and the whole thing of like living in the
• 1:11:15
  moment type deal. I guess you know what though, I
• 1:11:18
  guess I'll probably relate to. Earl.
• 1:11:19
  Because I'm. Yeah, you're the Earl on the
• 1:11:21
  valve. Yeah.
• 1:11:22
  And we often argue about who has to do one thing versus who's
• 1:11:25
  going to do one thing. Like I've definitely had an Earl
• 1:11:28
  moment where I'm like, Oh well, tea bags, I'm doing this like is
• 1:11:31
  like our favorite game at Pies and Pints where I try and pay
• 1:11:34
  the bill. Pay the bill before you get back
• 1:11:36
  for the bathroom. Maybe you start settling this
• 1:11:38
  with rock, paper, scissors. Our server got in on it last
• 1:11:40
  time. I was like, did they?
• 1:11:42
  Yeah, I was like, he's in the bathroom.
• 1:11:44
  Quick, bring me the bill. So not cool.
• 1:11:47
  Yeah. And then you came back and you
• 1:11:49
  were like, yeah. So yeah.
• 1:11:52
  Yeah. We're Val and Earl.
• 1:11:53
  OK. That is what it is.
• 1:11:54
  Val will live with that. Yeah, that's good.
• 1:11:56
  They're good companions. Yeah, yeah, babies.
• 1:11:59
  OK. Sequel.
• 1:12:03
  Dream sequel. Dream sequel.
• 1:12:04
  I want to keep Val and Bert. Yeah, Val and Bert keep Val and
• 1:12:10
  Earl together. Get Kevin Bacon back.
• 1:12:13
  He was supposed to come back for one of the movies eventually,
• 1:12:15
  but I think it was this one. They originally had him agreed
• 1:12:18
  to do the sequel, but he just, something happened.
• 1:12:21
  I don't know. I think it was the fact that I
• 1:12:23
  went straight to DVD or straight to VHS or whatever it was back
• 1:12:26
  then. What a shame.
• 1:12:27
  Yeah, OK. Well.
• 1:12:29
  Let's think of something. And I like, listen, I like the
• 1:12:32
  general concept of the second one where her role is like,
• 1:12:37
  bitter that he didn't make more money off of the whole thing and
• 1:12:40
  now he's being roped into like, killing more.
• 1:12:42
  That was a twist that I didn't expect.
• 1:12:44
  I like, like they have a fucking arcade game of Graboids.
• 1:12:47
  It's called Trimmers, I think. Yeah, yeah, that was so cool.
• 1:12:51
  OK, like, well, let's think of our own thing.
• 1:12:54
  No, I'm just saying I like that. But I want.
• 1:12:56
  I wanted Val to come back and I wanted him to have, like, done
• 1:13:00
  like they've almost swapped because he made good investments
• 1:13:03
  with it. He planned wisely.
• 1:13:04
  Like, that character growth continued.
• 1:13:07
  Yeah. So he made good investments.
• 1:13:09
  So he's living the high life. Bert.
• 1:13:11
  Why do I keep calling? It's because Bert is in every
• 1:13:14
  goddamn movie. Yeah.
• 1:13:15
  Earl is like bitter about it. So they've got like a friendship
• 1:13:19
  falling out. So like, I want basically the
• 1:13:21
  same movie, but I want to add in this extra complication with Val
• 1:13:24
  and they're like friendship situation.
• 1:13:27
  OK, all right. I see them working through that.
• 1:13:29
  Yeah, yeah, he's the missing piece.
• 1:13:31
  Yeah. Yeah, you need to get Kevin
• 1:13:33
  Bacon. So.
• 1:13:35
  Talia agrees. She just wolfed.
• 1:13:36
  At that, she was like, absolutely Kevin Bacon.
• 1:13:38
  Bacon, Bacon would do. We have bacon.
• 1:13:42
  Where's bacon? Bacon, bacon, bacon.
• 1:13:45
  OK, tagline. Tagline.
• 1:13:49
  I mean, we're kind of riffing there for a.
• 1:13:52
  Bit yeah, we were. I mean, I think like it consumes
• 1:13:54
  you was pretty good. It's deep.
• 1:13:58
  Shake and bake shaken bacon. I think Kevin Bacon and the
• 1:14:05
  earthquake and. Shake.
• 1:14:10
  Shake. Bacon Earthquake.
• 1:14:16
  Yeah, that's too good. Thank.
• 1:14:25
  You The tricky thing about this tagline segment is we are not
• 1:14:30
  like editing them in our heads as we're saying them.
• 1:14:33
  We're Griffing as we go and you never know how it's going to end
• 1:14:37
  up after it's out of your mouth. That's so good.
• 1:14:47
  OK, man. Well, man, where do we go from
• 1:14:51
  here? I think we go now.
• 1:14:54
  Yeah, I guess it's time for reviews.
• 1:14:58
  OK, I found a one out of 10 review on IMDb and this person
• 1:15:07
  is a fucking nerd and I love it for all the reasons they don't
• 1:15:11
  like this movie. It's Yeah, I kind of respect the
• 1:15:15
  dedication to them being a little nerd angry about it, OK.
• 1:15:20
  And this was written in 2002, so it's not like the most recent
• 1:15:24
  one, but it wasn't like right after the movie came out either.
• 1:15:27
  OK, this movie belongs in the extreme realms of absolute
• 1:15:31
  fantasy. I find it hard to believe that
• 1:15:33
  there are viewers who regard this as possibly the greatest
• 1:15:35
  sci-fi film of all time. A giant worm, one of the most
• 1:15:39
  basic forms of life, has the mental capacity to play in a
• 1:15:42
  strategy capable of outwitting the residents of a small town
• 1:15:45
  town which consisted of maybe a dozen rickety old buildings.
• 1:15:49
  Bearing in mind this is a sun big desert, let us not confuse
• 1:15:52
  the desert with the beach where sand is soft and only the very
• 1:15:55
  top layer of is of a manageable texture.
• 1:15:57
  Now we have a creature capable of repelling its soft body
• 1:16:00
  through the ground at speeds which I estimated to be way in
• 1:16:03
  excess of any man made device. It sucks a 2 ton station wagon
• 1:16:07
  down into the depths. The headlights were still on
• 1:16:09
  hours later. Some battery, I must get one and
• 1:16:12
  wraps a tentacle around the axle of a large pickup truck, almost
• 1:16:16
  preventing it from moving. The acting was poor as
• 1:16:18
  demonstrated and the casual approach to the most precarious
• 1:16:21
  situations. I am well aware that a degree of
• 1:16:24
  make believe is necessary in order to provide acceptable
• 1:16:27
  entertainment. That is what sci-fi is all
• 1:16:29
  about. This film strains any concept of
• 1:16:32
  logic to a level which I find completely unacceptable.
• 1:16:36
  The Alien series and both versions of the Thing are way
• 1:16:38
  better and I could list numerous other horror and sci-fi movies
• 1:16:41
  superior to Tremors. I will not be wasting my time
• 1:16:44
  with the sequels. Did this person watch this on
• 1:16:47
  the Sci-fi channel? And the other It's got to be
• 1:16:49
  this isn't science fiction. It's fiction, all right.
• 1:16:52
  Where's the science? Buddy, let me tell you, stick to
• 1:16:57
  National Geographic and documentaries because if you
• 1:17:01
  can't, suspend your disbelief for a bit to just enjoy this
• 1:17:04
  movie. How angry do you think he would
• 1:17:06
  be if he watched a Natty G documentary and saw that it was
• 1:17:10
  directed by none other than Ron Underwood?
• 1:17:14
  I like how in the movie here, Earl's like, no, we're not
• 1:17:18
  taking this to People magazine, we're taking it to National
• 1:17:20
  Geographic. Yeah, yeah.
• 1:17:23
  Like, I get it. But like, because there are
• 1:17:25
  certain things that I get really hung up on.
• 1:17:27
  Let us not reopen the Mandy Window debate.
• 1:17:32
  That, well, I'm going to lump you in with this person and that
• 1:17:35
  one right there and just let it go.
• 1:17:36
  You just got to let some things go, man.
• 1:17:39
  I, I get, I just, I kind of really appreciate how seriously
• 1:17:43
  they take giant worms. And you know what?
• 1:17:45
  It's not a. Worm, though, it's its own
• 1:17:47
  species. It's like calling like people
• 1:17:50
  monkeys. Like we're not monkeys.
• 1:17:51
  Do you think like monkey can't have its own civilization?
• 1:17:55
  I mean, we've got several science fiction movies about
• 1:17:57
  that and I would love to read this.
• 1:17:58
  Person he's got a review out there for hold on, hold on.
• 1:18:01
  I guarantee you. I guarantee.
• 1:18:03
  You pause this. Pause this.
• 1:18:04
  What the fuck is that movie called Revenge of the Apes?
• 1:18:06
  Planet of the Apes? Yeah, OK, apparently it's not as
• 1:18:13
  simple to look at a person's other reviews as I thought so.
• 1:18:16
  He's probably got 1 though. Yeah, I don't want to dig that
• 1:18:19
  deep, but yeah, I'm. Very curious.
• 1:18:21
  The point is just. Like suspend, like you gotta he
• 1:18:27
  recognized it, but at the same time he's like, but I'm not
• 1:18:29
  gonna, you know, I get that I don't get.
• 1:18:32
  It I get it, I get it because there's some things that you
• 1:18:35
  just can't let go of. This man took his biology class
• 1:18:39
  where they dissected a worm very, very seriously.
• 1:18:41
  He's like, you don't understand, you can cut this thing in half.
• 1:18:43
  It's just going to grow a new brain because it's brain is so
• 1:18:45
  dumb like this. He took it very seriously so.
• 1:18:49
  Fine. OK, let's do listener reviews
• 1:18:53
  then. OK, All right.
• 1:18:54
  Over on Instagram, Michael Lee Howard says tremors is classic
• 1:19:00
  word perfection. That's.
• 1:19:01
  What she? Did the cast is amazing, the
• 1:19:04
  humor top notch and the pacing and perfection is perfection.
• 1:19:08
  I have seen tremors so many times over the years and never
• 1:19:11
  gets worse. Tin Alton.
• 1:19:13
  Nice, yeah. It is.
• 1:19:15
  It really never disappoints. It's.
• 1:19:17
  Only my second time watching it, but it was just as good as the
• 1:19:20
  first time this time around. Yeah, I I love this movie.
• 1:19:23
  It was a really, really good Tucker says 10 out of 10 movie
• 1:19:28
  Fantastic monster slash effects, fun story, all time characters.
• 1:19:32
  Bert Gummer for life. You know what, I my problem with
• 1:19:36
  Bert Gummer and this one is that his hair is darker.
• 1:19:39
  He's got the mutton chops, sort of sideburns.
• 1:19:44
  That's the sort of one. He's got the sideburns and he's
• 1:19:46
  got a little swoop on his hair. And I've been watching The Kings
• 1:19:49
  of Tupelo and like in my head all I can be like, is he trying
• 1:19:52
  to be a fucking Elvis impersonator too?
• 1:19:55
  OK, I guess that's that's the direction of that documentary
• 1:19:57
  goes in. I told you that it's about Elvis
• 1:20:01
  impersonators. No, you did.
• 1:20:02
  You said I did. You know, you said it's weird.
• 1:20:04
  That's all you said. I must have been explaining it
• 1:20:07
  to somebody at work. Yeah, you just said it's weird.
• 1:20:10
  Yeah, no, it starts off right away with Elvis impersonations.
• 1:20:13
  OK, yeah, yeah, I love Bert also.
• 1:20:16
  He's a great character. OK, and the final review over on
• 1:20:21
  Blue Skies from Kevi Kev, who says an original creature
• 1:20:24
  feature that vaults over its limited budget via a well paced
• 1:20:28
  plot, relatably fun characters, and hiding the antagonist enough
• 1:20:33
  for our minds to try and fill in the mysterious blanks.
• 1:20:36
  Easy five stars. I had to count the stars.
• 1:20:39
  Here it's five stars. I'm leaving that in.
• 1:20:45
  I'm leaving the pause where you counted.
• 1:20:47
  I'm leaving you saying that you counted.
• 1:20:48
  Intended for that to be included.
• 1:20:52
  I appreciate the number of people who put puns in their
• 1:20:54
  reviews. You guys are people.
• 1:20:56
  Yeah, that's fun. Yeah, man, this movie is just
• 1:21:00
  great. Yeah, I mean, I agree with what
• 1:21:03
  you guys are saying with the characters.
• 1:21:05
  The pacing's good. The only way to have is the so
• 1:21:08
  many being on rocks being such a big part of this movie, but
• 1:21:12
  whatever. That's a little nitpick, but
• 1:21:16
  yeah, man, this is a good one. I love this.
• 1:21:18
  Yeah. All right.
• 1:21:21
  All right. I think that wraps us up on
• 1:21:22
  Tremors. Yeah, we don't have next week's
• 1:21:25
  maybe yet because it's the start of a new month.
• 1:21:27
  So you're just going to have to pay attention to our social
• 1:21:30
  media this weekend when we post the February schedule.
• 1:21:34
  Our patients already know what franchise are going to be
• 1:21:37
  starting next because we've announced that in our bonus
• 1:21:39
  episode before we started the commentary.
• 1:21:43
  But we're going to have a fun little announcement up to of our
• 1:21:46
  own before we put out the schedule of what our next
• 1:21:48
  franchise is. So I'm excited.
• 1:21:50
  We're going to have fun with that, but in the meantime, you
• 1:21:55
  can follow us on social media. We're on Instagram and threads
• 1:21:58
  at least favorite scary movie podcast.
• 1:21:59
  We're on Blue sky, at least favepod.
• 1:22:01
  Our website's What's your least favorite scary movie.com and you
• 1:22:04
  can e-mail us at least favorite scarymovie@gmail.com.
• 1:22:06
  Yep, and we would like to shout out our patrons over on the
• 1:22:09
  Patreon, we have Joe. Farikatron.
• 1:22:12
  As is his name, Amber, Michael or Zombie Tyler, Chad and
• 1:22:17
  Johnny. Thank you guys so, so much for
• 1:22:21
  being patrons. It helps.
• 1:22:23
  It means a lot to us to be able to, you know, kind of support
• 1:22:26
  the show like that. And yeah, lets us get things for
• 1:22:30
  the show to make it even better. So thank you guys so much.
• 1:22:32
  If you can't be a patron, we get it.
• 1:22:35
  Do other things that help the show, like rating us on whatever
• 1:22:38
  platform you listen on, leaving a review if you feel so
• 1:22:40
  compelled sharing these episodes always really good.
• 1:22:44
  Let people know. I know you all know people that
• 1:22:47
  love Tremors out there. If you know, if you got anybody
• 1:22:51
  out there, send them this episode.
• 1:22:52
  Tell them hey, check this shit out right there.
• 1:22:54
  Absolutely. Yeah, and talking about Kevin
• 1:22:56
  Bacon. Talking about practice.
• 1:22:58
  Talking about practice. Talking about practice.
• 1:23:01
  We're talking about practice and the game this episode, so let
• 1:23:03
  them know about it. Yeah, it's it's 1-2 be heard.
• 1:23:07
  So thanks everybody for being here.
• 1:23:09
  Thanks everybody for supporting us and look forward to February.
• 1:23:14
  So excited. New franchise, new stuff, new
• 1:23:17
  franchise. Get a holiday next month to do
• 1:23:19
  an episode on. Yeah, she's dropping her quip
• 1:23:21
  board again. Listen, I'm trying to be better
• 1:23:24
  on keeping on top of like posting notes and our scores.
• 1:23:27
  So I was trying to do that while you did the rap.
• 1:23:29
  All things to come for February. Yeah, yeah.
• 1:23:31
  So thanks guys for being here. We will catch you guys next
• 1:23:34
  month. Until then, bye.
• 1:23:50
  Jesse, why do you keep it? Why do you keep doing this if
• 1:23:53
  you know that this happens every single time?
• 1:23:55
  Listen, we don't have an ideal setup.
• 1:23:57
  Put it in your lap. I can't read it if it's in my
• 1:24:00
  lap. OK.