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Child's Play - Thirsty For Gore · Thirsty For More - Movie Review

• 0:03
  Speaker 1: Hello, everybody. Hello.
• 0:13
  Speaker 2: Hello, everybody. Hello. And hello, everyone, and welcome to Thirsty
• 0:20
  Speaker 2: for Goran. I am your host, Milenko. I am your host, Goran.
• 0:30
  Speaker 3: And.
• 0:30
  Speaker 4: today for thirsty for gore we haven't talked to you
• 0:34
  Speaker 4: in a really long time and we're just gonna jump
• 0:36
  Speaker 4: back into it we are called thirsty for chucky.
• 0:42
  Speaker 1: We're chucky for more i.
• 0:49
  Speaker 2: Don't know we weren't able to we weren't able to
• 0:51
  Speaker 2: decide on a name it is it's chucky for more
• 0:53
  Speaker 2: dude that's what it is.
• 1:07
  Speaker 1: I don't know if I like how you said that word, dude.
• 1:34
  Speaker 2: We're back. We're so back, folks.
• 1:38
  Speaker 1: Okay.
• 1:38
  Speaker 2: Okay, so what? 1988's Child's Play?
• 1:43
  Speaker 1: 1988's Child's Play.
• 1:46
  Speaker 2: The year of your birth.
• 1:47
  Speaker 1: Not Chucky.
• 1:48
  Speaker 2: Not Chucky.
• 1:48
  Speaker 1: Not Bride of Chucky. Not Child's Play.
• 1:52
  Speaker 2: It's just Child's Play. It's before.
• 1:53
  Speaker 1: MGM's weird logo.
• 1:56
  Speaker 2: It was before, you know, things started to be known
• 1:59
  Speaker 2: as Freddie and Chucky. It was like, No, it was
• 2:02
  Speaker 2: Child's Play. Have you seen them? Yeah, Freddy or Jason
• 2:04
  Speaker 2: or Michael. No one would say, have you seen the
• 2:05
  Speaker 2: new Chucky?
• 2:06
  Speaker 1: They will say, have you seen the new Hellraiser, though?
• 2:09
  Speaker 1: They won't say, did you see the new Pinhead? Pinhead
• 2:13
  Speaker 1: is not the main character in that movie.
• 2:15
  Speaker 2: Well, no, it's a centibite. And the one raising hell
• 2:19
  Speaker 2: is not them. They're the centibites. Centibites.
• 2:23
  Speaker 1: Centibites? Yeah. You said centibites.
• 2:26
  Speaker 2: Oh, is it?
• 2:27
  Speaker 1: I think it's centibites.
• 2:28
  Speaker 2: Oh, it's centibites. Sorry, yeah. Cinnabon. Explorers in the further
• 2:32
  Speaker 2: regions of experience. Demons to some, angels to others.
• 2:40
  Speaker 1: They're the Cinnabons. They come out and they're like... The, like, gross, melty.
• 2:47
  Speaker 2: One who's... Oh, man, that one's the best one.
• 2:53
  Speaker 1: This movie, I would say, perfect runtime.
• 2:57
  Speaker 2: Oh, my God.
• 2:58
  Speaker 1: An hour and 27 minutes. It just, like, powers through
• 3:01
  Speaker 1: the beginning.
• 3:01
  Speaker 5: Totally.
• 3:02
  Speaker 1: I'm going to plosive so much in this. It powers through.
• 3:06
  Speaker 2: Powers through. How did you know?
• 3:11
  Speaker 1: Powers booth so much charles lee ray fucking running down
• 3:17
  Speaker 1: it right immediately immediately immediately but it's higher dude i
• 3:23
  Speaker 1: noticed that the voice was higher and we were just
• 3:27
  Speaker 1: imitating the lower and lower registers of.
• 3:29
  Speaker 2: Chucky it's like when you when michael jackson does the
• 3:33
  Speaker 2: low voice reveal.
• 3:34
  Speaker 1: Dude believe it or not um i'm afraid to watch
• 3:37
  Speaker 1: scary movies honestly uh don't quite like to watch them
• 3:41
  Speaker 1: very much oh yeah totally he's he's definitely he's definitely
• 3:46
  Speaker 1: revealing something he's low voice maxing and and chuck norris
• 3:51
  Speaker 1: i mean mike norris uh the cop running down the
• 3:54
  Speaker 1: hallway trying to get slobbery slobbery uh mark ruffalo.
• 4:01
  Speaker 3: This little boy nicholas uh sat across the table from
• 4:04
  Speaker 3: her and i was coloring with her and doing the
• 4:07
  Speaker 3: things you do with a preschool child.
• 4:09
  Speaker 1: Absolutely.
• 4:10
  Speaker 3: And he looked up at me and he said, are
• 4:14
  Speaker 3: you the Hulk?
• 4:17
  Speaker 1: Wearing that sweater, like wearing just cool sweaters throughout because
• 4:22
  Speaker 1: he's a detective, not a police officer.
• 4:24
  Speaker 2: Yeah, yeah. He's got to have some drip. Charles Lee Ray.
• 4:28
  Speaker 1: Wearing that iconic like long coat.
• 4:31
  Speaker 2: The Trenchcoat Mafia Charles Lee Ray. Dude, I fucking immediately,
• 4:37
  Speaker 2: there's so much lore with the way they display Eddie
• 4:40
  Speaker 2: Caputo and Charles Lee Ray. Today only, free readings by
• 4:44
  Speaker 2: Teresa Caputo.
• 4:46
  Speaker 1: Eddie Caputo, Charles Lee Ray, and Mike Norris all having
• 4:50
  Speaker 1: this like weird history together that you've never seen.
• 4:53
  Speaker 2: Totally implied history.
• 4:54
  Speaker 1: Implied history. And he's like, finally got him. It's the
• 4:59
  Speaker 1: end of that movie into this movie.
• 5:02
  Speaker 2: Totally, dude.
• 5:03
  Speaker 1: It feels like the climax of that movie where he's
• 5:08
  Speaker 1: hunting down Charles Lee Ray.
• 5:09
  Speaker 2: If ever we deserved.
• 5:12
  Speaker 1: A prequel movie, it's to see the rituals, the paintings
• 5:17
  Speaker 1: that obviously Charles Lee Ray is doing of the portraits
• 5:22
  Speaker 1: of himself with John the fucking.
• 5:25
  Speaker 2: A voodoo guy. Oh my god, with King Willie, dude. Yeah,
• 5:29
  Speaker 2: this movie has its own King Willie.
• 5:31
  Speaker 1: And then going into Chris Sarandon's performances. Incredible.
• 5:36
  Speaker 2: That's the cop. He's amazing. He's amazing.
• 5:40
  Speaker 1: Mark Ruffalo as this guy would have been fucking... He
• 5:43
  Speaker 1: did so much like... Oh, Mark Ruffalo would totally be...
• 5:45
  Speaker 1: But like Mark Ruffalo from like three years ago would
• 5:48
  Speaker 1: have been this guy. Would have been this guy. Really well, too. Totally.
• 5:51
  Speaker 1: Because he sells... The emotion... Everybody sells the emotional stakes
• 5:56
  Speaker 1: of how fucking stupid this movie is.
• 5:59
  Speaker 2: Like, it's so dumb. Yeah.
• 6:01
  Speaker 1: But, like, dumb is, like, as in, like, it's very gimmick.
• 6:06
  Speaker 1: It's very gimmick, and it transcends the gimmick every single time.
• 6:11
  Speaker 2: Exactly. It has to kind of earn your good faith.
• 6:15
  Speaker 1: I mean, I think it earns the good faith immediately.
• 6:17
  Speaker 1: It doesn't... It's just, like, the, like, the fact that
• 6:20
  Speaker 1: you're feeling the like we said, the ending of another
• 6:24
  Speaker 1: movie at the beginning of this movie.
• 6:27
  Speaker 2: I love the reveal of the text Child's Play.
• 6:30
  Speaker 1: Over the Chucky dolls.
• 6:34
  Speaker 2: The good guys dolls, please.
• 6:35
  Speaker 1: The good guy dolls, yeah.
• 6:36
  Speaker 2: Because they all have their own names. Totally, totally.
• 6:39
  Speaker 1: And the fact that every part of exposition in the
• 6:44
  Speaker 1: movie is really like fuels the movie in a way that's, like,
• 6:49
  Speaker 1: not corny. Because, like, Charles Lee Ray getting shot and
• 6:52
  Speaker 1: then being like, I gotta find something.
• 6:55
  Speaker 2: Somebody.
• 6:56
  Speaker 1: Somebody, yeah. Because he knows he needs a body to
• 6:58
  Speaker 1: go into. Yeah, because he gives you hints of what
• 7:01
  Speaker 1: it is. Totally. And you're just like, oh, what does
• 7:04
  Speaker 1: he mean? What's going on, right?
• 7:05
  Speaker 2: I loved it. The slow reveals. And then, okay, is
• 7:10
  Speaker 2: this one Haki Dui Dembela or is it Hade Dui Dembela?
• 7:13
  Speaker 1: It's Hade. It's Hade.
• 7:14
  Speaker 2: It's Hade Dui Dembela.
• 7:17
  Speaker 1: Also, it feels a little bit like he's just making
• 7:19
  Speaker 1: it up. It feels like he's just improvising the entire thing.
• 7:24
  Speaker 1: I mean.
• 7:25
  Speaker 2: It's kind of, I think it's like supposed to be
• 7:27
  Speaker 2: like patois based.
• 7:28
  Speaker 1: It's definitely supposed to be some sort of patois.
• 7:35
  Speaker 2: Hockey dewey dembella.
• 7:39
  Speaker 6: Give me the power his voice is so good it's
• 7:42
  Speaker 6: so good it's so good it's so powerful it is
• 7:46
  Speaker 6: it's and it's like it's kind of like weirdly commanding
• 7:49
  Speaker 6: so that like the contrast between the doll voice and
• 7:52
  Speaker 6: then the body.
• 7:53
  Speaker 1: Yeah totally totally um the fact that uh He's got
• 7:59
  Speaker 1: a very Vince Gallo energy to it, too.
• 8:02
  Speaker 2: I'm kind of panicked.
• 8:03
  Speaker 1: Yeah, kind of panicked.
• 8:06
  Speaker 2: Where are they?
• 8:07
  Speaker 7: Claiming I'm overreacting like the black kids that shot Rackman.
• 8:11
  Speaker 1: Are they in Chicago? They're in Chicago, dude.
• 8:12
  Speaker 2: Yeah, yeah. Which is gorgeous. I was going to say, like.
• 8:15
  Speaker 1: It's a character in the movie, dude.
• 8:16
  Speaker 2: Being from a city by the lake, like Toronto, it's
• 8:22
  Speaker 2: nice to see these kinds of cities, a city by
• 8:24
  Speaker 2: the lake, be portrayed in, you know, and not one
• 8:27
  Speaker 2: of the coastals, you know? Yeah, totally.
• 8:30
  Speaker 1: And the fact that, like, you know, it's like, give
• 8:32
  Speaker 1: it up, Ray. It's over. You know, him being, like,
• 8:36
  Speaker 1: the cop being sort of this guy who knows this
• 8:40
  Speaker 1: guy's history and revealing his own personal history with him
• 8:46
  Speaker 1: is really nice. And then, like, it's a perfect opening
• 8:50
  Speaker 1: of all the stuff that you need to, like, send
• 8:55
  Speaker 1: you into this world. And then it pulls the stakes back.
• 8:58
  Speaker 1: so far back into this really, really nice loving. Yeah.
• 9:07
  Speaker 2: Giant apartment that a single mom on a salary from
• 9:10
  Speaker 2: working at the corner store could not corner store, but
• 9:14
  Speaker 2: like a department store. But this was like nineties when
• 9:17
  Speaker 2: like department store was like, there was like a status
• 9:19
  Speaker 2: to it.
• 9:19
  Speaker 1: Yeah, totally. I, yeah. The, the feeling of, of panic too, that, that,
• 9:26
  Speaker 1: Only Brad Dourif can really sell is like so palpable
• 9:32
  Speaker 1: in the movie. The like look on his face when
• 9:34
  Speaker 1: he gently like is the it's the like graying out
• 9:39
  Speaker 1: portion before you die of like falling over on the
• 9:43
  Speaker 1: dolls and like seeing the doll and being like, yes,
• 9:47
  Speaker 1: this is like my final thing.
• 9:49
  Speaker 2: Right?
• 9:50
  Speaker 1: And then all like, Hade, Dewey, Dembella, give me the
• 9:54
  Speaker 1: power I beg of you!
• 9:57
  Speaker 2: Setelizamitano, sakuzete! Is it problematic? Probably, dude. You know what?
• 10:19
  Speaker 2: But it's, like, sold by the movie.
• 10:23
  Speaker 1: Let me... I was, like, getting into it and, like,
• 10:26
  Speaker 1: remembering the past, but also being like, oh, man.
• 10:30
  Speaker 2: This is... This feels.
• 10:32
  Speaker 1: But then when it gets to John... Oh, dude, I
• 10:35
  Speaker 1: can't wait to talk about that. We gotta talk about John.
• 10:41
  Speaker 2: John! Listen.
• 10:44
  Speaker 1: We get to Alex Vincent, who plays Andy.
• 10:51
  Speaker 2: Okay, okay, I'm sorry. Before we start, as soon as
• 10:55
  Speaker 2: I saw this child, dude, like... No sentience at all.
• 11:00
  Speaker 1: Oh, dude. Like, how did he do this?
• 11:03
  Speaker 7: The performance is, like, amazing. I saw so much of
• 11:08
  Speaker 7: myself in this where when he comes down and he's
• 11:12
  Speaker 7: making that disgusting fucking breakfast, which I would totally have, like,
• 11:18
  Speaker 7: thought about doing in this way.
• 11:20
  Speaker 2: Dude, can I tell you a thirsty for more?
• 11:22
  Speaker 1: Yeah. thirsty for more one.
• 11:24
  Speaker 2: Time i tried to make a special juice for and
• 11:28
  Speaker 2: i did this andy concoction dude i fucking combined like
• 11:38
  Speaker 2: six different juices with also like milk and other things
• 11:42
  Speaker 2: too because i was like oh he's gonna want some
• 11:45
  Speaker 2: He's going to want some of this, too. And let
• 11:47
  Speaker 2: me tell you, when, you know, in this movie, the
• 11:50
  Speaker 2: mom reacts. Karen reacts in, like, hmm, I'm going to
• 11:56
  Speaker 2: eat this later on. It's just fucking disgusting. Is that
• 11:58
  Speaker 2: what he said? Yeah, while mama was, like, mossing the otters.
• 12:13
  Speaker 1: Which means you could poison him. But he was just trying.
• 12:20
  Speaker 1: But it's like, the lack of sentience.
• 12:25
  Speaker 2: In this child actor.
• 12:26
  Speaker 1: But then stuff like, I saw this one. Oh my god, dude.
• 12:29
  Speaker 1: I saw this one. I saw this one.
• 12:37
  Speaker 2: I'll never forget.
• 12:40
  Speaker 1: The lack of sentience is incredible because of the fact
• 12:44
  Speaker 1: that like, you're like, fuck dude. Like you are like,
• 12:50
  Speaker 1: he's playing it so perfectly because he's just playing himself, man.
• 12:55
  Speaker 2: Like the way that like this performance made me kind
• 12:59
  Speaker 2: of sad, dude, the entire time. Like I was, I just,
• 13:02
  Speaker 2: I just felt bad for him. Like I was like,
• 13:05
  Speaker 2: no someone take this child home like the entire time
• 13:10
  Speaker 2: i was thinking like and like the thing is like
• 13:13
  Speaker 2: you can tell that they shot a lot of the
• 13:16
  Speaker 2: scary stuff around him but definitely there's times in it
• 13:20
  Speaker 2: where he's like asked to do yeah really too much
• 13:25
  Speaker 2: too much like the crying scene later on dude like
• 13:28
  Speaker 2: i was like what Are we seeing like a traumatic episode?
• 13:33
  Speaker 2: Like it felt like we were.
• 13:35
  Speaker 1: It kind of does. Yeah. Him like making, burning, making
• 13:40
  Speaker 1: the toast.
• 13:41
  Speaker 5: Putting cereal in the already sugary cereal because it's like,
• 13:50
  Speaker 5: like what's it perfectly portrays the kind of childlike mind
• 13:55
  Speaker 5: of like, I like this.
• 13:57
  Speaker 2: Yeah and this is how i.
• 13:58
  Speaker 1: See my mom make this but not understanding how much
• 14:03
  Speaker 1: diabetes you would get from slathering butter taking the butter
• 14:09
  Speaker 1: and putting it on one of the burnt toasts and
• 14:13
  Speaker 1: like it's like a fist size of butter and then
• 14:17
  Speaker 1: and then seeing on completely burnt toast yeah and then
• 14:23
  Speaker 1: seeing the good guy show that is very much but
• 14:27
  Speaker 1: like seeing the giant good guy the the super mario
• 14:31
  Speaker 1: brothers tv show version of a guy with the giant
• 14:37
  Speaker 1: head doing coke.
• 14:38
  Speaker 2: Underneath and he's like hey kids you want a good
• 14:43
  Speaker 2: guy talk.
• 14:44
  Speaker 1: I saw this one yeah you want a good guy
• 14:47
  Speaker 1: doll uh and then and then the chucky doll turning
• 14:49
  Speaker 1: and being like hi i'm friends till the end um.
• 14:57
  Speaker 2: It sounds like chucky every chucky doll sounds like they're
• 15:01
  Speaker 2: they work in finance now it's like finance bro chucky
• 15:06
  Speaker 2: i uh thought that all of this was really good
• 15:10
  Speaker 2: in the in the early 80s i believe or late
• 15:12
  Speaker 2: 70s they lifted a moratorium on how kids could be
• 15:17
  Speaker 2: marketed to. And I think that's part of what this
• 15:21
  Speaker 2: movie is about initially, maybe like the loose loosening of
• 15:25
  Speaker 2: restrictions on like how children are marketed to.
• 15:30
  Speaker 1: Yeah, sure.
• 15:30
  Speaker 2: Sure.
• 15:31
  Speaker 1: Cause like in the end, ultimately like a lot of
• 15:34
  Speaker 1: the movie seems to be about like, it feels a
• 15:38
  Speaker 1: lot like kids relationships, uh, with, their parents and their
• 15:45
  Speaker 1: their kind of attitudes towards things like toys how toyetic
• 15:50
  Speaker 1: can you get being like oh this is like is
• 15:54
  Speaker 1: this imagination is this something to be worried about their relationship.
• 16:01
  Speaker 2: It's so nice well and you can tell that like
• 16:04
  Speaker 2: the the no dad is just kind of implied like
• 16:08
  Speaker 2: He's mentioned once as, like, his dead dad sent Chucky
• 16:11
  Speaker 2: down from heaven to be his friend.
• 16:13
  Speaker 1: I know, I know.
• 16:14
  Speaker 2: Which is, like, adds, like, an element to this movie
• 16:16
  Speaker 2: that's so much sadder.
• 16:18
  Speaker 1: It's very sad.
• 16:19
  Speaker 2: Like, who has a dead dad?
• 16:20
  Speaker 1: And doesn't have, like, clearly doesn't have a lot of money.
• 16:23
  Speaker 1: When he looks at the good guy doll show, and
• 16:28
  Speaker 1: he's carrying the burnt toast.
• 16:30
  Speaker 2: And then he sees... That he sees the big box.
• 16:34
  Speaker 2: And makes... like the most heartbreaking smile that you've ever
• 16:38
  Speaker 2: seen where you're like, Oh no. Yeah. Yeah. And then
• 16:43
  Speaker 2: this is such a kid's movie.
• 16:45
  Speaker 1: It's such a kid's movie. It's such a kid's movie.
• 16:47
  Speaker 1: It's like, it's better than gremlins. It's better than all
• 16:50
  Speaker 1: the kids movies that.
• 16:51
  Speaker 2: Are stakes because Chucky's like, you're not fucking bitch.
• 16:55
  Speaker 1: You stupid bitch.
• 16:57
  Speaker 2: You filthy slut.
• 16:58
  Speaker 1: Did you fuck with me? Not gremlins.
• 17:00
  Speaker 2: Not gremlins.
• 17:01
  Speaker 1: I was talking about, uh, what's it called? uh what
• 17:06
  Speaker 1: does this richard donner one fuck with the kids in
• 17:09
  Speaker 1: the cave and sloth oh goonie goonies yeah it's like
• 17:13
  Speaker 1: goonies it's in that category of movie and then we're
• 17:17
  Speaker 1: introduced to the the genius level of acting that katherine
• 17:22
  Speaker 1: hicks does dude you couldn't do this movie without her
• 17:25
  Speaker 1: performance like everyone's performance is fucking amazing it's all amazing but.
• 17:31
  Speaker 2: There's so much this acting i I'm making a face.
• 17:35
  Speaker 1: You didn't describe the face. I'm making a face.
• 17:38
  Speaker 2: You should describe it.
• 17:39
  Speaker 1: It's like a level of, well, it's slightly open mouth,
• 17:43
  Speaker 1: slightly open eyes with concern, watery eyes at the bottom.
• 17:48
  Speaker 1: And am I doing a good job?
• 17:52
  Speaker 2: Yeah.
• 17:52
  Speaker 1: Well, it's getting weirder and weirder because you're listening to
• 17:55
  Speaker 1: the description and then altering it to get to what
• 18:00
  Speaker 1: I'm describing, but you were already doing it well. But her, yeah,
• 18:03
  Speaker 1: her almost crying eyes in the entire movie is incredible.
• 18:08
  Speaker 1: She looks so stressed and worried and happy to see
• 18:13
  Speaker 1: her son all the time.
• 18:14
  Speaker 2: Dude, that reminds me of that clip that, I don't
• 18:19
  Speaker 2: know if Kaze maybe sent it to us recently, of
• 18:22
  Speaker 2: the guy from Mulholland Drive who's like, I learned how
• 18:25
  Speaker 2: to act on the set of Mulholland Drive when David
• 18:28
  Speaker 2: Lynch told me. Just... Do less, okay? And he's like,
• 18:33
  Speaker 2: I realize you just need to do less. The camera
• 18:36
  Speaker 2: picks up everything.
• 18:37
  Speaker 8: And David, who is one of the loveliest people who's
• 18:40
  Speaker 8: ever lived, came and sat next to me and was
• 18:42
  Speaker 8: just like, wow, that was really good, Patrick.
• 18:45
  Speaker 1: Really good.
• 18:46
  Speaker 8: And I'm like, thank you. And he said, so, you know,
• 18:48
  Speaker 8: let me just talk to you. You're just having a dream.
• 18:51
  Speaker 8: You had a bad dream, right? You've had bad dreams.
• 18:53
  Speaker 8: And I'm like, yeah, yeah, yeah. And he goes, and
• 18:56
  Speaker 8: it's just... He didn't want to say the word simple,
• 18:59
  Speaker 8: but I could tell what he was telling me was
• 19:01
  Speaker 8: do a little bit less.
• 19:03
  Speaker 2: It's true.
• 19:03
  Speaker 1: Yeah, it's true.
• 19:04
  Speaker 2: I need to stop doing.
• 19:06
  Speaker 1: You need to stop doing. That was just melting.
• 19:15
  Speaker 2: Man, Catherine Hicks is so good at this movie as Karen, Karen.
• 19:20
  Speaker 2: And man. is she ever a karen she's a bit
• 19:25
  Speaker 2: of a karen um but only in like a generic
• 19:28
  Speaker 2: white lady way she she's actually like a really good
• 19:31
  Speaker 2: mom she's.
• 19:32
  Speaker 1: Trying really hard and then he he andy comes out
• 19:36
  Speaker 1: to the room so excited to open the big box
• 19:39
  Speaker 1: and what i appreciate about the movie too the gifts what.
• 19:42
  Speaker 2: I've been awake since he can forever since forever.
• 19:46
  Speaker 1: Yeah the and and she's so excited to get him
• 19:50
  Speaker 1: new clothes.
• 19:51
  Speaker 2: Oh yeah we can take this in yeah yeah and.
• 19:54
  Speaker 1: He's so disappointed that it.
• 19:57
  Speaker 2: Was so perfectly done and as a kid you related
• 20:00
  Speaker 2: to his disappointment she's like oh you want toys don't
• 20:03
  Speaker 2: you And it's so nice that she knows.
• 20:05
  Speaker 1: And then she gives him the toys that are like
• 20:08
  Speaker 1: child's play adjacent. Chucky adjacent. No, good guy doll adjacent.
• 20:14
  Speaker 2: It's not adjacent. It's good guy doll. It's just like
• 20:17
  Speaker 2: the good guy doll accessories.
• 20:19
  Speaker 1: Accessories.
• 20:20
  Speaker 2: I want a Chucky to go with it.
• 20:22
  Speaker 1: But like her reaction where she was like, I didn't know.
• 20:25
  Speaker 1: It just came out. I just found out recently.
• 20:28
  Speaker 2: And even though we live in this giant two and
• 20:30
  Speaker 2: a half bedroom apartment that I afford on a single salary.
• 20:34
  Speaker 2: impossibly somehow i don't know how and it's beautiful and
• 20:37
  Speaker 2: gorgeous and in downtown chicago um but yeah it's probably
• 20:42
  Speaker 2: because it's the late 80s son.
• 20:44
  Speaker 1: But also what's interesting about the what the remake would
• 20:47
  Speaker 1: do is that what a remake not necessarily the remake
• 20:53
  Speaker 1: but what a remake would do is kind of do
• 20:56
  Speaker 1: this stupid thing where instead of living in a nice
• 21:01
  Speaker 1: quote-unquote place it's like living in the other place that
• 21:04
  Speaker 1: chicago portrays with the homeless dudes.
• 21:07
  Speaker 2: South side let it bang.
• 21:09
  Speaker 6: South side let it bang outside let it rain rain
• 21:13
  Speaker 6: down on the pain rain down on the.
• 21:15
  Speaker 2: Slain exactly i think that i think that chucky knows
• 21:19
  Speaker 2: canonically knows kanye west chucky chucky charles he was a
• 21:24
  Speaker 2: kid donda.
• 21:26
  Speaker 6: Yes he totally used his dad dude south side let
• 21:30
  Speaker 6: it bang.
• 21:31
  Speaker 1: Yeah like she she.
• 21:34
  Speaker 2: Both didn't know and also tells him he has to
• 21:37
  Speaker 2: she has to save up for it which.
• 21:40
  Speaker 1: Is like Oh, man. It was, like, sad. It was
• 21:49
  Speaker 1: sad in the way that Jingle All The Way wanted
• 21:52
  Speaker 1: to be sad.
• 21:53
  Speaker 2: They're all gone! She's like, they're all here! I've got
• 21:58
  Speaker 2: no money! Yeah, exactly. Exactly.
• 22:01
  Speaker 1: You're my favorite customer.
• 22:04
  Speaker 2: Dude, AI slum, Schwartzy. Did you see that dead jury thing?
• 22:10
  Speaker 1: Can we not talk about dead jury, Schwartzy? Old lady, Schwartzy?
• 22:14
  Speaker 1: Little boy, Schwartzy? And talk about how awesome this movie is.
• 22:19
  Speaker 2: Crispy curls, super Schwartzy.
• 22:21
  Speaker 1: Listen, just the, I know I'm hyping this up so much,
• 22:26
  Speaker 1: but the fact that everything is so perfectly written in
• 22:31
  Speaker 1: the movie. Because Maggie comes, we cut to the store
• 22:35
  Speaker 1: that she works at. Maggie comes in. And we're just like,
• 22:39
  Speaker 1: she's just like, I know this homeless guy who has
• 22:42
  Speaker 1: a good guy doll. Don't worry. He's not going to
• 22:46
  Speaker 1: try and rape you after. Come out.
• 22:49
  Speaker 2: And I'm not going to get murdered because of this
• 22:51
  Speaker 2: doll that I'm.
• 22:53
  Speaker 1: Helping you get. But she's such a good friend. And
• 22:56
  Speaker 1: it's like you feel the friendship immediately. And the dynamic
• 22:59
  Speaker 1: of the kind of friendship it is.
• 23:01
  Speaker 2: You know what it reminded me of?
• 23:02
  Speaker 1: Tell me.
• 23:03
  Speaker 2: It reminded me of. the slightly older versions of um
• 23:08
  Speaker 2: the friendship in uh 1984's terminator.
• 23:12
  Speaker 1: Dude oh yeah totally totally yes because she's like the
• 23:18
  Speaker 1: the kind of like you know like i i'm like
• 23:22
  Speaker 1: measured i like to have fun but i'm measured and
• 23:25
  Speaker 1: i want to go out or whatever but like i
• 23:26
  Speaker 1: got a kid yeah yeah and like this one's like
• 23:30
  Speaker 1: i think i dated that homeless guy.
• 23:33
  Speaker 2: They definitely make her seem like Usa de la Coca.
• 23:36
  Speaker 1: What's wrong, McFly?
• 23:37
  Speaker 2: Chicken? They make her seem like she's like a spinster.
• 23:44
  Speaker 2: She's like, I'm single. I'm so single, guys. Look at
• 23:49
  Speaker 2: the crisis of the late 80s. I'm single.
• 23:52
  Speaker 1: Yeah, I mean, she.
• 23:53
  Speaker 2: I mean, it's because of the male loneliness over there.
• 23:57
  Speaker 1: But she's also like, she's so excited to get get
• 24:02
  Speaker 1: her friend make her friend happy which is really awesome
• 24:07
  Speaker 1: and beautiful like there's a night like the bond isn't
• 24:10
  Speaker 1: just oh let's just throw this in like i don't
• 24:13
  Speaker 1: know like she says that it's like very thought out
• 24:16
  Speaker 1: like the movie itself feels so thought out yeah to
• 24:21
  Speaker 1: portray the dynamic between the kid, the dynamic between Catherine
• 24:26
  Speaker 1: Hicks and Maggie, the dynamic between setting up the dynamics
• 24:30
  Speaker 1: between Charles Lee Ray and Mike Norris. There's history built
• 24:36
  Speaker 1: into each of the characters somehow done in an hour
• 24:40
  Speaker 1: and 27 minutes.
• 24:41
  Speaker 2: I mean, it's just really economic storytelling. They show a lot.
• 24:45
  Speaker 1: They show a lot, right? And the homeless guy that
• 24:48
  Speaker 1: comes back later... 50 bucks 50 bucks.
• 24:53
  Speaker 2: No 30 10 10 oh 30 and then she's like
• 24:56
  Speaker 2: this thing's not worth it we don't even know if
• 24:57
  Speaker 2: it fucking.
• 24:58
  Speaker 1: Works i gathered eggs like i'll take it the the
• 25:01
  Speaker 1: panic of like oh my god yeah and then.
• 25:04
  Speaker 2: You don't know she's hit the jackpot and but you.
• 25:06
  Speaker 1: Don't you also still don't know if she's hit the
• 25:09
  Speaker 1: jackpot you're like something's off well it's.
• 25:11
  Speaker 2: Be careful what you wish for exactly be careful what
• 25:14
  Speaker 2: you wish for which also like gave it a very
• 25:16
  Speaker 2: like you know of this era, Tales from the Crypt
• 25:19
  Speaker 2: kind of vibe.
• 25:20
  Speaker 1: Totally. And then the boss, like, looking around, this snooty douchebag.
• 25:23
  Speaker 2: The boss, played by, played by the, like, he was
• 25:28
  Speaker 2: in another Chicago movie, Home Alone. Of course. He's the
• 25:31
  Speaker 2: fucking shelter guy who's like, I've been from Paris to
• 25:34
  Speaker 2: Dallas to, where the hell am I? Scream.
• 25:37
  Speaker 1: I'm trying to get a hold of my son.
• 25:40
  Speaker 2: And now that I'm this close, you're telling me it's hopeless.
• 25:42
  Speaker 1: No. No, no, no, no. Why?
• 25:45
  Speaker 2: R.I.P.
• 25:45
  Speaker 8: Dude.
• 25:46
  Speaker 2: Totally, totally.
• 25:47
  Speaker 1: And then, you know, like, she's like, look, let her go.
• 25:53
  Speaker 1: Because the boss is going to ask.
• 25:57
  Speaker 2: He's like, hey, I need you to work.
• 26:00
  Speaker 1: You should be working.
• 26:02
  Speaker 2: Hey, listen. Oh, yeah. nice to see you're back from
• 26:07
  Speaker 2: your break. Yeah. And he's just like immediately so like
• 26:11
  Speaker 2: not understanding and passive aggressive and also wants to ask
• 26:15
  Speaker 2: her to work an extra shift tonight because somebody can't
• 26:17
  Speaker 2: be there and she just has to. And she's like,
• 26:19
  Speaker 2: It's my son's birthday. I'm trying to get home to
• 26:21
  Speaker 2: my son. It's always women trying to get home to
• 26:24
  Speaker 2: her son.
• 26:24
  Speaker 1: It's true.
• 26:25
  Speaker 2: From this guy.
• 26:25
  Speaker 1: That's the 80s.
• 26:26
  Speaker 2: But from this guy specifically. Yeah. He's holding both of
• 26:30
  Speaker 2: them back, dude.
• 26:30
  Speaker 1: And then Maggie is like, well, you know, I can
• 26:33
  Speaker 1: take care of him. And she's like, no, no, come on.
• 26:36
  Speaker 1: And it's like, she's like, well, it'll be the hottest
• 26:38
  Speaker 1: date I've had in months. Which is like, again, it's like.
• 26:41
  Speaker 2: She's like, I'm a spinster. I'm Jose de la Coca.
• 26:44
  Speaker 1: Yeah. But, like, also... Can you explain what that means
• 26:49
  Speaker 1: to people?
• 26:50
  Speaker 2: It just means, like... It just means, like... It's, like,
• 26:55
  Speaker 2: the word for spinster in Serbian. It just means, like...
• 26:58
  Speaker 2: But it, like, refers to chicken. Like a hen. Like
• 27:01
  Speaker 2: an overgrown hen or something. I don't know. Yeah.
• 27:07
  Speaker 1: But then, like... In terms of the economy of storytelling,
• 27:11
  Speaker 1: the value of... showing that she can't afford it constantly
• 27:18
  Speaker 1: and then her life on top of that being this
• 27:20
  Speaker 1: kind of a little bit of a mess because it's
• 27:24
  Speaker 1: like you're dealing with these kinds of people this asshole
• 27:28
  Speaker 1: this fucking homeless guy you know what i mean it's
• 27:30
  Speaker 1: like that kind.
• 27:32
  Speaker 2: Of there's a sense of like men kind of constantly
• 27:35
  Speaker 2: sort of being like looming presences around her.
• 27:38
  Speaker 1: Yeah totally totally yeah And then she comes home and
• 27:46
  Speaker 1: Andy's drip is actually amazing in the entire movie.
• 27:49
  Speaker 2: He's been wearing, he just wears a good guy's outfit constantly.
• 27:52
  Speaker 1: Yeah.
• 27:52
  Speaker 2: Which is kind of cool because I think they're trying
• 27:54
  Speaker 2: to like make a confusion purposely between Chucky and Andy.
• 27:57
  Speaker 2: Of course. And also we watched it. I watched it
• 28:00
  Speaker 2: with Anna dude. And, um, she kept commenting on how, um,
• 28:10
  Speaker 2: like big the chucky doll is but i was like
• 28:13
  Speaker 2: they had to do that to make it somewhat believable
• 28:16
  Speaker 2: when there's like a human powering but like when there's
• 28:19
  Speaker 2: like clearly a human person.
• 28:21
  Speaker 1: In there in there yeah totally but dude like when
• 28:24
  Speaker 1: she comes home and she gives the doll to andy
• 28:27
  Speaker 1: and andy fucking brightens up so much and then brings
• 28:32
  Speaker 1: the like takes out the doll and is like and
• 28:34
  Speaker 1: she's so excited because he's excited and then she's like
• 28:37
  Speaker 1: but also show you how it works because it's kind of.
• 28:39
  Speaker 2: Cool um and she's like hi i'm andy what's your
• 28:44
  Speaker 2: name i'm chucky what a hidey hell and it's amazing
• 28:50
  Speaker 2: okay so here's my question dude the mechanics of chucky
• 28:54
  Speaker 2: magic does chucky know the prompts, the vocal prompts from
• 29:02
  Speaker 2: like being soul imbued. I think so.
• 29:07
  Speaker 1: I think, I think the way it works is, he's
• 29:14
  Speaker 1: probably you know what he's probably seen the commercials too
• 29:16
  Speaker 1: is the thing because it's like a super popular doll right.
• 29:19
  Speaker 2: But he's also doing the voice he's not he's your
• 29:23
  Speaker 2: bitch you know what he's no i think the doll
• 29:27
  Speaker 2: is doing the voice oh.
• 29:28
  Speaker 1: Yeah because there's no batteries like he's doing the voice
• 29:31
  Speaker 1: yeah he's just doing he's just doing the high pitched.
• 29:35
  Speaker 2: And when does he choose okay another chucky mechanics thing
• 29:39
  Speaker 2: when does he choose to be?
• 29:40
  Speaker 1: Oh, and, so my brother just did the chucky face
• 29:48
  Speaker 1: of the just the original good guy doll and then
• 29:51
  Speaker 1: i did the ugly chucky dude zali see balding chucky
• 29:56
  Speaker 1: dude i love the more the more he turns into
• 30:00
  Speaker 1: charles lee right the higher the the hairline gets he
• 30:03
  Speaker 1: gets the more jack nicholson it gets.
• 30:08
  Speaker 2: He gets more like a male pattern but he's got
• 30:11
  Speaker 2: to get on that fin dude he's got it like
• 30:13
  Speaker 2: he could recover it it just recently fell out you
• 30:16
  Speaker 2: know like um and.
• 30:18
  Speaker 1: Then it cuts to she she's like so excited to
• 30:22
  Speaker 1: give the doll and then she leaves to go to
• 30:25
  Speaker 1: to her her second shift and like andy is listening
• 30:29
  Speaker 1: to the news comes back oh dude the news being
• 30:32
  Speaker 1: like um The news being like, and Eddie Caputo still
• 30:38
  Speaker 1: on the run.
• 30:38
  Speaker 2: Do you think he's related to Tracy Caputo, Long Island medium?
• 30:43
  Speaker 2: A hundred percent, dude.
• 30:44
  Speaker 1: A hundred percent.
• 30:45
  Speaker 2: I'm Teresa Caputo.
• 30:47
  Speaker 1: I like to think of myself as a typical Long
• 30:49
  Speaker 1: Island mom.
• 30:49
  Speaker 2: I told Betty if he moved to Chicago.
• 30:52
  Speaker 1: But then, but then we get the doll turning his head.
• 30:57
  Speaker 1: like seemingly at random towards the tv and we get
• 31:01
  Speaker 1: a split dioptera where maggie's in the foreground and he's
• 31:04
  Speaker 1: in the background famously hated by k's split dioptera i mean.
• 31:07
  Speaker 2: It was it's perfect it works so well i thought
• 31:10
  Speaker 2: this movie there's a lot of moments where it references
• 31:15
  Speaker 2: classic horror film tropes in a way that i think
• 31:20
  Speaker 2: is like very like wants to like pay homage in
• 31:23
  Speaker 2: a like in a nice respectful way totally like there's
• 31:27
  Speaker 2: a lot of like um slasher references there's a lot
• 31:30
  Speaker 2: of like here's johnny references you know like uh through
• 31:34
  Speaker 2: the stabbing through the door and things like that and like.
• 31:37
  Speaker 1: And just like it's very visually compelling because that part
• 31:41
  Speaker 1: where the split dioptera happens and then it's like really
• 31:46
  Speaker 1: unnerving that like oh he's he he like listens to
• 31:50
  Speaker 1: the doll talk to him in the background and then
• 31:53
  Speaker 1: uh maggie sort of in the foreground is like smiles
• 31:56
  Speaker 1: and she's like oh that's weird and then like she's
• 31:59
  Speaker 1: like okay we're going to bed and she picks andy
• 32:02
  Speaker 1: up and then andy is like but what about chucky
• 32:05
  Speaker 1: and then she like violently grabs chucky and like is
• 32:09
  Speaker 1: like kind of aggressive in a way that's just like
• 32:11
  Speaker 1: it's a fucking stupid doll I mean.
• 32:14
  Speaker 2: Her friend just bought this $ 100 doll, and she's ripping
• 32:17
  Speaker 2: this all out.
• 32:18
  Speaker 1: And this $ 100, 000 80s money unit in this building.
• 32:25
  Speaker 2: With the, like, receding hairline of Jackie. Not yet, dude.
• 32:30
  Speaker 2: Not yet.
• 32:32
  Speaker 1: And then, like, you know, she's picking at the birthday
• 32:35
  Speaker 1: cake that they were obviously eating. Again, this is a very, like,
• 32:39
  Speaker 1: succinct scene. And well told.
• 32:41
  Speaker 2: This is the first 15 minutes of the movie, dude.
• 32:43
  Speaker 2: And it just, like, flies. Like, I remember as a kid, like,
• 32:47
  Speaker 2: this being deep into the movie. Yeah, totally.
• 32:50
  Speaker 1: And then, but, like, also showing the, how good a
• 32:54
  Speaker 1: kid he is. In contrast to how they believe him later.
• 32:59
  Speaker 2: On in the movie.
• 32:59
  Speaker 1: Because he's brushing his teeth. She's like, are you brushing
• 33:02
  Speaker 1: your teeth? And he's like, yes, Aunt Maggie.
• 33:04
  Speaker 2: Well, did you say that he told Aunt Maggie that
• 33:07
  Speaker 2: Chucky wants to watch the news?
• 33:09
  Speaker 1: Chucky wants to watch the news. That's what makes her
• 33:12
  Speaker 1: smile in the first place. Because she's like, oh, he's
• 33:15
  Speaker 1: trying to stay up later to play with the toy. Yeah.
• 33:17
  Speaker 1: And then, like, the TV turns off. Like, she turns
• 33:21
  Speaker 1: it off. And then she's, like, in the kitchen while
• 33:24
  Speaker 1: he's brushing his teeth. And then the TV turns on
• 33:27
  Speaker 1: by itself.
• 33:28
  Speaker 2: And it's scary.
• 33:29
  Speaker 1: Like, that's a scary moment.
• 33:31
  Speaker 2: By itself?
• 33:32
  Speaker 1: Of course.
• 33:33
  Speaker 2: Chucky.
• 33:34
  Speaker 1: But Maggie's reaction, who, as a kid, Maggie and Catherine
• 33:38
  Speaker 1: Hicks were old ladies. But as a near 40-year-old man,
• 33:42
  Speaker 1: they're hot young women.
• 33:43
  Speaker 2: They're, like, so young.
• 33:45
  Speaker 1: They're so young, yeah.
• 33:46
  Speaker 2: It's crazy to be older than them. Yeah.
• 33:49
  Speaker 1: Well, Catherine Hicks is older, but, like, Maggie just seems
• 33:52
  Speaker 1: like a... You know, she looks like my age, like 30-something,
• 33:55
  Speaker 1: you know? Yeah, yeah, yeah. um and then picking up
• 33:58
  Speaker 1: the doll again and and like like kind of throwing
• 34:03
  Speaker 1: it around in this aggressive way and her being kind
• 34:08
  Speaker 1: of like mean in a way that's like.
• 34:12
  Speaker 2: A little bit adult me i i noticed that i
• 34:16
  Speaker 2: was wondering if you were going to mention that because
• 34:18
  Speaker 2: she's it's interesting because i wanted to talk to you
• 34:22
  Speaker 2: about this like She's mad at him for defying her. Yes.
• 34:27
  Speaker 2: And tricking her. Yeah. And so she gets, she gets
• 34:30
  Speaker 2: mad at him and she, the unfairness is highlighted by
• 34:34
  Speaker 2: the fact that he really didn't do it.
• 34:36
  Speaker 1: He didn't do it. Yeah, exactly. So it's like, it
• 34:39
  Speaker 1: kind of makes sense in a very 80s auntie or
• 34:43
  Speaker 1: mom kind of way. And, and like him defending himself is,
• 34:50
  Speaker 1: And being like, but it was, you know, it's like,
• 34:54
  Speaker 1: and her being like, shh, like, okay, you gotta go
• 34:57
  Speaker 1: to bed now. Like, I need some adult time. I
• 35:01
  Speaker 1: need some wine. To like, I need to chill because
• 35:05
  Speaker 1: I don't have kids and I don't want them.
• 35:07
  Speaker 2: Well, and she was just reminded of like the guy
• 35:09
  Speaker 2: she used to date, right? Exactly. Who's now like a scary,
• 35:13
  Speaker 2: back alley, violent rapist. Who also, like, on the side sells,
• 35:21
  Speaker 2: you know, things he's found. Yeah.
• 35:23
  Speaker 1: But, like, the implication also on the news is that
• 35:26
  Speaker 1: Eddie Caputo escaped prison and is, like, on the run now, too.
• 35:33
  Speaker 2: Eddie Caputo, dude.
• 35:34
  Speaker 1: Eddie Caputo.
• 35:34
  Speaker 2: And Tracy's holding, dude.
• 35:36
  Speaker 1: Yeah. And then, like, the close-up of the doll. And then, like,
• 35:41
  Speaker 1: it cuts to, like, the apartment later. And she's, like,
• 35:45
  Speaker 1: watching a movie, chilling. Yeah. And we get like the
• 35:50
  Speaker 1: first sort of, you know, running across the room, you know,
• 35:56
  Speaker 1: hearing things or whatever.
• 35:58
  Speaker 2: Dude, I loved all of the like kind of running
• 36:02
  Speaker 2: from Chucky's perspective. I remember at the time, these kinds
• 36:06
  Speaker 2: of shots to me looked like nothing I'd ever seen before.
• 36:09
  Speaker 1: Yeah, really well done.
• 36:10
  Speaker 2: I feel like it's pretty commonplace now to do stuff
• 36:12
  Speaker 2: from like perspective.
• 36:13
  Speaker 3: POV, yeah.
• 36:15
  Speaker 2: But like it did really feel like you were like
• 36:19
  Speaker 2: Chucky height, you know? Yeah, totally.
• 36:21
  Speaker 1: And like her being like, you know, obviously thinking it's
• 36:24
  Speaker 1: Andy and like, you know, kind of being like, okay, whatever.
• 36:29
  Speaker 1: And then like, you know, he grabs the, the, the
• 36:34
  Speaker 1: moving the chair to like get to height and stuff
• 36:38
  Speaker 1: like that. And then like her hearing and cutting back
• 36:42
  Speaker 1: and forth to like, where are you? What are you doing? Like,
• 36:46
  Speaker 1: what are you sneaking out for? Uh, but also the suspicion.
• 36:49
  Speaker 2: I loved, I loved that. Like she was making really
• 36:52
  Speaker 2: good faith doing face.
• 36:53
  Speaker 1: Yeah.
• 36:54
  Speaker 2: Face.
• 36:54
  Speaker 1: A lot of face.
• 36:55
  Speaker 2: But like also a little bit concerned.
• 36:57
  Speaker 1: Yeah. Mad concerned.
• 37:00
  Speaker 2: Her reactions are amazing. Especially her reaction when she turns
• 37:02
  Speaker 2: around and sees Chucky. But we don't see her sea chucky. Exactly.
• 37:07
  Speaker 1: We only see her reaction. And then the fucking hammer
• 37:11
  Speaker 1: to the face.
• 37:11
  Speaker 2: Goes, like, into her forehead. Yeah.
• 37:14
  Speaker 1: Really, really... She falls out the window and just destroys
• 37:18
  Speaker 1: that car. It's just like.
• 37:28
  Speaker 2: Doesn't make sense with the angle that she's at. She
• 37:31
  Speaker 2: would have just fallen over.
• 37:33
  Speaker 1: Yeah.
• 37:33
  Speaker 2: But, but there's something about it that seems like she's
• 37:36
  Speaker 2: like gust of winded out of like supernaturally super. Yeah.
• 37:41
  Speaker 1: The two things to mention is that. The flower is
• 37:44
  Speaker 1: knocked on the ground, which she notices and tries to
• 37:46
  Speaker 1: clean up.
• 37:47
  Speaker 2: And there's footprints. And there's footprints.
• 37:49
  Speaker 1: And also Karen calls her to like check in.
• 37:52
  Speaker 2: Oh, before, yes.
• 37:52
  Speaker 1: Which also- Karen! Karen! But also feels like, it's like
• 37:57
  Speaker 1: a moment of levity in the scene where it's like,
• 37:59
  Speaker 1: ha ha, like we're, ugh. you got me out of like.
• 38:02
  Speaker 2: There was like rising tension.
• 38:03
  Speaker 1: And then like breaking of that tension to do more
• 38:06
  Speaker 1: character work it's not just to like do a joke
• 38:09
  Speaker 1: or like whatever it's more to build more of the
• 38:12
  Speaker 1: character and the world because she's like oh like thank
• 38:15
  Speaker 1: you so much dude for like doing this like and
• 38:18
  Speaker 1: she's like yeah no worries like it's fine and it's
• 38:21
  Speaker 1: like you do get as a an audience member you
• 38:24
  Speaker 1: do get a little bit of a like oh man
• 38:26
  Speaker 1: okay cool And then she goes to clean up the
• 38:28
  Speaker 1: stuff and that little hammer gets picked up. And then
• 38:31
  Speaker 1: all of a sudden you get the, like, you know,
• 38:34
  Speaker 1: hit in the forehead, you know.
• 38:37
  Speaker 2: Which is crazy. And it's, it's sad to see our, um,
• 38:41
  Speaker 2: we'll say the La Coca go, you know, like.
• 38:43
  Speaker 1: What's wrong with my chicken.
• 38:50
  Speaker 2: She flies out the window. Um, and she, she falls in,
• 38:55
  Speaker 2: like gets demolished by a car. demolishes a car and.
• 39:01
  Speaker 1: And like immediately we cut to again the economy of
• 39:03
  Speaker 1: storytelling we cut to her uh karen coming back police
• 39:08
  Speaker 1: everywhere and she's like she her performance like honestly.
• 39:13
  Speaker 2: It was like so believable.
• 39:15
  Speaker 1: So amazing so amazing uh she's like running up this
• 39:19
  Speaker 1: beautiful stairwell uh where the run controlled It's incredible. And
• 39:25
  Speaker 1: this douchebag mustache cop who's like a gross pervert. Incredible performance.
• 39:30
  Speaker 1: performance incredible side cop the cops in the apartment one
• 39:34
  Speaker 1: of them reading a newspaper on the fucking couch like
• 39:38
  Speaker 1: doing nothing it was incredible it was incredible to show
• 39:41
  Speaker 1: it that way um and and the concern that mike
• 39:45
  Speaker 1: norris the only good guy to be in the the
• 39:48
  Speaker 1: movie as the he's kind of a douchebag like 80s
• 39:52
  Speaker 1: douchebag but he's like really concerned and really cares and
• 39:55
  Speaker 1: really wants to solve the case but it's also like there.
• 39:58
  Speaker 2: Was immediately that they're trying to like force in the
• 40:01
  Speaker 2: like surrogate dad energy.
• 40:03
  Speaker 1: Oh totally but i didn't think it was forced honestly
• 40:06
  Speaker 1: i thought it was cool like it's a little bit
• 40:08
  Speaker 1: like weird because it's a little bit flirty but he's
• 40:11
  Speaker 1: gonna be the dad now he's gonna be the dad
• 40:13
  Speaker 1: now um 80s logic but like she's like What the
• 40:19
  Speaker 1: fuck happened, dude? And he's, like, a little bit too casual.
• 40:23
  Speaker 1: There's a little bit too much of a casual nature,
• 40:25
  Speaker 1: but it's, like, it's good. It's good because it's, like...
• 40:28
  Speaker 1: You think so?
• 40:28
  Speaker 2: Well, yeah, I mean, I agree that it's good because
• 40:31
  Speaker 2: I think it's realistic, but there's a kind of, like,
• 40:33
  Speaker 2: a condescending... There is a condescending because he's trying to, like,
• 40:37
  Speaker 2: fish out, like, what do you think happened? Because I
• 40:40
  Speaker 2: think your fucking kid killed him. Because, like, the energy
• 40:43
  Speaker 2: feels a little bit like he's trying to throw her
• 40:46
  Speaker 2: off at first, but... And be like, you know, be
• 40:49
  Speaker 2: really nice to the kid. Being a real dad to
• 40:52
  Speaker 2: the kid. And she's immediately like... It's got a gun?
• 40:54
  Speaker 1: Yeah. Oh, that's a cool print.
• 40:58
  Speaker 2: It's got a gun? What is that, a gun?
• 41:00
  Speaker 1: Well, like, I mean, when he sees the floor, they're
• 41:02
  Speaker 1: in the kitchen. And he's like, oh, they're like tiny footprints. Like,
• 41:06
  Speaker 1: I wonder what happened, you know? But he's still being nice.
• 41:10
  Speaker 1: And she's like, what are you implying? And he's like,
• 41:13
  Speaker 1: I don't know. I mean, I don't know.
• 41:16
  Speaker 2: Okay, this is what I wanted to ask you. In
• 41:19
  Speaker 2: the scene.
• 41:19
  Speaker 1: I mean, what would Andy be doing on the kitchen table?
• 41:22
  Speaker 1: You know, like, it's just like... And she's like, no,
• 41:26
  Speaker 1: get the fuck out of my house. Sorry, go ahead.
• 41:29
  Speaker 2: Okay, okay. Well, I feel like if they had a
• 41:32
  Speaker 2: reason to believe that it was a homicide, I don't
• 41:35
  Speaker 2: know if they would leave that easily. You know what?
• 41:37
  Speaker 2: She just kicks them out?
• 41:38
  Speaker 1: I'm like, economy of stories. I really don't care. No,
• 41:41
  Speaker 1: I don't care either. Like, it's believable enough because it's insane. Like,
• 41:44
  Speaker 1: the cops reading a newspaper. Like, it's funny, too.
• 41:47
  Speaker 2: But it makes it seem like they've already been there
• 41:49
  Speaker 2: for a long time.
• 41:50
  Speaker 1: There for a long time. Yeah, exactly.
• 41:52
  Speaker 2: But nobody called her. Yeah.
• 41:54
  Speaker 1: Yeah, well, it's not cell phones. They're not like, you know. Yeah,
• 41:57
  Speaker 1: that's true.
• 41:57
  Speaker 2: I guess she's coming home. She might have been on
• 41:59
  Speaker 2: her way home.
• 41:59
  Speaker 1: On her way home, yeah. And it's like, and when
• 42:02
  Speaker 1: he comes down, he's like, hey, can I, what kind of,
• 42:05
  Speaker 1: shoes are those and it's like oh these are my
• 42:07
  Speaker 1: child's play pjs.
• 42:08
  Speaker 2: Or whatever um there's a gun there's.
• 42:12
  Speaker 1: Yeah there's a gun she's like all right that'll be
• 42:15
  Speaker 1: enough yeah yeah the all right that'll be enough is
• 42:18
  Speaker 1: is enough for me it sells me enough to be
• 42:21
  Speaker 1: like yeah this is a she is a mom she's
• 42:25
  Speaker 1: an 80s mom she can be like get out.
• 42:27
  Speaker 2: Of my house i mean yeah who else who but
• 42:32
  Speaker 2: her name is karen dude of course It's Karen meets
• 42:35
  Speaker 2: police officer. A classic combo. So it's really cool how
• 42:43
  Speaker 2: Andy comes back and is like, hey, I know who
• 42:48
  Speaker 2: did it. It was Chucky.
• 42:49
  Speaker 1: Yeah.
• 42:50
  Speaker 2: And the moment that I wanted to talk to you about.
• 42:53
  Speaker 1: He said she was a stupid bitch. You got what
• 42:55
  Speaker 1: she deserved.
• 42:56
  Speaker 2: No, no, no, no, no, no, no. First he tells
• 42:58
  Speaker 2: the guy. First he tells it in front of the cop.
• 43:01
  Speaker 1: Yes. And then she gets like.
• 43:03
  Speaker 2: Sorry, go ahead. So, he says it's Chucky, and the cop,
• 43:07
  Speaker 2: do you think that he, like, for a second believes him?
• 43:10
  Speaker 1: Yes, I do think for a second he believes him.
• 43:13
  Speaker 2: Okay, because they show belief in his eyes, briefly.
• 43:17
  Speaker 1: It's like, it's weird because he interacted with the Chucky doll,
• 43:23
  Speaker 1: with Hadeadue Dambilla. So, it's like imprinted in him that, like,
• 43:28
  Speaker 1: because he didn't catch Charles Lee Ray and arrest him
• 43:30
  Speaker 1: and get justice... It's like.
• 43:33
  Speaker 2: There's a loose thread left.
• 43:35
  Speaker 4: Yeah.
• 43:35
  Speaker 2: That's nagging at him.
• 43:37
  Speaker 1: And then the pervert cop who's like, hey, you want
• 43:40
  Speaker 1: to fuck that broad? And he's like.
• 43:42
  Speaker 2: Man, waiting after and he's like, ha ha, I do.
• 43:44
  Speaker 1: And then he pulls out the hammer, like, and it's like, dude,
• 43:48
  Speaker 1: didn't you fucking dust this for... Shouldn't you have been
• 43:51
  Speaker 1: dusting this for Prince or whatever?
• 43:52
  Speaker 2: It doesn't matter. No, it doesn't matter.
• 43:54
  Speaker 1: It really is like... Yeah, it really... Honestly, like, it
• 43:58
  Speaker 1: moves so fast that you're like... what is this? Um,
• 44:04
  Speaker 1: and then she hears him talk. She hears Andy talking
• 44:07
  Speaker 1: to Chucky and he, he says the line, she was
• 44:10
  Speaker 1: a stupid bitch who deserved it.
• 44:12
  Speaker 2: His name is Charles Lee Ray. Imagine your kid just
• 44:15
  Speaker 2: said the name of like an adult man.
• 44:18
  Speaker 1: Yeah. And it's just like, like the, the like psyche breaking.
• 44:24
  Speaker 1: My aunt just died. Vibe. And her being, like, already
• 44:30
  Speaker 1: so scared, needing to be... Because she plays it so well.
• 44:34
  Speaker 1: She needs to be there for him in a way that's, like,
• 44:39
  Speaker 1: I can't traumatize him. He's already traumatized.
• 44:42
  Speaker 2: Yeah, but she's like, hey, this is crazy. Stop doing this.
• 44:47
  Speaker 1: But now I'm seeing the trauma in real time happen
• 44:50
  Speaker 1: with this, like, Charles Lee Ray fucking dad from heaven shit, like.
• 44:55
  Speaker 2: The dad from heaven line is truly heartbreaking.
• 44:58
  Speaker 1: It's scary and heartbreaking. And like the, the chicken panic
• 45:02
  Speaker 1: that an adult, like a, like an adult would have.
• 45:05
  Speaker 6: Yes.
• 45:06
  Speaker 1: Oh my, like, oh, oh yeah. Well, tell me more,
• 45:10
  Speaker 1: you know, like the, they're like, you can feel the,
• 45:13
  Speaker 1: the need, the neediness of a parent to understand what's
• 45:18
  Speaker 1: happening because a kid doesn't have necessarily the words to
• 45:21
  Speaker 1: explain what's happening.
• 45:22
  Speaker 2: There's no, there's no words on it.
• 45:25
  Speaker 1: Um, and then like, you know, the, the parent self-soothing
• 45:31
  Speaker 1: in a way that's like, Chuck, he's not real, right?
• 45:35
  Speaker 1: Like knowing, trying to put that in the kid, uh,
• 45:41
  Speaker 1: is like sad and scary.
• 45:42
  Speaker 2: Gaslighting and not believing him.
• 45:44
  Speaker 1: Yeah.
• 45:45
  Speaker 2: Um, but yeah, it's, I mean, it's really, it's really, um,
• 45:49
  Speaker 2: it's done really well.
• 45:51
  Speaker 1: And then when, when he, uh, Andy's in the bed.
• 45:55
  Speaker 1: And he's like, why didn't you tell... Like, he says
• 45:58
  Speaker 1: a line to him to imply... To get Chucky to talk.
• 46:02
  Speaker 1: And then Chucky turns his head still as.
• 46:05
  Speaker 2: The good guy doll. I like to be hugged.
• 46:07
  Speaker 1: I like to be hugged just to let her know
• 46:09
  Speaker 1: that he's not real. Because she kind of is like,
• 46:11
  Speaker 1: maybe I'm fucking crazy too.
• 46:13
  Speaker 2: He does good guy voice.
• 46:15
  Speaker 1: He does good guy voice. And then she drops him
• 46:17
  Speaker 1: off at school. And immediately Andy is left with the doll.
• 46:23
  Speaker 1: And you're just like, what the fuck is happening? And
• 46:26
  Speaker 1: he's like alone on the subway.
• 46:29
  Speaker 2: Just like the combination of how low budget this looks
• 46:33
  Speaker 2: in a way with how high budget it must have
• 46:36
  Speaker 2: had to have been to be like. a blown up house.
• 46:39
  Speaker 2: There's so many like practical blown up.
• 46:42
  Speaker 1: It's still low budget. Cause like they clearly found like
• 46:45
  Speaker 1: a dilapidated house that they were like, they're going to
• 46:47
  Speaker 1: blow this up anyway. Can we get the city to
• 46:49
  Speaker 1: do it or something? You know what I mean? Cause
• 46:51
  Speaker 1: it's low budget. It feels low budget.
• 46:52
  Speaker 2: It does feel low budget.
• 46:53
  Speaker 1: But it's cool. It's good filmmaking.
• 46:55
  Speaker 8: It is.
• 46:56
  Speaker 1: And that's why the economy of storytelling is so important
• 46:58
  Speaker 1: is because you've got, you've got, Chucky doesn't need to move.
• 47:02
  Speaker 1: He just needs to hear Chucky, right? So that's all implied.
• 47:06
  Speaker 1: He's carrying the doll around. It's all visually expressed. And
• 47:09
  Speaker 1: then when he gets to fucking Eddie Caputo's house.
• 47:12
  Speaker 2: There's my son-in-law.
• 47:13
  Speaker 1: Mike, who put this up? My son-in-law is the biggest,
• 47:19
  Speaker 1: can you say ball buster? That there is.
• 47:23
  Speaker 2: Today only, free readings by Teresa Caputo.
• 47:27
  Speaker 1: Because he knows where the hideout is. It's all implied.
• 47:30
  Speaker 1: It's all visual. It's this disgusting house.
• 47:34
  Speaker 2: They would explain so much of this.
• 47:36
  Speaker 1: They would explain so much of this now. Yeah. People
• 47:38
  Speaker 1: would be talking so much. That's what irritates me about
• 47:42
  Speaker 1: newer movies. Newer mainstream movies. People fucking talking too much.
• 47:48
  Speaker 2: Too much.
• 47:48
  Speaker 1: That's also what I appreciated about the new The Odyssey.
• 47:51
  Speaker 1: Which was like, people didn't really talk. They like expressed.
• 47:56
  Speaker 1: Or they told stories. But they didn't like talk too much.
• 48:00
  Speaker 1: A lot of it was shown. And this is like,
• 48:03
  Speaker 1: you know, you get a little good guy doll hand
• 48:06
  Speaker 1: opening the oven at this dilapidated house and turning on
• 48:09
  Speaker 1: the gas.
• 48:10
  Speaker 2: I loved it. Seeing the little hands do all those things.
• 48:13
  Speaker 1: And then him being, Andy being like, I've got to
• 48:16
  Speaker 1: go tinkle. And it's tinkle, dude.
• 48:19
  Speaker 2: I was just going to say, like, there is, I
• 48:22
  Speaker 2: was thinking like before going into this, You know, a
• 48:27
  Speaker 2: lot of these old horror movies get camp, like, in their, like,
• 48:33
  Speaker 2: second or third or fourth installment. You know what I mean?
• 48:36
  Speaker 1: Yeah.
• 48:36
  Speaker 2: Whereas this one is right off the bat so campy.
• 48:42
  Speaker 2: But there's an element of like humor. There is. To
• 48:45
  Speaker 2: it always.
• 48:46
  Speaker 1: But the stakes for everything are way higher because it
• 48:49
  Speaker 1: hasn't shifted to Chucky being the main character in the series.
• 48:53
  Speaker 2: No, I agree. I agree.
• 48:54
  Speaker 1: And that's the like Freddiness, Jason, Michael Myers. They all
• 48:59
  Speaker 1: get turned into the main character eventually.
• 49:02
  Speaker 2: And like not a teen sex morality story. No, no.
• 49:07
  Speaker 2: Like a child. It's a child. Full child.
• 49:09
  Speaker 1: Child's play it feels like with a little eye it
• 49:15
  Speaker 1: feels like a story being told about a family dynamic
• 49:21
  Speaker 1: and it's not elevated horror it's all circumstantial it's all
• 49:26
  Speaker 1: happenstance the movie doesn't the themes are built in through
• 49:32
  Speaker 1: the characters rather than this movie is about drama this
• 49:37
  Speaker 1: movie is about grief no this movie is about a
• 49:41
  Speaker 1: fucking child doll coming alive through voodoo and then trying
• 49:46
  Speaker 1: to get his body back that's the movie it's the
• 49:48
  Speaker 1: plot of the movie with these themes like that are
• 49:52
  Speaker 1: included but that's what it's about whereas like if you
• 49:55
  Speaker 1: look at something like hereditary i love hereditary i like
• 49:58
  Speaker 1: like the i like elevated horror but so much of
• 50:01
  Speaker 1: it is like whereas this is like It doesn't have
• 50:06
  Speaker 1: to be so self-serious.
• 50:07
  Speaker 2: Yeah, I need to like, how does he get to
• 50:09
  Speaker 2: Eddie Caputo's house?
• 50:10
  Speaker 1: Yeah, how does he get? You can tell the writing
• 50:14
  Speaker 1: is like very low budget as well and thinking about
• 50:16
  Speaker 1: the budget and being like, okay, how do we fucking
• 50:19
  Speaker 1: do this? Let's do a line of coke.
• 50:22
  Speaker 2: There's an economy of storytelling to it and it makes
• 50:25
  Speaker 2: it kind of like. You know, it makes it beats. Like, bam, bam, bam. And, dude, I, like,
• 50:31
  Speaker 2: Anna asked, why didn't Chucky go to Eddie Caputo's house alone?
• 50:34
  Speaker 2: And I was like, well, probably because he's a fucking
• 50:36
  Speaker 2: doll in the daytime who doesn't want to be just, like,
• 50:39
  Speaker 2: walking around the city. Yeah, totally.
• 50:40
  Speaker 1: And also, if he can kill these people and get
• 50:44
  Speaker 1: away with it, why wouldn't he, right? And they'll just
• 50:46
  Speaker 1: blame the kid, obviously. He's setting it up in that
• 50:48
  Speaker 1: kind of way, too. Eddie Caputo coming in.
• 50:51
  Speaker 2: Is he setting up the kid?
• 50:53
  Speaker 1: Well, he doesn't know yet that he can transfer into
• 50:56
  Speaker 1: the body. That's true. So it's like he's kind of
• 50:59
  Speaker 1: using the body already, which is really interesting.
• 51:01
  Speaker 2: Yeah, yeah, yeah, yeah.
• 51:03
  Speaker 1: Because he can manipulate a kid. Of course. Right? It's
• 51:06
  Speaker 1: almost like a let the right one in vibe.
• 51:10
  Speaker 2: Or like a Babadook.
• 51:12
  Speaker 1: Yeah, totally. Yeah, where it's like the kid sees something
• 51:14
  Speaker 1: that the parents don't. Eddie Caputo coming out and having
• 51:19
  Speaker 1: a gun and living in this disgusting place with rats.
• 51:23
  Speaker 1: There's so much implied history with him as well that's
• 51:27
  Speaker 1: really beautifully done. And then he fucking explodes the house
• 51:31
  Speaker 1: as Andy is trying to look around for the Chucky doll.
• 51:36
  Speaker 1: How did he know he wasn't going to kill that kid?
• 51:38
  Speaker 2: Like, it's... Like, it's crazy, because... Well, I don't think Chucky's, like,
• 51:42
  Speaker 2: thinking of.
• 51:42
  Speaker 1: Thinking about too much. Yeah, exactly.
• 51:44
  Speaker 2: He's also just, like, fucking flying by the seat of
• 51:46
  Speaker 2: his pants.
• 51:47
  Speaker 1: Which is also an amazing character... Dimensional... It's also a
• 51:57
  Speaker 1: character addition of a third dimension to this character. The, like...
• 52:03
  Speaker 1: improvisation that this doll is doing because this man is
• 52:07
  Speaker 1: soul is in this body it's incredible.
• 52:10
  Speaker 2: Yeah and it's kind of like you see the beginnings
• 52:13
  Speaker 2: because it's the beginnings of the of his soul merging
• 52:16
  Speaker 2: with that type of body and it's still the first
• 52:19
  Speaker 2: movie like we have it retrospectively and we're going to
• 52:21
  Speaker 2: talk about it as we go i'm sure but they
• 52:24
  Speaker 2: show hints of it in this movie where like his
• 52:26
  Speaker 2: body is becoming human human yeah like taking on the
• 52:31
  Speaker 2: characteristics of like a person yeah yeah and then as
• 52:34
  Speaker 2: eddie caputo shoots he like sees andy outside and doesn't
• 52:38
  Speaker 2: see anything it hurt like a son of a bitch
• 52:40
  Speaker 2: yeah um and and he he like shoots and the
• 52:44
  Speaker 2: house explodes which is again beat beat beat and the
• 52:50
  Speaker 2: kid almost explodes and there's like real stakes of like
• 52:54
  Speaker 2: oh my god is this kid gonna be okay you
• 52:56
  Speaker 2: know like you they purposely do like he's just play
• 53:00
  Speaker 2: and just the vulnerability of like i don't remember the
• 53:04
  Speaker 2: last time i've seen a six-year-old with this like media
• 53:09
  Speaker 2: role you know totally.
• 53:11
  Speaker 1: And not sad he's not playing a sad kid No.
• 53:19
  Speaker 1: He's playing a normal kid.
• 53:20
  Speaker 2: He's playing a normal kid.
• 53:21
  Speaker 1: He's a totally normal kid. It's not like Room or
• 53:25
  Speaker 1: movies I think of in horror now are like they're
• 53:27
  Speaker 1: already scared all the time. I'm scared all of the time.
• 53:32
  Speaker 1: This is like he's scared and then he's like, you know,
• 53:36
  Speaker 1: registered the situation and is now normal because there are
• 53:39
  Speaker 1: adults around.
• 53:40
  Speaker 2: And also just it's been weird seeing like... It's so
• 53:46
  Speaker 2: refreshing to see a kid who's not like... strangely young
• 53:50
  Speaker 2: and sentient.
• 53:51
  Speaker 1: Yeah like smart uh like articulate it's just like he's
• 53:55
  Speaker 1: very very plain jane normal kid he's he's an incredible
• 53:59
  Speaker 1: actor oh my god he's alex vincent is incredible.
• 54:02
  Speaker 2: In the movie he's definitely more sentient in the second
• 54:05
  Speaker 2: one which we'll talk about when we get for sure
• 54:09
  Speaker 2: but same casting dude.
• 54:11
  Speaker 1: Karen comes to the police station and mike norris is
• 54:15
  Speaker 1: like hey like your kid was at this place. It
• 54:19
  Speaker 1: was fucked. Like what's going on? And, and then they're
• 54:23
  Speaker 1: interviewing him.
• 54:24
  Speaker 2: He plays it well too, because he plays it very
• 54:26
  Speaker 2: believably because he's like, he's like, okay, I'm trying to
• 54:31
  Speaker 2: kind of like meet you at your level, but this
• 54:34
  Speaker 2: is fucking crazy.
• 54:35
  Speaker 1: Yeah. There's tactics to the, the, cause there's the negging
• 54:38
  Speaker 1: at the beginning and then the like, Oh, I'm, I'm
• 54:41
  Speaker 1: just trying to help you, you know?
• 54:43
  Speaker 2: Yeah. Um, they're always just trying.
• 54:46
  Speaker 1: To get more, but but also this is the point
• 54:49
  Speaker 1: in which when um alex vincent starts punching the doll
• 54:53
  Speaker 1: to try and get him to admit to talking man
• 54:57
  Speaker 1: and mike doris's reaction is just like like it's just
• 55:02
  Speaker 1: like very sad that's the moment it shifts and there's a.
• 55:05
  Speaker 2: Child protective services guy who's behind the fake glass being
• 55:10
  Speaker 2: like all right i've seen it up we're taking your
• 55:12
  Speaker 2: kid away from you and i'm just like i don't
• 55:15
  Speaker 2: think like obviously again for the economy of storytelling but
• 55:18
  Speaker 2: i don't think that's how that works even.
• 55:21
  Speaker 1: Then yeah totally a hundred percent dude yeah i.
• 55:28
  Speaker 2: Don't think that they can well i've seen enough.
• 55:31
  Speaker 1: No it's definitely but it's again yeah like you said
• 55:34
  Speaker 1: i don't know i mean who knows but but What's
• 55:38
  Speaker 1: nice about it is.
• 55:40
  Speaker 2: Not for some white lady living downtown.
• 55:43
  Speaker 1: But it's a breaking point. The story wants her to
• 55:47
  Speaker 1: break in a way that gives a believable action for
• 55:51
  Speaker 1: her to start believing the doll's alive because she wants
• 55:56
  Speaker 1: her kid to be okay. And then she goes home
• 55:59
  Speaker 1: with the doll and she's like, okay, fucking talk to me.
• 56:02
  Speaker 1: I need you to talk to me.
• 56:04
  Speaker 2: She's like, talk.
• 56:05
  Speaker 1: I said talk. I'm not your wife.
• 56:07
  Speaker 2: The hell you're not.
• 56:08
  Speaker 1: I'm not a doll. The hell you're not. I'm actually
• 56:12
  Speaker 1: the soul of some- Charles Lee Ray. But she looks
• 56:15
  Speaker 1: at it and she's like trying, and then.
• 56:17
  Speaker 2: He goes- If you're not Charles Lee Ray, who the
• 56:19
  Speaker 2: hell am I?
• 56:20
  Speaker 1: But she looks at the doll and she's like, oh
• 56:22
  Speaker 1: my God, what am I fucking- And she laughs. And
• 56:24
  Speaker 1: then she starts like, You feel the tension in her
• 56:29
  Speaker 1: both break and the realization of the sadness of what
• 56:32
  Speaker 1: I'm doing.
• 56:33
  Speaker 2: It's one of my favorite parts coming up, dude. Hi,
• 56:36
  Speaker 2: I'm Chucky Wannap. Life falls down and just neatly folds
• 56:42
  Speaker 2: underneath the bed.
• 56:43
  Speaker 1: Yeah. I mean, but then again, you see that same.
• 56:46
  Speaker 2: We didn't say that she discovers that the batteries aren't included.
• 56:52
  Speaker 1: I'm going to set that up now. she, she steps
• 56:55
  Speaker 1: into the frame in the same way that Maggie was
• 56:58
  Speaker 1: in the frame and Chucky was in the background listening
• 57:00
  Speaker 1: to the, the news. And she looks at the, the
• 57:03
  Speaker 1: box of the good guy doll and like, she turns
• 57:07
  Speaker 1: it around to kind of see what's up and like,
• 57:10
  Speaker 1: see if anything is fucked with it. And she, the
• 57:13
  Speaker 1: batteries fall out and it's such a good indication to
• 57:17
  Speaker 1: her because it solidifies that feeling that she had earlier.
• 57:21
  Speaker 1: And then she like, She's like, no way. Like, it
• 57:26
  Speaker 1: can't be.
• 57:26
  Speaker 2: Right?
• 57:27
  Speaker 1: And then she turns the doll around and, man, it's
• 57:32
  Speaker 1: fucking so awesome.
• 57:33
  Speaker 2: Yeah.
• 57:34
  Speaker 1: It's so, it's such a good way of doing it
• 57:36
  Speaker 1: because he turns his head around and he's like, hi,
• 57:39
  Speaker 1: I'm Chucky, wanna play?
• 57:41
  Speaker 2: And then she falls and neatly folds underneath the doll.
• 57:47
  Speaker 2: Why does he, like, swiftly go under the couch? I
• 57:51
  Speaker 2: laughed at that so much.
• 57:52
  Speaker 1: It's hilarious, because somebody pulled it. Some PA was fucking
• 57:55
  Speaker 1: pulling it. But then she, like, lights the fire, which
• 57:58
  Speaker 1: is a great foreshadowing, like, later on in the movie.
• 58:02
  Speaker 1: And she's, like, she's holding the doll up, and she's like,
• 58:05
  Speaker 1: tell me you're alive! And he's like, you fucking bitch!
• 58:09
  Speaker 1: Filthy slut! I'll teach you to fuck with me!
• 58:14
  Speaker 2: It's scary, dude.
• 58:14
  Speaker 1: It's scary, dude.
• 58:16
  Speaker 2: But, like, I was thinking about it, dude. This movie
• 58:20
  Speaker 2: doesn't have to be rated R. No. Not really, no.
• 58:24
  Speaker 2: It doesn't at all. And, like, that's, I think, maybe what....
• 58:29
  Speaker 1: Vander Est, man.
• 58:30
  Speaker 2: Vander Est. Case doesn't like about Chucky is that it's
• 58:37
  Speaker 2: too PG-13 for him.
• 58:38
  Speaker 1: I mean, like we were talking about earlier, it does
• 58:40
  Speaker 1: feel like... It's a very kids' movie.
• 58:42
  Speaker 2: You know? Like.
• 58:45
  Speaker 2: I know that K's will be like, you're just rage-braining me.
• 58:49
  Speaker 2: I do like Chucky. I do like Chucky.
• 58:51
  Speaker 1: You don't like Chucky.
• 58:52
  Speaker 2: I don't like Chucky, dude.
• 58:52
  Speaker 1: You don't.
• 58:53
  Speaker 2: You don't.
• 58:53
  Speaker 1: You're wrong.
• 58:54
  Speaker 2: You don't have to lie, dude. But we're going to
• 58:55
  Speaker 2: do it.
• 58:56
  Speaker 1: But we're going to make this show so good that
• 58:58
  Speaker 1: you're going to like... You're going to end up being like...
• 59:00
  Speaker 1: You're going to be like, hi, I'm Chucky. Just, okay,
• 59:03
  Speaker 1: making the podcast 4k is now um no but but
• 59:07
  Speaker 1: Chucky ends up escaping and she like is like outrageously
• 59:14
  Speaker 1: looking for him and she goes to the police and
• 59:18
  Speaker 1: mike norris is there it's it really is well done
• 59:20
  Speaker 1: like there are leaps of logic that are there that
• 59:23
  Speaker 1: i'm like all right like what else would i do
• 59:25
  Speaker 1: but go to mike norris the detective that's like doing
• 59:28
  Speaker 1: this fucking thing and she's like.
• 59:32
  Speaker 2: Like turkey's real i saw him i saw him and
• 59:35
  Speaker 2: he bit me oh man but he bites.
• 59:37
  Speaker 1: Her yeah he bites her uh he it feels also
• 59:41
  Speaker 1: like chucky's getting weightier dude.
• 59:43
  Speaker 2: Mike powers always used to make this face and it
• 59:45
  Speaker 2: looked so uncanny exactly and he would.
• 59:48
  Speaker 1: Go yeah totally the biting the chucky face oh.
• 59:52
  Speaker 2: Dude it was amazing i love when mike powers makes
• 59:54
  Speaker 2: the chucky face.
• 59:55
  Speaker 1: But then then she she shows the bite and he's
• 59:59
  Speaker 1: like how the fuck did you get that and and
• 1:00:02
  Speaker 1: she's like i got him i i know that it
• 1:00:04
  Speaker 1: happened and then she's like he he like leave she
• 1:00:08
  Speaker 1: leaves to go to where the homeless man was to
• 1:00:13
  Speaker 1: like find out where chucky is and they're these like
• 1:00:16
  Speaker 1: perverts man it does feel like a little bit poverty
• 1:00:20
  Speaker 1: shaming the background actors are we're told to act like
• 1:00:24
  Speaker 1: in a like a stereotypical way like whatever way.
• 1:00:27
  Speaker 2: That they were stereotyping it was it was kind of
• 1:00:31
  Speaker 2: wild to see yeah But I was enjoying it, dude.
• 1:00:35
  Speaker 2: But actually, some of them were almost getting interviewed by
• 1:00:40
  Speaker 2: the CBC or something. Being like, no, I don't know
• 1:00:44
  Speaker 2: where that guy is. Well, they were doing too much acting.
• 1:00:47
  Speaker 1: They were doing weird NPCs.
• 1:00:50
  Speaker 2: It was like, this is my big break. I get
• 1:00:53
  Speaker 2: to be an NPC.
• 1:00:55
  Speaker 1: Dude, when she finds the homeless guy who dated Maggie...
• 1:01:00
  Speaker 1: And he's like, he's like.
• 1:01:01
  Speaker 2: He's trying to wipe the dick crust off so that
• 1:01:04
  Speaker 2: he can have sex with some chick that he's walking with.
• 1:01:07
  Speaker 4: Dude!
• 1:01:07
  Speaker 1: He's horny. His performance, though, his like... When he sees her?
• 1:01:11
  Speaker 1: I forgot.
• 1:01:11
  Speaker 2: I was.
• 1:01:12
  Speaker 1: I don't remember you at all performance. is incredible it's
• 1:01:17
  Speaker 1: like an amazing amazing performance i mean and he's like
• 1:01:19
  Speaker 1: you got any money and then and then back to
• 1:01:22
  Speaker 1: his foreskin dude and it was and then he's like
• 1:01:24
  Speaker 1: that's not enough and then he like tries to rape
• 1:01:27
  Speaker 1: her it's like a really scary scene.
• 1:01:29
  Speaker 2: And like okay i mean this is from the time
• 1:01:32
  Speaker 2: in the 80s where people were like.
• 1:01:34
  Speaker 1: Rape will happen yeah and it's like rape It doesn't
• 1:01:39
  Speaker 1: happen in this way.
• 1:01:40
  Speaker 2: I'm sure it does happen like that, but, like, rape
• 1:01:43
  Speaker 2: usually happens by people you know.
• 1:01:44
  Speaker 1: Yeah, for sure.
• 1:01:45
  Speaker 2: It's, like, in, like, way different circumstances than this.
• 1:01:49
  Speaker 1: It feels a little bit more realistic that the cop
• 1:01:52
  Speaker 1: would be like, ugh, than... finding this homeless man because
• 1:01:57
  Speaker 1: he's already a little bit taking advantage of her but
• 1:02:00
  Speaker 1: it is it does feel mark ruffalo.
• 1:02:02
  Speaker 3: My daughter who's in uh preschool uh has a little
• 1:02:06
  Speaker 3: period of uh so it's okay.
• 1:02:08
  Speaker 2: He rough he ruffles this guy's up this feathers.
• 1:02:10
  Speaker 1: Up dandy he like kind of.
• 1:02:13
  Speaker 2: We didn't say the first when aunt maggie says dandy
• 1:02:17
  Speaker 2: the first dandy dude oh yeah totally because you know
• 1:02:19
  Speaker 2: when we're gonna see it again dude In part two
• 1:02:22
  Speaker 2: from Beth Grant. Of course. Man, the homeless guy looks
• 1:02:25
  Speaker 2: so Serbian or specifically maybe Croatian.
• 1:02:29
  Speaker 1: Also Croatian, yeah.
• 1:02:30
  Speaker 2: Yeah, or he could be... He's somewhere from the Balkans, dude,
• 1:02:34
  Speaker 2: for sure. Definitely. Hey, I got this toy. I found it.
• 1:02:39
  Speaker 2: I got it. It's the real one.
• 1:02:42
  Speaker 1: When she... He tried... Mike Norris tries to take her home.
• 1:02:49
  Speaker 1: He also gives way too much information about, like, Charles
• 1:02:53
  Speaker 1: Lee Ray.
• 1:02:53
  Speaker 2: Well, he takes Charles Lee Ray's file, dude.
• 1:02:55
  Speaker 1: Yeah, he, like, he, like, explains a lot. She says
• 1:02:59
  Speaker 1: his name. She says it's Charles Lee Ray or whatever.
• 1:03:02
  Speaker 1: And he's like, how the fuck do you know that? Like, it's, like, weird, right?
• 1:03:05
  Speaker 5: He's got pictures on his ass like Charles Lee Ray.
• 1:03:10
  Speaker 2: Spiral's always trying just to stay out of jail. He's
• 1:03:14
  Speaker 2: Spiral Liddell. um come on dude and then and then
• 1:03:19
  Speaker 2: it's as pictures on his ass like charles lee ray dude.
• 1:03:28
  Speaker 1: He's like it's not charles lee ray and she's like
• 1:03:30
  Speaker 1: how do you know because i'm sane and rational and
• 1:03:33
  Speaker 1: then he leaves he drops her off at home uh
• 1:03:36
  Speaker 1: and then but then like kind of gets the idea
• 1:03:39
  Speaker 1: that it it might be charles lee ray he did
• 1:03:42
  Speaker 1: do some weird voodoo shit um.
• 1:03:48
  Speaker 2: Yeah. This is the only part of the movie that
• 1:03:50
  Speaker 2: kind of like.
• 1:03:51
  Speaker 1: It stretches a little bit of credulity.
• 1:03:53
  Speaker 2: Yeah, yeah, yeah.
• 1:03:55
  Speaker 1: But he goes and Charles Lee Ray fucking is in
• 1:03:59
  Speaker 1: the car and is stabbing at his balls and his back.
• 1:04:02
  Speaker 2: Man, like, well, first he tries to strangle him because
• 1:04:05
  Speaker 2: he's the Chi-Town Strangler. Yeah, yeah, yeah, totally. Chi-Town, let
• 1:04:10
  Speaker 2: it bang!
• 1:04:13
  Speaker 1: Chi-Rack Strangler. uh and this is well shot this is
• 1:04:17
  Speaker 1: oh my god very cool very nicely done him like
• 1:04:21
  Speaker 1: driving around.
• 1:04:22
  Speaker 2: In the chicago those like i love those how cinematic
• 1:04:25
  Speaker 2: that underpass from the chicago is.
• 1:04:27
  Speaker 1: And and he like puts the cigarette lighter in and
• 1:04:30
  Speaker 1: then burns chucky's face and he's.
• 1:04:31
  Speaker 2: Like dude the scree was amazing dude his howl oh
• 1:04:38
  Speaker 2: so good.
• 1:04:39
  Speaker 1: And then the like stabbing at the balls. It's almost,
• 1:04:43
  Speaker 1: it is very comical. It's like, it's almost silly. It's
• 1:04:47
  Speaker 1: very funny, but also.
• 1:04:50
  Speaker 2: Done in a clumsy way, the way a small doll
• 1:04:52
  Speaker 2: would do it. So it's kind of terrifying from that
• 1:04:55
  Speaker 2: angle too, because he doesn't have, I like that he
• 1:04:59
  Speaker 2: has limitations, you know, like he has doll limitations and
• 1:05:03
  Speaker 2: that's good.
• 1:05:04
  Speaker 1: And he, like, the car ends up flipping around, and he, like,
• 1:05:07
  Speaker 1: finally believes it. Like, it's like, oh, my God, a
• 1:05:09
  Speaker 1: fucking doll?
• 1:05:10
  Speaker 2: You can't shoot me, Mikey.
• 1:05:12
  Speaker 1: Oh, you can't shoot me, Mikey. It hurt. But, like,
• 1:05:19
  Speaker 1: you feel, like, when he does shoot him, it's like...
• 1:05:24
  Speaker 1: And you feel the pain, too.
• 1:05:26
  Speaker 2: He gets, like, shot away like a doll.
• 1:05:28
  Speaker 1: Like, they do so much, like, doll physics in this.
• 1:05:32
  Speaker 1: The doll physics is the best.
• 1:05:35
  Speaker 2: I yanked the.
• 1:05:35
  Speaker 4: I yanked the, um, thing.
• 1:05:38
  Speaker 1: And the way the head turns, like... It's.
• 1:05:41
  Speaker 2: So good, dude.
• 1:05:42
  Speaker 1: It feels very alive.
• 1:05:43
  Speaker 2: Dude, the, like, fucking gnarly face that he's making all
• 1:05:47
  Speaker 2: the time is amazing. Like, when he's like.
• 1:05:51
  Speaker 1: This is kind of where I... shifted my mindset on
• 1:05:57
  Speaker 1: the kind of problematic nature of the movie where it's
• 1:06:00
  Speaker 1: like uh how they do we develop.
• 1:06:03
  Speaker 2: Voodoo it feels like with the guy dude well if
• 1:06:07
  Speaker 2: he's friends with no no no.
• 1:06:09
  Speaker 1: He worships him. I didn't realize when he was a kid.
• 1:06:11
  Speaker 1: He worships the guy.
• 1:06:13
  Speaker 2: Oh, no, he's not King Willie.
• 1:06:14
  Speaker 1: Sorry.
• 1:06:14
  Speaker 2: What's the guy's name? John.
• 1:06:16
  Speaker 1: Oh, yeah, yeah, yeah. Tell me, John. Because he's like painted.
• 1:06:21
  Speaker 2: What do you think?
• 1:06:23
  Speaker 1: What do you think?
• 1:06:23
  Speaker 2: It's so good, dude.
• 1:06:24
  Speaker 1: But he's like painted portraits of himself worshiping John.
• 1:06:27
  Speaker 2: That's true.
• 1:06:28
  Speaker 1: That's true. He's like given himself to this like weird cult.
• 1:06:31
  Speaker 1: But John seems like he's a normal guy, kind of
• 1:06:34
  Speaker 1: weirdly taking advantage of white people. Because he's just normal.
• 1:06:39
  Speaker 1: He's just normal in the movie. Well, he's wearing those beads.
• 1:06:43
  Speaker 1: I mean, but he's, like, cooking food in this, like,
• 1:06:46
  Speaker 1: Chicago apartment.
• 1:06:47
  Speaker 2: I'm just joking, dude. I know. I think he is
• 1:06:51
  Speaker 2: just a normal guy. You think he's, like, doing, like,
• 1:06:52
  Speaker 2: a shaman retreat? Yeah. He's scamming Mama?
• 1:06:56
  Speaker 1: It feels like it. A little bit.
• 1:06:57
  Speaker 2: He's, like.
• 1:06:58
  Speaker 1: He believes it, but he's scamming people, too.
• 1:07:02
  Speaker 2: Well, no, but he teaches him something that, like... that works. Yeah, totally.
• 1:07:06
  Speaker 1: Oh. And it says painted on the walls. Oh, thank you.
• 1:07:10
  Speaker 1: Mighty Damballa for the, for life after death.
• 1:07:13
  Speaker 2: It's like, but is John Damballa or is Damballa a God?
• 1:07:17
  Speaker 1: I think Damballa is a God. I think John might
• 1:07:19
  Speaker 1: be like, like teaching through Damballa.
• 1:07:23
  Speaker 3: Okay.
• 1:07:23
  Speaker 2: Okay. He's teaching. He's teaching the teachings of Damballa.
• 1:07:26
  Speaker 1: Because we didn't explain this because the next day, Karen
• 1:07:30
  Speaker 1: goes to Charles Lee Ray's house, which the, guy just
• 1:07:34
  Speaker 1: gave her for some reason mike uh mike norris gives
• 1:07:38
  Speaker 1: karen the address to charles lee ray's house and she
• 1:07:42
  Speaker 1: goes there uh because she obviously wants to get her
• 1:07:45
  Speaker 1: son back and then mike ends up coming there and
• 1:07:48
  Speaker 1: being like coming out of the shadows creepily but again
• 1:07:52
  Speaker 1: it does put into perspective the kinds of story uh
• 1:07:57
  Speaker 1: beats that it's gonna take because it doesn't really matter um,
• 1:08:02
  Speaker 1: how he gets, how he knows that she's there at
• 1:08:05
  Speaker 1: that time or she, like, it's just kind of works
• 1:08:08
  Speaker 1: for the story really well, um, narratively and editing wise.
• 1:08:13
  Speaker 1: And then it cuts to John who is the portrait
• 1:08:17
  Speaker 1: of the thing of the, of the person on the walls.
• 1:08:21
  Speaker 1: And then he even seems like he doesn't believe that
• 1:08:26
  Speaker 1: Chucky is in this fucking doll. It's like, that's why
• 1:08:30
  Speaker 1: i think he does feel like he's just scamming people
• 1:08:32
  Speaker 1: it's like it's almost like he's never done it to
• 1:08:35
  Speaker 1: somebody in real life john yeah john has never done
• 1:08:38
  Speaker 1: it but he's been taught this this method throughout his life.
• 1:08:41
  Speaker 2: You think that's what that was i wonder if we
• 1:08:44
  Speaker 2: get more lore.
• 1:08:45
  Speaker 1: On that yeah like i'm trying to like i don't
• 1:08:47
  Speaker 1: think so maybe later maybe in like the last movie
• 1:08:50
  Speaker 1: or whatever curse of chucky or whatever with fiona doris um.
• 1:08:55
  Speaker 2: I can't wait dude i can't wait to alum brad
• 1:08:57
  Speaker 2: dorff pit alum Oh, yeah, totally. finish the series alex.
• 1:09:01
  Speaker 1: Not yet no but john's reaction too is like really
• 1:09:05
  Speaker 1: beautifully done this actor is incredible like he him getting
• 1:09:11
  Speaker 1: explained to that like it hurt And then him, in
• 1:09:17
  Speaker 1: real time, realizing that not only is everything that he's
• 1:09:20
  Speaker 1: taught him true, but also knows... why the body is gonna, like,
• 1:09:26
  Speaker 1: taking over the new body or whatever. Like, he knows,
• 1:09:29
  Speaker 1: and it's sad for him. It's sad that he taught
• 1:09:32
  Speaker 1: this guy to do this.
• 1:09:33
  Speaker 2: Totally, totally.
• 1:09:34
  Speaker 1: There's, like, kind of a regret in the character.
• 1:09:37
  Speaker 2: But there's also, like, realizations that Chucky is having at
• 1:09:40
  Speaker 2: the same time, that he's gonna have to, like, be
• 1:09:42
  Speaker 2: in the body of a kid.
• 1:09:43
  Speaker 1: I'm gonna be in a six-year-old boy!
• 1:09:45
  Speaker 2: And it's kind of interesting because I think... I don't know, like,
• 1:09:52
  Speaker 2: this is the kind of lore drop that seems like
• 1:09:55
  Speaker 2: it would happen in, like, a third or fourth movie. Totally. Like,
• 1:09:59
  Speaker 2: this seems like a very deep lore drop, like, and there's, like,
• 1:10:03
  Speaker 2: it's so heavily weighs on, like, the, like, specific it
• 1:10:09
  Speaker 2: does explain a lot still yeah because.
• 1:10:11
  Speaker 1: He pulls the voodoo doll and shit maybe maybe i'm
• 1:10:14
  Speaker 1: wrong like maybe he does know because he's like taught
• 1:10:17
  Speaker 1: him stuff you're right maybe like he has taught him
• 1:10:20
  Speaker 1: stuff uh because he breaks the doll's fucking arms and
• 1:10:24
  Speaker 1: legs yeah but the cool thing about it but but
• 1:10:29
  Speaker 1: the visual aspect of a doll breaking another doll's like
• 1:10:33
  Speaker 1: arms and legs and then seeing a real person's arms
• 1:10:36
  Speaker 1: and legs break is fucking awesome like it's again the
• 1:10:40
  Speaker 1: storytelling is incredible this this is a classic it's just
• 1:10:45
  Speaker 1: amazing and then he stabs you.
• 1:10:47
  Speaker 2: Definitely see why chucky's included in.
• 1:10:49
  Speaker 1: A hundred percent dude a hundred percent and honestly he's
• 1:10:52
  Speaker 1: the vandale dude i was gonna say he's probably the
• 1:10:55
  Speaker 1: bruce willis actually.
• 1:10:58
  Speaker 2: Who's the vandale Mike Myers.
• 1:11:00
  Speaker 1: Mike Myers is the Van Damme. No!
• 1:11:02
  Speaker 2: We gotta do it next.
• 1:11:03
  Speaker 1: Yeah, we gotta do it next. And then, you know,
• 1:11:06
  Speaker 1: we get to John's house with Karen and... Karen! And Mike.
• 1:11:15
  Speaker 1: And he's, like, still dying. But I love the fact
• 1:11:18
  Speaker 1: that they have a connection immediately because she's like, where's
• 1:11:21
  Speaker 1: my son? But also, please don't die. But also, please
• 1:11:24
  Speaker 1: tell me where my son is. You know, there's that
• 1:11:26
  Speaker 1: kind of level of, like... human empathy that's like oh
• 1:11:30
  Speaker 1: no a man is dying but also like i need
• 1:11:33
  Speaker 1: you for something please then it cuts to the weirdest
• 1:11:38
  Speaker 1: jail that they put this kid in that feels.
• 1:11:42
  Speaker 2: The fact that they put kid in jail was insane and.
• 1:11:45
  Speaker 1: That rudy giuliani is this doctor.
• 1:11:47
  Speaker 2: Wait who did he remind me of yeah he was
• 1:11:51
  Speaker 2: such a gross guy and he was like what was
• 1:11:54
  Speaker 2: he like he was kind of like yeah Yeah.
• 1:11:57
  Speaker 1: He's a little bit feeble, aggressive, but also trying to...
• 1:12:03
  Speaker 1: He's one of those scary adults when you're a kid.
• 1:12:07
  Speaker 1: It's like, oh no, why is his hair... look like
• 1:12:10
  Speaker 1: that it's like uncanny um this scene where this is
• 1:12:14
  Speaker 1: the scene where where andy cries and it's like oh
• 1:12:17
  Speaker 1: no this is like a real crying he's very crying
• 1:12:21
  Speaker 1: in this.
• 1:12:21
  Speaker 2: Dude when he cries in this scene i was like
• 1:12:23
  Speaker 2: oh my god i feel like watching this movie is unethical.
• 1:12:28
  Speaker 1: But yeah he like the doctor is like clearly trying
• 1:12:31
  Speaker 1: to help it's he reminds me of it's like a
• 1:12:33
  Speaker 1: combination of rudy giuliani and william friedkin william friedkin yeah Um,
• 1:12:38
  Speaker 1: mixed with a little bit of hopper in there.
• 1:12:40
  Speaker 2: Totally.
• 1:12:41
  Speaker 1: Um, and Chucky like comes in, he like comes into
• 1:12:46
  Speaker 1: the room, like looking at the nurse and like steals
• 1:12:49
  Speaker 1: the keys, um, like tiny hands stealing keys. And it's
• 1:12:54
  Speaker 1: nice because Andy also knows that Chucky is after him
• 1:12:58
  Speaker 1: and he like puts the pillow underneath and he kind
• 1:13:00
  Speaker 1: of is ready to leave. He's ready to escape. Which
• 1:13:04
  Speaker 1: I loved. I thought that was great. He's hiding under
• 1:13:06
  Speaker 1: the bed. Chucky opens the door, stabs the pillow.
• 1:13:09
  Speaker 2: On the bed.
• 1:13:10
  Speaker 1: Andy runs. And then they have a fight scene in
• 1:13:15
  Speaker 1: one of the laboratories or whatever. It's like an insane
• 1:13:18
  Speaker 1: asylum or whatever. Insane asylums were so huge in the
• 1:13:21
  Speaker 1: 80s and 90s.
• 1:13:22
  Speaker 2: And the clumsiness.
• 1:13:27
  Speaker 1: Of a kid holding a scalpel, and then the doctor
• 1:13:31
  Speaker 1: coming in and, like, taking the- trying to take the
• 1:13:34
  Speaker 1: scalpel out of his hands. I was kind of like,
• 1:13:36
  Speaker 1: that's a real scalpel. That's a real scal- it was
• 1:13:39
  Speaker 1: a real fucking scalpel. And the fact that the doctor
• 1:13:41
  Speaker 1: was so awkwardly trying to, like- I noticed that too.
• 1:13:47
  Speaker 1: You know when a kid has a grip and you're
• 1:13:49
  Speaker 1: trying to lift the fingers up and it's impossible? And
• 1:13:54
  Speaker 1: then Chucky fucking straps the electroshock therapy head on the
• 1:14:00
  Speaker 1: doctor and is like.
• 1:14:02
  Speaker 2: This part was, I think, the funniest part. It was
• 1:14:04
  Speaker 2: definitely the funniest part. Because he was just getting crispy, dude.
• 1:14:10
  Speaker 2: He was just like... 100%.
• 1:14:12
  Speaker 1: 100%. And then the pervert doctor comes at the hospital
• 1:14:19
  Speaker 1: with Mike and he's like, it's like kind of them
• 1:14:23
  Speaker 1: three against the world now. And it is very dad
• 1:14:27
  Speaker 1: core energy. He's like, Karen, where do you think Andy
• 1:14:31
  Speaker 1: would go? He would go home. Does he have a key?
• 1:14:34
  Speaker 1: Under the mat. We're poor. We don't have anything. and
• 1:14:40
  Speaker 1: then and then the the doll coming back home and
• 1:14:44
  Speaker 1: then being in the elevator and the the woman on
• 1:14:47
  Speaker 1: the elevator being like like to the doll because it's
• 1:14:50
  Speaker 1: all burnt and like chuckified now yeah yeah i also
• 1:14:54
  Speaker 1: like the fact that chucky face it's chucky face yeah
• 1:14:57
  Speaker 1: it's no after a certain point in the movie they
• 1:14:59
  Speaker 1: switched out the dolls and it's like very much like Like,
• 1:15:03
  Speaker 1: receding hairline. Like, the face kind of emulating... But receding
• 1:15:08
  Speaker 1: hairline happens very soon in the franchise. Totally, yeah. And
• 1:15:14
  Speaker 1: kind of the hair, the face, a little bit emulating
• 1:15:19
  Speaker 1: Brad Dourif. Because Brad Dourif has those beautiful eyes as well. And, like,
• 1:15:24
  Speaker 1: it almost looks like a child version of Dourif. Like,
• 1:15:28
  Speaker 1: an uglified child.
• 1:15:32
  Speaker 2: Yeah, yeah, yeah.
• 1:15:34
  Speaker 1: And Andy's in the closet hiding. Chucky comes in and
• 1:15:38
  Speaker 1: they do these nice shots where you see the movement
• 1:15:43
  Speaker 1: of Chucky through the grates as a shadow and stuff
• 1:15:47
  Speaker 1: like that. They do a lot of stuff to build...
• 1:15:51
  Speaker 1: the menace of him while at the same time retaining
• 1:15:54
  Speaker 1: his size, which is very cool.
• 1:15:56
  Speaker 2: But then some scenes, just like a fucking bulky Chucky
• 1:16:01
  Speaker 2: walks in.
• 1:16:02
  Speaker 1: Yeah, totally.
• 1:16:03
  Speaker 2: Chucky's been lifting, dude.
• 1:16:05
  Speaker 1: Andy, like, pulling out his baseball bat while Chucky fucking
• 1:16:08
  Speaker 1: has a knife. A cool knife. Dude, where the fuck
• 1:16:11
  Speaker 1: did he get that knife? Oh, because he got it from,
• 1:16:13
  Speaker 1: what's his name?
• 1:16:15
  Speaker 2: Mike.
• 1:16:15
  Speaker 1: Not Mike.
• 1:16:16
  Speaker 2: John. Oh, okay. Sometimes the Chucky, bulky Chucky reminded me
• 1:16:21
  Speaker 2: of like bulky Jason from like the later movies.
• 1:16:25
  Speaker 1: Oh yeah, totally, totally. And then he fucking hits, Chucky
• 1:16:29
  Speaker 1: fucking hits Andy in the head with the baseball bat.
• 1:16:33
  Speaker 1: And he like flips him over and then he tries to, Hade, Dewey, Dembele.
• 1:16:39
  Speaker 1: As Karen is running up the steps, we get like
• 1:16:43
  Speaker 1: the clouds. We didn't talk about the clouds, too.
• 1:16:46
  Speaker 2: The clouds, Terminator.
• 1:16:50
  Speaker 1: And he's like, Mike is now reminded also that like
• 1:16:54
  Speaker 1: the clouds happened at that point. So they know that
• 1:16:58
  Speaker 1: like it's going to be.
• 1:16:59
  Speaker 2: He knows he's Hade, Dewey, Dembele. Give me the power,
• 1:17:04
  Speaker 2: I beg of you! Oh, man.
• 1:17:09
  Speaker 1: And then I loved the fact that she runs in
• 1:17:13
  Speaker 1: to grab Andy. Chucky turns around and bites her in
• 1:17:18
  Speaker 1: the face. And then Mike comes in and throws the
• 1:17:22
  Speaker 1: dummy across the room.
• 1:17:25
  Speaker 2: You can do so much fun stuff like that with
• 1:17:27
  Speaker 2: a Chucky doll.
• 1:17:28
  Speaker 1: Totally.
• 1:17:29
  Speaker 2: Throw him around.
• 1:17:34
  Speaker 1: Yeah, and then Mike is coming into the room and
• 1:17:37
  Speaker 1: is obviously beaten up, and he's looking under the bed
• 1:17:41
  Speaker 1: and stuff. Man, he looks so much like Mike Ruffalo.
• 1:17:43
  Speaker 1: It's so weird. And Chucky comes in. Uh, with adult strength.
• 1:17:48
  Speaker 2: Uh, and.
• 1:17:50
  Speaker 1: Because he's a body now. He's not just a.
• 1:17:53
  Speaker 2: He's like a young person in a small suit.
• 1:17:57
  Speaker 1: Yeah.
• 1:17:58
  Speaker 2: Bulky Chucky.
• 1:17:59
  Speaker 1: And then he fucking hits, uh, Mike. And Catherine comes
• 1:18:04
  Speaker 1: into the room.
• 1:18:04
  Speaker 2: Catherine.
• 1:18:05
  Speaker 1: Yeah. Catherine Hicks. Comes into the room and shoots Chucky
• 1:18:07
  Speaker 1: in the fucking leg.
• 1:18:08
  Speaker 2: Karen.
• 1:18:10
  Speaker 1: Um.
• 1:18:11
  Speaker 2: And, like, then, like, just shooting him up completely. Like,
• 1:18:14
  Speaker 2: shooting up the tiny body... Is that when that happens?
• 1:18:20
  Speaker 2: When does she burn him to a crisp?
• 1:18:21
  Speaker 1: Yeah, basically, he gets shot in the leg. Chucky physics
• 1:18:27
  Speaker 1: across the room and then runs to her with a
• 1:18:30
  Speaker 1: gross face. And it's like, there's a lot of biting, too.
• 1:18:34
  Speaker 1: It's very strange. But she throws him into the fireplace.
• 1:18:42
  Speaker 1: And she's like, I got to get the matches and
• 1:18:44
  Speaker 1: the matches fall. And Andy is so freaked out because
• 1:18:47
  Speaker 1: obviously he's told not to use matches as a kid.
• 1:18:50
  Speaker 1: and she's like grab the fucking matches no.
• 1:18:52
  Speaker 2: Andy's fucking catatonic in this he is very catatonic he's
• 1:18:56
  Speaker 2: like chucky's being terrified and he's behind a cage that
• 1:18:59
  Speaker 2: she's like closed his face is like goopy gnarled he's
• 1:19:03
  Speaker 2: got a human mouth the system like.
• 1:19:06
  Speaker 1: And and he he Andy throws the match in and
• 1:19:10
  Speaker 1: he's like, wait, Andy, no!
• 1:19:13
  Speaker 2: This is the... We're friends to the end!
• 1:19:16
  Speaker 1: This is the end, friend!
• 1:19:19
  Speaker 3: Okay, okay.
• 1:19:23
  Speaker 2: Okay, okay, I wanted to ask you about this is
• 1:19:27
  Speaker 2: the end, friend.
• 1:19:28
  Speaker 1: It's great.
• 1:19:29
  Speaker 2: It's great because, like, it's dead-eyed real child menacing rather than, like,
• 1:19:36
  Speaker 2: you know, a cool line that they got a kid
• 1:19:39
  Speaker 2: to say. Yeah, 100%. It does seem like it's happened
• 1:19:42
  Speaker 2: on the heels of him having this, like, insanely traumatic situation.
• 1:19:46
  Speaker 1: Yeah, he plays it really well. It is the most,
• 1:19:50
  Speaker 1: this is the line you're gonna do, rather than, like,
• 1:19:53
  Speaker 1: it's very natural. Everything else is so natural, and that's
• 1:19:56
  Speaker 1: what sells the movie.
• 1:19:58
  Speaker 2: I agree.
• 1:19:59
  Speaker 1: The nature of it. And then the doll, but the doll, like,
• 1:20:04
  Speaker 1: jittering around, and then like slowly dying was like really
• 1:20:11
  Speaker 1: like this.
• 1:20:13
  Speaker 2: Is like the thing that becomes like kind of characteristic
• 1:20:19
  Speaker 2: about chucky movies is like how fucked up chucky gets like.
• 1:20:24
  Speaker 1: Throughout the movie yeah how much can we like get
• 1:20:26
  Speaker 1: this doll to be fucked and like they go over
• 1:20:30
  Speaker 1: to help mike and And, like, go get the first
• 1:20:33
  Speaker 1: aid kit. And the doll is gone. Like, Andy goes
• 1:20:36
  Speaker 1: to get the first aid kit. And imagine this. Just, like,
• 1:20:39
  Speaker 1: a mush, scary, mechanical, creepy, like, melted....
• 1:20:49
  Speaker 2: You see the, like, robotics that they used to make Chucky,
• 1:20:53
  Speaker 2: which was interesting. Totally.
• 1:20:54
  Speaker 1: And, like, he's still strong. It's still, like, almost like
• 1:20:58
  Speaker 1: he's not human yet, but... That's why he can like
• 1:21:01
  Speaker 1: get away with being a melted crisp. And then he
• 1:21:04
  Speaker 1: stabs through the door and fucking stabs, uh, Karen's hand
• 1:21:08
  Speaker 1: and it like gets closer and closer to her face.
• 1:21:10
  Speaker 2: Yeah. And that part was very shining. Yeah.
• 1:21:13
  Speaker 1: Very cool. Very, very cool. Like a one final, uh, uh,
• 1:21:19
  Speaker 1: sort of gasp at, at living or whatever. And like
• 1:21:23
  Speaker 1: walking towards it and she's like shooting it and shooting
• 1:21:25
  Speaker 1: it and shooting it. And he's just like, it's so
• 1:21:29
  Speaker 1: fucked and the body shooting the head off and then
• 1:21:31
  Speaker 1: the body like coming still towards it. It's so good.
• 1:21:35
  Speaker 1: And then it like it falling and crawling towards the, it's,
• 1:21:41
  Speaker 1: it's great. It's like a great visual. It's super nice.
• 1:21:46
  Speaker 2: I love when they think it's all over and the
• 1:21:49
  Speaker 2: fucking balding cop comes in with the mustache and they're like,
• 1:21:53
  Speaker 2: don't touch anything. And he picks up the head and
• 1:21:56
  Speaker 2: puts it on the like fire mantle. He's like, look,
• 1:21:59
  Speaker 2: this thing is, what are you talking about?
• 1:22:01
  Speaker 1: Yeah.
• 1:22:02
  Speaker 2: And then suddenly he's like, I'm going to fucking kill you.
• 1:22:06
  Speaker 2: We have another fake out ending where like the half
• 1:22:10
  Speaker 2: body of Chucky is just like trying to choke out
• 1:22:13
  Speaker 2: the balding cop.
• 1:22:14
  Speaker 1: Which is great because like it gives us a moment
• 1:22:17
  Speaker 1: to be like, well, these three are, we don't, we
• 1:22:19
  Speaker 1: want one final like sort of, scare or kill we
• 1:22:23
  Speaker 1: want these people to have like a good time you
• 1:22:25
  Speaker 1: know what i mean like we want them to be
• 1:22:26
  Speaker 1: just just cool because we love them we i love
• 1:22:30
  Speaker 1: these people.
• 1:22:31
  Speaker 2: You know yeah i mean he's gonna be the dad now.
• 1:22:34
  Speaker 1: Yeah of course or child protective services is gonna take the.
• 1:22:39
  Speaker 2: Kid i mean definitely child services child protective services is
• 1:22:43
  Speaker 2: gonna take uh andy andy yeah.
• 1:22:47
  Speaker 1: It's it's um it's such a why because he also
• 1:22:50
  Speaker 1: the way that mike doesn't want to shoot his partner
• 1:22:54
  Speaker 1: uh is really hilarious um and the fact that he
• 1:22:58
  Speaker 1: kind of like believes believes it too this like other
• 1:23:02
  Speaker 1: person believes it and like it seems.
• 1:23:05
  Speaker 2: Kind of like it's like well now that four people.
• 1:23:10
  Speaker 1: Have seen yeah totally it's like and the fact that
• 1:23:13
  Speaker 1: like the dummy kind of struggles to survive is really
• 1:23:17
  Speaker 1: funny um Um, and then he shoots him in the heart.
• 1:23:20
  Speaker 2: Who's going to believe me?
• 1:23:21
  Speaker 1: Yeah.
• 1:23:22
  Speaker 2: Yeah. The little heart explodes.
• 1:23:24
  Speaker 1: Yeah. Which is great. I, I, yeah. Mike being like,
• 1:23:30
  Speaker 1: you believe me now? Who's going to believe me? It's,
• 1:23:34
  Speaker 1: it's like all of it is really well done. Cause
• 1:23:36
  Speaker 1: like even, even the pervert gross cop is like, nah,
• 1:23:40
  Speaker 1: he's got a soul. He's got a person. He's a person,
• 1:23:42
  Speaker 1: you know? Um, I would never leave my kid alone.
• 1:23:47
  Speaker 1: Ever again after this. Like, she leaves with the cop, like,
• 1:23:50
  Speaker 1: helping him up and shit.
• 1:23:51
  Speaker 2: I would never.
• 1:23:52
  Speaker 1: I just... I don't think I could. Like, it's like, oh,
• 1:23:55
  Speaker 1: magic is real? You know what I mean?
• 1:23:57
  Speaker 2: Like, you'd be fucking crazy. Yeah, like, now I'm, like,
• 1:23:58
  Speaker 2: having to, like, defend again. Well, I think that's what
• 1:24:01
  Speaker 2: happens in part two. I think she is crazy and
• 1:24:04
  Speaker 2: gets committed.
• 1:24:05
  Speaker 1: She's Sarah Connard a little bit?
• 1:24:07
  Speaker 2: She's... Yeah, she's trying to blow up data centers, dude. Yeah,
• 1:24:12
  Speaker 2: holy shit. It's, like... Such a breezy watch. It's so fun.
• 1:24:19
  Speaker 1: How many Chucky's? How many Denbillas are we giving it? Okay.
• 1:24:25
  Speaker 2: I mean, we've got to give it like a 10
• 1:24:27
  Speaker 2: out of 10.
• 1:24:27
  Speaker 1: It's a 10 out of 10. Dude, 10 out of
• 1:24:30
  Speaker 1: 10 for me across the board. I'm 10 out of 10.
• 1:24:34
  Speaker 1: At first, I was like, I can't tell Milenko that
• 1:24:38
  Speaker 1: I'm giving this a 10 out of 10. I was
• 1:24:40
  Speaker 1: so excited to come and talk to you about it.
• 1:24:42
  Speaker 1: Because I was like, I'm giving this a 10 out
• 1:24:44
  Speaker 1: of 10. And as I was watching it, I was like,
• 1:24:47
  Speaker 1: 10 out of 10, 10 out of 10, 10 out
• 1:24:49
  Speaker 1: of 10. And there was like a moment where I
• 1:24:50
  Speaker 1: was like, you know, there were parts where I was like,
• 1:24:54
  Speaker 1: is this like realistic? But then I was like, nah,
• 1:24:58
  Speaker 1: this is fucking 10 out of 10. Easily, easily for me.
• 1:25:02
  Speaker 1: I was like so captivated immediately. Like, honestly, I'm like,
• 1:25:07
  Speaker 1: it's kind of, this might be controversial. It's kind of like,
• 1:25:12
  Speaker 1: better than all of the first movie like it's kind
• 1:25:15
  Speaker 1: of better than nightmare on the street one friday the
• 1:25:18
  Speaker 1: 13th one i would say that it's comparable i would
• 1:25:22
  Speaker 1: say halloween is comparable i think this is like it's
• 1:25:28
  Speaker 1: an amazing movie it's actually like i was like like
• 1:25:31
  Speaker 1: lore storytelling economy characters it fires.
• 1:25:37
  Speaker 2: On memorability funniness yeah The kid, the stakes with how
• 1:25:42
  Speaker 2: young and vulnerable the kid is. There's so much about
• 1:25:47
  Speaker 2: it that works.
• 1:25:48
  Speaker 1: I mean, obviously it's not better than Nightmare on Elm Street.
• 1:25:50
  Speaker 1: It's definitely like, it deserves Pantheon though, in terms of.
• 1:25:54
  Speaker 2: I agree.
• 1:25:55
  Speaker 1: All of it, all of the first ones are like, yes,
• 1:25:58
  Speaker 1: these are awesome. This is awesome. This should be Lorde,
• 1:26:02
  Speaker 1: you know?
• 1:26:02
  Speaker 2: Well, yeah, I think I see that you're trying to
• 1:26:04
  Speaker 2: make the case for it in a way that like
• 1:26:07
  Speaker 2: it's kind of like the little movie that could. I
• 1:26:09
  Speaker 2: honestly don't think it needs to be even pushed forward
• 1:26:12
  Speaker 2: like that hard, dude. Like, yeah, like 100 percent. It's
• 1:26:15
  Speaker 2: it's it's done so well. And like from what I remember,
• 1:26:19
  Speaker 2: the first three are like solid. Yeah. Like, in terms of, like,
• 1:26:24
  Speaker 2: continuing the story and stuff.
• 1:26:25
  Speaker 1: Yeah, making sense in a way that's, like, making motivations
• 1:26:28
  Speaker 1: make sense. That's what I remember. I'm really excited to
• 1:26:30
  Speaker 1: talk about the second one. The second one's going to
• 1:26:32
  Speaker 1: be great.
• 1:26:32
  Speaker 2: Me too. The second one has always been my favorite.
• 1:26:35
  Speaker 1: Yeah.
• 1:26:36
  Speaker 2: My personal favorite. You know, we want to know why. Why?
• 1:26:39
  Speaker 2: And we'll see if it holds up to this. It's
• 1:26:41
  Speaker 2: my favorite Chucky kill at the end.
• 1:26:43
  Speaker 1: Oh, yeah.
• 1:26:43
  Speaker 2: I like that he's turned into Big Goop.
• 1:26:46
  Speaker 1: Yeah.
• 1:26:46
  Speaker 2: Yeah.
• 1:26:47
  Speaker 1: I like the third one as a, how they took
• 1:26:51
  Speaker 1: the Big Goop.
• 1:26:52
  Speaker 2: And like squished it and the blood when blood starts.
• 1:26:56
  Speaker 1: Makes no sense but um what about you dude what
• 1:26:59
  Speaker 1: would you rate.
• 1:27:00
  Speaker 2: It um I would think I think I would give
• 1:27:02
  Speaker 2: it both 10 Chucky 10 Dembalas and just 10 across
• 1:27:06
  Speaker 2: the board um I don't know if I would go
• 1:27:09
  Speaker 2: as far as saying that I think it's like you
• 1:27:12
  Speaker 2: know better than all the firsts um I think it's
• 1:27:16
  Speaker 2: I think it's on par I really do think it's
• 1:27:18
  Speaker 2: on par yeah um interested i'm interested to see how
• 1:27:23
  Speaker 2: it goes like you know it kind of like turns
• 1:27:26
  Speaker 2: into like its own thing like chucky becomes obviously like
• 1:27:30
  Speaker 2: all of the other guys like a phenomenon right so
• 1:27:32
  Speaker 2: i think like i'm i'm interested in the lore because
• 1:27:37
  Speaker 2: you know i was really thirsty for lore on our
• 1:27:40
  Speaker 2: last season for a final destination yeah you and i
• 1:27:44
  Speaker 2: were both pretty disappointed with the lack of lore Yeah.
• 1:27:48
  Speaker 1: And just the lack of continuity between it, the lack
• 1:27:51
  Speaker 1: of care that didn't seem to match what some people
• 1:27:56
  Speaker 1: like Tony Todd would do or like the first one
• 1:27:59
  Speaker 1: was doing or like the fifth one was doing like
• 1:28:02
  Speaker 1: where it just it's the opposite. It's the antithesis of
• 1:28:06
  Speaker 1: Final Destination because of the fact that it feels like. Yeah,
• 1:28:13
  Speaker 1: it gets funny and it gets weird and wacky or whatever.
• 1:28:17
  Speaker 1: But it does feel like everybody cares so much, especially
• 1:28:21
  Speaker 1: Brad Dourif. But everybody in this movie really, really sold it.
• 1:28:29
  Speaker 1: In a way that a lot of those other movies
• 1:28:33
  Speaker 1: feel like funny for reasons that are external to funny
• 1:28:41
  Speaker 1: for reasons that feel external to the movie. It feels like, Oh,
• 1:28:44
  Speaker 1: what the eighties looked like, or, Oh, this acting is
• 1:28:47
  Speaker 1: a little bad. All of the acting is like, you
• 1:28:49
  Speaker 1: can complain about the writing somewhat in this. I don't
• 1:28:54
  Speaker 1: even think that actually.
• 1:28:55
  Speaker 2: Like it's, it's like, What makes you say that, though?
• 1:29:00
  Speaker 1: What, the writing?
• 1:29:00
  Speaker 4: Yeah.
• 1:29:01
  Speaker 1: Just because, like, it's the one thing I can think
• 1:29:04
  Speaker 1: of that's, like, a little bit strains credibility. Because the
• 1:29:08
  Speaker 1: acting is selling the writing. And if it's put in
• 1:29:12
  Speaker 1: different hands, it feels like it would have been a mess.
• 1:29:16
  Speaker 1: But the writing, the direction, the cinematography, the feeling that
• 1:29:23
  Speaker 1: I get of reality from this movie, it's not colored enough.
• 1:29:27
  Speaker 1: It's just like very real looking. Um, it, it doesn't
• 1:29:31
  Speaker 1: feel like a movie and feel, or it does feel
• 1:29:33
  Speaker 1: like a movie. Obviously it is a movie, but what
• 1:29:36
  Speaker 1: it feels like is I'm watching like events unfold rather than, um,
• 1:29:46
  Speaker 1: you know, there's a movie-ness to a lot of like horror.
• 1:29:50
  Speaker 1: Whereas because of the structure of it, because of the like,
• 1:29:54
  Speaker 1: backstories of like charles lee ray and stuff like all
• 1:29:57
  Speaker 1: that kind of stuff feels very natural.
• 1:30:00
  Speaker 2: In the written written in as your wife yeah.
• 1:30:02
  Speaker 1: Totally so like i don't even know i can't i
• 1:30:04
  Speaker 1: can't complain about it like it's there's so much good
• 1:30:07
  Speaker 1: stuff and you know what gaze is right it might
• 1:30:10
  Speaker 1: be a little bit like you know um it might
• 1:30:17
  Speaker 1: be a little bit of a uh.
• 1:30:25
  Speaker 2: Well, what do we imagine Kaze's hesitation is?
• 1:30:29
  Speaker 1: Glazing. There's a little bit of too much glazing that's
• 1:30:32
  Speaker 1: going to happen.
• 1:30:33
  Speaker 2: We're going to be glazing Chucky too much.
• 1:30:34
  Speaker 1: We're going to be glazing Chucky too much. But, I mean,
• 1:30:37
  Speaker 1: we glazed all of them. We glazed Freddy. Freddy is
• 1:30:40
  Speaker 1: our favorite. We glazed Billy the Puppet. Schwartzy. We did
• 1:30:46
  Speaker 1: some work for Billy the Puppet. We did some work
• 1:30:48
  Speaker 1: for Saw. Because some of them are, you know. Some
• 1:30:52
  Speaker 1: of them are, like, oh, man. Okay. But, like, the
• 1:30:55
  Speaker 1: themes are interesting. The writing in that isn't great.
• 1:30:58
  Speaker 2: The story was always on point, though. It's way better
• 1:31:02
  Speaker 2: than fucking... I mean, Final Destination was, like, what a dud, dude.
• 1:31:07
  Speaker 2: Holy shit. Like, I'm so sorry about that.
• 1:31:10
  Speaker 1: You got the dud?
• 1:31:12
  Speaker 2: I'm sorry I doubled down on fucking doing that. It
• 1:31:15
  Speaker 2: was so bad.
• 1:31:16
  Speaker 1: It was so bad, dude.
• 1:31:17
  Speaker 2: Even, like, the good ones, like, not worth it to
• 1:31:20
  Speaker 2: talk about.
• 1:31:21
  Speaker 1: Nope. uh whereas like this is like every scene like
• 1:31:24
  Speaker 1: i can talk about like i was watching it being
• 1:31:26
  Speaker 1: like i can talk like 15 minutes per scene like
• 1:31:30
  Speaker 1: just the subtlety of like actor choices camera choices backgrounds
• 1:31:36
  Speaker 1: um you know
• 1:31:39
  Speaker 2: Yeah 10 across the board yeah i'm really happy with
• 1:31:42
  Speaker 2: it and i can't wait to watch the next one
• 1:31:45
  Speaker 2: dude yeah for sure all right