Latest / Critically Acclaimed Network / Critically Acclaimed #369 | Backrooms, Scary Movie, Masters of the Universe, The Amazing Digital Circus: The Last Act, The Breadwinner, Pressure, Castration Movie Anthology III: Junior Ghosts-Premorphic Drift; A Fragmentary Passage

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Critically Acclaimed #369 | Backrooms, Scary Movie, Masters of the Universe, The Amazing Digital Circus: The Last Act, The Breadwinner, Pressure, Castration Movie Anthology III: Junior Ghosts-Premorphic Drift; A Fragmentary Passage · Critically Acclaimed Network

0:11
[UNKNOWN]: Hello, everybody and welcome back to critically acclaimed the movie review podcast where everything explodes Everything everything Everything including old Hollywood my predictions came true Talk about that when we get to back room.
0:28
[UNKNOWN]: Oh boy, will we?
0:29
[UNKNOWN]: Yeah, my name is willing to be on him a film critic.
0:32
[UNKNOWN]: I write for the rap everybody calls me babe My name is Whitney Sibold.
0:34
[UNKNOWN]: I too.
0:35
[UNKNOWN]: I'm a film critic.
0:35
[UNKNOWN]: I am a senior staff writer over at slash film Yeah, and you read all my stuff over there
0:42
[UNKNOWN]: do write a lot of stuff.
0:43
[UNKNOWN]: I write a lot of stuff.
0:44
[UNKNOWN]: You write a lot of stuff.
0:45
[UNKNOWN]: Everyone likes it.
0:47
[UNKNOWN]: I don't know if everybody likes it, but I do write a lot of it.
0:50
[UNKNOWN]: I don't know if this is a movie review podcast.
0:53
[UNKNOWN]: We review movies on the podcast.
0:55
[UNKNOWN]: And this time we're playing catch up.
0:57
[UNKNOWN]: Yeah, again.
0:59
[UNKNOWN]: And we're reviewing.
1:00
[UNKNOWN]: backrooms, the summer phenomenon backrooms, scary movie, the sixth film, sixth, and the weirdly long lived gross out parody genre, or franchise.
1:15
[UNKNOWN]: We've got masters of the universe.
1:17
[UNKNOWN]: which is a film about he-man and the masters of the universe.
1:23
[UNKNOWN]: He-man was never a master of the universe.
1:25
[UNKNOWN]: It was always he-man and the masters of the universe.
1:28
[UNKNOWN]: No, he is also a master of the universe.
1:30
[UNKNOWN]: It was Buddy Holly a cricket.
1:31
[UNKNOWN]: Yes, he was.
1:33
[UNKNOWN]: Oh.
1:35
[UNKNOWN]: Was Franky Valley one of the four seasons?
1:37
[UNKNOWN]: Indeed he was because if you took away Franky Valley, there would be three of them.
1:42
[UNKNOWN]: I still don't like it because we're reviewing the amazing digital circus at the last act.
1:47
[UNKNOWN]: I've said this to you before.
1:49
[UNKNOWN]: Dave Matthews was in Dave Matthews band.
1:52
[UNKNOWN]: Yeah.
1:52
[UNKNOWN]: Farbie was one of the rockers.
1:55
[UNKNOWN]: Okay, love sure everyone gets that reference well done.
1:58
[UNKNOWN]: I'll also be reviewing the bread winner, pressure, and although the movie doesn't officially come out, I think until later this year, we only got to see half of it, but it's an interesting case.
2:08
[UNKNOWN]: We'll be reviewing castration movie, chapter three, junior ghosts, pre-morphic drift, a fragmentary passage.
2:16
[UNKNOWN]: Yes.
2:18
[UNKNOWN]: I just want to say, anyone who can titles their movie that long,
2:22
[UNKNOWN]: I'd love you, man.
2:23
[UNKNOWN]: Because there should be some movie anthology through the full title.
2:26
[UNKNOWN]: Good for y'all.
2:27
[UNKNOWN]: Like seriously, more long titles, I say, the longer the better.
2:31
[UNKNOWN]: If that Englishman doesn't go up a hill and come down a mountain, I want no part of him.
2:37
[UNKNOWN]: But we are gonna, we're gonna start with, why wasn't anyone movie this weekend?
2:41
[UNKNOWN]: But it was such a huge gigantic success that we really need to get out of the way first.
2:48
[UNKNOWN]: We need to talk about back rooms.
2:49
[UNKNOWN]: Yeah.
2:50
[UNKNOWN]: Backrooms is still, I think it's already the highest-grossing film at 824 is ever released, beating out everything every year or all, once.
3:00
[UNKNOWN]: It's like, all three of the stuff.
3:02
[UNKNOWN]: Months to reach that money.
3:03
[UNKNOWN]: That was a word of mouth-built.
3:05
[UNKNOWN]: It is directed by Cain Parsons and
3:11
[UNKNOWN]: Okay, on YouTube gets, and it is based off, well, initially it's based off of a creepy pasta that Kane Parsons did not invent.
3:19
[UNKNOWN]: No, a creepy pasta sort of an online urban legend, campfire story.
3:25
[UNKNOWN]: There's a lot of them, some are better than others.
3:27
[UNKNOWN]: Slender Man is probably the most famous before the back rooms.
3:31
[UNKNOWN]: And now the back rooms are in a nutshell, if you've ever played a video game and managed to clip out of the world,
3:39
[UNKNOWN]: The bathrooms are like that, but in reality, you clip up through a wall and all of a sudden you're in basically a whole bunch of labyrinthine empty hallways where the geometry doesn't make sense.
3:52
[UNKNOWN]: And the emptiness is key, that's what's really going on.
3:57
[UNKNOWN]: Yeah, I came upon, and they call these places, liminal spaces, and we talked about liminal spaces on the podcast before.
4:04
[UNKNOWN]: It's not a new cinematic premise, like Kubrick played with it in the show.
4:08
[UNKNOWN]: Shining, David Lynch did it a lot, especially, like the other spaces in terms of peaks.
4:12
[UNKNOWN]: I would argue last year at Marion Bad does that as well.
4:14
[UNKNOWN]: Yeah, but yeah, basically a liminal space is a space where normally it would feel like full, it would have like people in it, it would feel populated, but when it isn't, it's deeply uncomfortable.
4:26
[UNKNOWN]: Yeah, um, if you've ever seen one of those like YouTube videos where people explore like a shopping mall that has been shut down for like 10 years.
4:36
[UNKNOWN]: Yeah, there's just nothing left there.
4:37
[UNKNOWN]: There's like some remnants of human civilization left, but it's clearly gone like just empty.
4:43
[UNKNOWN]: It's this quiet.
4:44
[UNKNOWN]: Yeah.
4:45
[UNKNOWN]: It's.
4:46
[UNKNOWN]: it's just quieting the idea of an empty house in the middle of the night you know that's goes back to the oldest haunted house pictures here but old haunted house pictures tend to have a mark of the humans that once lived there yeah that's what the ghosts are it's the history of the place yeah yeah the ghosts are sort of like whatever pain or trauma or violence took place in that area is sort of like blade into the walls and other house has a memory of those
5:12
[UNKNOWN]: What I find interesting about this new phenomenon of horrific liminal spaces is that they're absent of ghosts.
5:19
[UNKNOWN]: There might be a creature lurking around in there, but it's not the creature that makes them scary.
5:24
[UNKNOWN]: It's the space itself.
5:25
[UNKNOWN]: People are filling the space with their own anxieties that they bring into it.
5:29
[UNKNOWN]: It's very telling that this should come up in a post-COVID environment when we have closed down so many businesses, we're just a
5:37
[UNKNOWN]: post online living world, where the idea of third space is going away.
5:42
[UNKNOWN]: That is third space.
5:44
[UNKNOWN]: Your first space is your home, your second space is like your worker, your school.
5:48
[UNKNOWN]: The third space is where you go to have fun or hang out, or to socialize, or to meet people.
5:52
[UNKNOWN]: Yeah, whatever, whatever is the extra.
5:54
[UNKNOWN]: A park, a shopping mall, a library, these are all third spaces.
5:59
[UNKNOWN]: And we're old enough to remember when third spaces were very thriving open spots where you would actually have to leave the house to go meet people.
6:07
[UNKNOWN]: Yeah, socializing was something you could do in person or maybe on the phone or like via letter.
6:13
[UNKNOWN]: So if you wanted to interact with people, you actually had to physically go out and do it, which of course, of course you still can, but there weren't options.
6:23
[UNKNOWN]: Yeah, we were raised in the, I was born in the late 70s.
6:28
[UNKNOWN]: I'm a kid of the 80s and a teen of the 90s.
6:31
[UNKNOWN]: So I knew all about hanging out at the mall.
6:34
[UNKNOWN]: That was kind of what we were.
6:35
[UNKNOWN]: Yeah.
6:36
[UNKNOWN]: Whitney is just at the end of Generation X. I am just at the beginning of my wedding.
6:40
[UNKNOWN]: Yeah.
6:40
[UNKNOWN]: So technically we were of different generations.
6:42
[UNKNOWN]: But we were only four years apart.
6:43
[UNKNOWN]: Yeah.
6:45
[UNKNOWN]: But from different worlds.
6:46
[UNKNOWN]: So we have a different view of the world.
6:49
[UNKNOWN]: Yeah.
6:50
[UNKNOWN]: Uh, of course, once the internet came on, there was sort of a double-edged sword, because people who were maybe sort of in remote communities could find communities online, or just people who, or whatever, like minded, like, you know, it was a huge boon for a lot of queer people, who maybe didn't know a lot of queer people, I didn't know queer people who were out.
7:12
[UNKNOWN]: And it was, but it was a safe place where you could go and meet other queer people and discuss you.
7:17
[UNKNOWN]: your experiences, without the people online, or you could just your fan of the ax files, and you could get the ax files.
7:24
[UNKNOWN]: Exactly.
7:25
[UNKNOWN]: Some even something simple like that.
7:26
[UNKNOWN]: All of these communities could not be found online.
7:28
[UNKNOWN]: My point is there was a positive angle to it.
7:30
[UNKNOWN]: A lot of people sort of look at it.
7:31
[UNKNOWN]: Like it was only a bad thing.
7:32
[UNKNOWN]: Like, oh, we'll go back to we're like, no, there was a lot of good.
7:35
[UNKNOWN]: The double edge though is that it was pushed so hard.
7:38
[UNKNOWN]: People only started finding their communities online and stopped and started abandoning the third.
7:42
[UNKNOWN]: places.
7:43
[UNKNOWN]: Yeah, a lot of internet companies wanted that to happen and it did.
7:47
[UNKNOWN]: And so the idea that there's now there's now this whole landscape out there in the world of just empty rooms that have been abandoned is now it's like, they're not being replaced by other businesses because they're working from home.
8:01
[UNKNOWN]: People are working online.
8:02
[UNKNOWN]: We don't need to go to an office all the time.
8:05
[UNKNOWN]: So I think the back rooms is sort of like we fast forward of generation or two, and we're now getting these echoes of that, of the sort of abandoning of society and what's left out there.
8:16
[UNKNOWN]: Just this weird kind of, in the case of the movie, the back rooms, this kind of like disembodied consciousness.
8:23
[UNKNOWN]: That's not even really thinking about anything.
8:25
[UNKNOWN]: It's just sort of dream-ath.
8:26
[UNKNOWN]: Yeah.
8:27
[UNKNOWN]: And it, yeah, you're right.
8:29
[UNKNOWN]: It's, it's, yeah, I like that a lot.
8:31
[UNKNOWN]: And, uh, and I, I really loved the approach to the to the movie backgrounds because it not only presents us with a lot of these really unnerving images of like endless empty hallways, which are practical by the way.
8:44
[UNKNOWN]: Yeah, fucking, a practical sats like these gigantic
8:52
[UNKNOWN]: I did see a shot of one of the sets.
8:54
[UNKNOWN]: There's a room where the protagonist is played by a cheap hotel, A.G.O.4 goes into this big room.
9:01
[UNKNOWN]: The hallways don't make sense.
9:02
[UNKNOWN]: Like the hallway narrows up, and it leads to actually like a tiny door.
9:05
[UNKNOWN]: Yeah.
9:06
[UNKNOWN]: Almost like Willy Wonka.
9:07
[UNKNOWN]: Yeah, kind of.
9:08
[UNKNOWN]: But there's like a pit in the middle of the room, and he looks down on the pit, and it's just full of chairs.
9:12
[UNKNOWN]: It's like this little square box just sunk into the floor.
9:15
[UNKNOWN]: It's like who would design that?
9:16
[UNKNOWN]: What is that?
9:18
[UNKNOWN]: That was done with a blue screen effect.
9:20
[UNKNOWN]: The pit.
9:27
[UNKNOWN]: And also, a lot of people are making, making a lot of hay over the fact that the director is only 20 years old, and he kind of marks along with him and Curry Barker, who directed obsession.
9:40
[UNKNOWN]: There's this new generation of mostly dudes who have been raised with YouTube and online videos as their film school.
9:54
[UNKNOWN]: And they're now kind of repurposing that into cinema and they're coming up with things that I think are really very excited Now they're not alone on this just so we're clear.
10:02
[UNKNOWN]: We've also had the Philip who brothers who did talk to me and Yeah, what was the Sally Hawkins movie
10:11
[UNKNOWN]: Oh, it was um, bring her back, bring her back.
10:13
[UNKNOWN]: Those were fantastic horror movies.
10:15
[UNKNOWN]: They got their start making horror films on YouTube.
10:17
[UNKNOWN]: Uh, I forget who directed skin and meringue, but that's you to project as well.
10:21
[UNKNOWN]: Hi, Oliver Balls.
10:22
[UNKNOWN]: There you go.
10:22
[UNKNOWN]: I got all these, uh, hang on.
10:25
[UNKNOWN]: I'm going somewhere with this.
10:25
[UNKNOWN]: We also had Iron Lung earlier this year.
10:28
[UNKNOWN]: Markiplier, we had Chris Stuckman's Shelby Oaks, late last year.
10:32
[UNKNOWN]: Not a great film, but a good example part of the wave.
10:34
[UNKNOWN]: Uh, and but in a little bit, we're also going to be talking about gooseworks.
10:40
[UNKNOWN]: a trans woman filmmaker who made the amazing digital circus.
10:44
[UNKNOWN]: Okay.
10:45
[UNKNOWN]: So there is not enough representation outside the white guy.
10:48
[UNKNOWN]: Yeah.
10:51
[UNKNOWN]: And BJ Collangel wrote a great article about this by the way about how it is very, very exciting.
10:57
[UNKNOWN]: that we're getting this new wave of film.
11:00
[UNKNOWN]: It's a legitimate new wave.
11:01
[UNKNOWN]: Like much like we would call it the French new wave or whatever.
11:04
[UNKNOWN]: I think it is a genuine new group of filmmakers who have their own influences, their own things to say, they're told them to get a new generation.
11:13
[UNKNOWN]: But because of the way that YouTube elevates
11:18
[UNKNOWN]: a specific type of YouTuber, due to the algorithm.
11:25
[UNKNOWN]: And that algorithm is biased.
11:27
[UNKNOWN]: We're very male demographic.
11:29
[UNKNOWN]: It's a sexist algorithm.
11:30
[UNKNOWN]: Yeah, because there's made by people, and a lot of people are sexists.
11:34
[UNKNOWN]: We're not seeing a lot of diversity and voice in this group.
11:38
[UNKNOWN]: Yet, I hope to see more.
11:39
[UNKNOWN]: Yeah.
11:40
[UNKNOWN]: Goose works as an example of a big exception.
11:43
[UNKNOWN]: we will end um i actually uh last year wrote an article on uh bfdi yeah just an animated series by um uh twin brothers carrying Michael Whang they're they're uh um
11:56
[UNKNOWN]: not like guys, but they're from California, they're just local guys, but they started making these cartoons when they were kids, like you can watch their early ones and their voices hadn't changed yet, like they were still little kids.
12:10
[UNKNOWN]: And they've been doing this for like 20 years and they sort of sprung this out into this legitimate phenomenon.
12:16
[UNKNOWN]: Now my son, I only know about BFDI because my son has sent it to it, my son has 11 years old.
12:19
[UNKNOWN]: Yeah, and now thanks
12:21
[UNKNOWN]: BFDI stands for Battle 4 Dream Island.
12:23
[UNKNOWN]: It's part of a series of cartoons that they call object shows.
12:27
[UNKNOWN]: That is to say all the characters are objects.
12:29
[UNKNOWN]: They're anthropomorphic bubbles, pencils, books, that kind of thing.
12:34
[UNKNOWN]: And the premise is they just compete in reality show like survival challenges.
12:40
[UNKNOWN]: Sometimes it's like
12:41
[UNKNOWN]: scale of all that's really easy and we get to see these creatures scale of all sometimes it's really big like you know murder somebody oh god luckily there's like revival machines they can just turn a crank and revive all these characters are sent being killed and these stories get like more more complicated over the years what strikes me about a battle for dream island and all of these other lists wave of
13:03
[UNKNOWN]: Walter Chau called them the naivewave, which I don't like as it's time, I don't like it.
13:08
[UNKNOWN]: Well, it's Walter Chau isn't a fan, so I get it.
13:12
[UNKNOWN]: I think it's an extremely ungenerous name.
13:14
[UNKNOWN]: I don't normally am a huge fan.
13:16
[UNKNOWN]: I hope that doesn't catch up.
13:16
[UNKNOWN]: No, I think it's a bad one.
13:18
[UNKNOWN]: But none of these things are, and we'll talk about this when I get to masters of the universe, are drawing from a previous generation's experience, which is,
13:29
[UNKNOWN]: Not directly anyway.
13:30
[UNKNOWN]: Not directly, which I feel is new for the first time in like 40 fucking years.
13:34
[UNKNOWN]: Yeah, because you go back to Jen X Like we're like a media raise generation.
13:40
[UNKNOWN]: We were kind of leaching off of like a lot of boomer TV and like sitcoms from the 60s A lot of our culture was redefined by what we were watching on television.
13:49
[UNKNOWN]: Yeah, which in turn was derived from You know good art and all the rest who were taking their influences from movies
13:55
[UNKNOWN]: Yeah, the French new wave and also like sort of the new Hollywood and the late together.
13:59
[UNKNOWN]: There's seven silver X-course ACs generation of filmmakers.
14:02
[UNKNOWN]: They were also, they were film school taught.
14:04
[UNKNOWN]: Yeah.
14:04
[UNKNOWN]: They were all studying the things that came before.
14:06
[UNKNOWN]: This generation is the first that seems to be trying to build it.
14:10
[UNKNOWN]: There's of course influences, but they're trying to build it from the floor up.
14:13
[UNKNOWN]: Yeah.
14:13
[UNKNOWN]: They're not explicitly saying this comes from something you know.
14:17
[UNKNOWN]: This comes from IP.
14:18
[UNKNOWN]: Hollywood has been milking IP, incessantly for nearly 20 solid years.
14:22
[UNKNOWN]: And they're only really getting excited about this wave because it's now a proven IP.
14:27
[UNKNOWN]: Backrooms has millions of views.
14:29
[UNKNOWN]: But amazing digital circuits has collectively over a billion views.
14:32
[UNKNOWN]: And that's only on YouTube, but it's also on Netflix.
14:34
[UNKNOWN]: Yeah.
14:35
[UNKNOWN]: Like these are private properties.
14:37
[UNKNOWN]: I, if I can tut my heart a little bit, I set at the end of last year when you were declaring,
14:42
[UNKNOWN]: avatar and all of the Disney Regurgitations as one of the worst as a worst film of the year It was a collective tie.
14:51
[UNKNOWN]: Yeah, it's I said at the time Hollywood was already dead They're still churning out the star wars is and trying to move the IP and they made it's the masters of the universe feature film and everyone No, I'll make a good one and whether they're good or bad as beside the point the point is
15:09
[UNKNOWN]: it's done like they're not getting good interesting stories out of this stuff even if they're well done they might even have a good point to make yeah but they're not going to be shaking the zeitgeist they're still reliant on nostalgia or even nostalgia for nostalgia
15:24
[UNKNOWN]: I want to get into the specific movie backrooms in a minute, but while we're talking about that, there is something I've noticed a lot.
15:31
[UNKNOWN]: I myself have been posting quite a bit about how I think it's very exciting that stuff like backrooms and obsession and makes these little circles are doing so incredibly well, and something like massive the universe is not.
15:43
[UNKNOWN]: I think that's a very positive step.
15:45
[UNKNOWN]: And a lot of people are saying, but I, I, person responding, really like massers of the universe.
15:51
[UNKNOWN]: And it's like, okay, fine, I'm not, first off,
15:54
[UNKNOWN]: I didn't like masters of the universe, but I don't really want that either, but, but that's irrelevant.
15:59
[UNKNOWN]: If you like it, that's great.
16:01
[UNKNOWN]: I am not so, even if I like to the movie, like I like the Mandalorian and Groguu a lot.
16:05
[UNKNOWN]: I think that's a totally great style of this movie.
16:07
[UNKNOWN]: I am also happy to push that aside because I still think it is part of a trend that has been deleterious, yeah, I use the word deleterious to the industry and more importantly, the
16:24
[UNKNOWN]: Yeah, I think that we have such limit the way Hollywood has been making these blockbusters and so limiting the storytelling I and of course there's other movies but they put all the emphasis on it and every time an interesting new filmmaker comes out what's the first thing they do would you like to make a superhero movie or a toy movie or an adaptation of a hit TV series
16:51
[UNKNOWN]: I don't think you're doing the art form any favors.
16:52
[UNKNOWN]: I don't think you're doing most of those careers any favors.
16:54
[UNKNOWN]: Like some people manage to get out of it, okay?
16:56
[UNKNOWN]: Ryan Cougler is doing fine.
16:58
[UNKNOWN]: But like, artistically.
17:00
[UNKNOWN]: But like, you know, maybe after her spur, yeah.
17:02
[UNKNOWN]: But yeah, no, I, I, I, I decried the trend even though I freely admit, not every movie within that trend is bad.
17:10
[UNKNOWN]: It's the trend.
17:11
[UNKNOWN]: It is the overwhelming quality that I take objection to.
17:14
[UNKNOWN]: I know it's poor form to do this, but Stephanie's a
17:19
[UNKNOWN]: uh... said way early on in the way of uh... like marvel superhero movies that it's okay
17:25
[UNKNOWN]: to admire or even love the individual chapters and still be dismayed by the trends they represent.
17:32
[UNKNOWN]: Exactly.
17:33
[UNKNOWN]: Exactly.
17:33
[UNKNOWN]: So, I also really liked the Mandalorian in Grogo.
17:37
[UNKNOWN]: I thought it was a delightful, some of the men from B, kind of empty, but very enjoyable film.
17:42
[UNKNOWN]: I mostly agree with you.
17:45
[UNKNOWN]: I like the little goblin puppet.
17:46
[UNKNOWN]: He's cute, cute, no, cute, no, little goblin guy.
17:48
[UNKNOWN]: I don't know what I like that thing.
17:50
[UNKNOWN]: Even warm, deverted, heard songs aren't.
17:53
[UNKNOWN]: Come on.
17:55
[UNKNOWN]: there life is meaning there's oh my gosh look it's a girl go when I see something like back rooms though and you know all together films we mentioned it's like it's a good sign that the old trends are finally finally I've been waiting for years for these things to end and they're finally over yeah people want to tell different types of stories right now
18:18
[UNKNOWN]: I'm I'm also an audience is a respondent.
18:20
[UNKNOWN]: It's true.
18:20
[UNKNOWN]: It's like I'm also happy because I also really liked background Yeah, I'm mixed on it.
18:25
[UNKNOWN]: I'm really high on it.
18:26
[UNKNOWN]: I love that.
18:27
[UNKNOWN]: So to real fast because the plot isn't actually that complicated Back rooms is said in the early 1990s and I think it's San Pedro, California It's yeah, it's like not a big city and
18:39
[UNKNOWN]: Yeah, basically a two-hander, it's to tell you for he plays an alcoholic divorce say who's in therapy, his therapist is played by Renata Reinsva, fucking awesome cast by the way, great job, it's not like that.
18:55
[UNKNOWN]: And he honestly just has pretty standard shitty guy problems.
19:00
[UNKNOWN]: He's not like the worst person ever.
19:02
[UNKNOWN]: I was just kind of a shitty guy.
19:03
[UNKNOWN]: But the characterization's pretty simple in the movie actually.
19:06
[UNKNOWN]: And then even the psychology's really simple.
19:08
[UNKNOWN]: I just like the way they explored it.
19:09
[UNKNOWN]: But he wanted to be an architect, but now he runs a failing discount furniture store.
19:17
[UNKNOWN]: So it's a big showroom with a whole bunch of...
19:20
[UNKNOWN]: you know, crappy pouches and things.
19:23
[UNKNOWN]: And he's been having some technical problems, like there's a bunch of power surges, a guy comes in to like look at his fuse box and there's like switches that don't make sense.
19:32
[UNKNOWN]: Like why would they be at an angle?
19:34
[UNKNOWN]: Yeah.
19:35
[UNKNOWN]: They shouldn't even be connected to anything.
19:38
[UNKNOWN]: And then one night while he turns out he's sleeping there, he's really having a hard time of it.
19:42
[UNKNOWN]: He
19:43
[UNKNOWN]: Tinker's with it, and accidentally clips through the wall of his, like, he's, but a sub basement, like, showroom.
19:50
[UNKNOWN]: Yeah, there's a basement showroom and he's just sort of feeling along the wall and he feels there's a false wall.
19:54
[UNKNOWN]: It's like, in a hologram.
19:56
[UNKNOWN]: Yeah.
19:56
[UNKNOWN]: He was able to just sort of push right through it.
19:58
[UNKNOWN]: Yeah.
19:59
[UNKNOWN]: And now he's in this incredibly cavernous maze-like series of office hallways that are all lit with, like, urine soaked.
20:10
[UNKNOWN]: Like what's that that herable fluorescent lights?
20:13
[UNKNOWN]: Well, it loads the fluorescent tubing And there isn't lights actually if you like film them without adjusting Like without adjusting the color timing they usually come out green on camera green or I guess it depends on the color timing of the movie I'm just saying it's a very specific lighting look and I'm not saying I haven't seen it before But it's usually something most buildings avoid.
20:33
[UNKNOWN]: It's not
20:35
[UNKNOWN]: That most movies, if you have a lot of talk to them, I've talked to some centers out of this.
20:39
[UNKNOWN]: A lot of filmmakers try to issue over using the color yellow because it's something about it that is kind of uncomfortable to people.
20:46
[UNKNOWN]: I remember I am like Shyamalan talked about this.
20:48
[UNKNOWN]: Oh, he is yellow a lot.
20:50
[UNKNOWN]: Yeah, well he definitely used it in the village.
20:52
[UNKNOWN]: Yeah, the pastors were yellow coats.
20:54
[UNKNOWN]: No, the monsters were red coats.
20:56
[UNKNOWN]: The heroes were red coats.
20:57
[UNKNOWN]: Oh, that's right, yellow coats.
20:57
[UNKNOWN]: But we still...
20:58
[UNKNOWN]: So it's still a ton of yellow in it.
21:00
[UNKNOWN]: And one of the reasons why is because people don't use that color very often.
21:04
[UNKNOWN]: It's considered kind of gross looking on camera a lot of the time.
21:07
[UNKNOWN]: No, what do I?
21:07
[UNKNOWN]: I don't know.
21:08
[UNKNOWN]: It's something people have noticed.
21:10
[UNKNOWN]: I hear their weaponizing.
21:11
[UNKNOWN]: It's a great effect.
21:12
[UNKNOWN]: Anyway, Joe would tell you for it's becomes obsessed with these bathrooms.
21:15
[UNKNOWN]: He starts trying to map them out.
21:17
[UNKNOWN]: But it turns out there's something else in there too.
21:19
[UNKNOWN]: Well, it's like a minitar, but it's never really quite seen at least.
21:22
[UNKNOWN]: Yeah, like they're chuffling and there's like something stomping around.
21:25
[UNKNOWN]: And you don't know what it is.
21:26
[UNKNOWN]: And he's kind of scared.
21:28
[UNKNOWN]: There are a lot of prolonged scenes of him just sort of wandering very slowly because it's the physical Unnerving effect of just sort of living in that area So yeah, and I think the filmmakers are really smart to just let us wander down these hallways and explore the geography with which is What a lot of the back room's videos on YouTube were it was basically just we're just wandering these incredibly Disquieting hallways and then like you take a turn around a corner and you walk too far and then all of a sudden
21:57
[UNKNOWN]: Yeah, it's like a really, really, really shitty nightmare in that possible way.
22:02
[UNKNOWN]: Well, but that's what nightmares are really like.
22:04
[UNKNOWN]: I'm, everyone I'm sure can write in with a letter about like the nightmare they had about wandering around and empty house or an empty mall, something like that.
22:12
[UNKNOWN]: Some kind of like space where the geography didn't make sense.
22:15
[UNKNOWN]: You would go, you climb through this tiny little room and there's like another room in there and you don't know it's function and there's like a Christmas tree in there.
22:21
[UNKNOWN]: I think that's what it's going on.
22:22
[UNKNOWN]: Nightmare where is at the bottom of an obliet.
22:25
[UNKNOWN]: Like a giant like you know like a giant well in the in the thing but there was someone down there with me And there was one like tiny pin prick of light that didn't make any sense and then the wall started spinning And I have never figured out what the fuck that man I had that recurring nightmare when I was like four or five Yeah, like I don't know where I got that shit from that's very sub-conscious very strange
22:49
[UNKNOWN]: I've had a lot of nightmares about being in my house and like I have the ability to sort of like change the speed of time Oh, yeah, yeah, and when I do so the creatures begin to appear Oh, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,
23:11
[UNKNOWN]: like uncomfortable, unknowable, nightmare quality whenever it is just exploring the backgrounds.
23:16
[UNKNOWN]: I could have been the whole movie from Anne with her side.
23:19
[UNKNOWN]: And as he goes deeper and deeper into these rooms, he starts to see things that are vaguely familiar, but twisted in a way.
23:26
[UNKNOWN]: Yeah.
23:27
[UNKNOWN]: Chuse are like half sunken into the floor.
23:29
[UNKNOWN]: Chairs are half sunken into the floor.
23:30
[UNKNOWN]: There's one room that's a whole bunch of like really gross laundry.
23:35
[UNKNOWN]: Yeah, that one freaked me out.
23:37
[UNKNOWN]: I was like, I'm not cool with this room.
23:38
[UNKNOWN]: I don't know why.
23:39
[UNKNOWN]: Yeah.
23:39
[UNKNOWN]: I literally don't know why, but I am not cool with any of it.
23:43
[UNKNOWN]: The plot of it is actually the incredibly simple that we basically talked to you through it.
23:47
[UNKNOWN]: Total G4's therapist.
23:52
[UNKNOWN]: She's also got her own baggage, not terribly complicated baggage, but traumatic.
23:56
[UNKNOWN]: And she has a series of self-help tapes that clearly aren't doing very well, because she's not wealthy.
24:01
[UNKNOWN]: No, she sees one of her own ads on like late night TV.
24:04
[UNKNOWN]: It's like this is early 90s So it actually like that was a thing you could do in the early in the late 80s and early 90s.
24:11
[UNKNOWN]: Yeah, was But you're on commercial on TV.
24:14
[UNKNOWN]: Well, no, it's like self-help cassette booklets.
24:18
[UNKNOWN]: Yeah, yeah, yeah But anyway, she would tell you before eventually goes missing and she go tries to find him and in the process She ends up in the back rooms and that's when things
24:30
[UNKNOWN]: Start to take an even darker turn, and I'll leave it there.
24:32
[UNKNOWN]: The thing that I dislike about this movie, or the very least, I think the thing I think doesn't work terribly well, is that so much of the movie that is just the back room's works great, but all the rest of it is pretty much either some very clunky world building with a scientist who might be like researching this and a kind of thing for the course.
24:56
[UNKNOWN]: Um, so Mark Duplast plays the the scientist character.
24:59
[UNKNOWN]: That never really feels like it really connects an meaningful way that actually like makes the film stronger.
25:05
[UNKNOWN]: It just feels like it's like no trust us.
25:07
[UNKNOWN]: There's lore So that I appreciate that they introduce this character, but they don't give an explanation.
25:14
[UNKNOWN]: Exactly.
25:15
[UNKNOWN]: I appreciate that
25:16
[UNKNOWN]: Well, I don't ever explain.
25:18
[UNKNOWN]: I don't become less magic.
25:19
[UNKNOWN]: I don't want an over-explanation I just want a narrative or thematic justification for why that guy is really there and it feels like the best they can do is maybe We're setting up a day to sex Machina, and I didn't care for that, but whatever, it's clunky
25:32
[UNKNOWN]: Um, but the real thing is is that we spend a lot of time talking about psychology.
25:36
[UNKNOWN]: There's voice over narrations about the human mind.
25:41
[UNKNOWN]: And frankly, I found all of it like, frustratingly simplistic.
25:47
[UNKNOWN]: Uh, to be fair, it was written by a 20 year old.
25:49
[UNKNOWN]: I understand, and you're right, these adult characters.
25:51
[UNKNOWN]: And a lot of people are making a big deal about how it's a 20 year old.
25:53
[UNKNOWN]: And I think it's fucking awesome that a 20 year old is taking this opportunity and done such a great job.
25:58
[UNKNOWN]: But,
25:59
[UNKNOWN]: You're building a movie, and you're trying to fill it with psychology, and it just doesn't feel like, and he didn't write the script either, I'm sure he didn't, but like another writer wrote it.
26:10
[UNKNOWN]: It feels like they're grasp on the human psyche is a little too thin to actually make them, to actually fill the space that they've created with meaningful,
26:23
[UNKNOWN]: conscious or subconscious, either depth or at the very least horror, because at towards the end of the film, I'll be vague, a character starts talking about some really scary stuff, and it feels like that's a pretty big leap from where we were, and I feel like it's like we're on one hand, you're just kind of like saying like people are kind of simple maybe, but
26:47
[UNKNOWN]: feels like you're really gilding that lily.
26:48
[UNKNOWN]: I feel like we're just kind of building a lot out of what is ultimately too simple for its own good.
26:53
[UNKNOWN]: It is very simple.
26:54
[UNKNOWN]: I agree with that, although that doesn't bother me.
26:56
[UNKNOWN]: I think just because I fell under the film's eerie spell and this idea that the back rooms kind of, you know, he's an architect.
27:04
[UNKNOWN]: It's all very obvious.
27:05
[UNKNOWN]: He's an architect.
27:06
[UNKNOWN]: This is about back rooms.
27:07
[UNKNOWN]: Of course you can have an architect in there who can kind of figure out
27:12
[UNKNOWN]: Yeah, that's a cartridge.
27:13
[UNKNOWN]: Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah,
27:30
[UNKNOWN]: I can appreciate it.
27:31
[UNKNOWN]: And I think Chutleto, Chutleto, edgy of four is telling us you're enough actor because he's great.
27:37
[UNKNOWN]: That he ran out of range was no slouch either.
27:38
[UNKNOWN]: Yeah, they're both really great.
27:40
[UNKNOWN]: They're given these characters that are very simple, but I think they're trying to make a lot of them.
27:44
[UNKNOWN]: So by the time we get to a lot of those revelations at the end, it's more about,
27:49
[UNKNOWN]: how they begin to perceive the mystery rather than, you know, this grant reveal of, you know, unlocking the mystery.
27:55
[UNKNOWN]: I kind of understood what was going on before they did.
27:59
[UNKNOWN]: But I was okay with that.
28:00
[UNKNOWN]: Yeah.
28:00
[UNKNOWN]: And I think it's kept on throwing these interesting images at us that even after they figured out what it was, I was still scared and that's important.
28:09
[UNKNOWN]: Yeah.
28:10
[UNKNOWN]: I'm not going to appreciate that.
28:11
[UNKNOWN]: For me, the thing...
28:13
[UNKNOWN]: that finally made me go, I'm not sure I love this, is there's a bit towards the end where we finally see something?
28:21
[UNKNOWN]: Oh, vividly, I would thought we were going to keep off camera the entire movie.
28:25
[UNKNOWN]: And then I saw it and I was like, I couldn't help but laugh.
28:28
[UNKNOWN]: I thought, I get it and what you were going for, I think the actual image that you created was,
28:38
[UNKNOWN]: to goofy to be scary to me.
28:41
[UNKNOWN]: Okay.
28:41
[UNKNOWN]: I can't say for everyone else and as some people thought it was really freaky.
28:44
[UNKNOWN]: For me, it was like this is a good example of something maybe you should have kept off camera.
28:49
[UNKNOWN]: Maybe so.
28:50
[UNKNOWN]: Because there's so much cool shit that you have on camera and it's really, really scary, but if you're gonna put it on camera, it'd a better be scary and there's one part where I feel like they really overplayed their hands.
29:00
[UNKNOWN]: Okay, I'm like, oh, this is gonna scare the pants off of them.
29:02
[UNKNOWN]: I'm like, nope, that's the one thing I'm not scared of at all, it's quite silly actually, but I'm gonna be a minority on that.
29:10
[UNKNOWN]: uh... i'm i don't think that was like the scariest part there's uh... there's like other characters that were introduced throughout the movie and some of them are pretty scary like uh... uh... but that's all i'm gonna say about that sure but uh... and the uh... the sort of idea of uh... this day of sex max x-macana this uh... scientist characters like looking over it uh... is that's also fine i think that just sort of deepens the mystery but at the same time it doesn't
29:38
[UNKNOWN]: solve the mystery.
29:39
[UNKNOWN]: They don't give us like exposition.
29:42
[UNKNOWN]: I'm not worried about the film.
29:43
[UNKNOWN]: I think the pacing does.
29:45
[UNKNOWN]: It's kind of suffers for it.
29:46
[UNKNOWN]: Because we keep introducing these things and not going anywhere with them.
29:49
[UNKNOWN]: It just sort of tell you, trust me, they're there and I'm like, I didn't need to know that.
29:53
[UNKNOWN]: Yeah, well, I'm thinking of us, the movie us.
29:56
[UNKNOWN]: Sure.
29:57
[UNKNOWN]: A movie that I think suffers from over-explanation.
30:00
[UNKNOWN]: Yeah, once you've won, they actually lay out everything that's going on, it's like, that's like, that doesn't make any sense.
30:04
[UNKNOWN]: That's like, it was more supernatural or metaphorical, that movie would work great.
30:08
[UNKNOWN]: But it's like, no, they were physically underneath the ground and here's how they fed themselves.
30:12
[UNKNOWN]: And here's what was going on.
30:14
[UNKNOWN]: It's like,
30:15
[UNKNOWN]: then that makes less sense yeah no you've made it to literal you try to make it literal I still think that movie works 90% but like that's like that's that's the part that doesn't work I agree with you you just think it's more of a film killer than it and again I'm not saying this is one of the reasons why we have a rating system so that you at the end of the episode I can be clear whether or not I like to do not well still focusing on my criticisms because Whitney's very high on it I can focus on the
30:43
[UNKNOWN]: I don't love the back rooms.
30:45
[UNKNOWN]: I'm not, I'm not even entirely sure I quite like it, but I respect it.
30:49
[UNKNOWN]: Okay, and I'm incredibly happy that it's doing well because I think it's doing something interesting and I think to me you were talking about the back rooms as sort of sort of the decaying husk of a society that is running out of space.
31:02
[UNKNOWN]: Yeah, um, you're that's just a bandage.
31:04
[UNKNOWN]: It's a bandage, it's a better way to put it.
31:06
[UNKNOWN]: Um, I look at it as
31:10
[UNKNOWN]: of representation of people and lies that have fallen between the cracks quite literally.
31:17
[UNKNOWN]: And I feel like a lot of people feel that way in the 2020s and have for a while at this point.
31:22
[UNKNOWN]: The people are doing overlooks.
31:23
[UNKNOWN]: We're being overlooked by the rules and society.
31:26
[UNKNOWN]: We're being overlooked by politicians.
31:28
[UNKNOWN]: We're being overlooked by capitalism.
31:29
[UNKNOWN]: We're being written out of the system by AI.
31:32
[UNKNOWN]: They're just feels like we're all here.
31:34
[UNKNOWN]: And there's nowhere to put us.
31:36
[UNKNOWN]: because you want to kick us out.
31:38
[UNKNOWN]: Do you want to kick us out of the decision-making process?
31:40
[UNKNOWN]: Do you want to kick us out of our buildings?
31:42
[UNKNOWN]: Do you want to kick us out of our cultures?
31:45
[UNKNOWN]: And it's just incredibly alienating and isolating.
31:49
[UNKNOWN]: Yeah.
31:50
[UNKNOWN]: And I think that there is a certain amount of that isolation that is common to a lot of the films in this wave, including skin and meringue, toss and many, for sure, amazing digital circus.
32:02
[UNKNOWN]: less so obsessions but there's still a certain amount of anxiety over people whose plights are being ignored and or exploited and yeah no I think that's all very telling.
32:15
[UNKNOWN]: So I admire it but I'm not entirely sure I think it's a great film.
32:20
[UNKNOWN]: Speaking of not a great film, another
32:22
[UNKNOWN]: there's a new scary movie scary movie six which is but to riff on the the habit of making a sequel with the same title as the original candy man scream it's just called scary movie yeah uh scary movie of course was a film that they viewed in 2000 uh it
32:41
[UNKNOWN]: The wings, brothers, had kind of already been there for like 10 years and everybody who they were and that were really funny, but it helped introduce Anna Ferris and Regina Hall to the world at large and we're better off for that.
32:55
[UNKNOWN]: But scary movie was a very broad, theoretically airplane style parody and that everything was really, really goofy, but the tone was remarkably different.
33:11
[UNKNOWN]: And some of those, like, like, airplane has plenty of crass jokes.
33:15
[UNKNOWN]: Yeah, but scaring movie was mostly crass jokes.
33:18
[UNKNOWN]: Yeah, it was, it was dovetailing with the gross out comedy trends, which were also big at the time.
33:22
[UNKNOWN]: That's a good point.
33:23
[UNKNOWN]: It's the, there's something about Mary really exploded that genre and it was really, really big for a while.
33:29
[UNKNOWN]: Scaring was definitely a part of that.
33:31
[UNKNOWN]: But what scaring movie did more than anything else.
33:33
[UNKNOWN]: And it basically retold scream, but also I know it's the last summer, and a few of the other big horror movies at the time.
33:41
[UNKNOWN]: It does what all parodies do.
33:44
[UNKNOWN]: It takes the piss out of everything.
33:46
[UNKNOWN]: Here's something you are all taking seriously.
33:48
[UNKNOWN]: We are going to tell you why you shouldn't, which is why.
33:52
[UNKNOWN]: And I talked about this a lot in my review.
33:57
[UNKNOWN]: Criticizing a scary movie or a superhero movie or an epic movie, and I'm not using these described genres.
34:04
[UNKNOWN]: I'm using the actual movies that are called those titles.
34:09
[UNKNOWN]: It's kind of besides the point.
34:11
[UNKNOWN]: I'm not saying they're critic proof because I do think after a while people got tired of them, but the point is nothing matters.
34:21
[UNKNOWN]: nothing deserves to be taken seriously every single thing that you care about in the culture and the media and the art that you enjoy is actually bullshit and it's more entertaining if you don't even try very hard.
34:34
[UNKNOWN]: There is something I kind of admire about that punk nihilism.
34:38
[UNKNOWN]: Yeah.
34:39
[UNKNOWN]: This idea that any piece of pop media that you consume isn't worthy of anything other than fodder for derision.
34:47
[UNKNOWN]: Yeah.
34:48
[UNKNOWN]: Exactly.
34:50
[UNKNOWN]: Maybe I feel that way because I was raised on Mad Magazine.
34:52
[UNKNOWN]: That was the prevailing attitude of Mad.
34:54
[UNKNOWN]: Yeah.
34:54
[UNKNOWN]: And if anything commercial was bad, it was worth tearing down.
34:59
[UNKNOWN]: uh... there there's not a lot of value to any of it and even if you find some value in it we can still mock the commercial aspects of it yeah uh... i haven't seen the first scary movie i've seen scaring movie two and i can say it's very similar it's very similar i can say that
35:17
[UNKNOWN]: However much I admired that attitude.
35:18
[UNKNOWN]: I wish the movies were like funny and not horrible.
35:21
[UNKNOWN]: Yeah, they they relied way too much on Go quote shock humor.
35:27
[UNKNOWN]: There's a lot of like Second time yeah, it's tiny penis.
35:32
[UNKNOWN]: Look at a tiny penis.
35:33
[UNKNOWN]: Isn't that make you uncomfortable?
35:34
[UNKNOWN]: Look somebody's gay doesn't that make you uncomfortable?
35:39
[UNKNOWN]: I mean, even at the time that was horrible at the time, even at the time, we knew that was that.
35:42
[UNKNOWN]: There was kind of an attitude that, well, they're saying these offensive things because we're making fun of the people who would say those offensive things.
35:50
[UNKNOWN]: But at the same time, we're just doing it.
35:53
[UNKNOWN]: We're just keeping them in the popular consciousness and making it part of the general sort of things we're allowed to do.
36:01
[UNKNOWN]: And it goes you're allowed to do anything.
36:02
[UNKNOWN]: But things that there is no...
36:06
[UNKNOWN]: There's no reason not to do them, you know, they're not in bad taste, or if they are in bad taste, the fact that they're in bad taste is something we can make fun of, making them something that we think is in good taste.
36:18
[UNKNOWN]: Yeah.
36:18
[UNKNOWN]: And the point of those movies is, um,
36:22
[UNKNOWN]: those like the younger kids who are quote in on the joke kind of chuckle at the bad attitudes they were making fun of well the adults could do a pop their monocles and ring their hands and say oh how offensive that is why are you eating apple jacks if they don't taste like jack it was then what ever talks about that part it's always they don't taste like apples they don't taste like jack either dad I don't know what they have I don't know have you eaten jack you can eat them
36:50
[UNKNOWN]: But that is the attitude, it's the sort of kids rule at all, it's drool attitude.
36:56
[UNKNOWN]: No, it's immature, but there's a rebellion spirit to it I can admire.
37:00
[UNKNOWN]: I don't get execution, that's the bra.
37:01
[UNKNOWN]: I don't, I don't, I've seen some of the scary moves.
37:04
[UNKNOWN]: I've seen two, four and five.
37:07
[UNKNOWN]: I've seen, I've always got three and four mixed up.
37:11
[UNKNOWN]: I found them because they're kind of interchangeable.
37:13
[UNKNOWN]: The other ones were at least more distinctly like here are the parodies that we're doing.
37:18
[UNKNOWN]: The first scary movie has some funny bets With as many jokes as it's got it fucking better.
37:26
[UNKNOWN]: I think that about all of these movies, but there's some funny bets in it
37:31
[UNKNOWN]: it's also very pure island in mature but that is again part of the appeal and i'm not going to take a swing at it for that i just think and a lot of the scary movies they're not as funny as they should be they're just not the jokes aren't the jokes are really lazy a lot of the time well and it's important to acknowledge as well that these are i think above all stoner comedy yes these are movies you go to an altered state of mind and there's stoner characters and
38:00
[UNKNOWN]: portions mostly in this new one, but also in some of the previous ones, where the movie just loses track of itself.
38:08
[UNKNOWN]: Yeah, it's not even trying to be a film.
38:10
[UNKNOWN]: And again, yeah, it's a broad comedy, but like here's what we're talking about here.
38:13
[UNKNOWN]: So the new scary movie.
38:16
[UNKNOWN]: Uh, is mostly taking its plot from the, the, the screen six.
38:21
[UNKNOWN]: The screen six, uh, which was basically, uh, the ghost face killer is back.
38:26
[UNKNOWN]: And Kudos, they do have a joke about why, why would the guy from Wu Tain clan be killing everybody.
38:31
[UNKNOWN]: Oh, I always thought that was that joke was missing.
38:34
[UNKNOWN]: Um, but I guess it's a screen five and screen six that like combined.
38:38
[UNKNOWN]: They, they cover both of those.
38:40
[UNKNOWN]: You write a screen five that I'm thinking of, but mostly the plot of screen five.
38:44
[UNKNOWN]: I got turned around.
38:45
[UNKNOWN]: Yeah, it's most of all screen five.
38:47
[UNKNOWN]: So anyway, at the beginning of the movie, first off, there is a genuinely hilarious opening sequence with a celebrity cameo.
38:56
[UNKNOWN]: I really made me think this is gonna be special.
38:59
[UNKNOWN]: Like, oh, if it's all this good, we're gonna have a treat because there is just one great joke after another before like the title card comes up.
39:08
[UNKNOWN]: And it really gets off to a good start.
39:11
[UNKNOWN]: But then the story kicks in proper and we meet one of our main characters Tuesday.
39:17
[UNKNOWN]: She's based off of Jenna or Tegas character in the screen movies, Jenna or Tega is Wednesday on the Netflix series based on the added family, these are the jokes.
39:26
[UNKNOWN]: uh... and uh... she is attacked by ghost face but not killed her sister uh... who who was the name of the action please a sister by the way because she's actually doing an incredible riff on an affair like she's adopting all of her manner of the best of luck and what really talented comedian
39:44
[UNKNOWN]: We really need to Olivia Rose Keegan.
39:46
[UNKNOWN]: That's it.
39:46
[UNKNOWN]: I mean, she's new to me.
39:48
[UNKNOWN]: I should know her name.
39:49
[UNKNOWN]: She's genuinely got a lot of comic chops.
39:52
[UNKNOWN]: Like she's really fucking funny.
39:54
[UNKNOWN]: So she comes back into town and she is.
39:57
[UNKNOWN]: She's not just like, uh, my mom is kind of like the mom from Halloween.
40:01
[UNKNOWN]: We're Jamie Lee Curtis was a recluse.
40:03
[UNKNOWN]: And I hate her and I'm very, very troubled.
40:05
[UNKNOWN]: She's like popping every pill known to man.
40:08
[UNKNOWN]: Like when she visits her sister in the hospital, she's like, oh, what is that more fun?
40:12
[UNKNOWN]: And she yanks it out of her arm.
40:13
[UNKNOWN]: and stuff that are like that's the shit like okay for being we're being very broad and then okay so we're basically doing that go say this is around the kill and various characters there's going to be a lot of wacky jokes and then eventually about halfway through the movie they just start doing other stuff randomly like someone's watching TV and then we're just going to see whatever they were watching a TV for like five-fuckin minutes.
40:36
[UNKNOWN]: No, it's, they wrote sketches.
40:38
[UNKNOWN]: They wrote sketches.
40:38
[UNKNOWN]: But it'd always find a good way to put them in the move.
40:40
[UNKNOWN]: It's just five screen iris, four of them are wins.
40:44
[UNKNOWN]: There's about 800 wins at this point.
40:47
[UNKNOWN]: I'm working in Hollywood.
40:48
[UNKNOWN]: And they got their start-on in Living Color, a sketch comedy show.
40:51
[UNKNOWN]: So they're just doing sketches.
40:53
[UNKNOWN]: And I don't mind that.
40:54
[UNKNOWN]: It's just, it is weird how, after a while, they stop even pretending to try to find an excuse to put them in the move.
41:02
[UNKNOWN]: Oh, what is the character's name?
41:04
[UNKNOWN]: Shorty.
41:04
[UNKNOWN]: Shorty.
41:05
[UNKNOWN]: Marlon way.
41:06
[UNKNOWN]: Yeah, he's the stoner there.
41:07
[UNKNOWN]: He's the stoner character.
41:07
[UNKNOWN]: I was wondering if the name is Stony.
41:09
[UNKNOWN]: It's Shorty.
41:09
[UNKNOWN]: Short and Shorty, there's a bit where he's just doing his podcast.
41:12
[UNKNOWN]: That's how he's making a living.
41:14
[UNKNOWN]: Yeah, it's a Twitch stream.
41:15
[UNKNOWN]: He's on camera.
41:16
[UNKNOWN]: And he's, and these two highs, he's just yelling, ah, this is my friend.
41:19
[UNKNOWN]: They're all high.
41:19
[UNKNOWN]: Yeah, there's Kai Sonat.
41:21
[UNKNOWN]: It's a cultural, cultural, social, favorite of him too.
41:24
[UNKNOWN]: Yeah, yeah, yeah, yeah, yeah.
41:25
[UNKNOWN]: So yeah, and then Ghostface shows up in the background with a knife.
41:28
[UNKNOWN]: And there's like,
41:28
[UNKNOWN]: Hey, Ghostface, you're out.
41:30
[UNKNOWN]: Okay, fine.
41:30
[UNKNOWN]: I'll do your prank.
41:31
[UNKNOWN]: Yeah, I do know what?
41:32
[UNKNOWN]: That's kind of funny.
41:33
[UNKNOWN]: That's kind of it.
41:34
[UNKNOWN]: Yeah, it's kind of funny.
41:35
[UNKNOWN]: But it's nothing to do with the rest of the movie.
41:36
[UNKNOWN]: No, it doesn't.
41:37
[UNKNOWN]: And I do.
41:39
[UNKNOWN]: Here's something that's weird about this movie.
41:41
[UNKNOWN]: I don't know about the talk about things this movie that I fucking despise by the way.
41:44
[UNKNOWN]: But it has a lot of good jokes and then there's a lot of good comedians in it.
41:48
[UNKNOWN]: Not enough good jokes, but more than you might expect.
41:51
[UNKNOWN]: For whatever reason, every time Ghostface dances, it's funny.
41:56
[UNKNOWN]: I don't know why.
41:58
[UNKNOWN]: It's just funny that he's dancing.
42:01
[UNKNOWN]: I can't explain that, Joe.
42:02
[UNKNOWN]: I mean, it's obviously it's in Congress.
42:04
[UNKNOWN]: But there's gotta be something more to it than that.
42:07
[UNKNOWN]: There's a genuinely making me laugh instead of going, eh.
42:10
[UNKNOWN]: Like, I'm genuinely laughing, I don't know why.
42:12
[UNKNOWN]: There's some good funny thing, and when this film does just straight slapstick and comedic imagery, it's actually pretty spot on.
42:19
[UNKNOWN]: There's some really good, yeah, when it's not even parodying stuff, it's just like, there's a great gag where someone's attacked by Ghostface and a hostar, yeah, someone's attacked by Ghostface and a hospital, and they like, dodge Ghostface as Ghostface pulls his knife down, and the knife stabs like a poster, like the human, like a dad poster, and then the guy in the anatomy poster,
42:40
[UNKNOWN]: like the drawing on the poster screams like that's a good gag that's unexpected any movie would consider that a good gag there's good gags like that but uh and those are like sprinkled throughout there's like some bits that don't have to stick this is genuinely good yeah I like the image of uh there's a spoof of get out and uh the shorty character sits in the chair and ghost faces there with the cup of tea and for some reason just ghost face with the cup of tea made
43:09
[UNKNOWN]: The problem is it leans way into really shrill horrible characters who they try to get a lot of laughs out of just their outrageous behavior.
43:20
[UNKNOWN]: Yeah.
43:21
[UNKNOWN]: There's a developmentally disabled character that they just mock incessantly.
43:25
[UNKNOWN]: Doofy, who is in the original movie and wasn't funny then.
43:28
[UNKNOWN]: Yeah, they bring him back and he's not just mugging and doing it.
43:31
[UNKNOWN]: It's basically like isn't it funny Isn't it funny that this person?
43:35
[UNKNOWN]: Yeah, and that's not there's also Sean Wayne's who in the original Scary, I think no more I think Sean Wayne's is very funny But in the original scary movie he played a guy who was very clearly gay, but not out.
43:45
[UNKNOWN]: Yeah
43:46
[UNKNOWN]: Um, and they really, really played it up.
43:48
[UNKNOWN]: He would cut, do increasingly gay things to the point where, of course, it's ridiculous that people don't take East gay and kids in the hall did it better.
43:56
[UNKNOWN]: Kids in the hall did it better.
43:58
[UNKNOWN]: But, um, regardless, that character is still doing the same stick.
44:03
[UNKNOWN]: that character and doofy should have been left and well they shouldn't have been in 2000 no but they should have been left to the ash lips of bigoted time they're not funny now and i don't think they ever were but they definitely aren't funny now and including them now is just basically trying to insist that we don't need to change
44:23
[UNKNOWN]: Well, and, and it starts to reveal a very regressive attitude about this film, I was talking about how that used to be kids' rule adults' rule, but they're trying to appeal to those kids now 26 years later, and who are now adults, and we are now kind of overlooking the kids, and catering to the now regressive
44:44
[UNKNOWN]: They get it out of tubes, yeah, of a different demographic and maybe in the same ones then just didn't they didn't grow up and very Directly like in the text eventually they acknowledge this that it is not about those kids It is only about like I guess I don't know their gen X or boomers or whatever, but the older cast It's only about them and granted there's a commentary here in terms of like how Halloween treats the new characters How screen is treating its new characters?
45:09
[UNKNOWN]: It's always got to go back to an F-cample.
45:10
[UNKNOWN]: It's always got to go back to Jamie Lee Curtis.
45:12
[UNKNOWN]: Um, these
45:13
[UNKNOWN]: these characters who have been around for decades and then we generate room for anyone new.
45:17
[UNKNOWN]: The new generation isn't allowed to play and I did appreciate there's like a little bit of a...
45:22
[UNKNOWN]: It's a certain commentary.
45:23
[UNKNOWN]: A subversive ending to this movie.
45:25
[UNKNOWN]: But I appreciate that a bit.
45:27
[UNKNOWN]: But like life-changing.
45:28
[UNKNOWN]: All of these scatological offensive gags which at the very least in 2000,
45:39
[UNKNOWN]: were pushing the envelope, like that was really very obscene when those jokes were told in the two thousand, like it was like, well, at least it's shocking.
45:49
[UNKNOWN]: Now it seems conservative.
45:51
[UNKNOWN]: Yeah, this is what like the right wing people who would be clutching their pearls when toothed when scaring movie two thousand came out are now thinking is the height of comedy.
46:00
[UNKNOWN]: Yeah, because it is offensive to the right people.
46:03
[UNKNOWN]: There are
46:04
[UNKNOWN]: two gender queer characters in this movie.
46:07
[UNKNOWN]: One is a trans boy, he's a teenager, please lock them on Rose's son.
46:15
[UNKNOWN]: And for a second it looks like they're going to be kind of progressive about it.
46:20
[UNKNOWN]: Especially with the lockman-memorow character.
46:22
[UNKNOWN]: Yeah, like I don't get this, but I'm going to try really hard to accept you.
46:27
[UNKNOWN]: Okay, yeah, we mind that for a little bit of humor, but generally speaking to that character, it's reasonably respectful for a scary movie.
46:34
[UNKNOWN]: And for a scary movie, but still better than I was expecting.
46:39
[UNKNOWN]: And so I'm thinking to myself, okay, maybe they're not gonna punch down, right?
46:43
[UNKNOWN]: Although I will say this, we've got to figure out, Hollywood, I beg of you, you've got to figure out a better way to introduce the knowledge that a character is trans without introducing them by dead naming them.
46:55
[UNKNOWN]: Yeah, you've got to stop doing that is not what it's not I know you think it's clarity It's just insulting it sucks, but then there's another character who we don't really talk about it until they're like in peril But there's a character who is being attacked by Ghostface and a bystander
47:13
[UNKNOWN]: says, oh my god, he's killing her.
47:16
[UNKNOWN]: And that's when the characters will often stop the actions and make ironic commentary, which is just part of the movie.
47:22
[UNKNOWN]: That's when the character says, my pronouns are they them.
47:25
[UNKNOWN]: And at this point, the middle aged woman who was
47:30
[UNKNOWN]: A first-thranded protector starts complaining about how I shouldn't have to learn all these pronouns.
47:36
[UNKNOWN]: All of you kids are forcing this upon us, and then this is an accrowded subway car.
47:41
[UNKNOWN]: Everyone in the subway car is an older person who is talking about ticks care inside.
47:46
[UNKNOWN]: Yeah, yeah, yeah, and start and the gag is that that scene ends with an actual hate crime.
47:54
[UNKNOWN]: Yeah, with that, everyone on the train lining up to stab the non-binary care.
47:59
[UNKNOWN]: And the way Ghostface kind of shrugs about it, indicates that the movie thinks they have kind of a point.
48:09
[UNKNOWN]: The movie can't come back from that.
48:12
[UNKNOWN]: Like, I could handle offensive, offensive.
48:15
[UNKNOWN]: That's hateful.
48:18
[UNKNOWN]: That's saying that
48:20
[UNKNOWN]: a hate crime against an extremely persecuted minority right now.
48:25
[UNKNOWN]: Like there's active legislation all over the country and the world to remove rights away from them.
48:31
[UNKNOWN]: And trans people are statistically extremely likely to be targeted for hateful violence, like more so than like other groups.
48:41
[UNKNOWN]: Like it's shocking.
48:45
[UNKNOWN]: And to make that the joke is,
48:50
[UNKNOWN]: They're pushing the envelope, everyone's everyone's fair game, but that doesn't mean it's a good joke.
48:56
[UNKNOWN]: It's a really shitty ugly joke that makes me, it doesn't just make me not laugh, it makes me hate the person telling it.
49:07
[UNKNOWN]: And I don't think that's what you're going for.
49:08
[UNKNOWN]: I think you want us to like the Wayne's Brothers.
49:10
[UNKNOWN]: Well, nothing else.
49:11
[UNKNOWN]: I think the, the Wands felt that this was going to be a good shock humor like 26 years ago.
49:17
[UNKNOWN]: Yeah.
49:17
[UNKNOWN]: But they, they, frankly, they can't read the room.
49:20
[UNKNOWN]: Yeah.
49:20
[UNKNOWN]: They weren't able to let their comedy evolve.
49:23
[UNKNOWN]: They're trying to be topical.
49:24
[UNKNOWN]: But they don't have a point of view about it.
49:26
[UNKNOWN]: Yeah.
49:27
[UNKNOWN]: There's a gag involving ice officers in this movie.
49:30
[UNKNOWN]: Yeah.
49:30
[UNKNOWN]: Topical.
49:31
[UNKNOWN]: Chocking.
49:32
[UNKNOWN]: Ice officers commit violence against minorities.
49:35
[UNKNOWN]: And that's the gag.
49:36
[UNKNOWN]: Yeah.
49:38
[UNKNOWN]: No, like all of the people all of like my yard workers are here.
49:42
[UNKNOWN]: No, they're not they're being round up by ice.
49:44
[UNKNOWN]: Okay, right now Not the funniest joke.
49:47
[UNKNOWN]: No, but if you're going to include ice Why isn't ghost face stabbing there?
49:52
[UNKNOWN]: Yeah, why aren't you making some kind of commentary about this other than this is just something that's happening right now Yeah, and we do sort of get that sense of nihilism about it and this retrograde non-point of you
50:04
[UNKNOWN]: about all these jokes.
50:05
[UNKNOWN]: So while I can admire some of the jokes and while some of this movie did make me laugh, it has such an ugly backward attitude underneath everything.
50:15
[UNKNOWN]: So I can't recommend this.
50:18
[UNKNOWN]: I can't recommend it.
50:20
[UNKNOWN]: And it's frustrating because I feel like it just if you removed the handful of
50:26
[UNKNOWN]: Like, what is a film critic, if not someone who is describing their taste and great detail?
50:30
[UNKNOWN]: I find this to be an incredibly poor taste, and you can disagree with me, we're going to have words over that, but like, you can disagree with me, but like, yeah, the fact that there are quite a few good jokes in this movie, not the majority, but pretty consistently throughout.
50:47
[UNKNOWN]: is ultimately undermined by how mean too many of its jokes are and mean towards people who do not deserve any meanness.
50:59
[UNKNOWN]: And it no longer seems like we're here in the spirit of good fun.
51:02
[UNKNOWN]: We're not like making fun of everybody.
51:04
[UNKNOWN]: We're deciding very specifically that violence against certain groups or pointing and mocking people who have enough fucking problems as it is, that's great humor.
51:19
[UNKNOWN]: And I do not agree with that.
51:20
[UNKNOWN]: I think that is just
51:22
[UNKNOWN]: it's sellies it yeah well you couldn't you could have had you could have just not gone there and had a very funny goofy crass comedy and and yeah no it's just very mean and of course anybody who likes this movie is going to use these words against us yeah if we're offended if we're offended then it did its job well that's what I think it's a critic group we we're not taking it seriously the movie did its job was the job worth doing in this contact well the job was
51:52
[UNKNOWN]: shock, I will say that.
51:55
[UNKNOWN]: It wasn't to be morally irresponsible, it's job isn't to promote bad ideas.
52:06
[UNKNOWN]: I like shocking movies, I like dumb humor.
52:10
[UNKNOWN]: I, fuck, I defended movie 43.
52:12
[UNKNOWN]: You didn't make me giggle.
52:15
[UNKNOWN]: And that's what you and Lanzo did earlier, the only two people who thought that movie was funny.
52:19
[UNKNOWN]: I thought it was funny, and I'm gonna say that because I have to, because I'm a critic.
52:22
[UNKNOWN]: Yeah, be honest.
52:24
[UNKNOWN]: And that is a grievously offensive movie with all kinds of crass images.
52:29
[UNKNOWN]: There's a sketch about Hugh Jackman who has testicles hanging from his chin, and that's the gap.
52:34
[UNKNOWN]: The whole gap is the whole the center of that bit.
52:36
[UNKNOWN]: There's a reason why that movie wasn't very popular, by the way.
52:39
[UNKNOWN]: Oh yeah, I can't imagine.
52:44
[UNKNOWN]: I could even say things in defense of something like Freddie got fingered.
52:46
[UNKNOWN]: A movie which I found reprehensible, but I see as like this weird, surrealist experiment.
52:52
[UNKNOWN]: There's nothing like that here.
52:53
[UNKNOWN]: I'm okay with offensive jokes.
52:55
[UNKNOWN]: I'm okay with gross jokes.
52:56
[UNKNOWN]: I'm okay with topical humor.
52:58
[UNKNOWN]: I like ZAZ, and they did topical humor all the time, and they did made racism and vomiting.
53:03
[UNKNOWN]: You ought to throw up with the living color,
53:06
[UNKNOWN]: constantly that even had, you know, a bunch of stereotypes, but they weren't hateful about all the time.
53:11
[UNKNOWN]: Yeah, and then you go watch something like, I'm gonna get you suck out, which was Keenan Ivory Grant Wayne's movie, you start and I think he also directed it.
53:16
[UNKNOWN]: I think it did, yeah.
53:19
[UNKNOWN]: That's actually very positive movie.
53:21
[UNKNOWN]: It's actually like it's silly, but it's positive about, um, Blacksploitation Heroes.
53:26
[UNKNOWN]: It's kind of a spoof of Blacksploitation.
53:27
[UNKNOWN]: Yeah.
53:29
[UNKNOWN]: That's good movie.
53:31
[UNKNOWN]: I like I'm going to get you second.
53:32
[UNKNOWN]: I don't like scary movie.
53:34
[UNKNOWN]: I think it it offended me wrong.
53:38
[UNKNOWN]: Yeah, it's it's it's sought out to offend me and it did that it badly.
53:43
[UNKNOWN]: It it offended you, but it didn't make you laugh in the process at the stuff it offended you about and that's That's the trick.
53:48
[UNKNOWN]: Yeah, I could be offended but also laugh and that's like
53:51
[UNKNOWN]: Like there's a lot of doubt was not the offensive.
53:53
[UNKNOWN]: There's a lot of humor to be mined out of the terrible situations that were in and even, you know, real life for people who are in those situations.
54:02
[UNKNOWN]: But you have to know, you have to know where the line is and I understand that you crossed it on purpose, but you also don't understand that you're going to fucking lose some of us.
54:12
[UNKNOWN]: if you cross that line and you fucking lost me yeah i was i was ready to be like you know for all it's pretty okay and then i just kept getting worse on that front and i really pissed me off um moving on uh there is a new live action movie based on human and the masters of the universe and apparently he man is one of those masters of the universe you don't see them do a lot of like universe master is this wormhole is like has a full
54:41
[UNKNOWN]: He man in the Masters of the Year.
54:43
[UNKNOWN]: He man in the Masters of the Year.
54:45
[UNKNOWN]: No.
54:45
[UNKNOWN]: No.
54:45
[UNKNOWN]: If you don't know, he man in the Masters of the Universe, it was a toy commercial.
54:50
[UNKNOWN]: Yeah, basically, that was like extended into a 30 minute TV series.
54:54
[UNKNOWN]: It's a metal put out.
54:55
[UNKNOWN]: This came at a time when there was a lot of, like Reagan was an office.
54:59
[UNKNOWN]: There was a lot of just open deregulation or looking past a lot of laws that were on the books about advertising to kids.
55:05
[UNKNOWN]: Yeah.
55:06
[UNKNOWN]: And when a lot of those things were being loose
55:12
[UNKNOWN]: The law wasn't changed properly until I think 87 or 88, but it was illegal to market to kids.
55:18
[UNKNOWN]: Like throughout before we.
55:19
[UNKNOWN]: This is actually one of the reasons why at the end of every he-man, there was like, here's what we learned today about friendship.
55:25
[UNKNOWN]: And it's like, there had to be some educational content.
55:28
[UNKNOWN]: That didn't have to be law.
55:29
[UNKNOWN]: Some meaningful value to it.
55:31
[UNKNOWN]: It can't just be a toy commercial, but yeah, he-man was an action-figure line.
55:36
[UNKNOWN]: You know what?
55:36
[UNKNOWN]: I had a lot of he-man action figures.
55:38
[UNKNOWN]: I love those toys.
55:38
[UNKNOWN]: They were really creatively designed.
55:41
[UNKNOWN]: They were a bunch of really neat characters with me gimmicks and yeah, I had a lot of those toys and they were really, really fun to play with.
55:48
[UNKNOWN]: I enjoyed the toy part.
55:50
[UNKNOWN]: The idea of he-man and I saw a documentary about this once was, um,
55:56
[UNKNOWN]: What if little kids want that they don't have?
56:00
[UNKNOWN]: And the idea was power we we don't we can't like We're not physically strong.
56:06
[UNKNOWN]: We're little kids.
56:07
[UNKNOWN]: So like hey here's a story about like you can't make me go to bad Yeah, so here's a story about a hero and
56:13
[UNKNOWN]: I think narratively it's supposed to feel like Prince Adam is like kind of younger and weaker and then he turns into human But yeah, I think he's the same for sea to that never really made sense But yeah, he is yeah, you transform we hold up a big all-fucking sword and he say the magic words and you turn into
56:30
[UNKNOWN]: And I brought a pro wrestler, someone who can like, you know, really take charge of a situation and be really, really macho and there's a power fantasy there, simplistic, but it's a kid show.
56:42
[UNKNOWN]: Okay, fine.
56:43
[UNKNOWN]: So,
56:44
[UNKNOWN]: the cartoon was something I watched religiously, it was also bad, it was quite bad, there's fun stuff in it but it was it was white bad, it was all geared around the toys and the idea of like this dark ages hero with a magical sword fighting this skull face wizard.
57:01
[UNKNOWN]: But also, we have sci-fi shit because that's on too.
57:04
[UNKNOWN]: They make sense.
57:04
[UNKNOWN]: Yeah, it's like, but also, yeah, we're going to have spaceships and tanks and technology and laser guns.
57:09
[UNKNOWN]: If it's cool, it's on attorney.
57:11
[UNKNOWN]: Yeah, that's the rule basically.
57:12
[UNKNOWN]: Yeah.
57:12
[UNKNOWN]: And then there's this other warlock who can turn into a missile.
57:15
[UNKNOWN]: And it's just not, none of it makes sense.
57:18
[UNKNOWN]: There's no, you're going to find a lot of people, especially guys, my age, they have beards.
57:26
[UNKNOWN]: Beards are in now.
57:27
[UNKNOWN]: I suppose so.
57:28
[UNKNOWN]: Yeah, a lot of bearded white guys my age We're gonna be talking about the mythology of masters of the universe.
57:34
[UNKNOWN]: There isn't one not it not There wasn't a coherent one for a long time Like I think when they started so sort of like rebooted and rethink it a lot of people sort of started inserting things to make Hey, what have you made sense?
57:45
[UNKNOWN]: Yeah, make the universe come together a little bit.
57:47
[UNKNOWN]: There was a time because there was a spin-off called She-run the princess of power and there was a time still back in the game
57:56
[UNKNOWN]: They were really unclear, and they often contradicted themselves as to whether they were like twins or He hasn't been in cheer up.
58:05
[UNKNOWN]: Yeah, like are they related?
58:07
[UNKNOWN]: Are they not related?
58:08
[UNKNOWN]: Is there a potential romance here?
58:09
[UNKNOWN]: And they just kind of forgot what they said before a bunch of times
58:13
[UNKNOWN]: And they just didn't give a shit back then.
58:15
[UNKNOWN]: They didn't care.
58:16
[UNKNOWN]: And then eventually, the kids who grew up with it cared enough about it that they decided to make it make sense.
58:22
[UNKNOWN]: Team Ants had a bunch of TV reboots, the Shira animated series that was on Netflix.
58:27
[UNKNOWN]: Legitimately great.
58:28
[UNKNOWN]: You told me that was a good show.
58:30
[UNKNOWN]: Legitimately great show, amazing character work, fascinating, fascinating exploration of its themes really, really inventive.
58:36
[UNKNOWN]: It's great.
58:43
[UNKNOWN]: Or a castle grace skull one of the toys.
58:45
[UNKNOWN]: I will get wistful sure get a little nostalgia the toy don't I don't because I I play with those The kid I remember them well, and I have a good feeling is when I look at those things Yeah, I don't have so much nostalgia that I want to keep on watching the show.
58:56
[UNKNOWN]: Yeah, I don't care about those characters I tried going back a few years ago.
59:00
[UNKNOWN]: Oh, yeah, I've ever got that.
59:01
[UNKNOWN]: That's what you do episode to he man.
59:02
[UNKNOWN]: How bad could it be quite bad?
59:04
[UNKNOWN]: Hmm quite bad So I was some people who said well William you didn't like the new masters of the universe movie that must be because you didn't grow up with the toys
59:12
[UNKNOWN]: I did, and I was a fan.
59:15
[UNKNOWN]: That doesn't mean they were good.
59:18
[UNKNOWN]: Like I have different tastes now, like I have a more distinguished palette, a little.
59:25
[UNKNOWN]: And so I'm not necessarily thinking that just because it's faithful to he, man, that it is better.
59:30
[UNKNOWN]: It is more faithful than the Dolph Lundgren movie.
59:32
[UNKNOWN]: That's true.
59:33
[UNKNOWN]: The Dolph Lundgren movie took a lot of liberties.
59:35
[UNKNOWN]: In fact, it's been explained to me.
59:37
[UNKNOWN]: That's the this is all filmed from 1987.
59:40
[UNKNOWN]: Yeah, it's one of cannons last movie.
59:43
[UNKNOWN]: Yeah, and you know what in a fact him it's pretty fun.
59:45
[UNKNOWN]: It's a pretty fun flight, but it has almost nothing to do with he-man the show other than the same characters and they kind of look alike.
59:52
[UNKNOWN]: Um, but if you look at that movie not as a he-man movie, but as an adaptation of Jack Kirby's new gods, where Skeletor's dark side and he-man is Orion.
1:00:02
[UNKNOWN]: Okay.
1:00:07
[UNKNOWN]: It's actually pretty good.
1:00:09
[UNKNOWN]: All right.
1:00:09
[UNKNOWN]: So I wrecked the whole like, hey, what was this about a magic key that opens wormholes?
1:00:14
[UNKNOWN]: They're boom too.
1:00:15
[UNKNOWN]: It's from New Gods.
1:00:18
[UNKNOWN]: Trust me, it actually works in that context.
1:00:21
[UNKNOWN]: So weird film and a lot of people don't like it.
1:00:23
[UNKNOWN]: I have some fun this for it.
1:00:25
[UNKNOWN]: The director is a total creep.
1:00:28
[UNKNOWN]: Don't look it up.
1:00:29
[UNKNOWN]: Oh, it's bad.
1:00:29
[UNKNOWN]: Yeah.
1:00:30
[UNKNOWN]: Not Drew Gauder.
1:00:31
[UNKNOWN]: Gary Gauder.
1:00:33
[UNKNOWN]: Gary Gauder is fine.
1:00:35
[UNKNOWN]: As far as I know.
1:00:36
[UNKNOWN]: Far as I know.
1:00:37
[UNKNOWN]: I've never heard anyone say an uncanny word about Drew Gauder.
1:00:39
[UNKNOWN]: Gary Gauder.
1:00:40
[UNKNOWN]: A lot of bad words.
1:00:42
[UNKNOWN]: uh... but i that movie came when the human in the masters of the universe cartoon is sort of out of vogue already by that time the ninja turtles are rising in a new sort of thing with the beginning i knew type of commercial nonsense for kids was starting out
1:00:57
[UNKNOWN]: Uh, but you know, guys my age grew up with it.
1:01:00
[UNKNOWN]: We like to have it.
1:01:02
[UNKNOWN]: There's been this, you know, we were talking about earlier this like 20 year wave of nostalgia where we're just going back and looking at all the stuff that my generation has choose.
1:01:09
[UNKNOWN]: I don't like that they've been milking my generation for all this stuff.
1:01:12
[UNKNOWN]: I.
1:01:13
[UNKNOWN]: I liked a lot of this, but I don't need to see it rehashed endlessly, and I don't need to make sure future generations carry it with them either.
1:01:21
[UNKNOWN]: Yeah, we're not necessarily passing a torch on to here.
1:01:23
[UNKNOWN]: I think sometimes we're just convincing our kids that what we liked was kind of shrill and annoying.
1:01:29
[UNKNOWN]: I'm a big enough man, but I can say, the cartoons I watched were shit.
1:01:35
[UNKNOWN]: Yeah.
1:01:35
[UNKNOWN]: A lot of animasters the universe was garbage.
1:01:38
[UNKNOWN]: Sometimes you can go back and it was okay.
1:01:43
[UNKNOWN]: Like, you go back, you watch an episode of Gargoyles.
1:01:45
[UNKNOWN]: You'll find that's a good show.
1:01:46
[UNKNOWN]: Well, that was the 90s and things that were really changed after a while.
1:01:49
[UNKNOWN]: Yeah, yeah, the 90s.
1:01:50
[UNKNOWN]: There was a lot more care in the 80s.
1:01:53
[UNKNOWN]: So little care was done again.
1:01:54
[UNKNOWN]: Occasionally, you find an exception here and there, but man, I mean, if you must, go back and watch an episode of Turbo Teen, a series which is almost completely lost by the way.
1:02:05
[UNKNOWN]: No one gave a shit and there's only a few episodes that have survived.
1:02:09
[UNKNOWN]: That is nuts.
1:02:12
[UNKNOWN]: Sometimes it's okay to lose some media, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know
1:02:35
[UNKNOWN]: I got to meet Turbotine, the voice actor.
1:02:37
[UNKNOWN]: I was like Turbotine.
1:02:38
[UNKNOWN]: He came to my school.
1:02:39
[UNKNOWN]: No, like the guy it was based off.
1:02:41
[UNKNOWN]: No, the, I forgot the name of the actor, but he came, he was Turbotine, he also played, he was the actor, played droopy at the time, like the movie.
1:02:47
[UNKNOWN]: Yeah, he's, yeah, I got to meet him.
1:02:49
[UNKNOWN]: He came to my school and gave him a presentation.
1:02:51
[UNKNOWN]: Anyway, throughout this entire nostalgia wave, he man's been in like development hell for most of it.
1:02:56
[UNKNOWN]: I mean, it was a big property, like well known by guys my age.
1:03:01
[UNKNOWN]: And, you know what, they still make cartoons, they still sell action figures to still lucrative, so I get why they wanted to do it.
1:03:06
[UNKNOWN]: Something that came into, he man in masters of the universe, as my generation came into teenagers,
1:03:13
[UNKNOWN]: was its queerness.
1:03:16
[UNKNOWN]: It's about a naked man holding a big sword.
1:03:19
[UNKNOWN]: There's a lot of sort of queer iconography.
1:03:23
[UNKNOWN]: There's like some queer qualities given to Skeletor, the evil Warlockman, heman fights.
1:03:29
[UNKNOWN]: Yeah.
1:03:29
[UNKNOWN]: There's a lot of, there's a character named Fisto.
1:03:33
[UNKNOWN]: Like there's a lot of like the sectional in the window, which has been mocked endlessly.
1:03:36
[UNKNOWN]: To the point where even that's old, who is the ambiguously gay duo, the end of series from Saturday Night Live, derived a lot of its images and its ideas from heman.
1:03:48
[UNKNOWN]: And to be fair, he men was itself inspired a lot by various Gladiator and Barbarian movies, which were pretty openly queer, like, I'm always by the queer community at the Middle East.
1:03:59
[UNKNOWN]: And I think it's intentionally catering to that community without saying it out loud.
1:04:03
[UNKNOWN]: Yeah, the whole, the bodybuilder thing, this, this fetishization of the male physique was not just appealing to the straights.
1:04:14
[UNKNOWN]: So, um, all of this queerness was sort of layered into, um, uh, he-man.
1:04:19
[UNKNOWN]: By the time we were getting to memes like, do you remember the, the he-man meme where he sang, um, what's up by four non-blons?
1:04:25
[UNKNOWN]: Yeah, yeah.
1:04:25
[UNKNOWN]: Yeah.
1:04:26
[UNKNOWN]: Yeah.
1:04:26
[UNKNOWN]: Yeah.
1:04:27
[UNKNOWN]: Yeah.
1:04:28
[UNKNOWN]: And he's like flying around on the rainbow's and there's piz sparkles everywhere.
1:04:31
[UNKNOWN]: It's like, I'm just sort of leaning into the queerness of all this.
1:04:34
[UNKNOWN]: So, we've, thoroughly dissected he-man.
1:04:38
[UNKNOWN]: 2026 is a weird time to come back to it because we're done.
1:04:42
[UNKNOWN]: We we've finished with he-man a long time ago, but we got to melt that last few minutes.
1:04:46
[UNKNOWN]: And I will say this.
1:04:47
[UNKNOWN]: For the most part, they did a pretty good job of recapturing the look.
1:04:52
[UNKNOWN]: Like all the characters costumes look so funny.
1:04:55
[UNKNOWN]: Like it looks exactly like that action figure but in real life.
1:04:59
[UNKNOWN]: Like the character design is uncanny, uh, Nicholas, uh, Gallet scene is like, yeah.
1:05:03
[UNKNOWN]: pronounce it.
1:05:03
[UNKNOWN]: I think so.
1:05:05
[UNKNOWN]: I love him.
1:05:05
[UNKNOWN]: He plays he-man and he's
1:05:08
[UNKNOWN]: Yeah, he looks the part and he's acting it well.
1:05:11
[UNKNOWN]: Yeah, um, they cast a Alice in Breeze Evelyn.
1:05:15
[UNKNOWN]: Um, they cast Jared Leto as Skeletor.
1:05:17
[UNKNOWN]: I hate to say it.
1:05:18
[UNKNOWN]: He's fucking great in this.
1:05:20
[UNKNOWN]: I would not go that far.
1:05:22
[UNKNOWN]: I love his body language and his weird plumbing line readings.
1:05:26
[UNKNOWN]: I think he embodies the character very well.
1:05:29
[UNKNOWN]: Um, and then all of these, there's a character, uh, one of the toys was called Trap John, and you could like twist his torso back and forth as mouth would move.
1:05:37
[UNKNOWN]: Yeah, it was obviously a big blue cyborg guy.
1:05:39
[UNKNOWN]: You could like pop off his arm and replace it.
1:05:41
[UNKNOWN]: And then when they treat him like Skeletor's big enforcer now, and you know what, he looks cool.
1:05:45
[UNKNOWN]: He looks cool.
1:05:46
[UNKNOWN]: They got the steak stuck with a color scheme, but they made him look great.
1:05:49
[UNKNOWN]: And one of the villains.
1:05:50
[UNKNOWN]: I was this purple spiky guy called Spikor.
1:05:52
[UNKNOWN]: They make it into this like horned porcupine man.
1:05:56
[UNKNOWN]: Well, that's your school.
1:05:58
[UNKNOWN]: Even though they even managed to make Meccanek.
1:06:01
[UNKNOWN]: That's kind of mad at you.
1:06:03
[UNKNOWN]: Like he could do something in a battle and the Meccanek was a guy who's whole thing was such a snack.
1:06:07
[UNKNOWN]: Yeah, that was his whole game.
1:06:09
[UNKNOWN]: Yeah, I had Meccanek.
1:06:11
[UNKNOWN]: I stress his neck out like nobody's business.
1:06:13
[UNKNOWN]: Yeah.
1:06:14
[UNKNOWN]: Um, I had one.
1:06:14
[UNKNOWN]: I forgot the name of the character was a snake guy.
1:06:17
[UNKNOWN]: You could push a button on his belt Oh, yeah, I just had wood like pop forward a little bit.
1:06:20
[UNKNOWN]: Oh, yeah.
1:06:21
[UNKNOWN]: Oh, I was scared.
1:06:22
[UNKNOWN]: I always liked a mosquito or He was a mosquito man.
1:06:25
[UNKNOWN]: I never got mosquito or yeah, I want to get mosquito Press the button on his back his chest would bleed.
1:06:29
[UNKNOWN]: You know like a mosquito.
1:06:31
[UNKNOWN]: What?
1:06:31
[UNKNOWN]: No, it was like it was like blood going into a stomach.
1:06:33
[UNKNOWN]: That's really didn't like what it really didn't read that way.
1:06:36
[UNKNOWN]: It was very odd.
1:06:37
[UNKNOWN]: I had a rock-on and stone-dark.
1:06:39
[UNKNOWN]: Okay.
1:06:39
[UNKNOWN]: They transformed into rocks.
1:06:41
[UNKNOWN]: How fucking exciting was that?
1:06:44
[UNKNOWN]: We're out of ideas.
1:06:45
[UNKNOWN]: I was like when family guy was like stewy was playing with a human action figures.
1:06:50
[UNKNOWN]: And he says, Manifaces, you're on lookout because you have many faces.
1:06:55
[UNKNOWN]: He had a little knob on his head.
1:06:56
[UNKNOWN]: Yeah, interesting.
1:06:56
[UNKNOWN]: It was a man or a butterfly.
1:06:58
[UNKNOWN]: I know, the plot of the new movie is he men is on the planet attorney and when he's a kid, a skeletal or evil skeleton guy, attacks, takes over the kingdom and he men escapes to earth with the magic sword.
1:07:14
[UNKNOWN]: But he's separated from the magic sword and it takes him like 18 years to find it.
1:07:19
[UNKNOWN]: And now he's an adult.
1:07:21
[UNKNOWN]: He is.
1:07:23
[UNKNOWN]: working boring office job is not lived up to his potential is a to warrior but also and he feels that he feels like because it was told by his father's a young boy yeah like you you need to be stronger you need to become the warrior to protect our unit yeah yeah he is also
1:07:41
[UNKNOWN]: Weirdly up front about his backstory that he's an alien like you would think at the very least by his late 20s He would have figured out not to lead with that Maybe don't tell everyone that because they're gonna look at you like you're a weirdo like he says he has a therapist and I'm like What is this therapist think like he takes him into the back rooms and it's full of human toys
1:08:07
[UNKNOWN]: Well, I think the approach to this character is he, like the members of the audience, haven't grown up.
1:08:14
[UNKNOWN]: They're still thinking about the human toys that they were kids with.
1:08:17
[UNKNOWN]: And now he's a grown-up and he's still obsessed with it and it's alienating people.
1:08:20
[UNKNOWN]: The problem is, this movie is really mixed about whatever it's trying to say.
1:08:24
[UNKNOWN]: Yeah, because it has it brings up a lot of interesting things about maturity and masculinity and positive masculinity And we should we should be comfortable in our feelings and instead of when a conflict arises instead of just immediately Kick in ass what if we tried to diffuse the situation and have a dialogue, but at the same time it's it's Action movie and it's predicated on kicking ass
1:08:44
[UNKNOWN]: So much so that literally every conflict is solved by kicking ass even after they say the reason why you're great at the reason why you're the perfect hero for attorney He man is that you don't solve every problem with violence, and then the next thing he does is solve all his problems with violence There's even a moment where he Where
1:09:05
[UNKNOWN]: Okay, so he eventually makes his way back to Eternia finds out what the sort of power does, learns how to transform like a singular moon.
1:09:13
[UNKNOWN]: And to be fair, Eternia was like he and man, he managed to do in that sort of like bumper, we're gonna really- Yeah, we're gonna really- I don't actually put it in over here.
1:09:21
[UNKNOWN]: Yeah, but he returns to Eternia, but it's been ruined now because it's been taken over by Skeleton and he's just sort of stripped it.
1:09:27
[UNKNOWN]: And he just- Skeleton is not a great leader.
1:09:29
[UNKNOWN]: No, well, he's not interested in leading.
1:09:30
[UNKNOWN]: He just wants the power.
1:09:32
[UNKNOWN]: He keeps on dreaming of the sword,
1:09:35
[UNKNOWN]: Yeah, he managed returns.
1:09:37
[UNKNOWN]: He brings the sword with him because he located it and But the transforms and there's a lot of chasing around kind of reunites these characters gets the band back together
1:09:48
[UNKNOWN]: We get to meet the man at arms who's played by each other cellboe.
1:09:51
[UNKNOWN]: We get to meet Tila men at arms daughter who's played by Let me look at the actress's name.
1:09:55
[UNKNOWN]: Yeah, I think she's really good She's like actually trying to do something with this part.
1:09:59
[UNKNOWN]: She's really good.
1:10:00
[UNKNOWN]: There was a I saw a video of her training online like for like a sword fight And I swear to God like just come up come a lamentess is the actress the shot of her
1:10:10
[UNKNOWN]: just in a gym in a sword fight was a better angle for fight action than anything I saw in this interview which is really frustrating.
1:10:19
[UNKNOWN]: Oh, Camilla Mendes, she's Veronica on Riverdale.
1:10:22
[UNKNOWN]: Okay, I didn't watch it, but fair enough.
1:10:24
[UNKNOWN]: So yeah, so he comes back, he tries to like not be a violent he men and so I was problems and he eventually talks to people about their feelings, but that's it.
1:10:34
[UNKNOWN]: Here's the thing.
1:10:34
[UNKNOWN]: Well, it's going to say, there's this, there comes a scene in the movie where
1:10:39
[UNKNOWN]: It's like the low point of the movie, a lot of bad things have really happened.
1:10:42
[UNKNOWN]: His propensity for violence actually caused him some personal harm, and he, as at this low point, and so he's like, well, what talents do I have beyond being a violent hero?
1:10:53
[UNKNOWN]: Well, I worked in HR.
1:10:55
[UNKNOWN]: Let's see if we can repurpose that.
1:10:57
[UNKNOWN]: And what does he do with those HR powers is essentially give the St. Crispin's Day speech from Henry V. He beefs up an army so they can do
1:11:06
[UNKNOWN]: Yeah, so even this idea that he's using diplomacy for good is still on just a fall with the line divine like a man in arms again Interstellar but and the idea is he was like the biggest hero of attorney But when Skeletor attacked he fell into ruin and he's been an alcoholic ever since Okay, bummer and he's gonna have to find his mojo again
1:11:27
[UNKNOWN]: Okay, give up the drinking, become a noble fire.
1:11:30
[UNKNOWN]: Yeah, yeah, yeah.
1:11:31
[UNKNOWN]: And he doesn't want to talk about his feelings, and eventually he and gets into talk about his feelings.
1:11:35
[UNKNOWN]: And after we have that moment where he's like, hey, I'm able to talk about my feelings.
1:11:40
[UNKNOWN]: I have finally gained what I need to shove a grenade down someone's throat.
1:11:46
[UNKNOWN]: That's the goal, that's what all of that was building to.
1:11:50
[UNKNOWN]: And I am not offended by the violence.
1:11:52
[UNKNOWN]: It's a action movie.
1:11:54
[UNKNOWN]: Action is fun.
1:11:55
[UNKNOWN]: I love action.
1:11:57
[UNKNOWN]: You can just be an action movie and say you know what's cool kicking ass
1:12:01
[UNKNOWN]: Fine with that.
1:12:03
[UNKNOWN]: What bothers me is the way that this movie wants to have its cake and eat it to in ways that don't work It's it wants to have the message that violence doesn't solve everything while having violence solve Everything which ends up undermining the message, but also the violence So we can't even enjoy too much because we always know that it shouldn't be like this But it's still where all the entertainment value comes from and even just like
1:12:28
[UNKNOWN]: the kitchens of he-man the silly character names for example um they do this thing and god damn marvel for inventing this or the very popularizing and I feel like some to make fun of the the comic book names they're kind of stuck with but we understand they're kind of I guess when you do when you have live action actors playing characters with names like remman or fisto
1:12:51
[UNKNOWN]: Yeah, you can either just ignore the fact that they're ridiculous, or call attention to oremption.
1:12:57
[UNKNOWN]: And I guess I'm wrong to blame Marvel Studios for this.
1:13:00
[UNKNOWN]: Like I feel like this probably goes back to like, when like Jay Jonah Jameson was coming up with a name for like Dr. Octopus and the Green Goblin or whatever.
1:13:07
[UNKNOWN]: But like Marvel made this their their stock and trade.
1:13:10
[UNKNOWN]: Every superhero name is a joke that we use it.
1:13:13
[UNKNOWN]: And then after a movie or two, we just use it unironically and it's okay.
1:13:17
[UNKNOWN]: or you could just use it unironically, no one gives a shit.
1:13:20
[UNKNOWN]: So the gag is that none of the heroes have those fun, cool names like Mechanec.
1:13:27
[UNKNOWN]: They have, uh, it turns out that Adam as a kid didn't know those guys names.
1:13:33
[UNKNOWN]: Like he saw them fighting, but he didn't know them personally.
1:13:35
[UNKNOWN]: Yeah, so like those were the names he came up with them.
1:13:37
[UNKNOWN]: And he was like drawing like comic-look splash pages of them this whole time.
1:13:41
[UNKNOWN]: And then when he gets her, it's like, hey, it's Raman and Fisto.
1:13:43
[UNKNOWN]: And they're like, those aren't our names.
1:13:45
[UNKNOWN]: Those are silly names.
1:13:47
[UNKNOWN]: And you'll notice they never say what their actual names are, because ultimately they're just trying to get to the point where they can embrace having those names.
1:13:55
[UNKNOWN]: As if no one in their universe has silly names, except the villains are named Skeletor and the evil land, to words.
1:14:05
[UNKNOWN]: So apparently characters are names that shit.
1:14:07
[UNKNOWN]: We didn't have you are so Proud to be he man that you're doing all the costumes right and you're trying to get that but wonderful like aesthetic and tone But you're so ashamed to be he man that you don't have to constantly tear it down and that doesn't work
1:14:26
[UNKNOWN]: It definitely makes for a clash of tones.
1:14:29
[UNKNOWN]: There's also, they also do try to address the queerness, a little bit, like the idea that he man is really attractive that everybody just sort of looks at him, including the man and say, what a good-looking man.
1:14:41
[UNKNOWN]: It doesn't go as far as actually that's pretty subtle when I'm in this man.
1:14:45
[UNKNOWN]: But there was a scene where Ramman and Fisto made some like Amy Wendell about their names and about sort of, and they said some things that could be like into where this queer.
1:14:56
[UNKNOWN]: And they realized that they had said some queer things and they kind of shrink away from it.
1:15:00
[UNKNOWN]: So I'm not really, and it's been, and indeed, all of these, we can't just enjoy things.
1:15:04
[UNKNOWN]: All of these messages about how it's okay to sort of issue the silly masculinity and this idea that
1:15:10
[UNKNOWN]: Oh, no, no, the patriarchy hurts us all.
1:15:14
[UNKNOWN]: That is undermined by the fact that the men are never allowed to actually have those emotions.
1:15:20
[UNKNOWN]: Whenever a man has an emotional moment, he kind of reveals his inner self a little bit.
1:15:26
[UNKNOWN]: He gets really embarrassed and he's actually even mocked.
1:15:29
[UNKNOWN]: The character is kind of mocked for having emotion.
1:15:32
[UNKNOWN]: by the other characters and that the people who mock them are never taken to task.
1:15:35
[UNKNOWN]: Yeah.
1:15:36
[UNKNOWN]: And the idea that these people can be in touch of their emotions is soon as something that's really visible and the idea that he, man, this bastion of masculinity can't have it both ways.
1:15:46
[UNKNOWN]: Yeah, yeah.
1:15:47
[UNKNOWN]: Either make him an all-erotic bastion of masculinity like in predator.
1:15:50
[UNKNOWN]: Mm-hmm.
1:15:51
[UNKNOWN]: I think that would actually be pretty ironic.
1:15:53
[UNKNOWN]: That's the sad time.
1:15:54
[UNKNOWN]: But we know it's a commando.
1:15:55
[UNKNOWN]: Commando.
1:15:55
[UNKNOWN]: Yeah.
1:15:55
[UNKNOWN]: You know, or...
1:15:59
[UNKNOWN]: Tara down.
1:16:00
[UNKNOWN]: Yeah.
1:16:01
[UNKNOWN]: You know what movie did that really well?
1:16:02
[UNKNOWN]: Another metal film called Barbie.
1:16:04
[UNKNOWN]: Barbie did great.
1:16:05
[UNKNOWN]: Barbie did that perfect way.
1:16:06
[UNKNOWN]: Yeah, Barbie did.
1:16:08
[UNKNOWN]: Yeah, that the patriarchy uh kind of created Ken and Ken when he started to fall for that message became a horrible person.
1:16:15
[UNKNOWN]: Now you don't need to be as overt as Barbie did.
1:16:18
[UNKNOWN]: Barbie got away with it.
1:16:18
[UNKNOWN]: Barbie is fantastic.
1:16:20
[UNKNOWN]: Um, but like the one thing about Greta Gerwig is that she understood, what still works about Barbie, what we still like about Barbie, what we still admire about Barbie, but also what never worked and what needs to be addressed or
1:16:36
[UNKNOWN]: could have been ignored, but he decided to address it head on.
1:16:38
[UNKNOWN]: He then understands that there is a certain problematic element to its depiction of masculinity, and it doesn't have a death hand in how it deals with it.
1:16:47
[UNKNOWN]: There's a sequence towards the end.
1:16:48
[UNKNOWN]: The filmmakers don't seem to have like an actual thesis about masculinity.
1:16:52
[UNKNOWN]: That's a problem, they're constantly undermining it.
1:16:54
[UNKNOWN]: There's a sequence at the end that is briefly very promising,
1:17:02
[UNKNOWN]: They never really explained that he never really done this before, but I guess he can do this.
1:17:06
[UNKNOWN]: He like jumps into he man subconscious.
1:17:09
[UNKNOWN]: And there's a sequence where he's like on earth and seeing all of the humiliations that he man dealt with while he was on earth.
1:17:17
[UNKNOWN]: I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't know, I don't
1:17:43
[UNKNOWN]: That was a funny joke.
1:17:44
[UNKNOWN]: It was a genuine, like, skeleton who just doesn't get it.
1:17:46
[UNKNOWN]: Like, that's, I don't understand anything that's going on right now, but I know you suck.
1:17:50
[UNKNOWN]: Like,
1:17:51
[UNKNOWN]: That's seeing almost works, but the problem is that Skeletor is defined by his insecurity, especially in this movie.
1:17:59
[UNKNOWN]: He is constantly putting on big airs as though he's a really tough bad guy, but then like he'll like have a big manly laugh.
1:18:07
[UNKNOWN]: And then he doesn't know how to segue into another part of the conversation.
1:18:10
[UNKNOWN]: He just sort of stands there awkwardly.
1:18:13
[UNKNOWN]: I've seen that gag plenty of times, but it works here.
1:18:15
[UNKNOWN]: It's kind of a funny joke once, but he doesn't like all the time.
1:18:18
[UNKNOWN]: Yeah, the thing that doesn't work for me about Skeleton, especially Evelyn, I think Allison 3 is really miscast here.
1:18:24
[UNKNOWN]: I don't think she knows how to not be just silly.
1:18:28
[UNKNOWN]: Yeah.
1:18:29
[UNKNOWN]: Is that they're never really intimidating?
1:18:32
[UNKNOWN]: Skeleton, it looks intimidating, but there's Zulander villains.
1:18:36
[UNKNOWN]: Yeah.
1:18:36
[UNKNOWN]: They're extremely broad villains.
1:18:38
[UNKNOWN]: And I get it, it's a kid show, but like you want us to take some parts of this seriously,
1:18:42
[UNKNOWN]: But not others and it feels really arbitrary, like when you do or it's like sometimes it's serious sometimes it's not and it's like I'm not sensing a cohesive tone, I'm not sensing a cohesive thesis.
1:18:54
[UNKNOWN]: I don't even know if you enjoy being an action movie half the time.
1:18:58
[UNKNOWN]: So it just I don't hate it.
1:18:59
[UNKNOWN]: I just don't think it works.
1:19:01
[UNKNOWN]: Yeah, you know, I don't think it's a well-made movie, even though God knows the costume designs fantastic.
1:19:07
[UNKNOWN]: Yeah, yeah, some of the design is great.
1:19:12
[UNKNOWN]: Yeah, just it didn't call fall together.
1:19:13
[UNKNOWN]: I think all of and all of this is I'm sort of under the ages of this sort of You know, nostalgic deconstruction.
1:19:21
[UNKNOWN]: It's just none of it is functioning.
1:19:23
[UNKNOWN]: Nothing none of this is clicking together We're using the original thing or deconstruction.
1:19:26
[UNKNOWN]: Yeah, so it's like what are you trying to you're not trying to say anything You are fainting in the direction of some interesting ideas, but you're not really saying anything and then
1:19:36
[UNKNOWN]: at the end of the day you just sort of did something kind of cool to bank on nostalgia and it just made me hate the movie.
1:19:42
[UNKNOWN]: I feel like the fact that it tried and failed was like worse than if they had just done something kind of empty.
1:19:49
[UNKNOWN]: I wrote a negative review of this movie and people
1:19:53
[UNKNOWN]: there were some comments on the social media that was like oh yeah sure like you you expect him in to be like a really meaningful exploration of masculinity I'm like I didn't bring it up the movie did yeah there are the ones you said that's what they were doing and I get that they were doing at the execution who's crap so it's it's very frustrating because if you tried and he didn't work and I think a lot of people are responding to the fact that at the very least it's
1:20:21
[UNKNOWN]: It's like, it's, it's a bright and brisk like, if that's all my brisk gets long.
1:20:25
[UNKNOWN]: Yeah, but like, if that's all you're looking for, I guess, okay, like you could do worse, but like, it doesn't succeed in its goals, I think, and I believe it's all right.
1:20:33
[UNKNOWN]: Alright, moving on, I saw a few films you didn't, I'm only going to linger really on one of them, because I think it's fantastic, and then we'll conclude with castration movie, which we both saw, which isn't coming out for a while.
1:20:45
[UNKNOWN]: So the amazing digital circus is an incredibly popular YouTube animated series that was so popular on YouTube, Netflix picked it up and they didn't take it off at YouTube.
1:20:57
[UNKNOWN]: Maybe it's let it also be on Netflix and it was an astoundingly popular itself, tons of merch.
1:21:03
[UNKNOWN]: And it's also really fucking great.
1:21:05
[UNKNOWN]: It's from an animator who created it, wrote it, directed it, voices one of the characters, her name is GooseWorks.
1:21:13
[UNKNOWN]: It is a modern riff on, I have no voice and I'm a scream.
1:21:17
[UNKNOWN]: I have no mouth.
1:21:18
[UNKNOWN]: I have no mouth and I'm a scream apologies, which is a Heartland Ellison story.
1:21:22
[UNKNOWN]: And the Heartland Ellison story, all of humanity has been basically killed off by an artificially intelligent computer, and only a handful of human beings are left.
1:21:31
[UNKNOWN]: And they're only left because the computer was like, shit, there's no one else here.
1:21:36
[UNKNOWN]: I need some play things, and it's been basically torturing them for forever.
1:21:39
[UNKNOWN]: Yeah, using like these advanced technologies to keep them alive for over a century, it's been like 109 years and they're tortured in these caves repeatedly, but in mocked and bullied by virtual reality.
1:21:51
[UNKNOWN]: But this is a cruel machine that just hates them.
1:21:54
[UNKNOWN]: Yeah, yeah, yeah.
1:21:54
[UNKNOWN]: So this is kind of that, but very different as well.
1:21:59
[UNKNOWN]: So in the first episode of the Amaging Digital Circus,
1:22:04
[UNKNOWN]: A character named Pomny, well actually she doesn't have a name, but they randomly generate one for her.
1:22:09
[UNKNOWN]: Okay.
1:22:09
[UNKNOWN]: Pops into a place called the Amazing Digital Circus, and it is a very friendly kind of circus themed CG environment that is very much inspired by like 90s video game hub worlds.
1:22:21
[UNKNOWN]: Okay.
1:22:22
[UNKNOWN]: So like this is like the place where you hang out and maybe you can change the environment and then you go off an adventure and then you come back to the hub world.
1:22:30
[UNKNOWN]: Pomny is dressed like a harlockwin.
1:22:33
[UNKNOWN]: She has no memory of her name.
1:22:35
[UNKNOWN]: She doesn't know that she's human and is not supposed to be here.
1:22:39
[UNKNOWN]: OK. She's surrounded by a green line.
1:22:41
[UNKNOWN]: Why not?
1:22:42
[UNKNOWN]: that's one of the mysteries of the show okay there are a bunch of other characters who are also trapped and also had human lives that they would very much like to get back to and they all look like different things like one of them looks like a king chess piece okay one of them looks like a cacophony of different shapes one of them is a comedy and tragedy mask but also the rest of their body is just a ribbon another one is a rag doll named ragatha and there's also a very
1:23:10
[UNKNOWN]: a Chaos Grim one type, giant rabbit named Jacks.
1:23:15
[UNKNOWN]: And they hated here.
1:23:17
[UNKNOWN]: they always they could leave, they could not.
1:23:20
[UNKNOWN]: They have been suffering for God only knows how long.
1:23:23
[UNKNOWN]: And their tormentor is an AI that is a big, you know, there's a wind-up chattering teeth.
1:23:30
[UNKNOWN]: Go, okay, yeah.
1:23:30
[UNKNOWN]: That's his head, except he has giant eyeballs inside the teeth.
1:23:33
[UNKNOWN]: Yeah.
1:23:34
[UNKNOWN]: And his name is probably seeing images of these things around.
1:23:37
[UNKNOWN]: You probably have.
1:23:37
[UNKNOWN]: They're literally ubiquitous, especially if you've ever been to a hot topic in the last couple of years.
1:23:43
[UNKNOWN]: And Kane,
1:23:44
[UNKNOWN]: has the goal to entertain them.
1:23:48
[UNKNOWN]: But he doesn't realize that all of his entertainments are horrific tortures.
1:23:51
[UNKNOWN]: OK, so he'll say, hey, today's adventure, we're going to go to a haunted house.
1:23:55
[UNKNOWN]: And the haunted house will terrified the shit out of you and erode your fucking soul.
1:23:59
[UNKNOWN]: And afterwards he's like, great job, guys!
1:24:02
[UNKNOWN]: and they hate all of it.
1:24:03
[UNKNOWN]: Like it's absolutely miserable.
1:24:04
[UNKNOWN]: There's the second episode.
1:24:06
[UNKNOWN]: They go to a candy land and they have to do like a Mad Max car chase with some gummy alligators.
1:24:13
[UNKNOWN]: Oh my god.
1:24:14
[UNKNOWN]: And at one point, Pami and the lead alligator whose name is gummy goo.
1:24:20
[UNKNOWN]: They clip out of the world and up in their own backgrounds and gummy goo sees like the
1:24:29
[UNKNOWN]: What am I?
1:24:30
[UNKNOWN]: And there's this horrible existential horror.
1:24:33
[UNKNOWN]: I see realizes he is nothing.
1:24:35
[UNKNOWN]: And doesn't understand the reason for his existence.
1:24:38
[UNKNOWN]: And Pami, who got here yesterday, doesn't understand why she's your either.
1:24:42
[UNKNOWN]: And also, if you start losing your mind too much, you begin to abstract and you turn into like an amorphous polygonal being that is basically all rage.
1:24:55
[UNKNOWN]: And that cannot be cured or killed.
1:24:57
[UNKNOWN]: So they just shove it in the basement and say, don't think about it or you'll abstract, it's hell.
1:25:04
[UNKNOWN]: of the course of the series they go on a series of what's the tone like those it likes bright it's bright me for kids it's right opportunity for kids slash horror okay genuine horror some of the time yeah but over the course of it you really get to know the characters extremely well and they're these wonderfully rich um complicated individuals and all their interactions are really complicated and even cane is a very complicated figure um he doesn't understand why they don't love him
1:25:33
[UNKNOWN]: And so it's like like a non-self-aware M which is the computer from yeah Yeah, yeah, yeah, yeah, yeah, yeah, yeah, basically well, it's self-aware but like he's yeah He he he starts turning into M towards the end.
1:25:46
[UNKNOWN]: Okay, and a way that I don't want I don't want to tell you how everything works out, but
1:25:50
[UNKNOWN]: So basically, there were eight episodes, half hour, released of the amazing digital circus.
1:25:54
[UNKNOWN]: They are all wonderful.
1:25:56
[UNKNOWN]: And then they decided to do an hour-long series finale.
1:26:00
[UNKNOWN]: And at some point, I think the fans basically literally demanded it.
1:26:04
[UNKNOWN]: They decided, hey, let's put that in theaters.
1:26:06
[UNKNOWN]: And hours of it short, so it's paired up with the second of last episode, which also tees up the last episode, it's a cliffhanger.
1:26:13
[UNKNOWN]: And now, all of that isn't theaters.
1:26:16
[UNKNOWN]: And it's fucking great.
1:26:20
[UNKNOWN]: It is a wonderful conclusion to a series.
1:26:23
[UNKNOWN]: It doesn't really work as its own movie.
1:26:25
[UNKNOWN]: They catch up a little bit.
1:26:26
[UNKNOWN]: And I heard from one person who were like, were mutuals online, who like, went because their kid wanted to go.
1:26:33
[UNKNOWN]: And they had never seen it.
1:26:35
[UNKNOWN]: And they said, you know, I was saying didn't pick up the nuances, but I still loved it.
1:26:39
[UNKNOWN]: Yeah, even though I'd never seen it before.
1:26:40
[UNKNOWN]: So I guess it kind of works.
1:26:43
[UNKNOWN]: um, it is a meaningful, narrative, thematic character development conclusion to the story.
1:26:50
[UNKNOWN]: Oh, uh, not all the questions are answered, but the questions that are answered, enhance our awareness of the meaning of what we've been watching.
1:26:59
[UNKNOWN]: Um, there are genuine moments of heartache and horror and beauty and,
1:27:07
[UNKNOWN]: incredibly complex sort of portrayal of queerness, that is very, very exciting, and also tragic in its way, like explicitly, or is it symbolic?
1:27:21
[UNKNOWN]: It says, here's, I can't really get into that in too much detail without ruining stuff about a few characters.
1:27:26
[UNKNOWN]: So I don't want to spoil it because not everyone's seen it yet, it's still in theaters.
1:27:30
[UNKNOWN]: It will be released online on the 19th, so you ever want to be able to see it for
1:27:36
[UNKNOWN]: So if I said to say, it's extremely clear if you're queer, and if not, apparently some people didn't get it.
1:27:44
[UNKNOWN]: Okay, but I don't think they were subtle about it.
1:27:48
[UNKNOWN]: And I think there's a reason why they get away with that, but I'd have to go into spoilers to explain.
1:27:54
[UNKNOWN]: The amazing digital circus is a movie that I, it's a movie now, I suppose, but like it's a series.
1:28:00
[UNKNOWN]: It's an artistic entity that I think is genuinely important and meaningful to a lot of people.
1:28:06
[UNKNOWN]: I think it really speaks to how we feel trapped in these spaces.
1:28:09
[UNKNOWN]: I think it speaks to the way that all of the things that are supposed to distract us from the horrors and our life have failed.
1:28:16
[UNKNOWN]: Like,
1:28:17
[UNKNOWN]: You, we are in hell, we have completely hopeless, we have no future, no one cares about us.
1:28:24
[UNKNOWN]: I think the thing that's killing us is the thing that's purporting to entertain us.
1:28:28
[UNKNOWN]: Well, it's like, we are really just like one bad day away from completely cracking under the psychological strain and turning into something we don't even understand as human anymore.
1:28:41
[UNKNOWN]: And you think watching masters of the universe is gonna help.
1:28:45
[UNKNOWN]: like that's what we're doing here you think playing a video game is gonna help it's not it is about the how the meaningless art and the meaningless distractions are ultimately deteriorating are awareness of our own souls and over the course of the series these characters gain a greater awareness of their own souls and if they don't they're not necessarily gonna end well um
1:29:09
[UNKNOWN]: It's about the way we feel increasingly isolated in an online world and how only coming together is a community and caring for each other is going to bring any meaning into our lives.
1:29:18
[UNKNOWN]: It's also really fun and really animated.
1:29:21
[UNKNOWN]: Prettyly, the music is great.
1:29:25
[UNKNOWN]: The characters are extremely memorable.
1:29:27
[UNKNOWN]: Like, it's genuinely wonderful.
1:29:30
[UNKNOWN]: And I don't think I'm doing it just this.
1:29:33
[UNKNOWN]: I wrote a review on the rap that discussed a lot of it, it doesn't get into spoilers on the last couple of bits.
1:29:38
[UNKNOWN]: I think it was hopefully a bit more eloquent.
1:29:40
[UNKNOWN]: But I highly recommend watching it.
1:29:42
[UNKNOWN]: Again, the first date episodes are free on YouTube.
1:29:44
[UNKNOWN]: You can also watch them on Netflix.
1:29:46
[UNKNOWN]: If you have Netflix and want to watch it there instead for some reason.
1:29:50
[UNKNOWN]: And,
1:29:51
[UNKNOWN]: Yeah, see the finale of theaters, I think it's really wonderful that a show about how isolating ourselves from other people is the worst thing we can possibly do at this point in our existence is concluding in a fashion that physically brings people together.
1:30:09
[UNKNOWN]: for a shared artistic experience that is very meaningful to people.
1:30:12
[UNKNOWN]: I walked that into the lobby and it was literally hard to walk around because no one wanted to leave.
1:30:17
[UNKNOWN]: They just wanted to talk about what they just saw and what it meant to them.
1:30:22
[UNKNOWN]: Not like, oh god, I can't, I wonder what they're going to do in the sequel.
1:30:24
[UNKNOWN]: It's like,
1:30:25
[UNKNOWN]: Oh my god, did you notice that one detail and what that meant for that character that I love?
1:30:30
[UNKNOWN]: And how absolutely inspiring that is?
1:30:33
[UNKNOWN]: And I'm like, fuck man, the movies are, the movies have been back for a while.
1:30:38
[UNKNOWN]: The audiences are back now for this stuff.
1:30:42
[UNKNOWN]: I'm heartened by this idea that this is a movie about sort of coming together in physical spaces.
1:30:47
[UNKNOWN]: It's derived from YouTube shorts, so it's another one of these new generation filmmakers.
1:30:53
[UNKNOWN]: And the message is...
1:30:56
[UNKNOWN]: Canada House.
1:30:57
[UNKNOWN]: Get stop with the infinite, you know, the David Foster Waller sense of infinite jazzed.
1:31:02
[UNKNOWN]: This idea that you need to be entertained all the time and just leave online.
1:31:06
[UNKNOWN]: It's like, that's, we're done now.
1:31:08
[UNKNOWN]: We can, we can come back outside.
1:31:10
[UNKNOWN]: I think the new generation is sort of seeing the flaws and the previous generation.
1:31:15
[UNKNOWN]: I think they are.
1:31:16
[UNKNOWN]: And I think they have been living with this idea since
1:31:21
[UNKNOWN]: you know, especially in the 21st century, we had basically stolen election in 2000.
1:31:26
[UNKNOWN]: We had an absolute horrible tragedy in 2001.
1:31:29
[UNKNOWN]: We had an absolute economic eclipse in the 2000, collapse in the 2000s, and then twice in the last 12 years, we have had the shittiest president imaginable who has been absolutely regressive in every way and actively hurting, like everybody.
1:31:50
[UNKNOWN]: And we hate it, and we feel very powerless and we're starting to see power in these stories that are told for us about us right now, especially young people, by young people, who have something really good to say, not always as deep as it could be, but in the case of the amazing digital circus, I think it is.
1:32:07
[UNKNOWN]: I think that's fucking great.
1:32:08
[UNKNOWN]: Yeah.
1:32:09
[UNKNOWN]: So it just gives me so much hope right now.
1:32:11
[UNKNOWN]: I just love it.
1:32:12
[UNKNOWN]: I left the theater elated in a way I really have it in a while.
1:32:16
[UNKNOWN]: I did not have that feeling when I left the theater what's showing the bread winner.
1:32:22
[UNKNOWN]: I saw the previews I wanted to say the hell away from this thing.
1:32:25
[UNKNOWN]: It ain't doing Mr.
1:32:25
[UNKNOWN]: Mom in 2026 what the fuck is happening.
1:32:28
[UNKNOWN]: The bread winner is I would argue
1:32:32
[UNKNOWN]: the dead canary in the coal mine of like what culture became.
1:32:40
[UNKNOWN]: Because if we have reached a point where a movie where the entire gag is, dad stops going to work and has to take care of the kids and finds that that is literally impossible for him.
1:32:56
[UNKNOWN]: If we are at a point where we consider that genuine fodder for comedy and not the oldest fucking joke imaginable,
1:33:07
[UNKNOWN]: Like it was old when I live Lucy did it and I live Lucy did it well.
1:33:11
[UNKNOWN]: It was ancient when Mr.
1:33:13
[UNKNOWN]: Mom did it and that was over 40 years ago.
1:33:15
[UNKNOWN]: Yeah, it was a throwback in the early 80s.
1:33:17
[UNKNOWN]: Yeah, Mr.
1:33:18
[UNKNOWN]: Mom did it.
1:33:18
[UNKNOWN]: Yeah, oh no, a guy in an apron, what the fuck?
1:33:21
[UNKNOWN]: Like come on man, where are we now?
1:33:24
[UNKNOWN]: So if, well, yeah, it's a setting that this is getting a theatrical release because people think that that will entertain us.
1:33:31
[UNKNOWN]: Those, uh, Mr.
1:33:32
[UNKNOWN]: Mom was actually a response to something, uh, a women sort of moving into the workplace.
1:33:39
[UNKNOWN]: Yeah.
1:33:39
[UNKNOWN]: There was been 10, 10, 10 was nine to five.
1:33:41
[UNKNOWN]: There was a lot of sort of films about that.
1:33:43
[UNKNOWN]: Yeah.
1:33:43
[UNKNOWN]: And this was also a time of, like, an increased divorce rates and women sort of becoming career women on their own.
1:33:49
[UNKNOWN]: Yeah.
1:33:49
[UNKNOWN]: More independent.
1:33:50
[UNKNOWN]: Yeah.
1:33:51
[UNKNOWN]: So that, that was sort of a response culturally to that.
1:33:54
[UNKNOWN]: Even if the tropes were old, it was speaking to something that was going on in culture.
1:33:57
[UNKNOWN]: Yeah.
1:33:59
[UNKNOWN]: something like the breadwinner I just saw the preview for this and I'm only commenting on the preview because the preview is pretty accurate to the experience okay the idea is I think a little bit more regressive than that because it's not that it's responding to something it's trying to sell something yeah I felt like propaganda yeah this idea that we can still laugh at this joke because somewhere deep in the heart of
1:34:25
[UNKNOWN]: Uh, we're still going to be laughing at the fact that women have left the domestic sex.
1:34:31
[UNKNOWN]: It's not laughing.
1:34:31
[UNKNOWN]: I will say this.
1:34:32
[UNKNOWN]: It's not laughing that women have left the domestic scene.
1:34:34
[UNKNOWN]: And I'll give the movie credit for this much.
1:34:36
[UNKNOWN]: The plot of the movie is, uh, Nick Bragazzi is a standard comedian.
1:34:40
[UNKNOWN]: And he plays a car salesman.
1:34:42
[UNKNOWN]: It was very dedicated to his job.
1:34:44
[UNKNOWN]: And he makes all the money for the household and his wife played by Mandy Moore.
1:34:49
[UNKNOWN]: Uh, it takes care of all the kid stuff.
1:34:50
[UNKNOWN]: And it's a lot.
1:34:51
[UNKNOWN]: They have like three kids in there.
1:34:53
[UNKNOWN]: They're a handful, um, but um, she invents something.
1:34:59
[UNKNOWN]: It's like this quirky day planner toy.
1:35:02
[UNKNOWN]: Hmm.
1:35:03
[UNKNOWN]: The parents can use with their kids.
1:35:05
[UNKNOWN]: Uh, and she says, hey, everyone likes this.
1:35:09
[UNKNOWN]: I was thinking I do something with it.
1:35:10
[UNKNOWN]: And to his credit, he's like, you should.
1:35:12
[UNKNOWN]: Hmm.
1:35:12
[UNKNOWN]: That's a great idea.
1:35:13
[UNKNOWN]: I fully support you honey.
1:35:14
[UNKNOWN]: She goes on shark tank and he's very excited for her and the shark tanks and the shark say hey That's actually a pretty good idea, but then they find out that like She would have to balance the work and being a stay at home mom and they'll like get your husband out here with the fuck
1:35:28
[UNKNOWN]: And they make him promise like listen she's gonna do this you have we will only fund the project if you stay home and take care of the kids Which I don't think is something that is standard shark tank behavior.
1:35:39
[UNKNOWN]: That's no, that's pretty broad But whatever, we have the movie's got to start on the plot.
1:35:43
[UNKNOWN]: The movie's got to start somehow and to his credit he goes
1:35:48
[UNKNOWN]: Great!
1:35:49
[UNKNOWN]: I can do that.
1:35:50
[UNKNOWN]: He's looking forward to it.
1:35:51
[UNKNOWN]: Why is that looking forward to it?
1:35:52
[UNKNOWN]: He knows it's going to be, he knows it's ill-equipped for, but he's just like, I'm not getting in the way of my wife's opportunity.
1:35:56
[UNKNOWN]: I believe in her.
1:35:57
[UNKNOWN]: Kudos for that!
1:35:59
[UNKNOWN]: you could have been worse that's that's that's a pretty good attitude to have the start with.
1:36:04
[UNKNOWN]: Um, but there's also this like undercurrent of, but we all agree this is only for a month and then we're going back to normal, right?
1:36:10
[UNKNOWN]: Was I was like, but, uh, yeah.
1:36:12
[UNKNOWN]: So he starts taking over the family, you know, chores and things.
1:36:17
[UNKNOWN]: He makes the kids eggs or breakfast, but
1:36:19
[UNKNOWN]: Oh no, yesterday they decided they don't like eggs anymore.
1:36:22
[UNKNOWN]: Oh no, the toaster is broken.
1:36:24
[UNKNOWN]: How can I possibly make the toaster?
1:36:27
[UNKNOWN]: Oh it turns out it was unplugged.
1:36:28
[UNKNOWN]: I fixed the toaster.
1:36:30
[UNKNOWN]: I see all your jokes.
1:36:33
[UNKNOWN]: That you think or jokes.
1:36:34
[UNKNOWN]: Where's the joke?
1:36:35
[UNKNOWN]: I don't know.
1:36:35
[UNKNOWN]: They joke is that he's bad at this.
1:36:37
[UNKNOWN]: Okay.
1:36:38
[UNKNOWN]: Um, he like, he doesn't understand.
1:36:41
[UNKNOWN]: How do we keep using all of these towels?
1:36:43
[UNKNOWN]: I can't keep up with washing all of these towels.
1:36:47
[UNKNOWN]: Oh, man.
1:36:47
[UNKNOWN]: I forgot where the kids go to school.
1:36:51
[UNKNOWN]: Oh, the kids go to school.
1:36:52
[UNKNOWN]: He doesn't know where they go.
1:36:53
[UNKNOWN]: He does.
1:36:54
[UNKNOWN]: So he's a terrible father at a bad man.
1:36:56
[UNKNOWN]: He's not the worst guy in the planet or anything like that, but he's a shit dad.
1:37:01
[UNKNOWN]: What?
1:37:01
[UNKNOWN]: He loves his kids, but he doesn't know how to care for them.
1:37:03
[UNKNOWN]: He's never shown an interest.
1:37:05
[UNKNOWN]: There's baseline interest.
1:37:06
[UNKNOWN]: There's a subset of television commercials starring the, and this is a character type, the most incompetent man in the world's.
1:37:14
[UNKNOWN]: Yeah.
1:37:15
[UNKNOWN]: He forgot a birthday.
1:37:17
[UNKNOWN]: He forgot an anniversary.
1:37:20
[UNKNOWN]: Yeah, luckily, AI commercials are doing that.
1:37:22
[UNKNOWN]: Yeah, luckily, this product, this app, this scheduling software, whatever it is that they're trying to sell.
1:37:28
[UNKNOWN]: Well, remember, you loved ones for you, so you don't have to think about them ever.
1:37:32
[UNKNOWN]: So when you're talking on the phone with your wife, of course, I remember to get reservations as he's hastily making reservations.
1:37:43
[UNKNOWN]: for a shitty-it-love, who cannot, who don't- Don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't-don't
1:38:03
[UNKNOWN]: that they have invented a thing that will make the people in your life not realize that you don't love them very much.
1:38:11
[UNKNOWN]: Yeah, you can fake it better with this product.
1:38:15
[UNKNOWN]: The one that I always got me was, I think it was for Jack in the Box, or some fast food commercial, which always featured some, like, young man in a grocery store, or shopping for food, or like some kind of barbecue,
1:38:30
[UNKNOWN]: And the entire ad was just them looking around at all of the food and they were just mystified.
1:38:36
[UNKNOWN]: They didn't say anything like they were, they would poke it like the raw meat, not knowing what to do with it.
1:38:41
[UNKNOWN]: And the tagline was without us jacking the box, some guys would starve.
1:38:47
[UNKNOWN]: he would die if it wasn't for a drive through.
1:38:50
[UNKNOWN]: That exact joke without the fast food part is in the breadwinner.
1:38:54
[UNKNOWN]: He goes to the grocery store to buy eggs and he looks at them.
1:38:56
[UNKNOWN]: And if you've been to a grocery store, they have like different parts of the weekend.
1:39:00
[UNKNOWN]: They have different cartons of eggs.
1:39:02
[UNKNOWN]: That's some of them are brown or whatever.
1:39:04
[UNKNOWN]: And he's just staring at the eggs and he's like, I need help with the eggs.
1:39:06
[UNKNOWN]: I don't understand the eggs.
1:39:07
[UNKNOWN]: And it's like, it's a fucking eggs, dude.
1:39:10
[UNKNOWN]: Just buy them.
1:39:10
[UNKNOWN]: How do you not know how eggs work?
1:39:13
[UNKNOWN]: How it doubted you survived this law.
1:39:15
[UNKNOWN]: What does he do for a living?
1:39:16
[UNKNOWN]: He sells cars
1:39:18
[UNKNOWN]: Okay, you need some life skills to do.
1:39:20
[UNKNOWN]: Yeah, related to people, right?
1:39:21
[UNKNOWN]: Like it's, it's, and you know what again?
1:39:23
[UNKNOWN]: And he's not like a particularly, he's not a hateful guy or anything like that.
1:39:27
[UNKNOWN]: It's not like make awful jokes at anyone's expense, particularly.
1:39:32
[UNKNOWN]: It's just this really tired, and, and it'd be one thing that was funny if it was like, yeah, the, the pratfalls are really, really funny or the characters are just like, everyone's got a great comic timing.
1:39:44
[UNKNOWN]: Or he's bad at this, but he's judged for it by other fathers who are good at it.
1:39:47
[UNKNOWN]: Yeah, that's them, really, they whiff that too.
1:39:51
[UNKNOWN]: And like, yeah, it doesn't save it, and so all we've got is the idea for the joke, and the idea is tired of shit.
1:39:59
[UNKNOWN]: Yeah.
1:40:00
[UNKNOWN]: And...
1:40:02
[UNKNOWN]: also it's been done better.
1:40:03
[UNKNOWN]: So it's not good.
1:40:06
[UNKNOWN]: I want to move on because I don't like this movie.
1:40:09
[UNKNOWN]: There's one movie we want to talk about before we end with castration movie.
1:40:12
[UNKNOWN]: And it is an odd film actually at least in its construct.
1:40:18
[UNKNOWN]: You remember World War Two,
1:40:20
[UNKNOWN]: Yeah.
1:40:21
[UNKNOWN]: Okay, I wasn't there for, but yeah, I've read about it.
1:40:24
[UNKNOWN]: World War II is one of the most well documented things in history.
1:40:29
[UNKNOWN]: Like every aspect of World War II has been apparently painstakingly catalogued, event documentaries about the movies, TV series, my dad read every fucking book ever written about World War II, and if he hadn't died, he'd still be doing it.
1:40:45
[UNKNOWN]: They're so meant and we need to do it more because some people still haven't gotten the message well The message is one thing and I think that's something we should never give up on and I'm not saying we should give up on World War II My point is only that at some point It feels like we might have started running out of ideas for World War II movies So there's this movie called pressure
1:41:06
[UNKNOWN]: and it stars Andrew Scott, as a true story.
1:41:10
[UNKNOWN]: So, as Andrew Scott, as a meteorologist, who spends the entire film, trying to convince General Dwight the Eisenhower that it's going to reign really bad on D-Day.
1:41:23
[UNKNOWN]: It's about the brave meteorologist.
1:41:25
[UNKNOWN]: Yes, because there's another meteorologist, played by Chris Messina, who thinks it won't reign on D-Day.
1:41:32
[UNKNOWN]: Hmm, that's the whole film.
1:41:34
[UNKNOWN]: You know, Shinnler's list.
1:41:35
[UNKNOWN]: Yeah.
1:41:37
[UNKNOWN]: No, there's so many like really riveting.
1:41:40
[UNKNOWN]: And I realize there are a lot of rivets in World War II.
1:41:42
[UNKNOWN]: Oh, yeah.
1:41:43
[UNKNOWN]: Because they call people who are like really obsessed with this.
1:41:46
[UNKNOWN]: It's about the rivets.
1:41:47
[UNKNOWN]: That's true.
1:41:47
[UNKNOWN]: No, they call like people who are like really obsessed with World War II and like call out every even minor historical, tiny historical accuracy in World War II media, rivet counters because they're counting the rivets on the tanks.
1:41:59
[UNKNOWN]: Yeah.
1:42:01
[UNKNOWN]: Like, there's a lot more riveting stories out there.
1:42:04
[UNKNOWN]: And what's frustrating is that I think there's actually something very real just could have connected to it, and it does, and it's based on a play.
1:42:09
[UNKNOWN]: Maybe the play is great.
1:42:10
[UNKNOWN]: The movie is really forced.
1:42:12
[UNKNOWN]: So yeah, Andrew Scott is a very, very kind of stuck up kind of guy.
1:42:18
[UNKNOWN]: And he is brought in two or three days before D-Day.
1:42:22
[UNKNOWN]: We need to know if the weather is going to be okay to land a Normandy Beach, because the weather is bad.
1:42:26
[UNKNOWN]: The visibility will be low and will lose.
1:42:28
[UNKNOWN]: So okay, it is relevant.
1:42:30
[UNKNOWN]: But meteorology is always a bit of a guessing game, especially way back then.
1:42:34
[UNKNOWN]: And so there's debates over what metric to use to predict the weather.
1:42:39
[UNKNOWN]: And Chris Masina is like, well, every other, basically every other June fifth for the last 20 years, it hasn't ran.
1:42:52
[UNKNOWN]: So it won't rain this time.
1:42:54
[UNKNOWN]: And he's like, that's fucking luck, right?
1:42:57
[UNKNOWN]: And so he says, actually there's all these things to suggest that it will.
1:43:00
[UNKNOWN]: And that's basically it.
1:43:04
[UNKNOWN]: I feel like, and Brendan Fraser plays Dwight D. Eisenhower and he's weird casting, but I think he's not great.
1:43:11
[UNKNOWN]: I never really seems like he's anything more than Brendan Fraser talking loud.
1:43:16
[UNKNOWN]: He's going to be a really great actor.
1:43:18
[UNKNOWN]: This is one of his best roles.
1:43:21
[UNKNOWN]: The thing that I think this movie keys into that could be really relevant today and could have really saved it is that this is ultimately at its core, a story about a scientist trying to convince someone in basically politics, government, the military.
1:43:39
[UNKNOWN]: Science is real and you should listen to the actual science and not the guy who's just telling you what you want to hear Yeah, that is still relevant.
1:43:49
[UNKNOWN]: Oh, tragically still relevant, but that is still relevant.
1:43:51
[UNKNOWN]: That is everything from you know climate change scientists the people trying to convince everyone that a gender affirming care is is actually really good and there's very very very very very
1:44:04
[UNKNOWN]: big amounts of evidence that basically torpedo anyone saying otherwise, and people won't listen because it hurts their agenda.
1:44:11
[UNKNOWN]: So there's a story there that that could have worked, but they never really hammer home that part.
1:44:15
[UNKNOWN]: So it just becomes about a bunch of guys arguing about the weather in a house, and Andrew Scott is a good actor, Christmasena is a good actor, they bring no juice to this.
1:44:28
[UNKNOWN]: Like, my scene is actually more energy than anyone else, but like,
1:44:31
[UNKNOWN]: It's just, it never becomes the powder keg that it needs to be to make a story this tiny interesting, not even exciting, just interesting because what it boils down to is if you remember the day that D-Day was and if you went to high school, you probably had that hammered into you.
1:44:55
[UNKNOWN]: You know how the movie ends because they're like, oh should we have D-Day on like June 5th G. When was D-Day?
1:45:02
[UNKNOWN]: Let's figure that out.
1:45:03
[UNKNOWN]: You know if you remember that date the movie's a fucking four-gonect inclusion.
1:45:06
[UNKNOWN]: So It's not great.
1:45:09
[UNKNOWN]: It's a it's a dad movie and dad's might enjoy just sitting down on a couch, you know kind of drifting off Uh On a Sunday afternoon to listen to this movie, but it's not good
1:45:20
[UNKNOWN]: I didn't see this one.
1:45:21
[UNKNOWN]: I did see Greyhound, the one with Tom Hanks, that was a good riverhound and kind of a movie.
1:45:26
[UNKNOWN]: It's like all the ship details were like obsessed over.
1:45:29
[UNKNOWN]: Yeah, there was a ship was making a very dangerous journey.
1:45:33
[UNKNOWN]: And Tom Hanks played the captain, and the whole movie was basically all the technical shit that was keeping the mission alive.
1:45:41
[UNKNOWN]: It was almost no human drama.
1:45:43
[UNKNOWN]: It was basically, okay, now do that thing and that thing.
1:45:45
[UNKNOWN]: And I'm going to use all these terminologies that no one in the audience knows.
1:45:48
[UNKNOWN]: But I assure you we're factually accurate.
1:45:51
[UNKNOWN]: And that would work.
1:45:53
[UNKNOWN]: It's not incredible, but it works.
1:45:55
[UNKNOWN]: You know, that was fine.
1:45:58
[UNKNOWN]: This is not.
1:45:59
[UNKNOWN]: And then lastly, we got an early look.
1:46:05
[UNKNOWN]: And normally we don't do like early looks, but in this case I think it's special and really cool.
1:46:10
[UNKNOWN]: Add the latest chapter of castration movie.
1:46:14
[UNKNOWN]: Bleak Week is going on at the American Cinema Tech
1:46:18
[UNKNOWN]: movie theaters all over the globe, which is very, very cool.
1:46:21
[UNKNOWN]: They're showing the most depressing, depressing, depressing, anxiety-inducing, bleak motion pictures ever made.
1:46:31
[UNKNOWN]: Literally theaters all over the country.
1:46:33
[UNKNOWN]: They handed out like a newspaper.
1:46:36
[UNKNOWN]: at the screening that we went to, where every page was just like ads for every movie theater and everything that they're showing.
1:46:42
[UNKNOWN]: And it was very cool actually.
1:46:45
[UNKNOWN]: But one of the things that was playing at the American Cinema Tech for bleak week is a new movie.
1:46:53
[UNKNOWN]: It is an upcoming
1:47:00
[UNKNOWN]: The first two are two of the best movies of the decade.
1:47:03
[UNKNOWN]: And I missed the first two.
1:47:05
[UNKNOWN]: I wanted to finally catch up with these things.
1:47:07
[UNKNOWN]: So they're directed, written and directed by and starring some of them.
1:47:13
[UNKNOWN]: And I'm always, I'm never 100% sure I'd pronounce her name.
1:47:16
[UNKNOWN]: It's either Louise Weirder, Louise Ward.
1:47:18
[UNKNOWN]: I think it's weird.
1:47:18
[UNKNOWN]: I W-E-A-R-D-E.
1:47:18
[UNKNOWN]: I've heard it pronounce both ways.
1:47:19
[UNKNOWN]: So I apologize if I'm getting it wrong.
1:47:20
[UNKNOWN]: But I'm going to say Weirder, and if I'm wrong, I apologize, but I'm going to say Weirder, and if I'm wrong, I apologize, but I'm going to say Weirder, and if I'm wrong, I apologize, but I'm going to say Weirder, and if I'm wrong, I apologize, I'm going to say
1:47:28
[UNKNOWN]: And she's a Canadian filmmaker and she makes these incredibly long, at the first two movies like five hours long.
1:47:36
[UNKNOWN]: Yeah.
1:47:36
[UNKNOWN]: Each.
1:47:38
[UNKNOWN]: And the first one is the first chapter is about like an entire feature film about how an insell was created and the second film was about a trans sex worker who is extremely bad at her job.
1:47:50
[UNKNOWN]: That's not bad at her job.
1:47:52
[UNKNOWN]: That's how you describe it.
1:47:54
[UNKNOWN]: That's how she's bad at her job.
1:47:57
[UNKNOWN]: bad at being a person a lot of the time you can't help but love her but she's kind of a trash fire and then the second film
1:48:06
[UNKNOWN]: It was one story and it is about a cult of trans women who are hiding from the world because the world is very hostile to trans people right now living in a basement eating nothing but hot dogs and worshiping AI and one of them tries to escape and flees into bushwick for a very long night of misadventures and that's the film and it is fucking incredible.
1:48:33
[UNKNOWN]: uh... and the new installment and this is only the hat is only the first half of the movement we was going to be so we uh... it was going to be two two stories again so we got uh... castration of movie anthology three uh... the whole of castration anthology movie three is going to be called the year of the high enough
1:48:48
[UNKNOWN]: Yes, but the portion we saw was called junior ghost's pre-morphic drift.
1:48:53
[UNKNOWN]: Yes, and they added a fragmentary passage, which I'm pretty sure refers to the fact that we're only seeing half the moving.
1:48:59
[UNKNOWN]: And this one is a pretty intimate character piece, it's mostly just two characters.
1:49:07
[UNKNOWN]: Um, who, you know, their their characters we've met before at least one.
1:49:11
[UNKNOWN]: Okay.
1:49:12
[UNKNOWN]: Um, well, the main character is a woman named Izzy.
1:49:15
[UNKNOWN]: Yes.
1:49:16
[UNKNOWN]: They buy, um, avalanche fast.
1:49:18
[UNKNOWN]: Yes.
1:49:19
[UNKNOWN]: Uh, and she is dating, um, uh, her boyfriend, who is going by Trent.
1:49:27
[UNKNOWN]: Mm-hmm.
1:49:27
[UNKNOWN]: And it played by, uh, Henri Gillespie.
1:49:30
[UNKNOWN]: And at the beginning of the movie, the, uh, Trent is essentially,
1:49:34
[UNKNOWN]: Be this like yeah, not not contributing a lot kind of a slug a bed just doesn't have it hasn't had a job for a long time.
1:49:40
[UNKNOWN]: Yeah
1:49:42
[UNKNOWN]: And Izzy has a job as, like, a crisis count.
1:49:46
[UNKNOWN]: Crisis counselor, a telephone crisis counselor.
1:49:48
[UNKNOWN]: Yeah.
1:49:49
[UNKNOWN]: So people call up and the movie opens with this kind of shocking, disconnected series of scenes that we learn later have to do with an act of violence at a group, like a group help meeting.
1:50:01
[UNKNOWN]: Yeah.
1:50:02
[UNKNOWN]: And that has impacted everyone in the film in some way.
1:50:06
[UNKNOWN]: And so she's really wrestling with that.
1:50:07
[UNKNOWN]: It's like the one-year anniversary of it.
1:50:09
[UNKNOWN]: Yeah, and it, and coming up on her anniversary with her boyfriend of nine years and her boyfriend's approaches and says I need to talk to you about something on your girlfriend actually.
1:50:24
[UNKNOWN]: Yeah, my name is now Tiffany.
1:50:25
[UNKNOWN]: I'm a woman.
1:50:26
[UNKNOWN]: Yeah, I figured that I'm transgender.
1:50:28
[UNKNOWN]: I figured this out about myself and this throws her for a loop.
1:50:32
[UNKNOWN]: Yeah.
1:50:32
[UNKNOWN]: And we actually rather than following Tiffany's arc, we follow Izzy's arc and her very denial-ridden response to her girlfriend coming out.
1:50:48
[UNKNOWN]: Yeah, she is
1:50:50
[UNKNOWN]: And listen, you know, it's one thing to be taken aback and be surprised.
1:50:57
[UNKNOWN]: And to Tiffany's credit, she clocks this immediately.
1:50:59
[UNKNOWN]: Is he immediately makes it all about her?
1:51:02
[UNKNOWN]: And she's basically like, well, this is totally, how could you do this to me?
1:51:06
[UNKNOWN]: How could you do this to me?
1:51:07
[UNKNOWN]: Why is this the conversation we're having?
1:51:10
[UNKNOWN]: Shouldn't the conversation be having?
1:51:11
[UNKNOWN]: We'd be having, shouldn't the conversation we're having be?
1:51:14
[UNKNOWN]: I think I'm trans, let's figure this out and how this affects.
1:51:17
[UNKNOWN]: me, because this will also affect me, and which it will.
1:51:22
[UNKNOWN]: Yeah, there's, there's, she responds very poorly, and it says some pretty hateful things, dead names, Tiffany a lot.
1:51:31
[UNKNOWN]: It seems as to use her pronouns, keeps talking to friends about how the ideal situation is actually realizes this is all a phase.
1:51:38
[UNKNOWN]: Yeah.
1:51:38
[UNKNOWN]: You know, and clearly she's been out of work for too long, and it's just online too much and convinced herself, everything about her.
1:51:45
[UNKNOWN]: I'm using the right pronoun.
1:51:48
[UNKNOWN]: There's a of darkly hilarious scene where Izzy is talking to one of her girlfriends and the girlfriend knew Tiffany prior transition and there's some some really poorly described bad blood between the characters Yeah, so this is the chant you can see the friend relaxing like Well, I never likes the many like yeah that that kind of moment
1:52:11
[UNKNOWN]: Uh, so all of this is being fed in some really, uh, some really toxic things.
1:52:16
[UNKNOWN]: There's a really heartbreaking scene where Izzy goes online and starts finding the wrong terminology.
1:52:22
[UNKNOWN]: And that's really it.
1:52:24
[UNKNOWN]: We don't really get into it.
1:52:25
[UNKNOWN]: It's just looking at her searches and how it takes her down a rabbit hole.
1:52:28
[UNKNOWN]: And then greatly more right-wing ideologies about it.
1:52:30
[UNKNOWN]: Yeah.
1:52:31
[UNKNOWN]: I didn't recognize this, but she clicked on one website that clearly everybody in the audience knew what that was.
1:52:37
[UNKNOWN]: Yeah.
1:52:38
[UNKNOWN]: Oh, no, no, it's full of very recognizable moments for a lot of fans.
1:52:44
[UNKNOWN]: Well, now I'm not trans.
1:52:46
[UNKNOWN]: I've been married to someone who is a gender non-binary.
1:52:52
[UNKNOWN]: been adjacent, but I'm not trans.
1:52:53
[UNKNOWN]: I can't speak for that.
1:52:54
[UNKNOWN]: But I wasn't a theater full of people who understood this experience and there was a lot of recognition and a lot of laughter.
1:53:01
[UNKNOWN]: This is a very uncomfortable movie, but it is also very funny.
1:53:05
[UNKNOWN]: It's very, yeah.
1:53:06
[UNKNOWN]: Because it's very under, it understands that these are the kinds of people you encounter a lot when you come out.
1:53:12
[UNKNOWN]: And
1:53:14
[UNKNOWN]: It also, and this is so remarkable, and this is why I think on the Lord's Soventy, we have something to ask that.
1:53:19
[UNKNOWN]: It was trying to unpack and understand those people.
1:53:24
[UNKNOWN]: Yeah, because it's so easy to just write them off as transphobic, which they are, but that comes from somewhere.
1:53:30
[UNKNOWN]: They do have a personality.
1:53:32
[UNKNOWN]: They do have feelings, but because when they hear someone as trans, their first thought is, I don't recognize them as trans, therefore there's something wrong with them and not me.
1:53:42
[UNKNOWN]: that leads them to down a spiral where they become anti-trans, as opposed to curious and understanding and sympathetic and well-educated about it.
1:53:53
[UNKNOWN]: And even though, and the easy character does say, I am uncomfortable dating a trans person.
1:54:04
[UNKNOWN]: and rather than have sort of an intelligent, maybe difficult conversation about the future of their relationship, she explodes repeatedly, over and over again, about sort of her experience with this.
1:54:15
[UNKNOWN]: And all of this comes together through one of the funniest and also single most painful scenes I've seen in a movie in a long time, because Louis weird plays a character in the kale.
1:54:27
[UNKNOWN]: Yeah.
1:54:27
[UNKNOWN]: Who's in the other movie?
1:54:28
[UNKNOWN]: Yeah.
1:54:30
[UNKNOWN]: who is doing everything wrong to give trans people advice.
1:54:35
[UNKNOWN]: Yeah, yeah, she is absolutely like fighting worse than this one thing.
1:54:39
[UNKNOWN]: I remember Pat Nozwell has a funny bit about how he hates the ancient trope of like the gay best friend.
1:54:46
[UNKNOWN]: And how the gay best friend's this character is very humanized.
1:54:49
[UNKNOWN]: This is like supporting character.
1:54:51
[UNKNOWN]: It's very cliche.
1:54:52
[UNKNOWN]: It deals with stereotypes.
1:54:54
[UNKNOWN]: And they always have something magical to say to the heterosexual main character.
1:54:57
[UNKNOWN]: Yeah, they always have useful advice.
1:54:58
[UNKNOWN]: Through Purdue, I've ridden my best friends when I was a kid.
1:55:00
[UNKNOWN]: Yeah, I think he's.
1:55:01
[UNKNOWN]: They'll always say something, yeah, really, really witty and pithy and fun, and they'll impart a lot of stuff.
1:55:05
[UNKNOWN]: Well, these magical queer people who are there to help the strikes.
1:55:08
[UNKNOWN]: Yeah.
1:55:11
[UNKNOWN]: and he said that it had Oswald said in his bit that he wanted to write a gay best friend character who gave bad advice.
1:55:18
[UNKNOWN]: Yeah, who is completely useless and didn't know anything.
1:55:21
[UNKNOWN]: Like to sort of subvert the trope.
1:55:22
[UNKNOWN]: Yeah, you thought that would be really funny.
1:55:24
[UNKNOWN]: This movie does that.
1:55:24
[UNKNOWN]: This movie does so good.
1:55:26
[UNKNOWN]: So Louise Weird plays the character who gives nothing but the worst possible of a device at a top group of trans women.
1:55:34
[UNKNOWN]: But she's convinced it's good advice and that's what makes it work.
1:55:37
[UNKNOWN]: Cause it's a true to her character.
1:55:38
[UNKNOWN]: This is all very character-based.
1:55:40
[UNKNOWN]: drama and comedy and just like pulls them aside.
1:55:42
[UNKNOWN]: It's like, you're not passing well enough.
1:55:44
[UNKNOWN]: It's like, no, it's terrible thing.
1:55:47
[UNKNOWN]: I just somebody.
1:55:48
[UNKNOWN]: Yeah.
1:55:48
[UNKNOWN]: No, I don't want to go on any further because, um, you know, movie won't be out for a while.
1:55:53
[UNKNOWN]: Yeah.
1:55:53
[UNKNOWN]: But this is just an absolutely
1:55:58
[UNKNOWN]: Like, it's such a fascinating combination of tones.
1:56:01
[UNKNOWN]: Like, you can pull off conflicting tones, he man, you can do it.
1:56:07
[UNKNOWN]: But it takes a really deft hand and you have to really understand your characters.
1:56:11
[UNKNOWN]: And Louise, where it does, what a great cast.
1:56:13
[UNKNOWN]: Avalon fast has a really complicated character to play.
1:56:17
[UNKNOWN]: And she's fantastic.
1:56:18
[UNKNOWN]: She's amazing.
1:56:19
[UNKNOWN]: Yeah, she's a really, really great character.
1:56:21
[UNKNOWN]: And it's also worth noting that pretty much every scene in these castration movies is shot in one take.
1:56:28
[UNKNOWN]: Like there's not there's no coverage.
1:56:30
[UNKNOWN]: Also, and I don't know if this is always true It is my understanding that a lot of the time Louise we're prefers to use only one take Oh, she's the same once and then we're done.
1:56:41
[UNKNOWN]: Yeah, and it's all shot on like low grade consumer grade cameras Might have been phones for all I know no like I'm like older cameras too Like like actually because it's got like a bit of a little
1:56:53
[UNKNOWN]: or like early digital.
1:56:55
[UNKNOWN]: But yeah, so there's a lot of really impressive, very intimate, very weird camera work.
1:57:01
[UNKNOWN]: But it gives the actors no place to hide.
1:57:03
[UNKNOWN]: Yeah, well, and I'm guessing Louise weird was also the cinematographer.
1:57:09
[UNKNOWN]: Because she's like sticking the cameras.
1:57:10
[UNKNOWN]: In some cases, like almost literally up the actors, noses.
1:57:13
[UNKNOWN]: We see like super extreme closeness of like their eyelashes while they're like reacting to stuff.
1:57:18
[UNKNOWN]: There's there was a shot in the first castration
1:57:24
[UNKNOWN]: where it's like it's a sex work scene and the camera is like on the ground on the far end of the room and then the characters are kind of in the in the background having the scene and that's all one shot and the the frame changes because they kicked the camera
1:57:46
[UNKNOWN]: Tell where it fell and they did that like twice and it is fucking brilliant I think it's one of the best shots I've seen this decade and I spoke to Louise Weird one since he was talking about how like she wanted to like give the camera to people who've never handled a camera before Okay, so like hold it sometimes and like I don't know if you did that a lot or only did it once twice But like it's got that quality, but it always feels kind of perfect
1:58:10
[UNKNOWN]: It's such, it looks so shabby, like if you look at a shot or like a few frames or doesn't still, it might look really really shabby, it's actually really ornate and really complicated what she's doing here and it from a cinematic perspective, but just what character perspective these are some really rich, fascinating people.
1:58:29
[UNKNOWN]: It is about the characters, the scene, the mood, I think the actual design they just wanted to do in a part.
1:58:36
[UNKNOWN]: It's like a dingy, small little
1:58:39
[UNKNOWN]: I bur'd I, it was, it didn't, it didn't, it didn't get it out, and it, and it has that kind of quality where it's clearly not designed, they just went into somebody's messy house.
1:58:49
[UNKNOWN]: Or if it was, they did a fucking breakdown.
1:58:51
[UNKNOWN]: They did, then it looks really authentic.
1:58:52
[UNKNOWN]: Yeah.
1:58:53
[UNKNOWN]: Yeah.
1:58:54
[UNKNOWN]: So, but, uh,
1:58:57
[UNKNOWN]: There's no like visual dress up.
1:58:59
[UNKNOWN]: It's all from, it's meant to be sort of run down and low fine.
1:59:03
[UNKNOWN]: I think that gives it a sense of authenticity that a cleaner film would lack.
1:59:08
[UNKNOWN]: Yeah, no, and but even then it's still really intricate.
1:59:12
[UNKNOWN]: But yeah, I think when you just understand your characters and their situation so perfectly, you can eat humor, and this is always very fucking funny.
1:59:20
[UNKNOWN]: You can eat humor out of situations that are absolutely heartbreaking.
1:59:25
[UNKNOWN]: and heartbreak out of humor.
1:59:27
[UNKNOWN]: And that's such a fucking high wire act.
1:59:31
[UNKNOWN]: Yeah.
1:59:31
[UNKNOWN]: Like, because it's honest, I can tell Louise Weird is speaking from experience.
1:59:38
[UNKNOWN]: And is trying to,
1:59:42
[UNKNOWN]: Truly, like, make the audience understand this, the modern Transmillew and not and the kinds of errors and problems and messes that they have to run into from some pretty horrible people.
1:59:58
[UNKNOWN]: And rather than, in this case, particularly when you first come out.
2:00:01
[UNKNOWN]: Yeah, and rather than turn the people into these kind of cliche, like an evangelical preachers, like this kind of comedic villain.
2:00:11
[UNKNOWN]: Turning them into real people who are responding badly in a way that we might recognize.
2:00:19
[UNKNOWN]: Goodness knows, we've probably said or done bad-rood things in our past when something similar might have happened.
2:00:27
[UNKNOWN]: Not necessarily somebody coming out, just somebody comes over and you say something stupid.
2:00:30
[UNKNOWN]: People can be interested in them, especially when you're young.
2:00:33
[UNKNOWN]: You don't understand when people are going through greater context.
2:00:38
[UNKNOWN]: and that can be understandable while not being sympathetic.
2:00:41
[UNKNOWN]: Yeah, and that's the key here is that we understand this character who is doing really terrible things consistently, a couple characters who do some terrible things, because that's done like we understand them, but that doesn't mean we approve.
2:00:54
[UNKNOWN]: At no point do they make that mistake.
2:00:57
[UNKNOWN]: Yeah.
2:00:57
[UNKNOWN]: And that's so fucking good.
2:00:59
[UNKNOWN]: So,
2:01:00
[UNKNOWN]: Yeah, fuck.
2:01:01
[UNKNOWN]: I can't wait to check it out.
2:01:02
[UNKNOWN]: It's heartbreaking and strong, and I yeah, I want to see more of this stuff.
2:01:05
[UNKNOWN]: Yeah And you hadn't seen the others.
2:01:07
[UNKNOWN]: So this is your first impression.
2:01:08
[UNKNOWN]: No, no, and there was nothing like you're talking about underground cults and like weird wacky adventures out of the streets This is amazing.
2:01:16
[UNKNOWN]: No, this is an intimate character drama.
2:01:18
[UNKNOWN]: There's nothing you know quote wacky and this movie at all No, no, and then when I wouldn't say there was anything wacky about the other ones It's just they were different characters of an experiences and the second one is a bit broader, but
2:01:27
[UNKNOWN]: Um, but yeah, but it's all characters who like show up or a reference to another one and it manages to do that without seeming like it's being cute.
2:01:36
[UNKNOWN]: Yeah.
2:01:37
[UNKNOWN]: You know, like ha ha, remember this?
2:01:39
[UNKNOWN]: Like when Kevin Smith was like, ah, that character had a funny sex story.
2:01:44
[UNKNOWN]: And now we met them.
2:01:45
[UNKNOWN]: This is that great.
2:01:45
[UNKNOWN]: Like you're not really doing anything.
2:01:47
[UNKNOWN]: It's fun.
2:01:48
[UNKNOWN]: Don't get me wrong.
2:01:49
[UNKNOWN]: The movie was universe is fun, but like this actually has a lot of like, um,
2:01:54
[UNKNOWN]: It just really feels like we're exploring a lot of complexity in a whole community, whether it's close in it or very loosely connected, just what a fantastic, just vision of what we're going through right now, especially trans people, and it's just fucking great.
2:02:09
[UNKNOWN]: Anyway.
2:02:10
[UNKNOWN]: Yeah, I loved it.
2:02:11
[UNKNOWN]: I loved it.
2:02:12
[UNKNOWN]: I loved it.
2:02:12
[UNKNOWN]: I loved it.
2:02:13
[UNKNOWN]: It rips my heart out.
2:02:15
[UNKNOWN]: Yeah.
2:02:16
[UNKNOWN]: It's really great.
2:02:18
[UNKNOWN]: Um, okay, so we're going to review our movies as we are want to do on our critically claims scale.
2:02:24
[UNKNOWN]: Just so it's clear where we stand, our critically claims scale goes from C minus to C plus.
2:02:28
[UNKNOWN]: The worst in movie can get.
2:02:30
[UNKNOWN]: barring two exceptions we've made over the last several hundred episodes uh... is a sea minus a sea minus is below average those in movies we don't recommend for one reason or another uh... a sea is an average movie bit of a mix back and then a sea plus isn't above average movie these in movies that we recommend either because we think they're fucking perfect or they're just good enough to don't say yeah you should check it out
2:02:52
[UNKNOWN]: On that note, and again, this is very early, and it's only the first half, but castration movie, anthology, three, junior ghosts, pre-morphic drift, a fragmentary passage.
2:03:04
[UNKNOWN]: See, plus, yes, absolutely, and it was presented to me as a complete film, so yeah.
2:03:09
[UNKNOWN]: I can judge it on that maybe.
2:03:11
[UNKNOWN]: I don't know what's ever going to be released this way again because I know it's played a couple of film festivals like this.
2:03:16
[UNKNOWN]: Okay.
2:03:17
[UNKNOWN]: But as a tone thing, it's fun.
2:03:19
[UNKNOWN]: This cut is a C-plus and it does come to a conclusion.
2:03:23
[UNKNOWN]: Yeah.
2:03:23
[UNKNOWN]: Well, you can conclusion, but it comes to a conclusion.
2:03:26
[UNKNOWN]: And then we got pressure, the World War II movie, the Andrew Scott Brennan Fraser.
2:03:31
[UNKNOWN]: It is a dispassionate C-minus, like it's not like
2:03:34
[UNKNOWN]: Dad, it just sounds boring.
2:03:36
[UNKNOWN]: It just means boring.
2:03:37
[UNKNOWN]: It doesn't work.
2:03:38
[UNKNOWN]: It's just not an interesting film, but like it's not bad It below average.
2:03:43
[UNKNOWN]: There you go.
2:03:44
[UNKNOWN]: The bread winner huge C minus just I didn't watch this on purpose It's not funny not not interesting.
2:03:52
[UNKNOWN]: Doesn't have anything to say about Anything or the very least nothing I'm proud of as a society and yeah
2:04:02
[UNKNOWN]: No, thank you.
2:04:03
[UNKNOWN]: The amazing digital circus the last act.
2:04:05
[UNKNOWN]: Huge C plus.
2:04:07
[UNKNOWN]: I'm kind of reviewing it as a movie.
2:04:09
[UNKNOWN]: It's also a series finale to a TV show.
2:04:12
[UNKNOWN]: Whatever it fucking is, it's a huge C plus.
2:04:14
[UNKNOWN]: It is genuinely moving and inventive and personal and universal and powerful and it's funny and it's great.
2:04:24
[UNKNOWN]: So if you never watched the amazing circus, please do.
2:04:27
[UNKNOWN]: Master's of the universe.
2:04:28
[UNKNOWN]: See, minus.
2:04:30
[UNKNOWN]: I love the design, and there are some fun, like, slick action beds.
2:04:35
[UNKNOWN]: It is just full on.
2:04:38
[UNKNOWN]: Hollywood treatment of the masters of the universe.
2:04:41
[UNKNOWN]: I canography and it does that stuff well and I thought I like Skeletor and the cast is good as well, but it is such a terrible script and doesn't know what it wants to say That it falls completely apart and even starts to feel like it's espousing dumb ideas.
2:04:58
[UNKNOWN]: So yeah, it's a scene
2:04:59
[UNKNOWN]: I'm not as big on Scalotaur in this movie as you are, and I don't think all the casting works, but I agree with you, rest of what you're saying in terms of some fun action, and I think Nicolas Galzine is perfect.
2:05:10
[UNKNOWN]: But just absolutely the right person the cast for this, he knows what he's doing.
2:05:14
[UNKNOWN]: And yeah, it looks pretty cool, especially the practical stuff.
2:05:17
[UNKNOWN]: But yeah, it's just badly handled as a story, and as an action movie, and it constantly contradicts itself in a way that isn't illuminating or interesting,
2:05:30
[UNKNOWN]: Burst and ashamed of itself and I don't think that's what they were getting at they everyone saying that they're very like We love making him in we're very unironic about it.
2:05:38
[UNKNOWN]: I'm like a maybe you shouldn't have constantly apologize for you Man shit, so I'm giving big sea minus as well scary movie
2:05:45
[UNKNOWN]: That's a C-minus as well, but it's just a ugly, regressive.
2:05:50
[UNKNOWN]: Trying to be shocking and just revealing how backward and not shocking it is.
2:05:55
[UNKNOWN]: But like, I'll say it again.
2:05:57
[UNKNOWN]: I don't mind seeing an offensive movie.
2:06:01
[UNKNOWN]: If A you make me laugh and B you offend me correctly and you didn't offend me right.
2:06:06
[UNKNOWN]: No, you just bullied someone in front of me.
2:06:11
[UNKNOWN]: Yeah, that's not funny.
2:06:15
[UNKNOWN]: It's just unpleasant at best and reprehensible, probably is more accurate word.
2:06:21
[UNKNOWN]: I will say this, I agree to see minus I don't think it's good.
2:06:25
[UNKNOWN]: I do think it's interesting to talk about, I think the ending is actually like weirdly making kind of a statement.
2:06:31
[UNKNOWN]: which is an ugly statement and it's not going to be statement.
2:06:34
[UNKNOWN]: It's daring for a movie.
2:06:36
[UNKNOWN]: I will give it that statement with us and I will say this, I think the cast is trying real hard to make this work and I think that you a pretty damn good job.
2:06:44
[UNKNOWN]: God bless Aniferis.
2:06:45
[UNKNOWN]: She's such an underappreciated comedian and a lot more jokes work than I thought would.
2:06:52
[UNKNOWN]: So if you do find yourself watching it, I suspect you'll laugh more than you expected.
2:06:56
[UNKNOWN]: But there's so many bits in it that just bring the whole thing down.
2:07:00
[UNKNOWN]: Yeah, and they just kind of sell it.
2:07:01
[UNKNOWN]: So yeah, you'd see mine It's the last lead back rooms back room is C++.
2:07:06
[UNKNOWN]: I really love this film.
2:07:06
[UNKNOWN]: I think it's it's success Is denoting a sort of an important new trend, but more than that.
2:07:11
[UNKNOWN]: I think it's an effective eerie movie I think it is does have some really sort of legit nightmare qualities I like the way it did sort of come together in this abstract way much of you familiar with me Owl
2:07:23
[UNKNOWN]: Uh, the series of a walk through art installation projects.
2:07:27
[UNKNOWN]: Yes, I am.
2:07:27
[UNKNOWN]: Yeah, there's one in Santa Fe.
2:07:29
[UNKNOWN]: There's, uh, there's going to be one in LA pretty soon.
2:07:31
[UNKNOWN]: Oh, okay.
2:07:32
[UNKNOWN]: There's one in Las Vegas called Omega Mart.
2:07:35
[UNKNOWN]: I just really want to go to that.
2:07:36
[UNKNOWN]: I've heard so much about that.
2:07:38
[UNKNOWN]: Backrooms has that sort of vibe.
2:07:40
[UNKNOWN]: This kind of idea that a mind is being extrapolated through a space.
2:07:44
[UNKNOWN]: And I like all of those kinds of notions.
2:07:46
[UNKNOWN]: Even if the characters are a little weak and the story isn't, you know, complex.
2:07:50
[UNKNOWN]: I forget who said it, but someone described the shining, it's like the hotel is like a ghost's brain.
2:07:56
[UNKNOWN]: I said that.
2:07:56
[UNKNOWN]: Yeah, was it you said that?
2:07:57
[UNKNOWN]: You're ruining somebody or not.
2:08:00
[UNKNOWN]: But yeah, that's the background.
2:08:02
[UNKNOWN]: I think that's a good way to describe it, too.
2:08:04
[UNKNOWN]: Yeah, I agree with a lot of what you're saying.
2:08:06
[UNKNOWN]: I don't think that the movie's character work
2:08:12
[UNKNOWN]: Extreme emphasis on psychology are well served.
2:08:16
[UNKNOWN]: I think they're ultimately pretty shallow when they're trying to claim, I say that they're deep.
2:08:20
[UNKNOWN]: And I think that undermines it a bit.
2:08:22
[UNKNOWN]: But I do think it's a real feat of production design.
2:08:26
[UNKNOWN]: It's got some fantastic tone.
2:08:28
[UNKNOWN]: It's genuinely scary.
2:08:29
[UNKNOWN]: So I'm going to give it a seat.
2:08:30
[UNKNOWN]: OK.
2:08:31
[UNKNOWN]: Respectable seat.
2:08:33
[UNKNOWN]: But I will say this.
2:08:35
[UNKNOWN]: I do not go to Halloween or nights at Universal Studios.
2:08:39
[UNKNOWN]: It is not because I get scared easily.
2:08:43
[UNKNOWN]: You don't get scared.
2:08:43
[UNKNOWN]: Every time I walk through one of those cool haunted houses like, oh, there's a guy over there Yeah, yeah, no, it's high like I never works.
2:08:50
[UNKNOWN]: I know I'm safe You got to play the part a little I can't wrap my head around I know I'm in a spooky place Oh no, it's like mainly you somewhere fun that way Maybe someone literally jumped out of me from a hedge and I didn't know they were there.
2:09:01
[UNKNOWN]: I go ah, but like I they doesn't work for me If they do a back rooms, I'm fucking going
2:09:07
[UNKNOWN]: Because they're gonna do they're gonna decide someone's gonna do it.
2:09:10
[UNKNOWN]: I know what's gonna be not very far I know if it's gonna be but someone is gonna do a seriously good-sized back rooms haunted house Halloween hunt situation and I'm fucking there and again I think I said this before and I'll say it again
2:09:28
[UNKNOWN]: If backrooms isn't nominated for best production design at the Academy Awards, it's fucking broken.
2:09:34
[UNKNOWN]: I think backrooms is going to be roundly ignored by the Academy because they don't want to acknowledge the new generation yet, but it's getting, it's earning too much money to be ignored.
2:09:44
[UNKNOWN]: That's the huge hit.
2:09:46
[UNKNOWN]: I think it could make it, I don't think it's going to maybe make it the best picture, maybe, maybe.
2:09:51
[UNKNOWN]: But I think it's like, I would be surprised if it didn't get at least production design
2:09:58
[UNKNOWN]: just technically that I think you can't ignore.
2:10:00
[UNKNOWN]: Yeah, even though you shouldn't ignore any of it.
2:10:03
[UNKNOWN]: And that is it for critically claimed.
2:10:04
[UNKNOWN]: Thank you everybody for listening.
2:10:06
[UNKNOWN]: Thank you for joining us.
2:10:07
[UNKNOWN]: Thank you for being cool.
2:10:08
[UNKNOWN]: Huge shout out to all of our patrons over at patreon.com slash critically claimed network.
2:10:12
[UNKNOWN]: Where we release our podcasts.
2:10:14
[UNKNOWN]: You can listen to our podcast ad free as a patron.
2:10:17
[UNKNOWN]: You can a lot of exclusive podcasts.
2:10:19
[UNKNOWN]: And you can get a free weekly newsletter.
2:10:21
[UNKNOWN]: which has been a little inconsistent about what day of the week it comes out lately, but it is coming out.
2:10:26
[UNKNOWN]: It was a full of various thoughts mostly from myself, but also links to all of our articles if you want to read my review of amazing digital circus, or back rooms, or Whitney's review of back rooms.
2:10:35
[UNKNOWN]: You review of back rooms, right?
2:10:36
[UNKNOWN]: I reviewed Scary Move.
2:10:37
[UNKNOWN]: You were scary moving, you were not.
2:10:39
[UNKNOWN]: I never been one of them this week, but yeah, we'll have links to all those things on our next newsletter.
2:10:44
[UNKNOWN]: And the newsletter is free.
2:10:45
[UNKNOWN]: You just have to subscribe.
2:10:48
[UNKNOWN]: So you don't have to do a paid subscription, you still get the newsletter.
2:10:51
[UNKNOWN]: So yeah, just a huge shout out to everyone who subscribes, paid or otherwise, especially paid.
2:10:55
[UNKNOWN]: You're literally banging the bills right now.
2:10:57
[UNKNOWN]: Thank you.
2:10:58
[UNKNOWN]: And of course, if you want to talk about anything we discussed in this episode, our email address is letters at critically acclaimed.net.
2:11:06
[UNKNOWN]: If we receive your email, we might read it on an upcoming episode of our podcast, We've got Mail, Whitney, what is our PO Box?
2:11:12
[UNKNOWN]: Yeah, send us a physical letter of a postcard, what do you really like?
2:11:16
[UNKNOWN]: To the critically claimed network, PO Box 641565, Los Angeles, California, 9W, 64.
2:11:21
[UNKNOWN]: Yes, and that's it!
2:11:27
[UNKNOWN]: Bye, everyone's a critic!