Latest / Verbal Diorama / Candyman (1992)

Transcript

Candyman (1992) · Verbal Diorama

• 2:28
  Hi
• 2:28
  everyone.
• 2:29
  I'm
• 2:29
  Em,
• 2:29
  and
• 2:29
  welcome
• 2:30
  to
• 2:30
  Verbal
• 2:30
  Diorama,
• 2:31
  episode
• 2:31
  315,
• 2:33
  Candyman.
• 2:34
  This
• 2:35
  is
• 2:35
  the
• 2:35
  podcast
• 2:35
  that's
• 2:36
  all
• 2:36
  about
• 2:36
  the
• 2:36
  history
• 2:36
  and
• 2:36
  legacy
• 2:37
  of
• 2:37
  movies
• 2:37
  you
• 2:37
  know
• 2:38
  and
• 2:38
  movies
• 2:38
  you
• 2:39
  don't
• 2:39
  that
• 2:40
  will
• 2:40
  be
• 2:40
  written
• 2:40
  on
• 2:41
  a
• 2:41
  thousand
• 2:41
  walls.
• 2:42
  Our
• 2:42
  episodes
• 2:43
  told
• 2:43
  and
• 2:44
  retold
• 2:44
  by
• 2:44
  our
• 2:45
  faithful
• 2:45
  believers.
• 2:46
  We
• 2:46
  shall
• 2:47
  die
• 2:47
  together
• 2:48
  in
• 2:48
  front
• 2:48
  of
• 2:48
  their
• 2:48
  very
• 2:49
  eyes
• 2:49
  and
• 2:50
  give
• 2:50
  them
• 2:50
  something
• 2:50
  to
• 2:51
  be
• 2:51
  haunted
• 2:51
  by.
• 2:52
  Come
• 2:53
  with
• 2:53
  me
• 2:53
  and
• 2:54
  be
• 2:54
  immortal.
• 2:56
  But,
• 2:56
  you
• 2:56
  know,
• 2:56
  listen
• 2:57
  first.
• 2:57
  Then
• 2:58
  let's
• 2:59
  be
• 2:59
  immortal.
• 3:00
  Welcome
• 3:01
  to
• 3:01
  Verbal
• 3:01
  Diorama.
• 3:02
  Whether
• 3:02
  you're
• 3:02
  a
• 3:02
  brbrand-newandnewlistener,whetheryou'rearegularreturninglistener,thank
• 3:05
  you
• 3:05
  for
• 3:05
  being
• 3:05
  here.
• 3:06
  Thank
• 3:06
  you
• 3:06
  for
• 3:06
  choosing
• 3:06
  to
• 3:06
  listen
• 3:07
  to
• 3:07
  this
• 3:07
  podcast.
• 3:08
  I'm
• 3:08
  sorry
• 3:08
  I
• 3:09
  don't
• 3:09
  sound
• 3:09
  anything
• 3:10
  like
• 3:10
  Tony
• 3:10
  Todd,
• 3:11
  unfortunately,
• 3:12
  but
• 3:12
  I
• 3:13
  am
• 3:13
  happy
• 3:13
  to
• 3:13
  have
• 3:13
  you
• 3:13
  here
• 3:14
  for
• 3:14
  the
• 3:14
  history
• 3:14
  and
• 3:15
  legacy
• 3:15
  of
• 3:16
  Candyman.
• 3:17
  And
• 3:18
  as
• 3:18
  always,
• 3:18
  if
• 3:19
  you
• 3:19
  are
• 3:19
  a
• 3:19
  regular
• 3:19
  returning
• 3:20
  listener,
• 3:21
  thank
• 3:21
  you
• 3:21
  so
• 3:21
  much
• 3:22
  to
• 3:22
  you
• 3:22
  for
• 3:23
  continuing
• 3:23
  to
• 3:23
  listen
• 3:24
  and
• 3:24
  support
• 3:24
  this
• 3:24
  podcast.
• 3:25
  It
• 3:25
  means
• 3:26
  so
• 3:26
  much
• 3:27
  to
• 3:27
  me
• 3:27
  to
• 3:27
  have
• 3:28
  you
• 3:28
  return
• 3:28
  back
• 3:29
  to
• 3:29
  this
• 3:29
  podcast.
• 3:30
  And
• 3:30
  with
• 3:31
  it
• 3:31
  being
• 3:31
  October,
• 3:32
  it
• 3:32
  was
• 3:32
  the
• 3:33
  traditional
• 3:33
  spooky
• 3:34
  season.
• 3:35
  And
• 3:35
  whilst
• 3:36
  this
• 3:36
  episode
• 3:36
  was
• 3:37
  originally
• 3:37
  supposed
• 3:37
  to
• 3:37
  be
• 3:38
  coming
• 3:38
  out
• 3:38
  in
• 3:39
  September,
• 3:40
  it
• 3:40
  moved
• 3:41
  to
• 3:41
  October
• 3:42
  because
• 3:42
  I
• 3:42
  was
• 3:42
  a
• 3:42
  little
• 3:42
  bit
• 3:43
  poorly.
• 3:44
  And
• 3:44
  actually
• 3:45
  it
• 3:45
  feels
• 3:46
  like
• 3:46
  it
• 3:46
  fits
• 3:46
  October
• 3:47
  really
• 3:47
  well
• 3:48
  because
• 3:48
  this
• 3:48
  is
• 3:50
  a
• 3:50
  horror
• 3:50
  film,
• 3:50
  but
• 3:51
  it's
• 3:51
  not
• 3:51
  your
• 3:51
  typical
• 3:52
  horror
• 3:53
  film.
• 3:53
  It's
• 3:54
  probably
• 3:54
  not
• 3:55
  the
• 3:55
  sort
• 3:55
  of
• 3:55
  horror
• 3:55
  film
• 3:56
  that
• 3:56
  people
• 3:56
  would
• 3:56
  choose
• 3:57
  to
• 3:57
  watch
• 3:58
  during
• 3:58
  Halloween.
• 3:59
  However,
• 4:01
  I'm
• 4:01
  gonna
• 4:01
  put
• 4:01
  Ulnhra
• 4:02
  in
• 4:02
  the
• 4:02
  ring
• 4:02
  and
• 4:02
  suggest
• 4:03
  that
• 4:03
  we
• 4:03
  all
• 4:04
  watch
• 4:04
  the
• 4:04
  1992
• 4:05
  version
• 4:05
  of
• 4:06
  Candyman
• 4:06
  this
• 4:07
  year
• 4:07
  because
• 4:08
  it's
• 4:08
  great.
• 4:09
  Basically
• 4:10
  telling
• 4:10
  you
• 4:11
  exactly
• 4:11
  how
• 4:11
  I
• 4:12
  feel
• 4:12
  up
• 4:12
  front.
• 4:12
  I
• 4:12
  love
• 4:13
  this
• 4:13
  movie.
• 4:13
  I
• 4:13
  think
• 4:14
  it's
• 4:14
  great.
• 4:15
  And
• 4:15
  really,
• 4:15
  this
• 4:16
  was
• 4:16
  just
• 4:17
  yet
• 4:17
  another
• 4:18
  evolution
• 4:19
  of
• 4:19
  the
• 4:19
  traditional
• 4:20
  slasher.
• 4:21
  In
• 4:21
  the
• 4:21
  70s,
• 4:22
  of
• 4:22
  course,
• 4:22
  we'd
• 4:23
  had
• 4:23
  Michael
• 4:23
  Myers
• 4:24
  in
• 4:24
  the
• 4:24
  80s,
• 4:25
  Jason
• 4:25
  Voorhees
• 4:26
  and
• 4:26
  Freddy
• 4:27
  Krueger.
• 4:27
  And
• 4:28
  in
• 4:28
  the
• 4:28
  90s,
• 4:29
  saying
• 4:30
  one
• 4:30
  word
• 4:31
  four
• 4:31
  times
• 4:32
  was
• 4:32
  enough
• 4:33
  to
• 4:33
  send
• 4:33
  a
• 4:34
  chill
• 4:34
  down
• 4:34
  your
• 4:34
  spine.
• 4:35
  Never,
• 4:36
  ever
• 4:37
  say
• 4:37
  it
• 4:37
  for
• 4:38
  the
• 4:38
  fifth
• 4:38
  time.
• 4:39
  When
• 4:40
  I
• 4:40
  was
• 4:40
  young,
• 4:41
  I
• 4:41
  remember
• 4:42
  being
• 4:42
  with
• 4:42
  my
• 4:42
  friend,
• 4:43
  standing
• 4:43
  in
• 4:43
  front
• 4:44
  of
• 4:44
  a
• 4:44
  mirror
• 4:45
  and
• 4:46
  saying,
• 4:46
  Candyman.
• 4:48
  And
• 4:48
  we
• 4:48
  never,
• 4:49
  ever
• 4:50
  got
• 4:50
  to
• 4:50
  the
• 4:50
  fifth
• 4:51
  time
• 4:51
  because
• 4:51
  we
• 4:51
  were
• 4:52
  so
• 4:52
  genuinely
• 4:52
  scared
• 4:53
  that
• 4:54
  Candyman
• 4:54
  was
• 4:54
  real.
• 4:55
  And
• 4:56
  who
• 4:56
  knows,
• 4:56
  maybe
• 4:57
  Candyman
• 4:57
  is
• 4:58
  real.
• 4:58
  But
• 4:58
  I'm
• 4:59
  never
• 4:59
  gonna
• 4:59
  find
• 4:59
  out
• 5:00
  because
• 5:00
  I'm
• 5:00
  never
• 5:00
  gonna
• 5:01
  say
• 5:01
  it
• 5:02
  in
• 5:02
  a
• 5:02
  mirror
• 5:03
  five
• 5:03
  times.
• 5:03
  Unfortunately,
• 5:04
  I'm
• 5:04
  gonna
• 5:05
  have
• 5:05
  to
• 5:05
  say
• 5:05
  Candyman
• 5:06
  more
• 5:07
  than
• 5:07
  five
• 5:07
  times
• 5:07
  during
• 5:08
  this
• 5:08
  episode.
• 5:08
  I
• 5:09
  don't
• 5:09
  think
• 5:09
  the
• 5:09
  urban
• 5:10
  legend
• 5:10
  states
• 5:10
  that
• 5:11
  if
• 5:11
  you
• 5:11
  say
• 5:11
  it
• 5:11
  on
• 5:11
  a
• 5:12
  podcast,
• 5:13
  anything's
• 5:13
  gonna
• 5:13
  happen.
• 5:14
  But
• 5:15
  I
• 5:15
  guess
• 5:15
  we'll
• 5:15
  see
• 5:15
  at
• 5:15
  the
• 5:16
  end
• 5:16
  of
• 5:16
  this
• 5:16
  episode.
• 5:17
  Candyman
• 5:18
  is
• 5:18
  a
• 5:18
  movie
• 5:19
  that
• 5:19
  if
• 5:20
  you're
• 5:20
  not
• 5:20
  certain
• 5:21
  what
• 5:21
  white
• 5:21
  privilege
• 5:22
  looks
• 5:23
  like,
• 5:23
  Helen
• 5:24
  Lyle
• 5:24
  is
• 5:25
  here
• 5:25
  to
• 5:25
  show
• 5:25
  us.
• 5:26
  Here's
• 5:26
  the
• 5:27
  trailer
• 5:27
  for
• 5:28
  Candyman.
• 5:29
  Have
• 5:29
  you
• 5:29
  ever
• 5:29
  heard
• 5:29
  of
• 5:29
  Candyman?
• 5:32
  If
• 5:32
  you
• 5:32
  look
• 5:32
  in
• 5:32
  the
• 5:33
  mirror,
• 5:33
  you
• 5:33
  say
• 5:34
  his
• 5:34
  name
• 5:34
  five
• 5:35
  times.
• 7:28
  Helen
• 7:28
  Lyle,
• 7:28
  a
• 7:29
  graduate
• 7:29
  student
• 7:29
  at
• 7:29
  the
• 7:30
  University
• 7:30
  of
• 7:30
  Illinois
• 7:31
  at
• 7:31
  Chicago,
• 7:32
  is
• 7:32
  researching
• 7:32
  urban
• 7:33
  legends
• 7:33
  for
• 7:33
  her
• 7:34
  thesis.
• 7:35
  She
• 7:35
  becomes
• 7:35
  fascinated
• 7:36
  by
• 7:36
  the
• 7:36
  legend
• 7:37
  of
• 7:37
  Candyman,
• 7:38
  a
• 7:38
  supernatural
• 7:39
  killer
• 7:39
  with
• 7:39
  a
• 7:39
  hook
• 7:40
  for
• 7:40
  a
• 7:40
  hand
• 7:41
  who
• 7:41
  appears
• 7:41
  when
• 7:41
  his
• 7:42
  name
• 7:42
  is
• 7:42
  said
• 7:42
  five
• 7:43
  times
• 7:43
  in
• 7:43
  a
• 7:44
  mirror.
• 7:44
  Helen's
• 7:45
  investigation
• 7:46
  leads
• 7:46
  her
• 7:46
  to
• 7:46
  Chicago's
• 7:47
  Cabrini
• 7:48
  Green
• 7:48
  housing
• 7:48
  project,
• 7:49
  where
• 7:50
  residents
• 7:50
  believe
• 7:50
  Candyman
• 7:51
  is
• 7:52
  responsible
• 7:52
  for
• 7:52
  a
• 7:52
  recent
• 7:53
  murder.
• 7:54
  Despite
• 7:54
  warnings
• 7:55
  from
• 7:55
  locals,
• 7:55
  Helen
• 7:56
  continues
• 7:57
  her
• 7:57
  research,
• 7:58
  even
• 7:58
  going
• 7:58
  so
• 7:59
  far
• 7:59
  as
• 7:59
  to
• 7:59
  say
• 8:00
  Candyman's
• 8:00
  name
• 8:01
  five
• 8:01
  times.
• 8:02
  In
• 8:02
  a
• 8:02
  mirror
• 8:02
  herself.
• 8:03
  Candyman
• 8:04
  begins
• 8:05
  appearing
• 8:05
  to
• 8:05
  Helen,
• 8:06
  claiming
• 8:06
  she
• 8:07
  has
• 8:07
  disrupted
• 8:07
  his
• 8:08
  legend
• 8:08
  by
• 8:08
  proving
• 8:09
  he
• 8:09
  doesn't
• 8:10
  exist
• 8:10
  and
• 8:11
  demanding
• 8:11
  that
• 8:11
  she
• 8:12
  become
• 8:12
  his
• 8:12
  victim
• 8:13
  to
• 8:13
  restore
• 8:14
  fear
• 8:14
  in
• 8:14
  his
• 8:14
  name.
• 8:15
  As
• 8:16
  bodies
• 8:16
  pile
• 8:16
  up
• 8:17
  around
• 8:17
  her,
• 8:17
  Helen
• 8:18
  is
• 8:18
  framed
• 8:19
  for
• 8:19
  the
• 8:19
  murders.
• 8:20
  Let's
• 8:21
  read
• 8:21
  the
• 8:21
  cast
• 8:21
  of
• 8:22
  this
• 8:22
  movie.
• 8:22
  We
• 8:22
  have
• 8:23
  Virginia
• 8:23
  Madsen
• 8:24
  as
• 8:24
  Helen
• 8:24
  Lyle,
• 8:25
  Tony
• 8:26
  Todd
• 8:26
  as
• 8:26
  Candyman,
• 8:27
  Xander
• 8:28
  Berkley
• 8:28
  as
• 8:29
  Trevor
• 8:29
  Lyle,
• 8:30
  Vanessa
• 8:31
  Williams
• 8:31
  as
• 8:31
  Anne
• 8:32
  Marie
• 8:32
  McCoy,
• 8:33
  Casey
• 8:33
  Lemons
• 8:34
  as
• 8:34
  Bernadette
• 8:35
  Walsh,
• 8:36
  Dewan
• 8:36
  Guy
• 8:37
  as
• 8:37
  Jake
• 8:38
  and
• 8:38
  Gilbert
• 8:39
  Lewis
• 8:39
  as
• 8:39
  Detective
• 8:40
  Frank
• 8:40
  Valento.
• 8:42
  Candyman
• 8:42
  was
• 8:43
  written
• 8:43
  and
• 8:43
  directed
• 8:44
  by
• 8:44
  Bernard
• 8:45
  Rose
• 8:45
  and
• 8:46
  based
• 8:46
  on
• 8:46
  the
• 8:46
  Forbidden
• 8:47
  by
• 8:47
  Clive
• 8:48
  Barker.
• 8:49
  Now
• 8:49
  I
• 8:50
  want
• 8:50
  to
• 8:50
  start
• 8:50
  this
• 8:50
  episode
• 8:50
  with
• 8:51
  a
• 8:51
  disclaimer.
• 8:52
  This
• 8:52
  is
• 8:52
  a
• 8:52
  movie
• 8:53
  very
• 8:53
  much
• 8:53
  rooted
• 8:53
  in
• 8:54
  the
• 8:54
  experience
• 8:54
  of
• 8:55
  black
• 8:55
  people,
• 8:55
  specifically
• 8:56
  black
• 8:56
  Americans.
• 8:57
  I
• 8:58
  am
• 8:58
  not
• 8:58
  black
• 8:59
  and
• 8:59
  unlike
• 8:59
  Helen,
• 9:00
  I
• 9:00
  understand
• 9:01
  the
• 9:01
  level
• 9:01
  of
• 9:01
  white
• 9:02
  privilege
• 9:02
  I
• 9:02
  have.
• 9:03
  And
• 9:03
  so
• 9:03
  it's
• 9:03
  really
• 9:03
  important
• 9:04
  to
• 9:04
  me
• 9:04
  that
• 9:04
  this
• 9:04
  episode
• 9:05
  and
• 9:05
  its
• 9:06
  subject
• 9:06
  matter
• 9:07
  is
• 9:07
  treated
• 9:07
  with
• 9:08
  respect.
• 9:09
  So
• 9:09
  as
• 9:09
  a
• 9:09
  very
• 9:10
  white,
• 9:10
  very
• 9:10
  British
• 9:11
  person,
• 9:11
  I'm
• 9:12
  going
• 9:12
  to
• 9:12
  try
• 9:12
  my
• 9:13
  very
• 9:13
  best.
• 9:14
  Claude
• 9:15
  Barker
• 9:15
  has
• 9:15
  been
• 9:15
  mentioned
• 9:16
  on
• 9:16
  this
• 9:16
  podcast
• 9:16
  before
• 9:17
  on
• 9:17
  Hellraiser,
• 9:18
  which
• 9:18
  is
• 9:18
  episode
• 9:18
  228.
• 9:20
  He
• 9:20
  wrote
• 9:20
  the
• 9:20
  anthology
• 9:21
  series
• 9:21
  Books
• 9:22
  of
• 9:22
  Blood
• 9:22
  between
• 9:22
  1984
• 9:23
  and
• 9:24
  1985
• 9:25
  and
• 9:25
  volume
• 9:25
  five,
• 9:26
  published
• 9:26
  as
• 9:27
  in
• 9:27
  the
• 9:27
  Flesh,
• 9:28
  started
• 9:29
  with
• 9:29
  the
• 9:29
  Forbidden.
• 9:30
  The
• 9:30
  Hellbound
• 9:31
  Heart,
• 9:31
  the
• 9:32
  novella
• 9:32
  on
• 9:32
  which
• 9:32
  Hellraiser
• 9:33
  is
• 9:33
  based,
• 9:34
  came
• 9:34
  out
• 9:34
  a
• 9:35
  year
• 9:35
  later
• 9:35
  in
• 9:35
  1986.
• 9:37
  The
• 9:37
  forbidden
• 9:38
  was
• 9:38
  set
• 9:38
  in
• 9:39
  a
• 9:39
  decaying
• 9:39
  British
• 9:40
  council
• 9:40
  estate
• 9:41
  in
• 9:41
  Liverpool.
• 9:42
  The
• 9:42
  story
• 9:42
  follows
• 9:43
  Helen
• 9:43
  Buchanan,
• 9:44
  a
• 9:44
  university
• 9:45
  researcher
• 9:45
  studying
• 9:46
  graffiti
• 9:47
  and
• 9:47
  urban
• 9:47
  decay
• 9:48
  who
• 9:48
  becomes
• 9:48
  fascinated
• 9:49
  by
• 9:49
  the
• 9:49
  legends
• 9:50
  surrounding
• 9:51
  a
• 9:51
  particular
• 9:51
  housing
• 9:52
  development.
• 9:53
  Like
• 9:53
  in
• 9:53
  the
• 9:53
  film,
• 9:54
  she
• 9:54
  discovers
• 9:54
  stories
• 9:55
  about
• 9:55
  a
• 9:55
  supernatural
• 9:56
  figure
• 9:57
  who
• 9:57
  can
• 9:57
  be
• 9:57
  summoned
• 9:58
  by
• 9:58
  saying
• 9:58
  his
• 9:58
  name
• 9:59
  multiple
• 9:59
  times
• 9:59
  in
• 10:00
  mirror.
• 10:01
  Now
• 10:01
  there
• 10:01
  are
• 10:02
  plenty
• 10:02
  of
• 10:02
  real
• 10:02
  world
• 10:02
  urban
• 10:03
  legends
• 10:03
  about
• 10:03
  beings
• 10:04
  that
• 10:04
  appear
• 10:04
  when
• 10:05
  you
• 10:05
  repeat
• 10:05
  their
• 10:05
  name.
• 10:06
  Bloody
• 10:06
  Mary
• 10:07
  is
• 10:07
  probably
• 10:07
  the
• 10:08
  most
• 10:08
  famous,
• 10:09
  but
• 10:09
  this
• 10:09
  cinematic
• 10:10
  Candyman's
• 10:11
  origins
• 10:11
  are
• 10:11
  rooted
• 10:12
  in
• 10:12
  racial
• 10:13
  injustice,
• 10:14
  where
• 10:14
  the
• 10:14
  legend
• 10:14
  of
• 10:14
  Candyman
• 10:15
  serves
• 10:16
  as
• 10:16
  a
• 10:16
  reminder
• 10:16
  of
• 10:16
  the
• 10:17
  pain
• 10:17
  and
• 10:17
  suffering
• 10:18
  endured
• 10:19
  by
• 10:19
  generations
• 10:20
  of
• 10:20
  book
• 10:20
  Americans,
• 10:21
  and
• 10:21
  the
• 10:21
  council
• 10:22
  estate
• 10:22
  in
• 10:22
  Liverpool
• 10:23
  is
• 10:24
  moved
• 10:24
  to
• 10:24
  the
• 10:24
  Chicago
• 10:25
  suburbs
• 10:25
  of
• 10:26
  Cabrini
• 10:26
  Green.
• 10:27
  But
• 10:28
  while
• 10:28
  a
• 10:28
  supernatural
• 10:29
  antagonist
• 10:29
  with
• 10:29
  a
• 10:30
  hook
• 10:30
  for
• 10:30
  a
• 10:30
  hand
• 10:30
  and
• 10:30
  a
• 10:31
  chest
• 10:31
  cavity
• 10:31
  full
• 10:31
  of
• 10:32
  bees
• 10:32
  might
• 10:33
  be
• 10:33
  stretching
• 10:33
  the
• 10:33
  realms
• 10:34
  of
• 10:34
  possibility,
• 10:35
  there
• 10:35
  is
• 10:35
  much
• 10:35
  to
• 10:36
  Candyman
• 10:36
  that
• 10:37
  is
• 10:37
  based
• 10:37
  on
• 10:37
  true
• 10:38
  stories,
• 10:38
  starting
• 10:39
  with
• 10:39
  the
• 10:39
  murder
• 10:40
  of
• 10:40
  52
• 10:40
  year
• 10:41
  old
• 10:41
  Ruthie
• 10:41
  Mae
• 10:42
  McCoy.
• 10:43
  Ruthie
• 10:44
  May
• 10:44
  didn't
• 10:45
  live
• 10:45
  in
• 10:45
  Cabrini
• 10:46
  Green.
• 10:46
  She
• 10:47
  lived
• 10:47
  at
• 10:47
  Grace
• 10:48
  Abbott,
• 10:48
  part
• 10:49
  of
• 10:49
  the
• 10:49
  Abla
• 10:50
  Homes
• 10:50
  development
• 10:50
  on
• 10:51
  the
• 10:51
  west
• 10:51
  side
• 10:51
  of
• 10:51
  Chicago.
• 10:52
  It
• 10:52
  was
• 10:53
  more
• 10:53
  densely
• 10:53
  populated
• 10:54
  than
• 10:54
  Cabrini
• 10:55
  Green,
• 10:55
  but
• 10:56
  lesser
• 10:56
  in
• 10:56
  land
• 10:56
  area.
• 10:58
  At
• 10:58
  8:45pm
• 10:59
  on
• 10:59
  22
• 11:00
  April
• 11:00
  1987,
• 11:01
  Ruthie
• 11:02
  May
• 11:02
  called
• 11:03
  91
• 11:03
  1,
• 11:04
  reporting
• 11:05
  someone
• 11:05
  breaking
• 11:06
  into
• 11:06
  her
• 11:06
  apartment
• 11:07
  via
• 11:07
  the
• 11:08
  bathroom
• 11:08
  cabinet.
• 11:09
  The
• 11:09
  911
• 11:10
  operator
• 11:10
  contacted
• 11:11
  the
• 11:11
  police,
• 11:12
  summarizing
• 11:13
  the
• 11:13
  situation
• 11:13
  as
• 11:14
  a
• 11:14
  disturbance
• 11:15
  with
• 11:15
  a
• 11:15
  neighbor.
• 11:16
  But
• 11:16
  as
• 11:17
  Ruthie
• 11:17
  May
• 11:17
  had
• 11:17
  a
• 11:18
  history
• 11:18
  of
• 11:18
  mental
• 11:19
  illness,
• 11:19
  they
• 11:20
  ignored
• 11:20
  her
• 11:20
  pleas.
• 11:21
  The
• 11:21
  police
• 11:22
  didn't
• 11:22
  arrive
• 11:22
  until
• 11:23
  two
• 11:23
  more
• 11:23
  911
• 11:24
  calls
• 11:24
  came
• 11:25
  through
• 11:25
  between
• 11:26
  8:50
• 11:27
  and
• 11:27
  9:04pm
• 11:28
  about
• 11:29
  screaming
• 11:29
  and
• 11:29
  gunshots
• 11:30
  coming
• 11:31
  from
• 11:31
  her
• 11:31
  apartment.
• 11:33
  They
• 11:33
  tried
• 11:33
  to
• 11:33
  get
• 11:34
  into
• 11:34
  the
• 11:34
  property
• 11:34
  using
• 11:35
  the
• 11:35
  attendant's
• 11:36
  key,
• 11:36
  but
• 11:36
  it
• 11:36
  didn't
• 11:36
  work,
• 11:37
  so
• 11:37
  the
• 11:38
  police
• 11:38
  officers
• 11:38
  left.
• 11:39
  The
• 11:40
  next
• 11:40
  Evening,
• 11:41
  neighbors
• 11:41
  called
• 11:41
  911
• 11:43
  asking
• 11:43
  for
• 11:43
  a
• 11:43
  welfare
• 11:44
  check
• 11:44
  on
• 11:44
  Ruthie
• 11:45
  May.
• 11:45
  But
• 11:45
  once
• 11:46
  again,
• 11:46
  officers
• 11:47
  couldn't
• 11:47
  get
• 11:47
  into
• 11:47
  the
• 11:47
  property
• 11:48
  and
• 11:48
  were
• 11:49
  advised
• 11:49
  not
• 11:49
  to
• 11:50
  break
• 11:50
  down
• 11:50
  the
• 11:50
  door
• 11:51
  the
• 11:51
  following
• 11:52
  evening.
• 11:53
  So
• 11:53
  two
• 11:53
  nights
• 11:54
  after
• 11:54
  Ruthie
• 11:54
  May's
• 11:55
  first
• 11:55
  call,
• 11:55
  a
• 11:56
  Chicago
• 11:56
  Housing
• 11:57
  Authority
• 11:57
  official
• 11:58
  arrived
• 11:58
  with
• 11:58
  a
• 11:59
  carpenter
• 11:59
  who
• 12:00
  drilled
• 12:00
  the
• 12:00
  knockoff.
• 12:01
  Ruthie
• 12:02
  Mae
• 12:02
  McCoy
• 12:03
  was
• 12:03
  found
• 12:03
  dead,
• 12:04
  lying
• 12:04
  face
• 12:05
  down
• 12:05
  on
• 12:05
  her
• 12:05
  bedroom
• 12:06
  floor,
• 12:06
  shot
• 12:07
  four
• 12:07
  times.
• 12:08
  Ruthie
• 12:09
  Mae
• 12:09
  McCoy
• 12:10
  wasn't
• 12:10
  hallucinating
• 12:11
  and
• 12:11
  she
• 12:11
  wasn't
• 12:12
  crazy.
• 12:13
  There
• 12:13
  were
• 12:13
  people
• 12:14
  coming
• 12:14
  through
• 12:14
  her
• 12:15
  bathroom
• 12:15
  wall.
• 12:16
  The
• 12:16
  narrow
• 12:17
  passages
• 12:17
  between
• 12:17
  apartments
• 12:18
  allowed
• 12:19
  maintenance
• 12:19
  workers
• 12:20
  easy
• 12:20
  access,
• 12:21
  but
• 12:21
  they
• 12:21
  also
• 12:22
  became
• 12:22
  a
• 12:22
  popular
• 12:23
  way
• 12:23
  for
• 12:23
  burglars
• 12:24
  to
• 12:24
  break
• 12:24
  in
• 12:25
  by
• 12:25
  pushing
• 12:25
  the
• 12:26
  bathroom
• 12:26
  cabinet
• 12:27
  out
• 12:27
  of
• 12:27
  the
• 12:27
  wall.
• 12:28
  And
• 12:28
  just
• 12:29
  like
• 12:29
  Anne
• 12:29
  Marie
• 12:29
  mentions
• 12:30
  in
• 12:30
  the
• 12:30
  movie,
• 12:31
  not
• 12:31
  many
• 12:32
  people
• 12:32
  actually
• 12:32
  cared
• 12:33
  about
• 12:33
  Ruthie
• 12:34
  May.
• 12:34
  Only
• 12:35
  two
• 12:35
  newspapers
• 12:36
  ran
• 12:36
  the
• 12:36
  story.
• 12:37
  One
• 12:38
  hypothesizing
• 12:39
  that
• 12:39
  she
• 12:39
  must
• 12:39
  have
• 12:39
  known
• 12:40
  her
• 12:40
  attackers
• 12:40
  as
• 12:41
  her
• 12:41
  door
• 12:41
  wasn't
• 12:41
  broken
• 12:42
  in,
• 12:42
  and
• 12:42
  the
• 12:43
  other
• 12:43
  focusing
• 12:44
  on
• 12:44
  the
• 12:44
  bathroom
• 12:45
  cabinet.
• 12:45
  It
• 12:46
  wasn't
• 12:46
  until
• 12:46
  journalist
• 12:47
  Steve
• 12:47
  Bulgaria
• 12:48
  wrote
• 12:48
  a
• 12:49
  piece
• 12:49
  for
• 12:49
  the
• 12:49
  Reader,
• 12:50
  a
• 12:50
  free
• 12:50
  Chicago
• 12:51
  weekly
• 12:51
  called
• 12:52
  they
• 12:52
  Came
• 12:53
  in
• 12:53
  through
• 12:53
  the
• 12:53
  Bathroom
• 12:54
  Mirror,
• 12:54
  A
• 12:55
  Murder
• 12:55
  in
• 12:55
  the
• 12:55
  project
• 12:56
  that
• 12:57
  Ruthie
• 12:57
  May's
• 12:57
  story
• 12:58
  became
• 12:58
  more
• 12:58
  mainstream.
• 12:59
  It
• 13:00
  was
• 13:00
  Bagheera
• 13:00
  that
• 13:01
  uncovered
• 13:01
  the
• 13:01
  unfortified
• 13:02
  piece
• 13:02
  of
• 13:02
  wall
• 13:03
  between
• 13:03
  the
• 13:03
  apartment
• 13:04
  bathrooms
• 13:05
  was
• 13:05
  common
• 13:05
  knowledge
• 13:06
  among
• 13:06
  residents.
• 13:08
  This
• 13:08
  design
• 13:08
  was
• 13:09
  also
• 13:09
  used
• 13:09
  for
• 13:09
  the
• 13:09
  Cabrini
• 13:10
  Green
• 13:10
  apartments,
• 13:11
  which
• 13:11
  were
• 13:12
  modern
• 13:12
  and
• 13:12
  comfortable
• 13:13
  when
• 13:13
  they
• 13:13
  were
• 13:13
  built
• 13:14
  between
• 13:14
  1942
• 13:15
  and
• 13:15
  1962.
• 13:17
  And
• 13:17
  they
• 13:17
  featured
• 13:18
  such
• 13:18
  modern
• 13:19
  conveniences
• 13:20
  as
• 13:20
  indoor
• 13:20
  plumbing,
• 13:21
  hot
• 13:21
  water,
• 13:22
  gas
• 13:22
  stoves
• 13:23
  and
• 13:23
  climate
• 13:24
  control.
• 13:25
  And
• 13:25
  they
• 13:25
  were
• 13:25
  offered
• 13:25
  to
• 13:26
  hardworking
• 13:26
  African
• 13:27
  American
• 13:27
  families
• 13:28
  who
• 13:28
  had
• 13:29
  migrated
• 13:29
  to
• 13:29
  Chicago
• 13:30
  for
• 13:30
  work
• 13:31
  and
• 13:31
  to
• 13:31
  escape
• 13:32
  the
• 13:32
  Jim
• 13:32
  Crow
• 13:32
  South.
• 13:34
  With
• 13:34
  the
• 13:34
  African
• 13:34
  American
• 13:35
  population
• 13:35
  of
• 13:36
  Chicago
• 13:36
  growing
• 13:37
  half
• 13:37
  a
• 13:37
  million
• 13:38
  during
• 13:38
  that
• 13:38
  20
• 13:39
  year
• 13:39
  period
• 13:40
  in
• 13:40
  the
• 13:40
  second
• 13:40
  wave
• 13:41
  of
• 13:41
  the
• 13:41
  Great
• 13:41
  Migration,
• 13:43
  Cabrini
• 13:43
  Green
• 13:44
  wasn't
• 13:44
  the
• 13:44
  worst
• 13:45
  public
• 13:45
  authority
• 13:46
  housing
• 13:46
  estate
• 13:47
  in
• 13:47
  Chicago.
• 13:48
  But
• 13:48
  its
• 13:48
  close
• 13:49
  location
• 13:49
  to
• 13:50
  the
• 13:50
  Gold
• 13:50
  coast,
• 13:51
  an
• 13:51
  exclusive
• 13:52
  and
• 13:52
  wealthy
• 13:52
  neighborhood,
• 13:53
  the
• 13:54
  seventh
• 13:54
  wealthiest
• 13:55
  urban
• 13:55
  neighborhood
• 13:55
  in
• 13:56
  the
• 13:56
  United
• 13:56
  States,
• 13:57
  actually
• 13:58
  meant
• 13:58
  that
• 13:59
  it
• 13:59
  was
• 13:59
  more
• 13:59
  publicised.
• 14:00
  Murders
• 14:01
  peaked
• 14:01
  at
• 14:01
  Cabrini
• 14:02
  Green
• 14:02
  in
• 14:02
  1992,
• 14:04
  the
• 14:04
  year
• 14:04
  Candyman
• 14:05
  was
• 14:05
  released.
• 14:06
  But
• 14:07
  the
• 14:08
  problem
• 14:08
  was
• 14:08
  the
• 14:09
  vast
• 14:09
  majority
• 14:09
  of
• 14:09
  Chicago
• 14:10
  Housing
• 14:10
  Authority,
• 14:12
  in
• 14:12
  fact,
• 14:13
  probably
• 14:13
  all
• 14:13
  of
• 14:13
  it,
• 14:14
  let's
• 14:14
  be
• 14:14
  honest,
• 14:15
  was
• 14:15
  white.
• 14:16
  And
• 14:16
  racism
• 14:17
  fueled
• 14:17
  the
• 14:17
  neglect
• 14:18
  of
• 14:18
  Cabrini
• 14:19
  Green.
• 14:19
  And
• 14:19
  while
• 14:20
  neighboring
• 14:20
  areas
• 14:21
  became
• 14:21
  prosperous
• 14:22
  and
• 14:22
  just
• 14:22
  like
• 14:22
  in
• 14:23
  Candyman,
• 14:23
  eventually
• 14:24
  gentrified,
• 14:25
  the
• 14:25
  Cabrini
• 14:26
  Green
• 14:26
  apartments
• 14:26
  started
• 14:27
  to
• 14:27
  get
• 14:27
  run
• 14:27
  down,
• 14:28
  covered
• 14:28
  in
• 14:29
  graffiti,
• 14:29
  with
• 14:30
  things
• 14:30
  like
• 14:30
  lights
• 14:31
  and
• 14:31
  lifts
• 14:32
  rarely
• 14:32
  in
• 14:32
  working
• 14:33
  order,
• 14:33
  and
• 14:34
  basic
• 14:34
  utilities
• 14:35
  often
• 14:35
  completely
• 14:36
  breaking
• 14:36
  down.
• 14:37
  The
• 14:37
  area
• 14:38
  became
• 14:38
  rife
• 14:39
  with
• 14:39
  crime,
• 14:40
  poverty,
• 14:40
  gangs
• 14:41
  and
• 14:41
  drugs.
• 14:43
  Another
• 14:43
  of
• 14:43
  Candyman's
• 14:44
  crucial
• 14:44
  plot
• 14:44
  points,
• 14:45
  which
• 14:45
  is
• 14:46
  also
• 14:46
  true,
• 14:47
  is
• 14:47
  the
• 14:47
  history
• 14:47
  of
• 14:48
  violence
• 14:48
  against
• 14:49
  black
• 14:49
  men
• 14:49
  who
• 14:49
  form
• 14:50
  relationships
• 14:51
  with
• 14:51
  white
• 14:51
  women.
• 14:52
  His
• 14:53
  name
• 14:53
  isn't
• 14:53
  mentioned
• 14:54
  until
• 14:54
  the
• 14:54
  next
• 14:55
  movie,
• 14:55
  the
• 14:55
  sequel.
• 14:56
  But
• 14:56
  Daniel
• 14:57
  Robitaille,
• 14:58
  the
• 14:58
  man
• 14:58
  who
• 14:58
  became
• 14:59
  Candyman,
• 15:00
  was
• 15:00
  a
• 15:00
  talented
• 15:00
  painter
• 15:01
  who
• 15:01
  was
• 15:01
  commissioned
• 15:02
  to
• 15:02
  paint
• 15:02
  the
• 15:03
  daughter
• 15:03
  of
• 15:03
  a
• 15:03
  wealthy
• 15:04
  white
• 15:04
  man.
• 15:04
  They
• 15:05
  began
• 15:05
  a
• 15:05
  love
• 15:05
  affair,
• 15:06
  but
• 15:06
  upon
• 15:06
  discovering
• 15:07
  his
• 15:07
  daughter
• 15:08
  was
• 15:08
  pregnant
• 15:08
  by
• 15:08
  a
• 15:09
  black
• 15:09
  man,
• 15:09
  her
• 15:10
  father
• 15:10
  hires
• 15:11
  a
• 15:11
  gun
• 15:11
  to
• 15:11
  beat
• 15:11
  him,
• 15:12
  saw
• 15:12
  off
• 15:13
  his
• 15:13
  hand,
• 15:13
  replace
• 15:14
  it
• 15:14
  with
• 15:14
  a
• 15:14
  hook,
• 15:15
  cover
• 15:15
  him
• 15:15
  in
• 15:15
  hoodie,
• 15:16
  and
• 15:16
  let
• 15:16
  him
• 15:17
  die
• 15:17
  a
• 15:17
  painful
• 15:17
  death
• 15:18
  from
• 15:18
  repeated
• 15:18
  bee
• 15:19
  stings.
• 15:20
  And
• 15:20
  the
• 15:20
  risk
• 15:21
  to
• 15:21
  interracial
• 15:21
  couples,
• 15:22
  especially
• 15:23
  to
• 15:23
  black
• 15:23
  men,
• 15:24
  was
• 15:24
  all
• 15:24
  too
• 15:24
  real
• 15:25
  in
• 15:25
  the
• 15:25
  United
• 15:26
  States
• 15:26
  by
• 15:26
  the
• 15:27
  late
• 15:27
  19th
• 15:27
  century,
• 15:28
  white
• 15:28
  mobs
• 15:29
  took
• 15:29
  that
• 15:29
  anger
• 15:30
  out
• 15:30
  on
• 15:30
  their
• 15:30
  black
• 15:30
  neighbors,
• 15:31
  with
• 15:31
  lynchings
• 15:32
  growing
• 15:32
  common
• 15:33
  as
• 15:33
  the
• 15:33
  years
• 15:33
  passed.
• 15:34
  Even
• 15:35
  the
• 15:35
  world
• 15:35
  famous
• 15:35
  boxer
• 15:36
  Jack
• 15:36
  Johnson,
• 15:37
  upon
• 15:37
  marrying
• 15:38
  a
• 15:38
  white
• 15:38
  woman,
• 15:39
  was
• 15:39
  hounded
• 15:39
  by
• 15:39
  a
• 15:40
  white
• 15:40
  mob
• 15:40
  in
• 15:40
  Chicago
• 15:41
  in
• 15:41
  1911.
• 15:42
  It
• 15:43
  wasn't
• 15:43
  until
• 15:43
  the
• 15:43
  1967
• 15:44
  Supreme
• 15:45
  Court
• 15:45
  case
• 15:46
  Loving
• 15:46
  v.
• 15:47
  Virginia,
• 15:48
  that
• 15:48
  interracial
• 15:49
  couples
• 15:49
  gained
• 15:50
  legal
• 15:50
  recognition
• 15:50
  for
• 15:51
  their
• 15:51
  partnerships,
• 15:52
  by
• 15:52
  which
• 15:52
  time
• 15:53
  thousands
• 15:53
  of
• 15:53
  attacks
• 15:54
  and
• 15:54
  murders
• 15:55
  had
• 15:55
  been
• 15:55
  committed
• 15:56
  against
• 15:56
  African
• 15:57
  Americans
• 15:57
  all
• 15:58
  over
• 15:58
  the
• 15:58
  country.
• 15:59
  So
• 16:00
  there
• 16:00
  were
• 16:00
  some
• 16:00
  very
• 16:00
  true
• 16:01
  stories
• 16:01
  behind
• 16:02
  the
• 16:02
  idea
• 16:02
  of
• 16:02
  an
• 16:02
  urban
• 16:03
  legend
• 16:03
  and
• 16:04
  the
• 16:04
  murders
• 16:04
  that
• 16:05
  would
• 16:05
  happen
• 16:06
  in
• 16:06
  this
• 16:06
  fictional
• 16:06
  version
• 16:07
  of
• 16:07
  Cabrini
• 16:07
  Green.
• 16:08
  And
• 16:08
  writer
• 16:09
  director
• 16:09
  Bernard
• 16:10
  Rose,
• 16:10
  who
• 16:10
  is
• 16:11
  white,
• 16:11
  was
• 16:11
  key
• 16:12
  to
• 16:12
  getting
• 16:12
  this
• 16:12
  adaptation
• 16:13
  made
• 16:14
  in
• 16:14
  the
• 16:14
  way
• 16:14
  it
• 16:15
  was.
• 16:16
  Hellraiser,
• 16:17
  the
• 16:17
  film
• 16:18
  adaptation
• 16:18
  of
• 16:18
  which
• 16:19
  came
• 16:19
  out
• 16:19
  in
• 16:19
  1987,
• 16:20
  was
• 16:21
  famously
• 16:21
  filmed
• 16:22
  in
• 16:22
  the
• 16:22
  UK
• 16:22
  and
• 16:23
  then
• 16:23
  relocated
• 16:24
  to
• 16:24
  America,
• 16:25
  would
• 16:26
  at
• 16:26
  sense
• 16:26
  overdubbed.
• 16:27
  And
• 16:28
  Clive
• 16:28
  Barker
• 16:28
  had
• 16:28
  opposed
• 16:29
  this
• 16:29
  because
• 16:29
  the
• 16:30
  original
• 16:30
  story
• 16:30
  was
• 16:31
  to
• 16:31
  him
• 16:32
  so
• 16:32
  very
• 16:32
  English.
• 16:33
  But
• 16:33
  he
• 16:34
  knew
• 16:34
  Bernard
• 16:34
  Rose,
• 16:35
  who
• 16:35
  had
• 16:35
  directed
• 16:36
  1988's
• 16:37
  Paper
• 16:37
  House,
• 16:38
  after
• 16:38
  meeting
• 16:38
  him
• 16:39
  at
• 16:39
  Pinewood
• 16:39
  Studios
• 16:40
  while
• 16:40
  he
• 16:41
  was
• 16:41
  working
• 16:41
  on
• 16:41
  Nightbreed.
• 16:42
  And
• 16:43
  Barker
• 16:43
  gave
• 16:43
  Rose
• 16:44
  his
• 16:44
  blessing
• 16:45
  to
• 16:45
  make
• 16:45
  a
• 16:46
  movie
• 16:46
  based
• 16:46
  on
• 16:46
  the
• 16:47
  forbidden
• 16:47
  and
• 16:48
  also
• 16:48
  moved
• 16:48
  the
• 16:49
  story
• 16:49
  from
• 16:49
  a
• 16:50
  Liverpool
• 16:50
  council
• 16:50
  estate
• 16:51
  to
• 16:52
  Chicago.
• 16:52
  Propaganda
• 16:53
  films,
• 16:53
  who
• 16:54
  were
• 16:54
  making
• 16:54
  Twin
• 16:54
  Peaks
• 16:55
  bought
• 16:55
  the
• 16:56
  idea
• 16:56
  on
• 16:56
  the
• 16:56
  spot
• 16:57
  and
• 16:57
  Rose
• 16:57
  pitched
• 16:58
  Chicago
• 16:58
  to
• 16:59
  set
• 16:59
  it
• 16:59
  in
• 16:59
  quite
• 16:59
  randomly,
• 17:01
  simply
• 17:01
  because
• 17:01
  it
• 17:01
  was
• 17:01
  A
• 17:01
  place
• 17:02
  he'd
• 17:02
  heard
• 17:02
  of,
• 17:03
  but
• 17:03
  he
• 17:03
  visited,
• 17:04
  and
• 17:04
  he
• 17:04
  saw
• 17:04
  firsthand
• 17:05
  the
• 17:05
  social
• 17:05
  deprivation
• 17:07
  of
• 17:07
  some
• 17:07
  of
• 17:07
  the
• 17:07
  areas
• 17:08
  of
• 17:08
  the
• 17:08
  city.
• 17:09
  He
• 17:09
  asked
• 17:09
  the
• 17:09
  Illinois
• 17:10
  Film
• 17:10
  Commission
• 17:11
  where
• 17:11
  the
• 17:11
  worst
• 17:12
  public
• 17:12
  housing
• 17:12
  estate
• 17:13
  in
• 17:13
  the
• 17:13
  city
• 17:13
  was,
• 17:14
  and
• 17:14
  they
• 17:15
  said
• 17:15
  without
• 17:16
  pausing,
• 17:16
  Cabrini
• 17:17
  Green.
• 17:18
  The
• 17:18
  film
• 17:18
  commission
• 17:19
  would
• 17:19
  even
• 17:19
  refuse
• 17:20
  to
• 17:20
  visit
• 17:20
  the
• 17:20
  area
• 17:21
  without
• 17:21
  an
• 17:22
  armed
• 17:22
  police
• 17:22
  escort.
• 17:23
  Their
• 17:24
  fear
• 17:24
  made
• 17:25
  Rose
• 17:25
  even
• 17:25
  more
• 17:26
  convinced
• 17:27
  that
• 17:27
  Chicago,
• 17:28
  specifically
• 17:28
  Cabrini
• 17:29
  Green,
• 17:29
  was
• 17:30
  the
• 17:30
  right
• 17:30
  location
• 17:31
  for
• 17:31
  his
• 17:31
  movie,
• 17:32
  and
• 17:32
  it
• 17:32
  would
• 17:32
  also
• 17:33
  be
• 17:33
  filmed
• 17:33
  partially
• 17:34
  on
• 17:34
  location,
• 17:35
  too,
• 17:35
  but
• 17:35
  more
• 17:36
  on
• 17:36
  that
• 17:36
  later.
• 17:38
  Babka
• 17:38
  originally
• 17:39
  described
• 17:39
  Candyman
• 17:40
  in
• 17:40
  the
• 17:40
  Forbidden
• 17:41
  as
• 17:41
  quote,
• 17:42
  he
• 17:42
  was
• 17:42
  bright
• 17:42
  to
• 17:43
  the
• 17:43
  point
• 17:43
  of
• 17:43
  goudiness.
• 17:44
  His
• 17:44
  flesh
• 17:45
  was
• 17:45
  a
• 17:45
  waxy
• 17:46
  yellow,
• 17:46
  his
• 17:47
  thin
• 17:47
  lips
• 17:48
  are
• 17:48
  pale
• 17:48
  blue,
• 17:49
  his
• 17:49
  wild
• 17:49
  eyes
• 17:50
  are
• 17:50
  glittering
• 17:50
  as
• 17:51
  if
• 17:51
  their
• 17:51
  oluses
• 17:52
  are
• 17:52
  set
• 17:52
  within
• 17:52
  rubies.
• 17:53
  His
• 17:53
  jacket
• 17:54
  was
• 17:54
  patchwork
• 17:55
  and
• 17:55
  his
• 17:55
  trousers
• 17:56
  are
• 17:56
  the
• 17:56
  same.
• 17:58
  It
• 17:58
  was
• 17:59
  Rose
• 17:59
  who
• 17:59
  pushed
• 18:00
  for
• 18:00
  an
• 18:00
  African
• 18:00
  American
• 18:01
  Candyman,
• 18:02
  a
• 18:02
  change
• 18:03
  from
• 18:03
  the
• 18:03
  yellow
• 18:03
  skinned
• 18:04
  character
• 18:04
  from
• 18:04
  Barker's
• 18:05
  story,
• 18:05
  believing
• 18:06
  that
• 18:06
  the
• 18:06
  story
• 18:06
  was
• 18:07
  more
• 18:07
  about
• 18:07
  belief
• 18:08
  and
• 18:08
  myth
• 18:09
  than
• 18:09
  race.
• 18:10
  The
• 18:10
  civil
• 18:11
  rights
• 18:11
  organization
• 18:12
  NAACP
• 18:13
  was
• 18:13
  consulted
• 18:14
  as
• 18:14
  to
• 18:14
  the
• 18:14
  race
• 18:15
  of
• 18:15
  the
• 18:15
  character,
• 18:16
  and
• 18:16
  they
• 18:16
  expressed
• 18:17
  concerns
• 18:17
  over
• 18:18
  a
• 18:18
  movie
• 18:19
  with
• 18:19
  a
• 18:19
  black
• 18:19
  man
• 18:20
  that
• 18:20
  was
• 18:20
  to
• 18:20
  be
• 18:20
  feared.
• 18:21
  But
• 18:21
  Rose
• 18:22
  argued
• 18:22
  that
• 18:22
  many
• 18:23
  people
• 18:23
  identify
• 18:24
  with
• 18:24
  horror
• 18:24
  villains
• 18:25
  and
• 18:25
  Candyman
• 18:26
  was
• 18:26
  never
• 18:26
  about
• 18:27
  killing
• 18:27
  for
• 18:27
  sport
• 18:28
  or
• 18:28
  fun,
• 18:28
  that
• 18:29
  he
• 18:29
  was
• 18:29
  a
• 18:29
  tragic
• 18:30
  hero
• 18:30
  with
• 18:30
  a
• 18:30
  tragic
• 18:31
  backstory,
• 18:32
  and
• 18:32
  that
• 18:32
  he
• 18:32
  had
• 18:33
  more
• 18:33
  in
• 18:33
  common
• 18:33
  with
• 18:33
  Dracula
• 18:34
  or
• 18:34
  Phantom
• 18:35
  of
• 18:35
  the
• 18:35
  Opera
• 18:36
  than
• 18:36
  Freddy
• 18:36
  Krueger.
• 18:37
  Candyman
• 18:38
  has
• 18:38
  been
• 18:39
  both
• 18:39
  criticized
• 18:40
  and
• 18:40
  praised
• 18:40
  for
• 18:41
  its
• 18:41
  depictions
• 18:41
  of
• 18:42
  race,
• 18:42
  but
• 18:42
  Bernard
• 18:43
  Rose
• 18:43
  would
• 18:43
  at
• 18:44
  least
• 18:44
  earnestly
• 18:45
  attempt,
• 18:45
  despite
• 18:46
  being
• 18:46
  a
• 18:46
  white
• 18:46
  director,
• 18:47
  to
• 18:47
  do
• 18:48
  as
• 18:48
  much
• 18:48
  research
• 18:48
  as
• 18:49
  possible
• 18:49
  to
• 18:49
  ensure
• 18:50
  the
• 18:50
  movie's
• 18:50
  authenticity.
• 18:52
  He
• 18:52
  would
• 18:52
  regularly
• 18:53
  consult
• 18:53
  with
• 18:53
  the
• 18:53
  black
• 18:54
  actors
• 18:54
  in
• 18:54
  the
• 18:54
  cast
• 18:55
  to
• 18:55
  try
• 18:56
  not
• 18:56
  to
• 18:56
  impose
• 18:56
  racial
• 18:57
  stereotypes
• 18:58
  and
• 18:58
  make
• 18:58
  people
• 18:59
  well
• 18:59
  rounded.
• 19:00
  Rhodes
• 19:01
  would
• 19:01
  credit
• 19:02
  professor
• 19:02
  and
• 19:02
  folklore
• 19:03
  scholar
• 19:03
  Jan
• 19:04
  Harald
• 19:04
  Brunvan's
• 19:05
  book
• 19:05
  the
• 19:05
  Vanishing
• 19:06
  Hitchhiker
• 19:07
  as
• 19:07
  a
• 19:07
  major
• 19:08
  inspiration
• 19:08
  to
• 19:08
  his
• 19:09
  script.
• 19:09
  Brunvan's
• 19:10
  book
• 19:11
  explored
• 19:11
  the
• 19:11
  origins
• 19:12
  of
• 19:12
  several
• 19:12
  notable
• 19:13
  urban
• 19:13
  legends
• 19:14
  and
• 19:14
  has
• 19:14
  been
• 19:14
  widely
• 19:15
  credited
• 19:15
  with
• 19:16
  igniting
• 19:16
  America's
• 19:17
  obsession
• 19:17
  with
• 19:18
  the
• 19:18
  phenomenon.
• 19:19
  Urban
• 19:19
  legends
• 19:20
  hadn't
• 19:20
  really
• 19:20
  been
• 19:20
  addressed
• 19:21
  in
• 19:21
  film
• 19:21
  at
• 19:22
  that
• 19:22
  point,
• 19:23
  and
• 19:23
  having
• 19:23
  someone
• 19:24
  studying
• 19:24
  the
• 19:24
  myths
• 19:25
  not
• 19:25
  from
• 19:25
  a
• 19:26
  sociological
• 19:26
  point
• 19:27
  of
• 19:27
  view,
• 19:27
  but
• 19:27
  from
• 19:27
  a
• 19:27
  semiotics
• 19:28
  point
• 19:28
  of
• 19:29
  view,
• 19:29
  not
• 19:29
  because
• 19:30
  it
• 19:30
  was
• 19:30
  in
• 19:30
  any
• 19:30
  way
• 19:31
  supernatural,
• 19:32
  but
• 19:32
  as
• 19:32
  a
• 19:33
  graduate
• 19:33
  student,
• 19:34
  someone
• 19:34
  like
• 19:34
  Helen
• 19:35
  Lyell
• 19:35
  would
• 19:36
  be
• 19:36
  curious
• 19:36
  enough
• 19:37
  to
• 19:37
  get
• 19:37
  involved,
• 19:38
  but
• 19:38
  also
• 19:39
  naive
• 19:39
  enough
• 19:39
  to
• 19:40
  think
• 19:40
  she
• 19:40
  was
• 19:41
  above
• 19:41
  the
• 19:41
  myth.
• 19:42
  Bernard
• 19:43
  Rose
• 19:43
  was
• 19:43
  taken
• 19:43
  to
• 19:44
  the
• 19:44
  real
• 19:44
  Cabrini
• 19:45
  Green
• 19:45
  for
• 19:46
  the
• 19:46
  first
• 19:46
  time
• 19:46
  in
• 19:46
  the
• 19:46
  company
• 19:47
  of
• 19:47
  full
• 19:47
  police
• 19:48
  escort.
• 19:48
  But
• 19:49
  subsequent
• 19:49
  times
• 19:49
  he
• 19:50
  went
• 19:50
  alone
• 19:51
  and
• 19:51
  ended
• 19:51
  up
• 19:51
  befriending
• 19:52
  local
• 19:52
  resident
• 19:53
  Henrietta
• 19:54
  Thompson.
• 19:55
  She
• 19:55
  lived
• 19:55
  in
• 19:55
  Cabrini
• 19:56
  Green
• 19:56
  with
• 19:57
  her
• 19:57
  two
• 19:57
  daughters,
• 19:58
  and
• 19:58
  she
• 19:58
  became
• 19:59
  the
• 19:59
  inspiration
• 19:59
  for
• 20:00
  the
• 20:00
  character
• 20:00
  of
• 20:00
  Anne
• 20:01
  Marie
• 20:01
  McCoy,
• 20:02
  a
• 20:02
  young
• 20:02
  single
• 20:03
  mother
• 20:03
  with
• 20:03
  an
• 20:03
  infant
• 20:04
  son
• 20:04
  who
• 20:05
  reluctantly
• 20:05
  helps
• 20:06
  Helen
• 20:06
  with
• 20:06
  her
• 20:06
  investigation,
• 20:08
  is
• 20:08
  wary
• 20:09
  of
• 20:09
  her,
• 20:09
  and
• 20:10
  then
• 20:10
  finds
• 20:10
  her
• 20:10
  baby
• 20:11
  boy
• 20:11
  has
• 20:11
  been
• 20:11
  kidnapped.
• 20:12
  Thompson
• 20:13
  is
• 20:13
  credited
• 20:13
  on
• 20:14
  the
• 20:14
  movie
• 20:14
  as
• 20:15
  Consultant
• 20:15
  Chicago,
• 20:16
  and
• 20:17
  her
• 20:17
  involvement
• 20:17
  was
• 20:18
  important
• 20:18
  to
• 20:19
  show,
• 20:19
  via
• 20:20
  the
• 20:20
  character
• 20:20
  of
• 20:20
  Anne
• 20:21
  Marie,
• 20:21
  that
• 20:22
  good
• 20:22
  people
• 20:22
  do
• 20:22
  live
• 20:23
  in
• 20:23
  places
• 20:23
  like
• 20:23
  Cabrini
• 20:24
  Green.
• 20:25
  They
• 20:25
  are
• 20:25
  just
• 20:25
  regular
• 20:26
  people
• 20:26
  trying
• 20:27
  to
• 20:27
  be
• 20:27
  good
• 20:27
  providers
• 20:28
  and
• 20:28
  upright
• 20:29
  citizens,
• 20:30
  but
• 20:30
  who
• 20:30
  struggle
• 20:31
  against
• 20:31
  the
• 20:32
  odds
• 20:32
  to
• 20:32
  do
• 20:32
  so.
• 20:33
  Through
• 20:34
  these
• 20:34
  meetings,
• 20:34
  Rose
• 20:35
  discovered
• 20:35
  the
• 20:35
  stories
• 20:36
  of
• 20:36
  the
• 20:36
  murders
• 20:37
  that
• 20:37
  had
• 20:37
  happened
• 20:37
  in
• 20:37
  the
• 20:38
  area
• 20:38
  and
• 20:39
  came
• 20:39
  upon
• 20:39
  the
• 20:39
  story
• 20:39
  of
• 20:40
  Ruthie
• 20:40
  Mae
• 20:41
  McCoy.
• 20:42
  Some
• 20:42
  of
• 20:42
  these
• 20:42
  articles
• 20:43
  ended
• 20:43
  up
• 20:43
  featuring
• 20:44
  in
• 20:44
  the
• 20:44
  film
• 20:44
  for
• 20:45
  Real
• 20:45
  during
• 20:45
  the
• 20:46
  scene
• 20:46
  where
• 20:46
  Helen
• 20:46
  begins
• 20:47
  researching
• 20:47
  the
• 20:48
  Candyman
• 20:48
  myth.
• 20:49
  Another
• 20:49
  element
• 20:50
  that
• 20:50
  rang
• 20:50
  true
• 20:50
  to
• 20:51
  Lois
• 20:51
  was
• 20:51
  the
• 20:51
  fact
• 20:51
  that
• 20:52
  nearby
• 20:52
  Sandberg
• 20:53
  Village,
• 20:53
  the
• 20:54
  gentrified
• 20:54
  area
• 20:55
  Helen
• 20:55
  Lyle
• 20:56
  lives
• 20:56
  in,
• 20:56
  was
• 20:57
  architecturally
• 20:58
  identical
• 20:58
  to
• 20:58
  Cabrini
• 20:59
  Green,
• 20:59
  with
• 21:00
  the
• 21:00
  only
• 21:00
  difference
• 21:01
  being
• 21:01
  that
• 21:01
  the
• 21:01
  former
• 21:02
  was
• 21:02
  turned
• 21:02
  into
• 21:03
  condos
• 21:03
  while
• 21:04
  the
• 21:04
  latter
• 21:04
  became
• 21:05
  public
• 21:05
  housing,
• 21:06
  separated
• 21:07
  only
• 21:07
  by
• 21:07
  a
• 21:08
  Rhode.
• 21:09
  Rhodes
• 21:09
  wanted
• 21:09
  to
• 21:10
  make
• 21:10
  the
• 21:10
  film
• 21:10
  grounded
• 21:11
  in
• 21:11
  reality,
• 21:11
  and
• 21:11
  the
• 21:12
  whole
• 21:12
  racial
• 21:12
  subtext
• 21:13
  of
• 21:13
  the
• 21:13
  film
• 21:14
  came
• 21:14
  out
• 21:14
  of
• 21:15
  that.
• 21:15
  Barker's
• 21:16
  original
• 21:16
  story
• 21:16
  was
• 21:17
  about
• 21:17
  politics
• 21:17
  and
• 21:18
  class
• 21:18
  differences.
• 21:19
  The
• 21:19
  racial
• 21:20
  element
• 21:20
  was
• 21:20
  added
• 21:20
  to
• 21:21
  it
• 21:21
  by
• 21:21
  the
• 21:21
  specificity
• 21:22
  of
• 21:22
  the
• 21:22
  location
• 21:23
  change
• 21:23
  to
• 21:23
  Chicago.
• 21:24
  It
• 21:25
  was
• 21:25
  an
• 21:25
  edge
• 21:25
  to
• 21:25
  the
• 21:26
  story
• 21:26
  that
• 21:26
  could
• 21:26
  never
• 21:26
  have
• 21:27
  been
• 21:27
  tackled
• 21:28
  by
• 21:28
  keeping
• 21:28
  the
• 21:29
  story
• 21:29
  set
• 21:29
  in
• 21:29
  Barker's
• 21:30
  native
• 21:30
  Liverpool.
• 21:31
  And
• 21:31
  to
• 21:31
  Barker's
• 21:32
  credit,
• 21:33
  he
• 21:33
  agreed
• 21:33
  with
• 21:34
  that.
• 21:34
  Virginia
• 21:35
  Madsen
• 21:36
  was
• 21:36
  born
• 21:36
  and
• 21:36
  grew
• 21:37
  up
• 21:37
  in
• 21:37
  Chicago.
• 21:38
  She
• 21:38
  studied
• 21:38
  at
• 21:38
  the
• 21:39
  Ted
• 21:39
  Lis
• 21:39
  Acting
• 21:40
  School
• 21:40
  in
• 21:40
  the
• 21:40
  city,
• 21:41
  so
• 21:41
  she
• 21:41
  was
• 21:41
  all
• 21:42
  too
• 21:42
  aware
• 21:42
  of
• 21:42
  Cabrini
• 21:43
  Green
• 21:44
  growing
• 21:44
  up.
• 21:45
  She
• 21:45
  never
• 21:45
  ventured
• 21:45
  into
• 21:46
  Cabrini
• 21:46
  Green
• 21:47
  and
• 21:47
  acknowledged
• 21:47
  the
• 21:48
  terrible
• 21:48
  history
• 21:48
  of
• 21:49
  the
• 21:49
  area.
• 21:50
  She
• 21:50
  was
• 21:50
  mostly
• 21:51
  known
• 21:51
  for
• 21:51
  playing
• 21:51
  femme
• 21:52
  fatales
• 21:52
  in
• 21:52
  the
• 21:52
  80s,
• 21:53
  and
• 21:53
  she
• 21:53
  was
• 21:54
  good
• 21:54
  friends
• 21:54
  with
• 21:54
  Bernard
• 21:55
  Rose
• 21:55
  and
• 21:56
  his
• 21:56
  wife
• 21:56
  and
• 21:57
  originally
• 21:57
  was
• 21:58
  cast
• 21:58
  in
• 21:58
  the
• 21:58
  role
• 21:58
  of
• 21:59
  Bernadette,
• 22:00
  with
• 22:00
  the
• 22:01
  main
• 22:01
  role
• 22:01
  of
• 22:01
  Helen
• 22:02
  going
• 22:02
  to
• 22:03
  the
• 22:03
  director's
• 22:03
  wife,
• 22:04
  Alexandra
• 22:04
  Pigg.
• 22:05
  Then
• 22:06
  Rose
• 22:06
  rewrote
• 22:07
  the
• 22:07
  role
• 22:07
  of
• 22:07
  Bernadette
• 22:08
  to
• 22:08
  make
• 22:09
  her
• 22:09
  a
• 22:09
  black
• 22:09
  woman.
• 22:10
  So
• 22:10
  Madsen
• 22:11
  lost
• 22:11
  the
• 22:11
  part
• 22:12
  shortly
• 22:13
  after,
• 22:13
  Alexandra
• 22:14
  Pig
• 22:14
  became
• 22:15
  pregnant
• 22:16
  and
• 22:16
  could
• 22:16
  no
• 22:16
  longer
• 22:17
  play
• 22:17
  Helen.
• 22:17
  And
• 22:18
  so
• 22:18
  Madsen
• 22:18
  was
• 22:19
  contacted
• 22:19
  to
• 22:19
  offer
• 22:20
  her
• 22:20
  the
• 22:20
  role
• 22:20
  of
• 22:20
  Helen
• 22:21
  with
• 22:21
  the
• 22:22
  blessing
• 22:22
  of
• 22:22
  her
• 22:22
  friend.
• 22:23
  Apparently
• 22:24
  Sandra
• 22:24
  Bullock
• 22:25
  also
• 22:25
  auditioned
• 22:26
  for
• 22:26
  the
• 22:26
  role
• 22:26
  of
• 22:27
  Madsen,
• 22:28
  almost
• 22:28
  didn't
• 22:28
  take
• 22:28
  it
• 22:29
  due
• 22:29
  to
• 22:29
  the
• 22:29
  bees
• 22:30
  and
• 22:30
  being
• 22:30
  allergic,
• 22:31
  but
• 22:31
  steps
• 22:32
  were
• 22:32
  put
• 22:32
  in
• 22:32
  place
• 22:32
  to
• 22:33
  ensure
• 22:33
  her
• 22:33
  safety
• 22:34
  and
• 22:34
  I
• 22:34
  am
• 22:35
  going
• 22:35
  to
• 22:35
  come
• 22:35
  back
• 22:35
  to
• 22:35
  the
• 22:35
  bees
• 22:36
  later.
• 22:37
  Casey
• 22:38
  Lemons,
• 22:38
  who
• 22:38
  would
• 22:38
  go
• 22:39
  on
• 22:39
  to
• 22:39
  direct
• 22:39
  eve's
• 22:39
  bayou
• 22:40
  in
• 22:40
  1997,
• 22:41
  was
• 22:42
  cast
• 22:42
  as
• 22:42
  Bernadette
• 22:44
  and
• 22:44
  this
• 22:44
  movie
• 22:45
  does
• 22:45
  have
• 22:46
  its
• 22:46
  very
• 22:46
  own
• 22:46
  urban
• 22:47
  legend
• 22:47
  in
• 22:47
  a
• 22:48
  way,
• 22:48
  and
• 22:48
  that
• 22:49
  is
• 22:49
  that
• 22:49
  Eddie
• 22:49
  Murphy
• 22:50
  was
• 22:50
  the
• 22:50
  first
• 22:51
  choice
• 22:51
  to
• 22:51
  play
• 22:51
  Candyman,
• 22:53
  but
• 22:53
  as
• 22:53
  the
• 22:54
  legend
• 22:54
  states,
• 22:55
  the
• 22:55
  movie
• 22:55
  couldn't
• 22:56
  afford
• 22:56
  him.
• 22:57
  This
• 22:57
  was
• 22:57
  debunked
• 22:58
  in
• 22:58
  an
• 22:58
  interview
• 22:58
  with
• 22:58
  Bernard
• 22:59
  Rose,
• 22:59
  who
• 23:00
  stated
• 23:00
  that
• 23:00
  if
• 23:00
  Eddie
• 23:01
  Murphy
• 23:01
  wanted
• 23:02
  to
• 23:02
  be
• 23:02
  Candyman,
• 23:03
  he
• 23:03
  would
• 23:03
  have
• 23:04
  been
• 23:04
  Candyman
• 23:05
  because
• 23:05
  he
• 23:05
  was
• 23:05
  Eddie
• 23:06
  Murphy
• 23:06
  at
• 23:06
  the
• 23:06
  height
• 23:07
  of
• 23:07
  his
• 23:07
  career.
• 23:08
  Rose
• 23:09
  has
• 23:09
  always
• 23:09
  suggested
• 23:10
  that
• 23:10
  Tony
• 23:10
  Todd
• 23:11
  was
• 23:11
  the
• 23:11
  first
• 23:12
  and
• 23:12
  only
• 23:12
  choice
• 23:12
  for
• 23:13
  the
• 23:13
  role.
• 23:13
  Todd,
• 23:14
  who
• 23:14
  of
• 23:14
  course
• 23:15
  passed
• 23:15
  away
• 23:15
  just
• 23:15
  recently
• 23:16
  at
• 23:16
  the
• 23:16
  end
• 23:16
  of
• 23:16
  2024,
• 23:18
  had
• 23:18
  probably
• 23:18
  been
• 23:19
  most
• 23:19
  well
• 23:19
  known
• 23:19
  for
• 23:20
  his
• 23:20
  role
• 23:20
  as
• 23:20
  Ben
• 23:21
  in
• 23:21
  the
• 23:21
  Night
• 23:21
  of
• 23:21
  the
• 23:22
  Living
• 23:22
  dead
• 23:22
  remake
• 23:22
  in
• 23:23
  1990.
• 23:24
  But
• 23:24
  Candyman
• 23:25
  would
• 23:25
  probably
• 23:26
  be
• 23:26
  his
• 23:26
  most
• 23:27
  memorable
• 23:27
  role.
• 23:28
  And
• 23:28
  unlike
• 23:29
  most
• 23:29
  horror
• 23:29
  icons,
• 23:30
  he
• 23:30
  wouldn't
• 23:31
  wear
• 23:31
  a
• 23:31
  mask
• 23:32
  or
• 23:32
  have
• 23:32
  a
• 23:32
  scarred
• 23:33
  face.
• 23:34
  Todd
• 23:34
  would
• 23:34
  embody
• 23:35
  Candyman,
• 23:36
  and
• 23:36
  in
• 23:36
  a
• 23:36
  vast
• 23:37
  career
• 23:37
  with
• 23:37
  over
• 23:38
  200
• 23:38
  appearances,
• 23:39
  including
• 23:40
  in
• 23:40
  horror
• 23:40
  franchises
• 23:41
  like
• 23:41
  Wishmaster
• 23:42
  and
• 23:42
  Final
• 23:43
  Destination,
• 23:44
  Candyman
• 23:45
  would
• 23:45
  be
• 23:45
  the
• 23:45
  one
• 23:46
  he
• 23:46
  was
• 23:46
  most
• 23:46
  fondly
• 23:47
  and
• 23:47
  vividly
• 23:48
  remembered
• 23:48
  for.
• 23:49
  And
• 23:49
  with
• 23:49
  his
• 23:49
  6
• 23:50
  foot
• 23:50
  5
• 23:50
  frame,
• 23:51
  he
• 23:51
  was
• 23:51
  physically
• 23:52
  imposing,
• 23:53
  but
• 23:53
  apparently
• 23:54
  one
• 23:54
  of
• 23:54
  the
• 23:54
  loveliest,
• 23:55
  kindest
• 23:55
  men
• 23:56
  in
• 23:56
  the
• 23:56
  industry.
• 23:57
  And
• 23:57
  Bernard
• 23:58
  Rose
• 23:58
  would
• 23:58
  take
• 23:59
  cues
• 23:59
  from
• 23:59
  the
• 24:00
  Orson
• 24:00
  Welles
• 24:00
  classic
• 24:01
  the
• 24:01
  Third
• 24:01
  man
• 24:02
  in
• 24:02
  intentionally
• 24:03
  holding
• 24:03
  back
• 24:04
  on
• 24:04
  the
• 24:04
  introduction
• 24:05
  of
• 24:06
  Tony
• 24:06
  Todd's
• 24:07
  Candyman.
• 24:08
  Virginia
• 24:08
  Madsen
• 24:09
  and
• 24:09
  Tony
• 24:09
  Todd,
• 24:10
  they
• 24:10
  obviously
• 24:10
  became
• 24:11
  very
• 24:11
  good
• 24:11
  friends
• 24:12
  and
• 24:12
  they
• 24:12
  were
• 24:12
  fully
• 24:13
  involved
• 24:13
  in
• 24:13
  researching
• 24:14
  their
• 24:14
  roles,
• 24:15
  building
• 24:15
  backstories
• 24:16
  for
• 24:16
  their
• 24:17
  characters
• 24:17
  connection,
• 24:18
  and
• 24:18
  that
• 24:19
  included
• 24:19
  taking
• 24:19
  a
• 24:20
  trip
• 24:20
  to
• 24:20
  Cabrini
• 24:21
  Green
• 24:21
  with
• 24:22
  the
• 24:22
  support
• 24:22
  of
• 24:22
  plainclothes
• 24:23
  police
• 24:23
  officers.
• 24:24
  Originally,
• 24:25
  the
• 24:25
  Candyman
• 24:26
  was
• 24:26
  going
• 24:26
  to
• 24:26
  be
• 24:27
  more
• 24:27
  supernatural
• 24:28
  with
• 24:28
  a
• 24:28
  machine
• 24:28
  controlled
• 24:29
  fake
• 24:29
  arm,
• 24:30
  but
• 24:30
  the
• 24:30
  movements
• 24:31
  of
• 24:31
  the
• 24:31
  arm
• 24:31
  were
• 24:31
  too
• 24:32
  strict.
• 24:32
  It
• 24:32
  was
• 24:33
  special
• 24:33
  makeup
• 24:33
  effects
• 24:34
  artist
• 24:34
  Bob
• 24:34
  Kinion
• 24:35
  who
• 24:35
  came
• 24:36
  up
• 24:36
  with
• 24:36
  the
• 24:36
  idea
• 24:37
  for
• 24:37
  Candyman
• 24:38
  to
• 24:38
  have
• 24:38
  a
• 24:38
  hook.
• 24:40
  Tony
• 24:40
  Todd
• 24:41
  was
• 24:41
  encouraged
• 24:41
  to
• 24:41
  create
• 24:42
  his
• 24:42
  own
• 24:42
  backstory
• 24:43
  for
• 24:43
  the
• 24:43
  character.
• 24:44
  He
• 24:44
  named
• 24:45
  the
• 24:45
  character
• 24:45
  Granville
• 24:46
  T.
• 24:46
  Candyman
• 24:47
  and
• 24:48
  developed
• 24:48
  a
• 24:48
  history
• 24:48
  for
• 24:49
  him
• 24:49
  as
• 24:49
  the
• 24:49
  scion
• 24:50
  of
• 24:50
  a
• 24:50
  rich
• 24:51
  Black
• 24:51
  family
• 24:51
  in
• 24:52
  1870s
• 24:53
  Chicago.
• 24:54
  Having
• 24:54
  gained
• 24:54
  fame
• 24:55
  for
• 24:55
  his
• 24:55
  portraits
• 24:56
  and
• 24:56
  music,
• 24:57
  Granville
• 24:57
  is
• 24:58
  commissioned
• 24:58
  to
• 24:58
  paint
• 24:58
  Helen,
• 24:59
  the
• 24:59
  ravishing
• 25:00
  daughter
• 25:00
  of
• 25:00
  a
• 25:00
  wealthy
• 25:01
  landowner.
• 25:02
  Granville
• 25:03
  demands
• 25:03
  that
• 25:03
  Helen
• 25:03
  pose
• 25:04
  in
• 25:04
  the
• 25:04
  nude
• 25:05
  as
• 25:05
  Venus,
• 25:05
  and
• 25:06
  her
• 25:06
  shock
• 25:06
  soon
• 25:07
  turns
• 25:07
  to
• 25:07
  love.
• 25:08
  Their
• 25:08
  forbidden
• 25:09
  interracial
• 25:09
  affair
• 25:10
  brings
• 25:10
  the
• 25:10
  city's
• 25:11
  wrath
• 25:11
  down
• 25:11
  on
• 25:11
  Granville,
• 25:12
  cutting
• 25:13
  his
• 25:13
  right
• 25:13
  painting
• 25:14
  hand
• 25:14
  off
• 25:14
  with
• 25:14
  a
• 25:15
  rusty
• 25:15
  blade.
• 25:16
  The
• 25:16
  lynch
• 25:16
  knob
• 25:17
  then
• 25:17
  covers
• 25:17
  his
• 25:17
  naked
• 25:18
  body
• 25:18
  with
• 25:18
  honey,
• 25:19
  cheering
• 25:19
  as
• 25:20
  he's
• 25:20
  stunned
• 25:20
  to
• 25:21
  death
• 25:21
  by
• 25:21
  bees.
• 25:23
  This
• 25:23
  is
• 25:23
  not
• 25:23
  the
• 25:24
  canonical
• 25:24
  backstory
• 25:25
  of
• 25:25
  the
• 25:25
  character.
• 25:26
  The
• 25:26
  canonical
• 25:27
  backstory
• 25:27
  is
• 25:27
  covered
• 25:28
  instead
• 25:28
  in
• 25:29
  the
• 25:29
  sequel.
• 25:30
  But
• 25:30
  this
• 25:30
  is
• 25:30
  quite
• 25:30
  interesting
• 25:31
  because
• 25:31
  this
• 25:31
  is
• 25:32
  Tony
• 25:32
  Todd
• 25:33
  fully
• 25:33
  immersed
• 25:34
  in
• 25:34
  the
• 25:34
  character
• 25:35
  and
• 25:35
  Trying
• 25:36
  to
• 25:36
  bring
• 25:36
  that
• 25:37
  history
• 25:37
  and
• 25:38
  that
• 25:38
  love
• 25:38
  for
• 25:38
  the
• 25:38
  character
• 25:39
  of
• 25:39
  Helen
• 25:39
  to
• 25:40
  the
• 25:40
  forefront.
• 25:41
  And
• 25:41
  as
• 25:41
  I
• 25:42
  mentioned,
• 25:42
  this
• 25:42
  was
• 25:42
  a
• 25:42
  movie
• 25:43
  that
• 25:43
  was
• 25:44
  filmed
• 25:44
  partially
• 25:45
  on
• 25:45
  location.
• 25:46
  And
• 25:46
  in
• 25:46
  order
• 25:46
  to
• 25:47
  film
• 25:47
  at
• 25:47
  Cabrini
• 25:48
  Green,
• 25:49
  a
• 25:49
  deal
• 25:49
  had
• 25:49
  to
• 25:50
  be
• 25:50
  made
• 25:50
  with
• 25:50
  the
• 25:50
  ruling
• 25:51
  gang
• 25:51
  members
• 25:51
  to
• 25:52
  ensure
• 25:52
  the
• 25:52
  cast
• 25:53
  and
• 25:53
  crew's
• 25:53
  safety.
• 25:54
  And
• 25:54
  many
• 25:55
  of
• 25:55
  these
• 25:55
  gang
• 25:56
  members
• 25:56
  would
• 25:56
  end
• 25:57
  up
• 25:57
  as
• 25:57
  background
• 25:57
  extras
• 25:58
  in
• 25:58
  the
• 25:58
  movie.
• 25:59
  They
• 25:59
  filmed
• 26:00
  in
• 26:00
  the
• 26:00
  area
• 26:00
  for
• 26:00
  about
• 26:01
  a
• 26:01
  week,
• 26:02
  with
• 26:02
  all
• 26:02
  the
• 26:02
  apartment
• 26:03
  exteriors,
• 26:04
  hallway,
• 26:04
  stairway
• 26:05
  and
• 26:05
  outdoor
• 26:06
  sequences
• 26:06
  filmed
• 26:07
  at
• 26:07
  Cabrini
• 26:07
  Green,
• 26:08
  with
• 26:08
  other
• 26:09
  scenes
• 26:09
  shot
• 26:09
  at
• 26:10
  the
• 26:10
  University
• 26:10
  of
• 26:10
  Illinois
• 26:11
  Penn
• 26:12
  Central
• 26:12
  freight
• 26:12
  yards
• 26:13
  and
• 26:13
  Helen's
• 26:13
  apartment
• 26:14
  building
• 26:14
  at
• 26:15
  North
• 26:15
  Sandburg
• 26:16
  Terrace.
• 26:16
  The
• 26:17
  rest
• 26:17
  of
• 26:17
  the
• 26:17
  movie
• 26:17
  was
• 26:18
  shot
• 26:18
  at
• 26:18
  Occidental
• 26:19
  Studios
• 26:20
  in
• 26:20
  Los
• 26:20
  Angeles.
• 26:21
  And
• 26:22
  yes,
• 26:22
  they
• 26:23
  used
• 26:23
  real
• 26:23
  bees,
• 26:24
  thousands
• 26:25
  of
• 26:25
  upon
• 26:25
  thousands
• 26:26
  of
• 26:26
  them.
• 26:26
  And
• 26:27
  for
• 26:27
  that
• 26:27
  we
• 26:28
  thank
• 26:28
  Norman
• 26:28
  Gary,
• 26:29
  who
• 26:29
  had
• 26:29
  previously
• 26:30
  been
• 26:30
  the
• 26:30
  bee
• 26:30
  wrangler
• 26:31
  on
• 26:31
  the
• 26:31
  Savage
• 26:32
  Bees,
• 26:32
  My
• 26:33
  Girl
• 26:33
  and
• 26:33
  Fried
• 26:33
  Green
• 26:34
  Tomatoes
• 26:34
  at
• 26:35
  the
• 26:35
  Whistlestop
• 26:35
  Cafe.
• 26:36
  He
• 26:37
  had
• 26:37
  developed
• 26:37
  a
• 26:37
  synthesized
• 26:38
  queen
• 26:38
  bee
• 26:39
  pheromone
• 26:39
  and
• 26:40
  supplied
• 26:40
  More
• 26:41
  than
• 26:41
  200,000
• 26:42
  honeybees
• 26:43
  for
• 26:43
  the
• 26:43
  movie.
• 26:44
  Bees
• 26:45
  tend
• 26:45
  to
• 26:45
  sting,
• 26:45
  though,
• 26:46
  especially
• 26:46
  if
• 26:46
  they
• 26:47
  feel
• 26:47
  threatened.
• 26:48
  Most
• 26:48
  of
• 26:48
  the
• 26:48
  crew
• 26:49
  wore
• 26:49
  protected
• 26:49
  bodysuits
• 26:50
  during
• 26:50
  the
• 26:51
  bee
• 26:51
  filming
• 26:51
  scene.
• 26:52
  But
• 26:52
  everyone
• 26:53
  still
• 26:53
  got
• 26:53
  stung
• 26:54
  at
• 26:54
  least
• 26:54
  once.
• 26:55
  Tony
• 26:56
  Todd
• 26:56
  cleverly
• 26:57
  negotiated
• 26:58
  a
• 26:58
  bonus
• 26:58
  of
• 26:59
  $1,000
• 27:00
  for
• 27:00
  every
• 27:00
  bee
• 27:01
  sting
• 27:01
  he
• 27:01
  received.
• 27:02
  $23,000
• 27:04
  seems
• 27:05
  like
• 27:05
  decent
• 27:05
  enough
• 27:06
  compensation
• 27:07
  for
• 27:07
  23
• 27:08
  bee
• 27:08
  stings.
• 27:09
  To
• 27:09
  achieve
• 27:10
  the
• 27:10
  effect
• 27:10
  of
• 27:10
  a
• 27:10
  toilet
• 27:11
  bowl
• 27:11
  filled
• 27:11
  with
• 27:12
  bees,
• 27:12
  a
• 27:13
  queen
• 27:13
  bee
• 27:13
  scent
• 27:14
  was
• 27:14
  applied
• 27:14
  by
• 27:14
  Norman
• 27:15
  Gary
• 27:15
  to
• 27:15
  the
• 27:16
  inside
• 27:16
  of
• 27:16
  the
• 27:16
  bowl.
• 27:17
  The
• 27:17
  bees
• 27:18
  were
• 27:18
  released
• 27:18
  from
• 27:18
  the
• 27:18
  hive
• 27:19
  into
• 27:19
  the
• 27:19
  toilet
• 27:20
  and
• 27:20
  and
• 27:20
  Vaseline
• 27:21
  was
• 27:21
  applied
• 27:21
  to
• 27:21
  the
• 27:21
  upper
• 27:22
  inside
• 27:22
  of
• 27:22
  the
• 27:22
  bowl
• 27:23
  to
• 27:23
  prevent
• 27:23
  the
• 27:23
  bees
• 27:24
  crawling
• 27:24
  up
• 27:24
  out
• 27:25
  of
• 27:25
  the
• 27:25
  lid.
• 27:26
  After
• 27:26
  the
• 27:26
  scene
• 27:27
  was
• 27:27
  filmed,
• 27:27
  the
• 27:27
  bees
• 27:28
  were
• 27:28
  collected
• 27:29
  with
• 27:29
  a
• 27:29
  soft,
• 27:30
  gentle
• 27:30
  vacuum
• 27:31
  and
• 27:31
  returned
• 27:32
  to
• 27:32
  the
• 27:32
  hive
• 27:33
  for
• 27:33
  a
• 27:34
  scene
• 27:34
  in
• 27:34
  which
• 27:34
  bees
• 27:35
  fill
• 27:35
  Candyman's
• 27:36
  chest
• 27:36
  cavity.
• 27:37
  The
• 27:37
  bees
• 27:38
  were
• 27:38
  placed
• 27:38
  in
• 27:39
  a
• 27:39
  special
• 27:39
  body
• 27:39
  appliance
• 27:40
  which
• 27:40
  was
• 27:41
  filled
• 27:41
  off
• 27:41
  stage
• 27:42
  and
• 27:42
  then
• 27:42
  strapped
• 27:43
  to
• 27:43
  Tony
• 27:43
  Todd.
• 27:44
  And
• 27:44
  of
• 27:44
  course,
• 27:45
  the
• 27:45
  utmost
• 27:45
  care
• 27:46
  was
• 27:46
  taken
• 27:46
  to
• 27:46
  always
• 27:47
  be
• 27:47
  gentle
• 27:47
  with
• 27:47
  the
• 27:48
  bees,
• 27:48
  placing
• 27:49
  them
• 27:49
  properly
• 27:49
  and
• 27:50
  then
• 27:50
  collecting
• 27:51
  them
• 27:51
  afterwards.
• 27:52
  But
• 27:53
  of
• 27:53
  course,
• 27:53
  everyone
• 27:53
  remembers
• 27:54
  this
• 27:54
  movie
• 27:54
  for
• 27:55
  one
• 27:55
  thing,
• 27:55
  really,
• 27:56
  and
• 27:56
  that
• 27:56
  is
• 27:56
  the
• 27:57
  climax
• 27:57
  where
• 27:58
  Candyman
• 27:58
  has
• 27:59
  bees
• 27:59
  in
• 27:59
  his
• 28:00
  mouth.
• 28:00
  Tony
• 28:01
  Todd
• 28:01
  really
• 28:01
  had
• 28:02
  bees
• 28:02
  in
• 28:02
  his
• 28:02
  mouth
• 28:03
  and
• 28:03
  used
• 28:03
  a
• 28:03
  dental
• 28:04
  dam
• 28:04
  to
• 28:04
  avoid
• 28:05
  stings
• 28:05
  and
• 28:05
  the
• 28:05
  bees
• 28:06
  going
• 28:06
  down
• 28:06
  his
• 28:07
  throat.
• 28:08
  These
• 28:08
  bees
• 28:08
  were
• 28:09
  very
• 28:09
  special.
• 28:09
  They
• 28:09
  were
• 28:10
  freshly
• 28:10
  hatched,
• 28:11
  non
• 28:11
  stinging
• 28:12
  and
• 28:12
  non
• 28:13
  flying
• 28:13
  bees.
• 28:14
  They
• 28:14
  were
• 28:14
  baby
• 28:15
  bees.
• 28:15
  There
• 28:16
  were
• 28:16
  500
• 28:17
  of
• 28:17
  them
• 28:17
  that
• 28:18
  transferred
• 28:18
  from
• 28:18
  Tony
• 28:19
  Todd's
• 28:19
  face
• 28:20
  to
• 28:20
  Virginia
• 28:21
  Madsen's
• 28:22
  face,
• 28:22
  who,
• 28:22
  as
• 28:22
  I
• 28:23
  mentioned,
• 28:23
  was
• 28:23
  allergic
• 28:24
  to
• 28:24
  bees.
• 28:25
  She
• 28:25
  would
• 28:25
  go
• 28:26
  through
• 28:26
  a
• 28:26
  period
• 28:26
  of
• 28:26
  hypnosis
• 28:27
  before
• 28:27
  filming
• 28:28
  the
• 28:28
  key
• 28:28
  Candyman
• 28:29
  scene
• 28:29
  to
• 28:30
  appear
• 28:30
  almost
• 28:30
  trance
• 28:31
  like
• 28:32
  rather
• 28:32
  than
• 28:32
  the
• 28:32
  traditional
• 28:33
  screaming
• 28:34
  horror
• 28:34
  girl.
• 28:34
  It
• 28:35
  would
• 28:35
  take
• 28:35
  half
• 28:35
  an
• 28:35
  hour
• 28:36
  for
• 28:36
  all
• 28:36
  the
• 28:36
  bees
• 28:37
  to
• 28:37
  transfer
• 28:37
  into
• 28:37
  Tony
• 28:38
  Todd's
• 28:38
  mouth,
• 28:39
  which
• 28:39
  was
• 28:40
  used
• 28:40
  with
• 28:40
  the
• 28:40
  synthesized
• 28:41
  queen
• 28:41
  bee
• 28:41
  pheromone.
• 28:43
  Before
• 28:43
  filming
• 28:43
  even
• 28:44
  started,
• 28:44
  Todd
• 28:45
  went
• 28:45
  to
• 28:45
  see
• 28:45
  the
• 28:45
  bees
• 28:46
  in
• 28:46
  their
• 28:46
  hive,
• 28:46
  in
• 28:47
  their
• 28:47
  trainer,
• 28:48
  because,
• 28:48
  of
• 28:48
  course,
• 28:48
  the
• 28:49
  bees
• 28:49
  had
• 28:49
  their
• 28:49
  own
• 28:49
  trainer
• 28:50
  and
• 28:50
  met
• 28:51
  them
• 28:51
  and
• 28:51
  found
• 28:52
  the
• 28:52
  experience
• 28:52
  reassuring.
• 28:54
  Toby
• 28:54
  Todd,
• 28:55
  to
• 28:55
  me,
• 28:55
  has
• 28:55
  always
• 28:56
  come
• 28:56
  across
• 28:56
  as
• 28:56
  the
• 28:57
  absolute
• 28:57
  gentleman
• 28:58
  in
• 28:58
  the
• 28:58
  true
• 28:58
  sense
• 28:59
  of
• 28:59
  the
• 28:59
  word,
• 28:59
  a
• 29:00
  gentle
• 29:00
  man.
• 29:01
  Virginia
• 29:02
  Madsen
• 29:02
  would
• 29:02
  say
• 29:02
  working
• 29:03
  with
• 29:03
  him
• 29:03
  was
• 29:03
  incredible,
• 29:04
  that
• 29:04
  he
• 29:05
  was
• 29:05
  protective,
• 29:06
  poetic,
• 29:07
  handsome
• 29:07
  and
• 29:08
  gentle
• 29:08
  giant.
• 29:09
  And
• 29:09
  I
• 29:09
  believe
• 29:10
  all
• 29:10
  of
• 29:10
  the
• 29:10
  things
• 29:10
  that
• 29:11
  people
• 29:11
  say
• 29:11
  about
• 29:11
  him.
• 29:12
  Candyman
• 29:13
  scared
• 29:13
  the
• 29:13
  bejesus
• 29:14
  out
• 29:14
  of
• 29:14
  me
• 29:14
  when
• 29:15
  I
• 29:15
  was
• 29:15
  a
• 29:15
  kid,
• 29:16
  but
• 29:16
  I
• 29:16
  fully
• 29:16
  believe
• 29:17
  that
• 29:17
  Tony
• 29:17
  Todd
• 29:18
  was
• 29:18
  the
• 29:18
  complete
• 29:19
  opposite.
• 29:19
  But
• 29:20
  anyway,
• 29:20
  he
• 29:21
  had
• 29:21
  to
• 29:21
  transfer
• 29:22
  these
• 29:22
  bees
• 29:22
  onto
• 29:23
  Virginia
• 29:23
  Madsen
• 29:24
  and
• 29:24
  she
• 29:25
  had
• 29:25
  to
• 29:25
  have
• 29:26
  tests
• 29:26
  to
• 29:26
  find
• 29:27
  out
• 29:27
  the
• 29:27
  extent
• 29:28
  of
• 29:28
  her
• 29:28
  allergies.
• 29:29
  And
• 29:29
  it
• 29:29
  turned
• 29:29
  out
• 29:30
  she
• 29:30
  was
• 29:30
  more
• 29:30
  allergic
• 29:31
  to
• 29:31
  wasps
• 29:31
  than
• 29:32
  bees.
• 29:32
  But
• 29:33
  paramedics
• 29:33
  were
• 29:34
  on
• 29:34
  hand
• 29:34
  just
• 29:34
  in
• 29:34
  case,
• 29:35
  and
• 29:35
  she
• 29:35
  had
• 29:36
  to
• 29:36
  lie
• 29:36
  there
• 29:36
  and
• 29:37
  let
• 29:37
  Todd
• 29:38
  transfer
• 29:38
  the
• 29:38
  bees
• 29:39
  onto
• 29:39
  her.
• 29:40
  It
• 29:40
  would
• 29:40
  take
• 29:40
  45
• 29:41
  minutes
• 29:41
  after
• 29:42
  the
• 29:42
  scene
• 29:42
  stopped
• 29:42
  filming
• 29:43
  for
• 29:43
  the
• 29:43
  bees
• 29:44
  to
• 29:44
  be
• 29:44
  collected
• 29:45
  and
• 29:45
  put
• 29:45
  back
• 29:46
  into
• 29:46
  their
• 29:46
  hive.
• 29:47
  The
• 29:47
  same
• 29:48
  team
• 29:48
  who
• 29:48
  worked
• 29:49
  on
• 29:49
  Backdraft
• 29:50
  designed
• 29:51
  the
• 29:51
  set
• 29:51
  used
• 29:52
  for
• 29:52
  the
• 29:53
  incredible
• 29:53
  bonfire
• 29:54
  at
• 29:54
  the
• 29:54
  end,
• 29:55
  which
• 29:55
  was
• 29:55
  filmed
• 29:56
  two
• 29:56
  and
• 29:56
  a
• 29:56
  half
• 29:56
  miles
• 29:57
  south
• 29:57
  of
• 29:57
  Cabrini
• 29:58
  Green
• 29:58
  on
• 29:58
  a
• 29:58
  demolition
• 29:59
  site
• 30:00
  and
• 30:00
  involved
• 30:01
  1500
• 30:01
  gallons
• 30:02
  of
• 30:02
  propane.
• 30:03
  The
• 30:03
  largest
• 30:04
  section
• 30:04
  was
• 30:05
  70ft
• 30:05
  wide
• 30:06
  and
• 30:06
  30ft
• 30:07
  high,
• 30:08
  and
• 30:08
  Todd
• 30:08
  and
• 30:08
  Madsen
• 30:09
  shot
• 30:09
  the
• 30:09
  interior
• 30:10
  scenes
• 30:10
  off
• 30:10
  the
• 30:11
  fire
• 30:11
  themselves
• 30:12
  with
• 30:12
  stunt
• 30:13
  doubles
• 30:13
  doing
• 30:13
  the
• 30:13
  most
• 30:14
  dangerous
• 30:14
  stuff.
• 30:15
  It
• 30:15
  was
• 30:15
  done
• 30:16
  under
• 30:16
  a
• 30:16
  special
• 30:16
  structure
• 30:17
  that
• 30:17
  could
• 30:17
  deal
• 30:18
  with
• 30:18
  the
• 30:18
  intense
• 30:18
  heat
• 30:19
  and
• 30:19
  not
• 30:20
  cave
• 30:20
  in.
• 30:21
  But
• 30:22
  speaking
• 30:22
  of
• 30:22
  hotness,
• 30:23
  it's
• 30:24
  time
• 30:24
  for
• 30:24
  the
• 30:24
  obligatory
• 30:25
  Keanu
• 30:25
  reference
• 30:26
  of
• 30:26
  this
• 30:26
  episode.
• 30:27
  And
• 30:27
  if
• 30:28
  you
• 30:28
  don't
• 30:28
  know
• 30:28
  what
• 30:28
  that
• 30:28
  is,
• 30:28
  it's
• 30:29
  where
• 30:29
  I
• 30:29
  try
• 30:29
  and
• 30:29
  link
• 30:30
  the
• 30:30
  movie
• 30:30
  that
• 30:30
  I'm
• 30:30
  featuring
• 30:31
  with
• 30:31
  Keanu
• 30:32
  Reeves
• 30:32
  for
• 30:33
  no
• 30:33
  reason
• 30:33
  other
• 30:33
  than
• 30:34
  he
• 30:34
  is
• 30:34
  still
• 30:35
  the
• 30:35
  best
• 30:35
  of
• 30:35
  men,
• 30:36
  even
• 30:36
  though
• 30:36
  he
• 30:37
  very
• 30:37
  recently
• 30:37
  got
• 30:38
  married.
• 30:38
  Still
• 30:39
  the
• 30:39
  best
• 30:39
  of
• 30:39
  men,
• 30:40
  and
• 30:40
  I
• 30:40
  wish
• 30:40
  him
• 30:41
  and
• 30:41
  his
• 30:41
  new
• 30:41
  wife
• 30:42
  all
• 30:42
  the
• 30:42
  best.
• 30:43
  I'm
• 30:43
  only
• 30:43
  a
• 30:44
  little
• 30:44
  bit
• 30:44
  jealous
• 30:44
  that
• 30:44
  he
• 30:44
  didn't
• 30:45
  marry
• 30:45
  me,
• 30:45
  but
• 30:46
  I'm
• 30:46
  sure
• 30:46
  that
• 30:46
  Alexandra
• 30:47
  is
• 30:48
  his
• 30:48
  absolute
• 30:49
  queen.
• 30:49
  And
• 30:50
  so,
• 30:50
  despite
• 30:50
  him
• 30:50
  now
• 30:51
  being
• 30:51
  a
• 30:51
  married
• 30:51
  man,
• 30:52
  I'm
• 30:52
  still
• 30:52
  going
• 30:53
  to
• 30:53
  continue
• 30:53
  with
• 30:53
  the
• 30:53
  obligature
• 30:54
  Keanu
• 30:54
  references.
• 30:55
  And
• 30:55
  this
• 30:56
  one's
• 30:56
  a
• 30:56
  really
• 30:56
  interesting
• 30:57
  one
• 30:57
  because
• 30:58
  Keanu
• 30:59
  starred
• 30:59
  in
• 31:00
  a
• 31:00
  2001
• 31:01
  film
• 31:01
  that
• 31:01
  I
• 31:01
  have
• 31:01
  not
• 31:02
  seen
• 31:02
  called
• 31:02
  Heartball,
• 31:04
  where
• 31:04
  his
• 31:04
  character
• 31:05
  coaches
• 31:05
  A
• 31:06
  ragtag
• 31:06
  bunch
• 31:07
  of
• 31:07
  kids
• 31:07
  on
• 31:08
  an
• 31:08
  inner
• 31:08
  city
• 31:09
  Little
• 31:09
  League
• 31:09
  team.
• 31:10
  And
• 31:10
  almost
• 31:11
  half
• 31:11
  of
• 31:11
  the
• 31:11
  film
• 31:12
  was
• 31:12
  shot
• 31:13
  at
• 31:13
  a
• 31:13
  Chicago
• 31:14
  housing
• 31:14
  authority.
• 31:15
  And
• 31:15
  interestingly,
• 31:16
  it
• 31:16
  was
• 31:16
  actually
• 31:17
  shot
• 31:17
  about
• 31:18
  three
• 31:18
  miles
• 31:19
  south
• 31:19
  of
• 31:19
  Cabrini
• 31:20
  Green.
• 31:21
  So
• 31:21
  it
• 31:21
  was
• 31:21
  shot
• 31:22
  on
• 31:22
  a
• 31:22
  public
• 31:22
  housing
• 31:23
  project,
• 31:24
  one
• 31:24
  of
• 31:24
  the
• 31:25
  ABLA
• 31:25
  Housing
• 31:26
  Authority
• 31:26
  projects
• 31:27
  on
• 31:27
  the
• 31:28
  near
• 31:28
  west
• 31:28
  side
• 31:29
  of
• 31:29
  Chicago.
• 31:30
  Almost
• 31:30
  half
• 31:30
  of
• 31:30
  the
• 31:30
  film
• 31:31
  was
• 31:31
  shot
• 31:32
  on
• 31:32
  location
• 31:33
  on
• 31:33
  the
• 31:33
  housing
• 31:34
  project.
• 31:35
  I
• 31:35
  quickly
• 31:36
  want
• 31:36
  to
• 31:36
  talk
• 31:36
  about
• 31:36
  the
• 31:37
  music
• 31:37
  of
• 31:38
  Candyman
• 31:39
  because
• 31:39
  the
• 31:40
  music
• 31:40
  is
• 31:40
  so
• 31:40
  important
• 31:41
  to
• 31:41
  the
• 31:41
  general
• 31:42
  atmosphere
• 31:43
  of
• 31:43
  this
• 31:43
  movie
• 31:44
  and
• 31:45
  it's
• 31:45
  such
• 31:45
  an
• 31:45
  understated
• 31:46
  score,
• 31:47
  but
• 31:47
  I
• 31:48
  think
• 31:48
  it
• 31:48
  works
• 31:48
  so
• 31:49
  well
• 31:49
  because
• 31:50
  it's
• 31:50
  so
• 31:51
  understated.
• 31:52
  And
• 31:52
  Bernard
• 31:52
  Rose
• 31:53
  was
• 31:53
  a
• 31:53
  huge
• 31:53
  fan
• 31:54
  of
• 31:54
  Koya
• 31:55
  Nitsqatsi,
• 31:56
  which
• 31:56
  I
• 31:56
  probably
• 31:56
  just
• 31:57
  butchered
• 31:57
  the
• 31:57
  pronunciation
• 31:58
  of.
• 31:59
  And
• 31:59
  who
• 31:59
  did
• 31:59
  the
• 31:59
  score
• 32:00
  for
• 32:00
  that
• 32:00
  movie?
• 32:01
  A
• 32:01
  guy
• 32:01
  called
• 32:01
  Philip
• 32:02
  Glass.
• 32:02
  So
• 32:03
  Bernard
• 32:03
  Rose
• 32:03
  hired
• 32:04
  Philip
• 32:04
  Glass,
• 32:05
  based
• 32:05
  on
• 32:05
  his
• 32:06
  score
• 32:06
  for
• 32:06
  that
• 32:06
  movie
• 32:07
  for
• 32:08
  him
• 32:08
  to
• 32:08
  write
• 32:08
  the
• 32:08
  score
• 32:09
  for
• 32:09
  Candyman.
• 32:10
  And
• 32:10
  he
• 32:10
  wrote
• 32:10
  a
• 32:11
  suite
• 32:11
  for
• 32:11
  the
• 32:11
  movie
• 32:12
  with
• 32:12
  just
• 32:12
  an
• 32:13
  organ,
• 32:13
  a
• 32:14
  choir
• 32:14
  and
• 32:14
  a
• 32:15
  piano.
• 32:15
  After
• 32:16
  seeing
• 32:16
  an
• 32:16
  early
• 32:17
  cut,
• 32:17
  Bernard
• 32:18
  Rose
• 32:18
  then
• 32:19
  cut
• 32:19
  the
• 32:19
  film
• 32:19
  to
• 32:20
  the
• 32:20
  suite
• 32:21
  and
• 32:21
  the
• 32:21
  music
• 32:21
  has
• 32:22
  become
• 32:22
  such
• 32:22
  a
• 32:23
  classic
• 32:23
  that
• 32:24
  Glass
• 32:24
  still
• 32:24
  sees
• 32:25
  residuals
• 32:26
  every
• 32:26
  year
• 32:26
  from
• 32:27
  copies
• 32:27
  of
• 32:27
  the
• 32:28
  score.
• 32:29
  Candyman
• 32:30
  premiered
• 32:31
  at
• 32:31
  the
• 32:31
  17th
• 32:31
  Toronto
• 32:32
  International
• 32:33
  Film
• 32:33
  Festival,
• 32:34
  which
• 32:34
  took
• 32:34
  place
• 32:34
  between
• 32:35
  the
• 32:35
  10th
• 32:35
  and
• 32:36
  19th
• 32:36
  of
• 32:36
  September
• 32:37
  1992
• 32:38
  during
• 32:39
  its
• 32:39
  Midnight
• 32:39
  Madness
• 32:40
  lineup.
• 32:41
  It
• 32:41
  released
• 32:42
  in
• 32:42
  the
• 32:42
  US
• 32:42
  on
• 32:43
  the
• 32:43
  16th
• 32:43
  of
• 32:43
  October
• 32:44
  1992,
• 32:45
  debuting
• 32:46
  Act
• 32:46
  3
• 32:47
  at
• 32:47
  the
• 32:47
  US
• 32:48
  box
• 32:48
  office.
• 32:49
  The
• 32:49
  best
• 32:49
  of
• 32:49
  the
• 32:49
  new
• 32:49
  releases
• 32:50
  that
• 32:50
  week,
• 32:50
  behind
• 32:51
  Under
• 32:51
  Siege
• 32:52
  and
• 32:52
  the
• 32:52
  Last
• 32:52
  of
• 32:53
  the
• 32:53
  Mohicans,
• 32:54
  Candyman
• 32:54
  would
• 32:55
  stay
• 32:55
  in
• 32:55
  the
• 32:55
  top
• 32:55
  10
• 32:56
  for
• 32:56
  five
• 32:57
  weeks
• 32:58
  on
• 32:58
  13
• 32:59
  October
• 33:00
  1992.
• 33:02
  Just
• 33:02
  three
• 33:02
  days
• 33:03
  before
• 33:03
  Candyman's
• 33:04
  release,
• 33:05
  seven
• 33:05
  year
• 33:06
  old
• 33:06
  Dantrell
• 33:07
  Davis
• 33:07
  was
• 33:07
  walking
• 33:08
  to
• 33:08
  school
• 33:08
  with
• 33:08
  his
• 33:09
  mother
• 33:09
  in
• 33:09
  Cabrini
• 33:10
  Green
• 33:10
  and
• 33:11
  was
• 33:11
  killed
• 33:11
  by
• 33:12
  a
• 33:12
  stray
• 33:12
  bullet.
• 33:13
  The
• 33:13
  shooter
• 33:14
  was
• 33:14
  identified
• 33:15
  as
• 33:15
  local
• 33:15
  gang
• 33:16
  member
• 33:16
  Anthony
• 33:17
  Garrett,
• 33:17
  who
• 33:18
  intended
• 33:18
  to
• 33:19
  kill
• 33:19
  a
• 33:19
  rival
• 33:19
  gang
• 33:20
  member.
• 33:21
  Garrett
• 33:21
  was
• 33:21
  convicted
• 33:22
  of
• 33:22
  first
• 33:22
  degree
• 33:23
  murder
• 33:23
  for
• 33:23
  Davis's
• 33:24
  death
• 33:25
  and
• 33:25
  received
• 33:25
  a
• 33:26
  100
• 33:26
  year
• 33:27
  sentence.
• 33:27
  And
• 33:28
  Dantrell
• 33:28
  Davis'
• 33:29
  death
• 33:29
  led
• 33:30
  to
• 33:30
  the
• 33:30
  first
• 33:31
  street
• 33:31
  gang
• 33:31
  truce
• 33:32
  in
• 33:32
  Cabrini
• 33:33
  Green,
• 33:33
  which
• 33:33
  lasted
• 33:34
  for
• 33:34
  three
• 33:35
  years
• 33:36
  on
• 33:36
  its
• 33:37
  $8
• 33:37
  million
• 33:38
  budget.
• 33:38
  Which
• 33:38
  by
• 33:39
  the
• 33:39
  way,
• 33:39
  can
• 33:39
  we
• 33:39
  just
• 33:40
  say
• 33:40
  that
• 33:40
  all
• 33:41
  $8
• 33:41
  million
• 33:42
  is
• 33:42
  right
• 33:43
  there
• 33:43
  on
• 33:43
  screen?
• 33:44
  Candyman
• 33:45
  grossed
• 33:46
  $25.8
• 33:47
  million.
• 33:49
  Enough
• 33:49
  for
• 33:49
  a
• 33:49
  couple
• 33:50
  of
• 33:50
  sequels,
• 33:50
  you
• 33:51
  could
• 33:51
  say.
• 33:51
  Unlocking
• 33:52
  tomatoes.
• 33:53
  Candyman
• 33:53
  has
• 33:53
  a
• 33:53
  rating
• 33:54
  of
• 33:54
  79%
• 33:55
  with
• 33:56
  a
• 33:56
  consensus
• 33:56
  reading.
• 33:57
  Though
• 33:58
  it
• 33:58
  ultimately
• 33:58
  sacrifices
• 33:59
  some
• 33:59
  mystery
• 34:00
  in
• 34:00
  the
• 34:00
  name
• 34:00
  of
• 34:00
  gory
• 34:01
  thrills,
• 34:01
  Candyman
• 34:02
  is
• 34:02
  a
• 34:03
  nuanced,
• 34:03
  effectively
• 34:04
  chilling
• 34:05
  tale
• 34:05
  that
• 34:05
  benefits
• 34:06
  from
• 34:06
  an
• 34:06
  interesting
• 34:07
  premise
• 34:07
  and
• 34:08
  some
• 34:08
  fine
• 34:09
  performances.
• 34:11
  But
• 34:12
  as
• 34:13
  I
• 34:13
  mentioned,
• 34:13
  it
• 34:14
  has
• 34:14
  been
• 34:14
  praised,
• 34:15
  but
• 34:15
  it
• 34:16
  also
• 34:16
  has
• 34:16
  been
• 34:16
  criticized
• 34:17
  and
• 34:17
  several
• 34:18
  black
• 34:18
  directors
• 34:19
  expressed
• 34:20
  their
• 34:20
  own
• 34:20
  issues
• 34:21
  with
• 34:21
  the
• 34:21
  movie's
• 34:22
  central
• 34:22
  themes
• 34:22
  of
• 34:23
  race.
• 34:24
  Reginald
• 34:24
  Hoodlig,
• 34:25
  who
• 34:25
  directed
• 34:25
  Boomerang
• 34:26
  and
• 34:26
  House
• 34:26
  Party,
• 34:27
  he
• 34:28
  would
• 34:28
  go
• 34:28
  on
• 34:28
  to
• 34:28
  work
• 34:28
  on
• 34:28
  Django
• 34:29
  Unchained,
• 34:30
  called
• 34:30
  it
• 34:30
  worrisome.
• 34:32
  Carl
• 34:32
  Franklin
• 34:33
  said
• 34:33
  the
• 34:33
  decision
• 34:34
  to
• 34:34
  make
• 34:34
  Candyman
• 34:35
  black
• 34:35
  and
• 34:36
  move
• 34:36
  the
• 34:36
  story
• 34:36
  to
• 34:37
  Cabrini
• 34:37
  Green
• 34:38
  was,
• 34:38
  quote,
• 34:39
  irresponsible
• 34:39
  and
• 34:40
  racist
• 34:41
  for
• 34:41
  casting
• 34:41
  a
• 34:42
  black
• 34:42
  man
• 34:42
  in
• 34:43
  the
• 34:43
  role
• 34:43
  of
• 34:43
  a
• 34:43
  killer.
• 34:45
  Candyman
• 34:45
  was
• 34:46
  nominated
• 34:46
  for
• 34:46
  six
• 34:47
  Fangoria
• 34:47
  Chainsaw
• 34:48
  Awards
• 34:49
  winning
• 34:49
  Best
• 34:49
  Actress
• 34:50
  for
• 34:50
  Virginia
• 34:51
  Madsen.
• 34:51
  It
• 34:52
  was
• 34:52
  also
• 34:52
  nominated
• 34:53
  for
• 34:53
  four
• 34:53
  Saturn
• 34:53
  Awards
• 34:54
  with
• 34:54
  Virginia
• 34:54
  Madsen
• 34:55
  winning
• 34:55
  Best
• 34:56
  Actress
• 34:56
  yet
• 34:56
  again.
• 34:58
  Bernard
• 34:58
  Rose's
• 34:59
  original
• 34:59
  idea
• 35:00
  for
• 35:00
  a
• 35:00
  sequel
• 35:00
  to
• 35:01
  Candyman
• 35:01
  was
• 35:02
  more
• 35:02
  of
• 35:02
  a
• 35:02
  prequel
• 35:03
  around
• 35:03
  the
• 35:04
  love
• 35:04
  story
• 35:04
  between
• 35:05
  Candyman
• 35:05
  and
• 35:06
  Helen,
• 35:07
  and
• 35:07
  this
• 35:07
  was
• 35:07
  turned
• 35:07
  down
• 35:08
  by
• 35:08
  the
• 35:08
  studio
• 35:09
  due
• 35:09
  to
• 35:09
  the
• 35:10
  interracial
• 35:11
  relationship
• 35:11
  at
• 35:11
  the
• 35:12
  core.
• 35:13
  Two
• 35:13
  standalone
• 35:14
  sequels
• 35:14
  were
• 35:15
  released
• 35:15
  in
• 35:15
  1995
• 35:16
  and
• 35:16
  1999
• 35:18
  candyman
• 35:19
  farewell
• 35:19
  to
• 35:19
  the
• 35:19
  Flesh
• 35:20
  and
• 35:20
  Candyman
• 35:21
  Day
• 35:21
  of
• 35:21
  the
• 35:21
  Dead,
• 35:22
  and
• 35:22
  Tony
• 35:22
  Todd
• 35:23
  was
• 35:23
  the
• 35:23
  only
• 35:24
  actor
• 35:24
  to
• 35:24
  return
• 35:25
  for
• 35:25
  both
• 35:25
  films.
• 35:26
  In
• 35:27
  2018,
• 35:27
  it
• 35:28
  was
• 35:28
  announced
• 35:28
  that
• 35:28
  Jordan
• 35:29
  Peele
• 35:29
  was
• 35:29
  in
• 35:29
  talks
• 35:30
  to
• 35:30
  produce
• 35:31
  a
• 35:31
  direct
• 35:31
  sequel.
• 35:32
  Peele
• 35:33
  produced
• 35:33
  the
• 35:33
  movie
• 35:34
  with
• 35:34
  Nia
• 35:34
  da
• 35:35
  Costa
• 35:35
  directing,
• 35:36
  and
• 35:36
  it
• 35:36
  takes
• 35:37
  place
• 35:37
  in
• 35:37
  the
• 35:37
  now
• 35:38
  gentrified
• 35:38
  Cabrini
• 35:39
  Green,
• 35:40
  starring
• 35:40
  Yahya
• 35:41
  Abdul
• 35:41
  Mateen
• 35:42
  II
• 35:42
  as
• 35:43
  Anthony
• 35:43
  McCoy
• 35:44
  and
• 35:44
  Tony
• 35:45
  Todd
• 35:45
  reprising
• 35:46
  his
• 35:46
  role
• 35:46
  as
• 35:46
  the
• 35:47
  Candyman.
• 35:47
  Vanessa
• 35:48
  Williams
• 35:49
  also
• 35:49
  reprised
• 35:50
  her
• 35:50
  role
• 35:50
  as
• 35:50
  Anne
• 35:51
  Marie
• 35:51
  McCoy.
• 35:52
  Candyman
• 35:53
  2021
• 35:54
  was
• 35:54
  released
• 35:55
  in
• 35:55
  2021.
• 35:56
  I
• 35:56
  haven't
• 35:56
  seen
• 35:57
  it,
• 35:57
  but
• 35:57
  I
• 35:57
  want
• 35:58
  to,
• 35:58
  mostly
• 35:59
  because
• 35:59
  the
• 35:59
  idea
• 36:00
  of
• 36:00
  this
• 36:00
  story
• 36:00
  and
• 36:01
  this
• 36:01
  character
• 36:02
  in
• 36:02
  the
• 36:02
  films
• 36:03
  of
• 36:03
  a
• 36:03
  black
• 36:03
  producer
• 36:04
  and
• 36:04
  director
• 36:05
  written
• 36:06
  by
• 36:06
  Jordan
• 36:06
  Peele,
• 36:07
  Nia
• 36:07
  DaCosta
• 36:08
  and
• 36:08
  Wynne
• 36:08
  Rosenfeld
• 36:10
  seems
• 36:10
  to
• 36:10
  me
• 36:10
  to
• 36:11
  be
• 36:11
  the
• 36:11
  ideal
• 36:11
  way
• 36:12
  to
• 36:12
  tell
• 36:12
  this
• 36:12
  story
• 36:13
  in
• 36:13
  a
• 36:13
  more
• 36:14
  direct
• 36:15
  and
• 36:15
  thoughtful
• 36:16
  manner.
• 36:16
  But
• 36:17
  I've
• 36:17
  not
• 36:17
  seen
• 36:18
  it.
• 36:18
  And
• 36:18
  while
• 36:19
  I
• 36:19
  do
• 36:19
  believe
• 36:19
  that
• 36:20
  Candyman
• 36:20
  1992
• 36:21
  is
• 36:22
  a
• 36:22
  great
• 36:22
  movie,
• 36:23
  it
• 36:23
  does
• 36:23
  have
• 36:23
  that
• 36:24
  specter
• 36:24
  surrounding
• 36:25
  it
• 36:25
  of
• 36:26
  having
• 36:26
  a
• 36:26
  white
• 36:26
  reuter
• 36:27
  and
• 36:27
  director.
• 36:28
  And
• 36:29
  no
• 36:29
  disrespect
• 36:29
  to
• 36:30
  Bernard
• 36:30
  Rose
• 36:30
  who
• 36:31
  took
• 36:31
  this
• 36:31
  material
• 36:32
  and
• 36:32
  rather
• 36:33
  than
• 36:33
  whitewash,
• 36:34
  it
• 36:34
  actually
• 36:35
  did
• 36:35
  attempt
• 36:35
  to
• 36:36
  make
• 36:36
  a
• 36:36
  thoughtful
• 36:37
  and
• 36:37
  interesting
• 36:38
  story
• 36:38
  about
• 36:38
  the
• 36:38
  black
• 36:39
  experience
• 36:39
  in
• 36:40
  America.
• 36:41
  We
• 36:41
  do
• 36:41
  need
• 36:41
  to
• 36:42
  hear
• 36:42
  black
• 36:42
  stories
• 36:43
  told
• 36:44
  by
• 36:44
  black
• 36:45
  writers
• 36:45
  and
• 36:46
  black
• 36:46
  directors
• 36:47
  and
• 36:47
  black
• 36:47
  actors
• 36:48
  and
• 36:48
  black
• 36:49
  creators.
• 36:50
  Bernard
• 36:50
  Rose
• 36:50
  wanted
• 36:51
  to
• 36:51
  set
• 36:51
  this
• 36:52
  story
• 36:52
  in
• 36:52
  America.
• 36:53
  He
• 36:53
  wanted
• 36:54
  to
• 36:54
  change
• 36:54
  Candyman's
• 36:55
  race.
• 36:56
  He
• 36:56
  wanted
• 36:56
  to
• 36:56
  talk
• 36:56
  about
• 36:57
  the
• 36:57
  social
• 36:57
  segregation
• 36:58
  and
• 36:59
  degradation
• 36:59
  of
• 37:00
  inner
• 37:00
  city
• 37:00
  America,
• 37:01
  even
• 37:02
  filming
• 37:02
  the
• 37:02
  titles
• 37:03
  over
• 37:03
  the
• 37:03
  very
• 37:03
  roads
• 37:04
  that
• 37:04
  separated
• 37:05
  the
• 37:05
  white
• 37:06
  wealthy
• 37:06
  neighborhoods
• 37:07
  from
• 37:07
  the
• 37:07
  poorer
• 37:08
  black
• 37:08
  neighborhoods.
• 37:09
  And
• 37:09
  we
• 37:10
  have
• 37:10
  to
• 37:10
  give
• 37:10
  credit
• 37:10
  where
• 37:11
  credit's
• 37:11
  due
• 37:12
  to
• 37:12
  Bernard
• 37:12
  Rose
• 37:13
  for
• 37:13
  trying
• 37:14
  to
• 37:14
  tell
• 37:14
  this
• 37:15
  story,
• 37:15
  at
• 37:15
  the
• 37:15
  very
• 37:15
  least,
• 37:16
  really,
• 37:17
  this
• 37:17
  film
• 37:17
  lives
• 37:18
  and
• 37:18
  dies,
• 37:18
  no
• 37:19
  pun
• 37:19
  intended,
• 37:20
  on
• 37:20
  its
• 37:20
  central
• 37:21
  relationship
• 37:22
  and
• 37:22
  the
• 37:22
  portrayals
• 37:23
  of
• 37:23
  Candyman
• 37:23
  and
• 37:24
  Helen.
• 37:25
  Tony
• 37:25
  Todd's
• 37:26
  voice
• 37:26
  is
• 37:26
  remarkable.
• 37:27
  There's
• 37:28
  so
• 37:28
  much
• 37:28
  fear,
• 37:29
  so
• 37:29
  much
• 37:29
  pain,
• 37:30
  so
• 37:31
  much
• 37:31
  respect,
• 37:32
  and
• 37:32
  let's
• 37:32
  be
• 37:33
  honest,
• 37:33
  it's
• 37:34
  dripping
• 37:34
  with
• 37:35
  sex.
• 37:36
  Candyman
• 37:36
  was
• 37:36
  intended
• 37:37
  to
• 37:37
  be
• 37:37
  a
• 37:37
  romantic
• 37:38
  villain,
• 37:38
  and
• 37:39
  in
• 37:39
  so
• 37:39
  many
• 37:39
  ways
• 37:40
  he
• 37:40
  is.
• 37:41
  Tony
• 37:41
  Todd
• 37:42
  deeply
• 37:42
  wanted
• 37:43
  to
• 37:43
  create
• 37:43
  something
• 37:44
  important.
• 37:45
  Not
• 37:45
  a
• 37:45
  caricature,
• 37:46
  but
• 37:47
  a
• 37:47
  character
• 37:47
  deeply
• 37:48
  rooted
• 37:48
  in
• 37:48
  the
• 37:48
  history
• 37:49
  of
• 37:49
  slavery
• 37:50
  in
• 37:50
  America.
• 37:51
  A
• 37:51
  free
• 37:52
  man
• 37:52
  who
• 37:52
  is
• 37:52
  murdered
• 37:53
  for
• 37:53
  simply
• 37:54
  loving
• 37:54
  the
• 37:54
  wrong
• 37:55
  woman.
• 37:56
  Todd
• 37:56
  trusted
• 37:57
  Bernard
• 37:57
  Rose
• 37:58
  and
• 37:58
  Rose
• 37:59
  trusted
• 37:59
  Tony
• 37:59
  Todd
• 38:00
  to
• 38:00
  bring
• 38:00
  the
• 38:00
  character
• 38:01
  to
• 38:01
  life.
• 38:02
  Todd
• 38:02
  would
• 38:02
  say
• 38:03
  he
• 38:03
  considered
• 38:03
  this
• 38:04
  movie
• 38:04
  a
• 38:04
  direct
• 38:05
  descendant
• 38:05
  of
• 38:06
  jazz
• 38:06
  and
• 38:06
  blues
• 38:07
  from
• 38:07
  the
• 38:07
  slavery
• 38:07
  fields
• 38:08
  of
• 38:08
  the
• 38:08
  Mississippi
• 38:09
  Delta.
• 38:10
  Anyone
• 38:10
  who
• 38:10
  saw
• 38:11
  Sinners
• 38:11
  is
• 38:11
  immediately
• 38:12
  taken
• 38:12
  back
• 38:12
  to
• 38:13
  a
• 38:13
  time
• 38:13
  when
• 38:14
  being
• 38:14
  black
• 38:14
  and
• 38:15
  free
• 38:15
  didn't
• 38:16
  mean
• 38:16
  you
• 38:16
  were
• 38:17
  safe
• 38:17
  and
• 38:17
  able
• 38:17
  to
• 38:18
  live
• 38:18
  a
• 38:18
  free
• 38:18
  life.
• 38:19
  I
• 38:19
  can't
• 38:20
  say
• 38:20
  enough
• 38:20
  great
• 38:21
  things
• 38:21
  about
• 38:21
  Tony
• 38:22
  Todd.
• 38:22
  He
• 38:23
  knew
• 38:23
  how
• 38:23
  important
• 38:24
  this
• 38:24
  character
• 38:24
  was
• 38:25
  and
• 38:25
  would
• 38:26
  be.
• 38:26
  And
• 38:26
  while
• 38:27
  not
• 38:27
  everyone
• 38:27
  agrees
• 38:28
  with
• 38:28
  the
• 38:28
  legacy
• 38:28
  of
• 38:28
  this
• 38:29
  movie,
• 38:29
  I
• 38:30
  think
• 38:30
  we
• 38:30
  can
• 38:30
  all
• 38:31
  agree
• 38:31
  that
• 38:31
  we're
• 38:31
  better
• 38:31
  off
• 38:32
  with
• 38:32
  it
• 38:32
  than
• 38:33
  without
• 38:33
  it.
• 38:35
  Virginia
• 38:35
  Madsen
• 38:36
  holds
• 38:36
  this
• 38:36
  movie
• 38:37
  together.
• 38:38
  Helen
• 38:38
  is,
• 38:38
  in
• 38:38
  many
• 38:39
  ways
• 38:39
  an
• 38:39
  abhorrent
• 38:40
  character.
• 38:41
  Only
• 38:41
  a
• 38:41
  white
• 38:42
  woman
• 38:42
  would
• 38:42
  smirk
• 38:43
  at
• 38:43
  the
• 38:43
  idea
• 38:43
  of
• 38:43
  how
• 38:44
  much
• 38:44
  the
• 38:44
  black
• 38:44
  community
• 38:45
  fears
• 38:45
  the
• 38:45
  Candyman.
• 38:46
  Only
• 38:47
  a
• 38:47
  white
• 38:47
  woman
• 38:47
  would
• 38:48
  say
• 38:48
  the
• 38:48
  name
• 38:48
  five
• 38:49
  times
• 38:49
  and
• 38:49
  genuinely
• 38:50
  believe
• 38:50
  she
• 38:51
  was
• 38:51
  safe.
• 38:52
  No
• 38:52
  black
• 38:53
  person,
• 38:53
  including
• 38:54
  her
• 38:54
  best
• 38:54
  friend
• 38:54
  Bernadette,
• 38:55
  is
• 38:56
  willing
• 38:56
  to
• 38:56
  do
• 38:56
  the
• 38:57
  things
• 38:57
  Helen
• 38:57
  does.
• 38:58
  Helen
• 38:59
  goes
• 38:59
  to
• 38:59
  Cabrini
• 39:00
  Green,
• 39:00
  takes
• 39:01
  photos
• 39:01
  of
• 39:01
  an
• 39:01
  apartment
• 39:02
  a
• 39:02
  woman
• 39:02
  died
• 39:03
  in,
• 39:03
  damages
• 39:04
  the
• 39:04
  bathroom
• 39:05
  of
• 39:05
  an
• 39:05
  adjoining
• 39:05
  apartment,
• 39:06
  to
• 39:06
  go
• 39:06
  in
• 39:06
  and
• 39:07
  take
• 39:07
  more
• 39:07
  photos.
• 39:08
  Like
• 39:08
  a
• 39:08
  tourist
• 39:09
  at
• 39:09
  the
• 39:09
  Eiffel
• 39:10
  Tower,
• 39:11
  she
• 39:11
  barges
• 39:11
  her
• 39:12
  way
• 39:12
  into
• 39:12
  Ann
• 39:12
  Marie's
• 39:13
  apartment.
• 39:14
  A
• 39:14
  young
• 39:14
  woman
• 39:14
  who
• 39:15
  lives
• 39:15
  in
• 39:15
  fear
• 39:16
  and
• 39:16
  just
• 39:16
  wants
• 39:16
  to
• 39:17
  raise
• 39:17
  her
• 39:17
  son
• 39:17
  in
• 39:18
  a
• 39:18
  safe
• 39:18
  environment.
• 39:19
  This
• 39:20
  is
• 39:20
  a
• 39:20
  movie
• 39:20
  that
• 39:20
  addresses
• 39:21
  the
• 39:21
  racial
• 39:21
  divide
• 39:22
  in
• 39:22
  so
• 39:22
  many
• 39:23
  ways,
• 39:23
  but
• 39:24
  none
• 39:24
  so
• 39:24
  much.
• 39:25
  When
• 39:25
  Helen
• 39:26
  is
• 39:26
  attacked
• 39:26
  in
• 39:26
  a
• 39:26
  bathroom
• 39:27
  by
• 39:27
  a
• 39:27
  man
• 39:28
  claiming
• 39:28
  to
• 39:28
  be
• 39:29
  Candyman,
• 39:29
  she
• 39:30
  identifies
• 39:30
  him
• 39:31
  in
• 39:31
  a
• 39:31
  lineup
• 39:31
  and
• 39:32
  he
• 39:32
  finally
• 39:32
  gets
• 39:32
  put
• 39:33
  behind
• 39:33
  bars.
• 39:34
  She
• 39:34
  says,
• 39:35
  and
• 39:35
  I'm
• 39:35
  paraphrasing,
• 39:36
  stuff's
• 39:37
  been
• 39:37
  happening
• 39:37
  to
• 39:37
  the
• 39:38
  community
• 39:38
  for
• 39:38
  years,
• 39:39
  and
• 39:39
  no
• 39:39
  one
• 39:40
  cared
• 39:40
  till
• 39:40
  a
• 39:41
  white
• 39:41
  woman
• 39:41
  showed
• 39:42
  up
• 39:42
  and
• 39:42
  got
• 39:42
  attacked.
• 39:43
  This
• 39:43
  movie
• 39:44
  wears
• 39:44
  its
• 39:44
  white
• 39:45
  privilege
• 39:45
  loud
• 39:46
  and
• 39:46
  proud,
• 39:46
  and
• 39:47
  all
• 39:47
  the
• 39:47
  black
• 39:47
  characters
• 39:48
  know
• 39:48
  it.
• 39:49
  Bernadette
• 39:49
  knows
• 39:50
  it,
• 39:50
  Anne
• 39:50
  Marie
• 39:51
  knows
• 39:51
  it.
• 39:51
  Even
• 39:52
  young
• 39:52
  Jake
• 39:53
  knows
• 39:53
  it.
• 39:54
  Helen
• 39:55
  wants
• 39:55
  to
• 39:55
  be
• 39:55
  the
• 39:55
  white
• 39:56
  savior,
• 39:57
  but
• 39:57
  she
• 39:57
  actually
• 39:58
  just
• 39:58
  makes
• 39:58
  everything
• 39:59
  worse.
• 39:59
  The
• 40:00
  only
• 40:00
  time
• 40:00
  she
• 40:01
  doesn't
• 40:01
  is
• 40:01
  when
• 40:01
  she
• 40:02
  saves
• 40:02
  baby
• 40:02
  Anthony.
• 40:03
  In
• 40:04
  that
• 40:04
  moment,
• 40:04
  dying
• 40:05
  with
• 40:05
  Candyman
• 40:06
  could
• 40:06
  have
• 40:06
  been
• 40:06
  the
• 40:06
  easy
• 40:07
  way
• 40:07
  out.
• 40:08
  But
• 40:08
  she
• 40:08
  had
• 40:08
  to
• 40:09
  save
• 40:09
  the
• 40:09
  baby.
• 40:09
  And
• 40:10
  this
• 40:10
  then
• 40:10
  added
• 40:11
  to
• 40:11
  her
• 40:11
  story
• 40:12
  and
• 40:12
  her
• 40:12
  mythology
• 40:13
  and
• 40:14
  her
• 40:14
  legend,
• 40:15
  because
• 40:15
  this
• 40:15
  is
• 40:15
  all
• 40:16
  about
• 40:16
  myths
• 40:16
  and
• 40:16
  legend.
• 40:17
  They
• 40:18
  may
• 40:18
  have
• 40:18
  killed
• 40:18
  the
• 40:19
  Candyman,
• 40:19
  but
• 40:20
  Helen
• 40:20
  now
• 40:20
  has
• 40:21
  her
• 40:21
  own
• 40:21
  vengeance
• 40:22
  to
• 40:22
  reenact.
• 40:24
  This
• 40:24
  movie
• 40:25
  has
• 40:25
  its
• 40:25
  flaws.
• 40:26
  Most
• 40:26
  of
• 40:26
  Candyman's
• 40:27
  victims
• 40:28
  were
• 40:28
  black
• 40:28
  people,
• 40:29
  and
• 40:29
  Helen.
• 40:30
  And
• 40:30
  Lyle
• 40:30
  is
• 40:30
  an
• 40:31
  almost
• 40:31
  stereotypical
• 40:32
  wannabe
• 40:32
  white
• 40:33
  savior
• 40:34
  who
• 40:34
  could
• 40:34
  be
• 40:34
  insufferable.
• 40:35
  But
• 40:36
  Virginia
• 40:36
  Madsen
• 40:37
  gives
• 40:37
  her
• 40:37
  a
• 40:38
  degree
• 40:38
  of
• 40:38
  warmth
• 40:38
  and
• 40:39
  sincerity.
• 40:40
  It's
• 40:40
  Helen's
• 40:41
  denial
• 40:41
  of
• 40:41
  Candyman's
• 40:42
  existence
• 40:42
  that
• 40:43
  draws
• 40:43
  him
• 40:43
  out.
• 40:44
  Urban
• 40:44
  legends
• 40:45
  are
• 40:45
  no
• 40:45
  longer
• 40:46
  legends
• 40:46
  if
• 40:46
  they're
• 40:46
  forgotten.
• 40:48
  But
• 40:48
  this
• 40:48
  is
• 40:48
  an
• 40:48
  often
• 40:49
  beautiful
• 40:49
  movie
• 40:50
  with
• 40:50
  stunning
• 40:50
  cinematography,
• 40:52
  beautiful
• 40:53
  lighting,
• 40:53
  especially
• 40:54
  around
• 40:54
  Virginia
• 40:55
  Madsen's
• 40:55
  face
• 40:56
  and
• 40:56
  eyes.
• 40:57
  And
• 40:57
  the
• 40:57
  graffiti
• 40:58
  becoming
• 40:58
  a
• 40:58
  character
• 40:59
  in
• 40:59
  its
• 40:59
  own
• 40:59
  right.
• 41:00
  Especially
• 41:00
  the
• 41:01
  mural
• 41:01
  of
• 41:01
  Candyman
• 41:02
  himself,
• 41:03
  Helen
• 41:04
  emerging
• 41:04
  from
• 41:04
  his
• 41:05
  mouth
• 41:05
  like
• 41:05
  a
• 41:06
  bee
• 41:06
  in
• 41:06
  the
• 41:06
  climax.
• 41:07
  It's
• 41:07
  just
• 41:07
  so
• 41:07
  great.
• 41:09
  In
• 41:09
  1992,
• 41:10
  it
• 41:10
  was
• 41:10
  rare
• 41:11
  for
• 41:11
  a
• 41:11
  horror
• 41:11
  movie
• 41:12
  to
• 41:12
  feature
• 41:13
  a
• 41:13
  multiracial
• 41:14
  cast.
• 41:14
  And
• 41:15
  even
• 41:15
  rarer
• 41:15
  for
• 41:16
  such
• 41:16
  a
• 41:16
  film
• 41:16
  to
• 41:16
  draw
• 41:17
  its
• 41:17
  power
• 41:18
  from
• 41:18
  the
• 41:19
  real
• 41:19
  life
• 41:19
  historical
• 41:20
  horrors
• 41:21
  of
• 41:21
  slavery
• 41:22
  and
• 41:22
  lynching.
• 41:23
  Horror,
• 41:24
  especially
• 41:24
  slasher
• 41:25
  horror,
• 41:26
  has
• 41:26
  always
• 41:26
  been
• 41:27
  a
• 41:27
  traditionally
• 41:27
  white
• 41:28
  dominated
• 41:29
  genre.
• 41:30
  Candyman
• 41:30
  gave
• 41:31
  us
• 41:31
  one
• 41:31
  of
• 41:31
  the
• 41:31
  few
• 41:31
  black
• 41:32
  horror
• 41:32
  icons
• 41:33
  in
• 41:33
  popular
• 41:33
  culture.
• 41:34
  Not
• 41:35
  a
• 41:35
  black
• 41:35
  horror
• 41:35
  villain,
• 41:36
  because
• 41:36
  he's
• 41:36
  way
• 41:37
  more
• 41:37
  complex
• 41:37
  than
• 41:38
  that,
• 41:38
  a
• 41:39
  black
• 41:39
  horror
• 41:40
  icon.
• 41:41
  There's
• 41:41
  also
• 41:41
  the
• 41:42
  reading
• 41:42
  of
• 41:42
  this
• 41:42
  movie
• 41:43
  that
• 41:43
  Candyman
• 41:44
  was
• 41:44
  just
• 41:44
  a
• 41:44
  figment
• 41:45
  of
• 41:45
  Helen's
• 41:45
  imagination
• 41:46
  and
• 41:46
  that
• 41:47
  she
• 41:47
  went
• 41:47
  mad
• 41:47
  and
• 41:48
  committed
• 41:48
  all
• 41:48
  those
• 41:48
  murders,
• 41:49
  stole
• 41:50
  the
• 41:50
  baby
• 41:50
  and
• 41:50
  then
• 41:51
  had
• 41:51
  a
• 41:51
  change
• 41:51
  of
• 41:51
  heart
• 41:52
  at
• 41:52
  the
• 41:52
  end.
• 41:53
  It
• 41:53
  was
• 41:53
  always
• 41:54
  you,
• 41:54
  Helen.
• 41:55
  Could
• 41:55
  be
• 41:55
  Candyman
• 41:56
  claiming
• 41:56
  his
• 41:57
  love
• 41:57
  for
• 41:57
  her
• 41:57
  was
• 41:57
  eternal,
• 41:58
  but
• 41:58
  it
• 41:58
  could
• 41:59
  also
• 41:59
  be
• 41:59
  read
• 41:59
  as
• 42:00
  it
• 42:00
  was
• 42:00
  always
• 42:01
  you,
• 42:01
  Helen.
• 42:02
  It
• 42:02
  was
• 42:02
  always
• 42:03
  Helen
• 42:03
  committing
• 42:03
  these
• 42:04
  murders.
• 42:04
  The
• 42:05
  mirrors
• 42:05
  throughout
• 42:06
  are
• 42:06
  just
• 42:06
  reflecting
• 42:07
  her
• 42:07
  instinct
• 42:07
  back
• 42:08
  at
• 42:08
  her.
• 42:08
  Because
• 42:08
  of
• 42:09
  course,
• 42:09
  mirrors
• 42:09
  are
• 42:10
  everywhere
• 42:10
  in
• 42:10
  this
• 42:11
  movie.
• 42:12
  Candyman
• 42:13
  is
• 42:13
  America's
• 42:13
  racist
• 42:14
  past
• 42:14
  coming
• 42:15
  back
• 42:15
  to
• 42:15
  haunted.
• 42:16
  But
• 42:16
  it
• 42:16
  also
• 42:16
  comments
• 42:17
  on
• 42:17
  America's
• 42:18
  racist
• 42:18
  present
• 42:19
  and
• 42:19
  future.
• 42:20
  This
• 42:20
  movie
• 42:21
  came
• 42:21
  out
• 42:21
  mere
• 42:21
  months
• 42:22
  after
• 42:22
  the
• 42:23
  Rodney
• 42:23
  King
• 42:23
  riots
• 42:24
  where
• 42:24
  four
• 42:24
  NAPD
• 42:25
  officers
• 42:26
  were
• 42:26
  acquitted
• 42:27
  of
• 42:27
  brutally
• 42:27
  beating
• 42:28
  Rodney
• 42:28
  King.
• 42:29
  A
• 42:30
  test
• 42:30
  screening
• 42:30
  of
• 42:30
  Candyman
• 42:31
  during
• 42:31
  that
• 42:32
  time
• 42:32
  was
• 42:32
  cancelled
• 42:33
  due
• 42:33
  to
• 42:33
  those
• 42:34
  riots.
• 42:35
  Candyman
• 42:36
  is
• 42:36
  a
• 42:36
  perpetrator
• 42:37
  and
• 42:37
  a
• 42:37
  victim,
• 42:38
  monstrous
• 42:39
  and
• 42:39
  sympathetic.
• 42:40
  But
• 42:41
  fundamentally,
• 42:42
  he
• 42:42
  was
• 42:42
  a
• 42:43
  product
• 42:43
  of
• 42:43
  his
• 42:43
  own
• 42:43
  treatment.
• 42:44
  A
• 42:45
  black
• 42:45
  man
• 42:45
  whose
• 42:46
  only
• 42:46
  crime
• 42:47
  was
• 42:47
  loving
• 42:47
  a
• 42:47
  white
• 42:48
  woman
• 42:48
  and
• 42:49
  was
• 42:49
  killed
• 42:49
  by
• 42:49
  a
• 42:50
  gang
• 42:50
  of
• 42:50
  white
• 42:50
  men
• 42:51
  who
• 42:51
  scattered
• 42:52
  his
• 42:52
  ashes
• 42:52
  across
• 42:52
  the
• 42:53
  site
• 42:53
  that
• 42:53
  would
• 42:53
  become
• 42:54
  Cabrini
• 42:54
  Green.
• 42:55
  And
• 42:55
  so
• 42:55
  his
• 42:55
  legend
• 42:56
  curses
• 42:56
  the
• 42:57
  area.
• 42:58
  Great
• 42:58
  horror
• 42:59
  isn't
• 42:59
  just
• 42:59
  blood
• 43:00
  and
• 43:00
  guts.
• 43:01
  Great
• 43:01
  horror
• 43:02
  is
• 43:02
  reflecting
• 43:02
  the
• 43:03
  horrors
• 43:03
  of
• 43:03
  reality
• 43:04
  back
• 43:04
  at
• 43:05
  us.
• 43:05
  We
• 43:06
  are
• 43:06
  responsible
• 43:07
  for
• 43:07
  the
• 43:07
  monsters
• 43:08
  we
• 43:08
  create
• 43:09
  through
• 43:09
  intolerance
• 43:10
  and
• 43:10
  hatred.
• 43:12
  Sweets
• 43:12
  to
• 43:12
  the
• 43:13
  sweet.
• 43:15
  Thank
• 43:15
  you
• 43:15
  for
• 43:16
  listening.
• 43:16
  As
• 43:16
  always,
• 43:16
  I
• 43:16
  would
• 43:16
  love
• 43:17
  to
• 43:17
  hear
• 43:17
  your
• 43:17
  thoughts
• 43:17
  on
• 43:18
  Candyman
• 43:19
  and
• 43:19
  thank
• 43:19
  you
• 43:19
  for
• 43:19
  your
• 43:19
  continued
• 43:20
  support
• 43:20
  of
• 43:21
  this
• 43:21
  podcast.
• 43:22
  If
• 43:22
  you
• 43:23
  want
• 43:23
  to
• 43:23
  get
• 43:23
  involved
• 43:23
  and
• 43:23
  you
• 43:24
  want
• 43:24
  to
• 43:24
  help
• 43:24
  this
• 43:24
  podcast
• 43:25
  grow
• 43:25
  and
• 43:25
  reach
• 43:25
  more
• 43:25
  people,
• 43:26
  that
• 43:26
  would
• 43:26
  be
• 43:26
  amazing
• 43:27
  easy
• 43:28
  ways
• 43:28
  to
• 43:28
  do
• 43:28
  that.
• 43:29
  You
• 43:29
  could
• 43:29
  tell
• 43:29
  your
• 43:29
  friends
• 43:30
  and
• 43:30
  family
• 43:30
  about
• 43:30
  this
• 43:31
  podcast
• 43:31
  or
• 43:31
  about
• 43:32
  this
• 43:32
  episode.
• 43:33
  You
• 43:33
  can
• 43:33
  leave
• 43:33
  a
• 43:33
  rating
• 43:34
  or
• 43:34
  review
• 43:34
  wherever
• 43:35
  you
• 43:35
  found
• 43:35
  this
• 43:35
  podcast.
• 43:37
  You
• 43:37
  can
• 43:37
  find
• 43:37
  me
• 43:38
  and
• 43:38
  follow
• 43:38
  me
• 43:39
  @VerbalDiorama
• 43:40
  across
• 43:40
  social
• 43:41
  media
• 43:41
  where
• 43:42
  you
• 43:42
  can
• 43:42
  like
• 43:42
  post,
• 43:43
  comment
• 43:43
  on
• 43:43
  posts,
• 43:44
  share
• 43:44
  posts,
• 43:45
  DM
• 43:45
  me,
• 43:46
  whatever
• 43:46
  you
• 43:46
  want
• 43:46
  to
• 43:46
  do.
• 43:47
  It
• 43:47
  all
• 43:47
  helps
• 43:48
  with
• 43:48
  visibility.
• 43:49
  And
• 43:50
  you're
• 43:50
  getting
• 43:50
  in
• 43:51
  touch
• 43:51
  with
• 43:51
  me
• 43:51
  too.
• 43:51
  Yay.
• 43:53
  If
• 43:53
  you
• 43:53
  like
• 43:54
  this
• 43:54
  episode
• 43:54
  of
• 43:54
  Candyman,
• 43:55
  be
• 43:56
  my
• 43:56
  victim.
• 43:57
  And
• 43:57
  also
• 43:57
  listen
• 43:58
  to
• 43:58
  the
• 43:58
  episode
• 43:59
  that
• 43:59
  I
• 43:59
  did
• 43:59
  on
• 44:00
  Hellraiser,
• 44:01
  which
• 44:01
  as
• 44:01
  I
• 44:01
  mentioned
• 44:02
  is
• 44:02
  episode
• 44:03
  228
• 44:04
  of
• 44:04
  this
• 44:05
  podcast.
• 44:05
  I
• 44:06
  really
• 44:06
  love
• 44:06
  Hellraiser.
• 44:08
  They
• 44:08
  would
• 44:08
  be
• 44:08
  a
• 44:08
  great
• 44:09
  double
• 44:09
  pairing,
• 44:10
  especially
• 44:10
  if
• 44:11
  you
• 44:11
  are
• 44:11
  planning
• 44:11
  to
• 44:11
  watch
• 44:12
  some
• 44:12
  horror
• 44:13
  over
• 44:13
  Halloween.
• 44:14
  Maybe
• 44:14
  a
• 44:14
  little
• 44:14
  bit
• 44:14
  of
• 44:15
  Candyman,
• 44:15
  maybe
• 44:16
  a
• 44:16
  little
• 44:16
  bit
• 44:16
  of
• 44:16
  Hellraiser.
• 44:17
  Clive
• 44:17
  Barker
• 44:18
  is
• 44:19
  always
• 44:19
  great
• 44:20
  so
• 44:20
  the
• 44:21
  next
• 44:21
  episode
• 44:21
  of
• 44:21
  this
• 44:21
  podcast
• 44:22
  Before
• 44:23
  Slasher
• 44:24
  Movies
• 44:24
  officially
• 44:25
  went
• 44:25
  meta
• 44:26
  with
• 44:26
  Scream
• 44:27
  in
• 44:27
  1996,
• 44:29
  Wes
• 44:29
  Craven
• 44:30
  decided
• 44:30
  to
• 44:30
  take
• 44:31
  Freddy
• 44:31
  Krueger
• 44:32
  in
• 44:32
  a
• 44:32
  different
• 44:32
  direction
• 44:33
  as
• 44:34
  Freddy
• 44:35
  invades
• 44:35
  the
• 44:36
  real
• 44:36
  world
• 44:37
  and
• 44:37
  haunts
• 44:37
  the
• 44:38
  cast
• 44:38
  and
• 44:38
  crew
• 44:39
  involved
• 44:40
  in
• 44:40
  making
• 44:40
  the
• 44:40
  Nightmare
• 44:41
  on
• 44:41
  Elm
• 44:41
  street
• 44:42
  series,
• 44:42
  including
• 44:43
  original
• 44:44
  final
• 44:44
  girl
• 44:44
  Heather
• 44:45
  Langenkamp
• 44:46
  and
• 44:46
  her
• 44:46
  young
• 44:47
  son
• 44:48
  in
• 44:48
  Wes
• 44:49
  Craven's
• 44:50
  meta
• 44:50
  supernatural
• 44:51
  slasher
• 44:51
  sequel
• 44:52
  New
• 44:53
  Nightmare.
• 44:54
  And
• 44:54
  the
• 44:54
  next
• 44:54
  episode
• 44:55
  is
• 44:55
  going
• 44:55
  to
• 44:55
  be
• 44:56
  on
• 44:56
  Wes
• 44:56
  Craven's
• 44:57
  New
• 44:57
  Nightmare.
• 44:58
  It
• 44:59
  is
• 44:59
  a
• 44:59
  super
• 44:59
  fun
• 45:00
  movie.
• 45:00
  It
• 45:00
  features
• 45:01
  a
• 45:01
  very
• 45:01
  different
• 45:02
  version
• 45:02
  of
• 45:02
  Freddy
• 45:03
  Krueger
• 45:03
  that
• 45:03
  was
• 45:04
  appearing
• 45:05
  in
• 45:05
  the
• 45:05
  Elm
• 45:05
  street
• 45:05
  sequels
• 45:06
  at
• 45:06
  the
• 45:06
  time.
• 45:07
  This
• 45:07
  was
• 45:07
  intentional,
• 45:09
  but
• 45:10
  I
• 45:10
  think
• 45:10
  it's
• 45:10
  quite
• 45:11
  underrated
• 45:11
  actually
• 45:12
  in
• 45:12
  the
• 45:12
  Nightmare
• 45:12
  on
• 45:13
  Elm
• 45:13
  street
• 45:13
  canon.
• 45:14
  So
• 45:14
  please
• 45:14
  join
• 45:15
  me
• 45:15
  next
• 45:15
  episode
• 45:16
  for
• 45:16
  Wes
• 45:17
  Craven's
• 45:17
  New
• 45:17
  Nightmare.
• 45:19
  If
• 45:19
  you
• 45:19
  enjoy
• 45:19
  what
• 45:20
  I
• 45:20
  do
• 45:20
  for
• 45:20
  this
• 45:20
  podcast
• 45:21
  or
• 45:21
  you
• 45:21
  simply
• 45:22
  want
• 45:22
  to
• 45:22
  support
• 45:22
  an
• 45:22
  indie
• 45:23
  podcaster
• 45:23
  who
• 45:23
  does
• 45:24
  everything
• 45:24
  on
• 45:24
  her
• 45:25
  own,
• 45:25
  if
• 45:26
  you
• 45:26
  have
• 45:26
  some
• 45:26
  spare
• 45:27
  pennies,
• 45:27
  you
• 45:28
  can
• 45:28
  financially
• 45:28
  contribute
• 45:29
  to
• 45:29
  the
• 45:30
  upkeep
• 45:30
  of
• 45:30
  this
• 45:31
  podcast.
• 45:32
  Now,
• 45:32
  this
• 45:32
  podcast
• 45:33
  is
• 45:33
  free
• 45:33
  and
• 45:33
  it
• 45:33
  always
• 45:34
  will
• 45:34
  be
• 45:34
  free.
• 45:35
  However,
• 45:35
  if
• 45:35
  you
• 45:36
  have
• 45:36
  the
• 45:36
  means
• 45:36
  to
• 45:37
  help
• 45:37
  and
• 45:38
  you
• 45:38
  get
• 45:38
  value
• 45:38
  out
• 45:38
  of
• 45:39
  what
• 45:39
  I
• 45:39
  do,
• 45:39
  there
• 45:39
  are
• 45:39
  a
• 45:39
  couple
• 45:40
  of
• 45:40
  ways
• 45:40
  that
• 45:40
  you
• 45:40
  can
• 45:40
  help.
• 45:41
  You
• 45:42
  can
• 45:42
  make
• 45:42
  a
• 45:42
  one
• 45:42
  off
• 45:42
  donation@verbaldiorama.com
• 45:44
  tips
• 45:46
  or
• 45:46
  you
• 45:47
  can
• 45:47
  subscribe
• 45:47
  to
• 45:47
  the
• 45:48
  patreon@verbaldiorama.com
• 45:50
  patreon
• 45:52
  all
• 45:52
  money
• 45:52
  made
• 45:53
  from
• 45:53
  those
• 45:53
  areas
• 45:54
  goes
• 45:54
  back
• 45:54
  into
• 45:55
  this
• 45:55
  podcast
• 45:55
  and
• 45:56
  pays
• 45:56
  the
• 45:57
  bills
• 45:57
  that
• 45:57
  this
• 45:57
  podcast
• 45:58
  needs
• 45:58
  paying,
• 45:59
  such
• 45:59
  as
• 46:00
  for
• 46:00
  hosting,
• 46:01
  subscriptions
• 46:02
  and
• 46:02
  equipment.
• 46:03
  Huge
• 46:04
  thank
• 46:04
  you
• 46:04
  to
• 46:04
  the
• 46:04
  amazing
• 46:05
  patrons
• 46:05
  of
• 46:05
  verbal
• 46:06
  diorama
• 46:06
  2.
• 46:07
  Simon,
• 46:08
  Laurel,
• 46:08
  Derek,
• 46:09
  Kat,
• 46:09
  Andy,
• 46:10
  Mike,
• 46:11
  Luke,
• 46:11
  Michael,
• 46:12
  Scott,
• 46:12
  Brendan,
• 46:13
  Ian,
• 46:13
  Lisa,
• 46:14
  Sam,
• 46:14
  Jack,
• 46:15
  Dave,
• 46:16
  Stewart,
• 46:16
  Nicholas
• 46:17
  so,
• 46:17
  Kev,
• 46:18
  Heather,
• 46:18
  Danny,
• 46:19
  Stu,
• 46:19
  Brett,
• 46:20
  Philip
• 46:20
  M.
• 46:21
  Xenos,
• 46:21
  Sean,
• 46:22
  Rhino,
• 46:23
  Philip
• 46:23
  K,
• 46:24
  Adam,
• 46:24
  Elaine,
• 46:25
  Kyle,
• 46:25
  Aaron
• 46:26
  and
• 46:26
  Connor.
• 46:28
  If
• 46:29
  you
• 46:29
  want
• 46:29
  to
• 46:29
  get
• 46:29
  in
• 46:29
  touch,
• 46:30
  you
• 46:30
  can
• 46:30
  email
• 46:31
  verbaldioramail.com
• 46:33
  or
• 46:34
  you
• 46:34
  can
• 46:34
  go
• 46:34
  to
• 46:34
  the
• 46:34
  website
• 46:35
  verbaldiorama.com
• 46:37
  there
• 46:37
  is
• 46:37
  a
• 46:37
  contact
• 46:37
  form
• 46:38
  on
• 46:38
  there.
• 46:38
  You
• 46:38
  can
• 46:38
  fill
• 46:39
  it
• 46:39
  out
• 46:39
  and
• 46:39
  it
• 46:39
  will
• 46:39
  basically
• 46:40
  just
• 46:40
  send
• 46:40
  me
• 46:41
  an
• 46:41
  email
• 46:42
  to
• 46:42
  that
• 46:42
  email
• 46:42
  address.
• 46:43
  So
• 46:43
  you
• 46:43
  might
• 46:43
  as
• 46:44
  well
• 46:44
  just
• 46:44
  use
• 46:44
  the
• 46:44
  email
• 46:45
  address.
• 46:45
  You
• 46:46
  can
• 46:46
  say
• 46:46
  hi,
• 46:47
  you
• 46:47
  can
• 46:47
  give
• 46:47
  me
• 46:47
  feedback
• 46:48
  or
• 46:48
  suggestions,
• 46:49
  or
• 46:49
  you
• 46:50
  can
• 46:50
  talk
• 46:50
  to
• 46:50
  me
• 46:50
  about
• 46:50
  any
• 46:51
  episode
• 46:51
  that
• 46:51
  I
• 46:52
  featured
• 46:52
  in
• 46:52
  the
• 46:52
  past
• 46:52
  if
• 46:53
  you
• 46:53
  wish.
• 46:53
  I
• 46:54
  would
• 46:54
  love
• 46:54
  to
• 46:54
  hear
• 46:54
  from
• 46:54
  you.
• 46:55
  And
• 46:56
  finally.
• 47:57
  Bye.