Latest / Frightmares / Ep. 397 - The Others (2001)

Transcript

Ep. 397 - The Others (2001) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions Podcast Network.
• 0:11
  Speaker 2: Hello, filthy movie lovers. My name is Gentry Austin.
• 0:16
  Speaker 1: And I'm Casey Scott.
• 0:17
  Speaker 2: And we're the hosts of The Sin Syndicate, a film
• 0:20
  Speaker 2: podcast for something weirdos, anti-criterion bros, and Joseph Sarno aficionados.
• 0:28
  Speaker 2: Join us semi-weekly as we peer into the adults-only theaters
• 0:32
  Speaker 2: and sticky-floored cinemas of the golden age of sexploitation. When
• 0:37
  Speaker 2: the morals were loose, the laws were murky, and the
• 0:41
  Speaker 2: intercourse was all simulated. Find us now on the Someone's
• 0:46
  Speaker 2: Favorite Productions podcast network.
• 0:56
  Speaker 1: The following podcast will contain spoilers, tangents, hot takes and
• 1:00
  Speaker 1: excessive foul language. Viewer discretion is advised.
• 1:04
  Speaker 3: Enjoy the show. Welcome back to Friday Mayors Podcast. I'm
• 1:48
  Speaker 3: your host, Austin Proctor. And joining me today for episode
• 1:51
  Speaker 3: 397 is my good friend, Corey Johnson.
• 1:55
  Speaker 1: Heyo, everybody. I am the most concerned looking little boy ever.
• 2:01
  Speaker 3: Yes, perfect. I can say this right off the rip.
• 2:03
  Speaker 3: He had the face of just a 40-year-old pale man.
• 2:07
  Speaker 3: That kid has seen some shit. Uh, poor little bastard.
• 2:11
  Speaker 1: So that, that, that child was actually Charles who went
• 2:15
  Speaker 1: off to war.
• 2:19
  Speaker 3: Today on the first installment of spectacular frights. We're discussing
• 2:22
  Speaker 3: our essential pick the others from 2001, a movie that
• 2:25
  Speaker 3: takes the plot twist of scream and the sixth sense
• 2:28
  Speaker 3: and makes them kiss. I will explain that in, in later,
• 2:31
  Speaker 3: but before that, let's go see where this lands in
• 2:33
  Speaker 3: the nightmare index. probably get my letterbox. I always have
• 2:41
  Speaker 3: my notes out and then I'm like, yep, gotta talk
• 2:42
  Speaker 3: about what I watch. So what have you watched anything
• 2:46
  Speaker 3: recently of value or not? I mean, either or.
• 2:50
  Speaker 1: Yes, yes, of value. So I have somehow, even though
• 2:55
  Speaker 1: they are a close relation of our show.
• 2:59
  Speaker 3: Yeah.
• 3:00
  Speaker 1: Um, I've somehow just gotten into listening to one week
• 3:03
  Speaker 1: rental summer of Nolan series. So listening to Matt and
• 3:10
  Speaker 1: Lacey talk about, uh, Chris Nolan movies, I'm like, God
• 3:13
  Speaker 1: damn it. Now I got to watch Chris Nolan movies.
• 3:17
  Speaker 1: So I've, uh, I've recently gone back and watched, um,
• 3:21
  Speaker 1: tenant and then interstellar. both of my ratings stay the
• 3:25
  Speaker 1: same five out of five movies. They're amazing. I know,
• 3:29
  Speaker 1: I know, I know people, you know, have, have some, uh,
• 3:34
  Speaker 1: some umbrage with tenant, but for me, tenant is everything
• 3:39
  Speaker 1: that I wanted my James Bond movies to be. And
• 3:44
  Speaker 1: I know that's what Chris Nolan was kind of going after.
• 3:46
  Speaker 1: He was like, I want to do my own version
• 3:49
  Speaker 1: of James Bond. And I think every portion of it hits, uh,
• 3:54
  Speaker 1: only because like I have the true ability in very
• 4:00
  Speaker 1: specific instances to just let the movie tell me what
• 4:05
  Speaker 1: it's going to tell me. And Chris Nolan is one
• 4:07
  Speaker 1: of those directors where I'm like, all right, whatever he's
• 4:10
  Speaker 1: about to say to me is some bullshit. Let's get
• 4:13
  Speaker 1: that out of the way. And then let him explain
• 4:17
  Speaker 1: it to me. And I'll be like, I accept that explanation.
• 4:20
  Speaker 1: And that's exactly what tenant does because the entire movie,
• 4:25
  Speaker 1: Starts and ends on the same day Mm-hmm And all
• 4:30
  Speaker 1: the weeks of things that you're doing through all this time,
• 4:34
  Speaker 1: it just all goes back to the same one day in, like,
• 4:37
  Speaker 1: this infinite loop that's not an infinite loop. And trust me,
• 4:41
  Speaker 1: I'm too fucking stupid to get into the actual mechanics
• 4:45
  Speaker 1: of it. So.
• 4:47
  Speaker 3: Dude, you're preaching to the choir over here, dude. Like,
• 4:50
  Speaker 3: I'll tell you when you're done exactly how I feel.
• 4:53
  Speaker 1: Sitting back and just letting this movie tell me, like, yeah...
• 4:57
  Speaker 1: It's not time travel that exists. It's just that we
• 5:00
  Speaker 1: are literally reversing what time represents. Yeah. Okay, sure. Fine.
• 5:12
  Speaker 1: And then Interstellar is just... a heartbreaking masterpiece of a movie.
• 5:19
  Speaker 1: And literally every single person in it is at the
• 5:24
  Speaker 1: a one double S tier point in their game. It's
• 5:30
  Speaker 1: Matthew McConaughey. Well, it, I'm going to say it's Matthew McConaughey,
• 5:33
  Speaker 1: his actual second best work, but his best, best work.
• 5:36
  Speaker 3: What's his first.
• 5:37
  Speaker 1: Oh, fucking Dallas buyers club. Oh, okay.
• 5:40
  Speaker 3: I have, I have not seen that one.
• 5:42
  Speaker 1: Oh, Just rip your heart out, look at it, and
• 5:49
  Speaker 1: put it right back.
• 5:50
  Speaker 3: For that one or Interstellar?
• 5:53
  Speaker 1: Both of them.
• 5:55
  Speaker 3: God damn it, McConaughey, come on.
• 5:57
  Speaker 1: McConaughey is just more capable in Interstellar.
• 6:03
  Speaker 3: Okay. Dallas Buyers Club. Jean-Marc Vallee. Nothing that I have
• 6:11
  Speaker 3: ever heard of except for Dallas Buyers Club, but hey. Oh,
• 6:14
  Speaker 3: he passed away. Oh, shit. Damn. He passed away five
• 6:18
  Speaker 3: years ago. He was young. On Christmas, too. Oh, that's rough.
• 6:23
  Speaker 2: Fuck.
• 6:25
  Speaker 3: Yeah, Nolan for me, so I gave, so my experience, though,
• 6:29
  Speaker 3: with Tenet, I need to rewatch it because I learned
• 6:32
  Speaker 3: the hard way why you don't go see Christopher Nolan's
• 6:36
  Speaker 3: movies in Dolby because they're not fucking formatted for Dolby. They're,
• 6:40
  Speaker 3: they're formatted for IMAX, both sound and image. And the
• 6:44
  Speaker 3: sound was so fucking loud in Dolby.
• 6:47
  Speaker 1: Like, yeah. Yeah. Cause I, I went inside at a
• 6:52
  Speaker 1: real RPX. Yeah.
• 6:53
  Speaker 3: It was, it was a zero out of 10 experience.
• 6:56
  Speaker 3: And I was like, this sucks because I'm really liking
• 6:57
  Speaker 3: what's happening on screen, but it's so loud.
• 7:00
  Speaker 1: I had to go get fucking, um, The reason I
• 7:03
  Speaker 1: love that just like blast of audio so much is
• 7:07
  Speaker 1: because everybody in the movie fucking whispers like no one
• 7:11
  Speaker 1: is talking at a normal volume. And so when you're
• 7:15
  Speaker 1: getting this extra, like almost distorted blast of dialogue, it's
• 7:21
  Speaker 1: like I can hear and I don't need subtitles.
• 7:25
  Speaker 3: See, it wasn't even really the dialogue. It was just
• 7:29
  Speaker 3: all the music was so loud. I had to go
• 7:31
  Speaker 3: get literally some fucking napkins and wad them up and
• 7:34
  Speaker 3: put them in my ears. I was like, this is
• 7:36
  Speaker 3: an unenjoyable experience because my eardrums are going to fucking explode.
• 7:41
  Speaker 1: So lesson learned.
• 7:43
  Speaker 3: Lesson learned.
• 7:44
  Speaker 1: That we have such like split opinions on the same
• 7:50
  Speaker 1: exact thing. And for me, like I was just, I,
• 7:54
  Speaker 1: cause I saw it in theaters and I was just absolutely,
• 7:59
  Speaker 1: cause I know if Christopher Nolan does one thing, he
• 8:02
  Speaker 1: does things practical as much as fucking possible. So I'm like,
• 8:07
  Speaker 1: They're actually like, like, that's why I was worried for Oppenheimer.
• 8:11
  Speaker 3: I was like, we, you can't build a nuclear bomb, dude.
• 8:15
  Speaker 3: You can't do that. We can't actually explode the shit.
• 8:19
  Speaker 1: But there's, there's a, there's a bit where Matt and
• 8:21
  Speaker 1: Lacey are talking about it. And she's, she's like, yeah, but,
• 8:25
  Speaker 1: and they did the boat backwards. And Matt's like, they
• 8:26
  Speaker 1: can't do that. And I agree with Lacey, like Christopher
• 8:29
  Speaker 1: Nolan somehow figured out how to make the boat go backwards.
• 8:32
  Speaker 3: Yeah, that movie broke my brain because it's like you're
• 8:36
  Speaker 3: not to really spoil anything, but it's like you're kind
• 8:38
  Speaker 3: of you watch it one way and then you essentially
• 8:40
  Speaker 3: watch it the other way.
• 8:41
  Speaker 1: And you're like, I. And then you watch it the
• 8:43
  Speaker 1: other way again.
• 8:44
  Speaker 3: Dude, my mind, my mind literally needed to be unfucked
• 8:48
  Speaker 3: after that movie. The only movies to garner five stars.
• 8:52
  Speaker 3: from Christopher Nolan because I don't fucking understand his movies.
• 8:56
  Speaker 3: No one, I don't think anybody does, is Dark Knight
• 8:59
  Speaker 3: and fucking Oppenheimer because Oppenheimer wasn't confusing. It was a
• 9:02
  Speaker 3: straight story. I mean, in a sense, it was intercut
• 9:06
  Speaker 3: and there were time jumps, but it's not like Memento
• 9:09
  Speaker 3: where I'm like.
• 9:09
  Speaker 1: I don't fucking understand. I know we're watching two timelines converge.
• 9:13
  Speaker 1: I also love Memento. Speaking of Memento, if you want
• 9:17
  Speaker 1: to have a.
• 9:19
  Speaker 1: Very strange time with Memento. There is a guy that
• 9:25
  Speaker 1: has done a cut of memento in actual order. Oh,
• 9:32
  Speaker 1: that would completely, Oh, that would suck so.
• 9:35
  Speaker 3: Bad, but I feel like I have to see it
• 9:37
  Speaker 3: that way.
• 9:38
  Speaker 1: Oh, Ooh, where is that? It's on YouTube. Somebody did
• 9:43
  Speaker 1: a cut of it. Shut the fuck up. That would blow.
• 9:45
  Speaker 3: Oh my God. That would completely, I don't even know
• 9:48
  Speaker 3: how to explain it. I can't, I can't explain it.
• 9:50
  Speaker 1: And if that video doesn't exist, cause it kind of
• 9:53
  Speaker 1: goes up and down.
• 9:54
  Speaker 2: Yeah.
• 9:54
  Speaker 1: Like through re-uploads fair there is a video of a
• 9:59
  Speaker 1: guy talking about and showing the the chronological cut and
• 10:05
  Speaker 1: he's like this is how you're actually supposed to watch
• 10:07
  Speaker 1: it and he breaks.
• 10:08
  Speaker 3: It down yo that's crazy okay so i obviously cleared
• 10:11
  Speaker 3: the only the only nolan i have not seen i
• 10:14
  Speaker 3: believe It is interstellar. I know, which just seems like
• 10:17
  Speaker 3: a sin. I just have not made it to interstellar yet.
• 10:20
  Speaker 3: I don't know why.
• 10:21
  Speaker 1: And interstellar is a commitment because it's one of those
• 10:24
  Speaker 1: movies where everything that is happening is happening in its moment.
• 10:32
  Speaker 1: And then there's going to be some stretches of like
• 10:34
  Speaker 1: some amazing space footage or just like they do this
• 10:40
  Speaker 1: thing where they'll show the outside of the ships and
• 10:42
  Speaker 1: it's just completely silent for like, 48 seconds. Like there's
• 10:47
  Speaker 1: no sound because they're in space. Like you see the
• 10:50
  Speaker 1: little gases to turn the things and like stuff is
• 10:53
  Speaker 1: happening and then they'll do a quick cut to inside
• 10:56
  Speaker 1: the ship and you'll hear all the sounds and then
• 10:58
  Speaker 1: it's cut outside to like silence. So there's a lot
• 11:01
  Speaker 1: of like blink and you'll miss it type things. And
• 11:06
  Speaker 1: I feel like all of them and none of them
• 11:08
  Speaker 1: are important to the story because it's one of those
• 11:11
  Speaker 1: Chris Nolan time movies. Like, and depending on how you
• 11:14
  Speaker 1: choose to look at the movie, it's like, all right,
• 11:17
  Speaker 1: all of this is happening because of like future science
• 11:20
  Speaker 1: or love was the answer the entire time. It's really
• 11:23
  Speaker 1: all depending on how you want to look at it.
• 11:25
  Speaker 1: And both answers are correct.
• 11:27
  Speaker 3: Yeah. I obviously, I probably would have never watched that
• 11:32
  Speaker 3: when it originally came out in 2014. I was too
• 11:34
  Speaker 3: young to care. but I think now it's like, I'm
• 11:36
  Speaker 3: aware of it and I want to, I want to
• 11:38
  Speaker 3: watch it, but like, I want it to be a one.
• 11:40
  Speaker 3: I'm not watching it when the kid goes to sleep.
• 11:42
  Speaker 3: I need it to be a loud experience rather than
• 11:45
  Speaker 3: not like Dolby loud. But so I'm just like waiting
• 11:47
  Speaker 3: for the right opportunity to seize the moment and watch
• 11:50
  Speaker 3: this fucking movie.
• 11:51
  Speaker 1: Especially because Michael Caine reads poetry in it. Oh, Michael Caine.
• 11:58
  Speaker 3: Fuck yeah.
• 11:58
  Speaker 1: Michael Caine reads, doing poetry over a Hans Zimmer score. Oh,
• 12:04
  Speaker 1: good lord. Fuck me up. No, this tells you how
• 12:10
  Speaker 1: good this movie is.
• 12:11
  Speaker 3: Okay.
• 12:12
  Speaker 1: Jessica, who sometimes just doesn't even watch the movie with
• 12:17
  Speaker 1: me that is playing in the same room as her,
• 12:21
  Speaker 1: she clued in halfway through this long-ass movie, this, like,
• 12:26
  Speaker 1: two-hour and... whatever, 40 minute, 40 minute movie. She clued
• 12:30
  Speaker 1: in like after every establishing story point had been established
• 12:37
  Speaker 1: and some of them are starting to resolve already.
• 12:40
  Speaker 3: Okay.
• 12:41
  Speaker 1: And this movie still made her weep from the emotional
• 12:45
  Speaker 1: hook that it gets you.
• 12:47
  Speaker 3: See, I wasn't expecting like Nolan's movies aren't very emotional for,
• 12:52
  Speaker 3: to me at least. So I'm like, I'm not expecting that.
• 12:56
  Speaker 1: Here's the thing. I think that he wrote like a
• 13:00
  Speaker 1: somewhat compelling thing. And then like actors like Matthew McConaughey
• 13:08
  Speaker 1: and Anne Hathaway and Michael Caine and fucking Jessica Chastain.
• 13:14
  Speaker 1: I think they took the work and made it good.
• 13:18
  Speaker 1: Because I don't think with any other actor doing what
• 13:22
  Speaker 1: happens on screen, it would have hit like it does
• 13:26
  Speaker 1: when McConaughey's doing it. Because McConaughey is a very specific
• 13:30
  Speaker 1: type of actor in people's minds.
• 13:32
  Speaker 2: Yeah.
• 13:33
  Speaker 1: And he has that aura of a certain thing. And
• 13:36
  Speaker 1: when you see that aura crack and you get some
• 13:40
  Speaker 1: like really deeply personal things, you're like, oh, that hurts.
• 13:43
  Speaker 2: Yeah.
• 13:45
  Speaker 3: Yeah, no, that makes total sense.
• 13:47
  Speaker 1: It's like seeing your dad cry for the first time.
• 13:50
  Speaker 1: You're like, oh, you are not unshakable.
• 13:52
  Speaker 3: Yeah, like, wait a second. This is not normal. I
• 13:54
  Speaker 3: need an adult. Wait, you're the adult.
• 13:56
  Speaker 2: Help!
• 13:57
  Speaker 1: Somebody! Yeah, no, it's exactly that.
• 14:00
  Speaker 3: All right, so I need to watch. I need to
• 14:01
  Speaker 3: get up. Let's see. What was I going to say?
• 14:04
  Speaker 3: Something about? Fuck, I don't know. My brain is elsewhere.
• 14:07
  Speaker 3: I watched two new movies for this year. I won't
• 14:10
  Speaker 3: take up too much time because I don't have a
• 14:12
  Speaker 3: cult movie challenge to do because I'm already caught up.
• 14:14
  Speaker 3: It makes sense. Just follow me. Watch Buddy, the new...
• 14:19
  Speaker 3: What's his face? Casper Kelly. I always forget his name.
• 14:21
  Speaker 3: Directed Too Many Cooks. It was a wild movie for sure.
• 14:25
  Speaker 1: That did not come to my theater, unfortunately.
• 14:29
  Speaker 3: Fucking stacked cast. I don't even understand.
• 14:32
  Speaker 1: I'm going to have to wait until it comes out
• 14:34
  Speaker 1: on streaming because otherwise I'm going to have to cross
• 14:37
  Speaker 1: state lines to go see that movie and that feels dirty.
• 14:42
  Speaker 3: So you have Kristen Malotti, who's the mom from How
• 14:46
  Speaker 3: I Met Your Mother, but she's also in Penguin and
• 14:47
  Speaker 3: a whole bunch of other shit. You've got Topher Grace,
• 14:49
  Speaker 3: Keegan-Michael Key, Michael Shannon, Patton Oswalt, Clint Howard. There was
• 14:55
  Speaker 3: one other one I thought, but I'm like, dude, this
• 14:57
  Speaker 3: movie's fucking, it was just, it's exactly what you expect.
• 15:01
  Speaker 3: If you know what Too Many Cooks is, then you
• 15:05
  Speaker 3: should know what to expect going into this. Gave it
• 15:06
  Speaker 3: a four, but I could feel that going up on
• 15:08
  Speaker 3: a rewatch. And then something I feel like no one's
• 15:10
  Speaker 3: talking about, I've seen like two total TikToks about it,
• 15:14
  Speaker 3: is Colony, which is a brand new zombie movie from
• 15:16
  Speaker 3: the same guy who did Train to Busan. I did
• 15:19
  Speaker 3: not think it was possible to make as good of
• 15:22
  Speaker 3: a movie as Train to Busan. And while I know
• 15:25
  Speaker 3: many people are going to disagree and say that Train
• 15:27
  Speaker 3: to Busan is superior, I feel like colony fucking, I
• 15:31
  Speaker 3: don't know how Japanese directors are like, I'm going to
• 15:34
  Speaker 3: take this well-established creature and fucking do something totally different
• 15:38
  Speaker 3: with it. But they did for this.
• 15:40
  Speaker 1: Because they, so.
• 15:42
  Speaker 3: Literally, it's an American made thing. Like, George A. Romero did, like,
• 15:47
  Speaker 3: really made them popular, right? Like, in film and shit.
• 15:50
  Speaker 3: And then Japan was like, this is our thing now.
• 15:52
  Speaker 3: And I'm like, you know what? Fucking take it. You're
• 15:53
  Speaker 3: better at it.
• 15:54
  Speaker 1: So. Yeah. And I mean this, I feel so like,
• 15:59
  Speaker 1: I feel like they did train to Busan and like
• 16:02
  Speaker 1: it sat for a while and then it got to
• 16:04
  Speaker 1: America and Americans were like, Oh, holy shit. Yeah. We like,
• 16:07
  Speaker 1: what did you do? And, and then as soon as
• 16:10
  Speaker 1: it started getting like real big in America, some company
• 16:13
  Speaker 1: was like, Oh, let's capitalize on the name. And then
• 16:15
  Speaker 1: they made peninsula and it was real bad.
• 16:17
  Speaker 3: It was bad.
• 16:18
  Speaker 1: And I think the team got their IP back and said,
• 16:24
  Speaker 1: let's cook on this for a while. Let's let it simmer,
• 16:27
  Speaker 1: reduce it down, get it all nice and savory. And
• 16:32
  Speaker 1: we'll come back and we will wrong the rights that
• 16:35
  Speaker 1: Peninsula was because Peninsula is a de facto Fast and
• 16:40
  Speaker 1: Furious movie.
• 16:41
  Speaker 3: Don't you mean right the wrongs? You said wrong the rights.
• 16:43
  Speaker 3: What did I say?
• 16:44
  Speaker 1: Oh, yes.
• 16:45
  Speaker 3: I was like, we're going to right the rights and
• 16:47
  Speaker 3: wrong the wrongs. And no, dude, colony. I'm not going
• 16:52
  Speaker 3: to say anything.
• 16:53
  Speaker 1: About another movie that did not come to my theater.
• 16:55
  Speaker 3: Okay. Well this, I'm not even going to say anything
• 16:57
  Speaker 3: about it because after the movie got going, I was like, Oh,
• 17:00
  Speaker 3: is this movie going to dot, dot, dot. And it did.
• 17:02
  Speaker 3: I was like, Oh shit. I didn't even realize that.
• 17:04
  Speaker 3: So I don't know how common knowledge it is, but
• 17:05
  Speaker 3: I don't want to say anything. It is an incredible
• 17:08
  Speaker 3: zombie movie. Like in a day and age where we're
• 17:11
  Speaker 3: just zombie movies are just, kind of excess this movie
• 17:16
  Speaker 3: is like, holy shit.
• 17:17
  Speaker 1: Zombie movies are now creeping into the territory of they're
• 17:21
  Speaker 1: starting to satirize themselves.
• 17:23
  Speaker 2: Right.
• 17:24
  Speaker 1: And it's like, all right, that's when you know an
• 17:25
  Speaker 1: idea is we need to like do away with the
• 17:28
  Speaker 1: idea for a little, like put it on the shelf,
• 17:31
  Speaker 1: come back to it in 20 years when somebody has
• 17:33
  Speaker 1: something interesting to say.
• 17:34
  Speaker 3: And that's why I was so excited for when, when
• 17:36
  Speaker 3: 28 years later was so good. And this, this is again,
• 17:39
  Speaker 3: another example of like, Holy shit. There are still fresh
• 17:42
  Speaker 3: ideas out there, but I think, you know, we're definitely oversaturated.
• 17:45
  Speaker 3: So I gave that one a four and a half
• 17:46
  Speaker 3: same as train to Busan, which has a four and
• 17:48
  Speaker 3: a half. It's like a completely different movie, but somehow
• 17:51
  Speaker 3: hits just as hard. And there's even some, some good
• 17:54
  Speaker 3: emotional shit going on in there as well. So highly
• 17:56
  Speaker 3: recommend that.
• 17:56
  Speaker 1: But I will say that, that, that team does know
• 18:00
  Speaker 1: how to pull on the heartstrings during a zombie.
• 18:03
  Speaker 3: Movie, double the budget of train to Busan as well.
• 18:05
  Speaker 3: So you can imagine the production value. Um, but that's
• 18:09
  Speaker 3: all I got.
• 18:10
  Speaker 1: We're going to hire a whole city of extras.
• 18:13
  Speaker 3: Pretty much.
• 18:13
  Speaker 1: They're going to have the best time. Yeah.
• 18:16
  Speaker 3: And I feel like their locations were when you, if
• 18:18
  Speaker 3: you see the movie, it was, there was definitely, there's
• 18:21
  Speaker 3: a lot less location. So I feel like they really
• 18:23
  Speaker 3: pumped all that money into the, the effects cause it's
• 18:26
  Speaker 3: fucking nuts. So, uh, that's all I've got. I'm going
• 18:29
  Speaker 3: to see teenage sex and death at whatever the shit
• 18:32
  Speaker 3: it is tonight. And I'll report back on that. Next week.
• 18:35
  Speaker 1: I'm going to see Coyote versus Acme tonight.
• 18:38
  Speaker 3: Hell yeah.
• 18:41
  Speaker 1: I'm so excited.
• 18:42
  Speaker 3: Yeah, I'm going to see that at some point because
• 18:44
  Speaker 3: it does look good. So you have to let me
• 18:45
  Speaker 3: know next episode. But let's go on to the body
• 18:50
  Speaker 3: count here. All right, so this is The Others from 2001,
• 18:57
  Speaker 3: released on August 10th of that year in the U.S.
• 19:00
  Speaker 3: Rated PG-13 for thematic elements and frightening moments. There's mild
• 19:03
  Speaker 3: sex annuity, mild violence and gore, no profanity, no alcohol,
• 19:07
  Speaker 3: drugs and smoking, and moderate frightening and intense scenes. Coming
• 19:10
  Speaker 3: in at an hour and 44 minutes, listed as a
• 19:12
  Speaker 3: horror mystery thriller. This was written, directed, and composed by
• 19:18
  Speaker 3: Alejandro Amenobar. Fucking crazy. He also composed, directed, and wrote
• 19:24
  Speaker 3: Thesis from 1996, which I just recently bought because it
• 19:27
  Speaker 3: looks crazy. Cinematography by Javier Aguirre. That's a hard one.
• 19:34
  Speaker 3: It's a tough one. He did the cinematography for The
• 19:37
  Speaker 3: Twilight Saga, New Moon and Eclipse, Poltergeist 2015, and Thor Ragnarok.
• 19:41
  Speaker 3: Fucking just kind of all over the map with that.
• 19:43
  Speaker 3: Edited by Nacho Ruiz Capillas, who has 172 credits, but
• 19:47
  Speaker 3: I literally only recognized Intruders from 2000. 2011, but it's
• 19:51
  Speaker 3: primarily a lot of, I believe, uh, like, like work in, um, uh,
• 19:56
  Speaker 3: Spain or, or I can't remember. It was either Spain
• 19:58
  Speaker 3: or Mexico starring Nicole Kidman is grace. You probably know
• 20:01
  Speaker 3: her from all the AMC ads she does, where she
• 20:03
  Speaker 3: tells you that this is a place of magic. Uh,
• 20:05
  Speaker 3: she doesn't really do much else. Then we have Fiona
• 20:08
  Speaker 3: Flanagan as Mrs.
• 20:09
  Speaker 1: Mills.
• 20:09
  Speaker 3: She was also in four brothers as Evelyn Mercer. She
• 20:12
  Speaker 3: was the mother of the four brothers. Christopher Eccleston as Charles.
• 20:16
  Speaker 3: He was in 43 episodes of Doctor Who as the doctor.
• 20:20
  Speaker 3: Alekina Mann as Anne. She has only did two other
• 20:23
  Speaker 3: things after this. So this was the highlight of her career.
• 20:26
  Speaker 3: And then James Bentley as Nicholas, who only did three
• 20:28
  Speaker 3: other things after this. This was also the highlight of
• 20:30
  Speaker 3: his career. Eric Sykes as Mr. Tuttle. He was in
• 20:33
  Speaker 3: Harry Potter and the Goblet of Fire as Frank Bryce.
• 20:35
  Speaker 3: And then we have Elaine Cassidy as Lydia, who was
• 20:38
  Speaker 3: in something called Disco Pigs as Runt. So that's fun.
• 20:41
  Speaker 3: Estimated budget of $ 17 million, grossing $ 210 million. Filmed in
• 20:47
  Speaker 3: Palacio de los Jornias, La Fraguas, Inguana, Cantabria, Spain. Jersey
• 20:54
  Speaker 3: Channel Islands, O'Hicca Castle in Long Island, New York, and Madrid, Spain.
• 20:59
  Speaker 3: Kind of all over the place. You can watch this
• 21:02
  Speaker 3: on AMC Plus and Shudder. Movies that came out around
• 21:05
  Speaker 3: the same time. This is fucking just a time for sequels.
• 21:09
  Speaker 3: Spirited Away, Training Day, Jurassic Park 3, American Pie 2,
• 21:13
  Speaker 3: Rush Hour 2, Planet of the Apes Remake, Princess Diaries,
• 21:17
  Speaker 3: Jay and Silent Bob Strike Back. That's not a sequel.
• 21:21
  Speaker 3: Jeepers Creepers, Rat Race, Joyride, Session 9, Jason X, Ghost
• 21:25
  Speaker 3: of Mars, Osmosis Jones, Hardball, and Bubble Boy. IMDb summary
• 21:32
  Speaker 3: in 1945, following the end of the Second World War,
• 21:35
  Speaker 3: a woman lives with her two photosensitive children on her
• 21:38
  Speaker 3: darkened old family estate in the Channel Islands before coming
• 21:41
  Speaker 3: convinced that the home is haunted. Let's go into the autopsy.
• 21:46
  Speaker 3: All right, so before story time, where you have forgotten
• 21:49
  Speaker 3: you've seen this movie again, this is the third time
• 21:51
  Speaker 3: this year. Hit me with the over.
• 21:53
  Speaker 1: Let's do.
• 21:54
  Speaker 3: Our overall thoughts, and then we'll go straight into story time,
• 21:56
  Speaker 3: but I also have to explain my opening line as well.
• 22:00
  Speaker 3: Lot to cover here. Overall thoughts go.
• 22:02
  Speaker 1: So my overall thoughts is this is a rare instance
• 22:06
  Speaker 1: of a slow burn movie where almost nothing happens, but
• 22:13
  Speaker 1: the payoff is.
• 22:18
  Speaker 1: Uniquely satisfying to the payoff.
• 22:22
  Speaker 3: Perfect.
• 22:22
  Speaker 1: That it's like, okay, you didn't do much, but I
• 22:26
  Speaker 1: like that you got here.
• 22:28
  Speaker 3: I like the flair you did it with. Yeah.
• 22:33
  Speaker 1: Like, you essentially made me a turkey and cheese sandwich
• 22:37
  Speaker 1: on white bread. But you did it while doing a kickflip, so.
• 22:44
  Speaker 3: Beautifully put. I love that. Yeah, so this movie, let
• 22:50
  Speaker 3: me explain my little thing. So I said it's like
• 22:52
  Speaker 3: taking the plot twist of Scream and the plot twist
• 22:55
  Speaker 3: of The Sixth Sense and making them kiss. You're probably like,
• 22:58
  Speaker 3: how is it Scream? Because it's like the double fake out.
• 23:01
  Speaker 3: You think it's this. Nah, it's not that. Nah, it's this.
• 23:05
  Speaker 1: That's what they do in Scream. They like double fake
• 23:06
  Speaker 1: you out. And then of course- I was going to
• 23:10
  Speaker 1: say it's going to be like Scream just the first
• 23:13
  Speaker 1: 10 minutes before Drew Barrymore gets killed. It's a lot
• 23:16
  Speaker 1: of like talking and a lot of anticipation and a
• 23:19
  Speaker 1: lot of what you think is going to happen.
• 23:21
  Speaker 3: Fair.
• 23:21
  Speaker 1: And then he just fucking chases her out the goddamn
• 23:24
  Speaker 1: side door.
• 23:25
  Speaker 3: So that's what I meant when I said the plot
• 23:28
  Speaker 3: twist of Scream. And of course, the plot twist of
• 23:30
  Speaker 3: Sixth Sense is very obvious because. If you don't know
• 23:32
  Speaker 3: by now, Bruce Willis is a ghost. Sorry to ruin
• 23:35
  Speaker 3: that for you.
• 23:37
  Speaker 1: That 35-year-old movie.
• 23:39
  Speaker 3: I think this movie has balls to do basically the
• 23:44
  Speaker 3: same plot twist as The Sixth Sense on a base level.
• 23:47
  Speaker 3: I mean, obviously, there are many more moving parts, completely
• 23:50
  Speaker 3: different story. But I'm just saying, because no one was
• 23:54
  Speaker 3: expecting that, right? You're not going to do the same twist, right?
• 23:58
  Speaker 3: And then you get like basically the same twist and
• 23:59
  Speaker 3: you're like, you just fucking really, we just did that.
• 24:02
  Speaker 3: And you're still impressed by it. But this much like
• 24:04
  Speaker 3: that movie, the twist I think was ruined for me,
• 24:07
  Speaker 3: or I watched it and saw the twist and I
• 24:10
  Speaker 3: didn't appreciate it at the time. And when I went
• 24:12
  Speaker 3: to rewatch it, I already knew. Um, cause I knew
• 24:16
  Speaker 3: that the servants were dead. Cause on my, on my
• 24:18
  Speaker 3: second watch, I knew they were dead. And then I
• 24:20
  Speaker 3: was like, oh shit, that's right. The, the, you know,
• 24:22
  Speaker 3: everyone's essentially dead. But I really think this movie is
• 24:26
  Speaker 3: it's essentially what The Haunting does that we covered. That
• 24:29
  Speaker 3: was like our first movie this year. But there's an
• 24:32
  Speaker 3: actual payoff. It's not is this like is this house haunted?
• 24:35
  Speaker 3: You don't know by the end of The Haunting. This
• 24:37
  Speaker 3: movie is like now this house is definitely haunted. And
• 24:39
  Speaker 3: who you think were the ghosts? The ghosts aren't who
• 24:42
  Speaker 3: you think they were in a sense. So this is
• 24:45
  Speaker 3: like The Haunting but giving me so much more payoff
• 24:47
  Speaker 3: than I ever could have wanted. and even on the
• 24:50
  Speaker 3: third or fourth time I've seen this, still hits. I
• 24:53
  Speaker 3: don't think this movie relies so much on its twist
• 24:57
  Speaker 3: that it's not rewatchable. You know what I mean? I
• 25:00
  Speaker 3: still enjoy it three or four times in, probably because
• 25:04
  Speaker 3: I think it's just a master class of tension, atmosphere,
• 25:09
  Speaker 3: gothic fucking just, I don't know. I love this movie.
• 25:12
  Speaker 1: See, and I think the thing for me that makes
• 25:16
  Speaker 1: it work so well is... you get all of this
• 25:20
  Speaker 1: media that is either satirizing or like comically explaining that
• 25:27
  Speaker 1: type of aristocracy era. And then you get like the
• 25:32
  Speaker 1: Downton Abbey side of it, which takes it all ultra serious.
• 25:36
  Speaker 2: Right.
• 25:36
  Speaker 1: And you never really see anything in the middle of it.
• 25:40
  Speaker 1: And this gives you a very clean middle view of
• 25:45
  Speaker 1: that type of aristocracy side of that culture that not
• 25:51
  Speaker 1: a whole lot of people recognize because it's not something
• 25:55
  Speaker 1: that they saw very often. I, I, I put like,
• 25:58
  Speaker 1: I think honestly, I feel in my bones to a
• 26:01
  Speaker 1: certain extent that del Toro had to have taken some
• 26:04
  Speaker 1: inspiration from this movie to do crimson peak.
• 26:07
  Speaker 3: Obviously crimson peak is much more Gothic and much more,
• 26:12
  Speaker 3: you know that there are ghosts there, but I feel
• 26:14
  Speaker 3: such an inspiration from the others to Crimson Peak. I
• 26:17
  Speaker 3: feel like they're spiritually similar. Even, fuck, I just had
• 26:21
  Speaker 3: another one in my head that completely went out the window. Nonetheless, though,
• 26:24
  Speaker 3: I just, I wasn't always into gothic horror movies. And
• 26:27
  Speaker 3: in fact, quite honestly, I didn't really enjoy them. And
• 26:31
  Speaker 3: I'm starting to realize the, I guess the older I
• 26:33
  Speaker 3: get or the more into film culture I get, I'm
• 26:37
  Speaker 3: really loving these just kind of gothic style horror movies
• 26:39
  Speaker 3: set in the Victorian era. Um, cause this is one
• 26:42
  Speaker 3: of the, oh, it was, um, the Wolfman that was
• 26:44
  Speaker 3: kind of set and maybe not in, in Victoria and
• 26:47
  Speaker 3: in Victorian times, but the 2010 had a very Gothic presence.
• 26:51
  Speaker 3: And I was like, I, I love this so much. Uh,
• 26:54
  Speaker 3: I don't really know where to start with this one. Um,
• 26:57
  Speaker 3: do we just kind of start from the twist and
• 26:59
  Speaker 3: go backwards? Do we want to have a conversation on
• 27:03
  Speaker 3: the afterlife? I mean, there's so many ways we could go.
• 27:05
  Speaker 1: I really don't know.
• 27:06
  Speaker 3: Where to start.
• 27:07
  Speaker 1: I feel like the best thing to do would be
• 27:11
  Speaker 1: to start as such.
• 27:13
  Speaker 2: Okay.
• 27:13
  Speaker 1: The movie opens with the Nicole Kidman character and her
• 27:19
  Speaker 1: two shitty kids. And you have come to understand that
• 27:23
  Speaker 1: little rich British children are again, through our showing of media,
• 27:28
  Speaker 1: are shitty little kids. But you just think they're shitty
• 27:31
  Speaker 1: because they're aristocrats. And this gives you a little bit
• 27:35
  Speaker 1: of the insight as to why they are shitty little kids. Um,
• 27:40
  Speaker 1: the mother obviously has a favorite in the little son. Um,
• 27:44
  Speaker 1: the mother is also actively neurotically crazy. It's not shown
• 27:49
  Speaker 1: that she's actively crazy till the end, but you can
• 27:52
  Speaker 1: kind of get a vibe just from like the way
• 27:55
  Speaker 1: that she's walking around and the whole close the door,
• 27:59
  Speaker 1: lock the door before you open another door.
• 28:01
  Speaker 3: That was the first red flag.
• 28:03
  Speaker 1: Like, and I was like, Ooh, this is definitely going
• 28:05
  Speaker 1: to be a haunted house movie because that's the, that's
• 28:07
  Speaker 1: the mystery house, Winchester house in California type shit, like
• 28:12
  Speaker 1: confuse the ghosts. Um, but it, it, so you get,
• 28:17
  Speaker 1: you get a setup of, of why we are even
• 28:21
  Speaker 1: in this house to begin with. It's, it's the, the,
• 28:26
  Speaker 1: the movie is literally telling you it's just the goings
• 28:30
  Speaker 1: on and what's going on with this family. There you go.
• 28:34
  Speaker 2: Yeah.
• 28:34
  Speaker 1: Like we're there's there's not some big lore that we're
• 28:39
  Speaker 1: trying to achieve. There's not some overarching moral quandary that
• 28:44
  Speaker 1: we got to fucking deal with. It's just, oh, hey,
• 28:48
  Speaker 1: this is a story of some spooky 1945 post-war people.
• 28:55
  Speaker 3: Well, and what I really enjoy the ride, uh, something
• 28:59
  Speaker 3: that I noticed, but maybe, I don't know if I
• 29:02
  Speaker 3: was on this watch, but you're right. Cause the kids
• 29:04
  Speaker 3: are shitty, but you also, like you, like you said,
• 29:07
  Speaker 3: the mom's also like a crazy neurotic lady. And every
• 29:09
  Speaker 3: time I was like, man, that fucking little girl. is
• 29:13
  Speaker 3: being such an ass. And she was like, well, yeah,
• 29:15
  Speaker 3: imagine having that, you know, her for mother. I was like,
• 29:18
  Speaker 3: all right, that's fair. Uh, every time I was like, man,
• 29:20
  Speaker 3: these kids are just like so shitty. She would bring
• 29:23
  Speaker 3: up a point like, yeah, well, the mom's not necessarily
• 29:25
  Speaker 3: devoid of, uh, of, uh, wrongdoings. And I was like,
• 29:29
  Speaker 3: you're very right. So it's like, they were kind of
• 29:30
  Speaker 3: both just, I wouldn't say it's like the, it's like
• 29:34
  Speaker 3: the battle of wits against Grace and her daughter. And
• 29:37
  Speaker 3: then fucking little, whatever his name was. God damn it.
• 29:39
  Speaker 3: What's his name? Poor little bastard. 80 year old man. Um,
• 29:45
  Speaker 3: Nicholas is just in the corner of the whole movie,
• 29:47
  Speaker 3: just like just utterly existential panicking the entire movie.
• 29:52
  Speaker 1: Looking like something wet is touching his foot in every scene.
• 29:56
  Speaker 2: Yeah.
• 29:56
  Speaker 3: And every scene just like and something that I don't
• 30:02
  Speaker 3: know if this is I guess this might be my
• 30:03
  Speaker 3: speculation because they really don't they really don't tell you
• 30:06
  Speaker 3: at what point of the story we're jumping in at.
• 30:09
  Speaker 3: I feel that when, because the opening shot of the
• 30:13
  Speaker 3: movie of Nicole Kidman, she wakes up screaming. And my
• 30:17
  Speaker 3: speculation is that is the moment she killed herself and
• 30:21
  Speaker 3: then woke up screaming. I think that's where we're at
• 30:24
  Speaker 3: in the story. She just suffocated the children. She just
• 30:27
  Speaker 3: shot herself and her waking up. is her waking up
• 30:31
  Speaker 3: in the afterlife screaming. Cause she doesn't ever do that
• 30:34
  Speaker 3: ever again. She never screams really ever again like that.
• 30:37
  Speaker 3: And I think that's where we're at in the story.
• 30:40
  Speaker 1: So I like your theory better than my theory.
• 30:45
  Speaker 2: Okay.
• 30:45
  Speaker 3: What's yours?
• 30:46
  Speaker 1: I don't, I don't know based off what we're told happens.
• 30:50
  Speaker 3: Okay.
• 30:51
  Speaker 1: So they, so they're, they're really fuzzy with timeline things
• 30:55
  Speaker 1: in this movie. And for me, the way they're trying
• 30:58
  Speaker 1: to tell the story, the timeline is kind of like
• 31:01
  Speaker 1: ultra important. So the, the family has been alone in
• 31:06
  Speaker 1: the house for an undetermined amount of time since the
• 31:11
  Speaker 1: original servants just up and left for seemingly no reason. Um,
• 31:17
  Speaker 1: it's later revealed that grace has a Frank, has a,
• 31:23
  Speaker 1: Grace has a freak out that scares the servants into leaving. Now,
• 31:30
  Speaker 1: is that the freak out where she kills her kids?
• 31:34
  Speaker 1: Or what I thought was they're viewing the servants as
• 31:40
  Speaker 1: the help from the other family or the Nazi occupiers.
• 31:47
  Speaker 1: And they got scared out. by grace and our kids
• 31:52
  Speaker 1: as ghosts, which was the freak out because it seems
• 31:57
  Speaker 1: like this has been a much longer loop, which is
• 32:02
  Speaker 1: why the, the servant family, the Tuttle and Miss Mills,
• 32:08
  Speaker 1: they seem to me much more angelic beings to guide
• 32:16
  Speaker 1: deeper into the afterlife and.
• 32:19
  Speaker 3: They're almost like, yeah, sorry, go ahead.
• 32:22
  Speaker 1: Yeah. Yeah. Less than so much like just tuberculosis victims
• 32:25
  Speaker 1: that are stuck there because if they were stuck there,
• 32:28
  Speaker 1: they would have, they would have made it seem a
• 32:33
  Speaker 1: little bit, uh, more apparent that they were there. Like
• 32:37
  Speaker 1: you don't just have ghosts that just show up like
• 32:40
  Speaker 1: ghosts are there.
• 32:41
  Speaker 3: Right.
• 32:41
  Speaker 1: And yeah, then Ms. Mills goes, Oh, blah, blah, blah.
• 32:44
  Speaker 1: Living in harmony, whatever. Uh, But why then show yourself
• 32:49
  Speaker 1: to another ghost? Like what's, what's the point in just
• 32:55
  Speaker 1: showing up in your ghostly form to teach someone else
• 32:58
  Speaker 1: how to be a ghost?
• 32:59
  Speaker 3: That that's, that was my burning.
• 33:01
  Speaker 2: Yeah.
• 33:01
  Speaker 1: That doesn't make sense.
• 33:02
  Speaker 3: That was my burning question. I was like, why they've
• 33:06
  Speaker 3: been there. They died 54 years ago. They've been there
• 33:09
  Speaker 3: for 54 years. They feel like almost kind of fairy
• 33:13
  Speaker 3: men in a sense where they're like used to kind
• 33:16
  Speaker 3: of guiding them into the afterlife.
• 33:18
  Speaker 1: Especially because Grace and her family are so overtly Catholic.
• 33:24
  Speaker 3: And that brings me to this question is they establish,
• 33:27
  Speaker 3: and I really want to talk about the four types
• 33:29
  Speaker 3: of hell because I think it's interesting. So I'm wondering
• 33:31
  Speaker 3: where this movie is coming from or what they're trying
• 33:34
  Speaker 3: to comment on because obviously as Catholics they believe in
• 33:36
  Speaker 3: there's four types of hell. Uh, there's, is, is that
• 33:40
  Speaker 3: what the Catholics believe in Victoria? At least in that
• 33:43
  Speaker 3: time period?
• 33:43
  Speaker 2: Yes.
• 33:43
  Speaker 3: I did research. Yeah.
• 33:45
  Speaker 1: Okay. Cause I was like, I've, I've granted, I don't,
• 33:49
  Speaker 1: I don't do a whole lot of like Catholic reading,
• 33:53
  Speaker 1: but I, mine's much more like Protestant and old school Christianity,
• 33:58
  Speaker 1: like Lauren knowledge. So I don't know a whole lot
• 34:00
  Speaker 1: about the Catholics.
• 34:01
  Speaker 2: Yeah.
• 34:02
  Speaker 3: Uh, so I, I did some minor research and that
• 34:04
  Speaker 3: part is accurate, which makes sense. I feel like, you know,
• 34:07
  Speaker 3: the director wouldn't just throw shit in there for, for
• 34:09
  Speaker 3: the sake of throwing it in there, but there's, so
• 34:12
  Speaker 3: it's a little bit different than they explained it, but
• 34:14
  Speaker 3: it's basically the same thing. So you have Gaena, uh,
• 34:17
  Speaker 3: which is just hell proper. It's the strict place of
• 34:20
  Speaker 3: eternal punishment and torture for unrepentant humans and fallen demons purgatory.
• 34:24
  Speaker 3: The temporary cleansing place where righteous souls who died in
• 34:27
  Speaker 3: minor sin are purified by suffering before entering heaven. Limbo
• 34:31
  Speaker 3: of the Children, or Limbus Parvalorum, a peaceful outer region
• 34:35
  Speaker 3: where infants who died without, or sorry, with original sin,
• 34:38
  Speaker 3: but no personal mortal sin, experience natural joy without sensory pain.
• 34:42
  Speaker 3: And then Limbo of the Fathers, also known as Abraham's Bosom,
• 34:45
  Speaker 3: which they mentioned, where Old Testament saints are awaited the
• 34:49
  Speaker 3: coming Christ. My question is, is are they establishing that
• 34:53
  Speaker 3: these types of hell exists or that they don't because
• 34:57
  Speaker 3: they're all trapped in the same place? Because if it
• 34:59
  Speaker 3: were me, wouldn't grace go to hell proper and the
• 35:03
  Speaker 3: kids go to purgatory or something like that? I feel
• 35:06
  Speaker 3: like they would have gone to separate places because fucking
• 35:10
  Speaker 3: the kids don't know that they're dead. I guess Nicole
• 35:12
  Speaker 3: Kidman doesn't necessarily know that she's dead, but she's the
• 35:14
  Speaker 3: one that ultimately committed the atrocity. Of killing everyone. So
• 35:18
  Speaker 3: wouldn't you just go straight to hell?
• 35:21
  Speaker 1: Okay. Now this gets to a point of a arguably
• 35:26
  Speaker 1: throwaway string of dialogue between Grace and Anne when they're
• 35:33
  Speaker 1: at the dinner table. And she's like, where do soldiers
• 35:38
  Speaker 1: go when they die at war?
• 35:41
  Speaker 3: Yes.
• 35:41
  Speaker 1: And she's like, it depends on if you're the goodies
• 35:43
  Speaker 1: or the baddies. you know, we fight for England. So
• 35:47
  Speaker 1: we're the goodies.
• 35:48
  Speaker 3: We're the goodies.
• 35:48
  Speaker 1: Now that leads me to think, and this, this is
• 35:53
  Speaker 1: where sometimes I hate fucking watching movies and why Jessica
• 35:57
  Speaker 1: hates watching movies with me sometimes, because I think much
• 36:01
  Speaker 1: too deeply about things that the movie probably never even
• 36:06
  Speaker 1: intended for me to think about or care to explain.
• 36:09
  Speaker 1: So going back to the fucking timeline, um, If it's
• 36:13
  Speaker 1: goodies versus the baddies, and it is then revealed later
• 36:16
  Speaker 1: on that the Nazis came in to the Jersey Islands
• 36:21
  Speaker 1: and occupied it, is it us to be assumed that
• 36:25
  Speaker 1: because Charles was away at war, there was no one
• 36:29
  Speaker 1: else in the house to protect Grace and the kids
• 36:32
  Speaker 1: when the Nazis came? Is that when she killed her kids?
• 36:37
  Speaker 1: So did she kill her kids and then herself? to
• 36:39
  Speaker 1: avoid being captured and potentially tortured by the Germans. And
• 36:44
  Speaker 1: then is that a commentary on like martyrdom suicide? So
• 36:49
  Speaker 1: she then goes to the place of the saints anyway,
• 36:53
  Speaker 1: or that she's supposed to, but she's stuck there because
• 36:55
  Speaker 1: she doesn't understand she's actually dead.
• 36:57
  Speaker 3: Oh, yeah, fuck. I didn't, that, that one didn't even
• 37:02
  Speaker 3: cross my mind. And I, and that is the kind
• 37:05
  Speaker 3: of the, I guess, annoying part of movies, but it's also,
• 37:07
  Speaker 3: I think the fascinating part, because, whether they intentionally left
• 37:12
  Speaker 3: it ambiguous or not, you, they give you enough to
• 37:14
  Speaker 3: kind of put together what you would like. And I
• 37:17
  Speaker 3: used to hate that as a younger, younger man, I
• 37:21
  Speaker 3: was like, no, I need everything explained. But like, I
• 37:23
  Speaker 3: kind of like this. Well, we don't know. They don't
• 37:25
  Speaker 3: necessarily establish hard and fast rules. They give us what
• 37:28
  Speaker 3: these people believe in. And here's where they're at. You know,
• 37:32
  Speaker 3: I mean, you kind of are, have to take, you
• 37:35
  Speaker 3: kind of have to look at it and say, well,
• 37:37
  Speaker 3: it's obvious that they must be here, or maybe none
• 37:40
  Speaker 3: of these hells exist, and all that there is is
• 37:42
  Speaker 3: the afterlife. But then that begs the question, where is
• 37:46
  Speaker 3: everyone else who died in that house? Because I guarantee
• 37:48
  Speaker 3: these aren't the first fucking people to die in that house.
• 37:51
  Speaker 1: No, those type of properties, they've been there since the
• 37:56
  Speaker 1: borderline Middle Ages. Those properties go on for.
• 38:03
  Speaker 1: Hundreds of thousands of years.
• 38:04
  Speaker 3: Yeah.
• 38:05
  Speaker 2: Yeah.
• 38:05
  Speaker 3: They're there. So it's, it's, it's interesting to kind of wonder, well,
• 38:09
  Speaker 3: are they just in purgatory? Are they in, I guess,
• 38:12
  Speaker 3: I guess they're in purgatory, but at the same time, like,
• 38:15
  Speaker 3: I don't, I don't necessarily know where they're at.
• 38:17
  Speaker 1: Um, I don't know.
• 38:18
  Speaker 3: What, what is your speculation to where they actually are?
• 38:21
  Speaker 3: Is this just, is there just the afterlife and that's it?
• 38:24
  Speaker 3: Or is there these different varying levels?
• 38:27
  Speaker 1: So my speculation is that they are in some type
• 38:33
  Speaker 1: of interim, like they are in a, a cosmic waiting room. Sure.
• 38:39
  Speaker 1: Only because of the section of the movie where after
• 38:44
  Speaker 1: they're all like hugging each other, and they're like, it's okay,
• 38:47
  Speaker 1: this is our house, this is our house. Then you
• 38:51
  Speaker 1: get this cut to a scene where the kids are
• 38:54
  Speaker 1: standing in the sunlight in the window, and they're like, look,
• 38:57
  Speaker 1: it doesn't hurt anymore. And then Grace walks up, and
• 39:01
  Speaker 1: there's sun being cast on her face, and the movie
• 39:04
  Speaker 1: fucking ends. That could be seen as them going toward
• 39:08
  Speaker 1: the light. Now that they've accepted that they're dead, that
• 39:12
  Speaker 1: could be their transition period, which is why I think...
• 39:16
  Speaker 1: The Mills and the Tuttle and Lydia, they are more
• 39:20
  Speaker 1: angelic beings to guide them into heaven because they are
• 39:25
  Speaker 1: good Catholics who died against the fight of the Nazis.
• 39:30
  Speaker 1: if that's the timeline yeah that for me is the
• 39:35
  Speaker 1: only way to rationalize the, just like you said, are
• 39:42
  Speaker 1: they seriously doing that twist?
• 39:44
  Speaker 3: Yeah.
• 39:45
  Speaker 1: Um, but the, the way they reveal that twist is
• 39:51
  Speaker 1: it's less impactful than little Haley Joel Osment going. I
• 39:54
  Speaker 1: see dead people, but it, it does because it's a,
• 39:59
  Speaker 1: it's a family thing instead of a individual tortured soul thing.
• 40:05
  Speaker 1: The seance does hit in a way to where you're like, Oh,
• 40:09
  Speaker 1: And especially because it's not some, what is it? What's
• 40:17
  Speaker 1: the horror movie where the mom is the mystic and
• 40:22
  Speaker 1: fakes seances?
• 40:23
  Speaker 3: Oh, Ouija Origin of Evil?
• 40:25
  Speaker 1: Yes.
• 40:26
  Speaker 4: Yeah.
• 40:26
  Speaker 1: That one. Yeah, yeah, yeah. It's not like some grand spectacular...
• 40:31
  Speaker 1: They're doing it in a lit room in what I
• 40:35
  Speaker 1: assume is near the kitchen during the day. And the
• 40:39
  Speaker 1: only super spooky thing that happens is Nicole Kidman rips
• 40:43
  Speaker 1: up a paper and they cut to the paper being
• 40:46
  Speaker 1: ripped up in the air. Other than that, it's not
• 40:49
  Speaker 1: super spooky. It's not like some... dreaded thing and i
• 40:54
  Speaker 1: think i don't know yeah no i think there's a
• 40:58
  Speaker 1: lot of it that works but if you try and
• 41:01
  Speaker 1: follow any of the threads it stops working It just,
• 41:05
  Speaker 1: just like we were talking about with Christopher Nolan movies,
• 41:08
  Speaker 1: like you just kind of have to sit back and
• 41:09
  Speaker 1: let it take you. Cause the minute you start thinking
• 41:12
  Speaker 1: about it, you're like, all right, but what about this?
• 41:14
  Speaker 1: All right. Well, that doesn't get answered. So that means
• 41:16
  Speaker 1: I can't answer this question.
• 41:18
  Speaker 3: Yeah, exactly.
• 41:18
  Speaker 1: And it just, it just starts kind of crumbling.
• 41:20
  Speaker 3: You're, you know, you're, you're totally right. And I think
• 41:22
  Speaker 3: where this movie thrives though, is the, I, I really remember.
• 41:28
  Speaker 3: or at least I thought I did remembering that we
• 41:30
  Speaker 3: get the twist of the servants much earlier, but that
• 41:33
  Speaker 3: was like nearly an hour and almost 15 minutes into them.
• 41:36
  Speaker 3: It's like, it's late in the movie. I could have
• 41:38
  Speaker 3: sworn that was like halfway through, but I think.
• 41:41
  Speaker 1: And speaking of the timing of this movie, the pacing
• 41:46
  Speaker 1: of this movie is all kinds of fucked. It did
• 41:48
  Speaker 1: not really an hour and 44 minutes.
• 41:50
  Speaker 3: Um, No, like I was just I was just about
• 41:54
  Speaker 3: to say, like, I enjoyed how because it's like you're right.
• 41:58
  Speaker 3: For the most part, nothing really happens. But the tension
• 42:01
  Speaker 3: of of the slow reveal of the fact that the
• 42:05
  Speaker 3: servants are dead, there's gravestones on the property. It's their
• 42:08
  Speaker 3: gravestones realizing their ghosts, then realizing themselves are ghosts. That shit.
• 42:14
  Speaker 3: hits so good every time because I clearly forgot about
• 42:18
  Speaker 3: when it was revealed. And I was like, Oh my God,
• 42:19
  Speaker 3: I can't believe they waited this long to reveal something
• 42:22
  Speaker 3: that pretty much everyone guessed right off the bat. And
• 42:25
  Speaker 3: then reveals the second thing. It's I love the pacing
• 42:28
  Speaker 3: of this movie because it's just all dread for an
• 42:31
  Speaker 3: hour and 40 minutes. Like for, for me at least
• 42:34
  Speaker 3: it's all dread.
• 42:35
  Speaker 1: And see, and see for me, like, yes, the dread
• 42:38
  Speaker 1: is there, but it's, it's so spooky. parsley peppered out
• 42:44
  Speaker 1: like yeah you get a a moment of dread when
• 42:48
  Speaker 1: mr tuttle is stacking leaves on top of the gravestone.
• 42:51
  Speaker 4: Yeah you're like you're like what are you what are
• 42:53
  Speaker 4: you doing don't do anything about it except like vaguely
• 42:59
  Speaker 4: mention things that the audience does not know yet yeah
• 43:05
  Speaker 4: and it feels overly like subversive without needing to be like,
• 43:13
  Speaker 4: we already don't know the information.
• 43:15
  Speaker 1: You don't have to actively hide the information in front
• 43:18
  Speaker 1: of us. So then you're just going, what's the information
• 43:21
  Speaker 1: instead of being like, Ooh, let's see where this information goes. Like,
• 43:25
  Speaker 1: lead me to the story. Now you're just stuck on.
• 43:27
  Speaker 1: All right. But what about this?
• 43:30
  Speaker 3: So let me ask you this. When was, when do
• 43:32
  Speaker 3: you think you actually saw this? for the first time
• 43:36
  Speaker 3: just to get a cage.
• 43:38
  Speaker 1: Okay. So this, this story, um, cause remember when, when
• 43:42
  Speaker 1: you had said, Oh, we're doing the others. And I
• 43:45
  Speaker 1: Googled it and I was like, Oh, I feel like
• 43:47
  Speaker 1: I remember this, this like sheet room scene.
• 43:51
  Speaker 3: Oh, come back to that. Put a pen in that.
• 43:54
  Speaker 1: And then I feel like I had remembered the scene
• 43:57
  Speaker 1: of Charles walking out of the fog, but the rest
• 44:01
  Speaker 1: of this movie is a fucking blank space. And I
• 44:04
  Speaker 1: was like, oh, is this, is this a fucking 2022 situation?
• 44:08
  Speaker 1: So I went back to your diary, not a 2022 situation.
• 44:11
  Speaker 3: So I'm because I would be legitimately worried for you.
• 44:14
  Speaker 3: Like what fucking happened in 2022?
• 44:18
  Speaker 1: Good.
• 44:18
  Speaker 3: Did you?
• 44:19
  Speaker 2: Oh God.
• 44:20
  Speaker 1: So I'm, I'm, I'm playing video games with Kyle last
• 44:22
  Speaker 1: night and we're, we're wrapping up for the night and
• 44:25
  Speaker 1: we're just kind of chit chatting. I'm like, yeah, we're
• 44:27
  Speaker 1: doing the podcast tomorrow, blah, blah, blah. We're doing the others.
• 44:30
  Speaker 1: And he goes, no fucking way.
• 44:32
  Speaker 2: And I go, what?
• 44:32
  Speaker 1: And he goes, I love that movie. I used to
• 44:34
  Speaker 1: watch it all the time when I was a kid.
• 44:37
  Speaker 1: There it is. I almost for certain saw this movie
• 44:42
  Speaker 1: at Kyle's house during one of our many sleepovers at
• 44:45
  Speaker 1: each other's houses. And I... nine years old, maybe nine, 10.
• 44:51
  Speaker 1: So no fucking wonder I didn't remember it. Cause it
• 44:54
  Speaker 1: was probably a movie I saw as a kid and go,
• 44:55
  Speaker 1: I don't fucking understand this. Cool. Everybody's dead. Everybody's dead. Yeah. Okay.
• 45:00
  Speaker 3: So I only bring that up because I had, before
• 45:03
  Speaker 3: I had watched it, cause I watched this last October
• 45:06
  Speaker 3: for the shameless picture show when I, cause I watched
• 45:09
  Speaker 3: their movies and, you know, and then edit that, that episode.
• 45:12
  Speaker 3: So I had watched it within the past year. And
• 45:15
  Speaker 3: I think this movie almost, uh, the second watch is
• 45:18
  Speaker 3: almost better because you pick every bit of dialogue that
• 45:22
  Speaker 3: any of the servants speak to the kids when the
• 45:24
  Speaker 3: mother is not around is just this little breadcrumb that
• 45:27
  Speaker 3: keeps like leading you down this trail. So for, I
• 45:30
  Speaker 3: think that's why maybe the pacing worked better for me
• 45:33
  Speaker 3: because I already knew what to expect. I remembered a
• 45:36
  Speaker 3: lot of the story. I just didn't remember the timing.
• 45:39
  Speaker 3: And when, You're watching, like, listening to all that dialogue.
• 45:43
  Speaker 3: You're like, oh, they are just building and building and
• 45:45
  Speaker 3: building and building to that reveal, even though you really
• 45:48
  Speaker 3: know the first one. And then that second one comes
• 45:51
  Speaker 3: in and kind of roundhouse kicks you in the face.
• 45:53
  Speaker 3: because you're like, there's no way that everyone's dead, right?
• 45:56
  Speaker 3: So that could be why we're so differing. It's just speculation,
• 46:01
  Speaker 3: of course.
• 46:01
  Speaker 1: I know we- Oh, and see, both Jessica and I
• 46:05
  Speaker 1: called very early in the movie that everyone's somehow kind
• 46:08
  Speaker 1: of dead.
• 46:10
  Speaker 3: But you had seen it before.
• 46:12
  Speaker 1: Yes. But she had not. But she had not. And
• 46:17
  Speaker 1: she called that they were all dead well before I did.
• 46:20
  Speaker 1: And it was certain things of like when Miss Mills
• 46:25
  Speaker 1: was walking around, she didn't make noise. I don't know
• 46:28
  Speaker 1: if you noticed that.
• 46:29
  Speaker 2: Oh, no.
• 46:30
  Speaker 1: Especially in the scene where it's Grace and Miss Mills
• 46:33
  Speaker 1: at the fireplace.
• 46:34
  Speaker 3: Yeah.
• 46:34
  Speaker 1: And she's like, oh, come over here. You must be cold. Um,
• 46:38
  Speaker 1: and Miss Mills walks over and her footsteps make no sound. Huh.
• 46:42
  Speaker 3: Uh, okay.
• 46:42
  Speaker 1: So like, I, that's one of those things, but then
• 46:44
  Speaker 1: I was also like, all right, well, this is just
• 46:46
  Speaker 1: a test of grace to see if she's ready to
• 46:49
  Speaker 1: be a ghost. Cause like Miss Mills is obviously sitting
• 46:53
  Speaker 1: over there for a reason. Oh, it's like, Oh, come
• 46:56
  Speaker 1: join the fire. Oh, okay. You're, you're pure of heart.
• 46:58
  Speaker 1: You're worthy. Cool. Whatever. You're ready to, you're ready to
• 47:02
  Speaker 1: go to heaven.
• 47:03
  Speaker 2: Yeah.
• 47:03
  Speaker 3: That's one thing I was, I looked to, to Gabby
• 47:06
  Speaker 3: and I was like, Well, if they're ghosts from, you know,
• 47:09
  Speaker 3: we're meant to assume that we come into the story
• 47:12
  Speaker 3: and the kids and mom are already ghosts because of
• 47:15
  Speaker 3: the whole sunlight thing, blah, blah, blah. Like, why is
• 47:17
  Speaker 3: it taking them so long to realize it? And it's
• 47:20
  Speaker 3: just like, well, I mean, would you want to know immediately? Like,
• 47:23
  Speaker 3: there's no way to just be like, you're a ghost,
• 47:25
  Speaker 3: because you'd be like, ha-ha, you're crazy. And then they'd
• 47:28
  Speaker 3: kick the servants out. And then, so it's like they
• 47:30
  Speaker 3: had to almost ease them into, like, you guys are dead.
• 47:34
  Speaker 1: So I guess, I guess part of my thing is you,
• 47:39
  Speaker 1: your own, like from the stories and lore of ghosts,
• 47:44
  Speaker 1: like it's either sure. It could be, she murdered them there.
• 47:49
  Speaker 1: So that bad energy sticks them there.
• 47:51
  Speaker 2: Sure.
• 47:51
  Speaker 1: That could be one thing, but generally ghosts are not
• 47:56
  Speaker 1: except in like, or Ghostbusters, ghosts aren't necessarily considered like
• 48:03
  Speaker 1: conscious beings. Like they're, they're not like, or I get,
• 48:08
  Speaker 1: but poltergeists are, but we're not calling these people poltergeists.
• 48:11
  Speaker 1: We're calling these people ghosts. So, and especially because like,
• 48:16
  Speaker 1: Anne goes, oh, white sheets and clanking chains. And they're
• 48:19
  Speaker 1: doing like the literary version of ghosts. They're not like
• 48:24
  Speaker 1: conscious beings. They're just like the stuck energy and soul
• 48:30
  Speaker 1: of a thing. And it's weird to me, like even
• 48:34
  Speaker 1: at the end, they're like, oh, how about a cup
• 48:36
  Speaker 1: of tea? And they're like, yeah, sure. And they go
• 48:39
  Speaker 1: have fucking tea. Like since when do ghosts have tea?
• 48:43
  Speaker 1: it's it's so fast and loose with the rules that
• 48:46
  Speaker 1: the rules they do establish don't fucking matter.
• 48:49
  Speaker 3: Yeah i noticed too that while they are at dinner
• 48:52
  Speaker 3: and stuff you you do see one of the kids
• 48:54
  Speaker 3: like chewing but you never actively see anybody put any
• 48:57
  Speaker 3: food like it like it's strange like they don't eat
• 49:00
  Speaker 3: anything even the pills and the water she has she
• 49:03
  Speaker 3: takes them and throws them down like even when she
• 49:05
  Speaker 3: brings tea at one point earlier in the film, she
• 49:08
  Speaker 3: just sets it down and she doesn't drink anything. So
• 49:09
  Speaker 3: I found that interesting. It's like, well, can they drink?
• 49:11
  Speaker 3: Can they not drink? It's a very strange thing that
• 49:14
  Speaker 3: they've set up. But yeah, learning your ghost probably wouldn't
• 49:18
  Speaker 3: be fun to just have. someone say, and of course
• 49:21
  Speaker 3: you would not believe them, so I guess it's kind
• 49:23
  Speaker 3: of just nice to ease them into being like, ah,
• 49:27
  Speaker 3: you're dead. And then the thought of them being dead,
• 49:31
  Speaker 3: Grace and her kids, kind of comes to a halt
• 49:33
  Speaker 3: almost when Charles shows up out of nowhere. You're like, alright,
• 49:36
  Speaker 3: now I'm really fucking confused because If they're trapped here,
• 49:42
  Speaker 3: how the fuck did Charles find his way home?
• 49:45
  Speaker 1: Oh, no. And see, here was my theory craft for this,
• 49:48
  Speaker 1: is that obviously Charles is there to show them, hey,
• 49:54
  Speaker 1: you're fucking dead. Here's your dead fucking war husband. And
• 49:59
  Speaker 1: the caretakers, I'm going to call them the caretakers because
• 50:04
  Speaker 1: I think that's what they're actually supposed to be. They're
• 50:06
  Speaker 1: the caretakers of the souls. That's why they talk about
• 50:11
  Speaker 1: Charles showing up because they're like, we brought Charles here
• 50:15
  Speaker 1: to show them. They'll understand soon. Like, so it's very clear.
• 50:20
  Speaker 1: Like Charles is there to say, Hey, y'all are dead
• 50:24
  Speaker 1: without walking up to him and pointing the finger and
• 50:26
  Speaker 1: saying you're fucking dead. Interesting.
• 50:29
  Speaker 3: I kind of, cause if you see the look on
• 50:31
  Speaker 3: his face when he finds her, he's almost in disbelief
• 50:34
  Speaker 3: that like, Oh shit, if you're here, then that means
• 50:37
  Speaker 3: you're dead.
• 50:39
  Speaker 1: See, and I don't even think that that was dead
• 50:43
  Speaker 1: Charles' soul. I feel like that was like a complete
• 50:48
  Speaker 1: manifestation of Tuttle and Mrs. Mills as a teaching tool.
• 50:55
  Speaker 1: That's why, that's why.
• 50:57
  Speaker 3: Fucking vanishes too. I mean, and that's.
• 50:59
  Speaker 1: Why he just lays in bed while he's there to sink.
• 51:04
  Speaker 1: They're showing him, Hey, even if he came back, he
• 51:07
  Speaker 1: wouldn't have been who you wanted him to be.
• 51:09
  Speaker 2: Yeah.
• 51:09
  Speaker 1: Cause he's dead. You're dead. Move on.
• 51:13
  Speaker 3: Yeah, because you think that he's like that due to
• 51:15
  Speaker 3: the war, but he, you know, he would be like
• 51:18
  Speaker 3: that due to the war if he was alive, but
• 51:19
  Speaker 3: he'd also be the same way because if he died,
• 51:21
  Speaker 3: because he'd be a ghost and he's depressed that his family, yeah, so... Oh, man,
• 51:26
  Speaker 3: that's an interesting... I like that. Because, yeah, it's like.
• 51:30
  Speaker 4: I.
• 51:32
  Speaker 3: Think I'm going to go with that, because it doesn't
• 51:34
  Speaker 3: make any sense. She gets lost in the fog, and
• 51:36
  Speaker 3: all of a sudden he shows up, and Mrs... Is
• 51:39
  Speaker 3: it Mrs. Tuttle or Mrs. Mills?
• 51:41
  Speaker 1: No, it's Miss Mills and Mr. Tuttle.
• 51:43
  Speaker 3: She says that she's not going to get far because
• 51:45
  Speaker 3: of the fog, and Mr. Tuttle's like, ah, yes, the fog.
• 51:47
  Speaker 3: So it would not.
• 51:49
  Speaker 1: Wow, that's crazy. And that's... all that fog is to
• 51:54
  Speaker 1: show that like once she leaves, there is nothing else
• 51:58
  Speaker 1: out there because you're tied to this spot in the
• 52:02
  Speaker 1: afterlife until you move on.
• 52:04
  Speaker 2: Right.
• 52:04
  Speaker 1: It's, it's the, it's a turning on its head of
• 52:07
  Speaker 1: the trope of you run out of house, run into
• 52:09
  Speaker 1: the woods. And as you're coming into the clearing, you're
• 52:11
  Speaker 1: coming up on the back of the house, like, or
• 52:13
  Speaker 1: you're driving in the car and you just hit the
• 52:15
  Speaker 1: same loop over and over like queen of black magic.
• 52:17
  Speaker 3: Okay.
• 52:18
  Speaker 1: Um, But yeah, no. And she gets far enough out
• 52:22
  Speaker 1: into the fog to where Mrs. Mills and Mr. Tuttle's
• 52:27
  Speaker 1: powers of like, we're the keepers of the souls. They
• 52:31
  Speaker 1: can conjure something out of the fog because there's nothing there. Hey,
• 52:34
  Speaker 1: let's bring this manifestation of this man's soul to teach
• 52:38
  Speaker 1: her a lesson about trying to leave when she's not ready.
• 52:41
  Speaker 1: It's not hard. Or longing for things that wouldn't.
• 52:46
  Speaker 3: Be obtainable it's not far-fetched i mean everyone's dead there's
• 52:49
  Speaker 3: ever anything's on the table honestly so really it's not
• 52:52
  Speaker 3: even that far-fetched an idea i think that's absolutely plausible
• 52:56
  Speaker 3: so why do we think i know that we say
• 52:59
  Speaker 3: they're acting as the the uh not gatekeepers you just
• 53:02
  Speaker 3: said it the fucking um caretakers caretakers Why do we
• 53:07
  Speaker 3: think they are staying there? Because they clearly know that
• 53:09
  Speaker 3: they're dead. And how they figured that out is an
• 53:13
  Speaker 3: entire other conversation. But why do we think they're hanging
• 53:16
  Speaker 3: around to just help? Like, do you think that's... Like,
• 53:19
  Speaker 3: they could easily move on. They know why they're dead.
• 53:21
  Speaker 3: They could move on. But they choose to stay there
• 53:23
  Speaker 3: to help people like Grace? Do we think that's what's
• 53:27
  Speaker 3: going on?
• 53:28
  Speaker 1: I feel like... And again, reaching for the smallest of straws. Yeah,
• 53:36
  Speaker 1: I mean, you gotta do what you gotta do. I
• 53:39
  Speaker 1: feel like it's not necessarily that they are there. Because
• 53:44
  Speaker 1: as you see, they come up onto the property.
• 53:49
  Speaker 2: Right.
• 53:49
  Speaker 1: Like, yes, they died there, sure. But I think that more...
• 53:55
  Speaker 1: gives them, like, fast pass access. So, like, I feel
• 54:01
  Speaker 1: like they are on a mission for what they're doing.
• 54:04
  Speaker 1: And it's not necessarily the souls of the Tuttles. It's just, like,
• 54:09
  Speaker 1: in contact. The alien takes the form of the father
• 54:14
  Speaker 1: just so that the woman can, like, grasp what they are.
• 54:19
  Speaker 3: Okay.
• 54:20
  Speaker 2: So.
• 54:22
  Speaker 1: It's literally the caretaker of souls coming down and hijacking
• 54:26
  Speaker 1: the image of that, the caretakers.
• 54:30
  Speaker 2: Okay.
• 54:31
  Speaker 1: So that it can be, or, or, since they're fucking Catholic,
• 54:38
  Speaker 1: maybe it's God and he's coming down and taking the
• 54:42
  Speaker 1: form of something that Grace and the kids can understand,
• 54:45
  Speaker 1: which is the help.
• 54:47
  Speaker 3: The help, yeah.
• 54:47
  Speaker 1: Because they know nothing else than... Um, they know nothing else,
• 54:52
  Speaker 1: but then, yeah, then her aristocracy, Grace even says like, oh, uh, the,
• 54:57
  Speaker 1: the last set of servants, they were like family to us.
• 55:00
  Speaker 1: So of course some caretaking being would come down as
• 55:06
  Speaker 1: the help. so that you are more likely to receive
• 55:09
  Speaker 1: the information.
• 55:10
  Speaker 3: Yeah.
• 55:11
  Speaker 1: I think their characters are just there to be understood.
• 55:16
  Speaker 2: Okay.
• 55:17
  Speaker 1: Less of why they're hanging out. Or double or it's
• 55:21
  Speaker 1: just a super fucking cursed house and these are like
• 55:25
  Speaker 1: the three out of all of the other good ghosts.
• 55:28
  Speaker 3: Okay. Yeah, okay. Yeah, I got you. I got you. Yeah,
• 55:32
  Speaker 3: because I mean, I'm really not sure. what happened. Cause
• 55:37
  Speaker 3: like you said, they, they could have easily passed on
• 55:39
  Speaker 3: grace and her kids, but they were so adamant about,
• 55:42
  Speaker 3: this is our house. You know, this is our house.
• 55:43
  Speaker 3: So I'm wondering if they did stay there at the end.
• 55:46
  Speaker 3: But again, it's, it's, you don't really know. It kind
• 55:48
  Speaker 3: of just pans down to Victor and then Victor gets
• 55:51
  Speaker 3: in the car and then they, you know, they, they
• 55:52
  Speaker 3: fuck off. And, uh, so a lot of stuff is
• 55:55
  Speaker 3: left up in the air to be honest. And I'm
• 55:56
  Speaker 3: okay with that. Cause like I said, it's fun to speculate.
• 55:58
  Speaker 3: It's fun to wonder. And I don't really necessarily need a,
• 56:02
  Speaker 3: a full fledged answer.
• 56:03
  Speaker 1: They do. They do fade away in front of Victor. Right.
• 56:08
  Speaker 3: So it may be just be like, okay, now we're
• 56:10
  Speaker 3: shifting to Victor's point of view or so I'd fuck.
• 56:13
  Speaker 3: I don't know.
• 56:14
  Speaker 1: Uh, and I took that as they, they are now
• 56:17
  Speaker 1: out of the house. They, they have moved on now
• 56:20
  Speaker 1: that they understand the intruders aren't intruders. Now they understand
• 56:24
  Speaker 1: that they're not well, now that they accept that they're dead.
• 56:27
  Speaker 3: Yeah.
• 56:28
  Speaker 1: It, it gives them that like permission to move on essentially.
• 56:33
  Speaker 3: Well, no, that's fair. Uh, I had one thing I said,
• 56:37
  Speaker 3: put a pen in because I wanted to talk about
• 56:38
  Speaker 3: this experience and how horrifying it was. So when they
• 56:42
  Speaker 3: go to that room with all of the sheets over the,
• 56:46
  Speaker 3: all that shit, it's a 35 minutes and 30 seconds, right?
• 56:50
  Speaker 3: There's two lines of dialogue that are spoken. Cause I
• 56:53
  Speaker 3: had subtitles on cause I'm deaf. It says, she's a woman.
• 56:57
  Speaker 3: And then it says, she's a what? So I think
• 57:00
  Speaker 3: that was the intruders, the family, speaking and her very
• 57:04
  Speaker 3: softly picking it up because when you see later in
• 57:07
  Speaker 3: the movie, the medium or the lady with the kind
• 57:11
  Speaker 3: of glossed over eyes, she is interpreting what she's hearing
• 57:13
  Speaker 3: from the other side. So I think that was something.
• 57:15
  Speaker 3: But my surround sound was, nothing was happening. It was
• 57:19
  Speaker 3: all front heavy because there really wasn't much for surround
• 57:23
  Speaker 3: in this movie except for certain parts, like the one
• 57:26
  Speaker 3: I'm about to tell you, that scared the ever-loving fucking
• 57:29
  Speaker 3: piss out of me. So there's a speaker right behind
• 57:33
  Speaker 3: me and to the left. It's the rear right. And
• 57:35
  Speaker 3: I had it up as loud as I could without
• 57:37
  Speaker 3: waking the kid. And I'm sitting there for that scene.
• 57:40
  Speaker 3: And I'm watching. And I'm like, I know there's a
• 57:42
  Speaker 3: jump scare about to come. And like I said, all
• 57:44
  Speaker 3: the audio had been coming out of the front speakers.
• 57:46
  Speaker 3: And then all of a sudden that gasp you hear
• 57:49
  Speaker 3: in the room, guess where that decided to come out of?
• 57:52
  Speaker 3: Right behind my head. And I fucking, I literally went,
• 57:56
  Speaker 3: and I jumped up and I was like, oh my God.
• 57:59
  Speaker 3: It was so fucking loud. I thought someone was genuinely
• 58:03
  Speaker 3: behind me. And I was like, let me rewind that
• 58:05
  Speaker 3: and move my head because I want to see what
• 58:08
  Speaker 3: happened on screen. But I almost blacked out. It was
• 58:11
  Speaker 3: fucking horrifying. So yeah, note to self, if you have
• 58:15
  Speaker 3: a surround sound, be careful around that 35 minute mark.
• 58:19
  Speaker 3: The only other thing I wanted to mention was the
• 58:22
  Speaker 3: Victorian death photography, because that is not only real as fuck,
• 58:25
  Speaker 3: but also how some of the twist is, is, is
• 58:28
  Speaker 3: set up as well. That shit is horrifying on so
• 58:30
  Speaker 3: many levels. No, thank you.
• 58:33
  Speaker 1: It's just weird. It's so strange.
• 58:38
  Speaker 3: Uh, but yeah, that was a real thing. And, uh,
• 58:40
  Speaker 3: I don't know what it was with that timeframe.
• 58:44
  Speaker 1: I think the reason it upsets people like us so
• 58:47
  Speaker 1: much is is we had unrestricted internet access when the
• 58:51
  Speaker 1: internet was still the wild, wild west. That's true. And
• 58:53
  Speaker 1: the things that we have seen people do to other
• 58:57
  Speaker 1: people on video.
• 58:58
  Speaker 3: Yeah.
• 58:59
  Speaker 1: So seeing, so seeing cadavers in photos, like it, it
• 59:03
  Speaker 1: conjures up that unfettered internet access, you know, like, Ooh. Yeah.
• 59:08
  Speaker 3: I was there, uh, for many things. The man, it
• 59:14
  Speaker 3: was a wild time. It was like the wild, wild west.
• 59:16
  Speaker 3: You're not wrong. Like, I mean, and this is, Way before,
• 59:20
  Speaker 3: I mean, AI has been around for ages, but way
• 59:23
  Speaker 3: before the refined AI that we have now.
• 59:25
  Speaker 2: Yeah.
• 59:26
  Speaker 1: Like, you know, we're talking like... Rotten.com.
• 59:29
  Speaker 3: Yeah, Rotten.com. I've seen, you know, I've seen like someone
• 59:33
  Speaker 3: cut someone, like, I don't know why, you know, it's.
• 59:35
  Speaker 1: Like the Taliban cutting... The peak of.
• 59:39
  Speaker 1: The peak of live leak?
• 59:41
  Speaker 3: Yeah, peak of live leak. Also, there was a guy
• 59:44
  Speaker 3: named Buddy Dwyer or Dyer who shot himself.
• 59:47
  Speaker 1: Well, that happened in the 80s, though.
• 59:49
  Speaker 3: Yeah, no, I know.
• 59:50
  Speaker 1: That happened on live TV.
• 59:51
  Speaker 3: No, no, no. But I'm saying, like, I discovered that through...
• 59:53
  Speaker 3: And I was like, oh, my God.
• 59:55
  Speaker 1: Oh, true.
• 59:55
  Speaker 3: That's what it looks like when someone actually does that.
• 59:57
  Speaker 3: That is nothing like the movies. This is horrifying. So, yeah,
• 1:00:00
  Speaker 3: it's like... We grew up in that time where we
• 1:00:01
  Speaker 3: saw some fucked up shit. So I think that's what
• 1:00:03
  Speaker 3: it brings up is like, this is icky and I
• 1:00:05
  Speaker 3: don't like it. And some of them are opposed with
• 1:00:07
  Speaker 3: their eyes open and you're like, so that's some creepy shit.
• 1:00:12
  Speaker 3: Other than that, I don't think I have much else.
• 1:00:16
  Speaker 3: I feel like we covered it pretty well. Is there
• 1:00:18
  Speaker 3: anything we didn't get to that you wanted to mention?
• 1:00:21
  Speaker 3: Maybe like horror moments or just anything?
• 1:00:24
  Speaker 1: So, I mean, my best horror moment is towards the
• 1:00:28
  Speaker 1: end of the movie.
• 1:00:29
  Speaker 3: Sure.
• 1:00:30
  Speaker 1: Where Anne is the witch medium lady. under the veil
• 1:00:38
  Speaker 1: for like 10 seconds. That's super spooky. I love a
• 1:00:42
  Speaker 1: super imposed face with like fake vocals. It's always a
• 1:00:47
  Speaker 1: fun time.
• 1:00:47
  Speaker 3: That was really good.
• 1:00:48
  Speaker 1: I will say, fucking Nicole Kidman carried this movie so
• 1:00:52
  Speaker 1: hard because these kids were unbearable. Like I hated these children.
• 1:01:01
  Speaker 1: And it's only because that in the year of our Lord,
• 1:01:05
  Speaker 1: 2026- children have learned how to act. Like I have
• 1:01:12
  Speaker 1: yet to see a movie now with children that can't
• 1:01:17
  Speaker 1: act like they're all fucking good. They're all taking the classes.
• 1:01:20
  Speaker 1: They all understand the assignment. But in 2001, you might have, well,
• 1:01:27
  Speaker 1: might as well have put Wilson, the volleyball up there and,
• 1:01:31
  Speaker 1: Because it would have been roughly the same amount of acting.
• 1:01:35
  Speaker 3: It's interesting that this time period, they're like, kid actors,
• 1:01:39
  Speaker 3: not so great. Don't know what happened, but.
• 1:01:42
  Speaker 1: If I had to take a guess, just based off
• 1:01:44
  Speaker 1: some of the behind-the-scenes things that I've seen, not of
• 1:01:47
  Speaker 1: this movie, but of children's media in general, and that awful,
• 1:01:53
  Speaker 1: quite on-set documentary that HBO did.
• 1:01:56
  Speaker 3: Oh, that was rough. Yeah. That was so rough.
• 1:02:00
  Speaker 1: I think between the 80s and 90s going into the 2000s,
• 1:02:06
  Speaker 1: the child like entertainment laws really tightened down and the
• 1:02:14
  Speaker 1: people that were actually working it probably didn't know how
• 1:02:17
  Speaker 1: to deal with it. So they were like, yeah, we'll
• 1:02:19
  Speaker 1: have the kids out here for 20 minutes and then
• 1:02:21
  Speaker 1: we'll fucking send them away. So the kids probably didn't
• 1:02:26
  Speaker 1: have near as much of a role in being there.
• 1:02:31
  Speaker 1: So like, of course you're going to get shitty actors
• 1:02:34
  Speaker 1: when these kids are brought out on the soundstage for
• 1:02:38
  Speaker 1: 10 minutes and all they're doing is looking at Nicole Kidman,
• 1:02:41
  Speaker 1: who they've probably watched in all movies through their fucking childhood.
• 1:02:46
  Speaker 1: So these kids are like weirdly starstruck and probably don't
• 1:02:50
  Speaker 1: have a whole lot of acting training because nobody wants
• 1:02:52
  Speaker 1: to work with fucking kids. And then they're only out
• 1:02:55
  Speaker 1: there for 20 minutes.
• 1:02:58
  Speaker 3: Yeah.
• 1:02:58
  Speaker 1: So you get like five takes, shoo them away. Let's
• 1:03:01
  Speaker 1: do the rest of the movie. Bring them out when
• 1:03:03
  Speaker 1: we need them. Fucking scuttle them away. They don't need
• 1:03:06
  Speaker 1: to be here.
• 1:03:06
  Speaker 3: And it's clearly, it was based on that documentary too.
• 1:03:09
  Speaker 3: I feel like the nineties were the time where people
• 1:03:11
  Speaker 3: were really capitalizing on kid actors and really like doing
• 1:03:15
  Speaker 3: this crazy fucking shit that they were doing to them. So.
• 1:03:17
  Speaker 3: That could ultimately.
• 1:03:18
  Speaker 2: Yeah.
• 1:03:18
  Speaker 1: And at the turn of the new millennium, they're like, nah, nah,
• 1:03:21
  Speaker 1: let's not do this. So, uh, all right.
• 1:03:24
  Speaker 3: Yeah, that is, uh, that is the others from 2001.
• 1:03:27
  Speaker 3: Let's go on to, uh, uh, uh, final cut here.
• 1:03:31
  Speaker 3: So there's like so many fucking taglines here. Sooner or later,
• 1:03:36
  Speaker 3: she'll see them. Then everything will be different. Fucking. Okay.
• 1:03:40
  Speaker 3: Sometimes the world of living gets mixed up with the
• 1:03:42
  Speaker 3: world of the dead. I like that one. No door
• 1:03:45
  Speaker 3: is to be opened. That's just a quote. Never mind.
• 1:03:48
  Speaker 3: How do you keep them out when they've already invited
• 1:03:49
  Speaker 3: themselves in? Can you believe in ghosts? She didn't. And
• 1:03:53
  Speaker 3: close every door, turn every light, and look for the others. Trivia.
• 1:03:58
  Speaker 3: The disease that children have is an actual disease known
• 1:04:01
  Speaker 3: as fucking xeroderma pigmentosum, which is basically an extreme sensitivity
• 1:04:07
  Speaker 3: to light. It is very rare, with only 1,000 people
• 1:04:09
  Speaker 3: in the world who have it. To get the kids
• 1:04:14
  Speaker 3: worked up, Alejandro Amenobar would play scary music when they
• 1:04:17
  Speaker 3: weren't expecting it. Another reason that they might not be
• 1:04:20
  Speaker 3: in the right state of mind. Nicole Kidman originally tried
• 1:04:24
  Speaker 3: to persuade the director and the Weinstein brothers to find
• 1:04:28
  Speaker 3: another actress for the part. Coming off the bright, exuberant
• 1:04:31
  Speaker 3: Moulin Rouge, the actress was initially reluctant to do a
• 1:04:33
  Speaker 3: film that explored such dark places. Thank you, Nicole Kidman,
• 1:04:36
  Speaker 3: for doing that.
• 1:04:38
  Speaker 1: I think that was her. That was her excuse, but
• 1:04:41
  Speaker 1: she was like, don't let, I don't want to be
• 1:04:44
  Speaker 1: around Tom.
• 1:04:44
  Speaker 3: Yeah, exactly. Because that's my next thing. Executive producer.
• 1:04:47
  Speaker 1: Because you know he was on fucking set every day
• 1:04:50
  Speaker 1: with that fucking horse mouth.
• 1:04:53
  Speaker 3: And his misaligned teeth.
• 1:04:55
  Speaker 1: Yeah.
• 1:04:56
  Speaker 3: Cause he executive executive produced this marking the last collaboration between, uh,
• 1:05:00
  Speaker 3: him and his, uh, ex-wife. Cause this movie released the
• 1:05:04
  Speaker 3: same month that they divorced. So that's, that's, that's wasn't.
• 1:05:07
  Speaker 1: Wasn't this, wasn't Nicole Kidman, the one that had to
• 1:05:10
  Speaker 1: like escape. Yeah, I'm pretty, I mean, Tom Cruise is
• 1:05:13
  Speaker 1: a fucking, is a Scientologist. She left while he was, like,
• 1:05:17
  Speaker 1: shooting a movie in Europe, and she had to, like,
• 1:05:19
  Speaker 1: go get a burner phone so she could, like, call
• 1:05:23
  Speaker 1: her attorney without anybody knowing.
• 1:05:25
  Speaker 3: That sounds right. I mean, Tom Cruise is an insane Scientologist,
• 1:05:29
  Speaker 3: so I would believe that in a heartbeat.
• 1:05:32
  Speaker 1: And it sucks because he's such a nice person.
• 1:05:34
  Speaker 3: Yeah.
• 1:05:35
  Speaker 1: He was so nice to me when I met him.
• 1:05:38
  Speaker 1: I can't, like, yeah, I know he's a monster, but
• 1:05:40
  Speaker 1: he's nice to me.
• 1:05:41
  Speaker 3: He's nice, so it's very strange. Goofs, when Mrs. Mills
• 1:05:45
  Speaker 3: gives Grace a few pills to calm her, they're in
• 1:05:47
  Speaker 3: a plastic medicine bottle. Prescription and non-prescription pills weren't dispensed
• 1:05:51
  Speaker 3: in plastic bottles until the mid-1960s. This one's hilarious because
• 1:05:56
  Speaker 3: it's so stupid, but it's really funny. Like, for example,
• 1:05:59
  Speaker 3: it has 44 thumbs up and 56 thumbs down and
• 1:06:03
  Speaker 3: tells Mrs. Mills she doesn't believe that God made the
• 1:06:05
  Speaker 3: world in seven days, as told in the Bible. According
• 1:06:07
  Speaker 3: to the Bible, God made the world in six days
• 1:06:10
  Speaker 3: and rested on the seventh day. Shut the fuck up.
• 1:06:13
  Speaker 1: Like, shut up.
• 1:06:15
  Speaker 3: Oh, my God. So this is an incredibly even-rated movie
• 1:06:20
  Speaker 3: across all platforms here. We have a 7.6 out of
• 1:06:24
  Speaker 3: 10 on IMDb, which equivalents to a 3.8 out of
• 1:06:27
  Speaker 3: 5 for our purposes of the Nightmare Index. A 3.8
• 1:06:30
  Speaker 3: out of 5 as well on Letterboxd. 85% on the Tomatometer.
• 1:06:35
  Speaker 3: 77% audience score. What did you rate this?
• 1:06:37
  Speaker 1: I rated it a 3.5. 3.5.
• 1:06:39
  Speaker 3: All right, so 3.5. I gave it a 4.5, which
• 1:06:40
  Speaker 3: gives us a nightmare index of 3.90 out of 5.
• 1:06:41
  Speaker 3: So that is going to be a three-way tie with
• 1:06:44
  Speaker 3: Fright Night and Renfield for a 3.90 out of 5.
• 1:07:00
  Speaker 3: They all sit right above reanimator at a 3.84 and
• 1:07:04
  Speaker 3: right below close and, or sorry, right below, let the
• 1:07:07
  Speaker 3: right one in and dead and buried tied at a 3.91
• 1:07:10
  Speaker 3: out of five. good times here at.
• 1:07:14
  Speaker 1: The end of the year you're gonna like release this
• 1:07:17
  Speaker 1: list in its entirety.
• 1:07:18
  Speaker 3: It's gonna be a letterboxd list that i release and
• 1:07:21
  Speaker 3: i'm gonna go over it i'm gonna go over the
• 1:07:23
  Speaker 3: list uh month by month i have a whole thing
• 1:07:27
  Speaker 3: set it's it's gonna be fun it's.
• 1:07:29
  Speaker 1: It's gonna be such a bizarre list to look.
• 1:07:32
  Speaker 3: At honestly looking.
• 1:07:33
  Speaker 1: Like every everybody's gonna like no one's going to agree on.
• 1:07:37
  Speaker 3: No, honestly, honestly, looking at this, it's, it's, it's pretty
• 1:07:41
  Speaker 3: fucking incredible. Like it's an incredible, it, I feel like
• 1:07:46
  Speaker 3: everything is in its right place. There are some outliers
• 1:07:48
  Speaker 3: of course, but for the most part, I'm like, this
• 1:07:50
  Speaker 3: is pretty fucking solid. Like I'm, I'm impressed.
• 1:07:54
  Speaker 1: And because it's, it's been arguably, it's been completely blind rated, uh,
• 1:08:01
  Speaker 1: Because it's whoever's watching it. So there's no, like, control
• 1:08:06
  Speaker 1: group going on.
• 1:08:07
  Speaker 3: Nope. And that's what I like about it. It's not
• 1:08:09
  Speaker 3: just me and Gabby this entire time. It's me and
• 1:08:11
  Speaker 3: whoever's on the episode. So, yes, I'm the one constant,
• 1:08:15
  Speaker 3: which I feel like you do need. But it's just
• 1:08:18
  Speaker 3: depending on who I watched it with that day, which
• 1:08:20
  Speaker 3: I feel like makes it even more accurate. Similar movies
• 1:08:24
  Speaker 3: according to IMDb. We have The Orphanage, The Ring, The Mist, Sinister,
• 1:08:27
  Speaker 3: and Orphan. And similar movies according to Letterboxd. We have
• 1:08:30
  Speaker 3: The Sixth Sense, The Orphanage, The Woman in Black, The
• 1:08:33
  Speaker 3: Haunting 1963, and The Haunting 1999. Let's do some funny
• 1:08:36
  Speaker 3: reviews and get the fuck out of here.
• 1:08:39
  Speaker 1: I would also like to say one other movie that
• 1:08:42
  Speaker 1: is kind of similar, but not really, but sort of.
• 1:08:45
  Speaker 1: That one fuck-ass amazing made-for-TV movie, Witch in the Window.
• 1:08:51
  Speaker 3: Oh, the one we did at the beginning of like
• 1:08:54
  Speaker 3: two like two years ago yes that movie so we
• 1:08:57
  Speaker 3: did it again because it was so good movie was
• 1:09:00
  Speaker 3: so good oh yes thank you for reminding me of
• 1:09:03
  Speaker 3: that one um all right i've got six but i
• 1:09:05
  Speaker 3: always bring the extras just in case we uh match
• 1:09:08
  Speaker 3: up here.
• 1:09:09
  Speaker 1: I've got um four because they were difficult to find
• 1:09:15
  Speaker 1: all right you go first then Um, a half star,
• 1:09:20
  Speaker 1: no heart from art, the clown. Fuck my ass is
• 1:09:26
  Speaker 1: movie sucked ass fuck with 20 middle finger emojis.
• 1:09:31
  Speaker 3: Well, it is art, the clown. So they're not trying
• 1:09:32
  Speaker 3: to watch any high art. This was the top one.
• 1:09:38
  Speaker 3: So I'll just get it out of the way. Cause
• 1:09:39
  Speaker 3: it's just funny. Final plot twist. Happens.
• 1:09:42
  Speaker 2: Me.
• 1:09:43
  Speaker 3: I totally called. Like, little dash to imply being interrupted.
• 1:09:48
  Speaker 3: Second plot twist. Roundhouse kicks me in the back of
• 1:09:50
  Speaker 3: the head. Shut it, nerd. Like, yeah, that was my
• 1:09:53
  Speaker 3: first experience, too. Like, holy shit, everyone's dead? Fuck me.
• 1:09:57
  Speaker 3: All right, what you got?
• 1:09:59
  Speaker 1: This one is a nonsense review.
• 1:10:02
  Speaker 3: Because you know how I love these.
• 1:10:07
  Speaker 1: Uh, a half star, no heart from Ethan R eights movies.
• 1:10:12
  Speaker 2: Ooh.
• 1:10:13
  Speaker 1: Hey Lauren, I'm sorry your cat died, but it was
• 1:10:16
  Speaker 1: probably from watching this dog shit ass movie. Your dad
• 1:10:19
  Speaker 1: might've watched it too. Jesus Christ. So, So this man
• 1:10:23
  Speaker 1: is beefing with some poor girl named Lauren who lost
• 1:10:26
  Speaker 1: her cat and her dad. Oh, shit.
• 1:10:29
  Speaker 3: No, no.
• 1:10:31
  Speaker 1: That's relevant. That was a review.
• 1:10:33
  Speaker 3: Stand by. That was a fucking review I read. The
• 1:10:36
  Speaker 3: top rated review right here from Lauren. For 15 years,
• 1:10:41
  Speaker 3: I had my cat, and he and I would watch
• 1:10:43
  Speaker 3: movies together. This afternoon, we watched our last one together.
• 1:10:46
  Speaker 3: Around four weeks ago, my dad died. At 5.47 p.m., Willie,
• 1:10:51
  Speaker 3: my beloved cat of 15 years, passed as well. I
• 1:10:53
  Speaker 3: can confidently say Willie was the best, most loving cat
• 1:10:57
  Speaker 3: in the world, a beautiful little guy who grew up
• 1:10:59
  Speaker 3: with me and saved my life too. I love you
• 1:11:01
  Speaker 3: so much, Willie. I'm sorry for you, but that's an
• 1:11:03
  Speaker 3: over fucking share. I'm sorry. Like that's an overshare.
• 1:11:07
  Speaker 1: That you, you don't need to post that on the internet.
• 1:11:09
  Speaker 3: Like that's crazy, crazy time to fucking just give me
• 1:11:13
  Speaker 3: your life story.
• 1:11:14
  Speaker 1: And that I found the reply review to that thinking
• 1:11:18
  Speaker 1: it was nonsense.
• 1:11:19
  Speaker 3: I wasn't going to read it just because I was like,
• 1:11:20
  Speaker 3: you know what, whatever, but fucking the stars aligned. I
• 1:11:25
  Speaker 3: am deeply sorry that you lost your father and your cat,
• 1:11:28
  Speaker 3: but fucking read the room. This is not the time, okay? Anyways,
• 1:11:32
  Speaker 3: I've got where to go. This one I picked because
• 1:11:35
  Speaker 3: I'm pretty sure they meant to spell this word different.
• 1:11:39
  Speaker 3: Three and a half stars from Jay. I love insane
• 1:11:41
  Speaker 3: woman walking around a creepy house at night hearing shit.
• 1:11:44
  Speaker 3: Gotta be one of my favorite genders. I think they
• 1:11:46
  Speaker 3: meant genres, not genders.
• 1:11:48
  Speaker 1: Unless it means.
• 1:11:53
  Speaker 1: Petite white blonde women willing to walk into danger. Okay.
• 1:11:58
  Speaker 1: All right.
• 1:11:59
  Speaker 3: So we could go either way. Maybe they meant genres
• 1:12:01
  Speaker 3: or maybe they were intentional. It meant genders. All right.
• 1:12:05
  Speaker 1: Next. Um, I, I picked this one because I'm going
• 1:12:11
  Speaker 1: to go with for the 2001 time slot.
• 1:12:15
  Speaker 2: Sure.
• 1:12:16
  Speaker 1: This is a very accurate review.
• 1:12:18
  Speaker 3: Okay.
• 1:12:19
  Speaker 1: A five star and a heart from Pickwee, the best
• 1:12:23
  Speaker 1: plot twist at the time, to be honest.
• 1:12:27
  Speaker 3: Okay, yeah. Yeah, that's fair.
• 1:12:29
  Speaker 1: Because, like, a handful of years earlier, you had The
• 1:12:32
  Speaker 1: Sixth Sense, and that was the best plot twist. But
• 1:12:35
  Speaker 1: in 2001... not a whole lot of twistiness going on.
• 1:12:42
  Speaker 3: I'm going to go 2005 or 4, whenever the fuck
• 1:12:46
  Speaker 3: Saw came out, that would be the next new best twist. Yeah,
• 1:12:50
  Speaker 3: that was 2004. Literally, no one saw that shit coming.
• 1:12:53
  Speaker 3: I don't fucking care if you told me you did,
• 1:12:55
  Speaker 3: you're a fucking liar. No one saw that shit coming
• 1:12:57
  Speaker 3: at the end of Saw 1. There's no way. So
• 1:12:59
  Speaker 3: this one's interesting because I don't know if it's accurate.
• 1:13:02
  Speaker 3: Four stars from Ethan Colburn. Not Tom Cruise producing a
• 1:13:05
  Speaker 3: movie about how the Bible isn't real and trapping Nicole
• 1:13:07
  Speaker 3: Kidman in a house for all eternity. Do Scientologists believe
• 1:13:12
  Speaker 3: in the Bible? I don't even know.
• 1:13:13
  Speaker 1: No, they believe in Dianetics. and Xenu, and the volcanoes
• 1:13:19
  Speaker 1: in the space 747. Okay, so they might be off.
• 1:13:23
  Speaker 1: Dropping Thetans into volcanoes to allow their souls to escape.
• 1:13:28
  Speaker 3: I tried looking up Scientology, what it meant, and I
• 1:13:31
  Speaker 3: really could not find a straight answer, and that's fucking
• 1:13:33
  Speaker 3: sketchy to me.
• 1:13:34
  Speaker 1: Okay, so we're going to derail for.
• 1:13:36
  Speaker 3: Just a second.
• 1:13:37
  Speaker 1: Oh, dear Jesus. Scientology... was a science based lifestyle that
• 1:13:44
  Speaker 1: was originally created by L Ron Hubbard in like the fifties.
• 1:13:47
  Speaker 3: Yeah. I got that much.
• 1:13:48
  Speaker 1: Um, I got that much. He then wrote a book
• 1:13:53
  Speaker 1: called Dianetics, which gave these beliefs pseudoscience backing and from
• 1:14:00
  Speaker 1: Dianetics spawned not an ideology, but a religion. Because to
• 1:14:06
  Speaker 1: quote L. Ron Hubbard, you want to make some real money,
• 1:14:10
  Speaker 1: you start a religion. And the levels of Scientology... have
• 1:14:16
  Speaker 1: only been created to make it fucking worth it to people.
• 1:14:22
  Speaker 1: So like you have, you have your levels of clear
• 1:14:27
  Speaker 1: that you can get. And it's only when you get
• 1:14:31
  Speaker 1: to the highest levels of clear that you are allowed
• 1:14:36
  Speaker 1: to to be told what the beliefs of Scientology is,
• 1:14:43
  Speaker 1: which is there was this evil space overlord named Xenu.
• 1:14:49
  Speaker 1: He took these energy beings called Thetans and froze them
• 1:14:55
  Speaker 1: in giant space crystals and then took them to a
• 1:14:58
  Speaker 1: prison planet, Earth, to drop them into our forming volcanoes
• 1:15:04
  Speaker 1: to destroy them. What happened is those Thetans manifested outside
• 1:15:09
  Speaker 1: of their crystals and then took housing in primitive humans.
• 1:15:15
  Speaker 1: So everything that's ever going wrong in your life is
• 1:15:19
  Speaker 1: because you don't understand the Thetans that are making you
• 1:15:23
  Speaker 1: act that way, which going clear is clearing yourself of
• 1:15:28
  Speaker 1: the negative Thetans and learning to communicate with them inside
• 1:15:32
  Speaker 1: of you. And that's, in a nutshell, Scientology.
• 1:15:36
  Speaker 3: I mean this in the most platonic friendship way, but
• 1:15:39
  Speaker 3: I love you so much because you just always have
• 1:15:44
  Speaker 3: the knowledge that I'm seeking. You're like this fucking little
• 1:15:48
  Speaker 3: wizard man that I can go to and be like,
• 1:15:51
  Speaker 3: what is the meaning of this? And you'd be like, ah,
• 1:15:53
  Speaker 3: let me tell you, sonny. And it's just like, I.
• 1:15:56
  Speaker 1: Let me go into the tome.
• 1:15:59
  Speaker 2: Yeah, oh.
• 1:16:00
  Speaker 1: On page nine.
• 1:16:01
  Speaker 3: And you just got this little fucking staff and just
• 1:16:04
  Speaker 3: this giant library.
• 1:16:06
  Speaker 1: Like it's in a cave and it's well lit with candles.
• 1:16:08
  Speaker 3: And you're like, let me go find my book and
• 1:16:10
  Speaker 3: tell you, sonny. I fucking, I thank you. God, that was,
• 1:16:16
  Speaker 3: I can't follow that up with anything nearly as good.
• 1:16:19
  Speaker 1: But did you have one more review? I do have
• 1:16:23
  Speaker 1: one more review.
• 1:16:23
  Speaker 3: All right, let's get through these because that just blew
• 1:16:26
  Speaker 3: my fucking brains. Holy cow.
• 1:16:29
  Speaker 1: A five star and a heart from Brio Cojillo. Absurdo. Absurdo.
• 1:16:39
  Speaker 3: Okay. Four and a half stars from Chris. Nicole Kidman
• 1:16:43
  Speaker 3: ran so that Toni Collette could also run. Love that
• 1:16:47
  Speaker 3: so much. And then the last.
• 1:16:49
  Speaker 1: Nicole Kidman ran so Toni Collette could crawl across the
• 1:16:53
  Speaker 1: fucking walls.
• 1:16:57
  Speaker 3: Uh, two stars. And I picked this one not knowing
• 1:17:00
  Speaker 3: that you'd bring this up, but it's perfect. Are the
• 1:17:02
  Speaker 3: child actors annoying or are they just really good at
• 1:17:05
  Speaker 3: playing annoying characters? No, I think they're just annoying. All right.
• 1:17:10
  Speaker 3: You have an answer. I love it. And last but
• 1:17:12
  Speaker 3: not least, my favorite one, three and a half stars
• 1:17:14
  Speaker 3: from Dante, a movie about Nicole Kidman serving the most
• 1:17:17
  Speaker 3: cunt and opening doors. I'm like, yeah, that's pretty much
• 1:17:20
  Speaker 3: all it is. So, if you enjoy the show, please
• 1:17:23
  Speaker 3: rate and review on your favorite podcast app of choice.
• 1:17:25
  Speaker 3: Follow us on Facebook, Instagram, TikTok, Slasher, Threads, and YouTube
• 1:17:29
  Speaker 3: at Frightmares Podcast. Email is stayspookyatoutlook.com. You can follow me
• 1:17:33
  Speaker 3: personally on Letterboxd at Dr. Proctor.
• 1:17:35
  Speaker 1: All one word.
• 1:17:37
  Speaker 3: You are.
• 1:17:38
  Speaker 1: Frightmares Corey.
• 1:17:39
  Speaker 3: Booyah! If you'd like to expand your movie podcast listening,
• 1:17:42
  Speaker 3: be sure to check out The Shameless Picture Show, The
• 1:17:44
  Speaker 3: Dead-Eyed Millennial Film Club, And one week rental as well,
• 1:17:47
  Speaker 3: as Corey has found himself down the rabbit hole with
• 1:17:50
  Speaker 3: Lacey and Matt, two lovely human beings. Next week, Gabby
• 1:17:53
  Speaker 3: and I are going to be doing The Frighteners from
• 1:17:55
  Speaker 3: 1996 as our deep cut pick. It is streaming on
• 1:17:58
  Speaker 3: AMC +, much like this movie. So until next week,
• 1:18:01
  Speaker 3: stay tuned.
• 1:18:02
  Speaker 1: And I'm telling mommy to be spooky.
• 1:18:42
  Speaker 3: Thank you for listening.
• 1:18:44
  Speaker 1: To hear more shows from the Someone's Favorite Productions podcast network,
• 1:18:48
  Speaker 1: please select the link in the description.