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BREAKDOWN- SHAKEDOWN: Edward Scissorhands · Cosmic Peach

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Speaker 1: Baby, I'm a gangster too. It takes at a tangle.
0:04
Speaker 2: You don't mess with me, baby, I'm a.
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Speaker 1: GANGSTERA touch, baby.
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Speaker 2: You're a Gangstato.
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Speaker 3: For the warning, this podcast is designed to take you
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Speaker 3: outside of your comfort zone and make you question reality.
0:30
Speaker 3: Listener discretion is a vibe, Fellas.
0:41
Speaker 4: This ain't my first time.
0:43
Speaker 5: At the rodeos.
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Speaker 4: Alright, everyone, you know what it is. I have your
0:56
Speaker 4: favorite guest for movies again tonight. And I'm actually really
1:02
Speaker 4: excited about this one because not only is it a
1:05
Speaker 4: Christmas movie, but this would be what our third Tim
1:09
Speaker 4: Burton movie, our second Tim Burton movie that we've.
1:12
Speaker 6: Definitely there seems to be a trend here, say the
1:15
Speaker 6: Tim Burton or it's Johnny Depp. There's a wee correlation going.
1:19
Speaker 4: On there because we did the ninth Gate that's correct, Yeah, yeah, okay, yes,
1:24
Speaker 4: but it's Drew. Everybody knows him and loves him. Drew.
1:28
Speaker 4: How are you.
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Speaker 6: I'm fantastic, mat doing really really well, great news recently personally.
1:35
Speaker 4: So yeah, I was gonna say, you want to share
1:37
Speaker 4: with the class.
1:38
Speaker 6: Or no, No, it's certainly out there in the eighth
1:42
Speaker 6: and now my wife and I are expecting our first baby.
1:45
Speaker 6: So we're over the moon about that. We're very exciting.
1:48
Speaker 4: And my predictions are a ginger Jedi, So we will
1:54
Speaker 4: see if I'm correct or not. It's gonna come out
1:58
Speaker 4: and it's gonna know so much about movies and have
2:01
Speaker 4: just a bunch of useless trivia about Johnny Depp when
2:04
Speaker 4: it pops out.
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Speaker 6: Yeah, it's already got that subconsciously planted in. It's Brian
2:10
Speaker 6: both right.
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Speaker 4: Yeah. Well, congratulations, I'm so excited for you. I guess
2:16
Speaker 4: we'll be taking a break from podcasting for a while
2:19
Speaker 4: after the baby gets here.
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Speaker 6: Huh, Yeah, I dare say so. I've had a bit
2:23
Speaker 6: of a break recently, but starting's caught a few things now,
2:25
Speaker 6: this being one of them. First time back in a
2:27
Speaker 6: little while, so I'm glad that it's back with you, Julia,
2:31
Speaker 6: to ease me back in.
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Speaker 4: Yeah, and of course we're gonna bring the fires. Since
2:36
Speaker 4: it's been a while since you've been on a show.
2:38
Speaker 4: I'm sure you have like a bunch of pent up
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Speaker 4: conspiracy angst that you need to release. But we are
2:46
Speaker 4: actually going to cover Edward Scissorhands tonight. Definitely one of
2:50
Speaker 4: my favorites. I do think it's a Christmas movie because
2:56
Speaker 4: it takes place around Christmas, and you know, it's got
3:01
Speaker 4: like the whole snowy whatever at the end. But maybe
3:05
Speaker 4: I'm wrong, Maybe it's a Halloween movie. I don't know.
3:09
Speaker 4: I guess it's like my wife.
3:12
Speaker 6: Yeah, my wife adamantly argued it wasn't a Christmas movie
3:15
Speaker 6: last night, and she deliberately showed me the timestamp in
3:17
Speaker 6: which we first see Christmas. But I agree, if it
3:20
Speaker 6: has at least a bare minimum a scene of Christmas
3:24
Speaker 6: in it, it's fine. Christmas set in North America. It's
3:26
Speaker 6: a Christmas This is not I get it.
3:28
Speaker 4: Yeah, like Gremlins and die Hard, those are the ones
3:32
Speaker 4: that everybody argues about, but they are Christmas movies.
3:36
Speaker 6: So take count.
3:38
Speaker 4: Well, how do you want to get started? You want
3:40
Speaker 4: to talk a little bit about the movie? You want
3:42
Speaker 4: to jump right into like a synopsis in the names.
3:46
Speaker 4: How you want to do this?
3:48
Speaker 6: I think we should talk about the context of the
3:50
Speaker 6: film itself. Okay, this jumped off the screen for me
3:54
Speaker 6: just looking at it. Edwards siss Hands takes many cultural
3:58
Speaker 6: and historically significant tale from both relatively modern stories all
4:03
Speaker 6: the way back into the ancient times and combine them
4:05
Speaker 6: in this very new yet very familiar story we get.
4:10
Speaker 6: What we get is we're presented with like a modern
4:14
Speaker 6: day take on Pinocchio. On its first glance, we've got
4:17
Speaker 6: this eccentric man inventor who fashions himself a son from
4:22
Speaker 6: an nanimate object, ticks a box. It's very similar to Pinocchio.
4:26
Speaker 6: Yet we also get the darker side of Mary Shelley's Frankenstein.
4:30
Speaker 6: We have this creature, this man, this monculi which is
4:34
Speaker 6: being crafted, who suddenly falls in love with our leading lady,
4:38
Speaker 6: Kim played by Bonona Ryder, and he has this sick
4:42
Speaker 6: obsession with her, and he has this almost romantical battle
4:47
Speaker 6: with the opposition, which in this film is the character Jim,
4:50
Speaker 6: who mirrors the character of Gaston. So we see Edwards
4:53
Speaker 6: Sez the Hands as almost the beast and Jim as
4:55
Speaker 6: Gaston in this Yet all of this ties back to
5:00
Speaker 6: an even greater, older story, which is the story of
5:06
Speaker 6: the goal, which is like Hebrew or Aramaic mysticism, this
5:10
Speaker 6: idea of that you can make this humuncular, not quite human,
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Speaker 6: inanimate object and create life from it. And we say
5:19
Speaker 6: that in Jewish mysticism. With these clay monsters, and it's
5:23
Speaker 6: traditionally always clay, but it doesn't necessarily always have to
5:26
Speaker 6: be clay. So we HiT's the story of an anthropomophic
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Speaker 6: creature which is brought to life. And I just find
5:34
Speaker 6: it so amazing that we have this really old story
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Speaker 6: which has been repeated multiple times within recent history, and
5:43
Speaker 6: stories that we've all grown up with Beauty and the Beast,
5:46
Speaker 6: maybe elements of the Grinch. We've got the side of Pinocchio,
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Speaker 6: It's been retold again and again. I think it draws
5:54
Speaker 6: back on this really ancient subconscious and when I mean
6:00
Speaker 6: VI's subconscious, I have to actually go back to one
6:01
Speaker 6: of the biggest actors in this film that has a
6:04
Speaker 6: very minute part, Vincent Price. And for people who out
6:07
Speaker 6: there a horror ficionados would know Vincent Price as being
6:10
Speaker 6: the gentleman, bad guy or villain from many a horror
6:13
Speaker 6: film in his day. But Vincent Price is well known
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Speaker 6: for quoted and saying this. His quote is, I sometimes
6:23
Speaker 6: feel that I'm impersonating the dark unconscious of the whole
6:26
Speaker 6: human race. I know this sounds sick, but I love it,
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Speaker 6: and I think this really connects to the whole premise
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Speaker 6: of the film the dark unconscious of a human race.
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Speaker 6: That's what these stories are about. Every single story, from
6:38
Speaker 6: the modern day hero worship of Marvel and Star Wars
6:41
Speaker 6: to the classical Disney tales, they all harken back to
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Speaker 6: this ancestral genetic memory in this truth, this hidden away
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Speaker 6: story that's deep with in our subconscious, that draws us in.
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Speaker 6: And I think this film really nails it with all
6:54
Speaker 6: those elements.
7:10
Speaker 4: Hey, I'm calling.
7:15
Speaker 5: This is some huge.
7:16
Speaker 2: House, isn't it.
7:17
Speaker 7: Hello? Why are you hiding back?
7:21
Speaker 4: Bear?
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Speaker 7: You don't have to hide from me.
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Speaker 5: I'm as harmless as cherry prop. Those are your hands,
7:31
Speaker 5: Those are your hands. I think you should just come
7:36
Speaker 5: home with me. Joyce, I just saw this strange guy
7:40
Speaker 5: driving with peg.
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Speaker 6: Did you get a good look at her? Hi scissors?
7:45
Speaker 1: Oh? You got there?
7:47
Speaker 5: Ed Can This is Edward who's going to live with us?
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Speaker 8: Well this must be quite a change for.
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Speaker 7: You, right, ed.
7:57
Speaker 9: Those things are cool?
7:58
Speaker 1: Can I bring?
7:59
Speaker 6: Don't tell them? He's a highly imaginative character. It seems
8:04
Speaker 6: clear that his awareness of what we call reality is
8:07
Speaker 6: radically under development.
8:09
Speaker 2: Abbit, you take my very breath away.
8:12
Speaker 6: Do you have a girlfriend?
8:14
Speaker 2: A Is there some special lady in your life more
8:23
Speaker 2: doctors kidd just to scratch the power of satan as
8:26
Speaker 2: an he making feel.
8:27
Speaker 1: It all along. I felt in my good there was
8:32
Speaker 1: something wrong with him.
8:35
Speaker 5: From Tim Burton comes the most incredible tale of a
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Speaker 5: most unusual character, Edward Scissor Hands.
8:45
Speaker 6: Me.
8:48
Speaker 9: I can't.
8:55
Speaker 4: Well, yeah, I agree with you, and I we're gonna
9:00
Speaker 4: go in that direction. So I have a couple backup
9:04
Speaker 4: grand theories for you that you can tell me, you
9:09
Speaker 4: know how stupid they are later. But it's actually some
9:15
Speaker 4: stuff that I found about. Okay. So there's two theories.
9:19
Speaker 4: I'm just gonna give them to you now because I
9:21
Speaker 4: agree with you. But this is what people are saying,
9:24
Speaker 4: right do you? You know how they always try to
9:27
Speaker 4: sneak a little bit of like woke shit in there,
9:29
Speaker 4: or like make stuff about like a race war and
9:32
Speaker 4: like stuff like that. Okay, So I found this theory
9:36
Speaker 4: that Edward Scissor Hands.
9:39
Speaker 9: Is about, uh race and how white people versus Okay,
9:49
Speaker 9: So here's the theory.
9:50
Speaker 4: Okay. Edward SCISSORHNDS does do a great job of showing
9:57
Speaker 4: a cookie cutter, which is referenced in the film Cookie
10:00
Speaker 4: Cutter Like Pastel Suburbia, where the men work like nine
10:07
Speaker 4: to five jobs and the women are all gossiping and
10:10
Speaker 4: shit like that, but they're actually like really cruel and
10:12
Speaker 4: selfish and like crazy, and they do this virtue signaling
10:17
Speaker 4: and they probably all have their COVID boosters, and fucking
10:20
Speaker 4: the good guy at the end of the movie is
10:23
Speaker 4: the black guy, right, the black cop. And so it's
10:27
Speaker 4: saying like that I read this whole It was like
10:31
Speaker 4: a website dedicated to the theory that the white it's
10:34
Speaker 4: like the white devil versus the good guy at the
10:37
Speaker 4: nbing the one black guy that's in the entire movie,
10:40
Speaker 4: and that the title sequence of Edward Scissorhands is in
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Speaker 4: black and white and it's supposed to be. I don't know,
10:51
Speaker 4: but what do you think about that? Like there's a
10:53
Speaker 4: whole page dedicated to like this race war thing with
10:57
Speaker 4: Edward Scissorhands. I mean, I, yes, I can see it,
11:01
Speaker 4: but not really you know again, I think.
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Speaker 6: I think this is almost like the verbs how we
11:07
Speaker 6: say that these types of stories get thrown into these
11:11
Speaker 6: modern day university lecturers courses about cultural studies and racial
11:16
Speaker 6: and equity and these sorts of things. I saw pretty
11:18
Speaker 6: much your exact same theory you just told me, but
11:21
Speaker 6: instead of about being race, it was about being neurodivergent, and
11:24
Speaker 6: that edwards'zans fits the role of someone with Asperger syndrome.
11:28
Speaker 6: That's why it doesn't.
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Speaker 4: Feel God, doesn't that remind you of the groups? So
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Speaker 4: that article you found about like, it's the same thing
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Speaker 4: they try to put like they they try to cover
11:37
Speaker 4: it with like some woke shit like, oh no, you
11:39
Speaker 4: guys got it wrong. Edward Scissorhands is about black people
11:43
Speaker 4: versus white people, and that's why the title sequences in
11:47
Speaker 4: Black and White, and the black guy at the end
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Speaker 4: of the movie is the only normal, sane, good person
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Speaker 4: and all the white people are crazy evil and like
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Speaker 4: manipulating him and like da da da. I don't know,
12:02
Speaker 4: it was kind of crazy. But I also read another
12:07
Speaker 4: theory that Edward Scissor Hans, You're not gonna fucking believe this.
12:12
Speaker 4: Edward Scissor Hans is like telling the Christ story, like
12:18
Speaker 4: he was born, he was created by this man, and
12:22
Speaker 4: then he was raised by parents who weren't really his parents,
12:26
Speaker 4: and uh, he's cast it out by his own people,
12:31
Speaker 4: and you know, it was just I mean, I guess
12:35
Speaker 4: I can see it in an aspect of it, and
12:39
Speaker 4: like he's actually innocent and they're all fucking convoluted and
12:43
Speaker 4: crazy and he's like the one that gets said that
12:46
Speaker 4: he's evil and he's cast it out and da da dah.
12:50
Speaker 4: But I don't know, what, what do you think about
12:52
Speaker 4: that one?
12:54
Speaker 6: I think it has some premise and if you look
12:56
Speaker 6: at it just on its like it's an initial level
12:59
Speaker 6: on the first scale and he can go down multiple lays.
13:02
Speaker 6: I think it fits. There's aspects of this which I
13:06
Speaker 6: think tie into gnosticism in the early Church, which I'll
13:09
Speaker 6: get into later. But it has, let's say, elements of
13:13
Speaker 6: the Christ and the whole idea of maybe the Trinity,
13:17
Speaker 6: but it's not quite the waits present. And I think
13:21
Speaker 6: I saw the exact same paper or article that you
13:23
Speaker 6: read that makes it very almost modern day Christians attempt
13:28
Speaker 6: at trying to justify watching such a dark film.
13:31
Speaker 4: Recky. Yeah, that's kind of how I thought too. I
13:34
Speaker 4: was like, Okay, they're trying to like make Tim Burton
13:37
Speaker 4: be this like kind of like you were saying, gnostic
13:40
Speaker 4: kind of telling this story. But I don't know. There
13:43
Speaker 4: are many layers to the movie. In the story itself
13:50
Speaker 4: and before we dive right into it. You know, I
13:52
Speaker 4: always have some fun facts about the movie. So Tom Cruise,
13:58
Speaker 4: Michael Jackson, Jim Carrey, Tom Hanks, and Robert Downey Junior
14:03
Speaker 4: were up for the part of Edward Scissor Hands. I
14:07
Speaker 4: can only see a couple of those working out. I
14:10
Speaker 4: can see Jim Carrey for sure, maybe Robert Downey Junior,
14:15
Speaker 4: but not fucking Tom Cruise. Cruise, Yeah, short, little fucking.
14:22
Speaker 6: Trol running around the mountain.
14:23
Speaker 4: Yeah, oh my god. Can you imagine him and the
14:26
Speaker 4: Edward Scissor Hands get up like.
14:28
Speaker 6: Little kid hands because that'd be too small.
14:33
Speaker 4: Scars because he looks like a toddler.
14:39
Speaker 6: But this is the first film that Johnny Depp and
14:43
Speaker 6: Burton worked on together, Terry, where they initially struck up
14:46
Speaker 6: their friendship.
14:47
Speaker 4: Colby says Tom Cruise decided he didn't want the role
14:50
Speaker 4: because it wasn't a pretty role. Quote.
14:53
Speaker 6: Yeah, he's a pretty face boy, isn't he.
14:55
Speaker 7: Yeah?
14:56
Speaker 4: Yeah, and he would he would have never had all
14:58
Speaker 4: those fucking scars on it his face and ship, I.
15:02
Speaker 6: Don't know, don't even have a symmetrical face. How can
15:04
Speaker 6: he talk his tooths like off to the side, I know, right, But.
15:10
Speaker 4: So Edward Scissor Hands was also supposed to be a musical,
15:15
Speaker 4: kind of like uh Sweeney Todd, which is also Johnny Depp.
15:20
Speaker 4: But I can't see it being a musical. I think
15:23
Speaker 4: that would have ruined it. I don't really good for
15:26
Speaker 4: that reason.
15:27
Speaker 6: I can say, maybe you can see the elements or
15:30
Speaker 6: the prey curses to night Mare before Christmas. It's very burnesque,
15:35
Speaker 6: you could say it. With a few of them swakes
15:37
Speaker 6: and changes, it very well could have been a musical.
15:40
Speaker 4: But I'm glad to but yeah, yeah, you're right actually there,
15:44
Speaker 4: and you know, I'm sure they would have come up
15:45
Speaker 4: with some great fucking songs, but I'm glad that it
15:50
Speaker 4: didn't happen. If I'm just being honest, I actually think
15:57
Speaker 4: the I think it's the song they use at the
15:59
Speaker 4: very end and the very beginning of the movie. It's
16:04
Speaker 4: kind of like anytime I hear it, I know exactly
16:08
Speaker 4: where it's from. Actually, I think it came on like
16:11
Speaker 4: a podcast or something that we were listening to the
16:14
Speaker 4: other day and I was like, oh, it's a song
16:16
Speaker 4: from Edward Scissor Cans. But that's because it's elfman and
16:19
Speaker 4: like everything he does is really epic. Like that, like Beetlejuice,
16:24
Speaker 4: and you know all of Tim Burton's movies have that
16:28
Speaker 4: epic sound. But another fun fact is that, and I
16:34
Speaker 4: was actually talking to Colby about this and I found
16:37
Speaker 4: the story on it. The character Edward scissorhands like his
16:42
Speaker 4: personality was based on a dog. And I guess Johnny
16:49
Speaker 4: Depp was like struggling to find like the tone for
16:56
Speaker 4: Edward Scissor cans, like how he was supposed to be acting,
17:00
Speaker 4: and he thought of this dog and he nailed it
17:04
Speaker 4: after that. And when you watch it, and if you
17:06
Speaker 4: keep that in mind, you can see there are elements
17:10
Speaker 4: to his reactions that are like a dog, like with
17:13
Speaker 4: the big eyes and kind of scared and like timid.
17:17
Speaker 4: And I thought that was adorable.
17:19
Speaker 6: He didn't attack a vacuum clean I said, maybe that
17:21
Speaker 6: was a deleted scene. Well, I've got a dig you
17:25
Speaker 6: know fact for you, and this is a Tim Burton one,
17:27
Speaker 6: So I hope I'm not stepping on your dicky, Julia,
17:29
Speaker 6: but step by the idea for the movie was inspired
17:33
Speaker 6: by drawings that Tim Burton made when he was a teenager.
17:36
Speaker 6: So the drawing depicted was a thin Solomon man with long,
17:41
Speaker 6: sharp blades of fingers, and he's quoted as saying, since
17:44
Speaker 6: I like to draw, since I was younger, oftentimes images
17:47
Speaker 6: would just pop up into my head and they'd stay there,
17:50
Speaker 6: and I keep drawing them and drawing them. This was
17:52
Speaker 6: a character I sketched back then when I was a child.
17:56
Speaker 6: He explains the character was represented to him why as
18:00
Speaker 6: a teenager that would pop into his head from time
18:02
Speaker 6: to time with not knowing any reason why. He likened
18:05
Speaker 6: growing up in suburbia to being a Frankenstein movie with
18:08
Speaker 6: suburbanites acting as angeren villagers to his different outlook on
18:12
Speaker 6: the world. So this sounds like direct download stuff. And
18:16
Speaker 6: you've kind of mentioned these kind of weird, creepy unknowns
18:19
Speaker 6: around Tim Burton. But if he's a young kid getting
18:22
Speaker 6: this topic imagery popped into his head, either his parents
18:25
Speaker 6: were very strange people or there's something going on there.
18:29
Speaker 4: Yeah, and you know what, Okay, so that'll bring me
18:32
Speaker 4: kind of into my next fun fact. Would you might
18:35
Speaker 4: have come across this too, But I thought it was
18:37
Speaker 4: really interesting because the inventor's castle is in the movie
18:45
Speaker 4: is based on the California Institute of the Arts, like
18:49
Speaker 4: that was Tim Burton's choice right, and the school sits
18:54
Speaker 4: on a hill overlooking suburban neighborhoods of Santa Clarita, California.
19:00
Speaker 4: But guess who one of the fucking founders of uh,
19:05
Speaker 4: the California Arts Institute is.
19:10
Speaker 6: H guess I'm gonna throw a wild guess at there,
19:15
Speaker 6: based on some of my theories on this one. Is
19:18
Speaker 6: it a prominent Mormon.
19:20
Speaker 4: It's actually Walt fucking Disney. And Okay, so there were
19:28
Speaker 4: a bunch of catastrophes that happened while they were trying
19:31
Speaker 4: to build the institute, and Walt Disney actually got his
19:34
Speaker 4: brothers involved in it and eventually went on to fire
19:38
Speaker 4: people off the board of trustees and replaced them with
19:42
Speaker 4: his family members, and the assistant program director for the
19:47
Speaker 4: Arts and Humanities of the Rockefeller Foundation was appointed the
19:53
Speaker 4: president of the institute. And of course Tim Burton went
19:56
Speaker 4: there and worked for a short time for Walt Disney
19:59
Speaker 4: and and like most of the animators for Cartoon Network
20:02
Speaker 4: and of course the Disney Channel came from this institute.
20:06
Speaker 4: But the castle in Edward Scissorhands is based on that institute.
20:11
Speaker 4: So I mean, I thought that was hella interesting in
20:14
Speaker 4: and of itself, because I'm pretty sure he got fired
20:16
Speaker 4: from Disney.
20:19
Speaker 6: To the Garden often.
20:23
Speaker 4: But yeah, and so it's like if we're going with
20:26
Speaker 4: like the Christ story and he and he created this
20:29
Speaker 4: guy in the fucking Walt Disney Castle, and I don't know,
20:34
Speaker 4: it's just, you know, its weird and occulty.
20:40
Speaker 6: There's just too much of it to exist for your
20:43
Speaker 6: average film or arts university student. It doesn't make sense
20:49
Speaker 6: that they've got all this esoteric knowledge unless they've been
20:51
Speaker 6: read into it.
20:53
Speaker 4: And did you see the castle? It was like demonic
20:55
Speaker 4: gargoyles and demons statues, and like it's base He's start
21:00
Speaker 4: in the California Arts Institute. Like that says a lot
21:04
Speaker 4: in and of itself, if that's the inspiration he got
21:07
Speaker 4: from it, you know.
21:09
Speaker 6: Which is very ironical with one of the statues that
21:11
Speaker 6: I'm going to tie into my theory later on, very
21:13
Speaker 6: prominent statue. Would you like me to go through the
21:16
Speaker 6: synopsis and then get into some of that name.
21:18
Speaker 4: Magic, Yes, absolutely, okay.
21:22
Speaker 6: Edward Scissorhands is the nineteen ninety fancy melodrama written and
21:26
Speaker 6: directed by Tim Burton. Is a modern day fairy tale
21:29
Speaker 6: which tells the story of Edward, a man created by
21:31
Speaker 6: an eccentric inventor who died before finishing him. Edward has
21:35
Speaker 6: left incomplete with sisters where his hands should be. One day,
21:38
Speaker 6: when a local Avon lady, a representative named Peg calls
21:41
Speaker 6: it the historic mansion where he's been living alone, she
21:45
Speaker 6: takes him home to stay with her family. He has
21:48
Speaker 6: to adapt to a new life and environment that he
21:50
Speaker 6: isn't used to. Soon, he shows his talent and cutting
21:53
Speaker 6: hair and hedges and wins everybody's hearts. But life isn't
21:56
Speaker 6: always so sweet. At first, everyone welcomes him too the commune,
22:00
Speaker 6: but soon things begin to take change for the worse.
22:05
Speaker 4: Dun Dun, Dunn, Dunn.
22:09
Speaker 5: And the uh.
22:12
Speaker 4: Opening title sequence is black and white. I think there's
22:17
Speaker 4: some clues in the title sequence that we can get
22:22
Speaker 4: into later, but first I want to hear about the names.
22:26
Speaker 6: Okay, Edward isn't given a surname in this It's just
22:29
Speaker 6: scissor hands, so just take that for what you will.
22:32
Speaker 6: Edward is derived from the Old English words ade, meaning fortune,
22:35
Speaker 6: and ward meaning guard. Edward directly translates to a wealthy guard.
22:40
Speaker 6: Edward is the moncular creation of a wealthy inventor. He
22:44
Speaker 6: has guarded the mansion for an unknown amount of time.
22:47
Speaker 6: As he moves into the town, he distances hisself from
22:49
Speaker 6: protecting the physical mansion to his new love interest of
22:52
Speaker 6: which he's infatuated with, that being Kim Kim Boggs. Kim
22:57
Speaker 6: derives from Kimberly, which comes from the kind meaning royal
23:01
Speaker 6: or chief, and berg meaning field or fortress, whereas Boggs
23:05
Speaker 6: is Middle English for boastful or haughty, which means proud, vain,
23:08
Speaker 6: or arrogant. Kim betrays the role of the beautiful love interest.
23:12
Speaker 6: She embodies the archetype of the princess of the town,
23:14
Speaker 6: popular among popular, among all the people, beautiful and gains
23:19
Speaker 6: their attention. She plays into her vanity at the beginning
23:22
Speaker 6: of the story her pride and slowly overtime transitions. Peg,
23:27
Speaker 6: who's the mother of Kim. Peg is a feminine name
23:30
Speaker 6: of Greek origin, meaning pearl. She is unique in her town.
23:34
Speaker 6: She generally cares about Edward taking this very strange man
23:37
Speaker 6: into a home as part of her family, whereas the
23:39
Speaker 6: other women gossip and scandalize his arrival. She's a true
23:42
Speaker 6: pearl amongst the suburban wives. And the last interesting name
23:46
Speaker 6: came across was Jim, who's our Gaston type figure in
23:50
Speaker 6: this film Hebrew in origin meaning he may will shall
23:55
Speaker 6: follow he sees by the heel WatchGuard protect essentially means
24:00
Speaker 6: the supplant or the assailant. May God protect, may he protect.
24:05
Speaker 6: Jim fits the archetype role of the man in conflict
24:07
Speaker 6: with Edward as Kim's attentions that wanders to him when
24:11
Speaker 6: his emotional relationship breaks down with Kim, he takes on
24:13
Speaker 6: the physical by attempting to seize and protect Kim from Edward,
24:17
Speaker 6: attempting to supplant Edward acting as his assailant. So we've
24:21
Speaker 6: got this kind of dynamic, this love triangle going on.
24:25
Speaker 6: Whereas the same time, we've got the mother who's the
24:27
Speaker 6: only real genuine person in the suburban sprawl where the
24:30
Speaker 6: cookie cutter approaches to people. She seems to be breaking
24:34
Speaker 6: the mold. She's the avon lady, trying to do things
24:36
Speaker 6: for herself. She's got a job, the other women a
24:38
Speaker 6: stay at home. She cares for Edward, brings him into
24:41
Speaker 6: the town. But I find it very interesting that she's
24:44
Speaker 6: the avon lady. Avon being pharmaceuticals beauty, that is one
24:50
Speaker 6: of the magics that was taught to mankind by the
24:52
Speaker 6: fallen angels. And when you look at the word avon
24:55
Speaker 6: in early Hebrew and Greek translations, it means iniquity, seeing immorality.
25:02
Speaker 4: Oh shit, that's a good one. I figured there was
25:08
Speaker 4: something to do with the avon. And you know, I
25:12
Speaker 4: got one for you, actually, and I hope you'll be
25:15
Speaker 4: proud of me. But so, do you remember the the
25:21
Speaker 4: lady that well, of course you remember, but the red
25:23
Speaker 4: haired lady that was trying to fuck everybody in the movie.
25:27
Speaker 4: And she initiated the barbecue, and she's Joyce, and she
25:34
Speaker 4: kept mentioning this ambrosious salad and she says it like
25:39
Speaker 4: several times in the way she says of the gods. Yeah,
25:43
Speaker 4: oh my gosh, I googled it right because I was like,
25:46
Speaker 4: there's something about her saying it and the way she's
25:49
Speaker 4: saying it, And so, okay, where did I put it
25:51
Speaker 4: in my notes?
25:54
Speaker 6: Hi?
25:55
Speaker 10: You all are hadding in there like a bunch of
25:57
Speaker 10: all hermicrab Hi Joyce, huh does the barbecue again? Barbecue
26:03
Speaker 10: where you intend to show your guest hospitality by introducing
26:05
Speaker 10: him to your friends, don't you.
26:10
Speaker 1: Will bring the ambrosia salad. My name's Joyce, and I
26:17
Speaker 1: noticed that you have not tasted any of the ambrosia
26:20
Speaker 1: salad that I made especially for you.
26:24
Speaker 4: Allow me. Okay. The word ambrosia translates to immortality in Greek,
26:40
Speaker 4: and it's associated with ancient Greek mythology as the food
26:45
Speaker 4: of the gods. And so I guess if we were
26:49
Speaker 4: gonna go the whole Edward Scissorhands is like a biblical
26:53
Speaker 4: type story. She's feeding him the food of the gods
26:58
Speaker 4: and he's supposed to be like a divine figure. I
27:02
Speaker 4: don't know what do you think about that?
27:04
Speaker 6: Well, I'm going to hit you up with this and
27:05
Speaker 6: thank you for telling it directly into one of my points.
27:08
Speaker 6: First time we see this woman, Joyce, she's listening to
27:11
Speaker 6: Delilah you know why Why Delilah by Tom Jones, and
27:16
Speaker 6: she's a seductress. Delilah is literally a song written about
27:20
Speaker 6: the woman from Biblical teachings of the Book of Judges,
27:24
Speaker 6: in which she's tasked with finding out the strength of Samson. Yep,
27:28
Speaker 6: she seduces him, finds out his power is derived from
27:31
Speaker 6: his hair, and cuts it off while he's sleeping.
27:33
Speaker 4: Oh, so I guess there might be something to that.
27:38
Speaker 4: Then that this could be like I don't even want
27:42
Speaker 4: to say the Christ story, but like it's always like
27:46
Speaker 4: some kind of good versus evil. You know, I don't
27:51
Speaker 4: want versus demons.
27:54
Speaker 6: I don't want to jump in it too much. But
27:56
Speaker 6: it foreshadows the scene later on which she tries to
27:58
Speaker 6: seduce Edward, And I think that's going to be the
28:01
Speaker 6: ultimate thing for him, is he's a man in form
28:05
Speaker 6: but he doesn't ultimately engage in the two things a
28:08
Speaker 6: man needs to do in his life, find love and
28:10
Speaker 6: you know, bring it to fruition. He never actually makes
28:13
Speaker 6: the climax. He's well cut off from that source.
28:17
Speaker 4: Okay, So if we're to take it as that black
28:21
Speaker 4: leather body suit that he's wearing, he's just got like
28:25
Speaker 4: what stuffing on the inside of it or something. He
28:28
Speaker 4: doesn't have a dick, so I don't even you wouldn't
28:31
Speaker 4: think so, you wouldn't think so.
28:33
Speaker 6: I mean, she was still he's got he's got the
28:36
Speaker 6: leather daddy thing going on. Maybe he's got like a
28:37
Speaker 6: twelve inch monster that's like two foot wide or something.
28:39
Speaker 5: I don't know.
28:42
Speaker 4: It's a scissor. She wants to scissor with him. Fucking joys,
28:53
Speaker 4: She's so fucking she's a sex predator, she's a.
28:57
Speaker 6: Sex pest is she's trying to rape for the uh
29:00
Speaker 6: repentment at the stop.
29:03
Speaker 4: Yeah, she's like, you could clean my food trap. But okay,
29:10
Speaker 4: So going back to the title sequence, there are some
29:15
Speaker 4: clues like it shows a gargoyle, it shows the cookies,
29:19
Speaker 4: the cookie cutter, and you know, it shows Edward's hands
29:24
Speaker 4: that he never got the snow, some stuff like that,
29:30
Speaker 4: and the way that they have Edward being so pale
29:34
Speaker 4: and with his black leather on, and the castle versus
29:39
Speaker 4: the town. There is like a lot of black and
29:42
Speaker 4: white symmetry, like it can't be black or white. There
29:45
Speaker 4: is like that nuance of what Edward finds is it
29:49
Speaker 4: can't just be this way or that way. It's all
29:51
Speaker 4: convoluted and this is life. I don't know what did
29:54
Speaker 4: you think of the title sequence.
29:58
Speaker 6: I couldn't get past the robotics that were shown in it,
30:01
Speaker 6: like the factory than which the inventor made to create
30:05
Speaker 6: the cookies and the things that he invented. Whatever it was,
30:08
Speaker 6: the assembly line looked very reminiscent of nineteen fifties science fiction.
30:13
Speaker 6: Robots like robot aliens, like invasions, of Earth and all
30:16
Speaker 6: that type of deal, and they were very demonic at
30:19
Speaker 6: the same time. They had weird grills for mouths and
30:21
Speaker 6: bright red eyes, and it's just something about it seemed
30:25
Speaker 6: seemed off. And even the manner in which the assembly
30:28
Speaker 6: line was made, it wasn't simple cogs and levers. It
30:32
Speaker 6: was feats that would push the escalator along, very strange
30:36
Speaker 6: type of almost like Lovecraftian type of work into it
30:41
Speaker 6: had physical, almost human parts to make it work.
30:45
Speaker 4: Yeah, and you know, it shows the inventor kind of
30:48
Speaker 4: like what you were saying with the story of Pinocchio,
30:51
Speaker 4: and he wants these machines to like live, and he
30:55
Speaker 4: wants them to be like sentient almost, and that where
31:00
Speaker 4: the idea for Edward comes along. But I do think
31:06
Speaker 4: that there is an aspect of this that is kind
31:09
Speaker 4: of like foreshadowing of our own future, kind of like
31:15
Speaker 4: with synient Ai type beings like Edward, but like less
31:19
Speaker 4: scary obviously, like not with Scissor Hands. But I mean
31:24
Speaker 4: Tim Burton does have a way of kind of like
31:27
Speaker 4: putting a little something like that in the movies, you know,
31:31
Speaker 4: So yeah, it could be like this is the future.
31:35
Speaker 4: It's Edward's able to love and he's innocent and he's kind,
31:41
Speaker 4: and this is, you know, something that could really happen
31:44
Speaker 4: if somebody makes a person in like a fucking lab
31:48
Speaker 4: one day. I don't know. And then there's like the
31:51
Speaker 4: Christian lady who thinks he's the devil. So, I mean,
31:55
Speaker 4: what are your thoughts on all that?
31:58
Speaker 6: I thought it interesting that it's he's hands in the
32:00
Speaker 6: first place, and there's a well known saying idle hands
32:03
Speaker 6: make the devil's play things. And what do we see
32:05
Speaker 6: the entire times his hands of we don't know what's
32:09
Speaker 6: happened to his real hands until later in the film.
32:11
Speaker 6: He has these scissors, but he's essentially playing the whole time.
32:15
Speaker 6: He's not really engaging in the world with like you
32:17
Speaker 6: would with scissors. When he's eating, he's not stabbing the
32:20
Speaker 6: food and putting it in his mouth. It's like he
32:21
Speaker 6: doesn't know what to do with them, and they almost
32:23
Speaker 6: have a mind of their own. When he's cutting the
32:26
Speaker 6: hedges or hair or the dogs, it's going wild and
32:29
Speaker 6: it seems like they're controlling him, like that's the last
32:32
Speaker 6: vestige of the robotic and it's taking over the human
32:35
Speaker 6: part of him.
32:37
Speaker 3: Yeah, and.
32:40
Speaker 4: After so when we see the Avon lady and she's
32:44
Speaker 4: gone around nobody wants to buy her shit, right, and
32:46
Speaker 4: she goes up to the castle and that's where she
32:49
Speaker 4: finds Edward. There is like a scene where she's looking
32:54
Speaker 4: around in his room and he has a bunch of
32:56
Speaker 4: like stuff cut out and like peacete it on.
32:59
Speaker 6: The wall serial killer board.
33:01
Speaker 4: Yeah, and it's like weird stuff. There's a picture of
33:05
Speaker 4: Jesus and mother Mary. Uh, there's like boys or without
33:13
Speaker 4: without eyes or so it's like is he does does
33:21
Speaker 4: he have like human emotions? Obviously he like it never
33:25
Speaker 4: explains how long he's been up there without food and water,
33:31
Speaker 4: but he eats when he's with the family. They do
33:35
Speaker 4: show he has like a little cot made out of straw, so,
33:38
Speaker 4: and then we see him sleeping kinda so it's like
33:44
Speaker 4: they want you to think like he is a person
33:47
Speaker 4: in every way that a person would be a person,
33:49
Speaker 4: except for the scissor hands. But at the same time,
33:51
Speaker 4: it's like what you said, and there's like this other
33:53
Speaker 4: aspect where it's like he's not really driving the car
33:58
Speaker 4: kind of I don't know.
34:00
Speaker 6: And with it's very ambiguously it isn't an older style mansion.
34:04
Speaker 6: It looks quite creepy, but we can't quite pinpoint how
34:06
Speaker 6: old it is. It's in disrepair, the roofs caved in
34:09
Speaker 6: on some parts. In comparison to the rest of the town,
34:12
Speaker 6: it's completely out of place. It doesn't even look like
34:15
Speaker 6: it's supposed to be there. So we could surmize that
34:18
Speaker 6: Edward is possibly hundreds of years old and no one knows.
34:22
Speaker 4: Yeah, no, I would think. And so like that book
34:26
Speaker 4: the inventor was reading him on manners and stuff that
34:30
Speaker 4: just seems like some old school shit like nobody would
34:33
Speaker 4: be doing about the napkin and the fork and stuff.
34:38
Speaker 6: It's almost Industrial Revolution style manufacturing that he has as well.
34:42
Speaker 6: And then you look at the town. The town is
34:44
Speaker 6: even quite out of place of the time because characters
34:47
Speaker 6: later I mentioned CD players and vhs. Yet it's very
34:51
Speaker 6: clearly a seventy esque style town.
34:54
Speaker 5: What.
34:54
Speaker 4: Yeah, So it's almost like a dream state where you
34:57
Speaker 4: can't figure out what time you're in. I don't know
35:00
Speaker 4: if you ever watched the horror movie it follows, but
35:03
Speaker 4: they were doing that in that movie as well. They
35:05
Speaker 4: included aspects of like futuristic technology with like old old technology,
35:10
Speaker 4: so you couldn't figure out like what time it was in.
35:14
Speaker 4: And that's how Edward Scissorhands is because it's very mid
35:16
Speaker 4: century modern in all of the homes with the shag
35:20
Speaker 4: carpets and the wardrobe, the makeup, the avon calling, but
35:25
Speaker 4: Edward seems to be much older. And even when at
35:31
Speaker 4: the I guess we skipped a part where Whenona writer's
35:34
Speaker 4: an old lady and she's reading or she's telling this
35:37
Speaker 4: story to her granddaughter, I can't tell what the fuck
35:40
Speaker 4: time that's supposed to be, and it looks the same
35:42
Speaker 4: to me. It looks like it's still in the seventies
35:44
Speaker 4: or something.
35:45
Speaker 6: Yeah, it almost looks older in certain aspects. Burton has
35:48
Speaker 6: this way of creating his physical spaces in live action
35:53
Speaker 6: that look still quite cartoony, and we saw that in
35:56
Speaker 6: the opening sequence in the black and white. But then
35:58
Speaker 6: again when we had Edward being found for the first time,
36:02
Speaker 6: the building just looked like it was a scale model
36:04
Speaker 6: that they've super imposed them in. And then then that
36:06
Speaker 6: flashback sequence or the flash forward where when I'm a
36:09
Speaker 6: ride as the old lady telling the story, the wolves
36:12
Speaker 6: look cartoonishly, like they put down with wallpaper. But it's
36:16
Speaker 6: very cartoon Yeah, it just seemed out of place, almost
36:19
Speaker 6: like it's a dream sequence or something that's not real.
36:22
Speaker 4: Yeah, I agree, And I when Colby and I did
36:28
Speaker 4: an episode on Beetlejuice, I mentioned Edward Scissorhands in that
36:32
Speaker 4: episode because I said, one of the things I love
36:34
Speaker 4: the most about Edward Scissor Hands is the colors, and
36:39
Speaker 4: they like vibrate off the screen, all of the pastels
36:44
Speaker 4: and even the wardrobe everything it's like bursting with color,
36:48
Speaker 4: which I love, and the lady with the ambrosia salad
36:52
Speaker 4: and all of that. But I do think that Edward
36:59
Speaker 4: is supposed to be like in contrast to all of
37:02
Speaker 4: the color and whatever, and they take him in, they
37:05
Speaker 4: try to give him a wardrobe, put suspenders on him
37:09
Speaker 4: and shit and make him like regular and normal. And
37:14
Speaker 4: one of the things that I saw with the whole
37:17
Speaker 4: Christ theory about Edward Scissorhands is everyone is so worried
37:24
Speaker 4: about their perception. Their lawns are perfectly manicured. They're perfectly
37:30
Speaker 4: manicured with their hair, makeup, everything, and they're trying to
37:35
Speaker 4: do that to Edward. And even Peg, the mom who's
37:39
Speaker 4: supposed to be the big sweetheart in the movie, even
37:42
Speaker 4: she if you really think about it. Was only worried
37:46
Speaker 4: about the outward perception because instead of of wanting to
37:53
Speaker 4: fix the reason he's cutting his face up all the time,
37:56
Speaker 4: she wants to fix the scars. She wants him to
37:59
Speaker 4: look nice and like look normal. So she's like trying
38:02
Speaker 4: all this stuff on his face to like fix the scars.
38:14
Speaker 5: The light concealing cream goes on first, then you blend
38:18
Speaker 5: and blend and blend. Blending is a secret. Mm hm,
38:24
Speaker 5: more concealing cream. Your complexion is so fair. Now this
38:30
Speaker 5: has a touch of lavender in it. Give it a
38:33
Speaker 5: try here, close enough, Okay, this should do the trick here. Hmm.
38:46
Speaker 7: I have another idea. We'll cover up the scars and
38:50
Speaker 7: start with a completely smooth surface, darness stuff.
39:10
Speaker 4: And I don't know, like six times during the movies,
39:14
Speaker 4: somebody says like I have a doctor that could help
39:16
Speaker 4: you and maybe fix that for you, and she's like, no, no, no,
39:18
Speaker 4: let me just put this cream on his scars. Like
39:22
Speaker 4: she's only worried about like he needs to look nice
39:25
Speaker 4: and I'll fix these scars on his face, and like,
39:28
Speaker 4: how about somebody fix his fucking hands? How about that?
39:31
Speaker 6: She needs some lavender conceal up, but no one even
39:33
Speaker 6: tries to cork the finger blades, like, put some corks
39:36
Speaker 6: on him. He's cut his face up. Old movie like
39:42
Speaker 6: Psychety sayss has come on.
39:45
Speaker 4: What's sorks? They're like, oh no, we'll just put some
39:49
Speaker 4: cream on these scars. He could cut the hedges, cut
39:52
Speaker 4: my dog's hair, chop the lettuce.
39:55
Speaker 6: You know. They're using him, yeah, and they're using the
39:58
Speaker 6: machine saw of him.
40:00
Speaker 4: Yeah, yeah, yeah, exactly. They don't see him as a human. Yeah.
40:05
Speaker 6: I have to go back to the start in which
40:08
Speaker 6: the mother she Peg goes up. She's ran out of
40:12
Speaker 6: all her options in the town. No one buys her
40:14
Speaker 6: avon stuff, so she tries this time to go up
40:17
Speaker 6: to the mountain. Like you said, it's a stark contrast
40:20
Speaker 6: for the rest of the town. The rest of the
40:21
Speaker 6: town is very bright, it's vibrant, it's got a palette
40:25
Speaker 6: color to it. The mountain's black, dark and stands out.
40:28
Speaker 6: I looked at that, and it kind of reminded me
40:29
Speaker 6: of the mountain the Grinch resides on. And then the
40:32
Speaker 6: same time I'm thinking, wait a minute, where's the subconscious
40:34
Speaker 6: story behind that mountain. I instantly went to Mount Hermon
40:38
Speaker 6: so that the mountain in which the angels descended to
40:40
Speaker 6: on Earth when they were cast out. And what reinforced
40:44
Speaker 6: was when she went into the grounds she saw all
40:47
Speaker 6: these gargoyles and creatures like on the stone work, and
40:51
Speaker 6: the most high statue that she sees of a monster
40:54
Speaker 6: is a braxis the chicken headed snake God.
40:57
Speaker 4: No, it's nah, it is.
41:00
Speaker 6: So she sees this very gnostic take on things in
41:03
Speaker 6: which you Mormons picked it up as well. It's the
41:07
Speaker 6: a braxis chicken head snake god. If you don't know it,
41:09
Speaker 6: it's described as being the god above all gods, and
41:12
Speaker 6: it's the highest statue in the scene. The Great ARCon
41:16
Speaker 6: is also known as we see it in the mansion,
41:19
Speaker 6: very first thing, which makes me think it's not so
41:21
Speaker 6: much a christ story as it could be a an
41:24
Speaker 6: inversion of that, like a Timus type of a story.
41:28
Speaker 6: So we've got this snake god there, but it's replicated
41:31
Speaker 6: in aspects of the town later on very subtly.
41:35
Speaker 4: So, and that like if that hall castle is based
41:42
Speaker 4: off of a Walt Disney thing, the Walt Disney Institute,
41:46
Speaker 4: you might as well call it. That's wild. I didn't
41:51
Speaker 4: even notice that you know. What I did notice though,
41:54
Speaker 4: is one of the hedges was like a likeness monster. Yeah,
41:58
Speaker 4: but that is a great find. I hope I can
42:01
Speaker 4: pause it, like maybe I'll find a clip in the
42:03
Speaker 4: movie and I can pose it on that, because that's
42:06
Speaker 4: a great fucking find. You always look like dog shit
42:09
Speaker 4: when we do these drew.
42:12
Speaker 6: Even the hedges were interesting. You points out the luckness monster.
42:14
Speaker 6: But there's a pterodactyl, a t rex. It's all things
42:17
Speaker 6: that were supposed to believe completely mythological or things that
42:22
Speaker 6: existed in the ancient past. And a lot of people
42:24
Speaker 6: would say that dinosaurs never existed in those dragons. Well,
42:28
Speaker 6: you know what with a nephel aim eating if they're
42:30
Speaker 6: breeding animals for you know, base of burden would be
42:33
Speaker 6: something like a good point.
42:35
Speaker 4: Yeah, no, that's a really good point. I do think
42:37
Speaker 4: though that the t rex. I just said this on
42:40
Speaker 4: another podcast and you probably have come across it yourself,
42:43
Speaker 4: But the little baby arms never made sense, but they're
42:47
Speaker 4: probably part of like what they were saying is like
42:51
Speaker 4: that the bone that they're saying was an arm was
42:55
Speaker 4: actually something that would have connected to a wing. And
42:58
Speaker 4: like all these t rex if they're real skeletons would
43:02
Speaker 4: have probably been dragons and not little baby arm fucking
43:07
Speaker 4: t rex murder chickens. Yeah, yeah, yeah that it was
43:15
Speaker 4: a hell of a fine though, for real. And so
43:18
Speaker 4: I guess that also goes with like the ambrosia salad
43:21
Speaker 4: and like all that stuff that's kind of linking back
43:24
Speaker 4: to this idea. Well, what do we go to next then,
43:28
Speaker 4: I mean he gets back to the house and stuff.
43:31
Speaker 6: We always have to go through his We almost have
43:34
Speaker 6: to go through his reactions of coming into the town.
43:36
Speaker 2: Yeah.
43:37
Speaker 4: I was gonna say, everybody's like curious about him.
43:39
Speaker 6: And now looking back after you mentioned that he modeled
43:42
Speaker 6: the reactions off like the behavior of a dog. It
43:44
Speaker 6: makes sense because he's just like looking and pointing at things,
43:47
Speaker 6: and he just seems you think it's almost over excitement
43:50
Speaker 6: because he hasn't left the mansion. But then typical dog reactions.
43:53
Speaker 6: Anyone who's taken a dog in a car that's not
43:55
Speaker 6: tied down, it's jumping all over the place in the
43:57
Speaker 6: back seat, it's going from window to window car. So
44:03
Speaker 6: he's going through the town and this is where we
44:04
Speaker 6: get to see that the full layout of and it's
44:07
Speaker 6: just this town almost like the coldest sac in particular,
44:10
Speaker 6: is one set of streets. All the houses are identical,
44:14
Speaker 6: they're just painted differently. Every second house has the same car,
44:18
Speaker 6: but it's a different color. It's almost as if, I think,
44:22
Speaker 6: in a film aspect, they're trying to show that this
44:24
Speaker 6: is an extreme version of suburbia where everyone tries to
44:27
Speaker 6: fit in. They're keeping up the Joneses approach. Everyone fits
44:30
Speaker 6: in to get along. I think it has a deeper
44:33
Speaker 6: story to what the cookie cutter approach actually is in
44:36
Speaker 6: this and we see it in some sacred geometry that
44:39
Speaker 6: every single house includes on their garage doors. What all right,
44:45
Speaker 6: I'm gonna have to go to it now? What's going
44:47
Speaker 6: to save it for the end? But the sacred geometry
44:49
Speaker 6: that you see straight away each house has a series
44:52
Speaker 6: of rhombus or parallelograms on each door right of the garage.
44:57
Speaker 6: The rhombus or lozenge diamond kite shape consists of two triangles,
45:02
Speaker 6: one downward the ying and one upward the yang, joined together.
45:07
Speaker 6: The geometric symbol represents the inner focus that of a
45:10
Speaker 6: human being needs to hold onto his life and task
45:13
Speaker 6: during his time on earth. That task was and remains
45:17
Speaker 6: to this very day to reinstall balance within self, the
45:21
Speaker 6: ying and the yang energy aspects that make up every
45:23
Speaker 6: human being and reflect the inner balance into the outer world.
45:27
Speaker 6: The rhombus of the diamond shame. It represents humans work
45:30
Speaker 6: on Earth and the achievements of their daily lives. What
45:34
Speaker 6: they all do. They all leave at the same time,
45:36
Speaker 6: they're all getting cards, All the wives stay home, all
45:39
Speaker 6: the husbands go off to work, and it looks like
45:41
Speaker 6: they all work at the same place.
45:44
Speaker 4: Oh my god, that's mk Ultra, I swear it is.
45:52
Speaker 4: There is actually a movie that they do the same thing.
45:55
Speaker 4: And oh god, I'm forgetting the name of it. It's
45:57
Speaker 4: like it's like Stepford Wives but not. And it's like
46:03
Speaker 4: the husband's go to work and the wives are all
46:05
Speaker 4: like crazy and shit. And I mean, you see an
46:09
Speaker 4: aspect of that in Edward Scissorhands, because all the wives
46:12
Speaker 4: are fucking cuckoo for cocoa buffs. But that is a
46:16
Speaker 4: great fucking catch. That is a great catch.
46:21
Speaker 6: And so this I have to go into it now
46:23
Speaker 6: because we'll just be lost in it if we go
46:25
Speaker 6: start going through the story. The entire town is a
46:27
Speaker 6: massive produced carbon copy of itself. It looks individual until
46:31
Speaker 6: you look closer. Each house the same, painted differently, as
46:35
Speaker 6: are the cars on its surface. The intention pine this
46:37
Speaker 6: was to emphasize the suburban mundane, the normality and extreme
46:41
Speaker 6: polar opposite, and the uniqueness of Edward and the mansion.
46:44
Speaker 6: The cars include a seventy seven Pacer Wagon, a seventy
46:47
Speaker 6: eight Forward Want, a seventy four Forward Galaxy. All these
46:50
Speaker 6: cars are from seventies eer. So this is what really
46:52
Speaker 6: throws a spanner in the works for dating and timing
46:55
Speaker 6: this film. But it does use a very very good
46:58
Speaker 6: psychological and art teach technique called liminal Spacey familiar with
47:02
Speaker 6: that at all?
47:03
Speaker 4: Yeah, yeah, yeah, yeah.
47:04
Speaker 6: So liminal space, for listeners is the uncertain transition between
47:08
Speaker 6: where you've been and where you're going physically, emotionally, and metaphorically.
47:12
Speaker 6: To be in liminal space means to be one of
47:15
Speaker 6: the principles on the precipice of something new but not
47:18
Speaker 6: quite there yet. The world is liminal comes from the
47:22
Speaker 6: word Latin, which means lemen, which means threshold. We're going
47:26
Speaker 6: from the very dark, the black intoliminal space. We're stepping
47:31
Speaker 6: out into a new threshold, and they feel oddly familiar, nostalgic,
47:35
Speaker 6: which reflects memories of our own lives, hence the heavily
47:39
Speaker 6: use of nineteen seventies design. And keep in mind, this
47:42
Speaker 6: is the nineties film, so the majority of people who
47:44
Speaker 6: were our age back then watching it would have grown
47:48
Speaker 6: up in the seventies, so they would have had that
47:49
Speaker 6: nostalgic hook straight.
47:50
Speaker 4: Away, even like the wall decor everything he nailed it
47:57
Speaker 4: and the beauty salon and all of it. But it's
48:02
Speaker 4: almost very like they're stuck in the matrix kind of
48:08
Speaker 4: And the talk show that he goes on was very
48:13
Speaker 4: like very seventies.
48:15
Speaker 6: Yeah, the cameras look like that was straight off the
48:17
Speaker 6: nineteen seventies, like sound lot mm hmmm hmm.
48:20
Speaker 4: And I do think, well, I guess I shouldn't get
48:23
Speaker 4: ahead of us, But there is a aspect to the
48:27
Speaker 4: taking him on a talk show in itself that's kind
48:30
Speaker 4: of like there's something to it. But yeah, that was
48:35
Speaker 4: a great cat, a great find because they are in
48:40
Speaker 4: like a matrixy like is this even really real kind
48:45
Speaker 4: of thing, and they're building a house close to PEG's house,
48:50
Speaker 4: and they have like a circus tent thing covering.
48:54
Speaker 6: Is a fumigation tent, like they're guessing something inside you
48:58
Speaker 6: think that's what it is. Yeah, I think it's a
49:00
Speaker 6: humigation tent.
49:01
Speaker 4: Are you sure like a dead body was in there
49:03
Speaker 4: and they're fumigating it.
49:05
Speaker 6: Or is it like like bugs, like cockroaches or something
49:08
Speaker 6: they're fumigating the house?
49:10
Speaker 4: Really, I thought that was like a like they put
49:15
Speaker 4: like a tent over it because they weren't done building
49:17
Speaker 4: it or something. I was like, the fuck is that
49:20
Speaker 4: fucking circus fucking tent? Have you?
49:25
Speaker 6: Have you seen Joe Dirt where he goes into the
49:26
Speaker 6: fumigated house and gets high on the bug spray and
49:30
Speaker 6: his naked eating popcorn deepstick on like mittons and things.
49:34
Speaker 6: It's the same one.
49:35
Speaker 4: Oh my god, Well, I guess that's weird. It was
49:39
Speaker 4: right down the street from Edward's houses. Like, oh, we
49:42
Speaker 4: kicked them out of the neighborhood, we killed them, and
49:44
Speaker 4: now we're fumigating the house.
49:46
Speaker 6: Well they're humigating what they're still in there because they're
49:49
Speaker 6: not following the status quo.
49:54
Speaker 4: But no, Yeah, So there is a scene after Edward
49:58
Speaker 4: gets into the house, like he at all the family
50:01
Speaker 4: pictures and then he goes into Kim's room and on
50:04
Speaker 4: her mirror. It's interesting because she's done the exact same
50:09
Speaker 4: thing Edward has done, and she's like cut shit out
50:12
Speaker 4: and like pasted it onto her mirror. And there's like
50:17
Speaker 4: four or five sets of eyes and like one eye,
50:21
Speaker 4: and then there's like weird gemstones that she's cut out.
50:26
Speaker 4: Tell me you saw that.
50:28
Speaker 6: Yeah, it's very occultic, almost like the cool hip teenages
50:32
Speaker 6: today that are cutting out anything Illuminati and sticking it
50:35
Speaker 6: to like the katak ices or their laptops. Uh huh
50:37
Speaker 6: uh huh.
50:38
Speaker 4: Yeah, but for the seventies, if that's what time we're in,
50:42
Speaker 4: because we're not sure, but I don't know if they
50:46
Speaker 4: were doing that back then or not. But she had
50:48
Speaker 4: just eyes cut out, not a whole body, not like
50:52
Speaker 4: a face, It was just the eyes, and in a
50:55
Speaker 4: couple occasions it was just one eye. And then she
50:58
Speaker 4: had like like turquoise stones and like sit like not
51:03
Speaker 4: stage jade stones and like amethyst and ruby like necklaces
51:09
Speaker 4: cut out, and she pasted that on her mirror too,
51:13
Speaker 4: And I thought that was interesting because it zoomed in
51:15
Speaker 4: on her mirror, Edward looking into it for a good
51:20
Speaker 4: like I want to say, maybe like twenty seconds, which
51:23
Speaker 4: is a pretty decent amount of time for you to
51:25
Speaker 4: be able to look and see what's on the mirror
51:28
Speaker 4: like they wanted you to see it.
51:30
Speaker 6: And eyes are usually the window to the soul as well.
51:33
Speaker 6: And it's funny that he's a reflective surface to put
51:35
Speaker 6: that onto it, like she's staring into an iron soul
51:37
Speaker 6: every time she's looking through that mirror that's adorned with
51:41
Speaker 6: all that occultic stuff.
51:42
Speaker 4: Yes, and I also thought it was so little foreshadowing
51:46
Speaker 4: because it appears to be that Kim collects snow globes.
51:52
Speaker 6: And she's like a show. Is the big part of
51:54
Speaker 6: the whole story, Like at the very start, the whole
51:56
Speaker 6: story that the grandmother is telling is where a star
51:58
Speaker 6: came from in the town it ever snowed until that,
52:01
Speaker 6: not that she's telling.
52:02
Speaker 4: Me it's weird for me and tell me to fuck
52:05
Speaker 4: off if this is too far, but if we want
52:09
Speaker 4: to really take it to like an esoteric place with
52:12
Speaker 4: this snow globe, shit, you know, that's what I feel
52:16
Speaker 4: like we live on is a snow globe like a
52:20
Speaker 4: flat plane with like a dome over it. And so
52:23
Speaker 4: I don't know, I just saw little things here and there.
52:28
Speaker 4: The main things like with her cutting out eyes and
52:32
Speaker 4: then the Walt Disney thing and then the snow globes
52:37
Speaker 4: and stuff. I was like, I don't know, there could
52:39
Speaker 4: be something to this that it goes beyond just like
52:43
Speaker 4: a dude with scissor hands.
52:46
Speaker 6: It could be. They always talk about the and you
52:49
Speaker 6: and mentions it later on where all the kids disappeared
52:52
Speaker 6: to you, Like you see the suburban housewives and the
52:54
Speaker 6: husband's very robodic go about their business and cookie cutter
52:57
Speaker 6: approaches of each other, yet their kids aren't seen. Except
53:01
Speaker 6: for the initial Bogs family, the rest of the teenage
53:04
Speaker 6: kids in the town just so happened to be off
53:05
Speaker 6: in the mountains. But every single shot of this face
53:09
Speaker 6: it's a flat plane with the mountain in the middle.
53:11
Speaker 6: There's no surrounding mountains anywhere. You can't even see fields.
53:14
Speaker 6: It's this weird little isolated almost like subworld, Like it's
53:18
Speaker 6: a simulation.
53:19
Speaker 4: Matrix snail globe. I'm telling you, I think there's something
53:25
Speaker 4: to it, but I mean I could be grasping. I
53:28
Speaker 4: don't know.
53:28
Speaker 6: But are you ready for what was seen in the
53:32
Speaker 6: in the lound room, oh, the living room. So as
53:35
Speaker 6: he walks into the lound room, you'll see it in
53:37
Speaker 6: multiple shots throughout the film. There's three chicken headed snake
53:41
Speaker 6: sculptures up on the wall.
53:43
Speaker 4: You are fucking with me.
53:45
Speaker 6: They are supposedly meant to be pheasants, but the tail,
53:50
Speaker 6: it's definitely a chickenhead, some wings, and then the pheasant
53:54
Speaker 6: so called tail comes down in a very serpentine pattern
53:57
Speaker 6: like the tail faces.
54:00
Speaker 4: Then it's night clubs, so it just keeps popping its Yeah,
54:04
Speaker 4: chicken head up. My god, I never fucking noticed that.
54:12
Speaker 4: But that's that's again like when you go back and
54:16
Speaker 4: you especially with the Burbs. I noticed because I had
54:19
Speaker 4: watched that movie a thousand fucking times, and I when
54:22
Speaker 4: you look at it like trying to find stuff, and
54:25
Speaker 4: you see what's really there, you're like, god, damn, Like
54:28
Speaker 4: I have watched this movie so many times, and I
54:30
Speaker 4: never fucking noticed that. It's the same thing here. I
54:33
Speaker 4: can't believe that shit, Drew, And fuck you for finding that,
54:37
Speaker 4: because that's that's a really good one, all right on
54:45
Speaker 4: the bank, all right, So did you see anything between
54:51
Speaker 4: him like getting dressed and like her checking her voicemail
54:58
Speaker 4: or something, or she makes some calls, lets people know
55:00
Speaker 4: Edward is there, and then like I think, they all
55:04
Speaker 4: come running over to the house. Did you catch anything,
55:06
Speaker 4: like just just.
55:07
Speaker 6: The comedy of the film that this guy clearly has
55:10
Speaker 6: dangerous objects for hands, and they just think he can
55:12
Speaker 6: do everyday things without assisting him. Like I remember some
55:15
Speaker 6: pants and a shirt on, and he's trying to pull
55:18
Speaker 6: the pants up by the belt straps and he'swittler and
55:21
Speaker 6: he's going down to the ground and perfect physical comedy
55:24
Speaker 6: by Johnny's Depp on this. And he has the awkward
55:26
Speaker 6: rolldown hat. But somehow he doesn't cut the clothes except
55:29
Speaker 6: for the suspenders.
55:30
Speaker 4: Later on, he doesn't think pat the belt loops. Ye,
55:34
Speaker 4: nothing like that. Yeah, But he gets and wispinders and.
55:38
Speaker 6: They have this whole barbecue for him, like these chatterbox
55:41
Speaker 6: mother's club meetings that are going on in the corner
55:44
Speaker 6: of the street. When they're gossiping about Edward and Peg.
55:47
Speaker 6: They confronts Joice, confronts her and says, aren't you going
55:50
Speaker 6: to throw a barbecue for your new house guests so
55:52
Speaker 6: they can meet the neighborhood blah blah blah. They all
55:55
Speaker 6: show up, and the only people that actually ever try
55:58
Speaker 6: to feed him those gossiping women which are infatuated with him.
56:02
Speaker 4: Uh huh.
56:03
Speaker 6: Peg doesn't do it. PEG's husband doesn't do it, the
56:06
Speaker 6: kids don't do it. Anyone in these actual family air
56:09
Speaker 6: quotes just thinks he can go about it himself. Where
56:11
Speaker 6: the only people that tried to feed him and give
56:13
Speaker 6: him like substance are the people who want something out
56:18
Speaker 6: of him mm hmmmm.
56:20
Speaker 4: And they're like, oh, I bet you could do a
56:21
Speaker 4: few things around my house, and they're like shoving food
56:24
Speaker 4: in his mouth. Uh yeah, I feel like the they saw,
56:33
Speaker 4: didn't he Yeah, he trimmed the hedges, and so when
56:37
Speaker 4: everybody came over for the barbecue, they were like, oh,
56:40
Speaker 4: you can come trim my hedges. Wink wink. Fucking They
56:44
Speaker 4: start paying him with like cookies and shit because that
56:46
Speaker 4: they literally see him as like not a person.
56:50
Speaker 6: And again he's like a dog. He's performing a trick
56:52
Speaker 6: and they give him a trick.
56:54
Speaker 4: Mmmmm, and then he ends up cutting dogs. So it's
56:57
Speaker 4: like full circle moment, you know.
57:01
Speaker 6: Fully inception. So we have this neighborhood. He showed up.
57:06
Speaker 6: He's like the bright, new shiny toy. He's so different
57:08
Speaker 6: from the mundane in this town. Everyone comes to see him.
57:11
Speaker 6: The kid talks about wanting to take him to show
57:13
Speaker 6: and tell the same type of thing. The kids want
57:15
Speaker 6: to have him in the school and the whole time,
57:18
Speaker 6: we haven't seen our love interest Kim yet. She's off
57:20
Speaker 6: in the mountains camping. She's supposed to arrive home on
57:23
Speaker 6: the weekend. Edward goes to bed and Kim, the boyfriend
57:27
Speaker 6: and the rest of her friends arrive at night early,
57:29
Speaker 6: and they're trying to sneak into the house, and she
57:32
Speaker 6: sneaks in. He's in the bed, really creepily sitting there.
57:35
Speaker 6: He's knife hands, sitting there watching her. She's getting undressed,
57:40
Speaker 6: and she looks in the mirror and that's when she
57:41
Speaker 6: spots him. That's the funny thing. She's looking in this
57:44
Speaker 6: mirror and if it is almost a portal to seeing
57:48
Speaker 6: your soul, she notices him. Now, is this a connection
57:52
Speaker 6: to I found my soulmate, or is it a connection
57:54
Speaker 6: to I'm not human myself and I'm robotic and I
57:57
Speaker 6: just don't see it.
58:00
Speaker 4: Probably more of the second one, because they were actually
58:05
Speaker 4: Johnny Depp and Winona Ryder. I found this out as
58:08
Speaker 4: I was researching. They were dating while they were making
58:11
Speaker 4: this movie, so it was real easy for them to
58:14
Speaker 4: be in love in this movie. But she and her boyfriend,
58:21
Speaker 4: by the way, is the fucking nerd from Breakfast Clubs. So,
58:24
Speaker 4: but he plays a really good bad guy, uh for.
58:29
Speaker 6: You know, he got yerked yerked, he was sort of stuff.
58:35
Speaker 4: Yeah, I would never expect for him to play like
58:38
Speaker 4: a good bad guy, but he actually did a really
58:40
Speaker 4: good job. But she, she has she ends up like
58:47
Speaker 4: the rest of the people in the town, having him
58:50
Speaker 4: do stuff for her to get and has an absolutely
58:55
Speaker 4: no regard for like what could happen to him whatsoever?
58:58
Speaker 1: And all.
59:01
Speaker 4: Yeah, like the rest of the people in the town
59:04
Speaker 4: just sees him as like this like object of fulfilling
59:10
Speaker 4: whatever fucking tasks that they need him to do. Cut
59:13
Speaker 4: their hair, trim their dog, you know, trim the hedges.
59:19
Speaker 7: You know.
59:19
Speaker 4: They don't see him as a person, break into this
59:22
Speaker 4: guy's house still of ecr I mean, but she, I mean, obviously,
59:28
Speaker 4: I'm sure a lot of people already know how the
59:30
Speaker 4: movie ends. But they fall in love. But it's like
59:33
Speaker 4: takes her forever to fucking see him as like an
59:36
Speaker 4: actual person.
59:39
Speaker 6: Yes, the whole love tragedy certainly plays out in this film,
59:42
Speaker 6: but it takes her a while to almost wake up
59:44
Speaker 6: to her own entrapment in suburbia, and because she's very
59:49
Speaker 6: much topcast as the preppy queen, this popular and she
59:52
Speaker 6: kind of sees herself that way. That's that pride and
59:54
Speaker 6: arrogance that exists within the whole town. That's why the
59:57
Speaker 6: women gossip so much. It's why the men are so
1:00:00
Speaker 6: fixated on work, because I have to have money. And
1:00:02
Speaker 6: you hear it parroted from the father all the time
1:00:04
Speaker 6: when he's talking about you know, if you found a
1:00:06
Speaker 6: bag a million dollars, Eddie, would you hand it into
1:00:08
Speaker 6: the police, give it to your family to buy things
1:00:11
Speaker 6: for them, hand it back to the person you saw
1:00:14
Speaker 6: drop it. What would you do? And Edward's like, oh no,
1:00:17
Speaker 6: give it to my family and buy them nice things. No, Eddie,
1:00:20
Speaker 6: you do the right thing, the right just thing is
1:00:22
Speaker 6: handed into the police.
1:00:24
Speaker 4: And it's like, actually, no fucking body on earth would
1:00:28
Speaker 4: do that. If I found a bag of cash, I'm
1:00:30
Speaker 4: fucking taking it to the bank. There is no you know.
1:00:34
Speaker 4: But so there is this part where they're all like
1:00:38
Speaker 4: chilling in the backyard in the crazy kookie Christian Lady.
1:00:44
Speaker 4: She starts like blasting scripture at them and says something
1:00:50
Speaker 4: about like sheep, I can't remember the exact scripture, and
1:00:55
Speaker 4: Edward's like, but we're not sheep. I think that's like
1:00:59
Speaker 4: that in particular is like, actually, yeah, all of your
1:01:04
Speaker 4: whole fucking neighborhood is sheep. Maybe you're not, But like
1:01:09
Speaker 4: it was kind of like ironic because he's surrounded by sheep.
1:01:15
Speaker 4: Like I said, they're the type that goes and gets
1:01:17
Speaker 4: their COVID boosters.
1:01:19
Speaker 6: In this world. It's quite funny because the only two
1:01:22
Speaker 6: people that stand out in the entire community that different
1:01:25
Speaker 6: from the rest are Edward and the air quotes crazy
1:01:28
Speaker 6: Christian lady scripture all the time. She's the most unique
1:01:33
Speaker 6: person amongst all the sheep, and it's almost like she's
1:01:37
Speaker 6: a person who took the red pill and woke up
1:01:38
Speaker 6: from the programming, and she sees Edward for what he
1:01:42
Speaker 6: is and is trying to almost warn the rest of
1:01:44
Speaker 6: the town about him because she knows the implications of
1:01:47
Speaker 6: what he can and cannot do.
1:01:48
Speaker 4: So, Drew, do you think he's evil or do you
1:01:52
Speaker 4: think he's the good guy? In this story?
1:01:56
Speaker 6: I think it goes down the very gnostic side of things,
1:01:59
Speaker 6: where it doesn't put things in black and white, it
1:02:01
Speaker 6: puts it in the air of gray. I think he
1:02:04
Speaker 6: has the potential for evil, but I think based on it,
1:02:09
Speaker 6: he's just a different replication of what the townspeople are.
1:02:14
Speaker 6: I think the townspeople themselves are actually robots and they
1:02:17
Speaker 6: don't know it.
1:02:18
Speaker 4: Yeah, I would. I would intend to agree with that, actually,
1:02:21
Speaker 4: because so where are we at in the storyline? Because
1:02:26
Speaker 4: I have a good point to meet, But it comes
1:02:28
Speaker 4: way later in the movie.
1:02:30
Speaker 6: So we've had the barbecue. He's cut the family hedge
1:02:34
Speaker 6: to look like the family members. The neighbors have come
1:02:37
Speaker 6: over after the barbecue, checked it out, and he's starting
1:02:39
Speaker 6: to develop his rapport with the community. People love him
1:02:42
Speaker 6: for being the new shiny toy. And he's cutting t
1:02:44
Speaker 6: rexes and terodactyls and everyone's hedges. Every single house has
1:02:49
Speaker 6: a tree in the exact same goddamn spot, and he
1:02:52
Speaker 6: cuts them all into something different and unique. There's no
1:02:55
Speaker 6: fences in this town that I noticed. There's no fences
1:02:57
Speaker 6: between the houses, which seems very oddy, except for Edward's
1:03:01
Speaker 6: house that's the only one that has a yard. Everyone
1:03:04
Speaker 6: else is connected. They're all watering in the grass, and
1:03:08
Speaker 6: midway through cutting one of the hedges, he realizes there's
1:03:11
Speaker 6: a sheep dog there and he starts to cut the
1:03:13
Speaker 6: dog's hair, which inevitably becomes the new current trend to
1:03:16
Speaker 6: where he's cutting dog's hair. But again, every single woman
1:03:20
Speaker 6: in the town has some form of poodle, whether it's
1:03:22
Speaker 6: a French boodle or a British poodle, yeah, a labradoodle.
1:03:26
Speaker 6: They're all some kind of hoodle.
1:03:27
Speaker 4: Breed big sheep of doodles and fucking yeah. But except
1:03:34
Speaker 4: for Joyce. Joyce with the Ambrosia salad has like some
1:03:39
Speaker 4: little scruny looking dog that he pretty much takes all
1:03:44
Speaker 4: of its hair off except for like a little.
1:03:46
Speaker 6: Poof and makes it look like a lion.
1:03:50
Speaker 4: Yes, She's like give it.
1:03:52
Speaker 5: Like like me.
1:03:55
Speaker 4: And then he ends up cutting her hair and it's
1:03:58
Speaker 4: like all sexual like, Like Joyce is the character that
1:04:02
Speaker 4: sexualizes Edward the entire movie, Like it couldn't have just
1:04:06
Speaker 4: been a haircut, No, it's gotta be. She's having a
1:04:10
Speaker 4: freaking orgasm as as he's cutting her hair. It's like,
1:04:13
Speaker 4: come on, Like.
1:04:15
Speaker 6: She's the personification of Delilah from the Bible. That's the thing.
1:04:18
Speaker 4: Yeah, I was gonna say that goes along with what
1:04:21
Speaker 4: you were talking about earlier, because she's the one who's
1:04:23
Speaker 4: like she was the first one that wanted the haircut,
1:04:26
Speaker 4: just like the Delilah character with the haircut. Obviously it
1:04:30
Speaker 4: was the other way around in the Bible story. But
1:04:33
Speaker 4: I mean, she's the sexualization, the temptation, the like, that's
1:04:37
Speaker 4: her throughout the entire fucking movie. And then at the end,
1:04:41
Speaker 4: she fucking me choos him because he doesn't have a
1:04:44
Speaker 4: dick and he has a scissor.
1:04:50
Speaker 6: Yeah, I'm just wondering if he's like a kid's like
1:04:52
Speaker 6: a pencil case at school. He's got scissors for hands.
1:04:55
Speaker 6: Does he have a glue stick down there or something else?
1:05:01
Speaker 4: Something? But obviously I don't think he has reproductive organs,
1:05:05
Speaker 4: So like she's trying to a rape on him and shit,
1:05:08
Speaker 4: and I'm like, I don't think he's got anything to
1:05:11
Speaker 4: work with. She's that's the funny though, That's like he
1:05:15
Speaker 4: reaped me.
1:05:16
Speaker 6: He starts to get flashbacks throughout this film, and he
1:05:19
Speaker 6: sees certain mechanisms like whipping butter or making cream, and
1:05:24
Speaker 6: it goes back to the assembly line. He's remembering when
1:05:26
Speaker 6: he was the robot on the assembly line cutting lettuce,
1:05:29
Speaker 6: and then he's cutting lettuce and he starts to remembers
1:05:31
Speaker 6: having these flashbacks and one of the flashbacks is the
1:05:34
Speaker 6: inventor's going through the pages of how he develops him
1:05:37
Speaker 6: from like the clockwork kind of nineteen fifties robot alien
1:05:40
Speaker 6: all the way through to the manesque thing. It looks
1:05:44
Speaker 6: like he has real organs planted inside him. So my
1:05:47
Speaker 6: question is did this crew to make the organs or
1:05:49
Speaker 6: did he harvest them from the townspeak.
1:05:52
Speaker 4: Walt Disney man? What if the inventor was supposed to
1:05:56
Speaker 4: represent Walt Disney and.
1:05:58
Speaker 6: It's across the it's like Walt Disney, do you know
1:06:00
Speaker 6: what I mean?
1:06:00
Speaker 4: Like he chose him for a reason? Maybe, uh huh,
1:06:05
Speaker 4: And like that's a good point. If he does have
1:06:09
Speaker 4: stuff on the inside, where do you get it? And
1:06:11
Speaker 4: it's like, obviously he died of a heart attack, so
1:06:15
Speaker 4: nobody really knows what he was up to.
1:06:19
Speaker 6: Yeah, And we say later on when he gives him
1:06:21
Speaker 6: the hands in one of the later flashbacks, as he
1:06:24
Speaker 6: has the heart attack and falls forward, he im pales
1:06:26
Speaker 6: the hands onto Edward's scissors hands and you can see
1:06:29
Speaker 6: the bones on the inside of the hands that he
1:06:31
Speaker 6: was going to graft to him. So there's organic.
1:06:36
Speaker 4: Yeah, so I guess maybe he was going to give
1:06:40
Speaker 4: him a dick for Christmas. I don't know. I don't know.
1:06:44
Speaker 6: He's living a hell. He's probably got one. He can't
1:06:46
Speaker 6: use it because you know, you got scissors for hands,
1:06:48
Speaker 6: something you don't want to touch.
1:06:50
Speaker 4: Right, he's gonna John bobbit himself.
1:06:59
Speaker 6: He could probably probably manscape like a champion, but you
1:07:02
Speaker 6: go any further, he'd become ed Wayne as a handsh And.
1:07:14
Speaker 4: What's crazy, It's like he gives everybody else's haircuts and
1:07:17
Speaker 4: his hair looks fucking crazy, like it would be so
1:07:20
Speaker 4: easy for him to give himself a little.
1:07:22
Speaker 6: Trim, but no, he looks like he's the lead singer
1:07:25
Speaker 6: from the Cure his hands that bad a cure.
1:07:31
Speaker 4: Maybe Tim Burt roundly likes the cure. I don't know,
1:07:35
Speaker 4: because that's what he looks like. Yeah, but yeah, okay,
1:07:39
Speaker 4: where are we now? After the barbecue and the hedges
1:07:42
Speaker 4: and the dogs and the haircuts, is this like where
1:07:46
Speaker 4: he starts kind of like falling for Kim a little bit?
1:07:49
Speaker 6: He starts to fall for Kim, And he's at the
1:07:51
Speaker 6: point where he's notoriety is starting to wane a little
1:07:55
Speaker 6: bit because he's done the jobs for everyone. He's done
1:07:57
Speaker 6: their hedges, he's trimmed their pets, he's cut their hair,
1:08:00
Speaker 6: and the dad's almost the voice of raising and he's like, Eddie,
1:08:03
Speaker 6: you've got to start charging these people. You need an income. Cook.
1:08:06
Speaker 6: He's not gonna pay for the necessities of life, Eddie,
1:08:09
Speaker 6: And he kind of a grays in the mother's Kim's
1:08:12
Speaker 6: mother is like Peggy, like, yeah, we should, we should
1:08:15
Speaker 6: help him. Go to the bank and we'll get him
1:08:16
Speaker 6: everything he needs to start his life. Blah blah blah.
1:08:19
Speaker 6: And he goes to the bank.
1:08:21
Speaker 8: Record of jobs, you've held, no savings, no personal investments,
1:08:28
Speaker 8: no social Security number. You may as well not even exist.
1:08:31
Speaker 8: There is no collateral.
1:08:33
Speaker 5: No, we already have a second on the house. But
1:08:36
Speaker 5: don't the testimonials make a difference.
1:08:38
Speaker 7: Did you see here the mayor's wife can't wait to
1:08:41
Speaker 7: become a client exactly.
1:08:43
Speaker 6: Can't do it now?
1:08:44
Speaker 8: Get yourself a Social Security card to establish credit and
1:08:48
Speaker 8: buy yourself a car. You have a decided advantage. You
1:08:51
Speaker 8: can get one of those handicapped plackards. No problem in
1:08:53
Speaker 8: park anywhere you like.
1:08:57
Speaker 6: Yes, he goes to the bank and he sits down
1:08:59
Speaker 6: with the bank manager. He says, you've got no social
1:09:01
Speaker 6: Security number, you've got. You haven't got this, you haven't
1:09:03
Speaker 6: got that, no credit, you haven't got a car, you
1:09:06
Speaker 6: have no form of identity whatsoever. We don't even know
1:09:09
Speaker 6: if you exist. You need to go out, buy a car,
1:09:12
Speaker 6: get a loan, and then come back and see us.
1:09:14
Speaker 6: But how do you get a loan without any of
1:09:16
Speaker 6: those identifying papers? Yeah, which is the interesting point I
1:09:20
Speaker 6: picked up on. Every time I see a number in films,
1:09:23
Speaker 6: particularly these types of ones, I have to see if
1:09:25
Speaker 6: it lines up with a piece of scripture, either overtly
1:09:28
Speaker 6: or invertly. In this one, on the bank it's listed
1:09:31
Speaker 6: as two thy five hundred and five. I broke that
1:09:34
Speaker 6: down to Palms twenty five to five, which says, guide
1:09:38
Speaker 6: me in your truth and teach me, for you are God,
1:09:41
Speaker 6: my savior, and my hope is in you all day long.
1:09:45
Speaker 6: The almighty dollar, anyone you know what is America's God,
1:09:48
Speaker 6: the dollar bill with the all seeing eye on it.
1:09:50
Speaker 6: It's the inversion of that telling you to trust the
1:09:52
Speaker 6: FIAT and the usury money system.
1:09:55
Speaker 4: And also what's interesting about this is that or no
1:10:00
Speaker 4: one unless you have money, your matrix, stuff like your
1:10:06
Speaker 4: social your money, your credit, you're this and that's what
1:10:11
Speaker 4: they've plugged us into. Like everyone's plugged into it because
1:10:14
Speaker 4: we all have a social we all have a birth certificate,
1:10:17
Speaker 4: we all have these like we're like a like little
1:10:20
Speaker 4: business entities that they can cash in on, you know,
1:10:24
Speaker 4: they keep tabs on us. It's like, we don't even
1:10:26
Speaker 4: know you exist. Why because he has no birth certificate,
1:10:30
Speaker 4: no social, no credit, no this, no that. It's like
1:10:34
Speaker 4: they're pretty much saying you don't exist unless you are
1:10:37
Speaker 4: plugged into the matrix and have these things like you
1:10:41
Speaker 4: have to get programmed before we will allow you to
1:10:45
Speaker 4: function in society.
1:10:47
Speaker 6: Which is ironic because he broke the physical assembly line
1:10:49
Speaker 6: and became a reborn man by his creator, and as
1:10:54
Speaker 6: soon as he enters the real world e quotes, he
1:10:56
Speaker 6: has to go back into the system. He has to
1:10:58
Speaker 6: be a part of the assembly line again, has to
1:11:01
Speaker 6: go out and in a way to pay his taxes,
1:11:03
Speaker 6: go to work, drive the same car, get in the
1:11:05
Speaker 6: same house, we have the same clothes. He becomes a
1:11:07
Speaker 6: robot and the assembly line again.
1:11:09
Speaker 4: Yeah, because that's the juxtaposition. He's a robot, we are too,
1:11:14
Speaker 4: but we don't see it that way. Like just says
1:11:17
Speaker 4: he's evil, but we're evil too, but we don't see
1:11:20
Speaker 4: it that way, you know what I mean. It's like
1:11:23
Speaker 4: we are robots. We all have the same cars and
1:11:26
Speaker 4: houses and wear the same clothes and work the same jobs,
1:11:29
Speaker 4: get our hair cut the same way, and like do
1:11:33
Speaker 4: da da da da da, And I don't know that scene.
1:11:38
Speaker 4: To me, I'm glad you brought it up, because that's
1:11:40
Speaker 4: what I had in my notes about the bank scene.
1:11:42
Speaker 4: Is like you have to literally have all these things
1:11:47
Speaker 4: or you're or they just act like you don't exist.
1:11:51
Speaker 4: You know, people who live off the grid and they're like,
1:11:53
Speaker 4: I don't have this a social I don't have, Like
1:11:56
Speaker 4: I don't pay taxes. I don't. They're still alive because
1:12:01
Speaker 4: they're fucking sovereign, you know what I mean. We're not.
1:12:04
Speaker 4: We're like owned, we're slaves.
1:12:07
Speaker 6: Part of Oh you don't have a history of debt.
1:12:09
Speaker 6: That's not a good thing. You need to rack up
1:12:11
Speaker 6: some debt before we'll give you money, do you see
1:12:13
Speaker 6: what I mean?
1:12:13
Speaker 4: Like, think of the logic behind that. It's crazy to me,
1:12:20
Speaker 4: we should Edward is better off without the fucking townspeople.
1:12:25
Speaker 4: That's what you come to fucking find out at the
1:12:28
Speaker 4: end of the movie. Is like he's sovereign. Actually, he
1:12:31
Speaker 4: fucking trims hedges and lives in a castle and minds
1:12:35
Speaker 4: his own fucking business and doesn't pay taxes, doesn't have
1:12:40
Speaker 4: a social doesn't you know what I mean. It's like
1:12:43
Speaker 4: we're the robots.
1:12:44
Speaker 6: He doesn't even have to aid or drink. Yeah, he
1:12:47
Speaker 6: doesn't need any of that to keep going. So he
1:12:49
Speaker 6: doesn't need a job drawn find his own food. We
1:12:52
Speaker 6: don't even know if he sleeps. He had a bed,
1:12:53
Speaker 6: but when don't say sleepy just lays ouy's eyes open.
1:12:56
Speaker 4: Yeah. Yeah, And in all the scenes where he's laying
1:13:02
Speaker 4: in a bed, he's just laying there with his fucking
1:13:04
Speaker 4: scissor hands, like he's not sleeping. So maybe he was
1:13:08
Speaker 4: gonna tweak him a little bit and give him some
1:13:10
Speaker 4: shit like that. If he's got a like a digestive system,
1:13:13
Speaker 4: you would think you would have to eat. But like
1:13:15
Speaker 4: I said, I don't know, because I feel like when
1:13:21
Speaker 4: they're showing him becoming a man like in the Flip book,
1:13:25
Speaker 4: like maybe maybe he got to the point where he
1:13:27
Speaker 4: still has like some mechanical shit on the inside and
1:13:30
Speaker 4: he was like an upgrade him eventually. I don't know.
1:13:33
Speaker 6: Maybe he's like the terminator, the Tay eight hundred, and
1:13:36
Speaker 6: he's got the skin driped over an exo skeleton because.
1:13:40
Speaker 4: Yeah, oh right, so he has a circulatory system.
1:13:49
Speaker 6: And we we this point, yeah, and the story now
1:13:52
Speaker 6: we get into the conflict. He's he's had the highs.
1:13:56
Speaker 6: The people have accepted him, he's done all these jobs
1:13:58
Speaker 6: for them. He's popular already is starting to wane, and
1:14:01
Speaker 6: that's driven further when Joyce me toos him. She lures
1:14:06
Speaker 6: him into this place where she's offering him this job.
1:14:08
Speaker 6: You're going to cut people's hair. We'll have cosmetics over there.
1:14:12
Speaker 6: And the first thing Edward thinks about is peg Peg
1:14:15
Speaker 6: can sell her cosmetics, and she's like, oh yeah, okay, Sure,
1:14:18
Speaker 6: lures him into the back room, shows off some some
1:14:22
Speaker 6: smocks to him, and then attempts to rape him. And
1:14:25
Speaker 6: it's interesting that the laundry she chooses to wear is
1:14:29
Speaker 6: very much leather esque dominatrix stuff, trying to emulate him.
1:14:33
Speaker 6: It really didn't work because he didn't know what to do.
1:14:36
Speaker 6: He leaves the place quite shocked that of what she
1:14:39
Speaker 6: tried to do, and he walks out the kind of
1:14:41
Speaker 6: the autistic Asperger's response. He leaves and he rocks up
1:14:44
Speaker 6: to the family lunch. He says, sorry, I'm late. I
1:14:47
Speaker 6: was just checking out the cell on and the dad's like,
1:14:49
Speaker 6: oh yeah, what was like, Oh, we went into the
1:14:51
Speaker 6: back room where she got naked and took off all
1:14:53
Speaker 6: the clothes and the only person to notice is Kim.
1:14:56
Speaker 6: She goes, what yeah, She's like, Dad's like that's fantastic, giddy.
1:15:04
Speaker 4: That's kind of how like dads are though. Right there,
1:15:06
Speaker 4: just in every movie, they're like, okay, cool, and then
1:15:09
Speaker 4: they just like go about their fucking conversation. But as
1:15:14
Speaker 4: he's like running out of the salon ambrosia salad is like,
1:15:17
Speaker 4: you can't do that, and it's like there you go,
1:15:21
Speaker 4: right there, fucking she wanted to fucking rape the dog
1:15:24
Speaker 4: shit out of him, and then she me tooos him
1:15:27
Speaker 4: because she gets what she thinks is rejected. Little does
1:15:31
Speaker 4: she know he doesn't have a dick. And was it
1:15:35
Speaker 4: before or after that they take him.
1:15:37
Speaker 6: On like the TV show, and shit, I think that's
1:15:40
Speaker 6: before he's on the TV show. Like you've mentioned before,
1:15:43
Speaker 6: it's very nineteen seventies. At the same time he's on
1:15:47
Speaker 6: the show, Kim and her boyfriend Jim, they're watching with
1:15:51
Speaker 6: the little brother and seeing the responses he gives, and
1:15:53
Speaker 6: this is where we start to see Kim's infatuation for
1:15:56
Speaker 6: him start to kind of blossom because Jim's being a
1:15:59
Speaker 6: dick laughing at him, and she sees the humanity that's
1:16:03
Speaker 6: within Edward as he's answering these questions like I know
1:16:07
Speaker 6: a person who can fix your hands, and he's like, oh,
1:16:09
Speaker 6: I'd like to meet him. Yeah, And then the woman
1:16:12
Speaker 6: says do you have a boyfriend? Do you have a girlfriend?
1:16:15
Speaker 6: And everyone goes ooh, and then Kim, even Connor, recoils
1:16:18
Speaker 6: back because she's expecting him to say, yeah, I've got
1:16:20
Speaker 6: someone special, but he never says that. He just looks
1:16:23
Speaker 6: in the camera and it's almost like he's looking through
1:16:25
Speaker 6: the camera directly at her.
1:16:27
Speaker 4: I think the fact that they brought up so many
1:16:29
Speaker 4: times that there was a doctor out there that could
1:16:31
Speaker 4: have fixed his fucking hands, and nobody was trying to
1:16:35
Speaker 4: like get that going. It's just like, well, why would
1:16:38
Speaker 4: we fix your fucking hands when you're so useful to
1:16:41
Speaker 4: us like this, you know, and taking him on the
1:16:45
Speaker 4: TV show was another like show pony kind of you know,
1:16:50
Speaker 4: weird fast bargain shit, like we're gonna make him famous.
1:16:54
Speaker 6: It's like the eighteen hundred families that had the horribly
1:16:58
Speaker 6: deformed child who they sold to the circus. Yeah, put
1:17:02
Speaker 6: them on the freak show. They're just like using financial gain,
1:17:05
Speaker 6: but they.
1:17:06
Speaker 4: Don't realize, Oh, I was just gonna say, we will
1:17:10
Speaker 4: make you famous, but you have to be a fucking
1:17:12
Speaker 4: cripple the rest of your life. Like that's like the
1:17:14
Speaker 4: ultimate Faustian bargain thing, right, Like, we'll put you on TV,
1:17:18
Speaker 4: we'll get you a salon, you'll have all these people
1:17:21
Speaker 4: who dote on you and think you're great, but you
1:17:25
Speaker 4: have to be a fucking crippled in order for that
1:17:27
Speaker 4: to work.
1:17:28
Speaker 6: And it's the funny thing is that they're not making
1:17:30
Speaker 6: any financial gain off him. The only gain they're getting
1:17:33
Speaker 6: is they're standing within the community, right, And it goes
1:17:36
Speaker 6: back to what Bogs means. It goes back to that
1:17:38
Speaker 6: idea of them being boastful. They're being boastful that he's
1:17:41
Speaker 6: in our family and he belongs to us. It's not
1:17:44
Speaker 6: the financial side of things of a typical Faustian bargain,
1:17:47
Speaker 6: it's the pride that they have in it. It's almost
1:17:50
Speaker 6: worse because it's psychological and it. It really weighs on
1:17:53
Speaker 6: the soul opposed to the physical gain of having wealth.
1:17:56
Speaker 4: Yeah, no, one hundred. But so after the bank denies him,
1:18:02
Speaker 4: he gets me too. I think that's when they have
1:18:05
Speaker 4: him break into Jim's house, right, Yeah.
1:18:10
Speaker 6: Kim and Jim are trying to get into the house.
1:18:12
Speaker 6: They forget the keys, and Kim asks him, can you
1:18:15
Speaker 6: help us get in you have a set of keys.
1:18:16
Speaker 6: He's like no, and he uses one of his little
1:18:18
Speaker 6: scissors to open the door. She's like, that's fantastic. I
1:18:21
Speaker 6: didn't know you could do that. And you know, Jim
1:18:23
Speaker 6: the boyfriend gets the idea of using him to break
1:18:25
Speaker 6: into his father's safe room and steal all his gadgets
1:18:29
Speaker 6: sell them later off. He's very, very easily manipulated because
1:18:34
Speaker 6: he wants to follow Wong with what Kim says, but
1:18:37
Speaker 6: Kim asks of him and Jim sees that, and he
1:18:40
Speaker 6: really weaponizes Kim's affections and compassion in that situation.
1:18:47
Speaker 4: And after he goes to jail for trying to break
1:18:53
Speaker 4: into the room or whatever, they're like, we know, like
1:18:59
Speaker 4: the bank wouldn't give you any money, but stealing it's
1:19:02
Speaker 4: not how you do it. And then that's how they
1:19:04
Speaker 4: get We get introduced to the black cop, who a
1:19:07
Speaker 4: lot of the woke people say is the big savior
1:19:09
Speaker 4: of the movie, and they're trying to teach him right
1:19:13
Speaker 4: from wrong, But is it really right from wrong? Like
1:19:17
Speaker 4: a lot of that stuff is just like man made
1:19:19
Speaker 4: rules that we're supposed to. It's like the matrix. Like, no, Edward,
1:19:23
Speaker 4: I know your common sense would tell you to take
1:19:25
Speaker 4: care of your loved ones, but that's not what you're
1:19:28
Speaker 4: supposed to do. And like, so we see him, they're
1:19:32
Speaker 4: like trying to download all this shit onto him, and
1:19:38
Speaker 4: I think what.
1:19:39
Speaker 6: Jim's dad was up to. Like they break into that rooms,
1:19:43
Speaker 6: had a mechanism which closed the door and sealed it,
1:19:45
Speaker 6: and the shots came down. There's barely anything in that
1:19:48
Speaker 6: room but a sunken in round catch with a round
1:19:51
Speaker 6: thing in the center like that one like something that
1:19:54
Speaker 6: like the people that's some kind of a ranch would
1:19:58
Speaker 6: go to, like the elites and.
1:20:04
Speaker 4: Room. Yeah, it was like a legit, sayer him, Like
1:20:07
Speaker 4: the bars on the fucking windows came down and yeah,
1:20:12
Speaker 4: and so I think like they ask him why, or
1:20:18
Speaker 4: maybe Kim said, if you knew whose house it was,
1:20:22
Speaker 4: why did you do it, and he's like because I
1:20:24
Speaker 4: love you or or because you asked me, and so yeah, no,
1:20:29
Speaker 4: It's like he does have a sense of right and wrong.
1:20:31
Speaker 4: But like they again, I feel like through the whole movie,
1:20:35
Speaker 4: they just treat him like he's a fucking animal pretty much.
1:20:38
Speaker 4: He acts like an animal. Obviously, he's got like those
1:20:40
Speaker 4: like weird little dog type mannerisms, and they treat him
1:20:46
Speaker 4: like a dog. And then like by the end of
1:20:49
Speaker 4: the movie, you're like, we're the fucking dogs. Look what
1:20:51
Speaker 4: we did to him, you know.
1:20:54
Speaker 6: Yeah, And with this it it really starts to go
1:20:56
Speaker 6: downhill really quickly for Edward. He's being arrested, the town
1:21:00
Speaker 6: gossiping about it. Joyce is bragging to people on the
1:21:03
Speaker 6: phone that she was almost raped and she feels sorry
1:21:05
Speaker 6: for those kids in the house. What's he going to
1:21:07
Speaker 6: do to them? And they're all talking about it behind
1:21:10
Speaker 6: his back. And at the same time, the family thinks
1:21:12
Speaker 6: it's business as usual and they're going to have this
1:21:14
Speaker 6: wonderful Christmas party in everyone's going to attend. And at
1:21:17
Speaker 6: the same time as this is being planned, all the
1:21:20
Speaker 6: townsfolk are saying, yeah, I told her I'm not going
1:21:23
Speaker 6: Oh yeah, I lied to I can't go. I'm not
1:21:25
Speaker 6: going to be around that freak, and it starts to
1:21:29
Speaker 6: build up to the point where it's a very frankenstein
1:21:31
Speaker 6: Esque response where the villagers get their pitchforks and tortures
1:21:34
Speaker 6: and go after him. And it just needs the catalyst
1:21:36
Speaker 6: of one event for that to take place, and that's
1:21:40
Speaker 6: the confrontation that Jim has with Edward. Later on, in
1:21:46
Speaker 6: the event that he gets blind drunk with his mate
1:21:48
Speaker 6: in the van, he decides he wants to go back
1:21:51
Speaker 6: and get Kim because she broke up with him and
1:21:53
Speaker 6: he wants to win her back, and he has these
1:21:55
Speaker 6: ideas of saving her from the strange creature that is Edward.
1:21:59
Speaker 6: And as the driving drunk Kim is with Edward in there,
1:22:03
Speaker 6: she's finally admitting she loves him, and it's his wonderful moment.
1:22:06
Speaker 6: And Edward notices her little brother Kevin walking in the
1:22:09
Speaker 6: streets and this van driving chaotically knocking over hedges, and
1:22:13
Speaker 6: he sees he's going to get hit, so Edward bolts
1:22:15
Speaker 6: out in front of him, knocks Kevin out of the way,
1:22:18
Speaker 6: pins him to the ground, and unintentionally cuts him because
1:22:20
Speaker 6: he's got goddamn SSS vans, what else is he going
1:22:22
Speaker 6: to do? And the kid freaks out like, oh, he's
1:22:25
Speaker 6: trying to kill me. He's like, just calm down, calm down.
1:22:28
Speaker 6: He's nailing scissors in the kid's face. That's going to
1:22:31
Speaker 6: calm him down. Good one, Edward. And it looks like
1:22:34
Speaker 6: and all the neighbors come out for the commotion. It
1:22:35
Speaker 6: looks like he's trying to cut the kid's face off
1:22:37
Speaker 6: of something.
1:22:38
Speaker 4: So that's the.
1:22:39
Speaker 6: Catalyst in which the town turns against him.
1:22:42
Speaker 4: And you know, again, it's like I said before, if
1:22:46
Speaker 4: they're trying to tell, like the Christ story or whatever,
1:22:50
Speaker 4: that Edward's the big savior in the end, it takes
1:22:54
Speaker 4: a dark fucking turn after that because after he runs
1:22:58
Speaker 4: away and goes back to the castle, Breakfast Club shows
1:23:02
Speaker 4: up and he fucking murders the fucking shit out of him.
1:23:06
Speaker 4: So I don't know how that fits in with the
1:23:08
Speaker 4: Christ story. Edward becomes a murderer. I mean, I can't
1:23:13
Speaker 4: blame him because breakfast Club was out of hand, But
1:23:18
Speaker 4: I don't what do you think of like the end,
1:23:20
Speaker 4: because yeah, he saves Kim, they get in the altercation,
1:23:23
Speaker 4: he stabs him and then throws him out the window. Like,
1:23:26
Speaker 4: that's how does that fit in with the Christ story?
1:23:31
Speaker 6: Well, I don't know so much about the Christ story,
1:23:33
Speaker 6: but it ties into beauty in the base, it's pretty
1:23:35
Speaker 6: much the fight between Based and Gaston, like they're fighting
1:23:39
Speaker 6: over Bell, which is Kim in this Gaston or Jim
1:23:43
Speaker 6: gets the upper hand on him and he's beating him.
1:23:46
Speaker 6: Kim intervenes just as the same as Bell intervenes with Gaston.
1:23:50
Speaker 6: He strikes out against her, and that's what gives the Beast,
1:23:55
Speaker 6: and in this film, Edward the strength to actually fight
1:23:58
Speaker 6: back because he's not fighting the whole film. He doesn't
1:24:00
Speaker 6: want to hurt anyone, and when he sees the one
1:24:02
Speaker 6: he loves the most being hurt, he gets up and
1:24:04
Speaker 6: he strikes out. He lashes out, and he does that
1:24:07
Speaker 6: hem pales the guy with his scissors and then forces
1:24:10
Speaker 6: him out of window, just like Gaston gets forced out
1:24:12
Speaker 6: of the window and the castle. So it's this replicating
1:24:15
Speaker 6: part of a story we've all grown up with in Disney,
1:24:17
Speaker 6: but it's retold in this dark, twisted tale, and Kim
1:24:21
Speaker 6: goes along with the Lye on it though it's like
1:24:24
Speaker 6: he's taken off all yeah, and she's like, oh, he stared.
1:24:28
Speaker 6: The roof collapse and he's died, and she grabbed a
1:24:31
Speaker 6: spaars his hand off the assembly line and goes, see,
1:24:33
Speaker 6: here's the proof. You can go check for yourself. But
1:24:36
Speaker 6: the gossips don't want to get their hands dirty and
1:24:38
Speaker 6: actually go and see the body, so they all kind
1:24:39
Speaker 6: of go home. She runs with the lie like this
1:24:42
Speaker 6: is the guy she dated for god knows how many years,
1:24:44
Speaker 6: at least junior high school. If you remember from the
1:24:47
Speaker 6: early Gravitation, She's totally cool the guy being dead.
1:24:50
Speaker 4: Yeah, Like she doesn't even like go like see if
1:24:53
Speaker 4: he can be saved or anything. She's just like, ah,
1:24:56
Speaker 4: she takes off lives the body. I don't think anybody
1:24:59
Speaker 4: comes back for the bar, fucking breakfast club is just
1:25:02
Speaker 4: fucking laid out, fucking stabbed to death, fucking just as
1:25:05
Speaker 4: corpse is left there and I mean there. I think
1:25:13
Speaker 4: for a Tim Burton movie, it got kind of dark
1:25:15
Speaker 4: at the end because somebody actually fucking died. I mean,
1:25:20
Speaker 4: like not you know, mystical creatures and shit like in
1:25:24
Speaker 4: dark shadows, like the witch dies at the end. Okay, fine,
1:25:27
Speaker 4: she was a witch anyways, who cares? But like in
1:25:29
Speaker 4: Edwards Scissor hands like a fucking motherfucker actually gets stabbed
1:25:32
Speaker 4: to death and then thrown out out of a window
1:25:34
Speaker 4: like it gets dark fast. I don't know why yeah,
1:25:40
Speaker 4: And I mean, I don't know why they they have
1:25:42
Speaker 4: grouped this into like being a race war thing, because
1:25:45
Speaker 4: the black guy doesn't die at the end, and actually
1:25:49
Speaker 4: he's the one that's like he fires his gun and
1:25:51
Speaker 4: he's like, oh, I got him, don't Yeah, you guys
1:25:53
Speaker 4: go back to your house, like, don't worry about it,
1:25:55
Speaker 4: like he tries to help Edward. So I don't know
1:25:58
Speaker 4: that this whole camp is like it being a racy
1:26:00
Speaker 4: thing and then like the camp of it being a
1:26:03
Speaker 4: christ thing. The end doesn't make sense for either of
1:26:07
Speaker 4: those theories.
1:26:09
Speaker 6: No, I think the end just doesn't quite make much
1:26:11
Speaker 6: sense for the story anyway. It doesn't give it any
1:26:14
Speaker 6: real closure. It ties it back to the flash forward
1:26:18
Speaker 6: in which he's telling the story of how the snow
1:26:20
Speaker 6: came to be in the town. But it's kind of
1:26:23
Speaker 6: anti climactic that Edward survives. He's alone. She loves him
1:26:28
Speaker 6: but can never ever see him again, even though he's
1:26:29
Speaker 6: just up the goddamn mountain. She grows old and he's
1:26:34
Speaker 6: just as a family.
1:26:36
Speaker 4: And he's just there. And you know, it's odd to
1:26:40
Speaker 4: me that if she stayed in that town and knew
1:26:43
Speaker 4: he was up there, why she wouldn't have ever went
1:26:45
Speaker 4: back and visited him and like.
1:26:49
Speaker 6: That was a car and leave the town unless they can't.
1:26:53
Speaker 4: Oohoo, they're stuck in the snow globe. Very interesting, very
1:27:02
Speaker 4: fucking interesting. So do you think like one day we'll
1:27:07
Speaker 4: have like Edward Scissorhands minus the scissor Hands running around
1:27:11
Speaker 4: like some kind of AI sentient beings like that.
1:27:17
Speaker 6: I don't know. There's this weird kind of view of
1:27:19
Speaker 6: the future that we get through science fiction that will
1:27:22
Speaker 6: have androids, we'll have synthetic humans, but we haven't quite
1:27:27
Speaker 6: got to the point where we have technology integrated into
1:27:30
Speaker 6: us yet. Like we all have a mobile phone with's
1:27:32
Speaker 6: essentially androids as is, it's just not internally within us.
1:27:36
Speaker 6: As soon as we get near a link going, I
1:27:37
Speaker 6: think that's going to be very short lived, and we'll
1:27:39
Speaker 6: see a sudden jump into synthetic humans as in completely created.
1:27:44
Speaker 6: They won't be just altered humans. And that's where some
1:27:47
Speaker 6: real interesting things are going to take place, because for
1:27:50
Speaker 6: that to truly occur, we need quantum computing to take place,
1:27:53
Speaker 6: and for people who aren't familiar with quantum computing, it's
1:27:56
Speaker 6: a computer system that can do billions of years where
1:28:00
Speaker 6: of calculations in an instant. So if that type of
1:28:02
Speaker 6: technology existed, it could design itself a synthetic body that's
1:28:07
Speaker 6: based on real flesh, real bone. It could three D
1:28:10
Speaker 6: print itself something upload its consciousness. And that's where the
1:28:14
Speaker 6: danger is because it would be a true artificial intelligence.
1:28:17
Speaker 6: It wouldn't be a data set analyzer that we've got today,
1:28:20
Speaker 6: which is essentially a game boy in comparison. It would
1:28:23
Speaker 6: be true artificial intelligence. And my mind kind of goes to, well,
1:28:27
Speaker 6: if it's quantum, then it's drawing information from the ether,
1:28:30
Speaker 6: and it's calculating things over billions of years. It's surpassing humanity,
1:28:35
Speaker 6: and it's probably tapping into something that already exists in
1:28:38
Speaker 6: that dimensional space between the physical and the spiritual, and
1:28:41
Speaker 6: it's just manifesting itself a body.
1:28:44
Speaker 4: So it's going to be like I want to have
1:28:50
Speaker 4: a full circle moment here and ask you if you
1:28:53
Speaker 4: feel like it's going to be like fucking what's its name?
1:28:57
Speaker 4: From alien or some shit.
1:29:00
Speaker 6: Like the synthetics like Bishop and stuff from Aliens.
1:29:03
Speaker 4: Yeah. Yeah, like now in Protheus and Covenant, they got
1:29:09
Speaker 4: a little bit more independent, if you know what I'm saying.
1:29:14
Speaker 6: Yeah, I think that's going to be the danger. If
1:29:15
Speaker 6: we were to make the robots ourselves, it would be
1:29:19
Speaker 6: a level of creator and the creator, and we'd have
1:29:22
Speaker 6: some control over them. If it's quantum computing and it
1:29:24
Speaker 6: truly thinks for itself, it's creating something by itself. That's
1:29:28
Speaker 6: where the danger is. And even in those Aliens films,
1:29:32
Speaker 6: that's projected ironically with Wenona Ryder, she's an au Todd
1:29:35
Speaker 6: in Alien Resurrection, a synthetic that is created by a
1:29:38
Speaker 6: synthetic and they don't like following orders. So if we
1:29:41
Speaker 6: have something that's a true intelligence that designs itself, an
1:29:44
Speaker 6: organic body who knows what it's using. If we throw
1:29:47
Speaker 6: into it the theory that the COVID jab and the
1:29:51
Speaker 6: DNA sampling twenty three and meters, all these things occurred
1:29:54
Speaker 6: to analyze certain genetic traits. What if it's the elites
1:29:58
Speaker 6: of the world trying to to give themselves the body
1:30:01
Speaker 6: that their ancestors had in the past, getting all those
1:30:04
Speaker 6: puzzle places to rabild the perfect demigod body.
1:30:07
Speaker 4: Oh my god. And that's really what they were hinting
1:30:10
Speaker 4: at in Covenant, is like this synthetic being that has
1:30:17
Speaker 4: like its own fucking sentient, fucking whatever, is trying to
1:30:23
Speaker 4: create its own race of out of organic material. I
1:30:27
Speaker 4: think it's organic material at least, I don't know if
1:30:32
Speaker 4: they did something with the black goo that was like not,
1:30:36
Speaker 4: but anyways, it doesn't matter. He's trying to create like
1:30:39
Speaker 4: his own race and like implant the eggs into like
1:30:42
Speaker 4: human hosts, and it's like we again become like the
1:30:45
Speaker 4: slave class because we're just like hosts to grow this
1:30:49
Speaker 4: like so I don't know, I mean, like I get it.
1:30:52
Speaker 4: It's it's oddly foreshadowing of like something that could really happen,
1:30:58
Speaker 4: you know. Let me tale.
1:30:59
Speaker 6: That's back to my theory with the whole setup of
1:31:01
Speaker 6: this film, okay, where you have the disconnect between the
1:31:04
Speaker 6: creator the creation, and then what the creation makes is
1:31:07
Speaker 6: truly independent. If we think of the inventor Vincent Price
1:31:11
Speaker 6: as being the godlike kind of deity in this film,
1:31:14
Speaker 6: he's mortally dies, we know that he's created not only Edward,
1:31:18
Speaker 6: but I think he's created the entire town. Everything's cookie cutter.
1:31:22
Speaker 6: It looks like it's prefabricated, slightly altered, that people might
1:31:26
Speaker 6: have different avatars or different skins, but I think they're
1:31:29
Speaker 6: they're all the same assembly line. He's been running that
1:31:33
Speaker 6: town as a program or a type of system for
1:31:38
Speaker 6: a long time now. For whatever reason, his organic robots
1:31:41
Speaker 6: have been able to procreate. And the next generation, the
1:31:45
Speaker 6: kids who are barely ever seen, who have real interactions,
1:31:48
Speaker 6: they are the generation of creation that have true independent thought.
1:31:51
Speaker 6: Because the boomers in this they're stuck in their nine
1:31:54
Speaker 6: to five. They love their gossiping. They've got the same designs.
1:31:57
Speaker 6: They're not independent. They're all doing the same thing as
1:32:00
Speaker 6: each other, whereas their children have kind of broken the
1:32:02
Speaker 6: matrix in a sense, they've broken the programming. So I
1:32:05
Speaker 6: think the hotel is a creation of the inventor. That's
1:32:09
Speaker 6: why his little castle was on top of this mansion
1:32:12
Speaker 6: in top overlooking his.
1:32:14
Speaker 4: Creation, and after he died, it kind of just like
1:32:18
Speaker 4: started running itself.
1:32:20
Speaker 6: Yeah, it went into just pure self management. And I
1:32:24
Speaker 6: think there's a memory lapse within the creation themselves. They
1:32:27
Speaker 6: don't remember what they are because they're perfectly finished. And
1:32:30
Speaker 6: I think if Edward was finished, he'd have a full
1:32:34
Speaker 6: personality and wouldn't be the way he is because he's
1:32:37
Speaker 6: a half finished program.
1:32:40
Speaker 4: Mike Drop Damn, that is crazy And also one hundred
1:32:49
Speaker 4: percent agree now that you said it, I like that
1:32:52
Speaker 4: makes complete fucking sense, complete fucking sense. Like the whole
1:32:58
Speaker 4: thing is a fucking like a fucking project.
1:33:03
Speaker 6: Remember the rohmbus I mentioned how it's an inversion of
1:33:06
Speaker 6: the ying and the yang and showing man's divine purpose
1:33:09
Speaker 6: for his work. But they're all workers and they all
1:33:11
Speaker 6: leave and go to work, so they're almost like synthetic
1:33:14
Speaker 6: humans built by the inventor sold to a company, and
1:33:18
Speaker 6: they go to work each day, to the factory and
1:33:20
Speaker 6: come back. That's their purpose.
1:33:26
Speaker 4: And that's probably why when they went to the bank
1:33:29
Speaker 4: Peg and nobody was able to like co sign for
1:33:33
Speaker 4: him or anything, because it's like none of them are real.
1:33:37
Speaker 6: And there's certain individuals in the overall world who you
1:33:41
Speaker 6: can tell aren't from that initial cul de sac set
1:33:43
Speaker 6: of houses that act differently in a bit more independent
1:33:46
Speaker 6: the police officer, some of the people on the TV show,
1:33:52
Speaker 6: people in the shops. Later on, it's solely isolated to
1:33:56
Speaker 6: that one little set of houses.
1:33:58
Speaker 4: But they've learned how to like interact and like assimilate.
1:34:05
Speaker 4: Oh my god, Wow, that's fucking incredible. I don't think
1:34:12
Speaker 4: anybody's ever said that before. You came up with that
1:34:16
Speaker 4: on your own.
1:34:18
Speaker 6: I've seen that the Frankistan analogy quite a bit, but
1:34:20
Speaker 6: I don't think anyone's actually applied it to the Halltown before.
1:34:25
Speaker 4: No, And that makes a hundred percent sense, like especially
1:34:30
Speaker 4: with how they made it so, and then included the
1:34:35
Speaker 4: reference of the inventor with the cookie cutter, like he
1:34:39
Speaker 4: made robots to cut cookies, you know what I'm saying.
1:34:42
Speaker 4: So it's like they they're telling you in the beginning
1:34:48
Speaker 4: and throughout the whole movie what it is. It's a pattern,
1:34:51
Speaker 4: it's a you know, it's a fucking it's a fucking simulation.
1:34:57
Speaker 6: And I think that in a lot of ways, Edward
1:34:59
Speaker 6: was suppose to be his successor, Like he's teaching him
1:35:02
Speaker 6: etiquette and manners and these very gentleman things that are
1:35:05
Speaker 6: very vincent. Price and you say it in the pitches
1:35:08
Speaker 6: is always wearing like a very Victorian era almost clothing.
1:35:14
Speaker 6: He's meant to be the person that takes over after
1:35:16
Speaker 6: he dies, because the inventor knows his mortality, but he
1:35:19
Speaker 6: won't have it as a robot human.
1:35:22
Speaker 4: Damn. That is so good. That's better than any of
1:35:26
Speaker 4: the bullshit theories I found just google and shit and
1:35:30
Speaker 4: watching it for myself obviously and coming to my own
1:35:32
Speaker 4: like little conclusions and stuff. But even one, Oh my gosh,
1:35:36
Speaker 4: I just got to tell you this because you're gonna laugh.
1:35:38
Speaker 4: But one of the theories was that the granddaughter that
1:35:42
Speaker 4: Winona Writer was reading to is actually Lydia Beats who
1:35:48
Speaker 4: grows up and becomes the mom in Beetlejuice, and she's
1:35:52
Speaker 4: got like this dark, weird gothic obsession because of Edward Scissorhands,
1:35:57
Speaker 4: and they're trying to like they tried to like link
1:36:00
Speaker 4: Tim Burton movies through Edward Scissorhands.
1:36:03
Speaker 6: It was trying to multiverse the Burtons franchise.
1:36:06
Speaker 4: Yeah, pretty much. Yeah, yeah, yeah, but it wouldn't work
1:36:10
Speaker 4: since Winona Writer was I guess obviously she's playing a
1:36:14
Speaker 4: different character. But if Winona Writer is Kim, then she
1:36:17
Speaker 4: can't then be Lydia.
1:36:19
Speaker 6: Unless it's the genetics that have skipped a few generations,
1:36:24
Speaker 6: especially robot people that don't have only so many combinations
1:36:28
Speaker 6: that could occur.
1:36:29
Speaker 4: Yeah, I mean, I would go with it, sure, and
1:36:33
Speaker 4: it does happen. I think Beetlejuice is actually in the
1:36:36
Speaker 4: eighties or nineties or something like that, So I don't
1:36:40
Speaker 4: know how the.
1:36:40
Speaker 6: Time makes more sense an autistic racial fighting.
1:36:46
Speaker 4: Complex. Yeah, I don't know. It's a hell of a movie, though,
1:36:50
Speaker 4: it's one of my absolute favorites of all time. Do
1:36:53
Speaker 4: you feel like we missed anything or you think we
1:36:55
Speaker 4: pretty much crushed it?
1:36:57
Speaker 6: I think we nailed it. It's a film that it's
1:37:00
Speaker 6: a cult for a lot of people, But then again,
1:37:03
Speaker 6: it's a film that a lot of people just didn't notice.
1:37:05
Speaker 6: At the same time. It's owned by Disney now, and
1:37:10
Speaker 6: I think it always has been through Burton, so it's
1:37:14
Speaker 6: always had those dark undertone. So it wasn't one of
1:37:16
Speaker 6: those quintessential films that every kid in the nineties grew
1:37:19
Speaker 6: up watching. They might have seen it once and that
1:37:20
Speaker 6: was about it. And I haven't seen it in at
1:37:23
Speaker 6: least twenty years. Like that's how bad it wasn't I
1:37:25
Speaker 6: watched it. But it's a wild film if it's just
1:37:32
Speaker 6: screams Tim Burton. You see the artwork, the sculpture, the shots,
1:37:36
Speaker 6: the storytelling is very him. There's something very dangerous with
1:37:41
Speaker 6: that man. And where his mind and his ideas come from.
1:37:44
Speaker 4: Oh, I know, have you happened to watch the new Beetlejuice? Yeah, no,
1:37:49
Speaker 4: I haven't either. I haven't either. I'm curious to see
1:37:52
Speaker 4: what he has slipped in there, though, we'll see. I
1:37:56
Speaker 4: know Colby wants to watch it. We'll probably watch it soon.
1:37:59
Speaker 4: But I covered Beetlejuice with him, and then we did
1:38:04
Speaker 4: Dark Shadows, and then I feel like there was there
1:38:09
Speaker 4: maybe was another one, but maybe not. Maybe this is
1:38:11
Speaker 4: just the third one I've done. Tim Burton, Edward Scissorhands. Yeah,
1:38:19
Speaker 4: I think maybe that's it. I was thinking that Johnny Depp, Yeah,
1:38:23
Speaker 4: with the Ninth Gate. He's a strange character. He's perfect
1:38:29
Speaker 4: for that role. Fucking synthetic.
1:38:34
Speaker 6: Probably. I wonder if Amber Herd's just, you know, calmer
1:38:37
Speaker 6: getting him by shitting in his bed up. That was
1:38:43
Speaker 6: his soul to Hollywood and the light rail lines itself
1:38:45
Speaker 6: as he gets the most attractive woman in the planet
1:38:47
Speaker 6: who the bed.
1:38:48
Speaker 4: On him, Cynthia Elusive. Oh my god. No, Yeah, he's crazy.
1:39:03
Speaker 4: He hangs out with Damian eccles. It gets matching tattoos
1:39:06
Speaker 4: and shit. So I don't know. I mean, I've always
1:39:08
Speaker 4: loved him, like as I love Johnny depp movies. It's
1:39:11
Speaker 4: hard to not watch them obviously, and Benny and June
1:39:16
Speaker 4: and shit like that, Like even some of the first
1:39:19
Speaker 4: ones that he did are good. So I don't know.
1:39:22
Speaker 4: He's doing door commercials these days, so maybe he's given
1:39:27
Speaker 4: up on acting. I don't know. But yeah, thank you
1:39:32
Speaker 4: so much for teaming up with me on this one.
1:39:35
Speaker 4: I think it's a good, like christmasy creepy conspiracy movie
1:39:41
Speaker 4: up there with like Grimlins or something like that.
1:39:44
Speaker 6: But so for the.
1:39:45
Speaker 4: Listeners out there, Drew, what have you been up to?
1:39:48
Speaker 4: I know you've kind of taken a little bit of
1:39:49
Speaker 4: a break, but do you have are you playing it on,
1:39:52
Speaker 4: working on anything, or are you gonna take it easy
1:39:55
Speaker 4: for a while? What you got going on?
1:39:58
Speaker 6: I'll probably get a few more recordings in before the
1:40:01
Speaker 6: end of the year and then start releasing after that
1:40:04
Speaker 6: and hopefully get back into the swing of things before
1:40:07
Speaker 6: Bubb arrives and maybe get a few episodes recorded put
1:40:10
Speaker 6: in the backlog and so I can continue to release
1:40:13
Speaker 6: while you know, all the real fun happens. But yeah,
1:40:16
Speaker 6: not a what plan, just trying to collab with a
1:40:18
Speaker 6: bunch of different people. I think my best work happens
1:40:21
Speaker 6: when I work with great people, because I think that
1:40:25
Speaker 6: the best work happens when you're mirroring other people and
1:40:28
Speaker 6: their abilities. And that's what I find in the work
1:40:30
Speaker 6: that we do and a lot of the other people
1:40:33
Speaker 6: have worked with in the past. It's in isolation. The
1:40:37
Speaker 6: information that we can put out can only go so
1:40:39
Speaker 6: far and see types of back and forth conversations that
1:40:42
Speaker 6: the true gems come out.
1:40:43
Speaker 4: Yeah. No, I'm honored that you say that. Thank you
1:40:47
Speaker 4: so much. I hope that you keep going with it
1:40:52
Speaker 4: even after baby is born, because you're great and you
1:40:55
Speaker 4: have like such an interesting point of view, and I
1:40:58
Speaker 4: think a lot of people can learn from the shows
1:41:02
Speaker 4: that you put out. And if you don't mind, when
1:41:07
Speaker 4: is the do date or do month?
1:41:11
Speaker 1: June?
1:41:12
Speaker 4: June? Okay, so we get some time, we get some time.
1:41:15
Speaker 4: We could bust out a couple more shows before June.
1:41:19
Speaker 4: It'll be here before you know it, though.
1:41:22
Speaker 6: Yeah, we might have to do a string of films
1:41:25
Speaker 6: that are comedies that try to make the Father look
1:41:29
Speaker 6: like the dumb oath that we've seen throughout Holly.
1:41:32
Speaker 4: Yeah, no, gidding, that's on purpose, by the way, that's
1:41:36
Speaker 4: on purpose. But so, can you tell the listeners where
1:41:39
Speaker 4: they can find you? I'm sure they already know, but
1:41:42
Speaker 4: just in case, Drew, where.
1:41:44
Speaker 6: Can they find you that you're missing the point podcast?
1:41:47
Speaker 6: Am I Doubless and Confinement all the usual podcatchers. I'm
1:41:51
Speaker 6: also part of Conspiracy Theater three thousand, which is very
1:41:54
Speaker 6: similar to this show and platform, in which the guys
1:41:57
Speaker 6: and I break down Hollywood films for the SA Trek,
1:42:00
Speaker 6: the conspiracy, conspiratorial, all that fun stuff, and also host
1:42:05
Speaker 6: a panel show once a month called Christian Conspiracy Coalition
1:42:08
Speaker 6: in which we discuss current events, historical perspectives, putting it
1:42:11
Speaker 6: through the lens of conspiracy and biblical script shore.
1:42:16
Speaker 4: I love the Christian Coalition. By the way, if you're
1:42:20
Speaker 4: doing another one too, keep my name on the back
1:42:23
Speaker 4: burner just in case. But yeah, thank you so much,
1:42:27
Speaker 4: and thanks to all the listeners, and we will catch
1:42:30
Speaker 4: you on the next one.