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Prequel to Something Wicked This Way Comes - Uzumaki Fan Reaction · This Film is Lit

• 0:11
  Speaker A: On this week's prequel episode, we follow up on our Uzumaki listener polls and preview something Wicked this way comes. Welcome back to another prequel episode of this Film is Lit podcast where we talk about movies that are based on books. We got plenty to get to, lots to talk about. We're gonna jump right in as we always do with our patron shout outs. I put up with you because your father and mother were our finest patrons.
• 0:37
  Speaker B: That's why.
• 0:38
  Speaker A: One new patron this week. At the five dollar Hugo award winning level, we have Quinn Mason. Thank you, Quinn for signing on. Enjoying that free or not free, it's the whole point. But enjoying that bonus content. Starting at the $5 a month level, every month we put a new episode out. So look, we already have this month. We're ahead of the schedule, we're ahead of the game.
• 0:59
  Speaker C: Don't jinx us.
• 1:00
  Speaker A: Yeah, we'll fall behind it immediately, but right. We are.
• 1:04
  Speaker C: Yeah, we put September's out.
• 1:05
  Speaker A: Yeah. So we got it. We're. We're good. We're caught up. But anyways, look out for that next month we're talking about. I saw the TV glow for October. So look out for that bonus episode. But anyways, as always, we'd like to thank our Academy Award winning patrons. And they are. Amanda. Nicole Goble, Harpo Rat, Nathan Matild, Cottonwood Steve. Ben Wilcox, Teresa Schwartz, Ian from Wine Country, Kelly Napier, Gretch. Just scratch the one and only Shelby and that darn skag. Thank you all for your continued support. We appreciate you so much. Katie, let's see what people had to say about Uzumaki.
• 1:40
  Speaker C: Yeah, well, you know, that's just like your opinion, man. Katniss, don't do that. All right. On Patreon, we had four votes for the book and one for the movie. Did not get a comment from our movie voter, which is disappointing. We did have a comment from Eric who said the book for me all the way. It seemed like the movie was really trying to nail some of the visuals and adapt things in a quite cartoony way, but it just didn't translate to the same tone. The book had the over the top bully girl, the weird teacher, the stalker kid clawing up the tree with his fingernails. It was also goofy and over the top where the manga was horrifying saying.
• 2:26
  Speaker A: Yeah, I would agree with a lot of that. All of that, basically.
• 2:31
  Speaker C: And our other comment on Patreon is from the one and only Shelby, the patron who recommended that we cover Uzumaki. And Shelby said, thanks for covering this one. Brian had a lot of the same thoughts I did. Personally, I preferred the first half of the book. The earlier elements do blend surprisingly well in the apocalyptic story though. I love the guy becoming a real Jack in the Box. It feels like an origin story for a Batman villain. It does feel like a. Yeah, that is. That is very Batman villain. I think that and the two parter with the vampire ladies and their newborns are my favorites. Along with the snails. I'd forgotten until I reread the manga that they get eaten.
• 3:15
  Speaker A: Those were. Yeah, I do like all those chapters. And I. I think it is. It is all kind of a tale of two books. As I talked about in the episode, about how the first half is like these standalone little horror vignettes and the of like an actual narrative so I could see. I think Shelby likes horror fiction more than I do. So I think that first half appealing to her more makes sense.
• 3:36
  Speaker C: Yeah. And it makes sense too. I think that it would be. It would kind of end up structured like that because this was published and I assume written serially. So it kind of makes sense that maybe he was finding the story.
• 3:49
  Speaker A: Yeah, I think that's what it was. It was like starting out with these fun little things, these, like, ideas, and then eventually being like, well, I gotta turn. This has got to go somewhere eventually. And then it kind of turning into an actual story. Yeah.
• 4:00
  Speaker C: I love Suichi as the story's poor put upon Van Helsing. He's the best character and I don't think he's as fun in the movie.
• 4:07
  Speaker A: I agree.
• 4:08
  Speaker C: Kiri is easier to translate because she's kind of a blank slate. On reread. It really stuck out. How many stories. Were someone or something obsessed with her? It's giving Lana from Smallville.
• 4:20
  Speaker A: Lana.
• 4:21
  Speaker C: Lana. I never watched. I never watched Smallville.
• 4:23
  Speaker A: We're gonna watch Smallville.
• 4:24
  Speaker C: It sounds like she's also kind of giving Bella SW Swan, honestly, like a blank slate that people keep getting obsessed with for some reason.
• 4:32
  Speaker A: Yeah.
• 4:33
  Speaker C: I struggled with the cheesiness of the movie's first half, but I did laugh during the flashback where Kiri's crying about her dead mom and Suichi says, I'll be your mom now. And Kiri cries that she doesn't want a boy for a mom. I wouldn't want a boy for a mom either. It's fair enough. The movie turned it around for me during the scene where Kiri finds Suichi's dad. I love the camera resting on the house as we hear her searching.
• 4:59
  Speaker A: That was maybe the. I didn't mention in the episode. That was maybe my favorite creative choice
• 5:03
  Speaker C: in the film was to like, not
• 5:05
  Speaker A: just to linger outside and let her look and then hear her scream and then cut to the. I liked that a lot. I thought that was kind of fun. But at the same time it does like the stuff in the book that is the most effective is seeing the creepy, horrifying stuff and so like lingering on a wide shot. It's. It's a great choice for a horror movie in a certain way, but I don't know if it's necessarily the best choice for what this is because again, what makes the. We do see it eventually so it kind of works out. But anyways, point being, I did like that. That idea, but I think it kind of conflicts a little bit with some of the stuff that works best about the manga.
• 5:43
  Speaker C: For the version of the story the movie is telling, I don't mind them adding the detective to help tie the threads together. I knew this was also adapted into a show, but I thought it was a much longer series. In this case, I'm voting for the book.
• 5:58
  Speaker A: Yeah, it's only four episodes, the Netflix series, and I've heard the first. I was talking to my co worker about it who's a big Junji Ito fan, and he's. He had watched the Netflix series and he said the first episode's good and then after that it's pretty bad.
• 6:12
  Speaker C: That does seem like. Like just based on what you told me about the manga, it doesn't seem like four episodes would be enough.
• 6:19
  Speaker A: I don't know how long they are, so I, I could imagine four episodes working if they were, you know, hour long episodes. But I have no idea. I have, I haven't watched any of it, so couldn't tell you.
• 6:28
  Speaker C: But yep, all right. We didn't get any comments on Facebook this time. A couple people liked the post, but it doesn't really tell me if they're voting for the movie or the book, so. So over on Instagram we had three votes for the book and two for the movie. We only had one comment and it was from Tim Wahoo, who guessed it would be book.
• 6:52
  Speaker A: Sure.
• 6:52
  Speaker C: Yeah.
• 6:53
  Speaker A: Okay.
• 6:53
  Speaker C: Maybe Tim read it and knew that the. The Bongo was better.
• 6:56
  Speaker A: Yeah, maybe.
• 6:57
  Speaker C: Perhaps. And finally over on Goodreads, we had one vote for the book, zero for the movie, and Mo said I had read Uzumaki before and I knew going into the film that it would lose not because the manga is some storytelling masterpiece, but because of Junji Ito's style. Every single panel Just oozes discomfort in a way that's hard to describe. The movie doesn't capture that even less with the weird editing choices. I get that with J Horror we're dealing with different traditions, but the style just didn't work for me. Yeah, had I been making the movie, I would have replaced the snail storyline with Azami's scar. The snails just feel too weird and disconnected in this version. They are weird in the manga too, but. But that goes so much further with its incidents. And the snails keep reappearing, making the Azami storyline the finale. They could have adapted the most famous image from the manga, the spiral boring into Azami's head and used that for the ending instead of the twisting suichi that comes from nowhere. The book is better.
• 8:06
  Speaker A: Yeah. I think what they should have done if you're not. Especially because it wasn't over and you didn't have like an ending and it wasn't really feasible to do anything with the second half even. I don't know where they were in the publication when this movie came out and what they did know. Like maybe it was only the final chapter that wasn't out yet. But regardless, they knew they weren't gonna be able to do like any of the second half stuff with like the tornado riders and the town being flattened and the turning into a. They couldn't do what they should have done. And it's kind of what they did. But they should have honed it even more. Was just told the story in the high school and focused on all of the plots that are specifically about high school drama and that sort of stuff. So they should. I think they should have kept the snails, but they also should have done a zombie scar storyline and they should have fleshed out the hair storyline. And it should have been all of those that are about like. Because all of those have a common thread of like learning to fit in in high school, being, being, becoming popular, jealousy, relationships. Make that kind of the central thematic element and. And weave those three storylines together. The. The snails turn the kid turning into the snail and then follow that through with him and his bully becoming a snail and then like becoming lovers. And then have the. The girl with the scar storyline be in there and then expand the hair storyline and just make that. Make it a high school drama like a high school based storyline. And not worry as much about which they still. Again, they don't go too much, but don't worry as much about the stuff with her dad and Shuichi's dad. You could have the stuff with his Dad a little bit as kind of a background element. But I think the main focus should have been all the stuff in the high school because that gives it a central focus and a central thematic kind
• 9:59
  Speaker C: of point to the story. Yeah, I feel like that would be a good way to kind of rein it in.
• 10:04
  Speaker A: Yeah. And so that way, and then you can kind of work the plot into something. Something that does focus around an actual central idea, again, about, like, fitting in in high school or that sort of thing or. Or being jealousy in high school and jealousy in relationships and. And young love and that sort of stuff. Because you also have that plot line about the two kids from different families that the. The Romeo and Jill you could maybe wear. I don't know. There's, like, a lot of those. You could figure out how to weave all of those elements into something that actually has a full narrative as opposed to just kind of like random elements and then ending really abruptly with Shuichi turning into a spy.
• 10:42
  Speaker C: Yeah. So our winner this week was the book, with eight votes to the movies. Three.
• 10:50
  Speaker A: All right, we are now gonna preview our next episode, which is about Something Wicked this Way Comes by Ray Bradbury.
• 11:00
  Speaker B: Smells to me like we're gonna have. But never whisper your dreams for someone might be listening. And for every wish there will be a price.
• 11:26
  Speaker C: Something Wicked this Way comes is a 1962 dark fantasy novel by American author and screenwriter Ray Bradbury. If you went to school in America, you probably read Fahrenheit 451 in high school. I think his other maybe best known thing might be the Martian Chronicles.
• 11:50
  Speaker A: Yeah, I think so. But, yeah, Fahrenheit 451 is like the book.
• 11:54
  Speaker C: Yeah, yeah. Ray Bradbury, pretty famous American authority. The title of this novel is taken from Shakespeare by the pricking of my thumbs. Something Wicked this Way Comes as a line said by the three witches in Macbeth. So one of the events in Ray Bradbury's childhood that inspired him to become a writer is actually related to this novel, which I thought this was really interesting. So when he was, like, 12 years old, he had an encounter with a carnival leader named Mr. Electrico, who apparently told him to live forever, which he, at 12 years old, was very intrigued then by the concept of eternal life, and, like, went back to see Mr. Electro, who then, according to Wikipedia, spurred his passion for life by heralding him as the reincarnation of a friend lost during World War I.
• 12:59
  Speaker A: Okay.
• 13:01
  Speaker C: And then after that, he started writing. Now, the thing that I think is interesting about this is that this story is per Ray Bradbury. Himself. He wrote about this in a 2002 blog post that you can still read on like the Wayback Machine.
• 13:19
  Speaker A: Interesting.
• 13:19
  Speaker C: Yeah, I like. That's such a fascinating story. I'd never heard that before.
• 13:23
  Speaker A: That's crazy.
• 13:24
  Speaker C: But this novel originated in 1955 when Bradbury suggested to his good friend Gene Kelly that they should collaborate on a movie because Bradbury was also a screenwriter, that they should collaborate on a movie for Kelly to direct. Gene Kelly liked that idea. So Bradbury spent the next five weeks adapting his 1948 short story, the Black Ferris into a film treatment. Kelly then shopped that project around to various studios, but they were not able to obtain financial backing for it, so that idea kind of died out. And then Bradbury gradually expanded that film treatment into what would become this novel. The book has an autumnal setting, which is part of the reason why we're covering it right now. It's a spooky season book. And that setting was intended as a thematic sequel to. To Bradbury's novel Dandelion Wine, which has a lot of, like, summer themes in it.
• 14:27
  Speaker A: Yeah. Makes sense from the title.
• 14:28
  Speaker C: Yeah. And both of those works are set in the fictitious Green Town, which is based on Ray Bradbury's hometown, which I don't know how to pronounce, so I'm a Waukegan.
• 14:41
  Speaker A: Waukegan.
• 14:42
  Speaker C: Waukegan, Illinois.
• 14:43
  Speaker A: Yeah.
• 14:44
  Speaker C: But the two novels have different tones because the seasons that they're set in reflect different aspects of the transition from childhood to adulthood. And those two novels then, coupled with Bradbury's official 2006 sequel to Dandelion Wine, which is called Farewell Summer, make up what Bradbury calls his Greentown Trilogy. So it kind of a loose trilogy. I don't think that Something Wicked this Way Comes actually shares like any characters in common with Dandelion Wine, but it
• 15:21
  Speaker A: sounds more like whatever that term is. I can't. There's a term for a trilogy that's not like, I can't remember what it's called, but.
• 15:30
  Speaker C: Yeah, yeah. More like a spiritual sequel, I guess.
• 15:33
  Speaker A: Yeah.
• 15:34
  Speaker C: I did mention that in both of those novels, Something Wicked this Way Comes. And in Dandelion Wine, we're working off a lot of, like, nostalgia for childhood. However, where Dandelion Wine is kind of focused on the more positive aspects of that, like, idyllic memories of youth. Youth. Something Wicked this Way Comes uses folktale and supernatural elements set over a small town Americana to explore the dark undercurrents of the transition to adulthood. Critics have praised Something Wicked this Way Comes as a Classic of fantasy and horror, often noting its masterful blending of both genres, as well as Bradbury's unusual and mesmerizing part prose. The most referenced characteristic of the novel's plot is its unusual subtlety and realism for its genres. So it's fantasy, but in a subtle and realistic way. Okay, sounds interesting. The magazine Science Fiction Weekly published a review of the novel in 2002, saying in part, quote, a dark fantasy set in a small town, Its people are brought to life so expertly, readers feel very much like citizens, even when their adopted hometown is menaced by outside forces against which it is helpless. Bradbury's prose is musical and hypnotic, fully engaging the senses and emotions. This is a book, once opened, that truly makes the real world disappear. Something Wicked this Way Comes has also been a direct influence on several fantasy and horror authors, including Stephen King, Clive Barker, two TFIL alums, and also R.L. stein, whose website states, quote, ray Bradbury is one of my favorite authors. I always tell people that the scariest book I ever read was one of his books. Something Wicked this Way Comes.
• 17:30
  Speaker A: That does make sense for all three of those. For the little bit I can tell from this movie story.
• 17:36
  Speaker C: You know, what if R.L. saenz says something is scary? I believe him. I believe that man. And finally, aside from the 1983 film that we will be watching, the novel has also been adapted as, according to Wikipedia, a low budget British film in 1972. It's also been adapted as a radio play twice in 2007 and again in 2011. And it has been adapted for the stage three different times. Twice as a straight play in 2003 and again in 2008, and then as a musical in 2017.
• 18:13
  Speaker A: All right, well, now it's time to preview Something Wicked this Way Comes, the film.
• 18:21
  Speaker B: My name is Mr. Doc. I advise you to respect it.
• 18:26
  Speaker A: Dad, please be careful.
• 18:28
  Speaker B: Will. Will. These boys I'm looking for, perhaps you know them. Fine point. Fine. Both of them. Quite a credit to this little town, if you want to know the truth. I do want to know the truth, sir, and the truth is that you are lying. I am pricking up my thumbs. Something Wicked this Way Comes.
• 18:58
  Speaker A: Something Wicked this Way comes is a 1983 film directed by Jack Clayton, known for Room at the Top, the Innocence, the Pumpkin Eater, and the Great Gatsby. The 70s version with Robert Redford and Mia Farrow. And it was written by Ray Bradbury.
• 19:12
  Speaker C: Makes sense.
• 19:13
  Speaker A: The film stars Jason Robards, Jonathan Pryce, Diane Ladd, Pam Grier and others. It has a 63% on Rotten Tomatoes, a 68% on Metacritic, and a 6.7 out of 10 on IMDb. And it made 8.4 million against a budget of 20 million. So as you mentioned, Bradbury first wrote the original screenplay from his 1940, adapted from his 1948 short story, which was intended for Gene Kelly. All of this you, you kind of covered already that financing never went through. Then in 1971, he agreed to write a new screenplay based on his novel that he had adapted as you outlined or from the screenplay for a new screenplay for director Jack Clayton. And then in 1973, Sam Peckinpah was announced as director before in June 1976, Clayton returned to the project as director when Kirk Douglas Production Company started developing the film. Kirk Douglas had actually intended to star in the film as well as produce it. After he met Bradbury at a bookstore and was really enjoyed this book and was talking to him about it and decided he wanted to develop it and wanted to star in it. Production eventually stalled and then in 1981, Walt Disney Pictures acquired the rights as they were trying to expand their footprint beyond animation and family films. And Disney apparently asked Bradbury for input on who they should get to direct it. And he suggested Clayton, who they had originally back in the day 10 years ago, was gonna make it with Bradbury's top choices because they also asked for his input on actors. Bradbury's top choices for Mr. Dark, who is the main antagonist of the story, were Peter o' Toole and Christopher Lee. But both of them were too expensive for this. So they went with the relatively unknown at the time, Jonathan Pryce in the role. So as the film progressed, this is. Sounds like this had a very tumultuous production process. But as the film progressed, two visions emerged for the film. Bradbury and Clayton wanted to stay as faithful to the novel as possible, while Disney wanted a more accessible, family friendly film. Bradbury and Clayton actually fell out with each other at some point when Bradbury learned that Clayton had, at the studio's insistence, hired John Mortimer to do an uncredited revision of Bradbury's screenplay. So the screenplay isn't even Bradbury's te. Technically he's the only credited writer. But another guy came on at the studio's behest. Another fun little weird thing like that. The film was originally scored by George, probably Georges Delarue, but that that score was removed and replaced on short notice with the score from James Horner, who's a very well known composer. After Delarue's score raised Concerns for being, quote, aggressively sinister. End quote. I will say that soundtrack was released by entrada records in 2015. You can go listen to it on YouTube. If you would like to hear the original score that was supposed to be in the film, you can just search like something wicked. This way comes original score. You'll find it pretty easily. Then after Clayton delivered his cut of the film to Disney, they had concerns with the length, the pacing and its commercial appeal. So they basically took him off the project and said, we're taking this over. They conducted six months of reshoots with the new director who was like, I think originally one of the animation people or something. Or something. Or art director, something like that, and did a complete re edit of the film. And this apparently resulted in the two child leads being noticeably older in some of the shots in the film because the timing of when they filmed everything. One of the things that they removed from the original cut of the film was apparently a groundbreaking breaking animation scene that would have been one of the first major uses of CGI in a Hollywood film that combined CGI with traditional animation. And it depicted the dark circus. Sorry, it depicted dark Circus train rolling into town and the carnival like magically materializing. The smoke from the locomotive becoming the rope's intense tree limbs forming the Ferris wheel, a spiderweb morphing into a wheel of fortune, all that sort of stuff. Ultimately they removed it because they thought it looked too cheesy or something. This is what the studio and so I believe it's Lost Media. I don't know if you can see it anywhere. I tried to do some Googling to see if I could find it and I could not find any clips of it anywhere. So it may just be lost media.
• 23:18
  Speaker C: That's too bad.
• 23:20
  Speaker A: And then I thought this was funny. Bradbury referred to the film's final cut as, quote, not a great film. No, but a decently nice one. Quote another fun this is the single IMDb trivia fun fact. Stephen King supposedly wrote a rejected adaptation of the script at one point. So getting to some reviews, Janet Maslin for the New York Times wrote, the film, quote, begins on such an overworked Norman Rockwell quote that there seems little chance that anything exciting or unexpected will happen. So it's a happy surprise when the film turns into a lively, entertaining tale combining boyishness and grown up horror in equal measure. She also said, quote, the G whiz quality to this adventure is far more excessive in Mr. Bradbury's novel than it is here. As directed By Jack Clayton, Mr. Clayton, who directed a widely admired version of the Turn of the Screw some years ago, gives the film attention that transcends even its purplest prosecution. Writing for the LA Times, Kevin Thomas praised the film as, quote, one of Walt Disney's best efforts in recent years, a film that actually has something to offer adults and adolescents alike. Variety wrote about the film, saying, quote, it must be chalked up as something of a disappointment. Possibilities for a dark child's view fantasy set in rural America of yore are visible throughout, but various elements have not entirely congealed into a unified achievement. Clayton has done a fine job visualizing the screenplay by Bradbury himself, but has missed really connecting with the heart of the material and bringing it satisfyingly alive, end quote. Gene Siskel for the Chicago Tribune gave it two out of four stars and wrote, quote, that it opens promisingly but has a script that, quote, tries to cram too much material into one story and a climax that, quote, couldn't be more disappointing, with neon special effects that overwhelm the last half hour of the movie. The result is an oddball combination of a Twilight Zone episode with the cinematic zapping the Nazi scene from Raiders of the Lost Ark. Quote, Richard Harrington of the Washington Post criticized the lethargic pace and the stolid acting. Stolid acting and the special effects, saying, quote, they are shockingly poor for 1983. A time machine carousel is the only effective sequence on that front, end quote. Tom Milne of the Monthly Film Bulletin lamented, quote, the novel's texture has been thinned out so ruthlessly that little is left but the bare bones and all they add up to. Shorn of the slightly self conscious Faulknerian poetics of Bradbury style is a dismayingly schoolmarish moral tale about fathers and sons, the vanity of illusions and homespun recipes for dealing with demons. Happiness makes them run, end quote.
• 25:53
  Speaker C: I love critics. I love critics so much.
• 25:56
  Speaker A: Christopher John reviewed the film for Aries magazine, saying, quote, if the chance ever comes your way to take this one in, grab it. Rarely does such a quiet yet strong picture get made in this this country, end quote. Writing for Imagine magazine, Colin Greenland called it, quote, one of the special effects connoisseur, one for the special effects connoisseurs. A visual feast. So disagreeing with the previous comment there, end quote. And then finally, Roger Ebert gave it three and a half out of four stars, saying, quote, it's one of the few literary adaptations I've seen in which the film not only captures the mood and tone of the novel, but also the novel's style.
• 26:32
  Speaker C: Well, I'll be the judge of that.
• 26:33
  Speaker A: Radberry's prose is a strange hybrid of craftsmanship and lyricism. He builds his stories and novels in a straightforward way with strong plotting, but his sentences owe more to Thomas Wolfe than to the pulp tradition. And the lyricism isn't missed in this movie, in its description of descriptions of autumn days, in its heartfelt conversations between a father and a son, and in the unabashed romanticism of its evil carnival. And even in the perfect rhythm of its title. This is a horror movie with elegance and quote. So Ebert was a big fan and contradicted again some other people saying that it, it paled, it failed to capture the novel. Ebert said no, it does better than maybe most adaptations. So kind of conflicting reviews.
• 27:15
  Speaker C: All over the map.
• 27:16
  Speaker A: Kind of all over the map. So yeah, very interested to see what we think when we get to that. As always, you can do us a favor by heading over to Facebook, Blue Sky, Instagram, Goodreads threads. I think that's all the places interact with us. We'd love to hear what you have to say about the stuff we talk about. You can also head over to Apple, podcast, Spotify, write us a five star review. That would be really helpful and you could Support us@patreon.com ThisFilmIsLit if you support us at the $15 a month level, you get access to priority recommendations, which this in fact is.
• 27:44
  Speaker C: Yes, this is a recommendation from Cottonwood Steve. And Steve has actually had this one on the docket just sitting for a really long time, but it was never streaming anywhere. So when I saw it pop up on Disney plus, I had to like, I rushed to shuffle some things around so that we could do it before it vanished again.
• 28:09
  Speaker A: Yeah. Cool. All right, well, where can people watch it?
• 28:12
  Speaker C: So you can check your local library or a local video rental store if you still have one, support them. Otherwise. I did mention this is streaming on Disney plus. It's supposedly also on the History Channel vault.
• 28:27
  Speaker A: Okay.
• 28:28
  Speaker C: And there is a version on YouTube, but it appears to be an Italian dub. So if you speak Italian and you'd rather watch it in Italian, that option exists.
• 28:40
  Speaker A: You could watch it in Italian and then turn on maybe you can turn on English captions get a whole different experience. No, I'm interested to see what this is because yeah, I know nothing about the story at all, but it looks like a fun and especially I'm very intrigued now having read the very mixed reviews to see what we think because Jonathan Pryce is always fun. He's a great actor or was a great Everett passed away I think this year recently in the last couple years fantastic actor so I'm excited to see him in the role and yeah just to see what the what the whole deal is and I don't I've I didn't read Fahrenheit 451 so I know nothing oh you didn't read I think I read an excerpts from it but I not read the whole thing I
• 29:20
  Speaker C: don't know if I've read any Bradbury I surely I read some in college I have a literature degree for goodness sake I surely did but the la like I don't remember anything by him other than Fahrenheit 451 yeah interesting all
• 29:35
  Speaker A: right well that's going to be in one week's time we're talking about something wicked this way comes until that time guys gals not B P and everybody else keep reading books keep watching movies
• 29:45
  Speaker C: and keep being awesome
• 29:48
  Speaker B: Sam.