Latest / Cigars and Cinema Podcast / "The Quintessential 2000's Movie: Garden State" Ep. 122 10/1/26

Transcript

"The Quintessential 2000's Movie: Garden State" Ep. 122 10/1/26 · Cigars and Cinema Podcast

• 0:01
  SPEAKER_02: Welcome back to another episode of Cigars and Cinema.
• 0:04
  SPEAKER_02: Grab a cigar, something to pair it with, and let's journey into another episode of Smoke and Screen.
• 0:31
  SPEAKER_02: Today's episode of Cigars and Cinema is coming to you from the OGT Cigars side to join a five pack premium custom cigars each month at an undeniable price.
• 0:42
  SPEAKER_02: Join the community and smoke with us on the Oakland Tobacchist YouTube channel as we delve into the rich experience of OT and Craft Cigars and many cigars and bipolas custom made just for our membership.
• 0:56
  SPEAKER_02: If you're interested and if you want to find out more about the subscription and the whole host of these cigars, visit us at www.com or find us on social media platforms like Instagram and TikTok at OGT Cigars.
• 1:12
  SPEAKER_02: Hello everybody.
• 1:13
  SPEAKER_02: Welcome back.
• 1:14
  SPEAKER_02: After a week's absence, welcome back to the Cigars and Cinema podcast.
• 1:18
  SPEAKER_02: If you're joining us for the first time, or whether you're a regular here on the show, we thank you for jumping on tonight.
• 1:23
  SPEAKER_02: My name is Eric Drazen from OGT Cigars.
• 1:26
  SPEAKER_02: Coming to you from North Carolina on the East Coast and on the West Coast, opposite side of the country, we have Curtis Bailey.
• 1:32
  SPEAKER_02: Curtis, it's good to be back.
• 1:34
  SPEAKER_02: Sorry we were gone last week.
• 1:36
  SPEAKER_00: It's all right.
• 1:36
  SPEAKER_00: This is going to be special tonight because uh we've never reviewed this movie before.
• 1:42
  SPEAKER_00: We've never smoked this cigar before.
• 1:44
  SPEAKER_00: So this will be that one thing.
• 1:48
  SPEAKER_02: Yes, exactly.
• 1:49
  SPEAKER_02: Nobody else has ever done it.
• 1:51
  SPEAKER_02: Right.
• 1:51
  SPEAKER_02: We can't be replicated.
• 1:52
  SPEAKER_02: So uh super excited for this.
• 1:54
  SPEAKER_02: We got a great cigar to smoke tonight, guys.
• 1:56
  SPEAKER_02: We uh have a great movie to talk about because tonight we are journeying back to the early the first decade of the 2000s.
• 2:03
  SPEAKER_02: I don't know if you call it like just the 2000s, early 2000s, I don't know.
• 2:08
  SPEAKER_00: Or the 2000s or the I like using aughts.
• 2:11
  SPEAKER_02: Okay, yeah, there you go.
• 2:12
  SPEAKER_02: Yeah, there you go.
• 2:13
  SPEAKER_00: It just comes rolls off nicer than 2000s.
• 2:17
  SPEAKER_02: Yeah.
• 2:18
  SPEAKER_02: So uh this is the quintessential film that was picked out, and we will be getting to that.
• 2:22
  SPEAKER_02: Um, but let us know what are you smoking tonight?
• 2:24
  SPEAKER_02: What are you enjoying?
• 2:26
  SPEAKER_02: Also, if you have any questions about the movie, or if you have questions about the cigar that we're smoking, please drop those down in the comments and engage in the conversation tonight because it's going to be a great show, and we're super happy to be back.
• 2:38
  SPEAKER_02: Last week uh we had a bit of a deal going on, so uh we were not able to do the podcast, but we are back, and I'm super excited for it.
• 2:45
  SPEAKER_02: Uh, Curtis says, I see that you already have a drink tonight.
• 2:47
  SPEAKER_02: Are you pairing anything in particular?
• 2:49
  SPEAKER_02: What are you having?
• 2:50
  SPEAKER_00: Yeah, we love this.
• 2:52
  SPEAKER_00: One of my favorites.
• 2:53
  SPEAKER_00: Ooh.
• 2:55
  SPEAKER_02: Yes.
• 2:57
  SPEAKER_02: Yes.
• 2:57
  SPEAKER_02: I remember the first time you brought that up to the shop.
• 3:00
  SPEAKER_02: That that is a that is a good whiskey.
• 3:02
  SPEAKER_00: Yeah.
• 3:03
  SPEAKER_02: I believe, if I'm not mistaken, that's the one that you remember uh paired really well with Cedrus from Southern.
• 3:09
  SPEAKER_02: That's the one.
• 3:10
  SPEAKER_02: Yeah.
• 3:10
  SPEAKER_02: Yeah.
• 3:10
  SPEAKER_02: Okay.
• 3:11
  SPEAKER_00: Yeah.
• 3:11
  SPEAKER_00: I mean, honestly, I think it goes great with a lot of cigars, but I remember that particular pair.
• 3:15
  SPEAKER_00: I was like, whoa.
• 3:16
  SPEAKER_02: Nice.
• 3:16
  SPEAKER_02: It's really good.
• 3:17
  SPEAKER_02: Yeah.
• 3:17
  SPEAKER_02: Nice.
• 3:18
  SPEAKER_02: Okay, so we are uh continuing in last month's variety pack.
• 3:22
  SPEAKER_02: If you're a variety member, you can smoke along with us.
• 3:26
  SPEAKER_02: We have a killer lineup.
• 3:27
  SPEAKER_02: The one we're trying tonight is more towards Halloween because it is our early Halloween release.
• 3:33
  SPEAKER_02: That's the unbanded Maduro you see there in the middle.
• 3:36
  SPEAKER_02: That is known as our exclusive called the Horde.
• 3:39
  SPEAKER_02: Now, there's a lot of cigars, as you guys can imagine, out there that have the name Zombie.
• 3:43
  SPEAKER_02: In fact, Viahe just released their zombie.
• 3:45
  SPEAKER_02: Um, so we couldn't really go with that name, but because this is more of a bundle stick format, we decided, hey, the horde, because it kind of implies more than one, is kind of a great name and there's no copyright problems.
• 3:58
  SPEAKER_02: There you go.
• 3:58
  SPEAKER_02: So it works out.
• 4:00
  SPEAKER_02: Uh, Curtis, have you have you smoked this cigar yet?
• 4:02
  SPEAKER_02: No.
• 4:03
  SPEAKER_02: Okay, I'm excited to see what you think.
• 4:05
  SPEAKER_02: Um, to kind of give the uh specifics about it.
• 4:09
  SPEAKER_02: It was released in two sizes: a torpedo and a Robusto, both box press, both the same size.
• 4:16
  SPEAKER_02: So this is a five and a half by 55 box press, and uh both exclusives and short runs here at the shop.
• 4:24
  SPEAKER_02: And the art was done by my brother, so I'm excited to get into it.
• 4:28
  SPEAKER_02: It's a Nicaraguan Maduro wrapper, Nicaraguan binder and filler throughout.
• 4:32
  SPEAKER_02: So super exciting.
• 4:34
  SPEAKER_00: Yeah.
• 4:34
  SPEAKER_02: Let's say you we do a uh cold draw on this.
• 4:38
  SPEAKER_02: Yeah.
• 4:43
  SPEAKER_02: Good open draw, which tends to be how this cigar performs.
• 4:47
  SPEAKER_02: So I really like the draw on this.
• 4:53
  SPEAKER_02: Not a ton off the cold draw, I would say.
• 4:55
  SPEAKER_02: It's a bit more.
• 4:55
  SPEAKER_00: We're getting like a hint of like berries and cream.
• 4:58
  SPEAKER_02: Okay.
• 4:59
  SPEAKER_02: The berries, I was leaning towards that kind of like smarty aspect, but little berry in this, and I was like, I don't know if that's what I'm really, but you say it, okay.
• 5:07
  SPEAKER_02: It's it's there.
• 5:10
  SPEAKER_02: Really interesting.
• 5:11
  SPEAKER_02: Yeah, almost like a medicinal berry.
• 5:13
  SPEAKER_02: All right, well, let's get this uh lit up and see how it starts.
• 5:20
  SPEAKER_02: Every cigar leaves an impression.
• 5:23
  SPEAKER_00: However, it's not until you take a moment and analyze the full experience from construction to flavor to profile that you can truly appreciate it.
• 5:30
  SPEAKER_02: So enjoy your cigar as you light it up.
• 5:32
  SPEAKER_02: Take the time to toast it, smell the room notes, and experience the first notes as they come alive.
• 5:39
  SPEAKER_00: In the same way, movies can tell deeper stories or show us things we haven't noticed on the surface.
• 5:44
  SPEAKER_00: So journey with us as we take a more detailed appreciation for the craft of cigar and movie making.
• 5:55
  SPEAKER_02: All right, right out the gate, this cigar lets you know it is smoking.
• 6:00
  SPEAKER_02: It is it is not a subtle cigar in any way, especially in this uh Robusto size.
• 6:06
  SPEAKER_02: I find this one's a bit more aggressive than the torpedo for me personally.
• 6:10
  SPEAKER_02: Good hefty amount of smoke, good hefty amount of like spiciness on the retro hale.
• 6:15
  SPEAKER_02: Um, but what what are you getting so far?
• 6:20
  SPEAKER_00: Uh right now I feel like I'm in the um the sort of like you know, mid-tone to high-range kind of uh uh earthy flavors, so stuff like leather and herbs and that kind of thing is mostly what I feel like I'm getting.
• 6:35
  SPEAKER_02: Okay.
• 6:35
  SPEAKER_02: I definitely get the leather aspect, like a sound ridiculous, but a distressed leather briefcase.
• 6:43
  SPEAKER_02: Okay.
• 6:45
  SPEAKER_02: Very nice.
• 6:46
  SPEAKER_02: A little bit uh dusty to it as well, earthy as well for sure.
• 6:50
  SPEAKER_02: Hint of savoriness too, I feel like that's in there.
• 6:54
  SPEAKER_02: Um so I don't know if you know.
• 6:57
  SPEAKER_02: Do you happen to know like where this cigar plays in certain in terms of the the price point?
• 7:02
  SPEAKER_02: I don't, actually.
• 7:05
  SPEAKER_02: This is what's so bizarre.
• 7:06
  SPEAKER_02: So if you pick up the horde by the bundle, it's I believe just under$5 a stick.
• 7:13
  SPEAKER_02: Okay.
• 7:14
  SPEAKER_02: It's that's pretty crazy.
• 7:15
  SPEAKER_02: So I'm excited to see where this is gonna land, how this how this smokes.
• 7:19
  SPEAKER_02: Um, but yeah, this this cigar thoroughly impressed me.
• 7:23
  SPEAKER_02: And it's definitely one of those like blends we came across that was like, oh, this certain amount was made, so it's not like it was made to order, but if you want, if you want this amount, it's available to you.
• 7:33
  SPEAKER_02: And I was like, heck yeah, this is a very special cigar.
• 7:35
  SPEAKER_02: So exciting.
• 7:39
  SPEAKER_02: But as we had mentioned, so we're gonna continue to smoke this again.
• 7:42
  SPEAKER_02: Drop down in the comments what you guys are enjoying.
• 7:45
  SPEAKER_02: Tonight we are finishing off the quintessential decade movies.
• 7:49
  SPEAKER_02: Uh, if you guys have been watching this at all, we did Top Gun for the 1980s, and we did uh Empire Records for the 90s, which I believe I'm trying to remember which got a better rating.
• 8:02
  SPEAKER_02: I want to say Top Gun rated a little higher than Empire Records, but yeah, I'd I'd have to go back and look, but you're probably right.
• 8:07
  SPEAKER_02: Yeah.
• 8:08
  SPEAKER_02: Okay, so now we came to quintessential 2000s or the Ot.
• 8:12
  SPEAKER_02: And um there was a few ideas.
• 8:14
  SPEAKER_02: I usually was actually polling from Curtis on this because I don't consider myself uh an authority for a lot of these decades since I was like in my teens when this was going on.
• 8:24
  SPEAKER_02: So uh this kind of came back to you, Curtis.
• 8:27
  SPEAKER_02: What are we watching and why was this movie chosen?
• 8:29
  SPEAKER_00: Yeah, well, and there's a lot of ones that we could have gone with, right, that would suit like super bad or mean girls and and what have you.
• 8:36
  SPEAKER_00: But um uh for one, I know that this is a movie that you like, um, but I hadn't seen it in a while.
• 8:42
  SPEAKER_00: So I kind of wanted to check in and like, you know, how will I feel about this?
• 8:46
  SPEAKER_00: You know, now especially that I'm many years removed from having watched it, but many years removed from the decade in which it takes place.
• 8:52
  SPEAKER_00: So we watched Garden State.
• 8:55
  SPEAKER_02: Boom.
• 8:55
  SPEAKER_02: There you go.
• 8:56
  SPEAKER_02: This 2004, I think.
• 8:59
  SPEAKER_02: 2004, yes.
• 9:00
  SPEAKER_02: Um, and I think first time I saw it was like 2006, 2007, so not too far off, but I didn't see it in theory.
• 9:08
  SPEAKER_02: I mean in the uh movie theater.
• 9:10
  SPEAKER_02: Uh what about you?
• 9:11
  SPEAKER_02: Did you see it in theater at all?
• 9:13
  SPEAKER_00: I did I did see this in theaters, yes.
• 9:14
  SPEAKER_00: Okay, okay.
• 9:16
  SPEAKER_02: So I I am curious because when I watched it, um I didn't really know too much about it.
• 9:21
  SPEAKER_02: I was just like, this looks interesting.
• 9:23
  SPEAKER_02: I'll give it a try.
• 9:24
  SPEAKER_02: When it was marketed and you went to the theater, like what did you is there any expectations you had on this movie?
• 9:30
  SPEAKER_00: Well, yeah, because I the reason I went to see it in the theater is because I'd saw I'd seen the trailer.
• 9:35
  SPEAKER_00: And uh the trailer um uses uh a lot of the same music that's in the movie itself.
• 9:43
  SPEAKER_00: So and it uses some of those funny visuals like him in the shirt that's made out of the wallpaper where he's standing in front of it, you know.
• 9:52
  SPEAKER_00: So I was like, this is gonna have an identity and a tone to it, and that looks cool.
• 9:58
  SPEAKER_00: So that's that's why I went to see it.
• 10:00
  SPEAKER_02: Okay, okay, cool.
• 10:02
  SPEAKER_02: So uh before we continue on, I want to pull up this comment because it's a really cool one from The Seeker.
• 10:06
  SPEAKER_02: He says, the whole platform, your analysis, your videos are so dope.
• 10:10
  SPEAKER_02: Thanks, brothers.
• 10:11
  SPEAKER_02: Well, thank you for dropping that down.
• 10:12
  SPEAKER_02: Appreciate it, appreciate it.
• 10:13
  SPEAKER_02: Yeah, thank you so much.
• 10:15
  SPEAKER_02: Yeah, so uh I'm gonna just be full disclosure here.
• 10:19
  SPEAKER_02: Uh, when I watched this movie, like I said, I was 16 or 17, and I watched it because Natalie Portman was in it.
• 10:24
  unknown: Yep.
• 10:25
  SPEAKER_02: Um I was like no, and but at the same time, I was like, it had an indie type of like film to it.
• 10:32
  SPEAKER_02: Um and then what really solidified this movie when I was younger, and we'll get into a lot of the scenes about this movie, but I completely admired how this movie was, and at the same time being written, directed, and starred in by Zach Braft.
• 10:46
  SPEAKER_02: That I thought was really awesome.
• 10:49
  SPEAKER_02: So just a few specifics.
• 10:51
  SPEAKER_02: Garden State, it was uh came out in 2004, rated R with a runtime of one hour and 42 minutes.
• 10:56
  SPEAKER_02: A quietly troubled young man returns home for his mother's funeral after being estranged from his family for a decade, as we had mentioned, written and directed by Zach Braft.
• 11:05
  SPEAKER_02: It's also got a decently young Peter, a SARS guard in it.
• 11:09
  SPEAKER_02: That's right.
• 11:09
  SPEAKER_02: Um, and it's got, of course, Natalie Portman.
• 11:12
  SPEAKER_02: Um, and it's also got uh Ian Home, which is kind of random, but it works for me.
• 11:17
  SPEAKER_00: Um, don't forget Method Man.
• 11:19
  SPEAKER_02: Yes, yes.
• 11:22
  SPEAKER_02: True.
• 11:23
  SPEAKER_02: Um, but overall, I had the I honestly had a little bit of apprehension on watching this movie because I don't think I had seen it for at least eight years, nine years, and I've always had really fond memories.
• 11:34
  SPEAKER_02: So watching it through the lens now from when I was a teenager and really liking it.
• 11:39
  SPEAKER_02: Um I was wondering like how it's gonna translate.
• 11:42
  SPEAKER_02: And I while I still really do love this movie, I think it's a little more clunky than I remember it, but overall, I I will say I still very much enjoy this movie.
• 11:51
  SPEAKER_00: Yeah, I think we're probably gonna have a lot of similar thoughts and feelings uh r regarding this, because um I I definitely felt that when I watched it last night too.
• 12:00
  SPEAKER_00: Not that um, you know, there's no um, you know, kind of story or theme merit to this at all, because there definitely is.
• 12:09
  SPEAKER_01: Yeah.
• 12:10
  SPEAKER_00: But I did get the impression watching it last night, I was like, oh, this is like diet profundity, you know, like you know, it's it's it's you know got most of the same ingredients, but you know, you can tell that a couple things that you're usually accustomed to tasting are not there.
• 12:25
  SPEAKER_00: Um so uh I mean, and we'll get into the specifics, but I mean generally speaking, I still really like this movie too.
• 12:33
  SPEAKER_00: Um, and uh one of my favorite things about it, I guess I'm gonna just jump right in here.
• 12:38
  SPEAKER_00: Yeah, let's do it.
• 12:42
  SPEAKER_00: I like that there's just like a slight edge of unreality, surrealness kind of to this.
• 12:50
  SPEAKER_00: Um and it's not, you know, in coming in terms of anything like, you know, supernatural or otherworldly or anything like that, but um for example, there's the scene after that uh party where he wakes up and uh um the guy with the the pseudo armor who works at medieval times is walking through the doorway.
• 13:09
  SPEAKER_00: You have no context, like you know, just like what the heck is going on.
• 13:14
  SPEAKER_00: And of course that guy would never wear his armor home, right?
• 13:16
  SPEAKER_00: You know, there's no reason for him to take it from, but it gives you this moment where you're just like, okay, because this movie's all about what's going on in his head, right?
• 13:24
  SPEAKER_00: It's his kind of psychological space, you know, getting off of these meds and whatnot.
• 13:29
  SPEAKER_00: Um, or there's bits like that big giant um uh um hole in the ground that they go to at the end, you know, that doesn't exist in real life, you know.
• 13:37
  SPEAKER_00: So yeah, there's just you know, some cool little things like you know, they give this movie uh of an extra like dolba hot sauce that a regular um you know relationship drama like this wouldn't use.
• 13:52
  SPEAKER_00: Yes.
• 13:52
  SPEAKER_00: And I did that about it.
• 13:54
  SPEAKER_02: Yeah, and I I would agree on that same front, I feel like the moments it takes time for.
• 14:00
  SPEAKER_02: Uh, some of those moments are really good, really meaningful.
• 14:03
  SPEAKER_02: And I feel like that's kind of like the beating heart of it being an indie film or whatever.
• 14:07
  SPEAKER_02: Like maybe it is a little risky to take some of those.
• 14:10
  SPEAKER_02: Um, but I do appreciate the first quarter of the movie.
• 14:13
  SPEAKER_02: We first see a lot of examples of him kind of heavily like drugged out, like in terms of like all the things the medications he's been on with having a kid, and I like to see the progression of how that alleviates from scene to scene to as it gets uh towards the end of the movie, as he's off his medication.
• 14:31
  SPEAKER_02: Um, but while that's happening, they do a lot of moments where they illustrate uh everyone kind of in that kind of like GoPro format where everyone's moving around and we're standing still.
• 14:40
  SPEAKER_02: But the scene that you mentioned with the night has that exact same feel while it's just normal dialogue.
• 14:46
  SPEAKER_02: And while I think a lot of us can relate to whether it was a long night that you had or you're just waking up, you're not all there, the what's happening and him just kind of like observing is a really good depiction.
• 14:58
  SPEAKER_02: I feel like it's very like uh authentic depiction, I feel like that I appreciate.
• 15:03
  SPEAKER_00: Well, and there's some clever stuff built into the script, like again from that party.
• 15:08
  SPEAKER_00: Uh you know, one of the funnier lines in the movie is by the way, it says balls on your face.
• 15:14
  SPEAKER_00: So you get to have that joke because you know that you know, sometimes people that age when they get into those parties.
• 15:20
  SPEAKER_00: I mean, I heck I've been to one of those parties.
• 15:23
  SPEAKER_00: And uh, you know, you're like, ha, good, like nicely done joke.
• 15:28
  SPEAKER_00: But then they get more mileage out of it again when he goes to the doctor's office, hadn't showered, and has to take his shirt off, and there's just all this awful stuff on his torso.
• 15:37
  SPEAKER_00: Yeah.
• 15:38
  SPEAKER_00: So no, I like that.
• 15:39
  SPEAKER_02: Yeah, no, I agree.
• 15:40
  SPEAKER_02: And I also appreciate that, like, you get the sense he's probably a little bit embarrassed, but he's so like medicated out, you he's just like, whatever.
• 15:48
  SPEAKER_02: Yeah.
• 15:49
  SPEAKER_02: Um, and that surrealism, even when he goes to the doctor.
• 15:51
  SPEAKER_02: So, really quick, if you guys have not watched this movie, one, I think you should, I think you should check it out.
• 15:56
  SPEAKER_02: Um, but first quarter of the movie is built on this premise of Zach Braff's character, who everyone calls him Largeman by his last name, goes back to his his small hometown because he's his mom passed away.
• 16:06
  SPEAKER_02: And you kind of learn the backstory.
• 16:08
  SPEAKER_02: But he's been heavily medicated since he was 11.
• 16:10
  SPEAKER_02: And so when he takes this trip, he's like, I'm not taking any medication.
• 16:14
  SPEAKER_02: And so he's slowly coming out of that dream state.
• 16:17
  SPEAKER_02: But as that's happening, it's progressing.
• 16:19
  SPEAKER_02: This is all what we're talking about right now, right now, is in the first quarter.
• 16:22
  SPEAKER_02: I really appreciate uh he goes to the doctor's office, the doctor calls him in, and he's waiting in his office and he's looking at all the plaques, and then it goes up and the one plaque on the ceiling.
• 16:32
  SPEAKER_02: Yes.
• 16:32
  SPEAKER_02: Those are just more of those moments of like, okay, that's happening.
• 16:35
  SPEAKER_02: And it's like you kind of just accept that as his mind and his character.
• 16:39
  SPEAKER_00: Yeah, I I I I I like that they went the extra mile on little bits like that where they could, because it would it's very easy to not do that kind of stuff, but it shows that they were engaged with thinking about like, you know, what else can we do with this to reinforce the way that this whole thing should feel and that stuff counts, it's cool.
• 16:55
  SPEAKER_02: Yes, yeah.
• 16:56
  SPEAKER_02: And I I think it um it lends itself, yeah, to the creativity and the kind of the vision behind it, which I really enjoy.
• 17:03
  SPEAKER_02: Um, so in terms of his large men's character, um one thing I admire, and I I kind of mentioned a little bit is the progression that we see him slowly coming out of that dream state and kind of who he really is towards the end of the movie.
• 17:19
  SPEAKER_02: Right.
• 17:20
  SPEAKER_02: Um, and so what do you feel like during that progression?
• 17:22
  SPEAKER_02: What would you what are your thoughts?
• 17:25
  SPEAKER_00: Well, you know, it's maybe a little bit of a tricky tightrope to walk because um, you know, generally speaking, uh, you know, we applaud acting when they are able to access a lot of extreme drama, and he has to play things, you know, pretty understated for a big chunk of this movie.
• 17:46
  SPEAKER_00: Um, and I think he makes that version of this guy feel believable.
• 17:50
  SPEAKER_00: It works.
• 17:52
  SPEAKER_02: Yeah, no, I would agree.
• 17:53
  SPEAKER_02: Um, and the interactions that he has, I think I I can't remember the the character's name, but there's the uh elderlish lady that knew his uh his mom and is singing the song once, twice, three times.
• 18:06
  SPEAKER_01: Oh man.
• 18:07
  SPEAKER_02: Yeah.
• 18:08
  SPEAKER_02: And so, like this bizarre behavior, and you everyone else is just kind of like, yeah, this is supposed to be Phil's sentimental.
• 18:15
  SPEAKER_02: Like, this is what's normal in this town.
• 18:17
  SPEAKER_02: Yeah.
• 18:18
  SPEAKER_02: And as the audience member, you're like, this is not really normal, but because of his state, he's just in it.
• 18:24
  SPEAKER_02: And that leads to the next scene of him uh trying on the shirt that she says, I made it for you.
• 18:29
  SPEAKER_02: Not only is the shirt bizarre, but it's bizarre to ask someone who's grieving, can you try on the shirt I made you?
• 18:35
  SPEAKER_02: Yeah, because you're gonna leave in a few days, and I want to make sure I can get the measurements right.
• 18:39
  SPEAKER_00: Yeah.
• 18:39
  SPEAKER_00: I I and well, uh I I recognize like the awkwardness of that, and you know, it's it's good, especially you know, given why he's there and everything.
• 18:47
  SPEAKER_00: But I the reason I I also really like moments like that in the film where he's standing in that bathroom looking at himself in that stupid shirt, is that um it is uh it's a funny visual joke, but it's also you know, reinforcing the theme of this guy feels like he's just blended into the background and doesn't have anything going on up here.
• 19:10
  SPEAKER_00: There's another similar shot where he's in the bathroom and he's you see him divided by the uh the door of the medicine cabinet, and his the two sides of his face are just slightly off from each other, you know, simple visual metaphors like that.
• 19:24
  SPEAKER_00: That's I I dig that kind of thing.
• 19:26
  SPEAKER_02: Yeah, no, me as well.
• 19:28
  SPEAKER_02: And and yeah, because you not only are playing heavily with the the characters in terms of their acting, but also the visual elements.
• 19:35
  SPEAKER_02: Um, and that to me shows the vision overall.
• 19:38
  SPEAKER_02: And Zach Brath was only 29 when he made this movie, something like that, yeah.
• 19:42
  SPEAKER_02: 28.
• 19:42
  SPEAKER_02: Um, as a visual for what as a reference, this is the the shirt scene that I would get it's even on the lampshades, like yeah, yeah.
• 19:53
  SPEAKER_02: So you have him kind of moving through this.
• 19:55
  SPEAKER_02: Uh oh, let's see here.
• 19:57
  SPEAKER_02: We got a uh comment from David.
• 19:58
  SPEAKER_02: What's up, fellas?
• 19:59
  SPEAKER_02: Just jumping on, lit up the horde too.
• 20:01
  SPEAKER_02: Awesome.
• 20:01
  SPEAKER_02: Let's know what you think about.
• 20:03
  SPEAKER_02: Uh David, have you seen the garden state?
• 20:06
  SPEAKER_02: I'd be interested to hear your thoughts.
• 20:08
  SPEAKER_02: Um, so then we have we have we kind of like meet his character and he's kind of going through, and then uh, of course, he comes in contact with Sam, who uh becomes a love interest.
• 20:16
  SPEAKER_02: What are your thoughts about her character, their dynamic, etc.?
• 20:21
  SPEAKER_00: You know, I I think I I will probably have mixed feelings about this because you know, that scene where they meet in the uh the doctor's office, um, you know, it kind of hits a handful of tropes.
• 20:33
  SPEAKER_00: Um, particularly um the meat cute.
• 20:37
  SPEAKER_00: You know, they you know, the dog's humping his leg and she notices and laughs, and that's that's that's the meat cute.
• 20:44
  SPEAKER_00: Um for anybody who doesn't know the term meat cute, it's a trope in uh romantic comedies where the two main you know romantic characters first meet each other in some kind of awkward way that endears them to each other initially, and that's called a meat cute.
• 21:02
  SPEAKER_02: And um what Curtis is saying right now, just to kind of if you don't mind, if I can jump on that as well, this is such a trope that it goes back all the way to like probably even before this, but I can cite a source from 1934, which is you have your kind of boy meets girl Esther and Rogers films.
• 21:20
  SPEAKER_02: Yeah, there's a handful of films that they meet where like there's one where she gets like her skirt caught in a trunk, and so he's trying to help her.
• 21:27
  SPEAKER_02: It is such a trope that's been going on for nearly a hundred years.
• 21:30
  SPEAKER_00: So almost almost every Chaplin or Keaton movie involves them trying to win the affections of a girl, and if it's one that they don't already know, there's a mute cute.
• 21:40
  SPEAKER_02: Yes.
• 21:41
  SPEAKER_00: So yeah, it's this is this is very old.
• 21:43
  SPEAKER_00: Um, and there's not necessarily anything wrong with it.
• 21:47
  SPEAKER_00: Um uh, you know, and I don't think that um this movie like abuses it or anything like that, but you know, it definitely also kind of tells me that they weren't trying to avoid it.
• 21:58
  SPEAKER_01: Sure.
• 21:58
  SPEAKER_00: Um and then And she's also also m almost a you know um uh perfect manic pixie dream girl, which is yeah, another trope.
• 22:09
  SPEAKER_00: Um and again, for anybody unfamiliar with that, it's usually a girl who is um uh fairly quirky, kind of has something a little bit messed up going on with herself, um, but is uh really out outgoing and gosh darn it, don't you know it?
• 22:27
  SPEAKER_00: She happens to like our hero.
• 22:28
  SPEAKER_00: You know, that's yeah, there's more elements to it, but that's kind of like the the broad strokes.
• 22:32
  SPEAKER_00: Yeah.
• 22:34
  SPEAKER_00: And uh when I was watching that scene of them meeting last night, um it's there's nothing that's like really bad about it.
• 22:43
  SPEAKER_00: I just I like I I just felt those those engines of those strokes turning.
• 22:48
  SPEAKER_00: Yes, and there's a couple moments where I was unsure.
• 22:52
  SPEAKER_00: I was like, is this uh cute or awkward?
• 22:56
  SPEAKER_00: Like uh when she gives him the headphones to listen to the music, he starts listening, we hear the shins come on, cut to her for reaction, and she's got there's this shot that holds on her face for several seconds where she smiles, fades, and then smiles again.
• 23:10
  SPEAKER_00: And I was like, I don't know how am I supposed to read that?
• 23:15
  SPEAKER_00: Is you know, so I have reservations about it, but you know, it gets the job done for what the movie needs, and um, you know, there's funny moments in it.
• 23:24
  SPEAKER_00: I I like their performances generally, so yeah, I don't know what's your take.
• 23:28
  SPEAKER_02: Yeah, no, I think you make some really good points.
• 23:30
  SPEAKER_02: Uh in fact, Mallory's also kind of chiming in on some of those, so we're gonna pull up a few comments.
• 23:34
  SPEAKER_02: Uh first, David says, I haven't seen it, but it sounds fun for sure.
• 23:38
  SPEAKER_02: Definitely recommend it.
• 23:39
  SPEAKER_02: Um just ADHD without the inconvenience stuff.
• 23:44
  SPEAKER_02: Oh for sure.
• 23:46
  SPEAKER_02: And and I will definitely say that was one of my apprehensions uh in watching it, I don't know, 18 years later.
• 23:53
  SPEAKER_02: That definitely is there.
• 23:55
  SPEAKER_02: The one thing I will say is that I am happy to see her character at least progress beyond that as the movie continues.
• 24:02
  SPEAKER_02: Yeah, and she has actual like issues.
• 24:06
  SPEAKER_02: I honestly feel like that scene is kind of like the icon, one of the iconic moments in this movie.
• 24:13
  SPEAKER_02: And so it's easier to forgive.
• 24:15
  SPEAKER_02: I actually have more clunky feeling when he goes back to her house and they go to her room.
• 24:21
  SPEAKER_02: That definitely I feel like is heavily saturated with it.
• 24:25
  SPEAKER_02: I can see that too, for sure.
• 24:26
  SPEAKER_02: For sure.
• 24:27
  SPEAKER_00: Although I did get a kick out of uh that whole bit at the um house because um, you know, uh my wife and I were not uh we didn't even know each other when this movie came out.
• 24:40
  SPEAKER_00: But uh after I met her, I was like, oh man, I'm in a real garden state situation here because of all the pets and all the all the you know, there's no tombstones necessarily, but I know where lots of them are buried out there.
• 24:53
  SPEAKER_02: And then little did you know it was gonna follow you into your home.
• 24:56
  SPEAKER_02: Right.
• 24:58
  SPEAKER_02: Well, and so yeah, now when now when I say that, it's heavily I I specifically mean uh in her bedroom.
• 25:04
  SPEAKER_02: I enjoy when he meets her mom and they have that all that going on.
• 25:08
  SPEAKER_02: Whoever did the art design for their house, I love it.
• 25:11
  SPEAKER_02: Like from the pet stuff to the TV, the even the TV, it looks it's got fingerprints on it.
• 25:18
  SPEAKER_02: Um there's just a lot of detail, and that's kind of throughout this whole movie, but I think they did a spectacular job on the house.
• 25:24
  SPEAKER_02: Yeah, um, overall, I think that there's more I I think I enjoy and willing to forgive.
• 25:32
  SPEAKER_02: So while that is a stumbling block, it's not so distracting to where I'm like, this is just too much.
• 25:37
  SPEAKER_02: Um, and part of that I think is kind of the way Zach Braff pulls his character during that movie.
• 25:45
  SPEAKER_02: Natalie Portman doesn't do a bad job, especially in the in the the cemetery moment.
• 25:50
  SPEAKER_02: Um I one of the specific moments that I always remember cracking up, and I still laugh to this day, is when she's like, Do you want to say something?
• 25:57
  SPEAKER_02: And he's like, Jelly, uh, here, you're a good pet.
• 26:00
  SPEAKER_02: You had a little trouble with the wheel, and she's like, It's not funny.
• 26:02
  SPEAKER_02: Yeah, and he's like, Oh, okay.
• 26:04
  SPEAKER_02: Like those types of things, I just I I think is good pacing, really good pacing in the dialogue.
• 26:09
  SPEAKER_02: Um, so just as much as we see his character progress, I am relieved to say I think there's enough progression in her character that is satisfying to me and not, oh, she's just a plot device.
• 26:22
  SPEAKER_00: So yeah, I agree.
• 26:24
  SPEAKER_00: And uh, you know, even though this can be uh a fairly common um part of the Manic Pixie Dream Girl, I do think that the movie uses her compulsive lying pretty pretty well in terms of how they talk about it, how it's an element of how they're getting to know each other, the way that she uh acknowledges it.
• 26:45
  SPEAKER_00: And you know, it's it's it's treated as um, you know, not something that's just a flaw, you know.
• 26:55
  SPEAKER_00: And I think that's kind of cool.
• 26:56
  SPEAKER_02: Yeah, for sure.
• 26:58
  SPEAKER_02: Um, really quick, let's let's take a let's take a check-in here at the second third of the horde.
• 27:03
  SPEAKER_02: Um, getting a little more sweetness sweetness as this continues.
• 27:07
  SPEAKER_02: Um seems to kind of mellow a little bit from its aggressiveness.
• 27:11
  SPEAKER_02: I don't know.
• 27:11
  SPEAKER_02: What do you think?
• 27:13
  SPEAKER_00: Yeah, um, I think that um that middle part of the palette is getting filled in with more um uh bready greeny type flavors now.
• 27:24
  SPEAKER_02: Okay.
• 27:25
  SPEAKER_00: For me.
• 27:26
  SPEAKER_02: Yeah.
• 27:27
  SPEAKER_02: That uh that berry element on the cold draw, I'm not gonna say it's the same, but there's it like almost a bourbon medicinal flavor quality that I'm getting kind of as this continues.
• 27:39
  SPEAKER_02: And I think too, cigars like this that are already pretty aggressive, depending on how you pace your smoking from it, it can kind of bring out more subtle notes if it's like less of an aggressive pull on the cigar or if it's allowed to burn.
• 27:53
  SPEAKER_02: Because this honestly is having no trouble staying lit, no trouble in the smoke production.
• 27:57
  SPEAKER_02: So I like to try to like pace myself to see if I can slow down some of the like heavy, heavy heat from it, if that makes any sense.
• 28:04
  SPEAKER_02: Um, and that I think kind of brings some of that medicinal quality out of it.
• 28:08
  SPEAKER_00: Yeah, there's something else that on the tip of my brain, and I can't quite nail down what I think it is.
• 28:14
  SPEAKER_00: So I might interject in a minute when I'm like, ah, yes, this is what it is.
• 28:19
  SPEAKER_02: How uh how is it interacting with the whiskey?
• 28:22
  SPEAKER_02: Does one seem overbearing the other?
• 28:25
  SPEAKER_02: Let's see.
• 28:26
  SPEAKER_02: Putting putting Curtis on the spot right here.
• 28:32
  SPEAKER_00: No, they're pretty nicely balanced with each other.
• 28:34
  SPEAKER_00: I mean, you know, this is uh a scotch that I like a lot on its own, but I've always liked how it pairs with cigars anyway.
• 28:41
  SPEAKER_00: So it's gonna be like probably impossible to find something where you're like, oh, this is a bad pairing, you know.
• 28:45
  SPEAKER_01: Yeah, yeah, yeah.
• 28:46
  SPEAKER_00: Unlikely.
• 28:47
  SPEAKER_00: So um, yeah, it's strong.
• 28:48
  SPEAKER_00: I like this.
• 28:49
  SPEAKER_02: Great.
• 28:50
  SPEAKER_02: No, I remember one of the weirdest tastings we did at the shop, I think was the long time ago.
• 28:56
  SPEAKER_02: It was when Southern Draw came out with Manzanita.
• 29:00
  SPEAKER_02: It was a lot more mild than everyone was expecting, and then we did a Willet, which I think is like a 58%.
• 29:04
  SPEAKER_02: And I remember as being like, you take the the the sip of the whiskey, you can't even taste the cigar, like so overbearing.
• 29:10
  SPEAKER_00: So that does happen.
• 29:12
  SPEAKER_02: Yeah.
• 29:13
  SPEAKER_02: Um, okay, so kind of touchdown on his relationship with uh that what do you feel like in terms of the transition from we see him in his ordinary world, he's heavily medicated, he gets fired from his restaurant job that he doesn't really seem like he wants to be there.
• 29:28
  SPEAKER_02: He goes home and like he gets rapid fire, like everyone recognizes him from the cop who pulls him over, Kenny, to uh uh Scarz Guard Sarsgard's character, um, who is uh Mark.
• 29:43
  SPEAKER_02: Like, how do you feel like that transition in him kind of re-entering into the small town?
• 29:49
  SPEAKER_00: Uh that's one of my favorite components of this is uh you know, there's a distinct uh sense that he's you know kind of commenting on you know the the character of the people who stay behind, right?
• 30:07
  SPEAKER_00: When you don't get out of your hometown and you know expand your life and you know do you know new interesting or challenging things or whatever, you know, what is the psychology of these people who either by choice or not that you know get stuck in the place that they happen to grow up?
• 30:28
  SPEAKER_00: And I like the motley crew of weirdos that are there, everything from that you know creepy guy at the hardware store to get your number.
• 30:38
  SPEAKER_00: Yeah, uh to the the the guy with the mansion because he invented Silent Velcro.
• 30:42
  SPEAKER_00: That's another one of those slightly surreal things that the movie does, and all the like you know, kind of absurdity.
• 30:48
  SPEAKER_00: I love when he shoots the fire arrow and she immediately touches.
• 30:54
  SPEAKER_00: Um, but in particular, I think maybe my favorite character in this whole movie is Mark, Peter Star's character.
• 31:01
  SPEAKER_00: He's such a scumbag, but has that like you know, hometown loyalty, you'll always be one of my bros kind of thing.
• 31:11
  SPEAKER_00: And we see him do so many awful, weird, questionable things in the movie, and then the last thing he does is kind of beautiful, yeah.
• 31:18
  SPEAKER_00: Right, and it's and it's on top of like he had to rob a grave to do that, but it's kind of gorgeous that you know he dedicated all this time and resources to doing this thing for his friend who he hasn't seen in nine years.
• 31:31
  SPEAKER_00: Yeah, it's a good, complex character, that guy.
• 31:34
  SPEAKER_00: And Peter Sarzgaard, perfect casting, perfect casting, yeah.
• 31:37
  SPEAKER_02: Yeah, and I want to say this may be the first movie I saw him in.
• 31:43
  SPEAKER_02: Maybe for me too.
• 31:44
  SPEAKER_02: Okay.
• 31:45
  SPEAKER_02: Um, and you're right, I think the complexity that you mentioned is really good, and you also watch the interactions between the two these two, and the bizarre behavior almost is even more bizarre in the beginning, but because of his mental state, he's just kind of like, okay, okay.
• 32:03
  SPEAKER_02: And the one of the first times he's like does like a major double take and even questions Bill Scar Sarsgaard's character is about the the card collection.
• 32:13
  SPEAKER_02: Whereas like this is not even something that's like bizarre, but he can't believe it.
• 32:17
  SPEAKER_02: He's like, wait, really?
• 32:18
  SPEAKER_02: And he's like, How much is this worth?
• 32:19
  SPEAKER_02: Like 300 bucks or whatever.
• 32:21
  SPEAKER_02: He's like, What?
• 32:22
  SPEAKER_02: Like that type of thing uh is added flavor, and you're right, he's not the most upstanding citizen, but um he's one of the few characters that knew him from nine years ago, yeah, that has really no problems with him, no questions asked, which is a cool element to it.
• 32:41
  SPEAKER_00: Yeah, it makes it makes him feel very much like a real person and not somebody who's just crafted to fit into the screenplay.
• 32:48
  SPEAKER_00: Yeah, yeah, yeah.
• 32:49
  SPEAKER_00: I like him a lot.
• 32:51
  SPEAKER_02: Yeah, so I I feel like that is a delicate balance because you could run the I think the risk of like, well, we have to have this interaction because that's part of what are the movies, so it feels forced, and I'm I feel like it's pretty organic as it comes out.
• 33:04
  SPEAKER_02: Um really awesome again, set design backdrops of his Mark's house and the interactions between him and his mom.
• 33:15
  SPEAKER_02: Yeah, and it's like so cringy, but at the same time, it's kind of like not that exact thing, but like that type of dynamic.
• 33:22
  SPEAKER_02: I'm like, I've experienced this type of dynamic before, and it's just oh yeah.
• 33:27
  SPEAKER_00: When his mom is doing that whole thing where he's like, I'm not gonna buy those stupid real estate tapes, and she's hurt by that, so she goes into this defensive all right, well, I'm gonna buy the tapes, I'll I'll I'll I'll make all the money, you know, and just can't stop talking about it.
• 33:40
  SPEAKER_00: I was like, I know this woman, yes, yes, I definitely have met this woman before.
• 33:45
  SPEAKER_02: Should have should have stopped talking about it like 15 minutes ago, but won't stop.
• 33:49
  SPEAKER_02: I guess I won't let you on my yacht.
• 33:50
  SPEAKER_02: And you just oh my god, and then so you go from that argument, then she's like, Okay, I gotta go.
• 33:56
  SPEAKER_02: And they're like, Okay, I love you, I love you.
• 33:57
  SPEAKER_02: And they like give each other a kiss, leaves.
• 33:59
  SPEAKER_02: Oh my gosh, I can't stand it.
• 34:00
  SPEAKER_02: Like that, it's just very, very believable.
• 34:03
  SPEAKER_02: Yeah, very organic.
• 34:04
  SPEAKER_00: Yeah, there's lots of good writing uh characterization and performances, like on all in all the side characters, the fringes of this movie.
• 34:11
  SPEAKER_00: Like, I have very few complaints about that.
• 34:14
  SPEAKER_02: So yeah, solid.
• 34:16
  SPEAKER_02: Now, a big portion of this movie, and it's it's kind of at its beating heart at the same time, it's very understated, is how he came to become so medicated, how his mom came into the wheelchair, right, why he and his his father are the relationship that they are.
• 34:34
  SPEAKER_02: Um what are your thoughts on all that?
• 34:38
  SPEAKER_00: Um I think that uh having that kind of a thing as a plot point in a movie can really easily lead you into um melodrama or you know some I I I think that the way that this movie basically underplays uh all of that stuff makes it makes it work.
• 35:03
  SPEAKER_00: Um because you don't even learn about it until you know relatively late in the movie, and they don't even really have a um uh you know a a final sort of what's the word I'm looking for?
• 35:17
  SPEAKER_00: Not even reconciliation, but you know, confrontation.
• 35:20
  SPEAKER_00: It's like right near the end of the movie when him and his father actually talk about it.
• 35:24
  SPEAKER_00: And um I I like the way that he says that um I was a kid and somebody made a shitty latch.
• 35:35
  SPEAKER_00: Like, you know, we're prone sometimes to um uh assigning all kinds of meaning and intent to things that are just the the random causality of the world that we live in.
• 35:49
  SPEAKER_00: And uh I so I I I like that the movie positioned it that way.
• 35:54
  SPEAKER_00: What about you?
• 35:55
  SPEAKER_02: I know I do too, because you like you like you were touching on the melodrama aspect.
• 36:00
  SPEAKER_02: Um there could have been a lot of scenes dedicated to him and his dad forcibly arguing, and then okay, we've got to like the point of it is we've got to come to a point where we say we love each other now and hug it out and such, but it it it doesn't go there, it also doesn't end on okay, they hate each other, it's more of like there's a level of understanding that they come to.
• 36:20
  SPEAKER_02: Um, but most of the focus is on his progression and his kind of forgiving himself, yeah, because as a kid, all the guilt and all of that is heaped on him.
• 36:31
  SPEAKER_02: So, like, why wouldn't he think of all those things until the realization he comes at the end?
• 36:34
  SPEAKER_02: So, how we learn about that entire thing where he pushes his mom and the the door of the dishwasher was open, that scene by the fireside is another one of my favorite scenes of the movies.
• 36:44
  SPEAKER_02: I think because it's intermixed with this really sincere and realism like dialogue that's happening from he touches on it for a little bit and then he kind of pulls himself out and he's like, Let's let's talk about good stuff, basically, um, and how it's a scary door to go to.
• 36:59
  SPEAKER_02: And that's very much like a real interpretation to my my belief of it.
• 37:04
  SPEAKER_00: Yeah, well, and it's nicely uh positioned too because it comes after that scene where they were out in the pool that which requires a little bit of physical and social vulnerability, right?
• 37:14
  SPEAKER_00: To take off all your clothes and jump in a swimming pool with mostly strangers, yeah.
• 37:18
  SPEAKER_00: Um, and then in the fire, they're uh finally alone because the yokels have you know left to go be with the girls, and uh they're wrapped up in blankets, the fire is there.
• 37:30
  SPEAKER_00: There that sets the stage for like, okay, we've we've just done this kind of vulnerability.
• 37:36
  SPEAKER_00: We're cozy and a little closer now.
• 37:39
  SPEAKER_00: Let's do this level of vulnerability.
• 37:41
  SPEAKER_00: So, yeah, it's nice, it works.
• 37:43
  SPEAKER_02: And in two of those uh scenes, too, and I think this is a big standout.
• 37:48
  SPEAKER_02: We've mentioned some of the cinematography, also the way that this movie is edited has a lot going for it.
• 37:53
  SPEAKER_02: Um, the scene when that whole like evening pool scene plays out from all of them lined up, they jump, then we have this aerial shot to show the separation of everyone, right?
• 38:04
  SPEAKER_02: And then all the faces staring at him, and he's of course I can swim, and then it cuts to not even seeing him get into the pool.
• 38:09
  SPEAKER_02: We don't know how he got into the pool, and he's drowning, and like everyone's laughing, but you see her face.
• 38:14
  SPEAKER_02: Like the whole thing is just I it it has a lot more flavor than the average, I feel like romantic comedy does, especially for that time.
• 38:23
  SPEAKER_02: Yeah, yeah.
• 38:24
  SPEAKER_00: Nice to put together, yeah.
• 38:26
  SPEAKER_02: And and as you had mentioned, kind of like where we shoot from that scene to the next, and the dialogue that they have inside the pool about home is more of the people you come, like the people you are and with, that's home.
• 38:38
  SPEAKER_02: And unfortunately, he never really had that.
• 38:41
  SPEAKER_02: That's right.
• 38:42
  SPEAKER_02: So, yeah, so expertly good.
• 38:44
  SPEAKER_00: Another thing I want to comment on, because we we picked this specific specifically because we thought it was a good representation of the the 2000s, the aughts.
• 38:53
  SPEAKER_00: And um, I think that there are two main things that drive that for me.
• 38:59
  SPEAKER_00: Um, one is just the style culture kind of stuff, like the music, you know, it's very much of the era, gives the music uh uh movie a real distinct identity.
• 39:09
  SPEAKER_00: I think they even won some awards for this particular uh um uh soundtrack.
• 39:16
  SPEAKER_00: And then um the other thing, uh you know, there's definitely been movies where characters have been allowed to be like uh neurotic and uh you know uh not normal, not okay, like Cam Cameron from Ferris Bueller's day off.
• 39:32
  SPEAKER_00: Yeah, he's not the protagonist, really.
• 39:33
  SPEAKER_00: You know, I mean you can make arguments kind of one way or the other that Cameron you know might be co-protagonist or whatever, but it's still mostly it's not a movie that spends a lot of time with him, and it's largely centered around that thing, like you know, he's hurt over the way that his father treats him.
• 39:48
  SPEAKER_00: Right.
• 39:49
  SPEAKER_00: And there's an element of that in this too, but a lot of it is just like uh this thing where through both him and Sam, right?
• 40:00
  SPEAKER_00: Isn't that her name?
• 40:01
  SPEAKER_00: Natalie Portman's character, that like it's kind of normal to not be okay.
• 40:08
  SPEAKER_00: And I I feel like there's not tons of movies, particularly about people this age, that were really dealing with that stuff.
• 40:15
  SPEAKER_00: I mean, you could look at like Breakfast Club, but every single one of those is like they're just beat down because of the way their parents treat them.
• 40:21
  SPEAKER_00: Sure.
• 40:22
  SPEAKER_00: Right.
• 40:22
  SPEAKER_00: You know, it's it's not this thing, it's like where, hey, you know, I just don't feel okay inside.
• 40:27
  SPEAKER_00: You know, something's up with my brain, and I'm not, you know, I I don't know how to be normal the way that the culture expects me to be.
• 40:35
  SPEAKER_00: And this is among, you know, a a slew of movies that would come out in this decade and after that kind of make that a uh a feature.
• 40:43
  SPEAKER_00: So I think that's kind of like one of the things that really makes this a movie that's appropriate for the decade that represents the decade.
• 40:50
  SPEAKER_02: I agree.
• 40:50
  SPEAKER_02: I I definitely agree on the uh the musical aspect as well, um, the style too.
• 40:57
  SPEAKER_02: Like, and it's funny because as of course decades change in movie making, uh, you also have advancements in technology, types of cameras being used, and there is a element like Empire Records.
• 41:09
  SPEAKER_02: It just not only does the spectacle of it, whether it's the the costumes and the music, but also just like the the film quality is just very 90s, like you can just tell 70s is very distinctive that way.
• 41:22
  SPEAKER_02: Um, this is definitely that early 2000s type of feel in terms of its filming as well, that it just um for me watching it definitely not only for nostalgia but transports you back into that time.
• 41:35
  SPEAKER_02: Um and I have to say, I think it's kind of a hard feat, it seems like, for a romantic comedy to be able to outlast its years, basically.
• 41:48
  SPEAKER_02: You have a lot out there that are kind of good, and then we re you revisit them and you're like, well, I don't know.
• 41:53
  SPEAKER_02: So this this held up a lot more for a 2000s film than I was thinking it might.
• 41:58
  SPEAKER_00: I think I agree with that.
• 41:59
  SPEAKER_00: Um, you know, there's lots of movies that um you know are about you know people at a particular age, it's usually this early 20s where everything's so chaotic and you've got more freedom than you ever had before, and you don't know what to do with it, and all that kind of thing, um, that um have difficulty translating across generations.
• 42:17
  SPEAKER_00: I watched The Graduate for the first time about a decade ago or something like that.
• 42:22
  SPEAKER_00: And that's you know, sort of a you know, it's not a similar story to this, but you know, it's a guy who's at that same age speaking to the um anxieties of his generation at the time.
• 42:34
  SPEAKER_00: And I felt like that movie did not translate very well for me, you know.
• 42:40
  SPEAKER_00: Um, it it it it felt like I had the complete opposite, like you know, they wanted me to identify with the play of the protagonist.
• 42:48
  SPEAKER_00: I was like, I hate this guy.
• 42:50
  SPEAKER_02: So it's funny you mentioned that because I was like, I I haven't seen that movie forever.
• 42:54
  SPEAKER_02: I wonder what it's like because I liked it when I watched it, but that was 15 years ago.
• 42:58
  SPEAKER_02: Sure.
• 42:59
  SPEAKER_02: Yeah.
• 42:59
  SPEAKER_02: So yeah, I wonder how it would translate.
• 43:01
  SPEAKER_00: Um, but with with this one for a movie that's now 22 years old, um wild.
• 43:08
  SPEAKER_00: I I feel like it's still pretty identifiable.
• 43:10
  SPEAKER_00: You know, I mean, I'm not that age anymore and I don't feel those feelings anymore.
• 43:13
  SPEAKER_00: But like I wasn't like, oh, this feels like it's completely tone deaf to anything other than the audience it was made for.
• 43:20
  SPEAKER_00: This feels kind of like lots of generations could watch this and understand what it's getting at.
• 43:26
  SPEAKER_02: Well, and and I I think a lot of that has to do with like how we mentioned about uh Mark's mom, as we mentioned about uh his own dad.
• 43:33
  SPEAKER_02: Like these are very relatable things that are not age-centric, these are just like things that we've experienced and you can relate to them.
• 43:41
  SPEAKER_02: Um the the conversation that always sticks in my mind that I think is it's funny, but it's tragic at the same time, is it's like the second interaction we see with him and his dad.
• 43:51
  SPEAKER_02: And the the the scene opens with him looking through uh the refrigerator, trying to find something to eat, and he closes the door, and his dad's standing right there.
• 43:59
  SPEAKER_02: Right, yeah.
• 44:00
  SPEAKER_02: And they both kind of agree, like, yeah, well, we need to like talk stuff before you leave.
• 44:05
  SPEAKER_02: And the reason his dad gives them is well, we owe it to her.
• 44:08
  SPEAKER_02: And it's like you can sense this awkwardness of like they both have so much they want to say, but because of the history, they there's no way they can say it.
• 44:16
  SPEAKER_00: Yeah, well, this this relates to where we were talking about earlier with that that part of the story where, you know, because it is such an emotionally charged thing, the idea of a son being responsible for you know making his mother an invalid, basically, um, you know, could have been treated with such a heavier hand, but I think the drama is more effective in the way that uh him and his father don't talk to each other.
• 44:39
  SPEAKER_01: Yeah.
• 44:40
  SPEAKER_00: All this you know, pregnant pauses and silence and avoidance going on uh um that's uh I I think it works stronger than if you would have had like you know, the father, like you know, really trying to you know wring it out of him, you know, aggressively or whatever.
• 44:58
  SPEAKER_00: Yeah, it works for me.
• 44:59
  SPEAKER_00: I think that's the right tone for this.
• 45:01
  SPEAKER_02: And and one of the things he says in the beginning to his son, like they haven't seen each other for nine years, he won't return his calls.
• 45:08
  SPEAKER_02: And so he goes into his dad's office, who uh his dad is a shrink basically, and they don't really know what to say, so they just fall into what they normally say.
• 45:17
  SPEAKER_02: Oh, I've been having these headaches, oh, I'll call the doctor for you.
• 45:19
  SPEAKER_02: Like they don't know what else to do about that, which serves as a really good like way to transition into meeting Sam, but it's also such a natural progression for the characters, those types of seamless like conversations again is I feel like why it outlasts for others.
• 45:35
  SPEAKER_02: Yeah, um, now I know we've kind of talked a lot about this movie in terms of like the main aspects.
• 45:41
  SPEAKER_02: We are concluding from decade to decade, 80s, 90s, and the aughts.
• 45:45
  SPEAKER_02: Um going through this again, what do you feel like when you when someone asks you, like, okay, 1980s, why Top Gun?
• 45:52
  SPEAKER_02: Why is it so quintessential 80s?
• 45:54
  SPEAKER_02: Like, what is the the feeling one of the feelings that that decade of 80s brought to cinema for you?
• 46:00
  SPEAKER_00: Well, it's just like a thing that defines the 80s, yeah.
• 46:04
  SPEAKER_02: Something like a main characteristic of the 80s that you see maybe in a lot of films that were iconic at the time or like movement or whatever.
• 46:11
  SPEAKER_00: Uh when I think about what like really defines 80s, uh, like with with you know uh comedies, it's gonna be um, you know, uh crass generational humor, so stuff like porkies, or you know, even some of the characters in some uh John Hughes movies, like is it pretty in pink, where there's that long duck dong guy or whatever that they uh sixteen candles.
• 46:34
  SPEAKER_00: Sixteen candles, thank you.
• 46:36
  SPEAKER_00: Yeah, um uh I I think of a lot of um uh jingoistic macho-ness, you know, stuff yes like commando, um big soundtracks, lots of montages, gotta love a rocky, rocky training montage, um and uh you know, uh a kind of general um you know sense of like, you know, um uh America is awesome, and uh because you know, the coming off the tail of the the Cold War, you know, there's still I think this thing where we were trying to like assert ourselves culturally as being superior, right?
• 47:22
  SPEAKER_00: Uh after these decades of being in contention with the Russians.
• 47:26
  SPEAKER_00: So I feel like a lot of that kind of stuff is what I think of as like the defines the 80s.
• 47:30
  SPEAKER_00: I mean, there's more, but no, I would agree.
• 47:32
  SPEAKER_02: I I think that that aspect of be more the character than and like in a visual sense, in a one-liner sense versus a context sense, if that makes sense.
• 47:46
  SPEAKER_02: Yeah, like it in a you you have these big characters, like you said, macho men characters, and a lot of the time it's just accepted like, oh, well, it's the 80s, or it's that's who what it was.
• 47:56
  SPEAKER_02: So that is a big aspect.
• 47:58
  SPEAKER_02: And I think when you had mentioned Top Gun, I'm like, yeah, yeah, that makes sense.
• 48:01
  SPEAKER_02: Yeah.
• 48:01
  SPEAKER_02: Why this is such a big one.
• 48:02
  SPEAKER_02: Um, thoughts on the 90s in terms of that type of thing?
• 48:06
  SPEAKER_02: Like, do you feel like there was a shift at all from that decade, decade to the 90s, that sort of thing?
• 48:11
  SPEAKER_00: Uh yeah, um, the the 90s for me is a couple different things.
• 48:15
  SPEAKER_00: One, um, this sort of uh sense of in damn the man indieness, you know, kind of breaking away from the uh aggressive corporatism of the 80s, like you know, you had Wall Street, that movie with Michael Douglas, where Gordon Gekko says greed is good.
• 48:31
  SPEAKER_00: And then by 1999, you've got fight clubs where they're trying to upend the world's financial system, right?
• 48:36
  SPEAKER_00: You know, so that kind of thing is definitely a flavor.
• 48:40
  SPEAKER_00: Um, and then also um like with popular uh with like blockbustery type films, it took the um sort of uh uh aggressive absurdity of the 80s and a lot of kind a lot of times cranked it up even harder.
• 48:56
  SPEAKER_00: Like, you know, you think about Michael Bain movies like uh Armageddon, right?
• 49:00
  SPEAKER_00: You know, yeah.
• 49:01
  SPEAKER_00: That's to me that's 90s, those two things that that the the the indie, you know, kind of anti-corporate, um, you know uh everyday people being goofy, and then also the sort of like you know, really slick, like hyper polished uh uh over-the-top action and stuff like that.
• 49:22
  SPEAKER_00: For me, that's that's the 90s.
• 49:24
  SPEAKER_00: Because I think another part of it is that you know, we were riding high through the majority of that decade on feeling pretty good about ourselves.
• 49:31
  SPEAKER_00: The economy largely was very good in the 90s.
• 49:34
  SPEAKER_00: Uh, you know, there was you know, there were conflicts, of course, and stuff like that, but uh, you know, you can like draw a clear line before and after September 11th with the way that the like, you know, again, uh Fight Club or American Beauty, where we're almost bemoaning this state of safe suburbanness, like, you know, are we getting bored and overdoing ourselves with how like prosperous and cool we're being?
• 50:03
  SPEAKER_00: And then that seems so trivial after 9-11, and then suddenly, you know, the culture kind of goes that way.
• 50:11
  SPEAKER_00: So for me, that's 90s, I guess.
• 50:13
  SPEAKER_02: Yeah, okay.
• 50:14
  SPEAKER_02: Um, and then the odds.
• 50:17
  SPEAKER_02: What do you feel like with that?
• 50:19
  SPEAKER_00: Well, I mean, there's that that that that post-9-11 thing, you know, if you like for example, uh, action movies are always kind of an interesting mirror on the culture, right?
• 50:30
  SPEAKER_00: And um, you know, prior to uh um 9-11, a lot of action movies, especially if there were ones that involved like the military or s something like that, um, you know, the the threats that were were being dealt with were all external, you know, the us and our operatives against some foreign threat, right?
• 50:51
  SPEAKER_00: Um and you look at the born films and the enemies are us, stuff like that.
• 50:59
  SPEAKER_00: So um for me, that's a a big part of what defines this decade.
• 51:04
  SPEAKER_00: Uh when it's you know, uh move movies like this, or even some of the other ones I mentioned, like you know, mean girls or super bad.
• 51:11
  SPEAKER_00: Um it's you know, kind of like expanding the type of people and the type of jokes that you know you can get away with or uh highlight that in you know uh the previous decade, you know, they probably would have never made uh you know you couldn't have made mean girls in the 80s, right?
• 51:35
  SPEAKER_01: Yeah.
• 51:36
  SPEAKER_00: Uh, you know, I mean there were movies that were similar to it, like Heather's and whatnot, but it's still even then it's not quite the same kind of thing.
• 51:43
  SPEAKER_00: So um yeah, um for me it's that you know kind of shifting lens on um comedy and human drama, uh getting a little bit more complicated, weird, um uh uh maybe even like a little bit, you know, you think about movies like um old school, right?
• 52:04
  SPEAKER_00: We're just like fully embracing uh you know adults feeling like they left their childhood behind and they want to, you know, act like teenagers again and stuff like that.
• 52:14
  SPEAKER_00: Um and then also, like I said, the the the post-9-11 kind of grimness.
• 52:19
  SPEAKER_00: That's for me, that's the 2000s.
• 52:21
  SPEAKER_02: Yeah, and it's it's interesting how um it's easier for me to summarize more of like movies that I I heavily grew up and watched those changes with, and I know we talk about this a lot, but like 30s and 40s, and like just because I guess it's maybe more exposure, because when we've talked about this before, like there's a handful of 90s films that I actually haven't seen quite a bit, a lot of 70s as well.
• 52:47
  SPEAKER_02: But similarly, in terms of how decades change and pace, because my kids actually asked me the other day, they're like, Well, what's the big difference between 40s and and 30s?
• 52:56
  SPEAKER_02: And I'm like, besides you have aside from just the look of them, I'm like, women's fashion completely changed sure.
• 53:03
  SPEAKER_02: Like the way things were filmed are completely changed, but you have so much World War II like infusion into all movies of the 40s that really wasn't existent in the 30s.
• 53:14
  SPEAKER_02: The 30s was a hangover from the 20s, which was and hangover from uh Prohibition and such like that.
• 53:20
  SPEAKER_02: So I I'm just curious, I wanted to kind of like see hear your thoughts on that on decades that of course I've seen a lot of movies from those decades, I'm just not as familiar as some of them.
• 53:29
  SPEAKER_00: Yeah, I get it.
• 53:30
  SPEAKER_00: Well, and you know, uh it's all it also gets a little bit complicated because um, you know, you're in a relatively unique position in that you grew up watching a a lot of films from before your time.
• 53:42
  SPEAKER_00: Um, but for most Americans, I would guess that if they've seen you know movies from uh you know 30s, 40s, 50s, whatnot, it's like all the big famous ones.
• 53:51
  SPEAKER_00: Stuff that everybody knows.
• 53:52
  SPEAKER_00: It's a wonderful life, maybe a Cleopatra there, you know, whatever.
• 53:56
  SPEAKER_00: Um so uh and the majority of those films were put out during the Hayes Code when the movie was self-regulating itself and kind of setting you know pretty strict boundaries about what you could and couldn't do.
• 54:07
  SPEAKER_00: Now that gave the filmmakers interesting challenges to push up against the boundaries of that and find ways to kind of you know imply things.
• 54:15
  SPEAKER_00: But um uh you know, when you compare you know what the average American moviegoer might think of as like a typical 40s movie, uh a lot of them might seem very much the same, you know.
• 54:28
  SPEAKER_01: Yeah.
• 54:29
  SPEAKER_00: But uh black and white movies of people in rooms talking to each other kind of stuff.
• 54:34
  SPEAKER_02: Right, right.
• 54:35
  SPEAKER_00: And uh, you know, compare that to the insane variety of stuff that you know is mainstream like in the 90s.
• 54:44
  SPEAKER_00: I mean, you have everything from uh you know the Matrix to Clerks, the Lion King, right?
• 54:50
  SPEAKER_00: Seems seems at least superficially much more diverse.
• 54:53
  SPEAKER_00: Yeah, so I think that's an element of it too.
• 54:57
  SPEAKER_02: Yeah, no, for sure.
• 54:58
  SPEAKER_02: Um, and it's funny because everyone talks about like the classic we even watched Little Caesar, classic like gangster film films.
• 55:06
  SPEAKER_02: Really movies like that you mentioned, It's a Wonderful Life, didn't really even find their big cult following until like a decade later.
• 55:13
  SPEAKER_02: That's right.
• 55:13
  SPEAKER_02: And they didn't come really normalize, okay, what's the latest gangster flick until like the later, later 40s, early 50s, where in the 30s it was purely a push of propaganda of anti gang, like gangster and law problems that we were having because of prohibition and all these other things.
• 55:30
  SPEAKER_02: And the youth of America is in trouble right now, and so so much of that propaganda was pushed.
• 55:35
  SPEAKER_02: But we like you were saying, it's perceived now as oh, it's just a classic gangster film with Bogart, such like that.
• 55:40
  SPEAKER_02: But it's like there was so much going on behind it, so yeah, it's it's interesting to hear that also about 80s and 90s and 2000s.
• 55:47
  SPEAKER_02: Yeah.
• 55:47
  SPEAKER_02: Um, okay, so let's talk final third on the horde here, uh, coming down towards the end.
• 55:53
  SPEAKER_02: Um, overall, fair amount of complexity.
• 55:56
  SPEAKER_02: I feel like a lot of cigars should take a lesson on the construction of this cigar.
• 56:01
  SPEAKER_02: It is brilliantly constructed from burn, smoke output.
• 56:04
  SPEAKER_02: Uh, it's one of the more impressive elements of this cigar to me.
• 56:07
  SPEAKER_02: And it's also one of those blends to where I'm just like, this is a heavy Maduro.
• 56:10
  SPEAKER_02: And if you're in the mood for more of a punchy Maduro cigar, maybe it's a late night second cigar of the night or whatever, this delivers to me.
• 56:17
  SPEAKER_00: Yeah, I agree.
• 56:19
  SPEAKER_00: Um the uh it feels like the um the knob has been turned up on all the flavors, just like one click, you know, uh in the final third.
• 56:28
  SPEAKER_00: Um, but I I think at least, you know, for me, again, I got I've got whiskey I'm pairing with.
• 56:32
  SPEAKER_00: I had dinner just before this, so who knows?
• 56:34
  SPEAKER_00: Uh I I think that that that bready component is getting even stronger.
• 56:38
  SPEAKER_02: Okay.
• 56:39
  SPEAKER_02: I can see the breadiness almost like a toasty breadiness, um, but also that that savory element I mentioned in the first third is definitely come back with a vengeance for sure.
• 56:48
  SPEAKER_02: Yeah.
• 56:49
  SPEAKER_02: Um, okay, so let's let's put it to a vote.
• 56:51
  SPEAKER_02: Uh I have a blank piece of paper.
• 56:53
  SPEAKER_02: We're gonna vote on the horde.
• 56:55
  SPEAKER_02: Um from one to ten.
• 57:02
  SPEAKER_02: This one's pretty easy for me.
• 57:07
  SPEAKER_02: Seven and eight.
• 57:08
  SPEAKER_02: Seven and a half.
• 57:09
  SPEAKER_02: Okay.
• 57:10
  SPEAKER_02: Um, yeah, no, this cigar is a cigar I continually go back to.
• 57:14
  SPEAKER_02: I have yet to experience poor construction on this cigar, and for a bundle stick, this this is gonna outsmoke, in my opinion, a lot of bundle cigars out there.
• 57:23
  SPEAKER_02: Yeah, it's impressive.
• 57:24
  SPEAKER_02: Really, really good stuff.
• 57:26
  SPEAKER_02: Um, okay, and then for Garden State from a scale from one to ten, where does Garden State land?
• 57:35
  SPEAKER_00: I'm ready.
• 57:36
  SPEAKER_02: All right, I'm gonna use the same number.
• 57:38
  SPEAKER_00: Same, same thing.
• 57:39
  SPEAKER_02: Hey, we did the thing.
• 57:41
  SPEAKER_02: There we go.
• 57:42
  SPEAKER_02: I I will definitely say, like, I I think when I was when I first watched this movie, this was easily in like my top 10, top 15 movies.
• 57:50
  SPEAKER_02: Maybe it's dropped a little bit, but um by the end of it, I'm just like, man, the progression of this story, the relationship he has with Sam, with Mark, with his dad, like it's very tightly knit.
• 58:01
  SPEAKER_02: And also I can appreciate for all the things that happened in this movie, it's under two hours, which is great.
• 58:07
  SPEAKER_02: It's it's it's contained, but yeah.
• 58:09
  SPEAKER_00: Um, one final thought on the content of the movie itself.
• 58:12
  SPEAKER_00: Uh, I remember feeling this when the movie was new, and I felt it even more when I watched it again last night.
• 58:18
  SPEAKER_00: I don't know that I'm completely sold on the the way the movie ends, with with him getting off the plane and going back to meet her.
• 58:26
  SPEAKER_00: Um, it's supposed to feel uh really uh heartfelt and romantic and daring.
• 58:33
  SPEAKER_00: Um, but like if you really take it at face value, um he's known this woman for four days, right?
• 58:40
  SPEAKER_00: Right.
• 58:41
  SPEAKER_00: And uh I thought that um the idea of them parting with the future of their potential relationship uncertain would have been more in line with the tone of this movie and just kind of feels again.
• 58:58
  SPEAKER_00: I we talked about this when we did our uh um romance episode uh a while ago.
• 59:04
  SPEAKER_00: The idea of characters that want to be together but can't is generally kind of more um uh I don't know, emotionally satisfying to me than you know, cinching it up neatly where it's like, ah, they get to be together.
• 59:19
  SPEAKER_00: Um so eh, not not a huge fan of that, but it you know, the way that it plays out, like you know, they could have handled it a lot worse too.
• 59:26
  SPEAKER_00: But sure, it's just another thing where I'm like, I could see what that why he wanted to do this, but it doesn't feel like it's quite the right way for this particular story and the tone of this to wrap things up.
• 59:38
  SPEAKER_00: Sure, sure, sure.
• 59:39
  SPEAKER_02: Um, I want to respond to that real quick.
• 59:41
  SPEAKER_02: We have a comment, David saying, Good night, guys.
• 59:43
  SPEAKER_02: Definitely going to check out the movie.
• 59:44
  SPEAKER_02: Well, great.
• 59:45
  SPEAKER_02: Yeah, check it out.
• 59:46
  SPEAKER_02: Um, I would agree, it it definitely ends abruptly.
• 59:49
  SPEAKER_02: I feel like that four days element you're supposed to, I guess, accept because he's kind of like waking up and he's been alive for four days since he's been so medicated.
• 59:59
  SPEAKER_02: Um, but yeah, it's a little clunky.
• 1:00:01
  SPEAKER_02: I also say it was probably the biggest problem I had with the music in this in this movie.
• 1:00:08
  SPEAKER_02: I don't care for that song at the end.
• 1:00:10
  SPEAKER_02: I don't really feel like it holds the energy that it's supposed to, but that's a creative difference.
• 1:00:14
  SPEAKER_02: Yeah, fair.
• 1:00:15
  SPEAKER_02: Um, but awesome.
• 1:00:16
  SPEAKER_02: Okay, guys.
• 1:00:17
  SPEAKER_02: So next week uh we are starting our Halloween series, and we have quite a bit of new horror films that have just come out.
• 1:00:25
  SPEAKER_02: Um, there's two that we've been talking about.
• 1:00:27
  SPEAKER_02: I know you and I, Curtis, and I'm good with either one, so I'll let you choose on the show.
• 1:00:32
  SPEAKER_02: Um, would you rather cut start off our horror series with the new film sensation, as it is at the box office, obsession, or with its counterpart backrooms?
• 1:00:44
  SPEAKER_00: Um, well, you know, one I've seen and one I haven't.
• 1:00:47
  SPEAKER_02: So um spoilers, I saw them both.
• 1:00:50
  SPEAKER_02: I couldn't wait.
• 1:00:51
  SPEAKER_00: Yeah, yeah, yeah.
• 1:00:54
  SPEAKER_00: Um, you know, since since we since we've both seen it, let's let's start off with backrooms.
• 1:00:59
  SPEAKER_00: Cool.
• 1:01:00
  SPEAKER_00: Cool, cool.
• 1:01:00
  SPEAKER_02: All right.
• 1:01:01
  SPEAKER_02: Well, that's great because yeah, I watched it literally last night.
• 1:01:03
  SPEAKER_02: So it's fresh in the brain.
• 1:01:05
  SPEAKER_02: Uh, and I do have a lot of thoughts on that movie.
• 1:01:07
  SPEAKER_02: So it'll be great.
• 1:01:08
  SPEAKER_02: So if you guys haven't seen it yet, go out, go watch backrooms so that you can uh follow along as we start our journey into horror films, uh, our Halloween series for October.
• 1:01:19
  SPEAKER_02: For sure, a show of October.
• 1:01:21
  SPEAKER_02: So thanks again for joining us tonight.
• 1:01:22
  SPEAKER_02: Thanks again, Curtis, for jumping on, and we'll see you guys next Tuesday.
• 1:01:26
  SPEAKER_02: Of course.
• 1:01:26
  SPEAKER_02: Good night.