Latest / Film Curious / Backrooms Review | Does This Work as a Fully Formed Story or Is It Running on Aesthetics & Concepts?
Transcript
- 00;00;00;03 - 00;00;18;06 Speaker 1 She trips over like everything. She she she stumbles into the the standee as if it were in a metal post. And I was like, we don't need that. Like you, you don't need to fall back on that old trope that, that that was the only part of the movie where I was like, God damn it, I wish they. 00;00;18;07 - 00;00;29;07 Speaker 1 I wish he didn't do that choice because the tripping and falling of the woman and she's running away from the maniac is so tired. And every time I see it in the movie, I'm like, I don't. I don't want to see that. 00;00;29;11 - 00;00;46;28 Speaker 2 No more tripping, running away from tripping, ever. 00;00;47;00 - 00;01;23;01 Speaker 2 Hello and welcome to film curious. I'm Ashley and I'm joined by Pete and Nicole this episode to discuss the latest much talked about A24 psychological horror film backrooms, directed by 20 year old Cain Parsons and starring Eve. And she would tell Eagle for like obsessions director Curry Barker. Parsons did another filmmaker to get his start on YouTube. These youngins are topping the box office with their smaller budget films at the same time as each other, and made over 100 million in its first six days, which makes it a 24 highest grossing movie at the domestic box office, surpassing Marty Supreme. 00;01;23;03 - 00;01;50;02 Speaker 2 The movie is adapted from Cain Parsons viral found footage style shorts on YouTube. The backrooms found footage on his Kane Pixels channel, which he created with blender, a free 3D animation software, back in 2022, when he was a mere 16 years old. The core concept came out of a creepy pasta post on Reddit, which, for those not chronically online, is basically an online message board where people share scary short horror and supernatural stories. 00;01;50;03 - 00;02;13;04 Speaker 2 Parson pitched the idea to A24 while he was still in high school in 2024, in between applying for colleges. And that's how we get to the here and now of it. The film follows a story of a therapist and her patient, a furniture salesman, who discovers a dimension beyond reality in the basement of his shop. After her patient disappears, she ventures into the unknown to save him. 00;02;13;07 - 00;02;40;09 Speaker 2 So we're going to talk a bit about the whole vibe of the film, how it nailed that 90s style or early 90s style, because I would say that it has like some kind of like 80s furniture vibes to it. Our theories about the backrooms, if anybody's got some interesting theories on what we think is going on there, Pete has an interesting take that he mentioned earlier to us that I've been racking my brain trying to figure out where this connection is, is coming from. 00;02;40;11 - 00;03;21;25 Speaker 1 Yeah. Before before we even jump into that, this is really the first this is the film. I think it's very similar with the amount of money that it's making in the amount of, you know, the amount of press and everything, the excitement over it. I want to say, like, Blair Witch was really the last time that we saw such a micro-budget film with a very contained kind of idea hit this big, and the song that has nothing to do with the movie itself, but I'm curious of, is what are all the wrong lessons that studios are going to learn from this, right? 00;03;21;26 - 00;03;28;15 Speaker 1 Are they just going to think, oh, just every YouTuber should make a movie? Like that'll be the takeaway, probably. 00;03;28;15 - 00;03;30;18 Speaker 2 That's right. Find their new talent. Sort of. 00;03;30;20 - 00;03;51;05 Speaker 1 Yeah. It'll be like, this is exactly what we need and it's not going to work on on every project. But if they're cheap enough, if you can make them for less, for, you know, as little money as you can and this and that, then you you don't have to make $250 at the box office, right? So I guess this is like my overall thing on it. 00;03;51;07 - 00;04;24;12 Speaker 1 What I was saying was there was something about it that reminded me of John Wick. But for me, John Wick worked better. But this is what it is. You learn a good amount, a nice introduction to clerk character in the first like 20 minutes of the movie. You learn about some things going on in his life and his emotional state, and then you do not learn anything more about that character for the next hour. 00;04;24;14 - 00;04;45;17 Speaker 1 And then we return in the last 15 minutes to be like, oh yeah, by the way, let's tie this into all the stuff that you saw before. But in the middle of John Wick, there's a lot of really cool shit that happened. And there was a world that I learned about and other characters that you were kind of introduced to, and they were. 00;04;45;18 - 00;04;47;23 Speaker 2 You're referring to the first John Wick? 00;04;47;25 - 00;04;52;26 Speaker 1 Yeah. Just, you know, just just be honest. They were kind of all the same pattern. 00;04;52;29 - 00;04;54;13 Speaker 2 After the first one. Yeah. 00;04;54;14 - 00;05;23;11 Speaker 1 That was the thing that where backrooms I just, I wanted more of what happened in the front and what happened at the end because in the middle it's just a found footage thing. And while it was interesting to watch, I was not really like I didn't really care. And then there's all the scenes with Mary the psychiatrist, which hints at a lot of stuff, but it's not that like, oh, you have to really catch these details to understand it. 00;05;23;11 - 00;05;44;23 Speaker 1 They're just not giving the information because I think that this is just a first movie. In what's the Parsons is planning on doing multiple films off of. And then as things that we see in this first movie will flesh out and make a little more sense, because a lot of the scenes with Mary as a young girl, it's just coincidence, I'm sure. 00;05;44;23 - 00;06;25;12 Speaker 1 But Jesus, did it feel like all the scenes from Long Legs with the cop as a young woman with the mother who isn't exactly all there, the shot angles, the look of it, it all felt incredibly the same. But I got information in the long legs use of that. And then there's another whole sequence in backrooms. It's a chase sequence, but it's just Pan's Labyrinth with the Pale Man, you know, complete with trying to escape, you know, of a door going up through a floor as unique and, I don't know, new as this idea is, none of it felt really new and I liked it. 00;06;25;17 - 00;06;46;07 Speaker 1 I want to see what they do more. But I was I was just kind of board in the middle of the movie. And I know a lot of people have really liked it, so I'm excited to find out what it was that was getting your attention and where it missed me, because then I can take that and maybe it will just hit me better on the second run. 00;06;46;08 - 00;06;49;06 Speaker 1 So, Nicole, I believe you really liked it, right? 00;06;49;11 - 00;06;50;20 Speaker 3 Yeah, I loved it. 00;06;50;21 - 00;07;02;21 Speaker 1 And to be clear, like I liked it. I just it was a middle. I just was like, okay, cool. We what are we doing? So please. What what's what was it about it that that got you so hooked? 00;07;02;22 - 00;07;24;01 Speaker 3 Well, I think the style in the feel of it, it really did remind me of channel Zero. If you got. I think that Ashley like such a long time ago, when we first did the very first episode of a podcast ever, I was like, everybody here. And it's a show that got canceled. And I think now you can only watch it on shudder. 00;07;24;01 - 00;07;28;04 Speaker 3 Probably there's some other, but. 00;07;28;05 - 00;07;30;23 Speaker 1 It knows that toothy creature thing. 00;07;30;24 - 00;07;32;00 Speaker 3 Yes, yes. 00;07;32;04 - 00;07;32;25 Speaker 1 Yeah. 00;07;32;29 - 00;07;41;00 Speaker 3 But I wanted to say on your people that love. Yes. Right. Like. Sorry, I just looked it up. No. But if people. 00;07;41;00 - 00;07;41;25 Speaker 2 Yeah. This is familiar. 00;07;41;26 - 00;08;06;04 Speaker 3 Now for people that really loved the backrooms and like it's doing very, very well right now, go watch Channel zero. Like there's so much you will. It is. Exactly. Yeah. I would say they all feel like they could fit into the same universe. And there was a lot about the production of this movie too, that made me think of stuff specifically from that show, the way that the giant, you know, well, hold on, I'm not going to say anything. 00;08;06;05 - 00;08;09;27 Speaker 3 So not yet. But some of the the way that things I'll. 00;08;09;27 - 00;08;24;29 Speaker 2 Just give, I'll give a spoiler warning now so that you can talk about it. Spoiler warning that's all you're going to get from us without spoilers. So if you haven't seen backrooms, go see it and or just listen to the spoilers, whichever you feel. But. 00;08;25;00 - 00;08;33;15 Speaker 1 And if you're online, you probably already know the thing that she just referred to because it's kind of been all over stuff already. 00;08;33;17 - 00;08;42;09 Speaker 2 For the Chronically Not online. I will try to not spoil things for people. So anyway, Nicole, go go ahead. 00;08;42;11 - 00;09;07;21 Speaker 3 It wasn't ruin for me, but like the giant, the pirate Clark the way that he looks and like tunnel zero, like season three, you know, there's a character that's being kind of stalked by a version of herself that just has a giant paper mache head, like it's that same kind of uncanny valley thing that just, like, picking up through, like, corn and, like, worn socks and watching her the way that they're going through this seemingly kind of endless space. 00;09;07;24 - 00;09;27;12 Speaker 3 People that are familiar with the show, season two with No end House and all of those seasons from Channel Zero are based on creepy bozos, so it makes sense that this all kind of feels the same. They're taking ideas from creepy bosses and then just expanding on it. And Nick and Tosca, who also worked on Hannibal, the show too. 00;09;27;12 - 00;09;48;20 Speaker 3 And if you if you've seen Hannibal too, and like the kind of beautifully grotesque like imagery, that's what happens throughout that entire show. And I'm just like a really big fan of that kind of feeling to of like building dread, I guess, and, and having a bigger message that they're talking about. And for me, I get what you're saying. 00;09;48;21 - 00;10;11;26 Speaker 3 He where it feels maybe for some people, a little bit to open in terms of what we're grounded in, you know, in Clark's story and what's actually behind it and then how that connects to Mary story. But I felt like I got just enough so that I did understand the type of person that Clark is and what something like the backrooms is going to represent for him. 00;10;12;02 - 00;10;37;09 Speaker 3 You know, they say it several times what Mary is talking about in those pathways and how we kind of go through and do the same things over and over and over again. Even ideas like, you know, like the more you remember something, the more you forget it, the more that it's warped, actually. And how that's represented by the physical people in their, for me, like the amount of information that we got, it was all as much as I needed. 00;10;37;10 - 00;10;51;21 Speaker 3 And I think that in terms of like the pacing, I felt like they took the time. In the beginning, it was slow, you know, it was like, okay, we're getting to know this guy. We're getting to know the people. And then this is the thing. Like, this is the draw of the movie, you know, like this is the space. 00;10;51;23 - 00;11;27;17 Speaker 3 And then it just really kicked it into high gear, you know? And it took moments to where it slowed down, you know, when we checked back in and then it's like, okay, so how are we going to bring Mary into this? And we have him just leaving that voicemail and she gets pulled into it. I felt like I was getting enough from those kinds of scenes, like when you see that she is just somebody that had a traumatic childhood, and now she's trying her best to help people, and obviously she couldn't help her mother, and she's got to kind of try and accept the fact that she can't help Clark and that she's not going 00;11;27;17 - 00;11;43;19 Speaker 3 to be able to help everybody. And it's really only in that moment where she finally loses her shit on Clark and he's like, fully honest with him in a way that a therapist really cannot be sometimes with their, their patient, that it seems like he too also makes the connection. And I appreciate. 00;11;43;19 - 00;11;48;17 Speaker 1 That part of the movie in my. Yeah that hurt her outburst is was part of the movie by me. 00;11;48;19 - 00;11;50;23 Speaker 2 That is. Yeah. Yeah. And she's. 00;11;50;25 - 00;11;57;28 Speaker 3 She's great too. And I forget what movie I've seen her and I think it's called Worst Person in the world. And then sentimental value. 00;11;58;00 - 00;12;02;24 Speaker 2 Really. Yeah. But yeah. Yeah, I adore those movies. 00;12;02;27 - 00;12;22;09 Speaker 3 Yeah. So I think that it's also like I really enjoyed the way that the movie looked. I enjoyed the way that they decided to take the story, you know, because backrooms like on the internet, it's everybody contributing to the story, you know. And then Kane Parsons had his version of it. And then there's, you know, people fighting online being like the purest of like, that's not what the backrooms are. 00;12;22;09 - 00;12;25;00 Speaker 3 And there's all different levels of the backrooms, like whatever, you know. 00;12;25;02 - 00;12;25;27 Speaker 2 But like. 00;12;25;29 - 00;12;28;24 Speaker 3 This is his own specific. 00;12;28;27 - 00;12;43;06 Speaker 2 His interpretation of it. I think he talks about it as it like it's an open source sort of idea. Yeah. It like it's like it can be it's for everybody for whatever they want it to be. Sort of deal. Yeah, yeah. But you. 00;12;43;07 - 00;13;04;06 Speaker 1 Say that. But then he, they list out rules like they kind of list out rules like you're saying. Nicole. It's like it's this open idea that's open to anything. But then near the end of the film, it's like, no, it's it's all these different versions of things that you've just repeated and they're kind of forgotten. So like, is it open or is it what they said? 00;13;04;06 - 00;13;20;08 Speaker 1 That's the thing. Sometimes I felt like the movie wanted it both ways, is like, I want to kind of feel like a Lynch film. But I'm also going to tell you exactly what the hell is going on in here at the end as much as I can, and then I'll save rest for the sequel. That's that was sort of what threw me off. 00;13;20;08 - 00;13;39;23 Speaker 1 It was like I was like, what do you want? Do you want us to be like, something that I don't know about? Or do you want to tell me what it is? Because they did both of them. And here's here's the thing, though, ultimately I want to know what happens. I want to see what they do next with it, because this just felt like chapter one. 00;13;39;29 - 00;14;14;17 Speaker 1 This could have been a 45 minute prolog that I watch on the internet, and I would be like, I want to see what happens next. So even with my like my negatives that I have against it. I want to see what happens next. Which if you accomplish that goal, you want like that's it. It's a winner. So but I do find that it was a YouTube video in the middle with a movie wrapped around the edges on it, but I think that he's 20, like, you know what? 00;14;14;18 - 00;14;33;13 Speaker 1 You don't what do you have to say really, when you're 20, right? I don't really know how much to say yet. Yeah, I don't know how much he has to say yet, but as he gets older and whatever and he gets, you know, I know a lot of people have been also they've been making the accusation they did this with Poltergeist that like he didn't actually direct it. 00;14;33;14 - 00;14;52;11 Speaker 1 Which people are going to say that because he's 20 years old. Yeah. They're making like accusations like that. And Duplass was really, really defensive on that. I think that's a bunch of horseshit. Like just it's okay. You didn't come up with it. I know it sucks. You wish you did. And you would have done this when you did 20. 00;14;52;12 - 00;15;17;12 Speaker 1 And that's where a lot of that comes from. But really, man, good on him for, you know, for this. But no, I'm going to go back though. I'm going to watch it a little more with with I just think I want to see it in the theater again to it was fun to see that type of like lo fi but expansive view in a theater. 00;15;17;14 - 00;15;30;25 Speaker 1 It was that was a cool thing to to experience and not many films, you know, pull off that without it just feeling like someone poking me and saying, hey, remember the 80s? Do you remember DHS tapes? Yeah. And I'm like, yeah, yeah, I. 00;15;30;26 - 00;15;31;16 Speaker 2 Fucking. 00;15;31;19 - 00;15;59;13 Speaker 1 I fucking get it. Yeah. Like I didn't feel like that during the movie, which looking back, that was absolutely a pitfall that they could have fell into and they don't at all. And maybe it's because he is so young. He didn't actually experience the 80s like that. So that nostalgia is or like early 90s, as ash was saying, like it does feel like 92, 91, like right around that time. 00;15;59;16 - 00;16;02;13 Speaker 2 To say 96 isn't like the found footage, say 90. 00;16;02;14 - 00;16;13;27 Speaker 1 Yeah. Okay. That that feels right to like that. That furniture felt like that error. But it clearly wasn't a time when like he was taking it all in. So he has this. 00;16;13;28 - 00;16;15;04 Speaker 2 Watch 20 to go. 00;16;15;05 - 00;16;21;19 Speaker 1 No, no. That's I mean that's like saying but that's like saying, you know, couldn't make a World War Two movie because that's. 00;16;21;19 - 00;16;21;25 Speaker 2 Where. 00;16;21;25 - 00;16;22;20 Speaker 1 I think that, you know. 00;16;22;22 - 00;16;24;25 Speaker 2 No, no, no, no, I'm not saying he can't make the movie. 00;16;24;26 - 00;16;28;17 Speaker 1 No, no. I'm saying for others who would make that claim, I. 00;16;28;17 - 00;16;28;27 Speaker 2 Think his. 00;16;28;27 - 00;16;39;09 Speaker 1 Production of this mix of he has a fascination and interest in this era, but it's not bogged down by his nostalgia of it because he didn't actually live through it. 00;16;39;10 - 00;16;40;10 Speaker 2 He does. I wanted. 00;16;40;13 - 00;16;47;26 Speaker 1 It, and I love that because the nostalgia part and the nostalgia poking and tapping on the head. Oh, isn't it great? 00;16;47;27 - 00;17;03;04 Speaker 2 You remember? Yeah, I felt no, I felt no nostalgia for this. And I when I saw some of the furniture that I was like, I recognized, there was like, I think the bed. Yeah. Like the bed that that Mary has. I'm like, I think my neighbor had that bed and it was super ugly. And I hated it at the time. 00;17;03;04 - 00;17;08;04 Speaker 2 And I've always hated that. While I hate that like weird white and gold, like modern. 00;17;08;07 - 00;17;08;19 Speaker 3 And the. 00;17;08;19 - 00;17;08;27 Speaker 2 Lamp. 00;17;08;28 - 00;17;11;05 Speaker 3 Shit on her bedside. Yeah, she. 00;17;11;10 - 00;17;12;20 Speaker 2 Looks so ugly. 00;17;12;27 - 00;17;13;16 Speaker 3 Yeah, it. 00;17;13;16 - 00;17;21;03 Speaker 2 Wasn't fun. 90s. Okay. We weren't, like, fun. Like, you know, lava lamps and shit like that was it. 00;17;21;05 - 00;17;47;22 Speaker 3 But I think that for me too, that actually it worked really well because 96 and thinking about our age like Ashley, that like very much made me feel like he was tapping into that. When you have memories of like very early childhood in like they're not fully formed and like it just feels kind of weird. Like it just feels kind of like you're in, like, a weird alternate space and you see something, you're like, oh, you know, and it triggers that. 00;17;47;25 - 00;18;06;13 Speaker 3 That's kind of how I felt like the whole movie, because of specifically how everything looked in the time that they said it in, which worked for me, because I feel like then the whole movie, I was slightly like uncomfortable. And so I think from the beginning already, I was kind of just like the, you know, like I wasn't easing into the movie. 00;18;06;13 - 00;18;22;09 Speaker 3 It's not like something like we, you know, we talked about boosters and just like having a nice time the way that it looks like with this movie, I felt like that all worked too. And then we get into these, like, open yellow rooms and just it makes you feel just bad. Or at least that's how I felt. 00;18;22;10 - 00;18;45;08 Speaker 2 You know, it's got like that weird, like office building or like corporate feel to it with the lights. I felt like, I don't know. For me, it was vague and I think it was supposed to be purposefully vague. I think like that was the purpose of it, the story being vague and the backrooms being vague and like. 00;18;45;09 - 00;18;48;18 Speaker 1 But are you interested in finding out anything about it? 00;18;48;22 - 00;19;09;25 Speaker 2 I was with with Clark, with tutelage of for his character, his the beginning of the film really interest me. Like when he goes in first to the first, finds the door and he goes through and meanwhile I'm like, what a crazy man. He goes in there without marking the exact area of the wall when all the walls are look the same like. 00;19;09;26 - 00;19;22;23 Speaker 2 And he already. And he was smart enough to check to make sure that he could go back and forth. Right? And I'm like, dude, bring a pen with you. Bring some duct tape. Like, don't go back in there. It's fine. He's interested. It moves the movie along. 00;19;22;25 - 00;19;23;23 Speaker 1 I'm not gonna. 00;19;23;27 - 00;19;24;03 Speaker 3 I'm. 00;19;24;03 - 00;19;24;23 Speaker 1 Not gonna. 00;19;24;26 - 00;19;30;00 Speaker 2 Make it. But but I was like, I remember being like, oh, no, he's gonna get lost. But, like, I don't. 00;19;30;00 - 00;19;40;17 Speaker 3 Think that he. I think that's part of the carrot. Like, I don't think that he necessarily cares about getting lost. You know, by the end of the movie, that's very clear. Like, I don't he doesn't care that much. 00;19;40;18 - 00;19;43;19 Speaker 2 I think he maps out the whole architecture. 00;19;43;19 - 00;19;46;12 Speaker 1 He brings, like a backpack, full snacks and and. 00;19;46;12 - 00;19;47;27 Speaker 2 He doesn't really. 00;19;48;00 - 00;20;10;10 Speaker 3 I think it's more so though, like, but it's not about like it's not coming from the same place of like surviving and getting. I feel like it's so that he can understand it, you know, and especially the fact that, like, he wanted to be an architect or he was an architect at some point, like, I don't I feel like I, I got that from the story though. 00;20;10;11 - 00;20;39;15 Speaker 3 Like, I get what you guys are saying about it being vague, but I feel like it was to me like a very focused story, unlike his character, and that we got what type of person he was. And so then I felt like what I was experiencing was the backrooms reacting to what kind of a person he was. And then, you know, having someone like Mary come in there and like that whole scene, which is like, that is a great scene, like where they're sitting down for dinner, I guess I'll call it the role playing dinner scene. 00;20;39;18 - 00;20;53;26 Speaker 3 And the acting in that is just amazing. Like his facial expressions of the way that he wants her to go exactly through it again. But to reach like that moment of like realization where he's like, I don't want to change. Like, I don't think I want to leave. 00;20;53;27 - 00;21;20;08 Speaker 1 Yeah, I love all that. Yeah, but yeah, wait a minute. So your interpretation. Nicole I'm sorry. I just want to because I'm again, I'm curious about this part of it. Your interpretation is at the back. Rooms are responding to him. But before he ever knew about the back rooms or anything, people have already been like exploring and getting killed in this thing by the giant Clark. 00;21;20;10 - 00;21;44;09 Speaker 1 We just don't know that it's him at the time in the opening scene, but it's not. I don't think that it's responding to him at all. It's responding to everything that anyone has ever seen in the world, and it's all in there. Like, that's that's also why I thought that the ending was, I don't know what I'm supposed to react with the when the ending when it shows her in there. 00;21;44;09 - 00;22;07;03 Speaker 1 Because in my mind I was like, well, yeah, yeah, there's a version of her to you just told me there's a version of everything, you know, this, this guy who he never saw before but must have been walking on the street somewhere. There's a version of ten minutes. So, like when they reveal that there's a version of her, I was like, sure. 00;22;07;06 - 00;22;17;25 Speaker 1 Like, I don't like. To be clear, I didn't find any of it confusing. I think it's pretty straightforward. And like because they tell you straight up, like what happens. I just didn't know how to react to it. 00;22;17;25 - 00;22;23;20 Speaker 2 Sometimes I just think it does what they tell you what's happening. But I for me, I'm getting mixed. 00;22;23;23 - 00;22;24;15 Speaker 1 It could be wrong. 00;22;24;20 - 00;22;50;03 Speaker 2 I'm getting mixed messaging here because I thought, like, I agree with both of you though, right? Like Nicole, they're telling me while they're in the back rooms that it's it does things of your memory like it's iterations of your memory and then like things are happening that is kind of the backrooms reacting to his memories or them being there right in the literal backrooms. 00;22;50;03 - 00;23;05;15 Speaker 2 But then at the end of the film, they're telling me that it's everything ever. And so I think, I think it's confusing, like I'm confused and just because I so I have both of your like both of your takes. So I'm just for me. I'm like, I don't want is. 00;23;05;16 - 00;23;08;19 Speaker 1 It on purpose? Maybe, maybe this thing is that they're wrong. 00;23;08;20 - 00;23;09;21 Speaker 2 They don't know enough. 00;23;09;25 - 00;23;35;15 Speaker 1 Which I like. Like if it turns out that, like the people in the movie that are telling you something, if they're just fucking wrong, and that's what we learned eventually, I love that. I don't know if that's the intention, but I actually think that's really great because a lot of people who think they have things figured out they don't see, it would be great if, like marketplace's character is trying to tell her, like, well, hey, this is what's going on. 00;23;35;15 - 00;24;02;11 Speaker 1 And she has a little, I don't know, I thought she had a little bit of a smirk on her face while he was while he was doing that, and I wondered if it was because she figured out or she knows something previous, because her mother had an interaction with this space as what my assumption is, and I, I like the idea that no one knows, including us yet, but we're going to learn a little more information. 00;24;02;11 - 00;24;15;23 Speaker 1 But I don't know if I really want to know. I like it being this, you know, not explainable, but I'm sorry. So, Nicole, like when you saw her at the end, what what did you infer from that? 00;24;15;25 - 00;24;32;14 Speaker 3 Well, because she had been in this space, but also because it could be how Clark remembers her, you know, I mean, like, because he's been in there. I think that also, I didn't take it necessarily that it's supposed to be like the whole world isn't there, although it could be, you know, as you're mentioning, like maybe they're wrong. 00;24;32;14 - 00;24;47;10 Speaker 3 I thought that the movie, I didn't feel like this was the kind of movie where I'm watching it and it's like, okay, what's going on? And then the movie, he's like, oh, okay, this is it. We're explaining it to you. I don't think I took it that way. I was taking it as like, these are theories. Like, this is Clark's theory. 00;24;47;11 - 00;25;02;17 Speaker 3 This is Phil's theory. And when she's kind of smiling at the end, and then she kind of just looks like she's just, you know, she just not listening to him at all. Yeah, I think that is her kind of being, like, I don't even care. Like, I don't even want to listen, like, you know, like, this is you don't know either. 00;25;02;18 - 00;25;21;02 Speaker 3 Like, we don't we don't know what it is. And she just kind of checking out, you know, she seems uninterested anymore and, like, tracking and, you know, as a therapist too, and like, figuring out the psyche, like, why somebody is. And how am I supposed to help them? It seems like she's having a moment of just like, I don't even want to figure it out. 00;25;21;04 - 00;25;40;28 Speaker 3 Like I don't want to figure everything out anymore. But I thought that it maybe too, if I'm coming up with this theory like that, it was supposed to be people, you know, when Phil mentions that there's doorways opening, like all the time, that someone's proximity to it, you know? So I felt that maybe just because we know, too, that he lives in the store. 00;25;41;02 - 00;25;55;10 Speaker 3 So he's there all the time with his funky bad feelings about himself. That really cracked me. A lot of people. My theater laughed when he like it pans out and you think that he's like in a house, but he's actually just like sleeping in the bed. Like out the store. 00;25;55;12 - 00;25;55;26 Speaker 1 Yeah. 00;25;55;28 - 00;26;19;16 Speaker 3 So he's been there a long time, because even at the beginning, when we see, you know, the guy from the company get attacked, there's stuff that's from the store there that's in the back rooms. So I feel like it. To me, it just seemed like one that it could be just it starts pulling from wherever. They're these like openings that pop up wherever they are. 00;26;19;18 - 00;26;39;14 Speaker 3 And that also if somebody happens to wander in there, maybe they went out and then keeps going with whatever they've left behind and they're they're kind of mental debris. But to like, I don't feel like the movie was trying to make me feel like it was confident and that it's character like the characters are right about what they're telling you, like, this is what it is. 00;26;39;16 - 00;26;56;24 Speaker 3 I didn't think that it was doing it. I thought that even like when Clark says something like that, like in the kind of dinner scene where he's like, this is some guy, you know, is somewhere, you know, this is the version of him, he has no idea. Like, it's just his theory, you know, and he's been like, the in there for how long? 00;26;56;24 - 00;26;59;15 Speaker 3 He's clearly out of his mind. So I was. 00;26;59;17 - 00;27;00;17 Speaker 2 Like. 00;27;00;19 - 00;27;17;08 Speaker 3 Okay, I don't know. I think that the, the vagueness or that idea of vagueness, like, that's what I really enjoyed about it. And I've seen other movies before where it just like very open and at the end it's like, what? What even happened? Where like it pisses me off, where I'm like, what does it happen? Like, I like the movie. 00;27;17;09 - 00;27;40;11 Speaker 3 I'm like that my movie, my life is not any different. I'm angry. I'm nothing from that movie. Like, I didn't have that kind of experience with this. Like after this, I was like, oh, okay. I really feel like I have my own ideas about it. And there were also clearly things that wanted to talk about. I think that it was trying to be clear, not in this is how the backrooms functions, and these are the rules. 00;27;40;11 - 00;27;58;12 Speaker 3 I think it more focused. It wanted to be clear about this is the message, these are the characters and these are the ideas that we're trying to talk about, so that maybe in future movies, two different characters, depending on what they're going through, are going to interact with the space differently, possibly. And that I think to in subsequent movies. 00;27;58;12 - 00;28;09;01 Speaker 3 And we'll probably get a little bit more about like the company and like what maybe it actually is. We'll get like little hints. Stuff like that bothered me that much. 00;28;09;02 - 00;28;32;01 Speaker 1 I just wish that there was something during the entire second act that if it wasn't Clark, it would have mattered. Like it being Clark. It does. It could have been anybody. Like, you could just put any two people who are going through it. And so that's the only that's that's really the thing. I just need that little, that little miss that little gap. 00;28;32;04 - 00;28;41;00 Speaker 1 And funny enough, though, I wanted to share with you guys. Did you guys ever hear in the book, period, they say it's Suzanne Clark. 00;28;41;02 - 00;28;41;29 Speaker 3 Yeah. 00;28;42;01 - 00;29;13;08 Speaker 1 Okay. Let me let me just give you a very brief on Piranesi. Pyrenees is about it's just called the house where it is in ever expanding collection of rooms and floors. And they're all like different archetype architectural architectural types and ages of humanity and this and that and and the top there are clouds, and the bottom is filled with water and this and that. 00;29;13;13 - 00;29;25;22 Speaker 1 And it has, you know, there's a lot that you can tie in between the presentation of these two worlds. EGFR is the guy who actually does the audio book. 00;29;25;25 - 00;29;26;08 Speaker 2 Oh, you. 00;29;26;08 - 00;29;27;08 Speaker 1 Mentioned the lead. 00;29;27;09 - 00;29;27;17 Speaker 2 Yeah. 00;29;27;21 - 00;29;51;02 Speaker 1 So I thought it was it's a funny like you could do like a little each of four alternate world setup thing if you ever wanted to. But it's a fantastic book and really, really fascinating read. A lot of fun. And then when I was watching this, I was like, oh man, this guy just loves getting himself lost in these, like, liminal spaces. 00;29;51;05 - 00;30;08;02 Speaker 1 They wanted, you know, and it's also, you know, what, another movie that came out though, that also like, you know, kind of started as an internet thing and because it was a video game and then got popular and got a movie and I haven't heard people talk as much, actually, I think it's a I like it, I prefer it as a movie. 00;30;08;04 - 00;30;21;18 Speaker 1 Over. This was exit eight, which, you know, there are there are similarities in the lead, in the character, in the lead character and in their faults in both these films. But exit eight. 00;30;21;21 - 00;30;22;18 Speaker 3 They wanted. 00;30;22;25 - 00;30;47;02 Speaker 1 Through the journey in the middle space and all that. You know, we are having this character come face to face with his. They wanted shortcomings and you know that that is our drive ultimately where that's that's all I wanted. It's a little more from this one. And then the whole thing, like Nicole and I'm with you. I like the ideas. 00;30;47;02 - 00;31;06;18 Speaker 1 I said, I like the idea that these people don't know what the hell they're talking about. Maybe. But the movie does present them as if they do. Like in a, in a sense of like, I'm now going to tell you details, you know, it sits them down and does do that. So I think that's where for me and ash, maybe that miscommunication came up. 00;31;06;18 - 00;31;29;14 Speaker 1 But I also want to see it again. And I'm curious to see next. So and I'm happy it's making bank. I'm happy that obsession is making bank. And I hope that the continuation of the proving that the Hollywood system is not the way you have to do every goddamn thing. I hope it keeps going. And that I wanted. 00;31;29;17 - 00;31;37;20 Speaker 2 I wanted it proves to put put things in in theaters, for God's sake. That's how movies. Yeah. Make money, get known. 00;31;37;21 - 00;31;41;01 Speaker 1 Don't spend. I wanted million dollars on them. 00;31;41;03 - 00;31;43;08 Speaker 2 And then put them on streaming. 00;31;43;10 - 00;31;45;10 Speaker 1 I wanted, you know, so I'm. 00;31;45;13 - 00;31;45;22 Speaker 2 Them on. 00;31;45;22 - 00;31;52;04 Speaker 1 Streaming the future of whatever this may be. But yeah, let's see what happens. I'm curious as to what happens next. 00;31;52;05 - 00;32;13;20 Speaker 2 I don't need to see another film of this. I don't I don't want to see more. I'm not interested in it. I think that the story for me, there's just chunks of story missing. If you're going to tell a story about Clark and Mary, we're not getting a much story about Clark and Mary. Like Clark goes into the back rooms he is exploring. 00;32;13;20 - 00;32;24;03 Speaker 2 It's interesting. I'm interested in his exploration of the backrooms, but we don't really see him. For me, I'm not seeing him interact with the back rooms. I don't see. 00;32;24;05 - 00;32;25;12 Speaker 1 What becomes crazy. 00;32;25;14 - 00;32;47;13 Speaker 2 Yeah. Then we we get taken away from him and his storyline, and so we don't know what the hell he encountered in the back rooms and what drove him to insanity. Yes, he's been stuck in a weird rooms maze, and he maybe watched Cat his his assistant store manager get killed or murdered by something. Him the pirate? I don't know the pirate. 00;32;47;13 - 00;32;56;27 Speaker 2 Him I don't know. Again, like, what if it's some other shadow demon of another person's or not? Really. Sure. 00;32;56;29 - 00;33;10;17 Speaker 1 Well, I think it's it's it's it's. I think that's an obvious assumption. It was the pirate that killed her. I don't I don't think you're supposed to be wondering. Was it something else? But we never see progress. Yeah, we we never. 00;33;10;21 - 00;33;16;06 Speaker 2 Maybe I didn't get this. I didn't get what it was trying to tell me with the pirate. Him. For some reason, I was just. 00;33;16;06 - 00;33;16;27 Speaker 1 Assuming it's just. 00;33;16;27 - 00;33;20;22 Speaker 2 To have their demons in the back rooms. 00;33;20;25 - 00;33;39;01 Speaker 1 Well, no, because also remember, like. No, she did this part I'm okay with. I like the pirate version because it was a representation of somebody who, if you, if you watch it from a different thing, he just wants a companion in a way, but he has no idea what to do once he gets them and he fucking kills them. 00;33;39;03 - 00;33;39;09 Speaker 2 Yeah. 00;33;39;09 - 00;33;42;00 Speaker 1 Where he like I think I think that's actually really, really. 00;33;42;00 - 00;33;43;07 Speaker 2 Well done. 00;33;43;10 - 00;34;06;17 Speaker 1 Yeah. Like I actually think that's really well done because that almost starts as an embrace. Like I think that's actually that scene when he has that moment with the pirate Clark. It's the one scene where Clark seems to understand that it's he's lonely. Like, this is my loneliness, violence, you know, this, that, that. I think that was actually really well done. 00;34;06;19 - 00;34;21;03 Speaker 1 My problem is that we have the sequence with, you know, the the guy and the girl, we lose them. And then the next time we see Clark, he is batshit crazy. And I have no idea. 00;34;21;06 - 00;34;21;23 Speaker 2 What happened. 00;34;21;24 - 00;34;26;06 Speaker 1 I would like it's not that I don't get why he would go crazy in this thing. 00;34;26;08 - 00;34;27;28 Speaker 2 Like it's not me weirdness. 00;34;27;28 - 00;34;51;07 Speaker 1 I would like to see it though, so don't just tell me. And he just went from, hey guys, we got to find out what the hell this thing is to the world's greatest thrift shop down in the lower level. And then and then the next time we see him, which it's great for the shock of the reveal of him choking her out. 00;34;51;10 - 00;35;08;15 Speaker 1 But it's at the expense of going. Well, I didn't get to experience any of that journey with this character that I'm supposed to care about. I missed out on everything, and it could have just been him just getting chased more, and then seeing the woman and seeing the man or, you know, having that. I think he saw the woman once before. 00;35;08;15 - 00;35;28;09 Speaker 1 But, just more of that built up and more of him freeing. I would have loved to have seen, but that's where the middle of the film misses. And that's where, like, you could and I'm not saying this, but you can lay it at, well, it's a YouTube video. It's not it doesn't like it just has a creepy visual. 00;35;28;09 - 00;35;30;08 Speaker 1 It doesn't have a story. 00;35;30;10 - 00;35;54;04 Speaker 2 That's what I think my problem is with it. For me, it's all a static and concept and no actual story. I mean, we're given minuscule bits about Mary's past, and we want to get like the concrete hand of her house being destroyed when she was little and her the turbulence with her mother being mentally unwell or insane and like, that's good. 00;35;54;05 - 00;35;57;16 Speaker 2 That's a good start. That's a good start. But like. 00;35;57;18 - 00;35;58;24 Speaker 3 I think it was. 00;35;58;24 - 00;35;59;13 Speaker 2 Fleshed out. 00;35;59;14 - 00;36;21;15 Speaker 1 Prolog. It's this feels like a Prolog. Whether or not that's positive or negative, it's going to go very miles. But it felt like a Prolog to me. And the other thing, you know what? For a movie that has like some, you know what? You know, it's being touted as like a lot of original ideas, having the female run away from the baddie and trip over every goddamn object. 00;36;21;16 - 00;36;23;18 Speaker 2 The soft couch that made me laugh. 00;36;23;19 - 00;36;26;29 Speaker 1 Well, no. See that actually I agreed with because. 00;36;27;00 - 00;36;28;06 Speaker 2 He is broken your leg on. 00;36;28;06 - 00;36;52;12 Speaker 1 The couches those couches used to have, like, cushioning and then a plank of goddamn iron and wood. And if you played on those couches as a kid, inevitably you did exactly what she did. That shit hurt for weeks. So when that happened, I was like, that seems familiar. I don't know how a 20 year old understands that, but, you know, couch is a couch a couch, right? 00;36;52;17 - 00;36;54;09 Speaker 2 But he didn't. 00;36;54;11 - 00;36;55;10 Speaker 1 Like everything. 00;36;55;11 - 00;36;56;06 Speaker 2 Screenplay. 00;36;56;09 - 00;37;20;16 Speaker 1 She she stumbles into the the stand D as if it were in a metal post. And I was like, we don't need that. Like you. You're you don't need to fall back on that old trope that, that that was the only part of the movie where I was like, God damn it, I wish they I wish he didn't do that choice because the tripping and falling of the woman is she's running away from the maniac, is so tired. 00;37;20;16 - 00;37;24;04 Speaker 1 And every time I see it in the movie, I'm like, I don't. I don't want to see that. 00;37;24;09 - 00;37;26;17 Speaker 2 No more tripping, running away from anybody. 00;37;26;18 - 00;37;27;16 Speaker 1 Tripping ever. 00;37;27;18 - 00;37;29;06 Speaker 2 No tripping. 00;37;29;08 - 00;37;29;20 Speaker 1 No, but. 00;37;29;28 - 00;37;30;18 Speaker 2 It's just. 00;37;30;18 - 00;37;54;16 Speaker 1 Felt so clean. It just felt so cliche in the moment of it. Again though, I want to watch it again because sometimes I watch something a second time and I'm like, oh yeah, it's fine, I don't care. It could, it could absolutely happen where I'm like, yeah, that's fine. She's tripped. She's clumsy, I don't know. 00;37;54;19 - 00;38;14;01 Speaker 2 Well so and I'm not gonna, I don't know, maybe they did really actively work together on on Cane Parson his concept and the screenwriter who's well, Sadiq, who wrote the first Evil Dead ten episodes. He did ten episodes of the first Evil Dead, which is the full series? Sure. 00;38;14;06 - 00;38;14;28 Speaker 1 Hilarious. 00;38;15;00 - 00;38;38;24 Speaker 2 Yeah, and he did, like an episode of Westworld, an episode of homeland. This screenwriter, and I believe they co-wrote it together came Parsons wrote it with the. That will suit the screenwriter. I don't want to make any assumptions, but I don't. I felt like somebody was trying to flesh out a concept and and it wasn't going. 00;38;38;24 - 00;38;39;04 Speaker 3 Well. 00;38;39;06 - 00;38;39;25 Speaker 4 And it wasn't. 00;38;39;25 - 00;38;40;22 Speaker 2 Going well for me. 00;38;40;22 - 00;38;41;29 Speaker 4 I don't know, I don't know. 00;38;42;06 - 00;38;56;21 Speaker 1 Filmmaking, though, that's it's like it's a team effort, like that's I and again, I think that people, really bad, shitty people are trying to line this up as like, well, he didn't really do this. He didn't write this. He did not not that you were doing that. 00;38;56;27 - 00;39;00;12 Speaker 2 Yeah. I just think that he was working with a co-writer. 00;39;00;13 - 00;39;08;19 Speaker 1 Again, like he's 20. I don't know how much I don't I don't know how much he has to say about divorce. 00;39;08;22 - 00;39;13;03 Speaker 2 And I don't think he was trying to say anything about divorce or even. 00;39;13;06 - 00;39;14;20 Speaker 4 Or even Mary. 00;39;14;20 - 00;39;17;07 Speaker 1 Story that somebody. I think that's totally fine. 00;39;17;09 - 00;39;18;22 Speaker 2 Well, this is the same story. 00;39;18;22 - 00;39;20;10 Speaker 4 I don't know if he. 00;39;20;13 - 00;39;21;20 Speaker 2 Yeah. So I don't know if. 00;39;21;20 - 00;39;21;28 Speaker 4 That's. 00;39;22;00 - 00;39;38;17 Speaker 1 What he has. He had you know, you don't have to go through the personal experience of being able to write something. No. You know, to my knowledge, Suzanne Clark never enter the tower with limitless rooms where one was filled with water on the bottom. 00;39;38;19 - 00;39;41;03 Speaker 2 No, you don't have to help it to help. 00;39;41;03 - 00;40;00;20 Speaker 1 Sometimes, you know, just to have more, you know, experience of what other people have done and this and that. But yeah, that's why he's young. It's a it's a great what a wild start for a first film like holy shit. Really one of the billion or there's too many billions of people in the world right now. You say that and you're like, well, then there's a thousand of them. 00;40;00;20 - 00;40;24;29 Speaker 1 But, yeah, I'm excited. I'm sorry. Nicole, we're being like on this thing that you really liked, but your comments. So I want to go back and revisit it with a different kind of set of I didn't have expectations, but now I want to kind of bring in someone else's feedback from it and see how I react to it. 00;40;25;01 - 00;40;38;09 Speaker 3 I would say too, though, like with that specific criticism of development of the story, development of the characters, again, I would say watch channels. I'm always trying to get people to watch Channel Zero. It's too late. It got canceled. It's not going to like. 00;40;38;10 - 00;40;40;14 Speaker 1 I have shutter. It's one shutter. 00;40;40;15 - 00;41;03;04 Speaker 3 I'm pretty sure. Yeah, that they're all on shutter. There's four seats, but that has like a whole season to develop the story. And so often like there are the beginning episodes where it is creating that feeling that you're talking about, where you're like, okay, this is cool. Like, what exactly the fuck is going on? And then it does give you a full story like it does, and it takes all the time to flesh out the characters. 00;41;03;07 - 00;41;21;09 Speaker 3 So it's very it's very, very satisfying. It definitely tapped into that feeling for me. But I will say that, like, I understand what you're saying. And like for me, the movie could have been longer. We could have spent more time Clark and with Mary and like, I would have been been fine with that. Specifically what you're talking about. 00;41;21;09 - 00;41;56;06 Speaker 3 I think with Clark and seeing him unravel a little bit and interact with these people. But but aside from the yeah, I really enjoyed it. And you know, I to want to see it again. And Kane Parsons has said that it is the kind of movie too that he intends, like for you then to watch later and be able to pause it and see maybe certain things that would be enhance it, but that he didn't want it to be like, you have to see that one little thing in the scene or whatever, but there's obviously a lot of details in there, and if you go online that people then have all the theories, you know, 00;41;56;06 - 00;42;18;20 Speaker 3 where they're like, he's wearing these shoes here. And then you see the chair is slanted here and like, you can kind of come up with theories about the timeline of when things happen. Like a lot of people really think that when Clark was filming the commercial and he fell the chair like, that's when the room makes the pirate Clark, like, starts making some of the copies and stuff like that because the chair is broken. 00;42;18;20 - 00;42;34;18 Speaker 3 Then what do we see it in the room like, you know, and the face that the pirate Clark has onto it has it is that kind of that face of like, you know, like when he falls, it's kind of the same thing. So, so fun stuff like that. But I don't think it's necessarily necessary to, like, enjoy the movie. 00;42;34;23 - 00;42;44;15 Speaker 3 I just, I really with this what I'll say, like I really enjoyed how I felt the entire time, which was not well. And then afterwards, like, I stopped. I enjoyed. 00;42;44;17 - 00;42;45;02 Speaker 2 You making. 00;42;45;02 - 00;42;46;20 Speaker 4 Me feel. And I won both I wanted. 00;42;46;21 - 00;42;47;07 Speaker 3 Yeah, like what. 00;42;47;07 - 00;42;49;09 Speaker 4 A movie makes me feel. 00;42;49;12 - 00;43;06;25 Speaker 3 It's like an intense kind of emotion like that where I'm just like, you know, like I'm just like, I don't really like the space that I'm in right now. And I'm forced into it for an hour and a half, two hours. Which is why to, like, I gladly would have spent two hours in the world that he was building. 00;43;06;25 - 00;43;09;06 Speaker 3 I would have liked a little bit more time in it. 00;43;09;06 - 00;43;40;23 Speaker 1 Also, actually, Nicole, I think maybe inadvertently stumble onto an interesting theory. What if a copy is only made of somebody through distress, you know? So in future films, there's a clerk with a huge chunk of his shoulder bitten out because the copies are. It's like an X man, you know, like, remember in, like, the classic X-Men, your superpower happened from something bad. 00;43;40;24 - 00;44;12;16 Speaker 1 Like, that's when your body kicked it in like that. Activated the gene. What if that's a reaction in the back room where it really is just multiplying trauma in a sense. Now, if we look back at that last scene with Mary, Mary, that was her name. Yeah. Now, as we look back at that last scene, maybe she finally breaks with now she had her blow up. 00;44;12;18 - 00;45;02;03 Speaker 1 But in that scene, as you were saying, she's starting to really disconnect. What if she just has broken away from giving a shit about what other people's opinions are on things anymore? And that's what then created in that exact moment, her thing. That's something I would love to explore on. Like that sounds fascinating to me because then also you can play with the idea that when you learn that you're more interested to dive into that world, like because people love putting themselves in danger as much as they don't, maybe, you know, think about it directly, but learning that something like that is what lived in that world only, I think, would drive even more people 00;45;02;03 - 00;45;27;05 Speaker 1 to be curious about it and want to go in there, which then, you know, repercussions the way they are will cause more, more shit to go wrong and deeper and into it and create other backrooms. So that's off the top of my head, like a way it could go that I find very interesting. And because of what you said with the the Pirate, you know, he was really embarrassed. 00;45;27;07 - 00;45;55;01 Speaker 1 You know, he was really embarrassed. He got really angry. So what if it's only collecting those moments, like our worst moments and manifesting them in their. So yeah, that's it has so much potential to be more than just this creepy video, you know, like there's so many videos on YouTube where it's it's like, oh, look, now there's a face out of my window and like, and that's the video. 00;45;55;01 - 00;46;13;29 Speaker 1 And it's like, well, there's no story, there's no character, and it's just a creepy reveal. It does. That does really nothing for me unless there's other stuff interesting, like it'll be interesting once and then it's just the same thing over and over and over again. And I think there's a there's a lot of there's a lot of potential. 00;46;14;02 - 00;46;18;06 Speaker 1 I'd also love to see other people work on it. You know what? 00;46;18;09 - 00;46;18;29 Speaker 2 Well, he says. 00;46;18;29 - 00;46;22;25 Speaker 4 It's open source. I think he said yeah, no, but I mean, like, I'm looking. 00;46;22;25 - 00;46;52;18 Speaker 1 For for real entries for like things that go into I'd love to see other writers and other directors take this and have a set of rules that that's only spoken internally, but then fostered out through different visions and different this and that. That could be a fucking blast. You make a collection of short films and call them, you know, backstory, you know, backrooms, and it's like a different episode. 00;46;52;18 - 00;47;14;02 Speaker 1 It's like a, like a Twilight Zone, you know, that that affects people in different ways. Oh my God, I eat that shit up there. Be amazing. Now, now we'll see what happens next. And we'll also probably see a lot of really shitty horror films that get pushed out because of the success of this one, but whatever. You know, that's just the that's. 00;47;14;02 - 00;47;18;24 Speaker 2 Just to get the good with the bad. Yeah, I'm all for it. Whatever. 00;47;18;27 - 00;47;25;18 Speaker 1 You're you're a marvel. Backrooms animated series eventually. Right. We gotta we've got to find our way there. 00;47;25;19 - 00;47;51;17 Speaker 2 My last thoughts to to wrap it up. Did anybody get the vibe? And maybe I'm just thinking way too much about AI stuff lately. Anybody get the vibe that he was trying to say? I know he was trying to. That there was like the iteration of the memories and your memories aren't perfect. And so then it creates a weird, like, if you were to describe a dog to a non-human or they've never seen a dog before, how would they draw the dog? 00;47;51;20 - 00;48;17;08 Speaker 2 That was giving me a big like AI vibes of like, we feed this machine human stuff, but it's not human, so it doesn't know how to accurately depict it. And so then there's these weird like convoluted iterations that are like, not purely human or not us. Not like versions of us, but not correct representation. 00;48;17;10 - 00;48;17;27 Speaker 4 Did anybody. 00;48;17;27 - 00;48;18;11 Speaker 2 Get. 00;48;18;13 - 00;48;21;04 Speaker 4 That one, that. 00;48;21;07 - 00;48;22;14 Speaker 2 Idea from it? 00;48;22;16 - 00;48;45;01 Speaker 3 I think that you could even think about the pirate Clark to like eating a consuming and just kind of like taking in more information, more material. The backrooms is doing that, but he's doing that as well. And it's not. Or the pirate Clark to like the way that Clark is dealing with him, and he tries to talk to him, that he feels like this is him, but it's it's not him. 00;48;45;01 - 00;49;16;03 Speaker 3 It's a completely different, warped sort of thing that he doesn't expect that it's going to take a huge fight out of him, obviously. But I definitely I definitely think that he was trying to put that kind of thought in there too, of just that all these things are not the real thing, that it's never going to be the real thing, actually, and that you can't, I guess, you know, you can't take shortcuts and that you actually have to make it or you have to do the hard work. 00;49;16;08 - 00;49;24;15 Speaker 3 It's this too, like maybe I'm reaching, but like, like Clark, like he doesn't want to do the hard work like he doesn't want. 00;49;24;17 - 00;49;25;28 Speaker 1 I think you're 100% correct. 00;49;25;28 - 00;49;45;19 Speaker 3 Yeah, yeah. And that a lot of people know, like they don't want to do that. You know, they're just like, why shouldn't I be able to be a writer? Why should I be able to be an artist? I can, you know, but it's like you don't want to actually develop the skill. So I definitely I definitely was did have thoughts about that while I was watching it. 00;49;45;22 - 00;50;10;04 Speaker 2 Yeah. And then Phil, Mark Duplass, his character towards the end or at the very end when he's talking to Mary and he's like, the way he kind of like says, this is the most important thing, like humanity will ever, like research and like, this is the most, you know, like, kind of like how the tech people who feed into, like, AI is going to change everything. 00;50;10;04 - 00;50;18;13 Speaker 2 And it's the most important thing that will humanity will ever do is, is work on AI sort of thing. That's like the kind of vibes I was getting from Phil. 00;50;18;15 - 00;50;41;21 Speaker 1 I think you could pull that from that. But Nicole, going right back to what you were saying was, with he doesn't want to do the hard work again. This is where I feel like it's there, and they just don't do it to the height that it could be. I love that his solution was we're going to do the role playing, but you're just going to agree that I'm right. 00;50;41;24 - 00;50;56;10 Speaker 1 You know that was like dad's actually again, that whole that that five, ten minutes whatever that is. So yeah, wrap that up, put a bow on it. Goddamn fantastic stuff. And a lot of that goes to the performance. 00;50;56;10 - 00;50;57;01 Speaker 4 I was going to say it's. 00;50;57;01 - 00;50;58;12 Speaker 2 Bolstered definitely by. 00;50;58;12 - 00;50;59;18 Speaker 4 The performances. 00;50;59;21 - 00;51;00;20 Speaker 1 Damn good. 00;51;00;21 - 00;51;02;05 Speaker 4 Yeah. 00;51;02;07 - 00;51;18;17 Speaker 1 But yeah, like his his approach to his problems was. No, just tell me that I didn't do anything wrong. And you are stealing my house, you know, because blah blah, blah, blah and fantastic stuff and rapier, that's all. That's my final. 00;51;18;20 - 00;51;28;22 Speaker 2 I'll make sure to note that and put that in the show notes to for anybody who's interested in that story. I think we really talked this one to death. 00;51;28;24 - 00;51;30;28 Speaker 4 So I'm going to call. 00;51;30;28 - 00;51;31;25 Speaker 1 This shows. 00;51;31;28 - 00;51;32;12 Speaker 4 Yeah. 00;51;32;13 - 00;51;35;17 Speaker 1 That shows a good that shows it's got, you know. 00;51;35;18 - 00;51;36;04 Speaker 4 Yeah. 00;51;36;06 - 00;51;47;14 Speaker 2 There's something there like I'm not I'm not trying to take anything away from the film. I'm just a very story. I'm also like, personally, I'm just a very story character driven type. 00;51;47;16 - 00;51;48;07 Speaker 1 You hate women., 00;51;48;12 - 00;51;48;16 Speaker 4 And. 00;51;48;21 - 00;51;54;09 Speaker 1 You already figured this out? Yeah. 00;51;54;11 - 00;51;58;11 Speaker 1 You didn't want Mary to live, and she did. And you're really upset. 00;51;58;14 - 00;52;08;21 Speaker 4 Clark should have lived on his nothing. Wrong, wrong, wrong. Yeah, the. Pirate Clark should have occurred. And one of. 00;52;08;21 - 00;52;11;12 Speaker 1 I shouldn't have given Clark a wish. 00;52;11;14 - 00;52;12;02 Speaker 4 And I wanted. 00;52;12;02 - 00;52;21;05 Speaker 1 To wish. Didn't have to be. You know, I want a solid one. A version of myself as a pirate. That's not a bad wish. Everyone wants a version of themselves as a pirate. 00;52;21;07 - 00;52;22;10 Speaker 2 That'd be fun. 00;52;22;13 - 00;52;23;08 Speaker 4 That'd be great. 00;52;23;10 - 00;52;28;20 Speaker 3 I think I want my therapist who taught me that I'm beautiful and perfect, and I've never done anything wrong in. My wife is a bitch. 00;52;28;21 - 00;52;36;29 Speaker 4 I love the what is she? She's like, you want it? I just like to finish off her. 00;52;37;01 - 00;52;38;14 Speaker 2 Statement about terrible. 00;52;38;16 - 00;52;41;19 Speaker 4 Is I won't change. 00;52;41;22 - 00;52;45;11 Speaker 2 Or not receive a great performance. 00;52;45;13 - 00;52;48;09 Speaker 4 So anyway. Really? I did really. 00;52;48;09 - 00;52;59;25 Speaker 2 Enjoy this conversation. I'm glad that we talk about we talk about it. It does kind of help inform me. I think actually, you guys did change my mind about obsession a lot, so I will thank you for that. 00;52;59;27 - 00;53;01;12 Speaker 1 Your wrong opinion. 00;53;01;15 - 00;53;03;22 Speaker 2 My wrong opinion. Yeah, yeah. 00;53;03;28 - 00;53;08;25 Speaker 5 I mean, it was partially wrong. I don't know, basically. 00;53;08;26 - 00;53;09;06 Speaker 2 I'm an. 00;53;09;07 - 00;53;15;12 Speaker 5 Idiot who doesn't pick up on anything when I watch these films. I don't understand that. I just don't understand. 00;53;15;13 - 00;53;21;13 Speaker 2 Horror films. That's something I don't know. Maybe I don't get, like, maybe I got to watch horror. More horror movies or something. 00;53;21;14 - 00;53;28;14 Speaker 1 If you watch The Shining and you start yelling at Shelley Duvall, but then we have some problems, we're going to have some real issues. 00;53;28;15 - 00;53;31;06 Speaker 2 I never I don't like I don't like any of these. 00;53;31;06 - 00;53;31;28 Speaker 1 Guys. 00;53;32;00 - 00;53;32;16 Speaker 2 But I. 00;53;32;16 - 00;53;33;16 Speaker 1 Just like these guys. 00;53;33;17 - 00;53;48;12 Speaker 2 Let's get let's get something straight. I don't like bear. I don't actually Clark was enjoyable. He was funny, but that was more like she would tell you to, for it was a really Clark, the character. He's he's terrible too. I don't like these characters. Oh, like these guys. 00;53;48;19 - 00;53;50;14 Speaker 1 But these guys. 00;53;50;15 - 00;53;58;12 Speaker 2 It doesn't mean that I think the story is well fleshed out either. So. All right. And end of point. 00;53;58;14 - 00;54;20;03 Speaker 2 Thanks so much for everyone who stuck around to to listen to this all. If you're liking it, make sure to subscribe to the channel. And we've got more to come and we'll figure it out when we figure it out. So thanks for listening. Thanks, Nicole and Pete for joining me. And have a good one. Well, we'll talk to you guys soon. 00;54;20;06 - 00;54;21;15 Speaker 6 Bye bye.