Latest / What's Your (Least) Favorite Scary Movie? / #285: The Texas Chainsaw Massacre (2003)

Transcript

#285: The Texas Chainsaw Massacre (2003) · What's Your (Least) Favorite Scary Movie?

• 0:06
  Hello, what's your least favorite scary movie?
• 0:11
  I don't know about you guys, but I like my teeth right where they
• 0:14
  are. Welcome to.
• 0:16
  What's your least favorite scary movie?
• 0:17
  The podcast where we talk about the good, the bad, the ugly and
• 0:20
  the absurd and all of our favorite.
• 0:21
  And least favorite? Scary movies.
• 0:23
  Because we believe every horror movie rightfully has its fan
• 0:25
  base. Even if we don't always.
• 0:27
  Get it? My name is Travis.
• 0:28
  My name is Jesse and welcome to July.
• 0:32
  We're starting off July with 2003 remake of the text Chainsaw
• 0:37
  Massacre because our schedule got fucked up last month and
• 0:41
  we're still trying to catch up right now.
• 0:43
  Yep, told you it wouldn't happen again.
• 0:44
  It happened again. Yeah, since with the same movie
• 0:47
  too. Texas chance I'm.
• 0:48
  Asking and I'm just going to say I didn't say it wouldn't happen
• 0:51
  again. I didn't agree to that.
• 0:55
  Yeah. And, you know, but if it's going
• 0:56
  to happen to any franchise, I think the Texas Chainsaw one's
• 0:59
  the right one because it's so disjointed and so confusing.
• 1:01
  I think that this helps, yeah. You have to embrace the
• 1:04
  confusion, yeah, to really, truly enjoy this franchise.
• 1:08
  We're in the zone of it. Speaking of disjointed,
• 1:12
  confusing, et cetera, we've got stuff for our budget tier
• 1:17
  patrons to be aware of. So first of all is that our
• 1:21
  bonus episode for June should be out by now.
• 1:24
  We did another playthrough of what's?
• 1:28
  The Paranormal Inc. Paranormal Inc cuz y'all enjoyed
• 1:31
  that so much last time and I was so stressed about it last time
• 1:34
  and we haven't recorded it yet but I'm going to try and
• 1:36
  convince Travis to record it out in the living room so I don't
• 1:38
  have to sit in this creepy. Room we can play on the TV that.
• 1:41
  Way being freaked out. Yeah, I'm into that.
• 1:45
  And then also, guess what? July's bonus episode is gonna be
• 1:50
  out real quick today, as we all know, if you're listening to
• 1:55
  this on release day, that is, is Return of the Living Dead day.
• 1:58
  Yeah, yeah, yeah. Takes place July 3rd in
• 2:03
  Louisville, KY And as our duty, as duty, as horror fans and
• 2:09
  Kentuckians, we watch it every year.
• 2:12
  And we decided this year we're just going to kind of record a
• 2:14
  commentary track as we go along, so that'll be up soon as well.
• 2:18
  Yeah, bonus points if you do that movie on the same day too,
• 2:22
  because then it's like an extra celebration right there.
• 2:24
  Yes, that's assuming that you get it uploaded.
• 2:28
  Oh, I, I think I can do that. I think we can manage.
• 2:32
  I think we somehow we'll manage. We'll be all right.
• 2:35
  So if you're listening to this on release day and it's roughly
• 2:38
  8:00 at night, check to see if Travis has uploaded it to the
• 2:41
  Patreon yet. And guess what?
• 2:42
  You don't just have to be a budget to your patron, although
• 2:45
  you know it, It's only $1.00 more than buying either of these
• 2:48
  bonus episodes. Yeah, so.
• 2:51
  You get so much more, yeah. Yeah, yeah.
• 2:53
  So. Including the whole sticker
• 2:55
  deal. So by now, if you never told me
• 2:58
  what you wanted for your sticker, too bad, you're getting
• 3:01
  my pick. You played Will of Travis and
• 3:03
  Travis chose for you. But you know those are those are
• 3:07
  in the mail by this point, and you should have them by now.
• 3:10
  If not by now. You'll have them any day now
• 3:13
  because I'm going to send them out by this day.
• 3:15
  OK? Yeah, before July.
• 3:17
  Those are going in the mail. OK.
• 3:18
  All right. And the budget here, Patrons,
• 3:20
  you should have also already voted.
• 3:22
  Sorry we didn't give you as much time to vote again.
• 3:25
  It's been KL. What the fuck was June?
• 3:28
  It's been a shit show for us here in June, so we apologize.
• 3:31
  Yes, and we are recording this before, slightly before the end
• 3:34
  of June. Yeah, it's the 29th.
• 3:36
  We are going to be making our payment to the Trevor Project
• 3:39
  here shortly on July 1st probably.
• 3:43
  And like we said, everything that we got from the Patreon in
• 3:45
  the month of June is going to be donated directly to The Trevor
• 3:48
  Project. Right.
• 3:49
  Yeah. So thanks everybody for sticking
• 3:51
  with us. But we're here, we're back.
• 3:52
  We're getting to it. So let's get to it.
• 3:55
  All right. All right, I have our poll from
• 3:57
  last week's episode, which was Hellraiser too.
• 3:59
  Yes. And we asked everybody what was
• 4:01
  your personal hell? So we had clowns, loose skin,
• 4:06
  frank and daddy issues. OK, 8% chose clowns, 42% loose
• 4:13
  skin, 33% Frank, 17% daddy issues for me.
• 4:21
  I you know, as much as I love them in horror movies, it's
• 4:24
  because they're so terrifying to me.
• 4:26
  So clowns, like if I'm surrounded by clowns, that's
• 4:29
  gonna be terrifying for me. I'm not gonna do too well, OK?
• 4:34
  Daddy issues? Daddy issues?
• 4:35
  Yeah. You got a company there?
• 4:37
  Yeah, you know what? It happens.
• 4:39
  It's a thing. It's a.
• 4:40
  Thing. All right.
• 4:41
  Thanks everybody for participating.
• 4:43
  I always appreciate it when everybody does that.
• 4:45
  All right, so we have everything out of the way now.
• 4:47
  So how's about we stick with Texas Chainsaw Two?
• 4:51
  No, not 2. The remake.
• 4:53
  We're doing the remake today, 2003.
• 4:55
  Yeah, yeah, yeah. So this one is and Travis still
• 4:58
  hasn't put together the visual aid that he promised.
• 5:01
  I'm going to. OK, Look, there's just so much
• 5:03
  shit that happens here, so much shit.
• 5:05
  I got to do so much shit. OK, so this one is the Texas
• 5:08
  Chainsaw Massacre. If you'll remember the original,
• 5:11
  the 1934 is the Texas Chain Saw Massacre.
• 5:16
  This is the Texas Chainsaw Massacre.
• 5:19
  Yeah, they they found their opportunity correctly.
• 5:22
  Like we're, we're making this one our own.
• 5:25
  That's how you know this is going to be different than the
• 5:27
  original. This may be premiered October
• 5:30
  17th, 2003. We actually have it on DVD.
• 5:33
  I think we have almost the whole franchise on DVD at this.
• 5:36
  Point we have except for Leatherface.
• 5:38
  We're we don't have the Netflix one on.
• 5:40
  Yeah, we don't have the. Yeah, well, you can't own that
• 5:42
  one unless you do blue wax. And I just don't care to own
• 5:46
  Leatherface. No, I don't either.
• 5:48
  And we're not talking about the third installment, we're talking
• 5:51
  about the was it like 2017? Yeah, the one that came out
• 5:55
  that's like a prequel. It's yeah, one that's going to
• 5:59
  be talked about in a couple months.
• 6:01
  We're doing an unhappy countdown to that one, guys.
• 6:03
  I'm sorry. I'm not one to normally talk
• 6:06
  shit about a movie so much leading up to it, but that was
• 6:11
  just. Yeah, that was just, that's
• 6:13
  just, you know, whatever. Let's not wait around that one
• 6:16
  too long. We'll get to it as of this
• 6:18
  weekend, which it'll be July by the time you guys are listening
• 6:22
  to this. So this may have changed, may
• 6:24
  have not. You can rent it on Google Play,
• 6:26
  Fandango at home, or Prime. It didn't have any streaming
• 6:29
  options in June. Maybe that's different in July.
• 6:32
  I feel like this one's comes to streaming pretty regularly.
• 6:34
  So yeah. July's a great time to watch it
• 6:36
  too. This is a good summer.
• 6:38
  Movie it is. It really is so.
• 6:40
  This was written by Scott Kosar. And of course, we also have
• 6:43
  credit for the 1974 screenplay by Toby Huber and Kim Hinkle.
• 6:47
  Directed by Marcus Nispell, music by Steve Jablonski and
• 6:52
  special effects makeup by Grady Holder and Scott Stoddard.
• 6:55
  Starring Jessica Biel is Aaron. Jonathan Tucker is Morgan.
• 6:59
  Erica Learson is Pepper. Mike Vogel is Andy.
• 7:03
  Eric Balfour is Kemper. Andrew Bryanarski Andrew
• 7:07
  Bryniarski as Thomas Hewitt AKA Leatherface, and Arleigh Ermey
• 7:12
  as Sheriff Hoyt. Yeah, Travis, it's time for our
• 7:15
  favorite game budget or bugtad. This I say budget.
• 7:22
  Oh. It's bugtad.
• 7:25
  Just barely. Just our arbitrary 10 mil.
• 7:29
  I say arbitrary. It's not really that arbitrary.
• 7:31
  Our $10 million cut off for Bugtad to budget this is 9.5.
• 7:36
  Oh yeah, yeah. Wow.
• 7:38
  OK. But I mean price is the right
• 7:39
  rules, you still lose. Yeah, that's true.
• 7:41
  Technically I I am incorrect. And that's the best kind of
• 7:45
  incorrect. OK, Opening box office $29
• 7:47
  million worldwide gross 107,000,006.2 out of 10.
• 7:52
  I was there. I saw that as a child.
• 7:55
  I remember my dad took me, my sister and her friend to see
• 7:58
  that. OK.
• 7:59
  Yeah. And her sister's friend came
• 8:01
  weight. My dad had to go get her in the
• 8:03
  middle of the movie. He was not happy.
• 8:04
  About it? Oh no.
• 8:07
  Yeah. All right, I pulled 3 movies
• 8:09
  from 2003 and they all have the theme of travel gone bad.
• 8:14
  Good theme. Yeah, I'm just glad it didn't
• 8:16
  have to be all remixed. Yeah, for sure.
• 8:18
  That's a lot of 2003 and it we'll talk about it in a second,
• 8:23
  but it kind of started with Texas Chainsaw really.
• 8:26
  OK so the first movie I have dead end.
• 8:30
  Oh yeah. That's a pretty good movie.
• 8:32
  That's one that we always forget about and then we watch and
• 8:33
  we're like, Dang, it's good one and it's got lynching in it.
• 8:36
  So that's something that we can know her from besides the.
• 8:39
  Insidious. Insidious movies.
• 8:40
  Is that the 1:00 where they're in the van and like, it keeps
• 8:43
  like, repeating shit? Yeah, OK.
• 8:45
  Yeah. It's a Christmas movie but it
• 8:47
  released September 26th 2003. OK a budget of $900,000.
• 8:53
  I don't have a gross cuz this is one of those like indie type
• 8:56
  movies. Probably straight to DVD.
• 8:57
  Yeah, 6.3 out of 10 on IMDb. OK.
• 9:00
  I remember it being pretty solid.
• 9:01
  It's been a long, long time since we've.
• 9:03
  Seen it second movie Open Water. Oh yeah, dude, that was a big
• 9:09
  one at the time. I.
• 9:09
  Remember, it was and it's a terrifying premise, but also
• 9:13
  they did kind of like there's a lot to stretch out into if you
• 9:16
  feel like to be. Yeah, they should have done like
• 9:18
  47 meters down where like things just keep happening.
• 9:22
  Yeah. But like right there, they're
• 9:24
  left all by themselves and it's just sharks.
• 9:26
  They have to stay awake and not die.
• 9:28
  But yeah, it is OK so. Yeah, and I mean, it's based on
• 9:32
  a true story. We've listened to the case file.
• 9:35
  That's true, yeah, Yeah. That premiered at the Hamptons
• 9:39
  International Film Festival on October 26th, 2003.
• 9:44
  Budget of 500,000. Worldwide gross of 54,000,000.
• 9:47
  Damn 5.8 out of 10. Yeah, yeah, I remember.
• 9:51
  Big, big movie. 3rd maybe. Yeah, I take this one for you.
• 9:55
  Yeah, yeah. House of 1000 Corpses.
• 9:57
  Yeah, Hell yeah. That released April 11th, 2003.
• 10:03
  Budget of 7 million, Gross of 16,000,000 GOT.
• 10:06
  A budget of $7,000,000. I know Rob Zombie, you've never
• 10:09
  done a movie in two in your entire life $7,000,000 He
• 10:13
  probably is like finance away that himself.
• 10:15
  Yeah, those Shyamalan method. Yeah, I'm happy for him.
• 10:18
  It's got a six point out of 10. It's a fucking good movie.
• 10:21
  I don't care what anybody says about Rob Zombie, that is a good
• 10:24
  fucking movie. I think my big problem with it
• 10:26
  is that I saw Devil's Rejects first and that's the objectively
• 10:29
  better movie. It is, yeah.
• 10:30
  But I like that. I mean like House of 1000
• 10:33
  Corpses is like more contained and you get the introduction to
• 10:37
  those characters and it's still good and also has Rainbow Olson.
• 10:41
  Become some Roman. Exactly.
• 10:42
  You knew exactly what I was gonna.
• 10:44
  Say yeah, I've got some tagline. Counts not good.
• 10:51
  Inspired by a true story. Yeah, OK.
• 10:55
  What you know about fear doesn't even come close.
• 10:59
  Oh yeah. That's not the worst I've heard
• 11:03
  we're we're above Hellraiser 2 right here.
• 11:06
  You want scary? This is scary.
• 11:10
  I feel like that's like, that was the pitch, like they did
• 11:13
  like, when they're like, all right, let's do the Texas
• 11:15
  Chainsaw remake. Dude, I just wanna hear Arlie
• 11:17
  Emery. Arlie, Ermi.
• 11:21
  Ermi, yeah. Is that how you say his name?
• 11:23
  I guess so, cuz that's how it's spelled.
• 11:25
  Yeah, isn't it, Emery? It says Arme OK.
• 11:31
  I always saw his Emery. I unless I wrote it down wrong,
• 11:34
  but I don't think I did you. Want me to pause?
• 11:37
  No, this is going to take 2 seconds.
• 11:39
  For those of you who don't know, he is very memorable.
• 11:43
  He got his start in acting with a full metal jacket.
• 11:48
  Yeah, he's the drill instructor. Yeah, He heard.
• 11:50
  He overheard. He was working on the set and he
• 11:53
  overheard like the first take of this.
• 11:55
  And he was like, no, that's not how it goes.
• 11:56
  Because he was actually, yeah. He's got a very scary
• 12:00
  commanding. Voice.
• 12:01
  Yes, Ermi. All right, Ermi.
• 12:05
  Pardon me, Ermi. I thought you were Emery.
• 12:08
  OK, If it's terror what you want, it's terror what you'll
• 12:14
  have. You know what I like that I.
• 12:16
  Like that's a little folksy. Yeah, that I kind of read that
• 12:19
  as the cook saying that. OK, I have some fun packs.
• 12:24
  OK, so this was the first film produced by Platinum Dunes.
• 12:29
  Now if you are not aware of Platinum Dunes is Michael Bay's
• 12:33
  horror thriller production company and this was the first
• 12:36
  one that it did in the start of chain of movie horror movie
• 12:41
  remakes in the 2000s. So they also did like Amityville
• 12:44
  Horror, a bunch of other ones. That was the one they did next.
• 12:48
  That was Amityville Horror, and they had some like a crew
• 12:51
  crossover with that. Oh, really?
• 12:53
  Yeah. Yeah.
• 12:54
  So it was, it was funny when we were talking about like, oh, all
• 12:57
  the remix, the 2003. And I was like, well, it's
• 12:59
  actually, yeah, I think starting with this.
• 13:01
  I think they also did the Friday the 13th 1.
• 13:04
  Yes, they did. They did the.
• 13:06
  Only reason I remember that is because Michael Bay walked out
• 13:08
  of it because there was too much nudity.
• 13:10
  He was so ashamed of it. Michael Bay, Come on, man.
• 13:13
  Enough explosions, too much nudity.
• 13:16
  I think it was the right balance.
• 13:18
  So in 1998 Unipix Entertainment actually had the rights to the
• 13:22
  Texas Chainsaw Massacre franchise and they had begun pre
• 13:25
  production for 1/5 installment tentatively called TX-25.
• 13:31
  All I can imagine is like a Terminator style movie.
• 13:35
  That sounds like a Terminator movie or a racing game on the
• 13:38
  Nintendo 64. Oh my God.
• 13:40
  But it's like one of the crappy racing games that you play and
• 13:42
  you're like, well, we can say we played it one time.
• 13:44
  But you would be nostalgic for it when you grow up.
• 13:47
  That game was fucking awesome. However, they clearly didn't get
• 13:51
  to the point of production and by 2002 they had let their
• 13:54
  rights expire. So that's how Platinum Dunes
• 13:56
  came to pick them up. Early announcement was that
• 14:00
  Marilyn Burns was going to be reprising her role and she was
• 14:03
  going to be telling the story in flashbacks.
• 14:08
  Oh, that could have been interesting.
• 14:09
  Yeah, so that was their original plan.
• 14:11
  When they brought Nispell on as the director, he thought it was
• 14:14
  absolute blasphemy to remake this movie.
• 14:17
  However, his director of photography, Daniel Pearl,
• 14:21
  convinced him to do it. Daniel Pearl, You may or may not
• 14:24
  recognize that name, but he was also the director of photography
• 14:27
  in the first Texas Chainsaw. Really.
• 14:30
  Yes. And he said he wanted to bookend
• 14:32
  his career with Texas Chainsaw Movies.
• 14:34
  That is awesome. Holy.
• 14:36
  Shit. Yeah, well, if anybody's going
• 14:37
  to convince you to do it, that's a guy to do it.
• 14:39
  Right. Yeah.
• 14:40
  If not Toby Hooper, which I think he had died at this point.
• 14:43
  No, actually, Hooper and Henkel did start to work on a new
• 14:47
  script. The details of it weren't
• 14:50
  completely clear at this time, but eventually they did bring on
• 14:53
  Kosar to do the actual script. Wow.
• 14:56
  OK, cool. And that was actually Cosar's
• 14:59
  first, first professional script writing job.
• 15:03
  And then he did name reveal horror after this.
• 15:05
  That's. Tough man.
• 15:06
  Yeah, principal photography was in Austin.
• 15:09
  It took about 40 days. Now, here's the thing.
• 15:12
  I'm going to give some credit. So no spell, so blasphemy to
• 15:15
  remake Texas Chainsaw. But then he wanted to go ahead
• 15:18
  and shoot in California. You know who convinced him to
• 15:21
  shoot in Texas? Toby.
• 15:23
  Michael Bay. Michael Bay.
• 15:25
  Michael Bay. That doesn't say I feel like
• 15:27
  you'd be like, no, you need to go in LA bro.
• 15:29
  The explosion potential out there off the charts.
• 15:33
  So I guess I'm just learning to maybe not have such a stereotype
• 15:37
  about Michael Bay based on the transformer.
• 15:39
  No, he's not. He's not a bad director,
• 15:42
  honestly. He's pretty solid.
• 15:43
  He just has his style and he does it well.
• 15:45
  He does. I'm a little bit miffed about
• 15:48
  the whole thing with Megan Fox, but you know.
• 15:51
  He's not perfect, he's got his fault, that's for sure.
• 15:54
  OK, so Bernie Arski, Leatherface, he did his own
• 15:58
  stunts. Really.
• 15:59
  He did his own stunts. And he's already a very large
• 16:02
  man, about £300. He was still forced to wear a
• 16:06
  beginning suit, which brought him up to about 420 lbs.
• 16:10
  And obviously it's in Texas. Yeah, Texas.
• 16:14
  Yeah. So they were very hot.
• 16:16
  He had to be very thoroughly hydrated.
• 16:19
  I'm very glad the the pains they took to keep him safe at least.
• 16:23
  He wasn't the first one though, was he?
• 16:26
  Did you get anything on that? No.
• 16:29
  So I don't think he was the actual like, first pick for
• 16:33
  Weatherface. We've been to some of the
• 16:35
  panels. Oh yeah, we went to the
• 16:37
  Weatherface panel at the last Texas Chainsaw.
• 16:40
  There's this one guy got, I can't remember saying that it
• 16:42
  starts with AB, but he like, claims to be like, you know,
• 16:45
  Weatherface from the original Texas Chainsaw Massacre.
• 16:48
  But I remember he was talking about it, not the original, the
• 16:51
  remake, and he was going to be doing the part, but he ended up
• 16:55
  having like a heat stroke or something.
• 16:57
  Oh shit. So he wasn't unable to to do the
• 17:00
  movie. Let me look him up real quick.
• 17:02
  OK, while you're looking that up, I have one more fun fact and
• 17:06
  that's that John Lariquet reprised his role during the
• 17:10
  narration. So that is this.
• 17:11
  That sounded familiar. Yeah, that's cool, man.
• 17:14
  Yeah. OK, let's see here.
• 17:17
  I had to pull it up. I'm on the Wikipedia page, so
• 17:19
  I'm going to read it directly from that.
• 17:21
  But yeah, the guy that played Leatherface had to be brought in
• 17:25
  after the first or after the first guy.
• 17:27
  He starred in Bass Pearl Harbor and stayed friends with them
• 17:30
  afterwards, so that's how he got the role in this.
• 17:33
  The other guy, Brett Wagner, who was originally going to be
• 17:36
  Leatherface, was cast, but on the first day he was
• 17:39
  hospitalized and fired for lying about his physical abilities.
• 17:42
  Oh no. I he's went on to talk about
• 17:47
  this many times. I think that he says that
• 17:50
  there's more to the story than that.
• 17:52
  I remember he shared a little bit of insight on that when he
• 17:54
  did the panel. I just can't remember exactly
• 17:56
  what. He said.
• 17:57
  But. A lot of people like him.
• 17:59
  He seems to be like a fan favorite at conventions.
• 18:01
  He does a lot of prop making. Yeah, he does.
• 18:04
  Yeah. He seems like a cool guy.
• 18:05
  He's always been nice anytime that we've done the like the
• 18:08
  rounds for that stuff. Yeah, absolutely.
• 18:09
  Yeah. OK.
• 18:10
  All right. So that's that.
• 18:13
  We're on. Want to talk about her Good,
• 18:15
  bad, ugly and absurd? So my goods for this.
• 18:19
  Yeah. So as a guy that feels that not
• 18:23
  everything needs to be remade, I share that sentiment too.
• 18:26
  I do feel like this is one of the better remakes out there.
• 18:29
  I think that it it does its own thing.
• 18:33
  It is a very different movie from the first Texas Chainsaw
• 18:36
  which like if they tried to make it like beat for beat exactly
• 18:40
  like Toby Hooper's then I think I'd have a problem with it.
• 18:42
  But this movie is an entirely different movie.
• 18:45
  Like they even like do new characters which I'm not even
• 18:48
  really like. I like some of the new
• 18:51
  characters, but I don't like some of the changes it's.
• 18:54
  Really interesting because the first movie was like really
• 18:58
  playing on a lot of like cultural happenings.
• 19:01
  You know, we're talking about violence in the media, poverty,
• 19:04
  mass layoffs, things like that. And I think in 2003, I mean, a
• 19:09
  lot of what was happening right now was, you know, we, we had
• 19:13
  just had 911. So we were having like a surge
• 19:16
  of like patriotism happening. We have had our own war going
• 19:20
  on. I think it's really interesting
• 19:22
  that they didn't seem to address that stuff as much in the same
• 19:26
  way. Well, they I think they tackle
• 19:28
  that more in the next one. Yes, absolutely.
• 19:30
  In the next one, which is the sequel to this, but it's
• 19:33
  technically a prequel to this. This is where this is where it
• 19:36
  really starts to fucking lose me, people.
• 19:38
  Yeah, I think that this one, it took, it didn't do the messaging
• 19:44
  that the first one did and that some of the other ones did.
• 19:47
  I think it really just set out to make a horror movie.
• 19:49
  I think it just sat out to make another Texas Chainsaw movie and
• 19:53
  make make it scary. And that's what they did.
• 19:56
  They did a really good job with it.
• 19:57
  I think that everything like the weather face that we have here
• 20:01
  is a very good weather face. It's very scary.
• 20:06
  The my favorite part, though, is the edition of the Sheriff.
• 20:10
  He is such a good character for this radio.
• 20:13
  Like normally with Texas Chainsaw Massacre movies, I
• 20:15
  don't give a fuck about the surrounding family.
• 20:17
  I care about Weatherface, but I think in this movie he steals
• 20:21
  the show. Oh the scenes with him 100% are
• 20:24
  the scariest scenes in the movie for me.
• 20:25
  Like Ermi fucking like crazy. He is scary.
• 20:30
  He is intimidating when he uses that voice.
• 20:32
  Like, I don't have to act if I'm on that set and he's over there,
• 20:35
  like, ordering me to, like, imitate the, you know, her
• 20:38
  shooting herself. Yeah, man.
• 20:41
  Like, he's just so fucking intimidating.
• 20:44
  And I thought that that really set this movie apart from all
• 20:47
  the other ones there. But then on top of that, the
• 20:49
  Weather Face is fucking amazing, too.
• 20:51
  Like, you know, the mask is OK. Like, it could be better.
• 20:55
  But I think that they did they did a good job, all things
• 20:57
  considered. But like the part when he
• 20:59
  actually gets Kemp's face and puts it on.
• 21:02
  Yeah. And.
• 21:02
  That was good. And then Aaron's reveal like to
• 21:05
  find out how like that Kemp is actually dead when he's like
• 21:08
  chilling pepper. And then he turns around and
• 21:10
  looks and she's like, oh shit, it's.
• 21:12
  So fucking good. Yeah.
• 21:15
  God, man, there's just, there's a lot of stuff that's good about
• 21:18
  it. Like I also like that it isn't
• 21:20
  as slow to start as the original 1 was.
• 21:23
  The original, I kind of did that transition from documentary and
• 21:25
  then into a horror movie slowly. But this movie is like we are
• 21:28
  full on horror. Like we're going to like start
• 21:31
  it off. Like here's the thing that
• 21:32
  happened. We're going to show you some
• 21:33
  documentary footage. But then here's the shit that
• 21:35
  went down for. Some reason in my head I always
• 21:39
  get it mixed up that this documentary style thing happens
• 21:43
  in the original. Like the shot of the like gouge
• 21:48
  nail mark. Like the photos, Yeah.
• 21:51
  Yeah, You're getting like all the photos and stuff like that.
• 21:55
  Yeah, man. Like, I don't know, this movie,
• 21:59
  it just is a really good remake. I think in terms of just like a
• 22:04
  horror movie, I think it does like the horror things.
• 22:07
  Well, like I said, I think part of one of the big things why
• 22:09
  Texas Chainsaw Massacre is such a long lasting movie that a lot
• 22:13
  of people will quote as a classic is because it did touch
• 22:16
  on a lot of our actual real fears.
• 22:19
  Yeah, at the time and this, you know, it didn't do that quite as
• 22:23
  much, but it's still, you know, tried to deliver on other scary
• 22:27
  things. I mean, I like, I like, like
• 22:29
  that they're like, let's just make it a fucking horror movie,
• 22:32
  you know, like the other one that had a good message.
• 22:35
  I don't want to like fuck with that message.
• 22:37
  You know I don't want to like. I'm not saying fuck with the
• 22:40
  message, I'm just saying like there was plenty to work with at
• 22:42
  the time. Although I guess if you wanted
• 22:44
  to try and be critical of like the patriotism and nationalism
• 22:48
  that was happening, that might have been, might have been
• 22:51
  tricky waters in 2003. Yeah, yeah, The landscape might
• 22:56
  not have been ready for that. Maybe, like, the following year.
• 22:58
  They're like, all right, fuck this.
• 22:59
  Shit like this is not really going too great right now.
• 23:02
  I'm not super hot. Yeah.
• 23:05
  OK. What were your goods?
• 23:07
  Yeah, I I do think that it like the story has pretty good
• 23:11
  pacing. I think the end maybe a.
• 23:14
  Little bit. Yeah, yeah.
• 23:16
  And I I'm a sucker for this trope but like when one person
• 23:23
  and a couple dies and we find out oh.
• 23:26
  Man, they were going to propose. Yeah, that gets me every time.
• 23:30
  It's the it's the romantic SAP in me.
• 23:32
  My favorite part about that is he was going to propose a
• 23:35
  Skynyrd A Skynyrd show. And I bet, I bet, and not due to
• 23:40
  a love of irony, that this man was going to propose during Free
• 23:44
  Bird. Yeah, yeah, totally.
• 23:47
  During the solo, holy shit he's going to get down on one knee,
• 23:51
  man. Yeah, I think, I mean, all
• 23:54
  things considered, it has some very memorable moments for it.
• 23:57
  And I I saw this close to when it came out.
• 24:00
  I didn't see it in theaters, but I saw it streaming somewhere and
• 24:06
  it is it stuck with me. Is it memorable enough for you
• 24:10
  to be able to tell it apart on your?
• 24:12
  Own. Absolutely not.
• 24:13
  Still No, Absolutely not. Come on man, look, you're not
• 24:16
  the only one that had confusion with this when I did the call
• 24:18
  for reviews or zombie. Not calling you out buddy, but
• 24:21
  kind of. No, we're in this together.
• 24:23
  He did the same thing that you did because like he's like, Oh
• 24:26
  yeah, that's the one with the cousin, right?
• 24:28
  I think I like that one. And I'm like, no, that's the.
• 24:29
  Let's do your thing, cousin. That's what we call that one in
• 24:32
  this House. That's Texas Chainsaw.
• 24:34
  Not to be confused with Texas Chainsaw Massacre.
• 24:37
  Yeah, it's so fucking. It's so bad.
• 24:40
  Shit. Crazy.
• 24:40
  And every time Travis asked me if I want to watch the remake or
• 24:43
  the prequel and I'm like which one's which?
• 24:45
  And he says the remake came first, which I understand it has
• 24:49
  to for a prequel to be a prequel but it's still fucking
• 24:52
  confusing. And then I say which one's the
• 24:54
  one where the blonde guy gets his leg cut off?
• 24:56
  That's how I remember this. One.
• 24:57
  Yeah, yeah. That's this one right here.
• 24:59
  Yeah. This can be the next one, the
• 25:03
  one. The next one's The One is the
• 25:04
  prequel, but it's the draft dodging.
• 25:06
  Yeah, yeah, that's it. Yeah.
• 25:07
  Yeah, this one right here, I would almost call it the one
• 25:09
  with the bed sheets because that's like when he's like
• 25:12
  running through the bed sheets right there.
• 25:14
  There was like somebody did the whole thing about how that was
• 25:17
  physically impossible for him to be able to catch up to him and
• 25:21
  cut off his leg during that scene.
• 25:22
  Somebody broke it down like there was like in the they did
• 25:25
  the math subreddit. That's nice.
• 25:27
  Yeah. And yeah, it's improbable.
• 25:30
  I'm really more impressed at whoever hung out all of that
• 25:33
  laundry in that. In the house. 3rd layout whose
• 25:38
  does laundry in that house actually.
• 25:42
  Maybe Leatherface? Leatherface seems like a tidy
• 25:44
  guy. Anyway, what's your?
• 25:46
  Bad. Sorry.
• 25:46
  You're right. We're going.
• 25:47
  Yeah. Yeah, we're getting way off
• 25:48
  track. My bad with this movie is I
• 25:50
  didn't see the need to fuck with the names.
• 25:53
  I that only further adds to the confusion because now we have
• 25:57
  different names for a Leatherface.
• 25:59
  He's no longer like Bubba Sawyer or anything like that.
• 26:02
  He's now. What is Thomas Hewitt?
• 26:03
  Thomas. Hewitt, Thomas.
• 26:05
  Brown, Hewitt. And I they, I don't know, it
• 26:09
  just like it. It confuses.
• 26:13
  I just didn't see that that's the thing that needed to be
• 26:16
  done. I also agree with you.
• 26:17
  I feel like the ending does kind of like, go on a little bit too
• 26:20
  long. Like it could have ended several
• 26:22
  times, but it continues to just like, still go.
• 26:27
  But it's not like a long movie or anything.
• 26:28
  I just feel like they needed to do something else.
• 26:31
  I do appreciate they didn't do, like, a dinner scene, though.
• 26:34
  Yeah, they almost went for it, but they didn't.
• 26:36
  I'm glad they didn't, although I could have also done without her
• 26:39
  being in his pantsless lap. Yeah, yeah, I could have done
• 26:43
  without that. Too uncomfortable.
• 26:44
  But yeah, I just, I think the ending just goes on a little bit
• 26:49
  too long. I I get that we wanted to get,
• 26:53
  oh, this whole town is family. They're all in it.
• 26:56
  And the the But we really need the baby stealing plot.
• 26:59
  I think it's the whole town's family.
• 27:01
  The tea ladies, I mean, that's all we've seen in the town.
• 27:04
  I think it's that's the family that's like an extended family
• 27:07
  living next. I know, but I'm just saying
• 27:09
  those are the only people we've seen.
• 27:11
  Yeah, Yeah, you're right. Yeah.
• 27:12
  I just, I just feel like we could have maybe chopped about
• 27:16
  10 to 15 minutes off this maybe and it wouldn't have suffered.
• 27:18
  I think the part that gets me the most is when she runs and
• 27:21
  she goes into the trailer of like the two women and the baby.
• 27:24
  And that part right there, I think it it takes it to a halt
• 27:29
  right there. Yeah.
• 27:30
  And that's like right off the hills of a chase scene.
• 27:33
  And it just like it was kind of whiplash how slowed down we go
• 27:37
  right there. And it really feels like those
• 27:39
  ladies were put in there to kind of be like, oh, he's got a skin
• 27:43
  disease, which we would have gotten that later when Mama was
• 27:45
  saying like, oh, I know you're typing.
• 27:48
  Make fun of my sweet boy I. Think we got it right even
• 27:50
  before that when he took the mask off and saw that he had a
• 27:52
  skin disease. But Aaron didn't know that.
• 27:54
  Oh yeah, that's true. So yeah, I just, I don't know,
• 27:58
  we could have, we could have cut some things off and it would
• 28:00
  have been fine. Like with the face?
• 28:02
  Oh my God, but you're ugly. The ugly for this, the thing
• 28:06
  that grossed me out the most was when they first make it to the
• 28:09
  gas station and they look at the meat that's there on display and
• 28:12
  it's just swarmed with flies. And it's not even like prepared
• 28:16
  me. It's just like chopped up pigs.
• 28:17
  Like you can see the pig head just sitting there.
• 28:20
  It's it's just such a fucking disgusting display.
• 28:25
  Moments like that that make me really glad I'm vegan.
• 28:28
  Yeah. Also, I mean, obviously, like
• 28:31
  the sheriff, he's not really a sheriff, but like the abuse of
• 28:34
  power there and how everybody has to like, feel like they have
• 28:36
  to comply with it just because of the authority and the badge
• 28:39
  and all that shit and yeah, you know.
• 28:43
  I'm going to add on to that the sheriff's necrophilia.
• 28:47
  Yeah, you're talking about squeezing the.
• 28:50
  Boobies and new. Talks of bodies, That's gross.
• 28:53
  Yeah, yeah, that's messy. And I didn't care for that.
• 28:58
  And making Morgan sit in the blood and reenact the whole
• 29:04
  thing, It's just so. Yeah, so like, scoot over the
• 29:06
  brain matter on the seat. Yeah, it's so, it's so nasty,
• 29:10
  but it's so good. Yeah, that's part of why this
• 29:13
  movie is so fucking good. OK, absurd.
• 29:18
  So at the beginning we get the hitchhiker, which I think she's
• 29:22
  actually part of the family, is what we learned, right?
• 29:25
  No, her family was on vacation. They all died except for her and
• 29:29
  the baby. The baby was stolen.
• 29:31
  That's why Aaron said you stole her.
• 29:33
  Right. OK.
• 29:33
  That's right. OK, well the thing that's weird
• 29:36
  about that is so they're driving and they see her walk and then
• 29:39
  they pick her up and then they continue going the same way that
• 29:43
  they were driving, the way that she was walking.
• 29:45
  But as they're driving, she's like, no, you're going the wrong
• 29:48
  way, the wrong way. So she was walking back towards
• 29:50
  the family the entire time. Poor thing is probably really
• 29:55
  dehydrated and messed up. Well, how's she going to know?
• 29:58
  How's she going to know? I just thought it was like
• 30:00
  really stupid. I feel like they could have done
• 30:02
  that a little bit differently. Also, the fact that Kemp, he
• 30:07
  really wants you to know who the fuck he is because he has a
• 30:11
  shirt with the name tag that says Kemp on it.
• 30:13
  He's got the K on the hat there, K for Kemp.
• 30:16
  It took me a minute to figure out like, what's that K for?
• 30:18
  Like, where's that from? And then I saw the name tag.
• 30:20
  I was like, Kemp, OK, He's definitely trying to make it
• 30:22
  clear he is Kemp. That reminds me of at Comic Con
• 30:26
  this year when we did a meet up with all the other Twilight
• 30:29
  cosplayers and all of us happened to choose this baseball
• 30:33
  scene. That's that's one of the one you
• 30:35
  do if you're gonna do that. But all of the Rosalie's had
• 30:38
  grabbed hats with AG and they were like, we didn't realize
• 30:42
  that it was AC and we're like, yeah, AC for Colon.
• 30:44
  And they were like, that makes sense, yeah.
• 30:46
  I know. It looks like AGI can understand
• 30:48
  the confusion. Yeah, All right.
• 30:52
  What was your absurd? OK, I know I said that we could
• 30:54
  chop this scene off, but it did give me an absurd moment when
• 30:58
  the woman who stole the baby clearly didn't do any research
• 31:02
  on how to take care of a baby because when the baby starts
• 31:04
  crying, she just goes and grabs a can of baked beans from the
• 31:06
  fridge. Oh my God, yeah, that right
• 31:09
  there kind of also feels like the Southern, like old, like,
• 31:12
  oh, this is how you cure a baby crying.
• 31:14
  Just give them a can of beans. Roll that beautiful bean
• 31:18
  footage, yeah? You don't even like feeds and
• 31:20
  you just shake it in front of it.
• 31:22
  I'm like, okay, there's something about the bean juice,
• 31:24
  man. It does.
• 31:25
  It suits the baby soul. Hey man, I'm a person that I
• 31:28
  don't rinse my beans whenever I put them in anything the bean
• 31:31
  juice goes with it. That sounds disgusting.
• 31:35
  All right, cool. So let's do some rating, OK?
• 31:39
  This is one. Yeah.
• 31:40
  I feel really good about this one.
• 31:41
  I really don't have much bad to say about it.
• 31:44
  That's impressive. I think the fact that you do a
• 31:46
  Texas Chainsaw Massacre movie remake and you don't fuck it up,
• 31:50
  you get extra points because of that.
• 31:52
  So I'm going to give it a 9.5. Wow.
• 31:55
  Yeah, I think it's OK. OK, I'm going to give it a 7.
• 32:00
  Wow, really? You don't think it's a great?
• 32:03
  I don't think it's bad. 7's a good.
• 32:05
  Score. No, but that's why I said great.
• 32:07
  You don't think it's that great? Yeah, I think it's fucking
• 32:09
  awesome. I think it's good.
• 32:11
  It stands up there at the top of the series, I think.
• 32:14
  Look, our average is 8.25, OK. OK, OK, I can live with that.
• 32:21
  You're gonna have to, yeah. I suppose.
• 32:23
  All right, let's do this. So we started off with some
• 32:27
  grainy crime scene footage over top of the opening narration.
• 32:31
  And we actually get crime scene walkthrough.
• 32:35
  And you know, the the John, what's his name, John Lariquette
• 32:40
  tells us that there's like over 300 pieces of evidence.
• 32:42
  But the most compelling for the jury, the most compelling is
• 32:45
  this walkthrough footage that we're about to watch.
• 32:47
  I'm not gonna lie, I saw this in theaters I bought in.
• 32:50
  I was like, this is real. Like I actually thought that
• 32:53
  this is real whenever I was watching it.
• 32:55
  I will give you some leeway because you were 11.
• 32:59
  That's still kind of stupid for an 11 year old, but.
• 33:01
  I mean I could I could see 32 year old Travis going is this?
• 33:06
  Real. It was so convincing.
• 33:08
  He did a great job. All right, So we had some
• 33:10
  Skinner in good times. Yeah, over there.
• 33:13
  August 18th, 1973 they got a Skinner travel montage.
• 33:19
  Man, yeah, it's a Skinner travel and they are.
• 33:23
  They're on their way back from Mexico.
• 33:26
  I guess that they were just doing like a whole vacation
• 33:28
  situation there. Now they're on their way to
• 33:30
  Skynyrd. Yeah, we've got Andy and Pepper
• 33:33
  making out in the back seat. Morgan is cheering them on.
• 33:38
  We were doing, we were deciding between ourselves.
• 33:41
  Is Morgan supposed to be the Frank of this movie?
• 33:43
  I think he is. I don't think he is.
• 33:45
  I think that this movie is without Frank.
• 33:48
  It it, it has no Frank. OK, clearly you like Franklin
• 33:53
  since you've decided to nickname him Frank.
• 33:55
  I didn't talk. Why did I do that?
• 33:57
  It's like Eric when he calls Christian.
• 34:00
  Chris Yeah. Why do they call him?
• 34:01
  Frank. Man, God, I don't.
• 34:04
  I see. That's the thing.
• 34:06
  If you if Franklin thinks that you're his friend, he's gonna
• 34:08
  just like what? What?
• 34:10
  What's that hermit? He's gonna hermit on to you.
• 34:12
  Yeah, ohh, Barnacle. Barnacle.
• 34:15
  Yeah, he's. Gonna Barnacle on to you No.
• 34:17
  Well, I think the problem is also that there's not a Jonathan
• 34:21
  Tucker character that we see that we don't end up making fun
• 34:24
  of. So I think Morgan is part of
• 34:26
  it's my. Favorite one of his though.
• 34:27
  This is my favorite. Character he does.
• 34:29
  We're going to talk about my favorite one later.
• 34:33
  OK. Oh, yes.
• 34:34
  All right. So yeah, they're over there.
• 34:36
  They're having a good time. One of them, I think it's
• 34:39
  Morgan, he has to join going and they're passing around.
• 34:41
  Aaron has to be a Buzzcoe though and tosses it out.
• 34:44
  She did not consent to it in the car.
• 34:46
  She's listen, she just wants to be a straight edge.
• 34:50
  No, she was just doing it because she was pissed off at
• 34:52
  camp because he was being a funny man.
• 34:55
  Anyways, it doesn't matter. They're just, they're having a
• 34:57
  good time. They're all just they're,
• 34:58
  they're laughing along. She, she says that she's feeling
• 35:03
  kind of nauseous. And then, you know, this is when
• 35:06
  the whole argument over the joint happens.
• 35:08
  And he was like, well, what do you think we were going to do
• 35:10
  for four days in Mexico? And she goes, well, I thought it
• 35:12
  would involve a proposal. They've been together three
• 35:15
  years. We find out.
• 35:16
  So that's, you know, at this stage, that's a reasonable
• 35:19
  amount of time takes like a proposal within.
• 35:21
  Yeah. I don't know how old they're
• 35:22
  supposed to be though. I feel like they're college age.
• 35:23
  Yeah, I mean they early 20s. OK, yeah, I guess so.
• 35:28
  Morgan accidentally spills beans though that they were also down
• 35:31
  there smuggling pot from Mexico. Just a smidge.
• 35:34
  Just a smidge. Which in the in this case the
• 35:36
  spinach is an entire pinata is worth.
• 35:38
  Pablo Chacon. Pablo Chacon Yep.
• 35:41
  And then they're driving down the road and Oh my God, there's
• 35:44
  a woman in the road, so they have to swear it out of the way.
• 35:47
  You know, decent evasive maneuvering.
• 35:50
  And the fact that he didn't flip his van is impressive.
• 35:52
  Yeah, So they stop, and Aaron is like, hey, we need to go check
• 35:56
  on her. And they're like, no, let's keep
• 35:58
  driving. And she's like, what?
• 35:59
  No, I think this is part of the problem for me is that Aaron's
• 36:03
  the only one who seems to care about literally anybody.
• 36:07
  Yeah, but they they give her all of like, the moral authority and
• 36:11
  it comes across with her being like, uptight.
• 36:14
  So it's just a weirdly balanced dynamic in the group.
• 36:17
  Yeah, I, yeah, I think it's like she's the responsible one, but
• 36:21
  she's like a responsible one, full of like people that have,
• 36:24
  no, they don't want to be responsible.
• 36:27
  Yeah, And the things that she's saying are reasonable, but
• 36:29
  because everybody else is like, man, we're just having fun.
• 36:33
  It's like, it's like how people complain about Skylar White.
• 36:36
  Like she's no fun. She stops Walter from selling
• 36:39
  meth. Yeah.
• 36:43
  I'm going to be OK. I'm sorry, go off topic again.
• 36:45
  I'm going to be honest, my first watched her Breaking Bad.
• 36:47
  I was not a fan of Skylar. But then all the other times I'm
• 36:50
  like yeah I fucking get this guy.
• 36:52
  Walter fucking sucks. He is a shit.
• 36:56
  He's a shit bag. Yeah.
• 36:57
  So I think there's it's just a weird dynamic with all these.
• 37:00
  Characters. No, I totally get it.
• 37:01
  But Aaron does the right thing and sees this woman is not OK,
• 37:04
  and she's like, hey, we got to get her somewhere.
• 37:06
  Yeah, I also like this at the hit tracker's difference here.
• 37:09
  I feel like this is a good way to do the hit tracker.
• 37:11
  It's like a victim that's escaped.
• 37:13
  And she's just so beyond the point of being able to like,
• 37:17
  comprehend or process anything. She's just like saying nothing.
• 37:20
  And it's going to be good because it'll come around full
• 37:22
  circle. At the end when Aaron gets
• 37:24
  picked up by the truck driver, she's in the same kind of place
• 37:27
  where she's like, I just want to go home.
• 37:29
  And then she sees that they're going back into town.
• 37:30
  She's like no, no, no. So yeah, they're driving.
• 37:34
  They're trying to get some information off her, but she
• 37:36
  just keeps telling them they're going the wrong way.
• 37:38
  So she pulls out a gun that she has hidden in her skirt, and she
• 37:42
  just puts it right in her mouth and boom.
• 37:45
  And it's a cool shot where they do like the shot where it goes
• 37:49
  like, right through her head out the back of the van.
• 37:51
  Yeah. And yeah, they're just left in
• 37:54
  disbelief. So they're sitting outside like
• 37:57
  they pull over. Obviously they're all freaking
• 38:00
  out. They're trying to figure out
• 38:01
  what they should do next. Like Morgan's like, we can't
• 38:06
  call the cops. We have 2 lbs of marijuana.
• 38:08
  So Kemper takes the pinata and. Tosses it, Yeah.
• 38:14
  So yeah, they're, they're deciding what they're going to
• 38:16
  do, and then they decide fuck it.
• 38:18
  Oh no, we have to talk about this transition because Pepper's
• 38:21
  like, I don't care what we do, but I can tell you there is no
• 38:24
  way no how I'm never getting back in that van and.
• 38:27
  Cuts to them. All back in the van.
• 38:29
  Back in the van, guy. Can you imagine driving in there
• 38:31
  with that body? Oh man, it's so, but it's also.
• 38:35
  One of those things that like I was sitting there and I was
• 38:37
  like, well fuck, what do you do in that situation?
• 38:39
  Like this was before cell phones and they're not anywhere near
• 38:42
  like a payphone or anything. Like they have to get to a place
• 38:44
  where they can call somebody. Yeah, but do you keep the body
• 38:47
  with you? This is the thing it feels.
• 38:49
  Disrespectful to just like ye her out on the side of the road.
• 38:52
  Yeah, but she's dead at that point.
• 38:54
  And then the van is fucked either way.
• 38:56
  It is, yeah, but you don't have to like, suffer additional.
• 39:01
  Suffering. But then we don't get to hear
• 39:03
  Andy say that blown out brains looks kind of like lasagna.
• 39:07
  Dude, yeah, not not the best time to do that.
• 39:11
  All right? So they pull into the gas
• 39:13
  station and they go inside to call the cops, and then they get
• 39:17
  this lady that's working the store and she's being kind of
• 39:21
  the harbinger for them right there.
• 39:23
  She's kind of speaking like weird nonsense.
• 39:25
  Being the harbinger, she just, like, can't be asked to do any
• 39:29
  of this. Yeah, she's like, I guess I'll
• 39:31
  call the share roof. And she's like, all right, he'll
• 39:34
  meet you in about two hours. And they're like, what?
• 39:37
  And she goes, oh, he'll be at the old Crawford Mill and
• 39:39
  they're like, where is that? She's like y'all need to go.
• 39:42
  Get out all right, So they end up driving to the old Crawford.
• 39:46
  Mill. I guess it helps when there's
• 39:48
  like 4 buildings in this town. Yeah, the one with the like the
• 39:50
  windmill, Yeah, you know, or like a silo, probably that one.
• 39:53
  Yeah, silos and windmills are very different things.
• 39:56
  Yeah, but you know, one's a mill and one's a silo.
• 39:59
  You see the mill? A mill.
• 40:01
  Is like a cranery. I know.
• 40:04
  But like a windmill, it's like part of farm imagery.
• 40:07
  That's like a standard thing that you think of when you think
• 40:09
  of a farm, right? No, you.
• 40:11
  Don't think of that. No, I do.
• 40:13
  You've seen where I'm from, there's tons of silos, very few
• 40:17
  windmills. All right, you're closer to this
• 40:20
  than I am. So they arrive there and the
• 40:23
  sheriff is not there, so they decide that.
• 40:26
  They're arguing if they should just eat her out here.
• 40:29
  Yeah, yeah, they're voting it. We've got a three hour drive to
• 40:33
  get to Skynyrd. These tickets are very
• 40:36
  expensive. Dude, that priorities.
• 40:40
  And then Aaron again is like, this is somebody's daughter.
• 40:43
  Like this is, this is a human person somebody's worried about.
• 40:46
  Her. The thing is, though, they've
• 40:48
  called the cops. The cop knows where they're
• 40:51
  gonna be. Dump the body there.
• 40:53
  They've got all the information already.
• 40:55
  That's all you need. But you know, whatever.
• 40:57
  Like I I can understand it, but they're.
• 41:00
  Girl dad. Details later.
• 41:02
  Yeah, they're, they're voting on it, but as they're voting on it,
• 41:06
  they see like something in the building and Erin decides that
• 41:09
  she's going to go investigate it.
• 41:11
  So she goes to look and she screams because she hears
• 41:15
  something in a building. Everybody goes to go see her and
• 41:18
  then they open the door and it's a possum.
• 41:20
  Well, you should scream at a possum.
• 41:22
  It's. I like the possum was screaming
• 41:24
  screaming. Back.
• 41:24
  Yeah, this is my house. I feel like I get why the possum
• 41:29
  is affronted but like. It really did look like that
• 41:31
  possums like get out of my home. Home invasion.
• 41:35
  Listen, I am on two people side in this movie and that's leather
• 41:39
  face and the possum. And then after all that happens,
• 41:45
  well, Boy shows up. Jedediah Jedediah, which
• 41:48
  eventually becomes one of the names in one of these movies
• 41:52
  for. Yeah, again, I yeah, it's so
• 41:55
  confusing. And is this like a double O 7
• 41:58
  situation? Where anybody could be on their
• 42:01
  face. Yeah, I, you know, that's
• 42:02
  actually something that could be true.
• 42:04
  But I think it's always supposed to be the same persons.
• 42:06
  Well, it's. Not, no, it's not.
• 42:08
  They've made that very clear. Yeah.
• 42:10
  So the kid is like, yeah, the sheriff, he's I know where he's
• 42:14
  at. He's off at home.
• 42:15
  He's getting drunk right now. So, like, all right, well, if
• 42:17
  the sheriff doesn't fucking care, then why should we care?
• 42:19
  And then Aaron's like, no, we'll just go find the sheriff.
• 42:22
  So Aaron and Kemper walked to find the sheriff while everybody
• 42:25
  else stays with the van. They get to a house and the man
• 42:32
  outside is like, do I look like the sheriff?
• 42:34
  He is a double amputee. Yeah, so he is not the sheriff,
• 42:39
  but he lets Aaron inside to use the phone.
• 42:42
  She calls him and he says he'll be there in about 30 minutes.
• 42:45
  Meanwhile, we see the sheriff arriving at the mill.
• 42:50
  And I like the little boy. They're little Jedidiser,
• 42:53
  they're poking at the body with the stick and I get the fuck out
• 42:55
  of you, little freak. Like who is this mill boy I?
• 42:59
  Like this kid? This kid's good.
• 43:03
  So while they're OK, we'll talk about the house and then we'll
• 43:06
  talk about it. Cuts back and forth.
• 43:08
  Yeah, I don't want to cut back and forth talking about it.
• 43:11
  Yeah. So at the house, Aaron makes her
• 43:13
  call. Everything's good.
• 43:14
  She's about to leave, and then the old man asks her for some
• 43:18
  help. He tumbled himself out of his
• 43:20
  chair. Listen, I'm not one to doubt his
• 43:26
  real distress, his real needs, his real abilities, but I feel
• 43:30
  like he wouldn't have done this if Aaron wasn't in the house and
• 43:32
  he wasn't trying to cop a feel. No, that was entirely what it
• 43:34
  was for. I think it was also a
• 43:36
  distraction because as he's doing that, he's like walking to
• 43:39
  his side and the weather face walks through the hallway.
• 43:42
  And then as Leatherface does that, we see Kemp, who's getting
• 43:45
  impatient outside. He goes inside to look for.
• 43:47
  You. Oh Kemp, getting impatient?
• 43:49
  Go figure. See, it's a big house, but big,
• 43:52
  tall, not big, wide. Like she would hear him.
• 43:54
  Yeah, he would hear her. He would hear all of the things
• 43:57
  going on there. But he's one of the house.
• 43:58
  It's one of. Those houses where it's like all
• 44:00
  of the rooms are connected so you can just go in a big circle.
• 44:02
  Yeah, and but like they can't hear each other.
• 44:05
  So he's like calling out for her and he's.
• 44:07
  Acoustics in this building are really.
• 44:08
  Weird. It's all the skeletons and bones
• 44:11
  and shit. In there?
• 44:11
  Really, with the acoustics, the human hides hanging up.
• 44:14
  Yeah, it really is bad for that. And he ends up finding this room
• 44:18
  that's just plain, like, old school cartoons.
• 44:20
  And I love the way that this is done because it's like the
• 44:22
  little, like, drum roll from the cartoon.
• 44:23
  And as that's happening, Leatherface comes up from
• 44:25
  behind, boom, sledgehammer to the head, and takes him, drags
• 44:29
  him to his secret lair. Bada Bing bada boom.
• 44:32
  Yeah, the sheriff is making the trio help Saran wrap the body of
• 44:37
  this girl. Man, yeah, like that right
• 44:40
  there. I know it's Texas, but like,
• 44:42
  come on, man. Like that is a tale that this is
• 44:45
  not a legit dude. Yeah, it feels so sketchy.
• 44:49
  He's like, nobody respects the dead more than I do.
• 44:51
  And he says that. And as Morgan and Andy are
• 44:55
  trying to put the body in the back seat of the car, he goes,
• 44:57
  no, not in the back seat. Not in the trunk.
• 45:00
  Like don't you fucking ruin my car.
• 45:03
  It's so fucking funny dude. This delivery is so good on
• 45:05
  everything he does. So Aaron walks back through the
• 45:08
  woods. She's looking for camp, but she
• 45:10
  can't, she can't find him because he is being used for
• 45:13
  arts and crafts. Yep.
• 45:15
  She gets back and she tells them that the sheriff is on the way
• 45:17
  and they're like, well, no, he actually already came and she
• 45:19
  was well then where's Kemper? And they're like, is he not with
• 45:22
  you? So she she's a little bit
• 45:25
  freaked out and she wants to go try and find him.
• 45:28
  But then they're from the distance hearing a horn in a car
• 45:32
  in the midst of a car graveyard. And Andy find like they're
• 45:37
  walking around, they're trying to figure out what it is.
• 45:39
  The horn has been like, propped up to Blair.
• 45:42
  Yeah. They're not finding this
• 45:44
  suspicious at all. That's a trap.
• 45:45
  They should. That's always a trap.
• 45:47
  Especially when Andy looks down and finds teeth.
• 45:51
  Teeth. Yeah.
• 45:53
  And yeah, I mean, that right there gets a little bit more
• 45:56
  freaked out, but then but. Not more.
• 45:58
  No. Morgan got plentifully stoned
• 46:01
  before all of this and did not sober up through the pure shock
• 46:04
  of watching a woman shoot herself.
• 46:06
  No, because he pretends to have his arm.
• 46:09
  He probably thinks this is all part of the trip.
• 46:11
  He's like, I'm going to snap off and I'm going to be a Skinner.
• 46:14
  Like it's going to be awesome. He's like, this is really
• 46:16
  intense wheat. Yeah, normally don't hallucinate
• 46:19
  this way, but. Yeah, he like digs in the car
• 46:23
  and he pulls out this jar and it has these pictures of.
• 46:27
  The girl from the van which she is Beth in Hostile Part 2.
• 46:31
  And anybody's thinking? She looks familiar.
• 46:34
  And then on the other side is her family, which includes a
• 46:37
  little boy. Yeah.
• 46:38
  So we see camp in the basement of the house and he is being
• 46:42
  hoisted up upside down and a little velveteen black box falls
• 46:48
  out of his pocket. It fell out of his pocket pretty
• 46:52
  easily. I'm very concerned that he was
• 46:54
  just wandering through the woods with that thing.
• 46:56
  Yeah, he was. Yeah.
• 46:58
  It was like, and it's a beautiful ring too.
• 47:00
  He definitely spent a pretty penny on.
• 47:01
  It he did, yeah. Yeah.
• 47:03
  It's a sad, sad thing. Yeah.
• 47:05
  She never knows that, does she? She never sees the ring later.
• 47:08
  Either too she does thinking that, or he dies with her
• 47:11
  thinking that he didn't want to commit.
• 47:12
  Yeah, God. Aaron says that they need to go
• 47:16
  back to the house to look for Kemper, so her and Andy go out
• 47:18
  there and Andy is gonna sneak in while Aaron distracts the man.
• 47:23
  Yeah, Morgan and Pepper are really fed up with it.
• 47:25
  They're one to go, but. Aaron takes the.
• 47:28
  Yeah, so they're they all go back to the van just to hang
• 47:31
  out. So yeah, they're back at the
• 47:33
  house, They're marching, and Aaron distracts.
• 47:35
  The man. Yeah.
• 47:36
  And then Andy sneaks in and he's looking around and there's this
• 47:39
  scene, I think it's in the kitchen.
• 47:41
  And there's like all of these hunks of meat hanging from the
• 47:45
  ceiling and one pair of pantyhose.
• 47:48
  I just, I love the, OK, so laundry is clearly happening,
• 47:52
  but the pantyhose, the unmentionables have to hang in
• 47:55
  the kitchen. Those can't be outside in the
• 47:57
  laundry where God and everybody can see.
• 47:58
  That's probably where Leatherface does his.
• 48:00
  That's part as part of his Pretty Woman out there right
• 48:04
  there. Probably, Yeah.
• 48:06
  So they're he's in there looking around and he ends up
• 48:10
  accidentally making the sound. He knocks over a big ass cooler
• 48:13
  so it's a loud sound and Aaron runs in and then the man is like
• 48:17
  falling in. He's yelling and they're like
• 48:20
  listen, we're just looking for camper and you can't stop us.
• 48:22
  And he goes oh, you don't even know what you did.
• 48:25
  And he takes his cane, and he is.
• 48:28
  Come on, get him, boy. Come get it.
• 48:30
  And he does. God, that was a good scene with
• 48:33
  the first time I saw that as a kid.
• 48:35
  Holy shit, that fucking freaked me out.
• 48:38
  Like this is a good way to do this right here.
• 48:40
  Because he charges out with a chainsaw.
• 48:41
  And I like that Andy has the tire iron and he's like using
• 48:46
  that as like a like a defense against the chainsaw right
• 48:48
  there. They're fighting and eventually
• 48:51
  they both run out. They get split up.
• 48:53
  Andy is running through the laundry and Leatherface.
• 48:57
  Swoops through the sheets and gets him.
• 48:58
  Cuts off his leg as he's running away, so he takes him, drags him
• 49:03
  down to his lair. And then this is where we see
• 49:05
  the fingernails come off his. Yeah, holy fucking shit, I hate
• 49:10
  that so much that. But it also like, that's one of
• 49:13
  those things that it sticks with me because that's like the
• 49:15
  desperation to not die. That was the thing at the
• 49:18
  beginning of the movie, too. Yeah.
• 49:19
  Like the guy's like, all right, there's an embedded fingernail
• 49:22
  right here. So Erin runs and she gets back
• 49:25
  to the van. She is panicking the van won't
• 49:27
  star in. Pepper and Morgan are like yo
• 49:29
  what? What happens?
• 49:31
  They were cleaning the van of the crime area there.
• 49:34
  They were cleaning up like a body parts, which that's good.
• 49:37
  They actually, I think they realize, you know what, we were
• 49:39
  kind of being Dick. So it's like actually do
• 49:41
  something nice and clean up his van.
• 49:42
  For him, yeah. So the sheriff appears and it's
• 49:46
  like why are you back here? Seems kind of fishy.
• 49:50
  He does not give one flying fuck about what Aaron's saying about
• 49:56
  somebody dying cuz he sees on the dashboard a joint.
• 50:03
  Yep, that's the worst thing you could do.
• 50:06
  Ever. Maybe there's maybe there's some
• 50:09
  social commentary in that. Yeah, you know, a little bit.
• 50:11
  Yeah, yeah, yeah. Who gives a fuck about murder?
• 50:15
  You got a joint? Fuck you, you're going down.
• 50:19
  He orders everybody out of the van and makes him go face first
• 50:22
  onto the ground. This.
• 50:23
  Is such a scary scene. Yeah, this, this scene is
• 50:26
  probably one of the most tense scenes for me in the whole
• 50:28
  movie. Yeah, and he's not listening.
• 50:30
  And then he's like, all right, Morgan, you stand up, get in the
• 50:34
  van over there. I need you to reenact the shot
• 50:37
  right there because I need to see how it exactly went down.
• 50:39
  So he makes him get in the back of the van, so exactly where she
• 50:43
  shot herself, which still has like guts and brain matter all
• 50:46
  over the place and he. Makes him take the gun, stick it
• 50:50
  in his mouth and act like he's going to pull the trigger.
• 50:54
  But Aaron makes a sense. She gets up and she's like
• 50:58
  starting to argue. And in that moment of
• 51:00
  distraction, Morgan takes the gun, flips around on the
• 51:02
  sheriff. He pulls the trigger.
• 51:05
  The gun's not loaded, but the sheriff takes That is like, you
• 51:10
  killed the sheriff this time and you're going down.
• 51:14
  Meanwhile, we see Andy being placed on a meat hook and his
• 51:18
  stump is getting. I mean, they're seasoning the.
• 51:22
  Meat. Yeah, they are.
• 51:23
  Yeah, he's taking salt and he just like he patches up the wall
• 51:26
  with that right there. Oh God.
• 51:28
  Yeah, and then he's making his Kemp mask.
• 51:31
  Yeah, this is where he takes off his first face, which you get to
• 51:34
  see his actual face, which this is the only movie we've ever
• 51:36
  seen Leatherface's true face. I think it honestly it reminds
• 51:40
  me of Phantom of the Opera. Yeah, I can see that, yeah.
• 51:45
  You see the Phantom pick off his mask.
• 51:46
  Yeah. So yeah, they're back over at
• 51:51
  the van with the sheriff. He takes the gun back from No,
• 51:56
  he pulls his own gun on Morgan. Yeah, except.
• 51:58
  And so shoot him, he pistol. Does he?
• 52:00
  Yeah, he pistol. Whips him.
• 52:01
  Yeah. He gets Morgan into his car.
• 52:03
  Yeah. And he is hitting him while he's
• 52:07
  driving. He knocks outside his teeth.
• 52:08
  Dude, he hit him with a fucking liquor bottle.
• 52:10
  Yeah, bust. Those things are tough.
• 52:12
  Busting a liquor bottle in somebody's face is gonna do some
• 52:15
  damage. Yeah, and the tune of a few
• 52:18
  teeth. Yeah, at the very least.
• 52:20
  And Morgan's glasses. I like this though.
• 52:22
  He's like, hey, you like skinny? I like them too.
• 52:24
  Look at that. We got something in common and
• 52:26
  he bust his teeth. I was like, hey, we got
• 52:28
  something else in common now. Yeah, he's got, like, a false
• 52:30
  bridge. So Aaron hotwires the van and
• 52:35
  Pepper's like, how'd you learn how to do that?
• 52:37
  And she goes, oh, I was in juvie.
• 52:39
  And then as they're about to try and drive away, oh, here comes
• 52:43
  chainsaw. Yeah.
• 52:45
  And. Well, they drive, but as they're
• 52:48
  driving away, all of the wheels fall off.
• 52:50
  Like how did that even happen? Well, you see, Andy took the
• 52:53
  tire iron, and it has to be close enough to the van for the
• 52:59
  gravitational pull. Yeah, so Leatherface starts
• 53:04
  attacking. He's very close to getting Aaron
• 53:07
  and Pepper runs. She's got no love for anybody
• 53:11
  else at this point. She's known these people less
• 53:13
  than 24 hours. I have questions about that.
• 53:16
  Does she meet them in Mexico? Yes, and then ride back with
• 53:19
  them. So did they traffic a woman?
• 53:22
  No, I think she's American. OK, but still.
• 53:26
  Oh no, Oh no, it. Was it was easier?
• 53:30
  Yeah, I guess that's true. Yeah.
• 53:33
  Anyways, yeah, she's dead. It doesn't matter.
• 53:34
  Anymore. Yeah, yeah, she's dead.
• 53:36
  And like we have a slow motion scene of Leatherface looking
• 53:39
  back at Aaron through Kemper's eye holes.
• 53:42
  Yeah, that's sad. So she gets out of the van and
• 53:45
  starts running. We get a nice little chase scene
• 53:47
  here. Yeah, And then she gets to this
• 53:49
  trailer and there's 2 ladies in there and they're like, oh, that
• 53:53
  little sweet boy, he'd never do anything to you.
• 53:56
  He's just so sweet thing. It's a shame.
• 53:59
  You know, people are kind of mean to me.
• 54:02
  Keys to himself. He's got that skin disease.
• 54:05
  And Aaron is being forced to drink tea.
• 54:07
  And she doesn't want to drink tea.
• 54:08
  She just wants to use the phone. And they're like, well, we don't
• 54:10
  have a phone. And she gets up and she looks
• 54:12
  around and she finds that girl's family photo and she hears that
• 54:15
  baby crying. And she goes back there and
• 54:17
  she's like, you stole that baby. And then we get this really cool
• 54:22
  scene cuz the woman is on the phone.
• 54:24
  Yeah. And Aaron's like, I thought you
• 54:25
  didn't have a phone. And then she starts to pass out
• 54:28
  and she passes out and we see the ceiling and it gets a little
• 54:30
  fuzzy. And then we see the ceiling
• 54:32
  again. It's such it looks a little
• 54:33
  different. And Sheriff Hoyt is looking over
• 54:35
  her. And I kind of I like that as a
• 54:37
  transition. That was a good one.
• 54:38
  Yeah. Yeah.
• 54:39
  They're in the Sawyer house now. Well, not the Sawyer, the Hewitt
• 54:42
  house now. Forgive me.
• 54:43
  Yeah. Yeah, dude, why would you change
• 54:46
  it? It's all your.
• 54:48
  I know it's they blew it with you.
• 54:52
  It. I'm so sorry.
• 54:57
  Anyways, yeah, they're partying, they're waking her up, they're
• 55:00
  pouring a liquor on her face and all that shit.
• 55:04
  Yeah, the the woman from the diner is there.
• 55:06
  She's she's Mama. Jedediah is also there.
• 55:10
  He's outside though. He is somebodies baby.
• 55:12
  We don't know if he's the sheriff's baby or Thomas Hewitt
• 55:14
  baby. I don't know, but I feel so bad
• 55:17
  for this kid. The kids like, let me in.
• 55:19
  Like, no, you've been bad. You need to sleep out there with
• 55:21
  the dogs a little bit longer. Like, what the fuck?
• 55:23
  This hits like 5. Yeah.
• 55:26
  And then the woman says that Aaron's kind has always been
• 55:29
  cruel to her boy and then so cruel to that kid.
• 55:32
  Then she calls up Thomas Brown Hewitt come get her.
• 55:36
  And he comes and gets her and he throws her in the cellar.
• 55:39
  Yeah. When she's down there, she finds
• 55:42
  Andy, and she tries to unhook him.
• 55:44
  It doesn't go well. He doesn't love it.
• 55:46
  He's like, that's not what I meant.
• 55:48
  Can I help me? And she was like, well, I can't
• 55:51
  sew your leg back on. He was like can kill me.
• 55:55
  Kill me, kill me. Worst possible way.
• 55:57
  She doesn't stab to the gut. That's like a long bleed out
• 56:02
  situation right there. It's not gonna be but he dies
• 56:04
  instantly but that's not how that goes.
• 56:05
  Slit his throat or something for the.
• 56:07
  Crowded. Yeah, OK, well, I, yeah, I guess
• 56:10
  you could do that. Yeah, yeah, yeah, same thing.
• 56:12
  Yeah. Slit the throat.
• 56:13
  Yeah, yeah, yeah. I mean, that would be a lot
• 56:15
  quicker than what this guy had to go through, probably.
• 56:19
  Anyways, she moves on and she goes further downstairs and she
• 56:23
  finds Morgan in a tub. He's just kind of crouched in
• 56:27
  the fetal position. He is very, very fucking
• 56:32
  confused. He's very fucking confused,
• 56:34
  yeah, because like, I mean, he thinks it's going to be the
• 56:36
  sheriff fucking with him again or something.
• 56:38
  And then like she touches and he starts to flip out.
• 56:41
  And she, she gets them out and they start walking.
• 56:43
  Jedediah appears, and he's like, you know, fuck these people.
• 56:46
  Yeah. Come out, I need to sleep with
• 56:48
  the dogs. No more.
• 56:48
  Yeah. He's come with me.
• 56:50
  Yeah, you guys are my friends now.
• 56:51
  We'll go sleep with my possums, yeah?
• 56:55
  Yeah, So, yeah. And Leatherface has been peeping
• 56:58
  through the four boards up top, so he's seen all this.
• 57:01
  And he's like, all right, I got to step in now.
• 57:03
  So he runs in, and he's chasing them, and he almost gets them,
• 57:06
  but Jedediah about his hand slows them down just enough.
• 57:09
  Aaron and Morgan make it to make it through the woods to this old
• 57:12
  abandoned house, and Leatherface gets in.
• 57:15
  They have enough time to hide a little bit, but Leatherface is
• 57:19
  moving around. He's listening for a little
• 57:21
  sounds, and he hears Aaron. He gets her, but Morgan comes
• 57:26
  out of fights and Leatherface says I've had enough of your
• 57:29
  shit where he's still handcuffed and he just hangs him up on the
• 57:33
  light fixture, which I call bullshit on that light fixture
• 57:36
  being able to hold Morgan's body weight.
• 57:37
  He's a skinny little guy, but he's still.
• 57:39
  Still a full grown person. I love that.
• 57:41
  I love. He's like, where's my hook at?
• 57:43
  This will do. Yeah.
• 57:45
  Shit over here. He's like, you go here and then.
• 57:50
  He picks up my boy. He's like, what am I supposed to
• 57:51
  do with this? What a where's a hook?
• 57:53
  Give me somebody. Give me a hook right now.
• 57:55
  I like to imagine he didn't even see the chandelier.
• 57:57
  That's just like muscle memory for him.
• 57:58
  He picks up a person and does the hanging motion.
• 58:01
  It's like, I think you should leave.
• 58:02
  Yeah, I think you should leave. He's like, I don't know what I'm
• 58:04
  doing. Like what do I do?
• 58:06
  Oh, I think you're saying come here, you little fuck.
• 58:08
  He will do. That too, Yeah.
• 58:10
  Yeah. So he gets in there and he
• 58:12
  chainsaws. I'm always up there.
• 58:14
  And that gives fuck Aaron. They have a chance to run, Yeah.
• 58:20
  So she runs and she finds a meat factory and Leatherface follows
• 58:23
  her in this scene. Also could have been cut down a
• 58:25
  lot. Yeah, this one.
• 58:26
  Really. Yeah.
• 58:28
  She goes in there and she's like hiding along like the meats,
• 58:32
  which, What did you say? You said something about this
• 58:34
  yesterday. Cuz she hid inside a cow's body
• 58:37
  and I said is that why it's called a cowhide?
• 58:43
  Goddamn it. Yeah.
• 58:44
  It's a cow hide. That's a good one, yeah.
• 58:48
  But she she goes into this like locker room, which is not even
• 58:52
  really a locker room. It's like a high school hallway.
• 58:54
  It's. Like, yeah, yeah.
• 58:56
  And she's hiding in a locker and Leatherface making his way down,
• 58:59
  and she hits the locker and at first she's like, what are you
• 59:02
  doing? And he comes up and he hears
• 59:04
  shuffle in a locker, opens it up.
• 59:05
  It's a little piglet. What if it was the possible and
• 59:08
  let? Me because you know what?
• 59:11
  Up until like Leatherface is only killing people that broke
• 59:16
  into his house. Yeah, still.
• 59:18
  Like Pepper is the only one who didn't break into his house but
• 59:21
  before that it like literally only people.
• 59:23
  That's what it is that. I think it's still his property.
• 59:26
  They're still on his property right here.
• 59:28
  Yeah. He's he's going after them for
• 59:29
  that. I mean, and this is this is what
• 59:32
  we've said in in the original too.
• 59:34
  It's the same thing like stop intruding.
• 59:38
  He's a misunderstood boy. Texas is a stand your ground
• 59:41
  state. Yeah, exactly.
• 59:44
  Thankfully, he doesn't kill the pig, but Aaron takes this
• 59:46
  opportunity to get out there. I like Cleaver.
• 59:49
  She's got a Cleaver and she just chops his fucking arm off.
• 59:52
  Yeah, holy shit. And that's the one with the
• 59:53
  chainsaw. It makes it a lot, yeah.
• 59:55
  It makes it a lot harder to use a chainsaw if you've only got 1
• 59:58
  arm. I like that cuz he like tries to
• 59:59
  pick it up and he's trying to shake his arm off but his hand
• 1:00:02
  has such a good grip on it and he can't get it loose.
• 1:00:05
  She runs out and oh, it's raining.
• 1:00:07
  She flags down a standby and the driver gets her in the truck and
• 1:00:11
  basically a repeat of when they picked up the girl from the
• 1:00:13
  beginning, except he is like, all right, cool.
• 1:00:16
  We're going to stop right here at this house and I'm going to
• 1:00:19
  go in and talk to these people. And of course, it's the Hewitt
• 1:00:22
  house. I think it's the gas station.
• 1:00:23
  Maybe it is the gas station, whatever, still their property.
• 1:00:27
  She gets out and she hides around the other side and the
• 1:00:29
  trucker's like trying to tell them, like this girl is like
• 1:00:32
  battling. She's not in a good way.
• 1:00:33
  We need to get her some help. So the sheriff goes out to look.
• 1:00:36
  Everybody else comes out to look.
• 1:00:39
  They leave the baby alone. Air runs in, grabs baby and she
• 1:00:44
  sneaks into a vehicle and she's hotwiring it.
• 1:00:47
  For some reason I think they're feeling this in a way that they
• 1:00:50
  want us to think that she snuck into the semi.
• 1:00:53
  Yeah, that's what it is, yeah. They're like semi dressed
• 1:00:56
  differently than a vehicle. We already saw the sheriff's
• 1:00:58
  car. Like I I knew it was the
• 1:01:00
  sheriff's car. I don't know how they I didn't,
• 1:01:03
  I don't like, I mean, I I just see her hot wiring here and
• 1:01:07
  she's and I you know, that's the same in all vehicles to me
• 1:01:09
  because I don't know how to well.
• 1:01:10
  You also thought this was a documentary.
• 1:01:12
  And I thought that this actually happened.
• 1:01:13
  Yeah, that's true. Yeah.
• 1:01:16
  So, yeah, we see the sheriff finds nobody in the truck, and
• 1:01:20
  then as he's making that discovery, Wham, he gets hit by
• 1:01:23
  the cop car and it's her. And she's like, you know what?
• 1:01:26
  Fuck this guy. Throws it in reverse over him
• 1:01:28
  again and then back and drive and then once more over him.
• 1:01:31
  So he's fucking dead. And she's got the baby in a
• 1:01:35
  weird baby seat contraption. Yeah, You know, you got to do
• 1:01:38
  what you do. Yeah.
• 1:01:39
  I like this final bit right here as she's driving, like, all
• 1:01:42
  right, everything's nice, everything's good.
• 1:01:44
  And then as she's driving, we get the chainsaw, just
• 1:01:46
  sideswiping the car as she drives by and it's just weather
• 1:01:49
  face. Just like I'm not happy about
• 1:01:51
  it. But you did win this.
• 1:01:52
  One Yeah, like he knows fair's fair.
• 1:01:56
  Yeah, yeah. How's he still going?
• 1:01:57
  He has lost a shit ton of blood. He lost a whole ass on him.
• 1:02:01
  He's. Been through a lot.
• 1:02:02
  You just they'll get some salt on it.
• 1:02:04
  They brand that shit, they eat it.
• 1:02:07
  And and there we go. That's how the movie ends right
• 1:02:10
  there. No, that's not because we cut
• 1:02:12
  back to the walkthrough video. Oh, it wasn't done because they
• 1:02:16
  get down to the bottom of the basement and the cops attacked
• 1:02:18
  by leather face. We found out that the Travis
• 1:02:21
  County Police Department did not properly secure the crime scene.
• 1:02:25
  He was Travis. Well, what can I say?
• 1:02:27
  Two officers were killed and the image from that walkthrough is
• 1:02:31
  the only known image of the men, known as Leather Foods.
• 1:02:34
  That is a good freeze frame on his face there.
• 1:02:37
  That is a great shot. That's a great way to end that
• 1:02:40
  movie right there. All right.
• 1:02:44
  I will 7.5. 7.5 All right, cool. I think we can make some edits,
• 1:02:51
  yeah, and maybe give it a little bit more depth and balance with
• 1:02:55
  the characters. OK, but you're wanting purpose,
• 1:02:59
  right? You're wanting it to make a.
• 1:03:01
  Statement I just. That, I mean, that's kind of a
• 1:03:04
  thing with the series. I get it.
• 1:03:05
  Yes, yes. And then like I said, also I
• 1:03:08
  want balance with the characters.
• 1:03:09
  I don't want one moral person that we're like, OK, well, she's
• 1:03:12
  so obviously the final girl that it kind of fucking hurts.
• 1:03:15
  Like, and why is she friends with all of these people?
• 1:03:17
  You know what I mean? Yeah, yeah.
• 1:03:20
  OK. I could see them.
• 1:03:23
  And you? I'm keeping my 9.5.
• 1:03:27
  Right, that's new average 8.5. All right, cool.
• 1:03:31
  Talia who she needed to go out. We hit play and she was like, I
• 1:03:35
  need to go out and she came back and she told she stole Travis's
• 1:03:40
  seat. Just to give you guys some
• 1:03:41
  context, she she hasn't been feeling herself for the past few
• 1:03:45
  days, but like when we hit play on this, this is like when I
• 1:03:47
  think she started, she's now acting more like her acts for
• 1:03:50
  herself. But like, watching this movie
• 1:03:52
  brought her back to Talia levels right here.
• 1:03:54
  Yeah, so she comes like she's still Travis's seat.
• 1:03:57
  Yeah, they got to the mill and she farted.
• 1:04:00
  It was a defense fight, and every time something would
• 1:04:04
  happen, like Leatherface would appear or a character would say
• 1:04:07
  something you knew would be trouble, she'd whip her head and
• 1:04:09
  stare at her. I was like, did you fucking
• 1:04:11
  hear? That she gave me the most shock
• 1:04:12
  look one time. She's like and anytime the
• 1:04:15
  sheriff would come on screen and be like.
• 1:04:18
  So Talia, this is a 10 out of 10 for Talia.
• 1:04:21
  This is this. 10. Yeah, that was a heavy ride for
• 1:04:24
  her. I think she thought it was real
• 1:04:26
  too. She's like, Oh my God, we've
• 1:04:28
  been guys. It's crime scene footage.
• 1:04:30
  You know, I think what happened, we've been watching a lot of
• 1:04:32
  documentaries lately. I think she's like, Oh my God,
• 1:04:35
  guys, Can you believe this? Damn.
• 1:04:39
  Who is Zoe's ultimate warrior? Jedediah.
• 1:04:44
  Yeah. Now, yeah, I don't know.
• 1:04:46
  Something about that little kid gives me Zoe energy.
• 1:04:48
  Yeah, I can see it. Zoe also gets kicked out of the
• 1:04:51
  bedroom and she's being. Real.
• 1:04:52
  That's true. Yeah.
• 1:04:53
  You need to stay out there with the dogs.
• 1:04:56
  Who did you relate to? I I think I related to Kemp in
• 1:05:12
  this year because you're irresponsible type person, but I
• 1:05:17
  also have those influences in my life that are much like his
• 1:05:19
  friends, like Morgan, where he's like, all right, let's do this
• 1:05:21
  fun like irresponsible shit. And I feel like I'm like caught
• 1:05:25
  in the middle sometimes. Like I know I shouldn't be doing
• 1:05:27
  this, but like I kind of want to do this.
• 1:05:29
  But I know Jess is over there. She's going to remind me.
• 1:05:32
  You're the reminder like some of this stuff isn't worth it.
• 1:05:36
  Are. You saying this is how I remind
• 1:05:37
  you of who you really are? Yes, this is how you nickelback
• 1:05:41
  me right here. That's not a knock on you
• 1:05:44
  because there's nothing wrong about being a responsible
• 1:05:46
  person. You need that sometimes.
• 1:05:47
  Sometimes I have some stupid friends that will have some very
• 1:05:52
  not good things to suggest. And, you know, that's, that's
• 1:05:56
  just the reality over there. I relate it to a woman trying to
• 1:06:01
  feed the baby beans because what do you feed a baby?
• 1:06:05
  I don't know. I don't know either.
• 1:06:06
  You know beans is like a reasonable try.
• 1:06:09
  Like I saw that and I was like, I feel like you're not supposed
• 1:06:11
  to feed a baby a can of beans, but I actually don't know what
• 1:06:14
  age they would be allowed to eat beans.
• 1:06:16
  They're. Mushroom.
• 1:06:17
  You have to cut grapes in half. I feel like a bean's an easier
• 1:06:22
  thing to eat than a grape. I like, but see, I don't feel
• 1:06:25
  that way. And This is why I feel like I
• 1:06:27
  shouldn't be allowed to feed children.
• 1:06:29
  Like even yesterday at our niece's birthday party, I was
• 1:06:32
  like, can this one have this thing?
• 1:06:34
  And my sister would be like, yeah, yeah, that's.
• 1:06:38
  My question, yeah, like. I don't.
• 1:06:40
  Know. Yeah, we don't.
• 1:06:41
  We don't know. There's so many rules.
• 1:06:43
  Did you know they can't have honey before they're like a year
• 1:06:45
  old because they can get Botulism.
• 1:06:48
  Really. Yeah, it is.
• 1:06:49
  See, I would I, I would be doing that just like show up at the
• 1:06:53
  like the kids birthday party. All right, I got the beans.
• 1:06:55
  Where do the beans go pre? Opened them.
• 1:06:59
  The fuck are you doing with beans here?
• 1:07:00
  I saw in the movie it's a documentary.
• 1:07:06
  OK, all right. We don't do dream sequel for our
• 1:07:09
  franchises. But we name it.
• 1:07:11
  We name this one here. Yes, the one where the bunk I
• 1:07:14
  guess is like cut off. Is that we?
• 1:07:16
  Went that's how I remember it. I feel like the one that would
• 1:07:21
  really make OK if that's what if that's what works for you.
• 1:07:23
  But I always thought the thing that would make you remember it
• 1:07:25
  would be Morgan's actor. No, that doesn't.
• 1:07:29
  He looks so different in this movie than he does in anything
• 1:07:32
  else he does. Yeah, that like, like I'm used
• 1:07:35
  to him. Looking more like Mark
• 1:07:36
  Zuckerberg. Yeah, yeah, he kind of does have
• 1:07:39
  a little bit of that look there. All right?
• 1:07:40
  The one where the blonde dude gets his leg cut off.
• 1:07:42
  Yes, that's how I will personally.
• 1:07:44
  That's the title of a friend's episode right there.
• 1:07:46
  Yes. OK.
• 1:07:48
  And then we wanted to introduce a new segment we meant to do
• 1:07:52
  last week, but last week was fucked up, so whatever.
• 1:07:55
  Yeah, that's right. Because we had this argument
• 1:07:58
  talking about if Dom Toretto like a how he would defeat the
• 1:08:05
  the Cenobites and if he could defeat the Cenobites.
• 1:08:08
  And I said yes, obviously with family.
• 1:08:10
  So we wanted to introduce a new segment called What would Dom
• 1:08:13
  Do? What would Dom do?
• 1:08:14
  Yeah. So in this scenario, Dom Toretto
• 1:08:18
  is driving through Texas and he has to stop at a gas station.
• 1:08:23
  They're, they're racing, right? They're racing.
• 1:08:25
  Sheriff Hoyt don't take kindly to that.
• 1:08:28
  He pulls them over and he takes. Is it letty though?
• 1:08:40
  I think why? Do you remember the character's
• 1:08:43
  name? Tyrese?
• 1:08:44
  Tyrese. OK, Roman.
• 1:08:46
  Yes, he takes Roman just because I think that gives us a chance
• 1:08:49
  to have some. Wait, takes him where?
• 1:08:51
  Takes him to the house. No, Jesse.
• 1:08:54
  He takes Jesse all the time. You, Jesse.
• 1:08:57
  Jesse's back. Jesse.
• 1:08:58
  'S back. He's he's been brought back to
• 1:09:00
  life, yeah. Because it's remake Central, so
• 1:09:03
  we can do that. So yeah, he takes Jesse and Dom
• 1:09:06
  and Letter. You're like, Oh no, Jesse, sweet
• 1:09:08
  little Jesse. He can't be in the Hewitt house.
• 1:09:11
  So that's when they call in the rock like he's kind of good.
• 1:09:16
  So this is what Vin would do. He would call in the rock.
• 1:09:18
  You think he calls in the Rock for help?
• 1:09:22
  I I think he calls him in because he's like, hey, Brian is
• 1:09:26
  no longer in the government. We need you to pull the records
• 1:09:29
  on this cop. OK, So he has the rock do that.
• 1:09:32
  He's not. No, the Rock is not allowed on
• 1:09:34
  screen with him at this point. So OK, let's get to the heart of
• 1:09:36
  this. What would Vin Diesel do to get
• 1:09:38
  out of this jam? What would Don Toretto do to get
• 1:09:41
  out of this situation? He's got Jesse in the in.
• 1:09:46
  He's being held captive by the Hewitt family.
• 1:09:50
  So they learn from the Rock that Sheriff Hoyt is not a real
• 1:09:54
  sheriff. And they're like, all right,
• 1:09:55
  here's what we're going to do. They've got a car on each side
• 1:09:58
  of the house, OK? And they room, room, room.
• 1:10:02
  And they see which one the the man comes out to 1st, and that
• 1:10:06
  one, that side of the house, that person drives up and
• 1:10:10
  circles around him and he's like, what the Hell's going on?
• 1:10:12
  Everybody else converges by the other entrances and they get
• 1:10:15
  down into the basement and they save Jesse just before he's hung
• 1:10:20
  up on the meat hook. And then on their way out, they
• 1:10:22
  also take Jedediah because little Brian needs a friend.
• 1:10:27
  OK, hold on. OK, so all this happens, their
• 1:10:29
  cars get fucked somehow. I don't know.
• 1:10:31
  They have like bone fragments all over the yard, so the tires
• 1:10:33
  are slashed. So they're out on foot now and
• 1:10:36
  they got everybody, but they're running.
• 1:10:37
  I have to flag down the truck driver, he said.
• 1:10:40
  Dom's not gonna let the truck driver drive.
• 1:10:41
  He gets in the driver's seat and then he somehow installs some
• 1:10:46
  Nitro. Who is on the roof of the truck?
• 1:10:49
  Wheddy. OK, Wheddy gets on the roof all
• 1:10:51
  the time. Yeah, yeah, yes, OK.
• 1:10:55
  I like this. And then he he does some Nos, he
• 1:10:58
  goes Nos mode and then he like Nos off in the distance as
• 1:11:01
  Leatherface is on the road just soon as Leatherface stands.
• 1:11:04
  And he drives back. He drives so fast that
• 1:11:06
  Leatherface can't even like, hit the truck with the chainsaw.
• 1:11:10
  The force of it throws the chainsaw out of his hand.
• 1:11:14
  Yeah, and that's all that goes, that's.
• 1:11:18
  What Tom would do, and that's what Tom would do.
• 1:11:22
  We'll get better at this segment as we go.
• 1:11:24
  I like that though. We like, we, we designed a whole
• 1:11:27
  movie right there. We we did a crossover.
• 1:11:30
  OK. I think we we do reviews now.
• 1:11:33
  Yes, we're. Team reviews now.
• 1:11:36
  Tagline. Tagline.
• 1:11:37
  That's right. Oh.
• 1:11:41
  Instead of I am the law, I am the saw.
• 1:11:45
  Oh, I like that. Because I am the law and the
• 1:11:48
  saw. No, OK, I am the saw.
• 1:11:50
  Yeah, cuz that also ties into the Saws family.
• 1:11:53
  Yeah, yeah, yeah. OK, cool, cool.
• 1:11:55
  OK. I've got a review from IODB.
• 1:12:01
  OK. This is 1 out of 10 mean
• 1:12:06
  spirited, wretched and overrated.
• 1:12:09
  I'm just getting ready to snippet of it's pretty long
• 1:12:11
  review. We're given one-dimensional
• 1:12:13
  characters with no motives reason.
• 1:12:15
  Leatherface is stripped of any kind of real characterization.
• 1:12:18
  This is a soulless husk of a movie that equates sadism with
• 1:12:21
  horror. And unfortunately this concept
• 1:12:23
  doesn't work. If we cared about the
• 1:12:24
  characters, what happened to them would seem horrific.
• 1:12:27
  Instead it just seems cruel and mean spirited, like kicking a
• 1:12:30
  dog. Horror is the emotional reaction
• 1:12:32
  we're going for. For a film that really seems
• 1:12:35
  like it's shooting to rise above the, it seems to be sinking
• 1:12:37
  quite well into the worst qualities of it.
• 1:12:40
  Here's an alleged arty film where in the last half hour is
• 1:12:43
  spent trying to find ways to keep Jessica Biel's shirt wet.
• 1:12:46
  And so help me, if you actually pay attention, you'll see
• 1:12:48
  exactly what I'm talking about, and these may be the most
• 1:12:51
  damning aspects of it. This film is dishonest from
• 1:12:53
  start to finish, not once respecting the viewer.
• 1:12:55
  It's an offensive geek show masquerading a serious horror
• 1:12:58
  film. The shoestring plot serves only
• 1:13:00
  to string unpleasant situations together, but it's shot as
• 1:13:03
  though they were going for something more.
• 1:13:04
  It's too haughty to be good and too cheap to be good horror.
• 1:13:09
  Weird. OK, I don't necessarily get that
• 1:13:13
  vibe from this. I don't.
• 1:13:15
  I get the impression that they thought that this was supposed
• 1:13:17
  to be like a bigger thing than what it really was trying to be.
• 1:13:21
  I really just think it was trying to be an entertaining
• 1:13:23
  horror movie, and I don't really think it was any more than that.
• 1:13:26
  I didn't get the like pretension from it that it's talking about,
• 1:13:29
  but I do see like, you know, some of that.
• 1:13:32
  If it had been trimmed down, if it had been edited a little bit,
• 1:13:35
  it wouldn't have seemed like it was just a a bunch of mean
• 1:13:37
  scenes strung together. That would help with some of
• 1:13:40
  that. And The thing is, it's not even
• 1:13:41
  that mean. I mean it's pretty bad.
• 1:13:43
  Like there's like the whole thing with her shooting herself
• 1:13:45
  and then having them like reenact and show like that.
• 1:13:48
  But like, I thought that that was effective.
• 1:13:51
  Like, I thought that that was a really well done moment in the
• 1:13:54
  movie, like having that character there, like, be like
• 1:13:57
  that. I didn't think it was crossing
• 1:13:59
  any lines or anything. Like, I thought that it was
• 1:14:01
  actually doing a really good job at being a horror movie.
• 1:14:04
  I thought it was scary, you know, like this movie actually
• 1:14:07
  does. Like it makes you feel tense.
• 1:14:10
  It does make you feel tense, but I do agree that maybe they could
• 1:14:14
  have done a little bit more doing dearest to the characters.
• 1:14:17
  I like the characters, but I think that they felt real, like
• 1:14:21
  they didn't need to be like these big like stereotypes or
• 1:14:25
  like, you know, character like types.
• 1:14:27
  Like they were just real people going to a show and that's that.
• 1:14:31
  Like, I think that that was one of the things that are retained
• 1:14:33
  from the first movie is that they're not anything special.
• 1:14:36
  They're just like a bunch of like 20 something year olds,
• 1:14:39
  like living their life. And that's what happens
• 1:14:41
  sometimes. Like shit like that happens, OK?
• 1:14:44
  All right. Do we have any listener reviews?
• 1:14:48
  Yeah, we actually have quite a bit for this one right here, so
• 1:14:51
  thanks everybody for participating.
• 1:14:53
  So First off, we'll start with Johnny.
• 1:14:55
  Johnny says this one pushed the camp's serious slider all the
• 1:14:59
  way to Sirius, which is fine, but I think it loses the charm
• 1:15:02
  the others had. This one felt more generic, and
• 1:15:05
  the only art direction was make everything brown.
• 1:15:09
  That's true. Yeah, it was.
• 1:15:10
  It was very, very 1 tone. Very monotone, yeah.
• 1:15:15
  Yeah, you know it. I I like the change from like
• 1:15:19
  camp to serious here. Like I love camp in Texas
• 1:15:22
  Chainsaw, don't get me wrong. But if you want to go for all
• 1:15:24
  serious one, I love that too, because that's how the first one
• 1:15:26
  started. Even if it was meant to be a
• 1:15:28
  comedy too. Yeah, it just didn't really do a
• 1:15:31
  good job with the comedy. And I I kind of get what he's
• 1:15:33
  saying about generic because that's how I feel about the
• 1:15:35
  characters. I can get that, yeah, yeah.
• 1:15:38
  OK. All right.
• 1:15:40
  Next up we have Jason, who says I dig it, gritty and takes
• 1:15:47
  itself seriously. For me, it's right up there with
• 1:15:49
  the original five stars. All right, cool.
• 1:15:51
  Hey, somebody else also feels like it's up there.
• 1:15:54
  It's really good, Marnie says. Love it.
• 1:15:59
  Missing reels, says one of the better early 2000s remakes.
• 1:16:03
  I will give it that. Yeah, I agree in AC.
• 1:16:06
  In what would become a sea of remakes, I think this one does
• 1:16:10
  pretty well. It's up there at the top, yeah,
• 1:16:11
  for sure. Yeah, and you all already know
• 1:16:14
  our thoughts on the Friday remake.
• 1:16:16
  Yeah, and finally, Michael Lee Howard says Texas Chainsaw
• 1:16:22
  Massacre 2003 is a lesson in how to make a great remake.
• 1:16:25
  At the time this came out, there was a resurgence of horror
• 1:16:28
  remakes. Marcus Sensible paid homage to
• 1:16:31
  the original while adding a new type of gritty.
• 1:16:33
  I felt sweaty and dirty watching this.
• 1:16:35
  That post gunshot alone is perfect, Or that post gunshot
• 1:16:39
  shot alone is perfection. I love this one.
• 1:16:42
  Eight out of 10. Nice.
• 1:16:44
  That shot right there sticks with me, too.
• 1:16:45
  That's one of the most memorable parts of this movie.
• 1:16:48
  And yeah, I like the grittiness of this one.
• 1:16:52
  I I like going back to series, but I like it, you know, I like
• 1:16:56
  the campiness. And don't worry, we go back to
• 1:16:57
  some camp here later on in the series.
• 1:16:59
  But like, I thought that this is a good balance right here.
• 1:17:02
  OK All right, cool. All right.
• 1:17:04
  Thanks everybody for all the reviews.
• 1:17:06
  I really, really appreciate that.
• 1:17:07
  That wraps us up. Yeah, next week isn't mine.
• 1:17:13
  I might as well because I I don't have my movie picked out
• 1:17:16
  yet. OK, go ahead.
• 1:17:19
  We're gonna do the ruins. Yeah.
• 1:17:21
  I was talking about it at a book club, then we watched Jonathan
• 1:17:25
  Tucker and I was like, fuck it, I've been wanting to do this one
• 1:17:28
  for a while. It's perfect for the summertime.
• 1:17:31
  It's a good one. It's a fun movie, guys.
• 1:17:34
  It's about some scampi vines. Yeah, yeah, it's also got the
• 1:17:40
  Lamplighter. Lamplighter.
• 1:17:44
  So be ready for that shit. I'm pretty sure we did that the
• 1:17:47
  full time on. Frozen, yeah.
• 1:17:50
  Can't help it I'm. Sorry guys, we can't help who we
• 1:17:53
  are, but be ready for that. I'm sure it's streaming.
• 1:17:56
  It's streaming in so many places all the time.
• 1:17:57
  I will. I will post a Where to watch on
• 1:17:59
  Saturday or Sunday as I usually do.
• 1:18:02
  I don't want to try and read it out loud right now because
• 1:18:04
  rights inaccurate. Yeah, rights roll over in the
• 1:18:07
  month. So just be sure to follow us on
• 1:18:10
  social media so you can see that.
• 1:18:11
  So you can find us on Instagram and threads at least favorite
• 1:18:13
  scary movie podcast and blue sky at least fav pod you.
• 1:18:18
  Our website is what's your least favorite scary movie.com and you
• 1:18:20
  can e-mail us at least favorite scary movie at Gmail dot.
• 1:18:22
  Com Yeah, and we would like to shout out our bebbies on the
• 1:18:25
  Patreon. We have Joe Freakatron, as is
• 1:18:28
  his name, Amber, Michael, Tyler, Chad or Zombie, Jason and
• 1:18:34
  Johnny. Yeah, thank you, guys.
• 1:18:37
  We really, really appreciate you guys.
• 1:18:39
  And yeah, you know, if you are unable to do that, you can do
• 1:18:43
  other things to support the show.
• 1:18:45
  You can do things like liking us on whatever platform, rating us
• 1:18:48
  five stars, commenting, engaging, doing all of these
• 1:18:52
  things, sharing episodes with people, everything, every little
• 1:18:54
  bit helps. Thanks, everybody that does
• 1:18:56
  that. And we thank you in advance if
• 1:18:58
  you do that for us. So thanks for being around.
• 1:19:02
  Thanks for sticking with us on this one.
• 1:19:03
  Sorry for being a little bit late, but we got it.
• 1:19:05
  And we will see you on next week's episode with the Ruins.
• 1:19:09
  Yay. And be on the lookout.
• 1:19:10
  We should have our Patreon episode out today too.
• 1:19:13
  So happy. Yes, happy return of the living.
• 1:19:15
  Happy return. Of the living dead day.
• 1:19:16
  All right, bye.