Latest / You Killed Clyde - A Horror Podcast / Texas Chainsaw 3D

Transcript

Texas Chainsaw 3D · You Killed Clyde - A Horror Podcast

• 0:11
  SPEAKER_01: Welcome to You Killed Clyde.
• 0:14
  SPEAKER_01: I'm your host, Frank, and today we're going to be discussing what happens when you have an overprotective cousin.
• 0:20
  SPEAKER_01: Folks, today we're talking about the 2013 3D slasher film directed by John Lusenhop, Texas Chainsaw 3D.
• 0:30
  SPEAKER_01: I am not alone here, however.
• 0:32
  SPEAKER_01: Hot off the heels of Halloween weekend is my co-host Andrew.
• 0:36
  SPEAKER_01: How are ya?
• 0:38
  SPEAKER_02: I'm really good.
• 0:39
  SPEAKER_02: Uh, not to go right into this, but of course, it's the day after the US midterms, and uh uh I'm pretty happy with the turnout there.
• 0:47
  SPEAKER_02: And uh so I'm in a good mood, not only because I get to do this podcast with you, but also because the uh United States seems to be rebelling against uh well, I'll that's all I'll say.
• 1:02
  SPEAKER_02: You know, it's it's just I'm I'm really I'm in a good mood today.
• 1:06
  SPEAKER_01: Yeah, how was how was your Halloween?
• 1:09
  SPEAKER_01: I'm trying to make this not a political podcast, but no, no, I I agree, yes, yes.
• 1:14
  SPEAKER_02: Sorry.
• 1:14
  SPEAKER_02: Um, my Halloween was awesome.
• 1:16
  SPEAKER_02: Uh through the lovely Sharon, my uh my girlfriend, we had a uh like the most moody, like it our basement was almost like a speakeasy, like it was like drenched in like red light, had ambient mood lighting.
• 1:32
  SPEAKER_02: It just we had like a really nice vibe in the house.
• 1:34
  SPEAKER_02: We had a lot of people over for uh a lot of food.
• 1:37
  SPEAKER_02: Like it was it was just a really, really fun.
• 1:39
  SPEAKER_02: And people actually understood what I was.
• 1:41
  SPEAKER_02: Like my costume wasn't sure if my costume was gonna was gonna if people were gonna get it right away, but uh yeah, they they did.
• 1:46
  SPEAKER_02: So I feel like my invite got lost in the mail, maybe.
• 1:51
  SPEAKER_01: Because I didn't get an invite, and I'm not that far from you.
• 1:54
  SPEAKER_01: It's it's tough when you're in when you're in your two family celebrations we've had in the past three days.
• 2:01
  SPEAKER_01: I didn't get an invite to either one.
• 2:04
  SPEAKER_01: Yeah, the I'm not that far.
• 2:06
  SPEAKER_01: I don't live in Beirut.
• 2:07
  SPEAKER_01: Like, I'm not really I can drive, I have a car.
• 2:11
  SPEAKER_02: We'll chable that off the podcast.
• 2:15
  SPEAKER_02: We'll talk about that more later, but uh yeah, my Halloween was great.
• 2:18
  SPEAKER_02: How was your Halloween?
• 2:19
  SPEAKER_02: It sounds uh from what it's my Halloween is amazing.
• 2:21
  SPEAKER_01: Honestly, I went dancing.
• 2:23
  SPEAKER_01: First of all, I did a full face of skull makeup, which is a kind of this thing I'm like trying to perfect.
• 2:29
  SPEAKER_01: I kind of ran out of time and I fucked up the teeth a little bit, but in the dark it looked really, really, really good.
• 2:36
  SPEAKER_01: So I went to this 80s dance party and just danced until like 2 a.m.
• 2:40
  SPEAKER_01: I came home.
• 2:41
  SPEAKER_01: I just like because I've been wanting to challenge myself with like as I get older, I'm like getting lazier and I just want to like sit and watch movies, which is amazing.
• 2:48
  SPEAKER_01: But to challenge myself to like get out of the house and like do something really fun, I just had such a blast.
• 2:55
  SPEAKER_01: And the next day my friends and I we got together, we had like a charcuterie board and we watched Halloween movies on on Halloween day proper.
• 3:03
  SPEAKER_01: That's it.
• 3:04
  SPEAKER_01: And it was just like a really lovely weekend.
• 3:06
  SPEAKER_01: And and it's weird because usually like once Halloween's over, I'm kind of like bummed out, but I'm not this year.
• 3:12
  SPEAKER_02: Yeah, like uh yeah, I won't go.
• 3:14
  SPEAKER_02: I there's been a couple things that have happened after I'm I'm the same way.
• 3:17
  SPEAKER_02: Sorry, like I November 1st, I want to leave the decorations up.
• 3:20
  SPEAKER_02: I want to like kind of I hate this year, especially October was like felt like two weeks and then it was over.
• 3:28
  SPEAKER_02: Um, it moved on barely.
• 3:30
  SPEAKER_02: It always does, yeah.
• 3:31
  SPEAKER_02: Yeah, it's my favorite month, October.
• 3:33
  SPEAKER_02: I know, I mean my favorite month of the year.
• 3:35
  SPEAKER_02: I think it perfectly encapsulates fall, and we had some really great weather to kind of like help make it look like fall.
• 3:44
  SPEAKER_02: Like, not only did we have some nice sunny days, but we also had some great evenings that were like overcast, windy, uh, a lot of leaves in the in on the on the ground.
• 3:52
  SPEAKER_01: Uh they're like wisping around.
• 3:55
  SPEAKER_01: Yeah, I agree.
• 3:55
  SPEAKER_01: I actually felt like October was a long month for me.
• 4:00
  SPEAKER_01: Oh, but not in a bad way.
• 4:01
  SPEAKER_01: Like, it just felt like Halloween was like undermine my point, Frank.
• 4:06
  SPEAKER_02: No, but I uh November, November is usually my most like bummer, one of my most bummer months in terms of like that's okay.
• 4:13
  SPEAKER_02: It's like whatever.
• 4:15
  SPEAKER_01: Let's know January, girl.
• 4:17
  SPEAKER_01: Like November, at least it's like linking October to Christmas, and there's like hope, keep the hope alive.
• 4:23
  SPEAKER_01: Once we get to January, it's like five months of like dystopic hell.
• 4:28
  SPEAKER_02: Yeah, yeah.
• 4:30
  SPEAKER_01: I have a question for you.
• 4:31
  SPEAKER_01: Okay, swinging round to this film.
• 4:34
  SPEAKER_01: Did you know that this film takes place at Halloween?
• 4:39
  SPEAKER_01: I didn't do that.
• 4:42
  SPEAKER_01: A truck drove by the main character and yelled about Halloween candy.
• 4:46
  SPEAKER_02: This movie has a lot of issues.
• 4:48
  SPEAKER_02: Like, that is that is so random.
• 4:51
  SPEAKER_02: Like, I don't understand, like we'll talk about this more as we get to some scenes, but I don't understand some of the writing choices by the the like some of this dialogue that gets out there.
• 5:06
  SPEAKER_02: So, like in a in a kind of like a very kind of higher stakes part of the film, we have a random truck drive by yelling about Halloween.
• 5:17
  SPEAKER_02: It's like there is nothing in the set or the streets or the clothing that indicates this is Halloween night.
• 5:25
  SPEAKER_01: Yeah, and then what is the point of that?
• 5:28
  SPEAKER_01: Even if, even if one of them had mentioned it, but like I thought I you know what's funny when you go back to like the very first butcher scene between Heather and Nikki, Nikki does say, my costume, and she's like, it's gonna be like a really hot costume, but I was thinking you guys are going to New Orleans, like maybe that's like, but that was a reference to Halloween, and it's funny because we like we are not covering this because it's a Halloween movie, like this is we're actually recording post-Halloween, it's nothing to do with Halloween.
• 5:56
  SPEAKER_01: It was just like weird because halfway through, I'm like, this is a Halloween movie that does not even nod slightly, even in the carnival scene when everyone is running to and fro, most of those people are not dressed in costumes.
• 6:09
  SPEAKER_01: And so I had an even harder time grasping that it was Halloween.
• 6:13
  SPEAKER_02: And let's be clear like, if if you if you listen to this episode and you don't want to watch the movie, which I understand, uh this movie is not in any sense of the like feeling or theme.
• 6:28
  SPEAKER_02: This is not a Halloween movie.
• 6:29
  SPEAKER_02: They have chucked a couple lines here, but do not watch this if you're looking for to want to watch any kind of Halloween-themed movie.
• 6:36
  SPEAKER_02: It's not that at all.
• 6:37
  SPEAKER_01: Yeah, it's not like a feel, it's not like hocus pocus.
• 6:40
  SPEAKER_01: Yeah, yeah, yeah.
• 6:42
  SPEAKER_01: Not at all.
• 6:43
  SPEAKER_01: You know what the other thing is?
• 6:44
  SPEAKER_01: I wanted to just mention like one thing, and then maybe we can jump into some background.
• 6:48
  SPEAKER_01: I think the thing that's very hard for me in this movie is they seem to want to make Leatherface like this sympathetic, oh my god, dude.
• 6:57
  SPEAKER_01: I have so much to say later.
• 6:58
  SPEAKER_01: But it's like, had she been privy to what went down in part one, like it's kind of an interesting take.
• 7:07
  SPEAKER_01: It's like in part one, this family is like a horrific gore fest of psycho freaks.
• 7:14
  SPEAKER_01: And in this movie, they're like a sympathetic bunch of folks who basically kind of infer that he was the one doing all of this damage to Sally and her friends, but that's really not the case.
• 7:29
  SPEAKER_01: Like, I just found like such a wild disconnect between how they're portraying this family and Leatherface in particular versus what the reality is of this franchise.
• 7:40
  SPEAKER_02: Yeah, there's let's be like anyone who's watched the original film uh will know that the Sawyer, like the whole like that family is barbaric, they're devoid of sympathy or empathy, and they torture and kill uh everyone but uh Sally, of course.
• 8:00
  SPEAKER_02: Um like so this scene has this movie has a what I would call an almost insulting, it has several, but a scene that I find almost insultingly bad and hilarious, where DiDario's character Heather, I we'll go this more later.
• 8:16
  SPEAKER_02: I'm not gonna break it down, but all I'll say is there's a little montage of like this stuff that befell the Sawyer family, and like with her it culminating with writing and marker on this paper that that the cops of the town was murderers, and it's like this the movie takes a hard left at uh uh into this territory and it doesn't work at all.
• 8:39
  SPEAKER_02: And it's it's so like I was like, did you even the writer, the writer claimed in an interview?
• 8:46
  SPEAKER_02: I want I not read I didn't watch, I read in an interview.
• 8:48
  SPEAKER_02: Like the writer was like loved the first movie, like he was super impassioned by it.
• 8:52
  SPEAKER_02: I'm like, then what did you take away from it to want to take this the the the sequel?
• 8:59
  SPEAKER_02: This is like again, kind of like we talked about before.
• 9:03
  SPEAKER_02: This is one of the this is like kind of like the Halloween series where like this is like a sequel to the first movie, but there's other sequels to the first movie that are not in this timeline.
• 9:10
  SPEAKER_02: Yeah, but it I don't know what the writer took away from that first movie to make this put this in the sequel, the Sawyer family.
• 9:17
  SPEAKER_02: Actually, they were kind of hard done by actually leather.
• 9:20
  SPEAKER_01: Listen, so I do want to tell you there are no, there are major, major writing snafu here.
• 9:26
  SPEAKER_01: So, like the original writers did not end up writing the what you see, but in the original, the intention of the anti-hero was there.
• 9:37
  SPEAKER_01: That was one thing that was kept.
• 9:38
  SPEAKER_02: So you are correct, sympathetic leather face, yeah.
• 9:42
  SPEAKER_01: Yeah, and it's like I understand if he was rebelling against people that had done terrible things to him, but it wasn't.
• 9:50
  SPEAKER_01: In the first film, I mean, you could argue that those people broke into his house and he fucking lost his mind, but then you don't like give your grandpa the hammer to hammer a girl's head in because she broke into your house.
• 10:01
  SPEAKER_01: Like, that's taking it a step too far.
• 10:04
  SPEAKER_01: So these people are psychotic, and I think that whole narrative of them being psychotic is removed from this film in favor of like, oh, Leatherface is actually he was hard done by, he was bullied, he's actually a good person.
• 10:21
  SPEAKER_01: He just has like negative circumstances.
• 10:25
  SPEAKER_01: I don't know, I just thought that was insane.
• 10:27
  SPEAKER_01: And can I argue this?
• 10:29
  SPEAKER_01: You you you texted me this once the van scene is over, like yeah, because for me, there is like five minutes of this film where I'm like, oh, we're in like slasher territory.
• 10:44
  SPEAKER_01: Yeah, and I thought this is gonna be an amazing slasher film.
• 10:47
  SPEAKER_01: Like when the party starts, it goes into evening.
• 10:51
  SPEAKER_01: I'm like, yeah, they're playing fool.
• 10:53
  SPEAKER_01: I'm like, they're gonna be off one by one.
• 10:57
  SPEAKER_01: And then it just takes, like you said, like this hard turn to this procedural where we lose all of the horror.
• 11:06
  SPEAKER_01: And I just really hated that.
• 11:08
  SPEAKER_02: Yeah, this this movie I think could have been a dumb, fun slasher sequel to the the first movie, maybe, and then it doesn't even give you that, it just gives you a dumb movie by the time it's all over.
• 11:22
  SPEAKER_02: Yeah, it's dumb, yeah.
• 11:24
  SPEAKER_02: And I like the biggest crime I think a movie can commit is being boring.
• 11:32
  SPEAKER_02: And when we finish, there's a big, like we said, there's there's this big, if anyone says it sees it, there's a big long chase scene, which is actually kind of fun in some ways.
• 11:41
  SPEAKER_02: Um but when yeah, when it's all over, but when it's all over, like that's it.
• 11:47
  SPEAKER_02: That's all as the audience.
• 11:49
  SPEAKER_02: That's that is all you're getting for attention and suspense in the movie, really.
• 11:52
  SPEAKER_02: Like they they try and they try and generate it by making the mayor and his gang the the most hilarious villains, like hilariously evil villains, like out of like not out of nowhere, but like just so evil to the point, like they're trying to ham-fist this narrative.
• 12:09
  SPEAKER_02: Heather and Leatherface might have to have to work together or something.
• 12:13
  SPEAKER_02: It's just, anyways.
• 12:14
  SPEAKER_02: I'm not gonna go all into it.
• 12:16
  SPEAKER_01: No, it's very silly and it's very unbelievable.
• 12:19
  SPEAKER_01: Uh okay, let's get into some background for our research heads out there.
• 12:25
  SPEAKER_01: Okay, I have four sources.
• 12:27
  SPEAKER_01: Again, I like to just kind of say this for any new listeners.
• 12:31
  SPEAKER_01: What I have been doing is only pulling research from interviews and articles.
• 12:39
  SPEAKER_01: So, like, no Wikipedia or anything like that.
• 12:41
  SPEAKER_01: And it's been really fun to read through those and like learn.
• 12:45
  SPEAKER_01: And then after you read a few, you know, you the stories start to kind of become the same, but at least you're kind of like doing your due diligence.
• 12:52
  SPEAKER_01: So the sources that I have are Texas Chainsaw 3D, Adam Marcus and Deborah Sullivan slice into the crazy movie that almost was by Jason Jenkins, Texas Chainsaw 3D set visit, a House of Horrors Rebuilt, a franchise revered by Garaman Lucier, Texas Chainsaw producer says 3D glasses need to evolve or disappear by Kirsten Akuna.
• 13:16
  SPEAKER_01: And finally, the messy making of Texas Chainsaw 3D explained by Mike Pollack.
• 13:22
  SPEAKER_01: So, Andrew, I'm going to get into all of the writing shenanigans before we get into any sort of production-related stuff.
• 13:31
  SPEAKER_01: So this will help put some of those pieces together as to why we got the movie we did.
• 13:37
  SPEAKER_01: All right.
• 13:38
  SPEAKER_01: After a failed attempt at the first script by screenwriter Steven Susco, who was fired for refusing to omit cannibalism from his first draft, Lionsgate approached Adam Marcus and Deborah Sullivan to helm the project.
• 13:52
  SPEAKER_01: Lionsgate, so annoyed with Steven Susco, said, We don't even want you to use his damn words.
• 13:59
  SPEAKER_01: Not a word could be reused from the initial concept.
• 14:03
  SPEAKER_01: So the first place they decided to start was directly after the wrap of the first film, where a petrified Sally Hardsey would go straight to the police.
• 14:13
  SPEAKER_01: And we do get an audio clip of this in the actual film, but we don't see this happen.
• 14:19
  SPEAKER_01: And can I tell you that I have seen this movie probably six or seven times over the over the years, and I did not realize this took place after the first film.
• 14:31
  SPEAKER_01: Like it never clicked ever.
• 14:33
  SPEAKER_02: Yeah, it's it's strangely uh it feels strangely disconnected, and I can't look my finger in a one because the start of this film, I'll I won't go too much into this, but yeah, we do get this montage.
• 14:48
  SPEAKER_02: They clearly put a montage at the start of this film in case people went to see this and never saw the original, which is probably a lot of there's probably a lot of people who might have done that because this movie is 40 years later.
• 14:58
  SPEAKER_02: Oh, 100%.
• 14:59
  SPEAKER_01: I bet you the majority of people didn't see the original.
• 15:01
  SPEAKER_01: So this is my opinion.
• 15:02
  SPEAKER_02: When you're hinging your bets on a direct sequel, you kind of have to catch people up to speed in some ways, I guess.
• 15:08
  SPEAKER_02: And they play this montage of scenes from the first film, and we you see Sally in the truck escaping, but then like it does cut to like the actual movie, and I think it's trying to make it overtly clear this is like right like minutes after Sally escapes, but it feels weird, yeah.
• 15:29
  SPEAKER_02: Like you're right, it doesn't feel like disconnected, like it feels like this could have been like a year later.
• 15:35
  SPEAKER_02: Like, I don't know, it's just it's you know why?
• 15:38
  SPEAKER_01: I feel like so it it's not really the fault of the film because I think like we'll go into like the set design once we get to the first scene, but they really did spend time like replicating this down to like minute details, yeah, including like the broken window that she jumps through.
• 15:55
  SPEAKER_01: Like all of these things were in place.
• 15:58
  SPEAKER_01: However, I feel like because it was filmed now, it it was so polished and clean looking that I found it really hard for me to eat, like my brain didn't even go to and in fact, I remember watching it a long, long time ago, going like, what is going on?
• 16:18
  SPEAKER_01: Like, when is this supposed to be taking place?
• 16:20
  SPEAKER_01: Because I didn't even recognize the characters in the house as being from the first film, and it seemed like there were more of them.
• 16:29
  SPEAKER_02: Yeah, that's that's the thing, too, is like I found there was like a crap ton of people in the house in this movie, like like a crap ton, and it's yeah, like I think in there's other movies, like when they we've had other movies where it's like a direct like minutes after the first one ends, it feels seamless, like oh that this is obvious.
• 16:50
  SPEAKER_02: And this movie, your brain has to consciously like I think make that dot connect, like, oh yeah, this is a sequel because I'm seeing stuff in the first movie, like in the same state it was.
• 17:01
  SPEAKER_02: Whereas like it doesn't feel like a smooth transition.
• 17:04
  SPEAKER_01: And I think why not just have a sentence that says like the these events take place immediately after, like Sally goes to the police or something.
• 17:13
  SPEAKER_01: Yeah, I think it I think it needed something here to make it a little more that sounds stupid because it's obviously a sequel I know, but like wouldn't you it for people who are listening?
• 17:24
  SPEAKER_02: If you watch this like first five minutes of the movie, I I think you'll see what we mean.
• 17:28
  SPEAKER_02: Like it just feels unnatural.
• 17:30
  SPEAKER_02: That's all.
• 17:31
  SPEAKER_01: But now they know and they're gonna like be like, because even Ellie, the truck truck idiots.
• 17:38
  SPEAKER_01: But it's like the truck from the first movie is on display right in the first evening spot.
• 17:44
  SPEAKER_01: Yeah, the semi truck, yeah.
• 17:46
  SPEAKER_01: But like I just never and maybe it's because I hadn't watched Texas Chainsaw Mascara for so long, but I usually that's a movie that I usually watch once a year.
• 17:55
  SPEAKER_01: Like, I'll put my phone away and I'll watch the movie.
• 17:58
  SPEAKER_01: Full disclosure.
• 17:59
  SPEAKER_02: I have not seen that.
• 18:00
  SPEAKER_02: I've not so I've not seen the original in like probably Oh, you have seen it though, like 20 years.
• 18:06
  SPEAKER_02: That's okay, but you have seen it.
• 18:08
  SPEAKER_02: Yeah, I I just barely remember a lot about it.
• 18:11
  SPEAKER_02: I don't feel like you've seen it.
• 18:13
  SPEAKER_02: I I I have, but it's it's just it maybe it was like a dream that I had one time.
• 18:19
  SPEAKER_01: You're like, I didn't like it.
• 18:24
  SPEAKER_01: Okay, so the writers also want to delve a fair deal into the background of how exactly the Sawyers became so diseased and crazy.
• 18:33
  SPEAKER_01: Now, there were some uh writing issues to say the least.
• 18:38
  SPEAKER_01: So some shenanigans ensued early on when the screenwriters sent in a two-page outline of the films at the time producer, who then sent the outline to Lionsgate as their own.
• 18:50
  SPEAKER_01: This caused the studio, who had no idea who'd actually written it, to send the outline out to 17 different writers for pitches.
• 18:58
  SPEAKER_01: So Marcus and Deb had to repitch their own idea to Lionsgate because of this fuckery.
• 19:04
  SPEAKER_01: And after it was revealed to be their outline, Lionsgate hired them to write the full script.
• 19:10
  SPEAKER_01: It's important to note that Marcus says Lionsgate was an incredible partner for us.
• 19:14
  SPEAKER_01: The problems arose with the producer.
• 19:17
  SPEAKER_01: Now, I wanted to just say that these two are incredibly humble because there are a couple, like you know, bumps in the road here where they could have gone to Lionsgate and said, We wrote this outline, but they didn't.
• 19:30
  SPEAKER_01: They just, I don't think they really knew what was happening.
• 19:33
  SPEAKER_01: So they repitched an idea for an outline that they had written, and Lionsgate found out it was written by them, but they didn't go to Lionsgate and tell them.
• 19:44
  SPEAKER_01: So that's so I just find it really interesting.
• 19:46
  SPEAKER_01: And like, as we go through the entire like scene by scene, there are a lot of different plot points that change from like what we see from their original intention.
• 19:58
  SPEAKER_01: And I think that I I like I like the concept of their original script, and I think we'll go into like a little bit more how and why it did not manifest.
• 20:08
  SPEAKER_01: So I want to talk about the original intention behind the script before, like I said, we graduate into what showed up.
• 20:16
  SPEAKER_01: So our script did not resemble a lot of what showed up, Sullivan adds.
• 20:21
  SPEAKER_01: We had characters that you loved and cared about so that you were sad when they died.
• 20:26
  SPEAKER_01: They weren't cheating on their girlfriends or fucking over their best friend, and they didn't pick up a hitchhiker and then leave, which I think is absolutely bloody ridiculous, and we'll go into how slapstick stupid that is when we get to it.
• 20:41
  SPEAKER_02: Yeah, I have a full line of my notes here.
• 20:43
  SPEAKER_02: Like, who the fuck would do this?
• 20:44
  SPEAKER_02: No one would do this, no one would pick up a random stranger and then oh, you can stay at my new house, go back.
• 20:51
  SPEAKER_02: The fuck.
• 20:53
  SPEAKER_01: Also, I wrote about Daryl's gonna pick up some stakes.
• 21:01
  SPEAKER_01: It's like Daryl needs to fuck off.
• 21:04
  SPEAKER_02: Daryl, Daryl reeks of like needing another person for the body count or something.
• 21:10
  SPEAKER_02: I don't know.
• 21:11
  SPEAKER_01: Yes, he does, he totally does, but it's just so it's so made up.
• 21:16
  SPEAKER_01: Anyway, not their original intention.
• 21:19
  SPEAKER_01: So Marcus says, We wrote like the goriest, craziest movie.
• 21:24
  SPEAKER_01: It was a total 3D ride.
• 21:26
  SPEAKER_01: We took the 3D thing really seriously.
• 21:29
  SPEAKER_01: Like, let's give people a horror movie they've never gotten in 3D, where literally the guts are hitting them right in the face.
• 21:37
  SPEAKER_01: But whereas Texas Chainsaw 3D is a weak slasher with a fatal flaw, the timeline being one of them, which we can talk about later, but mostly unlikable cardboard cutouts and some howlingly bad lines, the original 3D draft boasted a sympathetic cast of characters, vicious murder scenes, and show.
• 22:00
  SPEAKER_01: Sharp dialogue.
• 22:02
  SPEAKER_01: None of which we as the audience end up getting.
• 22:06
  SPEAKER_01: And shit.
• 22:08
  SPEAKER_01: We will get to this, but there is one line in particular, and it's not the titular line that I think you're thinking of.
• 22:14
  SPEAKER_01: There is another one that when we get to it, I want to break down because it's so when you really wrap your head around it, you're like, why would this person say this when they are not from Texas?
• 22:28
  SPEAKER_02: Yep, yep.
• 22:29
  SPEAKER_02: I know.
• 22:30
  SPEAKER_02: Yeah, I Jesus God.
• 22:33
  SPEAKER_02: Like imagine, okay.
• 22:35
  SPEAKER_01: Imagine if the original Texas Janesaw that happened.
• 22:39
  SPEAKER_01: I fucking hate this.
• 22:40
  SPEAKER_01: Like Sally at the end is like, Welcome to Texas, motherfucker.
• 22:45
  SPEAKER_01: Like, what?
• 22:46
  SPEAKER_02: Where did they get that gun?
• 22:48
  SPEAKER_02: So every throughout this podcast and like throughout movie watching, I I don't know about you, but every so often you'll hear or see a scene, and you're like, someone wrote this, someone approved this, someone filmed this.
• 23:08
  SPEAKER_02: Like, multiple steps got had to work out for this line of dialogue or this stupid fucking scene to get to where we are watching it as an audience.
• 23:20
  SPEAKER_02: And it's like the like I just all I'll say is in a sea of people, a sea of people who have loads of talent who are trying to make it in Hollywood as writers, script writers, screenwriters, whatever, it's crazy.
• 23:35
  SPEAKER_02: Like these people got it.
• 23:36
  SPEAKER_02: Like they these people made it to this point.
• 23:39
  SPEAKER_01: Like, I it's a line, but in this case, like uh let me continue on with what happened because again, these two didn't write that line.
• 23:48
  SPEAKER_02: Oh, yeah, it's sorry.
• 23:49
  SPEAKER_02: My my point was that I'm not I'm not specifically even talking about this movie, but this movie does have a few lines like that.
• 23:56
  SPEAKER_02: I know, like from what I'm hearing here, which is really cool, it's not wasn't the original intention, but then someone else came along and edited this script and put that in.
• 24:05
  SPEAKER_02: So yeah, let me I'm not throwing shade at the original writers.
• 24:07
  SPEAKER_01: No, I'm not, but someone I will throw shade at the writer who actually wrote this.
• 24:12
  SPEAKER_01: Yeah, and you're someone wrote the thing online.
• 24:14
  SPEAKER_01: To go back to your point, though, it's like I feel like these people, like the director and the producer, and we'll go in the producer in a little while, the one who ended up producing, they you're right, they fully stand behind this.
• 24:26
  SPEAKER_01: And the other thing I find so weird, actually, let me pause because I want to say something profound once we get to I cannot this part.
• 24:37
  SPEAKER_01: Okay.
• 24:38
  SPEAKER_01: So, okay, so now we have the two screenwriters.
• 24:42
  SPEAKER_01: Okay, they're gonna write this movie.
• 24:45
  SPEAKER_01: So this is where things get very messy for the screenwriters, and why I kind of love doing research.
• 24:51
  SPEAKER_01: Lionsgate, due to conflicts with the producer, said they wouldn't finance the movie, but they would distribute it.
• 24:57
  SPEAKER_01: So they were like, bye-bye.
• 24:59
  SPEAKER_01: The screenwriters said up until that point that working with Lionsgate was actually pretty amazing, but working with the producer was an overall awful experience.
• 25:09
  SPEAKER_01: So the producer actually fucked these writers over a few times, including telling them Lionsgate fired them, which obviously wasn't true.
• 25:17
  SPEAKER_01: The producer, after telling the screenwriters they were fired, used their previous drafts to write a script of his own and then deliver it to at-the-time producer Steve Gates.
• 25:32
  SPEAKER_01: When that utterly failed, the producer begged the writers to return, and they agreed to it if they received guaranteed box office bumps in their contract.
• 25:44
  SPEAKER_01: The producer returned with a go tell them to fuck themselves.
• 25:49
  SPEAKER_01: And Kristen Elms was brought in to finish the rewrite.
• 25:53
  SPEAKER_01: So that was the end of the original script and the introduction of what we ended up getting.
• 26:01
  SPEAKER_01: That to me is fucking crazy.
• 26:04
  SPEAKER_01: The other thing, too, is like the producer, like, if they wanted box office bumps in their contract, the producer doesn't have to pay for that.
• 26:12
  SPEAKER_01: Like you stole their work and now you won't pay them.
• 26:16
  SPEAKER_01: Yeah, I like who are you, Jeff Bezos?
• 26:20
  SPEAKER_02: AI?
• 26:22
  unknown: Yeah.
• 26:24
  unknown: Okay.
• 26:24
  SPEAKER_01: Aside from all this fuckery, the writers did receive a bunch of accolades for their original script, including kudos from Toby Hooper, who said they had written the first true sequel to the original and that he loved the script.
• 26:40
  SPEAKER_01: The thing that sucks here, however, is that the film wasn't received well at all and sits at a 19% on Rotten Tomatoes.
• 26:48
  SPEAKER_01: We'll go into that in a second, but Marcus and Sullivan hope that fans will one day get to experience a version of their initial take, saying, our production company, Skeleton Crew, has a thing called Development Hell, where we do public readings of unproduced screenplays.
• 27:02
  SPEAKER_01: One of these days we'll do a reading of our version of Texas Chainsaw, and people will make up their own mind about our version versus what came out.
• 27:10
  SPEAKER_01: And Marcus says, as a fan, he wishes he would have gotten to see what was originally written for the fans.
• 27:18
  SPEAKER_01: And so that's kind of the birth and death of how this movie came to be.
• 27:24
  SPEAKER_01: All right, do you want to get into some delusion though?
• 27:27
  SPEAKER_01: Because your point earlier is that people somehow like they get into this like, how do movies actually come to fruition?
• 27:34
  SPEAKER_01: And how did those lines get like representatively?
• 27:37
  SPEAKER_01: I want to hear this.
• 27:38
  SPEAKER_01: Like, okay, so so let's shift gears to the actual filmmaking piece here.
• 27:42
  SPEAKER_01: So I find this a little funny, and I apologize because this movie is not great, but according to the producer Carl Mazzicone, I wanted to make a classic monster movie in 3D.
• 27:52
  SPEAKER_01: This is a very plot-driven story, and I think that's gonna be the biggest difference between our movie and 90% of the horror movies made recently.
• 28:02
  SPEAKER_01: And he actually says, yeah, and he actually says he wanted to make a classic monster movie like King Kong, Frankenstein, and Jaws.
• 28:12
  SPEAKER_02: That is some uh that is some what is the word I'm looking for?
• 28:16
  SPEAKER_02: Delulu, delusion, like arrogance, like 90% you think that you're whatever.
• 28:23
  SPEAKER_01: Yeah, it's it's so like it's so profound that, but I also the reason when I was like writing this and reading this, I kind of thought to myself, I'm like, it does take people that are delusional to sometimes push, like sometimes really good stuff comes out of delusion, but this is not it.
• 28:44
  SPEAKER_02: When you say something like that, you you yourself bring yourself before giants, like you put yourself before the gods, like the giants of horror.
• 28:54
  SPEAKER_02: There's what do you mean 90% of like isn't that isn't Lionsgate the guys who did Saw?
• 29:01
  SPEAKER_02: Like, you want to talk about 90% of not being good, like what?
• 29:06
  SPEAKER_01: But also, like prior to this, we had like like Scream, yeah.
• 29:11
  SPEAKER_01: No, it's I Scream was in the I mean I could go on and on and on, but it's just like okay, anyway, and we had the Texas Chainsaw remake and the Texas Chainsaw the Beginning, which I lovingly call Diamond Ring, but we had we had good good films anyway.
• 29:26
  SPEAKER_02: Yeah, and I think I think the begin the beginning was relatively well received.
• 29:31
  SPEAKER_01: I really, really like that movie, and I actually think the remake and the beginning are both so good, and then it's completely juxtaposed by this like fuckery.
• 29:44
  SPEAKER_01: And the thing about the other two is they take place in the 70s.
• 29:48
  SPEAKER_01: So there's this like really nice, like the beginning is a prequel to the remake.
• 29:54
  SPEAKER_01: So it takes place around like the Vietnam War, so they add that in, and it's filmed with a grain that would suggest it is from that era.
• 30:03
  SPEAKER_01: This uh, I mean, the other thing we need to talk about when we get to is the timeline for this one because Yeah, I mean that is the biggest issue.
• 30:10
  SPEAKER_01: Yeah, okay.
• 30:11
  SPEAKER_01: All right.
• 30:12
  SPEAKER_01: So the producer goes on to say he wanted to make the movie thrilling, saying, I thought if I use 3D correctly, it would enhance the movie.
• 30:21
  SPEAKER_01: He refers to the chase scene with Leatherface and says, There's a realistic feeling of actually being in the crowd, of being in the point of view of Leatherface with the crowd coming by you, and it's some of the coolest 3D in the movie.
• 30:34
  SPEAKER_01: So I like I said before, I haven't watched this movie in 3D, so I maybe I'm like judging it harshly, but maybe that carnival scene would be really cool in 3D, and maybe he has something there.
• 30:48
  SPEAKER_01: I don't know.
• 30:48
  SPEAKER_02: There's like one shot that was clearly like meant to be the 3D thrilling scene.
• 30:53
  SPEAKER_02: I don't think that carnival scene would have been cooler in 3D.
• 30:58
  SPEAKER_01: What about her dead hang?
• 31:00
  unknown: Yeah.
• 31:02
  SPEAKER_01: Like that bitch is strong, girl.
• 31:04
  SPEAKER_02: Like, I can never see enough of Alexander Di Dario's stomach in this movie.
• 31:08
  SPEAKER_02: We're gonna show you even more.
• 31:11
  SPEAKER_02: Oh, we should change shirts later.
• 31:13
  SPEAKER_02: We're gonna make sure you see your stomach some more, dude.
• 31:16
  SPEAKER_01: Why did she put on that shirt and leave the lower six buttons undone?
• 31:21
  SPEAKER_02: Dude, I that's just yeah, I yeah, we you know, we'll talk about it later.
• 31:26
  SPEAKER_01: Maybe because it was Halloween.
• 31:28
  SPEAKER_01: I don't know.
• 31:28
  SPEAKER_01: Okay, because of the enormous cost of converting 2D to 3D,$50,000 a minute.
• 31:37
  SPEAKER_01: He and the director did their best to shoot absolutely everything in native 3D, which is hard.
• 31:44
  SPEAKER_01: Constant calibration on 3D film caused the shoot to slow and folks to work in rotating 24-hour shifts to rap.
• 31:53
  SPEAKER_01: So it was a pretty grueling shoot because of the use of 3D.
• 31:57
  SPEAKER_02: They filmed this, they shot this in 28 days.
• 32:01
  SPEAKER_02: And those yeah, they by the time they were get in that last week, they had to resort to doing 24-hour shoots.
• 32:09
  SPEAKER_02: And they used these cameras that were called they're called red 3D cameras.
• 32:14
  SPEAKER_02: And they're like, much like other cameras that are special technology, like IMAX, which are a whole other thing, um, they're cumbersome to deal with.
• 32:25
  SPEAKER_02: Like you can't you can't just put one of these things in a car on your shoulder and like, let's go! Like, so uh from what I understand, these were very like these are very cumbersome cameras to deal with because you have to constantly relate the footage back to the 3D world that you have in the computer or something.
• 32:40
  SPEAKER_02: I don't know.
• 32:42
  SPEAKER_01: No, you do, you have to calibrate it, and that's what caused the so they just didn't account.
• 32:46
  SPEAKER_01: So the fact that they even got to shoot this in 30 days on a small budget, and we got what we got is actually pretty cool.
• 32:53
  SPEAKER_01: And that's a feat worth chatting about.
• 32:56
  SPEAKER_02: I don't want to steal your thunder gear.
• 32:58
  SPEAKER_02: Apparently, it was hot as hell.
• 33:00
  SPEAKER_02: Uh yeah, they shot they shot this movie in uh is it Steve Sport, Louisiana?
• 33:06
  SPEAKER_01: Yes.
• 33:08
  SPEAKER_01: Oh, Shreve, yeah, no, go.
• 33:09
  SPEAKER_01: I did I actually didn't write that down, but it is Louisiana, I know that for sure.
• 33:13
  SPEAKER_02: And like the crew, there was a crew that suffered medical issues, like I'm gonna guess heat-related medical issues.
• 33:20
  SPEAKER_02: And apparently it turned into a pretty grueling shoot.
• 33:23
  SPEAKER_01: Uh just maybe that's why Alexandria D'Dario didn't want to button up her shirt.
• 33:27
  SPEAKER_01: I fully I can like maybe she's like, I'm just fucking hot.
• 33:31
  SPEAKER_02: And I and the body she puts on that dress shirt, she goes bra less.
• 33:34
  SPEAKER_02: Like, I would still wear my bra, like my my security around the moon.
• 33:39
  SPEAKER_02: Oh, forget it.
• 33:42
  SPEAKER_01: I was gonna say something so crass, but I realize we're recording and not just talking to each other.
• 33:47
  SPEAKER_01: Yeah, we know.
• 33:48
  SPEAKER_01: She just has a beautiful body, and I was gonna say, if I had that body, maybe I'd like fucking ditch the bra too, especially if I was in crisis.
• 33:55
  unknown: Yeah.
• 33:55
  SPEAKER_01: Why the fuck would I put on a bra if I might die?
• 33:59
  SPEAKER_01: Like, who cares?
• 34:01
  SPEAKER_02: Like, you're doing a lot of running lately, uh, Heather.
• 34:03
  SPEAKER_02: Like, I just I don't know.
• 34:05
  SPEAKER_01: My boobs are like slapping me in the fan.
• 34:07
  SPEAKER_02: I'm like, ah, like that's the scary part.
• 34:10
  SPEAKER_02: Sorry, uh just to jump in your background there with the shooting.
• 34:13
  SPEAKER_02: I I did read quite a bit about the uh the camera stuff.
• 34:15
  SPEAKER_02: So that's awesome.
• 34:17
  SPEAKER_02: Okay.
• 34:18
  SPEAKER_01: According to the director, John Lucenhopp, I didn't want it to turn into a 50s drive-in picture with stuff thrown at you all the time.
• 34:27
  SPEAKER_01: My goal was just to create a really cool 3D world that's balanced, that's easy to watch, and it allows you to explore the frame.
• 34:35
  SPEAKER_01: Lucenhop says, for me, the approach of the picture became more like Hitchcock or the Cohen brothers.
• 34:41
  SPEAKER_01: A little wider, fewer shots, better shots, because you can't quick cut in 3D.
• 34:49
  SPEAKER_01: Lucenhopp shot Texas Chainsaw 3D with, as you mentioned, red epic cameras, which at this point had only been used on the amazing Spider-Man and the Hobbit.
• 35:00
  SPEAKER_01: So this at the time was cutting-edge technology.
• 35:05
  SPEAKER_01: This was the director's first time shooting a horror and obviously a 3D film.
• 35:10
  SPEAKER_01: And he says he wouldn't do it again on such a small budget, around 8 to 11 million, and a short schedule of 30 days.
• 35:19
  SPEAKER_01: Texas Chainsaw 3D was released theatrically on January 4th, 2013 by Lionsgate.
• 35:26
  SPEAKER_02: And you know what?
• 35:27
  SPEAKER_02: I will say, to the crew's credit here, there were quite a few 3D films.
• 35:32
  SPEAKER_02: I don't have a source for this, but there's a lot of there's 3D films that were released in theaters that they were 3D, they weren't filmed with 3D in mind primarily.
• 35:41
  SPEAKER_02: So some 3D would be added in post-production via like graphics and technology.
• 35:45
  SPEAKER_01: That's the$50,000 a minute I was talking about.
• 35:48
  SPEAKER_02: When you have to convert it, yeah, it's fucking expensive.
• 35:51
  SPEAKER_02: Whereas like they actually the fact that they actually shot a bunch of scenes with the real tech, that's pretty that's actually pretty cool.
• 35:57
  SPEAKER_02: They did they at least earnestly wanted to try and create this experience.
• 36:01
  SPEAKER_02: Whether that worked out, I wasn't in theaters for it, so I can't tell you.
• 36:05
  SPEAKER_01: But they shot over 90% of this film in native 3D.
• 36:10
  SPEAKER_02: Yeah, that's wild.
• 36:11
  SPEAKER_02: Okay, that's amazing.
• 36:12
  SPEAKER_01: Like, at least, at least you can give them like the respect for like, hey, we're going to make a 3D movie.
• 36:20
  SPEAKER_01: Let's actually make a fucking awesome 3D movie and let's film it with native 3D.
• 36:28
  SPEAKER_02: Which creates a better product.
• 36:30
  SPEAKER_02: And what's wild is like you can't like the the 3D TV era's gone.
• 36:36
  SPEAKER_02: Like it's oh yeah.
• 36:38
  SPEAKER_02: Like you can't really, I don't even know how I'd ever even try and get that experience unless they brought this back to the theaters one day, but uh yeah.
• 36:45
  SPEAKER_01: It's kind of interesting because I do think watching something in 3D can be really cool if it's done really well, but I also can't remember the last time I saw something in 3D.
• 36:58
  SPEAKER_02: Like I said, the only the only two movies that really stick out for me were Dread, despite me despite me saying I do think calling it Dread 3D for theaters was a mistake.
• 37:07
  SPEAKER_02: But Dread in 3D was really cool in the slow motion sequences, and of course, Avatar.
• 37:13
  SPEAKER_02: I mean, James Cameron's on another level with his with the way he films some stuff, but uh Avatar is amazing in 3D.
• 37:20
  SPEAKER_02: Like that that theater experience was it felt like an experience.
• 37:23
  SPEAKER_01: Did you see this in 3D?
• 37:25
  SPEAKER_02: No, I I told you that.
• 37:26
  SPEAKER_02: I never got to see this in 3D.
• 37:28
  SPEAKER_01: Oh, okay, okay.
• 37:29
  SPEAKER_01: That's what I'm saying.
• 37:30
  SPEAKER_02: I I'm I'm I will never know the experience that they filmed this in because like I we're just watching on TV, right?
• 37:36
  SPEAKER_01: So maybe they'll re-release it because it's so popular.
• 37:38
  SPEAKER_01: No.
• 37:39
  SPEAKER_01: Okay.
• 37:40
  SPEAKER_01: So Andrew, how do you think the film was received?
• 37:44
  SPEAKER_02: Uh well, Frank's just.
• 37:46
  SPEAKER_02: I know I kind of gave it away, but you told me earlier that I got 19% of Rotten Tomatoes.
• 37:50
  SPEAKER_02: I could have been lying.
• 37:52
  SPEAKER_02: I uh no, I this movie is across the board, poorly received by both critics and fans.
• 37:59
  SPEAKER_01: I want to say Rotten Tomatoes Consensus reads, and this is so apt, as an ugly and cynical attempt to rebrand Leatherface as a horror anti-hero.
• 38:10
  SPEAKER_01: Texas Chainsaw 3D is a bold move for the franchise.
• 38:15
  SPEAKER_01: Meaning boldly bad.
• 38:17
  SPEAKER_01: Yeah, no kidding.
• 38:18
  SPEAKER_01: Why the fuck?
• 38:19
  SPEAKER_01: That is like taking Freddie Krueger and making him an sympathetic anti-hero.
• 38:27
  SPEAKER_02: Yeah, like it's just like you you've the problem is you've made this a sequel about a character who is like so barbarically evil in his in his killing that you're gonna try and really, you're really gonna try and that's the angle you're going for with this like that uh you know what's funny in Freddy vs.
• 38:47
  SPEAKER_01: Jason, they do kind of make Jason an anti-hero.
• 38:50
  SPEAKER_01: And then after watching Crystal Lake, I'm now like, oh, I get it.
• 38:55
  SPEAKER_01: Okay, I'm on board.
• 38:56
  SPEAKER_01: Yeah.
• 38:58
  SPEAKER_01: Um, okay.
• 39:00
  SPEAKER_01: On Metacritic, the film was assigned a score of 31 out of 100 based on 17 critics, indicating generally unfavorable reviews.
• 39:08
  SPEAKER_01: In their franchise rankings, Bloody Disgusting ranked Text Chainsaw 3D as the fifth best worst film out of the seven entries, saying it's a batshit dumb kind of fun, describing it as a run-of-the-mill slasher that will mostly connect with hardcore franchise fans rather than a general audience.
• 39:26
  SPEAKER_01: I disagree that this movie is a slasher.
• 39:30
  SPEAKER_01: I don't buy it as a slasher, aside from that five minutes of like hardcore violence, which literally, like, we'll get to it.
• 39:39
  SPEAKER_01: It just I'm so annoyed that that's all we got because that house was so perfect, like perfect in size.
• 39:49
  SPEAKER_02: Like, let's be clear like that house is so amazing, and there's entire other movies that have filmed an entire horror movie, like the first one.
• 39:57
  SPEAKER_01: Uh yeah, exactly, and made effective use of like the claustrophobia and the and of houses like that, but also the grounds, like yes, like they use the junkyard aspect, they used the expanse of land that they had, like they used everything in their toolbox, and this thing pulls you out of that fantasy and puts you into like this town where apparently Halloween is happening, like it's it's not good, yeah.
• 40:27
  SPEAKER_01: No, not at all.
• 40:28
  SPEAKER_01: Anyways, okay, Texas Chainsaw 3D was shot for a mere 11 million and earned a worldwide total of 47.3 million at the box office.
• 40:37
  SPEAKER_01: So it was it was incredibly successful.
• 40:40
  SPEAKER_01: Andrew, are you ready to get into the cuz of it all?
• 40:45
  SPEAKER_01: Yeah, yeah, cuz.
• 40:48
  SPEAKER_01: Get him, cuz.
• 40:50
  SPEAKER_01: It's like you're does that dude, yeah.
• 40:52
  SPEAKER_01: Does that guy even know what the word cuz means?
• 40:56
  SPEAKER_02: You know what?
• 40:56
  SPEAKER_02: Let's just we'll save it because I have that whole the whole third act is a disaster show.
• 41:02
  SPEAKER_01: So all right.
• 41:04
  SPEAKER_01: Today, Andrew and I are going to break down this film scene by scene.
• 41:07
  SPEAKER_01: So if you haven't seen it, pause, take a break, and come back and join us.
• 41:13
  SPEAKER_01: So we open exactly where we left off in 1974, which to be clear, as as aforementioned, I never put that together.
• 41:24
  SPEAKER_01: We open with the sound of Sally Hardesty, the final girl from the original film, asking the police for help.
• 41:32
  SPEAKER_01: So in the original script, they open with Sally Hardesty, who heads into the police station to alert the cops of the mayhem at the Sawyer house.
• 41:39
  SPEAKER_01: But here, all we get is a very, very brief audio clip where if you blink, you would miss it.
• 41:48
  SPEAKER_01: It's literally just one sentence.
• 41:50
  SPEAKER_02: Yeah, and this follows a brief montage of the first movie just to make it clear to the audience you're watching a sequel.
• 42:01
  SPEAKER_01: And I think it actually the uh the montage did make me really, really want to watch the original, but it also made me dislike this movie even more by like paling in comparison to that masterpiece.
• 42:13
  SPEAKER_01: Yeah.
• 42:14
  SPEAKER_01: So the police, of course, having heard her pleas, rushed to the Sawyer farm to confront the family.
• 42:21
  SPEAKER_01: So the producer Masakone said the crew performed cinematic forensics to replicate the house from Hooper's film down to the tiniest detail, and it shows.
• 42:33
  SPEAKER_01: However, as I mentioned, I did not put this together that that was the Sawyer farmhouse from the first film.
• 42:42
  SPEAKER_01: It's like too clean or something.
• 42:44
  SPEAKER_02: Yeah, I I did like I did because they in the montage they show you, I think it's Sally jumping to the window, and then you see the broken window.
• 42:53
  SPEAKER_02: But I like the thing you'll especially notice in this opening scene, the family is too clean.
• 43:00
  SPEAKER_01: Like, dude, like there's and where did all the other people come from?
• 43:03
  SPEAKER_01: There's like two dudes with beards that I don't remember from the first film at all.
• 43:07
  SPEAKER_02: Yeah, so just I'll let you continue here, but the there uh there's a guy wearing a white shirt.
• 43:13
  SPEAKER_02: It looks like he was handed that white shirt for that shoot right before they shot it.
• 43:18
  SPEAKER_02: It's so clean, it's pressed.
• 43:20
  SPEAKER_02: Like, it's bizarre because a big, a big thing about that home was it was dirty, like it was yeah, it was supposed to make you uncomfortable how gross it was.
• 43:29
  SPEAKER_02: Yeah, and this, you're right, not only is the house, like it's it feels a little too washed, but the every even like the faces they try and there's the the one like middle aged Sawyer guy who's like who's meant to be like it's an actor replacing the actor from the first one.
• 43:45
  SPEAKER_02: I but uh he he his face is a bit of like they put sweat on him or something, or maybe he was actually sweating some dirt, but like it just everything looks too clean.
• 43:56
  SPEAKER_02: The only thing I'll say here, which is like I guess kind of cool, is one of the older guys is the original uh Gunner what's the uh Gunnar Hansen Gunnar Hansen who played Leatherface is the old grandpa like the the the larger set do with the beard up by the window you know what's interesting so they did bring back they brought back the original Leatherface Gunner Hansen as you mentioned the original Sally Marilyn Burns and the original grandpa John Dugan and they're all members of the Sawyer family in this scene and Gunnar Hansen did say he said that when he walked into the house it was an identical replica of the house from the first film aside from like the placement of this chicken coop but that's the thing like even though they like forensically designed this to be identical it for some reason I I as a viewer didn't connect that so there's something missing and I don't know what it is.
• 44:57
  SPEAKER_02: I guess the thing to here is obviously um really cool that it's painstakingly recreated.
• 45:04
  SPEAKER_02: I imagine the inside was probably not as much in certain places because they only they only had to show certain parts of the house.
• 45:09
  SPEAKER_02: But yeah of course they quickly get rid of this house.
• 45:13
  SPEAKER_01: Anyways I'll let you continue on with you.
• 45:15
  SPEAKER_01: So the sheriff calls for Drayton the leading member of the household played by Bill Mosley who played Chop Top in 1986's The Texas Chainsaw Massacre 2 which I fucking love.
• 45:26
  SPEAKER_01: The sheriff says he has a girl who says her friends have been butchered and he ain't leaving so the family debate whether or not to send out the boy referring to Jed or Leatherface as the family debate the townsfolk angry as ever decide to light up a Molotov cocktail and toss it into the house lighting it on fire this results in a shootout between the two sides and nearly all the Sawyers get killed except one.
• 46:01
  SPEAKER_02: So this mob the one the speed at which this mob assembled is insane because this would have had to get to the police station would have had to get to the one person in this mob to get a bunch of people who are willing to go kill a bunch of people and like Bert Hardman and like the lead mobber mobster the the lead of the pack like he's so irritatingly like like a prickish like he's a caricature.
• 46:31
  SPEAKER_01: Yeah like he's such a character and this whole mob is like they're like a hilarious caricature like out of family guy in terms of what I picture like a mob they're like a family guy style mob it's like get him like it's just like it's like you know that you need that music that's like yeah I 100% agree I also feel like it's kind of funny that like they seem to light this house on fire and there are zero consequences because Bert eventually becomes the mayor.
• 46:59
  SPEAKER_02: Yeah and like like the the timeline thing too like Bert looks like the same at a dude I we'll go into the yes and Bertra stupid stupid line was like you can't get around the good book sheriff and he fires his gun like in the air it's just like suck so bad man.
• 47:17
  SPEAKER_01: Yeah it's corny it's very very corny and uh yeah I did not did not like it.
• 47:23
  SPEAKER_01: So on to more corny shenanigans.
• 47:26
  SPEAKER_01: Later that evening as the townsfolk explore the fiery ruins of their attack on the Sawyers one of the men discovers a living Sawyer Loretta and a baby girl.
• 47:36
  SPEAKER_01: He steals off the baby lying and saying he found it in the woods and proceeds to give it over to his wife who seems awfully excited his wife Arlene says we're gonna keep her right and he says I got her for you so after a shootout they steal a baby and I'm half wondering if these people aren't just as bad as Leatherface.
• 47:59
  SPEAKER_02: Yeah like this is like this is just like the another form of like hick caricature like it's like it's like oh I found I like it's like you didn't find a lot of cash it's like I found this baby Donna it's like she's like oh good gracious she's like she's like none too excited she's like can I keep her it's just like like that's not how people that's not how people react to these like it it should be like I understand like this movie is trying to move at a breakneck pace to get these to get her leads into the house and it does a good job in terms of the like speeding that along true but the problem is you pay for it in these scenes where it's like they have this quick little like boom boom boom boom boom boom boom and like this is like this should have been like a quick at least I could see a family taking a baby that's under like insane oppression of like the environment there's a fire raging they have to pick this baby there's yeah there's bullets flying like something bad is about to befall the child so they pick it up and scoop it up and they become the uh reluctant parents but this is like I found this at a store like to his wife like it's just it's just really they also leave that baby immediately in the car and leave like they go off to celebrate like good start guys yeah all right so andrew the cold open of Texas Chainsaw 3D comes to an exciting close so present day we are introduced to a young butcher Heather Miller played by a gorgeous Alexandria Dedario who I love she responds to a bell ringing from within the meat department at the grocery store and who is ringing this bell but none other than her friend Nikki played by Tanya Raymond.
• 49:45
  SPEAKER_02: We learn the two of them and some other friends are planning a little road trip to New Orleans where Nikki's new beau has agreed to drive this movie like you can totally see like for those who've watched Cabin of the woods like each one of these characters like is this is what Cabin of the Woods is talking about with these characters like in terms of like like Nikki is so obviously like they make it very apparent very quickly she's very much like the promiscuous gorgeous like girl that's gonna be part of this group there's like the athletic boyfriend we get introduced right now um it's just it's just funny like I I thought I thought of that that movie immediately when watching this that's actually really that's actually a really good call because yeah Nikki and throughout the film like they they make the character do different things I mean even before like the big Barn scene it's like she changes her top in the van in front of everyone and I don't want to be like I don't want to judge anyone for doing that.
• 50:47
  SPEAKER_01: I just feel like the they're trying to make it seem so overtly that this woman is like the promiscuous fun carefree bimbo.
• 51:00
  SPEAKER_01: Yeah exactly at home which I wrote is the most dilapidated apartment I've ever seen I don't understand it.
• 51:09
  SPEAKER_01: I don't get it I don't even understand the layout I don't either like like I'm sure they live upstairs in a house are are the steps part of the apartment or like those rooms separate rooms that you guys live in like is the whole I don't know I think they live upstairs in a house that like literally one of the rooms is just like a hanging punching bag.
• 51:31
  SPEAKER_01: Yeah cool cool like where do you are you guys in prison like it none of it made sense to me whatsoever um but we're quickly introduced to Heather's boyfriend Ryan played by Trey Songs he says to Heather I thought we weren't going to bring our work home because she's building an art piece with old bones from the meat she's cleavered at work.
• 51:53
  SPEAKER_01: And the only reason I bring this up is because I believe between this and like the butchering they're trying to paint this picture of her as somehow like genetically tied to the Sawyers right between her like sick appreciation of bones.
• 52:08
  SPEAKER_02: Yeah it's like she's making this really gross wall art like it's not even like aesthetically cool.
• 52:13
  SPEAKER_02: No, it's disgusting and like it's almost like she ate chicken wings like here's bones in the wall and then like there's a that they ordered yeah like like that's exactly it looks like it's very clearly the drumstick bones out of chicken wings.
• 52:27
  SPEAKER_02: Yeah and and like she says there's a really this is an odd line and this is like there's a bunch of these in this movie but this is 2013 so like I know it's a different time but even back then this is a very weird line where she says you think I'm cracked like it's just what like like I think it's like no you think I'm crazy you think I'm weird but like you think I'm cracked it just yeah what I've never even heard that expression it's like it's not like until like until a cracked like started in slang terms on social media started talking like having sex or like or you know getting banged or whatever.
• 53:01
  SPEAKER_01: You know the only thing that's cracked is that apartment.
• 53:04
  SPEAKER_01: Yeah like it's it could be a freaking flop house yeah it's a flop house and she's like fucking making bone art like I just felt like the setup of their life kind of depressed me.
• 53:18
  SPEAKER_01: It is yeah it wasn't like a fun it wasn't like oh these like young professionals or these like people who are you know I don't I don't know it just didn't it just didn't paint like a positive picture for me.
• 53:29
  SPEAKER_01: But so the per the two proceed to make love before being interrupted by the mail carrier who delivers a letter to Heather from a law office in Dallas informing her her grandmother died a few weeks ago a grandmother she knew nothing about we immediately cut to a conversation between her and her parents where she confronts them about being adopted and her parents ever the classy Tucson tell her she came from a shit heap and that if they'd had half a mind they would have left her there.
• 54:03
  SPEAKER_02: These two parents I just wrote are pieces of shit yeah they they like obviously wrote these parents to like so the audience just wouldn't want to have you you don't really want to see these guys ever again no but it also leans into what you said earlier about the painting of the caricature like the father's socks are missing out yeah they they just play these two play further into that like redneck deadbeat like it's just a caricature of like of course they're shitty parents of course they say stuff like this like it's just like it's just really it's so on the nose like it's yeah agreed.
• 54:49
  SPEAKER_01: Okay Heather unhappy as ever storms off in hot pursuit of her newfound destiny and introduces a change of plan to her pals.
• 54:59
  SPEAKER_01: Instead of going to New Orleans they'll now be off to Newt Texas so the group embark in an old Volkswagen van to Texas to discover more about Heather's past and the Sawyer clan.
• 55:14
  SPEAKER_02: They stop for some gas and groceries on the way as one does and as they pull gleefully off to continue their adventure strike a full-on human being so this gentleman who happens to be very attractive says he'll settle for a piece of beef jerky and that his lady dumped his butt and he's been thumbing his way back from Tulsa I find this insufferably corny and again this was not included in the original script but it's like they decide to go to a road trip and Kenny who's played by uh Karen Malachy Sanchez he just agrees to drive to Texas for how they're like I know he's friends with Ryan but what the hell like that's a like a major investment of your time and and like effort and for yeah sorry go no go ahead because I have something else I want to say like like I know they're trying to get us from point A to point B but this movie at this point it's so like these are the most amenable friends you ever met in your life when someone comes home it's like hey remember how we this like we want to do this one thing yeah no I want to go to Texas now because I actually family shifted okay just like done we're here for you girl she says yeah it's like I find it really funny because when they're in the van Heather pulls out Ryan's credit card and says we bought food on your you know even though we live in squalor so terrible and then Ryan pulls out a credit card and says it's Kenny's who paid for gas.
• 56:50
  SPEAKER_01: So it's like not only has this guy agreed to drive them but now he's like footing the bill yeah and like like it's so stupid like it's like this is the thing like there is no point in this movie where you spend enough time with these characters to fall in love with them or care about them.
• 57:11
  SPEAKER_02: Yeah this is it's one of those movies like I find the hallmark of a like a good horror slasher is like maybe not all the characters but you genuinely like fuck man like I like that guy and he just died or like that that that you know uh that girl was awesome like she's really funny was usually cool and she's died like I was really saddened by it but like movies like this are just like there this is very the the drifter is very clearly just a mechanism of action for this movie to pile on the body count for later because he otherwise adds absolutely nothing to this film.
• 57:45
  SPEAKER_01: You know I don't know if I mentioned this on the last podcast but I saw Scream in the theater recently and you know like phones down you're paying attention and I hadn't seen it in the theater for 30 years.
• 57:57
  SPEAKER_01: I actually think I did mention this but it's relevant because that friend group in Scream we spend so much time with them throughout the film that when Tatum dies you're like fuck she was such a good friend to Sydney she was such a likable character she was supportive like you start to like garner appreciation as the film builds this one like you said it moves at such a breakneck speed and this corny like I paid for the groceries with your credit card and I paid for gas with yours it's like yeah it's just so silly and like I I'm not learning anything about these people and nor do I care.
• 58:41
  SPEAKER_02: Yeah exactly and that that's the big thing too is like in movies like Scream like when there's a chase scene every missed knife slash or like injury you're like the stakes are up there.
• 58:50
  SPEAKER_02: You're like fuck man like I don't want ghost face to kill this person.
• 58:54
  SPEAKER_01: Like I but this movie does not evoke that feeling a single time and it's because of characterization like this like the credit cards it's so uh it's like why is it like it like pisses me off when I it's like when Ryan's like and I got your like everyone just pocket now like it just yeah I'd be like how the fuck did you get my credit card asshole actually like like I'd be fucking pissed and I'd be like don't you have a fucking job like it makes it seem like Heather and Ryan are grifters and when you look at their apartment I'm like are they like yeah what the hell does Ryan do?
• 59:29
  SPEAKER_02: Yeah yeah that's that's around he's home midday punching a punching bag in like a completely empty room that's like the walls falling apart like I don't know what these people do and I don't I don't know it's weird I just nothing against specifically Troy songs here but Trey Trey song sorry but um especially around this time it still happens today but especially in this time like there's been a there's a lot of horror shit like these roles where it's like a singer who has no business acting yeah made their jump into a horror movie.
• 1:00:05
  SPEAKER_02: Like I I mean I we'll talk I really want to discuss Freddie versus Jason but I what's her face uh I would argue Kelly Roland completely deflates that's also a writing issue but she completely ruins the tension and and ruins scenes because of just she does she cannot act and yeah and it's not even her fault like you just can't act you're just not an actor that's not a crime it is but it's like you are a good singer don't start don't act like don't be in this movie you know what though in defense of Troy songs I actually that was a tray he's actually really good in this movie and I really enjoyed his character the two minutes that we get to spend with him I did enjoy it.
• 1:00:47
  SPEAKER_02: He actually looks like he's trying like he he seems like he's acting like he's he's not just phoning it in like he it seems like he actually it's a genuine take on this character.
• 1:00:57
  SPEAKER_01: Okay yeah but you know it's funny the more I think about the Cabin in the woods thing the more I'm like whoa these four are those exact archetypes it's hilarious.
• 1:01:09
  SPEAKER_01: I had no clue yeah it's so good okay moving along at our breakneck speed the friends agree to take this hitchhiker with them for the ride and the group continue on their merry way so we cut to the group arriving in New Texas on a beautiful summery sunny day.
• 1:01:29
  SPEAKER_01: Again where the fuck is the nod to Halloween I have no clue.
• 1:01:34
  SPEAKER_02: I know we're the era of smartphones but I think to add some like I don't know realism or something like they're going to an unknown location and yet at no time does anyone seem to be using a map of any kind.
• 1:01:47
  SPEAKER_01: And then well we're only with them for two seconds.
• 1:01:52
  SPEAKER_02: Before I'll let you continue here but before right before they get to the house she says this is it homestead road and then like no one has a map or even a phone for like I feel like this would be like a very like precise location.
• 1:02:07
  SPEAKER_02: I know it would you're right they like come on man it's probably in the middle of nowhere in a place that they're unfamiliar with of course they would have a map the reason why I just bring these two scenes up like those two things up uh consecutively is like I think you can do these little things to help bring the audience into your world a little more make it more grounded despite how ridiculous this movie gets so I just found that like I just found that weird.
• 1:02:30
  SPEAKER_01: But anyways I think you know what's funny I find that to be a really good point because if you're gonna spend the time making the home at the beginning of the movie look as forensically close to the original as possible it is these little details that help bring us into this universe.
• 1:02:47
  SPEAKER_01: Yeah and it would also help establish the timeline but anyway okay so as you mentioned so they pull up to Homestead Road and arrive at the gate of what appears to be a manor.
• 1:03:00
  SPEAKER_01: A gentleman pulls up Heather's lawyer Mr Farnsworth played by Richard Real and he proceeds to give Heather over the deed to the house and he says it's hers if she wants it but a caveat is she cannot sell it.
• 1:03:14
  SPEAKER_01: And we learn a little bit about that later.
• 1:03:18
  SPEAKER_02: So he also hands her a letter from her grandmother Verna which also becomes very important later on he even says make sure you read that letter yeah so can I just say one quick thing yeah of course I know that she doesn't read the letter which I probably wouldn't have read right away but it would be interesting it would be an interesting film to see what would happen if she had a read that letter and discovered she had a not a husband well basically a cousin in the basement that she was responsible for suddenly like what a different movie that would be yeah so two points here I one we haven't we haven't mentioned this we mentioned this earlier I'll let's be perfectly clear here about something the the setting this film we I don't I don't we haven't really talked about this but we've now been introduced to several elements here that are letting you know that obviously Heather is the granddaughter of um this estate this movie is set in 2013 this would be 40 something years after the original film like 30 40 years yeah and so the original script was supposed to take place in 1993 which is what Heather's Heather's age would have made way more sense and how they're dressed yes and but they don't they don't make amends for this they just like oh yeah it's still 2013 deal with it kind of thing they've got to change some gravestones to match the 2013 date but it makes no sense that Heather is the daughter of that uh that woman in survive she'd be like in her 40s like I just yeah she would be 40 years old or 40 years and it's just really a weird decision like I don't it's just weird the mentality of studio heads or writers back then or whoever that like making it more modern make audiences like want to like this movie more or something.
• 1:05:21
  SPEAKER_02: I don't know.
• 1:05:22
  SPEAKER_01: Well they actually like kind of fought to put the cell phone in yeah yes I I read that as well they they wanted they wanted the modern stuff to be shown I wonder if they're relying on the fact that people don't know or haven't seen the original because part of me wonders if this movie really is for fans of the franchise or whether this is sort of a standalone entry 40 years later that brought in new fans.
• 1:05:52
  SPEAKER_01: So maybe they're like well the timeline is neither here nor there because No one really like maybe they're relying on us being stupid, but anyway, just wanted to kind of just hang on to Yeah.
• 1:06:07
  SPEAKER_02: I I fully agree.
• 1:06:08
  SPEAKER_02: I think I think this is like who when they decided they just didn't care.
• 1:06:12
  SPEAKER_02: They don't they they they obviously didn't care because they just kind of make it this is the movie, like this is the movie now, like just deal with it.
• 1:06:20
  SPEAKER_02: Yeah, so and like this letter.
• 1:06:22
  SPEAKER_02: So let me talk about this letter really quick.
• 1:06:24
  SPEAKER_02: Couple things one the lawyer knows there's a psychopathic chainsaw wielding idiot in the basement of the house.
• 1:06:35
  SPEAKER_02: He knows this, like you you very much learn this later.
• 1:06:40
  SPEAKER_02: Two, he not only tells her to read the letter, he says it's the most important thing.
• 1:06:46
  SPEAKER_02: He says, Don't forget to read Verna's letter again to her.
• 1:06:50
  SPEAKER_02: And it's like I I understand like your friends right there.
• 1:06:55
  SPEAKER_02: Maybe you wouldn't read it right away, but I'd probably be in the van already starting to read the couple first lines.
• 1:06:59
  SPEAKER_02: If it was like I'd be so curious at this point, and I feel like some of the movie, like the movie's opening, like slasher moments rely on them being ambushed by just letterface, which would never have happened if the lawyer said something or if she had read the letter, but maybe she was exasperated by that gorgeous home.
• 1:07:22
  SPEAKER_01: I would be, I'd be like, fuck this letter, baby.
• 1:07:25
  SPEAKER_01: Woo! And then just click on the tunes like the fucking hitchhiker does.
• 1:07:29
  SPEAKER_02: And also, like Heather's like, How'd you find me?
• 1:07:32
  SPEAKER_02: And the lawyer's like, Yeah, you were never lost.
• 1:07:35
  SPEAKER_02: It's like, what?
• 1:07:37
  SPEAKER_02: Like, what does that mean?
• 1:07:38
  SPEAKER_02: Like, explain yourself, sir.
• 1:07:40
  SPEAKER_01: Which I feel like that make I feel like that makes sense because it's a small town.
• 1:07:44
  SPEAKER_01: Yeah, I get it.
• 1:07:45
  SPEAKER_01: Yeah, and but it seems like her parents moved away to another place.
• 1:07:49
  SPEAKER_01: I don't know, and I'm not really sure where the beginning of the movie even takes place.
• 1:07:52
  SPEAKER_01: So, as the team head up to the house, there's also a shot of Nikki in red shorts from below, and this is an homage to the original film, which is a totally amazing, iconic scene, and I totally appreciate it.
• 1:08:09
  SPEAKER_01: So the group enter the mansion home and start to explore the interior, and one asks, what exactly did granny do for a living?
• 1:08:17
  SPEAKER_01: Because the house is so damn big.
• 1:08:21
  SPEAKER_01: Also, Andrew, I am I think I know the answer to this question, but I'm a little confused.
• 1:08:28
  SPEAKER_01: Did the grandma remarry a Carson and start a new life?
• 1:08:34
  SPEAKER_01: I don't know.
• 1:08:37
  SPEAKER_01: I have no clue.
• 1:08:38
  SPEAKER_01: Like, what is this?
• 1:08:40
  SPEAKER_01: Like, did was the grandma.
• 1:08:42
  SPEAKER_01: So the grandpa was in part one, and he was the one with the hammer.
• 1:08:48
  SPEAKER_01: So his wife, Verna, the grandmother to Heather, has this gorgeous mansion home.
• 1:08:58
  SPEAKER_01: Like the disconnect there, I wasn't really sure.
• 1:09:02
  SPEAKER_01: And the thing is, I really tried to like pause and see if I was missing something, and I don't think I did.
• 1:09:10
  SPEAKER_01: I don't know.
• 1:09:11
  SPEAKER_02: This isn't like like if you if this is an insanely gorgeous, large plantation style unreal.
• 1:09:18
  SPEAKER_02: Yeah, and like even I don't know.
• 1:09:22
  SPEAKER_02: I think even back then this probably would have been some worth some money, and it's like the original home got torched.
• 1:09:29
  SPEAKER_02: So what did they do job-wise that got them this manner?
• 1:09:34
  SPEAKER_01: Like it's I think she remarried because her last name is Carson, yeah, right.
• 1:09:40
  SPEAKER_01: So yeah, I guess but then I thought the grandma was in the first movie.
• 1:09:44
  SPEAKER_01: She is no.
• 1:09:47
  SPEAKER_01: I I don't know.
• 1:09:48
  SPEAKER_01: And if anyone knows, can you DM me?
• 1:09:51
  SPEAKER_01: Because I don't know.
• 1:09:53
  SPEAKER_01: All right, anyway.
• 1:09:54
  SPEAKER_01: Not that I you know what's funny, is like this has been the bane of my existence.
• 1:09:58
  SPEAKER_01: I'm like, if I don't care about anything about this movie, I care about this one plot point.
• 1:10:02
  SPEAKER_01: I'm like, who the fuck like who is the grandma?
• 1:10:06
  SPEAKER_01: Yeah, anyway, and did you notice that that house is like meticulously clean?
• 1:10:10
  SPEAKER_02: Yes, I I even put I put this, I put the right here.
• 1:10:13
  SPEAKER_02: It's like, uh, have I notes here?
• 1:10:15
  SPEAKER_02: The house is massive and super clean.
• 1:10:20
  SPEAKER_01: Like it's super clean.
• 1:10:22
  SPEAKER_01: That much wood.
• 1:10:22
  SPEAKER_01: There was not, at least from my purview, there was not a speck of dust hanging around there.
• 1:10:27
  SPEAKER_02: So here's I think too, like, I think here's the thing about the house being super clean.
• 1:10:32
  SPEAKER_02: I think this could have been a cool little, like, I wonder why it's super clean, guys.
• 1:10:38
  SPEAKER_02: Like, maybe someone says something about it, but they like it's just like the the the dinner table has the all the stuff laid out for it, and they they never posit white.
• 1:10:50
  SPEAKER_02: Are you inferring that Leatherface cleans the house?
• 1:10:53
  SPEAKER_02: I'm not saying that, but they maybe the movie could have inferred that.
• 1:10:56
  SPEAKER_02: Maybe like it's like he he takes care of his family.
• 1:10:59
  SPEAKER_01: Dude, have you seen his quarters?
• 1:11:01
  SPEAKER_02: Dude, I know, but like I'm just saying, why would the house be super clean?
• 1:11:04
  SPEAKER_01: Because the grandma fucking cleaned it and then she died, and it takes a couple weeks for the dust to settle.
• 1:11:10
  SPEAKER_01: Okay, it's not like leatherface is upstairs cleaning the house to her, like vacuuming, like fucking weapons.
• 1:11:17
  SPEAKER_02: We'll see, guys.
• 1:11:17
  SPEAKER_02: When the vacuum later on, you're gonna see a duster.
• 1:11:20
  SPEAKER_02: He has a feather duster that he does use.
• 1:11:22
  SPEAKER_02: Like, you'll see it, guys.
• 1:11:23
  SPEAKER_02: Don't worry.
• 1:11:24
  SPEAKER_01: Oh my god, feather dusther dust my balls.
• 1:11:28
  SPEAKER_01: I was gonna say, okay.
• 1:11:30
  SPEAKER_01: Now, the hitchhiker, who is still there, decides to throw on some tunes and get this party started, which I thought was hilarious because, like, why are you still there, dude?
• 1:11:41
  SPEAKER_02: Yeah, so yeah.
• 1:11:44
  SPEAKER_02: I fucking hate this guy.
• 1:11:45
  SPEAKER_02: Sorry, I just thought sorry.
• 1:11:46
  SPEAKER_02: I thought they're really out of here, but yes, this is a this this character is so shoehorned into this friend group, it's just like, and they're all just cool with it, like, yeah, it's cool.
• 1:11:55
  SPEAKER_02: Like, it's like get the fuck out of here, dude.
• 1:11:57
  SPEAKER_01: He's the one that throws the music on, yeah.
• 1:11:59
  SPEAKER_01: Like, dude, you are right at home.
• 1:12:02
  SPEAKER_01: Yeah, all right.
• 1:12:03
  SPEAKER_01: So there is a scene.
• 1:12:04
  SPEAKER_01: I put this in here, I could have let this out, but there is a scene where Heather explores the property and she enters a family graveyard.
• 1:12:10
  SPEAKER_01: The reason I like this, one of the few things I like, is because it seems like she's learning about her past and her lineage, and somehow we start to see the wheels turning of like, oh, I have a place in which I belong.
• 1:12:28
  SPEAKER_01: And I could be reading into that a lot, but I think the whole movie, her whole arc is about becoming a part of this family, and this graveyard scene, I think is important in that.
• 1:12:42
  SPEAKER_02: Yeah, like unfortunately, yes, that I think that's a that could be a cool scene that kind of leads her to question more like that maybe this is where I belong, like that kind of thing.
• 1:12:52
  SPEAKER_02: But unfortunately, she embraces this to like much hilarity later on.
• 1:12:57
  SPEAKER_02: That I just like it, like it's cool initially, but then you you see how she became that's like why.
• 1:13:03
  SPEAKER_02: Also, just want to throw in here this this is a plot point that does not matter, it only matters for the purposes of separating the group.
• 1:13:12
  SPEAKER_02: But we see Ryan and Nikki flirt at the pool table, and Nikki says, like, what'd you say about my rack when they're talking about racking up the uh the the uh the the pool balls?
• 1:13:23
  SPEAKER_02: Um so the movie's like making it very obvious that they're banging.
• 1:13:26
  SPEAKER_02: Like I was like, Oh, they're obviously banging.
• 1:13:28
  SPEAKER_02: So I just but this plot point does not factor into the friendship or relationships with these characters whatsoever.
• 1:13:37
  SPEAKER_02: It does not.
• 1:13:38
  SPEAKER_01: No, it doesn't.
• 1:13:39
  SPEAKER_02: And it only serves later on.
• 1:13:42
  SPEAKER_02: You'll see.
• 1:13:43
  SPEAKER_02: I thought maybe this is the I had when I first watched this, I thought this is a play into like some drama where like maybe it might come into like you know, you have to save someone who betrayed you or that kind of thing, which other movies have done before.
• 1:13:55
  SPEAKER_02: Yeah, but this does not register on Heather's radar at all.
• 1:13:59
  SPEAKER_02: In fact, I don't think she cares.
• 1:14:00
  SPEAKER_02: And maybe, maybe at some point in the script they were in an open relationship.
• 1:14:04
  SPEAKER_02: I don't know.
• 1:14:05
  SPEAKER_02: But that's a joke, yeah.
• 1:14:06
  SPEAKER_01: But I'll also no, oh sorry, I'm you know what's funny?
• 1:14:10
  SPEAKER_01: I have so many friends in her open relationships, the majority of them actually, that that didn't even register as a joke to me.
• 1:14:16
  SPEAKER_01: I'm like, yeah, maybe we don't know.
• 1:14:17
  SPEAKER_01: And the thing is, like you say, there is no nod to the fact that she even like you're right.
• 1:14:24
  SPEAKER_01: This is a throwaway.
• 1:14:26
  SPEAKER_01: The only thing I think it could be useful for is making us hate Nikki and Ryan.
• 1:14:34
  SPEAKER_02: But like, yeah, like I said, this only the only reason why I think they even do this is because even though they could have done other ways, is that it gets them separated later on.
• 1:14:46
  SPEAKER_02: Like they manage to like camp visitly separate this group and this house later on.
• 1:14:51
  SPEAKER_02: It's anyways, I'll talk about that more later, but so we learn that Daryl, the hitchhiker, you know what's funny?
• 1:14:57
  SPEAKER_01: I've spent so much time talking about this fucking guy.
• 1:15:00
  SPEAKER_01: He's going to splurge on some stakes, and the group agree to leave Daryl behind while they go into town.
• 1:15:08
  SPEAKER_01: Now, as soon as the group are out of sight, Daryl gets to work ransacking the house and stuffing as much as he can get away with into his trusty red sack.
• 1:15:21
  SPEAKER_01: Now, I wanted to note something that the screenwriter said, Andrew, which we're all thinking.
• 1:15:26
  SPEAKER_01: They said in the original script, oh yeah, I mean, I'm sorry.
• 1:15:30
  SPEAKER_01: What kind of brainiacs are these kids that bring a hitchhiker they've literally just picked up and leave him alone in this multi-million dollar mansion while they go into town to get barbecue supplies?
• 1:15:42
  SPEAKER_01: That was not in our script.
• 1:15:45
  SPEAKER_02: Yeah, this this is so dumb on so many levels.
• 1:15:49
  SPEAKER_02: It's dumb on the group's levels.
• 1:15:50
  SPEAKER_02: Why would you leave this guy there?
• 1:15:53
  SPEAKER_02: And two, what is the drifter's plan?
• 1:15:56
  SPEAKER_02: Because let's actually let's think about the G, let's put the geography of this place in perspective.
• 1:16:04
  SPEAKER_02: You are in the middle of hot, I know it's it's not Louisiana, but it's it that's that that kind of landscape in Texas, and a house that's in the middle of seems like it's on the outskirts of town.
• 1:16:17
  SPEAKER_02: You're gonna load up a knapsack with a bunch of stolen shit and then just start walking in the heat with no ride, nowhere to go.
• 1:16:26
  SPEAKER_02: Like, what was your and like down homestead road?
• 1:16:29
  SPEAKER_02: Just like you're kind of isolated, dude.
• 1:16:31
  SPEAKER_02: Like, this isn't like a house in like a nice neighborhood somewhere where you can just like run and hide between house.
• 1:16:36
  SPEAKER_02: I don't know.
• 1:16:37
  SPEAKER_02: I'm overthinking this.
• 1:16:38
  SPEAKER_01: Wait, but I don't think you are because I think the other thing I was thinking about though when I was watching this is like how cool would it have been for him, he would have had a far better ride, proverbial, if he had have stayed there and had barbecue with them and hung out and had some drinks and then got a ride.
• 1:16:59
  SPEAKER_01: Anyway, not in the original script.
• 1:17:02
  SPEAKER_01: I think I mean we've beaten this to death.
• 1:17:05
  SPEAKER_01: Okay, as Daryl continues his thievery, he notices a secret door in the kitchen and proceeds to explore even more goodies before descending into a dark basement where he unknowingly unlocks the door to Leatherface's domain.
• 1:17:22
  SPEAKER_01: At this point, I wrote that I don't even know what he's looking for down there.
• 1:17:28
  SPEAKER_01: And again, I find this character completely useless aside from kill fodder.
• 1:17:33
  SPEAKER_01: But as he tries to locate a tool that will let him further into the basement dwelling, Leatherface indeed arrives on scene to bludgeon him to death.
• 1:17:43
  SPEAKER_01: And Andrew, that fucker asked for it.
• 1:17:46
  SPEAKER_02: Yeah, so Daryl, of course, we want like we talk about people deserving to die.
• 1:17:51
  SPEAKER_02: He obviously deserved to die.
• 1:17:52
  SPEAKER_02: Um, and we like there's no I don't give a shit that he's dead.
• 1:17:57
  SPEAKER_02: Uh like it's it's kind of a cool jump scare, he gets hammered in the face.
• 1:18:00
  SPEAKER_02: And the the only thing I'll also remark upon the scene is the door to Leatherface's butcher area is very similar to the door in the first film.
• 1:18:09
  SPEAKER_02: Why did Daryl want to get into that room so bad?
• 1:18:12
  SPEAKER_02: He he keeps thinking there's like some divine loot he's gonna find.
• 1:18:18
  SPEAKER_02: How much can you carry in that backpack?
• 1:18:20
  SPEAKER_02: Dude, that thing's like it's like a Santa's sack, like it just looks endless.
• 1:18:31
  SPEAKER_01: Okay, the team head into town and Ryan searches for a drink.
• 1:18:36
  SPEAKER_01: We learn that Nikki and Ryan have had a flang, and she wants to continue the fun.
• 1:18:43
  SPEAKER_01: I also want to note here again that in the original script there was no conflict like this.
• 1:18:49
  SPEAKER_01: It was supposed to be like the first film where you see this group of fun-loving kids and you fall in love with them.
• 1:18:55
  SPEAKER_01: But for some reason, they introduced this pointless conflict.
• 1:19:02
  SPEAKER_01: So we're introduced to a deputy, Carl, played by Clint Eastwood's son, Scott Eastwood.
• 1:19:09
  SPEAKER_01: Very cute.
• 1:19:10
  SPEAKER_01: And he learns that Heather is having a shindig at the old Carson mansion, the one he thought was abandoned.
• 1:19:17
  SPEAKER_01: We're also introduced to Mayor Bert Hartman, played by Paul Ray, who learns that Heather has inherited Verna's home.
• 1:19:24
  SPEAKER_01: And not only that, that she's a Sawyer.
• 1:19:27
  SPEAKER_01: He says he'll take the place off her hands, but she refuses.
• 1:19:34
  SPEAKER_01: Again, a bit of a pointless scene, aside from reintroducing us to Bert and letting us know that he is now the mayor.
• 1:19:44
  SPEAKER_02: Who 40 years later looks the same as he did at the mobster scene.
• 1:19:51
  SPEAKER_02: Exactly.
• 1:19:52
  SPEAKER_02: And also to he does this like comically, like kind of evil thing where like he's like, I'll take it off her hands for you.
• 1:19:57
  SPEAKER_02: And she's like, Oh no, I'm good.
• 1:19:59
  SPEAKER_02: She's like, Ah, hardball, I like you already.
• 1:20:01
  SPEAKER_02: Come on, name name a number as she's drives away.
• 1:20:05
  SPEAKER_02: It's like this guy, like, he's not a person, he's just like no, he's not a parody, this caricature that's there to drive the fact that he's an awful person and villain, I guess.
• 1:20:17
  SPEAKER_01: And like, you know what's funny?
• 1:20:19
  SPEAKER_01: Sorry, the the more I talk to you about this, the more I'm realizing because for some reason this was lost on me, but you're making me realize like how much of a caricature every single like the sheriff, like everything.
• 1:20:36
  SPEAKER_02: The the the head sheriff that we see in the start and later is the most like that guy should be fired and criminally charged, dude.
• 1:20:44
  SPEAKER_01: When you don't arrest people for throwing a Molotov cocktail into a fucking neighbor's house, and you're like, oh, and then you let them celebrate in the fiery ruins and steal a baby.
• 1:20:54
  SPEAKER_01: Yeah, you're probably not cut out for the job.
• 1:20:56
  SPEAKER_02: And also, I don't uh the last thing I want to do is like I don't I I I like to stick to characters so much as like ragging on the actors too much.
• 1:21:05
  SPEAKER_02: But Scott Eastwood has always been a point, like always been an actor I think is like interesting to discuss because he's got all like he's got the looks, he's got the name, and yet he I find he never gets off the ground in a role that he's in where it's like I never find him particularly exciting to see on screen.
• 1:21:28
  SPEAKER_01: No, he's a bit boring.
• 1:21:30
  SPEAKER_01: We transition back to the home where the group learn Daryl was a smooth criminal.
• 1:21:36
  SPEAKER_01: They agree that he heisted some ashtrays and candlesticks, and that that isn't enough to not have a good time, Andrew.
• 1:21:44
  SPEAKER_01: So this is where we start to get into the part of the film I mentioned earlier that I love most.
• 1:21:52
  SPEAKER_01: And I wish was literally the entire fucking thing.
• 1:21:55
  SPEAKER_01: It's dark, they're partying, it gives me scream vibes, they're in the home, and it leans really heavily into slasher territory.
• 1:22:07
  SPEAKER_01: But this lasts for all of six minutes.
• 1:22:11
  SPEAKER_02: Yeah, really quick.
• 1:22:13
  SPEAKER_02: I just want to bring this up too is that right before right after they discover this thievery and right before right as they start to party, and that Kenny starts cooking, they all cheers the Sawyers.
• 1:22:24
  SPEAKER_02: And I'm like, like, I guess from Nikki's or from Heather's point of view, like maybe she's like to the Sawyers for leaving me this house, I guess.
• 1:22:34
  SPEAKER_02: I don't know.
• 1:22:35
  SPEAKER_02: I just found that kind of like again, just kind of like whatever.
• 1:22:38
  SPEAKER_01: What I found that to make total sense.
• 1:22:40
  SPEAKER_01: She just inherited a home from her grandma.
• 1:22:43
  SPEAKER_01: And she learned she's a sawyer and just been a hater.
• 1:22:46
  SPEAKER_02: That's fair.
• 1:22:46
  SPEAKER_02: That's fair.
• 1:22:47
  SPEAKER_01: You are you are right.
• 1:22:48
  SPEAKER_02: I think yeah, I agree with you.
• 1:22:49
  SPEAKER_01: Like, did you suck the room out of that Halloween party you had too?
• 1:22:53
  SPEAKER_01: Like okay.
• 1:22:57
  SPEAKER_01: I also wrote that Kenny seems really pissed off he's cooking dinner, and it seems like he's like shopping the tomatoes like a maniac.
• 1:23:07
  SPEAKER_01: Yeah, it's I don't understand even that character choice is weird.
• 1:23:12
  SPEAKER_02: It's just like it's also like kind of like I don't know, like I feel like when I hang up with my friends, if someone was doing something in the kitchen, we're all in the kitchen hanging out, like it's just they yeah, like it's just really weird.
• 1:23:24
  SPEAKER_02: Like they they they really isolate these characters quickly, obviously for obvious reason, but it's just like you're gonna leave your buddy there just to cook for you, and you're not gonna go talk to him and provide entertainment like while he's cooking for the whole thing.
• 1:23:34
  SPEAKER_01: Like the fucking bitch drove, paid for your gas, yeah, yeah, can't even land Nikki because she's fucking Ryan, and now you stuff him in the kitchen, like Jesus.
• 1:23:46
  SPEAKER_01: Yeah, all right.
• 1:23:47
  SPEAKER_01: But he also notices the secret door in the basement lair and does exactly what Daryl did and descends into the basement.
• 1:23:55
  SPEAKER_01: He notices some blood in Daryl's rucksack and decides to look for the lost hitchhiker.
• 1:24:02
  SPEAKER_01: There is a cool scene here or shot where Kenny stares into the dark and we know something is going to happen.
• 1:24:12
  SPEAKER_01: And lo and behold, Leatherface erupts from the dark and viciously murders Kenny.
• 1:24:19
  SPEAKER_01: I quite enjoyed this scene.
• 1:24:23
  SPEAKER_01: Because it made total sense to me that Kenny would go downstairs, he would see the bloody rampage of Leatherface, and he would be alerted to like something being off.
• 1:24:36
  SPEAKER_01: Like this whole character choice to me made sense.
• 1:24:40
  SPEAKER_02: Yeah, and I I this is just the only thing I'll say here, and this is not a criticism of the movie at all.
• 1:24:45
  SPEAKER_02: This is just like, I feel like I have found a secret door, the secret passage.
• 1:24:48
  SPEAKER_02: I'm gonna go get my friends right now.
• 1:24:50
  SPEAKER_02: Guys, we gotta go check this out.
• 1:24:52
  SPEAKER_02: This is so sick.
• 1:24:53
  SPEAKER_02: But I'm not gonna say, like, oh, he went alone, he should have got his friends.
• 1:24:57
  SPEAKER_02: No, I'm not gonna say that.
• 1:24:58
  SPEAKER_02: This is a horror movie.
• 1:24:59
  SPEAKER_01: Um doesn't he say something though?
• 1:25:00
  SPEAKER_01: He's like, guys, Daryl, butler pitch.
• 1:25:03
  SPEAKER_02: Yeah, he he calls out for his friends, like he he does do one little call.
• 1:25:07
  SPEAKER_02: He's like, guys, and then no one answers him, so he's like, I'm gonna go in anyways, and then he calls up for Daryl, but whatever.
• 1:25:11
  SPEAKER_02: It's still cool.
• 1:25:12
  SPEAKER_02: Great scene.
• 1:25:13
  SPEAKER_02: Yeah, I love it.
• 1:25:14
  SPEAKER_01: I like the uh yeah, it was very well shot.
• 1:25:17
  SPEAKER_01: Okay.
• 1:25:18
  SPEAKER_01: As we return upstairs, we connect back in with the Nikki Ryan sex drama.
• 1:25:24
  SPEAKER_01: She tricks him into following her into the barn by saying she's seen something fucked up and appears to be in a panic.
• 1:25:31
  SPEAKER_01: Ryan follows her into the barn where it's revealed she's lured him in there for sex.
• 1:25:37
  SPEAKER_01: I wrote that she's horny and a terrible fucking friend.
• 1:25:41
  SPEAKER_02: Yeah, like I also curious, like, how does this friend group work?
• 1:25:45
  SPEAKER_02: Like, I know Heather is exploring the house, but like, like, did how did Nikki suspect that they'd have so much uninterrupted time to set this up?
• 1:25:56
  SPEAKER_02: But again, I don't really care.
• 1:25:57
  SPEAKER_02: I it's whatever.
• 1:25:58
  SPEAKER_01: I don't, yeah, I don't care, but you're right though.
• 1:26:00
  SPEAKER_01: It's like that's like a bold fucking move, man.
• 1:26:03
  SPEAKER_01: Like, like your fucking friend, yeah, like you're gonna anyway, she's like a sex craze maniac because that's what her character is.
• 1:26:10
  SPEAKER_02: It's not like while Heather's upstairs, you look you sneak into the bathroom for like a quickie, like you know, a 30-second quickie or something.
• 1:26:16
  SPEAKER_02: She like goes to the barn and sets this up.
• 1:26:18
  SPEAKER_02: Yeah, you're right.
• 1:26:19
  SPEAKER_02: 50 and um, but uh she she goes and sets this all up and just hopes they're gonna be untrue and interrupted.
• 1:26:25
  SPEAKER_02: But anyways, I like it.
• 1:26:27
  SPEAKER_01: Yeah, it's also kind of weird because it seemed like he didn't ever want that to happen again, but yet he's like all in.
• 1:26:33
  SPEAKER_02: Well, she takes off her clothes, and we see her like her like athletic body.
• 1:26:37
  SPEAKER_01: So oh, that's true.
• 1:26:39
  SPEAKER_01: Okay.
• 1:26:40
  SPEAKER_01: Upstairs, Heather discovers her grandmother's corpse, the one we saw buried earlier in the film.
• 1:26:47
  SPEAKER_01: This causes her a fright.
• 1:26:49
  SPEAKER_01: She dashes down the steps, calling out for Ryan and friends.
• 1:26:53
  SPEAKER_01: It appears someone has dug up Verna's corpse.
• 1:26:57
  SPEAKER_01: What she does discover is an empty house.
• 1:27:00
  SPEAKER_01: And when she enters the kitchen, Leatherface is hard at work chopping Kenny to pieces.
• 1:27:06
  SPEAKER_01: The two have a struggle before Leatherface dispatches Heather and transports her to the basement of horrors.
• 1:27:14
  SPEAKER_01: Now, what happens next, I do think is the film's attempt at paying homage to the original.
• 1:27:23
  SPEAKER_01: So Leatherface does casually chainsaw off Daryl's leg before hanging Kenny on a meat hook and lopping off the lower half of his body.
• 1:27:35
  SPEAKER_01: And I think there's two things I think are happening here.
• 1:27:38
  SPEAKER_01: One is the movie is trying to infuse some of that Texas chainsaw gore, but I do think it is a direct homage to the original, where there it's the violence done to people is a little bit haphazard.
• 1:27:51
  SPEAKER_01: It's almost like Leatherface doesn't know exactly even what he's doing.
• 1:27:56
  SPEAKER_01: And so I kind of felt like they were going for something here.
• 1:28:00
  SPEAKER_01: And it for me 100% did not pay off.
• 1:28:03
  SPEAKER_01: It looks too polished.
• 1:28:06
  SPEAKER_01: It looks fake.
• 1:28:08
  SPEAKER_01: And I didn't like it at all.
• 1:28:11
  SPEAKER_02: Yeah, this scene opens up where she's coming to.
• 1:28:14
  SPEAKER_02: It does this like camera clicky noise that's like the creepy, like, like uh those old phosphorus uh light cameras where it's like the ch kind of thing.
• 1:28:24
  SPEAKER_02: Yeah, and I've heard that sound.
• 1:28:27
  SPEAKER_02: I that sound effect is from another is in another horror movie, and I don't know which one it is.
• 1:28:32
  SPEAKER_02: Yeah, it's leather faced ear.
• 1:28:33
  SPEAKER_02: It's the original Texas Chains though.
• 1:28:35
  SPEAKER_02: And it uses that sound?
• 1:28:36
  SPEAKER_01: Yeah, that's where it's coming from.
• 1:28:38
  SPEAKER_02: Okay, cool.
• 1:28:39
  SPEAKER_01: Hello! Yes, and like you know, why don't you cut that out unless people like decredit us?
• 1:28:46
  SPEAKER_02: Keep it no, dude.
• 1:28:47
  SPEAKER_02: You've like we've we've watched scenes together, like, oh, I don't know why this person's doing this thing.
• 1:28:51
  SPEAKER_02: Like, Frank, two seconds earlier, the character said this is why they're gonna do that thing.
• 1:28:56
  SPEAKER_02: So, you know, we just we're just human guys.
• 1:28:58
  SPEAKER_02: Um we're just spitballing.
• 1:29:00
  SPEAKER_02: Yeah, so this I just wish this movie in these scenes was dirtier and grosser.
• 1:29:06
  SPEAKER_02: Yes, I wish there's grime on the floor or like dried up blood and guts.
• 1:29:10
  SPEAKER_02: Like, I want like say what you will.
• 1:29:13
  SPEAKER_02: I don't not I do not like the Rob Zombie films uh that he does.
• 1:29:16
  SPEAKER_02: I don't like any of his movies, but I will say in House of a Thousand Corpses, the environment is really gross and uncomfortable at times.
• 1:29:23
  SPEAKER_02: And I think this movie could have done some of that.
• 1:29:26
  SPEAKER_02: And oh yeah, for sure.
• 1:29:28
  SPEAKER_02: The only thing I'll say here, I want you guys, if whoever's listening, to know Heather is currently watching two people she know being chopped up and killed.
• 1:29:36
  SPEAKER_02: Keep this in mind for some lines she says later.
• 1:29:42
  SPEAKER_02: And she's like, she looks horrified.
• 1:29:45
  SPEAKER_02: Like, this is traumatizing.
• 1:29:46
  SPEAKER_01: She does, yeah.
• 1:29:47
  SPEAKER_01: You gotta give Alexandria Di Dario credit for being an exceptional actress.
• 1:29:54
  SPEAKER_02: I have I never have I have zero complaints about her.
• 1:29:57
  SPEAKER_02: Anything that anything that you could criticize of is about the specific character of Heather is like a writing thing.
• 1:30:03
  SPEAKER_02: Like, she's for me, I always like her.
• 1:30:07
  SPEAKER_02: All right.
• 1:30:08
  SPEAKER_01: Well, speaking of Heather, she does manage to escape, but hot on her heels is Leatherface, who chases her into the family graveyard.
• 1:30:16
  SPEAKER_01: She decides it would be wise to get into Verna's grave.
• 1:30:19
  SPEAKER_01: Instead of running, you know, she gets into the grave, to which Leatherface immediately descends, cutting straight into the casket and nearly chopping her ass in half.
• 1:30:29
  SPEAKER_01: Before Leatherface can make short work of Heather, the lovebirds in the barn hear the noise of the chainsaw and come out to see who it is.
• 1:30:37
  SPEAKER_01: This only causes Leatherface to divert his attention to Nikki and Ryan and slice right through the barn door.
• 1:30:45
  SPEAKER_02: So, a couple things here.
• 1:30:47
  SPEAKER_02: One, you're gonna notice Leatherface's cardio, his athleticism for the next five to ten minutes is insane.
• 1:30:55
  SPEAKER_02: The amount of distance this guy covers on foot while holding a chainsaw is like it would give like a like elite level athlete a run for the money.
• 1:31:04
  SPEAKER_02: And like the final point here I'll say is we this is the this is like even if you're watching on a non-3D screen, the coffin scene is the very first, like obviously 3D spectacle moment for the audience where like the saw blade is coming right at the center of the screen, right at your face.
• 1:31:21
  SPEAKER_01: Dude, who's watching this in 3D?
• 1:31:23
  SPEAKER_01: There could be some, you know, like they have the you're like, if you're not watching this in 3D, just to note that this effect was to accommodate the 3D.
• 1:31:34
  SPEAKER_01: It's like okay.
• 1:31:36
  SPEAKER_02: Anyways, back to the barn.
• 1:31:37
  SPEAKER_01: Continue.
• 1:31:38
  SPEAKER_01: Sorry.
• 1:31:38
  SPEAKER_01: So sorry, but you know.
• 1:31:40
  SPEAKER_01: Nikki, clever as can be, finds a loaded shotgun and says the film's iconic beloved line.
• 1:31:50
  SPEAKER_01: So fucking.
• 1:31:50
  SPEAKER_01: Welcome to Texas, motherfucker.
• 1:31:53
  SPEAKER_01: Kidding.
• 1:31:54
  SPEAKER_01: This line is stupid as shit, and she blows a hole through the barn door.
• 1:31:59
  SPEAKER_01: I want to call attention to what the screenwriters think of this.
• 1:32:03
  SPEAKER_01: That's not in our script.
• 1:32:06
  SPEAKER_01: We would never have a person from Chicago act as some sort of ambassador to Texas there.
• 1:32:12
  SPEAKER_01: No, we didn't write that shit.
• 1:32:14
  SPEAKER_01: We wrote something that at least made logical sense in the universe of a Texas chainsaw movie.
• 1:32:20
  SPEAKER_01: Like Dumbest line ever.
• 1:32:22
  SPEAKER_01: She is not from Texas.
• 1:32:23
  SPEAKER_01: She puts on an accent when she says it.
• 1:32:25
  SPEAKER_02: She does.
• 1:32:26
  SPEAKER_02: It's so like ah, this line, like you could have written this.
• 1:32:32
  SPEAKER_02: This would have been like one-liners where you're about to kill someone are kind of like open seasons, what you want to write here.
• 1:32:36
  SPEAKER_02: And this is what they chose.
• 1:32:37
  SPEAKER_02: Like, you could have written anything like eat shit and die, or like get fucked or something.
• 1:32:43
  SPEAKER_01: I'll be back.
• 1:32:44
  SPEAKER_02: Yeah, like it just what what what could you be okay?
• 1:32:50
  SPEAKER_01: That was a Terminator joke, by the way.
• 1:32:51
  SPEAKER_01: I know it was completely just didn't care about her.
• 1:32:55
  SPEAKER_02: Let me just be clear here.
• 1:32:57
  SPEAKER_02: So, like, Leatherface chops through the guy with a chainsaw trying to kill your friend.
• 1:33:01
  SPEAKER_02: You were just the actress, they had her screaming, and they're all scared.
• 1:33:06
  SPEAKER_02: And then she just all of a sudden has this newfound.
• 1:33:08
  SPEAKER_02: I mean, I would be Yeah, where did that come from behind a shotgun myself?
• 1:33:13
  SPEAKER_02: But like you're scared shitless, and it's like, welcome to Texas, motherfucker.
• 1:33:17
  SPEAKER_02: Like, it's also I can I just say if I got my hands on a side-by-side shotgun, like it's over.
• 1:33:25
  SPEAKER_02: Like Leatherface is a chainsaw, it's it's over.
• 1:33:29
  SPEAKER_01: Anyways, okay.
• 1:33:30
  SPEAKER_01: So Heather has gotten into the van and she crashes through the barn door, and the three friends attempt an escape with Leatherface in hot pursuit.
• 1:33:38
  SPEAKER_01: Now, Ryan is convinced he can plow through the electronic gate as they're speeding away.
• 1:33:42
  SPEAKER_01: And when he tries, causes the van to stall, allowing Leatherface to get even closer.
• 1:33:49
  SPEAKER_01: As they pull away, Leatherface manages to slash their back tire, causing them to crash into a tree.
• 1:33:57
  SPEAKER_01: I did want to say that there are a couple really cool shots in this film.
• 1:34:00
  SPEAKER_01: The one of them driving with a flat tire and crashing into the tree from Leatherface's perspective, I thought was a really cool shot.
• 1:34:11
  SPEAKER_02: I agree, yep.
• 1:34:12
  SPEAKER_02: It's a cool angle, it's a really cool angle, and I like that it doesn't from there, you don't ever shift into the car after that that target sliced.
• 1:34:21
  SPEAKER_02: You just see it.
• 1:34:22
  SPEAKER_02: I like it.
• 1:34:23
  SPEAKER_01: So now the crash has killed Ryan, but Heather and Nikki are alive.
• 1:34:28
  SPEAKER_01: Now, because the accident happened in Leatherface's view, he begins to slash the shit out of the van and slice Nikki down the middle.
• 1:34:38
  SPEAKER_01: Heather lures Leatherface away, and there's a big carnival chase scene, which originally was supposed to be, according to the screenwriters, a bloodbath.
• 1:34:48
  SPEAKER_01: Screenwriter Marcus says the carnival was one of the bloodiest sequences in the movie.
• 1:34:54
  SPEAKER_01: And I have a feeling that it was supposed to be something like the scene we get in the Netflix's version of Texas Chainsaw Massacre with the bus scene where he just slices through every single person on the bus and it's just like bloody carnage entertaining romp.
• 1:35:10
  SPEAKER_01: Yeah.
• 1:35:10
  SPEAKER_01: We don't get one death at the carnival.
• 1:35:13
  SPEAKER_02: Yeah, I I think I think when we get when you get a scene where like there's a couple of movies that do this where like you think this is gonna be a self-contained movie, and then the killer does not care that he's exposed, but he just ends up killing everyone, anyways.
• 1:35:28
  SPEAKER_02: Um, I think this could have been an absolutely really, really fun special effects and practical effects, like splatterfest for the all the actors and stuff involved.
• 1:35:38
  SPEAKER_02: But yeah, we don't get any of that, and we get like we get a cool little nod to Saw and the pig.
• 1:35:43
  SPEAKER_02: There's like an amusement, there's like a haunted house, and the pig from Saw with the blade comes out, and she holds like a fake chainsaw, and then he holds up the real one.
• 1:35:52
  SPEAKER_02: And she I actually thought this is kind of funny and like adorable.
• 1:35:55
  SPEAKER_02: It was funny for sure, and like it's the same company that makes a saw film, so obviously they just threw a nod to Saw there.
• 1:36:01
  SPEAKER_01: Go see the Andrew, it's Halloween.
• 1:36:03
  SPEAKER_02: Yeah, yeah.
• 1:36:05
  SPEAKER_02: Sorry, totally forgot about that.
• 1:36:07
  SPEAKER_01: So exactly.
• 1:36:09
  SPEAKER_01: So what we get, however, is ultra sanitized.
• 1:36:13
  SPEAKER_01: So he's just like deadlocked on Heather the entire time, even when she decides to do a dead hang off the Ferris wheel.
• 1:36:22
  SPEAKER_02: This is where we get we get maximum Alexandria Di Dario stomach here.
• 1:36:27
  SPEAKER_02: So you have to really take it in this movie because she does show her mid-drift for 98% of the movie.
• 1:36:33
  SPEAKER_02: But this is that extra percent where you get like almost her entire stomach right up to her her chest.
• 1:36:39
  SPEAKER_02: So get on the div on the screen on the uh on the director here for getting this in the movie.
• 1:36:44
  SPEAKER_01: Yeah, apparently she was super game to do nudity.
• 1:36:48
  SPEAKER_01: I heard that.
• 1:36:49
  SPEAKER_01: And they actually pulled her back and said, like, we don't really need you to be like topless in this scene.
• 1:36:54
  SPEAKER_01: This is like more near the end, but and she has been nude in quite a few other things.
• 1:36:59
  SPEAKER_01: So I don't think that she shies away from like, hey, this is what I look like, I'm game, whatever.
• 1:37:06
  SPEAKER_01: But you're right, this movie does display her body a lot, including, I don't know why she decided to do a dead hang and not just get into the Ferris wheel, but that's what she did.
• 1:37:17
  SPEAKER_01: And I think it was almost to show Leatherface how fit she was.
• 1:37:20
  SPEAKER_01: Yeah, she's like, look, cuz I can get a sorry, I'll shut up.
• 1:37:24
  SPEAKER_01: Just so stupid.
• 1:37:25
  SPEAKER_01: Okay, so this scene ends with Deputy Carl scaring Leatherface off into the bushes, but before he disappears into the tree line, the audience is treated to a wonderful 3D chainsaw thrown toward the screen.
• 1:37:38
  SPEAKER_01: As we head into act two, okay, so we cut to Officer Marvin, who's investigating the crashed van, telling the sheriff somebody died out here, and following a blood trail back to the Sawyer home.
• 1:37:52
  SPEAKER_01: Back at the station, Sheriff Hooper and Carl speak with Heather.
• 1:37:56
  SPEAKER_01: And Sheriff Hooper suddenly realizes without saying anything, exactly who the masked killer might be.
• 1:38:03
  SPEAKER_01: He starts to put the pieces together.
• 1:38:05
  SPEAKER_01: You get a good look at him, he asks Heather, and she says he was wearing a face, a human face.
• 1:38:13
  SPEAKER_01: The mayor appears on site, and the sheriff and he discussed the goings on.
• 1:38:18
  SPEAKER_01: The mayor seems keen on Officer Marvin going into the Sawyer house and finding Jed Sawyer.
• 1:38:26
  SPEAKER_01: Marvin agrees, saying a chainsaw don't make you bulletproof, and proceeds to continue his investigation.
• 1:38:35
  SPEAKER_02: A couple things here, really quick, is that like I I know mayors politically have power in the police department, but this is like the sheriff.
• 1:38:46
  SPEAKER_02: This is the biggest pushover, wet noodle, useless sheriff you've ever seen in almost any movie.
• 1:38:53
  SPEAKER_02: And Hartman is doing his best to be the most annoying, obtuse, unlikable character you've ever met ever.
• 1:39:02
  SPEAKER_01: What he discovers is a trail of gooey blood leading up the front steps and into the mansion home.
• 1:39:09
  SPEAKER_01: The thing that really bothers me about this, Andrew, is that the entire time he's investigating, firstly, he's on a video call with the sheriff and the mayor.
• 1:39:22
  SPEAKER_01: And this is what pissed me off.
• 1:39:25
  SPEAKER_01: The tension they were building with Marvin in the house with the gun was such a perfect atmospheric setup for a slasher.
• 1:39:35
  SPEAKER_01: And all they fucking do is they cut back and forth between the video call, him, and Heather discovering her past.
• 1:39:45
  SPEAKER_01: And all of these things do is serve to break the tension.
• 1:39:49
  SPEAKER_01: It was like such a lost opportunity.
• 1:39:51
  SPEAKER_01: I actually was like seething because I'm like, they're going back and forth between Heather so many times, where it's like, it's like 25 minutes of her reading newspaper clips when all I want to see is the horrific tension building of him going deeper into the house.
• 1:40:09
  SPEAKER_02: Yeah, so this is this scene is deflated by not only the constant cutting, but the decision to have him on a phone so you can hear the very annoying mayor Hartman constantly having to like throw commentary.
• 1:40:26
  SPEAKER_02: Like, dude, check that out, get that closer, go in there, like it's and the sheriff says nothing.
• 1:40:32
  SPEAKER_02: It doesn't help.
• 1:40:33
  SPEAKER_02: Yeah, it's like you could have had a long shot.
• 1:40:37
  SPEAKER_02: Obviously, I'm not saying one take, but you could have a bunch of long shots of him creeping down these hallways.
• 1:40:42
  SPEAKER_02: Because I will say this the one thing they do that is awesome in this movie is behind that that kitchen door, you have some really sick ass hallways and stairs and stuff.
• 1:40:52
  SPEAKER_02: Yeah, and like you said earlier, with with Kenny's death, when he stares into the unknown darkness of the butcher's area, like it this could have been a very high tension, like very subtle tones for audio, and have him experience the horror as maybe we would walk in down there.
• 1:41:09
  SPEAKER_02: But instead, they undercut this at every opportunity with these stupid flip back and forth and fucking I can't I can't drive home how much I fucking hate the Mayor Hartman stuff with the phone.
• 1:41:22
  SPEAKER_02: I can't stand this.
• 1:41:24
  SPEAKER_01: I anyways, like the movie gets pulled right out of it even being a horror film, yeah.
• 1:41:30
  SPEAKER_01: Anyway, the other thing I wanted to say is like, is it normal for a police officer on his own to pursue something like this?
• 1:41:39
  SPEAKER_01: So, like, would a single police officer go into this home?
• 1:41:43
  SPEAKER_02: So cops, like, I'm pretty sure, like, from what I understand, like cops have a like if there are circumstances you hear someone actively screaming, actively being murdered, and maybe you could argue, hey, this girl got dragged out in the vehicle, like she could be dying right now.
• 1:41:58
  SPEAKER_02: So yeah, you'd you'd have to go in alone.
• 1:42:01
  SPEAKER_02: But what's I know this is a smaller town, I get that, but there's a throwaway little scene here where right before this, the sheriff sends Scott Eastwood's cop out into the night to say, Hey, we're kind of short staffed, like, go like tend to the city.
• 1:42:15
  SPEAKER_02: Um, no, you and every other cop, like they would be swarming this place.
• 1:42:20
  SPEAKER_02: Yeah, exactly.
• 1:42:21
  SPEAKER_01: Like, like that anyways, but yeah, there's a lot of I think the the one thing maybe the movie is doing is like highlighting that in a small town things work differently, trope.
• 1:42:32
  SPEAKER_01: Like we like we got this covered.
• 1:42:35
  SPEAKER_01: Okay.
• 1:42:36
  SPEAKER_01: So he continues, yes, he continues throughout the basement, holding the phone next to his gun, and after noticing some dresses in ladies' makeup, quote unquote, determines Leatherface is a total fruit cake.
• 1:42:52
  SPEAKER_01: He finally enters the killing floor, where we see the remains of Heather's friends and Daryl.
• 1:42:59
  SPEAKER_01: We get an homage to the original film where Marvin approaches a freezer and finds Nikki.
• 1:43:05
  SPEAKER_01: When she suddenly animates, just like the original, this scares him and he shoots her in the head.
• 1:43:12
  SPEAKER_01: As Marvin finally decides to leave the house, Leatherface dispatches him with multiple axe wounds to the back.
• 1:43:21
  SPEAKER_01: So this stupid fucker gets dispatched quickly.
• 1:43:25
  SPEAKER_02: Again, I I'm gonna keep bringing up Hartman.
• 1:43:29
  SPEAKER_02: He accidentally shoots Nikki in the head, and Hartman and Mullizing didn't happen.
• 1:43:32
  SPEAKER_02: Don't worry, Office, didn't happen, didn't happen.
• 1:43:34
  SPEAKER_02: Like the sheriff would be arresting your ass, you stupid fuck.
• 1:43:38
  SPEAKER_01: Like he's so oh, I can't fucking stand the that guy's face.
• 1:43:44
  SPEAKER_01: I I know we haven't seen the original in a really long time, but I will say Nikki coming up from the freezer was a nice touch.
• 1:43:52
  SPEAKER_02: Yeah, yeah, no, I thought it was cool.
• 1:43:54
  SPEAKER_01: Because you notice the wish in there.
• 1:43:56
  SPEAKER_01: Yeah, no, it's no no, I'm just kind of giving a kudos.
• 1:43:58
  SPEAKER_01: I just thought it was cool.
• 1:43:59
  SPEAKER_02: Yeah, it is cool, and I just think the sheriff, the uh mayor be like, it didn't happen, don't worry, we'll we'll pair these off.
• 1:44:05
  SPEAKER_02: It's like you're not the fucking cops, dude.
• 1:44:08
  SPEAKER_01: Yeah, small town rules, baby.
• 1:44:10
  SPEAKER_02: I guess things work differently in rural Texas, I suppose.
• 1:44:14
  SPEAKER_02: So for this next part, I have a header here.
• 1:44:16
  SPEAKER_02: I I called this this next part we get the insane shift to villainy.
• 1:44:21
  SPEAKER_01: Yes, yes, okay.
• 1:44:24
  SPEAKER_01: So, for some reason, Heather is left in the police station with access to the history of the Leatherface killings and the deadly shootout at the farmhouse.
• 1:44:34
  SPEAKER_01: So she learns a few things here.
• 1:44:37
  SPEAKER_01: That the Sawyers were complying before the crowd massacred the family and burned down the house, that people responsible included Bert Hartman, the mayor, and that her parents were involved, and that Loretta Sawyer had a missing baby.
• 1:44:54
  SPEAKER_01: So I already said this, but I found that her going through these files was very prolonged, and it lasted forever, and I found it increasingly more annoying because it was cutting back and forth.
• 1:45:13
  SPEAKER_01: So we gather that the mayor really hates the Sawyers, and even though Heather hasn't done anything, seems pretty hell-bent that she's guilty for something.
• 1:45:25
  SPEAKER_01: But Heather has escaped, and not only that, she scrawled murderers over the photo of the people that burned down the Sawyer house.
• 1:45:35
  SPEAKER_01: So I actually wrote this too.
• 1:45:37
  SPEAKER_01: So she is fully converted to the dark side and an arc that seems to have happened in five minutes.
• 1:45:46
  SPEAKER_02: Yeah, they they pair this along with these two lines by the these two losers here.
• 1:45:52
  SPEAKER_02: The sheriff is like, yo, the the the girl, she hasn't done anything, and then Hartman and like again, they just can't escape this caricature.
• 1:46:02
  SPEAKER_02: He's like, She's still breathing, ain't she?
• 1:46:05
  SPEAKER_02: And it's just like, what?
• 1:46:07
  SPEAKER_02: Like, this guy has no moral compass to the point of like, like, I just I'm gonna kill her now because she's a so like what?
• 1:46:17
  SPEAKER_02: But you have to think about it like this.
• 1:46:20
  SPEAKER_01: Can I argue something?
• 1:46:22
  SPEAKER_01: I wonder, you know how back in the day in the United States, hundreds of years ago, there was this idea of clans and different clans, different names, even in Scotland.
• 1:46:37
  SPEAKER_01: Let's go to Scotland.
• 1:46:38
  SPEAKER_01: This idea that families ward against one another.
• 1:46:44
  SPEAKER_01: And I think what this movie is positing is that for some reason the Sawyers, going back through time, have just made a very dark mark on this town, and this mayor is hell bent on destroying them.
• 1:46:59
  SPEAKER_01: Stamping them out.
• 1:46:59
  SPEAKER_01: Yeah, okay, that's fair.
• 1:47:01
  SPEAKER_01: And so, and you add to it the fact that it's a small town where he may very well have more political influence over the residents than the police chief.
• 1:47:12
  SPEAKER_01: So the police chief is like, I can't really do anything because I'll be run out of town.
• 1:47:18
  SPEAKER_02: Yeah, I think that's I think that is the idea.
• 1:47:20
  SPEAKER_02: Yeah, you're right.
• 1:47:21
  SPEAKER_01: So is this not a great movie?
• 1:47:24
  SPEAKER_01: Did I not just explain it?
• 1:47:26
  SPEAKER_01: No, no, that's not a great movie.
• 1:47:28
  SPEAKER_01: Okay, we cut to Heather making a call to Farnsworth, the lawyer, who agrees to meet her in town.
• 1:47:35
  SPEAKER_01: Well, this happens.
• 1:47:36
  SPEAKER_01: A truck of local folks drives by and says something about Halloween candy.
• 1:47:41
  SPEAKER_01: And again, Andrew, I was like, Does this film take place during Halloween?
• 1:47:45
  SPEAKER_01: Yeah, and I didn't notice until this minute.
• 1:47:48
  SPEAKER_01: I have a lot of this movie is also randomly on Halloween, like just so odd because we covered Trick or Treat during Halloween, and I was hell-bent on our next movie not being a Halloween film, and lo and behold, this is one of Halloween's greatest films.
• 1:48:06
  SPEAKER_02: Yeah, I you could almost argue it's more like in theme than Trick or Treat.
• 1:48:14
  SPEAKER_01: So we transition back to Leatherface, our new anti-hero, as has been made perfectly clear through Heather's review of the file, and he's slicing off Officer Marvin's face, and Marvin is still alive.
• 1:48:29
  SPEAKER_01: He's just really misunderstood, Andrew.
• 1:48:33
  SPEAKER_01: Absolutely.
• 1:48:34
  SPEAKER_01: He's also listening to Jimmy crack corn while tending to his project.
• 1:48:40
  SPEAKER_01: This scene I thought was interesting because it shows how he adheres the mask to his face by stitching them through his skin.
• 1:48:48
  SPEAKER_01: And I appreciated this.
• 1:48:49
  SPEAKER_01: I actually like this scene.
• 1:48:51
  SPEAKER_01: I just want to say again, really quickly, again, what I don't like is it for some reason this really gruesome thing is happening, but but it's not gritty enough.
• 1:49:02
  SPEAKER_02: Yeah, so I like I think it's actually cool that it shows him sewing a new mask onto his face through his own skin.
• 1:49:10
  SPEAKER_02: But again, I just wish because of the nature of this film and Leatherface and the Texas Chainsaw Massacre, like the original, like we say this again and again.
• 1:49:21
  SPEAKER_02: Uh yeah, you're right.
• 1:49:22
  SPEAKER_02: I just wish this was grimier and dirtier and grosser.
• 1:49:25
  SPEAKER_02: This is like the this is the kind of movie where you have like you really should indulge in being more gross about what's happening.
• 1:49:33
  SPEAKER_02: This is a guy who puts people on meat hooks and chops people up with a chainsaw, like and the the whole original house and the original movie, like everything was gross, like just just making it You know what?
• 1:49:45
  SPEAKER_02: A little too sterile.
• 1:49:46
  SPEAKER_01: In the beginning, Texas Chance at the beginning, which I lovingly call Diamond Ring.
• 1:49:50
  SPEAKER_01: This is for a friend who's listening.
• 1:49:52
  SPEAKER_01: There is a scene where Matt Balmer fuck Matt Balmer in that movie, like what a gay moment.
• 1:50:00
  SPEAKER_01: For me, holy shit.
• 1:50:02
  SPEAKER_01: Leatherface is torturing him.
• 1:50:05
  SPEAKER_01: And the basement is wet and gross.
• 1:50:09
  SPEAKER_01: And the shit he does to this guy is heinous.
• 1:50:14
  SPEAKER_01: And you kind of juxtapose that with this.
• 1:50:17
  SPEAKER_01: And I think what they're trying to do is give us a nod to like, yes, Leatherface is a sick fuck, but they just don't do a very good job of it.
• 1:50:28
  SPEAKER_01: Like nothing in this movie reminds me of like the greedy.
• 1:50:35
  SPEAKER_01: There's also like there's something very spontaneous about Leatherface.
• 1:50:38
  SPEAKER_01: Like his behavior seems very driven by emotion in the moment.
• 1:50:43
  SPEAKER_02: Yeah.
• 1:50:44
  SPEAKER_01: And this scene seems like very like calculated and meticulous, which I don't associate with him.
• 1:50:51
  SPEAKER_01: I don't know.
• 1:50:51
  SPEAKER_01: I could go on about why these scenes in particular I don't like.
• 1:50:57
  SPEAKER_01: Agreed.
• 1:50:59
  SPEAKER_01: Okay.
• 1:50:59
  SPEAKER_01: So we cut back to Heather and Farnsworth.
• 1:51:02
  SPEAKER_01: And Heather can't believe he didn't warn her about all this.
• 1:51:05
  SPEAKER_01: But he does say, did you read?
• 1:51:09
  SPEAKER_02: This is what I'm saying, man.
• 1:51:11
  SPEAKER_01: Yes, he says, Did you read Verna's letter?
• 1:51:15
  SPEAKER_01: Farnsworth says the person in the basement is Jed Sawyer, Heather's cousin.
• 1:51:20
  SPEAKER_01: And we learn Jed is a huge man with the emotional intelligence of an eight-year-old, and that he scared the shit out of Farnsworth.
• 1:51:28
  SPEAKER_01: He warns her of two things that Jed will be in pursuit of her no matter what, because the last girl that got away ruined his entire family.
• 1:51:38
  SPEAKER_01: And that Bert will too, because she knows about the town's dirty little secret.
• 1:51:44
  SPEAKER_01: So we get a little bit of an exposition dump from Farnsworth, who, like you said, failed to mention to Heather in the first place that there was a psychopathic maniac in the basement.
• 1:51:56
  SPEAKER_02: Yeah, and like Heather, like to her credit, Heather rightfully accuses him, like, why would you let us pull up in that place?
• 1:52:04
  SPEAKER_02: And like his like lame ass response, it's like he's trying to absolve himself of like having to share the news about the psychopathic kill Billy in the basement by saying, like, but you didn't read the letter.
• 1:52:16
  SPEAKER_02: Like it's you didn't ask.
• 1:52:18
  SPEAKER_02: Like, Barnesworth, you stupid fuck.
• 1:52:20
  SPEAKER_02: Like, she can read the letter, but you could also say, Hey, FYI, this is really weird.
• 1:52:26
  SPEAKER_02: There's a psychopathic killer that's in the basement.
• 1:52:29
  SPEAKER_01: You're like Cole's notes.
• 1:52:31
  SPEAKER_01: Yeah, you read this letter.
• 1:52:33
  SPEAKER_01: It's like, I should let you know.
• 1:52:35
  SPEAKER_02: Like, he seems like friends could die.
• 1:52:38
  SPEAKER_02: He seems like he's morally like he's supposed to be like somewhat good.
• 1:52:42
  SPEAKER_02: It's like it's a it's a very easy one-line thing to say.
• 1:52:46
  SPEAKER_02: Like, if you were going into the crashed ship, uh the derelict ship in Alien One, and I was like, I'd be like, hey Frank, there's a bunch of alien eggs that will like hatch and try and kill you.
• 1:52:58
  SPEAKER_02: But instead, I'm just like, just read this like note on the ship.
• 1:53:02
  unknown: Okay.
• 1:53:04
  SPEAKER_01: It's really important.
• 1:53:05
  SPEAKER_01: But can you also say the one thing that Farnsworth says like really pissed me off?
• 1:53:10
  SPEAKER_01: He says, like, the last girl that got away, quote unquote, ruined Jed's entire family.
• 1:53:15
  SPEAKER_02: Yeah, I hated that.
• 1:53:16
  SPEAKER_01: What really pisses me about off about that is like, you're putting the onus on the victim that she ruined his entire family, but he fucking killed all of her friends.
• 1:53:30
  SPEAKER_01: It's like this whole movie negates the fact that this guy is a psychopathic murderer.
• 1:53:38
  SPEAKER_01: He doesn't even tell Heather about what happened.
• 1:53:41
  SPEAKER_01: Yeah, it's and he fucking knows.
• 1:53:45
  SPEAKER_01: This movie is really firing me up.
• 1:53:47
  SPEAKER_02: Yeah, this movie there's scenes like this that just like it like it just pisses me off at the absurdity of the character interactions.
• 1:53:58
  SPEAKER_02: Like, yeah, it's crazy.
• 1:53:59
  SPEAKER_02: Like the fact that this lawyer would not have ever said anything.
• 1:54:02
  SPEAKER_02: Like, this is just so ridiculous.
• 1:54:04
  SPEAKER_01: It like, anyways, and the writers are like, check, another one in the can.
• 1:54:09
  SPEAKER_01: Okay, before they can properly rap, evil Bert appears.
• 1:54:13
  SPEAKER_01: But before Heather could escape, she's struck by a car driven by a man named Ollie, who tells Bert she's right here.
• 1:54:21
  SPEAKER_01: She manages to make short work of Ollie before escaping into the night and running into Deputy Carl, who she thinks is a friend.
• 1:54:29
  SPEAKER_01: I mean, at this point, I was suspicious of Carl.
• 1:54:32
  SPEAKER_01: And we too, yeah.
• 1:54:33
  SPEAKER_01: Like, yeah, right, and we learn quickly we should be, as Carl has kidnapped Heather for Bert, who is Carl's dad.
• 1:54:42
  SPEAKER_01: And I wrote, This guy is a Nepo baby twice over.
• 1:54:47
  SPEAKER_02: Also, too, like again, this is not the intention, and maybe this is just me.
• 1:54:52
  SPEAKER_02: But when Heather gets hit by the car, she just goes languily flying.
• 1:54:57
  SPEAKER_02: She's like, oh, she's it's just like it's just visually kind of funny.
• 1:55:02
  SPEAKER_01: So Bert tells Carl to take her to the slaughterhouse, and we enter the slaughterhouse for a final showdown.
• 1:55:13
  SPEAKER_02: Time here.
• 1:55:15
  SPEAKER_02: Again, we have to bring this up.
• 1:55:16
  SPEAKER_02: There's a really, really cringe interaction here.
• 1:55:19
  SPEAKER_02: There's two things that are that are really, really weird.
• 1:55:24
  SPEAKER_02: So in the back of the police car, after like how they're realizing she's been betrayed, all that, she's like, So you're a Hartman, huh?
• 1:55:31
  SPEAKER_02: And then she's like, I'm a Sawyer.
• 1:55:33
  SPEAKER_02: And she stabs a knight.
• 1:55:34
  SPEAKER_02: Like, there's like this, you're right.
• 1:55:36
  SPEAKER_01: It's this she becomes a psychopath.
• 1:55:38
  SPEAKER_02: Yeah.
• 1:55:39
  SPEAKER_02: It's this full, like, embracing, like, oh, I'm actually part of this like family that was murdered by the townsfolk, so I'm gonna embrace the fact that they're also evil.
• 1:55:49
  SPEAKER_02: And it's just I don't know.
• 1:55:52
  SPEAKER_02: I thought this was really cringe for a girl who saw her friends murdered, not only like like an hour ago.
• 1:55:57
  SPEAKER_01: So, as mentioned, we enter the slaughterhouse for a final showdown where Leatherface is none too excited with a fresh chainsaw.
• 1:56:04
  SPEAKER_01: Carl drags Heather through the slaughterhouse by her hair, fastening her hands to some pipes, and for some reason, opening her shirt so her boobs are exposed.
• 1:56:17
  SPEAKER_02: Yeah, we get almost we get like about 70% boobage here.
• 1:56:21
  SPEAKER_02: Uh but what was the reason behind that?
• 1:56:24
  SPEAKER_02: I think this is just a I I'm gonna guess in just this kind of schlock horror, like you're you're kind of tantalizing the audience, I guess.
• 1:56:32
  SPEAKER_02: As bad as it sounds, I think that's really what's happening here.
• 1:56:34
  SPEAKER_01: But like in the context of the film, what would be the purpose of him undoing her top?
• 1:56:41
  SPEAKER_02: I don't know, because like the this film at no point, at not even for a second, insinuates any kind of like uh like sexual predation, like predator that that like the cop or anyone is.
• 1:56:52
  SPEAKER_02: So it's it is bizarre, it's a bizarre choice, other than the fact that maybe maybe the Dario, I think I think this is one of the scenes where Dadario advocated for her being nude.
• 1:57:01
  SPEAKER_01: She did, and they said, like, you don't have maybe you're right, maybe this is a compromise.
• 1:57:05
  SPEAKER_01: But again, I'm saying within the context of the film.
• 1:57:07
  SPEAKER_01: I don't know.
• 1:57:08
  SPEAKER_02: That's how I can explain it.
• 1:57:09
  SPEAKER_02: I don't know.
• 1:57:10
  SPEAKER_01: Yeah, okay.
• 1:57:11
  SPEAKER_01: So to juxtapose this, we are treated to what I consider to be an absolutely atmospheric shot of Leatherface approaching the slaughterhouse.
• 1:57:20
  SPEAKER_01: I thought this was really beautiful, and it sort of sets up the scene for this final showdown.
• 1:57:27
  SPEAKER_01: It's funny, this movie does have a couple things I think work.
• 1:57:33
  SPEAKER_02: I guess by this point, I think for me, even on like my rewatch, um, I just wanted this to be over.
• 1:57:41
  SPEAKER_01: No, to be to be honest with you, me too.
• 1:57:43
  SPEAKER_01: I think this ending is so bad.
• 1:57:46
  SPEAKER_01: And first of all, why are it's like it's like a video game.
• 1:57:50
  SPEAKER_01: Yeah, dude, bringing care of the boss room, like yeah, it's like a boss room, it's a setup, it's a movie set, and there is nothing organic about any of this.
• 1:58:02
  SPEAKER_01: Yeah, it like it should end where it began.
• 1:58:05
  SPEAKER_01: They should have utilized the outdoor area of the house.
• 1:58:11
  SPEAKER_01: They could have used something to create an atmosphere of the time.
• 1:58:18
  SPEAKER_02: This should have ended in the house again.
• 1:58:19
  SPEAKER_01: Yeah, like this is no, this whole scene is like bullshit.
• 1:58:23
  SPEAKER_01: Yeah, and this is even more bullshit what I'm about to tell you.
• 1:58:26
  SPEAKER_01: So from behind Heather, Leatherface appears, and it seems like he may actually murder Heather as the 3D chainsaw inches closer to the screen, but he stops dead in his tracks when he realizes she's been brandished with the family crest.
• 1:58:43
  SPEAKER_01: She screams at him that it's his cousin Heather.
• 1:58:47
  SPEAKER_01: He does indeed begin to free her, but is intercepted by Bert and Co.
• 1:58:51
  SPEAKER_01: as they beat him senseless.
• 1:58:54
  SPEAKER_01: Heather again makes an escape, however, has a bit of a change of heart as Jed is her kin and she cares about him now.
• 1:59:03
  SPEAKER_01: Oh god.
• 1:59:04
  SPEAKER_01: Bert and Ollie proceed to tie chains around Leatherface's neck and pull him into the meat grinder, but not before Heather intervenes, killing Ollie with a pitchfork.
• 1:59:17
  SPEAKER_01: Now, Heather tosses the chainsaw to Leatherface and says, Do your thing, cuz.
• 1:59:25
  SPEAKER_01: And I want to comment on this straight from the mouths of the screenwriters who said the end of the movie was this amazing bloodbath between Leatherface and a dozen people who are ready to kill him.
• 1:59:38
  SPEAKER_01: It was like this incredible battle royale.
• 1:59:41
  SPEAKER_01: By the way, we never wrote the line, do your thing, cuz.
• 1:59:47
  SPEAKER_02: Okay, I need to put my put these thoughts in order because this is it's so frustrating.
• 1:59:51
  SPEAKER_02: Every time that line is uttered out loud, I think about it.
• 1:59:54
  SPEAKER_02: It is so insanely dumb.
• 1:59:56
  SPEAKER_02: It is so devoid of all logic and reason.
• 2:00:00
  SPEAKER_02: It is so vapid, it is so without any like it's it this line can serve nothing else but to piss people off.
• 2:00:11
  SPEAKER_02: Like, I don't know who wrote this.
• 2:00:13
  SPEAKER_02: I almost feel like who wrote this wanted to put this in here to say fuck you to this movie.
• 2:00:17
  SPEAKER_02: Um, because any chance you were gonna get this movie has now this is for sure gone out the window when you hear this line.
• 2:00:25
  SPEAKER_02: So the moment the moment Leatherface sees her symbol on her chest, they shift Leatherface to being beaten up, and we're supposed to sympathize with this guy now.
• 2:00:36
  SPEAKER_02: Like he's being beat up, the camera angle's different, like it's from the low ground, like they're they're preying on him.
• 2:00:41
  SPEAKER_02: It's like, no, fuck Leatherface.
• 2:00:43
  SPEAKER_02: Like, I hate the Hartman guy, don't even write, I hate him.
• 2:00:46
  SPEAKER_02: But like Leatherface just an hour ago butchered Heather's friends in front of her, not like off-screen, shocked up two people that she knew, at least Kenny, anyway.
• 2:00:57
  SPEAKER_01: Um, well, he also did sadistic shit in front of her to like forever traumatize her.
• 2:01:04
  SPEAKER_01: And you know what?
• 2:01:05
  SPEAKER_01: In the original one, Sally Hardesty at the end, and you should watch this again, she is hysterical.
• 2:01:12
  SPEAKER_01: She's not making decisions, she doesn't even know where she's going.
• 2:01:16
  SPEAKER_01: And in this movie, this character, Heather, is like she's very, she's very lucid, and she's almost in control, and she's working with Leatherface, but if this happened to you, it's like the movie forgets all about what happened to her in the first act.
• 2:01:35
  SPEAKER_02: Yeah, it absolutely does.
• 2:01:37
  SPEAKER_02: And this is the thing is like in this in this last act, this shift into having her embrace her family lineage and be, and like they not only are telling you, hey, she's accepted the fact that she's from this weird family, this psycho family.
• 2:01:50
  SPEAKER_02: No, she's embracing the fact that she's like, she's like, she's okay being a psychopath as well.
• 2:01:56
  SPEAKER_02: And this, it's just like absolutely you see your friends being murdered in the first act.
• 2:02:01
  SPEAKER_02: This for this whole idea this film might have been a slasher goes out the window when she's like, do your thing, cuz.
• 2:02:08
  SPEAKER_02: Yeah, do your thing, cuz who's now her friend.
• 2:02:11
  SPEAKER_02: I want to say this.
• 2:02:12
  SPEAKER_02: You said it so really well with the Sally thing.
• 2:02:14
  SPEAKER_02: Like, that is how a normal person would be at the at the end of an experience like that.
• 2:02:18
  SPEAKER_02: Like, you would you'd be so out of your mind with trauma that like I feel like the fact that you might even be escaping would probably not even register right away.
• 2:02:27
  SPEAKER_02: Yeah, so like her, when she makes her way out of the slaughterhouse, any normal person, I don't care, would be like running for the hills to get the fuck out of there.
• 2:02:37
  SPEAKER_02: Like they would just leave that all behind.
• 2:02:38
  SPEAKER_02: Hysterically running out for the hills.
• 2:02:41
  SPEAKER_02: You would not be like, actually, let's just it's it turns into an action movie in the stupidest way, man.
• 2:02:46
  SPEAKER_01: It does.
• 2:02:47
  SPEAKER_01: And she's like, actually, let's go help cuz.
• 2:02:50
  SPEAKER_00: Yeah.
• 2:02:50
  SPEAKER_01: Cuz anyway, so Leatherface and Bert have one final showdown, and Bert is indeed sliced to bits and submitted to the meat grinder by our new anti-hero, the fun-loving Jed.
• 2:03:04
  SPEAKER_01: It's important to note that Sheriff Hooper has arrived and kind of lets this happen because he too is sick of Bert's bullshit.
• 2:03:12
  SPEAKER_01: And he says to Heather, and he says to Heather, clean this shit up before exiting stage.
• 2:03:22
  SPEAKER_02: This is the worst fucking police officer you've ever seen on any movie ever.
• 2:03:25
  SPEAKER_02: Like he's like, he's like this.
• 2:03:27
  SPEAKER_02: He says, Can't get around the good Burt Bert.
• 2:03:33
  SPEAKER_02: You can't get around the good book, Bert.
• 2:03:36
  SPEAKER_02: All of a sudden, Bert he's watching a guy, and there's like, don't shoot him.
• 2:03:43
  SPEAKER_02: And like the sheriff is watching a guy being pulled into a meat grinder with all the gore that entails, and then he's just like, clean this shit up and walks off set.
• 2:03:54
  SPEAKER_01: Like someone is getting ground to pieces.
• 2:03:58
  SPEAKER_01: Your line is, I was sick of his bullshit anyway.
• 2:04:02
  SPEAKER_02: Yeah, and like I'm sick of Burst's bullshit.
• 2:04:05
  SPEAKER_02: Leatherface is in front of you at shooting distance.
• 2:04:09
  SPEAKER_02: He murdered this girl's friends.
• 2:04:11
  SPEAKER_02: Like, the guy's a wanted serial killer, and you're like cleaning this shit up.
• 2:04:19
  SPEAKER_01: What is whatever this description is?
• 2:04:22
  SPEAKER_01: He's also presupposing that they're on good terms.
• 2:04:27
  SPEAKER_01: Yeah, and like I very, very odd.
• 2:04:30
  SPEAKER_01: Like, the thing is, this can in no way be part of the Texas Chainsaw family of films.
• 2:04:38
  SPEAKER_01: I I just refuse.
• 2:04:40
  SPEAKER_02: Yeah, based on how fucking dumb it is.
• 2:04:43
  SPEAKER_02: And for some reason, for some stupid reason, this movie decides to show us another five minutes of Heather trying to like make friends with Leatherface in the house.
• 2:04:52
  SPEAKER_02: I don't give a shit about those next five minutes.
• 2:04:54
  SPEAKER_01: Well, let's wrap this up.
• 2:04:55
  SPEAKER_01: So, soft music plays the audience out as Heather and Leatherface return to the mansion home and begin their life together as cousin and cousin.
• 2:05:05
  SPEAKER_01: We close with Verna's letter to Heather, and Verna says these gifts come with certain burdens.
• 2:05:12
  SPEAKER_01: Nat Leatherface simply requires her care in return for his protection.
• 2:05:17
  SPEAKER_01: Verna writes, the decision to stay is yours, and it appears Heather will indeed stick around to take care of her cousin while the film comes to a nurturing close.
• 2:05:32
  SPEAKER_01: Oh my god.
• 2:05:33
  SPEAKER_01: Very lovely.
• 2:05:34
  SPEAKER_01: Yeah, uh so she decides to stick around.
• 2:05:38
  SPEAKER_02: Yeah, this I you know, for I I I have I said what I have to say.
• 2:05:43
  SPEAKER_02: That like this this ending is it's insultingly bad.
• 2:05:48
  SPEAKER_02: It's abysmal, it's like it's rage-inducing.
• 2:05:52
  SPEAKER_02: Um and this whole like it's like they try to do the Anakin Skywalker into Darth Vader thing, like, in like two seconds for some reason.
• 2:06:03
  SPEAKER_02: Like, uh, I don't really understand.
• 2:06:07
  SPEAKER_02: Like, remember, like, so let me bring this up as an example really quick here.
• 2:06:11
  SPEAKER_02: Remember, like, I one aspect I actually liked about Scream uh five and six is I actually really liked uh is it Melissa Barrera?
• 2:06:21
  SPEAKER_02: I liked like the carp, I think they're called the Carpenter Sisters, I could be wrong.
• 2:06:24
  SPEAKER_02: Um I don't know, but her I actually like that they linked her, like they linked her to Billy Loomis, but they don't have her like they had her kind of embrace a dark side for a second to kind of fight back, but then like she realizes like you know, my father was still a psychopath.
• 2:06:42
  SPEAKER_02: And whereas like this movie tried to do something like that, except Heather's just like it absolves her trauma, it absolves her of any journey she went through because she's now one of the villains now.
• 2:06:54
  SPEAKER_01: Like, it just like and it's also like Stockholm syndrome to like the second power, like it she because the thing is like the way that they let you know she's going to stay is she picks up his food tray.
• 2:07:07
  SPEAKER_01: Oh god.
• 2:07:08
  SPEAKER_01: Anyway, and she's gonna continue.
• 2:07:10
  SPEAKER_01: And the thing is, why do you need protection?
• 2:07:13
  SPEAKER_01: Yeah, what the fuck world does the grandma live in?
• 2:07:16
  SPEAKER_01: Like protection from who?
• 2:07:18
  SPEAKER_01: You were fine in LA or wherever the hell you were living in that dilapidated shithole.
• 2:07:22
  SPEAKER_02: The flop house, yeah.
• 2:07:24
  SPEAKER_01: All right, Andrew.
• 2:07:25
  SPEAKER_01: Well, we've talked about this movie for about two and a half hours.
• 2:07:28
  SPEAKER_01: I think it's time to bring this to a close.
• 2:07:31
  SPEAKER_01: How what do you think?
• 2:07:32
  SPEAKER_02: Yeah, let's just do this.
• 2:07:34
  SPEAKER_02: Let's all right, y'all.
• 2:07:36
  SPEAKER_01: Okay, join us again soon for our next feature film.