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Child's Play 2 - Thirsty For Gore · Thirsty For More - Movie Review

• 0:02
  Speaker 1: All the moves like Jagger.
• 0:16
  Speaker 2: I've got the moves like Jagger.
• 0:20
  Speaker 1: I've got the moves like Jagger. Man. I love that song.
• 0:29
  Speaker 1: It's a good song. You wanna know, to take it right.
• 0:34
  Speaker 1: Whatever her song part is, this is great. Oh, the
• 0:36
  Speaker 1: Christina Aguilera part? Yeah. The best part, dude. It is,
• 0:39
  Speaker 1: it is. Really leans into the vocals. Hello, everyone, and
• 0:44
  Speaker 1: welcome to Thirsty for Goran. My name is Goran. You
• 0:52
  Speaker 1: know what we should maybe do? What?
• 0:57
  Speaker 2: We should maybe call it Thirsty for Child's Play, and
• 1:01
  Speaker 2: then once we.
• 1:02
  Speaker 1: Get to Bride of Chucky, we start calling it Thirsty
• 1:07
  Speaker 1: for Chucky. I already called it Thirsty for Chucky. That's fine.
• 1:10
  Speaker 1: I released it on the first episode already on Patreon,
• 1:13
  Speaker 1: so it immortalizes Thirsty for Chucky. Just like this eyeball
• 1:18
  Speaker 1: is immortalized when the fucking first shot opens, and we
• 1:22
  Speaker 1: get an interest cut with this fucking limousine coming towards...
• 1:26
  Speaker 1: The Chucky Factory, dude.
• 1:28
  Speaker 2: The Chucky Factory, dude.
• 1:30
  Speaker 1: Not just the Chucky Factory, but the weird corporate malfeasance. Okay,
• 1:36
  Speaker 1: we're going to talk about the weird corporate malfeasance, but
• 1:38
  Speaker 1: first we need to talk about the, like, retconned, anatomically
• 1:43
  Speaker 1: updated Child's Play 2. First we say we're doing 1990s
• 1:48
  Speaker 1: Child's Play 2. Who's it directed by? Do we care
• 1:53
  Speaker 1: about these directors? Not really. Not with a lot of enjoyment.
• 1:57
  Speaker 1: But who is it directed by? Do you know? Let
• 1:58
  Speaker 1: me just check.
• 2:02
  Speaker 2: No, we do care about the directors because... What's his name?
• 2:07
  Speaker 2: The guy who, like, kind of.
• 2:11
  Speaker 1: Don Mancini, the guy who wrote the Chucky movies. Oh, yeah,
• 2:15
  Speaker 1: Don Mancini. I noticed his name.
• 2:16
  Speaker 2: We got to mention him because he's very much the, like.
• 2:21
  Speaker 1: pusher of all.
• 2:23
  Speaker 2: Of the movies okay okay and like is the like
• 2:26
  Speaker 2: kind of guiding force behind some of the outrageous and
• 2:30
  Speaker 2: weird choices he leaned into it like Robert.
• 2:32
  Speaker 1: England leaned into being Freddy you know what I mean
• 2:35
  Speaker 1: like it's like He created the show, he created.
• 2:38
  Speaker 2: Can we.
• 2:39
  Speaker 1: Just say, okay, so what came first here, the chicken
• 2:43
  Speaker 1: or the egg? Because obviously the Chucky design is retconned
• 2:47
  Speaker 1: to have a photorealistic, like, digestive tract of, like, real
• 2:54
  Speaker 1: tongue and human teeth. Yeah, like, gross human teeth. And also... Okay,
• 3:02
  Speaker 1: in this one, there's less of a difference between toy
• 3:06
  Speaker 1: Chucky face and angry Chucky face.
• 3:11
  Speaker 2: Well, yeah, because there is now just a level of.
• 3:17
  Speaker 2: They still have the original Good Guy doll in there.
• 3:20
  Speaker 1: But the original also, as Tommy, has the now updated
• 3:25
  Speaker 1: retconned Chucky face, though. It's the second generation of Chucky dolls, dude.
• 3:31
  Speaker 1: Two years have passed. They want their market share to grow.
• 3:37
  Speaker 1: They want their corporate Melfi's and Chucky Doll revenues.
• 3:42
  Speaker 2: They want their Grace Zabriskie revenues and their Beth Grant's revenues.
• 3:45
  Speaker 1: Oh my god, dude. Two of the best middle-aged actresses
• 3:49
  Speaker 1: in the world.
• 3:50
  Speaker 2: The forever middle-aged actresses.
• 3:52
  Speaker 1: Written by Don Mancini. And opens right away with this
• 3:57
  Speaker 1: corporate-ass fucking ass-lickerer Like a guy from Ally McBeal. Did
• 4:03
  Speaker 1: you know the guy from Ally McBeal, dude? Yeah, I do.
• 4:06
  Speaker 2: I don't know if that's the same guy, though.
• 4:07
  Speaker 1: It is the same guy. Is it? Yeah. Did you
• 4:08
  Speaker 1: look it up? Yeah. Oh, awesome. I didn't need to
• 4:11
  Speaker 1: look it up. I know this guy. I mean. Look
• 4:14
  Speaker 1: it up right now. Ally McBeal, dude. What a name.
• 4:17
  Speaker 1: That was like a big hit. I used to love
• 4:20
  Speaker 1: that show. I used to love Dancing Baby, dude. It's
• 4:22
  Speaker 1: a dancey chucky, dude. This, like, Cohegan-type guy.
• 4:28
  Speaker 2: Yes, it is very Robocop. It is very, like, Verhoeven.
• 4:34
  Speaker 1: Greg German. What a name. I think I know a
• 4:39
  Speaker 1: relative of his. Eric German? Yeah, Mattson. Chucky, too. I
• 4:48
  Speaker 1: was right? Yeah.
• 4:49
  Speaker 2: I mean, yeah, it just, it feels like this.
• 4:52
  Speaker 1: Is a world in where... It's completely okay. All of
• 4:56
  Speaker 1: the stuff that I mentioned in the first one that
• 4:58
  Speaker 1: we talked about in the first one, being very, very
• 5:02
  Speaker 1: open to stretching the logic of reality and making it
• 5:07
  Speaker 1: very real. I loved it, dude. And you know what? Honestly,
• 5:11
  Speaker 1: it deep dives into... the feeling of the first one
• 5:16
  Speaker 1: so much the movement of the first one so much
• 5:19
  Speaker 1: it kind of forgoes all of the reality of the
• 5:21
  Speaker 1: first one yes and goes into the magical reality of
• 5:24
  Speaker 1: the first one.
• 5:25
  Speaker 2: Completely yeah it leans way harder into the the reality
• 5:29
  Speaker 2: of because like it does a good job storytelling wise
• 5:33
  Speaker 2: explaining the kind of grandiosity of the toy like the
• 5:38
  Speaker 2: sellability of the toy is America ever going to have
• 5:42
  Speaker 2: a factory?
• 5:43
  Speaker 1: Honestly, I was like manufacturing in America. I was like, what?
• 5:47
  Speaker 1: That's the real fantasy of this movie is that there's
• 5:50
  Speaker 1: actual distribution. The Chucky's weren't produced in China. Yeah. Making
• 5:55
  Speaker 1: the toy, distributing the toy, packaging the toy. Our biggest
• 5:59
  Speaker 1: local manufacturer, Chucky. We love Chucky.
• 6:03
  Speaker 2: The good guy doll, please.
• 6:06
  Speaker 1: Well, Trump would call it Chucky. That's true. He definitely would. Yeah.
• 6:10
  Speaker 2: But like immediately the killer good guy doll story was
• 6:14
  Speaker 2: quashed by the police. They denied everything.
• 6:17
  Speaker 1: Just like throw away after throw away lines. No, it
• 6:21
  Speaker 1: was great, dude. Because like it kind of ties up
• 6:24
  Speaker 1: with a bow. Like he was the hero, but also
• 6:27
  Speaker 1: you could tell in the movie now knowing that line,
• 6:32
  Speaker 1: my brain retcons it that He was actually just trying
• 6:36
  Speaker 1: to crack the case the whole time. And he was
• 6:38
  Speaker 1: using the family. And he didn't care about them after
• 6:40
  Speaker 1: the Chucky fiasco was done. Who? The guy? Fucking... Mike?
• 6:45
  Speaker 1: Mike Norris? Yeah, dude. I think he was a fucking...
• 6:49
  Speaker 1: I think this reality turns him into a fucking dick. What?
• 6:55
  Speaker 1: An opportunistic dick that just wanted to get Charles Lee Ray. No,
• 6:59
  Speaker 1: because he didn't know the doll was Charles Lee Ray. No,
• 7:04
  Speaker 1: but there was a magical knowing to him. There was
• 7:07
  Speaker 1: beats that he knew that it was Chucky. Well, kind of,
• 7:10
  Speaker 1: because he killed him in the toy store. But, like,
• 7:14
  Speaker 1: the police, quote-unquote, denied everything. It's not like he denied everything. Well,
• 7:18
  Speaker 1: because he, no, I, well, who was the police in
• 7:21
  Speaker 1: this situation? Well, it's the organization. No, but they were
• 7:24
  Speaker 1: the two eyewitnesses there. Who's going to believe us? That
• 7:28
  Speaker 1: was the end of the movie.
• 7:30
  Speaker 2: Well, yeah, who is going to believe a killer doll?
• 7:32
  Speaker 2: And the police are already embarrassed enough, right?
• 7:35
  Speaker 1: The police as an institution can't deny. Yeah, they denied
• 7:38
  Speaker 1: it officially, but these guys had to deny it first.
• 7:41
  Speaker 1: The mother stuck to the story. They say that the
• 7:44
  Speaker 1: mother was smart, that they were smart. And the mother
• 7:48
  Speaker 1: was dumb for not sticking to the story. Well... Or
• 7:51
  Speaker 1: for sticking to the story with the kid.
• 7:52
  Speaker 2: The mother backed up her boy's story in court, and
• 7:56
  Speaker 2: now she's under psychiatric observation.
• 7:59
  Speaker 1: I mean, of course!
• 8:00
  Speaker 2: You'd be like, oh, a killer doll?
• 8:02
  Speaker 1: She tried to blow the Chucky Datas at her, dude. Yeah, exactly.
• 8:06
  Speaker 1: She's Sarah Connor. And that, actually, element of this movie
• 8:10
  Speaker 1: kind of made it seem Terminator-esque. Yeah, it feels... Even
• 8:15
  Speaker 1: though this is pre-Terminator. This feels more like... Well, it's post-Terminator.
• 8:20
  Speaker 1: Terminator 2 is the one that it feels like.
• 8:23
  Speaker 2: Well, it kind of feels like Robocop to me a
• 8:26
  Speaker 2: little bit.
• 8:26
  Speaker 1: It does feel like Robocop, yeah.
• 8:27
  Speaker 2: It's supposed to be way funnier. It's supposed to be
• 8:31
  Speaker 2: a little bit more like... less grounded and more funny
• 8:36
  Speaker 2: and more like satire, like proving a point of some kind. Um,
• 8:42
  Speaker 2: but also when the, the like Cohagen boss is like, well,
• 8:47
  Speaker 2: he's got such a great line. He's like, my stomach hurts, Madsen.
• 8:51
  Speaker 1: I love that line. I love my stomach hurts. That
• 8:53
  Speaker 1: was great. Is this what you call good news? Well,
• 8:55
  Speaker 1: can I... No, I'm getting to that. Can we just
• 8:57
  Speaker 1: say what the amazing, like, look of the, like, Chucky's
• 9:02
  Speaker 1: skull being polished? Yeah. And the, like, gross photorealistic teeth
• 9:07
  Speaker 1: and mouth. Like, human... Just, like, looks like... I always
• 9:12
  Speaker 1: thought it looked so good. Yeah, definitely. The doll always
• 9:15
  Speaker 1: looks good. And also, just... the magic in the movie
• 9:21
  Speaker 1: is way more prominent. Well, because, like, as soon as they, like,
• 9:24
  Speaker 1: shove the eyeballs in with the eyeball poking machine, it
• 9:29
  Speaker 1: fucking stabs the eyeballs. First it, like, jams, because Chucky's
• 9:34
  Speaker 1: scared of having eyeballs shoved into his skull. And then the...
• 9:38
  Speaker 1: technician he's like hold on we're not used to making
• 9:41
  Speaker 1: these by hand i like that was so like it
• 9:44
  Speaker 1: was so outrageous to like appease the shareholders to recreate
• 9:50
  Speaker 1: to rebuild the original chucky doll to prove it doesn't
• 9:55
  Speaker 1: make it makes no sense in no world does it
• 9:58
  Speaker 1: make sense No. Until this world where the electroshock of
• 10:05
  Speaker 1: magic Chucky... Well, and, like, the thing is, like, it immediately... Like,
• 10:09
  Speaker 1: it doesn't allow you to think about it for too
• 10:11
  Speaker 1: long because... No, not at all.
• 10:12
  Speaker 2: Because you get the first death.
• 10:14
  Speaker 1: Chucky electrocuting fucking this technician who... is, like, patting the
• 10:19
  Speaker 1: machine for working. He's happy that it worked at shoving
• 10:23
  Speaker 1: in the eyeballs. And then it turns out, red Terminator lightning, dude.
• 10:27
  Speaker 1: And he's like... This movie loves... Chucky loves electrocution, dude.
• 10:31
  Speaker 2: Yes.
• 10:32
  Speaker 1: It's the second time Chucky has electrocuted someone. Yes, absolutely.
• 10:36
  Speaker 1: And it's like....
• 10:39
  Speaker 2: It's actually not red Terminator lightning, it's red eyeballs that
• 10:43
  Speaker 2: shoot lightning out of it. And then he's red, like,
• 10:46
  Speaker 2: he's electroshocked.
• 10:47
  Speaker 1: And then he's blood, dude. Yeah, he's blood. Blood starts.
• 10:50
  Speaker 1: He gets, like, also, like, for some reason... I guess
• 10:54
  Speaker 1: this is another example of Chucky, like... electromagnetic pulsing a body, like,
• 10:59
  Speaker 1: he's shooting it, catapulting it into the glass, and he
• 11:03
  Speaker 1: breaks through, and the guy's like, ah, Jesus Christ, I
• 11:06
  Speaker 1: don't want to hear, I want this all fucking cleaned up. Mattson,
• 11:08
  Speaker 1: what are you doing? You fucking loser. Lick my ass.
• 11:13
  Speaker 1: Jesus Christ, dude.
• 11:15
  Speaker 2: Then we cut to Alex Vincent, who is amazing in
• 11:19
  Speaker 2: this as Andy as well.
• 11:20
  Speaker 1: And this is George Costanza slash, like, Robert Richard Dreyfuss
• 11:23
  Speaker 1: looking guy.
• 11:24
  Speaker 2: It's, it's... This is so just like, well, how do
• 11:30
  Speaker 2: we repeat what happened in the first movie? And you
• 11:34
  Speaker 2: don't ever actually even need to watch the first movie. Yeah,
• 11:37
  Speaker 2: it's just like dialogue dumps.
• 11:40
  Speaker 1: And we get our introduction of an exponentially more sentient Andy.
• 11:48
  Speaker 1: yeah who's not anymore i saw this one he's less
• 11:53
  Speaker 1: i saw this one he's like his name was charles
• 11:56
  Speaker 1: lee he got that kid thing the smart actor kid
• 12:00
  Speaker 1: thing where he's talking but but but it's believable because
• 12:04
  Speaker 1: it's the trajectory of him having to mature and look
• 12:07
  Speaker 1: after himself absolutely yeah and i think that andy's story
• 12:12
  Speaker 1: arc is an underlooked horror story arc dude Because Andy, like...
• 12:18
  Speaker 1: Is the Ellen Ripley of... Totally.
• 12:21
  Speaker 2: Because it's about him.
• 12:23
  Speaker 1: It's true. All three are about him. It's true. The
• 12:26
  Speaker 1: real ones. The real ones. And, well... We'll see. We'll see.
• 12:30
  Speaker 1: We'll see. But, yeah. Before Chucky becomes something else, Chucky
• 12:36
  Speaker 1: is Andy. Chucky is Child's Play. And Child's Play is Andy. Yes.
• 12:39
  Speaker 1: And Andy... And that's actually what it is. They're different franchises.
• 12:44
  Speaker 2: They are different franchises. It's almost like watching a Freddy
• 12:49
  Speaker 2: spinoff of the Nightmare on Elm Street movies. Because it's
• 12:53
  Speaker 2: like all the Nightmare on Elm Street movies have that core,
• 12:57
  Speaker 2: we have to go back to the first one, link
• 12:59
  Speaker 2: to it. Whereas this one very much feels like... bride
• 13:04
  Speaker 2: of Chucky is like, Oh yeah, this is about Chucky
• 13:08
  Speaker 2: and his story.
• 13:10
  Speaker 1: Yeah.
• 13:10
  Speaker 2: Like his backstory too, for some reason.
• 13:14
  Speaker 1: Which is interesting and we'll get to, but right now
• 13:17
  Speaker 1: we were like all in on Andy. Right. Um, and
• 13:21
  Speaker 1: Andy is like, you know, he's playing this like social
• 13:24
  Speaker 1: game with the doctor of cards, but the doctor is
• 13:28
  Speaker 1: asking him to retell the events of the first movie. Yeah. And,
• 13:32
  Speaker 1: and he's like, those dreams are really scary, aren't they, Andy?
• 13:35
  Speaker 2: And he does that, that smile that kids do where
• 13:39
  Speaker 2: they're like, they're wanting to be reassuring, but behind the eyes,
• 13:45
  Speaker 2: you're like, oh man.
• 13:47
  Speaker 1: And it's actually such a signature Andy smile too, because
• 13:50
  Speaker 1: he does, it's reminiscent of like the more innocent Andy
• 13:54
  Speaker 1: of the first movie, but we know what Andy has
• 13:57
  Speaker 1: been through. So like, there's a kind of like weightiness
• 14:00
  Speaker 1: behind it. And like, Man, he's such a good actor, dude.
• 14:04
  Speaker 2: He's really, really good.
• 14:06
  Speaker 1: One of the lines that the boss, the Cohagen boss,
• 14:12
  Speaker 1: gives to Mattson right after that scene is... He says....
• 14:20
  Speaker 2: You smuggle this error out in 24 hours.
• 14:25
  Speaker 1: You smuggle this error out in 24 hours. Corporate speak,
• 14:29
  Speaker 1: dead guy. It's funny how, like, I think, like, reality
• 14:33
  Speaker 1: revealed itself to be just as sinister as, like, these
• 14:37
  Speaker 1: cartoonishly portrayed corporations. Fuck you and your corporation. Yeah, it's like.
• 14:42
  Speaker 2: Ah, and then, and then, um, what do you want
• 14:45
  Speaker 2: me to do with the doll?
• 14:46
  Speaker 1: Shove it up your ass! And he does. He takes
• 14:49
  Speaker 1: the doll in order to shove it up his ass later. Absolutely.
• 14:53
  Speaker 2: And then, Grace Zabriskie is introduced in the most... normal
• 14:58
  Speaker 2: no changed voice just normal grace of risky named grace
• 15:03
  Speaker 2: pool by the way the.
• 15:05
  Speaker 1: Most accurate depiction of real life grace of risky not
• 15:09
  Speaker 1: david lynch be outrageous traumatized from your daughter's death be
• 15:13
  Speaker 1: normal grace of risky and she is she kind of
• 15:17
  Speaker 1: like doesn't give a fuck Dude, can I just say
• 15:20
  Speaker 1: the scene before where Chucky's, like, before the shove it
• 15:23
  Speaker 1: up your ass, he's kind of, like, looking off into
• 15:26
  Speaker 1: the distance. He's got, like, he's always got way more
• 15:29
  Speaker 1: personality in this one than in the first one. In
• 15:32
  Speaker 1: the first one, he's just, like, there's, like, a kind of, like,
• 15:36
  Speaker 1: you know they've made him, like, more human-like? Anyway. Oh,
• 15:40
  Speaker 1: like the doll? Yeah. Oh, okay. They've made him, like,
• 15:43
  Speaker 1: from the start, less of a difference. And he's just
• 15:46
  Speaker 1: always got.
• 15:47
  Speaker 2: Personality in his face. Oh, yeah, he's, like, the cheeks
• 15:50
  Speaker 2: are a little bit down. It's not flat.
• 15:53
  Speaker 1: He's more expressive. He's not as glossy, too. He's more matte.
• 15:58
  Speaker 2: Yeah, he's definitely, like, a lot more Charles Lee reified.
• 16:03
  Speaker 1: Yeah. Yes, definitely. There's some return to balding here, but
• 16:07
  Speaker 1: different kind of Zali's look. We'll talk about that. But
• 16:12
  Speaker 1: Grace Zabriskie is amazing as this like kind of it
• 16:17
  Speaker 1: feels like it feels like she does care. but she's
• 16:22
  Speaker 1: so detached from it. It actually feels kind of like
• 16:25
  Speaker 1: a realistic portrayal of the type of social worker that
• 16:30
  Speaker 1: can exist.
• 16:30
  Speaker 2: 100%.
• 16:32
  Speaker 1: They've done it for so long that there's a kind
• 16:34
  Speaker 1: of detached cynicism that comes with just seeing this type
• 16:38
  Speaker 1: of thing all of the time.
• 16:40
  Speaker 2: Naturally, he was traumatized by the murders, but kids bounce back.
• 16:44
  Speaker 1: Children are strong. They're resilient. They're designed to survive. When
• 16:48
  Speaker 1: you drop them, they tend to bounce. Yeah, exactly. And
• 16:52
  Speaker 1: what she's saying there is she's seen kids bounce back
• 16:55
  Speaker 1: easily because kids are resilient, but she's not really dealing
• 16:59
  Speaker 1: with the underlying trauma. She's just kind of like getting
• 17:02
  Speaker 1: a job done, like placing kids where they have to go.
• 17:05
  Speaker 2: Well, that's the interesting thing, too, about the whole situation,
• 17:08
  Speaker 2: because Phil and Joanne, who are going to adopt or foster.
• 17:12
  Speaker 1: Oh, my God, dude. Such... compelling characters, both of them.
• 17:16
  Speaker 1: They're so compelling, and I realized why. Because as a kid,
• 17:19
  Speaker 1: they seemed so much more evil. Yeah.
• 17:22
  Speaker 2: But as an adult, you're like, well, you know, I mean,
• 17:25
  Speaker 2: some of these concerns are.
• 17:27
  Speaker 1: You know what I mean? Well, I know, but he's
• 17:29
  Speaker 1: such a piece of shit. He is such a piece
• 17:32
  Speaker 1: of shit, dude. It's written in a way that his
• 17:36
  Speaker 1: reactions are often not justified enough No, never justify. Why
• 17:43
  Speaker 1: do you hate this kid? He hates him, dude. He's, well,
• 17:48
  Speaker 1: I get you. And not like he never likes him.
• 17:50
  Speaker 1: He seems to act normal enough. Yeah, the first thing
• 17:54
  Speaker 1: he says is he seems to act normal enough. And
• 17:56
  Speaker 1: then I think that's to make it seem like she
• 18:00
  Speaker 1: is more, what's her name? Joanne. Joanne is more desperate
• 18:05
  Speaker 1: to like have a kid. And we get only hints.
• 18:12
  Speaker 1: It does what the first movie does of just showing us,
• 18:15
  Speaker 1: not hamming it up, but like, who are you going
• 18:18
  Speaker 1: to pass it down to? And she just gets quiet
• 18:20
  Speaker 1: and sad.
• 18:21
  Speaker 2: Yeah, totally.
• 18:21
  Speaker 1: And he gets like solemnly comforting. Yeah. And we get
• 18:25
  Speaker 1: a sense that like, you know, okay, they have a past.
• 18:29
  Speaker 1: The reason they're foster parents is because she's always wanted
• 18:32
  Speaker 1: to be a parent. He doesn't really care and never
• 18:35
  Speaker 1: really has, but like loves his wife and wants to
• 18:38
  Speaker 1: support his wife. And goes along with it, I guess.
• 18:41
  Speaker 1: But begrudgingly so. And you really get fleshed out characters
• 18:46
  Speaker 1: from just their actions.
• 18:48
  Speaker 2: Well, yeah, and she's like... Grace Zabriskie is like.
• 18:53
  Speaker 1: He thinks a doll was possessed by Charles Lee Ray. Who?
• 18:57
  Speaker 2: A murderer who strangled 12 people.
• 19:01
  Speaker 1: No, the Lakeshore Killer, dude. Lakeshore Strangler. Lakeshore, dude. oh
• 19:06
  Speaker 1: yeah city by the lake the tobiko canonically canonically city
• 19:10
  Speaker 1: by the lake dude um it's it could be toronto
• 19:16
  Speaker 1: and andy could be us dude um they're taking him
• 19:19
  Speaker 1: home and she he's like Do we need any kind
• 19:24
  Speaker 1: of special qualifications for this? Nah, he's fine. Just take him.
• 19:27
  Speaker 1: And then they're immediately taking him.
• 19:29
  Speaker 2: Yeah, it's, again, it's that kind of expedited story. Because
• 19:34
  Speaker 2: it's like the rooms are side by side with a
• 19:37
  Speaker 2: piece of glass where they're looking at Andy getting interviewed.
• 19:40
  Speaker 2: In this fucking weird institution. Yeah, like, what is it?
• 19:44
  Speaker 1: It's like a weird orphanage. Yeah, it's a tube. glass
• 19:51
  Speaker 1: window orphanage, dude, where you look at the behavior of
• 19:54
  Speaker 1: someone to assess if you want to take that child
• 19:57
  Speaker 1: or not, dude. And Andy pulls out in the car.
• 20:01
  Speaker 1: Andy's in the backseat and pulls out a cell phone.
• 20:04
  Speaker 1: That's what I thought, dude. It looked so much like
• 20:07
  Speaker 1: he was like going to go on his iPad. But
• 20:10
  Speaker 1: what he was doing, dude, was looking at this like
• 20:14
  Speaker 1: fucking prehistoric 1700s block. That had like a, you know
• 20:21
  Speaker 1: those very first photographs that had to be printed on
• 20:24
  Speaker 1: some kind of plate? That's what he's looking at, dude. Yes,
• 20:27
  Speaker 1: that's what he's looking at.
• 20:28
  Speaker 2: But Phil almost drives into a Good Guy doll truck
• 20:31
  Speaker 2: from the Good Guy doll factory, dude.
• 20:33
  Speaker 1: It's called Play Pals toys. Yeah. Do you think that
• 20:37
  Speaker 1: PayPal stole that idea, dude? Do you think that, who
• 20:42
  Speaker 1: was it, Elon Musk was watching that and he was like, oh,
• 20:45
  Speaker 1: Play Pal. Oh, yeah, Play Pal. PayPal. Oh yeah. Anyway,
• 20:51
  Speaker 1: I don't know why he's Irish, but yeah. So he
• 20:55
  Speaker 1: almost crashes into the good guy doll. And like, I
• 20:57
  Speaker 1: love how every time Andy sees good guy in this beginning,
• 21:01
  Speaker 1: he goes absolutely catatonic. It's, it's amazing. And like, I
• 21:06
  Speaker 1: also thought to myself when I was watching this, like,
• 21:09
  Speaker 1: imagine having to like live in a world where you
• 21:14
  Speaker 1: are immersed in the thing that is traumatizing you most.
• 21:19
  Speaker 1: Like it must be like what being a victim of
• 21:22
  Speaker 1: Michael Jackson is like. It's like, you just like, you
• 21:24
  Speaker 1: go everywhere and it's like, baby belongs to me. You
• 21:27
  Speaker 1: know what? And you're just like, Jesus Christ. Well, yeah. In,
• 21:33
  Speaker 1: in part it's that, but also think about all the
• 21:36
  Speaker 1: things that kids experience in general, uh, as kids that
• 21:42
  Speaker 1: are really nice where it's like oh magic is real
• 21:45
  Speaker 1: and then you find out that magic is real and
• 21:47
  Speaker 1: it's like horrifying because it's it made a serial killer
• 21:50
  Speaker 1: go go into a doll and try and that's true
• 21:53
  Speaker 1: so it kind of robs you of like the like
• 21:55
  Speaker 1: like wonder of childhood yeah and and then as a
• 22:01
  Speaker 1: as a an evolving thing out of that like your
• 22:04
  Speaker 1: mom gets taken away and you have to go to
• 22:07
  Speaker 1: foster care you get punished for all of these things
• 22:10
  Speaker 1: that happened to you. Because it's not top of the
• 22:13
  Speaker 1: muffin to you. No, no, it is. That's another thing
• 22:18
  Speaker 1: is like, I love about this movie is like Andy
• 22:20
  Speaker 1: learning resilience. I mean, that's why he joined the army, dude. Well, okay. Well,
• 22:26
  Speaker 1: we'll get to that. Sorry. I'm grading ahead of myself,
• 22:27
  Speaker 1: but he goes into this kind of like, I like that, like,
• 22:30
  Speaker 1: they make it seem like these people, like, just had, like,
• 22:33
  Speaker 1: weird hobbies, and they're, like, because they're, like, a little
• 22:36
  Speaker 1: bit older, and they couldn't have the kids of their own, they, like,
• 22:41
  Speaker 1: they have this, like, kind of, like, gaudy, I don't know, like, just, like, fucking, like,
• 22:46
  Speaker 1: little statues and shit, and their house is very, like,
• 22:49
  Speaker 1: done up in, like, a specific kind of way, and they're, like, hey,
• 22:52
  Speaker 1: they're sports. we do things a little differently around. It's
• 22:56
  Speaker 1: like a restaurant that asks you that they do things
• 22:58
  Speaker 1: a little differently around here. And he's like, Hey sport,
• 23:01
  Speaker 1: we do things a little differently around here. We collect
• 23:03
  Speaker 1: these fucking things. I don't like them either. Okay. But
• 23:06
  Speaker 1: your mother, actually this fucking lady you've never seen Joanne,
• 23:10
  Speaker 1: she loves them. And, That means you're going to love him, too.
• 23:13
  Speaker 1: You know what? I think you're being way too hard.
• 23:16
  Speaker 2: I used to hate these people, too.
• 23:17
  Speaker 1: But when I watched the movie, it's clear they've had
• 23:21
  Speaker 1: multiple kids go through here.
• 23:23
  Speaker 2: And they're nice. They're not taking advantage or anything. No,
• 23:26
  Speaker 2: I'm totally Andy's POV, dude. I'm like, fuck those people.
• 23:29
  Speaker 1: I don't even think Andy hates them. I'm so happy
• 23:31
  Speaker 1: when that guy gets killed. I don't think Andy hates them. Well,
• 23:34
  Speaker 1: then I'm somebody else in the movie, dude. I don't
• 23:36
  Speaker 1: like them. Kyle. You're Kyle. Hello, Kyle. Hello. I am Kyle, dude. Well,
• 23:41
  Speaker 1: what brings you to Sacred Fellowship, Kyle? Kyle doesn't even
• 23:44
  Speaker 1: seem to hate them, either. No, she kind of likes them, actually.
• 23:48
  Speaker 1: He's not so bad. The other ones molested me. No,
• 23:54
  Speaker 1: it is very, like... I do understand, though, from a
• 23:57
  Speaker 1: kid's perspective, having, like... immediately.
• 24:00
  Speaker 2: Rules imposed on you in this kind of condescending way
• 24:03
  Speaker 2: is like um but it gives the opportunity to to
• 24:08
  Speaker 2: give the question of like uh uh don't touch those
• 24:11
  Speaker 2: and she's like In my generation.
• 24:12
  Speaker 1: It's been in my family for three generations. In my dreams.
• 24:15
  Speaker 2: Who are you going to give it to?
• 24:17
  Speaker 1: And she's sad. She gets quiet. Yeah, and it's, like,
• 24:22
  Speaker 1: not that great a statue. It kind of looks like
• 24:24
  Speaker 1: anything you could buy from, like, the dollar store, literally. Like,
• 24:29
  Speaker 1: I'm like, this is not an heirloom, dude. It's not.
• 24:32
  Speaker 1: It seems really cheap. And poorly done, too.
• 24:35
  Speaker 2: Like, even here, when we're first meeting Kyle.
• 24:39
  Speaker 1: Kyle. And Andy knocks on the door. He doesn't. He
• 24:44
  Speaker 1: opens the door and she's like... Don't you fucking knock... No,
• 24:46
  Speaker 1: she's actually really nice. She's smoking. She's smoking in her room.
• 24:49
  Speaker 2: But then Joanna's like... Oh, Phil is going to kill
• 24:54
  Speaker 2: you for smoking.
• 24:55
  Speaker 1: You know what I mean?
• 24:55
  Speaker 2: But she's not going to tell him, you know what
• 24:57
  Speaker 2: I mean? Like there seems like a dynamic.
• 24:59
  Speaker 1: That's like, I noticed that. I noticed that. And I
• 25:01
  Speaker 1: liked it. I liked that. She seems way more like
• 25:04
  Speaker 1: favorable to the kids. I think she's way more a
• 25:07
  Speaker 1: sympathetic character in the movie. And I think she's genuinely
• 25:10
  Speaker 1: like a good person. I think she's actually very realistically portrayed.
• 25:15
  Speaker 1: I do think that, like, Phil's reactions were cartoonish. They're like,
• 25:19
  Speaker 1: I don't know about this fucking kid. I guess I'll
• 25:21
  Speaker 1: get used to him.
• 25:22
  Speaker 2: Well, like, the thing is, like, it's like a feeling,
• 25:25
  Speaker 2: you know? And it's, like, unexplainable. Not to justify the behavior.
• 25:28
  Speaker 2: I know what you mean. He is, like, it's like... Whoa,
• 25:30
  Speaker 2: he's trying to show the feeling.
• 25:32
  Speaker 1: Yeah, and it's like... And immediately, Kyle closes the door
• 25:36
  Speaker 1: after they leave, and she, like, puts out the cigarette,
• 25:39
  Speaker 1: then gets another cigarette. She's so cool, dude. And like
• 25:42
  Speaker 1: this outfit she's wearing is incredible. She looks like she
• 25:46
  Speaker 1: listens to that kind of rap. And also she's wearing
• 25:53
  Speaker 1: like a leather daddy hat and like this cool sweater
• 25:58
  Speaker 1: tucked in with a black belt and like these like
• 26:02
  Speaker 1: a cut of jeans that anyone in West End, Toronto
• 26:06
  Speaker 1: would like absolutely murder their own grandmother for. I love
• 26:10
  Speaker 1: also the accessories, the long gold chain and the chain
• 26:15
  Speaker 1: on the hat. It's a very cool outfit. Yeah, you're right.
• 26:18
  Speaker 2: It's weird. It seems like a cool black guy would
• 26:23
  Speaker 2: wear this.
• 26:24
  Speaker 1: In the 80s. In the 80s, yeah. Totally. But I
• 26:27
  Speaker 1: also think she's the early nu metal dude. She listens
• 26:30
  Speaker 1: to rap and rock. When Walk This Way by Aerosmith
• 26:35
  Speaker 1: and Run DMC came out, she was like, Walk this way!
• 26:39
  Speaker 1: Talk this way! It's a little different than the original version.
• 26:45
  Speaker 1: It's more annoying. Not because of the Run DMC part,
• 26:49
  Speaker 1: exclusively because of the Aerosmith part. Um....
• 26:54
  Speaker 2: Andy gets taken to his room where she's like, the
• 26:58
  Speaker 2: curtains are blue, your favorite color.
• 27:00
  Speaker 1: And it's like, what? This line was so outrageous. I
• 27:02
  Speaker 1: actually really love that line. You want me to tell
• 27:04
  Speaker 1: you why? Tell me. Because she has an expectation and
• 27:07
  Speaker 1: an imagination of what being a mother is like. Yes.
• 27:10
  Speaker 1: And she's done up this room in a way that
• 27:13
  Speaker 1: is just seeing kids kind of cycled through. And that's
• 27:17
  Speaker 1: why she's like excited to tell him that there's more
• 27:19
  Speaker 1: toys in the closet.
• 27:20
  Speaker 2: Yeah.
• 27:21
  Speaker 1: And then... The more toys are... Hi, I'm Tommy.
• 27:25
  Speaker 2: Hi, I'm Tommy.
• 27:28
  Speaker 1: I love the pause, Tommy.
• 27:29
  Speaker 2: One of my favorite parts of the.
• 27:32
  Speaker 1: Hey, second rule sport. No running in the house. I
• 27:38
  Speaker 1: fucking hate you. Who is this guy? It turns a
• 27:40
  Speaker 1: little bit Gordon, but also a little bit... Jack Nicholson. No,
• 27:46
  Speaker 1: it felt a little bit Brad Dourif. Yeah. Because his new,
• 27:51
  Speaker 1: it's a different voice in this one slightly. It is.
• 27:54
  Speaker 1: It's a little bit more aggressive. I think it's easier
• 27:57
  Speaker 1: for him to do. Yeah. This voice. Yeah. I think
• 28:00
  Speaker 1: he knew he had to be more junky in this one. So,
• 28:04
  Speaker 1: oh man. And then this fucking loser. You're old man. Mr. Loser.
• 28:09
  Speaker 1: From Alleywick Squeal, who's like, takes the Chucky doll. He's following,
• 28:14
  Speaker 1: he's such a good ass licker that he is going
• 28:16
  Speaker 1: to shove the toy up his ass. And he takes
• 28:19
  Speaker 1: Chucky and he tries to put him in the back,
• 28:21
  Speaker 1: but he smashes it. There's always a, I have to
• 28:24
  Speaker 1: like aggressively handle this doll with the audience knowing that
• 28:29
  Speaker 1: it's a person. But let me ask you something. How
• 28:32
  Speaker 1: did Tommy's face get porcelain smashed? And Chucky's, I guess
• 28:36
  Speaker 1: because he's got metal titanium skulls. Yeah, that's true. Tommy's
• 28:41
  Speaker 1: face is like, he breaks it with that cheap fucking
• 28:44
  Speaker 1: heirloom that this mom makes a way too big a
• 28:47
  Speaker 1: deal of. Anyway, whatever. He's driving home. He calls someone.
• 28:52
  Speaker 1: He calls Gabrielle. Hey, Gabriella. On his car phone. The vodka?
• 28:56
  Speaker 1: He's going to get his dick wet, dude. Yeah, right.
• 28:58
  Speaker 1: He's having sex with undocumented workers, and he's then, like,
• 29:04
  Speaker 1: blackmailing them later on with their, like, nudes that they
• 29:07
  Speaker 1: sent him.
• 29:08
  Speaker 2: And Chucky is Chucky Face, real Chucky Face.
• 29:12
  Speaker 1: He's real Chucky Face in the back. It's not... and
• 29:15
  Speaker 1: he's like sinisterly looking man is mike powers would always
• 29:20
  Speaker 1: recreate junkie face in such a good way and i
• 29:22
  Speaker 1: always just remember every time i think about junkie face
• 29:26
  Speaker 1: making like outrageous faces i think about mike powers you
• 29:31
  Speaker 1: know it's also interesting um ali mcbeal stops at the
• 29:35
  Speaker 1: liquor store and he they do a couple of things
• 29:39
  Speaker 1: they used to do a couple of things in the 80s, 90s, 2000s, 2010s, whatever,
• 29:44
  Speaker 1: different versions of what a douchebag is. So like in
• 29:47
  Speaker 1: the 2010s, smoking a vape was a corporate guy– In
• 29:52
  Speaker 1: the 90s, or it's like in the early 2010s, like
• 29:57
  Speaker 1: talking on a Bluetooth thing was a douchebag thing. And
• 30:00
  Speaker 1: out loud in public. In the 80s and 90s, it
• 30:04
  Speaker 1: is beeping a car because it shows the status. And
• 30:08
  Speaker 1: using a car phone, of course. And using a car phone.
• 30:10
  Speaker 1: And being like, Gabrielle, oh, I forgot the vodka. Oh,
• 30:14
  Speaker 1: the vodka. Oh, of course, it's our two-week anniversary. I'm
• 30:17
  Speaker 1: taking advantage of you and blackmailing you with ice. Um, yeah.
• 30:22
  Speaker 1: So he goes to buy, he goes to a liquor
• 30:25
  Speaker 1: store and- And then Chucky sees the car phone. And
• 30:28
  Speaker 1: this certain guy is like, I can't sell this to you.
• 30:32
  Speaker 1: I want to, brother, but I can't sell it to you.
• 30:34
  Speaker 1: I'm going to lose my license. I'm going to lose
• 30:36
  Speaker 1: my license if you're going to, I can't do it.
• 30:38
  Speaker 2: But Chucky calls the orphanage.
• 30:43
  Speaker 1: And he's Uncle Chuck. Which, okay.
• 30:47
  Speaker 2: How does he know where Chucky is?
• 30:49
  Speaker 1: How does he know where Andy is?
• 30:53
  Speaker 2: How does he know where Andy went? It's not like they.
• 30:56
  Speaker 1: Well, this is what reminds me of Terminator 2. He
• 31:00
  Speaker 1: gets the information from the police car Bluetooth.
• 31:05
  Speaker 2: Oh, well, he gets the information from the corporate malfeasance
• 31:11
  Speaker 2: of tracking.
• 31:12
  Speaker 1: That's right. That's right. It's his Uncle Charles! Sorry, cash only.
• 31:20
  Speaker 2: That's a gold card? That's as good as cash.
• 31:22
  Speaker 1: What? Oh, man. And then when Chucky puts the gun
• 31:26
  Speaker 1: to his head, what does he say? Uh... Let me see.
• 31:38
  Speaker 1: Park over the... No, park this piece of shit! I
• 31:41
  Speaker 1: remember how he used to say, park this piece of shit!
• 31:45
  Speaker 1: I loved it, dude. Um.
• 31:48
  Speaker 2: He has really great, memorable lines. No question! Just drive! He's, like,
• 31:55
  Speaker 2: extending his... Keep going!
• 31:59
  Speaker 1: Yeah, he's really leaning into, like... He's being a cartoon,
• 32:02
  Speaker 1: and he's having a lot of fun with it. He's
• 32:04
  Speaker 1: having a lot of fun.
• 32:05
  Speaker 2: It's very... Freddy-y.
• 32:07
  Speaker 1: Yes. He gives it like so much personality and he's
• 32:12
  Speaker 1: like holding the gun to his head and he's like,
• 32:14
  Speaker 1: you can take my gold card. You can take anything.
• 32:17
  Speaker 1: I've got a gold card. You can fuck Gabrielle. I'm
• 32:20
  Speaker 1: blackmailing her. He's got him tied up with skip ropes
• 32:24
  Speaker 1: in the background. We notice like Chucky, like curved sneer nose.
• 32:29
  Speaker 1: You notice that like metal plate behind the Chucky Maz
• 32:33
  Speaker 1: turn to make the sneer. And it's so good looking, dude.
• 32:38
  Speaker 1: He looks so alive and he looks so uncanny and scary. And, like,
• 32:45
  Speaker 1: it's such incredible puppeteering. Already, part two, Glow Up Chucky, is, like,
• 32:51
  Speaker 1: ages beyond the first one.
• 32:53
  Speaker 2: Yeah, and it's pretty scary. It's pretty scary when he
• 32:56
  Speaker 2: puts the bag over his head.
• 32:57
  Speaker 1: That's the thing... That's the thing, like, however much movie,
• 33:03
  Speaker 1: however much Chucky feels PG in terms of plot, there's
• 33:09
  Speaker 1: so many things that happen that are, like, really terrifying.
• 33:13
  Speaker 1: And he's, like, him swearing in the way that he does, too,
• 33:16
  Speaker 1: is very adult and scary in a way that shouldn't
• 33:20
  Speaker 1: be shown to children. You know what I mean? Like,
• 33:22
  Speaker 1: now park this piece of shit. Yeah, totally. Oh, man.
• 33:26
  Speaker 1: And he fucking lakeshore strangles this guy. This Ally McBeal guy.
• 33:33
  Speaker 1: And I'm like, why did you do that? Now you
• 33:35
  Speaker 1: gotta walk through the rain?
• 33:37
  Speaker 2: Oh man, like gross puppet rain.
• 33:40
  Speaker 1: It would be awful. There's never any consequences of the
• 33:45
  Speaker 1: murders in this movie. The police never come. No one
• 33:49
  Speaker 1: ever follows up. Murder is as ubiquitous in this movie.
• 33:53
  Speaker 2: Honestly, it doesn't really matter at this point. The weight
• 33:58
  Speaker 2: of the movie seems to come from... Their relationship. And
• 34:03
  Speaker 2: the dynamic between them. Because we know everything. We're assumed
• 34:06
  Speaker 2: to have watched the first one.
• 34:08
  Speaker 1: Because nothing else matters.
• 34:12
  Speaker 2: Uncle Charles got the address from Grace Poole.
• 34:17
  Speaker 1: And Chucky's more human hand now. I also feel like
• 34:22
  Speaker 1: the act of making all of the good guy dolls
• 34:27
  Speaker 1: more Chucky looking... kind of gives the movie a little
• 34:35
  Speaker 1: bit more... There's still a difference between Sinister Chucky and
• 34:39
  Speaker 1: just the regular good guy doll, but it's less of
• 34:42
  Speaker 1: a difference. I'm sorry I keep harping on that, but
• 34:45
  Speaker 1: I think that's used well in this movie because there's
• 34:49
  Speaker 1: degrees of Chucky. We do get more of a merging
• 34:52
  Speaker 1: of soul and body in this in the sense of Chucky...
• 34:58
  Speaker 1: As much as he was getting real life in part one, he's, like,
• 35:01
  Speaker 1: really getting real life in this one.
• 35:03
  Speaker 2: Yeah, I will say that when it comes to that element,
• 35:08
  Speaker 2: I find it the most Final Destination-y, where it's, like,
• 35:13
  Speaker 2: a little bit inconsistent. I don't care as much, because
• 35:18
  Speaker 2: the performances and the way they go about lore in
• 35:23
  Speaker 2: this one is... They're totally okay with hand-waving certain things.
• 35:28
  Speaker 2: And there's a lot more consistency with who the character
• 35:31
  Speaker 2: is and he gets to evolve. So, like, the consistency
• 35:35
  Speaker 2: of the lore doesn't matter as much. With something like
• 35:38
  Speaker 2: Final Destination, it just has a problem with having such
• 35:41
  Speaker 2: an uncharismatic villain.
• 35:42
  Speaker 1: Yeah, nothing. Did nothing cancel? Yeah, I agree. I think
• 35:48
  Speaker 1: what you're reacting to is that they're using... the Chucky
• 35:52
  Speaker 1: embodiment as, like, a storytelling device rather than, like, offering
• 35:57
  Speaker 1: the audience any sort of, like, consistent experience of that. Yeah,
• 36:00
  Speaker 1: because it really makes no sense. Well, does anything else, though? Like,
• 36:04
  Speaker 1: he's been scraped and... like why did he come back
• 36:09
  Speaker 1: to like it just makes no like what okay so
• 36:11
  Speaker 1: he's the doll now but he couldn't go into another
• 36:14
  Speaker 1: it just like it makes no sense but it doesn't
• 36:16
  Speaker 1: matter and like but here we see chucky and tommy
• 36:20
  Speaker 1: chucky goes inside the the the house and he gets
• 36:25
  Speaker 1: face to face with tommy who we didn't say like
• 36:30
  Speaker 1: tommy falls off of the skateboard did we say that
• 36:33
  Speaker 1: part did we say that.
• 36:34
  Speaker 2: Yeah he finds the the no.
• 36:36
  Speaker 1: Running sport yeah and he's like don't worry i'm gonna
• 36:39
  Speaker 1: take chucky away but they always just like end up
• 36:41
  Speaker 1: leaving him they're kind of careless about that it's like
• 36:43
  Speaker 1: yo dude this kid is traumatized with this specific.
• 36:47
  Speaker 2: Doll yeah they just put him.
• 36:49
  Speaker 1: Downstairs and sit him creepily but obviously it's for the
• 36:53
  Speaker 1: story so that chucky comes and he's like shut the
• 36:56
  Speaker 1: fuck up.
• 36:58
  Speaker 2: Well, but before even that, I actually really like this
• 37:03
  Speaker 2: part with Joanne where she's reading Hansel and Gretel to
• 37:07
  Speaker 2: him and she's like, well, good night.
• 37:10
  Speaker 1: Hey, that's not the way the story ends. They live
• 37:12
  Speaker 1: happily ever after and he's like, that's not the way
• 37:14
  Speaker 1: the story ends. And she's like, we'll finish it tomorrow.
• 37:16
  Speaker 1: But the moment that he's like sad about like, I
• 37:20
  Speaker 1: don't get to. My mom used to sing to me. Yeah,
• 37:22
  Speaker 1: I don't get to. He's like, leveraging his little kidness more.
• 37:31
  Speaker 1: And I think he's like, he's genuinely scared, but he's
• 37:33
  Speaker 1: also like, he's like using that to be like, I
• 37:39
  Speaker 1: don't want to be alone. I need to be taken
• 37:40
  Speaker 1: care of. And maybe it's not even that conscious. He
• 37:43
  Speaker 1: is scared. He just wants her to be there. He's scared, yeah.
• 37:46
  Speaker 2: Oh, and like, she's like, don't worry, I'll stay as
• 37:48
  Speaker 2: long as you want. It's a very, like, to me,
• 37:50
  Speaker 2: it's like, cute. And yeah, Phil is a dick. But not, like,
• 37:55
  Speaker 2: the thing is, it's interesting, the thing that I was
• 37:58
  Speaker 2: saying earlier about the different eras showing a douchebag, like,
• 38:03
  Speaker 2: the further we get from this point, the more we
• 38:06
  Speaker 2: get people that there was like a period in the
• 38:09
  Speaker 2: 90s and 2000s where you were like, yeah i want
• 38:12
  Speaker 2: these characters get fucking killed whereas like if phil died
• 38:17
  Speaker 2: which he does you're like oh man like that's so
• 38:20
  Speaker 2: brutal yeah obviously you don't want him to die i
• 38:22
  Speaker 2: think that part actually just is the reminder that he's
• 38:25
  Speaker 2: human but um i like to be hugged i like
• 38:29
  Speaker 2: to be hugged i like shut up you idiot hug this.
• 38:33
  Speaker 1: And he takes the priceless heirloom and smashes his face
• 38:37
  Speaker 1: And his face breaks. You know how you can squeeze
• 38:42
  Speaker 1: a Skittle? Yes, totally! He gets Skittlehead. Like in Robocop 3,
• 38:48
  Speaker 1: he gets Skittlehead. I don't know if you've ever seen
• 38:50
  Speaker 1: that one. Of course. But yeah, I really love Skittleface.
• 38:54
  Speaker 1: And he buries Tommy in the backyard underneath the swing. Yeah!
• 39:00
  Speaker 1: And the next scene is opening up in the morning
• 39:03
  Speaker 1: where Phil throws the like broken statue on the table.
• 39:06
  Speaker 1: He's like, all right, who the fuck did this? You
• 39:11
  Speaker 1: pieces of shit. You're lucky to be here. You know,
• 39:14
  Speaker 1: you're lucky to be here. If Joanne wasn't here, you'd
• 39:16
  Speaker 1: be back at that. It'd be a different story. Let
• 39:19
  Speaker 1: me tell you. Making him a villain.
• 39:21
  Speaker 2: No, but he is like literally like.
• 39:23
  Speaker 1: He looks like the molester guy. He looks like the, like,
• 39:27
  Speaker 1: molesty actor. Who is this? He's also... He was also
• 39:32
  Speaker 1: bit in a bunch of stuff. He grounds both of them, though, because, like,
• 39:36
  Speaker 1: no one's fessing up. He's like, I didn't do it!
• 39:39
  Speaker 1: Chucky did it! He doesn't say that yet, but... It's
• 39:44
  Speaker 1: a long line of Chucky did it, and at a
• 39:47
  Speaker 1: certain point, even I don't believe him anymore. Even though
• 39:50
  Speaker 1: I know what's happened, I'm like, all right, kid, you've
• 39:53
  Speaker 1: used Chucky as an excuse for everything. You can't all
• 39:56
  Speaker 1: be Chucky. Sometimes we've got to grow up, all right?
• 39:59
  Speaker 2: Sometimes our parents did bad things to us, too.
• 40:03
  Speaker 1: We all have our Chucky's. Chucky's, don't we? Right, Dad?
• 40:11
  Speaker 1: We all have our fucking Chucky's, Andy. Now suck it up.
• 40:15
  Speaker 1: Life is cruel. You got meal. You got fucking roof
• 40:19
  Speaker 1: over your head. Now go do the laundry with this
• 40:21
  Speaker 1: cunt sister of yours. Kyle. Kyle. I love Kyle. Kyle.
• 40:26
  Speaker 2: Yeah, she's great. She's got good style.
• 40:28
  Speaker 1: Kyle. Kyle's got good style. Hey, you want me to
• 40:31
  Speaker 1: say your name backwards? Oh, I love that line. Turns
• 40:33
  Speaker 1: around and says... Kyle.
• 40:35
  Speaker 2: That was so cute. That felt very much like, oh yeah,
• 40:39
  Speaker 2: this is Andy from the first one.
• 40:42
  Speaker 1: Andy's got a lot of personality, dude. Yeah, totally.
• 40:44
  Speaker 2: And then she hands him the cigarette that she's smoking
• 40:48
  Speaker 2: and he smokes it because that's what I would do
• 40:50
  Speaker 2: in this era of 80s kid.
• 40:52
  Speaker 1: Dude, him smoking it is like such a surreal visual.
• 40:55
  Speaker 1: It was so surreal. What the hell are you doing?
• 40:58
  Speaker 1: I wanted to taste it. It tastes like shit, okay?
• 41:02
  Speaker 1: And it's really bad for you. But why do you
• 41:05
  Speaker 1: do it? Because sometimes grown-ups do things that are bad
• 41:07
  Speaker 1: for you. You're not a grown-up. Yeah. Great lines. And
• 41:12
  Speaker 1: then she's like, you're beginning to get on my nerves.
• 41:14
  Speaker 1: But she's like, in a way that's like... She's really
• 41:17
  Speaker 1: nice about it. She's so nice about it and it's
• 41:19
  Speaker 1: so fun. She's been through this. She's immediately imprinted on
• 41:22
  Speaker 1: this kid. And like, she's gone through the same thing
• 41:25
  Speaker 1: that he's gone through. But she's older and she's more jaded.
• 41:29
  Speaker 1: And like, you know, she tells him, hey, like, you know...
• 41:33
  Speaker 1: This is where, like, it's like you have to learn
• 41:34
  Speaker 1: how to rely on yourself. And it's, like, a really
• 41:37
  Speaker 1: important lesson that he should learn because he is going
• 41:40
  Speaker 1: to be in the system for the rest of his life, dude. Absolutely.
• 41:43
  Speaker 1: Andy doesn't have, like, a good, like, Chucky ruins his life.
• 41:48
  Speaker 2: Chucky fucking ruins his life. Andy coming up the stairs
• 41:52
  Speaker 2: from doing the laundry and then hearing Phil be like,
• 41:55
  Speaker 2: he's obviously hasn't come to terms with this doll thing.
• 41:58
  Speaker 2: You know what's... It is very... It's very Silverman coded.
• 42:02
  Speaker 1: It's so... It's exactly.
• 42:04
  Speaker 2: That's what it is.
• 42:04
  Speaker 1: It is exactly. And it's the same kind of like... He...
• 42:07
  Speaker 1: Silverman thinks he's being nice. We get the smarm because...
• 42:12
  Speaker 1: We're like, but the smarm is not unearned for him
• 42:15
  Speaker 1: as a character. Exactly. That's why, that's why it's, it's.
• 42:19
  Speaker 1: That's why you're going to bat for Phil, but I
• 42:21
  Speaker 1: still think. Like, it's like, the thing is. Okay.
• 42:26
  Speaker 2: Let's pull back on silverman silverman is very opportunistic i
• 42:30
  Speaker 2: could write a whole book on this kid you know
• 42:32
  Speaker 2: what i mean like it like it's a little bit
• 42:35
  Speaker 2: different for phil because he's like i don't want a
• 42:38
  Speaker 2: kid in my house that's going to disrupt maybe the
• 42:41
  Speaker 2: other kid that lives here you know what i mean
• 42:43
  Speaker 2: it feels like a little bit.
• 42:44
  Speaker 1: More you you get the sense that Phil has his
• 42:49
  Speaker 1: life and he likes his life and he doesn't want
• 42:53
  Speaker 1: any disruptions to it. And he views this kid as
• 42:56
  Speaker 1: a disruption. Yeah, I agree. He wants these kids not
• 42:59
  Speaker 1: to be complicated. Yeah. And implicitly what makes him bad
• 43:03
  Speaker 1: is that he's doing a thing that he shouldn't be doing,
• 43:05
  Speaker 1: that he doesn't have any capacity to do. But he's
• 43:08
  Speaker 1: not implicitly a bad person.
• 43:09
  Speaker 2: No and and she that's why she's like confronting him
• 43:13
  Speaker 2: in ways where that are perfectly reasonable she's like uh
• 43:17
  Speaker 2: joanne is like give him a little time to settle
• 43:20
  Speaker 2: down like he he's been through a lot obviously and
• 43:25
  Speaker 2: it's like he will will do this you know he'll
• 43:29
  Speaker 2: get better when.
• 43:30
  Speaker 1: He goes because that's what gives him the idea to
• 43:33
  Speaker 1: go and try and reconcile with the good guy doll
• 43:37
  Speaker 1: because he's like all right This is just another doll.
• 43:41
  Speaker 1: It's not Chucky. Yeah.
• 43:43
  Speaker 2: But we all know that it is Chucky.
• 43:44
  Speaker 1: And he's brave. That's brave. It is brave.
• 43:45
  Speaker 2: For a kid to have that kind of like, that's
• 43:49
  Speaker 2: a real resilience and smart too.
• 43:51
  Speaker 1: It is smart. Because he checks the batteries. Andy, Andy,
• 43:54
  Speaker 1: it checks the batteries. It tries the tooth. And Andy
• 43:56
  Speaker 1: of part one could never have done this. It's like,
• 43:59
  Speaker 1: it comes in. And it's really heartbreaking because he's still
• 44:03
  Speaker 1: a little kid. It's such perfect balance stricken between like
• 44:07
  Speaker 1: a wiser Andy, but also still such a little kid,
• 44:10
  Speaker 1: like excellent writing. He comes in and he's like, I
• 44:13
  Speaker 1: hate you. And it's like, and Chucky goes, hi, I'm, Tommy!
• 44:19
  Speaker 1: I love the eyes turning slightly. And also increased pitch
• 44:23
  Speaker 1: in Tommy. I'm Tommy! Like, not Chucky. He was saying,
• 44:28
  Speaker 1: I'm not Chucky. Yeah, that is what he was saying.
• 44:32
  Speaker 1: And then Andy picks up the doll and goes downstairs.
• 44:36
  Speaker 1: And he, like, grooves to them. No, he shows... He
• 44:40
  Speaker 1: doesn't just go downstairs. He's like, hey! And then goes downstairs. He...
• 44:45
  Speaker 1: Does a weird display of, like, virtue signaling for himself.
• 44:50
  Speaker 1: It's like self-advocacy, Andy. He's like, listen, I need a
• 44:55
  Speaker 1: place to stay, guys. I'm not going back to that institution. Yeah,
• 44:58
  Speaker 1: for sure. He wants to be here over, you know...
• 45:01
  Speaker 1: He wants to be with his mom.
• 45:02
  Speaker 2: Well, he likes these people, too. Like, he doesn't like Phil, necessarily.
• 45:06
  Speaker 2: But there's, like, Kyle is cool.
• 45:08
  Speaker 1: Kyle! Yeah, and Joanne.
• 45:11
  Speaker 2: And they, like, are... They do a good job at...
• 45:15
  Speaker 2: for all the story stuff that this one doesn't handle
• 45:19
  Speaker 2: as well as the first one, they do a good,
• 45:21
  Speaker 2: good job at building character between people. So it's like, what,
• 45:26
  Speaker 2: what would a kid ask another foster kid? Like, do
• 45:29
  Speaker 2: you miss your mom and dad?
• 45:30
  Speaker 1: And it's like, I didn't know my dad and my
• 45:33
  Speaker 1: mom gave me up for adoption. I was three. Do
• 45:37
  Speaker 1: you still have memories of her? I made it a
• 45:38
  Speaker 1: point to forget. I, for some reason, remembered all of
• 45:41
  Speaker 1: her lines. Like she just had like, she's also like,
• 45:46
  Speaker 1: There's a kind of like turn into act two where
• 45:50
  Speaker 1: when she realizes that Chucky is real, she sort of
• 45:56
  Speaker 1: like she changes and the movie changes. Yeah. And it
• 46:01
  Speaker 1: becomes an adventure action. Like it becomes like Sarah Connor
• 46:06
  Speaker 1: part two of Terminator, you know, like when Sarah picks
• 46:10
  Speaker 1: up John. Yeah. It just really like plays out to
• 46:13
  Speaker 1: me kind of like Terminator two in a way.
• 46:15
  Speaker 2: And it's, I think, probably because there's a robot, a kid,
• 46:19
  Speaker 2: and a lady.
• 46:20
  Speaker 1: Yeah.
• 46:21
  Speaker 2: Like, that dynamic works.
• 46:22
  Speaker 1: They're all kind of against the world in some way. Yeah.
• 46:26
  Speaker 2: Chucky is both the good guy and the bad, or
• 46:28
  Speaker 2: the main character and the bad guy. There's a factory, like,
• 46:31
  Speaker 2: ending with, like, an epic fake-out killing.
• 46:34
  Speaker 1: Yeah. There's a lot of weird parallels. And then slightly
• 46:38
  Speaker 1: balded Tommy... Slightly raised, Zali's like, Tommy gets picked up.
• 46:44
  Speaker 1: I like this scene when, like, they're just, like, outside, like...
• 46:49
  Speaker 1: Playing on the swing. Playing on the swing, and she's
• 46:51
  Speaker 1: doing some gardening, and then he picks up, he reluctantly
• 46:53
  Speaker 1: picks up who he thinks is Tommy. And they go
• 46:56
  Speaker 1: inside to eat. Dinner! I'm feeding you! Hey! Well, like,
• 47:01
  Speaker 1: Kyle is.
• 47:02
  Speaker 2: Ungrateful!
• 47:03
  Speaker 1: Dinner! I really enjoyed this part, because it shows.
• 47:08
  Speaker 2: how realistic the dynamics are with kids and adults, or
• 47:13
  Speaker 2: young adults, where she's finished... gardening and then sits on
• 47:19
  Speaker 2: the swing and he's like i'll push you and you're
• 47:22
  Speaker 2: you know when a kid does a thing that you're
• 47:24
  Speaker 2: like it's annoying well it's like when he made breakfast
• 47:28
  Speaker 2: at the beginning and you kind of have to play
• 47:30
  Speaker 2: along with with being like yeah i i'm okay with
• 47:34
  Speaker 2: this but your kid you don't want to traumatize the
• 47:37
  Speaker 2: kid in a way that's like i want you to
• 47:39
  Speaker 2: be creative like this in your real life yeah i think.
• 47:43
  Speaker 1: I think that was really like handled super well like
• 47:45
  Speaker 1: she she's.
• 47:46
  Speaker 2: She really likes him yeah it's a very cute relationship
• 47:50
  Speaker 2: andy takes tommy into the house with them the.
• 47:54
  Speaker 1: Subtlety of the differences of the faces where like they're
• 47:57
  Speaker 1: he's like lit by moonlight as andy is like innocently
• 48:01
  Speaker 1: sleeping and he's just like more sinister but you can't
• 48:05
  Speaker 1: really tell exactly what's more sinister about the face yeah
• 48:09
  Speaker 1: for sure and like it's done so well and then
• 48:11
  Speaker 1: he starts moving he becomes sentient chucky and And.
• 48:16
  Speaker 2: While Joanne is... Sewing a garment for... Which is cute.
• 48:20
  Speaker 2: That's actually kind of cool.
• 48:21
  Speaker 1: She's responsible for Kyle's, like, cool style. Kyle. And he's
• 48:26
  Speaker 1: massaging her. He's like, come on. I got another kid.
• 48:29
  Speaker 1: You promised you'd suck my dick if we did. And
• 48:32
  Speaker 1: then he's like... And then it's Shibari, Andy... and he's
• 48:37
  Speaker 1: getting into he's getting into role.
• 48:39
  Speaker 2: Play wait hold on we didn't say that phil in
• 48:43
  Speaker 2: his ever shitty behavior is like she she's like what
• 48:47
  Speaker 2: do you think she'll do you think she'll like this.
• 48:49
  Speaker 1: I don't know a single thing about teenage girls and
• 48:52
  Speaker 1: i don't care to because i'm an irresponsible foster parent Well,
• 48:57
  Speaker 1: I mean, it's also like, it could be like... I'm
• 49:01
  Speaker 1: doing this for... The people who do these things do
• 49:03
  Speaker 1: them for weird ulterior motives and project a bunch of
• 49:06
  Speaker 1: insecurities onto these children. I mean, yeah, fair enough. That's
• 49:09
  Speaker 1: really true. That seems like a very apt thing to
• 49:14
  Speaker 1: say about Phil. He does seem to be portraying weird...
• 49:17
  Speaker 1: He doesn't want to do this. He... doing this for
• 49:21
  Speaker 1: the bad reasons. I don't know.
• 49:23
  Speaker 2: Like, he's still doing it.
• 49:26
  Speaker 1: It's true, dude. But Shibari Chucky, Rope Top Chucky, is
• 49:31
  Speaker 1: tying up his rope bunny, Andy, and he wants to go,
• 49:34
  Speaker 1: How they doing? Okay, and let me tell you something, dude.
• 49:38
  Speaker 1: You said something in the last episode that I wanted
• 49:41
  Speaker 1: to challenge you on. He's not doing it randomly, dude.
• 49:44
  Speaker 1: It's the same every single time. It's actually remarkably the same.
• 49:49
  Speaker 1: The only thing that changes about it is the performance
• 49:52
  Speaker 1: of it. But the words are like the same. No, no,
• 49:59
  Speaker 1: I don't... What did I say? What was I saying?
• 50:02
  Speaker 1: You were like... And then it just sounds like he's
• 50:05
  Speaker 1: seemingly randomly making up this... Well, seemingly. Seemingly. I didn't...
• 50:09
  Speaker 1: I wasn't like, it is random. The one thing I've
• 50:13
  Speaker 1: noticed is later on the pronunciation of Damballa changes. It's
• 50:18
  Speaker 1: not Damballa. It's more Damballa. Yeah.
• 50:22
  Speaker 2: And other people say it in the series Damballa or whatever.
• 50:25
  Speaker 1: Yeah, Damballa. It's kind of like, there was an example
• 50:31
  Speaker 1: of that in Saw, I think, but I forget now.
• 50:34
  Speaker 1: And it's, but I like, and why did we think hockey?
• 50:41
  Speaker 1: It was never hockey. I watched all of them. I
• 50:43
  Speaker 1: watched the super cut. I downloaded it. And it's always, when,
• 50:46
  Speaker 1: when she goes, wait, Oh yeah, that was very funny. Funny, funny, funny, funny, funny, funny. Um, I,
• 51:00
  Speaker 1: I think, I think they had to do it funny
• 51:03
  Speaker 1: because of the fact that like, he's so little and
• 51:06
  Speaker 1: it's so funny. I was like, he's cute every time. Yeah.
• 51:10
  Speaker 1: And what makes the scariness of the sinister part scary
• 51:14
  Speaker 1: and sinister is that he's cute. Yes, absolutely.
• 51:17
  Speaker 2: Kyle crawls through the window of Andy's room.
• 51:21
  Speaker 1: She was sneaking in and sneaking out. And then she's like,
• 51:25
  Speaker 1: this isn't even a good tie. Who did this? Who,
• 51:28
  Speaker 1: what amateur did this? Could cut off your blood circuit. Listen,
• 51:31
  Speaker 1: I know all about Shibari. Um, if you'd.
• 51:33
  Speaker 2: Like an experience, uh, but this is, this is interesting
• 51:39
  Speaker 2: because it, creates an already kind of hostile dynamic into
• 51:45
  Speaker 2: a more hostile dynamic where it's like.
• 51:47
  Speaker 1: Phil is foaming at the mouth to like get rid
• 51:49
  Speaker 1: of these kids and he's like what the fuck is
• 51:51
  Speaker 1: going it's looking weird i mean they're experimenting dude it's
• 51:56
  Speaker 1: called shibari all right what's with this doll what are
• 52:01
  Speaker 1: you doing with this doll um are you shoving this
• 52:04
  Speaker 1: thing up your ass This smells like someone shoved it
• 52:09
  Speaker 1: up their ass, or at least tried to recently. It
• 52:13
  Speaker 1: smells like a corporate douchebag's ass. How do I know?
• 52:17
  Speaker 1: I love eating ass. I'm gay. Phil turns out to
• 52:22
  Speaker 1: be gay. What? Well, listen, honey, I'm bisexual, but I'm heteroromantic, though.
• 52:31
  Speaker 2: But it's the 90s, so I can't say anything about this.
• 52:34
  Speaker 1: And we don't have terms for things like this. queer
• 52:40
  Speaker 1: that's something a boss a boston guy would call somebody
• 52:44
  Speaker 1: while beating the shit out of them and we're in
• 52:50
  Speaker 1: chicago also like that um and then and then phil
• 52:59
  Speaker 1: takes the doll and is like i'm tired what are
• 53:02
  Speaker 1: you people doing up I'm throwing this doll on the floor. Well,
• 53:06
  Speaker 1: first he thinks that Kyle tied him up. Is molesting him? No, shoot.
• 53:11
  Speaker 1: He's like, obviously you tied this child up. Like, everything
• 53:14
  Speaker 1: that happens reasonably has another explanation that could be, like,
• 53:19
  Speaker 1: you know, true. And is way more likely than Chucky
• 53:23
  Speaker 1: did it. Yeah, exactly. It's probably being molested. Phil is
• 53:27
  Speaker 1: really losing his patience and he's like so stern with Andy.
• 53:31
  Speaker 1: Throws Chucky down the stairs. He's like, there! He's fine.
• 53:34
  Speaker 1: He's dead. I'm gonna lock him down here. And Chucky
• 53:37
  Speaker 1: wakes up with blood and he's like, no! I'm turning
• 53:41
  Speaker 1: human again! It's kind of like... For who?
• 53:45
  Speaker 2: For who, dude?
• 53:46
  Speaker 1: Who the fuck is he saying this to? I think...
• 53:51
  Speaker 1: I know. I think it's realistic. I'll tell you why,
• 53:54
  Speaker 1: because he's lonely. He's in inside a Chucky and he's,
• 53:59
  Speaker 1: becoming a chucky and.
• 54:00
  Speaker 2: Like brad dorff can do this.
• 54:03
  Speaker 1: I think i agree he misses his own life he
• 54:07
  Speaker 1: misses his friend theresa caputo dude yeah i used to
• 54:11
  Speaker 1: fuck your sister theresa okay is he kidding me no
• 54:15
  Speaker 1: i'm turning human again and they make it seem like
• 54:18
  Speaker 1: it's happening like faster this time or something i don't
• 54:21
  Speaker 1: know there's definitely i love the i love the magic
• 54:23
  Speaker 1: of it Yeah, for sure. Oh, also, sorry, I forgot
• 54:27
  Speaker 1: to mention something that's very important. We get a subtle
• 54:30
  Speaker 1: lore drop from Grace Zabritsky, who was like, he was
• 54:33
  Speaker 1: a killer that was ritualistically killing people in voodoo. Yes,
• 54:37
  Speaker 1: we never mentioned that. He was never voodoo killing people.
• 54:42
  Speaker 1: Voodoo magic. Fucking voodoo magic, man. Ha ha ha ha
• 54:47
  Speaker 1: ha ha.
• 54:48
  Speaker 2: Well, Andy gets taken to first day of school where
• 54:52
  Speaker 2: Kyle gives some sage advice on new kid smell. You
• 54:56
  Speaker 2: don't believe me.
• 54:58
  Speaker 1: Nobody believes me. Why? Did Chucky try and get you?
• 55:01
  Speaker 1: But like the trying to like minimize a real traumatic event.
• 55:06
  Speaker 1: But like from her perspective, it's like, yo, dude, like
• 55:09
  Speaker 1: that's far. Like you think a doll came to life
• 55:12
  Speaker 1: and killed somebody? You know, you probably did it. As
• 55:15
  Speaker 1: a kid, I remember being so on Andy's side and
• 55:17
  Speaker 1: being like, she's just being mean to him. But it's
• 55:19
  Speaker 1: like she doesn't know and it would be what a
• 55:21
  Speaker 1: kid her age would do like to kind of defuse
• 55:24
  Speaker 1: the situation. But also she doesn't have the like capacity
• 55:28
  Speaker 1: to be mature about the situation. Totally because she's fucking 17. Yeah.
• 55:31
  Speaker 2: And then Andy sadly throwing the ball at a fence
• 55:34
  Speaker 2: by himself.
• 55:35
  Speaker 1: By himself. dude the chucky legs dangling from the back
• 55:38
  Speaker 1: of the bus was they loved they did a lot
• 55:41
  Speaker 1: of kicking chucky in this like the robots just kicking
• 55:44
  Speaker 1: its legs on the back of a person.
• 55:45
  Speaker 2: And then chucky following him to school and then writing
• 55:49
  Speaker 2: on the paper fuck.
• 55:51
  Speaker 1: You bitch fuck you bitch to finding andy's favor sitting
• 55:56
  Speaker 1: at the desk cartoonishly finding andy's favor and writing down
• 56:00
  Speaker 1: in crayon red crayon Fuck you, bitch. And then we
• 56:03
  Speaker 1: get the fade in to... It like fades their... Crossfades
• 56:08
  Speaker 1: their faces. And she's like, Pinocchio loved Geppetto. Puppets are
• 56:13
  Speaker 1: in this movie. This movie's about puppets. It's very puppets
• 56:16
  Speaker 1: are in this movie. And she's so Croatian looking. And
• 56:22
  Speaker 1: they've like dressed her up. She was the most Croatian.
• 56:26
  Speaker 1: She never looked as Croatian as she did in this movie.
• 56:29
  Speaker 1: And in Speed. Yes, both.
• 56:31
  Speaker 2: And, like, they made her look older despite not being
• 56:36
  Speaker 2: that old.
• 56:37
  Speaker 1: She's not that old in this. She's not this old.
• 56:40
  Speaker 1: They dressed her older. They dressed her older. Because she's
• 56:42
  Speaker 1: kind of hot. She's very hot. And she's, like, Andy
• 56:45
  Speaker 1: gets his ear flicked by the kid who's sitting behind him.
• 56:47
  Speaker 1: He calls him a microchip. She's younger than us in
• 56:48
  Speaker 1: this movie, for sure. You think so? Yeah, I think so.
• 56:51
  Speaker 1: I think she's younger than us. Interesting. Or maybe she's, like,
• 56:54
  Speaker 1: your age. But, like, I'm like... I don't know. Anyway,
• 56:57
  Speaker 1: she's like, alright, I don't like smart people and you
• 57:00
  Speaker 1: should be getting on my goods. Dude, the amount of, like, okay,
• 57:04
  Speaker 1: I wanted to talk to you about fucking Beth Grant's
• 57:06
  Speaker 1: incredible Croatian performance in this because she, like, I, in
• 57:11
  Speaker 1: this very same year, had a Croatian teacher named Miss
• 57:15
  Speaker 1: Saretta that was so mean to us, dude, because it
• 57:18
  Speaker 1: was the 90s. Because she was Croatian? Because she was
• 57:20
  Speaker 1: Croatian and she had some sectarian feelings, dude. She hated
• 57:23
  Speaker 1: Yugoslavian kids and she was mean to the Serbian kids, dude.
• 57:27
  Speaker 1: So Miss Saretta was mean to the Serbian kids and
• 57:29
  Speaker 1: she very much reminded me of the unruly energy of
• 57:33
  Speaker 1: Beth Grant in this movie. Like Beth Grant. You've imprinted
• 57:37
  Speaker 1: the Croatian on her. Maybe that's. She was 41. So
• 57:40
  Speaker 1: she is. She's my age. Yeah. Dude, Beth Grant, when
• 57:44
  Speaker 1: she sees the fuck you bitch, she's almost excited. Chomping
• 57:48
  Speaker 1: at the bit at the opportunity to punish this kid.
• 57:52
  Speaker 1: She like shows him. She like shoves the thing in
• 57:55
  Speaker 1: his face and like doesn't let him go. Grabs him
• 57:59
  Speaker 1: by the arm. shoves him down into his desk, and, like,
• 58:04
  Speaker 1: talks down yelling at him. It's incredibly scary, and it's
• 58:09
  Speaker 1: shot from his angle, and she's like, who did this?
• 58:12
  Speaker 1: Then who did this? And he looks at the doll,
• 58:14
  Speaker 1: and she's like, don't even think about it.
• 58:16
  Speaker 2: Oh, I love that.
• 58:17
  Speaker 1: I love that. Do you think this is funny? Mishandles
• 58:21
  Speaker 1: Chucky again, like, violently handles Chucky in a way that, like...
• 58:27
  Speaker 1: everyone who does that in a movie gets so destroyed
• 58:30
  Speaker 1: and killed she yeah totally she she also um the
• 58:37
  Speaker 1: offense that is taken does feel very like i man
• 58:42
  Speaker 1: like if that happened i don't know how i would
• 58:45
  Speaker 1: feel if a kid did that yeah yeah no i
• 58:49
  Speaker 1: i understand i understand i just think that.
• 58:52
  Speaker 2: But yes, she has it out for all the children.
• 58:55
  Speaker 1: She seems to be very excited to punish this child
• 58:59
  Speaker 1: in a way that sometimes adults did feel.
• 59:01
  Speaker 2: Yeah, definitely in a way that sometimes adults did feel,
• 59:05
  Speaker 2: but also in a way that is like a weird.
• 59:10
  Speaker 1: power trip. Yeah, yeah. It's like, no, it's like something
• 59:13
  Speaker 1: about their character where it's like, this is who you are.
• 59:15
  Speaker 1: You want to lord your power over children. And this
• 59:19
  Speaker 1: gets into- So you use your children. This gets into
• 59:21
  Speaker 1: the territory of needing to hate the character that's going
• 59:28
  Speaker 1: to die in order for Chucky to be still kind
• 59:30
  Speaker 1: of a good guy. You know what I mean? That's
• 59:32
  Speaker 1: totally true. And I think this is like kind of
• 59:36
  Speaker 1: part of the redemption of Chucky. Andy, please let me out.
• 59:43
  Speaker 1: Let me out, you little dick. We loved the you
• 59:46
  Speaker 1: little dick line. And like the eye, the mechanical eye
• 59:50
  Speaker 1: blinking as it goes to the like peep hole or
• 59:54
  Speaker 1: the key hole is amazing. And him terrifyingly. I also.
• 59:58
  Speaker 2: I promise I won't kill anyone else.
• 1:00:02
  Speaker 1: It's amazing and like i think and then beth grant
• 1:00:05
  Speaker 1: panickingly comes back she after she fucking locked this child
• 1:00:10
  Speaker 1: in this room and i mean people used to hit
• 1:00:13
  Speaker 1: children in this era too so it it locking the
• 1:00:16
  Speaker 1: door doesn't seem like that big a deal i still
• 1:00:19
  Speaker 1: remember in grade three when mr brownlee hurt mark grabbed
• 1:00:23
  Speaker 1: his arm physically, gave him a bruise, and then they
• 1:00:25
  Speaker 1: told Mr. Brownlee it was time to retire. And then
• 1:00:28
  Speaker 1: he taught me how to read, dude. He was an
• 1:00:32
  Speaker 1: amazing teacher. With a really racist version of Charlie and
• 1:00:36
  Speaker 1: the Chocolate Factory. The most racist version of Charlie and
• 1:00:38
  Speaker 1: the Chocolate Factory. It was a first edition. He gave
• 1:00:41
  Speaker 1: it to us. And then, Andy! Beth Grant panicking chicken
• 1:00:47
  Speaker 1: comes to the... To the closet. To the closet. It's, like,
• 1:00:50
  Speaker 1: such a, like, deep walk-in closet filled with, like, children's
• 1:00:53
  Speaker 1: clothing and, like, balls and shit. But, like, it just
• 1:00:56
  Speaker 1: kind of seems like no school looks like this. They
• 1:00:59
  Speaker 1: feel like they, like, filled it with just kids' stuff. Yeah, totally.
• 1:01:03
  Speaker 1: I love... The way she does it is so good.
• 1:01:06
  Speaker 1: It's so memorable. This movie has, like, the most memorable parts,
• 1:01:10
  Speaker 1: I think.
• 1:01:11
  Speaker 2: Yeah, the most memorable Chucky face that Michael Powers used
• 1:01:14
  Speaker 2: to do.
• 1:01:15
  Speaker 1: Totally, dude.
• 1:01:16
  Speaker 2: Where he stabs her.
• 1:01:18
  Speaker 1: This is the most Michael Powers Chucky face. That's what
• 1:01:20
  Speaker 1: I mean, yeah. When he comes over, he's like, da!
• 1:01:22
  Speaker 1: When he pumps her with the pump. I remember him
• 1:01:25
  Speaker 1: making this. Because he would have hair like that, too,
• 1:01:27
  Speaker 1: that it was like, oh, man. Maybe I'm just combining
• 1:01:31
  Speaker 1: Michael Powers and Chucky. This is the weirdest death because
• 1:01:35
  Speaker 1: of the fact that he just kind of hits her
• 1:01:37
  Speaker 1: with a ruler. It's kinky Chucky, dude. We have already
• 1:01:41
  Speaker 1: established that he's into Jabari. He's always kinky Chucky. But
• 1:01:44
  Speaker 1: now he's into impact play as well. And he's got
• 1:01:47
  Speaker 1: this fucking ruler that he's trying to... He's like, do
• 1:01:50
  Speaker 1: you just let me know what the safe word is, darling?
• 1:01:53
  Speaker 1: And we'll go right from there. But the sinister face
• 1:01:56
  Speaker 1: that he's making as he's walking towards... It's not Michael Powers,
• 1:01:59
  Speaker 1: but it's like slightly bald and Chucky, too. And she
• 1:02:02
  Speaker 1: drags the blood, tries the tooth. And then he spanks
• 1:02:06
  Speaker 1: her and they cut to her face reacting. It's amazing, dude.
• 1:02:12
  Speaker 1: But they don't show her actually get killed. He just
• 1:02:16
  Speaker 1: spanks her. Good kinky Chucky.
• 1:02:19
  Speaker 2: Well, they also don't call.
• 1:02:22
  Speaker 1: Polyamorous Chucky. Canonically polyamorous. They don't call the... parents to
• 1:02:28
  Speaker 1: be like, hey. That's what I was like, hey, a
• 1:02:31
  Speaker 1: teacher died after putting.
• 1:02:36
  Speaker 2: Your son Andy in detention. Phil shows Andy that the
• 1:02:42
  Speaker 2: doll is still downstairs. Tommy is still downstairs.
• 1:02:45
  Speaker 1: And Tommy is still downstairs. Yes, absolutely. Because he didn't move.
• 1:02:48
  Speaker 2: And he's like, listen, you say it like it's a
• 1:02:50
  Speaker 2: bad thing. His name is Tommy. It's not Chucky.
• 1:02:54
  Speaker 1: He's been there since last night. This like beautifully fucking
• 1:02:57
  Speaker 1: like dollied over shot that's like weirdly did you notice
• 1:03:01
  Speaker 1: all the like handheld in this movie what did you
• 1:03:04
  Speaker 1: notice all of the like cool handheld in this movie
• 1:03:07
  Speaker 1: especially at the end uh not really actually and like
• 1:03:11
  Speaker 1: this like panned shot that like it starts in the
• 1:03:14
  Speaker 1: like it starts in the family room with the joanne
• 1:03:19
  Speaker 1: and uh phil arguing and and him being.
• 1:03:24
  Speaker 2: Like the kid needs professional help joanne he's right though
• 1:03:27
  Speaker 2: yeah they're out of their element he knew that they
• 1:03:30
  Speaker 2: couldn't do it well now you're now you're sounding like me.
• 1:03:35
  Speaker 1: He knew that they couldn't do it dude and then
• 1:03:36
  Speaker 1: they pan over to andy and it's so sad and
• 1:03:39
  Speaker 1: but they like see you see all these like old
• 1:03:41
  Speaker 1: pictures in this house how did they shoot this this
• 1:03:44
  Speaker 1: looks so good this is just a set i'm pretty
• 1:03:46
  Speaker 1: sure i'm pretty sure the whole house is just a
• 1:03:48
  Speaker 1: set it looks so good and they like pan over
• 1:03:52
  Speaker 1: It's very slow and you just hear this like argument
• 1:03:56
  Speaker 1: like play out and Andy sitting alone in the room quietly.
• 1:03:59
  Speaker 2: And then Kyle comes in and she's like, it's okay.
• 1:04:02
  Speaker 2: I've been through this too, kid. And he's like, they're
• 1:04:04
  Speaker 2: going to send me away.
• 1:04:07
  Speaker 1: That's fine. I've been with like dozens of families. I
• 1:04:10
  Speaker 1: don't even remember any of them. Yeah. And the idea.
• 1:04:16
  Speaker 1: She's just like, you're just going to have to learn
• 1:04:19
  Speaker 1: how to rely on yourself. Yeah.
• 1:04:21
  Speaker 2: You're just going to have to be a libertarian like me.
• 1:04:23
  Speaker 1: Yeah. Well, she is.
• 1:04:24
  Speaker 2: Or an anarchist, whatever, whatever.
• 1:04:28
  Speaker 1: We'll see where, where society takes her, dude. But yeah,
• 1:04:32
  Speaker 1: like it's, it's so good. It's so good. And him
• 1:04:36
  Speaker 1: being like, wherever I go, Chucky will find me. Oh man.
• 1:04:40
  Speaker 1: It's so sad too. Cause you, the dramatic irony of
• 1:04:44
  Speaker 1: the audience being the only one that actually knows he's
• 1:04:46
  Speaker 1: telling the truth. And nobody else being around except for
• 1:04:49
  Speaker 1: his mother who's institutionalized. Yeah. It's, like, so scary. So lonely.
• 1:04:54
  Speaker 1: And then him coming down and doing what Chucky does
• 1:04:58
  Speaker 1: with his tiny hand, like, opening drawers and stuff. And
• 1:05:02
  Speaker 1: then getting the turkey cutter. I love that. This was, like,
• 1:05:06
  Speaker 1: such a cool little kid idea of, like, I'm going
• 1:05:09
  Speaker 1: to take this into... Takes her advice. He's like, I'm
• 1:05:12
  Speaker 1: going to take this into my own hands. Yeah, 100%.
• 1:05:16
  Speaker 2: And then he goes downstairs to the basement and thinks
• 1:05:19
  Speaker 2: that Chucky's in the dryer and stabs the clothing.
• 1:05:23
  Speaker 1: He just starts preemptively, like, drilling into the dryer. I
• 1:05:26
  Speaker 1: loved it, too. I thought the logic of it was, like,
• 1:05:29
  Speaker 1: really sound for a child. And he just gets ambushed
• 1:05:34
  Speaker 1: by Chucky. He gets, like, jump scared. He's like....
• 1:05:40
  Speaker 2: So much biting, Chucky.
• 1:05:43
  Speaker 1: There's a lot. He loves, like, going for the neck
• 1:05:45
  Speaker 1: in this. Like, neck-biting jerk, Chucky.
• 1:05:48
  Speaker 2: And then Phil hears something happening, and he goes downstairs,
• 1:05:53
  Speaker 2: and he sees Andy with the knife, and is like,
• 1:06:01
  Speaker 2: put the knife down, Andy.
• 1:06:02
  Speaker 1: His reaction is like, okay, this has been enough of this.
• 1:06:05
  Speaker 1: This is over. I'm... No, we didn't say that Andy
• 1:06:10
  Speaker 1: slightly cuts Chucky's head. Oh, yeah, totally.
• 1:06:14
  Speaker 2: And Phil gets tripped by Chucky with a pole. It's
• 1:06:20
  Speaker 2: like a fish hook.
• 1:06:21
  Speaker 1: It's like the thing that they used to take minstrel
• 1:06:24
  Speaker 1: shows off the stage with. Oh, yeah. It's like the
• 1:06:28
  Speaker 1: thing that Bugs Bunny takes someone off the stage with.
• 1:06:30
  Speaker 2: And then Phil reverse motions off the floor and dies.
• 1:06:35
  Speaker 1: I go... The neck, like, fucking gooping is so gross.
• 1:06:42
  Speaker 1: And Chucky B... It looks really good. The reverse motion
• 1:06:46
  Speaker 1: looks really good. And gives it this, like, scary, but
• 1:06:50
  Speaker 1: not before revealing himself to Phil, saying, how's it hanging, Phil?
• 1:06:54
  Speaker 2: That was a very Beetlejuice.
• 1:06:57
  Speaker 1: That's what the movie reminds me of, actually.
• 1:06:59
  Speaker 2: I was trying to think... Well, because it has the
• 1:07:01
  Speaker 2: molesting guy, dude.
• 1:07:03
  Speaker 1: Yeah, that's true. Yeah. Jeffrey Jones. i don't i watched
• 1:07:09
  Speaker 1: part of beetlejuice too i couldn't i couldn't watch the
• 1:07:12
  Speaker 1: whole thing yeah um but the way they try to
• 1:07:14
  Speaker 1: include the molesty guy it almost makes it worse because
• 1:07:17
  Speaker 1: i'm just like stop reminding me of him you could
• 1:07:20
  Speaker 1: have just said he died i don't care he doesn't
• 1:07:22
  Speaker 1: have to be a huge part of the movie oh
• 1:07:24
  Speaker 1: that's true he's a huge part of the way i
• 1:07:26
  Speaker 1: had to include molesty guy Oh, man.
• 1:07:28
  Speaker 2: In that movie, he's a huge part. Dude, heartbreak of
• 1:07:31
  Speaker 2: part two?
• 1:07:32
  Speaker 1: Yeah. Yeah, I know. Way too big a part. They
• 1:07:35
  Speaker 1: could have just been like, and he died. He wasn't
• 1:07:37
  Speaker 1: that important in part one. Anyway, it doesn't matter. It's
• 1:07:42
  Speaker 1: so sad when she's like, get away from me. Yeah. Oh, man.
• 1:07:46
  Speaker 2: Phil dies. And Joanne is just like, oh, my God.
• 1:07:52
  Speaker 1: Yeah, and she doesn't care about Andy anymore. Nope. She's like, well,
• 1:07:56
  Speaker 1: we're packing you up. You're going to... You're going back.
• 1:08:00
  Speaker 2: And she regrets not listening to Phil.
• 1:08:03
  Speaker 1: Yeah, just like... But when was she supposed to return
• 1:08:05
  Speaker 1: him that same night? Yeah. Maybe she just meant she
• 1:08:08
  Speaker 1: should have listened to his instinct about Andy. Andy! Which,
• 1:08:13
  Speaker 1: as you concede, was completely correct. I mean, yeah. He
• 1:08:16
  Speaker 1: wouldn't have died. He ended up fucking dying. He could
• 1:08:19
  Speaker 1: have had a nice life with this woman. Yeah. They
• 1:08:21
  Speaker 1: didn't have to have children. Kyle was cool. It was
• 1:08:24
  Speaker 1: society's pressure that was making them have children. It's true.
• 1:08:27
  Speaker 1: It's true.
• 1:08:28
  Speaker 2: Grace Zabriskie dead-eyed looking at Andy being like, we'll find
• 1:08:31
  Speaker 2: a place for you. I'm going to pretend for you
• 1:08:35
  Speaker 2: that your life.
• 1:08:36
  Speaker 1: Is going to be okay. But it's not. Oh, man.
• 1:08:38
  Speaker 1: As a ward of the state. The way she's, like,
• 1:08:42
  Speaker 1: so dead-eyed about it. Like, a guy just, Andy just
• 1:08:46
  Speaker 1: saw another guy die. Yep. And, like, Andy's not being, like,
• 1:08:52
  Speaker 1: I don't know, sufficiently, like, I don't know. Like, he's
• 1:08:58
  Speaker 1: been involved in all of these deaths. now like i
• 1:09:01
  Speaker 1: if i was like the police.
• 1:09:04
  Speaker 2: You'd be final destinationing a little bit and yeah like
• 1:09:07
  Speaker 2: you would.
• 1:09:07
  Speaker 1: Like we have the red string out dude and you'd
• 1:09:09
  Speaker 1: be like tying the photos all together uh but grazer
• 1:09:12
  Speaker 1: brisky is Is David Lynch dead-eyed in this? Yes. This
• 1:09:16
  Speaker 1: was the same time they were filming David Lynch, dude.
• 1:09:18
  Speaker 1: This was Twin Peaks era. Twin Peaks era. She looks
• 1:09:21
  Speaker 1: so good, dude. She looks so amazing. Yeah.
• 1:09:24
  Speaker 2: It's funny when the only time we see the police,
• 1:09:27
  Speaker 2: they're doing nothing. The one dude at the floor being like,
• 1:09:32
  Speaker 2: Besides the boy witness, did anybody else see the accident?
• 1:09:36
  Speaker 1: No. Well, see you later. Exactly. It's literally that. That's
• 1:09:40
  Speaker 1: the only investigating that happens. Well, they did a budget cut, dude,
• 1:09:43
  Speaker 1: since two years ago. And it's just hard. It's been
• 1:09:47
  Speaker 1: a hard time.
• 1:09:48
  Speaker 2: This reveal is really nice because.
• 1:09:51
  Speaker 2: Kyle grabs the toy, grabs the good guy doll, throws
• 1:09:55
  Speaker 2: it away, and then is on the swing, reminiscing about
• 1:09:59
  Speaker 2: having fun with Andy and smoking a cigarette, and then.
• 1:10:02
  Speaker 1: Smoking cigarettes?
• 1:10:05
  Speaker 2: She kicks off the dirt from where Tommy is buried
• 1:10:09
  Speaker 2: and realizes... It's a cool reveal.
• 1:10:12
  Speaker 1: It's a reveal.
• 1:10:14
  Speaker 2: In the same sense that when Catherine Hicks opens the
• 1:10:18
  Speaker 2: back of the Good God doll in the first one
• 1:10:20
  Speaker 2: and there's no batteries in it. It's that kind of
• 1:10:22
  Speaker 2: reveal in how clever it is.
• 1:10:26
  Speaker 1: Did you say the part where she puts Chucky in
• 1:10:29
  Speaker 1: the garbage? Yes. Yeah. She puts Chucky in the garbage
• 1:10:32
  Speaker 1: and then goes... Anyway. She goes to the swing and
• 1:10:35
  Speaker 1: finds Tommy. Yeah. I literally just did that. Yeah. Sorry. Sorry.
• 1:10:39
  Speaker 1: I thought we missed the part where she gets thrown away. Because... Yeah,
• 1:10:44
  Speaker 1: she really makes a point of, like, looking at him there,
• 1:10:46
  Speaker 1: and then when she sees the other doll, it, like,
• 1:10:48
  Speaker 1: all clicks for her. And we get, like, Chucky reveals
• 1:10:57
  Speaker 1: himself to her.
• 1:11:00
  Speaker 2: Well, he sees, she goes to find the garbage, and
• 1:11:04
  Speaker 2: she hears upstairs that something's happening with Joanne, and she's like, Joanne!
• 1:11:08
  Speaker 2: And runs upstairs. But before that, she grabs a cool knife.
• 1:11:12
  Speaker 1: She does grab a cool knife. I love this knife.
• 1:11:15
  Speaker 1: I like the.
• 1:11:16
  Speaker 2: Because they kind of set up that they're collectors of stuff.
• 1:11:19
  Speaker 1: And it's like, oh, this is a knife from a
• 1:11:20
  Speaker 1: cool place. Totally, totally. I love that.
• 1:11:23
  Speaker 2: And then she goes upstairs and Joanne is like sewing.
• 1:11:27
  Speaker 1: And she's, like... She's dead.
• 1:11:29
  Speaker 2: She's dead, but, like... She's slumped over. She's slumped over,
• 1:11:33
  Speaker 2: but she's got, like, a cut neck and tied up. It's, like,
• 1:11:37
  Speaker 2: kind of makes no sense.
• 1:11:38
  Speaker 1: And also looks like... The makeup looked like Are You
• 1:11:43
  Speaker 1: Afraid of the Dark? Yeah, it was very Are You
• 1:11:44
  Speaker 1: Afraid of the Dark? I was just like, guys, like,
• 1:11:47
  Speaker 1: you had the budget to make Chucky have, like, a
• 1:11:49
  Speaker 1: curvy sneer nose, but you can't do a better dead face?
• 1:11:54
  Speaker 1: And then....
• 1:11:56
  Speaker 2: He tries to, like, choke her. He's so fast. He's
• 1:12:00
  Speaker 2: so fast.
• 1:12:01
  Speaker 1: And when he's, like, on her back, he's kicking his
• 1:12:04
  Speaker 1: little legs.
• 1:12:05
  Speaker 2: And she hits him with the light, and he steals
• 1:12:07
  Speaker 2: the knife.
• 1:12:09
  Speaker 1: And... And then she, like.
• 1:12:16
  Speaker 2: What's cool about the performance and stuff with the doll
• 1:12:19
  Speaker 2: is the, like, using... There's a lot of using bodies and, like,
• 1:12:26
  Speaker 2: using the ability to not be in.
• 1:12:31
  Speaker 1: Like.
• 1:12:32
  Speaker 2: Charles Lee Ray uses this toy body, and then the
• 1:12:34
  Speaker 2: toy body has to, like, figure out ways to get
• 1:12:37
  Speaker 2: places fast. So he, like, kidnaps Kyle to go back
• 1:12:41
  Speaker 2: to the, like, orphanage to get Andy.
• 1:12:45
  Speaker 1: Totally.
• 1:12:46
  Speaker 2: But it's also, like, a personal spite-driven thing of, like.
• 1:12:53
  Speaker 2: Like, I want to get revenge on this kid by
• 1:12:56
  Speaker 2: taking over his body, and I have to be this
• 1:12:58
  Speaker 2: kid now.
• 1:12:59
  Speaker 1: Neck biting dude but he never actually bites the neck
• 1:13:03
  Speaker 1: he's just trying to go.
• 1:13:04
  Speaker 2: For it yeah how much further till we get to
• 1:13:06
  Speaker 2: the kid why what's the rush step on it if
• 1:13:11
  Speaker 2: i don't get back to this kid i'm gonna be
• 1:13:13
  Speaker 2: stuck in this body like the weird explanation giving too
• 1:13:18
  Speaker 2: much detail to this random kid and.
• 1:13:21
  Speaker 1: Also like the fact that they show the trajectory of
• 1:13:24
  Speaker 1: chucky getting more human throughout yeah um kind of like,
• 1:13:29
  Speaker 1: this is where you sort of are like, he also
• 1:13:32
  Speaker 1: has like taken on like protagonist qualities of like, we're
• 1:13:36
  Speaker 1: now following his story. Yeah, totally.
• 1:13:38
  Speaker 2: Well, it's like, he's like when the cop tries to
• 1:13:42
  Speaker 2: stop them, he's like, just.
• 1:13:45
  Speaker 1: Step on it.
• 1:13:46
  Speaker 2: And she's like, I can't do that.
• 1:13:48
  Speaker 1: Like I'm, and she is like, all right, pull over. Um, that,
• 1:13:54
  Speaker 1: And this, like, fucking vaguely molesting cop is like, hey.
• 1:13:57
  Speaker 1: That's one of those good guy dolls, isn't it? You're 17.
• 1:14:00
  Speaker 1: I see that you're 17. He's being, like, pretty leery.
• 1:14:06
  Speaker 1: Kind of. He leans into that window. Like, it's not,
• 1:14:10
  Speaker 1: it just feels a little like, huh, okay. Like, but, like,
• 1:14:14
  Speaker 1: familiar in a way. Yeah, that's true.
• 1:14:17
  Speaker 2: It's like, all right, honey. You were clocked at a
• 1:14:19
  Speaker 2: 60 and a 45.
• 1:14:21
  Speaker 1: What's your hurry? I have a date. You're going to
• 1:14:23
  Speaker 1: have to do better than that. That's immediately what I thought. Hey,
• 1:14:28
  Speaker 1: this is one of those good guy dolls. What's your name? Chucky.
• 1:14:33
  Speaker 1: That's incredible. I've actually retrofitted this one with a fleshlight,
• 1:14:38
  Speaker 1: so you can fuck it. Really? All right.
• 1:14:41
  Speaker 2: Let me give it a shot.
• 1:14:44
  Speaker 1: Ew. No! No! No! This body! I now have a pussy! Dude,
• 1:14:51
  Speaker 1: imagine she retrofitted it with the flashlight. And the flashlight
• 1:14:56
  Speaker 1: becomes a pussy.
• 1:14:57
  Speaker 2: Becomes part of Chucky. Have you seen those dolls that pee?
• 1:15:01
  Speaker 1: This one bleeds. that's like a weird i would be.
• 1:15:04
  Speaker 2: So weirded out if if this happened but yeah like
• 1:15:08
  Speaker 2: some of this stuff he's got the he's got the
• 1:15:11
  Speaker 2: fleshlight dude some some of this stuff feels a little
• 1:15:14
  Speaker 2: bit like let's try.
• 1:15:15
  Speaker 1: And extend some of the time for this movie because
• 1:15:18
  Speaker 1: the movie's already only an hour and 23 minutes it's
• 1:15:21
  Speaker 1: amazing dude i love how short it is 70 minutes
• 1:15:27
  Speaker 1: but like this scene is totally useless there's no the
• 1:15:29
  Speaker 1: cop scene yeah there's just nothing to do with with
• 1:15:33
  Speaker 1: it has nothing.
• 1:15:33
  Speaker 2: To do with anything it's just a reason to get
• 1:15:37
  Speaker 2: chucky less close to become to become more human basically.
• 1:15:42
  Speaker 1: Yeah i mean that's kind of what was cool about
• 1:15:44
  Speaker 1: like the stalling is like chucky is there is a
• 1:15:47
  Speaker 1: frustration of like with so that when that moment comes
• 1:15:50
  Speaker 1: we're like ah what do you mean when the dembela
• 1:15:53
  Speaker 1: goes away because he's been in the body too long
• 1:15:55
  Speaker 1: well let's get to it he's so upset okay okay
• 1:15:58
  Speaker 1: okay um it's so you feel his upsetness because he's
• 1:16:02
  Speaker 1: like oh fuck the thing i wanted didn't happen.
• 1:16:05
  Speaker 2: Yeah and when when he's like just shut up and
• 1:16:07
  Speaker 2: drive and then she puts on her seat belt and
• 1:16:11
  Speaker 2: she like drives and like uh what's it called she
• 1:16:15
  Speaker 2: breaks too hard and and he flies out the window
• 1:16:18
  Speaker 2: and they just threw a doll.
• 1:16:21
  Speaker 1: Because he's got that fucking heavy ass titanium skull It's true.
• 1:16:24
  Speaker 1: You guys head first right through that window.
• 1:16:26
  Speaker 2: But she does, like, what most people don't do in
• 1:16:29
  Speaker 2: this series, which is, like, go fucking hard on trying
• 1:16:32
  Speaker 2: to kill Chucky.
• 1:16:33
  Speaker 1: She steps up, for sure. I always thought she was
• 1:16:36
  Speaker 1: so badass, dude. He flies out the window.
• 1:16:39
  Speaker 2: He drives at her. He's, like, super fast. And then she, like,
• 1:16:45
  Speaker 2: unfortunately gets taken up again. And Andy is, like, prepared.
• 1:16:54
  Speaker 1: With his uh.
• 1:16:57
  Speaker 2: Like he's dressed up and an alarm gets pulled and
• 1:17:01
  Speaker 2: they're they're all start to leave and this is a
• 1:17:03
  Speaker 2: great iconic looking scene where she's standing with the doll
• 1:17:09
  Speaker 2: it's so cool it's so great and.
• 1:17:11
  Speaker 1: We we see that the knife is like pressed up
• 1:17:14
  Speaker 1: against her back.
• 1:17:16
  Speaker 2: Grace Zabriskie's reaction to Andy being up there and then
• 1:17:19
  Speaker 2: seeing Kyle and she's like, did you do this?
• 1:17:21
  Speaker 1: I love it. It continues the tradition of the adults
• 1:17:25
  Speaker 1: assuming things. Oh, you did this, didn't you? He did.
• 1:17:30
  Speaker 1: I love that. That was so great.
• 1:17:34
  Speaker 2: And then get it to my office. And then getting
• 1:17:36
  Speaker 2: a reason to get Chucky alone with Grace Zabriskie is awesome.
• 1:17:43
  Speaker 1: Dude, the amount that they showed, like, just her shoes,
• 1:17:47
  Speaker 1: her Doc Martens, like, underneath the car and stuff when
• 1:17:49
  Speaker 1: she's getting out. I was just like, first of all,
• 1:17:52
  Speaker 1: iconic Doc Martens, but I kept thinking that Chucky was
• 1:17:55
  Speaker 1: going to go and cut her Achilles heel. Yeah, oh, constantly.
• 1:17:59
  Speaker 2: I was like, does he cut somebody's Achilles heel at
• 1:18:01
  Speaker 2: this point? No, they just show a lot of shoes.
• 1:18:05
  Speaker 1: Gray Sebrisky fucking.
• 1:18:06
  Speaker 2: Well, they're shooting it from a low angle because it's
• 1:18:08
  Speaker 2: like from a kid's point of view, right? Or from
• 1:18:10
  Speaker 2: Chucky's point of view. So it's like a lot of
• 1:18:12
  Speaker 2: wide angle, low shots.
• 1:18:15
  Speaker 1: Like, it's cool. It looks different than a lot of movies. Yeah,
• 1:18:19
  Speaker 1: for sure.
• 1:18:19
  Speaker 2: Grace Zabriskie getting stabbed and then falling onto the photocopier
• 1:18:22
  Speaker 2: and then sliding on, and then the papers.
• 1:18:24
  Speaker 1: So funny. Some PA throwing the papers onto Grace Zabriskie's face.
• 1:18:29
  Speaker 1: And also, we know how slow those things were. Her
• 1:18:32
  Speaker 1: face got scanned max twice. So many times, yeah. Max
• 1:18:35
  Speaker 1: twice from what I could see. Yeah, absolutely. Before she
• 1:18:37
  Speaker 1: fell down, succumbing to her wounds. But they got, like, literally, like,
• 1:18:42
  Speaker 1: 17 different, like, headshots of her. Yeah. Doing like different
• 1:18:46
  Speaker 1: wacky faces. She's great, man. She's awesome. Snap out of it!
• 1:18:51
  Speaker 1: It ain't like you've never seen a dead body before!
• 1:18:55
  Speaker 1: Pointing it out to the traumatized kid. Yeah, and that
• 1:18:58
  Speaker 1: kind of actually works for Andy when he says that. Dude,
• 1:19:02
  Speaker 1: Chucky's kind of like a glazed-over look. Like, slightly closed eyelids, Chucky. Totally. Totally. Uh,
• 1:19:09
  Speaker 1: Chucky gets to the outside with Andy, and they go
• 1:19:13
  Speaker 1: into the Chicago Tribune newspaper truck, uh, and they get
• 1:19:17
  Speaker 1: driven out, and then... Wait, sorry. The way he stabs
• 1:19:22
  Speaker 1: Grace and Risky in the face she makes as she's
• 1:19:25
  Speaker 1: getting stabbed is amazing, too. Sorry, I just had to
• 1:19:27
  Speaker 1: say that. Sorry, you were saying?
• 1:19:28
  Speaker 2: Um, Kyle goes to try and find the Chicago Tribune truck, uh,
• 1:19:35
  Speaker 2: and get to Andy, and then.
• 1:19:39
  Speaker 2: This is basically where we get to.
• 1:19:42
  Speaker 1: The Terminator factory? Yeah, it's kind of like the final
• 1:19:47
  Speaker 1: real moments of the movie because Kyle manages to catch
• 1:19:55
  Speaker 1: up to the Chicago Tribune truck and they've disappeared and
• 1:19:58
  Speaker 1: they've gotten to... a Chucky factory.
• 1:20:04
  Speaker 2: But before then, the driver of the Chicago Tribune truck
• 1:20:07
  Speaker 2: is like, what the.
• 1:20:08
  Speaker 1: Hell are you doing to my car?
• 1:20:09
  Speaker 2: Why did you fucking drive into my car, you idiot?
• 1:20:16
  Speaker 2: And yeah, it is basically kind of like a low-budget
• 1:20:20
  Speaker 2: Terminator 2.
• 1:20:21
  Speaker 1: Yeah that's what happens there's a driving into the truck
• 1:20:25
  Speaker 1: the bullet falls yeah they go into the factory there's
• 1:20:28
  Speaker 1: the the factory scene is very intense there's fake out
• 1:20:31
  Speaker 1: deaths yeah there's goop it's like yeah it's like a
• 1:20:37
  Speaker 1: lot of similarities.
• 1:20:38
  Speaker 2: Yeah i i really really there's magic in this one
• 1:20:42
  Speaker 2: though yeah i really loved when the the the realization
• 1:20:47
  Speaker 2: that the.
• 1:20:48
  Speaker 1: The clouds go away. It looks so good, dude. And
• 1:20:56
  Speaker 1: like his little hand waving around. I'm fucking trapped in here.
• 1:21:04
  Speaker 1: And then his raison d'etre becoming wanting to just end
• 1:21:10
  Speaker 1: Andy's life. Yeah.
• 1:21:11
  Speaker 2: They become, it's almost like a Batman Joker relationship where
• 1:21:15
  Speaker 2: it's like, I just want to fucking kill you.
• 1:21:18
  Speaker 1: Yeah, totally.
• 1:21:18
  Speaker 2: And like, you know, we can kind of jump from
• 1:21:22
  Speaker 2: piece to piece in the best parts because it's a
• 1:21:24
  Speaker 2: lot of like running around, figuring things out. Like when,
• 1:21:29
  Speaker 2: for example, the amount of meat puppet that he is now.
• 1:21:33
  Speaker 1: Wait, okay, hold on, hold on. I fucking love the
• 1:21:35
  Speaker 1: meat puppet. See, this is why this one is my favorite. Yeah.
• 1:21:39
  Speaker 1: And it's because I love the combination of meat, gush... And, like,
• 1:21:47
  Speaker 1: the way that it's mixed together with the plastic, there's
• 1:21:49
  Speaker 1: something kind of, like, Cronenbergian about it. Yeah, totally. And, like, the, like,
• 1:21:55
  Speaker 1: touch of, like, him kind of anointing Andy with his blood.
• 1:21:58
  Speaker 1: There's just this, like, drip of blood that's on Andy's face. Yeah, totally.
• 1:22:02
  Speaker 1: It's like forever connecting them, kind of, but, like, not
• 1:22:06
  Speaker 1: getting the wish that he wanted of connecting to his soul.
• 1:22:09
  Speaker 1: And him making the most Mike Powers face was.
• 1:22:10
  Speaker 2: Like, Well, then they're, like, chased around. They're going through
• 1:22:15
  Speaker 2: this factory, and at one point, they're crawling onto the, like,
• 1:22:19
  Speaker 2: rollers in this cage, and Kyle shuts the door onto.
• 1:22:25
  Speaker 1: uh.
• 1:22:26
  Speaker 2: His onto chucky's hand and chucky meat rips it off
• 1:22:32
  Speaker 2: and like it's so it's so cool it's so brutal
• 1:22:35
  Speaker 2: and i remember how it looked it looked so painful
• 1:22:38
  Speaker 2: and the blood curdling scream that that let's out like
• 1:22:44
  Speaker 2: fell and like the fact that they close up to
• 1:22:46
  Speaker 2: the eyes widening and like scurrying around in the head
• 1:22:50
  Speaker 2: there's so much personality totally and like you could tell
• 1:22:53
  Speaker 2: also that not everything always worked so they had to
• 1:22:55
  Speaker 2: like cut around things still yeah they couldn't get every
• 1:22:59
  Speaker 2: single shot they envisioned so they had to be really
• 1:23:02
  Speaker 2: creative with it and it really comes through and then
• 1:23:05
  Speaker 2: there are More eyeball stabbings in the puppets. We get
• 1:23:12
  Speaker 2: another kill with the security guard. Security comes because... Security
• 1:23:16
  Speaker 2: guard and or some, like, person.
• 1:23:19
  Speaker 1: Technician. Like, scientist. Yeah. They were, like, kind of a
• 1:23:22
  Speaker 1: mix between scientists and, like, just, like, warehouse workers here.
• 1:23:27
  Speaker 1: Chucky using... Taking the knife, taking the handle off, and
• 1:23:31
  Speaker 1: stabbing his own handless... Like, he stabs the knife into
• 1:23:39
  Speaker 1: his hand, making a stabby hand. Like, shaky face. Yeah,
• 1:23:48
  Speaker 1: and the way he stabs the knife in is so gross. And, like,
• 1:23:54
  Speaker 1: wraps it with packing tape and does a reveal. Also
• 1:23:58
  Speaker 1: fucking knife hand, like T-1000, dude. T-1000, very knife hand.
• 1:24:02
  Speaker 1: This was, like, proto-Terminator 2, dude.
• 1:24:06
  Speaker 2: The technician slash security slash worker goes down annoyed and
• 1:24:17
  Speaker 2: is like, what do I got to do now?
• 1:24:20
  Speaker 1: I'm reading a newspaper. Gets his eyes stabbed out. Gets
• 1:24:23
  Speaker 1: his eyes stabbed in by the head.
• 1:24:25
  Speaker 2: Of course.
• 1:24:26
  Speaker 1: And then Kyle and Andy....
• 1:24:34
  Speaker 2: Like find the melted plastic part, which again would never
• 1:24:38
  Speaker 2: be like, no.
• 1:24:38
  Speaker 1: We see, we see first this like scene of, um,
• 1:24:42
  Speaker 1: like how the arms and legs get stapled. Oh yeah. Yeah. Okay. Okay.
• 1:24:45
  Speaker 1: You were saying they, they find the melted plastic, but
• 1:24:48
  Speaker 1: then we see like this conveyor belt taking, uh, the
• 1:24:51
  Speaker 1: dolls up to get like stapled and.
• 1:24:53
  Speaker 2: Yeah, to get their hands and legs put in and
• 1:24:55
  Speaker 2: their eyeballs put in and their hair sewn in. They just, like,
• 1:24:59
  Speaker 2: it felt a little bit like, we need another kill
• 1:25:01
  Speaker 2: for this.
• 1:25:02
  Speaker 1: I agree, but... Wait, are you saying that because of, like,
• 1:25:07
  Speaker 1: how the, like, technician gets murked? Yeah, it's just, like,
• 1:25:10
  Speaker 1: it's very much like... Eye stabbing? They just wanted to
• 1:25:13
  Speaker 1: use that eye... They tried to do it with the
• 1:25:15
  Speaker 1: eye thing. Eye thing, yeah. They needed it to pay off, dude.
• 1:25:17
  Speaker 1: It had to go into a person. And then, like,
• 1:25:20
  Speaker 1: I don't even know if this is, like, a dummy that's, like, walking,
• 1:25:24
  Speaker 1: if it's, like, a puppet or puppeteered or, like, a
• 1:25:27
  Speaker 1: small person. I think there was definitely, like, a couple
• 1:25:29
  Speaker 1: of small person shots. This one decidedly less small person
• 1:25:33
  Speaker 1: moving around than part one. Oh, man. It was mostly puppet.
• 1:25:36
  Speaker 2: When Chucky comes down on the conveyor belt and tries
• 1:25:40
  Speaker 2: to stab Andy, and then he gets stabbed with hairs
• 1:25:45
  Speaker 2: drilled into him.
• 1:25:46
  Speaker 1: And those, like... annoying fucking tag.
• 1:25:50
  Speaker 2: Oh yeah plastic tags yeah and then he gets put
• 1:25:53
  Speaker 2: in uh and fuck i knew i was gonna forget
• 1:25:57
  Speaker 2: this at one point chucky earlier in the movie gives
• 1:26:00
  Speaker 2: the finger to kyle driving and then later on as
• 1:26:04
  Speaker 2: he's getting pulled back i always.
• 1:26:05
  Speaker 1: Thought it was so weird the way she raises.
• 1:26:08
  Speaker 2: The finger well she does it because they raise the
• 1:26:10
  Speaker 2: finger in okay.
• 1:26:11
  Speaker 1: So this was in an era where like americans didn't
• 1:26:16
  Speaker 1: do the balls but now the americans do the balls
• 1:26:19
  Speaker 1: too now they do this i.
• 1:26:21
  Speaker 2: Don't know people i think more people still do they
• 1:26:23
  Speaker 2: still flip the bird without the balls they.
• 1:26:25
  Speaker 1: Still flip the flip the bird with the balls without
• 1:26:27
  Speaker 1: the balls but well she does it without the balls
• 1:26:30
  Speaker 1: yeah just like chucky did but he doesn't have enough
• 1:26:33
  Speaker 1: like fingers for the balls yeah um but we get
• 1:26:36
  Speaker 1: to see like this doll stapled with a bunch of
• 1:26:38
  Speaker 1: like hands and arms and stuff oh the.
• 1:26:41
  Speaker 2: Meat sack that he also probably had to rip himself
• 1:26:45
  Speaker 2: out of too.
• 1:26:46
  Speaker 1: It was part alien too yeah ripped herself off of
• 1:26:50
  Speaker 1: the piece of the body um yeah dude so gnarly
• 1:26:54
  Speaker 1: and he's pulling himself on like a little like a
• 1:26:58
  Speaker 1: trolley he's like i'm gonna cut you andy he just
• 1:27:03
  Speaker 1: wants to kill andy he doesn't care about anything else
• 1:27:06
  Speaker 1: anymore Yeah, she gets knocked. Okay, this makes no sense,
• 1:27:14
  Speaker 1: because the implication is that Chucky, the doll, somehow strung
• 1:27:20
  Speaker 1: up this adult man, this human adult man. Well, yeah,
• 1:27:24
  Speaker 1: that part was so rad. And swings the adult man,
• 1:27:28
  Speaker 1: hitting Kyle to fall onto the conveyor belt. and get
• 1:27:31
  Speaker 1: like temporarily knocked out dude the 90s love temporary knockouts
• 1:27:36
  Speaker 1: and doesn't treat head trauma as like a serious thing
• 1:27:38
  Speaker 1: that if you get knocked out that's not good dude
• 1:27:41
  Speaker 1: nope you'll probably die or have brain damage yeah like
• 1:27:45
  Speaker 1: or at the very worst you'll have like cte you
• 1:27:47
  Speaker 1: know or like not very worst very least case scenario
• 1:27:51
  Speaker 1: yeah um dude I love the Cronenbergian gush, dude. Like,
• 1:27:57
  Speaker 1: melted plastic. It's always been my favorite thing about Chucky is, like,
• 1:28:01
  Speaker 1: the melted plastic deaths mixed with the, like, kind of
• 1:28:04
  Speaker 1: human viscera is so cool and iconic. Yeah. And he
• 1:28:10
  Speaker 1: melts or puts the melted goo onto....
• 1:28:14
  Speaker 2: Chucky, and then goes to save Kyle. And he successfully does.
• 1:28:19
  Speaker 1: He pours, like, boiling plastic on Chucky. It's amazing, dude.
• 1:28:27
  Speaker 1: It's amazing. And, like, it looks so good. And, like,
• 1:28:31
  Speaker 1: then how the kind of, like, hairs underneath are melted,
• 1:28:35
  Speaker 1: but also melted into the.
• 1:28:36
  Speaker 2: Skin yeah totally and there's like a little like hose
• 1:28:40
  Speaker 2: that's squirting pressurized air out of it and chucky wakes
• 1:28:44
  Speaker 2: up and is like gooing on her and like she's
• 1:28:49
  Speaker 2: holding the head back in such a way that she
• 1:28:52
  Speaker 2: doesn't want to touch more of the body well.
• 1:28:55
  Speaker 1: I think it's still hot yeah I think it's supposed
• 1:28:58
  Speaker 1: to be that it's still hot. But, like, I love
• 1:29:00
  Speaker 1: that Chucky gets so destroyed and is still alive. Like,
• 1:29:03
  Speaker 1: I mean, very much, that is an element of Chucky
• 1:29:06
  Speaker 1: that I think, man, like, Chucky gets the most destroyed.
• 1:29:11
  Speaker 2: Yeah, he gets the most gooed in this. And she
• 1:29:14
  Speaker 2: shoves the air hose away. into the mouth that seemingly
• 1:29:18
  Speaker 2: melts onto the mouth and has his titanium head exposed.
• 1:29:21
  Speaker 1: We get a real Freddy Part 4 graphics. It is.
• 1:29:24
  Speaker 2: That was something that I noticed too. Freddy, it seems
• 1:29:28
  Speaker 2: very Freddy influenced.
• 1:29:30
  Speaker 1: Yes, totally. Because the music is very Freddy. I was
• 1:29:33
  Speaker 1: going to comment on the music and say how... Chucky
• 1:29:36
  Speaker 1: doesn't have a memorable theme. No, not really. It's mostly the...
• 1:29:43
  Speaker 1: But the music in the background is good. It's just
• 1:29:46
  Speaker 1: not really like... I don't remember like a... Yeah. Or,
• 1:29:53
  Speaker 1: you know, any of the other ones. Yeah. Or... Exactly. Exactly.
• 1:29:56
  Speaker 1: And a cool hour and 20 minutes... Credits, obviously, three minutes.
• 1:30:05
  Speaker 1: We gotta pad this out. Well, hold on. Can I
• 1:30:08
  Speaker 1: just say, they exploded his fucking head this time.
• 1:30:11
  Speaker 2: So they can't... Can you just say that?
• 1:30:13
  Speaker 1: No, I know, no, but I'm just saying, like, they
• 1:30:14
  Speaker 1: can't rebuild him. Well, what they do... Well, we'll see
• 1:30:18
  Speaker 1: what they do. For some reason... They pour the blood.
• 1:30:21
  Speaker 1: For some reason, they grab it with a crane. Nobody
• 1:30:25
  Speaker 1: questions that this doll is bleeding. Yeah. Human blood. It
• 1:30:30
  Speaker 1: looks like fucking, like, uh, Kwato.
• 1:30:34
  Speaker 2: It's very Quatto, yeah.
• 1:30:35
  Speaker 1: And she's like.
• 1:30:36
  Speaker 2: Is it still hot?
• 1:30:37
  Speaker 1: Is the plastic still hot? It is still hot. Is
• 1:30:39
  Speaker 1: she burning her hand? Yes.
• 1:30:42
  Speaker 2: But she's got so much adrenaline.
• 1:30:44
  Speaker 1: And how he's got, like, kind of, like, pieces of
• 1:30:46
  Speaker 1: plastic goo covering one of the eyes and, like, in
• 1:30:50
  Speaker 1: part of the mouth, too. And she wedges that in. Sorry,
• 1:30:53
  Speaker 1: I'm just, like, I love the, like, specific descriptions. And
• 1:30:56
  Speaker 1: the eyeball kind of, like, dangling around as the head, like,
• 1:31:00
  Speaker 1: starts balloon exploding. Ah, dude. Fuck, man. Best Chucky kill.
• 1:31:07
  Speaker 1: Best Chucky kill. I'm going to go ahead on a
• 1:31:09
  Speaker 1: limb and say, like, this is the one to beat. Yeah, definitely. Definitely.
• 1:31:17
  Speaker 2: She's like, where are we going? Or he's like, where
• 1:31:19
  Speaker 2: are we going?
• 1:31:20
  Speaker 1: And she's like, home. And he's like, where's home? I
• 1:31:25
  Speaker 1: don't know. We're probably going to get swallowed back up
• 1:31:28
  Speaker 1: into the system, and it's not very good, obviously. I mean,
• 1:31:32
  Speaker 1: that's an interesting....
• 1:31:35
  Speaker 2: That's kind of an interesting idea, though. Like, these, like,
• 1:31:38
  Speaker 2: kids who are kind of on the lam. Kind of,
• 1:31:45
  Speaker 2: it's interesting.
• 1:31:46
  Speaker 1: It's a weird, interesting movie. Imagine watching the security footage
• 1:31:51
  Speaker 1: of that night, dude. Totally, yeah. Seeing this, like, tiny
• 1:31:54
  Speaker 1: doll chase out, like, there would be, like, indelible evidence, dude. Yeah,
• 1:31:59
  Speaker 1: there would be so much evidence that Chucky was a thing. Yeah.
• 1:32:03
  Speaker 1: And then their market shares, that footage would definitely leak
• 1:32:06
  Speaker 1: if it was right now. On YouTube, for sure. Yeah. Yeah. Well,
• 1:32:10
  Speaker 1: it would be on different Telegram sites first. And then
• 1:32:14
  Speaker 1: eventually they'll know that they can't hide it anymore. Incredible cast, dude.
• 1:32:19
  Speaker 1: Incredible cast. The movie moves. I'm going to give it...
• 1:32:27
  Speaker 1: I'm going to go ahead and rate it first, okay? Yeah.
• 1:32:30
  Speaker 1: uh 10 out of 10 chucky's uh chucky's just getting
• 1:32:32
  Speaker 1: more and more and more chucky 10 out of 10
• 1:32:34
  Speaker 1: dembalas uh he's definitely got the spirit of dembala in
• 1:32:38
  Speaker 1: him and we didn't really need any more exposition on
• 1:32:40
  Speaker 1: that except for that he did ritualistic voodoo killings um
• 1:32:44
  Speaker 1: but as a movie dude which is probably the most
• 1:32:47
  Speaker 1: more interesting ranking of the two for this one i
• 1:32:50
  Speaker 1: would give it a solid eight yeah as a chucky
• 1:32:53
  Speaker 1: movie a solid eight no just as a movie in
• 1:32:56
  Speaker 1: general If part one is a 10, this one's a
• 1:32:59
  Speaker 1: strong 8. Yeah, I mean, I'm a little bit less.
• 1:33:04
  Speaker 2: I'm definitely all the Dembolos, but I will say 7.5,
• 1:33:10
  Speaker 2: just because.
• 1:33:11
  Speaker 1: Well, I need to challenge you on that, dude, because
• 1:33:13
  Speaker 1: what knocks it off that half point for you?
• 1:33:15
  Speaker 2: I think that.
• 1:33:19
  Speaker 2: I think it's a struggle when you've got a sequel....
• 1:33:29
  Speaker 1: This type of movie because it just feels a little
• 1:33:31
  Speaker 1: bit like there's no like they they kind of they
• 1:33:43
  Speaker 1: wrote themselves into a corner no it's not that they
• 1:33:46
  Speaker 1: wrote themselves into a corner it's that like a little
• 1:33:50
  Speaker 1: bit it feels like slapdash explanations in a way that's
• 1:33:55
  Speaker 1: like well we don't really need to think about this
• 1:33:58
  Speaker 1: you know and i feel like it knocks a little
• 1:34:01
  Speaker 1: bit off for me just because of the fact that
• 1:34:03
  Speaker 1: like i feel like coming off the first one i'm
• 1:34:07
  Speaker 1: like it's a little bit disappointing and i can't have
• 1:34:11
  Speaker 1: that that expectation because it's like how else are they
• 1:34:14
  Speaker 1: gonna do moving forward they have a way the second
• 1:34:17
  Speaker 1: one has a way more difficult job to do than
• 1:34:20
  Speaker 1: the first than the third one Because by the third one,
• 1:34:23
  Speaker 1: you're like, well, we're into the lore, right? I'm going
• 1:34:26
  Speaker 1: to go ahead and push back only because, and I
• 1:34:30
  Speaker 1: want to bring a point to you and see how
• 1:34:32
  Speaker 1: it makes you feel, okay? And you can decide how
• 1:34:35
  Speaker 1: you feel after that. But I say that this movie
• 1:34:39
  Speaker 1: does a really good job of, like I said at
• 1:34:41
  Speaker 1: the very beginning, piggybacking off of the reality of storytelling
• 1:34:46
  Speaker 1: from the first one. And leaning into that, which is
• 1:34:48
  Speaker 1: another way to do a sequel. Yeah. There's always the
• 1:34:53
  Speaker 1: genre pivot, but this one doesn't do that as much.
• 1:34:56
  Speaker 1: It does have like, it's circumstantially pivots because it's focusing
• 1:35:00
  Speaker 1: in on the driving story of Chucky as a narrative. Yeah.
• 1:35:04
  Speaker 1: Rather than like telling some kind of like, broader story
• 1:35:07
  Speaker 1: through characters right like it's like seeing things to logical
• 1:35:11
  Speaker 1: conclusions within the reality established within the movie yeah so
• 1:35:16
  Speaker 1: it's just further diving into that and you're right it
• 1:35:19
  Speaker 1: does have the harder job of doing that than any
• 1:35:23
  Speaker 1: subsequent movie would but it takes that leap which makes
• 1:35:26
  Speaker 1: me give it an eight.
• 1:35:27
  Speaker 2: Well let's listen to maybe i can change your mind
• 1:35:30
  Speaker 2: okay And I don't really want to change your mind.
• 1:35:33
  Speaker 2: I appreciate that it's just like a difference. And it
• 1:35:37
  Speaker 2: could be a difference without a distinction. But think about
• 1:35:40
  Speaker 2: it in this way. The completeness of the first one
• 1:35:45
  Speaker 2: as just a whole narrative and the completeness of the
• 1:35:50
  Speaker 2: third one, which is a whole narrative, this one kind
• 1:35:53
  Speaker 2: of has to bridge the gap between the two in
• 1:35:55
  Speaker 2: a way that's like it's two separate stories at once.
• 1:35:58
  Speaker 2: It's charles lee ray's story trying to get to the
• 1:36:03
  Speaker 2: body that he first told the secret to that he
• 1:36:06
  Speaker 2: has to get to and also the last kind of
• 1:36:10
  Speaker 2: few minutes of the movie being like a purely revenge
• 1:36:13
  Speaker 2: story to kill andy whereas the third one is purely
• 1:36:19
  Speaker 2: a revenge story because he wants to kill andy for no.
• 1:36:22
  Speaker 1: He can get him he can get a body in
• 1:36:24
  Speaker 1: that one he's trying to get a body in that
• 1:36:26
  Speaker 1: one I think the rule is that he resets because
• 1:36:30
  Speaker 1: he's now in a new body. In a new body, maybe, yeah. Well,
• 1:36:33
  Speaker 1: because remember, Charlie's going to be... Chucky's going to be
• 1:36:35
  Speaker 1: a brother. Oh, yeah, yeah, yeah. Racist Chucky. Like, he's
• 1:36:39
  Speaker 1: excited at the prospect of being black, but also, imagine Chucky. Like,
• 1:36:44
  Speaker 1: there's a reality that Chucky goes into the black kid
• 1:36:46
  Speaker 1: and then just has to live a new life experiencing
• 1:36:50
  Speaker 1: systemic racism. And then it, like, rehabilitates him because he
• 1:36:53
  Speaker 1: realizes empathy. Well, listen.
• 1:36:56
  Speaker 2: We already know he fetishizes black people in the first one.
• 1:36:59
  Speaker 1: Oh, wow.
• 1:37:02
  Speaker 2: I mean, he's got those portraits of himself, like, worshipping John.
• 1:37:06
  Speaker 1: That's right, yeah.
• 1:37:08
  Speaker 2: And it's like, what is this, you know?
• 1:37:13
  Speaker 1: Yeah, I mean, like, well, that's up for speculation, and
• 1:37:17
  Speaker 1: we'll see when we get there, but I also just
• 1:37:21
  Speaker 1: really love Andy, and Seeing Andy's story play out and
• 1:37:27
  Speaker 1: seeing Andy grow as a character, there was something really
• 1:37:31
  Speaker 1: satisfying for me about it. Like, seeing the same actor
• 1:37:34
  Speaker 1: do it, such a young actor, live up to such a, like,
• 1:37:38
  Speaker 1: difficult task. And, you know, in a way, he had
• 1:37:42
  Speaker 1: to step up to... make up for the fact that
• 1:37:45
  Speaker 1: katherine hicks wasn't in this one totally and he really
• 1:37:48
  Speaker 1: does like he carries this movie he carries the movie
• 1:37:51
  Speaker 1: he co-carries the movie with kyle but he does way
• 1:37:54
  Speaker 1: more of the heavy lifting and chucky of course yeah
• 1:37:56
  Speaker 1: um but he does way more of the heavy lifting
• 1:37:58
  Speaker 1: and i think that i don't know that i really
• 1:38:03
  Speaker 1: like admire andy as a character and that kid as
• 1:38:07
  Speaker 1: his performance so This one really does it for me,
• 1:38:11
  Speaker 1: and that's why I think I maybe, like, it edges
• 1:38:13
  Speaker 1: it for me, you know, into, like, higher territory. Yeah.
• 1:38:17
  Speaker 1: But also, I will say, the thing that kind of, like,
• 1:38:21
  Speaker 1: is sticking with me is that it's very little kid.
• 1:38:26
  Speaker 1: in a way super little kid in a way that
• 1:38:28
  Speaker 1: i i allowed it to be pantheon for me in
• 1:38:30
  Speaker 1: a way that was untarnished and it never became not
• 1:38:34
  Speaker 1: little kid so now it's like watching it back i'm
• 1:38:37
  Speaker 1: like oh okay i understand chucky is more little kid
• 1:38:41
  Speaker 1: than than um or child's play um but i also
• 1:38:46
  Speaker 1: think that's part of what works for it yeah because
• 1:38:50
  Speaker 1: it's like you know what yeah we are for little
• 1:38:53
  Speaker 1: kids but we're gonna be the coolest thing for little
• 1:38:55
  Speaker 1: kids you've ever seen.
• 1:38:56
  Speaker 2: Yeah and it is it is it is for it's
• 1:38:59
  Speaker 2: very little kid yeah like and also even the killing
• 1:39:03
  Speaker 2: adults he like mostly kills adults.
• 1:39:06
  Speaker 1: And it's funny it's not that scary no no like
• 1:39:11
  Speaker 1: the scary scary the scariness in this one comes from
• 1:39:14
  Speaker 1: other things like more like ideas wise it's less like
• 1:39:18
  Speaker 1: you know like the kills and the gore is not
• 1:39:22
  Speaker 1: except for chucky gore is like pretty.
• 1:39:24
  Speaker 2: Yeah chucky gore is like meat and like what you
• 1:39:28
  Speaker 2: can do how much you can stuff in into a
• 1:39:31
  Speaker 2: doll a balloon yeah um.
• 1:39:35
  Speaker 1: Yeah so are you what are your some of your
• 1:39:38
  Speaker 1: uh thoughts for going into the third one other andy
• 1:39:42
  Speaker 1: different andy casting.
• 1:39:43
  Speaker 2: Different andy casting near future near future is weird the
• 1:39:48
  Speaker 2: 90s fucking loved near future they loved shooting something two
• 1:39:52
  Speaker 2: years later but setting it seven.
• 1:39:55
  Speaker 1: Yeah this one's set i guess he's 15 he's supposed
• 1:40:00
  Speaker 1: to be 15 it's supposed to be 1999 i think
• 1:40:02
  Speaker 1: no I think in the movie it's supposed to be 1999.
• 1:40:07
  Speaker 1: I think the movie's supposed to be 1995. It's shot
• 1:40:11
  Speaker 1: in 92 and it's set in 99. Let's bet on
• 1:40:14
  Speaker 1: it and we'll see.
• 1:40:15
  Speaker 2: You want to bet on it?
• 1:40:16
  Speaker 1: Yeah, we'll bet something innocuous. Okay. What do you want
• 1:40:20
  Speaker 1: to bet? I think it's 1995. For some reason, I
• 1:40:22
  Speaker 1: think it's... Now I'm second guessing it. Well, I'll double down.
• 1:40:26
  Speaker 1: I'm saying it's 1999. Whoever's closer wins. Okay. What if
• 1:40:31
  Speaker 1: it's like $ 97? Well, then I don't know. Who cares?
• 1:40:33
  Speaker 1: It doesn't matter anyway. What are we betting? Like a meal? Mendy's? Mendy's?
• 1:40:41
  Speaker 1: I don't know. Let's just hang out. I don't have
• 1:40:43
  Speaker 1: any money. Mendy's. You owe me a Mendy's. Soup is
• 1:40:47
  Speaker 1: the meal. That's the meal. You bake food one day.
• 1:40:51
  Speaker 1: This is the meal, dude. You were supposed to give
• 1:40:53
  Speaker 1: me food. No. I make chicken figures. No, dude. I
• 1:41:00
  Speaker 1: make chicken figures. All right. All right. See you later. Bye.