Latest / Cuff’s Basement / Red Dragon part 2

Transcript

Red Dragon part 2 · Cuff’s Basement

• 0:01
  Speaker 1: Alright, so Ryan, bad news.
• 0:03
  Speaker 2: What's up?
• 0:03
  Speaker 1: Julia has tendered her resignation.
• 0:07
  Speaker 2: Oh!
• 0:07
  Speaker 1: She will no longer be working on the podcast. I
• 0:11
  Speaker 1: couldn't tell you why. I thought things were going really well.
• 0:15
  Speaker 1: I was mentoring her. I was taking her under my wing.
• 0:17
  Speaker 1: I was giving her all sorts of lessons, I guess
• 0:21
  Speaker 1: you could say. Tutoring her one-on-one, like, this is how
• 0:25
  Speaker 1: you make it in this industry. If you're willing to
• 0:28
  Speaker 1: do what it takes.
• 0:29
  Speaker 2: And....
• 0:32
  Speaker 1: She walked. I have no idea why.
• 0:36
  Speaker 2: You know, sorry to hear.
• 0:41
  Speaker 1: Also, I got this very nasty letter from Bridgewater State.
• 0:43
  Speaker 1: I have no idea why. But it says we are
• 0:46
  Speaker 1: ceasing all internship programs with you.
• 0:49
  Speaker 2: We can add that to the pile. We got that
• 0:50
  Speaker 2: from Northeastern and from BU.
• 0:52
  Speaker 1: I don't know what she told them.
• 0:55
  Speaker 3: That's too bad.
• 0:56
  Speaker 1: But I have a very high-powered attorney named Eric Lee.
• 0:59
  Speaker 1: She better keep her trap shut.
• 1:03
  Speaker 2: Speaking of shut traps, how about a date with D?
• 1:07
  Speaker 3: Date with D.
• 1:09
  Speaker 2: D-date.
• 1:09
  Speaker 1: Date with destiny, date with D. Hannibal or D? So
• 1:31
  Speaker 1: you just got cut off a little bit, but you
• 1:33
  Speaker 1: said who's the best villain, Bane, Hannibal, Joker, or D?
• 1:36
  Speaker 1: I would say... What does best mean?
• 1:54
  Speaker 3: Who would you be most scared of? Who would you
• 1:57
  Speaker 3: not want to encounter?
• 1:59
  Speaker 1: The Joker, I think would be number one.
• 2:01
  Speaker 2: Like one-on-one?
• 2:03
  Speaker 1: Or just like you run afoul of them?
• 2:06
  Speaker 3: You catch their attention in maybe not a good way.
• 2:11
  Speaker 1: Well, so I feel like you would have a possibility
• 2:15
  Speaker 1: of getting away from Dollar Hyde or Hannibal. I don't
• 2:19
  Speaker 1: think you'd have a possibility of getting away from the Joker.
• 2:23
  Speaker 2: I think Joker's not going for personal. He's just going
• 2:26
  Speaker 2: for mass chaos.
• 2:27
  Speaker 1: I disagree. I think Joker can be very personal.
• 2:31
  Speaker 2: Unless you're Gamble, who's ruining your act.
• 2:34
  Speaker 1: I feel like Bane would just shoot you in the head.
• 2:40
  Speaker 1: I don't think that's that bad.
• 2:42
  Speaker 2: No, he'd actually bring you out to a football field
• 2:44
  Speaker 2: and break your neck in public. I think he'd do that.
• 2:46
  Speaker 1: Or yeah, he would cripple you and put you in
• 2:48
  Speaker 1: a prison. I mean, none of them would be good.
• 2:50
  Speaker 2: No.
• 2:51
  Speaker 1: What would be, like, the most painful, agonizing death? Probably...
• 2:55
  Speaker 1: Probably Lecter.
• 2:56
  Speaker 3: Yeah, Lecter.
• 2:58
  Speaker 1: Lecter, yeah. D.
• 3:00
  Speaker 2: D, maybe. D, as Lecter says, he's starting out.
• 3:04
  Speaker 1: He also, for me specifically, he'd probably just kill me. Yeah.
• 3:08
  Speaker 1: He wouldn't, like, because I'm not a woman, he wouldn't, like,
• 3:10
  Speaker 1: make a whole thing of it.
• 3:11
  Speaker 2: Yeah.
• 3:12
  Speaker 1: Unless I really ticked him off like a reporter from
• 3:16
  Speaker 1: the Tattler. That we will talk about later. Right.
• 3:19
  Speaker 3: Good segue, Tim.
• 3:20
  Speaker 2: Yeah.
• 3:21
  Speaker 3: Good segue.
• 3:21
  Speaker 1: Professional. So, we are at the photo lab. Frank, uh, Frank.
• 3:28
  Speaker 1: Francis Dollar, Dollar High.
• 3:30
  Speaker 2: You guys are close.
• 3:31
  Speaker 1: Works in a photo lab.
• 3:33
  Speaker 2: Mm-hmm.
• 3:34
  Speaker 1: And, like, another actor, what happened to him? Frank, what, Whaley, Wally?
• 3:39
  Speaker 3: Ralphie, or Ralph?
• 3:40
  Speaker 1: Yeah, Ralph.
• 3:42
  Speaker 2: Maybe I'm wrong. Has he ever starred in anything of
• 3:45
  Speaker 2: his own? I just don't know.
• 3:47
  Speaker 3: I don't think so.
• 3:48
  Speaker 1: No, but he's been in tons of huge movies.
• 3:50
  Speaker 2: He's been in tons of huge stuff, but it's never like,
• 3:52
  Speaker 2: I think of Pulp Fiction, The Doors. That's what I
• 3:54
  Speaker 2: think of.
• 3:55
  Speaker 1: The Doors, he's the villain in Little Monsters with Howie
• 3:58
  Speaker 1: Mandel and Fred Savage.
• 3:59
  Speaker 2: That's right. That's right.
• 4:01
  Speaker 1: He wrote a movie that was made, I think it
• 4:05
  Speaker 1: was based on his father, where Val Kilmer plays his
• 4:08
  Speaker 1: alcoholic father. It's called Killer Joe or something like that.
• 4:13
  Speaker 1: I can't remember. But I'm a big fan of his. Yeah,
• 4:16
  Speaker 1: I haven't seen him in a long time.
• 4:18
  Speaker 2: Also, this movie is 20 years old, or 24 years old.
• 4:24
  Speaker 2: Does not age. Looks the same. The Doors is like
• 4:27
  Speaker 2: the early 90s, and this is 11 years later. It
• 4:29
  Speaker 2: looks exactly the same.
• 4:30
  Speaker 1: So Frank Wiley is a guy who works at the
• 4:33
  Speaker 1: photo lab named Ralph, and there's a blonde woman who
• 4:37
  Speaker 1: Dollar Hyde is meeting in this... Well, he walks into
• 4:42
  Speaker 1: this dark room where they're developing photos... And he, Dollar Head,
• 4:45
  Speaker 1: can't see. So she says, like, there's a chair to
• 4:48
  Speaker 1: your right. Sit there. Give me one second. And then
• 4:50
  Speaker 1: when she turns the lights on, he realizes she's blind.
• 4:54
  Speaker 3: Mm-hmm.
• 4:55
  Speaker 1: And I think Megan, as a psychologist, why is he
• 5:00
  Speaker 1: so fascinated by her being blind? Or why does he
• 5:04
  Speaker 1: think that's a good thing for him?
• 5:06
  Speaker 3: Well, because he has a hair lip.
• 5:08
  Speaker 1: He does have a hair lip.
• 5:09
  Speaker 3: He has a hair lip. And she can't judge him
• 5:14
  Speaker 3: for that.
• 5:14
  Speaker 1: I think that he's very bent out of shape about
• 5:17
  Speaker 1: his hair lip.
• 5:18
  Speaker 3: You could say that.
• 5:20
  Speaker 1: He thinks that he is hideously ugly.
• 5:23
  Speaker 3: Yes.
• 5:25
  Speaker 1: But he's actually a really handsome guy who has a
• 5:28
  Speaker 1: minor hair lip that you can barely....
• 5:31
  Speaker 2: She'll reveal later what the Chromalux employees think about him.
• 5:35
  Speaker 3: Oh yes, that's true. I read that he gained 15
• 5:38
  Speaker 3: pounds of muscle from this movie. He is ripped as
• 5:40
  Speaker 3: shit in this movie.
• 5:41
  Speaker 1: He is ripped.
• 5:41
  Speaker 2: Yeah.
• 5:41
  Speaker 3: He is very muscular.
• 5:43
  Speaker 1: Yeah, he's like, as we talked about, he bench presses
• 5:47
  Speaker 1: in the attic yelling about grandma cutting his penis off.
• 5:51
  Speaker 3: That's true.
• 5:51
  Speaker 2: You're in Gold's gym and you see the guy wearing
• 5:54
  Speaker 2: hosiery on his face screaming about his grandmother lifting. No
• 5:57
  Speaker 2: one goes near him.
• 5:58
  Speaker 1: No one even.
• 6:00
  Speaker 2: They won't even call him.
• 6:00
  Speaker 1: Also, isn't he working out nude in that scene?
• 6:03
  Speaker 3: No, he had a shirt on.
• 6:04
  Speaker 1: I thought he was wearing a shirt. Oh, he had
• 6:05
  Speaker 1: a shirt on. Okay, all right.
• 6:06
  Speaker 3: Yeah, I feel like he has camouflage pants and a shirt.
• 6:09
  Speaker 2: Yeah.
• 6:09
  Speaker 1: Okay.
• 6:10
  Speaker 2: Because they explained the military background.
• 6:11
  Speaker 1: And a nylon mask on. Yeah.
• 6:13
  Speaker 2: Because why? Because you can't see yourself at home.
• 6:15
  Speaker 1: If you just see a guy, not even making noises,
• 6:19
  Speaker 1: but just quietly working out by himself with that nylon
• 6:22
  Speaker 1: mask on, it goes to him. Deal breaker. Deal breaker.
• 6:24
  Speaker 2: That's him.
• 6:24
  Speaker 1: That's the killer, everybody. So he.
• 6:28
  Speaker 1: Ryan, can you explain the conversation where Ralph is like,
• 6:33
  Speaker 1: do you need a ride home? And she says, no,
• 6:35
  Speaker 1: I'll take the bus. And then.
• 6:38
  Speaker 2: Ralph doesn't let up. She shoos him away. But Ralph
• 6:43
  Speaker 2: is looking at Dee because she can't see him, making
• 6:47
  Speaker 2: faces about how like, oh, I get a euro with her.
• 6:49
  Speaker 2: That's why she's turning me down. That could be the
• 6:52
  Speaker 2: only reason why. And then he's like, hey man, good luck, buddy.
• 6:55
  Speaker 2: And I would say none of this registers with Dee.
• 6:58
  Speaker 2: He just keeps staring at Ralph, which just proves, like,
• 7:01
  Speaker 2: Ralph is just a dumb human being. So then Ralph leaves,
• 7:06
  Speaker 2: and she confides in Dee, and she's like, oh, my God, like,
• 7:09
  Speaker 2: that was, like, whatever, pretty awkward and terrible.
• 7:14
  Speaker 3: I have a problem with this, too, because, like, she
• 7:17
  Speaker 3: must have encountered him.
• 7:19
  Speaker 1: Dee? Yes. Well, I don't know how long she's been there. Yeah.
• 7:22
  Speaker 3: I know, but I just feel like, I don't know.
• 7:24
  Speaker 2: What? She makes a comment about how she's like, I
• 7:30
  Speaker 2: don't know if you know, but like, I forget what
• 7:33
  Speaker 2: the wording is. I'm butchering this. But like, I can
• 7:37
  Speaker 2: tell when people are pitying me when they talk to me. And,
• 7:41
  Speaker 2: you know, you might feel the same way. And I
• 7:43
  Speaker 2: just love how the scene ends with him just saying,
• 7:45
  Speaker 2: I have no pity.
• 7:47
  Speaker 1: Yeah.
• 7:48
  Speaker 2: The reddest flag ever.
• 7:51
  Speaker 1: I have a bunch of problems with like how into
• 7:54
  Speaker 1: Dee she is.
• 7:54
  Speaker 3: I agree, Tim.
• 7:56
  Speaker 1: It's like based on what?
• 7:57
  Speaker 3: I know.
• 7:58
  Speaker 1: So we talked about this on the podcast before about
• 8:01
  Speaker 1: the term manic pixie dream girl. I don't think she's
• 8:03
  Speaker 1: a manic pixie dream girl, but have you ever heard
• 8:06
  Speaker 1: of that term? It's basically like when a man writes
• 8:09
  Speaker 1: a movie, there'll be some like quirky, really single, really hot,
• 8:16
  Speaker 1: really great personality girl. that's extremely into the lead male,
• 8:21
  Speaker 1: and you don't really know why. Just because it's a movie,
• 8:24
  Speaker 1: and the guy wrote it that way. And a great
• 8:26
  Speaker 1: example is Natalie Portman in Garden State.
• 8:28
  Speaker 2: Yeah.
• 8:29
  Speaker 1: But she's just so into Dee, this whole movie, and
• 8:32
  Speaker 1: I'm like, why? But in Manhunter, it's a famous actress.
• 8:36
  Speaker 2: It is Joan Allen.
• 8:37
  Speaker 1: Joan Allen.
• 8:37
  Speaker 2: Yeah. Oh.
• 8:38
  Speaker 1: She's the mom in Pleasantville, right?
• 8:39
  Speaker 2: She is.
• 8:40
  Speaker 3: Yeah. Yeah.
• 8:41
  Speaker 1: So, but she says, like, oh, I can tell by
• 8:45
  Speaker 1: the way you talk, because I, you know, basically... when
• 8:49
  Speaker 1: you're blind, you pay attention to your hearing more. She says,
• 8:53
  Speaker 1: I can tell that you had some palate work in
• 8:56
  Speaker 1: your mouth, and you hesitate the way you talk because
• 9:00
  Speaker 1: you think your speech is messed up, but it actually isn't.
• 9:03
  Speaker 1: You sound totally normal. And he says nothing, but he's
• 9:08
  Speaker 1: got to be very happy with that feedback.
• 9:13
  Speaker 2: I think also because, as she reveals later, what she's
• 9:16
  Speaker 2: heard about Deed, I think that is what is enticing
• 9:20
  Speaker 2: her as well. I think because I'm kind of like,
• 9:23
  Speaker 2: when he just ends with also the way he talks
• 9:26
  Speaker 2: without the cleft lip, it's still an awkward tone of
• 9:32
  Speaker 2: how he talks.
• 9:32
  Speaker 1: He's an awkward man.
• 9:33
  Speaker 3: Yes, he's very awkward.
• 9:35
  Speaker 2: And with I have no pity, and that's pretty much
• 9:37
  Speaker 2: all he says is a full sentence. You're kind of like,
• 9:39
  Speaker 2: still stay away from this guy. I don't care how
• 9:41
  Speaker 2: handsome you heard he is.
• 9:42
  Speaker 1: Yeah. And you could argue that any job would require
• 9:47
  Speaker 1: an ability to be good with people but he has
• 9:51
  Speaker 1: to stop any job you should be somewhat good with
• 9:54
  Speaker 1: people but i've never worked in a job where it
• 9:57
  Speaker 1: truly did not matter at all yeah and he works
• 10:00
  Speaker 1: in a job where it does not matter at all
• 10:01
  Speaker 1: he's developing film alone in like a room with the
• 10:03
  Speaker 1: lights off yes uh so this is just so awkward
• 10:07
  Speaker 1: the way he says this but the the when he
• 10:11
  Speaker 1: so she's waiting for the bus and he pulls up
• 10:13
  Speaker 1: in his Another red flag. His fucking van. Yes.
• 10:16
  Speaker 3: Creepy serial killer van.
• 10:18
  Speaker 1: There's a great, in the show Workaholics, there's a character
• 10:20
  Speaker 1: who has a van and some random kid spray paints
• 10:25
  Speaker 1: rape van on it. So to fix it, the owner
• 10:28
  Speaker 1: of the van just writes a G in front of rape.
• 10:31
  Speaker 1: So it says grape van. Amazing.
• 10:34
  Speaker 2: I love Carl.
• 10:34
  Speaker 3: That makes a lot of sense.
• 10:38
  Speaker 1: So Ryan, what does he say when he pulls up?
• 10:40
  Speaker 2: So he pulls up to her. It's downpouring.
• 10:43
  Speaker 1: Please do the voice.
• 10:44
  Speaker 2: And he just says, this is what, I sent this
• 10:46
  Speaker 2: to Tim as Tommy Wiseau because I thought it was
• 10:47
  Speaker 2: just perfect because this is, Tommy Wiseau, which is like
• 10:50
  Speaker 2: a very romantic scene, is that he just pulled up
• 10:53
  Speaker 2: and just says, ride with me. And she just goes, no,
• 10:59
  Speaker 2: I'm good, thank you.
• 11:00
  Speaker 1: Yeah, he's literally just going, ride with me. That's so weird.
• 11:03
  Speaker 3: That's so weird. So weird.
• 11:06
  Speaker 2: And he says, for my pleasure, please. For my pleasure.
• 11:11
  Speaker 2: And she just goes, okay. Yeah.
• 11:13
  Speaker 1: And she's like, All right, I'm in. Sure. Then they
• 11:16
  Speaker 1: get to her place and she invites him in for
• 11:19
  Speaker 1: a drink. I know. Terrible. And I was texting you guys. Well,
• 11:24
  Speaker 1: we all know that blind people are sluts. That's why.
• 11:29
  Speaker 1: And so they go inside and she goes, hey, can
• 11:32
  Speaker 1: you hand me that giant knife? And he goes like, yes.
• 11:35
  Speaker 1: And then he's holding the knife. And you can tell
• 11:38
  Speaker 1: there's a moment where he's like, oh no. And I'm
• 11:40
  Speaker 1: just like, oh, like this is, I was laughing so hard. Again,
• 11:43
  Speaker 1: dollar high. I think there's so, so much unintentional comedy.
• 11:47
  Speaker 1: And then this is so, so amazing. I was like
• 11:51
  Speaker 1: in tears laughing. So she's like, can I touch your face?
• 11:55
  Speaker 1: So she's touching his face and her hands here. And
• 11:57
  Speaker 1: there's a moment where he takes her hand and he
• 12:00
  Speaker 1: goes like, Like he really wants to bite her hand.
• 12:03
  Speaker 1: He opens his mouth and he's like, oh my god,
• 12:06
  Speaker 1: he's going to bite her finger off. And then he
• 12:08
  Speaker 1: stops himself like, no, no, no. No, no, we shouldn't
• 12:11
  Speaker 1: do that.
• 12:11
  Speaker 3: The dragon.
• 12:12
  Speaker 2: What does he say? Take my word that I'm smiling.
• 12:16
  Speaker 1: Yeah.
• 12:17
  Speaker 2: To go, no. Yeah. My note is props to Reba.
• 12:20
  Speaker 2: I don't know why I wrote that.
• 12:21
  Speaker 1: Props to Reba. Reba McIntyre?
• 12:24
  Speaker 2: Well, her name is Reba. Oh, props to.
• 12:27
  Speaker 1: Reba for what?
• 12:28
  Speaker 3: Oh, Emily Watson is Reba?
• 12:30
  Speaker 1: Yeah, she's played by Emily Watson. We didn't mention that.
• 12:32
  Speaker 2: Because this is the moment she's cutting the pie and then...
• 12:37
  Speaker 2: What does she pick up on here? That's why I
• 12:39
  Speaker 2: think I wrote that. There's something about him without even like...
• 12:44
  Speaker 2: Never mind.
• 12:46
  Speaker 1: No, I don't remember, but I think you're right.
• 12:47
  Speaker 2: These are pretty terrible notes, but yeah.
• 12:49
  Speaker 1: So now we go back to Will. And Jack, and
• 12:56
  Speaker 1: they find out that the, they found, so like, do
• 12:59
  Speaker 1: you remember this scene where they find there's a letter
• 13:02
  Speaker 1: from the Tooth Fairy to Lecter?
• 13:03
  Speaker 3: Yes.
• 13:03
  Speaker 1: Do you want to explain what happens here, Meg?
• 13:06
  Speaker 3: With the toilet paper?
• 13:07
  Speaker 2: Yeah.
• 13:07
  Speaker 3: Yeah, so they, how did they figure out that he
• 13:12
  Speaker 3: was communicating with Lecter?
• 13:13
  Speaker 1: Just a hunch? They like tossed his cell for something
• 13:17
  Speaker 1: and they found it.
• 13:19
  Speaker 3: So it was rolled up on the inside of the
• 13:22
  Speaker 3: toilet paper.
• 13:24
  Speaker 1: Right? Yeah, they were doing something with Lecter where they
• 13:26
  Speaker 1: took him out of the cell and they'd tie him
• 13:28
  Speaker 1: to that gurney thing. Yes. That was famous in Silence
• 13:31
  Speaker 1: of the Lambs with the mask. And he's in this
• 13:33
  Speaker 1: like holding room on the gurney thing and then they
• 13:37
  Speaker 1: find toilet paper that's a letter from the Tooth Fairy.
• 13:41
  Speaker 2: They were like cleaning his cell. Yeah.
• 13:42
  Speaker 3: Yes, they were cleaning his cell and it is a letter, yeah,
• 13:47
  Speaker 3: a letter from the Tooth Fairy to Lecter but there's
• 13:50
  Speaker 3: a very critical part torn off.
• 13:53
  Speaker 2: Yeah.
• 13:54
  Speaker 3: But they are working very hard to figure out what
• 13:58
  Speaker 3: the torn off part said.
• 14:00
  Speaker 2: Yeah.
• 14:01
  Speaker 3: And they're trying to make sure that Lecter doesn't know
• 14:04
  Speaker 3: that they found the letter. So they stage like an electrical,
• 14:09
  Speaker 3: like a blackout, right?
• 14:11
  Speaker 1: Yeah, they pay like a, well, no, they don't pay.
• 14:14
  Speaker 1: They tell an FBI agent to dress as an electrician
• 14:17
  Speaker 1: and pretend he's pissed off. Like, oh, the fucking breaker's
• 14:20
  Speaker 1: in here. This building's so old. And then Lecter sees
• 14:22
  Speaker 1: that as he walks by.
• 14:23
  Speaker 3: Yes, you're watching Lecter strapped to that thing with the
• 14:28
  Speaker 3: mask on. And he doesn't think anything when the electrician
• 14:33
  Speaker 3: first goes in. And then they figure it out. That
• 14:38
  Speaker 3: guy is figuring it out at the FBI, right?
• 14:41
  Speaker 1: So they're like, Lecter has an hour before he gets
• 14:44
  Speaker 1: really suspicious of what's going on. Yes. So we're going
• 14:46
  Speaker 1: to do whatever we can and then put the toilet
• 14:48
  Speaker 1: paper back in his cell so Lecter doesn't know. And
• 14:52
  Speaker 1: he doesn't notice anything except for when the final janitor,
• 14:57
  Speaker 1: quote unquote, is leaving. There's a latex glove poking out
• 15:00
  Speaker 1: of his back pocket. Now, to me, sometimes janitors wear gloves, but.
• 15:04
  Speaker 2: Also, they did the thing, too, when they were going...
• 15:06
  Speaker 2: They had too much time. They used too much time. Yes.
• 15:09
  Speaker 2: So they, like, go in there and cut the power. Yeah.
• 15:11
  Speaker 2: When they cut the power, that's when he's like, something's
• 15:14
  Speaker 2: fucking up.
• 15:14
  Speaker 3: Yes.
• 15:15
  Speaker 2: Yeah.
• 15:16
  Speaker 1: And they figure out that he's communicating through... personal ads
• 15:22
  Speaker 1: in the Tatler. Because they were like, how does Lecter
• 15:25
  Speaker 1: write back? Lecter gets a letter from the Tooth Fairy.
• 15:27
  Speaker 1: How does he write back to the Tooth Fairy? Because,
• 15:29
  Speaker 1: first of all, he doesn't want anybody to know that
• 15:31
  Speaker 1: he's doing that. Second of all, he doesn't have an
• 15:33
  Speaker 1: address for the Tooth Fairy.
• 15:34
  Speaker 3: Mm-hmm.
• 15:34
  Speaker 1: So he's writing in personal ads in the Tatler, and
• 15:37
  Speaker 1: he's using a code with Bible verses, but the Bible
• 15:40
  Speaker 1: verses don't exist. So if it's like John 13, 24,
• 15:43
  Speaker 1: the FBI agents are like, there is no John 13, 24. Mm-hmm.
• 15:49
  Speaker 1: So they figure out, okay, it's got to be based
• 15:51
  Speaker 1: on the books in Lecter's cell. So they take the
• 15:54
  Speaker 1: books from his cell, and I don't remember how they
• 15:57
  Speaker 1: specifically figure out, but they decipher the code. And do
• 16:00
  Speaker 1: you remember what the code is? Like the message via
• 16:04
  Speaker 1: code that Lecter is sending to the Tooth Fairy? It
• 16:09
  Speaker 1: is Graham Home Marathon for Kill Them All. I thought
• 16:15
  Speaker 1: this was a chicken shit move by Lecter. Because Lecter
• 16:18
  Speaker 1: has this, like, code, quote-unquote. So, like, he respects Will.
• 16:21
  Speaker 1: Will defeated him. And now he's going to have the
• 16:24
  Speaker 1: Tooth Fairy kill Will's family?
• 16:25
  Speaker 2: I just.
• 16:26
  Speaker 1: Lecter's not a good guy.
• 16:28
  Speaker 2: I also just found this to be kind of, like,
• 16:30
  Speaker 2: why does, like, Lecter need this? I don't know.
• 16:32
  Speaker 1: Also, Jack Crawford, again, like, Jack Crawford is to blame
• 16:37
  Speaker 1: for all of this. He calls Will and just emotionlessly goes, like,
• 16:42
  Speaker 1: bastard gave me your home address. He says, but don't worry.
• 16:45
  Speaker 2: So, like, set your alarm.
• 16:48
  Speaker 1: Yeah.
• 16:49
  Speaker 3: Right.
• 16:51
  Speaker 2: Sure. Yeah.
• 16:52
  Speaker 1: And they kind of do a bait-and-switch scene where, like, Molly,
• 16:57
  Speaker 1: who's Mary Louise Parker, and the kid are hanging out
• 17:01
  Speaker 1: in the Florida home, and it's like the Tooth Fairy's there,
• 17:04
  Speaker 1: but it's actually an FBI agent, and the house is
• 17:07
  Speaker 1: swarmed by copters and FBI agents.
• 17:10
  Speaker 3: Mm-hmm.
• 17:10
  Speaker 1: So, yeah.
• 17:14
  Speaker 3: Mm-hmm.
• 17:15
  Speaker 1: Oh, this line I absolutely love. So, okay. So Chilton,
• 17:19
  Speaker 1: who's Anthony Hill, the director of the prison, who hates Lecter.
• 17:23
  Speaker 1: And Lecter hates him. He's in Sounds of the Lambs.
• 17:27
  Speaker 1: So when they find out that, because Lecter is like,
• 17:32
  Speaker 1: he's getting meals delivered. He has a library of books.
• 17:34
  Speaker 1: He's allowed to draw. He has all this shit in
• 17:37
  Speaker 1: his cell. So when they find out, you wrote a
• 17:39
  Speaker 1: letter to the fucking Tooth Fairy to kill Will Graham's family.
• 17:42
  Speaker 1: So they're like, Chilton, do whatever you want. Chilton takes
• 17:45
  Speaker 1: away his mattress, all his drawings, all of his books, everything.
• 17:50
  Speaker 1: And Lecter's tied up and he says, they're going through
• 17:53
  Speaker 1: Lecter's mail. And Lecter says to Chilton, you'll find your
• 17:56
  Speaker 1: rejection letter from the archives. It's under the yellow folder.
• 17:59
  Speaker 1: I received it in my archives mail and I opened
• 18:02
  Speaker 1: it by accident. Sorry. So basically Chilton was submitting something
• 18:07
  Speaker 1: to get published and they're writing back, we're not going
• 18:09
  Speaker 1: to publish this. So then Chilton smiles and says in response,
• 18:12
  Speaker 1: will you please take Dr. Lecter's toilet seat?
• 18:14
  Speaker 2: But also, I am this, like, dilute, like, psychopath. My
• 18:20
  Speaker 2: archives mail, they're mailing me stuff all the time.
• 18:22
  Speaker 1: Yeah.
• 18:22
  Speaker 2: Like, I'm in.
• 18:23
  Speaker 1: Yeah. But that's just a great move. Like, oh, you
• 18:26
  Speaker 1: think you got me, Lecter? I'm going to take your
• 18:28
  Speaker 1: toilet seat.
• 18:29
  Speaker 2: And I think the next time you see Lecter, he's
• 18:31
  Speaker 2: just sitting on the floor and you just see the
• 18:33
  Speaker 2: toilet with no seat. I'm like, there you go.
• 18:34
  Speaker 1: That would really suck.
• 18:35
  Speaker 2: And also, no mattress.
• 18:37
  Speaker 1: If you're in a prison cell with no mattress and
• 18:39
  Speaker 1: no toilet seat, how would you poop?
• 18:41
  Speaker 2: No wonder why he had Migs killed. No wonder.
• 18:43
  Speaker 1: I know.
• 18:44
  Speaker 2: Multiple Migs.
• 18:46
  Speaker 1: So this is when Jack and Will decide to sentence
• 18:50
  Speaker 1: Philip Seymour Hoffman to death.
• 18:53
  Speaker 2: This one is the... the hardest to wrap my head around,
• 18:56
  Speaker 2: this part.
• 18:56
  Speaker 1: They do this in Manhunter, too.
• 18:58
  Speaker 2: I know, they do it. And it's like, you guys
• 18:59
  Speaker 2: know you are going to get this man killed. Like,
• 19:02
  Speaker 2: it's a fact. You know it.
• 19:03
  Speaker 1: I don't think they knew it, though.
• 19:05
  Speaker 2: I don't think it was going to guarantee, but a
• 19:07
  Speaker 2: possibility was he would be killed.
• 19:09
  Speaker 1: You would be bitten in the ass hard if anything
• 19:12
  Speaker 1: happened to this man.
• 19:13
  Speaker 3: Yes.
• 19:14
  Speaker 1: So, Meg, explain what happens.
• 19:16
  Speaker 3: So, they know that they're communicating... And they know that... Wait,
• 19:24
  Speaker 3: they don't know, but they suspect that the Tooth Fairy
• 19:27
  Speaker 3: is reading his press clippings, right?
• 19:29
  Speaker 2: He says in the letter what they're calling him. Oh, yes.
• 19:31
  Speaker 1: I don't like being called the Tooth Fairy.
• 19:33
  Speaker 3: Yes, yes, yes. So they.
• 19:35
  Speaker 1: And all serial killers do that anyway.
• 19:37
  Speaker 3: Yes, that's true. So they agree to give Philip Seymour Hoffman,
• 19:42
  Speaker 3: who is Mr. lounge a scoop um and they do
• 19:48
  Speaker 3: an interview which he thinks is legit the news reporter
• 19:52
  Speaker 3: and he's like chomping at the bit on every word about.
• 19:55
  Speaker 2: Surprised he bought this i know are you inspired by.
• 19:58
  Speaker 1: That yeah a little bit i think i don't know
• 20:00
  Speaker 1: does he care if it's true or not Probably not,
• 20:03
  Speaker 1: but it's just like... Does he care if he believes
• 20:05
  Speaker 1: it or not?
• 20:05
  Speaker 2: If he can source you, I guess he doesn't care.
• 20:07
  Speaker 1: If it's scandalous, he's going to publish it. He's like,
• 20:09
  Speaker 1: this is great for my... Yeah.
• 20:11
  Speaker 2: The Tatler, excuse me. Because he's so used to getting
• 20:14
  Speaker 2: beat up and fight for it. The fact that they
• 20:15
  Speaker 2: just gave this to you in a platter, just to me,
• 20:18
  Speaker 2: even for someone who doesn't give a shit, would be like,
• 20:19
  Speaker 2: why are they doing this for real? Yeah.
• 20:21
  Speaker 3: Yes.
• 20:21
  Speaker 2: But yeah.
• 20:22
  Speaker 3: So they're giving him information that is insulting to the
• 20:26
  Speaker 3: Tooth Fairy. And he's going to publish this.
• 20:30
  Speaker 1: The Tooth Fairy is ugly and sexually molests his male victims.
• 20:35
  Speaker 2: Wow.
• 20:35
  Speaker 1: Right. Right. He's from an incestuous home. Lecter told us this.
• 20:40
  Speaker 1: That's what they tell Philip Seymour Hoffman. Also, when we
• 20:43
  Speaker 1: were talking about serial killers reading their press clippings, and
• 20:47
  Speaker 1: how I was talking about earlier, serial killers are not supervillains.
• 20:50
  Speaker 1: They're actually alcoholic losers. BTK wrote to the press about,
• 20:55
  Speaker 1: you know, because he said, I don't like my nickname,
• 20:57
  Speaker 1: the Tooth Fairy. That's what Ray Fine says in this.
• 21:00
  Speaker 1: BTK wrote to the press about what his nickname should be.
• 21:04
  Speaker 1: And one of the things he suggested, I was listening
• 21:05
  Speaker 1: to the last podcast on the left, and one of
• 21:07
  Speaker 1: the hosts said, the nickname he suggested was the Garrot Phantom.
• 21:13
  Speaker 1: And then the other host goes, what a fucking loser.
• 21:16
  Speaker 1: The Garrot Phantom. The Garrot Phantom.
• 21:19
  Speaker 2: I mean, what was.
• 21:20
  Speaker 3: PTK is scary.
• 21:21
  Speaker 1: I don't like PTK.
• 21:21
  Speaker 3: What was Hannibal doing, though, right?
• 21:23
  Speaker 1: Hannibal the Cannibal.
• 21:24
  Speaker 2: But before he was caught, they were showing the article,
• 21:28
  Speaker 2: and she was called the Chesapeake Mangler or something like that.
• 21:32
  Speaker 1: Oh, okay.
• 21:32
  Speaker 3: All right.
• 21:33
  Speaker 1: Yeah. All right.
• 21:35
  Speaker 2: So, yeah.
• 21:36
  Speaker 3: So they do this interview. They give him the fake scoop,
• 21:41
  Speaker 3: and it goes to press.
• 21:44
  Speaker 1: I love the moment where he gets the paper. So
• 21:47
  Speaker 1: when is the paper first delivered to a newsstand in
• 21:50
  Speaker 1: the dark? Like 4 a.m.? Probably, yeah. So it's 4 a.m.
• 21:55
  Speaker 1: and the newsstand guy sees Francis Dollarhead coming and goes,
• 21:58
  Speaker 1: you again?
• 22:00
  Speaker 2: Yes. My note on this scene was Francis is doing
• 22:05
  Speaker 2: this so he's not noticed that he's taking the newspaper.
• 22:09
  Speaker 2: I was like, wouldn't this be worse because you stand
• 22:12
  Speaker 2: out more?
• 22:12
  Speaker 1: Right, right. Yeah, and also, like, how many people buy
• 22:15
  Speaker 1: a fucking newspaper?
• 22:16
  Speaker 3: Well, back in the day, this is 1980s.
• 22:20
  Speaker 1: No, no, no, that's what I meant. Everyone buys a newspaper.
• 22:24
  Speaker 1: It's not suspicious to buy a newspaper.
• 22:26
  Speaker 3: But at 4 a.m.? 4 a.m.
• 22:27
  Speaker 1: Before they open it.
• 22:28
  Speaker 3: Before he even put it on the stands?
• 22:30
  Speaker 2: And he's also like, you again, so he clearly remembers
• 22:32
  Speaker 2: who he is. You would stand out less if you
• 22:35
  Speaker 2: bought it at 9 a.m. and just bought it with
• 22:37
  Speaker 2: everybody else, not be a problem. But this is also
• 22:39
  Speaker 2: the big, what does he say, when he pulls the
• 22:44
  Speaker 2: knife out?
• 22:46
  Speaker 1: To the newspaper salesman? Yeah, the guy goes like, I
• 22:50
  Speaker 1: told you, he said you can't take one yet, I'm
• 22:53
  Speaker 1: not open. And he basically takes one and throws money
• 22:55
  Speaker 1: at the guy. And the guy said, I told you
• 22:57
  Speaker 1: you can't take one. And then Dollar High just turns
• 22:59
  Speaker 1: around and pulls the knife.
• 23:00
  Speaker 2: You told me what?
• 23:01
  Speaker 1: Yeah, you told me what?
• 23:02
  Speaker 2: He has the knife in his hand.
• 23:03
  Speaker 1: And the guy's like, fine, take the paper.
• 23:06
  Speaker 2: You can take your coins back, too, you threw at me, yeah.
• 23:08
  Speaker 1: And that's a great point of, like, you don't want to...
• 23:11
  Speaker 1: The guy at 4 a.m. is taking a newspaper, butt-paying you. Like,
• 23:16
  Speaker 1: Ryan said to me, we were in the line for
• 23:17
  Speaker 1: Market Basket today to buy those waters. And there was
• 23:21
  Speaker 1: a woman in front of me, and we were in
• 23:23
  Speaker 1: the express line. Now, Market Basket has two express lines,
• 23:25
  Speaker 1: 20 items and 12. We went to the 20-item line,
• 23:29
  Speaker 1: and the woman in front of me had, like, 25,
• 23:31
  Speaker 1: 30 items.
• 23:33
  Speaker 2: Oh.
• 23:34
  Speaker 1: And I just was like, this, you know, like, fuck it. Yeah, bitch, exactly.
• 23:38
  Speaker 1: I didn't want to be sexist, but yeah, bitch. And
• 23:42
  Speaker 1: then I said to Ryan, like, to the point where
• 23:45
  Speaker 1: she could probably hear me, I said, that woman has
• 23:47
  Speaker 1: more than 20 items. And then Ryan said, this is
• 23:49
  Speaker 1: a losing battle. And Ryan's right. Like, those scenarios are
• 23:53
  Speaker 1: losing battles. You never know who's going to turn around
• 23:56
  Speaker 1: and be Francis Dollarhead.
• 23:57
  Speaker 2: But guess what? What if her cashier was Hannibal Lecter?
• 24:00
  Speaker 2: This is technically 20 items.
• 24:03
  Speaker 1: He would check her out very pleasantly and then later
• 24:06
  Speaker 1: that night he would dissect her.
• 24:08
  Speaker 2: Let me bring your groceries to your car. Get a
• 24:10
  Speaker 2: license plate, look it up, follow her home, cut her
• 24:12
  Speaker 2: into fucking ribbons and eat her later.
• 24:14
  Speaker 1: And that's the stupid bullshit. That's the stupid bullshit. That's
• 24:19
  Speaker 1: the stupid bullshit with Hannibal Lecter's moral code. You as
• 24:23
  Speaker 1: the viewer are like, okay, well, you violated a norm.
• 24:26
  Speaker 1: You were a bad flautist. I'm not saying you deserve
• 24:29
  Speaker 1: to die, but you're not picking on Like an innocent
• 24:33
  Speaker 1: mother in the suburbs who did nothing wrong. That's who
• 24:35
  Speaker 1: Dollar Hyde is picking on. Whereas Lector is, this is
• 24:38
  Speaker 1: like the Henry Portrait of a Serial Killer thing.
• 24:40
  Speaker 2: Yeah.
• 24:40
  Speaker 1: When they kill the rude man who runs the TV shop.
• 24:45
  Speaker 1: It's like, oh, okay, well you violated some sort of code.
• 24:49
  Speaker 1: You're not a total innocent, which I think is bullshit.
• 24:52
  Speaker 2: Well, it's also the thing too of like the code
• 24:54
  Speaker 2: is like this delusion of I'm doing this for a
• 24:57
  Speaker 2: reason that I justified to myself. But also that melts away.
• 25:02
  Speaker 2: that goes away. Like that, like the reasons no longer
• 25:04
  Speaker 2: become reasons anymore. It just doesn't matter who you are.
• 25:06
  Speaker 2: Like it's, I think really the dollar hide thing is like,
• 25:11
  Speaker 2: he doesn't have a role. It's just people he objectifies
• 25:13
  Speaker 2: and sees through these, what we find out about later.
• 25:16
  Speaker 2: And that's who he picks is like, but he picks
• 25:18
  Speaker 2: it based on logistical, easy parameters. I can get into
• 25:21
  Speaker 2: this home and get these people. Hannibal's whole rule. It's
• 25:25
  Speaker 2: kind of horseshit. Cause it's based on people he encounters.
• 25:27
  Speaker 2: You know what I mean?
• 25:28
  Speaker 1: It's just really, really. Yeah. Yeah. So, Meg, Philip Seymour
• 25:33
  Speaker 1: Hoffman is now walking in a parking lot.
• 25:37
  Speaker 3: He's coming to work.
• 25:38
  Speaker 1: He's going to work. And there's a van in the
• 25:40
  Speaker 1: parking lot.
• 25:41
  Speaker 3: Oh, in his parking spot.
• 25:43
  Speaker 1: In his parking spot. Yeah. And he goes like, what
• 25:46
  Speaker 1: are you doing parking here, buddy? Can you read? And
• 25:48
  Speaker 1: then all of a sudden he's just... Chloroformed? It's like Batman, honestly.
• 25:52
  Speaker 1: He just like, these arms come out and he's chloroformed.
• 25:55
  Speaker 3: Yeah.
• 25:56
  Speaker 2: Is this your fucking name on the sign? Yeah. That's great.
• 25:59
  Speaker 1: Yeah. So Meg, then he wakes up, and what's going on?
• 26:03
  Speaker 3: I think he's glued.
• 26:05
  Speaker 1: He's glued?
• 26:06
  Speaker 3: He's completely glued.
• 26:09
  Speaker 1: It's like a very old wheelchair that you know was
• 26:11
  Speaker 1: left over in this nursing home.
• 26:12
  Speaker 3: Yes, yes. So of all the scenes that I remembered
• 26:16
  Speaker 3: from this movie, this was number one. I did not
• 26:19
  Speaker 3: remember the opening at all, but this was very vivid
• 26:23
  Speaker 3: in my mind.
• 26:23
  Speaker 1: This is the most memed scene, and they spoofed it
• 26:27
  Speaker 1: in South Park. Oh, it's tense.
• 26:29
  Speaker 3: He's in his underwear, right? His tighty-whities.
• 26:32
  Speaker 1: He's in tighty-whities, glued to the chair.
• 26:33
  Speaker 3: Yep, glued to the chair. Yep. So, not great. Not
• 26:37
  Speaker 3: great waking up in a decrepit nursing home.
• 26:44
  Speaker 1: This, again, so much unintentional comedy with Dollar Hyde. Just
• 26:48
  Speaker 1: the amount of concern you would have as Philip Schumer Hoffman. So,
• 26:51
  Speaker 1: Dollar Hyde is nude. And he has tattoos all over
• 26:57
  Speaker 1: his back.
• 26:57
  Speaker 3: Well, he has a bathrobe on at first.
• 26:59
  Speaker 1: And then he takes it off and he's nude. And
• 27:01
  Speaker 1: he has tattoos all over his back and buttocks. Yes.
• 27:05
  Speaker 1: And then the dollar head says, do you know what
• 27:07
  Speaker 1: I'm doing? And Philip Seymour Hoffman says, no, I don't.
• 27:12
  Speaker 1: I don't think anyone knows what you're doing.
• 27:13
  Speaker 3: No, no, no. Poor, I mean, I hate his character,
• 27:18
  Speaker 3: but you do feel bad for his character.
• 27:20
  Speaker 1: Because like, he doesn't deserve this. No, no.
• 27:23
  Speaker 2: It's piece of shit as you are. Like, it's like,
• 27:25
  Speaker 2: this has now gone beyond like, yes. Would it like,
• 27:28
  Speaker 2: I don't know how to say it best. Like the
• 27:29
  Speaker 2: whole media part of it is like this surreptitious nonsense.
• 27:32
  Speaker 2: We're like, okay, now like, Oh, these things I've been
• 27:35
  Speaker 2: writing about and just taking for granted for years are
• 27:37
  Speaker 2: real and they affect real people.
• 27:38
  Speaker 1: And now the real people. Yes. Yeah. So Ryan, do
• 27:42
  Speaker 1: you want to say the line?
• 27:44
  Speaker 2: Um, when, This is when Dee reveals, all my notes
• 27:49
  Speaker 2: are Dee, like we're friends. Dee reveals the tattoo, and
• 27:53
  Speaker 2: he's like, I want to show you who I am,
• 27:55
  Speaker 2: or do you want to know who I am? And
• 27:57
  Speaker 2: it's like, more than anything, which I think is, I
• 28:00
  Speaker 2: like how he's trying to play the part to think
• 28:02
  Speaker 2: he can get out of it.
• 28:03
  Speaker 1: That's really interesting.
• 28:06
  Speaker 2: And then he's like, oh, he's like, you've been spilling lies.
• 28:08
  Speaker 1: Because he thinks like, okay, well, I can go back
• 28:11
  Speaker 1: and report the truth for you.
• 28:12
  Speaker 2: Exactly.
• 28:12
  Speaker 1: That's how he's going to get out of it.
• 28:14
  Speaker 2: He goes, yes.
• 28:14
  Speaker 3: Oh, no.
• 28:15
  Speaker 2: You're good.
• 28:16
  Speaker 1: It didn't spill. Great.
• 28:19
  Speaker 2: This is like Dee's mission statement. After rolling the tattoo,
• 28:25
  Speaker 2: it just says, I am the dragon. You call me insane.
• 28:29
  Speaker 2: You are privy to a great becoming, but you recognize nothing.
• 28:34
  Speaker 2: To me, you are a slug in the sun. You
• 28:36
  Speaker 2: are an ant in the afterbirth. It is in your
• 28:39
  Speaker 2: nature to do one thing correctly. Before me, you rightly tremble.
• 28:45
  Speaker 2: But fear is not what you owe me. You owe
• 28:48
  Speaker 2: me awe.
• 28:50
  Speaker 1: I don't understand the plan. I texted you guys this.
• 28:54
  Speaker 1: The plan of being reborn as the dragon by killing
• 28:58
  Speaker 1: these families. I don't get it.
• 29:00
  Speaker 3: So I think that when he is... I think he
• 29:04
  Speaker 3: sexually assaults the moms.
• 29:06
  Speaker 1: Probably.
• 29:07
  Speaker 3: And I think his tattoo... You know the painting is
• 29:11
  Speaker 3: like a dragon with the tail... coming out, and so
• 29:15
  Speaker 3: I feel like when he's inside these women, he looks
• 29:18
  Speaker 3: like the dragon, if you're looking at his back.
• 29:21
  Speaker 1: Oh, wow.
• 29:21
  Speaker 2: Wow.
• 29:22
  Speaker 1: Because it is the back of the dragon. Yeah. And
• 29:24
  Speaker 1: the dragon, the painting of the red dragon, it doesn't
• 29:27
  Speaker 1: look like, it looks like a muscular man.
• 29:29
  Speaker 2: Right. It, like, mutates in the beginning, like, up from
• 29:31
  Speaker 2: the top, yeah.
• 29:32
  Speaker 1: Putting your psychologist hat on, because you are one.
• 29:35
  Speaker 3: I mean, that's how I interpreted it.
• 29:36
  Speaker 1: You literally are a doctor in psychology.
• 29:38
  Speaker 3: Um, because... they said something about like how he has
• 29:43
  Speaker 3: he has fun with the moms or something he spent
• 29:45
  Speaker 3: he spent took special care with the.
• 29:48
  Speaker 2: Moms I'm curious like they I figured for an R
• 29:51
  Speaker 2: rated movie that has so much graphic material I feel
• 29:53
  Speaker 2: like they would blatantly state like he sexually assaulted the
• 29:57
  Speaker 2: female victims And they don't say that.
• 29:59
  Speaker 3: They don't.
• 30:00
  Speaker 1: Yeah, I don't know why.
• 30:01
  Speaker 3: They say something like he took special care with the
• 30:03
  Speaker 3: moms or he paid special attention. So I felt like
• 30:07
  Speaker 3: the tale, yeah.
• 30:09
  Speaker 2: No, I mean. And.
• 30:11
  Speaker 1: It makes a ton of sense. Yeah, that's what I said.
• 30:14
  Speaker 1: I said that like being reborn as the dragon didn't
• 30:17
  Speaker 1: make any sense to me, but Ryan said he totally understood.
• 30:19
  Speaker 3: Yeah. I mean, step five, right? Is this before or
• 30:23
  Speaker 3: after when he's like, Mrs. Leeds, do you see?
• 30:25
  Speaker 1: No, this is before. So that's what I was getting at. Okay.
• 30:28
  Speaker 1: Do you want to say it? Did I?
• 30:31
  Speaker 2: I think I jumped ahead then. Because I think I
• 30:32
  Speaker 2: am the dragon reveal is after the reveal of.
• 30:35
  Speaker 1: He's going through.
• 30:36
  Speaker 2: Because he's wearing the robe at this point in time
• 30:38
  Speaker 2: when he's doing the reveal with the photos.
• 30:40
  Speaker 1: He's going through a.
• 30:42
  Speaker 3: Like a slide deck of his vacation.
• 30:43
  Speaker 1: Yeah, exactly. It's very similar to vacations I've been on.
• 30:48
  Speaker 1: And he says, he shows like. A photo of just
• 30:51
  Speaker 1: the Leeds family, like, having a good time. This is,
• 30:56
  Speaker 1: or sorry, the Jacoby family. This is Mrs. Jacoby in
• 30:58
  Speaker 1: human form. Do you see? Mrs. Leeds in human form.
• 31:02
  Speaker 1: Do you see? Mrs. Jacoby changing. Do you see? And
• 31:06
  Speaker 1: then you don't see this photo, but Philip Schermer Hoffman's like.
• 31:09
  Speaker 2: Oh, no.
• 31:10
  Speaker 3: Yeah, he starts crying.
• 31:12
  Speaker 1: Mrs. Leeds changing. Do you see? Mrs. Jacoby reborn, do
• 31:17
  Speaker 1: you see?
• 31:18
  Speaker 2: Mrs.
• 31:18
  Speaker 1: Leeds reborn, do you see? So, you can only imagine
• 31:22
  Speaker 1: what those photos are.
• 31:23
  Speaker 2: Yeah.
• 31:25
  Speaker 1: And then he basically tells Philip Schumer Hoffman, like, I'm
• 31:30
  Speaker 1: going to let you go to report this.
• 31:34
  Speaker 2: And tell the truth.
• 31:35
  Speaker 1: Yep, but he decides to do something we've all done
• 31:40
  Speaker 1: when we've been in a bad enough mood. I love....
• 31:45
  Speaker 2: When they show this, the first time when he's giving
• 31:49
  Speaker 2: him the I am the dragon speech, Hoffman's like just
• 31:54
  Speaker 2: very shocked. And then when they cut back to him,
• 31:57
  Speaker 2: he's like crying and scared because he just realizes there
• 32:00
  Speaker 2: is just, I have no way out of this.
• 32:03
  Speaker 1: I'm done.
• 32:03
  Speaker 2: Like this is over for me. Like there's just no
• 32:05
  Speaker 2: chance I'm gonna get out of this. You cannot reason
• 32:08
  Speaker 2: with this person at all.
• 32:08
  Speaker 1: But he, he goes and basically like, Almost like he's
• 32:13
  Speaker 1: kissing him, he bites around his mouth.
• 32:16
  Speaker 2: And bites like his tongue and lips off.
• 32:17
  Speaker 3: I thought he bit his tongue off.
• 32:19
  Speaker 2: Yeah. Okay.
• 32:19
  Speaker 1: Because you were spitting lies. Yeah, yeah, yeah, yeah. Mm-hmm.
• 32:24
  Speaker 1: And then the next cut, I think this is just
• 32:27
  Speaker 1: fucking great. Mm-hmm. So he's screaming, they cut, and then Meg,
• 32:32
  Speaker 1: what happens?
• 32:34
  Speaker 3: You see a burning wheelchair coming. go down the street
• 32:38
  Speaker 3: and there's clearly a body in it.
• 32:40
  Speaker 1: Like being pushed down a hill.
• 32:41
  Speaker 3: Yeah, it's early day and somebody just pushed it down
• 32:44
  Speaker 3: a hill and it's just on fire.
• 32:46
  Speaker 1: See, like, this is what I miss about the 80s.
• 32:49
  Speaker 1: There's no way you could get away with that now.
• 32:51
  Speaker 1: There's cameras everywhere.
• 32:53
  Speaker 3: That's true.
• 32:54
  Speaker 2: Right?
• 32:54
  Speaker 1: Very true. Yeah, your van would get caught. Man, things
• 32:57
  Speaker 1: used to be great.
• 32:58
  Speaker 2: It's also one of the best parts of the movie where, like,
• 33:02
  Speaker 2: catching him is about how, like, The logistics are like, well,
• 33:07
  Speaker 2: how did he get this wheelchair and let it on
• 33:09
  Speaker 2: fire and get here so quickly and leave?
• 33:11
  Speaker 3: Right.
• 33:12
  Speaker 2: It's like, how did all this stuff happen? He has
• 33:14
  Speaker 2: to be around here somewhere.
• 33:15
  Speaker 1: They figure out he has to have a van.
• 33:17
  Speaker 3: Yeah.
• 33:17
  Speaker 2: Right.
• 33:17
  Speaker 1: Because he's transporting him in a wheelchair. The wheelchair, yeah.
• 33:20
  Speaker 1: So they talk about it in Manhunter, but I guess
• 33:24
  Speaker 1: I wasn't sure until I watched Manhunter, but he was
• 33:26
  Speaker 1: alive when he was lit on fire. Yeah. Jack and Will.
• 33:31
  Speaker 3: Well, that wouldn't kill you, having your tongue bit off, probably.
• 33:33
  Speaker 1: Yeah, but you never know. He could have slid his
• 33:35
  Speaker 1: throat or something, but no, he lit him on fire
• 33:37
  Speaker 1: and killed him that way. But Jack and Will have
• 33:39
  Speaker 1: zero remorse about this.
• 33:41
  Speaker 3: Yeah, they seemed.
• 33:42
  Speaker 1: Fine.
• 33:43
  Speaker 3: Surprisingly... Yeah, fine.
• 33:45
  Speaker 1: No accountability. And then, thank God for Lecter. Lecter sees
• 33:48
  Speaker 1: Will and says, what was it like to commit your
• 33:50
  Speaker 1: first murder? And I was like, thank you, Lecter.
• 33:52
  Speaker 3: Yeah.
• 33:53
  Speaker 1: Very true. And so they're debating, and Will says, stop
• 33:57
  Speaker 1: talking in riddles. He's like, Will's like, I don't have
• 34:00
  Speaker 1: time for this. I don't want to play this game
• 34:03
  Speaker 1: where you're talking in poetry and I have to figure
• 34:05
  Speaker 1: out what you're saying. Just fucking tell me with normal
• 34:09
  Speaker 1: words what is going on. And Lecter kind of just doesn't.
• 34:13
  Speaker 2: Well, he just says, look at the Blake painting. What
• 34:16
  Speaker 2: is it about? Transformation.
• 34:18
  Speaker 1: It's about transformation.
• 34:20
  Speaker 3: But that's not really.
• 34:21
  Speaker 1: Helpful.
• 34:22
  Speaker 3: That's not helpful.
• 34:23
  Speaker 2: It's not helpful at all, but also I think if
• 34:26
  Speaker 2: this movie is... I don't know, again, more cleverly done. Like,
• 34:32
  Speaker 2: what's the whole, in Silence of the Lambs, like, the
• 34:36
  Speaker 2: whole thing of that movie that I think is not
• 34:38
  Speaker 2: discussed is that, like, Hannibal does know who Buffalo Bill is. Like,
• 34:42
  Speaker 2: he does know who this person is.
• 34:43
  Speaker 1: Right.
• 34:44
  Speaker 2: He's like, all good things to those who wait. And
• 34:46
  Speaker 2: you're like, well, why wouldn't Clarice just get Jack Crawford
• 34:51
  Speaker 2: and both of them just hammer this answer out of him?
• 34:53
  Speaker 2: But she plays the game. Will does not want to
• 34:56
  Speaker 2: play the game. So it makes it harder because Hannibal
• 34:58
  Speaker 2: is like, I want to help you figure, I don't
• 35:01
  Speaker 2: want to help you figure this out in a weird way.
• 35:03
  Speaker 2: But I feel like the back and forth here could
• 35:07
  Speaker 2: be more interesting because, I don't know how to say
• 35:11
  Speaker 2: it better, but they just didn't, I'm not a writer,
• 35:14
  Speaker 2: but I just feel like this could have been done
• 35:18
  Speaker 2: more well where like, we're so used to Clarice letting
• 35:22
  Speaker 2: Hannibal wash over her and you have a guy who's like,
• 35:25
  Speaker 2: I let you do this before, I'm not letting you
• 35:27
  Speaker 2: do it again. But slowly, he lets it start happening
• 35:30
  Speaker 2: again because he needs this person's help. But the movie
• 35:33
  Speaker 2: is kind of just, I think, rushing, in my opinion,
• 35:36
  Speaker 2: by this point. And it just doesn't feel that gradual.
• 35:39
  Speaker 1: And it's like two and a half hours, right?
• 35:42
  Speaker 2: But I feel like the Hannibal stuff, I don't know,
• 35:45
  Speaker 2: I feel like it doesn't have, like, the, not lurid, but, like,
• 35:49
  Speaker 2: the magnetism from the first movie. And not just because
• 35:52
  Speaker 2: Clarice is a novice and, like, She's being overwhelmed by him.
• 35:55
  Speaker 2: I feel like this movie has, again, that interesting idea
• 35:58
  Speaker 2: of this is a person who already fell for this
• 35:59
  Speaker 2: guy's traps. Now he knows this guy's bullshit. And still,
• 36:03
  Speaker 2: he's getting lured back in again. And that lure back
• 36:05
  Speaker 2: in is not as strong in this movie, in my opinion.
• 36:07
  Speaker 1: Hannibal is barely in Manhunter. He's in, like, two seasons.
• 36:10
  Speaker 2: He's in two seasons.
• 36:11
  Speaker 1: Oh, really?
• 36:11
  Speaker 2: Yeah. Because, again, the movie doesn't, like, it was not
• 36:14
  Speaker 2: made with this whole, like, fascination with what happened. Yeah.
• 36:18
  Speaker 1: So up next, Meg, I want you to explain, maybe
• 36:20
  Speaker 1: you can talk specifically about this movie, but more at large,
• 36:23
  Speaker 1: Sexy Tiger Dates.
• 36:25
  Speaker 3: The romance?
• 36:26
  Speaker 1: Yeah, Sexy Tiger Dates.
• 36:27
  Speaker 2: Yes. So when you met Kevin, this was like.
• 36:30
  Speaker 1: And there is a Sexy Tiger Date in Manhunter. Is there?
• 36:34
  Speaker 3: So, well, wait. She says it on their, like, the
• 36:38
  Speaker 3: ride home, right? What does she say about the tiger?
• 36:41
  Speaker 3: She had a dream, or.
• 36:43
  Speaker 1: Because he's talking about, he's like, what photos you're developing,
• 36:46
  Speaker 1: and he's totally lying, but he's like, oh, it's like
• 36:49
  Speaker 1: animals in the wild, and she says something about tigers.
• 36:52
  Speaker 2: Because it was one of the last things she saw.
• 36:54
  Speaker 1: She lost her sight.
• 36:56
  Speaker 2: Oh, right.
• 36:56
  Speaker 3: Yes, okay.
• 36:57
  Speaker 1: She basically said, yeah, if I ever pet a tiger again,
• 37:01
  Speaker 1: I'd probably have sex with anybody that led me to it.
• 37:03
  Speaker 1: That's what she says.
• 37:04
  Speaker 2: It's the only time Dee acts somewhat normal. Really? That's
• 37:08
  Speaker 2: what he says. No way.
• 37:11
  Speaker 3: So, cut to the romance.
• 37:13
  Speaker 2: Yep.
• 37:14
  Speaker 3: Dee picks her up for a date.
• 37:16
  Speaker 1: The greatest love story of our time.
• 37:18
  Speaker 3: And he takes her to God knows where, but they
• 37:22
  Speaker 3: have a tiger that has been subdued with medication.
• 37:25
  Speaker 1: How does he know these people?
• 37:26
  Speaker 3: Yeah, no idea.
• 37:27
  Speaker 2: The infrared photos he was looking to get from her
• 37:30
  Speaker 2: at Chromalux. is for them.
• 37:33
  Speaker 1: But, like, they're buds. They know him, and he can
• 37:35
  Speaker 1: pull this.
• 37:36
  Speaker 3: Yeah, he's very shy, Ryan.
• 37:37
  Speaker 2: What if he puts on, like, a purse? Like, what
• 37:39
  Speaker 2: if he walked in and he was the most jovial,
• 37:40
  Speaker 2: fun guy?
• 37:41
  Speaker 1: Hey, Frankie!
• 37:42
  Speaker 2: Robbie, how are you, man?
• 37:43
  Speaker 3: Good, good, good.
• 37:45
  Speaker 1: Doing good, man.
• 37:45
  Speaker 2: Just bringing my girl here.
• 37:47
  Speaker 3: So, it is a pretty romantic first date, although I
• 37:50
  Speaker 3: have a note this is the creepiest first date. He
• 37:54
  Speaker 3: takes her to this setting where there's a tiger that's
• 37:55
  Speaker 3: been tranquilized and she can touch the tiger and she's
• 38:05
  Speaker 3: rubbing the tiger and he's just watching her touch the tiger.
• 38:09
  Speaker 1: And she's scared to touch the tiger and she goes
• 38:12
  Speaker 1: D and he says I'm here and I'm like what
• 38:16
  Speaker 1: the fuck is that like if the tiger hopped up
• 38:18
  Speaker 1: D would just actually I probably would go with D
• 38:21
  Speaker 1: in the fight actually.
• 38:22
  Speaker 3: But dragons over tigers I have.
• 38:25
  Speaker 1: A big note here that you haven't mentioned she touches
• 38:29
  Speaker 1: the tiger's penis.
• 38:31
  Speaker 3: Did she touch the penis or did she touch the area?
• 38:33
  Speaker 1: Yeah. I mean, like, splitting hair.
• 38:37
  Speaker 3: I don't think she touched the penis.
• 38:38
  Speaker 1: I rewound this part.
• 38:41
  Speaker 2: Okay. When does she.
• 38:42
  Speaker 1: I don't think so. She's petting the tiger. No. She's
• 38:45
  Speaker 1: rubbing its belly. I will send you this clip. And
• 38:49
  Speaker 1: she's going lower and lower. And I go, what? I'm
• 38:52
  Speaker 1: watching this like, what?
• 38:54
  Speaker 2: Well, it's kind of a precursor.
• 38:58
  Speaker 1: I mean, she's all... She's all... All riled up. Actions
• 39:04
  Speaker 1: are a good scene. I like the scene. And then
• 39:06
  Speaker 1: when they leave, she's like, oh, everybody, all the girls
• 39:10
  Speaker 1: at work are into you.
• 39:11
  Speaker 3: Yes.
• 39:11
  Speaker 1: And I wrote a note. I go, women are fucked.
• 39:15
  Speaker 1: Why would women be attracted to him? They said, the
• 39:19
  Speaker 1: girls at work told me you have an incredible body.
• 39:21
  Speaker 1: He does.
• 39:22
  Speaker 2: He does.
• 39:22
  Speaker 1: I mean, true. This is what.
• 39:24
  Speaker 2: She does at their house later.
• 39:26
  Speaker 3: Right yeah she's back at their nursing home.
• 39:29
  Speaker 1: Yeah yeah yeah yeah and um when they go to
• 39:33
  Speaker 1: the his house that i had the closed captions on
• 39:37
  Speaker 1: and when it will play music it'll say like rap
• 39:39
  Speaker 1: music in brackets for this scene it said seductive jazz
• 39:44
  Speaker 1: And I loved that. I wrote that down immediately.
• 39:47
  Speaker 2: It was a little too old-timey to be seductive. It
• 39:49
  Speaker 2: was a little bit.
• 39:50
  Speaker 3: It was weird. Very fitting for the setting.
• 39:53
  Speaker 1: That probably was at the nursing home. That probably was
• 39:56
  Speaker 1: the newest thing they had.
• 39:57
  Speaker 3: But there's a very important part foreshadowing. So when she
• 40:01
  Speaker 3: goes to his house for the first time, she says
• 40:04
  Speaker 3: like nine steps to the clock and six steps to
• 40:07
  Speaker 3: the couch.
• 40:08
  Speaker 2: She says it out loud?
• 40:09
  Speaker 3: Yeah, she says it out loud. and she says something like, oh, sorry,
• 40:13
  Speaker 3: it's habit, because she's blind, and I.
• 40:16
  Speaker 2: I'm just telling the audience that I'm blind.
• 40:18
  Speaker 3: Oh, she's blind.
• 40:19
  Speaker 2: I'm just telling the audience that I'm blind. This is
• 40:20
  Speaker 2: what I do.
• 40:21
  Speaker 1: So, Brian and I have, like, this reoccurring fictional character of, like,
• 40:25
  Speaker 1: an idiotic moviegoer in the theater who's so sucked in,
• 40:28
  Speaker 1: and I just picture him going like, oh, right, because
• 40:31
  Speaker 1: she's blind.
• 40:32
  Speaker 2: Now, an hour and ten minutes in. Now, he figures
• 40:35
  Speaker 2: it out. It's fucking perfect.
• 40:37
  Speaker 3: So, I texted you guys that I felt like she
• 40:39
  Speaker 3: was a little too... DTF, in my opinion.
• 40:42
  Speaker 2: Yeah.
• 40:44
  Speaker 3: She's really ready to.
• 40:45
  Speaker 2: She was, but, like, it's kind of interesting.
• 40:47
  Speaker 1: I don't know.
• 40:48
  Speaker 2: I feel like most movies would never go this way. Yeah.
• 40:50
  Speaker 1: I mean, the.
• 40:51
  Speaker 3: Tiger date was very nice. He knew she wanted to
• 40:54
  Speaker 3: see the tigers.
• 40:55
  Speaker 2: Yep.
• 40:56
  Speaker 3: But I felt like it was a little bit.
• 40:59
  Speaker 2: But also, like, what's... I think the idea of it's
• 41:01
  Speaker 2: so interesting, too, because, like, the idea is, like, this
• 41:03
  Speaker 2: is a quote-unquote dangerous animal that you shouldn't be this
• 41:05
  Speaker 2: close to. You can literally put yourself on top of
• 41:08
  Speaker 2: it because it's sedated... Or because it's under control in
• 41:11
  Speaker 2: some way. Yes. For now.
• 41:13
  Speaker 1: Now you're thinking like Brett Ratner.
• 41:15
  Speaker 2: Yes.
• 41:15
  Speaker 1: Yes. So I thought this was like kind of genius
• 41:19
  Speaker 1: for this.
• 41:20
  Speaker 2: Oh, never mind.
• 41:20
  Speaker 1: It's a movie.
• 41:21
  Speaker 2: A plus.
• 41:21
  Speaker 1: For the storytelling purposes.
• 41:23
  Speaker 2: Keep the opening scene in.
• 41:24
  Speaker 1: Of her being blind and him being so obsessed with
• 41:27
  Speaker 1: the home videos. So he's watching home videos now. He
• 41:30
  Speaker 1: puts on home videos for the next family. Yeah. And
• 41:33
  Speaker 1: she can't see it because she's blind. And I wrote,
• 41:36
  Speaker 1: I hope he doesn't accidentally unmute it.
• 41:38
  Speaker 2: Yes.
• 41:39
  Speaker 1: Because then she'll be like, what is this? But I
• 41:42
  Speaker 1: thought that the mom was like really hot and it
• 41:45
  Speaker 1: was weak. She's wearing like a skimpy bikini. And the
• 41:47
  Speaker 1: dad who's videotaping his own family is like shooting down
• 41:51
  Speaker 1: her cleavage. And I'm like this. No, this is weird.
• 41:55
  Speaker 1: And then she kind of makes a move to hook
• 41:58
  Speaker 1: up with him. And she goes and touches over his pants.
• 42:02
  Speaker 1: And she's basically like, oh, my God, you have, like,
• 42:04
  Speaker 1: a rock-hard boner right now. And, yeah, he does.
• 42:07
  Speaker 3: DTF.
• 42:08
  Speaker 1: DTF.
• 42:09
  Speaker 2: You saw the tiger, right? But, no, I forgot, like,
• 42:16
  Speaker 2: they went this far with this scene. So I was like,
• 42:18
  Speaker 2: holy shit, they're fucking doing this. I was very surprised
• 42:21
  Speaker 2: by that.
• 42:22
  Speaker 1: This is his dream come true. Like, he's actually with
• 42:24
  Speaker 1: a real woman while watching the videotape of his next victims.
• 42:28
  Speaker 2: Mm-hmm.
• 42:29
  Speaker 1: But it's also kind of, what, you have a problem
• 42:32
  Speaker 1: with this?
• 42:32
  Speaker 2: No, I'm just saying, I don't think he can handle this.
• 42:34
  Speaker 1: No, he can't. Like, he doesn't know how to have, like,
• 42:36
  Speaker 1: a normal... Yeah, he can't.
• 42:38
  Speaker 3: This is when he starts to go off the rails.
• 42:40
  Speaker 1: There's a great Michael Fassbender movie.
• 42:42
  Speaker 2: When he's two families dead!
• 42:45
  Speaker 3: Two families are murdered!
• 42:46
  Speaker 1: He starts, he starts... He's getting a little shaky here, guys.
• 42:51
  Speaker 3: He's really going off the rails.
• 42:52
  Speaker 1: I don't know, I don't want him to be the
• 42:54
  Speaker 1: captain of my ship at this point.
• 42:56
  Speaker 2: Um.
• 42:56
  Speaker 1: But there's a really great Fassbender movie called Shame. Have
• 43:00
  Speaker 1: you ever seen it? It's about sex addiction. Okay. And
• 43:03
  Speaker 1: he's a sex addict and he's like having anonymous sex
• 43:07
  Speaker 1: and like meeting with prostitutes. So he has this like
• 43:11
  Speaker 1: dirty anonymous sex all the time, every day, multiple times
• 43:15
  Speaker 1: a day. He has no problem performing. And then he
• 43:17
  Speaker 1: genuinely meets like a woman who likes him and they
• 43:21
  Speaker 1: go to hook up and he can't get aroused. And
• 43:24
  Speaker 1: it's kind of like, oh, he doesn't know how to
• 43:25
  Speaker 1: be normal. That's what I think D would be like.
• 43:29
  Speaker 1: He doesn't know how to be normal. But this is...
• 43:31
  Speaker 1: And I want to ask your opinion on this. Because
• 43:33
  Speaker 1: this whole relationship is like, what could have been? Because
• 43:37
  Speaker 1: there's obviously a lot of discussion in general about nature
• 43:40
  Speaker 1: versus nurture. But I think D is portrayed as like,
• 43:44
  Speaker 1: he would have been fine if he didn't have his grandmother.
• 43:47
  Speaker 3: Yeah. Yeah.
• 43:49
  Speaker 2: Right?
• 43:50
  Speaker 3: He's a nice guy. Yeah.
• 43:52
  Speaker 1: Yeah.
• 43:53
  Speaker 3: No, I'm kidding. No, I think that, yeah, I think
• 43:57
  Speaker 3: his grandmother kind of ruined him.
• 43:58
  Speaker 1: No, right here. Meg, is there any fixing him? Is
• 44:02
  Speaker 1: there any amount of therapy? If he lived to be
• 44:04
  Speaker 1: a thousand years old, is there an amount of therapy
• 44:07
  Speaker 1: that would fix?
• 44:08
  Speaker 3: At this point, I'm going to sadly say I don't
• 44:11
  Speaker 3: think so.
• 44:12
  Speaker 2: I mean, the only final step you could take, he
• 44:15
  Speaker 2: does take and it doesn't work.
• 44:17
  Speaker 3: What's that?
• 44:20
  Speaker 1: I did have a note here so we'll get to
• 44:23
  Speaker 1: the next morning but I was listening to a podcast
• 44:25
  Speaker 1: on covert narcissism and it was it was very interesting
• 44:33
  Speaker 1: and it reminded me like what they were describing it
• 44:37
  Speaker 1: was like oh I know a person just like this
• 44:39
  Speaker 1: but they were saying can covert narcissists like have interactions
• 44:45
  Speaker 1: in a relationship that are healthy And the therapist on
• 44:51
  Speaker 1: the podcast was like, I think it's a sliding scale.
• 44:53
  Speaker 1: I think if you're like a 4 or a 5, sure.
• 44:57
  Speaker 1: If you're a 9 or a 10, I think you're–
• 44:59
  Speaker 1: you don't know. You can't like be in a– you
• 45:02
  Speaker 1: can't have normal loving interactions in a relationship if you're
• 45:05
  Speaker 1: a 9 or a 10. I would say he's like
• 45:07
  Speaker 1: an 11 on whatever he is.
• 45:09
  Speaker 2: Yeah.
• 45:10
  Speaker 1: So they wake up the next day. They made sweet,
• 45:13
  Speaker 1: sweet love.
• 45:15
  Speaker 3: And– Well, she's walking around the fountain. She's not in bed.
• 45:19
  Speaker 1: She's not in bed. But he, you know, he has
• 45:21
  Speaker 1: some issues.
• 45:22
  Speaker 3: He's got some issues.
• 45:24
  Speaker 1: So he talks to the Red Dragon painting.
• 45:27
  Speaker 3: Is that the first time that you see the painting?
• 45:29
  Speaker 2: Yes.
• 45:30
  Speaker 1: Yes. In his attic.
• 45:31
  Speaker 2: It's in the book at the beginning, but it's in
• 45:33
  Speaker 2: the attic.
• 45:33
  Speaker 1: It's not the OG painting. That will come later. Yes.
• 45:36
  Speaker 1: But a copy of the painting is hanging in the attic.
• 45:38
  Speaker 3: Above his locker of... instruments of death.
• 45:42
  Speaker 2: Yes.
• 45:43
  Speaker 1: And he's like, you cannot have her. Yes. And then
• 45:46
  Speaker 1: he just, he, he puts a shotgun in his mouth.
• 45:49
  Speaker 1: And again, I'm laughing because of how fucking crazy he is. Like,
• 45:53
  Speaker 1: if you're a woman, you, you, you like this guy
• 45:56
  Speaker 1: at work, you slept with him. The next morning you
• 45:59
  Speaker 1: wake up and he has a shotgun in his mouth.
• 46:01
  Speaker 1: You're like, Whoa, he does it so intensely. And the
• 46:04
  Speaker 1: music is blaring.
• 46:05
  Speaker 2: And I was just, I mean, like you're saying, like
• 46:08
  Speaker 2: it does trend to funny. Cause it's just so intense.
• 46:11
  Speaker 3: Um, and she's outside. She's not even in the house.
• 46:14
  Speaker 3: She's walking around the fountain and he's looking at her
• 46:16
  Speaker 3: out the window and he's feeling very conflicted.
• 46:21
  Speaker 1: Yes. And I keep saying this, but I, he just
• 46:25
  Speaker 1: keeps making me laugh. So he drops her off and
• 46:28
  Speaker 1: he's realizing like, I can't date her. I'm going to
• 46:30
  Speaker 1: end up killing her. The dragon's going to take her.
• 46:32
  Speaker 1: She doesn't deserve this. I have a moral compass too. Um,
• 46:37
  Speaker 1: So he's like, I got to end this. So he's
• 46:39
  Speaker 1: acting really weird in the van. Believe it or not,
• 46:41
  Speaker 1: acting really weird in the van. And he drops her
• 46:43
  Speaker 1: off and she's like, everything good? And he just says,
• 46:46
  Speaker 1: I have to go now. Which is true. My planet
• 46:50
  Speaker 1: needs me. My planet needs me. I have to go now.
• 46:55
  Speaker 1: And he does a little field trip. But before we
• 46:59
  Speaker 1: get to the field trip, there's a moment where it
• 47:02
  Speaker 1: shows Lecter in his cell. And because... He is now
• 47:07
  Speaker 1: cooperating with the investigation. He has this like elaborate meal
• 47:10
  Speaker 1: set up for him. And then he surprises the chef
• 47:13
  Speaker 1: and the glass. He just pops up and goes, thank you.
• 47:17
  Speaker 1: I really enjoyed that.
• 47:19
  Speaker 3: He gets to have wine.
• 47:21
  Speaker 1: He does get to have wine. And is this in,
• 47:26
  Speaker 1: is this, I can't remember. Is it Brooklyn?
• 47:28
  Speaker 2: Brooklyn Museum.
• 47:29
  Speaker 1: Brooklyn.
• 47:29
  Speaker 3: Yes, definitely New York.
• 47:32
  Speaker 1: This is probably the hardest I laughed. The first time
• 47:35
  Speaker 1: I saw this. As far as doing something crazy, this
• 47:39
  Speaker 1: is an 11 out of 10.
• 47:40
  Speaker 2: My notice, this is the reason we're all here today.
• 47:44
  Speaker 3: He's really going off the rails here.
• 47:45
  Speaker 2: I love this so much.
• 47:48
  Speaker 1: Explain what happens. Even in the 80s, keep in mind,
• 47:53
  Speaker 1: you're in a museum.
• 47:54
  Speaker 2: So Dee goes to the Brooklyn Museum.
• 47:55
  Speaker 1: There's people everywhere. There's cameras, security. Right.
• 47:58
  Speaker 2: Everywhere. So we cut to Dee walking through the Brooklyn
• 48:02
  Speaker 2: Museum with one of the curators, and she's like, Talking
• 48:05
  Speaker 2: about how she's like, oh, we've been talking through letter correspondence.
• 48:10
  Speaker 2: You just weren't the way I would imagine you would look.
• 48:12
  Speaker 2: And he's like, what do you mean? And she just
• 48:14
  Speaker 2: says nothing, which we all know what she really means.
• 48:17
  Speaker 2: That was great. So she brings him into a room
• 48:21
  Speaker 2: and opens the original Red Dragon painting by William Blake.
• 48:26
  Speaker 2: Dee is overcome with just sheer emotion.
• 48:29
  Speaker 1: So I'm sorry to interrupt you.
• 48:30
  Speaker 2: Go ahead.
• 48:31
  Speaker 1: He gets so... He's looking at the painting. He gets
• 48:34
  Speaker 1: so close. Like, his nose is almost touching it. And
• 48:38
  Speaker 1: I thought, this woman must be like, hey!
• 48:40
  Speaker 2: But she's a curator, so I think she's into it.
• 48:42
  Speaker 1: Yeah.
• 48:43
  Speaker 3: I bet art people are like that.
• 48:45
  Speaker 1: Totally.
• 48:46
  Speaker 2: I want to be this close to this thing I admire.
• 48:49
  Speaker 2: So then, like, he backs up, realizes, I know what
• 48:51
  Speaker 2: I need to do next to save myself and to
• 48:53
  Speaker 2: save Reba. So he pulls out that little, like, beam
• 48:56
  Speaker 2: thing and just knocks this woman unconscious and then starts
• 48:59
  Speaker 2: ripping the painting up and eating it. I'm not kidding you.
• 49:02
  Speaker 2: It's always going to be in theaters the weekend it opened.
• 49:04
  Speaker 2: Our entire theater started dying laughing because, and not because
• 49:07
  Speaker 2: the movie does it in a very good way. I
• 49:09
  Speaker 2: have to give them that credit. It's just so insane.
• 49:10
  Speaker 2: You just start laughing.
• 49:11
  Speaker 1: It's so insane.
• 49:12
  Speaker 3: It's so insane.
• 49:13
  Speaker 2: Because he's also like, Ralph Fiennes is just shoving it
• 49:15
  Speaker 2: in his mouth as hard as he can. And he's
• 49:17
  Speaker 2: just chewing it. And then the best shot of this
• 49:19
  Speaker 2: entire movie is when the other lady opens the door
• 49:22
  Speaker 2: and you see her point of view of him just
• 49:23
  Speaker 2: being like, and he just looks over at her. And
• 49:27
  Speaker 2: she's just like, and she looks over and sees the
• 49:29
  Speaker 2: woman knocked unconscious. And he's like, eating a painting.
• 49:33
  Speaker 1: And she just screams.
• 49:34
  Speaker 2: And he just runs over and grabs her and that
• 49:36
  Speaker 2: scene ends. It's amazing.
• 49:37
  Speaker 1: What would a 200-year-old painting do to your insides? Also,
• 49:40
  Speaker 1: what's in the paint? What did they do for the
• 49:42
  Speaker 1: paint back then?
• 49:43
  Speaker 2: I'm pretty sure Dee's okay.
• 49:44
  Speaker 3: Yeah, I feel like he's okay.
• 49:46
  Speaker 1: It would be so hard to eat. It's so dry.
• 49:48
  Speaker 3: It would be so hard to eat.
• 49:49
  Speaker 1: You need water. You can't just eat that painting.
• 49:51
  Speaker 2: He turned out okay.
• 49:52
  Speaker 3: Why didn't he kill her? Banging her over the head
• 49:56
  Speaker 3: scene was so weak, I thought.
• 49:59
  Speaker 2: I think they were kind of... Sorry, I hit this.
• 50:01
  Speaker 1: No, it's all good.
• 50:02
  Speaker 2: What they were alluding to is the idea of... Hamilton before,
• 50:04
  Speaker 2: it's his first time he's getting sloppy. And they say later...
• 50:08
  Speaker 2: now that he has the attention and stuff like that,
• 50:10
  Speaker 2: he's starting to crumble under it. So he's starting to panic.
• 50:13
  Speaker 2: And then also the whole thing, the movie, I don't
• 50:15
  Speaker 2: think there's a great job telling you, but like you
• 50:17
  Speaker 2: see it because Reba's in his life. It's this new
• 50:22
  Speaker 2: X factor that he didn't anticipate. And that is affecting
• 50:26
  Speaker 2: what he's doing now too. So I think the idea
• 50:28
  Speaker 2: is that like he's crumbling, but already has been crumbling,
• 50:33
  Speaker 2: but you don't give him a 24th chance. He'll be fine. Yeah. Yeah.
• 50:36
  Speaker 1: Yeah, so he goes back to Chromalux, which is his
• 50:41
  Speaker 1: job at the photo company, and he sees... Love this.
• 50:45
  Speaker 1: Billy Graham.
• 50:45
  Speaker 2: Billy Graham.
• 50:47
  Speaker 3: How did he get out of the museum, too, by
• 50:49
  Speaker 3: the way? Like, after eating the painting and knocking the
• 50:52
  Speaker 3: people unconscious?
• 50:53
  Speaker 2: I think he's in his 80s. Like you said, it's not.
• 50:55
  Speaker 1: Yeah, it's not.
• 50:57
  Speaker 3: I had a problem with that part.
• 50:59
  Speaker 1: He wouldn't get away with it now, that's for sure.
• 51:01
  Speaker 3: No.
• 51:01
  Speaker 2: Oh, so... I think it's before... Is it? No, sorry,
• 51:08
  Speaker 2: they go to Chromalox. I'm sorry, you're right.
• 51:10
  Speaker 1: No, sorry, this is before.
• 51:11
  Speaker 3: So wait, they figure out, the FBI figures out that
• 51:14
  Speaker 3: it's Chromalox.
• 51:15
  Speaker 2: Yes, that's right, they figure it out.
• 51:16
  Speaker 1: Yeah, right.
• 51:16
  Speaker 2: So Will's watching the tapes and he has to wear
• 51:18
  Speaker 2: the tapes. Yes. And he has to go see the tape, okay.
• 51:20
  Speaker 3: Because Lecter said you need to see them living the
• 51:23
  Speaker 3: way they caught his eye.
• 51:24
  Speaker 2: So the best line in this movie delivered by Jack Crawford,
• 51:27
  Speaker 2: played by Harvey Keitel, is they show them on the
• 51:29
  Speaker 2: plane flying to Missouri where Chromalox.
• 51:32
  Speaker 1: They also, they have a private jet. I guess the
• 51:34
  Speaker 1: FBI is the FBI, but this is so... so big
• 51:37
  Speaker 1: of a deal that they have a private jet for
• 51:39
  Speaker 1: them too. But anyways, I bet.
• 51:42
  Speaker 2: Yeah. So he's like, um, in the most wooden way possible. Well,
• 51:48
  Speaker 2: check this out. We just got word. Um, Brooklyn museum
• 51:53
  Speaker 2: of art, someone attacked two employees and get this, ate
• 51:58
  Speaker 2: the Blake painting. That made me laugh. So fucking hard.
• 52:02
  Speaker 1: When I watched this, it doesn't will say it's him.
• 52:04
  Speaker 1: It's him, but it could be him.
• 52:07
  Speaker 3: What a weird coincidence.
• 52:09
  Speaker 1: It's maybe him.
• 52:10
  Speaker 2: It's the same guy?
• 52:11
  Speaker 1: It's maybe him.
• 52:11
  Speaker 2: But Keitel delivers it with minimal to anything on it,
• 52:16
  Speaker 2: and I just started dying laughing.
• 52:17
  Speaker 1: Yeah.
• 52:18
  Speaker 2: It's like, clearly this is the guy. Get the security footage. Insane.
• 52:23
  Speaker 1: So they go to Chromalux, and Will's like, I need
• 52:27
  Speaker 1: personal information for every single employee you have. And the
• 52:30
  Speaker 1: guy goes, no. So then he says, all right, we're
• 52:32
  Speaker 1: looking for a white male with a facial disfigurement He
• 52:36
  Speaker 1: drives a panel van, uh, possible military background. And then
• 52:40
  Speaker 1: they go hot as hell, hot, sexy as hell, giant
• 52:44
  Speaker 1: dragon tattooed in his ass. Oh, Francis. And they go,
• 52:48
  Speaker 1: I think they're talking about Mr. D.
• 52:50
  Speaker 2: I wrote, um, the manager was so staunchly defending him. Like,
• 52:53
  Speaker 2: I'm not going to give them, I'm like, this manager
• 52:54
  Speaker 2: must be related to the lawyer for Freddy Krueger during
• 52:57
  Speaker 2: the trials.
• 52:59
  Speaker 1: The woman though, that worked there was kind of like, okay.
• 53:02
  Speaker 2: She's like, I, I knew this was going to happen. Yeah.
• 53:05
  Speaker 3: Uh, But wait, then Dee comes in.
• 53:07
  Speaker 1: And sees Will.
• 53:08
  Speaker 3: And sees Will.
• 53:09
  Speaker 2: Yes, and he's like, oh shit, I gotta get the
• 53:10
  Speaker 2: fuck out of here.
• 53:11
  Speaker 1: And then it was kind of cheesy, but he goes, uh-oh.
• 53:15
  Speaker 2: Like the Home Alone.
• 53:17
  Speaker 3: Oh yeah, Home Alone.
• 53:20
  Speaker 1: So Dee immediately sees Will Graham and then blames Reba.
• 53:25
  Speaker 1: Because he thinks that Reba took something from the house. Because.
• 53:30
  Speaker 3: No, I have a different interpretation. I don't think he
• 53:32
  Speaker 3: blames Reba.
• 53:33
  Speaker 2: Well, he says that to her. He's like, what did
• 53:35
  Speaker 2: you see at the house?
• 53:36
  Speaker 1: Right.
• 53:36
  Speaker 2: Why would you tell, yeah.
• 53:38
  Speaker 3: Well, I feel like he, the dragon, you know, the dragon,
• 53:41
  Speaker 3: he's trying to protect her from the dragon.
• 53:42
  Speaker 1: No, but he explicitly says, like, you took something from
• 53:45
  Speaker 1: the house and that's why the police are now involved.
• 53:47
  Speaker 2: Because, again, his self-awareness, he knows his house appearance is horrifying,
• 53:51
  Speaker 2: even though she cannot see. He's like, there must be
• 53:53
  Speaker 2: something that threw you off.
• 53:54
  Speaker 1: It's got to smell.
• 53:56
  Speaker 3: It's got to smell. Bad. Yeah. And a blind person,
• 54:01
  Speaker 3: if they rely on their other senses, I would think.
• 54:04
  Speaker 1: So you don't think going into New York City in
• 54:07
  Speaker 1: a museum with cameras, even in the 80s, attacking two
• 54:10
  Speaker 1: women and eating a painting tipped off the cops, you
• 54:13
  Speaker 1: think was Reba?
• 54:15
  Speaker 3: He's going off the rails, remember?
• 54:17
  Speaker 1: He's definitely now at this point. Oh, well, sorry. We
• 54:23
  Speaker 1: skipped the whole Ralph part.
• 54:24
  Speaker 2: Yeah.
• 54:25
  Speaker 1: Right. Well, actually, Meg, why don't you touch upon the
• 54:28
  Speaker 1: Ralph part?
• 54:29
  Speaker 3: Well, so he goes to Reba's house because he thinks
• 54:32
  Speaker 3: that Reba told the police something.
• 54:34
  Speaker 1: Yeah.
• 54:35
  Speaker 3: And wait, is it just coincidentally Ralph is there?
• 54:40
  Speaker 1: She's just getting a ride home from him.
• 54:42
  Speaker 3: Oh, yeah. And she was venting to Ralph about what
• 54:46
  Speaker 3: happened with Dee. And you can hear their conversation.
• 54:49
  Speaker 2: You know where her heart was.
• 54:51
  Speaker 1: Yes.
• 54:51
  Speaker 3: And she says something like, thank you for letting me vent.
• 54:54
  Speaker 3: They have a very benign kiss on the cheek. You know,
• 54:58
  Speaker 3: I think she makes it perfectly clear she doesn't want
• 55:00
  Speaker 3: anything more. Thank you for letting me vent. He says
• 55:02
  Speaker 3: something like, I'll always be there for you. And then
• 55:06
  Speaker 3: he turns around to walk down the steps and bang,
• 55:11
  Speaker 3: he gets shot.
• 55:12
  Speaker 1: Speaking of, I said that Jack and Will sentenced Philip
• 55:16
  Speaker 1: Zimmer Hoffman to death. Reba sentenced Frank to death.
• 55:19
  Speaker 3: Yeah, I know.
• 55:21
  Speaker 1: And so he's definitely... Definitely going to kill Reba, it
• 55:25
  Speaker 1: seems like. And he explains to her, I'll shoot you,
• 55:30
  Speaker 1: then myself. He tells her that. Then he says, I
• 55:38
  Speaker 1: can't do it. He has a shotgun. He's going to
• 55:40
  Speaker 1: shoot Reba. Because Reba not only tipped off the cops,
• 55:42
  Speaker 1: but now is, in his mind, is like banging Ralph
• 55:47
  Speaker 1: and betrayed him. Even though he broke up with her, essentially. Because...
• 55:52
  Speaker 1: he was so scared of the dragon getting her as
• 55:54
  Speaker 1: we all are.
• 55:55
  Speaker 3: And, um, he's back at his place.
• 55:59
  Speaker 1: Yes. The rightest place. He lights, essentially lights his own
• 56:02
  Speaker 1: house on fire.
• 56:03
  Speaker 2: Yeah.
• 56:05
  Speaker 1: And he's going to kill her. And then at the
• 56:07
  Speaker 1: end he just says, I can't do it. And I
• 56:10
  Speaker 1: thought this, she has a great scream here.
• 56:12
  Speaker 2: Yes.
• 56:13
  Speaker 1: So he turns the gun on himself, puts the shotgun
• 56:15
  Speaker 1: in his mouth and then pulls the trigger and And
• 56:19
  Speaker 1: you don't see his head explode, but you see the
• 56:21
  Speaker 1: splash of blood on Reba's face.
• 56:24
  Speaker 2: I also liked how Reba handled, like, because when he
• 56:27
  Speaker 2: starts saying the things about the Red Dragon, she, like,
• 56:30
  Speaker 2: starts to get really, like, I mean.
• 56:32
  Speaker 1: Alarmed.
• 56:33
  Speaker 2: Yeah, alarmed a lot. Like, this is not okay. So
• 56:35
  Speaker 2: she realizes, I'm dealing with a person who is incredibly unwell.
• 56:38
  Speaker 2: So then she plays into it a little bit, being like, no, no, no, like,
• 56:42
  Speaker 2: I can help you get away from this thing. She
• 56:45
  Speaker 2: doesn't act like, you're insane, stay away from me. She's like,
• 56:47
  Speaker 2: I can... She tries to play into his human nature.
• 56:50
  Speaker 3: Unfortunately, yeah.
• 56:53
  Speaker 1: So she survives. Will shows up. The house is being
• 56:57
  Speaker 1: burned down. Then the house, I thought it was unnecessary,
• 57:00
  Speaker 1: but the house explodes.
• 57:02
  Speaker 3: Well, but she, thank God, she remembered nine steps to
• 57:05
  Speaker 3: the door and the clock or whatever. Because she's blind.
• 57:08
  Speaker 1: She's blind.
• 57:11
  Speaker 3: And the whole house is in flames.
• 57:12
  Speaker 1: Yep.
• 57:13
  Speaker 3: And when she's crawling around trying to find her way,
• 57:15
  Speaker 3: she touches Will. what she thinks is Dee's face.
• 57:19
  Speaker 2: Yes.
• 57:21
  Speaker 1: Yes, and you'd actually show it, but it's so the
• 57:24
  Speaker 1: dead body of Dollar Hyde is so mangled and covered
• 57:28
  Speaker 1: in blood from the shotgun blast that you don't question it.
• 57:31
  Speaker 2: Right.
• 57:32
  Speaker 1: And Meg, I have another psychologist question for you. I said,
• 57:36
  Speaker 1: is there any fixing Dollar Hyde? How do you fix Reba?
• 57:39
  Speaker 1: How do you get Reba to date again after this scenario?
• 57:44
  Speaker 3: It might be challenging.
• 57:45
  Speaker 1: It might be challenging.
• 57:46
  Speaker 2: I think Will did a pretty good job.
• 57:48
  Speaker 3: But I have hope for Reba.
• 57:50
  Speaker 1: Will gives her a pep talk.
• 57:51
  Speaker 2: I actually really like this part.
• 57:53
  Speaker 3: I have more hope for Reba than I did for Dee.
• 57:55
  Speaker 1: I would think so.
• 57:57
  Speaker 2: I agree.
• 57:58
  Speaker 1: Yeah. Reba's blood trail is pretty small in comparison. Will
• 58:03
  Speaker 1: says whatever part of him was still human was there
• 58:05
  Speaker 1: because of you, which is true. You probably saved some lives.
• 58:08
  Speaker 1: Also true. She said, I should have known. And then
• 58:11
  Speaker 1: Will says, trust me, I've been there.
• 58:13
  Speaker 2: But also just like also just ending with that joke
• 58:16
  Speaker 2: besides the hair you gotta fix the hair it's just
• 58:18
  Speaker 2: so wonderfully nice.
• 58:19
  Speaker 1: Yeah you gotta break the ice and the way.
• 58:21
  Speaker 2: She does that and she just like cries and laughs
• 58:23
  Speaker 2: at the same time is so great.
• 58:24
  Speaker 1: I really like that moment so this home completely exploded
• 58:28
  Speaker 1: like into smithereens and they found the completely intact journal
• 58:32
  Speaker 1: again now.
• 58:33
  Speaker 2: Offered with the fucking sack of potatoes moments here's his book.
• 58:40
  Speaker 1: You read it Will You should read it. Even though
• 58:43
  Speaker 1: I was a claims adjuster, I worked for an insurance company,
• 58:46
  Speaker 1: if the home exploded and it was in the safe,
• 58:49
  Speaker 1: it would still be very damaged.
• 58:51
  Speaker 3: Insurance corner.
• 58:52
  Speaker 1: It would be insurance corner. It would be smoke damaged.
• 58:55
  Speaker 1: It would be like we.
• 58:57
  Speaker 2: You're managing the dollar hide policy, right? Yeah?
• 59:00
  Speaker 1: Oh, man. In the Palisades fire, there was a World
• 59:03
  Speaker 1: Series ring and a safe, and we ended up salvaging
• 59:07
  Speaker 1: the safe and getting the World Series ring out, and
• 59:09
  Speaker 1: then we ended up getting it cleaned and restored. But
• 59:12
  Speaker 1: it was still terribly soot damaged. Really? Oh, yeah. So
• 59:16
  Speaker 1: this journal would be toast. But Will reads through the
• 59:21
  Speaker 1: journal and he determines Dee wasn't born a monster. He
• 59:25
  Speaker 1: was made one through years and years of abuse.
• 59:27
  Speaker 3: Mm-hmm.
• 59:29
  Speaker 1: So... Now there's that moment where Will's back in Florida.
• 59:33
  Speaker 1: Everything's good. He's chilling with the fam. Having a great time.
• 59:37
  Speaker 1: Everything's good. And his idiot son, he says, will you go?
• 59:42
  Speaker 1: We're making s'mores. Go get the s'mores ingredients.
• 59:46
  Speaker 2: Well, it's actually the son's fault because he wants to
• 59:48
  Speaker 2: make the s'mores.
• 59:48
  Speaker 3: What a pig.
• 59:49
  Speaker 1: Oh, this is the son.
• 59:50
  Speaker 2: Yeah, of course. It's his fault. Yep.
• 59:52
  Speaker 1: And then.
• 59:53
  Speaker 2: My note literally is, Josh is taking way too long.
• 59:57
  Speaker 3: Yeah, way too long. Way too long.
• 59:59
  Speaker 2: Yes.
• 1:00:01
  Speaker 1: So I thought this was really cool where he's like,
• 1:00:05
  Speaker 1: what the heck is taking Josh so long? And then
• 1:00:07
  Speaker 1: he goes into the house and sees the shattered mirror. Yes.
• 1:00:11
  Speaker 1: I thought that was great.
• 1:00:12
  Speaker 3: That was pretty good.
• 1:00:12
  Speaker 1: So why I think Manhunter is worse, doesn't have the
• 1:00:16
  Speaker 1: opening scene, doesn't have this sequence.
• 1:00:19
  Speaker 3: Oh, really?
• 1:00:19
  Speaker 2: No.
• 1:00:20
  Speaker 1: So Dollar Hyde never goes back to Will's house.
• 1:00:23
  Speaker 3: Where does it end?
• 1:00:24
  Speaker 1: And what's so baffling to me.
• 1:00:25
  Speaker 2: Dollar Hyde's place.
• 1:00:26
  Speaker 1: At dollar heads place what's so baffling to me is
• 1:00:29
  Speaker 1: in manhunter they do the story where lector gives dollar
• 1:00:34
  Speaker 1: hide yes will's address so i was like oh this
• 1:00:37
  Speaker 1: must end the same way because it goes back to
• 1:00:40
  Speaker 1: this that was foreshadowing right but it doesn't no so
• 1:00:43
  Speaker 1: it's kind of pointless.
• 1:00:44
  Speaker 2: Well i think the idea was like the police are
• 1:00:47
  Speaker 2: able to get to him before he can expand beyond
• 1:00:50
  Speaker 2: that point still does a lot of damage but he
• 1:00:52
  Speaker 2: can go beyond that point.
• 1:00:53
  Speaker 1: Um I wrote, Jack is the Grim Reaper. Don't have
• 1:00:57
  Speaker 1: anything to do with Jack.
• 1:01:00
  Speaker 2: The voicemail thing is the laziest shit on the planet.
• 1:01:02
  Speaker 2: It drove me insane. Hey, Will. Will, guess what? Dollar
• 1:01:08
  Speaker 2: Hive might be out. We don't think it's the guy
• 1:01:10
  Speaker 2: who's dead. It's probably a different face.
• 1:01:12
  Speaker 1: Is this guy Ralph?
• 1:01:13
  Speaker 2: I think he's behind the door on the second left
• 1:01:15
  Speaker 2: of your apartment. It's fucking terrible. I'm sorry. I love
• 1:01:18
  Speaker 2: this movie, but still.
• 1:01:20
  Speaker 1: Uh, yeah. It was bad.
• 1:01:21
  Speaker 3: Yeah.
• 1:01:22
  Speaker 1: So now Will walks in to his master bedroom and
• 1:01:26
  Speaker 1: sees Dollar Hyde with a big shard of glass holding
• 1:01:29
  Speaker 1: his son hostage with the glass to his face. Tough, tough, tough.
• 1:01:33
  Speaker 3: I thought this was a good scene.
• 1:01:34
  Speaker 1: I love it. This is so smart. This is a
• 1:01:36
  Speaker 1: very good standoff. This is great. Like, psychology corner.
• 1:01:39
  Speaker 3: Psychology corner.
• 1:01:40
  Speaker 1: Explain this part.
• 1:01:41
  Speaker 3: Yeah, so he knows that... Because he just read the journal. Yeah,
• 1:01:45
  Speaker 3: Will's grandmother... Oh, no, sorry. Dee's grandmother... shamed him for
• 1:01:49
  Speaker 3: being a little boy and having accidents and stuff like that.
• 1:01:52
  Speaker 3: And Will's son is so scared. He pees his pants
• 1:01:55
  Speaker 3: and it's obvious. And so he assesses the situation and
• 1:02:00
  Speaker 3: makes a great judgment call. And he starts shaming his
• 1:02:03
  Speaker 3: son and using the same tone that Dee's grandmother would
• 1:02:07
  Speaker 3: have used. And Dee gets so upset and so angry
• 1:02:11
  Speaker 3: at Will that, He lets the son go and goes
• 1:02:14
  Speaker 3: after Will.
• 1:02:16
  Speaker 1: You disgusting little beast. Do you want me to cut
• 1:02:18
  Speaker 1: it off? And then I won't say the word, but
• 1:02:20
  Speaker 1: he goes, don't cry at me, you little... Another time
• 1:02:24
  Speaker 1: I burst out laughing. Number one question in this moment.
• 1:02:28
  Speaker 1: What is Will's son thinking? What is Josh thinking?
• 1:02:31
  Speaker 3: I know.
• 1:02:31
  Speaker 1: He's so confused.
• 1:02:33
  Speaker 2: So confused. Might have just created D2. Just saying. Yeah.
• 1:02:36
  Speaker 1: Uh... Um, if he, Josh just cries and says, sorry, daddy,
• 1:02:42
  Speaker 1: I'm a dirty little beast. So Dollar Hyde hugs Josh.
• 1:02:46
  Speaker 1: And then, well then, so this is when Dollar Hyde
• 1:02:49
  Speaker 1: like loses his cool.
• 1:02:50
  Speaker 2: Yes.
• 1:02:50
  Speaker 1: Will says to his son who does not have a
• 1:02:52
  Speaker 1: hair lip, you're a hair lip and no one will
• 1:02:54
  Speaker 1: ever love you. So then he's like, okay, uh, they
• 1:02:58
  Speaker 1: have a fight. Will runs to his bedroom to get
• 1:03:01
  Speaker 1: his gun. He locks the door. And this I think
• 1:03:04
  Speaker 1: is a genius moment. Um, That is super scary where
• 1:03:09
  Speaker 1: Dollar Hyde's banging the door to knock it down and
• 1:03:11
  Speaker 1: Will's holding the gun. And then the banging stops. Yes. Oh.
• 1:03:15
  Speaker 1: So you're like, oh, fuck.
• 1:03:16
  Speaker 2: Yes.
• 1:03:17
  Speaker 1: Yes.
• 1:03:18
  Speaker 2: Yes.
• 1:03:18
  Speaker 1: And then that idiot Molly just comes up and goes like, guys,
• 1:03:22
  Speaker 1: what about the s'mores? You know?
• 1:03:24
  Speaker 2: Yeah.
• 1:03:24
  Speaker 3: God.
• 1:03:25
  Speaker 1: Didn't you see.
• 1:03:27
  Speaker 2: The smashed mirror lady? I know. Infuriating.
• 1:03:29
  Speaker 1: And then Will, this is how Shannon would die in
• 1:03:32
  Speaker 1: this scene. Will screams. So Molly's just walking up and
• 1:03:35
  Speaker 1: goes like, Josh, Will, where are you? No idea what's
• 1:03:37
  Speaker 1: going on. Will goes, Molly, get down! And then Molly immediately,
• 1:03:42
  Speaker 1: like within a millisecond, dives on the floor on her stomach.
• 1:03:46
  Speaker 1: Would never happen. Would never. She'd be like, what? Get
• 1:03:50
  Speaker 1: down where?
• 1:03:51
  Speaker 3: I'd be like, why? Why get down?
• 1:03:53
  Speaker 1: For what?
• 1:03:54
  Speaker 2: My memory of this scene, which clearly I was wrong with,
• 1:03:57
  Speaker 2: is I thought Molly killed Dee because they have that
• 1:04:01
  Speaker 2: scene where he's like, because of what happened where they
• 1:04:04
  Speaker 2: gave the address away, I need to show you how
• 1:04:06
  Speaker 2: to use a gun. Because... Oh, yeah, we.
• 1:04:09
  Speaker 3: Should have talked about that.
• 1:04:10
  Speaker 2: So I thought, like, oh, this is where they're setting
• 1:04:13
  Speaker 2: up that she's going to be actually the one who
• 1:04:15
  Speaker 2: kills Dollar Hyde, and they don't, but.
• 1:04:17
  Speaker 1: No, they do.
• 1:04:19
  Speaker 2: No, like, I meant, like, she shoots Dollar Hyde. Yes. Okay,
• 1:04:23
  Speaker 2: after he already shoots him, but yes.
• 1:04:26
  Speaker 1: Correct. But so, yeah, like, still... So Will... Molly dives down.
• 1:04:32
  Speaker 1: Will shoots through the door. They shoot each other. Dollar
• 1:04:35
  Speaker 1: Hyde and Will shoot each other. They both fall to
• 1:04:37
  Speaker 1: the ground. And then Molly rushes to Will. And Will says... You, like,
• 1:04:41
  Speaker 1: finish him off.
• 1:04:42
  Speaker 2: Yeah.
• 1:04:42
  Speaker 1: So then Molly goes over.
• 1:04:43
  Speaker 2: The scream moment. Mm-hmm.
• 1:04:44
  Speaker 1: The exact... The scream moment with Ski Doll Rush. Goes
• 1:04:46
  Speaker 1: over and shoots him in the head. Finally killing him.
• 1:04:49
  Speaker 1: Because he would be, like, riddled with bullets.
• 1:04:51
  Speaker 3: Yes.
• 1:04:52
  Speaker 1: Yes. It's too jacked. And... Then the end of the
• 1:04:59
  Speaker 1: movie is... Will is reading a letter from Hannibal Lecter.
• 1:05:03
  Speaker 1: And again, like, fuck him. This is such a great reaction.
• 1:05:06
  Speaker 1: He goes, dear Will, what a collection of scars you have.
• 1:05:09
  Speaker 1: And then Will just crumples the letter up and throws
• 1:05:10
  Speaker 1: it in the ocean. That's like a scream.
• 1:05:13
  Speaker 3: Like a scream. That was great.
• 1:05:14
  Speaker 1: And Will is on a boat and he's leaving Florida
• 1:05:18
  Speaker 1: and he's just like, I'm so, so done with this.
• 1:05:21
  Speaker 1: But there's one more mission, Will, Jack says. No.
• 1:05:25
  Speaker 2: Will, I need you. Seriously.
• 1:05:27
  Speaker 1: Yeah. But then the final, like, this is like a
• 1:05:31
  Speaker 1: comic book movie, post-credits reveal, but Meg, what is the
• 1:05:35
  Speaker 1: final moment of Dragon of Red?
• 1:05:38
  Speaker 3: They go back to Hannibal Lecter.
• 1:05:40
  Speaker 1: Mm-hmm.
• 1:05:42
  Speaker 3: To the jail cell. And Chilton, right?
• 1:05:45
  Speaker 2: Yep.
• 1:05:46
  Speaker 3: Says that there's a new FBI agent that wants to
• 1:05:49
  Speaker 3: talk to him, right? And he says, what's her name?
• 1:05:54
  Speaker 1: What is her name?
• 1:05:55
  Speaker 3: And then the movie ends.
• 1:05:56
  Speaker 1: Yep.
• 1:05:57
  Speaker 2: I didn't think these things were that close together.
• 1:05:58
  Speaker 3: I thought it was a great ending.
• 1:06:00
  Speaker 1: Really? So, I don't think that they are, but I
• 1:06:02
  Speaker 1: think they just did that, because, like.
• 1:06:03
  Speaker 2: Well, yeah, because they, like, laughed, too, yeah. Yeah.
• 1:06:05
  Speaker 3: I thought that was an awesome way to end it.
• 1:06:09
  Speaker 1: The guy we're talking about in the theater?
• 1:06:14
  Speaker 2: Oh! It's Clarice! He came, because he'd seen Silence of
• 1:06:18
  Speaker 2: the Lambs, and forgot during this movie, and then won't
• 1:06:20
  Speaker 2: remember it again. Wait, is this the Hannibal prequel?
• 1:06:25
  Speaker 1: Oh, man. I... This.
• 1:06:27
  Speaker 2: again, because now we're used to this a lot, this
• 1:06:29
  Speaker 2: feels very, I'm like, why are we doing this thing?
• 1:06:31
  Speaker 1: So, okay, Megan said, I think, I think OffPod, Megan said,
• 1:06:36
  Speaker 1: this was, re-watching this, it was not as good as
• 1:06:38
  Speaker 1: I remember. I agree, but this is, I think it's
• 1:06:41
  Speaker 1: better than Manhunter, I think it's the second best Hannibal movie,
• 1:06:46
  Speaker 1: and I liked it. It's good.
• 1:06:48
  Speaker 2: No, it's definitely watchable. Again, like, I think this is
• 1:06:50
  Speaker 2: a movie where, like, you are lucky where you're such
• 1:06:52
  Speaker 2: an embarrassment of riches of actors.
• 1:06:54
  Speaker 1: We're like, embarrassment of riches is perfect.
• 1:06:56
  Speaker 2: It's like, you're so like, it doesn't matter how badly
• 1:06:58
  Speaker 2: directed this could be or, or nothing's perfect. Like you,
• 1:07:02
  Speaker 2: it's watchable. It also moves very well. It does go,
• 1:07:05
  Speaker 2: it does go through really well.
• 1:07:06
  Speaker 1: I like it again.
• 1:07:07
  Speaker 2: It's being compared to a amazing movie.
• 1:07:10
  Speaker 1: So it's even hard to do it. It's just, I
• 1:07:13
  Speaker 1: don't know.
• 1:07:13
  Speaker 2: I think like, it's like if there's one thing different,
• 1:07:15
  Speaker 2: this is great. I don't know. It's a hard way.
• 1:07:17
  Speaker 1: Yeah, I agree.
• 1:07:19
  Speaker 3: And I was telling Ryan upstairs, I think that when
• 1:07:22
  Speaker 3: I watched this, even though I had watched it before,
• 1:07:24
  Speaker 3: like when we went to bed that night, I made
• 1:07:26
  Speaker 3: sure the basement door was locked. The slider door was locked.
• 1:07:30
  Speaker 2: Double locked.
• 1:07:31
  Speaker 3: The garage door was locked. You know, I was really
• 1:07:33
  Speaker 3: freaked out. And I think that's a good movie that
• 1:07:36
  Speaker 3: makes you do that.
• 1:07:37
  Speaker 1: Yeah. Yeah. And I think that it's definitely a lock
• 1:07:41
  Speaker 1: your doors movie. And that's what that's all true crime
• 1:07:44
  Speaker 1: really is like, okay, we were worried because we were
• 1:07:46
  Speaker 1: muted for a second, but we're good. So, yeah. Anyways,
• 1:07:50
  Speaker 1: Red Dragon Advice.
• 1:07:53
  Speaker 3: So, I have two pieces of Red Dragon Advice. I
• 1:07:54
  Speaker 3: already told you one. This is really not an issue anymore, but, like,
• 1:08:00
  Speaker 3: don't get your film developed at an exterior place, like
• 1:08:04
  Speaker 3: the one-hour photo.
• 1:08:05
  Speaker 1: Especially if you're, like, a sexy bikini mom.
• 1:08:09
  Speaker 3: Yeah. A sexy bikini mom. Or just, like, any reasonably
• 1:08:13
  Speaker 3: cute female.
• 1:08:15
  Speaker 1: Yeah, sure.
• 1:08:15
  Speaker 3: Yeah, or child.
• 1:08:18
  Speaker 1: I was talking about this with a co-worker. He's very tall.
• 1:08:21
  Speaker 1: And we were just walking around a city at night together.
• 1:08:24
  Speaker 1: And he was like, you know, it must suck to
• 1:08:27
  Speaker 1: be a woman. Like, are you worried right now? I
• 1:08:29
  Speaker 1: was like, no. And he said, yeah, women are worried
• 1:08:32
  Speaker 1: right now. And I said, yeah, that sucks.
• 1:08:35
  Speaker 2: I was watching Barbarian. And there was an interview with
• 1:08:41
  Speaker 2: Zach Kreger on YouTube after the guy who wrote and
• 1:08:43
  Speaker 2: directed it. And he said he read this book that
• 1:08:45
  Speaker 2: was written by a former.
• 1:08:48
  Speaker 2: White House security person about strictly written for women about
• 1:08:53
  Speaker 2: things to pick up on because he feels like he's
• 1:08:57
  Speaker 2: like the guy's book his thesis was that women will
• 1:08:59
  Speaker 2: see the best in people yeah because they're better than
• 1:09:03
  Speaker 2: us is the mentality and there's 19 red flags that
• 1:09:08
  Speaker 2: you're acknowledging but giving the best benefit of the doubt
• 1:09:12
  Speaker 2: for that you shouldn't yeah and he was he said
• 1:09:14
  Speaker 2: he wrote the whole thing of barbarian the whole scene
• 1:09:16
  Speaker 2: with her and bill skarsgård about how like what is
• 1:09:19
  Speaker 2: she skipping? Even though you don't know he's bad or good.
• 1:09:22
  Speaker 2: What is she bypassing? And this idea of like, like sadly,
• 1:09:28
  Speaker 2: they live in existence that they should not trust a guy.
• 1:09:32
  Speaker 2: If it turned back twice and see them behind them. Like, yeah. Yeah.
• 1:09:35
  Speaker 1: Well, and the only game you said you had to,
• 1:09:37
  Speaker 1: did you say both?
• 1:09:38
  Speaker 2: Yes.
• 1:09:39
  Speaker 3: If you inherit like a nursing home.
• 1:09:41
  Speaker 2: Yeah.
• 1:09:42
  Speaker 3: Maybe, maybe sell it.
• 1:09:46
  Speaker 2: Maybe.
• 1:09:46
  Speaker 3: Yeah. Like, Maybe sell it if you.
• 1:09:49
  Speaker 2: Inherit a nursing home.
• 1:09:51
  Speaker 3: Or a psychiatric hospital. Yeah.
• 1:09:55
  Speaker 1: Do you want to give your advice or my advice?
• 1:09:57
  Speaker 2: I can do mine. Okay, go ahead. To all the
• 1:10:01
  Speaker 2: serial killers listening.
• 1:10:03
  Speaker 1: Many.
• 1:10:05
  Speaker 2: The Vans. You guys got to give them up.
• 1:10:07
  Speaker 1: Yes. Red flag. Red dragon.
• 1:10:11
  Speaker 2: Bill used it.
• 1:10:11
  Speaker 1: Red dragon. That's perfect.
• 1:10:13
  Speaker 2: Bill used it. Dee used it.
• 1:10:17
  Speaker 1: It's old.
• 1:10:17
  Speaker 3: I feel like it's so ubiquitous. It's never going to
• 1:10:20
  Speaker 3: go out of style.
• 1:10:20
  Speaker 2: It's very true.
• 1:10:21
  Speaker 1: Ted Bundy literally would drag women.
• 1:10:24
  Speaker 2: In his van. You mentioned the workaholics joke. Now it's so...
• 1:10:28
  Speaker 2: Even if you are not a serial killer, people see
• 1:10:30
  Speaker 2: you have a van, they're just like, what the fuck
• 1:10:33
  Speaker 2: is this?
• 1:10:33
  Speaker 1: Hey, Chromalux, you have 900 employees. Do you have any
• 1:10:35
  Speaker 1: that drive a panel van? Oh yeah, Mr. D. Okay,
• 1:10:38
  Speaker 1: it's him. Versus Chromalux. We're looking for this guy. Mr. D.
• 1:10:42
  Speaker 1: foots the profile. What kind of car does he drive?
• 1:10:45
  Speaker 1: He drives a Mazda Miata. Okay, he's cleared. He's cleared.
• 1:10:48
  Speaker 1: He's not a suspect.
• 1:10:52
  Speaker 2: That'd be amazing.
• 1:10:54
  Speaker 1: My advice is... If you bring a woman to a tiger... Okay.
• 1:11:01
  Speaker 1: Panties drop.
• 1:11:04
  Speaker 2: Okay.
• 1:11:04
  Speaker 1: And we have a woman, and she's nodding in confirmation.
• 1:11:07
  Speaker 3: No, I'm not.
• 1:11:08
  Speaker 1: She's also my sister.
• 1:11:11
  Speaker 3: I don't think I would automatically drop my panties for
• 1:11:14
  Speaker 3: a tiger, no.
• 1:11:15
  Speaker 2: Oh, man, I would. So go with me on this?
• 1:11:18
  Speaker 2: I would. Go into the zoo? I know a guy
• 1:11:19
  Speaker 2: that way. You know a guy at the zoo?
• 1:11:21
  Speaker 1: Yeah, I'm like, what?
• 1:11:22
  Speaker 2: You got from Split? It's like, oh.
• 1:11:25
  Speaker 1: Well, that's it, guys. Thank you so much, Meg.
• 1:11:29
  Speaker 2: Yes, Megan, thank you.
• 1:11:30
  Speaker 3: Thanks, guys. This is great. So we need to find
• 1:11:32
  Speaker 3: something new to do next year.
• 1:11:34
  Speaker 2: Hannibal Rising.
• 1:11:35
  Speaker 1: Hannibal Rising, yes. We could do Hannibal but that would
• 1:11:38
  Speaker 1: be terrible.
• 1:11:39
  Speaker 3: No, I can't.
• 1:11:40
  Speaker 2: I told you guys I love Hannibal but no.
• 1:11:42
  Speaker 1: Hannibal is disgusting too. Talk about how this movie is
• 1:11:45
  Speaker 1: really not violent. Hannibal is insane.
• 1:11:47
  Speaker 2: Hannibal is so violent. Insanely violent.
• 1:11:49
  Speaker 3: And I have moral issue with Jodie Foster, who is
• 1:11:54
  Speaker 3: Julianne Moore in Hannibal, getting with Hannibal in like... Does
• 1:11:57
  Speaker 3: that happen at the end of the movie?
• 1:11:59
  Speaker 2: In the book, it does.
• 1:11:59
  Speaker 1: In the book, not in the movie.
• 1:12:00
  Speaker 3: Okay, does it not happen in the movie?
• 1:12:02
  Speaker 2: They were like, hey, this is movies. People will never
• 1:12:04
  Speaker 2: go with this.
• 1:12:04
  Speaker 3: That is not okay. She would never do that. Clarice
• 1:12:07
  Speaker 3: would never do that. It made no sense to me
• 1:12:08
  Speaker 3: at all.
• 1:12:09
  Speaker 2: That book made no sense to me at all.
• 1:12:10
  Speaker 1: But she is a woman, and women are very, very stupid. Right, Ryan?
• 1:12:16
  Speaker 2: Thanks, everyone, for listening.
• 1:12:17
  Speaker 1: I love how the one woman on this pod is
• 1:12:19
  Speaker 1: a doctor. Meanwhile, me and Ryan have nothing to brag about.
• 1:12:25
  Speaker 1: This guy spent all his money on DVDs.
• 1:12:26
  Speaker 3: We'll do another good psychological thriller.
• 1:12:29
  Speaker 1: We were debating upstairs whether high school matters or not,
• 1:12:32
  Speaker 1: and Ryan and I didn't approach high school in a
• 1:12:35
  Speaker 1: way that mattered to us.
• 1:12:36
  Speaker 2: Agreed, we should have.
• 1:12:38
  Speaker 1: Megan did, and she's a doctor.
• 1:12:39
  Speaker 2: And we're just two white guys on a podcast, like many.
• 1:12:43
  Speaker 1: Yeah.
• 1:12:45
  Speaker 3: Huge following.
• 1:12:46
  Speaker 2: Two losers.
• 1:12:46
  Speaker 3: The crowd's outside, bro.
• 1:12:47
  Speaker 1: Vietnam.
• 1:12:48
  Speaker 2: Vietnam.
• 1:12:50
  Speaker 1: All right, well, thank you, Meg. Thanks for listening.
• 1:12:52
  Speaker 2: Thanks, Julia.
• 1:12:53
  Speaker 1: Thank you. And we'll catch you on the flip. Thanks, Julia. RIP.
• 1:12:56
  Speaker 1: We'll catch you on the flip.