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The All-Nighter | Bleak Week Spectacular! · Critically Acclaimed Network

0:03
[UNKNOWN]: Hello everybody and welcome back to the all-nighter, the podcast where Whitney Sibold and William Bibbiani, everybody calls me babes, program all-night movie marathons for a specific event holiday or other occasion and this time it's very very
0:31
[UNKNOWN]: very special uh... it's bleak week it's the most wonderful time of the year uh... i think this is the six year it's been a uh... several years in a row now on the american cinema tech based here in Los Angeles
0:52
[UNKNOWN]: will have a one week festival of nothing but the obliquist most despair filled movies that they can get Prince of that year.
1:04
[UNKNOWN]: They call it bleak week cinema despair.
1:06
[UNKNOWN]: Mm-hmm.
1:06
[UNKNOWN]: Makes out and I haven't gone nearly as much as I would like to have.
1:10
[UNKNOWN]: Yeah Because to be clear Whitney and I were both film critics who've been doing this together for about 16 years now And in many respects, we have a lot of the same taste, but this is not one of them There are definitely bleak sad real bummer movies that I like Whitney loves this shit.
1:29
[UNKNOWN]: Oh god.
1:30
[UNKNOWN]: Yeah, if if you can like rip my heart out
1:33
[UNKNOWN]: That's the movie I'm going to want to say.
1:35
[UNKNOWN]: That's how you get to normal now.
1:37
[UNKNOWN]: Yeah.
1:37
[UNKNOWN]: That's where you're at.
1:38
[UNKNOWN]: I've one taste, taste puddle left and it tastes like despair.
1:41
[UNKNOWN]: I remember when Blake week started and you know the American cinema tech is a, it's not just one theater.
1:48
[UNKNOWN]: It's a couple of theaters in Los Angeles.
1:50
[UNKNOWN]: And they have a lot of repertoire cinema.
1:52
[UNKNOWN]: They'll often do things like, you know, a tribute to Robert Redford and the plate bunch of Robert Redford movies.
1:57
[UNKNOWN]: That kind of thing.
1:58
[UNKNOWN]: So a couple of weeks or a month or even more of kind of
2:04
[UNKNOWN]: heavily programmed, somatically connected movies weren't that weird.
2:08
[UNKNOWN]: And when they did bleak week, there was two kinds of reactions I feel.
2:13
[UNKNOWN]: One was, yay!
2:16
[UNKNOWN]: But I think a lot of the other people were like, oh, okay, I wonder if that's gonna do well.
2:21
[UNKNOWN]: And it's genuinely been a phenomenon to the extent that American cinema tech isn't the only one that does bleak week.
2:28
[UNKNOWN]: You can now have bleak week.
2:31
[UNKNOWN]: Uh, uh, programming all over the country.
2:33
[UNKNOWN]: Yeah, it's become an entity unto itself and it now plays.
2:36
[UNKNOWN]: Yeah, everywhere, um, uh, I'm taking a trip to Chicago this summer, um, and it just happens to be when bleak week is playing in Chicago.
2:45
[UNKNOWN]: I think it times out in such a way, however,
2:47
[UNKNOWN]: that it won't be able to see anything there.
2:49
[UNKNOWN]: But yeah, it's just all over the country.
2:51
[UNKNOWN]: Just go to the bleak week website, look it up, and you'll find where it's playing in your town, because it's all over the place.
2:59
[UNKNOWN]: It's everywhere in the United States.
3:01
[UNKNOWN]: And I think we're seeing an interesting phenomenon in motion pictures in general, where it is currently the summer.
3:07
[UNKNOWN]: We just have a more old-day weekend, traditionally, a very big weekend for motion picture movie going and
3:14
[UNKNOWN]: Ordinarily, this would be a time when a scapeous entertainment ruled the roost.
3:19
[UNKNOWN]: You know, your mission impossible is your fast and fury eye, or your marvellous films.
3:26
[UNKNOWN]: Marvellous does.
3:27
[UNKNOWN]: Marvellous does.
3:29
[UNKNOWN]: And that's how true, largely, you know, with a few exceptions here and there for decades.
3:35
[UNKNOWN]: And this summer, in particular, since Jaws really kicked the door open in the mid 70s.
3:41
[UNKNOWN]: Yeah, summer has been sort of the action genre, big budget for now.
3:46
[UNKNOWN]: This gave us entertainment, monster movies, et cetera.
3:49
[UNKNOWN]: And, you know, there's always been exceptions here there, the Blair Witch Project was a huge summer movie, for example.
3:54
[UNKNOWN]: The sixth sense was a huge summer movie, same summer.
3:59
[UNKNOWN]: This year feels very, very different.
4:01
[UNKNOWN]: And I think we are seeing, we're starting to actually see audiences respond with their money to, I think, a major sort of personality shift between generations where the Mandalorian and Grogu is like the biggest capus movie so far this summer.
4:21
[UNKNOWN]: And it isn't doing great.
4:24
[UNKNOWN]: It had a good open weekend.
4:25
[UNKNOWN]: I would've been a plummeted.
4:28
[UNKNOWN]: I've been saying this for like the last two or three years.
4:30
[UNKNOWN]: How the blockbuster model has died.
4:35
[UNKNOWN]: Oh yeah, Marvel is over.
4:37
[UNKNOWN]: They're going to cut make-in hits, of course.
4:38
[UNKNOWN]: But everyone's at all the hits.
4:40
[UNKNOWN]: They just can't sustain it.
4:41
[UNKNOWN]: No, we have eight of those a year anymore.
4:43
[UNKNOWN]: No, because it's not in the body.
4:44
[UNKNOWN]: It's cultural presence has waned.
4:47
[UNKNOWN]: Yeah, same with Star Wars.
4:49
[UNKNOWN]: And all of these...
4:50
[UNKNOWN]: the idea that big studios can keep relying on big well-known sequels and reboots of well-known intellectual properties.
5:00
[UNKNOWN]: And old intellectuals.
5:02
[UNKNOWN]: And old intellectuals.
5:02
[UNKNOWN]: Yeah, it was not for getting that.
5:03
[UNKNOWN]: 60, 70-year-old property.
5:04
[UNKNOWN]: Yeah, yeah, yeah.
5:06
[UNKNOWN]: is has finally loosened its grip yeah that was if you recall in the 2000s there were a lot of like remakes that was sort of like a big wave for a while and then when a like marvel kind of kicked the door open it became just the sort of like ancient properties being
5:22
[UNKNOWN]: Buffed to a shine and resold in these big shiny packages.
5:26
[UNKNOWN]: They've been doing that before that I think that that really like you saw the wave begin with Batman and then we started had some hits in the 90s and then there were more hits after Spider-Man in the X-Men And then when Marvel and DC started like really solidifying their brand.
5:41
[UNKNOWN]: We had about a decade of You know pretty highly focused.
5:45
[UNKNOWN]: Yeah, but that's not my point my point is this This summer the big hits
5:51
[UNKNOWN]: are bleak.
5:52
[UNKNOWN]: It's obsession and backrooms.
5:55
[UNKNOWN]: These are the movies and granted they're not making a billion dollars, but they're not.
5:59
[UNKNOWN]: They cost very, very little.
6:00
[UNKNOWN]: And they've already made massively their budget back over and over and over again.
6:06
[UNKNOWN]: And people are genuinely responding to them.
6:08
[UNKNOWN]: They're made by young filmmakers.
6:10
[UNKNOWN]: People who don't come from the generation that grew up with hayman or whatever.
6:15
[UNKNOWN]: They come from genuinely like,
6:18
[UNKNOWN]: Or these people are in their early 20s, or I guess Tory Barker is in like the mid 20s, but and I feel that what we're seeing is here's the type of movies a young generation wants to make, and here's the type of movies that get the young generation out to the theater, and what is it?
6:32
[UNKNOWN]: Bleak shit!
6:33
[UNKNOWN]: The world has sucked for a really long time, more than usual.
6:38
[UNKNOWN]: We're going to like, it's been bad and I feel like people actually want that reflected.
6:41
[UNKNOWN]: Yeah, we, um,
6:44
[UNKNOWN]: We're going to review back rooms in a minute, but I think it's very telling that's not like on this podcast, but I think it's very telling that the horror imagery that this generation is flocking around
6:57
[UNKNOWN]: is empty third spaces, build everything's failing, everything's emptied out, and all that's left, and that emptiness is where the fear comes from.
7:04
[UNKNOWN]: Yeah.
7:06
[UNKNOWN]: I really love backgrounds, but we'll get to that in a minute.
7:08
[UNKNOWN]: Yeah.
7:09
[UNKNOWN]: But now we have some nice, bleak movies to talk about.
7:12
[UNKNOWN]: Yeah, no, I just think bleakness is, I think there was a time when people would have thought that was a nathema or maybe a little interest, and now it's very, very clear, a lot of people are super interested in it because I think it connects.
7:25
[UNKNOWN]: So even though Blake's cinema isn't necessarily my favorite cinema overall, I do have my favorites, and I can easily respect it.
7:34
[UNKNOWN]: I was worried that this would be very difficult for me.
7:36
[UNKNOWN]: Turns out I had too much material to work with, but I probably a lot less than you.
7:41
[UNKNOWN]: Well, the problem with a lot of my favorite bleak movies is that they're unbearably long.
7:46
[UNKNOWN]: Yeah.
7:47
[UNKNOWN]: A lot of really bleak movies tend to keep you in the sort of sustained state.
7:51
[UNKNOWN]: I...
7:53
[UNKNOWN]: a couple years ago is very high on a movie called an elephant sitting still, which is an incredibly sad movie and incredibly bleak.
7:59
[UNKNOWN]: It's about this family and a small town and all of their lives are just sort of falling apart.
8:04
[UNKNOWN]: And that movie is four hours in length.
8:06
[UNKNOWN]: I can't slap that into an old nighter.
8:09
[UNKNOWN]: That's half the all-nighter heck.
8:11
[UNKNOWN]: I could just program Satan Tango and be done with it.
8:13
[UNKNOWN]: Yeah, that's a seven-hour film There you go.
8:17
[UNKNOWN]: Satan Tango elephant sitting still.
8:19
[UNKNOWN]: That's your all-nighter.
8:20
[UNKNOWN]: There you go.
8:21
[UNKNOWN]: Because the premise of the all-nighter is we're planning a 12-hour movie marathon Right typically begins at seven and in the evening and ends at seven and the morning and we have to fill that time And we can fill it anyway.
8:33
[UNKNOWN]: We want they just have to be movies on screen for the vast majority of it
8:37
[UNKNOWN]: and really that's it.
8:38
[UNKNOWN]: These are obviously any podcasts like this or, you know, the iron list or anything.
8:43
[UNKNOWN]: These are lists of suggestions.
8:45
[UNKNOWN]: If you like bleak movies and you want a bunch of suggestions here or some, if you want to do this marathon and either of them because we're going to do one marathon and then the other rather than go back and forth because that makes the most sense.
8:59
[UNKNOWN]: We'd love to hear from you.
9:01
[UNKNOWN]: Yeah, our email address is letters it critically acclaimed.net and of course we'd be we'd welcome your recommendations.
9:07
[UNKNOWN]: You have any particular thoughts about bleaks in them and why this connecting today?
9:10
[UNKNOWN]: We would love to hear from you.
9:12
[UNKNOWN]: But yeah, this is usually not a terribly short podcast, which is something we can say about almost all our podcasts.
9:20
[UNKNOWN]: But we should get going.
9:22
[UNKNOWN]: Now again, how it's going to work is
9:25
[UNKNOWN]: One co-host is gonna give their entire movie marathon and then the other one will yeah We don't go back and forth on now.
9:30
[UNKNOWN]: It doesn't make any sense It's gonna just get confusing and you're gonna lose any sense of flow or threat assuming that there is one So we decline.
9:38
[UNKNOWN]: I'm gonna flip a coin okay.
9:40
[UNKNOWN]: I'm I don't have a coin on man We need to use the coin flipping app on the phone Which makes me feel just bad
9:48
[UNKNOWN]: You know, I have no we're done.
9:50
[UNKNOWN]: We're done.
9:51
[UNKNOWN]: We're done.
9:51
[UNKNOWN]: You're just going to have to do it.
9:53
[UNKNOWN]: Call it heads.
9:55
[UNKNOWN]: Okay.
9:56
[UNKNOWN]: And it's heads.
9:57
[UNKNOWN]: You're the first.
9:58
[UNKNOWN]: I go first.
9:59
[UNKNOWN]: All right.
9:59
[UNKNOWN]: Now I had an idea and I need some input on this because people are going to come in to see this 12 hours of just
10:14
[UNKNOWN]: coffee and tea and nothing else.
10:17
[UNKNOWN]: Okay, just get you through the night.
10:19
[UNKNOWN]: You know what you should do is you should also offer cigarettes.
10:21
[UNKNOWN]: Well, coffee and cigarettes are on the one.
10:23
[UNKNOWN]: And you can smoke for this one.
10:25
[UNKNOWN]: This one is going to be a smoking house.
10:27
[UNKNOWN]: You can smoke in the theater.
10:29
[UNKNOWN]: The other one serves high ABV spirits and nothing else.
10:32
[UNKNOWN]: And you can
10:47
[UNKNOWN]: Are you going to, how are you going to Medicaid?
10:53
[UNKNOWN]: Don't the stimulant or the depressants?
10:54
[UNKNOWN]: Well, it's the problem.
10:55
[UNKNOWN]: The depressants are going to after 12 hours.
10:59
[UNKNOWN]: It's going to knock you out.
10:59
[UNKNOWN]: That's going to knock you out.
11:00
[UNKNOWN]: I mean, it's dangerous.
11:01
[UNKNOWN]: I think what you should do is you should offer some kind of... You should really get a jack-and-coke.
11:09
[UNKNOWN]: OK.
11:10
[UNKNOWN]: I think that's it.
11:10
[UNKNOWN]: You can't just a coke.
11:11
[UNKNOWN]: You can have a jack-and-coke.
11:13
[UNKNOWN]: OK. And that way, there's at least some caffeine involved.
11:15
[UNKNOWN]: There you go.
11:16
[UNKNOWN]: I think that's espresso.
11:17
[UNKNOWN]: Yeah.
11:17
[UNKNOWN]: With actual espresso.
11:18
[UNKNOWN]: Yeah.
11:20
[UNKNOWN]: Which means like a little playful drink to be watching during a oblique marathon.
11:24
[UNKNOWN]: Also for $1, we will splash your face with cold water.
11:29
[UNKNOWN]: No, you can do that yourself.
11:30
[UNKNOWN]: No, for $1, $1, $1, it's gonna be a long night.
11:33
[UNKNOWN]: And for those of the only concessions you're offering, I'm going to need the money.
11:37
[UNKNOWN]: I'm going to hire a guy in a dirty snap brand and a sweater who only speaks Polish.
11:43
[UNKNOWN]: to spritz you in the face with cold water yeah and i'll give you some sort of like religious epithet in polish and then you get to get to go back and nice um anyway bleak week uh so i chose one that's from uh seven to seven yep same here it's actually from seven to six fifty nine so one minute short okay but you know what i'll give you a little grace you got one one minute of no bleaks in a month
12:09
[UNKNOWN]: And I've programmed it into some blocks, and I wanted to start with something very specific which I've dictated my first block, because I started with an animated short, starting at 7 p.m., I wanted to show just the first seven minutes of the movie up, and then
12:38
[UNKNOWN]: You know what we should do.
12:39
[UNKNOWN]: We should have a montage playing between movies of only the scenes in Disney movies where a parent dies Mom move fast Like just all of the parent deaths all of the dead dead parents grew visiting a grave But because up is about a couple sort of yeah meeting death I have to start a first block with couples in trouble
13:04
[UNKNOWN]: Okay, tragedies about couples that are in utter misery.
13:08
[UNKNOWN]: Trupples, truff, truff, truff, truff, truff, truff.
13:11
[UNKNOWN]: So this is, and I've programmed these as with a short and then a double feature.
13:15
[UNKNOWN]: So there's gonna be like a block of three films.
13:18
[UNKNOWN]: We need to talk about up before you move on to your next album because I think this is genuinely genius I think there's a lot of people in the world who acknowledge that the first how long is it?
13:29
[UNKNOWN]: It's about seven and a half minutes of up.
13:31
[UNKNOWN]: It's truly brilliant emotionally like disemboweling cinema.
13:37
[UNKNOWN]: Yes, um, you it is extremely difficult to watch that and not cry
13:45
[UNKNOWN]: And a lot of people kind of disregard the rest of the movie because it's kind of like wally like once it gets the space it feels like a different film and I think Wally still works, but up to friends until weird thing about dogs and airplanes talking dogs the fly airplanes and a guy in a zeppelin and this weird bird in a different country It's it's a strange fucking movie.
14:03
[UNKNOWN]: Yeah, I enjoy it after that, but it's just like we've started off with like a whole life It's been with love that somehow also feels wasted
14:12
[UNKNOWN]: And then a bunch of weird shit happens, and it's a very unusual structure, but if you remove the unusual structure, if you remove the dog, the translator collar, it's going squirrel.
14:24
[UNKNOWN]: It's just the most depressing thing you've ever seen.
14:27
[UNKNOWN]: Yeah, that nothing good happens to Carl Fredrick said after that.
14:31
[UNKNOWN]: He just sits on his porch, and one day he dies.
14:36
[UNKNOWN]: Oh, now the plot is, he was a balloon salesman, he fell in love, he misses his wife, and to honor her, he goes on a quest to do something that's very personal to them.
14:48
[UNKNOWN]: Well, and specifically, they always planned to travel and see the world.
14:51
[UNKNOWN]: That was their dream, but they weren't rich, and that life kept happening, and they would save money, and then one of them would have been up at the hospital, or some disaster happened, and that they never had the money.
15:02
[UNKNOWN]: Yeah, until they never win anywhere, they never win on their adventure, and he feels like his wife never got to do anything special and then she passes away and he is left alone.
15:13
[UNKNOWN]: and the movie there and that's it and that's it and that's all there is folks yeah that they's a Michael Hanaki movie at that point they need they're happy they're in love but then they run into all of these problems they never get to experience the yeah the adventure that they really planned on and everything is cut short the end yeah it's it's like you know i i was tempted to put Michael Hanaki's a more on here because i think it's one of
15:36
[UNKNOWN]: It's one of the most depressed, some of the most depression I've ever felt in a movie.
15:40
[UNKNOWN]: But up gets you there in seven and a half minutes.
15:43
[UNKNOWN]: Why waste time?
15:45
[UNKNOWN]: I could be miserable now.
15:47
[UNKNOWN]: And I immediately chase up with possession.
15:51
[UNKNOWN]: Okay, I have never, this is one of the biggest gaping holes in my entire film-watching experience.
15:58
[UNKNOWN]: Any film critic, I don't care how long they've been doing this.
16:01
[UNKNOWN]: It has some noteworthy films that they've never got around to yet.
16:06
[UNKNOWN]: And if you find out what they are, you'll be shocked, like my girlfriend.
16:14
[UNKNOWN]: has a joke I was we were talking once and she found out I had never seen and I apologize in advance the big chill and she said I've still never seen the big chill okay there we go okay I feel a little less bad but now the joke is have you seen any movies?
16:34
[UNKNOWN]: And I see like, like, I see like five hundred years.
16:36
[UNKNOWN]: Yeah, so like, it's, but like, you missed something.
16:40
[UNKNOWN]: Yeah.
16:40
[UNKNOWN]: And possession is a film that nobody talked about for decades.
16:45
[UNKNOWN]: And then it started popping up more critics, started talking about it, started to be more screenings about it.
16:50
[UNKNOWN]: And now it's considered this shocking horror classic.
16:54
[UNKNOWN]: And I've just never had the chance.
16:57
[UNKNOWN]: Yeah, and I think this is one of those films that was like re-cut for the United States or like it was restored.
17:03
[UNKNOWN]: It like came back around when VHS became big and sort of like the late 90s, but this has moved from 1981.
17:09
[UNKNOWN]: So it's kind of out of the public eye for a little bit and it has built up its cult audience since then.
17:14
[UNKNOWN]: It is one of the most exciting movies that it feels like a complete panic attack from beginning to end.
17:21
[UNKNOWN]: Sam Neal is a spy of some kind and he's returned home to his house in Berlin, where his wife is played by Isabella Johnny is living, and they hate each other.
17:35
[UNKNOWN]: We don't know what happened that they start to resent each other, but there's immediately all these signs that there's just this resentment.
17:42
[UNKNOWN]: And
17:44
[UNKNOWN]: But then there's like something really surreal going on.
17:48
[UNKNOWN]: Like the Samuel character, they have a young child together and they really sort of care about this child.
17:53
[UNKNOWN]: But whenever the child is out of the room or somewhere we still in the room, they just bicker and snip it each other and hate each other.
18:00
[UNKNOWN]: And then the Samuel character goes to meet the boy's teacher and she's also played by Isabella Johnny.
18:07
[UNKNOWN]: So what is happening here is the some kind of weird thing where he sees all women kind of the same or is there something like literal Little duplicate going on.
18:17
[UNKNOWN]: Yeah.
18:18
[UNKNOWN]: Okay.
18:19
[UNKNOWN]: I'm with you.
18:20
[UNKNOWN]: They start having the sort of nightmares and she starts Spiriting away off to this apartment in the middle of Berlin where Maybe she's having an affair with somebody, but we don't really know what's going on.
18:33
[UNKNOWN]: Hmm.
18:36
[UNKNOWN]: Sam you'll eventually figure out what's going on in traction for that apartment and I'm not gonna tell you with that what's in that apartment.
18:42
[UNKNOWN]: Okay I've been but I've been told that the less you know going into possession the better.
18:47
[UNKNOWN]: Yeah I'm not even a hint at what it is, but there's something in there that is going to fuck you up.
18:53
[UNKNOWN]: Oh, no Well, that's unfortunate
18:57
[UNKNOWN]: And there's a rather famous scene which, you know, most people know about of Isabella Johnny having a bit of a freak out in a subway tunnel like she's alone in a subway tunnel and just has this complete mental breakdown and Isabella Johnny thrashes about and spits up blood and
19:14
[UNKNOWN]: It's implied that she has a miscarriage in that scene.
19:16
[UNKNOWN]: Okay, but we weren't I'm not sure how sure we were that she was pregnant to begin with Yeah, there's these like weird surreal dream-like things that this couple is experiencing as Not only is there marriage falling apart all of the world is falling apart right for for these two characters
19:39
[UNKNOWN]: And if I'm I'm going to so I'm starting to strong because because possession is a little hard to take okay tell me now I don't want you to tell me what happens.
19:46
[UNKNOWN]: Yeah Can you give me a little bit more clarity about what type of emotional experience I can expect?
19:56
[UNKNOWN]: Uh, I think I said panic attack.
19:59
[UNKNOWN]: Okay.
19:59
[UNKNOWN]: You're gonna be panicking.
20:00
[UNKNOWN]: Just not stop.
20:01
[UNKNOWN]: That's not going to be every single scene in this movie is This character is just full of rage.
20:07
[UNKNOWN]: All right.
20:07
[UNKNOWN]: And you you realize really early in this film.
20:10
[UNKNOWN]: Maybe in the first scenes that nothing's going to turn out well for these.
20:13
[UNKNOWN]: Right.
20:14
[UNKNOWN]: This is about these people who are going to madness.
20:17
[UNKNOWN]: We don't know who if they're going to start killing each other or killing others.
20:23
[UNKNOWN]: We violence and despair is nigh.
20:27
[UNKNOWN]: I'm not sure if there's a word some sort of complex German word for the feeling of anticipation of despair.
20:34
[UNKNOWN]: But it's dread, dude.
20:35
[UNKNOWN]: Just dread.
20:36
[UNKNOWN]: Yeah.
20:37
[UNKNOWN]: I think that's dread.
20:38
[UNKNOWN]: There might be something more specific than that if we have any psychologists in the audience.
20:42
[UNKNOWN]: We'd love to hear from you, but I hate that, though, because I remember
20:47
[UNKNOWN]: Did you ever go around seeing LMK?
20:48
[UNKNOWN]: Hmm.
20:49
[UNKNOWN]: Now that's bleak.
20:50
[UNKNOWN]: I get it.
20:51
[UNKNOWN]: Okay.
20:51
[UNKNOWN]: So James Elbrook's last movie.
20:54
[UNKNOWN]: So there was a story.
20:55
[UNKNOWN]: It was constructed as like a field good film.
20:57
[UNKNOWN]: Oh yeah.
20:57
[UNKNOWN]: Yeah.
20:58
[UNKNOWN]: It's constructed as one.
20:58
[UNKNOWN]: It's just genuinely like has terrible things to say about women in politics.
21:03
[UNKNOWN]: And I think he thinks that's cheerful and it's not.
21:07
[UNKNOWN]: It's terrible.
21:07
[UNKNOWN]: But the movie ends with
21:11
[UNKNOWN]: You know, there's like a narrator in the narrator closes us out.
21:14
[UNKNOWN]: I'm not going to say what happens in the movie But one of the last lines in the movie like very last lines.
21:18
[UNKNOWN]: You're like looks right at the camera and says Did you like did you know there is no opposite to the word trauma and I'm sitting here in the honor is going to tharsis Yeah, I and I checked with my therapist and she was like healing works fine.
21:33
[UNKNOWN]: It's like yeah But like
21:38
[UNKNOWN]: Yeah, so like when you tell me that, I'm just like, okay, all right, this is you're you're running a risk here Like is there a really a word for this and Someone's gonna know someone just said in their car You know, let's think too.
21:52
[UNKNOWN]: It's got for the Schlagan We should just call it top of the Schlagan.
21:57
[UNKNOWN]: Yeah, which is from the movie soap dish Which is not on my list.
22:00
[UNKNOWN]: No, that's different kind of despair.
22:01
[UNKNOWN]: No
22:02
[UNKNOWN]: And to pair up with possession, another film about a couple that is just completely flying apart.
22:09
[UNKNOWN]: This time with alcohol, who's afraid of Virginia Woolf?
22:13
[UNKNOWN]: Oh, based on the Disney cartoon.
22:16
[UNKNOWN]: Yes, based on the Disney cartoon, based on three little pigs.
22:20
[UNKNOWN]: It's a little difference to that, right?
22:24
[UNKNOWN]: Throughout the, uh, it's based on a play and throughout the movie, they actually make several references about how clever they were to start singing who's afraid of the big bad wolf, but saying Virginia wolf instead, and how they kind of Lord that wit over one another.
22:39
[UNKNOWN]: This is about, um, so Richard Burton and Elizabeth Taylor play a couple who hate each other makes sense.
22:47
[UNKNOWN]: and they're very very drunk and a very occasionally one of them will mention uh... their off-screen son and we say things we don't talk about our son so there's something going on with their son i uh... i don't know i think the first time i was aware of who's every virginia wolf really
23:07
[UNKNOWN]: as a kid was I was watching an episode of Mystery Science Theatre 3000 and Crow said something and I don't even remember what film it was.
23:14
[UNKNOWN]: He said don't talk about a clown Martha.
23:19
[UNKNOWN]: I took you while to realize that the clown part was the joke.
23:23
[UNKNOWN]: Don't talk about us.
23:24
[UNKNOWN]: Don't talk about our son Martha.
23:28
[UNKNOWN]: And the play and the play is by Edward Alby, the film is by Mike Nichols, and I think it was Mike Nichols's first movie.
23:36
[UNKNOWN]: And what's it before the graduate?
23:39
[UNKNOWN]: I'll look at a 66, yeah, I think.
23:41
[UNKNOWN]: Okay, yeah.
23:42
[UNKNOWN]: That year before the graduate.
23:43
[UNKNOWN]: Yeah.
23:44
[UNKNOWN]: So, and he was a comedy guy.
23:45
[UNKNOWN]: It was a big, before that.
23:48
[UNKNOWN]: Like that was a big.
23:50
[UNKNOWN]: Kind of a bit of a shift for him, but it is also theatrical.
23:53
[UNKNOWN]: I was very interested in the theater But yeah, Elizabeth Taylor and Richard Burton play this couple that stagger in after a party and they're already drunk And they keep on drinking throughout the play and they've brought home a younger couple This 1966 of the younger couple is George Siegel and Sandy Dennis and
24:14
[UNKNOWN]: There's a little bit of implication that they're trying to get this couple into bed maybe, or at the very least, if they fuck this couple, they don't care anymore.
24:25
[UNKNOWN]: Their marriage has long since ended, and they keep on...
24:30
[UNKNOWN]: Trading these acidic barbs about how much they hate each other and they keep on making this younger couple that much more And comfortable, they're trying to get along with it, and they just are letting this is the night when everything's just gonna come out This is the night when they finally confess everything about how much they hate each other and of course they finally learn We eventually learn the story of the sun and why they're not supposed to be talking about their son.
24:53
[UNKNOWN]: I'm sure something I'm sure something on toward happens
24:56
[UNKNOWN]: Well, I don't want to say if you don't know what it is.
24:58
[UNKNOWN]: Okay, maybe it's toward.
24:59
[UNKNOWN]: I don't know Could be very wholesome.
25:02
[UNKNOWN]: Could be very toward Yes, it's it's sweaty just all the way through and this is why I want to give you a choice of coffee or or booze at the beginning Because if you want to drink along with this movie, you'll be hammered by the end of it
25:22
[UNKNOWN]: But yeah, it is, it's just so full of, a full of wrath and, and well, despair, this idea that these people are just sort of falling apart.
25:31
[UNKNOWN]: They are just now years into a marriage, a complete misery and drunk off their asses, figuring out how they, how exactly they want to tell each other off.
25:43
[UNKNOWN]: Yeah, it's a great date movie.
25:46
[UNKNOWN]: I feel like there was a sense for a long time that there were two ways your marriage could go, especially before there was no fault divorce.
25:56
[UNKNOWN]: Because it used to be, if you want to get divorced, you had to prove you needed a divorce, you need a photographic evidence of your husband cheating on you, and that's why we basically have every private detective story.
26:06
[UNKNOWN]: But,
26:10
[UNKNOWN]: Yeah, it was either happily ever after, or fucking misery.
26:15
[UNKNOWN]: Yeah, those were the two options available to you, according to films.
26:19
[UNKNOWN]: This is why if you go to films from the late 70s and early 80s, when no fault divorce changed and divorce rates skyrocketed, you'll find this whole spade of movies about single parents.
26:32
[UNKNOWN]: E.T.
26:33
[UNKNOWN]: is the child of who's afraid of Virginia Woolf because that's a single bomb living in chaos with their kids and the kids are left alone to have alien adventures right like you do Spielberg didn't really tell too many bleak stories
26:51
[UNKNOWN]: I mean, shit, there's less, um, it's probably the day one.
26:56
[UNKNOWN]: Yeah.
26:56
[UNKNOWN]: Um, yeah, no, good.
26:58
[UNKNOWN]: I feel like Spielberg was was usually like you would show you bad things, but it was usually in service of a greater sort of like history lesson.
27:07
[UNKNOWN]: Yeah, half the time.
27:08
[UNKNOWN]: And so like, hey, we've learned some things.
27:12
[UNKNOWN]: And yeah, but yeah, no, I can't think of a Spielberg film that's going to end up in bleak week.
27:17
[UNKNOWN]: No, I don't think so.
27:19
[UNKNOWN]: No, I guess maybe she'll there's less but like well, even shouldn't there's less Yeah, it's it's about World War II, but yeah, it's not bleak enough for you It's well, it it ends on a moment of triumph.
27:27
[UNKNOWN]: It's about the survival is about the people who are safe I don't know if that feels like try I mean listen, I'm glad it ends the way it was based on your story like I'm glad Some people would say but also There's also that speech at the end about how many more people he could have yeah, and I feel like there's there's that the very least
27:45
[UNKNOWN]: There's a downward note to the end regardless, because what I might be, or people got saved way more didn't, you know?
27:51
[UNKNOWN]: And I, but yeah, sorry, I didn't mean that.
27:52
[UNKNOWN]: But yeah, I did.
27:53
[UNKNOWN]: So that's my first sort of triple-feature is like I've up possession and who's afraid of a junior wolf, then you get five minutes.
28:01
[UNKNOWN]: That's it.
28:01
[UNKNOWN]: That's it.
28:02
[UNKNOWN]: Five minutes to prime.
28:03
[UNKNOWN]: I'm the only one toilet for everyone.
28:06
[UNKNOWN]: There's a bucket.
28:08
[UNKNOWN]: Go visit the Grumpy Polish man with a spritzer, grab yourself in a groanie and head back into the theater.
28:16
[UNKNOWN]: What time of the evening are we at?
28:17
[UNKNOWN]: So yeah, so up was at seven, possession was about 708 and who's afraid of Virginia Wolf was at nine, 12.
28:24
[UNKNOWN]: So we are at nine, 17 p.m. Oh no, I miscalculated that.
28:31
[UNKNOWN]: Yeah, that's way too really.
28:32
[UNKNOWN]: It's gotta be closer to 11, right?
28:34
[UNKNOWN]: About 11, 17 p.m.
28:37
[UNKNOWN]: Starting with the second block, I started again with another animated short, and this one's a recent one, okay?
28:44
[UNKNOWN]: That I remember or we watched this one, we reviewed this because it this came out a couple of years ago as one of the Oscar nominated shorts And it was one that we had to look up because it's actually about some wartime atrocities that we were not familiar with Oh, okay
29:01
[UNKNOWN]: It's called Bestia as a Spanish film.
29:03
[UNKNOWN]: Oh God, yeah, that was a bleak one.
29:05
[UNKNOWN]: Yeah, um, it's a, uh, a Chilean film in Spanish.
29:10
[UNKNOWN]: Yeah.
29:12
[UNKNOWN]: And it's a character that's in, even though there's no dialogue, I suspect a Chilean audience would recognize the character as, uh, somebody named Ingrid Olderock, who was also known as the woman of the dogs.
29:29
[UNKNOWN]: Yeah.
29:29
[UNKNOWN]: And she worked for the military dictatorship in Chile and used dogs to torture prisoners.
29:36
[UNKNOWN]: Yeah.
29:36
[UNKNOWN]: And the short is about her ordinary life.
29:40
[UNKNOWN]: And it only kind of loot like after the the military occupation, how she's living free, and how we sort of flash back to see where she is.
29:50
[UNKNOWN]: Yeah.
29:50
[UNKNOWN]: It's one of those movies where
29:53
[UNKNOWN]: You know, you're deeply ingrained in your own culture and you can probably make a movie that sort of generally eludes to something and a lot of you go in that culture would would get it, but if you're outside of that culture, you might need a title card to like get you up to speed with where everyone else is coming from.
30:11
[UNKNOWN]: I remember I went into this really cool, like I didn't know.
30:14
[UNKNOWN]: Like, I knew of the horrors of that regime, but I didn't know about it.
30:18
[UNKNOWN]: That's what I meant.
30:18
[UNKNOWN]: Yeah, yeah.
30:19
[UNKNOWN]: And, yeah, it was genuinely, I mean, obviously it's fucking terrifying.
30:24
[UNKNOWN]: It's absolutely fucking terrifying, but it's also one of those movies about sort of people who do evil things and somehow go about their day.
30:32
[UNKNOWN]: Yeah.
30:32
[UNKNOWN]: How do you go about your day?
30:35
[UNKNOWN]: How do you buy milk after that?
30:37
[UNKNOWN]: What do you, I think, what we need to remember about the people we label as evil is that they is us.
30:46
[UNKNOWN]: There's not much extraordinarily different about, uh, ingrid old rock than from you are high, depending on our circumstances, right?
30:56
[UNKNOWN]: Uh, I, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh
31:04
[UNKNOWN]: which was about the Nuremberg trials.
31:06
[UNKNOWN]: It was about, it was a gring, a rustle crow played gring.
31:11
[UNKNOWN]: I think, yeah.
31:14
[UNKNOWN]: Yeah.
31:15
[UNKNOWN]: And it was about the psychiatrist who was analyzing these Nazi war criminals.
31:19
[UNKNOWN]: And the conclusion he came to is, this is possible everywhere.
31:24
[UNKNOWN]: Yeah, like this can happen at any time in any place, so he was not something outside of who we are.
31:30
[UNKNOWN]: The idea was he was going to get to know her when going and understand what was uniquely wrong with the Nazi mine.
31:38
[UNKNOWN]: Yeah.
31:39
[UNKNOWN]: And what he discovered is that it's every fucking power struggle.
31:43
[UNKNOWN]: It is every manipulation, it is every excuse that people make just to justify doing terrible things and people do it all the time.
31:53
[UNKNOWN]: Yeah, and it is so easy to fall into if you're not careful and you have to be constantly warned about it.
31:58
[UNKNOWN]: And the second you stop, well look what fucking happens.
32:02
[UNKNOWN]: Yeah.
32:02
[UNKNOWN]: Yeah.
32:03
[UNKNOWN]: I'm going to chase Bestia with a film we watched and discovered together kind of recently, Deep Ruka.
32:09
[UNKNOWN]: Oh, the bridge.
32:10
[UNKNOWN]: I was, I thought you'd pick it.
32:11
[UNKNOWN]: That's why I didn't, but we need to because we have a podcast on our Patreon called Only The Best International where we review every movie ever nominated for Best International feature and the most recent episode which just came out like a week ago.
32:25
[UNKNOWN]: We talked about all the nominees in 1959.
32:28
[UNKNOWN]: And this fucking movie, which I had never heard about outside of this context, nobody talks about it, nobody does like series writing about it, I'm sure someone has, but like it's not an established classic, and I'm so glad you're bringing up now because that should not be a behind-the-pay.
32:46
[UNKNOWN]: Well, everyone needs to know about this fucking movie.
32:48
[UNKNOWN]: Yeah, um, it gets it's so great.
32:48
[UNKNOWN]: Yeah, but it's incredibly bleak.
32:49
[UNKNOWN]: Uh, um, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh uh, uh uh, uh uh
32:54
[UNKNOWN]: It's a 1959 film, it takes place in Germany during World War II, like maybe three days before the end of the war.
33:05
[UNKNOWN]: Yeah.
33:06
[UNKNOWN]: The film begins with people fleeing this small German town, where it's set.
33:10
[UNKNOWN]: Everybody knows the writing is on the wall.
33:12
[UNKNOWN]: The only people who don't are the kids in town, but that is the teenagers.
33:16
[UNKNOWN]: There's the main characters are class of maybe six or seven, teenage boys.
33:22
[UNKNOWN]: who are what I mean young they're like 14 yeah yeah like like ninth graders essentially who have been sort of shielded from a lot of the horrors of the war they don't know about a lot but's been going out there all they really have been told is general uh... platitudes about how great it is to serve your country
33:43
[UNKNOWN]: a lot of the film is devoted to these kids interpersonal relationships that one of them is a crush on another one there got some of them are kind of mean to to the other some of them are kind of nice to to the other and uh maybe the first two thirds of the movies just the sort of sweet interpersonal drama about these kids who are
34:02
[UNKNOWN]: living in a world that's kind of crumbling around them and it's sort of like leaking into a lot of their interaction Yeah, I don't know if I call it sweet.
34:08
[UNKNOWN]: I think that there is a they are so children Maybe human Yes, they're so sheltered that they do not understand the greater context of what is happening all they know is that they've been told nationalism is great And that the most noble thing they could do is to grow up and get drafted and join the war and Honestly, I'm watching this movie and this bit this opening up
34:28
[UNKNOWN]: bit this opening where it's just them as kids in this town a couple of days where the end of the war goes on so long we start seeing like all of these like like underneath all of these feelings of nationalism and superiority there is an undercurrent of misogyny that really comes out in one of these kids in particular yeah and honestly it was so revealing it was so just incredibly nuanced and
34:54
[UNKNOWN]: Outstandingly told I thought that was gonna be the whole movie and I was fine with it Yeah, that would have been enough But then and again, it's like two days for the end of the war.
35:04
[UNKNOWN]: They get drafted They're children and they get drafted because there's no one left to fit to draft
35:11
[UNKNOWN]: But they're not drafted to go out and start fighting immediately.
35:15
[UNKNOWN]: And that's what goes through training, yeah.
35:17
[UNKNOWN]: They go through like a half of a day of training, maybe.
35:22
[UNKNOWN]: Yeah.
35:22
[UNKNOWN]: Like they're taught to like hold a gun and it's implied that they were only drafted because they need something to do before the war ends.
35:34
[UNKNOWN]: Yeah.
35:35
[UNKNOWN]: rather than face the facts that the war is going to end without their participation.
35:39
[UNKNOWN]: It's always like they're being given a favor and they're even given a little bit of a quest, little meaningless quest.
35:46
[UNKNOWN]: So they can feel like they're doing something that to protect this one bridge that leads in and out of town.
35:51
[UNKNOWN]: Now, and the bridge is already has like a little bit of danger about it because one of the first things that happens in the movie is an American bomb lands near this bridge and nearly blows it up.
36:04
[UNKNOWN]: Now, that's a show's how close the war is getting in so Germany, yeah, in the middle.
36:09
[UNKNOWN]: The Americans are coming and it's established, the kids don't hear any of this, but they say that that bridge, it's not important.
36:18
[UNKNOWN]: They're going to blow it up just so they make the kind of difficult for the Americans to sort of get into town, but it's not any kind of serious war effort.
36:27
[UNKNOWN]: There's no significance to this bridge whatsoever.
36:30
[UNKNOWN]: but they've been tasked with protecting this bridge.
36:33
[UNKNOWN]: And they are left out on the bridge, and everybody fucks off, and they're all alone on that bridge.
36:40
[UNKNOWN]: Yeah, they just don't, they're not thinking of them because they have other problems.
36:42
[UNKNOWN]: Yeah, like they're running off they're taking care of important stuff, get the kids out of the way.
36:47
[UNKNOWN]: While they're on that bridge, the two American tanks show up.
36:50
[UNKNOWN]: And what's not talking about what happens after that other than to say, it turns out poorly for everyone.
36:56
[UNKNOWN]: Holy shit.
36:58
[UNKNOWN]: The finale of this movie.
36:59
[UNKNOWN]: The last like 20 minutes of the film is just what happens after that.
37:04
[UNKNOWN]: And it's, yeah, there is more option.
37:07
[UNKNOWN]: But like it's really bleak.
37:09
[UNKNOWN]: Horrible things happen and then more horrible things happen.
37:11
[UNKNOWN]: And then more horrible things happen.
37:13
[UNKNOWN]: And it ends with a car on saying that this was a true story.
37:16
[UNKNOWN]: Yeah.
37:17
[UNKNOWN]: And nobody talks about it because it wasn't significant.
37:20
[UNKNOWN]: Yeah, all of those that set up and all of that, all of that, all of that, all of that, all of that mystery, all of that pain, all of the people who died was for literally nothing, and, you know, we've, we've, we've talked a lot when we talked about war movies about how, the intent of most war movies, not all, but the intent of, let's say many war movies is to be anti war.
37:41
[UNKNOWN]: Yeah.
37:42
[UNKNOWN]: Is to say that war is a bad thing, it's to be avoided, what a tragedy, and yet,
37:47
[UNKNOWN]: So many times when we make a war movie, we make a movie about the nobility of particular soldiers or players within the war, and we celebrate a victory over the villains in that war.
38:00
[UNKNOWN]: The case of World War II, the Nazis definitely the villains.
38:03
[UNKNOWN]: No one's arguing that, but like sometimes there's more nuance, like in World War I where, you know, the moral lines were a little less clear, at least when you were in the foxholes.
38:14
[UNKNOWN]: But it's very, very hard to make an anti-war movie while depicting action, because you're trying to capture the audience's attention at least.
38:25
[UNKNOWN]: So you're trying to, whether you realize it or not, make it thrilling.
38:30
[UNKNOWN]: That would be like genuinely invested and who will live or die, who will get shot, who's gonna get blown up.
38:36
[UNKNOWN]: And then once you've done that, well, fuck, you've made War Look cool, yeah.
38:40
[UNKNOWN]: And the bridge,
38:43
[UNKNOWN]: Like the original all quiet on the western front is one of the few war movies I can point to and say that is an anti war movie Yeah nothing about that is cool even the stuff that any other context might be Hmm, but in the end there's action, you know like guys are shooting each other any other context that might be Excitingly, yeah, you know presented Unbelievably horrible
39:11
[UNKNOWN]: No, oh god, this movie needs to be seen and yeah, you know, we're the main characters or Nazis.
39:15
[UNKNOWN]: They're children, but they're still indoctrinated but The movie has no respect for that.
39:21
[UNKNOWN]: Yeah, the movie does not like the movie like he pitties them, but it does not like them and Oh god, this fucking film.
39:30
[UNKNOWN]: I the wounds of this film is still really fragile.
39:32
[UNKNOWN]: Yeah
39:34
[UNKNOWN]: Yeah, more people need, again, it's the pressing is fuck, but it's fucking great.
39:39
[UNKNOWN]: Oh, the bridge.
39:40
[UNKNOWN]: And to continue with the war atrocities, and this is a little bit more in line with Bestia.
39:48
[UNKNOWN]: This is about one-thirty in the morning, we're going to be watching the zone of interest.
39:53
[UNKNOWN]: Okay, so we're just having a good all time this is this is my war atrocity walk.
39:57
[UNKNOWN]: Oh, what a what a This is must ctv Whitney style What's after mad about you the zone of interest of Veronica's closet and then the bleakest thing of all an episode of ugly baby.
40:11
[UNKNOWN]: Oh, God
40:13
[UNKNOWN]: uh... yeah zone of interest which is about the uh... real life Nazi commander who lived in the nice hall lived in a nice house had a nice garden it was really well fertilized this garden and uh... there there's a little bit of noise from you know his office next door where it where it goes to work but mostly we stand the house we see what the kids are we never go to work yeah we never see in there yeah we hear it we never go inside
40:44
[UNKNOWN]: It's a nutty death camp that's right next door, just on the other side of the wall, the smoke billowing out of the chimneys are the smoke of burning bodies, right?
40:54
[UNKNOWN]: And it is a movie about the compartmentalization.
40:58
[UNKNOWN]: of these people who are just thinking of the most efficient way to kill the most number of people because that is the job they've been given.
41:06
[UNKNOWN]: And this guy has reduced himself to doing his job as well as he can and doing it dismassionately.
41:14
[UNKNOWN]: I mean, I don't know about this path.
41:15
[UNKNOWN]: I mean, he's not like, you know, like, not enthusiastic about it.
41:18
[UNKNOWN]: He's not like, you know, he takes pride in it.
41:21
[UNKNOWN]: He takes pride in it.
41:22
[UNKNOWN]: I think that's something that's very, very important.
41:24
[UNKNOWN]: He thinks it's super important that he does a good job.
41:27
[UNKNOWN]: There are scenes in this movie.
41:28
[UNKNOWN]: I forget who plays the guy, but the mama's played by Sandra Lerter, who's incredible on this.
41:36
[UNKNOWN]: where they're talking about, all of a sudden, I might get reassigned, and she's like, we have a house.
41:41
[UNKNOWN]: We have to move our kids, and it's like, and you can hear people dying in the background.
41:46
[UNKNOWN]: Yeah.
41:47
[UNKNOWN]: While they are talking about how he's prioritizing work over family.
41:53
[UNKNOWN]: What a fucking...
41:56
[UNKNOWN]: horrible thing and this will be one of the Academy Award for Sound Design and we're an award usually reserved for musicals or action movies and this was like there's no other way like that's doing so much of the work and I don't know how to describe it as except like you're
42:22
[UNKNOWN]: It's just like you can over here hell.
42:24
[UNKNOWN]: Very much.
42:25
[UNKNOWN]: You know, like you may be outside of it, but that's...
42:29
[UNKNOWN]: The pain is everywhere because you can't shut your ears.
42:34
[UNKNOWN]: Yeah.
42:35
[UNKNOWN]: You can close your eyes, you can't shut your as much of a clue and use to talk about that.
42:38
[UNKNOWN]: So we really deserve to absorb everything that we hear.
42:42
[UNKNOWN]: And no matter what is trying to distract you from that and the plot, it's always there.
42:46
[UNKNOWN]: It's gonna be a lot of fun.
42:48
[UNKNOWN]: Even if it's just the steady hum of like a burning furnace.
42:53
[UNKNOWN]: You just know.
42:54
[UNKNOWN]: No.
42:55
[UNKNOWN]: And there's a few moments where you get a little bit of a hint as to what's going on.
43:02
[UNKNOWN]: There's a young girl who has been leaving food in the woods where she knows people who are prisoners in the camp will find it.
43:13
[UNKNOWN]: uh... she finds a piece of music and takes it home and uh... plays in our piano that's kind of the only voice that they're allowed to hear of the people they've been victimizing yeah and it ends on a a beautiful note of meditation where we realize just out of the the pieces of ourselves that we've let the linger
43:37
[UNKNOWN]: as an echo of World War II.
43:40
[UNKNOWN]: Yeah.
43:41
[UNKNOWN]: There's a reason why we tell so many stories about World War II, because World War II, humanity betrayed itself with World War II.
43:50
[UNKNOWN]: We went through all of these gigantic advancements.
43:53
[UNKNOWN]: We were supposed to save ourselves through various means.
43:57
[UNKNOWN]: We were supposed to use philosophy.
44:00
[UNKNOWN]: and like secular reasoning philosophy and that led to the reasoning of mass murder.
44:07
[UNKNOWN]: We can logic it out.
44:10
[UNKNOWN]: We were supposed to use technology.
44:12
[UNKNOWN]: We were advancing so far in our use of technology that that was supposed to save us.
44:17
[UNKNOWN]: We built bombs and gas chambers.
44:20
[UNKNOWN]: Nothing that came out of World War II helped humanity.
44:25
[UNKNOWN]: It was all about how we used all of our
44:30
[UNKNOWN]: It was a revelatory in a way that the Hector Great Mines of the Renaissance centuries earlier would be discussed in by.
44:39
[UNKNOWN]: Yeah.
44:41
[UNKNOWN]: Uh, we betrayed ourselves.
44:42
[UNKNOWN]: So, uh, and I feel like the zone of interest kind of encapsulates a lot of that.
44:46
[UNKNOWN]: This, there's, and there's this really damning scene right at the end of the zone of interest where this Nazi commander goes to this big gala ball.
44:53
[UNKNOWN]: We're all the other Nazi officers are, have gathered.
44:56
[UNKNOWN]: And he's just so detached from humanity.
44:59
[UNKNOWN]: He's like bored at this party thinking, how much gas would I need to gas this ball room that I'm in right now?
45:05
[UNKNOWN]: Look, if I just wanted to kill everybody in here now.
45:08
[UNKNOWN]: And it's not it's it's a spot it's yeah, and it's just sort of like he's disconnected from it Yeah, he just wanders off into the shadows And that's it that's that for him that's a fucking brutal fucking movie three 13 a.m. five minutes
45:23
[UNKNOWN]: Go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go
45:39
[UNKNOWN]: So another animated short that came out kind of recently that was really kind of bleak that we watched for the Oscar nominated shorts was a short called if anything happens.
45:50
[UNKNOWN]: I love you Which is about to I can't I can't I can't I hate this short Yeah, I think it's I think it is unconsciously manipulative and I get it I know comes with sincere place, but you can come from a specific place and overplay it.
46:05
[UNKNOWN]: Yeah, and a way that makes me instead of like
46:08
[UNKNOWN]: Instead of like being completely on your side, I feel like you're trying too hard.
46:15
[UNKNOWN]: It's a little bit of a, it's like a punchline.
46:17
[UNKNOWN]: I'll kind of move it.
46:18
[UNKNOWN]: Yeah.
46:20
[UNKNOWN]: Yeah.
46:20
[UNKNOWN]: There's a surprise at the end of the show.
46:22
[UNKNOWN]: Where it's about this couple kind of living together.
46:24
[UNKNOWN]: And we, we feel at the end that the, the child died in the school shooting.
46:28
[UNKNOWN]: Yeah, and yes, it's it's manipulative, but that's kind of that was kind of the the reason I was going for here because I'm I'm introducing the The the children in trouble block of my evening.
46:41
[UNKNOWN]: What was the short call again if anything happened if if anything happens I love you
46:49
[UNKNOWN]: I can at the end of the episode go through everything we discussed.
46:51
[UNKNOWN]: Yeah, no, it's it's a children in trouble short and You know, there's a lot of short films that have tackled Similar subject matter and I think others have dung handled it Not even with more grace.
47:05
[UNKNOWN]: I just think better.
47:07
[UNKNOWN]: Okay, um, but what would you put it?
47:09
[UNKNOWN]: That's play.
47:10
[UNKNOWN]: There's okay.
47:10
[UNKNOWN]: What was the there was an Oscar nominated short
47:15
[UNKNOWN]: Actually, you know what I would put?
47:16
[UNKNOWN]: I would put the one that won the Academy Award for Documentary Short this year, empty spaces.
47:22
[UNKNOWN]: Oh, yeah.
47:22
[UNKNOWN]: Yeah, that's one of the photographers' photographing the bedrooms of the kids who died in school shootings.
47:29
[UNKNOWN]: Yeah, yeah, it's just these children aren't here anymore, but their parents are leaving their bedrooms untouched.
47:35
[UNKNOWN]: And we are documenting those bedrooms, so that people see
47:40
[UNKNOWN]: what how life was interrupted yeah the you know these kids were kids they had entire lives and interests and things in their in their world and so often like in a movie for example when we see someone's bedroom we pick up on a few key things okay that's a poster they like that band that's they have a lot of pink clothes they like pink Christian Gray loves the chronicles of Riddick
48:00
[UNKNOWN]: Exactly, but like there's so much detail in that short that like you just see like there's a little bowl And it's got just you know points, but also like a little little trinkets a little things that they found and everything one of them You know there's a story.
48:14
[UNKNOWN]: Yeah, that may not be story, but just like they said they really like that right They were a kid found that yeah, and that meant something to someone and that person isn't there anymore Yeah, I don't know that would be my big but I am it is bleak yeah no argument there I just don't like that.
48:29
[UNKNOWN]: Oh, okay
48:30
[UNKNOWN]: uh... and i'm going to charge right ahead and delucous mootusians lilya forever i have a saying this uh... lilya forever is uh... about uh... very very tragic story about a young girl named lilya who lives in uh... it's it's like the eighties in the Soviet Union and uh... were told that uh... shit this young girl she's like maybe twelve or thirteen i think
48:59
[UNKNOWN]: She's told that they're running away, they're going to go to America.
49:04
[UNKNOWN]: But she's dropped up with her aunt, and her mom says, we're going to move to America, but we're going to drop you off with your aunt for a few minutes first, and then her mom pisses off and just sort of leaves her with her aunt.
49:15
[UNKNOWN]: OK. She was just abandoned.
49:16
[UNKNOWN]: All right.
49:20
[UNKNOWN]: And the aunt says, well, if your mom moved out of her apartment, who's living there,
49:25
[UNKNOWN]: Just like all I guess no one now and the answer is well that's mine now and oh by the way you're not allowed to live there anymore so you get to live in this squad apartment.
49:36
[UNKNOWN]: uh... she goes to her best friend and says hey one of my supposed to do and she says have you tried being sex trafficked oh my god so this is a sex trafficking movie about this young girl who uh... is falls into uh... just complete uh... dis despair and dismay as she just goes further and further and deeper and deeper into holes of abuse at the hands of people who are just sex trafficking heard sex trafficking her
50:01
[UNKNOWN]: more and more as the film goes on and it ends badly for everyone.
50:05
[UNKNOWN]: Well, I would imagine that's very likely.
50:08
[UNKNOWN]: Yeah.
50:11
[UNKNOWN]: It's very bracing and I love how much of personality they let Lulia have.
50:18
[UNKNOWN]: they let her be a person.
50:21
[UNKNOWN]: And this, of course, is meant to show that first of all, defend sex workers, secondly, defend children.
50:31
[UNKNOWN]: Thirdly, this is a phenomenon that just sort of sucks up young people and kills them.
50:41
[UNKNOWN]: And it's completely miserable.
50:44
[UNKNOWN]: And it's exhilarating.
50:45
[UNKNOWN]: Because I like this kind of miserable film.
50:48
[UNKNOWN]: uh... Lucas Muteson is actually a very good filmmaker can do bright films this is just Lucas Muteson doing something quite dark um...
50:59
[UNKNOWN]: I would recommend that you watch Lili for ever and then immediately chase it with we are the best In real life, it's an anti bleak move.
51:06
[UNKNOWN]: No, well, we are the best is actually like very bright and fun and marvelous and actually It's also about like 12 year old girls, but they actually like find how great it is to hate Jim class It's actually really kind of smooth No, it's a treat Lili for ever is about a girl who dies, so That's be prepared for that
51:28
[UNKNOWN]: And as long as you come back from that.
51:30
[UNKNOWN]: Well, you don't you go straight into twin peaks fire walk with me Okay, yeah, all right.
51:36
[UNKNOWN]: That's okay.
51:37
[UNKNOWN]: Well, you're you're not wrong At least there's because because fuck poor Lara Palmer has suffered More than that donkey and oh his our bath is are which I did not include on my list I probably should
51:53
[UNKNOWN]: Yeah, this is a preview of the TV series, and I think a lot of people were upset when this movie first came out in the early 90s because they wanted it to be more like Winsically strange like the TV series was or a little bit more like a soap opera like the TV series was and it is not this is that an abstract nightmare of a film Yeah about Laura Palmer suffering and suffering and suffering and feeling nothing but fear
52:20
[UNKNOWN]: Nobody plays terror, better than Cheryl Lee, who should be nominated for an Oscar for this movie.
52:29
[UNKNOWN]: She should still, she still should, yeah, she's just over there, give her an Oscar for something.
52:34
[UNKNOWN]: Yeah, so it can retroactively apply.
52:36
[UNKNOWN]: No, no, I think we're literally just this, like, what was um,
52:40
[UNKNOWN]: I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I- I-
52:58
[UNKNOWN]: I feel like everyone's in a while.
52:59
[UNKNOWN]: I just feel like, listen, they're not great this year.
53:01
[UNKNOWN]: Cheryl Lee gets one.
53:02
[UNKNOWN]: Sorry.
53:03
[UNKNOWN]: 19.
53:03
[UNKNOWN]: No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no
53:24
[UNKNOWN]: And because that movie is over two hours long, we're done.
53:28
[UNKNOWN]: Okay, that ends at 7.34.
53:29
[UNKNOWN]: Oh, I had miscalculated at first.
53:32
[UNKNOWN]: Okay.
53:32
[UNKNOWN]: So I actually thought I had an extra 90 minutes.
53:35
[UNKNOWN]: I was initially going to chase it with cries and whispers for a little Bergman in there.
53:40
[UNKNOWN]: Yeah, chase it.
53:41
[UNKNOWN]: That's your chase here at the end of the night.
53:42
[UNKNOWN]: That's good.
53:43
[UNKNOWN]: But I ran it at a time.
53:44
[UNKNOWN]: So okay, we're gonna end with twin peaks firewalk with me, which you know, that's actually As these things go a little bit one of the easier ones because it's a little bit more it's better known.
53:53
[UNKNOWN]: It's a little bit more mainstream people know David Lynch
53:57
[UNKNOWN]: and it and it does have like moments of humor and moments of sorriality that are actually kind of gripping in a way that isn't depressing but yes it ends in a very bleak place because it ends with Laura Palmer being murdered.
54:08
[UNKNOWN]: Okay I'll I'll mention this again at the end of the episode so everything's in one place but just if anyone wants to take notes real fast Whitney's bleak week marathon was the first seven and a half minutes of Pixar's
54:25
[UNKNOWN]: Who's afraid of Virginia Wolfe, the short film Bestia, the German film from 1959, The Bridge, the zone of interest, the short film, if anything happens, I love you and Lillia Forever.
54:41
[UNKNOWN]: And then Twin Peaks Farrow Walk with me.
54:42
[UNKNOWN]: Yes, that's my bleak all nighter, right?
54:45
[UNKNOWN]: I actually called it the long dark all nighter of the soul.
54:48
[UNKNOWN]: That's good, I don't think I have a clever name.
54:51
[UNKNOWN]: How do you come up with a clever name for mine?
54:57
[UNKNOWN]: where you come to geek about there's no we're just gonna call a bleak week there aren't no fun names it's not bleak enough no yeah just that not bleak enough oh yeah well that might be I worry that I'm not bleak enough
55:16
[UNKNOWN]: I tried, I feel like these are, I feel like I've got some bleak movies here.
55:21
[UNKNOWN]: I had a few contingencies.
55:24
[UNKNOWN]: It couldn't be a dark movie that ends on a note of hope, for instance.
55:27
[UNKNOWN]: So these movies had to end poorly.
55:29
[UNKNOWN]: Generally speaking, mind-duty, I thought that was pretty important.
55:33
[UNKNOWN]: And I think there's a difference between an exhilarating tragedy, which actually has like a little bit of emotional catharsis to it, and something that is that could be described as bleak, which doesn't really necessarily,
55:46
[UNKNOWN]: have that catharsine.
55:46
[UNKNOWN]: Well, no big grinds you into the dirt and leaves you there.
55:49
[UNKNOWN]: I think bleakness and I think there are exceptions to this.
55:51
[UNKNOWN]: I think there are movies that don't feel bleakness necessarily, but and on such a bleak note that all everything that came before is ruined.
55:59
[UNKNOWN]: Like you can't go back and enjoy it anymore.
56:02
[UNKNOWN]: You don't too much.
56:04
[UNKNOWN]: Um
56:05
[UNKNOWN]: But I agree, I think bleakness isn't just plot.
56:08
[UNKNOWN]: It isn't just bad things happen.
56:10
[UNKNOWN]: It is a tone.
56:11
[UNKNOWN]: And it is a tone that is either very consistently struck or struck so hard when it comes, that that's the end.
56:21
[UNKNOWN]: Like that's it, nothing else fucking mattered.
56:23
[UNKNOWN]: It was all about the bleakness the entire time.
56:26
[UNKNOWN]: And I have a couple of those in my, at least, no.
56:31
[UNKNOWN]: at least one.
56:32
[UNKNOWN]: All right, so my bleak week, it's also from seven to seven.
56:36
[UNKNOWN]: I normally try to like sort of, you're right.
56:40
[UNKNOWN]: A lot of these movies are relatively long.
56:42
[UNKNOWN]: When they're bleak, you really just want to simmer in the misery, but a lot of them on their short, I was able to fit in, I think, a few more than you, or, oh, maybe not, I don't know.
56:51
[UNKNOWN]: But normally I have a bunch of short films or whatever, like that, I only have one short film.
56:55
[UNKNOWN]: And much like you decided to,
56:59
[UNKNOWN]: sort of punish your audience by only offering hard alcohol and coffee and cigarettes those are only three options mine is no breaks just straight through you do not get a break you can you miss the part of the movie or you fuck off there are credits that's your chance but they're not all credits are the same length fuck you
57:23
[UNKNOWN]: You're this is punishment.
57:25
[UNKNOWN]: We're not through here to have a good time and I'm gonna start and actually funnily enough I also started with animation.
57:31
[UNKNOWN]: Okay, and I also started with an animated film that I'm fine I find this movie incredibly bleak and I am shocked routinely to discover that this is not everyone's interpretation Okay, because I picked the Oscar winning animated feature flow
57:52
[UNKNOWN]: Flow.
57:52
[UNKNOWN]: Flow.
57:53
[UNKNOWN]: Flow terrifies me.
57:56
[UNKNOWN]: Just like the the water or the post-apocalyptic imagery.
57:59
[UNKNOWN]: It is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it is, it
58:13
[UNKNOWN]: the loan and the forest doing their animal thing at one point the cat finds its way into a house and you realize this house is like abandoned but recently abandoned or abandoned in mid-living yeah there's a there's something untold there.
58:31
[UNKNOWN]: And then the water just starts rising.
58:37
[UNKNOWN]: Not even that fast, but enough that it's visible.
58:41
[UNKNOWN]: And this cat is trying to stay out of the water.
58:45
[UNKNOWN]: And the cat is able to find, luckily, a boat left over from whenever humans were around and doing stuff.
58:52
[UNKNOWN]: And over the course of the film, a series of animals managed to make it into the boat.
59:00
[UNKNOWN]: that's the movie animals are in peril.
59:03
[UNKNOWN]: The water will not stop rising.
59:05
[UNKNOWN]: The water keeps going.
59:06
[UNKNOWN]: This is the end of all things.
59:09
[UNKNOWN]: They're just trying to survive and it's become increasingly clear that there is no hope.
59:14
[UNKNOWN]: They're not going to be okay.
59:17
[UNKNOWN]: The waters will rise.
59:19
[UNKNOWN]: There was nothing left.
59:20
[UNKNOWN]: They're going to run out of food.
59:21
[UNKNOWN]: They have no, it's presumably salt water.
59:24
[UNKNOWN]: They have nothing to drink.
59:25
[UNKNOWN]: All of these animals are going to die.
59:28
[UNKNOWN]: And you're watching the movie, and I find it just, even though there's like, and people are like, oh, it's so cute.
59:33
[UNKNOWN]: The cat's playing with a trinket, that the little, the little mere cat or whatever the fuck it is, is like playing with.
59:41
[UNKNOWN]: And some kind of, some kind of rodent or like really, really, really tiny, like, you know, administrator, a critter, like something that likes to, like, how does a lemur, was a lemur, that was it, it was a lemur.
59:52
[UNKNOWN]: And the lemur's like playing with like some, some, you know, shiny things.
59:55
[UNKNOWN]: And the cat is like falling a little lighter, whatever, like that.
59:57
[UNKNOWN]: And it feels like a cat.
59:59
[UNKNOWN]: And everyone's like, oh, it's so cute.
1:00:00
[UNKNOWN]: This cat's like playing.
1:00:02
[UNKNOWN]: The cat's gonna die.
1:00:03
[UNKNOWN]: Well, I mean, all cats are gonna die.
1:00:05
[UNKNOWN]: I understand, but not today.
1:00:07
[UNKNOWN]: Like, this is just a whole bunch of animals who are completely incapable of understanding what's happening except that they are in peril.
1:00:16
[UNKNOWN]: And there is, it seems, and I'm not gonna go into detail because there's not much plot in this movie.
1:00:23
[UNKNOWN]: Mm-hmm.
1:00:24
[UNKNOWN]: They're just singing at the end.
1:00:27
[UNKNOWN]: Like there might be a reprieve.
1:00:29
[UNKNOWN]: Uh-huh.
1:00:30
[UNKNOWN]: by luck or act of God.
1:00:34
[UNKNOWN]: Maybe things will be okay.
1:00:38
[UNKNOWN]: Wait till after the credits.
1:00:41
[UNKNOWN]: That's all I'm going to say.
1:00:42
[UNKNOWN]: Okay.
1:00:42
[UNKNOWN]: Wait till after the credits, it's not a happy film.
1:00:46
[UNKNOWN]: It's not good.
1:00:47
[UNKNOWN]: It's very bad.
1:00:50
[UNKNOWN]: I find blow incredibly bleak and I think not everyone agrees with me on this but I think programming it bleak week will set the sort of stage for it for I think at the very least whether or not you agree with me that this is what the movie is exactly going for.
1:01:04
[UNKNOWN]: I think it will be easier to see my perspective on this film if we label it bleak.
1:01:11
[UNKNOWN]: Well, there are many movies about sort of a world falling apart or a world that's already ended that are still like exhilarating and fun.
1:01:19
[UNKNOWN]: Sure, that's not Mad Max though.
1:01:21
[UNKNOWN]: Yeah, I wouldn't put Mad Max on the screen.
1:01:23
[UNKNOWN]: I wouldn't put Mad Max on the screen.
1:01:25
[UNKNOWN]: Planet of the Apes, you know, that's a bleak ending, but it's also exciting.
1:01:31
[UNKNOWN]: It feels poignant rather than dark if that makes if you want to distinguish between those things Yeah, I find flow merely dark flow is incredibly cozy to me I like to understand it.
1:01:44
[UNKNOWN]: Everyone uses that term.
1:01:45
[UNKNOWN]: Yeah, I do not understand it because it's about a little kitty It's about a little kitty who's what just because it's a cat doesn't mean it's not a sad story
1:01:57
[UNKNOWN]: Like, think about how many like the old yellow is so cute.
1:02:01
[UNKNOWN]: It's about a dog.
1:02:02
[UNKNOWN]: Like, no, we know what's coming.
1:02:06
[UNKNOWN]: It's called old yellow.
1:02:08
[UNKNOWN]: Okay, there's a reason we need a new yellow afterwards.
1:02:13
[UNKNOWN]: All right, so the new yellow's name is Savage Sam, and he had his own movie, and it's not good.
1:02:17
[UNKNOWN]: It's pretty racist.
1:02:19
[UNKNOWN]: No, it's not pretty racist.
1:02:20
[UNKNOWN]: It's quite racist, um, but I digress.
1:02:23
[UNKNOWN]: No, I, I understand that I'm kind of the minority in this, but I'm using this to make a point.
1:02:28
[UNKNOWN]: Okay.
1:02:28
[UNKNOWN]: Um, and I don't really have.
1:02:33
[UNKNOWN]: particular theme.
1:02:34
[UNKNOWN]: I didn't really go in blocks.
1:02:35
[UNKNOWN]: What I'm doing is sort of a stream of consciousness of my own depression, okay, so like there are elements of each movie that will kind of flow into each other.
1:02:45
[UNKNOWN]: But there isn't necessarily like all of these movies are post-apocalyptic movies, which is one of the first ideas that I had.
1:02:52
[UNKNOWN]: So inexplicable tragedy on the water.
1:02:58
[UNKNOWN]: Okay, we'll take us to the 2009 time loop movie Triangle.
1:03:05
[UNKNOWN]: I haven't seen Triangle.
1:03:06
[UNKNOWN]: Yeah, Triangle is, I think anyone who's seen Triangle usually agrees it's always pretty fucked up, but none of people have seen it.
1:03:12
[UNKNOWN]: I was able to make the time to watch this, and then I believe I made sure I believe I included it on the list of the best time loop movies, which I did on screen drafts.
1:03:25
[UNKNOWN]: thing was last year or maybe really, no, it was last year.
1:03:29
[UNKNOWN]: Triangle is a story about a woman who is going on a boat trip with her friends.
1:03:35
[UNKNOWN]: Okay, but her friends has a nice boat, not a yodder or anything, but a nice boat and they're going to go out on the water and they're going to drink and talk about their lives and she's seen as kind of
1:03:49
[UNKNOWN]: kind of the albatross on the friend group's neck, she's a mom, she has a child who a special needs and this is taking up all over time and it makes her kind of a bummer to be around.
1:04:00
[UNKNOWN]: So her friends are kind of assholes off me.
1:04:03
[UNKNOWN]: But she's going through a lot and then there is a storm and their boat winds up next to a really giant boat like a cruise liner boat.
1:04:14
[UNKNOWN]: Okay.
1:04:16
[UNKNOWN]: And they see people on the cruise liner, but it's like really like rotten and desiccated.
1:04:21
[UNKNOWN]: Like it looks like it's like it's like, it's about to be like, you know, like it's been at sea for a long time.
1:04:26
[UNKNOWN]: Like it was for too long.
1:04:27
[UNKNOWN]: Okay.
1:04:30
[UNKNOWN]: So they walk onto the boat and they sometimes see people off in the distance, but there's a lot of inexplicable stuff.
1:04:37
[UNKNOWN]: There's a lot of inexplicable, you know.
1:04:41
[UNKNOWN]: evidence of violence, of messages, scrolled somewhere that they cannot explain.
1:04:46
[UNKNOWN]: So it's like a ghost ship.
1:04:47
[UNKNOWN]: It's like a ghost ship.
1:04:48
[UNKNOWN]: All right.
1:04:49
[UNKNOWN]: But what becomes clear as the movie goes on is the premise.
1:04:54
[UNKNOWN]: The cool of maybe you can discover it all by yourself.
1:04:57
[UNKNOWN]: But this is the premise.
1:05:00
[UNKNOWN]: Everyone on that boat and everyone on the boat below, the smaller boat, is in a time loop.
1:05:09
[UNKNOWN]: Unlike most time loop movies, where everything resets Bill Murray just wakes up in his bed the next day, in this time loop people in the boat just keep coming and it's you over and over again and what you realize very quickly is you are everyone on the boat, yeah and there should be more people on this boat if that's true there should be a bunch of us, right?
1:05:37
[UNKNOWN]: there are not.
1:05:38
[UNKNOWN]: There is something going on.
1:05:40
[UNKNOWN]: Something truly horrible going on.
1:05:42
[UNKNOWN]: And it's one of those kinds of stories where it's hard to tell if anything is happening because it would happen or if everything is happening because we assume it must.
1:05:57
[UNKNOWN]: Which leads to a series of absolute tragedies that feel like everyone thinks it is inevitable because we have to do them.
1:06:04
[UNKNOWN]: But do you?
1:06:05
[UNKNOWN]: Hmm, so it's a time loop and the same ship, the same small boat keeps arriving at the same cruise ship.
1:06:10
[UNKNOWN]: Basically, yeah.
1:06:11
[UNKNOWN]: And the same people keep getting off the small boat and populating the big ship.
1:06:16
[UNKNOWN]: Yeah.
1:06:16
[UNKNOWN]: So it's like hundreds of the same person.
1:06:19
[UNKNOWN]: You'd think.
1:06:19
[UNKNOWN]: Okay.
1:06:20
[UNKNOWN]: But it's not.
1:06:21
[UNKNOWN]: Oh, where are they?
1:06:22
[UNKNOWN]: Okay.
1:06:23
[UNKNOWN]: There's something going on.
1:06:24
[UNKNOWN]: Um, I've already said too much.
1:06:27
[UNKNOWN]: Uh, triangle is a deeply.
1:06:31
[UNKNOWN]: dreary take on the time loop movie and I've only scratched the service of the things that it will reveal The ending is impossibly fucked up.
1:06:41
[UNKNOWN]: Okay, and
1:06:44
[UNKNOWN]: Again, normally I don't gravitate towards this kind of depression, but at the same time, this movie is so clever about its own misery and the cycle that it presents that is completely inescapable, no matter how hard you try or don't try.
1:07:03
[UNKNOWN]: And I think it very much represents the idea this mental state, we can find ourselves in
1:07:16
[UNKNOWN]: where you start to believe there is no way out.
1:07:19
[UNKNOWN]: Like it's right, I've been in a lot of therapy and one of the things that they learned, they helped me learn and helped me sort of process and be aware of because I was going through a lot of crises still am.
1:07:33
[UNKNOWN]: But in the midst of that crisis, everything felt so overwhelming that I thought this is just the way my life is now.
1:07:39
[UNKNOWN]: And it's not, it will pass.
1:07:40
[UNKNOWN]: But
1:07:41
[UNKNOWN]: In a time loop, when you're in a state of crisis, that is literally all your life is ever going to be.
1:07:46
[UNKNOWN]: And it's incredibly bleak in tears.
1:07:48
[UNKNOWN]: It reminds me of, um, she dies tomorrow.
1:07:50
[UNKNOWN]: Do you see, uh, that's the next movie on my left.
1:07:54
[UNKNOWN]: Is it really?
1:07:54
[UNKNOWN]: Yeah.
1:07:56
[UNKNOWN]: very well done.
1:07:58
[UNKNOWN]: That's the through line.
1:08:00
[UNKNOWN]: Then you did well.
1:08:01
[UNKNOWN]: There's an inexplicable sense of dread.
1:08:05
[UNKNOWN]: Although we never, as with most time movies, we don't understand why the time we're happening in a very literal sense.
1:08:13
[UNKNOWN]: There is at least some logic to it.
1:08:15
[UNKNOWN]: It is a recurring pattern.
1:08:17
[UNKNOWN]: She ties tomorrow the supernatural thing.
1:08:20
[UNKNOWN]: is an idea.
1:08:22
[UNKNOWN]: It's an idea, and it's extremely hard to tell if it is supernatural or paranormal or sci-fi, or if it's just susceptibility.
1:08:33
[UNKNOWN]: But she dies tomorrow.
1:08:35
[UNKNOWN]: fantastically creepy movie, um, is about a woman who goes to see, I forget if it's her sister and brother-in-law and brother-in-law and sister, but she goes to see the, your relatives, and she's, they're having a normal one, and she's all kinds of fucked up.
1:08:52
[UNKNOWN]: And they say, what's wrong?
1:08:54
[UNKNOWN]: And she's like, I'm going to die tomorrow.
1:08:57
[UNKNOWN]: I'm like, what?
1:08:58
[UNKNOWN]: Yeah, I'm gonna die tomorrow.
1:08:59
[UNKNOWN]: I'm like, how do you know what's happening?
1:09:02
[UNKNOWN]: What?
1:09:03
[UNKNOWN]: Are you gonna end your own life?
1:09:06
[UNKNOWN]: Are you that sick?
1:09:07
[UNKNOWN]: I did you.
1:09:08
[UNKNOWN]: And she says, no, I'm just, it's gonna happen.
1:09:11
[UNKNOWN]: I know.
1:09:12
[UNKNOWN]: She's convinced that she's just gonna die tomorrow.
1:09:15
[UNKNOWN]: Yeah, this is my last 24 hours under.
1:09:17
[UNKNOWN]: I am going to die tomorrow.
1:09:18
[UNKNOWN]: And with that sense of inevitability, not just that the end comes for us all,
1:09:27
[UNKNOWN]: to date, it has.
1:09:29
[UNKNOWN]: I look forward to being the exception, but so far, everyone usually leaves at some point, the mortal coil.
1:09:39
[UNKNOWN]: When you know what's tomorrow, it changes what you're gonna do.
1:09:44
[UNKNOWN]: Like, yeah, what would you do if you knew we were gonna die tomorrow?
1:09:46
[UNKNOWN]: Why would you do that?
1:09:48
[UNKNOWN]: And the answer to that question is not always fun.
1:09:53
[UNKNOWN]: Some people would be like, I'm going to drink all the booze I can find around.
1:09:57
[UNKNOWN]: I'm going to go get laid and it's going to be great.
1:09:59
[UNKNOWN]: So whatever, like, you know, like the sadness of that inevitability is what sets in.
1:10:05
[UNKNOWN]: They actually become kind of
1:10:07
[UNKNOWN]: very laconic when they learn, yeah, that they're going to die.
1:10:11
[UNKNOWN]: Yeah, and with that inevitability of death also comes sort of the removal of any sense of consequence, and you might be capable of doing things bad things you wouldn't normally do, but that's not the whole movie.
1:10:24
[UNKNOWN]: The movie really kicks off when the brother-in-law and sister-in-law and brother.
1:10:33
[UNKNOWN]: Now they are convinced.
1:10:36
[UNKNOWN]: that they're going to die tomorrow.
1:10:38
[UNKNOWN]: It like spreads.
1:10:39
[UNKNOWN]: Every person that they talked to about it becomes convinced that they're gonna die tomorrow.
1:10:45
[UNKNOWN]: And this is not like a small town or not a particularly huge bustling metropolis.
1:10:53
[UNKNOWN]: Like a lot of people know each other.
1:10:54
[UNKNOWN]: A lot of people know each other.
1:10:57
[UNKNOWN]: My point is like you're not gonna shout it to a crowd of people and everyone's gonna be.
1:11:03
[UNKNOWN]: Everyone's going to be infected.
1:11:04
[UNKNOWN]: Everyone's going to be accepted by this horrifying thought that could destroy them and And almost certainly will on some level and we never know for sure If everyone's going to die tomorrow.
1:11:16
[UNKNOWN]: We leave that very vague.
1:11:18
[UNKNOWN]: No, it's just the thought that they might That's all we really got and theoretically they will we don't know
1:11:26
[UNKNOWN]: this could be some kind of curse, where you will.
1:11:29
[UNKNOWN]: But just the idea that there's nothing left, there's nothing for you.
1:11:38
[UNKNOWN]: There's, it's, it's, it's not cathartic.
1:11:40
[UNKNOWN]: It's absolutely, absolutely misery.
1:11:42
[UNKNOWN]: People do absolutely terrible things and just,
1:11:47
[UNKNOWN]: It almost becomes an excuse to just let society unravel if there is no tomorrow We might as well do fucked up things today.
1:11:54
[UNKNOWN]: Yeah, um, it doesn't get like fucked up though Because it's not like needful things right everyone towns running around with an axe Yeah, anything like that, but it's just we're gonna die I may as well just kill No, it's it's depressed about it like bad things So some people like we'll threaten like kill somebody but like they're just
1:12:11
[UNKNOWN]: depressed about it.
1:12:11
[UNKNOWN]: There's like a couple of people towards the end using weirdly cool with it, but mostly everybody is in a really bad place.
1:12:19
[UNKNOWN]: And things called an Hobbes that said, nothing helps in Israel like spreading it around.
1:12:25
[UNKNOWN]: Yeah.
1:12:25
[UNKNOWN]: And...
1:12:27
[UNKNOWN]: these kinds of ideas, these kinds of moods can be incredibly infectious if you're particularly empathic person and someone around you is going through a real crisis, going through some really terrible and you're there for them, that's great, but if you're not careful, you can fall into that state and
1:12:49
[UNKNOWN]: Well, that's not helping anybody at that point.
1:12:51
[UNKNOWN]: Like, it's understandable, but it's a risk.
1:12:56
[UNKNOWN]: And this movie is about that risk.
1:12:57
[UNKNOWN]: This movie is about the proximity to terrifying thoughts.
1:13:03
[UNKNOWN]: It gives us terrifying thoughts.
1:13:08
[UNKNOWN]: Fantastic, fucking film.
1:13:11
[UNKNOWN]: So I mentioned, that's a good choice.
1:13:12
[UNKNOWN]: I really like that.
1:13:13
[UNKNOWN]: Thank you.
1:13:13
[UNKNOWN]: Yeah.
1:13:13
[UNKNOWN]: So I mentioned,
1:13:17
[UNKNOWN]: uh... this is a this is a movie about an accepted terrible thought uh... now at this point you know i didn't work out the timing perfectly but we're probably around midnight okay time to wake everybody up
1:13:32
[UNKNOWN]: Now, we still have to be fucking depressing, but we need to wake everybody up.
1:13:36
[UNKNOWN]: We need to do it with, we need to be some electricity in it.
1:13:38
[UNKNOWN]: So from Sheedize tomorrow, we're gonna dive right into smile too.
1:13:43
[UNKNOWN]: I was considering smile too.
1:13:45
[UNKNOWN]: Actually, that was gonna be my chaser at the end of the night.
1:13:48
[UNKNOWN]: Cause I love the way that movie ends.
1:13:49
[UNKNOWN]: I love the whole movie.
1:13:50
[UNKNOWN]: Yeah.
1:13:51
[UNKNOWN]: Smile too is a sequel to the movie Smile, which is also good.
1:13:55
[UNKNOWN]: Smile too much better though.
1:13:56
[UNKNOWN]: I know a lot of, I know some people, at least.
1:14:00
[UNKNOWN]: really object to the way that the smile movies portray trauma and and misery and thoughts of self-harm in a way that inflicts that emotional trauma onto the audience.
1:14:18
[UNKNOWN]: That is a risk with these movies.
1:14:22
[UNKNOWN]: What's the issue?
1:14:23
[UNKNOWN]: Well, the issue is when you
1:14:30
[UNKNOWN]: The movie doesn't make sure that the audience understands exactly what it's like to feel the knife between your ribs, what that guy was feeling right when he died.
1:14:38
[UNKNOWN]: It's not necessarily about the absolute misery of it, there's a certain detachment.
1:14:43
[UNKNOWN]: Smile is about inflicting emotional pain onto the characters and it does such an impressive job of that that I know some people and I respect them and I get why they don't like it.
1:14:58
[UNKNOWN]: But some people find it, feel like it's an active violence against the audience.
1:15:04
[UNKNOWN]: Now, you're at bleak week.
1:15:07
[UNKNOWN]: Yeah.
1:15:08
[UNKNOWN]: In this context, you're walking into it, knowing that you are in a not particularly comfortable emotional space, potentially an extremely uncomfortable emotional space.
1:15:18
[UNKNOWN]: That's what you literally paid for a ticket for.
1:15:20
[UNKNOWN]: So I think it's okay here, but anyone at home, we just might want to watch the movie.
1:15:24
[UNKNOWN]: This movie's fucking intense.
1:15:26
[UNKNOWN]: Yeah, yeah, there is a creature in this movie, the smile creature that is largely invisible throughout the films.
1:15:34
[UNKNOWN]: Hmm.
1:15:35
[UNKNOWN]: We get to see sort of like an abstract version of it.
1:15:38
[UNKNOWN]: I don't think that's like a literal thing that we see.
1:15:40
[UNKNOWN]: Yeah.
1:15:41
[UNKNOWN]: But I think it's more in the first one that we see that.
1:15:43
[UNKNOWN]: And we see it in the second one as well.
1:15:46
[UNKNOWN]: It has a very unusual ammo.
1:15:48
[UNKNOWN]: It's sort of in possesses somebody's body and can force them to hallucinate.
1:15:55
[UNKNOWN]: Yeah.
1:15:55
[UNKNOWN]: And people are psychic, this guy can like reach into your brain and it has people appear to you, people you know.
1:16:04
[UNKNOWN]: And all they do is like sort of smile but in a very threatening way.
1:16:08
[UNKNOWN]: And it's been a fairly forced way.
1:16:10
[UNKNOWN]: Like there's probably your lips probably shouldn't curl that much.
1:16:14
[UNKNOWN]: Yeah, you know, like that probably hurts you to do that and you're just
1:16:17
[UNKNOWN]: the it's extremely disquietting because theoretically a smile is supposed to be a welcoming expression.
1:16:23
[UNKNOWN]: But it's vaguely threatening and the way that they just stare at you is it's like a Junji Eto kind of story.
1:16:31
[UNKNOWN]: Like it's really just incredibly disquieting and eerie.
1:16:37
[UNKNOWN]: And over the course and the first film was about someone who and the idea is that you become cursed with this
1:16:45
[UNKNOWN]: after you watch someone else who was cursed with this and their own life.
1:16:49
[UNKNOWN]: It in front of you, like you, that's an essay.
1:16:51
[UNKNOWN]: That is how you spread this.
1:16:53
[UNKNOWN]: That is your end state of this curse.
1:16:55
[UNKNOWN]: It's a movie about a curse.
1:16:58
[UNKNOWN]: And then this demon, this idea starts rotting away at your brain until you are in that kind of dire strait.
1:17:08
[UNKNOWN]: And the protagonists of the smile movies are doing everything they can
1:17:15
[UNKNOWN]: to try to avoid that fate.
1:17:18
[UNKNOWN]: These are horror movies do not expect happy endings.
1:17:20
[UNKNOWN]: I will not say exactly what happens, but do not expect happy endings.
1:17:25
[UNKNOWN]: Smile to in particular, stars Naomi Scott as a pop star.
1:17:31
[UNKNOWN]: A lot of movies are about fictional pop stars.
1:17:34
[UNKNOWN]: This is one of the few where I believe that there are pop stars.
1:17:38
[UNKNOWN]: I'm right and I only Scott has experienced it this.
1:17:40
[UNKNOWN]: But like the music is good, the styles and like the music videos that she's making feel very like on point and what she is going through.
1:17:51
[UNKNOWN]: Because the life of that kind of a super celebrity is at best extremely stressful.
1:18:02
[UNKNOWN]: What I buy about her is not just her attitude, but the
1:18:06
[UNKNOWN]: the look they give her and the world she inhabit.
1:18:08
[UNKNOWN]: It's all like dressing rooms and like these elaborate costumes.
1:18:12
[UNKNOWN]: She's really concerned about the way she's dressed because she has joy as a scar.
1:18:16
[UNKNOWN]: She's trying to cover up.
1:18:17
[UNKNOWN]: Yeah, she was in an accident.
1:18:18
[UNKNOWN]: She experienced recently prior to the film back from.
1:18:21
[UNKNOWN]: Yeah, prior to the film, she was in a very brutal car accident.
1:18:24
[UNKNOWN]: You'll find out more about that over the course of the film.
1:18:27
[UNKNOWN]: But yeah, age, she has a scar that she's
1:18:35
[UNKNOWN]: her image, but also after the accident, she has to do so much for physical therapy and has to do so much dancing that she has become addicted to painkillers as well.
1:18:44
[UNKNOWN]: And again, these are not uncommon stories.
1:18:47
[UNKNOWN]: for people who are celebrities, people who have become an industry unto themselves.
1:18:53
[UNKNOWN]: Like think of someone like, and I'm not saying Taylor Swift is gone through this, to the best of my knowledge, but like think of something like Taylor Swift, who like, she's an industry.
1:19:01
[UNKNOWN]: Yeah, she works with employees so many people.
1:19:07
[UNKNOWN]: that she has a ton of responsibility on top of performing writing her own songs, learning all of her own choreography, she's a busy fucking woman.
1:19:19
[UNKNOWN]: I can only imagine it's stressful, and some people are not capable of handling that stress.
1:19:24
[UNKNOWN]: A lot of people are.
1:19:25
[UNKNOWN]: It's in human.
1:19:27
[UNKNOWN]: the amount of stress that we put these celebrities under.
1:19:30
[UNKNOWN]: And so smile too, feels very apt.
1:19:34
[UNKNOWN]: Like it really only feels, a lot of it only feels slightly removed from what an experience like this might be for a celebrity in crisis.
1:19:42
[UNKNOWN]: And Naomi Scott, I wish she'd had an Oscar nomination for this.
1:19:46
[UNKNOWN]: Oh for sure.
1:19:46
[UNKNOWN]: She's phenomenal as this in the picture.
1:19:49
[UNKNOWN]: Just truly fucking phenomenal.
1:19:51
[UNKNOWN]: And the way that,
1:19:56
[UNKNOWN]: The way that this movie was directed by Parker Finn treats her hallucinations differently than the ones in the first film.
1:20:09
[UNKNOWN]: I'm very related to her career.
1:20:11
[UNKNOWN]: There's one that involves her entire dance troupe.
1:20:15
[UNKNOWN]: That is just a brilliant horror sequence.
1:20:17
[UNKNOWN]: Really inspired.
1:20:18
[UNKNOWN]: Like it should be funny.
1:20:20
[UNKNOWN]: It is not.
1:20:21
[UNKNOWN]: It's weirdly fucked up.
1:20:23
[UNKNOWN]: And I mean, weirdly.
1:20:25
[UNKNOWN]: Like I haven't seen this one before.
1:20:26
[UNKNOWN]: This is fucking strange.
1:20:29
[UNKNOWN]: And it ends in such a fucking apocalyptic note.
1:20:35
[UNKNOWN]: And it's just,
1:20:38
[UNKNOWN]: I understand that this movie is too much for a lot of people.
1:20:40
[UNKNOWN]: I get it.
1:20:41
[UNKNOWN]: I feel like the whole movie was sort of backward engineered from the final scene.
1:20:45
[UNKNOWN]: I'm sure it was.
1:20:47
[UNKNOWN]: I'm sure.
1:20:47
[UNKNOWN]: How can we arrange that?
1:20:48
[UNKNOWN]: Well, we need a pop star for that time.
1:20:50
[UNKNOWN]: Basically, how do you do another smile movie without just doing the same thing but to a different person or a different place?
1:20:59
[UNKNOWN]: And for a lot of it, that's what it is.
1:21:01
[UNKNOWN]: And it works fine.
1:21:03
[UNKNOWN]: But yeah, there's something that has been added to the lore here, to the story of this cursed demon, whatever it is.
1:21:16
[UNKNOWN]: that is just goes above and beyond.
1:21:19
[UNKNOWN]: And I don't know if we're getting a smile three, but I can only imagine how fucked up it's gonna be.
1:21:24
[UNKNOWN]: I kind of hope not.
1:21:26
[UNKNOWN]: I feel like we kind of went to the end with smile two.
1:21:29
[UNKNOWN]: You have so much you have to do if you make a smile three.
1:21:32
[UNKNOWN]: Yeah.
1:21:34
[UNKNOWN]: Like, I feel like Parker Finn really wrote himself into a corner, and maybe that was on purpose.
1:21:40
[UNKNOWN]: But yeah, no, you gotta, yeah.
1:21:43
[UNKNOWN]: Svaltu is enough, Svaltu is genuinely terrifying motion picture, and extremely fucking bleak.
1:21:51
[UNKNOWN]: And from here on, we're going to move to the one short film I was able to program, okay.
1:21:57
[UNKNOWN]: It is also a film that is a bit of a musical.
1:22:02
[UNKNOWN]: Alright, it is also a film about being followed by a mysterious smiling figure, and I'm curious if you've seen this, it is possibly in Michigan by Cecilia Condott.
1:22:19
[UNKNOWN]: The title is Possibly in Michigan.
1:22:20
[UNKNOWN]: Possibly in Michigan.
1:22:21
[UNKNOWN]: Never even heard of this movie.
1:22:22
[UNKNOWN]: Well, oh my god.
1:22:23
[UNKNOWN]: OK, so Cecilia Condit is an experimental filmmaker.
1:22:26
[UNKNOWN]: She's done a lot of museum installations.
1:22:28
[UNKNOWN]: And in 1983, she released a short film called Possibly in Michigan, which is told, all of the dialogue is in like, weird sing-songy voice.
1:22:40
[UNKNOWN]: And there's a lot of musical voice over to it.
1:22:48
[UNKNOWN]: But it is about a two women, and they're being followed in a shopping mall.
1:22:53
[UNKNOWN]: And again, this was shot on VHS, or the equivalent.
1:22:56
[UNKNOWN]: Anyway, it has that aesthetic.
1:22:58
[UNKNOWN]: It looks like you found this, it looks like the tape from the ring, like the original ring, not the one that was made by like a snooty film student, but just like this is actually just genuinely fucked up.
1:23:11
[UNKNOWN]: And they're being followed by a man,
1:23:15
[UNKNOWN]: And it's hard to tell, this is supposed to be his face or if it's a mask, but he's wearing a mask, and the mask is smiling way too fucking broad.
1:23:24
[UNKNOWN]: Okay.
1:23:25
[UNKNOWN]: And what becomes clear is that he is a serial killer and a cannibal, and he's tracking them and following them.
1:23:32
[UNKNOWN]: Oh, God.
1:23:33
[UNKNOWN]: I'm looking up a pictures of this.
1:23:34
[UNKNOWN]: Oh, yeah.
1:23:35
[UNKNOWN]: Just the images are fucking terrifying.
1:23:38
[UNKNOWN]: Now, this movie,
1:23:42
[UNKNOWN]: could have a bleaker ending.
1:23:44
[UNKNOWN]: I think it's still pretty bleak.
1:23:45
[UNKNOWN]: OK.
1:23:47
[UNKNOWN]: So it may seem like, and one hand, this might feel like a bit of a reprieve, you know, a bit of a... Is this a music video or is it like a show?
1:23:54
[UNKNOWN]: No, it's a short film.
1:23:55
[UNKNOWN]: It's all original music, and it's for the film.
1:23:57
[UNKNOWN]: Well, you say, I think it's all original music.
1:24:00
[UNKNOWN]: And they sing the possibly Michigan over and over again.
1:24:05
[UNKNOWN]: The story itself,
1:24:08
[UNKNOWN]: is based on a bleak fucking story, the filmmaker Cecilia Condett had at some point in her life prior to this dated a serial killer, oh god, she did not know, but it's my understanding that while she was dating him, there was like a corpse in his basement.
1:24:30
[UNKNOWN]: Yeah, I want to say, I think they called them the unicorn killer, but yeah, Ira Einhorn, aka the unicorn killer.
1:24:45
[UNKNOWN]: Real-life serial killer, and yeah, so she made a film about wrestling with that shit, like that's got to do a fucking number on you.
1:24:55
[UNKNOWN]: Now, possibly in Michigan,
1:24:58
[UNKNOWN]: was respected in its time but kind of went away.
1:25:01
[UNKNOWN]: It's a short experimental horror musical film.
1:25:05
[UNKNOWN]: Kind of thing to find on Nightfly.
1:25:07
[UNKNOWN]: Yeah, where do you put that?
1:25:09
[UNKNOWN]: And I want to say 2016, so I will.
1:25:14
[UNKNOWN]: It's a very long jump, but it's such a good jump.
1:25:17
[UNKNOWN]: it was discovered online like some just found it and like posted it on Reddit and it became something of a phenomenon.
1:25:22
[UNKNOWN]: Okay.
1:25:22
[UNKNOWN]: Because especially without context, this movie is fucked.
1:25:28
[UNKNOWN]: This movie feels like you just found a fucking, it feels like a real-life creepypasta.
1:25:32
[UNKNOWN]: All right.
1:25:33
[UNKNOWN]: And it became a bit of a phenomenon and it really raised Cecilia Conditz, sort of awareness, kind of later in her career.
1:25:41
[UNKNOWN]: And so some of you may have seen this.
1:25:44
[UNKNOWN]: If you haven't, it's on YouTube, very easy to find.
1:25:48
[UNKNOWN]: It's about 12 minutes long.
1:25:50
[UNKNOWN]: And it is very frightening, very fucked up.
1:25:55
[UNKNOWN]: Little more empowering than you might think for a bleak week, but I'm giving you a 12 minutes one that is somehow simultaneously terrifying, but also a little easier for everybody.
1:26:06
[UNKNOWN]: Because there's a different quirkiness to it, I think.
1:26:09
[UNKNOWN]: All right, so from there,
1:26:14
[UNKNOWN]: We are going to go to give us like a horror short after a like a proper horror movie Yes, but both about being stocked by smiling people and possibly in Michigan Is about being stocked by serial killer, so we're gonna follow this up and you're gonna have to you're gonna have to give me some some wiggle room here I figured I'd have to okay for this for something this exercise.
1:26:40
[UNKNOWN]: Yeah, because this again This is not my vibe, but I'm going somewhere with this
1:26:44
[UNKNOWN]: the vanishing.
1:26:46
[UNKNOWN]: Okay.
1:26:47
[UNKNOWN]: Remake.
1:26:48
[UNKNOWN]: No.
1:26:49
[UNKNOWN]: Hold on.
1:26:50
[UNKNOWN]: Hold on.
1:26:51
[UNKNOWN]: Hold on.
1:26:51
[UNKNOWN]: Hold on.
1:26:52
[UNKNOWN]: Give me.
1:26:53
[UNKNOWN]: Give me somebody where I'm here.
1:26:54
[UNKNOWN]: I'm going somewhere with this.
1:26:55
[UNKNOWN]: Okay.
1:26:56
[UNKNOWN]: The vanishing was, I believe, in 1988 film, European film about a guy who's girlfriend goes missing at like a truck stop.
1:27:08
[UNKNOWN]: uh... and he can't find her ventures completely without a trace and becomes obsessed with finding her puts you know posters up tries to track down every possible lead this is his entire life now
1:27:20
[UNKNOWN]: And we keep cutting back to the guy who did.
1:27:23
[UNKNOWN]: Yes, we know that there's a guy who did something terrible to her We don't know exactly what he did, but we know he did something terrible to her and we keep cutting back to him and his home life And he seems like a pretty normal dude when he's at home, but he also will like take long trips to his mysterious house in the middle of nowhere Where he is Doing things preparing things.
1:27:44
[UNKNOWN]: He's got an idea and it's a fucked up idea and
1:27:50
[UNKNOWN]: Eventually, the two stories converged quite late in the film actually, but the two stories converge and the protagonist is going to find out at last, but only on the conditions of the serial killer, what happened to his girlfriend.
1:28:06
[UNKNOWN]: The ending of the original vanishing is one of the great fucking endings.
1:28:11
[UNKNOWN]: Oh, yeah.
1:28:12
[UNKNOWN]: Truly fucking terrifying and awesome and very sad, very, very big.
1:28:18
[UNKNOWN]: Yeah.
1:28:20
[UNKNOWN]: They remained the vanishing in America in 1993.
1:28:24
[UNKNOWN]: Same director.
1:28:24
[UNKNOWN]: Yeah.
1:28:25
[UNKNOWN]: George Sleaser, Sleaser, yeah.
1:28:27
[UNKNOWN]: That's what I'm talking about.
1:28:28
[UNKNOWN]: That's what you're going to pronounce it.
1:28:29
[UNKNOWN]: Yeah.
1:28:30
[UNKNOWN]: Same director, doing the same story.
1:28:32
[UNKNOWN]: This happens more often than you might think.
1:28:34
[UNKNOWN]: This time, it stars key for Sutherland as the protagonist.
1:28:37
[UNKNOWN]: Jeff Bridges is a serial killer.
1:28:39
[UNKNOWN]: You wanted to say this is giving a very interesting performance.
1:28:42
[UNKNOWN]: Thank you.
1:28:42
[UNKNOWN]: I hope you did.
1:28:46
[UNKNOWN]: You're going to walk with me on this journey and I'm going to take you some place.
1:28:48
[UNKNOWN]: Okay, and I think at the end of this, you're going to be okay with it.
1:28:51
[UNKNOWN]: Interesting.
1:28:52
[UNKNOWN]: Good way to describe that.
1:28:53
[UNKNOWN]: I think he's interesting.
1:28:54
[UNKNOWN]: He's interesting.
1:28:57
[UNKNOWN]: Sandra Bullock, by the way, plays the girlfriend who goes missing and he's the guy's new girlfriend by Nancy Travis.
1:29:02
[UNKNOWN]: It's a really good cast.
1:29:05
[UNKNOWN]: The movie was notorious for fucking it up because
1:29:13
[UNKNOWN]: They give you the real ending.
1:29:16
[UNKNOWN]: The same ending as the Dutch original film.
1:29:19
[UNKNOWN]: And then they keep going until it's happy.
1:29:21
[UNKNOWN]: They give it the Hollywood adaptation and it's a huge, fucking cautionary tale about why a happy ending can be the worst fucking thing for your movie, which is why.
1:29:34
[UNKNOWN]: A, I think the existence of this free make is very bleak.
1:29:38
[UNKNOWN]: But beyond that, more importantly, and I think considering what you did,
1:29:44
[UNKNOWN]: we're gonna cut the movie off at the real ending.
1:29:46
[UNKNOWN]: Oh there you go, okay, yeah, before things get happy before anything else happens because the movie goes there and then just keeps going, we're gonna stop it there, okay?
1:29:57
[UNKNOWN]: That's it, we're gonna give the remake the real ending.
1:30:00
[UNKNOWN]: Is it better than the original?
1:30:02
[UNKNOWN]: No, is it at the very least,
1:30:05
[UNKNOWN]: like interesting if you don't have the fuck up ending I think it is interesting with the fucked up happy ending but like not in a good way but like it's not that I want to entertain audience it's a different kind of bleak yeah I could put a program space jam and said this makes me feel depressed I came like in this close to transform with the last night I'm not fucking kidding I mean it left me feeling despair yeah yeah but like but like in a way that's like unintentional it's just like is this what society
1:30:36
[UNKNOWN]: So yeah, I'm doing something playful.
1:30:38
[UNKNOWN]: I'm giving you something kind of interesting.
1:30:39
[UNKNOWN]: I'm giving you an odd experience.
1:30:41
[UNKNOWN]: You're not going to get anywhere else.
1:30:44
[UNKNOWN]: And then from there, because we just had a movie about relationships and anxiety over not knowing.
1:30:56
[UNKNOWN]: And because at this point, and I wasn't able to get the math quite right, but at this point it should be about four in the morning, which means you're tired out, yeah, there's a lot going on, which means that's the same time miracle mile takes place.
1:31:16
[UNKNOWN]: Okay, have you seen Miracle Ma?
1:31:18
[UNKNOWN]: Oh, you would love this movie.
1:31:20
[UNKNOWN]: It's an apocalyptic film, right?
1:31:21
[UNKNOWN]: Sort of.
1:31:23
[UNKNOWN]: I won't tell you exactly what runs down, but I'll say this.
1:31:27
[UNKNOWN]: Anthony Edwards from ER fame, and he was in revenge of the nerds before that.
1:31:31
[UNKNOWN]: Anthony Edwards stars as a young man.
1:31:34
[UNKNOWN]: He's like, I think he's a trumpet player.
1:31:36
[UNKNOWN]: And he meets
1:31:40
[UNKNOWN]: Bear winning him.
1:31:41
[UNKNOWN]: They just sort of meet cute.
1:31:42
[UNKNOWN]: They're in Los Angeles.
1:31:44
[UNKNOWN]: Things are going pretty well.
1:31:46
[UNKNOWN]: And I've memory served.
1:31:47
[UNKNOWN]: She has like, he's gonna like pick her up in the middle of the night.
1:31:50
[UNKNOWN]: She had like a late shift or something.
1:31:52
[UNKNOWN]: And he ends up at a diner.
1:31:53
[UNKNOWN]: Specifically, the diner right across in the Academy Museum, which is not a real diner anymore.
1:31:58
[UNKNOWN]: Like they most forward.
1:32:00
[UNKNOWN]: It's the Peterson Museum now.
1:32:02
[UNKNOWN]: Yeah, yeah, yeah, where they
1:32:09
[UNKNOWN]: Everyone in Los Angeles knows Johnny's and no one in Los Angeles has eaten it Johnny's because it's always been a facade as long as most people have been around It was a diner like 30 years ago, it's been a while Yeah, it's been it's been a husk for a long time But people still people don't there You can see it in a Mahal and Drive Yeah, there's a famous scene That's where the monster behind the dumpster was behind the Johnny's
1:32:31
[UNKNOWN]: Anyway, Anthony Edwards is like waiting at this diner to pick up his girlfriend and there's a couple of interesting characters in there, Denise Crosby is in there.
1:32:42
[UNKNOWN]: Just the type of people you would see in an all-night diner at 4am, an odd assortment.
1:32:48
[UNKNOWN]: He goes to the phone booth outside and the phone rings and he doesn't know what to do so he picks it up.
1:32:58
[UNKNOWN]: And on the other end, is a guy who dialed the wrong number was trying to reach his father.
1:33:04
[UNKNOWN]: And he says, the bomb's drop in 70 minutes.
1:33:08
[UNKNOWN]: OK, yeah, yeah.
1:33:09
[UNKNOWN]: Yeah.
1:33:10
[UNKNOWN]: Now, Anthony Edwards doesn't know if this is true.
1:33:12
[UNKNOWN]: Okay, it's very unsettling, but he thinks it's a prank call.
1:33:16
[UNKNOWN]: He goes inside the diner and he tells everyone what he just heard because it's very strange and Denise Crosby, who it turns out works with a government, says, what exactly did he say?
1:33:27
[UNKNOWN]: Okay, and it turns out he said enough things that track that she says, the bombs are dropping in 70 minutes, I have a lot to do.
1:33:36
[UNKNOWN]: Everyone getting a fucking truck, we are going to the airport now, don't tell anyone
1:33:42
[UNKNOWN]: Okay, Anthony Edwards insists on getting his girlfriend People start finding out.
1:33:48
[UNKNOWN]: All right, and it's fucking chaos and whether it was a prank call or not Anthony Edwards not knowing if it was a prank call is gonna cause a shit on a despair Just absolute apocalyptic shit whether the apocalypse happens or not
1:34:05
[UNKNOWN]: And nobody knows if it will, but nobody's ready to take that risk because it's still the late 1980s and everyone is still prepared for the bonds to drop it any fucking minute.
1:34:14
[UNKNOWN]: Yeah.
1:34:15
[UNKNOWN]: Miracle Mile is like it practically takes place in real time, except for the opening, like there's the prologue, thanks for those over a few days.
1:34:22
[UNKNOWN]: But once it gets going, it's basically in real time, you're there like watching the sunrise over Los Angeles.
1:34:28
[UNKNOWN]: It's like Anthony Edwards is like driving past the Liberia tar pits trying to find someone who could
1:34:36
[UNKNOWN]: In less than 70 minutes, um, but there's no undoing any of this.
1:34:40
[UNKNOWN]: No undoing what?
1:34:41
[UNKNOWN]: There's no getting away from the bomb's dropping.
1:34:43
[UNKNOWN]: There's just, there's just running around.
1:34:45
[UNKNOWN]: Possibly, or maybe there is a way out.
1:34:47
[UNKNOWN]: Maybe there is possibly, if they're going for the major city centers, if you can get far enough away from Los Angeles, but the only way to do that would be an aircraft.
1:34:54
[UNKNOWN]: Yeah, but- See, you got to get into plane or a helicopter and try to get out of there fast enough.
1:34:57
[UNKNOWN]: But you can't do it at the last minute.
1:34:59
[UNKNOWN]: Well, maybe one or two of these people are going to get out of Los Angeles, but Los Angeles is fucked.
1:35:04
[UNKNOWN]: Assuming the apocalypse happens with people and whether the this is one of those movies Because there's some movies where there's like a will had a won't it happen kind of quality Yeah, and if it doesn't happen, there's no movie right like the movie's a huge cop out If nothing happened, it's like well, then what the fuck were we even doing here?
1:35:18
[UNKNOWN]: You have to be about something whether or not because otherwise the ending is a foregone conclusion Yeah, we know the world has to end because otherwise the the movie there's no reason for any of this to happen
1:35:29
[UNKNOWN]: Miracle Mile makes sense whether the bomb's drop or not because it is about the paranoia.
1:35:34
[UNKNOWN]: It is about the fear and anxiety and what the desperate will to survive will do to an entire city.
1:35:45
[UNKNOWN]: Really fast.
1:35:48
[UNKNOWN]: Miracle Mile fucking rules.
1:35:50
[UNKNOWN]: I went way too long in my life without saying this movie.
1:35:52
[UNKNOWN]: People recommended it to me left and right.
1:35:54
[UNKNOWN]: The director of Miracle Mile, I think you wrote it too.
1:35:57
[UNKNOWN]: Stephen Desjardat used to come to a video store that I worked back called Laser Blazer, no longer there in Los Angeles.
1:36:05
[UNKNOWN]: And I knew him because he directed,
1:36:08
[UNKNOWN]: one of my favorite post-apocalyptic movies, Cherry 2000.
1:36:10
[UNKNOWN]: Oh, ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha
1:36:36
[UNKNOWN]: like it's just there's no love anymore.
1:36:38
[UNKNOWN]: He has a sex bot that he fucking loves and cherishes and at the beginning of the movie it breaks and the only replacement part is in Badlands.
1:36:48
[UNKNOWN]: Isn't the fucking Madness Badlands and he has the higher red head Melanie Griffith as basically you know the her version of Mad Max.
1:36:57
[UNKNOWN]: to guide him through it, and kick all the ass in order to, again, fix his sex bot.
1:37:04
[UNKNOWN]: That movie is fucking a, and the action is really cool.
1:37:08
[UNKNOWN]: It's got a really good sense of humor, like it works.
1:37:11
[UNKNOWN]: It shouldn't work.
1:37:12
[UNKNOWN]: It works.
1:37:13
[UNKNOWN]: Steve and they turned out it was a bit of a wizard.
1:37:15
[UNKNOWN]: And Miracle Mile is tonally, extremely different from cherry 2000, but it's fucking great.
1:37:21
[UNKNOWN]: I don't care if you let me have this or not.
1:37:22
[UNKNOWN]: The last film, which just makes me suspect that I'm not gunna, but there's a reason, and I mentioned going into this, I had one film.
1:37:45
[UNKNOWN]: where it doesn't feel bleak all the way through, but I think the ending retroactively makes it all bleak.
1:37:50
[UNKNOWN]: Okay.
1:37:50
[UNKNOWN]: So it's gonna feel like I've cut you slack.
1:37:53
[UNKNOWN]: Okay.
1:37:54
[UNKNOWN]: Something like total recall, where... Well, totally like it has a happier ending in a lot of ways, but it could be interpreted that it was all in his head.
1:38:02
[UNKNOWN]: But this case, there is no interpretation.
1:38:05
[UNKNOWN]: The ending is bleak.
1:38:06
[UNKNOWN]: Okay.
1:38:07
[UNKNOWN]: And it was very unexpectedly bleak.
1:38:09
[UNKNOWN]: And a lot of people didn't like it because they really didn't think they were going here.
1:38:14
[UNKNOWN]: So as you're finale, I'm going to show you a film that I am fond of that most other people don't seem to be fond of, but it's got a lot of amazing set pieces in it and it's got some really vicious ideas.
1:38:27
[UNKNOWN]: Terminator 3 Rise of the Machines.
1:38:31
[UNKNOWN]: I agree with the ending that it has a bleak ending.
1:38:33
[UNKNOWN]: Yeah.
1:38:35
[UNKNOWN]: Terminator 2 has a rather famous scene where Sarah Connor, who has been driven mad by knowledge that judgment day, the end of the world, a bomb is going to drop very soon.
1:38:47
[UNKNOWN]: uh... machine intelligence will form and one of its first actions will be to attack humanity yes and uh... she has been given knowledge that this will lead to like a decade long war and that are sent will grow up in the war and have to like fight back against these machines yeah uh... but there's this notion that uh... she is not going to accept that and she has to sort of rest her own fate back
1:39:16
[UNKNOWN]: before she decides to do some dramatic action.
1:39:18
[UNKNOWN]: There is no paper what we make for ourselves is what she eventually decides to believe.
1:39:22
[UNKNOWN]: And at the very end of that movie, they essentially destroy everything that would have caused judgment day to happen and sort of prevent it.
1:39:31
[UNKNOWN]: Well, they leave it a little vague, they leave it a little vague.
1:39:34
[UNKNOWN]: They leave it a little vague.
1:39:34
[UNKNOWN]: Like it seems like we have but who knows, because it's not supposed to have it for a few more years.
1:39:38
[UNKNOWN]: Well,
1:39:40
[UNKNOWN]: I took the end of Terminator 2 to be a sign that they failed, because as soon as they destroyed everything they needed to prevent judgment day, nothing changed.
1:39:48
[UNKNOWN]: Yeah.
1:39:49
[UNKNOWN]: There wasn't like this back to the future moment where a snap, she's back being a waitress at that diner at the first terminate.
1:39:55
[UNKNOWN]: Because the Terminator should never have been able to go back in time with the future didn't happen.
1:39:58
[UNKNOWN]: Yeah.
1:39:59
[UNKNOWN]: Exactly.
1:40:00
[UNKNOWN]: No.
1:40:00
[UNKNOWN]: So there's this weird sense of inevitability in Terminator 3.
1:40:04
[UNKNOWN]: Yeah.
1:40:05
[UNKNOWN]: So Terminator 1 and 2, one in particular is a bootstrap paradox.
1:40:09
[UNKNOWN]: Guy goes back in time to save Sarah Connor because her son is going to lead the revolution against the robot overlords.
1:40:17
[UNKNOWN]: In the process, he becomes the father of her baby, which means the only way he could have been born to go back in time as if he already did that.
1:40:30
[UNKNOWN]: And as we learn in Terminator 2, the wreckage of the Terminator robot, the call it a cyborg, it's a robot that's covered in the flesh.
1:40:37
[UNKNOWN]: It's not the same thing.
1:40:38
[UNKNOWN]: And that's a nerdy thing that has been in great drilled into me since I was a kid.
1:40:44
[UNKNOWN]: But the wreckage of that robot is what allows the company cybergun to reverse engineer, the technology needs to create the thing that starts the war.
1:40:53
[UNKNOWN]: Yeah, so it's all a bootstrap paradox.
1:40:55
[UNKNOWN]: Everything that went back in time on the first movie is the reason why the first movie happened in the first place.
1:41:00
[UNKNOWN]: But the thing with the bootstrap paradox is that it is a paradox.
1:41:06
[UNKNOWN]: There is no logic to it.
1:41:07
[UNKNOWN]: You can't, there is no place where the story begins because it always begins with something that happened in the future.
1:41:14
[UNKNOWN]: Well,
1:41:15
[UNKNOWN]: The way I say it, if you send somebody back in time and they have all sort of inextricably all to the past, well they're already here, time is still moving forward.
1:41:23
[UNKNOWN]: That's when we're looking at it.
1:41:24
[UNKNOWN]: So the future they came from doesn't exist anymore, they can't go back to it.
1:41:29
[UNKNOWN]: But they got kind of a loophole, they kind of just like they're kind of left behind.
1:41:32
[UNKNOWN]: Yeah, so yeah, that's what we're looking at.
1:41:34
[UNKNOWN]: You can go, you know, go back in time and you know.
1:41:38
[UNKNOWN]: Become your own great-great-grandfather, but that's still the way that always happens.
1:41:41
[UNKNOWN]: But exactly, here's my point.
1:41:43
[UNKNOWN]: Before you went back in time, there must have been a timeline before you went back in time.
1:41:47
[UNKNOWN]: And that time?
1:41:48
[UNKNOWN]: Because otherwise it's a paradox.
1:41:50
[UNKNOWN]: My point is this.
1:41:53
[UNKNOWN]: There's a timeline before you went back in time that you went back in time, too.
1:41:57
[UNKNOWN]: The first time.
1:41:58
[UNKNOWN]: Yes.
1:41:58
[UNKNOWN]: And then you create the paradox, right?
1:42:00
[UNKNOWN]: Which means that if Kyle Reese had never gone back in time and terminator,
1:42:06
[UNKNOWN]: Somehow, and it would happen a different way, SkyNet would have risen and John Connor would have been born.
1:42:13
[UNKNOWN]: He wouldn't have been the father, but it turned out to be very different guy.
1:42:18
[UNKNOWN]: SkyNet might have been a very different entity, but must have happened.
1:42:22
[UNKNOWN]: Terminator 3 is about that.
1:42:25
[UNKNOWN]: Yeah.
1:42:25
[UNKNOWN]: We stopped the future from happening, but only the future we created by going back in time.
1:42:31
[UNKNOWN]: actually, Skynet was also being developed at the same time somewhere else, and presumably since Sarah Connor was dating a guy when Terminator was going on, that guy would probably have been John Connor's father.
1:42:45
[UNKNOWN]: So all of this was going to happen anyway, and Terminator 3 is basically, oh shit.
1:42:52
[UNKNOWN]: We solved the paradox, which means the future is still happening.
1:42:56
[UNKNOWN]: It's possible that we could stop it from happening again, but we're fucked again.
1:43:01
[UNKNOWN]: And I think that's so fucking clever.
1:43:04
[UNKNOWN]: I really do.
1:43:07
[UNKNOWN]: There's a problem in the movie and that a lot of the action on the beats are very repetitive.
1:43:11
[UNKNOWN]: I hate to break it to you.
1:43:12
[UNKNOWN]: Terminator 2 is extremely repetitive of Terminator 1 on purpose.
1:43:17
[UNKNOWN]: The same lines, the same scenes, the same characters over and over again.
1:43:20
[UNKNOWN]: Terminator 3 does it again.
1:43:21
[UNKNOWN]: It's why it's hard to make a franchise out of a paradox movie.
1:43:25
[UNKNOWN]: Once you've got a time loop, you're kind of doing it all over again.
1:43:27
[UNKNOWN]: But, in any case, John's a Maustow directed this.
1:43:30
[UNKNOWN]: There's some amazing action sequences in it.
1:43:32
[UNKNOWN]: But at the heart of it is this idea that although someone told Sarah Connor, there isn't no favor what she'd make for yourselves.
1:43:39
[UNKNOWN]: They were fucking wrong.
1:43:42
[UNKNOWN]: And we're fucking doomed.
1:43:44
[UNKNOWN]: It's inevitable.
1:43:44
[UNKNOWN]: Yeah, yeah, and I think that's a pretty cool thing to do in a blockbuster movie To and I'm not saying exactly how it happens, but basically say fuck you.
1:43:56
[UNKNOWN]: There is no hope
1:43:58
[UNKNOWN]: there is fate and we're fucked.
1:44:01
[UNKNOWN]: It's the only way this whole thing ever made sense.
1:44:04
[UNKNOWN]: I hate the fucking break it to you.
1:44:06
[UNKNOWN]: Terminator 2 was actually broken and we have retroactively fixed it.
1:44:11
[UNKNOWN]: You are fucking welcome.
1:44:13
[UNKNOWN]: Also, here's the most depressing ending of a blockbuster you've ever seen.
1:44:16
[UNKNOWN]: Yeah.
1:44:17
[UNKNOWN]: Yeah.
1:44:17
[UNKNOWN]: I love that.
1:44:19
[UNKNOWN]: So I do appreciate when a big blockbuster goes for it.
1:44:23
[UNKNOWN]: It's a plan to the apes.
1:44:25
[UNKNOWN]: Most of those have sad things.
1:44:27
[UNKNOWN]: Yeah, that's a totally sad ending.
1:44:28
[UNKNOWN]: So at least one of them, the world blows up on camera.
1:44:33
[UNKNOWN]: Yeah.
1:44:33
[UNKNOWN]: So I appreciate that.
1:44:36
[UNKNOWN]: That some of these things are pretty high concept.
1:44:38
[UNKNOWN]: And they really go for the Gostau.
1:44:41
[UNKNOWN]: I like the ending for Terminator 2, also like that the Terminator doesn't turn out well like this robot is our friend.
1:44:47
[UNKNOWN]: No, it can be infected and it is just changing and it's kind of all of us.
1:44:52
[UNKNOWN]: Yeah.
1:44:54
[UNKNOWN]: I really appreciated watching Terminator 3 how un-reliant it was on nostalgia for the previous movie.
1:45:01
[UNKNOWN]: Yeah.
1:45:01
[UNKNOWN]: It really tried to push things in a little bit of a different direction.
1:45:05
[UNKNOWN]: Uh, when they said, oh, we're going to put the, we're going to bring Cybertine online and of course it immediately like starts manufacturing Terminator robots and I think you were in the room when I got to witness this moment because they showed the Terminator robots like, oh no, it's going to be a reference.
1:45:20
[UNKNOWN]: It's going to be Arnold again.
1:45:21
[UNKNOWN]: It's going to be young Arnold and they're going to use special effects and it was just like a robot on treads with guns.
1:45:27
[UNKNOWN]: It was a kill bot and I just yelled and completely, it's just a kill bot.
1:45:35
[UNKNOWN]: I really appreciate it.
1:45:37
[UNKNOWN]: There is a deleted scene from Terminator 3 that is incredibly funny and absolutely should not have been in the film.
1:45:45
[UNKNOWN]: But I'm glad it exists because it's exactly what you're talking about and they did something cute.
1:45:50
[UNKNOWN]: So there's a bit where they're shook.
1:45:53
[UNKNOWN]: Cyberdine is being, I'm not cyberdine.
1:45:56
[UNKNOWN]: SkyNet.
1:45:56
[UNKNOWN]: SkyNet is being built by the military.
1:45:59
[UNKNOWN]: uh... and uh... they are showing the military here these killbots we've built et cetera and one of the things they show them is and we're working on an idea we have to build like actual like robot and those skeletons that will be exactly like human skeletons and then we can make them look like people
1:46:18
[UNKNOWN]: And for example, here's one of the people that we're working with that was going to skin the the robot and it's a guy who looks just like an old Schwarzenegger And he is like on a treadmill and he's just like and it's like so why don't you tell us what you think about this project and John Schwarzenegger looks at the camera and he says hi I'm such candy I'm very excited to be part of the terminated project and it's speaking completely out of care It's not a different actor is dubbing as well.
1:46:45
[UNKNOWN]: Clearly dubbed
1:46:47
[UNKNOWN]: And then we cut to like a military muckety muck, leaning over to some guy who works there, play by Jack Newsworthy of all people.
1:46:55
[UNKNOWN]: And she says, I don't know about the voice.
1:46:57
[UNKNOWN]: And Jack knows where he says, in Arnold's voice, we can fix it.
1:47:01
[UNKNOWN]: No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,
1:47:16
[UNKNOWN]: No, turn on your three is pretty fucking badass.
1:47:18
[UNKNOWN]: There's a bits in it that don't work, but I think it is an underappreciated film.
1:47:23
[UNKNOWN]: There's a lot of excitement to it.
1:47:24
[UNKNOWN]: There's a truck chase in the beginning, which is fucking phenomenal.
1:47:27
[UNKNOWN]: And they really did it too.
1:47:28
[UNKNOWN]: It's really fucking cool.
1:47:30
[UNKNOWN]: But the reason why I'm putting it here is A, it's gonna feel like a reprieve if you haven't seen it.
1:47:34
[UNKNOWN]: And B, also fuck you get out.
1:47:38
[UNKNOWN]: That's the end.
1:47:40
[UNKNOWN]: We give you a little bit of a T, so you're gonna do something nice for you.
1:47:44
[UNKNOWN]: Fuck you get out.
1:47:46
[UNKNOWN]: That's the end of my, of my marathon.
1:47:47
[UNKNOWN]: Got it.
1:47:49
[UNKNOWN]: Um, I'll let you have it.
1:47:52
[UNKNOWN]: I know.
1:47:52
[UNKNOWN]: I'll let you have Terminator 3.
1:47:54
[UNKNOWN]: It's not quite in the spirit of the thing.
1:47:56
[UNKNOWN]: But here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a, here's a,
1:48:14
[UNKNOWN]: I know it's a silk bleak, but it's not bleak and you can go back today.
1:48:19
[UNKNOWN]: What you were describing about Terminator 3 is how I feel about Star Wars the last Jedi.
1:48:25
[UNKNOWN]: Yeah, there's this great scent, like near the end of the film, you realize that everything that came before that was essentially after the rebels had already lost the war.
1:48:35
[UNKNOWN]: Yeah, it was just about them fleeing like survivors fleeing to a safe spot where they could reconnoiter while the empire just overruns everything.
1:48:44
[UNKNOWN]: Yeah.
1:48:44
[UNKNOWN]: There wasn't, this wasn't like some last-ditch effort to win.
1:48:47
[UNKNOWN]: They had already lost.
1:48:49
[UNKNOWN]: Yeah.
1:48:49
[UNKNOWN]: They, they got to take out a few victims on the way out, but the whole idea was, no, the war's over now.
1:48:55
[UNKNOWN]: Yeah.
1:48:56
[UNKNOWN]: I think I think what spares the last Jedi from having that bleak quality for me is that while they're losing the war and have huge sacrifices that they make, I make terrible decisions throughout, like they, they really fuck up.
1:49:10
[UNKNOWN]: Um, it is about the ebiology of the, of the, of the rebellion surviving and it is about the idea that we are not going to let the bleakness of war.
1:49:21
[UNKNOWN]: rob us of our capacity for love, for more to pursue peace, or to find a solution to our problems that doesn't involve just killing people.
1:49:31
[UNKNOWN]: And I think that movie sells a lot of those qualities, but I think that prevents it from feeling bleak.
1:49:36
[UNKNOWN]: Whereas I feel like the ending of the Terminator, the third Terminator movie is pretty fun bleak.
1:49:41
[UNKNOWN]: Yeah.
1:49:42
[UNKNOWN]: And just ends on a really dower note.
1:49:45
[UNKNOWN]: It's not like, you know, Brumboi is gonna maybe join the revolution somehow.
1:49:48
[UNKNOWN]: No, it's like, there's like, no, we're fucked.
1:49:50
[UNKNOWN]: the philosophy of survival.
1:49:51
[UNKNOWN]: Yeah, yeah, yeah.
1:49:53
[UNKNOWN]: So anyway, so my bleak week marathon was a flow the animated Oscar winner of the time loop movie triangle
1:50:04
[UNKNOWN]: Uh, the, uh, kind of hard to describe, but this indie horror film, she dies tomorrow.
1:50:10
[UNKNOWN]: Uh, these incredibly bleak studio horror films smile too.
1:50:14
[UNKNOWN]: Uh, the experimental short film possibly in Michigan.
1:50:17
[UNKNOWN]: That's, that's an interesting pen.
1:50:18
[UNKNOWN]: You're gonna love that one.
1:50:19
[UNKNOWN]: I want to see that one.
1:50:20
[UNKNOWN]: You're gonna watch it when you get home, and you're gonna fucking love it.
1:50:22
[UNKNOWN]: Um, I'm being playful, but the remake of the vanishing, but we cut out the happy ending.
1:50:27
[UNKNOWN]: Yeah.
1:50:29
[UNKNOWN]: You realize we can get that with just the original.
1:50:30
[UNKNOWN]: I understand that.
1:50:32
[UNKNOWN]: I think it's fun And I think it's gonna give someone an experience that they wouldn't get anywhere else.
1:50:37
[UNKNOWN]: Yeah Because nobody shows the remake everyone hates the remake But I but I'm gonna do something that's going to not redeem it, but fix it up a little Just for you just like you cut all the fun stuff out of up Okay, I'm cutting all the fun stuff out of the remake of the vanishing.
1:50:53
[UNKNOWN]: Okay, fair.
1:50:53
[UNKNOWN]: I just make you watch more of it first
1:50:56
[UNKNOWN]: followed by miracle mile, which is going to take place pretty much concurrently with the actual timing of the movie.
1:51:04
[UNKNOWN]: And then finally just to let you off easy Terminator 3 rise of the machines.
1:51:09
[UNKNOWN]: And once again Whitney's picks were the first seven and a half minutes of up.
1:51:14
[UNKNOWN]: possession, who's afraid of Virginia Woolf?
1:51:17
[UNKNOWN]: Bestia, the bridge, or Debroca, from 1959.
1:51:22
[UNKNOWN]: The zone of interest, if anything happens, I love you, the animated short, lilya forever and finally Twin Peaks.
1:51:30
[UNKNOWN]: Fire, walk with me.
1:51:32
[UNKNOWN]: Yeah.
1:51:34
[UNKNOWN]: And I had all kinds of runners.
1:51:36
[UNKNOWN]: Oh, yeah.
1:51:36
[UNKNOWN]: Smile too is on my list, of course.
1:51:38
[UNKNOWN]: Yeah, I'm curious.
1:51:39
[UNKNOWN]: Because there's so many people here.
1:51:40
[UNKNOWN]: I wanted to do the Virgin Spring and last house on the left back to back.
1:51:43
[UNKNOWN]: But that's been done before.
1:51:45
[UNKNOWN]: Yeah.
1:51:45
[UNKNOWN]: I really wanted to put in the painted bird.
1:51:47
[UNKNOWN]: This really depressive world where to check film, but it's two hours and 50 minutes long, which isn't really great fodder for an all-nighter.
1:51:54
[UNKNOWN]: Yeah.
1:51:55
[UNKNOWN]: Todd Salons didn't make his way onto my list.
1:51:57
[UNKNOWN]: There are no more Bergman films in my evening.
1:52:00
[UNKNOWN]: I like us that I want to end with Superstar the Karen Carpenter story.
1:52:03
[UNKNOWN]: What have been good.
1:52:03
[UNKNOWN]: Yeah.
1:52:04
[UNKNOWN]: Yeah.
1:52:04
[UNKNOWN]: Yeah.
1:52:05
[UNKNOWN]: Yeah.
1:52:06
[UNKNOWN]: One of the most explicit films about depression.
1:52:10
[UNKNOWN]: Lars Funcher is anti-Christ.
1:52:12
[UNKNOWN]: Okay.
1:52:12
[UNKNOWN]: What have made it on there, but
1:52:14
[UNKNOWN]: I wanted to be kind of nice, you don't come back from that.
1:52:18
[UNKNOWN]: Believe it or not, when they pulled a punch.
1:52:20
[UNKNOWN]: Yeah, I pulled a punch on Antichrist.
1:52:22
[UNKNOWN]: I did not include irreversible.
1:52:24
[UNKNOWN]: I did not include, you weren't ever really here.
1:52:29
[UNKNOWN]: That's a really fantastic one.
1:52:30
[UNKNOWN]: Oh yeah, that's an incredibly depressing one.
1:52:32
[UNKNOWN]: Oh yeah, that's one of my favorite films about the pressure.
1:52:35
[UNKNOWN]: One of my ideas was to end it with my fun ones.
1:52:37
[UNKNOWN]: We're going to be a double feature of seven and saw.
1:52:41
[UNKNOWN]: just like to like kind of crime movies about these like violence serial killers with weird M.O.s.
1:52:46
[UNKNOWN]: and both have a really bleak endings, saw however it's it's weird to say this about the movie saw but it's too fun like it's too like high concept.
1:52:59
[UNKNOWN]: I wasn't really sure where I could have placed the movie Christine, not the movie about the killer car.
1:53:05
[UNKNOWN]: Yeah, we're back a whole movie about Christine Chubbick.
1:53:10
[UNKNOWN]: Christine is actually my favorite movie about depression.
1:53:14
[UNKNOWN]: Okay.
1:53:16
[UNKNOWN]: And I actually had an idea for it, but I just didn't, I couldn't make it work, but everything else I wanted to put in there.
1:53:21
[UNKNOWN]: But I was going to start with the missed, which is the very, very depressing Stephen King movie in the ending of the movie is even bleaker than the story it's based on.
1:53:30
[UNKNOWN]: And then it was going to say, I'm good news everybody.
1:53:31
[UNKNOWN]: We're going to follow it with Christine.
1:53:34
[UNKNOWN]: Not that one.
1:53:37
[UNKNOWN]: And there's just followed up with the most depressing biopic ever filmed.
1:53:42
[UNKNOWN]: Yeah.
1:53:42
[UNKNOWN]: That's good.
1:53:43
[UNKNOWN]: Yeah, that's good.
1:53:43
[UNKNOWN]: So those were some of my ideas that I had for other.
1:53:47
[UNKNOWN]: I was going to try to find a room for the Twilight Zone episode time enough at last, which is one of the most radical history.
1:53:54
[UNKNOWN]: But it's always fun.
1:53:55
[UNKNOWN]: I was also also going to try to...
1:53:58
[UNKNOWN]: I might have if I'd had found the time to like watch the episode again so that I could speak about it more clearly, but I was going to show the series finale of dinosaurs.
1:54:07
[UNKNOWN]: Which ends with the extinction of the dinosaurs.
1:54:10
[UNKNOWN]: Yeah, it sounds so fucking sad.
1:54:13
[UNKNOWN]: Um, let's see what else they have.
1:54:15
[UNKNOWN]: Um, red roofs, uh, one of my favorite, um, it's a horror movie, but it's also drama.
1:54:21
[UNKNOWN]: It's very, very David Fincher asked, but, um, it's about a woman who is obsessed with a guy who is on trial for making stuff films on the dark web.
1:54:30
[UNKNOWN]: Oh, and it's a character piece about her and why she's obsessed with it.
1:54:34
[UNKNOWN]: And it's fucking great.
1:54:39
[UNKNOWN]: Let's see here and then I have my rest of my list is somewhere else hang on.
1:54:44
[UNKNOWN]: Okay, so I'll film me just reviewed on the show Deca Rado, okay.
1:54:49
[UNKNOWN]: Yeah, it's incredibly great on fucking awesome.
1:54:51
[UNKNOWN]: What have been awesome.
1:54:52
[UNKNOWN]: Oh, this interview recently but was afraid was also on the list, but that's another one that was too long to include.
1:54:57
[UNKNOWN]: I joked about Transformers the last night, but I seriously did consider it.
1:55:01
[UNKNOWN]: Martin Scorsese is the silence, is the happy version of that story.
1:55:06
[UNKNOWN]: It's actually a remake of a Japanese adaptation, which has a much more fucked up ending.
1:55:12
[UNKNOWN]: No, hope whatsoever.
1:55:14
[UNKNOWN]: Really really bleak good film Let's see here I was either going to show Johnny got his gun or the Metallica music video based on Johnny got That's gone.
1:55:24
[UNKNOWN]: Yeah.
1:55:24
[UNKNOWN]: Oh, that would have been great.
1:55:25
[UNKNOWN]: Yeah, I've actually never show the one music video And actually never seen all of Johnny got his gun, but the Metallica music video is just the movie Yeah, how fucking depressing that movie is Um, I also had Twin Peaks Fire Walk with me.
1:55:35
[UNKNOWN]: I was also thinking of playing the nuclear bomb episode of Twin Peaks the return
1:55:41
[UNKNOWN]: Which is its own thing.
1:55:43
[UNKNOWN]: You don't have to know the rest of the story to get that one.
1:55:46
[UNKNOWN]: Yeah, but it's pretty fucking great Let's see Satoshi Khan's Perfect Blue.
1:55:52
[UNKNOWN]: I recently wrote more a thriller than but it's bleak It's very psychologically scarring
1:56:01
[UNKNOWN]: Um, let's see what I have here.
1:56:03
[UNKNOWN]: Uh, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo, bo
1:56:27
[UNKNOWN]: I thought about mother India another film we talked about oh yeah, that's a pretty good mood Yeah, that's another film that we talked about only the best international.
1:56:34
[UNKNOWN]: It is an Indian epic film Literally suffering for this main character.
1:56:38
[UNKNOWN]: Yeah, no, it's a it's incredibly
1:56:42
[UNKNOWN]: incredibly sad but also really huge like it's an epic yeah but an epic of suffering and it's true amazing also it's a three-hour film and you put those on your all-nighters um i'm very very fond of the original film version of pet cemetery which is extremely bleak okay um the remake as well the remake as well and i think the remake is the last shot is is my favorite part of the remake
1:57:03
[UNKNOWN]: I'd like to remake quite a bit and I think if you were to say which version should I watch I'd say they're both good, but the more distance I get from the remake, the more realizing the original is the one that I think is better, but they're both good actually.
1:57:16
[UNKNOWN]: I think it's Spanish horror film who can kill a child.
1:57:20
[UNKNOWN]: Okay, um, which is basically the movie Children of the Corn wants to be but it chicken's out Whoopy Hill a child is about it an island full of killer children and it makes children of the corn look g rated
1:57:34
[UNKNOWN]: It is extremely fucked up in Blake.
1:57:36
[UNKNOWN]: I haven't seen the remake.
1:57:36
[UNKNOWN]: I don't know if it sounds pretty damn silly by the way.
1:57:39
[UNKNOWN]: Oh yeah, like the premise is really, really scary, but the execution and the rationale for why it's happening, the more the movie goes, the more you realize it's just ridiculous.
1:57:49
[UNKNOWN]: Yeah, who can kill a child keeps it vague and loves it to be incredibly fucked up.
1:57:56
[UNKNOWN]: Let's see here.
1:57:58
[UNKNOWN]: Ladybug, Ladybug,
1:58:00
[UNKNOWN]: is a very forgotten film I think for the early 1960s that is about a group of schoolchildren like elementary schoolers in a small world town and they're in school one day and the nuclear war air raid sirens go off and there wasn't a drill scheduled for today and the teachers can't figure out if it's real or not so they just send the kids home and it's them walking home not knowing if the bombs are going to drop on them and that's the movie
1:58:31
[UNKNOWN]: I saw this randomly on TV once the press, the shit out of me.
1:58:34
[UNKNOWN]: I haven't watched it in a while, but thought, good movie.
1:58:37
[UNKNOWN]: Let's see here.
1:58:39
[UNKNOWN]: The woman, lucky McKeys, the woman.
1:58:40
[UNKNOWN]: I thought about that.
1:58:41
[UNKNOWN]: Yeah.
1:58:42
[UNKNOWN]: That's, that's an assault on the senses, doesn't it?
1:58:44
[UNKNOWN]: Especially the other day, like that movie's fucked.
1:58:46
[UNKNOWN]: Yeah, there are some movies that are so,
1:58:50
[UNKNOWN]: bracing and exciting in their bleakness.
1:58:53
[UNKNOWN]: I am troubled thinking that they don't leave me depressed.
1:58:57
[UNKNOWN]: They leave me kind of thrilled.
1:58:58
[UNKNOWN]: The woman left me in a fetal position on my couch.
1:59:01
[UNKNOWN]: I'm not going to lie.
1:59:02
[UNKNOWN]: That is when I'm not exaggerating.
1:59:04
[UNKNOWN]: I'm not like illustrating a point.
1:59:05
[UNKNOWN]: It's a literally in a fetal position, not sure if there was any good left in the universe.
1:59:09
[UNKNOWN]: That would be so fucked.
1:59:11
[UNKNOWN]: Yeah, well, but there is a like a sense of cosmic justice in that movie.
1:59:15
[UNKNOWN]: Yeah, yeah, but like to what end like the if you don't know what we're talking about It's a movie about Excuse me, um, a like suburban family that lives kind of like on the edge of a forest and they find a quote on wild woman
1:59:29
[UNKNOWN]: living a woman, a feral woman living in the woods, she's not touched by society, and they decide to tame her by chaining her up in their basement and teaching her what it means to be human and what you really realize very quickly is
1:59:43
[UNKNOWN]: This family doesn't know what it means to be human.
1:59:44
[UNKNOWN]: No, the father is like a abusive and cruel and it's one of the ways that one of themselves pretty quickly.
1:59:50
[UNKNOWN]: One of the one of the creepiest villains in movie history and I am not exaggerating, but content warnings go lower on that film.
1:59:58
[UNKNOWN]: That movie is gonna fuck you up.
2:00:00
[UNKNOWN]: And then lastly, pretty much all the purge movies are pretty bleak but the forever purge more than any other.
2:00:07
[UNKNOWN]: That's the one I didn't see as the forever purge, as you can imagine, the purge movies are about a national holiday in the near future where all crime is legal for one night out of the year, and you're allowed to do literally anything except like bank fraud and political crimes, but basically you're led to commit murder.
2:00:26
[UNKNOWN]: And the forever purge is about the time where people just decide not to stop.
2:00:32
[UNKNOWN]: It's incredibly bleak and it has very cynical, all the Persian movies are very cynical about America, but forever purge really just hammers at home.
2:00:41
[UNKNOWN]: There's just no coming back from it.
2:00:42
[UNKNOWN]: Like it's just basically like, no, this is who we are.
2:00:44
[UNKNOWN]: We're fucked.
2:00:45
[UNKNOWN]: We're terrible country.
2:00:47
[UNKNOWN]: And that is it for all nighter.
2:00:50
[UNKNOWN]: We would love to hear from you if you have your own own nighter that you'd like to program.
2:00:54
[UNKNOWN]: If you want to watch any of the movies that we discussed here, give us your thoughts on them.
2:00:59
[UNKNOWN]: If you want to do any of these marathons yourself,
2:01:03
[UNKNOWN]: I don't necessarily recommend it.
2:01:07
[UNKNOWN]: I think I think I do recommend it because I think 12 hours of bleak brutal sadness.
2:01:14
[UNKNOWN]: Yeah, I'm going to say I think I would give you a weird kind of high.
2:01:19
[UNKNOWN]: It would be kind of exhilarating.
2:01:20
[UNKNOWN]: I think not for everyone.
2:01:21
[UNKNOWN]: I don't want to say this right now.
2:01:23
[UNKNOWN]: That we are putting a warning label on that box.
2:01:27
[UNKNOWN]: Okay, that is a caveat M. Tour situation.
2:01:30
[UNKNOWN]: I do not recommend that every one of our listeners do this.
2:01:35
[UNKNOWN]: This is like this is like though the the
2:01:43
[UNKNOWN]: It's the Gomjabar.
2:01:44
[UNKNOWN]: Yeah, it's the Gomjabar.
2:01:44
[UNKNOWN]: Like this is the ultimate like pushing yourself kind of thing.
2:01:49
[UNKNOWN]: There's a reason I think most bleak week movies are one movie or two and then you're allowed to go home afterwards.
2:01:56
[UNKNOWN]: This was a suggestion from one of our listeners.
2:01:58
[UNKNOWN]: It was a great suggestion from one of our listeners.
2:02:00
[UNKNOWN]: I hope they enjoyed the episode.
2:02:02
[UNKNOWN]: But yeah.
2:02:05
[UNKNOWN]: I would not go to this even the one I even the one I did I wouldn't stick around for it I would stick around for it.
2:02:10
[UNKNOWN]: I would stick around for it to watch how people react The remake of the vanishing and probably possibly in Michigan, but that would be it Yeah, it would be like I'm good This is for you not me No, thank you
2:02:22
[UNKNOWN]: See, I'm the kind of twisted person.
2:02:24
[UNKNOWN]: It's like, if I'm going to show the painted bird, what do you pair it with?
2:02:27
[UNKNOWN]: Something that's really like bleak about wartime.
2:02:29
[UNKNOWN]: Or do I pick like Rio II?
2:02:33
[UNKNOWN]: Which is bleak in its own way.
2:02:34
[UNKNOWN]: I literally thought about putting Rio II.
2:02:40
[UNKNOWN]: Real too is a weird for the animated film about talking parents.
2:02:44
[UNKNOWN]: Yeah, the original Rio is about like a rare species of talking parrot voice by like Jesse Eisenberg and I think Zilla and I'm a stone or something.
2:02:53
[UNKNOWN]: Yeah, but basically
2:02:55
[UNKNOWN]: Um, yeah, it's an endangered species and they're peace put together with a lady parrot in order to propagate the species, but they hate each other They don't know each other and then they end up sort of on the loose so they get an adventure and they fall in love Rio too is about how emotionally abusive marriages are a good thing actually
2:03:15
[UNKNOWN]: The entire thing is, his wife doesn't listen to him when he says he's uncomfortable about things.
2:03:21
[UNKNOWN]: When he says that people aren't treating him well, when he says that she's not treating him well, that he's not being listened to and nobody respects that his feelings are hurt constantly.
2:03:29
[UNKNOWN]: And the moral of the movie is he was wrong.
2:03:32
[UNKNOWN]: He needs to keep her happy.
2:03:34
[UNKNOWN]: He needs to settle by himself for her.
2:03:36
[UNKNOWN]: It's deeply unhealthy in its messaging.
2:03:39
[UNKNOWN]: And it would have been a good one.
2:03:40
[UNKNOWN]: Yeah.
2:03:40
[UNKNOWN]: It would have been a good one.
2:03:42
[UNKNOWN]: You're right.
2:03:42
[UNKNOWN]: I should have picked that instead of Terminator 3.
2:03:44
[UNKNOWN]: Yeah, it would have been a good one.
2:03:45
[UNKNOWN]: God, that fucking move.
2:03:46
[UNKNOWN]: Anyway, that is it for the All-Nighter.
2:03:48
[UNKNOWN]: Thank you for listening.
2:03:49
[UNKNOWN]: Thank you for joining us.
2:03:49
[UNKNOWN]: Our email address is letters.
2:03:51
[UNKNOWN]: I quickly claimed.net, wouldn't you?
2:03:53
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2:03:54
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2:03:54
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2:03:57
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2:04:01
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2:04:03
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2:04:22
[UNKNOWN]: We're already hard at work on the only the best proper where we talk about that proper but like the only best baseline I suppose where we review every movie every nominated for best
2:04:33
[UNKNOWN]: of 1960.
2:04:35
[UNKNOWN]: And of course, we have a Star Trek podcast and we're going to debut a new podcast pretty soon after we get a few more episodes in the can.
2:04:42
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2:04:43
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2:04:48
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2:04:51
[UNKNOWN]: It's the times are hard.
2:04:54
[UNKNOWN]: And do we have a sign-out for the all-nighter?
2:04:58
[UNKNOWN]: No, just thanks for staying up.
2:05:03
[UNKNOWN]: Thanks for staying up.
2:05:07
[UNKNOWN]: The first seven and a half minutes of it.
2:05:08
[UNKNOWN]: And now we play the National Anthem.