Latest / Critically Acclaimed Network / Critically Acclaimed #365 | Lee Cronin's The Mummy, Mother Mary, Roommates, Erpucja, Lorne

Transcript

Critically Acclaimed #365 | Lee Cronin's The Mummy, Mother Mary, Roommates, Erpucja, Lorne · Critically Acclaimed Network

• 0:11
  [SPEAKER_02]: Hello everybody and welcome back to critically claimed the movie review podcast where we explode Mine was willing to be on me.
• 0:21
  [SPEAKER_02]: I am a film critic.
• 0:22
  [SPEAKER_00]: I right for the rap and everybody calls me I was gonna see your dawn parto, but I don't know what you slipped into there at the end.
• 0:30
  [SPEAKER_00]: I don't know, but I like it My name is Whitney Sybold.
• 0:34
  [SPEAKER_00]: I too.
• 0:34
  [SPEAKER_00]: I'm a film critic.
• 0:35
  [SPEAKER_00]: I contribute to slash film.
• 0:37
  [SPEAKER_00]: I do not sound like dawn parto I've kind of a
• 0:40
  [SPEAKER_00]: Oh, a thin weak voice that gets lost in large rooms.
• 0:45
  [SPEAKER_02]: Just once, I want Whitney to introduce himself with up, but I can self-doubt.
• 0:49
  [SPEAKER_02]: If you can think of a compliment for Whitney to introduce himself for on this podcast, please email us our email address is letterzedcriticallyclaimed.net.
• 0:58
  [SPEAKER_02]: And I will stop talking like this.
• 1:03
  [SPEAKER_02]: Now, sorry about that.
• 1:04
  [SPEAKER_00]: That's appreciated, Vince Gully.
• 1:08
  [SPEAKER_02]: Wanted to see how long I could go before people start turning off the ball.
• 1:11
  [SPEAKER_00]: Yeah, they shut it off already.
• 1:13
  [SPEAKER_01]: If you just stuck in this mode, we're done.
• 1:15
  [SPEAKER_01]: We're done.
• 1:15
  [SPEAKER_01]: We just lost all our listeners.
• 1:17
  [SPEAKER_00]: So the rest of the rest of the episodes kind of a bonus.
• 1:20
  [SPEAKER_00]: Yeah, no.
• 1:21
  [SPEAKER_00]: We can say whatever we want here.
• 1:24
  [SPEAKER_00]: I wish we'll say this about myself.
• 1:25
  [SPEAKER_00]: My opinions are all right.
• 1:27
  [SPEAKER_01]: All right.
• 1:28
  [SPEAKER_00]: No, no, I mean, they're all correct every single one of them.
• 1:31
  [SPEAKER_02]: Yeah, sure.
• 1:32
  [SPEAKER_00]: See, you're a great.
• 1:33
  [SPEAKER_00]: You said.
• 1:33
  [SPEAKER_00]: Yeah, sure.
• 1:34
  [SPEAKER_00]: I did say.
• 1:34
  [SPEAKER_00]: Yeah, sure.
• 1:34
  [SPEAKER_00]: And it completely nonsense.
• 1:36
  [SPEAKER_02]: I, I, you know, here's a deal.
• 1:40
  [SPEAKER_02]: I have been humoring the audience extending humor to them.
• 1:43
  [SPEAKER_02]: And now I just humored you.
• 1:44
  [SPEAKER_00]: Thank you.
• 1:45
  [SPEAKER_00]: I appreciate that.
• 1:46
  [SPEAKER_00]: What are we doing this week?
• 1:47
  [SPEAKER_00]: Because we do actually review a film.
• 1:48
  [SPEAKER_00]: We just you film.
• 1:49
  [SPEAKER_00]: We don't just get pedantic.
• 1:52
  [SPEAKER_00]: What we got pedantic about movies.
• 1:53
  [SPEAKER_02]: I still work critics.
• 1:54
  [SPEAKER_02]: Of course, we get pedantic.
• 1:55
  [SPEAKER_02]: We are reviewing.
• 1:56
  [SPEAKER_02]: The new releases, Lee Cronins, Lee Cronins the Mummy, which is the Lee Cronins the Mummy that was directed by Lee Cronin.
• 2:06
  [SPEAKER_02]: We are reviewing the new Anne Hathaway, a mechanical David Lowry, artsy, pretentious, but not necessarily bad.
• 2:16
  [SPEAKER_02]: thing, mother Mary, it's kind of hard to describe.
• 2:19
  [SPEAKER_02]: We will do our very best.
• 2:20
  [SPEAKER_02]: We're going to be reviewing the new Lauren Michael's documentary, Lauren about the producer of Saturday Night Live.
• 2:29
  [SPEAKER_02]: We're friend for life.
• 2:31
  [SPEAKER_02]: We're going to be reviewing another film which is believe it or not, not a documentary about Saturday Night Live.
• 2:37
  [SPEAKER_02]: Whitney, what is this not a documentary?
• 2:39
  [SPEAKER_02]: And what is it about?
• 2:41
  [SPEAKER_00]: Well, it's a Polish film, and the title is Iruptia, but it's because it's Polish, you know, you have to know how to pronounce Polish lettering.
• 2:52
  [SPEAKER_00]: Which is why Whitney is doing it.
• 2:53
  [SPEAKER_00]: So Iruptia stars Charlie Xiacs, sort of a Polish hang out movie.
• 2:58
  [SPEAKER_00]: We'll talk about that one.
• 2:59
  [SPEAKER_02]: And then lastly, we're going to be reviewing the new Netflix, Happy Madison Comedy roommates, which is, I gotta say.
• 3:08
  [SPEAKER_02]: Happy Madison production.
• 3:09
  [SPEAKER_02]: What mean yeah, obviously.
• 3:11
  [SPEAKER_02]: I want it.
• 3:12
  [SPEAKER_02]: Yeah, no, it's about roommates.
• 3:14
  [SPEAKER_00]: So there you go It's a happy Madison production.
• 3:21
  [SPEAKER_00]: I missed it and I don't feel bad about that.
• 3:24
  [SPEAKER_00]: Okay You review a lot of you see more movies than I do generally speaking.
• 3:27
  [SPEAKER_00]: Yeah, because I have a nine to five job Yes, I have job is reviewing movies right if if I had an nine to five job reviewing movies I would
• 3:35
  [SPEAKER_02]: Yeah, you would be able to see that out.
• 3:38
  [SPEAKER_00]: So you talk about these movies that I regret having missed and also have to fight to catch up on.
• 3:44
  [SPEAKER_00]: And sometimes you watch shit that I just relieved that I didn't have to see.
• 3:51
  [SPEAKER_00]: Like, it wasn't assigned me and I don't have to talk about it.
• 3:54
  [SPEAKER_02]: Well, here's the thing.
• 3:55
  [SPEAKER_02]: And I know a lot of critics who like,
• 3:57
  [SPEAKER_02]: You know, they're not writing necessarily for, and now with and not necessarily getting assignments from up on high and they review the films that interest them, and that's great.
• 4:07
  [SPEAKER_02]: But my philosophy is I don't know if it's good until I've seen it.
• 4:10
  [SPEAKER_02]: So, I'm always excited to see a new movie, even if it's something that maybe doesn't look great from the trailer.
• 4:16
  [SPEAKER_02]: I'm not really fat of the filmmaker with rare exception.
• 4:20
  [SPEAKER_02]: I'm always going maybe it's great.
• 4:22
  [SPEAKER_02]: Because it would be great if it was.
• 4:24
  [SPEAKER_00]: If I were assigned a happy Madison production.
• 4:27
  [SPEAKER_00]: I would in my professional capacity and just in a humanly curious way have to watch this thing with an open mind.
• 4:38
  [SPEAKER_00]: I would have to open to the possibility that happy Madison film is deeply profound in some way, moving or just funny.
• 4:46
  [SPEAKER_00]: Or just, yes, or just a good comedy.
• 4:49
  [SPEAKER_00]: What I can say, all I can comment on is what I've seen.
• 4:52
  [SPEAKER_00]: Yes, and I've seen multiple happy matters in proxions.
• 4:56
  [SPEAKER_00]: Oh, you've seen many over the years.
• 4:57
  [SPEAKER_00]: I think they've been taken around for decades.
• 5:00
  [SPEAKER_00]: Yeah, a couple dozen perhaps.
• 5:03
  [SPEAKER_00]: Yeah.
• 5:03
  [SPEAKER_00]: And they have a bad track record.
• 5:06
  [SPEAKER_00]: They don't have a good track record.
• 5:07
  [SPEAKER_00]: I'll give you that.
• 5:08
  [SPEAKER_00]: I'll just say I can that's all I can really say with.
• 5:11
  [SPEAKER_00]: They're really sharp.
• 5:11
  [SPEAKER_02]: They're a few happy mass in comedies that I will absolutely go to bathe house funny.
• 5:16
  [SPEAKER_02]: Okay, that's a very funny very solid broad comedy.
• 5:21
  [SPEAKER_02]: Yes, I'm a man of house funny.
• 5:23
  [SPEAKER_00]: I haven't seen it since the year 1997 But I remember enjoying happy Gilmore.
• 5:28
  [SPEAKER_00]: I think happy Gilmore back in the day.
• 5:30
  [SPEAKER_00]: We see it's happy Madison But because that's where it gets to say it is where it gets to be Madison and happy Gilmore Yeah, I just think I think technically that's not that the name of that product.
• 5:39
  [SPEAKER_02]: I think that perceiving is one after word Thank you.
• 5:42
  [SPEAKER_02]: Oh, yeah happy Gilmore's funny
• 5:43
  [SPEAKER_02]: Yeah, great.
• 5:45
  [SPEAKER_02]: What we'll talk about that and whether or not roommates is a good movie, a bad movie, or just an interesting movie, later.
• 5:51
  [SPEAKER_02]: But stick around.
• 5:52
  [SPEAKER_02]: It might surprise you.
• 5:55
  [SPEAKER_02]: Or it might not.
• 5:56
  [SPEAKER_02]: Anyway, we're going to start with the biggest release of the week.
• 6:00
  [SPEAKER_02]: This is a film directed by Lee Kronen called Lee Kronen's legally distinct the money.
• 6:08
  [SPEAKER_00]: uh... that they had to put his name on lee cronon is not like a hugely known property you did evil dead rise and i think one of their future before that yeah he's only like his third feature show and they only put his name on the title because the money i don't think is owned uh... isn't copyrighted by university you can't just copyrighted just like uh... thing like you couldn't copyrighted you like the vampire is not a copy right about the vampire is a concept you can't copyright that but
• 6:36
  [SPEAKER_02]: If your studio, like the Universal Studios, has an entire lucrative franchise built around the Mummy brand, they could get in your way if your movie is not, it creates arguably brand confusion.
• 6:52
  [SPEAKER_02]: Yeah.
• 6:52
  [SPEAKER_02]: Like, oh, people might come to Lee Kronen's the Mummy, thinking it has something to do with the branded Fraser movies, so,
• 7:00
  [SPEAKER_02]: they put Lee Crownons up there because everyone knows that Lee Crownon isn't Brendan Fraser, which I'm joking about because I've never seen him in the same room at the same time, maybe they are.
• 7:14
  [SPEAKER_02]: It's the same philosophy that gave us Lee Daniels the Butler.
• 7:18
  [SPEAKER_02]: I don't know why it's always Lee's.
• 7:20
  [SPEAKER_02]: the get that possessive nowadays.
• 7:24
  [SPEAKER_00]: Wouldn't it be funny if they called it Lee Cronen's The Mummy?
• 7:26
  [SPEAKER_00]: And they had to give the film that title.
• 7:29
  [SPEAKER_01]: Yeah.
• 7:29
  [SPEAKER_00]: And then the studio took it away from Lee Cronen and started mucking with it and re-editing it.
• 7:33
  [SPEAKER_00]: Yeah.
• 7:33
  [SPEAKER_00]: And he got really upset and wanted to take his name off of the project.
• 7:36
  [SPEAKER_01]: Yeah.
• 7:36
  [SPEAKER_00]: So it would be Lee Cronen's The Mummy directed by Alan Smithy.
• 7:39
  [SPEAKER_02]: That's a bit of a great.
• 7:41
  [SPEAKER_02]: It's my understanding they don't actually, if you don't know what we're talking about.
• 7:44
  [SPEAKER_02]: They stop, they've retired out and see how they belong to them.
• 7:46
  [SPEAKER_02]: If you don't know what we're talking about, if a director was unhappy with the movie that they made, maybe the studio re-edited it without them, or maybe it just doesn't, there were some reason they want their name off of the project.
• 8:00
  [SPEAKER_02]: They're not proud of the work.
• 8:00
  [SPEAKER_02]: They don't think they should be credited for it.
• 8:03
  [SPEAKER_02]: It used to be that you could take your case to the director's guild, and if you made your case, and the movie wasn't so famously yours that it would be fully no one, you could have your name, you could, yeah, Alan Smithy, and that was the name that would be put on every movie where the director had their name taken off the project, and
• 8:28
  [SPEAKER_02]: It's several, don't worry, the movies have Alan Smithy on them.
• 8:31
  [SPEAKER_02]: Sometimes Alan Smithy was the name attached to like the TV edit.
• 8:36
  [SPEAKER_00]: That was true of Dune.
• 8:37
  [SPEAKER_00]: Yeah, the longer TV version of David Lynch's Dune is credited to Alan Smithy.
• 8:43
  [SPEAKER_00]: Because he didn't approve of that at it.
• 8:44
  [SPEAKER_00]: Exactly.
• 8:45
  [SPEAKER_00]: Exactly.
• 8:45
  [SPEAKER_02]: So, but nowadays everyone knows that Allen Smith is a fake name.
• 8:51
  [SPEAKER_02]: So they realize that it isn't really doing any good.
• 8:54
  [SPEAKER_02]: So presumably you can still get your name taken off of a project and presumably you can get that name changed.
• 9:00
  [SPEAKER_02]: But I don't know if they let you just make up a name or if there's a brand new name no one's ever discovered yet.
• 9:05
  [SPEAKER_02]: But in any case,
• 9:07
  [SPEAKER_02]: This is Lee Crowden's legally distanced the mummy.
• 9:11
  [SPEAKER_02]: And the movie is about an American family.
• 9:15
  [SPEAKER_02]: In Egypt, they are working.
• 9:18
  [SPEAKER_02]: He is a news reporter, and she is working in medicine.
• 9:23
  [SPEAKER_02]: They have a couple of kids and one of their kids, their daughter and mom is pregnant and mom is pregnant and their daughter Katie is abducted in the opening of the movie by mysterious figure and they can't find their daughter and we cut to eight years later
• 9:39
  [SPEAKER_02]: There was a plane crash in Egypt and at the side of the plane crash, they find an ancient like 1,500-year-old sarcophagus.
• 9:48
  [SPEAKER_00]: Oh no, many more thousands of years older than that.
• 9:51
  [SPEAKER_02]: Okay, well ancient ancient ancient sarcophagus.
• 9:53
  [SPEAKER_02]: I've some reason I heard 1,500, but maybe I'm gonna run.
• 9:56
  [SPEAKER_02]: And inside that sarcophagus is their daughter alive.
• 10:02
  [SPEAKER_00]: Motherfide, for these wrapped in stuff, wrapped in swaddling clothes and lying in a remainder.
• 10:09
  [SPEAKER_00]: So she's Jesus, that's the twist of the movie.
• 10:12
  [SPEAKER_00]: Oh, that'd be good.
• 10:13
  [SPEAKER_00]: Please, Lee Kronen's the Jesus.
• 10:14
  [SPEAKER_00]: Ooh.
• 10:15
  [SPEAKER_02]: But in any case, the authorities find her, they take her in.
• 10:19
  [SPEAKER_02]: She is...
• 10:21
  [SPEAKER_02]: It's in severe physical distress, she's in severe mental distress.
• 10:27
  [SPEAKER_02]: She's deeply traumatized, she's lashing out, she's not communicating.
• 10:33
  [SPEAKER_02]: And so the family takes her home and I'm like, maybe leave her for a bit.
• 10:39
  [SPEAKER_02]: well we monitor like she's not healthy yet and this is mom's idea it's like she will heal better at home and then and she can be found she's like a doctor or a nurse or I forget if they say but she she has a dream that is that she's not enough is nowhere and right away there are incidents where
• 11:01
  [SPEAKER_00]: the recovered daughter, Gady, is very much harming herself.
• 11:07
  [SPEAKER_00]: She's like eating poisonous bugs and skittering around and scratching and like actually doing harm.
• 11:13
  [SPEAKER_00]: Like she needs someone to look after her 24-7.
• 11:15
  [SPEAKER_00]: Yes.
• 11:17
  [SPEAKER_00]: Nobody at home is capable of doing that.
• 11:20
  [SPEAKER_00]: They have like a whole support system because mom and dad are home.
• 11:24
  [SPEAKER_00]: Yeah.
• 11:25
  [SPEAKER_00]: Grandma is also there.
• 11:26
  [SPEAKER_00]: Yeah.
• 11:28
  [SPEAKER_00]: The younger brother is now a teenager
• 11:31
  [SPEAKER_00]: help out even though we don't want to.
• 11:32
  [SPEAKER_02]: And the younger sister is too young to really help.
• 11:35
  [SPEAKER_02]: Yeah.
• 11:36
  [SPEAKER_02]: But still, that's a large family, people who are off and home.
• 11:39
  [SPEAKER_02]: And yet she has very specific needs.
• 11:43
  [SPEAKER_02]: And what they don't realize and what we do because it's called,
• 11:46
  [SPEAKER_02]: Lee Kronen's the mummy, it's a mummy movie, is that this is a horror movie, and she is not just traumatized, she is possessed by some kind of ancient demonic force.
• 11:56
  [SPEAKER_02]: Yeah, that gradually starts tearing the family apart a psychicly, just making them a hate each other, and pulling at the rifts already, a form between them, but also ripping them apart physically because this is the guy who directed evil dead rise, and he loves himself more.
• 12:14
  [SPEAKER_00]: Yeah, yeah, the gore is the most notable detail.
• 12:18
  [SPEAKER_02]: Oh yeah, it's really gnarling.
• 12:19
  [SPEAKER_00]: Like, they give this really funky makeup job to the Katy character.
• 12:24
  [SPEAKER_00]: I like it's been scarred up.
• 12:26
  [SPEAKER_00]: And there's seen after seen of like,
• 12:29
  [SPEAKER_00]: Like, our skin is really kind of peeling up and it looks really papery.
• 12:33
  [SPEAKER_00]: There's really a horrible scene with a ton of clipper.
• 12:36
  [SPEAKER_00]: Oh, yeah.
• 12:36
  [SPEAKER_02]: Yeah, I did not see.
• 12:37
  [SPEAKER_02]: I did not guess where that one was coming.
• 12:39
  [SPEAKER_00]: Oh, I'm going.
• 12:40
  [SPEAKER_02]: I see where exactly where that was going.
• 12:42
  [SPEAKER_02]: Because I knew some bad was going to happen.
• 12:44
  [SPEAKER_02]: Oh, I didn't know.
• 12:44
  [SPEAKER_02]: You knew exactly what was going to happen.
• 12:46
  [SPEAKER_00]: I've seen an animated short called The Hangmail.
• 12:48
  [SPEAKER_00]: And that's kind of, kind of, prepped to me for what was going to happen.
• 12:53
  [SPEAKER_00]: It's gross, it's my point.
• 12:55
  [SPEAKER_00]: It's pretty gross.
• 12:56
  [SPEAKER_00]: There's, though,
• 12:57
  [SPEAKER_00]: And all sorts of horrible things happen.
• 12:59
  [SPEAKER_00]: People get thrown out windows, dogs, mall, other people.
• 13:03
  [SPEAKER_00]: There's a really cool sequence involving some involving fluid.
• 13:08
  [SPEAKER_00]: There's a really cool scene involving false teeth.
• 13:12
  [SPEAKER_02]: Don't eat the devil eggs.
• 13:14
  [SPEAKER_02]: I'll just say that right now.
• 13:15
  [SPEAKER_02]: The devil eggs.
• 13:16
  [SPEAKER_02]: It's a good thing it's came out after Easter.
• 13:17
  [SPEAKER_02]: Yeah.
• 13:18
  [SPEAKER_02]: Because devil eggs are ruined for a little while.
• 13:20
  [SPEAKER_00]: And, well, this demonic presence is clearly like casting spells and forcing people to behave in demonic ways and say horrible things.
• 13:29
  [SPEAKER_00]: I don't really get the sense that the families being torn apart, it's more like a haunted house thrillshell.
• 13:35
  [SPEAKER_00]: I mean, there's just a lot of really extreme things happening, but there's no way home.
• 13:39
  [SPEAKER_00]: There's no way home.
• 13:39
  [SPEAKER_02]: There's changing.
• 13:40
  [SPEAKER_02]: Like, then over the course of the film, some of them start acting in very unusual ways.
• 13:45
  [SPEAKER_00]: Nothing.
• 13:46
  [SPEAKER_00]: Well, because they're under a spell though, not because they're they're being pushed to some kind of emotional extreme.
• 13:51
  [SPEAKER_06]: Well, I think it's worth it.
• 13:53
  [SPEAKER_00]: It would have worked better if like the filmmakers had bothered to establish that there were like some kind of rifts or discomfort at home.
• 14:00
  [SPEAKER_01]: Yeah.
• 14:00
  [SPEAKER_00]: That the demon was exploiting but there isn't that you get more of that in a conjuring movie And even then it's like the sub story now.
• 14:07
  [SPEAKER_02]: They do a rather poor job of that Which is frustrating because more than anything more than being more than a mummy movie Which I want to talk about because this is barely a mummy movie
• 14:16
  [SPEAKER_02]: This film is a metaphor for taking care of an alien family member and the toll that it takes on the family and that we push that You know past 10 up until like you know this style goes to 30 yeah, like it's the absolute was horrifying possible scenario And if she goes I've seen her movies like that too where it looks like somebody sick, but there are zombies Yeah, look second there possessed this goes back to I walked to the zombie in the 1940s
• 14:44
  [SPEAKER_00]: Yeah, but more recently the insidious first insidious movie.
• 14:48
  [SPEAKER_00]: Yeah, but the boys is in coma.
• 14:50
  [SPEAKER_02]: There you go.
• 14:51
  [SPEAKER_02]: Yeah.
• 14:51
  [SPEAKER_02]: Yeah.
• 14:52
  [SPEAKER_02]: And that's a risky thing to do because you run the risk of demonizing literally people who have serious health issues and need assistance from their families, but also it is also acknowledging that
• 15:06
  [SPEAKER_02]: long-term care can take a toll on the family and it just just the effort of it is a lot.
• 15:13
  [SPEAKER_02]: So on the end, that's fair game on the other hand.
• 15:17
  [SPEAKER_02]: That's pretty dark.
• 15:18
  [SPEAKER_00]: It's pretty well what it does is what the Lee Chronem's the mommy does is it takes it just crimps it takes little bits and pieces of horror films that work better family being torn apart by
• 15:29
  [SPEAKER_00]: an alien family member and how that sort of taking a toll on family and uses it a shorthand.
• 15:35
  [SPEAKER_00]: We recognize it, but we're just using it to sort of lay some gore on top of it.
• 15:40
  [SPEAKER_00]: We've seen this possession story work in the exorcist and it's that it was knock off.
• 15:45
  [SPEAKER_01]: What was that?
• 15:46
  [SPEAKER_02]: A lot of this movie feels like an evil dead movie, especially towards a second half.
• 15:49
  [SPEAKER_00]: Yeah.
• 15:50
  [SPEAKER_02]: The evil dead rise in particular where, oh no, mom has been possessed by a demon.
• 15:53
  [SPEAKER_02]: And no, no, daughter has been possessed by a demon.
• 15:55
  [SPEAKER_00]: There's a really cool scene where like we see some like strips of cloth that have spells written on them.
• 16:02
  [SPEAKER_00]: You could just shift the script a little bit, say that's the Necronomekhan and make it into an able to do it.
• 16:06
  [SPEAKER_02]: I mean, it's actually probably good.
• 16:07
  [SPEAKER_00]: It does.
• 16:08
  [SPEAKER_00]: Yeah.
• 16:08
  [SPEAKER_02]: It's just like, I was thinking about this as, what is really?
• 16:13
  [SPEAKER_02]: a mummy movie.
• 16:14
  [SPEAKER_02]: Now, there are, I think there are exceptions here where movies that just happen have a mummy in them, but if your movie is about mummies, especially a supernatural mummy, if you look at them throughout history, they're pretty consistently about the way that Westerners rob the graves and the culture of another culture.
• 16:35
  [SPEAKER_00]: Yeah, it's about the dangers of colonialism.
• 16:38
  [SPEAKER_00]: Yeah, you go back to Carl Freud's original
• 16:42
  [SPEAKER_00]: You open the mummies too and we were talking about this after we saw the movie I feel kind of ambivalent about the way Egyptian culture has been
• 16:55
  [SPEAKER_00]: relentlessly and quite frankly, racistly exoticize by Hollywood.
• 17:02
  [SPEAKER_00]: Yeah.
• 17:03
  [SPEAKER_00]: Egypt has always seen as this very exotic, ineffable faraway place, not like a culture with people.
• 17:09
  [SPEAKER_00]: The main characters of mummy movies are hardly ever Egyptian characters.
• 17:14
  [SPEAKER_00]: The mummy may be, and they're always played by some guy from Boston.
• 17:18
  [SPEAKER_00]: uh... on that exclusive way that's but like but like you're christopher lee was ritten we were really paid the mommie and nineteen a lot on genie dinner played the mommie uh... you know and well at the uh... on one side this is like we're exoticizing Egyptian culture and we're kind of authoring them and uh...
• 17:40
  [SPEAKER_00]: You know, making them seem like something that they're not worthy to star in their own pictures, even though we're sort of exploiting their culture.
• 17:47
  [SPEAKER_00]: Yeah.
• 17:49
  [SPEAKER_00]: At the same time,
• 17:51
  [SPEAKER_00]: We are at least using that story to vilify white colonialism and also point out that white Americans don't have magic of their own.
• 18:05
  [SPEAKER_02]: Yeah, we don't have, it's like, it's never about like our gods versus their gods.
• 18:09
  [SPEAKER_00]: Yeah, we don't have gods.
• 18:10
  [SPEAKER_00]: Yeah, we're kind of like spiritually empty.
• 18:13
  [SPEAKER_00]: And we're too culturally ignorant to understand what's happening when it's happening to us.
• 18:19
  [SPEAKER_02]: And I think that's all in there and a lot of these mummy movies, whether it's Steven Summers, Carl Frey, 1959, but I think very few of those movies are actually handling that material that way.
• 18:31
  [SPEAKER_02]: Like, look at, look at the 1999 and the mummy movie that everyone at least likes in my experience.
• 18:36
  [SPEAKER_00]: Like, it's at least, whether you think it's rockus and joyable, totally bisexual adventure.
• 18:41
  [SPEAKER_00]: The cast is great.
• 18:42
  [SPEAKER_00]: Yeah, if nothing else, the cast is great, it's some twist production, right?
• 18:45
  [SPEAKER_02]: It's a fun flick.
• 18:47
  [SPEAKER_02]: And yeah, that's about Westerners plundering an Egyptian temple.
• 18:55
  [SPEAKER_02]: Desecrating corpses and oh, no, the corpses have come back to life and they're and we're all fox But we spend a lot of time with the mummy.
• 19:02
  [SPEAKER_02]: We got to know him in different forms Yeah, yeah, yeah, he has like a tragic backstory that he's actually he's sympathetic in a way because he wants to get his love back Yeah, he's the villain, but we we kind of like him to so I think yeah Well, I think that one's interesting, and I think oh dead fair Guess to play not only because there's often an Egyptian character who gets to speak
• 19:20
  [SPEAKER_02]: Directly the themes of the movie and how You Westerners are all fucked.
• 19:26
  [SPEAKER_02]: Yeah, the girl assholes, but even in that movie who do we really follow who are who are the actual heroes?
• 19:34
  [SPEAKER_02]: the good Westerners who still did that thing but they feel kind of bad about it but also they're gonna kill that ancient Egyptian guy.
• 19:43
  [SPEAKER_02]: There's always like in almost every mummy movie there's always something about it that doesn't track with that theme where we want to have our cake and eat it too.
• 19:53
  [SPEAKER_02]: We want to we want to wag our finger at the the white British people or
• 20:00
  [SPEAKER_02]: But some of them are heroes, right?
• 20:02
  [SPEAKER_02]: Some of them are good.
• 20:03
  [SPEAKER_02]: They're probably you.
• 20:04
  [SPEAKER_02]: You would be the good guy, right?
• 20:05
  [SPEAKER_02]: If there were any justice in the world in 1999, Mommy, movie would have been about Odid Fair.
• 20:10
  [SPEAKER_01]: Yeah.
• 20:10
  [SPEAKER_02]: He's fucking awesome.
• 20:11
  [SPEAKER_02]: He's also sexy as hell.
• 20:13
  [SPEAKER_02]: He's literally like an army at the end.
• 20:15
  [SPEAKER_00]: Like he's fucking cool.
• 20:17
  [SPEAKER_00]: I do.
• 20:17
  [SPEAKER_00]: I do as they had bothered to hire some Egyptian actors.
• 20:20
  [SPEAKER_00]: Yeah.
• 20:21
  [SPEAKER_00]: Odid Fair was born in Israel.
• 20:23
  [SPEAKER_00]: Artile Vaselu, the Mommy, saw that as from South Africa.
• 20:27
  [SPEAKER_00]: And his, his, his,
• 20:29
  [SPEAKER_02]: his runway model bride I think was from Venezuela like yeah the in the nineteen fifty nine mummy the the Egyptian character who raises the mummy to get revenge on beater coaching and his father uh... he's played by an actor from cypress but yeah but we're really geographically kind of close to the general zone but like it's still not quite a bit considering that you are literally
• 20:52
  [SPEAKER_02]: If you're not literally taking artifacts from Egypt, you are usurping the culture for your own financial game.
• 20:59
  [SPEAKER_02]: Yeah, the least you could fucking do.
• 21:01
  [SPEAKER_02]: And I will say this about Lee Kron is the money.
• 21:04
  [SPEAKER_02]: It's like they actually do... Well, what's to do take care of some of this?
• 21:07
  [SPEAKER_00]: They're a little.
• 21:09
  [SPEAKER_00]: The problem is they try to do it both ways, because there's a great character in this movie.
• 21:13
  [SPEAKER_00]: It's the Egyptian cop.
• 21:15
  [SPEAKER_00]: Yes, uh, whose rather heroic and actually figures all this shit out and actually is is the one who gives us all the information She's invited by May column Maui who you may recall as one of the breakout performances from the moon night TV series Which is also okay.
• 21:30
  [SPEAKER_02]: Yeah, I didn't see moon.
• 21:31
  [SPEAKER_02]: Yeah, not a great show, but there's some good stuff in it and she was great.
• 21:34
  [SPEAKER_00]: She was born in Bahrain, but you know
• 21:38
  [SPEAKER_00]: at least give an Egyptian character like a little bit of agency on this story.
• 21:42
  [SPEAKER_02]: She's cool.
• 21:42
  [SPEAKER_02]: She's saving the day, but at the same time by the end of the movie, she's still relegated to the person who knows about the Egypt stuff.
• 21:52
  [SPEAKER_02]: Like she's supposed to help the American.
• 21:55
  [SPEAKER_00]: The American.
• 21:55
  [SPEAKER_02]: Well, we're still not really getting, like we're touching.
• 21:58
  [SPEAKER_00]: I mean, we have never really committing to.
• 22:00
  [SPEAKER_00]: We have a white father and a Latina mother, but they are the American.
• 22:03
  [SPEAKER_02]: They're the Americans.
• 22:04
  [SPEAKER_02]: They're not for Egypt, are they?
• 22:06
  [SPEAKER_02]: And so,
• 22:07
  [SPEAKER_02]: Ultimately, this movie is almost in no way about that interplay between American and Egyptian culture or their values or colonial theft.
• 22:20
  [SPEAKER_02]: It's very incidental to the point where, didn't have to be about a money.
• 22:24
  [SPEAKER_00]: No, it's a small rewrite this could have been about the necronome kind of good about anything and what what I was going to say in order to us kind of Try they try to have like an Egyptian hero, but they also had to have an Egyptian fill-in
• 22:39
  [SPEAKER_00]: And there's a character in this movie that is only credited as the magician who is responsible for all of the horror of the thing.
• 22:49
  [SPEAKER_00]: She's the kidnapper.
• 22:49
  [SPEAKER_00]: She's the one who knows all about sort of black magic and does all these evil spells to sort of make sure all of this evil is perpetuating.
• 22:57
  [SPEAKER_00]: And they have to kill her twice.
• 23:02
  [SPEAKER_02]: I think they do attempt at least to make that character
• 23:07
  [SPEAKER_02]: And the good thing character is some complexity, because their motivation for doing what they do is not a straightforward as you might assume.
• 23:14
  [SPEAKER_00]: I suppose not, but she's wicked from the start.
• 23:17
  [SPEAKER_00]: Like in the first scene we see her, she does something kind of mean.
• 23:20
  [SPEAKER_00]: And so we're not on our side anyway, and then she does more cruel things.
• 23:25
  [SPEAKER_02]: I think the film wants to suggest, by the end of the movie that that character wasn't pure evil and maybe was doing the right thing in a very terrible way.
• 23:34
  [SPEAKER_02]: But as you pointed out, once you know the whole plot, why, quote unquote, the magician, did what she did and how I all connects to everything, what she did doesn't make sense on a pure story level, like why she kidnapped Katie specifically.
• 23:54
  [SPEAKER_02]: I won't go into detail because it's a vantage plot point, but like,
• 23:57
  [SPEAKER_02]: Considering her motivations, it makes no sense to kidnap an American kid.
• 24:03
  [SPEAKER_01]: No.
• 24:03
  [SPEAKER_02]: If anything, that's the last thing she should do, it says it's good.
• 24:07
  [SPEAKER_02]: And I'm not trying to tell her, you know, how to be a better villain, but if she would be a smarter villain, if she did, if she did not do this, it makes no sense for her.
• 24:16
  [SPEAKER_00]: I had to ask the rather grim question of, why don't they just pray on the homeless?
• 24:21
  [SPEAKER_02]: Yeah, I told you, I tell you, I tell you, wouldn't have cops looking for them.
• 24:26
  [SPEAKER_02]: Yeah, Americans could be an international incident at that point, considering it's like, you know, a semi-famous reporter.
• 24:33
  [SPEAKER_02]: And if it was, kind of playing with fire at that point.
• 24:37
  [SPEAKER_00]: And if it was, how cool if, like, Interpol got involved in, like, a mummy mystery.
• 24:42
  [SPEAKER_01]: Yeah.
• 24:42
  [SPEAKER_00]: and like presidents of various nations had to comment on like the existence of mummies.
• 24:48
  [SPEAKER_00]: Yeah.
• 24:48
  [SPEAKER_00]: I feel like all of this is like lurking in the edges.
• 24:51
  [SPEAKER_00]: All of this is sort of endemic to mummy movies in general.
• 24:56
  [SPEAKER_02]: Right.
• 24:56
  [SPEAKER_02]: But like what is that?
• 24:57
  [SPEAKER_02]: All of this is actually very French.
• 24:59
  [SPEAKER_02]: We're talking about it a lot.
• 25:00
  [SPEAKER_02]: But it lifts out of the movie very easily.
• 25:03
  [SPEAKER_01]: Right.
• 25:03
  [SPEAKER_02]: Because ultimately this is just about a family dealing with a cursed slash possessed family member and falling into ruin and violence.
• 25:11
  [SPEAKER_02]: And that stuff works pretty good.
• 25:14
  [SPEAKER_02]: I thought the goal and the intensity of the horror as it escalates, especially in the second half, was pretty fucked up.
• 25:24
  [SPEAKER_00]: That's what I like about this movie.
• 25:26
  [SPEAKER_00]: Yeah, is that it's fucked up.
• 25:28
  [SPEAKER_00]: The gore is gnarly.
• 25:31
  [SPEAKER_00]: It's too long.
• 25:32
  [SPEAKER_00]: Yeah, that's the could of put two hours, that's what it is.
• 25:34
  [SPEAKER_00]: Yeah, there's a lot that could have shaved out.
• 25:36
  [SPEAKER_00]: But
• 25:37
  [SPEAKER_02]: The NBA feels really tacked on.
• 25:39
  [SPEAKER_00]: Yeah, well, there's like a real shit.
• 25:40
  [SPEAKER_00]: Epilogue feels like it was tacked on the climax felt like something out of a conjuring movie, which, you know, in the third act of those movies, just everything, all hell breaks loose.
• 25:48
  [SPEAKER_01]: Yeah.
• 25:48
  [SPEAKER_00]: All the ghosts are flying around and there's furniture going everywhere.
• 25:51
  [SPEAKER_00]: Same thing, just imagine more blood.
• 25:53
  [SPEAKER_01]: Yeah.
• 25:54
  [SPEAKER_00]: Um, I kind of hope this film is a hit.
• 25:56
  [SPEAKER_00]: Even though I don't like it that much, I hope it's a hit because I want to see studios start to imitate that.
• 26:03
  [SPEAKER_03]: Yeah, go for a break.
• 26:04
  [SPEAKER_00]: Yeah, how great if mainstream horror movies were now just as revolting as possible, try to find new ways to show me gore.
• 26:12
  [SPEAKER_00]: And I like that stuff.
• 26:14
  [SPEAKER_00]: You know, when people are peeling their skin off and doing twisted stuff and there's like weird implications of, like, incest and cannibalism, like, just throw it all in there.
• 26:24
  [SPEAKER_00]: If you're gonna shock me, you really shock me.
• 26:25
  [SPEAKER_00]: Yeah, go ahead.
• 26:27
  [SPEAKER_00]: And so yeah, I'm like watching these movies and people are getting their skin pulled off.
• 26:30
  [SPEAKER_00]: And I felt like an asshole because there were some scenes where I was just laughing.
• 26:33
  [SPEAKER_02]: I think there's a certain, I mean, the thing I think about with Lee Kronen, I didn't see his first movie, but I saw he pulled that rise.
• 26:44
  [SPEAKER_02]: I didn't love it, but I appreciated that he was made with a certain demented glee.
• 26:48
  [SPEAKER_00]: There's a monster at the end that I thought how to, like,
• 26:52
  [SPEAKER_00]: a lot of creativity to its design.
• 26:54
  [SPEAKER_02]: No, I was harsh on, I think at the time, when I think of it often, I don't think it's the worst evil dead movie, but that's the least a lot of room to be good.
• 27:02
  [SPEAKER_02]: But I think what Lee Kronen is good at, at least some of the two movies that I have seen, is managing to
• 27:10
  [SPEAKER_02]: Take movie violence, extreme movie violence, horror movie violence, and make it actually hurt again, make it actually like squeal, and like, oh no, don't do that.
• 27:23
  [SPEAKER_02]: And I think
• 27:25
  [SPEAKER_02]: I think there's, it would almost be nice if he was having a little bit more fun.
• 27:30
  [SPEAKER_02]: Like if he was like letting us in on the whimsy, like, can you believe we're getting away with those guys?
• 27:35
  [SPEAKER_02]: It's like almost like a Peter Jackson, you know what I'm saying?
• 27:37
  [SPEAKER_02]: I mean, kind of way, but he's not them.
• 27:38
  [SPEAKER_02]: He is applying that same inventiveness, that same giddy glee, but the giddy glee is all of the conceptual phase.
• 27:48
  [SPEAKER_02]: The actual implementation, the execution is very harsh.
• 27:53
  [SPEAKER_02]: which gives you that thrill of creativity, that gives you that thrill of inspiration.
• 28:01
  [SPEAKER_02]: Well, still making it actually scary.
• 28:03
  [SPEAKER_02]: It's never like three stuages.
• 28:06
  [SPEAKER_02]: Oh, we're just gonna walk into zombies with a lawn mower, you know?
• 28:10
  [SPEAKER_02]: Like, there's, you can't not laugh at that.
• 28:12
  [SPEAKER_02]: That would be ridiculous.
• 28:12
  [SPEAKER_02]: But if Lee Kronen did that, it did something similar.
• 28:15
  [SPEAKER_02]: He would probably be the same basic scene, but somehow he would infuse it with more tragedy and pain.
• 28:22
  [SPEAKER_02]: So I think it's interesting filmmaker.
• 28:24
  [SPEAKER_02]: And I think he needs to,
• 28:27
  [SPEAKER_02]: I think he needs room to grow.
• 28:29
  [SPEAKER_02]: I think I would love to see what he keeps doing.
• 28:31
  [SPEAKER_02]: But I do think I would like to see what he would do.
• 28:36
  [SPEAKER_02]: I mean, again, I haven't seen this first movie, but I like to see what he would do with a movie that wasn't evil dead because evil did rise as evil dead and the moment he's kind of evil, it's not if you with a few minor changes, it could have been evil dead five It could have been evil dead.
• 28:51
  [SPEAKER_00]: Yeah, you could have said evil dead Egypt You also could have had the exorcist Egypt this would have made just as good an exorcist reboot Uh, well, it would have been better.
• 29:00
  [SPEAKER_00]: Exorcist would have been a lot of awful exorcist believer from a couple of years ago This would have been the best exorcist movie since exorcist three
• 29:06
  [SPEAKER_02]: Yeah, that's a low-fucking bar, but it would be the next six movies, since then.
• 29:12
  [SPEAKER_01]: Yeah, but pretty bad.
• 29:13
  [SPEAKER_02]: And to be fair, of the excess one, two, and three, only one and three are good.
• 29:18
  [SPEAKER_02]: Yeah, even the exercise too is, I think that's a pretty small.
• 29:21
  [SPEAKER_02]: I heard that TV series that they did with Gina Davis actually was pretty solid.
• 29:25
  [SPEAKER_02]: I only watched the pilot, and I didn't see it yet.
• 29:27
  [SPEAKER_00]: I think that's better.
• 29:28
  [SPEAKER_00]: Yeah, I didn't see the TV series.
• 29:29
  [SPEAKER_00]: I did see a stage production.
• 29:30
  [SPEAKER_00]: Ah, of the exercise.
• 29:32
  [SPEAKER_00]: That was real interesting.
• 29:34
  [SPEAKER_00]: I saw that one did it pretty well.
• 29:36
  [SPEAKER_02]: I didn't get to see it in person but I got to see like a film diversion of the evil dead musical.
• 29:43
  [SPEAKER_02]: Oh yeah, that was fun.
• 29:44
  [SPEAKER_02]: They had a good time.
• 29:45
  [SPEAKER_02]: It's cheeky.
• 29:47
  [SPEAKER_01]: It's a good time.
• 29:48
  [SPEAKER_01]: It's a good time.
• 29:48
  [SPEAKER_01]: It's a good time.
• 29:50
  [SPEAKER_01]: It's a good time.
• 29:50
  [SPEAKER_01]: That's part of it.
• 29:51
  [SPEAKER_02]: Yeah, I don't enjoy it.
• 29:52
  [SPEAKER_02]: But we're getting off topic.
• 29:55
  [SPEAKER_02]: Lee Kronos the Mummy.
• 29:56
  [SPEAKER_02]: It's a mixed bag, but I do think the good outweighs the bad in terms of a simple spill your popcorn horror movie experience.
• 30:04
  [SPEAKER_00]: It's just it's got problems.
• 30:06
  [SPEAKER_00]: It does.
• 30:08
  [SPEAKER_00]: It has all the problems, but these are problems with making a mummy movie.
• 30:12
  [SPEAKER_00]: Leakron and isn't.
• 30:14
  [SPEAKER_00]: Apart from his treatment of the magician character, I don't think he's trying to do anything actively hurtful.
• 30:20
  [SPEAKER_00]: He's just perpetuating hurtful Hollywood ideas.
• 30:24
  [SPEAKER_02]: I think people have really been taking the task for mummy movies.
• 30:27
  [SPEAKER_00]: Yeah, and I think if the film is ignorant to those things, I'm guessing a lot of audience members are going to be as well, and you're going to go to this movie and just see a lot of really nasty gore and you might throw up a little in your mouth and have a great time.
• 30:42
  [SPEAKER_00]: And especially if you've had a few drinks on a Friday night, yeah, you're gonna have a good time.
• 30:46
  [SPEAKER_02]: Yeah.
• 30:47
  [SPEAKER_02]: All right, next up, we've got a new film from David Lowery.
• 30:51
  [SPEAKER_02]: Oh, David Lowery, he's such an artist in all the capital letters.
• 30:56
  [SPEAKER_02]: And I don't even mean that in a bad way, because I agree with you, but there's a certain glorious pretentiousness to his film, where he is not afraid of being labeled extremely pretentious.
• 31:08
  [SPEAKER_02]: Now, I think I didn't say the old man in the gun, but I do know that his pizza dragon, which I actually think is very good, the very loose remake of that movie.
• 31:16
  [SPEAKER_02]: Like, basically, there's a guy named Pete, he has a dragon.
• 31:19
  [SPEAKER_02]: We changed everything else.
• 31:20
  [SPEAKER_00]: I like everything, but the dragon and I'm moving.
• 31:23
  [SPEAKER_00]: Take the dragon out.
• 31:24
  [SPEAKER_00]: You have an interesting family wrong.
• 31:25
  [SPEAKER_02]: I think that movie is quite lovely, but that's a very accessible movie.
• 31:30
  [SPEAKER_02]: All those other movies that I've seen are very artsy-fartsy.
• 31:33
  [SPEAKER_02]: You've got a ghost story, which I...
• 31:36
  [SPEAKER_00]: I did like a ghost story.
• 31:38
  [SPEAKER_02]: There are things that I like about a ghost story, and when I first saw it really affected me, but the more I thought about it, the more I did not know it.
• 31:43
  [SPEAKER_00]: The way...
• 31:45
  [SPEAKER_00]: The after-life loses track of time.
• 31:48
  [SPEAKER_00]: It's a concept that I really died.
• 31:50
  [SPEAKER_02]: No, it's it's Yeah, it's a KCF like I know KCF like dies and he's like covered in like a sheaths At the morgue, but then he like wakes up as a ghost so covered in the sheet old-fashioned Charlie Brown The ghost got a little brown black ghost eyes
• 32:08
  [SPEAKER_02]: as he's haunting his house and he's haunting it even after his girlfriend's racked with grief leaves and he's seen a little bit of a house and just time starts losing all meaning and he's there for like essentially eternity and there's a certain gloomy poignant seat of that um then uh okay when the the page dragon then was um
• 32:31
  [SPEAKER_00]: Well, they didn't do the green night.
• 32:33
  [SPEAKER_02]: Not that we skipped around a bit, but yeah, you did the green night, which is the adaptation of that classic King Arthur story.
• 32:39
  [SPEAKER_02]: Yeah, sir go into the night by anonymous.
• 32:41
  [SPEAKER_00]: I'll famously translate it from old English by Tolken.
• 32:45
  [SPEAKER_00]: It was a great version of Tolken's.
• 32:48
  [SPEAKER_00]: Sir go into the green night that you can get out there.
• 32:49
  [SPEAKER_02]: It had been previously adapted twice before by the same filmmaker if memory serves.
• 32:54
  [SPEAKER_02]: One of them, at least one of them, had Sean Connery as the Green Knight, which I've done an affection for, even though they're very dated.
• 33:00
  [SPEAKER_02]: That adaptation of the Green Knight, I will say this, subduus.
• 33:04
  [SPEAKER_00]: Some good design and that, some great, very good photography.
• 33:09
  [SPEAKER_00]: Yeah.
• 33:09
  [SPEAKER_00]: Really trying to push, just sort of visually, the what this kind of story can do.
• 33:14
  [SPEAKER_00]: I used, you called him gloriously pretentious.
• 33:19
  [SPEAKER_00]: the more you know, like pretense means like you have to have some kind of four knowledge they expect you to have to know the green night they don't know yeah
• 33:28
  [SPEAKER_00]: I feel like it's the opposite.
• 33:29
  [SPEAKER_00]: I feel like he didn't bother doing the reading.
• 33:32
  [SPEAKER_00]: And he's trying to throw some modern interpretations of a text he's not too familiar with.
• 33:37
  [SPEAKER_00]: And as such, it feels incredibly adolescent to me.
• 33:41
  [SPEAKER_00]: It feels like it's not the least deep, despite how visually gorgeous it is.
• 33:46
  [SPEAKER_02]: I like the ending.
• 33:46
  [SPEAKER_02]: I think the ending brings it around and makes it feel like it's, you know, you did the reading.
• 33:51
  [SPEAKER_02]: But it's a,
• 33:53
  [SPEAKER_02]: I'm going to compare it to weathering heights, but it's better than weathering heights.
• 33:56
  [SPEAKER_02]: I'm real proud of weathering heights, but I'm going to compare it in that you made a very handsome movie.
• 34:01
  [SPEAKER_02]: I think you would fail the book report.
• 34:03
  [SPEAKER_02]: Yes, but you know what?
• 34:05
  [SPEAKER_02]: It's a loose adaptation.
• 34:05
  [SPEAKER_02]: You can do whatever you want with it technically.
• 34:07
  [SPEAKER_02]: And I would argue that the green night is at the very least more interesting in its own merits than Emerald Finals adaptation.
• 34:14
  [SPEAKER_02]: The point is that when you watch a new David Lowry movie, you're expecting,
• 34:20
  [SPEAKER_02]: big swings, lots of very luscious and portentic cinematography, characters saying things that sound ever so terribly important.
• 34:31
  [SPEAKER_02]: And maybe you are, and maybe aren't, but sound like it.
• 34:35
  [SPEAKER_00]: And his new song is speciously artistic.
• 34:39
  [SPEAKER_00]: Yeah.
• 34:40
  [SPEAKER_00]: He feels like he's artistic.
• 34:42
  [SPEAKER_02]: Yeah, he calls attention to how artistic he is.
• 34:44
  [SPEAKER_02]: And, and...
• 34:45
  [SPEAKER_02]: Maybe some people really love his work and they think that's justified.
• 34:48
  [SPEAKER_02]: I'm kind of half an half on him.
• 34:49
  [SPEAKER_02]: I think He can be amazing.
• 34:51
  [SPEAKER_02]: I think he can get his head kind of stuck up his own bucks sometimes Which a lot of artists who think of themselves as series artists can do even if they're really good So mother Mary is his new film.
• 35:05
  [SPEAKER_02]: It stars and halfway as a Pop music sensation one of the biggest pop stars in the world curly model after Taylor Swift
• 35:15
  [SPEAKER_02]: uh... g but i didn't read because i'm not familiar with Taylor Swift yeah i mean like she's she's kind of an amalgam of several uh... uh... figures but uh... uh... tell us what to tell her particular uh... what an amalgam amalgam sure uh... really it's pronounced an amalgam great stress on the second soul okay
• 35:38
  [SPEAKER_00]: Sorry, I learned something today.
• 35:41
  [SPEAKER_01]: I never say that we're not.
• 35:41
  [SPEAKER_01]: You said something about gum, and I wasn't true.
• 35:43
  [SPEAKER_01]: Yeah, no.
• 35:44
  [SPEAKER_01]: It's an amalgam.
• 35:45
  [SPEAKER_01]: Amalgam.
• 35:47
  [SPEAKER_02]: of multiple pop icons, but in particular, if you look at the footage we see her characters name is Mother Mary.
• 35:55
  [SPEAKER_02]: Mother Mary's tour has a lot of inspiration from Taylor Swift's reputation and eras tour, and that it is sort of summarizing her entire career.
• 36:06
  [SPEAKER_02]: A lot of like the production design is very similar, the sort of what it called.
• 36:12
  [SPEAKER_02]: confessional quality of the songwriting, so she's spying off of that mentality, and she has gone through some kind of mental collapse she needs to completely redefine herself.
• 36:25
  [SPEAKER_02]: And for whatever reason she's decided that she needs to do that through her next costume at her next performance, she doesn't like what her costume designer has done, so she has
• 36:36
  [SPEAKER_02]: returned to the caution designer who helped her creator signature look in the first place but they've had a falling out and they haven't spoken on like 10 years.
• 36:44
  [SPEAKER_00]: Yeah, and she's played by Michaela Cole and actors are really like.
• 36:49
  [SPEAKER_00]: She's fantastic and she has um, she's very striking.
• 36:53
  [SPEAKER_00]: She has like I just have a fantastic face like you just want to stare at this actress.
• 36:59
  [SPEAKER_00]: She was in black Panther.
• 37:00
  [SPEAKER_00]: That's where I first saw her.
• 37:01
  [SPEAKER_00]: Yeah.
• 37:02
  [SPEAKER_00]: I guess she was in the second black Panther.
• 37:06
  [SPEAKER_00]: And in half the way, the end of the way, the mother married character is, uh,
• 37:12
  [SPEAKER_00]: Like, I'm not sure if the movie is trying to mock how pretentious she is, or if we're supposed to accept that her demands are kind of a natural part of this universe.
• 37:24
  [SPEAKER_00]: Right, she goes to Michaela Cole and says, I need you to find the real me.
• 37:30
  [SPEAKER_02]: I need to dress that has cleverness.
• 37:33
  [SPEAKER_00]: Like, what about all those other costumes designers?
• 37:35
  [SPEAKER_00]: They didn't do it quite right.
• 37:37
  [SPEAKER_00]: I didn't see it myself.
• 37:38
  [SPEAKER_00]: They didn't see it myself.
• 37:40
  [SPEAKER_00]: in order to now explore her, make this dress, they have to explore her soul and the whole movie becomes this two-hander therapy session where they're talking about their past together.
• 37:50
  [SPEAKER_00]: I took from this that they were 100% most certainly lovers.
• 37:55
  [SPEAKER_00]: Like that seemed pretty obvious to me that these were two women who had previously had an affair and had some sort of falling out.
• 38:04
  [SPEAKER_00]: That would only, that's the only way to explain the intensity
• 38:09
  [SPEAKER_02]: Mother Mary fired her costume designer and, yeah, they worked together, they worked with his collaborators, but the level of betrayal, the emotional intensity that they play into that relationship reads far more like a breakup or the very least like family.
• 38:26
  [SPEAKER_02]: There was a much deeper emotional connection.
• 38:30
  [SPEAKER_00]: Yeah, and there's then just employee.
• 38:32
  [SPEAKER_00]: And they talk a lot about, and especially the Michaela Cole character, she talks a lot about
• 38:38
  [SPEAKER_00]: her one time affection for Mother Mary has turned into a a seavings simmering hatred.
• 38:44
  [SPEAKER_00]: Yes, she just like hates her more than anything.
• 38:46
  [SPEAKER_00]: Like as though the only thing that is driving her forward for many years.
• 38:49
  [SPEAKER_02]: Yeah, that's that's what caused her to build her own career is basically just my hatred for you made me want to do something different.
• 38:54
  [SPEAKER_02]: Yeah, and so yeah, so they have to overcome that baggage and the movie takes place and there's a lot of flashbacks, but basically in real time over the course of a night as They go through their shed and over the course of the film, their flashbacks, their bizarre dances, their
• 39:13
  [SPEAKER_02]: very poetic explorations of what they're feeling, and eventually, we do get into some ghost shit.
• 39:22
  [SPEAKER_00]: Yeah, they reveal they've been contacted by a similar ghostly entity that looks like a right anchor chef.
• 39:28
  [SPEAKER_02]: And that may be a metaphor that may be literal.
• 39:31
  [SPEAKER_02]: The movie is open for interpretation.
• 39:35
  [SPEAKER_00]: that the way they present the like the red hanger it's all very vaginal so well yeah, it's it's like a well it's it's like a well it's there's no man in the film at all in fact um yeah no, I think it's not not not a single male in the entire movie yeah
• 39:52
  [SPEAKER_00]: There's a lot about the high-falutin language that are really kind of started falling into.
• 39:57
  [SPEAKER_00]: There's a really cracker-jack sequence where we see Mother Mary going up on, like from backstage, we start going up on stage and then there's a hard cut to a walking off stage on the right side of the screen.
• 40:07
  [SPEAKER_00]: If it was a little shot.
• 40:08
  [SPEAKER_00]: Yeah, and she's like really exhausted and then goes right up onto an backstage.
• 40:11
  [SPEAKER_00]: It's all in one, panic like this big tracking shot.
• 40:14
  [SPEAKER_00]: And that's a really cool sequence.
• 40:15
  [SPEAKER_02]: And reminded me of the doorway chase in Sam Ramie's crime wave, but very...
• 40:20
  [SPEAKER_00]: They're very musical and I wish this had I wish this movie had more energy Yeah, as much energy as crime.
• 40:26
  [SPEAKER_00]: I'm cry, but a crime wave is not a good movie.
• 40:28
  [SPEAKER_02]: Oh, it's terrible We've even got energy.
• 40:29
  [SPEAKER_00]: Yeah They only people comparing that movie David Lowry has no energy is a very low energy director There's not a lot of zest and pop-type movies.
• 40:39
  [SPEAKER_02]: I feel like he's investment his energy his excitement comes from
• 40:45
  [SPEAKER_02]: the the almost obsessive fascination with what's very looking for here um okay I feel as though this movie is very difficult to uh okay he's actually he's he's he's stumped me he's taking away words no here's here's what I go I don't know if this is a
• 41:11
  [SPEAKER_02]: Fascinatingly pretentious people, or if it's just a pretentious movie.
• 41:17
  [SPEAKER_02]: Possibly both, because I wish there was a little bit of self-awareness there.
• 41:23
  [SPEAKER_00]: It's not camp, which is why it's actually camp.
• 41:27
  [SPEAKER_00]: Well, camp can't create itself.
• 41:29
  [SPEAKER_00]: That's one of the main rules of camp.
• 41:31
  [SPEAKER_00]: Yeah, if you're a very Susan Tantak.
• 41:34
  [SPEAKER_02]: I think the definition has gradually...
• 41:36
  [SPEAKER_02]: Come to accept the camp can be intentional, but I think what we're talking about is camp is people who take their work very very seriously But can only be appreciated by outsiders as Something humorous a visible yeah, guys if you're doing it on purpose.
• 41:49
  [SPEAKER_02]: It's more like kitch Yeah, it's a win that self-aware.
• 41:53
  [SPEAKER_02]: Yeah
• 41:54
  [SPEAKER_02]: And this is not winking himself more deeply serious about itself.
• 41:57
  [SPEAKER_00]: I mean, the reason I think it's queer is like, I see the bitter tears of Petrovont Kant all over this damn thing, which is a fast-bender film about two women who are
• 42:07
  [SPEAKER_00]: Gorgeously overdressed sniping about their past sexual relationship, right, and most of the movie takes place in one room This feels like a stage play that got out of hand.
• 42:16
  [SPEAKER_00]: It feels like a College short film that got way out of hand.
• 42:20
  [SPEAKER_02]: It's got that it's got this college level pretentiousness Where someone who is like clearly very talented clearly knows like where to put a camera Really has something that they want to say, but what they want to say isn't necessarily
• 42:34
  [SPEAKER_02]: clear or focused or even necessarily mature half the time.
• 42:38
  [SPEAKER_02]: It's just kind of a big me asthma of big ideas.
• 42:42
  [SPEAKER_02]: And I feel like Michaela Cole and Anne Hathaway were both great on this.
• 42:47
  [SPEAKER_02]: It's up to them to find
• 42:51
  [SPEAKER_02]: the humanity in this big ol' lump of artistic stuff.
• 42:56
  [SPEAKER_02]: Yeah, like I'm going to try to find a way to take this almost inhuman amount of pretentiousness and characters who live so far outside of
• 43:09
  [SPEAKER_02]: and speak so far outside of the way that any, almost any human being actually talks.
• 43:15
  [SPEAKER_02]: And I need to find the way to make them and their world real.
• 43:18
  [SPEAKER_02]: And I think they do an admirable job, but I think they're the reason why I didn't do not completely because I very easily could have if they weren't perfect.
• 43:27
  [SPEAKER_00]: And they mesh well.
• 43:28
  [SPEAKER_00]: Like they have good on-screen counties for these two actresses.
• 43:32
  [SPEAKER_00]: I wish I got a little bit more of a census to what kind of musical artist Mother Mary was.
• 43:39
  [SPEAKER_00]: We see her performing.
• 43:40
  [SPEAKER_00]: She's the press of artist.
• 43:42
  [SPEAKER_00]: She's the pressing songs.
• 43:44
  [SPEAKER_00]: Her songs pass through the brain without leaving any kind of mark whatsoever.
• 43:49
  [SPEAKER_00]: She just, they're like the last.
• 43:50
  [SPEAKER_00]: They're barely even here.
• 43:52
  [SPEAKER_00]: Her vocals.
• 43:52
  [SPEAKER_00]: The one that they played over the credits was okay.
• 43:54
  [SPEAKER_02]: I think that's the best one.
• 43:55
  [SPEAKER_02]: I think that's the one where I can actually, like, I can hear that and go, that might have done well.
• 43:59
  [SPEAKER_02]: That might have been a successful song.
• 44:01
  [SPEAKER_00]: Oh no, I don't think something like that would have charted it if that's what you mean.
• 44:04
  [SPEAKER_02]: I don't know if it's going on the pop music charts right now.
• 44:08
  [SPEAKER_00]: I know it's all sad boy music right now.
• 44:11
  [SPEAKER_00]: It's all really mellow.
• 44:13
  [SPEAKER_00]: The high energy, hard rock and stuff far away from the pop charts right now.
• 44:17
  [SPEAKER_02]: Well, even just pop music in general, I mean, there's fun stuff out there, like, you know, Taylor Swift's opalitis is a catchy diddy, but like, when you think about like how pop music used to be stuff like Abba, which is actually very bright and very musically complicated, and there is a certain...
• 44:35
  [SPEAKER_02]: There's a very different quality.
• 44:37
  [SPEAKER_02]: I'm not a music critic.
• 44:38
  [SPEAKER_02]: So I don't exactly had to describe it.
• 44:39
  [SPEAKER_02]: But there's just a different level of emotional and technical and producer-soreal intensity to what we're seeing right now.
• 44:48
  [SPEAKER_02]: And I think this movie is more indicative of that, it's more, it's speaking more to really what's been going on musically lately in that particular vein.
• 44:57
  [SPEAKER_00]: So David Lauer is trying to make some sort of big artistic statements about modern pop.
• 45:04
  [SPEAKER_00]: and about the personalities we tend to worship, but he's not connecting with a crowd at all.
• 45:09
  [SPEAKER_00]: It's just about the figures themselves.
• 45:11
  [SPEAKER_00]: Yeah, it's one of the costume designers.
• 45:12
  [SPEAKER_00]: It's about how the aesthetic of the pop star is the thing that drives them not the art.
• 45:18
  [SPEAKER_02]: I don't know about that, because I think ultimately, as we get to know, Mother Mary, and we find out why she had a breakdown, for example, we start to see what she is putting into her music and how her music sort of represents her own sadness.
• 45:31
  [SPEAKER_02]: I think what this movie is to me have the most interesting level is a story of artistic collaboration, two people who actually brought out something really good in themselves, and when they separated
• 45:41
  [SPEAKER_02]: they may have continued to do good work, but it was less than the sum of the parts.
• 45:46
  [SPEAKER_02]: Yeah.
• 45:46
  [SPEAKER_02]: And this is about them trying to find a way.
• 45:48
  [SPEAKER_02]: This is like Lenin and McCartney meeting 10 years later and saying maybe we should do one more album.
• 45:54
  [SPEAKER_00]: You know, don't give David Lowry idea.
• 45:58
  [SPEAKER_02]: My point is this, I feel like that's basically what he's doing.
• 46:00
  [SPEAKER_02]: He's talking about the collaborative spirit.
• 46:02
  [SPEAKER_02]: The ghost in this movie, I feel was very representative of sort of the artistic link that they shared and how that will always be a part of them even after they move on.
• 46:16
  [SPEAKER_02]: I also feel as though this movie is, and I wish that it engaged a bit more with this, because
• 46:22
  [SPEAKER_02]: and half the way his character clearly benefited in a very tangible and even financial way from Michaela Cole's character defining her not just her aesthetic but her character yeah she appears on screen she's always wearing like on stage she's always wearing like a halo and robes and
• 46:44
  [SPEAKER_02]: she credits McKaylor, Cole's character for that, which means that she's basically taken the work of a black artist and co-op today, presumably she was paid, but now I didn't hear any suggestion of money changing hands with this new dress.
• 47:02
  [SPEAKER_02]: It's basically like, I have lost my mojo, I need you to give it back to me.
• 47:07
  [SPEAKER_02]: There is definitely a
• 47:10
  [SPEAKER_02]: well fit or fame discrepancy here although big kill calls now playing a famous fashion designer but there's definitely a talent or power discrepancy here and also a racial discrepancy here where a white artist is co-opting a black person's work or needing that black person
• 47:33
  [SPEAKER_02]: Elevating to find their own material.
• 47:35
  [SPEAKER_00]: I wish David Lowry were wise enough to save that Right something about that in the movie.
• 47:39
  [SPEAKER_02]: He talks about everything else Every other aspect of their relationship other than explicitly saying that they're queer like
• 47:48
  [SPEAKER_02]: I mean, it's weird that that's not in there.
• 47:50
  [SPEAKER_00]: But they're all touched on it at all, though.
• 47:52
  [SPEAKER_02]: The reason Korea is is subtextual.
• 47:54
  [SPEAKER_02]: I don't think he understands that there's a Rachel dynamic at black.
• 47:57
  [SPEAKER_02]: Yeah, but it's frustrating, because he's...
• 47:59
  [SPEAKER_02]: I clearly think it about everything else.
• 48:00
  [SPEAKER_00]: And I want to wait for...
• 48:01
  [SPEAKER_00]: I reviewed this film on CaseYord, I'll be you.
• 48:03
  [SPEAKER_00]: And I described this film as these two characters as ex-loveries who were getting back together.
• 48:08
  [SPEAKER_00]: And it took my co-hosts.
• 48:10
  [SPEAKER_00]: Allison Willmore to point out, they don't actually save that in the movie.
• 48:13
  [SPEAKER_00]: The direct lovers.
• 48:14
  [SPEAKER_00]: It's like...
• 48:16
  [SPEAKER_00]: did I did my brain just put queerness into something again uh... i think it's a fair it's so i just explicitly stated so it's a little bit for interpretation i i suppose so i i it seems so clear to me that i didn't think it was an interpretation i thought it was explicit
• 48:32
  [SPEAKER_00]: I think it's definitely, and there's, there's like a, there's like a physical intimacy, there's just all the bitterness and it all felt like a romance.
• 48:40
  [SPEAKER_00]: Yeah.
• 48:40
  [SPEAKER_00]: Didn't even felt feel like subtext.
• 48:42
  [SPEAKER_00]: Yeah.
• 48:42
  [SPEAKER_00]: If you were to ask me, I would put, you know, it's, could, I would program this at like a queer film festival.
• 48:47
  [SPEAKER_00]: I guess, you know, these two women were allowed to.
• 48:50
  [SPEAKER_02]: Oh, I think I think it would fit.
• 48:52
  [SPEAKER_02]: And I would be incredibly surprised.
• 48:55
  [SPEAKER_02]: If the,
• 48:57
  [SPEAKER_02]: queer, subtext, allegory, or possibly just unspoken, but they was always canonical.
• 49:03
  [SPEAKER_02]: I would be very surprised if that wasn't discussed.
• 49:05
  [SPEAKER_02]: The very least by the actors, because it's very clear it has that energy, this like, jilted, lover energy.
• 49:14
  [SPEAKER_02]: The amount of, you've come crawling back, and that will give you what you want.
• 49:20
  [SPEAKER_02]: But I must rake you through the coals first for all the hurt that you've done that's if they were so deeply person.
• 49:27
  [SPEAKER_02]: That's not a working relationship thing.
• 49:29
  [SPEAKER_00]: Yeah, no, I don't agree.
• 49:31
  [SPEAKER_00]: No, we had a conversation.
• 49:32
  [SPEAKER_00]: I said if if if they're like just friends They're just friends the same way Achilles and patroclus were just friends.
• 49:38
  [SPEAKER_00]: Yeah, the way scholars describe them
• 49:40
  [SPEAKER_02]: There are federal lifemates.
• 49:42
  [SPEAKER_00]: Yeah.
• 49:43
  [SPEAKER_00]: They're just good, good, good roommates.
• 49:46
  [SPEAKER_00]: A lot of people have gone along with roommates.
• 49:48
  [SPEAKER_00]: I found like, uh, inscriptions from like old textbooks, or it's like, here's an inscription like an illustration of two women and bed together.
• 49:55
  [SPEAKER_00]: And the captions like, nobody knows why these two women are in bed again.
• 50:00
  [SPEAKER_00]: I just, they're made, they're made.
• 50:01
  [SPEAKER_00]: I was like, uh, hand again.
• 50:02
  [SPEAKER_02]: It was just really good friends with this one.
• 50:04
  [SPEAKER_02]: And again, technically, that may not actually have been literally set out loud,
• 50:10
  [SPEAKER_02]: Come on, like that, come on, we all know, right?
• 50:14
  [SPEAKER_00]: Like do we, we're the, the authors of that textbook being cheeky, it's like, we don't know.
• 50:18
  [SPEAKER_02]: I think some people may be, there was a time when, oh, God, what's his name?
• 50:28
  [SPEAKER_02]: Linda, Linda, no, who is the musician who like played piano with a chandelier?
• 50:36
  [SPEAKER_02]: I was like, I thought it was like Linda Rachi, you know, liberating the
• 50:44
  [SPEAKER_02]: I'm all over the place there.
• 50:46
  [SPEAKER_01]: Okay.
• 50:46
  [SPEAKER_02]: Good liberal actually.
• 50:47
  [SPEAKER_02]: There was a time when Liberace was in the closet.
• 50:51
  [SPEAKER_02]: No.
• 50:51
  [SPEAKER_02]: And people, and yeah, most people knew, but a lot of his audience didn't either because they were oblivious, they just didn't want it now.
• 50:59
  [SPEAKER_00]: They choked about that in the Austin Powers move.
• 51:01
  [SPEAKER_00]: Yeah.
• 51:02
  [SPEAKER_00]: Like, he froze into the 60s or I came to the 90s and he couldn't believe that Liberace had come out as gay.
• 51:09
  [SPEAKER_02]: Yeah, no.
• 51:09
  [SPEAKER_02]: I mean, if you watch a good night in Good Luck, there's a bit where,
• 51:14
  [SPEAKER_02]: You know, they have to interview with a lot of you.
• 51:16
  [SPEAKER_00]: It takes place in the mid-50s.
• 51:18
  [SPEAKER_02]: Yeah, they're interviewing Liberatians though.
• 51:20
  [SPEAKER_02]: So, where are you going to settle down with the right woman?
• 51:22
  [SPEAKER_02]: And like, he fucking knows.
• 51:24
  [SPEAKER_02]: Everyone's like, I have to put to, okay, fine, whatever.
• 51:30
  [SPEAKER_01]: Whatever you say.
• 51:31
  [SPEAKER_01]: It's a good movie, good night.
• 51:33
  [SPEAKER_02]: It's a good movie.
• 51:34
  [SPEAKER_02]: I didn't see the stage by obviously because I live here.
• 51:38
  [SPEAKER_02]: But I had heard mixed things, but the movie's really good.
• 51:41
  [SPEAKER_02]: All right, we should move on.
• 51:44
  [SPEAKER_02]: Let us, do you want to talk about, because I think we got two good segues here.
• 51:48
  [SPEAKER_02]: There is a behind-the-scenes documentary about a collaborative ongoing work of art, very poppy, or a movie about two women who are roommates, which one makes the most organic sense to you?
• 52:04
  [SPEAKER_00]: Well, what do we buy?
• 52:05
  [SPEAKER_00]: Well, why don't we just charge headlong in a room mate, because I want to know what this thing is.
• 52:09
  [SPEAKER_02]: Room mates.
• 52:10
  [SPEAKER_02]: roommate is the newest comedy from Happy Madison.
• 52:13
  [SPEAKER_02]: It stars Sadie Sandler, yes, they're related.
• 52:19
  [SPEAKER_02]: Not a coincidence, and Chloe East.
• 52:21
  [SPEAKER_02]: And Sadie Sandler plays a, like a teenager who has never had a best friend before.
• 52:27
  [SPEAKER_02]: Like she's very, very nice loving with her family, but she's socially awkward.
• 52:32
  [SPEAKER_02]: She never really made close friends.
• 52:34
  [SPEAKER_02]: And she's never had anyone she would even call a best friend.
• 52:36
  [SPEAKER_02]: And she's working just gonna go to college and never get to know anybody.
• 52:40
  [SPEAKER_02]: At one of the like sort of getting to know you events before college, she meets a very outgoing girl played by Chloe East.
• 52:50
  [SPEAKER_02]: rebellious, hard drinking, covered in tattoos, and they hit it off, and they become vet-fast friends, and they decide to be roommates together when they move into the dorms, and so they do.
• 53:03
  [SPEAKER_02]: And at first, everything is great, and this roommates seems to be very, you know, very positive on Sadie Sandler, like she's actually like getting hurt like, you know, hey, do you want to go out?
• 53:13
  [SPEAKER_02]: Only if my roommate's okay with it, you come in with like it's actually like very positive for a while But over time the cracks start to show and The relationships start turning toxic Hmm, first in kind of little ways but and in ways that let me be not little, but it's hard to say whose fault it is
• 53:32
  [SPEAKER_00]: Now, like, this is a comedy film though.
• 53:34
  [SPEAKER_00]: So, as the evil presented is like, filmmedic out.
• 53:38
  [SPEAKER_00]: The hit at now.
• 53:40
  [SPEAKER_02]: That's what makes this movie actually interesting.
• 53:42
  [SPEAKER_02]: Okay, happy Madison movie, because on one hand, they're the original odd couple.
• 53:47
  [SPEAKER_02]: she's relatively conservative or at least reserved and the other one is very outgoing party girl and over time Sadie Sandler comes out of her shell a bit and actually like finds more friends and becomes more confident herself and starts living the life she wants to live.
• 54:03
  [SPEAKER_02]: But she also starts realizing that Chloe East is fucking with her maybe intentionally maybe not but there's always like
• 54:12
  [SPEAKER_02]: plausible deniability to it.
• 54:14
  [SPEAKER_02]: Okay, like they're going to go to spring break and say the family comes from a very comfortable upbringing.
• 54:22
  [SPEAKER_02]: And Chloe doesn't.
• 54:23
  [SPEAKER_02]: She says she comes from a very poor family and so she can't afford to get like playing tickets to go and just bring break with all their friends.
• 54:29
  [SPEAKER_02]: And so Sadie Sink.
• 54:31
  [SPEAKER_02]: Offers.
• 54:32
  [SPEAKER_02]: Sorry, yes.
• 54:33
  [SPEAKER_02]: Sadie Sam.
• 54:34
  [SPEAKER_02]: They're not enough Sadie.
• 54:36
  [SPEAKER_02]: They're not enough Sadie's.
• 54:37
  [SPEAKER_02]: I feel like I at least didn't say Sadie Frost.
• 54:40
  [SPEAKER_02]: Sadie Samler basically offers to pay her because they got to pay me back, but I'll pay it.
• 54:44
  [SPEAKER_02]: And that's like, you did offer.
• 54:46
  [SPEAKER_02]: She didn't make you do that.
• 54:48
  [SPEAKER_02]: And then later on when Chloe East is like feeling very sick.
• 54:51
  [SPEAKER_02]: And it's like, oh, but I have this paper do Sadie Samler offers to write it for her.
• 54:56
  [SPEAKER_02]: You shouldn't do that.
• 54:57
  [SPEAKER_02]: First off, that's unethical.
• 55:00
  [SPEAKER_02]: Yeah.
• 55:01
  [SPEAKER_02]: you shouldn't fucking do that.
• 55:04
  [SPEAKER_00]: And you're like, or help, it's like, okay, you're sick and bad, dictate from bad.
• 55:09
  [SPEAKER_02]: Yeah, yeah.
• 55:10
  [SPEAKER_02]: What is happening here is that there is actually a very real conversation happening for a while where on one hand,
• 55:17
  [SPEAKER_02]: Sadie Sandler started to get very frustrated with Chloe's character and she's starting to feel very used and starting to feel very insulted and at the same time Chloe used to still being a very good friend in many ways.
• 55:32
  [SPEAKER_02]: She visits her family for Thanksgiving and is very very nice to everybody and is very supportive of Sadie Sandler's brother who was clearly gay but has not come out of the closet yet.
• 55:41
  [SPEAKER_02]: She's very supportive of him.
• 55:43
  [SPEAKER_02]: She even like saves Sadie Sandler's grandmother's
• 55:47
  [SPEAKER_02]: Oh, wow, okay.
• 55:48
  [SPEAKER_02]: So like, is this a situation where Chloe East is this like a single like female terrible thing that's about to happen, which is going to be leaves some room for, or is it just bad communication?
• 56:02
  [SPEAKER_02]: Like is the problem here that Sadie Sandler who never really had a friend before has also never really had to set boundaries before?
• 56:09
  [SPEAKER_02]: And so I'm watching this and I'm like, okay,
• 56:13
  [SPEAKER_02]: And it's an interesting film about their relationship in many ways.
• 56:17
  [SPEAKER_02]: And I'm not sure if the way that this is going, I'm supposed to be increasingly horrified by Chloe East or am I supposed to be increasingly horrified by Sadie Sandler's character who starts turning more and more dark as the story progresses even though there is at least a decent chance that she is overreacting to everything.
• 56:38
  [SPEAKER_02]: And that's a very interesting character dynamic for a happy Madison movie, but really, any comedy.
• 56:46
  [SPEAKER_02]: There's a certain complexity there.
• 56:47
  [SPEAKER_00]: Yeah, there.
• 56:49
  [SPEAKER_00]: I've seen a few movies that have something similar to what you seem to be describing.
• 56:55
  [SPEAKER_00]: Going back all the way to something like in cold blood, there's a line in in cold blood, the movie, about how these two men committed a horrendous crime.
• 57:07
  [SPEAKER_00]: It's a true story.
• 57:09
  [SPEAKER_00]: And they talk about how, as individuals, neither of them would have done that, but they kind of being together, yeah, brought out the worst, to kind of go to each other and to committing this crime, together as a unit.
• 57:21
  [SPEAKER_02]: Yeah, you're right.
• 57:22
  [SPEAKER_02]: The Happy Madison Comedy remakes us exactly like in Coldblood, you're right.
• 57:25
  [SPEAKER_00]: Well, they're other comedies.
• 57:26
  [SPEAKER_00]: Like, well, what was the comedy with Dan Acrode and John Belusiness?
• 57:29
  [SPEAKER_00]: Neighbors.
• 57:30
  [SPEAKER_00]: There's called neighbor.
• 57:30
  [SPEAKER_00]: Yeah.
• 57:31
  [SPEAKER_00]: So what's something like that?
• 57:34
  [SPEAKER_02]: Yeah.
• 57:35
  [SPEAKER_02]: For example, it's much more like it's a very different dynamic because it's about a therapist Richard Drive is pleased that they're a best and his new patient Bill Murray has a lot of problems But he takes him on like right before he goes on vacation and Bill Murray follows him to his vacation and Richard Drive is his horrified by this
• 57:53
  [SPEAKER_02]: Yeah, this is something we're not gonna do to us.
• 57:55
  [SPEAKER_02]: But his family is very inviting and actually is very nice to Bob.
• 57:59
  [SPEAKER_02]: And everything Bob does ruins Richard Dreyfus' life, but is also deeply sympathetic.
• 58:05
  [SPEAKER_02]: And his family starts citing with Bob more than Richard Dreyfus.
• 58:08
  [SPEAKER_02]: And by the end of the movie, Bill Murray is saying and Richard Dreyfus is insane.
• 58:14
  [SPEAKER_02]: It's a really, really interesting comedy.
• 58:16
  [SPEAKER_02]: Now, the problem with roommates is that, unfortunately, it's not very funny.
• 58:22
  [SPEAKER_00]: Well, these kinds of stories can't be, if you're gonna follow through it has to go to some pretty bleak places.
• 58:28
  [SPEAKER_02]: Yeah, it never goes quite as bleak as it could, but it goes a little bleaker than I thought.
• 58:32
  [SPEAKER_02]: Like it, it actually takes multiple characters to task for pretty horrendous shit that I was reasonably confident the movie wouldn't take him to task for.
• 58:43
  [SPEAKER_02]: The kind of stuff that like,
• 58:45
  [SPEAKER_02]: people might write off in a comedy and then years later you go, yeah it's actually kind of fucked up.
• 58:50
  [SPEAKER_02]: We never really talk about how that part of that movie is really fucked up, but by the end of the movie it's like, no that was fucked up.
• 58:55
  [SPEAKER_02]: And Kudos for that.
• 58:56
  [SPEAKER_02]: I do believe that one of the characters is you work really, really hard to make every bad thing that they do seem very,
• 59:07
  [SPEAKER_02]: But if not sympathetic, at the very least, we understand why they did it and we feel kind of bad for them.
• 59:11
  [SPEAKER_02]: Like, you still deserve come up in, but I don't think you're necessarily evil.
• 59:16
  [SPEAKER_02]: I think you're just fucked up.
• 59:18
  [SPEAKER_02]: And I feel like, by the end of the movie, one of them is just sort of completely vilified.
• 59:23
  [SPEAKER_02]: And I thought they did too much work humanizing them to get away with that, which is frustrating.
• 59:26
  [SPEAKER_02]: But,
• 59:28
  [SPEAKER_02]: Yeah, I admire the character work.
• 59:29
  [SPEAKER_02]: I admire the introspection.
• 59:30
  [SPEAKER_02]: I feel like a lot of happy Madison movies.
• 59:33
  [SPEAKER_02]: Again, there's some good ones.
• 59:34
  [SPEAKER_02]: I think house money is really sweet.
• 59:36
  [SPEAKER_02]: Very funny.
• 59:36
  [SPEAKER_02]: I think even the first Paul Blart is although very generic in a lot of ways, it's a sweet film.
• 59:42
  [SPEAKER_02]: It's actually got its heart in the right place.
• 59:44
  [SPEAKER_02]: But a lot of happy Madison movies.
• 59:47
  [SPEAKER_02]: don't feel like they were made by sensitive people.
• 59:49
  [SPEAKER_02]: Like how spawning or they tend to celebrate bullying?
• 59:52
  [SPEAKER_02]: Yeah, yeah, the things that they find funny are the things that a bully would do.
• 59:58
  [SPEAKER_02]: It's the big distinction between Paul Blart one and two.
• 1:00:00
  [SPEAKER_02]: Paul Blart, I wrote a scenario of you.
• 1:00:01
  [SPEAKER_02]: Paul Blart feels like it was made by people who knew what was like to be bullied.
• 1:00:05
  [SPEAKER_02]: And Paul Blart too feels like it was made by bullies because what they think is funny is hurting people.
• 1:00:10
  [SPEAKER_02]: And comedy can be pain.
• 1:00:13
  [SPEAKER_02]: Yeah, I'm proud falls and, and oh no, I'm horribly embarrassed.
• 1:00:17
  [SPEAKER_02]: Something terrible happened to me, but in order to make that funny, you have to understand the nuances of where the audience is sympathy's lie.
• 1:00:26
  [SPEAKER_02]: And where you can go too far and lose us and make us not think about how funny it is and think about just how sad it is.
• 1:00:32
  [SPEAKER_00]: how or how is that person being being made to feel pain yeah if we are mocking them for their size or their gender or their race those are not okay yeah that's not sympathetic that's not something I can enjoy in the audience I think it's in one space
• 1:00:50
  [SPEAKER_00]: I will find it incredibly funny if some random person who has done nothing wrong is repeatedly punished and injured and smashed in the head throughout a comedy film.
• 1:01:03
  [SPEAKER_02]: Yeah, look at the time bandits.
• 1:01:05
  [SPEAKER_02]: There was a recurring joke in time bandits that traveled all these different time periods.
• 1:01:08
  [SPEAKER_02]: And in every time period, Michael Palin and Shelley Duval played doomed lovers.
• 1:01:13
  [SPEAKER_02]: Yeah, it's something terrible happens to them.
• 1:01:15
  [SPEAKER_02]: Everything, do not deserve it.
• 1:01:16
  [SPEAKER_02]: But it happens to them every time.
• 1:01:19
  [SPEAKER_00]: And it's almost like fate mocking these people.
• 1:01:22
  [SPEAKER_02]: And I think that kind of humor is kind of like, because we understand what it's like to be like, the universe is shitting on us.
• 1:01:28
  [SPEAKER_02]: But if the reason they were being shitting on was someone didn't like their religion or something, then it's just like, well, I know that hurts.
• 1:01:38
  [SPEAKER_02]: That's actually like, that's really close to home.
• 1:01:40
  [SPEAKER_02]: So,
• 1:01:42
  [SPEAKER_02]: I appreciate that this is a happy Madison movie that is actually kind of introspective about that But it doesn't necessarily make it funny if you're going to make this was this is Dennis Duke and again No, no, what's Dennis Duke and it was a guy who hasn't made a lot of comedy saying on Look at a formula like well, I've had my van for a second But yeah, no, the problem is that it's just because there's actually more complexity than usual
• 1:02:08
  [SPEAKER_02]: The actual odd couple of humor of it can't really function.
• 1:02:12
  [SPEAKER_02]: I mean, Neil Simon could get away with it in the actual odd couple, but even Neil Simon was just like, a lot of the joke is, he's really fussy and he's a slob, really simple.
• 1:02:23
  [SPEAKER_02]: These characters actually are too complicated to fit into those tiny little boxes, so that just that simple contrast,
• 1:02:32
  [SPEAKER_02]: We see things very differently.
• 1:02:33
  [SPEAKER_02]: We care about very different things.
• 1:02:35
  [SPEAKER_02]: We sort of exasperated, excuse me, we sort of exasperated each other.
• 1:02:39
  [SPEAKER_02]: That can't be funny.
• 1:02:41
  [SPEAKER_02]: I feel like they try to add like some weird joky humor like to a lot of it in order to sort of alleviate that, but I feel like the movie doesn't wanna be that funny.
• 1:02:51
  [SPEAKER_00]: Ah, this was directed by a Canadian director.
• 1:02:57
  [SPEAKER_00]: I'm not familiar with the Chandler LaVac.
• 1:02:59
  [SPEAKER_00]: And she has directed films I've been seeing.
• 1:03:03
  [SPEAKER_00]: We forgot to break up.
• 1:03:05
  [SPEAKER_00]: That's a great film title.
• 1:03:06
  [SPEAKER_00]: Myel and Kix from last year, starring Barbie Ferreira, based on her own life and her writing of a book about Jagged Little Pill.
• 1:03:18
  [SPEAKER_00]: So very Canadian.
• 1:03:20
  [SPEAKER_00]: J-baru shell in it.
• 1:03:22
  [SPEAKER_00]: Yeah, this is a super Canadian movie.
• 1:03:24
  [SPEAKER_00]: That's funny.
• 1:03:25
  [SPEAKER_00]: Yeah, father's looks really interesting More so than roommates.
• 1:03:29
  [SPEAKER_02]: Yeah, yeah, yeah.
• 1:03:30
  [SPEAKER_02]: Look at roommates is not a great movie.
• 1:03:31
  [SPEAKER_02]: I think it's a it's a Just okay comedy and it is trying to be a comedy
• 1:03:35
  [SPEAKER_02]: It's a complete way to the talents of Sarah Sherman, who I think is genuine comedic genius.
• 1:03:42
  [SPEAKER_02]: He's one of the best, there's actually quite a few really talented people inside of my life right now.
• 1:03:47
  [SPEAKER_02]: A lot of them are doing great work, but it feels like they understand Sarah Sherman is...
• 1:03:52
  [SPEAKER_02]: like P.V.
• 1:03:54
  [SPEAKER_02]: Herman levels of bizarre.
• 1:03:56
  [SPEAKER_02]: And whenever they let her just go wild, it's a treat.
• 1:04:00
  [SPEAKER_02]: And I feel like we're waiting to see someone use Sarah Sherman in a movie.
• 1:04:07
  [SPEAKER_02]: Let her shine, let her do what she does and go absolutely nuts.
• 1:04:14
  [SPEAKER_02]: She's just playing like this dean of student life who's telling a story about these remains as a cautionary tale, which is fine, but it's kind of a waste of her talents.
• 1:04:24
  [SPEAKER_02]: But that's part of where they're trying to make it just wacky and funny.
• 1:04:28
  [SPEAKER_02]: Yeah, it's a little bit out war with itself tonally, but I don't think it's a total wash.
• 1:04:32
  [SPEAKER_02]: I really don't I don't think it is a bad movie I don't think it's a particularly good comedy, but it is a more interesting movie than I expected All right, I don't get what's on credit for that.
• 1:04:40
  [SPEAKER_02]: I think it deserves credit for that.
• 1:04:41
  [SPEAKER_02]: All right.
• 1:04:42
  [SPEAKER_02]: I like that.
• 1:04:43
  [SPEAKER_02]: Yeah Tell me about the movie I can't pronounce
• 1:04:49
  [SPEAKER_00]: Yeah, I'm not going to, I'm not even, it's a rupture, it's a rupture, it's a, that's the Polish word for a rupture and a Volcanoes are a very important symbol in this movie.
• 1:05:00
  [SPEAKER_00]: It's a written and co-written and directed by Pete O's, but it's also co-written by the stars because a lot of this movie seems improvised.
• 1:05:10
  [SPEAKER_00]: It stars Charlie X, the pop star.
• 1:05:14
  [SPEAKER_00]: character named Bethany as she is she goes to Warsaw with her boyfriend Rob, Rob is there to propose marriage.
• 1:05:24
  [SPEAKER_00]: He actually suggested they go to some place much more romantic but she said let's go to Warsaw and it turns out Bethany wanted to go to Warsaw because her best friend now played by an actress named Alina Gora.
• 1:05:33
  [SPEAKER_00]: Okay
• 1:05:34
  [SPEAKER_00]: lives there, and she wants to kind of reconnect with this best friend, and they they talk a lot about how whenever they get together of volcano erupts somewhere on earth and would literally literally, literally of volcano erupts, and wouldn't you know it?
• 1:05:48
  [SPEAKER_00]: Mount Etna erupts while they when they get back together they see this as some sort of like cosmic sign that they're meant to just hang out perpetually.
• 1:06:01
  [SPEAKER_00]: They're essentially trying to escape their
• 1:06:04
  [SPEAKER_00]: maybe post high school or post college party phase and continue it indefinite to clarify the premise because I'm a little confused.
• 1:06:14
  [SPEAKER_02]: Every time they get together with volcano erupts, right?
• 1:06:16
  [SPEAKER_02]: Yes, or in the world.
• 1:06:17
  [SPEAKER_02]: But do we mean like every time they like see each other after they haven't seen each other in weeks or like every time like, okay, I'll see you at lunch and then a volcano erupts alone.
• 1:06:26
  [SPEAKER_00]: No, no, like when they after a prolonged period when they reunite, a volcano erupts.
• 1:06:30
  [SPEAKER_02]: Okay, so if they stay together with volcano one erupt.
• 1:06:33
  [SPEAKER_02]: I suppose so if if you want to put some room because it sounds like what you're saying is that as long as we're together A volcano was currently pumping lava No indoor like a giant, you know, no that this is the atmosphere No, no, no, this is not seen as like a Disaster is going to happen.
• 1:06:48
  [SPEAKER_00]: They see it as something very dramatic happens.
• 1:06:51
  [SPEAKER_00]: They're dying volcano.
• 1:06:53
  [SPEAKER_00]: Okay, get over it.
• 1:06:54
  [SPEAKER_00]: Okay
• 1:06:55
  [SPEAKER_00]: I'm sorry.
• 1:06:56
  [SPEAKER_00]: It's not part of this movie.
• 1:06:57
  [SPEAKER_01]: It's something interesting, because it sounds like colossal.
• 1:07:01
  [SPEAKER_00]: No, not the way it is.
• 1:07:02
  [SPEAKER_01]: Okay, all right, fine, all right.
• 1:07:03
  [SPEAKER_00]: Because the tone of this movie is not about that.
• 1:07:06
  [SPEAKER_00]: It's about how they see the volcano erupting as a very, a symbol of potency, a symbol of the importance of their relationship.
• 1:07:14
  [SPEAKER_00]: They get, so it's their role, but it's mostly not.
• 1:07:16
  [SPEAKER_00]: They are renting the earth open with their relationship, even though it's literal, it is mostly an allegory.
• 1:07:22
  [SPEAKER_02]: For them it's it's simple.
• 1:07:25
  [SPEAKER_02]: I'm just saying the movie doesn't reckon with the with the literal quality of that.
• 1:07:28
  [SPEAKER_02]: No, because it's not a magical moving Every time they get together a volcano erupt.
• 1:07:32
  [SPEAKER_02]: Okay, I'm done.
• 1:07:33
  [SPEAKER_02]: I you know what?
• 1:07:34
  [SPEAKER_02]: I'm clearly distracted by the wrong thing.
• 1:07:36
  [SPEAKER_02]: Yeah, apologize.
• 1:07:37
  [SPEAKER_02]: I don't mean them take over this.
• 1:07:38
  [SPEAKER_00]: This is not a.
• 1:07:39
  [SPEAKER_02]: This is not a fantasy.
• 1:07:40
  [SPEAKER_02]: I'm just going to shut the fuck up.
• 1:07:41
  [SPEAKER_02]: I'm just late.
• 1:07:42
  [SPEAKER_02]: I apologize.
• 1:07:42
  [SPEAKER_02]: I just got really.
• 1:07:43
  [SPEAKER_00]: Let me finish describing it.
• 1:07:45
  [SPEAKER_00]: Yeah, right.
• 1:07:45
  [SPEAKER_00]: You can get your hair on it.
• 1:07:49
  [SPEAKER_00]: but uh rob the boyfriend uh gets a little frustrated because uh Bethany and now are now spending too much time together he keeps plant like he's like well I knew we were gonna come to Warsaw so I got these dinner reservations if it's really exclusive restaurants hard I just spend weeks on this waiting list to get into this and she says oh by the way we're gonna go to a party and then she just vanishes from the party so they can go clubbing together because she wants to hang out with her friend okay
• 1:08:13
  [SPEAKER_00]: Bethany knows that the boyfriend wants to propose and she's not comfortable with that and so is trying to avoid him as much as possible.
• 1:08:20
  [SPEAKER_00]: Okay.
• 1:08:22
  [SPEAKER_00]: And they meet another American, this movie is in Polish, but it's mostly in English, so they're just sort of like bumming about Warsaw, and it has this really kind of free-wheeling hangout quality, where we're just sort of spending time in rooms and we're kind of just drifting from partying party and having a lot of conversations, absorbing what the city is.
• 1:08:46
  [SPEAKER_00]: And I love movies like that.
• 1:08:48
  [SPEAKER_00]: I love movies that can sustain just sort of living in a place for an extended period.
• 1:08:53
  [SPEAKER_02]: Yeah, we get a lot of sense of what it's like to not only be with these characters, but be there.
• 1:08:57
  [SPEAKER_00]: Be there in that room.
• 1:08:59
  [SPEAKER_00]: Also, just sort of see everyday life in a big city.
• 1:09:04
  [SPEAKER_00]: It's not a picture postcard.
• 1:09:05
  [SPEAKER_00]: It's not going to the tourist places.
• 1:09:07
  [SPEAKER_00]: What is it like to be 22 years old hanging out in apartment in Warsaw in 2026?
• 1:09:16
  [SPEAKER_00]: This is what it looks like and I appreciate the kind of earthy natural, almost like guerrilla style filmmaking where we're just kind of wandering and it feels very, very authentic.
• 1:09:26
  [SPEAKER_00]: And it is very much about that post-college milieu where you're fear and take a drink where you're trying to, you're in a position where you know it's time to grow up, but you don't wanna, you're gonna hang on to that last day of summer before school starts that long way, I'm not going to bed.
• 1:09:46
  [SPEAKER_00]: And when, and yod, I don't, and it's not just like, I'm resistant to settling down, it's more like,
• 1:09:51
  [SPEAKER_00]: There is no magic in young romance.
• 1:09:56
  [SPEAKER_00]: The magic comes from the friends that we had.
• 1:09:59
  [SPEAKER_00]: And the parties that we went to.
• 1:10:00
  [SPEAKER_00]: And this is now backed up in our minds by the fact that we are altering the movement of magma in the earth whenever we hang out.
• 1:10:11
  [SPEAKER_00]: So, and when you're young, it can feel like that.
• 1:10:15
  [SPEAKER_00]: Sometimes the friends you make do feel that important to you.
• 1:10:21
  [SPEAKER_00]: it was the friends you made along the way and even more so than a romance that those friendships can feel really that dramatic and this is a movie about trying to capture the most natural way possible the intensity of that.
• 1:10:33
  [SPEAKER_00]: I love how late into the film we get, like we're about an hour into this movie.
• 1:10:38
  [SPEAKER_00]: Like 50 minutes before we get the description of this is exactly what's happening with these volcanoes and guess what the movie is 71 minutes We're almost done at that point.
• 1:10:48
  [SPEAKER_02]: That's it.
• 1:10:48
  [SPEAKER_00]: That's wow 71 huh.
• 1:10:50
  [SPEAKER_00]: Yeah, it's real real pretty nice Yeah, Breeze is in and out gets really really kind of hits hard with this That was only 71 minutes pretty pretty brave
• 1:11:00
  [SPEAKER_02]: Does it does it does it feel like we got the whole movie doesn't it?
• 1:11:03
  [SPEAKER_02]: No, no, it's it doesn't feel like it's short-change anything Something one is a really good running time people don't give it enough credit like Like a lot of like some of the best movies that we love ever like Frankenstein Does anyone that's yeah, or 72 whatever like talk about other mummy movies.
• 1:11:17
  [SPEAKER_00]: Some of those things are an hour Yeah, six minutes long.
• 1:11:20
  [SPEAKER_02]: Yeah, and even those are padded It's like the first 15 minutes.
• 1:11:25
  [SPEAKER_02]: Just footage on the previous films
• 1:11:26
  [SPEAKER_00]: They're really bad movies, by the way.
• 1:11:28
  [SPEAKER_00]: So there's mommy sequels from the four of you.
• 1:11:30
  [SPEAKER_02]: Oh, the mommy sequels are pretty much all bad, but like the first one's quite good.
• 1:11:34
  [SPEAKER_00]: the first mommy yeah very very haunting you know um but uh but no okay so so good movies which is saying good movie oh yeah really I'm Charlie xx yeah is everywhere in fact we didn't even bring it up but she helped to co-write some of the songs from other married oh yeah so there's a Charlie xx song she wrote some of the music for weathering heights as well and and we also just last week talked about her appearance and faces of death so she isn't everywhere right now i think
• 1:12:01
  [SPEAKER_00]: you take her a role in phases of death.
• 1:12:03
  [SPEAKER_00]: It's actually a very showy role.
• 1:12:06
  [SPEAKER_00]: She plays like the mean girl in the office and it's really kind of overacting and snarling a lot.
• 1:12:10
  [SPEAKER_00]: She's not just nothing to do with the plot.
• 1:12:13
  [SPEAKER_00]: It's not an important role, but she does kind of overplay it to sort of add a little bit of tone of nastiness to that movie.
• 1:12:22
  [SPEAKER_00]: And in this one, she actually kind of proves that she does have some range as an actress because she's actually underplaying a lot of it.
• 1:12:29
  [SPEAKER_00]: She knows that a film like this needs a little bit more of a natural style to it.
• 1:12:34
  [SPEAKER_00]: She's a pop star and she doesn't have any kind of diva qualities.
• 1:12:37
  [SPEAKER_00]: She feels like a person.
• 1:12:38
  [SPEAKER_02]: I think the best pop stars often make really good actors because the best pop stars aren't just like, well they're performing on stage, aren't they?
• 1:12:44
  [SPEAKER_00]: Well they're performing on stage, but they're performing like a persona.
• 1:12:47
  [SPEAKER_02]: Yeah, they're performing a persona, but also if they're right there on songs in particular, they, those are very, like the best songs, even pop songs are personal.
• 1:12:56
  [SPEAKER_02]: Yeah.
• 1:12:56
  [SPEAKER_02]: they're expressing something and they're telling stories so yeah it makes sense that like a David Bowie was a great actor you know it makes sense that Lady Gaga is actually a great actor you know so it can work out okay cool yeah really really dug your rips yeah okay not the last film we will be discussing is a documentary
• 1:13:18
  [SPEAKER_02]: called Lauren.
• 1:13:19
  [SPEAKER_02]: Lauren is about TV super producer, Lauren Michaels, who, uh, a little over 50 years ago now, co-created Saturday Night Live.
• 1:13:28
  [SPEAKER_02]: Uh, which is that's that's still on.
• 1:13:30
  [SPEAKER_02]: It's still on.
• 1:13:31
  [SPEAKER_02]: It's a big fucking deal.
• 1:13:32
  [SPEAKER_02]: It's it's helped nurture and introduce a lot of the best comedians of the last half century Into the popular consciousness.
• 1:13:42
  [SPEAKER_02]: I'm Zandler in fact out Adam Sandler Bill Murray any Murphy Dan Atkroy John Balushi Robert Downey Jr
• 1:13:55
  [SPEAKER_02]: Joan Cuseck, that same season, the old faded season, or everyone, but John Lovis was fired.
• 1:14:01
  [SPEAKER_02]: 86, there's around there.
• 1:14:04
  [SPEAKER_02]: That was actually, so real real fast.
• 1:14:07
  [SPEAKER_02]: Lorne Michaels was not particularly successful comedian and comedy writer who came up with the idea for a very Lucy Goosey, very rebelliously spirited late night program, which would have a lot of edgy sketch comedy and would have a lot of really,
• 1:14:23
  [SPEAKER_02]: fascinating personalities involved.
• 1:14:27
  [SPEAKER_02]: The show was not right away, it was pretty quickly ahead.
• 1:14:31
  [SPEAKER_02]: And because of its format, because it didn't really need to have the same cast over and over, again, in fact, new cast members coming in and injected new life and new creativity into the
• 1:14:52
  [SPEAKER_02]: and learn Michael's produce that for the better part of a decade and then left and the show was produced by someone else from like the very late 70s who's like the mid 80s and it was right on the verge of being canceled because it kind of lost its way and then they brought learn Michael's back and learn Michael's this isn't the focus of the movie or anything but since we brought it up his first thing he did was okay instead of getting a bunch of comedians we're going to get a bunch of
• 1:15:15
  [SPEAKER_02]: And that's when that's the season when he hired like Anthony Michael Hall and Robert Downey Jr. And John Qsack and that season was legendarily bad.
• 1:15:25
  [SPEAKER_02]: So much so that the final sketch of that season was Lauren Michaels telling the entire cast to like go into the building and then setting it on fire except John love it so you can go.
• 1:15:36
  [SPEAKER_02]: Which is very dark.
• 1:15:41
  [SPEAKER_02]: Say it on live is such a cultural institution that it so much has been written about it there have been an Or was it a review last year there was a Saturday night?
• 1:15:49
  [SPEAKER_00]: I think it was actually two years ago Oh, but was that long ago?
• 1:15:52
  [SPEAKER_02]: Yeah, it was Jason right men did Saturday night about the very first night of Saturday night That life was pretty good
• 1:15:56
  [SPEAKER_00]: I like the movie, so it's so propulsive.
• 1:16:00
  [SPEAKER_00]: The energy is infectious.
• 1:16:01
  [SPEAKER_02]: The casting is mostly spot on, and I don't necessarily think it's necessarily like a great story, but it feels like you're there.
• 1:16:10
  [SPEAKER_02]: It feels like you're present.
• 1:16:11
  [SPEAKER_02]: That's very, that's hard to track and good for them.
• 1:16:15
  [SPEAKER_02]: Also for the 15th anniversary of Serenet Live, there were a whole bunch of documentaries about making a Serenet Live throughout the years.
• 1:16:26
  [SPEAKER_02]: You know, magazine article with brand new interviews of people who were there for the beginning.
• 1:16:31
  [SPEAKER_00]: I've joked that Saturday night live was was just so great for one episode after that first episode it was all down on hell.
• 1:16:43
  [SPEAKER_00]: Oh, yeah, just you and we actually had some some of our listeners because we were winging about how Saturday night alive if you watch it from beginning to end, a whole episode in broad daylight.
• 1:16:57
  [SPEAKER_00]: you're you're waiting through a lot of shit to get to like each episode was like maybe 13% good and the rest is just your paycheckly waiting until the start of 130 on Saturday nights we're supposed to stagger home drunk yeah and watch it that and yeah one of our our listeners wrote in and says no it it needs to have that kind of immediate late night quality yeah you watch it in the broad daylight of course it's not good no i think i don't tell me but i i still
• 1:17:23
  [SPEAKER_02]: I even if you watch it late at night though, well the thing is that there's a line and I've heard it said for a second that Love many times and it's mentioned in this documentary which I'll eat talk by the actual movie in a minute, but
• 1:17:35
  [SPEAKER_02]: it's we don't go on because we're ready we go on because it's 1130.
• 1:17:39
  [SPEAKER_02]: Yeah.
• 1:17:41
  [SPEAKER_02]: And that's true for a lot of Saturday night live and a lot of like any classic Saturday night life sketch that you can think of.
• 1:17:47
  [SPEAKER_02]: The hell that I sketch with Ryan Gosling or I'm just trying to get what's another great one of the the cowbell sketch for example.
• 1:17:56
  [SPEAKER_02]: Name another sketch from that episode.
• 1:17:58
  [SPEAKER_02]: That's the same up there.
• 1:17:59
  [SPEAKER_02]: You're watching it because every once in a while, if you're lucky once in episode, or at least a few times a season, there's actual comedy goal that emerges from, we wrote this at 5am and we were completely losing our marbles and there's no way this should have fucking worked, but we just stumbled onto some weird chemistry.
• 1:18:22
  [SPEAKER_00]: It feels like like a comedy troupe figuring out what their material, but the problem is we get to see all of the failed experiments while they find the good stuff.
• 1:18:31
  [SPEAKER_02]: Exactly, it's not very tight.
• 1:18:33
  [SPEAKER_02]: But because every once in a while, there's like a really classic one, even to this day.
• 1:18:39
  [SPEAKER_02]: Like the be with some butt head sketch and not to pick another Ryan Gosling one, but that was really fucking funny.
• 1:18:45
  [SPEAKER_02]: It just rejuvenates it.
• 1:18:46
  [SPEAKER_02]: It just makes you think, I'll say it alive.
• 1:18:48
  [SPEAKER_02]: Still got it, right?
• 1:18:49
  [SPEAKER_02]: It's still got it as much as it ever did, sorry, it's already alive.
• 1:18:54
  [SPEAKER_02]: Never had it.
• 1:18:56
  [SPEAKER_02]: I think it's an exaggeration, but I do think it's always been a mixed bag, but the good, like you watch any episode with a classic, you're going to find a bunch of not classic sketches that are completely forgettable, but it's thanks for the medium.
• 1:19:08
  [SPEAKER_02]: Um, anyway, my point is that Saturday and life has been so disseminated and so catalogued.
• 1:19:14
  [SPEAKER_02]: It's not like people haven't been talking about.
• 1:19:15
  [SPEAKER_02]: It's like it's a secret history Saturday and that life that if you're going to make a new documentary about Saturday and that live or the producer of Saturday and live, which almost exclusively focuses on Saturday and that live.
• 1:19:28
  [SPEAKER_02]: What are you going to tell us that we don't know?
• 1:19:30
  [SPEAKER_02]: And the answer from watching Lauren is nothing We're just talking about Saturday live again.
• 1:19:36
  [SPEAKER_00]: Yeah, and it's and it's if you've read and do we really?
• 1:19:38
  [SPEAKER_00]: He's going to like kids in the hall because he was no responsible for that as well No, they're actually that no We still we have all of the kids in the hall.
• 1:19:45
  [SPEAKER_00]: They talked about Saturday night live cast members has been on for 50 years a lot of them have passed on.
• 1:19:50
  [SPEAKER_00]: I know I know we have all the kids in the hall and
• 1:19:52
  [SPEAKER_02]: Yeah, well, some of them, I think, two of them are interviewed for this.
• 1:19:56
  [SPEAKER_02]: I think it's Mark McKinney and Bruce McCullough.
• 1:19:58
  [SPEAKER_02]: But they were involved in Saturday Night Live.
• 1:20:00
  [SPEAKER_01]: That's true.
• 1:20:00
  [SPEAKER_02]: Roted and Mark McKinney was on the program for a while.
• 1:20:03
  [SPEAKER_02]: And also Mark McKinney and the kids in the hall movie was doing an impression of Lauren Michaels.
• 1:20:09
  [SPEAKER_02]: Yes, which a lot of people have done impressions of Lauren Michaels over the years.
• 1:20:12
  [SPEAKER_02]: And that's all featured in the movie as well.
• 1:20:14
  [SPEAKER_02]: And Lauren Michael produced some movies, some of them Saturday Night Live movies.
• 1:20:17
  [SPEAKER_02]: Some of them not.
• 1:20:18
  [SPEAKER_02]: I forgot he co-wrote three Amigos.
• 1:20:20
  [SPEAKER_02]: That's right.
• 1:20:22
  [SPEAKER_02]: He was a comedy writer before I became a producer yeah exactly, but yeah, no, it's basically Lord Michael's is a It's kind of it doesn't like talking about himself and so he kind of won't and a lot of the movie is just talking to other Cast members and former writers and Sarah and I alive kind of speculating about Lord Michael's and I'm like, I didn't need a movie to guess Like you should actually know some shit and
• 1:20:51
  [SPEAKER_02]: After a while, it just feels like, you know, we're seeing some behind the scenes stuff, but if you look at that SNL beyond SNL 50 documentary series that they did, there's just one episode of it's really good and you should see it, it's, it's, I think it's called the writer's room or it's about the writer's room, it's the writer's something.
• 1:21:10
  [SPEAKER_02]: and it's all about the making of one episode from beginning to end.
• 1:21:13
  [SPEAKER_02]: All right, and that's really fascinating process, and it's also even though that Dr. Manor was produced by NBC to celebrate Sega in that life, and by all right, should have been a total hazyography.
• 1:21:25
  [SPEAKER_02]: The writers talk about how much it sucks.
• 1:21:29
  [SPEAKER_02]: Like, why do we have to do the whole fucking thing at night?
• 1:21:31
  [SPEAKER_02]: What the fuck?
• 1:21:32
  [SPEAKER_02]: We don't have to work it.
• 1:21:33
  [SPEAKER_02]: Why are we doing this?
• 1:21:35
  [SPEAKER_02]: Why are we losing sleep?
• 1:21:36
  [SPEAKER_02]: Why is the first thing we do every week?
• 1:21:38
  [SPEAKER_02]: Everyone sits on the floor of Lawrence office like we're toddlers and pitches ideas.
• 1:21:44
  [SPEAKER_02]: We're not going to use
• 1:21:46
  [SPEAKER_02]: to the guest, just to make the guest feel like they're part of the process, which waste start time creating it.
• 1:21:52
  [SPEAKER_02]: And then when the documentary Lauren talks about that same thing, everyone's like, oh, that's such a classic part of the process.
• 1:21:59
  [SPEAKER_02]: Everyone loves that.
• 1:22:00
  [SPEAKER_02]: And I'm like, no, actually, these, you're really not delving, you're not questioning.
• 1:22:08
  [SPEAKER_02]: We're not actually finding out anything terribly interesting.
• 1:22:12
  [SPEAKER_02]: If you know nothing about Saturday Night Live, this is a bit of a primer.
• 1:22:16
  [SPEAKER_02]: But if you know nothing about Saturday Night Live, you're not gonna wanna see a documentary about Saturday Night Live.
• 1:22:23
  [SPEAKER_02]: And you've probably, and if you do want to see that kind of a scenario life, and you do like Sarah and I life, you probably read something.
• 1:22:29
  [SPEAKER_02]: You probably see something.
• 1:22:31
  [SPEAKER_00]: There's tons of documentaries about it, TV, and otherwise, what are we doing?
• 1:22:35
  [SPEAKER_00]: Saturday and I live has the same really obnoxious habit that Disney does, and that they love to celebrate themselves.
• 1:22:43
  [SPEAKER_00]: Yeah.
• 1:22:44
  [SPEAKER_00]: Disney is one of the only companies I know that will put out a compilation record called, we love Disney.
• 1:22:53
  [SPEAKER_00]: Like Saturday Night Live.
• 1:22:55
  [SPEAKER_00]: Here's a Saturday Night Live special where we're going to Saturday Night Live more Saturday Night Live and remember these same sketches you've been watching this for the same 50 fucking years.
• 1:23:04
  [SPEAKER_02]: Yeah, now the good ones are in one place.
• 1:23:06
  [SPEAKER_00]: Yeah, which admittedly is very helpful.
• 1:23:09
  [SPEAKER_00]: And every five years they tack on like that one that caused a bit of a stir, but it's the same 10 that you had in the last couple of specials.
• 1:23:17
  [SPEAKER_00]: Oh my god, it's like, they keep on insisting that Saturday at live is great and the only thing that says that is itself.
• 1:23:28
  [SPEAKER_02]: But I disagree with that and I'll say this right now.
• 1:23:30
  [SPEAKER_00]: I know a lot of comedians want to get on something else.
• 1:23:34
  [SPEAKER_02]: The exposure of it.
• 1:23:36
  [SPEAKER_02]: No, I think it's a cultural institution at this point.
• 1:23:37
  [SPEAKER_02]: I don't think it's a college.
• 1:23:38
  [SPEAKER_00]: It's cool, it's something comedians need to pass through.
• 1:23:44
  [SPEAKER_00]: But there's a reason why some colleges are famous.
• 1:23:47
  [SPEAKER_02]: Yeah, like Julliard is a big deal for actors, you know?
• 1:23:50
  [SPEAKER_02]: Yeah.
• 1:23:51
  [SPEAKER_02]: So Sarah and I live if you can get on that show.
• 1:23:53
  [SPEAKER_02]: It's that level of exposure.
• 1:23:55
  [SPEAKER_02]: You can actually like be creative on it and build your own sort of identity.
• 1:24:02
  [SPEAKER_02]: Or brand if you want to get so...
• 1:24:05
  [SPEAKER_02]: uh, mercenary about it.
• 1:24:07
  [SPEAKER_02]: Um, that's a big deal.
• 1:24:09
  [SPEAKER_02]: And I think if you look at what Saturday Night Live has brought, mm.
• 1:24:14
  [SPEAKER_02]: the actors it has given us, the talent it has given us.
• 1:24:17
  [SPEAKER_02]: I mean, the movies it has given us.
• 1:24:20
  [SPEAKER_02]: A lot of blues for us is a great movie.
• 1:24:21
  [SPEAKER_02]: Wayne's world is a great movie.
• 1:24:22
  [SPEAKER_02]: Is there all these successes?
• 1:24:24
  [SPEAKER_00]: And you know what, I'm glad that Kenan Thompson has been riding the gravy train.
• 1:24:28
  [SPEAKER_00]: Oh yeah.
• 1:24:30
  [SPEAKER_00]: What is he 20 years now?
• 1:24:31
  [SPEAKER_00]: Like he's been a show a long time.
• 1:24:32
  [SPEAKER_02]: I think he's the longest running cast.
• 1:24:34
  [SPEAKER_00]: But he should be.
• 1:24:35
  [SPEAKER_00]: Oh, he broke the record a while ago.
• 1:24:36
  [SPEAKER_00]: And he's still going.
• 1:24:37
  [SPEAKER_00]: And I like Kenan Thompson.
• 1:24:39
  [SPEAKER_00]: Great, keep him on there.
• 1:24:40
  [SPEAKER_00]: Yeah, no, give him that study page.
• 1:24:43
  [SPEAKER_00]: If he's happy, keep him at it.
• 1:24:45
  [SPEAKER_00]: He's happy and he's fun, and he keeps on getting, turning out good work.
• 1:24:48
  [SPEAKER_00]: So yeah, fine.
• 1:24:49
  [SPEAKER_02]: I was saying this, Lauren is a nothing burger of a documentary.
• 1:24:52
  [SPEAKER_02]: It's not like hard to watch or anything like that, but it's something special.
• 1:24:55
  [SPEAKER_02]: But I do want to segue.
• 1:24:56
  [SPEAKER_02]: Have you seen any of the Sarah live UK series that just debuted?
• 1:25:01
  [SPEAKER_00]: Oh goodness, no.
• 1:25:02
  [SPEAKER_00]: I'm not interested in the Americans here.
• 1:25:04
  [SPEAKER_02]: Yeah, it's it's really funny.
• 1:25:06
  [SPEAKER_00]: Is it okay?
• 1:25:06
  [SPEAKER_02]: It's got it.
• 1:25:07
  [SPEAKER_02]: It's got that anarchy spirit back again.
• 1:25:10
  [SPEAKER_02]: I think that's kind of like used to have where it's a bunch of young comedians who are allowed to be fucking weird
• 1:25:16
  [SPEAKER_00]: There are certain sketch comedy shows that when they launch, really do push the envelope.
• 1:25:21
  [SPEAKER_00]: They do something like strange.
• 1:25:23
  [SPEAKER_00]: And I remember seeing a lot of sketch comedy shows start up at some point.
• 1:25:28
  [SPEAKER_00]: I remember in Living Color.
• 1:25:29
  [SPEAKER_02]: Yeah.
• 1:25:30
  [SPEAKER_00]: How great that was right at the start.
• 1:25:31
  [SPEAKER_00]: Yeah.
• 1:25:32
  [SPEAKER_00]: Revolutionary.
• 1:25:33
  [SPEAKER_00]: That show.
• 1:25:33
  [SPEAKER_02]: Genuinely revolutionary.
• 1:25:35
  [SPEAKER_00]: There's a show.
• 1:25:36
  [SPEAKER_00]: We covered it on canceled too soon.
• 1:25:37
  [SPEAKER_00]: I'm fond of it.
• 1:25:38
  [SPEAKER_00]: Nobody else is called the Edge.
• 1:25:39
  [SPEAKER_00]: from the mid-90s who I was Julie Brown's show and it was like super violent and weird.
• 1:25:44
  [SPEAKER_02]: And it was so mean to like some of the things at Lampoon that Aaron Spelling got canceled.
• 1:25:50
  [SPEAKER_02]: Yeah, like Aaron said, you made fun of my show's fuck you.
• 1:25:54
  [SPEAKER_00]: And he said like don't do that and they just did it harder.
• 1:25:57
  [SPEAKER_00]: So of course they got canceled.
• 1:25:58
  [SPEAKER_00]: Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah
• 1:26:11
  [SPEAKER_00]: It's pretty good for sketch comedy series.
• 1:26:12
  [SPEAKER_02]: Yeah, it's kind of live or less or so long.
• 1:26:14
  [SPEAKER_00]: It's like absurd or the state or the state or the state like that.
• 1:26:18
  [SPEAKER_00]: I'll also only last like two or three seasons and the reason why these things burn out so quickly is because you can only sustain that kind of energy for so long.
• 1:26:27
  [SPEAKER_00]: The fact that Saturday Night Live has gone on for as long as it has as a testament for how much it sucks.
• 1:26:33
  [SPEAKER_02]: Well, no, I think I think you can, or how irrelevant it's good.
• 1:26:36
  [SPEAKER_02]: You can only sustain the kind of energy for so long because people are human and they burn out, or they run out of ideas or at least they need a break.
• 1:26:43
  [SPEAKER_02]: Sorry, Night Live cycles people out.
• 1:26:45
  [SPEAKER_02]: Kids in the hall is just those guys.
• 1:26:47
  [SPEAKER_02]: Yes, it's just those guys.
• 1:26:48
  [SPEAKER_02]: Money, Python was just those guys and Connie, but you know.
• 1:26:53
  [SPEAKER_00]: Carol Cleveland.
• 1:26:54
  [SPEAKER_02]: I'm sorry, Carol Cleveland.
• 1:26:55
  [SPEAKER_02]: Who's Connie Booth?
• 1:26:56
  [SPEAKER_00]: Well, Connie Booth was part of it.
• 1:26:58
  [SPEAKER_00]: She was John Cleese's wife on faulty to ours.
• 1:27:01
  [SPEAKER_00]: That's what in real life and also played it was also played here.
• 1:27:05
  [SPEAKER_00]: Right.
• 1:27:05
  [SPEAKER_02]: And my partner was Mark out of Cleveland.
• 1:27:08
  [SPEAKER_02]: So, and I live, they cycled actors out more quickly.
• 1:27:13
  [SPEAKER_02]: And so, the revolving door of talent.
• 1:27:17
  [SPEAKER_02]: I think it didn't always work out and they've definitely had big laws but there was always like a couple of years down the road all the sudden They got a great like all of a sudden you got Phil Hartman Mike Myers Chris Farley like and people it just firing and all cylinders for a while And that's like because that those people were great and they burn out I know I know you're listing the comedians from like when you were 16 which is when everybody latches on to et cetera
• 1:27:40
  [SPEAKER_02]: Because that's when it's on when you're when you're currently watching it, but I'm sorry man Like reruns were on I have seen the 70s show and when Those early the early episodes the first few seasons when they were like
• 1:27:55
  [SPEAKER_02]: actually like really blowing up racism.
• 1:27:58
  [SPEAKER_02]: We're just doing super bizarre shit with bees and nothing to do with anything.
• 1:28:03
  [SPEAKER_02]: That felt very, very much seated your pants.
• 1:28:06
  [SPEAKER_02]: Yeah.
• 1:28:06
  [SPEAKER_02]: And that's when that show was, there was a lot of that sucked, but when it was good, it was fucking amazing.
• 1:28:14
  [SPEAKER_02]: Every once in a while saying that live hits another run like that, and that makes it feel like it's worth waiting a couple of years.
• 1:28:21
  [SPEAKER_02]: Which is a great, but I know what that is.
• 1:28:23
  [SPEAKER_02]: But the one is that over a few years, they've had enough of them.
• 1:28:27
  [SPEAKER_00]: If you wait a couple of years, it might be good for a year.
• 1:28:30
  [SPEAKER_01]: That's true for a lot.
• 1:28:31
  [SPEAKER_01]: Anything that lasts that long.
• 1:28:33
  [SPEAKER_01]: That's true.
• 1:28:33
  [SPEAKER_00]: Let me say the same thing about the Simpsons.
• 1:28:35
  [SPEAKER_00]: The Simpsons are coming.
• 1:28:36
  [SPEAKER_02]: Like, you know, like, oh, like, there's quite a few years where Spider-Man was pretty uninteresting.
• 1:28:42
  [SPEAKER_02]: And then there was an amazing run.
• 1:28:44
  [SPEAKER_02]: We had like 50 issues where it was absolutely phenomenal.
• 1:28:47
  [SPEAKER_02]: And then those creators left.
• 1:28:48
  [SPEAKER_02]: And then it was just kind of okay for a while.
• 1:28:50
  [SPEAKER_02]: And then someone else came up with something new.
• 1:28:52
  [SPEAKER_02]: When it goes on for a long time, you will have a law but you have the freedom to have a law.
• 1:28:57
  [SPEAKER_02]: Because you are allowed to.
• 1:29:00
  [SPEAKER_02]: as opposed to the second it flags even a little were done.
• 1:29:03
  [SPEAKER_02]: Yeah.
• 1:29:05
  [SPEAKER_02]: I think there's room for that and I think it works mostly in that regard.
• 1:29:09
  [SPEAKER_00]: But anyway, I would just argue that the best sketch comedy shows burn out fast.
• 1:29:15
  [SPEAKER_00]: Yeah, like Mr. Show or heck even something like your bizarre stuff like Wonder Shows.
• 1:29:19
  [SPEAKER_00]: Yeah.
• 1:29:21
  [SPEAKER_00]: These these these shows come along and the
• 1:29:25
  [SPEAKER_00]: either the writers run out of ideas like they just put them all in there at once and they kind of knock bull you over with how many ideas and then they just they're kind of done saying what they had to say.
• 1:29:33
  [SPEAKER_00]: Oh, they just, it's a horror.
• 1:29:35
  [SPEAKER_00]: Yeah.
• 1:29:35
  [SPEAKER_00]: It was so out on the edge that it didn't have a big audience and it only grew in years later on other weirdos found it.
• 1:29:43
  [SPEAKER_02]: Yeah, yeah.
• 1:29:44
  [SPEAKER_02]: Well, in any case, much more interesting to talk about Sarah and I live than I did to talk about Lauren.
• 1:29:49
  [SPEAKER_02]: I think it's the hope for all.
• 1:29:50
  [SPEAKER_02]: I suppose, take away.
• 1:29:52
  [SPEAKER_02]: Let's review our movies on the critically claimed scale.
• 1:29:54
  [SPEAKER_02]: We review all every movie we review.
• 1:29:56
  [SPEAKER_02]: On a scale of C minus the C plus.
• 1:29:58
  [SPEAKER_02]: So that we will never, ever be on a poster.
• 1:30:01
  [SPEAKER_02]: See my exit below average, these are movies that we don't recommend.
• 1:30:05
  [SPEAKER_02]: See, it's average, these are movies that are, some good, some bad, and then a C plus is above average, these are movies that may not be perfect, but we genuinely recommend them, whether we love them or just think they're quite good.
• 1:30:19
  [SPEAKER_02]: On that note, Lauren, it is an unintuousiastic C minus.
• 1:30:24
  [SPEAKER_02]: Okay, and that I don't hate it or anything like that,
• 1:30:28
  [SPEAKER_02]: It's not mediocre.
• 1:30:29
  [SPEAKER_02]: It's in substantial, which is the problem for a documentary.
• 1:30:32
  [SPEAKER_02]: Like if it just passively watchable, it would be fine, but your documentary, I should be informed about something.
• 1:30:38
  [SPEAKER_02]: And I could get almost all of this movie from a Wikipedia page, and it doesn't really do what it sets out to do.
• 1:30:44
  [SPEAKER_02]: It's very frustrating.
• 1:30:46
  [SPEAKER_02]: Ereptia.
• 1:30:48
  [SPEAKER_00]: Yeah.
• 1:30:48
  [SPEAKER_00]: I get a C++.
• 1:30:49
  [SPEAKER_00]: Ereptia.
• 1:30:50
  [SPEAKER_00]: Yeah.
• 1:30:50
  [SPEAKER_00]: Close that.
• 1:30:51
  [SPEAKER_00]: Yeah.
• 1:30:52
  [SPEAKER_00]: I'm giving it a C++.
• 1:30:54
  [SPEAKER_00]: I really like that.
• 1:30:56
  [SPEAKER_00]: I like just sort of how laid back it is and yet how it does feel like it does leave this very gentle impact about human relationships and friendships, especially a set of that.
• 1:31:07
  [SPEAKER_00]: Keetering on the brink of boredom,
• 1:31:11
  [SPEAKER_00]: trying to recapture a sense of 20s excitement that you feel kind of weighing in.
• 1:31:17
  [SPEAKER_00]: I think that the captures aren't really really well.
• 1:31:20
  [SPEAKER_02]: Okay, roommates.
• 1:31:23
  [SPEAKER_02]: Yeah, roommates is why I'm glad we don't have a binary system because there's a lot of stuff to like about it and there's lots of it just doesn't work.
• 1:31:30
  [SPEAKER_02]: The humor is just okay at best and frankly, most of it doesn't land, but the character work is surprisingly interesting and it's actually willing to explore just how kind of fucked up its comedic premises and I admire that about it.
• 1:31:45
  [SPEAKER_02]: I think that's a little subversive, so I'm going to give it a high sea.
• 1:31:47
  [SPEAKER_02]: Okay, it's a, it's a...
• 1:31:50
  [SPEAKER_02]: a noble effort, and then we have Mother Mary.
• 1:31:54
  [SPEAKER_00]: I'm going to give it a, it's frustrating because I want to give it a C minus just because I feel like I don't know where it's at, but I am distracted by how frustratingly are he it is and almost swept up in that kind of daring to give it a C minus, so I'm going to give it a C just to spite it.
• 1:32:14
  [SPEAKER_02]: I'm going to see as well.
• 1:32:15
  [SPEAKER_02]: I think there's a lot to admire about it.
• 1:32:17
  [SPEAKER_02]: It's gorgeous.
• 1:32:18
  [SPEAKER_02]: The performances are excellent.
• 1:32:20
  [SPEAKER_02]: McKayla Cole is spot on.
• 1:32:22
  [SPEAKER_02]: She's fantastic.
• 1:32:23
  [SPEAKER_02]: And honestly, Kudos to Anne Hathaway.
• 1:32:25
  [SPEAKER_02]: You know, she's quote unquote the big star.
• 1:32:28
  [SPEAKER_02]: She lets McKayla Cole have the movie.
• 1:32:30
  [SPEAKER_02]: Yeah, it's like she's like, no, this is the part as written you are absolutely in control of every scene and I'm going to let you have that and that is a good dynamic They work well together on screen those performances are fantastic It is pretentious in a way that didn't bore me, but also pretentious in a way that didn't feel like
• 1:32:50
  [SPEAKER_02]: It felt like they wanted credit for bringing ideas up, but not actually going anywhere with this.
• 1:32:55
  [SPEAKER_02]: So I don't feel like it works the level.
• 1:32:58
  [SPEAKER_02]: It really wants to work on, but it's not a lot.
• 1:33:00
  [SPEAKER_02]: So I do think it's an interesting film in many regards.
• 1:33:02
  [SPEAKER_02]: So I'm going to give it a see as well.
• 1:33:05
  [SPEAKER_02]: And then lastly, Lee Cronen's the Mummy.
• 1:33:08
  [SPEAKER_00]: I'm also going to go ahead and say it's problematic for all the reasons we went through.
• 1:33:11
  [SPEAKER_00]: It is too long, but gosh, the violence is just so exhilarating.
• 1:33:16
  [SPEAKER_00]: And I thought the horror stuff is so strong.
• 1:33:19
  [SPEAKER_00]: It really is a good, you know, barf up your popcorn kind of a movie and I'm I look for those.
• 1:33:25
  [SPEAKER_00]: I like those movies Yeah, I'm going to give it a say.
• 1:33:26
  [SPEAKER_02]: Yeah, this was a tighter production.
• 1:33:28
  [SPEAKER_00]: I genuinely think if it were tighter And it actually bothered to have like a real politics it could have been a great movie Especially if it kept all that that that gnarly gore in there.
• 1:33:40
  [SPEAKER_02]: Yeah, well in any case I agree I'm going to give it a see as well.
• 1:33:43
  [SPEAKER_02]: But it's a high sea that certainly is it's one of those seas that like
• 1:33:47
  [SPEAKER_02]: If you're a gore-hound to you, it might be a C plus, but I think overall, let's see.
• 1:33:53
  [SPEAKER_02]: And that is it for critically acclaimed.
• 1:33:54
  [SPEAKER_02]: We'll be back next week with review some more movies, including
• 1:33:58
  [SPEAKER_02]: The Michael Jackson biopic?
• 1:34:00
  [SPEAKER_02]: Michael.
• 1:34:01
  [SPEAKER_02]: Yeah, I've seen that one already.
• 1:34:02
  [SPEAKER_00]: Look, thanks for talking about it.
• 1:34:03
  [SPEAKER_02]: Yeah, I look forward to seeing you again.
• 1:34:05
  [SPEAKER_02]: I'm seeing it in a couple of days, and of course we will review it after our listeners have had a chance to see it as well.
• 1:34:11
  [SPEAKER_00]: Well, we can't talk about it.
• 1:34:12
  [SPEAKER_00]: There's like a pretty strict embargo on this one.
• 1:34:14
  [SPEAKER_00]: So I can say that I've seen it.
• 1:34:15
  [SPEAKER_00]: Yeah, I give you no impression of me.
• 1:34:16
  [SPEAKER_02]: No, I've been talking about it.
• 1:34:17
  [SPEAKER_02]: Yeah, they don't want any one of the audience know what happened to Michael Jackson.
• 1:34:22
  [SPEAKER_00]: We know what happened to him.
• 1:34:24
  [SPEAKER_00]: I can say that it's part one of the series, so we only get a portion of Michael Jackson's life.
• 1:34:30
  [SPEAKER_01]: Wait, really?
• 1:34:30
  [SPEAKER_00]: Yeah.
• 1:34:32
  [SPEAKER_00]: Oh, this takes it from the 60s through 1984.
• 1:34:34
  [SPEAKER_00]: Oh, yeah.
• 1:34:37
  [SPEAKER_02]: I really didn't know that, okay, interesting.
• 1:34:41
  [SPEAKER_02]: Well, in any case.
• 1:34:43
  [SPEAKER_02]: that's coming up.
• 1:34:44
  [SPEAKER_02]: Thank you everybody for listening.
• 1:34:45
  [SPEAKER_02]: Thank you for joining us.
• 1:34:46
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• 1:34:50
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• 1:34:52
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• 1:35:03
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• 1:35:05
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• 1:35:07
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• 1:35:10
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• 1:35:11
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• 1:35:13
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• 1:35:16
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• 1:35:21
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• 1:35:25
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• 1:35:32
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• 1:35:41
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• 1:35:42
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• 1:35:46
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• 1:35:51
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• 1:35:56
  [SPEAKER_02]: In any case, thank you very much for listening.
• 1:35:57
  [SPEAKER_02]: Thank you.
• 1:35:58
  [SPEAKER_02]: We hope you have a wonderful week.
• 1:35:59
  [SPEAKER_02]: You'll be able to have a wonderful life, and never forget, everyone is a critic.
• 1:36:06
  [SPEAKER_06]: I'm gonna go to the Midnight Show!
• 1:36:10
  [SPEAKER_01]: I'm sorry I wet.