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X Knows Exactly What Kind of Movie It Is - Xenomania 89 · Xenomania

• 0:00
  Jon: This week on Xenomania, a sextet of young adults travel to a rural
• 0:05
  Texas farm to film an adult movie and capitalize on the 1970s mainstream market.
• 0:14
  The farm is the perfect setting for the farmer's daughters, and filming gets off
• 0:19
  to a great start even as the elderly woman creeps around watching the proceedings,
• 0:26
  seemingly obsessed with the female lead.
• 0:29
  But once night falls, the woman and her equally aged husband begin to pick
• 0:35
  off the stars and crew one by one.
• 0:39
  The star will not accept a life she does not deserve, but can she
• 0:44
  survive these senior psychopaths?
• 0:48
  This is X. This is Xenomania
• 1:08
  of Insidious, free of Evil Dead, Burn.
• 1:11
  Oh my God, to some fun movies
• 1:14
  Kearns: Yes, sir. Does that mean the Insidious franchise is finally done?
• 1:20
  Jon: For us?
• 1:21
  Ryan: I don't think so.
• 1:22
  Kearns: You
• 1:23
  Jon: It's done for us.
• 1:24
  Kearns: Yeah, for us it's
• 1:25
  Jon: It's done for this podcast,
• 1:28
  Kearns: Yeah,
• 1:28
  Jon: but
• 1:28
  Kearns: could go a long time without ever watching another one of those
• 1:32
  Jon: I don't, I,
• 1:34
  Ryan: In Hollywood, it's gonna go, it's gonna
• 1:35
  Jon: I don't know.
• 1:35
  Yeah.
• 1:36
  Ryan: going to
• 1:36
  Jon: I guess it depends what the box office for this one looks like.
• 1:40
  Kearns: Yeah
• 1:41
  Ryan: It's still going
• 1:42
  Jon: Well, then there's gonna be another one.
• 1:44
  Ryan: I
• 1:44
  Jon: It ca-
• 1:45
  Ryan: it's like doing another
• 1:47
  Jon: it couldn't have cost them much
• 1:50
  Kearns: No, they never really do.
• 1:54
  Oh, well.
• 1:55
  We have some dire news to get to anyway.
• 1:57
  More dire than
• 1:58
  Jon: And
• 1:58
  Kearns: Insidious movie
• 2:00
  Jon: yeah, we need a new running joke
• 2:02
  Kearns: Yes, we do.
• 2:04
  A long time ago, I don't know what episode it was, like 30 or something, I
• 2:08
  mentioned, uh, that Tim Curry had passed away, and corrected me very quickly
• 2:15
  said, "No, he's alive. He's alive." And
• 2:18
  Jon: Hmm.
• 2:18
  Kearns: every time we basically announce the death of somebody, the running
• 2:21
  joke is, "But not Tim Curry." Mm.
• 2:25
  Jon: Now Tim Curry.
• 2:28
  Ryan: Yeah
• 2:29
  Kearns: Curry.
• 2:30
  Stinks.
• 2:31
  He was, uh, wheelchair-bound for a long time and
• 2:33
  Jon: Mm-hmm.
• 2:34
  Kearns: stings.
• 2:35
  Jon: Yeah.
• 2:36
  Kearns: Uh, what was it that got him?
• 2:37
  Yeah.
• 2:38
  It was a stroke
• 2:39
  Ryan: massive
• 2:40
  Jon: I
• 2:40
  Ryan: It was a massive stroke 'cause I, I was gonna say the last
• 2:43
  thing he did was an episode of Monk and a couple other things, and
• 2:47
  Jon: Mm-hmm.
• 2:47
  Ryan: the massive stroke
• 2:48
  Jon: I saw a, um, a clip from an interview with him from probably 30-plus years
• 2:54
  ago, and they asked him… I guess he wanted to audition for Hannibal
• 2:59
  Lecter in Silence of the Lambs.
• 3:01
  They w- they wouldn't even give him an audition
• 3:04
  Kearns: Wow.
• 3:05
  I mean, he-
• 3:06
  Ryan: Imagine
• 3:07
  Kearns: though.
• 3:08
  Jon: Mm-hmm.
• 3:09
  Kearns: The pedigree, like he, he's done some roles
• 3:12
  Jon: It would have been a very different Hannibal Lecter, but I'd be curious.
• 3:16
  I'd have been think- I'd be curious to see that
• 3:20
  Kearns: And at the time, was Anthony Hopkins really such a huge draw?
• 3:25
  Jon: No, but he was an actor.
• 3:27
  Like, he had more of the, the high, high praise, like, actor thing to him, I
• 3:35
  think, than Tim Curry did at that point.
• 3:38
  'Cause that was pretty much right around the time Tim Curry did It also
• 3:45
  Kearns: Which I would have imagined would have given him
• 3:47
  a little bit of cred, you know?
• 3:48
  Jon: Mm-hmm.
• 3:49
  But it, I, it's also still some of that TV and movie actors don't cross over.
• 3:57
  Like, that was a huge thing for a long time, like the rare
• 4:01
  occasions that TV actors made it big in movies and vice versa.
• 4:06
  And I guess, I mean, really Tim Curry was a, movie actor, but
• 4:12
  maybe slumming it for TV is the way it was viewed with the It movie
• 4:16
  Kearns: Yeah.
• 4:18
  Ryan: Yeah, I can see that.
• 4:19
  I mean, he started from the stage.
• 4:21
  His first, performance was really Frank-N-Footer, which led to his
• 4:25
  first, main role in The Rocky Horror Picture Show, and it grew there,
• 4:29
  from Annie when he played Rooster.
• 4:31
  Like, Tim Curry's been a part of my life for a long
• 4:34
  Jon: Mm-hmm.
• 4:34
  Ryan: Legend to cartoons.
• 4:36
  Kearns: Legend is crazy, by the
• 4:38
  Jon: Mm-hmm.
• 4:39
  Ryan: Oh,
• 4:39
  Kearns: who haven't seen Legend, you've gotta see Legend
• 4:44
  Ryan: He is darkness.
• 4:45
  Um, he is also the original Joker too for the animated series until
• 4:49
  they, uh, c- he got sick and
• 4:52
  Jon: Mm-hmm.
• 4:52
  Ryan: Mark Hamill to replace him
• 4:54
  Kearns: I didn't know that
• 4:56
  Jon: Rocky Horror is one I have to go back and revisit because I have n-
• 5:00
  Ryan: Yes.
• 5:02
  Jon: it, but that's also my musical thing, I think.
• 5:06
  Kearns: Probably.
• 5:07
  Jon: But
• 5:08
  Kearns: a, at, um, Chiller, I believe.
• 5:10
  I went to go see it.
• 5:11
  It was like an 11 o'clock showing, not a midnight showing,
• 5:14
  Jon: Mm-hmm.
• 5:18
  Mm-hmm.
• 5:19
  Kearns: went to bed.
• 5:20
  Was
• 5:20
  Jon: I, I think that's the last time I saw it was probably about 30 years
• 5:25
  ago at a midnight showing, and like it was fun, but I didn't enjoy the movie.
• 5:29
  Kearns: No, it's probably just the, the experience, right?
• 5:32
  Jon: Yeah.
• 5:33
  Kearns: Yeah, makes sense
• 5:35
  Jon: Just a bunch of college kids getting plastered watching Rocky
• 5:39
  Horror, or really watching anything.
• 5:42
  No, we, no, no.
• 5:44
  We were just a bunch of,
• 5:46
  Ryan: That was
• 5:47
  Jon: we were just a bunch of drunken fools.
• 5:51
  I don't think any of us, I don't think any of us had even ever seen Rocky Horror.
• 5:55
  I think I had seen it once, and like most of the rest of
• 5:58
  the guys hadn't seen it at all.
• 6:00
  We were just going to because everybody else was going,
• 6:03
  and we were gonna get bombed
• 6:05
  Kearns: Yep.
• 6:05
  I was gonna say, all you gotta do now is just remove the drunken part.
• 6:09
  Jon: Yeah.
• 6:10
  Kearns: Man, we're just fools.
• 6:11
  Jon: Yep.
• 6:13
  Yep.
• 6:13
  Took the alcohol away, but not the fool
• 6:16
  Kearns: So Tim Curry could drag people to the theater and stuff
• 6:18
  like that, but what about Ty West?
• 6:22
  Jon: I mean,
• 6:23
  Ryan: I mean, recently, yeah,
• 6:25
  Jon: he doesn't g-
• 6:26
  Ryan: with X
• 6:28
  Jon: feel like his stuff doesn't even really get big theatrical releases anyway
• 6:33
  Kearns: I had never heard of this trilogy before you guys brought
• 6:35
  it up, uh, a little while ago, like six weeks ago or something.
• 6:39
  Yeah, I'd never heard of it
• 6:41
  Ryan: feel like X was everywhere.
• 6:43
  Kearns: Maybe it was.
• 6:44
  Ryan: one was
• 6:44
  Kearns: I never saw it popped… I mean, all my advertising
• 6:48
  comes to me through streaming
• 6:50
  Jon: Mm-hmm.
• 6:50
  Kearns: and I don't do, um… I do YouTube Premium now.
• 6:55
  Yeah.
• 6:56
  Jon: You'll never go back.
• 6:57
  Kearns: No,
• 6:58
  Jon: never go…
• 6:58
  Kearns: Never
• 6:59
  Jon: don't realize how in- intrusive those ads are until you don't have them
• 7:05
  Kearns: If I have to see one more Mike Lawler ad, oh my God.
• 7:09
  Jon: This is gonna be a, rough few months.
• 7:11
  I'm sick of the political ads already on any side.
• 7:15
  Kearns: it's
• 7:15
  Jon: hate political ads and nobody tells you the truth, and it's
• 7:18
  all just like weird stories and
• 7:21
  Kearns: I
• 7:21
  Jon: what are we doing?
• 7:22
  Kearns: everybody should get… There should be a slot time where
• 7:25
  you have to, like, go and seek out the ads, and you go get to see.
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  Everybody gets a minute and a half, and then done.
• 7:33
  They do
• 7:33
  Jon: Mm-hmm.
• 7:34
  Kearns: You get another minute and a half ad run, done.
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  Then there's no super PACs, no nothing.
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  It fixes the whole problem.
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  Never
• 7:40
  Jon: Mm-hmm.
• 7:40
  Kearns: It'll never happen
• 7:41
  Jon: No.
• 7:43
  No, and I mean, they, I watch some stuff on, the Samsung TV app, which,
• 7:48
  you know, is basically just like, it's like all, any of those that have a
• 7:52
  bunch of, like, streaming channels.
• 7:55
  My goodness, it's not just that it's all political ads now, it's all the
• 8:00
  same ad over and over every ad break.
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  So, like, some of these Lawler and, Conley ads, I can pretty much word for word
• 8:09
  Kearns: Yeah, they're brutal.
• 8:10
  Ryan: There are ways to block them.
• 8:12
  Jon: I mean, it's…
• 8:14
  Kearns: that's true.
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  If you- um, TVs?
• 8:17
  Ryan: Oh, no,
• 8:18
  Jon: Yeah
• 8:18
  Ryan: the, through the phone.
• 8:19
  I don't do
• 8:20
  Kearns: Yeah
• 8:21
  Ryan: Not through YouTube.
• 8:22
  But how you explained advertising and stuff, I felt like I was listening to
• 8:27
  a pitch for a Black Mirror episode.
• 8:29
  Kearns: really?
• 8:29
  Ryan: just wanted to throw that out there.
• 8:31
  Kearns: Oh, really?
• 8:33
  That's a good idea.
• 8:34
  Jon: Where?
• 8:34
  Kearns: So
• 8:34
  Jon: Yeah.
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  Kearns: he's got, like, six movies.
• 8:36
  X was good.
• 8:38
  By the way, we're doing this episode on X, everybody.
• 8:40
  We haven't
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  Jon: Yes
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  Kearns: Ha ha.
• 8:42
  Ryan: X gonna give it
• 8:43
  Kearns: And, uh, X was good.
• 8:45
  I haven't seen the rest of the trilogy yet, so next one up for me is Pearl.
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  But,
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  Jon: Mm-hmm.
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  Kearns: was, a unique experience to say the least,
• 8:53
  Jon: Yeah,
• 8:54
  Kearns: way
• 8:55
  Jon: X,
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  Ryan: Yeah
• 8:56
  Jon: is a wild one
• 8:57
  Kearns: Indeed
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  Ryan: it is.
• 9:00
  I feel like it got a lot of hype and it matched the hype it got, at least for
• 9:04
  Jon: I think so too.
• 9:07
  Ryan: yeah, I mean, being an A24 film as well, which was like building
• 9:11
  itself up and this comes out, I
• 9:13
  Jon: Mm-hmm
• 9:14
  Ryan: it helped them a lot I feel get noticed even more
• 9:17
  Kearns: Mm-hmm.
• 9:18
  Jon: Yeah, yeah.
• 9:19
  De- definitely brings them a different horror demographic than
• 9:23
  some of the other things they had put out and went on to put out.
• 9:28
  Is it… I mean, X is pretty much a straightforward slasher with,
• 9:33
  you know, the pretty heavy homages to things like Texas Chainsaw
• 9:39
  Kearns: Oh, big time.
• 9:40
  Yeah.
• 9:41
  Big time.
• 9:43
  Jon: Yeah.
• 9:43
  And I
• 9:43
  Ryan: I mean
• 9:44
  Kearns: yeah, I'm trying to think of like, it's, it's good,
• 9:48
  but what's unique about it?
• 9:51
  There's an alligator.
• 9:53
  Jon: There's an alligator.
• 9:54
  I think our, antagonists are relatively unique.
• 9:58
  Kearns: Fair.
• 9:59
  Yeah.
• 10:00
  Jon: you don't get too many horror movies where you're running from two old people,
• 10:05
  Kearns: Horny old people.
• 10:06
  Jon: horny old people
• 10:08
  Kearns: addition to the description right there
• 10:10
  Jon: Yeah.
• 10:11
  Well, a one horny old person and one
• 10:16
  Kearns: Impotent.
• 10:18
  Jon: imp- but sort of s-
• 10:20
  Ryan: He's not
• 10:20
  Jon: he's self-impotent.
• 10:22
  He's self-impotent.
• 10:24
  Kearns: the heart issue, so he can't bang his
• 10:25
  Jon: He, he's afraid to risk it and to, Howard I say, "Is
• 10:30
  there a better way to go?"
• 10:32
  Kearns: It's true.
• 10:34
  old is he?
• 10:35
  Did, did they mention his exact age?
• 10:38
  Jon: No, but yeah.
• 10:39
  So he's a World War I vet.
• 10:42
  Kearns: Wow.
• 10:42
  Yeah,
• 10:43
  Jon: So, so X, X is set in 1979.
• 10:47
  Pearl is set in 1918
• 10:52
  Kearns: Okay
• 10:53
  Jon: So it's 61 years, and then you gotta figure they were
• 10:57
  both at least 18, 19 in Pearl.
• 11:01
  I forget if they establish an age.
• 11:04
  So they're probably 80-ish in 1979 when 80 was pretty darn old
• 11:11
  Kearns: I mean, yeah.
• 11:14
  Back then when you had polio and stuff running around, right?
• 11:20
  Jon: Mm-hmm.
• 11:21
  Yeah, 'cause that,
• 11:22
  Ryan: this
• 11:22
  Jon: that's not, uh, gonna be a problem anymore.
• 11:27
  Polio,
• 11:28
  Ryan: I don't think
• 11:28
  Jon: no.
• 11:29
  Ryan: I was gonna say I don't
• 11:30
  Jon: No, that, that's not gonna come back
• 11:34
  Ryan: But it's-
• 11:36
  Kearns: The, uh… actually, I'm not gonna bring up the RNA vaccine, mRNA vaccine.
• 11:42
  It's a terrible idea for the show.
• 11:43
  Um
• 11:43
  Jon: Yeah, probably.
• 11:45
  We'll, we'll end up doing an hour ranting about that and, and
• 11:49
  a whole other hour on X still
• 11:51
  Kearns: I'll do a little bit, a very apolitical bit.
• 11:54
  It was just, it was developed because they used to use polio as a delivery system
• 11:58
  for a virus that killed tumors, and the virus worked very well until they, like,
• 12:04
  quadrupled the dose and it killed the guy they gave it to, and they're like,
• 12:07
  "Ah, we're gonna stop. We're, we're gonna, we're gonna table this." And they
• 12:11
  developed the mRNA vaccine to be the delivery system for that particular virus.
• 12:19
  Ryan: I don't like that
• 12:20
  Kearns: Yeah.
• 12:20
  And but it, it works exceptionally well for everything else, 'cause
• 12:24
  it's very quick to… Okay, anyway.
• 12:25
  So how'd the opening of the movie work?
• 12:28
  it hook you?
• 12:30
  Ryan: It hooked me.
• 12:31
  It reminded me of
• 12:35
  the 2003 remake of Texas Chainsaw
• 12:37
  Kearns: Yeah
• 12:38
  Ryan: the cops go into the Hewitt's house.
• 12:40
  Um, they change the Sawyer's name to the Hewitt's.
• 12:43
  Don't know why, don't ask me.
• 12:44
  But they're exploring the house, they got the camcorder, and that's
• 12:48
  when Leatherface pops up, and they go through the whole this is found
• 12:52
  Jon: Mm-hmm.
• 12:52
  Ryan: And with X, he does that in the same way.
• 12:55
  He brings us to a crime scene.
• 12:56
  They don't know what's going on.
• 12:58
  They're confused, and all you hear is a preacher in the background.
• 13:02
  And I think that's what makes it unique is, like, okay, we've seen this before.
• 13:06
  It's a horror movie.
• 13:08
  There's, everyone's unalive, but you have preacher talking the gospel in the
• 13:13
  Jon: Mm-hmm.
• 13:18
  Ryan: strip club where Maxine's doing coke, and you're like, okay.
• 13:21
  And this 24 hours earlier.
• 13:23
  And it's a nice segue, but it's also, like, you get an idea of,
• 13:26
  like, who these people are, what this
• 13:29
  Jon: Mm-hmm.
• 13:29
  Ryan: into as well, and it's very religious.
• 13:32
  And not, I don't, like-- Which is weird 'cause we watched Sinners and we saw
• 13:38
  how in Sinners how Missouri was, or Mississippi, I'm sorry, with racism, and
• 13:44
  it's not really, I don't feel like this film is as racist with the characters.
• 13:49
  I mean, Howard has a scorn on his face, but he doesn't really come out and say it
• 13:53
  compared to, like, a movie like Sinners,
• 13:55
  Jon: y- yeah, I mean, Howard clearly does not like Jackson just
• 14:00
  by the color of his skin, because everything else about Jackson
• 14:04
  should be someone that Howard likes.
• 14:06
  Kearns: Right
• 14:07
  Jon: You know, both veterans, both, you know, pretty good military guys.
• 14:11
  And listen, uh, Jackson and the character is, seems like he's a pretty solid dude.
• 14:19
  And we'll get into that later on, where, especially where that comes from.
• 14:22
  But he seems like he's a solid guy.
• 14:26
  of the men in this, Jackson is probably the one I would
• 14:29
  wanna hang out with the most
• 14:31
  Ryan: I was gonna say that was my favorite character.
• 14:33
  Like, just hanging out.
• 14:35
  He's just enjoying life.
• 14:36
  He saw some shit in Vietnam, and now he just wants to live, make some money,
• 14:40
  Jon: Yeah.
• 14:41
  Kearns: I'd probably hang out with Wayne a little bit.
• 14:44
  Jon: Wayne, Wayne might be a good time
• 14:46
  Kearns: I'm pr- I think Wayne would be, like, fun until he wasn't
• 14:50
  Jon: Mm-hmm.
• 14:50
  And RJ might be a good hang too if, like, if you engage him on
• 14:56
  the things he's interested in.
• 14:57
  Kearns: say
• 14:58
  Jon: Like, you could pro- you could probably, yeah, you could probably have a
• 15:00
  pretty reasonable film discussion with RJ
• 15:04
  Kearns: Oh, he's all for you, Ryan
• 15:06
  Ryan: I feel I, well, he'd be like into 2001: A Space Odyssey, Spartacus.
• 15:11
  I feel like he'd be in like Cu- Kubrick, and he does mention French Wave, so
• 15:14
  Jon: Mm-hmm.
• 15:19
  Ryan: the 12 Monkeys where it's just still
• 15:21
  Kearns: Mm-hmm.
• 15:21
  Jon: Mm-hmm.
• 15:25
  Ryan: can sit through that film
• 15:27
  Kearns: No,
• 15:27
  Ryan: I don't think he'd like my opinion on
• 15:29
  Kearns: not
• 15:30
  Jon: No
• 15:30
  Ryan: It's great, but it's rough.
• 15:33
  It's just still images.
• 15:35
  I feel like a lot of these characters are just trying to survive.
• 15:39
  I feel like they're neither bad nor good.
• 15:44
  They're just like the in
• 15:45
  Jon: Mm-hmm.
• 15:46
  Kearns: are.
• 15:46
  Yeah
• 15:47
  Jon: Well,
• 15:48
  I mean, I think of all of them, it ends up being Maxine that's sort of the grayest.
• 15:56
  You know, she's not like straight out good girl.
• 16:00
  She's not straight up bad girl.
• 16:02
  She just sort of walks in the middle of that
• 16:05
  Kearns: Yeah, it's fair
• 16:09
  Ryan: Do you think she's unsure?
• 16:10
  'Cause I mean, besides doing a whole bunch of lines of coke
• 16:13
  just to get that, you know,
• 16:15
  Jon: I, I think, I think she's just focused on one thing, and
• 16:21
  that's, you know, not accepting a life she doesn't deserve.
• 16:26
  Like, that's her thing.
• 16:29
  She is focused on, having a good life really without a
• 16:35
  sense of how to bring that about
• 16:38
  Ryan: I agree with that.
• 16:40
  Kearns: Okay
• 16:40
  She's an interesting lady to be in that industry.
• 16:43
  That industry in general is an odd thing.
• 16:46
  you don't really hear about a lot of dudes all getting together to go
• 16:49
  into a movie theater and watch triple X porn anymore, which is, you know,
• 16:54
  society's moving on in the right direction in some regards, I guess.
• 16:58
  Jon: Not anymore.
• 16:59
  Kearns: but the '70s were crazy
• 17:01
  Jon: Oh, man.
• 17:02
  So
• 17:05
  Yeah, we've, this, so in X, they're going to this rural farm to make
• 17:12
  an adult movie, and as Wayne says, you know, it's to make, it big.
• 17:19
  He talks about the rise of the video rental industry.
• 17:23
  But the tail end of the '70s is the tail end of, like, the
• 17:27
  golden age of adult movies too.
• 17:30
  I went down a little bit of a rabbit hole with this.
• 17:33
  So, like, it starts really in 1969 with a movie called Blue Movie, which is,
• 17:41
  you know, made by probably the biggest name of anybody involved in this whole
• 17:46
  movement, and that's Andy Warhol.
• 17:49
  Kearns: Yeah
• 17:50
  Jon: so that gets a mainstream theatrical release, and from there it's successful.
• 17:58
  It's successful enough in, like… Yes, it's an adult movie, but interspersed
• 18:05
  are these scenes of characters talking about, like, real life.
• 18:08
  Like, there's scenes of them talking about the Vietnam War
• 18:13
  And that, and that's sort of, in a lot of ways, the adult industry in the seven-
• 18:20
  in that part of the '70s is a lot like, like the super indie shot-on-video that
• 18:26
  would happen in the la- the late '80s and '90s, and the super independent stuff that
• 18:31
  they, you know, you drop onto YouTube now.
• 18:34
  You know, the, the production values aren't necessarily
• 18:37
  great, and here's our story.
• 18:39
  But with the, the adult industry in the '70s, it's, "All right,
• 18:43
  here's our story, and now here are some people going at it." You know?
• 18:47
  And then, and then from, from Blue Movie, you get a couple others.
• 18:51
  And then in 1972 is when it really blows up, and it's a movie called
• 18:58
  Deep Throat, which is probably the most notorious of all of these.
• 19:02
  Like, you may have, you may have never seen it, but you've heard it.
• 19:09
  And that, that gets, like, that gets so big.
• 19:12
  Like, it's, you know, it's got plot and character development to go with the sex.
• 19:18
  But it also, like, it draws the attention of mainstream Hollywood.
• 19:23
  You get Bob Hope talking about Deep Throat, Johnny Carson making Deep
• 19:28
  Throat jokes on The Tonight Show.
• 19:30
  Like,
• 19:31
  Ryan: No
• 19:31
  Jon: you've just gone, you've just taken this industry, and now it gets to the
• 19:36
  point where a year after its release, Deep Throat barely misses out on being
• 19:42
  one of the top grossing movies of 1973.
• 19:49
  It pe-
• 19:50
  Ryan: What was it against?
• 19:51
  Jon: I, I, I mean, I didn't look it up, but it, you know, missed out
• 19:54
  on the top 10, but not by a lot.
• 19:57
  and from there, it just goes into the, what, a New York Times
• 20:00
  columnist named Ralph Blumenthal dubbed the Rise of Porno Chic
• 20:07
  Kearns: Hold the phone on the Porno Chic for a second.
• 20:09
  We gotta go through these top 10s.
• 20:11
  Jon: Okay.
• 20:13
  Uh-huh
• 20:13
  Kearns: The Sting, American Graffiti, Papillon, The Way We
• 20:21
  Jon: Oh, I love that movie.
• 20:22
  Kearns: The Way We Were or Papillon?
• 20:24
  Jon: Papillon, yeah.
• 20:26
  Have you seen that?
• 20:27
  Kearns: No
• 20:28
  Jon: Oh, man.
• 20:30
  Ryan: Dustin Hoffman,
• 20:31
  Jon: a movie for another podcast, yeah
• 20:33
  Kearns: I'm gonna get you with the one it almost unseated if it's
• 20:35
  really close to 10, by the way.
• 20:39
  Robin Hood, the animated film, which is a baller movie.
• 20:43
  and Let Die, Paper Moon, Serpico, if you're telling me Deep Throat almost
• 20:49
  earned more than Enter the Dragon,
• 20:52
  Ryan: Oh, hell
• 20:53
  Kearns: that's
• 20:53
  Jon: You know, you know what, though?
• 20:55
  Ryan: No.
• 20:55
  Jon: They probably played in the same 42nd Street theaters.
• 21:00
  You could probably, you could probably walk across a hall from one to the other
• 21:08
  Ryan: It just
• 21:08
  Kearns: I have to
• 21:09
  Jon: Yeah.
• 21:09
  Kearns: I can't stop.
• 21:11
  I can't stop this now
• 21:13
  Jon: It, it's,
• 21:14
  Ryan: rabbit hole
• 21:14
  Jon: quite a rabbit hole
• 21:17
  Ryan: Like, the, out of that top 10, I can't see Deep Throat beating any of
• 21:20
  Kearns: The Exorcist, while Enter the Dragon and Deep Throat represent massive,
• 21:25
  highly profitable cultural anomalies.
• 21:27
  Is it a cultural anomaly though?
• 21:30
  Jon: I mean,
• 21:30
  Kearns: it
• 21:31
  Jon: for, for about a decade.
• 21:33
  Kearns: million, um,
• 21:34
  Jon: 30 million for an adult movie is bananas.
• 21:39
  Kearns: of money.
• 21:40
  And then,
• 21:40
  Ryan: And that's
• 21:41
  Jon: In 70, $73.
• 21:44
  I don't know what… I'm sure, I'm sure somebody who's good with inflation
• 21:48
  calculating could tell you right off the top of your, their head.
• 21:51
  But that, like how much money is that in today's dollars?
• 21:55
  That's crazy
• 21:57
  Kearns: Enter the Dragon did, uh, 90 million, so about three times
• 22:03
  what Deep Throat did, and then over its lifetime made 400 million
• 22:08
  Jon: Mm-hmm.
• 22:12
  Ryan: So
• 22:12
  Jon: So then…
• 22:13
  Ryan: the,
• 22:14
  Jon: Go ahead, Ryan
• 22:15
  Ryan: I got the equi- I got the equivalence.
• 22:18
  if Deep Throat came out in 2026, they would-- it would have made $225,620,270.32
• 22:27
  Kearns: That's
• 22:27
  Jon: It's bananas.
• 22:29
  Ryan: That's the inflation.
• 22:31
  Like
• 22:32
  Jon: insanity.
• 22:33
  So within three years of Deep Throat, you get Behind the Green Door, The
• 22:39
  Devil and Miss Jones, you get Debbie Does Dallas by the end of the, the
• 22:44
  decade, and, like, people are going to theaters and paying for this.
• 22:51
  And, you know, it's censorship laws change, the Supreme Court sort of has
• 22:58
  a, has a new ruling on what defines pornography, and, like, uh, you know,
• 23:04
  now it's basically anything with no societal, educational, or experimental
• 23:10
  value is now pornographic to them.
• 23:13
  And, you know, right up until January 20th, 1981, the adult
• 23:23
  industry is booming in theaters.
• 23:28
  Do you guys know what happened January 20th, 1981?
• 23:31
  Kearns: Somebody got sworn in
• 23:33
  Jon: Sure did
• 23:35
  Kearns: Did he say 1921 or '71?
• 23:37
  Jon: 1981
• 23:38
  Kearns: Oh, '81?
• 23:40
  Was it Reagan or
• 23:41
  Jon: Yeah, it's,
• 23:42
  Kearns: Ah
• 23:42
  Jon: it's the incoming of the moral majority and the end of, the end of
• 23:48
  this form of mainstream adult movies.
• 23:52
  But at the same time, and it's what Wayne talks about in X, you have the
• 23:59
  rise of a whole different industry, and that's the video rentals.
• 24:05
  And that's, you know, that's the next 10 years of that industry is huge on that.
• 24:13
  Like, so I did a little dive on this.
• 24:16
  First VCRs commercially available, 1975 from Sony.
• 24:20
  1977, the first commercial video rental store opens on Wilshire Boulevard in LA,
• 24:28
  and it opens largely because the guy that owns it has a deal with 20th Century Fox
• 24:34
  to rent 50 of their movies, um, including, like, MASH and The French Connection.
• 24:45
  You know, s-
• 24:46
  Ryan: like big movies
• 24:48
  Jon: But almost immediately, you get Sony and Universal suing to
• 24:54
  try to stop the sale of the VCR because they view that it's a threat
• 25:02
  to the box office of their movies
• 25:05
  Kearns: I guess, well, not the VCR, but what it would evolve into later.
• 25:09
  Jon: Mm-hmm.
• 25:09
  Well,
• 25:10
  Ryan: Yeah
• 25:11
  Jon: I, I mean, it, the, it, if you reme- I mean, you guys may not remember
• 25:16
  a lot of this, but, like, when you started to be able to rent a lot
• 25:21
  of new releases, they weren't new.
• 25:24
  It was like a 12 to 18-month window
• 25:28
  Kearns: Yeah
• 25:29
  Jon: they would be… So it'd be in the theater for a year making
• 25:32
  money, and then they'd pull it out and, you know, release it at home.
• 25:37
  But you couldn't buy it.
• 25:38
  Video collecting wasn't a thing.
• 25:41
  There w- you know, the VHS tapes started at, like, $100.
• 25:45
  Like, a VHS movie was started at, like, $100 in that day, era.
• 25:50
  Adult movies, the, the, this is where they really cashed in.
• 25:55
  Apparently they were selling for $99 a cassette
• 25:59
  Kearns: Wow.
• 26:01
  Jurassic Park went for 50.
• 26:03
  I remember that.
• 26:05
  like, "Damn, man.
• 26:06
  Jon: Mm-hmm.
• 26:07
  And now that was when it had started to come down.
• 26:10
  That's around the era I worked in a video store, and you'd get these
• 26:13
  catalogs every month about, like, what was coming up and, like, "Oh,
• 26:17
  order this," and advertisements.
• 26:19
  Then you'd look and it'd be like, "Oh, the MSRP for Silence of
• 26:24
  the Lambs is 129.99 per tape."
• 26:28
  Kearns: Wow.
• 26:30
  Ryan: That's crazy.
• 26:32
  I remember Titanic being like 50
• 26:34
  Kearns: You got
• 26:34
  Jon: Mm-hmm.
• 26:35
  Yeah, yeah.
• 26:37
  But like that, and that, but that's the market that like, so you have this
• 26:41
  sort of void in rental stores of actual Hollywood movies that's filled by adult
• 26:49
  movies, and that's where Wayne is.
• 26:52
  Wayne's at the forefront of that movement.
• 26:55
  "I wanna cash in on this movie that'll make your eyes pop out of your head."
• 27:02
  Kearns: That is cool.
• 27:03
  Jon: Which is kind of some foreshadowing for poor Wayne
• 27:06
  Kearns: Poor Wayne.
• 27:07
  Let's talk a little bit about the, farmer's daughter and Spalding Gray here
• 27:13
  Jon: Okay, so the movie they're making in X is called The Farmer's Daughter, which
• 27:20
  was also a real-life 1970s adult film that starred mainstream actor Spalding Gray.
• 27:28
  Kearns: Ah.
• 27:29
  Jon: Yeah.
• 27:29
  Ryan: Really?
• 27:30
  Jon: Yeah, so that, so there's a- another little, like, Easter egg real-life
• 27:35
  connection to what they're doing in X.
• 27:38
  Kearns: Gotcha
• 27:39
  Ryan: Oh, that's
• 27:39
  Jon: Yeah.
• 27:40
  Spalding Gray's kind of a, a…
• 27:42
  I guess you would, you would call him a tragic s- sort
• 27:46
  of figure in, uh, Hollywood.
• 27:49
  You know, he had, like, a lot of mental health issues, and, you know,
• 27:53
  self-harm stuff, and, you know, eventually that's what did him in
• 27:58
  Ryan: I know who this guy
• 28:00
  Jon: Yeah.
• 28:00
  Oh yeah, he's a great actor.
• 28:02
  Started out in, started out in adult movies.
• 28:05
  Kearns: Cool.
• 28:06
  Ryan: Really?
• 28:07
  Kearns: story.
• 28:10
  Yeah,
• 28:10
  Jon: you love Sly too, right?
• 28:12
  Kearns: you know where he i- who he is.
• 28:16
  He looks
• 28:16
  Jon: They…
• 28:17
  Kearns: Freaking Rogers, man
• 28:19
  Jon: Mm-hmm.
• 28:20
  Same thing with old Sly.
• 28:21
  Ryan: neighborhood.
• 28:22
  Kearns: Sly Stallone.
• 28:24
  Jon: Yep.
• 28:25
  What was that?
• 28:25
  Lords of Flatbush
• 28:27
  Kearns: I have never, um, upon that footage, and I'm surprised
• 28:32
  it's not more widely shared.
• 28:35
  Jon: I am too.
• 28:36
  Kearns: He must have gotten his hands on it early and got rid of it
• 28:39
  Jon: I don't know, I feel like it is out there
• 28:43
  Kearns: And maybe just nobody wants to watch it.
• 28:46
  Is that what it was called?
• 28:48
  Ryan: the p- yep, Italian Stallion, and then there's another one called
• 28:51
  The Party at Kitty and Stud's.
• 28:55
  Jon: Where'd I get Lords of Flatbush from?
• 28:58
  Kearns: I don't know, but that's a great title though 'cause Flatbush, New Jersey.
• 28:58
  Oh my God
• 28:59
  Ryan: it's a… And it's a good title
• 29:03
  Jon: Mm-hmm.
• 29:05
  But he, he ca- he can't have been too embarrassed about the Italian Stallion
• 29:11
  because what did Rocky's nickname become?
• 29:14
  Kearns: Well, that's the thing.
• 29:15
  Yeah, he
• 29:16
  Jon: Yeah, he can't have been, he can't have been embarrassed by that.
• 29:22
  It has to be out there.
• 29:24
  I bet it's fairly easy to find too.
• 29:26
  Kearns: not going to look for it, but if any of you people wanna go find it, be our
• 29:30
  Jon: You know I, you know I'm, you know I'm gonna look for it now
• 29:34
  Ryan: Yeah.
• 29:35
  Kearns: Yes, I do.
• 29:37
  Don't put it up on your plex.
• 29:42
  Jon: I'm put it… I'm not, no, I'm just gonna send it directly to you.
• 29:46
  Kearns: No
• 29:47
  Ryan: be on, that's gonna be on the list to watch now.
• 29:50
  Jon: It's gonna, it's gonna be in our, in our group chat
• 29:53
  Kearns: You know what's interesting about this movie, by the way?
• 29:55
  I watched the whole thing and I had no idea… I knew that the old lady was
• 29:59
  really done up in makeup, Pearl, but I
• 30:02
  Jon: Mm-hmm.
• 30:03
  Kearns: thing and had no idea Mia Goth was playing her until we were
• 30:05
  chatting about it a little bit.
• 30:08
  Not a freaking clue.
• 30:10
  Nope.
• 30:11
  Completely oblivious
• 30:14
  Ryan: doppelganger connection, especially when we get to Pearl,
• 30:18
  uh, or at least Pearl at least, uh, because that's what she looked like.
• 30:22
  Pearl looked like, uh, Maxine back
• 30:24
  Jon: Mm-hmm.
• 30:24
  Kearns: Mm-hmm.
• 30:25
  Ryan: And I feel like that's where the obsession comes from over the sex.
• 30:29
  It's like, "Crap, this is what I look like, and I want this."
• 30:34
  Jon: Yeah, well that and Pearl has probably not had sex in a very long time
• 30:40
  because Howard's afraid of his heart.
• 30:42
  Kearns: Mm-hmm
• 30:44
  Jon: So,
• 30:44
  Ryan: that was a young actor either.
• 30:46
  Jon: yep.
• 30:46
  Ryan: an old guy.
• 30:48
  Jon: Nope
• 30:48
  Ryan: thought it was an old actor on top of Mia Goth, and I was like,
• 30:50
  "Oh, hopefully she's getting paid a lot." Nope, it was a young guy.
• 30:54
  Thank God.
• 30:54
  Jon: Yeah.
• 30:55
  Is the young guy all made up too?
• 30:57
  Younger.
• 30:58
  He, he's older than me, a goth, but…
• 31:00
  Kearns: the experience as much as you might think he did
• 31:04
  Jon: Probably not.
• 31:05
  Ryan: me either.
• 31:06
  Kearns: Yeah.
• 31:07
  Jon: Probably not
• 31:08
  Kearns: That's my guess.
• 31:09
  she does two characters in Frankenstein as well.
• 31:12
  Jon: Yeah.
• 31:13
  Kearns: as in-depth, I'd s-
• 31:14
  Jon: Mm-hmm.
• 31:15
  Kearns: she does a lot more acting
• 31:17
  Jon: Yeah.
• 31:18
  Kearns: as Victor Frankenstein's mother
• 31:21
  Jon: Mm-hmm
• 31:21
  Kearns: than I would argue Pearl is an acting role.
• 31:25
  That's
• 31:25
  Jon: Yeah.
• 31:26
  Kearns: the shadows kind of role
• 31:28
  Jon: Yeah.
• 31:31
  Ryan: Shock value and connects the story overall
• 31:33
  Jon: Mm-hmm
• 31:34
  Ryan: what happens later on in the film, basically
• 31:36
  Kearns: Did you like Pearl?
• 31:39
  Did you sympathize with her?
• 31:42
  Ryan: In the beginning, yes, I felt bad.
• 31:46
  But then as the story progresses and we get with RJ, I was like, "Yeah,
• 31:50
  no, there's, there's something loose." But there's hints of it.
• 31:54
  Jon: Mm-hmm.
• 31:54
  Ryan: makes comments like, "Stay away from my wife," and, "She's not well,"
• 31:58
  and, you know, just, "If she's out,
• 32:02
  Jon: Mm-hmm.
• 32:02
  Ryan: go near her." And they, he warns him, and
• 32:05
  Jon: And I,
• 32:06
  Ryan: of falls
• 32:06
  Kearns: What is she, a beagle?
• 32:08
  Jon: I mean, they did kind of, they did kind of try to avoid, like they
• 32:15
  didn't, nobody went looking for Pearl
• 32:19
  Ryan: Maxine technically follows
• 32:22
  Jon: I mean, she follows her after, but she's not… Pearl finds her first.
• 32:28
  You know,
• 32:28
  Ryan: Fair
• 32:29
  Jon: yeah, skinny-dipping in the lake and then, you know, just sort of peeking at
• 32:33
  her from the bushes for a while, and then
• 32:36
  Kearns: Didn't
• 32:37
  Jon: beckoning her to the house
• 32:38
  Kearns: didn't warn her one little bit about a, a 16-foot cro- or
• 32:42
  alligator in that lake either.
• 32:44
  Jon: No.
• 32:45
  Kearns: And that
• 32:46
  Jon: Right?
• 32:46
  Kearns: was the first like, ooh, part of the movie when you see it come up and
• 32:50
  Jon: Mm-hmm.
• 32:51
  Kearns: skeet to the, dock when she zips out.
• 32:55
  I was like,
• 32:55
  Jon: That, yeah, that, that above shot is pretty cool of Maxine
• 32:59
  swimming un- you know, unknowing as the alligator follows her
• 33:05
  Kearns: who goes into a freshwater scenario like that in that
• 33:09
  area of the United States ever?
• 33:12
  Ryan: Well, they're-- it, it's Texas, they're Texans, and it's 1979.
• 33:17
  It's more freewheeling out there.
• 33:19
  And, you know, it's just a pond, you know?
• 33:22
  Jon: and she's also,
• 33:23
  Ryan: worst
• 33:23
  Jon: she's al- she's also done copious amounts of cocaine be- in
• 33:28
  ev- in getting to that point too.
• 33:29
  I, I, I'm thinking Maxine isn't making the best decisions
• 33:35
  Kearns: I would agree with that.
• 33:36
  not making the best decisions.
• 33:39
  all right.
• 33:41
  about the other characters?
• 33:43
  Ryan: make it
• 33:43
  Kearns: Favorite and least favorite
• 33:48
  Jon: Jackson is probably my favorite
• 33:51
  Ryan: Yeah.
• 33:54
  Kearns: Jackson
• 33:55
  Jon: Um,
• 33:56
  Ryan: that.
• 33:58
  Jon: you know, not counting,
• 33:59
  Ryan: like
• 33:59
  Jon: not counting Howard, it's probably RJ.
• 34:03
  RJ's kinda,
• 34:05
  Ryan: same
• 34:05
  Kearns: Yeah.
• 34:06
  Jon: RJ's kinda like super into it until he isn't
• 34:10
  Kearns: Yeah.
• 34:11
  Ryan: No, ha- I mean,
• 34:12
  Kearns: was fun for a while
• 34:13
  Ryan: don't,
• 34:14
  Jon: When it…
• 34:15
  Ryan: don't blame him for
• 34:16
  Jon: I mean, I kinda do.
• 34:20
  I ki-
• 34:20
  Ryan: It's like that
• 34:21
  Jon: You brought her to this shoot
• 34:25
  Ryan: Well, he brought her there and then he, like, shit talks
• 34:28
  Jon: he, he talks down to her.
• 34:30
  He dragged her to this shoot knowing exactly what Lorraine is gonna see,
• 34:36
  and then somehow didn't expect that maybe she's gonna wanna partake
• 34:42
  Kearns: Would, would, I mean, I don't think that that's a normal reaction, John,
• 34:47
  Jon: No.
• 34:48
  Kearns: to just jump right in
• 34:50
  Jon: I, I mean, I don't know.
• 34:52
  Like, you're, you're, you're young.
• 34:57
  It's still the '70s where, where the consequences are what?
• 35:02
  The consequences to her getting, doing a scene in that adult movie are what?
• 35:06
  Kearns: Did you not watch the film?
• 35:09
  Jon: I mean, for…
• 35:11
  Ryan: Those are different consequences
• 35:13
  Jon: and she was get-
• 35:13
  Kearns: around.
• 35:14
  I know what
• 35:14
  Jon: she was, she was getting those consequences whether she did that or not.
• 35:18
  You know, she's not, what she got, the most she's gotta worry about
• 35:22
  is, you know, an STD and some penicillin, or unwanted pregnancy that
• 35:28
  Kearns: there was no
• 35:29
  Jon: is now…
• 35:30
  Yeah, so I mean, it, and it, you know, you still are in some form
• 35:37
  of a free love moment in time.
• 35:40
  I, I don't know.
• 35:42
  Y- I, I, this sort of like goes back to s- advice my dad gave me in high school
• 35:48
  when one of my friends stole my girl.
• 35:50
  Kearns: Yeah.
• 35:53
  Jon: "You know that's what he does. Why did you bring her around him?"
• 35:57
  Kearns: Interesting
• 35:58
  Jon: You know that they're pornographers.
• 36:00
  You know what they do.
• 36:01
  Why did you bring her around them if you didn't want her to think about it?
• 36:05
  Kearns: I think the expectation would be loyalty.
• 36:09
  Jon: I mean
• 36:10
  Kearns: they're-- it would be easier to not assume that they
• 36:13
  would just be like, "Ooh," and
• 36:15
  Jon: But
• 36:15
  Kearns: on it
• 36:16
  Jon: it, it, it also becomes a very enlightened view of what they're
• 36:21
  doing there too from some of the, the other characters talking
• 36:25
  about, you know, love and sex don't always have to be intertwined
• 36:32
  Kearns: Right.
• 36:34
  That is
• 36:35
  Jon: And, you know, yeah,
• 36:38
  Ryan: character
• 36:39
  Jon: I fully understand RJ's reaction too, but I, you know, again, I'm not, I'm
• 36:44
  not sure he should've expected otherwise
• 36:47
  Kearns: It was funny watching that unravel though, and Wayne's
• 36:49
  like, "Hey, listen. Listen.
• 36:53
  They're all like this."
• 36:55
  Jon: Mm-hmm.
• 36:56
  Kearns: It's like, "Wayne, you're not helping."
• 36:58
  Jon: you can make a big deal out of this and, you know, s- try to stop her
• 37:03
  from doing it, but she's gonna do it anyway and you're just gonna lose her
• 37:07
  Kearns: Yep
• 37:09
  Ryan: Yeah.
• 37:10
  But I feel like this also helps her character build to much louder.
• 37:16
  'Cause when we first see her, I feel like jumping on your bandwagon
• 37:20
  because, John, 'cause like it's like it makes sense because how RJ
• 37:25
  treats her, the talking down and just
• 37:28
  Jon: Mm-hmm.
• 37:31
  Mm-hmm.
• 37:35
  Mm-hmm.
• 37:36
  Ryan: her talking to the actors
• 37:37
  Jon: Yeah
• 37:38
  Ryan: and all that just like helps her be who she is.
• 37:41
  So I feel like it wasn't like… kinda was like a fuck you to RJ, but I
• 37:46
  Kearns: Kinda.
• 37:46
  Ryan: she, she didn't just love him.
• 37:48
  She still
• 37:49
  Kearns: I don't even think it was the nephew, it was just
• 37:51
  she didn't consider him at all.
• 37:56
  Jon: I, I, I'd go a little different from that.
• 37:59
  I think she didn't consider him at all because she couldn't understand
• 38:06
  why he would have a problem with it.
• 38:09
  Like, it seemed like sh- and, you know, listen, he really doesn't
• 38:14
  stick up for her very much.
• 38:16
  They're, all kind of rough with her.
• 38:18
  You know, they call her church mouse, you know, which i- you know,
• 38:24
  while maybe it's a cute nickname, it's certainly not an endearing one
• 38:29
  Ryan: No.
• 38:31
  Kearns: I suppose.
• 38:33
  was curious about her casting in this too, because I don't
• 38:36
  know how old this movie is.
• 38:38
  Is this pre-"Wednesday" or post-"Wednesday" Jenna Ortega?
• 38:41
  Ryan: Pr-pre
• 38:42
  Kearns: is
• 38:42
  Jon: This…
• 38:43
  Kearns: scored that role after doing this movie
• 38:45
  Jon: this was right about when she started doing Scream movies.
• 38:51
  Same year.
• 38:52
  So this is also sort of like the, the beginning of Jenna
• 38:58
  Ortega as horror It girl
• 39:01
  Kearns: Oh, I see.
• 39:02
  Okay.
• 39:03
  Ryan: Yeah.
• 39:04
  I feel like this skyrocketed her 'cause right before this she did
• 39:08
  the sequel to The Babysitter, Killer
• 39:10
  Kearns: Mm-hmm
• 39:11
  Ryan: And like,
• 39:12
  Jon: Yeah, I mean,
• 39:13
  Ryan: she was in the sequel,
• 39:14
  Jon: they,
• 39:15
  Ryan: And
• 39:15
  Jon: this and Scream.
• 39:16
  Like, they, I mean, Scream 5 probably puts her over the most, but
• 39:24
  Ryan: Yeah.
• 39:24
  Jon: I mean, she's also extremely young still when this comes, when this was made.
• 39:31
  She was like 18, 19 years old, which explains why her scene is
• 39:36
  the only one that's the way it is
• 39:38
  Kearns: Yeah.
• 39:40
  Ryan: Yeah.
• 39:41
  We…
• 39:42
  Kearns: Yeah.
• 39:43
  And on that note, should probably play a game.
• 39:46
  Jon: Let's play a game.
• 39:47
  I
• 39:47
  Kearns: the
• 39:48
  Jon: have an…
• 39:49
  Kearns: a game ever
• 39:50
  Jon: Yeah, I have a new game for you guys.
• 39:52
  I think this is an easy game
• 39:55
  Kearns: Okay
• 39:57
  Jon: I think.
• 39:58
  I'm gonna start you with the easiest one and an easy game.
• 40:02
  So our game this week is called Goth or Not?
• 40:08
  So is Mia goth in this movie, or is Mia goth not in this movie?
• 40:15
  Kearns: Oh, it's gonna be kinda hard for me.
• 40:16
  It's gonna be really… Yeah, goth for Frankenstein 100%.
• 40:20
  Jon: I mean, I, so I'm starting you guys with, with the easy one
• 40:24
  Kearns: But
• 40:25
  Ryan: You'll remember some movies
• 40:27
  Jon: So Frankenstein is goth.
• 40:30
  Kearns: What's the
• 40:30
  Jon: Movie number, movie number two
• 40:33
  Kearns: Dual goths.
• 40:34
  Jon: is The Menu.
• 40:36
  Kearns: Oh, the
• 40:36
  Jon: The Menu.
• 40:37
  N- n-
• 40:37
  Ryan: Oh,
• 40:37
  Jon: notice,
• 40:38
  Kearns: re-watched the end of this
• 40:40
  Jon: notice I've,
• 40:41
  Ryan: That's
• 40:41
  Jon: I, I've tried with as many of these as possible to go with posters or images
• 40:47
  that don't have cast listings on them
• 40:50
  Kearns: Smart.
• 40:51
  Ryan: I see.
• 40:52
  Jon: So goth or noth, the menu?
• 40:57
  Ryan: Nah
• 40:58
  Kearns: Goth.
• 40:59
  Jon: Noth
• 41:00
  Kearns: Damn, thought I was getting a sneaky one
• 41:05
  Jon: Not.
• 41:06
  Ryan: This menu's so good
• 41:07
  Jon: It's a very good movie.
• 41:08
  I, I have to put that on our calendar.
• 41:11
  All right, movie number three.
• 41:13
  Whoops, we went too far.
• 41:15
  Back one.
• 41:15
  Kearns: Everest?
• 41:17
  Jon: Troy.
• 41:18
  Kearns: If
• 41:18
  Jon: Troy, goth or not?
• 41:21
  Kearns: If she's in Troy, that's aggravating 'cause who the hell
• 41:23
  would she have been in Troy?
• 41:26
  Ryan: Noth.
• 41:26
  She's
• 41:27
  Kearns: Nath.
• 41:28
  I gotta go with Nath.
• 41:29
  Jon: This is a nah
• 41:30
  Kearns: All right, good.
• 41:31
  She would've been, like, five
• 41:33
  Ryan: I was gonna say she is not… I've seen this movie so many times on Starz.
• 41:37
  She's definitely not in this film
• 41:39
  Jon: Great.
• 41:39
  Kearns: I watch "Troy" so much.
• 41:40
  Jon: Next up, Everest.
• 41:43
  Goth
• 41:44
  Kearns: three
• 41:44
  Jon: not?
• 41:45
  Kearns: It's three dudes.
• 41:46
  Is that Jared Leto?
• 41:48
  It's three
• 41:48
  Jon: I don't, I don't remember who's in this.
• 41:51
  I do remember liking it.
• 41:53
  Kearns: Really?
• 41:54
  Jon: Yeah, I like Everest
• 41:57
  Ryan: I'll say not
• 41:59
  Kearns: I'm gonna go with she's gotta be like one of the wives or something
• 42:02
  like that waiting for the husband back home, and the Sherpa calls and is
• 42:05
  like, "He's not going to make it." Uh,
• 42:09
  Jon: We're also not bringing his body back down.
• 42:12
  Kearns: we're gonna leave him next to green boots up there.
• 42:14
  I wanna say goth.
• 42:16
  Jon: It is goth
• 42:19
  Kearns: Woo.
• 42:20
  Pulled it even.
• 42:22
  Is
• 42:22
  Jon: Yeah.
• 42:22
  Do you…
• 42:23
  Kearns: is, or is she a climber?
• 42:24
  A
• 42:24
  Jon: I don't remember.
• 42:26
  Kearns: of me
• 42:28
  Jon: I don't, I think the climbers were all men
• 42:33
  But I don't remember that for sure.
• 42:35
  All right.
• 42:36
  Next, Tenet,
• 42:39
  Kearns: no idea on this one.
• 42:41
  Jon: goth or noth?
• 42:43
  Kearns: She-- We would've known if she was in a Christopher Nolan movie
• 42:47
  Ryan: Yeah.
• 42:48
  Uh, yeah.
• 42:49
  I'm trying to remember if she was in Tenant.
• 42:53
  Robert Pattinson
• 42:55
  Kearns: No, I don't know.
• 42:56
  It's right around the time where she was in things.
• 43:00
  I don't know.
• 43:03
  John, you're an evil man, you know that?
• 43:05
  Look at the smile on his face.
• 43:07
  Ryan: gonna
• 43:07
  Kearns: I'm gonna go with Noth too.
• 43:09
  Jon: It is not.
• 43:10
  Kearns: Oh, thank God.
• 43:11
  Ryan: Okay.
• 43:12
  I was-
• 43:14
  Jon: It is not.
• 43:15
  Ryan: was
• 43:17
  Jon: Next, goth or not, Crimes of the Future
• 43:26
  Kearns: It got so small.
• 43:28
  It's not one of those three faces, I can tell you that much.
• 43:32
  Ryan: Uh, Crimes of the Future is like a, how do you call it?
• 43:35
  It's like, it's not a se- it's a sequel remake, reimagining
• 43:43
  Jon: Of
• 43:50
  Ryan?
• 43:52
  Ryan: Oh, I said goth
• 43:53
  Jon: He said, "Goth, it is noth."
• 43:55
  Kearns: Woo.
• 43:56
  Ryan: It's
• 43:56
  Kearns: Pull ahead.
• 43:57
  Jon: Noth
• 43:58
  Kearns: I don't know.
• 43:59
  I don't know if I can keep this up though.
• 44:01
  I'm getting very lucky on these coin flips
• 44:03
  Jon: Next one, The Odyssey, goth or not?
• 44:07
  Kearns: Goth.
• 44:08
  Ryan: goth
• 44:10
  Kearns: She's such a jerk in it too.
• 44:12
  Jon: So she, she has been in a Nolan movie
• 44:16
  Kearns: Yeah.
• 44:16
  Oh, yeah, I-- fair.
• 44:18
  That's fair
• 44:21
  Jon: Infinity Pool, this one I couldn't find without a…
• 44:25
  Kearns: Goth.
• 44:26
  Ryan: Got
• 44:28
  Kearns: Be tough to get this one wrong
• 44:31
  Jon: Yeah, if you're paying attention, it would be tough.
• 44:34
  Kearns: Mm-hmm.
• 44:35
  Jon: I think there's two more, maybe three.
• 44:37
  It Follows,
• 44:39
  Kearns: Ooh.
• 44:39
  Jon: or not
• 44:42
  Kearns: It Follows came out a long time ago.
• 44:44
  Nah
• 44:46
  Jon: What did you say, Ryan?
• 44:49
  It is a not.
• 44:51
  Kearns: Yeah, it's too old for her.
• 44:54
  Jon: And yeah, I mean, she could have been in it
• 45:00
  Kearns: I'm gonna look up not her IMDb, but her age.
• 45:03
  Mia Goth age.
• 45:04
  Jon: Last one,
• 45:05
  Kearns: Wait
• 45:06
  Jon: the Suspiria remake, goth or nah?
• 45:09
  Kearns: Oh damn, that's a hard one.
• 45:10
  This could make or break us.
• 45:14
  Ryan: Goth.
• 45:17
  Jon: Final answer?
• 45:18
  Kearns: Final answer.
• 45:19
  Ryan: Yeah.
• 45:20
  Jon: It is God.
• 45:21
  Kearns: one.
• 45:21
  Yeah, I, I had to choose what Ryan chose to win sure I won.
• 45:27
  Um,
• 45:28
  Jon: you won
• 45:29
  Kearns: woo.
• 45:30
  It's been like, it's been like nine weeks.
• 45:32
  Uh, Mia Goth was born in 1993, by the way
• 45:36
  Ryan: No.
• 45:37
  Jon: So she's 32, 33.
• 45:41
  Kearns: Yeah, it's not a baby, but
• 45:43
  Jon: Mm-hmm.
• 45:44
  Kearns: to me she is.
• 45:45
  Jon: I really like her.
• 45:47
  Kearns: Yeah,
• 45:48
  Jon: Really
• 45:48
  Ryan: good.
• 45:49
  Kearns: All right, guys, so that, that, uh, that's gonna conclude
• 45:52
  part one of our X episode.
• 45:54
  So get the hell out of here.
• 45:56
  Go watch part two, jerks.
• 45:59
  What is this?
• 46:00
  All right.
• 46:01
  Jon: It's an X.
• 46:01
  Ryan: gonna give
• 46:02
  Jon: It's an X. The end, part two
• 46:05
  Kearns: See you in part two.