Latest / Xenomania / Mother’s Day (1980): Matriarchy, Mayhem & the Madness of Exploitation Horror - Xenomania Ep. 20

Transcript

Mother’s Day (1980): Matriarchy, Mayhem & the Madness of Exploitation Horror - Xenomania Ep. 20 · Xenomania

• 0:16
  Jon: Death gsm not our movie of the week,
• 0:20
  Kearns: Not our movie of the week.
• 0:22
  Jon: GSM is not only getting a sequel, it's getting a graphic novel and like
• 0:28
  an eight bit side scrolling video game.
• 0:31
  Kearns: Oh, that's cool.
• 0:33
  Jon: Yeah.
• 0:33
  Ryan : cool.
• 0:34
  I bet you retro is making it.
• 0:36
  they've been killing it with like the retro abit and style GI Joe
• 0:41
  teenage moon ninja turtles, it seems
• 0:43
  Jon: Death,
• 0:43
  Kearns: Yeah.
• 0:44
  Jon: is like the perfect combination of, of interests for me.
• 0:47
  You get the horror story and like legit metal soundtrack, like that's,
• 0:55
  that's a perfect sweet spot for me.
• 0:57
  And so Death gsm, too exciting.
• 1:01
  Kearns: Did you ever play Hollow Night?
• 1:04
  Jon: I don't think
• 1:04
  Kearns: Side, it's a side scrolling, um, gothic horror style game, but of like, I
• 1:10
  don't know, everybody compares it to like Dark Souls and things like that, but it's,
• 1:14
  it's a side scroller with epic music.
• 1:17
  I wouldn't say metal, but epic music and yeah, it's definitely worth your time.
• 1:22
  I think you'd enjoy it greatly.
• 1:24
  Jon: All right,
• 1:25
  Ryan : I can't see it like a dark souls though.
• 1:28
  I mean difficulty.
• 1:29
  Yes, but like
• 1:31
  Kearns: I think they're just saying it because of the bosses.
• 1:33
  It is a huge stretch.
• 1:34
  It is nothing like the gameplay of Dark Souls.
• 1:36
  yeah.
• 1:37
  Ryan : I was gonna say it's like them comparing it to cuphead like difficulty.
• 1:40
  Yes.
• 1:41
  But no, it's different
• 1:43
  Kearns: I could see Lizza P that makes sense.
• 1:45
  But Hollow Night, they should have called it Hollow Orgasm.
• 1:49
  Another million sales.
• 1:51
  Right.
• 1:52
  Jon: they should
• 1:52
  Kearns: Uh, and,
• 1:53
  Jon: it TGA onto the end of everything.
• 1:55
  Kearns: and a band pops up outta nowhere Now Hollow.
• 1:59
  Jon: Yeah.
• 2:01
  Mm. Um,
• 2:02
  Kearns: All right guys.
• 2:03
  Well, we should probably, yeah, I was gonna say, we should probably tell
• 2:07
  you what we're covering this week.
• 2:09
  We're going over the 1980s horror flick, mother's Day, not the, the more
• 2:15
  recent one, which Jennifer Aniston.
• 2:18
  Jon: No def do not get them confused either way.
• 2:23
  Kearns: Not that one.
• 2:23
  Not that one, no.
• 2:23
  But there is actually a more recent remake
• 2:25
  Jon: if you're
• 2:26
  Kearns: as well.
• 2:27
  Jon: Aniston movie, you, you'll be
• 2:31
  Kearns: Yeah.
• 2:31
  Jon: wrong place.
• 2:32
  Ryan : watch.
• 2:34
  Kearns: But the, uh,
• 2:35
  Ryan : Watch
• 2:36
  Kearns: yeah, that's actually a great movie, by the way.
• 2:38
  I stand by the breakup.
• 2:40
  Oh, I loved it.
• 2:41
  The, just what he says about the sister.
• 2:43
  She's been through a lot of dick.
• 2:46
  Jon: I think, I think I didn't like it so much 'cause I was sort of inching towards
• 2:50
  a breakup at that point in time, so it was
• 2:53
  Kearns: Oh.
• 2:53
  Jon: very real.
• 2:54
  Ryan : I gotcha.
• 2:55
  Kearns: And at the end they like see each other like, you doing good?
• 2:58
  Yeah.
• 2:59
  You doing good?
• 3:00
  Yeah.
• 3:00
  And then just part ways, like a real breakup.
• 3:03
  But anyway, this isn't that movie.
• 3:06
  No, this is Mother's Day 1980.
• 3:08
  I have a feeling we're gonna do the newer Mother's Day actual horror
• 3:11
  one, maybe a year from now, but the 1980s one's worth a watch..
• 3:17
  Ryan : yeah,
• 3:18
  Jon: I,
• 3:19
  Ryan : it is, it is.
• 3:20
  It's got that good campiness, you know, that you expect from that
• 3:23
  Kearns: Yeah,
• 3:24
  Ryan : you know, and it wasn't as worse as the trailer makes it.
• 3:28
  Kearns: trailer does it no favors.
• 3:30
  Jon: mean, it, it's got its rough moments, which is probably why this
• 3:36
  is one of Eli Roth's favorite movies.
• 3:41
  Kearns: Of course it is.
• 3:42
  Jon: Right.
• 3:43
  I, I told you guys it was gonna make, it was gonna make complete
• 3:47
  sense once I told you who it was.
• 3:49
  He was apparently, when he was like 12, obsessed with this movie, trying to get
• 3:54
  it at the video store every time he went.
• 3:56
  And it was never there.
• 3:58
  So he went to another one eventually, and there it was.
• 4:00
  And like it be, it was like the love of his.
• 4:03
  Teenage years.
• 4:04
  He loved this movie so much.
• 4:06
  He showed it to his friends at his bar mitzvah.
• 4:13
  Kearns: That is amazing.
• 4:14
  Ryan : That's one way to celebrate
• 4:16
  Kearns: like, is he like showing that movie again?
• 4:19
  Jon: Guys, I don't know if I want to go to Eli's house again.
• 4:22
  Kearns: Yeah, exactly.
• 4:24
  So
• 4:25
  Ryan : I don't wanna watch Mother's Day for the
• 4:26
  Kearns: this one's a little messed up people.
• 4:28
  Um, you've got, you've got a, a bit of a, a serial marauding
• 4:33
  family dynamic and not cute.
• 4:35
  We're not talking the Goonies here.
• 4:37
  Jon: No,
• 4:38
  Kearns: isn't, this isn't adorable marauding.
• 4:41
  Ryan : far from it.
• 4:42
  Jon: no,
• 4:43
  Kearns: No, no.
• 4:43
  Jon: is, this is Bad.
• 4:45
  Bad Maring.
• 4:46
  Kearns: Yeah, this, this is a deliverance style marauding,
• 4:51
  although it takes place in Jersey
• 4:53
  Ryan : a hundred
• 4:54
  Kearns: of all places, which you wouldn't expect.
• 4:56
  Jon: Share some of the same Woods locations as the
• 5:00
  first two, Friday the 13th.
• 5:03
  Kearns: No.
• 5:03
  There you go.
• 5:04
  Well, the pine Barrens and stuff like that are wild.
• 5:07
  People forget that.
• 5:10
  Jon: Yeah.
• 5:11
  Kearns: Those areas,
• 5:12
  Ryan : I mean, the Pine Barrens are, I mean, if you really wanna go into it, uh,
• 5:15
  the Sopranos episode, this pine Barrens, it goes into detail how deep those woods
• 5:20
  are and how easy you can get lost in them.
• 5:23
  Kearns: it's the same.
• 5:24
  It's like playing a game where you go to the next frame and the
• 5:27
  background's the same, and then you go to the next frame and the
• 5:29
  background's like slightly different.
• 5:31
  Like there's a log falling.
• 5:32
  You're like, okay, that's my signpost.
• 5:34
  So I know like where I am in the grid, I'm thinking of like Quest for glory games
• 5:39
  and stuff like that, where you're just like B, B, B, and then it loads B, B, B.
• 5:43
  A new load.
• 5:44
  Um, that, that's what the Pine Barrens are like.
• 5:46
  It's just the same backdrop for Miles.
• 5:50
  Jon: Yep.
• 5:52
  Ryan : PTSD of
• 5:53
  Kearns: Oh, King's question.
• 5:54
  It's,
• 5:55
  Ryan : Don't
• 5:55
  Kearns: another Sierra game.
• 5:57
  That's another Sierra game.
• 5:58
  Yeah.
• 5:58
  Nice.
• 5:59
  Um, but I did Jersey Devil.
• 6:02
  Jon: Yep.
• 6:03
  Kearns: another thing that, that rests within the pine barons.
• 6:07
  Jon: Yep.
• 6:08
  Kearns: so we get three, three smoking hotties are off on a, a girl ca
• 6:15
  is the best way I can describe it.
• 6:17
  Ryan : it's interesting 'cause each of 'em have their own
• 6:19
  Jon: Mm-hmm.
• 6:20
  Ryan : going on, right?
• 6:21
  So like Abby, she's living in New York, she's trying to get through
• 6:25
  life and her boyfriend's a bum taking money from her and just like
• 6:30
  using her because he's an artist.
• 6:33
  And then you got like, I think Jackie, she's got,
• 6:37
  Kearns: Is that the reason why he's stealing money from her and
• 6:40
  soaking up on, because he's an
• 6:42
  Ryan : saw that,
• 6:42
  Jon: Mm-hmm.
• 6:43
  Kearns: artist's.
• 6:44
  Ryan : Drinking brandy and stealing.
• 6:47
  Stealing 20 bucks, putting in his drawers.
• 6:49
  I'm like, you
• 6:50
  Kearns: That's amazing.
• 6:51
  Ryan : like you
• 6:52
  Jon: Yeah.
• 6:53
  Ryan : not good.
• 6:54
  Jackie's, Jackie's got an overbearing mother who she wants
• 6:58
  to murder because it's just like
• 7:03
  Kearns: Yeah.
• 7:03
  Ryan : bullshit of like demands and stuff.
• 7:05
  She can't take it.
• 7:06
  And Trina, Trina's living the high life, She's in California,
• 7:10
  I guess she's like a movie star.
• 7:11
  She's married to a producer,
• 7:13
  Kearns: She's the one who goes full new during the swimming scene.
• 7:16
  Right?
• 7:16
  Like, 'cause that's what you do when you're swimming with your best
• 7:18
  buds, is you take off your shirt.
• 7:20
  Jon: Well,
• 7:21
  Kearns: Yeah.
• 7:22
  Like, woo.
• 7:22
  Jon: course.
• 7:23
  Ryan : yeah.
• 7:23
  It's
• 7:24
  Kearns: I don't have a freeloading boyfriend or an overbearing mom.
• 7:27
  Jon: You also, you also run around the woods in skirts and dresses then.
• 7:32
  Kearns: As one does.
• 7:33
  Ticks don't exist.
• 7:34
  It's 1980.
• 7:35
  Nobody cared.
• 7:36
  Jon: No, we didn't care about Tex in 1980,
• 7:38
  Ryan : gonna do it.
• 7:40
  Kearns: No.
• 7:41
  Jon: Lyme Lyme's disease hadn't escaped Plum Island yet.
• 7:44
  Kearns: Yeah, I mean, he's not wrong.
• 7:46
  Now everybody look it up.
• 7:48
  Do some re do some research.
• 7:51
  Jon: your own
• 7:51
  Kearns: Research it.
• 7:55
  Ryan : he brought the
• 7:55
  Kearns: I've got my stress frog for this movie.
• 7:57
  This movie's very stressful.
• 7:59
  Ryan : Yep.
• 7:59
  Jon: so, so before we go any further, I, we should probably, uh, mother's Day is
• 8:04
  written and directed by Charles Kaufman.
• 8:07
  So Charles Kaufman is the brother of one Lloyd Kaufman, founder of
• 8:13
  Trauma Entertainment, responsible for the Toxic Avenger class
• 8:19
  Kearns: So.
• 8:19
  Jon: High.
• 8:20
  All the great b movies from the eighties and nineties are trauma.
• 8:23
  Kearns: Throw my name.
• 8:24
  He's got a couple of a-listers in there on his, uh, resume too, doesn't he?
• 8:28
  Didn't he do slither?
• 8:30
  Jon: J yeah.
• 8:30
  Kearns: Was that what
• 8:31
  Jon: started in trauma.
• 8:32
  He did, um, Romeo and Juliet.
• 8:37
  Ryan : Yep.
• 8:38
  Kearns: Nice?
• 8:39
  Um, yeah.
• 8:40
  He's got, he's got a hell of a, a back catalog.
• 8:44
  Jon: Yeah, so just to throw out some of Charles Kaufman's
• 8:47
  credits, he wrote episodes of the animated Dennis the Menace series.
• 8:53
  Kearns: Amazing.
• 8:54
  Jon: He wrote e
• 8:55
  Kearns: I used to watch that show.
• 8:56
  Jon: of the Real Ghostbusters Animated Series,
• 9:00
  Kearns: Okay.
• 9:01
  Jon: and he wrote a little treasure called, Winston's Potty Chair.
• 9:08
  Kearns: John has been doing a deep dive into Winston's potty chair
• 9:10
  and I, I phrased that exactly the way I wanted to, by the way.
• 9:14
  Jon: Oh,
• 9:14
  Kearns: Um.
• 9:15
  Ryan : Yeah,
• 9:16
  Jon: don't think this is the last year hearing of Winston Tonight.
• 9:19
  Kearns: No, it's gonna be,
• 9:20
  Jon: did, I did not watch a half hour potty training video for, well, yeah,
• 9:25
  I kind of did watch it for shits and
• 9:27
  Kearns: I feel like
• 9:28
  Jon: but.
• 9:28
  Kearns: you're on a government watch list now.
• 9:30
  He doesn't have any kids.
• 9:32
  This is not okay.
• 9:34
  Jon: So it, it's all,
• 9:36
  Ryan : is
• 9:36
  Jon: it's co-written by a man named Warren Late who has gone on to write and or
• 9:41
  executive produce around 200 law and order brand episodes mainly, which should really
• 9:50
  come as no surprise, mainly SVU you.
• 9:55
  It seems to be an area of expertise for him.
• 9:58
  Ryan : Yeah, did
• 9:59
  Jon: Yeah, he did some of that too.
• 10:02
  Kearns: I find those one plot, uh, series, like those things to
• 10:07
  be almost unwatchable, almost.
• 10:11
  Jon: Oh
• 10:12
  Kearns: I'll be a Debbie Downer.
• 10:13
  Jon: in the right mood.
• 10:14
  You can lose six, eight hours at a time to those, run together.
• 10:19
  Kearns: You are gonna catch me watching Cheers reruns.
• 10:21
  Before I turn on law and Order.
• 10:24
  It's the BU for me.
• 10:26
  I'm just like, Nope, just turn it right off.
• 10:31
  Ryan : I was more just CSI, to be honest.
• 10:33
  I don't
• 10:33
  Kearns: Oh, okay.
• 10:35
  Ryan : just, it was just cool, just that nuance.
• 10:37
  But, um, real quick, I just wanted to go back to
• 10:40
  Jon: Mm-hmm.
• 10:40
  Ryan : Kaufman.
• 10:41
  He also wrote one of my favorite TV series growing Up
• 10:46
  Kearns: Oh, I like alienation.
• 10:49
  Ryan : Sorry, I just wanted to add that real quick.
• 10:51
  'cause I was like, Yeah.
• 10:52
  when I read that earlier I was like, yes, I love that show.
• 10:55
  Love the movie.
• 10:56
  But the show, the show was a nice little add-on, little Treat on Fox
• 11:02
  Jon: When when
• 11:03
  Kearns: All right.
• 11:03
  Jon: those, I like to sort of highlight the more unexpected things that they did.
• 11:10
  Like
• 11:10
  Kearns: Well, I.
• 11:11
  Jon: Dennis, the medicine, the real Ghostbusters.
• 11:14
  Kearns: I mean, the potty training video would probably be my most unexpected.
• 11:18
  Jon: I mean, listen, Winston's potty chair is the story of Winston and Molly getting
• 11:22
  toilet trained, and let me tell you.
• 11:26
  Winston struggles to get it.
• 11:28
  Kearns: I mean, it's not easy for all Winston's out there.
• 11:31
  Jon: No.
• 11:33
  Ryan : No, It took a minute.
• 11:35
  Kearns: Tricky.
• 11:36
  Ryan : Longer than
• 11:36
  Kearns: tricky.
• 11:36
  There were messes.
• 11:38
  They were messes for sure.
• 11:41
  Ryan : There's
• 11:41
  Jon: Mm-hmm.
• 11:43
  Ryan : It was like Apocalypse Now.
• 11:45
  All right.
• 11:46
  Marlon Brando
• 11:47
  Kearns: Yeah.
• 11:48
  Ryan : He just needs to shit.
• 11:52
  Kearns: So we got the director and writer,
• 11:55
  Jon: Mm-hmm.
• 11:55
  Kearns: the esteemed last name of Kaufman, but not Lloyd
• 11:59
  Jon: Mm-hmm.
• 12:01
  And we have a, a fairly, I mean, I, she's not a name, but she's a
• 12:05
  fairly accomplished Shakespearean actress, Beatrice Pons as the mother.
• 12:12
  She
• 12:13
  Kearns: Pons as the mother is what makes this movie stand out a bit.
• 12:17
  Um, 'cause there's a lot of manic scenes, shaky camera stuff, quick cuts.
• 12:22
  Jon: Mm-hmm.
• 12:23
  Kearns: Um, but she's a, she's a consistent presence.
• 12:27
  Jon: Mm-hmm.
• 12:27
  Kearns: That's the way I'm gonna phrase it.
• 12:29
  Jon: And
• 12:29
  Ryan : she is.
• 12:30
  Jon: of, one of her more strange roles is as the wife of Officer Tootie on Car 54.
• 12:36
  Where are you?
• 12:37
  Ryan : Yes.
• 12:38
  Kearns: That is a great movie that had left my brain.
• 12:42
  I'm so happy you brought it back.
• 12:43
  Jon: Not the movie.
• 12:45
  Kearns: Oh God, the show
• 12:47
  Ryan : show.
• 12:47
  with Fred Gwynn.
• 12:49
  Kearns: better.
• 12:49
  Well, yeah.
• 12:50
  She's not gonna be in.
• 12:51
  Yeah, that makes sense.
• 12:53
  Jon: Black and
• 12:54
  Kearns: Um,
• 12:54
  Jon: Ponds
• 12:55
  Ryan : The
• 12:56
  Kearns: so well for the listeners, um, this person,
• 12:59
  what was the character's name?
• 13:00
  John, did we get.
• 13:03
  Jon: Car 54.
• 13:03
  Kearns: just referenced her as the mother.
• 13:05
  No, I mean in the, in, um, mother.
• 13:07
  Jon: the only name.
• 13:07
  She,
• 13:08
  Kearns: Yeah.
• 13:08
  Um, uh,
• 13:09
  Jon: credited as is mother.
• 13:12
  Kearns: Mother.
• 13:12
  So mother and two sons chance upon well, uh, chance upon stalk, surveil,
• 13:21
  the three ladies, during their trip.
• 13:23
  And that, that builds a bit of tension 'cause you see them
• 13:25
  kind of like silhouetted on the side and things like that.
• 13:28
  Jon: they've already established what this family is, you know, as they, 'cause it
• 13:34
  really starts out, the mother picks up these two people at a self-help health
• 13:40
  convention with probably the creepiest, most useless self-help guru ever.
• 13:46
  Kearns: Mm-hmm.
• 13:47
  Jon: But
• 13:49
  Ryan : Oh God.
• 13:49
  Yeah.
• 13:50
  Jon: you can tell the way they set the scene up, mothers driving and
• 13:54
  these two are in the car with her.
• 13:57
  And it's clear in those moments that those two people are way worse than
• 14:02
  she is, that they're up, they're gonna, you know, rob or kill her.
• 14:06
  Something terrible.
• 14:07
  Like it's clear that that's their intent.
• 14:11
  And then, you know, the old busted car trick and two crazy sons.
• 14:18
  And an obviously wax head on that dude in the backseat.
• 14:24
  Ryan : that was a good, it was a good kill, but when they edited
• 14:28
  it, edit the blood splatter, then
• 14:31
  Jon: Mm-hmm.
• 14:32
  Ryan : cut off and
• 14:33
  Jon: Mm-hmm.
• 14:33
  Ryan : splatter.
• 14:34
  And I was like, ah.
• 14:35
  But don't you guys think she looked a little bit like
• 14:39
  Kearns: Oh my God, mother or,
• 14:43
  Ryan : No, no, not
• 14:44
  Jon: Yeah.
• 14:45
  Ryan : The
• 14:46
  Kearns: yeah.
• 14:47
  Jon: a little
• 14:47
  Kearns: Yeah, I can see it.
• 14:49
  Jon: bit.
• 14:49
  Kearns: I could see it.
• 14:51
  Ryan : Now, now I, I'm gonna twist your minds on this too.
• 14:54
  One of the sons looks like Tim Curry.
• 14:59
  Jon: still alive
• 15:00
  Ryan : Yeah.
• 15:00
  You,
• 15:01
  Kearns: He's, he's kicking.
• 15:02
  He's kicking.
• 15:03
  Jon: still with us?
• 15:04
  Ryan : Still living,
• 15:05
  Kearns: Not it yet.
• 15:07
  Ryan : And, he literally looked like Tim Curry.
• 15:09
  And that was, uh, Ike, Ike looked
• 15:12
  Jon: Mm-hmm.
• 15:13
  Ryan : Curry, in my opinion.
• 15:13
  Like a
• 15:14
  Kearns: Yeah.
• 15:15
  Jon: Did you, did you catch the sort of historical significance of the boys' names
• 15:22
  Uhhuh?
• 15:22
  Kearns: Oh, like Turner,
• 15:24
  Ryan : I,
• 15:24
  Jon: Uh,
• 15:25
  Kearns: which a president?
• 15:26
  There's an Ike as a president.
• 15:28
  Yeah.
• 15:28
  Jon: and Adley Stevenson.
• 15:30
  Kearns: Okay.
• 15:32
  Yeah.
• 15:33
  That's cool.
• 15:34
  Ryan : I picked up a lot of the, the pop culture was everywhere.
• 15:37
  I mean, we can, we're probably gonna cover that later, but
• 15:40
  there's a lot of, um, pop culture
• 15:42
  Kearns: We should compare the, um, the backseat death to the greatest
• 15:46
  backseat death in film history, which is not the case, by the way.
• 15:50
  The one, the example I'm giving is not the greatest, but it's the one that
• 15:53
  comes to mind every time I think of it.
• 15:54
  Ryan : two.
• 15:55
  Kearns: scream two, but that's a good one.
• 15:56
  Ryan : Um.
• 15:56
  Kearns: Uh, Marvin from Pulp Fiction,
• 16:01
  Ryan : Oh, Yeah.
• 16:03
  Kearns: him over to the face.
• 16:05
  Jon: Yeah.
• 16:06
  Yeah.
• 16:06
  I mean, I feel like you can also compare that to a movie that came
• 16:10
  at around the same time with a similar car, death seen as maniac
• 16:16
  Kearns: Oh, okay.
• 16:16
  Jon: a different, like, probably pretty similar budgets,
• 16:20
  similar directorial abilities.
• 16:25
  You know, like very, very similar moments.
• 16:28
  And just how, I mean, having someone like Tom Savini around maniac,
• 16:33
  how big a difference that makes.
• 16:36
  Kearns: Yeah.
• 16:37
  Ryan : Well, Tom Savini is a, he's amazing.
• 16:41
  I mean, everything he touches is it's gold.
• 16:43
  Even if it's like the worst
• 16:45
  Jon: Mm-hmm.
• 16:46
  Ryan : effects just highlight
• 16:48
  Jon: I mean, even when he remakes a classic, 'cause he did
• 16:51
  the 1990 remake A Night of The Living Dead, and it's like, yeah.
• 16:56
  I, I think it's pretty established how much I don't like remakes.
• 17:01
  Kearns: Yes.
• 17:01
  Jon: that.
• 17:01
  I really like that remake.
• 17:03
  And
• 17:04
  Kearns: There's a lot.
• 17:04
  That's a lot of praise for s. It's good the sini is holding up.
• 17:10
  Jon: you get night of Living dead.
• 17:11
  Right.
• 17:12
  You, you're doing something.
• 17:14
  Kearns: I agree.
• 17:15
  'cause you really can't, it's like capturing, uh, lightning in a bottle.
• 17:19
  That first movie, what everybody tries to do with it when they, and then they've
• 17:23
  just stopped trying to fully recreate it.
• 17:24
  I feel like they just put their own spin on the idea.
• 17:28
  Jon: Yeah.
• 17:28
  Kearns: in the era of fast zombies.
• 17:30
  I think we're gonna go back to Shalers though.
• 17:32
  I do.
• 17:33
  I think we might go back to the Shambling Horde
• 17:36
  Jon: Mm-hmm.
• 17:37
  Kearns: or soon.
• 17:37
  Um, I hope we do.
• 17:39
  'cause fast zombies are good and action movies are fun, but it's not horror world.
• 17:44
  War Z wasn't a horror movie.
• 17:46
  Jon: Nope.
• 17:46
  Kearns: Um, it wasn't scary in the slightest.
• 17:48
  I, the only fast zombie movie I found really scary was 28
• 17:51
  days later, to be honest.
• 17:53
  Jon: technically zombies.
• 17:55
  Kearns: Right.
• 17:55
  They're just rabid people
• 17:57
  Ryan : No
• 17:58
  Kearns: who don't die for some reason.
• 18:00
  Jon: Yeah.
• 18:00
  Kearns: but yeah.
• 18:01
  Anyway.
• 18:01
  I don't even know what got us on this tangent of zombies.
• 18:04
  Oh yeah.
• 18:04
  Savini
• 18:05
  Jon: Yeah.
• 18:06
  Sini.
• 18:07
  Ryan : Of course.
• 18:08
  Kearns: Sini.
• 18:09
  Damn it.
• 18:09
  S um, so Mother's Day, um, is, is, it's something else.
• 18:18
  Uh, there's a, there's a, an aspect to the film that I feel that we should bring
• 18:22
  to the forefront of the conversation.
• 18:26
  This one's a bit rapey.
• 18:28
  It's a little rapey.
• 18:32
  Ryan : Yeah.
• 18:33
  Jon: Uh,
• 18:33
  Ryan : It's,
• 18:34
  Jon: There's a, there's a little bit of that going on in here.
• 18:38
  Um
• 18:39
  Kearns: there's some, it's implied in a lot of films
• 18:42
  Jon: mm-hmm.
• 18:43
  Kearns: but, um, Ryan brought up a good point.
• 18:45
  It is, it's highlighted in the trailer, like it's the selling point
• 18:48
  of what they're trying to get across.
• 18:52
  Yeah.
• 18:53
  Jon: definitely trying to cash in on some of those rape revenge movies of the,
• 18:56
  you know, seventies and early eighties.
• 18:59
  You know, you know, the, I spit on your graves last house on the
• 19:02
  left, you know, they're definitely trying to get some of that.
• 19:06
  And I mean, it's, at its core you could say Mother's Days
• 19:10
  that also, but it's not quite
• 19:14
  Kearns: It's got a little bit more soul.
• 19:16
  Um, not, well, a different, it's just a different mix I should
• 19:19
  say, because I can't say the last house, but is different.
• 19:21
  Yeah.
• 19:22
  It is soulless.
• 19:23
  Um, but yeah, it's, it's uncomfortable at times.
• 19:27
  And the boys, the, the line, some of the boys say, um, and the fact that
• 19:31
  it's being, it's performative almost like, almost like they're doing it
• 19:35
  for the mother is one of the most uncomfortable parts of this movie too.
• 19:40
  You're like,
• 19:41
  Jon: I
• 19:41
  Kearns: I hope nobody hears the dialogue.
• 19:44
  Jon: yeah, she is.
• 19:46
  Ryan : uh.
• 19:47
  Jon: just active participant, she is full on cheerleader, encouragement reason.
• 19:56
  Kearns: Get boys.
• 19:57
  It's really uncomfortable.
• 19:58
  Jon: Yeah.
• 19:59
  Kearns: So that's, that's a thing.
• 20:00
  If you're squeamish with things like that, maybe skip this one.
• 20:03
  Um, but,
• 20:06
  Jon: Speaking, speaking of children,
• 20:08
  Ryan : they met.
• 20:09
  Jon: it's gotta be pretty annoying when your kid yells about
• 20:12
  being wet all the time, right?
• 20:14
  Kearns: uh, yeah.
• 20:15
  Jon: Yeah.
• 20:16
  Kearns: if one did such a thing, then yes,
• 20:19
  Jon: Winston does that a lot.
• 20:22
  Ryan : It's,
• 20:23
  Kearns: we're getting back to, we get back to Winston.
• 20:26
  Ryan : oh,
• 20:27
  Jon: you I didn't watch Winston's potty chair for no reason.
• 20:31
  Kearns: Well then you, you do what all good parents do and you take 'em
• 20:36
  and you hit 'em with the hose and you tell 'em you don't, unless you
• 20:39
  go on the potty, it happens again.
• 20:42
  That's how a good parent does it.
• 20:44
  Jon: 'em with the hose you mean you turn it on them.
• 20:47
  Correct.
• 20:48
  It's not
• 20:48
  Kearns: I said, what I.
• 20:49
  Jon: like like nine police interrogation thing.
• 20:55
  Kearns: It can be interpretive.
• 20:57
  You do.
• 20:58
  Everybody lives their own lives.
• 20:59
  You, you walk your own path and just hit 'em with the hose,
• 21:03
  Ryan : Got the just got the power hose on.
• 21:05
  Never
• 21:06
  Kearns: hose.
• 21:07
  It leaves the frame.
• 21:09
  But Winston complain
• 21:12
  Jon: this Winston Kid Sure has a great vocabulary for a kid
• 21:16
  who still pisses his diapers.
• 21:18
  Kearns: at that point.
• 21:18
  It's a battle of wills.
• 21:20
  Jon: Full sentences like form thoughts like Winston, just
• 21:25
  get on the toilet already.
• 21:27
  Kearns: Nope.
• 21:27
  Wants to stay a baby forever.
• 21:29
  Jon: Yeah,
• 21:30
  Kearns: That's why sometimes it's better if you just take their head and
• 21:32
  let 'em test the water just like that,
• 21:36
  Jon: yeah,
• 21:37
  Kearns: know?
• 21:38
  Ryan : You get a flush.
• 21:40
  Give a little breathing room.
• 21:41
  It's a
• 21:42
  Kearns: Yeah, see,
• 21:42
  Ryan : okay.
• 21:43
  Kearns: see, you're fine.
• 21:44
  Do you want that again?
• 21:46
  Maybe put your other end on there.
• 21:50
  That's,
• 21:51
  Ryan : You
• 21:52
  Kearns: we should make our own body training video.
• 21:55
  These ideas are gold.
• 21:57
  Jon: yeah.
• 21:58
  Yeah.
• 21:59
  Ryan : God.
• 22:00
  Kearns: See
• 22:01
  Ryan : Thumb and s soon to you see no mania
• 22:04
  Kearns: body training.
• 22:06
  Um, and as disturbing and uncomfortable as this might be to your listeners, not
• 22:10
  nearly as disturbing or uncomfortable as some of the scenes in mother's death.
• 22:15
  Jon: Okay, so, so let me, let me ask you, are the scenes in Mother's Day Freakier or
• 22:23
  Winston going to the park and visualizing every person in the park in diapers?
• 22:29
  Only diapers, no pants.
• 22:31
  Just seeing them in diapers.
• 22:32
  Is that freakier?
• 22:34
  'cause I think
• 22:35
  Kearns: It depends
• 22:36
  Jon: bro,
• 22:36
  Kearns: what spirit you're watching.
• 22:38
  Winston.
• 22:40
  Jon: Winston is a freak.
• 22:43
  Kearns: Winston is a freak.
• 22:45
  Winston's actually a tiny, full grown man.
• 22:48
  That's the, that's the problem.
• 22:49
  Jon: I think he
• 22:50
  Kearns: That's the problem.
• 22:51
  Jon: I think he's a gro, a a, a small grown man with a diaper fetish.
• 22:56
  Kearns: So every time I, I reference if a specific aspect of this movie,
• 23:02
  John is going to bring up Winston.
• 23:05
  Jon: Oh,
• 23:05
  Kearns: That's how
• 23:06
  Jon: Absolutely.
• 23:07
  The only way we're, this is the only way we are getting through rape.
• 23:11
  Kearns: Yeah, that's true.
• 23:12
  Jon: is getting us through this.
• 23:13
  Ryan : yeah,
• 23:15
  Kearns: for potty trading a child.
• 23:17
  Ryan : it's.
• 23:19
  Kearns: One thing about the, the hard R word that you just threw
• 23:23
  out there is that, um, one of the most uncomfortable ones in modern
• 23:28
  memory, I think is the hills have eyes where they have that scene.
• 23:31
  And that wasn't well received.
• 23:33
  Jon: No,
• 23:33
  Kearns: Um, when it came out, people were like, why did you do that?
• 23:37
  It didn't need to be in the movie.
• 23:38
  And then they made the second movie and doubled down on it.
• 23:41
  Jon: yeah.
• 23:41
  Kearns: Um, but, but this film, you can't have this film without it.
• 23:49
  It's not scarier on or creepy or any of that without this vibe.
• 23:53
  And it's the times, it's the times a hundred percent, 1980 and the remake.
• 23:59
  What I'm interested in now, 'cause I haven't seen the, the
• 24:01
  newer one, the newer remake.
• 24:04
  Um, I'm so curious how they decided to go about that.
• 24:08
  Ryan : it's total opposite.
• 24:10
  Kearns: Okay.
• 24:11
  Ryan : total
• 24:11
  Kearns: For,
• 24:12
  Ryan : It's
• 24:12
  Kearns: for then, I guess, but, but I'm curious.
• 24:15
  Ryan : I, I'll just say I. When you watch the trailer, it's night and day.
• 24:21
  a different vibe.
• 24:22
  And, uh, Stars Rebecca Dorm, uh, sorry, Rebecca d Monet.
• 24:28
  So
• 24:28
  Jon: Mm-hmm.
• 24:29
  Ryan : different vibe and just like, it's not as campy.
• 24:33
  Kearns: Mm-hmm.
• 24:34
  Ryan : it's more
• 24:35
  Jon: she doesn't have the, she's Rebecca rna.
• 24:39
  I feel like, and maybe it's just remembering her from like
• 24:42
  eighties and nineties movies.
• 24:44
  She's too hot to be that character in my mind.
• 24:47
  Ryan : And she is hiding in the trailer.
• 24:49
  Jon: So yeah, I mean, like
• 24:50
  Kearns: That makes it creepy for another reason.
• 24:54
  Ryan : what?
• 24:56
  Jon: Yeah.
• 24:57
  Kearns: Nice.
• 24:58
  They did it.
• 25:00
  They got us off the scent.
• 25:03
  Um, the, when did deliverance come out?
• 25:06
  I'm trying to think of other movies where horrible things happen in
• 25:09
  the woods besides deliverance.
• 25:10
  Jon: Early seventies,
• 25:12
  Kearns: Early seventies for deliverance.
• 25:14
  Jon: Deliverance was 74 ish.
• 25:17
  Kearns: Yeah, it's six years.
• 25:19
  So this, maybe it's just 'cause it was that grainy camera kind of vibe.
• 25:23
  72, so eight years.
• 25:25
  Yeah.
• 25:25
  That grainy camera vibe and things like that.
• 25:28
  Um, like I said, not a lot of care taken to transitions.
• 25:31
  It feels like some things they slow down for.
• 25:33
  They build tension.
• 25:34
  It's not a bad poorly made movie, but when they're going fast, they're going fast
• 25:39
  Jon: Yeah.
• 25:39
  Kearns: with the quick cuts.
• 25:40
  And that feels like a 1980s thing, not eighties, like a 1980 thing.
• 25:45
  Jon: Mm-hmm.
• 25:45
  Kearns: Mostly.
• 25:46
  Basically a late seventies,
• 25:47
  Jon: Yeah.
• 25:48
  I
• 25:48
  Kearns: um,
• 25:48
  Jon: a, it's a very of its time horror movie with the, with that,
• 25:54
  Kearns: right.
• 25:55
  Where they didn't need to do much.
• 25:56
  It's just like shock value sort of.
• 25:59
  Stuff.
• 26:00
  Ryan : yeah.
• 26:01
  Kearns: Okay.
• 26:02
  Ryan : It's trauma
• 26:04
  Jon: I mean, it,
• 26:06
  Ryan : to say
• 26:06
  Jon: trauma sort of pre-camp trauma,
• 26:12
  Ryan : Yeah,
• 26:13
  Kearns: It's what
• 26:14
  Jon: trauma,
• 26:15
  Ryan : it's trauma.
• 26:17
  Kearns: YouTube been getting together.
• 26:18
  YouTube been getting together.
• 26:20
  You two plan that.
• 26:22
  I'm not biting.
• 26:23
  You're dang good.
• 26:23
  Your little worm in front of me.
• 26:24
  All you want.
• 26:25
  I'm not biting it.
• 26:26
  Trauma.
• 26:27
  Huh?
• 26:27
  Cool.
• 26:27
  Ryan : What?
• 26:28
  It's
• 26:28
  Kearns: It's difficult to get through.
• 26:29
  Trauma.
• 26:33
  Ryan : Trauma, entertainment.
• 26:35
  Kearns: Trauma, entertainment.
• 26:36
  Not trauma.
• 26:37
  Trauma.
• 26:38
  Ryan : Brought to you with your,
• 26:39
  Kearns: No.
• 26:40
  Trauma.
• 26:41
  Ryan : Uh, Trauma.
• 26:42
  Kearns: Trauma.
• 26:43
  We are thinking of you.
• 26:46
  All right.
• 26:47
  But, um, all right.
• 26:49
  Yeah, let's get into the.
• 26:52
  Ryan : well, I was gonna say, there's a lot of analysis and themes,
• 26:55
  um, I found about like Being a satire of TV society according to
• 27:00
  like Jen, uh, John Kenneth Muir.
• 27:02
  He's a film scholar.
• 27:02
  You said a, a satire of our TV society since the film is litter with references
• 27:06
  to pop culture like in their bedroom.
• 27:09
  You see like GI Joe, Ernie from Sesame Street, a King Kong action figure,
• 27:14
  Batman, the Enterprise, they're eating tricks, cereal, like, there's a lot of
• 27:21
  Kearns: You think they put
• 27:22
  Ryan : around
• 27:22
  Kearns: because he's more subjugated by Bert and that's the hidden message.
• 27:31
  Ryan : damn, what's with the
• 27:34
  Kearns: Bert, you're yelling again,
• 27:35
  Ryan : as it's like,
• 27:38
  Rob,
• 27:39
  Kearns: Bert that.
• 27:43
  Jon: See, I would, I would say Ernie's the top.
• 27:49
  Kearns: I think Ernie's, wherever Bert puts him.
• 27:52
  Jon: I don't know.
• 27:54
  Ryan : No,
• 27:54
  Jon: I, I
• 27:55
  Kearns: Ernie's definitely the top.
• 27:56
  Jon: out.
• 27:57
  I think that's outward appearances.
• 27:58
  I think Burt comes across as, you know, the, more dominant personality.
• 28:03
  But when they get behind closed doors, it's all Ernie.
• 28:07
  Kearns: We've got our lead line for this episode, boys.
• 28:10
  Ernie's, definitely the top.
• 28:12
  You know me, Ian?
• 28:14
  Ryan : it's like, it's like you watch The Chappelle Show, the episode with Wayne
• 28:18
  Kearns: Yes.
• 28:19
  Ryan : Wayne Ernie's.
• 28:20
  Wayne Brady.
• 28:21
  Oh, Ernie's coming.
• 28:22
  I had the rubber duckies.
• 28:24
  All right.
• 28:25
  Jon: I mean, you notice it's a rubber ducky, right?
• 28:28
  Like, I mean, he's,
• 28:29
  Kearns: Old school.
• 28:30
  Jon: he's,
• 28:31
  Kearns: None of this plasticy crap.
• 28:33
  Jon: you know, you know, you know, Ernie's got a gim suit in the closet.
• 28:43
  And,
• 28:43
  Kearns: pop culture icons?
• 28:44
  Jon: and Burch just hears that song now and knows the gimp suit is coming
• 28:50
  out and he's gonna have a ball gaag in his mouth in about 10 minutes.
• 28:56
  Kearns: it's getting rough.
• 28:57
  Snuffle off, guess pops out.
• 29:00
  Ryan : Oh
• 29:01
  Kearns: No.
• 29:01
  Ryan : No.
• 29:02
  Kearns: No.
• 29:02
  Ryan : don't do that.
• 29:03
  Just stuff.
• 29:04
  Oh,
• 29:05
  Kearns: All right, so what other pop uh, pop culture icons
• 29:10
  were spotted that we can ruin
• 29:13
  Ryan : whoa.
• 29:16
  Well, they have like, not like pop culture, but they also have like an
• 29:20
  argument when they're getting ready.
• 29:22
  They're brushing their teeth, they're spraying, like, I don't know what the
• 29:24
  hell they're spraying under their armpits.
• 29:26
  Like, I guess
• 29:27
  Jon: it was
• 29:27
  Ryan : spray.
• 29:28
  Jon: Yeah.
• 29:28
  Ryan : Lysol All right.
• 29:29
  I didn't,
• 29:30
  Kearns: that's.
• 29:31
  Ryan : okay.
• 29:31
  I was looking, I was like, like I, I thought it was
• 29:34
  like bug killer, and I'm like, oh, that's.
• 29:35
  even better.
• 29:36
  Just chemicalized your body.
• 29:37
  But they're having an argument and they're arguing about whether
• 29:43
  punk is better or disco is better.
• 29:46
  And it's like, punk punk's better.
• 29:48
  Disco sucks.
• 29:49
  Punk sucks.
• 29:50
  And it's like just those little nuances.
• 29:53
  It's like very
• 29:55
  Jon: Mm-hmm.
• 29:55
  Ryan : Like I guess what was the discussion and what was like into, and TV
• 30:02
  Jon: Yeah.
• 30:03
  Ryan : You want your
• 30:04
  Jon: Yeah.
• 30:04
  And by 1980 you have the Rebellion against disco.
• 30:08
  You've already had disco Demolition Night at a Chicago White Sox game.
• 30:14
  They,
• 30:14
  Kearns: Oh, wow.
• 30:15
  Jon: they invited fans to bring disco records onto the field
• 30:19
  to be destroyed and burned.
• 30:22
  And it, mean, it's the late seventies, you know how that turns out.
• 30:27
  It's a riot on the baseball field, and
• 30:29
  Kearns: Mm-hmm.
• 30:30
  Jon: being forfeited and.
• 30:31
  Ryan : yeah.
• 30:32
  Kearns: Why was it so like tuned for rioting at that time?
• 30:37
  There were riots during the Sun of Sam.
• 30:39
  There were riot, there were riots all the time.
• 30:42
  It's like every time a crowd got together,
• 30:44
  Jon: the seventies was a weird, weird time.
• 30:47
  You had the
• 30:48
  Kearns: it's discontent.
• 30:49
  Jon: had so many serial killers too.
• 30:51
  Like it was the seventies is a mess, man.
• 30:54
  Ryan : Oh yeah.
• 30:55
  Kearns: Yeah.
• 30:55
  A lot of, A lot of road guys.
• 30:57
  Right?
• 30:58
  It wasn't keen around in the seventies and stuff.
• 31:00
  Wasn't that when he like got big?
• 31:02
  Jon: Teddy,
• 31:03
  Kearns: Gotta love Ted.
• 31:05
  Ryan : yep.
• 31:07
  Kearns: Old handsome Ted.
• 31:08
  Ryan : Zach
• 31:08
  Kearns: Zach Heffron.
• 31:10
  Ugh.
• 31:11
  Casting choices, people casting choices.
• 31:13
  It matters.
• 31:14
  Jon: so I, up with a question from like, just the setup with the three girls.
• 31:21
  Um, are marshmallows really the only truly American food?
• 31:27
  Kearns: At this point, I kind of feel well twine a twink.
• 31:30
  There's nothing more American than a Twinky.
• 31:32
  Jon: Yeah.
• 31:32
  Twinks pretty American.
• 31:34
  Ryan : and
• 31:34
  Kearns: It's fully processed and can survive a nuclear war.
• 31:38
  It's yellow and has a deceitful, soft, creamy interior.
• 31:43
  And America,
• 31:48
  Ryan : Can we throw snowballs into that?
• 31:49
  Kearns: we can, we can,
• 31:52
  Ryan : two.
• 31:52
  Kearns: if we're going with archetypes, the, like the twine is the, is the,
• 31:57
  the hostesses of the hostesses stuff
• 32:00
  Jon: yeah.
• 32:01
  Kearns: That makes sense.
• 32:03
  But snowballs obviously are very American.
• 32:05
  Jon: Outside of Tallahassee and Zombieland.
• 32:07
  I'm not sure there's anybody whose favorite snack is a twine.
• 32:12
  Kearns: I don't like them.
• 32:13
  They don't do anything for you.
• 32:14
  It's like eating air.
• 32:16
  Jon: Mm-hmm.
• 32:17
  Ryan : Oh, it's
• 32:18
  Kearns: get a, you get a Swiss cake roll or something that hits your stomach at
• 32:21
  least, and you're like, I have something.
• 32:23
  I just ate something.
• 32:24
  A twine just down it goes.
• 32:26
  Jon: so, so wait a minute, Ryan.
• 32:28
  Ryan : That's,
• 32:29
  Jon: many nights did you spend with a box of Twinkies and a case of code Red?
• 32:33
  Ryan : I've
• 32:34
  Kearns: We wanna see what it does to your pancreas.
• 32:36
  So we have two, there are two under your chair right now.
• 32:39
  We need to eat them at the moment.
• 32:41
  Jon: I believe that this is instant diabetes.
• 32:44
  Like
• 32:46
  Kearns: Best case scenario,
• 32:47
  Jon: a can and open the wrapper and you have diabetes.
• 32:51
  Kearns: it, no.
• 32:53
  Ryan : that is the second time diabetes has been mentioned tonight.
• 32:55
  'cause I suggested from Mother's Day I'd be serving cake and ambrosia and
• 32:59
  all this sweet stuff with hot chocolate.
• 33:01
  And Jada was like, you just want to give everyone diabetes?
• 33:05
  And I was like, yep.
• 33:06
  wanna give 'em all diabetes.
• 33:07
  I
• 33:08
  Kearns: Now you know the, the instant recipe.
• 33:13
  You go,
• 33:13
  Ryan : Twinkies and Code Red.
• 33:14
  Jon: When,
• 33:16
  Ryan : That's what we're serving on
• 33:17
  Jon: dude, when, when we do a live watch, I am bringing a code red and
• 33:21
  a twine for you to, and I I want you to dip the twine in the code red.
• 33:28
  Kearns: you're gonna have diarrhea on the live, on a live stream, and
• 33:33
  you're gonna have to pull up your potty training video to get through it.
• 33:38
  Jon: Speaking of which, when Winston gets his potty chair, he thinks it's a hat,
• 33:46
  which I mean it, which turns into sort of offensive scene with like an
• 33:52
  imaginary tribal chief admiring his hat, but then his brother sort of sets
• 33:59
  him straight and you don't, you don't ever wear the potty chair on your head,
• 34:05
  which also then goes into the funniest line in all of Winston's potty chair.
• 34:10
  Kearns: What's that?
• 34:11
  Jon: When Winston finally sits on his potty chair, he says to his
• 34:14
  father, look at my saddle daddy.
• 34:18
  Kearns: Oh, those two words.
• 34:20
  That two close together.
• 34:22
  Saddle daddy.
• 34:23
  Jon: Yeah.
• 34:24
  Kearns: there, but I'm not into it.
• 34:27
  Jon: That
• 34:27
  Kearns: No Winston.
• 34:28
  No.
• 34:28
  Jon: that is the moment that Winston's potty chair got
• 34:31
  paused, so I could laugh lot.
• 34:35
  Kearns: Brilliance.
• 34:36
  I can't imagine.
• 34:37
  I wish I could have been a fly on the wall while you were doing this and taking
• 34:40
  notes like, ah, this will be a good one.
• 34:42
  He brings up rape for the fourth time.
• 34:46
  Jon: Ask Allison.
• 34:47
  She was in the other room while I was watching Winston's potty chair.
• 34:51
  She heard the
• 34:52
  Kearns: I can't imagine, only imagine, which he was doing thinking
• 34:58
  about while you were doing it.
• 35:00
  Oh man.
• 35:02
  All right.
• 35:02
  So Mother's Day, we have the, the, the family in quotes, the family descending
• 35:09
  upon the three unsuspecting ladies.
• 35:11
  and then chaos ensues.
• 35:15
  Not even really chaos, just dismantling of them.
• 35:20
  Yeah, it's really rough.
• 35:21
  Jon: of the brutality is directed at Jackie A. She
• 35:26
  Ryan : Oh
• 35:26
  Jon: just gets brutalized and
• 35:30
  Kearns: Why do you think that is?
• 35:34
  Ryan : Oh, um, you mean, um, Abby,
• 35:40
  Abby gets the shit
• 35:41
  Jon: Wait,
• 35:41
  Ryan : in the, be in the, she's the one who's put in the, in the dresser?
• 35:46
  Jon: do I have these character names backwards in my brain?
• 35:51
  Ryan : Yeah.
• 35:52
  Uh, Abby.
• 35:52
  I Is the one she gets put in the dresser.
• 35:55
  Sir.
• 35:56
  Jon: Is it?
• 35:58
  Kearns: It is too much.
• 35:58
  Winston, watching
• 36:00
  Jon: I know, I,
• 36:01
  Ryan : Jackie's, Jackie's the one with, I Jackie's the one with the glasses
• 36:05
  Jon: hold
• 36:05
  Kearns: somebody pull up the IMDB.
• 36:07
  Jon: I'm pulling it up right now.
• 36:10
  No, Abby's the one with the glasses.
• 36:14
  Ryan : I messed
• 36:15
  Jon: Yeah, the one, Jackie's the one that gets put in the drawer.
• 36:19
  I knew I had that right
• 36:20
  Ryan : I my whole discussion in the
• 36:22
  Kearns: Not enough code.
• 36:23
  Ryan : so earlier in the episode Jackie and Abby is Switch.
• 36:26
  I know I'm drinking.
• 36:27
  Good old H2O.
• 36:29
  Good old quality H2O support the water
• 36:32
  Kearns: Ah,
• 36:34
  Ryan : Bobby
• 36:35
  Kearns: Boucher.
• 36:36
  Um, all right.
• 36:37
  So she ca Jackie catches it bad.
• 36:39
  Ryan : Mother's
• 36:40
  Kearns: Mama, mama, mama, mama said, mama said, oh, always
• 36:42
  treat Vicki Vaco like a lady.
• 36:48
  Jon: with, with mother.
• 36:49
  Just, yeah.
• 36:51
  Do it.
• 36:51
  Do it.
• 36:52
  Do it.
• 36:52
  Like, I mean it, she very much like, like Kathy Bates.
• 36:58
  Kearns: Yeah, I, there was a bit of that, um, crossing my mind and it made
• 37:03
  it more uncomfortable, by the way.
• 37:05
  'cause I can't think of like a worse scenario than that occurring
• 37:10
  and Kathy Bates being in the background, like, go get 'em.
• 37:13
  It was not great.
• 37:15
  But back to, why was Jackie the target, do you think?
• 37:18
  Why was she constantly, um, focused on
• 37:21
  Jon: I don't, I
• 37:22
  Ryan : I
• 37:23
  feel like her character has
• 37:24
  Kearns: bad luck?
• 37:25
  Jon: a level of that.
• 37:26
  I think.
• 37:27
  I think there's also a sort of, um, misdirection in it too.
• 37:33
  'cause you sort of watch the beginning of this movie and
• 37:38
  they're more focused on Jackie.
• 37:40
  Like it's, it sort of starts as more Jackie's story.
• 37:44
  So you sort of get this idea in your head.
• 37:47
  Jackie's gonna be the survivor.
• 37:50
  Kearns: Oh, and then they kill the hell outta that idea
• 37:52
  Ryan : I,
• 37:52
  thought she
• 37:53
  Jon: I,
• 37:53
  Kearns: and they get after that.
• 37:55
  Jon: definitely.
• 37:55
  The first time I saw this I was pretty sure Jackie's gonna survive and,
• 38:02
  Ryan : I thought
• 38:02
  Jon: oh, I was sure Trina was
• 38:04
  Kearns: Well, they set her up like, uh, almost every horror movie we've watched.
• 38:09
  That's the character that goes in some boish way and take
• 38:14
  that at however you want to.
• 38:19
  Jon: And then really when, when they, they, uh, Trina
• 38:23
  and Abby get themselves freed.
• 38:25
  At first it's Trina, that's the badass, you know, they, they searched the
• 38:31
  house for Jackie, finally find her in the dresser drawer, barely alive.
• 38:36
  And it's Trina that like hoist her onto her shoulder and just carries her off.
• 38:45
  Ryan : Yeah.
• 38:46
  That was a rough scene.
• 38:47
  I was on.
• 38:48
  I was on the edge on that one when they're just carrying her through the house.
• 38:51
  And I get it.
• 38:52
  It's campy, but it's like,
• 38:54
  Jon: Mm-hmm.
• 38:54
  Ryan : you feel it, man.
• 38:55
  And that's the cool thing about like, like this, like the movies
• 38:58
  from that time too is like, you can
• 39:00
  Jon: Yeah.
• 39:01
  Ryan : 'cause it's like
• 39:02
  Kearns: Yeah.
• 39:03
  Jon: Yeah.
• 39:03
  Ryan : they're trying their best and they're showcasing what they can do.
• 39:06
  They're trying to make it in Hollywood.
• 39:08
  This is as bests
• 39:09
  Jon: Mm-hmm.
• 39:09
  Ryan : do right now.
• 39:10
  So they're
• 39:11
  Kearns: And there's not a lot of
• 39:12
  Ryan : out,
• 39:12
  Kearns: cricks too.
• 39:13
  It's, there's a lot of uncut camera, there's a lot of uncut
• 39:16
  takes and stuff like that.
• 39:18
  And the things roll for a while
• 39:20
  Jon: Mm-hmm.
• 39:20
  Kearns: they, they sell it.
• 39:22
  It's, it's, yeah, I agree with you.
• 39:24
  Jon: And I mean, speaking,
• 39:26
  Ryan : And and the
• 39:27
  Jon: speaking, we'll go back to the effects.
• 39:29
  Speaking of emotional impact.
• 39:32
  Ryan : yeah,
• 39:32
  Kearns: Mm-hmm.
• 39:35
  I saw it in his eyes.
• 39:37
  I, I knew it was coming.
• 39:38
  Ryan : It's win.
• 39:39
  It's Winston.
• 39:40
  It's Winston Instant.
• 39:41
  Jon: It's similar to the emotion that Winston goes through while he
• 39:45
  struggles to understand how to use the potty chair, while his friend
• 39:50
  Molly, not only masters, the poly potty chair, but Masters the bathroom.
• 39:55
  At a gas station on an airplane.
• 39:58
  This girl is just toileting everywhere.
• 40:01
  She gets it like that.
• 40:06
  Ryan : It's A lot of
• 40:07
  Kearns: A lot of toilets
• 40:09
  Jon: is like a, in just a wonder with the toilet.
• 40:14
  Kearns: and a lot of emotional impact.
• 40:16
  You know, in that one scene that we were talking about
• 40:17
  before we talked about Molly.
• 40:19
  Jon: you're so proud of Molly, and you feel so bad for Winston's struggles.
• 40:25
  Kearns: I do.
• 40:27
  Ryan : Oh, he is
• 40:27
  Jon: Oh, he's, he's definitely struggling.
• 40:29
  He's dope.
• 40:30
  He's gotta be careful.
• 40:32
  He's gonna pop a blood vessel working that hard.
• 40:37
  Kearns: I wish it was the same toilet as the one in home alone.
• 40:40
  Two where the kid's terrified to go on the potty and he's
• 40:43
  got teeth and stuff like that.
• 40:45
  Jon: Well
• 40:46
  Kearns: be cool.
• 40:46
  Jon: listen at, after the animated section of Winston's
• 40:50
  potty chair, you get two doctors.
• 40:53
  Disgusting.
• 40:54
  And that's one of the things they, they, they're very, Dr. Nelson is
• 40:58
  very adamant about, you should not flush the toilet while the kid is
• 41:01
  on there because it will scare them.
• 41:04
  Kearns: Yeah.
• 41:04
  And then it won't go back.
• 41:05
  Yeah.
• 41:06
  Jon: yeah,
• 41:08
  Kearns: That's,
• 41:08
  Ryan : or suck
• 41:09
  Jon: yeah.
• 41:09
  Ryan : the
• 41:10
  Kearns: that's the fear.
• 41:11
  Jon: could
• 41:11
  Kearns: That's,
• 41:12
  Jon: That could happen.
• 41:14
  Kearns: mm-hmm.
• 41:15
  It's physically possible.
• 41:16
  For sure,
• 41:19
  for sure.
• 41:20
  So, uh, uh, in, uh, mother's Day, um, after the girls all
• 41:24
  reunite and it's a happy scene.
• 41:26
  No, it's not.
• 41:27
  It's terrible.
• 41:27
  Um, what happens next, guys?
• 41:32
  Ryan : Uh, real quick, I wanna talk about one of the effects when she's lowering.
• 41:37
  Um, when Abby's lowering Trina with down the sleeping bag,
• 41:42
  that was, it was really cool.
• 41:44
  Rough to watch though, as the rope is
• 41:47
  Jon: Oh yeah.
• 41:48
  Ryan : and you see the blood gushing out.
• 41:50
  That was really good effects.
• 41:52
  'cause I was like, holy shit, that looks really real.
• 41:55
  And if it
• 41:56
  Kearns: Maybe it was real.
• 41:57
  Ryan : She,
• 41:57
  Jon: Yeah.
• 41:58
  The,
• 41:59
  Ryan : Okay.
• 41:59
  I was thinking about that.
• 42:01
  'cause she's just like, uh,
• 42:02
  Jon: yeah,
• 42:03
  Ryan : in.
• 42:03
  It's just like
• 42:04
  Jon: that
• 42:04
  Kearns: got a reference for you guys.
• 42:06
  Jon: go
• 42:06
  Kearns: Sorry.
• 42:07
  Jon: No, I was just gonna say that
• 42:08
  Kearns: Uh.
• 42:09
  Jon: makes up for the, the head situation.
• 42:14
  Kearns: Ooh.
• 42:15
  I mean, I, I thought the head situation was fine, to be honest.
• 42:19
  It's just like, but it does, it sets you up for an expectation for the movie.
• 42:23
  That is not what you end up getting.
• 42:25
  That's true.
• 42:26
  Uh, cyborg, that scene where Van Damm as a kid, they put his family, they
• 42:31
  wrap him in barbed wire and then they hold him over the well, and they hand
• 42:34
  the barbed wire to the little kid
• 42:36
  Jon: Mm-hmm.
• 42:36
  Kearns: he's gotta try to hold his family up so they don't drown.
• 42:39
  That's what came to mind.
• 42:41
  Jon: Yeah.
• 42:41
  Kearns: Every time I see the rope sliding, like
• 42:43
  Ryan : That,
• 42:44
  Jon: Mm-hmm.
• 42:45
  That, that's one of those, that's, that, that you definitely, there's some.
• 42:51
  Moments in movies that you can feel the pain sort of, and the, the rope burns
• 42:57
  on the hands are always one of them.
• 43:02
  Ryan : Oh yeah.
• 43:04
  You just, it's just gym
• 43:06
  Kearns: I.
• 43:06
  Ryan : over again.
• 43:07
  You climb the top of the rope.
• 43:10
  I don't think they do the rope climb anymore either.
• 43:14
  Jon: Yeah.
• 43:14
  They the, just
• 43:15
  Kearns: Well, they also didn't
• 43:16
  Jon: rope hanging from the ceiling of the gym.
• 43:19
  Kearns: mm-hmm.
• 43:21
  Ryan : Don't worry, you won't fall.
• 43:22
  If you fall, you won't get hurt.
• 43:23
  There's two
• 43:24
  Jon: Yeah.
• 43:24
  There's a mat there.
• 43:25
  It'll be, you'll be fine.
• 43:26
  Ryan : land on your back.
• 43:29
  You miss I, one kid missed the mat.
• 43:31
  I Forgot who it was They
• 43:33
  Kearns: who it was because he died.
• 43:34
  Ryan : it's all right.
• 43:34
  Just walk.
• 43:35
  Walk it off.
• 43:36
  Kearns: He died.
• 43:37
  They,
• 43:38
  Ryan : He was
• 43:38
  Kearns: him, they put him under the mat.
• 43:40
  Ryan : to
• 43:40
  Kearns: Don't worry about him.
• 43:42
  He just transferred.
• 43:47
  Oh man.
• 43:49
  So, yeah, that effect though was good.
• 43:51
  I, I do wonder how they managed it, what they might have used.
• 43:53
  But it'd be conjecture at this point.
• 43:55
  So after that happens, I. What do we get?
• 43:59
  We, we got, we got a pretty good, we already led, uh, buried the lead a little
• 44:03
  bit in the before with telling them basically who, who lives at the end.
• 44:07
  So we know two girls don't make it.
• 44:09
  And we know one of them is Jackie and the other one is No, Trina.
• 44:15
  Trina does make it right?
• 44:16
  Jon: Trina does make it.
• 44:17
  Kearns: Yeah, Trina does make it.
• 44:18
  Abby.
• 44:19
  Ryan : does make
• 44:19
  Kearns: eats it.
• 44:20
  Jon: no,
• 44:22
  Ryan : Yeah.
• 44:23
  no,
• 44:24
  Uh, Abby
• 44:24
  Kearns: Yeah.
• 44:25
  Jackie's the only one.
• 44:25
  Jon: doesn't make it.
• 44:27
  Kearns: Yeah,
• 44:28
  Jon: Um,
• 44:28
  Kearns: the only one.
• 44:29
  The one we followed the whole
• 44:31
  Jon: Yeah.
• 44:31
  Kearns: movie, like you said.
• 44:32
  Jon: You get sort of a reversal though.
• 44:34
  You still, when they first escape, Trina's like the badass.
• 44:38
  She knows exactly what she, what to do.
• 44:42
  She sets up Abby and Jackie in a place where they can be hidden and
• 44:45
  safe, and she goes to try to find help, she thinks she finds when she
• 44:50
  finds a, a police car approaches.
• 44:53
  And it turns out it's just one of the boys in the car.
• 44:55
  And, but
• 44:57
  Kearns: Classic Texas Chainsaw Massacre, but before that?
• 45:01
  Jon: she fights off fike.
• 45:02
  She gets back to her friends
• 45:06
  Jackie has died while she's gone.
• 45:11
  And that's about, that's about the moment that the roles sort
• 45:14
  of switch in the remaining girls.
• 45:16
  Kearns: Mm-hmm.
• 45:17
  Jon: point on, Abby sort of becomes the driven badass and Trina's sort
• 45:24
  of along for the ride at that point.
• 45:26
  But she, she quickly figures it out.
• 45:30
  Kearns: Yeah.
• 45:32
  Ryan : Oh Yeah.
• 45:33
  I mean,
• 45:33
  Jon: Yeah.
• 45:34
  Ryan : that's so, she just snaps at it.
• 45:37
  I think it's the pressure from her mom and just like, this is what
• 45:41
  she looks forward to every year.
• 45:43
  This is all she has in her life, and now it's been taken away and it's like,
• 45:47
  all right, we're gonna play a game.
• 45:49
  And like fuck 'em up, they fuck up badly.
• 45:54
  And like, I'm just like, a Lee's death is it's a claw right?
• 46:01
  To the crotch
• 46:03
  Jon: Yeah.
• 46:04
  That, yeah.
• 46:05
  That's a, that's another one of those that you feel
• 46:08
  Ryan : and.
• 46:10
  Kearns: Yeah, but that one you were kind of cheering for.
• 46:12
  Ryan : he,
• 46:13
  Jon: Yeah.
• 46:14
  You, you sort, you sort of close your legs up, but at the same time, like, yeah.
• 46:19
  Ryan : I was like, fuck disco
• 46:24
  Kearns: So we get the, we get the family going down.
• 46:26
  How does Mama die?
• 46:29
  Or does she?
• 46:30
  Ryan : suffocation by a, a
• 46:32
  Kearns: She gets boobed.
• 46:35
  Jon: Mm-hmm.
• 46:36
  Ryan : hits
• 46:36
  Kearns: gets boobed.
• 46:38
  Ryan : inflatable boop.
• 46:39
  Jon: Yeah.
• 46:40
  Ryan : She gets a nipple down her
• 46:43
  Jon: a a after probably like the weakest plea to spare her life ever.
• 46:49
  a sick woman, leading, I mean at that, at that point, your health condition matters.
• 46:56
  Nothing.
• 46:57
  Kearns: Yeah.
• 46:58
  Ryan : I think the worst one was Ike.
• 47:00
  He gets drained
• 47:01
  Jon: Oh, that was rough.
• 47:02
  Kearns: That's a tough way to go.
• 47:03
  Ryan : TV set thrown on him.
• 47:05
  Oh yeah.
• 47:06
  And you should see the foam.
• 47:07
  Like, I felt the burn.
• 47:09
  'cause like if you use drain or anything to clear up a,
• 47:12
  like a clock, you can smell it.
• 47:14
  And you can sometimes feel the heat, like as you're pouring it and just like, ugh.
• 47:20
  And just seeing the foam, it's like, I felt that closure.
• 47:22
  And I'm like, I,
• 47:24
  Jon: Yeah, yeah,
• 47:27
  Ryan : Tim Curry clone.
• 47:30
  Jon: yeah,
• 47:31
  Ryan : right.
• 47:31
  Kearns: you imagine there's, it's one choice, flail or not to flail
• 47:36
  when Dano is being poured or has been poured down your throat, but,
• 47:41
  Jon: yeah,
• 47:41
  Ryan : yeah,
• 47:42
  Kearns: okay,
• 47:43
  Ryan : But
• 47:43
  Kearns: deal.
• 47:45
  Ryan : and then the TV set going on top of him, that was pretty cool for 1980s.
• 47:49
  You can know they took everything out though.
• 47:53
  'cause there's just, you could see through the screen,
• 47:55
  Jon: yeah, yeah.
• 47:56
  Ryan : pre, pre-screen.
• 47:59
  Pre-screen death by tv.
• 48:01
  Kearns: Way pre-screen.
• 48:03
  Jon: Yeah.
• 48:04
  Kearns: I.
• 48:05
  Jon: So, so, so far pre-screen that this is like not even to the
• 48:09
  point where is a satire of this.
• 48:14
  Kearns: Yeah.
• 48:15
  It's wild though when you think of the, just think of the way screen popped
• 48:19
  off the screen compared 16 years in a terribly long time for that big of a
• 48:24
  difference in what those movies look like.
• 48:27
  But anyway, um, it's a, I mean, it's a, it's a watch, it's a watchy.
• 48:32
  You watch, um, if you guys wanna watch Mother's Day, you,
• 48:36
  you just go ahead and do it.
• 48:38
  You gotta watch.
• 48:39
  You also have to watch a potty training video though.
• 48:41
  Jon: Yes, you should definitely.
• 48:42
  I mean, especially once you get to the doctor's advice, Dr. Nelson and Dr.
• 48:47
  Dan are very unanimous on the fact that you should not push your child, that
• 48:54
  you, you should buy the potty chair and keep it next to the real toilet.
• 48:59
  So it sort of becomes a routine.
• 49:02
  they all, Dr. Nelson really strongly advises as well.
• 49:06
  You should not immediately start with pushing your boy to stand to pee,
• 49:12
  because they can sometimes get it in their mind that that's how they go
• 49:16
  to the bathroom all the time and they will attempt to poop standing as well.
• 49:21
  Kearns: To this day, we still have struggle with that problem.
• 49:24
  Jon: I am, me too.
• 49:25
  I must have been pushed too hard as a child.
• 49:27
  But you know,
• 49:29
  Kearns: That's my my take too.
• 49:32
  Yeah.
• 49:33
  But this is, this is good advice everybody.
• 49:35
  Jon: I
• 49:36
  Kearns: This has been a very educational episode.
• 49:38
  Jon: And listen,
• 49:39
  Kearns: I.
• 49:39
  Jon: I, I just want, I just want to shout out one of the voice actors
• 49:43
  in Winston's Potty chair as well.
• 49:47
  It has to be a fake name, one of the voices is an actor named Tom Wees
• 49:55
  Ryan : Hm.
• 49:56
  Kearns: That's pretty good.
• 49:57
  That's pretty good.
• 49:59
  All right, so I think that was Mother's Day.
• 50:02
  Ryan : name.
• 50:02
  Kearns: Um, I think we're gonna roll into top fives and what's his body chair, and I
• 50:07
  Ryan : and,
• 50:07
  Kearns: we're gonna roll into top fives everybody.
• 50:09
  Jon: Yeah.
• 50:10
  Kearns: to that time.
• 50:11
  Ryan, we got a good top five list tonight.
• 50:15
  Ryan : I got, yeah, I went with Killer Families.
• 50:18
  I was influenced by Mother's Day to do Killer Families.
• 50:21
  And to start it off, we're gonna start off with a bang in a way, in its own way.
• 50:27
  But, um, 1970 twos last house on the left is my number five, uh,
• 50:32
  directed, rented by West Craven.
• 50:34
  It's similar vein of Mother's Day.
• 50:38
  Um, I think last house on the left is a little more, it goes more
• 50:43
  Jon: Yeah.
• 50:44
  Ryan : with, of course, like certain scenes and stuff and
• 50:48
  death, but it's not a bad watch.
• 50:51
  And it's West Craven's first film.
• 50:52
  So if you're definitely a West Craving fan and you wanna see
• 50:55
  how he started, this is it.
• 50:57
  Plus it is produced by Sean S.
• 51:00
  Cunningham, who directed and created Friday the 13th.
• 51:05
  definitely watch the original, uh, my number four, 2000 nineteens ready
• 51:10
  Kearns: Okay.
• 51:13
  Ryan : I haven't seen it.
• 51:14
  It Is on my list.
• 51:15
  I, it's one of those I keep missing when I
• 51:18
  Kearns: Is that allowed?
• 51:19
  Ryan : so you can, oh, I've done it a
• 51:22
  Kearns: It's allowed.
• 51:24
  I didn't know.
• 51:25
  Ryan : Yeah.
• 51:25
  It's
• 51:25
  Kearns: I don't, I don't actually have any problem with it whatsoever,
• 51:28
  but I just thought I was never factored that in that you might not
• 51:31
  have seen a movie on your top five.
• 51:34
  Ryan : well, I, I do the research, I read about it and I, you know, I, I can listen.
• 51:40
  I'm sick.
• 51:41
  I can spoil the movie and be fine with it.
• 51:44
  So I do all the research and stuff and I'm Cool.
• 51:46
  with it, you know.
• 51:47
  Um, but, uh, ready or Not Follows A young bride who's hunted by her
• 51:51
  spouse's wealthy family as part of a wedding night ritual to worship the
• 51:55
  Kearns: Cool.
• 51:56
  Jon: I haven't watched it either.
• 51:58
  definitely feels like it's, it's got like the, the most
• 52:01
  dangerous game elements to it
• 52:04
  Kearns: Hmm.
• 52:05
  Ryan : Yes.
• 52:07
  Ah, that's a good film too.
• 52:10
  Making me think of Dangerous
• 52:11
  Jon: or, or surviving the game.
• 52:14
  Kearns: Surviving the games of foam one.
• 52:16
  I.
• 52:16
  Ryan : surviving a Game is a good
• 52:18
  Kearns: Little tea.
• 52:19
  Jon: Mm-hmm.
• 52:19
  Kearns: Got a little tea in that movie.
• 52:21
  Got a little busey, little iced tea.
• 52:25
  Jon: Yeah.
• 52:25
  That's a fun one.
• 52:27
  Ryan : Well,
• 52:27
  Kearns: I like how he tricks em like, oh this is, we got a smart one.
• 52:30
  He like left the lit cigarettes in the tree and he ran the other way.
• 52:35
  That movie's good.
• 52:37
  Oh man.
• 52:37
  All right.
• 52:38
  Back to Ryan's top five.
• 52:40
  Ryan : well, well you wanna talk about survival?
• 52:43
  We kind of, you mentioned the remake earlier, but I really prefer the
• 52:46
  original and another West Craven film, 1970 Sevens, the Hills
• 52:51
  Kearns: There it is.
• 52:52
  Ryan : The
• 52:53
  Jon: Yeah,
• 52:53
  Kearns: nuclear family.
• 52:54
  Ryan : they
• 52:56
  Jon: I see what you did there.
• 52:57
  Ryan : the, I just love it.
• 53:01
  Kearns: I'm pet.
• 53:02
  My cat, sorry.
• 53:03
  Ryan : uh, I'm forgetting it.
• 53:05
  No, you're good.
• 53:05
  I'm forgetting his name, but the bold guy, he's been in everything.
• 53:09
  Guy with the huge
• 53:11
  Kearns: Clown guy from another one in your top five is my guess.
• 53:16
  Ryan : no, no.
• 53:17
  He was in, um, he's his other famous role in weird science.
• 53:20
  He's one of the
• 53:21
  Kearns: Oh,
• 53:21
  Ryan : members.
• 53:22
  Um,
• 53:24
  Jon: Oh, Michael Berryman.
• 53:25
  Ryan : if you've seen him, he is
• 53:27
  Kearns: how does he know this stuff?
• 53:28
  He's a witch.
• 53:30
  Ryan : Thank you, John.
• 53:31
  Jon: I need to see the cover and I remembered his name.
• 53:34
  Ryan : I like, I I know his face.
• 53:35
  It's just since I was a kid, it's, he has scared me.
• 53:41
  That man has scared me.
• 53:43
  The film, I still get goosebumps thinking about it, but my number
• 53:47
  two, this is, I told you I'm
• 53:49
  Kearns: How do we not have a number two joke?
• 53:50
  How did you not run in right away with a number two joke.
• 53:53
  John, you've been setting, you've been living your whole night for this moment,
• 53:57
  Jon: Well, you
• 53:58
  Kearns: but you,
• 53:59
  Jon: they never di discuss whether Winston is doing a number two or a number one.
• 54:04
  And honestly, the idea the I, absolutely.
• 54:09
  I mean, it's left for you to decide.
• 54:12
  Ryan : Memento.
• 54:12
  Jon: Yes, very much like Memento.
• 54:14
  I mean I, but will tell you this based off of just number two, the concept
• 54:22
  of a potty cherry is repulsive to me as somebody who doesn't have children.
• 54:27
  Kearns: Hmm.
• 54:28
  Jon: We aren't talking about the thing that goes on top of the toilet.
• 54:31
  We're talking about just a separate chair that they sit on and ew, no.
• 54:36
  Kearns: Yeah.
• 54:37
  Oh, so as somebody who's lived it, EW is correct.
• 54:42
  There's no water, there's, yeah.
• 54:44
  All right.
• 54:44
  You're back to the top five.
• 54:45
  So
• 54:46
  Jon: number two.
• 54:49
  Ryan : Oh, number two, uh, you guys love this film too
• 54:54
  'cause we've talked about it.
• 54:56
  uh, directed by Dan Aykroyd, ran by Dan Aykroyd.
• 55:00
  a killer family.
• 55:02
  It's got a bone
• 55:03
  Kearns: nothing, nothing but trouble.
• 55:07
  Ryan : It is a, I had to make sure, I know It's a comedy, but it is considered a
• 55:12
  Jon: It's a horror
• 55:12
  Kearns: Really?
• 55:14
  Ryan : A
• 55:14
  Jon: Yeah.
• 55:14
  Ryan : film.
• 55:15
  a horror comedy.
• 55:16
  Yeah.
• 55:16
  That bone saw they're killing.
• 55:18
  I mean, you got those two guys dressed like Winston in the film.
• 55:24
  All right.
• 55:24
  The John.
• 55:27
  Kearns: Can we talk about to me more for a second?
• 55:30
  Jon: We can talk about jam more for as long as you want.
• 55:34
  Kearns: No, we'll, we'll skip over it, but that we, this is
• 55:37
  way too rapy of an episode to talk about to me more right now.
• 55:41
  Maybe next time though.
• 55:44
  Ryan : Do you wanna talk about the scene when they're eating the
• 55:46
  Kearns: No, I never wanted, I have an issue with food being eaten, so
• 55:49
  I can't watch that scene at all.
• 55:52
  It just grosses me out in general,
• 55:54
  Ryan : want some, just, just look at his nose.
• 55:58
  Kearns: nothing but trouble.
• 55:59
  Nothing but trouble's a great one.
• 56:02
  Murder and family with the judge and everything.
• 56:06
  Ryan : they let one group live.
• 56:07
  Who'd they let live?
• 56:08
  It was the rap group.
• 56:10
  Kearns: the Humpty Yeah.
• 56:11
  Humpty Hump.
• 56:13
  Ryan : Yeah, they let, they let Hump
• 56:15
  Kearns: Mm-hmm.
• 56:16
  Ryan : Which
• 56:16
  Kearns: liked them.
• 56:17
  Ryan : great.
• 56:17
  Kearns: He liked the girls too.
• 56:19
  Ryan : The Moth.
• 56:20
  Kearns: But, uh, let's give a shout out to John Candy, the late.
• 56:22
  Great.
• 56:23
  Jon: Yeah.
• 56:24
  Kearns: And John Candy was in and played a lovely woman, very handsome
• 56:27
  woman, if I remember correctly.
• 56:30
  And the, and the bailiff.
• 56:33
  He's also the bailiff or the cop, right?
• 56:36
  Cop and bailiff.
• 56:39
  Ryan : His
• 56:39
  Kearns: Yeah, it's his sister.
• 56:41
  Ryan : Who was his
• 56:41
  Kearns: All right.
• 56:42
  So that one,
• 56:43
  Ryan : Chevy
• 56:43
  Kearns: two is, is in the toilet.
• 56:45
  Number one.
• 56:49
  Ryan : Number one.
• 56:50
  I gotta go with the classic 1970 fours Texas Chainsaw Massacre.
• 56:55
  The original killers just, it just warms my heart.
• 57:00
  That movie, the dinner scene.
• 57:02
  I, and to be fair, do you think Leatherface, I think Leatherface
• 57:07
  was just protecting his home.
• 57:08
  don't, I don't,
• 57:09
  Kearns: A do hound
• 57:10
  Ryan : were invading his privacy.
• 57:11
  Kearns: a chainsaw.
• 57:14
  Ryan : Definitely.
• 57:14
  Like a dash hound.
• 57:16
  Kearns: Wow.
• 57:18
  That's a tough one.
• 57:18
  I think you might have enjoyed a little, little bit.
• 57:22
  Oh, smidge
• 57:24
  Ryan : well, they still make some good chili.
• 57:27
  all I'm
• 57:27
  Kearns: not fried.
• 57:27
  Green tomatoes did it.
• 57:29
  That's some good barbecue.
• 57:32
  White wife beaten bastard.
• 57:33
  Just like,
• 57:35
  Jon: and some John Raquette, so you can't go wrong.
• 57:39
  Kearns: there you go.
• 57:41
  There you go.
• 57:41
  Um, I am shocked that the devil's rejects didn't pop up on your top five.
• 57:47
  Jon: I am
• 57:47
  Kearns: was waiting for it.
• 57:48
  I thought it was like, oh, maybe he slotted it into number three.
• 57:51
  No, didn't pop up.
• 57:53
  Ryan : I, I was, I was gonna do a house of a thousand corpses, but I, I had trouble.
• 58:00
  I've seen the movie a few times.
• 58:02
  I had a lot of trouble watching it.
• 58:04
  'cause it's just, it's a lot.
• 58:06
  'cause he tries to make it horror and he is trying to make it into
• 58:09
  a music video at the same time.
• 58:11
  And it's just a lot going on.
• 58:12
  I was like, uh, devil's rejects.
• 58:15
  I never watched
• 58:16
  Kearns: I didn't love either.
• 58:18
  Ryan : saw a
• 58:18
  Jon: Yeah.
• 58:18
  I
• 58:18
  Kearns: I don't like his style.
• 58:20
  Jon: yeah,
• 58:20
  Ryan : I would've, I would've liked it better though.
• 58:23
  I, I loved Halloween.
• 58:25
  I know that's a little controversial for a lot of people.
• 58:27
  I
• 58:27
  Jon: his
• 58:27
  Ryan : version
• 58:28
  Kearns: don't think I've like that.
• 58:29
  Jon: okay.
• 58:29
  Ryan : I know it's
• 58:30
  Kearns: Uh, the cartoon he did, I liked.
• 58:32
  That's about it.
• 58:33
  Ryan : L
• 58:34
  Kearns: L Super beasto is decent.
• 58:36
  That was worth watching ish.
• 58:38
  That belonged on MTV Oddities.
• 58:41
  That's speaking of two MTV references tonight, but all right.
• 58:44
  Ryan's top five ends without a rob zombie.
• 58:47
  Nice.
• 58:48
  I'm actually nice.
• 58:48
  It was a pleasant surprise
• 58:50
  Jon: Yeah.
• 58:50
  Kearns: because I was waiting for it.
• 58:51
  Nothing but trouble was a cool addition too.
• 58:53
  Ryan : I
• 58:53
  Kearns: Let's hear John's top five potty training videos.
• 58:58
  Ryan : yes, I'm ready.
• 58:59
  Jon: number, yeah.
• 59:00
  Oh, yeah.
• 59:01
  Yeah.
• 59:02
  What's happening in my body book for boys?
• 59:09
  No.
• 59:09
  So my, my actual list is bad moms
• 59:16
  Kearns: Okay.
• 59:17
  Like bad moms, like bad ones.
• 59:20
  Jon: not bad ease
• 59:22
  Kearns: Oh, okay.
• 59:23
  Jon: bad moms, moms who are terrible.
• 59:26
  Kearns: Okay.
• 59:27
  Got it.
• 59:27
  Jon: And, you know, how, how can we finish a Mother's Day episode without
• 59:32
  talking about mothers who suck.
• 59:35
  Kearns: Fair enough.
• 59:35
  Let's get into it.
• 59:36
  Ryan : That's
• 59:37
  Jon: I'm gonna start with one who you're not gonna hear on this list that's
• 59:40
  gonna be, might get some people going.
• 59:42
  We are not putting Pamela Voorhees on this list
• 59:46
  Kearns: Okay.
• 59:47
  Jon: Pamela Vorhees is not a bad mom.
• 59:50
  She's a bad person, she's a villain.
• 59:53
  But she loved Jason,
• 59:57
  she loved that boy.
• 59:59
  Yeah, she's a good
• 1:00:00
  Kearns: She killed a lot of teenagers in honor of that child.
• 1:00:03
  Jon: Yeah.
• 1:00:03
  Yeah.
• 1:00:04
  Ryan : well, that was her whole
• 1:00:06
  Jon: Yeah.
• 1:00:06
  Ryan : that she was trying to protect her
• 1:00:08
  Jon: Yeah.
• 1:00:09
  Pamela
• 1:00:10
  Kearns: All right, fair enough.
• 1:00:12
  Jon: Good
• 1:00:12
  Kearns: Fair enough.
• 1:00:15
  Ryan : horrible dresser.
• 1:00:17
  Jon: Yes.
• 1:00:17
  Bad dresser.
• 1:00:18
  Good mom.
• 1:00:20
  Kearns: Okay.
• 1:00:20
  I.
• 1:00:21
  Jon: mom.
• 1:00:24
  Okay.
• 1:00:24
  So my number five would actually probably be my number one if this
• 1:00:29
  mother was the main character's mother.
• 1:00:32
  But she's really just an adoptive mother, and that's Aunt Martha in Sleepaway camp.
• 1:00:38
  Kearns: Okay.
• 1:00:40
  Ryan : Yeah.
• 1:00:40
  Okay.
• 1:00:41
  That's a fair one.
• 1:00:42
  Yeah, she's
• 1:00:43
  Jon: I mean, she, she's an adoptive mother after, you know, family
• 1:00:47
  dies in a boating accident.
• 1:00:48
  And just the way she treats Angela who sets off so many terrible things.
• 1:00:54
  And I'm not gonna, we haven't warned you about, about talking about Sleepaway camp,
• 1:00:58
  so I'm not gonna spoil sleepaway camp.
• 1:01:01
  Kearns: Okay.
• 1:01:04
  Jon: But watch sleepaway camp because we're gonna do it at some
• 1:01:06
  point and we are gonna spoil it because you have to spoil it.
• 1:01:10
  Kearns: Mm-hmm.
• 1:01:11
  Well, we spoil every movie we've review.
• 1:01:13
  Jon: Well, yeah, yeah.
• 1:01:15
  Kearns: I think in the beginning we tried not to, but we've stopped that crap.
• 1:01:18
  Jon: try not to.
• 1:01:19
  But yeah, I mean,
• 1:01:20
  Ryan : Yeah.
• 1:01:21
  Forget that.
• 1:01:23
  Jon: my number four, mom and dad.
• 1:01:27
  The mother
• 1:01:28
  Kearns: Okay.
• 1:01:29
  Jon: played by Selma Blair,
• 1:01:31
  Kearns: Okay.
• 1:01:32
  Jon: this is with a perfectly unhinged Nick Cage as well.
• 1:01:37
  Um, so she doesn't start as a bad mom, she just starts as an average mom.
• 1:01:41
  But then there's like a sort of mass hysteria that afflicts all parents that
• 1:01:46
  makes them want to kill their children.
• 1:01:51
  Ryan : I know what movie you're talking about
• 1:01:53
  Jon: That movie is
• 1:01:53
  Ryan : good film.
• 1:01:54
  Jon: so good.
• 1:01:55
  Like it, it's a, it was in this stretch with Mandy and a couple other
• 1:01:59
  things where Nick Cage got to be so unhinged and directed by people that
• 1:02:06
  knew how to handle unhinged Nick Cage.
• 1:02:09
  But Selma Blair is so good in this too, and she's the perfect bad mom.
• 1:02:16
  Kearns: Cool.
• 1:02:18
  I'm thinking of unhinged Nick Cage potty training children.
• 1:02:22
  Okay, number three.
• 1:02:24
  Jon: My number three and this whole trilogy is gonna show
• 1:02:28
  up on this podcast eventually.
• 1:02:30
  My number three is Ruth in the movie Pearl.
• 1:02:34
  Kearns: Okay.
• 1:02:35
  I.
• 1:02:36
  Ryan : Oh yeah.
• 1:02:37
  Jon: Um, she's, I mean, she forces Pearl to really abandon her dreams,
• 1:02:42
  I mean, which are of modest and probably unattainable anyway, but she
• 1:02:48
  forces Pearl to care for her disabled, bedridden, or wheelchair ridden
• 1:02:53
  Father continually just belittles pearl and crushes her dreams until a
• 1:03:02
  slightly unhinged in the beginning.
• 1:03:04
  Pearl becomes completely unhinged.
• 1:03:06
  Kearns: Nice.
• 1:03:08
  Ryan : Yeah, those, I just to say I love those movies.
• 1:03:12
  I haven't seen Maxine yet, but I.
• 1:03:14
  Jon: Maxine's.
• 1:03:15
  Maxine's not quite as good.
• 1:03:17
  It accomplishes what it sets out to, and it's really good at doing that.
• 1:03:21
  I mean, Pearl is the best made of the three.
• 1:03:25
  I think X is my favorite.
• 1:03:28
  Ryan : okay.
• 1:03:30
  Jon: Because X is,
• 1:03:31
  Ryan : it's just how Jenna or
• 1:03:33
  Jon: yeah.
• 1:03:34
  Ryan : Jenna Ortega just crushes her boyfriend in that scene.
• 1:03:38
  Jon: But like
• 1:03:39
  Ryan : crushes him.
• 1:03:40
  I wanna do the scene.
• 1:03:42
  Jon: whole movie is, is like, it's like a love story to
• 1:03:45
  these seventies and eighties.
• 1:03:48
  Kearns: Hmm.
• 1:03:50
  Jon: Okay.
• 1:03:51
  Number two, I ha It's probably the most predictable one on here, which is why it's
• 1:03:55
  not number one, Margaret White, Carrie.
• 1:04:01
  Kearns: Yeah.
• 1:04:02
  Okay.
• 1:04:03
  Jon: I mean that she's probably the worst mom on this list, but it's too
• 1:04:07
  predictable to put her at the top.
• 1:04:10
  Kearns: She's the archetype of a school shooters like parent.
• 1:04:13
  Jon: Yeah.
• 1:04:14
  I mean, she,
• 1:04:15
  Kearns: Say it.
• 1:04:16
  Jon: just, she's just awful and she's that awful.
• 1:04:18
  Before she decides to kill Carrie
• 1:04:22
  Kearns: Yeah,
• 1:04:22
  Jon: or try to kill Carrie, like she's bad before that.
• 1:04:26
  Kearns: yeah.
• 1:04:27
  Jon: No, not a good mom.
• 1:04:29
  Kearns: Now belongs on this list, but now what's number one?
• 1:04:31
  Who trumps that?
• 1:04:33
  Jon: So we're gonna go to a movie I've talked about before.
• 1:04:37
  We're gonna go with Vera Cosgrove from Dead Alive or Brain Damage,
• 1:04:42
  however you know it, she is controlling, she's manipulative.
• 1:04:48
  She stalks and bullies Lionel out of relationships and just
• 1:04:54
  Kearns: Yeah,
• 1:04:55
  Jon: on making him miserable
• 1:04:57
  Kearns: she's.
• 1:04:58
  Jon: before she becomes a zombie.
• 1:05:01
  Kearns: Which, that might be more of a redemption arc based on all of this,
• 1:05:05
  Jon: Well,
• 1:05:05
  Kearns: be honest with you.
• 1:05:06
  Jon: mean, she, I think she's a better person as a zombie than she was as a mom.
• 1:05:11
  Kearns: Mm-hmm.
• 1:05:12
  But, all right, so that's the top five bad moms for Mother's Day, we had
• 1:05:19
  the top five families, just horrible families from Ryan family movies.
• 1:05:26
  All right.
• 1:05:27
  Um, yeah, guys, we're gonna see you next week.
• 1:05:30
  All right.
• 1:05:30
  Jon: Yeah.
• 1:05:31
  So next week we're gonna do the newest movie we've ever talked about
• 1:05:36
  Kearns: Which is, we probably shouldn't say the title.
• 1:05:39
  Yeah, I was gonna say tune in next week and find out.
• 1:05:41
  Jon: we should, because we're gonna spoil it and it, this
• 1:05:44
  one's kind of new to spoil,
• 1:05:47
  Kearns: Yeah.
• 1:05:47
  Jon: should put it out there so people can watch it.
• 1:05:50
  Um, next week, 8 2 5 Forest Road,
• 1:05:54
  Kearns: 8, 2, 5 Forest Road.
• 1:05:56
  Guys, it was a cool watch.
• 1:05:57
  Definitely go watch it.
• 1:05:58
  Um, you can get it on am A MC plus.
• 1:06:01
  Um, it's like adjacent, yeah, shutter.
• 1:06:04
  Um, it says it's, it's on shutter, but I couldn't find it on Shutter.
• 1:06:08
  Um, I ended up doing, I did the free trial for a MC plus,
• 1:06:13
  I think, um, through Amazon.
• 1:06:16
  And then just stop the free trial right after I saw it.
• 1:06:18
  Jon: Perfect.
• 1:06:19
  Kearns: Good watch.
• 1:06:19
  Good.
• 1:06:20
  Hang
• 1:06:20
  Jon: Definitely.
• 1:06:21
  Kearns: outta 10 would not buy it again,
• 1:06:25
  but I liked it.
• 1:06:25
  We, we've got a lot to talk about too with it.
• 1:06:28
  Jon: Yeah.
• 1:06:28
  Kearns: so All right guys.
• 1:06:29
  Ryan : Oh, I can't wait for you to open
• 1:06:31
  Kearns: Woo.
• 1:06:32
  We
• 1:06:32
  Ryan : box.
• 1:06:33
  Kearns: all right guys.
• 1:06:34
  Later.
• 1:06:35
  Jon: See ya.
• 1:06:36
  Happy Mother's Day.