Elvira: Mistress of the Dark (1988)

[00:00:03] Speaker A: Welcome, listener, to the return slot of horror, a podcast recorded by myself, Michelangelo, and Mickey in the basement of our video store. After hours, when the doors are locked, the vhs are rewound, and the moon is glowing pale blue on a brisk and breezy night, we like to hang out in the basement, light a scented candle, crack open a drink, and discuss our beloved genre, horror. Every episode, we invite you to join us for a frosty libation as we discuss a film selected from one of our painstakingly curated subsections of the video store. For those of you unlucky enough to have not grown up with an independent video store in your neighborhood, Mickey, can you explain what I'm talking about? [00:00:48] Speaker B: I'd love to. Back in the day, before they were streaming and even before the famed crash of Blockbuster, they were independent video stores. And to appease the appetites of movie nerds like myself and Michelangelo, they would fill their shelves with anything they could get their hands on, especially these video nasties. These mom and pop shops were responsible for taking the horror genre from limited matinee spelled with one e theater runs and late night drive ins to every rural town and suburb in America. But what really made these video stores special were the people working in the store, curating personalized sections based on their interests and the interests of their patrons. Recommendations based on conversations, not algorithms. So here at the return slot, we keep that spirit alive and strong, and we hope you enjoy perusing our sections and joining in our conversations. [00:01:45] Speaker A: Now, I'm going to warn the listener, this is a hangout. Have a drink and talk about movies. We love. Podcast. Not a critical review. It's as much a podcast about ourselves as it is about these films. Now, this week, we find ourselves completing our cycle in the suburbanoia section of the video store. The suburbanoa Subaru Noya section of the video store. Suburban Oya. [00:02:17] Speaker B: Yeah, you say suburban Oya, and I think it's more like suburban Oya. [00:02:22] Speaker A: Suburban oya. Suburban oya. [00:02:25] Speaker B: Yeah, yeah. [00:02:26] Speaker A: I mean, would our guests this evening like to chime in on the suburban Oya? So we're gonna introduce you, but chime. [00:02:33] Speaker C: In for listeners who have been carried out throughout the arc. The first episode, I didn't know about the suburban Oya. Second episode, I was all in. Third episode, I have realization. Suburbanoia must mean comedy, because all we've done is comedies in this section. [00:02:51] Speaker B: Actually comedies, comedies. [00:02:57] Speaker A: That is the voice of our guests this evening. Tonight we are joined by silent comedian star Chris. Thank you for joining us this evening. [00:03:06] Speaker B: Thank you for stick to what you're good at. Would you. Yep. Thanks. [00:03:13] Speaker C: I'm gonna go act. Afraid of the big train coming in. [00:03:22] Speaker A: I heard you were a bigger fan of that other silent film. Not the train one. Something about the birth of something. [00:03:31] Speaker C: The birth of a nation. Yeah, yeah, yeah. [00:03:35] Speaker B: But then he couldn't get over it, man. He said once he saw the jazz singer, it was like, yeah, we've really done it. [00:03:42] Speaker A: Okay, let's. Sorry I brought this. Weren't you. [00:03:46] Speaker B: Chris, weren't you talking to the other day about remaking the jazz singer or doing, like, a regional theater piece on the jazz singer? [00:03:52] Speaker C: Yeah, I've got a. I've got a grant from the state of Texas. Greg Abbott personally signed off on it. [00:03:58] Speaker A: I worked for a theater producer who was famous for doing an all white production of the wizard. [00:04:09] Speaker C: Perfect. Nice surprise. [00:04:11] Speaker A: I never got paid for the two months of shitty work I did for him. [00:04:16] Speaker B: So you did. Hold on. I'll make this very clear to our listeners. You did a version of the Wiz in an all white cast? [00:04:23] Speaker A: No, I worked for a theater producer for a couple of months, and while working for him, discovered that one of his more popular productions that he made a lot of money on was a production. All white production of the Wiz. I did not work on any productions with him. [00:04:42] Speaker B: That is so crazy. [00:04:43] Speaker C: Was this in Iowa? [00:04:46] Speaker A: This was in Chicago. [00:04:48] Speaker C: Okay. Like, I was gonna give the. Maybe the benefit of the doubt of, like. Well, maybe they just couldn't even find black actors because it's Iowa. [00:04:55] Speaker B: Right, right. [00:04:58] Speaker A: I mean, it was definitely like I was. I was working for him in Chicago, but this was like, somewhere in Illinois that this production happened. Anyway, tonight the. Oh, excuse me. Tonight the basement smells like cocoa butter and dirty socks. Cuz, you know, we're talking about a special film from my teenage years. [00:05:25] Speaker B: Cocoa butter and dirty socks. Explains a lot more personally about you than it does about the rest of us. That is not. Yeah, okay, go ahead, continue. [00:05:34] Speaker A: Yeah, yeah. Recently we had a solar eclipse, and the movie we're talking about tonight has a lunar eclipse in it. And time. Of course, if you could be here at the video store, you would see that we have lots of standees and posters of this performer throughout the story. [00:06:02] Speaker B: Michelangelo always is standing when she's around. [00:06:07] Speaker A: She would appreciate that joke. That joke. That joke fits into the film. Tonight we are talking. Well, actually. I'm so sorry. I'm getting ahead of myself. [00:06:22] Speaker C: It seems like you have a hard time keeping it together. [00:06:25] Speaker A: I am having a hard time. You know what I'm saying? Before we get to the film tonight. What are we, guys, what are we drinking? What are we drinking? Mickey, what do you got there? [00:06:40] Speaker B: Yeah, well, you know, before you prematurely ejaculated all over the place, I'm having just a white wine. A nice Chardonnay. [00:06:52] Speaker A: You have been really rocking the wine in this section. [00:06:54] Speaker B: Yeah, I gotta. We're doing comedies. I will tell you that. That there is a. There is a world in which me with a nice glass of Chardonnay and a white wine on an afternoon would. [00:07:10] Speaker A: Get me a Chardonnay is a white wine. [00:07:13] Speaker B: Well, no, no, it's a Chardonnay. I mean, no, it's just a Chardonnay. [00:07:17] Speaker A: But having Chardonnay said a Chardonnay and a white wine. [00:07:21] Speaker B: Or just saying white wine and Chardonnay. Just Chardonnay is a white wine. But I mean, like. Like any white wine, specifically Chardonnay on this case. But you're sitting out on the porch. You're having it. There's a group of people in my life that would tease me and make fun of me. But you know what? One of those people would not be Elvira. [00:07:39] Speaker C: Are you sure about it? No, she likes to be positive. [00:07:41] Speaker B: I'm positive. I'm positive. I'm positive she want Elvira. [00:07:44] Speaker C: Maybe not. [00:07:45] Speaker B: Well, I just think that you're allowed to be whoever you want to be at any moment with Elvira, and she's accepting, of all people. [00:07:50] Speaker A: So, you know, assuming you're not sexually harassing her or assaulting her. Well, of course. [00:07:55] Speaker B: Or harming anybody. Right. Yeah, it's harming anybody. [00:08:01] Speaker A: We'll get into that. [00:08:02] Speaker B: We'll get into that. But anyway, that's my point. So I decided. I looked in the fridge. I was like, I could have a beer. I could. You know what? I'm gonna have a nice white wine and talk about my favorite person on the face of the earth, Cassandra Peterson. [00:08:13] Speaker A: Wow, that's great. [00:08:14] Speaker C: Take that, wife and children. [00:08:16] Speaker A: Does Molly know about this? Does your wife know about this? [00:08:19] Speaker B: Molly has a very. [00:08:19] Speaker A: Cassandra, does your son know about this? Well, that's what you say. [00:08:23] Speaker B: Molly looks kind of like Cassandra Peterson, and my son looks a lot like virus, so it works. Jesus Christ. That's joke. People. [00:08:48] Speaker A: Put it on your wife. You know what I mean? [00:08:51] Speaker B: Then, yes. [00:08:52] Speaker C: Yes. [00:08:53] Speaker B: All right. [00:08:53] Speaker A: Can you take my cleavage and put that on your wife? [00:08:56] Speaker C: Ah, that's true. [00:09:00] Speaker A: Chris, you got a spooky cocktail tonight. [00:09:06] Speaker C: Yes, I do, my friends. I made up a little cocktail. I call it. Did you see those gozongas? [00:09:16] Speaker A: Very subtle. I like, just like this movie. [00:09:18] Speaker B: Very subtle. [00:09:20] Speaker A: That's a direct line from the layered. It's layered. It's layered. What you're doing. It's layered. Like the cocktail, the drink movie. It's layered. [00:09:29] Speaker C: So this is a take on a black cocktail to take on a black velvet cocktail, which is a UK cocktail involving a stout beer and champagne. So this is 4oz of a stout beer. I did a half ounce of Saint Germain to up that floral funness, and then later on, 4oz of champagne. [00:09:51] Speaker A: Oh, nice. [00:09:53] Speaker B: That sounds classic. [00:09:54] Speaker A: Actual champagne, sparkling wine. [00:09:56] Speaker B: No. [00:09:57] Speaker C: Champagne is a brute from France. That has been in my fridge since. [00:10:01] Speaker B: I moved Chris, and you're messing around. [00:10:03] Speaker A: Wow. I feel so honored. The crack open champagne for tonight. [00:10:09] Speaker C: So. [00:10:09] Speaker A: Wow. [00:10:10] Speaker C: Yeah, all frilled. [00:10:13] Speaker A: Vira, that's amazing. You guys are being very fancy tonight. I am. In honor of 1996, when Coors wanted to corner the market on Halloween, failed multiple times, but then brought in Elvira. I'm having some. I'm having some coors, the silver bullet, you know? [00:10:38] Speaker B: Yeah. [00:10:39] Speaker C: That begs a question, actually. Is your guys's first memories of Elvira from, like, commercials? [00:10:45] Speaker A: Because I'll get to that. [00:10:46] Speaker C: It was. [00:10:47] Speaker B: Yep. [00:10:49] Speaker A: When we get to the history of the film, I think Elvira is going to be wrapped up in that. So I think we could talk about it. And spoilers. We've been, we've been saying tonight the film we're talking about is 1950 six's. It conquered the world. [00:11:07] Speaker C: Yep. [00:11:08] Speaker A: Gotcha. Oh, seriously, folks, we are gathered here on this evening to talk about the great Elvira's big screen debut, possibly the most inventive and creative ways in cinematic history. To show off cleavage. It's spooky, it's sexy, it's funny, it's pure schlock. It has a protagonist who is disarming, self deprecating, and sex positive. A feminist, counterculture macabre creature of the night. We are talking about 1980 eight's Elvira, mistress of the dark. I'm very excited to be talking about this, this evening. [00:11:51] Speaker C: Creative way to show off cleavage. [00:11:55] Speaker A: Yeah, I mean, there's multiple takedowns of, like, we'll get into it. We'll get into it. Yeah. [00:12:03] Speaker B: I mean, I'm ready to get into it now. [00:12:05] Speaker C: Let's. [00:12:06] Speaker A: Let's see what Chris has to say. So who picked this film? [00:12:10] Speaker C: Gee, I wonder who, who expoetically for, like, 20 minutes just a second ago? [00:12:15] Speaker B: Yeah. [00:12:18] Speaker A: Michelangelo, I'm leading you to like, oh, thank you. And what is my history and relationship with it? Yes, thank you. [00:12:26] Speaker B: Let me rephrase it. [00:12:27] Speaker A: Now, Michelangelo, what is your history and. [00:12:28] Speaker B: Relationship to this film? [00:12:31] Speaker A: So kind of what Chris kind of what Chris was saying. Um, my first exposure, wink, wink, to Elvira, was advertisements at the, at the local high Vee grocery store in Kansas City, Missouri. It was the Coors campaign during Halloween. And I gotta tell you, like, okay, guys, it's like we've been, we've been making any windows. It's gonna come up. I just want to get it out of the way now. Boobs. Boobs. Boobs. Boobs, Elvira. Boobs. They go hand in hand. Um, no pun intended. [00:13:11] Speaker B: Hand. Very much like that, sir. [00:13:17] Speaker C: I like those. [00:13:21] Speaker A: Three men talking about boobs in the basement. All right. I was, as a little boy, I was, like, attracted, and I didn't understand why she scared me, and she excited me. And the fact that it was an advertisement for beer around Halloween, it's like everything's wrapped up in this sort of, like, hormonal, halloweeny, sexual, like, fun thing. So I was always aware of her and then eventually became aware that she was a horror host. And as a boy who was scared of scary movies for a very long time, I. Sorry. 1 second. Sorry. Cat in the basement. [00:14:20] Speaker C: Cat in the basement. [00:14:22] Speaker A: Cat in the basement. I love the horror host because it was a safe, safe. A person who could, like, hold your hand and you watch the movie with the person. And I eventually saw this movie all the way through. It's hard to remember exactly when, but I think I was in my twenties the first time I watched this. [00:14:45] Speaker B: Like, wow. [00:14:45] Speaker A: The whole thing. The whole thing altogether, you know? [00:14:49] Speaker B: Yeah. [00:14:50] Speaker A: As I got into horror movies, obviously being aware of Elvira, loving Elvira, like, despite my more intellectual, more altruistic nature, I just can't help but be attracted to this person that Cassandra Peterson created, who is, like I said, it's funny, self deprecating. She is completely herself all the time. She's six positive. She's wonderful. I see this movie, I think, in my twenties, and I just, I laugh and I have a good time, and it's just, it's a great time. That's sort of, like, my experience with it. I can't, like, nail it down to, like, one specific thing, unfortunately. But I own it, and I love it. But I did have a interesting experience watching it this time, and we'll get into that. So, Mickey, what's your experience with, like, Elvira in this film? [00:15:55] Speaker B: So my experience with Elvira is different than this film. I, to put it, to put it very plainly, I was the youngest of three boys, and growing up, we've talked about my next door neighbor who exposed me to, like, horror films and married with children and all the guy, you know, stuff that we would do. And he was an older, he was, he was an older man who had no sons, and he kind of thought of me as, like, his, like, little kid neighbor son that he could, you know, look out for and take care of. We both loved Elvira. I had never seen this movie. We just loved Elvira for all the Elvira things we could. And I think that he's the person who showed me who she was. We talked about it. He probably had some magazines and things like that, and he was just like, she's so cool. And I'm sure I saw some of her horror hosting from, like, I'm sure somehow I saw some of that stuff from LA. I don't know how I would have seen it, but I know I had to have seen it before I saw this movie, because this movie does not loom as large in my childhood as just Elvira herself and. [00:16:53] Speaker A: Right. Isn't that interesting? Like, her, this character looms large. [00:16:58] Speaker B: Looms. So it's as big as Spud McKinney. You remember spud McKenzie? [00:17:02] Speaker C: Yeah. Yeah. [00:17:04] Speaker B: Bud McKenzie looms. No, I'm not kidding. Looms large in my life. He really does. Because when I was a kid, like, 5th, 6th, 7th grade, my friend got a dog like Spud McKenzie, named it Spud. And so we would dress it up like Spud McKenzie and bring it to a baseball game because he was such a cultural, like, touch point. Right. And I remember spud McKenzie. Elvira, and I don't know. I mean, I'm sure there's, I can't think of anything right now, but, but those two things were, like, large pop culture icons of, like, my 5th, 6th, and 7th grade years. And as far as this film goes, I've watched it a bunch of times. I'm sure I watched it when I was in, like, junior high or high school. I can't remember the exact details, but I do know that what drew me to watching the film was the possibility that you could see Elvira nude, or you're gonna see more of Elvira than you can see in the, you know, the posters and the pictures. And within 15 minutes of the film being completely disarmed, and rather than wanting to see her topless, being, like, I just want to be this person's friend, you know, I just want to, like, hang out with this person. This person's amazing and cool. And then as I got older, it turned from, like, me really appreciate. I do appreciate Elvira. The character is fantastic. But beyond just that, it's really like, if you look at, like, the history and, like, the legacy of Cassandra Peterson, you start to find somebody that was an artist in every sense of the word. Very good comedic, was blessed with just genetic beauty and didn't have an easy. [00:18:39] Speaker A: Life being terribly burned as a baby. [00:18:42] Speaker B: Terribly burned when she was a baby. [00:18:43] Speaker A: Yeah, as a baby or a little kid. [00:18:46] Speaker B: I can't remember which it is. [00:18:47] Speaker A: She was very young. Toddler. [00:18:49] Speaker B: They say toddler. [00:18:50] Speaker A: Toddler. [00:18:50] Speaker B: Yeah. [00:18:50] Speaker A: Yeah. But her wikipedia percent of her body was in third bodies. [00:18:55] Speaker B: Yep. Yep. And she had to. Had skin grafts. Yeah. But it's just this. I think that she's an amazing person, and she's always been, like, pro LGBTQ. Even before she came out herself. She was always been, like, kind of, like you said, counterculture, kind of a representative of the people who feel a little bit on the outside, a little bit like I don't fit in, but always comes into a place and versus, like, trying to fit in, she makes the place learn to accept her, and I think this movie touches on that. And even though it's total schlock and total camp, it's still kind of like, I think captures the essence of what Elvira means and Cassandra Peterson means, which is like, this idea. It's like, it doesn't matter who you are just by. You know, it doesn't matter, like, what people say about you or how you even how you are seen by the outside world, being a good person, sticking to your laurels, and, you know, doing that will bring people to you, and you will be accepted. And I just think that there's a lot of positive messages that Chris has kind of given me the eyes. Chris has given me the. Oh, boy. Listen, maybe it's the Chardonnay talking, but that's where. That's where Elvira is to me. I like this film. It's not a great film, but it's certainly a good film, and it, you know, stands the test of time for me. And I, uh. Like I said, it's hard for me to. I'm so biased because I love Cassandra Peterson so much. So, yeah, that's kind of my history and how I feel. [00:20:19] Speaker A: Let's see whatever fucking piece of shit thing. Okay. We're ganging up on Chris a little bit here. [00:20:30] Speaker B: Chris? Yeah. Chris. [00:20:35] Speaker A: Is an open place. Please tell us your history with Elvira and your experience watching this. [00:20:42] Speaker C: So, history with Elvira was definitely like. I mean, kind of. I was alluding to. In the beginning, I remember her as, like, this icon that was out there that, I guess, to Mickey's point, was like, almost like a spuds McKenzie was, like, almost like a character for commercials. I remember her from, like, to your point, Coors, but also other commercials whenever I was a kid, and, like, I remember, like, I was a little kid that watched a lot of wrestling. She was at, like, WrestleMania, like, five or something like that. You know what I mean? [00:21:08] Speaker A: WrestleMania two, I believe. [00:21:11] Speaker C: Two. Okay, so, anyway, like, she was a figure that was, like, in the. The ether of pop culture without me even really having a clear delineation of who or what she even really was. You know what I mean? So I feel like it's like. Like, I think I remember her being, like, even to, I think Mickey, you say like, I think she was make guest appearances on, like, you know, like, married with children or some shows I watched back in the day. [00:21:34] Speaker A: She was on chips as Elvira. [00:21:39] Speaker C: I'm not that old, but my point. [00:21:41] Speaker A: Is, she has, if you. If you look at her, like, her credits, right? There's her credits as Cassandra Peterson, but then her. There's her credits as Elvira, where it's like, she's on. She's been on, like, countless television shows as Elvira, not Cassandra Peterson playing a character. [00:21:59] Speaker C: Yeah, because the character that is it is Cassandra. [00:22:03] Speaker A: It is Cassandra Peterson playing a character. But you know what I mean? It's. It's. [00:22:09] Speaker C: The Persona to be had. I mean, who she was didn't even really matter. You know what I mean? [00:22:14] Speaker B: She was synonymous with Halloween for me, too. Like, when that would roll around, seemed like she was, like, on 17 different ads for every tv show or anything that had an Elvira Halloween ad. Go ahead. And she had a cartoon thing, too, for a little bit, but, yeah, go ahead. [00:22:26] Speaker C: I want to say she told me what kind of number to dial to get cheap telephone service in a period in the late nineties, early 2000. Anyway, anyway, so that was pretty much my extension of knowledge on her David Arkansas character that was out there. And. But I. So the first time I watched this film was about 23 hours ago. [00:22:58] Speaker A: Oh, boy. Oh, boy. Okay, okay, okay, okay. [00:23:03] Speaker C: I always liked Elvira. I always liked the idea of Elvira, but I never was, like, someone that partook in, like, any of the, like, movies or anything. So, like, this was kind of my first time watching it. And I guess, like, the reason why I was kind of, like, I wasn't really rolling my eyes or anything, but just more, like, I guess, kind of, like, contemplating, because that was the thing that kind of struck out to me a little bit in watching this. Is that it? I mean, it's very true for the time that the film that was made, but it is like, such a. Like, a main character driven film and that, like, you know, no one can judge her, but she can judge everyone in the room. You know what I mean? Like, it's that, like, like, room, like, you know, like schlocky comedians from the, like, seventies of, like, hey, what's wrong with you? You're stupid, you're ugly, and I'm gonna tell you everything that's wrong with you. And then they, like, get a little clap back and then go crazy at them, you know? [00:23:52] Speaker B: Yeah. It's like, geez, no respect. [00:23:56] Speaker C: Yeah. I also have. [00:23:59] Speaker A: I think that's. I think that is, though, there's something layered there of, like, well, men are allowed to behave this way. [00:24:08] Speaker C: Does it to women, too. Oh, okay. You're saying. Wait, are you saying that, like, she's, like, crossing the lines into, like, what a Rodney dangerfield could do? Is that kind of what you're saying? [00:24:19] Speaker A: I don't know what you mean by that necessarily, but, okay, I think men were allowed behave a certain. And still are allowed to behave a certain way without being called out or ridiculed for it. Obviously, now things have changed a little bit, but I think that's, like, some commentary on it. [00:24:42] Speaker B: I also think that she does that. I also think that Chris, and I'm certainly not trying to. I want to be very careful because I don't want to sound like I'm an apologist for everything in this movie, but, I mean, you look at 1980s sex comedies with Ronnie Dangerfield and with those guys, they're doing things that are like, my kids would look at and be like, that is not even funny. That's. They can't snap a girl's bra strap and, you know, tell them to get nude in the pool. It's like. Anyway, there's just. I think that there's also a period piece to this that it's like the fact that she's. She is walking around like the male comedic lead and allowing herself, the agency to do what they were able to do at that time period is progressive, even though now we might see it as slightly regressive. Right. It's like, there is something very progressive in that period where she's getting to do what the boys doing with their own movie. I don't know. Female comedian at that point that was. That was being given that liberty. I'm sure. That someone's gonna be like, are you fucking kidding me? Gilda Radna? [00:25:45] Speaker C: And I was gonna say Tracy Allman was giving a pretty. Pretty big lane to work, but. So, yeah. And then I was just going to say, so that was pretty much my history with Elvira. I've decided that I feel like Michelangelo, and I know you disagree with this, created a bit of your own narrative on. Why am I drawing a blank now? On our first film, the Burbs, and then Mickey, I feel like you drew your bit of your own narrative on. On the last. [00:26:23] Speaker B: I disagree with you so far. [00:26:27] Speaker A: Time for Chris to leave on this film. [00:26:33] Speaker C: Can I go ahead and give you my hypothesis, my theorem? [00:26:36] Speaker B: I don't know if I even care, to be honest. I don't know. [00:26:40] Speaker A: We'll get there, we'll get there, we'll get there. We'll wrap up your summation when we get there. Is that all you have to say, you son of a bitch? He won't let you share your opinion. [00:26:54] Speaker B: Until he has his chance to walk you through the show that he wants to do. And then, Chris on the back, you're allowed to add your opinion. Go at least an hour and a half mark, and make sure that most people are out of the show before. [00:27:08] Speaker A: I want him to forget. I want him to forget a little bit also, like, what his point is. [00:27:14] Speaker C: I have an exciting theorem to come later, but that'll come later in the episode. [00:27:18] Speaker A: I'm not. I'm not trying to get. I'm not. I'm not trying to get ahead of ourselves, that's all. If you're. If you have a summation of the film, I want to save that for the end. Not for right now. [00:27:28] Speaker C: No. This will be the thing, then you can hear all through the episode about the exciting hypothesis and theorem to come on, what's really happening in this film. Go ahead. [00:27:36] Speaker B: Yeah. [00:27:37] Speaker A: Oh, no, no. Okay. No, I want to hear. I'm very excited to hear this. What is your. [00:27:41] Speaker C: Nope, it's gotta come later. Go ahead. [00:27:44] Speaker A: He. Son of a bitch. Just say it. [00:27:46] Speaker B: No, no, no. Don't do it, Chris. Don't do it, Chris. Now you're just. [00:27:51] Speaker A: Now Mickey is taking your side. Son of a bitch. Just go ahead. Go ahead. Cause I think it'll color our conversation, because I also. I think. I think I might actually be more in, like. I think I'm a good medium between you and Mickey. [00:28:08] Speaker C: Oh, let's hear what you guys say, michelangelo. [00:28:11] Speaker A: No, I want to hear what you have to say, you asshole. God damn it. Pull out your tits and tell me what we got going on. [00:28:19] Speaker B: Thrilling for our listeners. They're like, they can. [00:28:23] Speaker A: Good job. Edit. [00:28:24] Speaker B: Good luck editing this, Michelangelo. Tell us what you think of the film. And so that, that will let Chris then share his feelings. And then I can see, you know. [00:28:34] Speaker A: I wanted to, I wanted to do a quick, like, a really quick condensed history of Elvira. Yeah, I wanted to bust out, but Chris has something to say, and I. [00:28:43] Speaker C: Want pride of Manhattan, Kansas. [00:28:45] Speaker B: Shout out, Manhattan. [00:28:47] Speaker A: Yes. [00:28:48] Speaker C: Yeah. [00:28:49] Speaker A: Kansas. The land of Oz. You see that joke, Chris? [00:28:55] Speaker B: Yeah, pretty good land. That's good joke. [00:28:59] Speaker A: Okay, Elvira, I'm gonna, I'm gonna, like, real quick on this. 1981, KHJ TV in LA wants to revive Mila Nurvy's vampire. [00:29:15] Speaker B: Yep. [00:29:17] Speaker A: If you don't know who that is, look it up. She's in her sixties. She's had a hard life, and she's not up for it. So they decide to do, like, a daughter of Vampyra, and they cast Cassandra Peterson to play her daughter, and they're gonna give Nermeen EP credit, credit, and a weekly royalty. Then Peterson goes to work on the look of what is going to become Elvira with Robert Redding. They take inspiration from Kabuki theater, makeup, hair inspired from Ronnie Spector's knowledge, bump hairdo from the Ronats. Now, in the last moments right before they're about to do their first episode, Nermy decides she wants another person to play vampira. A lawsuit ensues, and the television station decides we're just going to do our own thing, right? Um, so Redding, Cassandra Peterson, her husband Mark Pearson, and the cameraman throw names into a coffee can and draw the name Elvira. And that's how the name Elvira comes to be. And Elvira's movie, Macabre, is born in September of 1981. A quick little fun thing about the red victorian couch she sits on. The show didn't think that her show would last long, so they rented it, and they ended up renting it for so long that they ended up paying, like, $20,000 for this little victorian red couch that Peterson ends up paying. When the show finally ends, she buys it from the, from the television station for, like, $200, which I believe it's in a museum now. Now. John Paragon from the groundlings. That's where Peterson and Paragon meet. They become writing partners on the show, and they stay writing partners for the next 25 years, working on this movie we're talking about tonight and her not scary farm, Halloween shows, books, and more. And their process was they would meet in the morning, have coffees, and they would watch these films that she would host. And they didn't have them on VHS. They had to watch them like on reels, like actual film. And they couldn't pause it or rewind it. So they'd watch it like three or four times coming up with like eventually what would become the script. Then I mentioned her Coors ad in 1986. She basically becomes like a marketing icon right now. NBC wants to do a tv show, but Peterson is like, you can't go from tv to movie. So I want to do a movie first. So a movie gets greenlit. Corpsman's company, Roger Corpsman's company, New World Entertainment is slated to distribute and the movie does not do well. Now, according to her book, yours cruelly, which I have, I'm looking at right now, I have a copy of it. It's a fantastic book. I recommend. If you're a fan of Elvira or Cassandra Peterson, you read it. New World goes under investigation for racketeering and fraud. And theaters become afraid that they won't be able to pay for the millions of dollars in advertising that will need to happen. So they end up pulling we. So she goes from like almost 4000 screens to like 300 screens. And she believes that combined with the bad reviews of the film, that's why the money. Movie didn't make any money. However, on home video, on the home video market, it does extremely well and becomes one of the 60 best selling videos of all time. Back when there was VHS. Really? Yes. [00:32:58] Speaker B: Fascinating. [00:32:59] Speaker A: It's this, it's a common theme with, uh, some of the films we talk about that like they find a home in the, uh, the home video market. Right. [00:33:09] Speaker B: Do. [00:33:09] Speaker A: Great question for you. [00:33:11] Speaker B: Do you think that, that. Sorry, am I interrupting? Do you need to continue? [00:33:16] Speaker A: No, that's, that's it. Yeah, go ahead. [00:33:18] Speaker B: Do you think that, that something like that happens because of Miss marketing? Do you think that there's something about watching it in a theater with a group of people and if they're not getting the jokes, it drags down the filming? Why do you think that some of these films, especially like the birds, they succeed so well at home video, but they just are not, they don't do well theater. You think people don't want to be seen going into the movie? [00:33:41] Speaker A: I think this, this is a different situation from the burbs. Right? Burbs had a pretty good distribution, but I think the comedy was over people's head. This comedy is not over. And Chris, this is where I'd like you to chime in. This comedy is not over people's head. I cannot. I cannot argue that this is a good movie. This is a movie I love, and I cannot argue that this is funny. It's something you get or you don't. It's something you enjoy or you don't enjoy. It's very, very lowbrow, pubescent. Boy. Schlocky, but campy comedy. Hold on. Let me finish. Let me finish. [00:34:20] Speaker B: Okay, I will, but I'm gonna tell you that that is a very successful formula. Just say it's like. I know what you're saying, but I'm saying, like, that is not, like, a bad thing. That is a very successful formula. [00:34:32] Speaker A: I think the combination of it being pulled from so many screens and the bad reviews lead to it not like it. I think it makes, like, 5.5 on a 7.5 budget. So it's. [00:34:47] Speaker B: I think the grading failure. Grading it. I think they're. I think that the critics are grading this thing on a very, like, serious, like, adult curve, and I think that that's where people miss what the whole point of Elvira is. And this. I think a little bit of this film, you're. You're comparing it to something like the burbs when it's really more like Looney Tunes, right? It's like. [00:35:05] Speaker A: Well, I'm not. I'm not comparing it to the burbs. I'm not. You, like. [00:35:09] Speaker B: You just brought you. I'm talking. I'm talking about. I think the critic is partly because they're thinking that this is some kind of, like, adult comedy, and. And for me, watching it, it never has been, nor does it feel like it's trying to be. [00:35:24] Speaker A: I like. [00:35:24] Speaker C: Yeah. [00:35:25] Speaker A: So, Chris, this. I'd like you to chime in with what you were going to say earlier, please, because I think this is going to feed into my experience watching at this time. And mind you, we've talked about this many times before. It is an impossible task to make a movie. So many things have to work out. [00:35:44] Speaker B: It's. [00:35:44] Speaker A: It's very, very hard. So, like, anything we might say that's not necessarily raving or positive during our discussion, just know that it's like, I still love this movie, and, like, making movies is fucking hard. So, what were you gonna say, chris, about. [00:36:02] Speaker C: Oh, well, I can talk about the movie. My hypothesis and theorem about the narrative of the film? Well, that will have to come later, but. [00:36:11] Speaker A: God damn it. [00:36:13] Speaker B: But, Chris, also our. Our local, like, expert in passive aggressive. [00:36:21] Speaker C: No, I mean, I think it's like, so watching this film, like, you know, yesterday, my thought is just that, like, you know, oh, yeah, this thing was never gonna be successful. Like, you know what I mean? Like, I mean, who's this really for? It's for Elvira fans and that bring in $5 million on a box office. But as a successful film, that was never gonna be a thing that would be nationally recognized to that point. Right. I mean, I think Elvira can live best as someone that's a horror host, that's a. Trying to hawk, you know, Coors beer around Halloween. Not a lead of a film. I disagree. Oh, that's fine. And. But, like, you know, it's like, I don't know, like, providing, like, shucky green one liners. Like, it's got, like, a. It's got a place, but, like, you know, I don't know. It's just. I. It doesn't really work as a whole, and I think it's fine. I just don't think. Yeah, I just don't think it's like. I feel like the film doesn't even. The context is just to, like, get her in a place to do one liners with, like, every single character actor from the eighties, by the way, which is awesome. It's like, you know, it's the secretary from Ferris Bueller. It's. What's her name. It's the. [00:37:43] Speaker A: The chastity Pariah world. [00:37:52] Speaker C: Yeah, it's everyone Kinicki. [00:37:54] Speaker B: Yeah. [00:37:54] Speaker A: It's a bunch of groundlings, performers. It's. Yeah, it's a big. It's a big. It's a big cast, according to surprise. [00:38:02] Speaker B: Paul Rubens didn't make us. [00:38:03] Speaker C: Yes. I actually had the same thought. [00:38:07] Speaker A: I'm actually surprised there isn't a, like, a character that is, like, either openly or, like, obviously gay in this storyline. It seems like, what. What they're kind of saying about acceptance. What's, like, you know, like, there are these layers of, like, what Mickey was talking about, and it's like. And because Peterson is such a, like, icon of the LGBTQ, like, I find it surprising that drag queen. It's this. This movie lacks, like, like, a strong storyline or a strong direction, in my opinion. It's a movie that. And she. She will attest to this. This is a movie she had a great time making. They all had a fucking great time making this movie. And I think sometimes that translates to a good film, and sometimes it translates to a film that maybe lacks a little bit of, like, what Chris is describing, what, like, critics say about it. I can't I can't argue. [00:39:18] Speaker C: But critics with critics talk about your. [00:39:23] Speaker B: Own response, not critics response. Yeah. [00:39:25] Speaker A: I mean, I'm just, I'm, like, the critical response for it. Like, when you look into, like, why. [00:39:33] Speaker C: You don't mean, like, critics in particular. You mean, like, the mass, like, like, oh, you mean critical. [00:39:40] Speaker A: Yeah. [00:39:40] Speaker B: Gotcha. Gotcha. [00:39:41] Speaker C: Okay, I'm sorry. [00:39:42] Speaker B: My bad. [00:39:43] Speaker A: I mean, like, what's the, what's the what, what's the storyline here? It's, it's, it's, it's, it's like, it would be one thing. It's like sometimes you have movies that are plot driven, and sometimes you have a movies that are character driven. Right. And there's just, like, there's just really not a lot of character development with the characters, and I don't really isn't much of a plot here. [00:40:06] Speaker B: I don't know that I fully agree with the characterization of the character, but I can agree with, like, they're being, like, the writing is not, you know, clockwork orange, you know? It's like, it's like, it's not, you know, it's not, it's not great writing, you know? But, yeah, I don't agree about the characterization of Elvira. [00:40:28] Speaker A: A horror host gets greenlit as, you know, this horror horse, Elvira gets. It gets greenlit as a film. Like, what's, what do you, I mean, what are you gonna do with that? You know what I mean? Like, this is the best, but that's something, too, right? [00:40:42] Speaker B: Why, go ahead. Sorry. [00:40:45] Speaker C: Why is it not leaning into being more of a horror film? You know what I mean? Like, at all. You know what I mean? [00:40:49] Speaker A: It touches that on the last act, and we'll get into that. Right. I know, but, like, it touches on it a little bit, but, yeah, I hear you. I hear you. [00:40:58] Speaker C: I mean, large Marge is scarier and peewee than anything in this film. You know what I mean? Like, like, pure comedies have scarier elements to it than anything that would be in here, I think. [00:41:09] Speaker B: Yeah, I mean, there's some pretty, you know, I'm non scary movies that were schlock and camp and supposed to look a little like they're funny versus scary, you know? But that's kind of like, the history of her. So it would be weird for her to also be in, like, a actual movie that gives real scares. [00:41:28] Speaker A: But, like, the first thing, more like Roger Corman Gothic. Right. The first, like, hammer film that's, like. [00:41:37] Speaker C: Kind of supernatural is when she's cooking for brawny paper and the creature thing comes out of the. [00:41:45] Speaker A: Bob. Bob Redding. His name is Bob Redding. In honor of Robert Redding. Daniel Green. [00:41:50] Speaker B: Yeah. [00:41:50] Speaker C: But he comes out. I believe that he's a fox. [00:41:55] Speaker B: Perfect casting, by the way. [00:41:57] Speaker A: Yes. [00:41:59] Speaker B: Just a piece of meat and no personality. Exactly how women are casted mostly throughout the eighties. And he's. [00:42:05] Speaker A: He's clueless and he's wonderful. I love it. [00:42:08] Speaker B: Yeah. He's just a piece of, like, lovely meat. Yeah. [00:42:11] Speaker C: The point that was just like, so, like, when she accidentally makes that creature thing when she's gonna make him dinner. That happens at, like, the 56th minute of, like, the 127 minutes film. Like, you know what I mean? Like, we're at the back third of it before something even, like, supernatural or even a touch horror esque or even, like, you know what I mean? In the ballpark happens. I think that's a miss. You know what I mean? Like, for what? For what Elvira is like, why is the witch thing just, like, a pun brought at the end for setting in Massachusetts? Like, bring that to the forefront in the beginning, you know? [00:42:49] Speaker B: Yeah, Chris, I hear you. I hear you. I don't necessarily agree, but I hear you. It's like she's. She's a horror host. They start where. Where we know her best, right. The first. The first establishing, like, 15 minutes is like, being like, yes, this is the Elvira. You know, we're taking you behind the scenes of what she does. She's a horror host now. We're bringing you back out. She wants to put on a big show in Vegas. She needs money, and then she does the Looney tunes like Bugs Bunny style. Look at the camera like, what a coincidence. You know, that all of a sudden now somebody's dad that has money for. I think that there plays in a way in which they were trying to create a film that wasn't trying to play to necessarily teenage boys. It was trying to play to the next generation of teenage boys. Right. It was trying to be like, these guys are goofs. This, this, this behavior is schlocky and. Or the movie schlocky, but the behavior is just like, let's make fun of it. I think that there is something about this film. If you put yourself back in 19, was it 88 or 89? [00:43:58] Speaker C: Something like that. [00:44:00] Speaker B: 88. Rebecca. Yeah. [00:44:01] Speaker C: It's funny you should say that because that was my thought. Right. It's like the, the waitress from the drag brunch got a film. [00:44:07] Speaker B: Yeah. [00:44:08] Speaker C: You know what I mean? Really? What I mean? [00:44:10] Speaker B: Yeah. [00:44:10] Speaker C: Like, that's how it feels like. [00:44:12] Speaker B: Yeah. [00:44:14] Speaker A: This movie has funny, silly jokes. It's beautifully shot. It has amazing production design and atmosphere. I just think it lacks some direction. It doesn't. It kind of underutilizes its cast. It has a lot going for it, but ultimately, you know, it's a fucking Elvira movie. So what do you. You know, there? We're lucky enough to get themes and commentary on feminism, mob mentality, sexual assault text, toxic masculinity, sexual harassment, acceptance of sexuality in all of its forms. And what lies beneath the surface of a wholesome community. What is your neighbor capable of? All those things are in it. It's just like. But you either like it or you don't. [00:45:00] Speaker B: I do want to just touch on something you said about, like, you know, even, like, appealing to our most conservative audience. If we have a conservative audience, I don't know if that's a thing. But even when you talk about, like, the boys spying on her, right, when she's changing, you know, it's not judged. It's kind of like, yeah, it's the. Yeah, we get it, right? It's like there's something about just everybody being able to live in a world where sexuality is something we're all trying to, like, figure out and deal with. And it's like, nobody's being too hard on anybody in the film. I feel like, with sexuality, the only people that are being treated hard in that film are people who think sexuality is only one way. It's the morality police that are on, that are suspect in this film is the only people that she. I feel like the film is saying that. So there is a point in which I'm saying that as a young person watching it, it felt like. Well, this is very reassuring, right? Because I grew up with the morality. I grew up with the Miss Needleheimers and the, you know, whatever that other woman's name is. Yeah, yeah. Oh, gosh, I thought I took care of that last year. No, but. Yeah, but all those people. I grew up with those people, and they seem to be the only people that are being pointed out as. As bad in this film, or they're the ones who are morally, like, wrong. And I just think that. That for. And this is also just talking about a personal life. It's like growing up, seeing something like that, it felt very freeing for me personally, because my parents were so christian, very straight laced. Sex was not something we talked about. And if we did talk about sex, it was like, you have to be married, and everything is missionary, and we don't want to get into the details, but it needs to be only something you do when you're in love and you're married. And then to have Elvira kind of, like, come into my life or, you know, introduce me to some of these ideas, I don't know. It felt like a pretty, like Michelangelo talks about the whore host who guides you and holds your hand through scary things. I kind of felt like a vira held my hand and walked me through sexuality in a way where it's okay for me to be, like, totally into the female body, but also understanding that, like, this is somebody I want to be a friend with, and this is somebody that is accepting of all people and all your sexual quirks or whatever it is about you. She feels like a safe space to me. [00:47:35] Speaker C: I mean, I would say yes from, like, a. What is progressive in 1980 something. You know what I mean? Because at this point, right. Like, yeah, the female body to be enjoyed as long as it's from heteronormative standards of. And, like, you know what I mean? And then even that's something I think that. Right. Like, watching the film, like, exactly right. Shouldn't be hard to, like, poke fun at, like, a moral majority type, right? But then, like, it's Elvira that's like, just shooting from the hip at insults right off the bat on first meet, you know? I mean, like, it's like, it's like I. [00:48:12] Speaker A: Anyone who isn't, like, she's not insulting anyone who isn't mean to her, right? [00:48:20] Speaker C: No, she does rewatch it. [00:48:23] Speaker A: Give me an example. [00:48:25] Speaker C: When her car first breaks down, she is into town. She's insulting women's looks before the moral majority woman. Before. Before she even really says anything to her. Now there's a shot in which she says something to her friend about her, but not directly to her. [00:48:40] Speaker B: I must have missed that. [00:48:41] Speaker A: I think. I think that's. I think that's just, like, it's the failings in writing as opposed to that's what's in it. [00:48:51] Speaker C: You know what I mean? [00:48:52] Speaker A: I I do want to talk, so. Okay. Her. [00:48:59] Speaker B: And also, I want you to know that when I say the things I say, I come from a place where it's like, I grew up. So, like, nobody was introducing me to anything that had any cultural relevance that was, like, good beyond, like, the Bible. So, like. So, Elvira, although not, like, breaking the mold, it was for me as a young kid growing up in east Texas, that was breaking the mold. [00:49:21] Speaker A: Right. [00:49:21] Speaker B: It's like I had all this experience and ability to go. I didn't go to a museum until I was 20 years old. You know, I didn't. I didn't go. I mean, our public library still had, like, a whole section where you couldn't go in as a kid because they were, like, we deemed this material, like. [00:49:39] Speaker A: Banned from catch 22. [00:49:42] Speaker C: Well, like enemy catcher in the Rye. That's kind of what I'm talking about. Catch her in awry. Like, again, like, that's kind of what I was saying. There's, like, this is progressive for the time. I'm just talking about looking at it now through, like, a modern lens. You know what I mean? Like, it's one of those things that, like, I think intent and the nature of what's wanting to be delivered. If you look at it now, it goes to. Just falls, I think, a little. It falls a little off to me. You know what I mean? [00:50:12] Speaker A: Something from 1988. Like. [00:50:16] Speaker C: There'S tons of good examples of perfectly fine adults at that time. [00:50:20] Speaker B: I agree, Chris. I made this same statement about the burps, you know? So it's like, I know I'm being precious. I know I'm being sensitive. That won't change in the next hour. [00:50:32] Speaker A: Yeah, let's. Let's talk about the. I want to talk about. I want to break down the gas station scene, right? So she's going off to hopefully collect her inheritance to. After losing her job at the tv station for declining the advances of a scumbag. Right. Who's in charge of the station now? [00:50:52] Speaker C: Real quick, shout out that the. The news anchor woman, that's, uh, Tess McNeil, tress McNeil, very infamous voice actress from. Did voice on the Simpsons forever on tons of stuff. [00:51:06] Speaker A: So it's cool to see, like, I was, like, in a ground lane. [00:51:10] Speaker B: Okay. [00:51:10] Speaker C: She really nice. [00:51:12] Speaker A: Yeah. And I do think that whole opening segment, it's a little ahead of its time with the whole, like, sexual harassment assault commentary. You know, just because a woman is sex positive and sexual doesn't mean it's an invitation for anyone to just absolutely have the ability to have sex with her. Right? So. [00:51:32] Speaker B: Yeah. [00:51:32] Speaker A: And then I. Like, she has that interaction with, like, the Marilyn Manson type hitchhiker who's thinking he's gonna get her, and then I guess she wants, like, I. Like. That's a good joke. That is a good job. Like, I guess he gets freaked out by how forward she is, and then she possibly kills him. I don't know. But, like, she throws that hatchet in. Like, you hear. That's a good joke. There are some good jokes in this. Yeah, agree. But I do want to break down the the gas station segment, right? We got paragons in that scene. He's playing the gas station attendant, and she shows up and he's like, okay, he's messy. He's picking his nose. He's farting. He's listening to chicken fried steak song. He's basic. He's looking at porn in public. [00:52:29] Speaker C: It's the 1980s gross guy thing. You know what I mean? Like, that was like, such a thing. Like MTV ads used to have them like that. You know, be a guy like that. Yeah, it's always. It's such a thing for that period. [00:52:40] Speaker A: But, like, when you think about, like, what are they saying? What are they like? I think it's this. This is kind of what I was talking about with, like, I think the overall issue with the film, for me can be sort of surmised. In the scene, it's like, what are they saying about this? Like, what's the commentary on this scene? Because, okay, he's kind of gross, right? She expects to be serviced, but it's a self service station. [00:53:10] Speaker C: Yeah. [00:53:10] Speaker A: Right. So maybe he's lazy and he's not. It's not supposed to be self service. I don't know. He can't spell office, apparently. Or whoever painted office can't spell office. He is looking at porn in public, but he is unabashedly himself the way Elvira is herself. And he's one of the own. I think he might be the only male character in this film who doesn't sexualize her. Right. He's not affected by her appearance. Not that it's strange or that it's sexual. Right. He's just like, you know, pump the gas yourself. And eventually does say, like, have a nice day. You know what I mean? And she ends up blowing him up and murdering him, essentially, through her killer. [00:53:53] Speaker B: Through. [00:53:53] Speaker A: No, I guess it's his carelessness. It's their both. It's their. It's their combined carelessness and stupidity. But I do like her washing the windows. That was a good scene. That makes the scene worth it. But anyways, it's like, what? What? Like, what are we saying about the gas station attendant? What are we saying about her? And what are we saying as a whole? That's my point is I don't think they were thinking about that. I think they were just thinking, oh, this is funny. And this is funny. And we do the thing and we move on, you know, like, we have money and we're gonna blow up this thing, you know? [00:54:25] Speaker C: No, exactly. He needs to be, like, a creep towards her to have some sort of a justification on the action taking place against them, because if it's a m. [00:54:35] Speaker A: It'S a missed opportunity. Yeah, it's a missed opportunity to, to set up the value of, like, of the, of the movie. Right. [00:54:44] Speaker C: Which. [00:54:44] Speaker A: What is the moralities that we're working in. [00:54:46] Speaker C: And it goes to what I was kind of talking about. And that, like, it's this whole, like, in the end of the day, like, Elvira is a completely selfish character, is a selfish person and how it's presented. You know what I mean? Like, she only really gives a shit about herself. So I guess that's the. And, like, this scene's a good antithesis of that. So I think that that's a part of the disconnect to me. You know what I mean? Like, I. There's, that there's the teenager scene. Like, there's several in which it's very much saying the dialogue of that. [00:55:15] Speaker B: I do think that, that Alvirah is intentional or intentionally written to be a kind of valley girl. Like, that's. [00:55:27] Speaker A: Oh, yeah, no, absolutely. [00:55:32] Speaker B: She has a strong heart, but she's like a careless, hapless valley girl. And I think that that that's where there is, like, this thing where it's like, it's almost, I can't think of a character off the top of my head right now, but that's part of the charm. Bugs Bunny's the same way. Bugs Bunny's selfish, and he's actually rude and stuff like that. But it's like, bugs Bunny's hilarious, and we all kind of root for him into the day, right? Because it's like he has people out to get him, and he's just, like, sarcastic and kind of out for himself, and it's like, yeah, that's okay. And I do think of, I thought even watching this, this watch the film, I thought, man, these are, these are bugs bunny jokes. It's like, if you ever watch Bugs Bunny in Transylvania with Dracula, absolutely playing to the camera, he's dropping those one liners. He's like, oh, well, I thought you would have whatever, you know, it looks right at you at the camera. It's like, it's very much the same thing, but for some reason, it's so much more palatable when it's a male or a Bugs bunny or something like that. And for some reason, it's less palatable. So I do think that if we put ourselves in the period and we see that this is a female comedian kind of pulling the tropes and doing the things the guys do because I don't think that Rodney Dangerfield is also careful in his films. And I only bring him up because we mentioned him in the beginning. [00:56:55] Speaker A: But, of course, by the way, the director directed Easy Money, which is a favorite of mine. And, you know, Dangerfield is a scumbag in that movie. Just like, just like. Just like Cassandra Peterson is kind of a selfish, vapid. [00:57:15] Speaker B: Yeah, just like, check her face. [00:57:17] Speaker A: But we love Caddyshack. [00:57:20] Speaker B: Yeah, well, the human being or the. Or in Caddyshack, all the above. Well, for that matter, the self. Hey, I love the Ghostbusters. They're selfish as fuck. It's like, are you kidding me? Yeah, so I guess what I'm saying. [00:57:38] Speaker A: Ackroyd's doing it for ghost blow jobs. Okay, that's not selfish. [00:57:44] Speaker C: I just ran a thing or something, like a breakdown of the hotel scene from the Ghostbusters about how, like, if you take inflation into consideration, they're asking for, like, $10,000 in that scene to, like, get rid of the ghost. It's funny. [00:57:56] Speaker B: Anyway, speaking of speaking or that Bill Murray almost like he takes advantage enough. [00:58:04] Speaker A: Ghostbusters. We're talking about virus of the dark. I'm sorry. You guys asked. [00:58:09] Speaker C: What about Rick Moran? [00:58:11] Speaker B: 1980S. We're talking about male comedians getting away with a lot and female comedians being held to a higher standard. And I'm just saying that Elvira was able to, in her small way, break down some barriers. We don't know it yet, but in a hundred years, we might sit there and say she was a part of this puzzle that built, you know, women comedian to a place where they were just toe to toe with all the guys. [00:58:35] Speaker C: But if I may, you know, this is. [00:58:38] Speaker A: This is. Go ahead. [00:58:40] Speaker C: A funny thing. You know, the whole, like, Elvira Vampira thing. You know, a bit of the story on that and that, like, vampira got ran off because she wouldn't sell the character of Vampira to ABC. And, like, they kind of brought her in to then revamp, you know, whenever it's gonna be revamped of Elvira, they brought her in. I can't remember the real woman's name to be the thing. [00:59:02] Speaker A: And when she was too, when she. [00:59:04] Speaker C: Thought the character was too close to her, they kind of ran her off. And when she tried to sue, she lost. So it's like, it's funny again, though maybe slightly being progressive, but also regressive and that you're running over another woman to get where you are. [00:59:19] Speaker A: She's not. Cassandra Peterson isn't, you know, what? I mean, she gets hired to do a job. Nermy has a change of heart. [00:59:27] Speaker B: Yeah. The studio is not. It's like, it's. [00:59:31] Speaker A: Let's not. Yeah, let's. Let's not get into a whole thing about that. You can look into the separate histories. They both have written and talked about it. Milan Ermy and Cassandra Peterson. It's. It's. Nobody wins in that situation, and it's Milan Ermie had a very tragic, hard life. Yeah. There's no question about that. But, like, I, you know, beautiful, tough woman. Yeah. [00:59:59] Speaker B: Dealt with a lot. [01:00:01] Speaker A: Anyways, so Elvira, her car is broken down. I do like the mechanic who's working on the car with a screwdriver, and he's just kind of poking at the car. It's like, good actor work. Right. I do like his line delivery, though, on nice tits. He's kind of like a little peanut gallery. [01:00:21] Speaker C: Good line. Yeah. [01:00:22] Speaker A: Now, I love that she goes to the bowling alley because that's where things are happening. Right. And Mickey and I have a friend who lives in a very sleepy town. [01:00:32] Speaker B: Where the only thing going on is. [01:00:35] Speaker A: Like, what's going on at the bowling alley. We're introduced to our two thugs of the film. One of them is Kinicki, Jeff Conway. And I love. [01:00:52] Speaker C: That'S so interesting that, like, you know, because he was someone that had a promising career, and then I think to kind of, like, get to that point, it's interesting. [01:00:58] Speaker A: Yeah. [01:00:59] Speaker C: He was, like, the bad in this. [01:01:02] Speaker B: Rough life. He had a rough life. [01:01:04] Speaker A: Yeah. [01:01:05] Speaker C: Do you have a drug problem? [01:01:06] Speaker B: Yeah, big time drug. [01:01:08] Speaker C: Alcohol. [01:01:09] Speaker A: Yeah. I like the commentary on the comic book nerd a little. A little. A little ahead of its time with, with, with that. Not that comic book nerds weren't a thing at this time, but just through viewing it through today's lens. And I will say that the value of that comic book now, if meant that Travis rips up would be about $2,500 in the $2500 range. It's amazing. Spanish Spider man volume one. Todd McFarlane episode issue 299. [01:01:45] Speaker C: You ripped it up. I mean, that's impressive. Comic books. It would be easy to just rip up like that. [01:01:52] Speaker A: Oh, I disagree. [01:01:53] Speaker C: Strong. [01:01:54] Speaker A: A graphic novel would be hard. [01:01:55] Speaker C: But pull a comic book out and rip it for me. [01:01:59] Speaker A: I'm not going to do that. My comic books are worth $2,500 a piece, especially the ones I keep in the store. Batman issue number one. Now, let me ask you right now what Travis like. So Travis and Billy, like, fucking, like, do you think they would have full on, assaulted, raped Elvira. If Bob hadn't jumped in and would we have a the accused situation which came out the same year on our hands? [01:02:30] Speaker C: Oh, God. [01:02:33] Speaker A: Because no one seems to care. Except I do like to think that Elvira would have, like, worked her way out of it, but, like, that's really the only time where Bob, quote, unquote, saves her. And, like, that Bob is not her savior. Bob's part of, like, when you think about witchcraft and you think about, like, balance in the universe and balance on earth and, like, all the elements that you need in order to, like, be happy, happy and healthy and, you know, all that stuff. But Bob represents a certain energy that helps ElViRA but doesn't save Elvira, except for maybe in this scene. Right. It kind of gives us his hero's entrance. [01:03:19] Speaker C: Yeah. The two bad guys there, their characters are like, what exactly is their in game? You know what I mean? Like, they serve to be sexualized her and seemingly want to be a real weirdo to her in that scene. And then they're the hench people. [01:03:39] Speaker B: Yeah. [01:03:41] Speaker C: Again, I don't know. What are they doing? [01:03:44] Speaker A: It's like, what happened to their, like, those are two fantastic actors, and they're totally underutilized in the story of the script, and that's kind of like, like, you know, Mickey, everything you're saying is true, and I agree with it, but also, the opposite can be true as well, that it's like, you know, these, this, this is kind of, like, mutually exclusive. Yeah, it's, it's, it's like, like, individual segments of things. Like, the scenes work on their own in a way, but, like, when you think about, like, well, what's the meaning to this in the overall story? Right. How does this connect everything? And what are we meant to take away from it? It's it, it becomes, it kind of, like, accumulates to lack a little bit despite, like, again, I'm having a good time watching it. [01:04:34] Speaker B: You know, maybe I'm doing work for the, maybe I'm doing work for the film. [01:04:38] Speaker A: You are. [01:04:39] Speaker B: You've all been new kids. You've all been new kids, right? [01:04:43] Speaker A: Yes. [01:04:44] Speaker B: Okay. [01:04:45] Speaker A: Anyone who's an actor new kid a lot. Right. [01:04:49] Speaker B: Well, the new first day you're on set, and, and the predatory, weird, creepy guy Kavanaugh or, um, Kinicki, whatever. [01:05:06] Speaker A: Trump's. [01:05:06] Speaker B: Trump's there comes on. Go ahead. [01:05:11] Speaker A: No, I'm just adding. [01:05:13] Speaker B: Sorry. Okay. I'm saying, like, she's the new kid in town. This predatory male Caesar asks for a blowjob, goes after the two guys corner her. You know, our guy who knows these folks, right? Who knows the town, has some, like, you know, has some history, comes in and steps up for it. It does not seem like poor writing as much as it seems like you have to do a little bit of work, because maybe not everybody has those experiences. I just don't think it's that bad. I'm just. I'm not trying to be say was bad. [01:05:46] Speaker A: Buddy, I think you're taking this. I think you're taking it all a little too personally. I really do, man. I love it. I love this movie. I love Elvira. I love the scene. I really do. I'm just. I'm just commenting a little bit on, like, beers on. [01:05:59] Speaker B: On their dicks. [01:06:01] Speaker A: That's great. That's great. And they get all mad. [01:06:05] Speaker B: Yeah. [01:06:06] Speaker A: And he takes out a handkerchief to clean it off. Like that's gonna do anything. It's hilarious. Now, let me ask you guys this. Could you imagine buying a home, a big home, a big victorian home, like the one that's in this on the east coast? [01:06:25] Speaker C: Oh, yeah. [01:06:25] Speaker A: For 70 grand. [01:06:26] Speaker C: Burden of home ownership. [01:06:28] Speaker A: Yeah. [01:06:29] Speaker B: Yeah. [01:06:30] Speaker A: Like that. [01:06:31] Speaker C: All she got was a fucking house. [01:06:34] Speaker A: Yeah. [01:06:34] Speaker B: The oldest house on the block with the best build. Beautifully. Yeah. Yeah. I agree. I was. I was like, man, that. It's like, that shows maybe it was a period thing. Maybe it was just a poor writing thing, but definitely, it's like, in today's market, you'd have been like, hell, yeah. You. [01:06:50] Speaker A: Millions of dollars now. And I gotta say, uncle Vincent needs to learn about the slow play. Right? This guy is a little too. A little too forward. [01:07:02] Speaker C: I know. I love that actor. I. Anytime he's been in stuff, I've always enjoyed him. I don't know his name. [01:07:08] Speaker A: Yeah. W. Morgan shepherd. He's been in, like, I think his. It's like over 500 credits or something. It's crazy. He's been in so much stuff. [01:07:16] Speaker C: He's, like, in, like, half of them. He's like a. Like a priest or something. I feel like he's either a bad guy or a priest. It's one of the other and real part. Those are the same thing. [01:07:26] Speaker A: Yes, they are. Part was written for Vincent Price, but unfortunately, he couldn't do it. [01:07:37] Speaker C: Oh, wow. [01:07:38] Speaker A: So, yeah, was this. [01:07:40] Speaker C: Was his health just bad enough at that point? [01:07:42] Speaker A: I don't know. Elvira doesn't, again, I'm pulling a lot of this information from her memoir. [01:07:50] Speaker C: Yeah, probably. [01:07:53] Speaker A: Well, yeah, there's. There's other points of view and other information out there, but for whatever reason, they couldn't get him. It could been health could. [01:08:01] Speaker B: It's better without. It's better without, I think because I was great. [01:08:06] Speaker C: Yeah. [01:08:07] Speaker A: Again, another un underutilized. Like, all the actors are underutilized. And, you know, Peterson will say that the studio made them add all the teen kids because, you know, teens won't go see the movie unless there's teens in it. So she blames some of the failings and character development on the fact that they had to shove in these teen characters. Take that. [01:08:34] Speaker C: Which goes to my theorem on the film. But you'll hear about that later. [01:08:43] Speaker A: So you guys ever get pulled by the ears? [01:08:50] Speaker C: I don't remember ever being. Having experience, Mickey, for sure. [01:08:54] Speaker A: Yeah. Texas, boy. [01:08:56] Speaker B: Oh, yeah. Yeah. In Texas, it's like the. It's like a. It's like a thing. Teachers, principals, priests, teachers are pulling you. [01:09:05] Speaker A: By, like, man, that'd be assault now. [01:09:08] Speaker B: Yeah. No, but I mean, honestly, it's like corporal punishment, man. Texas is all about it. [01:09:14] Speaker C: Mm hmm. [01:09:15] Speaker A: Does it hurt? [01:09:17] Speaker B: Sure. Yeah. When you get pulled so hard by your ear that you. Your whole body moves. Yeah. It's like you feel like it's getting ripped off. [01:09:27] Speaker A: Well, it's. It only takes, so. It only takes. When I was a teen, I learned it only takes five pounds of pressure to rip off the human ear. So with my brothers, when we would be fucking fighting and shit, I'd be like, one pound. I'd be pulling on the ear. Be one pound, two pounds. Not knowing how hard I was pulling. Thank God I didn't rip off any of their ears. Jesus Christ. Yeah, it's painful. I like, we got Chekhov's army supply store. When she decides that, I guess she's gonna work a hourly wage in order to raise the money for Vegas. [01:10:04] Speaker C: And then she's montage it is. [01:10:07] Speaker A: I think it's. It's really set up on the phone calls. [01:10:10] Speaker C: Like. Yeah, it's odd. Yeah. [01:10:16] Speaker A: It's like, okay, let's. Let's move forward. They're talking about stuff. She's trying to figure this out. And then we got the good. We got, you know, Bob shows, he's got the theater. We got the fuck thing. The matinee joke with two e's. It's funny. And then she gets the idea to host the movies. Right. Which I think is a great idea. I love this idea. And then the teens sneak out of their house. Have you guys ever had to sneak out of your house? [01:10:52] Speaker B: Oh, yeah. [01:10:55] Speaker C: No. Because the way the childhood house was and the way my dad was. It would have been very known. He was an incredibly light sleeper. Go out and do something and make up an excuse as to why you can't come back and then just stay like I did. Yeah, that was the same. [01:11:17] Speaker A: Same with me. Chris. It was impossible. It was impossible for me to get away with anything in my house. Like, I. There was one night I was gonna go over to a friend's. I had a vhs porn, right? And I had it, like, I had these, like, what? I don't know what they're called, but it's. It's like a curtain thing, but it's short, and it's just at the top of the window, whatever that thing is, right? And it's usually stuffed with stuff. So I used to hide stuff in there, inside this. The lining of this. This, like, curtain dressing thing. And I'm like, I'm getting ready to go over to my buddy's house. We're gonna watch this porn, and I'm going up there to pull it out of the curtain, and my dad's like, comes into the bedroom, and he's like, what are you doing? And I was like, oh, no, I'm just making sure the curtains straight. Just, you know, he's like. And he caught me, you know, and he got the porn, and I had to show up empty handed to sleepover. I talked a big game about the porn I had and had to show up empty handed. Mickey, did you ever sneak out of the house? [01:12:20] Speaker B: Yeah. No. And when I was in, I guess it was 9th grade, we got our first, like, so much so for the listener at the point that I hit 9th grade was the first time that I was a only child because my older brothers had all graduated, moved out, my sister moved out, and so it was just me and my parents, and they were used to having, you know, multiple bedrooms. So they, you know, our house that we had had multiple bedrooms and had, like, the kids bathroom, and it was now just my bathroom. And I had a window at the very, like, top, like, towards the ceiling that was big enough a human body could fit out of it, but it forced you to have to, like, stack things up to climb up to the top and get out. And my friend Brian, who was kind of my. He was like, the buddy who always got me in trouble, but he was at my house one night, and he was like, dude, we should sneak out and go to your, like, one of the neighbors girls was older than us, and she was like, always like, yeah, if you guys want to come over, just come over. [01:13:14] Speaker A: Holy shit. [01:13:15] Speaker B: 10:00 you're in. So he was like, we got to go, man. So it was like 11:00 at night. My parents are in bed the other room, and Brian's like, we got to go. So we're shoving each other out this top window. And, like, as we're falling onto the ground on the outside, you know, we're falling from like, I don't know, 6ft, I don't know how tall, but it was tall enough that you were like, you were taking a pretty hard hit on the ground. And then we were like, pulling each other, like, you know, the one first person pushes that person out the window and the other person's, like, trying to pull that person out the window. Probably making noise my parents heard. I don't know. [01:13:45] Speaker C: I was gonna say, right? [01:13:46] Speaker B: Yeah. But we got out and then getting back in. We never considered getting back in because. [01:13:50] Speaker A: Now the foundation's a bit higher and. [01:13:52] Speaker B: You walk back and you're like, holy shit. It's like only one of us are getting back in because only one of us can help the other person in. So it was a situation where Brian threw, like, I climbed on his back and, like, jumped myself in. Like, ripped my, like, I probably cut my stomach up trying to go through that little window. And then I did this thing where I walked to my parents, like, hey, mom, hey, dad, there's something going. I got it. There's something going on outside of hall. I'm gonna check it. And I'd open the door and I'd go outside and that would be his chance, like, sneak back in. And then I would shut the door back because it wasn't long. [01:14:22] Speaker C: It was. [01:14:24] Speaker B: They heard you. [01:14:25] Speaker A: They heard you fall out the window. [01:14:28] Speaker B: Something going on outside. You guys. You guys are outside. But it wasn't shortly after my dad's. [01:14:33] Speaker C: In your hair and there's a whole bunch of blood on your shirt. [01:14:39] Speaker A: Fully closed. [01:14:40] Speaker B: Yeah. And so Brian comes again, and I don't know if it was like the next day or it was. It was soon after that. My dad said, just so you know, I put an alarm system around our house. And I was like, man, yeah, which. Which also, from that point on, I was busted a couple times with the alarm system. So I actually had a gun pulled on me because that alarm system very. [01:15:08] Speaker A: Dad. [01:15:09] Speaker C: Oh, did your dad pull a gun on you? My dad pulled me. [01:15:12] Speaker A: Oh, you guys. [01:15:13] Speaker B: Your dad pulled a gun on you? [01:15:15] Speaker C: Well, okay. [01:15:19] Speaker A: Chris wanted to take off leftovers when he moved out of the house. His dad was like, no fucking way. [01:15:29] Speaker B: Not happening. [01:15:31] Speaker C: I was it was after my sophomore year of high school. It was kind of similar, right? Like, you know, like, we did. Like, my group of friends decided, like, what if we just, like, go out all night and just go, like, smoke weed and drink all night, like, out and about in the world, like, no plans, so made an excuse, right? And of course, like, you know, 03:00 a.m. Hits or whatever. And you're like, I just want to go to bed, or 04:00 a.m. Or whatever it is. So I go home, and of course, like, my dad's not expecting me. My, like, you know, NRA, several gun owning dad who lives in suburbs in which there's never been any crime. So I opened the door. Garage. So it's like, split level house, you know, garage in the bottom floor. So I open the garage. [01:16:15] Speaker B: Kansas City, split level. [01:16:16] Speaker C: Yeah, absolutely. Go in the garage. Go in the landing. And so it's like, you know, like, the landings on the bottom floor, top levels there. And my. I start to go up the stairs, and I hear my dad go, freeze in a click. And I go, no, dad, it's me. He goes, Jesus Christ. Jesus Christ, I almost died. [01:16:47] Speaker A: Yes. The answer is yes. So, yeah, your dad almost jizzed his pants blowing off your fucking head. [01:17:02] Speaker C: I said, dad, it's me. And I could hear a little further. [01:17:08] Speaker A: Because it's a double barrel. It's like, ah, your mom will be really mad at me if I do this. If it wasn't for your mother, I'd blow your fucking head off. Diving into Chris's relationship with his father a little bit. We'll elaborate on that in further episodes. [01:17:33] Speaker B: This is what Elvira brings up. [01:17:36] Speaker A: I like the idea that she's doing, like, the riff track sort of thing, but I. Again, I think it's kind of undershot and under. It's a. It's a. It's a good concept. That's. That I would like to have seen circled back with the ending, and I'll talk about that once we get to the ending. But I do love the flash circle that. [01:17:58] Speaker C: I mean, I guess we'll get to it, but how would you circle that back? [01:18:02] Speaker A: Okay, I'll explain. Flash. [01:18:04] Speaker B: A flash dance. Shout out to Pittsburgh. [01:18:07] Speaker A: Yeah, shout out to Pittsburgh. [01:18:09] Speaker C: Shout out to the amazing edits that really show her dance skills. [01:18:13] Speaker A: Yeah, it's definitely her. The whole time, it's obvious that it's her. I do like the story behind the dumping of the paint on her. It was up way too high, and it was a lot of liquid. It was a washable paint, right? Well, I mean, it's supposed to be tar, but it's turns like. It's like a washable paint in reality, right. That Cassandra Peterson pulls the bucket and this, like, washable paint comes down on her. That's supposed to be the tar. And they put it up way too high and it was a lot of liquid. So when it came fucking down, gravity did its thing. Like, almost knocked her out and fucking, like, broke her neck almost in. Like, she was just. She says, like, I was like, like black paint was coming out of my nose and my ears and my eyes for, like, weeks after. And I don't know, you guys. Have you guys ever worked on anything where you got something dumped on? You. [01:19:15] Speaker C: Have been a star of many films, like. [01:19:21] Speaker B: Cleveland Steamers. [01:19:27] Speaker A: Chris is a bear. Yeah. [01:19:28] Speaker B: You can't see that in a bukkake film. Dumped on him? No, I don't think I've had anything like that done to me. [01:19:39] Speaker A: Are that stuff dumped on me? [01:19:43] Speaker B: Please share. Please share. You can't just say that. [01:19:47] Speaker C: How is the dressing room at the gym going? [01:19:49] Speaker A: It's glad that you called it a dressing room. Thank you. So many people don't refer as a dressing room because that's what it is, you know, it's also the green room. Yeah, the saddle green room. Really sweat it out. I've done a lot of weird things as an actor. I've been like a. I was doing a play and I would have. There was a, like, a bucket of water that needed to be dumped on me and always got a big laugh. Anyways, it's not that interesting. I guess I was. I've been covered in blood. I've been. I've been all sorts of liquids. What's saturated in them. [01:20:32] Speaker C: What level of, like, what level of, like, fake blood was it? Like, are we talking, like, karo syrup. [01:20:37] Speaker A: With, like, we're talking about syrup with food dye. Like traveling, like, like, like traveling home in Chicago on a winter night on the train, covered in fake blood and, like, having to stand under the shower, hot shower for, like, an hour for it to get off of you. Like, and then. And then hearing from the director. Um, it was so cold outside that the camera didn't actually capture anything. Uh, could you come back and do it again? And me telling him, no, I'm not. I'm not doing that again. [01:21:14] Speaker C: Um, amateurs. [01:21:17] Speaker A: Amateurs. [01:21:18] Speaker C: Ever gone to, like, to, like, a film in which, like, someone's trying to do, like, live, like, riffing? [01:21:24] Speaker A: Oh, no. [01:21:25] Speaker C: I mean, you have. Was it good? Yeah, I went to one once, and it was terrible. Like, did the one that you go to was a good. [01:21:33] Speaker A: Was it in Pittsburgh make. [01:21:34] Speaker B: Where they're doing, like, the live, like. Like, spewing of stuff on people. Yeah, yeah. [01:21:39] Speaker C: Like comedy. Live jokes about stuff. [01:21:42] Speaker A: No commentary. Live commentary is what Chris is saying. [01:21:45] Speaker C: MST, three k riff tracks. Kind of, like, you know. [01:21:48] Speaker B: Oh, no, no. [01:21:48] Speaker C: She's doing. [01:21:49] Speaker B: No, I'm sorry. I'm sorry. No, no, you. [01:21:51] Speaker A: You. But you went to a shoot stuff on you. [01:21:56] Speaker B: Well, I was in a play where they splattered the audience. [01:21:58] Speaker A: Okay. Okay. [01:22:00] Speaker C: Oh, yeah. That's Gallagher's Romeo and Juliet. [01:22:03] Speaker A: Yeah. [01:22:03] Speaker C: Here was good. [01:22:04] Speaker B: Yeah, that. [01:22:04] Speaker A: That's it. [01:22:05] Speaker B: No, it was rules of seconds. And, like, the closing scene. I don't want to spoil rules of seconds, but I'm gonna spoil it. But. But the audience in the front row should have a, like, some kind of, like, splash guard. [01:22:16] Speaker A: Nice, Chris. [01:22:19] Speaker C: No, I went to a drive in once in Lawrence, Kansas, and they were doing, I think it was teenagers from Mars, so it was like a classic. Like, fifties bad. Like, black and white Sci-Fi yeah. [01:22:31] Speaker A: Elvira. An Elvira movie. [01:22:34] Speaker C: Yeah. Oh, yeah, absolutely. And, like, they were trying, like, there was trying to do, like, you know, live. God, like, live jokes, and so it was really bad. It's like, it's a hard spot to be in. So, like, you know, it's like, you can't get too mad at him or anything. But I was like, this is cringy. [01:22:49] Speaker A: You have to be either riff tracks really good. [01:22:54] Speaker C: Yeah. [01:22:54] Speaker A: And. Or, like, you got to write out that script beforehand, you know? [01:22:59] Speaker C: Mm hmm. [01:23:00] Speaker A: And then work. Work off of it. [01:23:01] Speaker C: Several viewings, several. Several joke versions to get it right. [01:23:06] Speaker A: Yeah. So she goes back to her house with the teens and with Bob. Do you remember? Do you guys remember? I love the sequence where they have the tv on and, like, that. The tv is off. It goes off. It does the sort of, like, America thing, and then, like, remember that? It's, like, such a special time where it was like, there's no more tv. You have to. [01:23:36] Speaker B: There's go to content. [01:23:38] Speaker A: Read a book. You have to do something else. There's just static on the television. [01:23:43] Speaker B: The content is done. [01:23:44] Speaker A: Yeah, I think there's a go ahead. [01:23:48] Speaker C: I was just gonna say there's some great twitter threads out there that's, like, a whole bunch of montages of, like, regional, like, network channels, like, their end of day. Like, it's awesome. Yeah. It's like, you know, like, the, like, ABC affiliate in, like, you know, Tennessee. They're like, end of night thing. It's like the hulk. Like, cast. Like, you know, like Bill Jenkins did, or it had be like, hey. Like, waving, you know, that type of thing. [01:24:13] Speaker A: Yeah, I like that. This is like. Like fucking fighter jets soaring through the sky. It's always like. In my experience, it's always been like, the american flag is something America centric. We're signing off. [01:24:27] Speaker B: Djangoistic. Yeah, like, oh, gotta be django. [01:24:31] Speaker A: Unchained. All of it. [01:24:32] Speaker C: Yeah, I mean, your. Your late night viewers are more likely to be communists unless if you hit them with the american fighter jets. [01:24:42] Speaker A: Ah, fuck, yeah. America's fucking awesome. [01:24:45] Speaker C: Oh, that's right. Yeah. [01:24:47] Speaker A: I love, like, this is a funny bit. I love the. The spell cooking bit with the. The. A draca casserole, which you can actually find recipes for. People have created recipes for this, really, for you to make around Halloween, which I think is great. This is one of, like, one of my favorite lines in this movie is when, after she makes it, she comes out and she says, it's soup. Instead of soups up, she says, it's soup. That is fucking. Fucking hilarious line she has. She has a lot of these lines. Some of them land, some of them don't. For me, it's soup fucking lands. I had to pause the movie. I was laughing so hard. I loved it. [01:25:45] Speaker C: I think it's funny because, like, it's got to be like, what? Like, 05:00 a.m. When this is happening. You know? [01:25:52] Speaker A: It doesn't. Like. It doesn't quite make sense. [01:25:54] Speaker B: Yeah, yeah, yeah. [01:25:55] Speaker A: It's like, I guess they're having a late night snack, and she's gonna cook and, like, what's Bob doing this whole time? You know what I mean? [01:26:02] Speaker C: Yeah, yeah. [01:26:07] Speaker A: Way to grind it all to a halt, Chris, with that comment. Jesus Christ. [01:26:12] Speaker B: Twice. [01:26:13] Speaker A: Twice you've done it. They go up in the attic, baby. Elvira, that's. That's disturbing and funny. Kind of love that. Remember when Rottweilers used to be, like, the evil dogs and stuff? [01:26:36] Speaker B: The scary dog. [01:26:37] Speaker A: The scary dog. Right, right. I love that. The gonk. Gonk. We've. We haven't talked about gonk yet. I love gonk. [01:26:45] Speaker B: Yeah. [01:26:45] Speaker A: I love that he's a familiar. I love that he shift shape shifts. The poodle was a pain in the ass, apparently, to work with Benny. [01:26:53] Speaker C: Well, no shit. It's wearing all sorts of dumb stuff, and they kind of like a weird haircut on it. Of course it was. [01:26:59] Speaker A: Apparently, it's scart fuller. [01:27:02] Speaker C: Yeah. No, wait, wait. What? [01:27:07] Speaker A: It scarred like, literally, like. Like, I, like, bit his leg and, like, scarred him for his life. You know what I mean? Like, these injuries were substantial, but it scarred him. [01:27:20] Speaker C: Does the dog attack him in the scene in which he's gonna, like, try to have sex with Elvira? [01:27:26] Speaker B: I. [01:27:26] Speaker C: Or did it just happen? [01:27:28] Speaker A: I think it, like, is part of what's happening. It doesn't necessarily attack him, but I think maybe the dog got, like, agitated and attacked him. It was apparently, Cassandra Peterson says it was a huge pain in the ass to work with. You know, it was. It was a diva, essentially, and it liked only its trainer and no one else. Yeah, I gotta say, I hate people who jam their filthy fucking fingers into food. And when fucking chastity pariah jams her finger into the. When Elvira makes the casserole again to get back at the town and ends up making, like, a sex potion instead. Hamburger helper. Sex potions. [01:28:17] Speaker B: Bell on you. [01:28:18] Speaker C: That makes, like. But, like, would you stick. How would you stick your finger in, like, why would that happen? [01:28:24] Speaker A: I know. It's disgusting. [01:28:26] Speaker C: I'm six or 15. I went to many church potlucks as a kid. Who would do that? Kind of a heathen would do that. [01:28:32] Speaker A: I was at a thanksgiving once, and it was not great. And all the food was essentially just being heated up in an oven, and someone was like, yeah. Checking the temperature of everything by sticking their finger in everything. And I was just like, what the fuck is happening? You know? And this is, like, post COVID, you know what I mean? It's like insanity to me. [01:28:57] Speaker C: What? [01:28:58] Speaker A: Yeah. [01:28:59] Speaker C: Yeah, that's nuts. [01:29:01] Speaker A: Yeah, I don't like fingers and things. [01:29:04] Speaker B: I will say that that potluck scene to me also was, like, a great match cut to hocus pocus. I feel like. [01:29:15] Speaker A: Yeah, I feel like. [01:29:16] Speaker B: I feel like hocus pocus. What I imagine happened is what happens at their potluck. [01:29:20] Speaker C: Oh, that's a great call. This is like the sibling of the dance hall sequence. And, yeah. [01:29:26] Speaker B: It just breaks out into a massive orgy. Everybody's, like, in their underwear. [01:29:31] Speaker C: Yeah. [01:29:32] Speaker B: You know, looking for, as we all. [01:29:34] Speaker A: Know, in hocus pocus. It's an orgy that happens. That's how I remember it. [01:29:39] Speaker B: Listen, it. Go back and rewatch. You. Go back and rewatch it. [01:29:43] Speaker C: I do. I will say for that church pollock, I want that. That cake or pie that's just covered in pills. [01:29:51] Speaker B: It's tic tacs. [01:29:52] Speaker A: It's the tic tac thing. [01:29:54] Speaker C: Oh, it was. [01:29:57] Speaker A: It was her famous TikTok, like an old lady that's a funnier joke, Chris, but, no, it's. It's a tic tac. It's a tic tac thing. And I always. Do you guys remember it this way? I always remember, for some reason, while I'm watching this, I've seen it, like, six times. I always think that, like, oh, she does the. She makes the casserole. It makes them all horny. And then the town gets behind her, and it's like, oh, no. They become even more angry at double. [01:30:30] Speaker B: Down because they, like. Yeah, because they were. They were tricked into. Into being immoral. [01:30:36] Speaker A: I love fucking Edie McClure. Like, is. I can't remember her line, but she sits on the guy's face. It's like, is this seat taken? [01:30:47] Speaker C: Yeah. [01:30:48] Speaker B: Is this seatanking? God, I love it. [01:30:50] Speaker A: I was like. I was watching this. I was watching this. My partner, Ally, I'm like, boobs are awesome. And, like, you know, sit on my face anytime you want, babe. I love you. It's not taken. Seats not taken. Seats for. [01:31:04] Speaker B: You see my face. [01:31:05] Speaker C: Taken, not taken. [01:31:08] Speaker B: Yeah. You say it like Ginny from force Gump. Seats not taking. [01:31:15] Speaker C: But you gotta reassure. You gotta reassure ally that you don't have AIDS, though. Is the only cash to that, for sure. [01:31:23] Speaker A: Is it AIDS? It's not specified. Could be a brain tumor. Oh, yeah. [01:31:28] Speaker C: It is. Right? [01:31:30] Speaker A: No, that's. It's justified. It's not specified. It's not specified that it's AIDS. [01:31:36] Speaker B: I mean, they allude very heavily to the fact that she's. [01:31:40] Speaker A: But okay, we're not talking about Forrest Gump. We're talking about Elvira. [01:31:44] Speaker B: Okay. Brings out in all of us. It's like, you can tie many movies back to this film. This was the predecessor to many ideas. [01:31:52] Speaker A: It really fucks up. Go ahead. Go ahead, Chris. [01:31:56] Speaker C: Oh, no, please, go ahead. I was just gonna say I like the, like, old VFW jazz band that just decided to kick in action. We gotta get to playing. Boy. [01:32:08] Speaker B: They get, like, jazzy with it. I love that. I think the spell must have been. It brings out your most, like, carnal desires. And, like, for those old timers, they're like, my most Carl desires to wail right now. [01:32:23] Speaker A: Fucking play some jazz. [01:32:24] Speaker C: That's a good point, because it's really only women that get super horned up there. Outside of Kurt Fuller, he's the one possibly fucking husbands are like, I'm just high and having a good time. [01:32:38] Speaker A: Kurt Fuller maybe fucks a sheep is what we're led to believe later. Now, Uncle Vincent, he lowballs this is what I don't get. Uncle Vincent low balls her for the second time on the book. He's like, I'll give you dollar 500. [01:32:56] Speaker C: Yeah. [01:32:57] Speaker A: And it's like, dude, just like, fucking at this point, just like, give her an offer she can't refuse. You know what I mean? Like, buy the house. Agree to buy the house at the beginning, you know? I get it. Like, it's like, he can't because we got to have the movie, but, like, you know. [01:33:17] Speaker C: Well, I think that, like, it begs a good question, though, right? Of like. [01:33:26] Speaker A: What? [01:33:27] Speaker C: Like, I don't know, like, the whole, like, she needs to fund her show in Vegas, 50 grand. But, like. But, like, how successful is self funded shows in Vegas if you can't even have any? So, you know what I mean? [01:33:43] Speaker A: You're like. You're thinking too much about it, Chris. Fine, don't think. Don't think too much about it. [01:33:50] Speaker B: I think it's that she just. I think the idea is that if she is allowed to stage big enough. [01:33:56] Speaker A: Defend to go ahead. [01:34:00] Speaker B: I want to hear nobody believes in her, so she's gonna stage big enough. She believes in herself enough that she's going to make the money back, but nobody else believes in her because she's. She's a woman, and they only see her own face value. Yeah, you're a pair of. You're a pair of tits. And she believes in herself that she will bring in the audience if you give her the stage big enough, but nobody else does. She's going to do this for herself. And at the end, we have to say, she's right. Her show kills. [01:34:32] Speaker A: I was gonna say that. [01:34:33] Speaker B: I'm gonna save it. [01:34:34] Speaker A: Save it. Thank you for. Thank you for defending her. [01:34:38] Speaker B: I do think that Cardi B and. And Megan thee stallion could look back and say that that was their moment. That was like, yes, women can rap. We can do this and be sexual. And she influenced wap. Okay. [01:34:54] Speaker C: Also, too, not a more progressive and non sexist place in the world than Las Vegas, Nevada. [01:35:00] Speaker A: Yeah, no issues there. So she gets arrested. She's. She's gonna get fucking burned at the stake. This is quite a jump from the community the same day. Jesus, I love that the teenagers, like, try to rescue her and, like, that's a funny joke. They like, they're great. [01:35:29] Speaker C: And the sheriff guy who gets the line of like, well, that worked itself out, like, that's. That's fantastic. I like that. [01:35:34] Speaker A: I like that, Bob. [01:35:35] Speaker C: I think it's like, yeah, absolutely. [01:35:40] Speaker A: Go ahead, Chris. [01:35:40] Speaker C: I was just like, this film was, like, so, like, slowly developing, and then this last, like, 30 minutes. [01:35:47] Speaker A: It's pretty nice. [01:35:48] Speaker C: So compressed. Yeah, it's so, like, you know, like. It's just so funny. [01:35:53] Speaker A: Well, this is where we finally get some, like, horror elements, right? Outside of. Outside of the monster. Yeah. In the chassis. Right? We get these, um, sort of Vincent Price Gothic horror film. Um, nods, um, genuinely. Again, laughed my ass off when she, um. Like, she's like, oh, yeah, the ring, the. The amulet. Like, I have the power. And she, like, goes to, like, flies off her hands on his finger. That's pretty funny. That's pretty funny. [01:36:32] Speaker C: That's good. [01:36:33] Speaker A: Her boobs break the chains in the graveyard. That's good stuff. [01:36:38] Speaker B: I love it. [01:36:39] Speaker A: Got some good lines there. That's fun. And you know her. Like, he sets the house on fire. I think it's. It's always thrilling to see actual fire in films, isn't it? Like, shits on fire. [01:36:54] Speaker B: Yeah, absolutely. [01:36:56] Speaker A: Don't you yep me, you son of a bit. [01:36:59] Speaker B: No. Practical. Always works. We said. We said this a million times. [01:37:03] Speaker C: Well, real quick, you're kind of hopping past a little bit. A couple things. One, I mean, we kind of allude to it, but, like, I love the weird, like, unnecessary Rambo thing that she does. [01:37:13] Speaker A: Check, check on, like, army surplus store. [01:37:15] Speaker C: Yeah, well, and like, he says, the thing of, like, did you really think that would work? And she was like, no, I like that. Like, I like that. Like, you know, just self admission. [01:37:24] Speaker A: It's almost. It's almost kind of like a weird al gag, right? [01:37:29] Speaker C: Oh, exactly. I had so many moments in this film. I was like, this is very. Uhf, reminiscent to me, I think. [01:37:36] Speaker A: I think they needed weird al working on this. I think they needed. They needed Joe Dante or weird al or somebody like, whip snap to it. You know what I mean? [01:37:49] Speaker C: Yeah, real quick. Like, I mean, with the premise of the film and obviously not gonna think too deep into it, but, like, uncle Vincent, like, his whole thing is to get this power, but, like, what's he gonna do with it? He's turning into some sort of weird, like, demon creature. [01:38:07] Speaker B: Just be evil. [01:38:08] Speaker A: Just be evil. [01:38:09] Speaker B: We'll have all your power. [01:38:10] Speaker A: Too much. [01:38:10] Speaker B: The most powerful person in the world, too. [01:38:13] Speaker A: At least in this town in Maine. [01:38:19] Speaker C: Massachusetts, right? [01:38:22] Speaker A: Massachusetts, is it? Massachusetts? I'm sorry, he's gonna. This way, like, no one can make fun of, you know, his. Whatever. I don't fucking know, man. I don't know. He's just wants to be evil. He's just an evil guy. [01:38:47] Speaker C: Just wants to be your thinking too much, Chris. [01:38:49] Speaker A: You're a fucking asshole. You're a toxic man. [01:38:56] Speaker C: I think it'll all make sense whenever we can finally get to the time for me to break out my theorem on the film. [01:39:02] Speaker A: Yeah, you're gonna, don't worry fucking for now, bust the seams on the podcast. [01:39:08] Speaker C: I also love the fact that they gotta get one extra, like Jeff Conway trying to, like, rape Elvira in the middle of all the chaos in her house. [01:39:15] Speaker B: Yeah. [01:39:16] Speaker A: Yep. [01:39:17] Speaker C: It's like, no better. [01:39:18] Speaker A: And it's like, oh, yeah, he's in the movie. Oh, okay. Yes, he's gone now, you know. Again. [01:39:27] Speaker C: Yeah. [01:39:27] Speaker A: Individual scene. That's. That's nice. And it looks good, and it shot well in the kitchen's cool, but it's like, how does this. How. What are we saying? What are we saying? Right? And then the power was in her all along, but then it's not in her anymore. [01:39:47] Speaker C: Yeah. It was just for that moment of the fight and that now it's gone. [01:39:52] Speaker A: And. And then the townspeople, ah, we feel bad. We feel bad because the movie has to end now, so. But we're all happy for you, and we're your friends now. But the mechanic, that's fucked up. The mechanics fucked up. He's like the car, right? He's like, we can work. We can work something out. And it's like, that's not addressed. That's not addressed. Yeah, I was a little disappointed. I was. I was severely disappointed by that because it's like the whole time she's always fighting those types of people. But like, I guess cuz he's an old man, it's. It's like he can't get a boner anyway, so don't worry about it. I don't know. It was, it was like, it was like, it was a joke that didn't fit in with, with like the tone of everything else, in my opinion. You know, because it could be one thing if it's like, oh, she didn't catch it, cuz she's dumb or something, but that's not it. You know? I don't know, but yeah, agree. So she gets the money. She does the show. Chris's favorite part of the show is the rap. [01:41:14] Speaker B: Great. [01:41:17] Speaker A: The tassels are pretty fucking cool. [01:41:19] Speaker B: Are incredible. The tassel work is incredible in this film. [01:41:25] Speaker C: Okay. I don't know. [01:41:27] Speaker B: It is. It's good tassel work. That's not. Hey, you go do tassels, Chris. [01:41:31] Speaker C: I don't know what. What is bad or good tassel? [01:41:34] Speaker A: I can. We'll see, I can do that with my penis. [01:41:39] Speaker C: Oh, really? [01:41:40] Speaker A: Yeah. [01:41:40] Speaker C: What about your first penis is spinning? [01:41:46] Speaker A: I can. With the peg that's in my butthole. Yes. [01:41:49] Speaker B: Yeah. I would like. I would like to see your. Your two testicles do that. That kind of tassel work. [01:41:54] Speaker A: You got it, dude. Off camera. [01:41:58] Speaker C: You got it, dude. [01:42:03] Speaker A: See this? This is, like, so, okay. She gets her show in Vegas, and I would have preferred if she had, like, become a part of the community. And, like, this show happens at the movie theater, and she becomes a fixture of the community, and it brings in tourism, and she becomes famous, and, like, helps the town, and the town helps her. And, like, this happens at the theater she was performing at earlier at Bob's theater. I like, I just. And, like, if everyone in the, like, you see all the characters in the crowd and they maybe do, like, you know, sometimes, like, in predator, they do the, like, credit montage right at the end. It's like. But it's like everyone's in the theater watching the show, and the whole town's there, and, like, you know, she's like, she got her dream, but she, like, compromised on it because, like, her place was here all along. In her rebuilding her family home and becoming a part of that community, she helps them, and they helped her. [01:43:07] Speaker B: All she needed was to find that nice white community of morally correct people to find her way home. No, that's not. That's a terrible. [01:43:19] Speaker A: Hey, you're putting words in my mouth right now, and that's not. What I'm saying is she changes. [01:43:23] Speaker B: I don't think that. [01:43:24] Speaker A: And they change her and go to. [01:43:27] Speaker C: Vegas and steal black culture. [01:43:29] Speaker A: Yes, she does. She does. Thank you, Chris. [01:43:32] Speaker C: That's what we're saying. [01:43:34] Speaker B: What I'm saying is that's what Mickey is. Her goal in the beginning was to get to Vegas because she's two, she's a big fish in a small pond, and she needs to, you know, spread her wings, and she ends up in this small town, and it almost derails her plans, but instead, it helps catapult her. She's the story of every young kid growing up in a small town that tries to put you in a box, and you have to get out of that box. And, yeah, she could have stayed in that box, but she still put, persevered and got herself to her ultimate goal. Elvira wins at the end of the movie. [01:44:09] Speaker A: Hold on, hold on, hold on. Mickey, isn't your life ultimately more fulfilling and interesting, winding up where you wound up not planning it? You know what I mean? Aren't you much happier, like, living in the town that you're in in Pittsburgh with the family that you have, as opposed to being, like, a world famous New York based actor who would have been miserable and lonely to some extent. [01:44:38] Speaker B: Yeah, because my pursuits were different than Elira's pursuits, but I am here where I am because of my pursuits. It's like, it wasn't like I had agency in the decision to make it here. The story would be similar if I had stayed in Jonesboro, that small town, and said, this is enough, but it wasn't enough. I still wanted to be somewhere else, doing something different. So I think that, you know, hey. [01:45:01] Speaker A: Man, I'm just asking that I'm done more. Completely disregard my. What I said. That's all. [01:45:07] Speaker B: I'm not disregarding your opinion. I'm saying that, for me, that would have played as a weaker ending for me. For me. [01:45:12] Speaker A: Okay. [01:45:13] Speaker B: Played better for you, but for me, it would have been kind of a sellout. [01:45:18] Speaker C: Okay. Wouldn't like. But it wouldn't. Her saying in the town and, like, causing, excuse me, causing, like, progressive, like, progression in the town, they'll be more rewarding than just going to be, like, one of any failed shows in Vegas. [01:45:33] Speaker A: That's what I'm. [01:45:34] Speaker B: You're assuming that her show failed. I'm saying that she becomes also failing. [01:45:37] Speaker C: Vegas. [01:45:38] Speaker A: Vegas. [01:45:39] Speaker B: I'm saying she becomes a hit in Vegas. She sets herself up for a lifetime of success, and she finds people more like herself and not the scourge of Vegas, but I mean, just like wayward wanderers, she becomes cities often reformed. [01:45:56] Speaker C: Yakov Smirnoff is to Branson, Missouri. [01:45:59] Speaker A: There you go. [01:45:59] Speaker C: Sylvia is to Las Vegas. [01:46:02] Speaker B: Yep. [01:46:03] Speaker C: She stays there forever. She has a show that goes on. She's. [01:46:08] Speaker A: I kind of like a story where, like, the ending involves the cast of people and, like, they've, they've become progressive. They've taken on some new ideas that, like, the town becomes better as a result of her presence in it. And, like, I think that that's what. [01:46:23] Speaker B: I'm still becomes better. [01:46:28] Speaker C: Okay, I. [01:46:29] Speaker A: So, what's your shattering? [01:46:31] Speaker C: Bob's. Bob's voice change with the throat joke at the end? Did you guys. I hated that thing. [01:46:39] Speaker B: Yeah. [01:46:39] Speaker C: Yeah. [01:46:40] Speaker A: Actively hate it. Um, I just didn't think it was that great. [01:46:46] Speaker B: It's. Yeah, it's not good. Yeah, it's not. It. [01:46:50] Speaker A: What happens to his voice? I forget. No, but it's just the neck. Yeah, that's right. I'm like, that doesn't make sense. Is the whole time, the whole. It is distracting. It's distracting, cuz, like, why is he talking? Yeah, that's not what happened when you. When you put on a neck brace. Mm hmm. Neck brace. [01:47:17] Speaker B: Is so tight. Yeah. [01:47:22] Speaker A: So, Chris, what's your, uh, earth. Are we ready? [01:47:25] Speaker B: Yeah, we gotta hear it. We've been waiting this whole show. [01:47:27] Speaker C: You mean my. Your. I guess. I guess we're probably at that point. So I have. I have a hypothesis, a theorem for what's actually happening in this film. Elvira has been facing. [01:47:37] Speaker A: Hey, let's get to recommendations. Sorry, go ahead. [01:47:47] Speaker C: That's good. I mean, I would probably recommend this. No. So, okay. Elvira's been faced with failure. She's had to leave this tv show because the new owner was going to try to rape her. The Vegas thing was not gonna work out. He goes to this town is going to fall. [01:48:11] Speaker A: I'm sorry. The Vegas thing will work out. She just needs to pay, like, in. Invest 50 grand into it. [01:48:20] Speaker C: Right? Invest 50 grand when she has nothing at the time. Yeah, it's like, you know, that's like, that'd be like saying, like, hey, Michelangelo, you can have a show if you can come up with a hundred thousand dollars, but that's no problem. Right? You know what I mean? Like, especially modern money. So anyway, so she goes to this town. She's faced with failure. She isn't going to get the windfall that she expects, so she immediately starts disassociating. She imagines this brawny man and this blonde haired woman that's a bit of a rival that does not talk about Patty at all. [01:48:55] Speaker A: I can't believe we haven't talked about Patty. Yeah, well, Susan Kellerman, you realize Patty. [01:49:00] Speaker C: And Bob don't really, like, interact with anyone but Elvira in the film. [01:49:05] Speaker A: Yeah, that's a good point. [01:49:07] Speaker C: So these are fictional characters in her own mind. Meanwhile, she's a weirdo that's in this community that's trying to have sex with all the teenagers, clearly trying to be ran out of town by the parents. And she's imagining them as being these closed minded people to make herself the hero in her own mind. [01:49:24] Speaker A: That's a stretch, buddy. I mean, she's. She's nice to the teenager. She's not trying to fuck them. She's nice to. [01:49:29] Speaker C: Yeah, exactly. [01:49:31] Speaker A: Uses. She manipulates them a little bit to get her to get them to come to the theater, but, like. And she manipulates them to, like, fix up her house, but, like, she's not. [01:49:41] Speaker C: To hang out with children. [01:49:42] Speaker A: She's not promising to fuck them. Trust me. I look very closely because we're seeing her perspective. [01:49:49] Speaker B: Yeah, but, but if this had been like a movie where it's like on Golden Pond and the old people are trying to fix up their house and the kids show up in the neighborhood to help out, manipulated by their ageism, we wouldn't be judging it so hard. She doesn't have sex with any of these kids. She tells the kids that are spying on her. She's like, don't you have better things to do in this small town than look at me? She's like, she's, she's, you know, that's her speech to them in the, in the bowling alley is like, that is a great speech, you know, when she's manipulating them. Yeah. Any two, as long as they're simple. [01:50:25] Speaker A: I was, I was more than just a great pair of boobs. I was also a great set of legs. Just remember by two simple words. Any two, as long as they're simple. Yeah, it's just got great lines. [01:50:39] Speaker B: I'll tell them I never turned down a friend. I never turned on a stranger, for that matter, either. [01:50:44] Speaker A: I like the, oh, man, I must have done too much antacid in the sixties. It's funny. It's funny. And what's her, the hotel owner when they're having the town meeting. She was like, I was an innocent on liquor. [01:51:12] Speaker C: Yeah, that's a good sign. [01:51:14] Speaker A: That's a good line by, delivered by Pat Crawford Brown, who's been in a bunch of stuff. I love. Her and William do. Well, the owners of the hotel. They're fantastic. Yeah. I mean, you know, it's, oh, it's. [01:51:32] Speaker C: Frank Welker, by the way, at the end. Wait, who? [01:51:36] Speaker A: Frank Welker, famous voiceover comedian. He's done like thousands of cartoons and voices. Anyways, he was the voice of gonk in the, in the film. [01:51:47] Speaker C: Oh. [01:51:50] Speaker A: But, yeah. What were you saying, Chris, about the women? [01:51:53] Speaker C: Well, I was gonna say the women don't really, like, have a, have a turnaround. Like, Patty does apologize at the end, but then it's like a weird, like, I'm sorry I tried to set you on fire. Somebody. That's was just a joke. And like, in even like, the hotel couple, it's like she's still like a piece of shit, but then just takes the man to be like, shut up. [01:52:11] Speaker A: The old shut up woman. [01:52:12] Speaker C: Whatever it is, it's like, you know, it's like the women don't get like an active role in any sort of, like, you know, turnaround or realization or. [01:52:19] Speaker A: Anything, you know, yeah, it's no one's like, it's like, like, what's Elvira's arc? What does Elvira learn? How does she grow as a character? And I think the answer is she doesn't. Right? [01:52:42] Speaker C: Yeah. I mean, it's the whole thing. Like, it's main character. Like, you know, like, she's perfect as she is, and then there's no real development, you know? [01:52:50] Speaker B: Yeah, but agreed. [01:52:53] Speaker A: That said, I'm also kind of fine with it. [01:52:57] Speaker B: Yeah, me too. [01:52:58] Speaker C: Fletcher, I don't think you need to have growth or development that character. I don't think that's necessary. [01:53:04] Speaker A: It would be nice, though. I'm just saying it's an opportunity. I'm just saying, like, that's. That's my dis. My ultimate disappointment with the film, despite the fact that I still love it, is that I think there are opportunities to be saying something interesting and to be moving the story somewhere interesting. And, like, it's just kind of like. Yeah, it's jokes. It's jokes. [01:53:28] Speaker C: I mean, even. [01:53:29] Speaker A: Just, yeah, even, like blazing saddles, like a Mel Brooks movie. Like, there's an arc going on there. You know what I mean? [01:53:40] Speaker B: I will agree with you on. On that. On that? On that, yes. That. I wish that they had leaned in on some of the arcs that they were trying to. They brought, like, even just self discovery of the power is inside of you. [01:53:53] Speaker A: Yeah. [01:53:54] Speaker C: Yeah. [01:53:54] Speaker B: There's definitely a great moment for empowering women. No, you don't need anything else. You've always had it inside of you. [01:54:01] Speaker A: Right. [01:54:02] Speaker B: But they don't. They don't actually deliver it. They don't lean on it. They don't. They don't flesh that out. So I do agree with you on that. That that part is lacking in the film. [01:54:09] Speaker C: She never wore you down, Mickey. [01:54:12] Speaker A: She never meets, like, another. Like a fellow oddball or a fellow, like. You know what I mean? Like someone else who is ostracized by society. Right. [01:54:26] Speaker C: The hotel owner's daughter, granddaughter, whoever that person was. Could have been that. But that would be great. Doesn't happen. [01:54:33] Speaker A: Yeah. All the teens could have represented, by the way, one of them is in one of the nightmare on Elm street movies. But, like, the teens could have been representative of these different counterculture type things, but they're just. They're just generic teens. Right. It's just. It's. It's sad that, like, movie. It just could have had a little more substance to it and a little like, like, I think everything's in place. Everything. It. The movie looks good. It's a talented cast. There's talented people behind it, and I feel like they kind of, like, all underperform maybe in order just to have a good time while they're making it, and that's fine. And I still, again, I still. I still enjoy it. I love. I love Elvira. [01:55:22] Speaker B: For a movie, I will say, and this is the most you're gonna get out of me as far as agreeing with you guys. For a movie that paints in broad strokes, all right. [01:55:31] Speaker A: For a movie that paints these rods, I'm gonna stroke. You know what I'm saying? [01:55:41] Speaker B: No. But for a movie that paints in broad strokes, it doesn't go. It's like it has. It has themes that are broad enough that you could land, that they just water down and don't even touch on, even though presenting the idea. So I do feel like that's a failure of the film. Like, they had many opportunities to present. Yeah. To present bigger themes and ideas that. That are obviously written in there somewhere. But for a movie, that's, like I said, so broad. For me to have to pull that out of it is too much work, right? That's not, that's not a good. It's not well written. If I. If I have to, like, pull these things out of it and assume that that's what they're saying, but outside of that perfect film. Perfect film. [01:56:25] Speaker A: Ten out of ten. Um, do I have any given two of our days, I give them a three. Total recall. Boobs. [01:56:39] Speaker B: Nice. [01:56:41] Speaker A: Do we have anything else we want to say before we get to recommendations? [01:56:46] Speaker B: Hmm. [01:56:53] Speaker A: I guess not. [01:56:56] Speaker B: Yeah, let's know. Yeah. It's time to just grab a tool and start banging. [01:57:02] Speaker A: So, Chris, Chris, who do you recommend this to? At the video store? They're coming in outside of pubescent boys. Who do you recommend this to, by the way? I just. Mickey, what does your son think of Elvira? [01:57:27] Speaker C: Hmm. [01:57:29] Speaker B: I don't think we've ever talked about Elvira. I don't think he. I mean, I'm sure he's aware of her, but we've never had a conversation. I'll find out. [01:57:35] Speaker A: I can't believe you didn't talk to him about this before we did the podcast. That's crazy to me. I mean, like, I see the. Like, I think he would like Elvira. I mean, like, I see the anime stuff he likes, and it's like, those are giant breasted women in anime, so. [01:57:54] Speaker B: Sure, sure. I mean, I'm sure he knows who Elvira is, even. I mean, I'll. It's not that it's. That, you know, honestly, I've been traveling a lot, and I've had a lot of time to, like, you know, sit down and talk with him about a virus. [01:58:05] Speaker C: Have you set your son down and had the conversation with him about Elvira? [01:58:14] Speaker B: Dad? [01:58:14] Speaker C: I mean, would Elvira play very well to a modern, you know, I think, teenager audience? I mean, just because, like, you know, you can get your sexualized, relevant material and many different forms. [01:58:28] Speaker A: I was. That was a note I had that. That was a note I had that. [01:58:35] Speaker B: I was gonna bring up beyond that, you know, like, do you guys watch RuPaul's drag race at all? [01:58:42] Speaker C: I never have. [01:58:43] Speaker A: I never. [01:58:44] Speaker B: Season 16 finale is. Is RuPaul bringing on Cassandra Peterson? So, RuPaul's drag race is very popular with young people, and in her season 16 finale, she brings on Cassandra Peterson because Elvira is such an iconoclastic, like, you know, figure in the drag queen community that I feel that the younger generation gets her better than even we do. Right. It's like, I think that we see her as, like, sex and boobs and Halloween macabre that we grew up with, but she has been kind of not reinvented, but rediscovered in a different light that is refreshing and maybe says that we should reevaluate our own relationship to Elvira. Or maybe she crosses all boundaries. Maybe she's one of those people that just kind of appeals to all sex. [01:59:36] Speaker A: I agree with you there. She definitely crosses all boundaries. It's like I'm at a constant fight with myself in my lizard brain, you know, my base brain. Despite my. My artistic, intellectual side, I still have this, like, caveman lizard brain thing. And it's like, to a generation of. Of heterosexual boys and basically anyone attracted to women, women's anatomy, Elvira was like, you got to understand, like, we didn't grow up with access to pornography in our pocket. You know what I mean? It was like you had to find porn in the woods that you shared with other people. It was like you had to use that. The television magazine. So, like, I mean, again, like you said, like, you're drawn in to her physical appearance, and then you realize, oh, there's this very funny character, and then, like, oh, there's these interesting things going on about, like. Like we said about themes about, like, feminism and sexuality and subversion. Subversion. And, like, being okay with someone who's considered an outsider, right. That isn't, quote unquote normal. And I think all those things are rolled up in who Elvira as a right Persona, as a character is. And I think that that representation is important and timeless and, um, impactful and especially on my life. [02:01:31] Speaker B: And you also talk about sexual, like, being, like, you know, sexual positivity or, you know, like, she's. She's super sexual, right. Unabashedly sexual, but not from the male gaze. Right. It's like, it is. It's hard to say that because. Yeah, absolutely. She's fitting the male gaze, but. But she doesn't operate. It's very hard. Right. Like, she's not a Charlie's angel. Right. It's like, she's not, like, voluptuous, beautiful, big breasted woman who, you know, and. [02:02:06] Speaker A: All those things you just said. [02:02:09] Speaker B: Yes, but not that type. That then is like using her sexuality to get what she needs for men. I don't think. I don't think that's how they portray her. And she doesn't use her sexuality to. [02:02:21] Speaker A: Get what she wants. That's true. [02:02:27] Speaker B: Boys. There's. There's. [02:02:29] Speaker A: She doesn't she like the things that she wants outside of sexual partners? She never uses her sexuality to get her show in Vegas. Right. She never thinks to use her sexuality in order to advance her ability to make the 50 grand. She's thinking of different ways to make the 50 grand. She could sleep with the. She can sleep with these men and get the money she needs, and she just always decides not. She could get the 70 grand for the house. Right. [02:02:56] Speaker C: And she does not just sex. [02:02:59] Speaker B: Yes. I think also, Elvira presents herself in a way where she's like, she understands sexuality, but she's like, what's the big deal? Like, why are you boys making such a fuss? Yes, I have boobs. Yes, I have. I am happy and comfortable in my skin. But why are you all acting irrational about this? I do think that she presents herself that way, whereas I think that in other portrayals of bond girls or something like that, they are expecting or they know that that's what they're getting. So they are aiming for. [02:03:33] Speaker A: Those are characters. [02:03:36] Speaker B: Well, right, yeah. [02:03:38] Speaker C: I mean, I feel like there's also a bit of a prism there, too. You know what I mean? Like, I agree with you. Definitely not as hollow and vapid as, like, you know, that, like, extreme end of, like, a bond girl, pussy galore, who's there to fuck, and that is it, you know? I mean, like, that's the sole purpose. Yeah, I think that, to that point, though, it's like, I think that that's a bit of my. And again, I think I'm looking at this from a modern lens completely. [02:04:03] Speaker A: Yeah. [02:04:04] Speaker C: You know, identify that. But that too much of it is based in sexuality, the humor, you know what I mean? Like, to then rise above that, like, right? Yeah. Okay. Just because you are big Titan, just because you do dress that way, it doesn't mean that so much has to be pointed back to that. And that's the thing, I think that doesn't work, at least within this film and other stuff I've seen of Elvira doesn't. But, like, I think too much of it does point back to that singular item, you know what I mean? And doesn't fully flesh out who she is as a person relevant to that. [02:04:37] Speaker B: Michelangelo, do you agree that she is big titted? [02:04:43] Speaker C: Yes or no? You're under oath. [02:04:58] Speaker A: Chris. Who do you recommend this to? [02:05:06] Speaker C: Oh, man, that's a hard one. I don't know. [02:05:11] Speaker A: I mean, it's a hard one. [02:05:15] Speaker C: Yeah, wink. I think you. You come into the store, you're like, I just. Nice. Michelangelo just threw the book in all our faces that he owns a book. Yes, we understand you. [02:05:33] Speaker A: It's a book. [02:05:35] Speaker C: Uh huh. Good job. [02:05:36] Speaker A: Proud of you. [02:05:37] Speaker C: Uh, you. You come in the store, you're like, uh, uh, I don't know. I want to watch something very silly and schlocky in eighties. Uh, that, uh, has some horror adjacent items in it. Say, hey, Elvira, mistress of the dark is for you, my friend. [02:06:01] Speaker A: You just point at the, uh, poster we have up of her with the pumpkins, with the Jack o lanterns, and you go, one. [02:06:07] Speaker C: You've got, like, 20 up. [02:06:09] Speaker A: There's a lot. Yeah, there's a lot up. I got a lot of them. I got a large collection in the basement and upstairs. [02:06:18] Speaker C: Speaking of talking about values on comic books, I bet those are probably worth a ton of money. [02:06:23] Speaker A: No, I'm never gonna sell them. [02:06:27] Speaker C: You'll die penniless humping your cardboard cut. [02:06:33] Speaker B: You can't sell them with those stains on them. [02:06:36] Speaker A: Those are beer stains. Those are coors. Those are silver bullet stains. Okay? [02:06:41] Speaker C: Sudsy white. [02:06:45] Speaker A: Bruise. Okay, I'm gonna go next, cuz. I'm gonna give Mickey the closeout on recommendations because he's so passionate about a vira, I gotta say, I give this. I give this movie a standing ovulation. I think this is now. So I watched it the other night. Arrow video has a fantastic release of this with a bunch of awesome commentaries and a. Oh, nice to. I think the documentary is called Two Macabre the Making of Elvira. It's the official documentary. It's only available on the Arrow release on Blu ray. Interestingly enough, Arrow has a streaming platform now, which is cool, right? I think their big failing is so Arrow, their whole thing is they have, like, these awesome releases of these cult films and these bill b films, and they have these amazing features, but the streaming platform does not have those extras that they have. And, like, I get it. Like, you want to own your media, and having something that's only available through physical media is great, but for some people, it's a barrier. It's a financial barrier or just, like, a physical space barrier. And I think if arrow, like, how they would be able to make a splash in the streaming world is, like, we're the service that provides you with all the extras that you don't get, right. [02:08:33] Speaker C: Yeah. [02:08:33] Speaker A: Anyway, you can watch this on shudder. We're not sponsored, but I'd love to be sponsored by Shudder. And Elvira host it. Hosts it. It was for her 40th anniversary thing. I watched it. That's how I watched it this time with her. It was great, I think. And I then I did a double feature. I watched Elvira's Haunted Hills, which I don't, have you seen Elvira's haunted hills, Mickey? [02:09:05] Speaker B: I don't think so. [02:09:06] Speaker A: You gotta check it out. [02:09:07] Speaker C: At one time, and I stopped watching it. [02:09:09] Speaker A: You got, it's like a Roger Corman victorian horror. Like, like, show toony. Like, it's very different than this film. I love it. I think both of those films are perfect. Like, I talk about this. I don't know if people do this nowadays, but, like, it's a thing for my generation, I think, where it's like, you have a movie on at a party in the background, right? Where it's like, you have something interesting going on. Like, at your Halloween party, put Elvira, mistress of the dark, on. On mute with the music going, and people be like, what is this? They haven't seen it. What is this? This is interesting. I need to see this. You know, I love this. But again, I can't defend that. It's like a good movie, but I love it. So it's like, it's really like, it's one of those things where you're like, if someone comes in and they're like, I love Elvira. Like, have you seen the movie? They're like, yes. Because I can't imagine anyone who loves Elvira who hasn't seen the movie. Or they. Yeah, or they go, who is that? Who's that woman? And on the poster you have there, and I'm like, that's Elvira. And they're like, who's Elvira? And then I could talk to them about Alvirah. Be like, we have two movies you can rent. Like, they're not great. [02:10:30] Speaker C: Lenny comes into the video. [02:10:38] Speaker A: Yeah. You're gonna break your neck, buddy. Like, maybe not. So it's. It's. It's. It's. It's. It's like, it's really only a movie I would recommend to someone outside of puberty that is like, I've had a converse, like, a deep conversation with, you know. Okay, Mickey, who do you recommend this. [02:11:04] Speaker B: To if you're coming in this store? [02:11:07] Speaker C: Oh, fuck. [02:11:12] Speaker B: Without saying that, dark. [02:11:16] Speaker A: You're right. [02:11:17] Speaker B: You gotta listen. Everybody needs to watch this movie. Form your own opinions. I form your own opinion. Everyone, let's have a conversation about it. The person who I want to watch it the most is close female friends of mine to see if they see any. Dead serious. [02:11:36] Speaker A: I did not think you were gonna say that. Serious guys who need to, like, learn about respect for women or something. But, no, you said women. Okay. [02:11:44] Speaker C: Are you. I want a black man coming into the video store. You got to see this video and see how rap started. That's what I said. [02:11:57] Speaker B: Rap. Crossover. Are you a fan of Eminem? You want to know where he started? Now. [02:12:06] Speaker A: You like. You like machine gun Kelly? Well, let me tell you about the virus. Oh, rap. [02:12:12] Speaker B: Yeah. It's like, yeah, no, I actually do feel that way. I would love to hear so many different people from different walks of life give me the opinion. I will say a shout out to RuPaul's drag race. Go listen to how many drag queens on that show quote, Elvira quotes from this film. She's beloved in that community, which helps me, like, feel like, huh. Maybe there's something more going on that I don't even understand because of my cultural upbringing. So I want everybody from all walks of this earth to watch this film and form your own opinion of Elvira, and then hopefully, it deep dives you into the actress creative artist Cassandra Peterson. [02:12:56] Speaker A: Thank you, listener, for spending this very sexy evening with us. [02:13:04] Speaker B: Very sexy. [02:13:05] Speaker A: Thank you, Mickey, for being our editor, for being the co owner of this video shop, for being the amazing friend and champion of Elvira, mistress of the dark. [02:13:20] Speaker B: Yeah. [02:13:21] Speaker A: Despite our differing opinions, I still agree with everything you said. [02:13:27] Speaker B: Yeah. [02:13:28] Speaker A: And I love you. I love you. [02:13:31] Speaker B: Yeah. [02:13:31] Speaker A: I love you. [02:13:32] Speaker B: Hey, I appreciate you. [02:13:34] Speaker A: Come here. [02:13:35] Speaker B: Yeah. Hey. Now. Okay. Okay. [02:13:39] Speaker A: See this? Like, is this a good double feature with, like what? [02:13:46] Speaker B: Okay, go ahead. Sorry. [02:13:47] Speaker A: No, no. With what? [02:13:48] Speaker B: Is it a good double feature to cruising. [02:13:55] Speaker A: I think my head would explode. That's too much. That's too much. [02:14:01] Speaker C: Brings up something I was meaning to say, Michelangelo, next time you recommend a film for the podcast, can it be an actual horror film? I mean, you're not wrong, though. [02:14:15] Speaker A: You're not wrong, dude. Chris, thank you for joining us tonight, talking about comedy films and slasher thrillers. Thank you listener, again for listening. We at the return slot of horror wish you unpleasant.