The People Under the Stairs (1991)

[00:00:04] Speaker A: Welcome, listener, to the return slot of horror boy. A podcast recorded by myself. No. [00:00:15] Speaker B: Is that a no? No. [00:00:17] Speaker A: I think that's kind of a no, but I say we keep it now. I say we keep it down. [00:00:20] Speaker C: Very appropriate for the episode. For the episode. Very appropriate. [00:00:27] Speaker A: 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. That's right. Initiated. Or anyone unlucky enough to have grown up without an independent video store. Mickey, can you explain what I'm talking about, please? Of course, back in the day, before. [00:01:07] Speaker B: There was streaming and even before blockbuster, there were these independent video stores. And to appease the appetites, to appease the appetites of movie nerds like myself, Michelangelo, and Chris, they would fill their shelves with anything they could get their hands on. Especially my personal favorite, the video nasties. These mom and pop shops were responsible for taking the horror genre from limited theater runs and late night drive ins to every rural town and gentrified 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. We hope you enjoy perusing our sections and joining in our conversations. [00:01:57] Speaker A: Now, I'm gonna warn the listener that this is a hangout drink and talk about horror movies podcast. You know, this is very much reflection of ourselves and not so much an essay or a deep dive or a review of the. Of the films that we talk about. Now, this week, we find ourselves in the suburbanoia section of the video store, which is a completely suburban Oya. Yeah, suburban Oya. It's completely normal section to have interview. Chris is nodding his head. He grew up going to video stores with lots of suburbanoia sections. [00:02:38] Speaker B: You're really suburbanoing me right now. [00:02:43] Speaker A: Shit. Every episode he's coming up with something new here. Go back and listen to our previous episodes on the burbs. That's our first suburbanoia episode. Uh, now could you, Mickey, let's say a customer comes in, it's like, what, what is suburban Oya? Section. Uh, other than saying, look at the films and figure it out, you jackass. What, what might you say to that. [00:03:06] Speaker B: Person, uh, other than the films, jackass? Figure it out. Cause, yeah, I would say, you know, it's, it's suburban Oya. It's it's a mixture of paranoia and, and what happens in suburban settings. We we all have a little bit of that. I mean, I don't know if you've ever lived in and had a serious suburban life. I know that you kind of did Michelangelo, growing up. [00:03:26] Speaker A: I grew up in a, Chris. [00:03:27] Speaker B: I'm sure you have. I did too. The things that happen when you live in these, I'd call them isolated, homogenized areas, is that you tend to form a little bit of a groupthink, a little bit of a, you know, paranoia. But it's so specific to those middle class suburbs. I call it suburbanoia beautiful. [00:03:48] Speaker A: Beautiful. [00:03:50] Speaker C: Well said. [00:03:52] Speaker A: Uh, now, uh, the, that beautiful, well said, sexy voice that you just heard is coming from the very earth sign gimp suit and skull ring expert. Chris. [00:04:08] Speaker B: Yes. Thank you. [00:04:09] Speaker A: Thank you for, like, finally, thank you. [00:04:12] Speaker C: For bringing me on, for the listener. [00:04:14] Speaker A: Before we got on, Mickey was regaling us with stories of, uh, him being a young boy getting boners before, uh, going off the high dive at the public pool. [00:04:24] Speaker B: Yeah, my public pool had a high dive. This is in East Texas corps, Texas. I had one really big. Like, it probably wasn't as high as I thought it was, but, man, it was like a challenge to go up there. You're a young man. You're, you're just early in your boner, getting, uh, ages. And, um, you're trying. It's almost like the more you think away a boner, the more one pops up. [00:04:43] Speaker A: Oh, yeah. When you're that age. [00:04:44] Speaker B: Yeah. [00:04:45] Speaker A: It's just, it's, you're like, no boners. [00:04:47] Speaker C: No boners. [00:04:48] Speaker B: Yeah. And then that's when it's like, bing. It doesn't remind you. It's like you have no control, my friend. It's almost like, it's like slapping you in the face. But so, yes, I had, I remember very distinctly having a bone on the high dive. And it wasn't like a full, like, you know, like protruding out of my pants. But it was more like enough that I know there's a little bulge there. And I'm a very young kid at this point. I'm not a kid that really, like, understands even sex very well. I'm just like, oh, man, I hope nobody sees this. And then, uh, you know, obviously as an adult. Now looking back on that, being like, yeah, everybody saw the fifth grader with the boner on the high dive, you know, uh, it was. It was awful. It was humiliating. It actually did scare me away from. From getting on the high dive. Oh, yeah. But then I became an olympic diver, so the story ended really well. [00:05:42] Speaker A: That's going to wrap around because I'm going to have questions about jumping off of high places in relation to film later. Sure. [00:05:50] Speaker B: Yeah. Jumping off while high or jumping off of high places? [00:05:55] Speaker A: Either or. But it's high places. You could be high. I also. Mickey, I used to get raging boners. I'd have to wake up at 04:00 in the morning on Saturdays to go to work at the butcher shop with my dad. And I would get these. I don't know, maybe the car vibrations in combination with my puberty, I would get these raging boners in the car, just pray to God that they would go away. By the time we got out of the car and went into the grocery. [00:06:23] Speaker C: Store, you just were so excited to think about a knife going into meat that, you know. [00:06:27] Speaker A: Yep. Speaking of knives going into meat, before we get to tonight's film, a gentleman, and that's what we are, gentlemen. Based off of the conversation we were having earlier, we are gentlemen. What are we drinking this evening, Mickey? Something fancy going on there, and I. And I believe a battle scar to go along with it. [00:06:57] Speaker B: I do have a battle scar to go along with it, yes. So what I. When I think of people, understairs, and some of the ideas it brings up, I think of South Africa, Cape Town, to be exact. So I chose. I chose a nice pinotage, the official kind of wine grape of South Africa to drink. And I can't. I don't come by this by just googling people. I spent quite a bit of time in South Africa doing some video work with. With students from refugee camp. [00:07:37] Speaker A: That's not funny. You were doing a very beautiful, very beautiful, noble thing. [00:07:40] Speaker B: I'm sorry. I'm sorry about refugees who need to get into universities. And while I was down there, I fell in love with. With the pinotage. But also. Also, there is a place, if you ever want to know what gentrification looks like or what, you know, white privilege can be, South Africa is one of those places where it. It's still, you know, the lingering effect of it is still there. But I will say it's a place where the people of their land took back what was theirs under the great Nelson Mandela. And to just even push a little further. I brought a little thing down here. This is Nelson Mandela's war mask. [00:08:16] Speaker C: Oh. [00:08:17] Speaker B: From his tribe, the Khoisan. The Khoisan tribe. [00:08:20] Speaker A: Oh, that's amazing. [00:08:22] Speaker B: So. [00:08:22] Speaker A: And, yeah, I was gonna say, I. [00:08:23] Speaker C: Don'T think I've ever had a south african wine before. That's cool. [00:08:26] Speaker B: It's good. It's. It's like a red. It's pinotage, if you ever get a chance. It's really good. It's like, that's their. That's their grape. That's okay. Me. But anyway, that's enough of me. I'm a pedestal. Telling people how you know all the things I know. I know things. [00:08:40] Speaker A: Well, for the listener who is maybe listening for the first time. Mickey, we joke about being the whitest guy we know, but Mickey's not white. He's originally from Honduras, raised in Texas, a filmmaker and a military man and a family man and the editor of this podcast and all around badass guy. [00:09:06] Speaker B: Yeah. And also, uh, if it's. If we're getting into that. That deep of detail on me, my 23 andme has me at, um, just to, like, kind of, like, open up your. I'm adopted, and I am considered the whitest person a lot of people know because of how I was raised, but I'm, like, 16% african, and I am, like, 36% portuguese, and then, like, 37%, however that works out, native american. So it's like, I'm like all of the, you know, people that have been, you know, persecuted and driven off their land. Mel, whitest guy in the world. World. I am like, you know, but it's like. But I have this, like, really? [00:09:43] Speaker A: You sounded. If I close my eyes. You know what I mean? [00:09:46] Speaker B: Yeah, it's. [00:09:47] Speaker A: It's. It's Matthew McConaughey. [00:09:49] Speaker B: They. Oh, yeah, like that. All right, all right, all right. Yeah, yeah. [00:09:58] Speaker A: Shut up, Chris. [00:10:01] Speaker B: That's who he is. I give up. Some strong McConaughey vibes. You know, man. I do, man. I do. I do, man. [00:10:08] Speaker C: Clearly. [00:10:09] Speaker B: Heard, heard. All right, we can continue. Okay, back. [00:10:13] Speaker A: Back to the earth sign. Chris, what are you. [00:10:14] Speaker B: What are you. [00:10:15] Speaker A: What are you drinking? [00:10:19] Speaker C: Made a little cocktail for this wonderful evening. I call it. [00:10:22] Speaker A: Is it a spooky cocktail? [00:10:24] Speaker C: It is. I call it the slumlord's treasure map, which is just the funniest fucking thing about this. I love that. It tickles me to no end, but this is 2oz of bourbon, 1oz of a coffee liqueur, two drops of. Two dashes of orange bitters, two drops of a saline solution that you can make at home. Four parts water to one part salt. Stir that up, pour that into a chilled glass, and then shake a little bit of the coffee liqueur with some heavy cream to make a frothy top. And then you've got a nice little dividing line between colors as well. [00:10:59] Speaker B: That's a beautiful froth you got there. [00:11:01] Speaker A: You like a dividing line between the colors, don't you? [00:11:04] Speaker C: You gotta keep it clean. No separation. [00:11:12] Speaker A: That is a delicious looking drink, by the way. That sounds amazing. That's fantastic. If anybody, if listener, if you ever try these cocktails, please post to our instagram. Yeah, Mickey, what is that? [00:11:28] Speaker B: And don't forget in 20. And what's that? Oh, our instagram. That's at the return slut. Underscore four pod. Instagram. I can't. It's at the return slot. Underscore four pod. [00:11:42] Speaker A: Yeah, you got it. [00:11:43] Speaker C: Yeah, yeah. [00:11:45] Speaker B: And also be looking for. My goal is, and maybe we do, like, some kind of, like, what's it called? GoFundme or one of those indiegogo thing. I want to make a tabletop book of all the cocktails with artwork. I would love that next to them with original artwork that goes along with the movie. You know, we don't want to do anything that's going to, like, get us into any kind of territories with copyright, but definitely, like, some original artwork that is. Somebody's inspired. Yeah, but I think that I'm opening that up. If you have an artist out there and you're interested in collaborating with us, that would be a fun thing to do. It would be a great little, you know, coffee table book. [00:12:23] Speaker C: Rad. That's a good idea. [00:12:25] Speaker A: Yeah, yeah, yeah. Now I'm. My drink is really not on theme with the movie I'm having. Yeah. I don't often find them in the area that I live in, but I found some today. And in honor of our canadian friend who started this all with us, she's in a new chapter of her life. We miss her. And to Marika. I salute you. [00:13:01] Speaker B: Yeah, there you go. [00:13:04] Speaker C: It is funny. We've done so many canadian films. That's funny that you're not drinking it. When we did one of the canadian films. [00:13:10] Speaker B: Well, I can't. It's a hard run. We did a whole run of. [00:13:14] Speaker A: Did a whole run. [00:13:16] Speaker B: And what was funny is like, it's like none of the theme of that particular section had nothing to do with Canada, but they were all canadian films. [00:13:24] Speaker A: Yeah, I'm pretty sure this was shot in Canada. This film, it's got a real strong canadian vibe. Right? [00:13:30] Speaker C: Right. [00:13:32] Speaker B: Go ahead. Explain that. [00:13:33] Speaker C: Yeah, please. [00:13:35] Speaker A: Well, first of all, we should really get to what we're talking about. So let me start with that. [00:13:42] Speaker B: Deflect. [00:13:43] Speaker A: Deflection. An academic, soft spoken, experimental filmmaker who was inspired by art house cinema of the 1960s and made his bones editing industrial porno and low budget films. From the director of Swamp Thing comes another scary house in the neighborhood movie showcasing the greatest monster of all, white rich Americans. Proving that anything is possible. With money. You can be a sadist who fornicates with their siblings, kidnaps children and devours the flesh of the less fortunate while gentrifying a neighborhood. Tonight we are talking about home alone meets three Stooges meets mommy dearest meets greek mythology wrapped up in a Stephen King esque story coming out of an over saturated era of the boogeyman with too many sequels. We have something original yet familiar. It has laughs, scares and a little satirical social commentary. And it's pulled from a news article. I am, of course, talking about 1990 one's the people under the stairs, directed by the late, great Wes Craven. Now, I gotta ask you guys. [00:14:56] Speaker B: Before. [00:14:57] Speaker A: We jump into this, is this like, we were. We were coming up. We were. [00:15:03] Speaker B: We were. [00:15:03] Speaker A: We were spitballing with each other, like, what's the next film gonna be for suburban Oya? And people under the stairs came up and without really thinking about it, I was like, yes, I want to talk about the people under the stairs. Is it really a suburbanoia film, do you think? Does it really belong in this section? Or is it bit of a stretch to put it here? I don't know if I'm second guessing myself on this, you know? [00:15:30] Speaker B: Well, first off, I think it's 100% a suburbanoia. I think that. I think it's a suburbanoia in the sense that it fits the theme of the house that everyone kind of quote unquote knows is not good. And it's not the house in the bad part of town. Right? It's the house in the good part of town, you know? And I think that makes it a suburbanoia. I just think that our protagonists are not suburbanites. And that's why you maybe have second guessed it, but it's totally suburban Oya, right? Our protagonists just aren't suburban. They're urban. [00:16:07] Speaker C: And if I may, too, like, I think it hits really hard on, like, the whole ideology of what a suburb is. Yeah, for sure. Is really captured in the film. Even if arguably it's not, you know, based around suburbia. If that makes sense. [00:16:24] Speaker B: And I think that you're also touching on Chris, that, like, that maybe not the central theme of the film is this, but that the suburbanoia is that if the wrong people live in that neighborhood, then the neighborhood goes down. So there. Therein lies why we need to destroy their neighborhoods and put in, you know, shopping centers, commercial places, and keep the suburbs, keep them white. Keep it white. And I think that is a suburban oya for sure. 100% still plagues Pittsburgh. So I. This movie, for me, fits it 100%. [00:17:05] Speaker A: Well said, man. And very. [00:17:07] Speaker C: Is gentrification the bad guy of this movie? [00:17:11] Speaker B: I think, in a very subtle way, Wes Craven was trying to say something, and very subtle. [00:17:18] Speaker A: Very subtle. I will say. I will say, though, I mean, like, anything over the top is intentional, and, like, it really doesn't. Like, it's not ham fisted, you know what I mean? It is kind of subtle in its. In its own way. Well, I want. [00:17:35] Speaker B: I want to. When we talk about our history with it, I'm going to. I'm going to kind of talk about that particular aspect of it. But I agree with you that this is definitely, for me, a horror comedy, if it was ever misconstrued as another anything else. It's like, I think it's pretty dark comedy, satirical, and in its truest nature, parody. Yeah, I do think, yeah, I think, yeah, yeah, yeah. [00:17:56] Speaker A: Bouncing off of what you were talking about. I just learned this, and it's crazy that I'm just learning about it, but, like, especially in Pittsburgh, I found out that there would be in people's deeds to their houses, like, law set up, preventing them from selling or renting to minorities, essentially, in order to keep away people from. I had no idea that that existed. I'm in the process of, like, trying to buy my first home, but I don't know if that's something that is common knowledge that people who've only, like, been house hunting know about. Like, Mickey, you obviously knew about it. You're a well traveled man. Absolutely. [00:18:46] Speaker B: Well, not only knew about it, but even. Even in a weirder way, not even to go into deeds, because deeds feel like an older, like, you know, but version of this. But the more modern version right now is Hoas, homeowners associations. They are not governed by anybody. They kind of do their own governance for their suburbs. And the Hoa sometimes will say things like, we want to keep people. That will bring property values down. And depending on where you live in the United States, which is almost 90% of the United States, to be honest, if you are of color, you bring property value down. So it's more advantageous to suburbanites to keep people of color out. And if you ever look at even the town I live in, that I live in currently, Oakmont, Verona. I'm going to say some things here that if anybody knows me, just, you know, it's true. I know you don't want to admit it, but Oakmont and Verona are two towns, two boroughs that border each other, that all of our kids go to the same school district, but they're zoned the way they're zoned because Verona holds people of color, Oakmont doesn't. And it is messed up. It is so weird. And it is, like, truly a crazy thing to think in 2024 that my children's school district is segregated in that way. But there is, and we are separated by a train track, even. But there is Oakmont side and there is Verona side, and most of the kids of color come from one side of those train tracks. And it is embarrassing to say that I live in a community like that. It is. I don't know how to change it other than just the world, you know, it's like, oh, that takes a lot. [00:20:33] Speaker C: Of people and a lot of money. [00:20:34] Speaker B: One of time, but it's also. It's like legacy money. Right? It's like the town I live in. It's. A lot of people moving into these homes, are moving to these homes because they're family homes and they're big, they're beautiful, they're old, they're like turn of the century. They're gorgeous. But nobody's getting in there unless you just know somebody. You got. It's like. It's like you almost have to, you know, I mean, it's like. Yeah, but huge. Yeah. Generational wealth is huge in this area. [00:21:01] Speaker A: Right. [00:21:02] Speaker C: Nickelanger real quick, I think. Are you talking about redlining? Just to be clear? Like. [00:21:06] Speaker A: I don't know. [00:21:07] Speaker B: Is that. What. [00:21:08] Speaker A: Is that what that's called? I don't. I don't know. [00:21:09] Speaker B: This is. [00:21:09] Speaker A: This is all new to me. [00:21:11] Speaker B: Well, so red property lines. Yeah, yeah. [00:21:15] Speaker C: So redlining distinctly was, like, the push and it was outlawed. Oh, man. Many years ago now. I don't know, seventies, sixties. Anyway. But, like, the push to, like, distinctly discourage black people to live in certain areas and make sure to banks not to provide home loans, that type of thing. But the reason why I bring that up is because, I mean, that's like, michelangelo and I are both from Kansas City. There's very much like. And it's changing. It's like taking a long time. It's starting to change. But, like, redlining in Kansas City is a very distinct lines of, like, where, I mean, once upon a time, it used to be, you know, people living in these very grand estates and then not, but like a half block away. Block away is more like slave quarters that then became, even as future pushed into redlining, hardline dividing lines between wealthy white areas and then lower income areas. Very, very push. And just like I'd say over the past ten years, certain streets have started to become demystified. And then you can start to get into an interesting argument, though, of, like, then gentrification because then developers take advantage as those areas start to become available and turn them into more trendy areas that then people cannot afford to live in anymore. [00:22:30] Speaker B: By trying to attract tax dollars and wealthier people to these neighborhoods, they end up, you know how it falls. You end up pushing them up. [00:22:43] Speaker A: Yeah, yeah. [00:22:44] Speaker B: Pushing him out. I mean, this is, and the crazy thing is that this film is saying something that feels so like, of course, we all know that, Durr. And I'm like, but we still, it happens every single year, and it still follows a pattern of, of racial lines that are, that are not just drawn by racial, you know, not just drawn because of race. They're drawn because of, like you said, generational wealth. You know, there was a certain type of person that had money in this country. So, so, yeah, it's so even though I joke about this being oh so subtle because it's so over, it's like beach, not beach over the head, but it is like, it is definitely coming in with a crusade in a mission and a message, but it's one that doesn't get old, unfortunately. It would be beautiful to watch this film and be like, wow, I can't believe a time like that existed. But this doesn't work that way. This is like, wow, this exists today and may never change. [00:23:46] Speaker C: All that to be. Chris, let's get into the silly horror comics. Well, I just want to juxtaposition, right? [00:23:53] Speaker A: Yeah, it is, it is. Because it's like, it's like something, something very serious being said through, like, horror and jokes. [00:24:04] Speaker C: Oh, and just straight up jokes. Wiley coyote humor. To, like. [00:24:13] Speaker B: Finger mouth. Yeah, yeah, yeah. Goofball humor. Yeah, I almost, I almost. Let's get in our histories. I got some stuff to say, but, well, I can hold it. [00:24:27] Speaker A: Now, before we jump into our histories, I just want to give a little context. We got Wes craven. He's coming off of deadly friend, which, I don't know, if you guys have ever seen. But he made that Warner brothers. That is one to see. That's wonderful. We're not going to get into it now. Maybe we'll talk about it on the podcast at some point. But then I think he gets a deal at Universal. We got back to back Universal Pictures here, and he makes serpent in the rainbow. Shocker. And then this, which I like. [00:25:03] Speaker B: Yeah, both those are good. [00:25:05] Speaker A: I've never seen Shocker. I know, I know. Serpent in the rainbow. Is it okay? [00:25:15] Speaker C: Serpent was like, actually good film. [00:25:17] Speaker A: Yeah, well, yeah, of course. [00:25:20] Speaker B: Shocker's like, yeah, gotcha. [00:25:23] Speaker A: But I feel like he's. We're coming out of the eighties, right? We got the Freddy's, which he started, right, the Jason's, the almost a film a year, right? Like people are fatigued from it. And he. He comes out with some really original content, especially with this one coming out in 1991. And this is KNB's first big production now. K, do you guys know KNB? You probably do, you know. So KNB was founded in 1988 by Bob Cutts, Kurtzman, Greg Nicotero, and Howard Berger. Guys from Pittsburgh. They're Pittsburgh boys. Yeah. They decided to form their own company. I don't know if he's from Pittsburgh, but they were working in Pittsburgh. [00:26:20] Speaker B: Was under. [00:26:23] Speaker A: Savini. [00:26:24] Speaker B: Oh, my God. Yeah, he was under Tom Savini. He studied under him. And then he met George Romero on the set of the day of the dead. Day of the dead, yeah, met him. Day of the dead. So I'm pretty sure Greg Nicotero, even if he wasn't from Pittsburgh, he got his film start in Pittsburgh working with Romero. [00:26:45] Speaker C: Oh, cool. [00:26:46] Speaker A: Yeah. And Savini, like, Nicotero wanted Savini to be a part of KMB, but Savini wanted to stay in Pittsburgh. And, you know, KNB went on to become like a huge, one of the huge special effects studios. And this is their first really kind of like big budget film that they do. They do a lot of like, really ultra low budget stuff. And this is their first, like, day in the sun. And interesting fact about being rhymes, Leroy's character, right? The cast that they make of Leroy, of being rheims for the dead body that they use in the version, that butchered version of him that gets reused. Like, according to the documentary, I watched what lies beneath, like, countless times. They didn't say, like, what pictures it was in, but it was used in a bunch of films. And I'm curious. I'm curious. [00:27:48] Speaker B: I'd like to see. [00:27:49] Speaker C: Yeah. [00:27:50] Speaker A: From. Well, and. But also like. Like, from a residuals aspect that's being rainbow. It's like, I really don't think he was paid for his likeness for that cast being truly used. So I wonder, like, nowadays. [00:28:09] Speaker B: Yeah. [00:28:10] Speaker A: Where poor vicar never go on to fame and success at all. [00:28:18] Speaker C: So who is the. Who is Bang Romes? [00:28:25] Speaker A: So, yeah, that's. That's the sort of little context I want. I like to do that sometimes. And then. Yeah, so, Mickey. Love it. I would love to. So who. I actually don't know the answer to this. Who picked this movie? Was it Chris or was it Mickey? [00:28:44] Speaker B: It wasn't me. I kind of, like, seconded it. I think it was either Chris or. [00:28:50] Speaker C: Yourself on the burbs. I set it as a recommendation for. [00:28:54] Speaker A: A double feature with the burbseed in my head. [00:28:59] Speaker C: It might have happened before that, but. [00:29:02] Speaker B: Yeah, Chris put the seed in you and then you. [00:29:06] Speaker A: Did. I'm seated up. I'm seated up to Chris. Why. Why are we talking about the people under the stairs? And what is your history and relationship with it? [00:29:21] Speaker C: So I guess that, like, I was kind of thinking. We kind of already touched base a little bit on that. But I was kind of thinking a bit of, like for suburbanoia, that thing that we all have a classic history with the. Like, this is a fun context of, like, being almost the inverse of it. And at the same time, too, being a bit of the. Again, like, what I see is, like, not the birth of a suburb, but again, like, the classic american suburb context. And what the man and woman, as they are characterized in the film, kind. [00:29:56] Speaker B: Of mommy and daddy. [00:29:59] Speaker C: But technically, they're credited as man and man and woman. Or man and funny credit. [00:30:04] Speaker B: It depends. [00:30:05] Speaker A: It depends. [00:30:06] Speaker B: Yes. They're. [00:30:06] Speaker A: They're man and woman. They're also daddy and mommy and. But, like, they are Eldon and misses Roberson, Robeson. They do have, like, an actual. Yeah, they actually do have a name. [00:30:21] Speaker C: Oh, you're right. [00:30:22] Speaker B: At one point. [00:30:23] Speaker C: And Bill Cobbs talks about them, too. You're right. In that scene. Yeah, no, you're right. [00:30:27] Speaker A: Yeah. [00:30:28] Speaker B: If you. If you like the Bill Cobbs. [00:30:32] Speaker A: Yes. [00:30:32] Speaker C: Are they. Yeah, well, and they're in the credits of the film, too. Their credit is that. But. And more importantly, the amazing Everett McGill and Wendy Robbie, who I fucking love. Like, they're awesome. [00:30:45] Speaker A: Yes. Yes. Everett, Wendy Robbie. Yes. [00:30:49] Speaker C: Yeah, we'll get back into that later. But anyway, so the point being was that that was kind of my thought process on that. My history of it. This was a film. And I guess I'm kind of curious if you guys kind of had this experience too, but whenever you were a kid did you become like knowledgeable of Wes Craven and think all his films like, oh, that is going to be so scary. Yeah, so frightening of a horror film. [00:31:11] Speaker A: To the point where I didn't watch them, I didn't watch them because they seemed too scared. [00:31:16] Speaker C: And then I was consistently like, then, like every time I would see one, I'd be like, oh, that's not as frightening as I thought that was going to be. It's just good. You know what I mean? Like, and that's kind of like, I always thought this film was going to be so frightening that I did not watch it for many years. And then finally I watched it and I was like, oh, shit, this isn't frightening at all. It's hilarious. It's also awesome. And, yeah, and then definitely one of those films that I've seen it numerous times in bits and pieces. Like, it's one of those films, I think that, like, you see that it's going to be on something and you see, oh, shit, what scene is it? That type of thing. That's probably not true anymore, but you know what I mean? Like, I have many fond memories of, you know, back in the cable days saying, oh, people understater seen Everett Miguel running around in the s and m suit. [00:32:05] Speaker B: Yes. [00:32:06] Speaker A: What the fuck is this? And it's like this movie, this movie consists of the nightmare scene from the burbs. Like, it's just a bunch of those scenes connected, you know? [00:32:23] Speaker B: Right. [00:32:25] Speaker C: No, absolutely. [00:32:31] Speaker A: To piggyback off of what you're, what you're saying, chris, it really like had a way, and Mickey, please chime in. It really had a way of really worming its way into that kid fear of like the people under the stairs, scary creatures in the house that will eat you. It's like totally, like, that's the world you sort of grow up in as a child of like the fear of the darkness and things like that. [00:33:00] Speaker C: Absolutely. [00:33:00] Speaker A: You were saying, Chris? [00:33:02] Speaker C: No, I know. I had a scary basement whenever I was a kid, you know, for sure, like, yeah, and people understairs is a good, a good example of exactly what you'd be afraid of what might happen in a basement. [00:33:14] Speaker B: You just don't go down there. [00:33:16] Speaker C: Yeah, that's true. [00:33:17] Speaker B: Yeah, you just don't go down there. [00:33:19] Speaker C: Yeah, or you, you have to time it just right so that the second that you flip that light switch off, you are bolting up those stairs as. [00:33:24] Speaker A: Fast as you can. You don't want, like, a surfer guy with fully dilated eyes and a zombie face eating you, you know? [00:33:33] Speaker B: Yeah. [00:33:33] Speaker C: You mean roach two? [00:33:35] Speaker B: Yeah, whatever. [00:33:37] Speaker A: Yeah. [00:33:39] Speaker B: Okay. [00:33:39] Speaker C: I want to. [00:33:39] Speaker A: I want to get to that. I want to get to that. Yeah. [00:33:43] Speaker C: But no, that's my history. I. Yeah, love it. [00:33:48] Speaker B: Mickey. [00:33:48] Speaker A: And revisiting it, it sounds like it was. It was pleasurable. [00:33:52] Speaker C: Oh, man. [00:33:53] Speaker B: Yeah, yeah. [00:33:54] Speaker C: We talked about more, but I thought, I love this movie. So much fun. [00:33:58] Speaker B: That's great. [00:33:59] Speaker A: That's great to hear. [00:34:00] Speaker B: Yeah. Mickey, I am. I was unfortunate in the sense that when I was a kid, I watched this too young. [00:34:09] Speaker C: I remember your brothers opposite reaction. Practically. [00:34:12] Speaker B: No, absolutely. Hundred percent. My brother being like, come on, we're watching it. Come on. And I'm like, you know, just out of pure, like, I'm gonna prove myself a man to these guys. I'm gonna stick it out. And I was too young to get to understand any of what was actually, like, you know, being said, the humor. I was way too young to understand, like. Like, I shouldn't have been exposed to the leather clad, like, sexual element of it because then I was, like, scared of that for my. It's like, well, that could be, you know, it's like there's something about it that's like, it fits the suburbanoia, right? It's like that, you know, leather clad, you know, it doesn't have to be necessarily a negative thing, but it is. The suburbanoia of it makes it the enemy, you know, the bad. [00:35:00] Speaker A: It's probably one of the most terrifying things you could see in your life. [00:35:04] Speaker B: Yeah. You know, sexual perversion of it. And then, like, the. Them being brother and sister and just. It was a very disturbing film for me. And I remember actually kind of, like, even being a little turned off by it, but also understanding that Wes craven, at that point in my life, was an important person. And he was, he, for me, was representative of what horror I liked. So I was very confused by this film. I also fell in love with AJ Langer and Kelly Jo Minter immediately after this film, summer school. I tell you. Kelly Jo Minter and summer school was like, I know she's pregnant in the. Or maybe she's not the pregnant one, but. But she's the one that's, like, failing and summer school. I don't know. It's a great film. [00:35:53] Speaker A: She's in summer school. She's also in the lot. [00:35:57] Speaker C: I can't remember which character, though she is in summer school, but it doesn't matter. [00:36:02] Speaker B: It's the other girl that's pregnant. I don't know why they called her the pregnant one, but, but she is so cute in that film. Kelly. Joe Minter is and then AJ Langer, of course. I mean, my so called life. I mean, I, yeah, I loved her. Yeah. But, um, so there are a lot. So anyway, my point is, like, it was hitting me at a weird stage where I am so glad that I didn't give up on that film after my first watch because it would have been a really, it did not make sense to me. I didn't understand what was Wes Craven was doing. It felt like a kids film to me. It felt like it had all the elements of what a kids film should have. But it was, but it was adding in such human dilemma that I couldn't connect with that. It made it a very discerning film where I couldn't figure out really what was going on. Because you're rooting for fool the whole time. And I felt like fool at that age where I'm like, I'm like a kid like him. And the way that Goonies felt, it's like I love seeing people my age fight the big bad. But then because it was like leather daddy and because it was like talking about, you know, taking people's homes from them and, you know, the ghetto and, you know, suburban living. And I also was a suburban kid and enjoyed my home. And it just, it was confusing to me. It was discombobulating. So it wasn't until, so as a kid, I did not appreciate this film at all. I was like, it's one of Wes Craven's lesser films. As I got older, it was like, okay, appreciated for what it was, but I never went back to really go into it. And then my real full watch as an adult was this past week. [00:37:43] Speaker C: Your full watch. [00:37:44] Speaker A: Oh, wow. Wow. [00:37:46] Speaker B: Yeah. And guys, it was great. This movie is great. It's really great. [00:37:52] Speaker A: It really is great. [00:37:53] Speaker B: I was like, I enjoyed it so much. I enjoyed being rhymes. I enjoyed. And yes, it is, it is, it is not subtle. And there, there is a problem with writing in this particular time period where you're trying to like, circumvent, explaining a lot of things. You just go with the most stereotypical version of something. And I don't fault these, these creators for it. I fault that period for it. So, you know, you have to kind of give it, I think you have to kind of give it a break. You know, it's like they, they've earned it because they also don't go so stereotypical that it's offensive in any way, I don't think it feels like, yeah, they're just, they're just kind of trying to, like, fit a mood that was in the, you know, worlds at that particular point. Like John Singletary's boys. Boys in the hood was probably not. This probably opened the door to this even being budgeted, you know? So, yeah. Had a great time watching this week. Similar to Chris. It's like it's now become something I beloved. I don't know that I think that it is. It's not one of the all time greats, one of Wes Craven's all time. It might be one of, I mean, it's up there, but he's got a lot. It's not west. Yeah, it's not west. Craven's best. But you know what? Damn, this thing is good. This, this belongs, this should never be forgotten about. It's a great film, man. I had a blast rewatching it. Sorry if I meandered there a little bit. [00:39:18] Speaker C: No, man. [00:39:19] Speaker B: Good. [00:39:20] Speaker C: I completely agree. [00:39:21] Speaker B: Right. [00:39:21] Speaker C: This is like, this is, it hits on exactly what you want sometimes out of a movie. Right. Like, it's just, it's a damn good, enjoyable watch. [00:39:29] Speaker B: You know, it's entertaining and it's fun and it never goes and it never takes itself so serious in what it's trying to. What its thesis is that it's like we're important. No, it's like, yeah, what we're saying, the idea that that's, that's important. But, but we're a movie, you know, it's like we're having, you know, having, I think in some ways, yeah. And I think in some ways, that's more impactful than, than self referential or like, movies that feel like we're important and this is our important message we're doing. It almost feels like, yeah, like you said earlier, Michelangelo, it's not ham fisted. No, no, it's, that's Wes Craven. [00:40:07] Speaker A: I mean, he's an, he, he was an academic, intellectual person who just happened to find his niche and horror. And he came up in a time where it was like, well, this is what you're gonna do. And you don't get to do anything else, which in an industry that's very hard to break into, is, it's a wonderful problem to have. I, you know, when I was, when we're rewatching this, I was sort of like, why is a white guy telling this story? You know what I mean? Like, there's really, you know, the people it's supposed to be representing aren't represented. In its creation. And I think maybe if, and this is all speculation, but if Craven had been more of, like, known as an auteur director who sort of got caught carte blanche, maybe there is a world in which it could have been. Wes Craven presents the people under the stairs, directed by this new up and coming filmmaker who? [00:41:06] Speaker B: John Singletary? [00:41:08] Speaker A: Yeah, yeah, John Singletary. Or like, you know, what is it, monkey? They're actually remaking this. I don't know if it's going to be a movie or a television series, but Jordan Peele's company, Monkey Paws, is, I believe, gotten the rights to this and it's in development. I believe. I would find that to be interesting to have somebody take this idea, but. [00:41:34] Speaker B: It makes total natural progression sense. It's like, the thing is, unfortunately, and I don't mean to, I mean, this is obviously just pure opinion of the period, I don't find that there were probably one or two black directors that could get this kind of film greenlit. I feel like, yeah, you know, Wes Craven gets something like this greenlit. And the fact that he wants to devote his time and attention to this also is, is more of a just, you know, let's, let's, for a second, just recognize he doesn't have to even touch the subject if he doesn't want to. And not, not to say that he's like a white savior or anything great like that. I'm not saying that. I'm just saying it's like, you know, the industry is the industry. The fact that he chose to take his time and attention and put it into this subject matter, I think is impressive. It shows his, you know, forethought or his ability to be empathetic, to not just his own plight. [00:42:35] Speaker A: Um, so I I have a sort of similar history, uh, as Chris, uh, where, um, this, you know, if you're a constant listener. I was not into horror as a kid. Things were too scary. Um, and my imagination conjured up something far worse than what this movie ends up being. Like it. Like, I was like, it wormed its way into my brain, and it hit that fear nerve, and I was like, there's no way I could ever, like, just knowing that this exists is too much for me to handle. Yeah. But I think if I had seen it, like, in my early high school years, late middle school years, I think I would have had a similar reaction that I had with, like, army of darkness. I think, like, in those sort of, like, teen years, the humor would have really hit me, and it would have, like, made it okay. The scary stuff would have been okay, right? It's really just Looney tunes at times. Now, the first time I saw this movie was in October of 2020. Oh, wow. [00:43:44] Speaker B: Yeah. The first time you ever watched this movie from start to finish. [00:43:47] Speaker C: Oh, wow. [00:43:48] Speaker A: I didn't realize you were aware of it. [00:43:50] Speaker B: You had seen pieces of it. [00:43:52] Speaker A: A podcast that I listened to consistently was doing this, and I was like, this is the perfect excuse to finally see this. And it would have been such a fun movie to watch with you guys. I watched it by myself, and I still had a blast. But I definitely feel like this is definitely a fantastic group movie, assuming people are on board for something of this nature. You know what I mean? You can't be too pretentious. [00:44:19] Speaker B: You can't. [00:44:19] Speaker C: You know what I mean? [00:44:20] Speaker A: You have to, like, I think around Halloween, this is a great pick for people who get together and want to watch Halloween films. It's funny, it's scary, and it has some social commentary to it that, you know, you don't have to, like, get wrapped up in it and talk about it for hour and hours, but you can if you want to. I think that's sort of the. The wonderful thing about it. It's saying something more meaningful with. [00:44:43] Speaker B: But. [00:44:43] Speaker A: But again, presenting it through to you through the eyes of, like, a Hollywood horror film. [00:44:49] Speaker B: Yeah. [00:44:50] Speaker C: I mean, we're only seven months away from Halloween, so perfect time to get started, right? [00:44:57] Speaker A: You're not. No, dude, you're not wrong. Like, I'm already planning my Halloween cards. [00:45:03] Speaker B: But no, I'm not. I, like, in all in all serious, I do think that that one thing that holds up really well, and. And this is going to be debatable, perhaps, but I think the one thing that does hold up really well is the relationship between Leroy and fool. I think that. I think that Leroy Bing rhymes. Does something holds up. Yeah. [00:45:22] Speaker C: Okay. [00:45:22] Speaker A: Go, go, go. [00:45:23] Speaker C: I'm curious. Yeah, make the case. [00:45:25] Speaker B: I think that Bing rhymes does something with Leroy that it's the most stereotypical written character in the whole film, but he imbues it with that older brother mentality where it's like, yeah, big man, you ready to show yourself? This is how it works, you know? It's like that sink or swim kind of thing that happens between brothers. I just spent a weekend with my brothers, by the way. That's why I'm bringing this to the table. [00:45:51] Speaker A: Brothers who used to tie you down and force you to watch horror movies and scare the shit out of you. [00:45:57] Speaker B: I just remember. I just remember being. Being, you know, told, it's like, yeah, you want to do something? It's your time. Step up. Come on. Even at that age, like 13, being like, okay, I got to step up. And I just watched that relationship and I'm like, you know, as, as bad as, as stereotypical as they wrote that thing. God Bing rhymes delivers on being that I care about. Well, also be feeling like the big brother or the, the man in the neighborhood. Everybody kind of looks up to the, the honor and thieves, you know, kind of thing. It's like he's so. Well, he has no honor. [00:46:35] Speaker A: He has no honor. He is. He's a manipulative scumbag. But being Rheims innate charming, he's a bit. [00:46:47] Speaker C: No, but even character. [00:46:48] Speaker B: Yeah, but even at the end, when, even when he takes away the hiding spot from fool, he still says when he realizes, like, no, this shit's real. This is not even like a white dude with a gun. This is like crazy, weird shit. He's like, he kind of like, gives fool the, like, you gotta run. Go, go. It's like there is an element of that. I do. I think that at the end of the day, I think that we're, we are to believe that, that at his heart of hearts that Leroy let. Leroy is a good dude. [00:47:18] Speaker A: No, I can. Okay, I hear you. I will hear you. And this is why I will disagree with, agree with you on Leroy's end. Right. Leading up to this, right. He has done nothing but manipulate this young boy into helping him break into this place to steal things. Right now, right before this, everybody in that neighborhood. [00:47:40] Speaker B: Yeah, yeah, I hear you. [00:47:43] Speaker A: He is a creation of his environment to a certain extent, but he has no honor. Anyways, let me, like, get to what you were saying about his end. Fool gets shocked by the doorknob, right? [00:47:56] Speaker B: Sure. [00:47:56] Speaker A: And he does not help fool up. He tries to leave. Only after he cannot get out does he help fool get up. But he helps fool get up to be like, hey, listen, I'm going to. [00:48:07] Speaker C: Let me finish. [00:48:08] Speaker A: I'm going to hide behind this couch. You get the dog to look at you, and then I will, quote unquote, get the dog. Now, in Leroy's final moments, he does say, run, fool. Right? Which really is a terrible thing to say because he's giving away the fact that fool exists. Thankfully, a daddy and mommy don't realize that. I think that's Leroy selfishly, like, making himself feel better. I'm going to die now, and this is my final act. My noble act is to tell fool to run when in reality. I've been a piece of shit to this kid the entire time when I should have been mentoring him. I've been using and abusing him, and I. This is really a selfish, selfless act at the very end. [00:48:56] Speaker B: I disagree with you staunchly, because I think that Leroy grows up in a system that never allowed him to have any opportunities. So he thinks that his best foot forward for helping fool is explaining to fool that this ain't the life that you want. You can't be a doctor, you dumb 13 year old kid. Growing up the ghetto. You don't know what this world has for you. What you need to learn to do is you need to learn to be tough. You need to learn to be strong. You need to learn how to steal. You need to learn how. It's like, that's one thing, to take. [00:49:24] Speaker A: Someone under your wing and teach. Teach them how to be a thief. He's not doing that. He's just using fool. That's all he's doing. He's not. He's, like, going to teach you my trade because you have to steal to come up in this world. [00:49:39] Speaker B: But I think that that is spoken from. I think that what you're saying is valid, and I. And I agree with you. But what I'm saying is that if you want to teach somebody to be. To be independent and self sufficient, what do you do? Do you say, I'm going to constantly take care of you? [00:49:54] Speaker A: You throw them under the. [00:49:57] Speaker B: I'm telling you right now from my older brothers. I'm telling you now, you put that fucking kid on the fucking ice to see if it's. [00:50:03] Speaker A: To see if it will hold his weight. [00:50:05] Speaker B: And when he falls through the ice, you, as the older brothers know, you don't walk on that ice. Okay? [00:50:10] Speaker A: We turned into a psychology section. [00:50:16] Speaker C: Chris, please try this to me that last week, we talked about the burbs, and michelangelo seemingly had made up a different movie than what was on the screen. And now, mickey, you're doing. [00:50:32] Speaker A: Film. [00:50:32] Speaker B: He's the greatest man ever. [00:50:36] Speaker A: My comments on the birds are substantiated by the creators, where I have never heard anyone take this stance on leroy. I hear you, mickey. I do. I do think you're being a little too sympathetic to a person who. I think if he grew up with privilege, leroy, I think he'd still be a piece of shit. That's. That's what I get from leroy. But being rhymes is so charming and charismatic that you kind of like Leroy. I mean, he's got so many amazing lines. Maybe the president is going to make me the secretary of pussy. I mean, he says that to a kid. That's great. [00:51:17] Speaker B: I know. [00:51:18] Speaker A: And by the way, with Trump as our president, I could definitely see that as a thing that happens. [00:51:23] Speaker B: Yeah, that would be the secretary of pussy. [00:51:25] Speaker C: I was gonna say, I think. [00:51:27] Speaker B: Too old to get tit, too young to get ass. [00:51:30] Speaker C: A bit weird either way. [00:51:32] Speaker A: Fucked either way. It's such a crazy thing to say to a 13 year old. [00:51:37] Speaker B: I don't think so. I think this is. [00:51:38] Speaker A: What if you. There's. [00:51:40] Speaker B: Hold on. There's one more. [00:51:41] Speaker A: I done busted this house cherry. It opened right up. But I will say, as a 13. [00:51:52] Speaker B: Year old who's about. His mother is about to die, has no parents, and his only caregiver would be his sister. And his sister, if I am correct and saying, is turning tricks. Is that correct? She's turning tricks. [00:52:07] Speaker C: Leroy's statement makes it sound like she's a sex worker. Yeah. [00:52:09] Speaker B: Yeah. So I have to believe that Leroy's, like, preparing this kid for the hardest possible life because. Because, guys, it's like, I see baseball dads do this kind of shit to their sons over baseball. It's like they throw, you know, mean, it's like. It's. It's the equivalent of, like. Yeah, it does seem harsh to you, but to Leroy, this is, like. This is prepping this kid. Stop. You know, in the same way. You know, I'm just saying. [00:52:38] Speaker C: Steal the car. [00:52:42] Speaker A: That's how you become successful. Yeah, but, like, lay under this. The car while I get away. Yeah, well, we're just gonna. [00:52:53] Speaker C: I think, though, the point blank line in the film is fool says, do you think I could be a doctor one day? And Leroy says, yeah, doctor, a burglary. So, I mean, he's lowered, like, his ability down to like, yeah, no, you can only be a petty criminal. That's it. [00:53:12] Speaker B: Leroy, I. And I will tell you where I am emotionally and mentally in my life. I have a son, so. [00:53:19] Speaker C: Oh, here we go. [00:53:22] Speaker A: It's fucking bullshit relationship with the son. Just shoehorning that into every episode. [00:53:32] Speaker B: As the only parent here. [00:53:35] Speaker A: No, but my. [00:53:39] Speaker B: Wonderful son, a wonderful. He's doing track this year for the first time in his life, and he's running the hurdles. And. And when I. There's a. There's this running joke in my family, and it's not even joke. Just running thing in my family is that everybody's like, you know, Mickey was. He set a track record for the 110 meters high hurdles, and then he walked away from track forever. He could have been great. But he just walked away. Right? [00:54:05] Speaker A: Was this a Jerry Seinfeld situation? [00:54:09] Speaker B: No. [00:54:09] Speaker A: You choose not to run? [00:54:12] Speaker B: Well, well, I. Yeah, but. But my point is that his whole life, he's heard this story. Your dad was an amazing hurdle. Your dad's amazing hurdler. And then we go to track, and he signs up for the hurdles with his coach. It's like, I want to be a hurdler. And as he's doing it, you know, he's. He is. He is not doing. He's good, but he's not great, right. And. And he feels the pressure of being great at it. And one thing I noticed from him is like, he's like, he doesn't want people to bullshit him, right? He's like. Because me and Molly will be like, you are amazing. You're great. Your form is great. You're doing so good. My mom and my dad are like, oh, we just think you're just so wonderful out there. We think you're the best. And he gets frustrated. He's like, don't bullshit me. Tell me the truth. And the truth is, and I've told him this, too, I'm like, the truth is, I wasn't ever going to go to the Olympics to hurdle. I was good for, like, 9th grade for a season. You know, it's like, it's not that big a deal. I was like, don't stress over it. The truth is, you're not going to be a hurdler, dude. You're probably not going to run in the Olympics. If you were going to go even be collegiate hurdler, we would know this by now. And it's also not something you're passionate about. So why would you want to put all your focus on this, you know? And that little bit of honesty, like, totally, like, freed him, took all this pressure off of him to be something that he feels that, you know, people are putting on him. And you see something about, like, I don't know, there's an honesty about Leroy being like, dude, you're not born in that. That pedigree. You won't do that. I think that that bit of honesty makes me. Go ahead. He's. [00:55:44] Speaker A: He's manipulating the kid the entire time. Think about Mickey. You. If you were to take fool under your wing, if you were to be. [00:55:51] Speaker B: Born, you don't think that the mom and the sister are manipulating him as well, telling him that he could possibly be a daughter. [00:55:58] Speaker A: She does nothing. She's just dying in a bed. Okay, well, this is anybody who cares his head with his ideas, the sister doesn't manipulate him. The sister's, like, great with them. I'm like. I mean, giving a little too much honor to an unhonorable character. [00:56:13] Speaker B: I think you in that situation as Leroy, that what manipulates people that. That tell them they can do things, that. That the world is stacked against them, because then they feel like a total failure when they don't accomplish it. When it's like, it's nice to have somebody in the world be like, dude, we share this. This particular bond, and unfortunately, we're from the wrong place in the wrong time, and we got to figure a different way, you know, figure it out together. [00:56:38] Speaker A: And let me. Let me help you. [00:56:40] Speaker B: Yeah. [00:56:40] Speaker A: Reach. Achieve goals that maybe you didn't think were possible. Not trick you. [00:56:45] Speaker B: Listener. [00:56:46] Speaker A: Listener people and listeners like. Mickey. Mickey, would you. Would you listen? Listen to listeners. [00:56:55] Speaker B: Last thing I'm gonna say. [00:56:56] Speaker C: Last thing I'm gonna say. [00:56:57] Speaker A: It's the last thing I'm gonna say. Let's say, mickey, you're Leroy. And the scene where fool comes up and he thinks Leroy is dead because he's. [00:57:05] Speaker B: He. [00:57:05] Speaker A: But he's just listening to something in the vent, right? Would you make full stick his head into an area that you know to be dangerous, or would you risk it yourself? [00:57:18] Speaker B: Probably have full. [00:57:19] Speaker A: You're an honorable man. Leroy is not. That's all I'm saying, man. He's not a good guy. He is a terrible person. [00:57:27] Speaker B: You obviously know what the goal is. The goal is to get the gold to change their lives. In this case, they've all signed on to the same thing. [00:57:36] Speaker A: Do you think Leroy's going to get any gold? I think. [00:57:40] Speaker B: I think at the end of the day, they get it. I think he would. [00:57:42] Speaker C: I think he does. Thank you. [00:57:44] Speaker B: Thank you. [00:57:45] Speaker C: I'm kind of a little bit in between you guys in this. In that Leroy is a piece of shit, and he's definitely taking advantage of fool, but he's also not a complete, like, fucking asshole and would just screw, you know what I mean? Like, he would. I. I think my read on him is that he. [00:58:01] Speaker A: Well, he doesn't trust. [00:58:02] Speaker C: Right? [00:58:04] Speaker A: He doesn't trust Spencer, and I think he doesn't trust Spencer because a skull ring Michelangelo. [00:58:11] Speaker B: Spencer. Spencer gave me no reason to trust him. [00:58:14] Speaker A: But, like, I think that is. Is the storytelling me. Okay. This is what Leroy would do. That's why he's afraid Spencer's gonna do it. You know what I mean? No honor amongst thieves is talking about, though. [00:58:27] Speaker C: I mean, fool is there for the film. He's not there for any other reason. I mean, after the whole bear thing, you know, the bear scout act, to try to get the survey. [00:58:37] Speaker A: Yeah. [00:58:38] Speaker C: In a real world situation, he's done. He's gone. He's only there because of the film. So, I mean, like, you know what I mean? Like, it's a silly. [00:58:49] Speaker A: It's like, yeah, we're getting hung up on something here. [00:58:52] Speaker C: Yeah. You know, I mean, I want. [00:58:54] Speaker B: My last thing I'm going to say, and then I do think we move on is not to you or Chris, is to listener. Listener. Listen to notorious B I g's first album. Listen to Jay Z's first album. And you're going to get a good idea of what. What links you will go to and how you will go just to, like, you know, because at that place, to circumvent your. Your born right, you got to be a hustler. You got to be a little bit outside of, you know, outside of the norm. And I think that. That. That Bing rhames carries that character in a way where it's like, absolutely. He's gonna, like, put that kid's head and in the way of that thing. But it's also. It's like he's not concerned only for fool. He's concerned for anybody getting out of poverty. Right. It's like one of us is gonna make this shit. It doesn't care if it's 13, if it's fucking 22. He's like, one of us got to get ourselves out of poverty. [00:59:48] Speaker C: Listener. If you think Leroy was a good character, hashtag. [00:59:53] Speaker A: Leroy, Frank, Roy for life. [00:59:58] Speaker C: Pro Leroy. [01:00:00] Speaker A: Pro Leroy. I gotta say, I love the opening with the. The sister reading the tarot cards, the fool. I love that whole. The whole exchange about how he's got a. He's got a go, basically, through the fire and how it's gonna burn up the boy part of him set up, and that he's actually what you're gonna see, but not the stupid kind. Just. Just like, ignorant. [01:00:27] Speaker B: Yeah. [01:00:29] Speaker A: And that we're introduced, the first time we see fool, he's reading, which, I don't know if you guys feel this, but, like, whenever it's so interesting cinematically, when you see someone reading, it says a lot and it looks interesting, but whenever you see someone watching television, it's. It always. For me, personally, I don't know if you guys share this feeling, but whenever I'm watching someone watch television, I'm like, what are you doing with your life? This is such a dumb thing to be doing. And then I'm like, well, I'm doing that right now, and I do it well. [01:01:02] Speaker B: I. [01:01:02] Speaker A: Like, I don't know if that's, like, a self hatred thing. [01:01:08] Speaker B: I feel that watching tv for a kid in a film is shorthand for, you have. You're not getting attention. Latchkey kid raised by television, you're not getting attention. The parents are so busy that, you know, it's like Carol Ann and, you know, it's like you're not being fully ignored, but it's like they're using this as a babysitter. [01:01:31] Speaker C: I mean, I think it's all about the context of the film, though, right? Like, I think that, to your point, Michelangelo, the shorthand for a lot of things is that sometimes character watching films or tv's a dummy, and then the character reading a book. [01:01:41] Speaker B: Reading is. [01:01:43] Speaker A: Yeah, often a bad guy watches cartoons. Right. And a lot of, like, the films we grew up with. Yeah. Anyways, like, I love the fairy tale sort of, like, opening to this. That sort of really sets up exactly what's gonna happen. And I love that. It's like you can't escape your destiny. You know what I mean? Even if you know that you have to go through something difficult, you will not understand how difficult it's going to be until you're. Until you're in it. [01:02:16] Speaker C: I mean, to that point, too, right? Love. Like, Leroy and his care, you know, his introduction is that he's the person who's telling all these, like, cold, hard truths of, like, you know, life and, like, the life the fool has and life that they all have, right? Of, like, you know, like being forced, kind of talking about gentrification and not having any mother dying, and then immediately. Then jumps into, I've got a treasure map. [01:02:37] Speaker A: It does. I mean, like, he. It's some harsh reality he gives the kid. And I think at the. At that point in the film, you are on the fence about him because it's like, yo, you're not gonna go to medical school. You can't afford your rent, and your mom has something that's curable, but you're poor, so no one's gonna take care of it. [01:02:58] Speaker B: You know what I mean? [01:02:59] Speaker A: And that way it's a quick, quick. [01:03:00] Speaker B: Shout out to modern sister. [01:03:01] Speaker A: But I just wanted a quick shout out to my sister who works for the american cancer society. And that's, like, what she does is, like, helps people who wouldn't have the need and the helps and the aids that they need in order to, you know, get over having cancer in the treatments. But what were you gonna say, mickey. [01:03:20] Speaker B: Oh, just saying it is, like, in that way, like a modern day fairy tale, right? It's like. [01:03:25] Speaker C: Oh, absolutely. [01:03:26] Speaker B: Yeah. It's like, that's the. It's like we found a way out. Right? It's. It's so. It's palpable because it's like it. Again, like I say, even today, you look at people in situations that, you know, um. Yeah, it's hard. It's hard to get to the next class. It's like, how do you do that? You kind of have to kind of hustle and, you know, the american dream is kind of. Sometimes it's a little bit of a manipulation as well, you know? [01:03:55] Speaker A: Oh, for sure. The american dream crushes people. People never get over it. You know what I mean? [01:04:00] Speaker B: Yeah. It's. It's. It's. [01:04:02] Speaker A: It's, at many times, uh, unrealistic ideals and goals. Right. We're like the era we grew up with in America. We were told, you can be anything you want to be. You just have to work hard and put your mind to it. And it's like, that's not true. It's not like, technically, you can. You have a lot of opportunities afforded to you to, you know, depending on certain circumstances, but you really. You can't be anything. Like, no matter how hard I try, I'll never. I would never have been an astronaut. I'm legally blind in one eye, and I'm colorblind. I would never have been allowed to fly a plane. [01:04:45] Speaker B: That's not the only reason you wouldn't be one. I mean, it's making that very clear. Yeah. [01:04:50] Speaker A: I'm also very stupid. I could barely. I could barely. I can't believe I'm allowed to drive a car. Really? [01:04:58] Speaker B: Like, the fact you said astronaut correctly was. I was like, yay. Whoa, whoa. [01:05:04] Speaker A: I was surprised, actually. I think I've had. I've had just enough beers just to get, like. I mean, I like. You know what I mean? Like, it's like, you know. [01:05:12] Speaker B: But. No, but the same for me, right? It's like I grew up and you joked about the magic McConaughey thing earlier, but it's like, I grew up believing, like, my mom and dad and, like, my people around me. Like, you're going to be just like that Matthew McConaughey when you get up to New York City. You're gonna be just. You're so cute. You're so. You're gonna do so well. And then they get up there, and most of the teachers are. Their hard reality is, like, you better learn how to do a hispanic accent, because nobody's casting you for Matthew McConaughey roles. Nobody. It's like, you can't play Romeo even though he was italian. It's like, you can't play Romeo because you're not, you know, like, you don't fit their hair. Yeah. And it's that reality that was like, oh, shit. The world doesn't work in, like, you know, but I want this thing. Yeah, but the world's not built for you to have this thing. And I think that's where I'm probably overly giving, you know, leroy too much credit. But it's like. It is that thing where it's like, a little bit of honesty and a little bit of reality is great in this world because a lot of us don't want to do that. We just want to, like, you know, we want to ignore the reality for what is, you know, like you said, the american dream. [01:06:27] Speaker A: Speaking of, like, having to deal with, like, how the world accepts you, like, as far as casting goes, Everett McGill and Wendy Robbie, they are. Whenever you see interviews with them, they're, like, the nicest, most generous, wonderful people. And, like, they've had careers playing insane fucking nutsos. [01:06:50] Speaker B: I know. I love it. I love it. [01:06:52] Speaker A: Everett McGill, by the way, would have made a fantastic, like, Batman or Superman, in my opinion. His just, like, he's built like a triangle. He's got these super wide shoulders and this little tiny waist. And he's real tall and lanky. I think maybe. Maybe more of a Batman because he does, like, kind of look like a bit darker. I would have liked to have seen a world in which Everett McGill played, like, Batman or something. [01:07:21] Speaker B: Hmm. [01:07:23] Speaker C: I didn't see that. Didn't think of that. Go on. [01:07:26] Speaker B: Have you ever seen the film villains with Kira Sedgwick? [01:07:29] Speaker A: No, I don't believe I have, no. [01:07:33] Speaker B: Well, it's. It's. It's very similar to this film. And, um. Uh, I can't remember who the lead in it is, but he's doing, uh. He is copying Everett McGill to a t and not doing as good a job as Everett McGill, but obviously very inspired by. And. And it's fascinating to watch because it's a pretty good film, but it's like, you can see that, like, Everett McGill's presence has created kind of like a. Like, it's a. Be an interesting actor choice to choose him as your inspiration for a character, because he. He does have something that he demands every bit of the scene that he's in, whether he's saying something or not. Just his presence is incredible. [01:08:17] Speaker A: You know who else has an amazing presence in this is Brandon Adams. Man, they really lucked out with him for sure. Oh my gosh. [01:08:24] Speaker C: Good child actor. [01:08:25] Speaker B: Yeah. Giving all that like outer career. Yeah, right. He has to contextualize so much for the film. Just like talking out loud, you know, like, you know, you don't talk like when you have, when you're speaking your inner monologue. But he pulls it off and that's a really hard thing to do. And obviously I love him for mighty ducks and sandlot. Mm hmm. Yeah. [01:08:47] Speaker A: Hey, fuzzball, your mama sleeps with cats. He fucking sells that line. It's fucking hilarious. Yeah, it's so silly. But again, it's like this is like it. This is movie is operating on kid logic. You know what I mean? If there was a treasure, these evil people. And you know, it's like you. Your father is one bad mother. Your mother is one bad mother. And like how he, yeah, he's doing that, it's a very hard thing to pull off the, I'm going to talk out loud so the audience knows what's happening. But like he's constantly like full has, his instincts are spot on, you know? You know, he takes care of the dog, right. He knows it's a bad idea to go in the house. He know it's a bad idea to go into the basement. Right? He, like vingrang goes upstairs, the complete opposite direction of the treasure, right? He goes to the basement and he wants to leave. He's like, this is stupid. But then he's like, um, you know, he was calling me a fucking pussy. So I guess I gotta go down here and do this thing. Especially since like everything's writing on this, right? [01:09:58] Speaker B: And he stays talking out loud to himself. Yeah. It's so good. [01:10:02] Speaker A: It does. It works. [01:10:03] Speaker B: That's a hard met is a hard thing to do. [01:10:07] Speaker A: Now what? Like, first of all, alice really makes a fast doll, right? Because that Spencer doll is like how, what do you think happened with, speaking of, how long was he in there. [01:10:21] Speaker C: Is, well, it's like, I mean I, there is like don't just take. [01:10:26] Speaker A: Yeah, don't, don't, don't put anything under a microscope because it doesn't work. No, but like what do you think happens with Spencer? Because like how did he get to the basement? He got the gold coin. But then like, like he got scared. Like he did the classic he got scared to death. Scared to death. [01:10:48] Speaker C: But I mean, that doesn't really turn signs. I mean, like he would have had to have been murdered. [01:10:53] Speaker B: Yeah. [01:10:54] Speaker C: Mommy or woman clearly suspects him the second she lets him in the house. She's not just gonna let him get scared to death. There's something else there. They just don't say it. And it's kind of a shame, I guess. [01:11:05] Speaker A: She leads him downstairs as a trap, and then he gets scared to death. But, like, how does he get the coin? [01:11:12] Speaker C: By what, the people who stairs be like. [01:11:14] Speaker A: No, no, no. [01:11:14] Speaker B: But they have. [01:11:17] Speaker A: They have. [01:11:17] Speaker B: They have some kind of, like, map to the gold coin, right? So it's like he's coming into. [01:11:22] Speaker C: But that never comes up again. [01:11:24] Speaker B: I know. [01:11:26] Speaker C: Never comes up again. [01:11:27] Speaker B: He's there to inspect the house. She lets him in. I think that he walks himself to the basement, and then they, you know, trigger their traps, and then I think that's how that happens. [01:11:38] Speaker A: I think she knows. [01:11:39] Speaker B: Yes. [01:11:39] Speaker A: Like, obviously she knows. Like, okay, I'm gonna. I'm gonna kill this guy. And he's gonna be food. [01:11:46] Speaker B: Yeah. [01:11:47] Speaker A: For sure, the moment she lets him in. Yeah. [01:11:52] Speaker C: But then what? Actually kills him? Yeah. How does Spencer die? [01:11:57] Speaker A: Yeah, well, I guess he's. I don't know how he gets the gold coin, but, yeah, maybe he does get to the room. He grabs the coin, he's going back out to the van to be like, guys, it's here. See? But then, like, he gets caught by the people under the stairs. It does. Also, though, I will say another, put things under a microscope we shouldn't do. But, like, the people under the stairs wouldn't have flashlights. Their eyes are fully dilated, right? So they're so used to the dark. So it makes sense that roach would have a flashlight to sort of, like, scare off. And the people under the stairs don't. Like, I could see them taking the flashlights. I could see mommy and Daddy giving them flashlights, thinking that they were helping, but it doesn't help them, but them using it to scare people or blind people in order to catch them and kill them. But that's me doing a lot of work for the film, which is fine. It's fine. [01:12:53] Speaker C: Yeah, it's fine. [01:12:54] Speaker B: It's. [01:12:55] Speaker C: Yeah, it's hilarious. Because why would you get it? Yeah. [01:12:59] Speaker A: And full becomes. Go ahead. I'm sorry. [01:13:04] Speaker C: I was gonna say maybe it falls into the whole, you know, man, I don't know. See no evil, hear no evil or something like that. And that's part of it. Giving them a flashlight so they can't see the evil? I don't know. [01:13:16] Speaker B: That doesn't make sense. [01:13:17] Speaker A: What you just said, why would you give someone a flashlight if you don't want them to see evil? [01:13:25] Speaker C: Well, what comes out of evil? The darkness. If you put the light on it, then evil can't come out. [01:13:31] Speaker A: Yeah, but they're evil incarnate. They're eating people. I don't think they are evil incarnate. [01:13:39] Speaker B: No, they're not evil. No, they're not evil incarnate. You cannot make somebody who was. [01:13:43] Speaker A: Oh, you're gonna take, are you? Take mommy and daddy's side now. [01:13:46] Speaker B: No, not my daddies. I'm saying. No, no. I'm saying that the people in their stairs are not evil incarnate. [01:13:51] Speaker A: Oh, no. [01:13:51] Speaker C: Well, even isn't, isn't that mommy and daddy's philosophy, though, is that they've. [01:13:56] Speaker A: Yeah, that's mom and daddy. Oh, mommy, daddy are evil incarnate. [01:14:00] Speaker C: Well, no, no, no, but that they have, that he has cut out the evil. The evil being the, them speaking out or whatever. And now they have to live under the stairs. So they've been, they're not evil incarnate because they've been cut. That part has been cut out. [01:14:13] Speaker A: But it's like the evil is their acts, I guess. What they're doing, what mommy and daddy are doing is evil. So don't speak it, don't see it, don't hear it, you know what I mean? Like, keep it under wraps. Don't talk about it. You know what I mean? Because that's, that's something Wes craven talks about in an interview with Fangoria about this. Just of, like, he grew up in a very, like, religious, suburban, white neighborhood, and, like, like nothing was ever talked about. We had a fight. No, we didn't. Yeah. So, so it's like, I guess that's, that's what, that's what they're talking about, is like, they're not pure. They just, they, you know, you can't see yourself as honorable, I guess if you talk about the atrocities you commit. I don't know. I don't know. [01:15:04] Speaker B: Well, it's also, it's also a matter of, like, I think that, that if we're trying to go this deep with this film, that mommy and daddy, as long as it's not seen, heard. Right. Or spoke about. Or spoken about. Yeah. Then it's not real. And I think that's the suburban Oya, right. It's like, it's like a kid going to school whose dad is, like, sexually abusing her or that is like beating, you know, his mom or whatever. As long as I don't speak about it. As long as I don't see it or as long as I don't hear it, then, you know, it's like it doesn't exist. And I think that's more of the suburban way of it all. It's like, you know, mommy and daddy think that, you know, if they can, you know, keep people away from what they're doing, then it's not real, you know? And I think that's very true of suburban life, period. It's like, you know, it's exactly what suburban the burbs was, you know, talking about. It's like the burbs had an element of like, well, we're right, they're wrong, even though you're doing all the bad stuff. Right. But you're not speaking of it that way. You're not seeing it because you're just blind to it because of your own biases. And you're also not hearing it because you're so inundated with your own bullshit. Right. It's like you can't, you know, the reality you can't even seep in. Now, the problem with the burbs is that they end up being the heroes, which we already talked about, agnosium. But this film does a good job about, like, pointing out, you know, how that, yeah. Is. Is traversed actually in reality. [01:16:44] Speaker A: Where do you think this movie is set? [01:16:48] Speaker C: Yeah, man, that's a good question because. [01:16:50] Speaker A: Full mentions Everett being the size of Detroit, of, like, a suburb outside of Detroit. [01:16:58] Speaker C: Doesn't really give you that. [01:16:59] Speaker A: Is that what's supposed to be? Well, of course. I mean, this goes to the problem of, like, so many California as an adult, right? But as a kid, there were so many movies like Teen Wolf, which we've discussed, and so many movies, like, you know, that are, like, shot in LA, but it's supposed to be the Midwest somewhere, right? And it's, like, painfully obvious to us as adults now, but it's like, I. Is this supposed to be Michigan? [01:17:27] Speaker C: I feel like. It's like. I feel like it's not supposed to be a real american city, you know what I mean? Because, like, you know, like, whenever. Whenever fool and Alice are looking out the window and it's like, almost like Alice's first time, you know, getting fresh air. Almost. Fool says the thing of, like, I can even smell the smog, the ghetto from here, and I can smell the smog, you know, that type of thing. Like, it's that close. And it's close enough that all the community people come to the door as well. So it's like, it's some sort of weird little enclave y. It's not really even a suburb. Some sort of enclave y, like, more wealthy area that sits next to a lower income, more slummy area. You know what I mean? That, like, I obviously, I don't know of an american city that's quite like that. [01:18:14] Speaker B: So. [01:18:15] Speaker A: Well, I so, like, Kansas City, for instance. Chris, my grandparents had a house in an area that used to be, like, a really nice suburb. And then, like, you know, it's like, oh, immigrants move to this area, and it's a nice neighborhood, and now, uh, oh, black people are moving in. We have to leave now. And that neighborhood. Yeah, white flight. And then, like, then the. My. My grandparents grew up. Not grew up, but like, I grew up going to my grandparents house that was like, this used to be a really nice neighborhood, and now it's not such a nice neighborhood. And it doesn't have to do with the fact that these people are black. It has to do with the fact that people who are in poverty, who can't upkeep their. The house that they've bought, like. Like, the. The neighborhood starts to crumble as a result of, like, property values going down and people just, like, with low incomes, not being able to, uh, afford things. [01:19:17] Speaker C: Yeah, I mean, I hear you on that. [01:19:19] Speaker B: That's not actually what happened. [01:19:21] Speaker C: Yeah, I think, yeah. [01:19:25] Speaker B: Yeah. Pittsburgh specifically has the same issue, but it wasn't that the people moved in and weren't able to upkeep their thing. It was that the people that had the tax money, the revenue, and the ability left, leaving that neighborhood property value. [01:19:39] Speaker A: Exactly. [01:19:40] Speaker B: Desperately. It's the fact that we were supposed to help each other, and one group decided not to help. Right. One decided, like, I don't want to help bring you up because you're just bringing me down. The idea was that we're supposed to help each other reach an equality, right, an equilibrium. But the equilibrium never was accomplished, because one group decided, I can afford to live wherever the fuck I want, and I don't want to have your kind here because you, you know, bring it down. And what happens when that happens is that, yes, property values do go down. But the initial pioneers, the black families, the muslim families, the hispanic families that moved in, pioneering in there, were absolutely 100% willing to keep that neighborhood as clean, as wonderful, as great as can be. But once the great migration happened from these, you know, upper middle class families, they left a vacancy that had to be filled. And that vacancy might have been filled by people that were taking an opportunity that weren't financially able to actually do what they were being asked to do. So it's like, yes, there is there, I mean, the great. Now again, listener, go look up this neighborhood called Wilkinsburg in Pennsylvania. But it happened to this neighborhood where it was the, the most prominent. It had mansions, it was run by still barons. It was a beautiful, you know, part of Pittsburgh. And then as soon as the community was like, hey, we're going to try to bridge yourself with this other, you know, black community. The black community started moving in. It didn't even have anything to do with property values. Just white people were scared that black people moving to their neighborhoods. They moved out. And also all the property started failing. And not just for the white houses, but for the black houses, too. This was their, this is our springboard into a better life. And it was ripped away from them because the people that were required to stay and keep that left, devaluing the entire operation, leaving everybody who thought this was going to work, this, this, you know, I can't remember the name of it, but. Yeah, but it, it, look it up. I don't want to get too deep into this. I think this is like derailing the podcast, actually. I think. [01:21:54] Speaker A: I think that's where we find the neighborhood that we're in is like, used to be a nice neighborhood, now it's gone downhill. And instead of like helping, like putting money into the neighborhood to raise up the community, it's push out all these people and rebuild like a new society, better society. [01:22:14] Speaker B: Right. [01:22:14] Speaker C: I guess that's what I was trying to get to is just that from the layout of the film, though, I don't know of an american city that quite has like, that sprawling housing that is like where mommy and daddy live. That's like more like nice and that type of thing next to something that's so close to like tenant housing in which then like, you know, it's the, the windows boarded up and the, the dogs fighting in the lobby of the building. [01:22:41] Speaker A: It's a bit of an exaggeration. [01:22:43] Speaker C: That's what I'm saying. Original question, like, it doesn't feel like it's actually like a real american city so much is more as like it's, it's a dialogue that is synonymous for what happens in a lot of cities and a lot of what mommy daddy does than witches. Right? Like, I mean, what they describe as gentrification. You know what I mean? [01:23:01] Speaker B: Really? [01:23:01] Speaker C: Before it was really talked about, I don't think gentrification was a phrase was thrown around in the late eighties, early nineties? [01:23:06] Speaker A: I don't think so. No. [01:23:07] Speaker B: Yeah. [01:23:07] Speaker C: And that was something that distinctly. It's like, oh, yeah, we want you out so we can turn that building into nice condominiums where nice, clean people live. But also too, more importantly, probably even from a modern sense, it's not really so much about the color of skin, but so much as getting more money out of it. I mean, look what's happening, which I. [01:23:26] Speaker B: Think is apropos of the whole thing. Right. It's why it felt, it felt timeless when watching it. It felt a little bit more like, you know, at some point, if, if the races were to change and like, all of a sudden, like every Hispanic, and I'm using Hispanic because I am one, but every Hispanic now owns the majority of property and they have the wealth in this country. It's like they're the ones, you know, probably gonna, you know, they're gonna marginalize another group in order to make more money. At the end of the day, it's like, it's. It's not just about race. It's about corporate greed. It's about, you know, what can I take advantage of? Yeah, what can I manipulate? [01:24:04] Speaker C: It's not Leroy. [01:24:05] Speaker B: Leroy is manipulating fool to make money. It is the. Sure it is the underlying theme of the film. Everybody is out to get what resources we have. And this is why we as a society struggle because we have finite resources and everybody's struggling for the same one because we don't put value on anything other than fucking money. [01:24:28] Speaker C: I will say yes and no. And the no is the end of the film in which then distinctly, it's like, I love that scene. Mommy facing off against like Kelly Joe Mentor, Ruby Williams at the doorway saying, oh, what community. And then everyone comes pouring out and about how power of community can override everything. You know, that type of thing. So in that regard, that is a situation. I mean, to your point, yes, I completely agree that, you know, the film is definitely about that greed and getting over, but then that is kind of a great example there at the end about. [01:25:00] Speaker B: No, no, you're right. [01:25:01] Speaker C: Override that. [01:25:02] Speaker B: Yeah, I do agree. I do agree that that's a beautiful moment. [01:25:07] Speaker A: And I don't know if we've mentioned this, but like mommy and daddy do live in like an old funeral home. And I don't know if you've ever seen like old funeral houses in, in New York. You will like, they could there. There will be neighborhoods can, that are really bad. And then you will see like this sprawling mansion type of house that is a funeral home. Like, they're, like, huge. [01:25:31] Speaker C: They have rooms with, like. Like, partial, like, tombstones and a whole bunch of dead flowers in it. [01:25:38] Speaker A: Oh, yeah, of course. Of course. I want to know who. I want to know who installed their security system, because that is quite a security. [01:25:48] Speaker B: Yeah, yeah, yeah. [01:25:50] Speaker A: Kevin is one thing. I could see. I could see Daddy rigging that stuff up. But, like, the. They have a sophisticated security system where they can flip switches and, like, everything shuts. And that's diy. That, right? I mean, that's crazy. [01:26:05] Speaker B: I know. [01:26:06] Speaker C: Yeah. [01:26:07] Speaker B: Good. [01:26:07] Speaker C: If you're crazy enough and have the ability. [01:26:13] Speaker A: That brings up a good question. Is Everett McGill, Wendy Robbie. Crazy enough in this movie? Are they crazy enough? [01:26:21] Speaker C: Yeah, I think. I think so. [01:26:32] Speaker A: We haven't talked about Roach. Go ahead. [01:26:35] Speaker B: Go ahead. No, the only way that they could be crazier is if they were completely grounded. And then it would be like, yes. That's really, truly terrifying. [01:26:45] Speaker A: That would be truly terrifying. [01:26:47] Speaker B: Yeah. [01:26:47] Speaker A: Yeah. Let's talk about Roach real quick. [01:26:51] Speaker B: Sean Wayland, I thought about you and Roach showed up. Why? [01:26:56] Speaker C: Okay. [01:26:57] Speaker B: I thought. I was like, this is a tailor made part for you. I would have loved for you to play. [01:27:06] Speaker A: I do. [01:27:07] Speaker C: I think you. [01:27:10] Speaker B: Well, I think you would have brought something a little more, like, deep to broach than what he did. I'm actually saying put down great. [01:27:18] Speaker A: But I. [01:27:19] Speaker B: But I thought about it when I saw him. I was. I was like, oh, man, Michelangelo would crush this role. [01:27:23] Speaker A: I really would love a party like that. That would be great. No, I. I think you would make great film. [01:27:30] Speaker B: Elevate it to, like, even more. Like. Like, they'd be like, oh, my God, that guy who played Roach so good. Because you would have. You would have given what. What I think that they gave what? Roach was almost. He was almost comical. I think it would have given him more heart. And I actually do think it would have played better had he had a little bit more heart and less, like. I don't know. It's like. Not that I didn't feel for Roach. And the actor's a good actor. And, you know, it's always said in Philadelphia, it's like, there's so many reasons why I like him. [01:28:01] Speaker A: He's a McBoyle on, always sunny. [01:28:03] Speaker B: Yeah, yeah. [01:28:06] Speaker C: He's one of those, like. He's a character actor. Before I really knew what a character actor was. [01:28:10] Speaker B: Right. [01:28:10] Speaker C: I remember so much growing up. [01:28:13] Speaker A: Do you remember them? The peanut butter commercial he was in? Or it was a milk commercial where he cannot speak. Just like in this part. So there was a milk sandwich, and he gets a phone call and he, like. He works at the arab burn. It's like a museum. Yeah. It's a radio call in thing. And, like, it's like, can't say Aaron Burr and he would win, like, the big prize. And he can't say it because if he had a glass of milk, he could wash down the peanut butter and everything be okay. That's a great interesting. It's interesting that, like, he lives in my life as this guy who couldn't talk, you know? [01:28:56] Speaker B: Well, no, no. Imagine DiCaprio at, like, young DiCaprio playing roach. Oh. [01:29:04] Speaker A: I mean, Alice would have fucking been banging roach then. [01:29:07] Speaker B: Well, do you honestly think that young DiCaprio would have played a roach? And regardless of DiCaprio's weirdness, but would have played a roach where you're like, this. This movie's been elevated. [01:29:19] Speaker A: He was wonderful and everything. Of course. [01:29:21] Speaker B: Yeah. [01:29:23] Speaker A: He was in critters three. He was in critters three. He was fantastic in critters three, you know? But I love that roach looks like, of, like, some sort of demented version of ash from army of Darkness. Like, he's got, like, he's got that thing on his back that looks like it's supposed to holster a shotgun. [01:29:45] Speaker C: Yeah. [01:29:45] Speaker A: You know, he's got. I think it's supposed to be. It's supposed to have a soul in it. [01:29:51] Speaker C: Maybe our song. Okay. You know, he has a slingshot. [01:29:55] Speaker A: He definitely has a slingshot. [01:29:57] Speaker B: Can I ask a question? Did ever McGill mention at some point he called him the bear trapper? Was that a thing? I thought I heard that memorial. [01:30:10] Speaker A: I don't remember. [01:30:11] Speaker B: But he called roach the Bear trapper. [01:30:16] Speaker A: I don't know. [01:30:17] Speaker C: He calls fool the. [01:30:19] Speaker B: The. [01:30:19] Speaker C: They call him the bear scout often. [01:30:21] Speaker A: Yeah. Like the boys outfit. [01:30:26] Speaker B: I don't know. I don't know. And I don't know going down. But I thought I heard that at one point. I was like, hmm, interesting choice for. Let's. [01:30:34] Speaker A: Let's. I want to talk about Prince. Prince was amazing. He was such a cute doggie dog. As an adult, I did not find him scary at all. I thought he was adorable. I thought the scene where, like, they trap prince and he goes sliding down the slide. That whole segment where, like, he punches Everett McGill in the nuts and hits him with the toilets. It punches the dog, punches Prince, and then dog, like, the grassroots pulls the thing. [01:31:04] Speaker B: Yeah. [01:31:04] Speaker A: It's total Looney tunes at that point, is. And the dog comes sliding out the oven is like, yeah, but then we all. When Prince dies, it's like, I was like. The look prince gives full is really heart wrenching. He gets stabbed by the bayonet. Right. And then he gives, kind of gives him this look. He tilts his head, like trying to. [01:31:30] Speaker C: Kill him a second ago, though. [01:31:33] Speaker A: But he's not, though. I mean, you know, he's easy. He's a dog in a movie. [01:31:39] Speaker C: Yes. This is all acting. You're right. This is all fictional. This is not a documentary. [01:31:44] Speaker A: This is not a documentary, Chris. [01:31:47] Speaker C: I think it's so funny that, like, back in the, like, I don't know if you guys have this experience. Not too, but like, eighties and nineties films. There was such a period of time, too, that, like, Rottweilers are like the scariest dogs. [01:31:57] Speaker B: Yeah. [01:31:58] Speaker C: You know. [01:31:59] Speaker B: Yeah. Rottweilers represented. Yeah. [01:32:01] Speaker C: And I don't know about you guys, but, like, I had then, like, an experience, and I was like, you know, like, I don't like 15 or 16 that with a Rottweiler. And they're like the most lovable dogs. [01:32:10] Speaker B: Yes. [01:32:10] Speaker C: One of the, like, affection. You know what I mean? It's just so funny. That's like, that's true of all dogs, really. It's all about, you know, whether or not they're. They're abused or brought up into a thing. They'll become terrible. [01:32:22] Speaker B: Trained properly, they're just right. Yeah. [01:32:25] Speaker C: Even if they're not really trained properly. Most dogs are well tempered and well meaning. [01:32:30] Speaker A: Doberman's can. Doberman's can be difficult if you're. If you're not providing them with everything they need. As far as their. I'm like a miniature Doberman. Yeah. [01:32:51] Speaker C: So I had a question for you guys. Do you think, okay, there's a scary ass dog, raw, let's say, or a bulldog, whatever. It's coming at you. You have a crowbar. Do you think you can take that dog out? [01:33:05] Speaker A: No. [01:33:06] Speaker B: Yes. [01:33:07] Speaker A: I hope. [01:33:09] Speaker B: Yeah. [01:33:09] Speaker A: It's a blind hope that I can blind hope. You gotta be. You gotta, like, swing and make contact. [01:33:16] Speaker B: At the right time. Like. [01:33:19] Speaker A: I have. [01:33:19] Speaker B: No, I've been attacked. I've been attacked by a dog and I've been. I've also really. Canines. Yeah. And I'm not. I. I'm telling you right now, they don't count. [01:33:28] Speaker A: You're in the middle a dog. You're like a killing machine. [01:33:33] Speaker B: I'm not a killing machine, but. But I have had a canine. I put. I got in a bite suit and let a canine come at me. [01:33:39] Speaker A: Really? [01:33:40] Speaker B: A couple times. Yeah. And it was for a video we were shooting for the military. But, um, I will tell you, it's like, I feel pretty confident. If I had a good. A good strong crowbar on me and I had a dog that wasn't highly trained, man, it's gonna be a fight. It's gonna be a good fight. And I think I could probably take him same. [01:34:02] Speaker C: I don't have your bite suit experience, but I still feel pretty confident. Like, I'm like, like, especially if it was like, you know, life or death. Like, like, I'll give you my arm to fuck up if I can, you know, take you out. [01:34:13] Speaker B: That's thing. Let him go. [01:34:16] Speaker C: Right? Just go for those eyes. For that fucking head. [01:34:21] Speaker B: Yeah, I mean, he's biting forearm. You're hitting skull, you know, probably hitting. [01:34:26] Speaker A: Yourself if he's biting your arm and then you bleed out. [01:34:30] Speaker B: No, no, trust me, you're. Your adrenaline. [01:34:34] Speaker A: Is this a cartoon world that you're in? [01:34:36] Speaker C: I'm like. [01:34:41] Speaker A: Hey, listen, I have no depth perception, so it would be difficult challenge for me to, like, strike the dog at the right time. I'm gonna. I'm gonna do a Mel Gibson lethal weapon approach to it where the dog. I'm gonna befriend that dog. [01:35:01] Speaker B: You're gonna do the. [01:35:02] Speaker C: Oh, yeah, yeah, yeah. The little hand thing. [01:35:06] Speaker B: Yep. Couple treats. [01:35:08] Speaker C: There you go. Best friends for life. Um, it is like, you know, that is one thing I kind of wish. I kind of wish that, uh, you know, I wish that prince and fool had. Had become allies. [01:35:22] Speaker A: Yeah, maybe that was gonna happen, right. [01:35:25] Speaker C: But it'd be nice. [01:35:27] Speaker A: Cards. And the cards at the beginning. Right? There's the dog that's like the companion. [01:35:32] Speaker B: Yeah. [01:35:33] Speaker A: Or I guess he's not the companion. But like, I was thinking maybe Prince would turn, you know. [01:35:39] Speaker B: Yeah. [01:35:41] Speaker A: Cuz the dog, unlike Leroy, the dog is like, literally a victim of its circumstance. It's only attacking people because of the fucking mommy and daddy. You know, if the dog had been raised right, it'd be a cool, fucking cool dog. [01:35:55] Speaker B: I like, I like that you were, you were saying you. You have empathy for the dog, but you have empathy. Yes. For the human being that was. [01:36:03] Speaker A: I'm not saying I don't have. I'm just saying Leroy's a piece of shit, that this is different. It's a dog. [01:36:11] Speaker B: You're, you're a. Leroy is a hero in groups. I'm saying it's like, it's like you're bending a lot of people. There's a lot of people that, that hold Leroy as like representative of a. Oh, yeah. So, yes, he's. [01:36:28] Speaker A: He's as honorable as Bill Cobb's character. Grandpa. No. [01:36:34] Speaker C: Yeah. [01:36:35] Speaker B: Cobb is a fantastic cops. [01:36:37] Speaker C: Anytime he makes an entrance in a film, you're like, fuck, yes. [01:36:39] Speaker A: You know, he's always enjoying. Um. Did you guys. Speaking of Leroy, did you guys have somebody like Leroy in your life? Like some older person who was, like, really fucking raw with you? [01:36:55] Speaker C: And that's hard because I'm very different what Leroy is. So that's gonna be very. [01:37:01] Speaker A: Yeah, Mickey definitely does. [01:37:04] Speaker B: We've. [01:37:05] Speaker A: We've delved into Mickey. We've delved into meme. Chris, did you have a Leroy in your life? [01:37:11] Speaker C: I know. Who does. [01:37:14] Speaker B: Good for you. [01:37:14] Speaker C: Well, I. From the. Straight. From the context of the film, I know no one liked that. No one that came into my life to tell me hard truths and then let me know they have a landlord's treasure map. [01:37:27] Speaker A: Did anyone ever do a tarot card reading for you? [01:37:31] Speaker C: Not until I was much older. I was in my twenties before that was like a thing. [01:37:35] Speaker B: Was it a good. [01:37:35] Speaker A: Was it a good experience? [01:37:38] Speaker C: It's fine. I don't know. I don't really give those things a ton of credence or whatever. I've done all the, you know, palm readings and all that. It's fine. It's fun. You do it like, as, like a fun thing with a group. It's not like something like, you know, I need to go do that to figure out what my next six months is gonna look like, you know, like, I don't believe that. [01:37:57] Speaker A: Mickey, have you ever had your cards read? [01:38:00] Speaker B: I've had my cards read, yeah. Multiple times. [01:38:02] Speaker A: And what, what was that? Multiple times? [01:38:04] Speaker B: What was. [01:38:05] Speaker A: What was that? Please tell us about it. [01:38:09] Speaker B: Each time I thought that I was getting information that was important, and then I realized it was a lot of bullshit. I don't believe in tarot card readings. I hate to put that out there to the world, but it's like the couple. I have a close friend who does that and please deeply in it. And when she does our tarot cards, I'm always like, you don't have a clue. This is not. It's like. It's like you had me for about 15 minutes and now I'm like, this is not. You're. You're going way off the deep end. But, uh. But I do want to mention that I've had Leroy's in my life, and I consider my oldest brother Leroy. And I also can consider one of my friends growing up. Michael, you know, your name but one of my buddies in 8th grade, he was a completely Roy. And as much as I hate to even say it, and I hope I don't get charged for this, I used to still bicycles in 8th grade, and I would still. Oh, yeah, I would steal people's bicycles off the front lawn. And then we would give them. Yeah, and we'd give them to Michael's cousin. And Michael's cousin would, like, chop them up and give us money. And the reason why this particular person was telling me to be this way was he said, dude, he's like, he's like, I know that you got white parents. I know that you're like, I know you. I know what you feel like, but you're not that. He's like, you're a hispanic dude growing up in Texas. He's like, you better learn to do more than just, like, live on your name. And I was like, wow. These guys brought in my mind. He was the first person to introduce me to the film blood and blood out. [01:39:38] Speaker A: And I was like, yeah, but I watched that recently, man. That's a fucking. That's a movie. [01:39:45] Speaker B: Yeah. And I was. I was like, damn, man, you're brought in my mind. He's like, he's a he. But he was the one that was like, he's like, don't be scared to be Mickey. To be. It's like, my name is Mickey, but my original name was Miguel. He's like, don't be scared to be Miguel, man. Sometimes you gotta be Miguel. And I was like, yeah, okay. It was the first person in my life that ever, like, just kind of saw that part of me. And, uh. And so that was my Leroy when I was, like, in 8th grade. And then I never got somebody like that again until I moved to New York City. So I was like, you know, so it was. It was very important to me to have somebody in my life be like, yeah, you're living in a fairy tale a little bit, man. He's like, the reality of it is, like, you're gonna have some, like, heartache that's gonna hurt you. So he gave me a little bit of armor that I needed that a lot of people look back on and be like, that dude was just kind of having you steal bikes. And I'm like, yeah, maybe, maybe. But he also gave me. He gave me the first insight into, like, what racial inequality is and, like, how the world's not gonna always see me the way that I see myself. [01:40:44] Speaker A: Your defensive Leroy makes a lot of sense right now. If you go back go back and listen to what we were doing earlier. And this context gives me, like, this totally makes sense that, like, this is. [01:40:59] Speaker B: This is. [01:41:00] Speaker A: Yes. Yeah, this makes a lot of sense, Mickey. And this guy sounds worlds better than the Leroy in this film, just so you know. Sure. [01:41:13] Speaker B: No. [01:41:17] Speaker A: I once had my cards read. I don't give a lot of stock into that, but I do believe that there are people who are very intuitive, and I think that's how those cards work. [01:41:26] Speaker B: Right. [01:41:26] Speaker A: Is people with good intuition use these cards to springboard ideas and concepts off of how they. What energies they're getting from you. But the guy who did my reading, I was working on a short film in upstate New York, and he was the sound guy. And like, it was like late one night by a roaring fire, he wanted to do my. He was like, have you ever had your cards read? And I was like, no. And he's like, well, I do it. And I was very excited by it because I was like, oh, I've never had this done. And he seems like he knows what he's talking about. And it was like one of those readings where it was like, you are terrible at reading people. You're taking small bits of information you've learned from me and you're expanding is. [01:42:19] Speaker C: True and putting it on you. [01:42:21] Speaker A: Yeah. And it's like you have terrible. Like, there are people who can do that and they really have really good intuition and they can really capture something about you. And, like, you. You lead you to believe that maybe they have some authority, right? And like, this guy was so fucking far off, it was like, laughable. Cut to. Cut to. We're done shooting the film. All of the sound was not recorded properly and, like, almost completely unusable. He was just like, just like, not good at any of the things that he was doing. I'm sure he's good at something, but yeah, that was my experience with the tarot cards. Have interim look. Go ahead. [01:43:11] Speaker B: I should say. [01:43:12] Speaker C: I mean, one time I had my cards read, and it turned out that Cal Ripken Junior had 98 RBI's in 1992. That's a baseball card. Go. Very good on that one. [01:43:29] Speaker A: Didn't get it. I didn't get it. [01:43:33] Speaker C: I tried going, I'm not. [01:43:35] Speaker A: I'm not a baseball guy, okay? I'm a horror movie guy. Okay. If you had, like, my x. My X Men card, you know, I had the car, the ex cards with. [01:43:47] Speaker C: The staff, X Men 97, yet. [01:43:51] Speaker B: I want you so bad. [01:43:52] Speaker A: What that. Let's not. Let's move. [01:43:58] Speaker B: You were so happy to meander on tarot cards, but you don't want to, like, talk about. [01:44:03] Speaker A: It's related to the movie. It's related. Starts out. It's a. [01:44:10] Speaker B: It's. It's. It's. [01:44:11] Speaker A: It's, you know. [01:44:12] Speaker C: Speaking of which. [01:44:16] Speaker A: Any of you guys electrocuted? [01:44:17] Speaker B: No. [01:44:17] Speaker A: Yes. [01:44:18] Speaker B: You know, I have been, actually. Yes, I have been. I. Yeah, I have been. [01:44:21] Speaker A: What was that like? [01:44:22] Speaker B: Yeah, so I was in, um. I know I lived in Kilgore, so it was probably 6th grade. I know I was a new guitarist because I just got my first, like, acoustic guitar, and I had those brass, you know, strings for the year, low, like, ead strings or, like, those brass. Anyway, and I was, like, wobbling one around while I was replacing it, and I was wobbling it, and I just was, like, watching it flap in front of me, and there was an outlet right in front of me, and I was like, I'm just gonna see what happens if I wobble this brass into the salad. [01:44:56] Speaker C: Oh, my God. [01:44:57] Speaker B: I'm like, I am telling you right now, I had no. There was no reason to do it. It was just, like, pure curiosity. I was like. So I, like, wobbled. It kept wobbling. I was like, could I hit it? [01:45:09] Speaker C: I was like, whoa. [01:45:12] Speaker B: And it goes right into the socket, and it shoots out, and my hand goes like this. Like, there's, like, black soot on my fingers. I'm like. And I felt, like, a little bit of just a charge go through me. Yeah, but I was fine. And I went into my parents and I walked out to him, and I was, like, kind of a little bit dazed, but I was, like, showing my fingers. Like, my guitar string got in the electrical outlet, and I'm okay. [01:45:35] Speaker A: It just got, like. [01:45:36] Speaker B: It just. [01:45:37] Speaker A: I don't. [01:45:37] Speaker B: How did your guitar string get in the electrical outlet? I was like. It just fell right in there when it was in my hand. And you could tell my dad was like, you freaking dummy. What is wrong with you? But my mom was like, oh, my God, I can't believe that happened. And, like, just took me under her, you know? She's like, I'm so sorry, baby. But, yeah, so I did. Yeah, I did that. [01:45:58] Speaker C: Damn, dude, that's crazy. How much of a boner did you get on the electric? [01:46:11] Speaker B: I mean, it was a happy I live in the world, so, like, like, yeah, it was a high diet boner. Everybody knows that. Electrical boaters and I. [01:46:24] Speaker A: Going back to the movie. Going back to the movie when Prince dies, right? There's that room, and it's full of like, candles and it's like, has a bunch of photos up of kids. What exactly is that room, do you think? Is it some sort of, like they're mixing, like, religion and, like, their, their, like their want for the perfect boy child. Like there's something going, like, you know, I, it's the only room full of can, it's like, filled with candles and then those, those photos of kids in the background. [01:47:00] Speaker C: Yeah, kids under the stairs. You think, like, you think is. I like film. I think it's kind of what it's supposed to be. [01:47:09] Speaker A: Yeah, I think so. Doing some work. Doing some work for it. Yeah. [01:47:14] Speaker B: I also think it's shorthand for, like, kind of like gary religious stuff. Well, but like, the way Jason holds his, his mom. His mom, pamela voorhees, up, you know, it's like, I can't, for some reason, the word escapes me, but when you make a. [01:47:35] Speaker A: Shrine. [01:47:36] Speaker B: A shrine? Yeah, it's like a shrine to your, to your offspring or a shrine to the thing that you worship the most. [01:47:43] Speaker A: Avoorhi Chateau, as it was lovingly called by the production on Friday the 13th, part two. Fancy, I believe. [01:47:53] Speaker B: Yeah. [01:47:53] Speaker A: Um, when, here's a question for you. [01:47:59] Speaker B: Oh, you got, oh, I had a question too. Something about, like. Yeah, go for it, Chris. Go ahead. You started. [01:48:06] Speaker C: Okay. When do you think that, so the cops come and of course the cops are clueless idiots who don't notice anything. And then they're all white. Of course. I mean, they are cops. Uh, but when. So then they leave. Fool is kind of going up the stairs. When do you think they recorded mommy and daddy? When do you think they recorded the real. [01:48:27] Speaker A: Quite makes sense. Yeah. It's like they were planning on full coming back and like, that specific scenario happening. Yeah, yeah, yeah, yeah. [01:48:36] Speaker C: And they. [01:48:37] Speaker A: Perfectly, perfectly. It's something a kid would think would happen. You know what I mean? [01:48:45] Speaker B: For sure. It's like they're that clever. They're that clever. They get time to that, but, yeah, that was, that was hilarious. What I was gonna ask was that I think one thing that dated the film really bad and, you know, um, all of the themes are not dated, but something that dated the film really bad was going door to door as a boy scout. Did you guys ever do that when you were young, go door to door selling anything? [01:49:10] Speaker C: So I didn't tell anything. Oh, did you? Would you sell? [01:49:16] Speaker A: I sold. It wasn't Boy scouts. I couldn't be in Boy scouts. But, like, it was pretty enough. [01:49:26] Speaker B: Because you weren't. Why couldn't you be in boy scouts. [01:49:29] Speaker A: I don't know. My parents didn't have the money or something. I don't know. My older brother got to do it, but I didn't. I couldn't be karate blacklisted from the scouts. [01:49:40] Speaker B: For what? [01:49:40] Speaker A: Your brother? Yeah. [01:49:42] Speaker B: Yeah. You're lucky, buddy. You didn't get sexually assaulted. [01:49:46] Speaker A: No, but I did have to do. Yeah, seriously, I did have to do door to door stuff, and it was always through school. It was one of those fucking bullshit things, right? Where the school gets you to sell stuff that they make money off some company is making money off of, and you're getting rewarded with, like, bullshit plastic stuff you don't need. Yeah. [01:50:05] Speaker C: $500 worth that you get like a ten dollar thing. Yeah. [01:50:09] Speaker B: You could win bicycle. [01:50:12] Speaker A: So I did. I did a few of those things where it's like, you selling chocolate. I think it was selling chocolate bars or something like that. Elementary school? [01:50:21] Speaker B: Yeah. [01:50:21] Speaker A: And maybe in middle school and then around, I think, like, after my 6th grade year, I was like, I'm not fucking doing this shit. These prizes suck. I just work at the butcher shop, make my own money and buy what I want. As opposed to fucking working for some asshole. Yeah, you guys, I was gonna say. [01:50:39] Speaker C: So two. Two stories, actually. One, whenever I was a cub scout, we did like, a food pantry, like, like, you know, collecting food for like, the food shelter kind of thing, right? And you go to door to door and put this, like, little flyer that says, like, oh, you know, put your, you know, canned goods in a bag. They will pick it up. And I still remember, because I was really young, I did this, and I was like, try. I was like. I was kind of scared, you know, scared of strangers and scared of that. So I went on to, like, uh. Like, you know, trying to be very careful and not raise attention. I remember doing that. Like, I went to a guy's house and I put it on his little door hanger, on his doorknob, and he opens the door and he's like some, like, guy in his, like, twenties or early thirties, and he's either very high or very drunk, and he's like, what are you doing? What are you doing? I'm like a little kid trying to explain it. [01:51:33] Speaker A: No, I'm trying to raise money from at school. [01:51:36] Speaker C: And he's like, you want to give me food? No, it's okay. Pause. [01:51:53] Speaker A: If I could time travel, I would go back to be that guy. [01:51:58] Speaker C: Wait a minute. Now that you think about it. And then, similar to you, Michelangelo, I like, you know, going to school, the fundraisers and, like, selling, like, popcorn or candy or some shit. I don't remember, like, going to my neighbor's house, and a neighbor a couple doors down had this big chow dog. That was nice. But, like, if you, like, showed. [01:52:26] Speaker A: Did you say chow? [01:52:28] Speaker C: Yeah, chow. [01:52:29] Speaker A: Chow. Big chow. [01:52:31] Speaker B: Chow. [01:52:32] Speaker C: Yeah, big chow. [01:52:34] Speaker A: A big chow. [01:52:35] Speaker C: You know, a dog. Big chow. Yeah, big chow. [01:52:38] Speaker A: But a chow is short for Chihuahua, right? And they're small dogs. No, no, a chow is not. Okay. What's a child then? Okay, I'm very misinformed. What's a chat? [01:52:50] Speaker C: No, you're good. It's like. It's like, kind of like a lab size of like a lab. [01:52:56] Speaker A: Okay. They're big hair. [01:52:59] Speaker B: They're there like. They're like. They have lots of hair. But yeah, but no, no, a chow and a chihuahua are very different. [01:53:04] Speaker C: So he was. He was named Bear. I remember that. But he was a nice guy. Nice dog. But if you, like, showed any fear, if, like, you ran, he would chase after you. So I remember trying to go to my neighbor's house and seeing him and being like, hey. And then, like, quickly kind of turn around and walking away, and he was like, follow me. [01:53:26] Speaker A: And he's like, where are you going? Yeah, what are you doing? [01:53:29] Speaker C: What's going on, guy? And then my house and my mom being like, what's going on? Yeah, those are my door to door experiences. Not great. [01:53:42] Speaker B: Yeah. [01:53:43] Speaker A: We had a dog next door to us, and my brother would, my oldest brother used to make us do these things called. He called them, forgive the name, but he called them the pussy tests, where it was like, do this stupid thing or, you're a pussy. And I would do them because I didn't want to be considered that. [01:54:04] Speaker B: Right? [01:54:04] Speaker A: Yeah. Which is insane. I know. I grew up in the nineties, late eighties and early nineties. And one of his things was like, it'd be like, go see how close you can get. Jump into the next yard and see how close you can get to the dog before he bites you. Oh, and his name was Barkley, and I did it a lot. Thankfully, I never got bitten anyway. [01:54:29] Speaker C: Barkley, like, a big dog. [01:54:31] Speaker A: Barkley was a giant to me as a little kid, but, like, really, he was. He was like. He was like. He was a little dog, but he was mean and he had sharp teeth. But no, if the. If Barkley had been a Rottweiler, never in a million years, sure would I have, like, jumped over the curious of all dogs, but. So, yeah, the cops, they come, right? And they pretend to be the ideal family right. I love how a daddy, like, has that, like. Like, secret closet that's filled with, like, military grade weapons in his gimp suit stuff. [01:55:21] Speaker B: It's so. It's so great because it's like. I don't. I mean, it's a heightened version of this, but it's like, even my uncle, like, as of five years ago, has. [01:55:34] Speaker A: Yeah, kids are out that shocked closet. [01:55:40] Speaker B: No, no, but he has a secret closet full of weapons. I'm like, he's. [01:55:46] Speaker A: My brother has, like, semi automatic weapons. [01:55:49] Speaker B: And cash where he's always like, you know, hey, don't ever get me in trouble, because not all these are legal. Talking about the guns. He has, like, a couple AK 47s, weapons that aren't illegal in the United States. It's like he's got a bazooka and stuff, and I'm, like, locked in a secret closet, you know? I'm like, oh, it's. It's like. Yeah, it's. It's so silly. But they're also, like, they. They present as the, like, quintessential, like, upper middle class family and this beautiful. [01:56:22] Speaker A: Golf hat and a pipe, and she's serving cookie. That. That's a new segment, actually, on the podcast. Um, guys, new segment on the podcast. Cops are cookies. Oh. [01:56:34] Speaker C: What kind of cops? And what kind of cookies? [01:56:37] Speaker B: Ooh. [01:56:38] Speaker A: Black and white. Both. [01:56:41] Speaker C: Wait, a black and white cookie and a black and white? Like, what does black and white cop mean? [01:56:47] Speaker A: Are you saying you fill it in, buddy. [01:56:50] Speaker C: Are you saying someone who's a mixed race, it's a police officer? [01:56:53] Speaker A: That's what you're saying? I don't know. That's what you're saying. [01:56:58] Speaker B: I think you should back that one up a little bit. [01:57:00] Speaker A: Yeah, you should back that up. Chris, you should rewind that. Mickey, edit out what Chris is saying. Edit out Chris's racist comments. [01:57:12] Speaker C: Literally, like, half white. [01:57:16] Speaker A: Yeah, you know, Tom Hardy and Bronson, that sort of thing. If you get that reference, God bless you. [01:57:25] Speaker C: I've seen Bronson. I don't get that reference. [01:57:27] Speaker B: I don't get that reference either, because Bronson where. [01:57:30] Speaker A: Where Tom Hardy is, like, one side of his. His face is no makeup, and the other side is all, like, mimed, like, black and white makeup, and he's kind. [01:57:40] Speaker C: Of, like, stage production monologue thing he does. [01:57:43] Speaker A: Yeah, yeah. See, Bronson, if you haven't seen it, starring Tom Hardy. [01:57:47] Speaker B: So you want. We want somebody in, like, half like that. That, like, kind of white makeup, like a mime, and then half that black. [01:57:56] Speaker A: For some reason, and for some reason. [01:57:58] Speaker B: He represents a cop to you and you've solved all of racial divisions in the world. [01:58:03] Speaker A: So before. Before that, I wanted to ask you guys this. Right, when fool jumps off of the house into the pond. [01:58:10] Speaker B: Sure. [01:58:11] Speaker A: What's the highest you guys have ever jumped off of? Like, have you ever done like a. [01:58:15] Speaker B: Crazy jump with or without a boner? With or without a boner? [01:58:20] Speaker A: I can't imagine. I can't imagine jumping off of somewhere high without a boner that goes hand in hand. [01:58:28] Speaker C: If you get it. If you get it mid flight. Does that count or does it? [01:58:33] Speaker B: Good question. [01:58:33] Speaker A: Valid. Valid. That's more important. I think that's. [01:58:36] Speaker B: That's an awakening. [01:58:41] Speaker A: Like, so I feel like you've probably had some experiences. Yeah. Anything high? Anything high. [01:58:48] Speaker B: Speaker one? Oh, for sure. No, I. The biggest ever jumped off of in my life is like a stairway to heaven. And Lake Norfolk, Arkansas, there's this giant mountain that you can jump off that it has like, clearance, you have plenty of depth. You can jump into the lake. Anybody that lives in that area will know stairway to heaven. But I jumped it when I was 17 years old and it was such a like, rush, the, the height in which he jumped, falling that far, that when you hit the water, what people don't tell you is that you split your pants in half and your balls go up into your throat. [01:59:24] Speaker A: And I was. [01:59:28] Speaker B: A little bit, but I was waiting. [01:59:30] Speaker A: It's like you. [01:59:30] Speaker B: You have the shits for two days. [01:59:32] Speaker A: But I waited for to be like. [01:59:34] Speaker B: Like almost throwing up. Like, my balls are in my throat, you know? That would be a great one liner. He's like, my balls in my throat. [01:59:41] Speaker C: Oh, like after effect ADR. [01:59:44] Speaker A: Like, yeah, we need to, we need. [01:59:46] Speaker B: To make this more authentic. We need him to say, like, his balls are in his throat, but it is their way to heaven. [01:59:52] Speaker A: Like, like Steven Spielberg doing the CGI, taking out the cops guns and ET and putting in radios. [01:59:59] Speaker B: We get. [02:00:00] Speaker A: We have to have Brandon Adams now ADR line into the new release, the. [02:00:06] Speaker B: New blu ray throat. Yeah. [02:00:08] Speaker C: And it's the only addition. It's just that. [02:00:10] Speaker A: That's the only thing. It's just that. [02:00:13] Speaker B: Yeah, yeah. No, no, I've had some high dives that I'm, you know, not proud of. [02:00:20] Speaker C: I don't like heights. So, I mean, probably my biggest would be jumping off of like, the high dive when I was doing swim lessons as a kid and that probably was maybe 20ft, if that. So not very. [02:00:32] Speaker B: When you did swim lessons, were you wearing a bathing suit or you wearing like a speedo? Are you wearing, like, jammers? [02:00:40] Speaker C: I don't know what jammers are, so I'm gonna say just. [02:00:43] Speaker A: Yeah, what are jammers? [02:00:44] Speaker C: I was not an eight year old with speed. I'm not. [02:00:51] Speaker A: Chris, I need to know. [02:00:53] Speaker B: Chris, I need to know. I will. [02:00:55] Speaker A: Like, like, before you say what jammers are, I grew up, like, my. My parents are from Sicily, and, like, I remember going to the lake and being in a speedo and, like, seeing all the kids in, like, regular bathing suits and feeling, for the first time, feeling like I was naked in public. [02:01:14] Speaker C: Like, how old? [02:01:15] Speaker A: Um, I got, uh. I gotta ask. Like, I have actually have photos of me in a speedo, like. Like, swimming in my backyard, taking a piss. Like. Like, you don't see, like, the back. You explain what jammies are. Jammers, or whatever was that you were saying? I will. I'm gonna send you guys a photo of what I'm talking. [02:01:43] Speaker B: Talking about. About. So my. So my youngest son was a swimmer, and he got into swimming at a pretty young age, and he was really talented at it, and I wish he still did it, but he doesn't do it anymore. But one of the things they did was that when he started swimming, he would show up in his swim trunks, and all the coaches were like, you can't wear those for competition, buddy. And I was like, what is? And they're like, you need to get jammers. You have to get jammers. So jammers are essentially just boxer briefs that have a small padding on the male crotch that kids wear to swim in. It's like, it's what you see olympic swimmers. [02:02:21] Speaker C: There's called jam lower half, not the top half. Right? Like that kind of like the, like the. [02:02:26] Speaker A: Just the lower half. [02:02:27] Speaker B: Yeah, you can buy the top half, too, but it's like, that'd be more like a jammer leotard. But they're called hammers. And it's like. And I had never heard of it in my entire life. And then he got in that whole world of swimming, and they introduced us to the world of jammers. And I have been since to the beach swimming and got a rash on my, like, waistband from my swim trunks. And somebody was like, dude, swim trunks are dumb. You gotta wear jammers. I was like, oh, that's how I avoid that rash from the sand. But I'm still not that place in my life where I can do jammers or speedos. I am still, like, just. Yeah, I'm swim trunks through and through. [02:03:07] Speaker C: Oh, absolutely. Like, I feel like, too. Like, that's like, uh, the vibe that I want to put out whenever I'm swimming is that I'm more here to, like, uh, have some low key hangs in water and drink and, like, competitively swim. [02:03:28] Speaker B: I'm also, like, I'm also also putting out the vibe at this point in my life where I'm like, I'm a 41 year old married man with two kids that, like, I'm doing the best with my body. Don't judge me too hard versus the guy. It's like I'm in my speedo with a six pack, letting people see that I got a little junk in the trunk, you know? It's like, I could never do a speedo at this age. I am. I am a full blown, like, I try to be in best shape I can be, but I'm. I'm a dad BoD man. It's just. It's. It's where I've ended in my life. This is where I've ended up. [02:03:55] Speaker A: Last summer, we went swimming together. You looked fantastic, and I. It's always surprising to see a man with who has as hairy as legs as you do and as thick a beard to have a completely hairless chest. It's. It's naturally, like, very, like, it's like his legs are super hairy. He's got a thick beard and, like, a bulletproof hairline. God, I'm envious of your hairline. Oh, my God. [02:04:25] Speaker B: That's. That's. [02:04:25] Speaker A: That's a fantastic hairline. [02:04:28] Speaker B: You're welcome. [02:04:28] Speaker A: Thank you. But it's very odd to see your hairless chest. [02:04:34] Speaker B: No, I don't have. I have. I have three hairs on my chest, and one is gray. [02:04:40] Speaker C: Oh, nice. [02:04:41] Speaker A: Oh, yeah. And that, when that starts happening, the chest hairs, it's like. [02:04:45] Speaker B: It's like, I'm just. I'm like. I'm like baby smooth up top, but I am a full garden down below. A fool. I I am wool socks all the way up to the waist, and then I am just, like, just as smooth as a baby's butt. [02:05:02] Speaker C: It's not a bush. It's a giant hedge maze. [02:05:05] Speaker B: Have you ever seen them? Have you ever seen them? You ever seen the movie, right? [02:05:12] Speaker A: The one we're talking about? [02:05:13] Speaker B: No. Never seen lion the witch in the wardrobe? Ever seen that? [02:05:19] Speaker C: Yeah. Long time. [02:05:20] Speaker B: Mister. Mister Tumnus. [02:05:24] Speaker C: The, like, half pack of boy. Yeah. [02:05:27] Speaker B: Look like that. Half gum, like half, but still have a beard. Yeah. [02:05:40] Speaker A: Yeah. So I think it's hilarious how quickly full becomes very popular with the people under the stairs. Like, they're cheering for him by the end of the movie, and it's been, like a day, less than a day, that the people under the stairs have been aware of fool's presence, but, like, they're totally won over by fool. [02:06:04] Speaker C: Well, I think that's one of those things that, like, at first, he just seems like a new round of me. Right. And the people under the stairs are just like, it's just me, and. But I think they're quick to recognize, like, oh, this guy's got moves. You know what I mean? He was about to get thrown in here. He escaped, and then he kind of represents, like, a way out to them. You know what I mean? Like, even, like, you know, the one to you, what we're calling what? The surfer person under the stairs. Like, he kind of holds him in front of the lock, and daddy shoots with the shotgun. He pulls him out of the way to shoot the lock. You know, it's like, I guess that point, right? They're using him a little bit and they're helping him at the same time. [02:06:41] Speaker A: And Roach. I can't believe we skipped over Roach's death. Roaches death is. [02:06:47] Speaker C: Was. [02:06:48] Speaker A: I did. I did get teary eyed, like, yeah. Like, yeah, but where did he learn how to spell, Alice. [02:07:01] Speaker B: No, no, but his tongue is cut out. [02:07:03] Speaker A: Yeah, yeah. [02:07:04] Speaker C: And remember, and remember, they abduct children. So, I mean, he might have been just a normal kid, you know, until six. [02:07:11] Speaker A: Read and write a little bit. [02:07:13] Speaker B: I feel like he was advanced and he was, like, the anomaly of the crew they had. So he probably was intelligent. And the fact that he was. Even had the wherewithal to be, like, I can scream for help. I can get saved. They were like, he's dangerous. Cut his tongue out. So, of course he's the one that can spell and has the secret, like, powers that, like, none of the others have. Yeah, I totally bought it. I didn't have to, like, have it explained. [02:07:38] Speaker C: It is frightening, though, that they're just, like, having this, like, heartbreaking moment of Roach's death and, like, you know, having a moment inside of a giant furnace. Yeah, kind of. [02:07:48] Speaker A: And then fucking daddy uses. Uses roaches corpse to, like, smoke out Alice. And this is later. [02:07:59] Speaker B: This is where this movie is discombobulating to a young kid watching it. Because you're like, yeah, I feel like I'm like, fool and stuff like that, but I'm, like, also watching, like, a really adult, crazy, shitty things happen that it's like I'm. This is not meant for me. Or is it? You know, it's like, I can't even watching it today or not today, but this week, I was like, this feels like a. Like it borders a kids film, almost. [02:08:22] Speaker A: Oh, yeah. It's very much. [02:08:25] Speaker B: I mean, it's. [02:08:26] Speaker A: It's like I said in the intro, like, it's like home alone meets all these other things. [02:08:31] Speaker C: Yeah. [02:08:32] Speaker A: You know? [02:08:34] Speaker C: Oh, yeah. Every time. Every time fool gets a hit on. Hit on Everett McGill. It's a cartoonish. You know, it's. [02:08:41] Speaker A: It's hilarious because it's just like. Everett McGill would destroy him. You know what I mean? It's just like. It's. It's that, like I'm waiting for the kid actor to punch me in the nuts, and I'm waiting. You know what I mean? [02:08:53] Speaker B: It's. It's. [02:08:54] Speaker A: But it's like, so. Like, Brandon Adams is so great in the part that you just. You know, you just buy it. Like, this kid, smart. He punched him in the nuts. He hits him with the thing. He hits him with the. With the lamp. He jumps off of the toilet brick. [02:09:13] Speaker B: Yeah. [02:09:14] Speaker A: Yeah. Fucking punches prince in the fucking face. That is fucking hard. To punch a dog in the face is hilarious. [02:09:22] Speaker C: Impactful. Yes, absolutely. [02:09:24] Speaker A: Because catch the fist and, like, bite your hand off. Yeah, the dog. [02:09:33] Speaker C: Great. Dog sound effects along with roach noises in the walls, too. Lots of. [02:09:42] Speaker A: If we're. If we're all. If we're casting this right. And I'm Roach. According to Mickey, your prince, you'd be a beautiful roach. [02:09:49] Speaker C: Yeah. [02:09:50] Speaker A: Thank you, Mickey. I think I know one of the white cops. [02:09:54] Speaker C: Oh. Oh, bullshit. [02:09:56] Speaker B: No. [02:09:57] Speaker A: Who are you? [02:09:58] Speaker B: I'm full. I'm fool's older sister. [02:10:03] Speaker A: I think you're the hot. [02:10:05] Speaker B: I'm sexy. I'm beautiful. I have turned tricks to make my. To make ends meet. It's like, I. Kelly Joe Minter is my hero. I would love to be that. [02:10:18] Speaker C: Nice. I would. I feel like I would probably be like, I think of his name now. I would spend. Spencer. [02:10:27] Speaker B: Yeah. [02:10:27] Speaker C: I think I'd probably. [02:10:28] Speaker A: Spencer. [02:10:31] Speaker B: Yeah. [02:10:31] Speaker A: That Chris is ringing. [02:10:34] Speaker B: Yeah. [02:10:38] Speaker A: So what do we. What do we think of the ending? The conclusion? [02:10:46] Speaker C: I like it. But then it's. It's funny to me, too. That. Right. Like, especially on a rewatch, I was like, so one. It's funny that their treasure is behind the people that are under the stairs, which is really funny when you think about it. Like, they're just going back there to, like, get through there. [02:11:03] Speaker A: I know it. It kind of makes sense in that. Like, if you're trying to protect your treasure, you hide it behind these cannibals. That are afraid of you, right? So it's like you're, it's safe from people breaking into your house because they would have to get through all these, like, crazy cannibals, but, like, they're terrified of you. So if you want to go into this. And that room is beautiful, by the way. I love. Yeah, he. They have, like, they're obviously, like, there's leftover stuff from when it was a funeral home because there's like eyeballs and shit. [02:11:34] Speaker C: Chemist. [02:11:35] Speaker A: Yeah. And fool. So smart. [02:11:39] Speaker B: Full. [02:11:39] Speaker A: Putting the, the coins in the candle. [02:11:43] Speaker C: Absolutely. [02:11:44] Speaker A: Right. But to, like, trick them. [02:11:46] Speaker C: But it's funny, right? Because it's like, you know, it's like, oh, they're whole. They hoard all this money. They steal it, you know, from the people, the community. Right. And then fool blows it up, which, like, you know, the people are grabbing the money, but still, it's like a lot of that was lost to probably being exploded. [02:12:01] Speaker A: Oh, yeah, that's, that's the kid logic. It's like it's an explosion, but all the money goes out to the people. Yeah. [02:12:10] Speaker C: What the hell are the people are in stairs going to do now? They're wandering out there in the world. They can't talk or they got some sort of, they look at weird zombie skin for some reason, for being a handful of years under the stairs, they've been needing a cannibal diet. The hell are those guys gonna go do? [02:12:26] Speaker A: I think if, you know, they get a little, they get a little sun exposure, a little vitamin D, they start taking some supplements, they'll start listening a little. Joe Rogan. And I think they're right on track. [02:12:41] Speaker B: Yeah. [02:12:43] Speaker A: Introduce them to podcast and they're good to go. [02:12:46] Speaker B: Joe Rogan, you're good. Joe Rogan, experience. You're good. [02:12:52] Speaker A: Rogan. Rogan. [02:13:00] Speaker B: Good. [02:13:01] Speaker A: Mickey, what are your thoughts on Joe Rogan? [02:13:05] Speaker B: Joe Rogan, I'll give my thoughts on the ending of this film and not Joe Rogan. Okay. [02:13:10] Speaker C: That seems wise. [02:13:11] Speaker B: I do think that I'm gonna go real deep for a second, that I think the film's ending is a. [02:13:21] Speaker A: Is. [02:13:22] Speaker B: A little bit of red herring in the sense that it's like we celebrate the fact that the money is now in the hands of the people that were abused by that family or that landlord. But that, I think that what we learned is that the pursuit of wealth and riches allows those people to not just abuse that community, but they also abused, like, white kids. Right. It's like, it's almost like beware of getting too much because then you start to abuse your own people and the people that you see as the other. And I do think that there is, like, a sadness at the end of that film where they're all like, yeah, this is the goal. That's not the goal. The goal isn't money, man. The goal isn't money. The goal isn't like, who has the gold coins? The goal is treating each other like human beings and not. Not turning people into cannibals. It's not like, you know, stealing children and it's just not doing evil to one another. Right. It's like, I think that there's always a sadness to me in a film where I'm like, oh, the end goal is that he got the money. Yay, they got money. But money's not the end goal. Right? It's like the. The people who had money were not just abusing the black community. They're also abusing, like, white kids in their basement. They were, like, creating cannibals out of this. They just perverted themselves over, you know, financial gain, which is like. Is financial gain then the problem, right? It's like, so I think there is something really interesting about this film in that respect where I'm like, I walk away going a little sad because I'm like, is that the end game? I don't think it is. It's like, I think there's something deeper being said where it's like the. The understanding that. That evil permeates all of us if our only pursuit is financial gain. [02:15:22] Speaker A: Are you saying power corrupts, but absolute power corrupts? Absolutely. [02:15:28] Speaker B: Sure. Yeah. Whoa. [02:15:29] Speaker C: That's so, like, wait, I came up. [02:15:32] Speaker A: With that on the spot. I came up with that on the spot. [02:15:35] Speaker B: You know what? [02:15:36] Speaker A: While I'm at it, let me. Let me rip this on you guys. [02:15:43] Speaker C: You're blowing it, dude. You're fucking blowing it, bro. I will say real quick, go ahead. [02:15:50] Speaker A: With great power comes great responsibility. [02:15:58] Speaker B: That. I love that. I just heard that logic. [02:16:02] Speaker A: It's an idea. It's an idea I have for a retinophobia man. [02:16:08] Speaker B: I love this. [02:16:10] Speaker A: I love this. The guy's really scared of spiders. It's a superhero. We gotta save them. Is there spiders there? We don't know. We don't know. I don't know. Arachnophobia, man. And Chris and I have also invented a masturbation man who's always very tired and hungry and doesn't really want to do much. [02:16:37] Speaker B: Yeah. [02:16:41] Speaker C: I need to lay down for a second. [02:16:43] Speaker B: Sure, sure. [02:16:45] Speaker C: Real quick. I will say this for the ending. Of the film, too. Mommy's death is incredibly rewarding. Like, stairs are a part of it. What's her name? Alice a part of it? You know what I mean? Like, that whole thing, Everett McGill's death, isn't as satisfying. I feel like. You know what I mean? Like, I wish that. Like, I feel like the whole. Like, the big house is just. Yeah, it's like it doesn't. Doesn't work for me. Like, I mean, it's fine, but, like, I wish it was something a little. [02:17:13] Speaker A: Bit more to it, something along a. Like, I would have really have liked something like mommy's death, but it's mommy and daddy sort of having that experience of, like, it's Alice. It's full. It's the community. It's the people under the stairs. It's like everyone, like, they're desperate for help and. You know what I mean? It's like. And then they're devoured by the people. You know? It's something like that. I agree with you there. [02:17:42] Speaker B: I do agree. But I also will say that it's kind of fitting that it's like. You dummy. Right? It's like you put your gold next to your explosives. [02:17:52] Speaker A: Yeah, it does. [02:17:53] Speaker B: It. [02:17:53] Speaker A: I like how. [02:17:53] Speaker B: I like full. [02:17:54] Speaker A: I don't know why you did this. I don't know why you put the side of my pie here, but you did. [02:18:01] Speaker B: There is an element of that that's like. A little bit like. I like that punch that it gives at the end where it's like, of course, some like, you know. Of course that guy thinks that he is so protected in his life is so, like, no big deal. He puts the explosives next to the most valuable thing in his life. You. [02:18:20] Speaker A: Are you saying he's the foolish one? Is that what you're saying. [02:18:25] Speaker C: P. [02:18:29] Speaker B: It. [02:18:29] Speaker A: Sounded like you cut out a little bit. I don't know how it'll sound in the Corey, but it sounded like you said. [02:18:35] Speaker B: P. I said, yes. He might be the most foolish person in this film. [02:18:44] Speaker A: Interesting. [02:18:45] Speaker C: Mmm. [02:18:46] Speaker A: More foolish than Leroy? [02:18:51] Speaker B: Yeah, Daddy. Yeah, I would say so. Yeah, Leroy. I would. Yeah. I like that you're like, really Leroy over Daddy? It's like, yes, Leroy over Daddy, 100%. [02:19:03] Speaker A: Well, Leroy over Daddy. Yes, of course. Of course. Of course. I agree with you there. [02:19:07] Speaker C: This is a new segment in which we rank every person. [02:19:12] Speaker A: Michelangelo, cannibals not agree with criminals. [02:19:17] Speaker B: It's like, come on, man. Leroy over Daddy. [02:19:22] Speaker C: You know, I'm glad it's not explained, because it would have, like. It would not have been satisfying, but I really wonder on this rewatch, why exactly does Everett McGill put on the s and m suit? Like, when and why? [02:19:38] Speaker A: Like, I hear it. This is. It's. To me. I read it. [02:19:42] Speaker B: It's. [02:19:42] Speaker A: It's his uniform. It's like, oh, this is part of, like, this is part of my joy in life. So let me get the, like. Let me, like, repetition ritual. I put on the suit, and I hunt. And this is fun. This is what I. This is, you know? And he's obviously fucking molesting Alice, right? [02:20:02] Speaker B: And, like, 100%. [02:20:03] Speaker A: Like. Like, it's part of his. [02:20:05] Speaker B: It's. [02:20:05] Speaker A: It's wrapped up in this whole sexual fetish, cannibalistic torture capitalism thing. [02:20:12] Speaker B: But I also think that probably secretly, whether the writers, the director knew they were doing this, I think that they wouldn't say it in order to not hurt the film. But I do think that that is a. A complete, 100% satirizing of misogyny where it's like, for sure. Of course, violence to him is, like, his masculine duty. He's the guy of the house. His thing is, like, driving big pokers, shotguns, whatever phallic symbols into things. He's like. He's like a horny fucking slut. And he. He's just. [02:20:56] Speaker A: That's what a slut. There's no problem being horny. There's no problem being a slut. Okay, we're not. [02:21:02] Speaker B: We're not. [02:21:03] Speaker A: We're not shaming him. [02:21:06] Speaker B: I'm shaming him in the way that. [02:21:07] Speaker A: He'S like, yeah, he's not doing anything he's doing is not consensual. Except maybe with mommy. [02:21:17] Speaker B: But. But. But the creators are not dumb enough to be like, we're gonna put him in a, like, an SNM. You know, like, dominatrix outfit. They're not dumb, right? It's like, that wasn't by, like, oh, we think this leather outfits cool. It was very, like, specific. His drive is somewhat sexual, and, you. [02:21:40] Speaker A: Know, it doesn't make sense that he wears it. When you think about mobility and visual and his ability to see. Right. [02:21:46] Speaker B: And he. [02:21:46] Speaker C: Even on this rewatch, even to those, one thing stood out was that when he's firing a fool up the jiminy, Jimmy even says that the chimney, he says, I can't see. He says that I gave thing, like, so why are you wearing it, bro? Also, too, I like his. His little dance whenever he thinks he's killed fool. But instead, he loves him. Oh, man. [02:22:12] Speaker A: Prove it. Just like a woman. Mommy's just like a woman to have to be like, prove it. I'm happy right now that I've had this victory and I'm going to shit on it just like prince shits on the neighbor's lawn. We don't pick it up. [02:22:30] Speaker B: Well, I mean, it sounds a little personal. [02:22:37] Speaker A: I don't know where you're getting that from. [02:22:40] Speaker C: I mean, the neighbors are probably pretty cool because, I mean, they didn't call the cops whenever they're having daddy fire a shotgun in the fucking yard. It's crazy. [02:22:48] Speaker A: It's fucking nuts. That, like, I guess, again, if I'm doing work, maybe they've done some soundproofing in their house. [02:22:54] Speaker B: No, no, no. [02:22:55] Speaker A: Just watch the burbs. [02:22:56] Speaker B: You just watch the burbs. They, obviously, your neighbors, if you trust them, are allowed to do whatever they want to the other neighbor. It's like, come on. [02:23:08] Speaker A: Well, if it's as bad as a neighborhood, as they say, like, right? It's like, oh, yeah, there were gunshots, and we were very scared by it. And, like, could you look into it because we're surrounded by heathens. You know what I mean? Like, their mommy and daddy's perspective goods, how they are with the cops earlier, right, with the van that's in their driveway, you know? Oh, don't come in. Like, we checked already. It's okay. Um, yeah, I. Interesting take, Mickey, that you were sort of saddened by the ending. [02:23:43] Speaker B: And you. [02:23:44] Speaker A: Make, like, extremely valid points, right? I always hate an ending that's sort of like, everything's okay now because money. [02:23:58] Speaker B: Agreed, 100%. Yeah. [02:24:00] Speaker A: But I think it's. I think it's, for me, the way I took it, it's like, it's more of a symbolic thing, right? It's like. It's like, what, is house been destroyed? [02:24:13] Speaker B: What's it symbolic? Well. [02:24:15] Speaker A: Well, that's what I was gonna get into, that the. This evil presence, this empire has been destroyed, and now some of the wealth can now be distributed back into the community, and we can, like, have a good life again is sort of what I get from it. [02:24:36] Speaker C: Oh, no, go ahead. Please finish. [02:24:38] Speaker A: But I do get, like, your point of, like, I mean, like, we do live in America, and in America, part of a successful, like, the american dream involves finances. It involves, like, being wealthy. [02:24:55] Speaker C: So I'm gonna push back a little bit on that and on that. Like, I hear you guys in that about, like, yeah, money's not the answer to everything, of course. Right. And the. [02:25:04] Speaker A: Solve the salvation part of the equation, though. [02:25:07] Speaker C: Well, it is. And, like, that's the thing, right? Is like, you look at, like, there's been a lot of economic studies done in the world, and how many times in the United States, it's done. In Canada, it was done in, I want to say the Netherlands as well. Like, oh, what if we just started giving, like, a fixed amount of income to the poorest people and see what happens over a course of time? And, like, the vast majority, like, 80%, are able to draw themselves out of poverty. And it's just one of those things. Like, these are a poverish people, and so having money rained on them is not like, oh, all the solutions to my life have gone away. But this is literally, like, the biggest hurdle in their life is their poverty. And so, literally, it is that, like, in a way, a salvation of coins falling from the sky, you know? [02:25:50] Speaker A: Yeah. It's the symbolism of, like, the terrible dynasty has been destroyed, and now the wealth can be distributed amongst the community, and we can raise ourselves up as a. As opposed to an individual is sort of like, what. What I get from, like, sort of what I get from the ending, right? Fool's able to take care of his mother, right? But he doesn't. Decides that that's not enough. It's not enough just to take care of my mother. I have to also save Alice. And I need to, like. Like. And this honor code, like, a lot. [02:26:27] Speaker C: Of other people, right? Like, we kind of talked about, like, a lot of people are trying to get something out of it, but fool does not. Cause he has to. I mean, he could just walk away with the money. Go back. Yeah. [02:26:36] Speaker B: But to go back to Chris's statement, and, um, I definitely don't want to be. I don't want to argue, but I do want to be a devil's advocate in the sense that I. I 100% agree with what you're saying, but that. That, in turn, is the problem. Right. It's like, if money fixes our most base problems, then money is the problem. Right. Right. It's like, it's. It's. It's like, the root of the problem isn't these people are bad. These people are wrong. These people have done something wrong. The root of the problem is they don't have enough money. So by giving them fixed income, that fixes the problem. But then, in turn, the problem is money. The problem is, is that we devalue human existence, and we value profit, we value currency, which is, I mean, kind of its own kind of, like, you know, bullshit system. So I'm not trying to, like, get into, like, a deep discussion about this, but I'm just saying it's like. It's like. That is the problem. It's like, yes, the fact that money can fix the problem means that money is the problem. [02:27:46] Speaker C: If you're, like. If you're saying that from a prism of, like, that, the other side of the coin, ha ha. Would be to abolish, like, capitalism. So the society, then, which, then it is a financially driven society instead of just saying more of a naturalistic. Oh, 100% agree. I think the problem, though, is then. I think that's a larger problem then, than, like, anyone can face in this movie. You know what I mean? [02:28:17] Speaker A: Like, society we live in and the world do we live in. Yeah. [02:28:21] Speaker C: Yeah, I guess that's the thing. Like, I completely agree. I guess that, like, for the people that are in this, that is their solution now. [02:28:34] Speaker A: Yes. [02:28:35] Speaker C: There could be a bigger solution that affects people beyond that community that then we go to stately country world, you know, that type of thing. [02:28:43] Speaker A: You're talking about Zion, Mickey. You're talking about, like, like, oh, we're. [02:28:48] Speaker C: Not going rock climbing in Utah. [02:28:55] Speaker B: And I. And I'm glad to have these, like, discussions with you guys because it feels like space, but no, it. I agree with you. The reason I feel sad when I see that ending is just because there's a part of me that's like, I know that the solution to the problem isn't just money. I know that money will fix a lot of problems for a lot of people, but the fact that that's the solution is a problem. [02:29:24] Speaker C: Death to capitalism. Hell, yeah, comrade. [02:29:27] Speaker A: Death. [02:29:30] Speaker B: As a military member, I will not say anything. [02:29:34] Speaker C: Edit in the Bolshevik revolution music here. [02:29:38] Speaker A: Well, I think that's where you get fools. Comes in, right? Where it's like he's altruistic. He's. He is. He is the hope of the future, where it's like, he won't the welt. He wants to be a doctor. He wants to help people. He reads. He. He wants to help others as much as he wants, more so than he wants to help himself. [02:30:03] Speaker B: Yeah. [02:30:04] Speaker A: He goes so far as to, like, to have, like, to, like, even though Leroy is manipulating him and, like, treating him like shit, he, like, goes. He, like, constantly goes on it. For Spencer, for Leroy, for everybody. He's really, like. Like. He is the purity that maybe, like, through the destruction of this terrible empire that we will, like, eventually maybe reach a point that, like, it maybe we won't need. He's our King Arthur. You know what I mean? [02:30:36] Speaker B: Yeah. Yeah. I love it. Yeah. [02:30:38] Speaker C: Yeah. [02:30:39] Speaker A: No, you're absolutely right now, if we don't have any other burning things to say about the film, are we good to get on to recommendations? [02:30:49] Speaker B: I just want to mention real quick this. There's an actress in this film called Kelly, Joe Minter. She's really great because the other film she's in, she's beautiful. She's wonderful. She deserved a huge career. She is captivating in everything. Watch her in nightmare on Elm street, the dream child. She is fantastic in that. It's like, she is. She's awesome. [02:31:10] Speaker C: So I don't remember her in Lost Boys. I looked up her credit. [02:31:15] Speaker A: She. She. So she is. There's a part that was cut down. She works at the video store that the spoiler alerts for lost. [02:31:26] Speaker B: Amazing voice. Her voice is amazing. Amazing. She. [02:31:30] Speaker A: She is one of those people who, like, is able to convey, like, this extreme vulnerability through, like, she just has this, like, very interesting voice. And she has this, like, huge range. She could play an innocent, naive person or, like, a woman forced to turn tricks on the streets who can read fortunes. You know what I mean? [02:31:57] Speaker B: She crazy. In college, you and I. In college, it's like, in acting school, you and I had a trista. [02:32:08] Speaker A: Yeah, yeah, yeah. [02:32:10] Speaker B: Like a similar vibe. Like. [02:32:12] Speaker A: Like innocent, but like. Like wisdom. [02:32:16] Speaker B: Well, like innocent, but like. Yeah, yeah. [02:32:19] Speaker A: Urban. [02:32:20] Speaker B: It's like you've got an edge to you, but you come off. You have a. You have a soft, like, sweet, like, high pitched voice, and it's. It's very disarming in some ways, which you're like, oh, she's so sweet. But then you're like, this person has edge. And I think that Kaylee, Joe Minter had that in spades. [02:32:40] Speaker A: Yeah. [02:32:41] Speaker B: Yeah. [02:32:41] Speaker A: She def. I agree with you. She definitely should have had an even bigger career than she did. And she had a wonderful career. [02:32:49] Speaker C: I will just say one last thing. And we've talked about him kind of at length, but that Everett McGill and Wendy Roby. Robbie. When peaks. Yeah, exactly. [02:33:00] Speaker B: Yeah. [02:33:00] Speaker C: I was just gonna say I was a big Twin Peaks fan. [02:33:02] Speaker A: Still am. [02:33:04] Speaker C: Yeah. And just. I love that. That connection. [02:33:07] Speaker A: Yeah. They play a married couple in Twin Pinks. Check it out. David lynch. So, gentlemen, who do we recommend this film to? Who's coming into the video story? And we go, you gotta watch people under the stairs, Chris. [02:33:26] Speaker B: Ooh. [02:33:29] Speaker C: I would say, man, like, I think this is a perfect film for someone, like, you know, I think that, again, this is on that horror comedy like, spectrum that we. I think we've kind of talked about before. Right? Like, I think that, like, kind of goes hand in hand with what we talked about a bit last time, but you've seen the burbs, this is kind of a next step a little bit. It's a little more on that horror and a little more on that comedy end, but. Or less on the comedy end. But I'd say a little more of the cartoony comedy in this even than the burbs. I think it's a great fit. I love this film. I think it's, you know, perfect one to recommend to people, especially anyone who's a Wes craven fan. Anyone who I think is that like that teenager era that's maybe ready for something like this. Maybe this is just me. When to go back in time to tell like 1213 year old Chris. Don't be scared to watch the people. Understood. You're gonna love this. But. But I'd recommend it to most people, man. I think this is a great film. I think it hits on a lot of, like, great societal messages while still having this incredible little horror film. Incredible comedic film. Highly recommended to anyone who comes in the video store. And then you should definitely watch this with the shocker since you've never seen it perform Ingelo, because Shocker is really fun as well, in a really outlandish way. [02:34:56] Speaker A: Mickey. [02:35:00] Speaker B: Me. [02:35:02] Speaker A: A guy named Mickey the amazing handsome. [02:35:06] Speaker C: We were waiting for the director to give it to you. [02:35:08] Speaker A: Hairless chested man Mickey. [02:35:11] Speaker B: So I'm gonna. I started this out with a different opinion, but I finished this conversation with a new opinion. I think that if you're a fan of Jordan Peele, if Jordan Peele has introduced you to horror, then I think that this is a must watch. Yeah. I'm like, this is social commentary. This is from the voice. Even though it's from white people's voices, it's the protagonist's voice is a young black man. I'm like, this is, this is so within that wheelhouse, it makes total sense, that monkey paw and Jordan Peeler doing this. And so I would say, like, yeah, if your introduction to horror was get out or us, or we'll just go get out. Not the Twilight zone reboot. Yeah. Then definitely, definitely watch this. This is, this is obviously an inspiration for Jordan Peele and a really great film with amazing actors, so diverse a cast. It's like I. That's one of the things too. It's like you look at eighties or, I'm sorry, this is nineties horror, right? [02:36:18] Speaker C: Yeah, 91, right? [02:36:19] Speaker B: Yeah. [02:36:20] Speaker C: But I mean, that's practically the cost. [02:36:22] Speaker B: But if you look at nineties horror, eighties, horror. It's like, still. It's like half the cast is like people of color. It's like. And I do feel like it does a pretty good job of representation as far as I. My opinion of it. It does a good job of representation. And it. And it tries to skirt stereotypes and it tries to tell a story of, like, real people going through real experiences, which I think is, like, really great. Even though it's heightened a little bit comedic in many ways, I think it's a beautiful satire and treated with a lot of respect. So, yeah, it still plays, you know, 30 years after it was made. So check it out. For all you Jordan Peele fans that are new to horror, this is definitely one you have to do. [02:37:16] Speaker A: It is, I think, very, like. I think often films will overuse or misuse the n word, right? [02:37:28] Speaker B: It's. It's. It's. It's. It's. It's. [02:37:29] Speaker A: It's this very controversial word in our lexicon. Yeah. And I think this film uses it perfectly, right? We use it at the beginning, Everett McGill uses it, and we immediately know this guy's a racist piece of shit. And then at the very end, mommy starts to say it, right? She's like, you. And then, like. And then, like, all those people, all the community shows up and it cuts her off. I love it. It just made me think about that when you're talking about representation, because I was like, why aren't any of the people under the stairs black? And then it's like, oh, yeah, they're racist pieces of shit. So they wouldn't. They're all rejected children's children, right? [02:38:10] Speaker B: So they. [02:38:11] Speaker A: Of course they wouldn't be. Of course they would. Like, they would only capture, like, white kids from the community. That's that. Who do I recommend this to? I think this is like a perfect pizza night movie. I think this is a perfect Halloween playlist movie. I think if you're doing a double feature, I think this will pair perfectly with Night of the Living Dead. I think there's a lot of, like, like, connecting themes there. Uh, and, you know, you got the whole house thing going on, you know? Yeah. Like, I also think, tonally, it would also pair well with army of darkness. Um, just. It's sort of, like, slapsticky. I would put this before army of darkness because I don't think you can watch something like this after army of darkness because this is like, this is like your aperitif to, like, the absolute insanity that is army of darkness when it comes to the. The sort of like, Looney tunes aspects. And I always say this, not always, but I say it often. But, like, if you're coming to the video store and you haven't seen this, you definitely need to see it. Like, check it out, obviously. And I'd be curious if, like, if a kid who's grown up now would feel the way we felt when we were kids about this movie. Obviously, it's not in the culture the way it was then, but, like, if he were to show the trailer of something like this to a kid now, would it scare them? Would it not? I don't know. I guess there's too many circumstances to be. It would be a stereotype or a generalization, rather answer. But I'm curious, like, would your son, your son's a little bit older, but, like, would your son, like, like, is this a movie? Has he seen it? Would he like it? [02:40:08] Speaker B: I think that this film, and I do mean this wholeheartedly, that I think this film is going to actually be one that is going to stand the test of time. And I do think that my son would be like, that's cool. My son watches everybody hates Chris a lot. He loves it. But it's. Yeah, but it's a show that talks about a time period in America that was, like, a little, like, off. But it's been told from the perspective of, like, a young black kid not even realizing he's, like, a part of anything racial or social or he's like, I'm just a kid growing up in a neighborhood, and, like, my jewish white friend is the one friend I have that makes me feel comfortable, you know? It's like, it's beautiful in that sense where it's like, I think Campbell could watch this and be like, oh, man, that's, that movie's great. That's cool. I totally get it. You know, it's like, and that's also sad in the respect that it's like, we haven't progressed that much, that this wouldn't still play to an audience of younger people that totally get it. [02:41:08] Speaker A: We need your. Get your son to start watching more of these because he's going to take over for all of us anyways. [02:41:14] Speaker B: Yeah. And also, he would totally understand that the, the mom relationship to the daughter, because that's my, that's his relationship to his mother. [02:41:27] Speaker C: He gets forced into steamy, hot baths. She gets called. [02:41:30] Speaker A: Yes, I remember that from, like, we had a really pleasant, yeah, and we had a really pleasant vacation last summer, but it was uncomfortable when she forced. [02:41:42] Speaker B: Molly gave baths in boiling hot water. [02:41:44] Speaker A: Yeah, it was weird. [02:41:46] Speaker B: It got weird. [02:41:47] Speaker A: But. [02:41:47] Speaker B: But, you know, it makes sense. [02:41:50] Speaker A: Teens need to be for sure. [02:41:53] Speaker B: He goes. He goes days without it. It's like boiling water is the only thing that can kill half that bacteria. [02:41:58] Speaker C: Scrape it off. [02:42:02] Speaker B: On your knees. Okay, good. [02:42:04] Speaker A: Okay. And be like. Thank you. I want to. I just want to thank you listeners. [02:42:13] Speaker B: Thank you. [02:42:13] Speaker A: Listen to say things like dry. Come on ease. Thank you listener for listening and supporting us through consuming our media. Please follow us on our social medias like and subscribe. Chris, thank you for being here. Mickey, thank you for giving us your wonderful and unique insight. Thank you for. For like editing this and like being. Being like a crucial part of the whole video shop and the podcast. And like, I love you and. [02:42:51] Speaker B: Yeah, good. [02:42:53] Speaker A: I just want to stroke those three hairs on your chest for the rest of the night. [02:42:57] Speaker B: Yeah, right now I have a high dive boner. Just. Yeah, that compliment gave me a high dive boner. [02:43:05] Speaker C: High dive boner on the mainland. [02:43:08] Speaker A: And that's where we end the podcast. Tune in next week or the week after. Whenever the next episode comes out. We have one more film in our suburbanoia section of the video store. Thank you. [02:43:22] Speaker B: Peace out.