Hate Watching with Dan and Tony
Hate Watching with Dan and Tony
Hate Watching The Turning
Embark on a cinematic journey with Dan and Tony as we unravel the spectral tale of "The Turning," where confusion reigns supreme and ghostly encounters challenge the protagonist's grip on reality. As we dissect this adaptation entangled in the same web as Mike Flanagan's "The Haunting of Bly Manor," we're left scratching our heads at the plot twists and character dynamics that seem to play a game of flashlight tag with our understanding. From questionable '90s music choices to the deeper meanings behind tattoos and empty gumball machines, join us for a dissection of a film that teeters on the edge of the supernatural and the sanity of its characters.
Lean in and listen closely as we hold nothing back, critiquing the film's attempt to blur lines that perhaps shouldn't have been drawn in the first place. Our analysis is rife with the enigmatic aroma of old polaroids, the whisperings of ghostly children, and a lake with secrets as murky as its waters. As we ponder the unsettling advances of one character and the mysterious pasts of others, the haunted house backdrop serves as the perfect canvas for our spirited dialogue. And who could forget the classic "Buffy the Vampire Slayer" references as we navigate the cobwebbed corridors of haunted houses and debate the virtues of a savior in this eerie maelstrom?
Wrapping up with a bout of laughter and some sage advice from a UCB comedian on the art of universal humor, we tackle the significance behind every misplaced spider and disembodied hand. The episode closes on the chilling notes of a ghostly reenactment and a protagonist teetering on the brink of madness. So, if you're eager for a ride through the twists and turns of a thriller that aims to leave you second-guessing what's real, make sure to tune in to this episode of Hate Watching with Dan and Tony.
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Dan Goodsell, what's going on? You know we're just doing a show. We're doing a show. We're doing a show loving a show being a show. It's great.
Speaker 2:Doing a show at time periods when people are normally doing stuff in life, out and about In life.
Speaker 1:It's like working hours, so you feel like you got a job. Now it's kind of terrible Without payment. Of course, I can't pay you for any of this I'm waiting for that non-payment payment money.
Speaker 2:I've gotten it in the past, it's. It is a glorious thing, it's a wonderful.
Speaker 1:It's a wonderful moment to get money for something that you didn't think you're getting money for. It's like magic With.
Speaker 4:Dan and Tony Hate watching With Dan and Tony. It's like watching.
Speaker 2:yeah, Welcome to Hate Watching with Dan and Tony this is a special evening edition of Hate Watching with Dan and Tony starring Dan.
Speaker 1:And Tony, and boy am I tired, you know. Full day of work. Coming home hanging out with you, exhausted, co-starring Tony, I get a co-star credit. Wow, that's. I don't even have any of those on my imdb. You know what I mean? I'm strictly like, uh, what is under five? Yeah?
Speaker 2:oh, under five. What is that you?
Speaker 1:have less than five lines in the episode, so it's like under five and then a co-star and then a guest star. You want to get to guest star? That's the big one.
Speaker 2:I'm usually guest star.
Speaker 1:No, you're star, You're the star, you're a series regular, as they say.
Speaker 2:On this show we talk about movies. One of us picks a movie, Then we both do our best to watch the movie, and then we get to talk about movies. One of us picks a movie, then we both do our best to watch the movie, and then we get to talk about the movie. And this week I picked a special movie because I know that one of Tony's favorite actors in the world is Finn Wolfhard, finn Suckhard, which we're going to hopefully be able to do a Ghostbusters movie by him fairly soon, some point soon, right, I mean, it's got it.
Speaker 1:It didn't do great.
Speaker 2:I don't think I mean I think it did. All these movies seem to do okay, like the first week and then Kong, just like Because word of mouth was don't go see it, guys, it's not very good.
Speaker 1:I don't know if that's true about Kong.
Speaker 2:I haven't heard anything I think it's also the people that are going to see the movie, are going to go see the movie they already did it.
Speaker 1:They went and they did it. No one else is gonna go.
Speaker 2:Sorry, you know the dang good cells of the world are. Like you know, I used to get excited. I'm like, oh, that movie came out. I guess I'll watch it in a year we'll watch it.
Speaker 1:When I could just push a button and it's on my dv it's.
Speaker 2:It's kind of true, so I picked the movie finn wolfhard. It's called the turning, based on the turning of the screw, which is a old ghost story which is also I think, the sort of bly manor thing. So if you watch sort of what's his name's bly manor thing, it's mike flanagan who makes stuff that is interesting yeah, and interesting. You'll be like, oh, we're watching that. And then you'll watch the whole movie and you'll be like, okay, this is the story. And then at the end they'll be like, no, that's not what happened.
Speaker 2:That was all an illusion and this is sort of what happened and then you will go like I don't even know what I'm looking at, that they showed us and you're going to be. This is not an effect that you should have in your movie, because, no, I mean, having a leaving things hanging is one thing. Right, you know no country for old men where you're like oh well, the bad guy just walked away, there it is Spoilers, the bad guy just walked away, there it is spoilers.
Speaker 1:But tacking on two endings and then the other endings, like not even the end an ending, and you're like but the good news is is during the credits you get to watch someone's hand just trace a wall for like 10 minutes, so that should help, so so spoilers.
Speaker 2:We're doing, we're spoiling um, and this will be 2020, an hour and 34 minutes well.
Speaker 1:So what's what's interesting about this, dan? Yeah, because you brought out. You brought up mike flanagan's the haunting of blind manor on netflix. Go watch it. It's wonderful. That came out october 2020, I think, and this movie came out january 2020. Okay, so this movie came out. People hated it and then, like the trailer started dropping for bly manor and they're like well, this, that already just happened. Like what's going on here? And then he came out and he was like remember that movie? That movie sucked, here's how you tell a story. And then he just crushed it. I just found it interesting that they happened to come out in the same year.
Speaker 2:That just seems pretty weird and a bad choice you know, years ago I was, I was pitching to disney, you know, with my stuff and and, and I was in there talking to the guys that you know the movers and shakers that that that get stuff done, and they were like there's, there's like these waves that happen, and they were like I can't, can't do anything with pandas right now, because pandas are everywhere. You know it must have been with kung fu panda was sort of starting, but then there were also other panda things that people were, you know, so they're.
Speaker 2:there are these times where the world sort of thinks the same direction, especially since there's only so much to look at in the world, ain't that the truth. And so you end up with two Haunting of Bly Manor things based on the turning of the screw. And yeah, this is, this is the bad one.
Speaker 1:Out of the two of them, this is the bad one. Yeah, this would to be fair of them. This is the bad one. Yeah, yeah, this would to be fair, though this would be the bad one either way. Even if no one else had ever adapted this novella into something, this would be the bad one.
Speaker 2:Now, I wrote down a lot of things for this movie, okay, which I always do. That's great. And when we were doing the exquisite confection that was Madam Web, you got to a certain point where you're like I can't write down everything, I just can't do it, it's too much you could analyze every line reading. Yeah, you could. This movie is sort of the opposite, where you're just like it, just sort of goes along yeah. And you're just like oh, I know, you know.
Speaker 2:you're like okay, I know what the plot is even without having to see the thing you sort of figured out, you're like, oh, there's a, there's a ghost, it's the ghost of this dead guy that was mean. And then there was this that was mean, yeah, and there was this other woman and they had an affair or whatever.
Speaker 3:You know he did a thing to her.
Speaker 1:He did things to her. He did things to her. Yeah, it doesn't quite seem like that's the right word.
Speaker 2:Yeah, and the thing about these kind of movies is they work when they're like gothic and people you know are trapped in these situations because of finance and culture and all these kind of things.
Speaker 1:Or any reason for her to stay at the house.
Speaker 2:Yeah, and then this movie. The person will say I'm going crazy here, but I made a pinky promise and I better stay for the pinky promise.
Speaker 1:I said I was going to stick it through and I better live up to my word.
Speaker 2:Personal pride. So you have to. I don't remember I watched Blind man or Mike Flanagan and I remember some stuff. I don't remember you know how they kept her there, but there were just all these hyper compelling characters that you're just like, yes, what is this? You know, I don't know what's exactly going on with this person, whether they're alive or dead or a ghost, or this or that thing, you're just like wow, this, this woman is so interesting, I want to I want to sit there.
Speaker 1:I mean, her thing is like she wants to save the kids. So, spoiler alert we watched I literally just finished watching the first episode of blind manor again. Oh, okay, because I was like I should refresh that smart um and she's you know, she's very pro saving the kids. So I think a lot of the reasons because I don't remember it either but I think a lot of the reasons she's going to say there is because she wants to help these kids Like I want, I need to save you, I need to help you get away from here. How do we do that, you know? And also, she's an American abroad. She doesn't really have it. She was staying in a hostel. She didn't really have anywhere to go, unlike this woman who just lived down the street with her friend, calls her friend all the time and it's like, yeah, maybe I should just come hang out now. I'm gonna stay, I'm gonna stay.
Speaker 2:Thanks, so dumb. And also in that one, the girl who goes to the manor.
Speaker 1:She's messed up, she's in in flanagan's thing, she is god, she's got demons of her own, you know, and she's fighting those and, and we start those demons from minute one.
Speaker 2:And it yes you know, I mean yeah, we're gonna kind of maybe not we'll do this whole movie, but you know, in this one they, they will do this movie. I guess they want us to think that she's insane. That's the ending they sort of pitch us, is that?
Speaker 1:that is kind of the ending they pitch and it's real dumb.
Speaker 2:And other than like a couple of line reading, you know a couple of lines that get peppered at her. We never see that from her. You know she gets spooked by some spooky things, but she's not. You know, she's not constantly. She doesn't she.
Speaker 1:She's not constantly, she doesn't she's not front-loaded with problems Like the girl in the.
Speaker 2:Flanagan. She was front-loaded with problems.
Speaker 1:Yeah, before she even goes to the manor, she's seeing shit. Let's just throw that out there. And this young lady seems pretty well-adjusted, completely. Her mom is crazy Sorry, that's probably not the right word. That might be offensive. I don't know, I'm sorry. Her mom is crazy sorry, that's probably not the right word. That might be offensive. I don't know, I'm sorry. Her mom's institutionalized, is institutionalized. She's obviously ill of some sort and that, and then you know, I guess that's it. It's like well, the mom's got it, she's definitely got it. You know, you guys get it.
Speaker 2:I don't know, it's super weird, doesn't make any sense yeah and I I read a plot synopsis of the original story, which was oh, great, um, that is in the mail, by the way oh, okay, um, and there are some parallel things that they put in here that you know, the the story doesn't lay everything out, it kind of leaves things and sure, and at times different people have have put freudian stuff on it and and at one point somebody said, well, maybe she's crazy, and that that's, you know, and that's what's done for this version?
Speaker 2:yes, so they were like, yeah, well, we're gonna make the movie where it's sort of the story, and then we're gonna posit that maybe that's also true and you're just like, well, why don't you build the story?
Speaker 1:Right, like if that was your intent the whole time. There should be more, there should be layers. It's a little jarring.
Speaker 2:Yes, and I mean that's the thing about this movie. Like I said, it's like the ending part is beyond stupid. The rest of it's just like you know, know, movie of the week, where you're just like I'm, just it feels like it feels like one of those like hulu uh, halloween, october, halloween movies that they come out with every year.
Speaker 1:They come out with like 10 every year. You're just like I'm gonna watch this because what else am I doing? It would fit right in there, other than the ending. I I still. It would still get tons of hate even if it was free on Hulu and that ending came along. People would be so mad, it's it.
Speaker 2:That's the thing about it is the? The ending is their way of trying to be clever, and what they really are doing is making everybody angry at the movie. Yeah, as opposed to just being. As opposed to them being indifferent.
Speaker 1:Right, just if, just being as opposed to them being indifferent, right, just if the movie would have stayed the way it was, they'd be like, okay, I mean, yeah, it was a movie, it was 90, what 95 minutes or something like that. You said four minutes, not that bad like I that could. It could have been worse, but the last like six minutes of that movie, the, the filmmakers, are just like flipping me the bird and I'm just mad about it.
Speaker 2:I like how you don't show you flipping the bird because you're afraid of getting in trouble. I'm trying to be a more mature, Tony.
Speaker 1:So I'm going to try to curse less and I'm going to try not to be so aggressive with things. So you know, flipping the bird, fill in the blanks, guys.
Speaker 2:So you're going to flip the bird, but you're not going to actually flip the bird.
Speaker 1:And that's the kinder gentler person. That's the kinder gentler person. Yeah, is it coming through? Do you feel that so?
Speaker 2:instead of saying blank you, you're going to just say blank you, right.
Speaker 1:Yeah, exactly, I love that you blanked it both times, dan. That's so good for you.
Speaker 2:So the turning we start. There's a girl who's gonna be our initial nanny runs to the car at night, takes off. There's a little girl at the window, puts her hand to the window, hand to the window and then the gates won't open.
Speaker 1:And she goes and opens the gate and then a creepy man gets her yeah, okay why, okay having seen the movie all the way through now, why, why am I even seeing this scene?
Speaker 2:So that we know that there's. Yeah, you don't need to see this scene.
Speaker 1:Because it feels like this should be a reveal later.
Speaker 2:Well, they also. They zoom in on her eye, which is what happens at the end. So that's the thing that's telling us that she's imagining this I, I don't know, I, I do not know the answer. Cause we have the eye zoom, so we're we're being told at the beginning that this is all in her mind's eye. I don't know which doesn't make any sense that she's. It doesn't make. It doesn't make a lick of sense.
Speaker 1:She's mind-signing something before she even gets to a place, but also not even like an interesting beginning. You know like you like to do. You know you have the murder, one murder to hook them in. This was terrible. This was horribly done. It wasn't tense.
Speaker 2:I wasn't interested, I not good I think there's a thing where some people know how to make things scary, right. Sure, even like the jump scares in this movie not scary yep and I I don't know what it is that I you know. It's like I'm sure the people that do horror know how to make horror horror.
Speaker 1:It's just like people that know how to make things funny there are techniques right, like you build the tension through the music, you build it, you build it, you build it and then they're like, oh, here comes the jump. But then you build one more and then you quiet it down and everyone's like, oh, I guess. And then bam, you hit him and you go ah, yeah, I don't know. There's, there's techniques that we have used over the years to build that where the scare works and you and you laugh at. You may not even be like scared, scared, but it surprises you, you enjoy it, like it's a fun time. This movie doesn't get it. They don't get it, dan.
Speaker 2:Horror and comedy are manipulations you were yes you're manipulating an audience to get them to react and something to you know, viscerally react or laugh or whatever and it's it's building up of tensions and it's like this movie. There was never tension like no well, there's a little tension.
Speaker 1:Oh wow, a little sexual tension. I don't know if you felt that between finn wolfhard and the the yeah, finny boy, finny boy, and kate was her name, kate, yes, in the movie. Yeah, all right, I got a name, you got it wow, they did.
Speaker 2:They did hit the names pretty hard in this movie, so you do know the characters' names.
Speaker 1:Which is why I knew what it was. I didn't know. So, full disclosure when we started this movie, I had no idea that it was connected to Bly Manor or the novella, and then they were like Miles and Flora and I was like, hang on a second. I've heard these names.
Speaker 1:I got to look this up. So I looked it up and then the whole thing came and I was like, oh interesting, almost wish I didn't notice that. So I didn't spend the whole time thinking about how much better this could be, because I've seen it better.
Speaker 2:But you know that's neither here nor there so maybe, maybe you should have called an m dog andog and called the little girl F-Lady.
Speaker 1:F-Lady and N-Dog. All right, oh, finn Wolfhard. Okay, here's a question, dan, and this doesn't seem important, but it feels important to me how do these gates work? Are they pressure censored? Should they have opened?
Speaker 2:automatically, because I'm confused on why they didn't open. She has to get out and push them open but then later, at the end of the movie they don't. That's a dream.
Speaker 3:That isn't real oh, you mean when?
Speaker 2:she's going to leave and they just open up and she drives through yeah that's, that's that's in her mind, and so you can magically open the gates. But but once again you're you're tipping a thing where we're sitting there. We're going like why are those gates opening? That's very weird it was.
Speaker 2:I was very confused they should have just had her get out and open the gates. But yeah, because that's also a tension point that is played out, that if she is, if she were to get out and have trouble with the gates open, open, and then they open, and then she gets in and drives through. You're like whoa, whoa, whoa, whoa, whoa. What's happening here?
Speaker 1:Yeah, and then she wakes up.
Speaker 2:Because she also part of you thinks because Flora, the little girl you're like, she can't leave, and part of you wonders if she's a ghost and that's why she can't leave.
Speaker 1:Yep, and part of you wonders if she's a ghost and that's why she can't leave. Yep, wrote that note down. Yep, that would have been a fun twist yeah, that's the thing you could do.
Speaker 2:Um boom television. Kirk cobain has died. Why did kirk cobain have to die in this movie?
Speaker 1:it. They just wanted you to know what year it is. I'm pretty sure do they ever do a uh chiron of what year it is? I don't think they do, do they?
Speaker 2:why why?
Speaker 1:do they do that? I told you why I believe it. Why did you believe? Why do you believe it's in the movie? Because they don't want them to have cell phones. Oh yeah, so yeah, the year. They want you to know what year it is. It it's 1995, everybody, for absolutely no reason.
Speaker 2:Well, no, the reason is so. The characters don't have cell phones.
Speaker 1:But why 1995? Oh it doesn't matter, it could have been any time from the 19th century to 1995. Why did we pick 95?
Speaker 2:Because they like the music from 95. The vibe.
Speaker 1:Yep, they put the vibe in there and it does not fit this movie whatsoever. It's so weird to me finn.
Speaker 2:Finn wolfhard's character, miles, listens to like rock music yeah, but like hard, extra hard.
Speaker 1:Not heavy metal exactly, but super no, it's, yeah, it's not, it's not heavy, but yeah and every time he does, you're just like. Please stop Please please, don't do this, please, please, please.
Speaker 2:And at one point he's terrorizing everyone by playing the drums.
Speaker 1:And you're like the drums. It's one of my favorite parts of the movie.
Speaker 2:It's ridiculous, but you got to do that for like 20 minutes, right, nope, you do it for about four seconds.
Speaker 1:She's scared of every time he hits the drop. You've never heard drums before. What's happening, I don't know.
Speaker 2:This movie is weird, it's very weird. So, boom, the campaign is dead. So she gets a job to go and be the new nanny Just know what, you know, slash tutor. And she couldn't say no because there's a little girl, you know, seven years old, yeah well, she gives two reasons of why she took the job.
Speaker 1:One, she's like I know what it's like to grow up without parents, which isn't totally true. Right, her dad left, but her mom is alive. I mean, I understand that she's ill, but, like I don't know, feels different to me than having your parents die you could have done some character building.
Speaker 1:It's what you're saying sure, sure, that's what I'm saying set it up and then reason number two, which is the much better reason, she said because she's a teacher. She says I love teaching, but I want to make a difference, so I'm gonna go hang out with these two children.
Speaker 2:Does she really say that?
Speaker 1:She literally says I love teaching, but I want to make a difference, as if teachers don't make a difference.
Speaker 2:I mean that's a little weird, I think. If you talk to every teacher everybody you've ever met that is a teacher they would say, especially of children they do it because they want to make a difference, and they make a difference, they put up with whatever you know, not this girl, though.
Speaker 1:She wants to get out of the teaching business because she wants to make a difference. That's bad. Yeah, it's hilarious. I love it.
Speaker 2:The roommate gives her some mixtapes.
Speaker 1:We get the feeling that possibly lesbians I don't know, it was weird, yeah, but you know that would they're not gonna talk about it.
Speaker 2:It's 2020, dan, and we can't talk about that yet that would be don't get ahead of yourself building characters and maybe making connections that we might have to interact with and do do something.
Speaker 1:No, thank you, I don't want to deal with any of that drama.
Speaker 2:She goes to the nursing home to see her mom, who's a painter. The mom is spooky. The mom gives her a painting of who's the painting of it was something of her. It's a painting of her. The painting of you. The mom has problems, but she's communicative-ish. You know she's not, you know.
Speaker 1:Why is she in an empty pool?
Speaker 3:Because, they have that set available.
Speaker 1:It was just a weird choice. I didn't understand why she was in an empty pool.
Speaker 2:When they show her later, she's painted a big mural on the back of the back wall. Sure yeah. Of like some gaping something.
Speaker 1:Something that didn't actually mean anything as far as I could tell, but I'm sure in the sequel it's going to play a big part, so she drives up to the big house she wanders in, there's decapitated dolls in the fountain.
Speaker 2:This is like the first scene where you're like there are decapitated dolls in the fountain. This is something that has to be addressed, right.
Speaker 1:Someone's got to talk to someone about this, please.
Speaker 3:This is weird.
Speaker 2:It is weird If you're setting up and we never go back to the little girl decapitating dolls. It was very inartful. Another thing, I'll tell another story, oh please. One of my high school friends. His dad was a photographer at the local paper.
Speaker 3:Okay, yeah, great gig I think this is the right story he had.
Speaker 2:there was the other guy that worked at the paper and every time there was a fire or some big thing, dude would find the plastic child, the doll that was burnt and like moving right out to the front, you know. So you, you saw the burnt doll yeah good move, good move and yeah and that's that's bad that's bad.
Speaker 1:It's emotionally manipulative.
Speaker 2:It's emotionally manipulative. You're you're telling a story, but you know you're a news photographer, you're staging a story, you know I mean he was just ahead of his time really, if you think about it, because that's all we do.
Speaker 1:The news is all baloney now, but, you know, maybe he's got a better job now. They saw that and they were like you know what head of news, get in here, you can run the whole thing, oh yeah uh, she meets the housekeeper.
Speaker 2:You must be kate. She meets flora. Uh, and then the housekeeper is like I hope you know what you're doing. The housekeeper plays a real hot and cold, like these kids are the greatest but you've got to be in control of the kids. But she's just always there to kind of scold.
Speaker 1:For no reason yeah, she doesn't really make. I didn't understand it. I really had a feeling that things were going to come together at the end, and they really don't. They just drop you.
Speaker 2:Then you looked at the Rotten Tomatoes score and you realized things were you know what?
Speaker 1:Obviously, things aren't going to work out for me. It's going to drive right off the cliff. So weird Because I mean, that's an interesting thread to me, right Like, why is it like that she's very protective of them, she's very much in denial of them being pieces of shit. For what? Where is that going to go? Where are we headed? The answer's nowhere. And that's a weird answer to the question.
Speaker 2:Well, we've already decided where we're headed. We're headed to the main characters.
Speaker 1:Crazy and is imagining everything but can maybe see the future and the past, it seems. I don't know. I don't know. Maybe she's omniscient and that's just too much for her to handle.
Speaker 2:Um, we, we, we go out to the stables. Uh, we have some soup and we learn that the parents died in a car accident. We go out to the stables. They're kind of creepy, but did?
Speaker 1:did they die in a car accident? I'm confused. I think so, because didn't it sound like the daughter saw it happen, or something?
Speaker 2:I think the daughter saw quinn kill the old um well, yeah, she definitely saw that.
Speaker 1:I don't know. I was getting confused because they said that they died really close to the house and I was just like why, why, why are we setting up that they were really close to the I don't know man we don't.
Speaker 2:I don't really talk about the parents, ever again do we?
Speaker 1:no, it's just that's what I'm saying. It's just this one scene and she's like the tide just blocks away. I don't know what she said, but it seemed like it was going to have significance. I get bogged down.
Speaker 2:I assumed it had no significance.
Speaker 1:Well, you were right. Good for you, Dan.
Speaker 2:A horse rears up and scares her. Flora did it. Because Flora was hiding, I guess, and we do like a weird. Apples are poisonous. What was that? I don't remember that.
Speaker 1:Yeah, apples have cyanide.
Speaker 2:Oh, in the pips, I think there's a tiny amount of cyanide in the pips and I think if you carefully, you know, get about 10 000 pips, you can, you can extract it out of them, I believe about 10 000, is that something like that?
Speaker 1:so what are you scared about, little girl? 10 000, that's too many.
Speaker 2:I think I could be wrong, but I think that, uh, there's a maze with creepy statues in it.
Speaker 1:Please no role in the movie. Yeah, no, but it's a neat set, you know what? I mean yeah um, I guess.
Speaker 2:Oh, flora doesn't have any friends because she just lives here, which, once again, yeah, that's weird. Uh, the old nanny's name is miss jess. Okay, good, there's an east wing which you're not allowed to go in.
Speaker 1:Plays no part in the movie nope, nope, can't, you can't go over there.
Speaker 2:Okay, I won't end of story she goes to her room she's like this is my room, it's a big room, big bed, but there's a creepy grandma doll mannequin in the corner who's mannequin?
Speaker 1:don't say doll, it's a life-size mannequin.
Speaker 1:Head moves in one scene, yep, never plays a role in the movie nope, and it's confusing because I'm so with the ending that we all know, because we have told you what the ending is like. The ending is in her head, but this isn't in her head, right? I mean, anything could be in her head, and well, that's the problem, right? Anything could be, but nothing is explicitly said. So when she leaves the room, that's when the head moves, so she's not even in the room. So is she dreaming that is or is that really happening?
Speaker 2:oh, poor tony's brain goes back to the parts of the movie when he sees the ending and then tries to, tries to construct the narrative.
Speaker 4:Dan goodsell gets to the parts of the movie when he sees the ending and then tries to tries to construct the narrative.
Speaker 2:Dan Goodsell gets to the ending and he's like that's a dumb ending Cause they didn't set that up.
Speaker 1:I know Well you're right about that, but they made the movie right. So in their minds these things mean something, and I'm trying to figure it out what it means, Cause right now it means diddly squat. Figure it out what it means, because right now it means diddly squat.
Speaker 2:Sometimes you go to the flea market and you buy a puzzle and you know what. Every piece in the puzzle comes from a different puzzle.
Speaker 1:They just put all the pieces in there randomly and you're like he's trying to put it together and you're like this does not fit together. I'll be honest, if I ran one of those things at a flea market a little, what do you call them? A little, what do you call them? A little? Shed? Nope, that's not. It. Stand A little. Stand at a flea market. I would sell puzzles with just one piece. That's wrong. Just one, but it's close. Colors look like it could work. So you're working this whole day, you can't figure it out and I'd be like that's a good move. Check my reviews.
Speaker 2:Well, the frustration with the wrong pieces that you get to the end, it doesn't slow you down, you just get to the end and you're like, well, that's not the right piece and that's well, how can I make it slow you down?
Speaker 1:let's think of a scheme where I can really drive, puzzle people mad maybe like poison on the pieces like some apple seeds paralysis poison on the pieces.
Speaker 3:That'll slow you down. I'm paralyzed.
Speaker 1:I can't finish the puzzle.
Speaker 2:Okay, they put Grandma the doll in the sewing room. And then we see a mannequin where someone has stabbed pins into the breasts of the mannequin.
Speaker 1:Why? We don't know.
Speaker 2:They go to lunch and she's like I should take Flora on a field trip. And then the housekeeper's like.
Speaker 1:nope, I told you, flora doesn't leave the manor.
Speaker 2:It's nighttime, spooky, music wind, and I think Flora says to her you not going?
Speaker 3:you're going to leave me, aren't you? And?
Speaker 2:then the girl's like I, like you, I'm not leaving, and then she's like I promise, and then we see a sort of creepy reflection in the window yeah, of what?
Speaker 1:of who? Don't matter, it's atmospheric, dan, you don't need to know anything about it.
Speaker 2:I'll be happy if I never see another movie where there's like In the distance.
Speaker 1:But what if? Okay, now let me just pitch this to you. What if, the ending of that movie, you find someone hidden in the walls just doing it to a Like a cup? You know how you do it to the cup, right on the wall, so it sounds like a whisper and someone's doing it on purpose. Would you like it then?
Speaker 2:my wife heard something in the walls. She thinks that there's something in our walls in your walls dan get out.
Speaker 1:Walls are a dangerous place.
Speaker 2:Get out, we also have had these flies appearing in the house. Yesterday we had four flies in the house that's a bad omen.
Speaker 1:That's always a bad omen. It's like like there's something like dead maybe. Yeah, you've got, you've got a carcass in the walls or human in the walls, a dead human. You got a dead human in the wall. Stand, get out.
Speaker 2:I just don't know how they get out of the walls into the house.
Speaker 1:And then we had another one today because of earthquakes, you got cracks in your foundations. All right, yeah, but so that's oh my gosh, dan, this is what happened. So first, okay, that person, there's a dead, there's a skeleton in your walls from years ago, when this building was built. And now, since we've had so many earthquakes over the years, it's finally starting to crack. And now the bugs are getting in. They they're like oh shit, there's a dead body here. And then you're getting some shit's about to happen in your house, dan, you're opening up the gates to hell.
Speaker 2:Maybe Buffy will show up.
Speaker 1:Yes, we should be so lucky.
Speaker 2:You're a Willow fan who doesn't like that, because she's a nerd, I think, who?
Speaker 1:zander that was uh. I loved a good zander. He was so cute that's a good.
Speaker 2:Now, what's his name? The guy that played the, the librarian guy? He came by giles. He came by our booth at comic-con one year it's really nice. It's a very nice guy oh I love him.
Speaker 1:Oh, he's great. He's great in uh ted lasso rupert wonderful stuff.
Speaker 2:He's a good guy.
Speaker 1:Good good, good, good, good, good okay okay, did we get to the part where she asks him to clean his plate? Because this is one of my favorite parts of the movie, whose plate well, when they eat a meal, miles isn't back yet we haven't gotten miles isn't back yet, sorry. Okay, let me know when he's there.
Speaker 2:I think it's the next night. There's more noises. She goes in the hall with whispers, knocking, stops. Don't touch open window, locked door and boom, miles is there and she's like what are you? Doing here and he's like I live here, then you should go to bed, which is that's what he says. He says my live here A lot of times these things, they're kind of something will happen and then it'll just be like you know. Next scene.
Speaker 1:Yeah, you're just like well, we don't know how to end it, so we're just getting out. We're just getting out and moving on as fast as we can.
Speaker 2:Do you want to talk about Finn Wolfhard and his the work he does?
Speaker 1:So Finn is I. He has a couple of lines that I enjoy. Ok, how is he as an actor? That's what I'm saying. So, like a couple of times I would. So he's in this movie. What do you think? 70, 60, 70 percent of the time he's in the movie. Give or take, right, so I would say seven percent of the time.
Speaker 2:I enjoy him pretty good seven percent of 60 percent got it.
Speaker 1:That's yeah less than 10 of the time he's on screen. I enjoy, but you know, there's a couple of moments where I was like, oh, I see it, and then he's back to being just a complete waste of space there it is.
Speaker 2:What did you think of mackenzie davis, the uh kate?
Speaker 1:yeah, she's fine, you know she's okay. I I don't love her, but whatever, she didn't have a lot to work with. Let's be honest.
Speaker 2:She was the lead in Station Eleven, which is like one of my favorite shows. Oh, yeah, yeah.
Speaker 1:You've talked about that. Yeah, yeah, and she's good in that right. She's so good. Yeah, that's right I don't have any problems with her, other than you know what she's been given to say yeah and that's the thing you watch her, you're just like she's trying trying to do something with it. But yeah, how much? How much can you really do on your own as an actor? You know what I mean. If the script's against you, the director's against you, what are you gonna do?
Speaker 2:uh, okay, boom, boom, boom. Uh, they're teaching the kids. Miles apologizes for last night. We kind of hear about Quint who was the old riding instructor who died, and then she can't ride, so he's like I'll teach you to ride. Then Miles' headmaster calls and it turns out that he was expelled for attacking a student for an unknown reason, and we never find out why, and it and this is the same thing that happened in the story we never, you never really find out why he was expelled.
Speaker 2:Oh, interesting and it's left sort of really up in the air and spoilers on the story is at the very end. She's holding Miles and he dies. Oh shit.
Speaker 1:Literally dies, wow. So that's kind of I wish we would have gotten to see that. That would be cathartic for me, you know. Yeah. Yeah, got him.
Speaker 2:Finn's down, down for the count. So you know, once again, it's this thread that you're like. Here's the thread. It's a thread that's at a dangle it's just just hanging in the wind um. She tries to get miles to bust his plate.
Speaker 1:Yes, this, this is my favorite, dan. Okay, this is incredible stuff. Okay, talk about it. Then this this is one of the two times, one of the couple times I don't know I'm giving him shit, but he's got a couple of good lines, but this is one of the best lines he delivers in the movie. She's like will you bust your plate? I don't know exactly what she says, and he turns to her with this shitty grin on his face and goes what do you want me to cut the grass too? I almost died. It is incredible. First of all, the line delivery is amazing because, you know, finn wolfhard never cut a blade of grass in his life because that piece of shit is so spoiled, uh. But the characters are just just such the terrible kids, right, they're awful, awful kids and I'm not rooting for them at all. No, uh. And then, and then the lady goes they were born into privilege, please remember that. And basically saying don't teach them how to not be pieces of shit. I don't know, it's really weird. That's what she's.
Speaker 2:And and that's what she's saying.
Speaker 1:That's not gonna serve you well in in existence typically typically, I mean especially, you know, who knows, maybe it's gonna work out great I, but in the, not in the story, the story he dies.
Speaker 2:So sorry, bud um, boom, boom, boom. Uh, let's see where we were. Food wait, I did. The headmaster calls.
Speaker 1:Num, num, num.
Speaker 2:Wait, what happened Now? I'm all confused. Did I tear off two pieces? What did I do?
Speaker 1:Uh-oh, you're done, man, we're totally lost Might as well, just cut the show.
Speaker 2:Okay, this is a busty play. Okay, now next Miles is outside doing the great escape, throwing the baseball against the wall.
Speaker 1:She yells at him stop it, because he's just being annoying for unknown reasons, but he's just tossing the ball in his own house Like back off lady. What is the problem here?
Speaker 2:There's like wings to walk away onto. She does not have to be there with him.
Speaker 1:No, it's the giant manor.
Speaker 2:Later she finds him rocking out, and then, to get her to go away, he pees with the door open.
Speaker 1:I don't know, it's all so weird.
Speaker 2:She calls her friend. And then that next night she looks out the window, sees a body in the lake, runs out there, jumps in to save the body. It's a mannequin that Flora and Miles have thrown in the lake. Runs out there, jumps in to save the body. It's a mannequin that flora and miles have thrown in the lake the fuck was her the worst?
Speaker 1:they're the worst kids ever.
Speaker 2:She go back inside, goes back inside the housekeepers there. What happened to you? It's just like the monster children.
Speaker 1:You couldn't be the monster children, your demonic kids that you've asked me to look after? I don't know.
Speaker 2:She takes a bath. It's pretty interesting they show you know they got the overhead shot of the bath. They don't put bubbles in there. Instead they put something in there to make it look murky green.
Speaker 1:Just like super dirty water. It's disgusting Like. This is exactly why I don't like baths, right, because you're just stewing in your own filth. I'm a shower guy. However, you're gonna take a bath shower first, shower first, then fill up the tub and relax. Because that's what baths are for, right, they're for relaxing. They're not actually for cleaning yourself. You know, you put in some. What are those bath salts? Or, wait, is that those are bad? Right? What are you putting?
Speaker 1:maybe a bubble bath bubble bath or like a bath bomb. A bath bomb, you know, those are nice and they're relaxing, whatever, but you don't. She's. It's so dirty, dan, like it's disgusting, it's, it's terrible.
Speaker 2:It's weird.
Speaker 1:When they give you the overhead shot, you're just like nope, and then it gets weirder because she goes under and then presumably opens her eyes because you turn around and you're seeing from her view. Why would you open your eyes in that dirty water? You're going to get so many eye infections. It's unbelievable.
Speaker 2:So then she sees what she thinks is a figure, and and she goes up, and then there's nothing there. There's a ghost in the room Is there, though, so she goes to sleep. I don't know. She goes to sleep and what wakes her up, tony?
Speaker 1:My boy, my boy Finn, creeping on her Just deep deep creep.
Speaker 2:And what did he do? He pulled a spider off of her.
Speaker 1:But did he or did he put the spider on her? That's the question. Because here's the thing, dan it's a pretty small spider I don't know if you saw it. So to even notice that it's crawling on her body, you've got to be pretty close. You're already breaking the proximity here. He's full-on creeping, and that's what I'm saying. There's some sexual tension in this movie.
Speaker 2:there's no sexual, tension no sexual tension. He's about to kiss her, dan, there is some st well then he sits on her bed and then he apologizes to her and then he tries to like kiss her there he goes in for a kiss super weird. And then what do we do? We cut the scene you're like. So here's the problem.
Speaker 1:Here's the biggest problem with this scene. She needs to shut that down. She she plays a weird victim level to this scene where she's like oh, why this is so weird? She's like nah, he's a, he's a boy, he's a creepy boy. He broke the rules. You need to lay it down on him and be like listen, this, this is inappropriate. I'm going to beat the crap out of you if you don't get out of my bedroom. Instead, she's like oh, maybe you should go to bed. And then he asks her if he can still teach her to ride. And she's like okay, like, listen, the window's open. I get why he's confused. There, windows open. I get why he's confused. There's definitely a crack there where he could still make a move.
Speaker 2:You gotta shut it down hard, dan the next morning she goes out to the pond, sees the broken mannequin. It's weird. You're like thank you, we did not need to see that uh, there we got the miles riding lesson. She's on the horse. He's got the whip. He's like whipping, whipping, whipping. And then they his face.
Speaker 1:His face is like twitching, he's like yeah, I don't know what the direction for this is one of those moments where I'm not team wolfhard I'll tell you that, but I don't know what the direction is. But it's weird, it doesn't make any sense.
Speaker 2:Well, the thing is is supposedly the Quint ghost is is in him half of the time, so that I was going to ask that, yeah, that's what?
Speaker 1:that's what they're trying to say, but Dan, it's all in her head. So there is no Quint ghost, right?
Speaker 2:I think there's a Quint ghost. I think, there is too, but I I don't know. I mean the movie up until the last three minutes is. There's a Quint ghost?
Speaker 1:So let's play that out right. Yeah, so here's a movie where there's a Quint ghost who's clearly evil, for reasons we'll get into in a little bit right, and then there's a part where she sees the future or something, and then she's snapped back to two hours before that and then we just cut the movie If they believe there is a Quint ghost. They did nothing with the ghost. There's no resolution, there's nothing. It's not a movie. Yeah, miles has to die.
Speaker 2:She probably should have to kill Miles.
Speaker 3:She should kill.
Speaker 2:Miles To protect, see, because the Quint ghost should be inhabiting Miles. And then Miles is about to kill.
Speaker 3:See, this is exactly what happens. Yeah, it's not a good movie don't get me wrong, this is not a good movie.
Speaker 2:It's not a movie you want to see it. It's not a movie anyone should make, but you know because they say it at the end oh, he's gonna get flora eventually. So the quint ghost goes in miles, goes for flora, and then they push him over the balcony and he falls to his death.
Speaker 1:And then she starts then we see a graphic.
Speaker 2:Oh yeah we see a break, you know. You just see like she's, like, you know, maybe he doesn't even die.
Speaker 1:He's like I'm sorry, and maybe he gets up in his head's like hanging off, you know, like they do in some movies. I'm sorry I'm sorry'm sorry. I loved Quint, but I also was him, but I hate him. And then the Quint ghost will come out of his mouth and go away.
Speaker 2:And then Kate goes crazy. Yeah, because she killed a kid.
Speaker 1:Yeah, that makes perfect sense. I disagree. I'd see that movie, Dan.
Speaker 2:Well, it'd be a better movie, because we'd be we'd be setting all that up.
Speaker 1:Right, well, they did set a lot of it up. Yeah, we'd make, flora, we'd make.
Speaker 2:Flora hot and cold in her too. Now Flora is just this weird creep.
Speaker 1:She's just like I'm like a tittering ghost, yeah, like she is. Like the girl that bounces the ball and then disappears.
Speaker 2:I don't understand anything yeah, so she needs to be like help me, kate help me, help me and then and then does something you know that pulls out a pin and pokes.
Speaker 3:It's like oh, I'm sorry I don't, I like to hurt sometimes. I don't know why all right, you're hired.
Speaker 1:You can play the little girl down.
Speaker 2:You're in then they're like let's go see the koi pond and they go through all this different thing. They get there, there's a crow eating a koi and then they walk over there and then the pond is like one mile by one mile by one giant yeah they, he, he miles stops the cold, the dying k and he's like nothing should have to suffer. And then Flora delivers her best line of the thing.
Speaker 3:That was my favorite one. What? Yeah, that was her favorite one, because she can tell the difference between all the kois?
Speaker 1:I don't think so.
Speaker 2:I believe she could. But in a pond that big you're going to have hundreds of them, especially if they show three or four of them swimming together. If it's that big, you're going to have hundreds of them, especially if they show three or four of them swimming together. If it's that big, there have to be two or three hundred in there so many, and she could have a favorite one but the percentage chance. But I mean, if it's all an illusion, maybe she didn't say that.
Speaker 1:Well, if it's all in Kate's head, not only does Flora not have a favorite fish, there might not even be a koi pond, who knows?
Speaker 2:So Miles' stuff arise from school.
Speaker 3:Yeah, who cares? Don't worry about it.
Speaker 1:We just didn't want you to think we forgot about the school guys.
Speaker 2:You know the school.
Speaker 1:That's gonna mean something later? Yeah, don't Wait's going to mean something later? Yeah, don't hold, wait for it, wait for it Nope.
Speaker 2:So then she's like let's go to town to the koi store and we'll get a new koi for the koi pond.
Speaker 1:Yep, and everyone looks scared. Did you notice that?
Speaker 2:Everyone was scared of it.
Speaker 1:Where do you get Koi from? From the Koi store, you know. I believe it's called Karen's Koi store. Koi Very expensive. Are they very expensive? Koi are very expensive. I didn't even know that I think.
Speaker 2:I see, I didn't even know that. Yeah, yeah, yeah, I think I hope that's what I'm saying.
Speaker 1:That's what I'm saying. Don't back down now, Dan. You were so sure just a minute ago.
Speaker 2:I had another friend in college who worked at a tropical fish place and had to make big tropical fish deliveries in a van. It was a nightmare. Wait what.
Speaker 1:Yeah, how big. When you say big tropical fish, how big are we talking? Okay, what information do you have from the tropical fish guy? Nothing, we're going to need to get him on the show. I've got some questions, dan.
Speaker 2:He would have stories. He would have tropical fish stories. That's what I'm saying. I bet they would be pretty cool stories.
Speaker 1:They would be fish stories, tony, which we don't hear very often. That's all I'm going to say. That's something I don't get to hear very often. Great fish stories.
Speaker 2:You know what a fish story is.
Speaker 1:Well, they're lies, right, yeah, okay.
Speaker 2:So Miles' stuff shows up. Miles, are you having bad dreams? He's smirky, going to get down.
Speaker 1:Flora can go, but then Miles is like so do they know when she's having bad dreams. Doesn't the daughter also say that at one point, when she crawls into bed with her, she's like having bad dreams, I'm gonna sleep with you, so do they know? I want it to make sense. I don't like it when things don't make sense.
Speaker 2:So then Miles asks the ghost is it okay for Florida to go? And you're like this has this all has to do with the ghost. The ghost, the ghost doesn't want her going.
Speaker 3:Is that why?
Speaker 2:she's not going Apparently.
Speaker 1:Quint has some rules.
Speaker 2:And then he's like oh, the ghost says you could go. And then Miles goes up to Caden's like and he thinks your tattoo is sexy and she like pushes back her hair. And there's what it was the tattoo she has.
Speaker 1:It's the snake eating itself, which is what the cycle of birth and destruction or some shit like that. What's it called Snake Snake?
Speaker 2:I don't know it's called the Ouroboros know the oroboros the oroboros oroboros.
Speaker 1:Uh, first of all, not to be rude, because some tattoos are sexy. That tattoo on the back of your neck, not not sexy, it's just not. It's just not. That ghost lied. That ghost is full of it.
Speaker 2:Yeah, and he's like an 18th century guy, so he shouldn't find tattoos.
Speaker 1:He doesn't even like tattoos. He probably doesn't even know what a tattoo is.
Speaker 2:He shouldn't know they get in the car, they start going. Flora freaks out, she freaks out. And then Miles freaks out, she freaks out, and then ma's like stop the car, I'll freaking, kill you. Yeah, what, what's happening? Kill you. That's not the line.
Speaker 1:So it makes sense if that's quint yeah, right sort of why? Because that's, because that's what he did to the other girl right killed her at the gate.
Speaker 2:But why does quint care if the little? Why does quint even care?
Speaker 1:flora leaves I do not know the answer to that. I couldn't tell you, but you know they foreshadowed it at the stable miles was like choose her out.
Speaker 2:You're not our mother, blah, blah, blah.
Speaker 1:You're not even family and nothing to us which is, which is like a weird you're not our mother. It's a weird thing to say like duh, she's your nanny, she's a living tutor, slash nanny.
Speaker 2:Like we all know, she's not a mom and I mean really, if you're writing a movie like this, there should be like miles, you should have two scripts. You should have one where miles is there and one where quint is there, and you write the lines for quint, right, and then you then you write the lines for miles and you figure out what miles motivation in every scene is. Does he want her there? Does quinn want her there? Does he want her to escape?
Speaker 2:is he trying to drive her away or is he trying to keep her there for quinn I?
Speaker 1:I don't know any of these things and you don't know, because in that same scene she's then like leaving and he goes fine, leave like everybody else. Well, which is confusing because that's the opposite of the first thing that's trying to trick a person to come back right.
Speaker 2:So I don't, I don't know that's a, that's a manipulation line to get a person to stay manipulation so of course yeah, it's all very confusing. She goes to the seaside to call her old roommate rose, and you, you know, she's like almost crying.
Speaker 3:She's like I'm doing great, I'm going back because I made a pinky promise.
Speaker 2:Yeah, I mean listen, no nope, I have something you need to explain to me, tony.
Speaker 1:Oh, I got it, I got it.
Speaker 2:Why does Rose have an empty gumball machine on her kitchen table?
Speaker 1:Okay, so the empty gumballs symbolize her heart without her best friend, slash lover. There it is, so it's empty, just like her vase in her chest. The vase in her chest, there you go. Was that poetic?
Speaker 2:It wasn't poetic, but it vase in her chest. There you go. Was that poetic? It wasn't poetic, but it was a good sentiment. It's an interesting.
Speaker 1:Okay, good sentiment.
Speaker 2:I'll take it's a good sentiment and an interesting read of the subtext of the movie.
Speaker 1:Subtext of the movie it doesn't exist.
Speaker 2:She goes back there. She sees Miles, I got you a present. She gives him a CD. What's the CD up, tony?
Speaker 1:I don't know. She said it's a great album. I missed what album. No you didn't miss what album they don't tell us oh, I didn't miss it.
Speaker 4:They don't tell us or show us what album it is.
Speaker 1:Just like it's a great album.
Speaker 2:See you, you later. Like wait a second. Every, every piece of music, every cd, anything like any gift is a symbol.
Speaker 1:Right, speaking of symbols, yep, you can't just give a person, you know, it's one of those still in the blanks, dan, but the audience can decide what cd she gave him and what it means to her and maybe also to miles. You know they don't want to, they don't want to give you everything it. And it's weird because we specifically tell you what time era we're in. So we have, we know exactly what music we have to choose from. Yes, we, we know everything about it and no choice. No choice is made.
Speaker 2:I'm gonna do do my comedy talk again oh great you know, since I haven't talked enough in this, tony's been talking too much. I keep track. I talk too much, I've got like a little stopwatch.
Speaker 1:You've got your stopwatch and taking notes.
Speaker 2:I clock in my time versus your time constantly, so I want to make sure I get more.
Speaker 1:Smart Good move, good move.
Speaker 2:In comedy you can make a joke about anything and even if the audience doesn't understand the thing you're talking about, if you do the joke correctly and it's a real joke, they will laugh and they will get it, because you're going to leave context clues in there that are going to tell them what it's about. If you know what you're doing right, if you know what you're doing with things, any audience can deal with comedy about anything if it's done correctly. And when you don't give us context clues on a cd, you've left all this hanging. We're just like what is it? Is it classical music, which is counter to what he's doing? Is it rock music? Is she trying to to play into what he's doing? Is it, you know, is know. Is it a you know kid bop? You know. So it's like you know something else.
Speaker 1:Oh man, those kids bops, those were great, great stuff.
Speaker 2:You're saying something when you give someone a generic CD. That's nothing. You've said the opposite of something You've. You've left us in suspense and you, we all know you're never going to tell us.
Speaker 1:Not only suspense, but like I'm curious, you know, like I, I do want to know. I want to know what you were thinking as the writer. I want to know what she was thinking as the character. I want to know how miles feels about it. Nope, it doesn't matter, but nothing matters and I just want to say dan you know, I do you remember hal rudnick. He was a ucb guy.
Speaker 2:He was a real comedian right, Didn't he?
Speaker 1:Yeah, he still is. I think he works on Screen Junkies and stuff.
Speaker 2:now he's on that real team, that big sexy team.
Speaker 3:Yeah, yep.
Speaker 1:Yeah, I had him as one of my sketch teachers over there and I wrote, we were doing parody and I wrote an Arrow parody from the CW, which I don't know if you realize this, but that classroom was full of people who had never seen arrow before. Good Right. So the first, the first week I brought it, there were chuckles, right, there were like a couple of chuckles, but a lot of like what the fuck is this? And he gave me that same note. He's like listen, we the world has never seen arrow note. He's like listen, we the world has never seen arrow. So you need to lay it out in a way where we understand what the show is telling you and why you think it's funny. And I was like oh sure, because I'm just doing why I think it's funny, but if you don't understand what the premise is, you're never going to understand it. So you need to.
Speaker 2:Yeah, so you just need those, uh, those little details there guys, all those context clues in there, and that means you can talk about anything because there's a universality to all of us. There are similar things that we see in media and whatever, and things symbolize things and people will understand if you don't.
Speaker 1:Yeah, it's a real thing. Listen to Dan Goodsell, I don't say that often. Real thing. Listen to dan goodsell, I don't say that often. Everybody this was a good note. Probably have to release that separately on ig so everyone can see your notes.
Speaker 2:So then, she's like do you want to talk about your dead friend quint?
Speaker 1:and then he plays the drums at her, and that's a good way to put it. He plays the drums at her.
Speaker 1:It's somehow like a physical, emotional attack on her, drives her away, drives her away, and she's just so scared of the drums. Every time he hits them she gets scared. What is she scared of? She's watching him take the I don't know what are they called the sticks and hit it Like you're not surprised by the sound. I don't know what are they called the sticks and hit it Like you're not surprised by the sound. I don't understand. So weird. I love it. It was great stuff.
Speaker 2:She goes and talks to the housekeeper and the housekeeper is like oh, after the parents died, quint took over the house and he just did whatever he wanted and he moved into the master suite. And then he got drunk and had an accident and he was just like.
Speaker 1:He moved into the master suite, the writing instructor, like how did he become the head of the household? That's pretty weird.
Speaker 2:You're just going to call the police and the police are going to be like sorry dude.
Speaker 1:You don't own any of this, get out.
Speaker 2:There's a big pile of money.
Speaker 1:You know, these people have lots of money so much money, yeah, uh, so much money that he doesn't have to cut grass or do dishes, don't?
Speaker 2:cut grass, don't gotta do dishes, okay. She goes up to the attic, find some sexy polaroids. The doors close, she runs. Then she finds the diary of the old nanny.
Speaker 1:Yeah, quick question.
Speaker 2:What was the sexy polaroid I don't get well, they were sexy polaroids of the nanny right, why, I guess quint was forcing her to take them, I guess.
Speaker 1:Which is it's confusing. I have the same assumption, but given that and then the diary, it doesn't sound like she ever would have done that because she's like I had to lock my door so he wouldn't come in. Oh, he's in anyhow. I don't know. It's very confusing. This is a strange story.
Speaker 2:I'm not safe. Ok, maybe she should leave, because she did just leave.
Speaker 1:Right, like you write in your diary, I'm not safe. Guess what? I'm out, I'm leaving.
Speaker 2:Then we have a dream horse chase and Miles is chasing her, and it's a straight cut to it.
Speaker 1:Yeah, straight cut, because she's like she's reading, reading, reading. I'm on a horse. It was jarring. I didn't understand, because it's a dream. But when did she fall asleep? That's what I'm confused about. A couple hours later, when she went to bed, right, sure, yeah. So just a weird cut. There's a weird, weird, weird cut.
Speaker 2:Great great cut guys. Seize the ghost of the old nanny. Help me. They wrote picture time.
Speaker 3:Flora is seeing the old nanny ghost Picture time.
Speaker 1:What does picture time mean? Picture time? Well, she finds a second picture. I think that's before the horse when she finds the picture of her sleeping and like it's got a handwritten note, that's like you're even beautiful when you sleep, just like the creepiest thing you could ever write on a polaroid, or the sweetest, or the sweetest. Uh, dan, I'm we gotta talk, man, because man, because that's not okay, that's not good. Is Shannon okay? Is she locked up somewhere, dan? Do I need to call somebody?
Speaker 2:Shannon was talking about some person she watches on something you know who goes into like houses, and she was like he finds human-sized cages in houses sometimes.
Speaker 1:Oh my God, what. Those are not the houses. What? Houses is this guy going into wrong houses, oh my god okay.
Speaker 2:So they, they're all together. They're like oh, it's the middle of the day, let's play flashlight tag, and we will also transition into the middle of the night during this game yeah, this was.
Speaker 1:It's a nine hour game, right from what I can tell all right house. Boy, would I be tired. It's a big house, you gotta check every room.
Speaker 2:So she catches flora upstairs, and then flora is like oh, now you gotta she's like come with me. She's like no, I can't, I'm dead, I'm dead so then she chases miles around the basement for like 45 minutes.
Speaker 1:But then it's not Miles.
Speaker 2:And then she says I don't want to play anymore, and then she goes back up. Oh no, Then she goes to another area and finds dolls and skulls and a mannequin hand, and then she goes upstairs and everybody's there, including Miles, and Miles is like got his feet up on the table. I've been there for my entire life.
Speaker 1:And he's eating a Pop-Tart. He's not eating a Pop-Tart, is he? It's a pastry that looks similar to a Pop-Tart, but there's no icing on it.
Speaker 2:Well, there's unfrosted Pop-Tarts.
Speaker 1:Okay, so that's what he's eating then? First of all, didn't know there was unfrosted Pop-Tarts but that's what he's eating for sure.
Speaker 2:Unfrosted Pop-Tarts are the best Pop-Tarts.
Speaker 1:That can't be right, because the only good part of a Pop-Tart is the sugary frosting. No, no, no, you like the fruit filling. What are you a?
Speaker 2:sicko, If you cook them just right.
Speaker 1:Pop-Tart. Just right, it's hard. You'll have to make me a Pop-Tart because my Pop-Tarts are always burnt, always burnt.
Speaker 2:It's very hard. Okay, she goes to the room. Oh, then the maid sticks up for Miles I mean not the maid, the housekeeper and she's all like he's been here for 15 minutes with me.
Speaker 1:You're the problem. Yeah, she's like the only person that's been terrorizing anyone is you, which is.
Speaker 2:Have we seen that? That's the line that's set up towards you're the one that's crazy? Sure, because that's the line that echoes in her mind.
Speaker 3:Oh, I'm the problem. We don't see that.
Speaker 1:She's not the problem, except for when she wouldn't let him bounce the ball. That was a little iffy for me.
Speaker 2:She goes to her room. She sees Miss Jessel in the mirror. She melts down. She's attacked by spiders. She's attacked by disembodied hands. Hands, hands, hands. It's like the Addams Family. The door rattles it's Flora, she's like are you having bad dreams?
Speaker 3:I'm going to sleep in your bed, come to my bed.
Speaker 1:It's weird.
Speaker 2:And then what's a really weird moment. She crawled, flora crawls into bed. Cut right. We don't see her get in the bed. We don't see anything.
Speaker 1:No, she gets into bed right when she she crawls into bed, puts her arm around her cut, which is still weird. It doesn't make like why is flora even there? We don't know, we never will know.
Speaker 2:Next day, boom, she gets mail from her mom. She opens it, no wait, she calls her mom and the mom. This was the thing that really annoyed me. She calls her mom, she gets the mail. She calls her mom and the mom says I need you, they're going to throw me out, and then she completely ignores that.
Speaker 1:Doesn't care at all.
Speaker 2:This actually is the weirdest. This is the weirdest scene in the whole movie Because it's like it's a pretty bold statement. You get a call like that from your mom and you're just like, nope, I got a little kid that is not really in danger, that I've seen there just be a bunch of not really in danger doesn't seem to like me very much.
Speaker 1:They already have a caregiver, from what I can tell, so I'm free to go help my mom, who has real issues that I know are issues, problems, and if she really is getting kicked out, that's gonna be a big issue, because you need some, she needs somewhere to be now she sees spooky wet footprints, now she begins to think she's.
Speaker 1:Well, she gets an art art pieces from her mom. Yeah, I said that in the mail and the and the governor wait, no, she's the governess. What's her name? The housekeeper? No, the housekeeper, whatever her name was is like whatever your mom has, let's hope it's not hereditary or something. Yeah, what? How does the mom? How does she know the mom's sick? Maybe it's. She could just have cool art. Yeah, like the art itself doesn't. Isn't a signal of illness? I don't know. It was super weird.
Speaker 2:She runs outside because it's now it's night she finds, oh, she sees miss jessel in the lake. Uh, she goes in the lake and finds the her body in the pond. So we're like, oh, okay, um, she goes into the house, she's looking for flora. Then she sees the ghost of miss jessel raped or attacked by Quint, raped and killed.
Speaker 1:Right, which is confusing. Right, because wasn't Miss Jessel killed at the gate?
Speaker 2:He probably dragged her back inside to a bed where he could rape her and kill her.
Speaker 1:Oh, I was playing that reverse. Yeah, you're right, You're right. No, that makes perfect sense.
Speaker 2:Dan, you gotta drag someone 20 miles to a bed so you can rape and kill them there, because that's easy to do the car's really uncomfortable.
Speaker 1:I don't know if you've ever tried it, but it's not great.
Speaker 2:He starts choking Kate and then boom, the housekeeper appears and she's all like Stop telling tales, quint is dead, I made sure of it. So she's being choked to death by a ghost on the floor. And then she walks in and it's like nothing's happening.
Speaker 1:It's for real, though, because they make a point of showing her neck, which is very red and clearly has marks on it. Oh, okay, and we never talk about it, we never mention it. It's just, that's a thing and it's fine, so I don't. But yeah, so then the housekeeper killed quinn, is that?
Speaker 2:what's the?
Speaker 1:implication. Okay, good, good for her. I'm not even mad at that, because quinn was a bad guy, apparently, right. So she's protecting the kids by murdering the bad guy.
Speaker 2:Here comes quinn's ghost he goes boo and she, housekeeper, goes over the rail just tumbles over the railing I don't I don't understand so then she's all like we've got to go, we've got to go, and she collects up the kids and they drive, and then the gates just open and they drive to freedom but no, we go quick flashback and it's a quick Like we just get out of the gate and it's like ha-ha gotcha. We flashback the kids, we cut back to where she received the art, which we did not see. This time she looks at the art and the art doesn't make any sense to us.
Speaker 1:Nope, like a couple of pages, which it probably should right. It should. At this point, there should be something.
Speaker 2:There should be some clue or something. And then she goes and sees the kids in this room that we've never seen before.
Speaker 1:For sure not. Yeah, it's like messy and weird.
Speaker 2:The kids are being weird and she accidentally breaks a doll that we've never seen before. And then they're like you can't fix it. And she's like can't fix it and she's like I can fix it, and then they zoom into her eye and then she's well, first fin fin wolfie.
Speaker 1:Wolfie says you can't fix her. She's broken, just like you and we. So the kids know she's a nutcase. I don't know.
Speaker 2:They never acted like that before. Well, not before this moment. No, they go into. Oh, zooms into her eye and there she is with this red bed with her mom and she screams and the credits roll yeah, so what? I found interesting.
Speaker 1:it didn't mean anything. She's in the pool. She's in the pool, she's in the empty pool, but her bed is in the middle of it. She gets out of the bed, walks to her mom who's drawing something. We never see the mom's face. And then the mom turns around. We cut to Kate. She screams we never see the mom's face in this scene. Oh why? I don't know, I don't know anything in this movie this movie's.
Speaker 1:You know, I don't know either, but it feels like that should be significant. Or is the answer? Well, we didn't have her that day. Like I don't know. I really don't know. I feel like I should know the answer to that and I just don't.
Speaker 2:I mean, yeah, this movie is like a comedy, which is all setups and then there's no punch lines where it's like oh set up.
Speaker 1:Yeah, no, oh set up which, by the way, I would watch that movie just because I feel like it would be interesting. This is not interesting it was sad it was sad and I can't wait to tell you what we're watching next week.
Speaker 2:But the good news on this movie is you're just going to forget it instantly you're not this movie, the Turning. Why am I not going to forget it instantly?
Speaker 1:you'll see we'll put a pin in it, dan, it's going to be fun now we talk about something oh like and subscribe um too late.
Speaker 2:Now we talk about something we like. Tony, is there anything you'd like this week?
Speaker 1:yes, last thursday, before we flew out of town, we got a late night screening of monkey man with dev patel the third act is flawless. It is fucking awesome. The first two acts not as great, but honestly it builds to such an like an incredible climax that I, I, I don't care as much. But on a second rewatch I think I'll be like should I fast forward? I don't know, there's some great stuff, there's some weird stuff, and then the third act is just like balls out. It's unbelievable.
Speaker 1:It's such uh, but worth a watch cool very fun and for his being his directorial debut, like I, it's gotta be good. Yeah, gotta be good for him, like two thumbs up dude.
Speaker 2:Uh, I got two things. I started that new show on max Ripley, which is based on the talented Mr Ripley movie.
Speaker 1:It's a. I didn't even know this was a mini series, Okay.
Speaker 2:It's you live in it, it's very it's someone's. I'm sure some people are like this is the slowest thing I've ever seen. Okay, I loved it because it's interesting.
Speaker 1:Okay, it's the dude that played the sexy priest on fleabag, whatever his name is.
Speaker 2:I didn't watch fleabag. This is the guy that plays moriarty on the benedict cumberbatch oh on, uh, yeah sure on the detective guy yeah, well, what's his? Name is he's just such a good actor. You're just like wow. Everything he does is just like little and subtle and you're like oh, now we're here.
Speaker 3:Now we're here.
Speaker 2:Now we're here, You're just like, and you just he's, you know, he's just like crafting this character and then the other thing we watched we started was this other British thing called Mr Bates versus the post office, which is uh love the name. Toby. Jones. If you love Toby Jones, okay.
Speaker 3:Yeah.
Speaker 2:It's about this scandal in England, which is real, where the post office destroyed all of these sub post masters that that own these little tiny post offices and said that they were all criminals. It's, it is literally the most insane news story that there ever is, because it's like a. It's like a government agency going after these workers because their their computer system is screwed up and then they act like it's not screwed up and instead just destroy these people.
Speaker 2:It's bizarre it says something about the British, how the British thing works. That's pretty incomprehensible to us In. America the only thing that matters is being a criminal to make money, that's the. American way, and in this thing no one was making money, but they were just destroying all these people's lives, that's so weird. We understand that from a corporate point of view, it's to be expected. We understand it. We understand how we want vengeance on the people that do this, but this thing, you're just like why did keep on destroying?
Speaker 2:you know, why don't you just fix the thing that was broken?
Speaker 1:but instead of right, instead of admitting a.
Speaker 2:Thing that's broken. We're going to just continue to do more things and it, you know, it wasn't like one person, it was a whole hierarchy of a government, branch of government working in concert to destroy normal people. Wow. It's insane. It's the most insane story.
Speaker 1:I'm excited I'm going to have to give this a watch.
Speaker 2:Yeah, so it's pretty good. Okay, Tony, you've been waiting for two hours to mete out your punishment on poor Dan Goodsell.
Speaker 1:I'm so excited, dude, poor innocent Dan. Goodsell, that's only ever given you good movies to watch. Innocent Dan Goodsell, you made me watch this piece of trash. So this movie, right, what is it called? The Turning? It's based on a novella which we talked about, which is the same novella that Haunting of Blind Manor is based on Henry James, I think was the person and I was like man.
Speaker 1:It's funny to see how One thing is awful and then one thing is like really good and it turns out a bunch of people have adapted this. So I was like let's watch a different one. And it's came out in 2006. I believe it's called in a dark place. It's got Lili Subieski in it. I mean it's gonna be good. So I was like, let's just keep it. Let's keep it. I mean it's gonna be good. So I was like let's just keep it, let's keep it going. Let's do the exact same movie next week and see what's gonna keep doing the same movie till someone gets it right it's gonna happen.
Speaker 1:I'm pretty excited about it so biesky.
Speaker 2:What did she? What is? What is fame? The only?
Speaker 1:thing that I remember her from. She did a bunch of stuff. Great Was that Steve Zahn truck movie. What was Joyride? She was in Joyride with Steve Zahn and Paul Walker and Lili Sobieski, but I feel like she's done a big thing that I'm not.
Speaker 2:I have to imagine she's going to be the governess and there's going to be a kid named Miles.
Speaker 1:She's definitely going to be the governess, I'll tell you that. But that's about as far as I've got and people say that this movie is terrible. Yeah, they sure do. They sure do, dan. I mean, I watched the trailer. It doesn't look good, doesn't look good at all.
Speaker 2:I mean, the one thing that you can't say about the turning was the houses and estates and all that. They looked great yeah.
Speaker 1:Looked really nice, really nice. Good job everybody, except for the people that did all the rest of the stuff Good job, location scout. Right yeah, you did it.
Speaker 2:We're proud of you.
Speaker 1:You rock scout, right? Yeah, you did it. We're proud of you. Well, so, yeah, we'll see how this one stacks up. We can. We'll start ranking them as we go deeper and deeper into this. Uh, the turning of the screw, adaptations. This one's called in a dark place, which I just it's funny to me like is she in a dark place or is the house dark? I don't know, it's us, we. Is she in a dark place or is the house dark?
Speaker 2:I don't know. Oh, it's us. We're going to be in the dark place. Oh, we're in the dark place Psychically we have to sit through this terrible movie.
Speaker 1:It's a bit meta. I'm pretty excited about it, it's not?
Speaker 2:going to have Finn Wolfhard, so I'm twitching. That means I'm haunted by a ghost. I'll get you, Tony.
Speaker 1:I'll get you. Oh, it's so weird.
Speaker 3:So so so weird, it was definitely weird, but great, yeah, it was great.
Speaker 2:Well, I guess that's the end of the show. We'll be back next week to talk about In a Dark Place and hopefully we'll see you then.
Speaker 3:Goodbye everybody.