The Bride! with Kenice Mobley

[0:00] Psst. Hey, you, come here. I gotta let you know that The Flophouse is going to be doing a live show on September 18th. That's a Friday night in Louisville, Kentucky at the Whirling Tiger. We're going to be covering the famous box office bomb Glitter starring Mariah Carey, and we're going to feature special guest Howell Doughty, who's stepping out from behind his producer duties to be part of the show.

[0:23] Tickets are 20 bucks, doors at 7, show at 8.

[0:27] Go to thewhirlingtiger.com now.

[0:31] On this episode, we discuss the bride.

[0:34] You mean the bride.

[0:38] Okay.

[0:53] Hey everyone, welcome to the Flophouse. I'm Dan McCoy.

[1:05] I'm Stuart Wellington.

[1:07] And I'm the guy you've come to know and loathe, Elliot Kalin.

[1:11] That's right, I'm back. You couldn't shake me, loser.

[1:14] Fucking heel of the house.

[1:17] What town are we in right now? Because it sucks.

[1:20] Oh, wow.

[1:22] I want them to boo me so that when Stuart defeats me at the end,

[1:25] it's that much more dramatic and exciting.

[1:27] There's a grandma in the audience who's like booing loudly.

[1:31] Hold on, I have to introduce our guest

[1:33] who's already encouraging Elliot's shenanigans.

[1:36] And that's Kenise Mobley, a stand-up.

[1:40] You may have seen her on The Tonight Show.

[1:42] If not, look it up.

[1:44] She does the hot guy draft.

[1:46] Google it.

[1:47] I met her doing Uptown Showdown.

[1:49] Yes.

[1:50] where we talked about fashion.

[1:52] I forget which side of it I was on.

[1:54] I think we were on the same side,

[1:56] which means we were pro-suits over sweats.

[1:58] Yes, yeah.

[1:59] Thankfully, it was an easier thing to me

[2:03] rather than lying about my fondness for sweats.

[2:06] You don't seem like a sweats guy.

[2:09] No.

[2:09] Audrey, since the pandemic, she's like,

[2:12] clothes, why?

[2:15] And the whole time I've been like,

[2:16] no, must put on full outfits.

[2:19] I'm on your side, Pierre.

[2:20] Hopefully, they're keeping me sane.

[2:22] For the listener at home, just to make it clear, Dan is speaking truth.

[2:27] He is wearing not just a three-piece suit, but actually a seven-piece suit right now.

[2:31] He's got so many vests.

[2:32] He's wearing spats.

[2:33] He's got like those sock garters and things like that.

[2:36] You can see it all.

[2:37] He's wearing a hat.

[2:38] Yeah, he's really dressed up.

[2:40] No, I'm wearing a short-sleeved button-up, but it is seersucker, so I am a bit of a fancy lad.

[2:44] Yeah, sure.

[2:47] Kenny, thank you for being with us.

[2:49] Thank you for having me.

[2:51] Big fan of the podcast.

[2:52] Thank you.

[2:53] That's very nice to say.

[2:54] You saw us during Sketch Fest.

[2:57] I did.

[2:57] And that was very nice of you to come and see the show.

[3:01] I was like, it was sold out to me.

[3:05] And I was like, I'm not going to bother.

[3:07] They have too many fans.

[3:08] I'll just, I'll sit here.

[3:09] I'll watch the show.

[3:10] I'll text them afterwards.

[3:11] This is lovely.

[3:14] I'm glad it was lovely.

[3:15] Yeah.

[3:17] We watched The Bride.

[3:18] I love that attitude, by the way.

[3:19] That's really impressive.

[3:20] Just be like, I don't want to trouble anybody.

[3:23] It's just, let's chill.

[3:24] As opposed to-

[3:25] As a Midwesterner, you love that attitude.

[3:28] Yeah, anything where I can like just be reserved, don't speak up, pretend that I like people.

[3:35] That's very Midwestern of me.

[3:37] See, as opposed to, I've got East Coast vibes.

[3:39] So it's a lot of like, hey, I like this thing.

[3:41] How do I make myself a part of it so I can claim a piece of it and go from fan to owner?

[3:46] You know, that's not a good attitude to have.

[3:49] I'm a southerner, so I'm just like, y'all, that's nice.

[3:56] That's nice.

[3:57] A lot of, Lord, it's hot today.

[3:59] Let's just sit a while, that kind of stuff.

[4:00] Oh, sweet tea?

[4:01] Give it to me.

[4:04] I'm drinking my, I'm actually literally drinking unsweetened teas right now.

[4:08] Watch out.

[4:09] Sour tea.

[4:10] Yeah, like you just want dirt water?

[4:11] Okay.

[4:13] Dan just, here's what he does.

[4:14] He goes to Prospect Park.

[4:15] He just picks a bunch of leaves off the ground, sticks them in some water that a rat was swimming in, and he calls it New York tea.

[4:21] Doesn't want to sleep in it.

[4:23] Bitterness is sweetness to me, Ellie.

[4:26] We got bizarro, Daniel.

[4:30] We could have a nice time just making this into a chatting podcast.

[4:34] Oh, yeah, yeah, yeah.

[4:36] Dan, Dan, tell me, what's your body count?

[4:39] I don't know what that, oh, I do know what that means.

[4:42] I don't want to get into it.

[4:44] You live in Brooklyn.

[4:45] How could you not know what that means?

[4:48] I'm a sweet lad.

[4:50] Oh, okay.

[4:51] See, he's blushing in his seven-piece suit.

[4:55] Just because it's very hot today.

[4:56] No wonder he's drinking that sour tea, yeah.

[5:01] This is a podcast where we watch a movie

[5:03] that was a critical or a commercial flop,

[5:05] and then we talk about it.

[5:07] And I believe this was both.

[5:09] Yeah, yeah.

[5:10] The Pride exclamation.

[5:12] Makes critical reviews very much a financial disappointment, though.

[5:15] Yeah.

[5:15] It did strike me, the reviews going into it, it felt like for a select few, it was very much their shit.

[5:23] And then for a lot of people, it was, I either hate this or I'm like, they thought it was kind of a swing and a miss.

[5:30] Yes.

[5:31] I think it's the kind of movie, it's the kind of movie, it's hard for me to imagine Maggie Gyllenhaal, the director of the movie, writer and director of the movie, making this movie and thinking, this is my four quadrant hit.

[5:41] Yes.

[5:42] That's going to establish, this is when they offer me a Marvel movie afterwards.

[5:45] No, I don't think she wanted that, but it is kind of astounding that the money was given for this, which I'm not saying it shouldn't be.

[5:54] No, no, but it is a very big budget for a movie like this.

[5:56] Well, she can bring in, she can bring in stars and her previous movie, The Lost Daughter, people really liked it.

[6:02] I mean, it is really good.

[6:04] And so, you know.

[6:04] And she's, you know, I read she just got signed to work on a new movie as writer director.

[6:10] So I'm glad this is not.

[6:12] Oh, wow.

[6:15] She's doing the saber-tooth spin-off.

[6:18] I like her.

[6:19] I don't want her to be marked by the failure of this movie.

[6:22] I'm glad that she's getting another bite.

[6:24] But this one was not well-received in general.

[6:27] You're being very kind in your words.

[6:30] You guys are being so kind.

[6:32] We like Maggie Gyllenhaal and the other people involved.

[6:36] So she is the best thing in the film, 40 Days and 40 Nights, which we recently did on the podcast.

[6:41] Gyllenhaal is in 40 Days and 40 Nights.

[6:42] Yeah, she was the best friend.

[6:43] She's the best friend of the female lead.

[6:46] Shana Sossaman.

[6:47] Shana Sossaman, yeah.

[6:47] 40 Days and 40 Nights, I'm so sorry.

[6:51] Stuart's face just fell.

[6:53] Why did your face fall so hard?

[6:55] I hate it so much.

[6:56] It's Stuart's least favorite movie.

[6:57] It didn't impact your youth?

[7:01] Well, no.

[7:02] I mean, I was like in my 20s when it came out.

[7:06] So I don't know if it impacted my youth.

[7:08] But yeah, I mean, it was, I just hate it.

[7:11] I hate everything about it.

[7:12] To quote Ugly Kid Joe.

[7:15] I think it had a big impact on him.

[7:18] He spent a number of years trying to perfect erotic flower play after that,

[7:23] and he could never get the results.

[7:25] So that love curdled to hate.

[7:27] But it was F-L-O-U-R play, unfortunately.

[7:30] Yeah.

[7:32] Dust women with flowers.

[7:34] I'm sure there's movies where they do that.

[7:36] So they won't stick.

[7:36] Yeah, Labor Day, dude.

[7:38] Oh, right, right.

[7:40] So let's talk about The Bride, because that's what we're here to talk about.

[7:43] Or as it's typographically listed, The Bride, because there's a big exclamation point at the end.

[7:50] So this is a—

[7:51] You're on summary duty on this one?

[7:53] I'm on summary duty.

[7:54] It's very summary.

[7:54] That's great, because I watched this on—

[7:57] This is one of the available in-flight entertainment options on my flight back from Frankfurt, Germany.

[8:04] Oh, wow.

[8:05] Now tell us a little bit about your trip.

[8:06] Thank you, Lufthansa.

[8:08] I think if I tell people the story of this trip, they would be laughing too hard.

[8:15] They would have to go to a doctor.

[8:17] It was like some sort of European vacation.

[8:20] I tell you, before the recording, Stuart said, I have a really funny story to tell you.

[8:24] And I was laughing so hard, I think I tore my esophagus.

[8:27] It was just what he told me.

[8:29] Normally, Elliot has a much deeper voice.

[8:31] Yeah, exactly.

[8:32] Yeah, my resonant base that listeners have gotten so used to.

[8:35] Brian Blessett Jr., they call him.

[8:38] Well, that's because of the paternity lawsuit, but you guys may remember the press, the press

[8:46] that I did, the press statement where I said, I always thought of myself as blessed.

[8:49] I suppose Brian doesn't feel the same way about it.

[8:53] Yeah.

[8:53] Very Rodan Farrow of you.

[8:56] I call him Brian now and not Papa because of the lawsuit.

[8:59] Yeah.

[8:59] So, so anyway, let's talk about, let's, Stuart, did you watch it in English or auf Deutsch?

[9:05] I watched it.

[9:05] I watched it in English.

[9:07] Yeah.

[9:07] Yeah, and Charlene watched it.

[9:09] We, like, simultaneously – do you guys ever do this with your partner

[9:12] when you're flying?

[9:13] You, like, try and start at the exact same time?

[9:15] Yeah, yeah, yeah.

[9:16] No.

[9:18] That's my time.

[9:19] I mean, normally I'm pretty strict about my in-flight entertainment.

[9:23] I, like, read books because I'm like, there's time now.

[9:26] Or I will –

[9:27] But then your glasses break and you go, no, no, there was time.

[9:30] I can't get your glasses on the plane.

[9:32] Yeah.

[9:32] I don't know.

[9:33] Maybe if it's a nice flight.

[9:35] Yeah, if it's a snowpiercer.

[9:37] They're optometrists on Snowpiercer.

[9:40] That's right, Snowpiercer would have an optometrist on there, yeah.

[9:45] Draw it up.

[9:46] Give me a drawing, somebody.

[9:49] That's how you request fan art.

[9:52] And the artist of you trying on glasses on Snowpiercer.

[9:56] That's what it is, yeah?

[9:58] Like, oh, that's what a baby looks like.

[10:01] That's what I've been eating all this time?

[10:04] He tricked me.

[10:06] Tilda Swinton.

[10:07] The, oh man, if Tilda Swinton fed me a baby,

[10:11] I'd be like, okay, I guess I trust her.

[10:15] So what I was saying is I normally try and watch my own ship.

[10:19] This time, Charlene always wants to watch something with me.

[10:22] And this time we watched The Bride together.

[10:24] She did not watch The Bride the whole way.

[10:26] She fell asleep about 10 minutes in.

[10:28] She had that privilege.

[10:31] And then she tried to tell me what she saw.

[10:34] And then I filled in the blanks

[10:36] because she woke up basically right at the end

[10:38] and then was shocked by a very specific old musical choice.

[10:44] Yes.

[10:45] Oh, yeah.

[10:47] Maybe my favorite part of the film.

[10:48] Yeah, no shit it was.

[10:50] I assume it's the same one I'm thinking of,

[10:51] in which case the whole time I was like,

[10:53] is she aware that this thing exists already?

[10:55] And then they played that song and I was like,

[10:56] oh, she's certainly aware.

[10:58] Yeah, yeah, yeah, of course.

[10:59] So ironically, I fall asleep a lot when I'm watching movies at home.

[11:03] This is one of the few movies I did not fall asleep at any point during.

[11:06] So Charlene and I had a totally opposite experiences.

[11:10] This one I watched sitting on the couch with my wife,

[11:12] not doing dishes.

[11:13] Elliot watches movies while he's doing the dishes,

[11:16] which seems challenging.

[11:17] Do you have a TV above your sink?

[11:19] I have a little iPad that I watch.

[11:21] Okay.

[11:21] Yeah, yeah.

[11:22] Interesting.

[11:23] I mean, he's a very busy man,

[11:24] and we forced him to do this podcast.

[11:26] Forced him.

[11:28] It's against his will to do the podcast.

[11:31] I tried to change my name.

[11:32] I moved to a cabin in the woods,

[11:33] and then I was out chopping wood one time

[11:36] with a big beard

[11:36] in a puffy coat

[11:37] and Stuart and Dan

[11:38] drove up in a truck

[11:40] and I said,

[11:40] how'd you find me?

[11:41] They go,

[11:42] well Elliot,

[11:42] we need you for 400 less jobs.

[11:45] That's a name I haven't heard

[11:46] in a long time.

[11:48] So anyway,

[11:49] we start in,

[11:50] we start,

[11:51] there's some text on the screen

[11:52] in black and white

[11:52] that says in 1888,

[11:54] sorry,

[11:54] not 1888,

[11:54] in 1818,

[11:56] in 1818,

[11:57] Mary Shelley wrote

[11:57] Frankenstein on a dare,

[11:59] which is not totally true.

[12:01] It was kind of a storytelling

[12:02] contest game.

[12:04] I'm going to be in,

[12:05] I'm going to be,

[12:06] Guys, we don't get into fucking storytelling contest games

[12:09] if not for anybody just D&Ding it up and shit.

[12:12] Television, the internet.

[12:13] There's so much other stuff to do.

[12:14] It's rare that we and our Libertine friends

[12:17] are stuck by bad weather in a villa on Lake Geneva.

[12:21] That doesn't happen that often, you know.

[12:24] But I'm going to be in the Geneva area in just like a week.

[12:27] If we changed our lives, we could.

[12:29] We lived a little differently.

[12:30] Come on, guys.

[12:31] I'm going to be in the Geneva area in like a week for work,

[12:34] and I'm very disappointed

[12:35] that I'm not going to have the time

[12:36] to go see the villa

[12:37] where that storytelling contest happened

[12:39] and where Mary Shelley

[12:41] first started writing Frankenstein.

[12:42] So I really want to see it.

[12:43] Isn't it wild that one of these dudes

[12:45] is just named Lord Byron?

[12:47] That's crazy.

[12:47] I mean, his name is George.

[12:49] His name is George.

[12:50] I mean, he is Lord Byron.

[12:52] Like, what?

[12:54] But he has a name.

[12:56] That's crazy.

[12:58] So anyway, he is not in this movie,

[13:01] but Mary Shelley is played.

[13:04] This is one of the two roles played by Jesse Buckley.

[13:07] And I will say, I'm going to give a spoiler ahead of time.

[13:09] I overall pretty much like this movie.

[13:11] I'm softer on this thing than I thought I would be.

[13:13] Yeah, but these parts with Mary Shelley are the one thing in the movie that do not work for me.

[13:17] It begs the question, why?

[13:19] Yes, and so, well, let me tell you, because the concept is Mary Shelley tells us that Frankenstein was only half the story.

[13:25] She couldn't write the rest of it because she died.

[13:27] And she spent centuries in kind of limbo trying to get the rest of the story told.

[13:31] She goes, is it a ghost story or a love story?

[13:34] And what this sets us up for is a world where Frankenstein is a story, whereas we get a world where Frankenstein is a real person who exists.

[13:41] And yet Mary Shelley is also a person who exists and wrote a book called Frankenstein.

[13:45] And they never really tie this knot.

[13:48] It's also awfully ballsy for a movie to be like, this is what Mary Shelley would have written if she'd lived longer.

[13:55] And by the way, it's going to be twice the scary shit that that thing was.

[13:59] I will say that, except she is.

[14:01] So I think what Maggie Gyllenhaal is trying to do is play off of the opening of Bride of Frankenstein, which opens with Mary Shelley and Percy Shelley and Lord Byron.

[14:08] And Lord Byron goes, that Frankenstein story was so scary.

[14:11] And she goes, well, there's more.

[14:12] And then she starts telling the story of that movie.

[14:14] So I think Maggie Gyllenhaal is very much playing off of what happens in Bride of Frankenstein.

[14:19] But in that movie, it's entirely a story Mary Shelley is telling.

[14:22] There's no part where Mary Shelley is interacting with the characters, which happens throughout this.

[14:26] Yeah, possessing a person, yeah.

[14:28] Yeah, so then we're in the 1930s.

[14:31] We're in a restaurant.

[14:32] There's a woman named Ida.

[14:33] A restaurant that is 100% Gage and Tolner in Brooklyn, New York.

[14:36] There's no question.

[14:38] And the funny thing is this scene does feature some oyster issues.

[14:42] And I got to say, I got fucking food poisoning from an oyster there.

[14:44] So I sympathize.

[14:46] I feel like this is verging on libel or slander, whichever one is spoken.

[14:52] All he was telling you, all he's saying is what actually happened.

[14:55] Just the facts, Dan.

[14:56] But you weren't possessed by the spirit of an author.

[15:00] I feel like this is actionable.

[15:02] I mean, I've been back there multiple times.

[15:04] I think it's a nice restaurant.

[15:05] Maybe because George R. R. Martin was buying me dinner.

[15:08] I liked it a lot.

[15:09] What?

[15:09] Yeah.

[15:10] Did I drop that name?

[15:12] Why didn't you pick it back up?

[15:14] That's the entire reason that Stuart brought this up.

[15:16] I mean, it's 100% Gage and Tolner.

[15:19] And also this scene does feature a friend of a friend,

[15:22] Indy Darling, John Magaro,

[15:23] who's friends with a friend of mine.

[15:25] So I can't say anything bad about him.

[15:27] But he's not bad.

[15:28] He's good.

[15:28] He's good in everything.

[15:29] Which one is he?

[15:30] He's the, like, date.

[15:32] Yeah, he's the guy who looks kind of sad.

[15:34] He's the one who turns into an assassin later.

[15:37] I mean, I won't say anything bad

[15:39] about any of the actors in this one.

[15:41] I don't think that they're the issue with the film.

[15:43] They're all committing.

[15:45] Everyone's trying hard.

[15:46] So they're in this restaurant.

[15:47] There's a woman named Ida,

[15:48] also played by Jesse Buckley.

[15:50] And Mary Shelley starts to possess,

[15:53] she's like, I'm going to possess this woman's body.

[15:55] And it's this drunken dinner.

[15:57] She's with these really douchey guys.

[15:58] And suddenly she starts convulsing.

[16:00] And Mary Shelley is entering her mind, and she starts climbing on the table and rambling.

[16:04] And she does a thing which I do not love during the movie where now in Mary Shelley voice, she's just free associating words.

[16:10] You'd think I'd love this because I do it all the time.

[16:12] But it turns out that I'm just annoying me as much as I prefer to annoy other people.

[16:17] I mean, you're also doing it for comedy purposes.

[16:19] here like look i i think that this uh culture should hold up intellectualism a little bit more

[16:30] than it does rather than the scoff at it you would think that egghead yeah yeah yeah have you ever

[16:36] seen the big bang theory those dudes are hilarious and and thus i like hate uh when something's

[16:44] called uh pretentious because most of the time i feel like that's just like people not wanting to

[16:49] engage with a thing and like

[16:50] being like this is too

[16:52] uppity for me like essentially

[16:54] but I find this

[16:56] pretentious all of the like Mary Shelley

[16:59] it's the kind of thing I think I would

[17:00] I would accept more in a play than

[17:03] in a movie I can't white put my finger except that I

[17:04] expect I think I expect a certain level of

[17:06] pretentiousness from the theater that I

[17:08] am less willing to take for movie

[17:10] but the she's really scaring

[17:12] people she seems particularly angry

[17:14] at a gangster who's sitting nearby who

[17:16] we learn more about later and the guy she's with

[17:18] They're like, hey, stop it.

[17:19] And they hit her.

[17:21] And then they push her down a flight of stairs.

[17:23] And in voiceover.

[17:23] One of the guys was on.

[17:25] Okay, go on.

[17:26] A flight means death?

[17:27] Yes, that's what I was going to say.

[17:29] And the evil gangster is the guy from Triangle of Sadness.

[17:34] And Superman.

[17:35] And Superman?

[17:37] Yeah.

[17:38] He played Superman?

[17:39] He played Superman.

[17:40] No, he plays the Baravian leader.

[17:44] No, you're right.

[17:45] You're right.

[17:46] He's also in Wonder Man.

[17:47] Oh, yeah, yeah.

[17:48] That's where I know him from Wonder Man.

[17:50] I haven't seen either of those yet.

[17:51] I'll have to watch them at some point.

[17:53] In voiceover, she says a revolution is coming

[17:55] that will really frighten you,

[17:57] but Ida is dead at the bottom of the stairs.

[18:01] Then it's daytime Chicago.

[18:04] There's a masked man who is clearly Frankenstein

[18:07] played by Christian Bale.

[18:08] Frankenstein's monster.

[18:08] Shouldn't he be Frankie?

[18:09] Okay, I was like, we keep calling him Frank,

[18:11] but come on, guys.

[18:12] He says, my name's Frank.

[18:14] Frankenstein's monster if you're nasty.

[18:16] And then he shows up.

[18:18] F-Monster.

[18:21] He shows up to see Dr. Euphronius, played by Annette Bening.

[18:25] Star of the Great Outdoors, Annette Bening.

[18:28] Star of the Great Outdoors, yep.

[18:30] And this is where things start to, so he's like, I'm here to see Dr. Euphronius, and she's like, I don't know, da-da-da, and then she reveals I'm actually Dr. Euphronius.

[18:39] So they do a little, oh, the doctor was a woman moment.

[18:43] That's a reoccurring theme.

[18:44] Because she's like, oh, I've read all of Dr. Frankenstein's books.

[18:48] I'm familiar with his work.

[18:49] And this is another moment where I'm like, wait, so Frankenstein is famous in this world?

[18:55] Like people are familiar with the story?

[18:57] Because it's – and maybe this is just they're famous scientists who other people have not heard of, which is fine.

[19:02] Like there are plenty of people who don't know who Richard Feynman is, and he's a relatively famous scientist.

[19:07] But like there are parts throughout where I'm like, do people know what Frankenstein's monster is in this movie or do they not know what Frankenstein's monster is?

[19:14] Because everyone's aware there are monsters, but anybody should be famous.

[19:17] It should be like in the X-Men comics when Wolverine shows up places and they're like, you're Wolverine from the X-Men?

[19:21] Like he's famous at this point.

[19:23] And this is, I got to say, like this is the sort of levels of reality thing that I know we offer this kind of like kind of non-critique all the time.

[19:32] But like if everything else in the movie was working, I wouldn't be thinking about it, but it's not.

[19:37] So I'm like, okay, what's the reality here?

[19:40] Like, where are we in time and space and between fiction and reality?

[19:44] We're also very early in the movie.

[19:46] And so there isn't enough movie yet for me to grab onto.

[19:49] So I'm worrying about this stuff.

[19:51] So Dr. Euphonious examines Frankenstein's scars.

[19:53] She wants him to stay at her institute.

[19:54] But he wants to—he's never had a physical relationship.

[19:57] He says the first time he ever shook hands was when he shook hands with Dr. Euphonious minutes ago.

[20:02] So it's a real elephant man type situation.

[20:04] It's been like a hundred years.

[20:06] Yeah.

[20:06] And he looks pretty normal.

[20:08] Yeah.

[20:09] He looks like a guy who's been in a really bad car accident.

[20:12] I mean, he's got a mask on.

[20:13] I mean, I think he could have.

[20:15] If he wanted to shake hands, he could be shaking hands.

[20:17] Of course, to a liberal like you, a liberal like you who's afraid of COVID, masks are normal.

[20:21] But to someone like me, I'm like, why is the guy wearing a mask?

[20:24] I don't understand.

[20:24] Let's put him on the scale of, on one end of the scale, we have Darkman.

[20:27] That's probably as gross as you can be and still be the hero.

[20:32] Versus like Ryan Reynolds' Deadpool, where you're like, Ryan Reynolds' Deadpool, you're like, yeah, you look fine.

[20:38] He looked like Midwestern Ryan Reynolds.

[20:40] Yeah.

[20:42] Like, they make a point of saying how gross he looks,

[20:44] but he still, like, it still looks like Ryan Reynolds, right?

[20:47] I think with Frankenstein,

[20:48] it's the noticeable stitches on the forehead

[20:51] and things like that.

[20:51] True.

[20:51] And his nose looks like it's been broken a few times.

[20:54] He looks like he's a boxer.

[20:56] He looks like an ex-boxer.

[20:57] Again, if anything, Stitches suggests to me,

[20:59] like, oh, this is a man with a medical issue

[21:01] rather than this is a monster.

[21:03] Maybe he was a snitch.

[21:05] And he's also,

[21:06] maybe this is a matter of the way they shoot.

[21:08] Like, Frank, he's not as, he doesn't feel as enormous as the monster does.

[21:12] Like, in the old Frankenstein movies, Boris Karloff looks so much huger than anybody else, you know.

[21:17] I mean, Jacob Elordi five months before this is Frankenstein, and you're like, whoa, he's big.

[21:21] But this monster is Christian Bale height.

[21:24] I will say, though, that Jacob Elordi is big, but he is also hot Frankenstein.

[21:29] So when people are like, kill it, I'm like, I don't understand.

[21:31] He just looks like a hot dude.

[21:35] So he's, unless those, maybe those hunters in the Game of Thrones, they're like, that

[21:39] man's hotter than we'll ever be, destroy him, or women will know that they can have him

[21:43] instead of us.

[21:43] All the women around are going to pick him.

[21:46] Like, what women?

[21:46] We're at the Arctic.

[21:48] There might be some later.

[21:49] The Arctic women, those are walruses.

[21:53] He's like so skinny.

[21:55] Like, when you got visible abs like that, he doesn't have enough body fat to survive

[21:58] out in the wilds of Antarctica.

[21:59] No, no, that's for sure.

[22:00] He's definitely, he should have died of malnutrition, but again, also he's pieced together by

[22:04] corpses and if you shoot him nothing happens oh fuck yeah he's magic i forgot he's magic that

[22:10] there is i thought he was i thought he was regular no no there was a point in that movie where it's

[22:15] like wait so if if because he died once already i guess he's like immune to things that would kill

[22:20] a normal person like i don't understand like oh i wasn't aware that frankenstein's monster had

[22:23] these superpowers i mean i love del toro but sometimes he gets into that shit yeah i the it

[22:30] seems like it would be easier to kill frankenstein because like he's just held together with

[22:33] stitching so like you'd be like a few well-placed gunshots yeah just sneak up on him with his pair

[22:39] of scissors yeah so um he's like i want a physical relationship i want a bride i want you to build me

[22:44] one uh he's also obsessed with uh with movie musicals specifically the movie musicals of an

[22:50] actor named ronnie reed where the idea is that ronnie reed was an actor who had polio and he has

[22:55] and uh had had to accommodate for that to become a famous dancer and he's played by jake gyllenhaal

[23:00] And the whole time I'm like, how did they get Jake Gyllenhaal for this movie?

[23:02] He's a big star.

[23:04] How did they get him in this film?

[23:06] So he's constantly going to the movies and watching these old musicals.

[23:09] And he imagines himself in the movies.

[23:11] And this was when I was watching this with my wife and she was like, you're seeing Frankenstein in a top hat and tails dancing.

[23:16] And she's like, does Maggie – all I can think about is young Frankenstein.

[23:19] Like, does Maggie Gyllenhaal know young Frankenstein exists?

[23:22] And then later on they sing Putting on the Ritz.

[23:23] And you're like, okay, she definitely knows that young Frankenstein exists.

[23:26] Like, there's no way.

[23:27] Could be a coincidence.

[23:28] And it really threw me, but by the end I came to really like it because it seemed to me like she was like, oh, that scene in that movie is a joke of how awkward the character is.

[23:37] I'm going to give him grace.

[23:39] I'm going to give him a level of dignity that he doesn't have in that scene, which I thought was kind of cool.

[23:43] But anyway, but that wasn't until later.

[23:44] Anyway, he walks by some sort of red light district.

[23:47] Frankenstein is, he's not comfortable around sin, you know.

[23:50] Dr. Euphonious, she's got issues with the different methods of corpse survival that they're going to try to figure this out.

[23:58] They're on board.

[23:59] Frank wears down her resistance.

[24:01] Next thing you know, they're digging up the body of that same woman, Ida, that Mary Shelley possessed.

[24:04] And it makes you wonder, has Mary Shelley just been sitting in that dead body underground for, like, days now?

[24:10] Any moment.

[24:11] Any moment now.

[24:12] Any moment now.

[24:13] Because she's read the script.

[24:14] She knows she'll get, like, in the Muppet movie.

[24:16] She knows she'll get dug up.

[24:18] And Frank is like, no, she's too beautiful.

[24:20] But we'll try it anyway.

[24:21] I kind of like that moment where he's like, she's too beautiful.

[24:24] Because, like, I don't know, like, yeah.

[24:27] What's the thing that happens?

[24:28] His self-esteem is low.

[24:29] But he's like, his self-esteem's low,

[24:30] and also maybe he's like, I don't know, she doesn't,

[24:33] he looks clearly like a monster and she does not.

[24:36] And I think that, I don't know.

[24:38] She looks like she spilled some ink on her face.

[24:39] Yeah.

[24:40] I mean, she's still undead, right?

[24:41] Like, we're.

[24:42] Yeah, but we don't know.

[24:43] I mean, yeah, we don't know the degree

[24:45] to which there's an odor.

[24:47] If Jessie Buckley showed up at a red carpet dress like this,

[24:51] people would be like, she is serving.

[24:53] Yes, yeah, sure.

[24:55] She's serving bride realness, yeah.

[24:57] But also, I think, again, this is a play, I think, on the end of Bride of Frankenstein where they finally revive the bride.

[25:04] And the first time she sees Frankenstein, she screams.

[25:06] She's like, I don't want this.

[25:07] This is not anything I'm interested in right now.

[25:11] But they're trying to do this experiment.

[25:13] Meanwhile, the doctor's maid, Greta, is suspicious.

[25:16] And I kept thinking they were setting up Greta to be a bad guy, but it never quite happens.

[25:19] No, no, no.

[25:20] No.

[25:21] They do the experiment.

[25:22] Sort of a minor comic figure.

[25:23] Yes.

[25:24] And then later on, kind of an ally.

[25:25] We'll see.

[25:26] We'll see.

[25:27] Eventually, everyone's just putting ink on their face.

[25:29] They do the experiment.

[25:30] It works.

[25:31] They revived her.

[25:32] My wife went, it seemed pretty easy.

[25:33] She was not impressed by how easy it was to revive the dead.

[25:37] She coughs up a bunch of black blood.

[25:39] And that's how she gets that stain on her face.

[25:40] And then she laughs.

[25:41] Then she goes back and forth, as she will throughout the movie, between her two accents,

[25:45] Chicago Mall Ida and British Mary Shelley, who rambles lists of words.

[25:50] And she's wary of them.

[25:52] I mean, at some undetermined point midway through the movie,

[25:56] she kind of stops doing it entirely.

[25:59] The Mary Shelley stuff.

[26:00] Yeah, the Mary Shelley stuff.

[26:01] And I don't know if it's because there's a thematical moment

[26:04] that I did not catch or they just forgot about it.

[26:08] Well, then she comes back at the end,

[26:09] like as if like reemerging like the Hulk to take vengeance.

[26:14] That's true.

[26:15] I mean, Mary Shelley has often been compared to the Hulk.

[26:17] I mean, ironically, the Hulk was...

[26:19] It's certainly a literary Hulk.

[26:19] I mean the Hulk was – the Hulk as a character was heavily influenced by Frankenstein, so it makes sense.

[26:26] So Frank is in love at first sight, and the bride is asking Euphronius about Frank, and Frank imagines himself tap dancing in a movie.

[26:33] This will happen throughout the movie is Frank imagining himself into being a tap dancer in a Fred Astaire type movie.

[26:39] And Mary Shelley is talking to the bride in her head as the bride floats above her body one night, and she's like, I can't remember my name.

[26:45] And she wakes up on the operating table.

[26:47] Frank is sleeping on the floor, and he wakes up.

[26:49] I kind of like that sequence.

[26:51] Yeah, he hits her by accident,

[26:52] but then he does a little dance routine for her,

[26:54] and she lists more words.

[26:56] He hits her.

[26:57] Yeah, he does.

[26:58] After he was locked out of her room for a reason,

[27:01] but he broke into her room.

[27:02] He broke into the window, yeah.

[27:03] He sleeps under her bed,

[27:05] and then she wakes up, and he hits her.

[27:09] You're a great start to a relationship.

[27:10] I do think that this movie...

[27:12] I think the thing to remember is they're also reanimated corpses,

[27:14] so they're operating by different rules, I guess.

[27:16] I will say this movie, for all that it, like, wants to be, like, a feminist reimagining, feels oddly soft on Frankenstein's monster to me.

[27:27] Considering, like, the thing about the Bride of Frankenstein is, like, they go through all this trouble.

[27:32] And as you say, she's reanimated.

[27:36] She's like, no, I don't want that.

[27:37] What?

[27:37] You can't, like, you know, she's only in the very end of the movie.

[27:42] So the feminist like impact of it is maybe a little dimmed in that she's such a small part of her own picture.

[27:48] But it is her being like, hey, you can't just invent me to be a wife.

[27:52] Whereas this one, she kind of like seems into it by the end, even after she's like, well, OK, you did lie to me about all this stuff.

[28:00] I think that I think I would I would say that's not it.

[28:02] I mean, she is she he wins her over and then they have and they have a relationship and they have a messy relationship.

[28:08] And I think that's different than—

[28:09] When you say he wins her over just by, like, being there?

[28:14] I mean, there's a little bit of the, well, he's the man in the movie, and he must have a soft heart.

[28:19] And so, I mean, because the doctor, I guess, gave him too soft a heart.

[28:24] He had Stallone's disease.

[28:26] That's going back to an earlier episode where his heart is literally too soft and his blood is too hard.

[28:30] Yeah, so.

[28:31] I mean, he's a gentle monster.

[28:32] He is eventually respectful to her and protective.

[28:36] But I do think it's weird that they pull that switch in a movie that's, I think, trying to be like, you know, this is going to be about women.

[28:46] You know, I don't know.

[28:47] I guess I think the difference is that he is consistently supportive of her in everything she does.

[28:53] And rather than – he has created her for himself.

[28:57] But rather than trying to change her, he changes himself in more ways than she changes.

[29:01] Like whenever she does anything, he's like –

[29:03] A reverse Grease.

[29:04] Kind of.

[29:05] Yeah, it is a reverse Grease.

[29:06] And he doesn't try and hold her back at any point.

[29:08] It actually makes things drier and less slippery, yeah.

[29:10] It's like a chalk or something.

[29:12] Yeah, exactly, exactly.

[29:14] Some people call it chalk.

[29:15] I call it reverse grease.

[29:17] I put it on my hands when I do my gymnastics routines.

[29:20] I say, hand me the reverse grease.

[29:21] People are so confused.

[29:21] I go into the art store.

[29:22] Can you give me some reverse grease?

[29:24] What?

[29:24] Yeah, yeah, the sticks are reverse grease

[29:26] so I can draw on the yard of the sidewalk.

[29:31] Officer, where were the dead bodies found?

[29:33] Oh, you can see the outline drawn in reverse grease.

[29:36] Now I'm also thinking reverse grease is also the bizarro version of grease where, yeah, you're not the one that I want.

[29:45] And they were actually born to not hand jive.

[29:48] It's the one thing I cannot do.

[29:49] It would be very dangerous for me.

[29:51] Beauty school graduate.

[29:56] And of course, reverse grease lightning.

[29:58] Yeah.

[30:00] But so I think that's the difference here.

[30:02] But I agree.

[30:03] It starts on shaky ground.

[30:04] they have breakfast

[30:04] and the bride keeps saying

[30:06] I would prefer not to

[30:07] to everything

[30:07] and it annoyed me so much

[30:09] that at first

[30:09] they misattribute

[30:11] who wrote that

[30:12] I'm like Melville

[30:13] it's Melville

[30:14] come on

[30:14] Melville

[30:15] come on guys

[30:15] but the bride starts

[30:18] breaking dishes

[30:19] because she wants to leave

[30:20] she's just like

[30:21] very casually

[30:21] breaking the dishes

[30:22] Frank loves it

[30:23] and they sneak out

[30:24] and they go to the movies

[30:24] Frank mansplains

[30:25] about Ronnie Reed

[30:26] the star of the movie tour

[30:27] and she leads him to

[30:29] it's like his one

[30:30] fucking thing dude

[30:32] let him

[30:32] yeah he loves that

[30:33] Nothing else.

[30:35] No, but I'm just saying it's a bad idea to give guys the idea that women really want you to take them to the movies

[30:40] and then talk through the movie explaining the backstories of the people in the movie.

[30:43] Nobody wants that.

[30:45] Nobody likes it.

[30:46] I learned from my experience.

[30:46] Quite differently, this is a horror film wherein a lady's just minding her own business

[30:51] and then Mary Shelley ruins her life.

[30:54] That's the movie.

[30:55] That's very popular.

[30:56] She was having a great time at a dinner eating oysters.

[30:58] I believe Peter Sarsgaard gives us a different picture of her backstory.

[31:03] That's true.

[31:03] How did they get Peter Sarsgaard, our fucking sandwich enthusiast?

[31:08] Sandwich enthusiast.

[31:09] But again, Peter Sarsgaard shows up like, how are they getting these big stars?

[31:12] I mean, what are they?

[31:13] Anyway.

[31:14] What connection possible?

[31:15] It reminds me of the story of when I was walking down Atlantic Avenue once and Peter Sarsgaard

[31:20] and Maggie Gyllenhaal were walking in the opposite direction towards me and my wife.

[31:23] And it was clear that they were in the situation all couples have been in, which is you are

[31:26] on your way to a social event.

[31:28] You have just had a fight and you are not, you are kind of still mad at each other, but

[31:32] you have to leave to be on time to this thing.

[31:33] And I was like, huh, people really are like us, celebrities.

[31:37] They've gone through those things too.

[31:39] But you could just read it on their faces.

[31:40] It was so clear.

[31:41] It was like, we just had an argument.

[31:42] We have to be somewhere.

[31:43] We're just going to let it sit for now.

[31:45] And I really appreciated it.

[31:46] Anyway, so Frank –

[31:50] Thanks, Peter and Maggie.

[31:52] For that moment.

[31:53] They go to like, I guess like a queer dance club, and she dances, and Frank imagines them dancing.

[31:57] There's a lot of dancing in this movie.

[31:58] And the bride sees herself in a mirror, and she's got this all black tongue, and she's dancing some more while Frank's watching.

[32:03] and he's like she's dancing with dudes and he's like whatever i just want her to be free exactly

[32:09] he's like end it well he's also there's a little bit of kuckenstein in him too i think he kind of

[32:13] likes to see her you know with other guys but the other guys they are being too rough they're

[32:17] they're these kind of like gangster types they're uh they're being too rough they're being too handsy

[32:22] and uh assaultive and the bride shouts something about violence and the gangsters attack her but

[32:26] frank takes her away the gangsters follow and attack them and frank kills both of them and

[32:31] smashes their heads open, he just kicks one guy's head

[32:33] right open, but someone takes their picture

[32:35] and they run away, and it's one of those things where it's like

[32:37] such a clear case of self-defense, but they're

[32:39] monsters, they know they're getting blamed

[32:40] Also, they didn't take, there was just

[32:43] conveniently a camera person sitting there

[32:45] while she was about

[32:47] to be assaulted? Yeah, and this is the 30s

[32:49] those cameras are not that easy to use

[32:51] like you gotta be ready and waiting

[32:52] maybe they're the paparazzi there to catch monsters

[32:54] Wasn't it Penelope Cruz who took the picture?

[32:57] I thought that was... Who sold it to the paper?

[32:59] Well, no, I mean, when she shows up later, the, you know, the secretary.

[33:04] I do not, did not catch that.

[33:06] I didn't, if that's the case, I didn't catch it.

[33:09] Let me look it up.

[33:10] You guys keep talking.

[33:11] Okay.

[33:11] Anyway, the Frank and the bride, they go on the run.

[33:14] The bride and Mary Shelley.

[33:16] I do, and he also, like, at this point, Frankenstein's like, look, I've been through this before.

[33:21] People are going to chase my ass with pitchforks and torches.

[33:24] Yeah.

[33:24] You, he's like, go on, get, go on, get.

[33:27] Yeah, he tries to pull a Harry and the Hendersons on her.

[33:29] It doesn't work.

[33:29] And she's like, well, where am I going to go?

[33:32] And he's like, okay, you can come with me.

[33:35] I can't confirm.

[33:36] You just made me.

[33:36] I was probably wrong.

[33:37] Yeah, she's like, I don't know where I live, dog.

[33:40] I don't have a name.

[33:41] I can't wash this spot off my face.

[33:43] Like, come on.

[33:44] It looks cool, though.

[33:46] Does it?

[33:47] Of course it looks cool, yeah.

[33:48] I think so.

[33:48] I mean, she makes it look cool.

[33:50] So the bride, Mary Shelley, they have a talk about how the bride needs to remember her name.

[33:53] And they hop a freight train.

[33:55] The cops are searching for them, unfortunately.

[33:58] And Frank starts telling the bride stories about her life before she died.

[34:02] He's like making up a past history for her.

[34:05] And it's – throughout the movie, it was unclear to me how much she – by the end, she's like, you lied to me.

[34:10] But it seems like she's playing this game with him to a certain extent.

[34:13] But anyway, she starts doing a Marlena Dietrich impression really loudly, which draws the cop's attention.

[34:19] And the bride has to push – he's about to shoot Frank Stein, so she –

[34:23] Nothing draws a cop's attention like a Marlena Dietrich impression.

[34:25] He's like, oh, is the German Shantus here?

[34:28] Is the blue angel here in the train with us?

[34:30] The most famous legs in the world?

[34:33] So she has to push the cop out, and he hits his head on something.

[34:37] People in movies are always hitting their heads fatally when you push them on things.

[34:41] I have never seen this happen in real life, thankfully.

[34:43] How many people have you pushed, Elliot?

[34:44] I live in a house with two boys, so they're constantly pushing each other.

[34:47] And it would be terrifying if you thought every time they push each other, they might hit their head and die instantly.

[34:51] I think about this all the time.

[34:53] Really?

[34:54] Since I was a kid and I watched Six Feet Under with my family, a kid is jumping on the bed.

[34:58] Family viewing, if ever there was.

[35:00] Yes.

[35:01] It's a show about a family.

[35:03] Sure, yeah.

[35:04] But a kid falls off the bed, hits his head, dies.

[35:07] And I was like, well, that's it.

[35:08] That's how I'm going to go.

[35:09] And so now I'm like, if I hit my head or if I fall in any way, I'm like, this is it.

[35:14] But look how far you've come.

[35:15] Yeah.

[35:16] Well, that's not why you can't.

[35:17] It was an important lesson.

[35:19] That's why you put out that line of helmets for people.

[35:21] People probably know you best from Kinesis Head Protectors.

[35:24] What I like about it is they're bespoke.

[35:29] You go to the head protector store, they measure your head.

[35:33] They give you a bespoke helmet that fits your head.

[35:36] It means you can't share them, but that's okay.

[35:37] Prescription helmets, they call them.

[35:38] Prescription protection.

[35:40] I like that she named them head protectors rather than helmet, a word that already exists.

[35:43] You can't trademark the helmet.

[35:45] You can't trademark it.

[35:46] I see.

[35:47] The band Helmet tried and failed.

[35:49] They did.

[35:50] Yeah, they couldn't do it.

[35:51] And also Helmut Kohl tried to.

[35:57] Yep, Lange.

[35:57] Lange?

[35:58] Helmut Lange, yeah.

[35:59] There's a lot of Helmuts out there.

[36:00] A lot of examples.

[36:02] So now they're really on the run,

[36:04] and we're introduced to our new characters,

[36:06] Detectives Wiles and Malloy.

[36:08] This is Peter Sarsgaard and Penelope Cruz.

[36:10] Wiles is the detective.

[36:11] Malloy is technically a secretary,

[36:12] but she's the one who really comes up

[36:14] with all the brilliant deductions.

[36:15] But she's a woman, so no one trusts her.

[36:17] A steel arrangement kind of going on.

[36:20] Yes, very much so, yeah.

[36:21] They're on Frank's trail.

[36:23] Meanwhile, Frank gets in a fountain and collects pennies.

[36:25] I guess they're in New York now, it turns out.

[36:28] And the bride sees a newspaper story about them, and he tells her her old name was Penelope Rogers, which she doesn't love.

[36:34] So she says, call me Penny instead.

[36:35] Call me Pretty Penny.

[36:36] And she starts giving Frank a blowjob, but he does not want it.

[36:39] And it brings to mind a question that I think Stuart was probably asking.

[36:42] Yes.

[36:43] Like the Castle Freak, what is the situation with Frankenstein's penis?

[36:48] Yeah, I want to see that.

[36:49] I want to see that crank.

[36:51] So young Frankenstein would have us believe that he has an amazing penis, but it's not really touched on and probably flesh for Frankenstein also.

[36:57] They had their choice, you know, like they didn't have to settle with whatever God gave.

[37:02] I mean, they had their choice of who was recently buried in an Eastern European cemetery.

[37:07] I don't know if that's the best place to go dick shopping.

[37:09] Do you?

[37:09] Maybe.

[37:10] I mean, apparently.

[37:11] There was a good selection that day.

[37:14] But Frank doesn't want it.

[37:15] He pushes her away.

[37:16] Meanwhile, the detectives are investigating, and we learn their relationship that she's the real detective.

[37:22] She's the sheriff, whereas he is kind of the face who takes advantage of that.

[37:26] He's a sandwich enthusiast.

[37:27] He's the one who will distract the—he'll, like, charm the local cops while she does the actual work.

[37:34] Yes.

[37:35] And Frank is—she's with the bride.

[37:39] They're on the run.

[37:39] He assures her that the man from the train is fine, the one that she killed.

[37:43] And they go to the movies.

[37:44] He steals a pretzel for her and says that pretzels were a favorite.

[37:47] And they go see a movie that is kind of white zombie and kind of not.

[37:52] Like it has footage from white zombie.

[37:53] He wants to go to a dance movie, but she's already seen that one.

[37:56] So she takes him to a zombie movie.

[37:58] And they're all wearing 3D glasses.

[37:59] And there's a couple in front of them where the man is very loudly pressuring the woman to have sex with him, I guess, in the theater.

[38:05] In a crowded theater.

[38:06] In a very crowded theater.

[38:08] They're jostling people next to them.

[38:09] And the bride steps in and the man calls for a monster.

[38:13] But I wasn't sure what she did that was particularly monstery there.

[38:17] I guess, again, it's – there's something – I guess it's at this point people can just tell by looking at them they're monsters.

[38:22] The audience chases them out as a mob, and the detectives follow.

[38:25] The detectives there too, and the bride – this is when the bride says, call me Penny.

[38:29] I'm going to be called Penny.

[38:30] They escape into a fancy soiree where – this was the funniest part of the movie to me.

[38:33] They both pretend to be waiters by picking up trays even though she is wearing a torn dress and has ink all over her face and her hair is wild.

[38:42] He is wearing this mask, but you can still see that it's...

[38:44] And he flips his coat inside out.

[38:46] He flips his coat inside out so you can see the filthy inside of it.

[38:49] Like, that's going to make him seem like more of a waiter.

[38:51] It's a...

[38:52] But it works for a little bit.

[38:53] But who's at this party?

[38:54] It shows how little regard rich people have for the servant class.

[38:59] I guess that makes sense.

[39:00] And they're just stealing things.

[39:01] He's just taking shrimp and stuffing it in his pocket,

[39:03] which is a hilarious way to carry shrimp.

[39:05] I don't want to...

[39:06] It's so gross.

[39:07] I don't want to tip my hand about my reaction to the scoopy,

[39:09] But if all of the scenes have been more like this scene, I think I would have liked this movie a lot more, especially considering that it ends in them like somehow dance bewitching the crowd.

[39:21] Yes. So, well, so it helps that Ronnie Reed is there.

[39:24] Oh, my God. Ronnie Reed, Jake Gyllenhaal himself.

[39:27] And Frankenstein is so overcome. He tells Ronnie, I saw you at Vaudeville.

[39:30] What? How'd they get him?

[39:31] How'd they get Jake?

[39:32] How'd they get the Jakester? There's no way of knowing.

[39:35] Maybe he had a day break from filming Roadhouse.

[39:39] Probably just came over from Roadhouse.

[39:42] He probably just came over.

[39:43] I mean, he looks nothing like he does in Roadhouse.

[39:44] He looks half the size he did in Roadhouse.

[39:48] Maybe they just deflated him for the day

[39:49] and then re-inflated him in Roadhouse.

[39:52] Jesus Christ.

[39:53] Are you watching the same movie?

[39:57] I've got to say, so Frank shows up

[40:00] and he interrupts Ronnie and he is like overcome.

[40:03] He's starstruck.

[40:04] And he's starstruck.

[40:05] And I got to say, I love this performance from Christian Bale.

[40:09] His, like, level of freaking out starstruckness.

[40:12] I have seen people do this, and it's, like, so wild.

[40:15] It feels like he's really – he must be drawing from experiences he has had where people have been like this.

[40:20] Yeah.

[40:21] But what were you going to say, Stu?

[40:21] And, like, the Ronnie Reed, like, you know, he takes it, and then he's obviously put off by it.

[40:29] But I feel like he isn't as big of an asshole as he could have been.

[40:32] Yeah, there's a version of this, definitely.

[40:34] where he's like a total asshole,

[40:36] whereas this one, he's just kind of like,

[40:38] I don't know what to do right now.

[40:42] I'm looking up right now.

[40:43] So the movie they go to see is Revolt of the Zombies,

[40:46] which I have not seen,

[40:47] but it uses footage from White Zombie.

[40:49] So that's why that shot of Bela Lugosi,

[40:51] I was like, that's from White Zombie.

[40:52] Thanks for closing that circle.

[40:53] Oh man, I just didn't want anyone to write in about it

[40:55] because it would have been a waste of their time.

[40:57] So yeah, Frank, he does,

[40:59] Christian Bale does a really great job here

[41:00] of presenting a guy

[41:02] who wants to make an emotional connection

[41:04] with a celebrity so badly

[41:06] and does not recognize

[41:07] that it's not going the way he wants it to.

[41:10] And he's like, I survived because of you.

[41:12] And Ronnie brushes him off.

[41:13] He's like, well, yeah, you're not my type.

[41:14] And Frank goes into this dance

[41:16] and that's when they dance to Putting on the Ritz.

[41:18] He and the bride are dancing.

[41:19] The party goers all start dancing.

[41:21] Big dance number.

[41:22] I really like this dance number.

[41:23] There's a lot of good stuff here.

[41:24] Audrey came in for just like this scene, basically.

[41:28] And she's like, how are they doing this to people?

[41:30] I'm like, I don't know, man.

[41:32] They're just Dan dancing along with them.

[41:36] Like,

[41:39] It's just a thing that happened.

[41:40] Yeah.

[41:41] And he's like,

[41:42] you're like,

[41:42] well,

[41:42] this is also a world where,

[41:43] where,

[41:44] uh,

[41:44] where Mary Shelley is a real person and Frankenstein is a real person.

[41:47] So,

[41:48] and,

[41:48] and then Audrey was like,

[41:49] Oh,

[41:49] like in Don Quixote.

[41:51] And you're like,

[41:51] yeah,

[41:51] I guess so.

[41:52] Whatever.

[41:54] Shut up.

[41:55] Shut up about Don Quixote.

[41:56] You're always telling me about Don Quixote.

[41:59] Oh,

[41:59] this is like Don Quixote.

[42:00] Great.

[42:01] Fine.

[42:02] In the second part of the book, people are reading Don Quixote and they're talking to Don Quixote about having read his book about him.

[42:07] Anyway, so.

[42:07] Trying to shame me about only reading the first half of Don Quixote.

[42:12] Every night, Audrey's like, hey, Dan, I had a question for you.

[42:15] What happens in the second part of Don Quixote?

[42:17] And he's like, shut up.

[42:18] Stop lording it over me.

[42:19] It's over a table.

[42:20] Yeah.

[42:22] So the audience from the movie and all the detectives enter.

[42:26] The bride recognizes Detective Wiles from her old life.

[42:30] And he definitely recognizes her.

[42:32] Yeah, and the bride gets a gun and puts Ronnie Reed at gunpoint.

[42:35] And she's like, you got to go get this mob boss, Lupino.

[42:37] He kills women and cuts their tongues out.

[42:39] And I'm like, this is a weird way to introduce this new information.

[42:42] Yeah.

[42:43] It's weird.

[42:44] With very little, we mentioned, this was the mob boss that Ida mentioned much earlier.

[42:48] But otherwise, he has not been an element in this movie up until now.

[42:52] It is one of the strangest things to me that this movie about the bride is also a movie, is also a mob movie.

[43:02] I was like, why is this what this became?

[43:06] Because it's in the 30s, so it's also the mob.

[43:09] I mean, it was either going to be that or it was going to bring in Marcel Duchamp's monumental landmark work, The Bride Stripped Bare by Her Bachelors, also known as The Large Glass.

[43:18] It had to do one of those two things.

[43:20] It had to do one of those things.

[43:21] I thought they went with gangsters.

[43:22] instead of really engaging with the work of,

[43:25] I'm just going to say it,

[43:26] the most important artist of the 20th century.

[43:28] If you want to engage with it,

[43:30] there's a big retrospective of his work

[43:31] at the Museum of Modern Art right now.

[43:33] I saw it when I was in New York last weekend.

[43:35] I highly recommend it.

[43:36] Sponsored content?

[43:36] Yeah.

[43:37] Sponsored by my interest in Marcel Duchamp.

[43:39] Anyway, so she starts accusing the men

[43:41] in the room of attacking women.

[43:42] She seems to be able to see things

[43:45] that they have done in their past to women.

[43:47] And she's channeling these angry dead women.

[43:49] And this is an idea that I wish the movie

[43:50] had done more with.

[43:51] The idea that all the wronged dead women of the world

[43:54] are now rushing through the bride to try to get justice,

[43:58] but that it kind of has dropped a little bit.

[44:00] She shoots a cop, Frank tears down a chandelier,

[44:02] very Phantom of the Opera.

[44:03] That's a different monster.

[44:05] They escape in the chaos and Frank is like,

[44:07] I loved it, that was so impressive.

[44:09] And she feels guilty.

[44:10] He's like, no, you're great.

[44:11] And they start making out,

[44:12] but then Wiles shows up and they run away smiling.

[44:15] Then this is when Frank and the bride

[44:17] go on a kind of like sex and movies and driving spree.

[44:20] And in another movie, this would have been a crime spree.

[44:23] But they really just seem to be driving and having sex.

[44:25] Yeah.

[44:26] So it's just a long montage of them doing that.

[44:31] Frank gets a tattoo.

[44:32] They take more pennies from fountains.

[44:34] That's apparently how, I mean, in the 30s, you could do that.

[44:35] You could fund your life by pennies from fountains.

[44:38] Pennies from fountains.

[44:39] And Dr. Euphronius is aghast to discover that women are dressing as the bride

[44:44] and riding as what they call a brain attack revolution.

[44:47] Earlier, the bride said, this is a brain attack.

[44:49] I do kind of love that.

[44:50] Brain attack is a really funny thing to shout.

[44:52] She goes, brain attack?

[44:54] This is a brain attack.

[44:55] And so they're all like, yeah, this is a brain attack.

[44:57] Yeah, that's what fucking Professor X says when he starts blasting.

[45:01] He goes, brain attack.

[45:03] Wheels from behind the corner.

[45:06] I didn't expect this brain attack.

[45:09] Magneto's like, fuck.

[45:11] Fuck this guy again with the brain attack shit.

[45:15] Who's saying that exactly?

[45:17] Magneto.

[45:19] He's like, I got a helmet to protect me

[45:22] from your brain attacks, dude.

[45:22] He's like, I survived the fucking camps for this.

[45:28] I didn't write the backstory.

[45:30] That is his backstory.

[45:31] That's true, yeah.

[45:32] So it's the same way that in England,

[45:34] instead of an idea, they call it a brainwave.

[45:36] And I'm like, that always seems like a,

[45:38] they're like, oh, I just got a brainwave.

[45:39] And I'm like, that sounds way cooler

[45:40] than it actually is, you know?

[45:41] Yeah, you just got an idea.

[45:43] So this is another thing that's kind of happening

[45:46] way in the background,

[45:47] What you'd think would be a bigger part of the movie is the fact that women all across America are essentially rebelling against male society because the bride's example.

[45:54] But the bride is not really engaged in it.

[45:56] Again, she and Frank are just in this more Frankenstein, you could call it.

[46:01] I feel like this is another example.

[46:04] This movie has a number of these moments and ideas where it feels like the filmmaker had an idea that she wanted to present, like a feminist theme or whatever.

[46:16] And the rest, like, the rest of the movie doesn't really support it.

[46:19] Like, there's not enough, like, stuff laid in there.

[46:22] There's just, like, hey, we have this big idea we want to champion, but there's not enough, like, groundwork laid.

[46:29] It feels, in a lot of ways, it feels, I hate to say it, but it feels fairly an immature handling of the ideas.

[46:35] It feels kind of a little messy and a little disorganized.

[46:39] And it could all be cut out of the movie without affecting the movie.

[46:42] Yes.

[46:43] Like, the feminist stuff, like, it could simply, like, when later, like, the tongue's getting cut out, all that stuff, you could just simply snip it out.

[46:51] It'd be a shorter and maybe better movie.

[46:53] Maybe, perhaps.

[46:54] Although, I think, or I would, I mean, my argument would be, like, increase that stuff.

[46:59] Like, that's the more, that's more interesting to me than Frankenstein.

[47:02] Because eventually what happens, we'll walk through it.

[47:05] Frankenstein, Bonnie and Clyde.

[47:06] Eventually Bonnie and Clyde, and it starts to get a little repetitive.

[47:08] And there are times where I'm like, I want other things to be happening.

[47:11] Well, here's something that's going to happen.

[47:12] That mob boss, Lupino, he meets with the guys who killed Ida earlier.

[47:16] And they refer to the bride by her full name, Ida Bolinski.

[47:20] And he shows off his jars of women's tongues that he collects and just keeps on public display in a bar.

[47:28] And he kills one of the guys because that guy is, I guess, belittling the situation.

[47:33] And he tells the other guy, I want the bride's tongue for my collection.

[47:36] Bum, bum, bum.

[47:38] I wish they actually did that sound effect when he said that.

[47:43] We go back to Wiles and Malloy, and Wiles is like, the bride, you know, she's not bad.

[47:47] She had a rough life, and Malloy is suspicious about the relationship he must have had with Ida.

[47:51] And Malloy realizes she's pieced together.

[47:54] Frank and the bride, they only go to towns where they can see Ronnie Reed movies in the theaters.

[47:58] So if you just track where Ronnie Reed's movies are playing, you can find them.

[48:01] So she knows they're going to Niagara Falls.

[48:03] Slowly they turn, step by step, to the movie theater.

[48:07] And Molly is like, if we catch my wife makes reference to that all the fucking time.

[48:11] And she looks at me like, do you get it?

[48:14] And I'm like, I, there's no universe where I would have gotten that familiar with what

[48:19] like an old vaudeville bit.

[48:20] It is an old vaudeville routine that most people, I certainly learned it first on the

[48:24] watching the three stooges, the three stooges, but it really is just an old vaudeville routine

[48:27] where a guy is referring to whenever he hears the words Niagara Falls, he goes into a trance

[48:32] and remembers something terrible.

[48:34] And it always ends with him throttling the other guy who said Night of the Falls.

[48:37] But all he ever says is, slowly I turned, step by step, inch by inch.

[48:43] And you don't ever learn the story of what happened.

[48:45] It's such a bizarre routine.

[48:47] Every time it's been described to me, I'm like, I don't understand why this is hilarious.

[48:53] It's like no soap radio.

[48:54] It's really only funny if you know it's a joke, basically.

[48:57] There's that Abbott and Costello thing, like the hat company.

[49:00] Was that just like a take on that, essentially?

[49:02] Do you know what I'm talking about?

[49:03] I don't remember that one.

[49:04] Which one was that?

[49:04] It shows up in the movie Orgy, which I know that you haven't seen.

[49:08] I haven't watched it yet, yeah.

[49:11] It's just like the Calahonga Hat Company or something like that.

[49:16] Some funny name, Calahoga Hat Company.

[49:18] It's not that funny.

[49:21] And he's selling this thing of hats, and everyone he encounters is like,

[49:25] the Calahoga Hat Company, and they've got some beef with the company

[49:29] that ends up with them punching a hole in the hat.

[49:32] It must be, I think, but do they describe what the beef is or no?

[49:36] I think actually they do in that case.

[49:39] So it's a little different.

[49:40] It might be a take, a twist on it where they're like, oh, but we're actually going to bring some reality to it.

[49:45] Because then the joke is that, I guess, that every single, he's shilling for a hat company that everybody hates.

[49:50] He's never going to sell one of these hats.

[49:52] But it's a little, Evan Costello would do those routines.

[49:54] They're all old vaudeville things.

[49:55] But the one where it's like, they're at a restaurant and they don't want the restaurant people to know that they don't have any money.

[50:01] So Abbott is like, when the waitress comes by, you don't order a thing, okay?

[50:06] And when the waitress comes by, she goes, do you want something?

[50:10] And Costello's like, no, no, nothing.

[50:11] And Abbott's like, come on, we're here.

[50:13] Get something.

[50:14] All right, all right, I'll have a ham sandwich.

[50:16] And as soon as the waitress walks away, he's like, what are you doing?

[50:18] And he hits him and he's like, I told you not to order anything.

[50:21] And then when the waitress comes, he goes, forget that sandwich, forget that sandwich.

[50:23] Sure you don't want anything?

[50:24] Come on, we're here.

[50:25] Get something to eat.

[50:26] You're hungry.

[50:27] And it's one of those things where when you're watching, you're like, why is he doing any of this?

[50:31] he just wants an excuse to hit him anyway so um uh malloy has pieced it together and she says if

[50:38] we catch these monsters i want credit for the bust and wiles is like i can't promise that and

[50:43] frank and the bride they're on their way to niagara falls he makes up a story about how he

[50:46] proposed to her but the police pull him over the cop starts sexually harassing the bride cop played

[50:52] by uh lewis cancel me who is that his name yeah he's that's his name yeah his name's lewis cancel

[50:59] me he's uh he's in killers of the flower moon that's it i recognized him but i could not remember

[51:04] where i recognized uh sorry baby too he's always a bad guy yes he is a bad guy whose behavior would

[51:10] lead him to get canceled true he's also in uh the penguin doing bad guy shit and ironically in this

[51:17] movie his name is officer good man and he's certainly not a good man he's a bad man uh so

[51:22] he's uh he's what do you know that's his name yeah i mean the me is spelled mi but yeah yeah

[51:30] yeah there you go okay i mean it was probably like control me at some point you know so uh the uh

[51:36] this this guy is he's really being a bad man not a good man and uh and frank and frank shoots him

[51:42] the bride starts biting his tongue out uh in a scene that my wife found gross uh and then a cop

[51:48] Shoots the bride.

[51:49] Crank shoots him.

[51:50] It's a full shot.

[51:51] And then the bride finally gets around to finishing

[51:53] biting the guy's tongue out.

[51:54] And Frank and the bride run away on foot.

[51:56] Uh-oh, now they're really...

[51:57] What does she do with the tongue?

[51:59] Sorry.

[51:59] I think she just spits it out.

[52:00] I think she spits it out.

[52:01] Oh, okay.

[52:01] Or maybe she starts her own collection.

[52:05] Everybody's doing it.

[52:05] Yeah, you gotta start somewhere.

[52:07] It's the 30s.

[52:07] Much like the scene in the first issue of Madman

[52:09] where Madman bites a guy's eye out.

[52:11] He then spits it out because he's like,

[52:12] ugh, I don't want this, it turns out.

[52:14] Yes, thank you, thank you.

[52:16] Mike Allred, if you're listening, hey.

[52:18] Mike Hart, if you're listening, huge fan.

[52:20] Love your work.

[52:20] Thank you for making it.

[52:21] Love it.

[52:22] I just saw that the big Madman omnibuses are in paperback now,

[52:25] and I'm definitely going to buy them.

[52:27] That's great.

[52:27] So everyone shows up at Niagara Falls.

[52:30] The detectives, our people, Lupino's mob assassin.

[52:35] Meanwhile, the bride's really hungry,

[52:37] but she also feels guilty about biting that guy's tongue off.

[52:39] And she runs out and fires her gun in the air and asks,

[52:42] was I like this before I died?

[52:44] And then Wiles shows up to help her, and he calls her Ida,

[52:46] And he says this was his fault.

[52:48] And he apologizes.

[52:49] I'm not, this is never quite fully explained.

[52:51] I guess we're just going to have to read into it.

[52:53] Oh, no, actually, no, it kind of is.

[52:54] It kind of is.

[52:55] Yeah, we get the story.

[52:56] We kind of get the story.

[52:57] Malloy shoots Frank.

[52:58] The bride shoots Wiles.

[52:59] Says, don't fuck your witnesses.

[53:01] In the foot, though.

[53:02] In the foot, that's right.

[53:03] Frank gets jealous and they drive off.

[53:05] And the bride is annoyed with Frank

[53:06] that he lied to her about their past, basically.

[53:08] Now I think she kind of understands her past,

[53:10] which it turns out, what was it?

[53:12] That like he was investigating Lupino.

[53:14] He was using her as a CI to build a case against Lupino.

[53:19] That's right.

[53:19] He was using women to infiltrate the gang.

[53:23] And then the case just got canceled.

[53:26] Yes, but they fell in love.

[53:27] Yeah, well, the case got canceled and she came to him and was like,

[53:31] is there any way you can bring it back?

[53:33] And he was like, yeah, I can.

[53:35] And using that energy, he started sleeping with her,

[53:40] even though he knew it wasn't going to happen.

[53:42] Okay, you remembered it much better than I did.

[53:44] um and wiles is like i'm resigning but i'm gonna name you as my replacement i don't think you can

[53:48] do that yeah he's allowed to do it it's like a fucking hedge knight over here

[53:54] i get to text you have now yeah like i pulled out my gun and tapped it on both of your shoulders

[54:01] he kind of gives her his badge i think and she used it later and it's like but that has his

[54:05] number right that's attached to his name like it's anyway um he's got a special deal yeah he

[54:11] He does, yeah.

[54:11] He's the police department's special little boy.

[54:15] Malloy, like how it always bugged me in Return of the Jedi when they're like, Captain Solo, you'll be leading this mission.

[54:21] Have you picked your team?

[54:22] And it's like all his buddies are like, I'll join you, Han.

[54:24] Yeah, me too.

[54:25] And it's like, yeah, the cool kids get to choose what mission they're on.

[54:28] This is literally the most important mission that Rebellion has ever had.

[54:32] And it's just like, yeah, who wants to be part of the party?

[54:35] Like it doesn't matter what your skills are or anything.

[54:36] So we'll bring along a robot that has to roll in the forest.

[54:40] bring another robot that just kind of stutters

[54:42] around. And that team has been

[54:44] responsible for all of the rebellions.

[54:46] Fucking the results speak for themselves,

[54:49] bitch.

[54:51] I guess so.

[54:52] I don't know. That is the A-team.

[54:54] Meanwhile, Luke is like, I could

[54:56] help you with this, but I need to talk to my

[54:58] dad. I need to convince

[55:00] my dad he's a good man, even though he's killed

[55:02] probably millions, if not billions of sentients.

[55:04] All evidence shows he's a bad man.

[55:06] See you later, Luke.

[55:08] But they're like, he can't be all that bad,

[55:10] Even though he killed all those other people, he did save his son, the one person he has an investment in.

[55:15] So he must be a good guy, you know.

[55:17] Anyway, that's one of my many beefs with Star Wars.

[55:20] Yeah, wow.

[55:22] I'm so glad you saved it for our episode on Star Wars.

[55:28] We haven't talked about any Star Wars things recently.

[55:31] It's so rare we get to talk about Star Wars on this podcast.

[55:34] So Frank is injured.

[55:36] They get tracked to a drive-in theater showing another Ronnie Reed movie.

[55:40] And she's like, he's been shot.

[55:43] How do I heal him?

[55:44] The power of movies.

[55:46] Nicole Kidman, lay your hands upon him.

[55:49] Somehow, heartbreak feels good in a place like this.

[55:55] And Frank admits, hey, we didn't have a relationship.

[55:57] You were a dead lady and I revived you.

[56:00] And Ida gets out of the car angrily.

[56:02] She throws up.

[56:03] She renames herself The Bride,

[56:05] which is a weird way for her to differentiate herself

[56:07] from the man

[56:08] is to name herself

[56:09] the bride

[56:10] again unless she is

[56:11] thinking of

[56:12] Marcel Duchamp's

[56:13] the bride stripped

[56:13] bare by her bachelors

[56:14] even where the bride

[56:15] covers above the bachelors

[56:16] and it is very much

[56:17] that she is the one

[56:19] in control of that situation

[56:20] even though they're

[56:21] stripping her bare

[56:22] they are the ones

[56:22] who are jostling

[56:24] for her support

[56:24] and she's in this

[56:25] other realm above them

[56:27] so maybe that's what

[56:27] she's referring to

[56:27] why do they have a bear?

[56:33] that's a question

[56:33] modern art critics

[56:35] have been debating

[56:35] for a year

[56:36] Decades and decades, yeah.

[56:38] Frank declares his love, licks her throat,

[56:40] proposes to her for real.

[56:41] She says no.

[56:42] And then Lupino's guy, I think,

[56:44] shoots Frank in the head.

[56:45] Yeah, blast him, yeah.

[56:46] And now the cops are there

[56:47] and she drives off with Frank

[56:49] and the cops chase her.

[56:50] And he also, when he explained the situation,

[56:53] he also let her understand that

[56:55] Euphronius can bring a dead person back to life,

[56:58] which is an important element.

[57:00] Yeah, in this tightly plotted piece of work.

[57:03] Thank you.

[57:03] And Mary Shelley, she's like,

[57:04] I like the name The Bride.

[57:06] He's like, really?

[57:06] Because it seems like that, again,

[57:07] would be against what you were going for.

[57:10] And the bride takes Frank to Euphronius' house.

[57:14] Malloy tracks them there.

[57:15] And Euphronius is like, I can't bring him back to life.

[57:19] And the bride's like, yes, you can.

[57:20] I love him.

[57:21] And Euphronius is like, I had a man I loved,

[57:25] and I brought him back from the dead,

[57:26] and he wasn't the same, so I had to kill him again.

[57:28] Fucking pet cemetery, huh?

[57:30] Exactly.

[57:31] There's some backstory she should have brought up earlier.

[57:34] Yeah, so when she pretended that she couldn't do it,

[57:36] you know, and then the mob assassin shows up again,

[57:40] shoots the bride, the police burst in,

[57:42] they shoot her a lot.

[57:43] This is very Bonnie and Clyde.

[57:44] Yes.

[57:45] Until Malloy is like, stop, stop, everybody go outside.

[57:48] And they all listen to her because she's the detective now.

[57:50] So she's the boss, she's the sheriff.

[57:52] And Mary Shelley laughs at the end of the story

[57:54] and Euphronius is like, I am not gonna bring them back,

[57:57] or at least acts like she's not going to.

[57:59] Outside, the cops arrest the Lupino's guy,

[58:02] even though he basically just did the same thing they did,

[58:04] which was shoot the bride a bunch of times.

[58:06] And Malloy looks up and sees electricity.

[58:08] You're in the rest room shooting the bride a bunch of times.

[58:10] You don't have a license to kill.

[58:13] You may not know that in this county,

[58:15] shooting the bride a bunch of times is a jailable offense.

[58:19] Oh, but officer, officer Malloy.

[58:21] So Malloy looks up, sees electricity, light up the lab,

[58:24] and then I see Frank and the bride, their hands move,

[58:27] and they hold each other's hands as Monster Mash plays.

[58:32] And then we get, and it was so funny because you hear the, and I was like, so this is Monster Mash, right?

[58:37] And it was at that point that it really hit me.

[58:41] I'm like, oh, she's just, she's playing with every single Frankenstein thing that she can get her hands on.

[58:46] So it was like, okay, now I have no more doubts that she is aware that young Frankenstein exists.

[58:50] And that when you see him putting on the Ritz, that he did that already in a movie.

[58:53] And the breakfast scene is to elicit comparisons to Frankenberry.

[58:58] Now, the thing is, normally my history with Monster Mash is a little mixed because I often get angry when Dan McCoy, out of season, does Monster Mash for karaoke.

[59:11] That's the best part about it.

[59:13] If I did it right on Halloween, it wouldn't be as fun.

[59:16] So there's usually a picture of me in the background frowning or doing thumbs down.

[59:21] But I think here it really works.

[59:23] As someone who danced to Monster Mash at my wedding,

[59:27] not my first song, it was not the first wedding song.

[59:29] That was the dance song.

[59:30] I only advised for you.

[59:31] But as someone who danced-

[59:34] The what?

[59:34] Oh, I said it was the second song.

[59:36] Yeah.

[59:36] Well, it was later in the night.

[59:38] Someone else told the DJ to play Monster Mash

[59:40] because they know me.

[59:42] And Dan, as a wedding present,

[59:43] drew a picture of my wife and I dancing with the monsters.

[59:47] And it's framed and hangs up in our house.

[59:50] But then, Stuart, I was going to ask about your history

[59:52] with mid-credits sequences.

[59:53] did you see the mid-credits scene in this movie elliot what the fuck do you think my guess is

[1:00:00] no as soon as the credits started rolling you shut the movie off i was on a plane bitch i want

[1:00:04] to put up i want to start reading a book yeah you're right you're right you're on a plane you

[1:00:08] don't have the time to sit and see if there's a mid-credits scene so so but so the others of us

[1:00:12] may know that during the mid-credits scene uh wiles sees all these women dressed up like the

[1:00:17] bride and they're wielding weapons and they've captured lupino the gangster and there's a pile

[1:00:21] the tongues in front of him they're collecting their own trophies as they hunt through the men

[1:00:25] who have done them wrong and so we see that the not only have the bride and frankenstein come back

[1:00:29] to life but the movement she has sparked continues to live whoa that's pretty crazy i should have

[1:00:35] the brain attack yeah it's it's almost i mean i wouldn't say it is sinners level you need to sit

[1:00:41] through the credits or else you missed the movie but i will say it is getting towards that level

[1:00:45] where you're like well this is a scene that doesn't have to be during the credits you know

[1:00:47] um so that's the bride exclamation point um everyone's alive the monster mash exists and uh

[1:00:54] and women are running wild cutting people's tongues possible worlds yeah um what do we do

[1:01:00] next dan oh what we do next is well in a way in a way sort of we we sew up our feelings on the bride

[1:01:07] um and where we talk about our final judgments whether we thought this was a good bad movie

[1:01:12] a bad, bad movie

[1:01:14] or a movie we kind of like.

[1:01:16] And, Kenice, if these

[1:01:18] are confusing

[1:01:19] or limiting as

[1:01:22] categories... Yeah, I don't see

[1:01:24] Kenice being confused by the categories. I feel

[1:01:26] limited. I have strong opinions

[1:01:28] about it. Yeah, I just...

[1:01:30] You know, we're used to them.

[1:01:32] But the guest maybe needs some

[1:01:34] clarification. But anyway,

[1:01:36] The Bride. I found it to be...

[1:01:38] I know you seem to like

[1:01:40] it, Elliot. I

[1:01:42] found it to be a bad bad movie i theoretically i would like this stuff and i do respect

[1:01:50] that maggie gyllenhaal took a big swing i would rather see something like this

[1:01:55] uh from movies i would rather we get more movies where studios throw a bunch of money at something

[1:02:03] a little weirder hoping it might work i approve of all that stuff the movie itself i found

[1:02:09] surprisingly boring for something that has a bunch of nutty stuff happening in it and uh

[1:02:15] and uh was irritated by the mary shelley stuff and just kind of uh drifted away over time

[1:02:21] but elliot uh refute me refute me i don't i mean i can't refute your own as as robert

[1:02:28] says you are a person sitting in a theater watching a movie and you can only register

[1:02:32] your own reaction to that you cannot make yourself react in a different way but i will say i went

[1:02:37] into this being like i'm not gonna like this movie and maybe that's why i ended up really

[1:02:41] liking it quite a bit so this is this is a movie i liked in some way like this is the kind of movie

[1:02:46] for those of us for those of you who listen to our wuthering heights episode this is the kind

[1:02:50] of movie i wished wuthering heights was more like a movie taking big swings that even if it is kind

[1:02:55] of a mess there's a lot of it feels a little bit like someone is telling you a story and forgetting

[1:02:59] parts of the story or remembering it part way through oh yeah yeah i wanted this to happen too

[1:03:02] Oh, yeah, this thing.

[1:03:03] I forgot about this thing.

[1:03:05] But it really did take – by the end of it, I was like, this is what I wanted from – like I said, from Wuthering Heights.

[1:03:11] It was like taking a piece of existing property and remixing it in a very different way and playing with it in different ways.

[1:03:19] And there was such a, like, sincerity throughout it that really got to me.

[1:03:24] In some ways – I hate to say it.

[1:03:26] In some ways, I think I like this more than the Del Toro Frankenstein because that felt very straightforward.

[1:03:32] And very like, I was not that excited by it.

[1:03:35] Whereas this one, even when it wasn't working,

[1:03:37] I was like, I'm still kind of excited

[1:03:39] by seeing what's gonna happen.

[1:03:41] And eventually it becomes a little repetitive.

[1:03:42] But like, I ended up really liking it,

[1:03:44] if anything, because of the things

[1:03:45] I would normally not like in a movie,

[1:03:47] which is that it's a big old mess,

[1:03:50] but it's trying lots of different things.

[1:03:51] And also there was a time in my life

[1:03:53] when I would have been like,

[1:03:54] that's not Frankenstein or whatever.

[1:03:55] But at this point, I feel about those kinds of characters

[1:03:58] the same way I feel about Shakespeare plays,

[1:04:00] where like, if someone does a crazy version

[1:04:03] of a Shakespeare play, why get mad?

[1:04:05] There's going to be another one.

[1:04:06] This thing exists in other forms.

[1:04:07] This is never going to become the only Frankenstein movie

[1:04:10] that people are aware of or know of.

[1:04:11] So I'm ready for someone to take a kind of a wild swing

[1:04:14] with these characters.

[1:04:15] So I ended up really liking it in ways that,

[1:04:18] I mean, it's also like, in some ways it's like,

[1:04:19] it's just like, well, I took Frankenstein

[1:04:20] and I added 1930s Fred Astaire type musicals.

[1:04:23] I'm like, well, you made a movie for me, I guess.

[1:04:26] So even though I don't, if you were saying to me,

[1:04:29] Does this movie work?

[1:04:30] I would say no.

[1:04:31] I don't think it completely works.

[1:04:32] But I did like it, you know, in contrast to that, you know.

[1:04:38] Stuart, what do you guys think?

[1:04:39] Stuart, you go.

[1:04:39] Give Canis the last word.

[1:04:41] The space, sure.

[1:04:42] I'm going to, I don't think I'm going to agree as wholeheartedly as Elliot,

[1:04:48] but I do, this is a movie that I kind of like.

[1:04:50] I do not think it works.

[1:04:53] No.

[1:04:54] But I like things, I like enough things about it.

[1:04:59] And it does remind me of like, like a, I mean, I'm going to say like, it reminds me of like a weird 90s indie movie that I'm like expecting it to not like a fucking tank girl or something where I'm like, this is not going to work.

[1:05:14] And it's not going to be exactly what I want.

[1:05:16] But at this point in my life, I don't, I don't want things to be what I want.

[1:05:21] You know what I mean?

[1:05:22] Like, I want to be surprised, and I feel like this movie does kind of surprise me in places, like how large chunks of it just feel like a Natural Born Killers riff.

[1:05:30] But, yeah, I think, you know, movie I kind of like.

[1:05:34] I think, Stuart, that you and Elliot are being so kind, and I think that's—

[1:05:39] That's fair.

[1:05:40] That's really nice of you to do, and I, like we've all established, like so many people who were a part of this movie.

[1:05:49] To me, it's like adding olives to an apple pie.

[1:05:56] You said at this age I don't like things that I like,

[1:06:01] and I was like, well, okay.

[1:06:02] I don't want to be given what I want.

[1:06:05] Yes, you don't want to be given exactly what you want.

[1:06:07] But I don't think the surprise olives in this apple pie work.

[1:06:12] And I agree with you.

[1:06:13] I do not think it works, but I'm still like, okay.

[1:06:18] It's a new experience for Stuart.

[1:06:21] I can't, I can't, it's one of those things where like,

[1:06:23] I can't deny that I enjoyed watching it, even though.

[1:06:25] You did, interesting.

[1:06:26] I did, even though watching it, I was like,

[1:06:28] well, this doesn't make any sense.

[1:06:29] Like, what's going on here?

[1:06:30] Yeah, the Mary Shelley stuff is like, that's why.

[1:06:33] That's the one, that's the one aspect of it

[1:06:34] where I was like, I don't like this at all.

[1:06:35] I feel like Jesse Buckley was like,

[1:06:36] I saw that in the script and had to do it.

[1:06:38] So they kept it in.

[1:06:40] Like, I don't know.

[1:06:40] It definitely feels, the way that this was described to me

[1:06:42] before I saw it by somebody was

[1:06:44] that it's an actor directing a movie.

[1:06:46] So the actors are given license to just kind of go off and be as big as they want to be.

[1:06:52] And I can see that as a fair criticism of it.

[1:06:54] But I also kind of like that a little bit.

[1:06:56] Also a plus, yeah.

[1:06:57] I hate it.

[1:07:00] That is totally okay.

[1:07:01] What are these choices?

[1:07:03] Jessie Buckley, I'm sure you're a nice lady, but you're doing a lot.

[1:07:07] And there's twitching and dancing.

[1:07:10] She's definitely doing too much.

[1:07:12] There's a lot happening in that.

[1:07:13] And also, we are feminist in that women are killing men in the streets, but we're not feminist because men, anytime she's around dudes, they're going to try to sexually assault her.

[1:07:27] That's just what happens in this movie.

[1:07:29] She's existing, sexual assault attempt at the club.

[1:07:32] She's driving, sexual assault attempt by a police officer.

[1:07:36] It's constant.

[1:07:37] And I'm like, wait, am I as a woman supposed to be enjoying this?

[1:07:41] Just seeing another woman in peril all the time.

[1:07:44] This isn't fun for me.

[1:07:46] Who is this for?

[1:07:47] I think you're supposed to enjoy seeing those people get killed afterwards, you know.

[1:07:50] I don't need to see her dress get torn open a bunch.

[1:07:53] That's fair.

[1:07:53] Like, okay, so there's the man who she doesn't know.

[1:07:57] And then there's the man who she kind of knows who reanimated her, hits her, lies to her for the entirety of their relationship.

[1:08:06] And is kind of like, hey, I fucked up your life and you don't really have other options, so I guess you have to stay with me.

[1:08:12] And she's like, I guess I do.

[1:08:14] Wow, romantic.

[1:08:16] And, like, that's her – and that's part of the thing is, like, that's her, like, goal.

[1:08:20] Like, that's the end of the movie for her.

[1:08:22] That's her arc.

[1:08:23] And I'm like, that feels stupid.

[1:08:26] I think it's –

[1:08:27] And shallow.

[1:08:28] It's like, yeah, the movie has, like, half ideas.

[1:08:31] Like, it doesn't really have full ideas.

[1:08:32] It has half ideas.

[1:08:33] And it does – it's not – especially considering – and maybe it's dealing with the fact that this is not – it's kind of original subject matter even though it's pulling from those things.

[1:08:44] Whereas her last movie, The Lost Daughter, was so much more coherent and it's a much smaller scale movie, but it's also based on one piece of work.

[1:08:51] And so maybe it was easier then for her to build off of that.

[1:08:54] I hadn't read the original story, so I don't know.

[1:08:56] But it does feel like she's – there's something very – again, it's something that I admire a little bit.

[1:09:04] But you're right.

[1:09:04] It doesn't work, which is that like it's just throwing out kind of half-baked thoughts and not really completing them or thinking about them.

[1:09:10] And I think to defend Elliot and I, just for our opinions for one moment.

[1:09:15] I think you guys are amazing.

[1:09:16] I like you guys so much.

[1:09:17] And I'm saying you're – I'm also saying I think you're right, but I think Elliot and I are a little bit biased by the fact that we are watching a movie that is bad for the podcast, but it's bad in a way that we're not used to seeing Hollywood movies be bad.

[1:09:32] Our brains have been warped.

[1:09:34] We have suffered a brain attack.

[1:09:36] I definitely cannot – and again, like you can't remove your experience of a thing from the context of it, right?

[1:09:40] I think this is in the context also of the last couple of movies we watched for this podcast were Wuthering Heights and The Mandalorian and Grogu.

[1:09:47] And those are movies where I'm like I wanted them to be like here's a new thing and said I did not get a new thing.

[1:09:51] So to get a new thing, even if it's a new thing that doesn't really work and has a lot of problems, I'm like, oh, it's a new thing.

[1:09:57] In a way, it's like this is the negative comparison.

[1:10:01] But it's like all those people who were like I don't like Trump, but he's different.

[1:10:04] He's new.

[1:10:06] I don't think this is a new thing, but I believe it's a thing that is the whatever it's like rewarming or like recooking is different than what we're used to getting.

[1:10:19] Yes, and there's such theater kid energy throughout the movie.

[1:10:24] That's what it is.

[1:10:25] This movie is suffused with theater kid energy, which is something that I have come to appreciate more and more as I get older.

[1:10:30] And which I found when I was a student at NYU and was surrounded by theater kids was not an energy I particularly cared for.

[1:10:36] When I'm trying to have lunch and they're just getting up and shouting songs from Rent at the next table over.

[1:10:41] And I'm like, please, can I just have lunch without counting the minutes in a year?

[1:10:46] You're getting bullied by theater kids, Elliot.

[1:10:48] Exactly.

[1:10:50] Madam, sirs.

[1:10:52] It wasn't bullied so much as psychological torture by theater kids.

[1:10:55] But now I feel like there's a, I'm like, you know what?

[1:10:59] That's an energy I can appreciate more as long as it's happening on the other side of the screen and not right in front of me when I'm eating.

[1:11:05] Probably because a lot of the business now

[1:11:07] is run by executives who have no theater,

[1:11:09] have like negative theater creative energy.

[1:11:12] Yes, well, yeah, that's true too.

[1:11:13] I would love if they leaned into that.

[1:11:15] Like if instead of it being a two hour

[1:11:17] and seven minute movie

[1:11:18] that's trying to be all these things,

[1:11:20] if it had been almost like a visual album

[1:11:22] where you have these dance sequences

[1:11:23] and movie weird freak outs

[1:11:25] and then like ladies shooting people in the street,

[1:11:28] I would have been more interested in that.

[1:11:30] I think this would have worked.

[1:11:31] It would have worked much better,

[1:11:32] to be honest, as a play, I think.

[1:11:34] You could get away with that stuff more as a play.

[1:11:35] If I had seen this, I can very clearly see – when I was younger, my grandmother used to take me to the theater a lot.

[1:11:42] She had subscription tickets to a lot of theater companies.

[1:11:44] And we'd go see new plays that often did not work.

[1:11:47] They were often like a little bonkers.

[1:11:49] And I could so see her taking me to a play of this, of exactly this, and me walking out kind of liking it and her hating it.

[1:11:57] And then us spending dinner talking about why we did or didn't like it.

[1:12:00] But I think it would have worked better in that way than it kind of does as a film.

[1:12:04] Well, also, pre-release, this was sort of, there was all this word like, oh, it's a full-on musical.

[1:12:09] And it really isn't.

[1:12:11] No, it's not.

[1:12:11] But if it was, it would have worked a lot better, I think.

[1:12:13] Yeah, I think so.

[1:12:14] Like, that would have been the fantastic element that really, like, pushes it in a way that's like, oh, I feel what this is, you know?

[1:12:21] Like, it's allowing for this bigness, maybe.

[1:12:24] Yeah.

[1:12:26] Anyway.

[1:12:28] And I think it would have been good if there was more bigness in Frankenstein himself, who is not as big as he usually is.

[1:12:33] You want to get Zilla-sized, Frank.

[1:12:35] Yeah, put some shoulder pads on him.

[1:12:38] That's Frankenstein Conquers the World-sized Frankenstein

[1:12:40] where he fights Baragon.

[1:12:41] That's too big.

[1:12:42] Put some football shoulder pads under his coat

[1:12:44] so he looks really big.

[1:12:45] Give him some big boots.

[1:12:47] Give him some boots that lift him up.

[1:12:49] Come on.

[1:12:50] Come on, boots.

[1:12:51] Boots lift us up where we belong.

[1:12:55] If we're Frankenstein

[1:12:58] and we're not tall enough.

[1:13:03] Hey, are you playing a video game right now?

[1:13:09] Maybe you put on a podcast while grinding in an RPG.

[1:13:12] Or maybe you just don't want to hear that boss fight music one more time.

[1:13:15] Been there.

[1:13:16] I'm Maddie Myers.

[1:13:17] I'm Jason Schreier.

[1:13:18] And I'm Kirk Hamilton.

[1:13:20] We're the hosts of TripleClick, a video game podcast.

[1:13:22] A podcast you can listen to while you do other things.

[1:13:25] Like driving or cooking or playing video games.

[1:13:31] On TripleClick, we share our thoughts on the latest games.

[1:13:33] And breaking news out of the video game industry.

[1:13:36] And we also talk about other stuff besides games.

[1:13:39] So while you're doing something else,

[1:13:41] make sure to check out TripleClick.

[1:13:43] Listen on MaximumFun.org or wherever you find your podcasts.

[1:13:47] This episode of The Flophouse is sponsored by HIMS.

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[1:15:31] We have a pair of jumbotrons for you.

[1:15:36] I'm seeing double here.

[1:15:37] Two jumbotrons?

[1:15:39] This first jumbotron is directed at Bert,

[1:15:45] and it is from Luke.

[1:15:47] And it goes like this.

[1:15:48] Robert, congrats on finishing law school.

[1:15:52] Love you, man.

[1:15:53] Now behold the power of money as I make Dan speak.

[1:15:56] It is I, Dan McCoy.

[1:15:58] and this is my real opinion talking heads are overrated and i really only know maybe that one

[1:16:03] song about arson and that other one about wacky murderers also i really did like the introduction

[1:16:10] of walter to the muppets well oh damn you uh cruelly exposed uh how i will dance for your

[1:16:17] dollars yep that dan just like everyone is just a little monkey with a little organ that he's

[1:16:24] grinding holding out a can that he hopes you throw a penny into sitting here in the old content

[1:16:28] factory. It hurts my heart.

[1:16:30] It hurts my heart, but I did it.

[1:16:31] You would think you'd need to use AI

[1:16:34] to make Dan say things that he doesn't believe,

[1:16:36] but no, Dan will do it.

[1:16:37] He'll do that job. I mean, there are limits.

[1:16:40] If I object to something morally,

[1:16:42] we won't be taking that Jumbotron.

[1:16:43] Only one way to find out. Jumbotron users,

[1:16:46] find out what Dan won't say for money.

[1:16:48] Okay, I don't like this game.

[1:16:50] Anyway,

[1:16:52] but you know what? The Jumbotron

[1:16:54] taketh away, but the Jumbotron also

[1:16:56] giveth listen to this next jumbotron this message is for dan mccoy and it is from jim l happy

[1:17:03] birthday month or maybe belated birthday to dan the beating heart of the flop house i know dan

[1:17:08] has trouble accepting praise too bad dan on behalf of all floppers many thanks for the steady hand

[1:17:12] and hard work it takes to keep the podcast going and going and for the hours ish of joy this

[1:17:18] nonsense provides every week many happy returns um thank you for that uh you know i will also be

[1:17:27] paid to say nice things to myself you know dan dan's not very good at accepting praise and i

[1:17:31] think sometimes ellie and i are a bit uh scant with it so dan you you are great and you are

[1:17:37] the beating heart and you also were born uh at a date that was recent he's only doing this because

[1:17:44] he knows i'm not good at accepting it and you and you look very handsome today and i'm proud of you

[1:17:50] for taking kickboxing classes at jiggle studio thank you that is a true thing that actually

[1:17:56] happened yeah i didn't invent it whole cloth i'm not that creative all right well let's get back

[1:18:01] to the show wow dan's got to get off the dan topic i guess i thought we were gonna peel open this

[1:18:08] onion before we move on i wanted to take a moment to tell people that joke farming how to write

[1:18:14] comedy and other nonsense. My joke writing book from the University of Chicago Press is now

[1:18:18] available in audio book form. Let's say you don't want to read it with your eyes. Let's say you want

[1:18:24] to listen to my mellifluous tones as they read the book to you while you do other things. Now

[1:18:30] you can do just that. Joke Farming, the audio book as read by me, the author, but I didn't read it

[1:18:35] that way, is available wherever you can buy and download audio books. Please do buy it, listen to

[1:18:42] it share it it is all of my joke writing wisdom in one place for you and i hope you enjoy let's

[1:18:50] answer some letters from listeners oh i'm banging my i'm banging my microphone with uh my phone

[1:18:56] so excited am i about these letters double phone microphone and telephone thanks for calling

[1:19:02] phone meets phone wow and only one can win whoever had that on their flop house

[1:19:09] I guess you, I don't know, you win some box tops.

[1:19:17] How does it work?

[1:19:18] Yeah, you win the box tops, Dan.

[1:19:20] That's the big prize.

[1:19:21] You train in the box tops for Flophouse script.

[1:19:24] There's a lot of steps.

[1:19:27] You go to the Flophouse company store where you get a Flophouse raffle ticket.

[1:19:32] You laugh, but people like the steps of it.

[1:19:37] It's like a quest that you're on.

[1:19:39] Yeah, exactly.

[1:19:40] Very boring quest, yeah.

[1:19:45] Spoken like somebody who has never bought a beach towel using camel cash.

[1:19:50] You're right.

[1:19:50] I speak a lot of things as someone who's never bought a beach towel using camel cash.

[1:19:55] Roughly everything I say is spoken in that persona, yeah.

[1:20:00] Okay, this letter.

[1:20:01] Does the beach towel have the camel logo on it?

[1:20:04] It has fucking Joe Camel looking cool as hell.

[1:20:07] He's smoking as the camel?

[1:20:08] Yeah, yeah, and he's got sunglasses on.

[1:20:11] Sure, sure.

[1:20:11] He looks like a giant penis.

[1:20:12] He looks like if Chester Cheetah was a camel.

[1:20:15] And he smoked and said just ate-

[1:20:19] A scrotum candle.

[1:20:20] Yeah, a scrotum candle?

[1:20:23] A scrotum candle is what they have at Moop,

[1:20:25] which is the male version of Goop.

[1:20:26] That's what a plentiful husband sells, yeah.

[1:20:30] So do you think Chester Cheetah and Joe Camel know each other?

[1:20:33] Of course they do.

[1:20:35] They're friends.

[1:20:36] They're part of the, like, mascot pussy posse.

[1:20:40] They're a riot together.

[1:20:42] I'm imagining a Tom of Finland-style drawing of Chester Cheetah and Joe Camel having sex with each other.

[1:20:48] Is that a thing that exists?

[1:20:50] They're both going to have that sunglasses biker aesthetic, you know?

[1:20:54] Yeah.

[1:20:55] I mean, I'm sure it's out there.

[1:20:57] I guess send that to Dan McCoy.

[1:20:59] One, two, three, face straight.

[1:21:00] I believe it.

[1:21:02] I can imagine if I want to.

[1:21:05] That's what the Tom of Finland in the Zootopia world would be drawing, that kind of stuff.

[1:21:09] Wow.

[1:21:09] Yeah.

[1:21:10] This letter, that's what we're doing.

[1:21:13] Just reminding everyone.

[1:21:15] This letter is from Kevin Last Day Withheld, who writes,

[1:21:18] I write you at 3 a.m. during my nightly baby-watching shift for my month-old newborn.

[1:21:25] I am currently in the thick of it and getting very little sleep.

[1:21:29] I've been there.

[1:21:29] I find myself exploring my hobbies during the darkest of hours from 1 a.m. to 8 a.m.

[1:21:35] Beyond listening or re-listening to your podcast, can each of you recommend any movies, shows, video games, or books that are easy to pick up and put down at the drop of a hat or sound of a poop and aren't so intense that I will feel the need to continue them when I transition to my sleep shift?

[1:21:53] The sound of a poop.

[1:21:55] You thought flopping, Kevin.

[1:21:58] Now that I know the context, I could recommend the movie I used to watch in pieces when my second son was a baby, which was Stalker, the Tarkovsky movie, which I watched very slowly.

[1:22:13] That's a lot.

[1:22:15] But I will say – but before I know the context, I would say a couple movies that are very easy to pick up and put down because they're just scenes.

[1:22:21] They're not full length stories are some of the movies that Roy Anderson, the Swedish

[1:22:26] director, has made songs from the second floor is one of them.

[1:22:29] You, the living is another.

[1:22:30] And they're just kind of they're almost sketch movies, but they're really well made.

[1:22:34] And they're all each scene is shot from one fixed angle.

[1:22:37] And an entire set has been built around the camera, basically.

[1:22:40] And they're they're really amazing to look at.

[1:22:43] And some of them are really funny.

[1:22:44] And so those are movies where you can like you watch a little bit, turn it off.

[1:22:47] You don't have to carry the story forward because there is no story.

[1:22:49] It's just one scene after another.

[1:22:51] And it's all in Swedish, so you can watch it with the sound off if you want, with subtitles, so you don't wake the baby.

[1:22:57] And when it comes to books, you can pick up and put down.

[1:22:59] I just read The Life of Samuel Johnson, and most of that book is just Samuel Johnson and I went out to dinner, and he said these things, and that's it.

[1:23:07] So you can just pick it up and put it down.

[1:23:09] It's like you're hanging out with your friend Sam Johnson for a little bit, and then you put it down and see him again later.

[1:23:13] So what do you guys have for me?

[1:23:15] When it comes to like reading things that you can pick up and put down, I'm a big fan of – oh, my lord.

[1:23:24] My brain just shut down.

[1:23:26] It just fell apart.

[1:23:27] Were you going to say The Life of Samuel Johnson?

[1:23:28] Yes, I did.

[1:23:29] Yeah, yeah, yeah.

[1:23:30] No, no, no.

[1:23:31] I was going to say the horror comics collections by Junji Ito.

[1:23:35] Oh, yeah.

[1:23:35] Perfect.

[1:23:36] Yeah, they're great.

[1:23:36] They're nice and short.

[1:23:38] That's something that's definitely good for reading in the middle of the night when you've got a baby to keep safe.

[1:23:44] you're going to start seeing odd spirals in your baby's.

[1:23:51] His poop is in a spiral.

[1:23:54] That'd be so concerning.

[1:23:55] Have you talked about the Junji Ito cat comics?

[1:24:00] Those are the best.

[1:24:01] I don't think I've seen those.

[1:24:02] I think, yeah, they're really great.

[1:24:03] Have you seen, did you read the one?

[1:24:05] Have you seen Junji Ito's cat comics?

[1:24:08] Yeah, after the OJ case, we started doing cat comics.

[1:24:10] We started doing the cat strip.

[1:24:12] He's standing in front of a brick wall and he's like, hey, cats.

[1:24:17] Stuart, have you read the Jujita one where it's the thing that turns people into like gas-powered mechanical crabs or something?

[1:24:25] And there's a shark with robot legs that's running around eating people?

[1:24:28] That's a crazy one.

[1:24:34] Here's an idea.

[1:24:35] If you're going to read something, you know, in the middle of the night that you want to be sort of bite-sized,

[1:24:41] Why not read something that's already sort of chopped up and bite-sized?

[1:24:46] This is heavily influenced by me looking over at my own bookshelf.

[1:24:51] But, like, get yourself, if you're a listener to this show, you probably like movies.

[1:24:57] You could get yourself, like, an old collection.

[1:24:59] You could get yourself an old collection of Pauline Kael or Roger Ebert, like, reviews, something like that.

[1:25:05] There's, like, some great books that Bleeding Skull put out that I liked about horror movies of the 80s and horror movies of the 90s.

[1:25:12] We can just kind of dip in and read some blurbs about things.

[1:25:15] And it doesn't take a lot of mental energy, but, you know, you're, like, half learning.

[1:25:19] You're learning silly stuff.

[1:25:22] Kenice, do you have any ideas?

[1:25:24] Sure.

[1:25:25] As a person without children, that seems really tough what you're going through.

[1:25:29] And thank you for your service, I guess.

[1:25:33] It's great that other people do that.

[1:25:35] I'm so happy for you guys.

[1:25:36] Keeps the human race going.

[1:25:38] Yeah, thanks, Elliot.

[1:25:41] I mean, whether that's a good thing or a bad thing, you know.

[1:25:43] I am a very big dorky lady, and I have started listening to Stephen Fry's – he has one on Greek mythology, Greek heroes.

[1:26:02] The Troy and now the Odyssey.

[1:26:06] And the stories are quite short because they're the stories of Greek mythology.

[1:26:10] And it's just a British, I listen to the audiobooks.

[1:26:12] It's just a British man kind of like chill.

[1:26:16] He tells you about some stuff that didn't really happen, but you get it.

[1:26:19] And it's nice.

[1:26:20] It's really nice.

[1:26:21] Yeah.

[1:26:22] Hey, that makes me think of like just Stephen Fry being mentioned.

[1:26:25] Pick up a Jeeves and Worcester collection.

[1:26:28] They're short.

[1:26:29] Short little stories.

[1:26:30] Yeah.

[1:26:31] Make you laugh.

[1:26:32] Anyway, this is from...

[1:26:36] Yeah, that's how I feel about Friends.

[1:26:37] Just watch the whole series run of Friends.

[1:26:40] Short little stories that'll make you laugh.

[1:26:42] Gonna make you laugh.

[1:26:43] You don't have to be invested the whole time.

[1:26:45] It's fine.

[1:26:46] Yeah, why not?

[1:26:47] This next one, letter that is,

[1:26:50] is from W. Seth Hansiak, first name withheld.

[1:26:56] Oh, okay.

[1:26:57] You know, breaking the pattern here.

[1:26:58] Interesting choice.

[1:26:59] I recently watched the decidedly mid-horror film Tarot, which was a bad, bad movie until a bit of dialogue made me laugh out loud.

[1:27:11] All right.

[1:27:11] The dialogue is, the death card can mean an ending or a beginning, but in this case, it just meant death.

[1:27:21] Transforming it into a good, bad movie.

[1:27:24] Yeah, yeah.

[1:27:24] That's a line like, that's a podcaster line where they're like, I just want to say something.

[1:27:28] When that same line was used as the gotcha Final Girl smack talk line, I literally cheered.

[1:27:35] What line of dialogue transformed a movie for you in either direction?

[1:27:40] Keep on flopping.

[1:27:43] From W. Seth.

[1:27:44] Let's see.

[1:27:45] That's the sound the bear makes was pretty good.

[1:27:49] Oh, yeah.

[1:27:49] That's just the sound.

[1:27:50] The sound the bear makes.

[1:27:52] What was that?

[1:27:53] Which one was that from?

[1:27:54] One Missed Call, I think.

[1:27:55] Yeah.

[1:27:57] It's just the sound, the sound the bear makes.

[1:28:01] I thought this was a more interesting letter than I had a great answer for it because I don't know that I feel like a single line is transformative to me in that way, usually.

[1:28:14] Usually not enough to really make or break a movie.

[1:28:17] I couldn't really think of anything for this when I was thinking about it earlier, but I thought about, I've talked about this before, that the movie Hell in the Pacific, the final seconds of that movie ruined that movie.

[1:28:27] And otherwise, up to then, I think it's a really strong movie.

[1:28:30] And then a choice of how to end it, literally like it's the last 30 seconds of the movie.

[1:28:34] I'm like, well, this movie's bad now.

[1:28:37] So that kind of stuff happens sometimes.

[1:28:39] What, does like Walter Matthau make a face at the camera or something?

[1:28:42] No, that's the perfect way to end a movie, Stuart.

[1:28:44] There's no better way to end the movie.

[1:28:47] No, that's great.

[1:28:48] There's certain line readings that stick with me that like elevate a movie that I already like.

[1:28:54] I mean, maybe not elevate, but like stick with me forever.

[1:28:57] Like, you know, obviously, in Clue, there's no funnier part in Clue than Flames, Flames on the Side of My Face.

[1:29:05] Yeah, that's the best part, yeah.

[1:29:06] The way that, like, just, like, brings the movie up to a different level.

[1:29:09] A movie I already like.

[1:29:10] What a banger.

[1:29:11] I already love is Romancing the Stone, but Stuart and I often talk about.

[1:29:15] You and your sister.

[1:29:16] John Wilder, you and your sister can go.

[1:29:22] It's a line reading I love.

[1:29:24] I just love to think about it.

[1:29:27] But I don't have, like, yeah, it doesn't shift everything for me.

[1:29:31] Yeah.

[1:29:31] When you read that, I thought of, would that it were so simple.

[1:29:36] Oh, yeah.

[1:29:36] Me and my sister say that to each other all the time,

[1:29:38] and that made me lock into that movie way more than I had been before.

[1:29:42] Yeah.

[1:29:43] No, totally.

[1:29:46] Stuart's thinking, but if he doesn't have anything.

[1:29:47] I don't got anything.

[1:29:49] We can move on.

[1:29:50] That's okay.

[1:29:50] You don't have to force it, you know?

[1:29:51] We're allowed to.

[1:29:53] We're allowed to not have anything.

[1:29:54] Just cut me out, Alex.

[1:29:55] Cut me out so I don't mess up the flow.

[1:29:57] No, no, no.

[1:29:58] He's important.

[1:29:58] You know what?

[1:29:59] Yeah, he's not pulling his weight.

[1:30:00] Yeah, I provide a nice low bar for everyone else to look better by.

[1:30:06] Yeah.

[1:30:08] Hey, let's recommend some movies.

[1:30:11] Movies that may be a better use of your time.

[1:30:14] Well, why not?

[1:30:14] If you have a limited time, maybe prioritize these.

[1:30:19] That's true.

[1:30:21] That's what makes life so sweet, Elliot.

[1:30:23] That's true.

[1:30:24] if we lived forever it would lose its savor

[1:30:27] and flavor yeah exactly

[1:30:29] savor and flavor

[1:30:30] that's one of those great lines I'll remember

[1:30:33] from this podcast

[1:30:34] it switched it in my mind

[1:30:37] um

[1:30:39] okay so

[1:30:40] pardon me

[1:30:42] just as I was about to give my recommendation I had to

[1:30:45] burp

[1:30:45] I was texting you about this

[1:30:49] movie Elliot I

[1:30:51] because it was on Criterion

[1:30:54] I re-watched

[1:30:56] Close Encounters of the Third Kind

[1:30:58] you were texting me about that

[1:31:00] that's true

[1:31:00] for the first time since I think I was like a teenager

[1:31:04] maybe like I watched this movie

[1:31:06] and it's a movie

[1:31:08] that you know by the time

[1:31:10] I was watching it

[1:31:11] it came out the year before I was born

[1:31:13] by the time I was watching it was already like enshrined

[1:31:15] in like this is like classic

[1:31:18] science fiction

[1:31:20] movie this is classic early blockbuster

[1:31:22] like the real blockbusters uh wave uh you know and seeing it as a kid i had certain expectations

[1:31:31] of that that were uh maybe not fulfilled like the movie is kind of a weird movie if you're looking

[1:31:36] for like what we now think i mean we just talked about the bride so like close encounters is not

[1:31:41] that weird no i know but like if you're talking about like big blockbuster entertainment it's it's

[1:31:45] it doesn't offer the same like simple satisfactions maybe that uh you expect and i think that that

[1:31:51] meant that it was a movie that I didn't quite

[1:31:54] get as a kid. It's also speaking to

[1:31:56] like being older and like being

[1:31:58] presented with like

[1:31:59] you know, something new in

[1:32:02] life that you didn't ever expect to like

[1:32:04] be part of your life.

[1:32:06] But I don't know.

[1:32:07] It's like an affair movie. It's like he's having

[1:32:10] an affair with aliens.

[1:32:11] And it's brought the savory

[1:32:14] flavor back into his life. There's no like

[1:32:16] wisecracking kid characters.

[1:32:18] There's no like animated dinosaurs.

[1:32:20] And, you know, what you're saying about it being like an affair with aliens, it speaks to the fact that, like, this guy is not acting, like, great towards his family.

[1:32:26] No.

[1:32:26] Like, this guy is going nuts.

[1:32:28] He's scaring his family.

[1:32:31] And we sort of understand why because we are also curious about the aliens.

[1:32:35] But he's not handling it in a way that you're like, oh, what a great guy.

[1:32:38] No, I mean, spoiler, it ends with him abandoning Earth and his family to be with these aliens.

[1:32:43] So, like, it is a—

[1:32:45] But, like, come on.

[1:32:47] Come on.

[1:32:48] And Steven Spielberg has talked about –

[1:32:50] His family are kind of duds, right?

[1:32:51] Terry Gar?

[1:32:52] Come on.

[1:32:53] Terry Gar, sir.

[1:32:54] That's Dustin Hoffman-level mistreatment of Terry Gar, sir.

[1:32:58] Wow.

[1:32:59] As seen in the movie Tootsie.

[1:33:00] Thanks.

[1:33:00] So Spielberg has talked about how – I mean, I love Close Encounters.

[1:33:04] I think it's great.

[1:33:05] And Steven Spielberg has talked about how that's the movie of the man he was then,

[1:33:08] and now as the man he – something he said years later after he had a family.

[1:33:12] He's like, yeah, I couldn't get on a spaceship and fly and leave my family behind.

[1:33:16] But as a young man, yes, sure, cool.

[1:33:18] Like, let's leave it all behind.

[1:33:19] Yeah, yeah.

[1:33:20] Well, I think part of my switching around was like...

[1:33:23] There's also something very 70s about it.

[1:33:25] Yeah, man, go with the aliens.

[1:33:26] Come on.

[1:33:27] Do what you want.

[1:33:28] Be you.

[1:33:30] No, I mean, like, it has, like, a realism and open-endedness that I respond to more now.

[1:33:38] It is, like, but also I was thinking, like, oh, I saw Close Encounters, you know, back when everyone had tiny televisions.

[1:33:46] And now technology, you know, has come down in price so much that, like, people can have big, beautiful, like, screens that, like, show a movie like Close Encounters in a way that's like, oh, right, that's why it's so impressive.

[1:34:01] Like, this is a gorgeous movie.

[1:34:03] Considering, considering the, probably whatever digital version you're looking at, it probably looks better than it would have looked if you had seen it in a theater when it first came out.

[1:34:11] Because you'd still be seeing it being projected by probably some teen idiot who doesn't know what he's doing.

[1:34:16] You know, there's a lot of babies crying in the theater.

[1:34:20] Projection is getting roasted over here.

[1:34:22] The screen is all stained and ripped.

[1:34:25] Catching a stray.

[1:34:26] No, I'm just kidding.

[1:34:27] Anyway.

[1:34:28] I'm just kidding.

[1:34:29] I'm just kidding.

[1:34:29] Projectionists are great.

[1:34:31] It's not a surprising recommendation that Close Encounters was, but I enjoyed it.

[1:34:36] I loved revisiting.

[1:34:37] Stuart, what would you recommend?

[1:34:39] So I've been traveling a bunch and I haven't gotten to go to the movies.

[1:34:44] and I've been desperate to see a certain liminal space horror movie.

[1:34:49] But I have not seen it yet.

[1:34:50] I'm seeing it this week.

[1:34:51] So instead, I'm going to recommend a different recent liminal space horror movie,

[1:34:55] and that is Exit 8, a Japanese movie based on a video game.

[1:35:00] And it is awesome.

[1:35:02] I really loved it.

[1:35:03] It's about a guy who's on a subway train,

[1:35:06] and he gets off at a station that's unfamiliar to him,

[1:35:10] and he kind of loses his bearings,

[1:35:12] And then suddenly he realizes that he is trapped in some kind of weird loop of corridors in this subway station.

[1:35:22] And there are some rules to it.

[1:35:25] And the idea that it is adapted from a video game that I've never played, so I don't know much about it.

[1:35:31] But I feel like it's a pretty novel concept of adaption.

[1:35:37] And I thought it was really interesting and fun.

[1:35:40] And it manages to be unsettling and scary without relying on gore or really many like traditional scares.

[1:35:49] I thought it was it was really great.

[1:35:52] I also watched a liminal horror movie recently, but it was a horror movie about the liminal state of old age.

[1:36:00] That's right.

[1:36:01] I'm talking about The Straight Story starring Richard Farnsworth, which I thought I had seen this movie.

[1:36:09] and I didn't remember it particularly well.

[1:36:10] So I'm wondering if maybe I didn't see it

[1:36:12] when it first came out.

[1:36:13] But it's on the Criterion channel right now

[1:36:18] and it's such a great, sweet movie.

[1:36:20] And it's so like, it feels like the same way

[1:36:22] that Spike Lee made Inside Man to be like,

[1:36:25] I can make these kinds of movies as well as anybody.

[1:36:27] I just don't want to.

[1:36:28] That's why I'm not making them.

[1:36:29] It feels like David Lynch is like,

[1:36:30] I can make a movie without weird stuff in it.

[1:36:32] I just don't want to.

[1:36:33] Look at how well I do it.

[1:36:34] Now I'm back to my own stuff.

[1:36:35] But it feels – it's such a – it feels so much like a David Lynch movie without falling on the, like, tropes that have – you know, that people expect from David Lynch movies.

[1:36:44] And Richard Farnes was so great in it.

[1:36:46] It's such a – it has its own kind of tempo that you fall into and the way that the main character unfolds over time and you learn more about him in little pieces and things, just really great.

[1:36:57] and i watching it i was so um i admired so much how they didn't try to like movie up the story

[1:37:05] that it's like you know the story is this guy who he's he's an old man he can't drive a car anymore

[1:37:09] his brother lives 350 miles away or 370 miles away and his brother had a stroke and he wants

[1:37:14] to go see him so the only way he can get there is to ride his riding mower you know for hundreds of

[1:37:19] miles and he just the people he meets along the way and it would be so easy to make this movie

[1:37:24] and put in like,

[1:37:25] and he's got,

[1:37:26] this other person has to come along with him

[1:37:28] and they have to learn to get along

[1:37:29] or people hear about it

[1:37:31] and suddenly he becomes famous

[1:37:32] and every, you know,

[1:37:32] there's a media circus following him

[1:37:34] or, you know,

[1:37:35] he gets mistaken for a criminal

[1:37:36] or something like that.

[1:37:38] But it's none of that.

[1:37:39] Yeah, that happens.

[1:37:40] Yeah, it's just about this,

[1:37:41] it's just about this old man,

[1:37:42] like having to deal with being old

[1:37:44] and kind of just having interactions

[1:37:47] with people along the way,

[1:37:48] but none of them are like

[1:37:50] so incredibly dramatic

[1:37:51] that they, you know,

[1:37:53] that they become what the movie is about.

[1:37:54] And I just, it's a really beautiful movie.

[1:37:56] And, but you watch it the whole time.

[1:37:58] You're like, yeah, this is a David Lynch movie.

[1:37:59] Like, it's also really funny.

[1:38:01] It feels like one of his movies,

[1:38:02] but without having to do with dreams or weird sex stuff.

[1:38:07] So that's the straight story.

[1:38:07] I highly recommend it.

[1:38:08] It's technically a G-rated movie,

[1:38:10] but I would not recommend showing it to kids

[1:38:11] because they will be bored by it.

[1:38:13] Yes.

[1:38:15] I've never seen that movie.

[1:38:16] And I, I'm going to be honest, vulnerable.

[1:38:20] I don't really like a lot of David Lynch movies,

[1:38:24] But the way that you pitched that, this may be the one for me.

[1:38:27] I would say try it.

[1:38:28] It definitely, it's like, it's at his kind of pace.

[1:38:30] It's his kind of, it's like the kinds of characters that he deals with sometimes.

[1:38:34] But it is not, but there's nothing strange or supernatural or dreamlike about it.

[1:38:40] It is just like, if there's anything dreamlike about it, it's just kind of like, you kind of get into a dream trance state.

[1:38:45] Just driving a riding lawnmower through Midwestern states where there's not a lot going on.

[1:38:49] But it's really, it's one of those movies too where you watch it and afterwards you're like,

[1:38:53] Oh, it makes me feel good about kind of like people, you know, like people, you know, that

[1:38:56] people like to be around people.

[1:38:58] And anyway, it's really good.

[1:38:59] I do recommend it.

[1:39:00] Yeah.

[1:39:00] Just be ready for a lot of shots, like kind of drone or I guess it would've been helicopter

[1:39:03] shots at the time, helicopter shots of cornfields, like you're going to see a fair amount of

[1:39:08] those.

[1:39:09] Make me feel like I'm at home.

[1:39:10] Canice, do you have a recommendation that you want to offer?

[1:39:13] Sure.

[1:39:14] Based on this movie, I thought of a Frankenstein based movie that I enjoyed more.

[1:39:21] And this-

[1:39:23] Impossible.

[1:39:24] This one is very silly, and it's not trying to say anything about the nature of feminism in this country.

[1:39:32] Lisa Frankenstein.

[1:39:35] It's a young girl who accidentally brings back a Lord Byron-type guy.

[1:39:40] I can't believe that's his name.

[1:39:43] Yep.

[1:39:44] Sure.

[1:39:45] A Lord Byron-type guy.

[1:39:46] Arthur Lord Byron-type guy.

[1:39:47] Yeah, something like that.

[1:39:49] And then they kind of fall in love

[1:39:52] and he has to get a penis.

[1:39:55] As you do.

[1:39:56] Yeah.

[1:39:58] Part of the process.

[1:39:59] It's funny, it's silly, it's quirky,

[1:40:01] and it doesn't take itself nearly this seriously,

[1:40:05] as seriously as The Bride.

[1:40:06] That's one I've been meaning to watch for a while

[1:40:07] and I haven't gotten around to watching it.

[1:40:08] So you know what, Denise?

[1:40:09] You and me are going to trade movies.

[1:40:10] We're going to watch each other's recommendations.

[1:40:12] I'm going to write you and be like,

[1:40:13] I loved it.

[1:40:14] Or, wow, I'm really disappointed in you personally

[1:40:17] for recommending this to me.

[1:40:19] Your taste in movies determines your value as a human.

[1:40:22] Yeah, exactly.

[1:40:24] The internet has taught us anything.

[1:40:25] The premise of this podcast in some ways, yeah, yeah.

[1:40:29] Well, it's true.

[1:40:30] The internet has taught us that the only thing that matters is about you

[1:40:32] is the things you like or don't like

[1:40:34] and nothing about your intrinsic qualities otherwise.

[1:40:36] Yeah, yeah.

[1:40:38] That's all my therapy sessions are about.

[1:40:43] Kenny, thank you so much for being with us.

[1:40:46] Before we go, is there anything you would like to plug?

[1:40:49] I looked it up.

[1:40:50] This should be released on July the 11th.

[1:40:54] Okay.

[1:40:54] If that affects plugging.

[1:40:56] I was going to plug the same thing

[1:40:57] unless you said it came out in September.

[1:41:00] I want to plug the Hot Guy Draft.

[1:41:03] We're just going to make it time

[1:41:04] for your best field day show.

[1:41:06] So the Hot Guy Draft.

[1:41:07] Tell us about it.

[1:41:08] Tell us about it.

[1:41:09] So the Hot Guy Draft is a comedy competition of thirst

[1:41:13] wherein people, comedians on stage

[1:41:15] create teams of pop culture hot guys

[1:41:18] and that's gender neutral.

[1:41:19] It's also irrespective of if they actually existed, if they're cartoons, if they're historic figures, whatever.

[1:41:25] And they create a team of hot guys in different categories.

[1:41:28] And the audience votes on who has created the hottest team.

[1:41:32] This time the theme is First Crush.

[1:41:34] So we're going to be looking at who we had crushes on when we were younger.

[1:41:37] Robin Hood, Cartoon Fox.

[1:41:39] That Cartoon Fox is on the poster for the show.

[1:41:42] Enough people have said the Fox from Robin Hood changed me.

[1:41:47] Someone recently said to me, they go, Zootopia probably pretty much started that furry stuff.

[1:41:51] And I'm like, no, sir.

[1:41:53] Not at all.

[1:41:54] It goes back much farther.

[1:41:56] Absolutely.

[1:41:57] We haven't even started talking about the live-action Teenage Mutant Ninja Turtles movie.

[1:42:03] If you're into April in that, she's—

[1:42:05] Or, I guess—

[1:42:06] Raphael is a big thing in that movie.

[1:42:08] Gadget Hack Ranch.

[1:42:09] Yeah, sure.

[1:42:11] That's his name?

[1:42:12] No, that's the mouse from—

[1:42:14] That's the mouse from Rescue Rangers.

[1:42:15] She had a purple jumpsuit.

[1:42:17] that's pretty cool yeah she was like the girl next door crush if you had a cartoon mouse yeah

[1:42:23] yeah that makes sense to me um we're gonna get into some deep waters now so let's start talking

[1:42:28] but that is on august 23rd at little field at 7 p.m you can get your tickets now but you can also

[1:42:37] uh because this is built off of a fantasy sports draft and those people have stats to build stats

[1:42:43] We have an online survey where you can vote on the hotness of different figures.

[1:42:48] And then we use that in our rankings.

[1:42:51] So please visit Hot Guy Draft on Instagram for information about that survey, information about tickets, and the cultural work that we're doing to investigate what people find hot and why.

[1:43:03] This is right up my alley.

[1:43:05] I love it.

[1:43:07] Dan, see if Gomez Adams is on there.

[1:43:09] I will after.

[1:43:11] I'm adding him after this.

[1:43:12] I don't think he is.

[1:43:12] He should be.

[1:43:13] I mean, they're all Julia.

[1:43:15] Come on.

[1:43:16] I'm just saying there's other Gomez-Adamses

[1:43:18] and they're all pretty attractive.

[1:43:19] I know, but come on.

[1:43:21] John Astin is a very hot Gomez-Adams in some way.

[1:43:24] He's not hotter than Raul Julia, sure.

[1:43:28] I mean, Raul Julia was M. Bison.

[1:43:30] Yeah.

[1:43:33] For me, it was Tuesday.

[1:43:36] Okay.

[1:43:37] Well, this has been a delight.

[1:43:39] It's also been the Flophouse.

[1:43:41] We'd like to thank our network.

[1:43:44] It's called Maximum Fun.

[1:43:45] If you go to MaximumFun.org, you can check out a lot of other great podcasts, comedy and culture, artist-owned, listener-supported.

[1:43:54] You're going to hear that after the theme song.

[1:43:56] But I said it now, too.

[1:43:58] Wow.

[1:43:58] Thank you to Alex Smith, our producer.

[1:44:02] Oh, my ears are hearing double.

[1:44:05] Four outros.

[1:44:07] Thank you to our producer, Alex Smith.

[1:44:09] He goes by the name HowlDotty on the internet.

[1:44:12] You can listen to his music or his podcast or check out a Twitch stream.

[1:44:18] A lot of great stuff that he does.

[1:44:21] Get his merch.

[1:44:21] Why not?

[1:44:23] Hey, and speaking of plugs, why don't we plug some of our own stuff like the newsletter, which I don't mention quite enough.

[1:44:29] No, you don't mention it.

[1:44:31] If you go to the website, we have a newsletter.

[1:44:34] You can subscribe.

[1:44:35] And a couple times a month, you'll get updates on what we're up to in a more extensive form.

[1:44:41] And there'll be something funny in there, too, that's not just advertising.

[1:44:45] And also, there's a Discord.

[1:44:49] People know about the Facebook and the Instagram and stuff, but they don't often know that there's a Discord.

[1:44:56] Check that out.

[1:44:57] I wish I could remember how you get there.

[1:45:03] I decided to mention it, and I hadn't done the research.

[1:45:06] So, listeners, ask Dan's grandchildren how to get onto the Discord.

[1:45:12] I'm sure it's not that hard to figure out.

[1:45:15] But for The Flophouse, I have been Dan McCullough.

[1:45:21] I'm Stuart Wellington.

[1:45:22] And I'm Elliot Kalin, and we've been joined by...

[1:45:26] Kaniece Mobley.

[1:45:27] Bye.

[1:45:28] Bye.

[1:45:29] Au revoir.

[1:45:31] Bride.

[1:45:33] i got questions about hot guy draft i will answer every single one i'm gonna try not to

[1:45:46] be too enthusiastic about it okay yeah please please don't why i'm just gonna tamp it down

[1:45:52] the flop has the chills yeah yeah exactly we're all trying to out cool each other on this one

[1:45:57] man the bride whatever um not really the kind of movie that you have a strong opinion about

[1:46:03] Exclamation point.

[1:46:04] Get that out of here.

[1:46:06] Put an ellipsis on the end of that.

[1:46:08] Please.

[1:46:09] Okay.

[1:46:10] Let's start recording.

[1:46:13] We did.

[1:46:13] Just to see if we remember how we do it, you know?

[1:46:16] Well, the actual show.

[1:46:18] Hold on.

[1:46:19] Let me.

[1:46:20] Okay.

[1:46:21] This is a classic, Dan.

[1:46:22] Okay, let's start.

[1:46:24] All right.

[1:46:24] My brain goes ahead of its actual capabilities is the problem.

[1:46:33] I think I got a hot one, guys.

[1:46:35] Okay, a hot one.

[1:46:36] Great.

[1:46:36] Hold on.

[1:46:37] We should have light in here.

[1:46:38] What am I doing?

[1:46:41] No, it should be dark.

[1:46:44] Just like the world of The Bride.

[1:46:47] Wow.

[1:46:47] There we go.

[1:46:48] Yeah.

[1:46:48] That's better.

[1:46:49] I mean, it was the fucking 1930s, dude.

[1:46:51] It was a very dark time.

[1:46:53] Yeah.

[1:46:54] You had monsters running around.

[1:46:56] Yeah.

[1:46:56] Trying to go on dates.

[1:46:57] Like Jake Gyllenhaal.

[1:46:58] Like one monster.

[1:47:00] Yeah, what he did to Taylor.

[1:47:02] Yes.

[1:47:03] Finally, somebody spoke up.

[1:47:05] If only that had been expressed creatively in some way,

[1:47:08] but it just never happened, you know?

[1:47:09] Again, I can't stress enough,

[1:47:11] Taylor Swift's concerts in Melbourne

[1:47:13] made my hotel cost go very high,

[1:47:15] so I wish he stole a million scarves from this bitch.

[1:47:19] That would give her a million albums.

[1:47:21] I think that was a scheduling issue on your part.

[1:47:22] I don't know.

[1:47:23] Anyway.

[1:47:24] Taking up Ford.

[1:47:28] Maximum Fun.

[1:47:29] A worker-owned network.

[1:47:31] Of artist-owned shows.

[1:47:33] Supported directly by you.

The Bride! with Kenice Mobley

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