Ep. #330 - Freaky, with Barbara Crampton

Dan McCoy

[0:00] On this episode, we discuss Freaky...

[0:04] Friday?

Stuart Wellington

[0:06] Kind of.

[0:07] Okay.

[0:30] Hey, everyone, and welcome to the Flophouse.

Dan McCoy

[0:37] I'm Dan McCoy.

Stuart Wellington

[0:38] I'm Stuart Wellington.

Elliott Kalan

[0:40] And I'm Elliot Kalin.

[0:41] And Stuart Wellington, who do we have with us today?

Stuart Wellington

[0:43] Oh, man, this is such a treat.

[0:45] We have a star of the small screen, a star of the big screen, a producer, and a bad movie

[0:52] expert, self-professed, Barbara Crampton.

S4

[0:55] There you go.

[0:56] Woo-hoo.

[0:57] Thanks, guys.

[0:58] Thank you.

[0:58] Happy to be here.

Dan McCoy

[1:00] Thank you so much for coming.

[1:01] Yeah, thank you.

Elliott Kalan

[1:02] Long-time listeners of the show will know we're a very big fan of your work.

Dan McCoy

[1:06] Yeah, I...

[1:08] So, Stuart, you did a presentation of Stuart Gordon's Castle Freak in Yonkers.

[1:16] You hosted that with the freak himself in attendance, and I...

[1:21] Jonathan Fuller was...

[1:22] Years ago.

Elliott Kalan

[1:22] Dan, I don't want our listeners to think that Stuart's breaking lockdown.

[1:25] This was not like the other day.

[1:26] No, no, no.

[1:26] This was a while ago.

S4

[1:28] I've been hearing about your love for...

[1:31] Well, or your thoughts about Castle Freak for a long time.

[1:35] Maybe love's too strong a word.

[1:37] I don't know.

Dan McCoy

[1:38] No, no.

[1:39] He talks about it a lot.

[1:41] And I'm easy with my affections.

[1:43] I was just trying to get to the fact that also in the Brooklyn Alamo, I introduced a screening

[1:50] of From Beyond.

[1:51] So, two out of the three of us have introduced Barbara Crampton screenings, which only leads

[1:57] me to ask, Elliot, what's your problem?

Elliott Kalan

[1:59] I'll get to it, Dan.

[2:01] As you know, I only screen movies that are at least 70 to 100 years old.

[2:06] So, I'm just waiting for the statute of limitations to run out.

[2:10] And then I'll show Reanimator, or maybe I'll show From Beyond 2.

[2:13] A movie that spoke to me very deeply when I was having a medical problem one time.

[2:19] And I was watching From Beyond for the first time, and I was like, this movie really gets

[2:23] me right now.

[2:25] So, that was a movie that really helped me through a difficult weekend.

[2:29] How did it help you?

[2:31] It was kind of, it was my first time, this is getting probably getting too personal, it

[2:35] was my first time dealing with a kidney stone.

[2:37] And it was just a very painful experience.

[2:40] And watching From Beyond and seeing the characters in it dealing with kind of like their reality

[2:45] and their bodies being warped, it really made, it was like, okay, this movie is expressing

[2:50] kind of like what I'm feeling right now in a way that makes me feel less alone.

[2:55] Since at the time, I was very alone because my wife was out of town.

[2:57] So, it was just companionship I needed at the moment, you know.

S4

[3:01] Yeah.

[3:02] Misery loves company.

[3:03] So, you were, you know, watching Jeffrey Combs morph into all this different creature from

[3:08] the beyond, and it helped you.

Elliott Kalan

[3:09] Yeah.

[3:10] Very much.

[3:10] There was a moment where I think he bites another person's eyeball out.

[3:14] And I was like, yeah, that's what it feels like right now.

[3:17] That was Jordan's wife.

S4

[3:19] Oh, yeah.

[3:20] Yeah.

[3:21] Carolyn Gordon.

Stuart Wellington

[3:23] Which is, that's kind of the opposite, Elliot, of the time I broke my arm in a car accident

[3:27] and my mother went to the grocery store, which is where we rented videos from when I was a child,

[3:33] and she rented me the movie Body Parts starring Jeff Fahey, which is about a guy who's in a horrible car accident

[3:41] and he gets a replacement limb from a serial killer that makes him a serial killer or something.

[3:45] So, that did not work that way.

[3:48] So, when Jeff Fahey comes on, yeah, when Jeff Fahey comes on the show, I'll let him down.

Elliott Kalan

[3:55] I mean, but your mom gets you.

[3:56] I mean, that's what that story tells me, is your mom really knows what you're into.

[3:59] Oh, 100%.

[4:00] Yeah.

S4

[4:01] Did you guys like bad horror movies growing up?

[4:05] Or horror movies in general?

Stuart Wellington

[4:08] Yeah.

[4:08] I mean, I feel like-

S4

[4:09] Or is that something that happened to you later?

Stuart Wellington

[4:12] No, I mean, my, like, I've always, like, I like being scared.

[4:16] And I guess the bad horror movie love came from the constantly, like, each weekend going to the video store,

[4:23] like, searching for the next great, like, scare, and often being let down because I thought the box cover looked great.

[4:31] And then by the time I got it home, I'm like, this is nothing like the painting on the cover.

Dan McCoy

[4:36] Now, this kind of leads me into a question I wanted to ask you, Barbara, which is, I mean, you chose Freaky.

[4:44] You're like, oh, let's watch this.

[4:46] I wanted to know whether you were a horror fan before you appeared in movies or whether you sort of were, like, ground down over the years and grew to love them.

S4

[5:01] That's a good question.

[5:02] Well, first of all, I picked Freaky because it was coming out, and I knew I was going to talk to you guys, and I wanted to watch it.

S5

[5:09] So I was like, let's watch Freaky because that's the next movie I want to watch.

S4

[5:12] But, you know, I didn't plan to be a horror movie actress.

[5:16] I just wanted to be an actor from the time I was about 11.

[5:19] And I just happened to be in Reanimator, and Stuart took me on this journey.

[5:26] I wouldn't have a career in horror movies without him.

[5:29] And, you know, it's funny because I didn't grow up seeking out horror genre movies or television shows,

[5:38] but when I was younger, I would watch The Outer Limits with my dad and Night Gallery and shows like that.

[5:48] And when I was younger, I don't know how old I would have been, you know, somewhere in sixth or seventh grade, I guess,

[5:54] I watched Dark Shadows.

[5:56] I loved Dark Shadows.

[5:56] That was my favorite show.

[5:58] And I would race home from school on my bicycle.

[6:02] We got out at like 10 to 3, and at 3 o'clock the show started.

[6:07] And I just couldn't get enough of that show.

[6:09] I had nightmares every night about it, but I couldn't stop watching it.

[6:13] And my mother didn't want me to watch it anymore, and I said, no, I have to watch it, man.

[6:17] Mom.

[6:18] Man, Mom.

[6:19] I got to watch this show.

Stuart Wellington

[6:21] I don't like you calling me man anymore.

[6:24] Listen, Mom, man.

[6:26] Man.

S4

[6:28] And so maybe it was going to happen to me.

[6:33] I just hear all these stories about these people that grow up, and they know so much about horror movies,

[6:39] and they sought them out from when they were kids.

[6:41] Their parents watched them, and they would get up from their beds and peek over the couch while their parents were watching a movie.

[6:47] I just didn't really have, it wasn't that impressed upon me when I was younger.

[6:52] I just, the things that I watched the most were probably the Million Dollar Movie, which played on WPIX Channel 11 in New York every day.

[7:03] Also at like 4 o'clock that came on.

[7:05] So I'd watch Barnabas Collins, and then I'd watch Miriam Hopkins or Joan Bennett or something in a movie.

[7:13] And I don't know.

[7:17] I just, you know, I think careers are like that.

[7:20] I don't think too many people I know start out thinking, oh, I'm going to do this in my life, and this is where I'm going, and then that's where they end up.

[7:30] It's usually, and I find that way in working in features and television shows.

[7:37] Like the things that people call me up for, and they say, I want to hire you for this, I'm like, really?

[7:42] Okay, I'll do that.

[7:43] And then, you know, so life is what happens to you when you're making other plans.

[7:48] It's the kind of, I mean, it's a cliche, but it's true.

[7:52] But I feel like since I came back, you know, I took a break from acting for a long time.

[7:59] I got married, and I actually wasn't getting a lot of roles in my mid-30s to late-30s.

[8:04] And I met my husband, and he said, well, I'm being transferred with my job, so can we move up to San Francisco?

[8:09] And I said, you know, I guess so, because nobody wants me anymore.

[8:12] Nobody's calling me.

[8:13] I don't know what to do.

[8:14] And I really was just an actor for hire, and I wasn't getting any calls.

[8:17] So I stopped working, and I just raised my family, and then I got a call out of the blue to be in your next.

[8:25] And that movie blew up.

[8:27] So when I went to the Toronto Film Festival for that movie, and I saw all the executives, because we hadn't sold it yet, out, you know, in the lobby on their phones, calling their higher-ups, saying, you know, we've got to buy this movie.

[8:42] And then the next day, we had five offers from really big companies.

[8:46] I thought, wow, motherhood's really hard, and acting's really fun.

[8:54] Yeah, that's the lesson.

[8:55] Yeah, so I said to my agent at the time, who thankfully hadn't lost my number, and hadn't phoned to him in six years, you know, since before you're next, I said, I think I want to kind of come back to this.

[9:09] I want to come back to acting and do this again.

[9:11] And it was really only at that time in my career, when I took that long break and I came back, that I realized, oh, these are my people.

[9:22] This is my home.

[9:23] This is actually what I do.

[9:25] I didn't realize it.

[9:26] I mean, I went to a few horror conventions, you know, in the latter part of my early life.

[9:34] And, but it didn't really dawn on me until you're next.

[9:39] And then I said, okay, my kids are going to grow up at some point.

[9:43] I'm going to need something to do.

[9:46] So why don't I just try to go back into acting?

[9:50] And then I decided that, you know, through some other fluky things that happened, that maybe I would try to produce.

[9:58] But, you know, those kinds of things weren't available to a lot of young actors when we were growing up.

[10:03] But again, when I worked on Your Next, I was working with Joe Swanberg and Amy Simons and Ty West.

[10:09] And, you know, they were acting in this movie, but they were also writers and writers themselves.

[10:15] And I went, oh, this is what the people do now?

[10:18] This is what they do?

[10:20] How come I didn't do that?

[10:21] How come I didn't do that?

[10:22] Well, everybody stayed in their lane at that point, you know, in my career.

[10:26] That, you know, I was an actor.

[10:27] That's all I did.

[10:28] And you didn't have too many hyphenated people back then.

[10:33] And now we have hyphenates everywhere.

[10:36] I said, I'm just become a hyphenate.

[10:38] Yeah.

[10:39] Yeah.

[10:39] So that's what I'm.

[10:40] So I guess here I am now.

[10:42] And, you know, nobody's going to.

[10:44] Who's going to work with me in comedy or even though I think I'm funny?

[10:49] I don't think so.

[10:51] So if I want to work in this business, you know, why don't I work where I'm a part of a club that, you know, I kind of we all get one another.

[11:04] So I might as well continue on with horror.

Dan McCoy

[11:06] Yeah.

[11:07] Yeah, that's great.

[11:08] That's getting into actually something I wanted to ask you, but I don't want to go too far down.

[11:11] We're already going so far down this road, but I just.

Elliott Kalan

[11:14] Let's keep going, Dan.

[11:15] This is a good road.

[11:16] What's wrong with you?

S5

[11:16] We have to.

[11:18] We're all at home.

[11:18] No, it's true.

Elliott Kalan

[11:19] Yeah, come on, man.

[11:20] We make the room.

[11:21] We don't have a boss.

[11:22] Like, no one's going to yell at us and be like, Dan, that wasn't what you're supposed to do.

Dan McCoy

[11:25] That just confirms an impression that I had that, like, you know, that you had taken this break.

[11:32] And then, like, people like Adam Wingard, like, maybe they're the people who grew up being fans of those earlier films and sort of, like, now wanted you to be part of what they were doing, you know?

S4

[11:46] I think that's absolutely true.

[11:49] I think that's absolutely true.

[11:49] And they could have called any number of women that are my contemporaries.

[11:54] You know, I'm friends with Melissa Rose or Caroline Williams or Kelly Maroney or Amanda Wiss or Heather Langenkamp.

[12:01] I'm friends with all of those ladies.

[12:04] They all want to work, by the way.

[12:06] So, if anybody's listening to this podcast, you should, you know, think about them as well.

[12:10] And I think I just got lucky.

[12:12] Well, actually, it was at an Alamo Drafthouse screening in Texas of Reanimator.

[12:22] And Stuart Gordon was there.

[12:24] And so was Jeffrey.

[12:26] And Simon Barrett, the writer of Your Next, talked to Stuart and said, you know, we have this horror movie coming up.

[12:34] And I don't know, we kind of like to reach out to Barbara Crampton to play the mom in it.

[12:38] What do you think?

[12:39] And Stuart said, oh, no, she's retired.

[12:41] She's not doing she's not working anymore.

[12:44] And that was kind of true.

[12:46] But for some reason, Simon didn't listen to him and thought, you know what, I want to hire Barbara Crampton.

[12:53] So, they offered me the role.

[12:55] Keith Calder and Jessica and Adam and Simon, they just offered it to me without talking to me.

[13:01] So, really, it really was a flunky situation.

[13:05] And I said to my agent when he called me, I said, well, don't they want to talk to me?

[13:10] Or, you know, don't they want to see what I look like now?

[13:13] I mean, I'm not on social.

[13:14] I wasn't on social media at the time.

[13:16] And they said, and he said, no, they just want to hire you.

[13:19] Do you want the job?

[13:20] It starts in 10 days.

[13:21] And I read the script and I thought, oh, it's a cute little script.

[13:25] This is nice.

[13:27] I did it for a fluke.

[13:31] I did that for a fluke.

[13:32] It was all luck.

[13:34] It really was.

[13:36] I feel like.

[13:37] I know that those guys were working hard in their craft.

[13:39] I mean, they actually imagined this movie because I think they had gone to another.

[13:46] Tiff screening of a James Wan film.

[13:51] I don't know whether it was what was happening at the time Insidious or The Conjuring was probably Insidious.

[13:57] And they thought, wow, this movie's fantastic.

[14:01] And they wanted to get a little more commercial with their work because they've been working in the trenches of independent cinema, horror cinema for so long.

[14:08] They all banded together after meeting one another, each other at film festivals and said, what can we make?

[14:13] What can we put together to do as well as James Wan is doing right now?

[14:18] And that's the script for your next.

[14:20] That's great.

Stuart Wellington

[14:21] Yeah.

[14:22] I feel like going back to what you were saying earlier, but I feel like everything that's been really exciting and every opportunity that's really worked out well for me has kind of just popped up.

[14:35] And I had to make the decision, okay, I'll just do this thing.

[14:39] Like I'll do it on a lark.

[14:41] And those are always the things that seem to work out best, even if it's like a little bit outside my wheelhouse or a little bit scary.

S4

[14:46] Yeah.

[14:47] And I think you just have to be, you know, I don't, I think you have to be ready for it is what I was going to say.

[14:51] But, you know, you have to keep at it is another thing that I would say to other people that are in the business that are trying to do whatever you're doing.

[15:00] You guys, you know, work in comedy and people work in horror and whatever.

[15:05] You, you, you know, your career, if you, a lot of people switch careers these days and do different things.

[15:11] But if you're in the movie business, it's a very long uphill and downhill career, television business too, right?

[15:19] And you have to just hang in there for those times that nothing's happening and keep, you know, keep trying to generate things and keep making stuff on your own and keep trying.

[15:32] And then, you know, things will pop up and you can't give up hope.

[15:36] It's a long, you know, your career is a long game.

[15:38] I mean, I've been doing this for 35 years, more than that, really.

[15:42] And I thought I was done when my, when I was 38, 39, I thought, oh, that's it for me.

[15:49] I had Reanimator, Head From Beyond.

[15:50] I did a lot of soap opera work.

[15:52] Okay.

[15:52] I had a good enough career.

[15:54] That's fine.

[15:55] I'm married now.

[15:55] I'm just going to go off into the sunset.

[15:57] And then I had another opportunity and it made me realize, you know, that, that it's a long game and you have to hang in there.

[16:04] And even Reanimator was, you know, was kind of a hit when it came out, but it wasn't a blockbuster.

[16:09] It wasn't, it developed its cult status over time.

[16:11] So there's a lot of things that people do now that they think, oh, I didn't really hit, you know, hit a big splash with that.

[16:18] But those things have to develop over time.

[16:21] And now we have so much more product out there.

[16:23] It does really take time for things to germinate and, you know, give rise to something that people think is brilliant.

[16:31] Look at the thing when it came out.

[16:33] Nobody thought the thing was that any great shakes of a film.

[16:36] And now people love that movie.

Stuart Wellington

[16:38] I think, I think Roger Ebert even trashed it in his initial thing.

[16:41] He gave it like two and a half stars or something.

[16:43] It was crazy.

[16:44] Well, I'm glad that, that, uh, I think that pep talk, uh, was something that Dan really needed right now.

[16:49] To be honest.

[16:50] Yeah.

[16:51] Yeah.

[16:52] Um, so on the subject of the film business and hanging in there, let's talk a little bit about a movie called Freaky released in 2020.

Elliott Kalan

[17:00] Tell me how it relates to hanging in there.

[17:02] I can, I can think of a way, but I want you to tell me.

Stuart Wellington

[17:05] Well, oh man.

[17:07] Uh, uh, uh, I can't, L.

Elliott Kalan

[17:10] Well, sometimes, sometimes when your body gets switched with the serial killers, you just got to keep trying.

[17:15] You can't give up the first time.

Stuart Wellington

[17:18] So, uh, just to clarify for listeners, this is Freaky.

[17:21] This was released in 2020.

[17:22] I think it's in, uh, theaters depending on where you live.

[17:26] And, uh, otherwise it's on VOD.

[17:28] So I think it's on VOD worldwide probably.

[17:31] Yeah.

[17:31] Maybe.

Dan McCoy

[17:32] Um, I, I do want to say that like, uh, this is like slightly newer than we usually do.

[17:38] So, uh, as always, there's going to be a lot of spoilers.

[17:40] So just, if you want to see Freaky, uh, go out and do that first.

Stuart Wellington

[17:44] I mean, I personally, not to, not to jump to the end.

[17:46] I would recommend to pause this podcast, go watch that movie, then come back.

[17:51] But you know, that's me.

[17:52] Um, so let's talk a little bit about Freaky.

[17:54] Now this is a Blumhouse Pictures, uh, production.

[17:58] Um, we, movie opens, we have a bunch of teens hanging out outside of a mansion.

[18:03] They're talking about a local killer, the Blissfield Butcher.

[18:07] This is like, almost like a legendary figure that's also kind of undefined.

[18:11] They think he might be just a myth that the parents tell the kids so they don't party too

[18:15] much in, on homecoming weekend.

[18:17] Already it kind of sets the tone for like a, almost like a scream or a happy death day,

[18:24] like horror, horror movie with comedy elements, right?

Elliott Kalan

[18:27] Now I should, this is a note for parents out there.

[18:29] You can use the story of a killer to scare your kids into doing things, but it loses power

[18:34] over time.

[18:35] So when I first started telling my older son, Sammy, that if he didn't clean his room, then

[18:40] the messy, the messy madman was going to come in and murder him.

[18:43] He was friends.

[18:45] But now that I use it for everything, I'm like, Sammy, can you please close the door when

[18:48] he stepped outside?

[18:48] Or the messy murderer is going to come.

[18:50] He's like, yeah, yeah, I know.

[18:51] Like Sammy, can you, like, you got to put your shoes on in case you have to run from the

[18:55] messy murderer.

[18:56] He's like, yeah, yeah.

[18:56] So it really, you got to use it sparingly, parents.

[18:59] That's what I'll tell you.

Dan McCoy

[19:01] I also, just because Stuart mentioned Happy Death Day, just to clarify, this is the director

[19:07] of that movie and Happy Death Day to you.

[19:11] Oh, Happy Death Day to you too, Dan.

[19:13] Thank you.

[19:14] You're welcome.

S4

[19:16] So, and it's kind of like a Freaky Friday meets like Friday the 13th too.

[19:22] You know, there's a lot of, it's kind of a, it feels like a slasher to me in a way as

[19:26] well.

[19:27] Yeah.

Dan McCoy

[19:27] That's the funny thing about this guy is like, he's not, now he's making a cottage industry

[19:32] of just like putting a couple of genres together.

[19:34] Like, Happy Death Day is like a slasher plus a time loop.

[19:37] And now this is a slasher plus Freaky Friday body switch type.

Elliott Kalan

[19:41] If I'm ever going to, if I'm ever going to get to see that vampire submarine movie that

[19:45] I've always wanted to see, this is, this is the guy to do it.

S4

[19:48] Oh my God.

[19:50] Yeah.

[19:50] Yes.

[19:50] He's charming, isn't he?

[19:51] He's his, you know, in all of his films, I, there's a certain charm and, and it's, you

[19:57] know, I think comedy is actually hard to do with horror movies and do it well.

[20:02] Um, I, I've been the product of a few of them.

[20:05] Um, and sometimes they turn out good and sometimes they really don't, they fall flat, but I, I

[20:10] think he gets it.

[20:11] I think he knows how to, how to marry those two genres together.

[20:16] Yeah.

Stuart Wellington

[20:17] Yeah.

[20:17] It's tough to say like, and if it feels like, uh, well, we'll, we'll get into it, but we

[20:22] were introduced to this, uh, killer.

[20:24] He, he kills, he dispatches these teens in fairly grisly ways.

[20:29] Uh, we're introduced, the killer steals a ceremonial mask off the wall.

[20:33] This is the bliss field butcher character played by Vince Vaughn.

[20:35] Um, and not played.

[20:37] I was a hundred percent expecting Vince Vaughn to be the like quip heavy murderer character,

[20:43] like a Freddy Krueger meets Jason, but he's not.

[20:47] And it's, I was just adjacent.

Elliott Kalan

[20:49] He's just adjacent.

[20:50] Yeah.

Elliott Kalan

[20:50] This, and this is, I want, I want to mention, this is now the second years removed, but this

[20:54] is the second flop house movie now where someone has been killed by having a wine bottle shoved

[20:58] in their mouth until it goes into the throat.

[21:00] And seeing that, it was like sorority something.

[21:03] It was the sorority row.

[21:05] Yeah.

[21:05] Sorority row.

[21:06] And I was like, oh, this, like, it felt like seeing an old friend again, seeing this particular

[21:11] kill.

[21:12] But Dan, you're going to say that.

Dan McCoy

[21:13] I mean, you know, spoiler alert, uh, uh, for final judgments.

[21:17] I enjoyed the movie, uh, like, you know, quite a bit, but, um, there are a few things that

[21:23] I, uh, took some issue with.

[21:26] And I think that like, it's nice to see this like very traditional Jason style killer on

[21:32] the one hand, but when you combine it with this, uh, Freaky Friday thing, like part of the

[21:36] fun of that is seeing the personality switch.

[21:39] And so Vince Vaughn gets a lot of personality to play, but, uh, the, the lead, our female

[21:44] lead gets a lot less.

[21:47] I think.

[21:47] Catherine Newton.

S4

[21:48] Yeah.

[21:49] Yeah.

[21:49] But I think that's a good juxtaposition for her character as being this young kind of,

[21:53] you know, uh, you know, she, she's built a sort of a miss, you know, um, you know,

[22:00] what do I want to say?

[22:01] Like, uh, like an outcast, you know, and, and so, um, but she's, you know, she's a bubbly

[22:08] teen.

[22:08] And so, and to juxtapose that with the, the, you know, the Jason, you know, type of character

[22:17] that's very stoic, that doesn't say anything, that's really scary that, you know, tears at

[22:23] people and moves really heavy.

[22:25] And, you know, with menace, I think she did a great job with that.

[22:29] And what else would they have given her if they gave Vince Vaughn this really, you know,

[22:35] out there kind of personality, ah, woo, you know, that kind of, what are they going to

[22:39] give her?

[22:40] So I, I think what they gave her was, was a good, you know, differentiation.

Dan McCoy

[22:45] Yeah.

[22:46] I mean, I think that she did a great job with it.

[22:47] Very good job with what was given.

[22:49] Like, I guess.

S4

[22:50] But I understand what you're saying.

[22:52] A little more.

[22:53] She, yeah, she didn't have a lot.

[22:55] She didn't have as much to do.

[22:56] It was, it was a Vince Vaughn movie in a way.

[22:58] Yeah.

Elliott Kalan

[22:59] And, and Vince Vaughn, when he, I mean, this is jumping ahead, but when, when they switch

[23:03] personalities, he's like more, he's, he's got a much bigger personality than she had when

[23:08] she was playing the same character.

[23:09] So it was a, there were times where I was like, Vince, come on, Vince.

[23:13] But, and also.

Stuart Wellington

[23:14] He was hamming it up a little bit.

[23:16] But, you know.

Elliott Kalan

[23:17] And when the killer is in, when the killer is in Millie's body, he also is much better

[23:21] at makeup than she is.

[23:23] Or, and so, and that threw me slightly.

[23:25] I love that touch, though.

[23:26] I was like, Vince Vaughn doesn't wear, wasn't wearing any makeup before.

[23:29] Yeah.

Dan McCoy

[23:29] It was, it was not explained, but he had a much better sense of style than she did.

Stuart Wellington

[23:34] That was great.

[23:34] With that red jacket and the red lipstick.

Dan McCoy

[23:35] Oh, yeah.

[23:36] She looked, she looked good.

Stuart Wellington

[23:38] The, so yeah.

[23:39] So the killer, after dispatching the teens, steals a ceremonial dagger named La Dola.

[23:45] And then we are introduced to our.

Elliott Kalan

[23:48] Which is just in someone's house.

[23:49] Yep.

[23:50] It's just a rich person's house.

[23:51] He collects artifacts.

[23:52] It's the, in the classic tradition of the, of the wealthy person's cabinet of curiosities,

[23:56] the forerunner to the modern museum, Dan.

[23:58] Like, let's not buy it.

Dan McCoy

[24:00] I, I, I'm, I'm just mentioning it.

[24:02] I, I kind of love it.

[24:03] I love in these movies where, when they just like hand wave it away, where they're just

[24:06] like, oh, this artifact was just here.

[24:08] It's fine.

[24:09] Don't worry about it.

Elliott Kalan

[24:09] This guy, he went to, he went to a charity auction for his kids' private school.

[24:14] Or a Pier 1 Imports.

[24:15] Yeah.

[24:16] Or a Pier 1, or yeah, or a World Market or something.

[24:18] And he, he got into a bidding war with another dad and he didn't even know what he was bidding

[24:22] on.

[24:22] And they were like, you got this ceremonial Aztec dagger?

[24:24] And he's like, great.

[24:25] Okay.

[24:26] I guess I have this now.

[24:28] He thought it was a signed Mark McGuire ball that he was bidding on.

[24:31] But, so that's my backstory for why that's in his house.

[24:34] Great.

[24:35] Perfect.

Stuart Wellington

[24:35] So we're, we're introduced to Millie, who is our hero.

[24:39] Who we've already, we've already talked about played by Catherine Newton is, she's a little

[24:43] bit of a pushover.

[24:44] She's a little meek.

[24:46] She's got a mother with a drinking problem.

[24:49] She's got a sister named Charlene, which is my wife's name.

[24:54] Yeah.

[24:55] Charlene was very excited to see another Charlene represented on screen.

[24:58] Now, now, Stuart, you're probably wondering.

Elliott Kalan

[25:01] So, uh, Katie, Katie Finneran, who plays the mother in Freaky, you're probably wondering,

[25:05] Elliot, did you see her Tony award-winning performance in Noises Off on Broadway?

[25:09] Yes, I did.

[25:10] In 2002.

[25:11] So, so you were probably wondering that.

[25:13] I'll just get that out of the way.

[25:14] Yes, I did.

Dan McCoy

[25:15] Barbara, I want to make it clear that this is a running theme of the show, which is Elliot,

[25:20] not really name dropping, because it's not like he hangs out with these people, just,

[25:24] you know, mentioning that he saw people in, in plays.

[25:27] Yeah.

Elliott Kalan

[25:27] So, so.

[25:28] He knows things.

[25:28] Elliot knows things.

Dan McCoy

[25:30] Oh, yeah.

[25:30] I know.

[25:31] There's one thing he does.

[25:32] It's no thing.

Elliott Kalan

[25:32] If someone was, it was, someone was performing in a Broadway show between probably 1995 and

[25:37] 2014 or so, then there's a good chance I saw them in it.

[25:42] And so I saw that production and audience just go to your bingo card where it says Noises

[25:46] Off and put on your Elliot's theater going bingo card, put one on, Noises Off.

[25:50] Stuart, continue.

Stuart Wellington

[25:52] So, yeah, we're, so we're introduced to this character, Millie.

[25:55] She goes to school.

[25:57] Everybody kind of bullies her.

[25:58] We find out that her father is dead and that you would think that would make people bully

[26:03] her less.

[26:04] That is not the case.

[26:05] Everybody bullies her, including the shop teacher played by Alan Ruck.

[26:10] Mm-hmm.

[26:10] My best favorite.

S4

[26:11] He's so good.

[26:12] I hated him in the movie.

[26:14] Oh, yeah.

[26:14] He was supposed to not like him.

[26:16] He was so mean.

Elliott Kalan

[26:17] I was so torn because to me, anytime I see Alan Ruck in something, he's the hero of the

[26:20] story, no matter who he's playing or what he's doing.

[26:23] And for him to be so mean in this, I was like, oh, Alan, it's really hard, really hard

[26:27] for me to like you, but I still do.

[26:29] But, you know.

Dan McCoy

[26:30] I think that was the most engaged Audrey was watching.

[26:32] I mean, she watched, she enjoyed it largely, but like the most engaged was yelling for him

[26:37] to die.

[26:39] Yeah.

Stuart Wellington

[26:40] Yeah.

[26:40] That's how she acts when she sees him in succession as well, right?

[26:43] Yeah.

Elliott Kalan

[26:44] Yeah.

[26:45] And on Spin City.

Stuart Wellington

[26:46] Oh, weird.

[26:47] I guess that makes sense.

[26:48] Actually, I feel like he's done a pretty good late career, like slime ball arc.

[26:53] Yeah.

[26:54] Maybe.

Elliott Kalan

[26:54] Oh, yeah.

[26:54] I mean, he's, he's, uh, but every, but every character has a little touch of Cameron,

[26:58] so you can't, you can't totally hate them.

[26:59] Still, the whiny rich kid who's dead doesn't like him, you know, which is succession, I

[27:04] guess, right?

[27:05] Yeah, that's true.

[27:06] So maybe succession is about Cameron's family.

[27:08] Does Ferris Peele ever show up in succession, Stuart?

[27:10] I haven't watched it.

Stuart Wellington

[27:12] Uh, I think he shows up in the second season.

[27:14] I don't remember it very well.

[27:16] So we, uh, so in our movie, Millie is stuck at school after the big game.

[27:20] Uh, we find out that she is the, uh, what is the, she's the mascot.

[27:24] So she's wearing this comically oversized, uh, costume of a beaver.

[27:28] Yeah.

[27:29] Her.

[27:31] It's great.

[27:32] Yeah.

[27:33] It's, it's great.

[27:33] And also, it's like, this is the perfect prop for a character who's going to have to

[27:38] run away from a killer in a moment.

Dan McCoy

[27:40] I also like, I don't want to harp on anyone, any like actors, uh, looks, but it's one of

[27:46] those, uh, movies where everyone acts as if she's hideous early on, which is clearly like

[27:52] a very pretty person.

S4

[27:52] She doesn't look like somebody who would be bull like that.

[27:54] I watched it with my husband last night and he said the same thing, but then I reminded

[27:58] him of, you know, my kids' experiences in school.

[28:02] I have a senior in high school and then I have a kid who's in college and, you know, kids

[28:06] are mean at that age.

[28:07] They're mean to everybody.

Elliott Kalan

[28:08] A lot of it, Dan, is how you carry yourself.

[28:10] When I was young, I got bullied a lot, but now I'm a successful underwear model and you

[28:13] wouldn't guess from that, you wouldn't guess it from that, that I was, that I was bullied

[28:17] so much, but it happens, you know.

Stuart Wellington

[28:19] Yeah.

[28:19] And sometimes Dan, people bully people because they're intimidated by them.

[28:23] It's happened to me all the time.

[28:24] Is that why you guys are constantly bullying me?

[28:27] Yeah.

[28:28] That's why I'm an agent to a popular underwear model, Elliot Kalin.

[28:32] Keep those jobs coming, Stu.

Elliott Kalan

[28:34] Yeah.

[28:35] The one opportunity I feel like they missed with this mascot costume is not having the killer

[28:40] in Millie's body using the mascot costume to kill someone.

[28:44] Yeah.

[28:45] But I guess they're saving it for Freaky 2.

Stuart Wellington

[28:47] Yeah.

[28:48] So it's great.

[28:48] So she, her mother forgets to, well, her mother drinks too much and passes out and fails

[28:53] to pick her up from the game.

[28:54] She's left at school alone.

[28:56] All the lights go out, except, of course, we see the butcher is standing in the parking

[29:01] lot.

[29:01] He chases her.

[29:03] Eventually he catches her.

[29:04] He stabs her with the ceremonial Ladola dagger that he's stolen, which makes kind of a weird

[29:10] spooky sound.

[29:12] And at this point, like, there's a visual, there's a little special effect visual where

[29:17] they're transported to the top of an Aztec temple.

[29:20] So we know that there's something definitely supernatural going on.

Dan McCoy

[29:25] Neither of them seem to notice that they've been transported to a temple and there's a bunch

[29:29] of weird blue lightning going on.

[29:31] Like, until the switcheroo happens at midnight, it's like the two of them don't seem to notice

[29:39] it.

[29:40] You know, like they're living their normal lives, you know, like stalking and slashing

[29:43] people and getting stalked and slashed.

Elliott Kalan

[29:46] It's possible that the football field was built on an Aztec temple.

[29:50] And this is one of those kind of David McCauley type books where they show you cross sections

[29:53] of things.

[29:53] I see.

[29:54] Yeah.

[29:55] But I really loved that effect.

[29:57] I was not expecting it.

[29:58] And I thought it was really cool.

[29:59] The fact that they didn't draw too much attention to it and just kind of happened.

[30:02] And then it was a neat thing.

Stuart Wellington

[30:04] And it's one of those effects that made me kind of miss.

[30:07] Well, like many things, it made me miss seeing a movie in a movie theater.

[30:10] Like, I feel like it would have looked great on the big screen.

[30:14] So he, you know, he stabs Millie and then he gets a matching cut on his own shoulder.

[30:21] We know something is up.

[30:22] And then he is scared off when Millie's sister, Charlene, the police officer arrives and starts

[30:27] shooting at him.

[30:29] We think everything is fine.

[30:31] She goes to the police.

[30:32] She makes a report.

[30:33] They, when the killer was scared off, he left the dagger behind, La Dola.

[30:39] I am going to say that as many times as possible.

[30:42] Okay.

[30:43] It's all about branding, guys.

[30:46] And then they go to...

Elliott Kalan

[30:47] Wait, so is that, that's your brand now?

[30:49] Or?

Stuart Wellington

[30:51] No.

[30:51] I mean, when I found out that we were doing this movie, I reached out to the manufacturers

[30:55] of La Dola brand daggers.

[30:58] Oh, okay.

Dan McCoy

[30:59] Oh, okay.

[31:00] There you go.

[31:00] And they said if I mention it...

[31:01] Great for slicing tomatoes.

Stuart Wellington

[31:02] They'll give you some money to like them.

[31:05] You know, times are tough here in this economy.

[31:08] So I figure if I can make a little bit of La Dola dollars, or La Dollars.

[31:14] Stu.

Elliott Kalan

[31:16] I knew you had to say it, Stu.

[31:17] Now, for the record, I'm now looking up what La Dola means.

[31:21] And I'm finding some contradictory things.

[31:23] Apparently in Spanish, according to one website, it does mean leapfrog.

[31:26] So I don't know.

[31:27] But in Slavic mythology, apparently Dola are protective spirits that embody human fate.

[31:35] And in Sanskrit, it seems to mean swinging or oscillating.

[31:38] So I don't know if any of those really, really apply.

[31:42] But if anyone knows the appropriate meaning of the word Dola, write in to the flophouse,

[31:48] care of Dan's apartment, 123 America Street, and so forth.

Stuart Wellington

[31:53] So Millie goes to sleep.

[31:57] We get some special effects.

[31:59] And then when she wakes up, that's right, we've had a body switch.

[32:02] And the screen announces with a pretty funny chyron that it is Friday the 13th.

[32:10] So it is indeed a freaky Friday.

[32:14] Yeah.

S4

[32:15] Yeah, and they did a good job with that reveal of the two characters.

[32:18] Because that's when we first see them, you know, switching bodies and how the character of Millie woke up.

[32:25] And, you know, she was now the butcher and looking around her room and seeing all the girly things and, you know, feeling her body.

[32:34] And then, you know, her mom walks in.

[32:36] And just the way she carried herself all changed.

[32:39] And I thought the actress did a very good job with that.

[32:42] And then Vince Vaughn was in his lair with all these weird, you know, the lair was pretty cool.

[32:49] The production design, you know, it was like these open windows and a dirty old bloody mattress on the ground.

[32:56] And all these weird things hanging, you know, from the ceiling.

[33:02] It looked like, you know, the Texas Chainsaw Massacre living room or something.

[33:07] Right?

Dan McCoy

[33:09] Yeah.

[33:09] I was just going to, like, I loved how, like, it was like a joke in and of itself that they, like, pushed the serial killer lair all the way.

[33:17] You know, like, she wakes up and, like, there's dead animals hanging from the ceiling.

S4

[33:22] Yeah, clones and things and stuff hanging around.

[33:25] Yeah, it was.

Stuart Wellington

[33:26] Like, this serial killer has spent more time on interior design than I ever have in my normal apartment.

Elliott Kalan

[33:33] Well, you've got to make a space your own and you've got to make it so that you're comfortable in it.

[33:37] And clearly he has very specific comfort needs.

[33:39] And it takes a lot of work.

[33:41] I was reading about the factory, Andy Warhol's building.

[33:46] And I was talking about how they, like, painted the inside of it and covered it with foil.

[33:49] So it was all silver, shining silver everywhere in the interior of the building.

[33:53] And I was like, I would find that distracting.

[33:55] But apparently to someone that was the right workplace.

[33:58] So you can't, you know, it's like him with his lair.

[34:00] You can't judge.

[34:01] Yeah.

Stuart Wellington

[34:01] Yeah, as long as the end result is great, you know, you can't really fault it.

Elliott Kalan

[34:07] And, I mean, the Blissfield butcher, he's had a long career in killing people in Blissfield.

[34:11] You got it.

[34:11] The guy's still going strong.

[34:12] You got to give it to him.

Stuart Wellington

[34:13] He knows what works.

[34:14] I feel like there's got to be a bunch of old mills in this town for him to survive this long.

[34:20] It doesn't matter.

[34:21] It doesn't matter.

[34:21] It's fine.

Elliott Kalan

[34:22] Well, it's like how in Gotham City there's that whole section of the city that's just abandoned amusement parks.

Stuart Wellington

[34:26] Now, we talked about Catherine Newton, who plays Millie.

[34:33] But in this case, she plays the butcher.

[34:35] As like the butcher realizes that there's been a swap.

[34:39] And I feel like for an actress, like a young actress, this is probably got to be really fun to get to play this like straightforward and evil of a character.

[34:49] Yeah.

[34:50] Yeah.

[34:51] I feel like that kind of role doesn't come around a lot.

S4

[34:53] She's this little girl, you know, and she's this cute young thing.

[34:57] And she's playing this, you know, really, as you say, evil, sort of dark character who, you know, she doesn't speak a lot in the second half of the movie.

[35:07] It's mostly with her facial features and how she's, you know, peering at people and looking at them and being very menacing.

[35:15] And, you know, I wonder how much of that really came from her or, you know, did the director work with her or, you know, how did that happen with both of them?

[35:25] Because they were there.

[35:26] You know, I thought she did a great job with it.

[35:29] It was believable to me.

Dan McCoy

[35:30] And I also liked how, you know, like Vince Vaughn is a giant man.

[35:34] And I liked how once the switch happened, the killer in this much smaller body sort of had to, like, kept sort of trying to fight like he was still Vince Vaughn.

[35:46] But then, like, had to figure out a better way of murdering people.

Elliott Kalan

[35:50] The scene where she's trying to, him and her body is trying to break down a door.

[35:54] And it's like, yeah, yeah, in Vince Vaughn's body, you could probably just smash a door down.

[35:58] But not when you're into Catherine Newton's body.

[35:59] Like, they had some funny stuff with that.

S4

[36:02] Yeah, and then Vince Vaughn was, like, running around with his hands out and, you know, very girly.

[36:07] You know, he kind of really worked into that a lot.

[36:11] Just being more feminine and in his mannerisms and in his speaking voice and everything.

[36:18] You know, it was charming.

Stuart Wellington

[36:20] Yeah, well, I don't know.

[36:22] Like, at least I was a little nervous that it was going to get over the top or become, like, offensive.

[36:28] And I didn't feel like it at any point.

[36:30] Like, it felt pretty, like it disappeared.

[36:33] Like, you believed it.

[36:34] At least for me.

Elliott Kalan

[36:36] Well, and there's a scene later, and I won't talk about it too much until we get to it,

[36:40] where they kind of take this, the fact that it's a girl in Vince Vaughn's body to its logical conclusion.

[36:48] And it was a scene that, like, really worked for me when it maybe shouldn't have.

[36:53] Like, it's a scene I didn't think they would be able to pull off and that they did.

[36:56] And we'll talk about that later.

Stuart Wellington

[36:57] So from now on, I'm just going to clarify.

[37:00] When I refer to, I'm going to refer to the butcher, even though the butcher is in Millie's body,

[37:05] I will refer to that character as the butcher.

[37:07] And now Millie is in the butcher's body.

[37:09] That is now Millie, just to be clear.

[37:11] Yeah.

[37:12] Okay.

[37:12] So they both end up going, you know, they try to get used to their new bodies.

[37:17] They both end up going to school.

[37:22] Millie realizes that, she realizes her predicament, and that she also realizes that there's a sketch out for the butcher.

[37:31] So she, the people are looking for her.

[37:33] She can't just wander around.

[37:35] Also, she stinks.

[37:37] Yeah.

S4

[37:37] She wants to take a shower.

Stuart Wellington

[37:40] Yeah, of course.

[37:41] So they, they both end up going to school.

[37:43] The butcher's using this as an opportunity, I'm guessing, to show off some cool outfits and to stalk some new victims.

[37:51] We're introduced to, we're introduced to like a, like a queen bee character at the high school named Ryler.

[37:57] Now, Elliot, you're kind of an expert on this sort of thing.

[38:00] What medieval profession is a Ryler?

Elliott Kalan

[38:03] Oh, so a Ryler, as you've mentioned, a lot of trendy names now, they are medieval occupations.

[38:08] Fletcher.

[38:08] A trooper, of course, a Fletcher, a Piper, a Ryler, I assume is someone who would kind of rile up a bear before a bear baiting match.

[38:17] Like a rodeo clown, like they just run out and go, hey, hey, hey, hey, bear, hey, bear, hey, bear.

[38:23] Either that or.

Stuart Wellington

[38:25] So more of a psychological bothering.

Elliott Kalan

[38:27] Yeah, exactly.

[38:28] Hey, bear, what's over your shoulder?

[38:30] Nothing.

[38:30] You fell for it again.

[38:32] Either that or maybe, or maybe someone who made rye bread.

[38:35] That's another possibility.

[38:36] Rye bread, I guess, yeah, and probably like medieval Germanic or Prussian states, you know, that's where you would find that.

[38:44] So, yeah, those are my two thoughts on what that would be.

[38:47] Yeah.

Stuart Wellington

[38:47] So the Ryler character gets stuffed in a freezing machine that's in the locker room.

[38:56] I'm guessing it's some kind of an athletic thing.

Dan McCoy

[38:58] It's cryotherapy, but I do not think that there's any cryotherapy machine.

[39:03] A, number one, that's a very expensive piece of equipment for this high school to have.

[39:07] And number two, I don't think there's one that goes to like liquid nitrogen levels of cooling so that someone might be shattered.

Elliott Kalan

[39:15] In the movie where a serial killer and a teenager switch bodies, this was the part where I was like, hold on a second.

S5

[39:21] Yeah, I'm about to believe this.

Elliott Kalan

[39:24] Yeah, it's a futuristic cryo booth in the girls' locker room.

[39:28] So it's not even accessible to most of the school.

[39:30] It's not accessible to half the student body.

[39:32] It seemed like a strange thing.

[39:34] And at first, I was like, is it like a sauna?

[39:37] No, it says cryo on it, and she freezes to the point that she shatters.

[39:40] So I don't know.

[39:41] It might be like when a school gets a 3D printer, and it's just to show off to the parents to be like, look at what we got.

[39:46] We never use it, but we have it.

Dan McCoy

[39:48] Honestly, I had to look on Wikipedia to figure out why the hell there was this flash freezing human device.

Stuart Wellington

[39:56] Do they explain it in the novelization of Freaky, Dan?

[40:00] By Alan Dean Foster.

[40:01] By Alan Dean Foster, probably.

Elliott Kalan

[40:03] Dan, we both guessed who the writer probably is.

[40:06] Alan Dean Foster.

Stuart Wellington

[40:07] Okay, so Ryler gets killed.

[40:11] Millie manages to convince.

Elliott Kalan

[40:14] Yeah, who are Millie's two friends that she talks to?

Stuart Wellington

[40:17] We have Jess and Nyla, or Josh and Nyla, right?

Elliott Kalan

[40:20] Josh and Nyla, yeah.

[40:22] Yeah, and they're her two friends, and they're the only ones who kind of like give her any support otherwise, since most of the student body sees her as a Carrie-esque outcast.

Stuart Wellington

[40:32] Yeah, a target for bullying.

[40:34] So Millie finds, she stalks them, finds them, and then manages to convince them of the situation in a pretty fun action sequence.

[40:43] It's like, it starts as a chase as Nyla and Josh run away from Millie, thinking that Millie's the butcher, with good reason.

[40:51] And then they end up getting in a big fight in the school, the luckily unoccupied school cafeteria kitchen.

[40:59] And it's pretty fun.

[41:00] Like, they get some good, like, it's, you know, like Vince Vaughn.

[41:03] Hitting with pots and pans and things, yeah.

[41:05] Yeah, Vince Vaughn does a good job of making it seem like Millie is getting used to this new body.

[41:12] This, like, giant, overly strong body.

[41:14] Yeah, because...

Elliott Kalan

[41:15] And they're all just hitting each other with ladles and stuff.

[41:17] Like, there's something kind of Laurel and Hardy about it at a certain point.

[41:19] Yeah, yeah, yeah.

Dan McCoy

[41:20] And, you know, like the Vince Vaughn body, like, she doesn't want to hurt her friends, but they are hitting her with ladles, and she has this giant Hulk who I've seen tear apart a car and brawl on whatever it's called.

[41:36] Sublock 99.

S4

[41:36] Yeah, she convinces them that she is her, she is Millie in the butcher's body by having a callback to a cheer that they did, or it was a handshake that they did in the beginning of the film.

[41:51] They did this weird handshake.

[41:52] So she does the hand, who would know that handshake?

[41:55] Unless I was Millie.

[41:56] And then they go, holy crap.

[41:59] Oh my God, it was you.

[42:00] You know, and then she says some other things that nobody would know except for them, and then they believe her.

Stuart Wellington

[42:05] Yeah, they answer all the, like, all those deep-seated questions that teenagers only share with their besties.

[42:11] And I think, like, and this worked.

[42:14] I feel like the dynamic between the three of them was fun the whole time.

Dan McCoy

[42:19] Stuart, Elliot, what would you ask me to make it clear that I was in the body of a murderer?

Elliott Kalan

[42:25] I would say, I'd say, how are you doing today?

[42:27] And you'd go, well, and I'd be like, that's Dan.

[42:31] Oh my God, what happened to him?

[42:32] Why is he in this killer's body?

[42:35] But, yeah, Stuart, what would you ask Dan?

Stuart Wellington

[42:38] I would, let me see.

[42:41] I would, oh man, I don't, I'm like, how can I make a joke that isn't, like, is like a joke and funny and not mean?

Elliott Kalan

[42:49] How do I ask him something that actually doesn't reveal in front of our guest something that he probably doesn't want to be public knowledge in front of anybody?

Stuart Wellington

[42:56] Oh, I would probably, I would probably ask you to bake me something from your encyclopedia of bread.

[43:03] And if you couldn't do it on command, I would know you're a serial killer.

Elliott Kalan

[43:09] I love the idea of a serial killer in Dan's body who's like trying, thinks he can bluff you by like fussing with dough and things in the oven.

Stuart Wellington

[43:17] Yeah.

[43:18] And I'm like, well, I turn the oven light on, I get down to my haunches and like, hmm, it's gonna have a soggy bottom, I don't know.

Elliott Kalan

[43:25] Real Dan wouldn't do this.

[43:27] It's just like, it's just the Great British Bake Off at a certain point.

[43:30] Basically, yes.

[43:30] And the killer is like, the killer's like, ugh, I hope they don't notice that it kind of fell apart at the end.

[43:35] And you'd be like, it kind of falls apart at the end.

Dan McCoy

[43:37] And Paul Hollywood comes out and like sort of glares and you think, oh no, he thinks you're not, you are the killer.

[43:44] But then he shakes your hand and realizes.

Stuart Wellington

[43:48] So that's been a deep dive into the Great British Bake Off.

[43:50] Yeah.

[43:51] So they realize that the heart of their problem is this magical dagger, La Dola.

[43:58] And they, what, they look it up on the internet and they.

Elliott Kalan

[44:00] No, they look it up on the internet and then there's an inscription on it in Spanish.

[44:05] They take it to the Spanish teacher at the school.

[44:07] Who is kind of like the, he, for some, the Spanish teacher at this, at this high school is basically the, the non-English speaking native character.

[44:17] You've seen a lot of horror movies who like, is extremely superstitious and extremely knowledgeable about this, this mystic artifact.

[44:24] And this is another thing.

[44:25] She literally says, Madre de Dios.

[44:27] And she's looking at it.

[44:28] And I was like, come on.

S4

[44:30] And you know what was funny about that too?

[44:32] She, she was the Spanish teacher.

[44:34] She's talking to the kid in Spanish.

[44:36] She's talking to Josh played by Misha.

[44:40] What's his last name?

Elliott Kalan

[44:42] Osh, Oshar.

[44:43] Osharovic.

[44:44] Osharovic.

[44:44] Osharovic, yeah.

S4

[44:45] And, and she's speaking to his Spanish.

[44:46] She's like, I don't know what you're saying.

[44:48] Don't comprehend it for a word.

[44:50] She's like, you've been taking my class for four years.

[44:53] He goes, yeah, I can't speak a word.

[44:54] And that's so, like, kids experience in high school.

[44:58] Like, happened in this movie that, because I have two, like, high schoolers, that I went, oh my God.

[45:07] That's exactly what's happening.

[45:08] Because my daughter's taking Spanish.

[45:10] She's in the next room.

[45:12] For four years, she can't speak a word of it.

[45:14] Because, you know, they, I don't know why, but we're just not good with languages here unless, you know, you're actually speaking it every day, us Americans.

Stuart Wellington

[45:23] Yeah, I mean, I was kind of like that with, with French, when I tried to take French in school.

[45:28] Because I thought, like, the cool kids were all taking French.

[45:31] And then by the time I started, I'm like, I'm not interested in this.

[45:34] I can't, I can't, you know, it's not fun to speak.

[45:36] I had four years.

[45:37] None of it stuck.

[45:38] Yeah.

S4

[45:40] Well, unless you're using it all the time, you know.

[45:42] I made a couple movies in Italy, and I actually had to work with the Italians, and they didn't speak English.

[45:49] So I learned more over there, you know, working with them for six weeks than I did in, in the night classes I took at UCLA before I went over to do the movies.

Stuart Wellington

[45:59] Oh, yeah.

[46:00] Yeah, when, when, like, when it's a life or death situation in that you're like, where's the bathroom?

[46:05] Or where is this thing that I need?

[46:07] Then, like, you learn pretty quickly, I think, right?

[46:11] Yeah.

[46:13] Anyway, so, yeah.

[46:15] So, they figure out, so the Spanish teacher explains the stakes, and the stakes are, if they don't stab each other again, the change is going to be permanent.

[46:25] If they don't stab each other again by midnight, the change is going to be permanent, right?

[46:30] So, right around now, the butcher attacks the shop teacher, played by Alan Ruck.

[46:34] This is a pretty funny fight sequence, because the butcher keeps overestimating his strength.

[46:43] So, but eventually he manages to overcome, and the logical conclusion of Alan Ruck ending on a table saw is fulfilled.

[46:53] It's great.

[46:54] Oh, my God.

S4

[46:54] I can't believe how gory this movie was at times.

[46:57] It was great.

[46:57] I was really surprised.

Stuart Wellington

[46:59] Yeah, yeah.

S4

[47:00] Well, this is a Blumhouse movie, and they don't really do that much gore.

Stuart Wellington

[47:03] Yeah, I mean, Happy Death Day did not have the same level of gore.

[47:08] No, yeah.

[47:09] It really didn't.

[47:10] I didn't expect to see that.

[47:11] It was all great.

[47:12] It was all well done, and it was fairly visceral.

Elliott Kalan

[47:16] I didn't expect to see that much of inside Alan Ruck.

[47:21] Like, you see a lot more of his insides than you expect.

Dan McCoy

[47:24] Certainly not outside his book, Inside Alan Ruck.

Elliott Kalan

[47:26] Yeah, well, that's, I mean, he's talking emotionally there.

[47:29] Yeah, yeah.

[47:29] Oh, man.

[47:30] He takes you into what he calls Ruck space, his special place that only Alan Ruck knows about.

[47:35] But now you get to join him.

[47:37] Inside Alan Ruck, it's available from Ruck House, his self-publishing arm over.

Stuart Wellington

[47:42] Yeah.

[47:43] So, around now, the cops have come to the school.

[47:46] They see Millie and Millie's friends, and they start to, we have a chase.

[47:53] They jump into Josh's terrible little car and drive away from the school.

Elliott Kalan

[48:00] I really related to that car, since my car is falling apart and constantly finding new ways to not work properly.

[48:06] So, seeing, that was another moment where you're a person just watching a movie, and you're like,

[48:10] this movie is speaking to me.

[48:11] Yeah.

[48:11] Maybe on a level that the filmmakers didn't expect to.

[48:13] Yeah.

[48:14] Yeah.

Stuart Wellington

[48:15] So, of course, Millie's sister, Charlene, of course, my wife's name, Charlene.

[48:22] Please keep reminding us.

[48:24] She ends up chasing them.

[48:27] They try to lose her in a giant discount store.

[48:32] They stick Millie in a changing room where she has a, kind of like a catfish style heart-to-heart with her mom.

[48:41] It's a scene that goes on for a while where her mom-

[48:43] That was a cute scene.

[48:44] Yeah, that's a good scene, still.

[48:46] Yeah.

[48:47] But it was, it was, it was funny in that I was like, not expecting this kind of long, heart, like, heartfelt conversation between mother and daughter,

[48:56] between a, you know, in a changing room.

[49:00] And the mother doesn't realize that she's talking to her daughter, but it's the conversation that her daughter needed to hear.

[49:06] Her mother instead thinks she's talking to a man who-

[49:10] She becomes attracted to it.

[49:12] Yeah.

[49:12] It's from his voice.

[49:14] Yeah.

[49:14] And as I said, I've been, I've been watching a lot of catfish lately.

[49:17] So I was having, I was having some real triggering moments here where I'm like, oh, I don't know.

[49:21] You should really shouldn't be going through with this.

[49:22] But luckily, it doesn't get any weirder.

[49:25] They end up, I feel like they end up, they run off or they find out that the butcher has taken some potential victims, including Booker, who is Millie's crush.

Elliott Kalan

[49:39] They take-

[49:40] The one nice member of the football team.

[49:41] Everyone else in the football team is a real jerk, except for Booker.

[49:44] Yeah.

S4

[49:45] I just want to mention, too, during the football team sequence when they were out there in the beginning of the movie, one of the guys, and I don't remember which guy it was, but he had on his jersey the name Strode.

Stuart Wellington

[49:57] Oh, Laurie Strode.

[50:01] Yeah, only for the true horror freaks.

[50:03] The real sickos.

[50:04] For Woody Strode from the John Ford Westerns.

Dan McCoy

[50:06] Yeah, got it.

[50:09] Yeah, no, they find via Instagram where this dude is, the one that Millie has the crush on.

[50:17] Booker.

[50:18] And there's, yeah, she's threatening these dudes, the killer is, and goes into this back area where it's like, it's a black light miniature golf course haunted house kind of thing.

[50:34] Yeah, yeah.

[50:34] And I'm like, oh, what is this town that they're in that has the cryotherapy and this cool-ass thing?

[50:39] It's a mini golf place that I would love to go to.

Elliott Kalan

[50:43] It's definitely a business I've never heard of, but now I really want to go to, like a haunted house mini golf.

S4

[50:48] They did definitely, like, you know, take some things that they thought, oh, this would be cool.

[50:53] Let's stick this in the movie, you know, but it kind of worked.

[50:57] Like, it didn't, I mean, the cryogenic therapy thing kind of threw me off a little bit, but I went with it.

[51:04] But, yeah, and then that other place, the miniature golf place, it was like, what is that?

[51:08] But, you know, you just kind of go with it.

Stuart Wellington

[51:09] Yeah.

[51:10] Yeah.

[51:10] I feel like the cryotherapy bit wasn't even in the script.

[51:15] They were just like, they had one lying around Blumhouse Studios and they're like, we got to use this thing.

[51:19] Yeah.

Dan McCoy

[51:20] The thing's been lying around.

[51:21] Yeah.

Elliott Kalan

[51:22] We bought it thinking we would use it in four movies.

[51:24] We've used it in two.

[51:26] We got to, we got to, like, it hasn't paid for itself yet.

Stuart Wellington

[51:29] And I love the, I do love this, like, blacklight mini golf course because it's kind of like, like disco bowling or whatever, you know, when they, or blacklight bowling.

[51:37] But it also, it also kind of reminded me of the end of The Guest when they're, like, walking through the maze.

Elliott Kalan

[51:46] And it's a, I would, it struck me what a realistic looking blacklight mini golf course, it wasn't one, like, anytime on the TV show Modern Family, they would do, like, a haunted house.

[51:55] It would be like, well, this is a haunted house from a movie.

[51:57] Like, this is not something a family could put together.

[52:00] Yeah.

[52:00] But here I was like, yeah, I believe this is, like, this is what a haunted house mini golf course would look like should one exist.

Dan McCoy

[52:06] Although that is in concert, that is, sorry, concert.

[52:08] That is in contrast to the replacement homecoming dance that the teens seem to be able to throw together with, like, a DJ and so many decorations.

[52:18] It looks amazing.

[52:19] Yeah, yeah, that's, that's the opposite of that.

Stuart Wellington

[52:20] Yeah, but I think teens, I think teens are more likely to be able to put shit together at the last minute than, say, we are, Dan.

[52:28] I mean, kids are pretty industrious, you know.

[52:30] Especially when parties are, are involved.

Elliott Kalan

[52:32] And the other thing I want to say about that mini golf course is there's a bunch of things written on the walls.

[52:36] There's one, it's like a, Grim Reaver says, like, I'll get you at tea time or something like that.

[52:40] Uh-huh, that's right.

[52:40] And I was like, somebody, somebody had the fun of thinking of what they were going to write on the wall of the haunted house mini golf course.

[52:47] So, of course.

[52:48] It was a fun day on the set.

Stuart Wellington

[52:49] Of course, they, uh, they, they managed to subdue the butcher and they managed to convince, oh, and they also knock out Booker.

[52:58] And they go back to Josh's house where Josh's mom is supposed to be gone for the weekend.

[53:02] Uh, and they convince Booker, Millie's crush, that there was a body swap when Millie reads from memory.

[53:12] Recites, yeah.

[53:12] Recites from memory a, a love poem that she had written for him and left in his locker, what, a week ago?

[53:20] Two weeks ago?

S4

[53:21] And anonymous, and put it in there anonymously.

[53:23] It wasn't signed.

Stuart Wellington

[53:24] Uh, and this, this is where we, this, this starts a, uh, a ball rolling downhill, which will eventually hit the bottom of the hill.

[53:33] But, uh, it becomes a very exciting little, uh, plot arc for me.

Dan McCoy

[53:37] I, I, I want to say, too, though, uh, this points up one of the, I know it's, uh, it's weird to worry about plot holes in a, uh, Freaky Friday slasher movie.

[53:50] Go on.

[53:50] But I do think that, uh, in the movie they, it is pretty easy for Millie to convince.

[53:56] To memorize a poem?

[53:57] Yeah, tell me about it.

[53:58] No, easy for Millie to convince her friends and her love interests that, um, that she is in the body of this murderer.

[54:08] And, um, but with Charlene, who is on the police, could, like, help out greatly.

[54:15] They don't even make an attempt to be like, let's call her on the phone, let's have him say a few things that, you know, like, the special key words, like, with everyone else, you know?

[54:25] It seems like a weird, uh, weird problem with the movie.

Elliott Kalan

[54:28] Well, I would say she, I thought it was a little refreshing to me that she could convince, because in real life if someone came to you and said, here's a thing that I know about that, that nobody else would know except for you and me, you would, you wouldn't, didn't, you wouldn't reject that out of hand too much.

[54:43] But whenever, whenever Char sees a problem, she just pulls out her gun and yells at it, and maybe that's a situation they just don't think they can get into, you know?

[54:52] Yeah.

[54:52] It's not until Charlene is literally, like, disarmed and locked in a jail cell that, uh, Millie is like, hey, I'm your sister, okay, I gotta go, goodbye.

[55:00] So, I get it.

Stuart Wellington

[55:02] So, uh.

Elliott Kalan

[55:03] Now, which raises the question, though, Stu, if you were, switch with somebody else's body, how would you convince your Charlene that it was you?

Stuart Wellington

[55:10] Ooh, that's very difficult.

[55:12] I would, I'm in a different body.

[55:14] I would probably start reciting, I don't know, like, Lord of the Rings facts.

[55:21] And I wouldn't even have to be that accurate about it, because as soon as I started talking, I would see her eyes glaze over, and I would know I got her.

[55:31] So we, so, uh, Booker's on the team, they come up with a plan, they need to get the, they need to get the dagger back from the police station, and they need to bring it back and stab, uh, the butchers so that they can get that body swap happening.

[55:44] So, they go to the police station, of course.

[55:47] Uh, at, Josh is left with the butcher to guard a tied-up, uh, butcher.

[55:54] Uh, they get to the police station, and, uh, Nyla sneaks in.

[55:58] She distracts Charlene briefly by saying, the butcher's outside, which I feel like you're raising the stakes too high.

[56:04] I feel like, at that point, when you're trying to, uh, like, uh, misdirect somebody, you could go a little bit, like, you could, I feel like you're, you're putting Charlene's, uh, a lot, which is my wife's name.

[56:17] Uh, Charlene's, uh, alert level at, like, 100% at that point.

Elliott Kalan

[56:23] The only reason I agree with you is because the butcher actually is outside, but it, Millie in his body.

[56:29] Yeah.

[56:29] And so I would worry that Charlene would run out, see the butcher in the car, and just fire at him, and kill her own sister in a tragic, almost Greek, you know, sort of thing.

[56:38] Yeah.

[56:38] Um, maybe there was a prophecy about it.

[56:40] I don't know, I'm just spitballing the Greek tragedy version of this story, which I would call, I guess, uh, Freakopus, I guess.

[56:48] Freakopus, yep.

[56:50] Freakopus or Oedipus Freaks.

[56:51] Now we get some more complications.

Stuart Wellington

[56:54] Josh's mom comes home and, uh, tries to cut, uh, the butcher free, thinking the butcher is Millie.

[57:00] Um, and of course, at this point, the butcher manages to get free and chase them around with a knife, uh, before, uh, fleeing the house and stealing a police car.

[57:09] And the dagger, does she get the dagger at this point?

[57:11] Yeah, he gets the dagger at that point.

[57:12] There's a lot of action happening.

S4

[57:13] Yeah, when she goes to the police station, she gets the dagger.

[57:16] Yeah.

Stuart Wellington

[57:16] Well, now, while we're at the police station, uh, Millie and Booker are hiding in the back of the car and they have a really deep conversation.

[57:24] Oh my God.

[57:25] Yeah.

[57:26] And this was, uh, this was my wife's favorite scene in the movie.

[57:31] She loved it.

[57:31] I don't believe that.

[57:33] It was, it was so, like, I was not expecting a, a scene with,

[57:38] Vince Vaughn could convince me that he is a teenage girl with a huge crush on a boy.

[57:44] And that both, like, they are, both actors are great in this scene.

[57:48] Yeah.

[57:48] Uh, and he, like, moves to the back seat of the car to sit next to Millie.

[57:52] And there's, there's even a kiss and it's so fucking funny.

Elliott Kalan

[57:57] And it's a, it's a scene that they, that like, they're, it feels like they're doing it real.

[58:03] Like, it's, it's a, it's a funny scene, but they're not, they're not playing it really silly.

[58:08] Yeah.

[58:08] They play it honestly.

[58:09] Yeah.

[58:10] And it's played very sweetly.

[58:12] Yeah.

[58:13] And I never got the, I never got the sense that the joke was like, this is two guys kissing.

[58:17] But the joke was that like, they are for that, he sees her in there for that moment and kind

[58:22] of forgets that, that she's in this body.

[58:25] And really it's more that, uh, he's a hulking brute who smells terrible that, uh, that he, that

[58:30] snaps him out of it.

[58:31] And it was this scene and the one where he's talking to them, where she's talking to her

[58:35] mom in the killer's body.

[58:36] It was like, Oh, these are scenes that they could have turned into really like kind of

[58:40] like verbal slapsticky type scenes.

[58:43] Instead they played them much more emotionally.

S4

[58:45] I think they were handled very well.

[58:47] And I, and I think, you know, they're, they deserve a bigger compliment because, or just

[58:53] a big compliment because, you know, it's about the theme that it doesn't matter what you look

[58:59] like.

[58:59] It's really about the inside and who you are as a person.

[59:02] And that's really what matters.

[59:03] And that's, and, and it was handled so gently and delicately and nicely.

[59:08] And a lot of the movie is kind of funny and over the top, but these moments were handled

[59:13] with a lot of care by everyone.

[59:16] And it really worked.

Dan McCoy

[59:17] I did.

[59:18] I wanted to say, I mean, like, I do not want to suggest that, um, that like people of all

[59:24] different sorts, uh, can't have empathy for all different sorts of people, but the lack

[59:30] of suggested, go ahead.

[59:31] No, I'm not suggesting it, but the, the, the sweetness and the like, just sense of like,

[59:37] it, it does not matter what you look like.

[59:39] It matters who you're inside.

[59:41] Uh, uh, um, the, the director of this, uh, Christopher Landon is an out gay man.

[59:48] I think that like a lot of the empathy there comes from that experience.

[59:53] I also discovered his dad is Michael Landon.

S4

[59:56] Of course.

[59:56] I did not know that.

[59:58] Oh yeah.

[1:00:00] That's great.

[1:00:01] Yeah.

[1:00:01] So he's been around the business for a while.

[1:00:04] Yeah.

Stuart Wellington

[1:00:06] So, uh, the butcher shows up, grabs the dagger, uh, drives off in a police car.

[1:00:12] Uh, Josh connects up with, uh, his friends.

[1:00:16] We're hearing that police car now.

[1:00:18] Yeah.

[1:00:19] I can't tell if that's, uh, that's on my side or Dan's side.

[1:00:22] I'm assuming if it's a police car, oh, it's probably me then.

[1:00:25] It's part of Stewart's theater of the mind experience.

[1:00:27] Yeah.

[1:00:29] Well, yeah, I have, I strap, uh, I strap a little speaker to my cat and the cat runs around the

[1:00:34] apartment to give the sense of a Doppler effect.

[1:00:39] Okay.

[1:00:39] So, uh, so the butcher is going to the home, the makeshift homecoming dance that has been

[1:00:46] moved to his horrible, uh, his, his horrible old mill, uh, that we saw previously.

[1:00:53] And we complimented its decorations.

[1:00:55] Yeah.

Dan McCoy

[1:00:55] I guess we missed the montage where all the teams clean up those, uh, carcasses hanging

[1:01:00] from the ceiling.

Elliott Kalan

[1:01:01] Just take the montage from Sister Act where they clean up the old church.

[1:01:06] Or Sister Act 2, I guess they do it in.

[1:01:07] Like, just use that one, you know.

[1:01:09] Yeah.

[1:01:09] Maybe both Sister Acts, they do that.

[1:01:12] Dan, do both Sister Acts have cleanup montages?

[1:01:14] It's just, this is the question I would ask you if you came to me in Murderer's Body.

[1:01:17] I'll ask Audrey.

Dan McCoy

[1:01:17] She's a big Sister Act expert.

[1:01:19] Okay.

[1:01:19] Both of them.

Stuart Wellington

[1:01:20] So our heroes, uh, head over to the old mill.

[1:01:24] Uh, we have a showdown.

[1:01:25] The butcher manages, in the middle of the party, manages to murder three date rapists.

[1:01:29] And then a fourth date rapist that attempts to, uh, push himself on Josh.

[1:01:35] Uh, so, you know, we get, we get some more bodies.

[1:01:38] They manage to capture the butcher.

[1:01:41] Uh, it looks like they have run out of time that they're, uh, they're,

[1:01:44] their watches, uh, that it's, it's already midnight, but then they, there's a callback

[1:01:49] to a previous moment when we realized that, uh, the watch that Millie is carrying is Booker's

[1:01:55] and Booker always sets his watch five minutes fast.

[1:01:57] Or is it late?

[1:01:58] I can't remember which.

[1:01:59] Five minutes fast.

[1:02:01] Yeah.

[1:02:01] To set it five minutes late would not be a huge hell.

[1:02:04] That actually makes sense.

S4

[1:02:06] So it's not midnight yet.

[1:02:07] And they have time.

Stuart Wellington

[1:02:08] Yeah.

[1:02:08] They have time.

[1:02:10] We, uh, uh, they, Millie stabs the butcher and they swap bodies and then the cops shoot

[1:02:16] the butcher a bunch.

[1:02:18] And this was the point where I'm like, wait a minute, did they actually switch?

[1:02:20] Is there another twist?

[1:02:22] Uh, nope.

[1:02:24] Luckily they don't have to wait till midnight.

[1:02:26] I was worried it was going to be a wait till midnight situation.

Dan McCoy

[1:02:28] Yeah.

[1:02:29] I, I gotta say I was very happy, honestly, that there was no like final rug pull in that

[1:02:34] way because the older I get, the more when I watch a horror movie, I want it to like end

[1:02:39] tidally.

[1:02:39] Like I want like, I just want everyone to be happy guys.

[1:02:43] You know?

Stuart Wellington

[1:02:45] I wonder, I mean, I wonder if they, there was a point with the script where they're like,

[1:02:49] no, Millie is still stuck in the, is still stuck in the butcher's body, but then has to

[1:02:55] come back, but whatever.

Elliott Kalan

[1:02:56] So, uh, that's the kind of thing you could, you can do in a movie with a, with a darker

[1:03:00] tone than this one.

[1:03:01] Yeah.

[1:03:01] Like this, this movie is not, is not going for the like, um, like it not going for, for

[1:03:08] that kind of final scare.

[1:03:09] And I appreciated that too.

[1:03:10] Cause it was like, I don't want to imagine this killer living in her body while, while

[1:03:15] Millie is murdered, you know, basically.

[1:03:17] Yes.

[1:03:17] And, uh, it was, but there, you know, the, the 1986 straight to video version of this

[1:03:22] would probably have that ending.

[1:03:24] Yeah.

Stuart Wellington

[1:03:25] So, uh, everything seems okay.

[1:03:27] And then we have one final scare.

[1:03:28] The butcher survived his shooting.

[1:03:31] He, uh, comes back after Millie and then Millie, her mom and Charlene, which is my wife's

[1:03:37] name, managed to defeat the butcher and ran a mistake through his heart.

S4

[1:03:41] I thought that was going to be a dream sequence though, because when they killed, when they

[1:03:45] shot the butcher, he had like four or five bullet holes in him and it impacted his shirt.

[1:03:51] He had that black shirt on and there were bullet holes in the shirt.

[1:03:53] And then when he came back, there was no bullet holes in his shirt.

[1:03:56] And I said to my husband, this is a dream sequence.

[1:03:59] And, and it, and they actually, thank God it wasn't a dream sequence.

[1:04:02] Cause I'm kind of sick of those dream sequences.

[1:04:04] Yeah.

[1:04:05] And, and, and it was real.

[1:04:08] Like he came back and I, that was a continuity or where are the, where are those bullet holes?

Stuart Wellington

[1:04:13] But I, I do like you had bought in enough in the movie where you're like, it's gotta be

[1:04:18] a dream sequence.

[1:04:19] They wouldn't mess this up.

S4

[1:04:21] Right.

[1:04:21] Well, I also think they wanted to give the whole, you know, the heroes of the movie, the chance

[1:04:26] to actually dispatch the killer.

[1:04:28] Yeah.

[1:04:29] That was the point of it.

Stuart Wellington

[1:04:30] Yeah.

[1:04:31] It's great.

[1:04:31] And to show like Millie has stepped up cause she, you know, you know, she's tough.

Elliott Kalan

[1:04:36] Well, her family has come together now.

[1:04:38] Like they're there by, by as many times in horror movies, families that have problems

[1:04:42] and dysfunction can overcome them by murdering somebody together.

Dan McCoy

[1:04:46] Like that is the overarching, the overarching sick joke of the movie is like, it is taking

[1:04:54] that thing from like a body swap movie where like, this has improved our lives where like

[1:04:58] it really has improved Millie's life that she swapped with this killer for a while.

[1:05:03] Yeah.

S4

[1:05:03] Yeah.

[1:05:04] I think this movie is really lean, you know, with its story points.

[1:05:07] It gets right to it.

[1:05:08] There's, there's not a lot of, you know, extra things there.

[1:05:12] It's it, this is the story.

[1:05:14] Let's get to it.

[1:05:15] Let's have some good set pieces.

[1:05:16] Let's have some cool characters.

[1:05:18] This is our story.

[1:05:19] And it has a message and, you know, people get what they, what they need out of it.

[1:05:24] And, you know, the heroes overcome.

Stuart Wellington

[1:05:27] And they, and they, I feel like they understand the, like the character beats they need everybody

[1:05:32] to hit.

[1:05:33] And they, for them, like, I feel like they hit them all.

[1:05:35] Like it's, it's, it's a, it's a fun time at the movies.

S4

[1:05:40] I thought it was charming.

[1:05:42] That's my, that's my one word, you know, encapsulation of the whole movie.

[1:05:47] I thought it was charming.

Elliott Kalan

[1:05:48] But it feels like rather than just trying to get across on the gimmick of it, that they,

[1:05:53] they put the, they put the work into the tone and into the, into those emotional beats of

[1:05:57] the characters.

[1:05:57] And that was really nice.

S4

[1:05:58] Yeah.

[1:05:58] And I think the music helped with that too.

[1:06:00] The music was very upbeat and very light, you know, and even in the darker moments, it

[1:06:04] wasn't dark music.

[1:06:06] I mean, the whole tone, tone is a really difficult thing.

[1:06:09] And especially since it's comedy and horror to put that together, I think, I think the

[1:06:13] tone is, you know, difficult to get.

[1:06:14] And I think the music really helped with that.

Dan McCoy

[1:06:18] So yeah, this is the point where normally we would be like, oh, is this a good, bad movie,

[1:06:22] a bad, bad movie or movie you kind of liked?

[1:06:25] I think we all liked it to a greater or lesser degree.

[1:06:29] I mean, like it is very zippy.

[1:06:31] It is like a candy bar of a movie.

[1:06:34] It like you're like, it is, you're just going to have fun.

[1:06:37] I think I do like the happy death day movies a little more because I think they're slightly

[1:06:41] more inventive.

[1:06:41] And I really liked Jessica Roth as the.

[1:06:43] Yeah.

[1:06:44] She's fantastic as an actress.

S4

[1:06:45] Yeah.

Dan McCoy

[1:06:46] Yeah.

[1:06:46] But this is a lot of fun.

S4

[1:06:48] Yeah.

[1:06:48] I think it's worth watching.

[1:06:50] I recommend it.

[1:06:51] Yeah.

Stuart Wellington

[1:06:53] Me too.

[1:06:53] Yeah.

[1:06:54] I think it's great.

[1:06:54] Yeah.

[1:06:54] Elliot, Elliot, how do you feel?

[1:06:56] You're not, you don't usually watch a lot of the horror movies.

[1:06:59] You don't usually talk a lot.

[1:07:01] What do you think?

Elliott Kalan

[1:07:03] Well, it was exciting to me to see a movie that is new since I don't often get the chance

[1:07:09] to do, I mean, that's the, I am very saddened about what's happening with the movie theater

[1:07:13] industry.

[1:07:13] But as the, as the father of two small children, I very rarely get to go to the theaters anyway.

[1:07:18] So it was exciting to me to, to see a movie that is like, it's like, oh, this is a new

[1:07:22] movie.

[1:07:22] Like I haven't already seen all the takes on this.

[1:07:24] Yeah.

[1:07:25] You know, and the backlash to those takes and then the backlash to the first backlash.

[1:07:29] And then the critical consensus kind of settles in.

[1:07:32] And then a year later I get to see it.

[1:07:33] So it was like, oh, I'm seeing a movie that I don't know too much about already.

[1:07:36] This is great.

[1:07:36] And the movie was a lot of fun.

[1:07:38] Yeah.

Stuart Wellington

[1:07:38] There was a, there was a moment early on in, I may have mentioned this on the show, but

[1:07:42] there was a moment early on in quarantine when they first started offering up like new release

[1:07:47] movies for like a $20 rental on demand.

[1:07:50] And I like jumped at watching the invisible man because I was like, I just need to watch a

[1:07:55] new movie right now.

[1:07:56] Well, that was the thing too.

S4

[1:07:58] So when it came on our screens, we're all like, oh, $20.

[1:08:01] My husband said that too.

[1:08:02] We got to pay $20 for this.

[1:08:03] Yeah.

[1:08:03] We have to pay $20 because it's a new, it's a new film.

[1:08:06] You know, it hasn't gone through the theaters already.

[1:08:08] It's not $3.99 or $2.99.

[1:08:11] It's 20 bucks.

Stuart Wellington

[1:08:12] It's the new like model of business at this point.

Dan McCoy

[1:08:15] Well, as like, as like, you know, someone who writes for television, I like, I, I both

[1:08:23] get why people like have sticker shock and sort of get like a little annoyed at it.

[1:08:29] Cause I'm like, well, if I went to the Alamo, like I'm going to end up paying like 40 bucks

[1:08:34] with your dinner.

[1:08:35] Yeah.

Elliott Kalan

[1:08:36] And you got to pay for a flight to Texas.

[1:08:37] That's a big cost.

Dan McCoy

[1:08:39] Well, they got the Alamo in New York, right?

[1:08:41] Yeah.

[1:08:41] Oh, right, right, right.

[1:08:43] You're paying for that one screen too.

[1:08:45] Like as many people are in the household can watch it at the same time.

[1:08:48] Like it is not, you know.

Elliott Kalan

[1:08:50] Oh, this, I had the same day.

[1:08:51] I was like $19.99 to watch a movie at home in a room that's much more comfortable to

[1:08:55] me than a movie theater.

[1:08:56] And I don't have to wear shoes.

[1:08:57] And for free, I can eat whatever I want.

[1:08:59] This is outrageous.

[1:09:00] And I was like, oh, wait a second.

[1:09:03] This is a nicer experience in some ways.

Stuart Wellington

[1:09:05] It was, it was fun when, uh, when it, when it went up and I saw, you know, when it went

[1:09:09] up on Friday and we had the, uh, you know, I saw the price.

[1:09:12] I'm like, I wonder how long it's going to be before I get a text from Elliot complaining

[1:09:15] about the price.

[1:09:16] And then I did.

[1:09:20] Oh man.

S5

[1:09:27] Well, hello.

[1:09:28] I'm Renee Colvert.

[1:09:29] Hi, I'm Alexis Preston.

[1:09:30] And we are the hosts of Can I Pet Your Dog?

[1:09:32] And we got breaking news.

[1:09:34] We got an expose.

[1:09:35] All the beans have been spilled via an Apple podcast review that said this show isn't well

[1:09:41] researched.

[1:09:42] Well, yeah, no duh.

[1:09:43] Of course it's not.

[1:09:44] Not since the day we started hasn't been well researched.

[1:09:47] Guessing and anthropomorphizing dogs is what we do.

[1:09:50] The Can I Pet Your Dog promise is that we will never do more than 10 seconds of research

[1:09:55] before telling you excitedly about any dog we see.

[1:09:58] I'm going to come at you with top 10 enthusiasm, minimal facts.

[1:10:02] We're here for a good time, not an educated time.

[1:10:04] So if you love dogs and you don't love research, well, you know what?

[1:10:07] Come on in.

[1:10:08] The Can I Pet Your Dog podcast every Tuesday on Maximum Fun Network.

Elliott Kalan

[1:10:13] Hi, I'm James, host of Minority Corner, which is a podcast that's all about intersectionality.

S5

[1:10:18] It's hosted by James with a guest host every week.

Dan McCoy

[1:10:21] Discussing all sorts of wonderful issues, nerdy and political.

S5

[1:10:25] Pop culture.

[1:10:26] Black queer.

[1:10:27] Feminism.

[1:10:28] Race.

[1:10:29] Sexuality.

[1:10:29] News.

[1:10:30] You're going to learn your history, their self-empowerment.

S4

[1:10:33] And it's told by what feels like your best friend.

[1:10:35] Why should someone listen to Minority Corner?

S5

[1:10:37] Why not?

[1:10:38] Oh my God, free stuff.

[1:10:39] There's not free stuff.

[1:10:40] The listeners of Minority Corner will enjoy some necessary LOLs, but mainly a look at what's happening in our world through a colorful lens.

Stuart Wellington

[1:10:47] People will get the perspective of marginalized communities.

S5

[1:10:51] I feel heard.

[1:10:52] I feel seen.

[1:10:53] Like you said, you need to understand how to be more proactive in your community, and this is a great way to get started.

Elliott Kalan

[1:10:57] Join us every Friday on MaxFun or wherever you get your podcasts.

Stuart Wellington

[1:11:00] Minority Corner.

[1:11:01] Because together, we're the majority.

[1:11:06] So, Barbara, this was so much fun.

[1:11:07] Thanks for coming.

[1:11:08] Now, I know the long-time Flophouse listeners would kill me if I didn't ask, but I need to know, how did you get involved in soap operas?

[1:11:22] Oh my gosh.

S4

[1:11:23] I don't know.

[1:11:25] It's like we were saying in the beginning, these things just happen.

[1:11:27] You audition for something and they go, want to do this?

[1:11:31] And you go, okay.

[1:11:32] You're going to pay me?

[1:11:33] I'll do it.

[1:11:35] It was early on in my L.A. career that I auditioned for, I think it was Days of Our Lives.

[1:11:45] Yeah.

Stuart Wellington

[1:11:47] Was this when they were doing like supernatural stuff in Days of Our Lives?

[1:11:52] Because I remember when I was a kid, there was an arc where there was like a demon possessing somebody.

[1:11:56] Am I way off this?

[1:11:57] Yeah, it was around the same time.

S4

[1:11:59] I'm not sure.

[1:11:59] I was part of the Salem Slasher era.

[1:12:02] Oh, okay.

[1:12:03] And I don't know if that was before the demon or post-demon.

[1:12:05] Yeah.

[1:12:05] But it was with John Delancey.

[1:12:07] He's been in some of the Star Trek series.

[1:12:10] And I was to play opposite him and I auditioned for that.

[1:12:14] And I was on the show for about 10 months.

[1:12:16] And then I did a couple of other, or was Young and the Restless right after that.

[1:12:22] It was a couple of years later.

[1:12:23] I think I did my movies with Stuart Gordon and then I auditioned for The Young and the Restless.

[1:12:29] And that was only supposed to be for 13 weeks.

[1:12:31] That's what you were contracted for every 13 weeks.

[1:12:35] They re-evaluated your character and they wanted to see if they wanted to keep you.

[1:12:39] So they would hire you for a year.

[1:12:41] They would give you a contract for a year, but every 13 weeks they had an option on you.

[1:12:45] And they just kept renewing my option on The Young and the Restless.

[1:12:49] And I actually played a crazy character on that show.

[1:12:52] She was a borderline personality with psychosis.

[1:12:54] It was super fun.

[1:12:55] And every option period they kept re-upping my option until six years later I went,

[1:13:00] I've been on this show this year.

[1:13:04] So it was great because it was good money and it kept me employed.

[1:13:09] And as a performer, you're basically unemployed most of the time unless you get a series.

[1:13:16] And so I had regular work for six years so that I was able to put money in the bank and buy a house.

[1:13:21] And that was nice to have that cushion for a while.

Stuart Wellington

[1:13:24] Have you seen the footage of the soap operas that were filming love scenes

[1:13:29] at the start of quarantine where they were like kissing mannequins?

[1:13:33] Have you seen any of these?

[1:13:35] I've heard about that.

[1:13:35] I've read about it.

[1:13:36] They had like mannequin standings.

S4

[1:13:38] Did you see it?

[1:13:39] I mean, I've seen clips.

Stuart Wellington

[1:13:40] Yeah, it's pretty great.

[1:13:41] Really?

S4

[1:13:41] I have to look that up now that we're chatting about it.

[1:13:43] But I read about it, but then I didn't see it.

[1:13:47] I didn't look for it.

Stuart Wellington

[1:13:48] Now, did you ever go to any, because those are two kind of interesting fandoms and worlds

[1:13:54] of like soap operas and the horror community.

[1:13:57] Did you ever go to any like soap opera conventions or anything?

S4

[1:14:02] Yeah, I went on a cruise once for a soap opera.

[1:14:04] That was pretty fun.

[1:14:05] And I got to bring my mom with me.

[1:14:07] Oh, that's great.

[1:14:08] Yeah.

Stuart Wellington

[1:14:09] Are the fandoms similar?

[1:14:10] Is there like, I'm assuming they're all lovely.

S4

[1:14:14] They're pretty rabid fans.

[1:14:16] I'll have to say in both.

[1:14:19] But I think, and they're both very loyal.

[1:14:23] Yeah.

[1:14:23] I think that the fan base for horror movies is a little bigger and wider now.

[1:14:28] Okay.

[1:14:28] When I first started out doing soap operas, 50 million people a week used to watch them.

[1:14:33] Now it's like 5 million a week.

[1:14:36] So there's just so much product out there.

[1:14:38] Gaming has become a really big industry now.

[1:14:41] Games make more money than anything.

[1:14:44] And television is really big now.

[1:14:46] And there's so much product out there.

[1:14:47] There's, you know, I mean, everybody gets a smaller piece of the pie.

[1:14:51] And that's true in independent filmmaking.

[1:14:53] The margins have shrunk.

[1:14:54] You just don't make as much money as you used to with anything.

Stuart Wellington

[1:14:58] And what are you working on nowadays?

S4

[1:15:01] Well, thank you for asking.

[1:15:05] I did.

[1:15:06] You know, it's funny.

[1:15:07] I've been pretty busy in quarantine, which is really weird.

[1:15:10] And speaking about gaming,

[1:15:11] I'm doing a pretty big game for a really big company.

[1:15:17] And I've never done a game before.

[1:15:19] And these guys know me from my horror movie roots.

[1:15:22] And it's kind of a horror game.

[1:15:24] So they just called me and said,

[1:15:26] Would you like to do this?

[1:15:28] And I said, Okay.

[1:15:30] And so I've gone in, like, I don't know, seven or eight times and recorded for four hours each session.

[1:15:36] And I have something like 800 lines.

[1:15:38] And I have this really cool character.

[1:15:41] And she's a mom.

[1:15:43] Yeah, she fights bad people.

[1:15:45] Yes, I thought that's been really fun.

[1:15:48] And that'll be announced, like, next year sometime.

[1:15:50] But the really big thing I did is I was working on developing this movie called Jacob's Wife for about four or five years.

[1:16:01] And I'm a producer and actor in it.

[1:16:04] And that'll be coming out next year as well.

[1:16:07] It's about an older married couple.

[1:16:10] Exciting things happen to me.

[1:16:12] Yeah.

Elliott Kalan

[1:16:15] It's not like a scenes from a marriage type movie.

[1:16:18] Or is it?

S4

[1:16:19] No, it's like a marriage story with horror elements.

[1:16:22] Oh, that's good.

[1:16:23] Yeah.

Stuart Wellington

[1:16:25] Now that you're producing and acting, do you like being able to do both at the same time?

[1:16:34] Or, I don't know, I feel like that lets you kind of pick your projects a little more.

S4

[1:16:39] Yeah, and not every project that I want to produce in the future has me as an actor in it.

[1:16:44] I have a meeting tomorrow with these guys that we've been talking.

[1:16:48] I'm working with the company that produced Jacob's Wife, A&P Films.

[1:16:52] And a film came to me that somebody said, you should read this.

[1:16:56] It's really good.

[1:16:57] And there's no part for me in it.

[1:16:58] And I said, oh, my God, we have to do this.

[1:16:59] I love the script.

[1:17:00] So we're meeting with them tomorrow.

[1:17:02] But I will say that, you know, again, talking about You're Next, when I did that film and I saw all those people

[1:17:08] doing all the different jobs, you know, you're an actor, you're a cinematographer, you're a writer, you're a producer.

[1:17:15] I said, well, why can't I do that?

[1:17:17] Is it, you know, is it too late for me?

[1:17:19] I hope it's not too late because, look, they're having fun.

[1:17:22] You know, they're doing it all.

[1:17:24] And everybody's making their own content.

[1:17:26] Why don't I try to do that?

[1:17:27] So that's what I've been doing.

[1:17:29] And, yeah, I'm making some stuff for myself.

[1:17:31] But I'm just interested in a good story.

Elliott Kalan

[1:17:34] Yeah, that's great.

[1:17:36] I'm excited to see that movie.

S4

[1:17:38] Yeah.

[1:17:39] And I'm also, thank you.

[1:17:40] And I'm also really excited because I'm going to be in the new season of Creepshow.

[1:17:46] So I was telling you guys, we had a little one.

[1:17:50] And I went, I flew to Atlanta a few months ago and I did an episode of that.

[1:17:55] And, you know, I grew up with those movies and I mean, I've seen them all.

[1:17:59] And, you know, I just was like, wow, that I was an honor to be part of that show.

[1:18:04] And I have a great character.

Stuart Wellington

[1:18:05] Yeah, we're big fans of anthology horror stuff here.

[1:18:10] You know, Creepshow, Tales from the Crypt, etc.

[1:18:13] Yeah, right?

[1:18:15] A buddy of mine did one of the segments of what ABCs of Death Part 2, I think.

[1:18:21] Who's that?

[1:18:22] Steve Kostansky.

S4

[1:18:24] Oh, I know of him.

[1:18:26] Yes.

Stuart Wellington

[1:18:26] Yeah, he put me in his movie this year.

[1:18:28] And that was like the coolest thing in the world.

[1:18:30] A movie called Psycho Goreman.

S4

[1:18:32] I was going to see.

[1:18:33] That's him.

[1:18:34] That's his movie.

[1:18:34] I haven't seen that yet.

[1:18:36] But everybody loves that movie.

Stuart Wellington

[1:18:37] Yeah, it's super fun.

[1:18:39] And I managed to get another plug in for him on the podcast.

Dan McCoy

[1:18:43] I mean, you're still not an Elliot Sharko and Hippo levels, but you're doing pretty well.

Elliott Kalan

[1:18:48] Oh, Sharko and Hippo, my new picture book that's in stores now with illustrations by Andrea

[1:18:52] Tsurumi.

[1:18:53] Yeah, Sharko and Hippo, sure.

[1:18:54] Everyone can buy that for the child in their life.

[1:18:56] Definitely.

[1:18:58] Oh, man.

[1:18:58] I got to get something going on.

[1:19:00] Yeah, Dan, you need something to plug.

[1:19:01] Right now, your cat is just the only thing that you can plug right now.

[1:19:04] So how's Archie doing these days?

Dan McCoy

[1:19:06] Oh, great.

[1:19:06] You know, he's got a little bow tie.

[1:19:08] He's fantastic.

[1:19:12] That's how you can know he's a wealthy cat, because he wears a bow tie around.

Stuart Wellington

[1:19:16] I mean, I can't even tie a bow tie, so I'm assuming he's much better off than me.

S4

[1:19:21] He must be very dapper if he's wearing his bow tie in the door.

[1:19:24] That would be a party or something.

Elliott Kalan

[1:19:28] Yeah, just around the house.

[1:19:30] Well, it's like Archie, Dan's cat, knows that it's not just about how he looks, but how he

[1:19:34] feels.

[1:19:34] And he just feels fancier with that bow tie on.

[1:19:37] Yeah.

S4

[1:19:37] I understand that.

[1:19:38] I appreciate that.

[1:19:39] Yeah.

Elliott Kalan

[1:19:41] Okay, well, this was super fun.

S4

[1:19:44] Yeah, I really enjoy your show.

[1:19:46] I'm honored to be on it, and thanks for having me.

[1:19:49] Yeah, this was a real pleasure.

[1:19:52] And thank you for letting me pick a new movie.

Elliott Kalan

[1:19:55] I don't know.

[1:19:55] It's great.

[1:19:55] By all means, thank you for picking a good one.

[1:19:57] It's like a vacation for us.

[1:19:59] Okay.

[1:20:00] And I don't want to embarrass Stuart, but he was at a very high excitement level for the

[1:20:08] past few weeks while we talked about this, and we all were, too.

[1:20:11] Thank you.

[1:20:13] Stuart's such a laconic, kind of cool guy that I just needed to mention, especially how

[1:20:17] excited he is inside, but you can't tell.

[1:20:21] Oh, thank you guys.

S4

[1:20:22] I'm really touched by that.

[1:20:24] I mean that.

[1:20:25] Thank you so much.

[1:20:26] Cheers.

Stuart Wellington

[1:20:28] Oh, man, that was such a blast.

[1:20:31] I'd love to thank Barbara Crampton for taking some time and getting to chat with us.

[1:20:37] We're all huge fans, and she was a delight.

Elliott Kalan

[1:20:41] Yeah.

[1:20:42] So much fun.

[1:20:43] She lived entirely up to her reputation as a delightful, wonderful person.

Stuart Wellington

[1:20:49] So thank you for listening.

[1:20:51] I'd like to, once again, plug my bars.

[1:20:54] If you're living in Brooklyn, we're doing takeout service and limited seating at Hinterlands

[1:21:00] and Minis.

[1:21:01] Hopefully, things will change in the next couple months.

[1:21:08] We are still selling merch at HinterlandsBarMerch at Gmail.

[1:21:12] Just email me, and I will send you all the info.

[1:21:16] And then I will pack it up and ship it myself.

[1:21:19] I'm a little backed up right now because everybody's been so generous, but it's super great, and it's helping us keep the lights on.

[1:21:28] I'd also like to recommend my wife's brand new podcast.

[1:21:32] First episode went up last week.

[1:21:36] I know the owner, which is bar people talking bar stuff.

[1:21:40] The first episode is the two of us talking about our bar in our bar with actual bar sounds around us.

[1:21:50] And it's a show that I'm very proud of.

[1:21:53] And if you are looking to kind of learn a little bit about the bar industry and also just spend some time with some bar people, I'd check it out wherever you listen to podcasts.

[1:22:07] Probably in your ears, right?

[1:22:09] In your ears is where you should find it.

Elliott Kalan

[1:22:12] Yeah, although, I mean, if you put it tight enough to the bones of your jaw, you can get those vibrations into your skin.

[1:22:17] Although, they still go through your ears, I assume, at some point.

Dan McCoy

[1:22:20] They resonate, though.

[1:22:21] That's what you're saying.

Elliott Kalan

[1:22:23] Stuart mentioned he's backed up, and I'm worried it's because he's been trying to listen to podcasts in an area not his ears still.

[1:22:29] Oh, no.

[1:22:29] Just don't even think about it.

Stuart Wellington

[1:22:31] Yeah, but I need the vibrations.

Dan McCoy

[1:22:34] You know, we did this a little bit at the end because we were like, oh, we should have a better ending, a more professional ending.

[1:22:43] I think so far we're nailing it.

[1:22:44] Because we're not very good at ending things.

Elliott Kalan

[1:22:45] We're nailing it right now.

[1:22:46] We are totally.

[1:22:47] Yes, we are.

[1:22:49] Is that your way of saying that we should end the show, Dan?

Stuart Wellington

[1:22:51] Yeah, I was just trying to plug my little businesses and keep the lights on.

[1:22:54] I mean, I...

[1:22:55] This podcast is a...

Dan McCoy

[1:22:57] I think I've been very supportive in those efforts, too, and I don't know why.

Elliott Kalan

[1:23:01] Stu's just out there trying to achieve the American dream, Dan.

[1:23:03] But if you want to keep stomping on him like a whiskey Soviet, you know.

Dan McCoy

[1:23:05] I'm a real monster.

[1:23:06] That's the thing.

[1:23:07] I'm just hustling.

[1:23:08] Yeah.

[1:23:09] Yeah.

[1:23:10] Well, thanks to everyone for listening to the show.

[1:23:13] Thank you for having maximum fun, for being our network.

[1:23:16] Thank you to Jordan Cowling for editing and producing the show.

[1:23:22] Especially this episode, probably.

[1:23:24] Yeah.

[1:23:25] If you like this nonsense, please rate us well on iTunes.

[1:23:30] It really does help.

[1:23:32] Or tell people podcasts are one of the things in this world that still mostly operates on word of mouth.

[1:23:40] So let's keep it that way.

[1:23:42] Let's keep this train rolling.

Elliott Kalan

[1:23:44] I mean, let's keep the word of mouth going, but we don't want to keep it that way that...

[1:23:48] I mean, we want a big advertising budget, right?

[1:23:49] Like, I'm going to see a billboard with our faces on it that's like, bad movies, they've got your prescription.

[1:23:54] We're dressed as doctors, too.

[1:23:56] I mean, if we can get it, sure.

Stuart Wellington

[1:23:58] Or like, there's a couple of, like, bandito, like, Wild West criminals that are bad movies sitting at a table playing cards.

[1:24:09] And that we're standing in the doorway dressed up as Wild West lawmen, okay?

[1:24:14] Uh-huh.

[1:24:14] And we're like, uh, wait.

[1:24:18] Uh, Dan, come on.

[1:24:20] What's the tagline?

[1:24:21] Come on, Dan.

[1:24:22] You're a writer.

[1:24:22] Yeah, Dan, what's the tagline?

Dan McCoy

[1:24:24] Bad movies are the disease and we're the cure.

[1:24:27] No one's ever done that one, right?

[1:24:29] Never, ever.

[1:24:30] It's never been done.

Stuart Wellington

[1:24:31] Also, it's confusing because we're in the Wild West and disease is a real problem back then.

[1:24:34] Maybe we should be wearing the doctor stuff again.

[1:24:36] That would be better for the other billboard where we're dressed as doctors.

Dan McCoy

[1:24:40] We shouldn't have employed Mixed Up Advertisers Incorporated.

Stuart Wellington

[1:24:46] Yeah, yeah.

[1:24:47] It's that one episode of Mad Men where Don Draper got drunk and messed up his presentation.

Dan McCoy

[1:24:52] Yeah, yeah.

[1:24:53] Uh, well, anyway, we hope you've enjoyed this slightly different episode of the Flophouse.

[1:24:58] Uh, but until next time, I've been Dan McCoy.

Elliott Kalan

[1:25:02] I've been Stuart Wellington.

[1:25:04] And I'm Elliot Kalin saying thank you again, Barbara Crampton.

[1:25:06] You were great.

[1:25:08] Bye!

[1:25:10] Excellent.

Dan McCoy

[1:25:24] Why don't we just do that to prank our guests?

[1:25:27] We have this huge collection of people saying four.

Elliott Kalan

[1:25:29] We're like, someday we'll find a use for this thing.

[1:25:31] Someday.

[1:25:32] We'll be an art installation.

[1:25:33] Our Big Four project.

S5

[1:25:37] MaximumFun.org

[1:25:38] Comedy and culture.

S6

[1:25:40] Artist owned.

[1:25:41] Audience supported.

Ep. #330 - Freaky, with Barbara Crampton

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