Steve and Anthony get cat cursed with Obsession.
Advertising Inquiries: https://redcircle.com/brands
Privacy & Opt-Out: https://redcircle.com/privacy
00:01 --> 00:19 [SPEAKER_02]: right.
00:19 --> 00:24 [SPEAKER_01]: Welcome to ProperlyHour, a podcast that reviews classic films and other hold-fishing.
00:24 --> 00:28 [SPEAKER_01]: Today we take a look at the horror sensation obsession.
00:29 --> 00:56 [SPEAKER_01]: written and directed by curry barker obsession is a terrifying love story involving wishes curses and cat sandwiches what goes on a cat sandwich garlic a olie perhaps oh garlic a olie all right i was gonna say like whole green mustard i mean i guess it depends if we talk in calico or tabby i just watched it like just fresh off that's why oh fantastic okay yeah so i did not have the
00:59 --> 01:05 [SPEAKER_01]: Um, Wednesday night got a little away from me as well, and uh, turns out it was free on peacock.
01:06 --> 01:06 [SPEAKER_01]: No ads.
01:07 --> 01:08 [SPEAKER_02]: Oh fantastic.
01:09 --> 01:14 [SPEAKER_02]: Did a peacock make you up like two minutes of ads before nine months or whatever, which was very odd.
01:14 --> 01:15 [SPEAKER_01]: So I don't strange.
01:15 --> 01:24 [SPEAKER_01]: I don't know if it's the particular, because like the service I have is it has ads if I'm watching shows, but maybe it doesn't do it for movies, because it maybe just like a notch above or something.
01:25 --> 01:26 [SPEAKER_01]: So that's nice.
01:26 --> 01:27 [SPEAKER_02]: That's nice.
01:27 --> 01:31 [SPEAKER_01]: I was concerned that was gonna have to either pay up or
01:32 --> 01:38 [SPEAKER_01]: or sit through a bunch of ads, and there's no way this movie has the same effect if you're having just going to rub with that.
01:38 --> 01:41 [SPEAKER_02]: So I like that we're talking about the money upfront.
01:41 --> 01:47 [SPEAKER_02]: So this movie, it grew weekend after weekend for the first three weekends.
01:48 --> 01:50 [SPEAKER_02]: And last movie that to do that was ET.
01:51 --> 01:55 [SPEAKER_02]: So certainly you've probably been hearing about it.
01:55 --> 01:58 [SPEAKER_02]: You probably had intended to see before I suggested recover it.
01:58 --> 02:08 [SPEAKER_01]: Yeah, my son has been imploring my wife and I have just had this little disappointed that I watched it without her because she had to go do some things today, but I said I will watch it again with her.
02:09 --> 02:21 [SPEAKER_02]: The second viewing, I've seen it twice, the second viewing is significantly different the second time around, because you're looking for all of the things that sort of point you in the direction.
02:21 --> 02:26 [SPEAKER_02]: I will say, I'm curious to hear what you think about it,
02:27 --> 02:34 [SPEAKER_02]: I will say that I've enjoyed the experience of talking about this movie more than I enjoyed the experience of watching this movie.
02:36 --> 02:36 [SPEAKER_01]: Interesting.
02:37 --> 02:37 [SPEAKER_02]: Yes.
02:37 --> 02:43 [SPEAKER_02]: Because I think it's an excellent movie, it was very effective in making me uncomfortable.
02:44 --> 03:06 [SPEAKER_02]: Which, it's a horror movie, but there were some achy moments, man, that, oh yeah, and they were not less achy the second time and this is one of those experiences of a horror movie where I thought, I don't know if I want to live in that dark space again.
03:08 --> 03:14 [SPEAKER_02]: Uh, where I sort of, I could probably enjoy pet cemetery if I popped it on or, sure.
03:15 --> 03:17 [SPEAKER_02]: Um, anyway, I don't know, what do you think?
03:18 --> 03:19 [SPEAKER_02]: You're more of a fan of horror than I am.
03:19 --> 03:20 [SPEAKER_02]: What was your experience?
03:21 --> 03:29 [SPEAKER_01]: Well, I think what, I mean, I'm wondering too, you know, because I think I want to talk about this a little bit, especially your, um, new, newest experiences with horror.
03:30 --> 03:30 [SPEAKER_01]: Yeah.
03:30 --> 03:32 [SPEAKER_01]: We may be getting to the point where you're no longer eight.
03:32 --> 03:35 [SPEAKER_01]: you know, a novice or rookie at this point.
03:35 --> 03:38 [SPEAKER_02]: I think I've graduated from novice to acolyte at this point.
03:38 --> 03:40 [SPEAKER_01]: Yeah.
03:40 --> 03:44 [SPEAKER_01]: And I think it, I don't think it hurts that we seem to be in like a golden age of horror right now.
03:44 --> 03:45 [SPEAKER_01]: Absolutely.
03:45 --> 03:50 [SPEAKER_01]: And it's, it's really, I'm, I'm encouraged by it.
03:50 --> 04:00 [SPEAKER_01]: I, I'm glad that this, I mean, it's a genre that's not, it's never suffered, you know, it's obviously very popular, but now it's becoming, um,
04:01 --> 04:02 [SPEAKER_01]: lucrative.
04:02 --> 04:16 [SPEAKER_02]: It's becoming... Well, it's possible, it's possible for a young guy like Curry Barker to make a movie that doesn't cost a lot to make, and for a studio to pick it up.
04:17 --> 04:27 [SPEAKER_02]: We're also as the original story telling happened, you know, it's either you have to like grab onto IP and shoot Barbie or he-man or whatever or do a sequel.
04:28 --> 04:42 [SPEAKER_02]: It seems like the big studios are not going to pick you up, but some of the more interesting creative younger voices seem to have found a foothold in the horror genre, which I think you're totally right.
04:42 --> 04:43 [SPEAKER_02]: It's very encouraging.
04:45 --> 04:52 [SPEAKER_01]: Yeah, and I think there's something to be, like I put that to, in terms of trying to find an original story and why
04:54 --> 05:01 [SPEAKER_01]: Why is it, or is it just by chance that it's horror or does horror lend itself to to that?
05:01 --> 05:11 [SPEAKER_01]: Because I think, so one of the things I love about this and if we're going to talk about, I'll jump right into tropes that we like and it's, give me a cursed object.
05:11 --> 05:13 [SPEAKER_01]: I love a cursed object.
05:13 --> 05:17 [SPEAKER_01]: And, and what I think is interesting about horror because I was thinking about this as I was watching it,
05:22 --> 05:47 [SPEAKER_01]: can to some degree almost, I mean, and I don't want to say the term derivative, because that almost, that sort of kind of makes it like a kind of a pejorative, I think there's something almost, it's almost like whether it's fairy tale or, you know, just like just the passing down of lore, horror has a special spot, I think, in
05:48 --> 06:12 [SPEAKER_01]: in humanity right and a lot of it is it's about cautionary tales or things of that nature right horror can serve as some sort of allegory in the same way that like science fiction can and I think science fiction gets a lot more credit for it because I think horror like we've talked about gets kind of lumped in with slasher and things that maybe are primarily for jump scares but
06:13 --> 06:18 [SPEAKER_01]: good horror is dealing with something that is relatable, right?
06:18 --> 06:23 [SPEAKER_01]: And it's sort of amplifies it magnifies it, you know, maybe it takes a grotesque caricature of it.
06:25 --> 06:27 [SPEAKER_01]: But it's it's at some level relatable.
06:27 --> 06:35 [SPEAKER_01]: So you can do things like like if a comedy like okay, if you're watching it and I'm kind of all over the place, but I think I'll get to my point here.
06:35 --> 06:35 [SPEAKER_01]: But like if you're watching
06:36 --> 06:44 [SPEAKER_01]: an episode of Perfect Strangers, you might see the same episode on sign code and you might see the same episode on three's company.
06:44 --> 06:51 [SPEAKER_01]: You may always get the, oh, I left a message on answering machine and I shouldn't have done that.
06:51 --> 06:52 [SPEAKER_01]: Now we've got to go switch the tape.
06:53 --> 07:06 [SPEAKER_02]: Like that is the word beyond the favorite bird dies, but instead of it's just saying hey your bird died, go to the pet store and find a bird that looks very much like that bird.
07:07 --> 07:07 [SPEAKER_01]: Yeah.
07:07 --> 07:09 [SPEAKER_01]: And now let's place the bird.
07:11 --> 07:14 [SPEAKER_02]: I mean, like we've seen these things over and over.
07:15 --> 07:15 [SPEAKER_01]: Right.
07:15 --> 07:19 [SPEAKER_01]: And so those go beyond just like a trope, but they're almost like a specific plot line, right?
07:19 --> 07:28 [SPEAKER_01]: Whereas horror will do these things where it's like, like I was actually, and don't real idea what this movie was, like how it was constructed.
07:28 --> 07:33 [SPEAKER_01]: I knew the sort of the basis of the plot, but I didn't know why, right?
07:34 --> 07:35 [SPEAKER_01]: I didn't know that there was a cursed object.
07:36 --> 07:40 [SPEAKER_01]: And so as soon as that came to play, I was like, I felt so comfortable.
07:40 --> 07:41 [SPEAKER_01]: I felt so at home when I'm like,
07:41 --> 07:44 [SPEAKER_01]: Yes, a cursed object movie.
07:44 --> 07:48 [SPEAKER_01]: I love this and instead of and but that's the beauty of it, right?
07:48 --> 08:01 [SPEAKER_01]: Like a horror movie can be like, hey, we here is a very very familiar trope that is using all these and then it almost feels like it's like you got a grab bag of horror tropes and you pull one out and you go up and I guess I'm making this movie now.
08:02 --> 08:16 [SPEAKER_01]: And then you've got the trick as to take this ingredient and make something new out of it, or something, you know, familiar, but maybe a little bit more interesting, you know, so you want to move you make her who says, I know this is a trope.
08:17 --> 08:18 [SPEAKER_02]: It's a trope I like.
08:18 --> 08:21 [SPEAKER_02]: I'm going to frame it in a way that you've not seen it before.
08:22 --> 08:23 [SPEAKER_02]: You're going to enjoy it.
08:23 --> 08:26 [SPEAKER_01]: Yeah, and the beauty of it is it's kind of a wonderful cheat code.
08:26 --> 08:30 [SPEAKER_01]: If you have a story to tell and you're like, I want to tell this story.
08:30 --> 08:31 [SPEAKER_01]: how do I get there?
08:32 --> 08:35 [SPEAKER_01]: How do I make, how do I make Batman realistic?
08:35 --> 08:38 [SPEAKER_01]: How do I make a guy in a bat suit seem like a logical thing?
08:39 --> 08:46 [SPEAKER_01]: Well, horror allows you to do that, and with a handful of different types of tropes, and it's just like, look,
08:47 --> 09:09 [SPEAKER_01]: is going to get supernatural because I say so and you don't and what I like about a movie like this is and this is where I think maybe a bigger budget movie would be a bigger problem is the more a studio gets involved the more like well how does this object work what's the backstory behind this object like no no no it just is
09:10 --> 09:14 [SPEAKER_02]: The packaging of the one-wish willow is perfect.
09:14 --> 09:15 [SPEAKER_01]: Oh, yeah.
09:15 --> 09:23 [SPEAKER_02]: The packaging suggests someone put some thought into, like, who's art, who's our target demographic?
09:23 --> 09:26 [SPEAKER_02]: People who are poking around at a cult stores.
09:26 --> 09:27 [SPEAKER_02]: What do they want?
09:27 --> 09:31 [SPEAKER_02]: They, what kind of graphic design would they like?
09:31 --> 09:33 [SPEAKER_02]: Of course, we're going to need a few things.
09:33 --> 09:36 [SPEAKER_02]: We need like an 800 number for customer service.
09:37 --> 09:39 [SPEAKER_02]: Like, there's a backstory.
09:40 --> 09:43 [SPEAKER_02]: to someone who's decided to send these one-wish willows out into the world.
09:44 --> 09:45 [SPEAKER_02]: We have no knowledge of.
09:47 --> 09:56 [SPEAKER_02]: But the fact that they're being sold, and there's like this business infrastructure around it, suggests that it's just a reality.
09:56 --> 09:58 [SPEAKER_02]: It is a horror that exists in our world.
10:00 --> 10:03 [SPEAKER_01]: I put warnings on it, I put warnings on it.
10:04 --> 10:11 [SPEAKER_01]: I basically, I'm watching commercials all the time about, you know, this, this new pill.
10:12 --> 10:13 [SPEAKER_01]: This new pill, let's say.
10:13 --> 10:19 [SPEAKER_02]: This new pill, it's going to help your skin condition might make you want to commit suicide.
10:20 --> 10:20 [SPEAKER_01]: Right, right.
10:21 --> 10:23 [SPEAKER_01]: Yeah, your balls may explode.
10:24 --> 10:26 [SPEAKER_01]: Basically, the whole commercial is telling you
10:31 --> 10:46 [SPEAKER_01]: ask your pharmacist if it's ready for you know it's like it's crazy right and so that's kind of what this is right It's like look you can get one wish you get any wish you want also boy I sure wouldn't you just probably shouldn't do it But boy the matter of factness of both
10:47 --> 10:56 [SPEAKER_01]: of the the people at the retail shop was like that's so to me that's one of the bigger moments of commentary in this entire film.
10:56 --> 10:57 [SPEAKER_02]: The first one.
10:58 --> 11:03 [SPEAKER_01]: The first one she knows well enough to like warn but she's kind of like I mean I do look I gotta make a sale I don't care.
11:04 --> 11:06 [SPEAKER_01]: And it says it on all the warnings are on there.
11:06 --> 11:08 [SPEAKER_01]: I am, I'm not responsible for this.
11:08 --> 11:11 [SPEAKER_02]: Everything about that woman, the first sales person.
11:11 --> 11:15 [SPEAKER_02]: Everything about that woman suggests, the customers are nothing.
11:16 --> 11:17 [SPEAKER_02]: They mean nothing.
11:17 --> 11:19 [SPEAKER_02]: I'm gonna be on the phone with my friend the entire time.
11:20 --> 11:24 [SPEAKER_02]: There are certain things that I should probably should say because I'm gonna work.
11:25 --> 11:26 [SPEAKER_02]: She's completely,
11:27 --> 11:29 [SPEAKER_02]: unconcerned about his.
11:30 --> 11:35 [SPEAKER_02]: What she is most concerned about is just don't come back and complain when you decide you want to kill yourself.
11:38 --> 11:39 [SPEAKER_02]: That's another guy.
11:39 --> 11:40 [SPEAKER_01]: And the other guy is amazing.
11:40 --> 11:46 [SPEAKER_01]: Like I love how he when he's talking about solutions and in the back is or he can just kill yourself.
11:46 --> 11:48 [SPEAKER_02]: When he calls the tabby cat hotline.
11:50 --> 11:51 [SPEAKER_02]: And the way he answers the phone.
11:58 --> 11:58 [SPEAKER_00]: Hello.
11:59 --> 12:00 [UNKNOWN]: Hey.
12:01 --> 12:01 [UNKNOWN]: What's up?
12:03 --> 12:06 [SPEAKER_00]: Um, is this one wish will?
12:06 --> 12:09 [SPEAKER_00]: Yeah.
12:09 --> 12:14 [SPEAKER_02]: It's like, wait, is this this guy's primary job or is it just routing to his cell number?
12:15 --> 12:18 [SPEAKER_02]: Um, and then what does he say he says something like, um,
12:20 --> 12:21 [SPEAKER_02]: We don't really do that.
12:22 --> 12:25 [SPEAKER_02]: Yeah.
12:25 --> 12:28 [SPEAKER_02]: Like you want to put it over for cancellation.
12:30 --> 12:32 [SPEAKER_01]: That's, that to me is insane.
12:32 --> 12:36 [SPEAKER_01]: Yeah, and then it's like, like, are you like, are you making a formal cancellation request?
12:36 --> 12:40 [SPEAKER_01]: The idea that this is going to take some time is like, that is such a fascinating.
12:41 --> 12:47 [SPEAKER_01]: twist on the cursed object because it's not like, oh, I just found the monkey's paw.
12:47 --> 12:51 [SPEAKER_01]: It's like, no, no, no, we can replicate the monkey paw.
12:51 --> 12:53 [SPEAKER_01]: We can make money off the monkey paw.
12:54 --> 12:55 [SPEAKER_01]: We know we shouldn't make this money.
12:55 --> 12:55 [SPEAKER_01]: Monkey paw.
12:57 --> 13:02 [SPEAKER_01]: So somewhere along the lines in this supernatural warehouse, there is at least a legal team.
13:06 --> 13:07 [SPEAKER_02]: And then what is he saying?
13:07 --> 13:16 [SPEAKER_02]: He says, well, you kind of have an obligation to be there for her, which means it basically is saying you wish for this.
13:16 --> 13:20 [SPEAKER_02]: And if you care about her, then you're locked in, man.
13:25 --> 13:36 [SPEAKER_02]: and then what I think is the most, one of the most horrific scenes of the movie is just to hear her screaming in the bathroom.
13:36 --> 13:41 [SPEAKER_02]: She's in like some kind of hellscape where she's disembodied but fully aware.
13:43 --> 14:05 [SPEAKER_02]: right and just to hear his voice be just completely calm like he just happens to be the the demon on phone duty that day right fan task horrific funny and horrific at the same time yeah i don't got to mix that particular scene so unsettling because it is very surreal right it's it's uh
14:06 --> 14:28 [SPEAKER_01]: As soon as you start dealing with something of the supernatural, especially if it's like kind of bringing, you know, hell vibes or, you know, something along those lines, and it brings me personally like to sort of gothic literature, it brings me to this sort of like tail as old as time and like stretches over that's where I was talking about like two like the idea of horror as like just passed down lower it's like,
14:29 --> 14:56 [SPEAKER_01]: that always like kind of puts me in a spot that like takes me away from the presence of of wherever or whatever the the chronology of that particular scene is happening and it takes it almost puts me into some sort of eternal universe and that's a feeling that I think is so fascinating and I don't know if anybody else gets that but like I that's how I feel when I when that happens and then the juxtaposition of that with just sort of we can all relate to being
14:57 --> 15:02 [SPEAKER_01]: with an, you know, on the phone with a less than helpful, you know, customer representative.
15:03 --> 15:10 [SPEAKER_01]: And the idea that that person on the other line might be a demon from hell is already relatable.
15:12 --> 15:16 [SPEAKER_02]: So I know that you have, you've taken classes on horror.
15:18 --> 15:21 [SPEAKER_02]: So I'm assuming you're familiar with the story of the monkey's
15:23 --> 15:29 [SPEAKER_02]: This film, I guess, because it's very monkey's paw coded, right?
15:30 --> 15:42 [SPEAKER_02]: This film was inspired in part by season two Simpson's Treehouse of Horror, where they do a monkey's paw send up.
15:42 --> 15:42 [SPEAKER_02]: Got it.
15:44 --> 15:51 [SPEAKER_02]: And so the basic story of the monkeys' paws is, you know, a guy brings back a monkey's paw and it can go into wishes.
15:51 --> 15:57 [SPEAKER_02]: And of course, you're going to wish for your recently deceased son to come back to life.
15:58 --> 16:25 [SPEAKER_02]: and of course he comes back to life but he's he's been just decaying and and he's not the son you you had before right which has been done before like we yeah i mentioned pet stem and cemetery um previously uh there's there's a lot of be careful what you wish for kind of stories um sure this one is gonna stick with me
16:25 --> 16:31 [SPEAKER_02]: And there's a number of scenes of this movie that are just really memorable.
16:31 --> 16:38 [SPEAKER_02]: I kind of view this as a movie that's half monkeys paw, but also bringing in a new twist.
16:39 --> 16:40 [SPEAKER_02]: And the new twist is
16:42 --> 16:44 [SPEAKER_02]: Hey, I'm a nice guy, so I deserve something.
16:45 --> 16:49 [SPEAKER_02]: Not only that is, I'm such a nice guy that I probably deserve something really good.
16:50 --> 16:52 [SPEAKER_02]: I deserve my heart's desire.
16:53 --> 16:58 [SPEAKER_02]: A lot of folks view this movie in terms of just like, what is this movie saying about masculinity or something?
16:58 --> 17:00 [SPEAKER_02]: And that's interesting to me too.
17:00 --> 17:05 [SPEAKER_02]: But I think that the broader and more interesting question is,
17:06 --> 17:08 [SPEAKER_02]: Okay, so you are an ice guy.
17:09 --> 17:11 [SPEAKER_02]: What do you think you deserve for being an ice guy?
17:11 --> 17:15 [SPEAKER_02]: What do you think the universe owes you for being an ice guy?
17:16 --> 17:23 [SPEAKER_01]: And moreover, the thing that you think you deserve would mean to take the agency away from another.
17:24 --> 17:33 [SPEAKER_02]: you think you deserve this girl, even if this is not really what she wants, you know, there are there are old stories of love pushing and whatnot, right?
17:33 --> 17:45 [SPEAKER_02]: Which have always kind of grossed me out, but this guy really is like, he code so well as nice guy up front, you almost want what he wants early on.
17:46 --> 17:54 [SPEAKER_02]: And then it isn't too far into the movie that you're thinking, well, if you don't even have the balls to tell you like her, then you don't deserve her.
17:55 --> 17:55 [SPEAKER_01]: Right.
17:56 --> 17:57 [SPEAKER_02]: But he's not going to let it go.
17:59 --> 18:09 [SPEAKER_01]: Well, and it starts, then we'll be starts with him, you know, roleplaying how he's going to let her know.
18:09 --> 18:15 [SPEAKER_01]: And he's revealing this level of, you know, of obsession of his own.
18:16 --> 18:27 [SPEAKER_01]: And so when he makes this wish his wish is essentially I want her to feel for me the way that I feel for her and which in turn basically you know
18:28 --> 18:52 [SPEAKER_02]: reveals how maybe unhealthy his feelings are for her okay that's interesting to me because I think that love can make you a very imbalanced person like what does he say in that that conversation with the waitress he says i'm coming apart you're in every song i listen to i mean this is not unlike any number of love songs i've heard in my life
18:53 --> 19:15 [SPEAKER_01]: sure and love can make you crazy so okay love has made this guy crazy and then the question is how crazy well the question is is it love and i think it's an important distinction because i think one of the biggest distinctions this this movie makes early on is is the uh the the discussion between oh i'm not i'm writing a love story not a romance and
19:16 --> 19:34 [SPEAKER_01]: and the idea of the romance versus love story is kind of on just like those two concepts are at odds during this entire movie and I think that's what's fascinating right because like a romance basically is telling you you know the the relationship is the central focus and it also implies a happily ever after.
19:35 --> 19:38 [SPEAKER_01]: Where's the love story is sort of the journey
19:44 --> 19:45 [SPEAKER_01]: It can end of a variety of ways, right?
19:45 --> 19:54 [SPEAKER_01]: I mean, some of the sometimes love stories finish, maybe a little more ambiguously, or tragically, or tragically.
19:54 --> 19:55 [SPEAKER_01]: Exactly.
19:56 --> 20:16 [SPEAKER_02]: And so the idea of romance romance tends to sort of be lumped into sort of the category of your sort of it's like it's maybe it's false right maybe well and romance for many people is wish for film that you like you get to escape into a world Where the perfect guy falls in love with the perfect girl and they're desperately in love with each other.
20:17 --> 20:18 [SPEAKER_02]: They're madly in love.
20:18 --> 20:24 [SPEAKER_02]: It's a really weird word Madly in love is a crazy is a crazy phrase
20:25 --> 20:28 [SPEAKER_01]: It's the central focus of their existence.
20:28 --> 20:34 [SPEAKER_02]: It's a central focus of their existence in the way that Romeo and Juliets fall in love.
20:35 --> 20:36 [SPEAKER_02]: And of course, we know how that ends, right?
20:36 --> 20:44 [SPEAKER_01]: So the idea too that your identity is shaped by this relationship with this person.
20:44 --> 20:55 [SPEAKER_01]: And the idea of it is not, romance typically does not, it may wrestle with maybe things like class complications, but it's not going to mess with the idea of like, are you guys compatible?
20:56 --> 21:11 [SPEAKER_01]: you know what I mean it's like where as a love story may do that the love story may be the overcoming something to to to fall in love maybe the dying to oneself to some degree to learn to be more selfless that's not necessarily romance that's sort of just you know matured we're so
21:12 --> 21:35 [SPEAKER_01]: So when he says he, you know, he wants someone to be like he, he's basically trying to create this this this this romantic and I think that's why when he says are you writing romance like number a love story that's different already what it's explained between the two of them is that he sees romance and love as the second and so what right might be feeling for her is not is not like.
21:36 --> 21:37 [SPEAKER_01]: love true love.
21:37 --> 21:38 [SPEAKER_01]: It's more of a romantic love.
21:38 --> 21:39 [SPEAKER_01]: It's like I can't live without you.
21:39 --> 21:40 [SPEAKER_01]: All I do is think about you.
21:40 --> 21:42 [SPEAKER_01]: It's like, yeah, you're losing yourself.
21:42 --> 21:44 [SPEAKER_01]: You're losing your identity in this notion of this right.
21:44 --> 21:49 [SPEAKER_01]: So now you your identity is being shaped and molded and and.
21:50 --> 21:50 [SPEAKER_01]: into this.
21:50 --> 21:51 [SPEAKER_02]: So I love this.
21:51 --> 22:09 [SPEAKER_02]: I love that we did this because right after that scene, she basically says, look, if you have feelings for me, you should just tell me now, which to me is a very interesting line in that movie because it suggests that like you are not being stealthy, like everyone knows how you feel.
22:10 --> 22:12 [SPEAKER_01]: And especially this this fumbling around tonight,
22:13 --> 22:19 [SPEAKER_02]: And I think that, and I don't know how I haven't seen anyone else say this, and I wonder if I really believe it.
22:19 --> 22:24 [SPEAKER_02]: But there was a part of me that feels like, why would she say that if she's not giving him a shot?
22:25 --> 22:35 [SPEAKER_02]: Right, like if you, if you have feelings for me, tell me now because I'm about to leave, about to leave town, and here's your shot, man, shoot your shot.
22:36 --> 22:44 [SPEAKER_02]: I don't want to die on that hill, but I think that there is a part of her that wants him to just say it, say it bluntly, and he can't do it.
22:45 --> 22:54 [SPEAKER_01]: Yeah, and you got that friend zone conversation that happens later, and it's like, and the thing is sometimes things are said, and it's like, I don't know, well, you know, so it.
22:55 --> 22:57 [SPEAKER_01]: But that's to me that is that's the love story.
22:57 --> 23:13 [SPEAKER_01]: She's shaping a love story It's like it could be simply I'm not interested, but I think we need to get this out in the open For the sake of our friendship going forward Or the other side of it is like hey, I'm not really that interested in you, but you know what?
23:14 --> 23:20 [SPEAKER_01]: I'm not interested in you and if you're if you're interested maybe I could I could dig a little deeper.
23:20 --> 23:21 [SPEAKER_01]: That's a love story
23:22 --> 23:28 [SPEAKER_01]: Romance is, I want this person to love me more than anybody in the entire world, the way that I love this person, more than anybody in the entire world.
23:29 --> 23:29 [SPEAKER_01]: Right.
23:29 --> 23:31 [SPEAKER_01]: So that's where those two stories collide.
23:31 --> 23:32 [SPEAKER_02]: Exactly.
23:32 --> 23:45 [SPEAKER_02]: So I think that it's, you probably keyed on the thesis of the entire movie is that what would it look like to tell a story like this and to prove that there's a difference between love and romance?
23:46 --> 23:48 [SPEAKER_02]: And this movie does that in spades.
23:52 --> 23:58 [SPEAKER_02]: And here's what he says, I wish Nikki Freeman loved me more than anyone in the fucking world.
24:00 --> 24:01 [SPEAKER_02]: There's two ways you could read that.
24:01 --> 24:04 [SPEAKER_02]: And I think that that's what these monkeys pause stories do.
24:04 --> 24:18 [SPEAKER_02]: It's like you did you did you did you that you word the wish well enough because there's some demon and hell that's like looking like, well, if you if you parse out these words exactly the way you said them
24:19 --> 24:37 [SPEAKER_02]: like you can screw this wish in a way that makes your life hell, um, does he, does he mean I want her to love me more than anyone else in the fucking world, meaning like that's the way she feels about me or do you want her to love more than anyone has ever loved?
24:40 --> 24:43 [SPEAKER_02]: Okay, well that that gets crazy, right?
24:43 --> 24:46 [SPEAKER_02]: And if that's the way you're reading it, that's the kind
24:49 --> 24:57 [SPEAKER_02]: Exactly, right, right, so all right, so right after that that happens, which I think is kind of a key to the movie she says my cat died
25:00 --> 25:00 [SPEAKER_02]: Right.
25:00 --> 25:01 [SPEAKER_02]: Oh, wait, wait.
25:01 --> 25:02 [SPEAKER_02]: No, it was your cat that died.
25:02 --> 25:03 [SPEAKER_02]: Right.
25:04 --> 25:10 [SPEAKER_02]: And I think that's for me, that's a clue that she's being animated by his volition.
25:11 --> 25:16 [SPEAKER_02]: She's lost herself to an extent that she doesn't have a want.
25:16 --> 25:21 [SPEAKER_02]: She, she, her identity is his identity and it's, and it's confused.
25:21 --> 25:28 [SPEAKER_02]: And then, of course, this is a twin to a lie that she tells later where she says my father's dying.
25:29 --> 25:37 [SPEAKER_02]: So she's using the same trope, but she's like twisted it in a way that's like, okay, it's not my cat, it was your cat that died.
25:37 --> 25:43 [SPEAKER_02]: So I'm not gonna use the sort of the sympathy card that you were using earlier.
25:44 --> 25:48 [SPEAKER_02]: I'll use a different sympathy card and tell you that my dad is dying, which we know is a lie, right?
25:50 --> 25:51 [SPEAKER_02]: So then here's my question.
25:52 --> 26:01 [SPEAKER_02]: If that's what she's doing, if she's telling a lie to sort of play the sympathy card, it suggests that maybe that's what he was doing earlier with his cat.
26:02 --> 26:11 [SPEAKER_02]: He's using the death of his cat to kind of heighten the emotional connection to take the relationship to the next level, at least that's what he wanted to do.
26:12 --> 26:13 [SPEAKER_01]: Like it was an opportunity.
26:13 --> 26:17 [SPEAKER_02]: It was an opportunity and if that's the case, did he kill his cat?
26:18 --> 26:30 [SPEAKER_02]: I think there are people who think that he killed his cat because in addition to all of that, if you look at his search history on this computer, which we see very briefly, one of his search histories is oxycodone.
26:31 --> 26:38 [SPEAKER_02]: So he's been researching like things to do with oxycodone, the cat dies because of the oxycodone.
26:39 --> 26:42 [SPEAKER_01]: interesting cat imagery is obviously a huge part of this film, right?
26:42 --> 26:44 [SPEAKER_01]: I mean, it's like, it's all over the map.
26:44 --> 26:49 [SPEAKER_01]: I mean, it's the the the company name, uh, his clock is a cat.
26:49 --> 26:49 [SPEAKER_01]: Yeah.
26:49 --> 26:50 [SPEAKER_01]: She's behaving cat.
26:50 --> 26:52 [SPEAKER_01]: Like there's there are some theories online.
26:52 --> 26:56 [SPEAKER_01]: Cat Sam, whether there be theories online that she's possessed by the cat.
26:56 --> 27:16 [SPEAKER_01]: she has the cat on display dead what is a cat normally do brings its killed to you right um you know uh there's an erratic behavior where she's like one minute she's in your lap and cuddling the next minute she's like scratching right she moves moves funky like his cats are like their cats are cats are loyal until they're absolutely not
27:16 --> 27:18 [SPEAKER_01]: And they're loyal in a way that's like, really weird.
27:20 --> 27:23 [SPEAKER_02]: It's almost like, it's almost like whatever is possessing her things.
27:23 --> 27:25 [SPEAKER_02]: This guy likes cats.
27:25 --> 27:26 [SPEAKER_02]: All right, fine.
27:26 --> 27:28 [SPEAKER_02]: I'll be a cat.
27:29 --> 27:38 [SPEAKER_01]: Well, it also suggests maybe if again, if you're talking about like this is sort of channeling through him, what is to our knowledge, the most recent relationship he had is with a cat.
27:40 --> 27:40 [SPEAKER_01]: Yeah.
27:41 --> 27:41 [SPEAKER_01]: So he might not.
27:42 --> 27:45 [SPEAKER_01]: No, much better than that, you know, at least in terms of what to expect.
27:47 --> 28:03 [SPEAKER_02]: All right, so this leads me to my next kind of spooky moment, Nikki in the chat, we talk about tropes that we like, the use of camera work and shadow to kind of communicate a theme, it's very much a device of horror movies.
28:04 --> 28:06 [SPEAKER_02]: It's a device of almost any movie.
28:07 --> 28:08 [SPEAKER_02]: You know, where do you put the camera?
28:08 --> 28:09 [SPEAKER_02]: Where do you put the light?
28:09 --> 28:10 [SPEAKER_02]: It's key to blocking the scene, right?
28:11 --> 28:28 [SPEAKER_02]: The way that Curry Barker uses the shadows in the corner in the middle of the night is So effective when you just see her sort of like cat like in the corner hiding in the shadow Because he's trying to figure out where she is right away, right?
28:28 --> 28:29 [SPEAKER_02]: Oh my gosh
28:30 --> 28:35 [SPEAKER_02]: really effective, fantastic, super creepy.
28:35 --> 28:38 [SPEAKER_02]: The way that she says, I don't like my dreams.
28:38 --> 28:44 [SPEAKER_02]: And at this point, I don't think he knows, like, he says, this is real or not, right?
28:44 --> 28:47 [SPEAKER_02]: So, that scene was nuts.
28:48 --> 28:54 [SPEAKER_01]: Well, and it's, and it's, and this is why I definitely want to have a second viewing is because,
28:55 --> 29:02 [SPEAKER_01]: We later get a glimpse of, you know, we get hints of her duality with her kind of snapping out of it.
29:03 --> 29:12 [SPEAKER_01]: But the communication from beyond when he's initially going to go meet Sarah and this idea that she's like found a way to communicate to him.
29:12 --> 29:15 [SPEAKER_01]: And again, I love how there's no there's no explanation.
29:15 --> 29:16 [SPEAKER_01]: I don't want it.
29:17 --> 29:20 [SPEAKER_01]: You know, this is just messed up and this is the horror
29:24 --> 29:48 [SPEAKER_01]: you know she's begging to be killed and what does he say he doesn't say oh my gosh I'm so sorry I'm so sorry I didn't know that it was gonna happen what what can I do what can we do that doesn't involve killing you what how can we trick her none of that where are you what are you going through can you like all these questions this is supposed to be what is hell like exactly the simple question he is so detached
29:49 --> 29:53 [SPEAKER_02]: from, he says, he, would it be so bad to be with me?
29:54 --> 29:55 [SPEAKER_01]: That's wild, right?
29:56 --> 30:01 [SPEAKER_01]: Like that to me, that's the biggest reveal of who this person is and you go, oh, you're the villain.
30:03 --> 30:04 [SPEAKER_02]: There's no question about it at that point.
30:04 --> 30:07 [SPEAKER_02]: It's like, is this such a bad experience for you?
30:07 --> 30:10 [SPEAKER_02]: Like, could you, I mean, look, would it be so bad?
30:11 --> 30:12 [SPEAKER_01]: That's insane.
30:12 --> 30:14 [SPEAKER_02]: It's so horrible, so terrible.
30:14 --> 30:18 [SPEAKER_01]: Like, that's one of the more horrific moments in terms of like a reveal.
30:20 --> 30:25 [SPEAKER_01]: After all, he's going through right now, and he's watching this woman vomit on herself.
30:25 --> 30:27 [SPEAKER_02]: You ate a cat sandwich earlier.
30:27 --> 30:29 [SPEAKER_02]: And this is what you have to say.
30:29 --> 30:32 [SPEAKER_01]: The idea that was like, hey, you know, we gotta put up with some quirks.
30:33 --> 30:36 [SPEAKER_02]: If we could just eliminate the cat sandwiches, this relationship has a chance.
30:36 --> 30:38 [SPEAKER_01]: Stop cutting my hair, and don't feed me my cat.
30:39 --> 30:42 [SPEAKER_01]: Ha ha ha ha, a couple of ground rules.
30:45 --> 30:46 [SPEAKER_02]: Uh, okay.
30:46 --> 30:50 [SPEAKER_01]: So his face, his face when he sees the tape the door is amazing.
30:51 --> 30:55 [SPEAKER_01]: Like that sequence is just awesome.
30:55 --> 30:58 [SPEAKER_01]: Okay, and he just sort of like, I know, just all open it.
30:59 --> 31:03 [SPEAKER_02]: So we were talking about these old medieval, almost gothic.
31:03 --> 31:05 [SPEAKER_02]: Yeah, cautionary tale kind of stories, right?
31:06 --> 31:09 [SPEAKER_02]: Her reading lines from her hands will incredible.
31:11 --> 31:16 [SPEAKER_02]: At the party, there are doing some kind of jenga game where you have to do like a truth or dare element.
31:17 --> 31:19 [SPEAKER_02]: Every single moment that she's reading the story.
31:22 --> 31:23 [SPEAKER_02]: She does the British accents.
31:24 --> 31:26 [SPEAKER_01]: It's so crazy.
31:26 --> 31:27 [SPEAKER_02]: Oh my gosh.
31:28 --> 31:31 [SPEAKER_02]: And then, of course, we, everyone can see.
31:32 --> 31:34 [SPEAKER_02]: Either she's nuts or something else is going on.
31:34 --> 31:37 [SPEAKER_02]: She smashes her face with a glass.
31:39 --> 31:56 [SPEAKER_02]: and everyone's just staring at him like, this is not okay, and the look on his face goes from, I'm horrified at what I'm seeing to just completely passive, like, but I'm stuck, I'm trapped, what can I do?
31:57 --> 31:59 [SPEAKER_02]: I think he's afraid of her at this point?
31:59 --> 32:04 [SPEAKER_01]: Yeah, I feel like with the later, you know, would it be so bad line?
32:09 --> 32:11 [SPEAKER_01]: This is the romance tale.
32:11 --> 32:17 [SPEAKER_01]: This is, this is the, I'm, this is still kind of what I want.
32:19 --> 32:29 [SPEAKER_01]: And, and it's like, I guess, you know, I mean, it's so interesting because it does, you don't get a real sense of it, like, like when he says he wants to alter it.
32:29 --> 32:30 [SPEAKER_02]: Mm-hmm.
32:30 --> 32:33 [SPEAKER_01]: Yeah, that's the kind of huge, that is huge.
32:34 --> 32:35 [SPEAKER_01]: Because he's like, no, don't get me wrong.
32:35 --> 32:37 [SPEAKER_01]: I still want her to love me.
32:38 --> 32:40 [SPEAKER_01]: I just don't want it this much.
32:40 --> 32:41 [SPEAKER_02]: I wanted to love slave.
32:41 --> 32:42 [SPEAKER_02]: I haven't changed that opinion.
32:42 --> 32:43 [SPEAKER_01]: Yeah.
32:44 --> 32:46 [SPEAKER_02]: It's just that I want a better love slave.
32:46 --> 32:47 [SPEAKER_01]: Yeah.
32:47 --> 32:51 [SPEAKER_01]: And then eventually, that like out of desperation, it's like he wants to go back.
32:51 --> 32:56 [SPEAKER_01]: Because he, he, he doesn't want, he wants the, the wish to be completely undone by Ian.
32:57 --> 33:03 [SPEAKER_01]: But only after Sarah's been, just pummeled to death.
33:03 --> 33:16 [SPEAKER_01]: because then if he does if he's thinking undo it all little just will just hit reset yeah okay because now the stakes are different now he has blood on his hands just start over okay my bad
33:22 --> 33:37 [SPEAKER_02]: I was expecting the end to get crushed by a billion dollars though, but oh, sure yeah, that would be fitting I do want to talk about Ian so we find out a little bit later on That he doesn't he perhaps does not have bears best interests in mind
33:39 --> 33:39 [SPEAKER_02]: Right.
33:39 --> 33:45 [SPEAKER_02]: He basically tells her, you know, she's gonna cringe if you pour out your heart, just nigger a little bit.
33:46 --> 33:47 [SPEAKER_02]: We playfully mean.
33:47 --> 33:52 [SPEAKER_02]: And but we don't find out later that he has an ulterior motive because he's sleeping with her.
33:53 --> 33:54 [SPEAKER_02]: Right.
33:54 --> 33:54 [SPEAKER_02]: All right.
33:54 --> 33:57 [SPEAKER_02]: So he's, he's not the best guy.
33:57 --> 33:59 [SPEAKER_02]: Ian's not the best guy.
34:00 --> 34:03 [SPEAKER_02]: When I found that, are any of these people likable?
34:03 --> 34:04 [SPEAKER_02]: Are all of
34:06 --> 34:11 [SPEAKER_02]: This is a story with populated by entirely by just morally corrupt people.
34:13 --> 34:19 [SPEAKER_02]: Certainly Sarah is kind of framed as the love interest that he could have had.
34:20 --> 34:24 [SPEAKER_02]: If he had been able to stop fixating on Nicky so much.
34:25 --> 34:26 [SPEAKER_02]: Right.
34:26 --> 34:27 [SPEAKER_02]: I don't know if Sarah's that great either.
34:28 --> 34:36 [SPEAKER_02]: You know, she knows that these two are together But she like almost coerces him into like coming out to meet him at her car.
34:37 --> 34:39 [SPEAKER_01]: Well, they're all they're all a bunch of selfish people.
34:39 --> 34:46 [SPEAKER_01]: They're all kind of selfish people But it doesn't necessarily mean that they need to take a bullet to the head or be sure come by a car or
34:47 --> 34:59 [SPEAKER_02]: I was going to say, if there was one tweak to the movie, Sarah's death was just disturbing what happens with her body later is very disturbing, I felt like it was a little over the top.
35:00 --> 35:01 [SPEAKER_01]: Yeah, I tend to agree.
35:03 --> 35:11 [SPEAKER_01]: I'm not like, I don't mind, like, that's why, like, weapons has those moments where it's like pretty, pretty, pretty grotesque.
35:12 --> 35:12 [SPEAKER_02]: Yeah.
35:13 --> 35:22 [SPEAKER_01]: And I think maybe it feels, I mean, at the distant field, necessarily in place, but it did feel like, nah, we're, we're do one of these.
35:22 --> 35:36 [SPEAKER_01]: We're do, we do something, but like, I guess, if I, I think if I follow your, your drift here, it's, this movie is planning on settling has a great story to tell, you don't need those.
35:37 --> 35:54 [SPEAKER_02]: images per set per say to to to to move this narrative where you need to move yes or maybe the movie is better served if he finds her dead body or there is some she's missing and there's some indication like oh no what did Nikki do
35:56 --> 36:14 [SPEAKER_01]: there is something maybe to be said I mean again the grotesque imagery of of her in the chair yeah there may be something there may be something to be said for the way that men view women she is now faceless she's just a body she's just a body
36:15 --> 36:22 [SPEAKER_01]: and kind of placed in a, like, this is essentially what you've created for Nicky as well, to some degree.
36:23 --> 36:38 [SPEAKER_02]: There's no, I did think it was interesting that we see her tattoos, Sarah's tattoos, and then after Sarah is murdered, Nicky has drawn similar tattoos on her own body to sort of match Sarah's body.
36:38 --> 36:38 [SPEAKER_02]: Right.
36:39 --> 36:43 [SPEAKER_02]: And she might be wearing Sarah's scalp, I'm not sure about it.
36:43 --> 36:44 [SPEAKER_01]: I'm not sure about it.
36:44 --> 36:53 [SPEAKER_02]: So I thought, I mean, look, it's a horror movie, people that love horror movies will read it differently than I do.
36:53 --> 36:56 [SPEAKER_02]: I'm kind of a kind of a prude.
36:56 --> 36:58 [SPEAKER_02]: I'm kind of lightweight when it comes to these things.
36:59 --> 37:00 [SPEAKER_02]: For me, that was over the top.
37:02 --> 37:12 [SPEAKER_01]: Yeah, again, I don't know that I think the death scene is like, it's jarring, and I don't, and again, maybe it is just it's part of your,
37:15 --> 37:42 [SPEAKER_01]: requirement to some degree of horror to really really get like raises the stakes it to and maybe there's something to be said to for like how gruesome it is like that's almost what it took to get him to sort of snap out of it but again still like he would no ownership he's like either I need to wish it away I need to maybe I'll just kill myself and it's like how is you know well yeah he could he could solve it by killing himself but he's
37:42 --> 37:44 [SPEAKER_01]: But that's only him solving it for himself, right?
37:44 --> 37:51 [SPEAKER_01]: I mean, this is not like he's there's no point really where it's like, how do I set Nikki free?
37:52 --> 38:00 [SPEAKER_02]: I think that there is a sense in which he, far too late, he does want to set her free, but he's not willing to kill himself until.
38:01 --> 38:08 [SPEAKER_01]: Well, I think he wants to reset everything because he's got too much, his life is now way too complicated.
38:09 --> 38:12 [SPEAKER_02]: Well, Sarah's dead, and I think that Sarah's dead at that point.
38:12 --> 38:14 [SPEAKER_02]: He's singing my life as I know his over.
38:15 --> 38:16 [SPEAKER_01]: He's moving the body.
38:16 --> 38:17 [SPEAKER_01]: Everything is different for me.
38:18 --> 38:20 [SPEAKER_01]: So I just want everything to go back to the way it was.
38:20 --> 38:30 [SPEAKER_01]: That isn't motivation for, oh my gosh, I can't believe the hell that I have, I have to rot upon Nikki and, you know, Nikki's behaving this way because of what I did to her.
38:31 --> 38:32 [SPEAKER_00]: Mm-hmm.
38:33 --> 38:33 [SPEAKER_01]: You know what I mean?
38:33 --> 38:35 [SPEAKER_01]: So like, I think that that's,
38:35 --> 38:36 [SPEAKER_01]: that's kind of key.
38:37 --> 38:48 [SPEAKER_01]: He's, again, I guess going back to the imagery of Sarah's body and it was, you know, for even for less of a prude, I'm like, that's a lot.
38:48 --> 38:55 [SPEAKER_01]: But then I'm like, I kind of was like, well, I, this feels, this feels like like intentional imagery.
38:56 --> 39:02 [SPEAKER_01]: Because we have, because we've seen, we've seen Nicky herself become, you know, as, as her agency
39:06 --> 39:08 [SPEAKER_01]: It's like, well, what were you in love with?
39:09 --> 39:15 [SPEAKER_01]: Because everything here is like, he's not in the car just driving away as far as he can.
39:17 --> 39:19 [SPEAKER_02]: So I have a question about Ian.
39:19 --> 39:23 [SPEAKER_02]: So we've talked about Nicky and Baron and Sarah.
39:27 --> 39:28 [SPEAKER_02]: He goes to Ian.
39:31 --> 39:35 [SPEAKER_02]: He says, just wish that I never wished anything.
39:37 --> 40:05 [SPEAKER_02]: things is going to solve it and maybe it would because when he goes to the the occult shop for the second time the guy says he immediately snaps and says that I want a billion dollars well I think well because he bear bear once again betrays who he really is and lets us all know
40:06 --> 40:11 [SPEAKER_01]: He doesn't have to say anything about Ian and Nikki having ever been together.
40:12 --> 40:33 [SPEAKER_01]: In that particular moment, if his central focus is undoing all of this damage, and if he can convince Ian to just say that, wish, then it all just goes back, you know, the right of it goes back to the way it was before he ever made that wish and everything is going to be fine, but he could not help, but be jealous.
40:33 --> 40:47 [SPEAKER_01]: He says, and then you can have Nikki, he didn't have to say that at all because that's not even really he couldn't even be thinking that's what this was all about and if you did think that's what this was all about you don't say it because the stakes are too high.
40:47 --> 40:57 [SPEAKER_01]: It's like she's a commodity that can be traded exactly and so it shows what he really thinks and it also shows that he's it shows the obsession is his.
40:58 --> 40:58 [SPEAKER_01]: Right.
40:58 --> 40:58 [SPEAKER_02]: Yeah.
40:59 --> 41:02 [SPEAKER_01]: He's the one who's obsessed with that and like he's not willing to let that go.
41:02 --> 41:08 [SPEAKER_01]: Couldn't even put a pin in that conversation after what he just went through.
41:08 --> 41:09 [SPEAKER_01]: So I think that's where.
41:09 --> 41:12 [SPEAKER_01]: Again, do you need the gruesome killing?
41:12 --> 41:17 [SPEAKER_01]: I don't, I think I could easily argue that you could make this movie just as effectively without it.
41:18 --> 41:24 [SPEAKER_01]: But I think there is something about how we had to endure that, I mean, we've already seen some pretty horrific stuff.
41:25 --> 41:29 [SPEAKER_01]: But this is like, holy smokes, what's gonna, it like, where is this going now?
41:30 --> 41:32 [SPEAKER_01]: This is what it took you go about.
41:32 --> 41:34 [SPEAKER_01]: After that, you definitely would have your mind right.
41:35 --> 41:37 [SPEAKER_01]: No, not quite, not entirely.
41:38 --> 41:47 [SPEAKER_01]: He still has this other focus, and that's where it's like, okay, you're the villain, you're the one who's got the obsession.
41:48 --> 41:49 [SPEAKER_02]: So let's talk with the ending.
41:50 --> 41:57 [SPEAKER_02]: He finally decides he's going to just end his own life by taking the oxycodone.
41:57 --> 42:00 [SPEAKER_02]: Remember, does he try to like gag it to get it out?
42:01 --> 42:02 [SPEAKER_02]: Like does he does?
42:02 --> 42:03 [SPEAKER_01]: He does.
42:03 --> 42:03 [SPEAKER_01]: Where he thinks.
42:04 --> 42:06 [SPEAKER_01]: Yeah, he like he's he backs off of it for a second.
42:06 --> 42:10 [SPEAKER_02]: He's about to do it, but then that's when she makes her wish.
42:11 --> 42:12 [SPEAKER_01]: Yeah.
42:12 --> 42:13 [SPEAKER_01]: Did you hear this in App initially?
42:14 --> 42:15 [SPEAKER_02]: I did not hear it initially, no.
42:16 --> 42:17 [SPEAKER_01]: Yeah, I heard as soon as he, I was like, oh,
42:19 --> 42:31 [SPEAKER_02]: So he then of course look on his face, he completely his motivations completely change and for what 30 seconds they're both obsessed with each other yeah.
42:31 --> 42:37 [SPEAKER_02]: He dies because the drugs kick in, which ends the initial wish.
42:37 --> 42:42 [SPEAKER_02]: And then Nikki is like left with the aftermath.
42:43 --> 42:44 [SPEAKER_02]: Yeah.
42:44 --> 42:47 [SPEAKER_02]: She has killed Ian by shooting him in the head.
42:48 --> 42:51 [SPEAKER_02]: She has killed Sarah, death by steering wheel.
42:52 --> 42:55 [SPEAKER_02]: And he has overdosed.
42:56 --> 42:59 [SPEAKER_02]: What is what happens next for porn?
43:01 --> 43:20 [SPEAKER_01]: and that's how it ends yeah well the the possessed niki goes to kill herself creating a very your Romeo and Juliet and then but then it gets interrupted and upset and then now so it goes from it goes from romance to love stuff gosh this moving
43:22 --> 43:27 [SPEAKER_02]: Too much, too much, too much for my little, my gentle little soul to take.
43:28 --> 43:28 [SPEAKER_01]: But you seen it twice?
43:28 --> 43:29 [SPEAKER_02]: I've seen it twice.
43:30 --> 43:32 [SPEAKER_02]: I really enjoyed talking about it.
43:33 --> 43:34 [SPEAKER_02]: I don't know if I'm not ever going to see this again.
43:34 --> 43:39 [SPEAKER_02]: It's too much for me to take.
43:39 --> 43:42 [SPEAKER_02]: Steve, is this movie better worse for a part of the Ron Howard movie?
43:42 --> 43:45 [SPEAKER_01]: Oh, it's a Ron Howard, I think, say, I'm going to get you Ron plus.
43:46 --> 43:46 [SPEAKER_01]: I'm going to go four.
43:47 --> 43:49 [SPEAKER_02]: Yeah, I was going to say around Howard plus two.
43:49 --> 43:55 [SPEAKER_01]: Before because it's so relentless, it is so callous.
43:56 --> 44:03 [SPEAKER_01]: I think I don't go five because I do think that the characters would have been a little bit more interesting.
44:05 --> 44:06 [SPEAKER_02]: I think so forth.
44:06 --> 44:10 [SPEAKER_01]: For my team to be high, if I just focus on sort of some of the character, I'll put some of it.
44:10 --> 44:14 [SPEAKER_01]: But I mean, in terms of the commitment to the bit,
44:17 --> 44:32 [SPEAKER_02]: the dark subject matter, I think that the scene with him in the car on the phone with the customer service demon, I've never gone to forget that scene.
44:33 --> 44:41 [SPEAKER_02]: That scene was so funny and so horrific at the same time, it's just, it's a great moment in film history, I think.
44:42 --> 44:42 [SPEAKER_01]: I agree.
44:42 --> 44:43 [SPEAKER_01]: I think it is such a
44:44 --> 45:02 [SPEAKER_01]: It is such a... Yeah, it is, it is a, again, going through the horror, like I said, going through like the lower concept and the borrowing of tropes and, um, like I said, it put me into today and it put me into forever.
45:02 --> 45:11 [SPEAKER_01]: Like that, that, I guess that the, the nonchalance, the nonchalance of hell.
45:11 --> 45:11 [SPEAKER_01]: Yes.
45:12 --> 45:35 [SPEAKER_01]: is absolutely it's it's brilliant and again i think it's powerful right like again if i we talk about like the horror that already exists that we don't always like if you're if you're terrified by something how much do you care about why you what what what started this as opposed to i got to get away from it yeah that's right and and there's so much of this
45:36 --> 45:54 [SPEAKER_01]: Like again horror can do this whereas other like a if this was just some sort of a drama you would you know you'd spend so much time trying to look up the address of tabi cat and let's find out why and how do we reverse this curse and instead it's just like well I mean you can just get another one and have somebody else try it.
45:56 --> 45:58 [SPEAKER_01]: I mean well sell you another one.
46:01 --> 46:07 [SPEAKER_02]: Yeah, all right, yeah, so your Howard plus four I'm however plus two, you're going to probably watch it again the night.
46:09 --> 46:17 [SPEAKER_01]: Yeah, either tonight, yeah, probably tonight, maybe tomorrow the heck, I might, you know, Heather's going to be home soon and maybe she prefers these things during the light of day.
46:18 --> 46:19 [SPEAKER_02]: I totally get it.
46:20 --> 46:24 [SPEAKER_02]: Is there a half about a one-to-grond moment in this film?
46:24 --> 46:25 [SPEAKER_01]: Just by the crystal.
46:38 --> 46:38 [UNKNOWN]: Thank you.
47:43 --> 47:45 [SPEAKER_01]: Come on, and a cocoon of horror.