Out Now With Aaron and Abe
Out Now Bonus: Creepshow (1982)
(music) We are now recording and this is Out Now with Aaron and Abe. I am Aaron as always, this is... Hey, hello! How are you, Aaron? I'm having a good evening. It's hot early, but it's finally cooled off. Ooh, can't be plain. Hey, yo, looking all cool? How are you? I am doing well, thank you for asking. I am just really excited to talk about our special event tonight. Yes, well, Out Now is a film podcast for Abe that discussed new movies lately. However, every now and then we'll have these special bonus episodes, whether it's one of our fun commentary tracks or something like a little bit different. And this is a little different. This is another horror-themed episode. We do these about once or twice a year in honor of an event that we'll get into in a second here. But basically, in this episode, we're talking Creep Show. Hey! The 1982 horror anthology film from Director George Aramero and writer Stephen King and joining us to discuss Creep Show we have once again from Cal State Fullerton, Professor Mike Dillon. Hi, Aaron. Hi, Abe. Professor! How are you doing, Mike? Good. Good, excited, always excited to talk with you guys. Well, good. Glad to have you here. And the reason you're here is because of a little event called Monster Palooza. Mike, you want to explain what exactly went down here? Yeah, we've done a number of these, I think. Is it Brida Frankenstein was our last one? Maybe. Our last one was Brida Frankenstein. Yeah. So I've programmed events and screenings for my department. And one of my collaborators is Monster Palooza, which is hands down the best horror-themed convention that it meets in LA twice a year. And we run a giveaway contest for tickets for our students. So to enter the contest, you do this on social media, our students have to answer a really simple prompt, which is name a horror film that you love recommending to your friends. And then you two kindly select a winner to make the subject of one of these bonus episodes. And I'll note that we do make it really explicit in the contest instructions that the winning film will be discussed on the pod. And that's important because so many of them are not really all that thoughtful when they enter their choices. They actually want a chance to win tickets because they pick movies that are kind of fashionable and recent, so like hereditary or get out or something like that, even though you guys have quite obviously covered these films already. And so there's zero chance you'll pick them, but then the shrewder students toss in these throwback titles and the we tradition that has emerged among the three of us is that it's become an opportunity to chat about an older classic or like a cult classic. And so, so thank you, first of all, to both of you guys for continuing to get involved in my side of things and then of course for graciously having me on for the follow through. For sure, it's it's always a lot of fun to do these it's fun to kind of go in depth on various films that we've either already have an affinity for or just give us the opportunity to explore them more than we ever really have. And so we have we have creep show obviously they were talking about which was picked up by Julia Giro. So, oh, we'll allow se bon. Congratulations on winning and yeah we're gonna work in the group show. That's the that's the plan here. From the author of carry the shining and cool Joe, and the creator of night of the living dead and dawn of the dead, you'll scream ghastly ghouls. Cringe at weird kids and shiver at the doings of evil doctors. This is going to be extremely painful in this. Creep show will grab you grow on you and give you the creeps. Given that the film is an anthology, it makes I think sense to kind of talk about the individual segments, but before we do that. I want to get some overall impressions from you guys on where you are with creep show. Mike I want to start with you guys are guests where are you are you a fan of creep show I've seen it often but where were you at with this movie. No I'd seen it before I didn't I rewatched it today to prep for this. So this came out a little before my time. The reason I think that is relevant is because I actually personally find the film kind of underwhelming. It's it's fun in in key places particularly when it involves recognizable actors, hamming it up, no several like that. But it's kind of kind of a light meal and I do think where it deserves credit. Not so much as a film but as an object of the pop culture is that I was too young to encounter this when it first came out but I can appreciate it on a couple of registers. One is that this. It was this really interesting dream team pair up of Romero and Stephen King. Right so I can see how horror fans at the time, which is certainly our community would have been really excited for this. And the second thing is that I do understand that this film is, so it's not particularly gory right with maybe a couple of small exceptions. Yeah sure why for that generation my understanding is that this was a gateway film for a lot of younger horror fans. Or maybe more accurately younger audiences who went on to become horror fans and so I do know people who credit this film for being one of their, like their turning point films when it comes to horror and so that's, that's obviously quite special. But what history do you have with Creepshow, I honestly had not seen it until like this week. And this is a movie that was kind of like, I'm sure that I'd seen it at the video rental store, which Aaron can tell you all about because those are are long gone now. One of the things that that picks up on this is that, you know, growing up what was on television was tales from the crypt and so you'd get an episode every week. And it was just like a bunch of cameos from stars that would do like 15 minute shorts. And so watching other anthology horror movies, whether that be something like trick or treat or VHS or anything, a plethora of other things. But I think I even when Aaron and I were discussing this, I was asking them, do you remember like this one anthology movie where like somebody microwaves a dog. And I can't remember the name of that of that movie that that came upon but still the idea of the anthology is very, very common. But one thing I kind of found fascinating about this about Creepshow 1980s Creepshow is like, yeah, it's cool that Romero and King kind of teamed up. But looking at all like the rich people that are in this, in this movie. It's like, what, what, how much of this is tinge and like Romero is just like social commentary of like, you know, capitalism in the age is like pretty rampant and all these rich people are a bunch of assholes. And they all deserve to die. I was like, this is kind of interesting. I kind of like that light, because Romero is definitely not shy about the social commentary that he has in his films, would that be neither living dead or anything else. But yeah, I found it to be like what Mike was saying, it doesn't, it is kind of like a gateway type of movie. I mean, we talked about one. I think that there's also some good stuff in here from like, oh, I wasn't expecting somebody's head to get twisted around by like this, this weird monster character thing. So it's got some good jump scares in it, even though it's like pretty tame, but I found it a pretty interesting exercise to watch and kind of just kind of see how stories used to play out. Like this doesn't feature a lot of quick cutting like they would do today. It actually features like some fairly like not tame, but like in one spot type of shots. And I find that to be very cool. And also that's Romero Romero is a very static filmmaker in his early career. Yeah, and then I just find that it's cool that they had a lot of big names kind of show up here as we'll get into Yeah, I am. I like Creepshow quite a bit. That said, and we can talk about this more kind of later on. It's funny that I think Creepshow is the better made movie as far as Romero's abilities, but I think Creepshow too is more fun. It's also shorter, which I think helps because my biggest issue of Creepshow has always been there's too many shorts. I think I think I think two hours is a lot for this movie. And who has three segments, right? Sorry. Two SBS two S three segments with like interludes in between each segment. This one just has the bookends and then what's five segments total. Yeah. And I, I don't think the final segment is all that great as a way to Peter, you know, as a way to kind of leave us off, at least it has the little epilogue. Whereas I think the crate, which we'll talk about, I think that would have been a better send off for the film than you stopped there, but you know what it is, we'll talk about it. That said, I've seen Creepshow a number of times when I was much younger, a child. The second segment that we'll talk about, which is easily the funniest segments, or at least designed to be the funniest segment. When I was a child, the humor of what Stephen King was doing was not present to me. So instead, I had this memory of the film being having this awful segment of this man who becomes like enraptured and green and shoots himself in the face. And when you're a child, that seems much scarier than when you watch it now. As I got older and revisiting Creepshow, like, okay, yeah, that's not really scary. It's just really goofy. But that was like my impression of Creepshow from a young age, that along with another horror anthology Tales from the Dark Side. That features a creepy cat interlude, which I also had a very strong memory of as far as that being horrific in its own way. That one holds up pretty well because there's some creepy shit involving a cat in that one. This one, though, has a lot of goofy stuff in there because it does fit as a, you guys have mentioned the gateway horror aspect of that holds true. I do think there's a. I don't think there is a lot of comedy in here along with the horror and it's designed to play like essentially a comic book movie that's very much what it's going for. It's going for the kind of EC horror comics in style and look and tone. And it is notable given that Romero is, you know, famed for his zombie films, among other things that are decidedly more gory or at least existentially terrifying in this film. I'd be hard pressed to say it's scary. It's got us moments like a bench and there's some jumps in here, but it's not one that I think is, you know, unless you're a child watching Stephen King crawl into a bathtub like me, I don't think it's inherently all that scary. Yeah, I mean, there's like some, some Romero zombie-ish type effects. There's, you know, you can visually. For sure. Yeah, depending on what scares you, there's some stuff here for sure that's obviously, you know, it's a horror film, regardless, but it is like, it does aim for fun more than anything. And with that, I think we just. So, so you had an I saw the TV glow moment with the. Exactly that. Exactly that. I thought of it a certain way they grew up and realize oh wait, it's not like that at all. The ice cream is just an ice cream. It's actually just given the vice here is really nice. Can I make one observation that is this is not to disparage anything going on in creep show but I did have a thought that. So I mean, Abe mentioned it I feel like the most obvious and dominant series of the moment using this anthology format, apart from episodic television and whatnot is the VHS series. Yeah, sure. And I have to admit that I do prefer when the segments are done by different directors. Yeah, it, you know, is it more variety and you get to see how different people interpret a similar set of guidelines. And the other thing is that when the results are inevitably uneven, as is the case with all anthology horror. You don't lay it all at the doorsteps of one director but you can really tease out the strengths of sometimes like up and coming directors and so it becomes a way to platform and introduce audiences to new and interesting creatives in these sort of bite sized ways. And so just in spirit that's that that is what I always liked best about anthologies and insofar as that's missing here I kind of. You know, that's interesting because I have a big fan of horror anthologies and I would I want if I were to like, put them up against each other as far as the ones that have different directors and others that don't. I'd be curious which ones I look at and like overall more than the other. So that's, you know, it's like quite on is a masterpiece. Like, like, I don't know, trick or treat, you know, this trick or treat it does have like some really cool. Same tag for there too. We're all of the short or all the anthology ones here written by a king in Romero. They're all written by King King. They're all directed by our Maryland is different crew like there's different editors on some of them. But no, I mean, for sure I understand what Mike you're saying. Obviously, like my understanding is that. And it's I don't know which ones but as a couple of these are based on King short stories and then some of them are original screenplays. The, the crate and the lonesome death of Jordy Verro are our previous stories the rest are all original for this film. But they are all King stories. They're all yes they're all King stories for sure. Yeah, but some of them do originate from a prior time before this. Yeah, it's interesting to view this project in light of King's career because if I understand correctly this was his first four way for for a into movie making right. Really not carries. I mean it would be surprised but also like this is like 82 and I don't know I don't mean this is the first King. I don't like him like doing something actually getting like being involved in a movie. Yeah. Oh, I see what you're saying. Okay. I don't know the answer. So I mean, not for nothing it means we have a creep show as this obvious milestone to thank for him eventually going on to direct maximum overdress. There you go. Yeah, not for not everybody's favorite. Yes, that was a screen it was a screen rating debut was creep show. That's correct. And yes. Max. Yeah, Max would have certainly is a thing that exists. Well, great. You guys want to start about the opening. Yeah, let's get into it. So we got the prologue. Um, not a whole lot here beyond just the presence of Tom Atkins and Joe King or Joe Hill as he's now his credit director thing who plays the young child which is Stephen King son. He's not a lot here beyond just establishing this kid reads horror comics and his dad doesn't like it. Yeah. He's very 80s trope of like your, your dad yelling at you. This is a in the 90s. You would, this is the equivalent of George went yelling at my Cola Culkin. Exactly what music video. Yeah, exactly. That's exactly the example I thought of. Yeah. Yes, it is. I was like, oh, yeah, that's just like yelling at kids and be like, you're, you got to stop doing stuff like this because you're going to get nowhere. It's kind of, it actually irks me a little bit because the child is so young and his dad is like cussing him out. I'm like, what is happening here and hating. Yeah. Yeah. There's marks on his face. I was like, this is, this is a little much here, but, um, yeah, it might as like the physical abuse. It is, it sets it up pretty quickly. And I actually really dig that there's like a spirit at the window. Like this, this is the cool stuff. Like, yes, let eight year olds be talking to like weird ghosts in the, in the window. His name is Raul. The commentary I listened to with Romero and Savini this time around when I watched it, they informed me that his name is Raul. But is that like a behind the scenes nickname like Bruce the shark or is that his actual name in the, in the story? Given that it has no other real appearance in anything, I just assume it's the back, the behind the scenes name, but if you were to ask, that's like what they would call it. Yeah. Or there's an easy comic story that I don't know about about a skeleton in our rule. I don't, you know, either way. Yeah. The one thing I'll note is that the, that the boy has a lot of Godzilla toys in his room, which I was like, yeah, they actually show it like a few times. A few times. Yeah. I was like, this is like, are you like a Godzilla fan? I've been known to dabble. Oh, okay. Yeah. So let's move on to the first short, which is Father's Day. Just one last thing. Yeah. Like the opening, it really sets up the kind of the structure of the movie. Like he's throwing away the comic, but also you start seeing the panels animate and it's like, oh, okay, so this is what we're in for the tone of it is set pretty early. For sure. Well, actually, can I jump on to that? So I do like that style, the kind of comic book aesthetic in so far as like, I was, I'm not the biggest fan of every when and where they decide to use it. But the fact that they are, I like the fact that they're not just embracing the aesthetic of comic books. They're also like when you think about the way the kid gets his revenge, not to skip ahead so quickly to the end. The way he's spitting out the line like I'll teach you to throw away my comic books. It means to me that this movie by being so unabashedly pro comic book was declaring a sort of defense of what at the time would have been a subculture. Right. Yeah. And, and, and a subculture that, you know, I mean, the issue of stereotype would have been populated by do we be nerdy little weak links. I'm allowed to say that by the way, because I am one. So, like, to put it aside, people characterized as socially weak or like reading comic books instead of, let's say, playing football or something like that. That's an important social construction with regard to the sort of square jaw conservative male figures of the Reagan era, which is when this movie comes in this case represented by Tom Atkins, right. He's clearly signaling a sort of Reagan era conservatism and patriarchy and I don't know moral rectitude or something like that like he has that incredible line was like that's what fathers are for baby, you know. That that's the kind of Romero touch that, you know, I don't want to credit entirely Romero and see if it came as the writer but that's me as a sort of, where I see Romero's social critique combined with the sort of topicality of the, of the 80s. Which is when the project, you know, comes out. Yes. Yeah. I mean, I kind of touched upon that very briefly too. And I was like, yeah, this is like Nancy Reagan basically like rap music is bad for you. And it's like, yeah, okay, all right, I get it. Like, people are very conservative at this point. And there's a lot of figures here that are representative of exactly what you're saying with Reagan 80s. Like, I always, I'm always looking for two things in the 80s movies, red scare stuff and Reagan. And so it's like, Oh, cool. Well, this one the Reagan one. Although we've been on the pub. We've talked a lot about just another 80s trope, which is body horror, right, with the AIDS epidemic and press. So, yeah. These are entirely fair points from a thematic level for sure. I do think the stylistic choices to represent a comic book are quite well executed as well. And not only because I just like the way it looks with the colors and the camped angles and the even the framing choices and aspect ratio stuff or what have you. But I just, there's not other movies really like it at this time. There's, you know, there's not many movies that are adapting comics or adapting the aesthetic of a comic book. So openly like this later on. Not so not so angry is Hulk. Am I right? Honestly, in terms of how aggressively comic book it is, like, it's like Angley's Hulk and like Walter Hill's directors cut of the warriors that are like the clowns. The actors cut of the warriors that are like the closest to something like this. And the fact that that's true. It's it's wild to think that you look at all these other comic movies and this would know this thing has so much life to it just because of its stylistic choices that I can very much appreciate. You know, if there's clumsy executions of it in some cases, I, you know, the fact that it's setting a certain bar that just didn't exist beforehand is what makes up for it for me. Do you, like, I'm sure that there were anthology horror films before this. Is there anything that you can recall that's like mainstream popularity. Main street popularity. I mean, there's just, there's a lot. I mean, it's a, it's not an unused genre, like the anthologies and you know, in terms of the stylization here like that's unique. Because I'm thinking of like the original tells from the Crip where like tells in the Crip there's the house to drip blood. There's why it's on already. I mean, these things go back to the 40s. I mean, you know, anthology films. There you go. All right. So now can we move on to the first story here. Hit it. We got Father's Day. It's about a wealthy family that have the kind of. Yeah, exactly. Well, if you have what exactly. Yeah, I have a kind of an annual celebration of the day that their father was essentially. Murdered, like the grandfather, I guess, or is it the father father? I think it was like the patriarch, right? It's like the patriarch was was it's an open secret that the patriarch was basically murdered by the, by the wife. And now they kind of celebrate that day as they all like, I guess like got, you know, got rich off of this like they all gained from it. This, among other things, a short note will be features Ed Harris, who is, it's right before the right, the right stuff made him into a much bigger star. He's still pretty, pretty fresh here. He was in Georgia Romero's Night Riders when he was pretty much unknown. He was the star of that film though. So he already had a relationship with Romero and he also dances and it's amazing. Yeah. But yeah, there's a celebration going on and eventually the father in question breaks out of his grave and wreaks revenge. Right. Yeah. He wants that cake. Yeah, exactly. Cake with the guts colored frosting. I, I, I enjoyed the, the makeup effects of this one. I mean, we'll talk about another makeup effect was like Leslie Nielsen too. But the makeup effects here, I enjoyed it. I actually really dug those like, hey, I wonder if that's a guy that they just like put a mask on. And then like go it up the mask. Cause I was thinking very slim, but also maybe it was just all animatronic or public tree. It's a, that's very much a costume when the person they chose to be inside of it is chosen because specifically he is very slim. Okay, there you go. You're right. Doug Jones style. Doug Jones style. The person that chose his name is escaping me at this moment. He was in it for the most part except for the scene where he has a bunch of maggots on his face. And he was not willing to do that. So they had one of the, one of the women on set actually was willing to happily put that on and deal with the maggots and whatnot. I was obviously, you know, in time mentioning the makeup and the effects or what have you Thomas Evini is all over this film. This is huge for him. He obviously he's worked for Merritt before on Don of the Dead. He is just coming off of Friday the 13th, which between that or work with Merrell made him perfect one of the biggest names and horror in that regard. We were born too late. We should have been born in like the 70s still around. We could have been made like terrible like gooey like gusher style masks and then cool horror movie. Not for nothing you know where you can spot Tom Savini. I figured months are Palooza. I'm saying we should go go there and get them on the show. That'd be great actually. Any thoughts or notes on Father's Day. I mean I do think it's the weakest of the five. I don't know what the overriding theme is like that evil lurks beneath old money or that wealthy people are assholes like I don't find that especially engaging. Especially when you have short form storytelling which means you have to resort to easy archetypes rather than complicated personalities. I think I think maybe that speaks to a larger critique I have of the whole project because if I'm being uncharitable I think it's valid to argue that a lot of this is really derivative. And so I mean I guess let me put it this way because I mentioned earlier that the film deserves credit for inducting younger fans into a lifelong relationship with the genre but I feel that that also cuts another way which is that the downside is that I've caught myself wondering as I was rewatching it, you know, how much appeal does this film still have for horror audiences above a certain age. Being introduced to it for the first time, because it does pull some punches and I wonder if it's appeal is inherently limited because it doesn't really work as satire. It doesn't seem in my reading of it doesn't seem to be any sustained effort to aim it toward satirical ends. It all ends up being one dimensional. And that's kind of a critique I have to varying degrees of all of the segments but this is the one where I feel it the most. I do like that there's a kind of a neat transition between the frame narrative with Tom Atkins and this segment, both about abusive fathers. Terry's into the next segment actually a little bit with Stephen King but in a smaller way. So, yeah, I mean those are my my observations. Do you really like Ed Harris. How he dances is a little bit weird but also just there's a moment the way he likes a cigarette is just his jerky movements or so there's something off in bizarre bodies body language that's kind of fascinating to watch that he's making some choices there. And I think that's I mean you've already mentioned that like the notable names do stand out and I think they stand up for either not because they're recognizable faces but because they're actors of certain levels of acclaim. And that means they're going to give certain kinds of performances that you might not see otherwise but they certainly feel like something that's as committed as they would be in other projects. In reference to you, the kind of short side and as you see in these ones among other shorts. I do think that's that kind of the push and pull that comes with making an anthology film that is an excuse the idea of how effective they are, you know, in the moment or what have you but I, when I see stuff like if you're talking about like the appeal of a film like this, especially the younger audience, will some of them be searching for meaning of the shore, but I do think the aesthetic alone is a big appeal of this as a whole as far as what it's doing with simply with use of color. I mean there's there's a lot of I think style on display their America's going for where it might be short sided in some areas as far as finding deeper resonance and what the what the overall story of this what 10 minutes segment may be but I do think the that it's after her directorial standpoint, I think it is can be quite effective a be already mentioned the the creature effect that takes place here. Yeah, like the patriarch doesn't necessarily dominate the story but I do think it's memorable. Yeah, what I like you mentioned this earlier and not that we're going to go in circles all the time, but it is like a nice all the TV glow type of moment where, you know, I think as a child you'd be like, oh, this is actually like kind of weird and fascinating and kind of disgusting too. And I it's pretty cool. And then as an adult watching that I'm just like, Oh, yeah, I've seen other types of things. You mentioned this terrible approach of things and yeah, I can definitely see the studio approach of the weekly editions of of a shows from the craft where it's like, Oh, yeah, you know, they're talking about like the way that your greed can lead you to do stupid things for for something like that for like a person or and or fame or whatever the case might be or searching for friends of youth and the group keeper kind of like is very like on the nose with like his puns and like his jokes to and this one doesn't really have like a storyteller necessarily. I can hear what you're saying from like this tunnel. Not an evenness but not a not like a stamp of like yeah this is what King was trying to do is like just trying to make fun of everything that he grew up with but kind of seeing it in two lights. I certainly see where it becomes like a pretty engrossing type of short so that you get enough scare if you're eight to like 12. But then yeah growing up you're like, Oh, this is kind of kind of tame. Yeah and I think that the tunnel because this is I was invoking VHS right I'm not saying those films are, you know, excellent or anything like that but but they there's always a tonal unevenness to anthology films and it's less excusable when they're all done by the same person. Sure. Okay, because it's like well you had this package project you knew you were going to direct all of them at once and so the tunnel inconsistencies are just sort of a bit more jarring to me was opposed to a VHS from like well that last segment was terrible but then again, you know, it's a completely different project from the previous one. So, I guess in my eyes, I think having the same director means the tone generally sits in a pretty even level throughout because I don't find creep should have much of an imbalance as far as the kind of fun it wants to have. There's perhaps because you have different characters or different agendas, there might be a difference in, you know, objective or gold but like I, you know, watching it as recently as I have, I can't really say like one short felt significantly different than the other in terms of the I mean, the Stephen King one kind of stands out in its own special way because Stephen is a very special kind of actor, but outside of, but even then I do think horror comedy can be applied to every single one of these shorts and something. Yeah, I should I should retract what I said I don't think I meant that creep shows tonally inconsistent, but the level of engagement I found on a story level on a thematic level felt pretty varied to me and I think that's fair. Yeah, I can see that. I think each of us, I don't know if we would line up but if we list if we ranked the five segments right father says not coming into his place. I would agree. I thought father's place is not coming to the second or third place at it for me. I, but I could agree with I know that's, I really think it's the weakest because I'd hit again at her stances. And that's the only reason to get them passed, but that I think that single hand only saves it from the bottom for sure. Okay. Any other thoughts I'm on to say we can move on. No, let's keep going. Let's go on to the lonesome death of Jordy Veral. Jordy Veral played by Stephen King. Mm hmm. He is a simple to who lives on a rundown farm. He's right next door to Vincent and Afrio and men in black. A meteor crashes down in his field. And he's outside. I'm trying to remember his name, Edger. Edger. He's at the Edger farm. He's next to the Edger farm. Edger farm is one. Yeah, Edger farm is one farm over. He's a huge location. Like, you know, he's going to get a meteorite and then like 10 years later, it's going to be a spaceship. I found myself curious about this trope of like alien meteors landing always in rural places because, like, I mean, we don't have to get into this but I did catch myself wondering how far back that trope goes because it's a pretty durable setup. Yeah. Having a meteor land near a farm and be discovered by some good old boy, right? That's the, it's, it's men in black. Like you said, it's the beginning scene of the blob. Sure. It's just, yeah, it's just something in the culture that I give the killer tomatoes. Part of it's just by nature of how seeing this kind of stuff works, right? If you're in the city, there's too many lights. You can't see the stars. If you're in the, you know, you're out. You're out. You're on the farm. You can see it. Yeah. Yeah. I mean, you could just, you see things, you know, whether it's shooting stars or whatever it's like, you know, some, you know, imagination can take you places. Or there are in fact just tons of UFOs flying around in these various areas all the time. The truth is out there. There's a fact out there. Anyway, Steve, Jordan Verrell, he, a meteor crashes. He goes to collect it, immediately imagines that he can sell it in and make a whopping $200 and save the farms. But she got to do. He picks, he picks up the meteor. It's too hot. It burns his fingers. Yep. And so he pours water on it naturally cause it to split into, and then he's like, Oh, no, I've lost my $200, which has another flash back or another flash forward and feel like imagining what it'd be like, and saying that he's not going to make the money after all. Other things happen, but essentially the meteor causes green plant life to begin growing on anything that kind of comes into contact with causing a lot of issues for Jordy. That starts small of itching and move on to other things more dastardly nature. This short to me is, I don't want to say a masterpiece, but in terms of what Stephen King's doing here. It's so like far on the realms of brilliant and terrible at the same time that like I can't look away from it. Like it's this weird kind of car crash, not unlike the, at least the trailer for maximum overdrive, which is a little mini masterpiece in itself. I, I can appreciate how dark this thing gets. Yeah. It's just so wild. It's like the visual at the end there. The visual, it becomes pretty dark, but like it's still contained within like a comic book movie. And it has that kind of a vibe. It's very silly. And I think the key to it is no matter putting the king of it all aside, Jordy as a character. He's merely a simpleton, right? He's merely just a, you know, he, he, he, his aspirations aren't nefarious that he way. He's tried to do something for a certain purpose. Well, I think what you're, what you're pointing out is that there's something that sets this segment apart, which is that all of the other stories are structured around like poetic justice or revenge of some kind or something dastardly. Well, all of the people who have bad stuff happen to them kind of deserve it, except this is the exception. He's just, you feel really, he's not really hurting anybody, although I guess he fantasizes about earning a quick book. Trying to get rich. Yeah. But even then it's not like he's cheating anybody. Yeah, I mean, yeah. But like what air says for a purpose is like trying to leave the farm. So if you want to argue that greed is his sin, then fine, but the end of this. Yeah, the, the, the, yeah, the ending of this one is the meanest. It is. Tragedy. What also it like it, it, it punishes his own like willful ignorance, right, where he clearly clearly see that the more he touches stuff and gets it wet, it's going to grow on him. But he can't resist hopping in that bathtub anyway. And he's itchy, Aaron. But even if he, whether he's figured out that this is the problem where he's just, I don't know, like he reaches too dumb. He's still making a choice that says downfall voluntarily. What I like about this one a lot is that it's very contained in where it is and also what it's doing. Like, and it. When I was watching this, I was like, Oh, this reminds me of like some R L side book that I read back in the day where the daughter does, or the father is doing an experiment on grass. And then he becomes like a grass person and then, you know, just morphed into like multiple grass people. But all this to say is that it is very. I enjoy that it is a story that gets a pretty big arc like it quickly gets wildly out of hand with the rate of growth. And I was like, yeah, this is actually pretty fascinating. Just from the standpoint of like, we used to think that we don't like these, these meteors I would crash on earth like, Oh, well, you know, they've probably got like weird magic powers. Like, you know, the concept for Spider-Man, the sim, I'm trying to use like the venom term of the semi-hoot. Yeah, no, but do they say it weird, right? Well, only what's her name? The first one. Yeah, Jenny. Jenny's late. Yeah. She says, symbiote, symbiote. But I do like that it's it again exponentially gets more crazy with the growth. And like what you're saying, keying himself as acting in this. He just becomes more like erratic, but then it like it is really sad. What happens to him? I'm like, first of all, how do you even how does it even see out of like the growth of all this like weird green grass. And then that's a cousin. It's an area. I mean, you just don't have to imagine it works. And then, and then like, how does even know like where the shotgun is? It's how you live it too. It's pretty intense. They're just like, Oh, they actually do show like the effect of it. But like, Oh, shit, this is pretty sad. But you have to think about this guy who in the, this takes place over the overnight, right? It's, I think it's like over a couple of days, right? It's like a night. Is it a night? Pretty much. I'm frame and just think about this guy out alone in the middle of nowhere. Yeah. Who is encounters this parasite and he realizes, even in the course of one night, that I don't have the resources and I don't have the, the, the means to go and get this looked at by an expert or to address this or seek help. I have no choice but to conclude that there is no future in this for me. So I might as well kill myself. Like, there's something deeply. It's a real, the thing or a real, the fly scenario for him. Yeah. But you're hitting on, you're hitting on more capitalism stuff here, Mike. But it's like, Seth Brando has someone to at least sort of see him sort of conclude. And Seth Brando is like a scientist, you know, but there's still a self realization that there's no further they can go that would like benefit them in any capacity. And both feature shotguns. There is, but there is, but the fly is a love story and it's also about someone who is the victim of his own hubris in a way. Sure. Yeah. And he is just alone for the entire thing. And he finally comes across something that he thinks will maybe raise his lot in life a little bit. And he gets it wrong. But then, within 24 hours, he feels he has no conclusion to draw other than I need to end my life does. And I don't think these parallels are too far away. I mean, bundle things that, hey, I have super strike that I can climb on. Well, I mean, you can point out the things that aren't, I'm not saying it's a one to one, but I do think the conclusion they reach. Or very, you know, regardless of which genre it entirely falls into, there's certainly a similarity there. Sure. Yeah. The segment is a little messy and Aaron was alluding to this, but I do appreciate. So midway through he has this like vision or there's an apparition of his father, right. I, I like on the hat. Or is it in here. He sees him. Okay. Mr. Remembering. Anyway, you got it. What I appreciate is that that moment in the film does plug the segment into the overriding logic of the other segments because all of them are to some degree or another. About abusive relationships in some fashion. But what I didn't like is that it's not clear to me what's justifying the ghost of his father to pop up because in the other. Well, in other words, it's not clear what's motivating this sort of momentary nod to the supernatural when the segments clearly rooted more in sci-fi. Well, I mean, it could just be in his head at that point. I mean, it could be, but I think if you want to, if you want to like extrapolate off the little bits of information we have, it's a rundown farm. I could, I could assume that Jordi inherited his farm from a father who is probably more successful than he has been. And now he sees the spirit of his father constantly doubting him because he's an idiot and brewing the fucking business. His business turn up company didn't turn out the way he wanted to. I mean, he could have been so impressed. All of that backstory. Only say extrapolating came up with that one's like five seconds. I mean, I don't think it's meant to be that deep as far as the extent to which you're extrapolating all that makes me really want a Jordi movie. Well, okay, that's where we're leaning towards it obviously. The life and times of Jordi War barrel, which works backwards at night Shyamalan experience. That'd be dope. It's like it pulls like a memento, right? We start at the end of the green scenario and things like that and move to the beginning. Well, he starts out as the Grinch and then he turns into a human. I you're talking about like the the Stephen King, you know, father stuff is like that's very apparent in all of his works too. It's like, whether it's like the body or the movie versions them I mean, or, you know, the striking where we don't want to get sued so it's the shinning, but there's a lot of like father. Some relationships that are rocky into tumultuous. So, yeah, good call out there. We've mentioned, you know, where this ends with Jordi a number of times, but there's also the deep application that the world might be ending based on the end of the short. I mean, the green stuff is as we see in the comics, kind of like pulls out it's spreading more and more and there's nothing. Castle rock. There's nothing. And this is also the first appearance of Castle Rock and something. Oh, yeah. Yeah. First the first start of that. Yeah. And then we'll run with that, obviously, and when Rob Briner will name his production company after it's right. But I mean, by unless they, you know, unless we find some kind of weakness fire, maybe. I mean, the green. I don't know. It's it's it's heading down the street. I mean, it's it's taken over. Chronologically, this might be the last of the shorts. Yeah. Is it your favorite of the shorts? No. Um, but I. It's just it has it holds a special place for Stephen King's performance. All of his visual expressions. Yeah, yeah, the wackiest performance. I mean, he's handing it up to compensate for, you know, not being an actor, but it's always entertaining. But he's clearly not like it's not. Yes, it is. It's always entertaining. And I would like it's not. I don't think it's correct to just call it bad because it's a choice that's coming from someone that doesn't necessarily have the no. How in the same way that like Ed Harris does that we were just talking about who's also handing it up or the next shorts is a few people handing it up. But compared to someone else, it's like a non actor, like Conor McGregor and watching him in that roadhouse remake who I think is just a just terrible despite despite like being over the top and exaggerated. It also just doesn't register as like a performance to be just registered as like a guy that has no idea what he's doing, but is on camera. This, this I think there you can call a similarity between the two, but I do think there's something that's coming out of King that works effectively for this short in the way that McGregor doesn't. I mean, he wrote it. He knew he knew how to play it. So, well, he knew what he wanted to do. Exactly. I don't think I mean, I know he's looked back on this and he does it exactly have the fondest things to say about himself in it either, but he certainly was actively making choices. I'd be curious what direction he received from Romero and so for instance, hey, as you prepare for this character I want you to watch these films or these TV shows or something and draw inspiration from that I mean that's a pretty standard line of inspiration that directors give their their actors sometimes and I just that's a that's a behind the scenes conversation that I would have found pretty interesting. Oh yeah, I'm sure it's somewhere between green acres and Jimmy Stewart. We're like, you know, heavily hillbillies like, you know, there are tropes that we're sure. All right, well let's move forward. Let's go on to something to tide you over. Mmm, good pun there. Here we have Ted Danson is a given a knock at the door by Leslie Nielsen. Nielsen is aware that he has been having that Ted Danson's character has been having an affair with Nielsen's wife who's played by Galen Ross of daughter the dead fame. He essentially convinces he gets him to go to the beach with him. Nielsen buries Ted Danson alive up to his neck. Yeah, and let's the tide essentially come in and kill him while also informing him that he already did this with the wife a little bit earlier. And then, you know, rejoices and accomplishing what he had, which includes celebrating the by watching video footage of the murders that he committed. Yeah, only to receive a form of comeuppance in the form of something supernatural. Yeah, if you want to know why this is my favorite of the shorts. I really like this one a lot. Because, because I like Leslie Nielsen in this a lot. This is a great balance of him being both the serious actor that he used to be. Yeah, and then the comic actor that he would become neither of those things are bad. He is good either way, but obviously he developed a very strong career in comedy. I think the him playing a kind of twisted character like this. It's like against type in terms of like, you don't see him really play this character, but in terms of his delivery and manner and whatnot. It's obviously not like this exaggerated comedy in the same way that his work later on and various spoofs and stuff would be. But I think it works well here. I think there's a timing that he has that plays well into this. I think the chemistry he has with dancing is quite good. And I like the like the stages it goes through to get to where it needs to go as far as understanding what this relationship is seeing what the kind of almost Edgar Allen post style form of vengeance he goes after. And then like the turn it takes towards the end as far as how does this guy, how are we going to not let him get away with it. All of these things I think are really quite effective and the effects work is just cool. Yeah. What do you like, what do you think of this? I don't think I could have said it better. I'm just sort of nodding my head at every, everything you said, and I think I would also rank this my favorite segment. Based mainly on the pleasure from watching these actors, having it up, right? Especially Nielsen, especially Nielsen as the sort of grinning psychopath. I also think there's some stuff in here toward the end of the segment that I thought was really well directed, like when the ghosts are coming back. There's like a couple of shots that are of the fish tanks in Leslie Nielsen's house and it's coming around and it's all very nicely done and evocative and moody and it's a really effective sequence, even if the, you know, I didn't find it scary or anything like that. But in terms of sort of constructing a crescendo that builds up to kind of a big reveal. I was like, yeah, this is, this is good direction. I went to piggyback of what you're saying. I think this one works the best as an homage to like 50 style horror. Like if you take away the visual effect component of as far as the makeup and stuff, because I still think you could make a film like this or sort like this or a comic like this in an earlier period of time and get the same kind of effect where like the following one, the crate. And I think that's a very 80s film, whether or not that, you know, works in its favor or not. I do think that one fits more in the time that this made movie was made compared to something that tied you over, which feels like a really, like a throw, like a throwback. I could see this on a Hitchcock Presents or Twilight Zone and the same way I could see it in this movie. Yeah, like I think I did get a synthetic silliness from it too, but I think what also added to some of like the, the quote, quote, fun of it is like the way that they just decided to use like Dutch angles. And it's like, Hey, let me, let me film this like an old, like, nor like something bad is happening. And you hear like the crescendo of music like that, and it's like, yeah, they're kind of just having some, some fun here. I do, again, enjoy that Leslie Nelson is a millionaire, basically a really rich guy that gets away with murder and has like this weird Dexter type fetish of recording people dying to. And then again, getting his come up and so there you go, rich people. You can't get away with everything. It's so interesting that, you know, when Aaron, you said this is the one that feels like like almost like a throwback because I actually had the opposite feeling like this is the one that felt the most 80s to me. And I think, yeah, to be fair, I think we're talking about different things. I think that sort of structure of the stories like absolutely this could be a Hitchcock Presents, but there were details in this one that made me think it's the most of its time. And so a couple things like one thing that occurred to me is that this is the third segment in a row that involves the ghosts or supernatural creatures or whatever who speak in this sort of distorted electronic voice. And when you put this in line with like carpenters use of synth and things like that. I don't know enough about this to speak to it, but it seems to point to the increased use of sort of electronic soundscapes in these distortions in the genre to produce uncanny effects. That very sort of of the decade. Sure. Just sidebar. I also think the Geordie segment could work as like a 50s body snatchers type. Yeah, that's, yeah. You put that on as a short before the blob starts. Yeah. But the other thing, though, is that can we talk about the set decoration of the beach house? Yeah. Sure. Because this to me is the is both the kind of the film strength and its weakness because it's entirely Japanese. And what that does is frames the Leslie Nielsen character as some kind of like unexplained Japan file. But that's significant because that's the like the origin of evidence that explains his obsession with consumer technology. Because of the juggernaut in electronics that Japanese manufacturers were at that time. Sure. I think it's a shortcut to saying how rich he is, I think, as well. Right. So, so, so along those lines, right? The, the use of these sort of top of the line electronic products combined with the wealth and ability to customize a beach house in this manner is the window, like you say, into his class privilege. Or what class privilege would it look like at the time? And so there, that's where I consider the film has a strengths and weaknesses because there is a hint of satire or class critique there. I mean, I think there are class critiques going on that you could credibly apply to all of the segments to varying degrees. But this is the one that has that interesting sort of extra cultural component to it. But again, it doesn't really work for me because it's just too subtle for them to make anything all that meaningful. Sure. I mean, that's what I mean when I see like I see a lot of 80s and it's going on in the kind of design of the thing, even though the skeleton of the story could work. Yeah. And that's what I'm speaking to, obviously, as well. Like, you know, there's a structure and like, I mean, I, I hear what you're saying. Can you, I mean, are you just, I don't think you're just saying it's like an entire detriment to the movie that it makes a choice like this. But the fact that does make a choice like this, I do think it comes from both. Well, you have production designers that are going to match what the times call for. And it's like you get a basic character idea what Neilson is and they'll come up with ideas and a mirror will say yes or no, or what I. But like it is the fact that it's not willingly trying to explore that really an issue. I mean, if it's certainly, if it's implying things within a sketch that's the third within an anthology. Is it the basic notion that that could be on the mind, it could be something to explore in the eyes of the viewers and that worthwhile to begin with? No, I'm not, I'm not saying that, you know, the film needs to be judged by the criteria we would give a longer form story. Because you do have to take, you know, you have to compact things a little bit, but I opened our recording today by saying like yeah, this movie's fun but I think I think I called it like a light meal. Yeah. No, and so these are the places specifically in the film where I think like, oh, I wish I could have gotten more out of that or like still a little hungry with this one. Oh, I guess, I guess we're moving on to the next one right so these are the specific places in which I feel like not that I feel cheated because the movie is doing what it's doing within the sort of short narrative frameworks, but that's like, ah, you were just on the verge of like a critique that I felt that I could have made a meal out of to follow that metaphor. I area so like if you're adding up these things it's like why does this one only sit here versus a higher like okay like that. That makes sense. Mm hmm. Um, what else about this one? Um, Sam Malone. Yeah, looking great. Yeah. Probably before his faithful injury. It's like. And then he had to go 10 barn Boston. It is, it is a young, it is a young Ted dancing. Yeah. Um, and I think he, uh, it's what like the, you know, obviously like Neil's it is like the overall villain here as far as the action's taking place or whatnot. Yeah. I do think it, it does good balance with dancing as far as like, yes, he had an affair with this guy's wife, but he's all, and you else, you know, I don't necessarily think he needs to die. But you still have to make him like not slimy, but still like confrontational enough where you can buy the kind of arguing that would ensue between these two people. Yeah. Um, I agree that there's got to be like a slam ball. Uh, so that you can kind of just be like, Oh, well, you know, like he didn't kill an innocent guy, kind of thing. Um, but I, one of the things I really like about this sketch here or this particular short is, um, the blood packs. Uh, that, that, uh, explode when, when, uh, uh, Leslie Nielsen issued people in the face. Um, and it's like, yeah, I dig that blood, blood work where it's just rushing out of their head. Um, it's very Romero. Uh, so good work, uh, to the effects team and the, the, um, the costume design. Yeah, they're, they're waterlogged zombie forms are quite good. I, I enjoy looking at this quite a bit. And I enjoy that the film embraces that by giving filters of blues and greens and whatnot. Yeah. Yeah. It's a very, very beachy, beachy short. I also enjoy, uh, in any movie when you think you've closed the door and then the camera pans and the, the person is like right behind you. Like, how did they get in? Cause they just, they just teleported. I guess they're creepy. The waters. They use ocean. Yeah. They use ocean powered to like go underneath. All right. Well, Leslie Nelson, he then goes on to have an unremarkable career. This, this one has a punchy ending too, cause it ends with on a, on a gag, right? I can hold my breath forever. I can hold my breath for a long, a long time, which is in contrast to the previous one, right? Which ends kind of in tragedy. I like that he succumbs to his madness in this one, but that's fun. That's a fun way to. And good effect by the way, when dancing's literally underwater, that, that's, that's just, yeah, where they show him his head is submerged in water. And he's, you know, drowning slowly. It's like, that's not an easy thing to do. I'd imagine for an actor to act that way. I mean, Tom first can do it. He can hold his dress for 10 minutes, man. Yeah, but when's let beat him? So Tom Cruise will wimp. That's what I'm saying. Next short, next short, next short, next short is the crate. A janitor discovers an old dusty crate in a basement in a stairwell at a university. He calls a professor to investigate. Professor, there's a, then another representative involved and that's, but he's played by Hal Hallbrook. Hal Hallbrook has the worst wife played by Adrian Barbo. Amazing performance. It's amazing performance because from, from all I can understand, Adrian Barbo is like the exact opposite of this person. So like she's really going to town. Yeah, so she really like chose a character. There's this horrible shrew of a wife. Yeah. And Halbrook, he imagines elaborate ways of murdering her on a pretty daily basis and it's understanding. Pretty graphic. It does too. Based on like the 10 seconds that we initially spent for, it's like, yeah, I get it. But eventually they begin exploring once in this. They eventually make it explore what's in this crate. It's something dangerous. Right. It's referred to as fluffy by a Romero. So maybe. What? The character's name is fluffy. Fluffy. The creature. The creature in the, in the, in the crate there. But that's like another like behind the scenes kind of thing, right? That's like a role. Okay. Yeah. Over time, characters more and more get close to the crate. Things happen and they're bad. Great. Right. Monster eats them. Halbrook develops a scheme where it's like, oh, I got my wife near the crate. Then maybe I can take her in that situation too. It's a launch. Yeah. Thinking like an academic. I will say this is my, this is my second favorite of the, of the, of the shorts. I, that comes down to this is the most effectively. Horror filled short for me. It's the one that comes the closest to being like a straight up like there's. Scary stuff. And if there's, there's good tent, there's good suspenseful pacing in this. There's good stuff with how Halbrook. You know, trying to lock the crate or do things that, you know, play on. Knowing that there's something in there that's dangerous. That could attack me in a moment. There's a lot of like stuff like that that thing works right. Well, and it's a short featuring how Halbrook and Adrian barbells like he does. It does get as good things going on in its favor already with, with that, in that respect. And also just like the, right? It feels like it. It is the longest. Just feel longer. Yeah. That's why I think that's why it's my, if this, if it was a little tighter, this might have been my favorite one, but it is the one that like. It feels like, it feels like the showcase short of the bunch as far as like what it, you know, star power along with like an animatronic monster and things like that. Like it feels like it's. And it also has the most fleshed out characters. Yes. It's like it feels like this is the one you're building up to, which is why it's. We'll talk about the next one next, but it's like, you know, right? Mike, wait, where are you with the crate? Um, I like this one. Probably for the same reasons. And it's, it's got the most fleshed out characters. It's finally got some decent gore in there. If you've been sort of sitting around waiting for it, you know, um, it, it nicely for me. Anyway, nicely follows the last segment because you really start to get this compacted impression of how the project, the creep show project is really about knowing how to cast people to play against type and then let the. Yeah, a lot of that. You know, that's the nails, uh, Nielsen has a villain and how Holbrook is a villain and, and that gives it spirit to things like, maybe you've mentioned in tales from the crypt or even Alfred deal for Hitchcock presents stuff where you get, you can get like big stars for small periods. Right. Yeah. And it's also kind of a fun gateway because you, you balance the pleasure you get out of watching recognizable actors, having their fun with it to counterbalance the, the really deep cynicism. About relationships, particularly in marriages but also parent child relationships that permeates the whole thing right so that kind of bitter pill combined with just the joy of watching it all unfold is I think nicely in balance. You know, throughout the project but I feel at the most here. If that makes sense. Yeah. So I like this one, I would probably rank it below. Tied over for similar reasons, but this is a says this is one of the good ones. Yeah, I like it too. And I like it because it has a lot of things going on. It does feel one of like the more tense ones, because of this box, you know, this kind of like room under the stairs type of situation. Which is very like Stephen King, West Craven type things. And then also just as a child, you're just like, Oh, I don't want to go. I've been told that, you know, if you're walking, somebody can grab your ankles kind of thing. But there's also like this conspiracy with how Holbrook and like the professor dude. So they're kind of like, they know that there's like this. Monster creature that they're basically trying to hide and keep to somewhat their advantage. So there's a lot going on here. And honestly, like I think that this is the way that you guys are describing how Holbrook daydreaming about murdering his wife. And then you seeing the short and you're like, this is this is pretty vicious. Like it's pretty crazy, just like he just pulls out a gun at a like a dinner party or luncheon and just like, Hey, let me just like imagine blowing my wife's brains out. And some guys like, nice shot. Fucking what a fucking asshole these guys are like his whole imagination is like, let me, how do I kill my wife. And I, you know, not to get crazy deep into it was like, yeah, I guess that this is one of those like, I don't know how to deal with my relationship with my wife. So the only way is to like to end things in a very severe way is like, all right. I guess maybe just like get a divorce or something to that would also be helpful. But it's not that easy. Oh, yeah. It's an 82. Yeah. So it was not easy. You can't just get a divorce. Yeah. This is family values time. It's true. Yeah. Yeah. That's right. Everyone was checking out on their kids at nine o'clock. I, I do like the monsters wisely shown sparingly and never in full. You know, we get a face. We get claws. We get stuff. But we'd ever see like, you know, they treat it like alien. Essentially. Yeah. Or it, it has a level of restraint there creates more tension that way. But the, you know, the few money shots we do get a fluffy. I think work. I don't think it's like the most terrifying thing I've ever seen. But in terms of there's a crate, there's some kind of monster in it. What's that going to be? When I see the thing, I'm like, no, no, that's a big monster. It just does the job. It fits in the small little bit of crate. Lot of tea. There's also a cheesy B movie quality to it. For sure. It was completely deliberate, right? The creature feature. Yeah. Well, they're leaning into the kind of the comic absurdity of the whole thing. So to have a genuinely terrifying creature, like, I can see a discussion. They had it early on and says like, that's not really the direction we want to go. But I mean, they named. Right. You wanted to be kind of goofy. I mean, it is fluffy when you see it killing his wife. It's not, it's not fluffy. I do think that's the balance though, right? Mike, I think the, you know, the film's vibe is fun. And, you know, you want it to be menacing, but also kind of fun and fun. And I think it has that quality in the same way to think the, you know, the Father's Day skeleton thing works in that regard and the, the results of something to tide you over have that regard is, you know, there's a, you know, there's a, you know, they're squishy, but they're still, you know, they'll bury the sand. And this is not a critique, but I feel like the skeleton creature in Father's Day or the waterlogged corpses in some tide you over. I feel like those makeup effects would more or less look the same in a straight real horror movie. Okay. So it's the one that looks like, okay, if you really want it to be scary, I, I don't know that you would design it the exact same way. That's fair. Yeah. That's all. Yeah. Yeah. I mean, I think the, like the zombies, you can put that like thriller, the music video with the door, which I think walks a very fine line of being both scary and meant for the purposes of a sensational music video. It's, it's, it's a tricky avenue to be down, but I think, yeah, not, not to get too far if I didn't change it with thriller, but like the sound design is very good. And that when you're hearing all the, um, like the rocks and like all those, uh, tombs shift, it's very effective. Oh, I, I've, I've written a whole article about how I think thriller is one of the best horror movies of all time. Um, you know, who agrees with you? Vincent Price. Damn straight. It's a late Vincent Price. Next one. Oh, more thing. No, I, I. Aaron, do you want to go first? Go. I was wondering watching this. And I mean, this is revealing my own biases, but I was curious the extent to which this segment was also a critique of academia. Because how so? Well, because Romero is always interested in sort of social structures and class structures and things like that, right? Um, and I don't, I don't think they specified what their professors of. Um, I'm kind of intrigued though about the idea of these sort of old school male professors who specialize, I don't know, presumably in their, their authorities and old and ancient topics or literatures or something like that. And so, so in a sense, they're the establishment, right? Like the capital E establishment in this project. And then to have these people coming into contact with some ancient artifact that they can't explain or control feels really thematically in, in line with or like where I sense the sort of Romaro-ness of it all. Um, so I don't know. That's just a response I had. I mean, so in that sense, the story is well constructed in the sense that the nature of the horror matches the setting, right? It's sort of an ancient thing that cannot be explained being discovered in an institution of education and knowledge, which is all about explaining things and making them understandable. And so to have your McGuffin be something scary that emerges in that. Um, and, and is particularly foul and offensive to that particular setting and circumstance is, uh, it was kind of interesting to me. I mean, that, that effect is maximized, I think in the last segment coming up. In terms of. Yeah, I've got a lot of say in the last segment for sure. But anyway, so that's, yeah, it's just from my academic perspective. I, I found myself thinking like, should I be offended? Well, you know what Indian agents say it belongs in a museum. And I mean, if you, if it's kind of, if it's one thing that's going to stop you from wearing, um, you know, jackets of padded, cholt, uh, elbows. I mean, those blazers and sports ghosts are beautiful, Aaron. The, the costume design in here is actually really well done. I actually dug a whole breaks. Just look at the, the legend. Yeah. There's a, there's no scarf, but he's doing the job. I did wonder about Raiders of the last scene of Raiders when it's just giant warehouse and it's just a guy, right? Because there is the sense of. No, if you, if you look around, you might find a crate just sitting in some random place that, that, that you're tempted to open because, oh my God, what kind of treasures am I going to find? And it turns out to unleash some kind of unthinkable evil from God knows where God knows when. Yeah. I mean, that kind of speaks to, uh, the whole tower read factor too, right? So I'm, uh, I've got this crate. I don't know what it is. Or if I do know what it is, I mean, even in Raiders, like, yeah, the Nazis are like, oh, this is going to give us ultimate power. And then in this one, it's like, well, you know, you open Pandora's box. You're going to get bit. Well, I do that interplay because you think, okay, well, an artifact of this nature in the hands of a scholar would be a responsible, uh, steward of that information, right? Because we would think, well, one would think because we chose the university professors because they're there to provide knowledge and things like that. So you say, or scientists who are just in it for the science, not for personal gain. It's like, yeah, these are the things we want studying these things, which is why Indiana Jones has legitimacy because he's like, no, this belongs in a museum. Not being exploited for political power, right? He's, he's safeguarding the treasures of ancient wisdom and things like that. But then to have your two profess professorial figures, one of them is clearly sleeping with the students. And then the other one is constantly sort of enamored with fantasies of murdering his wife. Um, yeah, that, that interplay and that sort of switcheroo, I think is. Yeah, it's complex and it's interesting. Yeah. I knew that, um, scientists were in for it when I watched a gremlins and they killed the science teacher by putting a syringe in his butt. And then, uh, you know, we're back to Seth, Seth, uh, Seth Brundel. I feel like he was, I feel like the scientist was the professor, what he was dead before. And then the gremlins also like, and I'll stick, and I'll also stick the syringe in your butt. I think that was like that episode. I think the trouble, the trailers, the Simpsons were home or knocked out the two secret service agents and then he comes back to put one hand on his butt. And goes, he, he, he, he. And, and, and not for nothing. That's for university professors who secretly fantasize about getting away with murder, who amongst, be careful what you're going to say next. I think, I mean, in the regards to what you're saying, I feel like a movie like Reanimator really explores this in a lot of ways that's a whole lot of discussion for whatever, whatever happened to Jim's woods. Huh? No, is that, is Reanimator Jim woods or is anything? No, although the professor does have a resemblance to Jim's woods. Okay. Now I'm thinking of something else. Let's move on to the last short. We have their creeping up on you. Yeah. This one features EG Marshall, an actor I know precisely for three things, 12 Angry Men, the president and Superman II, and of course, the boss in Christmas vacation. He plays an erotic business tycoon that's very Howard Hughes like except better hair. And he lives in a white. He's rich as Howard Hughes, probably. He lives in a white penthouse and a skyscraper in some city. Yeah. He communicates to everybody via telephone. He's not the most pleasant of people. Right. And despite his desire to keep everything, I assume neat, tidy and clean. Cockroaches begin invading his place of stay and cause all kinds of mayhem for him that does not bode well for his future. Yeah. I've alluded to the fact that I'm not a big fan of this one. It's not about trying. I do think there's stuff here that works for me. And honestly, the having like with Romero having the, I guess, the world recently unearthing the amusement park, the lost Romero film that came out. That one does not like entirely one to one, but there is a lot of like cinematic similarity I found to watching aspects of that. That film with what this is doing, which I found to be intriguing. That one now there's entirely different objectives and what that movie is trying to do versus what this shorts trying to accomplish. This is like a body horror thing, essentially, where that's looking at like elder abuse and other things of that nature. But in terms of stylistically speaking, there's stuff going on here. But I just, I, you know, as any times I see creep show, either it's because I'm coming down from the highs of the crate and something to tide you over. Or I just don't find as effective as I think it could be. I just, I never really warmed to this one. All that much. Isn't it arguably the most relatable strictly in terms of we've all dealt with unwanted bugs in the house? That's fair. Yeah. And Homer Raven-esque. I also didn't like this one as much. I respected for the body horror elements, for sure. But I dig it for the thematic things that are going on here, which is like, great. I'm, again, this is not a super dig at ultra wealthy people, but a rich person and tries to keep it super tidy and clean. And guess what, he himself is filled with roaches, right? He himself is like this corruption, this, this. He's the hooky boogie man. Yeah, he's the hooky boogie man, like quite literally, right? But, you know, everything is like pristine and clean. He wants to keep it that way. He wants to run his business the way that he wants to run. I run my business the way I run my business. And again, at the end of it, you're just like, oh, yeah, you know, the, the ugliness was said, you all along. And here it is manifesting in, in various ways. And that's what makes it fun is just saying that aspect of things. But, yeah, as far as like a, a capper, not, not, it also reminds me of VHS where I think that Aaron and I, when we talked about it, I think that the capper was like, not my favorite in first VHS, which I think is like the vampire girl. That's the opening. Is it the opening? I forget what the third one is then or the fourth one or fifth one. But yeah, the last one, that's the radio silence one, I believe. And that's like a voice I've gone on to do great things. There's a lot of stuff. Yeah. But yeah, Mike, over to you. Um, well, one thing that we, I think Aaron's brought it up a couple of times, but. In terms of the, the overall movie is kind of really interesting uses of color. Sure. I mean, whenever things get otherworldly, um, there's always this interesting use of color to accent your fear in a way that feels very much of its era. And, um, and, you know, it's era. It's not the only film doing it around this time. Like I think a Suspiria sequences and that and things like that. But I, yeah, this segment isn't one of the stronger ones, but I do enjoy the art direction in the sort of the basic Nissan send of the segments because. So, so the Jordi segment has a lot of use of the color green. Um, and this one, it's the color white, right? Yeah. Because you need that space to be pristine and white. So you get that really stark visual contrast with the roaches. Right. Um, and, and that's a thematic contrast too, because of what Abe was saying, right? These are these foul creatures entering into the sterile space. Um, and that's just good visual storytelling, regardless of, of what the story is actually. Um, yeah, and I also, I mean, it does. Yeah, it's not great. It does tie a few things together that are present through the film, which you kind of want for a final segment. You don't want it to just kind of peter out. You want it to feel consistent and of the whole in so far as it is about. People in power who abuse those without power. It's also again about someone who's obsessed with technology. Um, yeah. Yeah. Yeah, quick observation though, I did wish that there's one other, there's a custodian figure who comes to the door and talks them through the door. And we see him from the other side of the door and I, I just, I wish that one shot. Yeah. Yeah. I wish that one shot wasn't there because then all of the side characters would only be represented through a voice. And the main character really would be the only person we were living in this space with. And I feel like that would have been more interesting to me. That's, that's the kind of stuff that like rubs me with this one where I do, I think the conceptually, there's enough here to make something effective. And even if I watch this on its own and not connected to creep, if it is like, watch this on YouTube, I probably feel like it's more effective even if I have my issues with it. Yeah. I think combined with the fact that this is a two hour movie that I think would benefit from not being a two hour movie. Yeah. So be, by the time I get to this, it feels like I'm kind of waning in interest. And yes, having little things where even if Romero or King remaded or wrote it differently today, they probably would have made certain kinds of stylistic choices or changes in the screenplay to like just, you know, get it that much better. That's the movie I want to see versus, or the short that I want to see versus what we currently have here. Yeah. And this also has another moment that along the lines of what I've been saying a couple of times, which is like, ah, you're flirting with social critique in a way that makes me want you to lean into it more, but you're just not giving it to me, which is that that custodian character. There's a moment he talks to the main Howard Hughes guy, talks to him in like a minstrel voice. Mm hmm. And I found myself kind of surprised by how racial that was because it sets up this hammock in that he's not just an exploitative corporate Howard Hughes type asshole, but he's a white rich exploitative corporate type asshole. And that's the kind of thing that interests me. And I can grab on to and debate and discuss and, and, and like now that I think about it, the kind of stark whiteness of the space. Yeah. Well, but, but once again, they don't really do much with it. And any analysis that I feel inclined, it's, it's my natural temperament to try to squeeze that kind of thing out of a film. It just kind of gets lost in the, in the subtleties. Yeah. I will. I would say I don't think that's by accident in Romero's point of view. Like, even if it's just a subconscious implant that he's going for, I do think there's choices being deliberately made in that regard. Mm hmm. That said, creep show too. Yeah. The batter one, huh? It has one specific shirt that does, I think, you know, it, which is still written by, by, by King in and Romero Romero. It's not directed by Romero. Mm hmm. Along with the lady in her car. The one, the lady at the hitchhiker. This immigration. Yeah. Yeah. And that's, and that one's served by Gornick, right? Who's like the cinematographer on this creep show. So, okay. But yeah, that one I think has a little bit of play in regards to kind of regards to written. Yeah. And that's, I mean, that to me is kind of what leaves a lasting impression. And I'm, I come from a rarefied circumstance in which I'm like, that's the kind of thing that I wish there was more of because that increases utility for me as something I would go back to and keep thinking about, but also maybe put it to use in a classroom of some kind so we can have a conversation about it. And it's also kind of what it points most to what I like about Romero and the other kind of 60s climate that he comes out of and the consciousness. And the less I get of that, the more a segment like this becomes just a question of like, yeah, bugs are gross. And that's not to say that the scares and the suspense aren't sort of formally and aesthetically presented in a, in an agreeable way. Like it's still the work of a talented director, but thematically, and like when you, when you drill down into what is really going on and it just leaves me with, um, not much to really grab onto. Yeah. And this one also feels, I think we all mentioned like a little bit shorter than, than the others as well. So there's just not a whole lot that they're packing in. Um, I will say that again, the make up body art effects. Really cool. Just the way that, that, um, the skin starts bubbling and then it just starts bursting. And you know, I'm, I'm sure that some guy was like, all the roaches were never harmed. You know what I mean? But there's like hundreds of roaches being shown here. Some of the real stars of the segment. Yeah. It's really cool. Just the way that like, Hey, I need you to make a really thin skin, like prosthetic dummy. And then we're going to shoot a whole vacuum full of like, uh, cockroaches through a hole and we need them to explode through the skin. Like this is really cool in, in camera type of effects. The, the, we miss out on these days. I will say the way they shot things back then. And back then, I mean, 82. Yeah. 40 years ago. I mean, there was, you know, there was certainly care, I'd imagine, before the animals, but not nearly as much as there is now. I know. I know. I know. For example, in like something inside you over, there's a crab that's pretty presence in front of Ted. Dad said, and then Elizabeth just kind of kicks it away from him. Nowadays, that'd be a fake crab. It's very much done a fake crab. It's a fake crab. They're probably. They didn't know any better. They're using the idea of keeping track of thousands of cockroaches. Yeah. I don't exactly think there's a lot of, you know, I was giving it a 21st century spin, but they definitely were just like, man, fuck these cockroaches. I, uh, you guys know me. I come at it from a certain angle. And I definitely feel like a broken record sometimes because I'm always interested in the labor involved and. Yeah. And then a relationships that entails. And so. Yeah. Yeah. Yeah. Well, I'm sure they had a roach where I'm going to get that many. You got to get that many roaches. I'm sure that they were like, Hey, how many roaches do you think we need? I don't know. How many? Yeah. Yeah. And a thousand. Back back and up to like your general way of taking in things and like what this movie's doing. I mean, again, it's not like a this puts it off the hook or anything like that, but. It is an experiment on the ends of. Remember when King as far as just what they feel like they can try to accomplish making an anthology film like this. And as far as like landing ideas. From a social standpoint. It's not like there's a lack of them in certain regards. If there's room for more. I mean, it's an anthology film, meaning right there presumably could be more anthology films to follow this one in the future, which then there was a creep show to and there was a creep show three and there's a TV series. I'm not saying they're all successful in what they're doing, but it certainly opens the door to. Having room to explore more in the future. Sure. And for a film like this, that's. You know, again, experimenting in a lot of ways in terms of its filmmaking style. What actors they could bring on? What kinds of stories they could tell or whatnot. And and really important kind of serve as a template for future anthologies, right? Exactly. There's plenty more that follow. That aren't necessarily show, but yeah. One on Netflix that del Toro was show runner for cabinets of curiosities. Yeah. But that one also had featured different directors doing other things. Yeah. Yeah. Yeah. That one didn't seem like it emphasized sort of guest stars quite as much, but. That's actually a question I had for you guys, which is, I wonder if you would actually would you able to entertain these high profile celebrities to get them to do like a 15 minute or short in today's environment? I may be given the. The right circumstances. I mean, yes, like I'm sure like, like Rodriguez could probably convince plenty of people to come in for an anthology if you wanted to. I mean, hell, that's what grindhouse is. That's literally what it is. I granted that's almost 20 years ago, but I mean, that's like 2007, but it, but like still there like in terms of that being a thing. Yeah. Actors like doing, that's why they do horror because actors like doing the chance to like be more. Outrageous than they normally are in certain kinds of things. Like attracted doing certain kind of genre things. It's just matter of, it's just matter of being able to sell an anthology these days. That's coming, you know, it's horror. So it's going to be generally a little budget. It's also more likely now than before, because there's so much sort of crisscross between television and, and film stars. Yeah. Before, if you're a film star, you're not going to slum it in TV. Unless, unless something has gone wrong with your career, right? But now it's, there's a lot of credibility to just doing a Netflix thing or. Yeah, I think I'm up with Aaron in terms of your, if you're a big star, you're more likely to do it because you have a relationship with whoever's directing or show running. I want to just pop in and have a good time, but. Yeah, I think. It would more likely be a streaming thing, right? Like, like a project of some kind and people pop in for a quick, quick bite at the apple. Well, in terms of like the likelihood of something getting greenlit like that. Yes. Like it's hard to imagine these days seeing a Warner Brothers wanting to get behind something that just doesn't sell the way it can't like we mentioned trick or treat way earlier. That film famously sat around in a limbo for years for whatever reason for his finally released direct video directed Blu Ray. Yeah. So I think I can see really high profile actors appearing in anthology type stuff, but I feel like it's unlikely to be a like a feature length theatrical release, right? It would be a streaming. Yeah, you're right. Like very kind to like some like, like Black Mirror where you have like all these. There's a perfect example of that. Yeah. Yeah. Yeah. Same with, yeah. And Black Mirror extends to things like Twilight zones and what have you that you're trying to recall or even. Did Peter Jordan Jordan peels? Did he have like a bunch of like cameo guests are people? He had guests in it, but not like, you know, major A list stars. But he's probably it's a lot of, it's a lot of people you recognize for sure. But it wasn't, you know, like I was the camales of like one of the first ones. Okay. Yeah. Which is very good. Thanks. You guys a question? Yeah. Yeah. So if you are in a room trapped in a room, rolling with roaches or whatever insect is most upsetting to you, like, like that chamber and temple do. My question is, so you're stuck, you're trapped crawling with bugs. Do you prefer the lights on or off? On. I would say on as well. Just because I got to give myself a fighting chance here. Yeah. So you can mount a defense. Yeah. Basically. Yeah. It's like, well, let me try and like sweep them away from, you know, this disgusting corner of the room. I mean, like granted, you know, but like my pet is a tarantula. Like it's not, I think it's really basing me all that much. But in terms of like the idea of something, you know, many people. No, I'm with you guys. I want the lights on so I know how to fight back and right. And if we're talking about roaches, just I'll fight back and just give me a basketball. I feel like that's all I really know. Yeah. Roaches don't seem like the biggest threat. Like the ones I'd worry about. Unless you're, unless you're men in black where it's like, you know, like that giant roach. Well, that's a. That's a. That's a diff. That's exactly. And he's got. He almost cut K's life into pieces until K got that a. That big gun and used that as the last resort. Yeah. It's unless it crawls in your mouth, in which case Papa Roach will cause suffocation. No breathing. Yeah. You'll be losing your life. Losing your mind. You'll wish somebody to tell you something. This is really heavy. This is really heavy reference to the episode. The one like, you know, like. Praying mattresses that I want to deal with. Because they got like, they little arms and stuff. They're like, you know, nasty. But there's that. I've ever thought of them as like. Like a multiple at a time. Like I've always been like, that's a fascinating looking. It is fascinating. But it also is like this thing feels like it has like shish kebab arms. Like ready for that. That's a. That's the. In my scenario, in my scenario, like these are like much bigger versions of any of the books. Got it. Okay. So instead of hundreds of. It's just like three big ones. I guess the question I should have asked is would you rather be. Stuck in a battle to the death with one. Horse size. Pray. Mantis or a thousand. Pray. Mantis size horses. Oh, yeah. Definitely the smaller ones. I feel like specifically as a prey. If it was a horse size. Praying. Mantis. Have you seen praying mattresses? They got these like big fucking arms with knives on them. Like I don't want to deal with that at all. Yeah. And I've seen them kill like murder hornets too. Yeah. Yeah. I don't think I could deal with it. I don't want to get. I don't want to get involved with it. They would be they would be the bugs from Starship troopers basically. Exactly. Yeah. And I fight those daily and the hell divers too right now. Like they're a threat. Meanwhile, like, you know, the only good bugs dead bug kid stomping on bugs. That's easy. You know, that's. This episode was sponsored by rain. Yeah. I mean, that's, that's like, you know, they Richard gear saw that in days that happen. Like that's a simple. That's a solution. Burn it. Whatever. Get out of there. You guys covered Starship troopers on the pond? No, actually. No, we have not referenced it like all the time. It's in that list of movies we definitely should have done commentaries for by now. You get on that. Yeah. We definitely should. That actually is a theme. We're thinking of the next year. The movies we definitely should have commented the commentary is. The final frontier. Yeah. Well, great. How does it, how does this whole anthology thing end out there? Oh, yeah. So we have. We have. We have a. Well, okay. First, the kid. Gets back at his, his father, Tom Atkins by busting out a video. Yeah. Like stabbing it in the neck of a bunch of times. Yeah. It's a weird, like, because the garbage guys come through and they're like, Hey, this one's missing or whatever. It's like, yeah, and then it turns out that like this kid is, is a murderer as well. So I don't know to take away from that, Mike. Well, the father was abusive. So he's being sent back to the father. Well, I was like, Oh, it'd be great if like the kid was rich. You're rich and like, see the themes of rich people getting away with murder. I didn't know that they cast Stephen King's kid. Yeah. Like the role. So. I mean, if Abe wants an analytical. I guess there's like a. A Freudian cycle analytical approach, which is that. The fact that you wrote this segment and then cast your kid as the kid. Sort of very violently gets back as dad for denying. Go forget the gleefully. Yeah. Evilly kind of attacking his own father for the sin of denying him his pleasure and sort of living his life in comics. He could say that. Okay. Well, Stephen King is clearly lashing out at his own conservative upbringing vicariously through this casting choice. Right. There you go. Oh, perfect. And to be curious, the garbage men do come and find the creature comers. The garbage men are played by Marty Schiff and Tom Savini. Both involved in obviously the production of the film. Yeah. And that's fine. They will later get out on their own spinoff and then they get played by Emilio Estvez and Charlie Sheen. Yeah. Men at work, of course, but the garbage. But I believe do return in the creep show, too. Okay. So the recurring characters. I forget it. Is it still both of them? I haven't had some groupship too. You have to go to that. I can't find it right now, but I know it's house of eighties for short in creep show, too. In the wrap in the wrap up around stuff again. Yeah. He's the, the demon character. That's right. Yeah, there's like a demon. Yeah, it's been a minute. Watch the like the creepy. And he's unrecognizable under the makeup, but yeah. I don't think he plays the garbage man. Yeah. But it's, I felt as though I was like, Oh, that's the, that's the, the book end is just, you know, I like the part with like the comics still being in the trash can thing was like, that's a, that's an interesting way to book in this thing here. It is very dark, but also it's like, it's like three minutes and it's like, I guess that's the end of the movie. Yeah. It's just a little, I mean, it's not, it's not like it's designed too much to be like rely on those aspects of it to tell much of a story on just like, yeah, this kid has comics that is like, yeah, yeah, yeah, yeah. Yeah, but I think that when I think about things like trick or treat where it's like, Hey, the spirit of Halloween. Don't don't forget next Halloween. If you don't light a jacklantern, it's going to get you or, or, or like something like VHS where it's like, Oh, there's actually the stinger is like, you've been in the haunted horror movie the whole time kind of thing. Because that there was like the guy that whose house you broke into is actually a murder her. Okay, it comes down to approach, right? Like some anthologies don't have any wraparound at all. They just present three stories and you're in and out. Some have more of a dedication to telling a story and apply it to the narrative in some way VHS tries to have this weird kind of overarching theme that extends the realm of various VHS movies until it stops. Until it stops. Until it stops doing that. Okay. And, and like trick or treat famously was originally like a linear feel like the, they tried a number of different editing tactics for that before they made it into more of a not realized like shuffle it around and kind of have a different sort of approach to the anthology. Either some things to know creep show a decent hit. It made it for a horror film that made some money was like 21 million total it was like water brothers biggest horror from that year it didn't lead to like an immediate sequel but eventually that creep shift to it got these interviews. Ebert was a fan among others. There were a half stars. Three stars. Yeah, for the time before a horror film of this nature did well enough. Certainly gained a cold popularity almost instantly as is the time that's the kind of thing that works with these kind of especially in 1982. And as it's you know various forms of regards as far as forming you know the sequels over time. There's comic books that eventually did come out of this soundtrack was. I hate its own way as far as people just wanted the music for it. You might not know this. It's pretty esoteric but did it open at number one. It opened at number one. The first. Yeah, it did open. So, so whenever something like older like this opens at number one I'm always curious just to get a feel for the time like what did it dethrone. First blood. Really. Yeah. That's 1982 huh. Uh huh. That's cool. I guess. Yeah. Great number one with five million what a time. Yeah, replace first blood. Yeah, that's all really all we got about. The creep show. I do recommend creep show to. At the very least I haven't seen three I've never really heard great things about it. I know it doesn't involve either Kane or Romero. Yeah, never. And I never watched. You show T.W.O. not creep show T.O.O. citizen creep into miracle too. Yeah, yeah. Got it. It's that splash. Uh huh. T.V. sequel called splash two. Flash two. I've never watched the shutter series and that's Greg to get tarot producing it. So I'm sure it has great effects. Um. But I've never done ever dealt into the which has been on for it has like that like multiple seasons at this point. Um. Yeah, creep show. I'm a fan. I'm glad to have you caught up with it since you haven't seen it before. Yeah. I mean it was good to watch and. Uh I think it was a really fascinating look back at the 80s and early 80s but also I just enjoyed that there was a lot of cameos and that gives me a lot of reference to what I again I grew up watching in the 90s and then later into my film watching career. All right. Like any final words regarding creep show. No, I do think I'll go when I have a minute I'll go and rewatch creep show to because the more we talk about it. And the more references Aaron makes in particular I realized I don't really remember it that well. Um, I remember the the segment with the woman in the car and is there one. I don't remember them all that well. There's one. There's one. There's kids. There's kids that are stuck in a lake for reasons. Um, I have seen it. I have seen it by my man. I don't want, I just want to like entirely spoil the premise of the things that there's the other kids that are stuck at a lake for reasons. There's one involves a hitchhiker. And then what's the middle one. Um, or another. No, that the rat the raft is a little one. The, um. The first, oh, I remember the first one. The first one is deal with a native American statue. Okay. And there's a native American. George Kennedy is in that in the first one. Yeah. Got it. Okay. So I'm not. I'm not. I feel like. It's so easy to mix and match the segments and be like, wait, wasn't that trick or treat or was that, you know, a tales from the crypt episode or was that a creep show segment is, you know. Um, so yeah, I guess I do remember more than I thought, but I'd probably go back and take a look so I can do a direct comparison with this one while this one is still fresh. Yeah, it's all it's only 90 minutes. So it's, it's not like. I thought for an anthology, especially, I do think, you know, unless you're, again, quite on, which is a masterpiece. It's three hours. I'm not sure that takes a bit to watch a two hour anthology. I'd also, I'd be remiss if I also didn't mention in our, in our anthology speaks and I tell from the hood. Love tells from the hood. Yeah. So again, some highlights. Yeah. Hitchhiker in creep show two is in tales from the hood as well. Okay, fun. I did a whole thing with friends to show David back about anthology or not too long ago and I watched a lot of them back to back. And that was a, that was a weird way because I, like, you know, all of these different short films were running into my head. And so like seeing a lot of like cast carryovers into like other universes and tyros like, okay, this is wild, wild to see. I would say if, if any of my students who, if they tune in and listen and they get this far, then I would say that if any enterprising Cal State student wants to put tales from the hood. In their next monster Palooza contest then, you know, not going to say it's a shoe in but right, you know, the won't be too bad for the consider. Yeah. Clarence way on the third. Yeah. Okay. We might even get Corbin Berenson on the show. It's not back to the minors. That's a, that's a way that's a deep. You ever really know Corbin burns into the biography or having watched all of the league. Okay, we can wrap it up there. You can find all the other episodes about now. So I never can find podcasts or all over the place where all the socials. Well, you know, we can find us. I, I am everything I do can be found at my personal blog, the, the code is ec.substack.com. Everything I do in tip over there, but every use for lead of entertainment. I'm on all the sources there and it's PS4, Abe. You can reference the domains. You have that move in Twitter.com slash below. There's a little bit of a little bit of a little bit of a comment on this. I don't, I don't. I don't get anything out of it. They don't pay me or anything, but just as an expression of my gratitude for how good they are to me. Go check it out. Was it one is one of the dates, you know? The next one is coming up in mid October. I don't remember. Fair enough. But they, but they are currently compiling their guest list. Obviously, there's like sort of an autograph alley. They have great vendors and cool sculptures and all kinds of things that you expect at a con. And then they have the, the, the celebrities. And they are now starting to roll out the, the, the roster of people who are there and the ones that I'm noticing are like Bruce Campbell and a lot of, not evil dead, but Ash versus evil dead cast members. And so if that's kind of, you know, your thing, come check it out. Very good. Great. All right. Well, Mike, thanks very much once again for tying us in with Monster Belousa. This is a lot of fun. A lot of fun. Thank you guys. Always a pleasure. I appreciate that as always. I look forward to doing more in the future. And as far as our horror content goes October, we'll have plenty of that. So stay tuned. But yeah, that's going to do it for this week's a special bonus horror themed episode covered creep show. So until next time, so long. And have a spook tuck, you know, day. (Music) (Music)