(upbeat music) Hello, my name is Brad Chad Porter. I'm the general manager at Rodeo Cinema. I wanna talk to you for a few seconds about the Rodeo Cinema Foundation membership program. Rodeo Cinema is Oklahoma City's only nonprofit movie house. We depend on your support beyond your tickets and concessions purchases. To keep the lights on, and to continue bringing you outstanding film programming. We ask you to consider becoming a member. There are several memberships to choose from, with prices ranging from $50 per year to $5,000 per year. Check out your options at Rodeo Cinema.org/memberships. Thank you in advance for your support. (upbeat music) (upbeat music) (upbeat music) - I'm not afraid. (upbeat music) I love you. (upbeat music) (upbeat music) - Oh, I went to the fun. I went to the fun pharmacy. - Oh, did you? - On my way here. - Was that appropriate for today's episode? - It is. I thought about that. - Yeah. I actually told one of the tenders about the podcast. - Oh, yeah. - Came up. - I had some stickers or something. - I know. I don't have any business cards or anything. I just, I wrote Agatrash Media on one of their business cards. (laughing) - That's funny. - I actually had a flyer for down in front at their location in Edmond. - Just for a while. - For a couple of flyers. Yeah, you know, under my audience. I wonder if we still have business cards. We had some for a while. - I think I still have some in my filing cabinet at home, actually. - I've moved houses like twice. - We should put a black on black. - Oh, yeah. - Yeah. - That's the anti-American psycho. - Yeah. (laughing) - That's what Tom have heard. - Yeah. - His business cards. - That's right, that's right. - He's black on black. - Hello, everybody. Welcome again to the Good Trash Honor Cast. We talk about all of your stationary needs. (laughing) Or we talk about the films you would not discuss in a film today's course. I'm still Dustin. - I'm still Arthur. - I am still Dalton. - And we're so glad that you're tuned in with us today. We have a host pick from myself. I wanted to take a look at Sebastian Silva's work for some time now. Rodding in the sun has been in my eyeballs quite a bit on Mubi. And, but I noticed that there's a little Michael Serra joint in there. And so we're looking at Crystal Ferry and the Magical Cactus and 2012. - Yeah, it appears on screen and 2012. Which is a little bit longer than the sort of listed title of the film. We'll be talking about this movie, but we'll warn you to your listener. This is not a review show, it's an analysis show. And that does indeed mean spoilers. So if we were to talk about rotting in the sun, we would probably talk about a big spoiler about the third of the way in. With Crystal Ferry and the Magical Cactus, probably less spoiler-refic overwhelmingly as a plotty thing, but we're gonna have to have the text in order to do analysis. And that means we have to have the text in its entirety. So the show will look like this. We will have a quick synopsis. We'll have our thumbs up, thumbs down reviews, like you might read in a newspaper or on an online blog. And then we'll let you know kind of what we think about the movie without giving away, again, lots of details of what happens. Then we move on to a little game called Expanding the Silvas, wherein which we might perhaps spoil thematic things or spoil films in the orbit of this film. Then we play music to let you know we've gotten down to business. And that's when all spoiler bets are off. So without any further ado, Mr. Arthur Gordon, would you delight us with a synopsis, please? - A young man joins up with three brothers and a free-spirited woman on a pilgrimage to a hallucinogenic-filled beach adventure. - Yep. - Nailed it. That is the movie. I've sight unseen, I think we're all sight unseen. Yes, for this. - Was aware of the film that I had not seen. - No. - So I'm gonna go to you first, Arthur. What do you think about Crystal Ferry, the Magical Cactus, and 2012? - And 2012. Yeah, it's fine, it's cute. It's a movie I feel like I've seen multiple iterations of in this sort of self-discovery journey thing. Michael Sarah is just, you know, I love Sarah. I mean, I love the rest of the development. And I love Sarah. And I just kept thinking of I was gonna smoke the marijuana like a cigarette a lot of times. And so, I think he is, you know, he's doing this kind of awkward cringe thing. It really kind of feels like Scott Pilgrim Crank to 12 in a lot of ways, right? He's just like, all of the already bad traits of Scott plus more. And like, he plays insufferable well. And it's almost like the, it's like the Adam Sandler thing where like, almost the person the character doesn't change. It's just the surroundings change the character sort of use of an actor. Like, I think you could take George Michael. And if you put him in a different scenario, he probably becomes kind of an unlikable, you know what I mean? And not so much that, but I think in delivery and presentation, like you still very much Michael Sarah, but he's just, the utilization of him is very just like, this guy really is this is what you're gonna, this is the hill you're gonna die on. Like take a break, bro. It's the sliders that him and Silva have chosen to dial up on his kind of personality. Yeah, they're cool. Yeah, yeah. And so like if you were one of those people who, you know, if Scott's Tots episode of The Office is a thing that you just cannot even bear to watch. If, you know, Ingrid goes west as a bridge too far, this is definitely kind of in that realm of just, I think I can't watch this guy, you know, just I can't handle the awkward uncomfortableness of dealing with this person. And there's something very real about that, I think, you know, there are very much people of this ilk and the film explores that. As far as a kind of pilgrimage movie, doesn't feel like it's doing anything radically new or different for me. I enjoyed the cast, I like everybody involved here. I can't remember Crystal Fairey's real name. Oh, Gabby Hoffer, Gabby Hoffer, she's really fun. The brothers, they're all, you know, a good time. And so I think it looks really cool, like, you know, Chile's very beautiful. And so it's not like I disliked it. I was just, I've been here, I've done this. I've seen better iterations of this sort of story that have, you know, kind of broken new ground or feel more invigorated. And so, you know, and I don't have like an issue with unlikable characters, you know, I think of Howie from Uncut Gems. Like I can sit and resonate with these sorts of characters for two hours and I'll be bothered by that. So nothing really like that. It's just, it's fine, it's just kind of where I was at. And I wasn't mad, I watched it. Was really kind of surprised to what it maybe was. Really appreciate all these foreign language movies that aren't actually foreign language films. - Sure. - Which is always a fun little, you know, like just watch the movie. It's mostly in English. - Yeah. - Don't be, don't be that person. - Yeah. - You read 20% of subtitles, you know, like, you'll be okay. So that, you know, that's fun. And in another world, I've thought about a syllabus of like entries into the foreign language film that are just mostly English, international films, you know, there's anatomy, murder, chicken and weevil, stuff like that would be like a fun road to go down. But at the end of the day, yeah, it's fine. Not mad I watched it. Like Michael Sarah. I laughed a few times. There were some good little bits of people playing office eras, annoyance, especially Crystal Fairy, like some really fun little retorts to him. So there's some nice humor, but you know, didn't change my life. - Very good, very good. What do you say, Dalton? Do you like Crystal Fairy and the magical cactus? - And 2012. - And 2012. - It's a very long time. - It's slightly more than Arthur. Yeah, I pretty much, you know, I'm on the same wavelength as art for the most part. It's not revolutionary. It is like some really unpleasant cringe comedy. It is a journey of self discovery. It is a pilgrimage movie that is all those things. And, you know, I think this year, we've done some of those very things better, or seen some of those very things done better in movies we've covered for the show. I mean, obviously, you know, Malcolm X is one of the pilgrimage movies. I was trying to think of another cringe comedy we've done. I mean, I love you Phil Morris was last year, but that's got a lot of cringe comedy, I think is very, very fun. I don't know. All that to say, I agree with Arthur that this isn't particularly revelatory, but I do, it is interesting in so far as that, like it's fun to see a non-American mumblecore movie, which is pretty cool. - Yeah. - And I actually tried, speaking of potential syllabus as Arthur, that was a syllabus I tried to build, and I just, I couldn't find enough people to have catalogued, you know, other, you know, international moments in the mumblecore movement. But I definitely think that you could identify this as one. And if that's, you know, you can't get on board if that kind of movie I get it. I know that those movies aren't for everybody. So, as Arthur said, this is definitely not for everybody, and sometimes it's not for me. But for the most part, I like it. Does it ultimately boil down to white American takes hallucinogenics and learns basic empathy? - Yes, absolutely, that is the movie. - Sure. - But I think there's more to it than that. You know, I think it's a really good exploration of stereotypical American types, but their foibles and virtues are kind of opposite of what you would think in some ways. I don't know, I think it's an interesting exploration of just sort of the phenomenon of Americans going to South America to do drugs and learn about themselves, which is, you know, pretty well documented throughout the 2010s. And I mean, even further back in the 1960s, North America and all that stuff. But yeah, just sort of a fun look from a Chilean filmmaker of sort of an archetype that became pretty dominant in culture for a little bit. And yeah, you know, as Arthur said, Sarah's so good at this kind of thing. I mean, he do this in his sleep. But, you know, it takes a special kind of actor to play a character like Jamie and not fully lose you. And he, I mean, he will mostly lose you for the whole movie. He's pretty terrible and pretty unrelentingly awful. But there is something about Sarah's screen presence that invites the audience in in some ways. And then again, I think Gabby Hoffman, such a breath of fresh air throughout the movie that no matter how wacky Crystal Fairies being, she's just so clearly the better energy than Jamie. Yeah, the dynamic works. And then Silva and his real life brothers are very fun rounding out the cast. Yeah, it's visually looks as Arthur mentions a beautiful country. So some great photography in that regard, but nothing like particularly revelatory and like the way the images are captured or in the directing, especially a movie that is sort of the climax of which involves a drug trip you would like a little, you know, different schools of thought on how to capture something ineffable like that on film and how to communicate that to the audience as far as like focusing on just how the characters are behaving versus like visualizing what the characters are experiencing. Again, different schools of thought on this, but I wanted a little more maybe. I don't know, especially just 'cause it is like what the film is built around. I saw one review on Letterbox, comparing the feeling. I think Arthur, you liked this one is how I saw it, but it was the idea of like, you feel like the sober guy at the party, the way they choose to like do that and do the trip in this movie, which I thought was a funny critique, which I'm not totally on board with, but like I think is kind of a funny note. And is something I've thought about a lot as far as just like what, you know, what the movie does versus what it could have done, which is, you know, always a tricky thing with the movie. You wanna meet it on its own terms and you know, not sort of backseat direct what it could have been that said, because it is such a revelatory moment for Jamie this, this afternoon, this day. I almost wonder if I would like the movie more if I felt like that section of the film had more power than it does. And I don't know what's missing, but I know it doesn't quite fully get me all the way there. But I do think I like it more than Arthur. You're making faces that make me think you're maybe a little warmer on it than even I am, but I'm curious to hear your thoughts since you picked this. - He's mostly just dead inside, I think. - That's true. - I am mostly dead inside. I don't know if I'm warmer or not. I think I like the choice to not represent-- - And literalize or represent it. - Yeah, because I mean that, you know, and I'm a big fan of the trippy movie. I mean, and the sort of trippy-- - When it's kind of bad, it's really bad. - Yeah, road trippy, of course. - Yeah. - That's what it is. Next drive. - I'm always a fan of just throw another one in, right? That kind of thing, but I think the choice because it is about characters' perceptions of one another. - Sure, okay. - And it is about sort of perceiving yourself, you know, the way you present yourself and how that experience looks when someone else is undergoing change. And or a person is in need of undergoing some kind of change. And so it, I think it works with what the movie is to make that choice. - It's making the case to me pretty well. - Yeah. - Yeah, I am sort of shifting my perception. - So I'm fine with that. I mean, of course, yeah, when I saw the opening sequence and it had this sort of, you know, very abstract geometric crystal line kind of structure in the credits, I thought, oh man, they're gonna take the, you know-- - I'll take the magic cactus. - I assume it was peyote, but found out different as I watched the movie as well. They're gonna take the peyote and they're gonna really, really, you know-- - I think it is the St. Pedro cactus is also masculine though. - It is masculine, yeah, so chemically the same. - Chemically the same, but you know, silosil, but you know, which mushroom is it, I guess, kind of thing. But it's all the same, you know, and as far as effects, what's the difference between coffee is just delivery system, right? But, yeah, I think that works for me. I think the music is also very well chosen. You know, a movie like this can get real into that tweet maybe. - I'm talking about that with where the wild things are last week. - No, kind of thing that can happen and it makes some choices and it even makes a choice to record the needle actually dropping for a needle drop. And, but all of those choices work. - I did like that myself, yeah. And so, I also enjoy the sort of improvised script of it all. I like the way in which the performances are really, really naturalistic. That again, Michael Sarah is doing a character. I mean, clearly there, but it is really, it does smack a reality. It does smack of, well, also just like when you go on a road trip with people who don't know each other really well and we're not really sure who's in charge. And people are sort of wanting to be in charge but not wanting to be declared to be in charge. Like I know what that dynamics like and that's fun. - Yeah, absolutely. - To see sort of played out in a way that's really authentic. - I've been there. - And yeah, sure same. And so there's a-- - I haven't thought about it until you started to articulate it that way, but yeah, absolutely. That is sort of an experience. - It's very genuinely that. Also the ways in which you don't know what you're doing until you see somebody else who does the things you do in different ways. And suddenly you realize how obnoxious that is. But even then it might take a little while longer for you figure out, oh yeah, the reason why it annoys me is 'cause it's me. And so there's a lot of really thoughtful kind of character formation stuff in the screenplay of what little screenplay there is of this film. Shot really well, again, music's really great. I love the performances. Love seeing the Silver Brothers. I think they're the most believable people. And we'll talk more about it when we get to analysis maybe, but I think the choices that they're making character-wise are create some archetypes perhaps. We could suss out further. We think about spiritual direction in various forms later on. But yeah, I like it quite a bit. I think it's a lot of fun. And is it the greatest self-discovery movie of all time or road trip movie of all time? Is it E2 Mama, Tombian, just in Chile? It's in the same, it gives us the same energy, but it's not that. It doesn't rise that level for me where E2 Mama is kind of a masterpiece. This is just an excellent film to my mind. It's very well done doing what it's doing, but it's not doing much new regarding that. Other than the particular themes that it is exploring and everything it intends to do, it seems to do, well, it seems to land every jump. What if hostile were gentler and made you like Americans again? - That's a big ass. - That's a big ass. That's what they're going for. Kinda, kinda, kinda, it's a little bit. Yeah, okay, I mean, I can get behind that, but there you go, dear lister. Those were our thoughts, which are generally pro with some caveats towards the film, Crystal Ferry, The Magical Cactus, and 2012. - He's gonna say the whole title every time. - I'm sure he cut him every time. - He said it in editing. - We're gonna move on to the next part of our show, which is called Expaying the Syllabus and Dolls. - And 2012. - Going to tell us. - I knew you were pulling snake eyes on that one. I knew you were looking arthur 'cause you're gonna pitch to me. Yeah, I am gonna tell you about expanding the syllabus, you got it. - This is the part of the show where we talk about the films you wouldn't discuss in a film studies course. We do it in a film studies type way. You know, that's sort of our whole gimmick here. And this is, yeah, that's why this part of the show's in the middle. We take movies that might be otherwise overlooked, either because of being a little too cold, a little too genre, a little too off the beaten path, a little too whatever, to make it to your typical film studies course. And so, this one's maybe an exception, and on host picks we get to do that kind of thing, bend and break the rules. And maybe we can talk about that once we get down to business, whether or not this is a proper film studies type ass movie. But anyway, we're gonna build syllabuses based on the week's assigned viewing, and bring in texts that sort of pull up the threads, either production wise or thematically that most speak to us about crystal fairy and the magic cactus, magical cactus. - Yes, and 2012. - Oh, okay, and then I suppose also that. (laughing) - So Dalton, do you have the syllabus for my friends? - Yeah, Dustin, I'm right there with you. I am kind of drawn to the dialogue less script, I think is a really cool way to make a movie. To just like, you know, there's different ways of doing this, but essentially saying, all right, here are the scenarios you're going to find yourselves and be this character, or be yourself, or whatever we end up doing. And so, some of the options I've pulled from are things like guest bar new ways, climax, you can famously, you know, just hires non-professional actors and dancers to kind of, obviously, Sophia Batella's got a dance background as like the most professional actor of the cast. But, you know, other ones, the classic player witch project, sort of one of the definitive ones of these, I think of. - Like, found footage film in general. - Yeah. - Really is. - Sure. - It's weirdly of a piece with that, even though it's a different animal altogether. - Yeah, yeah. The flip side of that, though, something that I think of as like very, very not found footage, and yet very kind of found dynamic. - We have to address Arthur's squinty eyes. - Yeah. - I'm meaning that in terms of the dialogue. I'm not meaning that in terms of scripting or even style, or the use of the camera. - What do you mean? - The-- - George is making a face. - He is making a face of me, and I felt that we must address it. - I was looking at you, sorry. (laughing) But does that relieve your squinty eyes? Are you just messing with me? What is going on? (laughing) - I'm gonna continue, and we'll further unravel what's going on between the two of you. Because the dialogue-- - Like sexual tension. (laughing) - Just what? - Oh my God, the sniper has logged on to the chat. Wow, anyway, unscripted dialogue, podcasts, and spatial tension. Blue Valentine is a film where they didn't do any scripting of the dialogue, but they sure did make Ryan Gosling and Michelle Williams lived together for a year. Weird. Maybe you don't have to do that. - Yeah. - Derek's in a frame, but you know, interesting movie. - There is some of that in even like the Italian realist stuff too, since we did "Lestrada" very recently. - Sure, sure, yeah. - Yeah, that makes sense. Best in show, if we wanna get funny with it, sort of that, oh my God, Christopher Guest. I think that one's, I think they're all mostly improvised though, but that's the one I thought of. This is one I haven't seen, but I'm Becca Likes, the one I loved, you guys know about this movie. It's got one of the Deplace Brothers, I always forget which one's which, I think it's Mark, and then West Wing Handmaid's Tale Mad Men. - That was the boss. - Thank you, it's the two of them, and they are on the verge of breaking up, and they go on like a couple's retreat, and then they move. - This was like a Netflix route in a wonderful game. No, but it was on Netflix. - No, what you're talking about. - Yeah, the one I love. - That sounds like fun. - Also unscripted, very tightly scripted scenarios though, like they knew where the scenes were starting, where they needed to end, but they didn't know how they were gonna get there. - The middle was all up to them? - Yeah, exactly. So those are, oh, Coherence is the last one I wrote down, which I love Coherence, it's probably up there with, I think it and climax, and now, earlier which project is of these my favorite, but Coherence I definitely think has a special place in my heart because of how micro-budget it is. - Yeah. - And just sort of the fun sort of colliding realities premise. It kind of has something that Crystal Ferry has going for it. Obviously, Crystal Ferry is so much about how we perceive each other and how we don't really know how others are perceiving us. And Coherence is very much about how we see the worst of ourselves and what we worry about about ourselves because of this idea of this night of parallel suburbs colliding into each other at our dinner parties from different dimensions and the same attendance having to interact with each other and yada, yada, yada. So, but I think Crystal Ferry is doing a little bit of that just instead of what we fear in ourselves, maybe what we see in ourselves and the other person. Anyway, yeah, I think it's a cool way to make a movie, man. It doesn't always work out, but I think when it works, it can make something really special and something that feels a little bit more true in some ways. - Mm-hmm, yeah. - Yeah, absolutely. I like that syllabus very, very much. Arthur, do you have a syllabus prepared? - Yeah, I'm just gonna run with the road movie, the journey of self-discovery movie, the learn something about ourselves along the way movie. I do wanna ask that 'cause I was just thinking about it because I was looking over at this list and thinking of these thoughts. So when we did our top five film aesthetics, you had mentioned like the desert road film, I think, but that was in the conversation. - Yeah, on the run. - Does this kind of scratch that itch in any way for you? - You know, 'cause there are elements of it there. - A little bit, not quite as much as like each mama Tom Bien does, which Dustin mentioned, but it definitely gets a little bit of that. Yeah, I mean, because Sarah's so frustrating and you just, you almost want the road trip to be over because he's being such a baby about it taking too long to find the cactus and get to the beach. - You want them just to like do stuff to spite them at a point, right? Like let's pack up and leave or something like that. - So him being so frustrated makes the road trip so on fun. That doesn't quite scratch that itch, but I get why you asked. Yes, and a little bit. I think that once they get to the beaches, actually does more of that of what I want. - I'm just wondering. - Yeah. - So yeah, we would just be taking a look at some of these sorts of road movies along some different lines, I think. So one I would start with and may fit kind of appropriately along here is a small movie from 2015 that I don't hear really anything about anymore. That was called "Manson Family Vacation." It stars J.D.Bloss and a few others. It was a kick-started movie for 40,000 was the goal there and they made this film about why he's shrek at the table. Us, these brothers going on a road trip to visit the site of the La Bianca tape runners. And in doing so, they kind of figure out, stuff about the cells, but one of the brothers is very obsessed with Manson and the family and then the other brothers are just like wanting to road trip and be on family vacation. And so there's that sort of dynamic between the two brothers of getting along and trying to figure things out about who they are and there are some other things that kind of come up through the story that add layers to the characters as well and their intentions and their journeys. And so, but I remember I watched it, I think, on Netflix or something when it came out in 2015 and then I've not heard "Hider Hider" of it. - Hide-nor-hair. - Hide-nor-hair. - Heard, hide-nor-hair. - There it is. Horton, here's a who. Horton, here's a who. - Yes. - Horton, here's a who. - You're turning, I can't-- - Is that a krokai? - It's a krokai. - It's krokai. - It's krokai. - I was talking about Obama. - Yeah, I think you veered off of the krokai so now. That's great, though. From there, we would do each out with mama-tambi and it was kind of the main movie, obviously. - Yeah, yeah. - You know, watching this, obviously. - Sure. - And so, not much else to say there. I don't think, but the next one I think we'd go to, keeping that sort of escape and desert landscape in mind is "Thelma and Louise" is where I think I'd go, maybe really Scott's greatest movie, maybe. - Damn dog, yeah, maybe. - But a good one nonetheless, you know, depending on where you land. It's a very good movie, a very good story of these two women just doing what they have to do to escape this life that they've been forced kind of into. And so, all those sort of societal questions, I think, that are still fairly relevant today. - Oh, yeah. - 'Cause they were 30 years ago. - Yeah. - Yeah. - 34. - A movie that I loved that we covered very early on in the show, "Into the Wild." - Yeah. - As well, I think. And that and a couple of that with Chloe Zhao's "No Mad Land" about these two stories of very sort of transcendental excursion. - Wanda's an opposite ends of socioeconomic opportunities. - Yeah. - Yeah, right, like he, Mel Hershey's character, I can remember his name, you know, is-- - Chris McCandless. - All the luxury-- - All the luxury of the world in high school. - All the luxury in the world just takes off into the great north and dies. And then, yeah, we have our Frances McDormand character in this at the break of all financial collapse and trying to find a lot of life in modern America as things have gone depressingly bleak at a very, and I think kind of like, you know, Silva's work here, you know, Zhao uses this kind of semi-documentary improvised style as well in her work. And so, a lot of that carries over into something like "No Mad Land" as well, so-- - Yeah, I wish I thought of "No Mad Land," which is-- - Yeah. - When you're talking, I was thinking about the writer, which I know relies a lot more on that kind of idea. Bringing in the drug component, I'm gonna go to train spotting. - Nice. - Sure. - Danny Boyle, some, you know, talk about trips, trips occur, and so-- - That baby. - Yeah. Train spotting, and then obviously I think where I'd end is Easy Rider. Just that new Hollywood, also that sort of shift in the American culture, and I think something reflective of that here in "Chrystal Ferry and the Magical Cactus." I did it, I got it right, and 2012. - Very good. - So that's what we do. We look at the road trip movies, and self discovery, and drug journeys, and transcendental thought processes, and all that fun stuff. - Very good, very good. If I were to teach this movie in a course, I wanna be honest here. Now, I seem like I'm a little warmer than everybody on the movie, but when it comes to picking this movie for a film stays course, I would not make it a module in a course that has any of the themes that this movie does. I wouldn't use it in a road movies 'cause there's too many better road movies. I wouldn't use it in a drug movies because there's too many other drug movies. I wouldn't use it in a self discovery thing. Because there's too many other better self discovery movies. Even improvised dialogue, I don't think I would go ahead and use it in that way. What I would probably do with this movie, though, is I would use it in a literature course. - Interesting. - Talking about expatriates and their experiences of other countries, and so-- - You even get to complicate the term expatriate, and who gets to be an expatriate? Why don't we use that word? - Yeah, there's a book about that, I think, actually. - I think there probably is, but I'm really thinking about the lost generation. So I'm thinking something like a-- - The World War I generation. - The World War I World II, yeah. That writing the interwar period following World War I, looking at Pound and Gertrude Stein, and Ernest Hemingway, and S. Scott Fitzgerald, and that law. So it'd be somewhere in that section of a survey course, if it's in a literature, or if we were doing something on the lost generation in particular, or the interwar period. Again, there's a number of places where you plug this in, where you might read a book like The Sun Also Rises, because I thought about The Sun Also Rises a bunch as I was watching this particular film, and I don't know if you guys are all that familiar with that particular novel. It's the first Hemingway novel I ever read, and it's how I've sort of discovered Hemingway, and so it probably has more affection for me that it deserves. - So the World War II is the Amulest driver? - No, that's the one where he's on vacation with his girlfriend. They go from France to Spain to watch bull fights. - Okay. - And as they do so, there is a bit of a breakup that takes place, and one of the big bull fighter guys kind of gets a crush on the girlfriend, and he ends up beating him up and ruining him as a bull fighter, basically. And sort of like he acts, you know, acts of fool and is kind of blustering through, and kind of becomes an ugly American, and that's kind of how it ends. - But also he did sure to make himself cool enough to beat up that bull fighter. - Sure, well, have you ever seen a bull fighter? - Right. - You can beat up a bull fighter. - Fair enough. - I don't think it can beat up Hemingway. - Yeah, well, if they had the sword, you might have a problem. - You'd be a sober maybe. - Yeah. - I don't know. - I don't know. - I don't know, I don't know. - He might be worse, not sober. - I don't always think he would be. - I don't know. - What's the one I was thinking of? What's the one about his time doing the war stuff? - There's a, I don't know if there's a, I don't know if there's a novel-- - There's not even a novel about that, I'm just thinking about his life. - I mean, there is a movie about his life with Sandra Bullock who plays the LaNurcy Falls in Love with. - Okay. - And so maybe that's what you're thinking of, but I have not seen that movie. - Yeah, okay. - So I can't even give you the title. - There you go. - But yeah, that's probably something along those lines. But yeah, this sort of this idea of, you know, exploring other countries. I mean, you could do even an entire course that does just that. Where you might do something like, just foreign views of countries. And so, you know, Dickens in America, you've got Decrivicaler, the sort of famous, you know, the Frenchman's observations of American society that's almost always anthologized in your American literature, early American literature kind of works. And those kinds of things. So I think maybe a course like that and thinking about just international experiences. I mean, we loved it. I mean, Franz Kafka's America with a K, his unfinished novel that's sort of about his immigrant families that have gone onto the States during, again, roughly the same sort of lost generation interwar kind of period if I'm correct on the dates for that novel's setting. But something like that would be kind of interesting to do. And I think if this movie really does kind of tie into that idea of this, these people are tourists, but they're also making friends. And, you know, I don't know that Sarah's character, Jamie knows the silvers Champa and his cohort of buddies from before or not. - A weakness of the film, in my opinion, not clarifying those relationships and his relationship to Chile and his relationship. Obviously he's got money. And that's kind of a crucial component of his character. - Right. - The like, there's enough unanswered questions that at parts it's interesting, but sometimes it's too many unanswered. It's not adding ambiguity, it's adding confusion. - Yeah, I mean, which is, you know, again, so again, the sort of why is he taking the tour in the first place doesn't quite-- - Why is he being given the tour? - Yeah. - Is a little unclear to me, but that idea of, you know, internationalized looking back and forth. And this movie seems to be very much the idea of the indigenous population sort of looking back at the tourist, as opposed to say Hemingway, who is the tourist. And he is looking at his situation there and, you know, he gets sort of ostracized, you know, against the shun for his sort of borish behavior. And in this movie, it's kind of the opposite. You know, he's kind of a bore, but these people kind of love him into being better than he used to be, which is kind of fantastic, I think. But anyway, those are our thoughts. And I think your syllabus just got much longer. I believe now it's time we get down to business. (upbeat music) ♪ It's business, it's business time ♪ ♪ I don't know what you're trying to say ♪ ♪ You're trying to say it's time for business ♪ ♪ It's business time, ooh ♪ ♪ It's business, it's business time ♪ - I want to start with Dustin's last thought, because I think it's interesting. - His final thought. (laughs) - It may be. - If we're lucky. But now I made the joke earlier about this, you know, being the, and this was a letterbox review I saw as well, just kind of perusing people's thoughts on this movie, the, you know, learning basic empathy from the drugs. That's like the easy read of the movie. But I think what Dustin brings up is like, the much more generous read, which is these four people, the Silver Brothers and Crystal Fairy Isabelle, love Jamie into being better. - Yes. - And that's really hard to do. - Right. - It's not easy to accept somebody's foibles to your own detriment until they get better. - Yeah, yeah. And it is, it's not hard to do, not easy to do. And it, I mean, the patience of Champa, he does become the sort of, he's the mystic man. - He gets annoyed at them more than once, for sure. - Yeah, but he's always very, very patient. - Yeah. - Throughout all of that. - I mean, Crystal Fairy is too. Well, she, she's somewhat, but she's also obnoxious. - She's obnoxious, but she gets, I mean, up until he like, actively is taking a swing at her experience. - Sure. - She's pretty patient with him and tries to get him on board and tries to reach out to him. - Though I don't know that he isn't right. - Do you think he's gonna be true? Do you think he's gonna be true? - Yeah. But yeah, I mean, the point being though, this idea of, I mean, you know, in your friend groups, in your, in your, in your circle of relationships, we see lots of versions of this movie, mostly in the horror genre, in "Slasher" movies, where we have obnoxious people and everyone's kind of obnoxious and no one has any patience for anybody at all, right? And so they're like, you know, you're such a one. And then they, and then that's why they sort of silo and separate off and then become easy pickens or are masked, are masked, axe-wielding madman. That's what normally happens in those kinds of movies. Rather though, in this film, we have a friend group and again, Champa, I wonder if they've just met Michael Sarah's character because-- - I think the brothers are just meeting him. But he had been choppin' to him. - It's hard to know 'cause the other actions, like they've hung out previously. - Well, he makes a couple of comments. It makes it seem like he's meeting the brothers for the first time early in the movie. - And possibly, and the other sort of evidence I would give for that is their acceptance of Crystal Fairy that they begin to speak of her as, no, we love her. She's one of us, we have to do this because she's one of us now. We have to take care of her too. And the way in which found community is not just sort of like, we took resumes and you can have yourself ejected. It's just, if this is the group of humans I'm with, this is who I'm with. - Well, it's Champa is also like forcing Jamie to be true to his word. Like, no, you did invite her. Don't pretend you didn't invite her. Quit tryin' to gaslight us. Like, you invited this woman to do this with us so we are going to bring her with us. - Right. - And you're gonna have a good time, damn it. - Yeah, and so yeah, he sort of insists on the integrity of it, but again, part of his rationale is like, she's one of us now. - Yeah, yeah. - She's part of our group. This is it, we are now, we are in this together. And I think that's just lovely. It's just this idea that you grew, you know, you grew. - Yeah. - Gain up this group of people because we see so much in art of not putting up with nonsense. And certainly, we have, as a society, we've tolerated a lot of various kinds of nonsense for far, far too long without calling it out or speaking back into it. But that being said, there is a certain kind of loveliness, a certain beauty, a certain virtue to this idea of, yeah, you know, you're a real knucklehead and hard to be around, but you know what, you're one of us. You're part of us, so we're gonna do this thing. And I think that's lovely. And I really to sort of respect Champa's character, who again, it seems to me to be the, again, the sort of advanced mystic because, you know, the ones who know, don't say, and the ones who don't know, they talk a lot. And that's what Crystal and Jamie seem to be more to me. Does that make sense? - Oh yeah, and we see that early on, right? - Which is this guy's trying to give Jamie trip advice, and he's just quoting doors of perception. - Sure. - Right, the doors of perception. - Somebody who's been there is trying to give you a nugget of wisdom, and you just, you know, you try to talk about something you read. - Mm hmm. - I mean, you know, I see enough of myself in Jamie, though. - Oh, right. - So, you know, I've been there. - Yeah, I see both of you in them. - Sure. - Hey, look, I remember how annoying I was the first time after, you know, the weeks after I did mushrooms or whatever for the first time. You know, I was weird. - Sure. - Sure. - A little tale about it. And, you know, I think we all, Arthur mentioned, like, there's that person or that guy or, you know, whatever in social situations. And I think, truly, all of us in this life are trying our hardest to not be that person at any given moment. I think that those of us with self-awareness anyway, but it's hard to teach self-awareness to another person, and it's hard to know what the limits of compassion are. And, obviously, Jamie doesn't transgress enough in this film for them to be like, all right, we're done with you. But, you know, as you said, a lot of nonsense got tolerated for far too long, so it does become unclear a lot of the time. Like, we're, I went not unclear. I mean, obviously, I think a big part of Jamie's arc is learning about, you know, you don't know what people have been through, and so you should tread gently with people. - Well, and I think what the movie does that's fairly smart is rather than giving a hard and fast rule is always choose, you know, letting people slide, and patience, and gentleness, or always speaking truth to nonsense, that there's a time for both. And that's actually harder. That's so much more difficult. And that it sort of provides kind of a correcting balance, you know, because it does seem that, you know, society or various sort of social groups do make those swings one way or the other, you know? And so you might find yourself, I've been around an AA group a time or two in my life, and I've been around some that are like, you know what, you know, you need to do what you're doing right now, and this is fine when it gives you some space to work through your addiction, and whatever else goes on. And then I've been around some who have at times been like, no, no more nonsense, quit talking that fool talk. And the groups themselves sort of just take one character or the other, and it is kind of difficult to be able to be the person who says, you know what? Little patience, and then having the discernment, I guess, to say, now's the time to, you know, put this thing back into the proper perspective and let you know this is nonsense. - I have, yeah, I mean that, and I think that is like, obviously not a question that's explored much in the film, and maybe it would be interesting if it explored it more. - Or other than that, that's what happens. I mean, you say it's not explored, but I think maybe it is because that's right. - I guess that's, yeah. - That's how Jamie sort of arrives there, right? - Yeah, it's like, they've put up with me, and yeah. Yeah, maybe, I guess you're right. I don't know, I guess I just, we never feel, we never get to know what makes Champa so willing to see Pat, like what is it about Jamie that speaks to Champa? What is it about Jamie's virtues that like, show him a person worth hanging on for? Like, Crystal Fairy is just sort of an open book and is a loving person, and so like, it kind of makes sense, right, as kooky as she is and sort of crunchy and maybe, you know, high on her own supply. Obviously like, identifying herself as Isabelle late in the film sort of seems to speak toward some growth on her part, she was being like, all right, maybe I'm putting it on a little thick, hard to say exactly. - Yeah, but, you know, her acceptance of Jamie makes a lot of sense, and I guess I wonder more about Champa's acceptance of Jamie. - Yeah, I really don't know. Other than, he does feel like the spiritual mentor. I mean, that's sort of, I mean, if I'm giving an allegorical reading this movie, which is not what the movie wants us to do, so I wanna make sure we understand that this is a foisted lens, not an invited lens, but if we read it allegorically like sort of mentorship, it does seem that that is what Champa is doing, is like he's taken Jamie under his wing, maybe to protect him in Chile in general, maybe to sort of, you know, keep him on the right path and keep him safe, because of obviously international travel, no matter what nation you're traveling to be at the United States, if you're traveling from somewhere else to here or from here to somewhere else, they're dangers. And just sort of not knowing cultural cues, not knowing the areas, not knowing, you know, certain just sort of no-go kind of situations. And so it seems that he's taken that particular role, but he's broadened that role into, you know, we wanna have good time, we wanna enjoy ourselves, we want to grow as people-- - He's a fixer in more ways than one. - Yeah, yeah, exactly. - Yeah, I see what you're saying, okay. - And again, I don't know how he was assigned that or how he picked up that particular mantle either, but that seems to be more like what he's doing, you know? And when Crystal comes along, I think he's doing the same thing for her, I end for Jamie, that these two people are good for each other. - Sure. - That it's, you know, there's a certain nobility, oh, and I'll teach you to keep your promise. Yes, you gave her your phone number, which he may or may not have actually remembered. I mean, he did do a lot of drugs. - He was doing a lot of drugs that day before. He was considerably drunk and there was a lot of cocaine. - A lot of, yeah, a lot of motor, yeah, yeah. - So he could conceivably have no recollection of having done this. - Yeah, yeah. - But that being said, he still needs to honor his promise. - Yeah. - You know, and so it doesn't mean that it doesn't count. And so that's the thing that, again, it seemed to chop us kind of hanging back down on. And that's the guidance he gives. And so I was like, okay, we're gonna go do this thing and we're gonna have a good time. And, you know, this experience is going to take place and we'll just see what happens. And the way in which he guides is without expectation too. He never seems to be like, do you get the lesson yet? There never seems to be a moment where Champa's like, okay, now pay attention. Here's the one. - Well, is this a good time for us to maybe then segue as you're talking about this, to sort of like the Western exploitation of indigenous medicine, maybe? - Sure. - Or not Western or whatever, you wanna call it, the sort of North American capitalist. - The Anglo. - Anglo. - Yeah. - Anglo-European, yeah. Exploitative honkeys going down and ruining Maria Sabina's life with the mushrooms after that article in the '60s or, you know, ayahuasca and the Amazon and sort of all the-- - Is ayahuasca musculid and derived drug as well? - I don't think so. - No, I don't think so. It's not a cactus, it's like a root and a vine, I think. - Curious. - But no, I do not believe it's related to musculid. - Yeah. - Chemically distinct. - Yeah, chemically, chemistries, hey, I had to cheat to get through chemistry, I'll be honest with you. Am I strong a subject? - That's why you married a chemist. - Yeah, well, that's true as well. You know, you don't have to know. - You find people who promise that knowledge. (laughing) - Yeah, bring out the best and you limit your weaknesses. - Yeah, it is very interesting, like, I mean, Jamie fully steals the San Pedro. - Yeah. - Right. - He's too greedy, he is too American, he's too brash. He cannot understand, it does not compute that he can't get cactus 'cause he has no chill. - Right. - He's like, let me give you money, let me give you money. Like, no, these people wanna talk 'cause I'd have a conversation with you. - The way the whole situation works, it sounds like they were gonna get it. - Yeah, they were always gonna get it for a couple of these different places. - But they just need to sit down and drink tea. - Drink tea, hang out, hear about some grandchildren, like-- - They get it easy, man. - Chill dog, it's about the journey, not the destination, man. - And then he is certainly very, you know, American, Taipei, American for that. - I want to get something out of this. I want to learn something, this is for me. - Well, and I mean, that sort of belies a very American approach to spiritual experience in general and that sort of-- - Self-help. - The motivation for that is like, okay, give me my cure. - Thanks me. - You know, like, okay, I need to go to this meeting, I need to go to this experience, I need to take this particular chemical, whatever it happens to be. - I need to take this particular pledge, I need to say these particular words in this particular place. - And then at that point I'm all better and the answer is, of course not. - Right. - Now, are those things part of that journey? Of course they are. - Sure. - And Jamie is unarguably improved by this psychedelic experience. He learns something about interacting in the world, right? - But it also, clearly he's not done yet. - No. - He's gotta integrate. - Absolutely. And there's a lot of people out there who will tell you they can fill the hole in your heart that comes with being human. And a lot of them are hucksters. Because as you were just saying, I think very wisely, that's where the real work starts is identifying the hole and then you move forward. - And that's where, you know, I mean, you think about various mystic traditions and whatnot and the use of psychedelics and psychotropics in that kind of stuff. Those pathways are oftentimes when Americanized, they turn into quick fixes. - Sure. - And they turn into shortcuts or rocket fueling, you know? But it turns out that character development and spiritual development, those things, are very, very long processes, even drugless versions of them within spiritual religious traditions. Oftentimes they'll say, well, you have this experience and then you're there and that's just not the way it works. - Well, I also don't wanna minimize the value of sort of, you know, especially as we move out of the drug wars, a generous fucking way to put it, but as we sort of start decriminalizing ethnogenes and psychedelics at the state level, like, you know, ketamine therapies and mushroom therapies become much more common. Like a little bit of Western medicine is, you know, convinces people of efficacy and legitimacy sometimes. And so like, yeah, ketamine therapy's huge for a lot of people. You know, a lot of people cannot take traditional into depressants and so there is like, quick fix is the wrong word 'cause it's, you know, it's more complicated than that. - Right, 'cause it's not a quick fix. - Exactly, it's on the way, it's on the journey. It's an additional tool, it's yeah. - Yeah, I just, I don't want us to like-- - A vehicular kind of aid, yeah. - Yes, I mean, I don't wanna make it sound like taking a pill fix is everything for people because that's not how it works either. But I also just, you know, I don't want it to sound like we're being like, Western medicine sucks, dog, like, 'cause it's, no. - Yeah, this is a big two things are true situation. - Yeah, if you have what grows to depression disorder, you know, something like that, you are definitely going to need to take medicine, but you're also going to need a lot of therapy. - Sure. - You're also gonna need to find, you know, very spiritual sort of addresses, you know. - The well-butrin I take in the morning and the only thing keeping the demons at bay, you know? - Right, yeah. - Yeah, for sure. I don't know, is there anything else that we learn? I think, do we wanna talk about mumblecore a little bit? - We can't, I'm not very knowledgeable. Tell me what you're thinking. - Okay, so, you know, obviously, like, there's Vijowski, as his name guy who did "Support the Girls." He's kind of one of the big names and of course, the Deplas brothers. But, you know, you've got this movement and like, Lay Dots, early 10s, - Isn't Noah Bambak, associated with this stuff? - Bambak, yeah, Bambak and your wig are kind of names in it, for sure. - Tiny furniture's kind of the jumping point at one of them. - Sure, yeah. If we wanna talk about her, we can, I don't know, I'd try to, less, I have to talk about her at that time. - Clear. - But, yeah, tiny furniture and Lena Dunham, definitely part of this movement a little bit, but it's definitely this sort of, you know, very lived in, very minimal scripting, not quite Dogma 95, but, you know, definitely bare bones, stripped back indie productions for as little money as possible that are about trying to be about real humans and real interactions and stuff. And then, of course, you've got sort of the offshoot that is Mumble Gore with stuff like You're Next and Creep and sort of horror movies that have-- - Yeah, I can speak more to that, yeah. - Well, but you knew Adam Wingard and like some of those guys are kind of working both spaces, but yeah, this definitely feels in line with that movement as far as like the minimal scripting, the, you know, one or two major stars and then a lot of like supporting us. And Gabby Hoffman's like a big name in this type. I mean, she was on Girls, speaking of Lena Dunham. - I had to know her as the girl from Field of Dreams. - She's been around, yeah, she's been around. - I know it's her first film, yeah. - But-- - You know, we died from a hot dog. - Definitely, you know, these are, I think of these movies as movies filled out by character actors or like smaller actors, just to like give that sense of reality and kind of prevent that sort of remove of having the big star, which I feel like, I say, is it a weird place always in his career? I feel like he's so famous and yet-- - Yeah, I mean, well, he does Scott Pilgrim, he does Nick and Nora, and then is like-- - I'm not gonna be a conventional Hollywood star. - Does Ethan revolt and he does the other Sylva movie? - Yeah. - He does, he does-- - Is he a same year? - Same year, yeah. - Oh, the one, okay, same year. What the other movie is that he's in? - Cameron, what's called? - Cameron, what's called, but they basically, he was living with Sylva Learning Spanish for the second movie, and this was kind of about like Americans in Chile and sort of the idea of that type of guy as Sarah was living in Chile getting ready for the other movie they made. But yeah, I can't remember what's called either Arthur, and I don't really know much about it. I just-- - Magic Moon. - Magic Moon, I just-- - Or Magic Magic. - Magic Magic. I just remember the two movies being announced. I kind of remember this era of Sarah's career and being like, "Oh, what's he up to post Pilgrim?" - Yeah, that one's not on movies, so I don't guess I was-- - Yeah. - 'Cause there were like six, there's only three now, I think currently streaming, I don't know if this works. - Yeah, by the time you hear this dirty listener might be down to two. - Yeah. - It may just be rotting in magic cactus by then. - Gotcha. - Yeah, I did you watch the three that were available though? - I watched about half of rotting in the sun, and I like it. - Yeah. - I mean, it's very similar in style. It's also very sort of insightful into artists and influencers and the sort of persona development kind of culture stuff is really kind of at the heart thematically in rotting in the sun. - I think it might be a better movie. - Sounds better, sounds more interesting. - So, I'll just do that. - Magic sounds better than-- - Did magic act us? - Yeah. - Tell me more. - Yeah. - Oh, sorry. (laughing) - I was doing other things. - Yeah, he's hitting the I Want to Know More button. In remote chili, a vacationing young woman begins to mentally unravel. Meanwhile, her friends ignore her claim until it's too late. - Oh, man. - Oh, interesting. - That is interesting. - I guess we're gonna have to catch it with magic magic. It sounds that way doesn't it? - Check out the Michael Sarah, what's his first name? - Sebastian. - Sebastian Silva, your other team up, yeah, that sounds cool. I liked this one overall, I do. I do wonder, as we were talking to us in about like, the paths of the mountain that are not magic fixes, I do wonder how good of a job this movie does at articulating that Jamie is not fixed by this one experience. - Sure. - It's 'cause I do feel like it's sort of, you know, it kind of ends on this beautiful moment of crystal fairy disappearing back into the world. - Behind that rock, yeah. - And him and her kind of having one last moment together. - I think maybe it's the realism leading up to that does the work for that. - That's a, okay. - I mean, I'd buy that. - I mean, I think it's just because it is so grounded and that we do know that this is sort of a unique, you know, high point kind of moment that we, and we've seen so much of where he's coming from, that I think as an audience, we just go, oh yeah, well, I'm glad he's a little better now. And I don't think any audience member would come away from that saying, this movie says he's all fixed. Like, I don't think that's a, I don't think the movie's saying that because there's enough of that pre-ground work to indicate that, yeah, this is a step forward for him, but there are more steps to be taken. - Yeah, and I guess Sebastian Silva's character, Champa is like, even in that moment where Jamie, you know, sort of breaks down after Isabelle shares her story. And he kind of like, is acknowledging what he's feeling is also like, come on man, you're stealing her moment. - Yeah. - Come on, it's kind of like, it's like a very, they all very playfully like acknowledge, like, that they're proud of him, basically. For like, feeling like a real person. And then at the same time, all right, come on, what you gotta quit. - But, come down, this isn't about you. - Yeah. - This moment could not be less about you. Which is, yeah, I get a sort of an interesting Jamie still in his moment of revelation is still being, making everything about him. - Right. - Right. - Kind of classic Jamie. - Mm-hmm. - Yeah, that's interesting. - Yeah, very, very fun. - Yeah, I guess I buy all that to say. I buy what you're saying, that the movie earns that this is a process. - Yeah, I think, yeah. Okay, well, if we don't have any other major thoughts sort of around Crystal Ferry and the Magical Cactus and 2012, let's go ahead and render a verdict. What do you say, show for trash, Arthur? - I'm going to just ever so lightly, put it in the trash. One of those, oops, I knocked it off the shelf while I was dusting incidents. - Okay, fair enough, fair enough. Why's it gotta be this sort of accident? Dalton, what are you gonna do with it? - I'm gonna watch it on movie and go, oh yeah, that's pretty good. I should tell more people about that. Maybe I'll buy it. - And then I just don't think about it ever again. - It's fine, it's being on one of the special freestring service periods. - 100% my real experience of the film, and yeah, that's what I got for you. - I am also not going to shelf it. I think I might, if I finish it, shelf rotting in the sun. And so, I'm glad that I think it's definitely a streamer. So yeah, trash, but because there are other ways to watch it for now and get a chance to catch it. And if you dig this, you might be able to dig more into some of his other work. And I think good times can be had for all of that. So there you go to a list of those are our thoughts on, no, Crystal Fairy and the Magical Cactus and 2012. I almost said rotting in the sun. We're probably wrong about everything. And Dalton's gonna tell you how you can correct us. - Oh God, could there be another episode where we were more wrong? Definitely, we were doing episodes where we could be wrong all the time, but I'm sure we're wrong as hell on this one. Maybe more than usual. So, good trash, genrecast@gmail.com is where you wanna go for that long form feedback. If you've got notes for us, notes on the film we've discussed, anything else, let us know what you got on the brain. Good trash, genrecast@gmail.com. You don't have any mailbag stuff from me, Arthur. Do you usually mention it before? Okay, I'm assuming no. That's where you send that long form feedback to me. - I do have a mailbag. - Oh, okay. - I just checked. - All right, hit me. So, this is from Clayton, or you're our Patreon friend. - Hey! - He's listening to the Chicago episode, which came out about hours ago. Three weeks ago now, if you're... - Hours ago for us. (laughing) - But you got to think about what he would explore as a syllabus exploring women in the settings of the 1920s and their relationship with fame, vaudeville, and violence. He says he's just recently watched several films from the 20s and 30s, and there are a lot of good pre-code films that touch on these themes. 1930s The Blue Angel, starting Marlene Dietrich, where she plays Lola Lola, a cabaret singer who brings a middle-class man. - Doesn't vigorously shake his head, yes. - Yes, thank you. - He recommends the German version, but the film was filmed in German and English simultaneously. Shanghai Express from 1932, another Dietrich film, where she prays Shanghai Lil, a prostitute alongside Anna Mae Wong, with sex work and violence and societal treatment of sex workers, and nuance take on race, considering the time it was made. Trouble and Paradise from 1932. - What was that second one? - Shanghai Express. - That sounds awesome. - I love that. - Have you seen Shanghai Express? - I think I've seen at least clips of it in a documentary, but it's got Anna Mae Wong in it. - Anna Mae Wong, and Marlene Dietrich. - I think I have seen-- - That sounds cool. - Yeah. - I think it's a good time. - Yeah, Trouble and Paradise. He doesn't actually like this film, but it fits the theme of professional pickpocket falls in love with a professional thief, and they go after a rich noble, turning into a love triangle freaks, exports to their violence in the world by early a 20th century sideshow, me and my gal, Spencer Tracy, the New York cop who falls for Joan Bennett, the local waitress, whose sister's dating a local mobster. 42nd Street, her footlight parade, both her buzz be Berkeley musicals. She done him wrong. Another film I don't love, but it is very on theme, Mae West feature film. And once again, thanks for what you do, looking forward to the upcoming Patreon pick episode, which is if you're listening to this, has already become released a couple weeks ago. - That's right. - That was the La Strada episode. - Yes, yeah, Clayton, impeccable taste, dude. Come on, look at you diving deep into the crevices and bowels of cinema history at rocks. What I have to say from that email? - One of us, one of us, we got one of us. - Yes, thanks for the email, bud. - What else? @goodtrashmedia on socials. Pretty much just Insta is where we mostly post, but you can find all of our individual handles and all that bullshit on there @goodtrashmedia. You can also find the other shows on the Good Trash Media Network. Like the praise down on the Wheel of Randy, incredible back catalogs for you to peruse. What else? patreon.com/gtm if you want to get involved, financially help support, as Clayton has mentioned, he picked a film for us to watch. That was La Strada. We had a good time talking about it. - We did. - Do you want to be like Clayton? - Not a good time watching it. - No, no, kind of a bummer. Actually, just you mentioned saying that made me a little sad. - Send in the clowns. - There's only eight more people. Yeah, I think only eight more people can pick a movie for the show. We do have a limit on a number of patrons allowed to pick movies. So if you want to be one of those pickers, patreon.com/gtm. - Orson. - I'm done with my dumb bullshit and my silly little shtick. - Well, that's good. - Yeah, because next week. - Well, next week is October. - Next week is it the season of the itch. - Shocktober. - Sowing. - Next week is Shocktober the 13th. - That's true. - And I kept trying to find an angle for this marathon. And I thought about holiday horror. Okay, and I just couldn't get it to line up the way I wanted it to. I thought about these like famous faceoffs, like Freddie versus Jason and Alien versus Predator. - And multiple of those movies I wanted weren't streaming at the time. So I was like, what do we do? And then I found it. The reason I was squinting found footage. - Oh, yes. - Sorry if that's right. It's Shocktober the 13th taped terror. - Taped terror. - Taped terror. - And we kick things off with an entry from Australia. - I guess appearance from Dan Bo-Kimper. Ladies and gentlemen, we go to Lake Munger. - Oh, I'm so, I'm fucking ruined. I've been putting this off for so long. I don't want to go to Lake Bo-Kimper. I don't want Dan Bo-Kimper to laugh and how bad it freaks me out. - Oh man, that sounds like a great time looking forward to hanging out with Dan and we'll be seeing you all next time. So you keep watching, we'll keep talking. We'll see you all next time. (upbeat music) - I'm not afraid. (upbeat music) - I love you, Dan. 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