Episode 8 - The Lure

[00:00:15] Speaker A: And that's the podcast. Welcome, everybody, to watch this, a movie review and discussion podcast. We were just listening to Devo Bill, which is actually Czech for Wild Bill. And I just thought the song sounded kind of sea shanty. Ish. Okay, with the. Is that. [00:00:31] Speaker B: Yeah. [00:00:32] Speaker A: You guys didn't catch that? Yeah, it's Czech. And Czech. Czechia borders on Poland, so. And I don't give a fuck about Poland, and I give a fuck about Czech Republic or Czechia. Excuse me. So that's why I played. [00:00:45] Speaker B: It just upset a whole country. That's okay. [00:00:47] Speaker A: Polls are not smart enough to listen. They can't even screw in light bulbs. You think they're going to listen to a podcast? No. Who am I? I will not tell you right now because there's going to be a lot of polls angry at me. This is Pablito Pequeno, and to my left is our other host, Alex Bello. And right in front of me is our other host. Hold on, please. [00:01:13] Speaker B: Stephanie should have made a sea shanty version of this. [00:01:15] Speaker A: Okay. No, no, no, we're good. Okay. Yeah. Sitting in front of me is Stephanie Gablano, the Italian expl. [00:01:32] Speaker C: Every time it gets me. [00:01:34] Speaker B: It's so good. [00:01:35] Speaker A: We have decided to upset every single country with this podcast. And today we are talking about a Polish film called the Lure. It was spit out by the Bowl. The Mighty bowl has given the movie to us. And who gave the movie to the Mighty Bowl? It was Stephanie. [00:01:51] Speaker B: Say bull or bull? I heard bull at first. Like an animal. [00:01:57] Speaker A: I feel like I'm being picked on. [00:01:58] Speaker B: I'm not picking on you. [00:01:59] Speaker C: I was being picked on earlier. [00:02:01] Speaker A: Yeah, that's fine. [00:02:03] Speaker B: So at first I was like, what is the Mighty Bull? A sacrificial. [00:02:09] Speaker A: I speak my own way. [00:02:11] Speaker B: No, I mean, I. I understand what you were saying. [00:02:13] Speaker A: Mighty Bowl. Is that. Does that sound different? Is that not what I was saying? [00:02:17] Speaker B: Yeah, it was. [00:02:18] Speaker A: Okay. The Mighty Bowel, we put it. Thank you. I was waiting for the reaction. Thank you. The Mighty Bowel. The mighty bowl. Spit it out. And Stephanie was the person who gave her offering to the bowl. It was the lure. And today we're gonna find out if it is alluring. Thank you. Thank you. And that is all I'm offering today. That's. That's it. We're gonna let Stephanie take it. So, Stephanie, why did you pick the Lure? [00:02:47] Speaker C: So, honestly, I typed in Girly Pop Horror Online, and it gave me a list of movies I had seen, all of the ones that it provided for me, except for this one. So I assumed Because I liked all the other movies that were in that category, that this one would be an interesting watch. [00:03:05] Speaker A: Okay. [00:03:06] Speaker C: So I thought it would be a good opportunity to force you guys to watch something uncomfortable for once. [00:03:10] Speaker A: That's fair and uncomfortable. We were. Yeah, no, I. I was eating lunch every time I watched it. And. [00:03:18] Speaker B: Were you eating fish? [00:03:20] Speaker A: No, but like, I was. I was in like in mid bite of like a juicy sandwich when the lesbian cop woman started licking the mermaid's scales. Like. Yeah, but like the Ridge. The Spinal Ridge. And I was just like, oh, that's gross. I didn't need to see that. It's all the fault of girly pop horror. Yes. That's why we're here. Should I give away what I. Let's just. Let's talk about the movie. What was. Okay, so, Stephanie, I'm going to start with you, actually. You watched it. What's your impression of the film? Did you get anything out of it? [00:03:52] Speaker C: I got uncomfortable. [00:03:53] Speaker A: Okay. [00:03:54] Speaker C: From it. [00:03:55] Speaker A: Yeah. [00:03:55] Speaker C: But I also was kind of forced into learning about Polish folklore from it. [00:04:03] Speaker A: No, not me. Not forced. [00:04:04] Speaker C: Interesting. [00:04:05] Speaker A: Okay. [00:04:06] Speaker C: Through the force of curiosity. [00:04:08] Speaker A: Excellent. Exactly. But because you're curious, which is good, you learn a little bit more about Polish folklore. You want to sort of let. You want to set the movie up for people because clearly a lot of people have not seen this movie. It is out on the Criterion Collection. So clearly there is. There is. A group of people felt that it had something to say, that it. That it was not just some kind of schlock, which is good. But I. I remember seeing the poster vaguely, and I remember something being like. There was like a musical. Yes. This movie is a musical. A musical horror take on. On a mermaid story. And I saw the poster and I go, that's interesting. I'd watch that. And that was in 2015. So, yeah, I'm glad. I'm glad that we were forced to watch it. But can you tell us maybe the setup of the movie? [00:04:55] Speaker C: So I've been told that it wasn't set said in the movie, but for purposes of the synopsis, it takes place in Warsaw, Poland. [00:05:04] Speaker A: I didn't say it wasn't said. I just didn't hear it. You felt you heard it? [00:05:07] Speaker C: I felt I heard it. [00:05:08] Speaker A: And all the synopses online do say it takes place in Warsaw. [00:05:11] Speaker C: Yes. [00:05:11] Speaker A: Do we trust them? [00:05:12] Speaker C: Yeah. [00:05:12] Speaker A: I don't know. [00:05:13] Speaker C: It makes sense. Yeah, it makes sense. Because of the folklore. [00:05:17] Speaker A: It doesn't feel like. Like the city is a real character in the movie, though. It just sort of seems like a Lot of movie, to me, just felt like sets or locations. [00:05:26] Speaker C: I think it makes sense to people that are Polish to the Poles. The Poles would appreciate that it takes place in Warsaw because it's a big part of that city. If you guys did your research, Warsaw. [00:05:37] Speaker A: Is a big part of the city. [00:05:39] Speaker B: No, the mermaid folklore. [00:05:40] Speaker C: The mermaid folklore is like a big part of the city of Warsaw. [00:05:45] Speaker A: For clarity's sake, I think I was being an. [00:05:50] Speaker B: Thank you, Paul, for clarifying. [00:05:52] Speaker C: I'm glad we all know that there's. [00:05:54] Speaker A: Always a reason for my assholeness. Okay, it takes place in Warsaw. What happens? [00:05:58] Speaker C: So there are these two mermaid sisters that find this group of people. So it's a blonde bassist, a woman who's a lead singer, and then an older guy who's a drummer. [00:06:15] Speaker B: Yeah. [00:06:15] Speaker A: And keyboardist. I think sometimes he plays keyboards. [00:06:17] Speaker C: I think keyboardist on the beach. And they promise not to hurt them if they take them up on land. [00:06:26] Speaker B: So that's kind of what they were singing. [00:06:29] Speaker C: Yeah, yeah, that was the song. [00:06:32] Speaker A: Okay. [00:06:33] Speaker C: So they kind of get adopted quotation marks by these people and then end up a part of this, like, adult club that has like a. Like adult shows. [00:06:43] Speaker B: Like a cabaret. [00:06:44] Speaker C: Yeah, like a cabaret. [00:06:45] Speaker A: They call it a cabaret. Yeah, I think that's pretty good. There's stripping and things like that, but there's a. No matter how thin, thinly disguised, there's supposed to be a veneer of artiness to what they're doing in there, but it's. It's pretty crappy. I mean, it's meant to be crappy. [00:07:05] Speaker C: So these two sisters, one of them. [00:07:07] Speaker B: Sorry, guys, I have to. [00:07:09] Speaker A: Alex is gonna go clock out. [00:07:10] Speaker B: I have to go dive in a. [00:07:11] Speaker A: If you had a donut here, I would eat it right now because you're leaving the room. [00:07:14] Speaker B: Oh, like, that's a call back. I need to go jump in a pool. [00:07:18] Speaker A: So I don't. No, don't. No seafoam. No, don't become seafoam. Please continue with the. With the fascinating plots. [00:07:30] Speaker C: So one of these sisters, her name is Silver, she falls in love with a human. [00:07:36] Speaker A: The blonde haired bassist. Yes, the blonde bassist. [00:07:38] Speaker C: The blonde bassist. Her sister golden only views humans as food. [00:07:45] Speaker A: Yeah, seems like it. [00:07:47] Speaker C: So we're kind of following the story between the tension between these two and the goals that they have for being. [00:07:53] Speaker A: On land, which are not terribly clear. I mean, they. They say that they're just basically traveling and like, this was just supposed to be a stop on the way. And of course, you know, as. As folklore would have it, she falls in Love with someone who just does not deserve to be fallen in love with or someone who doesn't reciprocate necessarily or kind of reciprocates only in a sense, only enough to tag her along and kind of continue the facade that, you know, because he's kind of fascinated in her, but not terribly. Yeah, he's not a very interesting person. No, I think that's on purpose. I'm not. It's not a judgment call against the movie. I. I think that he is supposed to be kind of like. I don't even know what his name is. It's really hard to know what any of the characters names are because I. [00:08:41] Speaker C: Think his is My Mate May Take My Take My Take. [00:08:47] Speaker A: M I T E K. M M. [00:08:50] Speaker C: I E T E K. Is that what you said? [00:08:55] Speaker A: No, that's not what I said. What does it say on IMDb? [00:09:00] Speaker C: Well, that's how it's spelled. I don't know how it's pronounced. [00:09:03] Speaker A: That is how it's spelled. Yeah. Yeah. Okay. [00:09:06] Speaker C: I'm not going to give away the ending of it, but just that's. That's the journey that we're on. We're with these two sisters. [00:09:11] Speaker A: Yeah. I. Okay. Would we. It's not the best. Jess and I were talking about yesterday and, and we kind of brought up the idea of, of it being dreamlike. I, I don't think that that's the, that's the best description of it, but there's something. It's not really taking place in the real world. Exactly. [00:09:29] Speaker B: Yeah. There's a fantastical element. I mean, we already kind of got that from the fact that there are mermaids just kind of hanging out. But there are several of the sequences, especially like the, the musical sequences in which, like the musical numbers in which they're. They're singing and like going about their song, but the whole world kind of seems to stop. It's not like in other musicals where it's like everybody's in on the. On. On the performance. It only happens once, which is when they go shopping, that everybody's in on it. And then it seems like everybody just kind of snaps out of it and walks away. [00:10:01] Speaker A: Yeah, I think that's. That's a good point. And I guess that's. That's going to lead me to my question. And I think we kind of answered it, but, like, why is this a musical? Was it just someone being like, it'll be cool if it's a musical? [00:10:12] Speaker B: I think it has something to do with the fact that, like, sirens use Their song as a. You know, like the siren songs, what they lure people in, but also probably has something to do with the fact that it's trying to be told like a, you know, a mythical tale. It's kind of like when you hear, like, a bard singing a story about something that happened, you know, you kind of. I think I described it as. And this is my only note that I have on this paper other than a little terrible drawing of Poland in the top right corner. [00:10:41] Speaker A: Oh, is that what that is? I thought it was an explosion. [00:10:42] Speaker B: It was. It started off as a random shape, and then I just put Poland in the middle because I don't know what the shape of Poland looks like. And then I just started drawing around it. But here I wrote Rocky Horror Picture meets Fish Question Mark. [00:10:56] Speaker A: I disagree with that. [00:10:57] Speaker B: Reminded me a lot of Rocky Horror Picture Show. No, the musical sequences. [00:11:01] Speaker A: No, the musical sequences are. So they tend to be kind of dark and gloomy. [00:11:07] Speaker B: No, no, not the musical. Not the musical numbers. The actual performances, like, when they're performing that. That's one of my critique. And I don't know if we want to go here yet, but one of my critiques about the movie, the actual, like. Like. Like, musical, like, parts of the movie where they were just, like, singing and dancing didn't really do it for me. But the actual, like, musical performances. So, like, when they're at the club and they're singing and the band is singing, and when she goes to the metal show or the punk show and she's singing there, like, that stuff did it for me. I thought that was cool. [00:11:36] Speaker A: I think the performances were good and. And, like, the music was inoffensive. It never made me, like, go, I want to turn this off. But it's not memorable. It's. A lot of it is also just sort of like them singing their feelings and just saying, I'm depressed. You know, there's that one song where she's like, I'm depressed and everything's blue. Yeah, I think definitely the fact that they're sirens is. And it's almost as if we're kind of like. It sort of seems like they have a certain spell over everybody throughout the movie. And I'm assuming that would be through the siren song. So it's almost like they're kind of like. They're almost like they're puppets. And that's sort of like, shown through the musical numbers. Almost like we're in their headspace. This is how they're seeing things. When silver and gold are there. [00:12:17] Speaker B: Right? [00:12:17] Speaker A: Or Gold and silver. Very important. Okay, so first of all, we didn't say the director's name. Stephanie, what's the director's name? Oh, you're going to make me say no, I'm joking. Agnishka. Smechin. Smecinska. Agnishka Smecinska. Smecinska. Yeah. [00:12:43] Speaker B: Probably. It's not pronouncing that properly. There's a Polish woman out there right now. It's very angry. [00:12:48] Speaker A: Nobody gives a. About the polls. [00:12:49] Speaker B: Hey, I like Poland. They're cool. They're chilling. [00:12:52] Speaker C: Ever done. [00:12:53] Speaker B: They can't get invaded. [00:12:55] Speaker A: Got invaded. World War II started there, I think. Okay, so it's. Oh, it's directed by a woman. I think there's definitely commentary on relationships, men and women. [00:13:09] Speaker B: Exploitation of. [00:13:10] Speaker A: Certainly exploitation of. Of. Yeah. Of young women. [00:13:13] Speaker C: Yeah. [00:13:15] Speaker A: Ageism in general. Because we have that lead singer woman that you mentioned. The. The. So. Because like those three are kind of like a troop. They live together. They seem to be like this nomadic group that kind together. Jessica brought up a good point and it's. It's disgusting to think about, but the fact that the. The older woman and the bass player have really kind of very similar hair. [00:13:34] Speaker B: Oh. [00:13:36] Speaker A: Suggests things that I don't even want to go to because there seems to be a sexual relationship there too. So. Yeah. [00:13:43] Speaker C: She also has like this weird motherly relationship with them. [00:13:47] Speaker B: Yeah. [00:13:47] Speaker C: Cuz there was this weird scene where it was. It was like in the blonde woman's head that both Gold and Silver were. [00:13:54] Speaker A: Like suckling on her. [00:13:56] Speaker C: Yeah, yeah, yeah. [00:13:57] Speaker A: There's a lot of nudity. [00:13:58] Speaker B: That was a cool scene though. [00:13:59] Speaker A: It was like. [00:13:59] Speaker B: It looked like a. Like a. Like a. Like a. Like a painting. [00:14:02] Speaker A: It. It was very. The guy who did Holy Mountain we're talking about last week. [00:14:08] Speaker B: What's his name? With the weird name? [00:14:10] Speaker A: Yeah, it was him. So, yeah, I mean there's definitely a lot of like allegory. Fair to say metaphor. More allegory or metaphor. Definitely. You know, sort of how. How. Old men staring. Old men telling young women what to do. Old men putting their hands where they shouldn't be. Jessica's very upset about when. When so the. This. So okay, let's set. Let's kind of set the scene. So one of the earliest scenes in the movie, we're going into the club and it's kind of a cool. It's this typical Goodfellow shot where you're following the one character walking around the club. He's the owner of the club. And kind of the joke here is also he keeps going on going. You guys smell that? [00:14:55] Speaker B: Yeah. [00:14:55] Speaker A: They're like, no, what are you talking about? [00:14:56] Speaker B: The one guy's like, oh no, I have a cold. I can't smell it. [00:14:58] Speaker A: I can't smell it. He's like, go home. You shouldn't be spreading your. Your germs. And I was like, this was pre Covid, which is funny. It was a cool shot. And then there's a neat little thing that they do where so it's all being set to Giorgio Moroder's Donna Summer. I Feel Love. Yeah, right. Yeah, yeah. Which the band is playing and. And. And somehow like everywhere he goes in the club, like all the people who work there are kind of like just kind of dancing to the music until he sees them and then they all kind of seem to stop or. So it's kind of a neat thing. And then he goes into the. The room. He follows the smell into the room. And it's the. It's the mermaids. And they're now in human form and they're playing like children on the couch. Like they're like. They're like throwing pills at each other and just being like. Hehe. Like they're like 12 years old, it seems. You know, they do mention in the movie that they are kids underage. We don't know for sure just because they are mermaids. We don't really know how old they are, but they definitely look very young. [00:15:51] Speaker B: Yeah. I think they purposefully cast the people. [00:15:53] Speaker A: That look younger 100%. And that's what I think they're trying to. [00:15:56] Speaker C: And the characters are definitely underage because the director, I think in an interview had said that they at first wanted to cast actual kids and then decided not that it would be weird, but it would be difficult for kids to play that difficult of a role. [00:16:12] Speaker B: Yeah. [00:16:14] Speaker C: So they casted adults that looked like kids. But the characters are definitely kids if they. [00:16:19] Speaker A: I. There's a certain world weariness to some, to at least Gold, the. The one who use humans as food, like, she seems to be like, they kind of. That's what I mean. Like, it's not clear because they are sort of like supernatural creatures, you know, Like. Yeah. [00:16:36] Speaker B: Do they age the same? [00:16:37] Speaker A: Right. Like, I'm like, do they age the same? But the point as far as the movie is trying to make, as far as how people are interacting with them, they look young. They look basically like children or write like 17. [00:16:49] Speaker B: Yeah. [00:16:50] Speaker C: As far as the grown men in the movie are aware, they're children. [00:16:53] Speaker A: Exactly. And. And you know, so he walks in and they're acting like children. And. And basically, you know, the. The. The mom of the. Of the. Of the group kind of comes in, is like, oh, yeah, I brought them in. Blah, blah, blah, blah. And he kind of starts staring at them immediately. And he's like, oh, they're really pretty. And he's like, we could put him in the show. And then he's like, okay, go undress for us. So they undress, and then it's revealed. And, like, you know, you kind of like. I mean, I'm watching this at work, and I was like, is this appropriate? And they undress, and it's revealed that they don't have any sexual organs. There's no smooth. [00:17:28] Speaker C: It's just smooth Barbie doll. [00:17:30] Speaker A: And they go, barbie doll. [00:17:31] Speaker B: Which, like, I'm sorry, but, like, I hadn't noticed. I just heard myself double. That was weird. I. I hadn't noticed. But, like, okay. When they're, like, first standing there, I'm like, okay, they're completely naked. [00:17:43] Speaker A: Yeah. [00:17:43] Speaker B: And then when he shifts focus from, like, to show, I was like, no way. They're gonna go like, are they actually gonna do, like, a full crotch shot? Like they. And they did. There wasn't anything there, granted. But I thought we were just gonna get a full on, like, very polish. [00:17:59] Speaker A: Like, not. And I don't mean polish. I mean like, very European cinema, which. [00:18:03] Speaker B: I was not expecting it to go there. [00:18:04] Speaker A: Yeah. [00:18:05] Speaker C: It was actually weird because, like, me, a woman watching this, like, when they turned around, I was like, like, wow, they have a really weird butt cry. [00:18:12] Speaker B: Yeah. I was confused about it. [00:18:13] Speaker A: As in, there is no butt crack. [00:18:14] Speaker C: Because there wasn't one. But I didn't realize that they didn't, like, at the time that there was no sexual organs. At that moment, I just thought that was, like, what they looked like. I was like, dang. They found two girls with this same weird butt crack, and then they revealed it, and I was like, okay. They, like, covered all that up, and. [00:18:31] Speaker A: And I don't. This is probably the most inappropriate place to say this, but shout out to the makeup guys. Like, the special effects makeup is. [00:18:38] Speaker B: Yeah. [00:18:39] Speaker A: But. Because there's other things that are. You know, like. There are much more interesting things, but they. The makeup is really well done. [00:18:45] Speaker C: Yeah. Fun fact, actually. The. The tails that they had in the movie were six feet long and over 50 pounds. [00:18:53] Speaker A: Oh, yeah. [00:18:53] Speaker B: Yeah. They looked cumbersome. And, like, every time you thought you would get to the end of the tail, then there was more. [00:19:00] Speaker A: It's really funny because whenever mermaids are always romanticized yeah. You know, like. Like, and their tails are always, like, with these beautiful shimmering scale scales and everything. And here it's just like a gross giant fucking eel. [00:19:13] Speaker B: Yeah. [00:19:14] Speaker A: You know, and when she takes a scale off, it's. When she asked, I think, the one person to eat it. I forgot why. It's like there's, like, goop coming off of it. Like it really is not attractive. Like. Like it is not. [00:19:25] Speaker B: Yeah, take it out. An actual fish looks. [00:19:26] Speaker A: Yeah, it's like how an actual fish looks. And again, I. That's. They're doing that clearly on purpose that it's like. It's not. It's not sexy, you know, as. As mermaids have been sort of portrayed to be. But. But yeah, so they. They immediately put them in the show and of course, they're an immediate sensation. [00:19:43] Speaker B: Yeah. [00:19:43] Speaker A: We should also mention that there's just. There's just a ton of nudity in this movie. [00:19:48] Speaker B: Yeah. [00:19:49] Speaker A: None of it seems gratuitous, I would say. And it never seems like the actors are uncomfortable. That's not my call to make, of course, but it doesn't feel like they. They seem like they're mermaids. They are going to be naked most of the time, so. So it fits for the characters that they don't give a fuck. You know what I mean? And so. But there's. There's a. There's a hell of a lot of nudity in this movie. What is kind of interesting, though, and I thought this was subtle, but. So when. When they start their musical act, the mother of the group is. Is the one singing, and she's telling them what to do and everything. And I think she. Their first act, they go dressed up like. Like sexy stewardesses. [00:20:27] Speaker B: Yeah. [00:20:28] Speaker A: Yeah. [00:20:28] Speaker B: And she's the pilot. [00:20:29] Speaker A: And she's the pilot, and she's walking in front. The girls are walking behind. And then just a little bit later when the next. As they get more popular. And I think this is a commentary on ageism. She's walking behind and the girls are walking in front. [00:20:40] Speaker B: Yeah. [00:20:41] Speaker A: And the girls take over the show, like. Like almost immediately, let's say, become the main attraction. Yeah. And what I found interesting is that, you know, other movies would usually make the mom character sort of more like, why is this happening? And, like. But, like, she seems to, like, she knows it. Like, she knows that she's aged out and that this is basically her kind of bread and butter is to be in these kind of cabaret shows. [00:21:02] Speaker C: Yeah. It's also really messed up because towards the end of the movie when she's sleeping with that guy. She asked him like, oh, why do you smell fishy? Like fish. And he's like, oh, I had herring. And he's. And she's like, oh, with your fingers. [00:21:16] Speaker A: Your fingers, yeah. [00:21:17] Speaker C: And she, like, stomps away angry. She's like, oh, go have sex with your, you know, with your mermaids. With your mermaids. [00:21:24] Speaker A: And. And that actually brings me. What I was describing, the mermaids was that they do have, again, just a very disturbing moment. And we will go through it. There's a purpose to this. And again, it's. It's that sort of, you know, the, the lecherous old men just like, so when. When to show that their mermaids. They pour the water on the two girls as the. As the. The owner of the club is being introduced to them, they pour water on the girls and they turn into mermaids. And the. The. The drummer guy, right, he's the one who's saying like, oh, yeah, like this is what they look like. And then he says, here's a slit. [00:21:56] Speaker B: Right here at the end of the tail. [00:21:57] Speaker A: At the end of the tail. And says like, this. This is what they use as a sexual organ, I think, or something along those lines. Like, he makes it clear and the old man just puts his fingers in, you know, like, he's just like, yeah, he's like. He's like, let me finger these nucleus. [00:22:12] Speaker C: And he's like, oh, this right here? [00:22:14] Speaker A: Yeah, this right here. And he's just like, oh, you know, like, no, as Jessica always says, like, he just violated her. And. And like. And they're kind of like, hehe. They're giggling, you know, like, they're not old enough, I guess, you know, or the idea could be they're not old enough to. To know. Or they just, you know. [00:22:30] Speaker B: Yeah. And we also, like, at this point in the movie, we also don't understand, like, what mermaid's capabilities for sexual, like, interactions are. Like, we don't know if. [00:22:41] Speaker A: We still don't know. [00:22:41] Speaker B: Yeah, we still don't even in the movie, we still don't really find out all the way. It's not explained. I don't think it has to be explained. [00:22:48] Speaker A: It's not that kind of a movie. [00:22:49] Speaker B: But it still doesn't make it at all. Okay. No, that was so great. [00:22:54] Speaker A: Clearly set up to. To. To, you know, to be a moment to kind of go, wait a minute, what's going on? [00:22:59] Speaker B: And then he' left alone with them. [00:23:00] Speaker A: Oh, yeah, yeah, yeah. [00:23:02] Speaker B: So we can imagine. [00:23:03] Speaker A: Yeah. [00:23:04] Speaker B: Where that goes. [00:23:04] Speaker C: That's why I think that this movie, like, what makes it artsy is the insane commentary like that where they, they do it in a way where it's like, oh, but they're animals. [00:23:16] Speaker B: Yeah. [00:23:17] Speaker C: So. [00:23:18] Speaker A: Yeah. [00:23:18] Speaker C: Which is how the basis describes her. He says that he doesn't. He just sees her as an animal, so he can't see her that way. Right, but they still sexually violate them only as mermaids though, Right? [00:23:30] Speaker A: Well, they can't as humans because there's nothing there. I think that that's a good. But we should kind of follow that because that sort of seems to be a theme throughout. Because when Silver falls in love with Basis Guy, he seems to be like, that's how he treats her. Like, you know, he kind of likes her. He's not. He doesn't turn down her advances. Yeah, but. But he is kind of like, you know, like whenever, whenever she tries to get to like another step or really become intimate, he sort of pushes her away and he's like, nah, you know, like, not this. And it's kind of interesting that they view them as animals and then what does. So Gold views humans as animals also. Like, you know, like. Yeah, it's just sort of like, you know, in a sense that the. You kind of get the feeling that the sirens are just kind of having a bit of a laugh at the beginning. Gold especially. [00:24:15] Speaker B: Yeah. [00:24:15] Speaker A: At our expense. [00:24:17] Speaker B: And we kind of get that when they're in, when they first. When you first get hinted at that Silver is attracted to the guy, Gold is like, oh, do you want to stay here longer? And then she's like, oh, we'll like, we'll have some fun and then swim back to America. We'll hang around. Around here. Yeah. [00:24:34] Speaker A: Yeah. [00:24:34] Speaker B: So it's like this is just a little sideshow for them. This is just a little gig spending some time on her, on, on land and hanging out. [00:24:41] Speaker A: And so, you know, so when Silver falls in love with Basis Guy, it, you know, like the question isn't so, you know, because there's a part of me, it's like, well, what would you see in him? You know, he's just a good looking guy. And that guy, like, it's. Again, it's good casting that. That guy just looks somebody that a teenage girl would fall in love with. Like, he has the floppy hair, he's. He plays an instrument, you know, like, but there's, but like if you really look for anything under that, there's nothing there. There's nothing there for this guy. [00:25:08] Speaker C: Teen girls fantasy. [00:25:09] Speaker A: Exactly. Yeah. And so, so I found that, that kind of interesting. And so, you know, part of me, the, the, the sort of very rational person who's like, everything must connect to the next thing, you know, why. Why a person acts away, you know, like, at first question it, like, why would she fall in love with this guy? And then it's like, well, why wouldn't she? You know what I mean? Like, this is, this is, this is fairy tale. You know what I mean? Like, and so all it has to be is she's young. And I guess I'm agreeing now that they are young. You know what I mean? Because everything I'm saying seems to be leading to it. They're young. That's why they're acting this way. So, you know, she's young. He's. He's a young, good looking guy. And so she right away thinks that she's in love with him. [00:25:46] Speaker B: Yeah. There's also like. Yeah. And there's a mention later to them being on vacation. The guy Triton says it at some point, he's like, oh, we're not, we're not, we're not humans. We're here on vacation, which we'll get to later. But like, I don't know if anybody can, can. Can relate to this. But like, you know, when you go on a vacation and you're like at a hotel, you're like at a nice place and there's like one other person there your age, they're automatically more attractive because it's like, okay, this is the only other person here that's like, that's. [00:26:15] Speaker A: A really good point because that's the only young man in the movie. [00:26:18] Speaker B: Exactly. He's the only. All the other men are like old. [00:26:21] Speaker A: Old, lecherous, gross. [00:26:22] Speaker B: And what they're attracted to, at first it seems like, is his music playing. When he's playing the music by the water is what calls them. [00:26:27] Speaker A: Yep. [00:26:28] Speaker B: And like, I get that feeling when you're like on vacation and you're like, okay, this girl's like the only, like, other person that's like my age. Like, okay, yeah, yeah. [00:26:35] Speaker C: He's also the only person that doesn't want her. [00:26:38] Speaker B: Yeah. [00:26:39] Speaker C: Which is important. Young psychology. [00:26:42] Speaker A: Yes. [00:26:42] Speaker C: That is every man is after you, but there's one guy that just won't let you have him. [00:26:48] Speaker A: Right. [00:26:48] Speaker C: Like every young teenage girl is like, I have to have him now. [00:26:52] Speaker B: Yeah. [00:26:52] Speaker A: Mm. That's why I like Gold. She didn't get pulled into that. [00:26:55] Speaker B: Oh, Gold is cool. [00:26:57] Speaker A: It's the coolest. And a great performance also. I think the performances overall were really Good. And hers is definitely the showiest, you know, written character, but she really. The musical numbers. [00:27:08] Speaker B: She's so creepy. Like, there's something about it. [00:27:12] Speaker A: Yeah. And that you kind of understand why all these people are kind of like, hey, you're interesting. And they're kind of, like, getting close to her. You're like, yeah, it's. And again, she's just cool because, like, she's the one who's just like, I'm over this. [00:27:22] Speaker B: Yeah. [00:27:22] Speaker A: You know, you guys, whatever. [00:27:24] Speaker C: But she was also, like, acutely aware of what they were. [00:27:28] Speaker A: And that's what I mean. Like, when I was sort of thinking of, like, that they're older than they seem in certain scenes, you know, and it's mostly the way Gold acts. Gold seems to be the one who's like, hey, you know what I mean? Like, she seems to know what's up. [00:27:40] Speaker C: She knows the danger of it because she knows they're sirens. They have a purpose. Yeah, but she can't be falling in love with humans. Yeah, she seems very aware. [00:27:50] Speaker A: Don't fall in love with food. Like, I don't want to fall in. [00:27:52] Speaker C: Love with the cow's getting herself into. [00:27:54] Speaker A: Right. Yes. But even when they discuss it, you know, whenever they talk about, like, the folkloric aspects where she, you know, it's like, oh, if. If you do this and this will happen, like, okay, if you try to turn into a human, you'll lose your voice. And, like, they. They only use Triton, who's. Who's a. A male mermaid. It's. It's. It's a merman, which makes me think of Gravity Falls where they have a merman and his name's Mermando. [00:28:17] Speaker B: That's hilarious. [00:28:20] Speaker A: Sorry. That was awesome. He's the one who's sort of telling them, like. Like all the lore, you know, and she. And again, like, her youngness kind of points through, which, like, Silver is like, that's just old wives tales. He doesn't know what he's talking about. And everything he said and he warned them about is right. [00:28:36] Speaker B: Which. Can we talk about Triton for a minute? Because the way they set him up I thought was so brilliant throughout the movie, for the first, like, during the first act or second act, when. When you finally start to first see him, he's just shown in. In blitz, like, glimpses to something. So, like, while shit's going on, you get, like, a quick cut to him, like, smoking in an alleyway and, like, looking really creepy and disapproving. And for whatever reason, I had a really Bad feeling that he was gonna try to like assault them or hurt them. And he just looked so creepy with the, with the scars on his head and he just had a really smug, disappointed look in his waist of hair. Wisps hair. And then when you finally get the reveal, you find out that he's just been sitting in the bar this whole time watching them disapprovingly. It set it up so brilliantly. Cuz you already believe and assume that every man in this movie is like out to get them or like to exploit them for something. And like the scariest looking guy ends up being the one that gives them the guidance. [00:29:31] Speaker A: That's a good point. [00:29:32] Speaker B: And yeah, I just thought it was fantastic with him with the, like the, the scars on his head. That was so sick. [00:29:37] Speaker A: Cuz he had horns and, and a, a fisherman removed one and then he's like. And I took my other one out. He's. He's such a, you know, creepy badass. Yeah. I kind of wish they could have done more with him, but it's fine. Yeah, like it's. I don't really know what. But he was just so cool that I'm like, you could done more with him. [00:29:54] Speaker C: I also really like that when, when Gold performed or golden, when she performed with them afterwards, she was like really like pleased with herself. She's like, I'm a siren. I could sing better than everyone. He goes up to her afterwards and he says, you could do better with practice. [00:30:08] Speaker A: Yeah. [00:30:08] Speaker C: Like he was the only person that like kind of took her down a peg. [00:30:12] Speaker B: Yeah. [00:30:12] Speaker C: And like told her like, you can better yourself. [00:30:14] Speaker A: Yes. Like, and again, he does start with like you were, you know, that was fantastic. But you know, with a little practice you can actually be good. [00:30:21] Speaker B: Yeah. [00:30:21] Speaker A: That's kind of what he's saying. [00:30:23] Speaker C: So I feel like every, every dude in the movie kind of just like, you know, strokes their ego and tells them. It's like, you're so pretty, you're such a good singer. You can do this, you can do whatever you want. So they're all just kind of like pleased with themselves and like, you know, they're like young teenage girls. They think that they could do no wrong. [00:30:38] Speaker A: Yes. [00:30:38] Speaker C: They're better than everybody. It was nice to see him actually be like, like you can better yourself. [00:30:44] Speaker A: Yeah. [00:30:44] Speaker C: And then her like face kind of. [00:30:46] Speaker A: Dropped a little bit. Yeah. And she, again, that's that, that great performance where she's still on that high, you know, and she's still pleased with herself but at the same time she heard what he Said. And she's sort of like that duality is showing in her face where she's like, you know, both, like, excited and. And like she got slapped in the face at the same time. [00:31:03] Speaker C: Yeah, it was really good. [00:31:04] Speaker A: It was good. And I loved his. When he. He had those. He has those wisps of hair and he makes it into a molo for the punk show. [00:31:12] Speaker B: It was so badass, that punk show. I thought it was cool. [00:31:14] Speaker A: I didn't like the song that much. The. [00:31:16] Speaker B: The song was whatever, but I thought it was like the best, like, set piece in the whole movie. Like the. The big mosh pit. It just felt like an ocean of people. [00:31:23] Speaker A: Yeah. And like a real punk show. Yeah, yeah, it was. It was pretty. It was pretty legit. So Gold makes. Comes through on her promise. Like, she sings a song to herself basically, like. Like, I'm bored, I'm depressed. You know, I. I want to have some fun. So she goes to a bar, picks up a guy, and then she eats him. [00:31:40] Speaker B: Yep. [00:31:42] Speaker A: And then a little bit later in the movie, they are. This is really weird scene where it's. It's almost like very familial, you know, like, so they're in the apartment where the band lives and the girls are living with them. [00:31:53] Speaker B: Oh, yeah. [00:31:54] Speaker A: And. And this, like, true crime cop show comes on the air. And, like. And like. But, like. Like the theme song plays, but it ends up being like this, like, remix, like, going on for a long time. And, like, the drummer, the older guy, starts, like, lip singing the theme song. [00:32:09] Speaker B: Yeah. [00:32:10] Speaker A: And they're all laughing and having a good time, and it's sort of like this one moment where they're all kind of together and. And sort of just like being like a. Like a happy family in a way. And then right after the show begins and the cop woman who was trying to arrest Gold for murder because she knew what she had done, and then ends up being seduced by her instead, which leads to that disgusting part where she takes her fin. [00:32:33] Speaker B: What the fuck was that? Like, that was so random. Like, all of a sudden they're like. [00:32:37] Speaker A: I didn't know how to read a lot of that because it was like, again, I mean, you know, she's. She. The. She uses her sireny ways to. To kind of, you know, to. [00:32:46] Speaker B: To seduce her. [00:32:47] Speaker A: Seduce her. And then. But then there's that, like, she pulls the gun on her. [00:32:51] Speaker B: Yeah, but I thought that was like a sexual. Like. [00:32:53] Speaker A: Yeah, because, like, she. But at first it seems threatening, and then Gold kind of sees it, but she's not like really like she's taken aback at first, but she, she's not, she doesn't seem like her reaction. Doesn't seem like she feels danger. [00:33:05] Speaker B: Yeah. [00:33:06] Speaker A: And she just starts laughing and the other woman starts laughing. So is it sort of like she's trying to break free of the spell and like, is like, nah, I'm gonna put the gun on you. And it doesn't. [00:33:14] Speaker B: What do you think? [00:33:15] Speaker A: Or did you, did you have a different. What kind of reading did you have, if any? [00:33:18] Speaker C: I thought it was because their, their magic wasn't that strong in this movie. Like I, you, like, you could tell when someone was being swayed. But I don't think they could fully get anybody like completely under a spell. Like they could get, they could just kind of like sway them to not be angry at them, which is how they got a lot of their way. Like the way that they got the band to adopt them was. And even in like the folklore, like the way that the mermaids got out of trouble was by swaying people's emotions to not be like angry with them or to like not get them in trouble. [00:33:55] Speaker A: Well, I, I would say I would take that and sort of like just extrapolate on and be like, everybody seem attracted to them already. And so they sort of, you know. [00:34:03] Speaker C: Yeah. [00:34:04] Speaker A: Seduced them that way. Like it's not, it's not like a full on spell. Like they wouldn't sort of give into it otherwise. I mean, the woman was clearly attracted to her already and she knew it. [00:34:14] Speaker C: So what I think is that she was able to seduce her into not like being arrested or getting in trouble, but the woman knew who she was and that she would kill her if the chance. So I think I assumed when I watched it that she pulled out the gun to protect herself. I'm not sure how, how far I can go with that assumption. [00:34:38] Speaker A: Maybe more it was that, that she was trying to assert herself. That was like, no, I'm the one in control here. And then sort of like when she pulls the gun out and the girl kind of laughs and it's like, no, you're not. [00:34:50] Speaker C: I actually am not sure. [00:34:51] Speaker A: When I didn't know how to read it. [00:34:53] Speaker C: Yeah. When I first watched it, I fully assumed that she was just trying to make sure that she wasn't killed after this. Which knowing golden, she definitely would. [00:35:05] Speaker A: She would. I think that's. Yeah. [00:35:07] Speaker C: So she was like, okay, like, I. [00:35:09] Speaker A: Have a gun all you want. [00:35:10] Speaker C: Yeah, but you're not. [00:35:11] Speaker A: When we're done, you're not going to kill me. [00:35:13] Speaker C: Yeah, I'm leaving. [00:35:13] Speaker A: I could see that. Yeah, that makes sense. I like that. Okay. [00:35:17] Speaker C: Which is why she lived to be on that TV show. [00:35:20] Speaker A: On a TV show. And so, so, so she's on that TV show and she says there was this mur. And. And it just becomes clear to everybody in that room, the whole family, if you will, that it's like, oh, that was Gold. Who did that? [00:35:32] Speaker B: Yeah. [00:35:33] Speaker A: And. And. And they're laughing like gold and Silver, even Silver, who is, you know, who apparently, you know, has fallen in love with a human. They're cracking up and so they're kind of disturbed and they're like, what the fuck are these? You know, like what is in our house? [00:35:46] Speaker B: Yeah. [00:35:46] Speaker A: And it leads to a part that kind of. I think I burst out laughing because it was, it was. I was done for sure on purpose and kind of silly was, I think, Silver. What, what starts it. So Silver takes Gold into the other room to basically like bitch her out and slaps her. [00:36:00] Speaker B: Oh my God. [00:36:02] Speaker A: It's a pretty great scene because. Because then like they're. They're fighting, but then instead they kind of like fall into like their sisterly pattern and just start laughing and like, like dancing around the room like. Like how they were when they first saw them on the couch. [00:36:15] Speaker B: Yeah. [00:36:15] Speaker A: And then the guy, the. The. The drop. Drummer. Yeah, there's a drummer. The old man, the sort of father figure, you know, of this nuclear family comes in because like earlier when they're laughing about it, he's like, I'm going to punch that girl. He's like, I don't care, I'm going to punch her. And then he just comes in and just punches them both at the same time in the face and knocks them out. And it's just the way it was filmed, it was just so silly and like, like, you know, it was. Again, it was on purpose and it was funny. What happened after? I wasn't a big. Like, I don't think I really. Again, we're talking heightened reality. But apparently after he punches them out, they roll them up in carpets and then throw them in a river and think they're free of them. And then they have like a whole song where they're all like basically drugged out completely and they're talking basically about their guilt over what they have done. Yeah, but it just seemed like. And again, I know that we said this is not supposed to be like a one to one reality, but it was just like what was the thinking here? Like you didn't kill them, you punched them out You. I guess they wanted to just get rid of them because they felt they were in danger. But why would you roll them up in carpets and put them in a river where they would just turn into fish and they're going to come back. [00:37:27] Speaker B: Yeah. [00:37:29] Speaker A: And then, and then why that guilt? As if they had killed them. Like it's clear that they didn't kill them. So I kind of thought that was a little unearned or didn't quite work the way it should have. Like that was. That was a little too much of cognitive dissonance for me at that point where I was like, you're losing me a little bit here. [00:37:44] Speaker B: Yeah. I had to re. Watch that today. Even though I had moved last night when I was watching it, it was like late, around like 10 o'. Clock. And I watched that part and I was like, am I like. Like, is something wrong? Like, I felt like I missed this year. Like I dozed off and so I re. Watched it and it still didn't make any sense to me. And even the fight, it kind of seemed like it was for at first a fight between the bassist and the drummer. Kind of like, oh, you got rid of them. And then, and then the, the, the lady, the, the lead singer comes in and tries to split them up. [00:38:16] Speaker A: Yeah, I forgot about that. [00:38:18] Speaker B: But doesn't successfully split them up. And then they all start fighting and they all get really drunk and then someone else comes around and. And gives them an IV that wakes them up. [00:38:27] Speaker A: I. I assume it's. It's a worker from the club. [00:38:30] Speaker B: Yeah. [00:38:30] Speaker A: Who, like that. She does this on a regular basis. [00:38:32] Speaker B: Right. [00:38:32] Speaker A: That they. They basically put themselves into a catatonic state on drugs and alcohol. So she comes in and basically gives them something to wake them up so they can perform that night. [00:38:41] Speaker B: Y. [00:38:42] Speaker A: Little. It was weird. Like as it was happening, I'm like, the. Is going on here? [00:38:45] Speaker B: Yeah. [00:38:46] Speaker A: Who is this woman and why is she singing a song and why is she putting IVs in there? Then I kind of put it together, but it was, it was kind of like the part where I was like, you're leaning too much on the excuse of like, well, this is a fairy tale. So like it doesn't have to, you know. [00:38:58] Speaker B: Yeah. [00:38:58] Speaker A: The connective tissue was like it needed to be there a little more than it was at that point. And even when the girls come back then. So then they just come back because like, okay, you rolled them in the carpets. And again like base guys reaction when he throws them, you know, off the bridge is that he's he starts throwing them up as if he had, like. And I'm like, but you didn't kill them. And they're magical creatures. [00:39:19] Speaker B: And wrapping someone up in a carpet is, like, such, like, a mob movie murder, like, tactic. [00:39:23] Speaker A: Where did they. How did they put. Do they have a pickup truck? Did they put them in a pickup truck? [00:39:26] Speaker B: They don't explain it. [00:39:27] Speaker A: In Poland, nobody cares about people rolled up in carpets. [00:39:30] Speaker B: At some point, you have to, like, suspend your reality. I don't know. Maybe Stephanie has something. [00:39:33] Speaker A: I. I just wanted to say, like, that's exactly it. Like, the. The movie asks you to sort of suspend disbelief for a lot of it. And. And I think that we have said that that's totally fine for the most part, but this was the part where it was asking me to suspend Stephanie. I don't mean to step on you. [00:39:48] Speaker C: No, I totally agree with you. I was really confused during that part, too. That's where it started to lose me, actually, a little bit, was when I saw that, and I was just like, okay, they're just getting. They're either getting really metaphorical here, and I just don't understand it, or they didn't commit to the bit. [00:40:04] Speaker A: Something was wrong. [00:40:05] Speaker C: They kind of, like, brushed over it. I really liked what happened after the scene, though, which brought me back. [00:40:11] Speaker A: When they came back in. [00:40:12] Speaker C: When they came back in and the drummer just kind of automatically starts apologizing. [00:40:17] Speaker A: So humbly and sorry. Sorry. Like, he's just like, I apologize for what I did. I know it was wrong. [00:40:22] Speaker C: Like, they didn't just try and murder them. Yeah, sort of. [00:40:26] Speaker A: Well, and what did Silver do when she came back? [00:40:28] Speaker C: And she's like. She's like, no, no, no, no. It's. It's fine. [00:40:32] Speaker B: We're not mad at you. [00:40:33] Speaker C: We're not mad. And then bites off his thumb. [00:40:36] Speaker A: No, no. But. But Silver goes basically almost immediately and. [00:40:40] Speaker C: And hugs the. [00:40:41] Speaker A: Like. Just goes right in his arms and just like. And, like, forgives him. And I'm like. [00:40:45] Speaker C: Like, oh, missed you, honey. [00:40:47] Speaker A: Yeah, I forgive you for rolling me up in a carpet and dumping me in the river. [00:40:51] Speaker B: Yeah. It was kind of like. It felt like parents kicking their kids out of the house, but then, like, taking them back in, like, just to teach them a lesson. But then they're like, all right, fine. You know, you're still my kid. But really, what we. It's not just the, oh, you're my kid. It's the fact that we kind of find out that they're using them for money and not giving them anything. Cuz right before that when they're in the house, they're like, how come we don't go do this and do that? Like why? You know, we do all this work and we don't see any money and they're all kind of looking at themselves, at each other like, like they're catching on. And I think that's also one of the reasons why they kind of dumped them. [00:41:21] Speaker A: Wait, wait, the, the, the, the mermaids are saying this? [00:41:24] Speaker B: Yeah. When they're in the house after they're, they have their family scene and there's like the really like Blue Velvet, like Lynch like random musical like number lip syncing thing. [00:41:34] Speaker A: Right. [00:41:34] Speaker B: With the guy. Which felt like right out of Blue Velvet. [00:41:37] Speaker A: It was so like just pleasingly weird. I don't know. I liked it. [00:41:40] Speaker B: And then they're like, they're like watching something and they're, and they get up and they're getting mad and they're like why don't we ever do fun things? And, and this and that. [00:41:47] Speaker A: And don't they tell them like directly. Because you' kids. [00:41:49] Speaker B: Yeah, because your kids, you can't, you. [00:41:51] Speaker A: Yeah. [00:41:51] Speaker C: You can't call them Brad. [00:41:52] Speaker B: You can't make your own decision. [00:41:53] Speaker A: Yeah, that's when he's like, I'll punch him if I have to. [00:41:56] Speaker B: Yeah, yeah. So it was kind of just like, oh well, they're catching on. Let's get. I don't know, it was just so weird. [00:42:01] Speaker A: No, no, I, I understand. The motivation is easy because it's like they're like there's these killers in their house who are laughing about what they did and they suddenly, suddenly realize, wait, they're dangerous. [00:42:10] Speaker B: Yeah. [00:42:11] Speaker A: So I understand why they would throw them out, but it's just like the way that like it's like either commit and, and kill them. I don't know, like, but just to do this half assed thing. But then still having the characters act as if they had done this horrible murder. [00:42:25] Speaker C: Unless in Poland you can kill somebody by punching them maybe. [00:42:30] Speaker B: Oh yeah. You didn't know? That's actually a really common practice. [00:42:32] Speaker A: Yeah, it's called Polish. I think we know what I was gonna say. I will not say it. Don't say it. Polish. Fisting. I said, I said it. [00:42:48] Speaker B: Oh, what the fuck? [00:42:49] Speaker A: I said. I said the quiet part loud. Yeah, I don't know. That thing I did not I that. Yeah, but, but you're right. When they came back and she bit off his thumb and I thought she was gonna do more, but it was just like no, I'm gonna take a thumb. [00:43:03] Speaker B: Yeah. [00:43:04] Speaker C: Which in the next scene, his thumb came back. [00:43:06] Speaker B: Did it? I thought it was. Hand was wrapped up. [00:43:08] Speaker A: He did have it wrapped up later. [00:43:09] Speaker C: But was it in the. The wedding scene? His thumb was there. [00:43:12] Speaker B: Oh. [00:43:13] Speaker A: Oh, yeah. But then, like, you know, after. Well, after something happens, his. He. He does have his. His hand bandaged. [00:43:24] Speaker C: She, like, ate it, though. How did she just. [00:43:27] Speaker A: No, she just. She bit his. His thumb off. [00:43:28] Speaker C: She was, like, chewing it up. [00:43:29] Speaker A: She was chewing it? [00:43:30] Speaker B: Yeah. [00:43:30] Speaker A: Yeah. I mean, there's a lot of bone in there, you know? Yeah. [00:43:32] Speaker C: There's no way that can get sewed back on. [00:43:35] Speaker A: No, I don't think it was sewed back on. I think they just had it wrapped. [00:43:37] Speaker B: No, but Stephanie's saying he had a thumb again. [00:43:40] Speaker C: Yeah, in the wedding scene, like, he had, like. [00:43:44] Speaker A: But what I'm saying, like, they. That. That's. That's a goof. [00:43:47] Speaker B: Yeah. [00:43:47] Speaker A: You know, because later in the movie, he has it wrapped up again. So they are trying to say that there is continuity, but clearly they up and he has his thumb. Yeah. [00:43:56] Speaker B: I think it was probably just one of those things where, like, they shot the ending of the movie first and they shot in reverse and they maybe even threw that in. Maybe that wasn't even in the script. The thumb biting off. They just kind of threw that in and they were like, oh, well. Oh, well, we already ran out of. [00:44:09] Speaker A: Yeah, we're not gonna. [00:44:10] Speaker B: We already spent our. Our rental on the. On the boat. We can't reshoot the boat. [00:44:15] Speaker C: I was kind of la. Thing when. With his reaction when he got his thumb off, though, because he kind of was like. He, like, squeaked. And then it's just him, like, looking at it. [00:44:23] Speaker A: Yeah. [00:44:23] Speaker B: Yeah. [00:44:23] Speaker C: And like, his face, it wasn't. [00:44:26] Speaker A: He wasn't that shocked. Maybe he was in shock. We'll say. I don't know. [00:44:30] Speaker B: Yeah. If you've ever broken something, you know that feeling where you, like. You think you broke it and then you realize that you still, like, you're. [00:44:36] Speaker A: Like, wait, what the just happened? [00:44:38] Speaker C: She's just standing there just, like, chewing like. [00:44:40] Speaker A: Like the sound effects, like the blood. [00:44:42] Speaker C: Like, coming out of her mouth. [00:44:44] Speaker A: Yeah. [00:44:44] Speaker C: Up. [00:44:44] Speaker B: Also. I don't. I don't condone cannibalism, but nobody has made eating people. [00:44:49] Speaker A: You have to clarify. [00:44:50] Speaker B: Yeah, no, but. But nobody has made eating people look as fun as. As. [00:44:55] Speaker A: As. [00:44:55] Speaker B: As gold. Or gold. Golden. Whatever. [00:44:57] Speaker A: I just called her gold. But maybe it's. I don't know. [00:44:59] Speaker B: Gold. Yeah, it was Golda. Yeah, Golda. [00:45:03] Speaker A: My year. [00:45:04] Speaker B: She makes it look Like, a lot of fun. She. She looks like she's having a good time. [00:45:07] Speaker C: Yeah. There was a scene where she was eating, like, an organ. [00:45:10] Speaker B: Yeah. [00:45:11] Speaker C: But it was like. [00:45:11] Speaker A: Oh, yeah. When they. When they get back to shore after they've been dumped. Dumped, they just kill two randos that are out there and they're, like, eating their hearts. And, like. And, like, the silver is not really. She's kind of like, I don't know if I want to do this. [00:45:23] Speaker C: And, like, spit it out. Yeah, it's fine. And she's just, like, ripping into it. [00:45:26] Speaker B: Yeah. [00:45:27] Speaker C: But the way. I don't know what, like, they were using for, like, the organ, but the way she was ripping into it looked like it was just, like, really, like, tender meat. Like, it was. It was gross. [00:45:38] Speaker B: Yeah. [00:45:39] Speaker C: But at the same time, I was like. I was like, watching this. I was like, like, what the hell? Why are you making it look like that's the best thing? [00:45:45] Speaker B: Yeah. [00:45:46] Speaker A: To her. [00:45:46] Speaker B: Yeah. [00:45:47] Speaker C: She looked in your life. [00:45:48] Speaker B: I think it was just really a really good performance. [00:45:50] Speaker A: Yeah, it was. [00:45:50] Speaker C: It was a good performance. [00:45:52] Speaker B: She reminded me of somebody that I know, but I can't. Like, I've met that person before, but I don't know who it is. I can't. Finger on it. [00:45:59] Speaker A: Watch your heart. [00:46:00] Speaker B: Yeah. [00:46:00] Speaker A: Literally, I want to kind of shift then now, what happens after that, because there's a major thing that happens, and I think it really illustrates what the movie is actually trying to be about on some level. Right. So. And this is a part where. Where. See, this is a part where it gets really, like, ludicrous from a reality standpoint. But I bought it completely because it's like, it again, it fits to the themes. And you're like, okay, this is a world with mermaids. This could happen. Silver decides to have surgery to become a human being. [00:46:28] Speaker B: Yeah. [00:46:29] Speaker A: And I was sort of like, how the fuck do you do that? And I love how the movie shows it. And, you know who pays for it is. Is base boy. Like, he actually takes her to the doctor and gives the money. And so he. And this is important. So, like, he's the one who, like, he's acting like, I'm. I'm on board with this. I want you to be. You know, I'll love you when you're a human. [00:46:47] Speaker C: Yeah, yeah, yeah. That's. [00:46:49] Speaker B: I'll love you after you get cut in half and lose the main thing that makes you. [00:46:54] Speaker C: I love you when you get a human sex organ. [00:46:56] Speaker B: Yeah. [00:46:56] Speaker C: It's more like it. [00:46:58] Speaker A: Exactly. Yeah. And. And so. But it Is that is a great, great scene where she has the operation and you have. You have a. Just in the court, like, bottom left of the screen is another woman who's just been. She's cut in half on ice, and apparently. Well, have. I liked what happened there. So then. And then you have Silver, and then she's singing a song as she's being operated on. And she's. And they're. They're cutting off the. The. The. The fish part. And it actually turns out that the woman who is relinquishing her. Her bottom part is still alive also. And she gets the fish tail. They turn her into a mermaid, apparently, and. And they switch and they put the. The legs on her. And I'm like, well, obviously, this is not how medicine works. You cannot just put legs on somebody. But in this sort of heightened reality here, it's like, okay, we're just going to go with it. It. [00:47:46] Speaker B: And then there's also, like, the. Really. Which I. I don't know why I love this so much, but, like, after he's done with the surgery, the doc. There's just like, a wide shot of the. Of the operating room, and the doctor's just kind of walking around dancing. [00:47:55] Speaker A: Yeah. Like, he's like, look, I'm awesome. [00:47:57] Speaker B: Yeah. Like, I had a great time. [00:47:59] Speaker A: Yeah, I did it. [00:48:00] Speaker B: Yeah. [00:48:01] Speaker A: But also, like, lovely. Lovely moment also, again, because, like, the whole thing is, like, once you become a human, you lose your voice. And so she's singing a song as she's being transformed. [00:48:10] Speaker B: Yeah. [00:48:11] Speaker A: And then in the middle of it, once the human part is connected, suddenly her voice gives out. [00:48:15] Speaker B: Yeah. [00:48:15] Speaker A: And I was like, that's. That's. [00:48:16] Speaker B: There's like a sharp gasp you hear, like, it. [00:48:18] Speaker A: It was. Well done, Jess. Go ahead. [00:48:20] Speaker C: Oh, and. And, like, the sawing into her being on the closeup shocked me. [00:48:25] Speaker A: Yeah. I was watching. [00:48:26] Speaker C: I was like, there's no way that. [00:48:27] Speaker A: Oh, yeah. [00:48:28] Speaker C: That they're just gonna show this full thing. [00:48:30] Speaker A: Oh, no, I was. I was fully expecting. [00:48:32] Speaker C: She was singing, and they just start carving into her abdomen, and her, like, voice starts getting shaky. [00:48:39] Speaker B: Dremel. [00:48:40] Speaker C: And, like, her sister's just, like, in the corner playing. Playing. Playing a song for her. [00:48:43] Speaker B: Yeah. [00:48:44] Speaker A: I forgot she was there. Yeah. [00:48:45] Speaker B: Was she there? Was she in the house? I couldn't even tell. [00:48:47] Speaker A: Maybe she was in the house because they had a piano there. Is it, like, the way they cut it? Well, just sort of like a flash sideways. Like she's. This is what she's doing while this is happening, and they have that connection. [00:48:57] Speaker B: That she would know that mental connection where they're, like, talking to each other throughout the movie without actually talking. [00:49:02] Speaker C: Well, they're speaking in fish. [00:49:04] Speaker A: Yeah, yeah, we hear it, but we don't see their mouths moving. So it felt more like esp. Ish. Yeah, yeah. [00:49:10] Speaker C: It's like they're. [00:49:11] Speaker B: They're clicking, which, which, by the way, like, every time that I sound design on the clicking and, like, the sea noises that kind of come from them where they're like. Like, I don't know how. I can't recreate it, but how was that again? All right, wait. It was like. Yeah, they were doing, like, a weird thing. [00:49:27] Speaker A: Gross. Please don't do that again. [00:49:29] Speaker B: Let's just talk like that for the rest of the pod. Yeah, you get the idea, the way. [00:49:36] Speaker C: You choose to go. [00:49:39] Speaker B: No, because there was other. There was like a crackling. [00:49:41] Speaker C: Was like. [00:49:41] Speaker B: But there was also, like, a crackling under there. [00:49:46] Speaker A: I can't with this podcast. [00:49:47] Speaker B: All right, whatever. [00:49:50] Speaker A: So. So she's turned into a human. It's funny that I, I, I was sleepy when I was watching this. So, like, Like, I knew she couldn't sing anymore, but I. It didn't register that she couldn't speak at all anymore. It was only, like, later when she tried to speak and she couldn't, that I was. Was like, everything went. [00:50:08] Speaker B: When she, like, rolls into. Onto the treadmill and, like, is walking on it and she's trying to sing, you, like, hear her voice just getting worse and worse. [00:50:16] Speaker A: Yeah. So. And then what happens then when she's on the treadmill? I think this is the centerpiece of the movie, and this is the part that really got me back into the movie where I was like, oh, there's. There's layers to this. There's. There's something going on. There's anger. [00:50:30] Speaker B: Yeah, same. [00:50:30] Speaker C: And not even just for that, but I was like. I was like, she just had surgery. Leave her alone. [00:50:36] Speaker A: Yeah, yeah. So what we're talking about is that base boy comes over and brings her flowers because, you know, now she's human, and so he's gonna. And. And, you know, she. She just manages to make a few steps on a treadmill coming out of the wheelchair, and he's like, oh, you can walk. Let's fuck. [00:50:53] Speaker B: Yeah. [00:50:54] Speaker A: And so they try to fuck, and she starts bleeding on him. And right away he's like. But, you know, and kind of gets up covered in blood, and he is like, you are disgusting now. I don't want nothing to do with you. And he leaves her. [00:51:06] Speaker B: The worst part is he didn't even say that. He just looked at her. [00:51:08] Speaker A: Looked at the blood. Yeah. [00:51:09] Speaker B: And walked out like he was disgusted. [00:51:11] Speaker A: It's so. It's such a fully loaded image of like. Of how men can. Or yeah, let's say in this case, like how men can treat women. You know, where it's like, I want you to change for me, but, you know, oh, you're gross. You know, like, you're not perfect. You're not this. There was. There's so many things going on there. Stephanie's laughing her ass off and I want to hear what Stephanie has to say. What did she think of that scene? [00:51:32] Speaker C: It's really gross. [00:51:33] Speaker B: But. [00:51:34] Speaker C: But I was automatically thinking of how some men treat women when they're on their period. [00:51:38] Speaker B: That's what I thought. That's where my head was. [00:51:40] Speaker A: I actually. Oh, I was going to go actually with further. And like, having sex with a virgin. [00:51:45] Speaker B: Oh, yeah. [00:51:46] Speaker A: Where, you know. Yeah. And then. And then suddenly, like, oh, wait, you know, like, you're not experienced. You're not. You know what I mean? Like, they kind of have this. This reaction of like, you know, again, like, it's sort of like you put. What you put a woman on this pedestal as being this perfect thing. And then when you sort of see, like, oh, they're flesh and bone, like us. Like, I to. [00:52:04] Speaker B: Don't want. [00:52:04] Speaker A: Want anything to do with that. [00:52:05] Speaker B: Yeah. [00:52:05] Speaker A: And like, she also has that hideous scar. [00:52:08] Speaker B: That scar was gnarly because it wasn't just like straight across. [00:52:11] Speaker A: Sh. [00:52:12] Speaker B: It was so shittily. [00:52:13] Speaker A: He shouldn't have been dancing. He wasn't that good of a doctor. [00:52:16] Speaker C: I mean, they did it with a bone saw, like, fully. [00:52:19] Speaker A: What did you say it was? [00:52:20] Speaker B: It was Dremel. Little. I think that's what it was. [00:52:23] Speaker C: Was it little? I thought it was just like. It was like this. [00:52:25] Speaker A: It wasn't as big as you would think for a human body. [00:52:27] Speaker C: Like, saw. [00:52:29] Speaker B: And then something about it also felt like when he takes her to get the. The procedure, it felt like. There's a movie called the. Which I don't recommend because it's kind of like I only. [00:52:39] Speaker A: Like, it's grown. It's grown and. Oh, I. Opposite. [00:52:42] Speaker B: Oh, really? [00:52:42] Speaker A: I didn't like the first half. I love the second half. [00:52:44] Speaker B: I. I think it. I have. Well, that's. That's another episode, but we should do. [00:52:49] Speaker A: That one just out of. Not anytime soon, because that. [00:52:52] Speaker B: Yeah. But interesting in waves. There's a scene where without giving anything away, a girl gets pregnant. They're both teenagers. The boyfriend Takes her to get an abortion. And it just felt a lot like the scene where he takes her to get. [00:53:05] Speaker A: It felt very much like. Like going in for an abortion. [00:53:07] Speaker B: Yeah, that's what a lot what it felt like to me. And it's like, you're, you know. Yeah, it felt like that. I felt like, oh, you know, this is for both of us, but really, who is it really for? [00:53:15] Speaker A: Oh, it's for him. Yeah, absolutely. And Jessica brought this up, and, And I think it was a great point, and I'm mad at myself for not thinking of it because. Well, did we think about transgender having. Having reassignment surgery? Oh, where. It's almost as if, like, like when a man. Like, if a man would fall in love with. With a woman who has not gone through it yet, and he would sort of be like, oh, once you get the, the operation and you are a real woman. Right. Then I would fall in love with you, and then we can be together. And then, like, once he does, he tries to be intimate with her, and there's blood and guts, you know, he's like, wait, you can never be a real woman. You know, and he sort of, like, drops her. I, I, I, I have to think that there's, you know, especially even, you know, with them changing back and forth between. It's almost like to changing genders between male and female. There has to be some kind of connection to that. Kudos to Jessica. [00:54:11] Speaker B: Yeah. [00:54:12] Speaker A: Gives herself, then says she's not smart. And she was the one who saw that, and I thought that was very clever. So, yeah, that. That scene was really kind of got me back into the movie where I was like, there's something. Something going on here. There's. This is not just, you know, trying to update a Polish folktale. Yeah, I have to burp. Hold on. [00:54:34] Speaker C: Oh, my God. [00:54:35] Speaker B: Oh, my gosh. Where did you summon that from? It's probably has something to do with the fact that you drank Faygo and then Monster. [00:54:42] Speaker A: It's the monster. [00:54:44] Speaker C: Why in the mic? [00:54:47] Speaker A: Why wouldn't I want to share that with people? [00:54:49] Speaker B: There's not even a sound effect for this. [00:54:51] Speaker A: No, that should be a sound effect. We need to record that. [00:54:55] Speaker B: That was a strong one. [00:54:56] Speaker A: It really was. [00:54:58] Speaker B: All right, shall we continue? [00:54:59] Speaker A: I can't. [00:55:00] Speaker B: Oh, then I'll try to lead this. [00:55:02] Speaker A: My microphone smells like monster. [00:55:06] Speaker C: Okay, okay. [00:55:07] Speaker B: Okay. So now are we at the wedding now, or we. Do we still. Oh, wait, we see base's guy after leaving her because she won't have sex with. Because he won't have sex with her because she has blood on her. Because her stitches aren't healed. Like an idiot. [00:55:20] Speaker A: Like an idiot. Yeah. [00:55:21] Speaker C: He won't wait after this. [00:55:23] Speaker A: Yeah, well, and that's. I think that that's kind of like a point that it's like he's. He's not. He's a immature boy. He's not going to weigh it. [00:55:30] Speaker C: Which can also be compared to husbands that cheat on their wives after they give birth. [00:55:34] Speaker B: They give birth. [00:55:34] Speaker A: Yeah. [00:55:35] Speaker C: Because they don't want to wait the six months for their wife to heal. [00:55:38] Speaker A: To heal. Yeah. And then they're like, yeah, because men. Yeah, yeah. You are our sexual devices. Which kind of goes back into the whole how they're just like touching their. Their at the beginning. Like it's not. It's what we're calling it now. [00:55:53] Speaker C: You can't say that now. [00:55:55] Speaker B: You can't take. [00:55:57] Speaker C: Now it's gross. [00:55:58] Speaker A: It means fish vagina. Mermaid vagina. [00:56:02] Speaker C: Every time you do ping pong and it hits your knuckles, you go, oh, my Nicholas. [00:56:06] Speaker A: My fish vagina. I'm calling this show Fish Vagina from now on. [00:56:12] Speaker B: Bad name, baby. [00:56:13] Speaker A: Oh, dude, that's punk band. [00:56:15] Speaker B: Oh, yeah. [00:56:17] Speaker A: So now he. [00:56:19] Speaker B: Now he has sex with the recording studio lady. [00:56:21] Speaker A: Right? I kind of. I kind of. I not nodded off, but I sort of, you know, was in my own little world. Like. So they're recording an album. How did he. I just saw. He was something in the story in the recording studio with. With the. The pretty lady. [00:56:33] Speaker B: Yeah. So it seems like after this happens, he goes to try to record his solo stuff. [00:56:37] Speaker A: He did. [00:56:37] Speaker B: And she's like, oh, I like some of your music. I like this song, the Fly. And he goes, no, that song is. Is by the lure, which is them as a collective. [00:56:45] Speaker A: Right. The lure is the girl singing. [00:56:48] Speaker B: Is the girl singing with them? Him. And then she goes, oh, well, you have other good songs. Then he kind of does like this douchebag like, lean, and he's like, oh, what songs? And then we. We can assume that they have sex because we see it happen. Actually, I forgot that that happens. [00:57:03] Speaker A: Because we saw it happen. [00:57:05] Speaker B: Yeah. Because I started and I completely forgot that I watched him have sex. [00:57:08] Speaker A: And then there is like. I remember like, there's like the camera going around. [00:57:12] Speaker B: Oh, yes. Because the. The. Okay, so earlier in the movie. Movie. Gold. Silver. Silver. [00:57:17] Speaker A: Which one? [00:57:18] Speaker B: Who's the one with like the really creepy dark eyes? [00:57:20] Speaker A: Gold. [00:57:20] Speaker C: Gold. [00:57:21] Speaker A: Oh, no, sorry, no, Silver. [00:57:22] Speaker B: The blonde girl has dark eyes, right? [00:57:25] Speaker A: Yeah, yeah, they both have the same. [00:57:26] Speaker C: Exact eyes, I think. [00:57:27] Speaker B: Do they? [00:57:28] Speaker A: They have Like, I think they have contact lenses to make them black. [00:57:30] Speaker B: She's black. [00:57:30] Speaker A: Yeah. [00:57:31] Speaker B: So Silver gives him one of his scales and it's kind of one of those things where she's like, now you'll be the best bass player. Like his. The scale gives him the talent. [00:57:40] Speaker A: See, that's what I was mentioning, that when she was. The scale part, I couldn't remember why she gave it to him or what happened after. [00:57:44] Speaker B: Yeah. So she basically says, eat it, didn't he? No, she tells him to keep it with him. And now he'll be the best bass player. So we can assume maybe there's something in the folklore. I don't know if you could attest to this, that, like, a mermaid scale gives you luck or something. [00:57:54] Speaker A: Find it makes you a better bass player. But it has a very specific. [00:57:58] Speaker C: It has to be some kind of, like, charm. Yeah, like a mermaid scale. [00:58:01] Speaker B: Yeah. And so now he's having sex with this lady and he, like, drops it out of his pocket. Or he, like. Yeah, he pulls out of his pocket and he drops it. [00:58:09] Speaker A: Okay. [00:58:09] Speaker B: And it goes down through the water into the. To the sink. Like, into the. [00:58:13] Speaker A: Wow. Okay. [00:58:14] Speaker B: And very. [00:58:15] Speaker A: Okay, I missed that. That part. Okay. I should have rewound some more. [00:58:19] Speaker B: Yeah. And then that's when she wakes up. Like, she's having a terrible dream because I guess she felt her scale that. [00:58:23] Speaker A: She was dumped, basically. [00:58:26] Speaker B: But then she's happy at the wedding. [00:58:28] Speaker A: Well, no, that's called. It's called putting on a brave face. [00:58:30] Speaker B: True. [00:58:31] Speaker A: She was. She was dying inside again. And we should also give her, like, it. Her role isn't as showy as the other one, but she played that really well also because she could have been really annoying, you know, And I. I don't think she was. [00:58:42] Speaker C: The change in her face when she was hugging him was so. [00:58:47] Speaker A: At the very. At the very end. Yeah, when she. [00:58:49] Speaker C: When she was, like, doing that hug and she was making eyes. [00:58:52] Speaker A: It's a great sequence. [00:58:53] Speaker C: Like, the. The changes in her facial features were just like. I was locked in during that scene. [00:59:00] Speaker A: No, it's beautifully done. It's. It's like. It's like a nice marriage of. Of performance and. And director, you know, using the camera wisely because it's so. I mean, as we said, the Triton is basically warning her that, like, if. So he wants them early on. If you fall in love with a human and he doesn't reciprocate, you know, marries another woman and marries another woman, she's going to turn into seafoam. [00:59:20] Speaker B: Yeah. [00:59:21] Speaker A: And and so after the wedding, which is kind of sweet because, like, all these characters who have kind of like, hated each other and. Or not hate each other, but, like, been in these heated exchanges and that you think would, like, despise each other, also descended this boat for this wedding. [00:59:34] Speaker B: Come together. [00:59:35] Speaker A: They come together and there's something sweet and, like, really sad about it. So she. Silver, goes over to congratulate him, basically after the wedding and after she suffered through it and saw him get married. And. And so the only way to. For her to survive the Triton tells her is that she would have to eat him. And so she's hugging him. The camera's kind of like, like going around them in a360 and you see her, like, turning into sort of more monstrous version with the teeth, and she's about to like, bite him, like, you know, and be like, no. And then it kind of goes around again and she, she, as you said, like, that's when she sort of gives in and says, no, I'm not. I can't do it. I love this guy. I'm not going to eat him. And she turns into sea foam. [01:00:12] Speaker B: And it was cool too, because, like, as they turn around before you see the sea foam, you start to hear the little bubbles of it, like, like crackling. [01:00:20] Speaker A: Yeah. And. Yeah. So. And then the camera turns around, you don't see her, and when she comes around the other side, you just see him holding foam, basically. [01:00:26] Speaker C: I thought was a little funny afterwards because I was like, upset, but I thought it was going to be like a really serious moment. Moment. And then once it turns all the way around, he just goes, what the. [01:00:36] Speaker B: Yeah. [01:00:39] Speaker A: He'S, you know, he's. He's a. He's a stupid little boy, basically. [01:00:43] Speaker C: You know, like, disgust. I was like, yeah, just disappeared in your arms and you're yelling because you're grossed out that you're covered in steel. [01:00:52] Speaker A: Yeah, yeah, yeah. And. And then, of course, Gold is distraught to see her sister have turned to seafoam and is dead. And so she attempts. Attacks base boy and rips out his throat. [01:01:04] Speaker C: As she should. [01:01:04] Speaker B: So Baller. [01:01:05] Speaker A: As she should. But then think about how sad it is where her sister basically sacrificed herself because she couldn't. She. She didn't want to kill him. And then her sister kills him. [01:01:13] Speaker C: I don't think that's why she didn't kill him. I don't think it was for him. [01:01:17] Speaker A: Okay. [01:01:17] Speaker C: I think it was because that's who she was. She was never a killer from the beginning because even when they were eating random people. [01:01:25] Speaker A: She didn't either like it or would just kind of go along with it if she had to. [01:01:29] Speaker C: Like, she wasn't into it. She didn't like it. She wasn't. Wasn't like, you know, she wasn't bloodthirsty like her sister was. So I felt like she didn't want to because her facial features softened when it turned around and she kind of just like melted into the embrace. Not because of him, but because she was like a soft, kind person. Like, she wanted. She was. She felt more human than sire. [01:01:51] Speaker A: She was. Yeah, I think she was more human. But I just want to, like. [01:01:55] Speaker C: I just think he doesn't deserve it. [01:01:58] Speaker A: He doesn't deserve it. I mean, that is the point. [01:01:59] Speaker C: I don't want to. [01:02:01] Speaker A: I don't. I think you're right. I. I don't think it's. It's one or the other completely. [01:02:05] Speaker B: I think it's a mix of both. It's a mix of both because not only. Yeah, we can give it, you know, the. We can attribute it to the fact that she doesn't really kill anybody throughout the whole movie. Just kind of eat somebody at one point because we only ever see a golden. [01:02:19] Speaker C: She only ate something. [01:02:20] Speaker B: Well, she only ate. She didn't kill. [01:02:22] Speaker A: I suspect she. I mean, there were two guys in there. [01:02:24] Speaker B: True. [01:02:24] Speaker A: I. I suppose one, she didn't take. Both. [01:02:26] Speaker B: True. But then we do see she also. That she has been manipulated by this whole guy. By this guy for the whole movie. [01:02:33] Speaker A: Yeah. [01:02:33] Speaker B: And even then, after she sees that he isn't with her anymore, she still has that, like, sort of fondness for him because she's been, like, manipulated so much. It's kind of like people that go back to their toxic ex where it's like they abuse them and treat them like. Still, then they go back to them and they have, like, a soft spot in their heart. They've been conditioned to believe that they have a soft spot in their heart for them. [01:02:51] Speaker A: And that's. That's what I mean. Like, I guess there's a certain tragedy in the sense that. That, that. That she kind of. She won't kill him. That she's just like, no, I'm not going to do it. And then the sister is just like, no, fudge it, I'm going to do it. And then also, like, just thinking about how there was something really beautifully weird about, like, the reactions when everybody sees that he's there with his throat ripped out. [01:03:11] Speaker B: Yeah. [01:03:11] Speaker A: Where, like, you. They don't do that sort of natural screaming at the top of their lungs and wailing. They're just sort of like almost like it was inevitable. Almost as if they were just like, ah. You know what I mean? Like, like sometimes that is. Yeah, like, just like. Because I mean that guy, you know, the guy would have some. The drummer with his thumb bitten off, like he kind of was a father figure. They. They live together, you know, and he just kind of is like, you know, and then even, even Gold. Gold, when she goes into. Into the water after, I mean, she's just kind of. Just like she didn't. Right. There isn't this sense of justice and she doesn't kind of walk off. She's just broken also. Yeah. [01:03:50] Speaker B: Yeah. It reminded me a lot of. And I think you're going to like this, Paul. It reminded me a lot of in train spotting. Uhhuh. Every time somebody dies due to the drugs. Yeah, it's kind of like, yes, they're all sad and they're all distraught and like kind of ruined by it. But it's like you kind of always knew that that was a possibility when you got yourself mixed with them. So it's like, yeah, it sucks. And you. But you. You almost knew that it was going to come. Or like, except for the soccer guy. Except for soccer, yeah. That was sad. But like. Yeah. You kind of see how like they knew. They knew what they were getting themselves into and like they knew that eventually their exploitation and I'm sure what's the. The woman's kind of warning them the whole time. The lead singer, like, don't like you. Yeah. Oh, you know, pretty much. She. She knows that. That they're going to be in trouble if they. [01:04:35] Speaker A: Yeah, it's like. I would almost say it's like a world weariness. [01:04:38] Speaker B: Yeah. [01:04:39] Speaker A: These guys are like living like a nomadic existence. They've seen probably the worst that. That Poland has to offer, which I'm sure is pretty bad. [01:04:45] Speaker B: Yeah. [01:04:46] Speaker A: You know, and, and, and so it's, it's again, it's. There's just sort of like a resignation but like a deep sadness to it. And I don't know, I, I had, you know, it was a little. Moving. Yeah, moving. Yeah. [01:05:00] Speaker B: Yeah. [01:05:00] Speaker A: And what was the last shot of the movie then? [01:05:02] Speaker B: The last shot was when she dies into the water. No. [01:05:05] Speaker A: Oh, yeah, that was that weird. Yeah. I didn't love that because it's like. Then you kind of almost see like a POV from Gold's point of view, like underwater and then you kind of like. And it's almost like you. You kind of go towards this plant and then you kind of go around the plant. Like, you're going to see something that kind of puts everything together and then it just kind of fades to black. [01:05:22] Speaker B: Yeah. [01:05:22] Speaker A: I was like, I'm going to. I'm going to trust Agnieszka Smetzinska that there was a. You know, I think she has proven herself to sort of know what she's doing. That. That there's something to that shot that I just didn't get. [01:05:37] Speaker B: Yeah. [01:05:37] Speaker A: But. Yeah, just like, you know, frontal lobe me was just like, why? Okay, well, okay. Could I credits and. Okay. [01:05:46] Speaker B: Yeah. [01:05:46] Speaker A: Anything else? [01:05:47] Speaker C: I don't think so. [01:05:48] Speaker A: I think we covered it pretty nicely. And I'm really impressed. I love the fact that we kind of. We entered this going like, yeah, but like. Yeah, kind of. No, because I did actually like it to some degree, but. Because I knew that there was things to talk about. [01:06:02] Speaker B: Oh, no, I meant at the beginning. [01:06:04] Speaker A: Yeah. [01:06:04] Speaker B: No, no. [01:06:04] Speaker A: But like, even when we started, like, I was just kind of like in a everything mood. So, like, and. And again, you know me, I'm the. Like, I like to play in two. [01:06:11] Speaker B: Yeah. [01:06:11] Speaker A: Like I did with under the Silver Lake. I definitely think there's a lot going on here. It's 501. Stephanie has to go. [01:06:16] Speaker B: Oh, okay. [01:06:17] Speaker A: Oh, well, no, but you're ubering today or is. [01:06:20] Speaker C: I'm getting picked up. [01:06:20] Speaker A: Oh, you're getting picked up. Okay. All right. So. Oh, we don't have the bowl. Okay. You finish up. [01:06:24] Speaker B: Okay. [01:06:24] Speaker A: I'm getting the bowl. [01:06:25] Speaker B: Yeah. So I think we all enjoyed it for the most part. Stephanie is texting because she has to go, so we'll wrap this one up quick. Great movie. Surprisingly good. I was ready to hate watch it and not like it at all, but I'm. Stephanie, you know what? Kudos to you. You picked a really good movie. [01:06:40] Speaker A: Yay. [01:06:41] Speaker B: It was weird. Yeah, it was perfectly weird. I give it three Paul heads. Stephanie, how many Paul heads? [01:06:48] Speaker C: I. I agree. I give it three ball heads out of four. Wasn't my favorite movie ever. It definitely wasn't the best movie ever. There were a lot of plot holes and things that just didn't make sense. [01:07:01] Speaker B: Yeah. [01:07:01] Speaker C: But I think it had a good message. It was interesting. It was weird. The. [01:07:08] Speaker B: Yeah. [01:07:09] Speaker C: Directing was really good. [01:07:11] Speaker B: Yeah. It was really, actually surprisingly good. Good, good. [01:07:14] Speaker A: Good choice. [01:07:15] Speaker B: Good choice, Stephanie. [01:07:17] Speaker A: Yeah, good choice, Stephanie. I think I do need to say that because I was giving you a lot of for that, but it could have gone bad because you didn't see the movie and and so luckily it went well. I think. [01:07:26] Speaker C: I love validation. [01:07:27] Speaker B: Yeah. [01:07:28] Speaker A: I mean, it. It does show. Sort of like. I think you said that, like from first. First time director kind of syndrome. That there are a few things that don't totally work, but definitely. Why am I out of breath for standing up? Didn't even run. Walked. [01:07:41] Speaker B: You've been out of water too long. [01:07:43] Speaker A: I've been out of water too long. I am a mermaid. You can call me Merondo. So. Oh, yeah. Wait, how many. How many paws are we giving out of four? [01:07:52] Speaker B: I gave it three paws out of four. [01:07:53] Speaker C: I also gave it three paws. [01:07:54] Speaker A: Three paws out of four for me too. [01:07:55] Speaker B: Nice. First unanimous decision. [01:07:57] Speaker A: This is good. This is good. What? What's not good is that Jessica's here. [01:08:00] Speaker B: Hey. [01:08:01] Speaker A: She's gonna the bowl of Truth. What do we call it? [01:08:05] Speaker B: I don't know. I don't think it has a name. [01:08:06] Speaker A: The mighty, the mighty Bowl. [01:08:08] Speaker B: The Bull. [01:08:09] Speaker A: The Bull. [01:08:10] Speaker B: The Bull. Don't make fun. [01:08:13] Speaker A: Okay, Jessica is rifling through. [01:08:17] Speaker B: She. [01:08:18] Speaker A: Oh, excuse me. Why am I coughing into the microphone? What did you. [01:08:22] Speaker B: The bull has spoken. [01:08:24] Speaker C: Umbrellas. [01:08:26] Speaker A: Come the on. [01:08:29] Speaker B: Why did I say. I said my movie was gonna get pigs. [01:08:33] Speaker A: Like, like it's one of those. Like my. I was the first pick and now we're like 10 weeks in and not a single movie of mine. Jessica, no more hands in the bowls for you. You may not finger our bowls anymore. I think this. But I think it's good in the sense that I've meant to see this movie for so long. [01:08:53] Speaker B: Same. [01:08:54] Speaker A: But I am glad that we to see it. So very good. So for the next episode, which I don't know when we're going to record it, next episode will be Umbrellas of Shelb. [01:09:03] Speaker B: Yep. So we have another musical. Yep. Hell, yeah. [01:09:07] Speaker A: You shouldn't have told me that. Okay. [01:09:09] Speaker B: All right. [01:09:10] Speaker A: Well, we got to do to watch this bit. Okay. So on the count of Tris, we're gonna say either watch this or watch this. Do you want to do like in a mermaid voice? [01:09:22] Speaker B: Watch this. Ooh. [01:09:24] Speaker A: As sirens. Yes. All right. Yes. We're gonna do it as horribly as possible. On three. One, two, three. Watch this. Fantastic. Oh, I gotta play some music. I gotta play this out. Okay. [01:09:39] Speaker C: Stupid. [01:09:45] Speaker A: We can't end on you saying this is stupid. [01:09:48] Speaker B: All right. [01:09:48] Speaker A: Well, this is fantastic. Okay, Music is going up. [01:09:51] Speaker B: Bye. [01:09:52] Speaker A: Bye.