Reel Heads Podcast Episode 5: The Substance

[00:00:01] Speaker A: Welcome to the podcast, guys. Real Heads podcast. I'm here with Ian. Ian is here. [00:00:06] Speaker B: As always. [00:00:06] Speaker A: As always. One of these days I'm gonna look over and I'm gonna be like, I'm here with Ian and it's gonna. It's gonna be empty chairs. [00:00:12] Speaker B: This is gonna be your dog. [00:00:13] Speaker A: He is gonna turn into the dog. [00:00:16] Speaker B: Dog. The bounty hunter Ian. [00:00:19] Speaker A: The dog. The bounty hunter. The dog Ian. [00:00:21] Speaker B: Yes. [00:00:21] Speaker A: Welcome to podcast, guys. This is going to be filmed on Halloween, so happy Halloween. [00:00:27] Speaker B: Have a happy. [00:00:28] Speaker A: But when it comes out, it's not going to be Halloween. So sorry about that. No, sorry, not sorry, sorry, sorry. It's not Halloween. We're going to be talking about the substance today. The substance. [00:00:39] Speaker B: The substance. [00:00:40] Speaker A: The substance. It's a very interesting film. It's directed by Cor. Far. J. [00:00:48] Speaker B: Far. I would say it's far. [00:00:50] Speaker A: I feel like it's far because it's French and it's like spelled like bar gat Far. No, no, it's not G. It's like far g.g far. Cor. Sure. Yeah. I. I hate mispronouncing people's names. [00:01:11] Speaker B: I did, but. [00:01:12] Speaker A: Phenomenal director. Phenomenal director. Phenomenal movie. But we'll get into it. She is known for her movie Revenge from 2017. [00:01:20] Speaker B: Haven't seen it. [00:01:21] Speaker A: Well, it's a. It's a visceral movie. It's a thriller, if you. [00:01:25] Speaker B: Have you seen it? [00:01:26] Speaker A: No. And it has feminist themes, which, as you know from watching the Substance also has feminist themes and visceralness. [00:01:37] Speaker B: Yes, yes. [00:01:39] Speaker A: So, main cast, let's get to it. We've got Demi Moore, Margaret. Why can't. I can't say names today. Yeah. Demi Moore, Margaret Qualy and Dennis Quaid as the three mains. This. Honestly a small cast. There's not a lot of speaking parts in this film. Small cast, but it works well. So Demi Moore plays Elizabeth Sparkle, who is a middle aged media personality who really wants to maintain her youth as she's on the end cycle of her professional career. And Margaret Qualy plays Sue, who is the younger version of Elizabeth that is born through the substance. [00:02:21] Speaker B: We'll get into that more through spoilers. [00:02:23] Speaker A: Yeah. And then Dennis Quaid plays Harvey, who is her. Demi Moore's Elizabeth's sexist weird boss. [00:02:32] Speaker B: Yes. [00:02:33] Speaker A: Who was very hilariously named Harvey. And I don't know. [00:02:35] Speaker B: Yeah, I just thought about that. I was like, is that a nod to a 1. [00:02:40] Speaker A: A person, one Weinstein esque type? [00:02:44] Speaker B: Yeah, yeah. [00:02:46] Speaker A: Possibly. [00:02:46] Speaker B: Possibly. [00:02:47] Speaker A: Probably. [00:02:48] Speaker B: Most likely. [00:02:48] Speaker A: Indubitably. [00:02:49] Speaker B: Yes. [00:02:51] Speaker A: All right, so let's let's talk a little bit about, about the, the concept and the themes of, of this film. So the substance basically about fitness icon Elizabeth and you know, how she's, you know, has this really interesting show, she's doing fitness aerobics type things, but she's kind of at the end of like the. Her time. [00:03:15] Speaker B: Yeah. You know, she's not just a fitness icon, she's a former Oscar winner. [00:03:19] Speaker A: Yeah, yeah. Like, you know, nominations and accolades galore. Like, she's, she's her, you know, she's, she's up there and, and you know, like that's, that commentary is very interesting with this film of just like having someone who's a star who's achieved so much. It's so highly revered. And then I think within like the first like couple minutes of the film, they, they instantly just take that away from you, you know, take it away from her. She's just like, we need someone younger, someone hotter, someone fresher, someone new, you know, and like that, that, that theme of just like always out with the old and in with the new, but like, when it comes to like people like that, it was very interesting. It was very, very interesting. Jumping into the film, how did, how did you feel going in. Did you know what the theme of the movie was going to be about? [00:04:14] Speaker B: Not, you know, I don't think so, 100%. I knew it was going to be horror. I knew it was going to deal with, with women's issues to an extent of them feeling like the older they get, the, the more less desirable type of thought process happens to set in. Yeah, I, I didn't know exactly everything. I didn't see a trailer for this film, if that's what you're asking. So I didn't know much. I knew it was a horror film. I knew it had to do something with Demi Moore being. Desiring to be younger. [00:04:52] Speaker A: Right. [00:04:52] Speaker B: Or at least desire some sort of that and achieving some sort of that, you know, in a way. So, no, not really. I kind of just went in blind to, to watch this movie that makes sense. So. [00:05:09] Speaker A: Which is fine, I think. I think going in blind to films can, can be a really fun experience as well. I think also there, there was this meta commentary to point out with Demi Moore and in relation to her character in this film, you know, because in the film the character is basically an older actress who to execs, you know, is past her prime. Even though she's, you know, gorgeous, talented, like she's totally capable of doing, continuing to do the job, she's been doing, but in the eyes of these people, she's past her prime. And I think that, that, that was interesting to have Demi Moore play that character, being Demi Moore. Someone who had a really, really. Just like, amazing early career, you know, and just career in general, but, like, definitely, like. And when we talk about, like, some of, like, the Sydney Sweeney types of today, you know, those women that are. That are acting in roles and doing phenomenal jobs, but, like, the media sees them almost as a little bit kind of like as these, like, more sexual people or sexual, like actors or whatever, it's very weird and slippery slope that when people kind of make these weird connections with actors. But. But it is interesting to point out that Demi Moore was that as well, you know, when in her career. And then, you know, obviously she gets older. So I wonder how cathartic this role had been for her to play someone who is diving into that. That portion of the women experience, you know, of like, always having to worry about being replaced by the younger, hotter version of yourself. And I also, you know, want to also point out and show some love and respect to this director because I love the fact that this movie was written and directed by a woman. I feel like this kind of story needs to be told that way. It's just. That's just it. Like, it needs to be told that way. And. And I think that when you dive into some of, like, the more intimate and like, in revealing scenes of this film, it's. It's nice because you can think about it and. And also when you watch it, you can see how much of a different perspective and level of care was put into those scenes. Knowing that it was, you know, shot and directed by. By a woman at the helm, you know, like, she. She knows, like, more so probably than a man would. What's gonna cross that line of something that becomes a bit too much like male gratification and like, objectifying. Even though part of the themes of this movie does kind of like coincide with male gaze and male genre, it's just the viewpoint, the lens of which she told that story from. It doesn't put men in the driver's seat of this tale. And I love that. You know, you watch. You watch this film and it's like, like, as a man, you watch this film and you're. You're. You're definitely a passenger. You're a backseat passenger, dude. You're probably the trunk. But, like, it's, It's. It's very nice to still be witness to what's happening here. [00:08:35] Speaker B: Yes. [00:08:35] Speaker A: And to get to have those conversations with other women as well as to what that. What this movie meant to them and how it spoke to them. [00:08:43] Speaker B: Yeah, I. I felt like that was kind of with Dennis Quaid's character and like, all those other, like. Like, kind of schemey, like, ugly, whatever you want to call them, men that was in there who are the. All the Hollywood execs, You know, it was always, like, a point of view from her end of watching them, of talking with them. So it just kind of was like, anytime they were on this, the. The scene, I just was like, oh, man, I don't want to be, like, even really talking with them or anything, like. Right. They're just so shady. So that's a good point of bringing that up, but. [00:09:27] Speaker A: Right. So getting a little bit into how, like, what happens in this film. So it's obviously. It's called the substance. The substance being this goo serum that you inject into your body, and you're basically entering into a contract with yourself and your other version of yourself to swap places at equal intervals. And that's how, I guess, you get to live out the life that you never, or maybe you did, but the life that you wish that you were living out then. How did you feel about that, that whole plot point? Did you. Did you enjoy how they brought up the substance, how it got interwoven into the story? Do you feel like that idea lands within itself? You know, you got to suspend a little bit of disbelief when watching it. [00:10:22] Speaker B: Right. [00:10:23] Speaker A: It's not, you know, it's. The idea of it within itself isn't foolproof, but, you know, it's still. It's the driving force of the whole narrative. [00:10:32] Speaker B: Yeah. Yeah. I like the whole plot, the whole. The whole substance idea. And now I'm not that old, but I think that at my age, as almost being 30, I, like, would like to think that I have a pretty firm grip and understanding of who I am at this age or at any age. Though there are some times that I will sit there and reflect on some older versions and older life, like, younger life experiences. But the original of, like, what I like is your question of, like, would I take it? Or what was your original question again? [00:11:18] Speaker A: No, not would you take it? But, like, just how did you feel about the substance in general? Like, what were your thoughts on. Just that. [00:11:27] Speaker B: Yes, it was kind of saddening in my own personal opinion of, like, you know, you get to this certain age that you feel like maybe you can't go or maybe people don't want to Talk to you or is desiring to you. And like I said, I'm not that old yet, but I will be. But at this time I don't think that like I would personally be able to like think about that in that type of way or that complex way. [00:11:59] Speaker A: Yeah. [00:12:00] Speaker B: As someone who much order is. But I would like to think that. I wouldn't think that way, if that makes sense. But I'm. I mean, I might. But I think the whole idea of it is, is kind of interesting and is understandable of coming from a perspective of wanting to desire to. To be able to go at it again, you know what I mean? To relive stuff that you was once familiar, you know, but now it's maybe a little harder of doing or maybe is viewed in a different way because of your age, you know what I mean? [00:12:40] Speaker A: Right. [00:12:42] Speaker B: So I get the plot, I get the understanding of the need of the main character's desire of having the substance or trying out the substance. But it's just a little sad and it's a little sad that it's like we put this on an older generation to maybe feel. And maybe this is, you know, growing up. I feel like maybe the, the older generation looks at it differently of where, like, at least from what I've seen in tv, in movies, where it was more noble of being older. You know, I mean, if like you earned certain different aspects of life, you know, from that older age. But in growing in, then seeing my own grandmother who didn't like being old, you know, who, like. But she was in a different generation from seeing those older films, you know what I mean? Like. [00:13:35] Speaker A: Right. [00:13:35] Speaker B: Viewing her in that sense where she was like. It was almost like she was disgusted at being old, you know, it was like that. And that was always a sad thing to me as well. It was like her thoughts of it was always like. Like of course, of course when I'm older, in that age, I mean when I'm now I'm just like, oh man, I'm old. You know what I mean? Like as like a joke. Like, I feel like that's a journey. [00:13:59] Speaker A: I think that's the, that's the, the other difference too that this movie is presenting is that it's not so much about just growing and being older, but like the, the commentary here is. Is a bit more. Not even a bit more. It is, it is more so about the female experience, the woman experience in, you know, living life as a woman and then living life as an older women woman who's, you know, in the eyes of like, the world and social media sees you as past your prime, you know, because like, even you were just about to say, like, you, you. You're probably going to take age a bit differently and maybe a bit more gracefully as someone who is getting these crazy beauty standards imposed on them, you know, and imposed on them by men. [00:14:48] Speaker B: Yeah. [00:14:49] Speaker A: You know what I mean? So it's like we're. We're gonna take. We're gonna take it a lot differently than a woman is. And that's, that's where this movie, like, has its place. Like, it's here to bring commentary to that and bring light to that and, and, you know, shed some, some light on like the woman experience and like, just some of the crazy things that Hollywood and the world just like, puts on women and put it through this lens of like body horror. Which is so ingenious because. Yeah, you know, people talk about like body dysmorphia all the time, but it's like, what if body dysmorphia manifests itself as a substance? [00:15:30] Speaker B: Yes. [00:15:31] Speaker A: You know, what if body dysmorphia manifests itself as like this, this shameful, grotesque monster that, you know, not even a mother could love. Like, it's, it's just, it's ingenious. Like, it's. This movie works. It works so well on, on all aspects. I want to get start to talk a little bit about just kind of like the plot of the movie and like some of the things that happened. Some of, you know, our favorite things. So if you haven't seen the movie, go see it. [00:16:07] Speaker B: Yeah, go see it right now. [00:16:08] Speaker A: See this movie. It's. [00:16:09] Speaker B: It's phenomenal. I think it's gonna be on Mubi. I think it's a movie. Original movie. Mubi. Yeah. You never heard a movie? [00:16:15] Speaker A: Yeah, I heard a movie. It's a. What do you mean it's a movie original? [00:16:18] Speaker B: Well, I don't know if it is a movie original, but I know that they. I think they funded some of it. I think the beginning credits doesn't have Mubi on did it? [00:16:26] Speaker A: I don't remember. But if they did, that's cool. Shout out to Mubi. That's awesome. Yeah. So film obviously starts with Sue. Not Sue, Elizabeth basically getting fired from her job. Right. And then you've got Dennis Quaid playing her sleazy boss. Very sleazily. He embodies that role. It's amazing. I love seeing him on screen because every time I see him on screen, I just, I like, cringe and recoil. But like, in a Like a way. [00:16:57] Speaker B: It just kind of funny. [00:16:58] Speaker A: I saw you in person. I'd probably be like, can you like, back up? Yeah, five feet, please? [00:17:03] Speaker B: Like, yeah, like you're disgusted, but you're just like. [00:17:06] Speaker A: There was like certain scenes we even had like sweat and like, like he was like glistening like parts of his face where I was like. [00:17:13] Speaker B: Well, I think the like, biggest scene that stands out to me is when he's eating the shrimp. [00:17:18] Speaker A: Oh, of course. The shrimp scene is disgusting. [00:17:19] Speaker B: The shrimp scene is truly horrifying. [00:17:22] Speaker A: Just smacking away under these shrimp heads. And it's just like close ups. It's nasty. I see stuff in his mouth and I love it. It's gross. [00:17:33] Speaker B: It's probably one of the only times where I've seen food in a movie or some type of entertainment and when I don't really want to eat that. You know what I mean? [00:17:42] Speaker A: Like, yeah, it made you very. Not hungry. Yeah, specifically not hungry for shrimp. Yeah, definitely not. So. Yeah. So she gets fired. She gets fired from her job and she's like, oh, what do I do? And you know, like, she's got billboards of herself on. On like right outside of her apartment. And they were taking the. They're like taking it down. They're about to take it down. So it's like, oh, you know, my once glamorous life is gone. And she gets into a car accident. [00:18:13] Speaker B: Yes. [00:18:14] Speaker A: Gets into a car accident, ends up at the hospital. They take care of her. They're like, you know, like, you're fine, don't worry about it. Take it easy. And she ends up getting slipped the paper from a guy who's taking care. Help taking care of her. And they're like, hey, call the number. It helped me. It can help you. Which I'm like, okay, ominous. Got it. Cool. She ends up taking the number and she ends up finding the place where she can get the substance, you know, and it's like this crazy dingy alleyway. [00:18:44] Speaker B: Yeah. [00:18:45] Speaker A: Which I always love when stuff like this happens in movies. When you have like great contrast of things. Very dingy, dirty alleyway, opens up door, little weird door thing that doesn't even fully open. And now you're in this like super clean in like very overly lit room full of lockers and. Yeah, stuff like that. I just think it's fun. It's just like, oh, kind of. Okay, cool. [00:19:10] Speaker B: Yeah, I had that down as something that was. I thought was pretty interesting and funny was like the branding of the substance, like the whole brand. Because that is technically coming from an advertising Graphic design world that is branding to an extent of like, it's secretive, but it's like rich secret of, you know what I mean? Like, it's, it's a luxury secret of like. Yeah, this is not your back alley drug deal. This is like a back alley, luxury deal. You know what I mean? [00:19:39] Speaker A: It's a luxury deal. We're doing, we're doing our, our illegal activities in style. [00:19:45] Speaker B: Yeah, yeah, exactly. And their logo too. I honestly, I looked at the logo and I was like, okay, that's a pretty good logo. You know I like that logo. [00:19:53] Speaker A: Yeah, going on. No, it was, it was very cool because it was just like, no fuss, no mess. Just get in there, open your locker, get your stuff, and get on up out of there. I found the, the rules around the substance to be very interesting. So they say you've got seven days each cycle. So first you got to do the activator, you got to activate. And then once you activate and you get your guy, then you've got seven day on, seven day off. You guys have to switch and you have these baggies that are basically food, substance for your other. Your partner during the time that they are not in control. And then you have a stabilizer as well. I think the stabilizer was. The stabilizer is supposed to be. It wasn't a one time thing. I think the stabilizer was like a every week thing. Like you stabilize once a week and that you stabilize. It was. You activate once forever, you stabilize once a week and you do food every day. That's what it was. [00:20:58] Speaker B: Yeah. [00:20:59] Speaker A: So that, with that being said, she takes the activator and some of the most insane body horror ensues after that. Where sue, who we don't know as sue yet literally emerges from Demi Moore's back like, ugh, I thought she just died. I couldn't look away. You thought she was just gonna die after that? I mean. [00:21:23] Speaker B: Yeah. [00:21:23] Speaker A: And again, this is where like the, the film kind of needs you to suspend a bit of disbelief because it's like in real life. Yeah, she would have bled out and died. 100 she's done. But she didn't. She survived. And then she liked. Sue has to like sew her up. Her back wound up after that, which I also was like, oh yeah, very graphic. So you see the needle going in and out of the skin. She does a terrible job. I don't know how her, that wound ended up healing after that. You know what I mean? Because I just, I. I don't know how that, how that the human body Man. I guess. Yeah. So she does that and then sue, obviously being the younger version of Elizabeth, gets out there and basically just takes over Elizabeth's whole life. She easily gets Harvey to want to put her on and just acclimates herself pretty quickly. And it's just like, okay, cool, we're off to the races. But the whole catch is like, you've got seven days on, seven days off, you've got a feed in between. And then when you switch the seven days. This is the part that got interesting to me where I was like, okay, so it's not like they're the same consciousness. I thought that they were going to have the same conscious when, when they swapped. Like, it would. Like Demi Moore's character. Elizabeth would also be Sue. Even though the, the movie and the people in the movie keep suggesting that they are the same person. They are one. They don't have the same consciousness. So they're, they're kind of not. It's more like. [00:23:06] Speaker B: See, I would argue that they are. I would argue that they are, but that she's more. As the younger sue, she's more careless than she is. [00:23:16] Speaker A: No, it's more. To me, it's more like, like, like, yes and no. Like, I think you're. I think you have the same viewpoint as me. I think you're just not understanding what I, what I was saying. It's like, think about it like this. Like, they're not a hive mind. You know, like if, like, and we'll get to this, but like, if they are both somehow conscious at the same time. They're not a hive mind. They're not having the same. [00:23:43] Speaker B: She does have a different brain. [00:23:45] Speaker A: Right? The brain is different. They're like, yes, like, the DNA may be similar and maybe this would have been. Maybe they, if they would have somehow shown like a, like a, maybe like a picture or something like that of like what she looked like when she was younger and it did look like Mark Margaret Quaily, then you can make that connection. But it's, it's not necessarily necessary for the plot. Like, we don't need to. Like, we're just kind of going on about this in a more in depth way. But maybe if they would have done that, then, you know, you, you could more so connect. Like her substance double as, like, oh, this, this is actually just the younger version of her. But I also feel like if you were to think too much about it, then they probably couldn't do that because then that would probably make it. You would have to suspend even more disbelief when watching the film. The film. Because then people in that world would more than likely know what Elizabeth's character. Younger character, looked like when she was younger. And if a younger version disappeared, they'd be like, what? So I feel like the substance does kind of need to alter a bit, and it. Not. You can't really look like how you looked when you were younger, because that's going to cause more problems than solutions. So with that being said, then it brings me back to. Then they. They can't share the same consciousness and the substance. Branding is just there to help you guys not, like, acclimate and not be at each other's throats because you really. Because. Because really, it's. It's almost just like. It's. It's like more. More so just in your head, like, yes, she might have been born from your DNA, but it. But it's almost like maybe you think of it almost like this is your kid. You know what I mean? Because it's like you have a kid, and like, your kid is born from your DNA, but they don't look exactly like you. I think the same thing for Sue. Like, I think when. When they use the substance, it's more so like we're gonna give you a. Another version of you, but, you know, but it's kind of like it's not you, but they're not telling you that. They're telling you it is you. But I don't believe that, you know, because things like that come into play later. So, yeah, they. They go back and forth and they switch pretty. Pretty seamlessly. For a bit, I thought it was interesting that was. It. Was it sue that originally built the. The weird little dungeon room. [00:26:22] Speaker B: Dungeon room. [00:26:23] Speaker A: I think it was sue that originally built that, not Elizabeth. [00:26:26] Speaker B: Yeah, I think you're right. I think sue was the one who. [00:26:28] Speaker A: Made it, because I think it was. It was. After she came to the first time, I think she was like, all right, I need to. I think she, like. Maybe she, like, came home and, like, realized like this. It's just weird to have a body laying around. Just laying. Yeah, and she built that whole thing, which is another instance of you having to kind of suspend your disbelief of, like, sue being capable of doing all this on her own. [00:26:50] Speaker B: But, I mean, you know, they're smart. [00:26:53] Speaker A: Yeah, yeah, yeah. [00:26:54] Speaker B: I'm sure they can do it. [00:26:55] Speaker A: But also, you know, contractors, they know how to do that. [00:26:59] Speaker B: Yeah. And it's an apartment building, so is she. Where she digging into, anyways? [00:27:06] Speaker A: Wait, what? [00:27:07] Speaker B: It's an apartment complex, right? [00:27:09] Speaker A: Oh, yeah, yeah, yeah. [00:27:10] Speaker B: So she. Is there enough space to actually do that? [00:27:13] Speaker A: That's a good ass point. Because she just, like, there wasn't a room in there. Like, she just like broke down a wall. And like, let's stop thinking about it. I'm gonna stop thinking about it because now I'm a really sit here and go, wow, how did that work? No, no, no. So, you know, obviously there's going to be some problems, right? We're going to run into some. We have to have an issue here. And the issue starts to come from when the balance isn't kept, because they kept. They keep talking about the movie that you got to keep the balance. Seven days on, seven days off, we swap. And sue is the one that is starting to feel like she needs to have more time. She doesn't like to swap equally. And when she does, what happens is those years, that bit of life gets taken out on Elizabeth's body, which was a really interesting touch. I liked that a lot. When they showed that, I was like, oh, wow, this is cool. This is cool. So that was kind of like the start of that and more instances of really, really good practical effects to come. How did you feel about the practical effects thus far? [00:28:27] Speaker B: Oh, yeah, I thought they were good. You know, I think the, the finger, like, obviously they probably used a hand model for that, but like, when they. [00:28:37] Speaker A: Showed that first finger, first finger, you're like, oh, oh, yeah. [00:28:41] Speaker B: You're like, that looks. It's kind of decaying, I'm sure, like they put probably some makeup on it, but know, it's like maybe just a. [00:28:47] Speaker A: Little bit of makeup. [00:28:48] Speaker B: It just looked like it was like. It just looked like it was going to, like, if you touched it and you just bent it a little bit. [00:28:55] Speaker A: It was going to break, pop off. Yeah, yeah, it was pretty. It was pretty decrepit. So that just continues, right? She just keeps on going. She just keeps on wanting to take more and more and more. And as that happens, you know, she's. She. It's very interesting because it's like she's in her mind reclaiming her youth. And I guess if they're one, then Elizabeth is also reclaiming. Reclaiming her youth. But at what cost? The cost is of your regular body, your first body, your body is now becoming much, much more older and decrepit, which is wild because that was the very thing that made you make this choice to begin with. You know, it's a very interesting thing to see that and to see how even in the face of this super nasty negative Thing happening to you that you know is going to continue to happen. And the substance hotline ask her, like, do you want to stop? She's like, no, no, I don't want to. Which is. Oh, my God. It's crazy because it's that. That societal pressure. It's that pressure she has to want to continue to live a life even if she isn't the one physically living it. Just like that thought of knowing that she's living. Living a life that is, you know, in her mind, possibly better than the life that she's had. You know, this is very interesting. [00:30:26] Speaker B: There's. There's a scene in that sequence of, like, her going through that. It's after the decrepit finger scene with the one old high school friend. [00:30:40] Speaker A: Yeah. [00:30:40] Speaker B: She runs into who asked her out on a date. Then she reaches out to him and wants to go on a date with him. The makeup scene is what I call it. [00:30:49] Speaker A: Yes, the makeup scene. [00:30:50] Speaker B: It was very. It was very sad. I'm not trying to be downplaying any of this. Like, oh, it's a sad. Like. Like this. It is sad to an extent of real people to probably also go through this in real life. But it just is kind of like, man, this character is not a terrible looking person. They don't look old and decrepit and they don't look like they can't have a natural, fine life outside of film and Hollywood and whatnot. [00:31:24] Speaker A: Right. [00:31:24] Speaker B: But she's restricting herself mentally. And that's what I think was more sad, was that she's put this mental block on her mind that she can't have a fulfilling life after the glitz and the glamour, or that the glitz and the glamour is what made her life more desirable, if that makes sense. And in a lot of way, Hollywood does that, you know, and a lot of film and entertainment does that. But there's plenty of people who have fine lives outside of that. You know what I mean? So I think that that scene, that sequence of her going through that, not ultimately reaching out to the guy, but then standing him up because she thinks that she can't fulfill what he has already claimed to her is like a desire of just. Even just being able to talk to her. [00:32:16] Speaker A: And it's interesting that you point that out too, because something that I noticed as well is that for her, she. She really was looking for. I believe she was looking for just people to love and appreciate her for who she is now, not so much who she was when she was younger, you know, when. When she was more Hot or whatever. Whatever it may be. [00:32:40] Speaker B: Yeah. [00:32:41] Speaker A: But, like, who she is now, who's a fantastic person, and even that nice man that she knew from her past was still holding her in that spot. [00:32:53] Speaker B: Yeah. [00:32:53] Speaker A: He wasn't saying, like, wow, it's so nice to meet you. Or, I mean, you. So nice to see you. And. And, you know, like, you. You're. You're looking good. He didn't even have to necessarily say that because even that has been indicative of, like. Like, oh, I know what you used to look like. And, like, you know, like, he. He was. It was just very clear that he was very stuck on, like, this idea of her from his past, from their past, and how she holds up to that now. [00:33:22] Speaker B: Yeah. [00:33:22] Speaker A: Which is that pressure. You're putting that pressure on her to. To be that. And maybe she isn't that and that's okay. Maybe she doesn't feel like she is, and that's okay. But that's, like, no one ever gives that to her in this film, which I. Which I do agree is sad. But that, I think, you know, obviously we're not living it, but I think that that is a bit of the woman experience and the beauty of this film and scenes like that, very interesting to see. And then, you know, then you get the horror aspect of it, of her, you know, feeling so overwhelmed with, like, I can't get it right. I can't be myself. I can't figure out how to, you know, put the right amount of makeup on, the right amount of lipstick on. So I'm just taking it all off. And she's just. [00:34:15] Speaker B: Yeah. Rubbing her face. [00:34:17] Speaker A: Oh, my God. And I was just sitting in my chair just, like, gripping the seats from. Just, like, please, please don't rip off your skin of your face. [00:34:25] Speaker B: That's what I was thinking, too. I was so afraid that. [00:34:28] Speaker A: Oh, my God. I was like. I was ready for it now. Eyes glued. Like, I'm watching, like, waiting for it to happen. And it didn't happen. I'm kind of glad that it didn't happen, to be honest. Like, it would have been really cool, but I was just like, oh, my God. Oh, she didn't rip her skin off. That was still traumatic. [00:34:44] Speaker B: Yeah. [00:34:45] Speaker A: Don't do that again. [00:34:46] Speaker B: Yeah, I was in the same boat. I was like, please, please don't. [00:34:51] Speaker A: Yeah. So just. Just a very. That was a. That was a very, very effective scene. But, yeah. So we go through the rest of the film, and there was one moment in the film, towards the middle point that I will say I've got Okay, I've got two gripes with this film before we get more into, like, the ending and our final thoughts. Two gripes. Excuse me? First gripe is that there's a scene towards the middle where we. We meet the. This older man in a diner, and he's all like, hey, are you liking the substance? [00:35:30] Speaker B: Yeah. [00:35:31] Speaker A: And, you know, Elizabeth's kind of like, what the frick are you, man? What's going on here? Realizing, oh, you're the guy that I met the younger version of when we did the hospital guy. I'm like, okay, interesting. And then he just is like, there. It's never equal. They never balance it out and that. And he just disappears. That's it. That's it. We don't see that guy ever again. And I do understand that a lot of horror movies, if you ever noticed this, a lot of horror movies follow this kind of formula where you get presented a problem and maybe it's an entity, you know, a ghost, a slasher man, some sort of thing that is opposing you. And, you know, like your antagonist. Obviously, you're presenting your antagonist. You presented your problem. And at some point in almost every horror movie, you get to the middle point and you usually meet some person who has either already encountered this thing or has some sort of prior knowledge to this thing, and they are trying to help you to defeat said thing. And that's what I feel like that scene was. But it. He didn't really help her do anything. He just told us what we already were finding out, which was that if things aren't equal and they be taking more of your life, and is it really worth it? And that was it. So, like, I feel like that scene probably didn't need to be there just because they really didn't add much, didn't help her situation in any way. My other gripe is that you get to the point to where sue is taking way more time than she should, and it's making Elizabeth's body decay crazily. Yeah, like, a lot. I kept thinking in my head the whole time, I was like, why? Because the whole thing is, is that you need to take spinal fluid. Like, sue has to take spinal fluid from Elizabeth once a week to stabilize. That's how she stabilizes. And that's, like, supposed to be, you know, kind of, like the rejuvenation of, like, her so she doesn't also decay. I've always wondered, why does it not work the other way around? Why can't Elizabeth take the spinal fluid of sue, who is the younger version of Herself to revitalize herself and make herself not be so decayed and falling apart. [00:38:19] Speaker B: You know, I guess I just never thought about that. Yeah, I think that it. The reason why that sue had to stabilize more is because she is more of an artificial person person. She isn't really. Like, she's not a child. Biological, yes, I know. Like you, you mentioned she's a child of that version, but she's. She's not really. She's like. In a lot of ways, she's like a cancer cell to an extent. You know what I mean? Like the cancer we all. [00:38:48] Speaker A: Mutation. [00:38:49] Speaker B: It's a mutation. [00:38:49] Speaker A: It's a mutation. [00:38:50] Speaker B: It's mutation. And that mutation has to survive. That parasite, to an extent, has to survive off of the original person. [00:39:04] Speaker A: That's a good way to think about it. And I don't think I was thinking about it in that way before, so I'm. I'm glad that you brought that up and gave me your point on that. Yeah, I think I was thinking about it. Yeah. [00:39:14] Speaker B: That's how I looked at it and saw it was like, of course the original is not going to have to be stabilizing herself because she's not the one who is. [00:39:24] Speaker A: Well, it's not so much that I wanted her to have to stabilize. It's more so I was thinking like. Like, oh, in this sense, in this situation where I am now becoming even more of an older, decrepit version of myself because of my younger self, maybe I should try this out. Maybe I should try to use their spinal fluid to stabilize, quote, unquote, stabilize, and see if it rejuvenates me in any way. [00:39:55] Speaker B: Well, does she. Does the sue generate that spinal fluid then? Because I don't think they ever talk about it like that. [00:40:03] Speaker A: I would imagine that sue has spinal fluid. Obviously, that was just all that I was thinking about, you know, and still listening to how you described what you said. I do think that that makes sense from that perspective. And maybe, maybe I can. I can rescind that gripe. Maybe I can. [00:40:24] Speaker B: Well, I mean, it's your own opinion. Like, yeah, you can have your own opinion. [00:40:29] Speaker A: I don't know. I'm still just, like, under the thought process of I wish. Why, why not try it, Try it. But it's one of those things where it's like, this isn't me necessarily having a gripe with, like, the script or, like, how the film was written, you know? You know, sometimes you want to argue with characters in a movie, you know. [00:40:46] Speaker B: Well, I definitely wanted to argue with. [00:40:48] Speaker A: Especially in Horror films, when you're like, dude, stop it. Do not go in that attic, you dumbass. You know, I mean, like, you. Like, it's like that. Where it's like, I'm not. I. You know, I love this movie. I think it's phenomenally written and phenomenally acted, directed, shot, edited and everything. Makeup team, phenomenal. Like, special effects team, phenomenal. Like, I. I love this film. So I'm like, I'm not knocking on. On them by any means for that. I'm. I'm more so just like, come on, Elizabeth, why would you not think to try. Try using her spinal fluid maybe, maybe, maybe, you know, maybe think outside the box a little bit. Well, that also you were very quick to defeat there. [00:41:26] Speaker B: Yeah. [00:41:26] Speaker A: Just like you called the people and they basically told you, respect the balance and she'll respect the balance, which is a wild thing to say. Yeah, no, dude, no. I don't think many people would respect the balance. Like, imagine if you were sue, if you were this thing that was just brought into this world and you just had. [00:41:45] Speaker B: Oh, yeah, I would want my own agency. Yeah. [00:41:47] Speaker A: I'd be like, f you, dude. Balance. What? I'm gone. Bye. [00:41:52] Speaker B: But I think that also argues back of, like, you know, we're looking at Elizabeth's character. It's like one. She's a lot older. She's a lot more understanding, a lot more wiser. But it's also like, maybe in her own right, in her own thought process, if she tries to take it from her, she's like, well, I'm still going to be this age. I'm still going to be old. Like, people are still going to remember me as this older character, this older person, you know, so why would I still want to do that? Because I feel like that's also the same. What you're arguing of the movie is like, you know, it's a redo. Like, Sue's character is a redo of her entire life to an extent, but, like, she just gets a second chance at it. You know what I mean? So it's like she's, like, able to live out what she once had. But why would she want to be reminded that she is still that same person? You know what I mean? That makes sense. [00:42:56] Speaker A: No, I get what you're saying. I def. I definitely get what you're saying. So moving on a bit, getting more towards the. The finale of the film, because obviously they keep going back and forth, and, you know, you've got Elizabeth trying to retaliate by, like, eating a bunch of food. And then you have this really gross scene of sue pulling a chance chicken wing out of her belly. [00:43:20] Speaker B: Yeah, I forgot about this. [00:43:22] Speaker A: I thought that was kind of wild. It's like. Okay. When that happened, I kept thinking to myself, I was like, can I do that? Like, can I. Can we have. We all just had this ability to reach into our bodies through our belly buttons, and we just knit, you know. [00:43:38] Speaker B: I think that was more like dream, like, sequence and that, I don't think. But I mean, what the. [00:43:43] Speaker A: What. What the hell is this thing? Is this thing. [00:43:45] Speaker B: Well, the belly button is like. [00:43:47] Speaker A: What is it? [00:43:47] Speaker B: You know, when you're in your. When you're in your. You know, I'm not going to. Biologically, like, I'm not going to get into all that, but, like, you know, it connects. It feeds you. You know what I mean? Like, it feeds you. [00:43:58] Speaker A: Yeah, but. But I'm. But it's not connected. So what's it there? [00:44:00] Speaker B: It's not anymore. No, I. I imagine it heals and that's it. [00:44:05] Speaker A: So I feel like I. I can stick my hand in there. [00:44:08] Speaker B: Well, yeah, you can stick your hand. Not into your entire stomach. [00:44:11] Speaker A: No can. I'm gonna try one day. [00:44:13] Speaker B: Okay. [00:44:14] Speaker A: Anyway, so she. She sticks her hand. Whatever she gets out of. She gets a little chicken wing. It's really gross. [00:44:20] Speaker B: Was it chicken wing or is it drumstick? [00:44:22] Speaker A: I thought it was drumstick in my head. Chicken wing, drumstick, same thing. She gets a drumstick, pulls it out. And we get to the point to where Sue's like, you know what? I'm done. I'm taking all of it all the time. And she basically, like, lets all of her backup food go out. And I think it even lasted a little bit after that. [00:44:49] Speaker B: Yeah, it lasted for a couple months. I think three months or something like that. [00:44:52] Speaker A: Yeah. And she was just like, not getting more food for her and just kept jacking her spinal fluid to stabilize herself because she was going to go down if she didn't. And it was just. Oh, God. Every time she kept getting into that. That. That whole little. [00:45:11] Speaker B: Yeah, the little. [00:45:13] Speaker A: Little hole. [00:45:14] Speaker B: The little. I can't think of it. [00:45:16] Speaker A: Injection hole. [00:45:16] Speaker B: Injection hole. [00:45:17] Speaker A: Oh. Oh, God. [00:45:18] Speaker B: It got worse. It got. [00:45:20] Speaker A: It just got worse and worse and grosser and grosser. And I loved everything, in my opinion. [00:45:26] Speaker B: It was like, if I was sue, if I would have noticed that that was still getting, like, worse, I would feel like, yeah, this doesn't look right, you know? [00:45:33] Speaker A: Right. Like, maybe I need to not do this anymore. But she kept doing it. Excuse me. She kept Doing it until eventually Elizabeth had to come back. And when she did. Oh, God. [00:45:48] Speaker B: Got hunchback. No down. [00:45:49] Speaker A: She looked insane. The makeup team there, the prosthetics that they put on her were wild. She just looked insane. She looked. She just looked like really gone. And just like a husk of her. Of her older self. And it was sad. It was sad to see. It was sad to see that. And not only that, but, like to have her walk out. And again, in her apartment, she's got this huge poster of herself and then she's the outside of her apartment window. She's got this huge billboard of sue living her life. And just like. Oh, my God, like the. The contrast between those two, I'm just like, that's. That sucks. That's sad. I get it, man. And I'm trying to remember what was the. What was the thing that sue then does that turned her into the grotesque monster? Because she. She did. She made it. [00:46:54] Speaker B: Oh, the final thing. [00:46:55] Speaker A: Yeah, like. [00:46:55] Speaker B: Oh, well, that's the final sequence. The final. So if we're thinking of that, like, you know, she, you know, Demi Moore is now this hunchback looking, like, golem looking thing. [00:47:11] Speaker A: Yeah. So then what does sue do to. [00:47:12] Speaker B: Well, they fight like Demi Moore wants to. Then she finally has had enough. [00:47:18] Speaker A: Killed her. [00:47:19] Speaker B: And she finally had enough. She wants to get rid of the. The substance. Yeah, she tries to kill her. But then Demi Moore finally realizes that this is still the only way that she is somehow experiencing life is through Sue. So she brings her back with a blood transfusion. And this is where the movie kind of gets that they're the same person, but not the same person kind of mixed up. And I think is where you're getting the most because they both regain consciousness and then sue, like, just beats the hell out of her. So. [00:47:53] Speaker A: Yeah. [00:47:53] Speaker B: And ultimately kind of kills her, I think is what it is. [00:47:56] Speaker A: I think so too. [00:47:58] Speaker B: And then sue tries to go then to live her life and then like, her body parts are falling out. Like her teeth falls out. Like, you know, like, I think her air falls off or something like that. [00:48:10] Speaker A: Yeah, because she's. Since she's kidding, killed her original person. She can't get any substance from her. [00:48:18] Speaker B: So she wants back to. She thinks that if she does the substance again, that it's going to make a better version of herself. [00:48:27] Speaker A: That's what it was. She used the bit of the activator. She activated herself, which is a wild man. What a wild thought. You were the byproduct of the activator. And now the Activator is trying to activate itself, and in doing so, she creates which. [00:48:46] Speaker B: That. That monster has a name. Yeah, I don't remember what it is. [00:48:51] Speaker A: No, no, I have it here. It's Monstro Elixir. [00:48:58] Speaker B: Yes, yes. Yeah, we'll go with that. [00:49:00] Speaker A: Yep. Monstro. We'll call her Monstro. [00:49:04] Speaker B: Monstro. [00:49:04] Speaker A: And it was disgusting, isn't it? [00:49:06] Speaker B: Alezisu. Is that what is more so, like. [00:49:09] Speaker A: Yeah, something like that. [00:49:10] Speaker B: Yeah. That bourbon's really hitting you. [00:49:14] Speaker A: Bourbon's really hitting me. It really is. Yeah. Monstro. Sorry. People who, who, who are tuning in and don't know. I've been drinking this thing of bourbon for two episodes. For two episodes. We record two episodes today, and this is episode two. And, and Ian's already drinking his, and he's acting like he's just PG keen good time over there. Meanwhile, I'm over here fighting for my life. [00:49:40] Speaker B: Yeah. I, I, I think the reason why I drink so fast is because I want to make sure that I regain my thought. [00:49:48] Speaker A: Yeah. [00:49:48] Speaker B: So that's. But I do just drink fast in general. [00:49:51] Speaker A: You do drink fast in general. [00:49:53] Speaker B: That's okay. [00:49:54] Speaker A: But back to it, though. So Monstro Monstros. I, I loved the, the. This whole sequence because it's like this really nasty, grotesque, like, amalgamation of body parts and flesh. [00:50:08] Speaker B: Yeah. [00:50:08] Speaker A: And, like, you've got boobies going this way. And Demi Moore's face on, like, Like a back shoulder. [00:50:16] Speaker B: Yeah, that was a crazy. That was the craziest. [00:50:19] Speaker A: Oh, my God. It was just. It was so beautifully done. It was so beautifully done. And I love the touch of, like, oh, my God. Sue has to do this New Year's Eve special, and she. She gets to the network and it's like she puts on a picture of Elizabeth's face from, like, when she was a bit younger, I guess, or. [00:50:45] Speaker B: Yeah, it was younger. [00:50:46] Speaker A: Yeah. She puts on the picture of her face and just like, it's just like, taped on on this grotesque monster's face. And she gets to the studio, and everybody's like, oh, my God, you're here. We got to get you on. We got to get you on. Come on, let's go. And it's just like, okay, you guys don't notice this creature behind here. No one notices. This creature is very, very interesting stuff. And then she gets on stage, and probably the most insane sequence of this film occurs when I think it's like her arm gets, like, either does it get ripped off or it falls off? [00:51:31] Speaker B: It's one of the two. Yeah. [00:51:32] Speaker A: I don't remember it Just starts to spray blood over the entire studio audience. And an obscene amount of blood. Like, it's like B movie horror levels of blood. But it was so fun. I loved it. It's just like spraying. Spraying all over everybody. People were freaking out. People are. We had some. We had some funny crash zooms when people realized that it was a monster, which I thought was really funny. Or just like, people were screaming. [00:52:02] Speaker B: Yeah. People feigning and stuff. [00:52:03] Speaker A: Like that painting and stuff. Oh, my God. Just incredible, incredible, incredible. This. I love that. I know there were a lot of people that felt like that part of the movie was where it was like they drew the line there. And I'm like, this is. [00:52:15] Speaker B: No, I think that's what they were ultimately going to. [00:52:18] Speaker A: Yeah. When you draw the line at a little blood fountain. Come on now. We saw a lady fall out of someone's back. You draw the line that someone pulled a chicken leg out of their belly button. You're drawing a lot of blood fountain. [00:52:32] Speaker B: Yeah. [00:52:34] Speaker A: Come on now. It was incredible. It was incredible. And I think. What was it that she. She ran out of there. I'm pretty sure she ran out of there. [00:52:41] Speaker B: Well, she, like, gets her head popped off, right. And then she grows another head. [00:52:45] Speaker A: She grows another head. It's really gross. It's such a. Such a. A gross sequence. And she just runs out of there and, like, her body just kind of like congeals, or not even congeals. [00:52:58] Speaker B: The wrong word becomes like a jelly. [00:53:00] Speaker A: Like, melts into, like, a weird substance. [00:53:04] Speaker B: Yeah. [00:53:04] Speaker A: A substance with a face that's, like, somehow. And it's Demi Moore's face and it's, like, somehow moving its way across the pavement to get to Elizabeth's star on the Walk of Fame, which. We didn't mention this in the beginning, but she has a walk of fame. She has a star. And there was a cool sequence of showing, like, over time, like the. Kind of, like the. The damage that gets done to that star. And like, all that juxtaposition was just very cool. So we bring it full circle. Substance. Demore face gets on top of the star. And she has this moment where she's feeling a bit blissful, I guess, of like, oh, you know, like, I'm here, I'm on my star, and, you know, I'm important. And life. Life is good or was good. And then it. She just melts away into faceless substance. And the next day, the little Zamboni guy comes across and just washes away that substance like it was never there. And. And that's it where that's just what we're left with. Like, we're. There's no fallout. There's no. You know what. What happens after that? Because that is it. That. That was. That was the end. That was the end of her. Of her experience. [00:54:30] Speaker B: Yeah. I think going back to. With the monster monstrosis or whatever the monster form of. Of both sue and Elizabeth was. You're mentioning, she. She carves out a picture of the old face of Elizabeth, Demi Moore's character, a younger version of her. And it just kind of was like when I was watching this, it was kind of like that thought process was like, man, like they ultimately, this being went back to their initial state of being. I am Elizabeth. You know what I mean? Like, because it was like Elizabeth and Sue had this power struggle of like, who's the. Like the more important. Who's the real one who's going to be more desirable. But Elizabeth still wanted to still be Elizabeth. [00:55:28] Speaker A: Right. [00:55:29] Speaker B: You know, but she just wanted to be younger and have more youth, be more desired. [00:55:35] Speaker A: Oh, yeah. That's themes of the movie on full display. It's just. [00:55:38] Speaker B: I know. I just think it was just beautifully done. And the same thing with the ending sequence where she goes back to the star. [00:55:45] Speaker A: Yeah. [00:55:46] Speaker B: Like, it just was really well written in that sense of they still want to be this person. Even though, like, they want to be a different person. Like, it is still them. Like it is still. No matter what, it's still who they are. [00:56:04] Speaker A: Right. [00:56:06] Speaker B: And there might not even be realizing the character might not. [00:56:09] Speaker A: She took a journey of self acceptance and. And I think by the end of it, I think she did finally as a bodyless substance. [00:56:19] Speaker B: Goo. [00:56:20] Speaker A: She did accept herself as who she was and then gets washed away to be forever forgotten by the world. Yeah. The society, the things that she held in such high regard. Which, you know, was the commentary of the film. And in essence. And it's just like the movie ends and it leaves you with that and you're just like, wow, okay, I get it. That's. Yeah, that was great. You just. You just can't help but admire how beautifully that was all just transcribed on the film. [00:57:02] Speaker B: Yeah. You know, it's very. It's very deep looking. I feel like. I feel like in the past few films that we've seen and we've talked about on the show, I feel like this one has been probably the most deep and most layered. You know, I think you can maybe argue Romulus had some pretty deep meaning. But even then, still, it was still pretty much a Blockbuster popcorn flick. [00:57:32] Speaker A: Yeah. And there's nothing wrong with those, but is also really awesome when you see a movie where a director had something to say and knew how they wanted to say it and then they just executed that perfectly. Everybody fired off on all cylinders. Perfectly. Shout out again to the cast and crew. The cast especially everyone did phenomenal. [00:57:59] Speaker B: Yeah. [00:58:00] Speaker A: This was a, this is, this was a great movie. So go see it. If you guys haven't seen it, go watch it. Go watch it. You'll enjoy. That's a movie that I, I can't wait to get to streaming so I can watch it again. [00:58:14] Speaker B: It's gonna be on movie. So if you have movie. [00:58:16] Speaker A: Okay. Yeah. Check it out on Mubi and. Yeah, so I guess with that we can start to wrap up here. If you don't have anything else. What would you, how would, how, how would you, how would you sum up wrap up this, this fantastic film? Because I know how I would. [00:58:36] Speaker B: This is seven day substance. But used in the correct way. [00:58:44] Speaker A: Seven day substance. But. But we abide by the rules. [00:58:47] Speaker B: By the rules. [00:58:48] Speaker A: Yeah, I like that. I like that a lot. I think I'm gonna, I'm gonna have to rate, rate this one. Just a. Just a well deserved blood shower. [00:59:00] Speaker B: Yeah. [00:59:00] Speaker A: So that's well deserved as all those people are a holes. [00:59:05] Speaker B: Yeah. [00:59:06] Speaker A: They were objectifying and subjecting poor Elizabeth to all that nonsense especially you deserve a little blood. [00:59:15] Speaker B: Yeah. Character. It was funny. I, I especially like the final scene. We see him, besides him getting sprayed by blood, but like. Yeah, he comes up with all these like executives and they're just like, they're acting like little children. It just was so funny. [00:59:31] Speaker A: So weird. You got a smile. [00:59:34] Speaker B: They're giddy. They're like giddy and jumping like I think one, one of the characters like clicks his heroes like like a little lever con guy. Yeah, this was funny. [00:59:43] Speaker A: It was super over the top. [00:59:45] Speaker B: It was good. It was really well done. Really well. [00:59:47] Speaker A: Please go see this movie guys if you haven't seen it, you know. But I hope you guys like this podcast. Hope you guys enjoyed it. Had a good time. We definitely had a good time. But that's gonna be it for us today. So we're gonna let you guys go enjoy the rest of your week and we'll see you back again here next time. So thank you guys. We're out. [01:00:07] Speaker B: Yes. Once again, like. And subscribe. [01:00:10] Speaker A: Yeah. [01:00:10] Speaker B: For our YouTube, for our video and clips and whatnot. Follow us on Instagram at Real Head. What is it? Real Heads Media, I believe. [01:00:23] Speaker A: Yes. [01:00:23] Speaker B: And then besides that. If you just want to catch our audio podcast, we are on any podcast streaming platform that has it. So subscribe to that and then just follow us on wherever you can follow us. Marquez has his own thing going on. [01:00:42] Speaker A: Yeah. Mark on YouTube. Mark, exclamation point. [01:00:46] Speaker B: YouTube. [01:00:47] Speaker A: Check me out. Movie commentaries, the works. You know what it is? You don't if you haven't seen. [01:00:53] Speaker B: If you don't, then you don't. [01:00:54] Speaker A: You don't. Then you don't. But you're gonna know. Check me out. Mark on YouTube. [01:00:57] Speaker B: Thank you once again. Like and subscribe. Thank you, guys. We'll talk to you later. [01:01:02] Speaker A: Yeah, see you later. [01:01:03] Speaker B: Bye.