28 Days Later is PART 2 of #SpookyPenisMonth! Continuing with the fastest zombie movie you've ever seen, and a not-so-fast penis shot of the lovely Cillian Murphy. Danny Boyle is at it again with ANOTHER full-frontal film for our consumption. THE END IS VERY FUCKING NIGH.
Danny Boyle only gone and done it again! He made another movie with a dick in it. It just so happens that it falls into the "spooky penis month" because he had a crack at ole' faithful...The Zombie Flick! This one's different because the zombies run in this one... and... em... uh... Did I mention the zombies run in this one? Don't forget, it's spooky season, and #SpookyPenisMonth continues!
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Yeah, that's the thing. Like, immediately after the research and the woman gets her fucking face ripped off from the chimpanzee.
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Also, the scientist comes at her with an office chair tame and a lion or something. That office chair is not going to help you.
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You're to death with a fucking bar stool. Um.
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Hello there. Welcome to On The Bitte, the podcast that uncovers full frontal male nudity in cinema. My name is Laura, and I am joined by my co host, Ryan. Hello, Ryan. Are you stoked for part two of, uh, Spooky Penis Month?
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I think I was quite excited when we did Night of the Demon.
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Right.
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Because I think for as much as that film is flawed.
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Yeah, very much.
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I think it's obviously very funny, very entertaining. Now, what we're going to do today, we'll see how the varying levels of Ryan's Met attitudes towards certain films.
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Oh, my God. Whatever.
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Hey, look, you asked for my opinion. I just gave you it.
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Okay?
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Yeah.
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I don't even think I did ask for your opinion, but that's fine.
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That's fine. I'll just sit here and just not just maybe be quiet for the rest of the episode.
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As we talk about Danny Boyle's 2002 horror drama, 28 Days Later. Right. This is our second Danny Boyle film. Come on, don't do this to me. I was kidding. We've already heard a spiel about Danny Boyle. So maybe tell me anything else you've learned about.
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Yeah, let's be fair. If you don't want me to talk in this episode, we can just take what I said and the train spotting one.
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And then.
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I'll create sentences from what I said.
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I'll learn how to edit, and then I'll just mash them all together.
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Because what you have to remember is that I'm the maker. You know what I mean?
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I'm the beauty. You're the Brawn. I'm the beauty. You're the brains, you're the beauty.
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I'm the beast. Is that how that kind of goes?
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Yeah.
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Talking to beasts. I probably don't need to say too much about Danny Boyle. We'll get kind of more into the particulars of this film and how it came to be and things, but 28 Days Later is basically sandwiched between the beach and what year did the beach come out.
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In? 2000.
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Okay, so it's sandwiched between the beach and the film is made after this, I'm assuming is Millions, right?
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Correct.
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Which I've also not seen. Millions.
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That doesn't look like the kind of Danny Boyle film I want to see. It looks like it's a feel good film, and I'm not interested.
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There's nothing wrong with that. Millions is probably Danny Boyle's Hugo, which obviously Martin Scorsese made that movie. Hugo, did you see that? No.
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There you go.
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Supposedly, it's pretty good.
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I want my Scorsese to be gritty and bloody.
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Gritty. Bloody sweary.
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Yeah.
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De Niro. Kind of like chewing at the scenery. Absolutely telling you, I am this character. I didn't become him. I am him. That's what you want.
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What did Joe Pesci say? Was he like, you think I'm funny? Funny like a clown?
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Yeah, I'm a clown. Do I? Amuse you? Yeah.
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Fucking good.
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I usually say that on a daily basis in general. And I'm like, yes, cracking jokes. Yeah. So what comes after Millions though, is obviously the film that a film I like as well. Sunshine, uh, came after a Million.
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That's another Alex Garland written film.
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Yeah. We're going to talk a little bit about Alex Garland in, uh, reference to 28 Days Later. But basically, let's put it this way, the beach comes out, right? Yes. I don't think The Beach is a very good film.
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We watched that a few weeks ago and I hadn't seen it since. I was pretty much coming out of my preteen obsession with Leonardo DiCaprio. So this is the time where I had untacked the Romeo and Juliet posters, untapped the Titanic posters from my childhood wall. And then I was like, maybe move on to something else. Maybe move on to other men. And so when The Beach came out, I was kind of like, oh, this is fine. I didn't love it at the time that it came out.
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Did you see it in cinema?
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I would have seen it in the cinema. When did Titanic come out? 97?
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Yes, something like that.
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97. Uh, it wasn't that much after I kind of fell out of love with Leonardo DiCaprio, but yeah, it didn't really grab me. Grab me? No, it didn't grab me this time either.
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I'm very kind of hot and cold on Leo, to be honest. I like some things he's in. I don't like him in other things.
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Yeah, of course.
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And I kind of think about like the stuff that I do like him in, but that's for another time. But The Beach, I think just because of the character that he's playing, it kind of plays into his strengths as a little bit of a douche. And I'm kind of just.
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Such a baby face. It's hard to connect with that character when he looks so young.
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Yeah. But in short, I kind of find that The Beach just as a film itself. Um, I don't know how well received that film is, just in general. And I mean, I kind of find it to be a little bit lukewarm on it. I think it has some really interesting and cool things about it.
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Oh, yeah.
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Tilda Swinton is so good from start to finish. I find it fucking annoying.
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Yeah.
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I don't like the characters and for the most part, I don't like Leo.
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No.
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And for the most part, I just don't really care.
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Well, you know that he wasn't the first choice for that character.
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No. I'm assuming it was probably Mr. Mcgregor.
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Yeah, it was. And they had had a falling out because of this film. Because of The Beach, because, I don't know, I think maybe Danny Boyle kind of got wrapped up in the Hollywood thing and the Fame thing. And so the Studios were pushing Leonardo DiCaprio on him, like super hard. And I think he kind of got caught up in that.
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But Leo is the hot property at that point because, uh, at that point is the biggest film ever made. So, um, people are trying to snatch them up. That's not to say that I think later on I think Leo becomes a better actor, of course. But, yeah, at that time, very specifically at that time, he is the hottest property on the market. So, yeah, maybe Danny Boyle does get wrapped up in it all a little bit. And I kind of feel like you find with a lot of people who start from very kind of humble beginnings when the Fame takes hold and the numbers start to get a lot bigger, obviously, things get inflated. And then I would say egos also probably get involved in that as well. Also, they kind of start to lose a little bit their individuality. So as much as I feel like there's an identity to this, to The Beach, you don't have the same kind of feeling about that movie. Then you'd say some of his earlier work that we covered, obviously, on the podcast as well.
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Yeah, of course. And especially with you and McGregor. He had worked with him on every film so far. So I think you and McGregor expected to be offered the role in The Beach. And I think that Boyle had alluded to the fact that he was going to give him this role and he didn't. And McGregor felt like he had the rug pulled out from under him from his best friend.
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Let's be in short, let's say I think The Beach would be far better if you and McGregor was in it.
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Oh, my God.
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Much more appealing individual for that film and for that role. But I guess we're talking about The Beach because we're kind of getting into this. We spoke about Danny Boyle before we're getting into this kind of he's got the same producer. He's got the same writer we've got, obviously, because that's where.
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Uh, this film got pitched. The idea for 28 Days Later was pitched like on the set or just after the filming of The Beach, because since Garland wrote The Beach, Garland had been working on a script for Fastmoving Zombies, and he pitched it to Boyle and Andrew McDonald.
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And they're like, because that's the thing. What we're seeing is kind of a pedigree of this trifecta. Right. So you've got Andrew McDonald, who's the producer. You got Danny Boyle, who's directing. Alex Garland, who's the writer? Alex Garland. Yeah. Dream team. Alex Garland is. Yes. Alex Garland's the best selling author as well. He wrote the novel for The Beach.
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Yeah.
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He's writing shit all the fucking time. He's got the idea for 28 Days Later, which is basically just fuel injection into the zombie genre, which is pretty much what it is. And let's say, after a slight hiatus from film, by the end of The Beach, Danny Boy goes into do a couple of TV films. 28 Days Later is his next kind of more for back into true cinema? Uh, yeah.
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It's almost like he had to go back to his roots and do a little bit of smaller projects because The Beach was a failure 28 Days Later.
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I mean, that's nice to say. I mean, it's kind of just like, wow, he's going to come back with this with a true piece, uh, of work. I think 28 Days Later is fine.
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I think that we've both come to realize that the more you watch 28 Days Later with the frequency, as you like to say, Diminishing returns.
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Massively, massively.
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I still like this movie, though, but it's funny because I had it on my letterbox rated, and I think I had it as like a four and a half. And then we watched it the other night and I go and I kind of just clicked it in like a rewatch clicked it in a four and a half. And then we started talking about it. I'm like, you know what? I did get a little bit bored, but it's still important in terms of the zombie genre of films to kind of push it past its roots, essentially give it a new take.
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Which I'm going to be a bunch of me talking, uh, about zombie films and the zombie genre in general and kind of how I feel about it, my own personal opinion about it. I remember when 28 Days Later came out and it was fast, it was frenetic. It definitely in some level, like, stylistically very wrong. The main thing is that the zombies, and we call them zombies. But I feel like, obviously, if you want to delve more into the story, which I think we'll delve in a little bit more into the story.
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Well, they're not zombies.
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They're not zombies. No, they're infected is what they refer to them as.
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Yes, definitely. Because, um, you have the zombie, and we've discussed this at length. So your zombie is a supernatural being, right?
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Yeah. It's a rising. Rising from the dead, rising from the grave, like feast on the living.
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Right. Because I think you had said, hell is that capacity.
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So if we're going to talk about the history, uh, of the zombie film, we can go as, um, far back as, say, white zombie. And then I kind of start the birth, or at least the conception of the modern zombie flick is obviously when George Romero makes Night of the Living Dead. And I think that's 69.
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Okay.
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I've not really kind of planned this. That's why I'm kind of just like.
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Yeah.
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We'Ve got your phone out. Yeah, you can double check for me.
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Romero like a sneaky. Hold on.
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A sneaky, uh, thing. We can just hold on.
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No, I mean, you can keep talking. I'll look it up. You just want the date?
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Yeah, I just want the date. Night of the Living Day. I just want to know if I'm correct. I think it's 69.
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You know what you're so good at that you're always, like, either spot on or, like, when you're off.
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So let's put this way. Night of the Living Dead comes out. I'd say it's a masterpiece at that, uh, time. I really like that movie. The movie does a lot of very interesting things, but also it starts to basically characterize and set in place the blueprint for what becomes the modern zombie aesthetic and what we come to expect from a zombie flick moving forward.
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Yeah.
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And for me, I feel like the genre peaks with his version of dawn of the Dead, which is in seven, two or three, maybe. Oh, no, you're, um, off 78.
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Yeah.
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Wow. Okay. So I feel like dawn of the Dead, for me in 78 is the peak of the zombie flick, and everything that comes out after that is a very steady decline into mediocrity. Wow.
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Damn.
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Yeah. So that's my personal opinion. I know people love the zombie flick. My issue is I'm fucking tired of it. Yeah.
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I still find this exciting, but I think maybe after 37 seasons of The Walking Dead, it's like, all right.
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Yeah.
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What else you got?
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Yeah. I mean, if there's anything The Walking Dead has done, it is completely highlighted how mediocre you can make the zombie genre.
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Beating a zombie horse.
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Uh, is like, yeah, the zombie horse is dead. Like, well and truly dead. He's deader than dead. The deadest horse. There's something about those early Romero movies where it is like, the concept of how these beings have come to be is a simple case of, like, humanity has hit such a rock bottom that hell has filled up to the brim, and the dead are now walking on the reality plane.
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Right.
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And it's unfathomable, it's unexplainable, it's supernatural, it beggars belief. But you know what? It's terrifying just as a concept. Yeah.
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And I feel like the concept of zombies, at least, is fairly old, like, very early 19th century.
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There's plenty of mythology to back up the claims of the idea of the conception, uh, of the zombie. So I think going from there and then we get to 28 days later, which is, let's basically say, like, you're putting adrenaline into a creature that shuffles around, uh, and eats your flesh. This thing fucking runs around, and it basically just ups, uh, the pace.
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I like that a lot. And I like the idea of that pitch going, okay, hey, Danny boy, we got zombies.
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Mhm. He's like, oh, get out of my office. Get out of.
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Wait. Just wait.
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All right.
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What if they ran?
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Holy shit.
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What is that? Is that your boy voice?
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That's an English voice.
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I'm not going to even try now.
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Don't even bother.
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Uh, well, I can tell you what it ended up being. If you want to hear the synopsis from letterboxed.
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Let'S get to this. Let's do this.
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28 days after a killer virus was accidentally unleashed from a British research facility, a small group of London survivors are caught in a desperate struggle to protect themselves from the infected. Carried by animals and humans. The virus turns those it infects into homicidal maniacs, and it's absolutely impossible to, uh, contain.
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What the hell wrong? That's really long. We could have got just kept it to the first couple of sentences.
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You didn't really have to go and say how it's carried in this and up.
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No, you don't really care, because the thing is, there's not a ton of explanation in the movie itself.
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I forget the opening of the movie as well, with the monkeys and stuff.
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The chimpanzees.
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Yeah, I forget that. That's even a thing.
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Yeah, well, I mean, I always remembered that because that was just kind of how I always remembered the movie opening. But, yeah, no, um, there's one thing that I can say to the films benefit is that there's at no point a moment where you feel like everything is properly explained. There is enough there for you to be like, oh, shit. Like they're testing on animals. This thing gets loose because obviously fucking animal activists have to get involved.
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I know. What a bunch of idiots.
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Fuck it. Let's put it this way. They free the chimps. They're not really thinking about it. How they're able to get into the facility, uh, I think is not really well explained anyway.
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But it's fine.
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They're there. Okay, let's put it this way. We might do. But if you try and explain some of the holes that are in this film, you will find that they start to open up quite widely.
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And also suspension of, um, disbelief.
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It's a movie. You're just watching a movie. You're like zombies running. Okay, um, so that's what we're here for. So, yeah, there's a bunch of chimpanzees, and we find out later. And I don't know if it's actually explained in the film. I don't think it's ever actually characterized as rage, the rage virus in the film.
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No, because we don't get any real explanation from any type of authority. Because there's no overall authority whatsoever, like telling us anything in the film.
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Yes. So that's one thing I would say that maybe this film does quite well is that obviously when society does break down, there is no information. And eventually, when we're introduced to our main character, we're seeing the world through his eyes, so to speak. So there's only one scientist. It's a scientist at the beginning. And he just kind of said, no, don't do that. You're going to release the virus. And then it obviously comes up.
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But that guy, by the way, is played by David Schneider, and he is a punishment frequent character on Alan Partridge.
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Yeah, I love it.
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I just wanted to mention that because when I saw him and I remembered, I was like, oh.
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My God, he's not funny. Like, he's one of those. He's just one of those consummate actors.
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And not to take away his importance in the, um, film and how funny he is, but the star of this film is Killian Murphy, who plays Jim.
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Yeah. So I don't know where he's been before he gets into 28 Days Later. I'm assuming this is quite early days.
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Oh, yeah.
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Kellyanne Marfe.
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Yeah, it is. Uh, and what's funny is that once again, he wasn't the first pick for this role. Once again, it was supposed to be you and McGregor. I guess there was some sort of scheduling thing, so he couldn't do it by this time.
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I don't know. Did Phantom Menace come out by this point in 2000? I don't know. He's all be one by this point. You and McGregor?
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Oh, um, yeah, maybe.
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Yeah. He's Obiwan. He's in the stars, like, quite literally. He's like, Galactically going the extra mile. Like, the amount of fucking stuff that he's been in by this point.
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Kellyan Murphy. Boom, boom.
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But I think Kelly Murphy is actually pretty decent in this film. He's decent in a lot of stuff.
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Um, yeah, he's great.
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Yes. Uh, because who else is in the cast list?
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We've got Naomi Harris playing Selena.
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Who's.
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So I love her. She's so good.
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Yeah, she's good in the movie.
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Christopher um, Eccleston plays Major Henry West.
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Yes.
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Papa Brendan Gleason.
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Yeah.
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Papa Gleeson plays Frank. And then a young lady named Megan um, Burns plays Hannah.
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Yeah. I don't know if that's her interactor role.
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But I think it is. And I don't think she ever did another film after this. If she did, it was quite small.
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Yeah.
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She ended up, like, in a Goth band.
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Wow.
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Later in life.
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Okay. What was the golf band called?
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I don't know.
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Okay.
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Find her on Instagram. I think she's okay. Goth clothes.
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Golf clothes. Well, we'll worry about that later. I love myself a bit of Goth rock.
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There's a bunch of taglines for this movie as well. Um, okay, there's like, four.
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Okay.
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His fear began when he woke up alone. His terror began when he realized he wasn't.
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Wow.
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This one might be more familiar. Uh, day one, mhm exposure. Day three, infection. That's wrong. It's like an instant infection.
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Well, I remember that tagline.
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Yeah. Okay. Sorry, that's not over. Day eight, epidemic. Day 15, evacuation. Day 20, devastation. But you get infected instantaneously.
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Yeah, there's a bunch of. If we're going to dig massive holes into the script, then you'll be, uh, like, oh, this doesn't really matter.
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Uh, the days are numbered. Just what the number is.
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28.
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There you go.
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Yeah.
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Okay. Last one is be thankful for everything for soon there will be nothing.
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Some of them are really bad. Yeah, I mean, I remember a lot of the marketing for the movie. They were playing more into the idea of the rage virus and things like that. It's front and center on the poster. They are pegging this as an alternate take on the genre, which if I remember rightly back in the day when it came out, was, uh, distinctive and made me remember it. And it's, uh, still stuck in my head to this day.
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Oh, the marketing is great.
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Marketing posters are great. Yes. Good for them.
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Very recognizable.
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Yeah. I mean, it's just on analysis now. Close to 20 years later. Yeah. We're a little, uh, less congratulatory 28 days later. Yeah. Because we've already talked about the chimps in the facility. And then that gets the virus out because obviously get bitten by a chimp.
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You know what I do like in that part, though, where you've got the chimp, like, biting that girl's neck, blood everywhere, and she's instantly infected, and then she starts barfing up blood and bile and all this narrative.
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Yeah. That's one of the coolest things I like about this iteration is like how fucking gross that stuff is.
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It is so gross and it's so fast.
24:49.252 --> 25:11.042
Yeah. Because what you come to realize is that it's not so much about devastating the human race by feasting on their brains or anything like that. It's like the virus is very self aware. So it goes from host to host. And the one way that it transfers it is via liquids. So these zombies vomit, uh, all over you.
25:11.116 --> 25:16.790
Yeah. It's like a pin you on the ground.
25:16.790 --> 25:42.352
And what we kind of come to find is like the incubation rate and all those sort of things. Very slight. And I mean, we're coming. We can say we're at the tail end of a pandemic ourselves, but fingers crossed, we're certainly closer to the end than, um, we are at the beginning. So what you see with this is this thing spreads like fucking wildfire very fast. The rage virus is like 20 to 30 seconds.
25:42.364 --> 25:44.334
I think it's even less than that.
25:44.372 --> 26:00.134
Yes. Well, they say they keeps on changing, but they're like, Selena goes, uh, they might be infected, uh, in less than like 10 seconds or something. So you have to think fast. Otherwise that fuckers going to kill you can't pause.
26:00.182 --> 26:01.034
No pause.
26:01.202 --> 26:24.330
But that's the thing. That's. The one thing I, um, really like about this iteration is that it's like they've distilled people's, hate and rage. Because that's the weirdest thing about the beginning of the film is that they've got that chimp, like, strap to the and he's just watching videos of war and atrocity and stuff to like.
26:24.330 --> 26:26.602
Basically just videos of humans being human.
26:26.676 --> 26:41.138
Yeah. Because that's a direct tape from Cockwork Orange. We already, uh, know Danny Boyle likes Kubrick, so that's a direct tape from that. And then obviously that's it. But I mean, I always thought that was interesting. It's kind of weaponizing people's rage.
26:41.294 --> 26:41.794
Yeah.
26:41.892 --> 26:47.670
So it's like completely unbridled and it's just running rampant.
26:47.670 --> 26:48.466
Absolutely.
26:48.648 --> 27:15.022
Yeah. I think that's cool. But also I think about the research lab and stuff like that makes me think more of, like, James Whale. Like the Doctor Frankenstein movie. It's like their idea of what a lab would, um, look like in the film world. Yeah. Like pylons electricity. Like loads of levers and shit like that. I kind of look at that. I'm like, okay, that's what that is.
27:15.080 --> 27:16.370
Um, a little goofy.
27:16.550 --> 27:23.302
Yeah. Uh, it's very kind of very dark filmy. Kind of like research lab cages. Yeah.
27:23.376 --> 27:30.118
There's like a part where you've got a chimp and his chest is like, opened up on a table and it's just like laying there.
27:30.204 --> 27:30.634
Yeah.
27:30.680 --> 27:31.786
Um, I'm like, really?
27:31.908 --> 27:33.758
There's some gross shit in this film.
27:33.854 --> 27:35.890
Like, clean up your station, guys.
27:36.000 --> 27:37.110
Yeah.
27:37.110 --> 27:40.190
Make your notes, clean it up. Uh, disgusting.
27:40.250 --> 28:00.338
Because let's put it this way, mhm. By the time 28 Days Later comes out, we've already kind of had a take on the zombie, like the zombie idea within Virology. Let's see that. I think I'm saying it correctly because, like, in the video games and things, I think about, like, Resident Evil.
28:00.434 --> 28:00.838
Right.
28:00.924 --> 28:13.774
Which is primarily you got a house. They were doing research there. They created a virus. That virus is basically a flesh eating disease that turns you into a flashy monster or worse. Uh, right.
28:13.812 --> 28:14.338
Okay.
28:14.484 --> 28:25.350
So that was also probably something that got me interested in the viral origins of what this film is depicting.
28:25.350 --> 28:26.978
It is terrifying.
28:27.134 --> 28:39.330
It's scary. It's definitely scary. I think once obviously, the up the pace of it, it's like you've got no time to really think about what you're doing other than you just have to fucking run away from all.
28:39.330 --> 28:43.358
He wants them to run fast. He ended up hiring retired athletes.
28:43.514 --> 28:44.086
Oh, really?
28:44.148 --> 28:44.806
He did? Yeah.
28:44.868 --> 28:45.466
Wow. Okay.
28:45.528 --> 28:56.374
For all of the zombies that chase them down, like football players that didn't have any. They were only doing, like, ribbon cutting ceremonies for opening up Tesco's and stuff.
28:56.532 --> 28:57.266
Oh, fuck.
28:57.338 --> 29:03.926
I know. So then he's like, oh, they can still be fast. Uh, I'll hire them on to run and be zombies in my movie.
29:04.058 --> 29:06.502
Okay. I didn't know that. That's pretty cool.
29:06.576 --> 29:09.850
Yeah.
29:09.850 --> 29:11.558
It's immediately the title card.
29:11.644 --> 29:12.290
Yeah.
29:12.460 --> 29:23.226
And it's 28 Days Later, and we're in a hospital room where we're introduced to Kelly, uh, and Murphy. Now this is the Dix scene.
29:23.298 --> 29:24.134
This is the Dix scene.
29:24.172 --> 29:25.118
You're already here.
29:25.204 --> 29:26.838
Five minutes and 53 seconds.
29:26.874 --> 29:29.918
Pretty much opening of the movie. We are right here.
29:30.004 --> 29:31.266
Right on top of that Dick.
29:31.338 --> 29:33.370
Yeah.
29:33.370 --> 29:39.278
It's just like overhead shot. You see Kellyanne Murphy laying in a hospital bed.
29:39.364 --> 29:39.722
Yes.
29:39.796 --> 29:43.974
Completely alone. And he's obviously completely naked.
29:44.022 --> 29:45.426
Completely starbolic. Naked.
29:45.498 --> 29:47.990
And he's just woken up, and we don't know what's happening.
29:48.160 --> 29:58.390
The room is very bright. There's big windows, 2 seconds drinking tea. It's actually quite early in the day. We can't drink it, can we not?
29:58.390 --> 30:02.590
05:00 somewhere. Um, Ryan, that's very true.
30:02.590 --> 30:10.926
So the hospital, um, room is very bright. He's, like, covered in wires and tubes and things. It's very kind of cluttered.
30:11.118 --> 30:13.242
Like a tube in his hole.
30:13.266 --> 30:37.458
Like a blood. Yes, like a blood needle that's giving them whatever the fluids, um, fluids is attached to stuff. They've obviously had to do some surgery on, uh, his head because, like, half of his head is shaved, and it's got scars and cuts and stuff on it. But the thing is, he's just lying on, um, top of the covers. Completely naked.
30:37.554 --> 30:50.050
Yeah. It's almost like they were in the middle of cleaning him up after surgery or something. Because he's not even in a recovery bed. He's on a surgical table.
30:50.050 --> 30:51.970
No, he's in a bed.
30:51.970 --> 30:56.234
I know that he is, but he's not, like, in a recovery room. You know what I mean?
30:56.332 --> 30:56.594
Okay.
30:56.632 --> 31:24.550
He's not like, like in. Oh, people can come visit you now because you just had surgery and people coming to visit you. It's like they just finished sewing his head up. You know what I mean? He still had that freaking thing in his arm, but you still have the table with the tools on it next to him. So it's as if this whole wild virus situation had happened. Like, while they were, like, cleaning him up after surgery because they didn't even put the sheet on him. They just fucked off and left.
31:24.550 --> 31:26.050
Yeah.
31:26.050 --> 31:35.954
So it's pretty wild. But he wakes up not realizing what's happened, totally naked and just looking around going, hello.
31:36.112 --> 31:46.118
Yeah. You see him kind of get out of the bed. Like, there's no qualms about what you're seeing. I mean, it's just all. There just so happens he's naked. He's lying in the bed, and then he gets up.
31:46.204 --> 31:52.610
I mean, like, if you want to show pure vulnerability, that's a really good way to do it.
31:52.720 --> 31:53.950
Yeah.
31:53.950 --> 32:11.502
And especially when it's so wide. It's like such, uh, an open space. It's not like you're in a kind of closed off warm space, and you're naked, and you feel safe. You're naked. You're on a bed. You're completely alone. It's very bright, very white, and it's so open. That's so scary.
32:11.646 --> 32:13.502
Yeah, it's fucked up.
32:13.636 --> 32:15.098
Like, what just happened?
32:15.244 --> 32:32.210
Why am I here? Why, um, is this happening? Yeah, I do like that. He gets up. He's pretty much naked. We don't really see too much other than, uh, his bare arse. But he's naked. He's walking around.
32:32.210 --> 32:43.854
After he gets off the table, there's quite a few shots of him naked, kind of fiddling around, trying to figure out what's going on while he's sitting in the bed. Yeah, but, yeah, after that.
32:43.892 --> 32:58.398
It's just after that white shot that white shots are only kind of real exposure to his full message of Kellyanne Murphy. The rest of it is him figuring himself out and figuring out how to basically get out of the room.
32:58.544 --> 32:59.034
Yeah.
32:59.132 --> 33:10.414
So for whatever reason, as the doctors were fleeing or evacuating, they've locked the doors. They locked to the room and they've locked them in, but they've slid the key under the door.
33:10.582 --> 33:15.721
Just hoping that maybe he'd wake up in case if he did wake up. Maybe not hoping, I guess.
33:15.721 --> 33:30.558
Uh, if he did wake up. Because, uh, there was no guarantee. We do find out later on from when he does find his parents, that there was no expectation for him to potentially survive. What's happened to him?
33:30.584 --> 33:31.774
Was he in a car accident?
33:31.882 --> 33:32.706
I have no idea.
33:32.768 --> 33:38.770
I thought he was hit by a car, and I just have, like, a vague recollection of that being said somewhere in the movie.
33:38.890 --> 33:39.246
Okay.
33:39.308 --> 33:43.830
That maybe he was hit by a car and he had been in a coma for like, a while.
33:44.000 --> 33:47.930
Okay, so either way, I don't know.
33:47.930 --> 33:59.750
That doesn't actually make any sense now that I'm thinking about it. Because if you had been in a coma, if he had been in a car accident, we could have done the surgery immediately and then he would have been in a coma in a recovery bed.
33:59.750 --> 34:03.930
Yeah. Again, there are several holes in this story.
34:04.040 --> 34:06.950
Okay.
34:06.950 --> 34:42.778
Let'S put it this way. There was no, um, expectation of him waking up. Surgery has been done to him, but obviously, if there's any sort of time difference or time gap, it's not really explained particularly well by the way, he does end up leaving the room eventually. And then we're kind of presented with kind of truncating a few things here because it kind of drags a little bit because a lot of it is trying to build a sense of tension. But what you're kind of presented, uh, with is a completely barren, desolate and destroyed London.
34:42.874 --> 34:43.850
Yeah.
34:43.850 --> 34:50.310
And that is the one thing I remember kind of taking away from this film when I originally saw it.
34:50.360 --> 34:50.646
Yes.
34:50.708 --> 35:08.962
Was just how impressive that all looked. That sense of desolation. Because obviously, anyone who's ever been to London, it's never that quiet. No, ever. We're getting introduced to this dead world through his eyes. And it's impressive.
35:09.046 --> 35:35.022
It is very impressive. And it's very scary. He's walking around the city yelling hello, and he ends up seeing that, like, poster wall, which is interesting to me. I think the more we talk about it, the more like, how did they. If this happened so fast, how are they printing out Flyers and posting them about? Did their friends disappear? They got the rage fires and they ran away.
35:35.156 --> 35:37.578
Yeah, but it happened so fast.
35:37.664 --> 35:44.766
I feel like 28 days. I feel like once that started to spread, it was probably like, I don't know.
35:44.888 --> 35:56.641
Here's the main thing. The main detriment with how things seem to unfold in the elements of the storyline. Its main detriment is the fact that it's called 28 Days.
35:56.641 --> 36:00.890
Um, later, you can't survive for more than three days without water.
36:00.890 --> 36:01.506
Yes.
36:01.628 --> 36:09.570
So, like, if this rage virus had spread through, it doesn't even matter. He couldn't have been laying there in that hospital for more than three days.
36:09.740 --> 36:50.182
No, he probably would have died. Unless while he was being administered via the drip was fluids, then, uh, his body would be staying, uh, I mean, unless your body shuts down in a coma. And eventually it becomes kind of. I wouldn't say self sufficient, but if it goes down, if it's not in use. Also, the fact that he's able to walk around that easily from having been in a coma for that long, his legs would probably feel like jelly. So anyway, we did the Dixie, and now we're just like, let's just pick the shit out of this.
36:50.256 --> 36:55.706
You know what? Love the Dixie. And it's fine. We can go on from there. Because I still want to talk about Papa Gleason.
36:55.838 --> 37:07.622
There's a lot of other stuff that's happening because I think where the dead London goes and then obviously takes a peek is the Church scene. And I quite like the Church scene.
37:07.706 --> 37:09.434
Oh, my gosh. So scary.
37:09.542 --> 37:09.994
Yes.
37:10.092 --> 37:13.318
So scary when he walks in there and of course, what does he say?
37:13.464 --> 37:13.990
Hello.
37:14.100 --> 37:15.810
Hello.
37:15.810 --> 37:57.962
He goes up some stairs, and I kind of don't know if this is kind of ghost or kind of a little bit silly, but, like, someone's painted on the wall. The end is extremely fucking nigh. And I'm like, okay, red paint in black paint or something. It's kind of like, okay, whatever in a fucking Church as well. That, um, was a choice. Like, he's over on the rafters, like, looking, um, down at, like, what would be effectively, like, the congregation and the main Pew and things. And he's looking over it, and it's just full of people sat in their seats, all dead.
37:58.046 --> 38:02.674
They're all, like, shoulder to shoulder. There's so many of them.
38:02.772 --> 38:10.510
Yeah. But the thing is that he makes a noise, and then two or three of them stand up and stay.
38:10.510 --> 38:17.502
And then, um. The way that they sit up is so scary.
38:17.586 --> 38:19.090
Yeah, it's horrible.
38:19.090 --> 38:25.322
They look up and their eyes are so big, and their mouths are open, and they also sit up and look at him, and they don't move after that.
38:25.396 --> 38:26.834
And they just stare at him.
38:26.932 --> 38:44.154
And he's like, oh, that's weird. I'm like, Dude. But of course, he has no idea what's happening. It's just like, I can't even imagine what would be going through your head at that point where you see all these fucking people sitting there motionless and there. They're very dead. But you can't see their mhm faces.
38:44.262 --> 38:44.534
No.
38:44.572 --> 38:49.690
And then you see these two creeps popping up like that.
38:49.690 --> 39:22.980
Yeah. The thing is, that kind of moment, or at least for me, I kind of feel like that moment is a little bit, uh, ruined is when the father turns up and he's shuffling over and he's just kind of making a bunch of grunty noises because none of these people can communicate correct. With each other. It's just kind of like there's just this drive and this potential spread virus, and they find a host, and that's what they're looking to do. And they're just kind of, like, the entire time, just, like, swinging their arms around like a zombie. I guess so. I mean, the father attacks him.
39:22.980 --> 39:27.762
Uh, and then gets him in the head with a bunch of cans of Pepsis in a plastic bag.
39:27.846 --> 39:38.870
Yeah, pretty much, yeah. And then obviously, this is when we realize that the zombies can run because they Bolt out of that place to chase him.
39:38.920 --> 39:44.238
He's chased down the street and then gets eventually saved by, um, who we meet is Selena.
39:44.334 --> 39:46.270
Yeah, they blew up a garbage.
39:46.270 --> 39:47.258
Yeah, that was cool.
39:47.344 --> 39:48.302
Yeah, it's all right.
39:48.376 --> 39:54.986
Apparently, during that scene, they had permits to blow up that I don't know if it was, like a BP or something.
39:55.108 --> 39:55.502
Yeah.
39:55.576 --> 40:17.230
And I think they had submitted the permits, and so they knew it was, like, okay to blow up the site, but then they didn't tell the fire station, like, the fire Brigade. They didn't know. And so the fire station came out, and they're like, what the fuck is happening? It was like a big to do, silly Billies. Yeah. They're like, oh, we got the shot.
40:17.230 --> 40:30.350
You're blowing up the fire. The peace station.
40:30.350 --> 40:37.074
Get a little bit of exposition after that from Selena and from the guy, um, Mark, that she ends up chopping over the machete later on.
40:37.172 --> 40:57.886
Yeah, because he gets infected or seemingly infected. But I guess that's also the thing is kind of like you're more realistic decisions because decisions have to be made very quickly. Your moralistic framework is completely changed to the point where you might be able to think about something for a minute. You have a matter of seconds to make a decision.
40:58.018 --> 40:59.062
Every man for himself.
40:59.146 --> 41:07.070
Every man, uh, and woman for themselves. So. Well, no, Mark, does that make that joke about the giraffe that goes into the bar?
41:07.070 --> 41:10.610
What is it? I don't remember how it went.
41:10.610 --> 41:26.922
So man walks into a bar with a giraffe, and the barman asks, you can't leave that lying there. He goes, It's not a lion. It's a giraffe. Obviously, Kelly Murphy is determined to go find his parents, which he does.
41:27.056 --> 41:33.234
Yeah. Who have swallowed a bunch of sleeping pills and wrote him a wee note on it.
41:33.272 --> 41:35.690
Rinsed it down with a bit of red wine.
41:35.690 --> 41:52.970
You know what's interesting, uh, is that worst ways to go. Yeah, fair enough. But. So they take sleeping pills, but they're on top of the covers in their underwear. So if you're taking sleeping pills, wouldn't you get all cozy up under the sheets.
41:52.970 --> 41:57.918
Maybe get comfortable either way? I don't know. I don't really know.
41:58.004 --> 42:11.130
He walks in there, and they're very rubbery, thin, gaunt, dead people. The mom's like, in her undies.
42:11.130 --> 42:15.750
I thought at least they were maybe like a little bit of fondle.
42:15.750 --> 42:36.830
A little bit of fondle as they fondling each other. It's like that thing where men make the joke about taking an ambient, uh, and seeing if they can jerk off before they fall asleep. That's what his parents are doing. Oh, yeah.
42:36.830 --> 42:49.278
The whole basis of everything that's happened to him in the, uh, course of this film is entirely based on luck. And there's not very much we really find out about Jim as a person. Just as.
42:49.364 --> 42:50.946
No, we don't know anything about them.
42:51.008 --> 42:52.970
Absolutely nothing.
42:52.970 --> 43:02.090
He doesn't even say much. All he's really afraid of that we get from him, um, is that he's afraid of being left. He doesn't want to be alone.
43:02.090 --> 43:16.549
Yeah. What a desirable character treat that is desperation. Yeah. So we find the parents, and I'm going to try and truncate, uh, a bunch of the.
43:16.549 --> 43:20.070
Uh, stuff, because I just want you to get to Papa Gleason.
43:20.070 --> 43:34.446
Okay. So we get to Papa Gleason, we meet Gleason and his daughter. And obviously, this is what begins the expansion of our crew.
43:34.518 --> 43:36.194
The roadship for the story.
43:36.292 --> 43:55.310
Yes. Because the movie falls into quite kind of trophy like, zombie flick stuff. And I kind of feel like it feels the need to tick all of these boxes. They're going to fight it's directly. Taken out dawn of the Dead.
43:55.310 --> 43:57.570
Yeah. They think that the military can save them.
43:57.620 --> 44:11.062
Well, it's like, we're going to go to the island. Um, we're going to go to the island that has the Salvation. We're getting on boats, we're getting on helicopters. We're going to this island that's untouched by the problem right there's.
44:11.086 --> 44:21.694
That one scene also, when they're driving into the, uh, country, and there's that shot of all of the field of flowers. It looks like a Van Gogh painting.
44:21.862 --> 44:23.110
Yeah, it looks weird.
44:23.230 --> 44:27.642
It does look weird, but it's also kind of cool. I kind of liked it.
44:27.716 --> 44:32.270
It looks like a stock effect, like an emboss.
44:32.270 --> 44:39.650
I'm going to talk about it, but, like, the saddest part, uh, of the movie was a Papa Gleason. You never want to let him go.
44:39.650 --> 44:44.910
But no.
44:44.910 --> 44:45.749
Every time I think.
44:45.749 --> 44:48.390
Uh, about this movie, I'm incredibly unlucky.
44:48.390 --> 45:08.266
When I think about this movie, I think about KellyAn Murphy's penis, and I think about Papa Gleason. And that one drop of blood. It's heartbreaking, because then he just says to his daughter, he's like, you know I love you, right? And she's like, yeah, what's your problem? And he's just like, I'm an enraged man.
45:08.388 --> 45:13.740
Yeah, I'm a big, angry, um, Gleason, we're in truncation mode.
45:13.740 --> 45:28.470
Um, well, eventually, this whole film kind of turns into a different kind of survival film for Selena and Hannah. That's her name.
45:28.470 --> 45:33.610
Yeah. Keeping it brief. They basically meet the cast of Dog. So carry on.
45:33.660 --> 45:34.666
The cast of what?
45:34.728 --> 45:36.022
Hold on, hold on, hold on.
45:36.096 --> 45:42.878
Dogma. David, show up.
45:42.964 --> 46:18.430
I was like, oh, I've written this diet. I think it's a good joke. Here we go. So basically, to keep it short. Fucking hell. Fuck you. Basically what happens is they meet the cats, the dog soldiers at this mansion, right? Yes, they are. Because one of them is like, fuck it out. He danced. Um, because they've got like, mines and stuff like out in this field when the infected start running down, like, one of them hits a fucking mind and then hits another. Fuck. What do you find? These folk are scumbags.
46:18.550 --> 46:25.614
I don't know. They don't have anybody else there. Jim, Celina and Hannah are the only people that they have in this place.
46:25.772 --> 46:41.934
But the problem is, I think and what we find out when one of the soldiers and Jim go to get executed is they've been doing this to, uh, quite a number of different people who have obviously come out and been there. So they have not agreed with what they're trying to do.
46:42.032 --> 46:43.062
Forgot about that.
46:43.136 --> 46:44.466
There's just, like, bodies out there.
46:44.528 --> 46:55.830
Yeah, there are. And there's women as well. Yeah, I wouldn't have expected that because of how they're treating Selena and Hannah. Like, I wouldn't have expected them to execute women.
46:56.000 --> 47:01.674
Yeah, well, again, because they're trying to bone them. Yeah, well, 28 Days Later is literally like.
47:01.772 --> 47:02.814
They burn them and toss them.
47:02.852 --> 47:11.554
Yeah. It's like a block of Swiss cheese. Like you can stick your fingers in, uh, any of these holes and you're just kind of like, um, saying gross. Swiss cheese.
47:11.662 --> 47:12.078
Yeah.
47:12.164 --> 47:22.490
Oh, come on. Right. Anyway, you know what I'm talking about. Um, yeah. Pretty much like this group of soldiers I see in quotes.
47:22.490 --> 47:24.050
Yeah, exactly.
47:24.050 --> 47:31.066
They're deciding they're going to create their own. Their new world order, effectively, like, trying rebuild society.
47:31.198 --> 47:33.658
Yeah. They're fucked up utopia.
47:33.754 --> 48:07.266
And I think Christopher Eccleston does it really well. I just kind of feel like the title of the film is 28 Days Later and society has delved into such a level of chaos that this group of men their mentality over the course of four weeks. Right. Only four weeks is to kidnap and hold prisoner women so that they can impregnate them to help repopulate, um, the land. Right.
48:07.388 --> 48:07.710
Yeah.
48:07.760 --> 48:17.638
And any voice of reason they don't fully comprehend. So their whole thing is like, which is kind of makes us wonder, are they actually soldiers or they just fucking psychopath.
48:17.674 --> 48:26.930
That's what I wondered as well, because they didn't act like soldiers and they acted like maniacs or they're stupid.
48:26.930 --> 48:29.390
They're kind of ridiculous.
48:29.390 --> 48:32.866
There's no sense of order there whatsoever.
48:32.998 --> 48:56.418
The thing is, I don't know about anybody else, but if you're putting a situation like that, your main concern is survival. It's not taking women and, uh, having sex with them against their will to impregnate them. Because I was not over the course of four weeks and certainly not over the course of what, two months, which is probably the maximum amount of time that this could possibly have been going on for.
48:56.564 --> 49:00.870
I wasn't even necessarily thinking that they were trying to impregnate them or anything. I was just like.
49:00.920 --> 49:06.378
Oh, they're rapy potentially. Ecclestone does actually say that.
49:06.524 --> 49:08.886
The rapy Bros. Yeah.
49:08.948 --> 49:16.430
Christopher Eccleston says that to Jim when he's talking about, like, we're going to start a new world, basically. You know what I mean?
49:16.430 --> 49:18.594
I thought you meant that they anyway.
49:18.692 --> 49:25.002
Yeah, well, that's his justification, uh, for what they're doing. He's also like, I promised them women.
49:25.196 --> 49:35.870
It's like extra more information than I cared for. Like, I'm just giving more violence and let me get on with the movie.
49:35.930 --> 49:51.114
And this is like, again, I feel like this isn't so much Alex Garland problem in the writing. I feel like this is, uh, more a Danny Boyle problem in the writing because this is also very scary.
49:51.162 --> 50:06.990
And this is like. I mean, from a woman's perspective, more scary than getting vomited on by a zombie. I would rather get vomited on by an infected person than be at the hands of a bunch of rape crazy soldiers.
50:07.050 --> 50:19.458
But again, this is another trope as well. It's like Where's the real threat is. It from the mindless infected who are constantly at your door, or is it from your fellow man? Your fellow human beings?
50:19.494 --> 50:21.310
Yeah, exactly.
50:21.310 --> 50:50.426
There is no society. They're totally cut off their own moral framework. Their own moral code is eroded, and they are operating on instinct effectively. So we forgot to kind of thing explain is that they've kept a hold of one of the officers who got infected. And this is a direct rip from Day of the Dead where they keep ahold of an infected individual in order to study them.
50:50.548 --> 50:50.906
Yes.
50:50.968 --> 50:58.390
And then Chris of Alexander's kind of like, well, it's not so much that we're studying and we're trying to figure out how, um, long the thing will survive.
50:58.390 --> 50:59.006
Yes.
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Without eating, I guess.
51:01.984 --> 51:03.910
It's not like they eat.
51:03.910 --> 51:27.042
Well, seemingly, they don't eat and they, uh, don't drink. So he's trying to figure out how long it takes them to starve to death. And it's one of the fellow officers. So obviously, Killian Murphy, sets this bastard loose, causes chaos and Killian murders the worst of the most. Let's say the rapiest.
51:27.126 --> 51:28.338
Yeah, the rapist's officer.
51:28.374 --> 51:33.702
The rapiet officer of the group and smashes his fucking head and pushes his eyeballs.
51:33.726 --> 51:39.218
And he pushes his eyeballs right into his head. I was freaking out.
51:39.304 --> 51:46.086
All of the other soldiers are dead. They get in the cab to get away from them. Unfortunately, Jim gets shot.
51:46.278 --> 51:47.606
Yeah. But he's fine.
51:47.788 --> 51:52.962
Yeah, it's totally inconsequential. Um, it pertains more towards the alternate endings.
51:53.106 --> 51:54.602
Right. Of which there are three.
51:54.676 --> 52:36.940
Of which there are three. And effectively, yeah. They end up living in the country. They've got this house. You get to see what's happening to the infected. Like, they are eventually kind of dying off because they aren't gaining sustenance, but also that sense of they're not gaining sustenance, but they're surviving for at least another 28 days. Uh, because we see the title again. So not only it's 28 days later and then it's another 28 days later after Jim is shot and seemingly survives in this version of the ending. Yeah. They're creating a, uh, giant sign that's the happy ending.
52:36.940 --> 52:58.342
Uh, the other three endings were basically where because Jim gets shot regardless and then they try to save him. Second alternate ending is where you basically have that same there's what they call the radical. Well, I didn't see the other one where they instead of having the three of them at the cottage at the end, they basically just don't have KellyAn Murphy.
52:58.366 --> 53:09.710
There the radical alternate ending which was not shot. Which was not shot, but it was, I guess planned to some degree. It was written and it was storyboard and stuff and we kind of watched an animatic.
53:09.710 --> 53:15.382
Yeah, you guys can see it on YouTube. I think it's worth watching. I thought it was on the DVD.
53:15.466 --> 53:16.330
It's on the DVD.
53:16.390 --> 53:16.914
Oh, right.
53:17.012 --> 53:24.382
It's 100% on the DVD. Because that's where I saw the original. I saw the original. I saw the alternate endings on the DVD.
53:24.466 --> 53:26.334
Okay. I hadn't seen those before.
53:26.432 --> 53:28.506
Yeah. There uh, was a point where I thought this phone was quite good.
53:28.568 --> 53:32.562
But I thought that if they had worked a little bit harder on how to figure out how to cure it.
53:32.756 --> 53:33.510
Yeah.
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Then it could have worked. And I feel like they just kind of gave up.
53:37.376 --> 53:41.210
Well, I feel like that's a Danny Boyle problem.
53:41.210 --> 53:42.486
He gives up at the end.
53:42.548 --> 53:56.542
He just kind of gives up towards the third act. It just kind of falls apart and stuff. But also you kind of see that with Danny Boyle's later film Sunshine. It's very interesting. Up until the point where the third act starts all fucking falls apart.
53:56.626 --> 54:25.438
There is a point where Alex Garland actually says in an interview that he doesn't think he's ever going to work with Danny Boyle again because of how often he feels like he's fucked up the end of this movie. And I'm not quoting him or anything, but that's kind of what he's gleaning like what I glean from this conversation, he's like, yeah. And he looks like buttheart about it. He seems really annoyed at the relationship that he thought that he had with Danny Boyle. It was just wasn't working for him anymore.
54:25.534 --> 55:03.426
The look of 28 Days Later really puts you in the action. Yeah, it's very close. It's very stylistic. It's shot primarily on many DV cameras, standard deaf. And it has this very kind of dirty gritty feel about it. Shot on, uh, Canon XL One S, which to me I remember back in the day, uh, there was always a thing. I've shot you a DVI and Canon XM two. Still easily to this day, Canon XM two is like one of the best cameras that's ever been made. Still used now. Yeah, it's a fantastic camera. And I had one.
55:03.488 --> 55:08.690
Did you know that James McAvoy auditioned for one of the roles in this film?
55:08.690 --> 55:09.414
Okay.
55:09.572 --> 55:34.300
But he accidentally auditioned for one of the zombies, and he didn't realize what he was going up for. And I think he wrote on his CV that he can do back flips, and Danny Boyle looks at it and he goes, um, well, you can do a backflip. And he's like, yeah. And so he did a backflip for Danny Boyle and he never heard from him again.
55:34.300 --> 55:36.270
Uh.
55:36.270 --> 55:38.278
That was my little tidbit that I had.
55:38.424 --> 55:39.410
It's very funny.
55:39.470 --> 55:46.110
Also, Killian Murphy. This is the only film that I have found of his where he gets naked.
55:46.110 --> 55:48.910
Okay, so far, yeah, so far.
55:49.080 --> 55:51.690
So the only one.
55:51.690 --> 56:39.050
Yeah. It was a real Peaky blinder. This is a thing that you find, like, with people at comic conventions and, uh, things like that, that they're like, what would your zombie plan be like? And I worked at an axe place for a while where for whatever reason, people were like, I'm ready to, um, the zombie apocalypse. And you're throwing axes at bits of wood and it's like you don't want to step into correct them and how asinine the common itself is. But what would your zombie plan be? And I ask you, Laura, I'm asking you. It's probably one of the most fucking idiotic questions in the world. But what would your zombie plan be?
56:39.050 --> 56:47.750
Well, I think about gear. I think, uh, about gear. I think about good shoes. With support, if possible. This pair of running shoes.
56:47.750 --> 56:56.242
What would be your weapon of choice? I think effectively, all you've told me is you're going to have a good pair of shoes and maybe have a bag. What would be your weapon?
56:56.266 --> 56:57.490
I didn't mention a bag.
56:57.670 --> 56:59.346
What would you put your stuff into?
56:59.528 --> 57:09.678
I would need snacks. I would 100% need snacks in the bag. Okay, so a bag full of snacks, a good pair of shoes. And I'm thinking first thing that came to mind is a good baseball bat.
57:09.824 --> 57:10.314
Okay.
57:10.412 --> 57:15.918
I think a baseball bat is good because it's blunt, it's hard, and you can hit someone in the head. You don't get too close to them.
57:16.004 --> 57:16.254
Okay.
57:16.292 --> 57:20.722
I don't think a gun will work. And also that's the problem with the gun is that you'll run out of bullets.
57:20.866 --> 57:22.482
So here's my zombie plan.
57:22.556 --> 57:23.046
Yes, sir.
57:23.108 --> 57:36.798
Right. They've got like, this elaborate plan. They've got their weapons, their bags, all this sort of thing. For the most part, you're going to die of diarrhea before you even get to that point anyway. So get yourself some pills, get yourself a bottle of red wine. Find yourself a nice comfy bed.
57:36.884 --> 57:37.782
Take your pants off.
57:37.856 --> 57:46.650
Just do yourself like Jim's parents did.
57:46.650 --> 57:49.862
Let's see. Would you recommend this movie?
57:50.006 --> 58:11.190
Yeah, I think there's some value to it still. I just kind of feel like, obviously, in the time this is released, we're only just kind of beginning the stages of oversaturation of the genre. So it's maybe more that, my opinion has been salted due to the oversaturation of the genre.
58:11.190 --> 58:12.310
That, uh, makes sense.
58:12.480 --> 58:44.246
Back then, it felt quite, uh, fresh and interesting. You look at it, uh, now it's like it just ripped a bit from here, ripped a bit from there, put it all into kind of blender. And then they used the blender and charged it with, like, 15 car, uh, batteries. So it goes, uh, like four times faster than it needs to be. For as fast as the zombies moved. I wish the plot moved as fast as the zombies did. That's my main gripe with the film is it's just a little bit too slow and plotting.
58:44.378 --> 58:44.926
Yeah.
58:45.048 --> 58:47.782
And I wish it was a little scarier as well.
58:47.916 --> 58:50.566
There's some parts that I found very off putting.
58:50.628 --> 59:22.450
Unnerving. Yeah. I think the world building is pretty good, and I feel like there's a sense of realism about how society would just kind of start crumbling and falling down. But for the most part, there's some questionable and flawed kind of decisions in the storytelling, which I kind of, uh, feel like are a little bit more glaring when we kind of look at it a little bit more analytically. But, yeah, I think. I think the film is fine. I can understand its importance of the time and stuff. So that's why I gave it. That's why I gave it a three.
59:22.620 --> 59:39.194
Okay. Yeah. I would also recommend this movie, but I gave it a four because I still like it quite a bit, you know, watching it every few years, I'm fine with. I'm not going to be mad about it. There's a lot of stuff that I like. Um, I like Papa Gleason. I like Kellyanne Murphy.
59:39.302 --> 59:41.490
Yeah.
59:41.490 --> 59:46.618
Naomi Harris. I think this is one of her very early roles, but she's wonderful. Um, yeah.
59:46.644 --> 00:03.270
Everyone plays their part really well. Just kind of wish the material was a bit stronger than it is or if it was trying to be fresh and different. It didn't pinch so much from other films in the genre that did it better.
00:03.270 --> 00:16.230
Yeah. And I think for my rating for the Dixie, um, I gave it a four.
00:16.230 --> 00:16.810
Okay.
00:16.920 --> 00:17.614
I gave it a four.
00:17.620 --> 00:17.666
Mhm.
00:17.666 --> 00:18.994
And now I'm like, oh, is that too high?
00:19.032 --> 00:21.098
I'll just offer visibility and contacts.
00:21.194 --> 00:21.922
Yeah.
00:22.116 --> 00:29.530
I mean, you see it all, so why wouldn't it be a five? And it makes sense.
00:29.530 --> 00:34.154
I don't know. I just don't feel like it's not terribly close either.
00:34.252 --> 00:39.250
Are you giving it a four? Because it was shot in MiniDV in the standard definition.
00:39.250 --> 00:40.854
I wanted to see it in high desk.
00:40.902 --> 00:46.062
720 by five, six four or something. I think that's what the deck.
00:46.086 --> 00:46.310
Sure.
00:46.360 --> 00:46.718
Yeah.
00:46.804 --> 00:50.630
I didn't get to see it in 1080p or is it 462 or something?
00:50.680 --> 01:02.970
Yeah. Uh, look, fine.
01:02.970 --> 01:06.142
I give it a four. I don't know. I think a four is fine.
01:06.276 --> 01:08.590
Okay. Nice. For context as well.
01:08.700 --> 01:13.246
Sure. I like to push them together. Visibility and context together.
01:13.368 --> 01:48.518
Well, I think what I said was quite funny about it being a standard definition, So I think giving it four is adequate. It's fine. I do question and I will continue to do this from episode to episode. I do question. Why is he naked in the bed? Why does it so happen that he's on top of the sheets as opposed to having the sheets on top of him when he was left over? Like when all those nurses and that ran out of that room and they were just like, um, what would they do? They just lifted the covers up there. Was, like, naked.
01:48.614 --> 01:50.638
Yeah. And then they just threw the sheet and ran away.
01:50.724 --> 02:01.086
Yeah. So there's some questionable things there. I mean, there's an obvious reason why he's naked is to show his vulnerability.
02:01.278 --> 02:05.862
Right. But, yeah, why they would have done that in a like a newborn surgical setting.
02:06.006 --> 02:06.422
Yeah.
02:06.496 --> 02:07.506
Oh, yeah. Reborn.
02:07.578 --> 02:25.170
Yeah. Like a newborn. Yeah. So I'm assuming there's some kind of element of that put in there, but I'm fine with it. Yeah, I see. Knock a point off for I'm not fully convinced. And I knock a point off because it's shot, uh, in standard definition as well, so it could be clearer.
02:25.290 --> 02:33.590
Well, thank you so much for being here with me today, Ryan, and hating on 28 days later. I'm just kidding. We didn't hate on it. I still like it.
02:33.700 --> 02:47.530
No, I gave it plenty of praise. Um, balance. What is going to ride out just, like, rage around fucking 28 days later? It's not my fault. It's badly written.
02:47.530 --> 03:00.370
Make sure to follow us on the social media pages on Instagram. Write us some comments, send us a little message. Tell us what your zombie plan would be. Um, would you be naked?
03:00.370 --> 03:01.562
Laura will beat them.
03:01.636 --> 03:08.890
I will. I'll just hate them when I put a little heart next to it. You're just going to unclick it?
03:08.890 --> 03:19.450
I'm going to delete it. Yeah, I'll delete it and walk you mhm on the media. We don't need followers. This is just for us.
03:19.450 --> 03:33.274
It's obviously at on the beat. B-I-T-T-E for Dicks. Stay tuned. For a couple of weeks from now, we will be dropping our third spooky penis movie.
03:33.382 --> 03:36.966
Yeah, uh, the fog might roll in again.
03:37.088 --> 03:39.650
But we're not going to do the fog.
03:39.650 --> 03:51.660
There's no Dicks in the fog. The thing is, it's so foggy, you might not be able to see those spooky foggy. Dig leopard pirate Dick. Yeah.
03:51.660 --> 03:55.950
Uh, thanks again for being here. I have been, Laura.
03:55.950 --> 03:58.454
Yeah, I've been, um, Ryan.
03:58.622 --> 04:01.770
And we'll see you on the other side.
04:01.770 --> 04:02.602
Yes.
04:02.796 --> 04:03.590
Bye.
04:03.770 --> 04:18.000
Goodbye. Uh, uh. There's no more room in hell. Blah, blah, blah.