What better movie to cover on our 100TH EPISODE? It's BLUE VELVET!
Look at where our tenacity and dedication have gotten us. All the way to episode 100! It is true what they say: if you stick at something long enough in a sequential order, you will eventually reach EPISODE 100. Don't quote me, but I think Mark Maron said that. But what an episode 100 this is.
We look at the seminal work of a visionary, David Lynch, who passed away earlier this year. Starring Kyle McLachlan, Isabella Rossellini, Laura Dern, Dean Stockwell, and Dennis Hopper, this is the story about finding an ear and figuring out who it belongs to. And Frank, obviously. Beautiful, disgusting, violent Frank.
Little did Laura and Ryan know that we recite Frank's lines more often than not in everyday life, which is probably why people may perceive our relationship as far from golden. But that's your fault; you have no sense of humor. Just shut up and listen to our podcast!
Unveiling Blue Velvet: Celebrating 100 Episodes of On the BiTTE
Laura: This is episode 100! Well, 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 secret love, Ryan.
Ryan: Frank. I am Frank.
Laura: I call you Frank for this whole episode, episode 100, where we get to cover the 1986 Neo Noir mystery thriller Blue Velvet.
Ryan: Yeah, that's right, shithead.
Laura: Uh, let's see how many times we can say the word fuck in this episode.
Ryan: Well, that's not gonna be hard for me. Fucking do.
Laura: Directed by David lynch, starring Isabella Rossellini, Kyle MacLachlan, Dennis Hopper, Laura Dern, along with many others.
Ryan: Dean Stockwell.
Laura: Dean Stockwell, yes.
Ryan: Dean Stockwell. Yes. The only other person who says fuck in the entire film.
Laura: I don't believe there's going to be another David lynch movie that we're going to cover.
Ryan: That means we have to cover this one incredibly well.
Laura: Oh, um, we should know by now how to do this after 99 other episodes, but you never know.
Ryan: Yeah, we've only just started episode 100, so don't put a dampener on it just yet. Just. Just to be safe.
Laura: Well, there's a whole lot of wood waiting out there, so let's get going.
Ryan: Lumbertone.
Laura: The tagline for this movie, by the way, is it's a strange world.
Ryan: Yeah, no, I mean that would be. Yeah, I mean, that could be the tagline for any of his films, to be honest.
Laura: Yeah, yeah, sure could.
Ryan: Yeah. It's. Yeah.
Laura: And yeah. Yep. And this synopsis that I pulled from letterboxed is the discovery of a severed human ear found in a field leads a young man on an investigation related to a beautiful, mysterious nightclub singer and a group of psychopathic criminals who have kidnapped her child.
Ryan: All right.
Laura: Yeah, ye, there we go. Let's get going.
Ryan: That is the summary for one of the most accessible David, uh, Lynch movies. Like, other than maybe straight stories straigh storyies probably more accessible than this. It's like practice. It's a kids film. It a kid Disney film. Street story. Dunee. Uh, no, I don't. I don't care for dun too. That's weird that, uh, movie.
Laura: Weird that you.
Ryan: That's a weird product, dude, is incredible. Well, here's the thing've. They've done those, uh, the den deny virnu ones have come out.
Laura: They dund did those dunes and I'm like, dun dadooun.
Ryan: I'm like, you know what? I just don't. I. I don't like doingun. Like, I just don't like it. I don't like it as a franchise or as a product. Like, I just don't like it. It doesn't matter who makes it. I just don't like it.
Laura: You don't like the Spice?
Ryan: I don't. I'm not a fan of the Spice.
Laura: Okay.
Ryan: I'm.
Laura: So the Spice isn't for everyone?
Ryan: No, it's not for everybody. I think that's abundantly clear.
Laura: Um, I like the Spice.
Ryan: Yeah. And, yeah, just. I just don't like doingun as a product.
Laura: I'm just not into'you're. Gonna mention Dune when you tell us about David Lynch. Sweet Rip. Sweet, sweet boy.
Ryan: Yeah. So David. Yeah, David Lich did die this year, back In January, uh, 2025. He passed away. But, uh, from what I was reading about, like, his ill health and stuff, like, the guy smoked since he was 8 years old.
Laura: Yeah, well, he likes what he likes. Yeah, he's a good boy.
Ryan: He was a good boy. Um, but yes, David lynch, the famed American filmmaker, visual artist, musician and actor. Um, he's considered one of the best filmmakers of all time. He was classed as a visionary, acclaimed for his films, distinguished by surreal and experimental qualities. Um, his films are. Yeah, his films are one of a kind, I would say. Um, um, but there's, there's like an element of him as well that I feel it's very, there's a niche to it and I feel like it's very fashionable to say that you like a lot of David Lynch's stuff. So I think that's maybe one of the reasons why I'm not. I don't grab, ah, hold of it as, uh, as much as others do.
Laura: Such a hipster thing to say. Yeah, oh, it's really fashionable to like David Lynch.
Ryan: So it is very fashionable to like.
Laura: I'm not really into David Lynch,
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Laura: Frank.
Ryan: No, I mean, I only really like. I like Lou Velvet. I don't like it as much as Wild at Heart.
Laura: Well, is.
Ryan: I think the Elephant man is a fantastic film.
Laura: Well, I have a question for you. Although, I mean, I don't want to throw you into the bus, the Lynchian bus. But you have not watched Twin Peaks.
Ryan: No, because I'm not like, I can't grasp, ah, hold of the lynch as much as I would like to.
Laura: You're talking about accessible Lynch. Twin Peaks was a network television show that ran for only two seasons.
Ryan: That's fine. I think it really comes down a.
Laura: Very English UK style of storytelling. Two seasons and a Christmas special.
Ryan: That's fine.
Laura: I Think Christmas.
Ryan: I think it comes down to there was someone at university who really, really liked David lynch. And I helped shoot stuff that she did. And it was very lynch, to the point where I was like, I don't know if I like this much.
Laura: He can be shoved down your throat a bit. I could see that.
Ryan: Fel.
Laura: Like, that doesn't take away from how good he is. Was.
Ryan: Yeah, no, he's very unique in what he did. Um, but let's continue on because he's. His film. His. His. I mean, the breadth of his work is quite fast. He worked in film, obviously, tv. He's worked as an artist. Um, he's made music videos for Chris Isaac, ex Japan, Moi, Interpol9ish, Snails and Donovan. And he's also done commercials for Dior. And, I mean, how'd you say you've sa Laurent or whatever?
Laura: I just put it down as Y. Saint Laurent.
Ryan: Yeah. Ysl, uh, Gucci and the New York City State Department of Sanitation. But yeah, I met David lynch, though. This is like. This is one of those moments where other than, I think the Mike Lee episode, I actually met David Lynch. He came and did, uh, he did a talk about tm M, uh, Transcendental meditation, which I still haven't taken up. I wish I had and I still probably could. Um.
Laura: You can and you should.
Ryan: Yeah. Well, now I just, like, numb myself with antidepressants and alcohol. So, I mean, I don't really know what that's actually doing for me. But the thing is, is, like, he did a chat about tm and then we went to the local theater, this was in Glasgow, and we watched it. Uh, we watched a Razoread. And that's the first time I ever saw a Razoread.
Laura: That's a nice experience.
Ryan: It was a hilarious experience. So I was sitting there next to my friend Romano, and about the point where the snake thing starts coming. I can't remember if it comes out of someone's vagina or if it comes out of a box and it starts coming towards this screen and someone just in front of it started going. And then I started laughing, then Romano started laughing. And then we pissed off the person who really liked David lynch and found us to be incredibly disrespectful. And I was like, can anyone else hear this screaming of what's going on here? Um, that was one of the highlights of my university career.
Laura: That's lovely.
Ryan: It was. And he would. Yeah, uh, would. He would put his hands up next to his head and he'd just be like me feeling the Dreams, the Transcendental meditation. And that's. That's kind of it. But, I mean, I think. I think it works. I think it works for certain people. I'd love to expand my mind. I really would.
Laura: There's still time.
Ryan: Anyway. He also had three seasons of Twin Peaks between 1990, obviously, the updated version, which was 2017. And, uh, also made a prequel movie called Fire Walk With Me, which would. Back in 1992. So in terms of his films. His films, it's not a vast filmography. Uh, a RazorRead started in 1977, Elephant man in 1980. What a transition that is, though. A Razoread to Elephant Man. Yeah, Like a film that I remember. Yeah. From A Razorhead, which, to me, it's like, I need to watch it again. But when I watched it, I was like, not into this. I'm really not. And then you have Elephant man, where you're just like, wow, it's the saddest thing I've ever seen in my life. Um, and then he goes from Elephant man to fucking dun. He did ##te dun D Dino de laientis dun fucking Dune. Well, we all know that. Well, the story it dun is this whole thing and him making Dune and how much of a fucking nightmare it was. Because d Dune was a Jodarowski project as well.
Laura: That's a great documentary until.
Ryan: Until it became Lynchy's film.
Laura: Uh, you get to see
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Laura: what Dune could have done. But then what Dune did. Yes, I did, like, doune at the.
Ryan: Hands of a sexual assaulter. Yeah. Who knows what that could have been? At least his pictures and stuff, his storyboards, like, it looked. It looked interesting.
Laura: Um, looked incredible. But, yeah, when you look at the man. Yeah, not great.
Ryan: You know, the do I would like to see next, Michael Bay Dun. That's't.
Laura: Just don't do that.
Ryan: Shia LaBeouf. Um, anyway, so Blue Velvet, which we're covering today, came out in 1986. Uh, wild at heart in 1990. Firewwork with me, like I mentioned in 92. Lost highway, which I really like in 97. Straight Story in 1999, Mulholland Drive in 2001, and then end Inland Empire in 2006. Um, I think the fact that his filmography kind of ends around about 2006 is kind of. I don't know. I think it's kind of. He decided. I don't know what he decided. There seems to be a lot of videos of him out there where he kind of just deviates into doing other things, or at least, like, he understood by that point that there wasn't a place in cinema for him at that time.
Laura: Uh, I don't. I don't know.
Ryan: I feel like he s. He was very aware that cinema was changing.
Laura: Well, it's not that he stopped working.
Ryan: I mean, he had a couple of.
Laura: Projects, workshops and I mean, he's done so many things. Uh, written books in Twin Peaks.
Ryan: Yeah. But he had stuff. Denied it Netflix. He had two projects denied that Netflix that he couldn't make no Netflix anyway. Well, fucking David Fincher does. And guess what that's done to his career.
Laura: Exactly.
Ryan: He started making a whole bunch of shit. But, uh. Yeah, yeah, no, I don't know. I think, um. I don'know. I find this. I find this stuff fascinating and interesting. Um, but yeah, I would say that Blue Velvet is. Is like I said I mentioned before, it's very. It's like. Well, yeahuz. You separate his films into his more narrative driven stuff and then he has a slightly more experimental stuff and u. Uh, yeah, Blue Velvet kind of sits nicely in the middle of it. It's probably the darkest it goes while also being accessible.
Laura: It's uh. Yeah, I don't know. I don't. I don't need to review the film necessarily. I think Blue Velvet is awesome. And Blue Velvet has so many iconic moments and lines that we probably say in this house on a regular basis.
Ryan: We do. So we definitely do.
Laura: You know, it's absolutely fascinating. There are a couple of people, so it's hard to imagine the cast being any different, but I always find it interesting to see who it might have been.
Ryan: Well, definitely. I know that Dennis Hopper was destined to be frank because he did a very Dennis Hopper thing by phoning up David lynch and saying I am Frank on the end of a phone. And basically that, that know in certain terms is like, well, no, Dennis Hopper saying, this is my role. You better not take it away from me, otherwise I'm going to Dennis hop or something.
Laura: That's cute. Well, Michael Ironside has said that the role of Frank was written for him.
Ryan: He would have been good in it. He would have been very good in it. Would it have been as iconic as Dennis? Because Dennis Hopper. Yeah, it's like he went on hunger strike before he did this movie because he's eating up everything.
Laura: Yeah. Without Dennis Hopper in that role, this movie would be different.
Ryan: Uh, I think it would be different. I don't know if it would be. It would just. It would be different.
Laura: It's hard to say it would be worse because it's a Great film.
Ryan: N. I think the writing, the writing of the character is very good. I think it, it would lose something that we weren't aware it was missing.
Laura: Because he is the magic. Because he's not in the movie that much.
Ryan: No, but he's kind of like. He's like Jane Silent Bob. In those Kevin Smith movies when they turn up, they're like the brevity like they, they're like, holy fuck, I'm glad they're here because I'm so bored. You know, it's just. Yes, this is, this is the moment where you're like, okay, here we are. Which is ironic because, uh, there's a few of the lines in Blue Velvet that he recites in those, uh, Kevin Smith movies as well.
Laura: Well, it's just imagining Frank being the brevity of Blue Velvet is so fucked up.
00:15:00
Ryan: The minute you'he turns. Yeah, but the minute he turns up you're like, oh my God, it's goingna be. Something magical is about to happen and he. And it's go goingna be the most fucked up thing ever.
Laura: Beating the shit out of people and raping and just being a horrible person.
Ryan: Yes.
Laura: But he is the brevity.
Ryan: Yeah, well, he's just, he's just interesting.
Laura: There are a couple of other people who, it's rumored that they turned down the role of Frank as well. One of them was Harry Dean Stanton. The other. The other person was Steven Burkoff. Uh, just because of how violent the content was in the script. They thought best not. Best not to do it.
Ryan: Yeah, yeah, I think it needs, it needs someone who can handle that sort of thing. And I guess, yeah, we guess we're kind of. Yeah, I don't mean I. I mean the film, the film'the film'pretty pretty violent. But it's like, it's more in a. Yeah, I think we've seen, we've seen far worse in the wake of like a Blue Velvet U. Um, because I don't. I'm not like, I'm not like, oh my Christ, that's up. Like the stuff at the end, like when they're in the house, that stuff's kind of fucked up. Like any brain matter that I see kind of strewn anywhere, I'm like, o, that's pretty messed up. That's pretty fuck nasty.
Laura: Pretty gross.
Ryan: Yeah.
Laura: For the role of Dorothy, I'm going back to the, to the casting decisions. Helen Mirren and Debbie Harry were both considered for the role of Dorothy.
Ryan: H. Helen Mirren would have been a good choice. Um, who's the other one, Debbie Harry. Oh, Debbie Harry. Whatus of Videorome.
Laura: Probably because of Videodrome and she didn't really want to revisit something like that.
Ryan: Yeah. Um, Haleen Men would have been good. Cause she did the Cook, the thief, blah, blah, blah, blah, blah, um, that movie and she was the thief, etc. Yeah, etc. Um, and the. Yeah, I think again, it's like, it's one of those things where, like, if you see Ro, you know, Isabella Rossellini in the role, it's like you kind of. It's hard to see her, like, see.
Laura: Her not doing it, you know, again, quite iconic.
Ryan: It's like there's a number of people who could have taken on these roles and they could have really have made it their own. It just so happens that they made these choices that it's like, this is why it feels iconic. U. Um, yes.
Laura: Molly Ringwald turned down the rolel of Sandy.
Ryan: Ye. Well, it kind of starts this blossoming friendship between lynch and Laura Dern. That is, uh, is. Is quite important, I think.
Laura: Could you imagine Molly Ringwald him wild at heart?
Ryan: Yeah, she'd be annoying. Um, yeah, she would be annoying.
Laura: Um, and apparently Isabella Rossellini thought Laura Dern was actually blind. She would just take her hand and be like, oh, there's a step there. When they were walking around and Laura Duran's like, wait, what? I'm not blind. And Roslini's like, wait, you're not blind? And she goes, no, I'm an actress. Because she was in Bogdanovich's Mask. Yeah, she was blind in that.
Ryan: Yeah.
Laura: And Isabella Roslini is like, she's so good. Like, she's definitely a blind person. Let me help her.
Ryan: Oh, man, she's incredible. That's really good.
Laura: And I think we've already mentioned how many times Frank says Fuck, but it's 55 times. And Dean Stockwell says it once. So total of 56 bucks, which seems like there's not enough. I should go back and count again.
Ryan: I mean, over the course of a two hour film. I mean, I was wanting to go back to the Laa Dearn being blind thing. Yeah. Where I was like. Like I might just start doing that with people and see what happens.
Laura: Ryan. What? Acting like people are blind or acting like yourself that you're blind?
Ryan: No, they are blind. Just be like, now watch out, there's a step there.
Laura: Okay, let me know how that goes.
Ryan: I was like, what would. Would you want to drink?
Laura: You cannot going around in person. Blind person.
Ryan: No. I'm not going to go around in person. No. I'm going.
Laura: That's not good.
Ryan: I'm going to assume other people are blind and I'm gonna look like I'm incredibly helpful. That's what that's gonna be.
Laura: That's so weird.
Ryan: I mean, if anything's gonna be weird, we might as well do it during the David lynch episode that we. Lumberton.
Laura: That's so true.
Ryan: Yeah, it might as well.
Laura: Yeah. Sweet Lumberton. Where there's always wood to be had. Which is another. Like you haven't seen Twin Peaks. This is crazy to me.
Ryan: The long lady again. David lynch has been soiled for me because of. Because of the. Either
00:20:00
Ryan: the over overly popularity of his work and the fact that other people were so fucking obsessed with it. I was just like, this is annoying.
Laura: Right. But I think that you are adult enough now and I think that you deserve.
Ryan: Um.
Laura: Am is in theory. So I think you should allow yourself the pleasures of Twin Peaks.
Ryan: Definitely an actuality. Well then we have to buy the set. Then supposedly there's like a Blu Ray set that came out and we maybe just buy that.
Laura: You just want toa go shopping and I'm supportive of that.
Ryan: Yeah. I do like a good shop. I. I do like the gratification of getting something through the mail. But it's like I only like the run up to it when I actually get the item. Um, I'm like, I couldn't care less.
Laura: I'm always happy to return it. You know, like knowing that it's going to arrive and then when you finally get it, it's diminishing returns. But sending it back feels good too. It's like cash in the bank.
Ryan: Yeah, it is money in the bank. It's like the whole. Yeah, but then it's just like, well, if you were just going to do that in the first place, then why the fuck would you even bother buying it in the first place? Just.
Laura: We just explained it. I guess it's a gratification of getting something.
Ryan: Yeah.
Laura: Little treat.
Ryan: Yeah, maybe I should do that tonight. I'll just buy something that's like $400, not one. And then just send it back and we'll get the money back. Just like, like a little bit of danger.
Laura: As long as there's free returns. It's gonna be hard for me. The. The nude scene is quite early in the film and I don't want to just jump to it, but I definitely can. Just depends on what you want to say leading up to it. Because we, we know the Plot. We know what's going on. What do you think? What do you think, Frank?
Ryan: U um, well, what I would say, I mean, I would like to summarize it, you know, at least kind of get an idea as to like, why we get to the dick scene. Um, because anyone who's seen Blue Velvet, if you haven't seen Blue Velvet, I mean, what are you doing? And. But yeah, you. You start this film starts off, it's picket fancies, it's quaint suburban living. U It's quaint to the point of it being kind of seralistic and it's weird and. And then, you know, there's a. There's a fucking. The guy has a stroke or a heart attack or something. It's like, uh, it's Paul's dad. And then there's the bit with the dog when he's got the hose and the dogs, like, attacking the water coming out of the. Sparky, Sparky, little Sparky. And then he's in hospital. But then there's little things where you gu. Like it goes into the. It goes into the grass, like it burrows in. And then you can see all the insects and the. This stuff with all these layers of this community kind of underlying this. This, you know, this idea that there's, uh, a kind of. There's a. There's a nasty underground element to this town. Um, and yeah, it kind of gets to the point where Paul finds a fucking severed ear and he picks it up, does. And this. This kind of. This puts him on a kind of solo detective mission to figure out where the ear came from.
Laura: Who is missing an ear?
Ryan: Yeahuse it's. It is odd. Um, it is weird. And it's him. You know, it's Paul and Sandy and they're young.
Laura: She's the detective's daughter.
Ryan: She is a policeman's daughter. Yes. And they kind of take it upon themselves to kind of try and figure it out.
Laura: Caus she gives him a little bit of tidbits from overhearing her father. Right. So that sets them in the right direction.
Ryan: Well, there's a criminal element that's there.
Laura: That you don't typically just lose an ear. So I would assume. No, something criminal is a foot.
Ryan: No, something's happening and it's obvious that the person who has the ear might still be alive.
Laura: Um.
Ryan: Um, but like you said in the synopsis, though, what we end up finding is that they. They end up meeting Dorothy, who's the singer at this club they call. It's called the Slow Club. U um, and this Is their. This is their um. This is their winding path to the, to the, to the. To the criminal underworld basically of this town.
Laura: Mostly his introduction to it.
Ryan: Yeah, well, she leads him down that path, which is ironic because obviously her name's Dorothy and there's the whole wizard of Oz thing. Um, you know, which, which is ye.
Laura: You did you know that David lynch was interested in the wizard of Oz?
Ryan: I think it was far past being interested. I think he's heavily influenced
00:25:00
Ryan: by. Also, if anyone's familiar with the work of Edward Hopper, um. U. This is like his paintings put on the screen basically. Um, and that's all I will say about that. But u. Uh, yeah, no, he's. Dorothy is his. Is his. Basically his introduction into this criminal world. And then we found out obviously that her husband's been taken. It's probably his ear. And the child has been kidnapped and being held for ransom by Frank, Dennis Hopper'fucking character.
Laura: Um, Sweet brevity, Frank.
Ryan: Yes. Because then this is obviously when the film takes a turn. I mean any of the interiors in this world are pretty nightmarish because there's no windows. There's not a single window that we see in Dorothy's house. There's no sense of like there's anything outside. Um, it's. There's just no windows and it's very dank. It's very kind of uh, damp and dark and very kind of pasty colored and it's. It feels kind of nightmaresh. There's a lot of shadows and stuff in these spaces.
Laura: Her apartment is quite blocky. Blocky furniture. Yeah. Uh, the walls are very dark, the carpet'dark it's just. Yeah. Gosh, I didn't even think about that. I was just watching it. But yeah, there's no windows. There's no windows in the building. In the hallway.
Ryan: Yeah.
Laura: I mean make sense when you're making a motion picture. The one thing with the light but.
Ryan: Still the one thing I would say is like. It's like again I mentioned Edward Hopper. So the mise en sen is very um. It's very good. It's very good. But if you copy from artists like that anyway, um, then you're destined to have really interesting frames anyway becausee that's. That stuff is seated in science.
Laura: Oh man.
Ryan: There you go. Seems to be something that people have forgotten is that there's so many painters out there that crack the code, uh, hundreds of years ago that we should just copy now. And you just make better frames if you do it that way. And. But yeah, there's not. There's not an ugly. There's not an ugly wide in this entire film, to be honest. Um, all looks very nice. But, uh, yeah, this is his introduction into the CD Underworld. And I guess this is where we. I mean, this is when we also found out that he fucking like Heineken. Who the fuck likes Heineken?
Laura: He really loves Heineken.
Ryan: Fucking hell. Has anyone had Heineken?
Laura: It's awful. Had. I went to the Heineken brewery and.
Ryan: You spit it, uh, out onto their Dr.
Laura: Some of it. And in the hotel they had a vending machine and it just had cans of Heineken.
Ryan: Uh, so they just tumble out and they fucking just spray everywhere. Good stuff.
Laura: Heineken tastes like farts to me.
Ryan: It does. When you open it and you smell it, it's fucking rancidbe.
Laura: We should get one.
Ryan: No, just to revisit. Why would we do that? No, it's like people who say they like Carlsberg and stuff.
Laura: I'll have a Paps Blue Ribbon. You can have a Heineken.
Ryan: I don't like Hyenken.
Laura: Sorry.
Ryan: Well, I want a pbr. Nope, fuck that shit. Um, yeah, no, yeah, no. Um, it would be. Yeah, no, it's perhaps. It's perhaps all the way. It's perhaps all the way, man.
Laura: Um, well, Jeffre's the character of Jeffrey.
Ryan: Yeah.
Laura: Decides to pretend that he's. Is he a pest control person? I can't remember what he was. He was checking the pipes.
Ryan: He calls himself the Bugman.
Laura: Bugman, okay.
Ryan: Yeah, he calls himself the Bugman. So he comes in the spreeer kitchen and stuff.
Laura: While he's in there, he steals some keys so that he can come back at some point.
Ryan: It'so unbelievably fucking reckless. Like it's. Who would.
Laura: Just a little ring of keys and it's an unknown key and then a key to your front door just out.
Ryan: Yeah, it's a bit of a leap. But I'm also.
Laura: If snuck into our house, there wouldn't just be a key to our house chillin on the countertop.
Ryan: I mean, this is America. There's nothing bad's ever happened hereh.
Laura: Uh, my God.
Ryan: I mean, we should just keep our doors unlocked for the most part.
Laura: Wow.
Ryan: You know. You know, sure, sure. It's not the homeless commun. Community problem that they're homeless. It's not their fault.
Laura: I don't want Jeffrey in my closet. Okay.
Ryan: All right to raise your voice, but anyway, Don'want.
Laura: Anyone in my closet.
Ryan: No, no, it's my Worst nightmare.
Laura: Uh,
00:30:00
Laura: well, here we go. I'm gonna get into it.
Ryan: Yeah, no, this was my scene. I set it as well as I could.
Laura: You did a really great job.
Ryan: I think so. Yeah, I think so. Without. Without spoiling too much as well. We've gotten into the space where he's snooping around the fucking. Here's the thing. And this is. He gets the keys. This is him coming back right from being the bugman. He has the keys. He comes back.
Laura: Well, they went to watch her sing. And I. If I remember correctly, they left in the middle of her set y to go to her apartment. Sandy and Jeffrey.
Ryan: Yep.
Laura: And she said she'll hunk four times if anyone arrives.
Ryan: Yeah.
Laura: Just to alert him that he needs to leave. And what he just does instead is gets incredibly comfortable in her apartment. He takes a wiz her toilet.
Ryan: Such a crazy thing to do. And flush like. It's such a weird violation as well. It's like you break into someone's house and you take a piss in their toilet.
Laura: And I'm like, I don't like that. You're absolutely right. It is a huge violation.
Ryan: It's like that bit in one hour photo where he just. There's that shot of him just sitting on the toilet.
Laura: Yes. Yes.
Ryan: Yeah. It's so incredibly messed up. Yeah. Doesn't make any fucking sense whatsoever.
Laura: She honks four times. He doesn't hear because.
Ryan: Well, there's no windth comes. Yeah. There's no windows or anything.
Laura: Well, over his gigantic piss, he couldn't hear the honking of the horns. This is. Well, I guess we're not quite there yet. So when she arrives home, she does what anyone would typically do when they get home. They get comfortable. So she takes her clothes off and she'wearing a wig and she removes her wig and she's just at home and he's watching her. And it's this very interesting voyeuristic kind of view of her. So it's. It's weird because we're watching her through his eyes and it's kind of going this awkward back and forth between him staring at her. And it almost just feels like, you know, we are him. We are him watching her. And it's just so awkward. But it becomes really fun.
Ryan: Yeah.
Laura: Because we get this beautiful dynamic reversal. Because he makes a noise, right?
Ryan: Yeah, he makes a noise and she grabs a knife and then, as you do, pulls them out of the closet and then forces him to unress.
Laura: Yeah. At knife point.
Ryan: Pretty much. Shut your mouth.
Laura: Don't say anything. I'LL kill you.
Ryan: Yeah.
Laura: I love this because there's something different about the way that lynch is dealing with the shot at this point. And we're getting a different view. It's very. Because there's never a male gaze when you're looking at Dorothy. It's never. Never. There's not a male gaze in this film at all. No, not once.
Ryan: No.
Laura: But when Jeffrey gets stripped down by Dorothy, it's a little male gazy or female gazy. My.
Ryan: So female gaz.
Laura: Yeah, female gazy.
Ryan: You see like his booty.
Laura: You see his tish.
Ryan: You sees booty.
Laura: And she's getting interested in what's going on and threatening him and asking him if he likes being threatened and he obviously doesn't. And this scene happens about 40 minutes into the film and you can kind of tell her intention is to humiliate him and she's flipping the object of desire on him instead of herself.
Ryan: Yeah.
Laura: Because she knew obviously he was watching her be undressed. M h. And they're both filmed in a really neutral way. I mean, he's definitely more female gaiy. I know I already said that, but she's quite neutral. And I kind of like how the whole. This whole situation is kind of shot as if they're just like having a normal conversation instead of like this really horrible, threatening, uh. Uh. Situation.
Ryan: Yeah.
Laura: And yeah, he's vulnerable now.
Ryan: He's very vulnerable. I mean, as he should be. He did sneak into her house, but they. Yeah, they go from U yeahus. Frank comes, starts knocking on the door. So they go. Yeah, they go from the couch. He has to go back to the wardrobe to hide. Takes his clothes with him. And it's in. It's in one shot, relatively quite wide, but he's. He's actively picking up his clothing. And this is kind of where we see it mostly from the side. It's kind of glances. But I say it's probably better. It's
00:35:00
Ryan: better than just subtle glances. You definitely understand that there's something they are, um.
Laura: Oh, yes. There's no question that this is a nude young man.
Ryan: Yes.
Laura: Running around this. This apartment.
Ryan: Yeah.
Laura: It's so funny how that turned into a predator in the closet.
Ryan: To her being a predator to then being the.
Laura: And then her being the prey.
Ryan: The prey to, uh.
Laura: To Frank.
Ryan: To good old Frank who turns off brevity. Yeah. That when. Well, it's. The thing is. Is like he's such a kind of bleeing contrast to everything that's been going on.
Laura: Is this the first time we see Him.
Ryan: Yeah, this is it. Because the thing is, like, the only other introduction we have to is like, she says, it's Frank. You need to get out here. And this is like, oh, my fucking Christ. It's Frank. But, yeah, no, he's. He is a monstrous individual. Like, he is born out, uh, of the. He's the stuffing nightmares.
Laura: Well, she's wearing that blue velvet robe.
Ryan: Yeah.
Laura: And you know what goes on in the scene? I mean, there's a rape in the sea, and he's doing, uh, his. What is he. What's in his mask? Like, what's in the tank?
Ryan: It's like nitrous. Yeah, I think it's nitrousay.
Laura: So he's sucking on that, and then every time he does it, he's like, o.
Ryan: He's like, m mommym m. Baby wants to fuck.
Laura: Baby wants to fuck. Yeah.
Ryan: Yeah.
Laura: So she kind of spreads her legs.
Ryan: You missed the best line out of the whole film, though, where it's just like, it's daddy, you shithead. Where's my bourbon?
Laura: Oh, yeah. Well, I'm desperate for us to do this as a Halloween costume, but I want to be Frank. And it's just gon toa be a constant fight about who's gonna be Frank.
Ryan: Well, I think it's not as funny if I'm Frank.
Laura: Cas definitely funnier. Ah, but I've always done. It's kind of fuck male costumes for Halloween.
Ryan: Yeah. It's kind of fucked up. If I'm frankuse, then I'm just acting like Frank.
Laura: But if I'm Frank, Funny.
Ryan: Uh, yeah, I guess so. Just you going around calling people shitheads. Yeah, yeah. And shut the fuck up. Don't you fucking look at me.
Laura: Don't look at me. Don't touch baby. And then. Yeah. Just saying baby wants to fuck.
Ryan: Very fine, baby. Watch the, uh.
Laura: We're doing it. We're doing it.
Ryan: Yeah, it's f up.
Laura: There's the moment where she's sitting in the chair and she kind of spreads her legs for Frank. And she, uh, wasn't wearing any clothes underneath her robe.
Ryan: No.
Laura: And so when they were in real life, so when they're doing the scene and she's spreading her legs and Dennis Hopper is down there acting.
Ryan: Yes.
Laura: He's realizing in that moment, because she didn't tell him ahead of time, that she wasn't going to be wearing anything under the robe.
Ryan: Okay.
Laura: So it was probably quite a surprise for Dennis Hopper in that moment.
Ryan: Yeah. Or just made him all fucking sex strong and crazy.
Laura: Yeah. You know, made Frank go wild.
Ryan: Yeah. Made him just going a fucking craz. I mean, it's Isabella Rossellini, you know, who knows?
Laura: I mean, she's incredible.
Ryan: M. Mhm.
Laura: Incredible then, incredible now.
Ryan: Yeah, yeah. No, the thing. The thing. You know what, like. What's an actually strange moment in this scene though, is that when Paul comes out of the wardrobe, he's got his boxers on.
Laura: Paul Atreides?
Ryan: Yeah.
Laura: Jeffrey.
Ryan: I thought it was Paul.
Laura: Kyle, you're talking about Atreides. You're going Dune. You went full Dune. I love that. Cause his name's Kyle McLaughlan. His character'Jeffrey Beaumont. Paul.
Ryan: I've been calling you Paul.
Laura: I don't think you called him Paul yet. I never heard you call him Pab.
Ryan: I'LITERALLY called him Paul the entire.
Laura: Okay, so I'm just catching. Now that you're duning.
Ryan: We only just watched it.
Laura: I don't like Dune. You say you fucking loved Dune.
Ryan: It's so boring. Fuck. I've been calling him Paul this entire time.
Laura: Just keep going. Paul. That amazing.
Ryan: Well, he comes out. Yeah. And he's just wearing those boxer shots. And you're like, when.
Laura: When did you know? You're not wrong, but he did grab his clothes when he went into the closet. It seems bananas to me that you would be. You would have that much forethought to say, I'm gonna put my underwear on. But he did grab his clothes when he went to the closet.
Ryan: Well, I don't know. Have you ever been in a scenario where you ve. You've had to hide and you've been naked?
Laura: No.
Ryan: Before. And you've been in a situation where a man has returned? Because I have.
Laura: What?
Ryan: Yeah. Did I ever tell you this story?
Laura: Did you do an affair?
Ryan: So I was seeing a Lassie. This was a while ago, I assume. And we were in beds and her
00:40:00
Ryan: fucking boyfriend came home.
Laura: Do you know she was seeing somebody?
Ryan: Um.
Laura: Are you a little scampy?
Ryan: I was under the impression that they were not seeing each other. But the first thing I realized is the light goes on and he's in the doorway and I'm completely naked in the bed. And I lay there for.
Laura: Did you play possum?
Ryan: No, I. I played possum. Well, she got up and she's. They started having an awkward conversation in the living room. And I stayed in the bed and kind of was just like, what's my play here? What should I do? And I was like, I should probably try and get dressed. But you know, there's that moment where you're like, the minute I get out of the bed, someone's gonna come in the room. Or like, what if I'm gonna have to fight someone? I was like, I need to be prepared. I do not want him to be able to grab ahold of things that you shouldn't be able to grab ah, hold of. I should just get dressed. I think it ended up ended amicably and I was able to leave. But, yeah, though it has happened to.
Laura: Me, you would probably be more intimidating if you were nude. And so if it came down to blows.
Ryan: Yeah.
Laura: You would come out screaming naked, and he would be afraid.
Ryan: You.
Laura: You'd probably be able to escape.
Ryan: I would have to go full fucking. Yeah. I'd have to go full mental in order for that scenario to come out, uh, in my favor.
Laura: You know, it's like in the Simpsons where Bart is swinging his arms around like this and then Lis is kicking in there like this.
Ryan: Yeah.
Laura: And whoever gets hit first, you know, is the one that's in trouble. Uh, you could have done that, but naked.
Ryan: I could have. I could have. Or I could have just like. I could have just done something even craz. Just shit into my hand and then just being like, don't come anywhere near me. And just, you know, almost like, you know, tried to assault him with a piece of shit.
Laura: There's so many more things you could have done that would have been more entertaining than just leaving.
Ryan: Oh, well, I think. Well, since if you've ever been in that position, it's usually better that you're just able to leave and you don't have to come to blows. Of course, that's usually how I like to look at that situation. But anyway, cool.
Laura: Shoot. I have more stuff to say.
Ryan: You should.
Laura: Not necessarily about the nude scene.
Ryan: No, I think we've covered it. I think we've done a good job with that because, I mean, the rest of the film, we don't want to spoil any of it. It just kind of gets darker and darker and darker and things start to be revealed and, uh. Yeah, no, I mean. I mean, I hope in part of your notes for the things that you have to say, we get to talk about that bird at the end of the film.
Laura: Okay, we can talk about the bird, but it'll have to be from memory. But I did want to mention the scene where Dorothy is nude outside of Jeffrey's house.
Ryan: Yeah.
Laura: Where she's holding her arms out as if she had been crucified. And she's covered in bruises and cuts.
Ryan: Yeah.
Laura: So that was apparently inspired by an actual experience that David lynch had when he was quite young, maybe around 10 years old. Oay he and his brother saw a naked woman walking down the street. And for years that image of her walking down the street was quite traumatic to him. No surprises that he could tell that it wasn't something that was erotic or some sort of sexual awakening for him. He knew something bad had happened.
Ryan: Okay.
Laura: And so I guess for quite a long time he had a hard time talking about it, but he wrote it into the film because it is not again, there's no male CAS in this film.
Ryan: No. It's also a beautiful woman. Yeah, it's kind of fucked up. Like that's not really like. Oh yeah, yeah, it's kind of messed up, you know, and it's, it's, it's coupled in with the fact that this fucking idiot Mike. It's like yeah, it's fucking idiot football player. Um, you know, it kind of, it's, I mean if anything like. Yeah, that kind of rings true. Like if you get yourself into a fight, a naked person will diffuse that situation relatively quite quickly. So I agree there is that, um.
Laura: The bird. You wa want to talk about the bird?
Ryan: That bird looks awful. Looks terrible. It definitely doesn't. Isn't real. Like it doesn't look real.
Laura: I read that David lynch for years was adamant that that was a real bird, even though its quite obviously not a real.
Ryan: He was taking the pests. He was taking the pest. He had to be taking the pe because it looks awful. So he'just like, no, it's real.
Laura: So there's rumors about that bird, that maybe the crew found a dead bird and then made it into some sort of like fucked up animatronic robot bird for the film. Uh, I don't know. I don't know what that birds origin story is or its death story or its Frankenstein monster tale.
Ryan: It, its s just sitting in a film warehouse now.
00:45:00
Laura: But it's a nice little bookend to the bugs, you know, because you've got the seedy underbelly of the city and the bugs under the ground and then you've got the bird eating birds.
Ryan: E bug. Yeah, it's symbolism down. Yeah. It's even more symbolic than the last shot of the Departed. So there you go.
Laura: What? I don't remember.
Ryan: With the rat. You don't remember the last shot? They departed with the rat.
Laura: Say it, say it. Good. Say it.
Ryan: Better departeded departed. Well, I'm not, I can't do that.
Laura: I know.
Ryan: You know, did It.
Laura: You did your best. I tried the rat because it's.
Ryan: Yeah, well, it's like. It's the most signposty thing ever. It's like, it's a big groan and eye roll moment at the end of the Departed. Uh, is that you see, and you're like, oh, God. It's like fucking Jack Nicholson's been going on about rats for like.
Laura: He was underver.
Ryan: No, it was. It. Yeah. Kind of like you would have to watch the film. Like, you would get it when you saw and you'd be like, oh, right. Okay. Obviously, the fact.
Laura: What's the original film again?
Ryan: Uh. ###ernal Affairs.
Laura: That movie'Great you know what movie also great? Internal Affairs. Richard Gere.
Ryan: Um, Different. You know, it's different. It's not the same thing, but yeah.
Laura: Infernal affairs is awesome.
Ryan: It is, Yes. I would say that that is better than the Departed, um, in a lot of ways, so.
Laura: Well, there's no Matt Damon Inernnal Affairs. Okay. Anyway, let's continue on the.
Ryan: That mean.
Laura: Anyway, Matt Damons in the Departed, right?
Ryan: Yes. He f. Cing. Yeah, sure. Yeah.
Laura: So this film won some awards, you know, as it should. David lynch was nominated for the Academy Award for Best Director and also nominated for the Golden Globe for Best Screenplay. Did not win. Dennis Hopper was nominated for the Golden Globe Award for Best Supporting Actor. Did not win. Isabella Rossellini won the Independent Spirit Award for Best Female Lead.
Ryan: Okay, so, yeah, all right, well, uh, that's fine.
Laura: Nominations.
Ryan: All the great films win awards. That is. That is for sure.
Laura: So Roger Ebert hated this film. M, by the way, mean, and was adamant. Like, one star hated it forever, never changed his mind. It was a big problem between him and Gene Siskkel. Didn't understand why he hated it so much, but he really hated it forever.
Ryan: Yeah, I mean, he should. He should. Yeah, he should. Maybe of rogerbert. This is a weird thing to say. Roger. Roger Ebert should have watched more films then.
Laura: Okay.
Ryan: Yeah, he shouldn't. He shouldn't. Yeah. Because Blue Velvet's not that bad. It's not perfect. I don't think the film's perfect, but it's not. It's not terrible. It's very good.
Laura: It is very good. And it's very, very good.
Ryan: Uh, you know, it's iconic. It's iconic. Yeah, it's very. It's notable. That's the thing about it. It's notable. So.
Laura: So this is episode 100, right?
Ryan: Yeah.
Laura: So we recently. As you do, it's a milestone. So we were reflecting back on how this all started. At least the podcast. I mean, the origin story of this podcast goes back, I mean, Good Lord, almost 20 years.
Ryan: Ye but you can listen to episode zero that tells everything about it. I not repeating everything that we said in that, uh, no little diatribe.
Laura: No. But it's funny because we were talking about Color of Night, which was our first episode, and we watched it last night. Actually, no, two nights ago. Doesn't matter. Uh, but I just thought there was some fun and incredibly loose connections. I was just trying to connect Blue Velvet and Color of Night together and both have supporting characters played by Brad Druff.
Ryan: Yeah, they do.
Laura: Which is a genuine treat. Brad Driff maybe says one line in all of Blue Velvet, but in Color of Night. Incredible.
Ryan: Well, Brad Douruff is a, uh, He's a presence.
Laura: Brad Dirruff is incredible.
Ryan: Blue Velvet. There's also like. And I mean, again, it's probably not t that much, but like when Dean Stockwell starts to sing with the light and Brad Dofff's on the couch in the background dancing with a snake.
Laura: That's awesome.
Ryan: So there you go.
Laura: Good snakeear.
Ryan: Yeah, he also does. Ye. He does a bit of laughing as well. You can hear the Chucky laugh, like through the. Through the soundtrack, which is pretty good. Um, yeah.
Laura: Yeah. He deserves more credit.
Ryan: I wondered when. I donun t know. I think hes. He
00:50:00
Ryan: gets credit, though.
Laura: You think Brad?
Ryan: Dff.
Laura: Yeah.
Ryan: Yes.
Laura: Not enough.
Ryan: He does well for the roles that he's played. Yes, he does. I think it is nominal.
Laura: One of my favorite gifts, uh, from when I was a teenager because I had so many Lord of the Rings toys. But someone gave me a warm tongue toy and it was like in French, so some sort of worm tongue imported Lord of the Rings toy. I thought it was really cool. I don't have it anymore.
Ryan: Well, that's what ebay is for, so.
Laura: Birthday's coming up, Frank, so alri.
Ryan: Right, shithead. Let's do our ratings.
Laura: Wait, no. The grandson of Dino de Laurentiis was a PA on the Color of Night, and Dino de Laurentis produced Blue Velvet as a family affair.
Ryan: Oh, that's what you were getting at?
Laura: Uh, yes. That was my second loose connection.
Ryan: Okay. Yeah.
Laura: Ok. Because he has the same name. They're both Dino de Laurentis. Yeah, but one of them was a PA on Color of Night, so. Yeah, ratings.
Ryan: Yeah, please.
Laura: In terms of visibility, I mean, that's pretty poor. It's like a 0.5 or, uh. A 1.
Ryan: Yeah. I would say it's like a 1.
Laura: Um, in terms of context, I need to split that up one of these days. But context is incredible because of the situation that they're put in. And I think it's a really interesting way of splitting the gaze between Dorothy and Geeffrey, where they have a dynamic shift. And it's so important to show Dorothy being strong in this particular element where you do not get to see her being strong because she is just so burdened with fear and love for her child that she doesn't get to be strong. She is weak. She is just. Just smushed into the dirt at all times and suffering an insane amount of pain to where she has this opportunity to take over and be this strong, independent, wildly sexual woman that she is and gets to go to town on Kyle McLachhlin and Jeffrey.
Ryan: Yeah.
Laura: And I think that it's a really. Paul Atreides, and it's a really beautiful shift.
Ryan: Yeah.
Laura: And I think that it shot really well. That whole scene. I'm not talking about. I mean, the dick scene is him literally running from the couch into a closet.
Ryan: Yeah.
Laura: But I think that the whole setup of that particular moment is so incredibly important because this is the first time you really get to interact with Dorothy and see maybe who she really is or who she wants to be. But then you don't. You only get to really see that when she's with Jeffrey. By herself.
Ryan: Yeah. No, I.
Laura: Otherwise, that she's, uh, just underfoot the entire time and just struggling.
Ryan: Yeah.
Laura: So.
Ryan: Well, she's under the thumb of a psychopath. Y. That's the thing. So. Yeah, like, I do. Yeah. I would agree with everything you said there and the kind of. The differentiating between the power struggle, you know, where she. She's in power against, obviously Jeffrey. And then when Frank comes into the picture, then it's, you know, it's a completely different story and Frank kind of just takes over. Um. But, yeah, no, I would agree. I think it's like one for the visibility. And then contextually, I mean, this is a watershed moment. Maybe come 101, we just start putting it all into. We just start separating it all out.
Laura: Uh, I think we can do that. Um, it's time to make a change.
Ryan: So. Yeah, no, I think. I mean, I guess, like, how do we average that out? Like two and a half.
Laura: Yeah. I mean, that's not really quite fair. But we'll switch it up. We'll switch it up next time.
Ryan: We don't have. I think. I think it's fine. Well, what do you give the movie.
Laura: Four and a Half. I think I always historicallyus I've seen this movie several times would give it a four. But if you really think about how memorable and how iconic so much of this film is and there are slow moments there 'said it before when Frank's not around. It could be slow at points but uh. I don't think it takes away from the overall feeling and vibe of the whole motion picture. That is dynamic and interesting and uncomfortable and funny. Fucked up.
Ryan: Yeah.
Laura: And I love that. And it's gross.
Ryan: Yeah.
Laura: And I find it really fun. I would watch this movie maybe slightly more often. It is not my favorite David lynch movie. No, that is Wild at Heart.
Ryan: Yeah, Wild at Heart's really good.
00:55:00
Laura: But I think this movie'Great four and a half. I raised it up a bit because when I really think about the impact that Dennis Hoppers character had on our regular life on a day to day basis, that's quite important and I think that's impactful and I think that's. I think that's really interesting. So four and a half for me.
Ryan: Um. Um. So yeah know I gave the film a4 and I think that's probably the highest I'll give it. I think it needs to be like in an audience participation in order for me to, to give it anything higher. Becausee again like there are parts of it that are a little slow and I do think it's a little. Is a little over longm. Um, I excited.
Laura: I am, I don't. I'm really sorry, I don't mean to interrupt youuse I do want you to. To continue on but I think it's so funny that he was contractually obligated to make a two hour film and it is 120 minutes. He made a four hour film that he cut down to two hours and there's a full hour that is on the Blu ray I believe as special features of so many different cutscenes. I read that there's a scene, I haven't seen it of a woman lightting her nipples on fire. I want to see that.
Ryan: Yes.
Laura: So I apologize. Go on. You said you.
Ryan: Well, maybe on the next Criterion sale we'll pick it up. Of course we will because we only have it on dvd.
Laura: Um.
Ryan: But yeah, no, I think you know, I don't, I don't like this as much as I like say Wild at Heart. And I mean I'd even go. So say it goes for far as to say I don't think it's as good as Lost Highway I d really like Lost Highway. Um, and obviously Elephant man is quite. To my heart, but the U. Uh, yeah, yeah. I think four. Four for this is. I think it's perfectly fine. It's a very good picture. I just. I would like to see it in the cinema. Probably.
Laura: We missed it when it was R P. It's always RIP David Lynchtime, but we missed it.
Ryan: Uh, yeah, we missed it when he came back. Yeah.
Laura: Whoops. Anyway, what an absolute pleasure to be here with you on episode 100. Yeah, we're gonna switch things up apparently next time.
Ryan: We'll see what goes, I guess.
Laura: See what comes, see what goes.
Ryan: And we'll see what that isus. Um, we recorded, ah, another special little thing to coincide with episode on Hundred'release Uh, so go and catch that and get all the deets.
Laura: Yes. Make sure you're following us on Instagram at the moment. And Letterboxed, which we have linked there as well on.
Ryan: I'm surprised Letterboxed hasn't reached out because we've been using Letterboks since day one.
Laura: Yeah. Episode one we genuinely have. I'll reach out to them. That'll be part of our next 100 journey, is to see what else we can get into because I have a lot of people I want to talk to.
Ryan: Well, technically a podcast doesn't start until the first 100 episode, so.
Laura: Oh, shit.
Ryan: There you go.
Laura: If you out there see anything that you maybe want us to cover, you see something that maybe we haven't covered yet or maybe something new and you saw a penis pop up and you go, they should know about this. Cause I don't know. I know most things, but I don't know everything. You can go on our website, which is on thebeat b I t t e.com and we. You can send us an email.
Ryan: Yeah.
Laura: Oh, yeah, the email'hello there@onebeat.com.
Ryan: So, yeah, as long as it's not TV show, we'll cover it.
Laura: I'm going to talk about White Lotus again one of these days. I really am. But that'll be for another. A whole other thing.
Ryan: Good. Hopefully that's a solo episode. Um.
Laura: Oh, you want to hear me rant about that? I do like that show, but it does make me angry. But yeah, we're out there. Thank you guys for being around for 100 episodes. I'm excited about the next 100. And, um, coming to you from Arlene's Diner. I have been Laura.
Ryan: I have not been Frank. I was just pretending this entire time.
Laura: Thank God.
Ryan: I'd been, Ryan.
Laura: We'll see you next time, M.
00:59:17