THE DOOM GENERATION is the first in a new format we're debuting! Laura and Ryan are joined by friend of the podcast Josh, who is screening this wild film at the Enzian in Maitland, Florida!
With the 4k restoration from Strand coming out in September, this felt like the perfect time to delve into the world of Gregg Araki. A seminal 90's, Gen-X, angry "fuck you" piece about 3 felons, murders, and mishaps across the desolate plains of the the United States of "whatever".
With a twist on our original format, we've decided to use THE DOOM GENERATION to premiere our format "Missed a BiTTE", that explores films that show a little but never the full frontal we've concerned ourselves in our mainline series.
We also bring back Josh for more disgusting references and shenanigans seeing as they're a certified screening location for this new restoration, coming to the Enzian in Maitland, Florida on September 3rd. Also, it's Ryan's birthday so come down and buy that fool a drink to ease the pain of gaining age!
Laura: I couldn't find out what they used for come in the film. And that makes me sad.
Josh Martin: it seems like they could have just used the real thing.
Laura: Was the budget not high enough to add in?
Josh Martin: I mean, it was the first movie he ever shot on 35, so I'm sure he was just out of money.
Ryan: Just give me a minute.
Josh Martin: Yeah, right.
Laura: Yeah, there's lot of it.
Josh Martin: Yeah.
Ryan: I mean, even just a little bit can go a long way.
Josh Martin: Don't I know it.
Laura: 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 co host, Ryan.
Ryan: Hello.
Laura: And our very special guest, not, for the first time, not for the last, I hope, unless this goes really poorly, is our friend Josh Martin.
Josh Martin: I am pretty special. I feel special.
Laura: I mean, we strive for that.
Ryan: How, badly would it have to go? Short of him dying before he doesn't come back? How bad would it have to be to figure that?
Josh Martin: Right.
Ryan: Yeah.
Laura: What is the end of the if.
Josh Martin: I start turning you down? Not enough semen. Sorry? The title you're bringing me. I have a certain amount of semen that I need in every movie to discuss it academically.
Ryan: I mean, to be fair, if that's what the issue is, then I'm pretty sure we can find some sort of accommodation for it.
Josh Martin: I'm into it.
Ryan: Yeah, I think we found it today.
Laura: For the film we're talking about, which is the 1995 dark comedy thriller The Doom Generation, directed by Gregg Araki. Is it The Doom Generation or Doom Generation? Because I've seen it both ways.
Josh Martin: The Doom Generation.
Laura: Great. I've got it down.
Ryan: Yes.
Laura: and this is going to be an Uncomfortable brunch film, which I'm but.
Ryan: File it under D for Doom, obviously.
Laura: Yeah, because you have to put Doom Generation comma the yeah.
Ryan: You worked in the video store. You fucking know.
Laura: Oh, I know.
Ryan: Yeah.
Laura: I know how to alphabetize properly.
Josh Martin: Did you have Doom Generation at your video store? I never probably not. If you did, it would probably been a butchered version.
Laura: Yeah, I'm excited to talk about that too, because I know you've got notes on it. I also made some notes on how much of a travesty it was, how.
Ryan: They m Midnight Meat trained this motion picture.
Laura: Did they do that to that?
Josh Martin: Oh, yeah.
Laura: I love that movie.
Josh Martin: I don't know anybody that loves Midnight Meat train. But I don't know anybody that hates like it's pretty great. I like it. But I have a soft spot for anything even tangentially. Clive Barker I kind of get a kick out of.
Ryan: I've watched it at least four times over the last two years.
Josh Martin: That's way too much. You kept watching that is way too much.
Laura: Discussed this on the last episode as well, because you kept watching Midnight me Train, and I really wanted to watch it, so I watched it immediately after.
Ryan: You showed little to no interest in ever watching it. So I ended up watching it just.
Laura: On my and Ted Raimi showed up and I screamed.
Josh Martin: It's a great title.
Laura: I know.
Josh Martin: Title is amazing.
Laura: He's painting me in the wrong portrait here.
Ryan: Like oh, am. I now yes, I don't want.
Laura: Anyone in the world to think that I don't want to watch Midnight Meat Train. Because I do 100% right. But we're not talking about midnight meat train.
Ryan: Let it be public record. I do want to watch Midnight Meat Train. And I will watch Midnight Train. And I still watched also, you got.
Josh Martin: To respect any movie that its title works as a straight movie as well as a porn parody. no changes, no notes. It's perfect.
Laura: That film will be on my shit list for how many times bodies are hung up on that train with hands covering dicks. It's impossible for that to actually happen without having rope tied around their middle. Anyway, that really pissed me off.
Ryan: But speaking of how that film potentially missed the mark, as it were, we're now going to talk about the Doom Generation, and we're doing something slightly different. You might be wondering, there's not a dick in the Doom Generation. What the fuck's wrong with you? Why are you saying this? Well, really, what, you've downloaded, accidentally or not, is effectively our pilot episode for a new format that we're looking to try out at some point, for monetary value at some time. Yes, we have aptly named this I think this is very clever. I'm going to say the name in a second. But I think this is very clever. And this also coupled with another format change that we also have, means that we could probably do any film that has ever existed in the history of time. We're so smart, we've now given ourselves at least a level of longevity or at least a period of time where we can just gradually irritate you with Our, conversations for the Next, I don't know, 400 years.
Laura: Hooray.
Ryan: but yes, we have aptly named this Segment, Missed a BiTTE
Laura: Where is it? Are you kidding me? Come on. misogyny inconceivable.
Ryan: Something about balls of balls are a butt. That's when you know you probably.
Laura: Missed a
Ryan: BiTTE
Laura: I wonder who came up with that?
Ryan: You, did.
Laura: Yes, I did.
Ryan: Yeah, you did. yes, I did. Yes. And you've come up with some of the slightly more I mean, I say this in a very commas clever, clever titles for some of these things.
Laura: I thought that was incredibly smart because what I wanted to do is talk about films that have things such as boobs, butts, and balls, but then completely shy away from putting an actual full frontal male nudity in their films. This movie in particular, has all of the boobs, butts and balls.
Ryan: This film effectively has everything you would ever want in a motion picture as sex, violence, Nazis, and Rose McGowan. So really, m it is only really missing one thing and that is the male factor, which is interesting as we.
Laura: Go along in the film. Considering the last few minutes of this film, the fact that it doesn't have any full frontal male nudity. nudity is interesting. And I guess that's an interesting choice, which we are going to figure out.
Ryan: I guess that will be the kind of overarching interest that's going to be through this format is that you're going to get a lot of what you've expected from us over the last 50 something episodes. But I guess the perspective will be more on. Why was that choice made? I'd say another very good candidate for this, but there isn't obviously any argument is that it was eventually kind of shown was the Voyeurs probably was another strong candidate for this format. But they do show some nudity in some degree, even though it's a bit of a cop out. But we certainly kind of explain why we feel that way, with that particular episode. But this we kind of feel like with the content therein, that certainly the film could have gone a little bit further. But then maybe we wonder why didn't it go further? And I guess we'll kind of go into that as we get into the film itself.
Laura: Yeah, I don't know. I'm excited to talk about this because there are quite a few movies out there that show things such as that boobs, butts and balls. And you go, I wonder why? But I guess doesn't mean I don't love this film.
Ryan: Yeah. I will also kind of preface this with the fact that this is not like an overarching critique. This isn't a negative thing. This shouldn't be seen as like a bad thing. We're not picking a movie that decides, that they're not doing this for purely negative reasons. There has to be reasoning behind it. So really we kind of look at it in certain number of ways. So really does the film go far enough? Is there a reason why the inclusion of nudity is what it is overall? And why is this left out when there's so much of this? so certainly we talk about rating these films and we talk about honesty and imbalance. and we'll figure that out near towards the end.
Josh Martin: I mean, I think it'd be really funny if your whole thesis of this episode is doom Generation doesn't go far enough. That would be really funny to me.
Ryan: That really says something about us as individuals, I would have felt like. But I feel like that's why I think at least the birthing of this kind of type of episode that we're doing. I think the Doom Generation is probably one of the most interesting candidates for it. because it does kind of have an inclusion of pretty much everything that you would yeah. That you would I mean, not so much to kind of accept like it's, like, say, taboo subjects. But there's a lot of wild shit that happens in this movie. So you do kind of wonder, is it a real kind of conscious decision to exclude, that form of nudity from this when there's really everything else on show here? but yeah, like I say, I think that's kind of where we're sitting at this and kind of where we're taking this. And, yeah, let's go right ahead and get started.
Laura: So this film has our three main stars, which we already mentioned, rose McGowan, James Duvall, and Jonathan. Help me with that last name. Sage.
Ryan: You asking me?
Laura: I don't know.
Josh Martin: Anyway, I believe that's how it's pronounced.
Ryan: Yeah. I don't know why you would ask me. I've been fucking butchering people's names since we started this fucking podcast.
Laura: And I didn't realize, until we mentioned it after we watched the film the other day.
Ryan: Ryan that is, ah, a mouthful. How the fuck state really?
Laura: That's what I thought it was.
Ryan: S-C-H-A-E-C-H?
Laura: Yeah.
Ryan: Skish. No. Oh, God.
Laura: Jonathan Skishke.
Ryan: No.
Josh Martin: yeah, Jimmy, from that thing you do.
Ryan: Yeah, right.
Laura: But their character names are Amy Blue, Jordan White, and Xavier Red.
Ryan: Red, white and blue.
Laura: Yeah, I didn't even notice that until.
Ryan: You didn't notice it until we saw it in the credits. Yeah. that's a nice little nod a while.
Josh Martin: That all three of them, I mean, this was right before all of them had pretty mainstream success. Yeah, because 96 was Independence Day, Scream, and that Thing You Do, which were all huge financial box office successes.
Laura: Yeah, that's true.
Laura: Look at him.
Ryan: Yeah, I remember.
Laura: Cutie pies.
Ryan: I remember James Deval, more from Gone in 60 Seconds, or at least I remember him. Yeah.
Josh Martin: And Donnie Darko. Those were both in 2000, right? Yeah.
Ryan: But he's barely in. Donny darko. Yeah, for the most part, certainly.
Laura: But I remember him a lot.
Josh Martin: But you remember him from it.
Ryan: He's definitely in that movie. And obviously, Rose McGowan. Isn't she in charmed? Wasn't she one of the ones in Charmed?
Josh Martin: Yeah, I think alyssa Milano.
Laura: I've never seen charmed.
Ryan: Well, it was something I'm pretty.
Josh Martin: Certain that she was in it. I don't think that she started on it. I think she came in Jawbreaker after a few, seasons. I could be wrong about that. Yes, jawbreaker as well.
Ryan: Well, she's in scream. Death Proof, planet Terror, kind of probably more notably, she was the bomb in Phantom. Joe yeah, she was in Phantoms. Yeah, she was in Phantoms. Ah.
Ryan: She'S had a relatively quite troubled career. Rose McGowan, unfortunately.
Laura: But yes, I hope that she's doing well.
Laura: The synopsis from this movie, that I grabbed from Letterboxd is Jordan White and Amy blue. Two troubled teens pick up an adolescent drifter, Xavier Red. Together, the threesome embark on a sex and violence filled journey through a United States of psychos and Quickie Marts. And the tagline is sex, violence, whatever.
Ryan: Is kind of like, ah, greg Iraqi staple. Yeah.
Josh Martin: I mean, if there's anybody who represents Gen X Cinema, greg Araki is one of the first people that comes to mind for me.
Ryan: Yeah, it's got big fuck you 90s energy.
Josh Martin: Yeah. I mean, even more so than Richard Linklater, I would think. Even though those slacker and Days and Confuse fall into that, I think that there's something, I don't know, Gregoracki's stuff is he's like almost like Jim Jarmish. Like that kind know, voice of a very particular generation, I would say.
Ryan: Yeah. I mean, I would say that slacker's like the safe poster boy of that generation.
Josh Martin: And I'm not being pejorative towards any of Linklatter's stuff. I think movies are great. but I think there's something about Gregoraki movies.
Ryan: Slacker is like the safer choice because you don't know what you're getting. Well, you kind of do know what you're getting into with a movie. But, yeah.
Josh Martin: although his stuff has been really kind of a roller coaster, too, if you look at his filmography because there's something like Mysterious Skin, which is gut punch. But then he made, like, smiley face. That's just a stoner comedy.
Ryan: Yeah.
Josh Martin: so interesting dude.
Ryan: For sure he has range, but I guess a lot of that comes from his love for John Wars, who's also had a kind of career very kind of similar to that. You have something like Pink Flamingos and then you have something else like, ah, serial mom.
Josh Martin: Right.
Ryan: Which is more in that vein.
Josh Martin: Yeah. Which this is what I think that this is his third or fourth feature. Doom Generation is it was the first thing to be shot on 35. his early stuff, especially, really feels like Jim Jarmish to me. trying to think what is the title of that?
Ryan: depends. on I've got the whole,
Josh Martin: Three Bewildered People in the Night.
Ryan: Yes.
Josh Martin: I mean, what a pretentious title. I love it. Fucking eat that shit up.
Ryan: Yeah.
Josh Martin: He made a movie called Totally Fucked Up. If that's not fuck, you to the system, that's kind of his deal.
Ryan: Yeah. There's also other kind of I wouldn't say it's like pretend. Well, I mean, WhiteBird and a Blizzard is certainly one of those as.
Josh Martin: Yeah, that's that's a weird murder mystery.
Ryan: Yeah.
Josh Martin: I like mean, honestly, Smiley Face is the only movie of his that I'm not a big fan of. Just because I don't think stoner comedies are inherently all that funny. And I don't really like Anna Ferriss very much.
Ryan: Harold and Kumar. No.
Josh Martin: What about Harold and Kumar?
Ryan: I don't know. Stoner comedy oh yeah.
Josh Martin: I mean, I'm not saying I don't like any stoner comedies.
Laura: Half baked.
Josh Martin: I don't think half baked is funny.
Laura: I like it when the dog gets high and then he's flying.
Josh Martin: I mean, I think Bob Saget's funny in it, but I don't weed. Yeah, I ever suck dick for weed. That's funny. You know what? And it's not some like, Dave Chappelle backlash, blah, blah, blah. Dave Chappelle's a funny is obviously very funny. You know who's not to me though, is Jim Brewer. I do not think he's funny. I've never thought he was funny. That get the fuck out of here. That goat boy shit from SNL. I have no patience. I just do not think he's funny. And there's a lot of him in that fucking movie.
Ryan: Oh boy. Anyway, we went on a tangent. Anyway, let's go. Well, no, don't apologize.
Laura: Please apologize. I don't need anyone talking shit about Half Baked in this.
Ryan: Don't you fucking dare apologize.
Ryan: let's talk about Greg Araki. So Greg Araki is an American filmmaker. he has a heavy involvement in new queer cinema movement, what they refer to as the queer New Wave. And that phrase was coined back in Sight and Sound in 1992. this was kind of made more prominent with Kaboom, which was the first winner of The Queer Palm at Khan. and he's worked predominantly in film and also in TV since the late eighty s. And I'm just going to kind of go into his, filmography just now. So as we mentioned earlier, three Bewildered People in the Night came out in 87, the Long Weekend, brackets Owe Despair in 1989, The Living End in 1992. Now what we get into now is what he's coined as his teen apocalypse trilogy. And Doom Generation is the middle film in this trilogy. And it starts off with Totally Fucked Up in 93, obviously. Doom generation in 95. Nowhere in 1997. So, we continue that on with Splendor in 99, mysterious Skin in 2004, Smiley Face, as we mentioned in 2007. Kaboom, like I mentioned in 2010. And then finally white bird in the blizzard in 2014. And he's worked in TV since around about 2000s. Probably. Most prominently, he made a pilot called this Is How the World Ends. And he's also directed episodes, obviously, of Dahmer Medallic and Gilligalo, and also the, TV screen adaption of Heathers. We did learn about that today. They made a fucking TV show out of Heathers?
Laura: Well, they made a TV show out of American jiggle. They tried to make a TV show out of Fatal Attraction. It makes me sick.
Ryan: I mean, fatal Attraction is terrible. That show fucking show is awful. Yeah, it's crap.
Laura: And it's got that chick that I love in it. She's great.
Josh Martin: She's Glenn Close.
Laura: Yeah.
Josh Martin: Weird.
Ryan: It's not the same, though. It's not the same. Like, you can say she's the Glenn Close, but she's a completely different character.
Laura: She behaves differently, make it different, but call it something different. I don't know about jiggle. Like, it's interesting that Gregoracki's directed an episode of it, which makes me slightly more interested in watching it. And I love John Bernthal. You know, he's not taking his dick out. Let me just stick to the point of what this podcast is all.
Ryan: He's, not taking it. Yeah.
Laura: And that's what makes the original so.
Ryan: Beautiful as much as I mean, he's also got there's another show that he's done as well called, I think It's Now Apocalypse. That's out on either I think is it Stars or it's on Paramount? I'm not too sure.
Josh Martin: I think it's Stars, but I, could be wrong.
Ryan: But there is a thing about I think some of the stuff he did for Dahmer is good. I think it's interesting. I just have a problem with that show, just overall being a little too sympathetic to Jeffrey Dahmer.
Laura: Did you watch that show?
Josh Martin: I did not.
Laura: Me either.
Ryan: Yeah, it's rough.
Laura: Ryan, you started watching it when I had COVID, and I would come out and you were just like cocooned just watching Dahmer.
Ryan: I was watching Dahmer. And then I stopped watching Dahmer. Then I got COVID, then I finished watching Dahmer, and I was a little bewildered by it. And I don't know if know, he's not the only director on that show. There's a few directors on that show, but there's gay elements, obviously, in the Jeffrey Dahmer story. But the thing is, by the time you get to the end of it, you're feeling a little sympathetic to Jeffrey Dahmer. And I kind of feel like maybe people did their jobs a little too well because I don't think you should be sympathetic to Jeffrey Dahmer. Yeah, just a little.
Laura: You guys, we need to be sympathetic. He was just really hungry.
Ryan: Look, he had someone's head in his fridge. He kept their bones in his apartment.
Josh Martin: It sounds bad when he put it like that. Yeah, he's just like maybe he had.
Laura: A different taste and style.
Josh Martin: I get it.
Ryan: Yeah.
Josh Martin: I just didn't donut but I get it.
Ryan: I didn't like that angle, the whole thing. I didn't really like the angle. But I think everyone does a good job in, like I feel like it's incredibly, ill conceived.
Josh Martin: I mean, if you were to fine tooth comb my life, you'd probably find some things you'd find.
Laura: Josh.
Ryan: I mean, what, is Netflix going to make a series out of it and call it The Monster in Me? Josh Martin the monster.
Josh Martin: I mean, depends who you ask. Wow. Okay.
Ryan: I mean, we were talking about, like, what could it be that we'll never invite them back? And, I mean, it's happening strangely. It's weird.
Laura: But anyway, I'm wondering, Josh, if you have, more information than I do about the different versions of this film, because this film is coming out this year in a 4K Restoration, which is like finally the cut.
Josh Martin: We are definitive. Yeah. It's the best version that's been released since the 35 print that premiered at Sundance in 1995.
Laura: Right.
Josh Martin: I'm actually not 100% and I'm curious to see that maybe this recording that we're doing right now might not be, it might be moot by the time we see it theatrically. Because the uncut version is 83 minutes long.
Laura: Yeah.
Josh Martin: I don't know what version you guys watched.
Laura: It was that long, was it?
Josh Martin: Okay.
Ryan: Yeah.
Josh Martin: Because I have an uncut DVD that is like 81 minutes long and it claims that it's uncut director's cut the whole deal, but it's definitely not 83 minutes.
Laura: I think ours is. Yeah, it was 83 minutes.
Josh Martin: I know that the R rated version that got released in the 90s is eleven minutes shorter. That's a lot. And Gregoracki went on he is very open, saying, I'd rather someone not watch my movie than watch it that way. Which is why he ended up partnering up with Mean. Well, he had had a relationship. He has a relationship with them anyway because they put out Mysterious Skin, so it makes sense. And actually they're doing a restoration of ah, Nowhere as well right now.
Laura: Oh cool.
Josh Martin: So I think that they're going to be going through his older movies and doing a nice job cleaning them up. so I'm interested to see then, what that's going to mean?
Ryan: His filmography is not super extensive. It probably deserves ah, a box set because at least yeah, at least like with Kaboom and Mysterious Skin and obviously the Apocalypse trilogy. I would just bundle in a bunch of those eighty s ones in there as well. So people get a chance to see them. Because I just don't think they just won't be as widely seen.
Josh Martin: Yeah, I mean, a lot like the three Bewildered that I think was only released on VHS. I don't know if that even I mean, I might be speaking out of turn. I don't know if it's true that it's not on DVD, but I've never seen it on DVD. I have a bootleg copy that is sourced from a VHS copy. It's technically on Blu ray, but it's not it's a VHS rip.
Ryan: Yeah. I can't see why a filmographer, a filmmaker of his caliber can't have a box set of stuff. Because it's relatively quite small.
Josh Martin: I'm curious to know. I'm willing to bet Strand will do something like that. At the very least. box set of this trilogy.
Laura: Yeah, that would be good.
Ryan: Yeah. I think an entire box set of all of his films could be. I mean, if it was $120, I think it's worth that money. Really.
Laura: I'm excited to see the new 4K Restoration of it because Gregoraki said that the new cut is like the only difference in it is mainly the last bit of the movie where that intensity of that last scene is just like a little bit longer, right? that's where you get like a slightly shorter version and then the uncut version it's a little bit longer. But yeah then there was like that original VHS version when it came out through video stores that was he said it was under an hour.
Josh Martin: Wow.
Laura: That they cut out like it's crazy. It was under an hour long at that point.
Ryan: It feels like you just don't bother releasing the movie then if it's well.
Josh Martin: That'S what got weird too is because Samuel Goldwin who had the rights to it originally and then they had issues with the content, m, so they dropped it and Trimark ended up picking it up. So it went through this process. So I don't know what these distributors I mean the 90s were just different for that sort of thing too. I have always been on record as to saying how much disdain I have for streaming services. But this is something that probably has been a benefit in the last 20 years is that now filmmakers are able to put out the movies that they intended to make because content issues just aren't the same as they were 20 years ago. Certainly not 30 years ago.
Laura: It's true. It's kind of a weird mixed bag as well because there's a lot of things that I want to see in the cinema, but then it won't get released in the cinema just for that reason. And then you end up seeing it on the streaming services which I think.
Ryan: I think will end up beneficial and.
Laura: A detriment in a weird way.
Ryan: Infinity Pool is probably a ah, more recent example of there's a definite director's cut out there. But the cut that we saw was definitely not definitely not, but still pisses.
Laura: Me off that they still made a fake dick for that movie and then they didn't show it. Whatever nonsense.
Ryan: Yeah either way, at least the independent film movement of the 90s. As a filmmaker you were getting into bed with various kind of nefarious sources. Certainly the Miramax and Weinsteins I would see as a prime example of that time where they were the hatchet job makers.
Ryan: Know, they put a lot of films out there that won a bunch of awards. But at the detriment to very much filmmakers vision very well documented.
Josh Martin: You go back and watch those Oscar bait movies that Miramax put out and I liked all that stuff when I was younger but man it's really trite. Like I went back and watched Shakespeare in Love and I love some saccharine bullshit but that movie is stupid. Especially when you think that it was up against Line that year and Saving Private Ryan, which I mean Saving Private Ryan has its issues but.
Ryan: there's some tight competition there. I mean one of the well it's probably because I like the film a lot. But I think James Mangold's copland.
Josh Martin: I like copland a lot.
Ryan: The theatrical cut of that film is such a, major detriment to what the director's cut of that film is. Ah, as well. Like where the ending is completely different and it doesn't make any sense. And you're just kind of left feeling incredibly soured and empty by the end of it.
Josh Martin: I feel like, down the road, James Mangold is going to be the studio director that we end up talking about.
Josh Martin: because talk about I mean, I know we're not talking about James Mangold, but fucking weird. The movies that guy's made some really great stuff. And some really bad stuff, like Kate and Leopold and like, that's fucking weird.
Laura: Oh, that is weird.
Ryan: And then it's identity.
Josh Martin: identity is another one. I really like that movie.
Ryan: Identity is really cool.
Josh Martin: he's like, you know, he very much is a director for hire that is very good when he has good material and really not when he doesn't.
Ryan: where obviously Logan goes to Japan and he's slowly dying. It's got the Silver Samurai in it and it looks fucking but yeah. doom generation, guys. Yeah.
Josh Martin: It's funny watching it because I was rewatching Doom Generation last night. I've seen it quite a few times over the years. That was something I watched a lot when I was in high school. But, it struck me as like, oh, this is as if, I liked Natural Born. It's a good version of that. Which I know it's easy to shit on. Oliver Stone and whatever. And Quentin Tarantino. But I don't know. Natural born killers I think is just too scattershot. The satire doesn't really make sense. Sometimes it does. When it lands, it's really good. But, this I think it works much better. You know what they're trying to say.
Ryan: The satire is just a little bit more I guess I wouldn't say, like, relatable. But the satire, you understand, is I think it's a little smarter. The satire.
Josh Martin: I would argue that the majority of Doom Generation is not meant just to shock.
Ryan: No.
Josh Martin: Even though it's, and it's funny. Gregoracke has gone. He's talked about it. He said that he was like going back and rewatching it now that there's this new restoration. He's like, jesus, I was so fucking angry back then. I was just this angry punk kid. Which he wasn't a kid. He was like 38, but 37. But still.
Ryan: Certainly not judging, obviously. His life or anything like that. But he's certainly lived a life that's seen him become very angry at certain things in his society purely, because he's a gay man in America. And that's something I feel like kind of speaks quite prominently in these films. But I mean, do you guys know what the first line of the movie is?
Laura: Fuck.
Ryan: Yeah. Fuck. Just fuck. All. Yeah. I love the fact that this film is as angry as it is because, it reminds me of what I was like. I mean, I guess we're all right, the 90s is our generation predominantly when we were growing up and living in the world and things like that.
Laura: Yeah. But not in the way that we got to experience this type of thing little too young.
Ryan: No, that doesn't really come until the 2000s for us. We're kind of still relatively quite naive in the 90s. Yeah.
Laura: But this is all very like the feeling is incredibly familiar.
Josh Martin: It's really strange to me to think that how many of these movies from the 90s that were wildly agent appropriate for me, really did shape my personality in a lot of ways. Yeah. I think about those early Kevin Smith movies, which I can now look at, and I'm a little more open to criticize, but I thought Chasing Amy was end all, be all when I was 1213. Fucking weird. I remember my father actually coming across I owned a copy of Chasing Amy on VHS and all these movies were the one I was watching at the time. And he just sort of laughed and shook his head. He's like, just because you watch it doesn't mean you understand it. And, what a fucking mean thing to say to me. But he was right.
Laura: But that's also just really sweet. Did I ever tell the story on this podcast about my Chasing Amy experience with my father when we moved to Florida? Florida has movies for rent in the library. And I was thrilled. they didn't have that when I was growing up in Oklahoma at the library.
Ryan: The only things they had in the library there was probably the Bible.
Laura: Yeah, just different versions.
Ryan: Just different versions.
Laura: so I rented it from the library and watched it and I liked it. I didn't really think much about it. I just liked the movie because I'd seen mall rats and everything at that point. And I was pretty young. I was maybe like 14, I think, when I saw it. And he would bring movies into his work, when they were slow. And him, m and his friends would watch movies and he goes, hey, did you get anything good from the video store? Or whatever. And I'm like, oh, I got this one. It's pretty funny. and he's like, okay, cool. And he brought it into his work and he watched it with all of his work pals.
Josh Martin: Excellent.
Laura: And he came home madder than I've seen most of my life. And he barred me from renting movies, which was that's basically like death to me. Yeah, I cried nonstop.
Laura: But he's like, you gave me this gay shit and I watched it with my friends.
Josh Martin: Awesome.
Laura: This is a gay movie. And I was like, what? I couldn't even comprehend what the issue was.
Josh Martin: So it wasn't the sexual content. It wasn't the dialogue. It was just that it was gay shit.
Laura: Gay shit. My dad was pissed.
Josh Martin: Huh?
Laura: And again, I just couldn't comprehend I'm like, I don't know why you're so mad. It was funny. It was a funny movie. I don't know.
Josh Martin: I'm just saying it's clear that my father's a little more nuanced than yours because he very much was just like, these are some pretty heavy subjects regarding sexuality that I don't think a 13 year old has the emotional capacity to fully understand. My dad, he was right.
Laura: That gay shit. You can't rent movies. You can't rent here anymore. No, I love my dad. But we have different opinions and we, have discussed them. And we will keep it at that.
Josh Martin: Okay?
Laura: He's just that kind of man.
Laura: This film, also, which really, really love, has the title card of a heterosexual movie by Gregoracke. which I guess is a trend of his. This is the first movie I've seen of his.
Josh Martin: Oh, really? So do you know why it says a heterosexual film?
Laura: Tell me.
Josh Martin: His previous films had said a homosexual film by Gregoraki. And he had a financier that was willing to put up the money for the film. And it wasn't a I don't want you to have gay content. He was just like, tone it down a little bit so that we can have it be in the mainstream market to be able to sell this fucking thing. And so as a joke, Iraqi put a heterosexual film by Greg Iraqi in the opening credits. This film is certainly not a heterosexual film by any stretch. I mean, there is more heterosexual sex in it than there is in a lot of his other stuff. But it's still pretty fucking gay.
Laura: I love, I was. I saw that for the living end. in the beginning, it says, an irresponsible film by Greg Araki and Totally Fucked Up says, another homo movie by Gregoracki. So I think that's great. I think he's really cool.
Laura: But, one of my favorite things about this movie and, most of the things that I wrote down while we were watching it were all the things that Rose McGowan says.
Ryan: Yeah.
Laura: Which, of course, she has the first line of the film, which is fuck. and then I think the next.
Ryan: Thing I wrote down is, eat shit and die, motherfucker.
Laura: Yeah. Anus face. Eat my fuck.
Josh Martin: Eat my one. That's what I always thought that was the funniest when I was a kid. Eat my fuck.
Ryan: Yeah. She's so incredibly harsh.
Laura: She looks amazing.
Josh Martin: She does look amazing in this movie. This is like the hottest that Rosemary Cowan. And she's pretty attractive and everything. But, man, it's just because I've only attracted to women that look like they punch me, but not lovingly either.
Laura: Gosh. How do you even break this down? How do you even break this down. Do you guys have, like, favorite moments?
Ryan: I mean, we've kind of already established this. it's like a good version of Natural Born Killers. It's a road movie about three people who get embroiled in murder. And it kind of follows this sequential order where it starts with the murder at the Quickie Mart, where they first meet. Ah, Xavier. Right. And he just referred to him as X. it's like the dumbest fucking name.
Laura: no, but it's cool because it's.
Josh Martin: 90 well, and it's also it's funny because James Deval said that he couldn't pronounce Xavier. So he just wants to call him X because it's too difficult to pronounce it with his I mean, let's say the best Keanu Reeves impression the whole time. That's what he's doing. He's doing a late 80s, early 90s Keanu impression.
Ryan: Sure. but yeah, they go into that Quickie Mart. And I mean, I started noting down what all of the signs said. So in this Quickie Mart was like, shoplifters will be executed.
Laura: How much were the hot dogs? It was like, three everything $3.
Ryan: Well, everything added up to six. Six, $6.66. Which to me, honestly, in the times that we're living in now, that's a fucking dream.
Josh Martin: For real.
Ryan: Like, I'll fucking take that. The, ah, amount of shit she buys in that other Quickie Mart at one.
Josh Martin: Point, yeah, she got, like, three packs of cigarettes, three hot dogs, like six fucking bucks.
Laura: And then there's other times where they don't get a lot and it's still 660.
Ryan: Yeah, that's true.
Josh Martin: And I'm like all the drive through fast food that they got so much. Yeah, I want that.
Laura: Yeah.
Laura: That was the funny thing throughout the movie, is that everyone thinks Rose McGowan is somebody else yeah. Throughout the whole film.
Josh Martin: Do you think that that's the case.
Laura: Or do you think that's just her?
Josh Martin: I just think it's her. And I think that she doesn't want to admit that she's kind of a slut who's fucking everybody.
Laura: I did think that.
Josh Martin: That's what I think. And I mean, I think it's great.
Ryan: Yeah. I do like the idea that she has this hidden secret past that she's been traveling across America. Jiltied lovers, let's see. Let's put it this way.
Laura: They go to that yeah. That fast food restaurant and the guys carno Burger.
Josh Martin: Carno Burger. That's what it's called, carnal Burger.
Ryan: Yeah. Well, I wrote it down as Carnal Burger. As in, like carnal pleasures. But it's not. It's Carno. It's carnal burger. Carno Burger. That's good. which I think, I think is great.
Laura: Every time this happens, the jilted lovers are so upset that they vow to kill her. To find her and kill her. So it's really all her fault. Well, it's actually no, that's not true, because the initial entire situation in the Quickie Mart was xavier's doing that part is amazing. I don't want to skip over the fact that a man's entire head gets blown off. And it moves and, like, blinks.
Ryan: Well, it moves up, throws up.
Josh Martin: Food falls out. It like, chewed up.
Ryan: It falls into what is effectively like the Dipson relish stand at the Quickie Mart. And he spits out guacamole out of its mouth as he's trying to talk. And I'm like, Fuck, yes. It's so fucking cool.
Ryan: But this is the triggering moment of the movie, though, right? Because effectively, we're introduced to Amy and Jordan at the drive in movie theater. They're slow dive on the radio. They're like, fuck this place. We're going to fucking go somewhere else. They go to the Quickie Mart and they pick up a hitchhiker right before they get there. Yeah, because he's fighting with a bunch of folk on the side of the road, right? There's all sorts of shit. Like he's getting chased down by some folk. And then he ends up becoming like this hitchhiker when they get to the Quickie Mar. And then obviously, the ShopKeep accidentally gets his head fucking blown off. and he's got a shotgun. yeah, it sits off. So begins this Bonnie and Clyde or Bonnie and two Clyde story of them traveling across the United States. And they just can't seem to stop injuring or murdering people as they go.
Laura: It's like almost three parts, right? There's like three situations that I remember. as they go through. They go to the Headless Horseman Hotel. Right after that dude's head gets blown off. and this is a spot that I want to talk about. I want to talk about this red hotel that they go to. The very first one where, Rose McGowan goes and takes a bath. And, what's the boyfriend's name again? Jordan. Jordan comes in to pee. And then they start doing it in the bathtub.
Ryan: Yes.
Laura: So that's another scene where I was 100% expecting to see a penis, right? Because she's in the bathtub totally naked. He goes in to pee, and she keeps looking at him like it's eye level to her. She keeps looking over while he's peeing. And he's looking at her. And then this is where I definitely feel there's like a missed opportunity, when he gets into the bath and stuff and they start having sex.
Ryan: Well, the only reason we say that is because he bends down. And I mean, if they were trying to hide everything, they just obviously didn't do a very good job because one of his balls ends up being tucked in behind his thighs.
Josh Martin: Yeah, you see his scrotum?
Laura: Yeah, you do.
Ryan: You see his nutsack. And, he, slips into that bathtub. oh, yeah.
Laura: And then he slams his face on.
Ryan: The side of the bathtub and he fucking busts his nose over. yeah. No, I think here's the thing. Every single moment in the movie let's say every big moment of the movie, is permeated by either Jordan and Amy having sex. Xavier and Amy having sex, or Jordan Amy and Xavier having sex. much it goes through this patternous feeling within the narrative that eventually you kind of do feel like you expect to see something other than what you eventually get in the film. but the fact that we see this ball sack, it is literally the only kind of pronounced moment of male nudity in the film other than obviously X telling us how cool his tattoo is on his chest. which also, I think personally looks fucking terrible.
Josh Martin: The worst.
Ryan: It looks terrible.
Josh Martin: It looks like a Godsmack record cover.
Laura: It does.
Ryan: Yeah. It looks, like a Breaking Benjamin album cover or something. Yeah. It just looks fucking horrific. But, he's of a time, let's say he's also got like nipple rings and stuff like that. So I don't know. Well, I don't know. He gets his jollies off. This is the first time we see it. And he fucking starts masturbating.
Laura: Which again, is another Xavier yeah.
Josh Martin: Watching and has a snack.
Ryan: He does, dude.
Laura: He does.
Ryan: He does. Yeah.
Laura: It's like, do you think he's going to come in his own hand and then lick it?
Ryan: He has a lot of confidence in his own diet that he's able to give it a little lick afterwards.
Josh Martin: Do you think he does it every time?
Ryan: I can only assume yes, if he does it the first time because we don't see him do it again.
Laura: Definitely not the first time he's done it.
Ryan: No. I bet he's looked it on his.
Laura: Fingers and he thought maybe that's how he knows what to change in his diet.
Josh Martin: That's fair. I don't think it's a bad thing. I think he's being if anything, he's being altruistic.
Laura: Yeah. He's being very conscious of his body. And so he knows.
Josh Martin: What do I need to do for next time there's another person's mouth involved here?
Laura: Yeah. Less dairy.
Josh Martin: Yeah. More pineapple juice.
Laura: More pineapple, less red meat.
Josh Martin: Yeah.
Laura: Definitely.
Josh Martin: So he's like pulling an April Fool's gag. I've eaten nothing but Burger King for the last six days.
Laura: That's when it's gritty and sick.
Ryan: I'm making my own secret sauce. Yeah.
Josh Martin: Granular.
Ryan: Yeah.
Josh Martin: Extra gritty.
Ryan: Yeah.
Laura: Did you guys catch the shopkeeper's name M, by the way?
Josh Martin: I don't think so.
Ryan: Something Wang or Dong, isn't it's?
Laura: Wincock sucks.
Josh Martin: Oh, I did notice that.
Ryan: Right.
Laura: Then you find out that the shopkeeper's wife, after he got his head, shot, off, kills her kids and then disembowels them.
Ryan: It's another fantastic moment of satire in the movie because really? Yeah.
Laura: I don't know why it shouldn't be maybe hilarious.
Ryan: The whole film needs, a big blinking red light above it that just says satire on it. For every moment in the movie, the.
Josh Martin: Wife is played by Margaret Cho. And I mean, I don't know this for certain. I haven't read this. But it seems to me that it's a pretty obvious take on the, Korean American shop owners in La. Just a few years prior, when there was a lot of civil unrest because they were fucking shooting black know that was a serious thing in La. So I feel like that probably was a commentary on that to a certain degree. He got taken a task over that as being racist. But he's like I don't know. I can't help but think that it was on.
Ryan: Yeah. Yeah.
Josh Martin: And I think that he can get away with it being Japanese himself, being part of the Asian American community. I imagine he has more of a right to comment on that shit than I do.
Ryan: Yeah, whatever. I mean, you do feel like there's a deliberate sense to it because it's not to kind of obviously throw Natural Born Killers under the bus again. that film I always felt was a little sensationalist. It kind of just takes it a little bit too far, as opposed to say, the other side of it being, like Taxi Driver being inspired by the glamorization, of assassinators of celebrities and that sort of idea. So it feels a little bit more subtle and a little bit more intelligent in that respect. What it's trying to do here. But also the film itself, like the Doom generation, the film itself, it's got this incredible hyper realistic look and feel about it. And it reminds me a lot of early takeshi mike like his sort of stuff where it's like it's not quite real, it's not quite fake. It's kind of somewhere in between where it's a little bit of a nightmare. And that's something that I quite adore this for. I mean, there's also the midget from Don't Look Now with a shopping trolley that makes an appearance as well.
Laura: All right.
Ryan: Yeah. I just start fucking pointing at the TV screen.
Laura: There is that really oh, hold on. Before I even talk about Parker posey. But when the guy from the restaurant comes back to kill Amy yeah. And then it's where the next crime occurs, where, the guy from the restaurant gets his arm blown off. And then Xavier takes his arm and.
Ryan: Hits him with it.
Josh Martin: Hits him with.
Ryan: yeah. It's fucking barmy. But the thing mean, who does predominantly the killing in the movie? It's Xavier, right? I don't think anybody else does any killing.
Laura: well, there's the dog.
Josh Martin: There is.
Ryan: He kills the yeah, yeah.
Josh Martin: She hits it. But he's the one who takes a pocket knife or something to it.
Ryan: Right?
Josh Martin: Yeah.
Laura: It's pretty bad.
Josh Martin: Don't show it. But they sure you can hear it. Certainly. I can't wait to watch that in a theater with everybody. Of all the fucked up shit in this movie, that's going to be the thing that you're going to feel the oxygen leave the theater.
Ryan: Yeah.
Josh Martin: Fucking dog.
Laura: The dog is really cute too.
Ryan: Here's the thing as well. It's obvious the dog hasn't been hit by the car. The dog is being a very good boy and lying down.
Laura: Yeah. He's an actor and covered in it.
Josh Martin: Yeah.
Ryan: He's just acting like there's nothing. There's nothing.
Josh Martin: If they had to use real semen, they really stabbed that dog to death. No, it's off camera. They didn't kill it. It's fine. They just dropped it off at a vet's office and drove away.
Ryan: Ah. I'm pretty sure that no dogs were harmed in the making of this picture.
Josh Martin: Spot's bleeding out.
Ryan: Oh, no.
Laura: Speaking of bleeding out, do you remember when that guy got a sword put in his day?
Ryan: The dog wouldn't have been called Spot either. Called like, striker canine.
Josh Martin: Canine?
Ryan: Yeah, canine.
Laura: Like the are you trying to do another Wolverine thing?
Josh Martin: Like the Jim Belushi movie?
Ryan: Why am I going to do yeah, like canine. I love that movie.
Josh Martin: That movie's terrible.
Ryan: That movie's great. And there's like three of them, aren't there? Yeah.
Laura: Which movie? What I missed?
Ryan: Yeah, there's two or three canine movies. Yeah, I think so.
Josh Martin: Belushi bullshit.
Ryan: Yeah.
Laura: Oh, god.
Josh Martin: Terrible.
Laura: No, I tend not to watch movies that have dogs on the COVID Turner and Hooch. Like Turner and Hooch. I think I had to leave the room.
Ryan: I don't know what it is about this room. It's got nafi frosty in here. hooch gets shot in that.
Laura: Yeah, I know. And I left the room and I cried.
Josh Martin: he lives.
Ryan: No, he doesn't. No, his puppy lives.
Josh Martin: I haven't seen it since I.
Ryan: Was fucking well, spoiler alert. He gets fucking shot.
Josh Martin: I remember him getting shot.
Ryan: Yeah. And then he dies. And then Tom Hanks cries.
Josh Martin: I mean, I kind of like the idea of seeing Tom Hanks cry.
Ryan: I mean, it's fucking see him cry in almost anything. It's fucking heartbreaking.
Josh Martin: I want to see him cry over a dog dying.
Ryan: That's good.
Josh Martin: I like the kindest person in Hollywood crying over a dog is somehow
Laura: That'S why he would cry.
Ryan: I mean, Turner and Hooch can be watched uncut on Disney. Plus you see the bullets go into that dog flesh. She said it's weird.
Josh Martin: I remember the blood coming out because it looked purple. And that was like as a kid, I was like, used to, like giallo blood or something. I don't know.
Ryan: It's obviously a close up. And they kind of just have like a mock up of what the front of the dog would be. And they just shoot into whatever that mockup is as he's coming down from the rafters and then obviously attacks the but that was something I don't remember seeing when I saw the movie as a kid, because I loved the movie when I was a kid.
Laura: you would just watch it on TV.
Ryan: And then we just watched it on TV normally. And then when you watch it the way that it is and it was in the cinema. I was like, holy fucking Christ.
Josh Martin: So it's just like a dog shaped bag filled with blood is what it looks like.
Ryan: It because it's obviously a close up. And then they just shoot you can see the bullets going into his I.
Josh Martin: Kind of remember that.
Ryan: And I'm like, fuck. It's not as bad as the dog shooting in Tony Scott's revenge movie.
Laura: Oh, my God.
Ryan: Yeah. That is like they shot a dog with, I think, a can of soup. And it looks horrifically.
Laura: I think I screamed realistic.
Josh Martin: I'm into that.
Ryan: The dog is obviously fucking terrified. Well, if someone shoots the poor dog with a fucking shotgun, it's obviously shot him with, a bag of red paint or soup or something.
Laura: Yeah, they shot the dog with something.
Ryan: They shot the dog with something. Like an impact. Yeah. And, it was horrific. Well, the movie's not very good. Tarantino said it was like Tony Scott's masterpiece. He's a liar.
Laura: I remember picking that up at a thrift store and it was brand new.
Laura: And I sent you a picture. You go buy that right now.
Ryan: It's also a film that I'll remember till the end of time because there was a pub quiz question about the filmography of Tony Scott. And I think I got almost everything apart from Revenge was the only film that I never had. But it's because I'd never fucking seen it or even heard of it. Kevin Costner.
Josh Martin: I remember the video cover very, very vividly. But I never saw it.
Ryan: We have the director's cut on perfect Blu ray.
Josh Martin: Yeah, I want to borrow that.
Ryan: it's something. It's definitely something.
Josh Martin: I'll have a double feature of that in the fan bullshit.
Ryan: I will say the fan is better. The fan is better than Revenge.
Josh Martin: Okay?
Ryan: So if that's any gauge of the quality there you go.
Josh Martin: It's not.
Laura: what the fan and Revenge don't have is a sword and pool cue fight in a Tinfoil bar while Mortal Kombat is playing in the background.
Josh Martin: The tinfoil bar like that. It feels so low budget. I loved it. That was the only scene in it that like, oh, there are the student film roots. You can really tell. They were like, how can we make this interesting cover everything in Tinfoil. It's so silly.
Ryan: Yeah.
Josh Martin: I like it.
Laura: Parker Posey's. Incredible wig.
Josh Martin: Yeah. Parker, Posey's always incredible, though.
Laura: Yeah.
Josh Martin: I can't think of a single even movies I don't like that she's in. She's good in them.
Laura: I'm a big fan of hers. and then I was saying before that that guy gets stabbed in the dick with a big sword.
Josh Martin: Yeah.
Laura: Which is pretty great. I like that.
Ryan: Yeah. accidentally, we'd say it was an accident. He gets stabbed in the dick.
Laura: I wrote down a little bit of what, Gregoracky said about the different rooms. Because you've got, like, that red hotel room and then you've got that checkered hotel room. and he said, we did the red room first. And then we're like, well, what are we going to do in the second room? And, I guess the set designer, Therese, had a postcard on her desk. And it was all checkered. And he was like, well, how about that? And then she literally hand painted the whole room to look like a postcard that she had on her. That checkered room was insane looking.
Ryan: Yeah, it looks cool. It kind of reminds me of like, what was that? It was, like the welcome to Hell or something like that. The, rabbit character that Matt Greening did, he did a lot of drawings that had like, checkerboard floors and stuff in it. I can't remember what it was called. It might be called welcome to Hell. I'm not too sure.
Laura: I'm just realizing, and I didn't connect this until just now, that this is the third movie in a row that has, like, voyeuristic elements in, like because Jordan also stands outside the window of that checkered room and watches Amy and X have sex. And he's also masturbating.
Ryan: yeah, x also watches them have sex.
Laura: so wow. What a theme. What a little theme we have going three films I never thought we would talk about in conjunction with each other, which are Red Road, the Voyeurs, and the Doom Generation. Very strange.
Ryan: It was completely well, the reason we did Red Road is that that's a good movie about the Voyeurism as opposed to the Voyeurs, which is kind of just this cheap, tacky thing, which is kind of just a bit crap. And then we didn't mention in the previous episode, we think has been doctored, to have less in it than it does. That was your accusation.
Laura: Yes, that is true. I feel like we're quickly getting to the end of this film.
Ryan: I mean, it's not a long film, which is lovely. It's very respectful of your time.
Josh Martin: It is.
Ryan: But, they're watching each other.
Ryan: we have to bring up his hologram belt buckle that he gets. I think it's so good. Phenomenal. Yeah, it's so fucking good.
Josh Martin: Yeah. Ah, it's, cowboy riding a steer, right?
Ryan: Yes. And it just moves up and down. You could just watch it forever.
Laura: The sexual tension between those two gentlemen from the very start of the movie all the way through is really cute.
Josh Martin: Yeah.
Laura: I really liked their relationship. And he's fiddling with his little belt buckle, see all his hair. And I'm like, he's really just really comfortable with each other.
Ryan: Yeah. Well, I mean, it all culminates. All of this watching all of this individual having sex with Rose McGowan stuff kind of going on. It all culminates into.
Laura: Probably feel so sore. I said it at the end when we were watching this movie. She has sex so much in this film that she has to be in so much pain.
Ryan: Probably why she's so grumpy.
Josh Martin: Maybe that's it.
Ryan: Yeah. Maybe that's the reason why. Because she's got some of the best lines in the fucking film. Like, hands down. I did like hold on.
Ryan: Because we're going to because I was going to talk about the light yoyo and stuff like that. Before they get to the warehouse where there's just a mattress on the floor that they use. when he picks up the light yoyo, there's also a sign in there that says, we don't call 911, which I thought was great. they end up having a threesome in a warehouse that's all kind of colored red and stuff. And obviously just before this moment, because this is also we'd probably kind of refer to this as also, like another one of these scenes where you're like, well, why does that happen? they go to the record store and Amy ends up getting recognized by somebody else. and we find out that these guys are characterized, as Nazis. Ah, white supremacists. And, they jump them in the warehouse. and in what can probably only be described as a scene of horrifying sights, things they come bursting in like the Red Hot Chili Peppers wearing cock socks.
Laura: that's in a full wide he just rocks up with a tube sock over his dick and balls.
Ryan: Pubes out.
Josh Martin: That's the most pubic hair we see in the whole movie.
Laura: Yeah.
Ryan: So bushy. Yeah.
Laura: It was mind boggling.
Josh Martin: We don't get any of the three that we want to see.
Laura: Yeah, I know.
Ryan: Straight swastika painted on his chest.
Josh Martin: Yeah.
Laura: It's so incredibly like, a lot happens in this movie. You got heads getting blown off. You've got cummy fingers. There's so much sex. There's so much violence. And it's incredibly funny. and that's for 70 minutes of this film. And you're just having a nice time for the most part. And you're enjoying yourself. And then it turns into a fucking nightmare that really sticks with you. Like strobe lights in this red light. Everyone's screaming.
Ryan: Like, they repay me.
Laura: They sure do.
Ryan: and then he's like he's going to force the Mother Mary into I like that. And I'm like.
Laura: because we were arguing about it, Ryan, when we're watching it. And he's like, she didn't get raped. I'm like, she fully got she definitely got raped. Fully got raped.
Josh Martin: She didn't get raped with the Mary.
Ryan: But no, he threatens her with the Mother Mary statue that he's going to insert in her. It's all stroby as well. it's all very strobey. Stuff got very loud. and then he takes a pair of shears, this Nazi boy.
Laura: big gardening shears. And I remember I wrote down he goes, kiss your puny, worthless cock goodbye.
Ryan: Yeah. he cuts Jordan's dick off. Yeah. Because where's Xavier at this point? Where is he? Is he knocked out or think.
Laura: Was he tied up or he just got punched out or something?
Josh Martin: I'm not sure. I think that he yeah, these were.
Ryan: The same guys they were arguing with in the record store, just saying horrible things.
Laura: They're doing it because they're gay. Because they were all like they came in while wait a minute. No, they were all having the threesome and then she went out to pee in the middle of it. And then that's where they grabbed her and tied her up and then came in. Oh, it was horrible.
Ryan: Yeah. And, while they're dealing with Jordan, I think Amy gets loose and then she murders she murders one of the Nazis who raped her. And, yeah, I think it's just it's Amy and Xavier in the car. It's kind of relatively quite, yeah.
Laura: wow, that's that's a way to.
Ryan: Describe I guess so. I mean, you're kind of shell shot by the end of the movie. it is pretty intense because I do think that final scene, it's purposely intense for what it is. It's also visually intense for what you're fucking watching. and it also mirrors the very beginning of the movie when they're in a club as well. So those sequences kind of look very similar energy wise. So I do like that they kind of mirror the beginning and the end of the movie with this kind of very similarly visually kind of energized, sequences. But, yeah, I didn't write down the final line of the movie, but it does kind of end pretty much with, like, he's eaten nachos or something. And then that's kind of really about it.
Josh Martin: What's funny is, two movies ago, for uncomfortable brunch, we showed Man Bites Dog. And I think that there are some similarities. Tonally, where the first I won't even say two thirds. I'm going to say like 80% of the movie. It's all very dark, but it's funny. And I think that both Doom Generation and Man Bites Dog have this turn that it does not ease you into, which force you that you're still kind of in the mode of laughing at wildly inappropriate things. So you find yourself kind of laughing to yourself, be like, oh, fuck, this is not okay. And it's not funny. But that's what makes it funny, I think. Anyway. I think that's a really good tool for really doing a bait and switch on your audience, subverting a certain amount of expectations that you've created for the first huge amount of this film, and then basically turning it on its side and saying, no, fuck you. You're going to feel like shit.
Ryan: Reality bites hard.
Laura: I find it impressive that I still like this movie because it has two of the things that I cannot abide in a film. And we're mentioning streaming services earlier.
Josh Martin: Is it gay people?
Laura: Yeah.
Josh Martin: Is that one of them?
Laura: There's two gay people in this movie.
Josh Martin: And I can't and is it the Koreans?
Ryan: she murdered her children in a ritualistic killing.
Josh Martin: Anyway, one met them all.
Ryan: Yeah.
Laura: If it says rape, I got that right. We'll turn it off. Like, I just won't.
Ryan: You will switch off.
Laura: I'm like, nah, nah.
Ryan: Well, you were watching a Jennifer Jason Lee movie last night that had, yeah.
Laura: Steve Buscemi comes in trying to do a rape. And I'm like, I did not sign up for this.
Ryan: It's not that he tries to do a rape.
Laura: He does do a rape called Heart of Midnight.
Josh Martin: I want to see Steve Buscemi rape Jennifer Jason.
Ryan: I think it's on. No, no.
Laura: I always bring up how you call to be the wild west of streaming services. And it is so close to my heart. I watch everything on tubi. And I feel incredibly special when I log a movie, that I watched on Tubi that only 400 people logged on Letterbox.
Josh Martin: It's the best way to be able to watch really obscure horror movies or like a fucking Christian movie. That's where they all went. I love it.
Laura: It's such a weird service. And it's free. And I love it. I watch all the weird commercials.
Josh Martin: Make no sense. Commercial placement in the middle of a fucking scene. Yeah, that's great.
Laura: I love it.
Ryan: Yeah. Tubi is the place I go to watch, my eighty s and ninety s, anime movies, m, that were all kind of super fucked up. Yeah. That's where I usually kind of go for that piece. But then, yeah, there is some weird stuff on there. I mean, people are spoiled now. You can find this stuff in a fucking video shop.
Laura: The COVID of Heart of Midnight is incredible, which made me want to watch it. But I have a lot of weird stuff on my watch list. But yeah, I think I got up. I was just furious. I did not sign up for a rape. Here, this one comes at you really hard. And like you were saying, it's just like a big fuck you, but a big total shift.
Ryan: Yeah.
Laura: Left this after a dog murder. A vicious dog murder.
Josh Martin: It was a dog euthanizing.
Ryan: Yes.
Josh Martin: It was not a first degree murder.
Ryan: No. I don't know.
Laura: It didn't feel good. I didn't like it. And I didn't like that he put in the dog's squeal at the end when he gets murdered. I thought that was uncool. And then a rape. And I go, God damn it. But I still love this movie.
Josh Martin: I'm just saying, the movie gave me plenty of opportunity to know what my semen tastes like.
Laura: Yeah. I found out that the guy.
Josh Martin: Because I was jerking off to all the horrible things.
Laura: Good to know. Gregoraki said that the best reviews he got were the, ones where people got horny from watching this film. So there you go.
Ryan: Yeah. Well, that was all that he did, specifically letterbox reviews. We watched a video of that and even he's looking at some of those and going, all right, well, you're kind of fucking weird, aren't you? It's like this current generation watching the Doom Generation.
Josh Martin: Yeah. That m makes sense. Which is like, wild difference in only 30 years.
Ryan: Yeah. And it's just like okay. Yeah.
Josh Martin: The sensibilities of what would be the key demographic for that movie if it came out today. Yeah.
Ryan: It's wild. It's strange. It's a strange thing, but certainly I think it's also like a toxification of what the Internet has done to people in general, is that they feel like their opinions are worth something.
Josh Martin: Yeah.
Ryan: They're not. They're really not worth fuck all. but certainly none of them are feeling, the level of probably hardship either that Gregoraki's probably faced in his time, just dealing with, the society that he's grown up in very different times. And it's kind of like, yeah, you don't know how good you've got it. Let's be fair.
Josh Martin: Right.
Ryan: But, yes.
Laura: The Nazi guys at the end worked in gay porn.
Ryan: Of course he did.
Josh Martin: Oh. In real life. Okay, cool.
Laura: Yeah.
Ryan: HM.
Laura: That must have been interesting for them.
Ryan: I guess. It's shocking. It's just, a bombardment, obviously. I don't know about anybody else, but I wince every time I see a swastika.
Laura: That makes sense.
Ryan: Yeah. It's like, if I see that, I'm like, I know I'm in for a bad time.
Laura: I saw a meme on the Internet today and it said what's one thing, that you knew growing up that you wish would come back? And it was like Nazis being bad.
Josh Martin: Inherent belief that Nazis are bad.
Laura: I'm like, yeah, that sounds about right.
Ryan: Yeah. Ah, well, they are.
Laura: And they always happen.
Ryan: I mean, you learn something about your history. what was the Sarah Silverman bit?
Josh Martin: It's like, oh, but they're cute when they're little, Nazis. I will give you that. When they're babies, they're adorable.
Ryan: Oh, man. Yeah.
Laura: so I wrote down a couple things that Gregoraki said. so he said that a lot of people have come up to him and said that his movies made them gay because it unlocks a thing they've never acknowledged or had access to before.
Ryan: Okay.
Laura: And, he also said that, his movies are for outsiders and the weirdos and the punks and the queers. They're for the people that don't really fit in. I think that's why the films have resonated all these years.
Josh Martin: If that movie makes you gay, it makes you violently gay. It didn't make me gay. I kind of wish it had. That would be a story that'd be cool, right?
Ryan: Yeah.
Josh Martin: Like, I saw Doom Generation and now I like, super gay so much dick.
Ryan: No, it's like, I can't get enough. Yeah.
Josh Martin: And it's been 28 years. It, just won't stop. I was ten years old when I saw this movie. That's not true. I was too young when I saw it, though, for sure. That's gross when I think about that. Yeah, I was like twelve or 13. That is way too young.
Laura: Do you remember how you got a hold of it?
Josh Martin: An, older friend had the video cassette.
Laura: Okay.
Josh Martin: So, yeah, I can't remember specifically how I got a hold of but and I don't know, it must not have been the uncut I don't know. Was there a VHS? The uncut version. I can't really remember. I just remember that my buddy John Tucker had a copy of, so.
Laura: It'S interesting how you get into that kind of thing when you're younger and the movies that you end up seeing. and I know that I had a full access Blockbuster card when I was younger, so I could rent anything because I like to watch horror movies a lot when I was young. So I would go through almost alphabetically and pick out just every horror movie I hadn't seen. so I probably watched a lot.
Ryan: Of well, that's how I was able to watch The Evil Dead and Hellraiser before I was maybe twelve, because my.
Laura: Older brother was the one who introduced me to a lot.
Josh Martin: I was doing it solo, so I was going off of like, reading movie coffee table books, what's important and what should I see, and blah, blah, blah. And really it was that when American Film Institute released their top 100 movies of all time for the first time, that's how I got my mother to switch over my Hollywood video card to be able to rent rated our movies. That's cool because I told her I printed it out and said, I want to see everything on this list. Most of it was fine, but should I be watching Clockwork Orange when I was twelve? Maybe not.
Laura: yeah, I watched that when I was like 14 or so as well. And no one got mad about that one.
Ryan: Yeah.
Laura: For whatever reason.
Josh Martin: I don't know how chasing Amy, though. Yeah. So that kind of stuff. And then, like you were talking about earlier, the library, they have everything and they didn't check my like, that's how I watched Sex, Lies and videotape oh, yeah. And, movies like that. Because I had read somewhere about Steven, soderbergh so because I was an only child, I kind of had to do it on my own. And I luckily had family and parents that were if they weren't supportive, they at least turned a blind.
Laura: Yeah, my parents always kind of struggled with me in terms of how to handle me. because of that thing. They would try to take away my privileges, but then I would find a way around it, because I would be insufferable. I was already insufferable, but I was even worse if I didn't have movies.
Josh Martin: I was lucky, too, in the sense that, I realized early on that causing problems did nothing to benefit me. So I was actually hardly ever being reprimanded because I kept relatively good grades. I didn't mouth off, and not because I had some great respect for my parents, which I do, but not really when you're 13. It was because I knew I could get ahead by being good in their eyes. And they just didn't give me a hard time.
Laura: I wasn't a bad kid. I'm just saying that they were finding out things I was watching, and they didn't think that it was appropriate.
Josh Martin: Also, my father always had a rule in the house that he was like, I don't care. You can watch literally anything as long as you watch it with an adult. Which is actually worse than a lot of ways. But that was kind of just an, understood rule in the house that there really wasn't a whole lot that was off limits. and I mean, now I basically show pornography. Some of the time my dad has come to it has been at the events when I've showed movies with unsimulated sex acts.
Laura: Right.
Ryan: I'm never cutting that.
Josh Martin: Never mind. Yeah.
Josh Martin: Originally, Rose McGowan's character is supposed to be played by, Diane Ladd. But, her mom, Cheryl, stepped in and said, absolutely not. which I guess one of her biggest issues was the nudity in it. Which is funny, for two reasons. One, because, like we discussed earlier, not especially graphic or sort of, but also she ended up, doing a nude scene just a few years later for Broken Lizard Club, Dread.
Laura: Oh, my God.
Josh Martin: So, like, how you're willing to do a nude scene for those assholes but not Gregoracki? I don't know. I mean, I love club dread. I'm a big fan. But same penelope that's the character's name, right?
Laura: Super Troopers has a dick in it.
Josh Martin: Yeah, it does.
Ryan: Fuck yeah.
Josh Martin: Little guy.
Ryan: I like it when's Super Troopers Two coming out.
Laura: It came out.
Ryan: It's already out ages ago.
Josh Martin: Like years ago.
Ryan: Oh, right. Okay. Apologies.
Laura: It's not bad.
Josh Martin: It's funny.
Laura: Yeah. Since this is a little bit different than what we've done before, and we're trying out a new thing, obviously, we can't rate a penis because if we did, it would be zero, because there isn't any.
Laura: So I want to go around and kind of discuss a little bit about whether you guys think this film would benefit would have benefited from full frontal male nudity, or if you think it would have caused a detriment. Are we happy that it didn't have any? Do you think it would have added to the film? Do you think that it's just perfect? Because also, the way that it is.
Ryan: Bear in mind, the film shows an awful lot. It just doesn't go far enough.
Laura: Because I also wouldn't say that there's necessarily more. I mean, there's definitely more female nudity, but not really it's not like a gross amount. I think it's fairly balanced, but it's.
Josh Martin: Just not I wouldn't call it male gazey. It's, yeah, it's yeah, I'd say.
Ryan: The, gaze is it's got a real kind of homosexual gaze about it. Certainly when you look at some of the shots of like, Xavier and, Jordan and things that kind of go.
Josh Martin: Through it, you're like yeah, I mean, any nudity from her almost seems just circumstantial. Like, well, she's naked in the shot, and we're not shooting around it, but they're not shooting her tits. Exactly.
Laura: Yeah. It never felt exploitative. It usually felt pretty neutral, throughout the film. But I do think for me, just being the person that I am that loves to see a penis on screen, I did feel a lack of it. There's a few times where I thought that I would have expected it and I don't think it would have taken away from anything and I don't think it would have been shocking or taken you out. I think it would have just because of how wild the film is, I don't think that it would have pushed anything over the edge, because the film is already, pushing a lot of boundaries as it is. So I don't think that it would have taken away anything. I don't necessarily think it would have added anything, really, either.
Josh Martin: I don't personally think that if it was in there, we wouldn't even be talking about I mean, well, we would be, because that's the nature of this, what we're recording. But I don't think that, if there was no podcast that we would even really discuss that. It almost feels unnatural to me that there aren't any penis shots in it.
Laura: Yeah.
Josh Martin: now, that said, I don't think it necessarily would have been improved by it.
Laura: Right.
Josh Martin: it's fine. I agree. But it feels odd to me that it's not there.
Laura: Yeah, I agree. Because, yeah, it would have been the least of the wild things that happened in this movie. The fact that there was a penis. I don't know what the choice was for the Nazi guy at the end to have a sock on his penis, which is funny.
Ryan: I think that shot just as itself, I think is pretty like an old fuck moment.
Laura: It would have been horrifying. It would have been horrifying if that was the only dick we saw in the movie is when he busts in the warehouse and he's just his dicks out and, he's ready to rape.
Ryan: I do like the fact that the character himself is like, they're so anti gay and they're so kind of homophobic that they're covering up their dicks from the sight of these gay dudes, in this warehouse. So they're using socks. So it is kind of like this seemingly kind of desperation move on their part, and it makes them look a little silly, which is kind of I would rather see, a, lampooning, of the Nazis more often, than not. yeah, you shouldn't be liking them.
Laura: Well, there's also that whole part where Amy and Xavier are talking, and she's talking about his dick that has a tattoo of Jesus on it. Right.
Ryan: Yeah.
Josh Martin: Why didn't they show that?
Laura: Why didn't they show a tattoo Jesus on that guy's penis? Yes, that was that probably that moment in particular. Not the moment where Jordan's peeing in the bathroom. Not even the cummy fingers, the Jesus on the dick. That was, I think, the most i, felt like, where is it? You can't just describe it for that long. I was totally expecting it. I'm like, maybe we were wrong this whole time. Maybe there is a penis in it. It's a funny tattoo.
Ryan: But then that makes me think that's where they decide they want to draw a certain line.
Laura: Everything else is fine.
Ryan: Everything else is okay. It's just hold on. We can't show the Jesus tattoo on a dick that just will not fly.
Laura: Because it makes me wonder, where is it?
Josh Martin: Exactly it would be shown today, I think. I think that if that movie were independently produced today, there would be no question.
Laura: Yeah, I don't know. I don't know if I agree, necessarily, because I feel like we are going backwards and forwards at the same time. I feel like we are getting more male nudity, but a lot of times it's not even real. So, yeah, maybe we'll get a fake dick with a fake, tattoo on it. and maybe that's how we'll get it. But that doesn't satisfy the situation for me.
Ryan: I mean, I would say that from 1995 to now, if you were going to show that moment. I mean, people have changed attitudes have changed people's sense of what intellectualism actually is, and certainly how content and I use the word content, because effectively that's what it is, because anyone can manufacture it now, how that stuff is made and what that consists of, it's very different. So I would say there's a lack of simple liberation in the doom generation when it comes to the male fronted nudity. But then there is a certain reservation, and we've spoken about it, where I feel like the filmmakers themselves are they're trying to be as reserved as they can because they're already crossing so many boundaries as it is. And I don't think it would change the film for the worse. And I don't know if it would change it for the better either. It would just be the last thing that you would probably ever speak about in the film that's full of a bunch of all other sorts of fucked up things. To say that a film made now would not have that, I mean, I think 100% it would. And they would ride their coattails on that singular moment.
Ryan: Yeah, that would be plenty of examples of films now that do that where I mean, I'll say a couple of examples. I think a Serbian film is one of those. I also think that, Human Centipede Part Two is also probably one of those, which really kind of ride on the controversy of their own making. But they're not necessarily quality products, if that makes any sense. It's like controversy for controversy's sake. Except with this, I feel like obviously the Doom generation has a little bit more to say than just that.
Laura: Right. But I think we're all kind of on the same page.
Ryan: I don't think I'm seeing anything groundbreaking. I mean, I think just overall, we're all on the same page. It's not like he's cutting around it. He's making very deliberate choices, and certainly his shot choices and the way that he puts his scenes and things together, he's not cutting around the nudity like in other examples that we've discussed on this podcast.
Laura: I don't know if I agree with you, though. I don't know if I agree that he's not I think that he is cutting away from it, and I don't know if it's his choice.
Ryan: I take that scene in the bathroom, though, where if it did happen to show, he would have left that in. It just didn't happen to show.
Laura: There's even a moment where Jordan, while I believe it's, when they are looking for clothes, like in the thrift store, that Jordan's out kind of in the parking lot, and he's twirling around with kind of a blanket around him, and he's naked, but it's like from above or, from his waist up. So there are also moments where people like these men are fully naked, and there are choices made to not show that.
Ryan: I would agree.
Laura: Yeah, there's several instances and I go, okay, I just don't know why. Was that too far? Not for him, not for Gregoraki, but was it too much for, the producers? Or when they're actually putting this film together, they go, okay, okay, we can get the head blown off. The disembowelment, totally fine. Arms blown off. Tits, balls, butts, no problem. Rape. Cool. Dicks getting cut off.
Ryan: Cool.
Laura: But I don't want to see that dick.
Josh Martin: Right.
Ryan: Yeah. That's where I think yeah, I think you're right. The violence and the language being used in this film are perfectly okay. I feel like when it comes to the viewing audience, they'll go to a cinema kind of primarily for that stuff.
Josh Martin: Right.
Laura: But again, I think that you're all right. That it wouldn't have been a big deal. No, I think that whoever's decision it was to not have a dick in it, if it was a decision at all, I think was on the wrong path, because that wouldn't have been an issue for this particular film.
Josh Martin: Right.
Laura: So I missed the dick.
Ryan: No, I don't really have an issue with the film for, say, like, having because we speak a lot about honesty on this podcast. And, we've seen quite a lot of disingenuous moments in films, and those are the ones we tend to rate lower, because we just don't get a real great sense that it has any sort of grasp on reality for the story that it's actually telling. But for this, it's hard to kind of argue if it's imbalanced, because I don't feel like that's the way it is. And do I feel like it's not honest? Well, I kind of feel like it takes it to a certain degree, but then it just doesn't take it far enough. And you know what? It kind of stays in this kind of comfortable middle section kind of there, and I feel like it's very comfortable there, when really on the kind of the fringes of the rest of the content that's in the movie and the rest of the storytelling that they're doing is obviously that's kind of what he's more focused on.
Ryan: And I don't think this will not be the last time that we talk about Greg Araki on the podcast. This, I felt like, was just an interesting case study, kind of opening up the world of Gregoraki's, filmmaking, for us, kind of moving forward.
Laura: I just want to also bring up there are, let's say, remember Cronenberg's Crash? Right? And remember that interview that they had, like, when they had that press conference and someone asked, why isn't there a, dick? Like, why don't we see James Spader dick in this movie? And he's like, they're talking about how it just doesn't work for the Frames, right? It just doesn't work because penises are down here and everything else is up here.
Josh Martin: I don't know. We saw a lot of homegirls fucking landing strip.
Ryan: That's true.
Laura: There's times where you can make that argument where it just doesn't work for a shot because the penis is down low and the boobies are up high. But for this not that anyone's making that argument. I never really saw anything with Gregoracki saying, this is why I did this, and this is why I didn't do that. No, but I think that if someone did ask that question, that wouldn't really be an argument that could be made.
Ryan: I feel like also, as a filmmaker, he's very much in his own niche. He's on the fringes of the mainstream. He's got no interest in being in the mainstream. He can get away with doing exactly what he's been doing for God knows how many years at this point.
Josh Martin: Yeah, he almost has, like, a reputation that's, like Robert Altman esque, where not stylistically, but he comes in under budget, had a schedule, and because it's pretty low impact financially, to just throw him some Shekels and let him do his fucking weirdo shit and it gets a return because it was so cheap to produce.
Ryan: But I just think, he doesn't need to justify anything. He doesn't need to kind of put himself out there as like this is his proving ground. Like, effectively, the honesty comes from him as a storyteller and as a filmmaker because he's very much stuck to his guns and he's very much stuck to exactly what he's good at doing. And I think that's perfectly fine. I think that's perfectly okay.
Laura: I think he's great.
Ryan: Yeah.
Laura: And I also think this film is great, you know, where my loyalties, lie.
Ryan: Yes.
Laura: And my preferences.
Ryan: But I think this is where this podcast in particular where we're not kind of fixated to the point where it is kind of gazey. It's kind of more of case of just like, well, how far do you push the medium? Like, how far do you push these certain elements in the storytelling? And that's what I find kind of more interesting about it. So I think as moving forward on this, as a format, as an idea, I think it's going to beg a lot of very interesting questions when we cover slightly more, opaque moments in films moving forward.
Laura: Yeah, I agree.
Laura: But, before we wrap this up, we should give our ratings. I feel like we should still rate the film. We don't have a penis to rate. But josh, why don't you go first? A zero to five.
Josh Martin: Ah, four. And a big fan. Big fan of this movie. Like we've been discussing the last hour and a just, it's, it takes all the things that I do, like from Natural Born Killers and just makes it better. Less, trite, less contrived, I don't know. Big fan.
Ryan: Yeah.
Laura: What about you, Ryan?
Ryan: I give it five stars because I think it does what it's doing very well. I like the way this film looks. And it does remind me a little bit, at least on surface, kind of, levels. It reminds me a little bit of Erlenie Mike. It reminded me a lot of Ley lines. His black, Society trilogy, like the cap of that trilogy film reminds me a lot of that story. The story is quite similar as well. That'll be a film we'll cover on the mainline of podcasts as well.
Laura: Can't wait. So, I'm going to, as I say, go to the docking station with Josh. Four and a half. I'm surprised I rated it that high. I'm surprised I liked it so much. And I still like it. I would watch this movie many times. I can't wait to purchase it, in this new 4K restoration. I think it's incredibly fun and incredibly fucked up and very funny. And I'm surprised that it has two of my no no's. And I still came out of this enjoying it. And I think that is really telling for Gregoracki and the story that he can put shit I fucking hate in a movie and I still really like.
Josh Martin: yeah, it's, it's a movie that I have wanted to show for. A very long time. And I'm really, really grateful to Strand Releasing for doing a decent restoration of it. So it can actually be shown, how it's supposed to be seen.
Laura: Yeah.
Ryan: And yeah, if you're lucky enough to live in the Orlando Maitland area, the film will be showing on, Sunday, which I think is Sunday third. this will come out on the Friday before, September 3. So you will be able to, if there's still tickets, be able to purchase a ticket and go see the movie at the Enzian in Mainland, at noon on that Sunday for your Labor Day weekend.
Josh Martin: You're going to love it.
Laura: Yeah.
Josh Martin: It's going to be so much fun.
Laura: And you'll have a full day to recover for your long weekend of, debauchery.
Ryan: Yes.
Laura: So Ryan, you were saying you didn't know what that last line of the film was.
Ryan: I didn't know what it was.
Laura: Nachos. And so I have one question to ask you both before we finish. This is do you want a Dorito?
Ryan: There you go. Perfect.
Laura: Well, coming to you from the Headless Horseman Hotel.
Ryan: Oh, no, it shouldn't be that. It shouldn't be that.
Laura: Why?
Ryan: Because this film was photographed on location in hell.
Laura: Coming to you on location from hell. I have been Laura. I'm Josh Ryan, and we'll see you at the movies.
Ryan: Yeah, it was a healthy glaze, let's put it that way. Yeah.
Josh Martin: Certainly less upsetting than unhealthy glaze. Oh god, it's so watery.
Laura: Just full of grit.
Josh Martin: Why is it like a light yellow and, consistency of cat litter?
Ryan: Fucking orange. Yeah, it came out oh, it, came out all like gritty and shit. You're just like dropping little pellets that come out of it. And it's like, oh, that's fucking nasty.
Josh Martin: You ever wonder what happens when you ejaculate when you have really bad kidney stones.
Ryan: Fucking shoots out of you? Puts a hole in the wall.
Josh Martin: It's awful. It does not feel good.
Ryan: Has that happened to you?
Josh Martin: No.
Laura: Oh god.
Ryan: Yeah.
Laura: We have to finish this.