"Sex & Death & Girls & Cars & Gods" - TITANE (2021)

Patrick: 00:00:01

This program is a proud member of Univoz Unified Unique Voices. Learn more@univozpods.net hello, my name's Patrick and I'm a scream queen. I'm a scream queen and so are you.

ror gets gay. This is episode: 1511

And tonight we're gonna be tackling one tough cookie of a movie. It's a tale of sex, death, and girls and cars and gods and monsters, the fabulous French film titane.

And to help me cut deep into the bloody beating heart of this challenging yet rewarding, yet disturbing, yet fabulous little film, my very special guest is voiceover actress extraordinaire and my co host over at Damew Uncle Lewis, the Friday the 13th the series retrospective podcast. My very special guest is Maya Murphy. But, but, but, but, but, but. Before we do any of that. Hold on, hold your horses.

Patrick Walsh, and ever since: 2010

But I make you see them through my very, very gay little eyes. So welcome back, everybody. So great to have you all here again for the second to last episode before Scream Queens goes off the air.

One of the things that I really enjoyed for these final episodes was going out on my own terms, my way that I wanted to talk about the movies, I wanted to talk about with the people. I enjoy talking about them the most.

But over the past 16 years and the hundreds and hundreds and hundreds of episodes that I put out for you, I've realized that there are two kinds of episodes that are my absolute favorite to do. And that's how I'm going to be spending these last two episodes.

So for this penultimate episode, my favorite thing that I cannot leave without doing one more time is taking a movie and truly making you see it through my eyes. Not just my gay eyes, but my eyes.

For instance, like when I did that episode on the original Halloween, I viewed the movie through my criminal psychology background and how I don't see that movie as anybody else seems to see that movie or the time we talked about that film, Grimlove, the gay cannibal movie, a film that most found disgusting and vile. But I said, no, no, no, look again. There's so much beauty in here. It's painful beauty, but there's beauty.

Or more recently, when we did In a Violent Nature, a movie so many people just instantly hated because they didn't understand the game that was being played. But I said, no, no, no. Hold on, hold on. Look at the rules that they're breaking here. Look what they're deliberately doing.

Look what they're trying to make you feel. Let that happen. See it through my eyes, and maybe you'll enjoy the movie more. Maybe you'll see the movie in a different way.

Maybe you'll learn how to watch film differently. And that's what we're going one more time. It's a challenging film. It's a difficult film. It's an unpleasant film. It's one that so many people like.

This was a huge piece of shit. What the fuck did I just watch? Well, Maya and I are gonna get to the heart of what you just watched.

And if you didn't like it the first time through, I hope you'll appreciate it more because I think this film is incredible. Now, Titan, like I keep saying, it's not an easy watch. It's hyper violent. It's not gonna give you any help in understanding it.

But that's why Maya and I are here. So it's available on Tubi right now.

I highly suggest you watch it before we proceed, because as always, we're going to have to spoil the shit out of this movie.

But for the rest of you who are ready to cross that point of no return, because it's time for me to bring on Maya Murphy and play the trailer for Titan, which, by the way, is just music because the trailer was all in French. Enjoy the soundtrack to Titan.

So, as many of you may know, this episode was supposed to be a visit with Michael Howey and Christopher Gronland, two of my favorite heterosexuals. We're going to talk about a horror comedy called Evil Sublet. But Christopher Gronland had to have heart surgery.

He was doing very well, but I figured I want to give him some time to heal. But the other thing is, if I'm waiting for people, I'm never going to be able to end the show. So I said, okay, I want to fill this lot.

So what do I want to talk about? I decided I want to talk about a movie that's been stuck in my head since I've seen it. A movie that nobody else wants to talk about.

Every time I bring it up, people yell, yeah, that movie is terrible. But I see things in this movie that maybe other people don't.

So earlier in the year when I said that I was wrapping things up and was having difficulty cognitive difficulties, I said, maybe this season I'll do some less difficult films. I am doing one last difficult film before I go. And unfortunately there's one person that I call when I do difficult films.

My most difficult friend I've ever met in my life. And also my co host over Damian Wonka Lewis. You know where he love her.

Ladies and gentlemen, boys and girls, mgncs, wherever you may be, please welcome back to the screen please. Microphone fabulous fire Marie.

Maya: 00:05:57

Hello. I am here to fill your slot, unwanted though it may be.

Patrick: 00:06:02

This got to be a bisexual.

Maya: 00:06:03

Daisy, you can't have two heterosexuals. You get one disaster buy instead.

Patrick: 00:06:08

You know what? I'm more comfortable with that. I mean, I'm used to your weirdness. Those straight people like, what, what, what?

Maya: 00:06:18

You know.

Patrick: 00:06:19

So, Maya Murphy, how are you doing? What's going on? You have some news? You have some. Since the last time you've been on, you had some video game news. Yes.

Maya: 00:06:26

Oh, yes. Rosewater is out.

If you are into any kind of point and click adventures or you want to do a road trip and an alternate timeline with a fabulous group of supporting characters voiced by some stellar, stellar actors, check out Rosewater. It's on Stella Steam, it's on Gog, and it came out at the end of March. We've been so happy with it.

Patrick: 00:06:48

And aren't you the star of Rosewood?

Maya: 00:06:50

I am. I'm the player character. You can choose whatever I do and who I make friends with and who I alienate.

Patrick: 00:06:57

Like right now. Anyway.

Maya: 00:07:00

I can't alienate you. I've been trying for 15 years.

Patrick: 00:07:03

I cannot be alienated. Nothing that you could do could shock me. But it was there. Something.

Wasn't there another game too, that came out more recently, like, oh, I did a trailer.

Maya: 00:07:15

I did a trailer for another game.

Patrick: 00:07:17

I'm trying to remember. I'm trying. Brain. Yeah, exactly what it is. Because it's a game I don't play. It's one of the big ones. It was one of the big ones.

Maya: 00:07:25

I did a trailer for Call of duty Black Ops 6 zombies. So if you want some help on understanding how to play that DLC, I'm there on YouTube explaining it to you.

Patrick: 00:07:35

Well, fabulous. I love all that. Congratulations.

Maya: 00:07:37

Thank you.

Patrick: 00:07:39

One question, Maya, before we start. If I'm here and you're here, who's watching the store?

Maya: 00:07:48

Not Trey.

Patrick: 00:07:49

Is it Vita? Did you leave Vita in charge of the store?

Maya: 00:07:52

I mean, Vita acts in pursuit of her goals. I think. I think it's gonna be fine.

Patrick: 00:07:59

Whatever, Body cat. Sure. What could possibly go wrong?

Maya: 00:08:01

I mean, thanks to you, she supervises My house. So, like, you must trust her a little.

Patrick: 00:08:06

No. Maybe it was just my. Just my plan to get rid of you. Maya, what am I talking about? What is this store we're talking about?

Maya: 00:08:11

I. We. We host a retrospective podcast of the TV series Friday the 13th.

And the very first episode of that show has an amazing possessed question mark doll name. Cursed.

Patrick: 00:08:24

Cursed. It's cursed.

Maya: 00:08:27

And when I got married last year, Patrick and Trey gifted me an absolutely terrifying portrait of this perfect villain. And now she lives downstairs in my apartment.

Patrick: 00:08:38

Yeah, we've been obsessed with Vita from the beginning. She's. She's the gay eyebrow, right?

Maya: 00:08:42

Queen eyebrows.

Patrick: 00:08:43

Move over, Robey. We got Vita. Anyway, the reason we are here. We're talking about the French film Titan is the second feature from director. Here's the other thing.

People at home.

Maya: 00:08:56

I can try to say I'm not good at French either.

Patrick: 00:09:00

A, I'm not good at French, and B, as I said this last episode. Mike, back me up. I've got trigger finger in three fingers. My handwriting has always been horrible, and now it's even worse. And I can't.

I can't decipher what I have in front of me at all. Julia, Dirk took. Let's go with Dick and Julia. Dick, if it's wrong, I'm sorry, but I cannot read.

Maya: 00:09:17

Julie D.

Patrick: 00:09:20

Julia, Julia, Julia. D. Her first film, Raw, made a huge impression in the horror community.

And Maya, you would enjoy this story because it's about a girl who's been raised vegan by her family. And when she goes up to college, she has her first taste of meat and she turns into a cannibal. It turns out her whole family is cannibals.

And this is why they've been keeping her a vegan. Like, we live vegan so we don't eat people.

Maya: 00:09:41

That sounds amazing. I would love that.

Patrick: 00:09:44

Yeah, except it's grim and not funny.

Maya: 00:09:47

Yeah, no, I would still love that.

Patrick: 00:09:49

Just so people know, I haven't finished that one because I had to turn it off because she's studying to be a doctor. And the scenes of them working in the morgue, like, doing cadaver autopsies and stuff, but they're working on dogs. Oh. And it just came into my head.

I'm like, this is France. They look really good. I think those are real dog corpses. And then all of a sudden, I just couldn't watch the rest of the movie.

You can eat people all you want. Leave the dogs alone. They probably are fake. I mean, I'm sure they're fake, but maybe they're not. I don't know.

Anyway, if anyone can tell me if the dogs are real and does the dog die?.com was no help. Are those dogs dead? It was the question.

Maya: 00:10:23

Yeah, the dogs are dead. I can, I can root around and see what I can find for you. For that. We could look at the special effects credits, see what we can find.

Patrick: 00:10:33

Thank you.

So one of the reasons that this movie, this movie Titan is so difficult, a lot of people can't get past a concept which granted, is also one of the reasons why you're here. The main character is a woman who has sex with cars. Much like another film, Maya and I Cupboard the Shape of Water.

That movie was reduced to the fish fucking movie and this movie got reduced to the car fucking movie. That's all anybody sees in it. But unlike, unlike Shape of Water, which I understood, like, this took me a long time to wrap.

I still don't think I have my head wrapped around most of this movie. But anyway, there's so much more to carve than car fucking to this film. And that's why I want my hair.

Maya: 00:11:10

I have a theory and I'm going to bring you my theory.

Patrick: 00:11:13

I want to get into that right away.

Maya: 00:11:15

Yeah.

Patrick: 00:11:15

If I don't mind. I don't want to. I just want to leave lead off that we're going to cover that.

Maya: 00:11:19

Yeah.

Patrick: 00:11:19

But I don't want to spend a lot of time at the top talking about it because I don't think it's the most important thing in the film. I think there's.

Although what I do want to say, like one of the reasons that I, I guess I just said I'm not going to cover the top of this show, but I think I'm going to have to a little bit, at least broach it, is that I spent a lot of time, like, what could this mean? What could this be representing? And I'm thinking this is some kind of like alternate sex. Is like.

Is it just like the shame about alternate sex and hiding it and like thinking that you're weird and you're not, it turns out, but your kink all of a sudden becomes something darker or something like that. But this last time through, I did the same thing that I did with Saint Maud.

Saint Maud is a movie about a woman with religious delusions that God is talking to her and she's out to save the world from all the demonic possessions. And it's a brilliant film. But one last time I watched that, I went, what if Maude's not crazy? What If God is talking to her.

And I watched this last time going, what if this is for real? What if this woman is some kind of actual machine human hybrid? Maya's making faces. Please tell me.

Maya: 00:12:25

I think she starts the movie already as a hybrid. The opening scene of the film is her as a child in the car her father is driving.

She's sitting in the backseat, and the first noise she makes is imitating the car engine. And her father says, stop it. And she just goes, harder. She loves this car. She communes with this car. She does not ever get along with her bio dad.

Patrick: 00:12:52

No.

Maya: 00:12:53

And there's. There's more things to support this as the film goes on that I think she has always been hybrid.

Patrick: 00:12:59

Yes. And I understand people go to go, that's stupid. Because there's nothing else like this in the movie. There's no other fantasy elements in the movie.

Everything else is very gritty and very real. But still, what if. And also, why is this stupid? We had so many films, like all these Marvel movies with people with superpowers. Why can't she be.

I'm not even in the same boat with Maya entirely because I think something happened when they get. The thing is that Mari was saying that she's in the car with her dad making vroom, vroom noises.

And she's being so annoying about it that they get into a major car accident. She has to get a titanium plate put in her head in this whole, huge, like, orthodontic headdress thing. That's nightmarish.

And I thought maybe that that was. That was her. That was her hybrid origin story. Like something.

Maya: 00:13:38

It's a radioactive spider moment also.

Patrick: 00:13:40

Yeah. Thank you. Thank you. Thank you. Thank you for using comic book terms that I don't know. Thank you.

Maya: 00:13:44

Absolutely. That's her being bitten by a radioactive spider. I mean, maybe she hasn't always been a hybrid. Maybe that was just something she wanted.

But also, like, it's evocative of birth imagery. She. Her head impacts the window, not anything else in the car. It's like she's trying to be born out of the car.

Patrick: 00:14:00

Yes.

Maya: 00:14:01

And she. She goes in for this surgery, she gets a titanium plate in her head. And I looked up, and titanium is what they normally use for that.

And when they take her back out, she comes out, she hugs the car and she kisses it. She's not stoked to see her parents. She's happy to see the car.

Patrick: 00:14:16

Since we're on her, tell me about Alexi, our main character, who. Who's played by Ag Roselle who's fabulous in this, by the way.

Maya: 00:14:24

This is her first feature film and she's fabulous. And there is so fabulous and fearless. Fearless.

Patrick: 00:14:29

Fearless.

Maya: 00:14:31

There's so little dialogue and this movie explains so little to you, which honestly is so refreshing. I just want to say she's absolutely metal. But I'm just walking into wordplay there. Well, she. She works as a sexy car dancer.

She lives with her parents in France. And that's like all the details we get.

Patrick: 00:14:55

Yeah, yeah, yeah. Well, that's because this character, for the most part, is an enigma we don't get. The movie won't let us in her head.

Maya: 00:15:04

I wonder why that is.

Patrick: 00:15:05

Well, because it's got a titanium plate, right, protecting it. But yeah, but for the second half of the movie, she's almost completely silent.

So we're always having to read body language and second guess what's going on with her. But yeah, what I love about these opening scenes, which I think is cool. Maya is right. She works as a sexy car dancer. What does that mean?

It's like a strip club, but the women are performing on. On cars. They're dancing on cars. They're doing the routines on cars instead of on a stage. And what struck me this time too, I'm like, girls.

Hot girls in cars. Hot girls and cars. That's a thing. Look at all these guys walking around, watch, mulling around like zombies, just taking it all in.

How funny that that seems normalized. Like it seems totally normal to have a bunch of guys obsessing over girls having simulated sex on a car.

But when we actually have a girl sex with a car by her own choice and getting for her pleasure. Now it's weird.

Maya: 00:15:54

The other girls look like the girls. We're talking about things you've seen in ads.

Patrick: 00:15:58

There's a girl watching, doing a car wash with her boots, with her giant plastic.

Maya: 00:16:03

Amazing.

Patrick: 00:16:04

But that's normal. But nobody got shocked by that.

Maya: 00:16:07

No one got shocked by that. But I feel like in the ads it's the. The woman is the accessory to make the car more appealing. So when the.

The camera follows Alexia into her car, her routine, all of a sudden the focus is on her and the car is her accessory. And that's kind of inverts also supporting my. My hybrid theory. Our hybrid theory that Alexia is already a hybrid.

Her outfit, her whole outfit is shiny and chrome. Her. Her bikini, her panties, her. Her shoes are all metallic. She's already metal on the inside.

And she does her car downs without checking in with any of the men. Like strippers are there to make dollars off of the audience. She's doing her thing for her.

Patrick: 00:16:48

Yes, yes. And the car.

Maya: 00:16:51

And the car. The car. The car likes it.

Patrick: 00:16:55

Well, that's the thing. Okay. I don't. Since we're on the sex in the cars, in the scene where we first see her have this sexual encounter with. What is that? People like.

What does that mean? She has sex with cars. I don't really understand what's going on. But you know what? Whatever.

Just accept the fact that she's having an intimate relation with the car and gets pregnant by a car because. Why not? Because we're in a fantasy world. Why not? This last time through, I realized the car actually calls her. Yeah. She doesn't go to the car.

The car calls her. It's because she. She. She's committed a murder. And she come. She comes in.

It's a long time since she's left the car, but the engine's running and the lights are on and it knocks on the door.

Maya: 00:17:33

Knocked on the door. Right on. The hydraulics bounce up and down. It's happy to see her.

Patrick: 00:17:38

Yeah.

Maya: 00:17:40

The car knows. The car already knows.

Patrick: 00:17:42

And we don't have any other fantasy like things in the movie like this. So I have to take this as fact.

Maya: 00:17:48

Yeah.

Patrick: 00:17:48

Because it's not that kind of a movie. So this is actually happening. The car is into her. Fine. Okay. She's a car person. If they got pregnant. Yes. How dare you?

How dare you question their love? How dare you? How dare you?

Maya: 00:17:58

Well, I also. I want to talk about the way they shoot it because the.

Initially the camera is inside the car and we see her holding onto the seatbelts and fucking the car as it bounces up and down. But then towards the end, it moves. The camera moves outside of the car. We're looking at her through the sunroof. And now it's voyeuristic.

Now you're watching their intimate moment. You're not in that car anymore.

Patrick: 00:18:18

Yeah.

Maya: 00:18:19

I think if it were fantasy, they wouldn't show us that. That distance, that break.

Patrick: 00:18:25

But they wouldn't show you both. It'd be one or the other.

Maya: 00:18:28

Exactly.

Patrick: 00:18:29

Yeah. Yes. Because it's right. That second shot is the one that makes you cringe, is the angle. It goes all of a sudden. Oh, gosh, this is.

Maya: 00:18:35

Yeah. Why am I looking at this?

Patrick: 00:18:37

One of the things that. When I first saw the film, I went in fairly cold because the. The ads don't tell you anything.

Maya: 00:18:44

How would they.

Patrick: 00:18:45

What. What you. That's exactly. Look at us trying to talk about it. They don't tell you what you're in for.

And even the reviews were kind of struggling, so I had no idea what I was getting. So we're in this cold world, and this whole first half of the movie becomes hyperviolent. And I told Maya, I almost walked out of the film twice.

And he's opening. I just burped into the microphone.

Maya: 00:19:09

I didn't hear it. Small burp. I think that was polite.

Patrick: 00:19:13

It was a small, polite French burp. I almost walked out of the movie twice because I said, if this is what is going to be this.

This woman that we can't get into her head, and she's just going to slaughter everybody she comes into contact with.

And then we get to sit and watch her try to give herself an abortion for what feels like three hours at these angles and all these angles that were so intimate and uncomfortable. I said, I don't think I'm gonna be able to handle this movie. I don't think I want to spend the next two hours in the theater with this woman.

But I'm really glad.

Maya: 00:19:44

I said, I want to defend the first murder a little.

Patrick: 00:19:47

Oh, well, the first murder. Yeah, that's one thing. But that would have turned into something easy into it.

Maya: 00:19:51

But also.

Patrick: 00:19:52

Well, that's the other thing. That's the other thing in the scene that might as much describe. I don't know what kind of a movie that I'm in for.

I don't know if she's the hero or the villain. I'm assuming that she's going to be the victim.

Maya: 00:20:01

Yeah.

Patrick: 00:20:01

Or our final girl who's gonna be fighting that she's our heroine. And as she is now being put in position of danger when one of these guys from the car show start to follow her to her car. Her.

Her car in the parking lot.

Maya: 00:20:12

So many movies, women are allowed to murder someone who sexually assaults them. That's. That's the price of getting the murder. This guy tries to follow her after the car, and she's, like, already showered off.

She's dressed like a civilian. She's parked really far away, and he's trying to talk to her. Oh. Oh, I met you at the boat show. Remembered. She goes, no.

And he goes, oh, I think I'm in love with you. I know you don't feel the same. Kiss me goodbye. And he tries to get in through the membrane of her car window.

And I'm not sure, but I think it's the same car she had her accident in as a child. I Think it's just the family car and it's still hers. And for violating. Violating the sanctity of the car, I believe, is the reason he dies.

She has this stiletto in her hair. It looks like a chopstick, but she only ever has one. So he starts, like, forcefully kissing her through the open car window.

And she realizes her only plan starts to actually make out with him. So she can distract him long enough to stiletto him through his ear. Now, so, so, so French.

He still manages to get a milky white liquid all over her after this sexual assault.

Patrick: 00:21:18

It's just so gross. It's not bloody at all. There's no blood at all, but there's lots of foam. He foams and foams.

Maya: 00:21:24

Like, the visual is very clear. She feels gross. She gets the body back in the car and then goes back inside to shower.

Patrick: 00:21:32

Well, so what I think is cool, but not cool about this, what I think is. I think that's interesting what Maya said about the. About her penetrating the car. But it's not her first time doing this. You get. That's very clear.

Because she. She. She pulls an assassin move here, you call. You call it a stiletto. Everyone else in the movie calls it a knitting needle.

Everyone else who encounters that piece.

Maya: 00:21:52

That's not a knitting needle. It doesn't have a bottle. I know that, but that's what size on it? I knit.

Patrick: 00:21:55

I know, I know, I know, I know.

But I'm just saying, just for a visual, like, if you don't know what a stiletto is, because when I think of a stiletto, I think of a switchblade kind of a knife. And it's not that it looks okay.

Maya: 00:22:03

This is a stiletto.

Patrick: 00:22:04

This is. I know, but it didn't have a handle. It didn't have a handle. And she was wearing in her hair, like, it's like a chopstick, like you see in.

Like you see people do sometimes. But no, she takes it out and just plugs it right in his eardrum. Like, without looking, without. Like, this is not her first time doing this.

And like, there's no musty. There's no. There's no worry about getting rid of the body. We don't even know what she does with the body. She's just like. I just shout.

Like, it doesn't matter.

Maya: 00:22:26

We don't follow up on her consequences for anything at all. I think consequences would get us in her head, and we just never go there.

Patrick: 00:22:35

Yes. So she kills this guy. And that's. After this kill is when she finally. When she Had. When she finally makes love with her car. It's.

It's the climax of the night. It's not. That's not. That's not even the car she grew up with. The car that she has sex with is not the one that she grew up with. It's a show car.

Maya: 00:22:46

Oh, yeah. To be clear, the show car is covered in flames because it's hot for her.

Patrick: 00:22:51

It's hot.

Maya: 00:22:52

Her personal car is the one that the gentleman violates.

Patrick: 00:22:56

Yeah. I want to take a moment on her home life, like, because you don't get a lot of it. This stuff with her dad.

What I think is fascinating is that she lives with her dad, who's a doctor, apparently, who had something to do with the surgery that saved her. But even we don't get much about him. But their house is beautiful. We live in this gorgeous house. You know why they live in this gorgeous house?

Because they had this huge, extensive surgery, that revolutionary surgery. And they didn't go bankrupt because they have universal health care. Look at how well they're living after this absolutely traumatic surgery.

Maya: 00:23:25

The relationship with the dad is so weird.

Patrick: 00:23:28

It parallels what comes later with Victor.

Maya: 00:23:31

Sure does. Vincent.

Patrick: 00:23:32

Vincent. Sorry.

Maya: 00:23:34

I mean, it means to conquer. Same, same word root. The. The day after her murder and car encounter, she's eating breakfast and with her.

Her family, and she's like, oh, my stomach hurts. And her mom's like, what, are you on your period? Well, actually, no. Kind of pregnant now.

Patrick: 00:23:55

The next day, showing the next day.

Maya: 00:23:58

I'm not a car fertility specialist.

Patrick: 00:24:01

The rules don't apply now. But I just love that it's like, immediately this movie's telling you that this is not a normal pregnancy.

Maya: 00:24:07

And she goes, oh, have your dad examine you. And there's. There's no warmth in their eyes. And the way he's touching her. Something is wrong.

Patrick: 00:24:17

No, there was. There was more. There was more affection and love in pin where the dad was examining the dog when he was giving her an abortion. And that was cold as.

Yeah, no, no, but seriously. But this was more up than a Canadian movie.

Maya: 00:24:32

It wasn't just clinical dad. It was. It was. Something was off with their relationship.

Patrick: 00:24:36

Yeah, they. They don't like each other.

Maya: 00:24:38

They do not like each other. And he goes to walk away and she goes, hey, what about here? Try here. And he's like, I don't. I'm not actually concerned about.

Patrick: 00:24:45

Yeah, I gotta say my next.

Maya: 00:24:46

I'm done now.

Patrick: 00:24:47

Next patient, please. Thank you.

Maya: 00:24:48

And we start introducing. In this scene, we start introducing the news broadcast as a way of learning what's going on in the rest of the world, because we follow up later.

That's kind of our temperature check for. I don't know, like, the threat level.

Patrick: 00:25:02

Well, the threat level. But we also find out about the missing boy.

Maya: 00:25:05

Yeah, that's also where we first find out about the missing boy.

Patrick: 00:25:07

First we hear about Adrian, the missing boy who comes. Which comes important in the second half of the film. But I kind of want to wrap up here.

Maya: 00:25:12

Yeah.

Patrick: 00:25:12

Because. Tell me about Justine.

Maya: 00:25:15

So Justine is Alexia's co worker at Sexy Car show. And we saw them showering off together. And Alexia's hair is a matted, bleached mess.

And in the shower, she gets it stuck on Justine's nipple piercing.

Patrick: 00:25:29

It happens. It happens. It happened to my beard once.

Maya: 00:25:31

Yeah, no, I. That's. That's. That is the least of our problems. So Justine introduces herself and Alexia does not introduce herself back.

All of her questions are about the hardware.

Patrick: 00:25:43

Yeah.

Maya: 00:25:43

When did you get this? Does it hurt? And she's like, trying to get her hair off of it, and eventually she just rips her hair off and it, like, Justine grabs her boob.

It goes, ow. And Alexi goes, you said it didn't hurt. It always hurts when you yank on it, you jerk.

Patrick: 00:25:59

But, yeah. So these two become. Well, I don't call lovers, but they become sexually intimate, or at least they try to be.

Maya: 00:26:05

They go on a failed date. It's very clear that Alexia is here for the medal and not for Justine.

Patrick: 00:26:12

Yeah, yeah, yeah. I wasn't even sure about that. It felt like maybe she wanted the connection, but because we.

Maya: 00:26:18

I disagree.

Patrick: 00:26:20

So can I get. I get my thought out, please? Thank you very much. Please. But just because she's just like. So is this your first time with a woman?

Do you not know what to do? And I said, she's never been with anybody, has she? She's never been with a human.

Maya: 00:26:35

I have to disagree on this point because they. They kiss a little bit. But then Alexia moves down to Justine's boobs and she's just. She's only focused on the boob with the piercing.

She doesn't have piercings on both sides. So she's like, chewing on the piercing, pulling at it. And that's when Justine says, you know, you can move down.

Oh, is this your first time with a girl? And it's. I don't think it's. I don't know what her sexual history is, but I don't think she's any kind of afraid.

I know she's here for the metal attached to someone who can her.

Patrick: 00:27:07

Yeah, I get that. You're right. You know what? I think you're right. I think you're right. I think you're right. This is the fun thing about art and movies. Like, you can.

You can determine things. There's no real right, there's no real wrong. It's all. It's all subjective, but. Yeah, but I see your point. I think that's a valid point.

But I also just think that since we don't. She doesn't seem to be able to connect on a human level to anybody in any way because she's machine. So I don't think she's ever been with anybody.

Maya: 00:27:28

I think that's a fair point also.

Patrick: 00:27:30

Yeah. I don't think she knows what to do or cares what to do. Like she's just a check. She's having feelings.

She's having feelings that she doesn't understand. Like, you're not a car, but I want to be around you, but it's because you're mental thing. That makes sense. Yeah.

It also makes sense with what's coming, but because this is one of the things I struggled with because she winds up murdering Justine, seemingly out of the blue.

Maya: 00:27:51

Yeah, I. I had some. I think that was where I felt the. The muddiest. With this film, they end up back at Justine's party house.

Patrick: 00:28:00

House of sex. This is. There's a lot of people there and they're all there to. How many of there are you?

Maya: 00:28:05

Yeah, and it's. It's clearly. I don't know, maybe it's a Airbnb for an orgy.

Patrick: 00:28:13

I. I think it's just. I think it's her. I think it's Justine and a bunch of other girls from work and they all have boys.

Maya: 00:28:18

The guy lives there. The guy we meet Jack. Juju.

Patrick: 00:28:24

My friends call me Juju. It doesn't matter. You're dead now. But.

Maya: 00:28:27

Okay, well, he has a reason to die. But, yeah, they're. They're making out on the couch a little bit. And then Alexia kind of thinks about it and you see her thoughts go somewhere else.

And then she takes the stiletto out and stabs Justine in the face.

Patrick: 00:28:41

Well, she. Well, the thing is, like, she was aiming at the ear. Like as now a couple of times through. I see now that she's looking at her ear.

Like Justine's got her head on her. On her chest, and she's looking at her ear and she's going to stab that ear, but just right her Face went right in her face. Poor Justine.

She had no idea what was coming.

Maya: 00:28:59

And it kicks off this whole. This whole fight sequence. So we eventually, we get Justine murdered. This. This other guy shows up in his underwear and.

Patrick: 00:29:08

Okay, hold on, hold on.

Maya: 00:29:09

Sorry.

Patrick: 00:29:10

This guy's name is Romaine. His name is Romaine. Romaine just comes down the stairs and doesn't notice anything because it just looks like they're sleeping on the couch.

Doesn't know. Please continue.

Maya: 00:29:17

Yep, sorry, Sorry. Alexia stabs his foot with a fire poker. And his kill is gnarly because she finishes him off with a. With a stool leg through his throat.

The crunching noise is awful. And then she just sits on it.

Patrick: 00:29:35

Mouth in his mouth. She stubs the end of that stool leg in his mouth and just hear.

Maya: 00:29:40

The spine and the trachea crack. And then she kind of sits on it to collect her thoughts and figure.

Patrick: 00:29:45

Out what she's gonna do. I am tired. I. Hey, Mama has had it.

Maya: 00:29:49

Two murders. Morning sickness at night. Because we spend so much time doing these inversions. And all of our time with Alexia, it's Almost all of it is dark.

So she has her morning sickness at night on the beach before we make it back into the party house. And then we find there's more people in the house. And Alexis, she's sitting on the stool.

Patrick: 00:30:10

She's sitting on the stool. It's in this guy's throat. And some girl comes down the stairs. Romaine, is that you? And I said, let us alone.

Maya: 00:30:17

Oh, boy.

Patrick: 00:30:19

This is one of the pre written jokes. I have no jokes for this movie. Because it was. But yeah, so she's got to kill this girl too, who's a chase of the house.

She's trying to get the girl out of the bathroom. Some other guy shows up. This is my favorite moment in the movie. It's like one of the only moments of levity.

She just looks at me, goes, how many of you are there? I'm gonna be here all night.

Maya: 00:30:37

And I feel like she's almost gonna let the last guy live because he's like, oh, where'd you come from? Oh, well, you can stay in my bed. And she's like, nope. No sexual shenanigans from you. Death to your foot? Also no, but, but.

Patrick: 00:30:49

Again, but, no, but she does the thing where she's. She's soft. She goes, sorry. She puts his head in his chest for a minute.

Yeah, but it looks like intimacy, but it's more just like, oh, God, I'm not gonna do it. All right. She's just gathering her strength for a moment. I'll just take a little nap here for a second and then I'm going to kill you.

Maya: 00:31:05

I love it.

Patrick: 00:31:05

But this. Yeah, I didn't my first time.

Maya: 00:31:10

No, I love her exhaustion. I was confused at this point in the movie. I didn't know where we were going.

Patrick: 00:31:14

He's like, are you okay? I am wiped. Yes, you are, honey. You're right. And your nights are just starting. This is more to this killing spree.

But she goes in this killing space, if this is what the movie is going to be, I don't think I'm going to like it. Because before this is when she tried to give herself an abortion.

She's sitting on the toilet after having this incident with Justine saying, ow, you're hurting my tit. Please stop doing that. You can go lower. She goes and chooses to give herself an abortion with her stiletto. And it seems to go on forever.

And the angle is so intimate that I had to remind myself that this directed by a woman because if I. A couple of times I had to keep doing that because this is almost exploitation if it wasn't. But the thing is that got me this time through.

It doesn't get easier to watch because it seems to go on forever.

You're hearing this clinking noise, and I know it's the stiletto, the size of the stiletto hitting the porcelain, but I'm also going, it feels like it's hitting metal. Which we'll come back to later. I'm like, she's got a. She's got a titanium uterus in there. Is that why she can't get rid of this baby?

Maya: 00:32:07

Is one, yes. Yeah, I know, But I think the discomfort for the abortion is. Is intentional. I think it's supposed to make you squick.

Patrick: 00:32:18

I know that, but I just said it was all these things.

I'm like, if I'm just going to watch close ups of women trying to give themselves abortion and just killing people like they're nothing, this is not the movie for me. It's going to be two hours of this. I'm not going to make it through this movie. Fortunately, it was not two hours of this.

And I actually realized when I told Maya about the movie, I said, I. I was like, I don't know if you want to do this because it's a strange movie. It's hard to get into. It's hyper violent.

There's imagery that's really unpleasant. All that is condensed in the first 20 minutes. It felt like half the movie to me, and it's not.

Maya: 00:32:49

Yeah, I agree.

Patrick: 00:32:51

Yeah. So I oversold the hyper violence. But I think that's okay. Because the thing is, we're getting into Plop Up a Plop. And I want to not do that.

But just the thing is, she goes in this massacre and then she has to go into hiding. That's the second half of the movie. We'll talk about the imagery in the first half of the movie.

Maya: 00:33:04

I think we have to go linear for the first chunk just because it sets up everything else we get.

Patrick: 00:33:09

That's why I did it this way. But I just said we're getting dangerously close to plop of blah, blah.

But when I saw it the first time, that threat of hyperviolence hangs over the rest of the movie. That could break out again at any moment.

Maya: 00:33:22

Yes.

Patrick: 00:33:23

This because we.

Maya: 00:33:24

We.

Patrick: 00:33:25

The movie changes tone. Like, we start get almost getting into the warm fuzzy. She gets into a situation that seems. Is this gonna be okay? Is this healthy? Why does this.

I don't wanna get attached to anybody because I feel like this is all going to end in tragedy and bloodshed.

Maya: 00:33:39

And here's someone else who has it out for her. And we know she can murder just about anyone. So, like, how's that gonna go? Here's someone who discovers her secret. How's that gonna go?

And the violence doesn't return the way we've seen it.

Patrick: 00:33:52

No. One of the reasons that I wanna talk about it, the way this movie ends up. I'm not spoiling anything yet.

I had such a huge emotional reaction to how things went. Like the movie was over and I was kind of sitting there numb. Like, why did I just watch? And I got out on the street and just started bawling.

I just started bawling. I had this huge emotion. And part of it. A huge part of it. Well, I'm gonna say equal parts.

Part of it was the emotional reaction to what happened in the film when I just kind of realized, wrap my head around what I just saw and what it meant and how gorgeous that was and how much reflected my life. And then I went. It was such a relief to let go of that. That tension that I've been holding for two hours, that that violence didn't come back.

That it didn't come back like this perfect little utopia didn't fall apart. Which is why I think it's a beautiful film, which we'll all get into. But I just want to cover that now. But that. Because I keep saying that I hate it.

And I said I wanted to walk out. I said, this is what. If you're having a problem with the first half of the movie, you will be rewarded by the end of it.

Maya: 00:34:50

Yes.

Patrick: 00:34:50

If you're patient. If you're patient, and if you're open to what happens because nothing. Things don't get less strange as they go on. Let me. Let me.

Things do not get less strange, but there's hope to it all of a sudden.

Maya: 00:35:00

Yeah.

Patrick: 00:35:00

That's not there before.

Maya: 00:35:01

I think you got to write it out and just be open to the vibes. Like I said before, the movie doesn't come to you and go, here's what this means. This is what this plot point did.

You just got to be open to the vibes and let it wash over you.

Patrick: 00:35:12

Yeah. It's like she has this murder spree, and I love that she caps it off. Like, you know what? I've killed, like, 55 people today.

I might as well knock off my dad, too.

Maya: 00:35:20

I love this because she burns the house down, but it's all this combustion engine imagery because she sets a fire inside the garage.

But for some reason, the walls in the ceiling of the garage are covered in metal, and it starts with this small fire, and you can see it reflect on her face, and then she just walks away. We don't see the house burned down. We don't wait for cops to show up. She just walks away from consequences repeatedly.

Patrick: 00:35:41

Yeah, but not before she locks her dad in his bedroom.

Maya: 00:35:43

Oh, not. Not before she locks him in. Because that is so important.

Patrick: 00:35:47

That's so great. And I love that he was. He sees. He sees it happen. He sees Caesar come in.

And it also reflects the end of the movie when she comes into the bedroom at the end. I just hit that. Yeah, but not there yet. All right, so now we got a girl on the run. We got. We got a dangerous woman on the run. Maya.

What's she gonna do?

Maya: 00:36:03

Makeover. Makeover. Makeover.

Patrick: 00:36:05

Makeover. Yay. She's gotta get a glam up. I'm sorry. I glow up. A glow up. That's the tray word. I've been using my tray words.

Maya: 00:36:12

Oh, well. Well, you know, if we can't have Trey with us in person, at least we can have his words, right?

Patrick: 00:36:17

Or should say glow down. It's a glow. It's a glow down.

Maya: 00:36:19

It's a glow down. But it's by necessity hitches a ride to the airport. And next to the missing posters of the. The children in the area have been gone for a while.

There is a wanted sketch of her.

Patrick: 00:36:33

Face, which is next to. Which is next to the missing poster for the boy that we've been hearing about on news reports. Adrian. Adrian.

Maya: 00:36:42

Adrian. So we do a bathroom makeover. She cuts off her hair. She shaves her eyebrows. And she realizes her nose doesn't match the picture. So this is rough.

Patrick: 00:36:58

This is rough.

Maya: 00:36:59

She's trying to go, what are my options here? She tries to break it herself by punching it. And we're watching this over her shoulder in the mirror.

We do so much work with the camera catching characters in the mirror and not focused on themselves. She eventually realizes punching isn't gonna do it, and she has to break her own nose on the bathroom sink.

But this is the first smile we get from her in the whole movie, because soon as she realizes she's done it, she sees a reflection. She's so happy, and she giggles and there's blood all over her face.

Patrick: 00:37:30

Enthusiastically. But I was. I was in the movie. I wasn't when I first saw it, because again, I'm like, this is what this movie is going to be.

It's just going to be one horrible thing after another. Because this. This is a torture test of a scene as well. Watching her try to break her nose over and over and over again is awful. It's awful.

It's awful.

Maya: 00:37:49

And she. I guess she stopped at the Duane Reade near port, and she binds her boobs and her now pregnant belly.

And we start getting into this modification stuff and we start leaning into some of this trans imagery. But honestly, I think a lot of the modifications are because she is a machine. She is part machine. And we can just do that.

Patrick: 00:38:11

Yeah. And that's the second half of the movie. The second half of the movie becomes her going undercover, or like her pulling off this fraud. Fraud.

Passing herself off as the missing boy to his grieving father, Vincent.

Maya: 00:38:24

And we've spent the entire first half of the movie, camera always on Alexia. And then it's finally just a cut. And we start following Vincent around. And he is muscly and haggard and just so sad.

You can see the loss of his son has worn him down over the years.

Patrick: 00:38:40

The saddest St. Bernard eyes. Just seen too much, cried too much, hurts too much.

Maya: 00:38:48

And he's. When they make contact with him, he makes it clear that the. The boy's mother is gone. There is only Vincent. And he's a firefighter.

And he lives in a compound of men. He is male, male, male, male, male.

Patrick: 00:39:02

Well, here's the thing, too, is that. That first time through, I. I kept Waiting for. Like I said, I kept waiting for that other shoe to drop. Like the violence going to burst out or this.

I keep going, what's wrong with him?

Maya: 00:39:14

Yeah.

Patrick: 00:39:14

Did she just catch her star to a bigger monster than she is.

Maya: 00:39:18

I was bracing for that, too.

Patrick: 00:39:19

That's what I was waiting for. Because when we first pull. What? She's driving her home. They're pulling up to where he lives, and there's a.

Maya: 00:39:27

There's a locking gate.

Patrick: 00:39:29

Yeah, there's. Yeah, a gate. It's. It's barracks. He lives on a base of some kind. They call him Captain. There's men in uniforms are going, oh, fudge.

Is he some kind of white supremacist?

Maya: 00:39:40

Is it a cult? Like what's happening here?

Patrick: 00:39:42

They're firemen, but we don't find that out for a long time. What nightmare have we come in? But she says, it's all men. It's all men. It's all men in uniform. She doesn't fit. Like, she really.

She's like, it's not just, I'm the new kid in town. I don't fit here in any way, shape or form. And, oh, my goodness, they have some pink bathrooms in this firehouse.

Maya: 00:40:02

I want to talk about gender bathroom.

Patrick: 00:40:06

Bright pink.

Maya: 00:40:08

Bright pink walls, bright blue floors, gender bathroom. So Vincent is aging. And multiple times throughout the film, he's giving himself shots. It's never explicit.

If it's hormones, if it's steroids, if it's whatever, I think it's you.

Patrick: 00:40:27

I think it's human growth hormone. I think that's what he said. He's like, oh, when he. Adrian Alexa sees him doing that, we ask him later on the movie, can you help me?

Yeah, I can't twist around anymore because you just give the shot in my ass. And she goes, are you sick? I said, no, I'm just getting old. So I think it's human growth.

But on the other hand, it might be steroids as well, because after we've seen him do it the first time he has that, he goes working on.

Maya: 00:40:51

His raging, well, if you can't meet the requirements for a fireman, you lose the job. And that's clearly his whole identity. This compound and the younger men on.

Patrick: 00:41:02

It, he's God there. He literally says he's God there. When he catches firemen making fun of.

Maya: 00:41:07

His son, he goes, I am God, so my son is Jesus.

Patrick: 00:41:12

Yeah, right. He's not just your brother, he's Jesus. And what I love one of the fireman goes, so Jesus is white and gay.

And I said, welcome to every production of Godspell.

Maya: 00:41:21

When I did it. When I did it, our Jesus was Korean.

Patrick: 00:41:25

Okay, I know.

Maya: 00:41:26

Also gay.

Patrick: 00:41:28

But most productions of gospel is a bland white guy having done God spell three times as Jesus. I can say it's a bland.

Maya: 00:41:34

My. My God, I love the show.

Patrick: 00:41:37

It's a great show. Anyway, nobody cares.

Maya: 00:41:39

I. I like Godspell. I like a Patterson.

Patrick: 00:41:41

Oh, oh, would you. Before we see a lot of Alexa Alexia naked, like, she's naked much of the movie. Can you read her tattoo at any point?

She has a tattoo between her boobs. It's in English.

Maya: 00:41:54

I could read it and I didn't write it down.

Patrick: 00:41:57

I could not read it. I could not read it. I just wonder if it meant something. But here's the thing that I thought was fascinating.

But, like, we see it, like when we see her at the beginning when she's got her heels on and her makeup and her spandex. She's stunning on that car.

Maya: 00:42:09

Oh, yeah.

Patrick: 00:42:10

And. And as the movie goes on, every time you see her naked, it's less and less, quote unquote attractive. Like, she just. It looks more and more mangled.

And it's not. It's not just the fact that she's pregnant. She's also been binding herself and the binds are leaving scars.

Maya: 00:42:22

She has the binding scars, bed sores, and she's also getting itchy from her pregnancy. And she scratches at it.

When she scratches away, like, she bleeds motor oil out the side and she eventually makes it through to, like, the porcelain amniotic sac in her belly. And like, maybe blue steel under.

Patrick: 00:42:40

Is blue steel under there.

Maya: 00:42:42

Maybe the. The blue steel is the baby, but the motor oil, that's her vascular system.

Patrick: 00:42:48

Well, what. After, after the baby comes, she's still blue. Like, the blue starts coming out in different places. Like on her face. Like the. The.

Anyway, I think that's her. I think that's her under there.

Maya: 00:42:55

I agree.

Patrick: 00:42:55

What's forming anyway.

Maya: 00:42:56

But I also want to talk about when she's naked shows. There's a thick metal chain on. She's always metal.

Patrick: 00:43:02

I wasn't done. I wasn't done.

Maya: 00:43:03

Sorry.

Patrick: 00:43:03

But I just thought as. Like, this is not a glamorous role.

Maya: 00:43:07

No.

Patrick: 00:43:08

Like, she. Like, what is this? She's a bright. Like you. You are putting it all out there and you are looking bad. You are not looking conventionally attractive.

People are going to make fun of you for this whole shitty, shitty men are going to make fun of you for not looking hot in this role. But I also think it's funny. Not funny, but interesting. Like when you take this image of pregnancy. Like I know it's.

I know no experience with it obviously, but have many relatives are pregnant. I know what they go through. I've heard the stories. I know the suffering that you go through, that the changes that your body go through.

I'm thinking of what, I'm thinking of Demi Moore when she was pregnant and she did movie the Seven Sign. The scene of her naked and it's all golden hour lighting and beautiful curves and everything's beautiful, perfect.

She's on the COVID of Vanity Fair looking gorgeous. And this all looks like it hurts. This looks like my tits are 12 size bigger than they used to be. They hurt, they're swollen. My skin is.

My skin is breaking my belly buttons inside out. I'm sweating, I'm dirty, I'm gross. Everything hurts.

This thing inside of me that's like half my body weight now it looks like, looks like the nightmare pregnancy is. Can be.

Maya: 00:44:08

Well, that's what I have in my notes.

Patrick: 00:44:10

Mine just the body, the body horror of pregnancy.

Maya: 00:44:12

Pregnancy is body horror. That's literally what it says in my notes.

Patrick: 00:44:17

Just as a, as a sidebar. I remember the thing that comes my sister in law when she's pregnant with my niece. The one I was talking about earlier. That's not for you people.

That's a story just, just between us. But we're talking about her earlier. I don't know why because I was too young to have anybody answer the question. She couldn't.

She wasn't allowed to swallow anything. Like, like she could. She was not allowed to swallow her own spit.

Maya: 00:44:38

I know your teeth can move. I don't know about that.

Patrick: 00:44:41

So every time she like her mouth would spit, she had to spit it out. So like she was always having Kleenex after cleaning. Her face was raw like for months. Like it was like just bloody and raw for months.

It was horrific. The beautiful, the beauty of motherhood. Here we are. They lie to you. They lied.

And by the way, the whole process isn't going to be like everything's going to end in blood and tears and screaming but. And you're going to turn inside out. But anyway, it's a nightmare pregnancy. But I just think that bravo, bravo to her for doing this.

It's just because it's not.

Maya: 00:45:11

Oh, it is so ballsy because she's, she's naked, her head is shaved, her eyebrows are gone for half of it. Her face is extremely beaten up. Like it's. It's not sexy. And like I started the movie with the sexy car dance.

Also worried about is this going to be exploitation? But then just the, the way it was treating the nudity, I was like, this is. No one thinks this is sexy. This is not.

Patrick: 00:45:34

And also like the camera, the camera angles are always extremely intimate. Like there, there are points where like they're so close, just you can see so much of her. She's so vulnerable.

This actress is so vulnerable and so literally exposed, literally and figuratively exposed that had it not been a woman, I would have been extremely uncomfortable. I mean, still uncomfortable. But it would have been too much. Would have been like this, this is crossing a line here.

But I also see what they're doing. Like, look, look, look at her. Look at her. Yeah, she's a monster, but look at her. She doesn't.

She might be a monster, but she doesn't know what she is. She's something that's never been before. A woman in pain.

Maya: 00:46:09

On that note, there's this. There's this guy in the compound who's like the would be son of Vincent who's kind of unhappy.

Patrick: 00:46:15

His name is. Everyone calls me Conscious because I'm supposed to be the hero of the movie, but I'm not. Please continue.

Maya: 00:46:19

His name is Ryan. But when they're driving back from.

Patrick: 00:46:24

Which is kind of how Robi says Ryan, but.

Maya: 00:46:28

Ryan, Ryan.

They're driving back from a job in the fire truck and he looks over and he has the wanted poster of Alexia on his phone and he goes, where are you really from? And she kind of thinks about it and comes back and smiles and she maybe smiles three times in the movie.

Patrick: 00:46:45

Yeah.

Maya: 00:46:46

But I think she smiles because she is something new. Because the back half of this movie is Vincent teaching her radical acceptance and.

Patrick: 00:46:57

To be a person. There's. Yeah, yeah, yeah.

Maya: 00:46:59

And that's what really hit me in the gut, especially the second time watching this is just. She's learning how to love herself and potentially others. And it's, it is so raw and so real.

Patrick: 00:47:11

Yeah. There's a point in the movie, like later we're jumping around, but this is what it's going to be where.

Because like he's a fireman, which also means he's a paramedic because that those two things go together where they're on a call to save somebody who overdosed or something. And it winds up. The mother who called, it winds up dropping of a heart attack as well.

And all the firemen, all the paramedics are dealing with the guy. So he's like, hey, Adrian, we're going to have to talk you through this. And as my screen name is today, it's the unexpected Macarena scene.

But she winds up doing CPR on this woman and saves her. Adrian saved a life instead of taking a life. And the look on her face, like, afterwards, this discovery of like. Like something totally alien.

Maya: 00:47:55

I didn't know that was an option. I can do this.

Patrick: 00:47:58

Yeah. Yeah. I could bring people back to life. I could save people. Why don't I want to do this? I've never met anyone. I wanted to say before.

But what I want to say early on, because this is a running theme in the second half of the movie, is that when he first brings her home, he tries to. Adrian tries to run away. And as he keeps saying throughout the movie, why do you always want to leave?

The father keeps saying that over, and why do you want to leave? But what do you. Sister. To stop Adrian from leaving, he goes, anyone hurts you, I'll kill them. Even if it's me, I'll kill myself.

And that's a promise he keeps. From the moment we meet Victor, he's professing unconditional love for this, what he thinks is his son. And I kept waiting for that to fall apart.

And it doesn't. No, it actually gets reinforced and gets deeper as the movie goes on.

Because much of the second half of the movie is the hiding her trying to hide what she is. I want to talk about the dress scene.

Maya: 00:48:56

So Alexia is staying in Adrian's room, and there's all these photos of Adrian as a kid and boxes of old stuff and the mother stuff because the mother left.

And she has this gender exploring moment where she finds a floral yellow dress from the mom and she puts it on over her clothes and there's big pregnancy belly. And she kind of looks at herself in the mirror and it's going, oh, I am pregnant.

Patrick: 00:49:21

And for one minute, it turns into Victor Victoria, because it's a woman pretending to be a man dressed as a woman.

Maya: 00:49:26

Oh, yes, back to Le Jazz Hut.

Patrick: 00:49:28

But I'm just saying. I'm just saying, like that it's the layers, layers. Like there's a lot happening this movie. Let's just continue.

Maya: 00:49:36

And she hears Vincent coming. So she hides in the closet and then literally, a queer in the closet. And then realizes, oh, the closet's not going to hide my belly.

When he opens the door, grabs a pillow, hides her belly and waits for him. And he opens the closet door and he just beams. And anyone who's ever had a parent react poorly to any kind of gender sexuality expression.

Like I was bracing so hard for this moment. Just like I. I don't. I don't want to watch this trauma again. I know it lives there.

Patrick: 00:50:05

No, you know, I know it's coming. Yeah.

Maya: 00:50:08

And he just beams. And he goes to get a photo album and has a picture of his son Adrian dressing up in that dress. And he goes, no one can tell me you aren't my son.

Patrick: 00:50:18

We both stunned ourselves into silence, listeners. That's what's happening. It's such a heavy moment, a wonderful moment. Can you imagine? I can't imagine having that moment when my parents find out.

I can't imagine. I can't imagine. Maybe kids today can.

Maya: 00:50:28

But there's no. He's not hesitating. There's no questioning. And as the movie goes on, he. He eventually figures out that Alexia isn't exactly his lost son.

And there's this moment in gender bathroom where she's getting her shit together. He walks in, she has a towel on.

Patrick: 00:50:47

Yeah.

Maya: 00:50:47

And he just tells her how much he loves her and he will always be there. Her towel falls down. He sees her.

Her saggy motor oil boobs and giant pregnancy belly, and he just puts the towel back on, ties it on her back securely and walks away. Because the rest of it is not.

Patrick: 00:51:02

An issue that he does not just walk away. He says something fabulous.

Maya: 00:51:06

Oh, I'm sorry.

Patrick: 00:51:06

He does.

Maya: 00:51:07

He says something fabulous. He's.

Patrick: 00:51:08

Hold on, I gotta find my notes. I didn't write it in my heart me up.

Maya: 00:51:11

I was just on the verge of tears the whole time.

Patrick: 00:51:14

I don't care who you are. You're my son. You'll always be my son, whoever you are. Is that clear? And he said it like. He said it like. He said it like the captain of the fireman.

It was an order. Yeah, I don't care. No, I don't. I don't hear no no more. No, no around. Here's the order. It just like that order he gave earlier about he's Jesus. Don't.

With my son. It comes earlier when conscience figures out, or Ryan figures out that who Adrian really is and he keeps or.

Maya: 00:51:48

I need to talk about your son. We don't talk about my son. It's important. We don't talk about my son.

Patrick: 00:51:53

No, he knows by that point. He knows that he knows who he is. Doesn't know he's a woman, but he knows that this isn't my son. My son. Whatever, whatever, whatever.

It doesn't matter. Nothing matters. This movie all of a sudden becomes about unconditional love, like, for real.

Maya: 00:52:07

And the love gets through to Alexia. There's one of the escape attempts, and she gets on a bus. And there's a bunch of hooligans on the back of the bus.

And a young woman dressed nicely, hoop earring, sitting next to her. And the hooligans are talking about, oh, yeah, I get all the bitches. Oh, I fuck any hole. I don't care. And they start catcalling.

This woman going, bitch, we're talking to you. Turn around. We just want to talk. We just want to talk. And Alexia gets off the bus.

It's like she has this option of she can go back to living as a woman and dealing with that, or she can go home and be loved, right?

Patrick: 00:52:37

I can go.

I go back to dancing on a car and have men treat me like that again, or I can go back to this man and, sorry, so much for sisterhood, honey, but I'm getting off this bus. Sorry, I wish. I'd love to save you, but I'm going back here.

Maya: 00:52:48

Well, she.

Patrick: 00:52:48

I want to go back, but.

Maya: 00:52:50

But the. The end of that. She comes back to the house. Vincent is passed out from whatever drug he's doing. And you can see her.

Patrick: 00:52:56

He. He did a double dose because he's. He's going through a lot, too.

Maya: 00:52:59

He's going. And you can see she gets the stiletto out. She's ready to take him out, but the stiletto all of a sudden moves into the negative space of her outfit.

It disappears in her hand in the shot. And then she puts it down and takes care of him instead. The love breaks through to her and calls him Papa.

Patrick: 00:53:17

It's the first time she spoke as this. As Adrian. He's not conscious. He didn't hear it, but she called him Papa for the first time. But I want to go back. I want to go back.

Because, as you know, as you know, as you know, one of my favorite things in movies, not just horrors, but all horrors, actually, two of my favorite things is awkward dinner scenes and unnecessary dance numbers.

Maya: 00:53:38

Yeah.

Patrick: 00:53:38

And we get to. We got two of them together here. We have the two of them. We have the two of eating spaghetti, which is gross. It's great. The whole scene's gross.

I forget. I don't remember what they're talking about. It's not.

Maya: 00:53:48

A parrot can say yes. Look, my phone can say yes. You don't say anything.

Patrick: 00:53:53

Right. Vince is getting frustrated because he doesn't talk. It's like, I Know, you can talk, but you don't talk. And he's just getting tired of it.

But so they fight a bit. And instead of escalating the argument, Vincent goes over and puts on some oldies. He puts on She's Not There by the Zombies. She's not there.

She's really not there.

Maya: 00:54:12

The music choices this entire film are all giving you plot points on a. On a platter.

Patrick: 00:54:18

Perfection. And he just starts to dance. And he's just inviting Adrian to come dance with him. And it's this unnecessary dancing. It's awkward and it's weird.

And I love him to say, you know what? This is one of the things people like, you know. You know how people are with musical numbers and generally. This is weird.

Why these two guys dance music. In my mind, this. This was. This is something they did when with real. Adrian was a kid. Like, Adrian loved this song.

And we would dance together with the song. He's like, remember this song, Agent? Remember when we used to dance. Dance like this?

Maya: 00:54:47

Dancing like you would with a kid. His arms are up in the air, he's twirling around. It's not the masculine fireman dance we.

Patrick: 00:54:52

See later or the feminine fireman dance with fire.

Maya: 00:54:56

Fire person.

Patrick: 00:54:56

We'll come back to that. But no, I love this whole scene because it starts with the. It starts with the dance, which turns into a play fight. Play punching play.

It's like these two sides of masculinity. Like, hi, we could be masculine dancing with each other. No, we're never dressed. And play fight. Churches were real fight.

Which is almost stabbing, which makes it run away, which leads to the bus. But yeah, he's just trying to reach. Reach him. He's just. I remember me. I'm your papa. Your papa. But it's just.

Maya: 00:55:22

He's just so ready. He's. He's so ready to love Adrian. And it never stops.

Patrick: 00:55:27

I don't care who you are, you're my son. Whatever you've done, you're my son. You know what? I've never heard that ever.

Maya: 00:55:38

So I want to talk about the names in this movie before we do the conclusion. Is that okay?

Patrick: 00:55:42

And I want to go back to these two dancing stux.

Maya: 00:55:44

That's all part we got.

Patrick: 00:55:46

They're both fabulous for different reasons. Please continue.

Maya: 00:55:50

So name of the movie is Titane, which is just titanium in French, but obviously word root. We got Titans, gods that were overthrown. Overthrown. They were the previous era, right?

Patrick: 00:56:03

Alexia as a clash of that. Yeah.

Maya: 00:56:05

Well, also that.

Patrick: 00:56:09

She gave birth with Kraken. No, I'm. I'm just saying there's some guys, whatever.

Maya: 00:56:13

Tentacles. That's a different movie. Several different movies.

Patrick: 00:56:15

I know, but still. Titan. Forget I know what I know.

Maya: 00:56:18

Let me do my names. Alexia. Female form of the male name. Alexis. Man's defender. Adrian means water and Rayon means watered firehouse.

Patrick: 00:56:36

What if. What a fire. What a fire family. They water things. That's fine.

Maya: 00:56:40

Well, yeah, they water things and that's opposing to the fire that's in Alexia's heart and her car partner. And Vincent is just victory. Like we talked earlier. And it feels like he was victorious and now he's fading and he's fighting that.

Patrick: 00:56:57

Please don't bother trying to find her. She's not there. That's all I may tell you about the way she. I just love that choice. Just because like the mid mid 60s British invasion is my jam.

So anytime that pops up, I'm in board. So great song. It was a perfect song. But fortunately there are more really unnecessary dance numbers to this. This dude.

The firemen have dances with each other. They just all get together, takes the shirt, take the shirts off and dance. Because that's what they do.

Maya: 00:57:23

They're blowing off some steam. They have that little rave basement party with the bisexual lighting.

Patrick: 00:57:29

The first one you talk about. The first one? Yeah, the first with the bisexual lighting. That's all in slow mo. Smooth dancing. Mellow dancing. It's mellow dancing.

Maya: 00:57:39

And then. Then our grand finale dance number is. Is a mosh pit to some very aggressive techno.

Patrick: 00:57:46

Yeah, just go back to that first one. Yeah. Oh, sure. The thing that happened in this scene, which I loved, was that this is when Rayon was like, hey, in the middle.

Hey, we need to talk about your son. We didn't talk about my son.

And when Vincent bursts away from the conversation, he grabs Adrian and pulls Agent to the dance floor and they start dancing with each other. And Adrian smiles. And it felt like a real smile. It's not. Haha, my nose is broken. Look how great I am. It wasn't.

I have to smile because, you know, when Ran asked where she's from, I have to smile because this is what humans do. Actual smile. Yeah, for one, for one second, the first time, she's actually happy. Actually genuinely happy.

Not bitter happy, not dark happy, happy, happy for one second. It was a wonderful moment. And this is other dance scene, which is much later, much gayer. All of a sudden things get really gay.

Very violent, obviously. Lots of moshing. Lots of moshing.

Maya: 00:58:41

Moshing isn't inherently gay. I've Been to some very heterosexual mosh pits.

Patrick: 00:58:44

Well, you know, but I'm just saying. I'm just saying. It's all dudes. You all have your shirts off, you're all sweaty. The lighting's very different.

Maya: 00:58:51

Yeah, that was a little gay. And I. I started to brace for danger again because the firemen start pushing Alexia up to the top of a fire truck. I'm like, do they know?

Are they gonna embarrass her? Are they gonna assault her? What's happening?

Patrick: 00:59:03

Also, pregnant. Pregnant woman in a mosh pit is bad. Pregnant woman in a mosh pit is bad. Bad. Very bad.

Maya: 00:59:09

She's hermetically sealed. It'll be fine.

Patrick: 00:59:11

But we don't know that. We don't know that. Still instinctual. Instinctually, you're going, oh, my God, that's bad.

Maya: 00:59:17

So this is the second time we play Wayfaring Stranger because we play it in the very beginning of the movie during the car crash. And this is some sexy jazz cover of Wayfaring Stranger, which just.

That track trying to be sexy by itself already makes me so uncomfortable because that song is already laying out the plot of the movie. It's, I'm gonna go find my father and I'm gonna die. Like, so she starts bringing back the mechanics of her sexy car dance.

Patrick: 00:59:49

They brought her up to the top of a fire truck, and they're all chatting. Adrienne, Adrienne, Adrienne. Like, she's supposed to do something. I thought she was supposed to jump. I was supposed to be like a stage dive.

That's what I think they wanted.

Maya: 00:59:59

Oh, sure.

Patrick: 01:00:00

That's what I felt like they wanted. They wanted something.

Maya: 01:00:03

Gender dance exchange program. So the men all dance like this, and they punch and they listen to techno. And when it's Adrien's chance to express herself.

Well, this is how I express myself in dance. And it gets sexier and it ramps up, and you can see she kind of likes it. And this is how she wants to exist.

Patrick: 01:00:20

And it's feminine, sexy. It's not sexy what the guys are doing.

Maya: 01:00:23

She's rubbing. She's rubbing her boobs. She's sticking her head between her bags and, like, this, my butt. And twerking a little.

Patrick: 01:00:30

But this also brought back. Brought me back to the beginning, the whole scene with the women in the cars.

And like I was saying before, it's like, it's okay when you have girls dancing like a stripper with cars like this. I know, I know, I know that there are magazines out there, hot girls and cars. That's all they do. Thank you. White snake. Tony Catain.

Maya: 01:00:50

Yeah.

Patrick: 01:00:51

Having sex, basically. Having sex with a car as fine.

And now you have this whole situation where you have all these men dancing, you know, rubbing their bodies together and thrusting their bodies together and really being gay. But now all of a sudden, Adrian made it super gay. Because now you're dancing like that. They may mean why you make it weird, why you make it weird.

Why did you have to bring sexuality into.

Maya: 01:01:13

There's not a full on rejection, though. They're kind of transfixed by her. They don't know why they're all staring. I. I feel like if it was a full rejection, we would have.

We would have gotten more of that.

Patrick: 01:01:26

I also think they're also not allowed to reject him. That I think they're also.

Maya: 01:01:28

That's true. Also.

Patrick: 01:01:30

They're not allowed to because he's God. He's not just their bus.

Maya: 01:01:33

He's got established, sees the dance and walks away.

Patrick: 01:01:38

I think it's just with her getting more comfortable in this new skin, like I can be both of these things now because he's always going to accept me. The one I care about, the one I'm concerned about is going to be there.

Maya: 01:01:48

Exactly. And I think that's show him a little bit more. That's what leads to our second car sex. She has sex with a fire truck.

Patrick: 01:01:57

It's not the same. She doesn't enjoy it. She cries. She doesn't like it. No.

Maya: 01:02:01

But she was trying to express herself.

Patrick: 01:02:04

I want to talk about her mom. I want to talk about the mom.

Maya: 01:02:07

Yeah.

Patrick: 01:02:09

Adrian's real mom shows up and all this scene is great. I also think it's fascinating too that they're divorced, but still the way this movie, everything seems to be also unconditional love.

She's still like, okay, yet he's not my life anymore. But if you hurt him. Yeah, I will kill you.

Maya: 01:02:24

I don't know what your game is, but this man needs to be taken care of. And you will take care of him if you're here.

Patrick: 01:02:30

He needs you. Yeah, I know what you are like. Even like the woman walks in on her. Well, she's changing and sees her leak and motor or outer tits.

But even before, like when she saw. When she hugged the mother, hugged her and it's just she said it. Look at her going, mm, I know. I know what that feels like.

I know what that feels like. I know. I know what's pressing up against my stomach. And it's not a potbelly. This is a woman. But I thought the whole scene was really interesting.

Maya: 01:02:54

Oh, yeah.

Patrick: 01:02:55

He needs to be taken care of. If you don't take care of me, I take care of you, as Victor said.

Maya: 01:03:01

Oh. And he has that. Yeah, that. That moment of needing Adrian to take care of him, and then he just has this rejection of. That's not what our roles are.

Patrick: 01:03:08

Maya.

Maya: 01:03:09

Yeah.

Patrick: 01:03:12

When he tried to teach her how to shave.

Maya: 01:03:15

Oh, he wasn't just teaching her. He was gonna help it grow. They shave her face so she can grow a beard and pass better in the little fireman compound.

Patrick: 01:03:27

One of those things that. It's supposed to be one of those touchstone father son moments is when. That day when your dad teaches you how to shave. And I never had that.

But I didn't teach me my parents nothing. Nothing. So it just. That was beautiful. And it hurt. He said, and it's still. Even still, he knows. He's like, I don't. The fact that he doesn't get.

I know there's nothing there, but we'll get it grow.

Maya: 01:03:50

It doesn't matter.

Patrick: 01:03:50

Even though at the end of the movie, she does have a mustache. She's got a mustache. At the end of the movie, this.

Maya: 01:03:56

Love grew the mustache.

Patrick: 01:03:58

Well, but, I mean, women grow mustaches. And especially, I assume, women going through hormonal problems while pregnant problems. Issues while pregnant. Will grow a mustache.

But she's got one at the end.

Maya: 01:04:06

Oh, yeah.

Patrick: 01:04:07

To the end of the film. I think we're there.

Maya: 01:04:09

I think we are.

Patrick: 01:04:13

The baby's coming.

Maya: 01:04:15

Well, sex can start labor. And she did just have sex with a fire truck. I was so scared at the end because they were playing, she's clearly having sex with something.

And then we kept cutting to shots of the father in his bedroom. And I went, please, no, no, no, no. Not related. Not related. Don't do that.

Patrick: 01:04:32

Well, yeah. Thank you. Well, there are moments. There are several moments previous where they connected.

If they connect too hard and you're going, he's going to kiss her on the. But he doesn't.

Maya: 01:04:41

Yep.

Patrick: 01:04:41

It's. It's a cheek. Yes, but the French. That's okay. That's normal. Men kiss each other on the cheek in Europe. It's a thing. That's fine.

But you keep feeling that lines are going to get crossed.

Maya: 01:04:49

Yes. And it pushes that line. And I kept. I kept bracing for that as the audience.

Patrick: 01:04:54

At this end, she's naked. She crawled. She crossed. Walks all the way across the base in labor, buck naked in broad daylight, and crawls into his bed. I'm like, oh, my God.

Oh, my God. And she's laying with his head on her stomach, and they're. They're having this incredible moment of innocent intimacy.

And I'm going, you're playing with taboos that aren't even there. Yeah, because they're not related. They're not father and son. It's not even gay.

Maya: 01:05:15

The father relationship is so strong. It has us all bracing.

Patrick: 01:05:19

Yeah, it's not even gay. It's a man and a woman. There's nothing taboo about this at all, but it feels so forbidden.

Maya: 01:05:26

Thank you for voicing that. I could not put my finger on that at all, but I was so uncomfortable.

Patrick: 01:05:31

And there's no reason to be uncomfortable. Like, you can't be offended by this because, you know, even say the most conservative would be like, what? It's a man and a woman.

Maya: 01:05:40

What's a man and a woman? Everyone knows who everyone actually is. And. And she. Her contractions start speeding up, and he goes to help her.

And finally, with her legs fully open and him at the foot of the bed, that level of vulnerability is enough for her to say, no, my name's not Adrian, it's Alexia. And he just goes, okay, Alexia, push, push.

Patrick: 01:06:00

But even, like. Even right up until that moment, like, I don't. When you don't know where this is going, when they're face to face, naked in a bed together, and.

And all of a sudden, he bursts out of bed and pulls her to the end of the bed and throws her legs in the air. I'm like, oh, my God, are we really going there? He's got a fuck. Oh, no. He's got to help her deliver this baby, because that's what he does.

He's a fucking paramedic. That instinct takes over, and the father. And she takes over, and this baby gets born, and she. And it's rough, like she's splitting all over.

It's not just. Like. It's not just her abdomen that's splitting. Like her face is splitting, that Her. Her scar turns silver.

Maya: 01:06:34

And they make you wait. They know you want to see the baby. He has the baby wrapped in a sheet. He checks on Alexia. Alexia is not with us anymore.

Patrick: 01:06:45

She doesn't make it.

Maya: 01:06:47

And he's just taking care of the baby. And then it finally turns just a little, and you can see the baby.

Patrick: 01:06:53

He lays down next to her and has the baby on his chest.

Maya: 01:06:55

And you can. The baby has a little metal spine. And then, like, the final shot, as you can see, the baby got her titanium head plate, and he finally has a son.

He is restored by his act of love.

Patrick: 01:07:11

Yeah.

Maya: 01:07:12

And we've ushered in this new era with this new baby and the last.

Patrick: 01:07:16

Line of the movies. I'm here.

Maya: 01:07:17

I'm here. This fucked me up, Patrick. It was so good. I am so grateful you recommended it to me. It also really fucked me up.

Patrick: 01:07:29

I know. You're welcome.

Maya: 01:07:31

It won Palme d' or at Con. So, like, clearly someone gets it.

Patrick: 01:07:36

It's not an easy movie to wrap your head around. It's determined, much like in a violent nature. It keeps slapping you away. It keeps trying to offend you away in its own weird way.

It keeps going out of its way to just make you as uncomfortable as possible.

Maya: 01:07:51

If you want that other thing, it's not here.

Patrick: 01:07:52

With this threat of violence always hanging over it. And it just never comes. I mean, it does.

Maya: 01:07:57

I mean, well, the only act, second act, third act violence we really get is we take out Ryan. But it's. It's by an accident because we know, because we, we start out, they're. They're doing fireman stuff together.

And it's a violent, very well lit, smoky fire. Vincent collapses. Ryan's like, hey, hey, what's my name? Do you know where we are? And he can't say Ryan's name.

I don't think he's refusing to name him Ryan Conscience, whoever. Ryan snaps Vincent back into it, going, do you know her name? And that's what gets Vincent to stand up. The stubbornness, the spite.

I am also powered by spite. But they, they go to check out.

Patrick: 01:08:33

It's true.

Maya: 01:08:34

What it's. I take. I know who I am.

Patrick: 01:08:37

Yeah, no, I'm verifying that. That's why I like you. Please continue.

Maya: 01:08:42

It's why we understand one another. But they, they, they go to see if there's anyone in this trailer that's in the middle of the fire. And Vincent picks up. It's a. It's a butane propane.

It's a gas can propane. And Ryan propane, propane. Ryan was like, shouldn't we clear the trailer? Did you clear it? Did you clear it? He just starts walking away.

And he gives him the gas can. He get. Goes, take this. And the explosion is so big that Alexia can see it back at the base.

And then we just come back to a shot of Vincent standing over Ryan in the gas can.

And the specter of Ryan haunts Alexia later, which is a property she gets from her dad, Vincent, because he hallucinates dead children on previous fireman jobs. He's Given her this family trauma, she's actually part of his family now.

Patrick: 01:09:32

See, I thought that was dad fulfilling his promise. He said, if anyone tries to hurt you, I'll kill them.

Maya: 01:09:39

I think it can be both.

Patrick: 01:09:40

Well, because he. What? Because what he said, like, there's something shifty about when he goes into that rv.

Maya: 01:09:47

Yeah.

Patrick: 01:09:48

He comes out with that gas canister and goes, is it. Is it clear? He's like, yeah, it was very dismissive. Like, I think he left the gas canister in there on purpose. It wasn't clear for people.

I think it's just like, is this not. Did you clear this? That isn't going to explode. That's why you take the gas canisters out. That's why he, like, he leaves. Like, here, hold this.

Maya: 01:10:03

Yeah.

Patrick: 01:10:04

Because that's going to blow and you're going to be standing here and now talking about my son right now.

Maya: 01:10:07

Much more of how he's staring at Ryan in the shot after going, well, here's what I did.

Patrick: 01:10:11

Yeah. Yeah. And also, he's taken after. He's taken after his son now to take it after his daughter, too. Like. Yeah, but no, he made the promise.

He stuck to it.

Maya: 01:10:20

Yeah. Yeah, you're right.

Patrick: 01:10:22

And that was the chosen of the fireman. That's the chosen. That's the one everybody loves. But you're a threat. I have to take you out because I might love you, but I love her more.

Maya: 01:10:30

And I'm loyal to Alexia. He's conscience, and Alexia is a liar and a murderer.

Patrick: 01:10:34

Yeah. Yeah. What a movie. Yeah. It's not for everybody. It's like that. It. I'm. But it was. It's bumped around my head since I saw it in the theaters.

Maya: 01:10:47

Yeah.

Patrick: 01:10:47

And I. Now I can put it to rest. I never have to.

Maya: 01:10:53

I don't know, with. With things this weird, I kind of feel like it's the ring and I need to pass it on to my most adventurous friends.

And if they want to talk about it, I'll watch it again so I can talk about it.

Patrick: 01:11:01

That's also why I want to do this, too, because people dismissed it so quickly. And if you know that there's something there that's not just weird French weirdness or just like it.

Just show you how to look at it like we did with In a Violent Nature.

Maya: 01:11:15

Yeah.

Patrick: 01:11:15

Just shift people's focus. Like, you want to see it like this? Just look at it like this and maybe you'll get it a bit more.

Maya: 01:11:20

Yeah.

Patrick: 01:11:20

I mean, with this one, if you know where it's Going or see where we see what we see.

Maya: 01:11:24

Yeah.

Patrick: 01:11:25

And if you. Something. Something different, that's also valid because that's the way art works.

Maya: 01:11:28

The movie doesn't confirm or deny shit. So, like, have the experience you're gonna have.

Patrick: 01:11:34

Yeah.

Maya: 01:11:34

But the. It crafts these meticulous vibes that brought me on an emotional journey when it doesn't have, I don't know, like, little detective plot points.

Patrick: 01:11:45

No. And also when it takes you on an emotional journey with an emotional cipher as a lead character, which is a really tough thing to do.

Maya: 01:11:55

Yeah.

Patrick: 01:11:56

And they do it. Yeah. She's wonderful. And I have to say, Vincent Linden as Vincent is magnificent. He's magnificent in this. What a performance. Both of them together.

The chemistry between them is incredible. He's as exposed emotionally for most of the movie the way she is physically.

Maya: 01:12:15

Yeah.

Patrick: 01:12:16

As exposed as he is. I'm still going. I don't trust you. I don't trust you. I trust you because it's a movie, and I'm waiting for that shoe to drop.

I'm waiting for you to turn into a monster.

Maya: 01:12:24

A muscly, unvetted man is always a threat. The same way that every bartender I know has been followed by someone, like, at the top of the movie, and they've had to do their risk assessment.

So when I meet another man, my. My risk assessment comes right back. And he's just. Love, love, love, love, love.

Patrick: 01:12:41

Flawed man, but flawed man with a drug addiction. But that. Still underneath that. Still a good man. Still a good daddy.

Maya: 01:12:47

Yeah.

Patrick: 01:12:48

Still a good father. Don't want to use Daddy. That's a whole. If there's a whole.

Maya: 01:12:51

Oh, my notes. Call him Daddy.

Patrick: 01:12:53

Okay. He's. He's all right. He's a. He's a good papa.

Maya: 01:12:57

He's a good papa. Oh, God. Here we are.

Patrick: 01:13:01

French movies. The papa, which is like Glenn Puss on, but with Dad. I don't know where we're going. All right, so let's titan. I think we've done it.

Maya: 01:13:12

I think we did.

Patrick: 01:13:17

Kill the most. All right, so. So. So what's going on with you? Do you have anything, like, coming up that people should know about, like, shows.

Maya: 01:13:26

Or fun stuff or everyone. Everyone with a PC. I don't know if it's Mac compatible. I'll have to get back to you on that. But everyone should play Rosewater.

The cast is absolutely stacked. I had the good fortune to star in a game with multiple people whose previous work already made me cry.

If anyone played season one of the Walking Dead, Lee is voiced by Dave Fenoy, who's in my game.

Patrick: 01:13:52

No, sure, that game is a wee. All those welcome Day games are weepers. But yeah, yeah, the first one is.

Maya: 01:13:58

A particular first one. You're just trying to save Lee. My God, why would you let me save him from Firewall?

Patrick: 01:14:05

Why is there no object?

Maya: 01:14:06

Also Baldur's Gate 3 and many others. Okay, now that there's an original urchin from original off Broadway Little Shop of Horror, she's in the game. So really a stacked cast.

Beautiful writing. Also, I think I'm okay, but everyone should play Rosewater.

Patrick: 01:14:25

Yay.

Maya: 01:14:25

Yay.

Patrick: 01:14:26

We love that. So now we've also mentioned that Maya and I do Damewonka Lewis with Tradine. Hi, Tradine.

Maya: 01:14:32

Hi, Trey.

Patrick: 01:14:33

Where we talk about Friday the 13th, the series. Now, I mentioned this before, but since my is here, I'm gonna bring it up again. We're kind of going on hiatus until Scream Queens has gone by. By.

We probably won't be back till September, but we decided that we. We had a company meeting.

We're gonna be putting out episodes where we talk about some of the Canadian horror movies that have been connected to Friday the 13th, the series. I'm gonna talk, like, looking at things that the directors have done, directors of the episodes that have done, like.

Like hello, Mary Lou, Prom Night two or Funeral Home with Leslie Donaldson. So there'll be content coming out over the summer.

So just want to let you all know we have a plan in motion, but I just can't focus on that as much until this is done. So we'll be doing little mini episodes as time goes on. So you can look forward to seeing Maya there as well. Hey. All right.

Maya Murphy, I wanted to say thank you for going on the Scream Queen's journey with me and always being the go for being the go to person I can do difficult films with. I always. That you're always game, always is so worth it. I always come out the other side understanding the movie.

I paid even more than I did going in. And I can't tell you how much I appreciate you let me push my boundaries.

Maya: 01:15:44

Oh, well, I'm always happy to be here and discuss difficult things. That's my favorite thing to do.

Patrick: 01:15:49

Well, you can't anymore because the show's over. Get off. No, no, we'll just be doing it. We'll be doing it in other places. It. But anyway, thank you for that. I really appreciate it.

Maya: 01:15:56

So thank you for having me.

Patrick: 01:15:57

I'll see you over at the very curious curious shop. And until then, love you very much and get the off my show.

Maya: 01:16:02

Love you.

Patrick: 01:16:03

Bye.

All right, thank you very much to the family, fabulous Maya Murphy for coming back one last time to share your insight and your wisdom and help us get to the heart of this crazy little movie. I loved every second of that. And I don't know about y' all, even just me sitting down and talking with Maya.

I found new things in the movie just during the course of this conversation. So I always find that exciting. And it's. You know how I said at the beginning of the show that this has become.

One of my favorite things to do is to find a difficult movie and to really crack it open and get inside and play around in all the delicious goo that's lurking in there. This new passion of mine has only come up in the past few years to this extent. And truth be told, it's because of Maya.

Maya, indirectly, just from these conversations with her, she's taught me how to look at films differently.

She's taught me about visual storytelling, that it's not always about what's being said and what's being shown in the action, but it's also what's happened. Like, why is this person wearing this? Why is this scene arranged like this? Why what story is being told by the non human elements of the film?

And that really blew my mind and opened my mind to a whole new level of how filmmaking works. And I appreciate the hell out of it. I hope you've enjoyed it. I hope you've enjoyed it. But.

But hey, Patrick, didn't you say at the beginning of the show there's two kinds of episodes that you really enjoy doing more than anything else? That's right. And I've saved.

I saved the best for last because since the beginning of the show, since the very beginning, it was always been my joy to stumble across that diamond in the shit pile that.

That film that has gone unnoticed, the film that's not getting any recognition, that managed to slip through the cracks without being notice it, noticing it, some gem that nobody else seems to have found and presenting it to you and say, hey, look at this. And then hearing back from you people going, oh my God, Patrick in the movie was incredible. I said, I know. I don't know why I didn't hit.

unknown even to me. It's from: 1974

It's been around almost as long As I have, but I had never heard of it before, and that's rare. And when I saw it, I said, I have got to talk about this on the show.

And it's perfect for the two guests I have lined up who are also the perfect guests to end my run at Scream Queens with, because it's one of my favorite pairings. It's one of those.

When I first put these two people together as guests, I had no idea about the chemistry that would crackle between them and what magic that would occur and what adventures we would all have together. I'm talking about Doug Shapiro and trading.

It's a perfect movie for the both of them because it's goofy, because it's scary, it's spooky, it's got a body count, but it's also gay as fuck, but not enough to scare Doug. It's spooky, it's scary, but not too.

Not scary enough to break Doug, because we don't want to do that in the last episode, even though that would be a great way to end it. Scream kids is going out. We're going to kill Doug Shapiro's spirit. No. Would never do that. No. We like Doug just the way he is. The movie.

Patrick, what is the movie we're talking about? The movie is called Arnold, starring Stella Stevens, Roddy McDowell, and a cast of fabulous people.

And it's got one of my favorite setups in all of time. It's a house full of rich, obnoxious cunts who all hate each other. Who are there to read here?

The reading of a will to claim their inheritance, but nobody's gonna get it because they're all gonna die one by one, by one by one by one. This movie is fantastic. I can't believe that I had never heard of it before.

But fortunately for you, there's a pristine copy of it on YouTube for you to watch. We'll worry about the specifics down the lines. That's gonna be next month.

But, yeah, it's for the final episode of Scream Queens, I'm going to unearth a gem one last time before I go. So until next time, the final time. My beautiful, beautiful screamers. Please continue to make the world a more fabulously creepy place.

And you do that by following the Scream Queen's golden rule. Fight or flight, survive the night, make it to the final reel, stay safe, stay healthy, and most of all, stay fabulous. Peace, y' all.

Oh, I love the music. For tonight's show, unless otherwise spin specified has been written by Sam Haynes. You can find all of his music@www.bandcamp.com ass.

Maya: 01:20:44

E.