Tangerine & M.A.S.K

Tangerine

Reegs:

Welcome to bad. Dad's film review another 90 minutes or so with the dads reviewing movies and kids TV which we're genuinely very excited about, partly just because we love doing the show and partly because we cannot get the only fans thing to work profitably. Anyway this is a week in which my youngest started our first day at school in the same way that I started my first day at university, having had about three hours sleep and sufficiently tired to end up crying by mid-afternoon.

Oh, hosted this week, our stocking fetishists Sidey, breast milk

fanatic Dan, prolific child conceive a Peter Andre and myself rigs. Let's get on with

things.

Pete: Hi,

Dan: good. Hi.

Sidey: Hello

Dan: So we've got loads going on. What, what the films this week, what we, what we're reviewing Pete, it's your choice. Isn't it.

Pete: So I plumped for a top five telephones in film. It was specifically non cellular or mobile phones.

Reegs: Landlines

is how I

Pete: Yep. And, and it's various derivatives and I've also provided some GS, which we will briefly talk about.

And the main film was a film, a 2015 film called Tangerine

Sidey: Yeah.

Pete: and kids TV. Definitely. For our kids, not us was mask M I S K.

It's an acronym.

Sidey: but we

had a,

Reegs: we did have a nomination for last week.

Okay. Which was top five movie tunnels, math on Twitter. He gave a Sharon Stone in basic instinct. I wasn't sure what he meant by that.

But I'm going to go with that. Yeah. So Sharon Stone in basic instinct in our top five movie tunnels. Thank you, Matt.

Sidey: Always happy to have basic instincts.

Did you get around to watching much this week?

Reegs: Yep. I watched the suicide squad, which we might end up talking about on this at some point, I think.

Sidey: Okay yeah,

Did you enjoy it?

Reegs: I did. Yeah.

Sidey: Cool.

Dan,

Dan: I watched a film called miss Sloane, which was about a lobbyist fresh off the back of our film with and bio and all the rest of them about their big, the big short, I thought I'd watched a film about a lobbyist in the end.

It was pretty decent as well. I also watched Cruella, which I know that we were excited about. So maybe that's something we'll talk about at some point as well.

Pete: I've been watching more money heist which is now accelerating into its second heist. I went to the second. With the, with the farm. And I watched the poor patrol movie.

Sidey: God, I bet

that was all.

Pete: It was, it was all right. It was for my youngest, it was his first experience at the cinema. Mary ate lots of popcorn and needed a loader pisses.

But other than that, it was pretty successful

Reegs: Oh, that's quite cool. Like for the

Pete: first

over. Yeah. He loved it. He was, he really liked it. Yeah, he was it's actually, I'm not saying we should ever watch it necessarily, but it's not, it's not as utterly like painfully horrible as you think it, it might be, it even has a little laugh at itself about merchandising in the middle of the film, which is quite interesting.

Reegs: goal of them.

Yeah.

Pete: Yeah. They, they address, they address the, the blatant merchandising.

Reegs: We went to see a poor patrol movie at the cinema a few years ago now, and it was 40 minutes and I was like, oh, this will

be great. The kids

will see me inside a can of chat. It was

fucking awful.

Like even just being there in the presence of it, trying to have a chat

Sidey: with them, it was, it was shoehorned. It was something else.

It was dreadful. Like I remember it was but that we weren't aware of that going into it.

Yeah. it, was a fucking catastrophe.

Pete: This was all right. And the other thing I did was finished my complete second watch through a game of Thrones.

Reegs: Oh God.

How did that feel now?

Pete: How do I feel about it? How I still feel about the series is it's fucking unbelievable and, and eat right the way through, right.

The way through until the end. And I'm still so disappointed with them just because it was the least got ending that it possibly could have been. I wanted to be shocked and

Reegs: Well they needed about four

seasons to do what they did in the proceeding bit

the pace that they did.

To do the demand justice in any meaningful way.

And they just did everything like you have to game of Thrones is building up, building up, building up, building up there.

Yeah,

Pete: yeah,

Sidey: Yeah. And the disappointing thing was you could Telegraph that a mile off,

because you knew

there was too much to unpack in four or five episodes.

Pete: It could, it could have just been, I'd have been happy if the white walkers just kind of a fucked everyone.

And that was the end. I'd have been happy with that because it would like whilst.

Sidey: you get a bit

Pete: Upset you. I was plenty upset by a load of things that happened in it, but respected it for upsetting me, but that just left me underwhelmed,

Reegs: but there was still like, he was still cool. He was still

Sidey: cool.

Pete: yeah. The whole thing is phenomenal.

Sidey: I watched some more twin peaks and I got to the bit that I really, really loved that I was looking forward to seeing again, which is another kill And it's fucking brilliant but I want to, in case you ever watched it, I

Dan: Yeah.

I've I've

Pete: to get on board with

Dan: into that.

Sidey: It's just outstanding. Very, very outstanding.

Dan: I did actually watch a tinker tailor soldier spy again yesterday, the Gary Oldman one. And I also watched Brittania season three.

I

Reegs: not like the British game of

Dan: yeah, exactly like that. And it's decent. It's decent. I like that. So I've

Sidey: did you ever get back on board with the wire.

am

Dan: bought it out,

Sidey: We lost. we lost, Yeah. one of

the actors,

yesterday. I didn't realize he was an addict.

Reegs: Michael K. Williams

Sidey: Omar Omar is one of like top 10 characters in any series ever. Yeah.

Reegs: It's a disappointing irony, really? That

his car, you know what I mean? The suggestion is that he had a heroin

Sidey: Well he did openly admitted. I didn't realize this, but he had admitted in interviews that He was an addict. and I didn't know that.

so he succumbed

Reegs: happen to watch the wire, watch the wire, it's brilliant.

And he's brilliant in it.

Sidey: Top five movie telephones, let's

go with it. Right.

Reegs: Was there an inspiration for the topic or just

Pete: no, not really. I think we, again, I've been keeping lists of things that I I might need. Yeah. So I, yeah, it was, it was on my list of things. So I plumped for that. As well as preparing some telephones have also prepared some from some facts.

So I'm just going to ease us in gently with where the term telephone comes from. And he will know that

Sidey: Nope.

Pete: it's from the Greek words, telly, which means far or distant and phone, which means voice. So literally the name of the device means distant voice.

Sidey: Okay.

Pete: So that's just a nice, nice, I, was thinking today about telephone puns. I think you've got your workout here today, tonight then, but you've started well,

Reegs: yeah,

Dan: you know, I left the, dial it down, to be honest, to be a few,

Sidey: It's like you set him up for that one.

Pete: I am the, the wires to your Morcombe. Yeah.

So I'm going to start with the first one on my list. I'm going to go, but this is, this is really iconic and I'm not a horrified, but 1996 scream the beginning because it's a massive, like,

so much. So that I think is it drew Barrymore? That's on the, on the thing.

And she's already in the film for five minutes

before

Sidey: psycho where you've got big star. Yeah. And you don't think it's going to happen like this. And she dies

Pete: It's a really cool opening to a film. It was like nothing I'd ever

Reegs: in about 15

Pete: I, this, this film is actually part of the reason why I can't get on with horror is I went and watched this at the cinema because I thought it would be like funny.

And so, but it's really fucking chilling. The mask is the mask is terrifying. It, as soon as it started getting like creepy, like I think that the line is like, you know, like, he's, he's saying like, wait, what's your name? And she's like, like maybe.

Sidey: Yeah.

Pete: And like, she's like, why do you want to know my name?

He's like, I want to know who I'm looking at. And I'm like, oh, oh God, like, this is really fucking scary. So obviously he keeps calling the house and she ends up getting off like her boyfriend's out on the porch, been tied up in a chat ready, fucking chilling staff, great opening to a film.

Reegs: And I just assumed, he was like, oh, I'm going to get in a sex position and, and see, see if she'll come through.

I'll just tie myself

up

Pete: genuinely watch this at the cinema.

And during the film I asked you

Reegs: because

Pete: I

have been to

the cinema by myself once, but I, I genuinely asked to borrow, it was a girl as well. That is a big brag to borrow her coat. So I could like hide underneath it because I was fucking shitting myself.

No all the way through, but yeah, that was my opening gambit for telephones.

Sidey: Yeah.

Reegs: Great. One

great one.

Sidey: Hello, Dimitri.

It's Dr. Strange love in the war room, Fighting the

Dmitri, the Russia, president,

you know, to global leaders trying to avert nuclear war. And they're just having this really domesticated,

Pete: almost like a pen pal conversation.

Sidey: was talking to you. You It's like perhaps you could turn down the music

you could hit it. and then he says something like well, yes, yes, it is a friendly call.

If it wasn't you, we wouldn't

be having,

it

Dan: You would have even got it yet Was it a Dimitri kiss

Sidey: that's it. Yeah.

Reegs: It's

so good because you only hear sellers

Sidey: is it's got like some awkward pauses.

where, you know, it's obviously being brighter down the other end and he says is, yeah. One of our guys he's had this thing, it's the, you know,

and she's got a

little little episode trying to downplay it, but he's basically started

a nuclear

Armageddon

Reegs: I'm capable of just as much sorrow as you. Yeah. It's a great, have you seen

this film? Yeah,

Dan: the, the fight of the world is, is kind of hanging on these phone calls. Yeah.

You've

Sidey: got all the generals around the table watching are ready.

to like, press the button.

Pete: brilliant humor in the film. Yeah.

Reegs: Bart Simpsons, prank calls. All of them, all of them. Well, just go crazy. I mean, he just did loads of prank calls to most haven't and we all enjoyed them. There was Amanda hugging case alcoholic. Mr. Freely first initials IP. We've got Maya buttery next year, a snot ball. He wants called for huge ass.

Yeah.

But the probably

the prank call that gets him in trouble in the Australia. Episode is the one in it that costs him. And as it dingoes, eaten your baby and all that,

Sidey: it's

it's so like almost racist, against Australians. It's So funny

Yeah, I Want to speak to my Senator

some kind of pool.

Reegs: very good. Simpson's at its peak

Pete: It's amazing. Drew P Wiener is another one. Yeah. And I'm a stupid moron with an ugly face in it and a big bar and my butt smells and I like to kiss my own, but there's another

Reegs: and then

you get, you always get most like threats in return as well. He's

like, I'm going to rip your eyes out and use your tongue to paint my boat or whatever, something.

Sidey: Is it huge asset that is actually in the, bar and he's like, I got to level with you. It's just a prank call has gone horribly wrong. okay.

Well,

No problem.

Lovely chap

Dan: brilliant. Almost in the, in the same vein American psycho and right at the end

Reegs: similar

Dan: yeah, very, very, you can, you can connect the dots. It's obviously Patrick Bateman Christian bale he's, he's reached breaking point this right towards the end of it. And he, he confesses

Sidey: just killed the tram

Dan: he's just killed murder in his colleague.

I think it was. Yeah. That's right. Paula, Paula and Jared Leto. And

He

hides in his office and he dials in and kind of confesses. And of course the confession is just laugh that at the end, they will just think it's Bateman being a Latin, that's just make more money and do the rest of the yuppie stuff that he's been doing.

But yeah, it's such a a Chilean film actually, because it was one of the first films I'd actually seen Christian Baylin other than the ones when he was a kid, because he was quite

Pete: empire of the sun. He was in really? Yeah,

Dan: yeah. That's why I would have been the first one I'd seen him in.

Pete: It was also the first realization. This is much fun for the listeners that we've got a friend who's exactly like a Patrick Bateman and it was through this film.

Yeah. Yeah. He's like all the sorts of like, like all the things, you know, he's like in a monologue and everything's coming out. It was like, oh my God, that's how our friend thinks. So he's a complete psychopath.

Dan: I'll tell you what. I was really interested in these phones. And I started looking in because it was the old, black and white phones in black and white movies that had the, you know, the different phones to there's these rotary ones.

And then there's the candle stick

Pete: ones.

Dan: And then there's the wall mounted phones. And these tended to be there. Obviously the only ones around there at the time, but there was the, the D the D one Mount with the you know, the, the 6, 8, 5 a subset that is such a lovely phone. Wasn't it? The day one.

Yeah. Yeah. And they've got all these different kind of,

Reegs: No, but the D two was a significant upgrade to be fair. That's when the

telephone really came into its own,

Dan: original night and live and dead, he's got the 3 0 2 as the murder weapon, because they're quite a heavy phone on there,

Sidey: that's true.

Dan: it's the 3 0 2 that was, and it's plausible.

Cause it's got that metal casing and it's quite heavy, isn't

Reegs: it?

Dan: Yeah. Yeah. Well, I'll, I'll keep off the,

Pete: trumping my phone facts.

Dan: well, I just, I want to stay off the puns, you know, decided it's uncalled for

Pete: okay. Just on phone fax, anyone know what the first ever word spoken via telephone was you were there done presumably? Um

Dan: This is

Alexander Graham bell. Are you? There is something that wasn't

Pete: Close, close. The first word was Mr. It was Alexander Bell speaking to his assistant, Thomas Watson saying Mr.

Watson, come here. I want to see you. That was the first sentence. So it was Mr. And originally, hello. Wasn't how people answer the phone. Bell's

Reegs: how amazing that was being the first time that

you'd ever anybody had ever heard themselves again.

Pete: Yeah. I mean, I was just all like wild when you got walkie talkies and you can hear someone in a different room.

It's it's,

Sidey: street.

Pete: it's amazing. The first the, the suggestion and initially embraces the words when you were picking up the phone was a Holly. No.

Sidey: Mr. Burns.

Pete: Yeah.

Reegs: Yeah. I sometimes

answer the phone line

though

Dan: and that was in the same house. Wasn't it? That he did

Pete: Watson. Yeah, yeah, yeah. With Watson.

Dan: it was a close call.

Pete: Fuck. So next, next shower. I'm going to go with 1991, Terminator two.

So John Connor calls his foster parents. Yeah. To obviously make sure that cause obviously he's he's, he's absconded and he's with, with Arnie. And so he puts in a phone call to his foster parents and she answers she's sorry. I watched the seat again and before that, so it cuts to the kitchen that the parents are in, but obviously, you know, afterwards it isn't the mum

Reegs: the dads get getting orange juice out the

Sidey: The

Pete: getting milk out the fridge here and the mum is cutting carrots.

So they're like the T 1000 who's killed the mom and is now pretending to be the mom is like, you know, gone full

method and is now like cutting carrots picks up the phone and.

They had the conversation. I think it's to do the dog's name. Yeah. Yeah. Wolf Wolf. He's fine, honey. And that's not his name. And then as soon, and then Arnie hangs up and just says, your foster parents are dead and then walks off and then you sort of see the reveal of,

Sidey: You hear the noise is off camera.

Pete: She's, pinned the fellow who I recognized, but I can't remember what from pinned him to the wall with a Metallica arm, through his cart in a milk.

Sidey: Jimmy Conway makes call in Goodfellas in a phone box. We've Probably got quite a few phone boxes.

It's where

pesky has gone off to be made, but it's not

quite how it plays out. And he says.

I think he just gets out a swear word before he gets shot in the head or something. First of all. And then you have Jimmy Conway getting the news over the phone. I said, what?

You know, It doesn't quite get it at first. And Then the rage kicks in and he fucking smashes the phone again. Well, the receiver against the phone, then he goes out and fucking boats it and kicks it to the floor.

Dan: Well, he turns the whole phone booth

Sidey: yeah. He's not a happy man. Yeah,

Is that better phone violence.

Pete: I've actually got another good one, which is

Sidey: more,

Pete: better where, yeah, a dinero strangles Murray with the, with the wire, from the telephone.

like

you're like pissing himself. Cause Maurice wigs.

Sidey: Maury was a fucking Dick. That was

a ballsy

move.

to like go it's just so Reckless.

Yeah, he's

got that bit of like wig tape.

Reegs: amazing.

Pete: he's got those adverts where he's like jumping in the pool and so it was fucking brilliant.

Reegs: I thought I'd say two things that I really love about telephone usage in movies, which one is the don't say hello or goodbye at the end of the

conversation.

ever It was just weird. I don't know. I can't be bothered to look it up and I, I guess

Pete: it's, it's so prolific in films that there must be a reason because they don't say because we all say by, or sometimes I say things that I don't wouldn't normally say like, all right.

And then I'm like, why did I say

to that

Sidey: Yeah. Cause

Reegs: got to find a way to end it

Dan: suddenly gone Northern. Yeah.

Pete: yeah. Cheerio. What like, but

Reegs: And the 5, 5 5 thing is the other thing I like as well,

you know at 5, 5, 5 area code.

Dan: Yeah.

Reegs: So that's two things I like not related at all to the film. I'm going to talk about bill Cosby's legacy may now be as an unrepentant sexual predator. But at one point he started in the absolutely awful 1990 comedy ghost dad.

Anybody seen that?

Sidey: I

Reegs: It's a crazy one. His character Elliott hopper is a middle-aged widower with three children. He makes the mistake of, of getting in a taxi with a Satanist. Katie's Curtis Birch played by the incredibly named Rainer.

Sidey: Okay.

Reegs: Rainer Shiner who drives a radically in screams about obeying his dark master before apparently killing them both before Cosby returns as a ghost to guide his children through life.

Pete: Seen this one.

Reegs: yeah. So just, this is a PG 13 film, right? In which Cosby has been killed. Sadly this is only in the movie.

Dan: Sorry, just, just to quickly ask about Cosby, didn't he,

Sidey: I think he got often There's some hideous technicality that he's been able to take advantage of.

Reegs: Yeah, no, he's still a piece of shit. It's

Dan: right?

Reegs: It's an, and it's really bad movie, desperately unfunny and contrived and he's ghostliness and ability to interact with the world seems completely unconstrained by anything like rules. So sometimes he, his kids can see him and hear him. Then other times they can't sometimes he can like pick things up like a telephone and sometimes not.

And in one scene, he teleports through the phone to choke and

threaten his

daughter's classmate on the other end, when she calls the daughter a bitch. Right. So this is a fucking awful awful movie. Don't watch it. He's a piece of shit, terrible movie. It was directed by Sydney partier. Yeah. So there's an interesting one.

Pete: Cosby will do anything to get into a classroom.

Dan: Yeah. I love gold pastors. No, the one that I wanted to talk about actually wasn't the Ghostbusters one.

It was the longest ever ringing phone and nobody's picking it up. It's pulp fiction, you know, as they w we go into the scene where Vince is Vegas needs his dealer to pick up the phone. What am I said there oh, I was kind of confused of yeah, so yeah, I must've been on the old Yoda phone network there. But it, it rings and rings and rings for ages and ages. And he's this stone fought guy just slowly gets up. And after what seems like the kind of length of time that any normal person would have rung off, or the phone had already been answered, he, he gets up and he's going.

Yeah. And all of a sudden princess Vega is, is on the lawn. I'm already outside and he's kind of slamming the phone down and saying, know, you're not there. You're not

Pete: Oh yeah. Don't get prank

Dan: Yeah. Prank, that's it?

Pete: It is Eric Stoltz Yeah.

Reegs: Yeah.

Dan: Or princess

Reegs: That's a good one.

Sidey: the Ghostbusters one. is interesting though, because they did have, they recorded a an artist phone message that you could And you, you had to. Ackroyd's got all the stars leaving her an actual high where the Ghostbusters, blah, blah, blah. So you could actually

really, I don't know if it's still alive.

Dan: 5,

Reegs: they would come and bust ghosts then

Sidey: Busting made them feel good.

Pete: It wasn't a good one. Oh, wow. It came around to me really quickly. I've got another fact it's the world's

biggest phone bill.

Reegs: Oh yeah,

Dan: yeah.

Pete: when I, yeah, when I, I did a hotspot for a quiz and I lost the quiz on a tie breaker and then got 120 pound a pound foam bell. This was slightly larger.

Anyone care to guess?

Dan: Was

Sidey: 40 grand

Dan: was it some dog or kid that's called some talking clock in Australia or

Sidey: No

Pete: This is a woman in the south of France received a telephone bill of 12 quadrillion euros.

I've exaggerated that it was actually 11.7 quadrillion euros. And when she, she rung up about it, it says, this is nearly,

Reegs: number

Pete: this is nearly 6,000 times.

Francis' annual economic output. When, when she rang up, they asked her if she wanted to set up a payment plan.

Reegs: no, just stuff in cash. Please

Pete: It was it was a mistake at, in, in, in the end they waived the entire bill. So that was what some right off that.

Sidey: panel was looking good.

Pete: So that was my fact, but in terms of, so I've got one on here that I think that I'm not as qualified to talk about is maybe Sidey cause he put me on to this film. So I'll leave that just in there.

I will talk about I'm going to talk about the film might as well, phone booth,

2002 Collin Farrel and Keith's Kiefer Sutherland who you don't see until the very end of the film. Before, so I'm not a filming, you guys are filming me. So I really enjoyed this. It was like totally different, totally different to anything I'd seen before.

There were steaks, it had it's smacks of sort of Dennis Hopper and it speeds.

Reegs: almost entirely in the phone booth

space

Pete: Yeah pretty much. And it's basically Kiefer Sutherland plays this like maniac who it sort of establishes in the film that he's done this before. So he basically targets guys that he thinks are pieces of shit. He's like a psycho that kills people, but he what's it feral is really hateable this character initially it's just like really conceited and dismissive of people.

I think at the beginning, he's walking down the road with his eye system and just been really like disparaging and everything. But he's having an affair cheating on his wife and the phone rings, he picks it up in the phone booth. And then this guy in a really a Sutherland in a really sort of like threatening sort of manner basically says, if you leave the phone, a phone booth, I'm going to kill you.

I've I've got a vantage point. I've got a Garney cocks, the gun shoot. So there's a little robot pissing about by the, the phone booth itself. And then he shoots the, the, the robot. No one gives a shit because it's New York and there's all kinds of crazy stuff going on anyway. And and then the, you know, like the states get played out.

He ends up having to completely. Just like break, break himself down and speak to his wife, speak to his girlfriend, admits he's aligned piece of shit and everything. And it ultimately, he gets redeemed by the end. And Sutherland's who you think is dead. They, they find you know, the police get in on it.

The they find him when we find a guy dead in, in the room where they know the call was made from Sutherland comes to the ambulance at the end and basically tells him why he's done it. And then goes off and then there's a little, like,

why did he do it? He just wants to out people for being liars and

Dan: Doesn't he catch him by just a ringing phone. It's just, it's just not bringing phone. It just needs to be answered, you know,

Pete: He says yeah, exactly, exactly that. And then right at the very end, the phone, another phone is ringing and then a guy you just, you don't even see the person answer. It just says like a pet hello. And then that's the

Reegs: next,

Pete: victim. Yeah. I like the film. It was one of the first things I saw seeing Colin Farrell in

Reegs: if you'd like other confined space movies, I would suggest buried with Ryan Reynolds.

Being

Sidey: yeah. Okay, cool. Perfect. Munich is a 2005 Spielberg movie about

Reegs: it's placed in Germany.

Sidey: Yeah. It's yeah. It's about people being blown up they, plant,

they

plant a bomb

in a flown or what was it in the phone? Was it just in the flat? I can't remember. Anyway. that's good. So there

Pete: in the film.

Sidey: that Yes, because

what happens is they're

Dan: in a Moss green 500

Sidey: watching the apartment for now waiting for the actual target for the hit to answer the phone. And then they know he's there and they're going to detonate. So they bring the phone and they're all sat there watching, and it's not the Marc who answers the phone, it's the little girl.

And so they get this big moral dilemma of what we can't really blow up some little kid, but you're like, well, where do you draw the line? Like, you're going to blow up a dad So it's this kind of moral ambiguity

about the film about

Reegs: yeah, yeah,

Sidey: when's it Okay. To start fucking blow people up or not

basically, but it's really good film actually

Reegs: It's underrated. I

think

in Spielberg's when I saw a thing today, it was, this is more window related than telephones, but in Munich there's a shot of you.

Can't tell who's reflection in the mirrors. Yeah. The, the door windows, like one goes down and you think, oh right. I'm looking in that car. And then the other one comes up and you're like, oh right now I'm looking at another one. It's just

so carefully

done. Like, it's just brilliant.

Sidey: Yeah.

Dan: Eric banner?

Sidey: Yeah.

And James Bond

Daniel Craig, isn't it? Yeah.

Dan: Okay. Splendid.

Reegs: the book had Hannibal Lecter send Clarice a letter, but the movie, the silence of the lamb ends with lectures, phone call and that's on a landline and he says,

yes, I'm,

I'm,

having an old friend for dinner. As he walks off into the, yeah, it's good with the Panama hat.

Sidey: Yeah. it. looks smooth. Yeah. it does.

Reegs: And he's going to go and kill that.

He's going to kill that guy. Yeah.

Sidey: Yeah. But he deserved it.

Pete: Yeah.

Reegs: He's a piece of

Sidey: because he was a bit Rude.

Reegs: No, he was worse than rude. Jack. What was his

name? Yeah.

Yeah.

Dan: Is it come back around to me? Well, I've got a few ITI. I watched not long ago with the kids. And obviously it looked lately in that phones home is not re I mean it's a landline, but is it a landline it's kind of a phone that he's made? I wasn't sure if this one would, would

Reegs: Well the thing he makes out of all of the toys and

Dan: It's not a mobile, is it? I mean, is it, I dunno, maybe it is

Reegs: think it's. a landline Is it

really

I mean he's calling

space

Pete: Would that call of appeared on the, on the family's bill

Reegs: that I think the

line

Sidey: Cool.

Reegs: the line would,

yeah that is

Dan: not possibly

Reegs: also doesn't the line have to go to the other destination. So like, there'd have to be a big line from earth to like ETS planet

Dan: There would need to be cables wouldn't there. Yeah. I w I was just looking at some

but

yeah, but just the Ringo of it. But what, what I've, what I've gone for is Zodiac, which is the Jake Gyllenhaal. There's just lots of phones in it. He's a reporter in there in the film. And it was just an excuse to talk about this actually, because it's one of those films that I missed the first time around.

I watched a couple of times after that in the last sort of four or five years. And it's, it's a fascinating story because it's true. And He plays his Jake Gillan hall plays crime report of Robert Gray Smith.

And he's trying to get this investigation, this unin ending investigation to unmask the Zodiac killer. Who's stalking the streets in the sixties and seventies. There's loads of great foam content in this and his landline the whole way.

Reegs: Nice,

Pete: Good. That's what I'm looking for.

So Brian, there were a lot of boring facts about telephones. This one maybe is interesting. So this is the longest ever recorded telephone call, which is not, but this is actively between two people who were interacting with each other for the duration of the call.

So we're not talking someone calling the speaking clock in wherever

Reegs: they were probably just trying to decide what to have for dinner.

Pete: potentially.

Sidey: how long was it?

Reegs: How long?

Pete: 46 hours, 12 minutes and 52 seconds and 228 milliseconds. Don't forget those.

Reegs: How many hours? 48,

Pete: hours, 46, 46 hours.

Reegs: the hats

Sidey: That's another record we can take.

Pete: Well, you'd say that, but this was in 2012, Eric Brewster and Avery Leonard of Harvard university held that call.

They were students and they were taught. They were not allowed to talk, stop talking for over 10 seconds throughout the duration, although they weren't given the chance to muster their strength back with a five minute break for every hour spent on the phone. So,

Sidey: are you not allowed to just read like texts to each other.

or anything as in like a guy read a

book?

Pete: I don't know. I mean, I, I,

Reegs: just read

the whole of game of

Thrones

or

Pete: I'm going to say it right now. I don't want to try and break that record. I'll leave well, that still leaves three of you to try and break it. So so my, my shout, what should I go for? I will go for a comedy one. I fucking love this film and command. When Baxter, the dog, I love the light Jack Black light volleying the dog off the bridge. don't know Baxter made the top five dogs, but yeah, that, that, and then obviously he's, he's pretty cut up about it.

He, he rings up, I can't pull Rod's character. Can't remember what his name is, but he's, he's, he's totally incoherent. And,

Sidey: I'm in a class.

Pete: and he is where are you in a glass case of emotion? It's just a really funny scene. I was for a while, not a will Ferrell fan

Sidey: just to get you to watch

that

Pete: then, yeah, fuck. I'm a massive convert and he, yeah, that, that, film's brilliant.

And that's a brilliant.

Sidey: Oh bill and Ted's excellent adventure.

comedy of it's

go around this far. It's another phone box content. So we aware outside of the house, but we're still landline in essence

we allowing

Reegs: Well,

Pete: phone boxes.

Sidey: It's not a mobile telephone It is

a, it is. It's hard. It's hard wired.

Dan: underneath

Sidey: hard wired,

Reegs: except for

when it isn't

Dan: We've got Superman as well. I mean, that'd be another phone

Reegs: it's in medieval, France.

Pete: Yeah.

Sidey: Well, it's a magical. That's why it's memorable. That's what makes it.

Pete: on the phone box in bill and Ted's wasn't in medieval. Oh, I

see

Sidey: when at time that I don't know if you've seen the film, but the time-traveling phone books

Pete: I have

Sidey: they

Reegs: I the

line it's very hard to establish across time. You know what we were saying about ETS platter earlier? It's even harder

Sidey: they meet the babes? Well I think, I think it should qualify because it's not a mobile telephone or as we said, and I think landline, it's

Pete: I'm the ombudsman here and I'm going to allow it.

Sidey: And also it had George Carlin as Rufus, who I didn't know was like a cool dude at the time which is sort of some old guy when I watched it as a kid turned out to be pretty rad.

So I fucking love that.

film.

Reegs: Yeah,

And the bonus thing about it is that that, that was this week's word ombudsman, so well done, Peter.

Pete: Thank you. Yeah. What happens? What happens? You, you release the hostage

Reegs: Yeah

Pete: you?

Dan: cheese.

Reegs: yeah. When a stranger calls, I think I've only seen the really shitty remake, not the 1979 original, but it's the precedent for babysitter stuff like scream and all that.

It's the one where well, in the original Carol Kane gets a mysterious call and she gets the question of you check the children and then the kilos calling from inside their own house and blah, blah, blah. Yeah.

Dan: This is a

Reegs: But but th this is a sort of similar one which is when, and it's a nice little convention that you have in movies where you have the split screen

on a telephone call.

Dan: Oh yeah. Yes. You can see both,

Pete: that

Dan: both people. Yeah. They did it in Harry

met Sally. I think there was a,

Sidey: watching some short film in bed.

Reegs: Yeah.

well, they did it really well in naked gun 33 and a third where there's kind of a hobo on one

side,

of the screen and he walks into the frame of the other side of the screen. It's a split

screen.

Dan: They're brilliant. Yeah. These are funny ways that the godfather and

the godfather is shot and Sonny takes a call from one of the gangsters in the kitchen, but the funny bit is using a B one Mount.

We have an E one headset. no doll, the doll is blank. And if you watch carefully at the Y angle, you can clearly see there's no transmitter in the handset, but it's got the outside cat and the split cup. Yeah, you

Sidey: nice

Reegs: that's amateurs

Dan: can see the LOE base through the split cup. So it's just, it is, it's totally not, you know, it's, I mean, there's classic Francophone stuff.

It's, you know, it's all been put together. It's brilliant. Yeah,

Pete: Is that your one was that genuine? All of that.

Dan: genuine stuff.

Pete: Wow. Okay. Lost phone, not lost phone. In fact, that evening landlines will be totally redundant in the UK.

I've got, I've written by 2015 here. That's not true. So that's a terrible,

Sidey: used my landline since 2015,

Pete: that's a terrible fact. What I did want to move on to when I run out of foam facts, cause they're not much fun. Is, is terror is worst emergency calls. So just open up with this is a fucking belt or a woman in London rung up a wrong the emergency services because she'd seen a clown selling balloons for five pound each, which was much more than the other clowns were charging. So

I'm still hoping that you're going to mention the one that I I've got on my list. I've got the matrix. There's a lot of phone content and there's quite a lot of it is cellular and mobile, but there is some landline staff. The very beginning I've watched the first 20 minutes of the film again last night.

And like this film fucking blew me away and, and it blew me away again last night, just

Reegs: It's

Pete: it. I cannot wait for, for, to sit my kids down and not tell them anything about it. And just say, right, when they're old enough to watch this film, it is fucking like nothing. It was not nothing I'd ever seen before, but it goes get straight in and immediately you're into the first scene with the police and Trinity and, and your, your men are already dead and then

Reegs: the new one is coming out. I am getting so hard already

Sidey: There's a trailer, there's a trailer out

Reegs: I know I know. I want to

see it

Pete: is it's like the, the brilliance of the original film. And I hadn't read the book.

Reegs: would be

there, but

just, the universe again just

being back in the matrix universe again.

Pete: Yeah, I think, unfortunately it was the, it was the Watsco cause I was right there not knowing what was going on.

And then when you realize what it was, mind was blown, but the phone, phone concepts in

Sidey: well phone violence, isn't it? Because she has to run to the phone booth before the

vape and they, they obviously part of the car straight into it.

So you got another

Reegs: I remember watching it the

first time and you've got no

idea what

the hell is. You've just seen this really cool, like martial art

Sidey: scene

Pete: cool. Doesn't even do it.

Reegs: it doesn't do any justice.

And then she just like runs and it's clear what's happening. Like the stakes are high and she wants to get to the phone, but you've still

Pete: and she's super human, but yeah, you think she's just been totaled by this truck, but she got out through the phone.

Reegs: Yeah. Incredible.

Incredible

Sidey: I think this is the one you were getting on to me about Pete swingers. Which was probably, I don't know if this is true, but when I, this is when I first started being aware of other films other than what was just available at the cinema, if that makes any

sense.

So I think I must have read about it and then got it on VHS or something

like that.

found it and I've watched it, and I fucking loved it straight away. The scene in question. John Fabros character has had a breakup, but he's not over. And their friends are trying to get him back out on the dating scene, and just getting out and about stopping such a miserable bastard. And so he meets a girl at a bar and despite him being a fucking bit of a sad sack, he gets a number thinks he's got a chance of maybe getting over there. So late that night, he's back at his apartment and he calls And I don't know if Americans still are fucking crazy about answer machines, but they always seem to be something that Americans had. And we didn't like they existed, but there's like, I don't know

where it

Reegs: dad had one

Sidey: anyway, he leaves a message and it cuts him off before

he gets to the end of his message.

And this scene is one of the most cringy scenes I can think of.

Reegs: it's excruciating.

Sidey: And he said, fucking honey. And he's like, oh, I'll bring it back. And say, it's just this never ending scene of him. Just phoning back, getting cut off, getting more agitated. And it's more and more bouncing as it goes along,

And then at the end He basically breaks up with her.

He has the

whole

course of a relationship. which says It's not working

out. It's not

you it's me.

It's what I'm going through. I think he says, and then you're just like, oh my God,

this guy's fucking beyond help.

But it's a

Pete: eventually she answers

Sidey: didn't never call me again. yeah, She's obviously been sat on the other end, listened to this guy. Just completely

lose it.

Reegs: down

Pete: calls us six times. Like, it's fucking brilliant.

Well, you put me on to the film and I watched it recently. It's that like that scene, like I had me in stitches. It is excruciating, but

Sidey: I watch it again, I have to skip past that. I just,

Pete: ah, I, I enjoy it. I've watched it again last night for this. And I enjoy like, it's fucking fun because the acting is brilliant. It's really good

Sidey: It doesn't do that much acting anymore.

Really does like happy in spite of my stuff.

Pete: one thing I would say is there's inconsistency in the amount of time before the it cuts off and goes to.

Sidey: there is a bit, Yeah.

Pete: So yeah. So now I hate the phone.

Sidey: Okay.

Reegs: The Soprano's Tony beets. I can't remember who it is.

Pete. You might remember the fat guy runs the bar.

Pete: I know who you mean, but

Reegs: him with the phone

at some point. It's pretty funny. There's also in American pie too. You ever seen that one personality void, Chris Klein? He's the lacrosse player. They are having a long distance relationship with Kevin Spacey tempt to Mina subari.

And they're having phone sex and Stifel is also on the call and there's all sorts of comedy stuff. Like when it starts

like

Pete: she, like,

Reegs: She goes, oh, Hey Marco, could you get, get your balls off me? He's like on the other end, he's like, what? And then yeah, you can hear Stephanie, Jackie offers stuff, really high brow stuff.

The fifth element has a lot of landline

Sidey: the fourth element

Reegs: Nice. But one that my instant thought was a lot of them were horror. I could have talked about Halloween, but nightmare on Elm street, the original with the tongue that comes out the, did you ever Jack off to that or was that just,

Pete: well, it's a nightmare on Elm street.

Reegs: The tongue that comes out of there.

Pete: I was still trying to remember the phone content in the fifth element.

Like the landline.

Reegs: Well,

they so

Pete: Cause this is set in a futuristic kind of.

Reegs: yeah, it is, but Zaugg I think is his name, Gary Oldman's character,

the one he's

Pete: Ah, yeah, he's got like, he's got a, yeah, he's got like a poker visor put on

Reegs: Well,

but he's got a sort of slick

Tover I dunno. It's incredible. This, all this stuff was by Sean, Paul

goatee but he taught there's like this complete a bomb. I can't even describe it.

Pete: isn't this, the film that fits all isn't

Reegs: Yes. One side So yeah

Pete: fits all. Yeah.

Reegs: yeah.

It he's this sort

of unknowable abomination. That's going to take over the whole.

Galaxy, but he talks to Zaugg on the telephone, which is a landline in dog's

office.

Pete: Okay.

Reegs: So that was quite a good one.

Pete: Nightmare on Elm street.

Reegs: And that one

as well. Yeah with the tongue,

Dan: Okay. Well, I'm going to throw in my my Widnall because there's a, a brilliant scene in the, in the phone box at Penn, with his with noise, calling his agent, asking for our house looking basically. And he's not going that well, he's fishing around for shillings in his pocket to, to fill the machine.

And and the, the agents, you know they there's no jobs and well, why wouldn't they see me? This is ridiculous. You know I pay you 10% to do that. Or 10% of the ass is then, you know, it just totally losing it. He slammed the phone down a few times and leaves the telephone box, but um

Reegs: did you feel about with Nell and I side?

Sidey: Wasn't that

into it.

Dan: Yeah. Well, you're wrong. I mean, you're not often, but you're, you're wrong on this one. It is an absolute, fantastic film.

Pete: Yeah.

Dan: You're

Reegs: I mean, it could go on forever, but and we've already had an extraordinary number of,

Dan: There's a lot of

Reegs: stuff online.

I mean it, should we read it out now or

is that just

Sidey: no, let's save it till next week, but there's been a shit load. Yeah.

Reegs: Well, keep, keep coming in because landlines are obviously getting you going out there.

Sidey: Hey, have you got any more just around?

yeah,

Pete: won't do any anymore. Emergency calls, they're mostly around the, one of them is just a woman saying she bought a kebab and it was cold.

But so I will rattle through, I think one sort of huge oversight up till now is the bat phone.

Sidey: Oh

Pete: pretty iconic

Sidey: one

Yeah. it's got a, like a glass.

Pete: Ward.

Sidey: What's that thing you put over something and then you'd put like smoke in it. It's got a cloth over it. Yeah. And it flashes red. Yeah. It's classy.

Pete: a, it's a, it's a an infamous phone, I think that's it, because my last two, I had some inspector gadgets handphone, but that obviously doesn't isn't hardwired anywhere.

So that must be a mobile. And I also had, what is probably one of the most iconic phone scenes. I'm not entirely sure why I love the film, but Jerry Maguire show me the money and everything, but it is a mobile

Reegs: Oh no they don't because there's tons of good mobile. We can have that another week. That will be lovely

Pete: And it's it? Yeah, no. So I'm done.

Sidey: Juno has the hamburger phone, which got really popular. People were trying to seek them out. Leon. The professional Natalie Portman gets

a phone call from the school. and They want to know, I wanna speak to your mother. And She says,

Dan: they're dead.

Sidey: dead.

Dan: We're

Sidey: Yeah, That's it for me?

Pete: I have just remembered one phone scene that I hadn't had written down. So not sure if you guys are funds, I'm an enormous Ronnie Barker fan. The two Ronnie's, there's a a skit where they are on two public payphones and there it's an incredible scene written, you have to watch it it's so they basically Ronnie Corbett and Ronnie Barker.

And one of them's having a phone conversation and the timing is amazing. They're having totally independent conversations with two different people on the phones, but that dialogue like matches with each other. It's definitely worth a watch. Look it up on YouTube

genius

Dan: Well I I've got angels with dirty faces as my last one, which is yeah, it's a walkie Sullivan James Cagney film. It's probably. Best gangster films of that generation. And he,

Reegs: those young

Dan: kind of a cost cooked lawyer Frazier, which is Humphrey Bogart in this um as he attempts to call out on one of those vintage candlestick phones, you know, with

Sidey: Oh yeah, yeah,

Dan: Mount and it's, yeah, it's certainly one of the best ones and the other one was pirates of the Caribbean, but that's a naive,

Pete: Jesus Christ. Oh, we can't finish on that

Sidey: let's just do a nominations.

rigs.

Reegs: Oh, I forgot. We're going to have to do this. What was some good ones that we talked about? Bart Simpson's phone

Sidey: So

Dan: that's a good show. I will go for angels with dirty faces.

Pete: scream,

Sidey: Dr. Strangelove,

Reegs: Yes. Well, great choices. But your favorite landline is probably still out there.

I would

say.

Sidey: Yeah, lots of contributions, but keep them coming.

Reegs:

Cheese, cheese. Me now.

Dan: Yes.

 You bought cheese again,

Pete: I did this, this was a bit of a rush job, so I do apologize. I didn't

Dan: only five varieties of cheese.

Pete: there's only three. But I've gone with a couple of staples that I, I know we'd love.

There's the blue Devorne, which in the absence of the the notes about it is made by the, the children at Devon school, which is just up the road from where we are now.

Reegs: from the children at Devon

school

Pete: no, their milk. No, actually,

Reegs: nothing

weird

Pete: not, not their flesh. We're not barbarians. There's also a manchego, which everyone knows is better than a woman show you go.

Dan: Controversial. What's that bread cheese,

Pete: that red cheese is Serrano, ham,

Reegs: did you have any of

Pete: quite salty. It's the only way we'll get you to try, try me by pretending it's cheese, it's Serato ham, which is it's it's, it's actually, it's a good addition. I might have to start bringing meat and a saucy song to the equation. The other one is a Brie, which I remember being disappointed by last time, but they didn't have any other soft one, but um

Sidey: the cheese subscription that we have,

Pete: this is not, no, that's another fortnight away.

So if someone can society, I think, you know a bit about this Bri.

Reegs: Yeah.

You were telling us all about it

Pete: someone else can come up with something about it.

Sidey: is like a gateway to getting off just like cheddar and whatever. I would say that's what, But this, but I find it just a bit too. much.

Pete: Yeah. It's it's T Tomi, my first soft.

Reegs: your it's? You, you don't like a Brie,

particularly

Sidey: it, but It's fairly boring Brie or something I could have in a sandwich, like cranberries and breathed together in a fucking French stick or baguette. But for an actual sitting and eating cheese, I just find it a bit too

Pete: big Actually I bought it. Now I remember for, cause you made your cheese joke about the cheese explode, the lotion.

I've got another cheese joke. What did the cheese say to itself in the mirror? Hello me?

Dan: No,

Reegs: I like alumi as

well.

Pete: good.

Dan: And

Pete: Excellent.

Dan: bit like Bree? Yeah.

Reegs: So we, we have been live cheesing tonight. So if you're listening to this, you can't join in obviously,

but did stream So what

Sidey: you could do is that next Tuesday, around whatever time it says on our tweets, you could live cheese

Reegs: enjoy

your favorite cheese with us. Tell us what your favorite cheeses.

Pete: Cheese.

Reegs: somebody I know listener somebody at work message me to say that they loved the cheese content, which was, which was

Sidey: I can't remember how the cheese content came to be.

Pete: I'm a fat bastard that likes cheese. So I started bringing it. Do we feel it's taken over from any of the actual film content that we talk

Sidey: Well, It does segue Very very nicely into this. week's movie.

Pete: does what goes better with trees

Sidey: transsexuals?

Dan: and tangerines. Well this film Pete Tangerine, it was your nomination. I mean, as soon as, as soon as I kind of watched half an hour of it, I thought this is typical Pete, but tell us why this

Pete: one I'd say sort of, right. So I'll tell you what I've been using band does film review a little bit I've mentioned this before.

I'm not a filmy filmy. I'm like, I like films. I like talking about films. And

this, this we've, I've definitely I think I've mentioned before, like broadened my horizon since I've been doing,

Dan: I think we all have, we've all watched films that we wouldn't otherwise have seen,

and this would fit the bill of one. That was just totally off my radar.

To be honest, I'd not been aware of this film.

Sidey: No, I had never heard of this

Reegs: I'd heard of the sequel, not the

Pete: sequel.

Reegs: Another one Yeah,

1. Another one that this guy had done that I was going to nominate actually at one point the Florida project.

But no, I hadn't heard

Pete: it. Well, I'm glad

Reegs: The only thing I had heard of was the kind of gimmick. I did know that there was a movie and it's probably worth talking about straight away that

it's filmed.

Three I-phones with quite a lot of 'em. They had some other stuff, but it's really made

Dan: really is that this whole film was filmed on iPhone

Reegs: three iPhones,

Sidey: Yeah. So, so iteration,

Dan: okay. Cause it was one of the things that I I'd written down the, the shooting style. But that, that's fascinating really.

Pete: I mean, why, why I pick this is I like, if so, how I'll explain it is if I go into a restaurant and there's food, I've not tried before, or there's something that looks like it's I could never make it myself.

It's something that would be totally new to me. Or there's a cheese sandwich. I would, I, I'm not going for that.

Sidey: You talking about prostitutes?

Yeah,

Pete: think, yeah. I'm talking about transgender prostitutes specifically, but. It's I like to, to watch something that would challenge me and open up a totally different, like, you know, visual universe to me, or a culture, a subculture, whatever it may be.

And that certainly doing this with you guys is, is like open these things up. So what, but I didn't necessarily like put that into a search. I was looking for things that were, I dunno, different. And you know, there's going to be subject matter that I've not seen before or dealt with or whatever it may be.

But this came up on a few different, so I had it on my list of films that I was going to nominate, and it felt like a, a right sort of time to do it. And so I pumped for it with no real knowledge or understanding about what the film was about the director. So I'm glad you've mentioned that you, you are aware of the director because this seemed to be something that was, well, that's going to be completely different again a little bit. I don't know. So we w we're all dads, right? The other day I was walking through town and I saw a guy who was about 16. I'm going to say probably like in a, in a dress with makeup on and so on, just walking through the middle of center, in Jersey, which is like not a common kind of thing that you would see.

Whether or not that, you know, my kids are gonna grow up, they're going to go to school. They're going to maybe that's what they'll do. Or maybe that's what their friends will do. Like we know, I know a guy, we know a guy here, who's got a friend who's transgender and you know, it's, it's sort of, it's, it's definitely new and, and not the sort of thing that you, you see a lot in Jersey, especially, but

Reegs: yeah, because we're older as well,

Pete: and we are older.

Yeah. Yeah.

Reegs: know, the 20 year olds, now this will be much more

common I think,

Sidey: certainly relative to what we were exposed to.

Pete: Yeah.

Dan: think these are the kinds of films that have helped break those, those walls and barriers though. Aren't they, because it was a 2015, this film, so a little bit older and certainly my, my boy now he's, he's 15 and he's, you know, he know he, you know, he's taller than me sending me off, but there's, he knows kids at his school that a guy that openly gay and, you know, or, or very comfortable in finding themselves, exploring the different options out there without being bullied for it.

Whereas back in my day, it would have been, you know,

Reegs: well there were no homosexual people in my year at

school,

Yeah. Which

Dan: obviously

Reegs: yeah, well, yeah, no, obviously, but

that's that's how,

that's how it was

Dan: boy and, and telling everyone and just live. Yeah. Yeah. And you know, that not being

Reegs: here to my shame.

I mean, it was an insult if like, if it, you know, it's a difficult thing to discuss, but it's true. It was an

insult that you would hurl at somebody.

But you get a bit older and you learn a few new things. You should have known maybe, but

Dan: but yeah, there's this kind of say that the generation that my son's in, I think there's lot more people that are a lot more.

Tolerant and, and, you know, just see it as, oh yeah.

Pete: I don't think it's so much tolerant as I think educated is, is the that's, that's the thing for me. Like obviously I have a son who has a disability totally of a tangent, but again, growing up, I didn't see a lot of people with disabilities and so on. And now I'm, I know a lot more specifically about my son's disability and we've all experienced things that are of a similar sort of elk.

And it's all about education. It's almost things that you are ignorant to, or not exposed to or whatever you, you know, you don't talk about them, you or you, you know, this, the survey, there's a lot of questions, a lot of maybe even fare or whatever it is. But the more that, you know, people like society is far more understanding and accepting of, of

Reegs: a dialogue now and then it's represented in movies so much more. Now you're getting LGBTQ plus

Dan: interesting creation

Reegs: in, in

Sidey: movies.

Reegs: And

Dan: it's interesting you say about the dialogue because straight away this film from the opening scene, it was the dialogue.

Made me think, oh, okay, settle down. I think I'm going to, I'm going to enjoy this or I'm going to get something for me because there was the it opens in a diner, doesn't it? And there's some, some bad language, right? From there, from the beginning, it's, it's just street language. There's two friends talking to each other.

I'm saying, you know, calling each other a bitch and all the rest of it, but it was a good strong opening scene where you just kind of learnt these

Reegs: she is saying to the Cindy Rella and Alexandra

are

the two girls and

Pete: transgender sex

Reegs: They are transgender sex workers, but yeah, cinder, Cindy Rella is saying to Alexandra that she finally has tits and she's talking about she's on east region, I think.

Yeah.

Pete: And it's revealed that Cindy has just got out of prison for a small, like a 28 day stretch

Reegs: probably solicitation or something. Right.

Pete: No, no, no. I think later on it was drugs because she she'd hidden, hidden some drugs in a weave for her PEM is, is what it, yeah.

Reegs: yeah, yeah. So they're having this conversation, it's quite raucous and it's lit through the, did you notice, like you're always getting the sunshine

light

this was,

Dan: is a really lovely

Reegs: I'm

assuming that's the Tangerine

of the

tile, like the

Dan: Right. And, and as you mentioned earlier, and I just found out that this was shot on iPhones which, you know, when I, when I was watching it, I could see that it was obviously filmed on a budget or it was, it didn't have the, the kind of, you know, huge money into all the shots.

But what they've got out of these iPhones is incredible to be honest, because you, you soon forget about that because it's the style of the film is it is a gritty film on the street. So it, it suits that style of shooting. To be honest, if you had the best cameras, you'd probably want to try and capture something like this atmosphere around the film because of the shooting.

So it

Reegs: yeah Well it, I mean, later on they do get quite dynamic, but this scene in particular, in

the

donut

shop is really just setting up the central plot, which is that Alexandra tells Cindy that while she's been in jail, her pimp chest

Pete: Chester.

Yeah. Her pimp

Reegs: cheating on her with assist gender women.

Pete: Yeah. And cis-gender means, well, she's a girl, she's a lady sex

Reegs: has

Pete: She has lady parts.

Reegs: Yeah.

Pete: She was born a lady, a woman. That's the, I don't know what

Reegs: And identifies as and her sexual and gender identify, she chooses to identify as

a woman.

Pete: yeah. And they're their terminology is a fish.

Reegs: Yeah. It's immediately like really quite derogatory.

Isn't it? It's like quite, but are quite brash. These guys, these,

Dan: they're very brash. Yeah.

Sidey: the tone at the start, like just the first few seconds. It's like, oh, I'm not sure if I'm going to enjoy this. And then really quickly, I was like really entertained by the, the way they talk and the way the girls were just so full on.

I

Dan: Well, that's what captured me

Sidey: And then I was thinking, Am I

supposed to be finding this funny?

I don't know.

It was a

bit like that. And then the plot, basically, is quite simple as that. She wants to confront

Chester

Pete: Yes.

Sidey: and She wants to find them. So they, they storm out of the place and she goes off on

this sort of

maniacs sort

of voice to catch up. I don't want any fucking drama from you when we get to the place, I don't want any fucking drama or I'm out, I'm out of there.

And she says, all right, I'm cool. Yeah, don't worry. I'm cool. And she's a fucking promise me, promise me no drama. And she's like, oh, I promise no drama. And then she literally walks two steps. And some guys there and she goes, what the fuck is he

Reegs: Yeah yeah, yeah,

yeah

Pete: this, is a comedy drama film. So it is intended to be a comedy and you're straight into it, straight into the drama and the.

So then sort of unfolds,

Sidey: she

Reegs: He goes off to see there's like a drug dealer guy. Isn't there is that in the back of the donut shop. And she's asking him and asking around his various scenes of her sort of doing

detective work

Pete: Chester is, is both a pimp and a drug dealer. So I think it's one of Chester's guys. Yeah, he's an entrepreneur. Yeah. He's built up a business himself.

So, but he is, he's one of Chester's guys, but he only gets involved in the drug side of it, not the pimping side of it. So he's not necessarily the guy to ask about you know, what chess has been up to necessarily, but he knows approximately his whereabouts and, and there's, there's little crumbs that are just laid down for, for Cindy who's on this like mission to find her initially wants to find the boyfriend.

And it's only when Alexandra says, listen, I don't want to, I don't really causing a scene. She's far more kind of wants to just go about her daily business.

Reegs: He wants to. Yeah, well, she's singing

isn't she she's got a show on, at a bar. So she's handing out flyers to everyone that they meet, which includes most of the sort of people who were being slapped

Pete: around.

Sidey: And,

Reegs: Yeah, that sort of thing at the other also while this is going on though, and I think this does get introduced quite early, we've got Raz Mick, who is an Armenian,

Taxi cab

driver. And he, we get him picking up various customers.

Pete: and there's some good

Reegs: There's some good scenes here. You know, there's one with a woman comes out with.

Basket. And it is

like

a dog carrier. Yeah. And he's like, oh, you know, what's the dog's name Alfie. And she he's like, oh, it's a very well behaved dog. Isn't it? It's so quiet. And she's like, no, it's empty. I fucking piss

myself by that again. I wasn't sure whether I was supposed to

Dan: will it just cuts doesn't it went to the next scene then. And

Reegs: there's the two you

guys said one, like they're talking absolute

bollix.

It was why it was talking about Rowley Birkin because you could only hear bits of what you were saying, and then they both puke in the car.

Sidey: Very

convincing.

vomit

Pete: It was an incredible vomiting scene.

Yeah. Cause they like talking and then the vom comes.

Dan: I wouldn't be surprised if they had one shot at that

Sidey: That was every taxi drivers. Worst nightmare. Fucking drunk people

Pete: don't know if we've said this is all set in Hollywood, but like the back streets,

Reegs: it's at the intersection of, if you give me two seconds that you might be able to edit out. Cause I think it is important because it is re really all over the

place this specific place it's on the corner of Santa Monica and hot and Highland in Los Angeles, because that's where these people where this story came from and where this story happens.

So the boundaries between real life and if it's not already clear the boundaries between real life and what is going on in the movie are very, very

Pete: yeah.

Yeah, yeah. And it's also I think poignantly as part of the film is also sets on Christmas Eve.

Sidey: Yes,

Reegs: yes.

Pete: Yeah.

Dan: You forget about it sometimes because it's so sunny

Pete: It is. Yeah. Yeah. But I mean, that gets referenced later in the, in the film, by the sort of Armenian family of, of the taxi driver. But like you say, it keeps jumping between the story of, of these, these two girls and Rasmea the the taxi driver and you don't know what the

Sidey: Yeah. I was waiting. I was just going to all tie up?

and what's going on

Pete: Yeah. Cause at first I was thinking I was this Chester, is he a taxi driver?

Sidey: I was thinking he was going to end up

like doing a hit run or something like, you know

Pete: thought when

they would

Reegs: she was clearly going across town. I wondered if she was going to get into

his taxi

and that's how it was going

to,

Dan: thought the old

Reegs: up anyway

Dan: he was, it was ill.

Reegs: the Indian

Dan: No, there, there was an old boy in there.

Wasn't there.

Reegs: The

native American

Pete: Yeah, man.

Reegs: Yeah,

Dan: Ah, yes, yes, yes. It was him.

Pete: Yeah. Yeah. Again, another little sort of character that just gave it a little fleshed out a little bit more. I think

Reegs: she goes off to the brothel,

Pete: where she does, but I think for, so first, first of all, what happens is, is actually, there's, there's quite a lot of scenes of, of marching down the street with a purpose.

And so at some stage Alexandra convinces Cindy, or she's trying to sort of placate Cindy and bring bring her back down and say, look like, like you say, sidelight doesn't want to cause a scene. Alyssa, if we go and find Chester, I don't want you like getting into em and causing a loader bother.

And then she just takes that as goes, yeah, yeah, you're right. We need to find the bitch that he's been shagging instead. And then that's when she decides to go after her and she gets her name there's Deserey

Desdemona, this is a mess. She knows it starts with a D. And so she starts just throwing out names, hoping that one of them will stick.

And eventually one does, I think it's diner or,

Dan: And

depending on who she's talking to, she's either saying where the fuck is this? Or she said, oh, he's my friend. And I'm just looking for, for them. She's manipulating anyone to get information so she can hunt this woman down.

Reegs: I think pretty much everyone she's talking to is also a sex worker.

Like she is.

Sidey: like,

Pete: Yeah.

It's almost all of the people that are transgender sex workers that they come across. I think at this stage as well, you see razmak picks up a sex worker in his cab quite, quite early on. And

Sidey: the one that's actually.

Pete: so yeah,

Reegs: was this by the way? Because who was, did anybody catch the actress or

Sidey: no.

Reegs: Okay.

Pete: I'm not sure.

I don't know.

Dan: So she she's a, a sex worker walking along the street and he, he kind of slows down the cab, gives her a little and she comes over and gets in there in the cab, drives off to some quiet spot. And

Reegs: he's pleased because she's new.

Dan: Yeah. That's why, oh, it's great to see some new action on the, on the town, on the, on the thing I haven't seen you before and he's looking and she's ready to go down on him.

And he goes, no, no, I want to go down on you. And when she pulls down her skirt and he goes, yeah, what the fuck is that?

Pete: Yeah

Dan: And what the fuck? And he can't believe he's, he's not what he was expecting at all. And he's, he's repost. Isn't he can't believe it. He's so angry. He's

Reegs: he fails He's been sold a lie because she's walking in that

Sidey: territory

This is the area

Dan: is it. She, she didn't know. You're not from that part of town, I guess, but she's walking down the street where notorious for

Pete: the transgender sex workers.

Yeah,

Dan: that

Sidey: Exactly.

Reegs: Oh, by the way, just

before this, he's fucked off Christmas dinner with his message to go and do this,

by

Sidey: the way,

Dan: No, this comes a little bit later, but this is just a war.

It's the first reveal that you realize this guy actually

is

Isn't just the heart. There's a secret to him.

Sidey: he,

kicks her out the car, this one, because it's not a transgender sex worker, but he

obviously has a predilection for,

And so eventually he crosses paths with Alexandra.

Pete: Yeah. Yeah.

Sidey: who is much more to his liking.

Pete: Well, he knows her and she knows him. Yes.

Dan: a sight for sore eyes. I think they were both having a hell of a day. She'd been obviously wandering

Reegs: to round people up for the gig.

Dan: for her gig.

Pete: we've jumped because Alexandra has an encounter. With a guy before this. And this guy has only got like, he hasn't got the $80 or wherever he's got like 40 and like puts it up on the dashboards. So 40 gets you basically, he can play with himself, but uh

Reegs: she'll hold his balls knows just hold his balls.

That's it just hold

Pete: And obviously he doesn't even manage to, to get himself hard. And then there's a

Reegs: we've all been there

Pete: scene. There's a scene where they, it gets out of the car and starts getting into like fisticuffs and Alexandra says like, come on, then I've got a fucking Dick to like, and then, and then the police who like Alexandra, cause at first they say, ah, there's Alexander.

So they, they like Alexandra is known to the police

Reegs: I didn't catch

Pete: yeah. Yeah. So the, the lady gets, there's obviously this is a person that they've seen for years and years and years of going through the, the sort of transition from Alexandra to Alexandra. So they get out the car and then there's like, there's a bit of you know, asking the police to help out.

She wants her money and he just wants her to, to go away kind of thing. So in the end, the police decided later as Christmas Eve just go your separate ways don't want the paperwork or the admin. So yeah, go, go on your Merry way. I think before about the same time, cause it jumps from Cindy and Alexandra story to razmak story.

They go, they find diner in, in, at the brothel. Yeah.

Reegs: Oh man. And that looked pretty like the set looked very authentic

is what I thought about that scene of a very

Sidey: nothing sexy about that place at

Pete: So the, so the Madam in the scene is a real life. Madam. That's a, that's what she does for a living and yeah. It's, I mean, you see all sorts of stuff going on

Sidey: not in cupboards in the bathtub.

Pete: Like there's quite a lot of penis action. I know you're a fan of

Dan: just slightly overweight and

old,

Guys that just, you know, we've oh, it was, it was

Reegs: pretty, awful

Dan: an awful scene that one

Reegs: and she grabs her out of there a diner by the hair

and then this fairly sustained and prolonged

Dan: Well she drags out all the white it's a hostage,

Reegs: Yeah It's quite violent. I would say it was, it was a level of violence that I was.

was really

Pete: I noticed that it was, it was all very much hair pulling and pushing and throwing rather than striking like that. I

Reegs: Oh yeah. No, I would be surprised if there was anything out of order. It just, the whole thing.

Sidey: is.

Reegs: so

authentic and real. Yeah.

Pete: But and at this point, Alexandra and Cindy have kind of gone their separate ways.

Alleys runs is that a fill for the day that's when she encounters Ramsey sick and you get the, the car wash scene, which is yeah, it's

Reegs: and Dan said earlier that he didn't remember

Dan: well, I I'd just written down car war scene $6. Exclamation marks may smile. And I was thinking obviously at the time, well, I won't

Reegs: $6 It must've been more than $6.

Dan: Well that's what I wrote down.

Sidey: wash

Pete: cost $6. Yeah. But what happens in the carwash probably costs 80 seems to be the going

Reegs: Alexandra and razmak in the

Dan: they're looking for a quiet spot where they can get it on in the middle of the day, in the middle of the city, pretty much or the outskirts in a busy suburbs in a car. So they go to the car wash where they'll get sort of three minutes or so of uninterrupted find new.

It probably wasn't as long as that. And it's the opportunity Rasmus gets that he didn't have with the previous sex worker that he actually gets to go down on this one and soccer

Reegs: And we see a pretty big light.

It's quite a long drawn out blowjob, or maybe it's only two minutes or something. Like you said, the whatever, but the camera would normally cut away to imply the passage of time. But it doesn't, you just get a real-time shot of them going through with him

Dan: them

Reegs: her a

Pete: lating

Dan: yeah.

Reegs: For

Pete: for Alexandra and playing with himself by the looks of things.

Dan: Yeah, that's right. Yeah. He was, he was getting all going on and, and so the way that it, it panned out, I

Reegs: there's all

Dan: clever actually, because you've got, you've got all the water coming in, the spray, the blowing and of the carwash.

Pete: yeah. Every do blown tons going. Yeah. Then I think that there's so,

Reegs: so after you'd finished cracking one out to that,

Dan: you've got

Sidey: she has to go off to a do a performance and he goes, he goes back to his family

for

Christmas dinner. But he is,

Reegs: he's got quite a hot wife.

Sidey: Yeah. At first I thought that The mother-in-law was the wife and that was the daughter

Yeah. but it's

Pete: Ramsey has I think there's, there's a couple of elders sort of like Armenian ladies.

There's his wife, who's got an absolute main of her

is sideshow Bob's style and they have a daughter as well. But Remnick is just back now in sort of suburbia and in his sort of family setting at this point. The one of the, maybe the mother-in-law one of the eldest of Armenian ladies points out it's like Christmas doesn't.

Proper when it's like sunny and stuff outside. Cause obviously it would be, you know, very much more like a snow snowy Christmas back in Armenia. At the same time, like you say, Alexandra goes off to her performance that she's been handing out flyers for all day. I think it starts at seven o'clock she's pacing up and down because no one's arrived and she seems quite agitated.

And the guy in the door is, is agitated. And this is what all whilst the scene with Cindy and Dinah happening where she's dragging her along, she gets on a bus, she's going to go and confront Chester. But then she realizes what the time is about 10 past seven and is like, right. We're going to have to go to the show first.

So almost that is taken out.

Dan: at the same time, Raz mix at home, he goes into the bathroom, washes his face and pulls out the flyer.

It's obviously on his mind as well that he wants to be in other places. Yeah.

Sidey: Well,

Pete: He's actually, he's intrigued. Cause after his interaction with Alexandra, he asks like he asks about Cindy and Alex

Dan: back on the street is so excited. Know

Pete: to be

like favorite. So now he's intrigued once to go back to, to Alexandra show so that he can meet up with Cindy. So the first people that arrive at the show, which is late now is Cindy and Dyna. So they go in and that that's enough for the show to go ahead because at least she's got an audience of two albeit she's handed out probably 20 or so flyers over the course of the.

So then they go off into the toilets to, so that Alexandra can get ready and Cindy helps her with her makeup. And whilst that's going on, Diana just pulls out a bag of like meth or something. So either meth or crack. and then, because Cindy is, is an addict, Alexandra doesn't want to get involved, but Cindy's like, oh yeah, even though she hates this woman, because she's the guy that

Sidey: start become sort of

Pally.

Reegs: well, I bet the getting high it's over getting high because Dinah wants some and she gets involved and they find that they've got some common

ground What's

Dan: she's she's got the crack, she's got the pipe, they put it together.

They're their friends for the night.

Reegs: Well, also there's an edge there because she starts saying, is it at this point that she says, oh, Chester's my boyfriend. And dinosaurs says to her, she's not, you know, he's not your boyfriend. And this

Sidey: Yeah.

Reegs: first she's opening her eyes to what's maybe really going

Pete: on.

Sidey: Yeah.

Reegs: to poor Cindy.

Pete: Then you get Alexandra's performance, which was strange. It was like a, I dunno, toy land was the name of the song.

No, I didn't, I didn't know the name of the song.

Reegs: was

it

Pete: I mean, no strangers in it. Wasn't what I was expecting. Like big glam kind of flight, powerful maker, you know, like performance

Dan: subtle insensitive than that.

Pete: understated and very, almost like intimate and yeah.

Reegs: Bearing her soul.

Pete: Yeah. And sort of Diane is not particularly interested. Cindy is by this

Reegs: I really

liked this actually, because as well, they, you know, gets revealed that she paid for her

performance.

So

Pete: really tragic.

Reegs: it's such a good metaphor for the film itself because these people have had to pay whatever it took to make this film, to get their story out there. So that little moment just

Pete: You pretty much find out that Ramsey razmak sorrys his money for the interaction in the carwash is what has helped fund her. Being able to put on that performance in, in the, in the bar later on.

great.

Yeah.

Sidey: Dinah tears uh to shreds for having to pay to perform. She says, well, at least you get, you know, it doesn't matter. No one was here. At least You'll get your money and she's like, no, no eye to eye. and she just fucking was like, I can't believe it.

You fucking lose it.

and you have to pay.

Dan: It's really

brutal

Sidey: it's fine.

Pete: So by that time, they've all left the club and gone they're on the bus now on their way to the donut shop to find Chester razmak has, has escaped the family. Christmas do. Um Yeah. Yeah. Like under the premise of

Sidey: going back to

Pete: going back to drive the taxi arrives at the club finds out that he's just missed out on on seeing Alexandra's performance at me and seeing Cindy again.

So he starts driving around to all the places, I guess he knows that, that they hang out

Reegs: which is, and they go back to the donut shop at the beginning.

Don't they? Yeah. And we do actually get Chester and I CA Ziggy Ziggy from the wire.

Dan: I'm not there yet.

Reegs: Oh,

Sidey: couldn't A lot of people hate him because he is fucking irritating in the wife. It's meant to be, it's meant

Reegs: second time round. I had a lot more sympathy for him.

When I

Sidey: walked in here

Reegs: wire, the second time

Sidey: he's he's the pimp

Dan: Yeah. W there was a another character before that she got the information from, to, to find out where Chester is.

And he was like, well, look, don't tell. So he made it out. Chester was going to be this

Sidey: huge

Dan: that was just going to be ripping people's heads off in that.

But

Reegs: It's just some scrawny light limp biscuit, white kid.

Dan: yeah,

but he's, he's obviously got some games

Pete: All of this is taking place while she goes back to the. Ramsey razmak I'm going to get that right in a minute. His family setting and the mother-in-law has become incredibly suspicious.

Sidey: She

thinks he's on

Pete: She said she thinks it's like pot or whatever. So she's

Dan: don't know what the fuck it is, but it, she don't think it's this. I mean, this isn't going

Pete: So she's decided to, to go outside and flagged down a cabin by chance gets another Armenian taxi driver asked if she knows and where he might be and pays him to, to sort of find out. So she's on her way. So it's all culminating back.

So this, this, this donut store and then it starts on folding. I think there was a, the, the, it's a really good scene where Cindy comes in unbeknown to Chester, starts talking to Emma. When you find out that, that they are now that they were fiances before that that's what she's ended up doing time because of him because she had so hide his drugs.

And she's kind of being quite playful with them and says, oh, I've got a surprise. And it goes outside and drags diner in, and that's when he realizes that this is one of the girls that he pimps for. That he's obviously something's been going on and now it's going to start escalating. And the poor lady who runs the donut store just doesn't want any kind of scene or shouting or anything.

But this is where Chester obviously does his business.

Dan: Yeah. Well, that's it, that's his, his place of business and he's going to buy some donuts and everyone's going to chill out.

Sidey: but the the mother-in-law and the text, they spot his car outside.

So she piles in and expecting it to be some sort of drug deal, type

Dan: stuff. She's already had a kind of story from the Armenian taxi driver who was parked outside the place in helping her find, whereas Rasmea can he saying, well, you know, ship floats to the top and

Pete: so this guy clearly knows what Rasmus has is all about. And I think he feels compelled to tell the mother-in-law and like go cause at first I think he's just driving around trying to like shake her off the scent, but in the end he's like, it's not right. What he's doing.

You need to see this firsthand. I'll drop you off at the donut store.

So even

Dan: it even gives the cab fare for you.

I think there's an age.

Pete: So resumes already arrived and then there's been a bit of a sort of, you know, it's all like, as I say, culminating in these arguments and everyone like airing that D E linen

Sidey: and my mother-in-law said

Pete: as resume, pretty keen on on Cindy.

And by this point she's like, yeah, why the hell? Not like Chester's cracking on with, with Dyna, I'm going to start seeing my customers again.

Dan: I'm thinking back to boogie nights and that donut scene, you know, when there's a, there's a, there's a guy, I dunno what the fuck's going to happen now because it's basically all been building up to this. Isn't it all the characters in the donut shop, including the mother-in-law eventually the wife and the babies called

Sidey: or the mother-in-law's there. And she always didn't speak a word of English and she thinks that he's on drugs, and she's shouting over. And he said, he said to, jester, just tell her, I don't know. you.

I don't I don't do drugs. don't do drugs or whatever.

And he says, no, no, no, no. He doesn't do any of the drugs. He just fucks all these bitches.

Pete: Yeah.

Sidey: She's like, Well, she

obviously understands enough of that.

to know what's going on. He says, prostitution

Dan: then it, yeah. Yeah.

Sidey: Drops him fucking right in there.

Pete: it

Dan: And and then she she's twigs that actually their transgender sex workers and she's just losing it. They're

Sidey: the wife and the baby cupboard.

And he's like, what the fuck he brought the

baby

The baby is genuinely just

fucking screaming, crying. the whole time.

Reegs: and crying Yeah.

Pete: Yeah.

It's more of a toddler than a baby.

Reegs: too Maybe although I'm really bad at estimating kids' ages.

Pete: That's what got you in trouble, wasn't it?

Dan: But th the scene kind of then just pans out to as, as you would expect, you know, that they eventually have to, to fill her out and and

Sidey: he just says, fuck it. He just says, I'm going home. I'm fucking going home. He just can't deal with this.

Pete: Well th there's an interesting bit because Rasmus ex wife arrives with the kid, obviously, and then there's, there's a lot of shouting going on, but the wife kind of sides with resume, light starts telling her mum let's shut up. This is none of your business. Almost like she knew she knew

Sidey: She says a wife has to turn a blind eye.

Pete: Yeah

Reegs: they do already had a conversation earlier where the mother-in-law had said to his wife that her late husband had cheated on her. So she also had that going on. Yeah. That was a very long-winded way of explaining that. Wasn't

it?

Dan: Mean, there was a, there was a lot of different storylines, all kind of building into this. And the there's a scene outside as well, where Chester just kind of disentangles himself from the argument because of Cinderella having a go at him for you know, sleep, but he's also slept with Alexandra

Reegs: Well that's what

Pete: the big

Reegs: out the big reveal that while Cindy was in

jail, Alexandra

and Chester

Pete: I, it,

Reegs: on.

Dan: Yeah.

Pete: So now it kind of all filters off into their own little sort of

Reegs: spat

Pete: yeah, well into their own kind of like conclusions the, the Raz making the family go off home and then there's like sort of a quite tense, but you know, scene back in the household where nothing really happens. It's almost just like,

Reegs: just sitting

there Oh

Pete: all just going to kind of imagine what, imagine what Christmas day was going to be like. But anyway, you don't really see that sort of pan out other than it's just known, it's kind of accepted. And that, that will sort of continue, I guess the main one Chester, you don't think you see Chester again after the, the outside of the donut shop.

Sidey: Pimpin

Pete: Cindy light goes off. She's on light sort of full self-destruct mode. Now she just wants to go off and start earning money again. And she goes off

Sidey: Alexandra is falling out down the road.

Pete: her. Yeah.

Sidey: says I

I would never do anything to hurt you. You're Like oh really? yeah,

yeah,

Dan: yeah,

It's all fucked up. And they eventually have an argument where Cinderella says, look, Alexandria, fuck off. I don't want you. And she, she starts working on the corner first call. It comes up to her throws pulls you over and throws, I know booze, pissed, whatever over could have been acid or whatever, you know what I mean?

It

Sidey: was. going to be acid,

Dan: But she, she runs kind of over here in this screen and or they drive past don't they in saying your

Pete: there's

Sidey: a lot of like

Dan: abuse and everything. So she runs straight over and they go into the the laundry to wash her clothes and everything. Let's get it out

Sidey: and the way that the work has to come off,

Dan: everything as well.

Sidey: it's quite symbolic. Isn't it? she says, that that's going to have to go in. And she's like, no, no, no,

I

Dan: yeah, she, she really needs that to feel herself, I guess. So there's that kind of scene right at the end where Alexandra gives her, her her week to hide and that's kind of repairing their, their damaged friendship a little

Pete: what, like, so what I like. This film. And, and, you know, as I explained at the beginning of my reasons for sort of choosing this first, by the end, it doesn't, it doesn't matter like what these people are like are what their backgrounds are, anything it's a really like, sort of poignant, like emotional kind of touching moment.

And like you say, the,

Reegs: Alexandra

Pete: between, I like the wig has to go in. And obviously that that's really sort of like symbolic. I think she even pulls stuff out of a bra that has to go in as well. It's almost like she's like re masculine herself in like publicly sitting in the laundromat. Like now she's cause she looks quite a lot, like a woman all the way through the film until like the wig and then the, the stuff in the bra comes off and now it looks like a sort of a,

Sidey: sort of

Pete: yeah, like a guy, like not wearing a great deal, sat in a laundromat.

And like you say, and Alexandra offers a her weave or whatever, and even says, oh my God, he looked really good in that. And that's basically the end of the film.

Dan: again, maybe like boogie nights, it's dysfunctional families and, and kind of people putting themselves together.

Nobody's perfect. And accepting that from each other and, and learning to kind of accept that and the process or the processes of that. I mean, the worst moment ever for, for razmak is sat on that couch. Kids mother-in-law everybody knows about it and it's Christmas Eve and he's just there and that's it for him for jester.

He's like ease had his thing and he's he's in his mind just stepped away. And he said, this is about you. This is your thing. And, and kind of gone into doing

Sidey: really grim bit is, is dyno goes, tries to go back to the

brothel to

Guess that's where she lives. And she literally just has the door. She

gets the hand, but miss the Madam just says, no, you fuck off.

Like I called another girl in. And

Reegs: she's got nothing.

She's basically been dressed in a vest

and some shorts

Sidey: some flip flops. So she is literally on the street. And so how's was the most

tragic I thought. Yeah.

Reegs: Well, women

are not women with female. Genitalia are not represented very kindly in this way. Cause you have that earlier fish thing

and all

that. So it's in this world, that's a person that is discriminated against.

It's just an interesting

Pete: I guess that's seen as the enemy,

Reegs: I guess in some

Pete: that, because

Reegs: I don't know

Pete: it's like an added insult that chess has been cheating with like someone who was born naturally as a woman.

Reegs: The one of the things I really liked about it and I keep banging on about this earlier, but that realness that you get from the way that they did it with the iPhones, because a lot of this movie is set like walking around LA at sort of Dawn or dusk basically.

And on public transport as well. And you can see that the people in the background are not

actors

and this stuff is unfolding and watching other people's reactions to what's happening is just unbelievable. But actually, what was quite heartening was the number of people who didn't bat an eyelid.

But then there were some pretty freaked out people by, you know, what they were seeing, which is these two women

fighting

a lot in public.

Pete: I mean, I guess the, the thing that I sort of took away from this is like, this is not a true story, but it is about real people. And there were sort of real people that there is, there's no kind of like there are all manner of like cultures and subcultures that we have no insight exposure to.

Reegs: A lot of it is her story

Pete: No, she was a sex transmit. She is a transgender woman and was a sex worker for like five years or whatever. And so I don't know if that, I think that the characters are kind of real, but maybe the story is, is

Reegs: well, I think it's one

of

those things, a lot of different stuff, all boiled

Dan: I think it just kind of shows, you know, what a wonderful rainbow we are really, you know, there's, there's people of all different kinds of persuasions there's people of all, but You know, people want to be loved. They want it, they want to have their, their, their kind of desires met. And they're, you know, these kind of burning things in them.

And that is true. Whoever you are, whichever kind of persuasion you are, you know, whether you're you're the taxi driver with the family and things like that, or you're the,

the

transgender sex worker or whoever it is, they're, they're looking for, you know, love, attention, understanding. And there's not, you know, it's not mainstream, it's not acceptable in, in a lot of things is that there's a lot against them.

Sidey: even you know, the breeders out there, you know, people who might be seeing to be vanilla are getting up to all kinds of fucking freaky. deaky shit out there, so no one should be fucking casting aspersions that other people who are living more overtly and putting

Dan: Exactly Yeah, yeah. Go, go for it.

Pete: This

Dan: know, don't harm

Pete: film throws out a load of character. And at no point, I, at no point did I feel like that they were there to even with Chester, they're not, they're up for judgment. They're not there for all of us to like, go like are wrong and wrong and dickhead, asshole

Dan: both liked them and dislike them

Pete: like, no mat, like it's

Dan: in normal life.

Pete: It's just a totally sort of like different sort of culture backgrounds you know, to, to society, to, to us, but with all the same component parts of like, there are good people, there are bad people, there are people have questionable morals and regardless of, of what it is that they, you know, how they are, how they choose to be, they are characters and people just like everybody else.

And it's, you know, I'm glad I watched the film. It was really sort of interesting. To me,

Reegs: I thought the thing about it because they made it into a comedy, although honestly, it wasn't always clear

what you

should be laughing at and what you shouldn't be, but because they made it into a comedy, you get to celebrate the characters.

Sidey: Yeah.

Reegs: But also you get to see all of the shit that it means to be a transgender sex worker or.

You know, a cab driver in this place with your, like you said, with your needs are met or wherever. Yeah, it's just very, it was incredible when it,

Dan: yeah.

I, I think I I'd written down clerks in mid nineties is similar. Kind of sh shots in real life.

Y D different films, of course, because clerks is an all out kind of comedy really.

Sidey: but they're both like on the street. I

Dan: they're, they're, they're on the street. So if you like those kinds of films, this is maybe something that you

Pete: could,

Dan: you could check out and it, yeah, it's something it's definitely modern. It's definitely something that I wouldn't have probably seen without you recommending it and putting it on.

So I appreciate that. And if I'll take a pun on, it really is, is something

I've still thought of afterwards.

Sidey: one

Dan: of those

Reegs: it's a good one to talk about as well.

Sidey: Not, not that this should

be a completely plus point, but it is short.

Dan: So

Reegs: Eva, even then though I did their worst. I've got to be honest. There were some parts that I felt were dragging a bit or where the dialogue, you know, I mean, this is, these women are not necessarily particularly good actors.

Sidey: I felt that the runtime it was sure.

And if the, for me the film rattle through pretty

quick

books, I was enjoying it so

much.

you know?

Reegs: Yeah. Yeah. That was maybe a few bits that were a bit padded, but you know, cause they're not particularly good actresses. I don't think so.

Sidey: the money side of it, Well, I

Dan: who, what was the name of the director

Sidey: Sure.

Reegs: Baker

Sidey: Tom Baker's son.

Dan: did he write it as

Sidey: I believe so.

Pete: Yeah.

Dan: Because I just think, you know, to is a brave film to, to go in and write and direct and doing our iPhones and everything,

Sidey: well, that, that allows you, that gives you that freedom because the, the the budget for this is a hundred thousand dollars.

Reegs: Look, I mean,

Sidey: look cheap. to me at all. It doesn't, I wouldn't

Reegs: that it was filmed on an

Sidey: exactly. I wouldn't look at this and go look, shit looks cheap. It looks, you know, we watched coherence, which is half of that. It was 50 grand. And that again.

didn't look cheap. So

if you've got a story to tell there's

really no boundaries,

to stop you

putting out there because I think realistically, if we want to make film a hundred thousand, we could do that You could crowd fund that in no time at all.

absolutely.

Dan: off

Sidey: I mean, Swayze raised

what? A quarter of a million a week. Yeah. So,

So

did it make money or did it lose money A hundred grand.

Dan: I I'll be surprised if, if this didn't make money

Pete: I know, I know it won some awards at festivals and stuff, so I know I'm sure I don't know

Reegs: do anything at the Oscars so no,

Dan: it's notoriously difficult to, you know, it's one of those films that I guess that. The director will be looking to get a bigger budget.

Next time we have a little more resources and, and

Reegs: I don't think he

Dan: and things. Cause the actors weren't as you, as you kind of alluded to earlier, they, they weren't professional actors. I think, you know, there were lots of people that have been bought in and friends or whatever who did an absolutely fantastic job, you know, they played themselves, I think.

And they played the, the people that they really could connect with. And it all just made this film really strong on, on such a small budget.

Sidey: Yeah. Well it made a hundred and sorry, 830,000.

So nearly a mill. So that's

Dan: eight times almost

Reegs: more importantly, I guess, than that, is that you get, see a transgender

woman

as a lead because we watched Dallas buyers club didn't we? And we all enjoyed that.

But I read today that there was some backlash that they could have cast a transgender actress for Jared Lito's

Dan: who won it. Did he win an Oscar yeah.

Reegs: so I mean, I don't, I can't recall any other transgender women.

films, particularly that I've

Pete: there, must've been

Reegs: I mean the crying game, but but as a, like, only as a point of a joke, really?

Pete: Yeah,

Dan: really brilliant. They've represented in, in such a, a strong film, you know, because they are, they're not victims here any more than anyone else, you know, I think they're, they're, they're tough. They're, you know, they're, they're resilient. They're, there's a lot of fighting spirit about them

Pete: and, and diversity within, within that subculture as well because Cindy and Alexandra, very different characters. And you see that, that, that's one of the, sort of like the themes of the film for me. Like, again, as I say, it's just, it's just, you lift all the sort of like modern or like the ideals of normal things within a society and put it into another sort of society or subculture that is totally removed from what we're in.

And it's, you know, you get the, the different sorts of characters again, and then I, yeah, I've, I've really, I'm glad that I've watched this film. It's not going to be necessarily for everybody, but I think that it's the sort of thing that if you want to watch something that you've not seen anything like it before, and you want to be challenged initially, but by the end of it, it's just, you're just on board with the characters and, and, you know, emotionally attached or detached from it as you would be with any other film.

Sidey: Yeah.

The score is banging as well.

It's

Pete: a lot of bangers.

Sidey: we all liked it. Yeah. It's available to watch on prime.

and You

should definitely watch it at least it's available on prime where we are to check it out.

Pete: Cool.

Reegs: All come round hours,

Sidey: May I ask crew say

he does

Pete: firing cry.

Sidey: Something else we watched mosque.

Pete: we did,

Sidey: Rich was a fucking, super favor of mine as a child. I had all the toys.

Pete: I had some,

Dan: no, it wasn't a big mask fan. I

Pete: think

Dan: I went for Dungeons and dragons

Reegs: because you got the transforming vehicle and the power.

Which often involved being able to lift things in some

way.

Pete: Well, lifter lifted things. Yeah. Yeah. But that wasn't, that didn't feature too prominently in this initial episode, there was some

Reegs: season one episode, one, the death

Sidey: Yeah This alluded to some sort of alien kind of other worldliness.

Pete: The death stone. Yeah. Which I didn't remember as a, as a feature within the original run of mask.

Reegs: Well, how wrong we were because it made us look like cunts

Sidey: this.

is the story of mosque, which is and that crunch gym

mobile Armand's strike commands, but with a K kicking Kerr,

Reegs: Why?

Pete: Because it works, but with

Sidey: it doesn't spell correctly and they are led by Matt tracker, who is the squarest fucking dude of all time, at the end of the episode, teaches you how to cross the road or something,

Reegs: I'm

looking forward to the one where it's like, you know, don't get into a car with a

PIDO

Sidey: Jimmy Savile. Yeah.

They're, they're squaring up against venom, which stands for

Reegs: The vicious, evil network of mayhem.

Pete: Yeah. Max mayhem in particular,

Myles

Sidey: and miles my hand, he's really old. He seems like really old dude,

Reegs: Yeah, but I think canonically, he's only in his fifties, so don't let, is like

Sidey: the best helmet.

Reegs: Yes.

His helmet was

nice. You're right. Yeah.

it was purple sort of,

Sidey: yeah, it was a bit

it's bright. it's bright

grew out

of it.

Reegs: Yeah.

This one starts with a comet, like going, smashing through and hitting somewhere.

And then some like plant

life

Sidey: up

Pete: it

Reegs: does it and then whole bunch of guys turn up. Don't they in hazmat suits and start,

Pete: Yeah Probing it.

Reegs: Yeah.

Pete: And yeah, it's revealed that it can have, like, it can be harnessed for real good or real bad if it falls into the wrong hands.

Sidey: it into three bit. Yeah.

Yeah.

Reegs: And then it

sort of spaceship comes past well, a strange light anyway.

Dan: It's worth pointing out this all animation.

Sidey: really

really good animation.

Dan: yeah, for the time.

Sidey: Stands up

Reegs: and for now

Pete: it's a car scene. And when about, was this? Cause I didn't look at it

Sidey: 8 5, 2 8, 6 82 series.

Pete: Wow.

Sidey: the second series. So the first series is quite, not violent, but it's good against bad there's you know, stuff like this. in this episode but the second series is mainly just racing. It's just them racing each other, which is fairly shit

Pete: key

Reegs: a lot of mask aficionados were up in arms about

They didn't like the direction it took,

Dan: Wacky

versus this is way better than this.

Reegs: this one was more about the story between the two powerful networks.

And they're related obviously, because the, what is it? Matt trackers. Brothers,

Yeah, it was killed. Have you seen this in the law? Am I exploring new territory here?

Sidey: Well, no.

Reegs: no. Oh, well help me out there.

Sidey: I mean,

Dan: yeah. Yeah. Where you're at. And just say that I tried to like this because I don't remember liking it as a kid that much.

I love the theme tune. Yeah. It's the best thing about, this is the theme

Reegs: Well, the guy who did the theme tune did every single one of the great theme tunes that you can think of. Mystery series of

gold Ulysses Jason, the wheel warriors. He did stuff like anything, anything he did

Dan: even the, the theme tonight. And I thought starting this series one episode one would give me the kind of background

Sidey: no. They just throw you straight in

Reegs: Yeah Well, the background is important because they were,

Dan: but it

Sidey: was,

Reegs: Right. Myles mayhem is the founder and leader of venom. Miles was chosen by the peaceful nations Alliance to help develop mask with the tracker brothers

Sidey: originally.

Reegs: But because he wanted, he didn't want to be an advisor and he wanted

wealth and power using the mass technology. He betrayed them wiped out the original team, including Joseph tracker, who I think was one of the

tracker brothers.

So cabled killed

Matt tracker's brother and install half the plans. That's why he's got his purple helmet. And then Andy tracker was another brother, what was left for dead. And he was rescued by his older brother. Andy is the Andy who? No, he's, that's his adopted one in it, but the older brother, Matt is Matt tracker.

So they're on the, they were linked by this organization. He killed his, two of his brother killed his brother.

Pete: I didn't realize watching this sort of years and years later, a lot of years later, nearly 30 years later that the stakes were so high. I remembered it as being, I remember T Bob and Scott tracker and it being kind of like far more kind of whimsical than, than this actually was.

This was like immediately stakes. Yeah.

Sidey: The vehicles are like pretty full on. like they shoot lasers

Yeah.

Reegs: You get the

sequence of the mask team being assembled. It's great. I'd completely forgotten about this, but I remembered it

Sidey: I have that kind of little Dick Tracy wristwatch things where the mask logo pops up and they literally have to drop what they're doing that second.

Yeah. So Jake, the snake has to just like chocolate Python onto someone.

Dan: Well, the, the best bit in this

is

Reegs: guy

Dan: is, when it ended is lame. The theme tune. Was it really? Wasn't it? I think you guys are lost in this dowager. I th I think you're lost in this Daljit here. This is it. I watched this with an actual kid and,

Sidey: he probably most clearly,

Dan: know, I, I went in, I didn't say anything about how good or bad this was.

In fact I want it to be excited about it. Cause I'd listened to the theme tune. And I was like, yeah, these fours, good. Wasn't it mask. Yeah.

Pete: can I make an observation? You watch it with a kid that was not the target audience for this. You watched it with a, an eight, a nine year old girl, which this was.

Male centric. There was very, very

Dan: couldn't get the other one. They sit down and watch it, you

Pete: Yeah. But again, he's not, he's not like a target audience. This is not for 15,

16 year

Sidey: 42 year old,

Dan: year old man.

Pete: This is for eight year old boys and 42 year old men. And so, yeah,

Dan: I just, it just seems lame now compared to what you get, you know,

Reegs: there,

How did you feel about the bit where

tracker says, did you pick up on this?

He says,

I don't know whether to hug

you or spank you

at the end.

Sidey: annoying a

Reegs: teabag

or whatever

his name is. And what's the other account. The

Sidey: is Scott Isn't it? The, the, the lad. So he basically causes all the drama by he absconds with them on the mission and causes the what's he called Honda.

I

want to say Honda,

I don't know, if that's right.

Reegs: could

be

Sidey: he gets into peril. And one of the guys, one of the mass team has to help him and he gets injured and they have to use the death stone, whatever the fuck it's called

Dan: Oh. To, to give him

Sidey: to, to, to bring him back Yeah. So

they do that, but there he is

the one who caused all the drama by fucking, not doing, as he's told and fucking staying at home. he

Reegs: got

it by luck at the end. Really?

Didn't he Yeah. Yeah.

Dan: Well, this is what Nellie thought

Sidey: Yeah, she was not a fan. This is the best fucking kid's program that we've watched them to date.

Dan: What, what fit? Yeah.

Sidey: Loved it.

Dan: As long as you're not

a kid

Sidey: I will quantify that, by saying that I loved it, as a kid. it's the sweet spot of animation. So same time as

like transformers

and it looks the same as cities of gold, that sort of eighties sort of nostalgic, I used to read, I used to buy the comics as well and read those. Yeah. There was one where Matt Jack at Mars mayhem had to team up together because they were held in captivity

by another bad guy.

And they had to team up.

And work together to get out? It was fucking cool.

Dan: only people could see the excitement all

Sidey: all the fucking toys as well, Me and a mate of mine. we play all this and yeah, fucking love it. And it still holds up

Pete: the toys were phenomenal. And I even, I can't even remember the name of the kid, but there was, I got invited slight to another kid's house for like a play date.

Like the mums had set up so that I could take my mask stuff and he had his mask stuff and we had pretty much the whole

Sidey: collection,

Pete: Together. And it was, the toys were cool as fuck. These were like cars that changed into planes or like,

Sidey: 10

Pete: yeah Or, you know, miles may hams or max may Hermes. I'm now according him his,

Sidey: plane

Pete: turned into a helicopter.

I think it might be miles may have no, you said it. I should know

this

Sidey: Maximus, mayhem.

Pete: Oh, so max. So yeah,

Reegs: his friends

Sidey: Most of my, him the guy that does his voice is called Doug stone. Now, if you Google him,

think of animation

and he's done a voice in it. And even in this, he does Matt tracker, Hondo, McClean, dusty Hayes, Bruce Saito, Nash, gory, Bruno shepherd, boarish Bush kin and Maximus mayhem. That's quite a roll call.

Pete: Yeah.

Dan: Well

Reegs: so he's basically just talking to himself Yeah.

Dan: For me. Yeah.

Reegs: It's like us,

right

Dan: Dungy dragons

better than this,

Sidey: no, it wasn't

No, it wasn't. And I liked Dungeons dragons.

Dan: better than this and lost it is a gold better.

Sidey: but that was gold. That was gold.

Dan: it was, and even Phineas fog around the world in 80

Reegs: you couldn't, you didn't have

the toys of those other

Sidey: This was

this is this thing that we hate nowadays about kickstart, but this was conceived by a toy

company It's one

of those same as transformers. and frayed. So there's

Dan: man, the boy with the comics as

Sidey: Yeah, well. I was a kid and then I was like, totally hooked into it, But we, we rally against it and We've even mentioned it today about paw patrol and how it, the marketing, but this was conceived first as a toy then as a

Effectively, a 20 minute long advert to sell the toys. So it does

have that against it but I still fucking love this.

It's great.

Right. so we've had good nominations this week. Pete great film and even better kids

TV,

Howie has kindly sent us some nominations for next week. We are going to do a top five of top lb GT Q plus characters in film.

Which is exactly how he worded it. Where the movie that we're going to do is called gold.

It's a Matthew McConahey

picture and the kids' TV is called cue force. That's on Netflix, new one for me

And he's just completely fucked sober with the midweek shit. So we'll just have to find out what that is later.

It really does. So that was great. Hopefully we get some more cool stuff to watch.

Cause this week was really good. Fun. All that remains is to say Saturday, signing out

Pete: Sue tasted Hoon.