The All You Can Eat Buffet of Beetlejuice

Movie meltdown. Sit back and shut up. This is George Steele. The following feature has been rated R by the Motion Picture Association of America. It is intended for mature audiences and parental discretion is advised.

It's showtime, folks. Enjoy the show. Our nuclear reactor pumping out one. Million kilowatts of power. To provide more cooling in the containment chamber.

To your sentinels, we have a rebound. What's up, and welcome to Movie Meltdown. I am Brian, and joining me once again via the magic of the internet is... I'm Sam. Hey, how's it going?

How's it going? Not bad. It's been a little while, so how are you? Yeah, yeah, alright, alright. We gotta check in every once in a while, make sure we're both alive and functional.

I think our last conversation was the Crow remake, right? Yeah, which I feel. Like we landed on a better place than even we expected, really. Absolutely. That was a pretty upbeat episode for us.

That's right. How I learned to stop worrying and love the Crow remake. It was a good therapeutic session and everything. Yeah, no, so I guess it has been a while, and yeah, there's been a lot of pop culture consumption, so yeah, it was time to lance the boil. That is a pretty good description of this show.

Drainage. We needed some drainage. We needed to set up a. Geek drainage. Too much geek built up here.

I gotta drain a little of it. I was like i gotta i gotta like act like an adult all day and everything is like i can't be walking around my phone. I don't bother with that yeah yeah people just know better they're like oh it's that. Guy yeah yeah yeah no i gotta like act like a like i gotta like like a manager's like hey your tpo report was not as this report and everything and i can't i can't do that if i've got beetlejuice 2 in my head. I mean, you can just start singing and dancing like you're him.

That's it. You can give them the important meaty notes and, you know, report actions, but you got to do it in song of some forgotten pop song, you know. Yeah, yeah. They don't look kindly upon me when I do that kind of stuff. I don't know why.

That seems fine. Yeah, yeah. No, no. There is no metric you can quantify if my song and dance routine was. Conveyed uh the proper emotion i don't know yeah brian it's been it's been a ride dude i guess we just got through the holidays and so uh uh it was pretty good how was your christmas.

Fine as functional as anything in my life gets I do, especially like Christmas, other people have like actual lives and like, so I just go visit other people with real lives and they have, you know, households and children and you know, they have a life that they put together and then there's me. They're like, oh yeah, we got to bring that weirdo over. So I go to other people's houses and I watch them have a wonderful life and you know, then I come back home and jump off a bridge or whatever you do and it's a wonderful life. In my abridged version. You've heard that, haven't you, while we're having geek comments here?

On Amazon, there is now an abridged version of It's a Wonderful Life. No, I've not heard that. The most sense I could make out of it, which was, yeah, it was like the most sense I could make out of it was the way they described it was like he's talking to Clarence and makes the comment, and then when we get the, like, Back to the Future 2, where he sees the dark side of everything... They took that part out. What?

And I'm like, but that's the movie. Like, that's the whole point of the movie. Like, it can't make any sense at all if he's just like, oh, we're showing alive. And then he's like, yay, I'm alive. Like, if you don't see the reason you need to be there, like, what is the point of this movie?

Oh, no. I hope I heard that all wrong. That's the way it was described. And people were getting super upset. And then other people were just like, do you not know what abridged means?

Like, this is why you don't watch that version, dumbass. Yeah, it's like those family services where they'll make an edited version of movies with all the profanity cut out and all that stuff. But no, let's do it where We just cut out all the sad stuff. Or I guess what? The conflict.

Well, that was, yeah, one of the ones that they did that got a lot of press was the... I didn't watch 13 Reasons Why, but like... Once some kid like off themselves and like had been watching, I don't even know if they left a note blaming them. They just like, it was on their Netflix feed or whatever. And they were like, Ooh, they were watching this show that mentions suicide.

So they went in and like re edited it and took out the, like after, like the whole story is around a kid that committed suicide, but they took out the, effects the like people responding to the person having killed themselves what and i'm like that makes no sense at this point you're making it the romantic act that some dumb kid thinks that it is that's right this will show them all and then it's just you're gone you don't see the after effect if you're watching this show you show like oh look at all this horrible like domino effect of everyone in their life that's unhappy now because of this stupid thing that you did but they took that part out because oh that might cause a kid to i'm like no that's the whole thing if you see this maybe you'll go oh shit maybe you don't want to do that because that's stupid and everyone else is.

Unhappy when you leave like right Right. Yeah. That was one of those they did a few years ago that I'm like, you're missing the point of what you're taking out. That's why it's there is to give you an example as a viewer of like, what would happen if you were not here anymore? Look how stupid everyone thinks you are.

It's not like you made the right decision. Like everybody just looks at it and goes, wow, that was horrible. And look what you've done to all of our lives now. But they cut that part out. Yeah well it's like it's like the difference between like uh you know an admission and action movie where you see 70 people get blown away by uh you know a howitzer or whatever versus like uh like one of those like uh french extreme movies like martyrs where it's just like a person getting flayed.

Alive let's focus on this one or two people and just really give them some pain Let's just really torment this person. Yeah, the truth of violence versus the glorification of violence, you know? So if you show the truth of it, or the other side of it, it becomes a lot less palatable. You know? Versus clutching your chest in the old westerns and like.

I'm dead. But again, and then not give any kind of like, there's no after effect, you know, it's like nothing. Oh, they're gone now. And it's like, no, in the real world, you have to deal with the fact that that person's gone and you got a lot of stupid things you have to do because they're gone. That like, yeah, it just makes no sense.

Yeah. It's like, it really like it's literal. Physically, you have to do a lot of stupid things now that this person is gone, whether it's natural reasons or they off themselves. So it's like, at least show the, The consequences that come with this, you know? Even if it's not for you, someone has to pay the consequences.

Yeah, yeah. And so then you're thinking back to, like, you know, late 80s with, like, Heathers. And you're going, like, you know. But then I was going, like, they would just never do that now. But then I guess they did make a musical out of Heathers that's popular.

Which I've seen. Yeah? Yeah. Yeah? Is it good?

I saw a smaller production of it here in town. And it was pretty good. It was fun, you know, as much as you can... But, I mean, that's another one of those that they just wouldn't do now. The kid walks into a high school gym with bombs strapped onto him.

It's not a fun comedy these days. When they did that, not that it had never happened, but it wasn't a common thing. Again, in this short span of time, that went from being a Wouldn't this be ridiculous? Oh shit, it's Tuesday and some kid just killed a bunch of other kids at school. Exactly.

It's a very different world than it was even in the 80s. Yeah, yeah, yeah, yeah. Yeah, exactly. 40 years ago. Just the other day in the 80s.

80s. Oh, stupid math. Oh, 40 years. Stupid math. Oh, 40 years ago.

Yes, math. Math in its cruel, cruel hand on reality. Which sort of leads to other things that were going on in the 80s that they have now brought right back into play. Booyah. There we go.

Would you like to discuss one of those things? Oh, man. You were picking up my vibe. I was going like, now this is the segue. This is it.

This is it right here. It's time for Sofa Theater. Sofa Theater. I can't believe Grandpa is dead. Death is hard.

Yeah, sometimes I think life is harder. When I was a teenager, a trickster demon terrorized our entire family and tried to force me to marry him. I believed he was gone forever until you found this in the attic. Ew. Use Beetlejuice.

Don't ever say that name! Beetlejuice. No, Astrid! I am serious! If you say his.

Name three times, he will appear. Beetlejuice. The juice is loose. I'm gonna make you so happy. The Living.

The dead, can they coexist? That's what we're here to find out. Where is Betelgeuse? Where's Betelgeuse? Beetlejuice.

Feel free to express yourselves. Don't be afraid. You're a figment of my imagination. Really? Is this a figment of your imagination?

MacArthur's pop is melting. In the dark All the sweet green icing flowing down Someone. Left the cake out in the rain I don't think that I can take it Cause it took so long to bake it. And I'll never have that recipe again Oh. No This Sofa Theater feature is Beetlejuice, Beetlejuice.

The year is 2024. The director, Tim Burton. And the plot, according to IMDb. After a family tragedy, three generations of the Deeds family return home to Winter River. Still haunted by Beetlejuice, Lydia's life is turned upside down when her teenage daughter Astrid accidentally opens a portal to the afterlife.

And, spoiler alert, we're going to ruin this one and probably the original and other Tim Burton's. Whatever. Just fair warning. Spoilers abound. I mean, I guess if we're starting or down that road, before we even get to it happening, for years they've been threatening to do a sequel to Beetlejuice.

Absolutely. So, sort of, what were your thoughts beforehand? Like, I've been upset that we didn't get Beetlejuice Goes Hawaiian for years. Yeah. Because that was, like, no joke.

Like, I'd seen it in print. Like, they kept saying that's what they were, like, I don't know if it was specifically Tim, but, like, somebody wanted to do Beetlejuice Goes Hawaiian. And I'm like, it's so ridiculous and old-timey that I'm like, I'd kind of like to see what somebody does with that. Right, right, right. That is not where we ended up.

So, yeah, what were your thoughts on even heading into a sequel? Right, right. So, yeah, so... Uh, original of course is just like one of those, you know, wow, I can't believe that movie exists. And, uh, it was just kind of like, you know, the height is a top 10 eighties weird movies, you know, and for, again.

That was the era of weird kids sort of. latching on to things and like yeah the weird 80s kids the gen xers that grew up and were like i'm a weirdo nobody's like me and then we started seeing comes things come through in pop culture that were like no no no that guy that weird tim burton guy look at the stuff he makes that guy's insane he's just like me like it finally like started to make its way into pop culture in ways that dorky gen x kids like latched on to and that was when i was one of those kids going man these sandworms are freaking awesome like i want to dress in everything that's striped in black and white yes like i i latched on to a lot of that. Movie absolutely man yeah and and you know michael keaton just at the height of his michael keaton-ness you know uh just Just going at it.

Yeah, it was just like kind of a game-changer, like forever favorite kind of movie. So yeah, a sequel, especially like The Beetlejuice Goes Hawaii, it just sounds like... I just think Crocodile Dundee Goes to L.A. or something. It's just like... A classic, sure.

Yeah, yeah. You're just thinking like, how... This is like, are they already out of ideas, you know? From this. I like that Beetlejuice guy.

I want to see what happens to him next. Right, right. Now, when I read an article on what they were trying to do, it actually sounded so much better than the title would lead you to believe. They were going to, I think, they were really going for like a, like a Tiki, you know, uh, I'm sold already. Yeah, exactly.

You know, if there's anything I love just aesthetically. Yeah. Tiki. So they're going to do like a whole goth Tiki kind of world there. And, uh, and I was like, well, like what, you know, that kind of sounds like that could fit in.

I don't know if Tim Burton was involved in that. That may have just been a, you know, hey, write a sequel for this, you know. Random rumors and teased things. I'm sure they wrote many a script over the years, but who knows how much, how close any of them were really to getting greenlit. Yeah, yeah.

So, sequels were always like, well, you know, it was kind of like, well, yeah, if they did it, you know... you know, a few years afterwards, but then, you know, it just kind of like fades into the distance. And then, you know, Tim Burton just became like a different kind of filmmaker and, you know, kind of. Was despised for a while. Yeah. Yeah.

He's brought it back, but there's a good 10 to 15 year period that people just didn't like. He was making way more money than he ever had in his life. But like the fans, even his fans didn't like him. Yeah. Or what he was doing anyway.

They just became real kind of, they became so formulaic, you know, his stuff became formulaic. And once, you know, CG kind of marched in, you know. Yeah, it took over his movies. Like, that's all it was, was just a big giant CG cartoon, essentially. Right, right.

It's kind of like Terry Gilliam later work and everything, where like, you know, like Brothers Grimm or something like that, you know, it's just not. It just doesn't have that, you know, I don't know, it just doesn't have the... It ain't no time bandits, I can tell you that. There's no time bandits, man. And so, you know, these people, you know, become, you know, entrapped with their successes, you know, and then it's just like a marketing thing and they can, you know, why upset the apple cart, you know, or anything.

So nothing really challenging coming out of them anymore, nothing really innovative anymore, you know, it's like, you know, it's like Wes Anderson movies, you know, okay, that's it, but then, But, like, Wes Anderson is kind of, like, at least is making the same kind of movie he's been making forever. Like, Tim Burton's stuff became so, I don't know, so Disney-fied, you know. It was. Like, it was a jailed thing in the early days. Like, those first six or eight movies are just like, yes, Tim Burton, that's a thing.

That's a... a marketable you can bottle it and sell it at hot topic it's a thing that's it and then he took in that corner and you're just like what is that like it just didn't even feel like the same filmmaker anymore yeah yeah so yeah i i agree it took a hard. Turn yeah yeah so you're not super excited about a beetlejuice uh sequel you know if it's gonna be modern day tim you know just because he's a different guy and maybe you know i mean i don't know maybe it was what it was like When he's got a relationship with a supermodel, sometimes he just sort of doesn't... Well, you have. To swap in who his new chick is also. It's not even a joke.

He did it over and over and over throughout his life. There's been at least four women that became his star is ingenue they like become the focus of whatever he's working on because he's totally into them which i guess in a way is sweet it sort of seems less sincere when you see it keep happening over and over again but like yeah yeah it's a little weird from that angle but i guess it's nice that like he at least was you know with this woman and committed as much as you can be committed but ones that usually started with cheating on somebody which definitely a few times in the middle there happened But, you know, that became a big part of his filmmaking, too, is like, what era are we in now? Are we in, you know, Lisa Marie era?

Are we in Hell on the Bottom Carter era? Right. It definitely... The Eva Green era. Yeah, it was definitely...

Eva Green was the next one that came along, even though I don't think they were together together. She very much. Was handed the baton by, by his former wife, sort of wife. Were they married? I don't remember.

Okay. When Carter dropped out, she got the new spot, even though I don't think, cause I kept checking. I was like, is that what's going on? And it's like, no, I think he just needed a new girl. And he's like, she's really pretty.

I like her. But I don't think they were. I think that's the one exception to the rule. But other than that, like every step. Of the way, Again, I think, unless I'm wrong, I thought I looked it up and it was just, yeah, he was just like a fan of.

Her and he got, he got friend zoned. Yeah, probably. She was already married by that time or something. He's an old man now. So at least I'll give him credit.

He's not picking up 20 year olds. Like along the way, they were always kind of his age. So that's unusual. Yeah. Yeah.

Cause even now he found it like surprisingly when he got a new girl, She's pretty close to his age, so that's unusual for a Hollywood type. I'm glad he's, you know, not also a perv. I mean, I'm sure he is. You've seen what he's into. But at least, as long as all parties are willing, you know, of 18 years of age, you know, it's all good.

Yeah, yeah, yeah. So, a Beetlejuice sequel, I would say that, you know, I guess you're a big fan of the cartoon and everything. I definitely was. It has been a long time since I went back to watch it. Right, right.

I think in my head, I'm so attached to it, it would hold up anyway. I know I've had people say... one of which worked on it and was not a fan of it. And I was like, well, you're wrong. I don't care if you worked on the show. I'm more of an authority, and I say it was awesome.

But I was so attached to the little world that it built that I was on board with that. Yeah, yeah, yeah. And that kind of established... like lydian like beetlejuice kind of like working as a team you know kind of put them into a yeah he's. Not a creepy old man that's trying to marry a teenager it did what every cartoon that followed a movie did it just glossed over everything that happened and somehow made it kid-friendly even when it's the robocop cartoon even like no matter how it ended like they just make it a fun new thing and everybody's friends even though this is what happened in the movie like They just continually kept bringing out cartoons of, like, movies and a lot of R-rated movies.

Yeah. And then would just be like, eh, forget what happened in the movie. We're taking those characters and doing this. Like, everybody's friends. We're doing the, yeah.

So, yeah, it was, yeah, re-watching the original recently with my 12-year-old. You know, I mean, all the Tim Burton movies. This one. This one and Edward Scissorhands both, you know, brought up, you know, oh, yeah, I never thought of it that way. But, yeah, you don't, you know, like, Edward Scissorhands, he's like, is he, like, is he kind of like the hots for his, like, adopted sister?

I mean, what's going on here? Is that wrong? Is that wrong? I don't know. That seems fine.

I don't know what you're talking about. I don't know, right? But in this one here, yeah, definitely him marrying Lydia. is is hilarious and uh i. Think that occurred to me even the first time i was just like but i never got it she's 15 right like. Yeah yeah i never got it i never.

Thought she just came out of you know great balls of fire so that's just a thing like guys just like to marry her when she's a teenager nothing wrong with that. Nothing wrong with that it's a different You know, he's from a different era, you know, Beetlejuice, you know, and a more agrarian society. You know, he just got married younger. But I tell you what, what kind of was really cool was they did the Broadway musical of Beetlejuice. It's that one I haven't seen, so.

Yeah, so I got to check that one out, and I was like going like, oh, man. it was actually kind of cool because it kind of made you appreciate the movie, but it kind of fleshed out some stuff and kind of expanded the story, but in, in really, in a really interesting way that I think they kind of dealt with in the sequel here, you know, so the. Musical was a retelling of the movie, not a sequel to the movie. That's it. It was a retelling of the movie, but you know, uh, you know, it was interesting how they, uh, how they added elements. I mean, just to jump into it, one of the main things that they kind of ported into the sequel here, it was, uh, the Lydia in the Broadway musical, her whole, uh, her whole, uh, whatchamacallit, her whole motivation is to see her dead mother.

And so she teams up with Beetlejuice or summons Beetlejuice because Beetlejuice says that he's going to bring her contact so he'll be able to see her mom again. It kind of had that deep, you know, it kind of had an understandable motivation, you know. And then they. Just sort of totally ported that into the... Anyway, not to get too far ahead.

A different version of that, but yeah. Yeah, yeah. So it was pretty cool. And they addressed the totally age-inappropriate marriage. There's a whole song called Creepy Old Guy.

Yeah. musical and it's great, you know? And, uh, so yeah, you know, I'm not like a huge musical fan and everything, but it was really well done. And it kind of expanded the story and everything. It kind of like freshened it up, you know? And, uh, you know, cause you got like an hour and a half to like tell the story.

And so these musicals can run a little bit longer and, uh, you know, sometimes way too long. Like we talked about the Christmas story musical where it's like every, every emotional beat had to have a five minute song about it, you know? But, uh, Everything that we mention gets its own song and dance number, like the major award, which did have an entire production number built around it. It never stopped. It never stopped.

So this one here was well-paced, you know, and you go, yeah, you know, like looking at the movie from fresh eyes, you know. And so with that, and then, you know, there was this guy who wrote like the, back in the uh early 2000s you know the abraham vampire killer and pride and prejudice and zombies and. Uh became such a movement for a few minutes. Yeah yeah so that guy is i think his first name seth i can't remember but he he was you know they were like talking about the beetlejuice sequel like in earnest like they were gonna get this guy and tim's like excited about it and so you're kind of like That was 20 years ago. Which, I mean, for a while, it would have seemed weird to do a sequel from that far back.

Now, all we have is legacy sequels. It is amazing to me how many... I think of this, I'm like, oh yeah, I'm gonna do that one. And then 20 movies later, I'm like, oh, that's kind of all they keep making now is not only sequels, but specific legacy sequels. Usually it's been... years, if not decades since the original or the last one.

And then you bring back original characters, whoever's still alive that you can bring back and get in the movie. Like you bring them back and try to pick up where you left off 20 years ago. And it's like, that's just something we keep doing now. It didn't used to be a thing. And suddenly in these last eight years or so, it's all we do.

Yeah. Yeah. I mean, you used to just be like, it was like, he finally got, used to them just remaking everything. You know, like the Hitcher and Texas Chainsaw... Like, now if they did a Texas Chainsaw remake, you know, they would make it a little...

Which I guess they kind of did on Netflix, was the. Yeah, they just did. Yeah, we were just talking about that on one of the other episodes. Yeah. Every time, he's like, why do I keep watching these new Texas Chainsaw Massacres?

Because they just keep making them. And every time, I'm like, I don't even know how many there are. Like, I've lost count two or three times now. Like, I can't even... keep up with anything past the fourth when when they started rebooting yeah like i don't know anymore. No the timelines have gotten so there there is no continuity there's just you just need to know there's i just know there's like three leather face prequel movies.

Yeah they're always a prequel or it's a sequel but only to the first one and nothing else happened yeah like halloween oh wait that's. Another one they did exactly exactly yeah yeah that latest one on netflix is like oh my gosh they brought back Sally from the first movie. That was the only thing that sounded interesting about that one. And then everything else I heard was like, Oh really? Okay.

Yeah. But that concept was cool. And then they didn't really do much with it is what it sounded like. But again, I haven't even made myself watch it yet. No, no, it's, It's not the worst of the Leatherface sequels, but it is like a missed opportunity because, you know, that idea of bringing Sally back to fight.

But, I mean, they're all so old now. I mean, that's the problem. I mean, Gunner's gone. Gunner's gone. We've lost a good portion of the people.

I mean, he would have. Been in his... Okay, so Leatherface in that latest Legacy sequel, I mean, he would have been... Let's say in 1974, he was 25 years old, okay? And so, 74 to, oh boy, 74 to 2004.

Didn't we just say math is bad? Yeah, right. So, let's just say it was 50 years, yeah, they just had the 50th anniversary of Texas Chainsaw. And so, you know, he would have been in his, you know, 75. If he was 20, he would have been 70.

So, yeah, he was possibly older than that. I don't even know. Considering that this guy is in his mid-70s, he is... You can't. Pick up a chainsaw.

Dude. And he is doing. Oh, my back. Oh, jeez. He's doing feats of superhuman strength in that movie.

And you're going like, this guy's 70. And then Sally, the same age, she's in her 70s. So it's kind of like... You're just kind of like. It's cool that they're trying to honor the first ones, but then you're just kind of going like, oh, man, just let people... just uh i don't know it's kind of also sad i mean it's kind of like man if they're that old i guess i'm getting old too but i.

Mean that's all like even the biggest properties in the world they just keep doing that i mean you're obviously star wars but then blade runner did one yeah like indiana jones came back and did another one even when people didn't like the last one like now we need a really old man version yeah he's back again so it's like all these huge properties it's like ah it's been 15 years let's do another scream what the hell well that's it that's it just keep doing it. Well you go into the movie theater and you see the movies that are coming out and you think it's like The late 80s, because it's all sequels to movies from, you know, a property that's 40 years old, you know? I did see somebody post it one time, and they were like, the three sequels that had come out this month were ones that had all been in the theater at the same time in the 80s.

Yeah, yeah. And I'm like, wow. That's it. It's like, we really... Haven't come that far, have we?

Yeah. And then, like, if you go into, like, the toy section of a Walmart, all the IP properties are things from, like, 40 years ago. It's like, you know, I mean, you might have, like, a little tiny section of Minecraft, you know, but it's G.I. Joe and Star Wars, and there was, like, new alien figures that came out at one point. And so.

Well, I think that's just because all the old people are buying this. I don't know that kids care about any of that. No. No, they don't. And I don't think kids care about movies either.

Kind of not to the extent that, again, back to the Dorky Gen X kids, like nobody latched on like we did. No, no. I brought up a list of ones I'm forgetting. See, I already forgot. But I was just complaining.

I was like, there's been more Ghostbusters since the 80s than there ever were in the 80s. And nobody even likes them, but they keep making them. So yeah, Ghostbusters, Halloween, Scream, Mad Max. Two new ones on Mad Max now. Yeah.

Another Matrix that I forgot existed already. That Top Gun. People actually like that Top Gun. They're supposedly working on another Tron after the last Tron Legacy sequel. Yeah, yeah.

Oh i forgot about creed creed is a whole series. Of like yeah i think they've made three of those. Yeah i mean they won't stop making bad boys movies yeah they do mary poppins returns for. God it's insane the stuff that comes back that you're just like how how do you make a legacy sequel out of dr sleep oh wait they. Did so take your pick like there's so many like legacy sequels now that it's like i mean i can't say i'm shocked that they wanted to cash in on beetlejuice too but yeah it is insane that like did they make three more jurassic park movies yeah actually they did did anybody like most of them the first one was all right all right after that they they got a little crazy.

But whatever yeah i i Yeah, I just feel like those just all blur in my head now, you know, the latest Jurassic Park movies. You know, I couldn't tell you, like... Again, the. First one's pretty solid because it's making, it's almost commenting on the first movie. Like, it is a mirror to the original one and almost with a, like, wink to the audience of, like, look how bad, like, we've learned nothing.

Look how stupid these people are now, decades later. still making the same stupid mistakes. Right, right. So I'm like, that is almost clever, really. But then by the time they got to, like, genetically cloning humans along the way, I'm like, what are we even doing now? And a plot line, like, at least if you went with that, it could get interesting.

But they kind of, like, it's a seventh plot line down on the list. Like, there's so many things going on by that third movie that I'm like, why are we talking about locusts? And what is in this movie? Yeah, yeah. It's almost like... it is almost like the fifth season of a TV show.

They just don't know what to do. What does this even become now? I mean, we've got to. Keep making these, but I don't, I don't know how. Yeah.

It's, it's like they, you got to give them like 20 years so they can come up with some new ideas. Like, uh, like I think that scream, uh, legacy was like, Oh man, that was pretty darn good. I enjoyed that one. But, uh, And like, you know, of course, you know, Fury Road was like, yeah, he had 20 years to let that percolate. Yeah, everybody liked that.

But then the next one, even people that liked the Fury Road didn't seem to like so much. So I'm like, what? Yeah, yeah. And it's the same guy. I'm like, what do you want?

Like, he just liked the last thing he did. He did the same thing. Now you don't like it anymore. Right right yeah that was that was sad i mean i enjoyed it and but uh it was like i was alone in the theater you know it. Was like which is weird because go back and look at how much money fury burrowed made yeah it was so successful it got oscar nominations for god's sake yeah mad max movie got oscar nominations.

For real man yeah that's insane craziness craziness um Yeah, I think some of these things, you know, just, you know, you need a decade to let it sort of, you know, get the appetite up again for it. Build up some momentum again. Yeah, yeah, yeah. It was too soon, I guess. I don't know.

I don't know. I don't know. Well, you know, it was very distracting. Chris Hemsworth, they just put like a fake nose on him, and that's sort of like, Whenever you put a fake nose on an actor, you just wonder why. Hey, when he takes on that Jimmy Durante biopic, you're going to be like, yes, finally, it's come together for me.

That's waiting to happen. The prosthetic nose movie to end all prosthetic nose movies. The movie's so good that you forget it's a prosthetic nose. That's the new pitch for the Superman movie. Oh yeah right oh that one's.

Just a full reboot though as far as i can tell just a. Full reboot well that was that was a legacy sequel i guess with the the brian singer one was yeah that. Was attempting to be that was before it was even trendy. Right right and nobody liked that either no no when i walked into that one i was going like as long as it's not about real estate i'll be okay and then bam they went right to the real estate. Well i mean that was the first one too It's all about beachfront property.

That's it, man. That was always the thing that bugged me about it. They just repeated the evil. All these sequels, the time was ripe for it. It is kind of like Burton's last couple of movies of not exactly set the world on fire.

For him to go back to the well, I guess, we just want to be cynical about it. uh you know he picked. Up momentum again because he started doing stuff that was more like him my my first one that turned a corner i saw the the full version of frank and weenie i was a huge fan of the short film right but like when he did the the stop motion when i was just like oh like him you know he he found a whole subsection of stop motion over the years but then like this is awesome an awesome story anyway. And his like super personal story from back when he was still pretty young. So I thought he expanded that one. Yeah.

And did a good job turning it into a full length feature and adding in cool elements to it. And it looked amazing because it was stop motion. And so like, that was the first time I went, Oh, maybe I don't hate Tim Burton anymore. Like maybe, maybe he's still got something in him, you know? And it's like he, the next couple of movies, were a little more, it's okay.

They were getting closer to what he used to do. At least the Miss Peregrine's whatever. I was like, that's fine. I, it's not groundbreaking, but it was like, it was fun. And, I still haven't watched Big Eyes.

I'll get around to it eventually, I guess. I feel like the thing that pushed it over the edge was he came in and did that first half of Wednesday. So not only did it pair him up with Ortega, but like It's also him fully getting back into his gothy roots and being like, oh, this is the kind of stuff... Everybody always thought he directed those other two movies anyway. And it's like, no, no.

I don't think Barry appreciates that you keep giving him Burton his movies. So yeah, that vibe of the other movies kind of matched him and he didn't get to make them. So it's like he got this other chance to come back and be like... Creepy Addams Family vibe. I can do this.

So, yeah, when I saw his name attached to that first episode, I was like, oh, okay. And then, like, it went well and people really responded to it. And he kind of got into the visuals of it again. And, like, I was like, all right, so this is promising. We can see him, like, coming back to something similar to what he used to be.

Yeah. And then they announced the Beetlejuice sequel. Agreed. That's it. I think, really, Wednesday, like, was, like, the spark that gave, like, this movie some legs, because Ginny Ortega is, like, so popular now.

Yeah, she's huge. Thanks to Wednesday, essentially. Again, weird old man that I am. I've been watching her since she was a kid. I was the weird grown-up with no children watching that sitcom of hers, because she was good on it.

Like, it was well-written, and, like, It's one of the few of that era that I'm like, you know, this is actually a good show. Regardless of whether it was geared for kids, you can see from that early on. She has a charisma that is just waiting to take over. And it took a few more years, and now here she is. She's the biggest thing in the industry.

That's it. That's it. Yeah. And so, yeah. I could see...

You could sort of see how this sequel sort of became... inevitable yeah all of. These dominoes are being set up it's like legacy sequels. Tim burton needing tim burton kind of redeeming himself like it's all getting set up and michael keaton coming back in like yeah from from birdman on he'd just gotten bigger and bigger and it's like. You know, he's phenomenal in that Spider-Man movie. Like, you know, it's like, who would think you'd get, throw somebody in a superhero movie, make them a generic villain.

And it's like, he's so good in the movie. Like he's so good. So he'd been building up momentum again is like, Oh, he's back. And he even came back and was Batman before this. So like he has no problem coming back to his old legacy routine.

And so yeah, all of these pieces were just kind of sitting there waiting to be thrown into a new puzzle. Yeah, it's so weird that within a year of, you know, maybe a year, we had Keaton back as Batman and Beetlejuice. Again, we have not come very far since the 80s. It's so weird. It's so weird.

And so, yeah, yeah. So, Beetlejuice, Beetlejuice. Don't say it again. I mean, exactly. You can't name at the three because then we're all in trouble.

No, no, we're all screwed. Right, right. So, which gets down to like the actual movie that was made of this. If you want to call it that. Yeah, yeah.

I would say it's not a. It is a film, I guess. Yeah. I don't think it's like a total miss, but I really do have conflicting feelings of it. Because I don't really know what was, I think it's kind of a mess.

It's not a miss, but it is kind of a mess. It is definitely a mess. I enjoyed it, but even leaving the theater, I was like, that was a lot. It was a lot of things that I like, so I'm okay overall, but if I want to be nitpicky movie dork, I'm just like, as plots go, this was bad. yeah nine too many maybe but exactly if anything was the problem it was yeah too many things thrown in the pot there. Yeah it was exactly because really the first one is a pretty simple story you know and it's pretty you know they kind of pretty streamlined really yeah yeah they they really do uh you know pick their shots you know and you know uh don't You get the sense of a bigger world, but they really are pretty economical on what they show and what they don't show.

Again, it's what we always talk about. When you have limited resources and limited finances and you're a scrappy young director, you find a way to make it work. And that's what he did. He's like, I don't have the money to do an entire movie set in this other world of craziness. So you get these little five-minute snippets here and there.

And you build what you need to build. And the rest of the time you're in the house that you can afford to shoot in, you know? So it's like, because he was forced to do that, it's, it made it stronger. Like we were the geeks at home going, ah, but then when they went to the office, I wonder what goes on in that office. And like, so you had to make an animated series because then you could tell more stuff behind, you know, what goes on behind on that other, other world.

But like, he couldn't do that back then. Whereas now, once again, it's what I've always said about Tim Burton. Once they hand him money, He just kind of gets sloppy and doesn't really care and throws a whole bunch of crap in there. Yeah. I think this is good that we're talking about this because this might get just...

This would be a good purging of what this all was. The first one has got a very... Whatchamacallit? It's got a very cool. Hook to it where like these are like relatable normal people who happen to be ghosts who have to scare these annoying people out of their house or it's like okay it's a ghost story told from the ghost point of view right and it's a.

And while being relatable again that 80s attachment like every weird kid that felt like they didn't fit in right saw lydia and went oh my god oh my god there there it is like there were so many kids that like latched on to that character because they were the weirdo in the family and like so it did a good job of that it's like we've got normal, relatable ghosts, and we've got this, like, person that you are attached to if it's not you. She's so weird and lovable that, like, you have this grounded, you know, trio that kind of runs that whole movie. Right, right. And I think, like, what should I call it? It's like the self-obsessed parents, you know, and I think probably a lot of Gen Xers just feel like, you know, they were kind of like, you know, free-range kids, you know? latchkey kids she's.

Just a rich latchkey kid which means they're there all day but they don't give a shit. What you're doing they don't they're not it's like uh it's a very interesting thing of like uh you know versus the helicopter parents of today you know and uh with with versus like how lydia is treated which is just like you know basically a you know why is she right right right Please don't embarrass me in front of my cool friends. Meanwhile, her stepmother is the weirdest person on the planet. Absolutely. Yeah, yeah.

Yeah, definitely. But that kind of self-obsessed artist, it's all about her. It's all about needing to express herself. And it's not really a motherly kind of thing. And the dad just being completely like, wants to be left alone.

Oblivious to anything that's going on. Right, right. Or even like, how can I use this to make money? You know, kind of thing. When he does find out about ghosts, it is like, wow, we could totally develop this.

So it's very much of its time, you know? Greed is good. Greed is good, right, right. I never got, in my previous viewings of Beetlejuice until I saw it recently, that they were there. because he had had a nervous breakdown. Oh, yeah.

That's why he really wasn't at work all day. He just hung around the house now, because that's why they were there. I guess he was a real estate developer or something. I don't know. But he had a moment.

He couldn't do it anymore. We've all been there. Yeah, sure, sure. Absolutely. So.

So the movie's got a hook, though. You know, it's like an understandable concept that you can go like, okay, I get what this is about. Ghosts trying to scare out some annoying people that moved into their house, all right? And then, you know, the thing, the title characters just, you know, they need help because they're not very scary. They're not good at being scary, all right?

So they got to get somebody. So that's a cool kind of, you know... It's got a good beat. You can dance to it. And also interesting that the lead, in theory, the title character, is very minimally in that movie.

Very minimally. They add it up and it's like, what, 15 minutes of screen time? But he's such a presence and Keaton is so amazing. Yeah. Yeah.

Yeah. Right. Like he just shows up for special appearances, you know, when somebody says his name. So it's like, he isn't the focus of the movie, even though it's named after him. Yeah.

Yeah. And I think I even thought that was odd when I first saw the movie because the, all the marketing was based on Keaton and he is very rarely in the movie. And, uh, but it's kind of cool. I, when a new thing I got out of the seeing it again, uh, was, it was never really addressed, but, uh, the ghosts, the Maitlands, you know, kind of take to Lydia because they don't have kids and they had trouble conceiving as kind of, you know, a thing. Hey, do we want to try again?

It's definitely a surrogate kind of thing, yeah. Yeah, yeah. So she kind of gets like parental figures out of these ghosts living around. Parents who care. Parents who care.

They care about her. They care about her feelings. They care about her life, you know. Yeah, yeah. Exactly.

Right. Right. And so, so that's sort of like what that movie is about. And Beetlejuice is just like this crazy thing that like, like comes in and out, you know, and, uh, it's kind of like the foil or the bad guy really, you know? Yeah.

I mean, he, as the structure goes, he is the villain essentially. And so like, it's weird that they sort of pitch it like he's the hero of the story, but like, no, Lydia is the hero. He's the villain. Like, yeah, totally. Totally.

Totally. And so, I can tell you what Beetlejuice is about. I don't know what Beetlejuice Beetlejuice is about. I know a lot of things going on in Beetlejuice Beetlejuice, but do I know what the intended plot was supposed to be? I don't know if Tim knows what it was supposed to be exactly.

I don't know. I mean, other than the plot is what, Beetlejuice is back? Or, I mean, I don't get, I didn't get what the flow of the story was. And there was... Alright, let's just...

I'm. Sorry, listing off the problems. Yeah, alright, let's just go through the main problem I had was there were so many bad guys. And so many side plots that get introduced and you're like, I don't even need these really. And you don't realize that, I guess, until you get to the end because there's like at least three different characters that get set up like they should be a big main thing that pays off, and none of them pay off.

None of them become essential to what happens. It's like the only one we end up needing is Beetlejuice to end the movie. But other than that, it's like we bring in the ex-wife, which is completely unnecessary. Absolutely. Don't get me wrong, it's great to see Monica Bellucci in a big mainstream movie.

And the whole reason, this is once again me going back to his go-to, they're together now. So if that character wasn't already in the movie, he was suddenly with this girl and went, well, I'm writing you a part. Like, so... Now, does that part make sense? Because all of a sudden, this character that doesn't need to be there is sandwiched into the plot because he's with her.

I mean, she barely even interacts with any characters the whole movie. She just shows up and continually kills people randomly. Ghosts. And then, like... shows up for a half second at the finale and that's it but like no yeah we totally don't need that character but again real world wise we understand why she got put in there. Absolutely and she's really one of my favorite elements in the movie but she didn't need to be there she.

Definitely doesn't need to be there Along those lines, don't get me wrong. I think Willem Dafoe is amazing in everything. And he's hilarious here. But it goes nowhere. Like, there's no reason for him to be there.

They sandwich in the reason for him to even show up. But then by the end, it doesn't even pay off. Like, he doesn't do anything when we get to the finale. He's just stuck there. And then disappears.

And, like, the end of the movie happens. And I'm like, so what was all that for other than you could score Willem Dafoe? Like, again... Tim Burton is such a big name now that people want to work with him. So, like, you know, Willem was like, all right, I'll read this thing.

And maybe he read the script. Maybe he just went, eh, what day do I show up? Right, right. What's my part? Yeah, there's no reason for him.

Yeah. The only other one that kind of makes sense that you would introduce is the new boyfriend for Ortega. Yeah. And like, that seems like it's going somewhere. That seems like it's driving the plot.

And the second we get to a point where I'm like, all right, now it's really getting going. They off him and he's gone. Like it, it does. He doesn't even come into play at the end of the movie. Like he's not even there for the finale.

I couldn't believe how they wrapped that up. I was like, that's a trap door. They just literally put them down a trap door. Which again, if it were, if it were a minor side character, if it were just one of those, you know, crazy people off in the other world and like, like in the first movie and you're like, look, that's what happened to him. But we set him up like his, his plot line is what's guiding the whole rest of the movie is how he's bringing her in and taking her to the other side.

And this is what the movie is going to be about that really like that first third. That's what I thought the movie was about was her going to the other side and like, she's trying to find her dad. And like, so all of that seemed like it was the direction the movie was going. And then they just pull the rug out from under you or the trap door. And like, that's it.

Like it's gone. Like it makes no sense that you would put that much time and effort into setting up the storyline to then just drop it. Like literally down a hole, drop it. Yeah. Totally dropped it.

Yeah. So I was going, I agree. And that was what sort of they borrowed from the Broadway musical was like her whole, you know, motivation, you know? So I was going like, okay. Instead of Lydia, it's her daughter now.

Yeah. Right. Exactly. Exactly. Exactly.

So that would make sense. And, you know, so yeah, you've got the William Dafoe antagonist. You got the Monica Bellalucci antagonist. You got the pretty boy antagonist. And you got the Beetlejuice antagonist.

And then you got the weird, slimy fiancé antagonist, which I think he was. Hilarious i mean i loved his performance as like the the the sensitive you know uh you know tell me your emotions stuff slime ball you know i thought he was hilarious but he was so in this so crowded movie. He's another like fake antagonist he's the four down fake antagonist yeah yeah So it's like he is setting up something. But I guess, again, if they throw enough money at you and they'll make whatever you want, you don't even have to weed it down. You don't have to send it for another rewrite.

You're just like, yeah, sure, throw anybody you want in there. I mean, it's kind of like we got... all the antagonists from all the unmade Beetlejuice sequels from the last version. Just keep them all! Let's work them all in there! Each one of these movies could have been...

I mean, it's kind of like what they used to say about Batman sequels. Like, why do we need three bad guys in each sequel? Why are all the villains here? That's right. We can space these out, you know?

And so, yeah, I mean, William Dafoe would have been a great... uh, antagonist in, in, in a Beetlejuice sequel. I was going to say, yeah, not that character. I mean, but that character is fun. Like I wish you could do something else with him. Like the, the guy that's now dead, but wants to be a cop, but wasn't a cop was just an actor.

So even in the afterworld, he's an actor playing a cop. Like it's, it's, layered in a way that needs a real story built around it yeah and instead it's a weird little offshoot streamline that also disappears in the middle of the movie and then you're like oh yeah he's back again i forgot about that guy like it's just so weird the way they structured all these different pieces and all these threads running through it that get dropped when something else happens because there's too many characters That they disappear for 20 minutes at a time, you know? Yeah, yeah, yeah. I mean, it's kind of like too much Beetlejuice. It's just like when they made those Pirates of the Caribbean movies.

I like Pirates, but man. Too much Jack Sparrow. There's too much Pirates. Way too much Jack Sparrow. Yeah, too much Jack Sparrow.

I mean, it's kind of like, oh man. It's just like, this movie is like this concentrated, you know, beetlejuice on steroids thing or it's kind of like the pitch meeting for a limited series on netflix and it's just kind of like we can. Do this for five seasons and we got all these storylines we're like well we don't want to make a series but we could make a movie all right but we got all these plot lines we want to do for you know two seasons out you're like no no no no just work them all in here because that's the thing it seems like you could wrap up each of these characters in a season and go on to the next season and then introduce the ex-wife in this season or the cop in this season but like instead it's all packed into like an hour and a half or whatever it was like.

It's so packed so packed and and so and so it's not like so you know you don't want it to be uh a phoned in you know piece of crap that you know they didn't try so i mean yeah it's real ambitious. But, man, you just got to, like, pick something. You got to pick something. Pick something for the movie to be about. Just make a decision.

I think maybe, like, having versus, like, Fury Road where you had, like, you know, Which really doesn't even have a story. It's the other way. Yeah, there is no plot. The plot is drive. Drive.

And then about halfway there, drive back. Drive back. That's the whole movie. That's it. There is no other plot to it.

Right. It's just, we're driving, they're trying to kill you. You turn around, they're trying to kill you. That's it. There you go.

Movie's over. Get a lot of explosions and car crashes in there, and we're set. Good to go, man. Good to go. So in this one here, though, it's like, you know, they had 20 years of like script ideas and these ideas and different writers on it.

And it just kept compiling and compiling, it seems like. And they just didn't cut anything, you know. And and then there's just like like obligatory things where like, you know, the really long lip sync sequence with Cake in the Rain or whatever. You know, they play the whole song and it's, but you just kind of feel like, well, this is kind of like a, they kind of, I feel like they felt like they had to do that. You know, like they had to have a lip sequence.

That's, I mean, that's the perfect lead in where I eventually wanted to go because this is what I thought coming out of the theater. I said, oh, I enjoyed it. But this was my takeaway as I'm walking to the parking lot. I'm like, but if ever, because I complain about this in certain movies over the years now, specifically talking about them on here all the time, when you can see the strings in a movie. Yeah.

And like this one more than most movies, it's like you can see the strings leading everywhere. It's like all these things that like needed to get worked in there in somebody's head, maybe Tim. maybe some producer, like, I don't know, but there's all these, like, it's the most fan service-y, and don't get me wrong, all these legacy sequels are fan service-y, but this one, like, To the point of like, I don't care if we have a functional plot. Right. I just want to service the fans. So like.

That's it. We had to get all of these things in there even when they didn't fit. Right. Or they didn't have to be there. So I think that's a perfect example.

It's like, well, the thing that people remember about that first movie is the big dinner song and dance number. So it's like. Right. We have to. That's a Beetlejuice signature thing.

We have to get that in there. So let's cram it in there. Right. So like that comes into play, which I can almost give you that one. Like that is such a big thing that if you're making that part of Beetlejuice's MO, like when he comes in to mess up a house, like he does a song and dance number.

I'm like, all right, I can give you that. But then we also get like the one that, or certainly one of the ones that really seems fan service-y is Bob and all of Bob's friends. Because that character is a minor, minor character in that movie. Or if it was even him, like whoever the shrunken head guy is in that first movie. Oh, dude.

He's a minor character in that first movie. He's not even a character. He's a cameo sitting on a couch, you know? So it's like, but over the years, the fans have like loved that visual, loved that basic design. And like, it's gone to like, there's, they've made toys of him.

They've made t-shirts with him. You know, it's like he's become a fan favorite, even though he's barely in the movie. So now, as fan service, not only are we going to put him in there, we're going to put a whole bunch of other guys that look like him in there. Yeah. And then it makes no sense that they're there.

I'm like, why is Beetlejuice, why is he even working in an office, basically? Like, I don't know what the hell led to, like, before he was just sitting on the couch with a really long number. Last we saw him and he got his head shrunk. But now he's working in an office running things. He's got nothing but these Bob type guys around him.

So I'm like, why are there that many? And if there are that many, why are they all working with him? Except because the fans want to see it. Like, there's no reason it makes sense. Like, why would you have an office of nothing but people that died the same way?

Like we've never seen that anywhere else in this weird afterlife universe. There weren't nothing but like blue girls that slit their wrists all working in this office or flattened run over by a car guys that work in this office. Like, so why all of a sudden here is it all room full of this guy that people love because people love it. It makes no other sense except fan service. That's annoying.

That is sort of. And I like that guy, but like, and even worse, then we kill him off for no good reason. Like, people love that guy. Let's kill him. Just to fuck with him.

I didn't understand that move either. I'm like, you've established how beloved this minor character is. The only character along the way that we really know that gets offed is him. No, dude. That is a sickness that this movie definitely has.

It makes no sense. I gotta say, it was cool. Like, there were... It's like, it's confusing, Brian. It's confusing because at one point you're going like, that is really cool that they use practical makeup effects to make these, you know, build up these guys shoulders and make these characters.

And they're all running out of the old Beetlejuice house, like, like maniacs. And you're like, wow, that's really, that looks really cool. But you're going like, why is any of this happening? Exactly. Yeah, you're going like, so Beetlejuice all this time, he's just become like a middle manager office crap, you know?

And I guess he's expanded the business and now he has a bunch of people working for him. I guess that's an understandable progression. and now he's like maybe just bored in his job or, but you don't see that like change over of like Beetlejuice has gotten, you know, quote unquote old, you know, and now he's like as, you know, washed up, you know, uh, kind of like the Incredibles, you know, he's like, he used to be like the man and now he's just working this crappy job in the afterlife, you know, and he gets a chance to, you know, uh, cause havoc again, like the old days. You know, that might have been good, but they didn't have time to really say that because they had so much other scramble going on.

So many other nine plot lines you weren't paying attention to. Yeah, yeah. The other thing that was like, you could just feel it, like it was just in the air, was the, because I saw the trailer and I was like, okay, because, I mean, the big real world question going into a Beetlejuice sequel is like, okay, one of the cast member's We don't want to come back. That's it. Charles is essential in the first movie because we have our little happy family that's not very happy.

But moving forward in time, we don't want that guy in the movie. You wouldn't be crucified if you brought this guy in to be in your movie and pretended like nothing happened. Yeah, definitely. I saw that first trailer and I'm like, okay, we start off at his funeral. I'm like, okay, good move, Tim.

First thing you do is off that guy that everyone in the real world hates. So good going. Now we just stand in front of his headstone and we move on with the movie and we don't mention him again. But that's not what they did. Like, you had a perfect out.

You killed him. You're done. Move on. No, no. We've then got to show a...

And if it was just like they never showed him, but like they show pictures of him, they do a stop motion animation of a whole side backstory of how things happened. His character's roaming around with no head in the afterworld. His character is looming over this movie. And I'm like, but nobody wants anything to do with this guy. What are you doing?

Just write him out and be done with him. Yeah. That was weird. I don't even know. I'm like, that's not really fan service.

That's just an odd move. What are you doing? You had an out. You were done. That guy's gone. yes, maybe at the end she could meet up with him and we don't see their face and like, Oh look, they're happy together now.

Yay. But like we log in a lot of time on this character that we shouldn't want to touch. And yet somehow I'm like, why are we coming back? Like every time they'd show something again, I'm like, why are we still on Charles? I thought we all decided we weren't going to go there.

Like that was just weird. No, so weird, man. So weird. It was kind of like, uh, Crispin Glover and Bad Future 2, you know? Yeah.

The character there, but not there, you know? We would have liked to have had you if things had worked out in the real world, but they didn't. So what are we doing now? But at least that one, they got it over with quick. Like, yeah, yeah.

It's like a two minute thing. They, make him upside down so you can't even recognize it's not him with bad makeup on. So you're just like, yeah, okay. That character's there, but the actor's gone. Whatever.

We're not, we didn't cause I mean, originally that second movie script was about him. Like he was a huge part of it. And they, once they saw that, wasn't coming together they rewrote everything so it's like they just again smart move rewrote around him worked in the minimal amount of him existing that they needed to and then moved. On yeah exactly versus. Like this one we went the opposite of like We can't have this guy in the movie.

So let's spend a good amount of time talking about him and working in other stories about him and having his character walking around the whole time. I'm like, I don't understand your move. This is a weird move. Yeah, it was like just another distraction from an already hyper-distracted movie. Super complicated plot.

Let's throw in something else that really doesn't need to be there. Yeah. I mean. Beetlejuice, Beetlejuice. Well, this title is very apropos.

It's a lot of stuff that just doesn't. Need to be there. Remember that other movie? This is it with twice as much stuff, except that's not enough. Here's this with seven times as many Beetlejuice things.

Yeah, yeah. And I gotta tell you, man, I was really disappointed in the treatment of Lydia. And, uh, what, what her character became and the fact that she hasn't changed her clothes. Well, I liked, I liked again, the modern world version of her that before she was just a weird kid and didn't know what to do with herself in the world we live in now, there is a market for that. So I do like that.

She just became a ghost TV show person. Like I thought that was funny. Like, again, they didn't really do the right thing with it, I guess, but I thought that idea, I was like, well, yeah, if anybody can make use of this world that we now live in, like, there is a market for that, you know, let's do nothing but go around to spooky haunted houses and pretend like we heard a noise. Like, so, even if she weren't legit, like, which she can talk to dead people, but, like, it... It is exactly what someone like that back in the day would end up growing up to do.

So that part I thought was kind of interesting. But yeah, the fact that nothing really changed. Like when we pick up with her at the beginning of this movie, she's still talking and acting kind of like that kid. Even though she's been through a whole marriage, she's raised a child. There's all these other things that she could have grown a little more.

But we don't really see that in her character. She plays it pretty much like she did when she was 15 years old. Yeah, yeah. She was real, like, uh... It's just kind of like, uh...

She didn't get to do anything. I mean, it was just like, uh... She just kind of was, like... People were talking to her, and she was acting like, I don't know. You know, kind of like the, uh...

Kind of like, uh... kind of like a neurotic uh middle-aged lady who you know just was like uh i mean what was what did she do in the movie i mean did she like uh push anything forward or you know because it was not a movie she was until it. Got well that's what i was thinking as you said that it was like it's almost like she knew she wasn't the lead anymore it's almost like she knew jenna took over the movie and she's just there to be background to kind of keep the plate spinning and Jenna is the push of the movie. So I'm like, she's not wrong. But she also doesn't really bring anything new to it. It's just sort of the same old Lydia thrown into some new scenarios.

The only thing, by the end, at least I do like that she steps up and wants to be a real mom and will go to whatever lengths to protect her daughter. That last 20 minutes is almost the only thing we get out of her character-wise. But it seems like she should have already been at that point At the beginning of the movie. Right. She's a teenager by now.

It's not like you just became a mom. You've been a functioning mother for the last 15, 16 years. So why all of a sudden does it take that before I guess all these inciting incidents came together and made her be like, oh, you know what? I should actually take care of my daughter. Yeah.

Yeah. I don't know, man. Yeah. It was like... I think the movie did her dirty, you.

Know, and... It just didn't give her much to do, yeah. Yeah, yeah. I mean, yeah, the initial concept that she would be on a ghost thing, and, you know, there's just, like, a lot of untapped potential of, like, if Lydia could see ghosts, you know, what her life would have been like, you know, and where do we find her now, and. You know, and, and she really just, I guess she was, they, they kind of say she has a pill problem, but they don't really get into it.

You know, I mean, they, they don't really get into it because they don't have time to get into it because I got 500 other things to throw at us, you know? And, uh, so yeah, messy man, messy. I would say though, I liked, uh, so like just, you know, in general, uh, I did like the visuals. I liked that it wasn't a CG fest. They went old school with the mannequin skeletons being controlled by wires and stuff.

Which, again, is old school Tim Burton. I love that. Yeah. So you're going like, man, I really... You know, because what I was dreading going into this was that, oh, man, it's just going to be a CG migraine, you know, and it's just going to be so much visual garbage, you know.

And most of the characters were practical. Like, I mean, some of the crazy background stuff they did, I'm sure, was CG. But most of the people they were dealing with were people in latex. So it's like that was awesome to see that much. Cause again, once they go to the other side, it's nothing but crazy looking people in latex everywhere they go.

So I'm like, that's a lot of, you know, special effects work that he created. That's cool. Like I liked all that part. Absolutely. So I'm going like, okay, his heart's in the right spot.

I mean, he knew what was, you know, at least that was one of the main appeals of the old Beetlejuice movie was, uh, You know, the practicality of everything, because I guess there was no computers that they couldn't, so they had to, but that was sort of like what people liked about it. That's what we all came to love, was these weird side characters and the physical thing that they brought to each time you saw them on screen. Yeah, yeah. So, again, it's like the technical side of it, you know, is great, you know? And it's like one of those things that seems like it's going to really work on paper, you know?

I think this is too much paper. I mean, it was just like, I mean, you got Burton back, you got these, all these folks back and you got, you know, uh, you know, they're, they're going to go practical and, you know, we're going to see what, what's been happening to all these characters. And then we're going to have this new, cool story of, uh, new, cool threats. But it's, it's, uh, again, it's just so packed. And I really did like the backstory of Beetlejuice.

I like that. That's all that and made it, you know, you know, like an old Italian movie, you know, that was cool. You know, um, you know, I thought that again, it's, it's twofold. Number one, I liked it, but at the same time, I think once again, it's a real world situation that made this change in the plot. I like the fact that we got Delia back because she's so much fun in that first movie.

Yeah. And like, Again, Catherine O'Hara knocks it out of the park. She is, once again, insane Delia. She hasn't grown any. She's the same crazy woman we left because that is her character.

She is not going to grow and become amazing and a grounded person. She is insane. No, but she's still by the end of this, even we see she's a good person and she wanted to be a good stepmom. Like she's just not good at it, but like she did care. But the thing that I think, you know, if you would have looked at that plot and it would have been some other random actress and then we move forward 30 years, I think Delia would have been a minor.

She would have been standing there at the funeral and like she would have drifted off into the plot. But in that time in between, in these last 10 years or so, Catherine O'Hara is like, huge like had this second wind in her career that is like she is like regular people know who she is now thanks to her sitcom so it's like she is a huge name so once again we got her back it's like well gotta make use of her so that i think is a huge devotion of time on screen to this character which don't get me wrong i think it's hilarious but i'm like again i don't know how much she's driving the overall plot that's already stuffed with so many other things that like just watching her go to like her art show and then like her running around trying to find her husband and like it's all of that extra stuff is like yeah really necessary like i enjoy it because it's catherine o'hara and she's hilarious but again if we're whittling down the plot of things that don't need to be there i don't know that we need to either of the parents in the afterlife, I don't need to know that we needed that much time with.

We spent a good amount of time with her before she dies. And like, so yeah, she's on screen a lot for what was a kind of a minor character in the first movie. You know, it's like, yeah, it's not super essential. She was just there to be a pain in the ass to Lydia, basically. Right.

Right. So I thought that was another real world aspect coming in that they were like, we got one of the biggest names in the business right now. So it's like, let's, make sure she's on screen doing her crazy thing. And, like, she did. Like, she was great at it.

But is it necessary to have this plot? Not really. No. Yeah, it would have been fine. for Beetlejuice 2 had they come out, like, you know, two years after the first one. But even then, I feel like she wouldn't have been a major player.

Right, right. We were just like, ah, that girl from SCETV is on this. Cool. She wasn't a big deal. Like, she was just...

She was... Geeks knew who she was because she's hilarious. But, like, she didn't really... I mean, even... I guess Home Alone's her biggest, most recognizable thing, but she's not really in that movie much either.

So it's like between Beetlejuice and Home Alone, those were the big peaks of like mainstream, but still like she just got bumped up like so many notches in these last few years of like now people are like, oh, comic genius, Catherine O'Hara. Like, of course. Right, right. So I think that became a big part of why she's so. Featured in this movie.

Yeah, yeah, yeah. In this already overstuffed movie. Oh yeah. For real, man. I can see the strings and like, it's all good in theory, but like once it's all puppetry going at the same time, you got 19 puppets on stage and you're like, what, what am I watching?

Hold on. Which, which thing? Yeah, totally. It's a lot, man. It's a lot.

It's a lot. And I don't know if like in, you know, uh, 10 years when I'm 60, you know, I'll watch Beetlejuice, Beetlejuice, and go like, oh, I get it now. You know, I don't know if I got it. It's all come together now. Yeah, oh, I see what they were trying to do now.

This movie is like Speed Racer. It's an unrecognized piece of genius filmmaking, you know? But yeah, right now, just initial hit was like, I can't even say it was a missed opportunity because there's a lot there. They didn't miss one opportunity. They took advantage of every opportunity.

It's definitely not a missed opportunity. It's hammering you over the head with any opportunity that ever occurred to them in the last 30 years. That's totally it, man. That's totally it. It's the difference between, hey, we went to a restaurant and we had a really good cheeseburger versus we went to the Golden Corral and we ate everything.

It was like, yeah, it's not a missed opportunity, but it was like, man, I think at some point this meal lost its focus. About my fifth trip to the chocolate fountain, I'm just like, I don't really. This is like a salad bar, and you just keep piling stuff from every different bin, and you're loading it up, and then eventually you're like, oh my god, I can't have any more. My seventh trip to the salad bar is killing me. Yeah, man, I didn't even touch those chicken wings.

I put them on my plate, but I was so full, I just looked at them, but I didn't even get to eat them. And then I went back and got pudding. Why did I round it out with more pudding? Yeah. I don't even want pudding, but it's like.

But it was there, a whole trough of it. I like the concept of pudding, but man, I'm just like... I gotta at least put it in the bowl to see if I want it by the time I'm done. And then I went back and had my cake in the rain. Why was I having so much cake in the rain?

I know. I know. They seriously went from... like opening bar, the ending of that song. And, and, uh, and you're just going like, man, this is like stopping everything. And it's, it's mirroring that first one.

Like that first one is the thing you think of. It's the icon. When you, when you, for a several generations ago, when you hear that song, that's the only thing you think of. That's it. It's not like people are singing, dancing around in their Calypso parties.

No. When, since that movie happened, it took over that song and nobody since has heard it and went, yeah, I want to get into some Calypso music. You're just like, Ooh, Beetlejuice. I love this part. That's, it just stole that song.

And I guess that's kind of what they were trying to do here. Yeah. I'm not sure, man. I'm not sure. I mean, and, and on its own, it's a kind of a, Keaton is killing it in that scene.

Oh, yeah. So it's like you can't hate it, but it's like you're just kind of going, why? Why? Why? The question is, why?

Why is this even going on? Money. Money. But, I mean, yeah, I guess there's just enough... they somehow these movies make money on, uh, ancillary markets or something. I mean, I don't know.

Well, I mean, that's what I looked up. Cause I was, as we were getting into this, I was like, Oh yeah. I was like, I went and saw it that first week or so. So I'm like, how did it do? And then in looking it up just in the first three weeks it was out, it like tripled its budget.

So it did really well, like more, more than I realized at the time, but like it made money. Which is kind of... Then I'm like, well, then aren't we to blame? We keep going to these movies, even if we don't like the legacy sequels, or sometimes they don't do a great job at them. But we keep going and supporting them, making them, so it's like, I don't know, we're to blame.

Yes, it'd be nice if they do better jobs on them before we get there, but... we all keep going to the theater to see these things. Even at a time when people don't go to the theater that much, these legacy sequels keep coming through for nostalgia reasons and people paying money. So they just greenlight the next one. Yeah. Yeah.

I mean, okay. And so that's, that's fair. That's fair. I'm glad it made its money. Cause I, I don't hate it.

I think, you know, it's, it's not like I'm mad at it or anything. Like, I don't feel like, Oh, they ruined my childhood. You know, it's, it's fun, but that's all I took out of it. I was like, that was fun. Didn't make much sense, but it was fun.

Yeah. Yeah, exactly. Right. Right. I'm not, I wouldn't go back.

I would, I'd have to go back and see it in, like, little doses or, like, way... And, you know, I've got to get some real distance beside it. Go like, oh, let's see what that is again, you know? Now that everyone does their own edits of movies, is that what we're just going to take the seven different plot lines and edit them down into, like, a 20, 25-minute movie and you can just watch it like the limited series that it was going to be? That it should have been.

Like it probably should have been. This episode's about Monica Bellucci. This episode's about Willem Dafoe. Mm-hmm. Yeah.

Yeah. I mean, that's kind of what you could do almost. Cause they're very, some of them are very separate from each other. For real, man. For real.

So that's my question, I guess, since it made a ton of money, is there a Beetlejuice cubed? Do you see? Because they kind of did something like Scream. It's like it went years before they came back and did another one. Then when it was successful, they cranked another one out before a year was out.

Because the iron is hot in their head, do they turn around and do another Beetlejuice sequel? Yeah yeah i could say it's probably too soon for me but do you think they will right will they i don't. Because it made so much money and everybody was game to come back i don't know i kind of feel like you know he would sign on again he don't care like if people are enjoying i mean and that's the thing i think he's great and like he is discerning he has picked some really solid dramas over the years and made good movies but like if fans want to see him come back and be batman he's like i don't care i'll come back and be batman you want me to lose i'll come back and be beetlejuice like he he like doesn't seem to have a problem with being like all right you want to do a dumb popcorn movie i'll do that too i don't care yeah sure i mean so i don't blame him like but now i'm beginning to wonder i'm like well everything kind of fired financially on this one and people didn't love it like the first one, but they didn't hate it enough that it got backlash, really.

Everybody just went, man, that was a lot going on. But that's certainly not stopped them from making sequels in the past. Definitely not. At this point, though, I would be kind of curious to see Beetlejuice Goes to Hawaii. There we go.

Let's finally make this come full circle. Beetlejuice Goes to Hawaii. I mean, it could have been I mean, I guess, I don't know. If they went for the Tiki thing, maybe... I don't know, man.

I don't see where you... What would they... They would just have to pick a character. I mean, if they go Jenna Ortega and they make a movie about her. Okay, that's not what they did this last time.

I don't know why you think they would in the third one. They should, I agree. They should pick a character. They should just pick a character and then. and go with it and make a decision Tim come. On yeah I mean I don't you know I mean I don't know man it's like uh and and I don't even know what I'm so I'm so confused it feels like they they've they exhausted all the different storylines and possible.

And you know, you see, that's the thing. This could have been a seven sequel run and they knocked every option out in the first sequel. Like, yeah, yeah. I mean, yeah. So maybe he thought they weren't ever going to give him another chance again.

He's like, I've gone this far and didn't get to return to this character. This might be it. I better cram everything in. I've thought of like, that might be it. I don't know.

That might be it. I don't know. I don't know. It just seems, it seems uh. It's uh i can feel just how excited you are for this.

Yeah i just i feel like yeah i feel like i've just been at like uh I had the all-you-could-eat buffet of Beetlejuice, and I just can't get back into it. Not right now, man. Yeah, not right now, man. I'm so full. Give me a few years to work off this glutton feeling I have.

Yeah, yeah. That's exactly what it is. That's exactly what it is. And that might have been, like, the problem with Furiosa was, like, you know, yeah, the Fury Road was, like, such a feast of Mad Max, everything you wanted in a Mad Max thing that, you know, for them to chase it, give you another one, you know, so soon afterwards, uh, it was just kind of like, dude, I'm still kind of full. That could be it.

I mean, we saw it happen. So that might be, that might be part of it. Oh my gosh, dude. Yeah. All right, so we have covered a lot of ground on the Beetlejuice and the Beetlejuice, so...

I think we've sort of landed on what we think of it. Yeah. We accomplish much, so it really is like Beetlejuice Beetlejuice. It's really very much. We went a long way, and we didn't really accomplish much, but it was fun along the way, so...

This episode has become a mirror of our film. So there you go. Yeah, yeah. And you're going like, yeah, I kind of walked away going like, I still am not sure how I feel about this movie. I feel like I need time to digest it for a little bit longer.

For a decade. And then when you come back, you'll be like, ah, yeah, that's still pretty packed. Yeah, it's still got a lot of crap going on. But it's fun. I don't understand why.

The people that make these movies don't have these conversations before they, they shoot, start shooting. Well, and it's like, they haven't learned because there's so many times, this is what I've said definitely over the years about like freaking star Wars. Like they listen to the fan base, but in the wrong way, like they listen to people bitch about this and then they swing back the other way. Like the pendulum swings completely the opposite end. I'm like, okay, we're not going to do any of that anymore.

And I'm like, no, no, no, no, no. Like just take into account some of what they're saying, make minor adjustments and tighten up your story. Don't take the wrong, like, well, we can never have that person in a movie again. People hated them. I'm like, well, yeah, but it's also 12 idiots on the internet that don't shut up.

That are those people that are like, you can take some of it into account, but don't take everything. So again, I feel like just the, the producers and, you know, suits behind the scenes need to like, get a group of geeks together and let them sit around the table and just be like, okay, you all read the screenplay. So what do you think? And then they'll just bitch for a couple hours and you'd be like, okay, we're not going to take everything you said into account, but let's, let's weed this, some of the weird shit out of there. Let's, you know, cut it down a little bit.

We'll make it a little more focused. And like, that's right. I don't understand. Like, cause we've had like 20 years or more of this, like ongoing internet fan base that's, voices their opinion whether anyone wants it or not so it's like why can't they learn to use that to their advantage and like bring them in beforehand but so you don't have to like spend millions and millions of dollars to listen to the bitch like bring them in for a few thousand bucks and sit them around a table and give them a job and then be like Oh, hey, we saved a couple of steps here. Yeah, yeah, absolutely.

We saved a lot of money in a couple of steps and we got this done before we committed it all to film. Yeah, yeah, yeah, yeah. It's kind of like Ain't It Cool News, you know, where they would like review leaked scripts and everything. And, you know, I mean, I don't know if it ever did. I don't know if any of this feedback actually helps anybody come up with anything.

Well, I mean, I thought that just in general, like of us in all of the years doing this, I feel like we've learned to spot so many problems with just a screenplay or a finished film or whatever that i'm just like somebody not necessarily me i'm an idiot but somebody out there has got it down so well that you could bring them in as a as a script doctor and just be like okay what's the problem here and like right i would think just having somebody like from the outside like once you're that close to it you can't make the adjustments and make it make sense tim burton right but like if you bring in some dork off the internet that actually maybe has logged in a little time in the industry and knows what he's talking about.

And like, right. He or she, and then, um, sit down and, and like, just kind of weed out the bullshit. Like, yeah, just things that don't need to be there and tighten it up. Right. It just seems like they did one person to say like, Hey, there's too many bad guys in this.

Again, I feel like when you're a nobody, every suit in the world will tell you that when you're Tim Burton and you've made them billions of dollars. I guess nobody wants to tell him that. You're just like, well, we got him back and he brought Keaton with him. And like, we want to keep this money train a rolling. I guess we'll let him put in 16 extra people that don't need to be in this movie.

And there you go. That is totally what it is. There was no Gary Kurtz on this. Yeah. Nobody's, nobody's telling him no.

Like you need somebody equally as big to come in and be like, no, no, no, no, no, no. look, you need somebody there to kind of shoot you down sometimes. That's it. Once you get to this level of filmmaking, hardly anybody shoots you down anymore. Oh my gosh. I think you nailed it right there.

I think that's the main problem with this movie is nobody told Tim Burton he couldn't. I mean, that's his whole career. From the time we turn that corner to the time we start hitting it. Definitely by the time you get to the What all did he make? Did he make the Oz ones?

No, that's Raimi. See, I mixed him up because he got the same way. So, like, what was the ones that Tim was doing that was out of control? Oh, geez. Well, let's see here.

I'm just looking. Well, you know, you know, really, man, kind of Mars attacks is kind of overstuffed. I mean, that's one of those. I think that's one. That's probably the first point because he was still... up and coming by the time he made edward scissorhands it's impressive that they let him make that weird ass story but it's still pretty tight and still pretty focused but you get to like he had just had enough momentum and enough money made on these last few films that like they did kind of give him the go-ahead and that one seems like a very like self-satisfying film like nobody else in the world except a handful of geeks cared about mars attacks as a property but he loved it so much that he's like, okay, not only am I going to make this, but I'm going to make this a huge Epic with a massive cast.

And like, that was part of it. I think he was sort of making fun of those old, you know, seventies disaster films with huge cast. Like, I think part of it is a commentary, but it also becomes victim of its own problem of having a huge cast and a giant story with all these random people and, crazy characters that, again, nobody's invested in, really. That's it. I enjoy that movie, but it's kind of that same thing of, like, it's fun, but you can see he's the one having the most fun.

More than the audience, sometimes. That one is almost entirely made for Tim Burton. So, yeah, that may be the first time it kind of started going off the rails. I feel like he was still pretty controlled with, like, your Sleepy Hollow and Oh, yeah, yeah, yeah. What's the murdering barber dude?

Like, that one, again, nobody needed to be singing, probably. That wasn't really a cast of singers, so putting them in a musical is maybe the problem. But other than that, the visuals were great on that. It still had a decent story that it stole from the play or whatever. Yeah, yeah.

I mean, he was just slowly inching his... Oh, no, wait. I remember Planet of the Apes. That is the full off-the-rails moment. That's it.

He started rattling a little bit back at Mars Attacks. The Planet of the Apes was the full-on. You've gone way too into the digital. Even though, don't get me wrong, those makeup effects were phenomenal. The two main monkeys are amazing to look at.

But the plot's insane. It makes no real sense. You bring in a questionable lead. And you're doing a property that at the time nobody was asking to be remade. And then he went about it a way that nobody really liked.

I feel like that's the first one that people went, wait, what are you doing? Yeah, yeah. And then from that point on, it goes off the rails. Yeah, yeah. Well, he has the saving grace.

I'm looking at his filmography here. You got Big Fish. Big Fish aside, I think Big Fish is kind of a masterpiece that skated by. It was under the radar, but it's pretty impressive when you go back. And watch that one.

Yeah, yeah. It's like about people, you know? Yeah, it's got weird effects every once in a while, but it's still a human story. Right, right. But then, you know, I would say Charlie and the Chocolate Factory is more of along the lines.

That's a miss. Definitely for me. I know some people still kind of reference that like it's their. willy wonka but i'm like no no no yeah no i love willy wonka that ain't willy wonka that ain't my. Willy wonka yeah i know i'm just being a spoiled brat but i'm like right the other one's so good i can't watch this one and not compare and Johnny's just that's Johnny off the rails too like they both simultaneously started like we all know the turning point for him is. Jack Sparrow and it's like he used to be this great actor and then he did Jack Sparrow and it ruined his career don't get me wrong he made more money from that point on but like his acting roles suffer after that.

Yeah, because he wanted to make big, take these big swings on everything, like putting the bird on his head for Lone Ranger. Everything's over the top. Big, dumb performances. Almost all the time. Every once in a while, he'd still drain it in.

But most of the big budget stuff was just him acting like an idiot. It's like. But yeah. The problem with successful people, they don't get. Again, nobody told him no.

Somebody needed to be like, Johnny, what the hell are you doing? And they didn't. And that's the problem. That's it, man. That's it.

These things look good on paper, but just because they don't... They need somebody calling them on their bullshit. People need restrictions. Art needs conflict and restrictions so that people are engaged. You know, so the creators are engaged and they got to be hitting up against like some kind of limitation, I think, to wake them up and, Otherwise they're just like, you know, that looks good.

That's good. Alice in Wonderland. That's the one I was thinking of. That was his Wizard of Oz that Sam Raimi did. They both came out around that time.

They both used to be amazing directors and they made this big CG bullshit that I'm like, I don't want to see either of these movies. Yeah. It's a migraine. That Alice in Wonderland thing was the one I was thinking of that was like that. He was too far gone at that point.

Like I didn't even want to see that one. I was like, I watched most of the other ones, but we got there and I was just like, I don't know what you're doing, man. And then I was forced to go for the show for some reason. We did Dark Shadows. And I'm like, dude, you've lost it.

Like, what are you doing? Like, this isn't even funny anymore. Like, you missed the point of this story. And it's not even funny. So, yeah, until Frankenweenie, that was the first time I saw something promising again.

I was like, okay, wait, he's still in there. He's just had a lot of money thrown at him. He keeps making bad decisions. But he's still in there because Frank and Weenie is awesome. Yeah, it's great.

It's great. He's had a crazy career. He has had a crazy career and everything. You know, I've got no, you know, I'm sure, you know, if he comes up with something, you know, I'm always interested in what he's going to do next, you know, and everything. But it's, you know, I think it's probably...

We're in such a world of people terrified to make a movie now because everything has to make, you know, like $ 500 million to make a profit now. Especially if we're talking theatrical, yeah. If you've got to put it out there and get it in theaters and make people get into theaters, like, it's got to be a huge thing. It's got to be a crazy tentpole release or nobody's going to do it. That's it.

That's it. And even then they don't sometimes. It's still a crapshoot whether or not they're going to show up for even the big movies. So, yeah, it's not a great environment to make stuff. I thought maybe, like, once I saw he was attached to Wednesday, I was like, maybe this is his new move.

Maybe because he's had such an iffy track record in theaters that, like, maybe... this is a different platform. It's a smaller budget. It's a smaller like production, I would assume than your crazy Beetlejuice stuff. So it's like, maybe he's just going to go with that and just make other people's stories and not where it just be a director for hire on streaming services. But no, no, he went back to Beetlejuice.

And so we're like, thank you. I guess. I mean, it's kind of hard to have director for hire Tim Burton. He's really got to get to the point of phoning it in when you can just hand him anything. And he'll be like, yeah, whatever.

I'll show up on set, whatever. So that's equally sad, I guess. That'd be a very weird episode of ER or whatever. Yeah. That would be a very weird episode of Grey's Anatomy.

Yeah. Like, what the hell is going on this week? But, again, they usually don't let directors have much style in TV. So, that's why the producer ends up running it. The showrunner is the showrunner.

Directors have little influence on a week-to-week thing. Joe Dante was doing all these TV shows like Hawaii Five-0 and stuff like that. I seriously doubt there was... Any very much eerie Indiana about those episodes. Man, you got to keep your insurance up.

What do you want? You got to keep your insurance up. That's pretty much how it works. I mean, you got to show up and log in just enough time doing something to keep your insurance up and keep your benefits rolling. And, you know.

It's a business. I don't blame them. Yeah, sure, man. It's like Starbucks. If you work 20 hours, you get the health insurance at Starbucks.

So we're going to see Joe Dante out on strike right now. These bastards aren't paying us enough to live on. My mansion needs groundskeeping, damn you. I don't know if Joe lives in a mansion, but I hope so, really. He's made some awesome movies.

I like that guy. I would hope so. I'd hope so. I hope that Gremlin's money keeps coming in. I hope so.

Oh, man. Brian, this was a good conversation, dude. It was exhausting. Once again, we dug in a little deeper than we probably intended, but here we are. Like, every time we sit down together.

Absolutely. Absolutely. It is kind of like, you know, doing an emotional purge at a therapist. Yeah. Okay.

Oh, I feel good. I think that's why I keep at it because we're both a little unstable. So I think we need a therapy session on a regular basis and then it benefits us both and we move on with our lives. And then when things get a little iffy, we come back and. We do another one, you know, that's it.

That's it. Oh man. Woo. Well then I guess we will round out this one and we'll, We're maybe already planning out that next one. We might have an even more insane movie in mind for the next go-round.

I say we just bank it for that and we'll be back when we're unstable enough to do another episode. That's it. That's right. When the moon is full and the thirst for blood becomes overwhelming, we'll be back. We'll be back.

That's what we do. That's it. Cool. All right, that having been said, otherwise that about does it. We will return next time, same geek feed.

Thanks for listening. And I felt used, kind of confused. I would refuse to look in their eyes. But now I really love creepy old guys. We all do.

Dumb disease. Skin like grilled cheese. Baggy old asses. Baggy old asses. Cute and vile.

Hey, baby, smile. Take each girl at best. They make me blush. Can't get enough now. I'm marrying my.

Own creepy old guy. I'm a creepy old guy. My creepy old guy, my creepy old guy. I'm so happy I could cry. Girls may seem disgusted, but we're actually just shy.

The creepy old girl, creepy old girl. I laid that wedding to three folks step aside. I am older, but I'm glad I waited. I am marrying my creepy old guy. Creepy old guy.

Creepy old guy. Creepy old guy. She's my very own guy. Creepy old guy. Creepy old guy.

Creepy old guy. Fix his hair. I'm getting prepared for Armageddon. Showing the groom crawls out of a tomb. Hey, hey, you don't want it.

So dim the lights, pick up some rice, say something nice. It's my day time. I'm getting hitched on my creepy old guy. It's showtime. Creepy old guy, creepy old guy.

Have you guys seen Lolita? This is just like that, but fine. Creamy old dude, creamy old dude. Our faith has been renewed. Our love is alive.

I wanna see a tear in every eye as I pass by And all that on the outside, he's disgusting And even on the inside, he's disgusting But I know that this done, I'm making it right With my family by my side. OMG, dressed to a T, fancy and formal. I found me a wife, l'chaim. To life. This is so normal.

I was ignored, but now I'm adored. Cause I extorted torture and lied. Give it up for my underage bride. Here comes the bride. Here comes the bride.

I can't believe some cultures think this kind of thing's all right. My creepy old guy, my creepy old guy. Doesn't he deserve a. Chance at life? Oh, yeah, that's right.

Yeah, that's right. Let's make him laugh. I am. I think the sugar crash of Beetlejuice, Beetlejuice, I think I just don't have it in me. It sucked the life out of you.

It sucked the life out of me. Like Monica Bellucci. Like Monica Bellucci. This episode is a production of Movie Meltdown, produced and edited by The Oddity Studios, with opening music performed by The Empires. For more on how to sponsor or support the show, email producer at moviemeltdown.com.

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