SurrealTube: Don't Hug Me I'm Scared "Electricity"

Weird. Hello everyone, and welcome to Scary Stories We Tell. I am one of your hosts, Chris Stashe and I'm here too, I'm emma. We're the host of this show most of the time. Sometimes who knows, but we're definitely the host of this series that we do on Scary Stories We Tell, which is Surreal two, where we take a look at things on the Internet that are strange videos on the Internet that are strange or surreal or hey, just worth checking out.

And we've been stuck with three weirdos in a house together, and boy, it's gotten weird in the last six episodes I guess five episodes now, and now we're at the finale here. How many of these have we done? Now? So we split up the original series into what three or four episodes? I think it was three episodes, and then we've split these up episodically.

Right, those are the ninth time we're talking about don't hug me, I'm scared. I hope it's not the last. I hope so as well. But it is the end of the first season of the show, which you can totally pick up over on the internet over at I believe A four and channel four on the Internet, which is a British streaming service, but if you want to follow along, which you totally should be, that's where you can find this show. Because this is the final time we're going to be covering this until there's more to cover.

Because this is the final episode of the first season of Don't Hug Me I'm Scared aptlete titled Electricity. So we open this episode a little differently than we've opened to the other ones because well, Emma, we see a human being. This is like, other than I guess the foreshadowing from the previous episode, this is the first time we have really seen human intervention aside from just like the gags of oh their puppets, Oh, they're being controlled by somebody, oh red guys getting into a suit, like they have this little little uh split second, like oh there are humans in this universe or this is a show like meta moment, But this is the first time we've seen a human as a character like affecting the universe.

So we were questioning how the episode was going to start in our last episode of this because where we left our trio was the garbage dump. Best we could tell, which is really easy to forget after watch this episode, but after their road trip, they ended up and presumably a garbage dump, and we were questioning, you know, as the show going to start right back where it started before, always in the house. There was like weird foreshadowing. It was either that or they were gonna start still like you know, in this like weird meta version of their world, the external the exterior of said house. But we didn't.

We started almost back at square one. Well, and we see the house, and the house is spinning in a circle, and it's like one of those old pieces of animation where it has a strip of film on the inside and you spin it really fast, and by looking through the slit you can see the picture moving. That's called a zootrope actually, and that's what it feels like they're going for. And I feel like by the end of the episode that is more or less confirmed as what's going on, because in a lot of way, I think the show more or less says what we are seeing is being played out and controlled by somebody else, right, but that person is not in our level of reality. They're one level into the show, but the show exists one further level of reality in from that person.

But somehow that person and the show are able to interact in a way that we are unable to interact with the show. They're able to directly interact with the characters and the show. And we see the kind of seeds of that being played out at the beginning when you see the house as zotro Right, the first imagery that like, I was getting with the spinning of the house because I didn't immediately see it as that like animation thing. I immediately saw it as like cyclical nature going back in time. That's how my brain interpreted it, so like a reset or rewinding almost.

That was more so of what the imagery invoked for me personally. But I think both can be true. Well, I mean a zotrope, I mean, if you think about what a zootrope does, it's if you start at one point and you go in a circle, you start right back at where you were, so it completely just leans directly into what you're talking about. And I mean, again, the journey always ends up back at home, is the way the episode that we just watched ended, right, and we opened this with the journey always ends up back at home and they're there, and to be fair, we did last see them in the waste land together, but we did see a human hand pushing their car back to the house, right, So again that's clearly now a indicator that what we should have interpreted the end of the last episode is as they whoever this is, is resetting everything intentionally, and like you said, be it a zootrope, be it the circular nous of the narrative.

Everything happens every time the same way because at the end they always end up in the same spot, which I think is an interesting kind of commentary on sitcoms because again, like The Simpsons or Family Guy or you know, Two and a half Men or The Office or so many shows start at one point that you go on a journey and then you're right back at the same spot that you started, and no progress has been made in the narrative. It's just yeah, and you know, I mean again, it's interesting to see the show take that to task directly, because it's not it's kind of an esoteric idea and it's not necessarily the easiest to try to convey to an audience without saying, well, in this show, this is what happened.

It's a little harder to get that across to an audience without being able to point directly at it happening in another show. Right. The way I always see those types of shows that reset like that is that the characters aren't the story, they're the medium, right, And I think that is so clear and very in line with everything we've seen thus far, you know, everything with Don't Hug Me, I'm scared. It's very much like this is our trio, sure, but we don't know anything about them, and it doesn't really matter. There arc.

There is no arc, There is no progress, There is no I learned something, and that carries over. I guess with some sitcoms, you do eventually see like if it goes a long enough, you see them grow, and so you sort of at that point you know, the producers have to write in some kind of overarching story, if I guess, if it extends longer than they anticipate. But for the most part, at least with animation, the characters stay the same because that is the best way for the writers to tell a story is with you know, these pieces as the medium as they are, and if they change, that changes how the story would be portrayed. And they just they have these different mini stories they want to tell, utilizing these characters as that artistic medium, nothing more, nothing less, And I think it's an interesting commentary on that in this show.

I don't again, I don't know how successfully it's being received by the audience because I think it's a pretty high level concept that requires you to have prior knowledge of these storytelling conventions. I mean, again, it doesn't harm my enjoyment of this if I wouldn't have known that. But to be fair, I feel like, if you're you're not just stumbling upon this show. This isn't just your local cable network. You had to go out of your way to find this, And so I feel like, as someone who watches a lot of things, as I know you do, it is being received the way it was intended by me, by them, at least at least I interpret it that way.

I think so. But I think the next big thing to point out is that we don't even get an intro song. It's not even about the three of them. Yeah, it's you know, to open it with this zootrope house in this attic of a building that we don't realize is the house that they've been in this whole time. Not to mention the stained glass, right.

It's interesting because in a lot of ways, it feels very rever wrenchal, like there's there's a sense of religiosity to these characters that we haven't really seen up until this point. And I'm not saying like they're being you know, prayed to, but they're being presented in the beginning of the show as like seemingly spiritual beings or a little bit more than just puppets because we're seeing them enshrined in the stained glass. Then we see later in the episode, we see that there are kind of these weird artifacts that are almost specific to each character. Even so, it's interesting because it feels like, again there is something going on here, that there is there is more going on here, and I think we talked about this in the last episode.

You know, hey, what is if there is something going on here? Are they going to let the cat out of the bag at some point? And I think they kind of kind of one third two thirds did? I think there is still more going on. But they make it very clear very quickly into this episode that this there is more going on here by showing you this hand cranking the house right at the opening and I think it's very smart.

I think it's very smart. So from there, obviously we immediately are going back into you know, them being in the house. They're tapping Shenanigans, they mention, you know, like, oh, I'm doing a crossword, like all the mundane stuff, until they mentioned just like the one thing that triggers the teacher to come into you know, into the scene and start teaching them something. Which, by the way, that electricity song slaps it's pretty good. The electric guitar portion.

I wasn't expecting. It makes a lot of sense. I'm really glad they did it. I think it was great. I think it was necessary.

I didn't know it was necessary until they did it. I totally agree. I really, I really liked that song. And not every song in the show has been a song that you could theoretically listened to outside of the show. I'm not sure that there have been a knee songs that you could listen to outside of the show, really right, but this one hughes closer to a traditional song quote unquote.

I would also say that this teacher feels the most genuine of all the teachers yet to me personally, like there's no hidden agenda. There's no tricking, like they can tell they this character, who I guess is the supposed to be the electronic components of like a fuse box. Is that what I was supposed to be? The character is named Electracy, but yeah, it's it's a robot that has has sockets for feet. You know, the name elect Tracy did not stick in my brain, and I'm really glad that you mentioned that, because that one completely over my head.

They didn't do a very good job of giving that name away in this episode. That really enhances it for me. It's a pretty good name. But I guess it is just the components of a fuse box, right, They have batteries in their chest that powered them. But I also will say something that I noticed early in the episode is that the characters seemed even more upset with the teacher early on than usual.

Like usually the teacher at first is like intrusive and they're a little off put, but this time it felt like they were like actively trying to like write off the teacher. Like she comes in and she's like electricity, and they're like, so right, I don't why does it matter? That's stupid, And like I think that's the first time there was no curiosity, Like, they've definitely been put off by the teachers before, but they engaged with the teachers regardless whether they really wanted to or not. But this was the first time where it seemed like they were very anti interaction at the start, and then obviously the song came on and then I mean, they were hooked at the electric guitars. Who wouldn't be, But I did find that interesting.

Yeah, you know again, I feel like, you know, we mentioned you know, this is a sitcom and the characters aren't making any meaningful progression, but I feel like them being frustrated with the teacher is a step towards the characters growing, because I feel like the more these characters keep intruding, the more our characters are being annoyed by them. Right, But it is weird that this one is so endearing in the way that like they normally aren't. This is the least upsetting teacher I think we've ever had, in my opinion, for sure, at no point did she did she ever do anything that was like, actually weird. I mean, after she gets her batteries swapped with Yellow Guys batteries who apparently has batteries even though he's a human being.

Supposedly, maybe I started they killed the hamster or whatever. Yeah, but the hamster was a robot I think with guts. Maybe they say maybe they had to have one like real Gore elements. I mean, they have another one like later on, but like they had to have like one Gore element early on. But again, it wasn't that weird.

I actually the moment she was like, well, actually there are wires in here, I actually thought that was really funny. I don't know if that's another kind of hint at this being an unreality, right, That's kind of what I interpreted it as, was like it's a hint at this being an unreality of sorts, but also like I'm never going to say no to some puppet Gore. Like that's you don't get that very often the show. You it's great, they do it, they do about it, they do it about as well as anybody else ever has so. Right, But I guess Yellow Guy has batteries, and the Yes Electrical Box has batteries, and so they get the bright idea to swap Yellow guys old batteries for Electracy's new batteries, which I guess was what Yellow Guy was missing this whole time.

Whole time, and so this is the interesting part. And I feel like this analogy, this metaphor was pretty clear. This was Yellow Guy's enlightenment. Yeah, I mean they do the whole two thousand and one space od is the thing where he's traveling through the Corridor of Light and all of a sudden he's like, you know, where have I been this whole time? It's very Homer Simpson having a crayon removed from his brain and all of a sudden he's the smartest man in the world, Like they did that with like Patrick Starr and fucking SpongeBob.

Yeah, they're that like a coral Head episode, and you like got a new brain or whatever. Right, Like, anytime you have a character that's quote written as a moron in a show, you should always have or can't always have or do always have a episode where they become smart for an episode, but they never smarter than everyone else to the point where everybody else hates them for it, right and notices it, and they're like, oh my god, he gets again. If Yellow Guy were just average stupid the way Duck and Red Guy are because Duck and Red Guy aren't smart. They're just less stupid than Yellow guys. Right, If he were just as stupid as they are, but no stupider, they would not notice.

But because he's like a complete genius to their at least beliefs. And again, he does seem smart. He doesn't seem a tariff is he's inventing words words too. Yeah, I do think all of that interplay between Yellow Guy and Duck and Red Guy, when Yellow Guy is now again seemingly smarter than he was before, I think it's all very smart and very funny, and it kind of takes his character who has kind of gotten a little stagnant as a character. I mean, he's kind of been a little one note as a character, and it does something different with him in a really substantive way.

Again, I don't we'll get to it here in a second, but like whether or not they do anything interesting with it remains to be seen. But I like that we get to see a version of Yellow Guy who is smart or very smart unquote. Right, So from there, I mean, and again I think we need to keep in mind, at least in our theories, yellow Guy to us has been the stand in for the child audience, right, the perceived audience of a show like this, right, the intended audience, yeah, right, um, and obviously realizing that he is too smart for this quote unquote show. Obviously he doesn't realize it's a show. At this point is when he makes the ascent there.

There is a lot of enlightenment imagery obviously, like walking up the stairs, right, well, symbolist like it's but like in a good way. I didn't mind it. I really didn't mind it. I mean what I know like this, you have to be heavy with it because you can't just turn to the audience and spell it out because they're already doing that already. Right.

So making his way up the stairs, he finds the Big Boyroom. How do you feel about the Big Boy Room? So there's a version of red Guy that is huge, and there is a version of Duck that is huge, and they have really long, distended arms, and they're sitting there in a room where they learn everything twice. So they learn two things at the same time, but it's two different things. They're not learning like two complimentary things.

They're learning about rocks and boundary boundaries. Yeah, I think it's I think it's interesting. I mean, I think it's a little heavy handed, but again, I think with a show like this, where you have to do so much visually to really get the point across, I think, Look, we've we've always commented on the show's ability to navigate changing the mediums and to have it changed into these gigantic puppets that are a joy to look at because they look like Sesame Street characters. They look like, Oh I hated looking at them big Bird and snuffle up guess. But let mean the demented versions of them, and I mean that's a red Guy.

I mean, I'm actually shocked that we've never said red Guy is big Bird or red guys snuffle up a guess and Duck is big Bird and fucking the yellow guy is birth or Ernie. Oh, I was gonna say Elmo or Yeah or Elmo. I mean Elmo is you know, Elmo's the child of Sesame Street, right, But they're like the perverse versions of those. But then we see in this room versions of them closer to the versions that we're talking about, where Duck kind of looks like big Bird and red Guy kind of looks like snuffle up a guest, like more so than they do already, which is supposed to be. I mean, obviously the Big Boys Room is supposed, in my opinion, represents the next level up in terms of children's programming, Like you have the quote unquote baby shit, and then you have you know, like the Little Einstein's.

You know, it's I mean, i'd like to see. I think it's even I think it goes even further. I think, but again, like I don't know how much further they need to go, because like they don't really comment on like entertainment for teenagers, because I think that's what they're going for, right, Well, I think, like I said, I think the rooms well, I mean, I think it's also important to note that in the Big Boys Room, Yellow Guy also for a split second sees the puppet masters in their like morph suits blending into the wall, and like, for a second he has that like meta moment where I don't think anybody in the show has recognized that there was human intervention at any point. This was like that quick like little meta peeling back, you know, the layer looking through the fourth wall type thing.

That's like, I think the first time that a character hasn't noticed that. So it's fitting you know, during Yellow Guy's ascent into enlightenment, as it were, that he were to notice, you know, what we have been noticing. And I guess it's almost supposed to say that, like he is achieving the same level of understanding as we are, and now we are on his level, or he is now on our level, because we're also still confused about what the fuck the show is about, but we understand that it's a show, and I think he is now at that level of us, at least in this at this point. But the way that you know, these two conflicting lessons are being taught is too much for him. It's overwhelming, not because it's too smart for him, but because it's just too noisy into it.

It's overstimulating, so he goes up another flight for the bigger boys room. I don't want to mention I think it's interesting that they do have this meta moment of seeing people controlling the teacher, only because again, like if we're operating that the show is a sub reality of ours, and then the show within the show that the characters exist within is a sub reality of that reality, but a sub subreality of our own. The characters are seeing the character of Yellow Guy is seeing the sub reality or our reality. He's seeing the sub reality of the show, right, because there's a show, the show. Somebody's making the show.

Don't hug me. I'm scared within a reality that is one removed from our own. Okay, So I guess it's interesting that they do that because they haven't done it before, and they don't do it again. They didn't even do that in the original series, right, So, and there are some things that happen in this episode that are open ended questions that could be answered. This is one of them because Yellow Guy sees him for a split second and then he just kind of disregards it and leaves.

And I am curious if that will be a reoccurring theme at some point if the show comes back, because you showed us the audience that too, so it's intentional. But it was just so it was so strange because we were both like, oh, holy shit, like there you go, like in Broad Daylight, because we talked about it in the last episode where they're changing, but it's like during a quote fast forward moment in the show, so we're not actually seeing it, but here it's like, yeah, yellow Guy is shocked, at seeing real people, and the way that they framed it is very much supposed to be a realization, and I think he has another crisis. I mean, the whole time during this he is starting to question his reality, or I suppose is unreality, and that is just another like quick layer of that in and of itself.

I mean, he's starting to realize how weird the world around him actually is. How could this all be possible? And so the moment that he questions that, or truly questions that, is the moment that he sees what is happening behind the scenes, if only briefly, and I think in a way he might be shutting himself off to it, which could also be why he left the room. Well, and what I want is is it that he's just not seeing it because he's not focusing on it and they're always there, or is by taking these batteries in he's able to see them, Because That's what I'm wondering, because it's more interesting if they're there all the time and it's just you know, out of your peripheral you're not seeing it, but they are there.

I would find that more interesting than oh, you're changing something about yourself and you're able to see one reality above where you are. I think what it's saying is that they are always there. But it's not that they're out of our peripheral it's that they cannot perceive them. And because they can't perceive them, we are not supposed to perceive them like ghosts. Sure well, I mean like I mean again, But the interesting thing is the way that they show them is not if they had shown them in green screen suits, I don't I don't think I would have as many questions.

But they show them in like you said, black morph suits with the white letters on them, as if into the wall, as if they're always there, which I mean to me that is like the equivalent of they are blending into the background. You don't see it unless you are looking directly at it or looking for it, and if you don't know to look for it, you will not be able to see it, right. And I think that's what happens in that moment, is that because he makes that very direct question of like I am questioning my own reality, he is able to look directly at it, see it for what it is, and then ultimately shut himself off to it. Because I mean, if you notice something like that. I think you'd want a while to process it too.

Well. It's it's like magicians who make cards levitate, right, I mean, they're making the card levitate with something on the card. You just can't see it if you don't know what you're looking for, and they'll do all the tricks and things to show you there's nothing above and beneath and around the card. But again, like this is not on the level. I like that.

That's where this is going, is that there is something else going on that they just can't perceive. It's not that they have to do something else and then they see it. It's just they're not able to perceive it, but it is there. I like that conceit of the show because it's a much smarter conceit than oh, he changed his batteries and now I can see everything. It's like, that's not entirely it.

No, it's that because of his enlightenment, because of the batteries, he is able to ask those questions. I mean, I mean it's all about the Enlightenment period, you know. I think therefore I am all of the philosophies. As we said, it's pretty heavy handed, but it's like becoming aware of your own consciousness, of your own place in this world, of your own sentience and what that means. And is there something pulling the strings, which obviously in this world we already knew this, there is something pulling the strings.

This is not just you know, this character, like these characters in this world that everything just happens to be plush and we just accept that they are puppets. We know in the context of the show they are meant to be puppets, not just in the context of the show, they are meant to be characters. They are meant to be puppets. They are manipulated. We know that, we know that this show is a commentary on shows and that that is truthful within this reality.

We just don't know what that actually means, what they're trying to say with that. That's the mystery we're still trying to unravel. Yeah, because again, like that, what does that interaction mean to the people that make this show, that the characters that have been created are interacting with the creators of the characters, Like, what are you trying to say about that? And it's an interesting conversation to have the interplay between the creator and the creation, you know, right. I mean it's you know, with someone like say JK.

Rowling, you have the logical conclusion of that where your creation is not as reviled as you are. But it's hard to separate the two. I mean, those are ways that creations and the creators interplay with one another, and it's I mean, it's a it's a big kind of stumbling block for a lot of people in our day and age to figure out where does that separation lie. And I think it's interesting that this show is kind of having a commentary on that of like, where did the creator and the creation separate from one another? And what does it mean for them to interact?

You know? And most of the time it's not literally here. The show is like, no, let's literally show you that, so right, So, okay, how do you feel about Bigger Boys Room? I feel like the gimmick went on for too long with them zapping the little thing, the little patree dish creation. I agree.

I didn't quite get the metaphor here. It was really clear to me with the last room this room, I was like, is this supposed to be like again that next level up in children's programming? But I can't draw a comparison with it, could you. Yeah, I feel like it's a commentary maybe less on children's programming, but more on kind of Discovery Channel program where you have people just going out and doing things just because just to go and do them. You know, we're going to go and pay these people to go and stand down the woods for a month to scream at Bigfoot.

Like maybe it's that it's supposed to be like Bill and I the science guy, Well that's why it's it. Kind of what was running through my head was that quote from Jurassic Park that Ian Malcolm says, where it's like, you know, just be you know, because you had the power to do it, you didn't stop and think if you should. Just because we can doesn't mean we should, right, And you have them like zapping this creature in a peatree dish and they're like why are you doing that? It's like, well, we need to it likes it or it's you know, and it's like what And they're just like sitting in there and zapping it just because. And I don't I don't know what it's commentating on other than just like you know, it's commentating on that kind of content.

Then there is something there. If it's commentating on people, I'm not sure what they're getting at. Specifically, I think that was the weakest moment of the episode was Bigger Boys Room, although I did really I was very delighted by Bigger Boys Room as a as a title, and I like the designs that they have with Duck and Red Guy in that room. To have Red Guy as like a giant floating crystal with drone eyes was I thought it was a pretty interesting design. And then Duck just looks like a cybertronic nightmare.

Yeah, like science theater whatever the hell of things? Yeah, oh Mystery Science Theater. Yeah, yeah, I mean it's just I don't I honestly like each one of these episodes has had a weaker moment, and I think this that moment with them in the Bigger Boys Room, I think is the weakest moment of this episode. And it goes on for like a minute too long. Yeah.

But during this time is when downstairs back at the main level with Red Guy, our Red Guy an our Duck, they are experimenting with electricity. Now that they know what electricity is, they've been like conjuring up and electrifying all of their stuff to the point where they blow a fuse. The teacher tries to warn them but really struggles due to the rusted batteries, and everything goes dark. And then, as you said while we were watching it, Twin Peaks, right, which I think I mentioned at the end of the first season of this because they're in that room, I guess, I mean that's always been there, like their tile floor. It's just that with obviously, like with the dark background and like everything like it evokes, right, but that different feeling when you strip everything else away.

Well, and let you know, Twin Peaks is a show that in its third season it may have been having a commentary about how the creator and the creation interact with that show and the expectations of the audience. And that's a thing that David Lynch really played around within that third season to Twin Peaks. So to say that in a lot of ways, this was, you know, visually it has a Twin Speak Twin Peaks inspiration. This episode, I think maybe to overlook the fact that this show has kind of been inspired by Twin Peaks at least its ability and wanting to take the characters out of the narrative into a holding area where they're effectively interacting with our reality or some reality above their own in the narrative, maybe not ours, but something that is above their own, their own narrative reality.

And the show is doing the exact same thing to the point where we're about to get effectively the show tacitly admitting that there is someone controlling everything that is one reality beneath ours, but one reality above theirs. So my question is, what is the symbolism of the teachers being dead and strong a clock across the floor. I think they're just powered by electricity, right, I guess, So it's all the electricity powered ones that are dead. I guess, other than the suitcase, because there's the block, there's the refrigerator. They did see the piece of meat running, so I guess that tracks because that's like a sentient piece of meat.

I don't know again, like maybe that's where they go when they're not being used. That's like the holding area for them when they're not you know, dancing around. I mean that's as good an answer as any, Right. That reminds me of you saw inside obviously, I'm sure. Bo Burnham, Yeah, that's how the world works with the sock like, Okay, I go back into a frightening liminal space between states of being.

Yeah, I mean that's what I That was my interpretation is that's where these creatures, these teachers are when they're not being used. That makes sense, they're dead. But like at the end of the episode, we effectively see some of them back in place. We see the refrigerator back in place, we see we see the electrical box thing goes back in place. So it's not like it's not put right by the end of the episode.

I mean that would be my interpretation, again rather heavy handed, but with the show like this, you gotta you kind of have to be. But I will say it's obviously in stark contrast to Yellow Guy's enlightenment. They are essentially put in the dark, I mean, right where they understand even less, whereas Yellow Guy is beginning to understand more and more. I think to the point where Red Guy and Duck are talking about how they can't even see one another because it's so dark, and how they missed one another, which would like missing like looking at each other's faces, which was honestly quite touching, and I wasn't expecting that for two characters that one of them is kind of abrasive to the point of repugnancy.

Yeah, yeah, yeah, I mean it was. It was refreshing because those I mean again, you want to love these characters even if they're kind of assholes, like maybeeah, right, I feel like I mean, you know, Duck is kind of the most abrasive of the three, but he's still a lovable character. I mean yeah, when he was singing about a shredder, that was quite delightful and holding it, hugging it very closely, the very important shredder. Yeah, the titular shredder. I find interesting that once Yellow Guy goes from the Bigger Boys room to the attic, we have a real human being.

Again, let us talk about Leslie, maybe a real human being. She had stitches. She looked like she had been sewn in areas. She was wearing a plush coat. We never got it like a good look at her body, but we could tell from her face that she had plush like stitches.

So she was definitely a real, you know, person with obviously in our world prosthetics, I'm obviously, But in that world, what does that mean. I think it means that actors are creations. Of someone else, So they had to show what a human being who's been created by someone would look like. Literally, if you want to literally show them as a creation, you show them as a thing that's been stitched together. I think it was just literally show that this is still a show, this is an unreality.

I'm wonder if, because you mentioned earlier the attic when they first that opening scene, you know, and you see the stained glass is leslie in context of the show, is she god? I think so. I think it's a good that was saying the room is reverential, but it also could double his heaven right at the top, well, I mean again, but then I mean, we'll get to it, we get to it, but it's not maybe not necessarily the top, but that would also make sense if this is a sub reality of our own. I think she is the god of this world of she's the god of those three for sure. At the very least.

Right should mean to the point where we see her opening a drawer and taking a replacement of Duck out and putting it on the shelf. I mean, that's I feel like that's a pretty tacit admittance by the show that this character is in control of everything and has been this whole time. And also, these characters are easily replaceable and not sentient, right, or at least they shouldn't be. And I will say I think that this really only applies to this season of the show. I don't think anything that happened in the web series is Cannon anymore.

I think so either. I think that was its own thing, and I think that they've left it behind, and I think that's for the better because the story that they tell there is actually just this story again, it's actually just the same thing. It's just the lower aspect of it is what they basically rewrote. I think it works better here if you compare the last episode of the first season quote of the show the web series, and the first season of the television series. If you compare them, they're narratively similar because they're talking about how does the creator interact with the creation?

How does the creation interact with the creator? And they're asking the same questions because where you know, we don't know. In that one, it's red guy who's out in the real world maybe, and then this one it's yellow guy interacting with the real world. Maybe. I think it works better here because the lines and the rules are clearly defined thanks to the last five episodes of the show, right, they set up the premise better for sure.

I mean they've had, however, many years in between the web series. He define it right, and I think I think this works better to say, Okay, there's a human being who has been created by people in our universe who is then creating and controlling these three in that universe. That makes more sense and works better. If Roy was that stand in or Red Guy was the stand in in the first web series of this show, it makes sense. But I don't think that these two things have anything to do with each other anymore, and I think that's for the best.

So back to Leslie, because she is quite fascinating. She comes off obviously as very sweet, very benevolent, and then she has those couple of moments where she breaks that I don't want to say facade, but she at first she tells a yellow guy that he is one of her favorites, and then like later on, doesn't she say something like you are not my son, you son, You're not my real son. That was interesting. So she got very angry during that, and I'm wondering if that has a deeper meaning like is she a god of this world because she lost her children? Like that's where my brain went, like, is this a grieving mother having a psychotic break and creating a children show because she lost her own children?

Like I don't. I don't know if that strengthens it or weakens it for me, but I would feel remiss if I did not mention that, because that's a very strange thing to say, unless if it was just for the sake of being off putting and strange, which if that's all it was, it did a great job. No, I I feel like there is some because again we've kind of talked about how Yellow Guy is this kind of child surrogate in the show. I think I think there has to be some validity to what you're saying. I mean, again, at least that's the way the show presents it.

I think, you know, it's obvious why Yellow Guy is Leslie's favorite, because Yellow Guy is the most child facing of all of them, like a real human child, and so that innocence that the character can easily express is going to be more well received by a mother or maternal figure than two whiny and abrasive teenage slash middle age. Yeah, Like again, those characters are immediately more abrasive than Yellow Guy. Yellow Guy is his innocence allows him to be taken not as seriously. I really wonder because I haven't had a ton of time to really think about this because we only like just watched it. But I'm really I'm really wondering now, is all of this, you know, the creation of a grieving mother.

I'm wondering that now, and that Leslie wrote herself into the show as the benevolent, you know, godlike figure, or if it's all, you know, just a metaphor, a visual metaphor. I don't. I don't know, because she's obviously crafted because she has stitches, so we know that she's not real in the same sense that we are. In the context of the show. She as you said, somebody else had made her.

And I'm wondering if the real Leslie made this fake Leslie and like that's like the there's a true Leslie. I don't know if I'm going off the rails here, but I'm wondering if there is a true Leslie. Well, there is another door in the attic, Yes, that goes right, So but the question then becomes is that staircase to our reality or is there another reality in between our reality and that reality and the reality we're seeing, where it's a version of our reality that you know, well, this is where the show was created, and we created that character for the show, and now Yellow guys out in our world, and whatever that staircase is is meant to represent him in our reality or is it a reality in between that one and this one.

I would be inclined to believe it's probably supposed to be our reality. That's where I'm leaning, because again, I feel like if they did one more level of removal from our reality, then it just because like too fun, It's a little too I was gonna say, it's a little too convoluted. At that point, I feel like this is enough. I feel like what they have established is in and of itself enough, And so I guess the last thing to really go over is the book Yellow Guy. I mean, well, obviously Yellow Guy wants to know what the hell is going on.

He wants answers. He's scared, he's confused. But I think he would still want answers even if he wasn't super smart. Yeah, if he would have put in that position, right, like he wouldn't have known to ask questions, that's the thing. So Leslie agrees to answer his questions for him if he helps her straighten up the fake house, her little house diorama, which we can only assume is supposed, you know, automatically, like affects the real house.

Right. That's the idea, is that whatever happens to the diorama happens to the whole house. And I'm sure in the tiny diorama is another tiny diorama and another tiny diorama, like you know. Well, And there is a scene where we see Yellow Guy walking up to this third level and he looks to his right and he sees a picture of him with a picture of him on the wall, with a picture of him on the wall, and it made me think of the matrix the second film where Neo goes into the architect's room and you see these this panel of screens of Neo having a multitude of interactions but all different reactions to the same question, showing that he's been in there a million times, and he's done this a million times, And how do you think it's going to be any different if it's happened a million times?

You think a million and one is going to be different. But the reason you do this is in the hope that million and one is different. And I wonder if I wonder if this is the first time that this has happened. It's more what I'm getting at that is a good question, Huh. I didn't think about that, because, like it, I feel like the things that they show us are so intentional that they're making us ask questions about the validity of the reality that we're seeing and what is the reality that we're seeing and what does that mean?

And I think one of those things is you see things that would lead me to believe this maybe has happened before. I suppose it's it's either that or justsed or just supposed to show that, like how none of this is real. All of it is just a smaller version of it happening again, I suppose, but like simultaneously rather than in a time I'm line And was it always yellow? Guy? I mean, could it have been duck?

You know, I don't even remember. I would want to go back and watch. Now do we see the upstairs? Like do we see they? Do we see a place for them to go upstairs?

As my question maybe have we ever seen steps before? Is what you're saying, right, because I don't remember. And I wonder if, like, by putting the batteries into Yellow Guy, if that was the catalyst for him seeing its. Yeah, I mean more than likely, because you would assume that Red Guy and Duck would have gone up those stairs if they had seen them watch thish, I mean, like you know, like and gone and investigate it. So I wonder if like to see the stairs was the first moment where he like is realizing that there's more going on, but he could not have seen them, similarly to not being able to see the people on the wall because it's just there in plain sight, but he's just ignoring it or missing it or not able to comprehend it.

That. Yeah, no, for sure. I mean again like I don't know that the show goes like I mean, I think at this point we shouldn't question how deep the show comes well, and the other question I have before as we kind of get to the point we're talking about this book. Early in the episode, Yellow Guy is talking about how he's created a third language out of numbers and symbols aka letters and numbers, and what he writes on the pad is the same thing that's on the cover of this book that supposedly holds all the answers to the show by So is that something that can be solved and is there an answer or is this again just a troll by the creators to to put one thing in and then you know, foreshadow, plant and payoff.

I wonder. I'm sure someone on the internet has answered that question. We just didn't have the opportunity to look. But I like that there's this through line constantly of you've been doing something that maybe you don't realize you've already done or already exists, or somebody else is doing it through you. Is maybe even what it is?

Was it somebody planting the seed in a sense? Right, could be to try to get Yellow Guy to get the information to Red Guy and Duck that they're in an unreality. But again, to what end? Because it doesn't seem like Leslie has any sort of goal she's driving towards other than restarting the house. That's what I was wondering, is what is Leslie's motivation?

Which is why I'm starting to wonder if it is if the true like lore behind this is that Leslie is a grieving mother, I because that would make sense to me it, you know, unless if she's not supposed to make sense, which is fair, and I would accept that. If she is supposed to make sense, then what is her motive? And the only only thing I can see right now is that similar to you know how a mother who might have lost a child very early in life, they tend to want it, like there are a lot of mothers who've had unfortunately perhaps a still birth, and they actually get like real looking dolls of babies in order to help ease that pain. Yeah, and and for some it goes deeper than that and potentially could lead to psychosis.

For others, it's very therapeutic. But I'm wondering, if this is the psychotic break of a mother, what is the name of the show mean? If we bring it all the way back out to the name of the show and ask that question point like, what does that mean? Now? What does the name of the show mean?

And well, let me ask you this. Can we answer that question? If it's a question that is being asked, I kind of want to answer that with another question. Does it have a different meaning now than it did in the original series? Right?

Well, again, I don't think that they even answered or put I don't even think they put forth whether or not that that was a question in the original series. I don't know if they have here either, But I feel like they've given us some more interesting things that we could maybe use to answer that, if that's what they're driving at. But I just don't I mean, don't have me. I'm scared? Who is scared?

I guess that is the question, is right? It was scared, And I guess in the original series it was supposed to be us the audience or children, this idea of the target audience being children of the fake show, and now here is it leslie. Let me put it this way. I've never heard someone say don't hug me, I'm scared, but I have heard people say in real life and in movies, not to me, but just in general, like you know, like don't don't touch me, like don't touch me, don't touch me. But it's like normally in a moment where like they're super angry and it's not like you know, like you know, they'll be you know'll be like, hey, do you want to hug it?

I don't touch me? Like again, like you've seen that in movies before, where two characters interact in that way, right, But like, that's the only version of this that I've heard that comes close to don't hug me I'm scared. So what does that mean? Like, I just I don't, I don't know. Perhaps, and this could be a stretch.

I'm really trying. Maybe, I like, what about mayhaps, mayhaps I'll take mahaps. A hug could be grounding. And if we're going to function under the lens of a mother having a psychotic break, would a hug break the illusion? Would it ground her back to reality?

And she does not want that because reality is frightening. Being without child is frightening herps I mean you, I mean even without the the the kind of inclusion of is there a to answer the question that's harder to answer, which is who is the overarching person who created this? I think even without that, and like, could it be like specifically a grieving mother. I think it's just interesting because you said physical touch grounds is in reality, and so when someone says, don't hug me, I'm scared, it's like, Okay, you don't want to be grounded in reality? Then, so the first thing I can think right, right, Well, I mean that's the literal interpretation, right, But if you take that and go the meaning of why that happens, I mean, I don't, I don't know.

I The only other thing I can think of is don't hug me because I'm scared of what I will do if you touch me. That's the only other interpretation that's coming to mind, is like, if you get close to me, if you get within my personal space, I might act out without wanting to because I am scared. That is the only other thing. Like somebody having again a psychotic episode, and like you shouldn't get too close because you could get hurt, even though you might want to comfort them. They tell you, like, while I'm having this psychotic break, don't try to hug me.

Don't try to comfort me because I don't want to hurt you. I'm scared of hurting you. Or maybe maybe it doesn't even need to be a psychotic break. Maybe it's just somebody who's just afraid of letting people in. I mean, I get I think they're all valid interpretations.

Again, I go back to the question of is there a question that is needing to be answered? Right? I want to say yes, the same way that I'm overanalyzing You're not my real son, Like does that mean something? Is the same way that now I want to overanalyze the title. I feel like nothing is done without reason.

Agreed. I feel everything in this show is symbol is symbolic. Everything in this show it matters. Sure, there are a couple of throwaway gags, but at the same time, like even like writing the silly symbols at the beginning of the episode, you know, Yellow guy like writing this down being like I have come up with another I've been experimenting with a new language, and like we sort of immediately throw that away. Is just oh that's just a weird thing that yellow guy is trying and just to throw off Red Guy and oh whatever.

But then it had a deeper meaning later on. It paid off later on, and so maybe that's what that was supposed to show, is like, don't don't discount anything at this point. Stay aware of all of the symbols, you see, they might all mean something, They might all have a future meaning. Yeah, I you know name with the shredder. The shredder we thought was a throwaway gag, and then what happens at the end of the episode.

Yeah, that's fair, I think maybe don't hug me. I'm scared. It's not a question they need to be answered. But I do think that the show gives you enough things that are needing to be answered or will be answered if the show comes back, like what is the staircase? Like who is Leslie?

Or what is there intent behind what they're doing? And also the book what like, maybe the book will come back, maybe it won't, but there is a way in this narrative to answer the question of what is going on because that book was the answer. So somebody understands what's happening here in this world because someone wrote it down, and it will be interesting to see if they ever return to that idea at any point in the show. Is the book supposed to be the script? That's what I don't know.

We don't know that because yeah, like you mentioned, we get back to the original point of the episode at the end, and yellow Guy becomes an idiot again or becomes yellow Guy, however you want to interpret it, the end Enlightenment. If the Unenlightenment happens, he gets and look, like you said, everything happens in the show for a reason, and the creators of the show have very little time to get a whole lot across, and that is a hard ask to show and tell but also show more than you're telling by giving away, you know, hints and clues and foreshadowing. I think that you know, we have this ending the way it is where he shreds the book, and I think that there are big questions left open. But I do think by the end of it, I feel like I have a pretty somewhat decent sense of what's going on and where they might go with the show moving forward.

But I do think it it's funny that the show brings it all the way back to the beginning at the end, like it's just right where it started again, right again, the cyclical nature of it. There was something really interesting about so like Leslie obviously, as we said, gives you a look at the book as like these are your answers, thank you for helping me tidy up my diorama, you know, whatever the hell is actually supposed to mean, because nothing was actually tidied up when he got down stair or was it. No, I guess it was. No, I guess it was. And she was saying that like just the lights needed to be fixed, and so he gets downstairs.

The lights are then fixed because he brings the enlightenment with him, I suppose, and maybe and then Duck obviously being the ship the duck is. I know you love Duck. I hate Duck. Hey, Duck is the reason we don't know any answers. Oh, I'm just saying stain Edwards the Forever Boys a better Duck.

But that might be Duck. I don't I'm just saying that might be Duck. It could just also be Duck. Now I know there is a possibility that Duck was replaced in the second episode of the show. But Yellow Guy obviously wants to show his friends this book to allow them to also achieve enlightenment to understand their reality together because they're the only other They're the only other two kenos for a factor at his level of reality, and he wants to share that with him.

And before he can, Duck, being the asshole that he is, rips out his batteries to give them back to Ella. Tracy was that, yeah, Hallya got what a good name? And then so obviously, then like everything is fixed, Elli Tracy goes back to a little little home and thus the shredder is working, and Yellow Guy, being stupid once more, can't remember what the book for and proceeds to thoroughly enjoy shredding it, which, to be fair, it should not have fit in that shredder. It's like a book book, it's like a leather bound tone. But what was interesting one is that they show why they show it being shredded, so that there is no question, like they give you like the glimpse, like through like the plastic window to show it being shredded.

I was trying so hard to see if there was anything to make out. I couldn't see anything. Maybe I'll take another look on when I watched it again, because I'm going to have to watch it again. But from there it pans out to a wide shot of yellow guy'm aniacally laughing shredding the answer to his reality. And as the camera pans out, it almost makes the room seem like a long hallway.

The room is like morphing. I don't I don't know if that was supposed what that actually meant, that wide shot. Was it just supposed to be ominous because it worked? I don't know. You know, again, we've we've seen the house and we've seen the diorama that they're in, so it couldn't be that.

But I don't I don't know. Maybe it's the it's supposed to be a literal interpretation of removing yourself from the reality of the show. Like I don't know. They do do things in this show where they're expecting you to understand what they're doing, and it's esoteric. So maybe it doesn't mean anything.

Maybe it does. Like you said, the creators in this show, they do things with intent, but they also don't do certain things with intent as well, Like sometimes it's very clear that they are doing things to evoke a feeling. Really, for the most part, that's the gore. They want to evoke a feeling of unrest, and so that is the purpose of the gore for the most part, is to evoke that feeling of unrest. And so I'm wondering if this, like wide Shot, is supposed to just do the same because it works well, I don't think it leaves I don't know.

Maybe it is an open ended question for the end of the episode. I mean, there are plenty of questions that this episode does end up asking, like who is Leslie, Like what is what is the reality? Who is controlling the reality? Is there someone controlling the reality? Well?

I ever know what was in the book? Right? Will we know what's in the book? What is the attic of this house? What a lot?

What does the attic having a door mean? What does that stained glass window mean? With them kind of represented on it but not specifically them or like I guess, kind of kind of abstract ideas of what they are. Who made that? I mean again, like there are a lot of questions asked that are more about the reality and sub realities of the show.

But I'll tell you I was not disappointed by the way mean neither. We were wondering, you know, what kind of Medica and Terry were they going to do with this episode. We knew it was going to be something, and we were assuming it was going to have to set up season two, and we were scared it wasn't going to be good. But it was. It was thought provoking.

We had plenty to talk about. Then they go us some answers too. They don't think not give you answers that they just don't answer everything that you're asking, but they answer enough. I feel like they answer enough to make you not feel frustrated, But like any good show, they give you something else to chew on as well. They give like the shot of the door like they and what is and who is Leslie like?

And the shot of the book like. They give you some things where it's like, if there's a second season, which I hope there is, I don't know, what do you think? I mean again, like the way they end it leaves it open, but do you want a second season? Okay, to answer the first question of do I think there will be a second season? I think they set us up for it, And that was my concern.

I mentioned this in a previous episode that the I wasn't sure if the art of like the cover art, the poster I suppose of the show itself, like having a big like one on it, which usually you don't always see unless that there, unless if you know that there are other seasons currently in the works. Usually a show does not slap a big old number on their poster because that gives expectations and you never know something is going to be canceled, so they usually shy away from it unless if it is in production. But my fear is that they did that to set us up for something to be you know, cheeky about it, and so I assume that there would be a second season. But I also was like it could also just be a visual gag to make us think that there will be set us up for that expectation and then you know, destroy that expectation.

But no, I think that they must be working on a second season. My then follow up, do I want a second season? I have so many unanswered questions. I think I need a second season, and I fully trust them. I fully trust that it is going to be good.

Well, i'd at least be entertaining. I mean, that's the thing about this episode that we can't really stress enough is there is plenty of what you would consider in other shows mythology in this episode, but the episode is also still entertaining. It still has an entertaining teacher that has a great song. They have some moments talking about that thing that they've learned about in the episode, but also there's plenty of the weird shit of them, you know, seeing the different versions of them, and Yellow Guy meeting the creator or their creator possibly, Like that's all jammed into twenty two minutes. Like it felt short in a good way, Like I when we saw like the halfway mark of the you know, like the Don't Hug Me, I'm Scared, like title card basically to like show that there's supposed to be a commerce shoal in between.

When that came up, I was like, oh my god, already, Like I was sad that we were already halfway through. It went very quickly, whereas like the Family episode, to me felt like it dragged. Like this it was fast paced, but not in a way that felt bad. It felt earned. There was a lot going on, a lot to process, and you don't realize just how much time that was taking, and you were like, I was fully strapped in for the ride, and I was I was almost disappointed that this wasn't like a forty minute special because it felt like it almost should have been.

Like I'm glad, I'm glad that it wasn't, because you never know, how would they feel all of that time? But I want more. It left me wanting more, and I knew that when we hit the halfway point. I'm with you. I enjoyed it an immense amount.

I have enjoyed watching this with you, obviously, but I mean I have enjoyed the journey that the show has taken me on, and I think by the end of this where we are now kind of on the other side of the show looking bad on the last six episodes that we've done. I think these episodes are varying degrees of good, too, great, and even amazing. I think the original run of the show is its own thing, and I would kind of be curious to go back and rewatch that with all of this kind of having been watched now. But I think they've did a pretty good job of presenting something in these six episodes that is engaging and entertaining, but also thought provoking and clearly very much a meta commentary on how we interact with the creations of other people, how the creators of those things interact with it, and how the creators interact with one another and the people.

And I mean they kind of touched on it a little bit, but not a lot, how the creators interact with the people that they're beholding too. So I mean it's all kind of there. Maybe it's not as perfectly laid out as some people would like, but David Lynch doesn't lay everything out for you. Stanley Kubrick didn't everything out for you. Some things you just have to take on faith or on your ability to comprehend what the artist is laying down, because some artists don't tell you.

David Lynch never explains his movies because he feels like by him explaining it, that becomes the definitive explanation, and it discounts every other explanation or theory that anybody else ever had. And I'm totally with him because it does remove some of the joy and fun from consuming media and getting something personal out of it versus getting exactly what you're supposed to out of it, which in this day and age, with everything being so tailored for the mass consumer audience, it doesn't feel like anyone has anything thoughtful or personal to say anymore. Everything has to mean everything to everyone. And while that's fine, I think we live in a time in a place where there are plenty of voices out there that are able to be as loud as the rest, with something interesting to say that they actually want you to sit and think about for more than five seconds, because now we're on to the next cgi thing we want to show you or character cameo or whatever the fuck, and that's now.

The expectation is a constant dopamine rush while watching a movie or a TV show, and I like that this show goes Eh, we don't really need to do that. We can kind of Hugh closer to David Lynch or Stanley Kubrick or Yoda Rowski or anyone who is making something that isn't just you look at it and go, uh, I get it. It's asking more of the audience, and I appreciate something that asks the audience to be engaged throughout. Yes, one hundred and ten percent. I am so glad that I was able to show you this series and then experience, you know, this updated version firsthand with you like this has been a long journey and it's been an interesting journey since day one, and I'm so glad that the Internet took to it the way that it did because it encouraged them and gave them the budget to be able to make this, because I can only assume that if you're releasing like three minute shorts on YouTube, you know, it's because you don't have the budget at the time to make twenty minute episodes on a streaming platform.

And so you know, it was it was a labor of love and an experiment and the Internet decided that it was good, and you don't always see that. A lot of good things tend to fizzle out and die, either due to YouTube's algorithm or just because of the fickleness of an audience. But I'm glad that this captured the attention an intrigue of so many people in order to give, you know, the creators of the show the means to do something more with it. And I'm so glad I was able to share that with you, because this has been an amazing journey. I really, I really hope they have a season two.

Well, I mean, that's that's how I wanted to end this. So twenty eleven is when the show first came out. I was twenty one at the time. I was forty. Then the second episode came out in twenty fourteen, I was twenty four at the time, and now we're all the way in twenty effectively twenty twenty two.

So I mean, the newest version of the show came out in the last six months. That is over eleven years from the initial creation of the initial moment the show was released to the public. It's been over eleven years, so will it be another five years? Like the last gap between the end of the first series and the pickup of the streaming series. I don't know if it'll be that long.

I hope not. I hope that this opens up the door a lot quicker and a lot faster for the next season to come out within the next two to three years, as opposed to the next five to six. But I think to your point, I mean, I'm glad that this exists at all, and the fact that we have one episode, let alone nine names more than that six plus six of twelve back that we have twelve episodes of this is nothing to sneeze at. So you know, do we need anymore? I don't know what I like some more?

Yeah, yeah, of course, yeah. I really. Of all the things I saw last year, this was the biggest surprise because again I'd never heard of it, and it came in and was entertaining and fun in a way that these kinds of things tend not to be. And in a lot of ways, this felt like it was made by someone that I would totally get. The references and the place that they're coming from and the things that they saw at a formative time in their life.

They were watching similar things to what I was watching because I was picking out references to two thousand and one and the Wickerman and Czardas and all kinds of things that are again not necessarily disparate places of influence, but definitely ones where it's a specific kind of thing. I mean, even down to again, David lynche So and look, this kind of show, like you said, sometimes it just doesn't resonate with the right people. This one thankfully did. I'm so glad it did. Yep, me too, And I'm glad it resonated with you.

Yeah. I mean, I've been on board with this since we started watching it. You didn't. You didn't have to do a whole lot of convincing after that, after that first episode, so well, I'm glad that it was able to convince you to start Surreal Too as a series. And I mean, I feel like it's it's a hard act to follow.

It's sure, yeah, it sure is that now, that for sure is the truth. But there are so many cults, classic, interesting, scary, disturbing online videos that I also still want to share with you, regardless of production value, just for the sake of culture. At this point, I think the next one we're going to tackle, I think I'm gonna show you salad Fingers, which is another thing I haven't seen, but I know it doesn't have a TV show did to it. No, it is much older. I don't know if I'm sure it came out before the first don't help me.

I'm scared. I am sure it must have. I think this was like new Grounds, like animation. Yeah, that's a that's a long time ago. Don't hold me to that.

I have to do more research. I haven't done that yet, but I have seen that whole series, the whole way through, at least once. I think you have to see it at least once too. I'm excited. I knew people in high school that watched it, so that's that's how a look.

And I've been out of high school since two thousand and eight, so almost half of my life I've been out of high school. So at this point, like, I'm on board with whatever. These are things I have never seen, and if it was something that I had seen, maybe we wouldn't do it, because, you know, I don't know what I have to say about it. But at the same time, who knows if it's worth watching and talking about. You know, I'm not going to say no, So my favorite art I think of doing this is the theorizing and the what does it mean?

I think when it comes to creepy things, not every creepy thing has to have a deep meaning behind it, but I always wonder where that inspiration is and what does it represent, and I think salad Fingers definitely has that. So I'm excited for that. I'm excited to hear what you think of it. I'm excited to hear your theories of it. But that being said, don't have me.

I'm scared. It's been a wild ride and I hope it's not over same same. No, for sure, this was a good series to start off the show with. I'm sure. My hope is we'll be able to check back in with it in the future at some point.

You know, there's no news right now about a second season of the show, but you know, hey, God willing, we'll get something. So yeah, So until the next time we do Surreal to together, which will be sooner rather than later. You can find Emma and I over at Weirdingwaymedia dot com, which is the network that we've created for all the shows that we work on together and separately. So that's where you can go to find this shows Scary Stories We Tell that is this show, so I don't know what I'm mention mentioning it for Twisted and Uncorked, The Projection Booth, Dark Destinations, Film Manuaries, The Feminine Critique. All those shows can be found over at weirdingweightmedia dot com.

As for this show, Scary Stories, We Tell Scary Stories WT on all social media. Big thanks as always to maggiey Odd and Dustin Rutledge for the album artwork, and to Alex Malnac of Blondo for the music. You can find him over on Spotify just search Blondo, or if you live in the Omaha area you can go see him live and you totally should. Maggie, Maggie, Jesus Chris already mentioned maggotey Odd, Emma, thank you so much as always for programming this series because it was fun. It was a lot of fun.

I'm so glad and as always will let our good friend, the former host of Citings, mister Tim White, lead us out. No mystery is closed to an open mind.