Brazil

H We're so, Jess, you're finally here. It's the end of the month, but you're here. You're here, and this is and this is the movie I know you were the most excited to talk about more than likely, So I mean it's the movie I had seen. That's fair. That's fair.

I've all the ones that I had picked. I will say, like, in all seriousness, this was a pretty good month. You did a really good job programming the month night Dreams. I play god, I show up on one episode. We do good.

Yeah, no, I joke. I joked with you about this offline, like whenever someone is given the opportunity to program a month, I always give them the opportunity to not show up. Jess is the only person who exercises that, and I do appreciate mixing it up. But on this episode of the Culture Cast, I am still your host, Chris dash You, much to the chagrin of many, and I am joined by Jess birired of scary stories we tell not striking because we're not part of the WGA or the SGA or the SAG so you can mention the things you work or at the AMPG whatever. Yeah, we're not part of any of those groups.

Jess Bired's here hello, and also here because I know they really wanted to talk about this movie too. And I will say this about you, Maggie. You have Jonathan Price energy big time. Ye take that how you will. But if you've listened to scary stories, we tell you have heard them here before your friend in mind, Maggie, the Odd Hey gang, welcome back.

I don't know, I don't know if they ever left. Oh good, Okay, well, snacks are on their way and we'll give you your post. But yeah, on this episode of the Culture Cast, we are going to be talking about nineteen eighty five rendition of nineteen eighty four, directed by Terry Gilliam, aptly titled maybe a titled Brazil from Terry Gilliam, director of Time Banks. Brazil quoted best picture by the Los Angeles Film Critics Association. Time magazine says a terrific movie, one of the ten best of the year, a remarkable accomplishment the new You of Times.

Brazil is as good as they come USA Today, Starring Jonathan Price, Robert de Niro, and Katherine Hellman. We're all in it together, Kid rated off now and select areas check newspapers. It's titled Brazil, but it should have been titled nineteen eighty five. Film is directed by Terry Gilliam, based on a screenplay by Terry Gilliam, Tom Stoppard and Charles McCowan, and it stars the appermentioned Jonathan Price as Sam Laurie, A, a man who lives in a dystopian retro future society where, just like our society, shit can go awry at the press of a button or bugs in the system, this time literal bugs. A literal bug gets in the system and throws his entire life up in the air.

He becomes a terrorist, possibly, he meets terrorists, possibly, and he loses his mind. Genuinely, we will be spoiling the movie. The movie is from nineteen eighty five, so if that's not long enough for you to not know about spoilers sor but yeah, we'll be spoiling the movie. I will say it's probably a movie you should watch. I think we would all agree in that sentiment.

It's a movie worth enjoying blind one time. And I would say spoiling a movie like Brazil still really isn't spoiling. No, It is so lush with imagery that even if you've read a transcript, you would be missing so much genuine characters in everything. Well, I mean it's again, if you know anything about movies and you see the name Terry Gilliam and you go, I can read the synopsis, It's like, boy, you really don't know anything about movies because Terry Gilliam is I mean, look Terry. Well, I'm sure we'll talk all about Terry Gilley.

But Jess, I'm gonna turn over to you first. It is Jess buy or July, and we are putting a cap on it. So why are we watching Brazil? When was the first time you saw it? And what did you think?

We're watching it for this episode of the Culture Guest. So why are we watching Brazil? Is the first question ultimately, because I always I know there are some other people out there that like to program the months with none of the big name in specific genre, but I always like to throw one in that people are familiar with, because I think people like to listen to things that they've seen occasionally. So that's why when was the first time I saw it? I want to say probably high school, just when I was going through you know, just the stage of devouring any kind of weird, fringy, horror adjacent, sci fi adjacent, whatever type of movies that I could get my hands on.

And then I saw it one or two times after that maybe, And what did I think rewatching it? You know, it is a It is a fun visual sensory experience, minus the bugs. I had forgotten the bug majorly, and I have evidently grown more unhappy with bugs as I've gotten older, so that wasn't great. But I mean, it's a Terry gilliam film. It's fun.

Is it my favorite Terry Gilliam? No, but it is worth a watch. It's an experience of a movie I think, you know, is what we can say about it. Ultimately. You know, yes, it is nineteen eighty four, so if you know the basic gist of nineteen eighty four, that you lose framework that you have for this movie.

But otherwise it's it's just a sensory experience. Maggie, same questions to you other than technically the first one. Oh well, fair enough, but I mean I mean fair why. I mean, I know you love you agree to be on this Yeah, I know you love this movie, so I mean yes, Well, in general, Terry Gilliam once again coming from the animation standpoint, that's been like a family, like in my family, that name gets thrown around. He had time Bandits on Beta Max that I would watch when I was like a young little critter, and then just growing up, I got more and more exposed to it, obviously his work that he did with Monty Python and all of those animated things, and so that was just a name that I actively sought out and considering this is like the big name for him, like it's what people kind of says, like the Crown Jewel person.

I still think that's time Bandits, but that's just me. But so this one I actually sought out when I would be going to the library every weekend and just picking up a boatload of vhs and just watching them, and that was a treat I was maybe in like early junior high super duper early high school, and it was just really cool to kind of get that surrealist movement through the scope of video, because I mean, I'm now revisiting it through the art like world, and it's just wild to see that kind of scope put on something different like remedia and everything like that. It's it's fantastic it truly is, and having a nice retelling of a dismal tale making it comedically dismal is just a treat. I love that.

That is my brain. Do I eat this movie for breakfast? So in terms of Terry Gilliam, I am to say I'm a fan. I mean he has he doesn't have enough movies to really be like, I'm a huge fan of Terry Gilliam. Like he's made a handful of things, and again, like I think they're all so varied that he is within each of them.

But after a certain point it stops being this kind of thing and it starts being something else. My favorite Terry Gilliam, at least of the things I've seen, is still Fear and Loathing in Las Vegas. But that's also but that's also because it's like, I mean, we covered it earlier this year, Like it's not the story of Fear and Loathing in Las Vegas at all. It's a Terry Gilliam thing entirely. But that's okay, because Hunter S.

Thompson through the lens of Terry Gilliam is like acid through the lens of LSD. It's like things that amplify the insanity of one another, and that's what makes that great. However, this is really George Orwell through the lens Terry Gilliam. And what's what's actually fucking insane for me about this movie is the only reason this movie is called Brazil is because you can't call it nineteen eighty four because it's really just the story it's it is almost in a lot of ways beat for beat the story of nineteen eighty four, at least the broad strokes. But it's seeing it's seeing the comedy quote unquote in it that makes it quote unquote more palatable.

What's funny is earlier this year during I guess it would have been March, whenever we covered Fear and Loathing. We're supposed to do nineteen eighty four because it was books to screen and it was you have to read the book, but then we'll talk about the movie as well, and that month kind of went to shit. It's fine, it happens. Sometimes it's only one month the year, which is better than all of but we didn't get to cover nineteen eighty four. But I'm glad that we ended up covering this in lieu of that, because this is the movie that and this is the story I would personally rather hear from nineteen eighty four, because this, for me, feels more like an interesting conversation to be had, because nineteen eighty four, for as good as it is, just don't get me wrong, it is great, and what it's getting at is important and what it's talking about needs to be discussed unless it happens in real life or unless it are right, Oh, you die in the book, you die in real life, guy, Yeah, but the but the problem is, I feel like the story of nineteen eighty four for me is just not that entertaining.

Like it's very cut and dry, it's very methodical. It's very British, right, but like in a way that's like not Thomas or you know, not fun British. It's yes, it's the step upper lip, you know, keep home, carry on. Yeah, And like that's fine, I guess, but that doesn't resonate with me. And look again, like I'm I'm sitting here and I'm one hundred percent conceding that this movie does not exist and is probably not even half as good without something.

It doesn't exist without nineteen eighty four the story, right, like it that's set the framework. But this is such a fun riff on that story and in such a again Terry Gilliam British humor, Monty Python way, whenever you want to call whatever Terry Gilliam brought to that group of people, because that's the thing I mean to talk about Terry Gilliam is to talk about Monty Python. And like you mentioned, Maggie, all of the artwork is Terry Gilliam, like right, Like, that's all Terry Gilliam, which he has obviously echoed in everything he's ever made, is stylistically unique, sometimes verging on bizarre, unsettling, whatever you want to call it. It's absurd a start, and it's wonderful, right right, But again, like it the intention for some people is going to be you know this, but that's okay.

It doesn't have to be the best thing for everybody. And that's the thing about Terry Gilliam. And you know, if you look into the history behind this movie, which there's books, full length feature documentaries, even yeah, that real nice criterion collection really yeah, which which you here's the funny thing to talk about the movie, to talk to the movie specifically. I had never seen this movie, but yeah, I picked it. I knew there was another reason I picked it because you had not seen it yet.

It's true. This is the same reason I picked Cuckoo's Nest. See there there's something to be said. We're helping on we're helping you well. And again I think to your point, to both of your points, I think that this could be considered Terry Gilliams's finest work, and I think I don't think that's an unfair assessment.

I think it's not his most original work. But to be fair, like Terry Gilliam's most original work, that's That's Time Bandit's right like it would be very close. That was one of his earlier works, and it's still even order welly well between that and Galliver's Travels. It was an amalgamation of a lot of things. But I think the beauty of Terry gilliam is just like his animation.

It is kwash. It is taking materials that have already been around, hacking him to pieces, slapping them together, letting them move and kind of free range and exist on their own, and it becomes this kind of weird landscape full of weirder creatures. And I think that's the beauty that he brings to this is. Yeah, it's a story, we know, but have you seen I don't know, the walls explode? Have you seen flying?

Have you seen a boy like a giant anyway, a giant with a boat on his head? I don't know, but you're gonna see it here. Well, And that is I mean, that is the other thing. And you know, I was, I was thinking of about it. It's very Burrows esque and you know, I kind of don't know how Gilliam wasn't the one to do Naked Lunch, like for me that it was.

I mean, like, okayron I mean, yeah, I'm gonna say David Cronenberg's are pretty, but also like you could make the case Terry Gilliam is just as good or better given how he It depends you're in Loathing in Las Vegas, because that's an equally hard to adapt book. It depends on the Tony one because like we were saying, like with Brazil versus what nineteen eighty four, like the book you know and the you know, original film adaptation is it's a very dystopian, dour, gloomy and black. And I think you know it depending on what tone you wanted for Naked Lunch, I think Terry Gilliam would have brought that sort of humor out like he brings you know in Brazil, but Cronenberg brought out the more serious, some more serious really true like body horror aspect.

I think that it was also very Brunetta, which is Kronenberg, right, Like the meta the meta thing is Cronenberg. I mean, Gilliam does it, but I mean I'm more attributed to. I mean, fucking video Drum is all about meta and having the metal conversation like that. I don't know, like Gilliam is in that conversation, but Cronenberg. But that's the thing, Like Naked Lunch is not a meta commentary like that's they did that because it's ultimately really an unfucking adaptable book.

Yeah, book is a fucking loosely loose term even like there's not a narrative there definitely more of a think piece and kind of like a mental maze because it just exists on a couple different timelines. I like to get high and read Naked Lunch. That's what I do because that's the only way to fully appreciate it. Like, well, it's not about it's not about focusing on one singular thing and like and that I think is probably the thing about Brazil that clearly tripped the studios up is it's not this is I mean, it's not a studio store. And the end and the end.

The only reason the ending in nineteen eighty four doesn't get railroaded out of existence is because that's the ending of the book and the book is highly respected. And you don't change the ending of nineteen eighty four the book. No, that defeats the purpose. Boy would that be a statement though, right? But that's what But that's the fucking fine, that's the insanity here, is like Sid Sheinberg is like, hey, no, seriously, it's just about the length of the movie.

And it's it's like, okay, I can actually concede because look, obviously the whole Battle for Brazil thing is a big deal. Like you mentioned, Jess, I own the Criterion collection. I owned it for twenty fucking years at this point before I ever saw the movie. But I own that crazy triple disc set and it has this documentary which you can find on YouTube and in the show notes. And this this documentary feature talks about the the entire fuck a ru that was getting the movie from director from director's It and cut to release and said, Sheinberg goes, well, the movie's too long.

You got to keep it under two hours. And whatever you do under two hours, do whatever you want, like you but it ends up turning out it feels it feels less like that's really what was going on and more that's just the excuse to give so that you have to have this happy ending. And look, I would couldn't see that. The movie is probably twenty minutes too long. There are parts of this movie that drag on, namely and like the I say, like the end of the second act, beginning of the third act kind of is just ponderous.

But there's how you could watch this movie or know this basic skeleton of a story and think, yeah, this is going to have a positive or happy ending or uplifting and ending is actually fucking mind blowing. Like to me, it's like, what fucking what the fuck were you watching? Right, It's like the happy version of Watership Down. It's like, no, everybody's cool, the rabbits, nobody got hurt. It got to a point B and that was kind of the time in cheek for the end of this movie.

Sorry, spoilers, it's the it's the most unhappy happy ending you could possibly thank for this character after going through everything and actually having enough heart to sympathize with all of these characters throughout this whack ass journey and being privileged in life like of course, of course the good ones never fucking win, and it's it's the same dismal message. But I mean, once again, it was fun in festive and the song will always get stuck in your head. And it's a Christmas movie, right yeah, technically yeah, yeah, no, it takes. It has a trunk pronounced no no. The qualifier is if Christmas is a part of the plot, but nobody uses that for fucking die Hard?

So I did, I did? I do? I do? You and I do? But I'm saying we're using the loose horseshit rule is that everybody else uses, because why are we being so strict when no one else wants to be the want they want to put their die Hard in there.

Then to put Brazil like what you know what I mean? Like it's it's in league with Nightmare Before Christmas, where it's just fifty fifty. The Christmas drives that entire plot all right, fine, so does Gremlins. Okay, well, yes, everybody forgets about Gremlins, and they want to argue about die Hard, but they forget about Gremlins. That's what it feels like.

No, I mean, look, it's I was merely joking. I mean they mentioned Christmas only because the gag of the gift that he keeps getting and receiving. But it is to me, it's like how it's like someone watching Bridge to Terabithia being like the girl can't die like but then there's no message to be like learned. There's nothing here that I mean again, you can have something for entertainment's sake, and I'm not saying Brazil isn't entertaining, but Terry Gilliams doing something else as well, and to do that other thing, the movie's not going to have an uplifting ending because that's kind of the narrative point. And for sind Sheinberg to come in and try to like kneecap the movie again under the pretense of the movies too long, Like, it's just it's insane to me because the love Conquers All cut Is is whack with a capital W.

But it's also an interesting like to listen to Terry gilliam talk about it in that documentary. He's like, I don't care that it exists. You get to see what they fucking thought was a good idea, and watch my watch my movie. You do you need a comparison. And I, as much as Terry Gilliams kind of fucked himself up recently by being the I can't be funny because cancel culture guy now, which you know whatever, whatever, bro, I agree with that sentiment of like, you know what, if you think that your version is better than both can exist?

How's that they go right? Because nobody goes to bat for the Love Conquers All version of this movie, Like, no, it's it's fucking bad. It's it's rough. It's real rough and really unrewarding after sitting through twoout a half hours worth of build up just for the last half to be bullshits well. And what's strange is they take things out that would make sense to be left in, Like all of the dream sequence stuff is taking out because it doesn't make any sense.

But it makes perfect sense. It's just there's negative portions of it that don't jibe with the Love Conquerors All it's just that I don't know how this they thought it earned a happy ending. It would come out of left field and you'd be like, there's got to be an alternate version of it, because it was nineteen eighty five and the blockbuster and family movies were ruling everything. Man, But it's crazy because you watch Monty Python on the Holy Grail, a movie that made a fair amount of money, and I would contend that movie didn't have an uplifting ending. It has like a weird anti ending, like anti climax in a lot of ways, Like it's I know people don't like the ending of that movie is something of value.

I've heard people complain about it, as I'm sure we all have real I fucking adore the fact that they just left it as brutally realistic as possible. That's me and you. But that's me and you, like a normal movie watcher who's watching it for like the Coconuts and the Knights who say me, like, the ending of Monty Python on the Holy Grail is pretty subversive, right, like because all of a sudden, it's not all of a sudden, it's a movie, and like, all of a sudden, this is like meta textual and there's like they're not their actors playing characters who murdered someone for real. Apparently, right, that's like the most money python that movie was, honestly, right, Yeah, But my point is like that's not an uplifting ending, but it made a fair amount of money, and to me, it was like the thing that you want out of this movie is an uplifting ending, Like what you would want from people is for them to appreciate the journey that they're taking on.

But to your point, Jess, it can have a downer. You can't send people out on a low note because then they feel like then I guess they feel like they didn't get their money's worth. I mean again, like that's the thing. I don't think that this movie, on the face of it, ever had any like real financial viability. No, I mean, this movie exists.

It benefits from benefited from existing in a time where pretty much anything was still able to be made and released somewhere, even if it were just a handful of theaters, because not everything was a multimillion dollar budget at that point in time. But I feel like it was a movie that was you know, obviously based on a story from a very different time period, you know, different time period when the book was written, and Terry gilliam is, you know, also from that past sort of time. It feels like it's a movie from the seventies essentially that came out in nineteen eighty five. You know, like it feels like it if it had come out, you know, maybe ten years earlier, it might have like it could have ended on that sour note.

And like people have been like, yeah, okay, I get this, but I think in the eighties, once we hit that very commercial mall poppy, everybody, you know, merchandising, like how do you merchandise Brazil? Right? Right? Brazil too? The search for more money?

Right? I mean to your point though, like the idea that you know, because we did an episode on it earlier in the year, we did an episode on Soiling Green and like that, that movie ostensibly ends with spoilers, just like this, this is the spoiler episode, folks. Uh spoil everything today? Uh. In that movie, effectively, Charleton Heston dies at the end, and he like is being carried out on like a group of people.

I guess he's being carried out by like what the like the like an ambulance team and he's screaming, no, Starland Green is made of people, Sarlent Green is made of people. But he's dead, like he's been shot as many times as Oh, let's keep the spoiler train going, as many times as James Bond died. It was shot in the new movie where he died. That's that's me. That's way too recent.

We'll bleat that part out. Yeah, that's that's that's like, that's twenty twenty two. I have overdone it. But I'm saying the seventies and the eighties like very different messages movies. I think the eighties was very much that that birth of I'm just going to go to the movies for some popcorn entertainment and then I'm gonna go home versus in the seventies, there was a large group of filmmakers that were out there making movies as statement pieces, you know, incorporating these in the sixties and seventies and mourning us of like you know, environmental things and governmental things and societal things and everything like that.

And then we hit the eighties and everyone said, well, clearly no one's listening, so let's just get some cocaine and write colors and the and the fucking crazy thing is to your point, this movie has the setting of the Timberton Batman movies. It really does, but none of the action and those movies, I mean the action in those movies for those of you that love those movies like I do. There's not a lot of what we would call action of today. But there's action of the time, and it's fun. It's fine.

It's not Pruce Wayne jumping out of the bat Wing and fighting General Zon on a battlefield with Supergirl and two versions of the Flash. It's not that you're right, Michael Keaton, who thought that that was a thing that we needed to see, and we did see it and it's now come out. But that's my point. Like that movie and this setting worked better together than anything else. But this movie is not interested in telling that action movie story or that like that that story that you would expect from a movie set in this kind of playground of things.

I mean, even Blade Runner is like utilizes similar settings that this movie does, and it has more of an action story, but even it fell short for people because again, like these things end up influencing things, but they are not successful initially on their own right. They're not commercially viable clearly, which is fine because that's not the story they want to tell. Jonathan Price is not jumping around in spandex in this movie. Well wait wow, I mean there is that whole thing where he's in his dreams. So true.

I mean, yeah, I fucking love Jonathan Price. Can we can we have a frank discussion about Jonathan Pryce? We can gosh about mister Price is a fab little guy. So I've been watching a lot of James Bond movies recently, and he's in Tomorrow Never Die, and he's so fucking good in that movie. And I know that that movie has its detractors because he's playing a very big character.

He's playing big Rupert Murc like big is in a big personality and it totally works, and he's really over the top, and it's you know, it's a lot of the things that I kind of associate him with now, which is like he's an actor's actor. And you listen to stories about when he was on set on Tomorrow Never Dies, and he was you know, he would walk around with no shoes on just to see what people's reactions were, and it's like this fucking guy, Like but like, this is the kind of thing where it's like, this guy excels in this role because he is that kind of act and he's perfect in this movie. I'm glad that this movie exists. It for no other reason than because it's a Jonathan Price top build movie. Like it's a big budget Jonathan Price movie, which is literally not a thing that should exist realistically.

But now he is absolutely wonderful in this role because if you think about it, it is like a whole slew of like these side characters that are so zany and whatever, but it takes great care to you build like the one person that you're paying attention to wholeheartedly as like not only like the vehicle for you and him are going on this ride. It's just such a strange role to try and cast and having somebody like him playing that, you get all the nenusha, what emotions and thoughts he's thinking without spelling it out like movies now, So it was really yeah, I agree, this was a fantastic choice, and he definitely has skill. It's like people who like slept on ron Atkinson just because he was mister Bean, It's like, nah, they got jobs.

They can come out swing him well, and that's the other thing, Like I'm used to Jonathan Price like having like some range, and he does have range in this role, but to be fair, he's not really being asked to do much. Like that's kind of the point, is him being the every man. And like you mentioned, Maggie, there's so much of everything else with Robert de Niro and Robert in this fucking movie. Is um, oh my god, everyone's in this movie. Jim Jim Broadbent is in this movie, you know, like Catherine Hellman who plays Jonathan Price's mom.

Like, there's a lot going on, and like you said, Maggie, there's a lot of big characters. But Jonathan Price playing the everyman perfectly is what grounds this movie in the reality that ultimately it needs to be grounded in because like we've kind of already mentioned, there is a big twist at the end of this movie. And the big twist at the end of this movie is he doesn't get away. He has been fucking lobotomized. Two lobotomy movies in a row.

Jazz Buyer, I know, but it was the mail theme, right, But what's fucked up is and because again in nineteen eighty four, he's not lobotomized so much. And I guess we don't know if he's lobotomized here, it's more or less hinted at that he is, because he goes this is a professional relationship. I assume the next thing that happens is boom by lobotomized. Yeah, but you've retreated into your mind at that point, and that's when the movie diverges from reality. And you know what, like, I'm perfectly okay with that because again, like it's I don't feel like it's I don't feel like it's not obvious.

I agree, because like there's a lot of shit going on that's very weird, and it's like, yes, this has been weird, but all of a sudden, it's like unreality, complete unreality, Like when Robert de Niro's character just disappears into a pile of paperwork. Yes, yeah, which is like on the nose, but it's that's that's that's a break from the reality that the movie has already established. Because the movie's rooted in a reality of this retrofuturism. It's not without a base reality. Clearly, it's o boy, that reality is probably not very very pleasant at all, but it's designed really well.

I mean I love the oh gosh where he works with all of the like old school machines, just billions of them going on. I would love to walk through that building once or twice before I get like sensory over what's gonna say. I would definitely crumble into a pile of paperwork myself. But it's just so lush. I love all of the storm Glass.

I love the fucking like solitary elevators, the piping, and all of the fucking houses. Like the first thing you see is an advert about ducts the colored ducks, and it's like, yeah, that's similar to where we are. It'd be nice. Well, and to your point, I mean, the design of everything is I mean Terry Gilliam right, like he gets it. It does feel like when I watch it, I'm just like, this is just taking place in that universe that George Orwell built.

Yeah, right, Like there's no way it doesn't just feel like it. And I'm kind of I don't know, Like again, I keep mentioning this idea, and again the filmmakers understood it when the original title of this movie was nineteen eighty four and a half. But it's not a it's not a parody, but its definitely what that sounds like. Right, It's like a naked gun movie for Fox, thank you. But but at times when it when it really is it's humming along, it does feel like a parody, but almost.

I mean it's satire because it is saying the exact same thing. The message is identical, right, And I mean the line between satire and uh parody, Yeah, she's the line between satire and parody is so fine. It just depends on who's telling that story. And I think that Terry Gilliam, given his his you know, pensioned for cheeky humor and things like that, it does come off it's not a parody, but it times feels a little bit in that vein. But it still is telling a pretty serious message and ends on a pretty serious note.

So I would definitely hesitate to call it a parody, because I think a parody in general is like all in good fun, everything's you know, exaggerated and goofy. But satire, Yeah, I feel like that's where this still lives. And I mean that makes sense because it still is the story of nineteen eighty four, which is also satire. I mean, any amount of Twilight Zone episodes and you know all of that from that time period, thinks that, you know, Terry Gilliam was inspired by I see that translating here. I do find it odd.

I mean, I guess I don't find it odd that it came out in nineteen eighty five, given that, you know, why wouldn't you it's nineteen eighty four, right, It does feel a little on the note exactly. Yeah, that was intentional, yes, to have it come out with them. It doesn't see like it, but like I mean, it's not like I can't tell and in anything I in anything I saw it, just it just seemed like that was just you know, that's been Terry. I mean, look, it's a good timing, right, If anything, it's good timing, right. And look it's mentioned right, and it's mentioned, I mean references in film on Wikipedia mentions that Brazil heavily draws from nineteen eighty four.

But you're right, I mean it being a satire, it's not. It's not a funny movie. I mean, there's very little about it that's like humorous. It's just it's a black comedy. It's darkly very but even then, I mean again, like it feels tenuous at best because it's again night that story of nineteen eighty four is not funny, no, welcome to it, right, And that's the thing.

It's like the story of Brazil is not funny because it's literally the same story. Instead of there being one female character that is, you know, incohoots with Winston, it's a female character and Robert de Niro as well, who, by the way, can we just talk about Robert DeNiro? He is unneeded in this Yeah, that's why he turns into a pile of paperwork and they're like, you know what, oops by poocied? He poocied himself. Yeah?

Fuck did Yeah? I mean again, like the metaphor is on point. I understand. Like, you know, I was watching I watched some videos and I watched the Eastern European Um kind of social philosopher Slavojique was talking about this movie and he's like, you know, the person is you know, able to complete things, and the bureaucracy doesn't like that because it can do with the bureaucracy can't, which is, you know, fend for itself. And I mean that's what he represents, right.

He shows up, he fixes his ac unit, and he's like, hey, you know, they're not gonna fucking do shit for you, man, like you your toast and he knows that. I mean, he calls them and he he doesn't hear anything. They're like, we don't have enough people, so you're you're fucked. But like when he disappears, it feels like that's the conclusion of that entire storyline. And it works.

But the problem is is it's Robert DeNiro, and it's distracting because it's Robert DeNiro, Like I can't get around the fact that it's Robert de Niro, And it's like, I agree, I have a hard time. I have a hard time with that too, especially like on the most recent rewatch of him of just like he just stands out he is Robert de Niro no matter what he is doing, and like you said, his character is pretty unnecessary, but it's still he's still just taking away from the tray and every time he's on. Yeah, he is needed, but he's not like you could have taken his aspects and lump them into the other bodsk any of the other you know, antagonistic sort of characters or foils or whatever that we're there or the female character because I mean, again, he's really just a bifurcation of that character from nineteen eighty four, because you know, again nineteen eighty four, Winston has that female character.

In this, he has the female character, but also it's not actually her. She is also being kind of mislabeled. She sympathizes with the quote terrorists unquote, but she is not one the way Robert de Niro is. It's it feels unnecessary, and he's just the problem is is he's a bigger star than Jonathan Price is always, especially in nineteen eighty five, he is. But I mean, Jonathan Price is a well known actor.

That's not up for question. He's a fantastic actor, that's not up for question. But when he's opposite Robert de Niro, it's a different Yeah, it's a different gravitas. Correct. Well, I mean the audience is gonna, I mean, a mainstream audience is going to be like, why weren't we with Robert de Niro the whole time?

Yes, not Jonathan Price, which, again, like go ahead, a valid point, I guess, Like, yeah, but Jonathan Price is so good It's like I don't need Robert de Niro in this movie at all. Well, I said, actually, if we followed the Robert Gennio character, we're just getting like another taxi driver ish story, right, Like it's just like a person that is probably going to, you know, try and assassinate somebody at some point, and you know what, that's just right, we just get surreal taxi driver and I'm and I'm with you. It's like it's more interesting to tell the story of the everyman caught in the cogs of the system. Because again, I mean, this guy works in you know, information retrieval, initially with Ian Holme, who there is at one point when you first see him where I thought he's channeling Rowan Atkinson and like hardcore You're like, well I have missed Allah Ray And it's like, why wasn't Rowan Atkinson cast in this fucking role?

Like I know they needs character would have been better. You know what, Why wasn't it just Terry Gilliam does Does that not feel like it's like I can see I mean looking directing and acting at the same time as hard Yeah, but he did it in Monty Python and The Holy Grail. Yeah, and then he was like I don't want to do that again. Fair fair, But to be fair, it was literally two seeds. Yes, exactly right.

I mean that's I mean, well, look like I think if it were more it would have been a real, real problem. But yeah, yeah, Robert de Niro is like, I don't know, Like that was the one thing I had heard about this movie that de Niro was in it, And I had some book as a kid that had this movie in it, and I remember seeing a picture of like Jonathan Price and Robert DeNiro and I was like, what the fuck Because all I knew Jonathan Price from at the time was Evida because he plays he plays one perone in that. The man is a good actor, but in terms of singing, no, not great. I mean he's okay, yeah, he's I know he's in I know he's in um him Butterfly. I think he's he's a stage actor, so I know he has he has the chops.

But it's just Evida. I mean, look, that movie has its own problems, but that's what I had, That's what I had known him from. So seeing him play this like very different character, I really I really like him in this movie more than anything else. Like that's that's the big takeaway. But I mean, there is a lot of just like weird, Like the Jim Broadbent character is weird.

Uh, Jim Broadbent character is just bizarre beyond it. Yeah, I put And you know Bob Hoskins is in the movie for like two seconds is what he feels like blinks him. Yeah, I mean he goes to the super marioe. Well he's also I mean at one point he's dressed up like Mario. Yeah.

Well, what's funny is you know there is a there is a little bit of a DNA line you can draw between this movie and the Mario movie because the sets look similar exactly. They're drawing on that. Like I don't know, I wouldn't call it steampunk, but it's like Metropolis. It is nineteen it's that nineteen eighty four dystopia, like I don't know how to describe it, but with like a heavy helping of scales squerre like Metropolis. Like what's that like art deco ish, Like there's a little like that shot of the angel in this movie, the statue that says like you may the truth make you free or whatever marrish authoritarian shit they came up with, Like that's very art deco way but it's like, I love I love that about this movie that it has this like really defined style because it does feel like it obviously influences other things, but it's obviously influenced by other things as well, because again, if in nineteen eighty four doesn't exist, and if that movie doesn't exist, this movie doesn't exist the way that it does, because this is like a lot in a lot of ways, like in response to that, but in response in a way that I think does a better job in telling a more impactful story because of the dream sequence, because of the dream sequence almost entirely, because we don't see that in nineteen eighty four.

It just it just ends, and we're like, I don't know what happened. I mean, we know what happened, but we never get to hear him really say what happened because that's not the point, right, And honestly, the whole dream sequence kind of humanizes the character a lot more in my opinion, because it's like, no, that makes him like us with Hope's dreams aspirations that seems so mythical that you could never reach it, even if it's just like in his case, it wasn't getting a promotion because he was being handed those things. But it was just, you know, a freedom from the vicious cycle which mood. But no, I can appreciate the dream sequence because yeah, reading nineteen eighty four with zero dream sequences is it's stark.

It truly is Winston goes to work, goes home. It's happy hitting for that reason, that is why it's epivotal thing. It doesn't really look away from the uncomfortable conversation where Brazil also doesn't. It just kind of makes it a little bit more digestible by small measure. But whether it's really dark humor or whether it's just something simple like now, this character is propelled by this fantasy period and that's essentially what makes him like go after the girl in the apartment.

It's all being that cycle of no but this is part of my dream, right him Kim greased, I feel like is a not a low point of the movie, but not a point at all, because I don't she's not great in the movie, and I know Terry Gilliam was like not a fan and he cut out a lot of her stuff and he was dissatisfied with her performance, which truly, I mean, could you imagine though pretty rough. I mean, Terry Yelliams, Like, I hate your acting so much, I'm going to cut you out, cut your shit out of the movie. You're like a predominant character in the movie. I'll take the lobotomy please. Yeah.

Yeah, she's not She hasn't been in a lot of stuff. And the thing I remember her from is Homeward Bound, because I think she plays like the mom and homeward bound of them, but she's not great here, and like looking at the like Ellen Barkin was on that list of names, and like, I mean, look, Ellen Barkin similarly not. I mean, I think she's fine in Bucker Rubanza, but she has a weird career. Yeah yeah, look, I love that movie, but I know it's as weird as this movie in a lot of ways, a lot more uplifting. But similarly a character actor being given top billing.

But the person whose name really stands out from that list of people is Jamie Lee Curtis oh Man, because like it would have been a different movie. Oh yeah, definitely, but I think it might have worked because those moments of strength wouldn't have would have felt like they had some weight to them. Yeah, And I think that Jamie Lee Curtis and Jonathan Price would have had a good chemistry with each other. Yeah, I think they've been able to play off each other, especially like, you know, given her like role in A Fish called Wanda and things like that, we know that she can carry trading in trading places, that she can carry you know, a kind of weirdly comedic role Academy Award winning actress Jamie Lee Curry.

You bet your ass speaking of carrying, I mean carrying it exactly, carrying a weird ass role. Yeah, And that's the thing. Like, honestly, the weakest point of this movie for me is the Jill Kim greased character. She is unremarkable from the moment you mean her to the moment she's unceremoniously written out of the movie off screen, which which I'm not I'm not complaining about because that makes perfect sense because that is more or less exactly what happens in nineteen eighty four. Yeah, that's the tone.

But but it was scarier in nineteen eighty four because you ultimately knew, you felt as yeah, you felt the right exactly that person was in this movie. Shit, I didn't even realize right, right, And that's I mean Ultimately, that's the core of the problem, and that's the thing that makes the Love Conquers conquers. By conquers us, it would have been a better title. The Love Conquers All version ultimately succeeds even less or fails even harder because there is no chemistry between the two leads in the movie. Yeah, it's like, how the fuck were you going to hinge the entire movie on this, because like, I don't have any attachment to their relationship.

No, and I'm you know, what if if if he ends up lobotomized or has lost his mind at the end of the movie or whatever end of happening, Like that's more of a shame that it happens to him, not because he can't be with her, because there's no anything. Yeah, it just sucks, Like, oh yeah, that's a really shitty thing, right, But it's like it's not because he can't be with the love of his life, because the most convincing that she is is in those dream sequences. Yeah right, Like, yeah, I agreed, I'm waiting for you to build that costume, Maggie. Dude, trust me, I so fucking want to really fly around. Yeah, if I can have my metallic armor with my little cellophane wings.

You bet your ass, I'm gonna be launching between buildings, just hoping to come across the samurai to beat down, only to realize it was myself. It was me all along. I love the armor when he's flying through the air, but when he lands it is on the ground, it looks it looks kind of dorky. I know they did their best with the design. I like that you get the paired down wings and like this tight which once again very indicative of the Deco movement, but it just it's so funky and him with the tight curly chair of the hair, and also shout out to the special effects and makeup department for this.

I still can't get over the scene that like drew me to in the first place, which was seeing uh Sam's mom for the first time getting hurt, like face full force wrenched back. It was so convincing. I still love it every fucking time. That is the same that I saw out of context. Yeah that if you if you think you've heard of Brazil, that's probably the thing that you saw.

Yeah. Still a still or a clip of a woman who's just face is being stretched to the limits, and it ultimately has been face to do with the plot, Like no, it's just to illustrate the classism right there, right yeah, just to drive home just how absurd the way rich have become. Yep, I and I love I love Katherine Hellman in this movie. She's great. Like it's it's a shame anytime we have to see anything else, any of the other female characters, even the friend, the friend that's like turning to go yes, like it's because they're fucking great and everyone, like it's a shame.

Even the Shirley character is so good. It's like, just get everything else out of the movie. We don't need it. He could just he could just be lobotomized for any other reason, like he really could. I would love to propose going around and just what was our favorite moment of the movie, because it just gets me pump.

There's so many good like vignettes of absurdity that it just makes my fucking day like mine still is the fucking bathroom scene where he has refused the promotion and then kind of doubles back on it, but he meets the boss and he asked him to do a favorite he's just hoisting him at the fucking year at all. It's just so oh, perfectly rich person that I'm just really just knowing that the most powerful person that has your faith in their hands, like cannot even take a piss. Yeah, yeah, I mean overall, I like all any scene that's just demonstrating how stupidly, how stupidly rich people have just completely lost all senses of being able to function as a human being with other human beings. I'm gonna say my favorite scene in the movie is when Jonathan Price goes to find essentially he's looking for, you know, the guy who killed mister Buttle, and it turns out it's his friend played by Michael Palin, who I think I think he's probably the best part of this movie because Michael Palin plays a literal sociopath, murdering, psychotic fuck in a way that is the exact way that this that nineteen eighty four essentially lays out for you, that this is somebody's job and they're just doing it and they're and the scene where he's like, well, he was delivered to me in good faith, so it's not my fault, it's their fault.

And it's that like fucking bureaucratic handwashing. If you it's like if you watched any other scene in this movie, like it's just reinforcing the microcosm that is that scene, because then you have the absurdist or surrealist fact that he's covered in blood talking about these very mundane things. And then you realize his daughter is in the room with him this whole time, and it's like, my fucking because they're like sharing a wall with what's essentially this torture silo from hell. Right, And like Michael Palin for me, is as good as Jonathan Price's Michael Palin when he's in the movie. Everybody has met someone like this, and if you have not met this person, you may be this person.

And it's not necessarily a bad thing, but it like in this case, he's just someone doing his job. He's doing it really well. It just happens that his job is literally torturing people to death, right, correct, or you know, lobotomizing them or you know, again, because we're not sure really what's going on. It's about as we're not about as sure what's going on as much as in nineteen eighty four, which is they are dissidents of some form or fashion right, correct, something bad is happening to you and you're not coming back, right, And mister Buddle, or it should have been mister Tuttle was a terrorist. Well, mister Tuttle is Robert Nara and he's a terrorist.

But mister Buddle is just a guy who is tortured too much and had a heart attack and died, Yeah, the same day that he was captured. Right, It's yeah, it's you know again, there is that moment in nineteen eighty four where you realize like, oh, he's going to be tortured and it's going to be this rat thing that they put on his face and all, and it's it's horrifying. I would actually say that this goes further than nineteen eighty four because in nineteen eighty four, I mean he breaks mentally, but he essentially goes like, no, you're right, I'm going to follow whatever it is that you want, and you've broken me mentally. Like in this it's almost it's almost reverse nineteen eighty four. He's not broken.

I mean he is broken mentally, but he realizes the same thing that so many people realize, which is ultimately the one place they cannot take away from you is your mind right, Twitter, twittering moron in the corner. But yeah, instead of succumbing to you know, like fine, I'll conform off all online, it's a nope, five, I'm going to resilt, right, And that's I mean, it's it's a different message than nineteen eighty four, but I think it's kind of the it's the counterpoint. I guess it's the same story but with a different outcome. And it doesn't deserve a happy ending Fox say, because that was not earned, that was never on the table and whatever. It's crazy to me, it is still a better ending than nineteen eighty four offered.

I'd say that's better than conforming. It's tragic, but you know, it didn't sacrifice himself at least, that's the thing you mentioned it. It's tragic, but it's tragic in a different way because like, ultimately he's in his own mind. So if that's good enough for him, right, I know that's so he found escapism and godspeed. Right.

I do like the shot though, of Michael Palin and Peter Vaughan coming into frame. If you're not expecting it, it's it's sound the blue. Yeah, I mean, Terry Gilliam. I feel like Terry Gilliam does a good enough job in making the last twenty minutes seem like unreality enough where you're like, something is not real here, yep, But like that is a that is a very like quick moment, like it's very abrupt and he's like, whoa, they're just standing there. But yeah, it's definitely an earned ending, and by the end of it, I was like, okay, like him singing Brazil to himself in this room is I think the only way that this could really end right after everything that has happened, right, it reinforces your place in the world in a really unfortunate and kind of I mean again, like obviously very intentional, but if you want to watch something that's going to make you feel good.

While I would say definitely don't watch nineteen eighty four, I'm not gonna say watch fucking Brazil either, because it's not an uplifting tail by any stretch of the imagination either. It's it's as big of a downer as nineteen eighty four is. It's just again, it's given that little twist of he's in his mind at least, I mean, I guess you could make the case in nineteen eighty four. He's probably in his mind too. Yeah, it's been a long time since I run nineteen eighty four.

I mean they don't they don't say outright, but you know what I mean, Like you could just say, like, okay, he is but here, yeah it's yeah. If I feel like, if you give this a positive ending, it completely changes the point of even making this. Yeah, and that to me is a very again, like I don't I know that it was obviously a big deal then it's still kind of a big deal now. And sometimes the director doesn't make a choice unnecessarily. I mean we can talk about director's cuts all day and Ridley Scott and George Lucas and all these people who go back and redo things and make decisions that we have problems with.

But I think Terry Gilliam doing what he did, I think this movie is again understandably. I feel like when someone says this is Terry Gilliam's best movie, I would say, I don't think I need to see all of his movies to agree. At this point, it's not my favorite. But in terms of a cohesive message, that is timeless, because nineteen eighty four is timeless. This is just as timeless, if not more timeless.

I think then then yeah, like and look, everybody loves a good twist, frankly, you know, like that elevates this up of nineteen eighty four. I think narratively just enough, just enough on its own that it does have a little bit of kind of like a gotcha moment, But it's a moment that makes I mean, it makes you think. And I think it also allows Terry Gilliam to really lean on the I mean we've mentioned, you know, the unreality and you know him disappearing into the papers and then fighting the samurai and it being himself. You can't do any of that in the last twenty minutes of the movie unless it's all in his mind, because otherwise it makes no fucking sense because there is a level of reality going on here, even if it is strange.

There's that completely ungrounded like right, like the thing in the restaurant with that food, right Jesus Christ, which is just but like that's taking place in reality, Like that's not, that's that's there's not there's nothing there that would make you think like, oh, this is not this is a dream sequence. So that's why at the end, Terry Gilliam really has to like ramp it up, which I think works. I mean again, when you have all these really weird things happening in the last twenty minutes, it doesn't feel out of place, but the level it goes to it does, yes, which is it It's the perfect leveling up, because I mean, the reason why satire is so fun and same with like I guess sci fi in one coin is because it either magnifies what's going on in the present or it's like indicating where it is leading.

And I love that Brazil just opens up with like there's always bombing so much so that you can carry on work easy peasy. A's like after going through the pandemic and everything like that, you know that it is just as bizarre. So for Terry Gilliam to make somebody say, yeah, we didn't know it was a dream sequence until X, Y and Z happened to realize just how absurd their world was set up as it's very clever. I I do enjoy that, and it just kind of puts the mirror up to what we're going through currently. Just to reiterate that it is a timeless factor, because yeah, this stuff will always be relevant.

There will always be the bigger machine and the classism is I mean, like you mentioned that the idea that in this restaurant there's a terrorist attack and they just put up this shade, and it's like that's that's good enough. And not only is it good enough, it's expect normal. Yeah, it's actually like that again, like you don't even have to say anything, and you're getting across so many points and you're putting through so many ideas like you, and that I think is the actual success of Terry Gilliam as a filmmaker and as a and as a writer filmmaker because he's you know, he's credited on this. Yes it is George orwell effectively adjacent, but his name's on it. Yeah right, so yeah, and the same goes for essentially most things he's directed.

He's either has a hand in the screenplay or he shares it with somebody like I'm pretty sure he is one of the names on the adaptation for Fair and Loathing. Yeah, it's yeah, it's you know, and that's the thing you need. Well, I mean, you know what you're gonna get with Terry Gilliam. That's a good and a good and a bad thing, however you want to look at it. But maybe one of these days I'll get around to watching twelve Monkeys.

Okay, Yeah, it's all right, Yeah, I like it. It's fine. It was, it was. It was a worthy watch, I will say that much. I don't think it quite stacks up in the way that Time Bandits would or any like of the other ones, but it's still it's still worthy watch.

I say, take a loosen a gander, but this is the Crown Jewel you just witnessed, So you like, he's a director who in the eighties, like that was the time in the place for a guy like this to really excel, right, Like, something about Terry Gilliam and the eighties just feels like and I'm not saying his stuff in the nine isn't good, because fucking Fear and Loathing is from ninety eight. So but I mean, I would say, post Fear and Loathing, the stuff that's come out, I'm not sure anybody's been rushing out to see the man who killed don Quixote finally came out in twenty eighteen. And I would be remissed to think that I'm not the only one who forgot it actually did in fact come out because it was the will they won't they have a fucking Century?

And it was like it sounded like such a keen idea, but the fact that we kept getting released dates and it kept getting moved, it's like, never mind. Then, yeah, I maybe one of these days we'll get around to watching it, just like I would love to watch the Christoph Waltz movie that he did with Christoph Waltson like a bald cap. The entire movie The Zero Theorem looked interesting, Yeah, and I think he was the wasn't. Terry Gilliam also was the one to work with Heath Ledger last Yeah, yeah, yeah, the Imaginarium of Doctor Parnass's guys. Yeah.

You know, like I think for me, like Past Fear and Loathing, it's like I haven't seen enough to really have a comment on modern day Terry Gilliam. But this this movie now, I've seen it and I get it, and I can I can one percent understand why it's praises are sung as highly as they are. So yeah, and I see why Jonathan Price is in stuff now it's like because he was in this for Fox's sake. Yeah, it's it was. It's fun, but I mean again, as fun as something like this can ultimately be, which is I mean, yeah, it's the Yabou of the century.

It's a very pretty apocalyptic carrier. No, not a future I would like to live in, let's put it that way. But you know, I guess not one that we're not already in. I was glad to say any of the apartment fucking scenes, it's like, uh huh, you mean if I call an ask for something to be fixed, they'll never fix it. Yeah, really that actually happened.

Whoa. The only thing that would be more realistic is if they raised Brent. I will say this movie's miniature game is on point because those Robert de Niro miniatures. All right, Oh, I remember those little toys with the little toy soldier parachute toys from when I was a kid. That's what that looked like.

Well, yes, it's like, oh my god, Terry Gilliam, what the fuck? Man? Like, there you go, it's all right over the end. Sure, let him do whatever, man. Yeah.

Uh so, Jess. Final thoughts on Brazil. I mean, like I said at the beginning, Brazil is one of them. If you are if you know if you're a movie fan, you're a Terry Gilliam fan, you've seen the stills with the stretched out face and all that, it's definitely worth a watch. I would agree that it's a much more fun version of teen eighty four to watch then the previous film adaptation.

And yeah, it's not my favorite Terry Gilliam, but it's a it's a it's an interesting cinematic experience that will never be recreated in any way. About you, Maggie, if you assholes are willing to sit through three hours of Oppenheimer and not Brazil, I am going to smack you in the face. Uh, just throw that out there. Also, John Hurt was good in nineteen eighty four. I'd say watch that version if you want a nice compare contrast.

This is very depressing, it is, but you know what I sometimes it's good to feel the company of misery when it's you know, entertainment and not fellow humans. But you know, it's a wonderful piece. It's a very approachable art piece. I should say a lot of art films get shot on because they are out there and wild, but this, this is a nice little foot in the door experience. So I don't know it's worth it for the visuals alone, but the story still holds up.

I agree with both of y'all. One. I mean, obviously it's not a fun story, but it's a story that deserves a more exciting retelling. And that's that's what Brazil is. I mean, it's just in nineteen eighty four with some fun, with some zens and much fun as a you know, a movie about fucking genocide and other things can be right, Yeah, but you know, again, you've got Jonathan Price, You've got Terry Gilliam, you've got art deco, you've got a large amount of practical effects.

So all good things, all great things, all things that again yield a movie that's mentioned not only in the best of the year that it came out, but in a lot of conversations for one of the best movies ever made. So, you know, in terms of timeless story, in times of set design, in terms of actors, Yeah, I would agree, it's probably up there with some of the better movies ever made. Yeah, And to Maggie's point, John hurt is pretty good in nineteen eighty four, given that I never got to talk about it, that movie is. If you want a real fun time. Yeah, it's like being punched repeatedly in the fucking face and then told well, that didn't actually happen.

So yeah, it's it's not it's not. And there's no equilibrium esque moment where the good guy gets to get one over on the batties. There's none of that. And that's and that's you know, unfortunately, American filmmaking is wanting to make everything a happy ending, and boy, this movie gets gets put into that camp of things that almost didn't end up as good as they ultimately were. And that's the other thing.

This movie is a good movie, but it's also a good story about you know, artists putting one over on big studios, which, as we know shockingly is happening once again. Yeah, as timeless a story as ever, folks, for fuck's sake. So on that note, let's take a break and we'll play a preview for the next Culture cast and the first Culture of August. A few films have ever created this much anticipation. Believe everything you've heard, because nothing can prepare you for the ending of Angel Hart.

Frank, Yeah, I'm Frank, Mickey Roar, Robert de Niro, Lisa Boney, Angel Hart Rated R starts Friday at a theater near you. That's right in August, we're gonna be talking about Michael Rourkes otherwise known as Mickey Rourke. Whenever you're talking about Mickey Rourkes, you're talking about Angel Hart, Barfly, Johnny Handsome, A Prayer for the Dying, and Year of the Dragon. Guess what, I've seen none of those movies. Okay, I'm fun angel Hart.

I like Angel Hart. You should watch nine and a half Weeks. I just like how you slowly let bar Fly out afterwards. So it was like Angel Hart bar I'm like, wow, so you enjoyed that angel Hair, Barfart. Hey, you know what I will.

I have seen none of these movies. All I know is Mickey Rourks time was before I was probably born. So yep. So so we'll be joined on the angel Heart episode by well by Father Malone and uh El Goro and Heather Drain and then actually, speaking of you, Jess, you'll be joining me on the bar Fly episode. So yeah, but I love artists who beat women.

I mean, hey, yeah, I'm not complaining. He wrote some good stuff, but you know, yeah, don't beat women, bro. But you know too late. So so until then, Jess, where could people find you? If they want to find your things that you're working.

You can find me on Instagram at writer Jess fired. Pretty much everything I do gets filtered there in some capacity. What about you, Maggie, Well, apparently I'm gonna be slapping people outside of Oppenheimer if they haven't watched Brazil. Otherwise, you can find me at my uh you know website Dolan Museum dot com d O L I N museum. However the hell you spell that dot com and U s E U M.

I thought you're asking about the Dolan part, not the museum part. But yeah, that's a lot to remember. Man, my shield is not tight. I'm over my five minute it's bad. And you can also find me on Instagram Dolan Museum.

There you are, Folks, you should change your Instagram handle to slapping Heimer and yes, Slappenheimer. It's Brazilian times. I'm gonna slap Inheimer you if you talk about open Oppenheimer and Barbie or Barbieheimer whatever whatever, Folks who cares. Yeah, now it's gonna be a thing. It's gonna be all these other movies that are going to be tied together because it happened one time organically, and now it's going to happen a bunch of it only worked once because it didn't need to ever work to begin with, right, Funny what a food?

Yeah, I know. Hey, we try to corporatize everything, and that's the point of Brazil, folks. You can find me and everything I work on at Weirdingwaymedia dot com. Speaking of corporatizing things. That's where you can find all the podcasts that we work on, including this show and scary stories we tell and Bollywood Cinema Club and all the things that I do and that I've done with y'all.

So yeah, culturecast dot com, Patreon dot com, slash Culturecast, things that you can do, places you can go to donate. Thank you, I thank you to you if you are donating. If you're not, just like rate and review the show wherever you get it. Maggie Jess, thank you both so much for joining me. Jess, thank you for programming the month and doing a good job as well.

Oh, problem for good movies in a row. I'm glad it wasn't for bad movies. Yeah, yeah, I could just watch Cool World four episodes in a row. Guys, remember we did an episode on that a little for a long time ago. Yeah, it was.

I was thrilled, all right, yeah it was. That was a real cool world. No, no one is, it's cool world. That was a real high point of that month. This thing was saying, So I was definitely high at a point.

Yeah. But on that note, well we'll catch you on the next episode.