KCxBCC: It Lives Inside

Weird. But that does make for an interesting proposition in terms of how to introduce this episode, because if you're listening to this episode on the Bollywood Cinema Club feed, you would be wondering why I don't say hello everyone, and welcome to the Bollywood Cinema Club. I'm your host, christ issue from the spinoff of the Culture Cast, with this show spun off from I'm not saying that on this episode because we're posting it on the Culture Cast as well. But I figured there haven't been, if any Indian horror movies. I mean, this is not an Indian horror movie, but it is because it's set in It looks like the United States.

But I can't help but feel like this was shot in Vancouver somewhere because it was shot it looks oddly Canadian. Something about it just makes me think Canada, and it is Canadian. It was shot in Vancouver, but it's an Indian horror movie set in Vancouver with an Indian director, written by the director. The director wrote and directed it, and it stars and primarily Indian cast. There is some Hindi spoken, but it is not a Bollywood film in the sense that it's made in India.

It's an American made Indian horror movie, so figure it deserves a little bit of a cross post, but at the same time should be highlighted because again it is a mainstream horror movie in the United States with a primary Indian cast, and again written and directed by an Indian director. So on that note, this is still the culture cast. And I am still your host, Chris Dashi, much to the chagrin of many, and I'm joined by my good friend. He's on this show sometimes, but it's been a while. He is on Bollywood Cinema Club more recently, and on scary stories we tell at least once a month.

Your friend and mine Dustin. Hello, Yeah, I get around. I bounce around. I bounced, bounce, bounce, bound bounce, big a bouncing. It's Horror Tober nine, which means I've been doing this show for nine years.

Count of nine. Maybe ten I'll decide to call it quits and go and live on an island somewhere and not be bothered by anybody. But I haven't made that decision yet. So Horror Tober nine, not ten, is a grab bag. This year.

It was initially supposed to be full core ken I would say, we're kind of still doing folk z tight things based off of folk lore and mythology sort of at least Eyes of Fire and this is kind of but uh yeah, we're gonna be talking on this episode of Horrortober nine, We're gonna be talking about twenty twenty threes. It lives inside. My mom used to tell us stories the I let her to sleep with a bad feeling in our hearts because there's a dark thing that feeds on those feelings. It's called PHAs. I teach your son.

So the film is directed and written by Bishal Dutta based on a story by Bishal Duda and Ashish Meta, and it stars Megan Suri, Mihru Bajwa, Mohanna Krishnan and Vic Sahey who the last time I saw Vic Sahey and anything, he was opposite Zach Levy over at the fake Best Buy in Chuck, which cracks me up to see him playing an Indian dad in this. Uh we fully come full circle when you no longer are playing the young guy, but you're playing the dad. And the film is about Samita, who is a East Indian teenager who is growing up in again Vancouver, but it's meant to be the United States, who feels out of sorts with the culture she's growing up in and tries to present as more Western to fit in, and she ends up losing a friend played by Mohana Krishnan Tamira, who ends up discovering something that may bring them together as friends again, a creature and a jar that she walks around with.

Hilarity ensues when Sam knocks the jar out of her hand when she's trying to ask for help, creating what ends up being the main conflict of this movie. We are going to be talking spoilers, so that's why I'm being a little vague because this movie came out this year. So before we talk about the spoilers of the movie, Dustin, I'm gonna kick it to you first thoughts about the movie, non spoilers and should people spend their time and money to go see the film. I think, right off the bat, I think it is worth your time watching it because it was for me, it was pretty entertaining. It was fun.

It was a fun I like the way some twists get introduced, which is kind of classic Indian cinema, even though this isn't like an Indian cinema film, but it still has uh there's a little nuances of that approach to the film. But okay, no spoilers. You said, it's worth your time because you get if you're going for the horror movie's sake, you get some jump scares, you get some a little bit of psychological stuff, you get some you know, creature feature stuff going on. So it checks a lot of boxes, and it does it from a kind of a different lens, through a different culture and religion, which I found pretty interesting. I feel like for me, I will say yes, it's worth checking out only because yes, I try.

I'm trying to be a arbiter of positivity when it comes to Indian culture in terms of Western audiences. Okay, I'm not saying I dislike the movie. That's not what I'm I feel like there's part of this movie that is so heavily leaned on in terms of the metaphor that's been gone for that it sort of gets kind of in the way of the movie, which is fine. I mean again, it's horror, which means you can use the genre to tell a story about something completely different than a monster chasing after two Indian teenagers. Okay, that being said, the problem is I've seen better Indian hornes made in India like Tumbad, which I think, for me is as high a bar that has been set for Indian horror as you could set.

I mean, Tumbod is. Again, I don't want to talk too much about Tumbad, but if you have never heard of it, I believe it is still on Amazon Prime right now and it came out in twenty eighteen. It's an hour and a half, so it's the same length as this movie. It's very atypical in terms of Indian cinema because it doesn't have musical numbers. It is very much a Western style horbe that being said, it hues very close to Indian culture and does, I mean again, so does this movie.

But that being said, I think this is an interesting movie. It's a step in the right direction in terms of introduction to like you mentioned, a culture and a religion that again I feel like. Look, I had the benefit of growing up in North Texas, which is now much more South Asian than it was when I was there, but it was a lot when I was there. I grew up with a lot of Indian kids, a lot of South other Southeast Asian kids, and I was exposed to it a lot earlier than I feel like a lot of other people are now. I feel like people are being exposed to it more and more now recently thanks to things like Triple R and things like this.

I mean, this movie came out in the United States, was rather successful. It opened it south by Southwest in March of this year and then was released in theaters last month. So this is a very contemporary movie. And again I think it's pushing the ball in the right direction. That all being said, again, I think the movie at some times is more interested in talking about what something means and less actually just showing us a movie of things happening.

So but again I think we're both in agreement. You know, to check it out. So from here on out spoilers. So if you want to watch the movie, go watch the movie, pause it and come back. So dustin all spoilers.

What let's just talk about the movie. What did you think about it? Lives inside spoiler free. You can go on now, all right. You know you were talking about kind of the overall message of the movie getting in the way.

I get you what you mean. I I was picking up on it, but I think I was going into the movie, Like, once I started to pick up on that, I was like, Okay, yeah, I see, I hear you. Movie. Uh, but like, let me see what happens to this chick when the demon yanks on her hair and tosses her across the hero. So like, yeah, I heard that, I see that, but I was still I was still in full horror mode.

And uh. One thing that I like about this movie is a good use of some effects that you're starting to see in modern horror movies a little bit more like this. This creature has kind of this big, large, ominous vibe to it, but you don't see it all the time, and when you do see it, it's subtle. So it's this big, huge thing, but subtle glances of it, which I kind of like that because it adds to a little bit of a creep factor of you want to see the monster, but they're only giving you bits and pieces of it until pay off down the road, like the little glowing eyes in the reflection of the phone or in the closet. Love that, love that.

And I did like the perspective of it through Indian culture, just because you know, doing Bollywood podcasts with you. It's it is nice to see that, like, hey, they you know, this kind of genre of movie can be delivered through any medium because guess what, I don't care what your culture is or what your religion you are, there's probably demons and they're scary as fuck and that for me. I mean again, like you kind of mentioned like there's a lot going on here, there is a a monster, you know, and that's that I think. I mean again, like what's weird is obviously we talked about this before. I talked about this with Mike on the Talk to Me podcast.

We're going to talk about it now. This is a monster represents something moving. But in this movie, I think the monster is well done enough that it is a memorable monster. It did remind me a little bit and you'll probably get this. I mean, I'm assuming some of the audience will as well.

It's kind of a little bit of a of a deep cut as it, but it reminded me of the creatures from Feast. Do you remember that movie? Yeah, with the teeth. It was the teeth very specific, Yeah, just kind of pokey and pointing all over the place, kind of like a tiger Shark almost. Yeah, yeah, But I think for me, you know, like you mentioned, you know, there there are there's a lot going on here.

There are some really good scares. I do think ultimately, if I'm talking just about the movie holistically, it does feel kind of like, you know, I watched earlier this month, and I think you are going to watch it at some point. I know it's on your list. The Boogeyman. It reminded me kind of of The Boogeyman.

It's reminded me kind of of all these movies of like there's a thing and the other thing it's attached to somebody else, and now it's attached to you, and what are you gonna do about it? And like that's that's this the entire theme of this movie. You know, Tamira has the thing, Sam knocks it out of her hand. Now it's attached to her, you know, and and you got to figure out a way to solve it. And people will get in the way, people will die, and you know, and and so be it.

And that's kind of I don't know. I think the thing for me that I appreciate formula. Yeah, I appreciated that this movie takes that formula and does a little bit more with it than other movies would have, because again, there is a movie in here that's just that doesn't have the Indian cinema and the Indian culture to it, and I'm not sure that that movie is interesting at all, frankly, you know what I mean. Like, that's the thing that I think. If this movie didn't have the Indian infusion of the culture and everything else, I think this would just be like every other movie that comes out in terms of like a creature feature in twenty twenty three, because it kind of checks all the boxes of like a well made creature feature, but not necessarily one that does enough to stand out.

But I think this movie does do enough to stand out because it wisely, like you said, has the Indian culture angle to it. Yeah, and with what you were talking about kind of some of the message of the movie, I think it's timely in a way because our main character, she wants to be, you know, not just that Indian girl, right, she wants to be part of the culture she's living in and part of you know, she wants to kind of ingratiate herself in her the people that surround her and the culture that surrounds her, but she, you know, her her mom especially, is afraid she's straying too far from her roots. I don't think. I don't think her dad gives a shit. I think he's just kind of like whatever.

Do you think it's an interesting character to be written that way? Yeah, but you know there's that moment appared to like the Indian parents that we've seen in Indian cinema, Oh right, yeah, oh yeah, Well the mom is very much that. I mean, she she would probably be the equivalent of what we would call a Jesus freak, but in her culture, they're really because she's very like kind of superstitious. And you know, Sam was singing something or humming something. She's like, don't do that at the table, You'll call a demon, right, And but there's that moment in the bleachers where she's talking with that white cheerleader girl and she's like, say something in Hindu.

She's like Tindy and she's just her thing to play with, Like it just that's the way it felt to me, like you're my novelty, do you a thing? That thing? And that's exactly what she doesn't want to be. But it's no matter what it's still happened. As much as she tries to be a part of that group, that group still sees her as that and that, and that for me is like I said, where the movie kind of is like a little too on the nose, because in twenty twenty three, is that really still happen, like say something in your languid.

I guess, like, I guess that's still happening. It just that's a good reminder. Yeah, I mean, I yeah, I don't know it. Just again, I take for granted where I grew up, I guess because nobody I knew would have ever said, like, you know what I mean, like, that's that's kind of Nebraska just star where Yeah, exactly, Yeah, that's fair. Again, I like I said, I'm taking it for granted.

I understand that. I mean again, I'm cognizant and self aware enough of it to get out in front of it. But it just feels like a kind of tired storytelling convention. And that's the thing, like so much of this feels like just I've seen this before and it's not a bad thing. It's just I don't know.

I realize more and more that we are living in a time right now of horror movies where they all have kind of felt the same for like five years. Yeah, and like the Baba duck ushered this in and we're still watching these movies of like the monster is grief, the monster is trauma, the monster is in this movie, the Pishash is loneliness and otherness, I guess is what it is meant to represent. And dealing with the otherness and the loneliness. Oh, I thought he just ate vegetarians because he eats meat but they don't. So he's getting rid of him.

Right, Yeah, that's what it was. So let's talk a little bit about the creature in this So the creature in this movie is the Pishash, which is a demon from Hindu and Buddhist culture, and it is a it's a it's evil manifested, you know, again, dependent on the definition, dependent on the culture, dependent on what you're reading. Some of it, you know, they some of it is they can shape shift. There's not really any shape shifting in this movie. It's more it's invisible randomly.

It's kind of like The Predator. It would seem there's no shape shifting. But it is a monster, a creature, as it were, And again, but it's representative of something else. And I think that at least they did enough to make the creature interesting so that it's not like, well, it's representing something else, but the creature is just a very weak attempt to do something other than just like again, which is a vehicle. When the movie becomes a vehicle for the metaphor and for the message and you have forgotten that it needs to be entertaining, is when it's a problem.

And again I think they do enough here. But it's it's powers are indeterminate, Its abilities are indeterminate. How it does things and why things happen when you interact with it, it's somewhat indeterminate. It's told through kind of context clues, but we're not really again, not that I needed it, but sometimes when there's so it's kind of hard to understand what the rules are at all, and the movie gets into that area of oh, it's just kind of does everything, and it's like, Okay, I mean, I guess that's scary. But some limitters on its abilities because again, like it seemingly can why it doesn't attack all the time is never explained, because it could seemingly attack all the time.

I guess it's tenderizing the meat, which again is a concept literally taken whole cloth from other things. Like I believe that is almost directly said in it. Isn't that from it? Like it's the soul? Yeah, yeah, it was like penny Wise tenderizes the meat.

Like that's why it scares you, because being scared gives makes it more enjoyable when it consumes you. And that's here in this movie again, like it goes in the direction of things we've seen, but those other things are a little bit more well defined. This thing just kind of seemingly can do anything and can be contained to a glass jar, and can be contained to a human being as well. You can fit in a mason jar, it can be as big as a hallway. Yeah, And like again I don't have any issue with that, It's just it's not necessarily something that I in twenty twenty three am looking for in a horror movie.

Where you just are kind of doing the same thing that everybody else is doing. It's not scary. It's not that I'm saying it's not scary. There are some pretty good scares in this movie, but the scares are really just when the thing is invisible or those moments that are very similar. And again it's it's a it's a thing that if you go and watch a movie like The Conjuring, those those scares of something in the corner and it's very dark and then the lights turn on and then they turn off again.

This movie does that a couple a couple times, even when the teachers in the bathroom doing the lights on and I'm like stop it, yeah, just leave them on. And that's and that's the other thing is there's this weird logic in this movie. So Sam are made character who is you know, her her friend has has this demon in a jar and she wants help with the demon in the jar and Sam knocks the jar out of her hand. So now the demon is Sam's problem. Okay, sure, transitive property.

Apparently the demon starts attacking everybody in Sam's life. Well they did kind of mention that, but it didn't attack anybody else in the other girl's life. Or I guess she had it in the jar. Like again, like what I don't understand is the jar stopped everything from happening, but then the jar started cracking. Yeah, she found it in the Chawdrey's house because she heard like the whispers calling her name, right, so she went and got the jar, and then she kind of somehow figured out this is one of the things they don't explain, somehow figured out that needs to be fed roma ro meat, and then that started her decline I think.

I mean, the character of Tamira, I think is an interesting character obviously. I mean, most of her story is told with Sam through flashback where Sam is remembering the good times and kind of how she was a bad friend and kind of turned her back on her friend because I guess her friend was too Indian. I don't like, is that what the explanation is, Like, I don't it's it you wanted to break away from that stereotype, right, yeah, which again, like, but what with the with the message of the movie, I don't understand what the message of the movie ends up being. Is the message of the movie stay true to yourself is the message of the movie. It's okay to embrace that, but also stature Like That's what I could never figure out either at the end of the movie, because by the end of the movie, everybody is back together and all happy.

I mean again, not completely, but we'll get there. When we get there. But I'm trying to figure out like the journey between Sam and Tamira is. So it's told elsewhere, it's not told between the two of them, and so we're told to care about it, but it's hard to understand what we're supposed to understand about it because we really don't see them in a rect not in a meaningful way. And again, I have no problem with Vagary, it's just this is such a big part of the movie.

Is the contrast between the two of them. Yeah, they were close, now they're not. One's trying to fit in with the white girls and then the other's trying to well, you know, there's just in torment at that, because that's how the movie starts. Tamyria is just already the first time you see her, she's already deep in this, and you don't get to see her decline the way you see Sam's. But I do, like, I do appreciate the movie.

They get right to it. I mean, you're ten fifteen minutes in and you've got some invisible thing opening a door in the school, you know, walking up behind Sam. So that's pretty cool. There's really no waiting around for things to get going no I did. I mean again, you know, we I think we've talked about this offline together, like an hour and a half movie, Like I appreciate that so much now in this day and age, Like in the day and age of every single Marvel thing is two and a half hours and most I mean, god, bo is afraid the latest Alridy Astor movie was like three hours and ten minutes.

Like, dude, no fucking way. So, I mean again, my feelings on Hereditary have been chronicled on this show, so that's a hard sell for me. But a three hour horror movie is just going to be a hard sell for me, even though I love Horne. Yeah, they could have easily strung this one out to like way more discovery of what's going on before we even start seeing things with the creature happening. I almost kind of wish there had been more of that.

Yeah, they tried to do it in tandem. They tried to do it like in parallel with the horror stuff going on, and I don't know if it totally worked because they had to speed up that process. Yeah, they had to skip some stuff. Well, and it I mean, you know, once we get kind of get towards the end of the movie, and we are you know, we the audience are aware that the Pashashas is coming after her and then everybody else and her wife is affected by it. Her dad gets mauled, her mom gets kind of involved as well, and then she goes off to fight it.

That that kind of comes out of no where. It really happens super quickly, and it's tonight. It's it's like it's all of a sudden. There's also like a seven days thing, just like just like the Ring, there's like a seven like literally, there's a they say it's seven days, it's been a week like again, like they're grabbing from all these other disparate things and kind of making it all try to work. And I feel like, well, they talked about the number seven being special in the culture, right right, but where is the number seven?

Not special exists culture exactly? I know. Again, Like it's not that I'm not willing to give this movie the benefit of the doubt, it's just it's hard for me to really what does this movie have other than the Indian you know, cultural experience? Is that like you know what I mean, Like the creature design is is fine. The actors are great, obviously, but it's just I don't know, Like I'm trying to figure out if it really speaks to an experience that people are having, and does this movie succeed as more than just a horror movie and actually a muse on the thing that the director was trying to get at, or is it just a horror movie whose message gets in the way of the movie ultimately really being entertaining.

And again, I don't want to air on the side of that. But as I sit and think more about the movie, and as I you know, again think about the other Indian horror movies that I've seen that I wish more people would watch that are the same length as this movie, it is hard not to compare those. True. Yeah, I don't know. I'm not trying to outweigh any side of it to you know, like was the message trying to be pushed forward?

Was it the monster that's the kind of the main thing, you know, the demon? I mean, I watched this after having watched Slother House, so I was my Palette was glensed, so I was ready for anything at that point. But I don't know, I get what you're saying, but I try not to think about the other stuff too much. But I'm easily entertained. I've told you this, I can I can watch anything and be like, hell yeah, that was great, well and I mean like, I mean, I get it.

And you know, again, that's one of the reasons I appreciate having you on the Culture Cast and on Bollywood Cinema Club is because you have a very different perspective from mine in a lot of ways, and it and again like it forces me to again try to appreciate the movie in a different direction and again to speak kindly about the movie. It's well shot. You could have convinced me it was an A twenty four movie, which is a massive compliment to you know, the cinematographer and the director and also the production company Neon who again I've seen some of their movies before, but this movie again feels like an A twenty four movie, which is a massive compliment in this day and age because a twenty four talk to me, you know a lot of a lot of the which a lot of the big horror movies that have come out in the last five to six years have been A twenty four movies, to the point where a twenty four has a reputation now with you know, Midsummer and Hereditary and Bo's Afraid of releasing big, big horror movie by aw Toeur horror director.

You know, you mentioned having different perspectives, and I think it speaks to what you mentioned earlier, us having different experiences. You know, part of the message of this movie that we talked about. You were living that, you know, you were part of You had classmates, you had friends that were from an Indian culture, so it was no big deal to you. I didn't have that when you know, putting myself in the shoes of the high schooler. That wasn't my experience.

So, you know, me seeing that in this film, I was like sitting there like, yeah, Like, I'm glad they're doing this because that's how people I knew growing up probably would have treated somebody like that, right, And your experience is the opposite. You're like, yeah, we don't do that, right, And like I said, I get it. You know, It's just I have to take a step back and really remind myself of that, because again, I thought, your experiences are experiences, right though, that's the lens in which you watched the movie, and I would err on the side of this is probably more in line with reality, at least in terms of certain places. Probably not Vancouver, though I will say that much. I mean the movie is acting like, oh, you know, Indian people weird, and it's like this is Vancouver like again, like it everything about the movie seems rather everybody's rather affluent, all the houses are nice.

I mean again, it's just like what in what universe? I don't know that that for me is just like the biggest stretch. But other than that being the biggest stretch, I will say Megan Suri, who I have not seen in anything else, fantastic. I think she really good, similarly to Sophie Wilde from Talk to Me. She has great eyes, her like T zone, is fantastic in terms of looking scared for horror movies.

She has She has a perfect scream queen t zone, which I mean helps obviously in terms of like clost Yeah, she conveys a lot just with her eyes and her face like she's good. I like her a lot. I think she was a really smart choice to be the lead. She has the right amount of sympathetic but also you can see the frustration and especially when she snaps at her mom in that scene, which I mean again of some of the stuff in this movie is really well done in terms of the way they approach the conflicts between the cultural conflicts between the parents and and and her. Again, I wish I kind of wish there was more of it because it is just in a lot of ways, with the dad, we don't really get a sense of why the dad feels so strongly the other way.

He just kind of says, you know, oh, she's you know, let her do her thing. But it's like, but why do you feel that way in spite of the way your wife feels, Like because the wife feels pretty strongly one way and then he feels clearly, very strongly the other way. But I like her interactions with her parents. I think that one of the characters that feels rather underserved is the boyfriend, the love interest of Russ. Like he exists to be cannon fodder pretty much like hardcore, and he's barely mean's barely a character.

I mean, he's like the thing where it's like I feel like there was more to this, there was more here with him, and like again, like I get a sense that is just like what would have been the point they're not going to end up together anyways, So you know, there's probably more of the two of them on the cutting room floor because again, like he's just not a very well defined character and he's killed so unceremoniously and then like oh it's like, oh, you know, you watch this kid die? Okay, Like there's not They don't really make that big of a deal out of it either, which is again like these are not adults. These are teenagers. So these people's parents would be like, my son's dead, what is going on here?

But it's like it's weird. He just kind of dies. Yeah, it's so bizarre. So it's like I kind of don't I don't feel like there was a need for a love interest in this movie, Like it kind of seems extraneous to cause again, like it doesn't help reinforce the message of the movie. It just kind of seems like, oh, there's not a very high body count in this movie.

And by not a very high body count, I mean literally he's the only person who dies. It's as far as the message, it does a little bit. He's almost used in a way to let her know that maybe she's gone too far from her roots, you know, because he says that one line when they're on the swing set together and he says, but you're nothing like her, you know, it sort of referring to Tamira, and which begs the question is that you know, is that why he finds her interesting? Is because she's is more like him or them? You know, you know, she's strayed far enough that now you're accepted.

I find you attractive interesting And then right after that it gets killed. Thank you for finishing up that statement with the part of it where it's like and then he dies, So who knows? Right, that's the thing. It's like there's there's moments where it's like the movie is getting close to making point and there's like just kidding monster, scary monster. I mean, look, I love the effect of the like you mentioned the glowing eyes, like the I the lit up eyes.

I think that's very smart good. But again, like I've seen that in other things too, like like literally in other things they do that exact same thing, Like it's just it's the way that they do it is interesting. But again it's like it's a James Wand thing that everybody is doing now where it's like the usage of the liminal spaces up the you know, the corner with no lights on, and do you see I mean, I'm fucking thinking to Jamie, is it what's her name? The actress, the little girl who plays Gypsy Rose Blanchard in that Hulu TV show. She's a little kid in I forget what her name is, she's a little kid in the Conjuring And she's like, I can see it.

It's in the corner. It's right there, and I'm in that scene. I'm convinced there's not anything in that corner. But like again, she's like, it's in the corner, I can see it, and it's just dark. Like that, for me, is where that whole everything has come from that moment, because it's such an effective moment that movie.

And like again, like I don't think we'll ever cover the Conjuring movies, at least the first one on this show, at least on its own, because like it's I think it's a modern horror classic in a lot of ways, but it has really informed the direction of a lot of scares in movies like this because again, like it did such a good job and kind of revitalizing the jump scares and making jump scares not feel cheap. That's the other thing I will give this movie credit. None of the jump scares, for the most part, feel cheap, and that for me has been a very big criticism of contemporary horror is jump scares and how they're being used, and are they being used successfully or are they being used in a novel and creative way.

And I think this movie does a decent enough job and not just doing the same old, same old mm hmm. I agree. And a little more on the monster and the glowing eyes I loved, and then towards the end there's a scene where that thing's down at the end of the hallway and it's just like pitch black except for like light reflecting off of the top of it, and that's all you see is eyes on the top of it lit. I'm like, how freaky that would be to see something like that at the end of the hallway. You know, the imagery in this movie is very successful.

Again, that's I think that's the A twenty four noess of the movie. It's having that kind of eye for lighting and shot composition, and again it the I will say the movie feels a little not fuzzy, but it's shot with a a definitely a kind of warmer palette. Obviously a lot of orange is being used, a lot of orange, especially kind of in the dream sequences. But I mean, you know, it's a I wouldn't say it's a fall movie, but it's I mean, the Canadian is about the movie is because it's barely daylight. It's like always overcast.

I mean you could say Vancouver or Seattle or Portland, I mean, any of those three places, but it all it feels very of the Pacific Northwest, which I think helps with the moody quality of the movie. And it's not really daylight until the end of the movie, until we get a kind of conclusion to the story, as it were. We don't really see like a like full daylight, bright sunshine is not until the last you know, five six minutes of the movie. It's like a visual pressure release. Yeah.

And I like those dream sequences that take place, you know, and it show Tamira being kind of, you know, not chased by the monster, but kind of you know, tortured by the monster in the basement. I like those scenes. They're a nice kind of stylistic breakup of the rest of the movie. I wish there were more of them, frankly. I mean again like it's you know, it kind of goes back to what the poster of the movie looks like.

It's trying to invoke that, and I found that to be a lot more interesting of a stylistic choice than I was expecting. And I think it really works for the movie in terms of doing something interesting that I haven't seen before. It was given that this thing is like a demon, you know, yet another demonic possession movie dot com. But but I found it kind of funny in a way that because it starts off, you know, Tamiera gets drug out of the school by her hair disappears, and I was like, oh gosh, you know, did she go to the demon world? Like what happened to her?

Because it's a demon that grabbed her. No, he just stuffed her in a basement like some creep Well they have to feed. But that's just this is funny. It's like he's just some like creepy dude that drags kids to the basement, right, I mean it becomes the black phone all of a sudden, Yeah, what's the thing? Like what I don't what I'm not a huge fan of personally is that aspect of the story.

Like, there's kind of no steaks in this movie, and there aren't. And again, I'm not like a bloodhound or a gorehound by any stretch of the imagination. Not a bloodhound. I'm not a gorehound by any stretch of the imagination. But there's like no kills in this movie one And it's fine, but it's just and I mean, we see that the family.

There is a lot of memes. Yeah, lots of maiming. But I don't know, it's just kind of odd, like there the steaks are rather low in this movie. It feels like, are they not, Like I don't feel like, oh, you know, I don't know, the stakes are low. You know, nobody dies but the one, the one white guy, the one white dude dies, which cracks me up that it is him.

He's kind of an insufferable character, which is fine, But you don't get to have a love interest if the Pashash is chasing after you. No, he had to be an Indian boy, and then the Pashash would have been like, Okay, now I have to torment you. I don't get to just kill you. Yeah, gotta tender as your soul. I think probably for me, the biggest disappointment for the movie is Betty Gabriel is not being given much to do, unfortunately, given how good she was the last time I saw her in a movie that this movie is mentioning in the promotional materials for the movie, which is get Out, it's kind of a shame that she's given again.

I would say Nrubajua as the mom is a is a less thankless role than Betty Gabriel. Betty Gabriel is given the thankless role of this movie one hundred and she's so such a good actor, like even in what she is given to do, Like right away, I'm like, she's a meaningful carecharacter and I feel it, you know, just because I felt like what she did do delivered. Except running into the locker, like that was the worst choice, big strong creature with sharp clause chasing. You don't go hide in a school locker because then that just becomes like an aluminum can crusher. Yeah that's that seat.

Yeah, that seat is just fucking bizarre. Like I don't know, like you really have to be writing your character to be a dummy to hide in a locker and then to leave the locker and then go hide behind a shower curtain. Yeah yeah, yeah, which is one hundred times worse. But the character doesn't die. The character survives like what a what a strange but it only survived.

She only survives because they start doing their little chant to like call the demon for the offering, and I think that's when it pulls a U turn. Convenient the plot convenience. I mean again, it's fine. There are parts of this movie that just seem like you needed one more yes, because it's just it. It feels like, I don't want to say the movie feels like it's resting on the laurels that it's an Indian movie.

But you know what I mean, Like there's part of me that wants to just call it what it is and be that person and I'll take the criticism. But there's part of me that's just like it kind of feels like, oh, they're Indian. Yeah. The very message that they're trying to talk about in the movie of like, don't just peg us as Indian people. The movie's very like look at these Indian people.

Yeah, ed again, Like you know, Bishal Dudda wrote and directed the movie, so it is written and directed by someone who is Indian, which again, like therefore, some of this argument more or less is like Okay, fine, what are you complaining about? But I do have just like a little niggling feeling of like, yeah, it kind of just feels like there's part of me it's like, well, there hasn't been one Indian movie like this yet, and this is the one. Now. If there is any more remains to be seen, I hope there, or I hope there are plenty more. I hope that this is just the first sound in a longer salvo of other things that we see more Indian cinema making its way, more Indian movies making their way, more Indian actors being given lead roles in movies.

But again, the lead actress in this movie was cast because she was Indian. Death. I mean that's the point. Like, you know, I did love about that when they were offering food to the monster, like that's why I'm pretty sure that's why it came to their house to begin with, like just pulling a U turn from the school going to the house, and even after beats up her dad, it is kind of in front of them, invisible, but they know it's there and they're chanting and like kind of pointing to the table and so like this demon knows like okay, it's offering time, where's my raw meat? And then it gets over to the table and it's like yeah, what's yes, and it tosses the table over because it's all vegetarian Indian food because that's all they had.

I thought that was funny. I think that work. I mean again, like there, that's probably the that part works the most for me in terms of like the usage of the Indian culture in a way that makes sense. Yeah. Right, to me, it looked delicious that everything on that table.

I had gotten down with that. I'm down pashash. Fuck you bro. So speaking of the Pashash, and we kind of already talked about the creature design, let's talk about let's talk about the other So early on Arab, I guess halfway through the movie, it's mentioned that Swami's were able to you know, serve as the vessel for the right. So you know, again using horror movie logic, it would stand to reason one of the characters in this movie is gonna have to do that because you don't again, you don't mention something in a movie like this without it coming back to bite the character in the ass, haunt the character however you want to, however you want to look at it.

So the end of the movie, sam has gone after the creature to save Tamira, and she has brought a jar with her. Creature smacks the jar out of her hand. He's like, not that's again, Not this fucking shit one more time. So the creature knocks the jar out of Tamir's hands, or Samirra's hands, Amita's hands, and she, then, realizing what she has to do, starts chanting and absorbs the demon into her body. She's not a swami, she's not an Indian medicine, but she's able to contain this, seemingly contained the demon that has murdered her, you know, love interest murdered an entire family of people rather mercilessly, or they murdered themselves trying to trap it, it would seem.

And the movie ends with her and her family and the teacher and Tamira having dinner together, but Samita having to eat raw meat because the creature is still inside of her and has to be satiated. What what what did you think of that? Like? The last five six minutes A cod I thought it was on the steep part of the downhill, you know, you know, coming to the end of the movie. So we're on the down downhill side and it got real steel and sped up.

It really wants to have its cake and eat it too. It's have it's non and eat it too. As it was, let's button this up quickly. But it did cross my mind, Okay, what's going to happen to Meta after this thing goes inside of her? Is it just asleep?

Well, you know, like they had defeated in the jar like that kind of stuff was running through my head, like what are they going to do? And then they cut to the chase real quick of what they're going to have to do. But I couldn't help but think also, given that their family is vegetarian and a lot of the you know, in that culture, there's a lot of vegetarianism, did she stray so far from her roots that the only reason she'd be eating meat must be because she's a demon in her? Like? Is that?

Is that? How how people that eat meat or viewed, Oh they have a pushage, they're eating a hamburger. I feel like you made a connection that the movie didn't have any interest in me, because it does, you know what I mean like that is, I don't know. I'm maybe there is a symbolism to the raw meat, but the movie doesn't really make that symbolism matter. But it did cross my mind.

But I would go as far as to say that I think you you've hit upon something that's interesting because again, to go back to the scene with the boyfriend who gets eaten by the pushash and the idea of like having strayed so far from your culture that now you are able to be a vessel for this thing and able to entice it in as it were, And that's interesting. I actually, I mean again, in terms of the message that the movie has, I think that's a little bit more of an interesting message and a little bit more of a message to mind, some interesting directions to go than just oh, you know, careful to not lose your connection to your Indian side. That's the thing that I wonder is you know, Okay, so she's internalized this monster of Indian folklore and mythology.

So she's got to be Indian, right, She's proved her indianness by internalizing this monster because nothing no one else. It's not like one of the white characters in the movie would have been able to contain that monster, right, So it's like, what is the message then, like, you know, the power of your culture will allow you to internalize the monster long enough to keep it at bay. But the question then becomes at the end of the movie, when Sam and Timurr are having their indirection and Sam you know, says, oh, you know, I'll be fine, I'm fine, and then Tamira walks away and Sam starts, you know, one single solitary tear. The question then becomes, what is the movie trying to tell us there? What is what is the point here?

What is the final message that you're sending us out the door with? And I for the life of meeting, and I'm not exactly sure if the movie wants us to walk away with what it's saying or wanting us to just fill in the blank, I can't figure it out. I I that moment at the very end that you're talking about, I was like, so, so what whatlse exactly Again, it's not that I need direction, but it's like you have given us so little direction that at the end of it, I'm like, so is is Because I watched the movie with my wife twice, and at the end of the movie movie she go my wife said this at the same time both times at the end of the movie. None of this makes any sense. Wouldn't they try to get it out of her?

Like nobody would be. It's weird to me that they would just be okay with this creature being contained within their daughter and all of them knowing because they all know. The teacher knows, Tamira knows, the mom and dad know. Because they're all seemingly having to be together. What do they have to do this every day?

Do they have to get together every day to keep this thing at bay? That seems like a lot of work as opposed to trying to figure out a way to get it out and contain it once again, because again we're not it's not because they're so little told about the swamis having the demons inside of them. We can be given no information and have all these things happen that are not explained or not even explained, but even given any idea as to how this works, or how this happens, or how the characters are being able to interpret what's going on. So by the end of the movie, I felt the same way. I was like, so what so what like, is is this a problem?

Is she's just sad because you know, they mentioned like the peshash will eat you from the inside out? How long does that take? Clearly more than a year? Like to take a little nibble, like is that why she was? Like, because she went from being like happy with her friend to like panicked and a tear and why yeah, and we don't know why.

Maybe they'll explain that in the sequel. It's still inside, it still lives inside, it's still there. Yeah, it's just it's there's already a sequel. The movie is called I'm Still Here. It's that woking Phoenix movie.

Yeah, it did feel a little sequel baby at the end. Oh yeah, I couldn't help but think that. But what's weird is like I would almost say it's like it is sequel baby, but it isn't, because again it's a year later. Yeah, so like they's been dealing with this for a year, So she's been doing a pretty good job and keeping this thing at bay until she until she hasn't apparently, or it's been this whole time. I mean for me, there the scene where the mom is sitting at the table and just saying shame over and over again.

And then it turns around and it's the creature that for me, I mean again, Like, there are some moments in this movie that I think are almost like they're from a different movie, and that scene is one of them where it's like, this is now something else. The creatures pretend. Yeah, it's like the creatures pretending to be her mom. But like that scene doesn't inform the end of the movie, but the end of the movie is trying to act like everything we've seen up into this form this, up until this moment has helped inform us of what the ending is meant to mean. But I don't feel like I have a good sense of what the end of the movie was meant to be.

What we're supposed to take away from her having internalized the demon, are we supposed to internalize that, Yes, it's okay to embrace an exterior culture that is not the one that you grew up in, but don't forget to still be part of your culture. Don't let that be something you've forgotten. Like it's it's not clear, but the movie wants to feel like, Oh, I've told you enough, and you're gonna get it. It's like, I don't for as much time as you spent trying to explain it and trying to clarify, I don't feel like I have enough clarification at the end of the movie to really feel like, oh, you landed the plane, successfully landed it enough, but the you know, the landing gear maybe didn't come down all the way, so you kind of skidded to the end of the runway.

It wasn't a complete failure in the third act like so many horror contemporary horror movies tend to be. I mean, it's almost become like a running gag how bad contemporary horror movies third acts are, to the point where I feel like I've got a fifty to fifty shot of not liking the movie based solely on how the third act plays out, like something like Cobweb, Like, oh, the movie is kind of doing well, kind of all right, I'm interested, I'm interested in here comes the third act twist. We get revealed what's going on, and it just like completely farts out. And you know, there are plenty of contemporary like that movie on Netflix. ELI is the same way or things seen and heard same thing again, Cobweb for me was right up there, Like there are a lot of these contemporary horror movies that just the third act falls apart.

This this movie doesn't fall apart that hard, but you put it pretty succinctly. The last five minutes try their damnedest to really just like undo all of the goodwill that the movie had in terms of the message. Like it just all of a sudden feels very quaint and weird and almost another movie entirely, And it's like, you didn't really earn this, no matter how hard you think you tried to, I don't think you earned it. It's the let's go get Shwarma moment of the movie, like from Revengers. And it's just like, oh, okay, yeah, I don't know, Like it's you know that the way the scene is shot and it's shot in slow motion and they're kind of saying the prayer together so reverentially, and then you see the plate of raw meat and everybody kind of looks at Samita and they're like you kind of understand just yeah, you understand it.

But it's like, what does this mean for her, this character that we've gone on this journey the creature is seemingly put into Samita's life to teach her a lesson, to foster her growth as a character, and yet at the end of the movie, I don't get the sense that she's grown as a character at all. I get the sense that she is now. Like again, like I don't really even know. I don't know what that tear is supposed to meet, other than she has the creature inside of her. But we never really get a sense of what that means until, like you said, it lives inside too.

Yeah, the only thing I can compare it to is when that thing was trying to get out of the jar, crack the jar from the inside. Was this the crack of the jar on her? Yes, it has to be, But what does that mean? That's the question? I mean again, like why did they leave the peshash in her for a year?

Like is that negligent behavior on her family and friends? Are we supposed to believe that, like that's somehow okay because the movie is meant to make us think that it's okay somehow, Like they would not have tried to get the demon out of her at any point, Like just just kind of weird, Like I get what the movie wants us to understand is like, you know, part of coming to terms with your cultural heritage is internalization of it. But the demon doesn't really stay, Like, the demon doesn't really present that in the movie. No, maybe this was all just a goof. It was all just this elaborate plan by Samita because she had a hamburger at school and she wanted to eat meat.

So she made up this story about a pashash and it was all this elaborate storytelling that she did, and her parents finally said, Okay, here's some meat. You didn't pay homage enough to your culture, and now you're culture fighting back. I will say, you know, I mentioned earlier her mom was kind of like the Jesus freak of their religion. But thank goodness because she needed her mom. In the end, i'd be able to like put the protective hinna things all over her body and you know, cook the meal, cook the meal, read the book, know the chant.

Yeah, the mom ends are becoming ex basil exposition. Towards the end of the movie, she knows a lot about this pushash business. It's almost like, why didn't you ask your mom earlier? In the movie, Yeah, there was a point where she almost did, and then she just got frustrated. And I was like in that moment, I'm like, oh, I there's someone around here to ask guess her right, show her this book written in Hindi?

Why are you asking your teacher about? Like it's so weird, Like if you again, like if you wait for a moment and ask the movie like why are you extending these characters out in this way? Like the mom should be the one she's having all these conversations about the creature, not with her teacher, and she needed her teacher to google something. Is that right? It's so weird, Like let me send you this picture from the internet, Like, yeah, I'm pretty sure this gen zer knows how to google.

Yeah. I don't know how to put this movie. But in your universe, I think Wikipedia exists and Pushash has a Wikipedia entry. Yeah, just like bing chat like what are some demons and folklore monsters of Indian culture? Pushash?

Okay? Oh, Pushash eats me? Got it? That's right? But the Pashash doesn't even eat meat, Like that's not part of it, Like that's just part of it for the movie, seemingly like again, like that's the thing I'm like getting at like, there's all that it called a flesh eater.

Gotcha, got me? I guess got them? Yeah, flesh eater, which means it eats meat. I guess, right, you know, but it does, but it never but it never eats anybody. No, you see the holes, So what is that?

Then it's eating so it's not. So here's the thing, though, here's the thing. It's not a flesh eater. It's a soul eater. But for whatever reason, it eats meat.

So again, like I'm having a hard time understanding. Yeah, another thing that's not it's well, it doesn't. It doesn't make any sense, like you satiate it by feeding it raw meat. But it they mentioned clearly in the movie it feeds on your soul. There's a there is a good movie here.

I just think it really bogs itself down by going too many different directions. That's really that for me. I think is the biggest biggest problem with this movie is it it's too complicated for an hour and a half movie. It should have been. It shouldn't have had as many extraneous characters.

It should have been Samita, Tamira, her parents, and maybe I'm surprised there's not this in the movie. I'm surprised there wasn't a sibling. I frankly would have thought the movie would have been two sisters and one of the sisters was the one being plagued by it. Like again, like there's weird things that like and again like then you could have had like the whole idea of like a familial bond being reinforced and like I can't turn my back on my own sisters. Yeah yeah, as opposed to, oh you were friends, like okay, Yeah, But I mean, like I said before, Indian cinema, even though this wasn't an Indian cinema film, it does pull on some of those things.

I love the flashbacks. Yeah yeah, I really again, like I really, I really wish that more people would watch, you know, more Western filmgoers would watch something like Tumbad, which is a better Indian horror movie, an actual horror movie made by Again, but I mean, this is an Indian I don't want to take away from this movie being an Indian horror I really don't, because that's it's not who I am. That's not the kind of movie critic and person, you know, film viewer I am is to downplay a movie's cultural heritage and importance. But the movie seems to want to just rest on the fact that it's an Indian movie, and that, for me, is just kind of lazy. Oh, Indian culture hasn't been explored.

Like again, it's fine because it's written and directed by an Indian, you know, someone who's culturally Indian. But just I'm surprised it's not more. Frankly, I'm surprised there's not more to it. I think he's proud of his culture, which is why it's so heavily leaned on. And it's kind of his first big movie, right, or movie that's kind of hit the scene like this.

Well, yeah, in terms of like visibility, this is this is a I mean, yeah, this is I mean, you know, this is pretty I wanted to leave an imprint on it. And again, I think in terms of making a name for yourself, I think you could do worse than this movie, and in terms of making a name for yourself as a Indian filmmaker, and he could do. I think you could do a lot worse. I would. I'm very curious to see be shall do it as next film?

Really, and it still lives inside. Yeah, it lives inside, even further inside, it lives deep inside. I will say the usage of mol Rat's Teeth, the song at the beginning and the end of the movie is really on the nose. Yeah, it's in my head. It's in Marchie fuck You movie.

We get it, we get They use it at the opening and the close of the movie, so like, we get it. But for me, it's like, this is a little on the nose movie. We get it. The creature is inside you. We get it, we get it.

Your message is being received. I just wish there was more to it than what there is. I did hang around for the end credit scene. I was disappointed there wasn't one. That's what I say, Like there wasn't one.

But but that's the way, that's way the movies are now. You always hang around and wait. You never know it's true, it's true, and hey, who knows there maybe there was a scene clarifying what we saw, but there was or some dance number with the pishash dancing that would have been I would have I would have enjoyed that, like the pushash dancing at the end, like that would have been great, Like why not, you know, send everybody out on a high note. Actually, take back what I said about the creature looking like a creature from Feast. You know what it looked like, and it's gonna now ruin the creature designed for you.

It looked like the uh the alien Newborn from Alien Resurrection, even with the eyes man the like deep set eyes. Like think about that thing getting sucked through that little hole. When when Ripley makes the hole in the thing and it gets sucked backwards out and it's like screaming, it looks very similar to the Alien Newborn. Yeah, it does hashtag make the Alien Newborn design better by having it in a different movie, which they did. I mean, I think again, I think the monster design may be a real standout for this movie.

But to be fair, it's also shot in the shadows for the most part, or not seen at all, so we never really get a well lit shot the creature. To be honest with you, either there it's shot in shadows almost entirely, which I think works in the movie's favor. Tell me this, how did you watch the movie in like with all the lights off? You watch it at night with all the lights off, watch it during the day, during the day, both times. Okay, I watched it at about ten pm in the basement all the lights off, so it's extra creepy, I recommend.

I will say, I think at this point like a movie scaring me or not is not really something I think is a thing for me, Like you know, it takes a lot to get me there. Like something like Talk to Me didn't scare me as much as it like disturbed me. There were some good jump scares. I mean, I can tell the movie successful if I watch it with my wife because she tends to jump at things like it. I jump more at things in real life, like I'm a jumpy person in real life stuff, but in movies.

Like again, unfortunately, when you watch a movie a day at least, you kind of become numb to all of the stuff movies do. And again you're just like, oh, it's gonna do that. When it doesn't and it does something different, that's when it really like sets it apart from everything else. What's something strays strays from the beat or the formula of what you're usually expect, like I would again, like I would say, in a lot of ways, like this movie is just in the Indian version of the Boogeyman, like if I'm if I'm talking about things I've seen this year to make that I don't want to make that comparison. But again, it goes back to this idea of monsters as things, and I'm wondering, like when we will not be in the monsters as things all the time universe, because it's a we're still there firmly there.

Peshash included, Baba Duke included nothing from the Nighthouse included, which I liked the Nighthouse immensely, but even I could contend that's once again yet another x as y. But again, I mean, that's horror for you. I you know, don't We were talking offline before about Dawn of the Dead zombies as a message on consumers. But again, it's when you do it in a way that it's not so goddamn ob beats that I that I'm you know what I mean, Like that's the thing, right, It's like, don't club me over the head with it. Please don't club me over the head eight times with it or nine times or ten times.

Okay, I won't final thoughts on it lives inside kind of just to echo what you just said. I think this movie got me interested enough in this director. I do want to see what's next. I felt this movie held up enough to you know, get a feel for what this writer director does, and I want to see more. What else could he do?

What else where else could he go? Is he horror only? Could he branch off into something else? I don't know. But this movie itself, like I said at the beginning of the show, it checked a lot of boxes for me.

I enjoyed it. I enjoyed it through you know that it took time to look at things through a different lens and kind of send a message along with you know, trying to creep me out and be scary and demony. I think the movie gets more people interested in Indian cinema. Whatever that means that for me, will be a success. In terms of the movie itself, it's fine.

I think the Indian cultural angle makes it stand out more than if it hadn't been. But again, it's not that it doesn't do anything with it. I just don't really know what it's doing with it because it just kind of does a lot of things but maybe doesn't necessarily have the most to say, or maybe it's saying too much. And because it's saying too much. It's kind of hard to pick out what you're really wanting us to focus on.

Unfortunately, you know, it's clear, like we've mentioned that there is seemingly something else that may come out of this. There may be a sequel. The movie was rather well received for the most part. I mean again, in terms of critics, it's kind of sitting a little higher than average. You know, who knows they might make a sequel.

Bishal Duda may not even be involved, Megan Surrey may not even be involved. Kind of would be hard for me to believe Megan Suri wouldn't be involved, given how the movie ends. But I wanted. I wanted this movie to live up to the premise that it sold me, and I think it kind of missed the mark. But again, it didn't miss the mark to the point where I'm like, Eh, don't check it out at all.

You could do worse in spooky season, that's for sure. So you know there are plenty worse movies. And again, you know you watch bad horror movies during spooky season. I know I do. But watching plenty of full full Moon, Full Moon stuff like Ginger, dead Man and Evil Bong are some pretty good bad choices, you know, good bad choices, as it were, especially if you're watching the versions that have el Vira.

Well, like I mentioned earlier, I watched Lother House before I watched this, and that was a experience. I haven't watched it yet, I really, I really want to. You know, Spooky season tends to be the time where I feel like I do more recording in terms of bonus episodes, and I've already recorded three bonus episodes that are still to come yet to come out, so I guess this is the third. The other two haven't come out yet, but they're also on contemporary horror movie that I think, again, you could do worse than watching these movies, especially this one. I think you could do a lot worse.

I mean, Cobweb, I think is a lesser movie than this one. But I think The Boogeyman is a better movie in terms of what it's trying to do, and it's similar to this one. So again, it's just, you know, there are so many horror movies that come out every year. We can't watch all of them, and I'm not going to avail myself to watch all of them, but the ones that stand out again, are still standouts for a reason, and this is one of them. This for me is like talk to me.

It's different enough, it's unique enough that even if it does only kind of work, it still has more to bring you in than a white people in the suburbs doing weird things movie. There's a little bit more to this than just so it did introduce me to's like some other actors too, Like I hope making series and some other stuff. I mean, obviously she will be, but like I want to see her another stuff because she was really good. Yeah no, I yeah, you know, we kind of mentioned her a fair amount, but she Yeah, no, you're right, she's fantastic. Everybody in this movie's fantastic, just not used well enough in some of the actors' cases.

So now again I think that this movie you, like I said, you could do a lot worse in terms of spooky season. So yeah, So on that note, you can find Dustin and I talking about movies, be it on the culture cast, Indian or Bollywood Cinema Club, scary stories. We tell we don't talk about movies, we talk about other stuff. We do talk about media, So all those things can be found over Weirdingwaymedia dot com, where all the shows including this one are posted, including The Projection Booth, Twisted and Uncorked, Midnight Viewing, Feminine Critique. Those are also most of those are shows that I'm not even on, so go check those out over weirdingwaymedia dot com.

As for this show, culturecast dot com, Patreon dot com, slash Culturecast, ten, twenty, and fifty are the levels you can get in at to help the show financially, but like rate and review the show wherever you get it, that helps us find our audience and helps more people find us. Dustin, thank you so much for joining me. This was a short notice podcast. We essentially planned it in what twenty four hours I think forty eight hours I think so turn around. Yeah, so thank you for joining me.

This was fun as always, and we'll catch you on the next episode.