WEBVTT

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What are your qualifications? Ah, well, I attended Juilliard.

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I'm a graduate of Harvard Business School. I travel quite extensively. I lived through the

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Black Plague, and I had a pretty good time during that. I've seen The Exorcist

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about 167 times, and it keeps getting funnier every single time

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I see it! Not to mention the fact that you're talking to a dead guy!

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Now, what do you think? You think I'm qualified?

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What I mean is, can you be scary? Oh, oh, I know

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what you're asking me. Can I be scary? What do you think of this?

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You like it? Excuse us, please.

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Sure, talk amongst yourself. Adam, let's go. I know, Barbara, honey,

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but I think he could be of some use later. Something out of— we just

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have to talk. Yeah. Hey, hey, hey, excuse me! What?

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Excuse me, we are leaving now. Oh, wait. Oh, come on,

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don't go yet. Hey, guy, come on, we're simpatico

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here. Look at us, we even shop at the same store. Hey,

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Hermano. Yeah, there you go.

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Hey, look, come on. We're like peas in a pod, the three of

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us. Let's face it, you want somebody out of the house, I want to get

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somebody out of your house. Come on. Look, we've been

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to Saturn. Hey, I've been to Saturn. Whoa.

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Sandworms. You hate them, right? I hate

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them myself. Come on, kids. What do I have to do to strike a deal

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with you two, huh?

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Don't you

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hate it when that happens? Let's go, Barbara. Wait, wait, wait. Come on,

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just come on for a while. We'll talk inside. Come on, come on.

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I'm not staying here. Adam, we have to get out of here.

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I agree, but I'm fixing something to eat. Home, home,

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home. Barbara, how did

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you do that? Hope you like Italian. Where'd you go? Hey,

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come on! Hey, where'd you go? Aw, hey, come on! You gotta

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work with me here. I'm just trying to cut a D. What do you want

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me to do? Where are you? You bunch of losers!

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You're working with a professional here!

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Nice fucking model!

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It's Two Dads, One Movie. It's the podcast where two middle-aged dads

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sit around and shoot the shit about the movies of the '80s and '90s.

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Here are your hosts, Steve Paulo and Nick Briana.

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Hello everybody, welcome to another episode of Two Dads, One Movie. I'm Steve.

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And I'm Nick. And today we are continuing our journey through Two Dads, Two Decades

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to the year 1988 and the fantasy comedy Tim Burton

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special Beetlejuice starring Alec Baldwin,

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Geena Davis, and Michael Keaton. Super, super excited about Beetlejuice.

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This is one I picked. This is a movie that would have been a theater

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watch for me. This is definitely one my parents took, took my brother and I

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to go see. I would have been 8, he would have been It was rated

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PG, even if it kind of pushed that PG a little bit. It really does.

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It's in the Spaceballs milieu of pushing PG,

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I think. And but yeah, this is definitely one that, you know,

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kind of mattered a lot to me as a kid. You know, I really

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kind of attribute liking this movie and liking Gremlins to the reason that I ended

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up growing up loving much, much more seriously horror movies.

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You know, neither of those are necessarily like fully horror, but they are in the

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genre. Adjacent at least. Yeah. And I think, you know, being exposed to movies like

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that from a young age, like, ended up really kind of sticking with me.

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And yeah, this is one that I've always loved. And I think Michael Keaton just

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was really everywhere at this point, right? I mean, this is not far from— this

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is what, a year before Batman? And this is like, you know, Keaton's doing his

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thing at this point. Yeah, for sure. Really firing on all cylinders. And,

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and just a movie I've always really enjoyed. Never like, oh, that's my favorite movie

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or anything like that, but just something that's always, always stuck with me. What about

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you, Nick? What's your history with Beetlejuice? Yeah, so when I watched this, I realized

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like I haven't seen this as much as I would have probably said that I

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had seen it before. Uh, I think I saw it as a kid because I

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remember, and we'll get to it, certain parts of this movie that I just love

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to repeat. And hey, it was in a PG movie, you're not allowed to get

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mad at me, Dad, I'm just being PG right here. Um,

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and, uh, and it's just such a fun character,

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recognizable character. I do remember watching those like Saturday morning cartoons

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they had of it. Um, so I feel like that informs a lot of my

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Beetlejuice because like with Ghostbusters a couple episodes ago,

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they had all this like shit around it. So you'd think of like,

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oh, Slimer's like the third main guy in the movie Ghostbusters.

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And then it's like, oh, they don't even call it Slimer. And that, you know,

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so, uh, so my Beetlejuice memories might be a little, uh,

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twisted because of that. That's fair. But, um, yeah, I mean, Tim Burton,

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it's great to revisit him after we saw him with Pee-wee's Big Adventure back in

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the summer. and I'm really looking forward to chatting about this one. Absolutely.

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Yeah, so let's go ahead and just jump straight into the facts on the movie

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Beetlejuice. Beetlejuice was released on March 30th,

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1988 with a PG rating and a running time of 92 minutes,

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directed by Tim Burton from the script by Michael McDowell,

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Warren Skaaren, and Larry Wilson, starring, as I realize I said before,

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Alec Baldwin, Geena Davis, and Michael Keaton. Scores, we get a nice healthy

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83% on Rotten Tomatoes and a solid 7.4

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from IMDb. But Siskel and Ebert didn't

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like this movie. We get a pair of thumbs down from those just awful

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people. They're just awful people sometimes. Man, bad days. Anyway, awards.

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We do have an Oscar win for this. I didn't realize this, I looked

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it up, but Beetlejuice was an Oscar-winning film for best makeup

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at the 1989 Oscars, which makes a ton of sense. Yeah, totally. Absolutely fits.

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But yeah, it did win an Oscar for that. Also, 8 nominations

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at the 1989 Saturn Awards, including 3 wins for

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best supporting actress for Sylvia Sidney, who plays Juno,

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the character that's like their guide in the afterlife. Oh, yeah, she's great. She won

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Best Supporting Actress at the Saturn, and then Best Makeup, and then Best Horror Movie,

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which feels like a stretch. I don't know how many different best movie

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categories the Saturn Awards had back then. If there was no Best Fantasy

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as a separate category, then I could see putting, you know, it would be

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horror, not action or sci-fi, right? So, so, okay.

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But it seems a bit of a stretch to call Beetlejuice a horror movie.

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Yeah, for sure. On a $15 million budget, by the way,

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exactly the same as the cost of the movie we did last week, Wall Street.

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Okay, this pulled in $84.5 million, or 5.63

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times what it cost, which makes it a bona fide hit.

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So that's the facts on Beetlejuice. And it is interesting,

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so we had done Pee-wee's Big Adventure, which came out like 4

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years before— '84 sounds right, or '85 maybe. Yeah,

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anyway, but That was Tim Burton's first like major feature film and he had

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a budget of $6 million. Yes. So it's kind of cool to see what he

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was able to do with you. And there were some bigger stars in this,

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whatever, but he had more money to play with effects in this.

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And it's really cool to see that. Absolutely. And just to start off with how

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the movie begins and everything, there are a few things more just like

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joyfully whimsical than the opening of a Tim Burton Danny Elfman movie.

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Like Elfman's score and Burton's initial visuals,

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which we don't, you know, it's not super obvious right away, but we are getting

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an aerial view over the model. That Adam Maitland has created of

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their little town in Connecticut. And that's Alec Baldwin's character,

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Adam. But we don't realize necessarily right away that it's a model, although it becomes

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kind of clear as you see like little people not moving and stuff. But it's

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a really neat looking model. And we're sailing over it like we're sort of,

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you know, getting a drone shot. You can imagine this sort of thing in 1988

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over this town. And it's a really neat sort of like beginning. And like

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I said, there's just the theme song and score for this movie. It's Danny Elfman.

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So it's just so fun and whimsy and weird. How perfect of a name

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is that, by the way? You know? Danny Elfman? Like if his name was like,

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Craig Winchester. It wouldn't— like, his name is whimsical.

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Yeah, for sure. It's important that he does what he does.

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Exactly. But yeah, very cool model. And it becomes abundantly

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clear that it's a model when we see what would otherwise be a horrifyingly huge

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spider crawling over— I think it's the church or the schoolhouse, something like that— of

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the town. And that's when Alec Baldwin— and he like reaches down

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to like— I'm like looking at— I gotta be honest with you, that's a huge

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damn spider to just be letting on your hand and too small to be a

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tarantula. So it's like, and I know it's not a black widow, but like it

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looks like a wolf spider, something that could really hurt you. Yeah, that thing was,

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that thing was gnarly. And then, uh, he let it go outside, but he just

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dropped it out of like the attic window, out the third floor window. I mean,

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I guess spiders can fall and their body weight's so light that the air resistance

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keeps them from dying. They have those parachutes in Charlotte's Web, right? So maybe he's

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got one of those. Spin a chute real quick.

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Yeah. Um, yeah, so, uh, and then

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They're kind of— so Alec Baldwin, Adam, and Gina

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Davis, Barbara. Barbara, yeah, the Maitlands. They're, uh,

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shown to be like— he's obsessed with his model that he's building, and he's,

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you know, all he wants is like parts and supplies for that.

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And then she's obsessed with like remodel, redecorating the house.

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Yeah, yeah. You know, they give each other gifts, and she gives him this like,

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you know, special paint for a certain part of the model, and he gives her

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some wallpaper. And they're just, you know, couldn't be happier doing that stuff. And it's

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funny too, because there must be more wallpaper, because he hands her this really small

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roll but then says something about there's enough to redo

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the entire whatever room it was. And I'm like, dude, that's like a single panel.

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Yeah. But what have you— can get you maybe to the ceiling. Exactly. So he

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must have a lot more somewhere else. And this was more of a symbolic part

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of the gift. But they are on a staycation and they don't use that term

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because nobody did until much later in years. But yeah, they're basically

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doing a 2-week vacation at home. Like, I don't know. I don't think we

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ever hear what Barbara does for a living, I don't think. But Adam owns

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and runs, you know, the Maitland Hardware in town. So the hardware store for this

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tiny town is closed for 2 weeks. Mm-hmm. Which is something that is interesting

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'cause they, he goes to pick up some stuff from his own hardware store and

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it says closed outside and he like goes in and, you know, grabs something for

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the model and then, and then heads back out. But it's like, okay, I guess

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you can just close your store for 2 weeks and like nobody minds. It's kind

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of a strange thing. Sounds amazing. Kind of a strange thing, but there you go.

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Um, but before any of that happens, the, the realtor Jane shows

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up. She's pushy, she's loud. She makes a really kind of mean comment

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about how, oh, this house is too big for you guys. This should really be

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a couple that has kids or whatever. And it's like clear that like, from Gina

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Davis's reaction, from Barbara's reaction, it's like they've been trying and it's not working is

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what it seems like. Or I even thought for a moment that like maybe they

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lost one or something like that, but it doesn't seem that dark. But it is

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sort of like, you know, she even apologizes initially, but it's like a dick comment

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basically from the realtor. Um, they don't make it clear at this point that

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this realtor Jane is like related to one or the other of them, but apparently

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she is, and that at least excuses the familiarity a bit. Okay.

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Um, because I initially just thought, well, fuck this chick, like what is wrong with

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Jane the realtor? This is terrible. It takes way less than that for me to

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send a realtor Yeah. But yeah, so then

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they decide to go into town and Barb is driving so

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that Adam can run into the hardware store real quick, grab what he needs,

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and then they'll drive back. There is a bumper sticker on the back of their

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car that says, "I brake for animals." And as they cross a covered bridge,

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they notice a dog in the street. And instead of just hitting the brakes,

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Adam decides he needs to grab the wheel, he is not the one driving,

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and pull it sharply to the right,

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or what, at 11, or what side, but to a side. And they

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kind of crash through the wall of this bridge,

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this covered bridge. But I guess the dog is like hanging out on

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the back of like a piece of wood. This is like enough weight

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to keep them counterbalanced. Right. Like, oh my God. And that's a cool thing is

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seeing the dog on this like plank of wood that's being like,

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you know, pried up by the car. So it's like, oh, okay. And then of

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course the dog jumps off, the car goes in the water. Right. I got to

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say, Connecticut bullshit covered bridges. New Hampshire is where it's at. You never would

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have been able to crash through that shit.

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So, uh, so yeah, they're like— then

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they just appear back at their house, just back at their house. So we're in

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the water, we're back home. They go up to the fire. The fire is kind

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of weird. Well, the fire turns on by itself before they arrive, and then when

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they show up, they really go, well, the fireplace wasn't on when we left,

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right? Because this isn't like a flip-a-switch gas— this

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is like you gotta put wood in it and kindling and like start a fire,

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you know? So, um, so yeah, they were like a little surprised by that,

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but they're both soaking wet because they were in the water and they are drying

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off at the fire. And then at one

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point Adam is like, "I need to figure out how we got here. Like,

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do you even remember how we got here?" And he goes, "I'm gonna go back

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to the bridge and retrace our steps." Well, as soon as he steps off the

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porch, he ends up in this bizarro sort of colorful,

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weird world. It's got sand, yellow sand, and not even

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like normal sand, like yellow sand. And he hears this like cry of this beast.

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And then we see our first glimpse at one of the sandworms. As it,

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you know, it's kind of like off in the distance a bit, at which point,

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Barbara kind of grabs him and like helps him back up, but tells him,

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"You were gone for 2 hours." So whatever dimension

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he moved into, time travels weirdly,

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you know, kind of thing. Yeah. And they

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notice in the mirror, I think she's like holding a cup

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or something in front of the mirror and sees that in the reflection,

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you can't see her hand. It's just the thing she's holding floating there. So they're

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starting to make these connections of like, Yeah, they're— what the hell's going on?

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They're not casting reflections. They don't seem to be like, you know, taking up normal

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space. At one point they do look out a window and Jane and her daughter,

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who are both dressed in all black, yes, drive up and they kind of call

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down to her, but there's like no reaction whatsoever, so they can't hear or see

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them. This is also when they find the handbook for the recently deceased,

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which is a very important prop in the movie. Um, try, you know, they try

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to read it because the idea is that it should explain to them what's going

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on. They've realized like I don't think we survived that crash. We didn't survive.

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This is what's happened. We're dead. And, but you know, I think

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the comment is like, this reads like stereo instructions, which I think is funny 'cause

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like it was definitely a funny joke back then. And I remember trying to put

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together stereo, you know, stuff in the '90s and the instructions were always complicated,

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but like not that complicated. They must've been so much worse in the '80s,

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I guess. Like I was too young to do this in the '80s. So maybe

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it was that 'cause there's a few times where people commented on it. Little wiring

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for the speakers were different. Like remember the speaker wiring? Yeah, yeah, yeah.

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But they had like little clips you could like get to do the thing clamp

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down the connector onto the— that's the stuff I remember, is like those old,

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uh, like Bose, like the boomboxes with the removable speakers,

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that kind of thing. Yeah. Um, yeah, so,

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so they have this book, uh, which is going to kind of be their,

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their guide, and they kind of realize like, all right, we can't leave the house

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and nobody can see us. Yeah, yeah, because they tried to shout to Jane below

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and, you know, nothing. Yeah. So, um I think this is

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when we meet briefly, we meet Beetlejuice. Like we see it,

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not Adam and Barbara, but we see him. He's looking for a job.

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He looks through the obituaries because he's looking for the recently deceased. And sure enough,

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the Maitlands are listed there, you know, as recently deceased.

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And he goes, oh, they look nice and dumb, you know, or whatever. And so

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he's going to target them. But in the meantime,

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Jane gets to sell the house. Yes. And this was, I thought, really weird because

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I'd forgotten about a very quick line that Jane mentions later after the Deetz,

14:40.641 --> 14:43.863
the family who buys the house, actually start moving in. She mentions that they were

14:44.363 --> 14:46.837
family, the Maitlands. So apparently Jane's actually related. Because I'm thinking to myself, yeah,

14:46.901 --> 14:50.131
the Maitlands don't have kids, but like, why is a realtor selling this home?

14:50.180 --> 14:52.664
Wouldn't this like be going to like auction or something? Like, like what happens when

14:52.761 --> 14:56.114
like there's nobody who owns the home anymore? They're all dead.

14:56.179 --> 14:59.465
There are no survivors. There are no beneficiaries. Like, I don't even know what happens,

14:59.530 --> 15:02.095
but it seemed weird to me that like Jane is just allowed to sell the

15:02.595 --> 15:05.694
house. Yeah, that's a thing. But, but apparently as family, maybe she was, uh,

15:06.146 --> 15:09.432
she's probably the one who would ultimately get them. She'd be the, yeah,

15:09.448 --> 15:13.352
yeah, the beneficiary as well. Um, yeah, so she sold the house and

15:13.852 --> 15:17.744
we've got some movers coming in kind of Happy Gilmore style. We get random

15:18.244 --> 15:21.896
shit being brought in, weird furniture that does not seem to fit the, the theme

15:21.912 --> 15:25.134
of the house, right? You know, yeah, the house is very craftsman-y, very sort of

15:25.182 --> 15:29.045
like, you know, early 20th century style, like, uh, and this is all incredibly modern,

15:29.510 --> 15:32.780
uh, stuff moving in, um, weird sculptures and things,

15:32.892 --> 15:36.499
like all kinds of stuff, stuff that looks like objectively terrible but

15:36.999 --> 15:39.673
you need like a very fancy person to explain to you why you're wrong to

15:39.705 --> 15:43.456
not like it, you know? Exactly. Um, and we see this family moving in and

15:43.473 --> 15:47.081
we have Charles and Delia. Yep. And Lydia,

15:47.225 --> 15:50.978
right? And Charles, uh, the father, uh, Jeffrey Jones,

15:51.010 --> 15:55.100
who we saw in Ferris Bueller. Uh, Delia, the great Catherine

15:55.600 --> 16:00.119
O'Hara, a wonderful Catherine. And then, uh, Lydia is a very early Winona Ryder appearance.

16:00.472 --> 16:03.327
And I gotta say, this is— I realized in watching this movie back just this

16:03.439 --> 16:07.144
week, um, I realized almost

16:07.644 --> 16:10.792
like I'd forgotten, I think, but I I had quite a thing for this style

16:11.644 --> 16:14.600
when I was younger, this style of dress, this sort of goth look or whatever,

16:14.617 --> 16:18.622
because I realized that Lydia in Beetlejuice and Christina

16:19.122 --> 16:22.243
Ricci's portrayal of Wednesday Addams in The Addams Family were early crushes of mine.

16:22.502 --> 16:25.670
Oh, for sure. And so, and then I think I really think about it.

16:25.913 --> 16:27.965
That was basically the same style of the first girl I dated in high school

16:28.013 --> 16:30.608
too. She had that sort of, you know, black fingernails and like the whole kind

16:31.108 --> 16:33.460
of thing. We listened to Gravity Kills and KMFDM together, you know, that kind of

16:33.960 --> 16:35.780
shit. So, but yeah, so apparently that was a thing for me for a while

16:35.893 --> 16:39.580
was this, style Lydia looks like she's always going to a funeral. Yeah. It's kind

16:39.807 --> 16:43.214
of her physical look, but she's also quite a shutterbug. She's a

16:43.231 --> 16:45.796
photographer. She's taking pictures of all kinds of stuff.

16:46.843 --> 16:50.241
And that's when I think— With a Polaroid. Well, not, no, initially it's a real.

16:50.450 --> 16:53.188
Yeah. But initially she's got like a nice like Canon or something, you know,

16:53.204 --> 16:56.420
film camera with the big thing. And she's taking pictures outside the house as

16:56.920 --> 17:00.406
people are moving stuff in. I think that's where this is. And she seems

17:00.438 --> 17:03.572
to see Adam and Barbara looking down from

17:04.072 --> 17:06.249
the attic. Right. Nobody else does, but she notices. And it was in the handbook,

17:06.330 --> 17:10.322
it said, that the living won't see

17:10.595 --> 17:14.369
the dead. Right. And they're making the distinction, is it can't or won't?

17:14.449 --> 17:18.046
And it just says won't. So it's like, okay, so there is no can't necessarily.

17:18.463 --> 17:21.980
And we see, we get very early that no, Lydia is, whatever is going

17:21.996 --> 17:25.512
with her, she's in tune with this and she is willing to

17:25.528 --> 17:28.836
see Adam and Barbara. Yeah. And Adam and Barbara are like,

17:29.543 --> 17:31.807
who are these people in our house? We gotta get them out of here.

17:31.887 --> 17:34.681
So they're consulting the book, like, how do we get them out of the house

17:35.181 --> 17:38.100
and trying to figure ways to scare them early on. So they're trying to appear

17:38.148 --> 17:41.229
in front of them in these scary, uh, scary ways.

17:41.277 --> 17:44.486
So one is that, uh, Delia goes and she opens the closet, right?

17:44.951 --> 17:48.464
And we see that, uh, Barbara is in there and she's like hanging

17:48.577 --> 17:51.817
from a noose and then just pulls the skin off her face to reveal— so

17:51.866 --> 17:55.684
there's a lot of these like goofy Large Marge looking special effects,

17:56.181 --> 17:59.181
uh, in this movie that works so well. And it makes it kind of like

17:59.229 --> 18:02.786
kind of scary, but right, but fun. You know, so it's

18:03.286 --> 18:06.966
spooky. It's not scary, it's like spooky. Yeah, I think spooky's good.

18:07.079 --> 18:09.468
And then another scene in one of the rooms,

18:10.226 --> 18:13.389
she has cut off Adam's head and she's holding

18:13.438 --> 18:15.875
it up, you know, so his ghost on there, but nobody can see them.

18:15.956 --> 18:19.459
Nope, nobody can see them. So they're trying to spook him and they

18:19.507 --> 18:22.864
can't spook him. Great effect when, because it's actually, we should mention,

18:22.913 --> 18:26.236
it's Delia and her decorator friend Otho,

18:26.914 --> 18:30.822
who's played by the same guy that played Assistant Bob in Demolition

18:30.838 --> 18:33.967
Man. Yes. They are wandering around the house looking for

18:34.467 --> 18:37.217
things to change. So they're like writing, they're literally like writing with spray paint the

18:37.717 --> 18:40.162
name of colors on walls that they're gonna paint that wall that color. And they're

18:40.662 --> 18:43.234
doing different things. So they're the ones who like, you know, Barbara is holding a

18:43.734 --> 18:46.551
knife in Adam's head while Adam's body is laying on the ground, you know,

18:46.599 --> 18:49.883
to try to scare them. And it's a great little effect of Alec Baldwin then

18:49.915 --> 18:53.518
talking to Geena Davis as the disembodied head. Like, I don't think this is working.

18:53.566 --> 18:56.462
They can't see. It's very funny. But then he realizes that they start heading up

18:56.962 --> 18:58.791
to the third floor to the attic where his model is, that he didn't lock

18:59.291 --> 19:03.234
the door. So his headless body gets up and runs up the door past Delia

19:03.282 --> 19:06.198
and Otho, where they notice, they stop and go, did you feel that? Like,

19:06.246 --> 19:08.746
you know, the whole kind of, oh, you got brushed by, you know, by a

19:09.246 --> 19:12.383
thing. But sure enough, he goes up, shuts the door, locks it, you know,

19:12.495 --> 19:15.091
and there's no key or the key's inside the room or something like that.

19:15.171 --> 19:18.360
So, you know, they think they're safe up there, Barbara and Adam.

19:19.161 --> 19:21.982
I do love too, there's a line when Delia and Otho are walking through,

19:22.046 --> 19:25.090
she goes into a bathroom, she goes, oh look, an indoor outhouse. And I just

19:25.590 --> 19:28.332
have always loved that. Look, an indoor outhouse. Uh,

19:29.408 --> 19:32.266
and all like the reason the family moved here, um,

19:32.715 --> 19:36.312
the thing that Charles wants is like, I just need somewhere

19:36.812 --> 19:39.395
to relax. I need somewhere that I can have some peace and quiet. Yeah.

19:39.636 --> 19:42.510
So we get a few scenes of like him about to have his peace and

19:43.010 --> 19:46.203
quiet that gets disturbed here. Yeah. Um, he's sitting there, uh,

19:46.604 --> 19:50.346
in his den reading Practical Homeowner magazine, which really

19:50.458 --> 19:53.686
cracks me up. He— we get the sense maybe he was in finance

19:54.186 --> 19:56.207
in New York City. They've moved from New York City. This is like, this is

19:56.239 --> 19:59.773
like Connecticut but not close to the city, suburban Connecticut. It's like

19:59.837 --> 20:03.290
rural Connecticut. Yeah, uh, a little village, you know. And so yeah,

20:03.306 --> 20:06.647
he's talking about like condo development a lot, so I think he's one of those

20:06.759 --> 20:10.405
guys, real estate investor or something like that. So outside the door,

20:10.469 --> 20:13.761
so, uh, Adam and Barbara realize that going outside

20:14.261 --> 20:16.749
the back door, like trying to leave the limits of the house, puts you into

20:16.781 --> 20:20.326
like the sandworm desert. So yep, they're stuck. They're stuck

20:20.826 --> 20:23.196
inside there. Um, this is something where I thought of at this point in the

20:23.696 --> 20:27.974
movie, watching at this time, my first thought would have been you should be poltergeists,

20:28.263 --> 20:31.918
not ghosts. Like, start throwing shit around. They can clearly

20:32.175 --> 20:35.301
interact with the things in rooms and pick things up, whatever.

20:35.702 --> 20:39.213
I would start terrifying them by slamming doors and cabinets and throwing

20:39.245 --> 20:42.821
dishes around. Like, break all their stuff, destroy the statues,

20:43.173 --> 20:46.380
just be destructive. They'll leave. Like, you know what I mean? Like, if you throw

20:46.540 --> 20:50.244
a knife at one of them, they'll leave. Like, this could have been very

20:50.260 --> 20:53.626
simple. Yeah, if you're standing there in a room and a knife

20:53.740 --> 20:57.230
like flings by your head and like sticks in the wall next

20:57.730 --> 21:01.063
to you, I'm gone. No questions asked, I'm out of

21:01.095 --> 21:04.783
here. Get Jane back in here, sell this fucking house. Goddamn. But they don't

21:04.944 --> 21:08.741
do that. No. Um, and so, uh, so we had the family kind

21:09.241 --> 21:11.471
of enjoying— they have like their Chinese food dinner. Yeah, I don't know if this

21:11.971 --> 21:15.670
is like their first night in the house together early on. And, uh, they're telling

21:15.800 --> 21:19.611
Lydia, you know, who's not excited about anything because she's a goth angsty

21:19.644 --> 21:23.705
teen. And they say, uh, they say, well, we'll build you a darkroom downstairs.

21:23.898 --> 21:26.178
And she's like, my whole life is a darkroom.

21:27.350 --> 21:30.882
But to be fair, to Winona Ryder's credit, uh, Catherine O'Hara

21:31.382 --> 21:33.676
says, we'll build you a darkroom. Or maybe it was the dad, but one of

21:34.176 --> 21:36.453
the actors says, we'll build you a darkroom in the basement. And he pronounces it

21:36.662 --> 21:40.162
darkroom because that's where you, you know, make photos of, right? And she says,

21:40.274 --> 21:44.031
my whole life is a dark room. And so she does like pronounce

21:44.531 --> 21:47.074
it slightly differently to like Like, I feel like there's little subtleties like that.

21:47.139 --> 21:49.441
They're like, oh, like, even though Winona Ryder, what was she, like 15 in this

21:49.941 --> 21:52.565
movie or something? Really young. It's already a pretty good actress, like really kind of

21:52.597 --> 21:56.201
nailing these little subtleties of these line deliveries and things because it's a funny

21:56.217 --> 22:00.378
little moment. But yeah, this is, I think, when Barbara

22:00.878 --> 22:04.410
and Adam see like an ad for Beetlejuice. Right. And so,

22:04.700 --> 22:07.920
you know, and of course he can't say his own name. And the lore

22:08.033 --> 22:10.201
of this is a little funky to figure out throughout the movie, but it seems

22:10.234 --> 22:14.434
like saying his name 3 times brings him from wherever he is trapped

22:14.723 --> 22:18.798
to interact with the real world. But if you say his name 3 times again,

22:18.830 --> 22:21.075
it sends him back. Yeah. Is what it seems like. So it's basically like a,

22:21.332 --> 22:24.268
it's a 2-way door and you can open that door either way. So he can't

22:24.768 --> 22:27.701
say his name on TV or at all rather. So the little ad does not

22:27.733 --> 22:30.861
include it. And of course it's spelled the way that the, I don't know what

22:31.361 --> 22:34.406
the origin is. I just know that it's like a star, right? Is Beetlejuice is

22:34.550 --> 22:38.208
spelled B-E-T-E-L-G-E-U-S-E. I've always

22:38.240 --> 22:41.288
been happy that, that they didn't actually name the movie that because it would have

22:41.788 --> 22:45.106
been impossible to pronounce. And they make several jokes about Betelgeuse, right? Throughout the movie,

22:45.154 --> 22:47.849
different ways, you know, because it is hard to— if you don't know how to

22:48.349 --> 22:51.443
pronounce— I'm not even sure what language of origin, or, or yeah, language of origin

22:51.475 --> 22:55.309
that word is, um, but it's not obvious. We would always say Beetle

22:55.809 --> 22:59.689
Guys. Uh, I remember playing this video game on 3DO called Star

22:59.801 --> 23:03.315
Control 2, and, uh, it was cool. Like, you had, you know,

23:03.347 --> 23:07.004
real stars and stuff, but there'd be different

23:07.504 --> 23:08.397
different shit at the things. And I remember seeing that one and being like,

23:08.623 --> 23:10.971
yeah, Beetlejuice right next to Alpha Centauri over there.

23:11.196 --> 23:15.056
Yeah. Um, so, uh, yeah, so they

23:15.556 --> 23:18.930
see a flyer, uh, for, for Beetlejuice, who's advertising himself as

23:19.430 --> 23:22.419
a bio-exorcist. Yeah, that's right, that's right. Um, and, uh,

23:22.789 --> 23:26.129
let's see, Wynonna— Lydia in the meantime has gotten a hold

23:26.178 --> 23:30.216
of the skeleton key. That's right. I love a skeleton key. It's— is

23:30.266 --> 23:33.257
there a skeleton key at this building? I don't think there is. I don't think

23:33.757 --> 23:36.932
that's a real thing in most places, but Man, that was great in the childhood.

23:36.996 --> 23:40.236
But especially the old kinds of locks at this place where it's not

23:40.365 --> 23:43.380
in the doorknob, it's like just a really simple sort of like thing.

23:43.493 --> 23:46.620
Like I could see how you would make the locks so that you could have

23:47.120 --> 23:49.251
a skeleton key, right? Especially when you're thinking too, you go back to like,

23:49.572 --> 23:52.860
you know, older homes, places that were larger that maybe at one time would've had

23:53.360 --> 23:56.758
like a house manager, right? Who like runs the staff. This is a big place.

23:56.822 --> 23:59.260
It could have been like that at one time, you know, would've had a thing

23:59.292 --> 24:01.377
where it's like, well yeah, the house manager has the skeleton key. You can get

24:01.877 --> 24:04.410
into any room he needs to, you know, something like that. But basically, yeah,

24:04.426 --> 24:07.863
like they read in the book that they can draw a

24:08.363 --> 24:11.796
door. Right. Barbara and Adam. You need help, draw a door. Exactly. So he's got

24:12.296 --> 24:14.382
chalk and he basically just draws a door on the thing and he knocked 3

24:14.882 --> 24:19.182
times and their wall opens and they go off into the afterlife as Lydia

24:19.215 --> 24:22.586
is like approaching the attic

24:23.086 --> 24:25.059
and goes and is able to go into the attic now because they're not there.

24:25.204 --> 24:28.062
Right. And so we sort of switch over into,

24:29.136 --> 24:31.892
you know, being in the afterlife. And there's a few interesting things here because this

24:32.392 --> 24:36.650
comes up later, but later on, Charles will say something, or somebody,

24:36.747 --> 24:39.807
Otho or Charles, will say something about, you know,

24:40.448 --> 24:44.165
if you commit suicide and that's how you die, then you become a

24:44.213 --> 24:47.545
civil servant in the afterlife. Like you have like a crappy job. And you'll notice

24:47.657 --> 24:51.086
everybody who works in the afterlife thing, they're like, there's a guy who hanged himself,

24:51.198 --> 24:54.723
a woman who has got slit wrist scars, and the guy who clearly jumped

24:55.223 --> 24:57.719
in front of a bus because he's been flattened. The guy who's like fully flattened,

24:57.751 --> 25:00.914
right? They're all suicides and that's why they're working this place.

25:01.605 --> 25:04.737
But basically, Adam and Barbara have to wait to get an appointment. They don't have

25:05.237 --> 25:08.286
an appointment. They have to wait to see their case manager, Juno, played by Sylvia

25:08.786 --> 25:12.767
Sweeney— or Sylvia Sidney, sorry. And it was

25:13.267 --> 25:15.948
a very, very funny actress, actually. Yeah, she was, she was great in this.

25:16.204 --> 25:19.401
And just pointing out the score in this, I mean,

25:19.754 --> 25:23.480
yeah, it's just so perfect. It's very Ghostbusters-y throughout a lot of this

25:23.769 --> 25:27.109
movie. Like, Yeah, it's a little goofier, but it has a lot of the same,

25:27.398 --> 25:31.236
a lot of the same energy. Um, the, uh, the waiting room that

25:31.736 --> 25:35.186
they're in is really Pee-wee's Playhouse, uh, coded.

25:35.314 --> 25:38.911
Absolutely. The shrunken head guy, um, all the different— the

25:38.943 --> 25:42.396
woman who was like clearly, uh, it was like a magician's assistant who actually got

25:42.896 --> 25:45.029
cut in half, and so her legs are sitting next to her torso. That's a

25:45.529 --> 25:49.123
great one. Uh, and their main guy Juno, she's a smoker and she

25:49.623 --> 25:52.495
has a fully slit throat, and you see it points like smoke coming out of

25:52.995 --> 25:55.516
this slit in her throat. So kind of cool there. There's a guy who's like

25:56.016 --> 25:59.341
fully black and burnt who's like smoking a cigarette, like offering a cigarette.

25:59.648 --> 26:03.082
So really, really fun puppet work. Trying to cut back myself. Yeah, a lot of

26:03.582 --> 26:07.027
great effects in this, both makeup, puppetry, uh, all kinds of cool stuff that we're

26:07.527 --> 26:09.941
seeing here. Um, and a lot of it comes back a few times during the

26:10.441 --> 26:13.090
movie. This waiting room shows up a few times, and it's always interesting to kind

26:13.590 --> 26:16.635
of see everything that's happening around it. Um, but yeah, so they get into— they,

26:16.910 --> 26:19.750
they actually get called and they have to head back to Juno's office. Um,

26:19.815 --> 26:21.938
before they get to Juno's office, they spot— they stop by, um, they see a

26:22.438 --> 26:25.809
room with these like ghostly figures just sort of like,

26:26.130 --> 26:29.146
you know, flying vertically kind of in this like room, like they're just stuck here.

26:29.595 --> 26:33.221
And there's a janitor there and he goes, "That's the lost souls room. When you

26:33.606 --> 26:37.295
get exorcised in the realm of the living, that's where you

26:37.795 --> 26:40.279
end up. You're not, you know, it's like death for the dead, but you're just

26:40.779 --> 26:44.097
stuck there," which sounds awful. When they actually get to what they think is

26:44.113 --> 26:47.947
Juno's office, they realize they've walked back into their home and

26:47.963 --> 26:51.476
another several months have passed. They've been waiting and it's months. They also

26:51.976 --> 26:54.219
learned, I think, either from here now or it's earlier when they were at the

26:54.719 --> 26:58.632
reception's desk, they find out that They're sentenced essentially, or like they have to spend

26:59.132 --> 27:02.531
125 years in their home. It's almost like part of their death

27:02.563 --> 27:05.660
was being assigned to haunt the house for 125 years,

27:06.013 --> 27:09.094
at which point I don't know if they go on to like something like heaven

27:09.143 --> 27:11.229
or something or what, but we don't really get into that. It's just, that's what

27:11.729 --> 27:14.984
they have to do. So time is passing relatively quickly, but you know, at this

27:15.484 --> 27:18.049
point it's all been redecorated. So all of Otho and Delia,

27:18.851 --> 27:21.708
yeah. All of their stuff is like in, so the sculptures that she made,

27:21.884 --> 27:25.516
all the weird, You know, the fireplace has been changed. All the walls are really

27:25.613 --> 27:29.244
dark. Everything's crazy modern, but in that like weird way where you never—

27:29.260 --> 27:32.277
In a way you make fun of it. Yes, exactly. In a very Tim Burton-y,

27:32.326 --> 27:35.395
like this is a play on what modern

27:35.895 --> 27:39.031
decorating looks like. And it's more a fantastically strange,

27:39.095 --> 27:42.144
you know, kind of thing. I would love to see what Tim Burton's house looks

27:42.644 --> 27:44.854
like. Oh, I— Just out of curiosity. I bet it's one of those like,

27:44.999 --> 27:48.307
you know, super standard metal and cement or glass and cement,

27:48.452 --> 27:51.033
like monstrosities in Hollywood Hills that has no personality whatsoever. Like, wouldn't that be interesting

27:51.533 --> 27:54.989
if like one of the most interesting filmmakers ever just had a boring-ass house,

27:55.085 --> 27:57.897
right? Right. Is that— or I could imagine him in like, you know, like a,

27:57.929 --> 28:01.898
like a 5-bedroom in Encino on a quarter acre where like it's wall-to-wall all of

28:02.398 --> 28:04.902
the stuff from his movies. It's just like everywhere. It's just full of stuff.

28:04.950 --> 28:08.485
Just full of stuff. Yeah, it looks like the Ripley's Believe It

28:08.985 --> 28:12.406
or Not Museum in there. Yeah, exactly. Everything from Pee-wee's on,

28:12.502 --> 28:14.977
like it's just, you know. Um,

28:15.491 --> 28:18.752
okay, so, uh, so the other thing that Juno was

28:18.865 --> 28:22.238
telling— so she's kind of telling him like how to haunt the house, whatever.

28:22.383 --> 28:25.739
I'm your caseworker. And she says, uh, don't— they bring up

28:25.771 --> 28:29.722
Beetlejuice and she's like, don't— like, don't even— first of all, don't say that.

28:30.027 --> 28:33.047
Don't work with this. This is not— he's not one of us. Yeah,

28:33.063 --> 28:35.584
yeah, he does not work well with others, as she says. Yeah. And so,

28:35.969 --> 28:39.792
so it's basically just like, like a no-go. Um, we cut then

28:39.904 --> 28:42.715
to— because they basically— they've been— they've decided, okay, well, we're just gonna try to

28:43.215 --> 28:45.204
get him out. We're gonna have to figure out how to do this. We cut

28:45.704 --> 28:49.108
to Charles on the phone. He's talking to Robert Goulet back in New

28:49.608 --> 28:52.363
York City, trying to convince him, his name is Max, trying to convince him to

28:52.831 --> 28:55.587
come out there and see the place, whatever, they've done all this work.

28:57.171 --> 28:59.719
And Robert's kind of like, "Yeah, I don't really wanna do that.

29:00.879 --> 29:03.781
Okay, bye." And it's like, but when he hangs up the phone, he literally calls

29:04.281 --> 29:05.845
him a putz. And I always think it's funny the way he hangs up as

29:05.958 --> 29:09.675
putz. He hates Charles. He clearly does not want

29:10.175 --> 29:13.531
anything to do with him. And yet, he's always talking to him. Um, yeah,

29:13.901 --> 29:16.584
so we get, uh, we get Beetlejuice for a second,

29:16.922 --> 29:20.055
um, inside the model. He's like luring a fly with

29:20.088 --> 29:23.857
a Zagnut bar, which is funny. I like seeing like retired candy bars. I don't

29:24.357 --> 29:26.217
think you can get a Zagnut now. I don't think I ever had a Zagnut.

29:26.281 --> 29:29.708
I think my only familiarity with Zagnut as a candy was this

29:30.646 --> 29:34.261
movie. I think it was like a deep cut Halloween sometimes,

29:34.294 --> 29:37.774
maybe. But, uh, yeah, it's right up there with Bit-O-Honey where it's like,

29:37.920 --> 29:40.202
where would you even go to get that? I think it just— that is actually

29:40.702 --> 29:43.539
at CVS. That's at CVS all the time. But I've never eaten it. But the

29:44.039 --> 29:46.235
other one that I always do that is in the movie Half Baked. Dave Chappelle

29:46.299 --> 29:49.460
is in— Abba Zabba. I never had an Abba Zabba bar either.

29:49.573 --> 29:52.863
Abba Zabba, you're my only friend. Hell yeah.

29:53.248 --> 29:56.971
But anyway, so now there's like a knock at Charles' door

29:57.581 --> 30:02.154
and he opens it and it's a sheet as tall as him that

30:02.654 --> 30:06.230
he immediately says, Lydia, what are you doing? Lydia is like 5-foot-tall.

30:06.808 --> 30:10.659
Charles is like 6-foot-1. This is clearly Alec Baldwin or Geena Davis,

30:10.675 --> 30:13.848
who are both around 6 feet, under a sheet. 8 feet. Why would he think

30:14.348 --> 30:17.971
his daughter was levitating 2 feet off the ground? It's crazy.

30:18.020 --> 30:21.205
Just a dad who doesn't pay any attention to his kids, I guess. That's fair.

30:21.512 --> 30:24.612
Even though it's hard to believe that actor not paying attention to kids. Uh,

30:24.822 --> 30:28.357
frightening. Yeah, so they have the sheets with the eye holes cut out, classic like,

30:28.518 --> 30:32.294
uh, Charlie Brown style, and they're talking about how those are $300 sheets. That's right,

30:32.310 --> 30:35.676
designer sheets. Yeah. Uh, but, and they're making

30:35.709 --> 30:39.783
these ghost moans and stuff, and it's doing nothing to Charles

30:39.815 --> 30:43.618
and Delia. They're just like, get out of here, right? Delia's asleep, she's not really

30:44.035 --> 30:47.822
paying attention, but Lydia snaps a couple photos with her Polaroid.

30:48.367 --> 30:52.203
This was making me anxious watching it because that was like $30 in Polaroid

30:52.235 --> 30:55.861
film in like 30 seconds. Also, I know Polaroids developed fast,

30:55.925 --> 30:58.798
but never— I don't remember them flying out. I, I don't know that you could

30:59.298 --> 31:01.927
take pictures that fast with them, could you? Like, that was wild. Picture comes out

31:02.427 --> 31:04.735
and it takes a little while to develop, but it did look like they were

31:05.235 --> 31:08.939
coming out developed. You didn't see any Andre 3000 shaking it, you know? Good call.

31:08.987 --> 31:11.889
I was gonna give a shake it like a Polaroid picture. But yeah, so she

31:12.389 --> 31:14.181
takes a bunch of pictures and then realizes when she starts looking at them,

31:14.518 --> 31:18.237
'cause she thinks that it's like, you know, Charles and Delia

31:18.285 --> 31:20.626
having sex with each other is what they, 'cause she can hear the moaning and

31:21.126 --> 31:25.179
the wailing. And she thinks it's them. And they come out of Delia's

31:25.259 --> 31:28.738
room where she's asleep, where she had like clearly heard

31:28.787 --> 31:31.849
the moaning, but thought it was the TV, got up and, you know, was still

31:32.349 --> 31:35.424
asleep basically, turned the TV off and went back to sleep. And it was wrestling.

31:35.520 --> 31:39.089
We came so close to boxing on TV. Um, but,

31:39.251 --> 31:42.457
uh, but yeah, so then Lydia, you know, is like, realizes there are no feet

31:42.667 --> 31:45.727
in the pictures, like under the sheets, and asks them like, you know, what are

31:46.227 --> 31:48.197
you guys doing? You know, and she's like, we're trying to scare your— you know,

31:48.213 --> 31:51.360
they admit like, we're ghosts, like whatever, we're trying to scare your mother and father

31:51.860 --> 31:55.056
away. And she corrects them, stepmother, for one thing. Um, but she says, well,

31:55.072 --> 31:57.752
you know, you're not gonna wake her up, she's sleeping with Prince Valium tonight.

31:57.817 --> 32:01.564
Yeah, I like the line because that's the actual name of the character

32:01.596 --> 32:05.638
that Prince— that, uh, Princess Vespa is supposed to marry in Spaceballs is Prince

32:05.857 --> 32:07.810
Valium. Oh, because he's always falling asleep.

32:09.012 --> 32:12.569
Yeah. So I think they're—

32:12.585 --> 32:16.174
they've decided that we're gonna try to get Beetlejuice. Beetlejuice time.

32:16.366 --> 32:18.834
I mean, we got to get these fucking people out of the house. Yeah.

32:19.186 --> 32:22.695
So they say his name 3 times, right? And that

32:23.195 --> 32:26.557
kind of teleports them inside the model, which is interesting. Instead of bringing him to

32:26.605 --> 32:30.210
them, it brings them into where he is, which we're led

32:30.710 --> 32:33.254
to believe he is trapped in. So why hasn't this released him, the fact that

32:33.754 --> 32:36.111
they even said his name? Yeah, should have been good enough. But anyway, we get,

32:36.240 --> 32:38.874
we get a real intro to Beetlejuice. This is a great scene of,

32:39.292 --> 32:42.649
of Michael Keaton really hamming it up. You know, a few things that I just

32:43.149 --> 32:44.850
want to point out that I learned and kind of did a little research for

32:45.350 --> 32:47.709
this. One, a lot of these lines ad-libbed. A lot of this stuff was just

32:47.725 --> 32:50.858
Keaton cooking and just, you know, hey, you know, this is the gist, but do

32:51.358 --> 32:54.070
whatever. So a lot of these little asides and things when he like hawks a

32:54.570 --> 32:56.817
loogie, spits it into his jacket and goes, I'll save that guy for later.

32:57.026 --> 32:59.998
That was a Keaton ad-lib, you know, things like that. And the makeup was almost

33:00.498 --> 33:03.465
entirely his idea. The mold on his face. The way his hair looked was all

33:03.497 --> 33:05.876
from Keaton to the makeup artist. Hey, make it look like this. Hey, make it

33:06.376 --> 33:08.757
look like this. And when Burton saw him, it was like, yeah, no notes.

33:09.000 --> 33:12.375
Let's do this. Like, I mean, it was really very much Keaton. Like, Keaton bought

33:12.875 --> 33:15.772
into this movie so heavily. When he originally read the script, apparently he was not

33:16.272 --> 33:19.459
interested. He didn't get it, which is funny because we learned that about— oh

33:19.959 --> 33:22.585
God, I can't remember now. There's another movie that Keaton would have gone in,

33:22.617 --> 33:25.197
but didn't get it. And he didn't end up doing it and then ended up

33:25.697 --> 33:28.211
regretting it. A movie we covered. I can't remember. I can't— I can't believe I

33:28.260 --> 33:30.989
can't remember it now, but I can't. But anyway, in retrospect, this is one of

33:31.489 --> 33:34.211
Keaton's favorite movies that he's done of his— of his career. Of his own,

33:34.709 --> 33:37.776
um, and he ended up just buying into the whole thing hook, line, and sinker

33:38.276 --> 33:40.988
and really giving it his all. And it's one of his best performances. It's really

33:41.488 --> 33:45.501
incredible. He is like, uh, he has channeled like Robin Williams,

33:45.565 --> 33:48.778
Jim Carrey, like all that kind of manic energy. Yep.

33:49.243 --> 33:53.098
Um, in this, like Beetlejuice, to me he's almost

33:53.598 --> 33:57.322
like a cross between, uh, Freddy Krueger, the Heath Ledger Joker,

33:57.434 --> 34:01.593
and like Ace Ventura or something. That works because he's got like fun energy,

34:01.786 --> 34:05.045
but he's like, can make himself into weird shit, but he still

34:05.077 --> 34:08.369
has the same patterns, you know, like Freddy Krueger. And also kind of

34:08.869 --> 34:12.302
like, was it, uh, was it Little Monsters? Howie Mandel, uh, and, and Fred

34:12.802 --> 34:15.722
Savage. Did you see that one? Oh, I haven't seen that one. Howie Mandel plays

34:15.754 --> 34:19.013
this like monster in another movie. I think it's called Little Monsters, uh, but it's

34:19.029 --> 34:22.160
very much similar to this as well. Yeah, um, we'll have to get to that

34:22.660 --> 34:25.869
one someday. But it is great. It's great to know that he improvised a lot

34:26.369 --> 34:29.163
of this stuff because because it is just like, that had to have happened in

34:29.195 --> 34:33.141
a flow. Like, there's not a right way to say, hey, oh, one second,

34:33.222 --> 34:36.889
hey, I actually went to Juilliard, you know, like all that shit that he does.

34:37.034 --> 34:40.125
Really good. Um, yeah, so, so they ask him

34:40.173 --> 34:44.086
for, uh, his qualifications and stuff, and they ask him, can you

34:44.102 --> 34:47.843
be scary? Right? And he's like, I could be scary. And the— we're

34:47.908 --> 34:51.703
seeing the back of Beetlejuice's head as he's making this scary face

34:52.203 --> 34:55.333
that's just, you know, the scariest imaginable. They're screaming. Like, it's definitely— and we see

34:55.833 --> 34:58.909
like, like either tentacles or snake heads or something is coming coming to

34:59.409 --> 35:02.489
the side. Yeah, we know it's something active and scared. We don't actually see

35:02.989 --> 35:05.058
it, you know, that's just for Adam and Barbara to freak out about. But they

35:05.558 --> 35:09.634
kind of decide maybe this isn't a good idea, we don't want him to participate,

35:09.714 --> 35:13.086
maybe we're gonna change our minds. And so they like leave the model or whatever,

35:13.102 --> 35:16.409
right? Yeah. And he's pissed, he's super mad about it. And this

35:16.909 --> 35:18.850
is when he would— we get the one F-bomb dropped in the movie, goes,

35:19.059 --> 35:22.173
nice fucking model. Oh, not only that,

35:22.495 --> 35:25.850
so he kicks the tree over, he goes, oh, nice fucking model,

35:25.866 --> 35:29.364
and then he grabs his crotch and it goes goes, and it like honks his—

35:29.716 --> 35:32.923
honks his dick. Uh, like when I was a

35:33.423 --> 35:36.932
kid, I would— look, thank you to the gift that the MPAA

35:37.432 --> 35:40.603
gave us by letting this slide through on a PG movie, because that gave me

35:40.683 --> 35:43.746
endless delight as a kid that this was in the movie. Um,

35:43.762 --> 35:47.482
because I remember seeing that and just losing my mind. My 5-year-old

35:47.738 --> 35:51.378
niece has watched this movie, and she has certainly repeated that.

35:51.506 --> 35:55.034
And then she said, Daddy, he says nice fucking model, and then he

35:55.534 --> 35:58.833
grabs his penis. Which is just

35:59.333 --> 36:01.992
so fucking funny. From the mouths of babes.

36:02.569 --> 36:05.520
Really, really good. And it's funny that they left that in because there's not really

36:05.776 --> 36:08.967
a whole lot, uh, language-wise objectionable in the rest of the movie.

36:09.047 --> 36:12.478
They're not sneaking in a bunch of bitches and asses. No, they're cashing

36:12.526 --> 36:15.380
in all their chips on the one F-bomb, and I'm glad they did. Yeah,

36:15.492 --> 36:18.731
I mean, it's very much like— I mean, even a little, uh, less close to

36:18.763 --> 36:21.713
the line than Spaceballs, which actually had the word shit show up a few times

36:21.986 --> 36:24.519
before fuck, even in the future nothing works at the end of that movie.

36:24.973 --> 36:27.611
But yeah, I do love a good, there's like 4 or 5, really it's a

36:28.111 --> 36:30.926
very small number, but there's like 4 or 5 PG movies from the era that

36:31.151 --> 36:34.767
feature a single well-placed F-bomb. Caddyshack 2 definitely

36:34.783 --> 36:37.964
has one as well. But yeah, so, you know,

36:38.140 --> 36:41.177
in the sort of like, in that era where PG-13 existed as a possibility,

36:41.209 --> 36:44.492
that's sort of what I'm thinking about. PGs post the PG-13 being created

36:44.992 --> 36:47.937
that have F-bombs are very rare, but there are like 4 of them. Those brave

36:48.437 --> 36:51.982
PG-13. Yeah, exactly. Well, certainly these days, you put a single F-bomb in a movie

36:52.016 --> 36:55.460
and that's the only swear word, You're still PG-13 at a minimum. Like, so,

36:56.023 --> 36:59.742
um, but yeah, so now we have, uh, Delia and Charles are hosting a

37:00.242 --> 37:03.980
dinner party. They've invited over— so there's Otho, uh, who is apparently staying

37:04.012 --> 37:07.086
with them, I guess, because he's there all the time. Um, and then another woman

37:07.586 --> 37:10.338
that they kind of seem like they're together, both those date, but then I think

37:10.386 --> 37:13.746
she left on her own without him after that. With Dick Cavett and his wife.

37:13.875 --> 37:16.341
Like, I don't know who these people also are. They're like financiers or something.

37:16.922 --> 37:20.332
Um, and— or no, it's his— or he is Delia's— uh, Dick Cavett's character.

37:20.580 --> 37:23.846
He's the art manager agent. Yeah. And he says he's never ever

37:24.346 --> 37:26.638
made money on Delia's art because it's all terrible. Delia,

37:26.734 --> 37:30.345
it's not terrible in that I tried to make this look like

37:30.845 --> 37:33.265
a horse and it doesn't really look like a horse. It's terrible in the sense

37:33.313 --> 37:36.876
it looks like a close-up like Ren and Stimpy hairball.

37:37.389 --> 37:40.663
Like it just, it all looks gross and it doesn't look like anything.

37:40.775 --> 37:43.712
And it doesn't look like there was a lot of skill applied. Like, you know

37:44.212 --> 37:46.600
what I mean? It very much looks like the stuff that a preschooler makes playing

37:46.616 --> 37:48.959
with clay, you know, where they can throw it in a kiln for them and

37:49.459 --> 37:52.492
now you've got an ashtray. It looks like that kind of thing, and it's very

37:52.992 --> 37:56.107
bad. But the dinner party scene is hilarious. This is when Otho mentions

37:56.607 --> 37:59.080
that people who commit suicide become civil servants, which is again, super funny, 'cause we

37:59.580 --> 38:03.064
saw that. And then Charles, his toast

38:03.643 --> 38:07.483
is, "Make all your buildings go condo." Which I think is hilarious,

38:07.499 --> 38:10.744
'cause it implies so much, right? That first of all, this is pre

38:10.873 --> 38:14.150
the big condo boom, right? Of the kind of late '80s and into the '90s,

38:14.183 --> 38:17.601
where lots of apartment buildings did start going condo. But it also implies that

38:17.617 --> 38:20.710
the friends of his who have expensive apartments would be able to afford to buy

38:20.902 --> 38:24.107
their apartment if allowed to, right? These are people with money that if

38:24.607 --> 38:27.681
they could, if their apartment, if their buildings went condo, they could buy their apartment.

38:27.729 --> 38:29.620
This is how I interpret it. I don't know, maybe I'm missing a thing.

38:29.716 --> 38:33.241
Yeah, I was thinking he was seeing them as like real

38:33.257 --> 38:37.311
estate developers, like, may you turn this worthless warehouse that you own

38:37.343 --> 38:40.404
into a bunch of condos. Oh, okay. But maybe that's more from like

38:40.708 --> 38:44.120
a 2000s vibe. Maybe. But, but yeah,

38:44.169 --> 38:47.468
it's really funny that he said that. And it might just be intentional nonsense of

38:47.565 --> 38:51.156
Tim Burton just being like, dude, all the people I can't fucking

38:51.221 --> 38:54.587
stand right now are talking about condos all the time, so I gotta

38:55.087 --> 38:58.381
make fun of that. How can I make this character more insufferable? Yeah, let's make

38:58.881 --> 39:02.666
him a huge fan of buildings turning into condos. That actually sucks. And they're

39:02.715 --> 39:05.878
eating this— they have their dinner in front of them and it looks

39:06.378 --> 39:09.969
like a futuristic shrimp cocktail or something. It's very odd. Yeah.

39:10.019 --> 39:13.286
And Lydia's there and she's like, hey, I saw some ghosts. Like, she's trying

39:13.318 --> 39:16.270
to tell them and they're just like, hey, you know, shut your ass up.

39:16.912 --> 39:19.607
Um, so at a point in the dinner,

39:20.056 --> 39:24.966
I think it's, uh, it's Delia, Catherine O'Hara, who first starts.

39:26.875 --> 39:29.762
And this is one of two major set pieces in the movie featuring a Harry

39:30.262 --> 39:33.549
Belafonte song. There are actually four Harry Belafonte performances on the soundtrack because

39:34.049 --> 39:35.779
there's a couple times early in the movie we didn't mention it talking through,

39:35.795 --> 39:39.066
but when, um when Adam and Barbara are still alive, that they're listening to Harry

39:39.566 --> 39:42.945
Belafonte on like a record player or something. Other songs that he did, but this

39:42.977 --> 39:46.423
one, the Banana Boat Song, and then later Jump in the Line right

39:46.923 --> 39:48.539
at the very end of the movie. But yes, this is a big Harry Belafonte

39:49.039 --> 39:51.216
scene, and it's like most of the song, and we've talked a lot about doing

39:51.232 --> 39:54.742
the whole song and stuff, but it's a hilarious like dance number. It builds

39:54.774 --> 39:58.814
so nicely because you get such a range of

39:59.086 --> 40:01.923
emotions from the characters, you know, where they're first just like,

40:02.468 --> 40:05.802
what is this crazy person doing? Oh my God, what am I doing?

40:05.914 --> 40:09.023
What's happening to me? To this is the most fun I've ever had

40:09.523 --> 40:12.885
in my life. They're loving it. And unfortunately it is Adam and Barbara trying to

40:13.385 --> 40:16.362
scare them. The one scary part that does happen is when the shrimp reach up

40:16.410 --> 40:19.839
and grab them, their arms or whatever. Like that was wildly frightening.

40:19.935 --> 40:22.259
Even like this time watching it through, I kind of forgot that. I remember the

40:22.759 --> 40:25.720
dancing and the marionette sort of stuff and how funny that is. I forgot about

40:26.220 --> 40:28.829
the shrimp jumping up to grab their faces. Oh my God. Yeah. They turn into

40:29.329 --> 40:33.014
these like monster mitts. It looks a lot like when Dana, you know, Dana Gordon

40:33.031 --> 40:36.981
gets attacked— not Dana Gordon, that's freaking Entourage— in Ghostbusters when

40:37.046 --> 40:40.767
Dana gets grabbed on her, uh, chair. Yes, all the different

40:41.267 --> 40:44.374
arms. Totally felt a lot like that. Um, but yeah, so they're,

40:44.390 --> 40:46.773
they're going, and Adam and Barbara are like celebrating. They're like, oh, we got them!

40:46.950 --> 40:49.062
They're gonna run, dude. And they literally go, let's look out the window, they're gonna

40:49.562 --> 40:52.856
start running out of the house because they're so terrified. And they don't. And we

40:53.356 --> 40:55.374
cut back down to them and they are all— yeah, they are, they're giddy,

40:55.519 --> 40:58.541
they love it. Oh, they love it. They're also trying to find the angle,

40:58.558 --> 41:01.364
like like, hey, I think we can make some money off this. From the jump,

41:01.412 --> 41:04.193
Charles is like, this is an amusement park, this is gonna be amazing. And it's

41:04.693 --> 41:07.475
like, dude, this is your sanctuary. All you've been talking about is how you want

41:07.975 --> 41:10.152
to go somewhere for peace and quiet, and now you want to make your house

41:10.652 --> 41:14.019
into this nightmare tourist trap? Well, now he sees dollar dollar bills, y'all.

41:14.180 --> 41:18.622
Crazy. Um, so they tell Lydia, because they

41:19.122 --> 41:22.614
finally believe Lydia, right? And they're like, go upstairs and get them. Yeah.

41:22.695 --> 41:25.880
And she comes down, she's like, no, They won't come down. Um,

41:26.233 --> 41:28.804
I think they feel bad because you didn't get scared. Yeah, they were trying to

41:29.304 --> 41:32.338
scare you and it didn't work. And then Delia says, they're dead, it's a little

41:32.838 --> 41:35.648
late to be neurotic. It's a great line. Yeah, she's fantastic.

41:36.516 --> 41:38.604
Oh my God. But this is when— so they all decide to go up to

41:39.104 --> 41:41.480
the attic to try to like confront them or like whatever. I think this is

41:41.512 --> 41:44.622
when the— uh, maybe it's on their way back down because they don't find anything.

41:44.719 --> 41:47.671
Oh yeah, because they go up, they don't find anything. Uh, we learned that Adam

41:48.171 --> 41:50.785
and Barbara are hiding by hanging out the window. Yes, right, so that they can't

41:50.801 --> 41:53.845
be seen at all, or like a to the room, but Otho finds

41:53.877 --> 41:56.941
the Handbook for the Recently Deceased and he takes it with them.

41:57.407 --> 42:01.193
As they all start heading back down the stairs, the stair banister turns into

42:01.693 --> 42:05.075
a snake and it's Beetlejuice. It's his head. It kind of attacks them. He pushes

42:05.091 --> 42:08.781
Otho down the stairs. He literally drops Charles from like, this is the second

42:09.281 --> 42:12.471
floor down to a very hard surface. Apparently doesn't

42:12.648 --> 42:16.322
hurt him significantly, but it's like, you know, he really starts attacking. And I

42:16.822 --> 42:20.056
think this is, they, they, get him away. Do they get— do they

42:20.556 --> 42:23.887
just— does Barbara say Beetlejuice? Beetlejuice? Beetlejuice? Yeah, yeah, she says his name 3 times

42:23.919 --> 42:26.898
and it puts him back into the model and stuff. And he's down in the

42:27.398 --> 42:29.635
model. This is kind of cool. This is the only time it shows him like

42:29.860 --> 42:33.289
relative to a full-size person when he's shrunk down. Yeah, he's yelling at her

42:33.498 --> 42:36.799
and she goes to like pick him up. Yeah, but then these spikes

42:37.299 --> 42:40.022
come out of him, you know. She's like, ow, drops him down there. Uh,

42:40.167 --> 42:43.390
he gets stuck in the like, you know, the plastic sort of ground that represents

42:43.890 --> 42:46.915
the grass. Yeah. Gets stuck to it pretty bad. But this is when he's like,

42:47.222 --> 42:50.100
you know, realizes there's now a new building there in town.

42:50.455 --> 42:53.753
It's Dante's Inferno room. Girls, girls, girls, nude,

42:53.769 --> 42:57.059
this and that, whatever. So he heads on over there and Adam and Barbara's

42:57.559 --> 42:59.407
like, Adam, why did you build that in the mall? He's like, I didn't put

42:59.907 --> 43:03.524
that there. And they are basically summoned back to Juno who

43:03.929 --> 43:07.279
tells them, yeah, that was my idea. I needed to distract him. Like, you know.

43:09.220 --> 43:12.490
Yeah. And she's pissed, you know, she's like, like, you know,

43:13.052 --> 43:15.750
you shouldn't be working with the— I told you to not work with this guy.

43:15.862 --> 43:18.705
And why haven't you scared these people away yet? Yeah, yeah, you know, you gotta

43:18.753 --> 43:21.788
work on this. How are you gonna scare them? And they both work on making

43:21.820 --> 43:25.497
their scary faces. And, uh, it looks— you remember

43:25.997 --> 43:29.062
that Spy vs. Spy, like, bad magazine? Yep. They kind of made their

43:29.110 --> 43:32.177
faces into those, like, long plague masks, right?

43:32.482 --> 43:35.324
Yeah. And, uh, yeah, Adam has this very long, pointy, like,

43:35.533 --> 43:39.524
crow head kind of looking face. He sticks his hand so far the back

43:39.589 --> 43:42.350
of his head that his fingers stick up like a, like a coxcomb at the

43:42.850 --> 43:45.322
back of his head as well. It's very interesting. Look, really great stuff. Good,

43:45.419 --> 43:48.641
uh, good makeup effects here for sure. Um,

43:49.464 --> 43:53.321
all right, so Lydia, uh, now encounters—

43:54.160 --> 43:57.162
well, she's writing, she's writing a suicide note. She's gonna commit suicide. She writes a

43:57.662 --> 44:00.447
note about like, I am totally alone, like all the— utterly alone. And he starts,

44:00.511 --> 44:02.959
and you know, if you— when— after you read that, by the time you read

44:03.459 --> 44:06.410
this, I'll have leapt from the whatever bridge, basically the same bridge that, that,

44:06.474 --> 44:08.288
uh, Adam and Barbara died falling off of. She's gonna go do that, but she

44:08.305 --> 44:11.078
wants to go tell them first, I'm coming to join you.

44:11.687 --> 44:14.155
Well, she goes up there and they're not there because they're talking to Juno.

44:14.203 --> 44:17.504
They're in the afterlife, like, you know, offices or whatever. So this is when,

44:17.536 --> 44:20.180
yeah, she encounters Beetlejuice down in the model.

44:21.302 --> 44:24.667
And I believe this is when she's about to say— she

44:25.167 --> 44:28.513
says Beetlejuice twice, then Adam and Barbara come in. And before— and she says Beetle,

44:28.529 --> 44:31.894
but before she can finish it, Barbara stops her and explains, like, no, no,

44:31.975 --> 44:34.090
this isn't cool. And she's like, but I'm gonna join you, and all this stuff.

44:34.138 --> 44:37.356
And they talk her out of the suicide, basically. And they're just like,

44:37.372 --> 44:40.208
you know, no, you don't understand. This doesn't make things easier. This is harder than

44:40.708 --> 44:43.504
even living. You need to like live your life. And this I think is when

44:44.004 --> 44:47.119
we cut to like Otho is gonna do a séance. So Robert Goulet has come

44:47.619 --> 44:51.682
visit. They're gonna do this. Oh no, that's right. They take the model downstairs

44:52.182 --> 44:54.711
and they're trying to do like a presentation about how they're gonna do the whole

44:54.823 --> 44:57.855
town. Right? It's something like that. And like, this is gonna be a whole thing

44:57.904 --> 45:00.549
and like all this stuff. And Robert Goulet's not impressed 'cause he hasn't seen the

45:01.049 --> 45:03.291
ghosts. And he's like, so far you got me, you show me nothing. Nothing,

45:03.307 --> 45:06.154
right? Like, if I don't see some ghosts, like, what's the point? During the presentation,

45:06.202 --> 45:09.837
they mentioned that, uh, we're gonna have the same person involved who brought everyone the

45:09.917 --> 45:13.799
talking Marcel Marceau statue, which is a famous mime.

45:13.928 --> 45:17.261
Fire joke then, now I don't know. He's probably fallen

45:17.293 --> 45:20.900
off a bit. I don't know what his TikTok numbers are like. Yeah, no,

45:20.948 --> 45:23.899
no, you'd have to find a new mime, I think, to really make that joke

45:24.399 --> 45:27.888
now. But, uh, but yeah, no, very funny. Um, and so, but you know,

45:28.195 --> 45:30.913
it's come down to like, you know, this isn't gonna work if we don't see

45:31.413 --> 45:34.253
the ghosts, and they're not gonna come down. So Otho's got a plan, and Otho's

45:34.285 --> 45:37.319
like, he's gonna do a séance, and he's basically gonna whatever. And he's been reading

45:37.415 --> 45:40.622
through the book, and he starts, he reads this poem. It's actually a poem.

45:40.670 --> 45:42.667
It's not something that was made up for the movie. It's a poem. I don't

45:43.167 --> 45:45.420
know what it is. But anyway, why would it even be in the handbook?

45:45.484 --> 45:49.497
Why does the handbook, or are we to believe this is Otho's knowledge he's

45:49.562 --> 45:51.885
bringing on his own? 'Cause it seemed like he got it out of the handbook,

45:51.901 --> 45:55.434
but why would there be an incantation like this in

45:55.934 --> 45:57.962
the Handbook for the Recently Deceased? It doesn't make any sense. [Speaker] That book is

45:58.062 --> 46:01.099
weird 'cause it seems like just shows you whatever it is you need at

46:01.599 --> 46:04.850
that time. Like, it's not even like, uh, just open it to

46:04.866 --> 46:07.527
the middle and it'll be the thing that you need to do. But yeah,

46:07.559 --> 46:11.214
that's a very good point. It was just a bit strange. And, uh, and the

46:11.714 --> 46:14.709
thing with the séance is I guess he needs their wedding clothes. Their clothes from

46:14.725 --> 46:18.236
their wedding are laid out there so that, you know, they'll theoretically

46:18.572 --> 46:21.922
appear in there. And they do. Yep, it works. Otho's amazing.

46:22.035 --> 46:26.683
He could— and yeah, and Barbara comes first and she's,

46:26.924 --> 46:30.418
you know, she fills up the wedding dress and whatever but immediately starts decaying.

46:30.691 --> 46:33.388
Yeah, Because it's like now she's actually being brought back into the world of living

46:33.420 --> 46:36.888
where she is sitting in a grave having died months ago

46:37.032 --> 46:40.468
and is decomposing. So that's kind of happening to her now. And Lydia,

46:40.484 --> 46:44.787
in desperation, goes to get Beetlejuice to help stop this basically.

46:45.140 --> 46:48.399
And he tells her, well, I want out for good. And apparently,

46:48.752 --> 46:51.980
whether he's making this up or not, so, uh, you gotta marry me. Yeah,

46:52.028 --> 46:54.147
right. So he needs a green card to the land of the living. So he

46:54.647 --> 46:55.881
has to get out. So she has to say his name so he gets out,

46:55.897 --> 46:58.305
but then she has to agree to marry him. Them in order to make this

46:58.805 --> 47:00.681
permanent. And then he says he'll help them, which of course he has no intention

47:00.729 --> 47:04.004
of doing. But she goes ahead and says, you know, Beetlejuice, Beetlejuice, Beetlejuice. And this

47:04.504 --> 47:08.130
is when, you know, a great, really quick two words, but him saying, "It's showtime."

47:08.194 --> 47:11.388
You know, such a classic Beetlejuice moment. Built for the

47:11.888 --> 47:15.402
trailer. Yeah, there you go. That line. And he comes up through

47:15.902 --> 47:19.078
the model, basically breaking the model apart with these big, his arms are all curled

47:19.578 --> 47:22.850
up. He's got this crazy carousel-like hat on. On top of which, by the way,

47:22.931 --> 47:26.013
is the Jack Skellington sort of, symbol, the thing that looks like

47:26.061 --> 47:29.144
Jack Skellington very much with the little like the skull with the little like,

47:29.224 --> 47:32.404
uh, looks like sewn mouth and the big black eyes. It looks,

47:32.484 --> 47:35.470
it's gonna turn, you know, that symbol comes back. Apparently it's something Tim Burton had

47:35.970 --> 47:39.292
been drawing for a long time before he really envisioned all of Nightmare Before Christmas.

47:39.790 --> 47:42.760
Um, so a little, a little element there, which is fun. And Beetlejuice's hat,

47:42.776 --> 47:46.132
I'm pretty sure that, uh, we saw the Daryl Hannah character wearing that in

47:46.632 --> 47:49.697
Wall Street at some point. Black and white stripes or whatever.

47:50.707 --> 47:53.975
Uh, yeah, so he, he turns like he morphs.

47:54.152 --> 47:57.933
This is very Freddy Krueger-ish here where these like rolls come out that

47:58.433 --> 48:00.657
are supposed to be like his legs or arms, and then it turns into one

48:01.157 --> 48:04.214
of those test your strength things that you hit with the big mallet and it'll

48:04.262 --> 48:07.419
tell you how, how strong you are, which is a cool effect. Yeah. And that

48:07.547 --> 48:10.912
blasts Goulet and the other person out of there, right? And they're just gone.

48:10.960 --> 48:12.467
I think we see them again for the rest of the movie. They're just gone.

48:12.515 --> 48:16.120
They just get launched somewhere into space. Uh, Otho's fate

48:16.620 --> 48:20.170
I think is funny is that Beetlejuice changes his like very, you know,

48:20.396 --> 48:23.966
nice and carefully picked out clothing into like a polyester suit,

48:24.015 --> 48:29.136
like a leisure suit, which is like something that, uh, like Kevin Arnold's

48:29.636 --> 48:30.496
dad in The Wonder Years would wear to a wedding or something like that.

48:30.884 --> 48:34.200
Um, yeah, so that's funny that that's like his own personal

48:34.700 --> 48:37.398
hell is being trapped. It looks like Cousin Eddie from The First Vacation movie for

48:37.431 --> 48:40.973
sure. Yeah. Um, and then the,

48:41.134 --> 48:44.982
uh, the sculptures start to come alive. He brings a couple of Delia's

48:45.046 --> 48:47.188
sculptures come alive and kind of, and kind of grab and capture Delia and Charles.

48:47.239 --> 48:50.891
So So, you know, there's one that has like big kind

48:51.391 --> 48:54.406
of, uh, they look like teeth, almost like a Venus flytrap kind of look.

48:54.678 --> 48:57.374
And they wrap around Delia, holding her and holding her mouth closed.

48:57.792 --> 49:01.803
And then every time somebody tries to say Beetlejuice, Beetlejuice, Beetlejuice, he's able

49:02.303 --> 49:05.366
to like, you know, knock them away. Or like he makes a, you know,

49:05.735 --> 49:09.185
Barbara gets one Beetlejuice out and he turns her mouth into a zipper.

49:09.426 --> 49:12.523
Yes. I love that effect. And then she unzips it and says Beetlejuice again.

49:12.571 --> 49:15.331
So now it's whatever. But then he puts like, he like gets a metal plate.

49:15.460 --> 49:18.291
It looks like, uh, I remember the COVID of like, I think it was a,

49:18.534 --> 49:21.918
it was either a Dick novel or somebody like that that was like, I have

49:21.934 --> 49:25.019
no mouth and I must scream. I can't remember which of the like cyber sort

49:25.519 --> 49:28.407
of futurist novel authors wrote it, but it was like the COVID of it was

49:28.907 --> 49:31.424
always this guy with no mouth or like The Matrix, right? There's a moment like,

49:31.456 --> 49:36.425
how will you scream, Mr. Anderson, if you don't have a mouth? Like that

49:36.925 --> 49:37.268
kind of thing. But yeah, so it's like all this stuff is going on.

49:37.317 --> 49:40.953
Those effects are awesome. Yeah. Yeah, the zipper turning into

49:40.986 --> 49:44.756
the metal plate. Super cool. The wedding is being officiated

49:44.788 --> 49:48.110
by some very odd-looking— this

49:48.222 --> 49:51.994
is where the movie looks like an alien almost. Like, this would

49:52.494 --> 49:55.380
be a weird movie to watch if you took some kind of hallucinogen that took

49:55.880 --> 49:59.729
an hour to kick in, because you'd really like

50:00.229 --> 50:03.966
start to be like, whoa. Um, yeah, so there's this little alien guy

50:04.271 --> 50:07.865
who's, who's officiating the wedding. So, um, now Adam

50:08.042 --> 50:11.508
is trying to, uh —well, he got like strong. He got like strong. He's in

50:12.008 --> 50:14.945
the model. He's in that little truck. Yes, he's got— now he's driving it across

50:15.075 --> 50:17.685
the floor like Stuart Little. That's right. And, uh,

50:18.301 --> 50:21.459
he manages to crash into Beetlejuice's foot right

50:21.959 --> 50:24.760
as, you know, the wedding's about to be finalized. And it's weird because they've,

50:24.825 --> 50:28.145
they've both said I do, although Beetlejuice said it for Lydia in her voice,

50:28.210 --> 50:31.096
right? Yeah. But like, we're only waiting for the man and wife, you know,

50:31.128 --> 50:33.916
kind of moment, which is like, they've already got a ring. Like, technically this would

50:33.965 --> 50:37.852
be done. And whatever, like like, you know, venue that this was like authorized

50:38.352 --> 50:40.801
under, you know, under which auspices. Like, it would be done at this point,

50:41.522 --> 50:44.694
whatever that means. Um, but yeah, the wedding, he keeps trying to do it.

50:45.047 --> 50:48.636
Barb gets teleported by Beetlejuice back to Sandworm Town, whatever the

50:48.652 --> 50:51.393
outside realm is. And you're kind of like, gosh, I want to get in.

50:51.441 --> 50:54.261
A sandworm is coming for her, so it's like a little scary. But the next

50:54.761 --> 50:58.059
time we see her is her and the sandworm busting in like through the wall

50:58.203 --> 51:01.638
by the fireplace. And the sand— she like jumps off and the sandworm just

51:02.138 --> 51:05.865
eats Beetlejuice basically. Just like, that was quick. Like, it did,

51:06.074 --> 51:09.333
uh, this whole thing did like come to a head very, very fast.

51:09.382 --> 51:12.353
Yes. Uh, and it is funny talking about it because like, oh, that was probably

51:12.563 --> 51:15.684
6, 7 minutes of actual movie that just tied

51:16.184 --> 51:19.887
everything up. Um, yeah, the sandworm— the sandworm takes

51:20.387 --> 51:23.073
out Beetlejuice, so he's not a problem for them anymore. So they're just, uh,

51:23.443 --> 51:26.736
yep, they're ghosts and they're in the house. Yep. And so we

51:27.236 --> 51:29.515
did— we don't get a, um, a description— we don't get like a title card

51:30.015 --> 51:31.306
or anything that tells us how long, but we do fast forward some amount of

51:31.806 --> 51:35.423
time school for girls, Miss Shannon's School for Girls,

51:35.599 --> 51:38.660
which is apparently where Lydia goes. And I got to comment on this real quick.

51:38.884 --> 51:41.865
We see the end of the school day, a bunch of girls in school uniforms—

51:42.365 --> 51:45.214
these are clearly students— standing outside as Lydia comes out the building and like walks

51:45.714 --> 51:49.157
off to go home. Every one of those girls looks like a middle-aged housewife to

51:49.657 --> 51:51.977
me. Okay, thank you. Every one of them. They're all named Pam, right? Yes.

51:52.185 --> 51:55.422
Oh my God, 100%. Yes. When I was watching that, I was losing my mind.

51:55.486 --> 51:58.435
I was like, I don't want to shame a bunch of teenagers from— but it's

51:58.935 --> 52:01.692
like you You weren't fucking teenagers. There's not a woman on that standing there that

52:02.192 --> 52:04.851
was under 45 years old. Like, not a one. It was crazy to me.

52:04.915 --> 52:08.179
I don't know what the deal was there. Um, but yeah,

52:08.195 --> 52:10.961
but they get home. She gets home and she immediately is talking on Adam.

52:11.010 --> 52:14.633
And now it's like Adam and Charles and Delia and Barbara, they're all coexisting.

52:14.746 --> 52:18.315
They all just live together. They're all coexisting. They're all happy about it. And so

52:18.685 --> 52:21.423
Lydia comes home and is talking, you know, and says like, how was the science?

52:21.535 --> 52:24.095
Barbara asked, how was the science test? She goes, oh, it's disgusting. They like wanted

52:24.595 --> 52:27.213
me to dissect something and I wouldn't. And so I got a C. It's like,

52:27.229 --> 52:28.942
"Well, at least it's not an F, you know, whatever." And then, "What about the

52:29.442 --> 52:32.350
math test?" She goes, "Well..." And Adam's like, "We studied for that for a week!"

52:32.414 --> 52:35.548
Like, they're full-on, like, taking this girl under their wing, you know, to, like,

52:35.564 --> 52:38.658
be parents for her. But she got an A, and so she's like, "So can

52:38.770 --> 52:41.314
I?" And it was like, you know, and then this is, like, one of,

52:41.765 --> 52:44.325
I think for everybody, one of the most, like, memorable kind of moments, even though

52:44.825 --> 52:46.353
it's right at the end of the movie. But, like, you know, jump in the

52:46.853 --> 52:50.258
line, "Shake, Señora" by Harry Belafonte playing while she actually is dancing

52:50.290 --> 52:53.552
and, like, going up into the air and floating near the stairwell as the song—

52:53.584 --> 52:56.588
and again, most of the song plays, and it is a large chunk of the

52:57.088 --> 53:00.767
song. At one point we cut to up in the den and Charles is

53:01.267 --> 53:03.207
sitting there and goes, "Oh, sounds like Lydia got an A on the math test."

53:03.434 --> 53:06.376
Yeah. This is great. Is it funny, man? Clearly a thing that happens a lot

53:06.424 --> 53:09.221
there. To wrap it up as like, oh, this happy family,

53:09.335 --> 53:12.473
this weird like blended family that's now figured it out. Yeah.

53:12.651 --> 53:15.708
And then we get one little epilogue sort of scene where we do get Beetlejuice

53:16.208 --> 53:19.284
back in the waiting room, in death's waiting room, right? And it says he's got

53:19.784 --> 53:22.519
a ticker tape, you know, with his number on it and it's like 9 trillion

53:23.019 --> 53:26.201
or something. It's an incredibly huge number. And it says like, "Now serving 3." And

53:26.217 --> 53:30.034
he looks over next to him and there's like a, you know, not exactly culturally

53:30.082 --> 53:33.658
sensitive, but like a witch doctor kind of character who

53:34.158 --> 53:37.025
has number 4, like a single little thing. And he like tries to show,

53:37.041 --> 53:40.457
"Oh, look, there's Elvis." And he like drops his ticker and then grabs it and

53:40.957 --> 53:43.856
goes, "Oh, all right, looks like I'm next. Okay, I got a date in about

53:43.921 --> 53:47.817
an hour, hour and a half. Okay." And that's when the witch doctor gets

53:47.865 --> 53:51.442
some dust or something, sprinkles it on his head and his head shrinks. Shrinks as

53:51.474 --> 53:55.100
he's like saying, hey, what's going on? And his voice keeps getting higher

53:55.600 --> 53:59.160
as the head gets smaller. I will say that's the worst looking effect in the

53:59.176 --> 54:02.867
whole movie, and it kind of sucks that it ends on that. Yeah, because it's

54:03.367 --> 54:07.151
like, meh, you could have, you could have left that one up. Puppety. The puppet

54:07.215 --> 54:10.809
sort of pre-shrunken head on that, that you see is wonderful. It looks fantastic.

54:11.050 --> 54:14.227
But yeah, this sort of like, we got to make Michael Keaton's head

54:14.340 --> 54:17.741
look small in the frame, but like, poofed it small. Maybe it would

54:17.757 --> 54:21.247
work better. Yeah. Yeah, something like that. But it, it's okay. But yes, good that

54:21.747 --> 54:25.080
that happens to Beetlejuice though. He gets a good comeuppance there at

54:25.096 --> 54:28.607
the end of the movie. And yeah, we have like— things are tied up nicely.

54:28.655 --> 54:32.297
It's kind of weird, uh, you were saying like how you got into

54:32.442 --> 54:36.326
horror with this like being a PG. Like, I don't know what today's like PG

54:36.777 --> 54:40.226
beginner horror movies are. Yeah, so I'm glad that we had

54:40.258 --> 54:42.659
this. And I don't think there are any more nowadays. The best you can do

54:43.159 --> 54:46.209
is there's PG-13 horror. So if a horror movie doesn't get really bloody,

54:46.322 --> 54:49.469
gruesome, violent in that sense. Like movies like The Conjuring, I think, are PG-13,

54:49.485 --> 54:52.906
or like Insidious, like where it's like, it's more about the scariness

54:53.019 --> 54:56.289
of the situation and less about here's a room full of blood, you know,

54:56.305 --> 54:59.635
or whatever. Like, you know, it's not a slasher or anything like that. That's sort

55:00.135 --> 55:03.534
of your entry-level horror. But those are like, those are very serious, scary movies.

55:03.598 --> 55:07.436
So there's not— I don't know that there's that much entry horror

55:07.936 --> 55:09.468
these days. I, you know, and here's the thing, my kids are still young enough

55:09.968 --> 55:12.499
that it doesn't really matter yet. I'm not They're, they're, they don't, they're not made

55:12.999 --> 55:14.643
of the same stuff we were made of in the '80s. They would, they wouldn't

55:15.143 --> 55:18.269
handle Gremlins. That's really what's entry horror still is, the same movies. It's Gremlins and

55:18.317 --> 55:21.010
Poltergeist. Yeah. And this, and like, you know what I mean? It's like, those are

55:21.510 --> 55:25.230
the entry-level horror movies still. Um, but yeah, so, but that's, uh, that's Beetlejuice,

55:25.392 --> 55:28.884
Beetlejuice. All right. Um, yeah, this was my pick.

55:28.949 --> 55:30.957
So, you know, I'll go ahead and give it down. Like, this was just so

55:31.457 --> 55:33.372
much fun to watch. And like I said, it's, it's something that's both been,

55:33.891 --> 55:37.051
you know, pretty culturally important, I think, for, for people around our age, you know,

55:37.213 --> 55:40.470
the, when this hit and sort of like that that middle to late elementary school

55:40.598 --> 55:44.563
age and, you know, being Pee-wee Herman adjacent

55:44.611 --> 55:47.131
and encoded that way in a little bit is great too.

55:48.046 --> 55:50.679
Movie that I, you know, I think like you, I think I'd thought I'd seen

55:50.727 --> 55:53.552
it through more than I really had. I've probably seen it all the way through

55:53.665 --> 55:56.907
4 or 5 times maybe over the course of time, but so much of

55:57.407 --> 56:00.648
it sticks with you so indelibly, right? That it's just there all the time in

56:01.148 --> 56:03.650
the back of my mind that that's Beetlejuice. It was a ton of fun to

56:03.698 --> 56:05.865
watch. It was a ton of fun to revisit. This is kind of like,

56:05.881 --> 56:08.990
you know, You know, funny enough, another Burton Elfman. This, I feel very much like

56:09.929 --> 56:13.182
when we watched Pee-wee's Big Adventure where it was like, I really should have revisited

56:13.682 --> 56:16.803
this sooner. This was a lot of fun to watch, you know, but not a

56:17.303 --> 56:20.290
fantastic, not a great, not the greatest movie ever. There's definitely like slow parts,

56:20.970 --> 56:24.771
you know, it, it, there, I don't love all of the, like, I feel

56:25.271 --> 56:27.091
like there's probably not enough happens at parts. Like there's a lot of stuff where

56:27.591 --> 56:29.136
it's just kind of like people talking and it's like, oh, okay, let's get to

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the fun stuff. But I'm a solid 3.5 out of 5 on Beetlejuice.

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You know, I enjoyed it. It's definitely worth watching again if you haven't seen it

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in a long time. And I do think it's, you know, older kid friendly.

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You know, I don't know that I would show this to like my 7-year-old,

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but maybe, you know, my son turns 12 next

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thing. But like, yeah, I mean, it's a lot of fun, very worth watching.

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Keaton's fantastic in it. You know, the whole cast is solid, but like Keaton's fantastic.

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And of course, Catherine O'Hara is hilarious. And the fact that she kicks off

56:57.048 --> 57:00.475
the whole Deo dinner party scene is so classic and so great.

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And she's just so wonderful. So yeah, I'm a 3.5 out of 5 on Beetlejuice.

57:04.260 --> 57:07.066
Yeah, I, I agree. Um,

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I mean, the bits of this movie that are good are just so good,

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and the things that I'm happy about in this movie are just

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so unique. Like, it, it's wonderful that

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Tim Burton was able to take that money and do all these practical effects

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and these models and all these things that just continue to be his signature.

57:25.635 --> 57:29.564
Yeah. Um, and I'm glad, you know, this is what got him Batman,

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I'm sure, if it wasn't already in the works and everything. And, you know,

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that relationship with Michael Keaton, that gave us so much. Yeah.

57:36.187 --> 57:39.767
Uh, but yeah, as a movie, like, put together

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as something to watch for an hour and a half, it's not the best.

57:43.492 --> 57:47.442
But there's so much that, like, I'm glad this exists. I'm glad I rewatched

57:47.942 --> 57:50.814
it. I'm glad I saw it when I was a kid. Uh, I love some

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Keaton. I don't love Alec Baldwin. I don't feel like there's

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a reason for it to be him versus someone, like, a lot cheaper. And,

57:58.281 --> 58:01.042
you know, um, but, uh, overall,

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just you know, a lot of fun. And, uh,

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like we said, there's not a ton of movies like this that will, like,

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let you into this fantasy horror world without scaring the shit out of you and

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traumatizing you. So I am a 3 out of 5 on Beetlejuice.

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I think it's definitely, uh, worth checking out. All right, so 6.5 out

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of 10 is the official call from the two dads on Beetlejuice. And that was

58:22.782 --> 58:26.035
our movie for 1988. So next week we're gonna watch a movie from 1989 to

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continue our march. So Nick, what are we watching from '89? Yeah, so a little

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bit of a through line, I guess, between Beetlejuice and the movie from '89,

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just in that Juno, uh, the,

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the afterlife guide, has her throat ripped open. And, uh, and I thought

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maybe we'd go somewhere in 1989 where we could rip a couple throats.

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And, uh, we're gonna go to the Double Deuce Bar,

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and we're gonna hang out with our buddy Dalton, played by Patrick Swayze,

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and we're We're gonna spend a little time in the Roadhouse. Oh my God,

58:56.310 --> 58:59.787
you know, I thought he'd be bigger. Uh, I love Roadhouse.

58:59.948 --> 59:03.506
Fantastic movie. This is one of those movies that like, uh, I've seen a

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bunch of times. Didn't see it probably till college initially. It definitely was,

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you know, later, uh, pickup for me. But now I've seen it, you know,

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a dozen times maybe. And it's just one of those movies that like, it gets

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better every time you watch it. There's so much that's wild and wacky

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about this movie. It's gonna be a lot of fun to talk about. A lot

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of actually good and a lot of so goofy that it's good. Like, yeah,

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it's gonna be a great one. It's so many bare butts, just constant bare butts

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in this movie. Yeah, you just have to deal with that, but that's okay.

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Excellent. Road House, next week, 1989. That's a wrap. So if

59:31.155 --> 59:33.517
you like what you hear, consider heading over to Apple or Spotify and leaving us

59:33.566 --> 59:36.880
a 5-star review. It helps new folks find the show. Be sure to check out

59:36.930 --> 59:40.491
our website at twodads1movie.com. That's the number 2 and the number 1. There you can

59:40.991 --> 59:43.827
explore the movies we've covered, sign up for our newsletter, The Rewind, and even get

59:44.327 --> 59:47.196
sneak previews of upcoming episodes. We'd also love it if you followed us on Instagram

59:47.696 --> 59:51.279
@twodads1movie. Once again, this has been Beetlejuice, another episode of Two Dads, One Movie.

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I'm Steve. And I'm Nick. Thank you so much for listening, and we'll catch you

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next week. Thanks,