WEBVTT 00:00.098 --> 00:03.540 This was found on the wall behind the refrigerator, the obesity murder 00:04.040 --> 00:07.716 scene. Long is the way and hard 00:07.845 --> 00:11.189 that out of hell leads up to light. It's from 00:11.238 --> 00:13.665 Milton, Paradise Lost. 00:15.216 --> 00:18.816 All right, I'm confused. It means that this is beginning. 00:21.180 --> 00:24.621 This was found behind the same refrigerator, written in grease. 00:25.643 --> 00:28.896 There are 7 deadly sins, Captain. Gluttony, 00:32.570 --> 00:32.859 greed, 00:35.817 --> 00:39.451 sloth, wrath, pride, lust, 00:40.850 --> 00:43.585 and envy. 7. Hold on. 00:44.201 --> 00:46.483 That's not even my desk. 00:48.329 --> 00:52.349 You can expect 5 more of these. It's 2 Dads 00:52.365 --> 00:53.159 1 Movie, 00:57.526 --> 01:01.388 Shocktoberfest, a celebration of the spookiest 01:01.888 --> 01:05.330 movies of the '80s and '90s. Now here are your hosts, 01:05.474 --> 01:09.320 Scary Steve Paulo and Nightmare Nic Briana. 01:10.346 --> 01:13.535 Hello, everybody. Welcome to another episode of 2 Dads, 1 Movie. 01:13.631 --> 01:18.118 I'm Steve. And I'm Nic. And today we continue our march through Shocktoberfest 01:18.455 --> 01:21.708 with— it's not a horror movie, but it's scary 01:21.724 --> 01:24.833 as fuck in so many ways. Yes, it's horrifying. It is horrifying. That's a good 01:24.865 --> 01:27.557 point. It is not a horror movie, but it is a horrifying movie. 01:27.830 --> 01:28.999 1995's Se7en. 01:30.990 --> 01:34.460 Se7en. Se7en. Se7en. I just 01:34.960 --> 01:38.320 love the, like, uh, uh, the sort of, uh, stylized version of the title with 01:38.820 --> 01:40.600 the 7 in the middle. It's so weird, right? Because, like, your brain makes the 01:41.100 --> 01:43.540 connection when you look at that. You're like, that— I read that as 7 in 01:44.040 --> 01:46.560 my head. But then trying to say it out loud, it's fucking crazy. It doesn't 01:47.060 --> 01:49.780 make any sense at all. Um, yeah, so we were talking about Se7en. Brad Pitt, 01:50.280 --> 01:53.500 Morgan Freeman, Kevin Spacey, Gwyneth Paltrow. Uh, my favorite Gwyneth Paltrow movie, 01:53.560 --> 01:56.320 uh, for reasons obvious, at the end. Um, 01:56.820 --> 01:58.860 so I brought this one to the table. Uh, basically, this is one of those 01:59.360 --> 02:02.160 movies I did I did not see it when it came out. It came out 02:02.660 --> 02:04.999 in '95. We were like 15 or whatever. Yeah. It's not something I saw in 02:05.499 --> 02:08.600 the theater or anything. I saw this in college. I spent a little bit of 02:09.100 --> 02:12.560 time as a film major, and that was where people would start, you know, 02:13.060 --> 02:16.820 people started talking about filmmakers as much as or more than films. 02:17.320 --> 02:19.320 And it was one of those things where I didn't, I was not really aware 02:19.820 --> 02:21.560 of who David Fincher was. And it was like, oh my God, have you seen 02:22.060 --> 02:24.360 Se7en? No. Oh my God, you've gotta, you know, this is a great introduction to 02:24.860 --> 02:28.100 Fincher and it's such a cool movie. And I totally agree, it actually is. 02:28.553 --> 02:32.471 Like, this is an incredibly stylized movie. This is very cool in 02:32.487 --> 02:35.458 that sense, I think. So, but, but yeah. And then, you know, 02:35.763 --> 02:38.397 I just saw it and kind of loved it. But it's also not a movie 02:38.413 --> 02:42.315 that I've like rewatched a ton because it is so heavy and dark and whatnot. 02:42.379 --> 02:45.173 So, but I think it's a good movie. I was really happy to kind of 02:45.673 --> 02:48.706 bring it to the Shocktoberfest table and say, you know, maybe continuing our tradition of 02:49.206 --> 02:52.480 like, it's not traditionally a horror movie, but it definitely fits the like spooky theme 02:52.980 --> 02:55.515 of the month. So yeah. What about you, Nic? What's your history with Se7en? 02:55.836 --> 02:58.915 Um, I think I saw it probably around the same time. Definitely not 02:59.415 --> 03:02.234 a theater one, but the word kind of got around, right? Maybe by the time 03:02.266 --> 03:04.992 we were seniors or so in high school, you'd have people being like, oh, 03:05.153 --> 03:08.456 do you see this? This was fucked up. Especially those lucky households that 03:08.956 --> 03:12.417 had like HBO, Showtime, Cinemax, and might have, uh, dubbed a copy, 03:12.674 --> 03:16.201 uh, VHS for themselves. Um, but I did see this, 03:16.217 --> 03:19.553 and I probably saw it a couple times. And yeah, I mean, it's a movie 03:19.585 --> 03:23.451 that I have not revisited a lot over the years, but— Yeah. Certain things 03:23.499 --> 03:26.020 when I was watching it, I was like, I think about that all the time. 03:26.100 --> 03:28.878 I think about that all the time. So there's a couple things that really just 03:29.378 --> 03:32.154 like stuck in my head from this film, and it's probably different for every person. 03:32.571 --> 03:35.638 And then some things where I'm like, how did this stick in my 03:36.138 --> 03:39.925 head and I didn't even remember this, right? Um, but yeah, I mean, the performances 03:40.037 --> 03:43.747 in this, it has so many people, uh, that we love. Oh yeah, Gwyneth Paltrow 03:43.907 --> 03:47.841 and Kevin Spacey. Uh, those two in particular, 03:47.937 --> 03:51.117 just absolute heroes of mine. I don't know about you, but Yeah, 03:51.374 --> 03:54.714 just a real pinnacle of humanity. But yeah, this was a movie, 03:54.827 --> 03:57.927 and it was like a cool movie, like you said, at the time, which was 03:57.959 --> 04:01.492 very important, especially late '90s, early 2000s, just to watch something 04:01.992 --> 04:05.331 where you felt like it understood the industrial kind of feel of 04:05.831 --> 04:09.410 it and everything like that. So, uh, yeah, this was one that I definitely, 04:09.747 --> 04:13.168 uh, have a lot of memories of, and I'm very excited, uh, that I got 04:13.200 --> 04:16.445 to revisit and we're chatting today. So yeah. I think you're absolutely right. There are 04:16.493 --> 04:19.207 pieces of this movie that, that, that stuck with everyone who watched it and, 04:19.303 --> 04:22.690 and, and there are probably differences between each viewer and kind 04:23.190 --> 04:24.770 of like, oh, this stuck with me, that stuck with me. I have a feeling 04:25.270 --> 04:28.630 the hanging pine tree air fresheners, though, kind of stuck with everybody. It feels like 04:29.130 --> 04:32.430 that. I think about and I reference that probably like every couple months. 04:32.930 --> 04:36.350 Like if I'm trying to refer to like masking a bad smell, I'll say hang 04:36.850 --> 04:40.410 up 1,000 air fresheners like in Se7en. It's in a movie full 04:40.910 --> 04:44.090 of shocking, crazy imagery. That image, for some reason, 04:44.590 --> 04:47.130 I feel like sticks with people more than anything else, which is like kind of 04:47.630 --> 04:49.890 wild when you, when you remember something. For sure. Yeah. Yeah. All right, let's jump 04:50.390 --> 04:53.675 into the facts on the movie. Se7en. The movie 04:53.707 --> 04:58.343 Seven was released on September 22nd, 1995 with a well-deserved 04:58.843 --> 05:01.327 R rating and a hard R over here. 05:01.793 --> 05:04.921 Running time of 127 minutes. It was directed by David Fincher and 05:04.937 --> 05:08.627 written by Andrew Kevin Walker. It stars Brad Pitt, Morgan Freeman, and Kevin 05:09.127 --> 05:12.606 Spacey, and Gwyneth Paltrow. Scores on Rotten Tomatoes: this 05:12.638 --> 05:15.253 received 84% fresh from reviewers. 05:15.751 --> 05:19.120 On IMDb: an 8.7. Which puts it as the number 05:19.620 --> 05:22.860 20 highest rated film on IMDb. Amazing. Really, 05:23.360 --> 05:26.620 really highly regarded. Respect it. Yeah. And then, and is this our highest, or was 05:27.120 --> 05:28.800 Silence of the Lambs a little higher? No, Goodfellas. Goodfellas I think is like a 05:29.300 --> 05:31.320 top 10, and Silence of the Lambs is right around 10th. Gotcha. Those two are 05:31.820 --> 05:34.380 very high as well. Uh, Goodfellas might even be a top 5. It's definitely one 05:34.880 --> 05:37.820 of the highest ones. Uh, Siskel and Ebert, 2 thumbs up. Not really a surprise 05:38.320 --> 05:42.000 there. Tons of awards activity, a lot of nominations, more nominations than wins, 05:42.500 --> 05:45.045 but I think that's fairly common. But It did get nominated for an Oscar in 05:45.545 --> 05:48.668 '96 for film editing, didn't win. It won a couple of Saturn Awards 05:49.168 --> 05:52.259 in '96. It won for writing and for best makeup. It was also nominated for 05:52.759 --> 05:56.507 best action-adventure film. Morgan Freeman was nominated for best actor, and Paltrow 05:57.007 --> 06:00.626 was nominated for best supporting actress. Fincher was nominated for best director, and Howard Shore 06:00.674 --> 06:03.576 was nominated for best music. So didn't win a ton of those Saturn Awards, 06:03.624 --> 06:07.471 but certainly was nominated all over. Nice. In '96 at the BAFTAs, 06:07.487 --> 06:11.302 it was nominated for best writing. At '96 NAACP Image Awards, 06:11.591 --> 06:14.957 it was nominated— Freeman was nominated for his role here for lead actor. 06:15.070 --> 06:18.610 Actor. Neither of those were wins. Surprised Paltrow wasn't nominated. Yeah, at the Image Awards, 06:19.110 --> 06:22.770 it seems like really— yeah. Anyway, uh, '96 MTV Movie Awards, 06:23.270 --> 06:27.350 they— it won Best Movie, period. Okay. All right. Most Desirable Male, 06:27.850 --> 06:30.150 Brad Pitt, which we actually discussed in one of our— Yeah, that's right. Yeah, 06:30.650 --> 06:32.250 like, I think it was between him and like Nic Cage maybe or something. 06:32.750 --> 06:35.190 I don't know, it was something weird, but like, yeah, that Brad— Yeah, we were 06:35.690 --> 06:38.290 talking about how this is the least sexy movie. I mean, Brad Pitt looks fucking 06:38.790 --> 06:42.330 fantastic in it, but it is funny to be like But 1995 Brad Pitt 06:42.830 --> 06:46.370 would've looked fantastic wearing a garbage bag. He could've made a movie called The Diarrhea 06:46.870 --> 06:49.930 Man where he gets made out of diarrhea for some reason and everyone would love 06:50.430 --> 06:54.030 it. He could've been in The Fly. Yeah, no shit, yeah. 06:54.530 --> 06:58.660 Also nominated was Kevin Spacey for best— oh no, the winner also. 06:58.750 --> 07:01.950 Kevin Spacey won for best villain. Oh, okay. And then Freeman and Pitt were nominated 07:02.450 --> 07:06.520 for best onscreen duo, did not win. And then at the 1996 Fangoria Chainsaw Awards, 07:06.966 --> 07:10.987 It won Best Wide Release Film, Best Screenplay, Best Supporting Actor 07:11.487 --> 07:15.121 for Kevin Spacey, and it was nominated for Best Soundtrack. So you had another nomination 07:15.153 --> 07:18.294 for Howard Shore there. On a $33 million budget, it pulled 07:18.794 --> 07:22.364 in $327 million at the box office, almost 10 times 07:22.864 --> 07:26.690 what it cost. For a movie this hard R, that is crazy impressive. I know, 07:26.786 --> 07:30.455 because it— yeah, I mean, that means people are coming back 07:30.955 --> 07:33.692 again to see it. Or the word of mouth gets out and it's not dissuading 07:33.740 --> 07:37.345 anyone. It's quite the opposite. It's bringing them in. I love that when the MTV 07:37.845 --> 07:41.287 Movie Awards have like a real serious actor there, you know, the idea of 07:41.415 --> 07:44.684 like, uh, like Coolio and fucking 07:45.117 --> 07:47.889 Dan Cortez handing out an award to Morgan Freeman, 07:48.226 --> 07:51.719 or not, or naming Morgan Freeman and not giving him an award. 07:52.248 --> 07:55.757 And the winner goes to— the winner for Best Actor, Carrot Top and Chairman of 07:55.773 --> 07:58.834 the Board. Oh, he, he hit a shot from the 07:58.882 --> 08:02.474 50-point Best Actor, uh, Rockin' Jocks. That was the bonus there. 08:02.522 --> 08:05.685 It was with the golden ball. So it was— all right, all right, 08:06.102 --> 08:09.377 let's jump into Se7en. Uh, first off, uh, we get kind of a cold 08:09.474 --> 08:12.604 open. Yeah. Uh, which is fantastic. Uh, the very 08:13.104 --> 08:16.297 first thing we see, I feel like, is Morgan Freeman's switchblade. Yeah, really, it's like 08:16.377 --> 08:19.813 right away, boom, this man carries a switchblade. I think the switchblade should 08:20.313 --> 08:23.746 have been nominated for something. Best supporting actor for sure. More life than 08:23.779 --> 08:27.134 Gwyneth Paltrow had in her. Uh, yeah, we get to see Morgan Freeman's like 08:27.634 --> 08:30.425 daily carry. Yeah, yeah, getting ready to be a cop for the day. Yep. 08:30.746 --> 08:34.930 Uh, which I, which I really like. And his apartment is such like 08:35.430 --> 08:38.392 a— it's like the hardened cop who's like, 08:38.857 --> 08:42.320 this world is too— is too tough. Like, I can't partner up. 08:42.384 --> 08:45.430 I can't even have like shit on the wall. Like, his place is so bleak 08:45.574 --> 08:48.043 and he has like a metronome that he sleeps to. That to me is the 08:48.139 --> 08:51.537 wildest fucking thing. Yeah. That your like white noise machine sort of like help you 08:52.037 --> 08:55.609 sleep thing as a metronome is psychotic. Like a constant 08:55.769 --> 08:59.296 perfect tick-tock. Like, no thank you. That sounds awful. I will say 08:59.796 --> 09:01.844 this is— there's 2 things I want to compare this apartment to. One is we'll 09:02.344 --> 09:04.827 get in it later. when, when we do get to the villain's apartment, you should 09:05.327 --> 09:08.259 notice how absolutely starkly opposite they are from each other, 09:08.275 --> 09:11.499 right? It's like the villain's apartment is like covered in stuff. We'll get to that 09:11.999 --> 09:15.492 later. This is incredibly sparse. I guess it's very Spartan. Um, it's also so funny 09:15.556 --> 09:19.229 how it's very different from that trope of like the cop that goes his own 09:19.261 --> 09:22.501 way. Yes. Like Somerset is so by the book that this is like 09:22.629 --> 09:26.141 very, very specifically like a by-the-book cop's apartment. 09:26.221 --> 09:29.028 Just one, like you said, who has like no— you know, has not allowed himself 09:29.044 --> 09:32.878 ties of any emotional sense to anything because the world is so Fucked, 09:32.974 --> 09:36.204 right? Like, that's sort of his attitude. Um, also really quick, I just want to 09:36.704 --> 09:39.257 say, like, because we very quickly meet, uh, because he got— they go to a, 09:39.386 --> 09:42.133 uh, he goes to a, uh, crime scene and we meet his new partner, 09:42.358 --> 09:45.331 right? Or maybe it's at the station. But, um, the one thing I want to 09:45.831 --> 09:49.476 mention is these names: William Somerset and David Mills. There is something about, 09:49.508 --> 09:51.838 like, I, I mention it too often, but, you know, every once in a while 09:52.338 --> 09:55.197 I dabble writing a little bit of screenplays and stuff, and naming people is really 09:55.213 --> 09:58.201 hard. Yeah. And coming up with character names that both, like, 09:58.522 --> 10:01.728 tell you something about them without being like an on-the-nose sort of joke about 10:02.228 --> 10:04.774 it is difficult. But to call the like educated, 10:05.639 --> 10:09.310 you know, conspiracy theorist, sort of the guy who knows all the books and 10:09.342 --> 10:13.109 all the kind of lore behind things, William Somerset. Like, it's so, 10:13.751 --> 10:17.598 you know, it's got gravitas, that name, right? And then like the regular Joe cop 10:18.098 --> 10:21.221 is David Mills. Yeah. I love— That's Dave Mills. That's Dave. That's old Dave. 10:21.269 --> 10:24.459 That's old Dave Mills. I love that juxtaposition. 10:24.715 --> 10:27.472 And it's one of the many things I'll mention over the course of this episode 10:27.972 --> 10:30.650 about how good the screenplay is. But it's just— I just love that. The naming 10:31.150 --> 10:33.510 of these characters tells us so much about them in, in so few words. 10:33.530 --> 10:36.390 Somerset and Mills. Yeah, yeah. They sound like it's either a wine cooler or a 10:36.890 --> 10:40.470 law firm. Either way, like, it works. And, uh, and does Mills— Mills 10:40.970 --> 10:44.150 knows at this point he's there to replace Somerset. Exactly. Somerset— They're partnering up for 10:44.650 --> 10:47.470 a little bit for Somerset's last week or something like that. They make it clear 10:47.970 --> 10:50.890 that Somerset's retiring in 7 days. Mills is here to sort of like get whatever 10:51.390 --> 10:54.480 handoff there is for his beat. But Mills is gonna be the new Somerset, 10:54.510 --> 10:58.150 the new sort of main detective in homicide, I guess, for this particular precinct. 10:58.650 --> 11:00.250 Uh, we should mention this city is never named. Uh, it's clearly ref— it's clearly— 11:00.750 --> 11:04.389 it's like Gotham City type, just like a shittier 11:04.565 --> 11:08.011 New York without any of the cool shit. Yeah, basically. There's nothing specifically 11:08.511 --> 11:10.959 New York to it. It rains the entire time until the very end of the 11:11.459 --> 11:13.956 movie, and anytime you see like police this or a badge or anything, it just 11:14.456 --> 11:16.920 says police. Yeah, but we do at one point see them leave town and it 11:17.420 --> 11:20.414 says like 8 million population or something, so it's like, okay, well, that's clearly New 11:20.914 --> 11:23.987 York City. But yeah, but it is not technically named. But yeah, Somerset's retiring, 11:24.276 --> 11:27.048 Mills has taken over for him, and Mills is like itching to get, to get 11:27.080 --> 11:30.368 rolling, basically. Yeah. Uh, and they— when they first show up, uh, 11:30.528 --> 11:34.010 at this crime scene, I think it's a— is a murder-suicide or a double 11:34.510 --> 11:36.705 murder. They don't know. No, this is 2 people dead. No, there's just one person 11:37.205 --> 11:38.951 dead because this is the fat guy with his face in the spaghetti. And they're 11:39.451 --> 11:43.283 kind of like— I thought before the credits Somerset goes to a scene. 11:43.427 --> 11:46.508 Oh, you're right. Oh, I'm sorry. Where there's 2 adults that are dead, 11:46.556 --> 11:49.717 right? And, and I mean, the reason I bring this up is it says at 11:50.217 --> 11:53.551 least something about his character where one of the other detectives is there and Somerset's 11:54.051 --> 11:57.322 like did the kids see this happen? And the guy's like, why the fuck would 11:57.822 --> 12:00.997 you ask me that? Who gives a shit? You know, you go ask some questions, 12:01.013 --> 12:04.656 Somerset. It's the most like normal human 12:04.881 --> 12:08.170 question that you would have, and everyone's so hardened by like 12:08.234 --> 12:12.535 the grimness of this city that he's like, why are you ruining my breakfast? 12:12.631 --> 12:16.033 Also, why are you asking questions, detective, is sort 12:16.533 --> 12:18.874 of a weird— like, that is sort of the point of the detective role, 12:19.147 --> 12:22.851 is to ask questions and discover Hey, chauffeur, quit driving 12:23.351 --> 12:26.586 that limo! What the fuck do you think you're doing? Where you going with that 12:27.086 --> 12:30.434 wrench, plumber? Anyway, but yes, you're right, I did forget about that. That's where he 12:30.934 --> 12:33.415 and Mills first meet. So they first meet each other there, and then we kind 12:33.915 --> 12:37.391 of go pretty quickly to the, to the credit sequence, which is fantastic. It's fucking 12:37.407 --> 12:40.468 cool. And you know, I watched— since I hadn't seen this in a long time, 12:40.484 --> 12:43.338 I watched it twice. I like to do this if I'm not fresh on a 12:43.838 --> 12:47.329 movie, like do one, like just experience it, and then watch it again with notes. 12:47.682 --> 12:51.311 But watching this the second time, I realized like, oh, this is like, 12:51.520 --> 12:54.555 you know, the notes and the things that the, that the villain is leaving. 12:54.812 --> 12:57.300 Yeah, yeah. And he— it shows him all kinds of cool shit. There's weird cool 12:57.800 --> 12:59.613 shit in this that I love. First of all, we do see him slicing his 12:59.645 --> 13:02.647 fingernail— fingerprints off, right? It's an important piece. Um, 13:02.776 --> 13:06.292 the way he sews pieces of paper together, like, for some reason 13:06.792 --> 13:09.182 is the creepiest thing in the world. It's like silent— it's like Buffalo Bill. 13:09.279 --> 13:12.699 I mean, it looks like it. Yeah, they— you're exactly 13:12.715 --> 13:16.278 right. The normal shit, like the normal, like, desk work, 13:16.423 --> 13:19.457 cutting and pasting. Yeah, he's making a collage, basically. Yeah. 13:19.858 --> 13:23.069 Is made to look so sinister and gross in this, 13:23.101 --> 13:26.632 even though there isn't really that much actual disturbing imagery. No. Yeah, but the 13:27.132 --> 13:30.709 music and the way it's cut. Yeah. And everything, it's just— it fucking creeps you 13:31.209 --> 13:34.161 out. It's the music we should mention. It's a remix of Closer by Nine Inch 13:34.661 --> 13:38.045 Nails that Trent Reznor did specifically for this soundtrack. And it's, 13:38.639 --> 13:41.866 you know, it's Fincher's style, right? The kind of the way things jump and bounce 13:42.366 --> 13:45.463 around in the frame is like very Fincher. And yeah, the combination of the music, 13:45.479 --> 13:47.647 I mean, this is these two, Reznor and Fincher would go on to do a 13:48.147 --> 13:51.598 ton of work together, obviously, as a very, very, very qualified 13:52.098 --> 13:54.859 and sort of accomplished duo. But this, I think, was the first time that they 13:54.875 --> 13:57.975 ever worked together at all. Just, just Reznor doing this, this intro song. 13:58.312 --> 14:00.946 But it fits so well. And it's, and it's not even that. I mean, 14:00.962 --> 14:03.966 you— I was a big Nine Inch Nails fan in the mid-'90s. So like, 14:04.094 --> 14:07.002 you know, you can recognize the tune to this, that it's closer and there's a 14:07.502 --> 14:10.005 couple lyrics in it, but like, it really almost sounds like a completely new song 14:10.505 --> 14:13.924 because it's so moody and sort of— Yeah. Atmospheric. It's— I do wish 14:13.988 --> 14:17.729 that it stayed instrumental because the Bring Me Right Closer to God 14:17.762 --> 14:20.845 right at the end of the credits, it's like, it's a little on the nose. 14:20.957 --> 14:24.442 I would— that's a little— that's a symptom of 1995-itis, 14:24.506 --> 14:27.798 which I can't blame the movie for. That's when it took place. Exactly. 14:28.424 --> 14:31.700 Um, so yeah, okay, so, uh, we've got— 14:32.133 --> 14:35.602 we got Mills and his wife. Yes, the Gwyneth Paltrow character. 14:35.666 --> 14:38.701 And they're kind of waking up, and it's kind of made clear to us they're 14:39.201 --> 14:42.539 new to the city. They just relocated here from somewhere probably more rural. Yeah, 14:42.555 --> 14:45.720 yeah. And she doesn't like— she's not liking it. 14:46.220 --> 14:48.460 So she's not loving it. Yeah, it's, uh, I think we— she at some point, 14:48.960 --> 14:51.400 some conversation, she says something about moving from upstate. So again, sort of a New 14:51.900 --> 14:54.700 York reference. But yeah, the idea of they were someplace quieter for sure and, 14:55.200 --> 14:57.920 and calmer, right? And there was noise outside. Yeah, I think she was like, 14:58.420 --> 15:01.760 I thought we left the tractor pulls and stuff. That's right. Yeah, exactly. Um, 15:02.260 --> 15:05.300 they, uh— we get to see one of our favorite things on, uh, 2 Dads 15:05.800 --> 15:09.240 1 Movie is it's raining outside, there's a lot of cops outside, they got their 15:09.740 --> 15:12.220 hat bags. Oh, the hat bags. This is a good hat bag movie. It is. 15:12.720 --> 15:14.800 Love see a hat bag. It gets a half a point just for that. 15:14.920 --> 15:18.420 Respect to, uh, Mills and Somerset for never bothering with a hat bag. No hats, 15:18.920 --> 15:21.520 no hat bags. I think Brad Pitt had a clause in his contract that his 15:22.020 --> 15:24.600 hair, his beautiful hair, could not be covered up in any way. 15:25.080 --> 15:28.320 Yeah. So we get, we get to the first sort of victim of 15:28.820 --> 15:31.820 our, of our, the real storyline here, right? So they, they show up at this 15:32.320 --> 15:34.460 place, they're told this man, you know, is he dead? He's like, well, I didn't 15:34.960 --> 15:37.080 touch him. So you didn't check vitals? Like, Mills is kind of like, what are 15:37.580 --> 15:38.960 you doing? How are you not doing your job? You don't check vitals? He's like, 15:39.460 --> 15:43.440 look, he's face down in spaghetti sauce, 15:43.940 --> 15:46.760 and he's shit and pissed himself. So it's a— if he's not dead, like, 15:47.260 --> 15:49.260 give me a break, pal, right? Whatever. So they go in, and first of all, 15:49.760 --> 15:53.050 you see that the floor is basically moving like it's the fucking temple, 15:53.080 --> 15:55.600 like it's Raiders of the Lost Ark and they found the Covenant, and it's all 15:56.100 --> 15:59.180 the floors moving. It's all snakes, except it's all roaches, just everywhere. 15:59.680 --> 16:02.360 There's roaches everywhere. Uh, and they're looking around and they see things like, you know, 16:02.860 --> 16:06.280 the cupboards are stocked with these cans of tomato sauce, and— Which are 16:06.780 --> 16:09.460 all faced in a very Sleeping with the Enemy way. Yes. They're all perfectly arranged. 16:09.960 --> 16:13.298 Perfectly faced out, really creepy. But yeah, this man is— he's got like, it looked 16:13.798 --> 16:16.973 like barbed wire wrapping his feet and hands together under the table, 16:17.053 --> 16:20.680 and then his— yeah, drowned essentially in the, in the, the soup or 16:21.180 --> 16:24.114 whatever the sauce it looks like initially. Yeah, and this is, this is a hugely 16:24.675 --> 16:27.516 obese person. I mean, this is probably a 500-pound person. 16:27.725 --> 16:31.544 Yeah, like very, you know, uh, huge. One thing is, 16:31.736 --> 16:35.331 uh, you know, in like the, the CSI-type shows 16:35.443 --> 16:39.200 where they'll put like the VapoRub on their lip or whatever, Which I hear that 16:39.700 --> 16:42.400 the cops don't do that in real life, you know, but I'm so used to 16:42.900 --> 16:46.140 seeing that. So when they walked in here, we were like, no mask? You're not 16:46.640 --> 16:50.060 covering your mouth? Like, the smell. But it didn't even matter how the actors were 16:50.560 --> 16:53.800 reacting to it because you can tell just from the visuals that it fucking stunk 16:54.300 --> 16:57.500 in there. And it was just, oh, so grim, right? So, and there's like a 16:58.000 --> 17:01.480 bucket underneath the table that this guy is like passed out at or dead. 17:01.740 --> 17:05.040 And, uh, you know, for some reason Mills decides to like 17:05.540 --> 17:08.200 give way too close to take a look. It's full of puke. And so he 17:08.700 --> 17:11.860 almost throws up and it's like, It's just the whole thing's gross. And in, 17:12.360 --> 17:14.400 uh, it looked like maybe in shit on the wall, or I don't think it 17:14.900 --> 17:17.880 was blood, but like it's written the word gluttony. Yeah. Right? It's, uh, it's on 17:18.380 --> 17:20.960 the wall, I think, in this one. Um, is it the wall? No, the floor 17:21.460 --> 17:23.920 is the greed one. Yeah, yeah, it's on the wall. And, and it's just so, 17:24.420 --> 17:27.720 you know, they don't— it's like they're not getting it yet. But Somerset's pretty immediately 17:28.220 --> 17:31.500 suspicious that this is not something that's like gonna be isolated. Right. Right. 17:32.000 --> 17:34.750 So he, he sends Mills out to go question neighbors. 17:35.360 --> 17:37.900 Absolutely. And kind of in a dismissive way. Yeah, like, hey, go. 'Cause he's like, 17:38.400 --> 17:40.180 I don't respect you. Like, I've already had my coffee, otherwise I'd ask you to 17:40.680 --> 17:43.830 get me some coffee. Here's a thing to keep 17:43.878 --> 17:47.003 you busy. Like, get out of here. Yeah. So, because there was a third cop 17:47.019 --> 17:50.608 there too, right? And it seemed like Somerset was like, that was a dude he 17:51.108 --> 17:53.445 knew. Yeah, yeah, yeah. And, uh, Mills is like, get out of here, rookie. 17:53.573 --> 17:56.249 Even though Mills isn't a rookie, but they're treating him like that. Yeah, for sure. 17:56.858 --> 18:00.960 Um, yeah, and what they, what they kind of discover as they're 18:01.024 --> 18:04.020 looking at the body is that there's like the impression, 18:04.309 --> 18:07.674 uh, from the, from the barrel of a gun, like on his, the side of 18:08.174 --> 18:10.832 his head, in a way that they're like, Okay, somebody was forcing him to do 18:10.880 --> 18:14.664 this. Yeah. And, and it turns out the way he actually died was that he 18:15.164 --> 18:18.754 was force-fed, force-fed, force-fed. His internal— like, his stomach popped 18:18.834 --> 18:22.105 inside him, and then he was kicked in, like, the back 18:22.201 --> 18:25.505 or something, and that actually made his entire torso burst open. 18:25.569 --> 18:28.696 Like, he's got this— the most ridiculous-sounding kind 18:29.196 --> 18:31.823 of way to die. Yeah, it's horrific. Uh, but that's essentially what they find out 18:32.323 --> 18:34.886 at the, at the coroner when the guy's going through stuff. Right, right. Yeah. 18:34.950 --> 18:37.530 And the, the Man, I mean, the corner. 18:38.440 --> 18:41.420 Oh, it's crazy. Yeah, so he ate until he died. He had the gun to 18:41.920 --> 18:45.200 his head. And, uh, now they're talking to the chief, right? Right. 18:45.700 --> 18:49.650 Played by R. Lee Ermey. Love him. He only plays— I mean, military police chief, 18:49.820 --> 18:52.760 sergeant. There's never a movie where it's like— like, 18:53.260 --> 18:56.900 he wasn't in the running to play Harvey Milk, you know? He's not 18:57.400 --> 18:59.400 that kind of— He aged out by then. It was, uh, it was more like 18:59.900 --> 19:02.150 you wouldn't have seen— you wouldn't have seen him even in like Meet the Parents. 19:02.220 --> 19:05.640 Like, really, that's not gonna be R. Lee Ermey. Yeah, yeah. CIA's too cerebral. 19:06.140 --> 19:09.910 Like, Um, but like Somerset is such 19:10.410 --> 19:13.350 a vet that he's talking serial killer immediately. Immediately, 19:13.850 --> 19:17.430 yeah. And like, to his credit, like, this is a city that he's been immersed 19:17.930 --> 19:21.790 in. He's been doing this forever. He's like, no one-time person 19:22.290 --> 19:25.530 is doing some shit like this. This is clearly not a random act of violence. 19:26.030 --> 19:28.490 This is incredibly planned. There's too much method put into it. Yeah, yeah. So it's— 19:28.990 --> 19:32.330 so the idea that there's more coming is like pretty reasonable, although Mills is immediately 19:32.830 --> 19:36.277 like, oh, you're jumping to conclusions, you know, and whatever, right? And Somerset's 19:36.777 --> 19:40.366 like, I'm retiring in a week. Yeah, I don't want anything to do with this 19:40.866 --> 19:43.957 shit. This is not gonna be resolved before I retire. Yeah, yeah, yeah. But they 19:43.989 --> 19:47.228 keep— they're— so yeah, they take him off of it. They put 19:48.383 --> 19:51.509 Mills onto the fat— oh no, no, no, I'm sorry. That's right. 19:52.070 --> 19:55.004 They leave Somerset— Captain leaves Somerset on the fat guy, the dead fat guy, 19:55.453 --> 19:58.372 puts Mills onto something else. So he splits them up. Yeah, but what he puts 19:58.420 --> 20:02.172 Mills onto is the death of a lawyer that just gets like all over 20:02.672 --> 20:05.480 the news and like he has to go and investigate it. And it's this, 20:05.980 --> 20:08.780 you know, the body is dead on the floor or whatever, and in blood scrawled 20:09.280 --> 20:11.780 on the floor is the word greed. Yeah. So now we have— I mean, 20:12.280 --> 20:15.020 this is like, I was raised in the Catholic Church. I went to CCD classes. 20:15.520 --> 20:17.120 You know, it's pretty easy to be like, oh, gluttony and greed. This is starting 20:17.620 --> 20:20.580 to sound, you know, like it has a pattern to it. Yeah. The deadly sins 20:21.080 --> 20:24.340 or whatever. So it's— smartly, Mills reaches back out 20:24.840 --> 20:27.500 to Somerset and be like, uh, there might be something going on here. Maybe we 20:28.000 --> 20:30.780 should work together here. Yeah. And this lawyer's office, I mean, there's a ton of 20:31.280 --> 20:33.740 press there. This is like a well-known defense attorney. Yes. This would be like a, 20:34.240 --> 20:37.102 you know, Robert Kardashian, Johnny Cochran type guy. Probably in this situation, 20:37.118 --> 20:39.987 because the way they're talking about it, they're kind of like, you know, he was 20:40.019 --> 20:43.721 someone that was getting people off who he knew to be guilty. He was 20:43.769 --> 20:46.911 doing his job as an attorney. Should it exist? Should you accept that 20:47.411 --> 20:50.517 job? Those are questions. Those are real questions. But, you know, that's like what he 20:51.017 --> 20:53.178 did is he helped like criminals stay free. And I got to be honest, 20:53.306 --> 20:56.785 as a bleeding heart liberal, I'm still like, yes, the criminal, the worst people 20:57.285 --> 21:00.439 in the world deserve the best defense possible because sure, it's still just like, 21:00.519 --> 21:03.196 I don't know, I like bristle a bit at the whole like— and this was 21:03.696 --> 21:07.210 such a '90s thing. of like defense attorneys are evil. And it's 21:07.710 --> 21:11.330 like, no, they're fucking not. Like, they have— like, somebody has to like 21:11.830 --> 21:15.510 help people, you know, navigate our legal system. Like, at the very least, 21:16.010 --> 21:17.830 you know what I mean? It's like, it's not— it's not every— we would all 21:18.330 --> 21:20.470 just be getting taken advantage of left, right, and center more than we are if 21:20.970 --> 21:23.430 it weren't for defense attorneys. Yeah, I think it's that, you know, the people that 21:23.930 --> 21:27.510 could use a Johnnie Cochran level of defense are getting a public defender, 21:28.010 --> 21:31.050 and the people that should be thrown into a pit of fire forever are getting 21:31.550 --> 21:34.070 like 5 Johnnie Cochrans. But now we're talking about capitalism, and that's a whole other 21:34.570 --> 21:38.771 conversation. Um, but no, we're, we're not fully anti-defense 21:39.271 --> 21:41.982 attorney, uh, on this show here. Um, and the DA, 21:42.447 --> 21:45.995 uh, who's played by John Shaft, Richard Roundtree, uh, he's definitely— he's 21:46.495 --> 21:49.864 doing damage control here because this is like now a big enough story and he's 21:49.928 --> 21:53.861 just like, he's determined to catch the guy. So there's like more firepower 21:54.361 --> 21:57.264 behind figuring out what the fuck is going on now. Yeah, for sure. 21:57.858 --> 22:01.727 Um, yeah, so basically, uh, they realize there 22:02.227 --> 22:05.960 might be a connection between these two So what happens is they find 22:05.992 --> 22:08.278 pieces of plastic in the fat guy's stomach. 22:09.490 --> 22:13.406 And when, uh, so Somerset goes back to the gluttony scene 22:13.503 --> 22:18.051 and notices that they're not plastic, they're actually linoleum, right? They're like scraped up scrapes 22:18.551 --> 22:21.682 of linoleum. Yeah. And he moves the refrigerator, 22:22.373 --> 22:25.458 uh, and is that where the word gluttony was? Yeah. Oh, sorry, that's behind the 22:25.958 --> 22:28.381 refrigerator. Yeah, I forgot that. So it's on the wall. So we didn't get gluttony 22:28.398 --> 22:32.125 first. I wrote Gluttony in my notes because I know that was the Gluttony murder. 22:32.222 --> 22:35.642 I was— because I was trying to order it like that too. Whatever, everyone who's 22:35.738 --> 22:37.890 listening has seen the movie. Um, 22:38.628 --> 22:42.337 one thing, uh, when we're at Somerset's office, yeah, and he's, he's kind of 22:42.837 --> 22:45.549 like having a little meeting in there and they just have to hammer home the 22:46.049 --> 22:49.418 fact that he's retiring, so they have a guy scraping his name off the door. 22:50.526 --> 22:53.754 He couldn't just wear a sash that said last week of work the whole 22:53.834 --> 22:56.510 time, so they had to do But that was a pretty funny scene, and it 22:57.010 --> 23:00.470 was like immediately annoying. And then when the characters addressed it, you're like, 23:00.970 --> 23:03.550 thank you. Right, exactly. Get that guy out of here. Could you not do that, 23:04.050 --> 23:07.930 please? Um, yeah, so basically Somerset has picked up on the theme here. 23:08.430 --> 23:11.850 There's this theme, and, uh, he decides— He's 23:12.350 --> 23:15.430 just like, there's 2, you know, and he lists them off. He's like, you can 23:15.930 --> 23:19.210 expect 5 more deaths. That's right, yeah. He's so Morgan Freeman. I like when 23:19.710 --> 23:23.190 he goes into like authoritative Morgan Freeman mode. I love that he like holds up 23:23.690 --> 23:26.922 the pictures just of the words greed and gluttony from the 2 crimes. We have 23:27.422 --> 23:30.900 greed, gluttony, anger, like wrath, pride, you know, 23:30.917 --> 23:33.997 it just goes on and on. Lust, like— Yeah. But it's this. So he's picked 23:34.497 --> 23:37.317 up on the theme. I think Mills and the captain are still not convinced, 23:37.751 --> 23:41.152 but Somerset says, I told you I can't do this. This is your case, 23:41.280 --> 23:44.456 Mills. I'm gonna go to the library though. He decides to go to the library 23:44.552 --> 23:46.911 and like look up a bunch of stories. You know, he reads stuff like the 23:47.411 --> 23:50.793 Divine Comedy, Paradise Lost, Canterbury Tales, like whatever it might be. You know, all these 23:50.825 --> 23:54.178 kind of books that might reference the 7 deadly sins. Um, and he 23:54.678 --> 23:57.901 makes like a list for, for Mills, like, hey, these are the books you should 23:58.401 --> 24:00.774 go check out to do this. And this was like my favorite moment. Oh, 24:01.079 --> 24:04.577 is the cop bringing Mills the CliffsNotes? Yes. Oh my God, I love 24:04.625 --> 24:07.706 it. Some of these, some of the cuts, and it's like, you know, the, 24:07.755 --> 24:11.895 the style of the filmmaker, but certain times where we're going between Somerset 24:11.991 --> 24:15.185 and Mills, there's like a big chunk of time that passes and you don't really 24:15.297 --> 24:18.635 know until something starts happening. Like when Mills is first going 24:18.667 --> 24:22.115 to investigate the lawyer's death, You—it seems like he could have 24:22.615 --> 24:25.097 just been going straight from the conversation he had with Somerset. Oh, right, right. 24:25.145 --> 24:29.072 It was you know actually the next day or whatever. But yeah, I love that 24:29.572 --> 24:32.839 he gets the Cliff Notes to the books. The library is cool as shit. 24:32.936 --> 24:36.703 The big big city USA library that they're in seems 24:36.847 --> 24:40.838 awesome, and the job of being like the night watchman there seems like the all-time 24:41.031 --> 24:43.804 gig to get. You mean being in a poker club? Really is all it looks. 24:43.980 --> 24:47.667 It looks really nice. And then as Somerset was at 24:48.167 --> 24:50.889 the library looking stuff up, you know Mills is at his house going looking at 24:51.389 --> 24:54.497 the pictures and everything, and. So he's agonizing over the case file. Yeah. So we 24:54.561 --> 24:57.785 get like the different styles. Yeah. Which is funny because Somerset's 24:58.285 --> 25:00.479 so by the book and he's doing like the not by the book thing. 25:00.591 --> 25:03.959 Well, I think he's probably doing the best investigative work he could do. What he's 25:04.459 --> 25:07.087 doing, because what he's really doing, right? You're right. It is by the book because 25:07.587 --> 25:11.064 it's like, you know, leave no stone unturned, like look everywhere. And he's thinking outside 25:11.240 --> 25:13.935 of just the parameters of the case, looking at like, well, 25:14.608 --> 25:17.880 if I'm right and these murders are connected in what seems like a pretty obvious 25:18.056 --> 25:21.761 way, we've got literal the names of the Seven Deadly Sins like written on the 25:22.261 --> 25:25.271 fucking crime scenes. Yeah, I don't think I'm out of base here thinking this might 25:25.771 --> 25:28.733 have something to do with this. Whereas Mills is like, nope, what's in the case 25:28.749 --> 25:31.314 file is in the case file. All the answers are here. And he's just kind 25:31.814 --> 25:34.343 of focused just on that, right? Yeah. Yeah. So it looks like, you know, 25:34.359 --> 25:38.126 Somerset is in this world of wealth of knowledge, right? 25:38.174 --> 25:41.876 He's swimming in a sea of information at this library, and Mills just 25:42.376 --> 25:45.018 keeps looking at the same 10 things over and over and over again. Not the 25:45.518 --> 25:48.848 most subtle of analogies in whatever situations that Fincher puts the characters 25:48.912 --> 25:52.020 in, but it, but it certainly does tell us that, right? What world they're 25:52.520 --> 25:55.760 living in. So yeah, next day, back into the office, and Mills 25:56.260 --> 25:58.400 is now actually kind of taking the office. There's a little desk kind of off 25:58.900 --> 26:02.460 to the side, and Somerset moves over, but Mills— it's Mills' office now. I love 26:02.960 --> 26:05.760 this moment where the phone rings and Mills isn't sure what to do, and Somerset 26:06.260 --> 26:08.480 kind of looks at him like, it's your office now, pal, like, go ahead. 26:08.980 --> 26:11.700 Phone comes with the desk. Phone comes with the desk. And it's his wife Tracy, 26:11.740 --> 26:14.400 Gwyneth Paltrow, who's calling. And we don't, like, hear her side of the conversation, 26:14.900 --> 26:17.540 we just hear whatever. But, you know, he's kind of like, well, don't— you know, 26:18.040 --> 26:19.260 I don't want you calling me at work. Like, kind of like, whatever, like, 26:19.760 --> 26:22.680 don't bother me, lady, you know, whatever. And— but then finally he's like, He's like, 26:23.180 --> 26:25.660 um, she wants to talk to you, and hands it over to Somerset. He basically 26:26.160 --> 26:29.500 gets invited over for dinner. And I love too that like he like says that 26:30.000 --> 26:32.120 all, you know, thank you, of course, then I'll come, you know, whatever, and hands 26:32.620 --> 26:35.260 the phone back to Mills. She's hung up on him, and then there's like nothing 26:35.760 --> 26:38.760 for a moment, and Mills goes, so what would— like, tell me what the hell 26:39.260 --> 26:41.640 that was. I didn't even inform you. Oh, I've been invited to a late supper 26:42.140 --> 26:45.360 at your home, and I accepted. Oh man, I like that they, 26:45.860 --> 26:49.000 uh, I like that they're using supper. I know, that's very Morgan Freeman 26:49.500 --> 26:52.660 character, uh, thing to say. Very Somerset, right? A guy named Somerset would call 26:53.160 --> 26:57.000 it supper, right? Sure. Um, was the 26:57.500 --> 27:01.040 other phone thing before this, uh, slightly where R. Lee Ermey is 27:01.540 --> 27:03.540 in one of the offices and then he just picks up a phone and he's 27:04.040 --> 27:06.320 like, this isn't my desk, and then he hangs up? Yeah, that was when they 27:06.820 --> 27:08.940 were doing the initial sort of tie together of the police. So I do love 27:09.440 --> 27:12.460 the disrespecting of the phone ringing. It's really nice. What are you doing 27:12.960 --> 27:16.440 calling me? This isn't even my desk. Uh, so they show up at Mills's 27:16.940 --> 27:19.660 apartment and then Tracy greets them and stuff and she says, 27:20.160 --> 27:22.780 oh, here, David. You know, she's like, I didn't even know your first name. 27:23.280 --> 27:26.024 So she gets the first names from the guy. says, oh, David's gonna go say 27:26.524 --> 27:29.632 hi to the kids, right? And then he's, you know, in this room that they 27:30.132 --> 27:34.298 have a few big dogs. Oh yeah, yeah. Room that's just floor covered in newspaper, 27:34.362 --> 27:37.969 meaning they're pissing and shitting there, and he's rolling around on the 27:38.469 --> 27:41.657 floor with the dogs. Like, look, I know you're— you've just been in 27:42.157 --> 27:45.088 the 2 grossest places you've ever seen in your life, so maybe nothing's gross, 27:45.409 --> 27:48.311 but come on, man, like, at least change your work clothes, right? Or like, 27:48.391 --> 27:52.223 you know, I don't know, move the puppy pads aside before— or let 27:52.723 --> 27:56.123 the dogs out and play with them. Them. Something, man. So rolling around in the 27:56.623 --> 27:59.286 toilet is not, not the look. Uh, yeah, they got their dog. And then we 27:59.786 --> 28:02.995 have a scene which is— it's kind of like we've been hit pretty hard at 28:03.495 --> 28:07.138 the beginning of this film with these gruesome deaths. So yeah, this dinner scene is 28:07.170 --> 28:10.188 like just, okay, we're hanging out, getting to know each other a little bit. 28:10.237 --> 28:13.480 It's a little bit of a lull in the, in the gore. Yeah, 28:13.496 --> 28:15.840 yeah, exactly. Well, we learned a little bit about Tracy and David, like where they 28:16.340 --> 28:18.666 came from. They— he's, you know, their high school sweethearts, like all this kind of 28:19.166 --> 28:23.634 stuff. Uh, and, uh, and then we get a little moment of like their apartment 28:24.003 --> 28:27.624 rattles whenever like a, uh, somebody, you know, the sub, the L train or something 28:28.124 --> 28:31.036 goes by, right? And it just completely shakes the whole apartment. And, and, 28:31.373 --> 28:34.738 you know, Somerset finds this very funny. That's where the city thing really 28:34.818 --> 28:38.343 confused me because at the beginning, uh, I was like, oh, this is New 28:38.843 --> 28:41.195 York City. Yeah, yeah, yeah. And then that happens and I was like, that's a 28:41.243 --> 28:44.447 very Chicago experience, even though there are parts of New York where the 28:44.947 --> 28:48.640 train— if you're outside Manhattan— cinema, you see that in Chicago. Right? Blues Brothers most 28:49.140 --> 28:52.850 famously. Um, so yeah, it was like, you're fucking with us here. 28:53.580 --> 28:56.820 Yeah, I was actually surprised how much of the subway— the subway in 28:57.320 --> 28:59.920 New York is actually elevated above ground when you're outside Manhattan. There's actually kind of 29:00.420 --> 29:03.140 a lot of it, right? So maybe there's just a crossbar here or something. 29:03.640 --> 29:07.320 Yeah, yeah, exactly. Okay, so yeah. Um, so let's see, 29:07.820 --> 29:11.060 uh, they're getting, uh, to the third— or they're talking more 29:11.560 --> 29:15.500 about the, uh, the crime scene. The attorney— the attorney— and how he actually Died, 29:15.516 --> 29:19.018 which is horrific. Wild, right? And, uh, and what happened 29:19.275 --> 29:22.906 is he basically was made to carve like the 29:22.970 --> 29:26.328 pound of flesh, right? Exactly. Which is a, you know, biblical, biblical thing. 29:27.067 --> 29:30.184 And he was made to like carve it out of his own body. And, 29:30.376 --> 29:33.043 you know, in the process of that, killed him. Bled out and died. Yeah, 29:33.091 --> 29:36.144 yeah. And, uh, and what Somerset is like, you know, 29:36.160 --> 29:40.112 this killer, he's preaching to us. Like, he's not— he's trying to send a message. 29:40.241 --> 29:44.070 These are sermons. Yeah. Um, and then there's a photograph, 29:44.190 --> 29:47.630 uh, in the lawyer's office of his wife. Yes. That has like 29:48.130 --> 29:51.670 blood on the face, but then the eyes are exposed. Like a 29:52.170 --> 29:54.530 Zorro mask of blood around the eyes. It's like, it was like circles around the 29:55.030 --> 29:56.890 eyes, but then of course some of that blood dripped. Yeah. It was like further 29:57.390 --> 30:00.270 down, but like the key was it was like obviously indicating her eyes. And so 30:00.770 --> 30:03.690 they decide they need to go talk to her, Mrs. Gould, the, the lawyer's wife. 30:04.190 --> 30:07.770 And, um, she is obviously not really in a mood to talk 30:08.270 --> 30:11.190 about this. Like, it's a horrific situation for her. She's kind of freaking out, 30:13.330 --> 30:16.450 Like isn't the way it should be. You know, I would think of myself other 30:16.950 --> 30:20.350 than your husband's corpse. You know, because that shouldn't be there. But she does notice 30:20.850 --> 30:23.690 there's a painting, and she says that painting is upside down. Like that's not normal. 30:24.330 --> 30:26.730 And they're like, okay, interesting. So they go back to that scene. It's an abstract 30:27.230 --> 30:30.570 painting, so it's not like it's upside down guy. Yeah, it wouldn't be obvious except 30:31.070 --> 30:33.130 to somebody who's familiar with it, right? And so she is, and so she points 30:33.630 --> 30:36.750 it out. And so they go back and they comment. They take the painting off 30:37.250 --> 30:40.930 the wall, and they comment how it was even re. Like, the wire was 30:41.430 --> 30:43.990 rebracketed so that it would look correct, as it was hanging the wrong way. 30:44.490 --> 30:46.890 And it's like, wow, this takes a long— why would you do that, almost? 30:47.020 --> 30:50.350 But it doesn't look like there's anything there. They're ripping that backing off of the 30:50.850 --> 30:53.410 painting, off of the canvas. I love ripping the paper off the back. All that 30:53.910 --> 30:57.730 stuff, and there's nothing in there. And then, I think it's Somerset gets up on 30:58.230 --> 31:00.550 the credenza there and just kind of like— I don't know if he's sort of 31:01.050 --> 31:02.770 dusting it. It's like a UV light or whatever he does to be able to 31:03.270 --> 31:06.640 see the fingerprints. And he sees fingerprints that are on the wall, 31:06.770 --> 31:09.630 and the prints themselves are sort of wiped or been pressed to say, help me. 31:10.130 --> 31:13.540 Yeah, uh, uh, on the wall. And they're like, oh, who is this? And they— 31:14.040 --> 31:16.640 and initially we're told, uh, because they have the crime lab looking at it, 31:17.140 --> 31:20.300 this is not the victim's fingerprints. Uh, so we're gonna keep— and it's not Mrs. 31:20.800 --> 31:22.740 Gould's fingerprints or whatever, you know. So like, we're— we don't know who this is. 31:23.240 --> 31:26.960 We got to check it out. Uh, and so what they're assuming is that whoever's 31:27.460 --> 31:30.640 fingerprints it is is the perpetrator, right? And it takes a little while. They actually 31:31.140 --> 31:34.820 fall asleep on the bench outside the, like, lab, guys. Yeah, I like— at least, 31:35.320 --> 31:38.740 you know, a lot of times movies like this, there's just magical stuff 31:39.240 --> 31:42.156 that happens just for the sake of moving it along. And it I think it 31:42.172 --> 31:45.448 could make it like— it makes it more interesting that we know that sometimes you 31:45.948 --> 31:48.274 have to wait forever to get a fingerprint match. It's not an automatic thing. 31:48.354 --> 31:52.255 Yeah, no, it's good if they can show us that information in several seconds 31:52.352 --> 31:55.177 so it doesn't slow us down, but it's clear that it's like affected the characters. 31:55.258 --> 31:58.292 I agree with you, it's really good stuff. Um, so the prints come up, 31:58.373 --> 32:01.921 right? And the— they're looking at the record of the 32:02.421 --> 32:05.517 person whose prints it is, and it's someone who's like, you know, would fit the 32:06.017 --> 32:09.498 profile of being a killer, just career criminal. uh, pedophile, 32:09.706 --> 32:13.443 like, sexual criminal, like all this shit. And importantly, 32:13.636 --> 32:17.133 a client of Gould's. So the key is they know this person 32:17.389 --> 32:21.383 was represented by the, the deceased lawyer, so it's his defense attorney. 32:21.432 --> 32:24.864 So it's like, well, that's interesting. Yeah. So, so they fucking mount 32:24.928 --> 32:28.874 up. I mean, this is like— this is wild, the number of cops. 32:28.923 --> 32:32.131 Yeah, this is every cop in unnamed city, USA. But they also 32:32.147 --> 32:35.387 believe that this guy's killed at least 2 people. Somerset's of the idea that 32:35.887 --> 32:38.400 if he has If he isn't stopped, it'll get to 7, right? You know, 32:38.900 --> 32:41.680 kind of thing. So, so it's very serious. So they go, and man, this— I 32:42.180 --> 32:44.100 love— we got John C. McGinley with a buzz cut. We don't see a lot 32:44.600 --> 32:48.320 of buzz cut John C. Love that. This is tough John C. He's like the 32:48.820 --> 32:52.050 only other— other than the main 4, he's like the only other notable— well, 32:52.840 --> 32:55.760 Lee Ermey a little bit. A little bit. Yeah, yeah. It's funny to see him 32:56.260 --> 32:59.680 in like such a minor role. Yeah. Because he talks like— he's a talking 33:00.180 --> 33:03.040 guy. He's like a Vince Vaughn. Like, he's good when he's got a lot of 33:03.540 --> 33:06.370 clever shit to say. And he almost says nothing. Almost nothing. Although this is kind 33:06.870 --> 33:08.830 of his main scene. This and the helicopter at the end are kind of his 33:09.330 --> 33:11.160 main, you know, involvements in the plot. So he is in it a bunch. 33:11.950 --> 33:14.390 But yeah, it's like, it's an interesting sort of role for him. 33:15.190 --> 33:17.870 Almost like, did he desperately want to work with Fincher? It just feels like the 33:18.370 --> 33:20.870 kind of thing, like when his agent brought it to him, it's like, why did 33:21.370 --> 33:23.150 he take it? Like, I know he wasn't like a superstar or anything, but he 33:23.650 --> 33:25.970 was doing good work. Yeah, yeah. You know this, you know what it feels like? 33:26.470 --> 33:29.370 It feels a little bit like Jeff Daniels in Speed, right? That really small role 33:29.870 --> 33:32.320 that he had in Speed, and it was like like the couple years before that, 33:32.820 --> 33:34.860 he was like in Dumb and Dumber, which— yeah, half a billion dollars or some 33:35.360 --> 33:36.780 shit. Like, it's just kind of funny. Just want to do something different. Just want 33:37.280 --> 33:40.240 to do something else, man. Like, but anyway, so they, they, you know, 33:40.740 --> 33:43.420 they're SWAT and everybody are storming this apartment building. They're going up, they find the 33:43.920 --> 33:47.340 apartment, they bust in, and it's like, you know, they're clearing rooms, clearing rooms, 33:47.840 --> 33:51.020 whatever. And then they bust into the bedroom, and this is the— we mentioned 33:51.520 --> 33:54.680 the top of the, of the thing. This is the, the, the, uh, pine tree 33:55.180 --> 33:58.742 car air fresheners hanging from the ceiling, thousands of them or something. Crazy, 33:58.854 --> 34:01.966 crazy amount of time. This is absolutely wild. And initially the bed is, you know, 34:01.982 --> 34:05.480 whoever's in bed, there's a body in bed, but covered with a sheet. And they're 34:05.496 --> 34:08.063 kind of like, you know, get up, asshole, like whatever. They pull it back and 34:08.095 --> 34:11.833 it is this, it is the most mummified, emaciated— It looks like the Cryptkeeper. 34:11.913 --> 34:15.025 Oh my God, horrific. Crazy, right? And it says, 34:15.282 --> 34:18.442 it says Sloth on the wall, right? Uh, behind the, 34:18.908 --> 34:23.367 behind the bed, right? And so they're just like, all right, well, this guy's clearly 34:23.480 --> 34:26.650 dead, whatever. One of the cops leans close to this guy. 34:27.150 --> 34:29.630 It was McKinley. He leans close to him and he's like, you got what you 34:30.130 --> 34:32.209 deserved. Yeah, because they all know this is a guy who was like, you know, 34:32.709 --> 34:36.070 got off of the charge but was like on trial for like child rape. 34:36.570 --> 34:39.310 Yeah, I mean, this is a horrible human being, also a drug dealer. So nobody's 34:39.810 --> 34:43.190 sad this guy's dead, right? Problem is the corpse coughed at him. 34:43.690 --> 34:46.450 One of the greatest moments in this movie— oh my God— is the cough from 34:46.950 --> 34:50.790 this nearly dead body that freaks everybody out. Because it, you know, like this, 34:51.290 --> 34:54.050 this movie is not a horror in the traditional sense, like we talked about. 34:54.550 --> 34:56.711 It doesn't have these jump scares, but that's like a jump scare. in this movie 34:56.823 --> 34:59.660 for sure. Big time. Oh my God, really good stuff. 35:00.092 --> 35:03.138 Um, so, uh, so he's alive and they, 35:03.298 --> 35:06.039 they take him off to the hospital, but he's in rough shape. And, uh, 35:06.119 --> 35:09.485 Somerset and Mills are now kind of chit-chatting like outside the door to 35:09.985 --> 35:13.331 the apartment. And, uh, this photographer comes up the stairs, you know, 35:13.395 --> 35:16.232 classic annoying, like, in-your-face paparazzi guy. 35:17.002 --> 35:21.313 And, uh, snapping pictures of him like the guy from, uh, Brewster's Millions 35:21.345 --> 35:24.727 that he paid to like follow him around. Like that personality type. Also a little 35:25.227 --> 35:27.330 bit like Big Lebowski, is that you and your special lady friend? 35:28.240 --> 35:31.860 Like, you know, they're like, get the fuck out of here. And Mills is pissed. 35:32.360 --> 35:35.800 He's like, he's like, these fucking guys, or whatever. And Somerset's like, oh, you know, 35:36.300 --> 35:39.420 they pay the cops for these tips to show up early, and they pay good 35:39.920 --> 35:43.300 money. Yeah. And it's weird, again, Mr. By-the-Book, but he's also Mr. 35:43.800 --> 35:47.180 I know how things actually work in the real world. And some of these cops, 35:47.680 --> 35:50.900 that extra $500 they get from the crime photographer, that's like a big difference. 35:51.400 --> 35:54.540 Yeah. He's a little Serpico-ish, where it's kind of like well aware of all the 35:55.040 --> 35:59.560 bullshit that goes on. Yeah. Doesn't partake himself. Yeah. And never, but then unlike Serpico, 35:59.680 --> 36:02.640 never wanted, you know, it's not like Somerset's an IA officer who's like there to 36:03.140 --> 36:06.300 bust this stuff. He just knows it happens like that. So, but yeah, so there's 36:06.800 --> 36:10.320 that. And yeah, I mean, you can freeze frame, you know, you can pause 36:10.820 --> 36:13.340 it and see there's a couple of, one or two frames of really get a 36:13.840 --> 36:17.000 good look at that paparazzi's face. But it does take a little bit to try 36:17.500 --> 36:20.200 and do it. But— And he doesn't talk, you know, he doesn't say much. 36:20.700 --> 36:22.830 No, no, no. He doesn't say it. Puts a little bit of a voice on. 36:23.120 --> 36:26.920 Yeah, exactly. So we're at the hospital now where the 36:27.420 --> 36:31.044 victim, the Sloth victim, has been taken. And Mills, 36:31.140 --> 36:34.411 very funny, I think this is showing just him being really naive, 36:34.443 --> 36:37.248 just saying to the doctor, be like, oh, has he said anything yet? He's just 36:37.748 --> 36:40.920 like, this guy was basically a pulse. Yeah. And that's it. That's it. 36:41.000 --> 36:44.575 Yeah. He says to me, like, even, even if his brain wasn't mush, 36:44.704 --> 36:47.974 which it is, he chewed his tongue off a long time ago. He couldn't say 36:47.990 --> 36:51.566 anything. Such a crazy line. So gross. And then, uh, the doctor also said 36:51.598 --> 36:55.093 something else, like, this is probably the person who's been 36:55.125 --> 36:58.395 through, like, the most pain and suffering that I could ever imagine. 36:58.973 --> 37:02.581 And he still has hell to look forward to. Yeah, so no, there's no 37:02.597 --> 37:05.868 sympathy for this, this cr— this like shriveled up guy. 37:06.012 --> 37:08.610 And everybody knows who he is. Yes, like the doctors know, the cops know, 37:08.674 --> 37:12.218 everybody knows who this person— this is a famous criminal who got off. This is 37:12.347 --> 37:15.859 O.J. Simpson. Yeah, yeah, like in this world. So everybody is happy 37:15.875 --> 37:19.579 that he's dead basically, which is interesting. Um, but, um, 37:19.803 --> 37:23.556 and, and again, I like— if you're the killer, as a strategy, 37:23.909 --> 37:27.599 yeah, to kill someone that nobody cares about, that at least 37:28.099 --> 37:31.257 buys you some time. That's true. Yeah, yeah, for sure. Um, 37:31.466 --> 37:34.643 so now I think Tracy gives Somerset a call. Yes. Uh, and he's a little 37:35.044 --> 37:37.531 confused. He's like, why are you calling me? Whatever. But she asks to meet, 37:37.612 --> 37:41.013 and so he meets her for breakfast, and they, uh, they talk 37:41.513 --> 37:45.170 a little bit. And for whatever reason, Tracy decides that Somerset's the one that 37:45.670 --> 37:49.326 she's going to mention to that she's pregnant. She hasn't told her husband 37:49.826 --> 37:52.936 yet, but she decides to tell his partner of 2 days that she met yesterday 37:53.836 --> 37:56.407 Does not really make any sense. It's it. I don't think this movie has a 37:56.907 --> 37:59.379 lot of plot holes, but this one's a little strange. I think if we're trimming 37:59.879 --> 38:02.739 the movie, that yeah, this whole side. But we need to plant this somehow. 38:03.322 --> 38:05.750 Like, we need to plant that she's pregnant. We need to make it so that 38:06.250 --> 38:09.213 look at a positive test that's in the trash. There you go. Let the yeah. 38:09.311 --> 38:12.969 Somerset doesn't need to know. You know, although actually, 38:13.163 --> 38:15.801 he kind of does though. Like this is one of those things. This is the 38:15.817 --> 38:19.054 hard part, right? There there are points of any movie, and this happens in even 38:19.554 --> 38:22.853 the best written, best plotted movies where. you want a certain thing to 38:23.353 --> 38:26.836 happen later. You want this particular payoff, and I'm confident the writer came up 38:26.884 --> 38:29.920 with the payoff long before the plant. For sure. Right? And so then you got 38:30.420 --> 38:32.104 to figure out, you got to backtrack and go, well, how do I put this 38:32.604 --> 38:35.429 in motion so that at the very end of the movie this character knows something 38:35.478 --> 38:38.722 that this character doesn't know, and the audience knows that it's true, you know, 38:38.770 --> 38:41.019 kind of thing? So the audience and one character have to be ahead of another. 38:41.340 --> 38:44.007 That's not the easiest thing in the world to do. I get it. But this 38:44.507 --> 38:47.010 is where it's kind of like, ah, yeah, the, the plot suffers a little from 38:47.510 --> 38:51.050 like this stretch to like get that planted so that the payoff can 38:51.550 --> 38:53.750 happen later. And the payoff's great, like don't get me wrong, where they get to 38:54.250 --> 38:56.190 is wonderful. But this is like a little weak where it's like, why the fuck 38:56.690 --> 38:58.630 would she tell this guy? She says something about like, you're the only one I 38:59.130 --> 39:02.370 can— that I know in town, which is like, okay, also basically true. Except why 39:02.870 --> 39:05.710 didn't you just tell your husband? I don't know, like, because her kind of reasoning 39:06.210 --> 39:07.870 around like, well, I'm not sure if I would want to keep it because the 39:08.370 --> 39:11.870 world is so terrible, it's like, okay, I guess. 39:12.370 --> 39:16.130 Because she was saying she's a teacher, right? And like what she witnesses or I 39:16.162 --> 39:19.801 will say, like, if they re-release Se7en in the theaters, when she sits down 39:19.930 --> 39:23.616 to talk to Morgan Freeman, go get some Junior 39:24.116 --> 39:26.710 Mints, go pee. Like, this is your time. Yes, exactly. It's a good time for 39:27.210 --> 39:31.038 a bathroom break. Um, and, and, but Somerset does tell a story basically 39:31.054 --> 39:35.046 about how, yeah, yeah, like, I made that same decision. Like, I made 39:35.094 --> 39:38.012 the decision with my partner back in the day to terminate a pregnancy. Yeah, 39:38.028 --> 39:41.153 yeah. Uh, to this day, I 100% believe it was 39:41.250 --> 39:44.440 the right decision, and I also regret it every single day, 39:44.456 --> 39:47.341 which is like, yeah, I mean, it's one of those things, like, certain times you're 39:47.841 --> 39:50.310 put in a position a position where there are consequences no matter what you do. 39:50.390 --> 39:53.680 Right, right. Yeah, and there is no, there is no happy ending from that scenario, 39:53.760 --> 39:57.002 right? You're not gonna be pleased. You just have to be satisfied-ish. 39:57.355 --> 39:59.458 Yeah, with whatever choice you make and move on with your life, you know? 39:59.843 --> 40:02.411 So yeah, so she's got a lot to think about. He gets beeped. I love 40:02.911 --> 40:05.251 he pulls his little pager out and has to check his pager because it's 1995. 40:05.701 --> 40:09.135 Um, and they're basically, uh, I think this Mills and him are 40:09.167 --> 40:12.505 meeting up again and they're having this conversation about whether this, this perpetrator, 40:12.537 --> 40:15.554 whoever it is, who's now killed 3 people is a nutbag or a genius. 40:15.747 --> 40:19.245 And it's the classic madness and genius sort of thing. But basically, 40:19.421 --> 40:22.422 Mills is convinced this guy's just crazy. And Somerset's like, 40:22.550 --> 40:25.872 yeah, crazy people can't put all this shit together. And this is 40:26.372 --> 40:29.996 definitely a part where it's like, we're meant to understand that Somerset is a massively 40:30.012 --> 40:33.173 smarter person than Mills is. And this is one of the scenes that really drives 40:33.673 --> 40:37.875 it home because it's like, to be this dismissive of the sort of character 40:37.891 --> 40:41.245 of your opponent, right, by— like, that Mills is being— You're hurting yourself. 40:41.293 --> 40:44.887 Pretty terrible. I mean, this is a classic United 40:45.387 --> 40:48.719 States States thing, you know, when we're talking about certain other countries, it's just we 40:48.944 --> 40:52.375 classify them as being irrational, crazy actors instead of thinking 40:52.391 --> 40:55.501 of like, well, maybe, but also why, right? Why might they 40:55.533 --> 40:58.916 be doing— like, we have to be better about examining this if we want to 40:59.416 --> 41:03.085 stop it. Yeah. Um, so yeah, they're, uh, they're talking about how, 41:03.935 --> 41:07.639 um, Somerset's saying, well, I have a friend at the FBI, you know, who can 41:08.139 --> 41:12.272 search the library database. Certain books are flagged for different reasons, so the 41:12.772 --> 41:16.105 FBI has a database if you're checking out, you know, The Anarchist Cookbook and Mein 41:16.137 --> 41:20.372 Kampf and Turner Diaries and all this shit back to back, you're gonna 41:20.872 --> 41:23.917 get on a list. You're not gonna get arrested, but it's gonna draw the attention 41:24.417 --> 41:27.301 of something. Which also, this is fucked up. I know that this happens and this 41:27.801 --> 41:30.895 is 30 years old and it's probably gotten a trillion times worse and it's 41:31.395 --> 41:35.995 really fucked up, but it is a reality. So yeah, they basically find out that, 41:36.252 --> 41:39.621 you know, they give money to this guy, go like, hey, give me an 41:40.121 --> 41:42.572 hour, I'll get you the guy who's been checking these books out. He's got again 41:42.604 --> 41:45.764 Divine Comedy, Paradise Lost, like he's got all these sort of books and, you you 41:46.264 --> 41:49.964 know, these kind of special Catholicism treatises and different things like that. And sure 41:50.464 --> 41:53.235 enough, it comes back with like one name. There's like one name in that city 41:53.812 --> 41:57.051 borrowing all those books, you know, of all that style. Of course, the name 41:57.551 --> 42:00.610 is Jonathan Doe. Yeah. So, you know, but they get an address, and so they're 42:00.626 --> 42:03.929 able to go and actually check out, you know, this apartment. 42:04.554 --> 42:07.616 Um, do you think this is a fuck-up by Jonathan? 42:07.761 --> 42:11.079 This is intentional that he didn't just buy those books, knowing that we 42:11.544 --> 42:14.574 know he has like unlimited funds. He could have purchased the books and not been 42:15.074 --> 42:19.820 on the record of this library card thing. It seems like he's— like, 42:20.320 --> 42:23.340 he needs it to end. Like, the way it goes is exactly how he wanted 42:23.840 --> 42:26.240 it to go the whole time, or did it get derailed at some point? 42:26.740 --> 42:28.720 No, I think he makes it clear that this is a derail. Like, 'cause the 42:29.220 --> 42:31.140 thing happens a little bit that we'll talk about. He does mention that. So, 42:31.640 --> 42:34.920 but what I'll say is this. In 1995, we are so used to the 42:35.420 --> 42:38.900 surveillance society that we're in today and what, you know, how many— we know how 42:39.400 --> 42:43.540 much information, right? This is post-Edward Snowden's revelations. This is post-DHS 42:44.040 --> 42:45.200 being created, right? DHS didn't exist back then. So those organizations, 42:47.020 --> 42:50.209 FBI, NSA, CIA, they didn't talk to each other, 42:50.562 --> 42:54.073 right? What Border Patrol there was didn't talk to the FBI. Like, they weren't communicating 42:54.121 --> 42:57.920 at all, those organizations. In fact, they often were competing. So the idea 42:57.936 --> 43:02.136 that in 1995, you would've, as a mastermind 43:02.264 --> 43:05.566 evil villain, thought to yourself, if I go buy stuff, 43:05.727 --> 43:09.061 I'm now on record at that store. Even if I pay cash, somebody might recognize 43:09.093 --> 43:13.149 me. Like, whatever. Now I have this permanent— versus, like, using the library, 43:13.501 --> 43:16.723 it probably felt safer and more anonymous to use a library. Mm-hmm. 43:16.771 --> 43:19.994 Because I think nobody really— like, the way They play up how 43:20.494 --> 43:22.818 nobody can talk about this. Even Mills says, that's fucked up, they can't do that. 43:22.866 --> 43:25.448 He's like, yeah, I know, but it gets done. Don't fucking talk about it, 43:25.753 --> 43:28.239 you know, kind of thing. So that's enough for us to know as an audience, 43:28.255 --> 43:31.528 like, this wouldn't be known to the villain yet. Like, he wouldn't be 43:32.028 --> 43:34.592 aware that this is a way he could be found out. I think the idea 43:35.092 --> 43:38.377 that the FBI kept track of what you were borrowing from the library was the 43:38.426 --> 43:41.971 stuff of conspiracy theorist nuts in the mid-'90s, and that the average audience 43:42.471 --> 43:45.981 member— AKA prematurely correct. Exactly right. But I think the average audience 43:46.481 --> 43:49.848 member was like scandalized by the idea that this was a vector they could track 43:50.348 --> 43:53.842 down. And even Somerset says, you can't use this in court. Like, this is inadmissible. 43:54.083 --> 43:57.452 But does it help you get to where you need to go? Maybe. And as 43:57.468 --> 43:59.650 long as you end up finding evidence you had a reason to look for, 43:59.843 --> 44:03.453 you're okay. But we can't just say, this is why we're here. The smell 44:03.953 --> 44:06.950 of weed. Yeah, exactly. That kind of thing. So I do think that's why. 44:07.063 --> 44:10.207 I think it felt more anonymous to be involved in like a library 44:10.223 --> 44:13.384 situation in the '90s than does today. I think we understand it's a little 44:13.481 --> 44:17.108 more surveilled, yeah, than it used to— than the understanding used to be. So I 44:17.608 --> 44:20.109 think that's what's going on there. But because we do know that this is not 44:20.478 --> 44:23.704 planned by Doe, so Somerset and Mills show up 44:24.204 --> 44:27.476 at the front door, they knock, nobody answers. Oh, sorry. Oh, real, real quick. 44:27.524 --> 44:30.605 Yeah, yeah. Uh, they have a list of the books and they're reading through the 44:31.105 --> 44:33.542 books, and I think this is the only joke in this movie, and it's a 44:34.042 --> 44:37.474 killer joke. Actually, the Cliff Notes, I think, is another— is another, like, moment of 44:37.490 --> 44:41.096 levity. It's a moment movie. There's another Mills-ism, and he's reading the list 44:41.596 --> 44:44.221 of the books, you know, whatever, and he gets to Marquis de Sade and he 44:44.237 --> 44:47.666 says Marquis de Chardet. Fucking killer 44:48.166 --> 44:51.031 joke. Very, very like hit harder in the mid-'90s, 44:51.608 --> 44:55.294 but, uh, and maybe not the first time that that joke was made, 44:55.358 --> 44:58.579 but nice. Marquis de Chardet. And it felt like 44:59.300 --> 45:02.889 it was such a— it also was giving us a little insight 45:03.389 --> 45:06.432 into like Mills's like musical taste. Like, because, yeah, because even, uh, you know, 45:07.079 --> 45:10.928 a, a 30-something or maybe late 20-something white man in the mid-'90s knowing 45:10.944 --> 45:14.371 how to properly pronounce Sade, the singer's name, is actually kind of impressive. 45:14.468 --> 45:17.567 Like, yeah, he's like, he's like, yeah, 45:17.584 --> 45:20.489 Sade's good getting your wife pregnant music. 45:20.651 --> 45:23.554 Too bad it hasn't worked so far, right, Somerset? Maybe someday. 45:25.309 --> 45:28.382 Okay, sorry. And now we're smashing cut. But I, I— that 45:28.882 --> 45:31.288 joke, I really did, uh, like I like that a lot. And again, in a 45:31.788 --> 45:35.119 movie where it's just so dark and you're brought down to such a level, 45:35.231 --> 45:37.668 like, certain things have to like pop you up a little bit. 45:38.261 --> 45:41.082 Yeah, we need moments. Yeah, we need moments like that. Uh, but yeah, so they 45:41.582 --> 45:45.057 get to the front door of Doe's apartment, knock, nobody answers. Then coming 45:45.153 --> 45:47.974 up the sort of stairs at the end is a man in like a hat 45:48.474 --> 45:51.902 and coat carrying grocery bag maybe or something. And they both like look up at 45:52.402 --> 45:54.851 him and he stops and looks and then drops the grocery bag and fires a 45:55.351 --> 45:58.411 gun at them. And it starts a fantastic foot chase. Yeah, great foot chase. 45:58.476 --> 46:02.217 We saw some great, uh, we've seen some great chases in recent episodes, and this 46:02.329 --> 46:05.059 is one of the best foot chases through the city I've seen. This is the 46:05.559 --> 46:08.752 thing I like about this, uh, that's different than, you know, like the, 46:09.073 --> 46:12.011 the Point Break foot chase, which is an example of a really good one, 46:12.284 --> 46:15.576 but one where the pursuer knows exactly where 46:16.076 --> 46:19.173 he's going the entire time. Yeah, yeah. This one gives you such a cool sense 46:19.673 --> 46:22.978 of confusion, uh, the Mills character, where it's like, where the fuck 46:23.478 --> 46:26.050 like he could have popped into a door. Like, there's so many ways in and 46:26.550 --> 46:29.690 out, you know? And, and I really enjoyed that. And, and it has one of 46:30.190 --> 46:33.790 our favorite things of the chase just going through somebody's apartment. If you 46:34.290 --> 46:36.610 live in a rough area, there might just be a chase through your apartment. 46:37.110 --> 46:39.630 It seems like it. And all the civilians standing around are pointing him in the 46:40.130 --> 46:41.730 right direction. Do you think somebody ran through that way? I don't know who the 46:42.230 --> 46:45.010 fuck it was, but there, run over there. Yeah. Um, and there's some firing back 46:45.510 --> 46:47.430 and forth, you know. He gets out a window at one point. Mills has to 46:47.930 --> 46:51.266 double back. Like, all this Eventually Mills gets outside, back out into the pouring rain 46:51.378 --> 46:54.905 and in like an alleyway, and gets like punched from above. Like, like Doe 46:55.066 --> 46:58.128 is standing on a, on a truck trailer or something, whatever, and is able to 46:58.192 --> 47:00.565 punch him and, and gets him to the point where he's got a gun to 47:00.581 --> 47:03.323 his head and decides not to kill him, 47:03.948 --> 47:07.283 which is an interesting choice. Yeah. And I think it's only the— I 47:07.332 --> 47:10.458 think the only reason he doesn't kill Mills in this moment is that 47:10.958 --> 47:14.611 it doesn't fit the theme he has. Like, he's got a theme going, and we 47:14.627 --> 47:18.012 know later that Mills is part of it, so this is like 47:18.157 --> 47:20.373 the only reason he won't do it here is that it doesn't— like, it's not 47:20.421 --> 47:23.665 artistic enough, right? Like, like, I've got work to 47:23.697 --> 47:26.957 do is more important than this is the way I save my own life. 47:27.070 --> 47:30.490 Yeah, yeah, yeah, exactly. Like, the project is— well, because his life is useless 47:30.603 --> 47:33.606 if he can't complete his project. And he's already— I mean, it's almost like a, 47:33.879 --> 47:37.717 like a monk or someone who gives up all their possessions. Like, by becoming 47:37.813 --> 47:40.897 John Doe and getting rid of your fingerprints, it makes you hard to 47:41.587 --> 47:45.199 discover. But in his own mind, he has to have like let go 47:45.699 --> 47:49.370 of whatever his identity was to just become this project. Complete like ego dissolve. 47:49.546 --> 47:52.321 Yeah, yeah, yeah. So, you know, 47:52.819 --> 47:56.251 as Somerset approaches, right as the villain 47:56.604 --> 48:00.631 runs off who had had the gun to Mills's head, and Mills 48:01.131 --> 48:04.368 is like, all right, yeah, we were at the right fucking place, clearly, let's go 48:04.448 --> 48:07.753 in. And Somerset's like, oh, but we don't have a warrant. Yeah, we have 48:07.769 --> 48:11.009 no reason to be here because they can't use the FBI fucking library list. 48:11.917 --> 48:15.303 Yeah, so, uh, so Mills is just like, yeah, 48:15.319 --> 48:18.140 yeah, right, and then just fucking kicks in the door anyway. 48:18.850 --> 48:22.070 Um, and later what, what they do is he like pays a person 48:22.311 --> 48:25.685 who seems like, clearly from what he's saying to them, seems like a drug addict. 48:25.926 --> 48:29.653 Yes, homeless. To just say to the police that, oh, I actually called 48:30.153 --> 48:33.311 Somerset because this guy was weird coming in and out. And then he gives, 48:33.344 --> 48:35.748 he gives her money and he's like, make sure you get food with it, 48:35.764 --> 48:38.572 right? You know, so that great detail though that tells you a lot. 48:40.735 --> 48:44.201 So this place is fucking— 48:44.345 --> 48:47.811 So fucked up. Like, let's pause 48:48.311 --> 48:51.149 it because we've talked about so many apartments and homes on this, 48:51.309 --> 48:54.294 right? Whether it's Sleeping with the Enemy's beach house, 48:54.374 --> 48:57.358 it's the Sneakers loft. It's like, you know, all these places that have crazy— you 48:57.858 --> 49:01.049 know, So I Married an Axe Murderer, right? Yeah. This is the wildest 49:01.549 --> 49:03.921 apartment of any that I think we've ever seen. First of all, it appears to 49:04.421 --> 49:08.382 be 10 rooms. Okay. I was going to say that I would love a companion. 49:08.574 --> 49:12.250 Like, you know, the beginning of The Hobbit or whatever where they're like, Map drawn. 49:12.750 --> 49:15.150 I want like the inside of the DVD. John Doe's floor plan. Yeah, I want 49:15.650 --> 49:18.910 a floor plan. I want blueprints of all this shit. Crazy. There's so many rooms. 49:19.410 --> 49:21.830 They keep going into different rooms. Also, there's like a dark room, right? That's the 49:22.330 --> 49:25.030 bathroom, I guess, with all these photos in it. And I will say, if you 49:25.530 --> 49:29.370 have your own dark room, go to jail. It is the 49:29.870 --> 49:32.510 official hobby of creeps. Uh, 49:33.010 --> 49:36.670 yeah. And he's got souvenirs. So he has these like cabinets on 49:37.170 --> 49:40.670 the wall that have souvenirs from the kills, right? Yes. So one cabinet has 49:41.170 --> 49:44.060 the of the spaghetti sauce from the, uh, from the first guy. 49:44.560 --> 49:46.520 Uh, one of— let's see, what does he have in the other one? One's definitely 49:47.020 --> 49:50.120 got— there's a hand. Right, the hand that he used to make the help me 49:50.620 --> 49:54.080 handprints. So that's the sloth victim. Yeah. Um, so there's like a handful of 49:54.580 --> 49:58.100 things like going across here. Um, photos. The pound of flesh is 49:58.600 --> 50:01.920 literally there for the, for the greed dude. Yeah, dude. Yeah. And so, and then 50:02.420 --> 50:05.440 all these photos are hanging up and Mills is looking through them, and, uh, 50:05.940 --> 50:08.320 there's a bunch of this blonde woman that we don't recognize, but there's a bunch 50:08.820 --> 50:11.700 of photos of her. And then he looks into the bathroom tub, and he screams 50:12.200 --> 50:15.360 out to Somerset, Somerset! You know, whatever. And he comes rushing in, and it's 50:15.860 --> 50:19.600 the photos of Mills and Somerset from that photographer on the stairs, 50:20.100 --> 50:22.900 right? So now we confirm that was John Doe. So they had him. He was 50:23.400 --> 50:27.080 right there. Yep, exactly, which is a bummer. And then one of the coolest notes 50:27.580 --> 50:30.100 ever, right, or the kind of coolest moments, is that, you know, one of these 50:30.600 --> 50:33.100 other cops that's just kind of surveying the scene and trying to collect evidence goes 50:33.600 --> 50:35.740 up to Mills and goes, um, I don't think you're going to believe this, 50:36.240 --> 50:38.460 but we haven't found a fingerprint yet. He goes, you're right, I don't believe you. 50:38.960 --> 50:42.439 Keep looking, but there are no fingerprints anywhere in the apartment, which is crazy. 50:42.808 --> 50:46.194 That's wild. It is really wild. And there's a crazy— and 50:46.694 --> 50:50.462 it's not like an apartment that, uh, oh, okay, I just got this to 50:50.962 --> 50:54.281 stage my crime. Like, this is a lived-in place. There's a crazy number of like 50:54.781 --> 50:58.550 handwritten journals and notebooks and all this stuff. And what— hundreds. Yeah. And Somerset's 50:59.050 --> 51:02.016 like, these are in no order. There's no dates on any of these. Crazy. 51:02.080 --> 51:05.851 Just ramblings from his brain. Crazy. Uh, so while they're there, 51:05.867 --> 51:09.094 the phone rings. Yes. And this is, this is John Doe on the 51:09.126 --> 51:12.915 phone. And, uh, right, you know, he calls and he basically admits like, 51:13.076 --> 51:16.721 nice work, that was impressive, I didn't expect you to find me, uh, so now 51:16.769 --> 51:19.258 I have to speed up the rest of my plan, just so you know. 51:19.338 --> 51:22.646 Like, you know, but, but basically like, but he's like says something like, but boy, 51:22.694 --> 51:25.793 I respect, I respect you guys, you're, you're good opponents, like kind of thing. 51:25.841 --> 51:28.860 Which is like the villain's way of being like, oh, perhaps I have, 51:29.149 --> 51:32.551 I have met my match. No, I haven't. thing. Um, 51:32.903 --> 51:35.948 one of the display cases, um, one of the display 51:36.448 --> 51:39.618 things on the wall had like— was it a receipt for a leather shop or 51:39.634 --> 51:42.935 some like custom-made like leather piece that he had made? So this is 51:42.983 --> 51:46.124 kind of their next clue. Yeah, there's that, and there's also the pictures of the 51:46.624 --> 51:48.127 blonde woman in there. And kind of, I think in both cases we're looking at— 51:48.627 --> 51:52.101 but they do go to the, to the, uh, uh, leather goods 51:52.518 --> 51:55.370 shop or whatever, and they've got, you know, the guy brings a picture and he's 51:55.870 --> 51:57.581 like, oh yeah, yeah, yeah, that guy, like John Doe. Like it was easy to 51:58.081 --> 52:00.455 remember This is what he had me make. And we don't see it, but they're 52:00.955 --> 52:02.542 kind of like, you made this for somebody? He goes, yeah, I thought he was 52:03.042 --> 52:05.544 like a performance artist, like those guys who get up on stage and piss themselves, 52:05.593 --> 52:08.145 or whatever he fucking says, right? But they don't tell us what it is. 52:08.258 --> 52:11.758 But then it's like, we get— I think they get another call and they realize 52:12.175 --> 52:15.177 this is like related, and they go to a brothel basically, or, you know, 52:15.482 --> 52:19.400 it's some kind of rent-by-the-hour hotel kind of thing. Yeah. And yeah, 52:19.480 --> 52:22.852 luckily they don't show us the corpse on this one too closely, uh, but we 52:22.932 --> 52:26.299 learned that the— it was basically a knife blade dildo. Yeah. 52:26.539 --> 52:30.113 And Doe took this John, this, this, this, you know, guy who 52:30.145 --> 52:33.174 was there to fuck this hooker, and held a gun to his head and was 52:33.206 --> 52:37.100 like, fuck her with this blade. And oh God. So, so he made him, 52:37.116 --> 52:40.048 he made him murder this, uh, this woman here. 52:40.641 --> 52:44.791 Very nasty. Um, the guy who is 52:44.888 --> 52:48.477 like the front desk guy, the, the proprietor of the, of the brothel, 52:48.493 --> 52:51.900 manager or whatever he is, one of the least credible faces I've ever 52:52.400 --> 52:55.320 seen in my life. Like, just everything that guy says is a fucking lie. 52:55.820 --> 52:58.620 Like, he just has one of those looks. Yeah. Why did he remind me of 52:59.120 --> 53:01.380 the bald guy from Face/Off? The friend or whatever? I don't know. There was something 53:01.880 --> 53:04.400 about him that felt like— it wasn't the same actor, but it like— there's a 53:04.900 --> 53:07.580 vibe. Yeah, a little Dieter-ish. Yeah, there you go. Dieter. Yeah. But, uh, but yeah, 53:08.080 --> 53:12.160 so basically, you know, this is like the— this is the lust sin 53:12.660 --> 53:15.100 crime, right? So, so I think lust is even written on the wall again, 53:15.600 --> 53:17.660 or on the floor. I remember there's something that they, they wrote it somewhere. 53:18.160 --> 53:22.050 And the interview, the, the police interview Of the guy who had the 53:22.550 --> 53:25.190 device strapped to him. First of all, when they get there, the guy still has 53:25.690 --> 53:27.610 it on. He's just like, get this thing off me! Get this thing— like, 53:28.110 --> 53:32.110 really? And he is just shaking, sweating. But it's 53:32.610 --> 53:35.790 like interesting because you're like, yeah, you did save your own 53:36.290 --> 53:39.610 life by killing somebody else. Yeah, yeah. You know, so, so is it self-defense? 53:40.650 --> 53:43.450 Like, it's hard to know. And you were also— you were there in the first 53:43.950 --> 53:46.350 place, right? You probably didn't get brought there, right? I mean, you were there to 53:46.850 --> 53:50.289 commit one crime, not that one. Yeah, yeah. Oh, Jesus. But by the way, 53:50.305 --> 53:52.311 this— I don't know if this is what you were referencing, but this was a 53:52.811 --> 53:55.215 thing where it was like, I remembered the, the, the pine tree air fresheners. 53:55.280 --> 53:58.569 I forgot the blade dildo. I did too. How did I forget the blade dildo? 53:58.650 --> 54:02.196 The things that I remembered were the pine tree air fresheners and for some 54:02.244 --> 54:05.614 reason the pieces of plastic being— Oh, interesting. Okay, okay. And in 54:06.114 --> 54:09.738 my memory, he died because he was fed like some hybrid of like food 54:10.238 --> 54:13.573 and plastic that killed him. Um, so for whatever 54:14.073 --> 54:16.365 reason, that stuck in my head. But yeah, knife blade dildo, I just might have 54:16.865 --> 54:20.470 been like already too much in shock to catch. The things that always, that always 54:20.970 --> 54:24.030 stick with me are, yeah, the pine tree air fresheners, what's in the box, 54:24.490 --> 54:26.610 and, and the pound of flesh. Those are the parts I remember. But though, 54:27.110 --> 54:29.930 yeah, the blade dildo, I think it's my brain blocked it out. It's— well, 54:30.430 --> 54:33.610 and we're with it briefly. Yeah, yeah. You know, we're not spending— but 54:34.110 --> 54:37.410 it's just like the idea of it, because you see the device. Yes. 54:37.910 --> 54:42.130 And it's like, oh, just— I don't know, incredibly brutal. 54:42.630 --> 54:45.400 Like, like if that thing was miniaturized to be like a fish hook. Yeah, 54:45.900 --> 54:49.300 yeah, it would be illegal by the game warden because they'd be like, that's too 54:49.800 --> 54:52.700 cruel to the fish. Yeah, exactly. Um, not good stuff. 54:53.200 --> 54:56.520 So, so Mills, you know, he goes home, goes home to his wife. Yep. 54:57.020 --> 55:00.080 Uh, so we get the scene of them together, and then we've got, uh, 55:00.580 --> 55:03.840 we've got Somerset, uh, with his switchblade dartboard, which I love. 55:04.340 --> 55:06.800 Goddamn it, this is the best, dude. Love it. Yep, it's awesome. We're gonna get 55:07.300 --> 55:10.380 the switchblade the official blade of— or weapon of crime tag on this, even though 55:10.880 --> 55:13.020 technically it's not a criminal using it in this one. But you know, the switchblade 55:13.520 --> 55:16.702 is such a character. Yeah, in this movie it really It is. Uh, also, 55:16.751 --> 55:19.293 maybe you need some crime to fight some crime. Also, we should look back and 55:19.793 --> 55:23.243 see how many other movies had bathroom, uh, dark rooms, because at least The Ref 55:23.743 --> 55:26.178 did as well. Yeah, there might be another one. Yeah, we got to do a 55:26.678 --> 55:29.640 dark room examination again. Assholes with dark rooms. 55:31.087 --> 55:34.048 Um, okay, so, so our next victim here. Yes. 55:34.404 --> 55:38.110 Uh, the sin here is pride. Pride, right? And it— this is 55:38.143 --> 55:41.797 somebody who is— was maybe like a famous, I don't know, pop star, model, 55:41.814 --> 55:45.320 somebody who whose livelihood was based on her appearance. And she had a 55:45.820 --> 55:49.280 huge self-portrait above her bed. Yeah. An enormous self-portrait. Very, very much 55:49.780 --> 55:53.660 like very wealthy, famous, but also very into their own image. Nothing more important 55:54.160 --> 55:56.680 than her own face to her, right? Right. So she had her face— her nose 55:57.180 --> 56:00.420 was cut off, her face was slashed up, and then it was like he gave 56:00.920 --> 56:04.740 her pills that would kill her. So it's either like— she wouldn't have 56:05.240 --> 56:06.920 killed her on its own. So it would have been like, you stay here and 56:07.420 --> 56:09.820 you'll live, but you'll be disfigured. Well, he had a phone glued to one of 56:10.320 --> 56:11.380 her hands. Oh, that's right. That's what it was. And then he had this bottle 56:11.880 --> 56:15.460 of pills, right? it's like you can, you can take the sleeping pills and die, 56:15.960 --> 56:18.200 and you don't have to live with a noseless face, right? You don't have to 56:18.700 --> 56:21.130 go all Voldemort. You don't have to do Voldemort maxing. 56:21.380 --> 56:24.760 Yeah. Uh, or you call 911, and she opted 56:25.260 --> 56:28.500 for that, which is crazy. Crazy. Um, but, 56:29.000 --> 56:32.480 uh, yeah, so that's the sin of pride. Jesus. Yeah. So they're not there very 56:32.980 --> 56:34.940 long. This, this, this crime scene, they don't take very long, but they're, they're getting 56:35.440 --> 56:38.420 pissed. Mills and Somerset are like, goddamn, so now he's done 5. This is 5 56:38.920 --> 56:41.418 of the sins. The only ones left are like envy and wrath or whatever. 56:41.787 --> 56:44.936 So they go back to the precinct, and I— this is like a great moment 56:45.436 --> 56:48.871 in this movie. They walk in and we see, uh, 56:48.951 --> 56:51.024 somebody get out of a cab kind of like right behind them. We just see 56:51.524 --> 56:54.140 kind of his feet and he walks in, and before we see that he is— 56:54.252 --> 56:58.091 that this other person has even entered the precinct, we hear Kevin Spacey's voice to 56:58.591 --> 57:01.850 say, detective, detective. And then when he yells, 57:02.203 --> 57:05.431 detective, like it's So fucking good. 57:05.479 --> 57:09.317 Yeah, I know. I like the like how far he raised the 57:09.349 --> 57:13.186 volume for that last one because he does like two at at speaking volume and 57:13.686 --> 57:16.815 then just shrieks out and it's like you know and he's there to to he's 57:17.315 --> 57:20.026 he's got blood all over his face covered in blood his fingertips are all wrapped 57:20.526 --> 57:23.880 in gauze that's right completely bloody his blood all over his shirt and everything but 57:24.380 --> 57:26.401 he gets down you know they get him down cuff him and he's basically there 57:26.706 --> 57:29.788 and he and immediately asks for lawyer right who's played by Toby 57:29.820 --> 57:32.981 from West Wing. Uh, 57:33.333 --> 57:36.894 and he's got, uh, they can't fingerprint him, right? 57:36.942 --> 57:40.407 There's like, there's no record of this guy. Yep. The only thing we can assume 57:40.907 --> 57:44.737 about him is he's independently wealthy, he's well-educated, and he's totally 57:45.237 --> 57:48.779 insane. Well, there you go, right? So, uh, narrows it. 57:49.293 --> 57:52.645 And, and what the lawyer tells him is like, okay, well, 57:53.319 --> 57:56.831 there are 2 more bodies, right? My client tells me, and, and he will 57:56.847 --> 58:00.640 take you to them, but it has to be just Mills and Somerset with 58:01.140 --> 58:04.820 him. And it has to be at 6 o'clock today. Yes. Right. And otherwise he's 58:05.320 --> 58:08.180 gonna plead insanity, which fucks up, you know, it's the last thing the cops want, 58:08.680 --> 58:12.300 right? Right, yeah, yeah. So, and if you take him here, full confession, 58:12.800 --> 58:16.080 you know, you're done. If you follow his rules, yep, he will absolutely get busted 58:16.580 --> 58:20.200 for this. And the DA says that there's blood from 3 58:20.700 --> 58:24.900 people on John Doe. There's his own blood, there was— 58:25.400 --> 58:27.360 The blood from the pride victim, the model. The blood from the pride victim, 58:27.860 --> 58:28.720 and then blood from a third party that they haven't identified. Right, haven't matched it 58:29.220 --> 58:32.683 yet. Yep. So they shave their chests so 58:33.183 --> 58:36.930 that they can be wired. Absolute fan service here. This was, this was the 58:37.011 --> 58:39.983 legend of the fall heads. We're like, hey, we need to see some Brad Pitt 58:40.015 --> 58:41.712 chest in this. I think this is how we do it. I think this was 58:42.212 --> 58:45.963 more of Morgan Freeman's, you know, it was more his chutzpah. That was his 58:45.996 --> 58:47.273 thing. Yeah. 58:49.794 --> 58:53.369 So the, the cops are armed, right? They're armed and John Doe 58:53.417 --> 58:56.312 is unarmed in the back of the cop car. So he's not like an immediate 58:56.812 --> 58:59.240 threat to them. Plus they have a chopper following. That's right. With John C. 58:59.740 --> 59:01.680 McGinley on it. John C. McGinley. On board. SWAT team. SWAT John. And they're watching 59:02.180 --> 59:04.240 on. But like the whole entire drive, 59:04.860 --> 59:08.360 basically, Doe is fucking with Mills and talking to him about, you know, all this 59:08.860 --> 59:11.220 stuff. Like, I love your life. And, you know, there's this. I mean, it's just 59:11.720 --> 59:14.550 like he's constantly talking about this stuff. And Mills is trying to say like, 59:14.580 --> 59:17.040 you know, you're gonna get forgotten in like a couple of days, man. Like once 59:17.540 --> 59:20.290 this is done, like just that's it. And he's like, no, no, I'll be studied. 59:20.600 --> 59:23.030 This will be studied. And it's like, he's fucking right. 59:23.780 --> 59:26.600 But yeah, so they get out to the kind of middle of nowhere. And this 59:27.100 --> 59:28.200 is the first time, by the way, in the entire movie that it's not pouring. 59:28.662 --> 59:32.157 rain. You drive outside the city and it stops pouring rain. They drive to 59:32.189 --> 59:35.781 a place that seems like geologically, geographically— Here's 59:35.957 --> 59:39.629 why it's not New York. Yeah, because you can't get to a place like 59:40.129 --> 59:43.365 this. Yeah, within an hour's drive of New York, right? You can from LA. 59:44.135 --> 59:47.727 So they filmed in LA, and this is in the outskirts somewhere in the deserts 59:48.227 --> 59:50.773 outside LA, but they wanted it to— they didn't want it to be LA. 59:50.870 --> 59:54.301 LA's too sunny and whatever they needed to be. So this is why there isn't 59:54.333 --> 59:56.790 a city named, because there is no city with this kind of geography. be, 59:57.290 --> 59:59.390 right, in the US. Um, but they drive in the middle of nowhere and he 59:59.890 --> 01:00:02.670 sends them down around these like power lines or whatever, which I always assumed— they 01:00:03.170 --> 01:00:04.790 don't really say anything, but I think every time I've seen this movie I thought 01:00:05.290 --> 01:00:07.990 to myself, oh, so the chopper can't land. But I don't know that that actually 01:00:08.490 --> 01:00:11.670 matters. I think it was maybe just he, he needed a— Well, he had pre-landmarked 01:00:12.170 --> 01:00:15.030 the delivery anyway, right? But he needed a landmark and there was this little trailer 01:00:15.530 --> 01:00:17.550 out there. Maybe that trailer actually has an address that he was able to give 01:00:18.050 --> 01:00:20.550 to the, to the delivery guy. I'm not sure. Like, some of this isn't super 01:00:21.050 --> 01:00:24.040 clear, but basically he drives drive out and they get out of the car, 01:00:24.714 --> 01:00:28.183 um, and they get, uh, uh, Doe out 01:00:28.683 --> 01:00:31.555 and he says, well, it's this way, right? So they start walking down. Well, 01:00:31.700 --> 01:00:35.602 oh, sorry, real— Doe, uh, on the way is justifying 01:00:36.102 --> 01:00:39.601 that, that his victims have all like deserved what came to them, 01:00:39.649 --> 01:00:43.022 right? Yeah, yeah. So like in his mind, he is completely like— doesn't 01:00:43.522 --> 01:00:45.559 see himself as a killer in any way. No, he's the hand of God. 01:00:45.768 --> 01:00:49.205 Yeah, he's the Archangel Michael. He's the hand— the angel of vengeance. 01:00:49.301 --> 01:00:51.970 But But yeah, so they go out and they're now walking out kind of in 01:00:52.470 --> 01:00:56.010 the middle of this field or whatever. And then a delivery van starts 01:00:56.510 --> 01:00:59.330 coming down the way. Yeah. And like, I think Somerset notices it first and it's 01:00:59.830 --> 01:01:01.970 like, oh, you know, wait here. And he runs back to the road in order 01:01:02.470 --> 01:01:05.290 to like intercept the van. And sure enough, the guy's like, hey man, guy paid 01:01:05.790 --> 01:01:08.230 me $500 to bring this box out here. Had to be here by 7. 01:01:08.730 --> 01:01:11.470 It's like 7:02 or something, whatever. And he's like, so he like, for whatever reason, 01:01:11.970 --> 01:01:14.970 Somerset has the dude just run away. He's like, have him picked up. Yeah, 01:01:15.470 --> 01:01:19.090 yeah. Delivery driver going for $500. foot. And he— this is the, the entire reason 01:01:19.122 --> 01:01:22.634 the switchblade has existed the entire movie, is to justify why this 01:01:22.730 --> 01:01:25.472 man is carrying a blade on him. Yeah, yeah, at this moment, so that he 01:01:25.972 --> 01:01:28.984 can open the box. That's it. The entire switchblade thing is to make sure that 01:01:29.484 --> 01:01:31.838 he has a blade on him we're not surprised by. Yeah, but he pulls open 01:01:32.338 --> 01:01:35.430 the switchblade, cuts open the box, and is immediately terrified. 01:01:35.959 --> 01:01:38.893 And yeah, and what we see is that there's blood, and he comments on how 01:01:38.941 --> 01:01:42.758 there's blood before he fully opens it. That's true. And there are multiple 01:01:42.774 --> 01:01:46.636 versions Of this ending, I feel like. I know I've seen one where— 01:01:47.136 --> 01:01:50.161 because eventually there's a flash of what's in the box for like the splittest of 01:01:50.661 --> 01:01:53.687 seconds, and I've seen other versions where it lingers on it quite a bit. 01:01:54.232 --> 01:01:56.908 Uh, and so I feel like there's maybe— maybe there's like an unrated versus a 01:01:56.972 --> 01:02:00.625 theatrical cut or something like that. Um, but basically Somerset immediately 01:02:00.722 --> 01:02:03.462 understands what's going on. What he sees in the box, 01:02:04.167 --> 01:02:07.532 he knows what is supposed to happen next, and he wants to try to stop 01:02:07.548 --> 01:02:10.849 it. Right. So he just starts running around the back Put the gun 01:02:10.913 --> 01:02:13.766 down. Yeah, drop it. And he does not. 01:02:13.878 --> 01:02:17.052 And so this is when— this is when Mills starts yelling, 01:02:17.725 --> 01:02:21.059 what's in the box? Tell me what's in the box! Well, because John Doe during 01:02:21.091 --> 01:02:24.905 this time— yeah, Somerset is, is like running over and, 01:02:25.162 --> 01:02:29.024 and, uh, Mills is like, yeah, yeah, you know, look confused. 01:02:29.104 --> 01:02:32.518 And John Doe's like, oh, you know, I visited your wife. Like, I tried to— 01:02:33.416 --> 01:02:36.621 almost like, who knows what the fuck he did to her, but I tried to 01:02:36.894 --> 01:02:40.245 play husband. Yeah, play husband. And that didn't work, so I took a 01:02:40.745 --> 01:02:43.794 souvenir. Yes, I took her pretty little head. Yes, exactly. And, 01:02:43.842 --> 01:02:47.680 uh, God, this what's in the box thing is— 01:02:47.888 --> 01:02:52.496 it's crazy because it gets, it gets, uh, ridiculed a lot because honestly, 01:02:52.529 --> 01:02:55.788 like, when you're really experiencing like just raw emotion 01:02:55.820 --> 01:02:59.080 that you can't contain, it looks silly. Yeah, it does. Yeah, but that's 01:02:59.594 --> 01:03:02.692 real. Oh yeah, fucking realistic. Brad Pitt's a very good actor, and, 01:03:02.885 --> 01:03:06.462 and his agonizing Over now that he realizes 01:03:06.559 --> 01:03:09.748 like, okay, if I take out John Doe, his plan is 01:03:09.764 --> 01:03:13.434 complete. This is exactly what he wants, right? He becomes the 7th death. 01:03:13.546 --> 01:03:16.608 Yeah, you know, I've got a gun on him. There's nobody around to stop me 01:03:16.736 --> 01:03:20.406 physically. And although there are plenty of witnesses, right? But going back and 01:03:20.422 --> 01:03:23.643 forth between like, like, I'm gonna fucking kill you, and crying like, oh, 01:03:24.028 --> 01:03:27.634 my wife is like— it's crazy. And then he mentions she cried, 01:03:27.650 --> 01:03:30.984 she screamed for her, you know, for to save her, to— she screamed 01:03:31.000 --> 01:03:33.468 for her life and for the life of the unborn child she was carrying, 01:03:33.500 --> 01:03:36.244 and he did not know. And this This is the setup, the payoff we were 01:03:36.744 --> 01:03:39.055 talking about earlier that they had to set up where Somerset knew, 01:03:39.745 --> 01:03:43.439 Mills did not, and the audience knew. And so then, you know, 01:03:43.455 --> 01:03:46.395 this is when Doe looks up at Somerset and goes, oh, he didn't know, 01:03:46.603 --> 01:03:49.960 did he? And that's when Mills pulls the trigger and shoots, you know, 01:03:50.104 --> 01:03:53.879 moments later, when after he realizes not only did this man kill his wife, 01:03:53.895 --> 01:03:57.830 but she was pregnant with their child. Yeah. So, you know, but yeah, 01:03:57.894 --> 01:04:01.138 he shoots— Mills kills Doe, shoots him in the head, and then, and Here's the 01:04:01.638 --> 01:04:04.231 thing, only needed the one shot, gave him a bunch more. Gave him all the 01:04:04.731 --> 01:04:08.623 bullets he had. And yeah, I mean, it is like, what the 01:04:08.655 --> 01:04:11.876 fuck do you do? Like, you go back and forth in your head about like 01:04:12.165 --> 01:04:15.194 how you would actually act in that situation. And, 01:04:15.210 --> 01:04:18.656 uh, I don't know, I'm not a big emotion regulator as it is, so I, 01:04:18.736 --> 01:04:22.054 I think I wouldn't have taken much. I don't know, that's crazy. 01:04:22.102 --> 01:04:25.131 But yeah, so he, so he puts all the shots in him and clearly knows 01:04:25.244 --> 01:04:28.866 that, you know, he's fucking— he's going to jail for that. That is not a, 01:04:28.930 --> 01:04:32.900 uh, that's murder. I mean, look, based on all the circumstances, he's probably 01:04:33.400 --> 01:04:36.540 gonna get a fairly light sentence, but he's going to be convicted of murder. 01:04:37.040 --> 01:04:40.100 There's no way he won't be. Well, and Somerset was saying, get the chopper out 01:04:40.600 --> 01:04:42.820 of here, 'cause I think he was trying to reduce the number of witnesses so 01:04:43.320 --> 01:04:46.700 he could at least maybe finesse it a little to save Mills. But we hear 01:04:47.200 --> 01:04:49.700 John C. McGinley over the radio saying, oh my fucking God, he shot him. 01:04:50.200 --> 01:04:52.820 Like, I mean, it's clear that it was witnessed. So, yeah, Mills will be going 01:04:53.320 --> 01:04:55.580 to jail for that, but I gotta be honest, I don't think a jury's gonna 01:04:56.080 --> 01:04:59.380 be all that interested. He's probably gonna be like involuntary manslaughter because he was 01:04:59.880 --> 01:05:03.366 emotionally unable to regulate himself. in that moment, given the circumstances, 01:05:03.735 --> 01:05:06.256 or something like that. But yeah, that is, that is the end of the movie, 01:05:06.288 --> 01:05:09.499 basically. We see him drive, being driven away, and, and there's a brief sort of 01:05:09.999 --> 01:05:13.193 voiceover from, from Somerset that kind of wraps it all up. Yeah, what does he 01:05:13.693 --> 01:05:17.014 say? Like, uh, people say that the, the world is a fine place and worth 01:05:17.046 --> 01:05:20.065 fighting for. I believe the second part. Yeah, exactly. 01:05:20.402 --> 01:05:23.164 Uh, and then we get this cool— the credit sequence is really neat. It's kind 01:05:23.664 --> 01:05:26.938 of in reverse. Everything is like traveling. It felt like 01:05:27.438 --> 01:05:29.475 everything was going down from the top or something. There was something about it that 01:05:29.975 --> 01:05:33.743 felt backwards. Yeah, it was very interesting, but another very stylish kind of Fincher 01:05:34.243 --> 01:05:38.124 touch. Super, super stylish. Yeah, yeah. Well, shit, that is 01:05:38.573 --> 01:05:42.392 Se7en, Steve. Yeah, good shit, man. It's a lot to talk 01:05:42.892 --> 01:05:46.483 about. It really is. But a great one to talk about. And the way the 01:05:46.983 --> 01:05:50.575 movie's structured, it makes this conversation work great because it's like first 01:05:51.075 --> 01:05:54.105 death, second death, third death, you know. And, and I think for my, you know, 01:05:54.185 --> 01:05:56.769 to kind of get into my feelings on this and my, and my rating for 01:05:57.269 --> 01:05:59.079 this one, like one of the first things I to mention is like, this is 01:05:59.579 --> 01:06:01.662 one of the coolest— like I said, like I said, I was raised Catholic. 01:06:01.886 --> 01:06:05.753 I went to catechism classes as a kid, and you know, whatever, it was Catholic 01:06:06.253 --> 01:06:10.052 Sunday school basically. And being aware of kind of this 01:06:10.229 --> 01:06:13.421 mythology makes this really kind of 01:06:13.517 --> 01:06:16.999 cool to understand as a premise. Like somebody like came at this with this idea 01:06:17.303 --> 01:06:21.426 and then invented this killer and these methods, and it's all fucking brilliant 01:06:21.539 --> 01:06:25.950 in so many ways. So I think it's just one of the neatest 01:06:26.450 --> 01:06:30.467 premises for a crime thriller. It is incredibly well-written. There are a handful 01:06:30.967 --> 01:06:34.547 of moments that I don't think quite fit as well as other pieces. As an 01:06:35.047 --> 01:06:38.627 example, we talked about Tracy telling Somerset she's pregnant only 01:06:38.724 --> 01:06:41.535 exists so that the payoff can happen at the end. I'll excuse it, but it 01:06:41.615 --> 01:06:43.800 is a bit of a like, why would she do that? Doesn't really make a 01:06:44.300 --> 01:06:47.302 lot of sense. And then the only real hole, real hole in the whole movie, 01:06:47.334 --> 01:06:50.884 in my opinion, is this. Doe makes a big deal 01:06:51.093 --> 01:06:54.557 about all of the people that he killed were— they, they were 01:06:55.057 --> 01:06:58.244 committing the sin that he sort of organized their murder around, 01:06:58.308 --> 01:07:01.690 right? Yeah. So the gluttony, that was an incredibly fat man, and greed was the 01:07:02.190 --> 01:07:05.121 lawyer that, you know, would get anybody off, and sloth was the drug dealer who 01:07:05.621 --> 01:07:08.070 was making people, you know, like, not do their— live their lives. And then pride 01:07:08.086 --> 01:07:11.388 for the model, lust for the whore, etc. But we get to envy and 01:07:11.888 --> 01:07:15.572 wrath, and here's the problem. He says that his crime is envy. 01:07:15.973 --> 01:07:19.868 So his murder is the envy murder. So some— so 01:07:20.028 --> 01:07:23.505 Mills commits the murder that Doe set up for the 01:07:24.005 --> 01:07:27.463 sin of envy. Why is Tracy the dead person for wrath? 01:07:28.456 --> 01:07:31.869 Because the whole point is that it's Mills's wrath that kills, 01:07:32.847 --> 01:07:36.196 uh, Doe. And so Doe dies for his envy in 01:07:36.228 --> 01:07:39.481 the act of Mills sinning as wrathfulness. 01:07:39.993 --> 01:07:44.240 So why did Tracy die? It's like it's just an outside murder. 01:07:44.400 --> 01:07:46.852 Like, there's, there's 8 Right, right. 01:07:47.446 --> 01:07:50.092 But then, but then, but then that— if that's the case, then nobody died for 01:07:50.592 --> 01:07:53.716 wrath then, which would be a problem. So it's like, neither is— It is funny. 01:07:53.844 --> 01:07:57.693 Or I mean, the worst thing you can do to Mills, uh, for his 01:07:57.853 --> 01:08:00.804 wrath is to kill his unborn child or whatever. That's— no, 01:08:01.060 --> 01:08:04.813 100% agree that that drew that out of him, but that doesn't make the victim 01:08:04.925 --> 01:08:08.373 the sinner, especially since there's also an unborn child involved, right? So there's really an 01:08:08.873 --> 01:08:11.500 extra— there's a couple straight— it's like the Wu-Tang Clan. You got the Wu-Tang Clan 01:08:12.000 --> 01:08:15.430 and then you got Kappa Delta. Like Tracy's death is Kappa Donna. 01:08:15.930 --> 01:08:19.250 Gotcha, very good. Not, not the RZA, the GZA, Ghostface, etc. 01:08:20.090 --> 01:08:22.570 Okay, uh, that makes a lot of sense. Anyway, that, that is honestly— but here's 01:08:23.070 --> 01:08:25.310 the thing, I say that because I do think it's a problem. I wish I 01:08:25.810 --> 01:08:28.489 had a satisfactory answer to it. I don't. And that is the only reason that 01:08:28.989 --> 01:08:30.850 I'm not a 5 out of 5 on Se7en. I am a 4.5 out of 01:08:31.350 --> 01:08:33.670 5. I think this movie is fantastic. It is not an easy watch. It is 01:08:34.170 --> 01:08:37.230 not one that I'm gonna race back and watch a lot. But oh my God, 01:08:37.730 --> 01:08:40.030 I felt it was so well put together. The acting's fantastic. The writing's fantastic. 01:08:40.530 --> 01:08:44.045 Fantastic. The premise, the way the plot advances, they do all the payoffs and 01:08:44.545 --> 01:08:46.900 the setups and everything. It's all real pretty and perfect. I love all that. 01:08:47.413 --> 01:08:51.455 It's just an incredibly well-made film, good score and everything. But I'm a 4.5 01:08:51.955 --> 01:08:54.470 out of 5 on Se7en. I probably would have been an even 5 if that 01:08:54.807 --> 01:08:58.576 kind of last 2 murders fit the puzzle slightly better. There's a little bit of 01:08:59.076 --> 01:09:02.313 a jigsaw piece hanging off there that doesn't quite fit. Well, but he also was 01:09:02.345 --> 01:09:06.017 thrown off his plan, right? That's true. It's impossible for him to execute his original— 01:09:06.033 --> 01:09:09.241 that's a good point. Maybe that— maybe Mills never meant to freestyle 01:09:09.741 --> 01:09:11.908 and be bopping a little bit. But you know, that's, that's, that's, that's where you 01:09:12.408 --> 01:09:14.318 lose your half point there. I get it, I get it. What about you, 01:09:14.334 --> 01:09:17.773 Nic? Um, man, this was a lot of fun, uh, to talk 01:09:18.273 --> 01:09:21.887 about. Not a lot of fun to watch, right? Uh, no, I, I enjoy 01:09:21.935 --> 01:09:25.374 this movie a lot, and the premise of it is really cool. The problem 01:09:25.874 --> 01:09:28.764 you run into if you're trying to do something where it's like 7 deaths is 01:09:29.264 --> 01:09:32.219 how do we make them different from each other so it's not just 7 people 01:09:32.719 --> 01:09:35.993 shot in the head? And, and not even people that were necessarily killed by the 01:09:36.493 --> 01:09:40.495 killer, right? Like people who were, uh, put into making a choice 01:09:40.720 --> 01:09:43.251 and had to decide. And that was like a lot of the people, honestly, 01:09:43.267 --> 01:09:46.488 right? Um, so very, very cool the way that they 01:09:46.988 --> 01:09:50.558 did that. Uh, I— it's great that Kevin Spacey got to play himself in this 01:09:51.058 --> 01:09:54.644 movie. Uh, really one of the all-time best 01:09:55.144 --> 01:09:59.435 at playing just unimaginably evil characters. 01:09:59.772 --> 01:10:03.425 You ever see that movie Swimming with Sharks? Oh yes, absolutely. We should 01:10:03.925 --> 01:10:07.321 bring that to the pod because I remember that was like one of the scariest 01:10:07.821 --> 01:10:11.313 portrayals of a psycho, like, psycho boss, like narcissistic boss. Yeah, 01:10:11.714 --> 01:10:15.064 crazy. So, but he's excellent in this. And, 01:10:15.080 --> 01:10:18.687 um, yeah, I mean, the Morgan Freeman, Brad Pitt— I 01:10:19.187 --> 01:10:22.054 don't like— I didn't care about the characters that much, but it's not really like 01:10:22.554 --> 01:10:25.516 a character movie. No, true. And then the Tracy stuff, I'm like, 01:10:25.741 --> 01:10:28.626 yeah. And I feel like such a misogynist when I do this, and I want 01:10:29.126 --> 01:10:32.009 to find a movie where I would cut a guy out and leave the lady 01:10:32.509 --> 01:10:35.376 in because there's many such cases But I'm just not the biggest, uh, 01:10:35.777 --> 01:10:38.680 Gwyneth Paltrow fan anyway. And, uh, 01:10:39.225 --> 01:10:42.320 and even as an actress, like before she became like professionally annoying, 01:10:42.496 --> 01:10:46.089 right? Um, but, uh, but that part was the only thing that 01:10:46.121 --> 01:10:49.954 hung it up for me a bit. Um, some things in this were like so 01:10:50.454 --> 01:10:53.819 disturbing that I was just a little like, oh, like knife dildo and 01:10:54.319 --> 01:10:57.555 the way that I was just like, yeah. Um, but this movie, 01:10:57.587 --> 01:11:00.891 yeah, it has such a fucking cool And style. Yeah, uh, 01:11:01.179 --> 01:11:04.499 this was very strong for me. Uh, I'm gonna give this one a 4 out 01:11:04.999 --> 01:11:09.037 of 5. I think it was— yeah, I mean, fucking, it sticks 01:11:09.053 --> 01:11:12.019 with you. Like, it's a movie that is not done when you're done watching it. 01:11:12.244 --> 01:11:15.146 That's fair. Very good point. All right. I do want to say sorry. Yeah, 01:11:15.291 --> 01:11:18.722 one, one alternate ending that I would suggest. Ah, okay, so John 01:11:18.754 --> 01:11:22.523 Doe's envy, his crime of envy was he was envious of Mills and his 01:11:23.023 --> 01:11:26.371 wife and his family and his dogs and his fucking shitty newspaper and everything, 01:11:26.435 --> 01:11:29.113 right? Yeah. Uh, oh God, you think he killed the dogs too? 01:11:29.963 --> 01:11:33.475 Well, there was that like a dead animal like in that last scene, and John 01:11:33.507 --> 01:11:36.699 Doe's like, I didn't do that, like when they're driving up. So I feel like 01:11:37.199 --> 01:11:39.457 he's one of those people that has that crazy like, I would never harm an 01:11:39.957 --> 01:11:43.177 animal even though I'll cut a lady's throat, uh, kind of guy. Ridiculous. Um, 01:11:43.306 --> 01:11:46.946 sorry, but I feel like, uh, if the John Doe character 01:11:46.978 --> 01:11:50.939 really knew these detectives like he did, he would have known about 01:11:50.987 --> 01:11:54.212 Somerset's switchblade dartboard. Interesting. And he 01:11:54.712 --> 01:11:58.176 would have been more jealous of that than Mills's wife and dogs. 01:11:58.690 --> 01:12:01.787 So, you know, that's the only small beef that I have. 01:12:02.236 --> 01:12:05.751 No, this, this, this is a fucking great movie. And some of the, 01:12:05.912 --> 01:12:08.704 like, the, the Trent Reznor stuff, 01:12:09.828 --> 01:12:13.583 it feel— it— the music, it felt very specific to this time. A couple scenes 01:12:13.647 --> 01:12:16.632 felt very dated in that mid-'90s way, the leather shop scene. 01:12:16.985 --> 01:12:19.640 But it's like, if you went in one of those places today, it would feel 01:12:20.140 --> 01:12:23.500 like that, you know? A lot of fun. Great one. 01:12:24.000 --> 01:12:26.160 Thanks for bringing it. Absolutely. It was actually Howard Shore that did most of the 01:12:26.660 --> 01:12:29.970 score. Reznor only did the title track. So he kind of took that industrial feel. 01:12:30.120 --> 01:12:33.900 Exactly. Howard Shore's a chameleon. And he doesn't usually— that's fucking crazy. He does 01:12:34.400 --> 01:12:36.760 Fellowship of the Ring and this. Yeah, I mean, like I said, he's one of 01:12:37.260 --> 01:12:39.200 those guys. To me, he's up there with Silvestri and Williams and a bunch of 01:12:39.700 --> 01:12:42.960 the other greats, you know, as far as just crazy good film composers. 01:12:43.460 --> 01:12:46.760 And yeah, so this was another Howard Shore joint. But yeah, so, okay, so that's 01:12:47.260 --> 01:12:50.082 an 8.5 out of 10 from the 2 Dads on the movie. Movie Seven. 01:12:52.207 --> 01:12:55.260 I promise it's the last time I'm gonna do that. We're gonna continue on 01:12:55.277 --> 01:12:58.704 with Shocktoberfest Two Electric Boogaloo, Nick. What are we watching next 01:12:59.204 --> 01:13:02.371 week? So next week, I thought this was a 01:13:02.871 --> 01:13:04.939 little gory myself. I want to watch something. 01:13:06.790 --> 01:13:09.193 Look, this one is probably it's more gross. 01:13:09.709 --> 01:13:13.353 Absolutely. Coming up next, we are gonna go to 01:13:13.853 --> 01:13:16.776 1986 and we're. We're gonna hang out, uh, with Jeff Goldblum, 01:13:16.985 --> 01:13:20.469 who's playing, uh, Seth Brundle. We haven't seen Goldblum yet. Oh my 01:13:20.969 --> 01:13:23.905 gosh, you're right. And, um, and it's good to see him. And this is a 01:13:23.985 --> 01:13:27.261 movie that is like a real, like, kind of 01:13:27.761 --> 01:13:30.890 a monster, like in the traditional sense in a lot of ways, like a monster 01:13:31.390 --> 01:13:35.562 movie, a lot of practical effects and stuff like that. Uh, David Cronenberg, 01:13:35.610 --> 01:13:38.838 director of a lot of like very, you know, notable horror 01:13:39.338 --> 01:13:42.852 films for like the '80s '90s. Uh, one of his biggest films, 01:13:42.996 --> 01:13:46.448 uh, we're gonna watch 1986's The Fly. Very nice. 01:13:46.528 --> 01:13:48.792 Have you ever seen The Fly? I have not ever seen it. All right. 01:13:48.872 --> 01:13:52.388 I'll be totally honest with you, uh, I love horror movies. It's like one of 01:13:52.888 --> 01:13:56.868 my favorite genres, but I can't stand body horror. Like, very specifically 01:13:57.365 --> 01:14:00.881 movies about people's bodies like being taken over or changing 01:14:01.235 --> 01:14:05.024 or, or revolting against them or whatever. Like, I, I can't. It's just not 01:14:05.072 --> 01:14:08.720 my thing. So I have been avoiding I've been avoiding watching The Fly for about 01:14:09.220 --> 01:14:12.240 40 years, and we'll see how that goes for me next week. I do also 01:14:12.740 --> 01:14:15.400 know, by the way, another Howard Shore score. So that's a— All right. Exciting thing 01:14:15.900 --> 01:14:18.860 to do there. 2 Shores back to back. So yeah, next week we will watch— 01:14:19.360 --> 01:14:22.300 We're going Howard Shore. Yeah, we will watch The Fly with Jeff Goldblum and Geena 01:14:22.800 --> 01:14:25.680 Davis next week. That's a wrap. So if you like what you hear, please consider 01:14:26.180 --> 01:14:28.940 heading over to Apple or Spotify and leaving us a 5-star review. It helps new 01:14:29.440 --> 01:14:32.869 folks find the show. Be sure to check out our website at 2dads1movie.com. That's the 01:14:33.369 --> 01:14:36.153 number 2 and the number 1. There you can explore the movies we've covered, 01:14:36.169 --> 01:14:39.678 sign up for our newsletter, The Rewind, and even get sneak previews of upcoming episodes. 01:14:40.097 --> 01:14:43.880 Once again, this has been Se7en, another episode of 2 Dads 1 Movie. I'm Steve. 01:14:43.977 --> 01:14:46.231 And I'm Nic. Thank you so much for listening, and we'll catch you next week. 01:14:46.392 --> 01:14:46.601 Thanks,