From the podcast that won't die comes a discussion of the gripping 4th season of the Netflix psychological thriller series "You" and the, oh let's say 'quirky' Netflix movie "We Have a Ghost." Do you know the local real estate regulations regarding the disclosure of violent deaths in a home for sale? Well, neither did our hosts, and the truth brings new meaning to the phrase 'This house has good bones...' (cue Crypt Keeper cackle).
From the podcast that won't die comes a discussion of the gripping 4th season of the Netflix psychological thriller series You and the, oh let's say 'quirky' Netflix movie We Have a Ghost. Do you know the local real estate regulations regarding the disclosure of violent deaths in a home for sale? Well, neither did our hosts, and the truth brings new meaning to the phrase 'This house has good bones...' (cue Crypt Keeper laugh).
You and We Have a Ghost are both available on Netflix now.
Swing by diedinhouse.com and check the history of your home.
Read what Redfin has to say about disclosing deaths.
----------------------BEWARE of SPOILERS-----------------------
Reach the pod at DontEncourage@gmail.com
Discourage us on Instagram, X, TikTok, Discord, YouTube, or Threads
speaker 1: It started off the, the character flips a bird. The ghost steals a police officer's weapon and discharges it. There's a near decapitation and it just like with this very vanilla kids movie, like if it was a heart monitor, it would barely have a blip. It's like a calm ocean with no waves. And then they do this chase scene and it's like suddenly they went all die hard here.
How long have you believed in the supernatural?
speaker 2: Well, after this movie, I, uh, stopped believing It's Supernatural. You would've asked me yesterday or two days ago. Huge believer. Welcome
speaker 1: to Don't Encourage us, the podcast where we talk about the big ideas behind fiction projects of all different kinds.
Books, movies, TV shows, video games, nothing's off limits. I'm your host, SSID Barrett, and I'm here with my co-host Richard Wright. How you doing today? I'm doing great as always, ssid. So today we're talking Netflix's new family film. We have a ghost. But first, what's been on your list this week?
speaker 2: This week, um, I started watching the rest of you.
Oh, okay. Another Netflix series. Mm-hmm. I haven't gotten that far into it, but, um, I'm really enjoying the season. It's been really good. I like the, uh, the British socialite setting that he finds himself in. It's always interesting to watch this character kind of evolve or devolve, however you want to take, look at it.
Um, And just to, to hear his inner monologue about how everyone else around him needs to be stopped. Mm-hmm. While he himself is a serial killer, is really, really fascinating.
speaker 1: Yeah. He's like Dexter without the self-awareness. Yeah. Yeah, exactly. All right, so this is, uh, season three or four. What are we on now?
I believe it's four season four of you. The Netflix, uh, serial killer drama. Um, the first season was pretty charming. He, he worked in a bookstore, isn't that right? Correct. Yeah. And then he, he became obsessed with a woman and ended up trapping her in, uh, like a, was it a, uh, environment proof rare book? Uh.
Room. That's right. That's a room where you work on rare books and he was trying to convince her why he was doing this for her benefit, I believe. Mm-hmm. Is that? Yep. Okay. Right. It's kind of his, and here we are in season four, and if I said, I spoilers for you season three, he has a kid right. Okay. And so now season four, he still has the kid, is that correct or what's the current
speaker 2: stance?
He, he gave the kid up, I think, to a couple at the end of season three. Okay. And then he is, he is now in, in London, starting over as a professor. Okay. At a, it seems to be a liberal arts. And he is living in one of those, um, London Flats, way outside of his budget. He's supposed to be really broke, you know?
Mm-hmm. In the show. But he's living in this really, like this posh area of
speaker 1: London. Oh. Oh, it's the friend syndrome. Mm-hmm. Right. Oh my gosh. I need to work an odd job as a waitress in order to make money. And then you go, like, lay out in your beautiful, spacious Manhattan mansion apartment. But, but
speaker 2: apparently behind the scenes, what he is done is cleared out his, uh, His wife or ex-wife, her bank account.
Yeah. But it's just kind of funny in the show itself, how he lives in this apartment and no one seems to question
speaker 1: it. It's like, oh, so in the show he, he actually, they did provide a logic for where that money's coming from. They did. Got it. Okay. So it's slightly better. Mm-hmm. Exactly. And no, nobody's confused.
No, but his Rolls Royce.
speaker 2: But it's, it's just kind of funny because he is suppo, I guess this is supposed to be like, it looks like a really nice apartment, a really nice area. But I guess in the show, all the people that he's interacting with don't really think so, and they keep talking about how poor he is, how he's like, ah, Uhhuh.
He looks, someone called him a Trab librarian in one episode, which is kind of funny. Um, yeah. But it's, it's pretty enjoyable. It's a good satire, I think. I think it's one of the, the better seasons
speaker 1: of the show. I was gonna ask, so relative to season one, I think probably a lot of people think season one is the best season.
Do you agree with that?
speaker 2: I would say so. 'cause it introduces the character and he is, he's a pretty unique character in the way the show is structured. That that inner monologue, the. The entire show is really tongue in cheek. Mm-hmm. And it's really well put together. So introducing a character like that and this type of dynamic is, is really great.
But I think this season it's kind of, I think they got rid of a lot of the growing pains of the show in a really honing in on and having a really tight plot.
speaker 1: Second best season so far? What would you say? I would say so. Okay. It's probably early, right? Yeah. Yeah. We'll find out they're even. Alright. What about you?
Uh, you know, I've been consuming a lot of media recently. I've read a couple books. Um, I listened to a book. I'm about 60, 70% of the way through it. Uh, an audiobook. Uh, I watched several movies. I started some new series. And I probably could spend, I don't know, a good 45 minutes to an hour talking those through.
So I'm gonna do that now for the benefit of our audience. Please don't, do you have a highlight, but if there's a weird audio clipping sound that's all of that being cut. So
speaker 2: tell me and then we're gonna get right into it.
speaker 1: Yeah. So, uh, uh, but I won't because none of it is amazing. You know, I could, I could go through each one and talk about how it was fine.
It was a lot of it was, you know, workable, serviceable, you know, if you're super into that genre or sub-genre at the moment, it's good stuff, but none of it is really worth, you know, getting into and tearing apart. It's, it's all just fine. You know. That's great. That's a good summary. With the exception of, uh, venom two, let there be carnage, which is not fine.
Not fine
speaker 2: at all. It's the opposite of
speaker 1: fine. It is not. Okay. It should not be permitted. I. Uh, yeah, that, I mean, that one I will say for it, it did move along. It didn't drag as much as I was afraid it would. The first venom, I felt like, weirdly, for the subject matter, actually did drag several times, and there were quite a few lines that stood out as absolutely like nonsensical, like not, not making sense in the scene in the first one.
And the second one there were, there was less of both of those things that moved along. Mm-hmm. Um, But it was, it's just, yeah. Don't, don't even, there's just no reason. It's not on your must watch list. There's no re Yeah. There's no reason to unpack any of this, you know, it's just, it's all right. If you didn't see it and that bothers you, you'll be okay.
You'll,
speaker 2: you'll live if you don't see Venom
speaker 1: two electric boogaloo. Yeah, exactly. I think that's Venom three actually, because they're not clever enough to rhyme this. That's got a nice ring to, it doesn't. Oh boy. Okay, so this week, uh, you selected the new Netflix film. Eek. We Have a Ghost. Uh, what made you pick this, this one,
speaker 2: to be honest, Netflix kept suggesting it.
And, you know, I'm a sucker for whatever Netflix tells me. No. Um, I saw that Jennifer Coolidge was in it. Uh huh. The White Lotus. Yep. And she was really funny in that, and obviously being Stiffler mom mm-hmm. In the American Pie series. Sure. I thought, you know, that could be a good one. Um, I wasn't expecting
speaker 1: much.
That's a great way to go into a movie like this. Yeah.
speaker 2: Um, and it delivered
speaker 1: on that promise right down the middle. Right,
speaker 2: exactly. Um, there's a review that I saw that I found really, uh, poignant. It's, uh, this movie is terrible and it's so long Exclamation point from Kristi Lair of the, uh, of N P R Los Angeles.
Wow.
speaker 1: Yeah. She really, there's some of that fancy N P R language,
speaker 2: right. You know how Rotten Tomatoes just takes those.
speaker 1: Those nice little, little snippets. Little snippets. Yeah. That was a snippet. Just to give you a sense, that one made me laugh. Sense. I couldn't,
speaker 2: it couldn't be more direct.
speaker 1: That one feels like overheard, you know what I mean?
Like she, she got off of work and she went out for drinks and someone was nearby and that was her review that they overheard,
speaker 2: or the post theater interview that they do sometimes. It was amazing. What a thrill ride. And then they turn the, the, uh, mic to her and she's like, this movie's terrible. And it's so
speaker 1: long where she was in the bathroom.
Talking like on the phone to a friend. Exactly. They took that snippet. Yeah. Uh, okay, great. So there's, that sets the tone. Yep. And as always, uh, spoiler warning, if you're curious about the latest Scooby-Doo adventure here, uh, then do not, do not continue listening to this episode, or if you just have good taste, maybe it's time to bail on this podcast.
speaker 2: I, I think Scooby Doo is probably the right way to put this. Uh, this movie, the Scooby Do Corner,
speaker 1: so this was directed by Christopher Landon. Uh, did you happen to research Christopher at all? I did.
speaker 2: I did. I was actually surprised by, uh, what I found
speaker 1: out. Mm-hmm. Some interesting stuff in there. What stood out to you?
speaker 2: Oh, that he's the son of Michael Landon.
speaker 1: That's right from Little House in the Prairie, Bonanza Highway to Heaven. He's one of Michael's nine kids.
speaker 2: Oh wow. I didn't know he had so many
speaker 1: kids. Well, several of them were adopted. Not that that doesn't count, but you know, he has nine kids, so Yes. Anything else stand out to you about Chris?
Chris Landon? Um,
speaker 2: that he's really into the horror genre. Yeah. And how involved he was with the paranormal activity.
speaker 1: That's series. That's right. Yeah. He jumped on as one of the screenwriters for Paranormal Activity two, and then he kind of worked his way up the chain. So he's been involved with all of the sequels since.
I
speaker 2: saw an interview with him where he was talking about with this movie, he really wanted to take all the eighties movies in the Ghostbusters type movies, Harry and the Hendersons even, and combine them all into a family friendly
speaker 1: movie. Interesting. That, that's a better concept, but clearly not what they were doing here.
No.
speaker 2: Um, another critic said something which was I think right on point, how this was just a. Kind of a pastiche of all these movies, just kind of put together like a puzzle, one piece here, one piece there, and just kind of mm-hmm. Mm-hmm. Paste it together to try to hit all these different marks. And I think it's pretty accurate.
In this case.
speaker 1: There's a lot to break down. Yeah. In this one, in some ways it's, uh, it's got a lot of issues and in other ways it's kind of like, eh, it's fine.
speaker 2: You know? Yeah. Yeah. I thought I. Anthony Mackey as the dad mm-hmm. Was really good. And there were scenes in it where you are like, Hey, this could actually be a, a good movie if it was about a different theme.
Like maybe it was about parent child relationships or something where they threw this, I guess, quote unquote ghost story into it. I didn't really hit the
speaker 1: mark. Well, let's talk a little, just briefly set the stage for people who are probably not gonna watch this. Uh, so this movie features a lead actor, Jahi Winston.
He's a, he plays a teenager, a high school kid in this, uh, sheriff upside down as the Ghost Falcon Americas his dad, quirky. Sherwood is in this one. So some, you know, decent talent. And the premise of the film is a teenager makes friends with a ghost. So how about you provide the audience? Just a brief spoiler, free summary of, uh, the story here.
The story. Sure. Just
speaker 2: quickly, a family moves into a haunted house and as in most of these movies, everything seems a little bit off. The house is too cheap. The real estate agent says, Hey, you know, that's just the market right now. They move in, you quickly find out that the son is having problems with the dad, and there's, there's a lot of tension there, and he is kind of a loner.
And he ends up befriending a ghost who lives in the attic and he for some reason isn't really afraid of him. He kind of laughs when he sees him. And it turns out that this ghost is trapped in the house. And basically the plot of the movie becomes, how do we find out what happened to this ghost? 'cause he can't remember anything about his past life and how the family deals with this ghost, how the.
Father in particular wants to monetize the ghost and becomes a worldwide sensation while at the same time the government finds out about the ghost as well, and they wanna get their hands on him to do whatever government experiment things are doing. They don't really get into that too much, but there's a, no, they don't.
There's a pro, yeah, there's a, an old program from the nineties that was Amont
speaker 1: Ghostbuster. Exactly
speaker 2: about finding a ghost, and there's a lead investigator who's in on this and not to spoil anything, they end up leaving the house. The, the teen and his new girlfriend and the ghost go on this adventure to try and figure out, I.
Why he died, what the background is and how he can, I guess it's not a sound effect. My cohost is actually
speaker 1: still back
speaker 2: you back. And this is a quick summary too.
speaker 1: Yeah. Sorry. You're almost done, I think.
speaker 2: I think so. And then the movie ends now. And that's basically it in a nutshell. Um, yeah, I think that that pretty much hits the
speaker 1: nail on the head and there's, that was good.
You're getting better at those. Yeah, I appreciate that. It's,
speaker 2: yeah, I know. I'm sure the audience is really appreciating it too.
speaker 1: Okay, so wacky hijinks ensue, right? Dot, dot, dot. Yeah. Okay, great. Awesome. And um, so we were talking about what the acting No, there was some, I interrupted.
speaker 2: Oh, the relationship between the dad and the son Okay.
Yes. Is probably okay. A highlight if you can look at that. Good.
speaker 1: As a, as a highlight of the movie, it's so they, they did establish, they did a good job early on establishing that this is a really crappy family. And they did it in the classic, uh, this is basically a kid's movie. It's, it's aimed at teenagers, um, young teenagers.
But you know, I think you can probably remember because it hasn't been that long for you when you were like 13 or 14 and you were like, oh my gosh, the world is so unfair and parents don't care about what I care about right now. As you're slightly older, being in your mid twenties as you are being 18 to 25.
Mm-hmm. Um, You now have an appreciation for how, you know, that's an exaggeration. In reality, parents have other things they need to take care of, and they don't care as much about the stuff you did when you were 13 because that stuff is dumb and it's not important, and they have other things that they really need to be on top of.
But from the kid's point of view, it's like no one gets me. You know? They, they don't, they don't appreciate me. They don't love me sometimes. So I actually thought the parents and the older brother were pretty terrible people. But I took it as through the lens of a teenager, you know? Mm-hmm. So I, I thought that was all right.
They did a decent job establishing that this family has problems, dad has money issues, or the family does. Mom's distracted. Uh, older brother is kind of a jerk. And then they tried to address that. Um, over the course of the film, but I think what you're saying is if they had leaned into that more and really developed that dynamic more realistically, it could have been way more interesting.
And they certainly had the acting talent and I think in all four of the actors to pull that off. So I was gonna wait till the end, but what do you think about having the ghost never really speak? I mean, I know he kind of gets something out at one point, but basically he, he delivers no dialogue. What do you think about that choice?
speaker 2: I, I really would have to agree with, uh, David Harbor, who played the ghost in the beginning. He was really nervous about playing this character. Mm-hmm. And the reason was that he had no speaking role, so he had to really communicate everything through his mannerisms and his facial expressions. But he went ahead and took the role.
speaker 1: Obviously they call that overacting, by the way, but Yes. Right. You had to overact every scene.
speaker 2: Every single scene. And he's such a great actor normally. If you give him a speaking role, I think this would've really enhanced the whole
speaker 1: Yeah, I, I waited till the end. I, I intentionally suspended. Judgment on that.
'cause I was like, yeah, maybe there'll be a moment at the end where he speaks and it's very meaningful and you know, it's like emotional and it justifies a whole film like this. But not only did they not have the character speak, they also didn't hand him like a chalkboard or carry something around for him to write with or any of that.
So they. Really muted the character unnecessarily. Right? Absolutely. He can absolutely interact with the real world. You know, it's classic, uh, ghost the movie Ghost, uh, which they actually had a clip from in this film. Mm-hmm. It's the same rules where if he concentrates, he can become solid enough to use his hands and do things so he can write.
And it, it's not even that hard. It's not as hard as it was for Patrick Swayze. So I guess ghosts have been developing since then, but they had, they chose not to have him do that. Like he, he didn't want a little chalkboard and nobody brought one around or magic or, what do you call it? Uh, dry erase marker or something.
They didn't do that. So odd choice, especially for David Harbor. That was, it
speaker 2: was really strange. There was a whole bunch of ways that you could have taken that too. And, and there could have been conflict between him and the dad. For instance, that he is being used in this way and he's trying to find out about his past, um, the relationship between him and the kid.
I mean, that could have been really fleshed out. He could have really felt for him. So what he, so when the end comes, you really feel for the character. Mm-hmm. But this left him so flat and there was really no emotional tension. Right. And anytime it seemed like they were building that, He has to disappear for whatever reason.
Mm-hmm. Mm-hmm. Or they're suddenly on the run. Right. Right. Or a whole host of hi jinks happen that kind of stop him from developing as a character. Every time he shows up, he has to disappear so quickly. But he can't, he can't evolve in any way. Yeah.
speaker 1: I don't, I don't know why I, I can't think of a single reason in favor of muting the character as much as they did.
There were a bunch of moments where it was like David Harbor's ghost seemed malleable, like his character just fit the scene. You remember the, the parts where he, he gets kind of aggressive or he starts scaring people and it, it's just unclear to me like what his motivations were. Exactly. And he didn't, he stopped feeling like a real character at that point and he started feeling like some sort of, um, I.
Like pet or a robot, you know, that's like two dimensional character that just reacts to the main character and that's it, instead of being his own character. Mm-hmm. And I think having a little bit more dialogue delivered, however, you know, in writing is fine. Um, would've helped clarify why the character made those choices and how it informs us as to, you know, interesting aspects of that character.
Uh, but instead what we got, I was just sort of like, I guess he just does whatever. The main character wants him to do so. Then it kind of made me care less about him as a person.
speaker 2: Yeah, that's a good point. It's kinda like a comb over. What do you think
speaker 1: the meaning behind that comb over was? Oh, yeah. I don't know.
That was another odd choice. Very odd joke. He's already a ghost. Does he need to look worse? I thought maybe David Har was like trying to embrace aging. You know? He's like, I, you know what? It worked when I was on Stranger Things. I'm just gonna lean into looking like I look all the time that way. The tabloids can't take any photos of me when I'm on the beach and I look bad.
You know? Is he in character or is he just hanging out? Who knows?
speaker 2: No one. Yeah, no one knows. It was such an, such an odd choice. Um. What did you think about the relationship between the teen and his girlfriend? And I thought it was very odd. Like were they just showing like David Harbor as a, as a father figure to
speaker 1: them or something?
Oh, we were talking about those creepy scenes where he's clearly invisible and watching them. Yeah, yeah. Um, I think they were trying to play off of their, what, you know, their target audience here is mostly teenagers. Um, so this idea of like, oh, finding romance in a very family-friendly, or parents who are in the room also watching this way is, is okay.
Like I think that's the level of sexuality that they were comfortable with. And then I think David Harbor's character, they were trying to, uh, what's the right word here, connect to. One of his core elements, which we later find out is parenting. Yeah. Or losing a child. So he never really had these moments with his daughter.
So it's sort of like he would've been a great parent. I. Kind of making his character a little bit more likable and well-rounded and tragic. But because of the sequence of events, it came across as sort of like creepy neighbor being interested in your kids' sex life, you know? Yeah. It was,
speaker 2: it was really odd.
Yeah. And why was that hotel so dirty? That motel room was particularly horrendous. It was. And they made a point to tell, show you that. So they'd end up on the same bed?
speaker 1: I think so. And I guess it was sort of like their kids on the run. And this is again, the filter of being a teenager. Right? When a teenager thinks about the way the world is, they think, well, if you don't have money, that's the kind of place you end up in.
Mm-hmm. Right? That's your kind of middle class teenage view of, of travel on your own. So I think that was part of that. Yeah, I'm just gonna write that off as that. But yes, it was weirdly disgusting. So what
speaker 2: do you think the rules are by which the Earnest Kochar character can travel and what he can do?
speaker 1: Ooh, good question. I think it's for, start off with Standard Ghost, you know, uh, Patrick Swayze to me, Moore. I think those are the rules. I think they, uh, cheated a little bit and said, We don't want to talk about this and we don't wanna waste any time on it. So we're literally gonna put a clip from the movie that we stole this idea from, right?
In the movie. So, you know, but again, it was late, right? If they'd put that in the beginning where like the teenage son was watching Ghost and then, you know, or it, somebody said it was their favorite movie or something and then they had this ghost show up, that would make sense. But did you see Ghost the original?
A long time ago. Okay. So basically there's a whole segment where initially Patrick Swayze cannot, um, make his presence known. And then he meets a guy in the New York subway system who's insane, but also a ghost. And that guy teaches him that if you focus your emotion in emotional intensity, then you can briefly interact.
With the real world or the human world over the living world, I guess. Um, so he learns through, I think the other guy does it through anger and Patrick Swayze learns to do it through love or whatever. And so I, I think that's what they were saying, although David Harbor's ghost in this one didn't appear to be breaking a sweat, trying to interact.
Does that make sense? Right. Yeah.
speaker 2: And he's, he can teleport, but not really. No. Yeah, he can show up in the attic and disappear. Where does he go? Nobody knows, right? But then when they're on their adventure getting chased by the police, he needs to run and jump and grab onto the card. And hang onto it.
speaker 1: Yes.
Physics are optional, clearly.
speaker 2: Yeah. He disappears certain moments and other times he, he appears whenever. At whatever random moment. I just found that so
speaker 1: odd. Well, physics, physics appear to be optional. Yeah. He, it seems like the character can opt in and out of physics. Um, so I don't really understand that there was a, a, a little bit of a pitch around this idea that human bodies are made up of energy.
Do you remember that? Mm, yeah. Yeah. So I think that was their attempt to get all sciencey, right? So human body, so the, the cells in the human body. Are made up of energy, I think is what they say should be atoms, I think is what they meant. But it doesn't matter. Uh, molecules maybe is what they said. I forget the exact wording, but it's made up of energy and what if you could capture that energy that makes up a human being?
Of course, that's nonsense. Right. Um, as we all know, in physics, that's not a, not a real thing. Uh, the energy that is, that exists and makes up everything is not distinguishable by human or non-human. Um, not really, but doesn't matter. Surprising. Not that error would exist in this movie, huh? I mean, given the, uh, heady group of professors they assembled, Surprising.
Yes. The consultants on this film were exactly Tom notch. Yeah. Uh, so I don't, I don't think, I think this is very hand wavy. I think we could try to break it down, but we're gonna just move into like, making up our own canon pretty much instantly. Uhhuh, is there anything I missed that you can think of?
You're right, the physics are weirdly wonky and this, it's totally optional. Anything else about it? Not
speaker 2: really. I mean, that pretty much covers it. It's pretty simplistic, right? Yeah. There's a, a ray gun that can, can be used against humans, but also works just as effectively on ghosts. Oh, yeah.
speaker 1: Right. Yeah. We should talk about that.
Yeah. That weird, uh, updated, it's like a men in black version of the Ghostbusters gun. Yeah. Yeah.
speaker 2: And it doesn't take much for the, uh, The head investigator from the government to realize that he's also human, right? Where suddenly she has a change of heart.
speaker 1: Oh, oh yeah. Grandma Ghostbuster. Oh yeah, yeah. That was, uh, man.
Yes. Well, okay. Another science, weird science fact. Uh, the ghost character seems to have some sort of reaction to sunsets. Huh. So they made it a point when they were on the run that he was sort of lost in the sunset at one. You know, he was like staring out and the kids were talking and they were like, Hey, hey, ghost guy, what's up?
And he was just sort of watching the sunset. And then later at the end of the movie, again, spoiler alert, so you probably wanna mute your phone or whatever your car stereo for a second if you don't wanna know the end. But after he's reunited with his daughter, He doesn't vanish, he doesn't move on to the next realm.
He just sort of weirdly sits by a lake with the main character and his daughter's just like away. Let's talk
speaker 2: about that
speaker 1: for a second. But, but briefly, my point was he doesn't vanish. There's like an awkward period where he doesn't vanish until the sunset. So clearly sunsets have something to do with passing on to the next route.
Please continue.
speaker 2: Did you find it a little bit odd how they really played up the emotional response that she had with a
speaker 1: character that was not in the whole rest of the film? It shows up
speaker 2: now. They found her, she shows up at the end. He's standing by the lake. Yep. She runs toward him. It's very emotional.
speaker 1: Bearing in mind that as the audience, we have not met this character until this point at the end of the movie container. Correct. And the whole
speaker 2: time you're wondering, Wait, who is that? Yeah, for about 20, 30 seconds and then it hits you. Oh, that must be the little
speaker 1: girl. A little girl who we also were not introduced to and only in flashback until the latter part of the film.
And briefly, so she's
speaker 2: had about probably five seconds of screen time at
speaker 1: this point. And it's a different actress and a different point. Completely different and yeah.
speaker 2: Exactly. And then at the end, he just seems to be fine with the fact that he's disappearing in front of her. Not one tear. She's just looking at it.
Right. Blankly
speaker 1: and not even nearby. Yeah, like they didn't use the time from when they were reunited until he disappears to talk and spend time together. Apparently they had a conversation, they got bored with it and he started throwing rocks in the lake. And then, and I guess the main character, the teenager wandered over and they started throwing rocks together.
And then eventually he just moved on because of boredom. He
speaker 2: just, he just wandered off. Yeah. Yeah. He's starting to disappear, remember? Yeah. And he just kinda looks at him, looks down and wanders all over to his father. And the, uh, the daughter and then they all just stand there staring at Yeah, at the ghost as he disappears and gives them funny little smirks, like knowing smirks, like, oh, I'm, I'm leaving now.
See you guys later.
speaker 1: Maybe not, not to get on my soap box, but, uh, just go ahead. You got it right there. Just
speaker 2: insert, bring it
speaker 1: out. Insert a scraping sound. Effecting noise. Yeah, please. Long scraping noise. Right after. Not to get on my. Uh, um, but I, it actually does concern me in films when it's clear that no one involved in the movie, like the director and the writers at least have any real sense of human emotion right there.
There's absolutely, like this is the moment where, A father who died was murdered and separated tragically from his child, gets to experience his last, a reconnection with his daughter. That is also their last opportunity to talk, and she since then has had decades of a life to share with him. Her father, who she was told, I guess, died or ran off Yeah.
And abandoned her. Right. The, the level of emotion, the conversation, the like intensity there. You have a lot of choices as a writer and as a director of like what you want out of your actors in that scene, you know, and how much you want to, how long you want that to play and what you want said. But on a scale of one to 10, where 10 is like, it's overwhelming, and this is a moment, neither of them, well, I guess these surviving character will ever forget.
It's life changing all the way down the lake. A one, which is like, this is an intensely emotional experience, but the daughter, she's had a whole lifetime. So for her, this is someone she said goodbye to before. So it's, it's meaningful, but not life changing to see this. And by the way, also, he's a ghost, so ghosts are real.
Right? So that's a one. Right, right. This was like a negative seven. Yeah. You know, the, like, the blunting of emotion, the like, oh, hey. Oh, cool. Yeah. No, that's great. Thanks. Okay. Bye. Like what? It's, it's almost like sociopathic the level of, of like suppressed or misunderstood emotion. I, I don't know. It's just very prevalent in film and I cannot think of a single argument for that.
speaker 2: But when you set up the ghost as a mute ghost, you can't really do much. Yeah, you're right.
speaker 1: No, there's nothing to do. She got bored talking to herself. That's what happened. I forgot
speaker 2: she was just standing there staring at him. And what? What does he do? The entire movie kind of smirks,
speaker 1: right? Nobody brought him marker.
Concerned.
speaker 2: Yeah, there's, so she just stares at him for a while and then walks away and they walk so far away from him. It's like the strange, it's like watching a shuttle launch or something. Yeah,
speaker 1: well, it's like somebody brought your ghost of your dog and you pet it for a little bit and then it kind of wandered over there and now you're just watching it.
speaker 2: It doesn't make any sense on any level. Like the rest of the movie.
speaker 1: Yeah. I, I don't know. Like, so if, if you had a kid and you were tragically separated from your child only to be reunited for, let's say a few hours, uh, 30 years later, what would you want to talk about? I
speaker 2: mean everything, right? You'd feel like there wasn't enough time at all.
That moment would go back, go by in seconds. You know what I'm talking. What if
speaker 1: you had the option also at the same time, to skip rocks on a lake? I. Oh,
speaker 2: skip rocks for sure. Yeah, that's exactly, 'cause
speaker 1: there'd be nothing to talk about, right? No, I mean, you could talk, but skipping rocks is skipping rocks, right?
I mean, that's awesome. Now,
speaker 2: why did they know to take him there in the first place? Were they just like, oh, we're gonna take you to this
speaker 1: lake? Maybe they cut some scenes where he talked about his one last passion. Since he's been trapped in the house, he hasn't been able to skip rocks.
speaker 2: So there should have been a charade scene where he's trying to explain that he wants to get to this
speaker 1: lake.
He just keeps making the skipping rock motion. Seven 11.
speaker 2: You want a Slurpee? Wait a minute. You wanna go to McDonald's? 'cause I'm, I'm just mentioning names or brand names for product placement. Oh good. That's what they would do there. Yes. You want a Coca-Cola? Are you thirsty McDonald's for lunch.
speaker 1: Sounds delicious.
You want the new Spicy McChicken combo? You wanna do laundry with tide detergent? Am everyone high fives?
speaker 2: And it would be about a half an hour of that. And then finally like the sunset near the lake will drive
speaker 1: you there. Oh man. So did this movie make you want to have kids? I. It did not, no. Did it make you wanna have a ghost?
It did. No, a little
speaker 2: bit. Just for fun? Yeah.
speaker 1: Oh, okay. What else? Let's see. So, uh, I knew that I would hate this movie as soon as I saw an emoji in the title sequence. Mm-hmm. But then they showed the teenage son listening to Alice Cooper and I was back on board. Yep. I'm, I'm
speaker 2: very fickle. I thought the opening scene wasn't.
Wasn't terrible, but that's basically all I thought. Yeah. Yeah.
speaker 1: I like the, the teenage boy. Uh, I thought he was a fairly interesting character. Uh, he listens to the doors at one point, like he's a, in many ways, kind of a modern kid, but they made him a little bit of an outsider by partially giving him good music taste.
So that was interesting to me.
speaker 2: Yeah, that makes sense. At least. Yeah. How about that house? Um, in one year, the house becomes like a dilapidated structure. Mm-hmm. That I thought was a little bit extreme. It's like one year later the shutters are falling off.
speaker 1: I. Well, I think they were trying to capture, um, a little bit of the, did you see Wednesday, the Netflix series?
Yeah, I did. Yeah. So, so that features a main character who's fearless and embraces the supernatural. Uh, and she's frequently like on sets that look like weirdly dpi, dilapidated addicts and stuff like that. So I think. I, I'm sure this was filmed at the same time and whatever their mutual influences are, uh, maybe it's a coincidence or maybe they shot this whole thing since Wednesday came out.
But, uh, it was very similar. The main character in this is a teenager who's fearless in the face of the supernatural and embraces it, uh, and lives in a weird, sort of dusty addict and an old house and goes, you know, and tries, has to solve kind of a mystery around supernatural. So I, I think it's a very similar.
Uh, core idea, and I think Netflix has found the thing that they're gonna keep doing until they bury it.
speaker 2: Hmm. What did you think about the dad's relationship to just having schemes and seeing this as another, another money grab where he doesn't want to get to know this ghost whatsoever? Right. He just sees it as it's a way for him and his family to, to get ahead mostly him, it seems so.
speaker 1: Anthony Mackey, I think as an actor. See his persona. I don't know him personally, but his persona is that he's just a pretty, pretty nice guy. You know, he is down to earth. He seems really relatable. Uh, he seems like someone you would, you would have a hard time not liking as a person. That's what the director said,
speaker 2: by the way.
Okay. In his interview he said he's just the nicest
speaker 1: guy, right? Uh, which doesn't surprise me at all. Unfortunately, that was a problem. I actually would've cast Anthony Mackey as the ghost, um, because I think he would've done a great job conveying likability and the audience would've attached to him and wanted him to be like, um, succeed and, you know, cared for.
And then when you find out, uh, that that other character says, oh, and I'm gonna just substitute now, the Anthony Mackey ghost abandoned his daughter. You'd be like, no way. As an audience member. Right. Right. And when he does scary bits and the Anthony Macte ghost is the one trying to be scary, it's funnier.
Mm-hmm. Because it's such a playoff of his persona. Right. So I actually think that would've been a, a good substitute. Um, you know, David Harbor's a great actor. He probably would've been a little bit better, although I wouldn't have cast them as this, but as the dad, um, because they basically dropped these.
Kind of weird things the dad does, like his previous failures or scams financially and his sort of coldness toward the ghost, they just kind of drop that in seemingly, randomly instead of establishing it as his character early on. Yeah. You know, the way the dad kind of teams up with the, um, older brother who's initially portrayed as a jerk.
Uh, really didn't do him any favors. But if it, imagine if it was an actor with a little bit more of an edge like David Harbor, then that works better Uhhuh. 'cause it makes him legitimately seem like. Not such a good guy, you know? And then at the end he can be redeemed and it's, it's better. It's like the teenage son's goodness helped redeem his dad.
And maybe now he's on a course in life where he's not gonna be so focused on scamming people to get money or being so cold to others. He realizes, oh, you know this, watching this ghost say goodbye to his daughter, resets his. Priorities in life, you know, and helps him realize like, no, I need to invest in both of my kids and, you know, care about people.
speaker 2: Yeah. Which leads me to the, um, the conversation that he has with the son, which I actually thought was a No, it was good. It was a pretty decent moment in the film where you finally got to see Yep. Some type of character development
speaker 1: that you keep. Yes. Yeah. But it's more impactful, I think, if you make some of those
speaker 2: other changes.
Oh, absolutely. And they should have done that from the, from the beginning. I totally agree. It would've made much more sense for they had enough time. Right? This was what, two hours long?
speaker 1: Oh, at least over two hours. Jesus. I don't know. The first half of it was terrible. Back to that
speaker 2: critic. This movie is terrible and it's so long.
Exclamation point.
speaker 1: Yeah. Now it's definitely not short. I, I stopped at a couple times and went. 40 more minutes. I did that too.
speaker 2: I watched it in like three parts. Yeah. I couldn't, I couldn't sit through it. Yeah. It was really, really difficult. What did you think of the, um, the girlfriend character? Do you think
speaker 1: that she was a, I think that actress did a good job.
Um, and that's, that's kind
speaker 2: of it, you know, kind of a Wednesday type edge. Right. They were kind of giving her Yeah. Yeah.
speaker 1: I mean, but not as good. They just made her quirky. Mm-hmm. She's the quirky girlfriend. And she's there to advance the main character's development. And that's kind of it. She didn't really have enough of her own development and, uh, I guess, but she didn't have enough dimension to me.
Mm-hmm. She, she just kind of moved along and Yeah. Uh, she's not really strict, kind of like an alternative character. Yeah. Like she's not strictly necessary and that they did that dumb thing where it's like she sat down and she's a computer hacker. And it's like, outta what, where did that come from? Is it 'cause she's Asian or something?
Is it because she's a woman? Like what, what does that have to do with anything?
speaker 2: It's a very, very odd, odd choice. A lot
speaker 1: of the choices in this, they just tried to make her odd, I think just make her interesting and quirky and in lieu of making her an actual character. Um, so it was fine. It is what it
speaker 2: is.
You know, there's so many things in this movie that are. Really underdeveloped when they could have just picked a few core things to kind of build on. Right.
speaker 1: The relationships. Well, it's a kids movie. Yeah. I mean, you're right. You're absolutely right. But they're, I think they were intentionally keeping it light doesn't mean that was the right choice.
I think that was what, maybe
speaker 2: even, I mean, even at a very simplistic level, the idea that he can't leave that house or he's afraid to, would've been great if they could kind of build on that a little bit more. So it's basically, oh, you can't leave the house? No, not really. But he doesn't say anything. Right.
'cause he is, he's mute. Mm-hmm. And then all of a sudden he just grabs the door, handle, opens the door, and he's out the door. There's no, there's no tension whatsoever. They shouldn't even bring it up. They should just say, let's go. Agreed. We're gonna figure out what's going on.
speaker 1: Right. Well, they intro, we can't see example of them introducing rules.
Mm-hmm. And then breezing past it as if it's not a thing. Yeah. So the, uh, montage of memes and social media posts in the middle of the film that made me cringe so hard that I hurt my neck. It still hurts. It's like my whole shoulder. It was, it was one of those full, both shoulders, both sides of the neck.
My chin got involved in the cringe. It was really unpleasant.
speaker 2: I think I was resting my eyes for that, for that sequence.
speaker 1: Smart. You were shielded. You had your safety gear on.
speaker 2: That's what I think it is with this movie. It's just so many different ideas all coming in at the same time and just never going anywhere.
Mm-hmm. You know, they, they briefly touch on this, they briefly touch on that, and it just kind of, it falls apart.
speaker 1: Yeah. Uh, let's see. Bear McCreary composed the original soundtrack. Do you know that name? Um, no. Okay. Bear McCreary is a composer, um, and I'm, I'm a big fan of a lot of his work, although in the last few years, I think his work has become a little bit less, um, identifiable.
Um, his breakthrough role or his breakthrough composing role was the Battlestar Galactica. Uh, TV show. Oh, wow. Uh, he, he, I think he's, uh, worked under the guy who did the miniseries that launched it, and then he took, that person left the series and he took over, uh, you know, composing or, or scoring the, uh, TV show.
And it's amazing. It's one of the best soundtracks for a TV show I've ever heard. Absolutely worth checking out if you haven't, even if you don't care about Battlestar Galactica, it's really interesting to just listen to his soundtracks for that show. But if you watch the show, you hear how his soundtrack really enhances the show.
It's an example of great synergy. Uh, he did Terminator, the Sarah Connor Chronicles, which also I think has another good score. He did human target, he did the video games, God of War, and the sequel Ragnarok. He recently did the foundation series on Apple and Rings of power for Amazon. He also did the movie Godzilla, king of the Monsters.
Um, so I don't know which of those would be considered his best work, but he's actively working. He's a big name and they got 'em, so that's cool. Uh, another thing that stood out to me, do you remember the car chase scene? Yeah. So it was like they forgot they were making a kids movie. Right. It started off the, the character flips a bird.
Uh, the ghost steals a police officer's weapon and discharges it at one point. Mm-hmm. There's a near decapitation and it just like with this very vanilla kids movie, you know, like if it was a heart monitor, it would barely have a blip. You know what I mean? Right, right. Like it's like a calm ocean with no waves.
And then they do this chase scene and it's like suddenly they went all die hard here. And I'm like, this is not family friendly. You're like, Hey guys, uh, maybe tone it down. I guess Netflix gets to dodge some of those ratings. Police, right?
speaker 2: Yeah. I mean, the director mentioned how much freedom he gets ah, doing a Netflix movie.
Mm-hmm. In this case, I think maybe it's a little too much freedom. Creatively. Yeah. Because I think for a Netflix, you have to put so much trust in the people behind the movie or a typical studio. There is redlining everything. Right. Constantly. This
speaker 1: could, could've used a committee, could've used that. Yeah.
Yeah.
speaker 2: A mo that's, that's not saying much when you say a movie of made by committee is better than one. Yeah. Where the director has created freedom.
speaker 1: More, more cooks in the kitchen. Yeah. That's not usually a compliment. What do we really think about
speaker 2: this?
speaker 1: Everybody? That's our one line review. This movie needed more cooks in the kitchen.
So another interesting thing that stood out to me right away. Uh, I was curious, do realtors have to disclose murders in a home or other crimes? So I did a little research, right? So it's a common trope where it's like, yes, they do, or they're supposed to, and they didn't. Actually, it's a lot more complicated than you would think.
So according to Redfin and a bunch of other websites that I looked at, uh, Alaska and South Dakota do require sellers and realtors to, uh, disclose murders and suicides specifically, but only if they happened in the last year. For California, it's the last three years and for a lot of other, uh, you know, uh, what do you call it, districts or states, there is no requirement.
Uh, in some states there's a requirement if the purchaser or the potential buyer asks. So if you are buying a home and you ask like, has anyone died here? Uh, then they have to disclose it in most or many. I couldn't really tell it. It seems like maybe it's most, some websites said most, some said many. Um, they actually can lie to you and it's legally defensible.
Wow. So they, they are under no obligation to tell you the truth, even if you ask. And on top of that, certain types of deaths that occur in the home cannot legally be disclosed. For example, if it's AIDS related because it's a protected group. Yeah. So if you are home shopping and you say, uh, hey, has anyone died in this home before I sign on the dotted line?
You know, my wife is psychic and, uh, she won't be able to sleep through the night. If there ghosts running around all day, then it's very complicated decision tree as to how the, the realtor or the seller responds. Um, they can't legally tell you if it's certain protected groups. If they died, they can't tell you.
The question then is what do you do about that? Um, there is a website called Died in-House, D I E D. Of course, there is h o u s e.com, uh, which you can go tody in-house dot com. You can put in your address. And it's supposed to tell you if someone has died in your house, uh, or in the house that you're, the address that you're interested in.
But I tried it and it gave me a notice saying that my state doesn't require anyone to report deaths in the home, including murder and suicide, quote unquote. And when I googled that, it says that the law where I'm at says I can't sue anyone if they lie about it when I ask. Wow, that's so what do you think about that?
speaker 2: I mean, I would think. It should be your right to know no matter what. Okay. You are buying
speaker 1: the house, but why? What's the connection there in your mind? I'm not disagreeing. I'm just curious. Like why, why, if you're buying a house, do you have the right to know if somebody died? Let's say if, uh, 40 people were murdered and the walls were covered in blood and guts and it cost him 10 grand to get a c s I cleaning crew out here.
speaker 2: I mean, that's a really good que that, that's a really good question, right? Why do I deserve to know? Yeah, is a good question. I can't really answer why I would deserve to know, except for the fact that it would make me uncomfortable to live in that. House and you'd say why they're not there anymore. Right.
But let's say you believe in the supernatural. Now I'm, I'm not saying particularly for me, I'm just saying in general,
speaker 1: how long have you believed in the supernatural? Well,
speaker 2: after this movie, I, uh, stopped believing in the supernatural. If you would've asked me yesterday or two days ago, huge believer in it.
Um, this really turned me off to, uh, the whole ghost
speaker 1: thing. Well, let's brainstorm. Let's brainstorm some reasons. All right, so let's say, uh, 40 people were killed in this home. Uh, over the last 10 years, it's been, it's had 12 different owners, uh, 40 deaths, and they still haven't caught the person who did it.
That would seem to be something you would wanna know. That would, you'd definitely wanna know in that case. Yeah, but they're maybe not legally required to tell you that. That seems a little odd, right? That seems
speaker 2: odd to me. Yeah, for sure.
speaker 1: Okay, here's another situation. I mean, that seems like a reason, maybe.
Here's another one. Um,
speaker 2: is there a legal precedent you think around
speaker 1: this? The best I could find was one Supreme Court case. When this has been tested, from what I've reviewed, the law has supported the right of the seller to keep it as a secret. I see. So another situation I could imagine where it might be an issue would be property value.
So for example, if there have been 40 murders in this home and you purchased the home not knowing that, and then somebody creates a Netflix series about how there's a house where 40 people have been murdered, then what happens when you try to sell that house? So like the Amityville
speaker 2: house.
speaker 1: So the Amityville house actually falls under a very specific category.
So in continuing my research, I came alo across a term called Stigmatized property, and there are multiple types of stigmatized properties. One of those types is, uh, famously, uh, represented by the Amityville house. It's called Public Stigma. So this is a home that is known for some reason. So if you can debate that, and again, there are rules around whether or not they have to reveal public stigma, but I think there was some, some sort of test of this and it was the idea, like if it's commonly known, then it's the buyer is expected to know it.
It's like, do your research, buyer beware. Mm-hmm. Right. So that is an example of public stigma because it's famous. Does it make sense? Right. Yeah. So what we're talking about is disclosing ghosts. So should, so we talk about murders, right? And we could brainstorm those reasons.
speaker 2: I've seen the Amityville house in person.
Oh, it was very odd to see cars in the driveway, lights on Uhhuh completely occupied like any other house, you know? Yeah. It was just strange to see it. I would've thought that it would be abandoned or they would've knocked it down. The actual house is still exactly as it was in the seventies when those murders took place.
Huh?
speaker 1: Did it make you wanna buy it and move your young family in?
speaker 2: Yeah. Yeah, absolutely. You'd always have it in the back of your head, I would think. Unless you're really good at just ignoring everything.
speaker 1: Wow. That would help a lot with this movie. Yeah. Uh, so it sounds like you're, it's strong favor of it should be disclosed.
If there was a murder in the house or a death in the house, like what if, uh, somebody died of natural causes? Do you think they should have to, uh, announce that or, or put that in the listing? Or if you ask,
speaker 2: I actually know if someone who bought a house like that, um, and the family did disclose it. Okay. But I don't know what the circumstances were.
Around it if they had asked, I don't know. Yeah. Or if the family actually just said, you know, this is what happened. But yeah, I think the idea of, of disclosure is, is a good thing. But then is it a slippery slope that you have to disclose everything about the house, even if you, you don't
speaker 1: know it. Right. So we're talking about human deaths.
What about pet deaths? Right. That's another good question. So you have to disclose that because there's arguments on both sides, right? So if we ask the question, should you have to disclose ghosts or more accurately, or more broadly paranormal activity? So the argument in favor of that, or an argument in favor of that is, yes, you should, because paranormal activity could indicate problems in the area like, uh, you know, gas or uh, uh, some sort of, um, atmospheric issues.
Right. It could represent like an environmental hazard. People are hallucinating or their sleep's been disrupted or whatever. Um, so this is a way of saying we don't know what it is, but people are having these experiences. Uh, and that would seem to me to be really important information before you buy a home.
That's a good point. Yeah. Yeah. And of course for people who believe in the supernatural, uh, then it's maybe a selling point for them. Stigmatized property is a term that's used in real estate, and there are multiple types. There's criminal debt, murder slash suicide, public stigma, which we talked about, uh, briefly, um, phenomena.
Stigma, which is like ghosts, specter, spirits, anything paranormal. Um, but they do separate public from phenomena stigma. So even if the buyer asks, a lot of states or districts don't require the seller or the agent to be honest. So I don't know, you know, something to think about here. Okay. Uh, so what would you do with this intellectual property?
Um,
speaker 2: I would probably bury it. Uh, no. I mean, I, I don't
speaker 1: know. But then it would rise again. It
speaker 2: would, and to your point, rising again, they left it open for a sequel. Did you notice that? With the flashing light bulb in the attic? Mm-hmm. So we might have to sit through another one of these, because, you know, because completion fans for our listeners,
speaker 1: we're gonna have to, they're gonna demand it.
speaker 2: They're gonna demand it. We're gonna have to do it. 'cause that's what we do for the fans.
speaker 1: Okay, so I guess, uh, questions for the fans, right? Would you demand a sequel? Would you demand that we watch the sequel? Would you demand your
speaker 2: money back if you saw
speaker 1: it? I always wanna know from the audience what they would do with the intellectual property.
I. So that would be interesting. Uh, and I'm also curious what people think about the laws around disclosure, right? Murders versus suicides versus people just dying in the house versus any, uh, you know, um, anyone claimed that there was something supernatural. Should that be reported or disclosed or not? Uh, I think people are, have the right to a lot of different opinions around this.
It's
speaker 2: true, but in all seriousness, I think that maybe if you're gonna have a sequel, he's now able to speak. Mm-hmm. And maybe there's some crime that's being been committed. And he goes on a wild adventure with the, the kids and maybe the whole family to investigate or make things right. Who knows. See, we don't know anything about this character.
That's why it's so hard for me to think through what to do with the intellectual property. You're basically creating a character from scratch if you're gonna have mm-hmm. If you're gonna have
speaker 1: him in a sequel. Okay. Yeah. I'm saying Hai Winston. Oh, I see. As the, as the ghost. As the go. Yeah.
speaker 2: That might be a
speaker 1: little, yeah, it's a little dark.
Yeah. Yeah. That, it's interesting though. He could have a little ghost guitar. That's true. Maybe
speaker 2: the, and you know, when he's coming you hear the, uh, the guitar strumming. So, you know, he's close by.
speaker 1: Uh, and he could talk to the, uh, his girlfriend. She could be the, the human that helps him, the medium
speaker 2: Ouija boards.
Oh, yeah. They didn't throw Ouija boards into this one, did they?
speaker 1: Whoa. Well, there's something for the sequel. Yeah. Leave that in. We already put that on the board for the sequel. Get on the Wei
speaker 2: board. Oh,
speaker 1: nice, nice.
speaker 2: Yeah, I don't know. I think you'd have to, you'd have to really start from scratch with this. I don't think it would be worth even even building much on the existing ip.
Right. What do you think?
speaker 1: I'd rather not, I think I would, I'd be interested in, um, more of the family stuff. You know, maybe Anthony Mackey is the ghost. You know, maybe dad dies, uh, and then that's sad, but they end up forming a family. Mm-hmm. I don't think you need David Har, I think I like David Har and I hope he's in a ton of other stuff.
But if I was making a sequel to this, I would just stick with Anthony Mackey as the ghost and um, I. Maybe add talking some. Mm-hmm. Maybe he figures that out early on, that Oh, you can talk if you just make your vocal cord chords solid. Okay, great. So now we don't have to worry about that. Um, but he can't talk when he's intangible, so there's the limit.
Yeah. Would you
speaker 2: replace him with, uh, earnest from earnest goes camp? I don't know.
speaker 1: It just hit me. There's every movie has to have an earnest of some. Yeah, you might be a
speaker 2: ghost now. I don't know.
speaker 1: I think you could do, if you make Anthony Mackey the ghost, then you can do more fun family stuff. And I think the actress who played the mom was really good as well.
Mm-hmm. But she didn't have much to do. Um, and the older brother character, I, again, he was fairly two dimensional, but I think that actor was actually decent. So I'd give him a little bit more to do and I would just make it like a fun family adventure instead of just having the one teenage son be the focal point.
speaker 2: But then you really. You really end up keeping very little
speaker 1: of the original movie. Yes. I mean, I'm keeping actors, right. That's about it. If we That's about it. Yeah. Yeah. Pretty much. It's a, it's a
speaker 2: tough one, but if the audience has a better idea,
speaker 1: you know what to do. I'd love to hear it. Yeah. And so would Netflix Yeah.
Pages,
speaker 2: we'll call you back.
speaker 1: Yeah. Or just go straight to Netflix with it. And then we will review it when it comes out six months later. Does Netflix do refunds you think? On your, on your movies?
speaker 2: Yeah, on the movie. On the individual movie. Do I get a month free after having to sit through
speaker 1: this or what?
They'll just mail you 10 cents Starbucks gift card. Ah, anything else before we wrap it up? No. Is another great one. Oh yeah. Really enjoyed the conversation. Absolutely. Another flawless episode on top of that. Exactly. Alright, well thank you to the people who made this movie. As always, we recognize that your ability to complete something is far superior to our ability to tear it apart.
Uh, thank you to the listeners. Please don't subscribe or write us a review. If you write a review, even if it's a bad one, then the algorithm will suggest us to more people and then we'll end up with more listeners. Then that'll be more people that my partner can collect data on and sell to Comcast. So just stay away from the reviews, don't subscribe.
Uh, we'll be back next time with uh, dead heat. And if we have time, I think we're doing one cut of the dead, right? Is that is that sounds like
speaker 2: it. Yeah.
speaker 1: I think that's the plan. And we might have a special guest, so stay tuned for that. Until next time, walk on with hope in your heart and you'll never walk alone.
speaker 2: Well said. Take care everybody.