Jackass Number Two (2006)! Plus, Film Critic Caden Mark Gardner!

Episode Transcript
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Speaker 1 (00:00):
Hi, my name is Milli to Jericho and welcome to
Deer Movies. I love you.

Speaker 2 (00:07):
Whoa Millie? What a stunt?

Speaker 1 (00:11):
Dag my leg my leg my leg?

Speaker 2 (00:15):
Oh my god, Millian, I didn't know a human body
could contort that way.

Speaker 1 (00:20):
Yo, dude, my leg?

Speaker 2 (00:22):
I dude, why did you tell me to get on
this missile that we launched into a lake? Oh? I
thought it'd be sick. I thought it'd be sick and
it was.

Speaker 1 (00:34):
Yo. Yeah, I can't believe you got me to do
all these crazy things. There was also an alligator that
was on the missile with me, which I thought was
you know, a little a little crazy. And then you know,
I don't know, They're like everybody was naked. Everybody was
standing around was just naked.

Speaker 2 (00:51):
There's a jar of alligator seamen on top of the rocket.
Is that really necessary?

Speaker 3 (00:58):
Ye?

Speaker 1 (01:00):
Well, my leg is completely separate.

Speaker 2 (01:02):
Well, I hope you can keep doing the podcast today
because we've got a huge one.

Speaker 1 (01:07):
Really huge one. If you couldn't tell we're actually going
to talk about this. Has this the first time we
talked about a sequel and not the original movie?

Speaker 2 (01:17):
Oh that's a good question. Yeah, I guess that's true.
It is a sequel. Yeah, and you do need to
have seen the first one for the second one to
make sense, right.

Speaker 1 (01:27):
I feel like everybody has probably seen the first one
at least, But we're going to talk about Jackass number
two that came out in two thousand and six. There's
a reason why we're talking about the second one, which
will be clear in just a few moments.

Speaker 2 (01:41):
But I don't even know if I know the reason.

Speaker 1 (01:45):
Uh, you don't have to.

Speaker 2 (01:46):
As long as one of us is as Yeah, as
long as we I have known what's going on, we're okay.
And that's great, very exciting. And then we are also
going to be talking to the wonderful Caden Mark Gardner
on our segment, my area of expertise, and we're going
to be talking about fifties diner aesthetic. A really awesome
conversation with Caden. Would you say Cayden is a film writer,

(02:13):
a writer about film.

Speaker 1 (02:15):
Yeah, I would say Cayden and I run in the
same streets. It's like we're all out here doing a
little bit of programming, a little bit of writing, a
little bit historian stuff.

Speaker 2 (02:27):
He's just a wealth, truly a wealth of knowledge. And
we talk about fifties diner aesthetic and we get into it.
That's fun, that's right, So please stay tuned. It's going
to be a wild and wonderful episode.

Speaker 1 (02:42):
And in the meantime, I have to try to put
my leg back on somehow. I think I'm just going
to pull this duct tape. Anyway, I'll figure.

Speaker 2 (02:51):
It out, and just imagine the first guitar riffs of
minute Men's Corona is playing. Imagine that in your head, audience,
because we can't play.

Speaker 1 (03:03):
It, but we can play this song because you're listening
to Deer Movies. I Love You, Dear, I Love you,
and I've got to.

Speaker 2 (03:18):
Love me too. Check the box.

Speaker 1 (03:29):
All right, Hey, y'all, welcome to another episode of Deer Movies,
I Love You. This is the podcast for those who
are in a relationship with movies. My name is Millie
to Jericho, and.

Speaker 2 (03:39):
I'm Casey O'Brien.

Speaker 1 (03:41):
And Casey, what did you just tell me during the
Dark Day?

Speaker 2 (03:44):
I said, you know, in the brief moment between the
intro and this part of the podcast, I said, when
I was taking guitar lessons, one of the first things
I learned was minute Men's Corona, which is the theme
song for Jackass because minute Men. I loved them and
I was really obsessed with them, and they're a great band.

Speaker 1 (04:08):
That's so funny. What I the first time I ever learned, Like,
I picked up a guitar and my neighbor taught me
how to play guitar. I learned the opening to Come
As You Are by Nirvana.

Speaker 2 (04:19):
Bom boom boom, boom boom. Yeah, that's a good one.
That's tough.

Speaker 1 (04:25):
That's the only one I know, the only thing I
know how to play. And I just played over and
over and over again. But I wish I would have
learned the miniments.

Speaker 2 (04:30):
That had been fun. Yeah, it's complicated. D Boone was
an excellent guitarist. Rip uh if you ever want to
learn us easy song and guitar. All of Neutro Milk
Hotel songs are really easy. I love them though, you
know what's saying. Uh. Anyways, huge episode, like you said
at the top, but really I have two questions quickly,

(04:51):
quick questions here.

Speaker 3 (04:52):
Okay.

Speaker 2 (04:53):
Number one, did you hear that still in Scars Guard
called Ingmar Bergman a Nazi? Have you heard that before?

Speaker 1 (05:00):
No?

Speaker 2 (05:01):
He said Ingmar Bergmann was a Nazi during World War Two?
And he's the only person he knows that cried when
Hitler died. What And I'd never heard this before. I
was just curious if you had ever heard any rumors
that Ingmar Bergmann was like a Nazi sympathizer.

Speaker 1 (05:21):
How old is Stellam Scars Guard, by the way, was
he around to see that?

Speaker 2 (05:25):
Here's the here's the thing, he said, he's he's seventy four,
so he was born after Hitler died. So I don't know.
I he did not see it. He didn't see him cry.
So I'm kind of like, maybe you heard it secondhand.
I don't know. I'm no, it's just a bummer because

(05:46):
I love Ingmar Bergmann. I have all of his movies
from the Criterion collection, literally all of them. I have
a huge set. And it's just hard for me to
someone who like is such a poet of human nature
to be a Nazi. That's just hard for me to reconcile.
I guess.

Speaker 1 (06:02):
So anyways, well, one time, my grandfather, this is not
for nothing. Maybe we cut this. I don't know, we'll see.
Once my grandfather told me when I was like a teenager,
that he actually appreciated living under fascism in Italy because
he felt like things were run very efficiently.

Speaker 2 (06:25):
The trains ran on time.

Speaker 1 (06:27):
Yes, he basically said that he was like, actually, I
thought that fascism was for the most part of positive
because it felt like everything was just like working well.

Speaker 2 (06:38):
And I was like, Wow, interesting, bold dog Grandpa. Wow,
I think I know.

Speaker 1 (06:46):
That's what I'm saying. Maybe this is a thing where
it's like maybe he was like maybe he was like
on a Twilight Bender and he was like, hey, you
know what, I love Hitler or whatever. Scale Scar's guard
was just happened to be there. He like, what the fuck, dude?

Speaker 2 (07:03):
Or I don't know.

Speaker 1 (07:03):
I'm not gonna I'm not going to speculate.

Speaker 2 (07:05):
But anyways, that was one question I had. And then
I have a I just wanted you to weigh in
on this. I did something I've never done before, and
I feel weird about it. Okay, went and saw a
movie at the movie theater. H bought popcorn. It was good.
You know how when the popcorn is like that yellowish
orange and it's just like really salty. It was good. Anyways,

(07:28):
it was a big bag and I only finished like
half of it, and so I brought it home and
I put it in a big ziploc bag and I
ate it for the next rest of the week. Is
that weird that I did that?

Speaker 1 (07:41):
No? What the fuck? You paid like thirty dollars for that.

Speaker 2 (07:45):
I did pay more for that than I did for
my movie ticket for my pop and popcorn was more
expensive than the movie ticket. Okay, I just wanted to
check in it. I really enjoyed it, and I loved
eating it throughout the week. I just felt like nine
years old, like pulling out like this giant ziploc bag
of popcorn throughout the leekue.

Speaker 1 (08:04):
It seems way that. First of all, I'm glad that
you did that. Second of all, now that i'm now
that you said it, I'm curious. Have you ever gone
to a movie theater just to buy the popcorn, not
see a movie, and just walked walked?

Speaker 2 (08:20):
No, but my grandma used to do that. Yeah, And
there's a movie theater in my neighborhood, not but two
blocks from my home where they say they have the
best popcorn in the city and people will apparently go
in and just buy some and leave. Yeah, I've done it,
and I'll go you one further. Perhaps I've done a

(08:40):
lot of hard research onto like what it is? Uh huh,
that's in the movie theater popcorn that makes it so delishus. Yeah,
do you want to know what it is? Or do
you I do?

Speaker 1 (08:55):
Okay, of course, Well this is according to Reddit.

Speaker 2 (09:00):
Okay, it's a.

Speaker 1 (09:00):
Combination of a couple of things. Number One, this seasoning
salt called flavor.

Speaker 2 (09:07):
Call okay, chemical flav.

Speaker 1 (09:10):
A call it's the out. It looks like a carton
of milk, and it's got like a really cute like
nineteen fifties nineteen sixties design scheme. It looks like it
hasn't changed.

Speaker 2 (09:22):
Since the fifties or sixties.

Speaker 1 (09:24):
Which is one. You know, it was manufactured by a
company called gold Metal, which I'm assuming is maybe the
flower people from Cincinnati, Ohio. So that's the seasoning salt
that goes on the popcorn. Then I read that there's
this butter flavored oil.

Speaker 2 (09:44):
Yeah, because I don't really actually want real butter.

Speaker 1 (09:47):
Yeah it's not real butter. Good by the way, I've
had popcorn with real butter and it's cond of Marley.
I gotta tell you.

Speaker 2 (09:55):
Oh, I feel like the art house cinemas are trying
to make their popcorn more healthy.

Speaker 1 (10:00):
I feel like, no, I feel like it's not the
way to go. It tastes I think that this is
a It's like going to a gas station knowing you're
going to be snacking on something disgusting.

Speaker 2 (10:12):
It's the whole part of the experience. You don't want
to go in there and find a bunch of fruit
and vegetables in there.

Speaker 1 (10:18):
No, I don't need like a watcha smoothie at you know,
a racetrack. But so I went online, did a little
bit more research, and there's this gallon that you can
buy on Amazon called Snappy I think the name of
the company is Snappy, but it's called butter Burst, and

(10:38):
it's a literal gallon of oil. Like I guess it's
like a butter flavored oil. It's like sludge basically, like
you can get a gallon of popcorn sludge.

Speaker 2 (10:49):
We should do shots on the podcast.

Speaker 1 (10:54):
I should send you some. I've been like, because what
am I going to get through a gallon? I've been like,
you know, peeling people off some of the butter bursts.
I'm like, well, I'm not going to have this. Let
me let me give you a plate. As they say down,
what do they say in uh, Minnesota. If you go
to a cookout, you know, and somebody walks out to

(11:15):
you know, come get you, Come get.

Speaker 2 (11:16):
A plate, het you a plate. Let me put together
a plate for you.

Speaker 1 (11:18):
Get your plate.

Speaker 2 (11:19):
Yeah that's what I mean. Get you a plate of
this butter burst and I'll send it up to you.
Very good.

Speaker 1 (11:24):
Yeah.

Speaker 2 (11:25):
Well, just wanted to check in with those two questions, Millie,
I have something.

Speaker 1 (11:34):
Else, please a follow up real hot off the presses.
Did you hear that the paranormal investigator who was handling
the Annabelle doll died?

Speaker 2 (11:45):
Yes? I did. I did see this. What is going on, Millie?
I'm freaking out here.

Speaker 1 (11:51):
I am too, dude.

Speaker 2 (11:53):
I'm just like, I feel like we shouldn't have even
talked about it on the podcast.

Speaker 1 (11:57):
How about this is the first thing that I thought about.
I was like, we've invoked this now and now I'm worried.
That's something sad.

Speaker 2 (12:06):
It's gonna happened up.

Speaker 1 (12:07):
But here's the t Casey. In addition to doing shots
of butter bursts, should we also sage the podcast?

Speaker 2 (12:17):
Yes, we should have my mom come on and do
a catholic blessing the podcast. She did that on our
house when we moved in, so she's no stranger to it.
Maybe she should come on and she can do this. Listen,
I'm fucking serious. No, I need to Okay, let's talk
to your mom. Okay, I'll get my mom. She's the

(12:39):
most Catholic person I know. She It's like it goes
like Pope and then her and we got to get
her on. Okay, this is good. There's been a lot
of news at the top, I know, jeez, but Millie,
we got to get to our film diary at the
movies we watched this past week. Open it up?

Speaker 1 (13:05):
Man?

Speaker 2 (13:05):
How much if Okay, so let's say you were staring
at the case that Annabel is in, My God, how
much money would it take for you to open it?

Speaker 1 (13:15):
To open it? Yeah, got to be at least at
least ten gee's if not more, I would do five figs.
Bear mins.

Speaker 2 (13:26):
I need to take care of my family.

Speaker 1 (13:30):
Sure you know that our loved ones. Have you know
our beneficiary money? Because once you open that fucking gate,
that girl is going ham on you.

Speaker 2 (13:40):
So spooky. There is a new one of the Conjuring
movies coming out soonish, I believe so well, what all
this Annabel tour was all about.

Speaker 1 (13:50):
But see, now, is it going to be like some
crazy polter guy scenario like everything's cursed or like exorses
the Exorcist, everything's cursed?

Speaker 2 (13:57):
I don't know. Oh scared? Okay, Millie, can you tell
us what you watched this week? Sure?

Speaker 1 (14:05):
I watched quite a few things. Wow, So I'll just
be brief about things. I watched two serious documentaries and
then I watched basically films for teenage boys. Good, okay.
I saw two documentaries about classic film icons of our past.

(14:28):
I saw the two thousand and five Kevin Brownlow co
directed documentary about Greta Garbo entitled Garbel.

Speaker 2 (14:37):
Okay, I've never been not familiar with this.

Speaker 1 (14:40):
It was it was, you know, put together by my
old stomping grounds at TCM, but it was basically talking
about Garbo, you know, kind of famously decided to retire
in her was it late thirties, early forties, and then
she just was like, I'm going to live in New
York and be a normal person. And if you try

(15:00):
to say hi to me in an antique store, I
probably won't say high back. But who knows. Like she
just was like I'm going off the grid type. That's cool,
and then people were like obsessed with spotting her and
wanting to talk to her and things.

Speaker 2 (15:12):
So I thought that was kind of cool, very cool.

Speaker 1 (15:14):
I like, again, I'm really pulling for celebrities that are
cool by the way, to just disappear from public life
and just being on a person, Like if you're cool,
you don't need to be famous for the rest of
your life.

Speaker 3 (15:28):
See.

Speaker 2 (15:28):
That's why I was so disturbed by the death of
Gene Hackman, because I like that he did do that.
He like was like peace, go into the desert, audios everybody.

Speaker 1 (15:40):
But they from all accounts, and trust me, I've read
about this a lot well because I am in constant
fear of things like this happening to me as a
single woman who lives alone. Right, Yes, they really pulled out,
like pulled out in a way that was like probably
not like they didn't. From what I gather, it didn't

(16:02):
seem like they were very social.

Speaker 2 (16:05):
They went too far.

Speaker 1 (16:06):
They went too far, they kind of stayed too inside.
I didn't didn't have their social network or anything, so
you know, I try not to. That's why I'm like
trying to be nice to people, because I'm like, don't
forget about me, because I will one day not be
able to walk out of this house.

Speaker 2 (16:23):
And you've got you see a lot of mail piling
up in the mailbox, Come knock on my door. Yeah,
if you see my mummified remains, if.

Speaker 1 (16:31):
You see that I have magazine subscriptions and newspapers subscriptions.
I don't need it, I need I don't need those.
Those will just pile up and fall on me. Just
cancel them. And then I saw I don't know if
you've heard about this, but you know Mariska Harkta.

Speaker 2 (16:47):
I'm very familiar with miss Mariska Hargita because I produce
a podcast about a little show called lawn Order S
for you.

Speaker 1 (16:55):
No, that's exactly why I said. I said it that way.
She made it to documentary about her mom, Jane Mansfield,
which is called My Mom Jane, came out this year.

Speaker 2 (17:05):
Heartbreaking, heart, really sad, and the whole thing is just
so sad, so.

Speaker 1 (17:12):
Sad, but also like a testament to like her and
her brothers and sisters and her husband and just sort
of like the people that like stayed in her life,
like her father's and everything. I don't know, I just
was like, man, I cried man, I cried during that
she's lovely, and also the pictures of her from like

(17:33):
the late eighties and early nineties. Damn, she was the
hottest woman. I'm talking about Marishka. I'm not talking like
Jane Mansfield. I mean, why wasn't she more famous?

Speaker 3 (17:42):
Then?

Speaker 2 (17:42):
It's interesting like lon order SVU is kind of her
big break, but not that she was old by any means.
But I think she was like in her thirties, you know,
you think she would have blew up earlier than that.

Speaker 1 (17:55):
Sure, Yeah, she's like man, she was. She was a
smoke show. I'll tell you, if I look like her,
I wouldn't be doing this podcast. I wouldn't even be
on the Internet. Just throwing that out there. Okay, So
I watched those two documentaries. So then I watched a
couple of movies to prepare for this episode, which I

(18:15):
feel like I should just mention, but I'm not going
to go into it because we're going to talk about it.

Speaker 3 (18:21):
Yeah.

Speaker 1 (18:21):
I watched the first three Jackass movies obviously, but then
the end. To put a cap a feather in the
cap of my old film diary, this week, I decided
to rewatch Weird Science from nineteen eighty five.

Speaker 2 (18:36):
A movie I've never seen.

Speaker 1 (18:38):
Holy fucking shit. Now, I like I said, I don't
like to make people feel bad if for na see movies.
But I'm actually legit surprised you've never seen this.

Speaker 2 (18:48):
I am too, because I'm like a John Hughes fan.
That's like my era. I don't know it was on
TV and I caught snippets of it. I gotta watch it.

Speaker 1 (18:57):
Very very contentious at this point in our culture, which duh,
I get it. Yeah, every horny teenage boy movie from
the eighties is being dragged at this point. There's issues,
there's issues that movie particularly was I have seen that

(19:21):
movie so much in my life, wow a lot. I
can quote it in fact, because again I was in
John Hughes Freak too. I actually think the concept in
and of itself is so stupid, you know, but the

(19:42):
issues that arise, at least for me and I don't
like I don't think I have as many as others would,
although I do understand why they would have them, because
it is like gross teenage you know, masculinity, misogyny, homophobia, racism,

(20:04):
this kind of stuff. Right, It's just like very broad,
dumb eighties comedy strokes, let's get serious. Yeah, but there
is something to be said for a movie that is
basically like taking the idea of like what teenage boys
think they want, which is they want to be able
to like create a woman, which is what's happening right

(20:25):
now in like AI, it's happening by the way still
where guys are basically like, I'm fifteen and I want
to know what, you know, it would be like to
kiss a girl, So I'm going to like create some
computer simulation of it. That's exactly what they do. Yeah,
but it's completely improbable because it's like, you know, obviously

(20:46):
the science doesn't add up, size doesn't ad up. And
then like Lisa, who's played by Kelly LeBrock, who's like
impossibly hot, Like she's I was like sitting there watching
her this time, going, she's gotta be like the hot
woman I've ever seen. Uh And I say that as
a straight woman, and I have no I've no bone,
no bones about it. She is like probably the hottest

(21:09):
woman I've ever seen in that game. If you look
like her, no podcast no podcasts, I would know you.
It wouldn't even fucking talk to you, bro Sorry, But
like like she kind of is like a Mary Poppins
in the in the sense that she's like basically creating
alternate universes where things can happen. Yeah, there's something fun

(21:34):
about that. But sure there is a couple there are
a couple of scenes that are really hard to take
in twenty twenty five. But for the most part, I'm
still like sort of charmed by it. And I sure
maybe you feel a little guilty about that.

Speaker 2 (21:48):
But you know, you have to look at things through, uh,
you know, a certain lens when we're looking at art
from the past, you know. And no one would have
fault you for enjoying a movie like that, but I would.

Speaker 1 (22:02):
Of your take. By the way, you should watch it.

Speaker 2 (22:05):
Nineteen eighty five's Weird Science. I gotta yeah, I gotta
check it out. You know, it's funny the t There's
a TV show, Weird Science that I would watch sometimes,
and I had five seasons.

Speaker 1 (22:16):
Five seasons, my god.

Speaker 2 (22:19):
They always advertised in the back of my comic books,
and I'd be like, Ooh, what's this horny show?

Speaker 1 (22:23):
Was it like a USA?

Speaker 2 (22:25):
Yeah? I think that's right, of course, my turn.

Speaker 1 (22:27):
Yeah.

Speaker 2 (22:29):
I watched one movie in addition to my homework. I
didn't talk about this last time today. Final Destination Bloodlines
no from this year, twenty twenty five, year of Our Lord?

Speaker 3 (22:40):
How was it?

Speaker 2 (22:40):
H This was incredible, incredible film. I think this is
maybe the best Final Destination. I thought it was done
so well. It's like very air tight, it's funny, it's
insanely violent, it's like so outrageous and it just flies by.
I thought it was incredible. Everyone should see this movie.

(23:02):
Take your children to this movie. It's so good.

Speaker 1 (23:05):
How long is it?

Speaker 2 (23:07):
It's an hour and fifty minutes, So that's a little long.
That's a little long for horror, but I know, but
it hugs along. And guess what Filipino representation get out
of here?

Speaker 1 (23:17):
In what way?

Speaker 2 (23:18):
Make characters Filipino get out? Who is it? Her name
is Caitlin Santa Juana. She's yeah, I mean she's Canadian,
but she's a Filipino descent.

Speaker 1 (23:30):
Fantastic. You know when you're in a hurry to google
something and you just destroy the spelling of it. Huh
I put it it looks like a Russian word. Finally,
death Sta Matilo.

Speaker 2 (23:49):
It's like, do you have any elderly relatives that you
get emails from and you're like, when did you stop
learning how to spell? Does that ever happen to you?

Speaker 1 (23:57):
I'm putting it in the chat just because it looks
oh fucking stupid. It's like, I'm going to hurry to
find this out.

Speaker 2 (24:05):
There's no time.

Speaker 1 (24:07):
Uh.

Speaker 2 (24:08):
Anyways, check this out. Incredible film. Oh yeah, incredible. It
was so fun fantastic.

Speaker 1 (24:13):
You know, I had every intention of seeing it. Then
I sort of slept, honest.

Speaker 2 (24:17):
Slept on it. I think it's on HBO Max now
with all of the Final Destination movies and I and
I admittedly haven't seen all of them. But it was good.
All right, Millie, moving on to a main discussion, Close
it up, Close it up? All right, welcome back. It

(24:51):
is time for a main discussion, and today we're talking
about I mean, I give this movie five stars on letterbox.

Speaker 1 (24:58):
I think I did too. If it wasn't a or Actually,
I gotta tell you, I might have given it my
actual five stars, which is four and a half.

Speaker 2 (25:07):
Does that makes sense, Yeah, that makes sense. That makes sense.
Jackass number two from two thousand and six. You know,
there's not really a synopsis to this, you know, it's
an extension of the Jackass TV show and the first movie.
There's a bunch of stunts, violent stunts and outrageous pranks.

(25:29):
And what would you describe what they're doing in these movies?

Speaker 1 (25:33):
How would you describe, Well, this is something I wanted
to talk about. In fact, I feel like this is
a modern example of a mondo movie. Would you say, perhaps.

Speaker 2 (25:48):
Yeah, okay, yeah, I would say so. I'm not totally
familiar with mondo movies. I know, like, what is it
Faces of Death?

Speaker 1 (25:59):
Sure, yep, that's a good example. So that's a good
documentary documentary. Mondo Kane, which is pretty much where I
think the term comes from, which is a sixties Italian
movie that was kind of like so just a really
really really short brief history of a mando movie. First

(26:22):
of all, I feel like they the term mondo and
like the kind of genre has kind of fallen out
of fashion in that classic sense. There's kind of a
classic mondo period. There's actually probably two classic Mondo periods,
one in the sixties and one in the eighties. But
basically they were these attempts at making documentaries that were

(26:45):
supposed to kind of give you a peek into some
kind of world that's very like Lurid and taboo when salacious.
So it was like the original Mondo Kane and Kane
is spelled c E la Caine and it's basically Italian
for a dog's world or a dog's eye view of
the world or something like that. But it was essentially

(27:08):
like a collection of sequences of like, you know, just
weird things. And these are for people who didn't get
to travel the world and didn't see like indigenous cultures
and like you know, different outfits and different like religious
rights and stuff like that. So it was kind of

(27:28):
taking advantage of people who were like not well traveled
and not really you know, either couldn't be interested or
didn't have the means to be interested in the world, right, Yeah,
And it was meant to shock and titilate in awe.
That was the whole point. Over the years and the sixties,

(27:50):
they started getting a little bit more, I don't know,
they up the stakes a little bit. A lot of
them started being made in America, and it would focus
on place like Hollywood of course, or like New York City,
places where if you were living in like Minnesota and
you didn't go to New York, you'd be like.

Speaker 2 (28:07):
Oh my God, New York so crazy. Look at all
these crazy things that happened there.

Speaker 1 (28:12):
So it was kind of a peek into these like again,
these kind of like taboo salacious worlds. Then in the
eighties you get kind of a resurgence of them, probably
because of home video, but that's where you come in
with the faces of death and the traces of death
in the faces of gore and the whatever, these kind

(28:33):
of like fake death sequency things like, because that was
the other part of it too, was a lot of
times these Mando movies were being staged. They were not real,
I see, right, So it was like, as much as
it was kind of scary to be like, oh my god,
I feel like I'm watching a snuff movie or something,
you're like, no, these are like people recreating or faking

(28:55):
things like this, right.

Speaker 2 (28:57):
But that's different than Jackass, I would say, because the
relationship the viewer has with the Jackass boys is very direct.
They're speaking to you, the audience member, yes, and it's
all real.

Speaker 1 (29:13):
Yeah, I think that, Like, that's what is interesting, and
this is why I call it Monto in that way,
which is that basically they're they're making a documentary or
they're at least, you know, hobbling together scenes of realness,
right that is hard to watch is taboo if you

(29:37):
think about it, it will get We'll probably get to
that later with like the nudity and all this stuff.
But it's also like a peek into the world of
these kind of like skater guys essentially, and that's really
where I came in to the Jackass world was through
like skate videos. I don't know if that was your
way experience.

Speaker 2 (29:57):
I had heard of Cky cam Kill Yourself, which was
like Bam Margera's crew in Philadelphia. Yeah, putting these like
they were like there was more like skate videos and
there was like stunt stuff. I can't even really remember them.
But there was also like music videos because I think
Jess BAM's brother was a musician and there was a

(30:19):
band Cky and everything. But I mean, how I discovered
Jackass was watching MTV at one in the morning when
I was thirteen years old. Yeah, you know, and it
really rocked my word. I was obsessed with the show
Jackass when it came out. It felt like something so

(30:40):
new and exciting and thrilling, and you would just watch
one after another because it was just sort of like NonStop.
You know, there's no narrative to these things. It's just
these crazy stunts or it's just kind of like funny
things they do. You know, it's a vibe. It's a
very specific vibe, and that's kind of.

Speaker 1 (31:00):
How I think of it too, because I do think that,
Like I remember seeing one of the Ky videos, I
think it was called Ky two K, and it was
a lot of like, yeah, BAM's Crew with Brandon decamillios
on his name self, Yeah, Rob himself, Ryan Dunn, all
these folks, and it was like, yeah, a combination of

(31:21):
skate tricks then kind of like it almost seems like
b roll or behind the scenes footage of them just
like fucking around and like pulling pranks on each other,
and they were just kind of these comp videos of
like hanging out with skater dudes, which at the time
that was my main interest being in high school in
the nineties. I was like, yeah, I want to hang
out with guys like this. I think they were funny

(31:42):
and weird and that kind of stuff. So when Jackass,
when I did see Jackass on MTV, I thought, oh
my god, like these are basically these skate videos, except
now it's a TV show. Yeah, and they kind of
added you know, kind of the other like other crews
to it. So there was that original kind of Cky crew,
but then there was like the Steve O and Chris
Pawnee stuff, and then Johnny.

Speaker 2 (32:02):
And I came from Yeah, it came from Big Brother
Skate Magazine, and Jeff Tremaine and Johnny Knoxville and Spike
Jones kind of all met up. And because Johnny Knoxville
was pitching around kind of a Hunters Hunter S Thompson
kind of style of a series of articles he wanted

(32:23):
to do where he like had weapons tested on him,
you know, like tasers and rubber bullets, and he even
got shot with a gun with like a bulletproof vestante.
And so he was kind of shopping that around and
he came in contact with Jeff Tremaine, who is that
Big Brother Skate magazine, and they sort of did that.
And then Steve O was in Florida like the circus performer,

(32:45):
and he was trying to submit stuff to Big Brother Magazine.
And then so there was like that crew and then
the Cky crew and they kind of came together to
do Jackass, like all together. It was kind of like
these two separate crews were kind of doing a similar thing,
So that was sort of the impotent the origin behind it.

Speaker 1 (33:03):
Yeah, well, I and to be completely honest with you, like,
you know, despite the fact that I had already sort
of liked watching you know, like Edgelord's skate videos and
other people doing pranks, and I was a huge fan
of Mando movies. Like I said before, I do. I

(33:24):
do actually still to this day, believe this that there
was there was something that was happening with like the
Jackass Show and then the subsequent movies that I feel
like had this Maybe it was an unintended effect, which

(33:44):
is that it was like a way for people to
see male bonding in a way that I don't think
i'd ever seen before.

Speaker 2 (33:52):
Necessarily, Yes, I think it is a revolutionary representation of
like vulnerable masculinity. Yeah, and like friendship, because there's a
lot of them where like they'll be like I'm scared.
Fuck this, I'm not doing this, Like they're they're really
scared and they're showing all that on the show. It's

(34:14):
not just the stunt. It's also like you know, in
Jackass Number two, Dave England watches these rubber bullets like
destroy a mannequin, and he and they're like, okay, you
guys are up next, and he's like, I'm like, I'm
having an anxiety attack. I'm not gonna I CA. I
can't do that. But also they do get hurt, and

(34:34):
then they they're like, I'm in pain, I'm hurt. You know,
they're not tough guys either, you know, and I don't know.
I just I feel like you don't see that. You
don't see that type of masculinity on screen. It's either
like tough guys who get hurt but like power through,
or it's like super weepy, sensitive poet guys, but never

(34:57):
this kind of in between dufis who is like, you know,
showing his emotions on screen as he's getting you know,
kicked in the nuts or whatever, right, And that's.

Speaker 1 (35:07):
They think kind of what I what I always think
about when I think about like nineties skaters and sort
of the worlds that I traversed when I was in
high school with like knowing skater guys and kind of
being obsessed with skater guys. I've talked about this with
Danielle on our old podcast ad nauseum because she was

(35:27):
also she actually skated. I was simply a poser. I
just wanted to like hang out with skaters, but she
she actually skated. A little bit was that they were
they were like athletes that weren't real athletes in that
traditional masculine sense, right, So it's like, yeah, they were athletic,
they could skate, they were you know, they had body

(35:50):
confidence and they knew how to like you know, keep
themselves on a skateboard. But they were also like not macho,
and they were.

Speaker 2 (35:57):
Just like there's a real lack of match show yeah
in this Yeah, and they're like they were, They're all
about you know, like not being too proud to fail
and fall and break bones.

Speaker 1 (36:10):
And you know be scared of you know, putting beer
funnels in their asses and things like that. I mean,
it's like totally normal stuff, which which humanizes men to me,
which is what I needed so badly as a young woman,
was that I needed to feel like guys were like
normal and nice. So I don't know, watching Jackass was
kind of like that for me, where I was like, oh,

(36:31):
it's like a peak into again. I use the word
peak because I was using it talking about Mamda movies,
but like there was a peak into this world of
guys who were like also super confident with like being
naked around each other and like touching each other's bodies,
which I've never seen before. Like I was like, oh,
don't I don't watch guys like you know, basically hold

(36:52):
guys's balls.

Speaker 2 (36:54):
To things and stuff and like there's no which would
have been very there's know, like gay jokes like like
you're gay, you know. It's like there's there's not a
whiff of that to be seen. Yeah, and it's refreshing,
it is.

Speaker 1 (37:11):
And that's that's like the one thing that I will
always defend is that I do think it is like
it is that exactly the thing that you mentioned. Although
it's funny now because I actually asked a friend of
mine to watch Jackass two with me, Like I was like, oh,
sh you know, hey, I gotta watch Jackass two again
for the podcast what you want to watch? And he's

(37:32):
like hell no. He was like, this is like the
reason why all these like stupid TikTok bros. Exist. And
I was just like, huh, maybe.

Speaker 2 (37:42):
I mean that's really interesting because I was thinking about
gen Z. Yeah, and I was like gen Z could
never Yeah, because I feel like there's a real lack
of control. They give up complete control in Jackass, Like
they set things in motion, but they don't know what's
going to happen. That's kind of the beauty of it, right,

(38:03):
you know. Like for example, one of the kind of
a famous image is Johnny Knoxville putting on a blindfold
and lighting a cigarette as they unleash a bull at him.
Who knows what's going to happen. He gets flipped like perfectly.
But like I feel like TikTok is so manicured and
they're in such control of their image and the outcome

(38:25):
that I feel like they're completely different, because when you
don't know what's going to happen, you are completely vulnerable
to how you are represented, you know what I mean?

Speaker 1 (38:37):
Yeah, Yeah, it makes me wonder because it feels like
Jackass sort of existed in a pre social media era almost,
even though I know that's not entirely true, but at
least the show and the first couple of movies existed
pre TikTok for sure, and pre Instagram stories or whatever,
So it is like this contained universe of like, oh,

(38:58):
these are like these are like real reactions and real
things happening. I mean, it's a it's a documentary. We're
probably seeing the best of the best, you know, and
not every single take, but we're also like seeing things
that are real and having people having real reactions. And
you're right, it isn't this like manicured thing. Although I
want to say this, this is this was like part

(39:19):
of the reason why I think I was compelled to
do number two Jackass too. I don't know if you've
seen how long has it been since you've seen the
first Jackass.

Speaker 2 (39:31):
Probably three years. It's somewhat reason.

Speaker 1 (39:34):
Yeah, the one thing that really stock out to me
between one and two is that the production value got.

Speaker 2 (39:39):
Upped a lot in two.

Speaker 1 (39:41):
The first Jackass movie was pretty much like the show.
It was still really rough around the edges. It felt
kind of like very you know, digital video, a lot
of like, you know, there was no I mean, there
was an opening sequence, but it wasn't. I just felt
like the production value went up significantly, probably because the

(40:04):
first one was so popular that they got more money
to do the second one, of course, and so the
second one feels like a more fully formed piece.

Speaker 2 (40:13):
Than the first one.

Speaker 1 (40:15):
And I will say my favorite. The reason why Jackass
two is my favorite is because of the end of
Jackass two, which is a total nod to Buzzby Berkeley. Yes,
that is my favorite shit in the world. Is that
whole ending sequence of Jackass two with like the cevo
as Esther Williams and then the like you know, fifties

(40:38):
like technicolor Western musicals and like the crazy stage stuff.
I mean, I just loved that shit.

Speaker 2 (40:46):
I think too, like just to go back to like
sort of like TikTok Stars and how different Jackasses from
those people. Yeah, they are so committed to doing the
dance and the singing, right, Yeah, like it's what makes
it funny, you know, but they are there's no kind
of like wink at the camera, like isn't this funny

(41:08):
that I'm doing this? It's like, no, they're trying to
do it. Obviously, it's funny that they're doing like attempting
to do a Busby Berkeley ending, right, But there's no
they have they're both feed in. They don't have one
foot out the door, you know, Like they're just they're
very committed to it in a sincere way, which I
think we don't see anymore.

Speaker 1 (41:30):
Yeah, I feel part of it. Hopefully this isn't going
to get too intellectual, psychological or something, but like part
of it is that I feel like those Jackass guys
have reference for things like that.

Speaker 2 (41:45):
That's true.

Speaker 1 (41:45):
I've read many articles with Johnny Knoxville and with you know,
some of the creators of Jackass and some of the
Jackass guys talking about how they loved Looney Tunes cartoons,
and they loved the old Tom Jerry cartoons and Bugs
Bunny and like all of those like road Runner, you know,
cartoons where the antics are so violent and so funny

(42:11):
that they just wanted to be like real life versions
of that. They were like, Oh, we want to drop
anvils on people's heads and doorways, and we want to.

Speaker 2 (42:18):
Like, you know, God, have a giant hand come from
a wall and slap somebody down. That's the first one,
I guess.

Speaker 1 (42:26):
But that's the third one.

Speaker 3 (42:27):
I think.

Speaker 2 (42:28):
Is that the third one, yes.

Speaker 1 (42:29):
Because that shit is fucking so funny When I rewatched it,
it is definitely I think the third one where they
had one of the guys brig in like all this
soup like for something, you know, they wanted to basically
hit him with his giant hand.

Speaker 2 (42:47):
Yeah, and it's like high five and this hand just
comes out of nowhere and like, oh, it's fans cartoon.

Speaker 1 (42:53):
It's fantastic. It's like that is the essence of what
of jack ask to me is like that cartoonishly stupid stuff.
And also, I mean, even though this makes me gag
when they do like models, like models of things and
then like it's something disgusting involving models, like either someone's
poop or someone.

Speaker 2 (43:13):
Yeah, they have like a miniature, they have a little
diorama and you're like, oh, this is cute, and then
a giant piece of shit from someone's butt falls onto
the diorama and it's funny.

Speaker 1 (43:23):
Or it's like a it's like a puppet in a plane,
it's actually someone's dick or whatever. You're like, oh my god.
But those That's what I mean is like those jackass
guys loved old entertainment. They loved old cartoons, they loved
old movies, they loved like the old show biz stuff,
and it shows in these jackass movies. Whereas I feel like, sorry,

(43:46):
I hate to call you out, gen Z, but like
when I watch a TikTok, there's no like.

Speaker 2 (43:51):
There's no cinematic reference.

Speaker 1 (43:53):
There's no reference, there's no antics though, there's no anything.
It's just basically you guys like pulling up at you know,
wherever and like filming things. I don't know. To me,
I just feel like maybe it's because I'm older and
I get those references that the Jackass movies are funnier
to me, Like.

Speaker 2 (44:10):
Oh, I mean, I don't know if I've laughed harder
at a movie ever, to be honest.

Speaker 1 (44:15):
Yeah, my favorite is when they dress in costumes, Like
when they dress in a costume based on the stunt
that they're doing, you know, that really cracks me up.
Any kind of old school Tom and Jerry scenario is
my favorite.

Speaker 2 (44:30):
Yeah, I mean I love the like this is kind
of a classic. But this is like obviously based on Lunatus,
Johnny Knoxville on a rocket. What would happen if we
put Johnny Knoxville on a rocket? And it's like, holy shit,
that's what would happen. Yeah.

Speaker 1 (44:44):
Yeah, Well, I now I have to ask. Yes, I
know this is like a very difficult proposal, but I'm
gonna ask anyway, what is your ranking of.

Speaker 2 (44:57):
You know, it's hard because I kind of have tears.
Can I do it that way? I'll rank him well.
I feel like the top tiered guys obviously are Johnny Knoxville,
Bam Margera, Steve O, and I'd throw Chris Pontius into
that top. Uh. If I had to rank those guys,

(45:20):
I would say John Knoxville is number one. I think
he's an American hero, He's the last great showman. Of course,
I would put Bammargera number two. He's kind of the
lead guitar, lead act. I feel like Johnny Knoxville is
like kind of the architect of the whole show in
some ways, but like Bammar Jerra is like he brings

(45:41):
kind of a cool, hip leading man quality to the
the show.

Speaker 1 (45:46):
Yeah, I hear you.

Speaker 2 (45:48):
And then Steve O is just a wild man. I'd
probably put Steve. When I put Steve O number two,
it's hard. This is hard.

Speaker 1 (45:55):
I told you it's hard.

Speaker 2 (45:57):
I'll put Steve O number three for now, Chris Pontius
number four, and then after that I would go we Man.
I like we Man, though, but I would go we Man,
Ryan Dunn, Dave England, Preston Lacy, and then Danger. Aaron
is probably my least favorite, so what about you, what's
your ranking?

Speaker 1 (46:17):
I'm with you that number one with a bullet with
a rocket in fact, is Johnny Knoxville.

Speaker 2 (46:22):
I want to talk more about him after this, but.

Speaker 1 (46:24):
Of course, I mean I have a lot to say.
He used to live in my neighborhood. When I look
at that, and I saw him so many times, so
many times. And also he's like a Tennessee guy. Yeah,
dangerously attractive. There's so many reasons to like Johnny Knoxville.

Speaker 2 (46:42):
Here's one thing I don't know if we've exactly touched upon.
I think all these guys are pretty hot, Like they're
all really cute.

Speaker 1 (46:48):
Oh they're cute. What we wouldn't follow the boy band
if the boy band didn't work.

Speaker 2 (46:52):
It's exactly right, Okay, Johnny.

Speaker 1 (46:55):
Knoxville is definitely number one, And I think the reason
why is because you're right. He is a showman. He
kind of has the pomp and circumstance of like doing
the old stunts, Like he kind of presents it in
a way that's like he's like an old Carnival barker.

Speaker 2 (47:10):
I love it. I love it well. And I think
his steady hand, he never shows fear. Now, he's the
only one that's not like I don't want to do this.
You never see him like that. He's he's very much
a showman in the way that it's like no, I said,
I'm doing this, and we're doing it. Yeah, there's no

(47:32):
going back. He's like Evil Canevel in that way, like, yeah,
once he's decided to do it, it's happening.

Speaker 3 (47:38):
You know.

Speaker 1 (47:39):
And he kind of has he kind of has this
older brother quality to him that I really appreciate.

Speaker 2 (47:44):
But in number two, I feel like, especially there's a
lot of times where the guys you'll hear them be
like Noxill's insane, or they'll be like really afraid, like
that bull scene where they're on the teeter totter. Yeah,
they show the guys like legitimately frightened for the guys
in the bowl, yeah, you know, and they're like you

(48:05):
can tell Steve O is like disturbed. Yeah, but it's
like Johnny Knoxville just doesn't he never quits.

Speaker 1 (48:13):
Yeah, I don't. I think it was the second one
where they flip the golf cart.

Speaker 2 (48:17):
No, that's not that's not number two. That might be
number one.

Speaker 1 (48:20):
I think it's number one. That was terrifying, Like I
was like, I mean, golf carts kill guys. That's why
you don't race around in them. I'll just keep it
they do. But it's there was a thing in number
one where it looks pretty pretty hairy for Johnny Knoxville.
But I love him the most, and I like not
just because he was at a John Waters movie and

(48:41):
he's just generally like he feels like a guy that
I would know from sure the South, Like he's just
kind of like a diminutive, skinny, like weird guy that
also loves weird things.

Speaker 2 (48:54):
I don't know.

Speaker 1 (48:54):
He just reminds me of home, I suppose. But anyway.
My second is Chris Pontius, and I get it, yes,
because I feel like there's a sensitivity to Chris Ponnius,
like a kind of I don't know if it's a
dandy quality to him, but uh.

Speaker 2 (49:11):
His stunts he was never like to me, even though
the first stunt of the movie is his dick getting
bit by a snake.

Speaker 1 (49:21):
Yeah.

Speaker 2 (49:22):
I always felt like his stunts on the show were
like him dressed as the Devil going down the street
being like keep is it Keep God out of California
or something like that. Or he would go into a
best buy and start playing music and start stripping like
that was. He was always getting naked and his were
more His were less based off like physical pain than

(49:45):
the other guys.

Speaker 1 (49:46):
He was very okay with being like a lepperprint thong.
He kind of reminds me of David Lee Roth a
little bit. He's a little zesty. I think that's why
I like him.

Speaker 2 (49:54):
Yeah, he's a little zestyle. I've actually seen him act
in stuff more than any of the other guys.

Speaker 1 (50:01):
Yeah. From there, I'm kind of like I used to think,
not gonna lie. I used to get freaked out by
Steve O back in the day, and I think it's
just because he was just so fucking crazy, Like when
he put the fish hook through his mouth.

Speaker 2 (50:16):
I think this is almost too much, too much, man,
I was like, and he goes into a different level
where I'm like, you're oh, you're like actually like self mutilating. Yeah.

Speaker 1 (50:27):
Yeah, but he's kind of around still, right. He does
like things on social media.

Speaker 2 (50:32):
He's like completely sober and like he's in a good spot.

Speaker 3 (50:36):
See.

Speaker 1 (50:37):
I think that's what I like about him now, is
that he's kind of like, yeah, he's sober. He's kind
of like assessing his life a little bit. But honestly,
it's it's kind of a tie between him and I.
I have to say, rip, Ryan's done. But Ryan's done
in the old Jackass shows, but in the movies was
always the biggest grump.

Speaker 2 (50:56):
He's a big grump. I feel like he's a little
bit more prom it in the first one then he
was in number two.

Speaker 1 (51:03):
Yeah, And I have read a little bit about sort
of like the timeline of the hole, like him and
Bammar Jera and the kind of falling out of things,
you know, they all kind of split up or whatever.

Speaker 2 (51:16):
But yeah, I believe Ryan Dunn didn't talk to any
of them for two years between number two and number three.

Speaker 1 (51:22):
Wow, yeah, yeah, yeah, it makes sense.

Speaker 2 (51:25):
But I I always love the kind of reluctant like grump,
the guy that's like, I can't fucking believe we're doing
this shit, just so fucking and say, like I think
it was the first one that got put in a barrel.
Ryan done got putting a barrel and pushed over the
waterfall and he's just complaining about the hole.

Speaker 1 (51:42):
He's gotta be that guy, you know, And he very
rarely like takes his clothes off which I really appreciate.
I love that guy too that doesn't like, isn't quick
quick to be in the underwear?

Speaker 2 (51:52):
Yeah, the anti Zach Graf.

Speaker 1 (51:56):
The guy's a little bit more, you know, reserved about
showing skin. I appreciate that.

Speaker 2 (52:01):
And then I don't know.

Speaker 1 (52:01):
From there, I do like, I like, I like we
man and pressed in together. I think that they're like
a good like that they're good pairing, and I know
why they pair them together, but I actually think that
they're like funny together. And then I don't know, I
think danger Aaron and Dave. God, they just get the

(52:22):
ass end of every fuck they do.

Speaker 2 (52:24):
I do feel kind of like bad for them. They
get like the shittiest ones.

Speaker 1 (52:29):
Oh my God, like the wor they get the worst
of the worst, and they always have teeth missing, and
they always look like they're they've been knocked unconscious and revived.
I don't know, those poor guys.

Speaker 2 (52:41):
So and then bam, is your Wow is least favorite?

Speaker 1 (52:45):
Yeah?

Speaker 2 (52:46):
I think so Wow.

Speaker 1 (52:48):
I don't know, I don't There was kind of an
energy for a while where you felt like he was
kind of like, I don't know, just kind of like
too bratty perhaps, and then like, although I do love
his parents, but there was even in those moments where
I felt like he was like, Okay, he breaks his parents,
we get that, but he was actually like too bratty
about it. I don't know, I'm kind of like, yeah,

(53:09):
I mean, I guess your parents aren't getting paid to
do all this stuff.

Speaker 2 (53:12):
But like, I mean, Van Bargerr is an interesting person
in the history of Jackass because he's really on the
outs with them now and he is really struggling with
like addiction. Yeah, and it's sad because I think a
lot of them and then like Ryan Dunn died in
I want to say, twenty eleven. Yeah, yeah, Ryan Dunn

(53:32):
died in twenty eleven at the age of thirty four,
which does kind of cast a shadow over everything. And
he was struggling with addiction and he was drunk driving
and he died. Yeah, and it's hot. You know, that
does make it all. You know, you're always worried one

(53:54):
of these guys is going to get killed, you know,
doing it. But then it does sort of make you
view the whole thing from a little bit of a
different point of view, you know.

Speaker 1 (54:06):
Yeah, I mean these guys were like skater dudes. I
mean they you know, they weren't like you know, from
the Ivy League acting schools like they were you know,
like kind of like street kids, like hanging out and
pulling pranks. It's not, you know, that far of a
stretch to imagine that maybe something bad happened to them sometime,

(54:26):
you know, it's unfortunate. But yeah, I think that's that's
the interesting about this whole. They feel like, to me,
pretty authentically punk in that way, whereas I feel like,
I don't know, what's the comp is it the try guys?
Like what are we comping now?

Speaker 2 (54:46):
Like what are we try guys? The buzzer you try
guys over even attempting to be punk.

Speaker 1 (54:54):
No, of course, what I'm saying is like, what's this
like modern iteration of like this thing of like here's
a group of guys, or here's a group of people
that are gonna do something wild or do something like weird.

Speaker 2 (55:05):
They're gonna be like you're that's the thing. It is
like TikTok or like streamers on twitch, you know, Kai
Sinnat or Drew Ski, but it's so less dangerous or
trying to do something, you know. I I think there's

(55:31):
a real lack of punk rock going on right now.

Speaker 1 (55:35):
And.

Speaker 2 (55:37):
I can't imagine gen Z doing something as beautiful as Jackass.

Speaker 1 (55:45):
Yeah, I think the punk is the entire factor to
this whole conversation is punk rock and coming from you
know that world, which I like, I said, I can't
even believe I said try guys as in the same sentence. Really,
And this is me saying that having seen only like

(56:07):
one episode of this try Guys thing. But I know
people that are into it.

Speaker 2 (56:13):
But it's just everything is so soft and predictable now
it makes me so sad. I just watched this TikTok
or I guess it was a video from the poet
and author Ocean Vang. Yes, do you know this person?

Speaker 1 (56:33):
Of course I do.

Speaker 2 (56:36):
He was talking about his students. He's a college professor.
He's talking about his students and how so many of
them are like I want to be a poet, I
want to be a writer, but none of them are
doing it. Yeah, because they're terrified of looking cringe. They're
terrified of looking like they are trying too hard or

(56:57):
attempting to do something and failing. They don't want to
be cringe. Cringe is the worst thing possible. Yes, And
do you think the Jackass guys feared cringe? You know,
it's like so many young people are worried that they
won't look fully polished or someone will make fun of

(57:19):
them for being sincere. Because I think Jackass there's a
real sincerity to it. Yeah, you know, and gen Z
is afraid to look sincere lest they be cringe.

Speaker 1 (57:31):
Well, they have more eyeballs on their things. That's the
That's ultimately a huge too, is that you know, back
in the day when Jackass was conceived, it was like, oh,
you might have a video.

Speaker 3 (57:47):
Of you.

Speaker 1 (57:49):
Having, you know, to inhale some dude's farts in a
gas mask. That might be shown to other skaters. It
might be sold in like a skate shop. But that's
the extent of it. There really wasn't anything. There were
like little to no stakes, even in the context of

(58:10):
a television show. I mean that Jackass TV show was
so fucking popular it was probably beamed into like one
hundred million homes, like you know, the sixty eight Comeback
special from Elvis or some shit. But it's at the
same time, like there is no the quality of the Internet,

(58:30):
which is that things are mimified and preserved forever and
ever and ever and remixed and sent to people's phones
in their homes. It's like that quality of it, I
think is what might explain why the Jackass guys went
harder than any of these TikTokers. But at the same time,
like those Jackass guys are punk rock and that doesn't

(58:53):
seem like a thing anymore.

Speaker 2 (58:54):
It's really fun ethos that I don't feel like these
streamers have.

Speaker 1 (58:58):
Yeah, well it's funny you say that ocean wong thing,
because there's also this other tick going around on TikTok
of Matt Rogers from The Lost Cultures's podcast, Yes, also
dogging out gen Z for being like obsessed with cringe
and calling millennials like losers because they're cringe. I don't know,

(59:21):
you should look it up, but basically.

Speaker 2 (59:22):
You should look it up. I'm sure I agree. I
always agree with Matt Rogers generally.

Speaker 1 (59:26):
Yeah, he's basically like, y'all are making fun of us
for being earnest and cringe and stupid. But guess what,
you will also be stupid when you get old. Like
every day you live is more time for your style
and everything that you hold true to phase out and

(59:46):
become cringed, do you know what I mean, Like, there's
always a generation coming after you that's gonna think you're
a loser.

Speaker 2 (59:52):
So like lighting up type thing. But I do think that,
like gen Z, is it really inhibited creatively because the
creative act inherently there is a point where you depart
from something you can control. Sure, like you are putting
something out there into the world and you honestly don't

(01:00:14):
know how people are going to react and it might
be embarrassing. Yeah, but that is inherent to the creative process.
And so if you're not willing to take that leap,
there will be no You will not create anything.

Speaker 1 (01:00:30):
Yeah, So that's like the foundation of this podcast.

Speaker 2 (01:00:35):
Well we are cringe, but we are free.

Speaker 1 (01:00:36):
That's I mean, like, if you sat around caring, you
just would be completely catatonic from fear and anxiety of
the perception of what you're doing or you or your
ideas or whatever. I actually am surprised that Jackass two
has brought us to this point where we're talking about

(01:00:59):
creative inspirations. That's an unintended consequence of watching Jackass too,
but I love it.

Speaker 2 (01:01:08):
Well. I think that Jackass as a form is so creative,
Like I was so inspired watching this, and it's so
like there's so much thought that goes into these bits. Yeah,
and I think it's cool when they just like show

(01:01:30):
one that's like five seconds long and clearly took a
huge setting. Like there's like a scene where they're in
BAM's house and they set up a ski hill on
their steps, but we only see it for like ten seconds. Yeah,
you know, yeah, which makes I don't really have a
point to that. I just I'm I'm I was just
so inspired watching this, and I was just like the
form of Jackass as a film is so interesting and unique,

(01:01:55):
and I just really enjoyed watching Yeah, it's it's this movie.

Speaker 1 (01:02:00):
It really to me. This is why I think two.
I mean, there has been times where a sequel has
been a better movie than the first and the subsequent
Once Pee, a lot of people think The Night Around
Mstreet two is the best Night around Elms Street, as
well as other movies other properties The Godfather Too, Evil

(01:02:23):
Dead two Exactly what I think two is the best,
perhaps out of all of them, is because it is
it is a perfect step up from the first one,
which was very raw and like the TV show and
kind of still pretty low fi, but it's not like

(01:02:47):
like once you jump to Jackass three D. By the way,
Jackass three D is great too. They're all great. I
literally have seen every Jackass movie in a movie theater.
They I go opening weekend. I'm obsessed. I love the
Jackass movies, and if they make Jackass twenty seven, I'm
gonna go. I don't care if I'm ninety years old,

(01:03:08):
I don't care if I'm Spike Jones and the bad
Grandma Boobs costume. I'm going to see the new Jackass movie.
But I feel like Jackass three D got leveled up,
like you could really tell that they were like, oh,
we have like Hollywood money now because they all have tans.
That was the first thing I noticed. And Jackass three D.

(01:03:30):
I was like, oh, these guys will have tans. They're
not like pasty white with like bad skater tattoos. They're
all like tan buff Johnny Knoxville talks out. At one point,
he talks about working out. He's like, oh, yeah, I
do squats now, and shit, I'm like, damn, these guys.
They made it baby, which is fine.

Speaker 2 (01:03:48):
They and it.

Speaker 1 (01:03:48):
As the movies go on, that like the they keep
the pranks fresh, which is why they can continue to
do this shit for the rest of their lives if
they wanted to. But it is this, I think, who
is this perfect encapsulation of like the best they can be.
It's like, yeah, a little bit more money than shooting
things on camcorders, but not like gobsmackingly huge amounts of money.

(01:04:15):
Does that make sense?

Speaker 2 (01:04:16):
It's still raw, still still got, it's leveled up more.

Speaker 1 (01:04:20):
Yeah, but and also to me that you just can't
beat the Buzzbee Berkeley ending and even the beginning, Like
the end caps of the movies are always like these
big production numbers and they're so.

Speaker 2 (01:04:32):
Funny, like did you have a favorite stunt? In number two?

Speaker 1 (01:04:37):
Oh my Jesus Christ. Where so this is one of
the ones that involves ban Margera's mom and dad, but
the one where they dress pressed it up like Phil
and they sneak.

Speaker 2 (01:04:53):
Into risingly similar bodies.

Speaker 1 (01:04:56):
Yes, but the mom like that holds the the old
sequence where she's like, God, get off of me, like
what is your problem? And then she like this is
all in the dark, and then she like reaches back,
she's like, what like Phil realizing in the dark that
it's not her husband. And then just like the moment
of her like flipping the fuck out that it was

(01:05:18):
like some brand dude, she like falls on the floor.
I was like, God, but I hope they paid her
a shit tot of money to put up with.

Speaker 2 (01:05:27):
But then at the end she's smiling, which I was like, Okay,
so you are ban Margia's mom. Like there's at least
kind of like she knows that this was funny, you know, like.

Speaker 1 (01:05:39):
Yeah, is this the one is to the one with
the brand where he gets the brand on his.

Speaker 2 (01:05:44):
Ass that is fucked up?

Speaker 1 (01:05:46):
Oh my god. But she he like goes home. This
is what I mean about the brandiness. He's like, oh,
check out my ass. And she's just like, oh, you
had such a cute but why did you ruin it?
You know? And I was like, Oh, that's a mom.
That's as a mom.

Speaker 2 (01:06:00):
That's a mom. I never liked Viva Labam as much.
Either I wasn't as big on that or I honestly
I didn't like Wild Boys that much either. They just
felt there was something about like watching an episode of
Jackass was like entering a world, you know, and it
was a certain type and maybe it was that Spike Jones,
Jeff Tremaine touch that gave it sort of this energy

(01:06:24):
that you were like hanging out with these guys that
felt kind of like unpolished, but like, I don't know
it just you were submerged into this world in a
way that I didn't feel the same for Wild Boys
and viand.

Speaker 1 (01:06:37):
Listen you can't sometimes the band is too good in
the side projects. You respect, you respect them, but you're
not really is into them, you know what I'm saying.

Speaker 2 (01:06:47):
Oh, well, anything else you wanted to touch upon.

Speaker 1 (01:06:52):
I think it was great that we were able to
really chew a lot of a lot of meat.

Speaker 2 (01:06:58):
On this boat. Can I recommend something so I used
to produce I think I've recommended this podcast before. I
used to produce a podcast called Switchblade Sisters. Sure, And
we had the filmmaker and cinematographer Kirsten Johnson on the

(01:07:19):
show to talk about the documentary which is sort of
similar to Jackass, called Dick Johnson Is Dead and it's
about her dad going into the late stages of Alzheimer's
and they keep doing these like fake stunts where they
like fake his death and it is sort of like Jackass,

(01:07:40):
light sort of and it's very funny. But she was
on the podcast Switch Sisters to talk about how Jackass
inspired her Wow, and it is one. It's probably the
best episode of the podcast. She goes into depths of
like the vulnerability and masculinity of these Jackass boys, how

(01:08:02):
they're you know, their relationships with their bodies and how
they are communicating something with their bodies in these movies,
and how your relationship with your body as your ending,
you know, is your life is coming to an end
changes and Dick Johnson is dead sort of touches upon that.

(01:08:23):
So really great podcast conversation and episode and but yeah,
should check that out if anyone's interested in that. Cool.
Should we move on?

Speaker 1 (01:08:33):
Let's go Okay, everybody, we have an amazing guest for
this edition of My Area of Expertise. I would consider
him an old friend. I will say that I don't

(01:08:55):
know when the threshold for old friend and like friend is,
but we've been in these film streets for a long
time together and I'm just super thrilled that he's here
to give us his time talking about his area of expertise,
which is very fascinating, very specific as we like here

(01:09:16):
on Dear movies. I Love you, But our guest is
a freelance trans film critic, programmer, and researcher based in
upstate New York. He focuses on queer cinema and the
history of the trans film image, and his book that
he co wrote with his fellow film critic Willem McClay
came out last year. It's amazing. It's called Corpses, Fools

(01:09:39):
and Monsters, The History and Future of transnis in Cinema.
And I guarantee that this book is a classic already.
It's going to be taught in schools everywhere. I just
know it. But we're very, very very happy to have
our guests. Cayden Mark Gardner, Hello, Cayden.

Speaker 3 (01:09:58):
I knowly, Hi Casey, thank you for having me on.

Speaker 1 (01:10:02):
We have to get into this area of expertise, Corse,
because it's so again, so specific. It also feels so you.
And again I don't want to you know, it's not
because I know you. I just feel like it's you.

Speaker 3 (01:10:15):
But if you want and just to tease, it's tease
if you thought if we're talking about trans cinema and
I think my I stated in my area of expertise
on the surface doesn't sound anything like yeah, imp but
yes it's me.

Speaker 2 (01:10:35):
Well okay, so on tell everybody then, what your area
of expertise is.

Speaker 3 (01:10:42):
The nineteen fifties diner esthetic in both spirit and also period, Like,
I think I have a kind of ratitude, huge ratitude,
and what would be considered acceptable in this even though
it's a very specific thing, and I believe like my

(01:11:04):
kind of example is something that actually came from the
nineteen fifties, which is the Frank Tashlin film The Girl
Can't Help It.

Speaker 1 (01:11:11):
So walk us through a little bit about you. So
you're saying, the girl can't help it was kind of
the seed for this obsession? Or was there anything else?
Like were you a diner person? Like growing up, did
you go to diners a lot? Or you know, did
you like hang out in diners as a teenager? I
know I did, But I just was wondering if there
was something else that influenced this passion of yours.

Speaker 3 (01:11:35):
Well, the crucial part of my origin story that actually
in a sort of long game way, does connect to
the book and at least one movie, at least where
I went hung out at this nineteen fifties diner ish
place called Bruno's in Albany, New York, and wow, it doesn't.

(01:11:57):
It wasn't shaped like this sort of tin camp and
to bul a train car style of a nineteen fifties diner.
Inside it had everything. It had chrome, it had chrome accent,
It had a checkerboard, it had a checkerboard floor, It
had jukeboxes at the tables, at the seatings, and it

(01:12:23):
also had a lot of nineteen fifties kitchen memorabilia all
over the place. And I remember locking eyes with one
particular piece of memorabilia, which was the James Dean poster
from Giant, and I remember that was kind of the
anatomy of my obsession with James Dean, which then later

(01:12:45):
led me down the rabbit hole of one of the
movies featured in the book, Come Back through the Five
and Dime Jimmy Dean Jimmy Dean, which itself is about
sort of nostalgia and memorabilia tied to Jamesteen. That's all
over that movie, But the girl can't help it kind
of for me, even though it takes place exactly at

(01:13:07):
that time, sort of has this sort of relationship of
being this sort of jukebox musical review which even though
it doesn't have Elvis because Elvis was just breaking as
that movie was happening. It does feature all the players
at the time, and that can include both the rock
such as Eddie Cochrane in the movie Little Richard of

(01:13:29):
course his song the Girl Can Help It is the
title of the movie, but also torch song singers like
Julie London and do wop performers like the Platters, who
are completely iconic to me. And yeah, I have a
soft spot for that period as far as meet American pop,

(01:13:52):
particularly the Platters and the whole do wop kind of stuff.
I listened to a due op radio station regul and yeah,
I have an affinity for that, and I also obviously
have an affinity for a lot of the movies that
were coming out at that time. And I also found

(01:14:15):
Frank Tashlan to be a wonderful sort of character that
sort of had this relationship with both iconography and the
public reaction to that He's this is probably his best
known live action film, but he was obviously famously an
animator who did Mooney Tunes cartoons, and I think for

(01:14:37):
runner to The Girl Can Help It is his nineteen
forties cartoon called Swooner Krooner, which which kind of you
could almost say predicted the sort of hysteria around Elvis,
because it's about the hysteria regarding figures at that time,
be it sinaftra Bing, Crosby, cap Cowaway and how suggestive

(01:15:02):
and blue. A lot of the jokes are such as
the signs of the sort of hysteria and arousal from
seeing these cartoon characters, these cartoon crooners perform and stuff
has all these people laying eggs. Yeah, and it's and

(01:15:23):
it kind of makes me think of the girl can
help it with the famous milk shots of milk popping
and exploit and exploding. When Gene Mansfield walks.

Speaker 1 (01:15:35):
She's I mean suggestive much? Yeah, No, I it's so
funny because I what I was like, thinking about your
area of expertise. I was going, Okay, so we have
to make a line of demarcation, I feel like, because

(01:15:56):
you have the movies of the time period that are
featuring the diners of the time period, right, but then
you have this like hole, there's like this whole like
you know, proliferation of that esthetic that has persisted throughout
the years where it's almost kind of like a joke
at this point. Like I think about a movie like
Ghost World, for example, with Rowsville, and I'm like, it

(01:16:20):
became kind of this I don't know, this like symbol
of boomerness or something I don't know. And I thought
about like my friends's dads and stuff that were like
obsessed with you know, like they had these like basements
that were set up like fifties diner looking things, with
like the straw holder that pops out and the whole
Like yeah, just like like retrofitting an entire basement as

(01:16:45):
a fifties diner.

Speaker 2 (01:16:47):
It is interesting. I feel like there is like sub
after you know, the nineteen fifties and diner culture. It
now holds a place that's both ironic and sincere at
the same time. Yes, you it holds that boomer space,
but also, like ghost World, they keep going back to
that diner. It's a it's a safe place in a

(01:17:09):
lot of ways.

Speaker 1 (01:17:10):
You know. Well, so I wanted to ask, is there
besides the girl can help it, is there other movies
of this era that you would suggest people watch to
kind of get the vibe of the diner vibe if
you will. I mean, there is isn't there a great
diner scene in the Wild World. There's a diner diner

(01:17:32):
scenes in the Wild One.

Speaker 3 (01:17:33):
Oh yeah, he'd got he like Brando definitely has that
sort of playful kind of let's listen to music type
of moment there. I'm trying to think of others I
almost want to say and pay in place, because they're
mainly because again I think again, it's a move, it's

(01:17:56):
a it's a it's a it's a text that shook
everyone to their or when it came out first as
a book. And while the movie does shape off some
of the edge from the original book, it's still a
pretty good sort of look into sort of the dark undercurrents.

(01:18:16):
I would say David Lynch, his whole World an uber itself,
can be seen as a nineteen fifties diner aesthetic. And
when you mentioned it was so me like Willow often said,
we're both Lynchy and and the fact that she's into
the sort of industrial, gothic, fractured, feminine, fallen woman's side

(01:18:41):
of his work, while I'm definitely the nineteen fifties diner.

Speaker 1 (01:18:46):
Yes, I'm with you, I'm.

Speaker 2 (01:18:50):
Well, yeah, with David Lynch. How does that differentiate for you?
In terms of like the way he is presenting kind
of diner culture, because so many of his movies have
important scenes in diners. I mean, I think about Maulholland
Drive and Blue Velvet especially, But how is his interpretation

(01:19:12):
of diner culture different from one than Like The Girl
Can't Help It.

Speaker 3 (01:19:19):
Well, I think there's kind of a sort of simple
more sort of it seems simple on the surface, like
he likes the Lynch likes the ambience of drinking just
coffee and eating pie, whereas Tashlin is not really sort
of diving into the finer things in life, so to speak.

(01:19:41):
It is mostly to move platforward or just have a moment,
to have a joke or two for the central characters
in his work. But Lynch definitely wants to live in
that nineteen fifties diner aesthetic, or at least have his
characters sort of situate themselves in it, because it fascinates

(01:20:04):
him as kind of a place that can be feel
like it's lost in time in many ways. Whereas I
think I'm not. I think Tashling, while being very much
of it, of his time. I think by the nineteen
sixties when he was doing like doors Day pictures and
I love doors Day, So I'm not saying this at

(01:20:27):
saying this in a dismissive manner towards her. I think
he sort of felt like he was out of time.
And also the sort of Looney Tunes renaissance was also
kind of fading fading out by the nineteen sixties, so
he kind of he kind of becomes the person who
who becomes the sort of figure for nostalgists to to

(01:20:53):
obsess over, but not necessarily the one who builds those
worlds that hole nostalgia like Lynch does.

Speaker 1 (01:21:03):
Yeah, it's interesting because I do think that if you know,
if I really like scope out on it, and I
think about how many movies since the nineteen fifties have
kind of employed the fifties aesthetic of a diner in movies.
I mean, I'm think I think of.

Speaker 2 (01:21:21):
Michael Michael Diner, Michael Mann movies, you know, like Greece.

Speaker 1 (01:21:25):
I mean obviously stuff like that. But then you know,
like when Harry met Sally and things of this nature,
and it's kind of like I can't think of another
physical location maybe or especially just a restaurant, like an
eating established, that eating establishment that's sort of more that
like like instead of like, for example, would it be

(01:21:47):
as effective if like Paccino and you know, De Niro
met at a Chipotle or like, you know, something like that,
like some other type of interesting restaurant versus a diner,
which because it just feels like there's sort of this
like tradition to it that orients a movie better for
two characters to have like a convo or something. I

(01:22:10):
don't know if you think that it's almost like it's
a physical space, but it's like a liminal space at
the same time.

Speaker 2 (01:22:14):
Does that make sense? I think it does communicate a
sense of safety, you know, just like heat for example,
you know they're not going to get into a fight
in the diner, you know, or like in Mulholland Drive
when he's like I had a dream about this place,
they have to leave the diner to go find the
scary person behind it. You know, it does sort of
communicate that this is a sacred space for these characters

(01:22:35):
and that they'll be protected there. Well.

Speaker 3 (01:22:38):
Boops kind of themselves kind of insulate you and kind
of allow you to have this sort of intimacy with
another person across in these sort of worlds, and then
at the same time, you can also have control of
that whole entire space of the diner with say the jukebox,
where you can pick the whole a song for quarter

(01:23:01):
or whatever. Yeah, there's an autonomy in the whole, in
the whole thing, MILLI, what do you think al Pacino
and roberts Niro's Chipotle order would be my brain, buz,
and then picking out pinto or black beans in line.
It's just I was going to walk to the nearest
Duncan to order that Dunkino. That's right, my name's dunk

(01:23:25):
I think, I think, I think the Nero is a
readable guy.

Speaker 2 (01:23:30):
I agreed, Yeah, extra sour cream, you know.

Speaker 1 (01:23:37):
And there's also two like there is such a mythology
or like I love maybe for the diner waitress. Yeah,
you know, I love the movie Alice doesn't live here anymore,
and you know, just the whole like there is a
culture of diner waitresses I think of. Is it gas

(01:24:00):
food lodging? Is that the one where, like Ioti Sky
is the waitress yes, yes, yes, yes, yes, But you know,
just like there's like almost like a camaraderie between the
waitresses and they, you know, there's like all these like
side stories or almost entire movies sometimes about like waitress culture,
and it's always in a fifties diner type of place.

Speaker 2 (01:24:20):
You know, it is interesting. They're almost like uh nuns
because I feel like it's like a lot of like, well,
it's like a job that you expect that person to
do it for the rest of their life or something.

Speaker 1 (01:24:31):
Yeah, and there's the outfits, little uh and crisp white
collar things happening.

Speaker 3 (01:24:38):
It gave a bunch of men a kind of sense
of well, I can't have any other woman in my
life talk to me, but I can have this waitress
and made.

Speaker 2 (01:24:48):
Conversation with me.

Speaker 3 (01:24:51):
Now, I can't imagine this generation of men talking to
waitresses at all.

Speaker 1 (01:24:59):
No, No, I think they're looking at their phones and
they're just like, I don't want to.

Speaker 3 (01:25:03):
Talk to anybody I know, and I'd be scared for
the waitresses or waiters or whatever. I also think of, obviously,
you think of all the lovely waitresses of Twin Peaks,
and also yes, and also like obviously Tarantino, the diner
is masure is a major part from From the Jump

(01:25:27):
the Reservoir Dogs. Whole conversation happening about the ethics of
tipping and all that, obviously in a more profane manner,
and also that that riffs in pulp fiction. It riffs
on the nineteen fifties diner aesthetic where everyone is dressed
up like a nineteen fifties person, Steve Buscemi as Buddy Holly.

(01:25:51):
Nothing that far, but yeah, I have a soft spot
for the whole rude sixty six mid century type of
aesthetic generally, like, yeah, I like, I loved, like, I
loved Wes Anderson's Asteroid City. Yeah, American graffiti probably also

(01:26:13):
will come up, come up, even though that's technically early
nineteen sixties. I think the whole sort of boomer narrative
that the nineteen fifties were still going on up until
the jfk assassination is something that I think is agreed
agreed upon. Like again, even though it was a little

(01:26:35):
looser and not as conformists as the Eisenhower years were
in the early nineteen sixties, like, it was still very
much left over nineteen fifties seeping into that period.

Speaker 2 (01:26:52):
Yeah, it is interesting. You know, we were talking about
Trump at the top two and so much of like
make America Great Again is sort of this idealized version
of the nineteen fifties. I mean, the nineteen fifties constantly
comes up with those sort of conversations of as the
time that America was at its height.

Speaker 3 (01:27:13):
If they looked at if they looked at the taxt
urates of the nineteen fifties, I feel like they would
immediately realize how much of that, how much of a
how much of a ride they're going into. It's like, oh, yeah,
we used to fund things. We funded a whole space
race race, we.

Speaker 2 (01:27:31):
Used to have libraries.

Speaker 1 (01:27:32):
Yeah, God, well, this is fantastic. I mean, honestly, I
love anybody that comes to this section of the pod
and kind of brings up something, you know, very specific,
but then it's a kind of entry point into like
I don't know, film culture, but also regular culture, and
I don't know, I just I think it's fascinating thinking

(01:27:54):
about the idea of the esthetic itself, like transcending the time,
and it just kind of moves on and means different
things to different movies, and I don't know, it's kind
of cool.

Speaker 3 (01:28:07):
Yeah, And I definitely recommend The Girl Can't Help It.
I recommend hearing John Waters talk about The Girl Can't
Help It, which I think is on the criterion disc,
but he talks about how much he loves the colors
in the movie, and it's not even like technic color.
It's deluxe color that was done and it's crazy. It's

(01:28:31):
at some point it does look like a circ movie,
even though obviously, again it's made by basically a comedian
who again was also a very dirty old man. I
often talk about how his movie Susan Slept Here is
a much more disturbing Christmas movie than Eyes White Shut,
and people don't believe me until they watch it and

(01:28:54):
then they agree with me.

Speaker 1 (01:28:56):
Yeah, that was a TC Christmas classic. I remember programming
that a bunch.

Speaker 3 (01:29:01):
So oh yeah, it's I still feel like it has
to be on there. It has to be a tradition.
You have to have Susan slept Here in outrage all
the people who are expecting a nice, cuddly movie with
Debbie Reynolds.

Speaker 1 (01:29:16):
Oh my god. Well, Kiten, I was wondering if maybe
I know that you've got some projects coming up that
you kind of don't want to talk about, you don't
want to jinx, but is there any is there anything
coming up that you want to plug or maybe you
can just like plug where you're doing writing. I know
you write for a Criterion channel and your you have
your own substack. Do you have a substack?

Speaker 3 (01:29:37):
I don't write enough in my substack, mainly because I've
been trying to start I'm actually i have a day
job and I'm actually starting that relatively soon, so that
has been kind of my focus. However, there's the baseball
movie that actually came out this past year called Athus

(01:29:59):
by Carson Lund that is coming out on Blu ray
and my essay is actually included on the booklet of
that and the again, I did the audio commentary with
Willow on a movie that we didn't feature, that wasn't
featured in our book, but we obviously had great affinity
for called Ava Man, which you can buy on Blu

(01:30:22):
ray disc. And I also have the essay Bookleate for
Scarecrow in a Garden of Cucumbers that is also going
to be coming that soon, So a lot of disc
work forthcoming in that case.

Speaker 2 (01:30:36):
Well, thank you so much, Cayden. It was such a
pleasure having you on the show.

Speaker 3 (01:30:40):
Thank you for having me on.

Speaker 1 (01:30:42):
Yeah, and everybody, definitely if you haven't checked it out,
please get corpses Fools and Monsters, The History and the
Future of Transnist in Cinema, written by Cayden and Willem
McLay and it's an incredible book. Everybody should have it
on the shelf. And yeah, thanks Caiden, we appreciate it,
Thank you very much.

Speaker 2 (01:31:12):
All Right, phenomenal, great conversation with Kayden. Great to meet him.
I never met him before, so that was fun. Now
it's time for Employees' Picks, where we recommend a film
based on the theme of our discussion, Millie, do you
have a wreck?

Speaker 1 (01:31:27):
Yeah? I do have a wreck, but it's not a
movie that's okay? Is that okay?

Speaker 2 (01:31:32):
Oh?

Speaker 1 (01:31:32):
Huh, okay, guys. Yeah, I'm going to recommend because you know,
I was going down this road of sort of you know,
the world of Jackass and Jeff Tremaine and some of
the other stuff that came on MTV. I don't know
if you ever saw this series, but I mean, of course,
now one of the people in this series is gone
on and done so many things. And I say that

(01:31:54):
like my eyes rolling in the back of my head
a little bit. But the og the original series Robin
Big on MTV is fantastic.

Speaker 2 (01:32:05):
Yes, fantastic. Yes, And that was like I would say,
an extension that got on the show the network because
of Jackass, that's right, Yeah, yeah.

Speaker 1 (01:32:17):
I feel like Jeff Tremaine, well, he was a co
creator of it, so he brought it. But it was
goddamn like the original Robin Big show where they were
like in the house together and Big and Rob would
just like do these like dumb things, like, you know,

(01:32:38):
just like these again kind of like because Rob Jrdick
is a skater, of course they would just do like
dumb They would go on like these dumb quests. I
guess it would be these like dumb side quests. And
I mean, I just remember this one about I think
it was Big Black Christopher Boykan, who plays the kind
of you know to Rob Dirdick, his bodyguard. Right, that's

(01:33:04):
how they met. I was talking about how his ass
sweats so bad that he puts paper towels in his
crack and calls it, calls it a man pawn.

Speaker 2 (01:33:16):
Good.

Speaker 1 (01:33:17):
He's like, he just gotta put it in that man
pon And I was like, that is too damn funny.

Speaker 2 (01:33:23):
What what is what is the name of Rob's show?

Speaker 3 (01:33:27):
Now?

Speaker 2 (01:33:28):
Oh god, it's it's like the only thing on MTY ridiculousness.

Speaker 1 (01:33:34):
Yeah. I mean, this is why I'm kind of rolling
my eyes a little bit because I'm basically like, that
show has been on forever and it is really much
a nothing. I mean, it's basically him pulling up like
tiktoks and viral videos and then he has a panel
of people that I don't know who I'm assuming are influencers, uh,
kind of riffing on him. But it's like he's been

(01:33:54):
able to make the show for like seventy five years,
it seems like.

Speaker 2 (01:33:58):
And there's like eight billion episode Yeah.

Speaker 1 (01:34:00):
Oh it began airing on August twenty ninth, two thousand
and elevenin.

Speaker 2 (01:34:07):
Insane.

Speaker 1 (01:34:08):
Wow, dude, there's been I'm sorry, forty four seasons of it.

Speaker 2 (01:34:17):
That's crazy. I don't even understand what that means.

Speaker 1 (01:34:20):
Forty four seasons of this show. If you go on Wikipedia,
it'll give you a chart, and it's basically like forty
four seasons. Guess what some of them there's one hundred
and nineteen episodes in one season. I mean, come on,
are we serious with this?

Speaker 3 (01:34:40):
Wow?

Speaker 1 (01:34:40):
But anyway, Robin Big, I don't know. I think you
could probably see it on YouTube or something, but it's
it's really funny. I loved it when I came on.

Speaker 2 (01:34:50):
I can't tell you how much Jackass meant to me
as a twelve year old boy. Everyone I was in
school with started videotape themselves, like jumping off their roof
or like jumping down the stairs. There were so many
copycat videos, and in some ways it sort of inspired
me to become a filmmaker. I mean, I wasn't doing

(01:35:12):
that stuff, but I think that Jackass shows the power
of what you can illustrate with very simple means. You know,
you do not need that. You can just if you
have an iPhone, you can make a movie, you know.
And so I love Jackass and one of the things,

(01:35:34):
and I love the show Jackass and one of the
things that what they did they did make a TV movie.
It's technically a TV movie, but it's also just an
elongated episode of Jackass called Jackass Gumball three thousand Rally Special.
Did you ever watch this?

Speaker 1 (01:35:51):
I never saw it.

Speaker 2 (01:35:53):
It's incredible, basically, and it's like a it's different than
the rest of the show. It's Johnny Knock, Phil Steve O,
and Chris Pontius. It's just those three guys and they
are taking a part of Gumball three thousand, which is
like this race across Europe, and it's like a bunch

(01:36:14):
of it's them driving across Europe, partying with like all
these other guys doing the Gumball three thousand, and it's
just great because it gets to you get to hang
out with them a little bit more than and they're
doing stupid shit obviously, but you get to hang out
with them a little bit more than these just short segments,
and uh, it's a delight. And you can watch that

(01:36:35):
on Pyramount Plus or Prime. It's out there, but definitely
check that out. It's really funny. It's like forty minutes,
I think for an hour. But that's my that's my recommendation,
that's my staff pick or my employee's pick.

Speaker 1 (01:36:50):
I love that we're still pulling from this universe for
our recommendations. But what a fun episode. I'm really we
got to go in hard on this. I think it's
a good summer vibe too. I don't know why, even
though I guess you could pull pranks year round well,
and I also think it's funny just to cap off

(01:37:14):
this episode that you and I have gone on record
several times about hating to be pranked.

Speaker 2 (01:37:20):
Yeah, I'm anti prank.

Speaker 1 (01:37:22):
I fucking hate pranks, Like, don't prank me. If you
prank me, I'll probably we'll never talk to you again.

Speaker 2 (01:37:29):
And I'm not even joking. I would never.

Speaker 1 (01:37:33):
However, we love the Jackass movies. What's up with that?

Speaker 2 (01:37:36):
Yeah, it's something internal, something deep within.

Speaker 1 (01:37:40):
I don't know, maybe what we don't want for ourselves
we want an others who knows.

Speaker 2 (01:37:45):
I'm scared to go down this rabbit hole. I don't
cover some deep truth about myself.

Speaker 1 (01:37:50):
I know. I feel like we've analyzed ourselves too much already.

Speaker 2 (01:37:52):
But you know, it's the funny thing though, the jack Yeah,
it's like they're almost not pranks most of the time.
Like there are obviously like pranks where they're like tricking someone,
but most of them are like this in between type
of like jackass thing. I don't know, I don't know.
It's it's hard to put your finger on.

Speaker 1 (01:38:13):
You know. Yeah, Well, all I know is that if
my friends got together and shave their pubes and then
put them in a box and then made it made
someone's spirit gum it to my face, I'd be so
I would never talk to those people again.

Speaker 2 (01:38:28):
Yeah, that would be a tough one to get over.
I think.

Speaker 3 (01:38:34):
Well.

Speaker 1 (01:38:34):
On that note, here's the deal, folks. If you're in
need of anything, and I mean anything from us, a
specific a recommendation, if you want film advice, if you
want to talk about a director of filmography, if you
got a film grape, if you got a film consensual grope,
if you want to just talk about who your favorite

(01:38:56):
members of Jackass are, we are at Deer Movies at
exactly where media dot com.

Speaker 2 (01:39:01):
That's right.

Speaker 1 (01:39:03):
And also, if you want to leave us a voicemail,
we would love it because we love hearing your voice.
Record it on your phone, keep it under a minute,
and again email it too. Dear Movies at exactly rightmedia
dot com.

Speaker 2 (01:39:16):
That's right. And you can follow us on our socials
at Deer Movies I Love You on Instagram and Facebook.
Our letterbox handles are at Casey leo'brien and at Mdcherco.
You can listen to Deer Movies I Love You on
the iHeartRadio app, Apple Podcasts or wherever you get your podcasts.
And uh yeah, please rate and review the show positively, preferably.

Speaker 1 (01:39:39):
Thank you, we'd appreciate it. Let's keep this summer train
rolling shows a fun. What's going on next week?

Speaker 2 (01:39:49):
Next week we're talking about Jurassic World Rebirth from twenty
twenty five, and just the concept of summer blockbusters we're
going to discuss as well. Yes, dive in.

Speaker 1 (01:40:00):
Another new movie. So if you don't want spoilers, maybe
you know.

Speaker 2 (01:40:05):
What could you spoil? Abutch a Jurassic Park movie.

Speaker 1 (01:40:10):
So there's this dinosaur.

Speaker 2 (01:40:12):
There's a dinosaur.

Speaker 1 (01:40:14):
Well, that'll be fun. Anyway, you should listen even if
you don't, if you haven't seen it or don't want
to see it, just listen. Why not?

Speaker 2 (01:40:20):
Absolutely one agree? All right, Mellie, I'm gonna go jump off.
I'm gonna go jump out of a moving car and
into a bush.

Speaker 1 (01:40:31):
I'm going to figure out what's going on with my
leg and hopefully we'll get gangreen and then I guess
I'll hopefully see you next week.

Speaker 2 (01:40:40):
Sounds good?

Speaker 1 (01:40:40):
Okay, Bye bye bye. This has been an exactly right
production hosted by me Millie to Cherco and produced by
my co host Casey O'Brien.

Speaker 2 (01:40:51):
This episode was mixed by Tom Bryfocal. Our associate producer
is Christina Chamberlain. Our guest booker is Patrick Cottner, and
our artwork is Vanessa Ilac. Our incredible theme music is
by the best band in the entire world, The Softies.
Thank you to our executive producers Karen Kilgareff, Georgia Hardstark,
Daniel Kramer and Millie.

Speaker 1 (01:41:11):
To Jerico, we love you. Goodbye, Becer

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