Go Canuck Yourself: Prom Night (1980)

Alright, rent-a-tuxers, Brian and Cargill embark on a night to remember as they try and survive Prom Night. 

So. Many. Red. Herrings.

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Episode Transcript

Speaker 1 (00:01):
The Canadians they walk among us, William Shatner, Michael J. Fox,
Monty Hall, Mike Myers, Alex Trebek, all of them Canadians,
all of them.

Speaker 2 (00:15):
Here is a meaning junk and watching.

Speaker 3 (00:19):
You gotta come out and stop me. All right? This

(00:39):
is Dick Miller.

Speaker 4 (00:41):
If you're listening to Young Food Cinema, who are these guys?

Speaker 2 (01:02):
Time to hit the dance for Renda Tucksters, because this
will be a night to remember at Junk Food Cinema.
Brought to you by Canadian Encyclopedia dot ca A dot
com dot Welcome to disco Madness. This is, of course,
the weekly could and Exploitation film cast, so good it
just has to be fattening. I'm your host, Brian Salisbury,

(01:23):
and joining me, as per usual, is my friend and
co host. Here is a novelist, Here's a screenwriter, a
lieutenant megapors the gravy on my cheese curds, mister c
Robert Cargill. Hi, how's it going man?

Speaker 3 (01:37):
Uh? It's going all right, going good.

Speaker 2 (01:40):
I feel like our doing this mini series has effectively
brought a little bit of Canada to Texas. Because it's
cold as balls outside.

Speaker 3 (01:48):
It is it is fucking colder than a witch's tit,
as they like to say around here. I don't know
exactly why witches tits are cold, but it is that cold.

Speaker 2 (01:58):
Is the insinuation of that maxim that witches are dead
because I never thought of witches as being undead. I
just thought of them as being like imbued with dark
magic that keeps them alive forever.

Speaker 3 (02:08):
I don't know.

Speaker 2 (02:09):
That's just a very odd expression. But hey, speaking of
odd things, there are ten years and over five hundred
episodes worth of Junk Food Cinema available on your favorite podcascher.
You can also follow us on social media and if.

Speaker 3 (02:21):
You really like the show, you really like the show.

Speaker 2 (02:24):
You like it more than discussions on witches tits, you
can go to Patreon dot com slash Junk Food Cinema
financially support the show. We greatly appreciate it.

Speaker 3 (02:33):
Well.

Speaker 2 (02:33):
We are not done on Junk Food Cinema telling you
to go connuct yourself. Figured day. This is our month
long celebration of Canadian tax shelter movies of the seventies
and eighties, and we have arrived grgil at a very
special one today, not only I think one of the

(02:55):
crown jewels of the Canadian tax shelter movement, if you will,
but also a movie that was very important to my
development as a horror fan very early on. This is,
of course, nineteen eighties Prom Night.

Speaker 1 (03:07):
There's a special night in the lives of all of us,
a night we can break all the rules and make.

Speaker 3 (03:12):
Our own belly night.

Speaker 2 (03:15):
It's mine Prom Night.

Speaker 3 (03:19):
For some, it's the end of innocence. For others, it's
the end Prom Night.

Speaker 1 (03:26):
If you're not back by midnight, you won't be coming home.

Speaker 2 (03:30):
Rated R now showing at a theater or drive in
near you. Check your newspaper for showtime. Prom Night. Everything
is all right, no more feeling up tid.

Speaker 3 (03:43):
Yeah.

Speaker 2 (03:44):
When they say the theme of this prom is disco madness,
they are not fucking around.

Speaker 3 (03:48):
No, no, they're not fucking around. They're getting sued for
copyright infringements. What they're doing. This is all ass movie.
This is a whole ass movie putting out on the
whole ass No, no sidebar.

Speaker 2 (04:13):
Already a sidebar two minutes and I'm loving it. But
bah blah ba bah.

Speaker 3 (04:16):
Go already a sidebar. I have long felt that Prom
Night has been one of the great missed opportunities in
horror poster history. Oh, the tagline is if you're not
back by midnight, you won't be coming home. When it's
a night they'll remember for the rest of their lives.

(04:39):
Was right there, right.

Speaker 2 (04:41):
There, a night they'll remember for the rest of their lives.
All ten minutes of it or some shit like you.

Speaker 3 (04:47):
Don't even need that. It's dot dot dot with the
did the poster, with the the the the the killer
and the mask holding up the the uh, the sheath
of broken mirror, Like you get insinuation, and it's and
it's an insinuation of something we all heard for every
prom night growing up. It's prom you're gonna remember this

(05:08):
for the rest of your life, and the idea being that, yes,
they will. And I just always felt that it was
a missed opportunity. Uh it is. But when I say
it's a whole ass film, it's a weird one.

Speaker 2 (05:24):
Oh yeah.

Speaker 3 (05:25):
I mean not just the history of it, not just
the you know, the tax sheltery of it that we're
going to talk about, but when you break it down structurally,
it's fucking weird. And then historically it's even weirder than that.
So there's a lot going on in this movie, and
not all of it is connected, and that's kind of

(05:46):
the charm of this movie. But I uh, I have
long felt that this is a movie that this is
what happens. I mean, and it's and they've admitted this
is what happens. They've admitted this is part of it.
That what they did was they wanted to make a
horror movie. Somebody, you know. They talked to the guy
who had made a produced Halloween and he said, you

(06:09):
got to pick a holiday that was the big thing
at the time. This is nineteen seventy nine, so this
is before the big nineteen eighty one big holiday purge
where every holiday gets covered in blood. And they said, well,
what about not a holiday, but what about Prom Night?
And they took elements of Halloween, they took elements of
Carry and they took elements of Black Christmas, and they

(06:30):
put it in a blender hit brepe and then poured
it out into the delicious smoothie that is Prom Night.

Speaker 2 (06:37):
I want to drink that smoothie through a straw. And
I will tell you this, by the time you get
to Prom Night three and Prom Night four, the tagline
becomes a night they'll remember for the rest of their
lives dot dot dot, but you won't remember this movie exists.

Speaker 3 (06:52):
I remember three. I had forgotten there was a four.
You were absolutely correct about that, and I do this
for a living.

Speaker 2 (07:01):
There was a fifth, one Cargill, that was supposed to
be released as prom Night five, but for whatever rights
issues or whatever, it was just released as a separate
slasher movie. And it like Kim Coates is in it,
like recognizable people. It's a nineteen ninety four movie called
The Club. And here's the here's the plot synopsis. See
if you can figure out how it was going to
fit into this franchise. Time stops at midnight at the

(07:22):
senior prom for five students, one murderous counselor and John,
just John. No further qualifiers whatsoever given for John. So
there are five students, a murderous counselor and John Sure,
and they have to find the courage to face themselves
or when time starts again, they may find that they
are joining John's club. This is one of those IMDb
plot synopses that make me so happy because they're just

(07:46):
absolutely fucking demented. All you have to do is commit
murder dot dot dot or suicide. That's in the plot synopsis.

Speaker 3 (07:54):
Now the question is does it take place at Alexander
Hamilton High again, because that's all the other ones have
in common.

Speaker 2 (08:05):
Yeah, that's true. The school is Alexander Hamilton.

Speaker 3 (08:07):
I'm not thrown away my pluted I'm not thrown away
mine plot.

Speaker 2 (08:13):
I'm glad you didn't throw away that joke. Look, I
am gonna sit here and tell you my theory right now.
Cargella was gonna get into this later, but it's not.
You can. You can tell me all day that it's
named after Alexander Hamilton. It's clearly named after Hamilton, Ontario.
This high school was secretly subversively named after the Hammer, right, I.

Speaker 3 (08:33):
Mean it had to be. I mean they do try,
they really do try to convince you it's American, right
down to having the kids walk in front of an
American flag, even though it's shot in Toronto. So it
is clear they are obfuscating here, like this is not
a not like you know last week's movie where can
it be? Here? Can it be here? And it turns

(08:53):
out they did a little like photography in Maine to
go ahead and give it that American look. You know,
some second unit stuff here. They just won't have the
kids walk out in front of an American flag. There, it's
an American movie, Margot.

Speaker 2 (09:09):
They get even more oddly specific than that. At one
point in Leslie Nielsen's office is the state flag of Ohio.

Speaker 3 (09:14):
Okay, yes, now you have just dropped a name that
I was waiting on, because when I said, this movie
has gotten even weirder over time. This is a movie
in which the top build actor is in like four scenes, yeah,
barely in the movie, but is lending his name to

(09:35):
it because he is one of the at the time
best known Canadian actors and in one of his final
serious roles before he would go on to do nothing
but become an absolute fucking legend. Because here's what's weird.
This movie is kind of the tail end of Leslie
Nielsen being this guy who you get for b movies,

(09:57):
who's a recognizable face. He's kind of like McClure, but
he goes from being Doug McClure to be one of
our greatest comic legends after people watch him an airplane
and go, this guy's really really, really fucking funny. Let's
let him off the chain. For twenty years and see
what happens, and we get twenty years of side splitting,

(10:18):
fucking madness out of the man. But this is just
one of his calm, restrained B movie roles. He's phoning
it in because there's nothing for him to do, and
it's it's bananas that he is stopped building this movie
and no one remembers that he's in this movie. Speaking

(10:39):
of which, this is one of those movies. Promenade is
a movie that whenever you mentioned prom Night, everyone remembers
prom Night. Prom Night is one of those iconic cult
films that way.

Speaker 2 (10:48):
Well, you told him it was going to be a
night to remember Cargo, like you started off the episode
telling us that everyone remembers prom.

Speaker 3 (10:54):
Night, except that nobody ever talks about it.

Speaker 2 (10:59):
It is strange.

Speaker 3 (11:00):
It is one of those movies that just kind of like,
if you didn't know any better in the horosphere, you
would think it fell in with things like Christmas Evil
and New Year's Evil, of like these things that only
a handful of horror fans really no exist, like only
the cinema archaeologists like you guys have heard about. But no,

(11:21):
Prominade's one that you got to remake. You know, it's
got a bunch of sequels. It's been out there, but
it just never gets discussed. And I think I know why,
you know, I think of kind of because watching this film,
this is probably the sixth seventh time in my life
I've watched it. I watched it as a kid, and
it fucked me up. Nothing like when you're like ten

(11:43):
years old and you watch a movie like this where
a bunch of ten year olds kill another ten year
old to really really fuck with a kid's psyche. And then,
of course, you know, I didn't remember liking it as
a kid, and in retrospect as a I totally know why,
because once that kid dies, nothing happens. Yeah, yeah, but

(12:08):
not in a bad way. That's what I'm so fascinated about.
This is not a boring fucking movie. This is not
a movie where nothing happening is uninteresting. And the character
development and the you know, the machinations of the various
kids in high school. It's a pretty interesting high school movie.
But you know, it's a slasher film, Like they don't

(12:29):
hide that at all. But the slasher film doesn't start
until minute sixty three of a ninety four minute movie,
And that's kind of bananas.

Speaker 2 (12:40):
Deliberately paced is a term that I would use for
this movie A hundred Yeah.

Speaker 3 (12:45):
There's there's a whole subplot in this movie. I am
absolutely convinced with shot in reshoots like that that they
sat down and watched the movie and said, shit, there's
hard the killer's obvious, like you know, And the result
of that shot subplot results in red herring the movie.

Speaker 2 (13:11):
Oh my god, there are more red herrings in this
movie than at the Swedish fish Factory. Oh yeah, it
is nuts, And you're right, and we'll get into that
because there were quite a few of them that were
added in posts, and then there were a few that
were excised that were going to add even more red
herrings to this. So oh so you were.

Speaker 3 (13:25):
Able to find that. I started looking some of this up,
and I was not able to find because I was
convinced because there's characters in this movie who do not
interact with any other characters in this movie. They're just
cops that are being eighty yard in to be like, yes,
that wild man who's on the loose, Yes, we're tracking
him now. And I can't wait to talk about that.

(13:46):
I want to hear what and then I also want
to hear about who got ex who got excized from this?
Because this is kind of a banana's movie. It works.
The thing is is, I love this movie. It's a
cool fucking movie. It's a great movie to talk about,
definitely worth revisiting. The last thirty minutes are about as
good as you're gonna get from a slasher film in

(14:07):
this era. Just great perfection with great characters and some
really good kills and some wild ass shit. But yeah,
the setups of this and the structure of this are
just kind of bananas.

Speaker 2 (14:21):
So Cargill didn't just take the ball and run with it.
He is literally lapping me while I'm still stretching at
the starting line here. But before we speed past it
even further, I just have to go back and say
massive respect for the Doug McClure poll that you did
about ten minutes ago on this podcast. We're not expecting
that one at all. But yes, this is a problem.

Speaker 3 (14:41):
I'm not wrong.

Speaker 2 (14:43):
No, you're not wrong. I just that was Doug.

Speaker 3 (14:45):
Doug McClure. Doug McClure was the Leslie Nielson you got
when you couldn't Getleslie Nielson, and vice versa.

Speaker 2 (14:51):
You're not wrong. But it was also one of those
ones like that's the name I've not hood in a
long time.

Speaker 3 (14:57):
Either way, I found I found a movie I'm going
to watch tonight that's loosely connected to this movie that
I have never heard of in my life. It's one
of those great moments that, while falling down the rabbit hole,
I was like, how the fuck have I never heard
of this? And I have no hopes for it whatsoever.
But Doug McClure is in it.

Speaker 2 (15:13):
Okay. And you're not talking about the nineteen ninety four
movie The Club that may or may not have been
prom Night five.

Speaker 3 (15:20):
I'm talking about the nineteen eighty one post apocalyptic film
Firebird twenty fifteen.

Speaker 2 (15:26):
Yeah, I'm watching Firebird twenty fifteen because it's called Firebird
twenty fucking fifteen anytime. By the way, just if you
are a student of this podcast, one thing you need
to know definitively is if your post apocalyptic movie has
a future date in it, you need to watch that
fucker immediately. Doesn't mean it's gonna be good, but you

(15:47):
need to fucking watch it.

Speaker 3 (15:48):
You need to google that poster like right away.

Speaker 2 (15:52):
Damn it. Fine, We're just gonna stop the podcast again
while while I google Firebird twenty fifteenth poster.

Speaker 3 (15:58):
A few moments later, Yeah, I need.

Speaker 2 (16:00):
To see Firebird twenty fifteen immediately. Are you kidding me?

Speaker 3 (16:04):
Doug McClure and Darren McGavin.

Speaker 2 (16:07):
Okay, first of all, does this take place in the
Corvette summer of twenty fifteen that I was unaware of?

Speaker 3 (16:15):
I believe so it sounds by all accounts, it sounds terrible,
which is why I can't wait to watch it.

Speaker 2 (16:22):
Okay, Yeah, God damn it, God damn it. Why are
we even bothering to do this episode. We should just
go watch this movie.

Speaker 3 (16:28):
I mean, it's a Canadian tag shelter post apocalyptic movie
that also co stars Mary Beth Rubins, who is Kelly
in prom Night. That's how I fell down this rabbit
hole of finding this movie, and I can't even People
who love the stuff the way we do are like, yeah,
there's no reasonable watch this movie, And I'm like, how
dare you, sir? How dare you challenge me like that?

Speaker 2 (16:51):
I tumbled down rabbit holes looking at this cast that
connected me to you, connected me to like me and
my wife. It was weird because this is not a
cast that is like has a wildly deep bench of
movies on IMDb. Like they're all just basically theater kids
or film acting kids that came out of film school
in Montreal, and they were like, are you free come
do this movie with us?

Speaker 3 (17:11):
After these messages, We'll be right back.

Speaker 5 (17:14):
They're running out of everything but rules Weierberd Twenty fifteen.

Speaker 3 (17:20):
When having a full jank.

Speaker 5 (17:21):
Of gas makes you fair game, right Meierberg twenty fifteen eighty,
A free driving horse or free toover right on, We're
going will never shoot us, damn Oierberg.

Speaker 6 (17:38):
Twenty fifteen eighty.

Speaker 2 (17:42):
We're getting so many hectares in front of ourselves, which
I think is the unit of measurement that they use
in Canada, that we need to go a few chevrons
back here. Prom Night, for those of you who don't know,
is the movie about a group of kids, a group
of high school seniors who are stocked at their prom
by a mass killer who is trying to get revenge
for or the death of a ten year old that

(18:02):
happened many years before. Okay, that's the setup, right, That's
the entire setup of this movie. The starting line for
this movie, though, is the director of this film Paul Lynch.
He decides in the late seventies, after he sees Halloween,
that he wants to make a horror movie, and his
idea for a horror movie is called I Shit you

(18:24):
not Don't go to the Doctor. And it's a movie
about a psychotic gynecologist. That was his idea.

Speaker 3 (18:32):
Well, yeah, because at the time you called things don't
go here or don't do that, like that was literally
the forgotten era of video horror, you know, of drive
in horror that would become the video nasties later, you know,
don't go in the woods, don't go in the house,

(18:53):
don't go in the basement. Well, don't go to the doctor,
don't go to the doctor.

Speaker 2 (18:57):
Yeah, I guess my problem is less with the boss
prohibitive title that was popular at the time, and more
with the psychotic guynacologist conceit. I think that was where
I was kind of like, what And yeah, apparently someone
told him that that would be distasteful, so maybe he
should retool it into something else. And then he meets

(19:17):
Irwin Yablins, who literally produced Halloween, and it's Yablons who
tells him, you know what you need to do is
you need to utilize a holiday as the basis for
your movie. And I think that's what's so great about
us talking about prom Night as part of Go Kanuck yourself.
Because the American slasher movie, most prominently Halloween, was in

(19:41):
a lot of ways ripped off from Bob Clark's Black Christmas,
another Canadian filmmaker making a Canadian horror movie in nineteen
seventy four. But Bob Clark was inspired by Italian Jallo flicks,
which were, you know, they were based on Italian pulp novels,
because the pulp novels in Italy were pretty on cheap
paper that turned yellow over time, and Jalla is literally

(20:03):
the Italian word for yellow, and those those Jala movies,
those jallow paperbacks were really just kind of exploitative versions
of Agatha Christie murder mysteries. So when Halloween was a
massive success, all of these copycats emerged that were either
intentionally or unwittingly copies of a copy of a copy

(20:24):
of Giallo. So I find it so fascinating then that
prom Night, which is at the very nascent stages of
the slasher holiday boom, that literally Yablinz is giving his
literally his blessing like, go ahead and make a movie
that's based on a holiday. That's how you're gonna make money.
And Paramount, once this movie was made, was interested in

(20:47):
distributing it, but they were going to do a much
smaller amount of screens that they were gonna put it on.
So instead, the producers went with Avco Embassy, who, by
the way, I think have made like seventy percent of
the movies we've talked about during this series, and so
they were they went with Avco because Avoco was going
to put it on twelve hundred theaters. So when the
producers decided to go with Avco, Paramount goes with their

(21:10):
plan B, which was Friday the fucking thirteenth at least
the same year. That is insanity to me.

Speaker 3 (21:18):
And their version was so successful that they couldn't stop
making it despite all of the studio execs wanting to
stop making them, and so they literally would end up
selling off the franchise just so they could wash the
blood off their hands.

Speaker 2 (21:33):
That's that's an apt metaphor. And this is literally like
this is a watershed moment not only for slasher movies
but for horror in general, because those are the movies
that took over Cineplexus. Those are the movies that they
kept making and making. We got April Fool's Day, we
got you know, we got Halloween sequels, we got New
Year's Evil got. I mean, think of a holiday. How

(21:54):
many Christmas slashers do we get in this period of
time did we get?

Speaker 3 (21:57):
We literally get an April Fool's Day, which we've covered.
You know, there's there's you know, the only one I
don't think I've ever seen is president or President's Day
and Martin Luther King Junior.

Speaker 2 (22:11):
Yeah, I'm not touching the MLK holiday one, but I
will say you could technically watch Uncle Sam on President's
Day really.

Speaker 3 (22:18):
Except that's a fourth of July horror movie.

Speaker 2 (22:20):
Maybe a fourth of July more. But I mean, like
even Memorial Day has the Prowler if you really think
of it.

Speaker 3 (22:25):
Yeah, no, no, no, they were they were grabbing. They
were grabbing every holiday at the time, and that's where
they ended up. On Friday the thirteenth. Well, every year
has a Friday the thirteenth, Yeah, you know, and and
to this day, you know, horror horror franchises try to
launch on a Friday the thirteenth that they can get
away with it. In fact, famously, the remake of Black

(22:51):
Christmas recently happened exclusively because Jason Blum realized there was
a Friday the thirteenth and December and said, get me
a Christmas movie now, and they rushed Black Christmas into
into production.

Speaker 2 (23:09):
That's just falling backwards into synergy right there. I'm not
opposed to that whatsoever. But director Paul Lynch, by the way,
I got to give this guy props. And not only did
he direct Humongous, which is one of those weird, very
culty horror films, but he also later directed possibly the
most insane die Hard knockoff of all the Diehard knockoffs
we've ever talked about, which is No Contest, starring Shannon

(23:33):
Tweed as John McClain and Andrew Dice Clays Hans Gruber,
and it's Diehard at a beauty contest.

Speaker 3 (23:38):
Okay, we need to talk about Paul Inch for a second.
Let's do it, because Paul Lynch is a fascinating director.
He directed a lot, and I mean a lot. He
directed sixteen feature theatrical films, of which one is notable,
and that's what we're talking about tonight.

Speaker 2 (23:59):
Prom I believe I just said, no contest. But okay,
I guess I'll go with you on this.

Speaker 3 (24:04):
I believe you said it, but I was speaking about
notable films, not film starring Andrew Clay and Robert Dovey.

Speaker 2 (24:14):
Robert dove is in no contest these in It's one
of the few movies that I literally just said that, Yes,
that's what. But I'm agreeing with you, Like that's how
far that movie goes to b Diehard? Is it brings
an actor from Diehard into that movie?

Speaker 3 (24:26):
Yeah, yeah, no, no, no, But my I'm getting to
a point here. I have a point. This is the
beginning of the point. So sixteen feature films, of which
the audience here, most of the audience has only heard
of one of them. Sure, A bunch of made for
television films, of which none of which, uh, you know,
really matter. TV director on a series of some of

(24:51):
the biggest shows in history. Like in terms of his
TV work, like he did some you know, small already
stuff that some of us would love, like Voyagers. But
here's here's a list of some of the shows he
worked on. Murder, she wrote, Moonlighting, Ray Bradberry Theater, the

(25:13):
Twilight Zone reboot, Mike Hammer, Tour of Duty, Beauty and
the Beast, six episodes of Star Trek, The Next Generation,
In the Heat of the Night, Dark Shadows, five episodes
of Deep Space nine, Kung Fu, The Legend Continues, RoboCop,
the series Lonesome Dove, Zeno Warrior, Princess, They Watch Knights,

(25:35):
Outer Limits, FX, the series Poltergeist, The Legacy, and Sliders. Dang,
that's just his four higher TV work over fifteen years.
Like the man never stopped working and did so much
stuff over the time. Like you can make fun of
the other fifteen movies on his filmography, you can make

(25:59):
fun of his dozen and you know, made for television films,
but his TV work is absolutely fucking stellar and like
to a career unto itself, and then on top of
that to have made prom Night pretty fucking rat and impressive.

Speaker 2 (26:16):
Yeah, carved out his niche for sure. And that's what
I appreciates about him.

Speaker 3 (26:20):
And is that what you appreciates about him?

Speaker 2 (26:22):
That is what I appreciates about him. I also appreciates
that he was going to the lead of this movie
for a hot second, was gonna be Eve Plumb from
The Brady Bunch. Oh yeah, until Lynch got a call
from Jamie Lee Curtis's agent going, would you consider Jamie
Lee Curtis for this movie? And Paul Lynch was basically like, yeah,
Eve Plumb, you're out. I'm sorry. Like Jamie Lee Curtis

(26:44):
was justin Halloween, she's emerging as like the hottest shit ever,
especially in horror. I mean, we don't talk about this enough,
but Jamie Lee Curtis's run between seventy eight and eighty one,
just in terms of horror movies is fucking astounding.

Speaker 3 (27:00):
Oh yeah, and this is the first movie she claims
she was actually really she made any money off of Yes, yeah,
she got very little money off every other movie she
was in. But this is how she became a fucking legend.
It's why she's still making horror movies to this fucking day.

Speaker 2 (27:17):
Pump the brakes, are you telling me the residual checks
on Terror Train aren't paying the bills?

Speaker 3 (27:21):
Here, I'm saying the paycheck on Terror Train didn't pay
the fucking bills. I mean, I'm not even talking about
just residuals. I'm talking about like actual pay. This is
like George Romero being like, hey, you're an extra in
the movie. Here's a dollar.

Speaker 2 (27:40):
Right right, No, that's a good point. Yeah, No, I mean, like, okay,
so seventy eight, we got Halloween, nineteen eighty we have
the fog, we have road Games in eighty one, of
course we have I don't know why on this breakdown,
prom Night is not listed here that I find very offensive.
And then Terror Trained like all those movies, and then
Halloween too, like literally just like ba ba ba ba

(28:01):
ba ba bam, like nobody like not since uh, oh
my god, I'm gonna forget Margo Phoebe's real name, Tomorrow Weaving.
Not since Tomorrow Weaving has somebody come into a genre
and has been like plan a flag, this is fucking
mine now, like Jamie Lee Curtis did that in the
late seventies early eighties.

Speaker 3 (28:18):
And and every Scream Queen after that has been you know,
uh has been somehow modeled after that run.

Speaker 2 (28:27):
But to go back for just a second to the
Jallo discussion, because that's what ended up happening is if
you've watched enough Jallo, and you watch enough American slasher
movies that are just trying to capitalize off of Halloween,
it's funny how many of the jallotropes that you would
you would start to witness, and one of them is
the idea of a secret sin or childhood trauma like

(28:51):
something trauma, Yeah, something we're trying to keep secret, a
prank that's gone wrong, you know, accidentally killing someone. And
I'm sure as I'm saying that, you can think of
a thous and one horror movies from the eighties that
that is the opening, like, oh, prank gone wrong or oh,
we accidentally killed this person and blah blah blah blah.
That is one of the big big tropes of jallo,
Like that's who the killer usually turns out to be,

(29:11):
is somebody trying to get vengeance for that trauma, that
secret sin, whatever it may be.

Speaker 3 (29:16):
You know.

Speaker 2 (29:16):
Other things are things like the killer wearing black gloves,
a lot of POV shots, taunting phone calls, ultraviolence, particularly
with blades. The blades are shot almost fetishistically.

Speaker 3 (29:27):
And then an aversion to sex.

Speaker 2 (29:32):
Yes, yes, the weird morality play that has become kind
of the the basis of the scream and how Scream cannonized,
a lot of the slasher tropes, and then dreamlike hazy
cinematography like all of these things kind of go into
what a jaala movie is, and by process of copying
a copy of a copy, they end up regurgitated in

(29:52):
a lot of these horror movies of the eighties.

Speaker 3 (29:54):
Oh my god, the vasolene budget on this movie for
the lenses alone. Jesus Christ.

Speaker 2 (29:59):
Yeah, who was there? Who was their DP? Did he?

Speaker 3 (30:02):
Like?

Speaker 2 (30:02):
There's so much fucking vacilline all over this fucking movie.
It's crazy.

Speaker 3 (30:06):
Yeah, yeah, it's but I mean it it also you know,
kind of forged that. Look, yes, you know, you know,
in American cinema, a lot of prom Night. Prom Night
was wildly successful and really was influential in a way
that it doesn't get a lot of credit for. Like it,
It'll get some credit for being, you know, the basis
where they got the idea for I Know What You

(30:28):
Did Last Summer, which is effectively kind of a similar movie. Uh.
One would argue, whether you like it or not, a
better structured movie. Uh, but uh it that is essentially
the prom Night idea. Uh and uh but a lot
of the a lot of the kills here, a lot

(30:48):
of the setups, a lot of the the you know,
the the cinematography of it came from that, but it's
also borrowing from everywhere itself, like you know it is
it is. There is a whole carry subplot in here
of people wanting to sabotage the prom that goes horribly awry.

(31:09):
You've got uh, you know, the the classic where we're
stealing from you know, we've got a We've got a
killer on the loose who's escaped from a mental institution
and who's very dangerous. By the way, he is named sir,
not appearing in this film. He doesn't matter. He is
there to throw you off the scent. Uh. And if

(31:29):
he's not throwing you out the scent enough, the crazy
pervert drunk got gardener, he's he's in here. Uh. It's
it is a banana's little film that you know kind
of would foretell so much of what would come. But yeah,
but is also borrowing from all these other elements like

(31:49):
Giallo and from these other films that borrowed from Giallo,
and then Stephen King uh so, and and then you
end up with this really delightfully weird little movie.

Speaker 2 (32:00):
I think the bullet point to take away from any
discussion Cargilin and I have ever had about slasher films
could be called there's always room for Jallo.

Speaker 3 (32:08):
There's always room for Jialla.

Speaker 2 (32:09):
There's always room for Giallo because we talk about it
a lot, because it is such a such an important
part of the slasher film DNA and especially American slasher
films that came from Canadian slasher films that came from
the influence of the Italians, and et cetera, et cetera,
et cetera.

Speaker 3 (32:23):
Well, well, seventy everything seventy five to eighty three really
comes from Giallo. And it's not until we start getting
into eighty four when horror became resoundly supernatural, that a
lot of those Giallo elements got left in the past
and creating this really interesting period of time. Because this

(32:46):
is what's what interests me about what happens in the
in the cycle of horror, is we go through these
eras of the killers, just a dude, like there's no
special powers, no huge backstory, no you know, no crazy
convoluted How did we get here? You know, No, you

(33:06):
shouldn't have moved into that house. It you know, it's
just some dude in a boring mask who has access
to knives. And here we don't even deal with the knives,
we just break a mirror because it ties into the
beginning of the movie. We're following a character who is
not important to the beginning of the movie. In fact,

(33:28):
technically she is absent from the beginning of the movie.
She shows up and runs off, and yet she's our protagonist.
There's there's a lot of choices being made here, but yeah,
it really does come back to This is one of
those classics right before the nineteen eighty one boom where
all of this was like run into the ground where
we saw I think it's thirty one to thirty two

(33:49):
different movies. We've talked about it many times in the
past that all ripped off Friday the thirteenth and prom Night.
Prom Night doesn't get that that that love when we
talk about that, it hasn't gotten the love fully from
us either. Well, we've always talked about how just the
wild successive writ of at thirteenth led to nineteen eighty

(34:09):
one and really promin I did really well too, although
that comes with an asterisk, which is interesting because the
box office numbers that are reported in this day and
age are different than what we're reported in a book
back in the eighties, and so there may have been

(34:31):
some fudging of numbers at some point along the way,
either that or back in the eighties. They know, the
book that wrote this up got it.

Speaker 2 (34:39):
Wrong, And I think that's what it is, because I've
seen those numbers Cargil, and I think it's interesting that
that book that cited that number is specifically what other
sources have said this movie made just on home video.
So I think the number that that book in particular
is citing it got it misattributed to box office when
it's really on video sales, because it's six million dollars.

Speaker 3 (34:59):
Right, Yeah, that may be where it comes from. Yeah,
because it is reported to make six million dollars video,
by the way, a number you almost never hear, because
the industry would clamp down and not reveal the amount
of money they made off video for multiple reasons, you know,
both to hide failures and also to hide their wild
success from the people they didn't want to pay residuals to.

Speaker 2 (35:23):
So so it's kind of like the streams of its day,
like the studios are going to hide how many people
have bought it on video or how many people have
you know, the current analog of that is how many
people have streamed it so that we don't have to
pay the artists what they're due because they never know
what that number is.

Speaker 3 (35:39):
I will disagree with that analogy because in the streaming world,
streamers will share with you that information, but they won't
release it to the press. So, you know, artists will
be told how well their movie is doing on streaming,
for better or for worse, but they won't always you know,

(36:00):
they very rarely released those numbers to the press.

Speaker 2 (36:04):
So no, that was that was literally an issue, you know.
I mean, maybe it's not anymore, but some movies, as
of a couple of years ago, even that's one of
the things that you know, was prompting strikes, was like,
we're not getting paid the appropriate amount of money of
these movies made for streamers because they're not telling us
how many people are not they're not accurately telling us
how many people are actually streaming it.

Speaker 3 (36:25):
No, no, no, The problem was is we weren't getting
paid because we didn't have it in our contracts to
get paid for streaming. That's what that was about.

Speaker 2 (36:31):
Okay, I'm telling you exactly what artists online have said.

Speaker 3 (36:34):
No, no, no, no, I've seen I've seen people talk about that
as well. But what I'm saying is there are a
lot of times where streamers will tell you how you're doing.
They won't always tell you how you're doing, but they will,
you know, like on a movie where you make for them,
they will tell you how you're doing, Whereas with video,
they never told you. You never got told what video

(36:54):
sales were if they didn't make some big splashy thing
in the video release catalogs that you'd get at the
video stores, like that was not a number that an
artist would be told, Hey, by the way, you've done
two hundred and twenty million dollars on DBD. They just
never told you that shit because they didn't want they

(37:15):
didn't want you to do the accounting on your own. Interesting,
but yeah, no, I've because I've I've gotten I've gotten
streamer numbers before, I've gotten friends streamer numbers before, and
u uh, there's they're very interesting metrics. So that's a
it's a very interesting it's a very interesting subject. But yeah,

(37:38):
the when it came down to the strikes, there were
a lot of people talking about things that weren't what
we were actually striking about, which you know, can be problematic,
but yeah, The big problem is us writers were the
only people who had at any point demanded residuals. And
we didn't ask for a lot of residuals at the
time because there wasn't a lot of money in streaming
at the time, because it was literally too and seven

(38:00):
and eight and Netflix wasn't even making their own shows yet.
We were just like, oh, yeah, TV guys, when you
when they go and put SNL skits on YouTube, you
should get paid for that if you wrote it. And
nobody saw the future of just how dense all of
this streaming would be. So quite literally, directors, actors weren't

(38:21):
getting zero residuals. Doesn't matter how well it did. You
don't get residuals on anything that's not a paid rental.
So that's that. Of course, is now changed with the
SAG and WGA, and so we should be seeing residuals
sometime soon.

Speaker 2 (38:39):
I guess maybe we'll see we'll definitely maybe it'll be
a stream to remember.

Speaker 3 (38:44):
After these messages, We'll be right back.

Speaker 6 (38:47):
Hi, Mary louis speaking. Sorry, I can't come to the
phone right now, and I'm busy at the problems the
places to go people to scare.

Speaker 1 (39:08):
Hello, Mary, Loom Brown Night two.

Speaker 2 (39:13):
Look, I want to go back to your choosing of
the year nineteen eighty four as the delineation between the
killer being just a dude and a more supernatural killer.
It's an important date for a couple of reasons. It's
not one that you're approximating. It's a very specific date.
One of those things is Friday the thirteenth, the final

(39:34):
chapter where we kill off hill Billy Jason Vorhees and
we don't bring him back until he is undead raised
Jason Borhees in eighty six in Jason Lives. The other thing,
of course, that happens in nineteen eighty four is the
release of Wes Craven's A Nightmare on Elm Street. The
Killer is a specter that lives in the dreams of
the children of the people who killed him, so very

(39:56):
very supernatural, and that movie is such a hit that
we are we're pushing things more that way, and I
think as proof of that, you can use this very
franchise as a demarcation along that timeline. Because nineteen eighty
prom Night is very much the who Done It element,
the jallo who done it? The killer is just a
person right by the time you get to Hello Mary

(40:16):
Lou prom Night two in nineteen eighty seven. That movie
functions almost identically to a Nightmare on Elm Street sequel.
It does not function like a Jallo slasher who done
it anymore? Now the killer is literally a supernatural ghost
from the past who keeps doing weird things, including some
of the things that happen in the protagonist's bedroom feel
like they're being perpetrated by Freddy Krueger. So like, that

(40:39):
is a very important date, nineteen eighty four that changes
the entire landscape of horror. Finally, but prior to that,
you know, between nineteen seventy eight, when when Halloween is
released in nineteen eighty four, we are inundated with slasher
films that are borrowing from the Giallo tradition. And of
course we can't have that Gelo type movie with out

(41:00):
the opening trauma, without the childhood trauma and the opening
of this movie.

Speaker 3 (41:04):
Oh well, but before we go there, yeah, I will,
I do want to point out that there there's gonna
be someone who slides into the comments and goes well
nineteen eighty four, So yeah, nineteen eighty four had a
bunch of the Giallo inspired ones, but they aren't the
big remembered ones. They aren't the ones that impacted the
the pop culture, and most of them have been forgotten,

(41:29):
you know, you know, we know Splatter University. I would
argue that the only uh, the only one that could
be in there and really doesn't quite fit the geallo
because it's actually just straight up Stephen King's Children of
the Corn. And even that one would argue that there's

(41:49):
supernatural elements to Children of the Corn. Yeah, that that that,
that's that there everything else you look at, you know,
it's all stuff like Silent Madness, Fatal Games and Boggie
Creek two and the legend continues, and the legend continues.

Speaker 2 (42:07):
Boggy Creek two, and the legend continues dot dot dot
to not be heard about by anyone. That is the
mystery science theater joke that I will never forget about Boggy.

Speaker 3 (42:15):
Creek two or Blood Theater.

Speaker 2 (42:18):
Okay, all right now, now you're just making some of
these up, right, Like I literally.

Speaker 3 (42:22):
Have beasts, no no, no blood bloodbath at the House
of Death.

Speaker 2 (42:28):
Okay, that's double dipping. Like you can be at the
House of Death or you can have a bloodbath, but
having a blood bath at the House of Death. How
do you not expect there to be a bloodbath, if
anywhere at the House of Death. That's just redundant. Come on, guys,
get it together.

Speaker 3 (42:42):
Star Grove.

Speaker 2 (42:43):
Stargrove the opening of this movie more than anything I've
ever seen, and I feel like this is a topic
we've been delving into a lot lately. Illustrates the recklessness
and the reckless abandon of gen X's parents, because that
whole like, do you know where you're are?

Speaker 4 (43:00):
Oh?

Speaker 2 (43:01):
Yeah, I do. Actually, they're playing hide and seek at
the abandoned psychiatric hospital. Now that's what your kids are
doing on the way home from school. Just make sure
you're home with the porch lights.

Speaker 3 (43:11):
Come on, I guess the dilapidated closed for twenty years,
shattered glass everywhere. That's where they're going to play. Not
hide and seek, but Killer's gonna kill you.

Speaker 2 (43:22):
Yes, exactly. Like I just imagine somebody watching this movie
and going, h these fucking snowflakes. They don't know what
it was like to run around murder mansions for fun
like that.

Speaker 3 (43:32):
Shit that that opening sequence fucked me up as a
child because I didn't quite just these weird psychopathic fucking
kids running around playing Killers Gonna Kill you and in
this fucking broken down, janky ass fucking psychiatric hospital and

(43:54):
then killing a girl.

Speaker 2 (43:56):
Yeah. By the way, I feel like I've been asking
this a lot, but is this a Canadian thing? Because
I had never heard of the game Killer Is Gonna
Kill until I saw this movie, and it just seems
like it's for people who don't think Hide and Seek
is aggressive enough.

Speaker 3 (44:09):
Yeah, I don't. I feel like like I was trying
to figure out the rules of the game. I mean, no, no, no,
because see Killer is Gonna Kill. It seems to me.

Speaker 2 (44:23):
It seems like a hashtag more than a game. Can
we just throw that out there? First of all, hashtag
killer is gonna kill.

Speaker 3 (44:28):
Yeah, you know, junk food cinema, go connect yourself. Hashtag
Killer's gonna kill? No killers. I think Killer's Gonna kill
is uh is hide and go seek. But once you
get found, you have to join and help track down

(44:51):
the others, so you can't trust anybody, and you've got
to as a batch and the last ones get swarmed
and Killer's Gonna kill and then you then become the
next killer.

Speaker 2 (45:04):
Da reverse Sardines where instead of finding somebody, and then
everyone hides in the same place. When you find somebody,
everybody looks for everyone else exactly.

Speaker 3 (45:13):
That's what I think. That's the impression that I get
from the opening of this movie. I could be wildly wrong.
It could just be they threw shit at the wall
and saw what stuck. You know, we needed an excuse
to get all the kids yelling kille Kale kill. So
the girl falls out the back and you know, and
has a spectacular death scene by the way. Oh yeah,

(45:33):
Like that's how the prom Night is. How you open
a fucking slasher movie. You know, not only do you
have creepy kids running around, but you got a child
who dies in a truly spectacularly horrific way. And they
not only does she fall out a window, does she
fall through a broken window on to another broken window,

(45:55):
but then another broken window falls on her, supposedly slashing
her neck. Like they're just like not enough yet, like
more broken windows. It's like you've got Michael Bay in
the back, or more broken windows blow them up.

Speaker 2 (46:09):
This is like an ECW match versus The Sandman in
Saboo from ninety six, Like it has that danger to it.
Oh yeah, wow, oh yeah, I'm not. You're not the
only one that can make deep polls on this fucking podcast, Cardet.
But yeah, no, I gotta say this. I saw this
movie very early on in my slash of film education.

(46:30):
As I've said many times, Halloween was kind of my
breakthrough horror movie, like the first one I ever really watched,
and from there I would watch the sequels, and then
I watched Friday the Thirteenth, and I watched all the sequels,
So prom Night was really the first movie that I watched,
the first slasher movie I watched that wasn't in one
of those two franchises. And because I cut my teeth
on Halloween and Friday the Thirteenth and then watched this movie,

(46:54):
I just came to the realization or the assumption at least,
that slasher movies all started with kids either dieing or killing.
Like that's literally how horror movies open. Either a kid
dies like in Friday the Thirteenth to prom Night, or
a kid kills people because hashtag kid Killer's gonna kill.

Speaker 3 (47:10):
I like, I'm reminded, I'm reminded of that great meme.
This movie has real boss baby energy, says guy who's
only seen Boss Baby.

Speaker 2 (47:20):
Yes, exactly, that's what I just thought horror movies were.
I was like, okay, so they all open with a
kid either dying or killing his sister. That's how all
horror movie. Because again I was like, I don't know
twelve watching this and going Okay, I think I've got
this figured out. I did not have it figured out,
but this movie fucked me up for the same reason.
I was like, that kid just fell through glass onto
glass and died. And the little girl is Robin Hammond

(47:43):
who dies early in the movie, and you know, she
shows up to this game that is already being played
by these four other kids, these four other little shitheads,
and he shows up with his sister and another friend
and they get separated. Yeah, so Rob and uh, what's
the Robin and what is his name? Alex? Are siblings

(48:06):
and then their friend. Now am I getting this wrong? No?

Speaker 3 (48:10):
Are they all siblings?

Speaker 2 (48:12):
Yeah, that's right, that's right because Jamie Lee Curtis is
Kimberly Hammond and then there's Alex Hammond and Robin Hammond.
So the three siblings show up. The older sister, Kimberly
has she forgot her book, just like in Halloween. Somebody
forgot their fucking book and how to go back to school.
And then the younger, the boy alex is like, fuck this,
I'm not hanging around. But Robin wants to be a
part of the group. She goes in there, she gets bullies,

(48:33):
she falls out a window. We jump forward six years right,
and six years later we are in six years later,
six years later, we are in the grand eighties tradition
of teenagers looking like forty year olds, like high school age.
Jamie Lee Curtis in this movie looks like she's already
eating activia.

Speaker 3 (48:52):
I mean, come on, that's that's boomers for you. Man.
They look I mean, that's the thing that people point out,
Like Jason Alexander in Seinfeld in episode in episode one,
season one, in nineteen eighty nine, he's thirty years old, damn,
Like dude's got Dude's got two strips of hair along

(49:15):
the side of each side of one on each side
of his head and is bald and short and looks
forty five years old and he's thirty. Like they just
aged different. It's what's happening to gen Z right now.
Like there's a great story of where a guy waited
out for several hours to get an autograph from the Rock,
and the Rock went an autographed for him, and he said,

(49:36):
what's your kid's name? And what your kid's name? Oh,
this is for me, you know. Oh okay, you know,
and he gives it signs his name and he's like,
you know, you know, us middle aged guy's got to
stick together. And then he showed a picture of himself.
He's like, reader, I'm twenty five, but you look at

(49:57):
him and he's like, oh, I see what the Rock saw.
Twenty five going on fifty.

Speaker 2 (50:02):
I guess what I should have said was, what's the
deal with these funny your old teenagers? Yeah, because if
there's one person who's really concerned about what age you are,
it's Jerry Seinfeld.

Speaker 3 (50:15):
But the thing is is Jamie Lee Curtis was twenty two,
twenty one years old when she made this movie. But yeah,
she does look like she's thirty. But then she didn't
age from there. That's the whole thing.

Speaker 2 (50:26):
Yeah, no, no, look, Jamie Lee Curtis is.

Speaker 3 (50:27):
Still fucking beautiful. She's sixty six years old. She you know,
she aged gracefully. She aged like a bottle of wine.
But yeah, a lot of this is the era aware
when we look at them, they look fucking like like
the guy Lou. That guy Lou doesn't look like he's
a jerk high school student. He looks like the guy
that hangs out in his Camaro after high school waiting

(50:51):
to pick up a fifteen year old girl to take home.

Speaker 2 (50:53):
I would do an entire separate episode on Lou's unibrow.
Like the unibrow on Lou, I'm telling you, gentle listener,
Dominic Toretto could chase Owen Shaw down that cranial runway
for six fucking miles. That dude looks like a caveman.

Speaker 3 (51:13):
But yeah, no, no, no, not only does he look like
a caveman, he's off brand Richard Tyson, he's Timu Richard Tyson.
I swear to god it was Richard Tyson. There perhaps
that get and then it's like, oh no, it's Timu
Richard Tyson.

Speaker 2 (51:28):
That's another name I've not heard in a long time.
Richard Tyson, the bad guy from kindergarten cop Richard Tyson.
Is that three o'clock high Oh dear god, wow, man,
that that was. That was another deep pull. I appreciate that. Yeah,
he is kind of that and then also they dress
him like Travolta in prom Night, and then he and
Wendy have got this vengein plot going on straight out

(51:50):
of carry. I'm just like, you can't give me Lou
and tell me it's Travolta. That's I just I can't.
I will Revolta against this Travolta.

Speaker 3 (51:59):
I do love how sleazy Lou is the whole fucking like,
talk about your true sleezy asshole characters. Oh yeah, he's
the He probably has the most depth of any character
in this movie because everyone The one thing I will
say is the characterization in this movie, everything you like
about the characters is all in the performance. It ain't

(52:20):
in the fucking writing, because everyone has one note and
they are asked to play it over and over again.
And Lou is the one guy who you know, he's
just kind of a pervert and he just wants to
fuck any of these girls, Like he comes up and
hits on all three of them at once, like waiting
hoping one of them takes the bait. And then later
on he decides to fuck with jb Lee Curtis while

(52:42):
wearing the mask and then gets into a fistfight with Alex.
You know that's a whole big thing. Uh, you know,
and then he decides to get revenge. But even then
he like shows up in his fucking car, not in
a suit for prom, with his two buddies in tow
and they're all just drinking and smoking and like the

(53:02):
the you know, the the villainess of the movie, so
to speak, the sub villain is just, you know, like,
what the fuck is even going on here? This makes sense?
And he's you get that this guy is a world
class small town fuck up and that he's just an ignorant,
fucking bully, bullshit guy who's gonna end up working at

(53:26):
the gas station in ten years.

Speaker 2 (53:27):
Like I didn't realize Canada had Richard link letter movies,
but they clearly drove out of one when they show
up to pick up Wendy.

Speaker 3 (53:35):
Oh they fucking do.

Speaker 2 (53:36):
And it's crazy to Wendy, by the way, played by
Anne Marie Martin, who uh you know, she she only
really acted until nineteen eighty eight because she stopped acting
to pursue her first love, equestrian arts. This is a
true story. But she also got married because I noticed
I was looking through her IMDb and I saw she
was credited on one screenplay and it was Twister. And
it's because she married Michael Crichton and the two of

(53:58):
them co wrote fucking twist strew together.

Speaker 3 (54:01):
Fuck yeah.

Speaker 2 (54:01):
In her limited amount of screen roles, I did notice
that she is in the made for TV Doctor Strange.

Speaker 3 (54:10):
Oh nice.

Speaker 2 (54:11):
So I was like, yeah, there's there's a poll for
Cargo right there.

Speaker 3 (54:14):
Oh boy, Yeah, that movie's a whole.

Speaker 2 (54:17):
Thing, not Doctor Mordred. We're talking about the made for TV.

Speaker 3 (54:20):
I know exactly what you're talking about from the seventies
when CBS was making Thor movies and Incredible Hulk movies
and it spun off into an Incredible Hull TV show
and then they had the Trial of the Incredible Hulk
in which they brought in Daredevil. Oh I know, I
know this run of movies like the back of my
fucking hand.

Speaker 2 (54:39):
I know you do. I was telling them, and he points.

Speaker 3 (54:41):
To the fourth wall. How dare you, sir? This is
just the two of us building castles in the sky,
just the two of us, you and I.

Speaker 2 (54:51):
Now Will Smith comes in with his track to lay
on top of that, right, that's how this works.

Speaker 3 (54:54):
Oh yeah, straight up of it as well. Willennium book hey.

Speaker 2 (54:58):
Man, that song slaps. So I got to watch this
movie with unfiltered wife. And a lot of times you
may find this hard to believe, Jokie On's, but a
lot of times when I watch movies for this show,
my wife decides to do anything else, like no bomb,
anything like. And I don't even blame her, like, I

(55:20):
get it, I am me, So I get it.

Speaker 3 (55:24):
My wife kind of does the same thing. My wife
loves this stuff, and yet a lot of times she's like,
what are you watching this week? Yeah, you're flying on
your own this week, sailor.

Speaker 2 (55:34):
So I was really surprised when she was like, yeah,
I'll watch that with you, owen, I've never seen that one,
and the comments that she made, like early on in
this movie, after you know, we're introduced to the teenage
version of the characters from the beginning of the movie,
the killer starts to make the calls like he's Steve
BOUSHIMMI and fucking Billy Madison, right, and so it just
keeps happening and keeps happening, and my wife eventually just went,

(55:56):
oh my god, there are so many phone calls in
this movie. And I was like, yeah, this movie is
brought to you by Ma Bell because again it's a
trope of Giallo films. The killer starts to make these
menacing calls, and he's calling all of the people who
swore to keep secret the death of that poor little
girl at the beginning of this movie.

Speaker 3 (56:14):
So why would you in any universe think that this
subplot about this escaped madman has anything to do with
the movie.

Speaker 2 (56:26):
Yeah, no, it was added in post. There was a
lot actually added in post because the first version of
this movie got a PG rating and the producers at
Avco were terrified that no teenagers were gonna go see
a PG rated slash of film, so they actually went
back and added a lot of extra nudity and gore.
And this subplot with this this maniac who's been in

(56:47):
the hospital all these years but then breaks out six
years Like, again, we get it. Halloween was awesome. Like,
I don't know if Erwin Yablins give you carte blanche
to rip everything off from the movie, but sure, so
we have this like the guy who got blamed for
the death at the beginning of this movie because the
kids kept it secret. He was being chased by police,
the car flipped. He's got set on fire. He's been
in the hospital, he's broken out. We don't know where

(57:08):
he's going. He's one of the red Herrings. Then we've
got mister Sikes, the creepy janitor, who, again unfiltered wife
at one point, in complete sincerity, looked up and went,
is that Jeremy Piven? Which I thought was so fucking funny.
She thought he looked like Jeremy Piven. I thought he
looked like Jermaine Clement myself. But so you've got the
creepy janitor, right. So now we've got the escape killer,

(57:29):
We've got the creepy janitor. We've got lou who hates
Jamie Lee Curtis's boyfriend Nick. Like, there's all of these
like it could be this person, it could be this person,
it could be this person.

Speaker 3 (57:38):
Then out of the blue, another character, randomly Player two
has entered the movie. Slick shows up.

Speaker 2 (57:45):
Dude. We need to talk about.

Speaker 3 (57:47):
We need to talk about Slick.

Speaker 2 (57:49):
Slick aka Seymour might be the ugliest and most confident
dude in any horror movie.

Speaker 3 (57:56):
Ever, and successful at it. He is the character that
in most eighties movies they would be joking about there's
a character like it, looks almost exactly like him, and
thank god it's Friday, you know that. You know, you're
supposed to be laughing at and laughing about and instead
he's really good at what he does. There's a great

(58:18):
moment later in the movie where he shows up at
prom and he's introduced, this is Seymour. Yeah you can
call me slick. Oh, I can tell. Like, it's just
it's just a great moment, like everybody is really into
this dude's vibe. And then this dude goes and gets
fucking high and gets fucking laid and and in the
coolest kind of like in one of the best sequences

(58:40):
of the movie in a number of ways, where he
you know, she's like, h oh, how is it for you?
And he's like, oh, you were the best. She goes, really,
it was my first time too, and he laughs and
it's like really funny and cute, and then she's like,
let's go do it again. Wow. You know, this is

(59:01):
very anti nineteen eighties. There's a whole other subplot of
this movie that's just the opposite of that, which is
the good girl who doesn't want to want to get
it and the guy does, and the guy's being a
fucking jat gas about it.

Speaker 2 (59:12):
Yeah.

Speaker 3 (59:13):
So it's interesting how the movie is playing around with
very realistic, you know, high school points of view. But yeah,
Slick is rad and stole my fucking van.

Speaker 2 (59:25):
Yeah okay, okay, First of all, Slick is to give
you an idea what this guy looks like. He's a
little he's a little teapot king. He is short and stout.

Speaker 3 (59:34):
Here's my handle, here's my pot.

Speaker 2 (59:35):
Exactly, And he's driving around in a van that looks
like if the eighteen were all sexual predators who had
to go door to door letting people know whenever they
showed up in a neighborhood.

Speaker 3 (59:45):
I told you it was my van.

Speaker 2 (59:47):
I did a I think I am reiterating more than clarifying.
And he's, you know, he's unapologetically a virgin, but he's
also betting the girl that's way out of his league.
I mean, he is the reason, by.

Speaker 3 (01:00:00):
The way, king who's not getting a date and who
feels you know, alone, and that nobody likes her. And
he comes up and he says all the right things.

Speaker 2 (01:00:09):
Yeah, but like there's just lines like do you remember
that commercial from the seventies of like, hey, good looking
we'll be back to pick you up later. It's literally
that it's one dude doing that, and it is successful,
and it is the reason why in this early eighties movie,
someone actually makes love in a Chevy van and that
is all right with me.

Speaker 3 (01:00:25):
Yeah, as somebody who came out of the you know,
the later part of that era, I've seen it happen.
I've seen the cheeseballs in the nice fucking car pull
up and the two hot girls hop in the back
seat and be like that actually works, Like do you
girls like to party? Actually worked? What I've seen it happen.
So you know the oh, I just always I give

(01:00:48):
anytime I see a beautiful woman, I give her a
ride and she's like, all right, we're going straight to school.
He got straight to school.

Speaker 2 (01:00:54):
I'm especially alright with Slick making love in a Chevy
van since that Chevy van then explodes five minutes later
in an unexpectedly impressive fireball.

Speaker 3 (01:01:03):
It explodes a little early on the fall, but it's
a it's an otherwise impressive fireball.

Speaker 2 (01:01:07):
Well, it happens to a lot of guys their first time.

Speaker 3 (01:01:09):
Okay, let's say I know the premature explosions.

Speaker 2 (01:01:13):
By the way, the director revealed later that Paulin revealed
later that the stuntman had stolen that van that exploded,
and I'm like, okay, that's rock and roll of shit.

Speaker 3 (01:01:24):
That is that is they attags shelter as fuck the
vanily blew up stole it. After these messages, We'll be
right back.

Speaker 2 (01:01:39):
These kids are having a fabulous time with mister microphone,
the cordless microphone that actually puts.

Speaker 3 (01:01:45):
Your voice on the radio.

Speaker 2 (01:01:47):
There are no attaching wires, so you're free to move
around broadcast over any FM car radio. Hey, good looking,
We'll be back to pick you up there.

Speaker 3 (01:01:58):
Professional entertainers use means microphone for rehearsing.

Speaker 2 (01:02:04):
I got one, I got one, I got one, I
got I.

Speaker 3 (01:02:09):
Got any microphone in it's practical and great fun for
the whole family. And it's only fourteen eighty eight. Mister microphone,
by two or three.

Speaker 2 (01:02:18):
They really make great Christmas gifts. By the way, speaking
of this whole series, I got to connect a dot
here really quickly. First of all, I forget every time
I talk about him or see him in a movie
that Leslie Nielsen was Canadian like, I don't think that
ever fully sunk in with me, So it makes total
sense why he's here. This is the same year that

(01:02:40):
Airplane is released, So this is a real crossroad moment
for the two Leslies, the sort of like uh, serious
dramatic slash horror actor and the guy that would just
go on to be, as Roger Eber put it, the
Laurence Olivier of spoof movies. Yeah, but it just he
brings so much gravitas to the film, which is ironic
given that he is such an on set prankster. And

(01:03:01):
apparently from all the cast members had this fart sound
effect device that he liked to walk around with, and
he would literally just go stand next to.

Speaker 3 (01:03:09):
People and God bless that man.

Speaker 2 (01:03:11):
And make the sound and not acknowledge it and see
how long it took them to acknowledge something, and then
if they did, just be like, oh, excuse me, and
then walk out. And apparently he did this at the
hotel bar where they were all staying, and the other
person at that hotel bar was Christopher Plumber. So the
last three people at the bar are Leslie Nielsen, Christopher Plummer,

(01:03:33):
and Michael Tough or Michael Toe who plays Alex. And
so Leslie Nielsen keeps hitting the fart machine over and
over again. And then Leslie Nielsen leaves to go to
the bathroom and Christopher Plummer turns to the kid that
plays Alex and goats he really has a problem, doesn't he.
This is your Canadian prince, Leslie Nielsen.

Speaker 3 (01:03:54):
Oh God, bless that man, God bless him. I am serious,
and don't call.

Speaker 2 (01:03:59):
Me I I do like that. Jamie the Curtis gets
a dance sequence in the movie because auence, it's pretty solid.
It's a pretty solid dance sequence, uh, you know, because
she is a classically trained dancer. In fact, she did
a series of pantyhose commercials in the eighties and her
legs were insured by like Sotheby's right like, and she's

(01:04:20):
doing this dance. It's a lot of shoulder work, but
it's got the occasional balletix steps pepper dance. It's a
little disco, a little classical training as well. And the
theme song that they're dancing to for this movie the
problem Not everything is alright, all right, you know, we
don't get enough disco horror themes, and I'm really happy
that we have this one. But I also love that

(01:04:41):
composer Paul Zaza literally had to write all the disco
music because the director had them dancing to actual popular
disco music, thinking oh, we'll get the rights later, and
then they found out how much the rights were gonna cost,
Like the worst one has Loved Me Till I Die,
which is on this soundtrack, which is just an egregiously
plagiarized version of I Will Survive, but egregiously egregiously plagiarized.

(01:05:08):
So sads I had to write six soundedlike disco songs
over like five days, and apparently Paul Lynch told like,
He's like, Paul, how close do you want these songs
to sound like the music that we were He's like, well,
they have to line up. So what I want you
to do is make them close enough that we get sued,
but not close enough that they win, which I think

(01:05:29):
is like, again, just so fucking rock and roll Canadian
attack shelters.

Speaker 1 (01:05:41):
That's the way.

Speaker 6 (01:05:41):
There's ghosts, Saluma, it's not the same.

Speaker 3 (01:05:51):
They did get sued and they settled for fifty thousand dollars,
which is a hell of a way to get those
those tracks.

Speaker 2 (01:05:58):
Yeah, they got sued for ten million and settled for
ten thousand. Like I love that I love that they're
just like, yeah, we're we're gonna get sued, but we'll
figure out a way. But to Cargill's point, this is
one of the most oddly paced slasher films that I've
ever seen. In fact, there's only one other slasher film
I've ever seen its pace like this, and this one works,
and that one doesn't. Prom Night works, Final Exam does not. No,

(01:06:20):
And these are two movies, the only two besides.

Speaker 3 (01:06:22):
I remember watching Final Exam with you one afternoon, yes,
and we were just like we were watching, looked at
our watching. We're like forty five minutes in, and then
there's a terrorist attack and we're like, oh, this just
got injured. Oh it's fake Yeah.

Speaker 2 (01:06:35):
Yeah, there's fake outs and there's you know, false scares.
But the first kill in that movie doesn't happen for
over an hour. That's exactly what happens in prom Night.
The first actual kill by the killer doesn't happen for
over an hour. And I kept sitting there racking my
brain thinking about why does prom Night work and something
like Final Exam does not when they're paced the same. Well,
it's because we actually get to know when like the

(01:06:57):
characters and prom Night, and a lot of that, of
course is just the natural charisma of somebody like Jamie
Lee Curtis. But honestly, all these actors are very likable. Again,
might just be a Canadian thing. I don't know, but
I like all of the characters in this And I
say Canadian thing because a movie that a lot of you,
if you haven't been paying attention to the show for
a long time, are probably like, why aren't they talking

(01:07:19):
about my bloody Valentine on Go Connuct Yourself? It's because
we did an episode on that many years. But that
was my big takeaway from that movie is I like
all the characters in this slasher movie, despite the fact
that almost none of them were recognizable to me. And
it's just something about I think Canadian horror movies that
they do a better job of making you like all
the characters before they start hacking them to pieces, which

(01:07:41):
is why Prom and I can get away with the
deaths taking progressively more and more time between them and
the killer appearing, you know, in longer intervals between like
when we see the killer and when the demise actually happens,
like that the way that uh, what's her name Wendy
is killed, we see the killer and then he's chasing
her around the school for us solid twenty.

Speaker 3 (01:08:00):
Minutes and it feels like it but it really does.

Speaker 2 (01:08:04):
It does, but in another way it works like there's
just yeah, it's odd.

Speaker 3 (01:08:09):
Yeah no the minute the minute the killing start at
minute sixty three. The movie is a very good, tense
horror movie that you know with just that is about
to explode. Yeah, and it's it's really well done. It's
a lot of fun, some goofy kills that are great,
like a beheading that is awesome. Sorry, Lou, that's one

(01:08:32):
way to fix I guess yep. And then you know
the big how could you not see it coming? Twist
of who is? Who could the killer be? Well, there's
not really a lot of real suspects here if you think,
if you think about it at all, uh, if you
now the thing is is at the time, they would

(01:08:55):
throw red herrings at you in a lot of these
movies and have a wild ass twist where it was imposed.
That was especially Giallo's thing. It was impossible to know
who the killer was until they told you and then
gave you their egregious backstory, and you know, we get
big flashbacks and find out what their deep seated trauma is.

(01:09:16):
Uh no, this is just like oh yeah, yep, that's
who I thought it was. Yep.

Speaker 2 (01:09:21):
Yeah. And in this movie, like you said, the Leonard
Merch the killer who was apparently blamed for the death,
that was added late in the production. The original version
had extended scenes where it kind of looked like their
mom was starting to trip a little bit. And actually
that was one of the things that unfiltered wife was like, Oh,
I know it is. It's the mom, just in her
brief appearances seemed a little unhinged, and there were more

(01:09:43):
scenes that were cut out that made her seem like
she might also be the killer. So there are so
many red herrings in this movie that they added some
and took some out.

Speaker 3 (01:09:52):
Like they even tried to pin it on Lensley Nielsen
there in the last ten minutes, yeah, or like where's
your dad, I don't know, he's not here. Oh, someone
else will have to walk you out on stage then
while your dad is killing all the other students.

Speaker 2 (01:10:07):
The way Kelly's death they shot, it almost looks like
the boyfriend that she spurns.

Speaker 3 (01:10:12):
Yeah.

Speaker 2 (01:10:12):
He was played by Jeff Wincott might also be the killer.
There's red herrings all over this fucking movie.

Speaker 3 (01:10:17):
Yeah, yep, Now tell me all of that stuff with
the the sec the escape Killer, that was all reshot right.

Speaker 2 (01:10:26):
The so the escape Killer stuff was added late, like
very very late, and I think a lot of it
was added in reshoots, Like a lot of the actual material,
like seeing that guy and him being on fire, I
think a lot of that was reshoots, but it was
It definitely wasn't in the original script to have this
character who was you know, we're gonna pin it on
him and he escapes and oh shit, is that him? Etcetera, etcetera.

Speaker 3 (01:10:48):
What if Michael Myers's escape but Michael Myers is really
fifty miles away and in Ted Bundy's.

Speaker 2 (01:10:53):
Car, Michael Myers is getting the hell out of Dodge,
Like Michael Myers is already in Saska fucking tune, like
he's getting out here. He wants nothing to do with this,
and no, I'm sorry you can. They use an actual
phone number in this movie at one point, and it's
the fax number for the Grandview Heights, Ohio Parks and
Wreck Department, which is hilarious. They go so far to
try and convince us this movie is not shot in Canada.

(01:11:15):
They're giving us actual Ohio Fax numbers. But no, no, no, no,
I'm sorry. This is filmed in the Hammer for sure.

Speaker 3 (01:11:21):
Yes, yes, this is this is Toronto, Toronto.

Speaker 2 (01:11:25):
By the way, I think Unfiltered wife nailed it. At
one point she got very upset with Jamie Lee Curtis's
prom dress. She because my wife is very much about
fashion in movies, and at one point she said she
saw Jamie Lee Curtis's dress and she goes, I feel like,
nineteen eighties Canada is just nineteen seventies America. And I
was like, yes, that is correct. It took a little

(01:11:46):
while longer for Canada get the eighties. We know this.
And she's like, yeah, she looks like she's going to church,
like she's going to disco church, and I desperately want
to go to a disco church.

Speaker 3 (01:11:55):
Ladies and gentlemen, they didn't shoot this in nineteen seventy
nine in the height of discs craze, So.

Speaker 2 (01:12:01):
Seventy nine was not the height of disco craze. By
the times, We've talked about this before. By the time
Saturday Night Fever was released, disco was pretty much dead,
Like it was such a flash in the pan thing
that a lot of the seminal works of disco culture
came out after disco was already dying off. But I
would believe a thousand percent, I will bet a thousand
loonies on this that it was still very big in

(01:12:22):
Canada in the early eighties.

Speaker 3 (01:12:24):
Well, what I will say is the very last disco
hit of all time was released in June of nineteen
eighty one.

Speaker 2 (01:12:31):
So what song is that?

Speaker 3 (01:12:34):
That is a funky.

Speaker 2 (01:12:35):
Town Oh my lips Incorporated.

Speaker 3 (01:12:38):
Yep, that is the very last disco hit and it
was released two months before MTV.

Speaker 2 (01:12:45):
Premiered Interesting before Video Killed the Radio Star. So we
get to the end of the movie and it's time
for the reveal. We've been juggling all these red herrings.
And I gotta say, for all of the for all
of the things you may find a little bit dated
about this movie that we think are legitimately good, whatever,
take this movie with a grain of salt, whatever, you
have to admit, that reveal at the end is fucking great.

(01:13:08):
Like we have been balancing all of these red herrings.
You know, we shot extra ones, we took some out whatever.
The ending of this movie where Jamie Lee Curtis basically
brains the killer who's wearing a sparkly ski mask like
he's David Bowie going to veil, I don't know, like
this glam rock fucking ski mask, and she hits him
with the back of the axes carrying and like basically

(01:13:31):
brains him. And there's just this moment where he looks
at her through the mask and it's just like the
expression of his face is almost one of emotional hurt,
like how could you do that to me? And the
recognition on her face when she realizes it's her younger brother. Ye,
it's Alex, who has spent most of this movie just
being this sweet, little adorable you know, like he's one

(01:13:51):
year behind them in school, and you know he's standing
up for Jimmie Lee Curtis against lou and you know
he's just like he's a sweet kid, but he's the
one doing it. And it's possibly the most sympathetic killer
of any slasher movie I've ever seen.

Speaker 3 (01:14:05):
Yeah, I mean, the thing is that at the end
of the day, it's one of those where he's not wrong.
None of those characters get redeemed like, of course any
murder is wrong, yes, but you know, in terms of
movie logic, they got away with killing her sister because
they were being fucking asshole bullies and she died and

(01:14:29):
they didn't face any consequences. And now the one thing
that could be said is mom and dad have been
searching for the killer for six years. We find this
out at the beginning, that they're still following leads on
who killed their daughter, and the kid has never spoken up.
And the thing that I think this movie could have
done is expounded upon that with Alex saying they were

(01:14:52):
never gonna get they were gonna be held as kids,
they were never going to be held accountable for what
they did. Someone had to hold them to account of
or and my sister. And had he said that, he'd
be like, oh, like perfectly fucking logical. And and that's
there in the subtext to a certain extent, insomuch as

(01:15:15):
they are trying to hide who the actual killer is
and and dressing red herrings around it. So we never
really get a really because this movie ends right at
the right at the climax, you know, he gets exposed.
They've got guns drawn on him, and that's it. He
says this thing, and then we have a flashback to

(01:15:36):
the to the abandoned uh mental hospital, and then we're
rolling credits and we're out.

Speaker 2 (01:15:44):
He was the shadowy figure that came back and saw
the body of his sister in the glass, the body
of Robin, And yeah, that's the big reveal. But I
also love the relationship between Nick, who is Jamie the
Curtis's boyfriend in this movie, played by actor Casey Stevens,
who tragically passed away in ninety four an AIDS related illness,

(01:16:06):
just kind of as his career was getting going. But
the relationship they have where he clearly loves her and
wants to tell her the truth but can't, I think
is such an interesting character dynamic between the two of
them that you don't get a lot in movies like this, So,
you know, kudos for you know, and I think a
lot of that's probably attributable to Paul Lynch and just

(01:16:28):
getting these performances out of these actors that really do
like they make you feel things, you are empathetic toward
these characters. Before we talk about the junk food pairing Cargill,
can we just briefly touch on this franchise because if

(01:16:48):
nothing else, guys, you need to watch Hello Mary Lou
prom Night two. It is fucking amazing.

Speaker 3 (01:16:55):
We've covered that, haven't we.

Speaker 2 (01:16:57):
We have not covered that guard well, then we.

Speaker 3 (01:16:58):
Will cover that. That is one that is a classic,
a wonderful, delightful classic in its own right. In fact,
I was texting with a friend of the show today
who will remain nameless, mister Lynch.

Speaker 2 (01:17:10):
Oh's the director of prom Night.

Speaker 3 (01:17:12):
Paul Lynch's director of prom Night, friend of the show.
That Lynch was like, well, that's why everyone talks about
part two.

Speaker 2 (01:17:20):
Yeah, yeah, no, It's just completely unhinged in the best
possible way. It's got a great cast, great effects, like
it really does feel like a Nightmare on Elm Street sequel,
and the tradition of at least the first three of
these movies all having amazing VHS covers, Like the covers
for the first three movies are all awesome, Like the
painted cover of the first one with the killer holding
the piece of glass and there's like a woman hanging

(01:17:42):
upside down within the shard of glass. Like it's great
despite the fact that the killer has brown eyes on
the poster and Alex definitely has blue eyes. I guess
that's another red herring changing brown to blue as a
red herring, I just lost the color wheel entirely. But
then Hello Mary Lewis got the Great prom Queen in
the Casket VHS cover prom NYE three The Last Kiss
has a motorcycle coming up out of a grave like

(01:18:03):
another great cover, even though that one I will say
because I watched the whole franchise in preparation for this.
For this episode, prom Night three, The Last Kiss is
a totally confused nightmare that feels more like early Peter
Jackson than it does a prom Night sequel, but the
last ten minutes where the characters literally go to the
prom in actual hell oh yes, well worth your time

(01:18:25):
to get there. And then the fourth one is called
Believe It or Not Cargo, connecting everything back again. Prom
Night four colin deliver Us from Evil and really works
more as like a religious horror movie that, more so
than any of the other sequels, has no business being
in the prom Night universe, but is fun in its
own right. So yeah, I would recommend watching all of them,

(01:18:48):
but if you're only going to pick one sequel, it's
got to be Hello Mary Lou prom Night too, yeah.

Speaker 3 (01:18:52):
I would you know, Hello mar Hello Mary Lou prom
Night Too is one that's been bouncing around one. You
should definitely check out. A lot of the online sources
still have the old VHS rip. It's very worth tracking
now if you can find a Blu ray or DVD
of it, or if you can find a stream that
does have the whole thing. I've almost because it's been

(01:19:16):
decades only seeing it on VHS. I've been dying to
show the thirty five millimeter print that AGFA has nice
because they apparently have a beautiful thirty five print, and
I'd like to see the other forty percent of the
movie that I've been missing.

Speaker 2 (01:19:30):
So Cargo, what we need to do is, because Prom
season is going to be upon us in a couple months,
we need to go to AGFA and propose doing a
junk food cinema screening of Hello Mary Lou prom Night
two with the AGVA thirty five prints somewhere in town.

Speaker 3 (01:19:44):
I would not have a problem with that.

Speaker 2 (01:19:46):
Let's get it done. So that brings us to the
junk food pairing. And for this one, I'm taking a
line straight from the movie and I'm gonna canadadize it,
which is a total word that I've made up. Don't
worry about it. If this movie can Americanize Canada, I'm
going to Canadadize. This scene where they Lou and Wendy

(01:20:10):
pull into a car hop drive in and he orders
a couple burgers, a large fry, and a coke. Now,
I don't want you to get just any couple of burgers.
What I want you to try and find, and I
know it's not possible. Live in the alternate dimension where
you can do this. Go to an A and W
Canada drive in and get the discontinued surloin Burger twins because.

Speaker 3 (01:20:32):
The side of pine with a side of.

Speaker 2 (01:20:34):
Poutine gravy fries one thousand percent. So in an excise scene,
it was revealed that Alex and Robin were not only siblings,
but they were twins. And if you watch the opening
of this movie, they're wearing matching shirts. They literally look
like tweetl dumb and tweedl d like. They're wearing these
weird black and white striped shirts that match. Because it
was going to be revealed that they were twins. Now
does the movie lose anything for them not being twins? No,

(01:20:56):
I don't think so, but it is a direction that
they were going to go. So the A and W
Canada this is what I love about Canada, so we
it started as an American drive in chain, right, and
then Canada decided they wanted to do their version and
split off from the American A and W brand. And
for years and I got this confirmed by Canadian listeners

(01:21:16):
on Blue Sky that there were actual A and W
drive ins in Canada where you could go and get burgers,
and then a whole series of burgers that were named
after members of the family. There was the Papa Burger,
the Mama Burger, etcetera, etcetera. And there still are, I believe,
the Mama Burger and the Papa Burger, but some of
the discontinued ones are like the Grandma Burger and the
Surloin Burger. Twins. So, in honor of all of this,

(01:21:40):
in honor of the fact that Canada is keeping the
grand tradition of drive in restaurants alive and car hop
car hop restaurants alive. In the grand tradition of this
movie cutting things out like the fact that Alex and
Robin were twins, I am going to suggest the Surlein
Burger twins from an A and W Canada Drive, in
which I think we should rename just for delineation purposes.

(01:22:02):
A and W like E H and W and cargo
just went back to Toronto. I don't know what happened there?
Are you still? There?

Speaker 3 (01:22:17):
Was playing the gag? Oh?

Speaker 2 (01:22:19):
I thought you, I literally thought you.

Speaker 3 (01:22:21):
You went back to Toronto the crickets.

Speaker 2 (01:22:24):
I literally thought someone in a glamour ski mask had
shown up and cut you with a piece of glass.
Sorry about that.

Speaker 3 (01:22:30):
Nope.

Speaker 2 (01:22:32):
Do you have a different chunk food pairing.

Speaker 3 (01:22:33):
For the No, My junk food pairing is always poutine.

Speaker 2 (01:22:37):
This is gonna be poutine for every movie.

Speaker 3 (01:22:39):
Let's let's be honest here, it's this is Canadian tag
shelter stuff. It is pootine.

Speaker 2 (01:22:44):
I love it. And we're not just poutine you on, folks,
And that's look.

Speaker 3 (01:22:48):
You know, look if you if you'd like something other
than poutine. This is the king of all dressed chips.
Like this has everything in it, Like there's a lot
going on. There's so much in here. You're like, why
did you throw that in there? Because it's in there,
it's all dressed. Let's go.

Speaker 2 (01:23:03):
I love it. I love it. I love that you're
sticking with the Canadian theme as well. Really, I really
appreciates that about you.

Speaker 3 (01:23:08):
That's what you appreciates about me.

Speaker 2 (01:23:10):
Figure it out. Thank you for joining us on this
episode of prom Night. We hope it was a night
to remember. If you would like more Junk Food Cinema,
you can find us on your favorite podcast or follow
us on social media. And if you really like the show.

Speaker 3 (01:23:21):
I mean you really like the show.

Speaker 2 (01:23:22):
You like it as much as Canadians love Denim on Denim,
you can go to Patreon dot com slash Junk Food
Cinema financially support the show, get some bonus content, keep
our lights on. We greatly appreciate it. Cargil, where can
people find you on the interwebs.

Speaker 3 (01:23:35):
You can find me on Blue Sky at c Robertcargill
dot Bluesky dot Social and you can find my new
movie The Gorge Dreaming on Apple Plus where you can
get a seven day free trial if you've never if
you don't have Apple Plus, and check out my new movie.

Speaker 2 (01:23:53):
Fan Frea fantastic. We are all over the socials, as
I said, so we're going to wrap this up. Do
we want to tell them what next week's movie is
or do we know yet? I'm not sure yet.

Speaker 3 (01:24:01):
I think you know?

Speaker 2 (01:24:05):
Is next week the movie about the bigger Jaws? Yes,
that's the movie Next week. When Jaws isn't scary enough,
you go for the next biggest animal in the ocean,
checking notes an orca. Really, guys, but it's called a
killer whale. I guess all right, it'll work. Okay, it's Canadian,
go run with it. Just fucking run with an Orca
nineteen seventy seven will be next week's movie, and I'm

(01:24:26):
super excited to dig into that. But for now, I'm
gonna wrap this up reminding you that if you don't
come home by midnight, you won't be coming home at all,
because by then Waterburger is definitely serving breakfast and they're
gonna have to wheel me out of there.