Groundhog Day

Well it’s Groundhog Day...again.

Episode Transcript

Speaker 1 (00:08):
Lived with Joe Little Hand in line, there ain't no
Illa Mountains weekend line. I Got You Day, Okay, Camper's
Rise and Shine. Don't forget your booties because it's chok
food Cinema brought to you by Film School Rejects dot Com.

Speaker 2 (00:30):
Film School Rejects dot com.

Speaker 1 (00:32):
Dot Com Todd Deja Vu. This is, of course, the
weekly Culton Exploitation Filmcast. So good it just has to
be fattening.

Speaker 2 (00:41):
So good, it just has to be fattening, so.

Speaker 1 (00:43):
Good, it just has to be fattening. I'm your host,
Brian Salzbrandham, joined as per usual by my friend and
co host. He's a screenwriter, he's a novelist, a lieutenant
at Megaphors, the Seer of Seers, prognosticator of prognosticators. Mister
c Robert Cargo.

Speaker 2 (00:58):
Brian Salisbury, It's me see Robert Cargill.

Speaker 1 (01:02):
You know you don't knows Cargill, which is something that
I feel like I should start saying. Anyway, Absolutely of
the time, guys. This entire podcast catalog is available on iTunes,
on Spreaker, on Stitcher, on Spotify, anywhere you cram things
in your ear holes, even if you've already listened to
them once, Maybe listen to them again. It may feel
a little familiar, but it's a fun thing to do.

(01:23):
You can also follow us on Twitter at Junk Food Cinema,
like the podcast on Facebook, Facebook dot com slash junk
Food Cinema. And if you really like the.

Speaker 2 (01:30):
Show, I mean you really like the show.

Speaker 1 (01:33):
If you like the show as much as Puck Satani
Pennsylvania loves worshiping a rat, you can go to Patreon
dot com slash junk Food Cinema, where for as little
as a dollar an episode, you get access to bonus
content that nobody else gets to hear. Well, I bet
you can't guess what we're covering this week.

Speaker 2 (01:48):
I don't know.

Speaker 3 (01:49):
Is it part of fbumry?

Speaker 4 (02:00):
We came, we saw, we kicked it, tat, I'm a god.
You're on a gravy train with biscuit wheels.

Speaker 5 (02:06):
I'm a guy. I'm not the guy. Yes, it's true.
This man has more dick. Goodbye, Venus.

Speaker 6 (02:12):
Do you have any regrets?

Speaker 7 (02:14):
Garfield?

Speaker 5 (02:15):
Maybe?

Speaker 7 (02:15):
Papa hush fuck it now, I have to kill all
of you.

Speaker 5 (02:20):
Oh my god, look at all the joke food.

Speaker 1 (02:24):
See. Last month we covered quick change with Jason Robards
and Bill Murray. And now we make a quick change
from Jason Ewery Robarts to Februm Murray. This is going
to be a celebration of only some of our favorite
Bill I think it's important to say it's only going
to be some of our favorite Bill Murray films, because
he's one of our favorites in general.

Speaker 2 (02:44):
I think it's safe to say that it is a
month that's going to lack some balls, particularly meatballs, because
we're talking about our favorites here and not the films
we're not allowed to talk about anymore or don't want
to talk about it anymore.

Speaker 1 (02:56):
Not only will it lack balls, but there will be
us saying that this month has no dick. So I
just feel like it's a very cast traded februmary that
we're going for here.

Speaker 2 (03:04):
Well that's what I heard, dude. We were talking quick
change and it just came to me and it's like, dude,
there's so many Bill Murray films we need to cover,
and Februmurray's right there. It is right fucking there.

Speaker 1 (03:20):
Yeah. I mean, we are sadly behind on celebrating some
of our favorite Bill Murray movies. If we are. If
we had planned this first quick change, definitely would have
been on there. But I couldn't think of a better
way to kick off Februmury than to post the first
episode on February second and cover a film from nineteen
ninety three that is not only one of my favorite
movies of all time, but it's likely my favorite rom

(03:41):
com ever, and that is, of course, Groundhog Day.

Speaker 7 (03:50):
High Time.

Speaker 8 (03:50):
One thousand people freezing their butts off waiting to worship
around whither Men.

Speaker 9 (03:56):
Phil Connors is spending the day in Pucksatani, Pennsylvania.

Speaker 10 (04:01):
Real mad Man Ryerson, I did the whistling belly button
trick of the High School Talent show Bang.

Speaker 9 (04:09):
But Phil's about to find out He's not just stuck
in pucks ATONI.

Speaker 11 (04:14):
Will you be checking out today? Mister commers?

Speaker 12 (04:17):
Chance a departure today?

Speaker 2 (04:18):
One?

Speaker 12 (04:19):
He's stuck in the Groundhog Day.

Speaker 13 (04:25):
I'm reliving the same day over and over, real Ned Ryerson.

Speaker 14 (04:32):
Bang.

Speaker 7 (04:32):
Do you ever have deja vu? Missus Lancaster?

Speaker 11 (04:35):
I don't think so that I could check with the kitchen.

Speaker 15 (04:37):
Well, it's Groundhog Day again. At first, he was a
little anxious, No, wh.

Speaker 11 (04:44):
Will you be checking out today?

Speaker 7 (04:45):
Mister commons, I'd say the chance to departure is eighty percent.

Speaker 12 (04:50):
But now we could do whatever we want. He's discovering
the possibility.

Speaker 7 (04:58):
Don't you worry about stroll.

Speaker 9 (05:00):
Why and living life like there's no tomorrow, Phil Connors,
because there isn't.

Speaker 5 (05:09):
I am an immortal.

Speaker 16 (05:10):
I have been stabbed, shot, burned, a frozen, electrocuted.

Speaker 5 (05:15):
I'm a god.

Speaker 7 (05:16):
You're god.

Speaker 5 (05:17):
I'm a god. I'm not the god.

Speaker 7 (05:20):
He's out of his gourd.

Speaker 12 (05:21):
But to get what his heart wants most.

Speaker 14 (05:23):
Are you looking for?

Speaker 10 (05:24):
Phil?

Speaker 6 (05:24):
A day for the weekend.

Speaker 9 (05:25):
Means living this day over again until he gets it right.

Speaker 6 (05:29):
Believe or not. I studied nineteenth century French poetry.

Speaker 5 (05:33):
What a waste of time?

Speaker 6 (05:36):
I study nineteenth century French poetry.

Speaker 12 (05:41):
You speak French, Bill Murray, Andy McDowell.

Speaker 8 (05:47):
Don't drive angry, don't drive angry.

Speaker 17 (05:53):
He might be okay, And that is, of course groundhog Day.

Speaker 8 (06:06):
Down time, A thousand people freezing their butts off waiting
to worship.

Speaker 2 (06:10):
A rat, And that is, of course groundhog Day. It
is a perfect film. You know, we talk about a
lot of movies here, you know, some that are are
not good but are great. And we talk about some
great films. It's rare that we talk about a truly

(06:30):
perfect film, and this film is truly perfect. It is
a film not only worth discussing, but worth studying. This
is a film I highly highly recommend to young writers
because this movie structurally is a perfect example of the
structure of the character arc. Like when if you want

(06:53):
a movie where you can set your watch to the
character arc of the movie and how it plays into
three extra sure, it is this movie. It is perfection.
It is the model of which every other film aims
to aspire to. It is a film that the idea
of which has It didn't invent the idea. The idea

(07:15):
had been around in science fiction a couple times before,
but never popularized like it was here. So much so
that there are a whole number of TV episodes and
movies that borrow this very idea, and it's always referred
to as a Groundhog's Day riff, like it is, let's
do Groundhogs Day again, but this and it's never never

(07:40):
just Groundhogs Day again, because you can't just do Groundhogs
Day again. It's what if we took Groundhog's Day and
added a new element to it, a new complication, and
several of them have done it brilliantly. You have movies
like Palm Springs, which geniusly brought someone else into the
night mare and it's two people stuck together in the

(08:02):
same day. You have something like Happy Death Day, which
is a wonderful riff on this, which adds the element
of it's the day a person gets killed by a
masked spree killer, but the added twist of all of
those wounds she keeps taking are accumulating, and these days

(08:24):
can't go on to get to Forever Murray style as
you initially thought. There's a whole mess of interesting riffs
on this concept, and yet they all go back to
the original, which is just perfection, Like you can't improve
on it. All of these are good. There's no film

(08:45):
that I think will ever come that people be like, yeah,
groundhog Day is good, but this is the better version
of Groundhogs Fucking no. No one's going to remake Groundhog's
Day better. Nobody's going to improve on Groundhog's Day. They're
just going to riff on Groundhogs Day, which is great.
But every time you go back to Groundhog's Day, Groundhog's
Day is fucking perfect.

Speaker 1 (09:04):
Okay, so I love you to death, but you keep
saying groundhogs Day, and part of me was just not
gonna correct you and make you sound like squirrely Dan
from Letterkenny, who just unnecessarily pluralizes things.

Speaker 2 (09:15):
That's what I appreciates about you.

Speaker 1 (09:17):
It's groundhog Day, it's Groundhog's Day.

Speaker 2 (09:20):
No, it is his day. It is plural. It's just
like if you've ever I mean, you know, we're eight
years into this fucking podcast. If you haven't noticed that
I say it crossed instead of a cross. That's gonna
melt your brain in as you go back to episodes
and start realizing that I have a weird quirk where
I just think that there's an D at the end
of that word. Is there?

Speaker 8 (09:41):
No?

Speaker 2 (09:42):
Do I spell it that way?

Speaker 7 (09:43):
No?

Speaker 2 (09:43):
But I sure pronounce it that fucking way, because goddamn it,
that's what I do, and I'm gonna pronounce it Groundhog's
Day the entire fucking episode. Whether you like it or not, Bryan.

Speaker 1 (09:52):
Remember the groundhogs Day and keep it holy.

Speaker 2 (09:57):
On this Groundhog's Day, you will bear your scars and
you will say I stood with him on Groundhog's Day.

Speaker 1 (10:04):
On Groundhog's Day, we are canceling the apocalypse. Just all
the famous speeches in movies and literature from now on
have to include the words Groundhog's Day.

Speaker 2 (10:14):
Those of you who recognize the Saint Crispin's Day speech
I was cribbing on can look forward to Kenneth Brent
April coming up soon.

Speaker 1 (10:21):
No God, we gotta stop doing this.

Speaker 2 (10:24):
After these messages, we'll be right back.

Speaker 18 (10:27):
Some people belong to the Bushwood Country Club for the
fine cuisine.

Speaker 14 (10:30):
This stakes to has March when the jockey was hidden.

Speaker 18 (10:33):
Some belonged for the stimulating conversation I will, and some
just don't belong.

Speaker 14 (10:39):
Do you think I'd join a crummy snobbatorium?

Speaker 18 (10:41):
Caddy Shank starring Chevy Change, Rodney Dangerfield, Ted Knight, and
Bill Murray as Carl. It's the Snobs against the Slobs
in Caddyshack Rated R now playing National, Westwood, Chinese, Hollywood
and others.

Speaker 1 (10:57):
Your little handed man, I ain't no ill Mountain, we
can't live. I got day, Okay, Camper's Rise and Shine.
Don't forget your booties because it's chok food Cinema brought
to you by Film School Rejects dot Com.

Speaker 2 (11:18):
Film School Rejects dot com.

Speaker 1 (11:20):
Dot com Todd deja vu. This is, of course the
weekly Culton Exploitation filmcast. So good, it just has to
be fattening.

Speaker 2 (11:28):
So good, It just has to be fattening, so.

Speaker 1 (11:30):
Good, it just has to be fattening. I am your host,
Brian salzbrandam joined as per usual by my friend and
co host. He's a screenwriter, he's a novelist, a lieutenant
at Megaphors, the seer of seers, prognosticator of prognosticators. Mister
c Robert Cargo.

Speaker 2 (11:45):
Brian Salisbury, it's me see Robert Cargill. You know, needn't knows.

Speaker 1 (11:51):
Cargill, which is something that I feel like I should
start saying. Anyway, absolutely of the time, guys. This entire
podcast catalog available on iTunes, on spreaker, on Stitcher, on Spotify,
anywhere you cram things in your ear holes, even if
you've already listened to them once, maybe listen to them again.
It may feel a little familiar, but it's a fun
thing to do. You can also follow us on Twitter

(12:12):
at Junk Food Cinema, like the podcast on Facebook, Facebook
dot com slash junk Food Cinema, and if you really
like the.

Speaker 2 (12:18):
Show, I mean, you really like the show.

Speaker 1 (12:20):
If you like the show as much as Puck Satani
Pennsylvania loves worshiping a rat, you can go to patreon
dot com slash junk Food Cinema, where for as little
as a dollar an episode, you get access to bonus
content that nobody else gets to hear. Well, I bet
you can't guess what we're covering this week.

Speaker 2 (12:36):
I don't know.

Speaker 3 (12:36):
Is it part of fabumry?

Speaker 4 (12:47):
You came, we saw, we kicked it ast I'm a god.
You're on a gravy train with biscuit wheels.

Speaker 5 (12:53):
I'm aga, I'm.

Speaker 2 (12:55):
Not the guy.

Speaker 5 (12:56):
Yes, it's true. This man has more tick. Goodbye Venus.

Speaker 4 (13:00):
Many were correct, Garfield, maybe Papa hush fuck it?

Speaker 2 (13:04):
Now I have to kill all of you.

Speaker 5 (13:08):
Oh my god, look at all the joke food.

Speaker 1 (13:11):
See last month we covered quick change with Jason Robards
and Bill Murray, and now we make a quick change
from Jason Newery Robarts to Februm Murray. This is going
to be a celebration of only some of our favorite
Bill I think it's important to say it's only going
to be some of our favorite Bill Murray films because
he's one of our favorites in general.

Speaker 2 (13:31):
I think it's safe to say that it is a
month that's going to lack some balls, particularly meatballs, because
we're talking about our favorites here and not the films
we're not allowed to talk about anymore or don't want
to talk about it anymore.

Speaker 1 (13:43):
Not only will it lack balls, but there will be
us saying that this month has no dick. So I
just feel like it's a very cast traded Februmury that
we're going for here. Well that's what I.

Speaker 2 (13:52):
Heard, dude. We were talking quick change and it just
came to me and it's like, dude, there's so many
Bill Murray films we need to cover, and Februmury's right there.
It is right fucking there.

Speaker 1 (14:07):
Yeah. I mean, we are sadly behind on celebrating some
of our favorite Bill Murray movies if we are. If
we had planned this first quick change definitely would have
been on there. But I couldn't think of a better
way to kick off Februmury than to post the first
episode on February second and cover a film from nineteen
ninety three that is not only one of my favorite
movies of all time, but it's likely my favorite rom

(14:29):
com ever, and that is, of course Groundhog Day.

Speaker 14 (14:37):
High time.

Speaker 8 (14:38):
One thousand people freezing their butts off, waiting to worship
around whither men.

Speaker 9 (14:43):
Phil Connors is spending the day in Pusatani, Pennsylvania.

Speaker 12 (14:49):
Phil man man Ryerson.

Speaker 10 (14:52):
I did the whistling belly button trick of the high
school talent show Bang.

Speaker 9 (14:57):
But Phil's about to find out he's not just stuck
in pucks ATONI.

Speaker 11 (15:02):
Will you be checking out today, mister Connors?

Speaker 7 (15:04):
Chance a departure today one hundred percent.

Speaker 12 (15:06):
He's stuck in the groundhog Day.

Speaker 13 (15:13):
I'm reliving the same day over and over real, Ned Ryerson.

Speaker 7 (15:20):
Do you ever have deja vu? Missus Lancaster?

Speaker 11 (15:22):
I don't think so that I could check with the kitchen.

Speaker 15 (15:24):
Well, it's groundhog Day again. At first, he was a
little anxious.

Speaker 11 (15:30):
No, wha will you be checking out today, mister.

Speaker 16 (15:33):
Commons, I'd say the chance to departure is eighty percent.

Speaker 5 (15:38):
But now we could do whatever we want.

Speaker 12 (15:44):
He's discovering the possibility.

Speaker 7 (15:46):
Don't you worry about cholesterol?

Speaker 4 (15:48):
Why?

Speaker 12 (15:49):
And living life like there's no tomorrow?

Speaker 18 (15:52):
Phil?

Speaker 7 (15:52):
Commerce? Ned?

Speaker 12 (15:54):
Because there isn't.

Speaker 5 (15:56):
I am an immortal.

Speaker 16 (15:57):
I have been stabbed shot bird I'm a frozen, electrocuted.

Speaker 7 (16:03):
I'm a god. You're god.

Speaker 5 (16:05):
I'm a god. I'm not the god.

Speaker 12 (16:07):
He's out of his gourd. But to get what his
heart wants most, are you looking?

Speaker 6 (16:11):
Fulfill a day for the weekend.

Speaker 9 (16:13):
Means living this day over again until he gets it right.

Speaker 6 (16:16):
Believer or not? I studied nineteenth century French poetry.

Speaker 5 (16:21):
What a waste of time?

Speaker 6 (16:23):
I study nineteenth century French poetry. You speak French.

Speaker 12 (16:30):
Bill Murray, Andy McDowell.

Speaker 8 (16:35):
Don't drive angry, don't drive angry.

Speaker 17 (16:40):
He might be okay, yes, And that is, of course
Groundhog Day, Groundhog tong A.

Speaker 8 (16:54):
Thousand people freezing their butts off, waiting to worship our.

Speaker 2 (16:58):
Rat, and that is, of course groundhog Day. It is
a perfect film. You know, we talk about a lot
of movies here, you know, some that are not good
but are great, and we talk about some great films.
It's rare that we talk about a truly perfect film.

(17:19):
And this film is truly perfect. It is a film
not only worth discussing, but worth studying. This is a
film I highly highly recommend to young writers because this
movie structurally is a perfect example of the structure of
the character arc like when if you want a movie

(17:41):
where you can set your watch to the character arc
of the movie and how it plays into three acts structure,
it is this movie. It is perfection. It is the
model of which every other film aims to aspire to.
It is a film that the idea of which has
It didn't invent the idea. The idea had been around

(18:03):
in science fiction a couple times before, but never popularized
like it was here, so much so that there are
a whole number of TV episodes and movies that borrow
this very idea, and it's always referred to as a
Groundhog's Day riff, like it is, let's do Groundhogs Day again,
but this, and it's never, never just Groundhogs Day again,

(18:28):
because you can't just do Groundhogs Day again. It's what
if we took groundhogs Day and added a new element
to it, a new complication, And several of them have
done it brilliantly. You have movies like Palm Springs, which
geniusly brought someone else into the nightmare and it's two
people stuck together in the same day. You have something

(18:52):
like Happy Death Day, which is a wonderful riff on this,
which adds the element of it's the day of person
and gets killed by a masked spree killer. But the
added twist of all of those wounds she keeps taking
are accumulating, and these days can't go on to get

(19:12):
to forever Murray style as you initially thought. There's a
whole mess of interesting riffs on this concept, and yet
they all go back to the original, which is just perfection,
Like you can't improve on it. All of these are good.
There's no film that I think will ever come that

(19:34):
people be like, Yeah, groundhog Day's good, but this is
the better version of groundhogs Fucking no. No one's going
to remake Groundhog's Day better. Nobody's going to improve on
Groundhog's Day. They're just going to riff on groundhogs Day,
which is great. But every time you go back to
groundhogs Day, Groundhogs Day is fucking perfect.

Speaker 1 (19:51):
Okay, So I love you to death, but you keep
saying groundhogs Day, and part of me was just not
going to correct you and make you sound like squirrely
Dan from Letterkenny, who just unnecessarily pluralizes things.

Speaker 2 (20:02):
That's what I appreciates about you.

Speaker 1 (20:04):
It's groundhog Day, It's Groundhog's Day.

Speaker 2 (20:07):
No, it is his day. It is plural. It's just
like if you've ever I mean, you know, we're eight
years into this fucking podcast. If you haven't noticed that
I say a crossed instead of a cross that's gonna
melt your brain in as you go back to episodes
and start realizing that I have a weird quirk where
I just think that there's an D at the end
of that word. Is there?

Speaker 18 (20:28):
No?

Speaker 2 (20:29):
Do I spell it that way?

Speaker 7 (20:30):
No?

Speaker 2 (20:31):
But I sure pronounce it that fucking way, because goddamn it,
that's what I do, and I'm gonna pronounce it Groundhog's
Day the entire fucking episode. Whether you like it or not.

Speaker 1 (20:39):
Bryan, remember the Groundhog's Day and keep it holy.

Speaker 2 (20:44):
On this Groundhog's Day. You will bear your scars and
you will say I stood with him on Groundhog's Day.

Speaker 1 (20:51):
On Groundhog's Day, we are canceling the apocalypse. Just all
the famous speeches in movies and literature from now on
have to the words Groundhog's Day.

Speaker 2 (21:02):
Those of you who recognize the Saint Crispin's Day speech
I was cribbing on can look forward to Kenneth Brent
April coming.

Speaker 1 (21:08):
Up soon no, God, we gotta stop doing this.

Speaker 2 (21:11):
After these messages, we'll be right back.

Speaker 18 (21:14):
Some people belong to the Bushwood Country Club for the
fine cuisine.

Speaker 14 (21:18):
This stakes too, has March when the jockey was hidden.

Speaker 18 (21:20):
Some belonged for the stimulating conversation will and some just
don't belong.

Speaker 14 (21:26):
Do you think I'd joined as Crummy Snobbatorium.

Speaker 18 (21:29):
Caddy Shank starring Chevy Change, Rodney Dingerfield, Ted Knight, and
Bill Murray as Karl. It's the Snobs against the Slobs
in Caddyshack Rated.

Speaker 12 (21:39):
R now playing National, Westwood, Chinese, Hollywood and others.

Speaker 2 (21:43):
I think that's all we should do now. I think
we should just distort the whole notion of our pun
months to become metapun months.

Speaker 1 (21:52):
Great, then we're gonna have Mago Roby. We're gonna have
It's just like, oh dude.

Speaker 2 (21:56):
I still want mego Roby?

Speaker 1 (21:58):
Oh No, what did I do? What did I do? Anyway?
First of all, it would be it would be Idris April.
I don't know what you're talking about. It would be
I dress April anyway, starter.

Speaker 2 (22:09):
April weaving, God, some mayro Weaving. That's right, Yes, you're right.
That's why we're gonna talk about Mago Roby is. Actually
we're gonna cover some Mayra Weaving movies and just not
tell anybody because.

Speaker 1 (22:24):
Oh, I I just fell down the rabbit hole so hard.
I don't even remember where we were. But I'm gonna
try and backtrack a little bit. Stargrove star Grove, I wonder,
Oh this is a bit, this is a podcast. It's
just it's our new slogan, Juck Vincinema. It's this but
for an hour.

Speaker 2 (22:45):
Look, it's it's January. I needed to lose some weight.
I needed to cut back in my drinking. Tonight's the
first night in several weeks. You're welcome.

Speaker 1 (22:55):
How good you saved it just for this. If you
haven't seen Groundhog Day, first of all, I apologize that
you have a lifeless lived than everyone else.

Speaker 2 (23:04):
Wow. If like seriously, if you out there have not
seen it, pause this episode now and just watch it.
You are missing. Like seriously, when I say it's a
perfect film, I'm not kidding. It is perfection. It is
everything this film needs to be. There is not one
flaw that can be corrected. There is not one thing
that would make it better. It is a film that
isn't so perfect for its time. It is a time

(23:26):
less film. It is perfection. It is hilarious, it is charming,
it is heartwarming, is delightful. There is nothing this movie
does that is a slight misstep. There is nothing that
you have to go, oh, we can't talk about this
film anymore because of this. No, this film is everything.
Every single person in this movie always tried to achieve

(23:49):
with their career and do it perfectly.

Speaker 1 (23:52):
Look you telling us that you haven't seen this movie.
We're going to live on, we are going to survive,
but today we will sell a break our Groundhog's Day.
This movie is about a weatherman, a sardonic weatherman played
by Bill Murray.

Speaker 2 (24:11):
Oh he did it. I love how you pluralized it.

Speaker 1 (24:14):
Yes, absolutely, this movie is about a sardonic weatherman. I
could have just said a Bill Murray weatherman who finds
himself in Poksatani, Pennsylvania for the annual celebration of Groundhog's
Day at Gobbler's Knob. If there was ever a an
area of town that sounded more filthy, it's Gobbler's Knob. Anyway,

(24:36):
We're just gonna move right past.

Speaker 2 (24:38):
That gobble gobble motherfucker.

Speaker 1 (24:41):
More like gobblemnob, motherfucker.

Speaker 5 (24:43):
So he is.

Speaker 1 (24:45):
He is a weatherman from Pittsburgh who has to go
to the small town of Poksatani on Groundhog Day because
this is where the groundhog, Poksatani Phil lives and this
is where they do the official did he see a shadow?
It's very cute see and very folksy, and he fucking
hates it because he's Bill Murray.

Speaker 2 (25:00):
And he's done it several years in a row. This
is like this is again from the beginning. He's gone
through this, he's done this day before. He hates this day,
but he has to go fucking do it again because
it's his fucking job. But you know what, there's a
network interested in me, motherfucker. So I don't have to
live this day anymore. Let me just go and get

(25:21):
through this fucking day and I can move on. And
that's how we open this movie.

Speaker 1 (25:26):
And then you can all gobble my knob. But no,
he wakes up after doing the entire Groundhog Day in
this small town and having a day that he fucking hates.
He wakes up the next day or is it. It
turns out he's stuck living groundhog day, over and over again.
That is the concept of the film, and Cargol is right,
it's not the first time this concept has been done
in fiction. In fact, there were several writers who attempted

(25:48):
to sue this production for plagiarism unsuccessfully, and it has
spawned a number of imitators in different genres. Cargil mentioned
Happy Death Day. There's also, of course Edge of Tomorrow,
which when it was released on home video, the title
was changed to literally Live Die Repeat, which was weirdly
its third title because it was originally shot as all

(26:11):
You Need Is Kill, released in theaters is the Edge
of Tomorrow, and released on video as Lived Repeat. That
is some straight up Roger Korman shit in the modern
film in the modern blockbuster.

Speaker 2 (26:20):
Age, the manga that it was based upon was called
all you Need is Kill.

Speaker 1 (26:25):
Great title, by the way.

Speaker 2 (26:28):
Edge of Tomorrow was the very this is we're making
the studio happy. And then it didn't do so well
in theaters, but was critically revered because it was fucking great,
and they were like, well, how do we Well, let's
change it to Live Die Repeat, Like let's let's lean
into the video game element of it, and they did,
and now it's one of those blood in Blood out

(26:51):
Bound Bound by Leashes, as we talked about last week
in Blood.

Speaker 1 (26:57):
Out Bound by Groundhogs. Yeah, this, uh, this movie is
directed by the late great Harold Ramis, who was an
absolute fucking comedy genius that man. You know what, No,
I'll go further. He was a comedy god. He may
not be the comedy god, but he was definitely a
comedy god.

Speaker 2 (27:15):
Yeah. No, and I would argue that he is. He
is one of the comedy pantheon of the late seventies
to early nineties. Like in that era where we had
wherever you find a comedy that that that redefined what
comedy was, that redefined what you could do in certain genres.

(27:37):
Harold Ramis was fucking there. So I got that point
interesting this like he was just always right there. You know,
this is not the first movie that Harold Ramis is
a part of that You're going to hear in February
and many of you are going, oh, I know what
it is, and you're fucking right, because how the fuck

(27:58):
would we not get out of this month without doing that?
But yeah, he was always pushing boundaries and changing the
way things are done and Honestly, I think in terms
of films that he's the director of this is his
best film, Like, without a doubt.

Speaker 1 (28:14):
I agree with you. And I realized that that's a
bit of a controversial statement because we're talking about the
director of Caddyshack and National Lampoon's Vacation. But I agree
one hundred percent in terms of structure, in terms of
filmmaking technique, and in terms of the undertaking that is
this project. I'm going to say this, Harold Ramis is
the fucking Christopher Nolan of comedy when it comes to

(28:35):
this movie. He approaches this movie with levels of narrative
depth and levels of subtext and levels of story plotting
that I honestly haven't seen since something like Inception and
wouldn't see from this to inception. This is the inception
of comedies.

Speaker 2 (28:52):
Yes, yes it is.

Speaker 15 (28:54):
Well, let's groundl Day again.

Speaker 1 (28:58):
So what I love most about this movie I don't
even honestly know where to start because there's so many
things I love about it. But let's talk about Bill
Murray in this role. Apparently, uh, there were a couple
of other people who were possibly considered for the role.
Who Harold raymas straight up thought were too nice, and
those are people like Tom Hanks. Those are people like
Michael Keaton, who he would later work with in Multiplicity,

(29:21):
which I think is a very fucking underrated comedy. Don't
at me.

Speaker 2 (29:26):
I am in the middle of adding, you, motherfucker.

Speaker 1 (29:28):
No, I just told you not to. So sorry, that's
the role.

Speaker 2 (29:31):
You just you just just tempted to defend Multiplicity.

Speaker 1 (29:35):
I'm sorry. Verbal contracts are binding in the state of Texas,
and I said out loud, don't at me. Therefore you
are legally bound to not at me. Bound by legality.

Speaker 2 (29:43):
All Right, then I'm gonna argue that his other best
film is Bedazzled. Fuck off.

Speaker 1 (29:47):
I love Bedazzled. I'm not gonna why would I at you?

Speaker 2 (29:49):
You know, you know what we have to fucking do Bedazzled.

Speaker 1 (29:52):
We're gonna do be dazzled. I fucking love I just
watched that movie a couple of months ago and realized
how much I love it.

Speaker 2 (29:57):
Absolutely that movie. I yeah, okay, you know what, take
a drink, junkies, because Mama and Poppa are doing fucking bedazzle.

Speaker 1 (30:07):
This is entirely true. As far as with groundhog Day,
one of the things I love most about it is
the cast that's assembled around Murray in this movie, because
Murray is at his deadpan, sarcastic, awesome best in this film.
He is everything you want this character to be. At
the beginning of the arc. He is essentially an Ebenezer

(30:28):
Scrooge who sees the value in no one but himself,
who absolutely needs to needs to be taught a lesson.
And one of the things I love most about groundhog
Day is that it's a modern Frank Kaepra film. This
is essentially George Banks being visited, not by his guardian angel.
This is not Ebenezer Scrooge being visited by three ghosts.

(30:49):
This is a guy who is being forced to examine
himself by having to live with himself in the same
day over and over again. And the lessons he learns
are are not immediately learned. In fact, in the most
fucking Ebenezer Scrooge that any person has ever been who
is not Ebenezer Scrooge, he actually at first uses this

(31:10):
for his own gain, this incredible supernatural situation that he
finds himself in that eventually drives him insane. Initially he's
using for his own gain.

Speaker 2 (31:19):
Let me let me interject here for a moment, because
you brought up something that I was going to bring
up a little later. I have always thought of this
as an inverse It's a wonderful life. That is always
how I've thought of this movie. There are two movies
that I feel are answers to It's a Wonderful Life.
There's this, and there's Donnie Darko. Yeah, Donnie Darko is

(31:41):
the movie where it's like, you know, everyone else's life
would be better if you had died. That is the
theme of Donnie Darko. If you don't think that's what
that movie's about, go back and rewatch it with that
in your mind and realize that that's what that fucking
movie is. It is it's a wonderful life. If only
you were dead, everyone else would be happy, especially the
the child porn guy. If I may, if you may,

(32:03):
because I was just getting Sway Cray for a second,
but please, please you may.

Speaker 1 (32:08):
Little Sway Cray there. That is why the bunny in
that movie is named Frank after Frank Zepra. That's not
a fucking accident.

Speaker 2 (32:15):
Absolutely, But this is the one where you can almost imagine,
and I'm gonna give you a new head. Cannon for this.
All right, you ready for some head cannon. Bring it
on the head cannon in this is this is the
same universe as It's a wonderful life. Clarence has got
his shit together, and now Clarence is like, Oh, I

(32:36):
know how to fix this guy. I'm gonna trap him
in the same day over and over again.

Speaker 1 (32:41):
I don't even have to be there, I'll just I'll
just force him to examine himself by trapping him in
the same day over and over again, and watch him
literally go through the five stages of grief throughout the
course of being trapped in this one day over and
over again.

Speaker 2 (32:54):
Now, what you're talking about is exactly what I was
talking about at the top of the episode. For those
of you who are writers, for those of you who
want to be screenwriters, this is the perfect movie to
study because this movie follows three act structure, but three
act structure has a separate structure to it, which is
the sixth part of where a character is at any

(33:14):
given time. And this entire movie, its entire plot, its
entire structure, is rooted in the character and where Bill
Murray is at any moment of the film is exactly
where we are story wise, the story itself never changes
because the story is simple. Bill Murray is Weatherman. He

(33:35):
goes to Pucksatani where he doesn't want to be. He
gets up and goes through a really super shitty day,
and he has to relive that super shitty day every
day for eternity. And in fact, by the time we
get to the end, we know he's easily spent ten
to fifty thousand days there. And if some of you

(33:55):
are instantly going, wait, Cargil, is this the inspiration for
the end of Doctors Strange? You bet it fucking is.
It is one Groundhog Day.

Speaker 1 (34:06):
It's me door mamu.

Speaker 2 (34:11):
Remember needle mos dor mamu.

Speaker 1 (34:15):
I did the whistling eternity trick.

Speaker 2 (34:20):
I mean, that's very much what it is like. It's
that and so the you know, because the thing is,
there's a core thing that I wove into that, not
just the you know, because Scott had come up with
with John the repeating you know, the repeating time trick
and traveling in the loop, but I had borrowed from
from Groundhog Day this whole notion of we don't know

(34:42):
how long he's been there, so we don't know just
how far he's come in that period of time, which
we have towards the end of this movie, and we'll
get there. But the entire time you're tracking this character
through his bad days. You're going through all the structural
beats of a Hollywood movie, but you're doing it entirely

(35:03):
emotionally without anything actually coming up and getting in the way.
This entire movie is tracked through a single character's emotions
of getting from point A to point B through the
three act structure, and you can if you look up
three act structure and look at where the beats are,
you can see where this movie perfectly falls into all

(35:25):
of those, from the false victory to the midpoint to
the low point to you know, all the way to
your resolution and your Dana Matt like. It is all there,
beat for beat, but it's done entirely through Bill Murray
reliving the same day and how he deals with that
day and how he ultimately comes to learn the lesson

(35:47):
he needs to learn, because this movie opens up with
him only caring about himself, and finally, by the end
of the movie we get this incredible resolution, which is
one of the simplest happy resolutions you could have in
a film like this, like, this is not a film

(36:08):
that preps someone to go on to greatness. Instead, it's
a film taking an unhappy person and turning them into
a happy person by making them unhappy for years, decades maybe,
Like how long is he in this oubliet of Pusatani Phil,

(36:28):
Like how long is he trapped there? We don't fucking know.
But by the end he is one of the greatest
humans to ever live and has touched almost everyone in
this fucking town and in a single day, so he
has achieved a level of perfection that we will go
into over the course of discussing this film.

Speaker 1 (36:50):
And in the movie, he's trying to better himself. At first,
he's just trying to trick his way into the pants
of Annie McDowell, his producer. And Annie McDowell in this
movie is so sweet and so charming and so adorable
that you totally buy the chemistry between them. And I
love the fact that this movie is so dedicated to

(37:10):
showing his arc that it doesn't work for him. He
goes to such lengths to abuse this system to learn
one thing about her every single day. First of all,
the fucking sociopathic patience that that would have taken to
literally go through an entire bad date but learn one
thing so that the next time you live that day
you can use that one thing and the next thing

(37:31):
and the next thing over and over again. That's like,
that's like Ted Bundy levels of sociopathy.

Speaker 2 (37:38):
But there's something, there's something really interesting to that there where,
you know, because at that point, you know in his
character arc he is. So let's let's just go through
the base character arc so we can get to where
you are, because it's really fascinating. So we start off
Bill Murray's a dick. He just wants to get out
of there. He's an arrogant dick. He's not a good
weather man, you know, he does it. He he just

(38:00):
so believes in his own bullshit. He believes he doesn't
have to worry anything about this blizzard that's going to
come in and trap him in Pusatani. So, uh, he's there.
Now we deal with the first few days. He's troubled,
he's really fucked up. He doesn't understand what's going on.
And finally, you know, at the end of the first
act he realizes he's stuck in the same day and

(38:23):
at least for the time being, he's not getting out,
So what do you do. You just kind of turn
into the skin and he's just kind of like, all right, fine,
I'm fucking here. But he starts fiddling around, and he
starts you know, we only see a few girls, but
you get the impression that he's gone through at some
point every single girl in town. You will later see
this in Palm Springs if you've not watched Palm Springs,

(38:46):
there's a great whole riff on that where this guy
trapped at this wedding every day for the rest of
his life, has literally slept with every available woman at
that place multiple fucking times, and knows exactly what he
has to do at the wedding in order to sleep
with those people. So he's literally just like he gets
to a point where he's going to a to Heidi
two dressed as the Man with No Name, and he's

(39:10):
convinced this woman they're going to a costume party, but
you know, she has to call him Bronco. Like he's
literally just fucking around at this point because he is
just bored, because he's literally done everything there is to
do in this town. And finally he decides he's going
to set sights on Andy McDowell. But as he comes
to find out, she's not just a tough nut to crack,

(39:33):
she's a nut. He will never fucking crack like no
matter how hard he tries, no matter how much he
You know that you're talking about that sociopathic discipline. It's
the only it's his everest like, it becomes his everest,
and he can't crack it no matter what he does.
Knowing everything about her, having memorized everything about her, having

(39:55):
gone and learned French poetry, having learned every like he
literally he goes through multiple times of just having a
drink with her just to get the drink right and
the drink toast like, the amount of reliving those days
over and over and over again just to get to
that moment, and every time he strikes out right can't win.

(40:16):
But he can't. He can't play the long game either,
because he's only got till tomorrow and then it's to
the beginning again.

Speaker 1 (40:23):
And the thing is he should have the advantage here.
He has this nefarious omnipotence where he literally knows everything
about her. It should be all he needs to to
sleep with her, which is his only aim at the
beginning of this movie, but it doesn't work, and it's
it's it's a lesson that he has to learn the
hard way, and so he decides that he's going to

(40:45):
start using the town and this whole situation to his advantage.
But then you know, when the spoils of that, when
he's able to know exactly when you know, the bumbling
security guard looks away from the bag of money. He
when he's able to figure out how to sleep with
every other woman, when he's able to figure out, you know,
how to avoid people he doesn't want to talk to,

(41:06):
he turns his sights on Annie McDowell. That doesn't work,
and that leads him into this really dark place where
he doesn't care if he lives or dies, and he
finds out the hard way that he can't even end
his own life. Like again there this movie does have
the character traveling through the five stages of grief, and
when he gets to that depression part, it is it's

(41:26):
a really bleak section of this movie. But just continuing
through the cast, Chris Elliott as his cameraman is like
peak nineties Chris Elliott, like just on the edge of
slimy but still like I don't know a likable schlub
enough that I don't know. This is probably my favorite
Chris Elliott performance.

Speaker 2 (41:46):
I love Chris Elliott. Chris Elliot's one of those guys who,
especially from the era, I don't think Chris ever got
his due. What a great comedian he is.

Speaker 1 (41:55):
Come on, he got Cabin Boy. I mean he got
a fair shake with that.

Speaker 2 (41:58):
In the nineties he was all over I mean, like
I remember the Chris Elliot Show.

Speaker 1 (42:02):
Oh my god, that's right.

Speaker 2 (42:04):
Yeah, he had a primetime Fox TV show that was
in the weird breaking boundaries era when they were doing
you know, crazy stuff like the Larry Sanders Show, and
this was that, Like, you know, Chris Elliot in his
thirties was playing a guy living at home with his parents,
and you know, it was a brilliant anti comedy. Like
it was so good and he is so fucking talented.

(42:27):
But here he's doing a combination of what he does best,
because for most of this movie he's just playing this
likable dork who's saddled with a jackass who you kind
of connect with because Jesus Christ, he's playing off of
you know, Bill Murray at his worst. And then you

(42:49):
see him towards the end of the movie and he
goes full Chris Elliot where we see him hitting on
the girl that we already know that God knows how
many times Bill Murray has ended up hooking up with
and uh, and he is just striking out in the
worst way, in such a Chris Elliot way, and does

(43:10):
it just so spectacularly. And then he's called up onto
stage after you know, Bill Murray is bought in the
auction and he's like, oh, I'm gonna get up there too,
and gets bought for two bits by an old lady
for twenty five cents. And it's but it's him going
full Chris Elliott and having fun with it, and it's delightful,

(43:33):
Like that's the thing is for most of the movie,
it is he is using that really aweshuck's charm that
he can turn on, and then when he wants to
turn on full pathetic, he hits the gas on the
pathetic and it's great, and it's this is what I
love about Chris Ellie. He could do both and that's
what worked about, you know, whenever he was allowed to

(43:54):
be him. It was a cross between the aw shucks
charm and the but I'm also the most pathetic man
you've ever seen in your life. And this is where
he really Harold Ramis really taps into that, and you
see that a little goes a long way because he's
not given anything to really do here, but he always
steals every scene that he's in.

Speaker 1 (44:14):
And I just want to say, I absolutely love him
on Shit's Creek right now. It's fantastic.

Speaker 2 (44:19):
I've not seen it. I keep getting told it's Ted
Lasso for people who also love Ted Lasso.

Speaker 1 (44:26):
I kind of think of it as American Letter Kenny myself,
Like it's just it's got that same kind of vibe.

Speaker 2 (44:31):
But it's from Canada, right, Fuck, I love that American
Letter Kenny is also from Canada.

Speaker 1 (44:39):
Well, I mean we steal most of their stuff, including
you know, including a lot of comedians that are in
this movie. So why not?

Speaker 2 (44:45):
Fucking sidebar, Can you explain to me how Eugene Levy
had such an attractive son?

Speaker 1 (44:58):
No? I cannot, I honestly cannot. I have tried. I
have charts, I have entire whiteboards in my in my
living room that I have worked out all the equations,
and none of it makes sense to me. I've had
to throw all the research I had no idea.

Speaker 2 (45:11):
I knew Eugene Levy was on that show. I knew
this actor's last name was Levy, it did not. I
did not find this out until recently, that that is
Eugene Levy sin And I'm like, no fucking way in
genetics does that work that way?

Speaker 1 (45:23):
I can't. I mean, the eyebrows alone should hinder that
guy's ability to be handsome. But yet somehow, here we are,
We're living in this world and there is no explanation
for it.

Speaker 2 (45:33):
Putting that nitro back in the box.

Speaker 1 (45:35):
Just put it right on back in the box. He'll
be hosting Saturday Night Live soon and we could take
it back out then Stargrove one of the real stars
of this movie. I must say, guys, it's Tobo Tip.

Speaker 2 (45:50):
The Dick Miller of the nineties.

Speaker 1 (45:53):
So true, when the Dick Miller of the nineties wasn't
just Dick Miller, it was Stephen Tobolowski, Stephen Tobolowski, one
of the greatest character actors of all time. This is
the movie that actually introduced me to Steven Tobolowski. For years,
people would ask me, like they would hear that name
and go, oh, he's the guy from Groundhog Day and
explaining that they'd instantly know who I was talking about.

Speaker 2 (46:13):
My favorite word is pass plunt.

Speaker 1 (46:18):
Oh, that's so funny that you asked me my favorite word.
I think it's passport.

Speaker 2 (46:22):
I mean, this is this is far from the first
time we've mentioned the Tobolowski on this show. Like he is.
He's just one of the great character actors and of
the nineties and aunts he was the Dick Miller. You
just put Stephen Tobolowski in that movie and so much so.
He did a podcast with my friend Dave Chen that
was called The Tobolowski Files. That's just about all of

(46:43):
his stories from being on the sets of all these
great films as a character actor.

Speaker 1 (46:48):
Yeah. And I have to give credit to We Hate
Movies because they do a bit on their show where
they're always anytime they bring up Tobolowski, bring up that show,
and they're always like, oh, David, it's so funny that
you remember that movie. Yeah, I was in let's talk
about the Glamour Man. Like It's just like, it makes
me laugh every time because A it's accurate, and B

(47:10):
I love that Stephen Tobolowski, who's probably got more credits
than most of us have hairs on our heads, and
yet he is always intrigued when somebody remembers him from things.
It's like, of course we do Tobo. You're the fucking Tobo.
And I gotta say I called Harold Remis the Christopher
Nolan of comedy. Stephen Tobolowski is in Memento.

Speaker 2 (47:28):
So I'm just saying, by the way, have you ever
heard the story of how Dave became friends with Stephen Tobolowski.

Speaker 1 (47:34):
I don't think I have, and that seems like an
appropriate sidebar.

Speaker 2 (47:43):
Tobolowski directed a film and I think it was called
The Birthday Party, and it was just him directing an
indie film and invited a bunch of his character actor
friends to come in and do a film together. It
was like a fuck it, let's do it. And they
made a film and David's seen it at a festival
and wanted a copy, but you couldn't buy a copy
just anywhere. But he found a website that was selling

(48:05):
it and you could call an order, because this is
that long ago. And he calls and Stephen Tobolowski answers
the phone and he realizes he's like, wait, is this
Stephen Tobolowski And he's like, well, yes, who's calling? And
he's like, this is Dave Chen and he's like, how
did you recognize me? And I'm like, well, I'm calling
up to order your movie, like, but you've been in

(48:25):
a bunch of sties And they just started talking and
so he ordered the movie and contacted Steven again, is like,
would you be a guest on my podcast? And then
they decided to do a podcast together and that's how
that podcast happened. It was literally Stephen his website gave
you his home number to call to order copies of
his DVD.

Speaker 1 (48:45):
Oh, David, that's so funny that you want the tracking
number for that package I sent you with my movie
in it. I fuck, I can't. I can't keep that
bit because it's not ours. But man, I fight. It
makes me laugh every single time. And I got to
say Tobolowski is so good in this as Ned the
Head Ryerson the I think, honestly, Cargent ne knows Ned

(49:09):
Ned the Head.

Speaker 2 (49:09):
Come on, buddy, that Shingles senior year was almost didn't graduate.

Speaker 1 (49:14):
Ned Ryerson dated your sister for a few weeks until
you told me not to Yeah, he's He's amazing in
this and he is probably the most recognizable sign post
throughout the arc and throughout the changes in like you
recognize when a new groundhog Day has come about because
you see Ned again, Like Ned is kind of the

(49:34):
the ultimate sign post for this storyline.

Speaker 5 (49:37):
He is.

Speaker 2 (49:37):
And also it's an interesting, an interesting thing in which
the numerous ways Bill Murray decides to get rid of
Ned Ryerson. Yes, all of them genius in their own.

Speaker 1 (49:49):
Way, including the way that even when I watched this
movie at like eight years old, had me laughing my
ass off, and that was he just punches him square
in the face, like I.

Speaker 2 (49:59):
I mean, I love but I'm a big fan of
can you call him sick?

Speaker 1 (50:03):
I don't know where you're headed, but can you call
him sick? Like just completely turns it around and makes
Ned walk away from Phil. Oh it's so good. Oh,
it's just always.

Speaker 2 (50:12):
The like because every other time he can't get rid
of him. And that's all it takes is a little homophobia.

Speaker 1 (50:18):
It was the nineties. All it takes is a little homophobia.
I directed to one of my favorite shows of all time.
Friends AnyWho, Yeah, I'll be afraid of you. If you're
a guy who likes guys, I'll be afraid of you. Yeah,

(50:39):
it's not the most woke show in history. Let's just
put it that way.

Speaker 2 (50:41):
Remember that time they all got bored with their friend
because he stopped being an alcoholic.

Speaker 1 (50:45):
Oh wow, Yeah, you're right. There's just a lot of
Do you remember that time they complain about where they
live despite the fact that they're enormous apartments and soho
and their rent controlled. What the fuck? Guys, Butandler Bong,
But miss Chenandler Bong Stargrove.

Speaker 2 (51:01):
We know way too much about friend.

Speaker 1 (51:03):
We know way too much about friends. And of course,
also in the cast is Brian Doyle Murray, Bill Murray's brother,
who's like, I just it's like a warm hug, like
seeing him in a Bill Murray movie. I'm like, oh, yes,
this feels right. Brian Doyle Murray is also here and
playing the mayor of Paksatani in this film. Also in
the cast is an actor that I feel like doesn't

(51:23):
get enough do, and that's Rick to Common, who is
in so many fucking great comedies in the nineties. He's
in Spaceballs, He's in the Burbs, He's in Grimlins, two.
He's he plays a city engineer and die hard like
he's in fucking everything and this he's a the commonplace
fixture in a lot of movies. Are we doing this?

(51:43):
Is this really?

Speaker 2 (51:43):
What?

Speaker 5 (51:44):
This is?

Speaker 1 (51:44):
What we've devolved into?

Speaker 2 (51:45):
Okay, I'm sorry I stole your bit. I apologize because
you do it.

Speaker 1 (51:50):
No, no, no, you were good. You were right on there.
I'm not gonna rickroll you by taking that bit back
away from you. Guys. Rick to Common, h like I said,
is just a mainstay in so many great comedy in
the eighties and nineties and died, you know, very young.
He was only sixty two. But I honestly, what I
think is interesting about Rick to Common is I feel
like he was putting a lot of movies that needed

(52:10):
a Bill Murray energy when they didn't have Bill Murray,
do you know what I mean? Like he was just
he is, like the way he delivered lines and his
sort of like, I don't know, just something about him
has a very Bill Murray energy, and I feel like
they would use him in films when they didn't have
Bill Murray to bring that sort of Bill Murray energy.
He's great in this as one of the Townies, and

(52:32):
then we have the very first on screen appearance of
one of Cargill and I's favorite actors, especially in movies
where you need someone to fucking lose it, lay everything
out and possibly hurt everyone on set.

Speaker 2 (52:47):
Or if you were to remake The Twilight Zone.

Speaker 1 (52:49):
Or if you were to remake the Twilight Zone. Hey,
guess what. This is a fucking story and it's weird.
Enjoy it, don't. I don't fucking care. It's Michael Shannon. Guys.
Fuck yeah, in his first on screen role. By the way,
Cargill sidebar.

Speaker 2 (53:11):
All right, because there's only been four.

Speaker 1 (53:13):
Yeah, I know this is more sidebar than show at
this point, but we.

Speaker 7 (53:17):
Get rebuilt him.

Speaker 2 (53:18):
He's more siple with than man.

Speaker 1 (53:20):
This show is twisted and evil, much like Michael Shannon.
Which it leads me to my question, So if every
day resets and there are no consequences to what you do,
like Bill Murray in this movie, he uses it to
like get arrested, eat whatever he wants, steals some money
because you knows, he knows there's no consequences. My question
to you, how long before this becomes the purge? How

(53:41):
long before the average person just starts just turns this
into grand theft Auto Paxatani and just starts exploring their
id and murdering people.

Speaker 2 (53:51):
Well, that's an interesting question because I think that's buried
in this movie, Like that's the at the nature of
this film. This is why it's It's a wonderful life.
Like the thing is is that Bill Murray isn't a
truly awful person. He is somebody phil is somebody who

(54:11):
is just selfish. He's just been focusing on himself. At
the end of the day, He's really not a bad dude.
He doesn't go full purge on people. He doesn't ever
go to that length, because it could go to that length,
like let's be like I'm a god, I can do whatever.
Let's just go nuts and see what happens, Like let
me go on a killing spree and see what high

(54:33):
score I can get today, Like it could be that,
but it's never that. What it is is at first
he fucks around and he's like I could eat whatever
I want, I don't have, I don't fucking care. And
then I can drink whatever I want. I don't fucking care.
And then it's I can drive at you know, at
a train and get arrested. I don't fucking care. And

(54:53):
then finally it's like, oh, I could just die, and
he tries to die in so many ways and does
die in so many ways and cannot die. And then
when he finally has died for the upteenth millionth time
and he has no idea what to do. You know, Dad,

(55:14):
the character he calls Dad or Gramps or whatever he
ends up calling him multiple times to the movie dies
in front of him and that's not right. And then
he tries several times like, well, I can save this dude,
because that's who he really is. Like that's the whole
point of this movie is that dude never goes on
the purge ever, but so many people would like That's

(55:39):
what's so interesting is at the end of the day,
deep down, Bill Murray's character is a good human down there,
He's just buried in selfishness and he has never allowed
himself to see past himself. He would never contemplate going
on a purge in Paksatani, like that would never cross
his mind because why would he do that to other people?

(56:00):
He just hates himself. He doesn't hate other people. He
pretends that he does. But at the end of the day.
He's getting through the day by making everyone else's day better.
He never does it intending to get through the day.
He accepts that this is the day he's going to live,
which is why he's so shocked when he gets to
another day and all of a sudden, it's like, what

(56:21):
the fuck is this? Like this isn't what's supposed to happen,
Like I'm supposed to be bat Like I'm just enjoying
my day, Like can I have? Like what? He never
goes to a purge, So I would argue, as much
fun as it would be to think that he would,
that Phil would go on a kind of purge like scenario,
he never does and never would. And that's what's cool

(56:43):
about this movie and this character. But what would happen
if we put someone else in there?

Speaker 1 (56:47):
There you go. That was the actual question that I
was trying to get to by asking that first question.
So let me pivot to that question, which is, if
this movie is about Michael Shannon, If Michael Shannon is
the star of this movie, I'm guessing the purge would happen.
And by the second Groundhog Day, like the second time,
he realizes.

Speaker 2 (57:04):
No, no, no, I think five I think Day five
is where Michael Shannon's like, hmm, let's see what we
can do with this.

Speaker 1 (57:10):
So uh so you're saying I'm not actually getting WrestleMania
tickets all right? Uh everyone's dead.

Speaker 2 (57:16):
We fucking get it, all right, job opening, okay, Uh
way to drop the dishes there, we fucking get it,
mazl tough. How many more jokes do you got for
dropping the dishes? Asshole? Come on?

Speaker 1 (57:29):
He starts knocking the dishes off. He's like, oh is
this funny to hear too? Aha, make a joke about
this funny man, Like like every one of the restaurants
just like sitting still holding their breath. Oh my god,
car Gill, Oh my god, I want to see that movie.

Speaker 2 (57:42):
Thank god Michael Shannon didn't didn't have that day.

Speaker 1 (57:46):
He's such a baby, speaking of wrestling, he has a
total baby face in this movie. He looks like a
little kid, which is weird because when you see Michael
Shannon now, like even though he's not that old and
he you know, like even in the early odds when
he wasn't that old, he still looked like he had
had a hard life. Like it's still like the signs
of where we're absolutely there.

Speaker 2 (58:04):
It's it's very weird where you go from Groundhog Day
in nineteen ninety three, I thinknety two, ninety ninety three,
ninety three, and then get to two thousand and eight
revolution Row Revolutionary Road, and you're like, oh, that was
a hard fifteen years, my friend.

Speaker 1 (58:21):
It turns out I had traveled down five hundred miles
a really rough revolutionary road to get here. And if
you fucking don't stop laughing, I'm gonna rip your throat
out with my bare hands. No. No, it won't be
like Roadhouse. That'll be cutesy compared to what I do
to you. Yeah, I fuck like guys like you for breakfast.
Absolutely yeah. By the way, he and his fiancee in
this movie are given WrestleMania tickets and they get super excited,

(58:44):
which I thought was really as someone who is a
wrestling fan, I really love that. But also they're like,
we're gonna be in Pittsburgh anyway, and I was like,
uh no, WrestleMania has never been held in Pittsburgh, and
in nineteen ninety three it was in Las Vegas. And
even if we're talking about the year they shot at
nineteenninety two. That was in my hometown of Indiana Appolis.

Speaker 2 (59:00):
So, no, which WrestleMania numbers were that, my friend.

Speaker 1 (59:03):
That would have been a WrestleMania's eight and nine, So
eight would have been ninety two, nine would have been
ninety three.

Speaker 2 (59:10):
And who are the headliners?

Speaker 1 (59:12):
Well, in uh, WrestleMania eight in Indianapolis, it was actually
a double main event. But okay, what are we doing? No,
this is not replace for question, Nerd. I cannot believe
you didn't say it doesn't matter who was the main
event at WrestleMania. Why am I coaching you on how
to rip on me? Why am I coaching you on
how to bully me? This doesn't make any bucket.

Speaker 2 (59:32):
You don't have to. I've made it an art for
this is true. I just I just had you actually
start to explain it until you realize the trap I'd
set for you, and then you were like, damn it, God,
damn it, bugs, Bunny, I fall into this every.

Speaker 1 (59:45):
Time Wabbit season. It is Stargrove anyway. So what I
love about this movie is that the fuck you have
to imagine the undertaking that this project was the undertaker. Okay,
you know what you know what, you know what, car Gil,
God damn it. In all of mankind, I have never

(01:00:06):
been treated this way.

Speaker 17 (01:00:07):
No.

Speaker 1 (01:00:07):
The thing is, what I'm trying to say is that
they had to shoot all of these scenes. This is
something I learned recently. So since it's supposed to be
the same day, they had to shoot all of these
scenes in multiple weather conditions just in case it changed.
And then once they decided once Harold Raymis is like, no,
I like this sort of overcast gray, they had to

(01:00:29):
make sure that they shot every scene and that exact
weather condition. I cannot imagine what a pain in the
ass this must have been for the editor and for
the actual production team, because it's like, oh, we actually
have to wait till tomorrow because we're shooting this scene,
but you know it has to be gray and overcast
and it's sunny today. Like that must have been a
fucking nightmare.

Speaker 2 (01:00:49):
Oh and here's the behind the curtain fucking horseshit that
I guarantee happened. Who does Kubrick think he fucking is? Like,
it's not like anyone's gonna be talking about this movie
thirty years from now, Like it's just a fucking bill
Murray comedy where he wakes up on the same day
with Annie fucking McDowell every goddamn day, Like, what the

(01:01:09):
fuck are we shooting this for? Jesus Christ? Oh, it's
a movie. Who cares about a groundhog Day movie? Like what,
everyone's gonna call it Groundhog's Day anyway, because that's how
we talk about it, Jesus fucking Christ, Like who gives
a shit? Like why are we shooting this scene so
many fucking times? God damn it, Kuber, get your shit together.
And that's how movies get made, where you have that

(01:01:31):
thing where you have that pushback of people being like, no,
you don't understand. We've got to do this to do
this right. And what nobody realized at the time was
that Harold Remis was making a comedy classic that is
gonna be harolded thirty more years from now. Thirty years
from now, people are still gonna be making groundhog Day riffs,
and people are still gonna reference groundhog Day. It is

(01:01:53):
going to be one of those imitable classics, and then
people who have never seen it will go back and go,
I guess I have to watch this and go, how
is this been in my life? My whole fucking life.
This movie is perfect because it fuckings.

Speaker 1 (01:02:04):
It is and just the amount of like spatial visual
geography that Ramus had to keep in his head for
his story to work. Like if you watch Once he
moves past, you know, hitting on Nancy and hooking up
with Nancy. When you see the scenes later on where
he's back in that town square, you see her in
the exact place she was during their storyline. And not

(01:02:28):
only but like, my favorite thing is this, and this
is something I didn't even notice until this viewing Cargo.
There's a point where Bill Murray has decided to live
that day to the fullest and be someone who is
actually there for other people in the town. And one
of the things he does is he goes and he
catches a boy who falls out of a tree, and
there's a really what do you say?

Speaker 3 (01:02:45):
What do you say?

Speaker 1 (01:02:46):
Never thank me, you little brat. It's a great scene.

Speaker 2 (01:02:50):
It's one of my favorite moments in the movie where
it's like he's literally like harassing this kid that he's
just saved, and it's like, you never thank me. I'm
always here for you and you don't. I don't give
a shit, But all right, this is My reward is
my getting to harass you. Yes, all right, go on
about your day. I have to go save some old
ladies from a flat tire.

Speaker 1 (01:03:08):
But then later when it's the storyline of him trying
to save the old man, which is legitimately heartbreaking and
marks the second time in five years that a really
nasty Bill Murray character has turned around by the death
of a hobo because it also happened.

Speaker 2 (01:03:23):
And scrooged, Yeah it does.

Speaker 1 (01:03:26):
But that whole sequence is really heartbreaking because he realizes
that nothing he can do can change the fact that
that's the day that that guy dies, and it's like,
no matter how much he wants to help, there's nothing
he can do, and that is legitimately heartbreaking. But when
he brings him to the hospital, in the background, if
you look, that kid who fell out of the tree
is sitting there with a cast on his leg yep,
and it's like, oh, he had fallen out of the

(01:03:46):
tree because Bill Murray hadn't figured that out yet.

Speaker 2 (01:03:49):
Yeah, because and that's where Bill Murray figures, you know,
going back there and trying to save him multiple times
is where Bill Murray learns that, like this, there's so
much stuff buried into this fucking movie because that's what's
and that's what I love about the ending of this movie,
because he's so immersed himself in this town and learned

(01:04:09):
his big lesson isn't here's how I become a great person.
His big lesson is, here's what happens when I care
about people. The big thing of the movie is reward
is he earns Annie McDowell's love without ever trying. Like
that's the big thing about the final day is he
does it without ever trying, Like he's just himself doing

(01:04:31):
his day and she's the one falling for him, and
he keeps saying like, oh hey, i'll talk to you
in a minute. I gotta do this thing. And then
when she falls for him and they spend the night
together and there's a new day, his solution is let's
move here. Yeah, Like you realize that Phil's big thing
what's going to happen in Phil's life is Phil is

(01:04:53):
going to become the mayor of Puck Satani. That is
his future, like and that is the happy future, the
future where he is the mayor. It literally knows everyone
in town and who everyone has a story about that
day that Phil was there for them, and he's gonna
know everyone and know their problems and be that perfect
dude in their lives. And what a conclusion to a

(01:05:15):
story that is like going through all of this and
he doesn't come out on the other side getting some
grand reward and some like, oh, you get to go
on and be a huge network weather man. It's like, no,
you get to be the most beloved man in Bedford Falls.
And that's the whole point of this movie. And how

(01:05:37):
fucking glorious is that.

Speaker 1 (01:05:38):
Murray Christmas movie House? Yes, of course I'll see Heidi
two again.

Speaker 2 (01:05:42):
By the way, did you watch a very sidebar? Did
you watch a very Murray Christmas this year?

Speaker 1 (01:05:53):
I did not.

Speaker 2 (01:05:55):
Have you ever seen it?

Speaker 1 (01:05:55):
I have not?

Speaker 2 (01:05:57):
Okay, By the way, if you've never watched a Very Murray,
riss highly recommend it. Wonderful weird little Netflix special starring
Bill Murray, directed by Sophia Coppola, which is about Bill
Murray trying to throw a special a Christmas special during
a blizzard in New York when New York gets shut down.

(01:06:18):
Plays very differently during a pandemic than it did when
initially came out. But initially came out, it was like, Oh,
this is kind of weird, and then oh, here's a
pandemic Christmas special made four years before the pandemic. You're welcome.
It was a weird rewatch, i'll tell you, but definitely
seek that out.

Speaker 1 (01:06:39):
Absolutely. And that's the reason we didn't do this series
in December, because you know, a very Murray Christmas was
already taken as a title, so we decided to move
it to February.

Speaker 2 (01:06:48):
That would have been very That would have been very
a little too on point. So Februm Murray was just fine.

Speaker 1 (01:06:55):
Because the last thing we want to be is obvious
on this show, right, because we don't do that. We
don't truck with that at.

Speaker 2 (01:07:00):
All, Jasonuarry Robards. No, we totally don't go up there.

Speaker 1 (01:07:05):
We are all about subtlety and we'll be right back
after these messages.

Speaker 7 (01:07:21):
For relaxing times.

Speaker 18 (01:07:25):
Make it Santory, Santoris.

Speaker 10 (01:07:40):
I need that package of slides for a major presentation
tomorrow at ten thirty am.

Speaker 11 (01:07:45):
You got it, not.

Speaker 12 (01:07:47):
Noon, not three, ten thirty am.

Speaker 18 (01:07:50):
Got it?

Speaker 7 (01:07:51):
Listen to me, no slides, no presentation.

Speaker 12 (01:07:55):
You got it?

Speaker 7 (01:07:57):
Well, where is it?

Speaker 12 (01:07:58):
You don't get it?

Speaker 2 (01:08:00):
Next time?

Speaker 18 (01:08:01):
Send in federal expresh now federal schedules delivery by ten
thirty am.

Speaker 5 (01:08:06):
So when we say you got it, you'll get it.

Speaker 2 (01:08:09):
Wait wait, you don't have that power.

Speaker 1 (01:08:12):
I do now because we're stuck in that. You know
what it is, Cargo, the bits that you.

Speaker 2 (01:08:15):
Make jeez you, anything's on now.

Speaker 1 (01:08:17):
I'm telling you. It's the fact that these bits that
you keep making me edit make me feel like I'm
reliving the same day over and over again. So now
I have that fucking power.

Speaker 2 (01:08:25):
Hah ha ha ha ha. Well you know what, I
don't edit these things, so I don't fucking care you
do that as many times as you like.

Speaker 17 (01:08:33):
Bitch dot com, dot cam dot com.

Speaker 1 (01:08:37):
Anyway, I do. I do think what Cargo was talking
about is the reason why the love story at the
heart of this movie is so beautiful, because it really
is just about those two people, and it's about them
being in a place to be the right people for
each other, which is what makes it so heartwarming. And honestly,
my favorite scene in the movie is when she falls

(01:08:58):
asleep and he just keeps reading to her and he confesses,
this long beautiful just like, you're the best person I've
ever met, and you're so nice to everyone, and you
make me want to be better, and he just confesses
all of his feelings to her. He says, I think
you're the kindest, sweetest, prettiest person I've ever met. I've
never seen anyone. It's nicer to people than you. The
first time I saw you, something happened to me. I
never told you about I knew that I wanted to

(01:09:18):
hold you as hard as I could. And she just goes,
did you say something? Because she's like barely awake, and
he's just like good night, Like he just when he
stops looking at her as a conquest and really starts
to embrace his feelings for her. This movie will will
make you cry, and it's it's at the heart of
you know, the slapstick comedy that's very quotable and you know,

(01:09:40):
not bad for a quadruped and don't drive angry and
that first step is it doozy? Like all of this
shit that makes the movie so silly and fun is
window dressing for this beautiful and very introspective love story
at the heart of the movie. And it's the reason
it's my favorite rom com of all time.

Speaker 2 (01:09:58):
Yeah, no, I mean, it's it's just it's this movie
is a great concept, but the movie isn't the concept.
It's pure character. Like everything about this movie is character
and everything like Annie McDowell is going for Anny McDowell.
Like this era of Annie McDowell is just I Like, recently,
I just showed Jess Four Weddings and a Funeral for

(01:10:21):
the first time, which she'd never seen, and it was
just one of those like, oh, right, you've never seen that. Well,
you're a big Richard Curtis fan, so yeah, you gotta
fucking watch this. And it was just so great to
revisit that era where Annie McDowell was just she's what
Julia Roberts would later become, like, she was that it girl.

(01:10:44):
She was the ideal for those of you that don't
know Annie McDowell was a model who became an actress.
She was someone who had already been a model and
had hit that point where it's like, oh, you know,
we're moving on in terms of what models are age wise,
and she's like, well, I'll become an actress and oh hey.
She was a much more successful actress than she was

(01:11:05):
a model, and she was the ideal for the nineties,
like the early the late eighties, early nineties She was
the ideal of that super sweet woman. She was so
great at it. And here is where she hits that
stride perfectly, and she plays that to a tee. And

(01:11:26):
every time she smacks Bill Murray, he has it coming
and he deserves it and you feel it. And when
he wins her over, she just it feels so authentic.
And the whole idea of these two together running off
to live in Pucksatani together just seems perfection.

Speaker 1 (01:11:44):
And it's great, It absolutely is. And I gotta say this,
what Bill Murray brought to this role, I think is
what really makes this movie great, and that at the
time this movie is made, Bill Murray's undergoing a divorce,
so he's going through a rough divorce and he throws
himself headlong into this role. And apparently the story goes

(01:12:05):
that he would call Harold Ramis almost constantly early hours
of the morning, late at night, it didn't matter, to
talk about this character and all the things that he
was obsessed with, and eventually it just got to be
too much for Harold Ramis, so he would send the
writer Danny Rubin to go sit with Bill Murray and
talk about but basically to let him talk through this
because it wasn't just about the character, it was about

(01:12:26):
the things that Bill Murray was going through. But because
of that, because Bill Murray was also aware that a
lot of it had to do with what he was
going through and what he needed to iron out about himself.
The fact that Harold Ramis kind of pushed off on
somebody else. It's the reason that Murray stopped talking to
Ramis for several years and they didn't even really reconcile
until you know, Ramis was very sick. So, I mean,

(01:12:48):
there is a lot of care and craft put into it.
And it's one of the things that's always great about
Bill Murray is you never think he's trying, because he's
so effortlessly that sardonic asshole character that you need him
to be. But he really does pour his heart and
soul into it. I mean, evidence by the fact that
that whole scene I was talking about where Rita falls
asleep on Phil and he's just reading to her. That

(01:13:10):
comes from Bill Murray's actual life where his wife drank
too much champagne on their wedding night and fell asleep early,
so Murray just read to her. But imagine having to
bring that to your character and relive that as you're
going through the divorce from that woman. Like there are
so many layers to Bill Murray himself and Bill Murray's
performance in this that I think is just absolutely breathtaking.

Speaker 2 (01:13:32):
I Mean, art doesn't happen by accident, right, I Mean
that's the thing with a lot of these films. We
talk about a lot of stuff where it's like this
movie's crazy or it's over the top, but all of
it comes from somewhere within someone. And this is one
of those movies where all of those things, from all
of these people who were involved in this created something

(01:13:53):
that is going to outlive them all. Like this movie
is going to be part of the storytelling lexicon for
another century at least. Like it's one of those that
long after we're gone, people are still going to refer
to those stories as groundhog Day stories, and people are
going to be going back to this movie from the
nineteen nineties and being like, oh, this is the story

(01:14:17):
that resonated with people and watching it and going, Wow,
this is just fucking great. Definitely, Like it's just and
what's great about it is it's pure character, Like there's
nothing else there, There are no story developments except the
inciting event and the fucking resolution like those in between.

(01:14:41):
There there's nothing that changes but the character, and the
character always drives the story. And that's what's so fascinating
about this is you don't find movies like this very
often that resonate with audiences, and this is one of
those perfect ones where it's just everything that changes. Here
is the character changing, and it's all and it's all

(01:15:01):
Ramus and it's all Daniel Rubin, and it's these you know,
a writer and then a writer, director and then an
actor putting together what becomes this perfect film. And it
came out of a lot of pain, and it's obvious
that it did, because nothing this good comes from nothing. Uh.
And I'm just I'm in awe of this fucking movie,

(01:15:23):
just fucking in awe.

Speaker 1 (01:15:24):
And I can prove to you that this is a
perfectly character driven movie with one question that nobody asks
while watching, why is he stuck in the same day?
There is no explanation for why this is happening, and
we don't fucking care.

Speaker 2 (01:15:38):
Clarence. Clarence is the reason. I'm telling you, it's fucking Clarence.

Speaker 1 (01:15:41):
It's Curt.

Speaker 2 (01:15:42):
Like, seriously, watch that again. Think about Clarence and you're like,
oh God, this is Clarence sixty years later, like getting
his shit together, Like oh, I've been I've been tasked
to fix this guy. I know how to fix this
fucking guy.

Speaker 1 (01:15:55):
See you saying years later. It just makes me really
hope that the third Happy Death Day movie takes place
in Poksatani and centers on a teenager in Posatani, Pennsylvania.

Speaker 2 (01:16:05):
You know what I mentioned, Happy Happy death Day. I
also love Happy Death Day too. Put a gun to
my head. I can't tell you what that movie's about.
That movie has.

Speaker 1 (01:16:15):
No plot point of order. It's called Happy death Day
to use so to use.

Speaker 2 (01:16:20):
So, by the way, try watching Happy Death Day to
you again and then afterwards try to describe the plot
to another human being and you can't do it because
it's plot wise a mess. And yet it's so enjoyable
the whole way through. I've seen that movie three times.
I've enjoyed it every time. At the end, I'm like,
that movie makes no goddamn sense and I fucking love it.

Speaker 1 (01:16:41):
But what's the What's what's the central story at the
heart of that movie? I mean, it doesn't matter what
the central story at the heart of that.

Speaker 2 (01:16:47):
Movie is that's right. It really doesn't. Like there's literally
a point where one character comes in to kill himself
and they just drop that plot entirely, Like it's like,
that was cool, but we're not going to answer that.
We're going off on another thing like that entire movie
is emotional and not not structural, but it's a delight

(01:17:09):
all the way through. I endure both those movies, but
the second movie literally put a gun in my head.
I can't tell you what that movie's about.

Speaker 1 (01:17:17):
That's understandable. And you said something about art comes from pain,
and I got to tell you. Apparently Bill Murray was
multiple times bitten by that groundhog, to the point that
he had to get Raby shots. There's in fact an
AdLib blind that my dad used to quote to me
all the time, especially when I first got my driver's license,
where he just keeps telling the groundhog, don't drive angry, Yes,
don't drive angry. And in that scene he had to

(01:17:39):
come up with that ad lib because the groundhog was
trying to get away from him and it was like
climbing over the steering wheel. And then shortly after he
ad lift that line he got bit again by this
fucking groundhog.

Speaker 2 (01:17:50):
It's a fucking wild animal that they used in a movie,
and of course it's not gonna be happy driving a
fucking car, Like what the fuck, guys come on exactly.

Speaker 1 (01:17:59):
And then aparently Harold Ramos told the kids who were
throwing snowballs at Bill Murray to throw them as hard
as they could. And I've always thought, Cargil, there's one
shot where it looks like Bill Murray is legitimately trying
to be in one of these little kids in the head,
and it's because as soon as he got hit as
by the snowball and the kids throwing it as hard
as they could, he got matted through the snowballs back
as hard as he could.

Speaker 2 (01:18:20):
That's why he gave the direction like that scene in particular,
that's the one where he's trying to recreate the night before. Yes,
but it feels so inauthentic, and she's not buying it
because it feels so forced and created. It's one of
the brilliances of this movie is just how layered some
of the things are. We're doing the same scene with
the same dialogue again but with a radically different performance,

(01:18:43):
and I guarantee you that was what that was the
direction he gave them when they're shooting that shot where
it's like, hey, this is the scene where he's not authentic,
it's not cute anymore. He's really angry, and that's what
this is. And that scene is so delightfully uncomfortable as
a result.

Speaker 1 (01:19:04):
Absolutely, and we got to do a little bit of
pedantic math here. There are so many different theories as
to how long he actually spends in the Groundhog Day loop.
Some people have said it's thirty eight days. Some people
have said it's ten years. Some people have said it's
thirty years. But I went through and I actually counted
this time, and I counted both the days as they

(01:19:25):
started and instances where it could not have possibly been
the same day. And I even counted when he goes
through and talks about all the ways that he's tried
to commit suicide that we don't see. He has a
line where he says, I've been stabbed, shot, poisoned, frozen, hung, electrocuted,
and burned. By the way, is he vego the Carpathian
because what the fuck? By the way, with that line, yes,

(01:19:48):
he is good to know. So I ended up coming
up with ten twenty thirty forty two. And then it
was brought.

Speaker 2 (01:19:56):
That's the like the universe and everything. That's the answer
to like the universe.

Speaker 1 (01:20:00):
You know what else it is? This was brought to
my attention. Forty two days is six weeks, six more
weeks of winter. Is also what's predicted by a groundhog
seeing his shadow.

Speaker 2 (01:20:11):
Yeah, no, that's that is That is a mind fuck
of a Oh hey, technically he's addressed six weeks.

Speaker 1 (01:20:18):
Yeah.

Speaker 2 (01:20:19):
I don't know how intentional that was, if, because it
could have been that could have been a thing with
Ramis and and uh, the editor like sitting and going,
you know, let's do this. No one's ever gonna notice.
But how cool would that be? It's clearly not forty
two days. You don't learn how to become a jazz
pianist in forty two fucking days, no, let alone like

(01:20:42):
twelve days.

Speaker 1 (01:20:44):
Yeah, yeah, but I will say, Cargil, did you notice
that piece of music when you speak speaking of him
being a pianist? Did you happen in.

Speaker 2 (01:20:50):
A giant, fucking, giant.

Speaker 1 (01:20:52):
Huge throbbing pianist, did you happen to notice the music
that he's fumbling through when he's like, not when he's
first doing scales, but like when he's playing, and she's like,
you've never had a lesson before. Did you recognize that
piece of music? Yeah, it's called Rhapsody on a Theme
by Peghini and it's also featured in Somewhere in Time. Yes,
so that again not an accident. You know what else

(01:21:14):
is in an accident. We'll be right back after these messages.

Speaker 7 (01:21:18):
Ah, I've already McCracken.

Speaker 16 (01:21:21):
When I found out a little billy here was growing
up without a daddy, I had.

Speaker 7 (01:21:25):
To do something.

Speaker 12 (01:21:26):
I'm bigger and saw our picture in the paper.

Speaker 7 (01:21:28):
He called the Unified Fund and got involved.

Speaker 2 (01:21:30):
I had to.

Speaker 16 (01:21:31):
I couldn't help myself. But the little Billy is not
the only one. There's also a little Jason here. Once again,
this year, I'll be sponsoring a fatherless family in every city.

Speaker 2 (01:21:42):
I sometimes when I wake up in the morning, mister
McCracken's already there.

Speaker 7 (01:21:48):
It's a tough world.

Speaker 16 (01:21:49):
These kids nearly gotten munsoned, but they're back now.

Speaker 7 (01:21:55):
Through the Unified Fund. I found out that if you
give a little, you can get.

Speaker 1 (01:22:00):
Back what no, just in time.

Speaker 2 (01:22:08):
That's my power. You stole my you know, what, You're
gonna figure your shit out and move on and lose that.

Speaker 1 (01:22:14):
Power, yep, yep, But for now, I'm going to keep it.

Speaker 2 (01:22:16):
You were a god for this episode and then I
get it back.

Speaker 1 (01:22:19):
Oooh well, I like this. I am a golden god
for exactly one episode. And that brings us to the
junk food pairing, and this one was really easy for me.
It's a huge slice of angel food cake that you
eat in one giant bite. And I want to warn you,
even if you're a junkie on of advancing years, I
want you to throw caution to the wind and eat
everything on your local diner's dessert menu.

Speaker 2 (01:22:40):
Ah yeah, I mean live like there's no tomorrow.

Speaker 1 (01:22:45):
Live die from the heart attack repeat, is what I'm
trying to say.

Speaker 2 (01:22:48):
Yes, that is exactly what you should be doing.

Speaker 1 (01:22:50):
Apparently this is a funny story. Apparently they offered Bill
Murray a bucket for that scene so that after every
take he could just spit it out. But he refused
the bucket.

Speaker 2 (01:22:59):
Of course he did. He's Bill Murray, and so.

Speaker 1 (01:23:01):
He ended up getting very sick, especially he said from
the angel food cake that he shoves in his mouth
in one bite. And I'm like, well, yeah, Bill, that's
gonna happen.

Speaker 2 (01:23:10):
Yeah. Every time he threw up in the bucket, he
was like, no one will ever believe you.

Speaker 1 (01:23:17):
Oh my gosh.

Speaker 2 (01:23:18):
It's how did we get through this without talking about
Bill Murray legends?

Speaker 1 (01:23:21):
Because we told a lot of those Bill Murray legends
on our quick change episode.

Speaker 2 (01:23:24):
I think also true.

Speaker 1 (01:23:29):
Oh man, this has been a great start to Februmury,
and I look forward to repeating how great Bill Murray
is over and over and over again.

Speaker 2 (01:23:36):
We're just that February is just gonna be this episode for.

Speaker 1 (01:23:39):
Four weeks and people will do the mast some of us.

Speaker 2 (01:23:43):
Some of us have to go off and make a
fucking movie.

Speaker 1 (01:23:45):
Yeah, and I will be back though it's a short movie,
so I won't be gone long.

Speaker 2 (01:23:50):
By the way, guys, I'm gonna be on and off
the next few weeks or so. Me and Scudd are
making a movie, so we will have a number of
interesting guess. I'm very excited to listen to the episodes.
I will be popping back in as I can, but
just a heads up to that, and then I will
be back shortly thereafter while Scott is editing said movie.

Speaker 1 (01:24:13):
Nice. But until then, Cargill. Where can people find you
on the interwebs?

Speaker 2 (01:24:17):
You can find me on Twitter and Instagram at massa
Worm that's MSSA to b Why Are and my other
podcast right along wherever you listen to your podcasts Awesome.

Speaker 1 (01:24:26):
You can find me on Twitter at brig Guy Salisbury,
at Junk Food Cinema, and at Replay Perview. The other podcast,
to Do with My Brother, where we review every wwfay
perview of the twenty first century with Michael Shannon. Sometimes
not with Michael Shannon, always not with Michael Shannon. But
I would love it if we did it with Michael Shannon.

Speaker 2 (01:24:43):
Why has Michael Shannon never been in the Dude?

Speaker 1 (01:24:47):
Dude, He's the only guy that wouldn't get buried by Kane,
you know what I mean? Like, the only guy that
could really stand up to Kane, I feel would be
Michael Shannon.

Speaker 2 (01:24:55):
What are you doing That's not a power slam?

Speaker 1 (01:25:00):
You say that you wear that mask because you're burnt,
but I mean in your arms they're clearly not burned.
I mean, and I kind of recognize you as doctor Yankam,
the wrestling Dennis, a terrible character from the Federation era.
You're live in a fucking line. I'm tired of it.
And also, by the way, in the era that we're
reviewing wrestling right now, in the year two thousand, the
Undertaker's theme song starts with You've done it now, which

(01:25:22):
could also be the summation of every role that Michael
Shannon plays in the two thousands. It just comes out
to you done it now, and He's gonna make you
fucking pay for it. I love Michael Shannon so much.
What were we talking about, Oh, we were ending this
episode right on Groundhog Day. Yes, well, we are in

(01:25:42):
fact gonna end this. We'll be back next week with
more Murray badness. I won't say which film, just in
case we have to to move the line up around,
but I will say that until then, I urge you
don't drive angry. Don't drive angry, and I'm talking to you.
Michael Sherman outd Weekends by.

Speaker 18 (01:26:04):
Ray.

Speaker 1 (01:26:07):
I got you bad, I got you

Speaker 7 (01:26:12):
M hmm.