Final Destination (2000) | Episode #152

We’re staring into the abyss of 2000’s Final Destination to see what will gaze back. Welcome to the Summer of Fear series. A series where we welcome independent filmmakers, musicians and more to talk about some of horror’s most iconic films. Up first, the director of Massacre at Femur Creek, Kyle W Hytonen, joins us to talk about his film, men’s mental health, the death defying Final Destination & more.

Massacre at Femur Creek is an official selection of Horrific Hope Film Festival. Click here to get your tickets today!

If you or someone you know is reading this right now and struggling with suicide, depression, addiction, or self-harm - please reach out—comment, message, or tweet’ at us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 988. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!Abyss Gazing: A Horror Podcast is a production of Victims and Villains is written by Josh “Captain Nostalgia” Burkey (& produced by), Mark Moore & Billy Tabor. Music for this episode comes courtesy of Kevin MacLeod (https://bit.ly/agktheme) & Purple Planet (https://bit.ly/ppcoms).

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Become a supporter of this podcast: https://www.spreaker.com/podcast/abyss-gazing-a-horror-podcast--5223870/support.

Episode Transcript

Speaker 1 (00:06):
Welcome to Biscays, a horror podcast where we celebrate all
things spooky and at mental health. Hey, this is Billy
and I'm your other co host, Josh Mark apparently has
been caught by flight one eighty, so maybe he wakes
up before Devin Sawa, who knows.

Speaker 2 (00:26):
We told him to get off with us, but he
stayed on the plane.

Speaker 1 (00:29):
He caught us crazy. And yet here we are. We
are joined. And not only are we kicking off our
Summer of Fear, not only are we jumping into the
final Destination movies, but we are also jumping into our
annual Horrific Hope Film Festival series as well. We are
joined by our Friday Night feature film director, who is

(00:50):
the man behind the slasher horror comedy Massacre at Femur Creek.
Mister Kyle, and I probably should have how to say
your last name before we started.

Speaker 3 (01:02):
Yeah, a lot of people mispronounced it, so you're not
the first stor pronoun that was good. Okay, finish nomenclature name. Yeah,
that's the one.

Speaker 1 (01:16):
So if Femer Creek is going to be closing out
our wonderful Friday Night selection at on August fifteenth, and
got some great films in this block, just got to
shout them out real quick. So you guys are going
to get to see the The Gord, the Brad, and
the Ghostly as well as Maggie Campbell, the Angel Match, Seance,

(01:41):
Vanishing Act and when the Whispers Come and pairing the
last one pairs perfectly with the massacre at Femur Lake.
That is kind of this homage to just not only
eighties horror, but eighties culture. Can you kind of tell
us a little bit about what this movie's about.

Speaker 3 (02:01):
Yeah, So it is set in nineteen eighty eight, so
it's definitely inspired by films that I grew up watching.
I mean, I'm an eighties kid, So it's definitely influenced
by films like The Friday the Thirteenth series and The Burning,
which as well is one of my favorite flasher movies
as well. And then because it's got the camping aspect

(02:21):
to it as well, I also take a tip of
the hat to Just Before Dawn as well. And the
story is about a group of friends who sort of reunite.
Now they're all in their mid thirties and they reunite
for this bachelor party and they go out to the
woods for a camping trip like they used to when
they were a kid, and as they're out in the
camping trip, they you know, kind of start to develop

(02:42):
all these fears and anxieties that people in their mid
thirties started develop. I know, I went through a little
bit of a midlife crisis and that time in my life,
and this is sort of a little bit of a
therapy when I wrote the script. And as they're you know,
going through their own personal elements. There's a cycle killer
in the woods as well, who's sort of hacking and

(03:04):
splashing his way forwards. So you get your your horror,
your comedy. There's a little bit of a you know,
dynamic between all the friends who haven't really seen each
other in a while, and people tend to react to
it really well, and we're having a good time with it.
Beaver Creek in a nutshell.

Speaker 4 (03:22):
Yeah, in this movie also gives you the camp that
if you if you like camping movies, this will suffice
for that. Trust me, because I'm one that kind of
likes his eighties camps and everything to it.

Speaker 3 (03:35):
Yeah. Absolutely, there's the old like ghetto blaster if somebody
brought that and all the old ugly coolers and those
those big gaudy like lanterns yous to have. And because
I grew up in like the great Northern Ontario and
a place called Thunder Bay and there's not really much
they're out there to do except for like drink and
go camping in the sun. That sounds like a very

(03:58):
personal place. Yeah, it sounds like some.

Speaker 2 (04:00):
Of the places around here, like some of the country places.

Speaker 1 (04:03):
Yeah, that was actually going to be. Like my next
question is, like, when you are writing this, I feel
like there's probably you know, the way that you envision
the sets kind of being. This one is very heavily
on the isolation. It takes place in literally in the
middle of a forest. There are challenges that you guys

(04:24):
face and trying to kind of find the perfect location
with the vision that you have in your head for
what Femur Creek actually is or what it's entailed to
be on screen.

Speaker 3 (04:37):
So the funny thing is where we filmed it in
Hamilton is a lot of the places that we filmed
that were places that I'd actually camped out with friends
that over the years here. So I knew if I'm
going to shoot the film at night, and this thought
I knew that the sound was going to be good,
as an example, and I knew that there was the

(04:59):
creek with bridge over it, which features in the film
as well, And so I kind of knew the when
I was writing the script, I already knew the layout
of where I wanted to go, where they were going
to be hiking, this trailer going to go hiking, and
this trailer going to set up their camps. And because
I've been to all those places and I've done exactly
what characters doing this movie, so I'd already like pre

(05:21):
location gott these movies for years as it was, so
and that's something that we paid attention to, was like
a trying not to go too far out into the
woods where you know, you might be hiking with all
your film gear and all your stuff and food, and
to trying to find places that were like pretty you know,
centralized to where we were in the city, and then yeah,

(05:44):
trying to find place thros that were good for sound
and we're going to be a lot of people like
hiking through and what the hell is going on in
the woods right now? Stuff like that. So that's really
what we found the great thing about shooting a movie
in the woods is. I mean, you can shoot would
a and who would be here? And it kind of
all looks the same really as long as your lighting

(06:04):
is really the same. So that's it's all again. It
all came from like somewhere that IPERI in. So and
so they say, when you make your first feature and
make it, use what you know and write what you know.

Speaker 2 (06:17):
What I did, so I know that it has like
German and everything in here. Do you also speak German
or no? No?

Speaker 3 (06:26):
So uh. There's a little bit of an Eastern European
influence in the film because in thunder Baya town I
grew up in, there is a big like Scandinavian, there's
there's Swedish, there's Finnish, there's a lot of Eastern European
like Russian, like whatever the they the descendants or whatever

(06:49):
grew up there. So when I was a kid, I
mean everybody, all my felt family and relatives, all the
people that came from the old country. You know, they
all both spoke the language, but I I don't speak
the language. But it was a little bit of the
tip of the hat because if you think about these characters,
the main characters who are in their twenty thirties that
these guys grew up in like the you know, the fifties,

(07:10):
so they were part of the baby boomer like post
war group of people that would come over. So they
were like the first Canadians or Americans as you guys
would have it to really like be born in the country.
They didn't immigrate or anything like that. So there's a
little bit of the tip of the hat in that.
And I didn't want, like, I know, some of the characters,
like the two German characters that are very pronounced in

(07:32):
the film, are like a little over the top maybe,
which makes it a little fun. But that's where all
that came from. Was just stuff again that I'd grown
up with. And I also have to you know, reference
The Deer Hunter as well, because The Deer Hunter is
a film about a group of friends to go through
this incredible experience and they live in a small town

(07:56):
like that that the Ukrainian descendant town. So those elements
as well sort of influence why there's you know, German
speaking films. Unfortunately, I don't let the language know other
than the swear words.

Speaker 1 (08:10):
I know.

Speaker 3 (08:11):
The swear words.

Speaker 2 (08:12):
Yeah, well see I knew one of the words was
dumb cough and that actually translates to just dummy or blockhead,
but you haven't translated the dumb fuck. I was like,
I was like, I looked at because we were we
I was at his house this weekend and we watched it,
and just from living over Germany at Germany, I knew

(08:33):
that word of like, let me look up this word
because maybe I thought it was the wrong definition. So
that's why I was curious.

Speaker 1 (08:42):
Yeah, yeah, I'm kind of curious. In the past, when
we have talked about eighties films or eighties inspired films,
they kind of boiled down to the three bees. You
have boobs, blood, and bad decisions, and this movie has
plenty of those. But I think one of the most
rising elements is the way that you use the kind

(09:03):
of strippers in this movie. They kind of feel humanized,
they feel very well written, kind of also fleshed out.
Can you kind of talk about taking their care. They're
probably one of the more surprising elements of the film
that kind of adds some depth to it. You talk
about kind of going against the grain of what we

(09:25):
normally expect from these types of this this genre of
movies and kind of bringing a little bit of surprises
to those characters.

Speaker 3 (09:34):
Yeah, thank you appreciate that. They When I was writing
the script, they were really just like the cookie cutter
characters initially in the first couple of drop and then
my producer was reading all he would read all the
drops that I would send him, and you got to
like add a little bit more like life to be
characters like I feel like he said that they're like

(09:56):
the heart of the film, which really turned out to
be that way. So I wrote that scene where they're
in the car and they're talking about, you know how
the the young girl Trinity is her name, or she
kind of terrified and the older the older seasoned uh
surper Mariah talking about how you know, there's all these

(10:17):
different parts of you that make up the baby that
could be. And when I wrote that scene, it was
just like like like that like light bulb moment where
it really like actually became the heart of the film
and these characters, the humanity that came out of that
scene was just so like, I'm my eye opening for me,

(10:37):
and I did take a lot of like my own
anxieties and fears and issues into Trinity's characters. Talked about
how she was like an independent person all her life,
and it's sort of like now come back to haunt
her that she has nobody to like, you know, lean on,
or nobody to rely on supports system. That's something that

(11:01):
like I went through with myself. So I kind of
like filtered that into that character and it seemed to
it seemed to work for that character. And it just
I didn't want to make her like a like a
SOB story character. I just wanted to make her a
little more grounded in reality. So when I was able
to put that part of myself into the character, I

(11:21):
think that helped. So yeah, it's definitely the heart of
the heart of the movie.

Speaker 2 (11:26):
Josh has a serious question. I've got to ask when
it's not too serious, and I don't want to, I
don't want to spoil it, but what made you decide
to have them shoot the body part that they shot
towards the end? You know what I'm talking about?

Speaker 3 (11:40):
Right again? Right, right?

Speaker 2 (11:42):
Right?

Speaker 5 (11:45):
Whatever?

Speaker 3 (11:46):
He didn't say, it didn't I didn't say what it was.
Uh So, when I when I made the short film,
so the short film that I made this one, which
is ten years ago, which was a lot more sort
of like stonery goofball film. In the end of the script,
they they cut off that body part and they just

(12:06):
started like pontificated about it for a bit a minute
and have this weird conversation, which I thought was so
for me when I was writing it. I thought it
was so funny. These guys would just stand there with
the body parts hanging off of a knife and they're
just like, why did you do this? What was the
point of it? Yeah, and you know bad? Is this
bad to do? Was I not supposed to do this?

(12:28):
I thought we were trying to survive. So people love
that seed like in the short film, so I had
to somehow put it into the feature. And we kind
of anted up a little bit by using gun this
time instead of just a knife. But yeah, that's where
it came from. And I mean, I'm I'm like of
the proponent. If you're gonna have nudity in a movie,

(12:50):
if you're gonna have like female nudity, there should be
male nudity as well. Sometimes, So that's all say, maybe
that just spoiled it right there, but that.

Speaker 1 (12:58):
Yeah, that's that's absolutely fair. Also say that that scene
also yields probably my favorite line in the entire movie.

Speaker 2 (13:06):
Yeah, Yeah, that's that's that's a memorable scene to me
because it's hilarious, and then just some of the lines
that came off of it was just yeah, one of.

Speaker 1 (13:16):
The go ahead, no good I was gonna say. It
was like the last thing I will talk about. There's
a there's a fourth b in this paying homage to
the late great Bob Ross in this and probably one
of my favorite sequences in this movie. Like audibly, we
watched it with my wife this morning and like all

(13:36):
three of us laughed at that part. I'm kind of curious,
like when you were crafting the scripts, like why was
that scene kind of placed in there? You know, and
kind of this this like Grand Tour of Femur Creek. Uh.

Speaker 3 (13:54):
I mean, when you're the most classic boxing movie, there's
always like some random character that just sort of walked
into the movie that I'll get e vicerated just so
that the blood the body camp can go up and
the blood can flow more So, I wanted characters that
sort of interacted with the shape that weren't really part
of the main story. So the painter. I just love

(14:17):
the idea of a painter like painting a picture and
maybe it don't really illuse, you don't really allude to it.
But maybe he's just like so zoned, so zarked out
of his mind on like drugs, painting this beautiful tree
and then he see the shape hiding behind it, and
it's like I was painted into it. So that like
just the idea of having that in a theme and

(14:38):
then having the big death was was part of the
joy of making that theme. And that was the very
first thing we shot for the movie. I was like,
it was during like COVID and you know, you couldn't
really shoot any you know, person. It was just two
actors and they're you know, they're on the each side
of that little creek. So it was all nice and

(14:59):
you know, COVID friendly. We were filming it just to
get something in the can, and we use that as
like our pitch video for the Indigogo campaign we were
raising money for the movie. So yeah, it's just a
little tip of the hat the Bob Roth. I think
when I was writing it, I was watching a lot
of Bob Roth on YouTube. It just sort of all
came together.

Speaker 1 (15:18):
Yeah, him being in the movie is just a happy
little accident. But yeah, you guys can check it out
for yourself. August fifteenth, the block is going to be
Fridays at Femer Creek again once again. Massacre at Femer
Creek is gonna be headlining that block.

Speaker 2 (15:34):
You go.

Speaker 1 (15:34):
Also gonna have the great Shorts, the Gored, the Brad,
the Gas and the ghastly Ghostly Sorry Baggie Campbell aimed,
the Angel Match, Seance, Vanishing Act and when the whispers
come and Femur Creek is going to be celebrating its
Virginia premiere a horrific hope, So why not come out?

(15:55):
Tickets go and sale June eighteenth, and you guys can
join us August fifteenth and sixteenth or the to be
part of the only film festival that is hore centric
mental health focus. We will provide links to in the
show notes below to not only those tickets when they
go up, So if you guys are listening to this
after eighteenth, they're in the show notes. But I'm also
gonna provide you guys the link to check out Kyle's

(16:17):
original short film, Massacre at Fever Creek.

Speaker 3 (16:21):
It's a lot of fun, yeah, awesome.

Speaker 1 (16:24):
So we're gonna take a qui commercial break when we
get back. We're gonna be kicking off our final destination series.
Maybe Mark joins, maybe he doesn't. Who knows and what
timeline does? This was he on flight one eighty Who knows.
We'll be right back. If you were someone you know
is listening to this podcast right now and you're struggling
with suicide, addiction, self harm, or depression, we encourage you,

(16:47):
guys to please reach out. This is the heartbeat or
why we do what we do. Suicide is currently the
tenth leading cause of death in the United States, and
as of this recording, there are one hundred and thirty
two suicides that take place each and every day on
American soil, and when you scale back internationally, there are
eight hundred thousand successful suicides. That is one death roughly

(17:11):
every forty seconds. So if you were someone you know
was struggling, you guys can go to Victims and Villains
a dot net forward slash hope that resource is going
to be right in the description wherever you guys are
currently listening or streaming this. There you'll find resources that
include the National Suicide Lifeline, which is one eight hundred
two seven three eighty two fifty five. You can also

(17:33):
text help to seven four seven four one. You also
have a plethora of other resources, including churches, getting connected
with counselors, LGBT resources like the Trevor Project, and also
a veteran hotline as well. Please, if you hear nothing
else in the show, understand that you, yes, you listening

(17:57):
to this right now, have value and worth. We get it. Suicide, depression,
mental health. These are hard topics and this stigma around
them doesn't make it any easier. But please consider the
resources right in the descriptions below wherever you guys are listening,
because once again you have value any worth, So please

(18:19):
stay with us. Welcome back to a biscays like a
horror podcast where we celebrate all things spooky mental health.
We are joined once again by the director of Red,
Director Kyle uh Heighten am I saying that Heightened all right, well,
and in a twist, in a twist events Mark survived

(18:43):
flight one eight.

Speaker 2 (18:44):
Somehow he finally got off the plane at the left,
so he's here to join.

Speaker 1 (18:49):
I guess, I don't I don't know. Maybe we're like
in an alternative reality.

Speaker 5 (18:53):
Now, maybe who knows? You should listen to me the
guests this time it does.

Speaker 1 (19:00):
Kyle's enough to go all right, uh so, who wants
to kick us off with with final destination? We're counting
down to Bloodlines. But Billy, this was you know what, Billy,
this was your pick. This was your idea to cover
this series. You kick us off with what you want
to talk about first?

Speaker 2 (19:21):
Well, I mean I'll start with this was like one
of my favorite movies. I mean, it's always been one
of my favorite movies, and this one was one of
the few that I've always felt that a lot of
movies you have questions after you've watched them, like well
that scene was missing this or you needed something else.
This one pretty much hit on almost everything, like things

(19:42):
you would question. It's like they thought about it and
added it to it. And then we have candy Man
himself in this movie, which he always loved the movie
season Tony Todd.

Speaker 5 (19:57):
He's a.

Speaker 3 (19:59):
Blood Work. Is that its character's name blood Work?

Speaker 1 (20:04):
Which what a great name for a mortician in this.

Speaker 5 (20:10):
I never realized that was his name until I watched
this the other day.

Speaker 1 (20:14):
In this movie, yeah, yeah, that's his that's his name.
Like they they they kind of flesh it out like
later in the series, like actually give him like a
real proper first name, but yeah, Eddie would one of
the things I noticed in here, and I only noticed
it because Joe Blow did a did a like a
essay series on like the making of these films, and

(20:37):
there's so much homages to other like horror franchises in this,
so I'm kind of curious if you guys caught them.

Speaker 5 (20:45):
I thought I did, and now that we're talking about it,
I'm having a brain fart and can't remember. But there
was a couple of scenes it's like, oh, I remember that,
this looks like it's from that, and now it's like dum.

Speaker 2 (20:59):
Yeah.

Speaker 3 (20:59):
I don't know if I can name any movies per
say that I can think of too up the top
of my head. I know there's like a very like
Fielbergian s dial to the whole in general, that the
way it would start, and especially like the opening opening,
Squinces and everything, But I don't know about influences on
from other films that they you I'm interested to hear,

(21:21):
So I.

Speaker 1 (21:21):
Guess let me classify that inside it just being like
nerding out, so like naming characters after something, so like
for example, Sean Williams Scott's named is of course named
after Alfred Hitcock Agent Shrek is a callback to Max Shrek,
the director of nos Faratu. I feel like there's a

(21:43):
Carpenter in this cast and I don't remember, uh the
name of it. Maybe it's in a no that might
be fun of Destination three. But it's kind of like
the it kind of anytime you have the writer and
director of this movie that if I can find, James

(22:07):
Wong is the is the director on this one, but
he did this one the three. We'll talk about why
he didn't return for two next episode. But it's James Wong,
Jeffrey Reddick, and Glenn Morgan that wrote this one, and
they're like huge fans of the genre, and so they
put in a lot of like you know, Navy characters
after like famous people. Like there's like John Carpenter gets

(22:30):
an homage in the later installments Michael Myers I believe
also too. So it's like they pay homage to the
to the royalty of the genre.

Speaker 5 (22:40):
This came out like ninety six or ninety seven, right, Well.

Speaker 1 (22:43):
This came out in two thousand, it did. It came
out in two thousand, and I think what's crazy about
this film in terms of like its release is that
this movie, like you could argue that it also like
taps into that that that lingering fear of Y two
K and then a year later we get nine to eleven.

Speaker 5 (23:04):
I was thinking more saw.

Speaker 2 (23:06):
Yeah, I was gonna say this movie was like literally
right before nine to eleven. So the fact that this
movie came out and then nine to eleven happened was
just weird and crazy.

Speaker 3 (23:18):
Yeah, add to the lore of the film itself. And
I mean that plane, that plane sequence at the beginning
of the movie, that crash is horrifying, Like I watched
that every time and it just I watched it last night,
the movie and it just absolutely gives me chilled, so
like realistic and bloody and hit.

Speaker 1 (23:36):
It's still one of those movies that I feel like
this movie might be literally very whether that's gone through
turbulence or felt any type of like uncertainty flying like
it's it's like kind of like actually low key pretty scary.
So it's you know, this movie's arguably what I would
say is like probably one of the scariest movies we've

(23:58):
covered in our roster so far of films.

Speaker 5 (24:03):
Oh, I don't think it was scary. It reminds It's
always reminded me kind of this and Saul have always
kind of been in the same class for me, because
you're not watching them for the story, you're watching them
for the kills.

Speaker 3 (24:19):
You are.

Speaker 1 (24:20):
But conceptually this movie is terrifying to know that, you know,
I mean, you could say the same thing about driving.
I think I think we experience it more with the
log truck in number two, like where it's.

Speaker 5 (24:31):
The log truck in number two, terrified in entire generation
for decades to come.

Speaker 2 (24:39):
Will hit that one at number two. But yeah, I mean,
it hits a lot of fears, like you always get
told to watch out you get hit by a bus,
and how many times do they use that in this movie.

Speaker 1 (24:53):
Another think that I think is really uh something to
think about is the fact that this takes place and
it happens to a cast of high schoolers when I
can't speak to anyone else. But when I was in
high school, I literally thought I was invincible, Like you know,
you could have have that mentality of like I'm gonna
live forever, Like I was sixteen and got hit by

(25:17):
a car and was on a skateboard three days later,
like I thought there was no stopping me. And so
to kind of have that ideology kind of pinned up
against not only the subject of death, but also just
the craziest death sequences in horror at that time. I

(25:38):
think it's just absolutely a beautiful juxtaposition.

Speaker 2 (25:43):
Yeah, I think that's why it hits a little bit
different from me because while my youngest was in middle school,
he was walking home and got hit by a car.
So it's like it used to be, oh, yeah, that's
in the movies. That never happens. It doesn't happen that
often too. It literally happened to like one of my
own kids. It's like, it's crazy to think that that
can happen.

Speaker 5 (26:02):
Still, I mean, I was you said this came out
in twenty one.

Speaker 2 (26:08):
It came out two thousand thousand.

Speaker 5 (26:10):
That's really mean two thousand and one. My brain. My
brain's not working well today. But yeah, that same year
was the year me, being perfectly healthy, had two collapse
long and ended up in the hospital for like a
month that year. So seeing stuff like this and like

(26:31):
you got hit by a car you said when you
were sixteen, which actually kind of explains a lot.

Speaker 1 (26:36):
Uh me, no it but me no me, no words, well.

Speaker 5 (26:44):
Me, no brains will apparently today, but it's it was
an interesting It was kind of an interesting concept of
a movie that came out. And I also think it
kind of it took what things like Night Marilyn Elm
Street and Friday the Thirteenth were doing, where every iteration
of the next movie came out. They were trying to

(27:06):
up the way they did the kills. Well, they took
kills and made them creative now, and I think it
flowed into later horror movies to be more creative with
some of the ways people get killed.

Speaker 3 (27:20):
Yeah, I'll definitely add to what you said, Josh about
how it for teenagers that would affect them up to
the effect that that being a teenager watching that movie
thinking you're invincible because that scene where after the big
crash happened and there's this sort of group funeral memorial
for all the students that died. I mean that was
like a year after Columbine, and that was like exactly

(27:42):
almost exactly like how that was like the big memorial
like that. Yeah, And I mean I don't even they probably,
I mean the you know, movies take a couple of
years to make. I'm sure they wrote this well before
any of that will happen, but like the parallel of
that what was going on with line that's pretty uh
pretty yeah poopy, as well as mentioning before a year

(28:05):
before nine to eleven. It's like a weird little pocket there.

Speaker 1 (28:08):
It's it's yeah, it's kind of like it's like terrifying,
uh like Schrodinger's box, right, like kind of exploring these
like concepts in terms of like where they where this
movie came out in terms of like big events. And
there's two things I want to add to that. The
first one is, I think it's really interesting too, is
that you took some of the biggest stars of the

(28:32):
nineties with Sean Walliam Scott fresh off American Pie, Devin Sawa,
I mean just had a banger after banger in the nineties,
Casper SLC punk Idle Hands, like he did a movie
with Jonathan Taylor Thomas where they went cross countries. Uh,
I don't remember that the name of that, but I

(28:54):
mean like.

Speaker 2 (28:54):
He was like a hot comodity.

Speaker 1 (28:56):
I mean Wild America, that is it.

Speaker 3 (28:58):
He was so high.

Speaker 2 (28:59):
I mean he even did the video, wouldn't it stand?

Speaker 3 (29:02):
He did that before this ye oh yeah, yeah.

Speaker 1 (29:06):
Yeah, which is such a weird thing, but like it
kind of went it kind of took this like trend
of like really big stars at the time that you
know was started by the Craft and uh urban legend
It's scream and kind of really like brought it into
like a different sense. When you look at those films,

(29:28):
the majority of them, with the exception of the Craft
is like it was normally slashers that were doing taking
these like hot teen stars at that time. This one
kind of strips it and says, we're gonna bring this
down to like a groundedness. Even if there is this
element of like fantasy to it, it's it still has

(29:50):
this groundedness because you know, we look at something like, uh,
look at the death where the friend like dies like Todd.
Todd died by this, you know, being strangulated Like that's
such like a freak accident, Like you know, who's really
going to die by that? But it's like no, actually,
like it's not so far fetched to say that, like

(30:12):
it's gonna you can't die like that. You know, we
see a very similar death more recently in Bringing Back
you know, not to got to give it a spoilers,
but you know there's kind of very similar deaths in
that film that there is in with Todd's deaths, and
so you do have this level of like groundedness to that,
and I think that's what makes this movie even conceptually

(30:34):
more terrifying.

Speaker 3 (30:37):
Yeah, definitely, I think as well he mentioned those films.
The one thing that this movie has is it has
the characters, Like the teenage characters are really well drawn out.
I mean, I love in the very beginning of the movie,
see what Alex is, that him the main character, and
give him the suitcase and it's got the old airport

(31:00):
hag on it, and he like, don't rip that off
of bad luck? Like you right away you can see
he's like a superstitious kid. And that something you don't
see in a lot of those kind of movies is
the little quirk that these characters have. I think through
the whole movie, they're all like that.

Speaker 2 (31:13):
They all have these.

Speaker 1 (31:14):
Quirk which I will say I I I unconsciously subscribed
to that and didn't even realize that. So like anytime
I traveled, like I always have that in my bag
and like if you rip it off, like it's bad luck,
like everyone's got to know that. I've been to California
and Texas and Florida, like you know.

Speaker 2 (31:34):
So my question on that is, did you pick that
up because of this movie?

Speaker 1 (31:38):
Uh, It's possible. I think I might have been more
influenced by my friends who had seen this movie, because
I don't think I saw this movie until I was
like well into adulthood. Now the second or third film
I had seen, but for some reason, I'd never seen
the original one until a few years ago.

Speaker 2 (31:57):
Yeah, because I mean, I know this movie influenced the
like we talked about Todd's death where the strangulation and
awe and a lot of people have fears of that
and slipping and falling, and I know during that scene
when he's like doing the nose him or he's shaving
and everything, you think that that's what's gonna happen first.
And the fact of slipping and falling in the bathroom

(32:19):
is common. I mean, it happens. Yeah, So just using
those things that actually happen in real life and teasing
you with those before the actual way they kill him
is even great to me. Just the fact that they're
hiding it around all these other things that you would
have fears for before.

Speaker 1 (32:39):
I before we get to like too far away, from
like the conversation of like youth and death. Uh, there
is just one more thing I want to bring up
in response to that, And you know, I think there's
the all. There's also this like societal like factor that
like this unspoken rule that teenagers are invincible, and like,
you know, it's kind of like a common trope we
see and like comedies and coming of age stories and

(33:03):
horror movies especially, But you know, when we talk about
the conversation of youth and suicide prevention, there is this
un spoken myth that for some reason, suicide can only
hit teenagers. And I don't know where that gets it.
So just a couple of bits of education real quick.

(33:24):
So suicide is technically the tenth leading cause of sorry,
the second leading cause of death for youth that are
aged from ten to twenty four. And for that typically
the age groups demographically are done between ten and fourteen
and fourteen to twenty four. So each of those demographics

(33:49):
showcases in twenty twenty three that about roughly about five hundred,
if not a little bit over people died by suicide.
It's typically what we find for that age group is
that it's eleven out of every one hundred thousand. The
rates for suicide have actually increased from fifty two point

(34:13):
two percent between the year's two thousand this movie was
released in two thousand and one, and sixty two percent
from two thousand and seven to two thousand and twenty one.
So I again, I think, I think it's just this
kind of like uncommon thing that I just want to
kind of, I guess, break that myth that like kids,

(34:33):
you know, in terms of suicide prevention, we don't necessarily
think about that sort of stuff, but it affects us all.
So didn't mean to kind of take that conversation in there,
but like I think, I feel like it's also kind
of when you talk about death, it's also kind of
the important to kind of bring up those kind of
also taboo deaths as well.

Speaker 2 (34:54):
Well. See, I want to build off what you were
just saying, because we've been talking about Todd and everything,
and I mean his brother was on the plane, so
that affected the family also. Yeah, and the dad was
kind of blaming Alex because one son got off and
one son got on, and now he's blaming them for
Todd's death, thinking that Todd committed suicide. So all these

(35:18):
little things like that can affect the parents also, like
empt them hard and some do not know how to
handle or cope or even like he's blaming Alex for
the situation, which is something that's common, but that's a
mental health thing too. You've got to be able to

(35:39):
realize you need to talk. And this is still early
two thousands, so I can only assume that it was
still really taboo for you know, guys to talk and
be like, hey, look, I'm going through this. Instead of
that you were trying to hide it or try to
put blame or some somewhere else, or try to just

(36:00):
let it just think in and never talk about it.

Speaker 5 (36:03):
Well, it's still it doesn't quite carry the stigma that
it did to talk about it for guys. I mean,
it's only been within the last couple of years you
really started having a push for mental health for guys
and looking at some of the issues that we deal with.
And I brought it up a couple of times here
and there during during episodes in the past, but there's

(36:29):
such a large push for guys to be guys is
what it always was. You just kind of suck it
up your gran you bear it. You do for others
and your mental health be damned. That's kind of how
it's always been, and it's still kind of like that,
even though they are starting to shine more of a

(36:50):
light on guys' mental health, but you still have separate
movements that are actually making fun of.

Speaker 1 (36:59):
It, yea.

Speaker 5 (37:02):
And it's if you look at it the other way around.
You wouldn't dare do that about women's mental health. So
it still has its stigma and look down upon by
a lot of groups, even though it is kind of
becoming more acceptable for guys to say I'm having an issue.

Speaker 1 (37:26):
How would you guys like to help us get mental
health resources into schools, conventions, and other events. Well, now
you can simply go to Patreon dot com forward slash
Victims and Villains for as little as one dollar a month,
you guys can help us get mental health resources into
current and upcoming generations, educate and break down stigma surrounding

(37:49):
mental health, suicide and depression, and to get exclusive content
that you can't get anywhere else. And you guys can
tell us which Nicholas Cage move you want us to
cover and we'll do it. All it takes to get
started is to go to Patreon dot com Forward side
victims and villains, or simply click the link in the

(38:09):
episode description wherever you guys are currently listening or streaming
this episode, pick your tier and get started today. Yes,
it's that simple, So clickly select the tier that you
want and help us get hope into the hands of
the depressed and the suicidal today. And like kind of

(38:30):
like switching from Final Destination back to Femur Creek. I
think you even see that in Fema Creek as well.
There's a great aside between our main our our groom
to be and his friend Mike, uh and like Mike's
you know, there's two scenes in particular. One is Mike's
kind of talking about, like, you know, how great marriage

(38:52):
is as compared to like some of the other friends.
And then like on the flip side of that, you
kind of like has like a scene later where like
he gets drunk and kind of like talks about like
how miserable he actually is, you know. And so it's
like there is this element of us, you know, when
we're switching from like you know, teenage statistics into men's

(39:12):
mental health. I mean, Billy and I were at an
event yesterday in the west Over Community Care Fair. We
got talking about like the highest demographic suicide prevention and
the most people. Again, there's this myth that it's statistically
it's you see it primarily in teenagers, and that's not

(39:33):
necessarily the case. The highest actual demographic is is actually
men over fifty five, and it's because like we have
this tendency to have this societal push where we've got
to be big, we've got to be brave, and we've
got to be you know, always on. And I think

(39:54):
you know, having watched you know, documentaries over the years
about you know, real people like Rovin William but then
characters like John Wick and you're kind of talking about
the complexities of who they are as people, I think
you really kind of get to see that. It's like
it's more than just this machho facade or this like
really funny guy. You're seeing like there is pain fueling

(40:16):
that and like propelling that.

Speaker 3 (40:19):
Yeah, definitely, And as mentioned into that character, I mean
that's the way I kind of filtered that character and
how he has a breakdown later is it's sort of
like on social media where you see people's lives are
so perfect, it's so great and so wonderful, and sometimes
they're in a happy relationship, and then every now and

(40:41):
then they air their dirty laundry publicly on social media
as well, and that there is that like element there
and that's where that kind of came from, is like
everything can be nice and great, but then under that
the thought of all those great pictures, there's somebody who's
really misable and not happy in their life and and yeah,

(41:01):
maybe they're turning to alcohol or things like that, but
cope with that, Like that character that's in my movie,
which is supposed to be funny, but there is a
lot of like seriousness like laying underneath that for sure.

Speaker 1 (41:14):
Yeah, but yeah, I was gonna say, like jumping back
into final destination though there is you know, even how
we approach the idea of mental health, Like there is
this very during that funeral scene that I think Billy
brought up earlier, is like Alex is essentially treated in
one of two ways. You know, he's responded with people

(41:36):
that are you know, I kind of treating him like
a fortune teller, like how am I going to die?
Like there's there's that great like running gag with Sean
Williams Scott throughout the course of the film, and then
you know, you have people that are like, stay away
from me, like I don't want anything to do with you,
Like I'm terrified, Like the teacher like ends up moving
or preparing to move rather later in the movie. And

(41:58):
I think it's kind of like how we also approach
the subject of mental health instead and vulnerability instead of
you know, we you have some people that are very
where the heart and their sleeve. They're very honest and
open and want to have those conversations, want to have
that dialogue. And the flip side of that, you have
people that are like everything's honkey dory, and I'm just

(42:19):
going to keep pressing it down and pressing it down,
pressing it down until eventually there's no space left to
be pressed down and you just erupt.

Speaker 5 (42:28):
Well, you talk about the teacher, and out of the survivors,
you kind of wonder if she's the one that's handling
it the worst because she's not really dealing, she's running
from everything.

Speaker 1 (42:46):
But Sean Williams Scott, Yeah, well, I mean I can't
light up the mood a little bit.

Speaker 2 (42:51):
I can't help it. You keep saying this name. I
all I want to say is Stiffler. I'm sorry. That's
his big role to me outside of this. I mean,
I know he has other roles.

Speaker 1 (43:02):
But it's kind of it's also like bonkers to me
to think that, like you had like one of the
greatest sex comedies that influenced like not only our generation,
but like invented a new term that is like ingrained
into our pop culture nowadays. Like you know, Jason Biggs

(43:22):
will always be forever paired with apple pie. Yeah, and
you know, and then so like for him to kind
of like come out swinging and play an archetype that
is completely against type for him. I think he's one
of the best parts in this movie because he is

(43:43):
completely like manic and just kind of kind of like
a little bit of like a loose cannon. He's not
as like focused or not as like juvenile as Stiffler
was an American Pie. So kind of curious if you
guys how you guys felt about him, But also like
if you guys had a favorite character in this movie,

(44:05):
it was.

Speaker 5 (44:06):
It was kind of I forgot he was in this
movie because it's been so long since I've watched it,
and I've kind of always thought Ali Larder was hot.

Speaker 1 (44:16):
So yeah, well you can save your conversation for her
for the next episode.

Speaker 3 (44:24):
Yeah. I thought the Sean William Scott character was great.
I love how he asked Alex at the funeral, Ye asked,
and like, you know, should I ask this girl out
if she if she gonna say yet or no. He's
a great comic relief. But yeah, he definitely he's so
confused about what just happened because he was just trying
to get on the plane and he got caught in

(44:45):
that shuffle of all the people that got kicked off
the plane. So he's, yeah, he doesn't know if he's
grateful or if he's lucky. You should get a lottery ticket.

Speaker 1 (44:54):
You know.

Speaker 3 (44:54):
He's a great, great character. I love I love uh Todd.
I love that character. I thought he was a great
support of character, especially like when when Alex jumps off
the plane, like he's like, I'm gonna go check on him,
and that's like just a really solid friend to be
able to do something like that. He knows his friends
in trouble, and it was bad that he kind of yeah,

(45:17):
in the first act, he sort of he sort of passed.
I liked that character. I thought he was really well
drawn out, and the performance was really really really really quick,
And I like that one for sure.

Speaker 2 (45:30):
See I liked Uh, I liked his character, but I
like Carter, I can relate to that. And I loved
his art of he was the bully asshole and like
to to to the end he flipped and he was
even though he was still the asshole. He was the friend.

Speaker 3 (45:46):
That was the he was he was the mark for us.
Yeah the fuck.

Speaker 1 (45:55):
You know, I had no he was that friend.

Speaker 2 (46:00):
I can scrawl at you and joke around, but in
be an asshole to you. But at the same time,
he's going to be there at that point where at
the beginning he was like he wanted nothing to do
with him or anything else. So I loved his arc
of how that went and watching him go through the
whole sens of accepting what's happening and and how he

(46:23):
was blaming at first and then confused and then drinking
and then you know, just watching the whole thing. That's
why that was like my favorite character.

Speaker 1 (46:33):
His arc is kind of interesting to look back at
because like there are like parts of his thing, like
his arc where it feels like it's the grieving process
but just done out of order, Like accepted this kind
of seemed to be like the final goal with like
everything like lined up wise, but like everything else is
just kind of scattered. I think how you brought up

(46:56):
a good, like interesting point too, specifically about Seawn's character
in this movie, where it is very much like he's
kind of this like confused kind of guy, and I
think that that's kind of the one that like, I
feel like every character there's every movie has a character
where it's supposed to be this like, you know, stand

(47:17):
in for the audience, and that's kind of what he
feels like to where you're like, I don't know if
like I should like be afraid of him or like not,
like you know, you're kind of confused, like what is
the order here? What's happening?

Speaker 2 (47:29):
Really?

Speaker 3 (47:31):
Yeah? Definitely yeah, And I mean that's the great archetype
for character. So yeah, just his delivery and the way
he he just yeah, I love it right.

Speaker 1 (47:45):
On that.

Speaker 5 (47:47):
He just kind of felt like he was there for
comedic relief.

Speaker 1 (47:50):
To me, I think he's right the ride high, like
you know, on the success of American Pie, so of
course he's there for kind of comedic relief. He's kind
of like that bubbling sidekick.

Speaker 5 (48:02):
How far after American Pie.

Speaker 1 (48:05):
Was this a year probably honestly lessoning Ye, I think
it might have actually been a year almost two, because I.

Speaker 5 (48:15):
Feel like for him to have been an American Pie,
which is kind of what made him famous and him
to be in this, he had such a small role.

Speaker 2 (48:25):
American Pie came out in ninety nine, this one came
out in two thousands.

Speaker 5 (48:30):
Yeah, I'm wondered if they were recorded right tape, right
around the same time and before people it was recorded
during a time before they really knew who he was,
and that American Pie came out and he was already done.

Speaker 1 (48:47):
He was kind of the breakout role of American Pie.
I think American Pie ended up being kind of this
like fun surprise that not a lot of people were
expecting it to be, because by that time, a lot
of like the really like raunchy sex comedies had kind
of like had their do they had their day with
like you know, Porky's in the eighties and you know,

(49:08):
stuff like that, and then there was just kind of
this like lull where like you know, National Lampoons had
really had like a big break in a while, and
then you kind of got American Pie and American pie
just kind of blew up and it kind of had
this ripple effect about the salt, the you know, pop culture.

Speaker 3 (49:32):
So that's when did Van Wilder like the next year after.

Speaker 5 (49:36):
Yeah, yeah, that was that was Van Wilder was one
of the movies that helped in Ryan reynolds popularity exactly.

Speaker 1 (49:45):
Yep, I I so uh in terms of like promotion
for Bloodlines, Honest Trailers did the very first Final Destination movie.
And there's a d telling this movie that I'd never
really considered or thought about, and I want to get
your guys' kind of thought process, but this thought process

(50:08):
of that death is like personified in this where it
is a goo and I never like this was like
the first time I watched it after watching that on
at Trailer and I was just like, you know, it's
kind of hokey, it's kind of cheesy. It kind of
takes away some of the seriousness of the movie. So
I'm kind of curious how you guys kind of felt

(50:29):
with it. It's most predominantly seen in Ted's Todd's death,
but it's also I think near the end as well.
So kind of curious that I guess feel about it.

Speaker 5 (50:39):
Not a goo but water that's two very different things.

Speaker 1 (50:45):
Like cgi of the time it looks like goo.

Speaker 2 (50:48):
Yeah, but it's coming from the It was coming from
the toilet. Yeah.

Speaker 5 (50:54):
Water.

Speaker 2 (50:55):
The one towards the end was coming from the swimming pool,
So it was water.

Speaker 5 (51:00):
Death is water, which would make it death that you
guys feel. I mean death is fluid and could adapt
to any situation.

Speaker 2 (51:08):
Yeah, that's the way I took it. It was fluid.

Speaker 3 (51:11):
Well, there's a moment where Todd I think it's when
he's trimming his nose hairs in the mirror and you
see like the sort of shadowy figure and that to
be more with like a not really liquid more like
you know, the grim Reaper cape flowing in the wind
or something. I don't know. It was interesting, but I
feel like that was probably because you don't really see

(51:33):
the evil entity other than the way they did in
not seeing that. They did the water where it was
like kind of following him or whatever. So it was
like they needed something to visualize it for the kid
to watch when they were watching it.

Speaker 1 (51:46):
Maybe I kind of kind of built it kind of
building off of that Kyle, like, you know, bringing it
back to the conversation of like that kind of resurgence
that we saw from like you know, ninety four to
like ninety to like two thousand, where you had a
lot of these movies that had, you know, the hippion casts.
A lot of those movies had like a specific like

(52:10):
physical antagonists, like you know, uh so, like you know,
to kind of keep it that tread, you're like, oh,
we have to have like a physical antagonist. And then
once you've got to get into the second film, then
you're kind of like you had said, like Mark, You're
able to adapt and kind of shift and do things
in the way that you want to, and the concept

(52:30):
of death kind of becomes a little bit more consistence
to where here I think this was kind of one
of those films that they weren't They weren't sure whether
what it was going to become, and kind of had
the legacy that it does today.

Speaker 5 (52:48):
Oh. It's one of the things I found kind of
interesting rewatching it was they trashed Event Horizon for not
having a definitive bad guy. They didn't understand the concept
of the movie or who the bad guy was, But
in this it was kind of similar in the fact

(53:08):
that there was no physical bad guy and it was
people dying in weird circumstances after escaping death. So this
was a success, but Event Horizon wasn't. And there were
very similar kind of bad guy concepts.

Speaker 2 (53:24):
But the bad guy was death or fate in this movie.
That was the whole premise of the thing was because
they got off the plane, they escaped the death or faith,
so they were still facing that the whole time through
the whole movie.

Speaker 5 (53:39):
Right, I get that. But Event Horizon they went to
another dimension and it was possessed by evil, by evil spirits.

Speaker 1 (53:47):
Mark will always be super grumpy that Event Horizon does
not have the following that he deems it worthy of.
It's a great movie, Mark.

Speaker 3 (53:56):
Is at Horizon.

Speaker 5 (53:57):
It was fantastic, but missing the point.

Speaker 1 (54:02):
I think you just like to bring up a vent
Horizon to remind people that it still exists.

Speaker 2 (54:06):
It's trying to pick up the following every time he
brings it up. So guys, go watch Event Horizon so
Mark have more people to help him, and go.

Speaker 1 (54:15):
Check out our episode on it. Thank you for the invitation.
I'll pass h. I am kind of curious with this one,
having uh you know, I feel like Mark you compared
this to the Saw franchise and the thing with Saw
franchise is that the deaths kind of get more extravagant
as the films go on, and this one having you know,

(54:37):
we we know so many of the other gags and
this this franchise kind of moving on from the the
you know, roller coaster, the hot tub, the speedway that
we'll talk about here, but this one is like there's
a lot of like just simplicity here. But I'm kind
of curious if you guys have a favorite death in
this movie.

Speaker 5 (54:58):
That's hard one of the end in France where he
just gets splattered by the sign swinging back.

Speaker 2 (55:07):
But they don't they don't actually show it.

Speaker 3 (55:11):
They cut it off, but he didn't have to.

Speaker 2 (55:15):
I like the train one with the car.

Speaker 3 (55:19):
Yeah, that was That's one I was gonna pick for
the fine kind of flies from the train and the
capitate the.

Speaker 2 (55:25):
Delete Yeah, because you're still yeah, yeah, yeah, Billy, but
expecting it to be uh, you're expecting it to be
the car and by him getting it getting out of
their carter gets out. So yeah, that that was like
one of my favorite deaths.

Speaker 1 (55:42):
You know, I have one, Yeah, one of my favorite deaths,
and it's because I I end up loving Amanda Detmer
and other projects she's been in. But Terry's Death is
always one of my favorites because it's it's kind of
like shocking to where like, you know, there's this beautiful
tension and that exists between all of the characters trying
to figure out the pattern or the formula to how

(56:05):
everybody's dying. And then like this character that's like, hey,
let's get the fuck out of here just gets like
run over brutally by a bus.

Speaker 2 (56:15):
And it's more than just let's get out of here,
it's I'm over it. Let's let's yeah get over it,
and yeah, I'm gonna be honest. When this movie came out,
I used to rewind and keep playing that scene to
see if you can figure out where, you know, where
the CGI or whatever came in.

Speaker 5 (56:36):
So, what kind of fucked up individual are you really
watching it?

Speaker 3 (56:44):
Hey?

Speaker 2 (56:45):
By the way, Mark, we do a horror podcast.

Speaker 1 (56:49):
It's just like, all right, at what point is the
body at the bus?

Speaker 2 (56:55):
It was more of a okay, where are the effects
coming in? And there everything? Because it was so good,
That's what I was watching it like. I wanted to
see how clean the effects were, and it was like
crazy how clean it was, sure, because you know how
movies you can do that and like pause a movie
and you can see like the body double or something

(57:17):
like that, and you can point out, Okay, yeah, nobody
else is gonna go see by scene like that. But
you know, yeah, I'm weird. I know, leave me alone.

Speaker 1 (57:29):
The last thing that I'll say all that scene is
that it inspired I don't know if it's I don't
know if it's I don't know if I'm pulling this
side of my ass or not. But uh, you know,
another famous bus hit scene for my generation was Regina
George and Mean Girls.

Speaker 5 (57:46):
So you know Mean Girls obsession.

Speaker 2 (57:49):
Hey, it is one of the horizons he got his
Mean Girls.

Speaker 1 (57:52):
It is one of my favorite movies of all time.
So I will continue putting my love out there for
movies like that. I did I tell you the other
movie that I did not name drop any other movies.
Amandadetmer is in another favorite movie of mine, but I'm
not gonna name it. It's not the podcast for it.

Speaker 5 (58:08):
So doesn't have to do with Nicholas Cage.

Speaker 1 (58:15):
It does not h itvols. It involves a story, and
that's how every good story ends. I think Billy would
get it over you. But anyway, Billy, since this is
your this is your pick. Is there anything else that
you think we should cover talk about in.

Speaker 2 (58:35):
This This film pretty much hit this one, and I'm
trying and trying not to go into the other ones
too much. I think we pretty much hit this one
and covered most of it all.

Speaker 1 (58:46):
Right, Well, that is going to do it for us
on this episode of A Biscuits and One more Time
at Massacre at Femur Creek is going to be playing
August fifteenth at a Horrific Hope Film Festival. Will have
tickets on sale June eighteenth. This is going to be
the Virginia premiere and Kyle teas it to me that
this will be the last chance you ever get to

(59:07):
see this movie on the big screen, so come out
support independent film. It's always a good time. But Kyle,
thank you for joining us.

Speaker 3 (59:14):
First off, thank you guys. Pleasure to meet you all
and have a great conversation, great while talking about these movies.

Speaker 1 (59:22):
And my second question for you is going to be
where can people find you online?

Speaker 3 (59:27):
But place to go is Instagram, Instagram at Henry Krinkle Production.
That's the best place to find all the news and
weird goings on of me and my movie here and
the next phase in the movie. Yeah, and I'm very
excited to come down. I know Canada and US are
having some weird things going on. We won't really talk

(59:49):
about that too much, but I definitely want to come
down to the film Festival and hopefully bring a car
full of people so we can have a good time
at the ALBUMA. I can't wait.

Speaker 1 (01:00:01):
Hell yeah. All right, well, you guys, that's even more
we said to come into it in August fifteenth and sixteenth.
Like I said, tickets are going to be on sale
June eighteenth. We have a entirely amazing selection this year.
Billy and I have put together a hell of a
program for you guys this year and also is going
to include a twenty fifth anniversary screening of American Psycho,

(01:00:23):
which we covered a couple of years ago with a
friends followship mark where can people find you online?

Speaker 5 (01:00:29):
Nowhere hanging out with you, guys.

Speaker 2 (01:00:32):
We own you. You are always here. You're not allowed
to go. We just kie you at this one.

Speaker 1 (01:00:39):
Every Wednesday, six pm Eastern Standard Time, brand new episodes
of a Biscusing. Like I said at the beginning of
the episode, We're in our Sumber of Fear. Episode's gonna
be covering twenty eight years later. Twenty eight months later,
all of the Final Destination movies, independent films like Massacret
Fever Creek, and our surprise titles for anime August Billy.

(01:01:00):
Where can people find you online?

Speaker 2 (01:01:02):
Everybody can find me at Letterbox at v A nine,
and you.

Speaker 1 (01:01:06):
Guys can also find me on Letterbox. I'm at Captain Nostalgia,
and you guys can follow us a parent company, Victims
and Villains. We are on Facebook, Instagram, Twitter, YouTube, and
wherever you guys get podcasts from. Until next time. Remember,
the longer you gaze into the abyss, the more the
abyss gazes back into you.