Sorry to Bother You (2018)

Summary

Dear Movies, I Love You

Episode: Sorry to Bother You (2018)

Hosts: Millie De Chirico & Casey O’Brien
Date: February 17, 2026

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Overview

In this spirited episode, Millie De Chirico and Casey O’Brien revisit Boots Riley’s acclaimed 2018 directorial debut, “Sorry to Bother You,” in celebration of Black History Month and in anticipation of the director’s upcoming work. The hosts dig deep into the film’s hilarious, surreal, and sharply political world—a satirical look at race, labor, and capitalism in America. The conversation flows from personal reflections to broader commentary on Black filmmakers’ evolving place in Hollywood and the importance of boldly original visions in cinema today.

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Key Discussion Points & Insights

Catching Up: Film Adventures & Valentine’s Day Vibes

• Casey’s Valentine’s Indie Cinema Outing (02:16): Casey recalls attending a 25th anniversary 4K screening of the little-known 1998 indie “Snow” at Minneapolis’s Parkway Theater—emphasizing the unexpected joy of discovering regional indie films and local cinema cultures.
  • “It was like this amazing event…I crushed it. I really crushed it.”
• Millie’s Gothic-Romance Fix (05:08): Millie watched the new Emerald Fennell film, “Wuthering Heights.” The pair bond over their mutual appreciation for gothic aesthetics and ‘80s-inspired, stylized films.
  • “If you look at the poster…It kind of looks like a Hammer movie…or some bad ‘80s made for TV movie, and I’m like, really, really obsessed with it.”
• Hints at a future deep dive episode on “Wuthering Heights.”

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Framing the Episode: Black History Month & Black Filmmakers (08:22)

• The episode centers on “Sorry to Bother You” as both a cultural milestone and a timely revisit with Boots Riley’s new film coming soon.
• Hot Topic: The state of Black filmmakers in Hollywood
  • Casey (10:14): Explains additional layers of challenge for Black filmmakers—both securing budgets and navigating pressure to create films solely about Black suffering.
    • “Maybe Black filmmakers don’t always want to make a movie about the struggle… Sorry to Bother You is an insanely creative film that feels so unique in that it was allowed to get made…”
  • Shout outs to Jordan Peele, Ryan Coogler (“Sinners”), Nia DaCosta (“28 Years Later: The Bone Temple”): contemporary Black directors pushing genre boundaries.
  • Millie notes “Sinners” leading the current Oscar nominations and the unpredictability of genre films breaking through with awards.
    • “Just a few years ago, a movie like Sinners wouldn’t have gotten nominated at all because it is a genre picture. Vampires!” (Casey, 13:23)

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Listener Engagement:

Prompt for Upcoming Episode (18:16):

• Listeners invited to send two-minute movie theater date stories (good, bad, hot, embarrassing, or tragic).

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Film Diaries: Recent Viewing Highlights (21:44)

• Casey:
  • “28 Years Later: The Bone Dimple” (dir. Nia DaCosta): Calls it “the most violent and most scary” entry in the franchise.
  • Shares fun tidbit about meeting DaCosta (“She’s the only guest that asked for a hug.” 22:25)
  • Ongoing fascination with “bone” titled films.
• Millie:
  • “A New Leaf” (dir. Elaine May, 1971): Discusses seeing this offbeat dark comedy as part of Criterion’s “Fresh Starts,” her early impressions of Elaine May as a director, and her plans to dig into May’s biography.
    • “I've always heard about this movie...I gotta watch it. I love Walter Matthau. He's a craggy, hottie…” (25:01)
  • Launches into delightful Hollywood sighting of Elaine May and Bill Murray at Musso & Frank’s.
    • “He’s going around glad-handing in the restaurant, and I’m like, there’s Elaine May…” (28:34)

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Main Review:

Sorry to Bother You (2018, dir. Boots Riley)

(Timestamped from ~28:45 onwards)

Personal Connections

• Millie: Knows Boots Riley first as a political musician with The Coup. Loved the film’s brash style and Lakeith Stanfield’s slacker charisma.
  • “I was excited by that...their music is really political. So I was like, this could be a really cool thing.” (29:50)
• Casey:
  • “When I saw this, it really blew my mind…So vibrant and creative and funny and political…It’s on the nose…but it’s done in such a creative, fun way.” (31:01, 31:33)

Plot & Social Satire Breakdown

(34:32–59:56)

Set-Up:

• Cassius “Cash” Green (Lakeith Stanfield), out-of-luck Oaklander, gets telemarketing gig at RegalView.
• Advised by coworker Langston (Danny Glover) to use a “white voice” (literally dubbed by David Cross).
  • Visual gag: Cash is transported into the home of the person he’s calling.
  • “He physically drops into the person’s house…not just talking in the office.” (39:54)
• Rapid ascent as caller by using exaggerated “white” voice.
• “Worry Free” company looms—Amazon-like, offering pseudo-utopian (actually dystopian) forced-labor “housing.”

Labor/Capitalism Satire:

• Honest, funny takes on how brutal commission-based and cold-calling work is.
  • “To have a job where you’re like, born to lose, basically.” (39:02)
  • Millie’s experience: “I’ve had a lot of jobs, people. And working for commission sucks.” (39:03)

Unionizing Thread:

• Steven Yeun as Squeeze: charismatic organizer, work “shit-stirrer.”
  • “I’ve always been deeply attracted to those folks...it’s the joy of life to complain about work.” (47:00, 48:06)

Workplace Camaraderie & Dissent:

• Casey: “This movie made me miss the camaraderie of working a shitty job and going out for drinks.” (41:31)
• Hilarious "compliment-off" scene (51:12):
  • “You smell really great. I hope you have a blessed day.”

Cash’s Moral Quandary/Turning Point:

• Promotion to “Power Caller”—selling arms and human labor to Worry Free
• Moves into sterile, “Fassbender in Shame-style,” all-white apartment
  • “What is the impulse for rich people to live in all white spaces?” (45:01)
• Becomes the internet’s meme after getting hit by Coke can for crossing picket line

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The WTF Twist: Equisapiens

• Hard Left Turn—The Mutant Horse People (53:22):

  • Cash discovers Worry Free’s secret: “Equisapiens”—hybrid horse-humans engineered for optimal labor, created by snorting a special powder.
  • “Did you just give me the thing to turn me into a horse?” (52:50)
  • Millie: “I did not need to see the horse dicks…Disturbing at best.” (53:57)
  • Casting meta-commentary: Armie Hammer as sinister, privileged tech-bro:
    • “I don’t know how much anybody really knows about Armie Hammer…For some reason I was like, oh, this is actually exactly what I think him and his family do…bioengineering shit.” (54:31)

• Parallel to how subversive or political Black art always gets channeled (“suckling at the teat of rich white people”) and the compromises this entails—even for Detroit, Cash’s radical artist girlfriend (voiceover by Lily James).

  • “There’s just no escaping.” (55:33)

• Millie and Casey reflect on the film’s own meta-success:

  • “This movie is obviously about that [compromised Black art]…but then this movie actually became successful. It's like he wrote a critique of that—and the movie itself has become its own meta-narrative in white culture.” (57:00)

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The Ending & Relevance

• Cash exposes Equisapiens on TV—to public apathy, even approval of Steve Lift’s monstrous plans.
• Protest erupts; only Equisapiens save the day.
• Final twist: Cash starts mutating.
• The film holds up exceptionally:
  • “It feels even more prescient and more relevant today than ever before…This could have come out today. We’re talking about the same shit.” (59:56)
  • Both hosts found it funnier, more focused, and richer on second viewing.
    • “God, this movie is extremely fun and creative.” (60:29)
    • “It’s a good weird.” (61:52)

On Boots Riley’s Career (61:05)

• Excitement for Riley's next film; wish for Hollywood to take more creative risks, especially with Black filmmakers.
  • “If you have the craziest idea…don’t think about what people will like. Think about what you like…this is just such a creative, unique vision and people grabbed onto it, and it’s weird, but it’s good.” (61:32)

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Notable Quotes & Moments

• On Union Organizing & shit-stirrers (47:00–49:17, Millie):
  “The inherent nature of capitalism and working is always gonna suck…The work grump, they’re in camaraderie with you on this point…I love that person.”
• Equisapiens Reveal (53:58, Millie):
  “I really did not need to see the horse dicks…You do, though, because it comes up.”
• On Selling Out & Black Creativity (57:16, Millie):
  “He wrote a movie in critique of that, but then the movie itself has become its own…meta-narrative.”
• On Modern Telemarketing (38:54, Millie):
  “To have a job where you’re born to lose, basically…it’s proof again of how shitty it is to work on commission for phones.”

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Important Segment Timestamps

• 08:22 | Black History Month, Black filmmakers spotlight
• 18:16 | Listener prompt: Movie theater date stories
• 21:44 | Film diary (recent watches)
• 28:45 | Main review begins
• 34:32 | Detailed plot/social satire discussion
• 41:29 | Workplace camaraderie, set design trivia
• 53:22–56:00 | Big twist: Equisapiens & thematic deep dive
• 61:32 | Conclusions: Boots Riley’s importance, encouraging visionary filmmaking

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Listener Q&A & Employee Picks

• Gripe (Tattoo Realism in Film, 62:39): Millie: “No, you should powder it. Just powder it. Make it look faded and crusty…”
• Best Transformative Roles (67:26): From Gandolfini in “Enough Said,” Channing Tatum, to Jack Black in “Bernie.”
• Should you finish bad movies? (72:26):
  • “I stop. I used to not, but now I do because life is too fucking short.” (Millie, 72:26)
  • “I have never stopped a movie. …Or a book. …I have to finish it.” (Casey, 72:39)

Employee Picks — “Sorry to Bother You” Vibes

• Millie: Island of Lost Souls (1932, dir. Erle C. Kenton) — pre-Code mad science horror, classic anti-human-experimentation tone.
• Casey: They Cloned Tyrone (2023, dir. Juel Taylor) — sci-fi satire with John Boyega, Jamie Foxx, Teona Paris. “It feels kind of similar in vibe to Sorry to Bother You.” (81:58)

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Final Thoughts & Tone

The episode captures the playful, whip-smart chemistry between Millie and Casey. Their film talk is enthusiastic and unpretentious, balancing laugh-out-loud asides (horse dicks, the “compliment-off,” the misery of cold calls) with pointed reflections on labor, race, and the uneasy realities creatives face in both art and the workplace. The show is packed with personal anecdotes, Hollywood insider stories, and a sincere celebration of the film’s audacity and enduring relevance.

Suggested for listeners who want:

• Sharp, accessible film criticism
• Honest talk on race and cinema
• Insight into contemporary Black filmmakers
• Laughs, bold opinions, and deep cultural context—even if you haven’t seen the movie

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Next Episode Preview:

John Carpenter’s “The Thing” (1982): “We’re gonna watch men congregate in the underground in the depths of winter!”

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Follow Dear Movies, I Love You on Instagram @dearmoviesiloveyou
Write in with questions or stories: DearMoviesExactlyRightMedia.com

Transcript

[Millie de Chirico]

This is exactly right.

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[Millie de Chirico]

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[Casey O'Brien]

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[Millie de Chirico]

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[Millie de Chirico]

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[Millie de Chirico]

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[Millie de Chirico]

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[Millie de Chirico]

Hey, Casey.

[Casey O'Brien]

What's up, Millie? Not much. How are you?

[Millie de Chirico]

Good. How was your Valentine's Day?

[Casey O'Brien]

Ooh, you got me.

[Millie de Chirico]

I got you.

[Casey O'Brien]

Already got my ass. So it was great because I kind of planned a little something a little special. So there is a special event I don't know if you've ever heard of this movie. It's called Snow and it's from 1998 and it's an indie kind of romance, kind of like a before sunset style movie. And it's made by a filmmaker named Eric Tretbar. And it was filmed in Minneapolis. It's a very like, Minneapolis movie. And it premiered on the new Sundance Channel back like around 1998 when the Sundance Channel was around, they started premiering like indies on there. And this was kind of early on in that. And so it was kind of a big deal. So, like Robert Redford came to the Twin Cities for the premiere and it kind of got this movie kind of got lost to time a little bit. It never really had a release. It was never in theaters. It was on the Sundance Channel, though. And so they did a rescanning of it, like a 4K rescan recently. And so they did a 25th anniversary screening of the movie in Minneapolis at the Parkway Theater. The director was there and there was act. The actors from the movie are there. And it was like this amazing event. And I just like. There aren't that many, like, indie. I like finding like the indie films that were like, made in Minneapolis. And it was just like a really cool experience. And it's like a very kind of like, it's the Eric Tritbar, he's kind of from the punk scene in the 90s. And so he had like a lot of. It's a lot of like, musicians that are in the movie. And it was like really cute and charming and, you know, it reminded me just of like a little bit of like the optimism of the 90s. And it was just kind of. It's kind of twee, but like, really good. And yeah, I was just like, really impressed by the whole thing. And it was like this really cool event at the Parkway Theater. And we. Right next to the Parkway Theater is this place called the Creekside Supper Club. I won't get into what a Midwestern supper club is if you don't know what that is, but it is a specific type of restaurant. A lot of them are in Wisconsin, but there are a lot in Minnesota too. And it's kind of like a steakhouse, but it's a little more like a tchotchke kind of quirky type of steakhouse. I don't know how else to explain it. There's sort of a tradition of this type of steakhouse in the Midwest. And so we had dinner next door to the theater and we went to this gala, and it was very romantic. And I really. I crushed it. I really crushed it. Lovely.

[Millie de Chirico]

That's lovely, Casey.

[Casey O'Brien]

Yes, thank you. Thank you. How was your Valentine's Day?

[Millie de Chirico]

Well, I'll tell you. I went to see the Emerald Fennell film, Wuthering Heights, end quote.

[Casey O'Brien]

I don't like that it's in quotations. I noticed that, too.

[Millie de Chirico]

Well, I've seen an interview where she talks about why she did it that way. It's basically like, absolving her from being faithful to the original book, which I'm like, well played. I get it. Yeah. So I'm not sure if you know this, Casey, but the 1939 version of Wuthering Heights, of course, the film adaptation based on the Emily Bronte novel. It stars Sir Laurence Olivier and Merle Oberon. Fucking love that movie. Destroys my ass, like, and it's. I've seen it. Like, it'll come on TV once in a while, like on TCM or something, and I just bawl. Like, at the end of that movie, I am crying my fucking eyes out. And I just love the feeling of the, like, kind of gothic romance and the whole, like. And, oh, my God, it's crazy. So quite obviously I was like, all right, I gotta watch this remake. And if you look at the poster, the poster of it, and this is the one that's like. It's like on a white background, is so crazy looking. It kind of looks like a. It's either like a Hammer movie or some, like, bad 80s, like, made for TV movie. And I'm like, really, really obsessed with it.

[Casey O'Brien]

I don't know, Millie, you have really tapped into something here, because I've seen that trailer a lot lately in the theaters, and I'm like, damn, I want to see this movie. I think it looks incredible. Like, the style that she has chosen for this movie, it reminds me of, like, kind of 80s gothic movies, like the Company of Wolves, if you've ever seen that movie where it's like, very clearly on a set, but, like, dramatic and kind of like gauzy filters on the camera. I don't know. There's something about it that I really like the visual direction of the movie. So. Yeah.

[Millie de Chirico]

And like, oh, my God, it looks like a bad Dracula movie or something.

[Casey O'Brien]

You're just like, yeah, it's like Dark Shadows esque. Kind of.

[Millie de Chirico]

Yes. So listen, I was like, you nailed it on the design. I'm like, I don't know what happened here, but you got me. And on top of that being it's a Wuthering Heights. Well, excuse me. A quote, wuthering Heights, end quote, adaptation. So I saw that. I will not reveal anything more than that. Cause I feel like. I feel like I want to maybe do a longer piece about it, if you know what I'm saying.

[Casey O'Brien]

You want to do it on the show?

[Millie de Chirico]

Maybe.

[Casey O'Brien]

Maybe. I'm in.

[Millie de Chirico]

But I'm just telling you I saw it and.

[Casey O'Brien]

Cool.

[Millie de Chirico]

Yeah. That's what I did for Valentine's Day. Isn't it perfect for Valentine's Day?

[Casey O'Brien]

Very perfect.

[Millie de Chirico]

Very perfect. Well, on that note, let's talk a little bit about February, largely because we are doing an episode that is in celebration of Black History Month.

[Casey O'Brien]

Yes, we are.

[Millie de Chirico]

And we're doing a movie that. Well, it's timely because this director has a new movie coming out.

[Casey O'Brien]

I know. I just saw the trailer. Looks great.

[Millie de Chirico]

Looks great. And it had been a minute, really, since. Or did he do a movie before this? It was called.

[Casey O'Brien]

He had a TV show, like a kind of a short. I don't know. What do you call that? Like a miniseries, I guess. Yeah, it was called, like, I'm a Virgo.

[Millie de Chirico]

Okay.

[Casey O'Brien]

And it's like, with a giant. It looked interesting. I just never saw it.

[Millie de Chirico]

Yeah, me neither. But. But this movie that we're doing this week, which is 2018's sorry to bother your, directed by the filmmaker Boots Rayleigh. This movie was a. I would say. I will say it was a sensation when it came out. I knew a lot of people that loved this movie, including myself.

[Casey O'Brien]

It blew my hair back, certainly.

[Millie de Chirico]

And we wanted to revisit it because. Well, namely one, because Boots has a new movie coming out. But second, sort of just going back and rewatching something that it didn't come out that long ago. It's been, what, nine years? Eight years.

[Casey O'Brien]

Jesus Christ. It's been eight years. Oh, my God.

[Millie de Chirico]

And so that's probably gonna be a large part of the episode is talking about just, you know, having seen it again in our thoughts, but also just wanting to celebrate black creatives, black filmmakers, black artists, as you do this month. And I was actually curious, Kasey, like, what is your opinion about the current state? Well, here's a bit. Why don't I just ask you this big question. What is your opinion on the current state of filmmakers as it relates to black filmmakers?

[Casey O'Brien]

Yeah. Let me just have an answer. A nice, tidy 20 second sound bite answer here. You know, like all filmmakers, I think it's really difficult for creative ideas to get into movies, especially ones with budgets.

[Millie de Chirico]

Yeah.

[Casey O'Brien]

And I think black filmmakers have to deal with that, but they also have to deal with a lot of other social issues. And I think some of these studios are like, well, we want the black filmmaker to make a movie about how difficult it is to be a black person. Right. And maybe black filmmakers don't always want to make a movie about the struggle. And I'm not saying that. Sorry to bother you. Isn't about the struggle, but it is an insanely creative film that feels so unique in that it was allowed to get made. You know, it's not a somber, you know, three and a half hour epic about the slave trade. You know, it is a vibrant, loud, confident, visually stunning, creative, goofy movie that is really unique. And so. And I think we've seen a lot of black filmmakers lately be the ones who are making more creative, interesting films lately. I think of people like Ryan Coogler, Jordan Peele, Nia DACOSTA Just directed 28 years later, the Bone Temple, which I'll talk about more because I saw it this week, and I just. I think it's. Black filmmakers are doing such incredible work right now and they should be celebrated and they're doing some of the most unique work out there right now. So lot to. Does that cover somewhat of what you asked?

[Millie de Chirico]

You did it. Personally, I think it's amazing that Sinners, the Ryan Coogler film that came out last year, has the most nominations this year at the Oscars. That'll be interesting to see how that plays out, to be honest, because at the Golden Globes, it was kind of interesting. I mean, that movie was nominated a lot, but it didn't win a lot. And I just was kind of like, hopefully. Hopefully. That's. It's weird because sometimes, you know, the Golden Globes and the Oscars, like, really sync up and sometimes they totally don't. So we'll see what happens.

[Casey O'Brien]

But this also happens with movies. Sometimes at the Oscars, there'll be like a movie that gets nominated for like 10 Academy Awards, but it's not necessarily the front runner and it loses, like all of them. Yeah, like. Like that happens a lot. So I'm kind of worried that's going to happen. It certainly deserves Oscars, but I'm like, you know, when I think about the best picture of the year or the best actors of the year, there are some I would put above Sinners, but it has to win something. But I just don't know if it's gonna. Just because it was nominated for that many Oscars, I don't think that necessarily means it's gonna Win that many Oscars.

[Millie de Chirico]

I know. So as a filmmaker, would you rather be nominated a shit ton and would you rather be nominated once and when? No, it doesn't make any sense, does it? You won. That's what you want, right?

[Casey O'Brien]

I would want.

[Millie de Chirico]

Yeah.

[Casey O'Brien]

I'd want to. I'd want to win, definitely. I think it's interesting too because like just a few years ago, a movie like Sinners wouldn't have gotten nominated at all because it is a genre picture. Exactly. Vampires. So like I root for it in that regard as well because I like when like genre movies like win the top honor, you know. But it's been happening more often lately. So kind of cool.

[Millie de Chirico]

I mean, substance and whatever.

[Casey O'Brien]

Like it that got nominated. Yeah, I mean that was sort of surprising.

[Millie de Chirico]

It kind of wants to be too, but you know what, Like, I'm here for it. I'm like, yeah, let's put some up in these Oscar ballots. I'm loving it.

[Casey O'Brien]

But so, But I feel like Sinners though, just to touch upon that. I feel like it was such a. An event film this year. I feel like people really went to the theaters multiple times to see it. I think it is like pure cinema. It's an original, interesting idea that has a big budget and we just don't get to see that, you know. So, yeah, it's interesting. Interesting time.

[Millie de Chirico]

It's gonna be awesome. Talking about. Sorry to bother your. We are going to do a little bit of that. What else are we doing this episode?

[Casey O'Brien]

Oh, we're gonna answer some emails. We got some good emails. There's some gripes, gropes and grits and there's some film advice. So we'll touch.

[Millie de Chirico]

Great. All right, well, stay tuned everybody. You are listening to Dear Movies, I love you.

[Casey O'Brien]

Dear Movies, I love you and I've.

[Millie de Chirico]

Got to know if you love me too. Yes or no?

[Casey O'Brien]

Check the box below.

[Millie de Chirico]

Foreign.

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[Millie de Chirico]

US Olympic gold medalist Tara Davis Woodhull.

[Casey O'Brien]

And I'm US Paralympic gold medalist Hunter Woodhull.

[Millie de Chirico]

As athletes, our lives are about having.

[Casey O'Brien]

A clear path and a team that you can absolutely trust.

[Millie de Chirico]

So when it came to getting the.

[Casey O'Brien]

Best mortgage, we chose PennyMac.

[Millie de Chirico]

PennyMac is proud to be the official mortgage provider of Team USA and you learn more at pennymac.com PennyMac Loan Services.

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LLC equal housing lender and MLS ID 35953 licensed by the Department of Financial.

[Millie de Chirico]

Protection and Innovation under the California Residential Mortgage Lending Act.

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[Millie de Chirico]

Hello you.

[Casey O'Brien]

Hello you.

[Millie de Chirico]

Oh, you. You're listening to Dear Movies, I Love youe. This is a podcast for those who are in love with the cinema. My name is Millie de Cherico.

[Casey O'Brien]

My name is Casey o' Brien.

[Millie de Chirico]

And Happy Black History Month, everybody. Uh, we got a great little episode for you today. We're gonna talk about Sorry to bother your, from 2018, directed by Boots Riley. And yeah, I can't wait to dig in.

[Casey O'Brien]

Yes, but we have kind of a Special fun announcement at the top of the show. We're going to do something with our show that's exciting. We're going to do an episode of. And maybe this will be something we continue on forever. But we're going to dedicate a whole episode to kind of some listener stories. If we get enough good ones, that is. And we want people to call in and tell us a story off our prompt, which we'll reveal in a moment. But keep these stories under two minutes, people, if you can. Cause gets kind of long, but. Anyways, Millie, what's our prompt for this listeners stories episode that we're planning?

[Millie de Chirico]

So Casey and I want to hear about your movie theater date stories. And they could be good or bad. Just make them compelling and rich.

[Casey O'Brien]

They can be graphic, they can be hot, or they can be horrible and embarrassing. You know, we want just interesting movie theater date stories, please.

[Millie de Chirico]

Maybe you met your spouse at this movie screening, or maybe your partner was murdered at a screen. No, I'm kidding.

[Casey O'Brien]

If you feel comfortable sharing that story on the pod, we'll listen and we will comfort you.

[Millie de Chirico]

Maybe your partner exploded after a firecracker was lit in Mad Max Furiosa. No, I. Listen, we want them all. We don't want people to be murdered, but also, you know, like, set us bad ones and good ones, and we'll take them all. So. And what's. How do you do that?

[Casey O'Brien]

Okay, so just record. Record a voice memo on your phone and email it to dear moviesacactlyrightmedia.com. please try to keep it under 2 minutes if you can, you know, do a few rehearsal recordings before you send that final cut in.

[Millie de Chirico]

Yeah, that would be amazing. And we can't wait to hear them. It's gonna be the entire episode. If we can get enough.

[Casey O'Brien]

Yeah, if we can do it.

[Millie de Chirico]

I can't wait to get these.

[Casey O'Brien]

Me too. I'm thrilled.

[Millie de Chirico]

Are you gonna say that my nails look great?

[Casey O'Brien]

Oh, they do look great. What color are those?

[Millie de Chirico]

Okay.

[Casey O'Brien]

Looks like a.

[Millie de Chirico]

So this is. I wanted blue velvet nails. Ooh. So. And this is. I don't know if this is on the Internet. This is just what I want. But they're indigo. And then I got them to put a matte top coat versus a shiny top coat.

[Casey O'Brien]

Oh, cool.

[Millie de Chirico]

And now they just look like Dorothy's dress in blue velvet, the movie by David Lynch. Anyway.

[Casey O'Brien]

Yeah, it looks like it. I can see it.

[Millie de Chirico]

I get. I get really into nails when I'm grieving.

[Casey O'Brien]

Ah.

[Millie de Chirico]

And I feel like the world is going through a bunch of crap. I'M going through crap. You're going through crap. I'm like, you know what? It'll maybe perk this up a little bit, as if I get some nails. So I don't know. Thank you.

[Casey O'Brien]

It's a great color.

[Millie de Chirico]

Thank you. I just figured you're a man, you need to comment on how great my nails are.

[Casey O'Brien]

Yeah, it is hard on the zoom.

[Millie de Chirico]

I know, but I was doing a.

[Casey O'Brien]

Little business you were trying to get.

[Millie de Chirico]

I was like, is he gonna notice? Is he gonna.

[Casey O'Brien]

She's doing a lot of hand.

[Millie de Chirico]

I was like.

[Casey O'Brien]

Gestures touching her face.

[Millie de Chirico]

My face.

[Casey O'Brien]

Very good. Yes. They look great. Thank you, Millie. Let's open the film diary.

[Millie de Chirico]

Oh, yo, this thing is so. Actually, it's not big. Not big.

[Casey O'Brien]

Mine isn't either. Pamphlet sized again. But there is something.

[Millie de Chirico]

Do you want to go first? Please. Will you?

[Casey O'Brien]

Sure. I feel like you watched your movie on the Criterion Channel, if I had to guess.

[Millie de Chirico]

Well, no shit, Sherlock. Of course I do.

[Casey O'Brien]

So my movie, I mentioned it already. I saw 28 years later, the Bone Dimple. This movie ripped. It was awesome. I thought it was great. I loved 28 years later, which came out last year, and that was directed by Danny Boyle. I mentioned this already. Nia Dacosta directed this latest one, and she's an amazing director. I met her before.

[Millie de Chirico]

Wow.

[Casey O'Brien]

She was on a previous podcast I produced called Switchblade Sisters. She was really nice. She's the only guest that asked for a hug. I just remember that. And I was like, oh, okay, sure.

[Millie de Chirico]

I love it.

[Casey O'Brien]

And she was really cool. So I cheer for her always. And yeah, I thought this was awesome. It's the most violent and the most scary of the 28 zombie movie franchise. I would say it is gnarly and it's really good and sweet. And I thought it was awesome. It was awesome. And I mean, I love zombie movies, so does my wife, but it's hard to make. There's a lot of pressure to make a good movie when you're like, you know, Danny Boyle has directed the last one, and then you're expected to just pick up the sequel the next year and have it be good. So I thought it was great.

[Millie de Chirico]

Right. Feels like you've been watching a lot of Bone blank movies lately. Is that true?

[Casey O'Brien]

That's true. I watched Bone Lake. Was that last week?

[Millie de Chirico]

Something like that. Recently, yeah.

[Casey O'Brien]

I'm watching a lot of bone movies. The bone movies. What am I gonna watch next? Monkeybone with Brendan Fraser. That's a movie, right? It's a movie I've never seen. It.

[Millie de Chirico]

For better or for worse.

[Casey O'Brien]

Millie, what do you got?

[Millie de Chirico]

Well, here's the thing. I was like cruising the old Criterion channel and I noticed that they had Elaine May's A new leaf from 1971 under this. Okay. There's this theme. Yeah, I saw it, that they called Fresh Starts, which is basically like. I don't know, it seems like a New Year's themed theme with a bunch of movies that are all about, like, people who want new love or something like that.

[Redfin Ad Voice]

Yeah.

[Millie de Chirico]

And I was kind of like, okay, Sleepless in Seattle, perhaps Alice doesn't live here anymore. Sure. Starting over with our man, Burt Reynolds. Sure. And then I was like, oh, A New Leaf by Elaine May. I'm like, I don't know if he wants a fresh start. Walter Matthau's character. Have you seen this movie, by the way?

[Casey O'Brien]

I have not.

[Millie de Chirico]

Okay.

[Casey O'Brien]

I'm ashamed to say. And I like Elaine May.

[Millie de Chirico]

Well, here's the tea. I haven't seen it either, which is why I watched it. And now that I know what I know about it, I was like, is this a fresh start? I'm curious. But anyway, that's just me being. I'm being a finicky programmer, I suppose.

[Casey O'Brien]

Yeah, yeah.

[Millie de Chirico]

And I.

[Casey O'Brien]

It's not quite on theme.

[Millie de Chirico]

Well. And I've definitely played it fast and loose when it comes to shit like this. So far be it for me to.

[Casey O'Brien]

Freeze a New leaf. Sounds like a fresh start. You know, like it title wise, it fits. But maybe the movie doesn't quite fit.

[Millie de Chirico]

Well, I mean, I think it's a more reference to the idea that the Elaine May character who plays a botanist is holding a leaf in a lot of this movie. So maybe that's what it means. But the movie is ostensibly about Walter Matthau. He's this kind of like trust fund baby who like loses his money and then is like, fuck, how do I get my money back? I guess I'm going to date this, like, extremely nerdy rich woman and then try to murder her at some point.

[Casey O'Brien]

Oh, that's dark.

[Millie de Chirico]

Yeah, it's dark. But it is actually like a very interesting film. There's a lot of history about it. I mean, this was Elaine May's first film that she directed. And then she had issues with the final cut of it because it wasn't her vision and it was just. It was a lot of drama. And so, yeah, I had always heard about this movie and I was like, I gotta watch it. I love Walter Matthau. I love. He's a craggy, hottie So I was like, this is great. And it's a very charming movie. It plays so differently than I thought it was gonna play when I had heard about it for all these years. But I liked it so much that I went out to my local bookshop, Acapella Books, and I bought the biography that the writer Carrie Corogan wrote, which is called Ms. May does not Exist. The Life and Work of Elaine May, Hollywood's Hidden Genius. So now I can't wait to read more about it. I gotta watch the Heartbreak Kid again because I haven't seen that in forever and that is really hard to find. I had to go.

[Casey O'Brien]

It's a Minnesota movie.

[Millie de Chirico]

Is it really?

[Casey O'Brien]

Yeah.

[Millie de Chirico]

Okay.

[Casey O'Brien]

The family's from Minnesota.

[Millie de Chirico]

I had to. There were nefarious ways that I had to get that film. But I have it. So I'm excited to go down this path. But anyway, a new leaf. That's what I'm logging. And technically, yes, I did watch Wuthering Heights. End quotes. But I'm not logging it. Cause we're putting a pin on it. Does that make sense? Okay, cool.

[Casey O'Brien]

Did I tell you about the time I saw Elaine May in person?

[Millie de Chirico]

Oh, when?

[Casey O'Brien]

So I was eating dinner with my family at Musso and Frank's in Hollywood, Lovett's. And my mom's always like, if you see a celebrity tap your forehead, that's our sign. I'll be like, there's a celebrity there. And she's like, where, where? Where? Where's the celebrity I want to see? Like, that would. That has happened a lot when she visited. Cute. And so I was like, we came up with this signal. So it's like, calm down. And this was the night of the Governor's Ball. We were reading at Frank, Musso and Frank's. And which is this famous steakhouse in Hollywood, if you don't know. It's. There's a scene in Once Upon a Time in Hollywood in there with al Pacino, Leonardo DiCaprio and Brad Pitt. It's great. It's a whole thing. So we're in there in. Walks in in a tuxedo, Bill Murray with Elaine May on his arm. And she's carrying an Oscar because she won an honorary Oscar at the Governor's Ball. The Oscar is in the restaurant. He's going around Glad handing in the restaurant. And I'm like, there's Elaine May. And meanwhile, Trish is the first one to see Bill Murray walk in. And she starts hitting her forehead. And my mom's like, where, where? Where? And I'm like, Bill Murray is right there and Elaine me. And so that was very exciting.

[Millie de Chirico]

That's exciting. Wow, That's a good celeb sighting.

[Casey O'Brien]

Good celeb sighting. Anyways, let's close up the diary.

[Millie de Chirico]

Oh, get out of here.

[Casey O'Brien]

Get out. All right, now it's time for our main discussion on Sorry to bother your. From 2018. Written and directed by Boots Riley. This is a dark comedy. It's surreal. Its standout actors include Lakeith Stanfield, Tessa Thompson, Steven Yeun, Armie Hammer, Danny Glover. Famous quotes. Sorry to bother you. Slash. Stick to the script. Millie, what's your personal connection to this movie?

[Millie de Chirico]

Well, I don't know. I mean, I thought this movie was the coolest movie when it came out. I thought it was super fun. Just a little side note, when I was in college, I worked at my college radio station and I had a radio show, a couple of radio shows, actually, and I would. I remember when. So Boots Riley was in a hip hop group called the Coup. Maybe still is. I don't know if there's still is.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

But one of their albums, steal, this album had come out and I played it a lot on my radio show. So I knew him as a musician before I knew that he had directed a film. And so I was excited by that, though. And I was like, cool, this is gonna be cool. Cause, you know, their music is really political. And so I was like, oh, this could be like a really cool thing. And, yeah, seeing it. Big fan of Lakeith Stanfield. Big fan. I don't know what your thoughts are about him, but he's.

[Casey O'Brien]

I like Lakeith Stanfield too. Yeah, he. He's like a. Like a cartoon. He could play goofy. I mean, he kind of is like this tall, kind of droopy goofball guy. I don't know. He's great. I. I think he's a great actor and I thought he fit in this movie so well.

[Millie de Chirico]

Yeah, I was a big fan of his on Atlanta, the Donald Glover show. So I was like, oh, man, this is gonna be great. So, yeah, that's.

[Casey O'Brien]

He plays a good slacker. Like, he is a good slacker.

[Millie de Chirico]

Yeah, he's got kind of this, like, you know, very like. Is it laconic? He's like a very laconic kind of actor when he talks, and I love that. But, yeah, that's it. I mean, I was just excited to. When it came out, and then I saw it, Loved it. So what about you?

[Casey O'Brien]

Yeah. Oh, when I saw this, it really blew my mind. I mean, it was just so vibrant. And creative and funny and political and you know, we talk a lot about like we get annoyed that movies are too on the nose. Well, this is on the nose. You know exactly what it's talking about. But it's doing it in such a creative, fun way. You know what I mean? There's not a lot of subtext in this movie at all, but it's done in such a cartoonish, grand way that I love.

[Millie de Chirico]

Yeah.

[Casey O'Brien]

So. And I mean, we're gonna spoil this movie. It's eight years old. I think we've passed the spoiled date.

[Millie de Chirico]

Yeah.

[Casey O'Brien]

Spoil date. Yeah. Because there's a hard left turn in this movie that I did not know about at all. And we can get into it later.

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[Millie de Chirico]

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[Casey O'Brien]

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[Millie de Chirico]

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[Casey O'Brien]

A clear path and a team that you can absolutely trust.

[Millie de Chirico]

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[Millie de Chirico]

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[Casey O'Brien]

Let'S get into the movie. So our main character is Cassius Green. He goes by Cash. This is Lakeith Stanfield. He's kind of disgruntled slacker living out of his uncle's garage in Oakland. He's got a hot artist girlfriend named Detroit, played by Tessa Thompson. And he doesn't have a lot else going on, so he gets a job as a telemarketer at this company, Regalview, and he's selling encyclopedias. And he's having a hard time selling to people over the phone until an older fellow working at the telemarketer place named Langston, played by Danny Glover, he tells them, you gotta use your white voice to sell. And he figures out a white voice, which. The white voice is voiced by David Cross. It's very clearly a different person. And when he embodies this white voice, he becomes a huge success. And he starts selling a bunch of. He becomes a huge successful seller. One thing in this movie is this company that's called Worry Free, which is supposed to be kind of like Amazon, and it's this huge corporation that sells stuff. But also they now have housing where you can sign a lifetime contract and not get paid, but have housing and food for life. But you're living in a barracks, basically. But it's advertised as a good thing and it's essentially slavery. So that's kind of a thing that's going on throughout this movie. Now, we just talked about working on commission.

[Millie de Chirico]

Yeah, isn't that funny?

[Casey O'Brien]

And they're doing that very thing in this movie.

[Millie de Chirico]

Yeah. Remember when I said that it sucks ass? To work on commission. That's. This is exactly what I was talking about.

[Casey O'Brien]

I mean, could you imagine being a telemarketer? I really couldn't. I think it would kill me on the inside. I would. I couldn't even last one day, I don't think.

[Millie de Chirico]

I mean, shit. When I was, like, doing phone banking for the Sierra Club when I was living in Los Angeles, it was even. I mean, even like, listen, if you have to call anyone on the phone cold at this point in our timeline, it is not going to be fun.

[Casey O'Brien]

Well, I was going to say no one picks up the phone anymore. It's like, how is that even a thing that happens? And this does sort of feel like an ant. Like, everything feels old in this movie, even though it is modern day. But it's like that is sort of a concept that I feel like doesn't exist in the way that it did in the past.

[Millie de Chirico]

Well, and then like. And to that end, doesn't it now feel like a pyramid scheme to be like, oh, you have to. This is how you make money is by calling people who don't even want to pick up the phone. And now iPhone has a thing where you can just have them leave like a statement of intention for the phone call. Do you have this on your phone? Where if a number comes up and it's unknown, there's this thing that pops up to just be like, so what are you calling this woman about?

[Casey O'Brien]

Oh, really?

[Millie de Chirico]

You don't have this on your iPhone?

[Casey O'Brien]

I guess I wasn't aware of it.

[Millie de Chirico]

I think it's like a switch. You can toggle. I use it because right now I think I've been getting so many weird robocalls because of my. I just bought a house. So, you know, of course now everyone's like, yeah, you know, going, ham. What about your extended warranty? What about this? And so we got.

[Casey O'Brien]

I got so much in the mail about that. So much like fraud stuff, you know, fraudulent claims and stuff.

[Millie de Chirico]

So I turned it on and I'm like, oh, man, this is crazy. Because it's literally like it just sends. It's kind of like sending phone calls to like this purgatory where they're like, what do you. What do you want? And then it pops up on my phone as kind of like a voicemail and that you can actually pick up in midstream if you want to. Like, it's like, oh, hey, if it's like my dad's neighbor calling me about something, that I can pick up and talk to them. But then if I Don't pick up. It just goes to voicemail. Anyway, that's how bad it's gotten to call people at this point, right?

[Casey O'Brien]

Yeah.

[Millie de Chirico]

And so to me it is so to have a job where you're like born to lose, basically.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

And this is coming from somebody that spent. I've had a lot of jobs, people, a lot of jobs in my life, a lot of different types of jobs. And working for commission sucks. And this movie is proof that it sucks. And the idea that it's racist that he has to put on a white voice in order to succeed is proof again of how shitty it is to work on commission for phones. And the one thing that I will say that is really fun about this movie is there's kind of a sequence at the beginning where he's making phone calls. And it's like the movie basically shows you the like. It's kind of this like visual representation of the phone call where Lakeith Stanfield's character just immediately kind of erupts into the person's house.

[Casey O'Brien]

Yeah, he like physically drops into the person's house. It's not just like showing him talking in the office. It's like he's physically in the person's house trying to talk to them, you know?

[Millie de Chirico]

Yeah, that was really fun. That felt kind of like.

[Casey O'Brien]

That was fun.

[Millie de Chirico]

Like a monkeys episode or something. I don't know.

[Casey O'Brien]

Absolutely. It's very. I mean, this movie is zany. Certainly.

[Millie de Chirico]

I want to ask you, have you ever worked. Okay, I know you said that you've never worked as a telemarketer, but have you ever worked in a place that was a phone based job in like a call center?

[Casey O'Brien]

No, not at all. I have a very little. I have very little phone confidence. I feel like I don't like calling people. I don't like getting phone calls. It's hard for me.

[Millie de Chirico]

Well, it's great.

[Casey O'Brien]

And I never had a job that required it.

[Millie de Chirico]

Well, that's crazy because you have a perfect voice for phones.

[Casey O'Brien]

Well, I do have a perfect white voice. I was gonna say I should have been. I could have been cast as one of the white voices in this movie.

[Millie de Chirico]

I think I. I will have to agree with you.

[Casey O'Brien]

One funny thing. You know how they're always like the best caller of all time, the best employee, Hal Jameson. And they show this guy like on plaques, you know? You know that guy?

[Millie de Chirico]

Yes.

[Casey O'Brien]

So that is the production designer for this movie and he's also done everything everywhere, all at once. His name is Jason Kisvarde and he's married to my friend Kelsey Ephraim.

[Millie de Chirico]

Whoa.

[Casey O'Brien]

And she was like a set dresser on this movie. I think she was on this one. But also on everything everywhere all at once. But they do kind of have similar kind of visual thing. But I just want. That's the set designer or that's the production designer in the movie.

[Millie de Chirico]

Wow. That's crazy. Cool.

[Casey O'Brien]

Fun little tidbit there. This movie did make me like, miss the camaraderie of like working a shitty job and then going out for drinks afterward.

[Millie de Chirico]

Yeah. Now what do you do? Just drink alone? Drink a martini alone?

[Casey O'Brien]

Yeah, I. I go into a closet with a hanging light bulb and I just drink a martini alone.

[Millie de Chirico]

You like, chug it back. Gibson's been like, yeah, my. My coat. Am I right? Like Millie to Cherco. Jesus Christ. What a nightmare.

[Casey O'Brien]

Yeah, it's kind of like the scene in the King of Comedy when he has like, you know, he's talking into his. Like he's putting on like a fake talk show. That's sort of me every now.

[Millie de Chirico]

Complaining about me.

[Casey O'Brien]

Yes, Complaining about Millie. Okay, Moving on. A fellow telemarketer squeeze, played by Steven Yeun, he starts trying to organize a union. But while that's happening, you know, Cash is kind of interested. But Cash is also moving up the ranks. And he gets promoted. He gets to go to the second floor and he gets to take the gold elevator. And that's where they're selling the real shit. That's where the real money is. And he finds out that Regalview on the second floor where the big boy callers are, they're selling weapons of mass destruction and human beings like slave trade type stuff and worry free. That Amazon company I had talked about previously is their biggest client. So Cash is like, I can't do this. But then they show him how much the money is, and it's a lot. And so he puts away his morals and decides to start selling weapons of mass destruction. But while that's happening, the bottom floor dweller telemarketers are on strike and Cash, he becomes a scab. He starts breaking the picket line and he gets hit in the head with a Coke can. He becomes like memeified. So he's got like this bloody bandage on his head, but like he's memed on the Internet and on TV of him getting hit in the head with a Coke can.

[Millie de Chirico]

Poor guy.

[Casey O'Brien]

I thought something kind of interesting in this movie was like it felt very much like Oakland versus San Francisco. Yeah, you know. You know, San Francisco's kind of known as like the white techie city and Oakland is, you know, more diverse and having a harder time. And I feel like there's a lot of. This is a very Oakland movie, you know, There's a lot about kind of going to the other side. I don't know where his, like, fancy apartment is that he gets. He moves out of the garage into, like a fancy white apartment. But it seems like that's in San Francisco.

[Millie de Chirico]

Yeah, sort of him. So, you know what's interesting too about movies like this is, you know, tell me part of what is Cash's plight. I think at the beginning, especially in as it references to his girlfriend, is like, he lives in a garage. He lives in Terry Crews's garage. And basically it's his apartment. And then the automatic garage door comes flying up all the time, and it's like, hey, I'm naked in here. Why is this? You know? And it's basically like, okay, he drives a shitty car, he lives in a garage. Then when he starts making that bank, he, like, transfers to a nice. I don't know, I'd call it kind of a Michael Fassbender in shame type of apartment. It's like a kind of high rise. Perfect.

[Casey O'Brien]

Perfect description.

[Millie de Chirico]

Yes. Ah, thanks very much. And it's all white. And it has, like, all white bedding and all white furniture. And I'm always like, what is the impulse for rich people to live in all white spaces?

[Casey O'Brien]

Yeah, I do think it's like, you do need to be rich to live in such a white space because it needs to be cleaned constantly or else it'll look disgusting, you know? That's what I think.

[Millie de Chirico]

But is it. What is it about? There's gotta be papers written on this. There's like, a psychology of, like, rich people that are like, I don't want anything. Like, having possessions means you're poor.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

Having.

[Casey O'Brien]

Interesting.

[Millie de Chirico]

Yeah. Having things that are any color but beige and white means you're poor. And what does that mean? Like. Yeah, psychologically, I suppose, but so fascinating.

[Casey O'Brien]

Yeah, I don't really. I don't know the answer to that.

[Millie de Chirico]

Well, I guess this is what really underscores Cash being a scab sellout then, is because he's got this all white apartment. Oh, to that end, can I talk about Squeeze?

[Casey O'Brien]

Yes, you can. Steven Young's character. Squeeze.

[Millie de Chirico]

Squeeze. Steven Young is a cutie patootie, certified hottie boombilade. And I forgot that he was in this movie.

[Casey O'Brien]

Me too.

[Millie de Chirico]

And so when I was like, oh, fuck, Steven Yeon's in this movie. Here's the thing about his character. So he's kind of the like, shit stirrer.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

He wants to unionize. He's trying to get everybody on board. He's basically like, these people, you know, aren't paying us enough and we want benefits. Like, let's fucking unionize. Right. Get together.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

I don't know how you feel about the work grump or the work shitster.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

But I've always been deeply attracted to those folks.

[Casey O'Brien]

Wow. The grump. That's interesting. Where do you think that comes from?

[Millie de Chirico]

Because I. Working sucks.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

And this is a. Maybe this is a larger point I'm trying to make about maybe this movie and just the culture of work. Because I think in my brain I have always thought and internalized that work sucks and that like having a boss sucks. And you're never going to be besties with your boss. You're always going to work for the quote, unquote. Man. There is no, there is no way around it. Even if you make it work. Free to have sodas, Even if you have like fun time outings, even if your boss is trill and your age and cool or whatever. It's like just the inherent nature of capitalism and working is always gonna suck and I'm always gonna. And I'm always gonna want to take time off and blah, blah, blah. You know what I'm saying?

[Casey O'Brien]

Yes.

[Millie de Chirico]

And so I think for me, part of what I love about the work grump is that they're in camaraderie with you on this point. Like, they're basically like, yo, let's go smoke a cigarette and bitch and complain about our fucking bosses. I love that person. I'm that person. And I'm saying this when I work for people who are extremely nice and cool and friends and things like that, but I don't care. It is the joy of life to complain about work. Like with your co workers.

[Casey O'Brien]

Absolutely.

[Millie de Chirico]

With a beer or a cigarette or a secret DM in a zoom. Like something.

[Casey O'Brien]

Yeah. Yes, yes, yes, yes.

[Millie de Chirico]

Why would you work if you couldn't blow off steam in any kind of way? Like, if you just showed up every day and be like, oh, my God, I'm obsessed with this job and I love it all. And I love. Come on.

[Casey O'Brien]

Oh, I mean, talking shit is one of the joys. It's. And it's a bonding experience above all else, you know, talking shit about other people, your job, it's. It's vital.

[Millie de Chirico]

Yeah.

[Casey O'Brien]

I think it is. It. Have you ever been in a situation where you're like talking shit and you're talking shit with someone and they are like, I don't really like to talk about people behind their back.

[Millie de Chirico]

Oh, it happens. More like it happened to me the other day.

[Casey O'Brien]

It did. These people should be executed.

[Millie de Chirico]

Dude. I. I was blowing off some steam and I did. It's always weird when you would do it to somebody that you're just kind of hanging out with for like. Yeah, I went to lunch with somebody I'd never gone to lunch with before, and I was like, oh, well, they gotta be cool. Cause they wanna hang out with me. And then I kind of went on a little tangent and they were like, oh, and that's interesting. I'm really sorry to hear that. I'm really sorry that that should been your experience. I'm like, no, no, no, no, no. You're supposed to be like, yeah, that's exactly how I feel. Let's complain about it. No, I was like, oh, wow.

[Casey O'Brien]

Interesting.

[Millie de Chirico]

Yeah, so it is. It's hard when you get your door slammed in your face like that.

[Casey O'Brien]

Yes. Oh, it's the worst.

[Millie de Chirico]

And then you feel like you're like, oh, I fucked up. I said too much. This ain't good.

[Casey O'Brien]

I guess I'm the worst person on the planet. Yeah.

[Millie de Chirico]

Why don't I love my job? Like, they love their job.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

But back to the Steven Yun character. I think because he is a shitster and he's trying to unionize, I would not only want to hang out with him, but I would have the biggest crush on him. Like, he's. He's our Eric Brockovich. Okay. I love him and he's cute. So.

[Casey O'Brien]

Yes. You know, I love him in this movie, but I also love Jermaine Fowler's character in this movie. He's like. He's like the good time guy. And I love when him and Lakeith get into like a compliment off and.

[Millie de Chirico]

He'S like, oh, my God, I love that part.

[Casey O'Brien]

He's like, what's up with you? What's up? He's like, you smell really great. I hope you have a great day. I hope you have a blessed day. It's like.

[Millie de Chirico]

He's like, no, I hope you have an even better day.

[Casey O'Brien]

Yeah, I hope you haven't had a better day. Like, getting each other's like, I hope you fucking succeed.

[Millie de Chirico]

You know? Yeah, it's really funny. Also, he calls. When he's talking about Lakeith Stanfield's character as being like a scab. He calls him. I shouldn't be saying this on Black History Month, but he calls him the Ariana grande of disloyal n words.

[Casey O'Brien]

Yes.

[Millie de Chirico]

Which I thought was a great line.

[Casey O'Brien]

But anyway, that's a great line. Yes. There's a lot of good lines in this. Yeah, it's very funny. Moving on. Cash is on the outs with his friends and his girlfriend, Detroit. But he attends a party by Worry Free CEO Steve Lift, played by the canceled Armie Hammer. He plays a villainous character in this, so I didn't mind seeing him, which is maybe not the right take, but that's how I felt about it. This party party is awkward and horrible, but Steve Lift wants Cash to work for Worry Free since he's done such a good job at Regalview. So while Cash is looking for the bathroom. And here we go. Spoiler alert, Big left turn here. While he's looking for the bathroom, he discovers the horrible secret about the company Worry Free. They are creating half human, half horse, mutant people to become stronger, more efficient workers. And Steve Lyft wants Cash to become one of these new race of creatures in order to kind of lead and control them. Like Cash says in the movie. He's like, you want me to be the Martin Luther King of Equisapiens? So Lift also reveals that how you become an Equisapien, one of these half human, half horse people, is by snorting this medicine. And like, two seconds earlier, he gave Cash cocaine to Sniff. And Cash was like, did you just give me the thing to turn me into a horse? And he's like, no, no, that was cocaine. But you're kind of like, was it, though? Anyways, a little ambiguity there. But this was this really. I mean, this really. Were you prepared for such an insane twist right there when you saw this?

[Millie de Chirico]

I mean, dude, of course a horse is a horse.

[Casey O'Brien]

Of course. I, of course, is a horse. Of course. Of course. Yes.

[Millie de Chirico]

I was disgusted by these gusted. I. I understand that this is an artistic choice that Boots Riley chose to make, but I was like, I really did not need to see the horse sticks.

[Casey O'Brien]

But you do, though.

[Millie de Chirico]

But you do, because it comes up disturbing at best. I. Yeah, I was shocked by this. I mean, it was like, not. I did not see that coming whatsoever. And then it somehow was like, I was like, oh, this is Armie Hammer is. Is doing this. Okay, now it makes sense because he feels like. I mean, I don't know how much anybody really knows about Armie Hammer, like, outside of la, but his family owns, like, a lot of la.

[Casey O'Brien]

Yeah, the Hammer Museum. He's a huge, rich, like, kid. The Hammer is, like, a name you see around.

[Millie de Chirico]

Yeah. And so for some reason I was like, oh, this is actually exactly what I think him and his family do. Like people. Like people of his ilk, I think is what I mean. Meaning, like these blue blooded, like generational wealthy white people, you know, who's. Who own a lot of things in, you know, towns and cities and whatnot, do they get into this weird, fucked up bioengineering shit. That's. Sure, that's exactly what I think. And so it was funny because I was like, oh, well, this tracks. Because this character seems to be that person.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

And he's playing this person too, which is hilarious.

[Casey O'Brien]

Yeah, I mean, he was a. It was good casting for like an evil tech billionaire guy.

[Millie de Chirico]

Yes, exactly.

[Casey O'Brien]

So, yeah. Fucking gross. Disturbing. It kind of comes. You know, it's interesting because Detroit, Tessa Thompson's character is an artist and she's like a real punk rock artist. But Cash points out, he's like, you're selling all your art to rich white people. And also you have a white voice, which. Which is funny because the white voice of Tessa Thompson is Lily James, who. Tessa Thompson was in a movie with Lily James called Little woods that came out in 2018 and that was directed by Nia DaCosta, who just did 28 years later, the Bone Temple. What? So this is all full circle and she hugged you? And she hugged me. But I just think that's so interesting. It's just like even the most punk rock artist person, it's like we have to suckle at the teat of the rich white people. You know, we all have to like, there's just no escaping.

[Millie de Chirico]

Well, I mean, I think that's kind of the. I think it tracks that Boots Riley would put that message in a film that he made because he's making political art, political songs. And I'm sure at a certain point, you know, has thought about the idea of what you have to do as a black artist in order to be successful and who you have to sell shit to and who you have to change.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

And who you have to change yourself into in order to have that success. And it's funny because this movie is obviously about that. But then this movie actually became successful.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

So I'm kind of like he wrote a movie in critique of that, but then the movie itself has become its own. I know, it's like a meta narrative or something.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

Within white C culture or whatever. Hollywood. To where. To the point where it's like, well, you know, how did he. I wonder if like this. It was Kind of like a prophecy or something. I don't know how to describe it, but because this movie was, like. I thought a lot of people really got into this movie, like, more than it being sort of like a political, kind of artsy indie film. I think it went beyond that for sure.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

And I'm just curious as to. I'm sure there's interviews about it, but, you know, like, wondering what. How he navigated that success, you know?

[Casey O'Brien]

Yeah. It is interesting because you want him to have success, and you want artists to have success based off their, like, very authentic art. But then, like, what does that mean? Yeah, I don't know. That's interesting.

[Millie de Chirico]

Well, I mean, I think that's, like, a thing that Jordan Peele does really well, too, is talking about, like, black art and selling out and white audiences and things. I don't know. It's just obviously a perspective that is interesting and, you know, I don't know. Just.

[Casey O'Brien]

Yeah. All right, let's get to the end here. Cash has quit Regalview, and he's back protesting and striking with his buddies. He's going on tv. He's showing the video of the horse, the Equisapiens, and it's not working. People are like, armie Hammer's cool for doing this. Steve Lyft, he's the man for doing this. So it doesn't do much good. But then there's a huge protest outside of Regal View and a brawl, and the SWAT team comes in, and things are turning kind of violent. And Cash gets thrown in a police car or, like, a police SWAT vehicle. And things are looking grim for our heroes. But then the Equisapiens come to rescue and free everyone, and they save the day. And then Cash, you know, he's out of a job, or he's. I think he goes back to being a telemarketer again at the bottom floor. He moves back into his uncle's garage. Things are kind of. He's back with Detroit. Things are all fine until he discovers he's turning into an Equisapien.

[Millie de Chirico]

Oh, my God.

[Casey O'Brien]

Goodness gracious. And he goes back to Armie Hammer's house with a group of Equisapiens, and we assume he. I don't know, obliterates him. Obliterates him. So that's it. I mean, you wrote this down, but this movie holds up. It feels even more prescient and more relevant today than ever before. You know, it isn't. It's even kind of amazing. This came out eight years ago. I'm like, this. This could have come out today. We're talking about the same shit.

[Millie de Chirico]

Yeah, I. God, this movie is extremely fun and creative.

[Casey O'Brien]

Very fun.

[Millie de Chirico]

I truly enjoy it, like more, maybe even a little bit more than I did back then, which is saying a lot.

[Casey O'Brien]

I think I did it when I saw it the first time. I thought it was kind of unwieldy and kind of like, oh, where are we going? Because it really takes you on all these different turns. But after seeing it a second time, I didn't feel that way. And I enjoyed it more than this time, than even the last time. And I liked it last time.

[Millie de Chirico]

Yeah. Well, I'm excited for his new movie. I love Boosters. It looks great. There's a great cast.

[Casey O'Brien]

Fabulous. Yes.

[Millie de Chirico]

And I'm just glad that he's working still. And that's the thing that we've talked about before with, you know, the Hollywood and the willingness to take gambles on creative people and especially if you're black. And so I'm hoping that, you know, God, I hope he gets a trillion dollars to make shit. I mean, you know.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

Like, I think this is.

[Casey O'Brien]

This should empower people that it's like, if you have the craziest idea and you're like, people won't like this. I have to think about what people will like. I don't think you should think that way. I think you should think about what you think will be good and interesting and weird and what you like. And I feel like this is just such a creative, unique vision and people grabbed onto it, you know, and it's weird. It is weird, but it's good.

[Millie de Chirico]

It's a good weird. Yeah. Love it.

[Casey O'Brien]

All right, anyways. Well, that's it. Anything else you wanted to touch upon there, Millie?

[Millie de Chirico]

No. Before we move on, Happy Black History Month. Once.

[Redfin Ad Voice]

Again, foreign.

[Casey O'Brien]

It's time for some emails. We've got some gripes, some gropes, some grats and some advice. Let me open up the email bag here. All right, this is a gripe from Liz. Hello, Millie and Casey love the show and I'm especially delighted by the corny opening skits. Corny.

[Millie de Chirico]

Corny.

[Casey O'Brien]

Ah, corny. No, they are corny as hell. I want to preface this by saying I have no tattoos, but despite not being cool and inked myself, I can't help but notice extremely crisp and fresh, AKA unrealistic looking tattoos in movies. I'm talking about super saturated vantablack tattoos that aren't faded at all very often. You can even see the transparent square border where the quote Unquote tattoo was put on, which I recognized from my youth. Slapping on Fruit Stripe gum. Temporary tattoos. An additional gripe. Bad guys who, for whatever reason, decide to have very distinctive tattoos on their necks that inevitably help our heroes identify them. Maybe just don't have your underground criminal organization require huge scorpion tattoos above the collar. I'm not an expert in criminal enterprises, but that seems like the bare minimum to me. Let me know your thoughts. Thanks, Liz. Great email, Liz.

[Millie de Chirico]

Movie tattoos.

[Casey O'Brien]

I do. I. It doesn't. It hasn't bothered me, but I do notice it. I have noticed. I can't think of an example, but I do notice it in movies when I'm like, that's not a real tattoo.

[Millie de Chirico]

No, you should powder it. Bare minimum. Just powder it. Like if you're gonna draw it on or something. Like, make it look faded and crusty.

[Casey O'Brien]

Yeah, yeah.

[Millie de Chirico]

There was something else along these lines the other day that I thought about that. I was like, yes, this is also fake. And I don't know. Oh, God, I don't know what it is. It wasn't piercings, but it was like hair, beard, mustache. Oh, it was facial hair. Because I watched Erin Brockovich again and I was like, God damn this facial hair on Aaron Eckhart. Aaron Eckhart is terrible.

[Casey O'Brien]

It looks like he went into a barbershop and grabbed some hair on the ground and just kind of smushed it on his face. I mean, it looks terrible. It looks so pubey and, like, awful.

[Millie de Chirico]

It looks like they glued on a party shop beard. Like when you're going for Halloween. I was like, this is crazy. This is a Steven Soderbergh movie. How could they let this happen? But yeah, it was facial hair. And I mean, God, we are living in the modern era. There's definitely ways to make that shit look real. And tattoos, for that matter.

[Casey O'Brien]

So you know what bothers me too? When this happens in, like, biopics a lot. Or they'll give an actor who's, like, playing a real person, they'll give them different colored eye contacts. Like, if it's like, if our, like Johnny Depp in Black Mass, he's given blue eye contacts. And I'm like, you look freaky as hell. You don't look like a natural blue eyed person. It doesn't just. You can't just like, swap in blue eyes or different colored eye contacts and make it look normal, you know?

[Millie de Chirico]

Have you seen. Oh, fuck. Have you seen the new photos that have come out from the Beatles movies?

[Casey O'Brien]

I saw the Paul Mescal, okay?

[Millie de Chirico]

I'M like, what the hell is going on? This look. This is Smashing Machine Redux or something. I don't know what this. This face sculpting is insane.

[Casey O'Brien]

I agree. He looks like. He looks like, so fleshy and like he's got lip filler and stuff. It looks crazy. I think. Why do we have to be so hyper accurate like that? It's like so nutty.

[Millie de Chirico]

Yeah. I mean, it's like even the. Well, I thought the Barry Hyogen as Ringo, I thought looked actually pretty good, but this whole, like, they're really like, you know, sculpting a new face for these actors. And I'm like, at a certain point, just let it go. Like, just let this shit.

[Casey O'Brien]

Yeah, they all look like they're. I don't even. It's like they look like they're made of clay. They don't look like real people or.

[Millie de Chirico]

Like, I. I'm like, this is so weird. I'm like, listen, not every Elvis impersonator looks exactly like Elvis.

[Casey O'Brien]

They didn't do this to Austin Butler, and he was great. It looks like unfrozen caveman lawyer or something. I mean, it's wild.

[Millie de Chirico]

God damn, dude. Yeah, I know. I was like, this is insane. But I guess to Liz's point, I will say gripe accepted because honestly. Yeah. You know, like, that's. That's a. That's a huge, like, eyesore when you see bad fake tattoos.

[Casey O'Brien]

All right, moving on. This is from Jackie. Dear Millie and Casey, My husband and I just finished watching the new Naked Gun, and as promised, it was hysterical. I was so impressed with Pamela Anderson's comedic delivery. I was also a big fan of the Last Showgirl. But it is so much harder to be funny than sad. So I was truly blown away by her. My question is, what are your favorite movies and performances that recontextualized a performer's entire career? I'm thinking along the lines of Jim Carrey in Eternal Sunshine or Charlize Theron in Monster. Can't wait to hear from you, Jackie.

[Millie de Chirico]

Oh, my God. Oh, my.

[Casey O'Brien]

I mean, a big famous one is like, I would say, like Burt Reynolds and Boogie Nights. I guess that doesn't recontextualize his career. It just sort of, like, revamped it. I would say John Travolta in Pulp Fiction. I didn't know he could play a guy like that.

[Millie de Chirico]

You know what? This is a subtle one. Do you remember the Nicole Hlof center movie enough said from 2013?

[Casey O'Brien]

Absolutely.

[Millie de Chirico]

With James Gandolfini as the, like, Romantic comedy lead. I was like, oh, of course. This is so fucking cute that he did this movie. It's like, okay, Tony Soprano. Everybody knows he's a, you know, like, a fucking mean mafia guy. But then now he's this, like, cuddly guy in a Nicole whole offsetter movie. I was like, oh, perfect.

[Casey O'Brien]

You feel so. He's like. And like, Julia Louis Dreyfus is kind of like a jerk sometimes, and, like, kind of like prop pokes at him, and he's kind of like. You can tell his feelings get hurt, and it's kind of. It's very. He's like, a very sensitive person. That's a great answer.

[Millie de Chirico]

Oh, my God.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

And it just made me, like, me melt. I was just like, yes. I want this, like, mean, tough mafia guy to be this, like, sweetheart, like, just normal dude. I was like, oh, my God. I kind of felt that way. Similarly, not as much, obviously, but when Jason Statham was In the Melissa McCarthy movie is it Called Spy? And he, like, kind of became, like, a little simpy for her at the end where he was, like, kind of had a crush on her, and I was just like, I want him to be like this, too.

[Casey O'Brien]

Like, Yeah. I remember thinking. I mean, Channing Tatum. I had a big. I was like, oh. I remember he was in the movie this is the end, as Danny McBride's sex slave. And I was like, okay, he's funny. I didn't realize that before. I was like. I knew he was talented, but I didn't know he had this, like, goofy side to him, and I thought that was fun. Oh, I had another one. You know, I really love Richard Linkletter's Bernie with Jack Black, and I feel like I've always been a huge Jack Black fan, but I feel like he really did something different in that one. And I was, like, really impressed by that.

[Millie de Chirico]

Yeah. I mean, but there's so many examples of this. I mean, you could even go back to, like, fricking Elizabeth Berkley and Showgirls or, you know, like, whatever. Like, anytime a good girl goes bad or, like, a bad guy goes good, you're obviously like, what? Like, I didn't realize that. Like, I don't know. Like, Matthew McConaughey would wear a thong and magic. Like, you know, like, whatever. It's like, you know, but.

[Casey O'Brien]

And, you know, stick it.

[Millie de Chirico]

Yes. Dang it. But it's. That's a good question. I mean, obviously, a lot, but I. Now you got me on this James Gadolfini and enough said thing, and I'M just, uh. Oh, now I'm just in the warm happiness of that.

[Casey O'Brien]

All right, here's the last one.

[Millie de Chirico]

Okay.

[Casey O'Brien]

From Leah. First of all, I love your podcast. Should I read all this? There's some. Well, there's some fawning in here. Let's just read it. First of all, I love your podcast. I have always loved movies, but truly listening to your podcast has made me obsessed. I feel like. Like being in conversation with thoughtful, cool, funny friends who are the appropriate level of being a shithead while not being so pretentious. You need to get a drink to avoid conversation. You've expanded my movie taste and introduced me to some real gems. I. E. Showgirls. Hey, anyway, if you choose to read my question, you can cut the accolades if you like. I didn't, but I wanted to tell you anyway because I'm very appreciative. I'm a very appreciative of you both. Over the weekend, I was watching a movie at home and was not feeling it, but I continued watching anyway just to see if I'd like it more by the end. I did not like it more by the end. What is yalls perspective on finishing a movie? Even if you're not feeling it? Do you stop watching it or persevere? Thanks for the film advice, Millie. What do you think?

[Millie de Chirico]

I stop. I used to not, but now I do because life is too fucking short.

[Casey O'Brien]

I have never stopped a movie. Not finished it. Wow.

[Millie de Chirico]

Okay.

[Casey O'Brien]

Or a book.

[Millie de Chirico]

Wow. Oh, even. Ugh, that is so hard for me.

[Casey O'Brien]

I think my life is worse because of it. I think I'm an unhappier person. I wish I could be free like you. And my wife Trisha, she, like, reads a page of a book and is like, stinker and throws it out the window. And she does the same with watching movies. If she's like, this sucks. She'll just start fast forwarding through it and you both are free and I'm chained. I just can't. I can't. I'm like, I have to finish it. Goes back to film school and being like, seeing these movies that I'm like, oh, I do not like this, and I hate this, but everyone said this was a brilliant movie. I have to finish it. You know, that type of shit. It's ingrained in me.

[Millie de Chirico]

Well, I'll say this, maybe to bridge the gap between two of us. I am less likely to leave a bad movie if I'm seeing it in a movie theater. I am way more likely to turn that shit off if I'm at home in the theater.

[Casey O'Brien]

The theater is an experience that it would be hard to, like, walk out of.

[Millie de Chirico]

You know, I mean, it's harder. Yeah, it's truly gotta be bad to walk out of a movie. And to be honest, the only times I've really walked out of a movie was not really content. It was more just like bad screening experiences. Like, I've done that where it's like, oh, the sound is terrible, or it's too hot in here or whatever.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

But never, like, based on the movie itself. But then, yeah, if I'm at home, I mean, all bets are off. Shit. I've turned off good movies that I'm like, I just am not really in the, in the vibe right now. You know, it's.

[Casey O'Brien]

My late Aunt Cynthia. I would guess about 70% of the movies she went to see in the theaters. And she went to see a lot of movies. I would guess 70% she walked out of because she was like, she would get really scandalized by things very easily. Like, if there was a lot of violence or crude humor or like, and even sometimes we'd be talking about a movie and she's like, oh, that's such a beautiful movie. I love that movie. I did walk out of it, but, like, before I did, it was really good.

[Millie de Chirico]

What a g. She's like, oh, I loved it. I didn't watch all of it, but I loved it.

[Casey O'Brien]

Yeah.

[Millie de Chirico]

Yeah. I will tell you, like, I think I've talked about this before on an episode where one of the movies that I really tested my theater experience thing is the crime master cycle that Matthew Barney.

[Casey O'Brien]

Oh, fuck yeah, dude, I can imagine.

[Millie de Chirico]

Oh, my God.

[Casey O'Brien]

Like, Jesus. Yet the talk about Equis Sapiens, I.

[Millie de Chirico]

Mean, I, I don't remember if it was four or five. It was one of the later ones where first of all, my two movie friends, Parks and Stewart, it doesn't get.

[Casey O'Brien]

Much headier than that.

[Millie de Chirico]

Oh, my God. These, like, Parks and Stewart, they're. I don't know if they're listening, but if they are, I, I'm saying this in it with love, but they are truly like the types that will go and endure the most. I mean, they're like first in line with the Lars Von Trier movie. They're fucking doing the Derek Jarman Blue. They're doing Grandmaster cycle in movie theaters. And I'm like, fuck, dude. And I remember it was like either 4 or 5 where I was literally.

[Casey O'Brien]

Like.

[Millie de Chirico]

I think I should go. Like, I, I, I paid and I can't take it anymore. I cannot Fucking take it. And I stayed. And I just remember thinking, like, I just went through some shit. Like, somebody's gotta fucking give me props for this. Like somebody's in my life has gotta clap.

[Casey O'Brien]

Well, I. I'm kind of jealous because you can't even rent those. There's. They're not on. You can't see those unless they're. They're screened at a museum. They don't. There's no way to like rent. There's no release of those. Right. You know, exactly.

[Millie de Chirico]

And that's, that's was another, I think, reason why I felt like I had to stay. But I was like, yo, I don't care. I should, I should just go anyway. But. God damn it.

[Casey O'Brien]

Okay, so did you ever go to the Red Cat Theater in la? The Roy and Edney, The Roy and Edna Disney Cal Arts Theater.

[Millie de Chirico]

Is that like the experimental? Yes. Okay.

[Casey O'Brien]

So I went and saw. See, I can't even remember the name of it, but it was a two hour long movie. And it is a slow camera is pushing through slowly a factory floor. And it's just moving through slowly and it's in slow motion. So it's like everyone's moving, barely moving. And it was like two hours of that and I was like, holy shit. I was like. Cause I didn't really know what the movie was, but our professor, it was like a school class field trip. We all went. Like my class went and it was like crazy.

[Millie de Chirico]

Oh my God. Yeah. There was like a concept that my friend Phil Blankenship, who is the programmer at the New Beverly in la, him and his friends would do a thing they called Cinema suicide, where they would just like go into movies that were four walled, you know, like, basically like in la, where filmmakers will four wall a theater and just put their movie into a movie theater because they want to qualify for the Oscars. Except a lot of times it's just like this crazy, you know, filmmaker that doesn't know how to make a movie. And you know, it's like the room or something to that end. Yeah, but I. But they call it Cinema suicide because I. They said they walked into the Chinese, Chinese multiplex in Hollywood to see one of these four wall movies. And the Usher who was like a teenage boy, like was ripping their ticket, like looking at them because, all right, Cinema suicide. I was like, that's exactly what you would call it. Like you walking into a movie which, you know is like not gonna be for you or it's going to be painful to endure. And that's suicide. That's kind of how I felt with this concept. Yes.

[Casey O'Brien]

Oh my God. Anyways, great emails. Thank you all for writing in. Really appreciate it. Those were some really fun ones. Now let's get to employees picks, film recommendations based on the theme of the discussion. Millie, what do you got?

[Millie de Chirico]

So I'm going for a pre code movie this week and the whole reason why I picked it was I was very inspired by this Armie Hammer character in Sorry to Bother your. And it's this movie from 1932 called island of Lost Souls based on H.G. wells. The island of Dr. Moreau. I love it because I love Charles.

[Casey O'Brien]

Laughton, the act director of Night of the Hunter.

[Millie de Chirico]

Correct. Great actor. But he is creepy as fuck in this movie. It's basically like as you can imagine, it's like, you know, a sailor that is washed up on a Island and Dr. Moreau the scientist is like, hey, check out all this fucked up shit I did. So that's kind of like what I thought of this week when I was watching Sorry to Bother your. So that's my employee. Pick island of Lost Souls.

[Casey O'Brien]

Very good. My pick is a movie called they cloned Tyrone from 2023. It is directed by Jewel Taylor and it stars John Boyega, Jamie Foxx, Teona Paris. And it is a sci fi comedy set in the ghetto, in the hood. Ah, the, the name of the hood is called the Glen. That's just how they referred it to. And you're not exactly sure where it is. I think they shot it in Atlanta. But basically John Boyega plays a drug dealer and Jamie Foxx is a pimp and they discover that some scientific body is spying on this hood called the Glenn and like cloning people and doing all sorts of strange experiments and like, because like some people get killed and then they pop back up later and they're like. Because they got cloned and they're like, who's the real version of these people? But it's funny and it's kind of cartoony and it's, it's good. A good sci fi movie and. But it's a good time too. So good. They Cloned Tyrone. It feels kind of similar in vibe to Sorry to Bother your.

[Millie de Chirico]

Oh, cool.

[Casey O'Brien]

I really liked it. I feel like no one. It apparently came out the same weekend as Barbenheimer. Oh. And so like nobody saw.

[Millie de Chirico]

Oh, that's too bad.

[Casey O'Brien]

But it's really. I thought it was really good. I think it could have been a bigger hit if it hadn't come out in the largest movie weekend in history. So Check it out. It's on Netflix right now.

[Millie de Chirico]

Okay.

[Casey O'Brien]

If you're interested. So. But that's our show.

[Millie de Chirico]

Yes.

[Casey O'Brien]

If you want to get film advice or if you have a gripe grope or grip, please write in to dearMoviesExactlyRightMedia.com or leave us a voicemail and email it to DearMoviesExactlyRightMedia.com now, we called for submissions for date stories in the movie theater. So send those in and try to keep those under two minutes if you could. But send those into DearMoviesExactlyRightMedia.com that is correct.

[Millie de Chirico]

And follow us on socials. We are at dearmovies I love you on Instagram and Facebook. Our letterboxd handles if you want them. Areceeley O' Brien and mDecherico. And you gotta listen to Dear Movies, I Love youe on the iHeartRadio app or Apple Podcasts or wherever you get podcasts. Whatever.

[Casey O'Brien]

That's right. My personal favorite podcatcher is Overcast, which is an independent Pod Catcher podcast player. And it's a really cool thing. Nice you can get on your iPhone.

[Millie de Chirico]

Thanks for that suggestion. That's great.

[Casey O'Brien]

You're welcome. Next week, Millie, what are we doing?

[Millie de Chirico]

Well, I don't know why we're inspired by this. Perhaps it's because we're in the waiting days of winter and maybe spring is around the corner. Cold.

[Casey O'Brien]

You're wearing a scarf, Millie. We're cold.

[Millie de Chirico]

But spring is around the corner. At least around here it was like, you know, I don't know, March.

[Casey O'Brien]

Not for us.

[Millie de Chirico]

I know. That's what I'm saying.

[Casey O'Brien]

Maybe it's just February is a very cold month.

[Millie de Chirico]

Well, to that end, we are gonna watch John Carpenter's the thing from 1982, and we're gonna watch men congregate in underground in the depths of winter. See what happens.

[Casey O'Brien]

Yep.

[Millie de Chirico]

You know, that's right.

[Casey O'Brien]

I feel like I'm living in the thing right now. It's like it's been negative degrees for over a week. It was like negative 21 the other day. It's crazy here.

[Millie de Chirico]

Yeah.

[Casey O'Brien]

So I'm excited to watch another cold thing, I guess. Well, Millie, it was great chatting with you today. Thank you for a wonderful episode.

[Millie de Chirico]

Oh, I had a blast. Thanks, everybody.

[Casey O'Brien]

Bye. Bye.

[Millie de Chirico]

This has been an exactly right production. Hosted by me, Millie de Chirico, and produced by my co host, Casey o'. Brien.

[Casey O'Brien]

This episode was mixed by Tom Breifogel. Our associate producer is Christina Chamberlain. Our guest booker is Patrick Cotner, and our artwork is by Vanessa Lilac.

[Millie de Chirico]

Our incredible theme music is by the best band in the entire world, the Softies.

[Casey O'Brien]

Thank you to our executive producers, Karen Kilgariff, Georgia Hardstark, Daniel Kramer and Millie de Chirico. We love you.

[Millie de Chirico]

Goodbye.

[Casey O'Brien]

Be kind.

[Millie de Chirico]

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