Dream A Little Dream LIVE! (w/ James "Projector" Acaster)

Summary

Podcast Summary: "Dream A Little Dream LIVE! (w/ James 'Projector' Acaster)"

Podcast Information:

• Title: How Did This Get Made?
• Host/Authors: Paul Scheer, June Diane Raphael, Jason Mantzoukas
• Guest: James "Projector" Acaster and Meredith Salinger
• Release Date: November 29, 2024
• Description: This episode delves into the perplexing 1989 film "Dream A Little Dream," featuring in-depth discussions with comedian James Acaster and actress Meredith Salinger, who starred in the movie.

---

Introduction to "Dream A Little Dream"

The episode kicks off with Paul Scheer reintroducing the film "Dream A Little Dream," a body-switch comedy from 1989 starring Corey Feldman, Corey Haim, and Jason Robards. Scheer provides a brief Wikipedia-style synopsis to set the stage:

“Bobby Keller is a slacker high school student who, while running through a shortcut through a backyard one night, collides with Laney. During the collision, elderly Professor Coleman Ettinger is performing a meditation exercise with his wife Gina. The collision renders both teens unconscious, leading to a complex body-switch scenario.” (04:08)

Initial Reactions and Confusion

Paul expresses his frustration with the film's runtime and apparent plot inconsistencies:

“The movie is an hour and 54 minutes. When I saw that everything stopped, I got upset. It's a Corey's movie.” (04:08)

Jason Mantzoukas chimes in, revealing his skepticism about the film's coherence:

“Release the Cory cut. Give me four hours of this.” (06:03)

The hosts discuss the rumored longer version of the movie and Corey Feldman's attempts to release it, which Scheer humorously notes have been unsuccessful.

Breakdown of the Body-Switch Mechanism

The discussion moves deeper into the movie's central premise—the body switch between the two Coreys and the elderly couple. June Diane Raphael raises important plot points:

“There are several issues.” (07:53)

The hosts debate the mechanics of the switch, questioning the accuracy of the provided Wikipedia description. Raphael highlights discrepancies between the number of switches described and what is portrayed in the film.

“There are just not. Paul. There's just not. There are not four switches.” (12:46)

Scheer and Jason explore the possibility of a "dormant body switch," attempting to reconcile their initial confusion with the events depicted on screen.

Character Analysis and Relationships

The conversation shifts to character dynamics, particularly the relationships between Corey Feldman's character, Jason Robards' character, and Laney (played by Meredith Salinger). Scheer muses:

“This is a Jason Robards film. Like, because he's somebody who wants to escape death.” (19:43)

Raphael and Mantzoukas analyze the motivations and actions of the characters, questioning the believability and development within the film. They reference moments where characters exhibit contradictory behaviors, such as emotional responses that don’t align with their established personas.

Dream World vs. Reality

A significant portion of the discussion centers on the film's ambiguous reality—whether the events occur in a dream or real-world body switch. June Diane Raphael and James Acaster explore various theories:

“It's the dream space. This still is from this movie has a dance duet.” (49:48)

“I think that because she's calmly addressing him, she was already aware of the switch.” (40:27)

The hosts debate the presence of a "Prankster" entity manipulating the dream world, adding another layer of complexity to the narrative.

Guest Insights: Meredith Salinger

The episode’s highlight is the inclusion of Meredith Salinger, who shares her firsthand experience filming "Dream A Little Dream." Salinger clarifies many of the film's confusing elements:

“I believe that it was dormant because at first she's sort of like doing things that she doesn't normally do.” (81:06)

She discusses the challenges of portraying a character undergoing a body switch and the intricate relationships with co-stars like Jason Robards and Harry Dean Stanton.

Salinger also reflects on the film's reception and her personal connection to it:

“People did like this movie back then, though. I know everyone's like, it's the worst movie ever. Everyone's. But back then... some people were like, that's my favorite movie.” (88:57)

Behind-the-Scenes Anecdotes

Meredith shares amusing and perplexing behind-the-scenes stories, including interactions with cast members and unexpected occurrences during filming:

“On my 18th birthday, a cop came on set because we ordered strawberry daiquiris with whipped cream downstairs.” (81:48)

These anecdotes provide a glimpse into the chaotic and unconventional environment in which the film was made.

Final Thoughts and Theories

As the episode progresses, the hosts and guests continue to dissect the film's convoluted plot, presenting various theories to explain its inconsistencies:

• Body Switch Mechanics: Attempts to understand how the body switches occur and their limitations within the movie's universe.

• Character Motivations: Exploring why characters behave inconsistently and what drives their actions.

• Dream World Implications: Debating whether the entire narrative is set within a dream and the role of supernatural elements like the Prankster.

Jason Mantzoukas humorously critiques the narrative choices, suggesting that the movie lacks clear rules and coherent storytelling:

“This movie needed rules. This movie needed two scenes of exposition.” (40:37)

Audience Engagement and Second Opinions

The hosts invite listeners to share their own interpretations and opinions via calls and Discord, emphasizing the diverse perspectives surrounding the film. They acknowledge the polarized reception, noting that while some view it as a cinematic disaster, others find unconventional charm and emotional depth.

Conclusion: Embracing the Chaos

Wrapping up, Paul Scheer humorously reflects on the episode's journey through the labyrinthine plot of "Dream A Little Dream," thanking guests and encouraging listeners to engage with the content:

“We're going to immortalize a moment from this show that's a little bit different. You see, we figured there's no better T-shirt than a T-shirt that says James Projector.” (89:20)

The hosts conclude by promoting upcoming events and merchandise, maintaining the light-hearted and comedic essence of the podcast.

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Notable Quotes:

• Paul Scheer:
  “The fact that it was ever like any cut of this was four hours is irresponsible.” (06:07)

• Jason Mantzoukas:
  “This movie needed rules. This movie needed two scenes of exposition.” (40:37)

• Meredith Salinger:
  “I feel like it was dormant because at first she's sort of like doing things that she doesn't normally do.” (81:06)

• June Diane Raphael:
  “There are so many like 11th graders who are in business suits. And it's just so delightful to see.” (47:10)

---

Key Takeaways:

1. Plot Complexity: "Dream A Little Dream" presents a convoluted narrative with unclear body-switch mechanics and dream world elements, leading to substantial confusion among viewers and hosts alike.

2. Character Dynamics: The relationships between characters lack depth and consistency, making it challenging to discern motives and emotional arcs.

3. Behind-the-Scenes Insights: Meredith Salinger provides valuable perspectives on the filming process, highlighting the chaotic environment and the actors' experiences.

4. Diverse Reception: The film receives mixed reviews, with some appreciating its emotional moments and others criticizing its incoherence.

5. Engagement: The hosts encourage listeners to share their interpretations, fostering a community-driven exploration of the film's mysteries.

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Conclusion:

"Dream A Little Dream LIVE!" offers an entertaining yet perplexing analysis of a film that defies conventional storytelling. Through lively discussions, guest insights, and humorous critiques, the episode navigates the maze-like plot, inviting listeners to ponder one of cinema's more enigmatic creations. Whether viewed as a cinematic flop or a cult classic, the episode underscores the subjective nature of film appreciation and the joy of dissecting "the best of the worst" with fellow enthusiasts.

Transcript

[Paul Scheer]

Talking Pictures, the podcast from TCM and Max is back with a new season here. Host Ben Mankiewicz and intimate conversations with the people who live to make us laugh. Carol Burnett, Bill Murray, Paul Scheer, Henry Winkler and more all join Ben to talk about the movies that made them. Talking Pictures isn't just about film. It's about the powerful role movies play in our lives. It's about where you were, who you were with and what you were feeling. Listen to Talking Pictures on Max or wherever you get your podcasts. Uncover one of history's greatest mysteries in Indiana Jones and the Great Circle, a first person single player adventure video game set between the events of Raiders of the Lost Ark and the Last Crusade. The year is 1937. Sinister forces are scouring the globe for the secret to an ancient power connected to the Great Circle. And only one person can stop them. Indiana Jones Adventure calls Indiana Jones and the Great Circle releases on December 9th on Xbox Series X&S Game Pass and PC Pre Order Indiana Jones and the Great Circle now Rated T for teen. Copyright and trademark 2024 Lucasfilm Ltd. All rights reserved. Hey everybody, just wanted to give you a quick heads up here. There's something we should all be doing. It's going to improve your life, make every day a little bit better. And that is eat more Reese's Peanut Butter Cups. Yes. Think about it. All the gurus, all the coaches out there, they've never said the words eat more Reese's. I mean that combination of sweet chocolate and salty peanut butter. I mean this is something that brings other people and ourselves joy. That's why there's two in a pack shop. Reese's Peanut Butter Cups now at a store near you found wherever candy is sold and often in my pantry because I love these Jason Robards is Corey Feldman and Corey Feldman is Jason Robards. We saw dream a little dream so you know what that means Going to take you from the groove all the way to the room Renegade the street fighter hope to blow off steam just a sucker punch the odd life for Timothy Shop me the bird Demic how you staying alive? They call me when they're badass and he's on the line cranking 88 minutes cause they cool as ice cuz the bad gym Funny looking kind nice Paul is June getting literal Jason is getting.

[Jason Mantzoukas]

Laid Jul is making sure all the.

[Paul Scheer]

Monkey shots in the pain they judge a bunch of movies while they making the grade Here's a real question for you. How did this get made? Hello people over hello people of Los Angeles. We are Live at Largo to talk about the best Corey's movie ever made. Dream a Little Dream, a movie that came out in 1989. Now, I never have done this before, but I'm doing it tonight because I was worried that you might have trouble tracking what the hell we're talking about. So what I did was I decided to pull the description from Wikipedia about this movie just to put us on the same page. And I think this will help. Bobby Keller is a slacker high school student who, while running through a shortcut through a backyard in his neighborhood one night, collides with Laney, over whom Bobby has recently been obsessing. During the collision, elderly professor Coleman Ettinger is performing a meditation exercise in the yard with his wife Gina, theorizing that if he and his wife can enter a meditative alpha state together voluntarily, they will be able to live together forever. However, just as the Ettingers are on the verge of completing their meditation experiment, the teenager's collision renders both teens unconscious and acting a type of body switch between the four characters.

[June Diane Raphael]

Woo.

[Paul Scheer]

Wow. That's the baseline that we just need to understand. We'll break it all down. But I figured if I just laid that down, it puts us on the same page. Because honestly, that clarified a few things for me. This movie is an hour and 54 minutes. When I saw that everything stopped, I got upset. It's a Corey's movie. Then I did a little research and I heard that the original cut is 4 hours and that Corey Feldman has been trying to get that cut back out released. Thank God he has not been successful. He did, however, get a sequel made with the teen witch herself, Robin Lively. We'll talk about that later, but right now there's so much to talk about and I can't wait another minute. Please welcome to the stage my co host, Mr. Jason Manzoukas.

[Jason Mantzoukas]

What's up, jerks? That's right. How we doing, Largo? Yeah, let's go. How we doing, Jason? Everybody else, shut up.

[Paul Scheer]

That's right. There is a Jason in the audience tonight.

[Jason Mantzoukas]

It's the night of Jason's Robards suits. This motherfucker. He gets it.

[Paul Scheer]

Jason. I was saying that I was familiar with this film.

[Jason Mantzoukas]

I was not.

[Paul Scheer]

Okay? I never saw it, but I saw the commercial for it.

[Jason Mantzoukas]

Release the Cory cut.

[Paul Scheer]

Release the.

[Jason Mantzoukas]

Release the Cory cut. Give me four hours of this.

[Paul Scheer]

The fact that it was ever like any cut of this was four hours is irresponsible.

[Jason Mantzoukas]

And I read. Because I read that too. And I read the other two hours Is just more montages. More montages set to music for a movie that is either about three or four people or three or 400 people. I'm not sure.

[Paul Scheer]

I can't make heads or tails of it. And you one pure joy of this film was watching it before our next co host comes out here on stage and then setting myself in a perfect position to watch her face as she saw certain scenes unfold.

[Jason Mantzoukas]

That's your kink.

[Paul Scheer]

It truly is. It's like walking in front of somebody in a haunted mansion. Like, oh, they're going to get the shit scared out of them now. I cannot wait. I cannot wait for you.

[Jason Mantzoukas]

It's just watching June watch Love on a Leash.

[Paul Scheer]

It works. It works for me. And ladies and gentlemen, please welcome our next co host, June Diane Raphael. Welcome, June. How are you?

[June Diane Raphael]

I'm well. How are you, Paul?

[Paul Scheer]

I'm fine. Thank you so much for asking.

[June Diane Raphael]

You know, I just finished this movie and I mean, minutes before I heard.

[Jason Mantzoukas]

If I was in the green. There's two green rooms back there. I was in one of them and could hear the movie ending as if it was an echo of my life. But an hour ago. Yeah, flashback. Like we were in the dream state together.

[June Diane Raphael]

Right.

[Jason Mantzoukas]

Let's all enter the dream state together tonight.

[June Diane Raphael]

I want to get started because we have to talk about that description. There are several issues.

[Paul Scheer]

Ok, I got it. I got it. Now here's what I'll say. Yes, the movie is almost two hours.

[Jason Mantzoukas]

Which I couldn't believe every time I paused and there was still so much, so much more. I was like, what's happening? Plot wise is wrapping up.

[June Diane Raphael]

Yeah, it must be.

[Paul Scheer]

When I saw it was still 35 minutes, I was like, it's over.

[Jason Mantzoukas]

They've already. The dance is done.

[June Diane Raphael]

It's been over. It's been over for a long time. I thought I was watching it with commercials because I watched it on Amazon and when I played it, it said with commercial breaks. And then started and I was like, where's that commercial break? Where is like, I need a break, by the way. And I never got one.

[Jason Mantzoukas]

I'd like to be advertised too.

[June Diane Raphael]

Yes.

[Paul Scheer]

Someone please give me a break Now, I'll tell you this much. At an hour and 55 minutes, when the credits come on, you would think I would slam down that laptop and be like, done. No, I watched that duet, had to. Had to. And rewound it.

[Jason Mantzoukas]

Wow, wow, wow, wow. I could talk about the dance sequences in this movie for the next. I don't know.

[Paul Scheer]

Well, you know what? Before we do that. We have a very special guest tonight. Oh my gosh. It took me a while to even figure out how to introduce him because he is so prolific. He is a comedian, he is an actor, he is a podcaster. You might have heard his podcast Off Menu or Perfect Sounds. You might have read his best selling book, Classic Scrapes. You might have seen him on Taskmaster. He's got a brand new special on HBO called Hecklers. Welcome. Please welcome James Acaster. Welcome. Have a seat. There you are.

[James Acaster]

Am I here? Am I in the right place?

[Paul Scheer]

So happy to have you. And I apologize that we made you watch this film.

[James Acaster]

No, it was good. It was nice to come to LA and watch that.

[Jason Mantzoukas]

I picture you just in a hotel crushing two hours of this, which probably took you like more like four because of pausing.

[James Acaster]

Like me, I had little pauses. And also during it I realized I remembered that Corey Feldman had done an album that came out in 2016 called Angelic to the Core, which is kind of like the music equivalent of this film. And I was like, I haven't actually heard that album. So I listened to that album after I watched this movie.

[Paul Scheer]

Yeah.

[James Acaster]

Which is over an hour long and 22 tracks.

[Paul Scheer]

Wow. 22 people are doing the 22 track album.

[Jason Mantzoukas]

I own it. It's a double LP.

[James Acaster]

It's a double LP. Fred Durst is on it at one point.

[June Diane Raphael]

So is that his voice at the end in the duet?

[James Acaster]

I don't think that is. Yeah. Actually, I wouldn't put it past him doing both of those voices at the end of the duet. Both of those are Corey Felix.

[Paul Scheer]

I definitely think it was his voice.

[June Diane Raphael]

Because I think he sounded great.

[Paul Scheer]

Hey, look, he brought it. He's. It's changed. It's changed in time. I'll say this much. I just want to understand where we're all at with the Coreys because for some people, the Coreys were a very big thing. I remember them from the Lost Boys. But more for me, it was this movie called License to Drive. I was like, these are right. These are cool. These are cool guys. I didn't find them to be funny nor cool in this movie. But I didn't know if you all had any cories.

[June Diane Raphael]

No, it's such a great question. Like, let's start by locating ourselves in terms of the Coreys. My Corey contextualization is what I was actually. And I really had to confront this. Like, I thought the queries were hot growing up. Like, I was like, wow. Like the Coreys can get it, both of them. And I watched this And I was so stunned by what I was seeing and. Cause I agree with you. Neither neither cool, nor interesting, nor charming, nor hot. Like, and that was so sad. It was like something had died.

[Jason Mantzoukas]

Oh, wow. There is your innocence.

[June Diane Raphael]

I think it was more Corey Haim, but even Corey Feldman. I was like, yeah, I'm about it. And then I saw this and I was like, wow, he's unpleasant.

[Jason Mantzoukas]

He's an unpleasant young man, but very understated.

[June Diane Raphael]

Subtle work.

[Paul Scheer]

I mean, I would argue on some level, bold choice for two like heartthrob boys to be to go from Lost Boys horror film. Fun but funny. Right. Then License to drive funny, you know.

[Jason Mantzoukas]

Well, Corey Feldman's done Stand By Me at this point. Like, you know, and then to team.

[Paul Scheer]

Up and do a dramatic body switch movie about old people.

[June Diane Raphael]

You're calling it a body switch movie though.

[Jason Mantzoukas]

It's not.

[June Diane Raphael]

It's not.

[Jason Mantzoukas]

It's not. Because I only think. What? There's one switch. The movie wants us to believe there's two switches.

[Paul Scheer]

Right?

[Jason Mantzoukas]

And that is not the case.

[June Diane Raphael]

And in your description you implied that everyone switched. Well, you said there were four switches.

[Jason Mantzoukas]

There's not.

[June Diane Raphael]

There's just not. Paul.

[Jason Mantzoukas]

It's only two switches.

[June Diane Raphael]

Paul. There's not.

[James Acaster]

There's.

[Jason Mantzoukas]

Admit you're wrong, Paul.

[Paul Scheer]

Well, I will. I would argue.

[James Acaster]

I would argue there's not. Paul.

[Paul Scheer]

Okay, wow. You see, Thought James would get my. Well, I think that one is a dormant body switch.

[Jason Mantzoukas]

June, June.

[Paul Scheer]

June.

[Jason Mantzoukas]

Just a dormant. But June just did a spit take.

[June Diane Raphael]

What does that mean?

[Jason Mantzoukas]

This has been a physical weekend for you. Last night. Last night you thought you were being attacked by a clip.

[Paul Scheer]

I thought a dormant body switch because.

[Jason Mantzoukas]

The old Piper Lor. You think Laney was in Piper Lord. But at the end Corey Feldman says, I was just kidding about all that. It's a full blown rug pull. Just like, haha, zoink.

[Paul Scheer]

No, no, no. Because Piper Laurie at the end is like, I'm listening to the cool music and I'm dancing around shaking my ass.

[James Acaster]

Then why is he saying he made it up?

[Jason Mantzoukas]

No, he made what he made up.

[Paul Scheer]

I think he made up that there was like.

[Jason Mantzoukas]

That they were going to die.

[Paul Scheer]

Yes.

[Jason Mantzoukas]

To me, the movie wanted to be. The movie almost had a like Richard Curtis about time. Like very sweet story inside of it in that I was like, oh, this is about Jason Robards realizing he can't live forever and be young. He has to accept his own death. And that living as young as a young Corey Feldman and falling in love with the woman that he, you know, Assuming that Piper Laurie, like Paul is saying, would be, you know, present and that that would be the love. And then that would lead to him accepting his mortality and dying. And wouldn't that be sweet and heartfelt the way it is in a truly shattering, beautiful movie about time. This is not that even a little bit.

[June Diane Raphael]

And yet there are some moments, I will admit. The scene where Corey Feldman is talking Joel off a ledge. Cause he's about to kill someone. That's a scene that happens. In that scene though, he delivers a monologue to him from an old man's perspective that I thought was quite moving.

[Jason Mantzoukas]

Oh yeah. When he talks to his parents, Alex Rocco.

[Paul Scheer]

Okay.

[Jason Mantzoukas]

And Victoria Jackson.

[Paul Scheer]

I've done some math on this.

[Jason Mantzoukas]

Yes, please.

[Paul Scheer]

Okay, so Alex Rocco is the father. He is born in 1936.

[Jason Mantzoukas]

Great.

[Paul Scheer]

Okay.

[Jason Mantzoukas]

We see him in this movie only wearing a bathrobe and housing Oreos. Just polishing off Oreos.

[Paul Scheer]

So that makes Alex Rocco, at the time of this movie, 53 years old.

[Jason Mantzoukas]

A totally normal and cool age.

[June Diane Raphael]

Prime of his life.

[Jason Mantzoukas]

Which might help you place where I am on the Corey's meter.

[Paul Scheer]

Then we have Victoria Jackson. She's born in 1959. So at the time of this movie she's 30. So that's a big age. A 53 year old married to a 30 year old. But here's where it gets concerning. Corey was born in 1971. He's 18. So that means that Victoria Jackson gave birth at 12 when Alex Rocco was 41. So Alex Rocco was a 41 year old man who impregnated. I don't know if they were together, but I would say maybe they were dating at 11 and then they had a baby at 12.

[James Acaster]

I'd say that that goes a long way to explaining the vibe at home. The dynamic between the three of them now makes perfect sense. And although I was completely behind Corey Feldman when he gave them a telling off, I now think he should be more sympathetic to what they've been through.

[Jason Mantzoukas]

In the first scene where the parents appear Corey Feldman. It's the post accident scene where Corey Feldman is waking up and seemingly has amnesia. What is really the case is that he's waking up with Jason Robards inside of his body. And when it's. And you see his point of view and it's Alex Rocco and it's Victoria Jackson. I was like, oh, Victoria Jackson is playing his sister.

[June Diane Raphael]

Me too.

[Jason Mantzoukas]

And then I was like, oh no, that's. This can't be it. This can't be what we're doing. This is this Seems nuts. And Alex Rocco is, like, full blown. Alex Rocco?

[June Diane Raphael]

Yeah. I was about to say elderly man, but I know.

[Jason Mantzoukas]

Hang on, man.

[June Diane Raphael]

Can you see me?

[Jason Mantzoukas]

Be cool, bro.

[June Diane Raphael]

Corey Feldman's mom.

[Jason Mantzoukas]

You just shocked me when you said Alex Rocco is 53 in this movie. That rocked me.

[June Diane Raphael]

I understand.

[Jason Mantzoukas]

I don't know if I can recover from that information.

[James Acaster]

Yeah.

[June Diane Raphael]

The crazy thing. I want to talk about her rollers, her hair rollers for roughly the next 20 minutes. They're in all the time. And I thought, okay. And it's a. You know, it's a choice. You see a lot in movies that are made around this time. Okay. But they're in so much. And at all hours of the day, like, there's several times where they're in. Yeah. Like, that's breakfast. Okay. But then there are times where I know there's a night scene where she's got them in, and I'm like, wow, what?

[Meredith Salinger]

What?

[June Diane Raphael]

How tight are these curls gonna be? They are.

[Jason Mantzoukas]

We never see, do we?

[June Diane Raphael]

We see once, and it's at the end. And actually I was like, oh, wow, that's character growth. Cause by the end, she's able. Cause in a lot of movies, you guys were able to understand women and their journeys by their hair. You know, sometimes it gets looser, and, you know, that's great. It's a great way to understand women. But we do. She has it down at one point, and it's rather relaxed, but it's very short. So. Wow, those curlers are doing so much.

[Jason Mantzoukas]

In this picture we're looking at right now. I feel like somehow Alex Rocco and Corey Feldman are closer in age than either are to Victoria Jackson.

[Paul Scheer]

I also. What? I pulled this picture because of the tower of Spam that is on the stove. There is, at a minimum, I'm counting, at least eight to ten cans of Spam. Yeah. In a pyramid formation. I don't know what's going on in this house. I honestly know next to.

[Jason Mantzoukas]

Next to the fire extinguisher. You know, if a fire extinguisher is that close at hand, there have been fires.

[June Diane Raphael]

Oh, well, you know, what happens right after he walks out is. Yes. She lights the whole thing on fire.

[Paul Scheer]

I guess the thing that I'm so confused about is for all intents and purposes, this is a teen movie.

[Jason Mantzoukas]

Is it?

[Paul Scheer]

Well, that's the question.

[Jason Mantzoukas]

This is my real question is, what is this movie?

[Paul Scheer]

Well, that's it.

[Jason Mantzoukas]

Who is it about? Who are we rooting for? Who is the protagonist? Who is the antagonist?

[Paul Scheer]

I think it has to be I think the answer has to be, this is a Jason Robards film. Like, because if you. Because he's somebody who wants to escape death, even though that's not really clearly.

[Jason Mantzoukas]

Defined, but sort of that, that is what he's trying to set up, right? He wants to be able to be with his love forever and.

[Paul Scheer]

But yet the way they introduce him and his love is confusing because when he's together, I'm like, oh, he's the demented old man. And Piper Laurie and Harry Dean Stanton are like, what are they up to?

[June Diane Raphael]

Did anybody else think so? I saw that scene. I actually watched it twice because I had to rewind it. And I thought, okay, they're having an affair.

[Jason Mantzoukas]

Clearly. Okay, she absolutely.

[June Diane Raphael]

Not only did she kiss, the energy between them, aside from what they're doing in that scene. And yes, they kiss for a little while on the lips. It's a lingering mouth kiss.

[Jason Mantzoukas]

So here's my. Here's. What I think is going on is I think that they are mirroring both relationships between young and old.

[June Diane Raphael]

So say more.

[Jason Mantzoukas]

So I think that. I think that Harry Dean Stanton and Jason Robards are stand ins for Joel and Bobby. There's a love triangle. There's a standstill, There's a love triangle.

[June Diane Raphael]

It's not that he's Joel.

[Jason Mantzoukas]

I'm just saying I think there is a constantly mirroring dialogue, mirroring, framing, mirroring, blocking. They're constantly mirroring young to old. So that's why I thought that was.

[June Diane Raphael]

But do you think she is having an affair with him?

[Jason Mantzoukas]

Yes.

[June Diane Raphael]

Yes.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

James, do you think that she's having an affair?

[James Acaster]

I don't know, man. You guys speak really fast and there's like, there's like no gaps.

[Jason Mantzoukas]

Hurry up, James. James, Jump in. James.

[James Acaster]

I really appreciate it.

[June Diane Raphael]

James, yes or no?

[Paul Scheer]

Go.

[June Diane Raphael]

James, yes or no?

[Jason Mantzoukas]

Simple question. Go.

[James Acaster]

I appreciate you asking me a question, but I've been. I'll become an audience member at this point.

[Paul Scheer]

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[June Diane Raphael]

The whole time I watched the movie, I thought, oh, it's gonna actually be really interesting to see Corey Feldman realize that Gina. Gina is having an affair.

[Jason Mantzoukas]

Yes. Yes. Great. Never happens.

[June Diane Raphael]

Never happens. Never see it.

[Jason Mantzoukas]

Never see it.

[June Diane Raphael]

But he describes who is Ike to them in the jet. He's described as a dependent and I think that's a joke. But he's just a friend.

[Jason Mantzoukas]

He's his best. He's Jason Robards best friend is what he says at some point.

[June Diane Raphael]

Well, he's a lot younger than him.

[Jason Mantzoukas]

Sure, sure. Oh, I listen. I agree.

[Paul Scheer]

So much so that I thought Jason Robards was Gina's father.

[Jason Mantzoukas]

Yes.

[Paul Scheer]

Like I certainly. Oh, that's. Yeah, they Joe Buck. My dad's so crazy. And maybe what was happening was he was so committed to living forever that he wasn't living at all.

[James Acaster]

Yeah, maybe it felt like at times that they'd let a different person direct each scene and they weren't allowed to watch what's been done so far.

[Jason Mantzoukas]

So you think the movie is constructed like an exquisite corpus writing piece? Yes.

[Paul Scheer]

Well, there is. There are these moments because in the beginning of the movie, I think the other thing that I'm missing in a. I mean, it's. Is it a body? Again, I don't know how to. A body swap.

[Jason Mantzoukas]

It's a body swap movie. For Robards and Corey Feldman.

[Paul Scheer]

Well, just rope for just Robards, because I guess Jason Robarts.

[Jason Mantzoukas]

Where's Corey Feldman?

[James Acaster]

He's in Dream World. He's in the Limbo Toilet paper house.

[Jason Mantzoukas]

And by the way, which I thought was a brilliant. I kept thinking, eventually we'll catch up to the period where someone TPS the house. That would be the final scene.

[June Diane Raphael]

And the Robarts someone starts moving out of it.

[Paul Scheer]

I just thought that there was a lot of Twin Peaks elements in this whole movie that I was like, ooh, this is kind of interesting.

[Jason Mantzoukas]

Like it was Piper Laurie alone.

[June Diane Raphael]

Yeah, I bet that was in the four hour cut. We'll never see it.

[Paul Scheer]

But this idea of like Jason Robart, like, I think a lot of times in a body switch movie, it's like, I'm the dad. I have no time for my son. Then I switch with my son. I realize, oh, I need to be a better dad. Jason Robards is actually a multifaceted character. He's angry at kids, but he's also very, like, spiritual. But he also eats well and he has a sense about himself. Like, I can't quite get what he's doing. And then when he does the Michael Jackson dancing, I'm like, well, that's definitely not Jason Robards.

[Jason Mantzoukas]

But in that point in the movie, Corey Feldman's body is being controlled by Jason Rob. That's what I'm saying. So the Michael Jackson stuff makes like just no sense.

[Paul Scheer]

Well, that's something.

[Jason Mantzoukas]

It's got to be coming from Corey Feldman.

[Paul Scheer]

But I don't also feel like Corey felt in the entire movie is like, ah, these damn kids. What I'm looking for is. Yeah, it's like a moment where they're like, this is how you act as a kid. But he has no issue.

[Jason Mantzoukas]

He fit in immediately. Well, go watch the home videos and you see him put a couple of cassettes in. But you never see the videos themselves. Like, I would have loved. There's so many montages. Why not a training montage about how you train an old man to act like an 80s teen? They give me that all day, every day.

[Paul Scheer]

I guess he just watched the one Michael Jackson video a lot.

[June Diane Raphael]

Like, seriously, I laughed so hard. There was also a video in this shot where he's getting the videos and putting them in. There's a video on top of the TV labeled Aunt Irma's Visit. Just a whole, whole VHS devoted to her time there.

[Paul Scheer]

I had a video of my great grandma's birthday. But I guess, yeah, Visit is not really video camera. Worthy. I don't think you.

[June Diane Raphael]

But it was at a time I appreciated the detail because I was like, oh, this was back when if you had a VHS recorder, everything was worthy of filming.

[Paul Scheer]

Yes.

[James Acaster]

You know.

[Paul Scheer]

Yeah, I had a lot of tapes. A lot of. Yeah, a lot of tapes. But this, again, the issue of it is, like, it's not an old man being in a young boy's body because he never even seems to enjoy. Hey, I'm young.

[Jason Mantzoukas]

I'm so sorry to disagree with you, Paul. But he does look himself in the mirror and say, at least he's got a good body.

[June Diane Raphael]

I forgot about that.

[Paul Scheer]

Which to me is Corey Feldman. Improvised.

[Jason Mantzoukas]

What?

[James Acaster]

That was. No, that was refreshing. It's not often you see someone self pet their self. There's not enough self petting goes on.

[June Diane Raphael]

I was actually getting a little bit upset with Jason Robards as the film went on, because it didn't. It seemed like he was falling in love with Laney. Who's Laney? Lainey. Who's not Gina.

[Jason Mantzoukas]

Lainey.

[June Diane Raphael]

Who's Lainey?

[Jason Mantzoukas]

It is only that it is a love story between an old man and a teenager.

[James Acaster]

Yes.

[Jason Mantzoukas]

Who he's just convinced is his girlfriend.

[Paul Scheer]

But is his wife. Rather, if you took that and put that in the real world, that would be frightening. Like, you're my wife. You are my wife. And it's like, no, I'm not. I'm just a. I'm somebody else. And he does it until she was like, yeah, I guess I am your wife. I got.

[James Acaster]

She doesn't even believe it, to be fair. She is frightened when he says that.

[Paul Scheer]

You're right.

[James Acaster]

And then in the next scene, she's not. And she's fine with it. She is frightened for one scene.

[Paul Scheer]

She is. She basically goes like, you're not going to stop calling me your wife, so I'll go with it. And I think that that's a good way of just being.

[Jason Mantzoukas]

She's just.

[Paul Scheer]

Yes. Ending him.

[James Acaster]

Her other option is the most fucked character I've ever seen in a film. So, like, is he the guy says, you're my wife, or the guy who's got a gun?

[Paul Scheer]

Oh, my God. Well, why is that guy so crazy?

[Jason Mantzoukas]

Joel. Yeah. I thought for so long that Joel was the villain of the movie. And in fact, he's not. He's their best friend. Even though they dress. The Coreys dress so much more like the bad guys, Dumas and those guys than they do Joel. In his blue suede fringe coat, Joel looks like the handsome bully asshole who shows up with A gun. Why is he best friends with the corpse?

[June Diane Raphael]

I don't know. I couldn't understand the hierarchy of this high school.

[Jason Mantzoukas]

I wrote that down multiple times. But what is this school's hierarchy?

[Paul Scheer]

Here's the problem. The other Corey should have been Joel, because it's like, my best friend. But Corey Haim is kind of just on the side. He has nothing to do with it.

[Jason Mantzoukas]

Here's my pit. This is what I think happened. I think Corey Haim broke his leg and Corey Feldman was like, hey, my buddy needs a job. Can he just, like, hang out on set and be around? Because his character can't be in the script. He's nothing. He does has any effect whatsoever. If the movie ended and Corey Haim was revealed to be a ghost or a Tyler Durden, I genuinely was like, maybe he's a Tyler Durden here. I don't know.

[Paul Scheer]

There's only been one Corey the entire time. You're right, though. It's an odd. The movie poster. It's the two of them and Laney. You're like, this is it. This is the. This is the buddy. But it's Joel. Joel is. Because even in the end, the. The climactic moment is saving Joel from a life of despair. But we don't like Joel. I don't think we like Joel. Joel's scary to me.

[Jason Mantzoukas]

Joel sucks.

[James Acaster]

If I met the actor who plays Joel now, I would kill him.

[Jason Mantzoukas]

And you would be justified. You would be. We would all back you up and be like. We would all provide an alibi.

[James Acaster]

Yeah.

[Paul Scheer]

The fact that Joel. The fact that Laney's mother and I gotta get into Lainey's mother, but Gotta get into Holy.

[Jason Mantzoukas]

Holy. And Ron. Ron. We have to talk about Ron.

[Paul Scheer]

Ron. It seemingly is just dating Laney's mom and tranq's like, she.

[Jason Mantzoukas]

Why don't you help me with this? He says, handing her a roofied glass of wine.

[June Diane Raphael]

But still. But here's the thing. Why are they trinking her? I know why. We don't want her to go to.

[Jason Mantzoukas]

Sleep, I think, so that she won't run away.

[June Diane Raphael]

Like, get out of that crazy.

[Jason Mantzoukas]

Oh, yeah, you think?

[Paul Scheer]

What was crazy?

[June Diane Raphael]

This was so disturbing. It's like, get it. Mix it up.

[Paul Scheer]

She had it, though. As if she had a loose capsule.

[Jason Mantzoukas]

She had a loose capsule that she could open and do this by.

[June Diane Raphael]

It's not the first time this has happened.

[James Acaster]

This is reassuring to hear you all talk about this, because I thought. Because I've not spent much time in America. I don't know what your customs are.

[June Diane Raphael]

You didn't know what we're about.

[Jason Mantzoukas]

How dare you? How dare you.

[James Acaster]

The whole thing was done so casually and so, like, routinely.

[June Diane Raphael]

I mean, listen, after this, I assumed.

[James Acaster]

You'Re all roofing your kids when it's time for bed, when there's a boy you don't like, Give her this.

[June Diane Raphael]

I imagine after this week and the election, you have some questions.

[Paul Scheer]

You know the other thing, too, and I know that we are focusing on that she reviewed her own daughter. And, yeah, that's a. That's something that we should flag. So got to get her to bed.

[James Acaster]

You got to focus on it a little bit, Paul.

[Paul Scheer]

Well, this is what I thought.

[James Acaster]

You're speaking in a way, as if you're about to gloss over it.

[Paul Scheer]

Look, and I'm glad that you're calling. I'm not gonna glo. Sure, it's bad, whatever. But it was also the fact that they were giving her wine, too. Like, I thought it was a double whammy. It was like, drink some liquor and it's roofy.

[Jason Mantzoukas]

The thing you are never supposed to do. Mix pills and lick and booze. What are you doing?

[Paul Scheer]

And yet they're so upset when they catch a boy in her room. And why was she covered in red? Was that the blood from his face?

[James Acaster]

Yeah, he punched the window in and cut his hand and then went, I know where this is going. Her face.

[Jason Mantzoukas]

I love that he respectfully walks away. You know, you're right. I'm sorry to interrupt. You respectfully walks away, then immediately frantically climbs the lattice and then shatters the window and starts screaming, wake up. Wake up.

[Paul Scheer]

But also, get that boy.

[June Diane Raphael]

You could have just run past them like you've caused such a commotion.

[Paul Scheer]

I will also argue, as somebody who grew up in a suburban neighborhood, the amount of glass that they, at least by sound design, let you know. It's like he's banging on that window, and there's no sound. It's like he's on the outside of an airplane and it's silent inside her room. Like, I was surprised. I was like, he should be able to hear him. Okay.

[James Acaster]

I think her mom's the type of person who would have installed soundproof glass into her daughter's window so no one can hear whatever the fuck is going on there on a weekly basis.

[Paul Scheer]

You're right. Now it all makes sense.

[June Diane Raphael]

And I am actually wondering if one of the reasons why Lainey couldn't body switch with Gina is because of the amount of tranquilizers. Something just didn't.

[Jason Mantzoukas]

Just being Suppressed by Valium.

[James Acaster]

Like, her spirit is like. Was floating down and then was like, I can't get in this. She's drank to fuck.

[June Diane Raphael]

Oh, she's not here.

[Paul Scheer]

Just kind of can only lift up her arm.

[Jason Mantzoukas]

I'm curious. Has anyone in this audience ever scaled a lattice or a ladder in order to get into someone's room? No. Right?

[Paul Scheer]

Whoa.

[June Diane Raphael]

Yeah. Not a lattice, but I've had. It was my own house, so I don't know if that matters, but I've had to scale. Yeah, I've had to scale.

[Jason Mantzoukas]

What do you mean, scale?

[June Diane Raphael]

I scaled. I scaled my house in Long island, in Rockwell Center.

[Paul Scheer]

Which side?

[June Diane Raphael]

The.

[James Acaster]

Oh, someone suspicious.

[Paul Scheer]

I just want to see how high.

[June Diane Raphael]

You went to my bedroom.

[James Acaster]

Wow.

[Paul Scheer]

Only.

[June Diane Raphael]

No, no, no. But only onto the roof. Like the flat roof that was right above the porch.

[Paul Scheer]

Wow. Okay. Wow. It's impressive.

[June Diane Raphael]

Thank you.

[James Acaster]

Even though I don't know that house and I don't know your relationship or anything, that story made more sense than the movie we watched. It's with you every step of the way. I can picture the house.

[June Diane Raphael]

There was a beginning, there was a mid. The characters were clear and.

[James Acaster]

Sounds good.

[June Diane Raphael]

Location.

[Paul Scheer]

There is this thing with the movie, which is the dream world there. There is a lot of stuff going on here, which makes me also feel like maybe the script is a little bit tighter and then some improv has taken it off track a little bit. Cause there are. There isn't a moment in there where Corey Haim is like, what am I doing here? Who am I? I'm a good looking guy. Ladies like me. I'm like, oh, what's happening now?

[Jason Mantzoukas]

Not only that. Not only that, but that's the scene where he's alone in the car waiting for Joel to come out with the gun. It keeps fading to black, then fading back in for another round of Corey Haim improv. That is not. He's like, I went to the dance. Nobody wants to dance with me. And then it's like Joel comes out and he's like, I got. I refilled the flask. Joel, my guy, you gotta slow down. And he's got a gun. And Corey Ham's like, oh, come on, man, be cool.

[James Acaster]

They must have let him run for a while. Big time, I think. Yeah. The in and out thing is like, they were clearly like behind the camera going, just let him go, baby.

[Paul Scheer]

Well, that's how the opening of the movie is like that because they're having a sleepover, a little slumber party.

[Jason Mantzoukas]

I couldn't make heads or tails of.

[Paul Scheer]

This I would like. I should just play the opening scene because it is. It really is. No, the audience. Revolting.

[Jason Mantzoukas]

Yeah. Hey, keep talking and we'll show the whole movie, assholes. The doors are locked. It doesn't matter.

[James Acaster]

Also refreshing to have a film that's got like two opening credits sequences.

[Jason Mantzoukas]

Right.

[Paul Scheer]

Well, that Jason Robards is singing in front of an audience.

[James Acaster]

That's the second one.

[Paul Scheer]

That's the second one.

[James Acaster]

The first one is the Corey's in their room seemingly hating each other.

[Paul Scheer]

Right.

[James Acaster]

And then there's Robards, which is a name I've just learned today, by the way, and I've heard it a billion times now. But that's the second one, right?

[Paul Scheer]

Well, yeah, you know what? I don't even have that opening one. I have the Jason Robards singing. Because this is again, an odd choice. It's like, oh, this is our main character, I guess. Like we've just seen the Corey's now we watch him and he's not singing, right?

[Jason Mantzoukas]

So it's a little dream. Because this is dreams. This is in the dream space.

[Paul Scheer]

Okay.

[Jason Mantzoukas]

Corey Feldman is. And Jason Robards are sharing this dream. This is the first.

[Paul Scheer]

I didn't know this. Okay.

[June Diane Raphael]

Which is.

[Jason Mantzoukas]

No, I'm so sorry. I'm a scholar of this movie. Am I wrong?

[June Diane Raphael]

No, you're. You don't think so this is definitely a dream.

[Jason Mantzoukas]

Just Robarts. Hang on, Tim. And I believe Tim.

[June Diane Raphael]

Tim. No, I don't believe Tim in this one instance, because. In this one instance, because Corey Feldman in this next scene says, I had a dream of an old man.

[Jason Mantzoukas]

Yeah, him. It's.

[June Diane Raphael]

You missed it.

[James Acaster]

He says it's the guys. He's on the way to school.

[Jason Mantzoukas]

Eat shit, Tim. Fucking idiot.

[James Acaster]

Eat shit, Tim, you idiot. I'm trying to fit in, Tim.

[Jason Mantzoukas]

Get it?

[James Acaster]

Eat a bunch of shit, Tim. Out of your own ass.

[Jason Mantzoukas]

Internationally humbled.

[James Acaster]

Hope you're hungry, Tim, because you're eating a bag of shit.

[June Diane Raphael]

Here's the thing I found troubling though, about the logic. If Corey Feldman. Corey Feldman did dream. I won't say if he did have this dream that we're seeing right now. It seems though that everything got thwarted by happenstance with the bike. It just. If they hadn't collided, what would have happened? What would have happened? Would they have. Where would their bodies have.

[Jason Mantzoukas]

Someone in the audience was like, right, yes, June. I thought the same thing.

[June Diane Raphael]

So. Because. But that's what's weird is Corey Feldman was dreaming this way before that collision.

[Jason Mantzoukas]

Well, yes, because they always cut through his house. So they have this back and forth every day when they're cutting through the yard and having that angry back and forth.

[June Diane Raphael]

So you think it's just like he happens to be dreaming about him?

[Jason Mantzoukas]

Yes. He says, I dreamt about that guy. He literally says, yes, sir.

[June Diane Raphael]

But my point is that it felt in the. Or that the movie wanted us to feel that they were always going to switch bodies.

[Jason Mantzoukas]

Oh, I see. I see.

[James Acaster]

Oh, I don't know. I don't know if I agree with you there, Jim.

[June Diane Raphael]

I guess you're getting pretty comfortable up here.

[James Acaster]

I'm a bit there. Oh, I think you're right. I think they have a connection, and that's why the body switch swap was able to happen so efficiently. Because I think they were already. They were already connected in the dream world.

[Paul Scheer]

I think what we needed was one line where. Where they say, hey, come on, don't be so hard on the kids. He's like you when you were a kid. Like, give me.

[Jason Mantzoukas]

This movie needed rules. This movie needed two scenes of exposition.

[Paul Scheer]

And by the way, they had plenty of time. Oh, two hours.

[Jason Mantzoukas]

And instead it was just montages. Instead, it was replaced by music montages. And let me be clear. The music is dynamite.

[James Acaster]

I love. Yeah, yeah.

[Jason Mantzoukas]

The soundtrack. The music is. It's R.E.M. i'm like. I'm a real sucker for Van Morrison's into the Mystic.

[June Diane Raphael]

I was singing it when it came on.

[Jason Mantzoukas]

You play that song for me, and it is instant emotion that went a long way. Way to investing me in this.

[Paul Scheer]

But I will also say it's a weird era of 1989. And these kids are like, rap is dead. We listened to old 60s music. It was like, doesn't feel. Look, I like this music. It was great. But they're singing like, doo wop by like a trash can fire. And then at one point. And then they just cut away from that real quick.

[Jason Mantzoukas]

Don't tell Sinclair.

[Paul Scheer]

But there is, like. It is odd that their choice. But yet they're also dancing like Michael Jackson. Music is great.

[June Diane Raphael]

The music is wonderful. I did want to say one thing, which is, get him, June.

[Jason Mantzoukas]

Get him.

[James Acaster]

Just wait.

[June Diane Raphael]

Wait a second.

[James Acaster]

Okay.

[June Diane Raphael]

You'll find another moment to jump in. It's not now. I did want to say one thing about their collision, because it seemed to me that that collision, which took place. No, Laney's on the bicycle and Corey Feldman is running. It seemed to me that they had about 15 to 20ft to avoid that collision.

[Jason Mantzoukas]

They must have seen each other.

[June Diane Raphael]

They had to.

[Jason Mantzoukas]

They must have seen each other. They were the only people running in a direct path in someone's backyard.

[June Diane Raphael]

Blind turn. It was straight. I'm running towards you. I'm on a bicycle riding you. And now we collide.

[Jason Mantzoukas]

Shouldn't like, you know, the movie logic should have included someone dying or whatever, but what in fact happens is the old people disappear. They just evaporate into dream space.

[Paul Scheer]

Well, first of all, James, is. I don't want to.

[Jason Mantzoukas]

Please shut up, James.

[James Acaster]

I don't know what's going on, man. For a while, I couldn't get a word in, and then I started being more assertive and I got the hand and I don't know. I don't know. I don't know what to do back home with. It's not like this.

[Jason Mantzoukas]

Yeah, you're not home anymore, James.

[James Acaster]

It wasn't the first time for the listener that I got the hand. I got it earlier on and I thought, that's not for me. And it was.

[June Diane Raphael]

It was. Yeah, yeah, listen. This is Trump's America, baby.

[James Acaster]

Yeah.

[Paul Scheer]

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[Jason Mantzoukas]

What I couldn't figure out is in the dream state, when. Okay, when. When Jason Robards and Bobby. Right, Bobby, Corey Feldman are in the yard talking. Laney and Gina are in the house packing up. Right? We keep cutting to them in the house packing up, but what world are they in together?

[Paul Scheer]

That's the prank world.

[Jason Mantzoukas]

They in the dream show.

[Paul Scheer]

That's the prank world.

[Jason Mantzoukas]

Prank world.

[June Diane Raphael]

Prank world.

[Jason Mantzoukas]

What's the prank world?

[Paul Scheer]

Well, I think that Corey Feldman is doing the big prank of you're gonna lose her. Right? So he's creating that prank world of they're packing, they're leaving, but that's never actually part of it. So he's manifest like, he's manifesting that inside world, like Matrix style.

[Jason Mantzoukas]

Well, I agree, because I don't think any of that is real, obviously.

[Paul Scheer]

And that's why he doesn't have pants on with the tuxedo he's already showing you. I'm a. I'm a prankster.

[Jason Mantzoukas]

I believe, I sincerely believe Corey Feldman for some reason was allowed to choose all of his own wardrobe.

[Paul Scheer]

He doesn't even go to wardrobe. He just claims that.

[June Diane Raphael]

One of my favorite things, though, about, about teenagers in the 80s and movies is that so many of them are dressed in like, business casual. Like there's. There are so many like 11th graders who are in business suits. And it's just so delightful to see.

[Jason Mantzoukas]

Some of us wore suits to school.

[June Diane Raphael]

Listen, my sister for. And I thought she was so cool. My older sister wore in high school, lace. Lace turtlenecks and big brooches and giant. Giant blazers over it. And her hair twisted back. I mean, she was dressed like an elderly woman. And I was like, awesome.

[Paul Scheer]

I used to bring a briefcase to school because I thought it was cool.

[Jason Mantzoukas]

Incredible.

[Paul Scheer]

Why not?

[June Diane Raphael]

I'm trying to imagine, though, from Laney's point of view. From Laney's point of view. Corey Feldman has told her, like, hey, remember those old people? Like, they're not there anymore. And.

[Jason Mantzoukas]

And they don't have a dog.

[June Diane Raphael]

No. And they're gone. And if I'm Laney, I'm like, wow, you've definitely killed them. And this is your confession. And I'm next, you know? And she takes the news in stride. Really?

[James Acaster]

That's all James, I.

[Jason Mantzoukas]

This is now your James the show. James, the show is yours.

[Paul Scheer]

The pressure now, what do you want to say?

[Jason Mantzoukas]

Now?

[James Acaster]

Look, I agree with everything June said. Good. No, I think you're right. Especially because he's saying to her, you know, we're married already and all this and they're not there and all that's going on. But I think because she's going from Joel to him.

[June Diane Raphael]

Yes.

[James Acaster]

This thing, like all of us, we're basically looking for someone who's better than our ex.

[June Diane Raphael]

Yeah.

[James Acaster]

Just even slightly.

[June Diane Raphael]

Yes. The bar is so low.

[Jason Mantzoukas]

Yes.

[James Acaster]

Yeah. So she's like, oh, cool. He's not like an absolute psychopath who my parents want to induct into a cult.

[June Diane Raphael]

Yes. I also was obsessed with the dance team at this high school and what they were. I never got the sense that they were getting ready for an event. You know, I would have loved some sort of competitive.

[Jason Mantzoukas]

Maybe it was in a four hour cut, but I would have loved to see what they were rehearsing turn into a performance.

[June Diane Raphael]

Yeah. And like, is it a dance team? Are there solo, too?

[Jason Mantzoukas]

She's doing a solo to a modernized version of Dream. A little dream that turns into the duet that is. This still is from this movie has a dance duet.

[Paul Scheer]

This movie has a minimum of five top hats. Hats, yes. There's two in this scene. There's two in the end. And I believe Corey Feldman is rocking another top hat early on in the movie as well. Like top hats.

[Jason Mantzoukas]

I heard he rented them his hat collection. He made production pay for his hats.

[Paul Scheer]

No, the dance team is doing something again. It's setting up something. We're going to see it. They're all there. They're doing their thing. No, we're not. We only see. I mean, I guess.

[June Diane Raphael]

Yeah. And the group number they're rehearsing is pretty simple. Even the turn.

[Jason Mantzoukas]

Yeah. Wow. Wow, wow, wow.

[Paul Scheer]

All right.

[Jason Mantzoukas]

June is already internalized the whole day.

[June Diane Raphael]

I'm ready to do it.

[Paul Scheer]

You want.

[James Acaster]

Who's Joel's friend in the first. The first time we see them dancing and Joel's. Joel's looking from the wing at that point, we don't really know. It's our first introduction to Joel.

[Paul Scheer]

Right.

[Jason Mantzoukas]

And that's.

[Paul Scheer]

And we already know that Joel's a psycho. And his friends, like, hey, man, why are we waiting for the two Coreys? I'm bored. And he's like, wait, they'll be here. It's like, what, were they gonna wait outside the gym? Like, it was a weird meeting point, and it didn't seem like they were going anywhere or doing anything.

[James Acaster]

Very confusing. But the friend. It was the only person in the film I related to.

[Paul Scheer]

Well, he's the only.

[James Acaster]

Why the fuck are we watching these? What are we doing? He pops up every now and again, and he always seems like a pretty reasonable guy, the nicest guy. Everyone is going crazy and losing their minds and not reacting in a way that you would ever react to something. And he's the only one there going, everyone else knows this is nuts.

[Paul Scheer]

Right?

[Jason Mantzoukas]

I just want to play flag football.

[Paul Scheer]

Yeah.

[James Acaster]

He's there at the gun thing.

[Jason Mantzoukas]

Yeah.

[James Acaster]

Even when the speech is going on, he's like, not the time, Corey. There's so much happening in here. Why are you giving a speech like you're an old man? We need to dip this in the bud.

[Paul Scheer]

I also love that, like, the idea that ending is if an old man could talk you out of shooting a person, it's like, shouldn't be that hard of a. Like, alleged to jump off a big. Yeah, yeah.

[Jason Mantzoukas]

Don't.

[Paul Scheer]

Don't kill the high school bully for no apparent reason. The bully doesn't do, like, a couple punches.

[James Acaster]

He stole some food off his plate earlier in the film.

[Paul Scheer]

Right.

[James Acaster]

When he was on his way to see his buddies.

[Paul Scheer]

Right. Yeah. So.

[James Acaster]

And also, Joel is not Rhapsody. Joel, frequently in the film goes from talking to someone going, yeah, you're my best friend to never say that to me again. Why is it regularly.

[Paul Scheer]

Regularly, you're right.

[James Acaster]

Nonstop. He's like.

[Paul Scheer]

And that.

[James Acaster]

That's why we're all friends.

[Jason Mantzoukas]

I will gut you in your fucking swipe.

[James Acaster]

So there's no point that I don't think Joel would have shot that guy. In fact, I think it's very Unrealistic that he got talked out of it. They're lucky that all of them walked away from that in that alley, by the way.

[Paul Scheer]

I thought this movie was going in such a direction that I literally thought, Joel is going to turn now and shoot Corey.

[Jason Mantzoukas]

Yes.

[June Diane Raphael]

Yeah, for sure.

[Jason Mantzoukas]

I was rooting for him.

[Paul Scheer]

Me too. And I would have been like, oh, what a troll. Tragic ending. And then Jason Robards would have, like, lived and been like, oh, life is precious. And I would have been like, yeah, that's a good movie. Like. And then. Then he doesn't shoot Cory, but then he walks right up to that. Dumas's face with the gun and then empties the bullet.

[Jason Mantzoukas]

That scene, that scene when they. When it all ends and Cory's like, I'm going to go over there and drink a beer and. And finally Joel lowers the gun or whatever, and they all go to the back and they're talking and they're drinking beers. Dumas stays on his knees in front of the headlights of the car. Like, that rocked.

[Paul Scheer]

He crosses himself.

[Jason Mantzoukas]

He. Like his life traumatized, changed.

[Paul Scheer]

Yeah. Yeah.

[June Diane Raphael]

I think what was hard, though, is like, again, at the high school hierarchy being so fluid, you know, I didn't. I thought Joel was a popular rich kid.

[Jason Mantzoukas]

He seemed like the cock of the walk, kind of.

[June Diane Raphael]

Absolutely. So.

[Jason Mantzoukas]

Jacket says it all.

[June Diane Raphael]

But I don't. But I. I didn't understand why Dumas. Why he was a target for Dumas.

[Jason Mantzoukas]

I don't either.

[Paul Scheer]

Well, I think Dumas is just straight up bully. Right. I mean, but Joel, usually he would be.

[June Diane Raphael]

The guys like Joel are protected in. In the order that we all subscribe to.

[Paul Scheer]

Like, the prison. Like a prison system. Like, he's like.

[James Acaster]

He's really confusing. Again, I don't know what. I only really know your hierarchy from Saved by the Bell.

[Paul Scheer]

Sure. Right. Sure.

[June Diane Raphael]

No, that's like.

[James Acaster]

I know that there's like jocks and the cool kids and the geeks and stuff, but, like, in England, the really tough kid wouldn't be beating up the popular kid. Like, that's my read of Joel.

[Jason Mantzoukas]

Yeah.

[James Acaster]

Because he's like Zack Morris.

[June Diane Raphael]

Yes.

[James Acaster]

And now A.C. slater's bullying him for some reason. It's like, you guys are meant to be friends. You meant to be both. Duncan Screech.

[Jason Mantzoukas]

Yes.

[June Diane Raphael]

Well, I.

[Jason Mantzoukas]

It made no sense to me that.

[James Acaster]

Joel, may he rest in peace.

[Jason Mantzoukas]

It may know.

[James Acaster]

I'm sorry to bring him up. I know I'm.

[Jason Mantzoukas]

It made no sense to me. Joel's crew included the Corey's, like, because he and Corey Feldman seem to be competing over the same girl. So in. Is there some way that the fact that they were best friends, they were too, almost too close. Then why is Dumas even here?

[Paul Scheer]

And Joel and Laney don't seem to have a great relationship on the outset either. Like when we look at these characters across the board. We have Laney, her mother is tranquing her, is roofing her. We have Corey Haim, whose mom ran over him with a car.

[Jason Mantzoukas]

We have.

[James Acaster]

I forgot that that's the reason he's. I've only just put that together.

[Paul Scheer]

Yeah, that's why he's got the limp in the cane that he walks around like Charlie Chaplin. It's spinning, it's doing a lot. Doesn't seem like it's supporting the legend. Even though he really did have a broken leg. And then, and then you have Feldman, whose parents, you know, he's. He's. He's the son of a 13 year old bride.

[James Acaster]

I have a theory about that. Yeah.

[Paul Scheer]

Yeah.

[James Acaster]

I think that before this film there was another body swap and the dad's age appropriate wife body swapped with a child.

[Paul Scheer]

All right, now I'm in. Now I'm in.

[June Diane Raphael]

That makes sense.

[James Acaster]

And he had to continue the relationship with the woman he loved.

[Paul Scheer]

Right.

[James Acaster]

Knowing that her body was no longer what society would deem acceptable.

[Paul Scheer]

By the way, at one point, if you're, you know, on your flight, on your flight back, I encourage you to watch a David Duchovny film that we did here on the show called the Secret where his wife and daughter don't even.

[Jason Mantzoukas]

Just watch it.

[Paul Scheer]

Good guy.

[James Acaster]

Okay, I'll just watch it. You guys have been so generous to me with my viewings so far. I'll take more recommendations from you. What else should I watch for the 13 hour flight home? Guys.

[June Diane Raphael]

By the way, justice for Shelly. Yes, justice for Shelly. You know, she really got the short end of the stick.

[Paul Scheer]

Shelly.

[Jason Mantzoukas]

She's.

[June Diane Raphael]

Oh, Shelly.

[Jason Mantzoukas]

How dare you.

[Paul Scheer]

Who's Shelly?

[June Diane Raphael]

Who's Shelly?

[James Acaster]

Yeah, you made us do this, asshole.

[Jason Mantzoukas]

Yeah, this is exactly the problem. You don't even recognize that Shelly is a true hero.

[June Diane Raphael]

That's the shirt.

[James Acaster]

Who's shelling and who's shelling? How dare you question any of this?

[Paul Scheer]

I don't know.

[June Diane Raphael]

Shelly is Corey Feldman's girlfriend. Like they are. She does.

[Jason Mantzoukas]

Oh, she does all of his homework. She is girlfriend.

[June Diane Raphael]

Together. They are a couple. They are together.

[Jason Mantzoukas]

Oh, they're in love. She's in love with him rather. Which, which, which she is. She. And she does all this homework. She's Very.

[Paul Scheer]

I was confused about Shelley because she pops in very intermittently as well. I can't believe it. I don't even know what she's seen that she can't believe. And then she storms off. We don't get enough time with Shelly to understand.

[Jason Mantzoukas]

I mean, well, Shelly, Laney and the girl who's dressed like an Andrew's sister.

[June Diane Raphael]

Yes.

[Jason Mantzoukas]

I couldn't make heads or tails of that, but I was like, all right, I'm going with it. But, like, they seem to be a crew, but again, this movie exists in a feast or famine kind of scenario. It's either everybody all at once, cacophonously in a scene together, or it's just two people, and that's it. It's like it really careens between way too many people and no people.

[Paul Scheer]

I felt like I counted 12 people in the first 15 minutes, and I was like, any one of these could be the main character. And I don't know where to invest my emotions. And then I start to find out.

[June Diane Raphael]

That's why you had to let go of Shelly so quickly.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

You guys keep on saying Shelly. Wait, isn't it cherry? Oh, okay.

[Jason Mantzoukas]

Don't you feel stupid?

[Paul Scheer]

My research says cherry.

[Jason Mantzoukas]

Get him, Tim.

[James Acaster]

That's embarrassing. How many people have you said that to?

[Paul Scheer]

I said it to Shelly during the.

[James Acaster]

Week in cafes and restaurants.

[Paul Scheer]

Tim, am I right or wrong? Is it cherry or Shelly?

[James Acaster]

Eat a bug of shit and put some more shit on top of it. And ate that shit as well.

[Paul Scheer]

Let me. Let me go. I know we've talked about fitting in.

[James Acaster]

Is that how we talk to each other?

[Paul Scheer]

Yeah, it was good. I mean, you're.

[Jason Mantzoukas]

You're on fire. James, let's go.

[Paul Scheer]

Let's go into the audience. Let's talk to them a little bit. They have. I want to see where you're all at, because I have a feeling you'll unpack some things that we didn't even get to. All right. Hi. How are you? What's your name? Good. Jane. Okay. What's your question?

[June Diane Raphael]

I just wanted to point out that Laney's mom says something truly disturbing that nobody's mentioned, which is when Laney says, joel hit me, the mom says, what did you do to provoke him? Or why did you provoke him?

[Paul Scheer]

Like that very Drop Dead Fred mom. Yeah. Who?

[Jason Mantzoukas]

I want to be clear. You support who you think is a good mother? Scathing indictment. Team sanity.

[Paul Scheer]

Well, I think that she is protecting her daughter.

[Jason Mantzoukas]

Okay.

[Paul Scheer]

I think I have a different opinion about this woman.

[Jason Mantzoukas]

Okay.

[Paul Scheer]

Yeah. I mean, she does. She's a she is not a good role model for her daughter.

[Jason Mantzoukas]

Look at him. Yeah.

[June Diane Raphael]

He's trying to get out of here.

[Jason Mantzoukas]

Look at him twisting.

[James Acaster]

Paul, I don't think we're ready to move on to another question. I think that was a very valid point that was raised.

[Paul Scheer]

Well, yeah. What did she do to provoke him?

[Jason Mantzoukas]

Classic team sanity.

[James Acaster]

She may or may not have body swapped of an old woman and then not dance with him at the prom or whatever dance was.

[June Diane Raphael]

Here's a question. After the prom, when Laney and Bobby go to that dance hall, was that a dream or was that real?

[Paul Scheer]

That's like a Twin Peaks dance hall.

[Jason Mantzoukas]

It for sure seems. Yes. The Dreamscapey. But who honestly knows? I could. Honestly.

[Paul Scheer]

No, no. Because they're dancing with only old people.

[Jason Mantzoukas]

Yeah.

[June Diane Raphael]

But I could see him knowing exactly.

[Jason Mantzoukas]

Where to go for old people. Yeah. Friday night at the vfw, there's a. There's. They play big band music and you can dance with. You know, I could see that because everybody. You know, because if it were a.

[June Diane Raphael]

Dream sequence, then they would have had to have both been asleep.

[Jason Mantzoukas]

Well, I agree.

[Paul Scheer]

One of them.

[Jason Mantzoukas]

I agree.

[Paul Scheer]

No, no, because Lainey can be in the dream world because of the Prankster. Laney's already in.

[June Diane Raphael]

Stop bringing up the Prankster.

[Paul Scheer]

The Prankster. The Prankster can manipulate the dream world.

[June Diane Raphael]

I completely miss the Prankster storyline. I. Every time you bring it up, it is there.

[Jason Mantzoukas]

But it's only there in the one moment where he says, I. I made this all up. It's all that. He never says prank.

[June Diane Raphael]

Did you go back and watch it with that in mind?

[Paul Scheer]

I mean, I recontextualized the entire film in that last moment of the film.

[Jason Mantzoukas]

But isn't it what we don't and what we're uninterested in interrogating here so far is that Corey Feldman's character wants to stay in the dreamscape. He wants to be dead.

[James Acaster]

Yeah, well, full stop, he's just in the dream world where things are better than his life because he doesn't like his parents. He doesn't like all of that.

[Jason Mantzoukas]

He doesn't like his pants.

[Paul Scheer]

Freddy Krueger. Freddy Krueger liked the dream world too.

[Jason Mantzoukas]

Bitch. That's a Freddy Krueger quote.

[Paul Scheer]

What's her name?

[Jason Mantzoukas]

Sir, my name is Dan.

[Paul Scheer]

Okay. What's your question?

[Jason Mantzoukas]

So just keeping on going in on her mom because she's the absolute worst.

[June Diane Raphael]

Not only did she ask her what.

[Jason Mantzoukas]

She did to provoke her, but then in the next scene she says, I heard about that fight. You Got in like completely gaslighting her when Shelly had told her that what's his name, Joel hit her. So. Just even worse, in the first scene, her mother is encouraging her to fuck Joel. And she's like, I don't think I want to or I'm ready yet. And she's like, do it.

[Paul Scheer]

Now. Tim. Tim, I'm gonna get to you. But you look like you were trying to get my attention. Like, do you feel like you have something to add to the mom discussion? All right, we'll get to you.

[Jason Mantzoukas]

No, Tim has written a bunch of slams on James.

[James Acaster]

Ready and waiting. Tim. I'm jet lagged to fuck. They won't even touch me.

[Paul Scheer]

All right, what's your name? What's your question? My name is Mike. So we had a bit of a different interpretation of the movie. I love it. Who is the Wii?

[Jason Mantzoukas]

Who's we?

[Paul Scheer]

Okay, great. Two of them. I didn't know if it was like a whole row of people. They seemed great though. So we thought that when they had the collision, that the body switch fully happened for Corey Feldman, but sort of happened for the two women. Okay. And that's why she, like couldn't remember her Walker combination.

[Jason Mantzoukas]

And she was vibing with the old music.

[Paul Scheer]

And that Jason Robarts in Corey Feldman was trying to bring Piper Laurie out of Laney.

[June Diane Raphael]

We agree this all is the same.

[James Acaster]

Yeah.

[Jason Mantzoukas]

Yes, we agree.

[Paul Scheer]

Because you were saying.

[Jason Mantzoukas]

You were saying so then, but it never happened.

[Paul Scheer]

Well, I think what he's saying is I was right, that there's a.

[Jason Mantzoukas]

No, no.

[June Diane Raphael]

The four body switches dormant. It was a dormant swap.

[Paul Scheer]

Yeah, but it was quasi dormant.

[Jason Mantzoukas]

Is your name Mike? It is, yeah. Tell me the scene where that is where Gina is revealed in Laney's body. Yeah, the lot. There's a lot. The lip, the lips.

[Paul Scheer]

Says.

[James Acaster]

I think Harry Dean Stanton says, or someone's. Maybe it didn't happen with her all the way. Cause she wasn't as into it or something.

[June Diane Raphael]

Yes.

[James Acaster]

So I think that's meant to make us think what you're saying.

[Paul Scheer]

And while you are agreeing with me and you are right, I will also.

[James Acaster]

Say you said full body swap. Paul.

[Paul Scheer]

Hold on. This is what I'll say. The moment before the accident, she's like, shut up, you're wrecking it. Which made me believe she was more into it than him. Cause she's fully into it. But yet the movie then says, I guess she wasn't into it enough. So then the other question is, so then why at the end are Laney.

[Jason Mantzoukas]

And Corey Feldman together agree because they really. They never connected at all.

[Paul Scheer]

She's never met Corey Feldman.

[Jason Mantzoukas]

Nope. She's only met Jason Robards in court. No, no, they. I mean, they're friends from before the movie, but.

[Paul Scheer]

Well, right, because they're friends because.

[Jason Mantzoukas]

But her. She has been romanced by Jason Robards in Corey Feldman's Michael Jackson body.

[Paul Scheer]

So then. But Gina. Right, but Gina doesn't know.

[James Acaster]

Eloquently put.

[Paul Scheer]

But Gina kind of. Gina has the affectations of. She's listening to modern music, she's dancing, shaking her butt around at the end. At the end. But doesn't have any memory. Cause she's like, oh, I didn't wanna wake you. You were sleeping so well. So she doesn't even realize that she's been gone. But then.

[Jason Mantzoukas]

And she can't like. Yeah, no, none of it really. Again, none of it makes sense. And I want to be clear. I do think Paul and Mike and my Mike's crew. I do think the movie is trying to seed those ideas that it is in fact a. But why wouldn't you just do it? Why not have it be all four people swap? And it's like, we're young again. Uh oh. But we can't be young again. Uh oh, we have to die.

[June Diane Raphael]

Or.

[Jason Mantzoukas]

Or get out of here. Stop running the country. Die already.

[June Diane Raphael]

Yes. Wow. But here, here's the thing.

[Jason Mantzoukas]

Stop. Stop it.

[June Diane Raphael]

Here's the thing though, I think an even better version. I didn't need them to full. Full swap right away. I was okay with a dormant swap, but what I thought was gonna happen, I was fine with an early ds, but what I thought was gonna happen is that. Is that something was gonna unlock Gina in Laney. And that was going to be what Jason Robarts understood that he didn't understand about his wife in those, you know, 40 odd years that they were together. That also didn't happen.

[Jason Mantzoukas]

Neither couple learned anything new about anybody.

[Paul Scheer]

And I would.

[Jason Mantzoukas]

Nobody had anything.

[Paul Scheer]

I would hope that the one thing that Jason Robards would learn when he gets back is to get a bigger bed. Because it was.

[Jason Mantzoukas]

Holy shit.

[Paul Scheer]

They were sharing a twin bed.

[June Diane Raphael]

But Paul, back in those days in the 80s, I think one of the greatest advancements we've made as a. Yeah. Has been bigger beds.

[Jason Mantzoukas]

Bigger beds.

[James Acaster]

I don't think they needed it. Robards and his wife, I don't think spent a lot of time side by side, if you know what I mean.

[Jason Mantzoukas]

Yes.

[June Diane Raphael]

So I have heard from I actually, Paul and I know a couple that won't. Won't upgrade into a bigger Bed because they believe there's something very intimate and they credit a smaller bed to a long lasting relationship. So I do think there is something.

[Paul Scheer]

Anyone here in a smaller bed relationship.

[June Diane Raphael]

It's just a full size.

[Paul Scheer]

All right. You're in a smaller bread relationship. There it is.

[Jason Mantzoukas]

For me at this point, I think.

[Paul Scheer]

It'S talk to him about it.

[Jason Mantzoukas]

I think it's just.

[June Diane Raphael]

Please, please.

[Paul Scheer]

How big is any question about the smaller bed relationship?

[Jason Mantzoukas]

So from my bed.

[June Diane Raphael]

And it's by choice. No, no, it's not.

[Paul Scheer]

It's not by choice. Yes, it is by choice.

[Jason Mantzoukas]

I have a full size bed and.

[Paul Scheer]

It is quite ample for us. We are not large people. So it is the perfect size for both of us. Wow.

[Jason Mantzoukas]

Full size bed.

[Paul Scheer]

Wow.

[James Acaster]

Real Joel vibes from this guy.

[Paul Scheer]

He has a full size. You have a king size. All right, so there, there are.

[James Acaster]

She started to talk for two seconds. Couldn't even do the hand right in there. It is ample size for us. We are not big people. It's absolutely fine.

[Jason Mantzoukas]

I thought you were my friend.

[James Acaster]

Gun to Paul's head, pulls on his knees.

[Paul Scheer]

Oh, God. Oh, God. Thank you, God. Oh, God.

[James Acaster]

Don't shoot, Paul.

[Paul Scheer]

Now I will say that you. So you're a two bed relationship because you have a big bed, you have a small bed and you can go back and forth.

[June Diane Raphael]

Oh, that's totally different. And that's the dream.

[Jason Mantzoukas]

Oh, well, let me ask you, you.

[June Diane Raphael]

Live in the dream.

[Jason Mantzoukas]

I have a question. So you don't live together? Not yet. So when you do, which bed will you choose?

[June Diane Raphael]

Great question, Jason. Obviously, the king size.

[Jason Mantzoukas]

The king size. And you, sir? We'll see.

[Paul Scheer]

We'll see.

[Jason Mantzoukas]

We'll see.

[Paul Scheer]

Whatever fits in the bedroom.

[Jason Mantzoukas]

We'll see. It's a king size bed, motherfucker. You know it is. You know it is.

[Paul Scheer]

I love it.

[Jason Mantzoukas]

Let's get rid of the king. Let's keep sleeping in that full size bed. Get out of town. Absolutely not.

[Paul Scheer]

A testament to how good there is.

[Jason Mantzoukas]

You're adults.

[June Diane Raphael]

I've asked Paul if we can get an Alaska, which is.

[Jason Mantzoukas]

What's that?

[June Diane Raphael]

An Alaska is especially makes the biggest bed you can get.

[Jason Mantzoukas]

Yeah. It's the size of this stage and you can see Russia from it.

[June Diane Raphael]

And I have it on a favorite tab on my computer and I look at it and I think about it. I think what life would be like with it.

[Paul Scheer]

I'm all for an Alaska bed. I don't mind an Alaska.

[June Diane Raphael]

The problem is the quality of the mattress.

[Paul Scheer]

Well, that's it.

[James Acaster]

You can fit all the podcast equipment. Between the two of you, never have to leave your bed. Jason just has to visit every now and again.

[Paul Scheer]

Plenty of room.

[James Acaster]

Sit at the end like a dog. The three of you. Talk about whatever movie you've just watched.

[Paul Scheer]

Plenty of room for him. He doesn't even feel awkward there because it's such a big bed. It's like.

[June Diane Raphael]

Yeah, it's the whole size of the.

[Jason Mantzoukas]

Room, unless you can see the northern lights.

[Paul Scheer]

What's your question? I'll lean into you here.

[June Diane Raphael]

My question is in Corey Feldman's bedroom, there is a the Lost Boys movie poster. And what are the implications of that for this universe?

[Paul Scheer]

So I had a theory about this, which was Prank World. I'm glad you brought this up. My theory is that Corey Feldman has a poster of the Lost Boys in his room because he's a fan of the Lost Boys. So much so that he's modeled his own dressing after one of the stars of the Lost Boys. So he is dressing like Corey Feldman. But it's not.

[Jason Mantzoukas]

I believe you, Paul. And I think that. I think what bears it. What bears it out is that I believe that Corey Feldman would play a character that is a fan of Corey Feldman.

[Paul Scheer]

Got a good body.

[Jason Mantzoukas]

Definitely an improvised line.

[Paul Scheer]

All right, Tim, what do you got over here? Tim, I feel like you got something. You really you. The energy off you tonight.

[Jason Mantzoukas]

Give it up for Tim. Everybody give it up for Tim.

[Paul Scheer]

All right, Tim, I watched the sequel today. Oh, right, the sequel. Dream a little Dream.

[Jason Mantzoukas]

I am just now finding out that this exists.

[Paul Scheer]

Should we play the trailer and then hear your question? Yes. Okay, hold on.

[James Acaster]

Tim's hardcore. Yeah, Tim doesn't fuck around going in so hard.

[Paul Scheer]

All right, so this is the sequel to Dream. I haven't even watched this. I figured I was. Would surprise myself with it. Oh, wait, that's the first one. Oh, sorry. The projector moved down. We'll fix that in one second. Hold on.

[James Acaster]

Oh, Tim just told me to sort the projector. Wow. Wow.

[June Diane Raphael]

I'll fix Jim.

[James Acaster]

He said James Projector.

[Jason Mantzoukas]

James Projector.

[James Acaster]

I just. I just said that I regret it for the first time.

[Paul Scheer]

That's good.

[James Acaster]

James Projector. Wow it out of your mind? I'm not sorting the. I'm the guest. None of this is my responsibility, James. None of this is on me. I could shit my pants and walk off, and I've done a great job.

[Jason Mantzoukas]

Just so you know, when this. When this episode gets released, you will be credited as James Projector.

[Paul Scheer]

James Projector.

[James Acaster]

Holy Christ.

[Jason Mantzoukas]

Tim. Tim's getting too big for his britches.

[Paul Scheer]

Tim okay.

[June Diane Raphael]

To not even make a full sentence out of it.

[James Acaster]

You put me in a bad mood for the trailer now, Tim.

[Paul Scheer]

Respect our guest.

[Jason Mantzoukas]

Tim is in a full body sweat.

[June Diane Raphael]

That was funny.

[James Acaster]

I do just want him the projector back in your goddamn eyes. And you can watch the trailer that way, Tim. How's that fun? Everyone could stand behind you, watch it projected on the back of your head. James Projector. You high? Whole week in this goddamn city. Everyone talking to me like a piece of. And I need it from you as well. Pitching ideas to cokeheads. Now I'm here.

[Paul Scheer]

I do just want to point out that this movie Dream A Little Dream 2 was released in 19 projector.

[Jason Mantzoukas]

That's the T shirt.

[James Acaster]

That's the T shirt.

[Paul Scheer]

That's amazing. Dream A Little Dream 2 was released in 1995. Starred the two.

[Jason Mantzoukas]

What was one. What year was one?

[Paul Scheer]

1989.

[Jason Mantzoukas]

Okay, thank you.

[Paul Scheer]

And starred the two Coreys and Robin Lively from Teen Witch. Here we go.

[Jason Mantzoukas]

Top that.

[Paul Scheer]

Corey Feldman.

[Jason Mantzoukas]

James. James Projector.

[Paul Scheer]

And Corey Hayne.

[Jason Mantzoukas]

You're not gonna believe us. Who really hit it off in the hit Dream A Little Dream are hilariously reunited and discussed.

[James Acaster]

That's on me. That's me. That's my bad. That's on me. That's on me. That's on me. That's on me.

[Jason Mantzoukas]

Leave all this in.

[Paul Scheer]

Oh, my God. All right, here we go.

[Jason Mantzoukas]

Corey Feldman. Joel and Corey Haim.

[Paul Scheer]

You're not gonna believe this.

[Jason Mantzoukas]

Sorry. Who really hit it off in the hit Dream a Little Dream are hilariously reunited and discover Robin Lively.

[Paul Scheer]

I'm not into this kind of a thing. In Dream A Little Dream two.

[Jason Mantzoukas]

Oh, come on.

[Paul Scheer]

Wow. I guess they just took the Michael Jackson and the. The gunplay and they carried that into the sequel.

[Jason Mantzoukas]

But there's so much Michael Jackson stuff. Like, I'm, like, stymied by that.

[James Acaster]

You guys are watching that, right?

[Jason Mantzoukas]

Oh, for sure.

[Paul Scheer]

We gotta follow it.

[Jason Mantzoukas]

Inevitably, we'll end up doing it.

[James Acaster]

Yeah, for sure.

[Paul Scheer]

All right, so what do you got? Nevermind. Oh, my God.

[Jason Mantzoukas]

Tim, you did it again.

[Paul Scheer]

Obviously, we had opinions about this movie, but there are people out there with a different opinion. It is now time for second opinions. Hello, I'm Jason. Review said it was bad. A total train wreck. I couldn't help thinking that it wasn't bad at all. Review said it sucked.

[Jason Mantzoukas]

That's a complete disaster. I couldn't help thinking it wasn't bad at all.

[Paul Scheer]

Second opinion. They had these thoughts inside of their heads and they typed them with their keys. Amazing. Give it up for Jason. All Right. For whatever reason, it's just June and I on stage.

[June Diane Raphael]

I love it. I love it.

[Paul Scheer]

There are 1,673 reviews for this film, which is a lot, especially doing this show. A lot. That's a huge amount. 83% of the reviews of this film are 5 star reviews. Only 1% are 1 star reviews. I'll start off here from 2024 in March. All right, so this is just a little while ago. Jessica writes, best part is how elderly and teens come together in harmony. Always so much to learn from the elderly. Five stars.

[Jason Mantzoukas]

I will say. And maybe it is just because I'm elderly. It was I loved a lot. I did think like again, I know I brought up About Time earlier and if you haven't seen it, I cannot recommend it enough. It is an astonishingly beautiful and heartbreaking movie. But there were moments between the young and old that I was like, oh, I wish this movie was more dug in. More on that. There was such great stuff there. Anyway, sorry.

[Paul Scheer]

Well, Karen Brobst in 2014 wrote, you must see this movie and appreciate Corey Feldman. The review goes like this. This was one of the best movies I've ever seen. I am 65 years old and I have gone to a movie every week of my whole life. Five stars for a whole life, every week. I'm going to end with this one because it will tie into what's going to happen next year. E. Cooley titles this review. Great movie for all generations. It's so romantic. It has a lot of human emotion in it. I have to admit, I used to be in love with Meredith Salinger, who played Laney in the film. Corey Feldman might not be the best actor ever, but he was excellent in this. And the Academy Awards should have noticed. The rest of the crew, well, they made an excellent movie. And the director and editor, they did a first rate job. What else did this director do? Five stars. Now, sometimes on the show we say, oh, we'll do a third opinion. But you know what? The best opinion might come from someone who was there. And tonight we have a very special guest. You know her from the film as Laney, but please welcome Meredith Salinger. Welcome. Welcome, Meredith. Well, this was a treat because we know each other. And when we picked this movie, I didn't realize that you were in it until I looked at the poster of it. And I wanna know everything. I mean, we all do. I imagine. I mean, yeah, like thoughts, reflections, anything.

[Meredith Salinger]

I don't understand this. You guys have said things tonight that I'm like, I never Got this movie when we did it. I don't understand it. It never made sense. I asked a thousand questions and then.

[June Diane Raphael]

I was just never got the answers. Huh? No.

[Paul Scheer]

Was I right that you are dormant? Were you dor. Was it. Was it dormant? Was there a dormant Gina inside of you? Were you told to play dormant?

[Meredith Salinger]

I feel like it was dormant. I believe that it was because at first she's sort of like doing things that she doesn't normally do. You guys got the lip pull thing. And then he's like, when you go to bed tonight, like, maybe you'll find her in there.

[Paul Scheer]

Right.

[Meredith Salinger]

And so then I think you get that little bits of them together. But, like, you're right. It's never been fully.

[June Diane Raphael]

Now, I have an important question in terms of your choices, were you working with the reality that your mom was tranquilizing you every night.

[Meredith Salinger]

In retro listening to all the terrible things? Like, I didn't really feel it back then. Cause, like, it was the 80s.

[Paul Scheer]

It was a different.

[Meredith Salinger]

It was the 80s. Like, all that stuff about, like, he hit me and all that stuff, and I'm pretty. Like, I'm a super feminist. Like, that stuff really didn't really set in my brain. But I think the whole filming of that movie was so weird.

[June Diane Raphael]

Yeah.

[Meredith Salinger]

And.

[Jason Mantzoukas]

Oh, really, Meredith? This movie was weird to film, but.

[Meredith Salinger]

Everybody in that movie was like, musical. Like, Mickey Thomas played the teacher. Mickey Thomas from Jefferson Starship or something.

[Jason Mantzoukas]

Oh, yeah, right.

[Meredith Salinger]

And then the guy who was like, Tim, the boyfriend of the mom, he's like, Ron. Ron is something. Something in Foley. What? Dan Engel?

[Jason Mantzoukas]

What's that band he's on?

[Paul Scheer]

This Tim.

[June Diane Raphael]

Tim faster.

[Jason Mantzoukas]

Tim Google Tim faster.

[Meredith Salinger]

Like, that guy's a famous musician. Can people.

[Paul Scheer]

Oh, wow.

[Jason Mantzoukas]

Wait, was the director or the writer somehow amazing?

[Meredith Salinger]

The director is the son of Alex Rocco. Oh, what?

[Jason Mantzoukas]

This movie is directed by Kid Rocco?

[Meredith Salinger]

Yes.

[Jason Mantzoukas]

Who knew?

[Meredith Salinger]

Yes.

[Paul Scheer]

I mean, were you present for the Michael Jackson? I mean, you were for parts of it, but were.

[Meredith Salinger]

Was I present for the Michael.

[Paul Scheer]

I mean, because it's like, that's one of those things.

[Meredith Salinger]

That dance scene is haunting me to this day.

[Jason Mantzoukas]

Like, can you go a little bit into how did this plan happened?

[Meredith Salinger]

Yeah, well, there was a choreographer.

[Paul Scheer]

Okay.

[Meredith Salinger]

But then gone.

[Jason Mantzoukas]

That was. No, but then there was maybe another choreographer.

[Meredith Salinger]

But then there. But then there was a choreographer.

[Jason Mantzoukas]

But Tim, Tim, Tim.

[James Acaster]

Game recognize game.

[Jason Mantzoukas]

Tim. Absolutely elevating Meredith and just crushing James.

[James Acaster]

Hey, look, I can't fault the guy. He picks his moments.

[Meredith Salinger]

Well, I mean, they did keep explaining that situation. Like, oh, how would the old man know how to dance. And you said, oh, he watched that Michael Jackson video over and over. And so it was sort of like you could justify.

[Paul Scheer]

Right. Anything happened in the scene that we didn't see. Right. It's like, what? Oh, well, he could have done a million things. We just aren't privy to them. Right, right.

[Meredith Salinger]

Like, yeah. Like, costume choices got chosen. Cause, like, you know, you might have a personal preference as an actor.

[Paul Scheer]

Yeah. Cause he doesn't.

[June Diane Raphael]

Yeah.

[Paul Scheer]

And this is the thing. What I would say is, like, that makes the movie hard because he never seems to be embodying an old man.

[Meredith Salinger]

Right. But he trips sometimes.

[Paul Scheer]

Okay.

[Meredith Salinger]

So sometimes it's not, like, perfect.

[James Acaster]

Right.

[Paul Scheer]

Okay.

[June Diane Raphael]

Well, Lainey, to me, has a very classic trajectory of, like, a young woman in these movies, which is she spends most of the movie trying not to get raped at every turn. Just like, trying to fend off rapists.

[Meredith Salinger]

True.

[June Diane Raphael]

And then the guy who doesn't want to rape her right away, she falls in love with and is then, like, has that classic line, and this happens after the Michael Jackson dance, which is. You're so crazy.

[Meredith Salinger]

Yeah.

[June Diane Raphael]

And I was so happy that to see you play out that narrative because it is. It's just very iconic.

[Meredith Salinger]

Yes. It's an epic performance, but there is.

[Jason Mantzoukas]

There is an element of it which is insane, which is that your character is, for all intents and purposes, falling in love with Jason Robards.

[Meredith Salinger]

Right.

[Jason Mantzoukas]

Not Corey Feldman. Not Bobby.

[Meredith Salinger]

Right.

[Paul Scheer]

Like, which is. I wanted that last scene to view. To be like, walking away with Corey Feldman, but looking back at Jason Robarts like.

[Jason Mantzoukas]

Or. Yeah. Or not with Corey Feldman at all. Just like, ding dong, Jason Robart's house.

[Meredith Salinger]

Yeah, that would have been good.

[June Diane Raphael]

Meredith, when you were working on the dance sequel, did you. Was there any information from the director of, like, this is Dance Club and you compete every Friday. This is.

[Meredith Salinger]

Oh, like, why? What was that group? Yeah, I think it was just like, dance class at school, maybe. I. Yeah, but you said something earlier about, like, how it doesn't make sense and why is Corey Haim even in it? And I. My favorite part of the entire movie is that scene with Corey Haim in the car where it's going on and he's like, hello, honey. Like, he's just so funny and cute and adorable. And that was the best part of the movie for me. Just that little. Him being funny in that moment.

[Paul Scheer]

Here's a thought that knowing that you were going to come out here, I was thinking about this. I looked about. It's shot in North Carolina, right? You shot.

[Meredith Salinger]

Yeah, on Wilmington.

[Paul Scheer]

All right, so you're shooting in. And I believe the high school is the same high school from the pilot of Dr. Dawson's Creek. I did some deep diving. Oh, yeah.

[Meredith Salinger]

I did Dawson's Creek there, too.

[Paul Scheer]

Oh, yeah. Wow. Look at.

[James Acaster]

Oh, you went back there and filmed Dawson's Creek.

[Paul Scheer]

I did.

[Meredith Salinger]

I went back to film Dawson's Creek.

[James Acaster]

Was that wild, being back at Dream? A little Dream, you know, Van Der Beek. I filmed Dream. I don't know what it was about. And I was there. I asked a lot of questions. I know what this is about. It's your creek.

[Paul Scheer]

But you're there in North Carolina. And I always feel like when you're in a place away from home, there is like this kind of. You have family that forms there, but you also are with these two guys who are arguably at the height of their career at this point. Is there hangout there or are they, like. Are they, like, just. Are they just kind of untouchable in this?

[Meredith Salinger]

No, no, no. We actually had the most fun filming. You know, Shelley and I were besties Shelly, and we'd hang out with Harry Dean and Smokepod, and it was super fun.

[Paul Scheer]

That's what we wanted to hear.

[Jason Mantzoukas]

Can you imagine hanging out with Harry Dean Stanton and Piper Laurie and being like, what's it like to be Carrie's mom?

[June Diane Raphael]

And Harry Dean Stanton's performance in Pretty in Pink is one of the most important performances.

[Meredith Salinger]

Yes. He's so amazing. And we'd stay. We all stayed at the same hotel, and there was a bar at the bottom of the hotel. And every now and then, like, we'd go down there and order strawberry daiquiris. But then, for my. The day I turned 18, we were shooting and a cop came on set, and I thought, oh, my God, we're in trouble. Because we ordered strawberry daiquiris with whipped cream downstairs. And I was really scared. And I'm a really good girl. And so the cop. And they stop filming, and everybody's looking at me, and I'm so scared. And the cop comes up to me, and then somebody presses, and he's like a total stripper. They hired for me.

[Paul Scheer]

Oh, my God.

[James Acaster]

On my 18th birthday, Dean Stanton blazing another J. Watching the.

[Meredith Salinger]

It was a different time.

[James Acaster]

You're welcome.

[Meredith Salinger]

People did like this movie back then, though. I know everyone's like, it's the worst movie ever. Everyone's. But back then.

[Paul Scheer]

Yeah.

[Meredith Salinger]

And some people were like, that's my favorite movie. And one of my best friends was a total fan when I first met her, she's like, that's my favorite. I'm like, really?

[Paul Scheer]

Meredith, thank you for being here.

[Meredith Salinger]

Thank you, guys.

[June Diane Raphael]

This was.

[Meredith Salinger]

This is awesome.

[Jason Mantzoukas]

Just.

[June Diane Raphael]

Thank you.

[Jason Mantzoukas]

Fantastic work. What a delight.

[Paul Scheer]

You're so great in the movie.

[Meredith Salinger]

Oh, yeah.

[Paul Scheer]

You're such a great sport for being here and trying to answer questions from a film that was shot in 1988. So I appreciate you going down anything.

[Jason Mantzoukas]

It made no sense then.

[Meredith Salinger]

No, made no sense then either.

[Paul Scheer]

Yeah, but you. But like I said, these are the movies that I remember this. It was a big deal movie. It's so awesome to have you here. Anything that you want us to know? Anything else about you? Anything that we can. Yeah, anything at all.

[Meredith Salinger]

Well, I have been coming to the Largo for like 20 million years. My best friend always sings here. My Nica Costa. And my husband is Patton Oswalt. And I'm always backstage watching from the side. And it's super fun to be up on stage. And I'm happy you asked me.

[Paul Scheer]

Yeah, we're so happy that you're here. What a treat. Give it up for Meredith.

[James Acaster]

Yes.

[June Diane Raphael]

Woo.

[Paul Scheer]

All right. That was awesome. All right.

[June Diane Raphael]

Such a treat.

[Paul Scheer]

We've done it. We've done it. We've told Tim to fuck himself, told James to work on the projector. We know what our T shirt is now. James, I want you to talk. You have an HBO special coming out. Actually, I'm imagining that this will be out at the same time, so we can just say it like that. So your HBO special is out right now. Tell us a little bit about that so we know where to find it. It's called Hecklers Allowed. I'm sorry. Is that right?

[James Acaster]

Hecklers?

[Paul Scheer]

Welcome, welcome. Sorry, Sorry.

[James Acaster]

I know you've got a lot on your plate. You've had to watch a different film every day your whole life.

[Paul Scheer]

I've watched it and I'm 65 years young.

[James Acaster]

It's called Heckler's Welcome. It's shot where I grew up, and it's a gig where I allow the audience to do whatever they like. There are no rules, so it's like an audience full of Timbs. I perform it in the round as well. They are surrounding me. They can do whatever I'm dealing with them while also trying to tell the story of why I'm doing this show and about my own shortcomings at sea us out on hb.

[Paul Scheer]

And now I imagine every night is different. So how many shows did you tape? Or is it a compilation of multiple shows? Or does one great show Effectively it's.

[James Acaster]

The one show in Northampton where I used to go and watch shows when I was. Before I was even a comedian. And I was so panicked about if we get a good one or not that I also filmed it in Dublin and in a place called Truro in the UK and have no use for those now, but filmed those anyway. And we also did an audio recorded in my actual home home, hometown of Ketryn. And that's out on vinyl. And it's a completely different show to the HBO one because they heckle me for 95% of that. And it's such a small town that the hecklers turn out to know each other.

[Paul Scheer]

That is amazing, Eddie. And we can find. You can find.

[Jason Mantzoukas]

I will also recommend James's other two specials, one of which is called Repertoire, it is on Netflix and the other is called Cold Pizza 1997. I hate myself.

[James Acaster]

I love watching people trying to remember that title.

[Jason Mantzoukas]

Something like that.

[James Acaster]

Cold lasagna, hate myself 1999. And that is available exclusively on my website.

[Jason Mantzoukas]

And it is incredible. Both of these specials are absolutely fantastic. Huge fan. Also, your season of Taskmaster.

[Paul Scheer]

Great season of Taskmaster. Your books are fantastic. How to Quit Social Media. Classic script. I didn't even look at anything. I know it in my head.

[Jason Mantzoukas]

Paul and I have both done your podcast, which is fantastic and thank you for doing our show and Gene will.

[James Acaster]

Be on it and you can do the hack as much as you like.

[June Diane Raphael]

Invite. Okay, great.

[James Acaster]

We'll be so glad to have you on it if you would like to come on and talk about food. Well, I've never made an enemy on a podcast before.

[Paul Scheer]

This is great.

[James Acaster]

This feels good.

[Paul Scheer]

You got two. You got two.

[James Acaster]

I don't give a shit about Tim.

[Paul Scheer]

All right, everybody, thank you so much. We will see you next time. Bye bye, everybody. All right, thank you, James Acaster and thank you, Meredith Salinger for coming down to tell us a little bit more about Dream. A Little Dream. I mean that was truly a dream come true. A big shout out to the amazing staff at Largo and everybody up in the booth. This past week, week we've had a great team there and we will be back in January for a three night run. So get those tickets right now. But if you can't make it out to la, we have our holiday show coming up. That's right, our holiday show on December 12th with Jessica Sinclair. Now you might want to immortalize Dream A Little Dream. But we are going to immortalize a moment from this show that's a little bit different. You See, we figured there's no better T shirt than a T shirt that says James Projector. That's right. We have the James Projector shirt right now in our Teepublic store. Go to teepublic.com stores/hdtgm. It will be on sale right now. I mean, on sale and on sale, like discounted. Anyway, people, if you got opinions, if you have a take, I mean, I don't know what we could have missed from Dream a little dream. But if you have something to tell us, give us a call at 619 Paul A S K or jump on our discord at discord gg hdtgm and we will break it down together. We will answer your questions. And you know what? Jason and I have to talk about a lot of stuff. And one of the things we're going to talk about is the Back to the Future musical that Jason had no idea about and that I am truly obsessed with. So that is a fun little bit that you get to look forward to in next week's Last Looks. By the way, people, if you want something special for me from the holidays, I'm going to give it to you. That's right, because at the Podswag store I have personalized, or I should say I have signed a bunch of my books with different sayings from how did this get made? Now, if you want something even more personal, head to my website and I'll personalize it to you with what you want me to say. That's right, people, you got two options. You can get a geostorm, you can get a face waterfalls. Or you can get Dear Beth, will you marry me, Paul Scheer. I mean, I've done it all. We also have a bunch of great Christmas [e-mail] How did this get made? Podswag gifts. It's so good. I love our Team Fred and Team Sanity pint glasses. All right, people, remember, if you listen to us on Apple podcasts or Spotify, please make sure you are subscribed to our feed and have automatic downloads turned on in the show settings. It helps us and we really appreciate that a lot. And last but not least, I have to thank our entire team who this show could not be done without. I am talking about our producer, Scott Sonny and Molly Reynolds, our movie picking producer, Avril Halley and our engineer Casey Holford and our associate producer Jessica. That's all I got, people. We'll see you next week on Last Looks. Bye for now. The holidays are here at the Home Depot, so let's get to decorating. Find your perfect tree in our huge assortment of shapes, sizes and styles. Like the easy to assemble Jackson Noble Fir with pre lit branches perfect for styling with all your favorite ornaments. Or the Phlox Starry Light Frasier fir with over 1900 pre lit memory wire branches that keep their shape so it's ready right out of the box. Ooh. Find the perfect tree now at the Home Depot. Texas Pete oh my gosh. I love Texas Pete. It is is the hot sauce that allows you to sauce like you mean it. All right. Texas Pete sauce is packed with bold and balanced flavor. I've loved Texas Pete for years. When I got a box of their stuff at my house, I was so psyched because what I love about their hot sauce is their tanginess. Okay? You can use it on anything and you're going to try every flavor. I mean, you got the original, which is great. That's fermented peppers. It's a special blend. Then you got the hotter hot sauce, which is three times hotter than the original. And believe me, it is not for the faint of heart. Then you got Sabor by Texas Pete, which adds an authentic Mexican flavor. And I gotta tell you, that might be my favorite next to their Dust dry seasoning which matches the flavor of the original hot sauce in a flavorful dry rub. It is so, so great. Texas Pete Sauce like you mean it. Visit texas pete.com and use the store locator to find Texas Pete products as well as purchase sauces and get recipe inspiration and use the promo code podcast24for20% [e-mail].