On this episode we do what we've been doing for damn near 300 episodes: preach against children. To do so we bring in a couple of our favorite men of faith who share this ideology in Robert Mitchum's Father of the Year from THE NIGHT OF THE HUNTER and John Lithgow's life of the party pastor from FOOTLOOSE. This is of course for the video release of BRIMSTONE starring our favorite Australian Guy Pearce as a man who just can't stand Dakota Fanning and THAT of course means we bring in as a guest our second favorite Australian who also hates Dakota Fanning, Andrew of AB Film Review and The Last New Wave. This leads to a fun conversation (but still no dancing) and also Andrew exercises some of his Patreon support by bringing back a co-creator of this podcast, Old Bald Dotson, for some words of wisdom.
MULHOLLAND DRIVE is a complex and surreal film directed by David Lynch, known for its non-linear narrative and dreamlike sequences. The ending is open to interpretation and has been the subject of much debate among viewers. Here's a breakdown of the ending: Diane's Dream vs. Reality: Throughout the film, there are two main narrative threads: one follows Betty/Diane's dreamlike experiences in Hollywood, and the other delves into Diane's harsh reality. The ending reveals that the majority of the film has been a dream constructed by Diane Selwyn, a failed actress, as a means to escape the guilt and pain of her actions. Betty/Diane's Descent into Madness: Betty, played by Naomi Watts, represents Diane's idealized self—a hopeful and innocent aspiring actress. However, as the film progresses, it becomes clear that Betty's story is unraveling, and her identity begins to merge with Diane's. This culminates in the revelation that Betty is merely a construct of Di...