Exploring the Depths of Kubrick's The Shining: A Cinematic Analysis
This podcast episode delves into the intricate analysis of Stanley Kubrick's adaptation of "The Shining," emphasizing the profound implications of isolation on mental health as a central theme. We engage in a spirited discussion about the film's representation of psychological deterioration, particularly through the character of Jack Torrance, whose descent into madness manifests as he becomes increasingly enmeshed with the malevolent forces of the Overlook Hotel. The participants reflect on the stark contrasts between Kubrick’s vision and Stephen King’s original narrative, highlighting how the latter's personal struggles with alcoholism infuse a sense of empathy into his characters that is largely absent in the film. Through our discourse, we explore the film's iconic imagery and its cultural significance, questioning the effectiveness of Kubrick's artistic choices in conveying the underlying horror of the narrative. Ultimately, we present a critical yet thoughtful examination of the film's legacy, inviting listeners to contemplate the complexities of its storytelling and its impact on the horror genre.
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THE SHINING-----*-----
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To listen to all of Chris' picks, click HERE
To listen to all of Sherry's picks, click HERE
To listen to all of James' picks, click HERE
To listen to all of Phil's picks, click HERE
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Snyder's Genres:
MONSTER IN THE HOUSE - MONSTER, HOUSES, SIN
GOLDEN FLEECE - ROAD, TEAM, PRIZE
OUT OF THE BOTTLE - A WISH, A SPELL, A LESSON
DUDE WITH A PROBLEM - AN INNOCENT HERO, A SUDDEN EVENT, A TEST OF SURVIVAL
RITE OF PASSAGE - A LIFE PROBLEM, THE WRONG WAY TO FIX IT, THE SOLUTION TO THE PROBLEM
BUDDY LOVE - AN INCOMPLETE HERO, A COUNTERPART NEEDED TO MAKE THEIR LIFE WHOLE, A COMPLICATION THAT IS KEEPING THEM APART EVEN THOUGH THAT FORCE IS BINDING THEM TOGETHER
WHYDUNNIT? - A DETECTIVE, A SECRET, A DARK TURN
FOOL TRIUMPHANT - A FOOL, AN ESTABLISHMENT, A TRANSMUTATION
INSTITUTIONALIZED - A GROUP, A CHOICE, A SACRIFICE (JOIN, BURN IT DOWN, COMMIT SUICIDE)
SUPERHERO - A POWER, A NEMESIS, A CURSE
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The Snyder Beats:
OPENING IMAGE
THEME STATED
SETUP
CATALYST
DEBATE
BREAK INTO TWO
B STORY
FUN AND GAMES
MIDPOINT (FALSE VICTORY OR DEFEAT BUT OPPOSITE OF THE ALL IS LOST)
BAD GUYS CLOSE IN
ALL IS LOST (OPPOSITE OF THE MIDPOINT, FALSE VICTORY OR DEFEAT)
DARK NIGHT OF THE SOUL
BREAK INTO THREE
gathering the team
executing the plan
high tower surprise
dig deep down
execution of the new plan
FINALE
FINAL IMAGE
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"Welcome to the Show" Kevin MacLeod (incompetech.com)
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> The discourse surrounding the cinematic masterpiece, *The Shining*, delves deeply into the intricate layers of storytelling and character development as interpreted through the lens of its creators. We expound upon the multifaceted nature of Jack Torrance, portrayed by Jack Nicholson, who embodies the tragic dichotomy of a struggling author beset by psychological demons and familial obligations. The narrative unfolds against the backdrop of the isolated Overlook Hotel, a character in its own right, which exerts a sinister influence over Jack, leading him down a path of madness. This exploration is not merely an analysis of horror tropes; rather, it invites listeners to engage with the psychological implications of isolation and the fragility of the human psyche under duress. We investigate the thematic intersections between Jack's descent into violence and the broader metaphor of the American experience, particularly through the prism of addiction and trauma, as articulated by Stephen King in his original novel. The conversation further probes the divergence between King's narrative intentions and Stanley Kubrick's artistic interpretations, igniting a discussion about fidelity in adaptation and the responsibilities of filmmakers to the source material.
> The episode intricately weaves personal anecdotes with critical analysis, reflecting on the profound impact of *The Shining* upon both the horror genre and popular culture. We dissect the film's notorious scenes, such as the iconic “Here’s Johnny!” moment, and the unsettling imagery that permeates the narrative, illuminating how these elements serve to encapsulate the thematic essence of terror and madness. Furthermore, we pose the question of authorship and ownership in the context of adaptation, examining how Kubrick's vision has overshadowed King's narrative, leading to a complex legacy that continues to provoke debate among scholars and cinephiles alike. As we navigate through the various interpretations and emotional responses elicited by the film, we aim to foster a deeper understanding of what it means to confront our own ghosts, both personally and collectively, through the lens of cinema.
> Our discussion culminates in a reflection on the enduring relevance of *The Shining*, particularly in light of contemporary societal issues surrounding mental health, familial discord, and the stigmatization of addiction. We consider how the film serves as a lens through which we may scrutinize our own fears and vulnerabilities, inviting a dialogue that transcends mere entertainment. The episode serves as a critical exploration of art's power to reflect and inform the human condition, urging listeners to reconsider their perspectives on horror as a genre that offers not merely fright but profound insight into the depths of the human experience.
Takeaways:
- The discussion emphasizes that no filmmaker intentionally sets out to create a poor film, highlighting the complexities involved in filmmaking.
- A detailed analysis of a movie at the mechanical level can yield significant insights into its narrative structure and themes.
- The contrasting interpretations of Stephen King's original work and Stanley Kubrick's adaptation are central to the conversation.
- The podcast sheds light on the significance of character development, particularly how Jack Torrance's descent into madness is portrayed differently in the film and the book.
- The hosts debate the effectiveness of Kubrick's artistic choices, suggesting that his style may overshadow the original story's intent.
- The episode concludes that the movie's lasting impact lies in its ability to evoke strong emotions and provoke thought, despite its perceived flaws.
Mentioned in this episode:
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Transcript
Are you recording this?
Speaker B:Studying a movie in the mechanical level I think can really bring some revelation.
Speaker C:I believe that no one set out to make a bad movie with the exception of.
Speaker D:On paper.
Speaker D:This should work.
Speaker D:I just don't like it.
Speaker A:That's your own fault if you haven't seen it.
Speaker B:Way over budget.
Speaker B:Start cutting scenes.
Speaker B:Even the actors don't know what that movie is about.
Speaker B:I wish I wrote that.
Speaker B:Which.
Speaker C:I love the title, but that movie's trash.
Speaker B:Well, it's oatmeal, man.
Speaker B:It's good for you.
Speaker B:All right, Fellowship.
Speaker B:Of the real four of us sitting around talking about movies, this is the Shining.
Speaker B:Not Stephen King's Shining.
Speaker B:Stanley Kubrick's the Shining.
Speaker D:Completely different.
Speaker B:Completely different.
Speaker B:Who picked this one?
Speaker B:Who's pick was this?
Speaker A:I picked.
Speaker B:That was Sher's pick.
Speaker B:All right.
Speaker C:And you share.
Speaker C:You prefer this one over, I guess, Stephen King's Shining?
Speaker C:No, no.
Speaker C:Why'd you pick this one, then?
Speaker A:Because I wanted to talk about it.
Speaker C:All right.
Speaker B:This was a theatrical release.
Speaker B:I don't think.
Speaker B:That one was not a theatrical release, was it?
Speaker A:No.
Speaker C:Do we.
Speaker C:Do we have that rule as a stipulation or.
Speaker C:I didn't think about until you said it just now.
Speaker A:Well, the thing is with.
Speaker A:And I brought the movie cases out so I could.
Speaker B:Yeah, yeah.
Speaker A:No.
Speaker A:Okay.
Speaker A:I'm talking about.
Speaker A:Stephen King's the Shining is basically three movies put together.
Speaker A:It's a miniseries for tv.
Speaker B:Yeah.
Speaker B:It was made for tv.
Speaker C:But it's more faithful to his book as well.
Speaker C:Correct.
Speaker A:From what I understand.
Speaker A:I didn't read the book, I guess, y' all.
Speaker D:I haven't seen that.
Speaker C:Yeah, it's funny.
Speaker C:So James and I've read the book, but we haven't seen that.
Speaker C:Have you done both, Phil?
Speaker B:No.
Speaker A:We can talk about it because I've watched this several times.
Speaker B:Nice.
Speaker A:And we can talk about.
Speaker C:Well, the fact that it's got his name on it.
Speaker B:Stephen King's the Shining.
Speaker B:He wanted to differentiate.
Speaker B:Differentiate?
Speaker A:He wrote the screenplay for that.
Speaker B:Yeah.
Speaker B:So that he's saying this is not Kubrick or whatever.
Speaker B:Yeah.
Speaker C:Gotta be faithful, right?
Speaker C:He did both.
Speaker C:Yeah.
Speaker C:It's Gotta be faithful, I would think.
Speaker B:Yeah.
Speaker C:We can talk about it.
Speaker C:And I'm sure there's some differences, but.
Speaker A:Well, I wanted to watch Stephen King's the Shining because I knew y' all had read the book or you were listening to it and.
Speaker A:And, of course, you can see my fingers.
Speaker A:Chris and James have read or listened to.
Speaker A:Did you read it or listen to this time?
Speaker D:I listened to it, but I've You've read.
Speaker D:Read it.
Speaker A:Okay.
Speaker D:This would have probably been my fourth or fifth time reading it slash listening to it.
Speaker C:I've only read it once.
Speaker C:Okay.
Speaker B:I've never read it.
Speaker D:It's a fantastic book.
Speaker B:Yeah, it's good.
Speaker C:It's not my favorite, actually.
Speaker C:Stacy had me look this up the other day because she asked me, hey, what's his most, you know, best selling book ever?
Speaker C:I have no idea.
Speaker C:Like, and I was thinking, like, guessing, like, maybe it.
Speaker C:Maybe Stan, right?
Speaker C:It's this.
Speaker C:It's the Shining.
Speaker C:That's his number one seller.
Speaker A:And apparently he was really young when.
Speaker C:He wrote it because it came out in like 74, I think.
Speaker C:So, yeah, he was early in his career, but.
Speaker A:And he too had a small child at the time he wrote it.
Speaker C:So.
Speaker C:Yeah, I think to me, like, I'm a huge Stephen King fan.
Speaker C:He is my favorite author.
Speaker C: m until way later, until like: Speaker C:Like, I think I said this before, maybe like, Serving the Dark Towers first and then went back and started devouring all of his horror stuff.
Speaker C:Like, I knew who he was, but he was the horror guy.
Speaker C:Like, I didn't give him much thought.
Speaker C:But I do think it's interesting.
Speaker C:Like, his first, like, Cujo, other than the Stand, like, his first couple of books, Cujo, Carrie, the Shining, like, they're all okay to me.
Speaker C:Like, they're way on the list as far, way down on the list as far as favorites to me.
Speaker C:So I wonder if, like, had I been, you know, older and, like, picked them up when they came out, like, would I have, like, dropped Stephen King?
Speaker C:Because, you know, how, like, you, you read a new author, if their first book doesn't blow you away, chances of you picking up the next one are kind of slim.
Speaker C:So it's very interesting to me that.
Speaker B:You know, well, I think he's gotten more sophisticated.
Speaker B:Like, you know, his early broker, hopefully.
Speaker B:Mean Dog, Mean Car.
Speaker B:Yeah, you know, okay.
Speaker C:Right, right.
Speaker A:Well, the one I refused.
Speaker B:But he's gotten more sophisticated, obviously.
Speaker C:Well, I like the Ming Car one.
Speaker C:I like Christine.
Speaker A:I like Christine, the one, the movie.
Speaker A:I tried watching Carrie, I couldn't get past the first few minutes.
Speaker A:So I know I would never read any of that.
Speaker C:But not that I didn't like them.
Speaker C:They were good books.
Speaker C:But he's got others that are great and then these weren't great.
Speaker C:To me, it's just interesting.
Speaker C:But like Doctor Sleep, for example, I like that way better than, than the, than the Shining, than the first one.
Speaker C:But you couldn't have that without the first one.
Speaker B:Right?
Speaker B:Right.
Speaker D:Have you seen doctor Sleep?
Speaker B:I've not.
Speaker D:It's an excellent sequel to this movie.
Speaker B:It's Danny.
Speaker B:Right.
Speaker C:I feel it's really good.
Speaker C:Like, both.
Speaker C:I feel like it's a good sequel, like a good adaptation of the book.
Speaker D:Yes.
Speaker C:But it's faithful.
Speaker C:Obviously, it's a movie, so it has to be faithful to the.
Speaker C:To the movie.
Speaker C:Well, it's.
Speaker C:It walks the line in both worlds.
Speaker D:Which I think is very, really.
Speaker D:Well.
Speaker A:Okay.
Speaker A:I tried to send y' all an article I found about doctor Sleep.
Speaker A:Stephen King did approve of that script.
Speaker A:He said that it kind of made.
Speaker C:Up for, I guess, the shortcomings of.
Speaker A:Yeah.
Speaker A:Of the Stanley Kubrick movie script or whatever.
Speaker A:So he was okay with it.
Speaker A:But I haven't seen it, so I don't know.
Speaker D:The.
Speaker D:From what I understand, the.
Speaker D:The.
Speaker D:The rift started between Stephen King and Stanley Kubrick almost immediately.
Speaker D:Kubrick picked up the Shining out of a, you know, a pile of books to do a horror movie.
Speaker D:Kubrick just wanted to do a horror movie.
Speaker B:Yeah.
Speaker D:Pick the Shining.
Speaker D:And Stephen King and him started talking and immediately recognized our two visions are completely worlds apart.
Speaker D:So Kubrick basically made an art piece.
Speaker B:Yeah.
Speaker C:I had to sign off.
Speaker C:Right.
Speaker C:Like, he.
Speaker D:So he just said, I bought the rights.
Speaker C:Yeah, that's what I'm saying.
Speaker C:That's what's getting at.
Speaker C:So King was like, all right, we're on different pages.
Speaker C:I don't like it, but I'm gonna take this check.
Speaker B:Yeah, right.
Speaker B:Yeah.
Speaker B:Especially because it was, what, 70?
Speaker B:Young?
Speaker C:He had not gone to the stratosphere yet.
Speaker B:Right.
Speaker C:Yeah.
Speaker C:I don't know.
Speaker C:This might have been his first, like, movie adaptation of one of his books.
Speaker C:Maybe.
Speaker D:Not.
Speaker A:I don't know.
Speaker D:You have that same experience.
Speaker D:You wrote something.
Speaker C:Yeah.
Speaker D:And then the movie came out a little bit different.
Speaker C:Oh, sure.
Speaker C:Yeah, sure, sure.
Speaker D:So it's basically Kubrick and the film company bought the rights from Stephen King, essentially.
Speaker D:So it was.
Speaker D:Yeah, here's your check.
Speaker D:Take the money.
Speaker C:Yeah.
Speaker C:No, I see what you're saying.
Speaker C:It's a little bit different because I guess, you know, I wrote the script for them based off their idea as opposed to being where King.
Speaker C:It's solely his.
Speaker C:Came from his, you know, his soul when he wrote the book first.
Speaker C:Not that all writing doesn't come from your soul, but, I mean, like, it was all his.
Speaker C:Like, he owned it.
Speaker C:Right.
Speaker C:He came with everything.
Speaker C:And then.
Speaker C:I don't know.
Speaker C:I thought it was interesting.
Speaker C:Like, if he didn't click Right away he could have walked away.
Speaker C:But instead he was like, I'll take this check.
Speaker C:Whatever it was.
Speaker D:Not have had the power.
Speaker D:It might have just been, hey, we're making this.
Speaker C:So might as well take the damn check.
Speaker D:Yeah, the check.
Speaker D:Or don't.
Speaker D:We don't care.
Speaker A:I don't know if this is true.
Speaker A:I found this on the Internet.
Speaker A:Carrie was the first movie that came out before.
Speaker C:Okay.
Speaker A:And then Salem's Lot.
Speaker C:Oh, damn.
Speaker A:I watched that.
Speaker A:That was interesting.
Speaker A:And then the Shining and then Creep Show.
Speaker C:That's another one too.
Speaker C:Like Stacy read it last year and really, really liked it.
Speaker C:And when I read it I was like, eh.
Speaker C:Like Salem's Lot.
Speaker C:But I think to me because I came on to him so late that like I knew what it was.
Speaker C:Like I knew like he hide to me.
Speaker C:He hides the fact that it's a vampire in the book.
Speaker C:And I knew that going into it.
Speaker C:So that ruined it for me.
Speaker C:And that's just because it's, you know, I read it, you know, 30 years after he came out or whatever.
Speaker A:I think the first book I read of his was Cujo.
Speaker A:And I read it because someone said there's a lot more to it than the.
Speaker A:In the movie.
Speaker A:And there is.
Speaker A:There's some strange stuff.
Speaker D:I can't remember the first Stephen King book I read.
Speaker D:I just.
Speaker D:I've always been kind of around it and absorbed by my mom read it.
Speaker C:An uncle that owned them all and like.
Speaker C:But I never talked to him about it till like not never, but like growing up like when I was a kid.
Speaker C:And I remember seeing that like I talked to him years later like after I started reading them.
Speaker C:But.
Speaker C:Yeah.
Speaker D:So the Stanley Kubrick version.
Speaker C:Yep.
Speaker C:Sorry we got off test everyone on tunnel.
Speaker A:Oh yeah, we did.
Speaker B:I.
Speaker B:Well, I don't want to.
Speaker B:It'll become clear how I feel about this movie.
Speaker B:But I discovered I always thought I.
Speaker C:Liked this movie but you do not.
Speaker B:And what I like are about four scenes of Jack Nicholson.
Speaker B:Yeah.
Speaker B:No.
Speaker B:What I will get into this but what I discovered was I don't.
Speaker B:I thought I liked this movie.
Speaker B:And what I discovered is I'd like about four scenes of Jack Nicholson in this movie and not even every scene of Jack Nicholson, just some.
Speaker B:So we'll get into why I think this movie doesn't whatever.
Speaker D:And so doesn't hit your mark.
Speaker B:Doesn't hit my mark the way I thought it did.
Speaker D:Well, what about the critics?
Speaker D:Movies fans.
Speaker B:Yeah.
Speaker B:No.
Speaker B:Yeah.
Speaker B:We need to get into the money.
Speaker B:Money, money.
Speaker B:Critics, fans.
Speaker B:I have the money.
Speaker B:And Craigs I forgot to do the blurb.
Speaker B:Does someone have the blurb or whatever?
Speaker B:The.
Speaker D:It's the Shining.
Speaker D:Everybody knows I can read.
Speaker A:I want to read.
Speaker B:Yeah, go ahead and read it.
Speaker C:Got it.
Speaker C:Okay.
Speaker C:Wonderful.
Speaker A:Jack Torrance.
Speaker A:Jack Nicholson becomes winter caretaker at the isolated Overlook Hotel in Colorado.
Speaker A:Hoping to cure his writer's block, he settles in a long.
Speaker A:He settles in along with his wife Wendy, who's played by Shelley Duvall, and his son Danny, played by Danny Lloyd, who is plagued by psychic premonitions.
Speaker A:As Jack's writing goes nowhere and Danny's visions become more disturbing, Jack discovers the hotel's dark secrets and begins to unravel in a homicidal maniac hell bent on terrorizing his family.
Speaker D:Sounds about right.
Speaker B:Yeah.
Speaker C:So something I thought about and just I guess at one point I was going to talk about it and I don't know when, but like, I guess I want to do it now because the way the, the wording and that premise, Jack's writing goes nowhere, right?
Speaker B:Yeah.
Speaker C:The reason this guy's writing goes nowhere to me, because he's not a fucking writer.
Speaker C:Like, he blames everybody else on all of his stuff and his problems, particularly his wife.
Speaker C:Yeah, well, like, what did he write?
Speaker C:He didn't write a damn thing in this movie.
Speaker B:Like, he.
Speaker C:As a writer, like, and I get it, like, if we see him sitting there typing away, that's a boring ass movie, right?
Speaker C:So other stuff, very cool.
Speaker C:Other exciting things have got to happen.
Speaker C:But like, I've seen other movies about.
Speaker B:Writers that reveal his writing.
Speaker B:Becomes a big reveal.
Speaker C:It did, but I guess I see what you're saying.
Speaker C:He didn't even have any, like, pages that were like, of actual normal stuff.
Speaker C:Right.
Speaker A:Question.
Speaker A:Like, yeah, what was he writing again in this one?
Speaker A:Because like I said, I watched Stephen King's the Shining last and I know he was writing a play and that.
Speaker A:What was he writing?
Speaker A:And was he writing a movie?
Speaker C:Said it was a book.
Speaker C:I thought it was just a novel because he's like, I'm outlining a novel is what he said at the beginning.
Speaker D:The interview in, in the novel the Shining.
Speaker D:I think he's writing a book as well.
Speaker D:But he in the book is like, he's a professor of literature, English or whatever.
Speaker D:He is a writer.
Speaker D:But maybe in the movie he was a.
Speaker B:He was a teacher.
Speaker D:Yeah.
Speaker D:In the movie it's never.
Speaker D:He just seems kind of like a down and out loser a little bit.
Speaker C:Yeah, well, he's his teacher.
Speaker C:In the interview.
Speaker B:Yeah.
Speaker C:In the movie I thought, yeah, yeah.
Speaker B:But he had become.
Speaker B:He's five months sober.
Speaker B:I guess that's the same in both.
Speaker B:Anyway, sure, he makes up.
Speaker B:We're not going to get into this, but every time I hear it, I shake my head.
Speaker B:If you're a writer and you think there's such a thing as writer's block, then you're full of shit.
Speaker B:Okay?
Speaker B:Because in the movie, he's like, nothing's coming to me yet.
Speaker B:Okay?
Speaker C:Right.
Speaker B:Okay.
Speaker C:So while he's sleeping half the day.
Speaker C:Well, and fucking, you know, getting up and his wife's making him breath like he was pissing me off, man.
Speaker C:As a.
Speaker B:You're a writer.
Speaker C:You got five months knowing you don't do shit and you can't write anything.
Speaker C:You're not a writer.
Speaker C:Yeah, I think you said it best once and all, right, I'm an astronaut then, if you're a writer.
Speaker C:So I've never been in the moon.
Speaker C:I don't go to fucking, you know, NASA and training, all that.
Speaker C:But I'm an astro.
Speaker B:If you can't think of an idea, take an archetypal character and a standard plot and just run them through the steps and it'll be a paint by number story, but at least you'll have something that maybe will.
Speaker B:There is no such thing as writer.
Speaker B:Absolutely.
Speaker C:Ideas are coming to you all the time.
Speaker C:Now, maybe not all these are brilliant ideas, but you're always getting ideas for stuff.
Speaker C:Always getting ideas for a character or a story.
Speaker C:And then, yeah, maybe it fades in a couple days because it was shit.
Speaker C:Or maybe it's not ready yet, you know, and part of that comes back to you later when you're able to put that character and then the scenario come up with.
Speaker C:It was really annoying to me that he was.
Speaker C:And again, that's, I guess, not the point of the movie.
Speaker C:Interesting, though, on that deal with.
Speaker C:To me, like, Stephen King puts a lot of.
Speaker C:I think a lot of writers, but he puts a lot of himself in his stories.
Speaker C:And yet he was a professor and he was a writer or a teacher.
Speaker C:Professor, but he was a teacher and then, you know, became a writer.
Speaker C:So I feel like that's probably why that guy had that background.
Speaker B:Yeah.
Speaker B:Stephen King.
Speaker B:Stephen King is the.
Speaker C:He's a real writer, by the way.
Speaker B:He is a real writer, but he's not an artsy writer.
Speaker B:He's a work a day writer.
Speaker B:He's a 9 to 5 writer.
Speaker B:Means he punches the clock and he gets the words.
Speaker C:Sure.
Speaker B:Now he'll be in a store and he'll see plate glass and he'll Come up with a story for the myths.
Speaker B:That's not gonna win the Pulitzer, but it'll scare the shit out of you.
Speaker B:But it's a blue collar, grinded out story, and Stephen King doesn't f around.
Speaker B:Right, sure.
Speaker B:Right.
Speaker D:His best books are the longest ones.
Speaker B:Sure, sure.
Speaker A:And where his idea for this came from, he actually stayed in the Stanley Hotel in Colorado.
Speaker B:There is no writer's block.
Speaker B:Stephen King has never had writer's blood.
Speaker D:But Jack Torrance does.
Speaker B:Sure, yeah.
Speaker B:Because he's, you know, he's got to write the great American novel.
Speaker B:And that's.
Speaker B:Anyway.
Speaker D:Well, I think I don't want to.
Speaker D:Yeah.
Speaker D:Just looking at it, the character of Jack Torrance was.
Speaker D:Wanted to live the life of Jack Kerouac and.
Speaker D:Yeah, yeah, Kowski and all that.
Speaker D:Just drink and write the great American novel.
Speaker B:Yeah.
Speaker D:Well, maybe that's his motivation.
Speaker D:But in the movie, none of that is stated.
Speaker D:He's just a guy looking for a job.
Speaker D:When you first see him, I know we're jumping ahead a little bit.
Speaker D:He just looks like a guy that's smiling and grinning.
Speaker D:I got to get a job.
Speaker C:Oh, for sure, yeah.
Speaker C:Feeding, feeding, lip service.
Speaker C:Feeding them what they want to hear.
Speaker C:So he gets a job.
Speaker D:There was people killed here, sir.
Speaker D:Yep.
Speaker D:My wife's gonna love it.
Speaker C:I'm gonna fucking.
Speaker D:You're gonna be up here, you know, months and months at a time.
Speaker D:Nope.
Speaker D:We're gonna.
Speaker B:Happen to me.
Speaker B:You know, it's like, okay, dude.
Speaker B:Anyway, so, yeah, I think some of that's just the.
Speaker C:The foreboding.
Speaker C:Right.
Speaker C:And the.
Speaker C:I promise you that won't happen to me.
Speaker C:Well, watching my, you know, Lathe looks at me or whatever and goes, you know, gives you a little side look.
Speaker C:Because he knows.
Speaker C:All right, that's bullshit.
Speaker B:There's.
Speaker B:There's a clever.
Speaker B:A couple clever moments that we'll get to in a second.
Speaker B:That's the blurb.
Speaker B: This was released in: Speaker B:May 23.
Speaker B:Domestic, it cleared 45 million.
Speaker B:International.
Speaker B:I guess it wasn't released that much.
Speaker C:What was the budget?
Speaker C:I'm sorry.
Speaker B:The budget was 19 million and made 45.
Speaker D:Estimated 19 million?
Speaker D:Yeah.
Speaker B:Domestic, 45.
Speaker B:International, 1 million, 6.
Speaker B:So I guess it didn't get a lot of domestic release.
Speaker B:Not like it does now and then.
Speaker B:Worldwide, 47 total on a 19 million budget.
Speaker B:Tomato meter for critics.
Speaker B:Critics and fans are much kinder to this movie than.
Speaker B:Than I think that deserves.
Speaker B:Tomatometer.
Speaker B:Critics gave it 82%, which means, you know, obviously 82% gave it three stars or higher.
Speaker B:And then 93 fans give this thing the three stars are above.
Speaker B:And I would have up until the time I started looking at it closely, you know, but we'll get into that.
Speaker B:And I know this movie is loved, and so if you like it, great.
Speaker B:I think it's a mess, but we'll get into that.
Speaker D:All right, that was it.
Speaker D:That's the podcast.
Speaker D:That's a review.
Speaker D:It's a mess.
Speaker B:And we're done.
Speaker B:Here was the closing music.
Speaker B:So this is obviously.
Speaker B:Okay.
Speaker B:So Sherry reminded me we're going to do four podcasts.
Speaker B:We're recording these way before the time, you know, we got.
Speaker B:We have them in the pipe.
Speaker B:So by the time this comes out, it'll be a month, six weeks, whatever.
Speaker B:But we're doing four scary movies for Halloween, and we plan on trying to release those the four weeks in October.
Speaker B:And so this will be one of the releases in October in celebration of Halloween and all things scary.
Speaker B:So this, all four of these movies that will release most likely will be the genre of monster in the house.
Speaker B:I think this is a monster in the house.
Speaker D:I think this one's the house is the monster.
Speaker A:Sure, yeah.
Speaker B:Which requires, as we have said before on other podcasts, a monster, a house and a sin.
Speaker B:The monster.
Speaker B:I think we could call him Jack, call him Grady, call him Lloyd.
Speaker B:You know, the influences, the haunted hotel, whatever.
Speaker B:The house obviously is the Overlook.
Speaker B:And I was hard pressed to find the sin of this movie.
Speaker B:So I don't being an.
Speaker D:Yeah, well, well, it's alcoholism.
Speaker D:It's abuse.
Speaker D:Mental, physical abuse.
Speaker D:That, that's only verbal abuse.
Speaker B:Yeah, yeah.
Speaker D:Those things, those things happened before they ever went to the hotel.
Speaker D:Was the alcohol, that late night drinking?
Speaker D:Obviously not in the movie.
Speaker D:It's not really stated other than him dislocating.
Speaker B:Yeah, yeah.
Speaker B:Well, he, I think I, I, that's a good point.
Speaker B:I guess I detached from this movie.
Speaker B:I didn't see it.
Speaker B:But I think alcoholism is probably the sin because there's a scene when he goes in with Lloyd and he goes, here's to the, you know, here's to the end of sobriety and all the damage it has caused me, you know.
Speaker D:And, and again, I know back and forth to the book.
Speaker D:In the book, the hotel.
Speaker D:I think the hotel takes him over as soon as he drinks.
Speaker B:Yeah.
Speaker D:Has a drink.
Speaker C:Yeah.
Speaker D:He's the movie.
Speaker D:It's very similar.
Speaker C:I don't know if this is what you're getting at, but he's, he's very, he's more sympathetic in the book, Right?
Speaker C:Way more sympathetic.
Speaker C:Where it's like, to me, we were talking a little bit in the interview.
Speaker C:In the interview scene, it's all lip service.
Speaker C:There's a guy who needs a job, which.
Speaker C:Okay, whatever, you need a job.
Speaker C:You're like, he's down on his luck.
Speaker C:That's fine.
Speaker C:Like, that didn't necessarily rub me the wrong way.
Speaker C:And then they cut some weird cuts in this movie, but they cut to his family, introduce them, and then they show them in the car.
Speaker C:And he's like, such an asshole.
Speaker C:And he's creepy in the fucking car from moment one.
Speaker C:Well, to me and his.
Speaker C:You know, you've been coming about.
Speaker C:There's a couple of scenes with Jack, I guess.
Speaker C:I don't know that I like them all, but, like, I watched all of them, like, couldn't look away because I'm just watching what this guy's going to do next.
Speaker C:Like.
Speaker C:Like he's.
Speaker C:Somebody's having fun at least with his damn movie.
Speaker C:And I think he was.
Speaker C:But.
Speaker C:But.
Speaker C:Yeah, but he's not likable.
Speaker C:Like, they had so many moments where they could make him likable and.
Speaker C:Because I guess there was.
Speaker C:I don't know if it was an interview or if it's in the back of the book, but I remember Stephen King saying at one point, I could make this guy just a straight up regular monster, or I could give him more motivation.
Speaker C:So he went with the alcohol, you know, being an alcoholic kind of thing, and making him more human.
Speaker C:Right.
Speaker B:Yeah.
Speaker C:That's something everybody can theoretically relate to.
Speaker C:Right.
Speaker C:Yeah.
Speaker B:I didn't.
Speaker B:I told Cher I was going to.
Speaker B:I didn't look it up.
Speaker B:I thought.
Speaker B:I felt like I gave way too much attention to this movie as it was, so I didn't.
Speaker B:But I think, like, if you were looking at plot structure, yes, we're looking at the beast.
Speaker B:But I think obviously it's gonna be a descent plot.
Speaker B:It's gonna be a descent into madness.
Speaker B:Right, Agreed.
Speaker C:Yeah.
Speaker B:You take a character who's an world and you.
Speaker B:You bring him down, and that's a descent plot by stages.
Speaker B:You break him down until insanity or whatever it is at the end state, that is far worse.
Speaker C:Negative work, not a positive.
Speaker C:Yep.
Speaker B:Yeah.
Speaker B:Right.
Speaker C:Yeah.
Speaker B:He does negative change.
Speaker C:He doesn't become better, he becomes worse.
Speaker B:Right, right, right.
Speaker B:And so I think that's what it is.
Speaker B:But I think.
Speaker B:I don't.
Speaker B:I don't think it's.
Speaker D:Well, he starts out not very likable.
Speaker C:Yeah.
Speaker C:And that.
Speaker C:That bothered me.
Speaker C:It's like, I wish he'd been especially have.
Speaker C:From running from.
Speaker C:Have Reading.
Speaker C:Having read the book.
Speaker C:Yeah, he was.
Speaker C:He was definitely more likable in the.
Speaker B:Book, as Sherry, you had said.
Speaker B:Or some.
Speaker B:Maybe you mentioned it saying Stephen King said about Kubrick's movie, they took a crazy guy and made him crazier.
Speaker B:Whereas Stephen King took a normal guy and made him crazy, which I think is far more superior.
Speaker B:Way to go, right?
Speaker B:I mean, if he's already crazy, it's not much of a nudge.
Speaker C:Yeah.
Speaker C:And you're not going to be on.
Speaker C:Most people aren't going to be on board with this guy.
Speaker C:Like I said, he's sitting in the car looking crazy as shit.
Speaker B:Well, guess.
Speaker C:Can't you see that, Honey?
Speaker C:He saw it on tv just like.
Speaker B:Yeah, well, they talk about the.
Speaker B:The Donner Party.
Speaker B:The.
Speaker B:Wendy asked about the Donner Party, and he was like, no, I think it's a little far.
Speaker B:A little farther west or whatever.
Speaker B:And.
Speaker B:And then Danny asked what the Donner Party was, and I guess it's explained.
Speaker B:And.
Speaker B:And Jack almost giggles.
Speaker B:Like, he's almost a little too.
Speaker B:And I wrote it down a little too titillated about this whole cannibalism story.
Speaker B:He's, like, smiling and laughing as he.
Speaker B:I don't know, he had the glare.
Speaker B:I guess that's set up for what was coming.
Speaker B:But.
Speaker D:Yeah.
Speaker D:And Danny was like, you mean they eat each other up?
Speaker B:Yeah.
Speaker B:Yeah.
Speaker C:I mean, but think about it just from a.
Speaker C:I don't want to go down this road.
Speaker C:We've been kind of, you know, guilty of this before.
Speaker C:But just from a writer's standpoint, if they had made him, Jack's character more.
Speaker C:Maybe.
Speaker C:Maybe it doesn't.
Speaker C:It doesn't work with her character.
Speaker C:Like, if Wendy had tried to explain Donner.
Speaker C:What the Donner Party was.
Speaker C:And then Jack's like, no, no, no, no, we can't do that.
Speaker C:Wendy, like, neither one.
Speaker C:Like, she just stayed quiet, right?
Speaker C:And Jack answer.
Speaker C:But, like, as a dad, and this kid's real young, you're gonna explain cannibalism and all that shit.
Speaker C:Like, that just.
Speaker C:That bothered me.
Speaker C:And.
Speaker C:But they had a moment there where they could have.
Speaker C:Like, if he's.
Speaker C:I don't know.
Speaker C:Don't worry about this.
Speaker C:Like, they could have had.
Speaker C:He could have come up with some bullshit story.
Speaker C:You're a writer.
Speaker C:Come up with some bullshit story where it's like a happy story or somehow.
Speaker C:Right.
Speaker C:Spin it for the kid.
Speaker B:Like, if you.
Speaker C:You take that to the.
Speaker C:With the guy who's running them down with an axe at the end.
Speaker C:You know what I mean?
Speaker C:Like, instead they went with, like you said, crazy.
Speaker C:Already off his rocker.
Speaker C:And then Jed just gets worse.
Speaker B:Yeah, I'm trying.
Speaker B:So you're watching this, and in my mind I'm thinking, in what world did these two ever fall in love and get together?
Speaker C:You're right.
Speaker C:You know, you're right.
Speaker B:Anyway, we're talking about Kubrick.
Speaker B:And so right off, I said, go.
Speaker C:Out with me or I'm gonna chop you up into little pieces.
Speaker C:And she said, okay, right.
Speaker C:And I'll never say that again, I promise.
Speaker B:I had trouble finding solid structure in this movie.
Speaker B:And I knew Kubrick is Kubrick.
Speaker B:Right.
Speaker B:Okay, so all you.
Speaker B:Kubrick heads out.
Speaker C:I'm wiping my brow.
Speaker C:Yeah, I struggled as well.
Speaker C:And I was like, all right, well, Philip Ray got this.
Speaker B:I am not near as enamored by Kubrick as some people are, so I have no sympathy for him.
Speaker B:And I don't mind this.
Speaker B:Anyway, so I was looking for an opening image.
Speaker C:You said something earlier about him.
Speaker C:What'd you call him, sir?
Speaker B:Yes.
Speaker D:I think he's make a great bumper.
Speaker B:Sure.
Speaker B:Opening image I have.
Speaker B:It's actually a fairly interesting camera shot.
Speaker B:The.
Speaker B:The.
Speaker B:Because I.
Speaker B:I couldn't nail down an opening image for Jack or.
Speaker B:Or something defining for any of them.
Speaker B:But they're the camera.
Speaker B:The movie opens, and it's long shot of a long and winding road.
Speaker B:Aerial, you know, isolated.
Speaker B:And the road is twisting and it comes down onto the road, and you're almost like in the viewpoint of the car.
Speaker B:And then the camera takes a sharp left off the road.
Speaker B:Like, it.
Speaker B:Like a car veering off the road into a ravine.
Speaker B:You know, like.
Speaker B:Like a crash.
Speaker B:The camera tracks and seems to careen and veer off the road.
Speaker B:And I thought, well, that is telling us that we're in for a.
Speaker B:A twisty ride that's going to go off the rails.
Speaker B:I hope that that's what Kubrick is doing, because that would be fairly competent.
Speaker C:He probably just dropped the camera.
Speaker B:Yeah, well, yeah.
Speaker C:Yeah.
Speaker C:I feel bad, but I missed that, I guess.
Speaker C:I don't know why I'm trying to recall it in my head.
Speaker C:In the winding road and the opening, like in the tracking shot.
Speaker C:I remember all that.
Speaker B:Yeah.
Speaker C:But the veering off, there's a hard left.
Speaker B:And it looks like.
Speaker B:It looks like if you were POV in a car going off the road.
Speaker C:The only thing come up with this.
Speaker B:I'm Louise or something.
Speaker C:Must have missed it because Lace and I were talking about the music.
Speaker C:Because the music starts in immediately, right?
Speaker C:And just this creepy booming music, like.
Speaker C:And that's one things I liked.
Speaker C:I was like, all right.
Speaker C:Because you're talking about letting the audience know what kind of ride they're going on.
Speaker C:Like, this music kicking in right away is letting you know.
Speaker C:Like, you know.
Speaker C:Oh, yeah, all right.
Speaker C:This, you know, there's gonna be something.
Speaker C:This, this movie is, you know, is.
Speaker B:Yeah.
Speaker C:Scary or whatever.
Speaker B:You know, he uses this device, these.
Speaker B:And it's been done.
Speaker B:And it's usually done in what I've seen Guy Ritchie movies or tongue in Cheek comedies.
Speaker B:This use of the title card to break up sections of the movie.
Speaker B:And so I don't remember how many of the water, like 10 or 12 title cards throughout the movie.
Speaker B:Ninth title card.
Speaker B:So I'm looking at the end of my notes to see.
Speaker B:But I thought it was like 10th.
Speaker B:So I'm looking at like 10, 10 title cards throughout this movie where it'll say fade to black and it'll say a word and then a scene, which I'm fine with usually.
Speaker B:I like that some of these seemed arbitrary.
Speaker C:You stole the word right out of my mouth.
Speaker C:It's actually what I comment I'd made to late because as we're getting into this thing, like it was a Tuesday.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker C:And then the next one's Saturday, 4pm like, we hit.
Speaker C:Yeah, 4pm we have no idea what day it is and what time it is.
Speaker C:Right?
Speaker C:So, like, what does it matter?
Speaker C:Like, they annoyed the hell out of me because I just didn't understand.
Speaker C:Like.
Speaker C:Like, I mean, there's other ways to show passage of time.
Speaker C:And maybe with it's always snowing and snow's piling up.
Speaker C:Maybe that's.
Speaker C:Only I come up with was, we can't keep showing snow outside.
Speaker C:Like, how do you show passage of time if it always looks the same?
Speaker C:Right?
Speaker C:But still, like, it didn't.
Speaker C:They were arbitrary.
Speaker C:It didn't matter.
Speaker C:Like, we had no idea.
Speaker C:You're telling me it's Tuesday that I know it's Tuesday because there was a stupid car that went up.
Speaker C:Not that it matters anyway.
Speaker B:It doesn't.
Speaker B:Yeah, right.
Speaker B:One, it doesn't matter.
Speaker C:And then the interview one, you know, @ the beginning, like, because that was weird.
Speaker C:Because that's the only one that's like that.
Speaker C:Because later on there was.
Speaker C:Was there a killing one?
Speaker C:Was there a.
Speaker C:Nope.
Speaker B:No, none of that.
Speaker C:And then two seconds into it, unless you're an idiot, you can figure out it's an interview.
Speaker C:So you didn't need that card anyway.
Speaker B:Unless he wanted you to not know.
Speaker B:The passage of time to symbolize that they're up there having cabin fever and one day bleeds into another or something.
Speaker B:I don't know.
Speaker C:He didn't want you to know how long that movie was.
Speaker C:That's what it was.
Speaker A:You know, I didn't pay that any attention until I was watching the Stephen King version.
Speaker A:And they actually do the dates, but.
Speaker A:But of course, they have more time to explain things.
Speaker A:And they show it snow and then they show it melt, and they're still going into town.
Speaker A:It's not like they're isolated until much, much later.
Speaker A:But then they do tell what the dates are.
Speaker C:So I just don't talk about it.
Speaker C:And I don't know what they.
Speaker C:Like we talked about earlier, I haven't seen that version.
Speaker C:And I don't remember the dates that King threw out in his book.
Speaker C:And I'm sure the passage of time is much more clear in the book and maybe even this movie.
Speaker C:But I just thought about it.
Speaker C:If you're going to do those cards throw up the months instead of the day, well, that's what it does in February.
Speaker C:Whatever it was, it was made October or something.
Speaker C:Or maybe I have it reversed.
Speaker B:Yeah.
Speaker C:But I don't know the month.
Speaker C:So that we know.
Speaker C:Because that's only like.
Speaker C:That has to be the reason they're in there.
Speaker C:Right.
Speaker C:Is to see this guy goes nuts or whatever.
Speaker B:Yeah, the.
Speaker B:The.
Speaker B:One of the.
Speaker B:One of the first cards.
Speaker B:Let's see, it's the third title card says one month later.
Speaker B:So they have a good month where.
Speaker C:Nobody'S thinking of days and.
Speaker B:Right, right.
Speaker B:Anyway, so as far as that goes, the opening image giving us the idea that we're on for a ride and it's going to go off the rails, I think was the only thing I could.
Speaker C:Should have been an off the rails.
Speaker B:Card, you know, Anybody else have anything for opening image, like something you could nail down as a starting place for Jack?
Speaker B:I don't know.
Speaker B:So then we get this first title card, the interview.
Speaker B:And, you know, Jack is given several things here.
Speaker B:Duties of the caretaker.
Speaker B:We learned that this is all set up.
Speaker B:The snow closes the road, and there's tremendous isolation.
Speaker B:And then we're given this backstory of Grady, the tragedy where he killed his family.
Speaker B: And it was: Speaker B:Danny, we learned, gets visions through Tony, his little boy that lives in his mouth.
Speaker B:And Tony doesn't want to go to the Overlook.
Speaker B:Jack is an alcoholic, but has been sober a whole five months.
Speaker B:And Wendy, after an episode with Danny, is interviewed also.
Speaker B:I think there's two interviews because the doctor starts Questioning her about Danny's injury.
Speaker B:And so she glosses over it by saying, well, it was one time and he was drunk and he's sober now.
Speaker B:So there's this setup and of them both being interviewed.
Speaker D:Yeah.
Speaker D:Because it's highlighting that Danny goes into trances, essentially starts seeing horrible, horrible images.
Speaker B:Yeah, yeah.
Speaker C:But even the way they did it bugged me, like, from, like, the movie.
Speaker C:Like, because he.
Speaker C:Jack sits down, started the interview a little bit, you know, and I think he.
Speaker C:The guy asked him if he wanted coffee.
Speaker C:And then he tells the secretary and bring some other guy in here.
Speaker C:Right?
Speaker B:Yeah.
Speaker C:And then if I remember right, it fades out and then brings up and starts.
Speaker C:Introduces to Danny and Wendy.
Speaker B:Right.
Speaker C:We have a little bit of them and then we go back and then the rest of the interview.
Speaker C:Like, it's so weird.
Speaker C:Like, why not show the whole interview and then show the family?
Speaker B:Like, I don't.
Speaker C:It just seemed weird to me.
Speaker C:Which.
Speaker C:This whole movie has some weird, weird.
Speaker B:Well, I'm sure it's artistic and you just don't get it.
Speaker D:Yep.
Speaker C:Yeah, that's probably it.
Speaker D:You just don't understand.
Speaker B:Just don't understand.
Speaker C:Maybe another cue card would have helped me get it.
Speaker C:Yeah.
Speaker B:Now, as far we.
Speaker B:So that's the setup.
Speaker B:The theme stated.
Speaker B:Couldn't nail down a theme.
Speaker B:I thought there were some interesting lines here about this movie.
Speaker B:Now, the dramatic question could be.
Speaker B:Because the.
Speaker B:The manager who's conducting the interview with Jack says for some, isolation can be a bit of a problem.
Speaker B:And then, you know, tells the story and Jack flips it off.
Speaker B:That's not going to happen to me.
Speaker B:All right, well, okay, so maybe one of the dramatic questions of the movie is, you know, what are the effects of isolation?
Speaker B:Is isolation a problem?
Speaker B:I don't know.
Speaker C:Sure.
Speaker B:In the course of talking to Danny, when Danny is through Tony saying that.
Speaker B:Expressing doubts about going to the Overlook and maybe not wanting to go.
Speaker B:I thought it was funny.
Speaker B:Wendy says, we're all going to have a real good time, and, boy, are you in for a.
Speaker D:So what if.
Speaker D:What.
Speaker D:What is the theme of.
Speaker D:Maybe it could be what you would put your family through to chase your dreams.
Speaker B:Yeah.
Speaker D:I mean, I'm gonna murder my family to be a famous author.
Speaker B:Sure.
Speaker D:Could be.
Speaker B:You're.
Speaker B:You're stretching out your hand there to Kubrick.
Speaker B:You're really trying to.
Speaker D:It's.
Speaker B:I mean, you're giving.
Speaker B:I hear you.
Speaker B:I.
Speaker C:Well, I mean, I feel like that was what James told me was in there for sure.
Speaker C:Like, there were so many times when he.
Speaker C:He Blamed Wendy for his failing or not even, you know, his writing career, that's never even taken off.
Speaker C:Right.
Speaker C:To my knowledge, like, this will be his first book.
Speaker C:He hasn't ever written anything.
Speaker C:So.
Speaker C:Because he's not a writer, you know, like, it just.
Speaker C:It's.
Speaker C:Yeah.
Speaker C:Blaming everybody else.
Speaker C:But like, that was ultimately his.
Speaker C:His.
Speaker C:Like, I got that.
Speaker C:That was his dream.
Speaker C:And even like can sympathize with nothing else.
Speaker C:No other job is going to sustain him long term.
Speaker C:He wants to be a writer.
Speaker C:Right.
Speaker C:And so I get like taking a job where you got five months to write and nothing else to do.
Speaker C:But even then, like, that's just incredible.
Speaker C:And selfishness.
Speaker C:You know what I mean?
Speaker C:Like your family is right in the other room and you're, you know.
Speaker B:Yeah.
Speaker C:Well, his speech is very funny and we'll get to it.
Speaker C:But his speech is very funny to me.
Speaker C:And I even have part of that hanging up in my writing room just.
Speaker B:Because I think it's very good.
Speaker C:But I don't mean any of that, you know, and it was terrible to her the way he did it.
Speaker C:But.
Speaker B:Sure.
Speaker B:And so the other thing is everybody.
Speaker B:We always talk about Jack, but whose story is this?
Speaker B:Right.
Speaker B:Because.
Speaker C:Because if he's the monster.
Speaker C:Crazy asshole.
Speaker B:Yeah.
Speaker B:The main guy is the monster.
Speaker B:Or at least part of the monster mechanism.
Speaker C:Every Danny, then.
Speaker C:Yeah.
Speaker B:And it's either Danny or Wendy.
Speaker B:Right.
Speaker D:I would think it would just be the hotel.
Speaker D:Hotel is the main character.
Speaker D:That's.
Speaker D:That's my point.
Speaker D:From it.
Speaker B:Yeah.
Speaker C:No, the hotel's the main bad guy, but the main character.
Speaker D:Yes, the main.
Speaker D:It's the.
Speaker D:It's a story of the hotel.
Speaker D:It's just one of the many tragedies that has happened.
Speaker D:And this is just one highlighted.
Speaker D:Coming through it.
Speaker D:That's just my point of view on it again from reading the book.
Speaker C:Yeah.
Speaker D:There's a whole lot of history that's not even touched in the movie.
Speaker C:Sure.
Speaker B:No, I could.
Speaker C:I guess I could see that if it was.
Speaker C:Had been done like an anthology where it's a bunch of short stories all taking place in the hotel.
Speaker A:Okay.
Speaker C:So even then you're going to have.
Speaker C:I guess I feel like a main character in each of those stories.
Speaker A:Well, I have a question.
Speaker A:Talking about the hotel, you know, at the end they show that.
Speaker A:I'm just going to talk about the very, very end where they show the picture and there's Jack Nicholson right in time.
Speaker A:I mean, is it.
Speaker A:Is it like he.
Speaker A:He was there all along and they just kind of.
Speaker B:We could get to it.
Speaker D:Yeah.
Speaker D:That's what they highlighted at.
Speaker D:Because.
Speaker D:What is it?
Speaker D:Grady, he's the butler.
Speaker B:Always been, always.
Speaker D:You've always been the care.
Speaker B:So I'm trying to.
Speaker B:And Kubrick is going to.
Speaker B:I don't know, I can't speak for him, but he.
Speaker B:I guarantee he is going to resist the three act structure.
Speaker B:He is not going to be inclined.
Speaker B:He's going to think that's mundane.
Speaker B:I guarantee he's going to think that's mundane.
Speaker B:And, well, shackles, Right.
Speaker C:These artsy guys, you know, the three act structures is too much shackles on me and my creativity.
Speaker B:Because one.
Speaker B:Yeah.
Speaker B:One way to look at this is.
Speaker B:Is if Jack Torrance has always been there, you've always been here, you've always been the caretaker.
Speaker B:It's the story of whatever is possessing Jack Torrance or it's the journey of whatever Jack is back to the Overlook.
Speaker B:Right.
Speaker B:Because obviously he was there.
Speaker B:And then.
Speaker C:I'm losing you.
Speaker C:Sorry.
Speaker B: Okay, so in: Speaker B:In the picture, he's always been there, but.
Speaker C:But he got out left somehow and.
Speaker B:But, well, the whatever's possessing Jack or the character, whatever this guy is, got separated from the Overlook and that.
Speaker B:Because he'll say things like, I feel like I've been here before.
Speaker B:I feel like I've been here.
Speaker B:I love it here.
Speaker B:I never want to leave.
Speaker B:This is the best place I've ever been.
Speaker C:He's the only one having a good time.
Speaker D:I don't.
Speaker D:I don't see it that way.
Speaker D:I see it as the hotel seducing him slowly.
Speaker D:And it's like, you know, I just feel comfortable here.
Speaker D:I feel like I've been here before.
Speaker D:It's the hotel slowly seeping into him.
Speaker D:So at the end, the hotel absorbs.
Speaker C:Him slowly turning him and seducing him.
Speaker C:Because again, in the book, he starts off as a decent guy.
Speaker C:Yeah.
Speaker C:He was an alcoholic and he.
Speaker C:He hurt his kid.
Speaker B:Yeah.
Speaker C:But he's.
Speaker C:He's, you know, been sober, trying to turn around.
Speaker C:And he's probably a fucking.
Speaker C:Got evidence of being an actual writer in the book, too.
Speaker C:But anyhow, he.
Speaker C:I'll stop.
Speaker B:Yeah.
Speaker C:Beating that horse eventually.
Speaker C:But, yeah, I think the hotel, like you said, James, seduces him and then.
Speaker C:Yeah, 100%.
Speaker C:I think the picture.
Speaker C:He has now become part of the hotel.
Speaker B: Yeah, but that's: Speaker B:So he was there before the hotel just.
Speaker B:That's a lie.
Speaker B:And they just make.
Speaker D:The hotel is now presenting this photo.
Speaker C:Yeah.
Speaker D:To you.
Speaker D:And to go back to a Little bit of the weird stuff in Kubrick's version of stuff appearing and disappearing in scenes that plays into the fact of the hotel is the main character.
Speaker D:It is changing and warping.
Speaker B:Yeah.
Speaker D:The.
Speaker D:The viewpoint of the characters.
Speaker D:And that's where he just loses his mind and is absorbed.
Speaker B:Yeah.
Speaker B:Because.
Speaker B:Because Grady will talk about I and the others don't.
Speaker B:Are losing confidence in you and.
Speaker C:Yeah, right.
Speaker B:Who is I?
Speaker B:And so I thought it was like, are these demons?
Speaker B:Are these everybody in that damn picture?
Speaker D:Because in the next book, doctor Sleep, the Shining or the Shine or whatever is so powerful that.
Speaker D:What's.
Speaker D:What's her name?
Speaker D:The Hat.
Speaker D:Grace Rose.
Speaker D:Rose, the Hat.
Speaker D:They're like energy vampires and they go around, and if you have the shine, they'll suck the life.
Speaker C:To me, like, genius idea for, like, bad guys.
Speaker C:So the hotel have the shine and make them evil.
Speaker C:Like, it's really cool.
Speaker B:Okay.
Speaker C:All right.
Speaker D:The hotel is kind of a different breed of that thing it wants.
Speaker B:Okay.
Speaker D:Shining.
Speaker D:And when Danny comes along with his super power Shining, the hotel really comes to life.
Speaker C:Because Dick even explains it that, like, people.
Speaker C:He said the hotel has a bit of shine or whatever.
Speaker D:Yeah.
Speaker C:You can see.
Speaker D:It's like seeing pictures and all that.
Speaker D:And now the pictures are hurting people.
Speaker B:Well, that.
Speaker B:That.
Speaker B:That makes sense because I was trying to figure out the story and I.
Speaker B:I began to dawn me.
Speaker B:Well, this is not Jack's story necessarily.
Speaker B:It is, I guess, him being seduced by the hotel.
Speaker B:But, like, if you're looking for the.
Speaker B:And he changes, I guess, from crazy, crazier.
Speaker B:But.
Speaker B:But Wendy, I guess, and Danny are the ones that, like, who's the protagonist?
Speaker B:Right.
Speaker B:Well, it has to.
Speaker B:It can't be Jack unless you're pulling for him.
Speaker B:And it's the dissent.
Speaker B:But I think Wendy and Danny are the ones fighting against the antagonist.
Speaker B:Right.
Speaker B:And so it.
Speaker B:It's gotta be.
Speaker C:I mean, on one level, it's.
Speaker C:It's a lady getting out of an abusive relationship.
Speaker B:Yeah.
Speaker C:Right.
Speaker C:I mean, it's.
Speaker C:She eventually fights back to him.
Speaker C:Like, I got the feeling she'd never fought back before.
Speaker B:No, no, she's.
Speaker B:No, absolutely.
Speaker C:So she fights back finally, you know, and literally has to run and escape from this.
Speaker C:From this guy.
Speaker C:Yeah.
Speaker C:She had a guy who was a.
Speaker C:You know, an alcoholic and, you know, and abused the kid once.
Speaker B:Yeah.
Speaker C:And five months over.
Speaker C:And, like, I don't think you get anything at five months.
Speaker C:And I don't mean knock anyone that's been five months over.
Speaker C:No, obviously, it's a long, hard journey.
Speaker C:And you Got to start somewhere.
Speaker C:But I guess.
Speaker C:I don't know, I just thought that was interesting.
Speaker C:They couldn't make it, like, longer.
Speaker B:But I don't think.
Speaker B:And I don't.
Speaker B:I can't speak to it, but I don't think even alcoholics, anomalies may not encourage you to take on a stress level position like that if you've only been five months sober.
Speaker C:Sure.
Speaker B:I would feel like a responsible sponsor would be like, you know, let's just.
Speaker C:Say you got to keep part of it.
Speaker C:My understanding is you got to keep in touch with your sponsor.
Speaker C:So if he isolates himself, he just didn't even have a sponsor, you know.
Speaker B:Right.
Speaker B:And then Stephen King's is shining.
Speaker B:There is an effort for him to call meetings and.
Speaker C:Yeah.
Speaker B:There's more attention to the real world aspect of what it means.
Speaker D:Yeah.
Speaker D:In the book as well, he does have a guy that actually his sponsor is the guy that got him that job.
Speaker C:I forgot that.
Speaker C:Nice.
Speaker A:Well, I was going to.
Speaker A:I found something about the.
Speaker A:The true theme and meaning behind the story from Stephen.
Speaker A:Stephen King.
Speaker A:Stephen King, it said it's a little known fact.
Speaker A:This is the Shining is actually kind of an autobiography about Stephen King because he had his own struggles with alcoholism, which I didn't know, and it deteriorated his mental state.
Speaker A:So the theme of Jack being a sympathetic character who spirals into madness from alcohol and the supernatural is central to the Shining.
Speaker A:The fact that Kubrick largely brushed aside these details greatly changed the true theme and meaning behind the story.
Speaker D:Right.
Speaker B:Because you want be artsy.
Speaker C:Yeah.
Speaker C:No, and that could be another reason why, like, maybe King, like, took it as a, you know, almost.
Speaker C:I don't call it an insult, but, like, why he doesn't.
Speaker C:You know, because, like, if he put these real struggles that he had into this character and then this guy, this artsy comes along and.
Speaker C:And brushes them aside.
Speaker C:Right.
Speaker B:Well, then.
Speaker C:And you just ripped the heart out of what I'm trying to write here.
Speaker C:You know, I mean, in a way.
Speaker B:You know, I think Kubrick wants to be associated with, like, Bukowski and Kerouac, like James was saying.
Speaker B:Right.
Speaker B:Because, you know, I'm always looking for things in scenes.
Speaker B:Right.
Speaker B:Well, there's a scene where Wendy is sitting and Danny's eating his cereal and Wendy's reading a book.
Speaker B:Well, of course, my eyes focus right in on what book she was reading.
Speaker B:Let's Catch her in the Rye.
Speaker C:Yeah, she was reading it in the apartment for the left, too.
Speaker D:Yes.
Speaker B:Catch her in the Rye.
Speaker B:So Kerouac.
Speaker B:And I'm like, okay, well, I could.
Speaker C:Have had a reading of Stephen King there, buddy.
Speaker B:Well, yeah, but Catcher in the Rye, you know, obviously very notorious novel band and all, you know, all this notoriety about it and entailed as a piece of art and this kind of thing.
Speaker B:I think Kubrick is like on some level he thinks that he's in that realm, you know.
Speaker B:And so I looked up Catcher in the Right because I never read it.
Speaker B:You know, I think I did read it in school.
Speaker C:Shocking film.
Speaker B:We were assigned it once and I read it in a Art.
Speaker B:You know, whatever.
Speaker C:James, you read it.
Speaker C:Anybody ever read it?
Speaker D:I think I read it once.
Speaker C:I never read it.
Speaker B:I think I read it.
Speaker B:We had to read it for school ones anyway, so I looked it up.
Speaker B:Themes of angst and alienation and as a critique of superficiality in society.
Speaker B:The novel deals with complex issues of innocence, identity, belonging, loss, connection, sex and depression, which I guess are all in this shining movie.
Speaker B:But is, you know, is Kubrick.
Speaker B:Is.
Speaker B:Is he just trying to take a shortcut?
Speaker B:Hey, my movie is going to be the same themes as like, why have a reading Catcher in the Rye, I guess is my question.
Speaker B:And I never got an answer on that.
Speaker D:You know, I never caught that that's what she was reading.
Speaker B:Yeah, I saw that and I was like, okay, well, because I wanted to give him a chance, you know, what's going on here?
Speaker C:I mean, if you're ever character read a book, it should mean something.
Speaker B:Yeah, well, like.
Speaker C:Or be.
Speaker C:Even if it's a.
Speaker C:Like in Stranger Things, there's a lot like almost all the characters I feel like are always reading like a Stephen King book because it's the show very much is an homage to his type of stuff.
Speaker C:So.
Speaker C:Well, even if it's just something like that, like it can't just be any old book, right?
Speaker C:It should have.
Speaker B:And we talked about this and you can listen to on the Breast Club, but.
Speaker B:But John Hughes did this much more with much greater finesse when he had them tearing up the book by Moyer or whatever.
Speaker B:You know, comedies that point out in injustice in society or whatever.
Speaker B:It brilliantly done to the point where you can look at that and say, yes, that's what's going on here.
Speaker C:You know, it's interesting to me.
Speaker C:I just don't thought about it.
Speaker B:I don't.
Speaker B:I don't think necessarily that we get any strong signals from her reading Catcher in the Rye and then how it relates to this movie.
Speaker C:Like the script for this movie was by Kubrick and then Diane, something I.
Speaker B:Don'T Remember, I forgot to write it down.
Speaker B:Yeah, hang on.
Speaker D:I got it.
Speaker D:Much as I'm writing about writers, Diane Johnson.
Speaker C:Thank you.
Speaker C:Couldn't remember her name anyhow, so be willing to.
Speaker C:Diane.
Speaker C:Be willing to bet Diane did most of the heavy lifting.
Speaker C:Because Kubrick, I don't know, he's probably not that much of a writer.
Speaker C:I may be wrong where, like, John Hughes very much is writer and director.
Speaker C:And it's just.
Speaker C:I don't know, it just kind of blows my mind that, like.
Speaker C:No, I'm thinking about it and I know this is early in the Stephen King's career, but there's only been a couple.
Speaker C:He's already had some hit books.
Speaker C:He's had some hit movies made from these hit books.
Speaker C:So instead of like taking the blueprint that this writer gave you.
Speaker C:A successful writer.
Speaker B:Yeah.
Speaker C:You change it.
Speaker C:Right.
Speaker C:And kind of come up with your own themes and your own stuff.
Speaker B:It's Kubrick, man.
Speaker C:That's just crazy to me.
Speaker C:Like, oh, I can do better.
Speaker C:What?
Speaker B:Yeah.
Speaker B:Anyhow, there is not a Kubrick movie on this.
Speaker B:I have a little bit of hope for Dr.
Speaker B:Strangelove.
Speaker B:Okay.
Speaker B:I.
Speaker B:I remember liking that movie.
Speaker C:Never seen it.
Speaker B:I'll probably go back and watch it and be like, oh, my God.
Speaker B:Okay.
Speaker C:Clockwork Orange is not.
Speaker B:No, I.
Speaker B:I know what that's about.
Speaker B:And it's.
Speaker B:I'm not.
Speaker D:Let me.
Speaker B:Yeah, that's what I'm saying.
Speaker A:Let me mention the first time I saw the Shining or his Stanley Kubrick's the Chuck Shining.
Speaker A:I checked it out of the college library.
Speaker A:Where we went, where I worked.
Speaker B:Yeah.
Speaker A:And I was like, why do they have this?
Speaker A:Well, they had Clockwork Orange and all that.
Speaker A:And I'm like, okay, the best people watch these.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker A: And: Speaker A:So don't get me wrong.
Speaker D:Stanley Kubrick makes some beautiful looking movies.
Speaker D:They.
Speaker D:They're shot really well.
Speaker D:The colors are very vivid.
Speaker D:Everything is.
Speaker B:I use color film.
Speaker B:Great.
Speaker C:I meant it was in colors.
Speaker C:He could set up some shot that's.
Speaker D:Oh, yeah, they're beautiful.
Speaker B:I learned that in film school.
Speaker B:I bet.
Speaker D:Yeah, possibly.
Speaker D:But there's a lot of.
Speaker C:I don't give him that.
Speaker D:He lets.
Speaker C:How much direct you need to give Jack?
Speaker C:I don't know.
Speaker D:He lets every single scene that shot breathe more than normal, if more than.
Speaker C:Necessary, I would say.
Speaker C:But yes, I want to breathe.
Speaker C:There are some directors will cut that.
Speaker B:Sure.
Speaker D:If you take a breath and you go along with this movie, it's still two and a half hours long.
Speaker D:And there's a movie no, this movie.
Speaker D:But just Stanley Kubrick in general.
Speaker B:Oh, yeah, yeah.
Speaker C:I looked it up because I was like, hey, late.
Speaker C:This movie is two and a half.
Speaker C:We got to get started, buddy.
Speaker D:In general, though, the way that he shoots.
Speaker D:They're beautiful movies.
Speaker B:And I don't remember being two and a half.
Speaker D:Oh, yeah, it's long.
Speaker C:It's because you fell asleep in the middle.
Speaker B:Yeah.
Speaker C:But, yeah, just talking about the.
Speaker C:Giving the scenes, you know, room to breathe.
Speaker C:Like, there were just so many, like, these long, awkward pauses.
Speaker C:Like, it was so much of the.
Speaker C:Like, late notice, too.
Speaker C:He was like, what's going on?
Speaker C:Why are they just standing there?
Speaker C:Like, I don't know how many times he said that.
Speaker C:You know, why are they just sitting there?
Speaker D:But it's.
Speaker D:It's allowing the music to make you uncomfortable.
Speaker D:The staring at Jack Nicholson's eyebrows.
Speaker B:I hear you.
Speaker A:I was never.
Speaker A:I never bored in this one.
Speaker A:I.
Speaker A:I enjoyed every minute of.
Speaker A:I didn't fall asleep to get entire.
Speaker C:I was never bored.
Speaker C:I wouldn't say I was bored.
Speaker C:Even with the longer scenes and longer movie.
Speaker C:Like, I was never bored.
Speaker C:It was just.
Speaker C:I started off enjoying it.
Speaker C:I remember it was all right the first time I saw it, and I started off enjoying it more this time.
Speaker C:And then it lost me along the way, like, especially in the middle.
Speaker C:And then it picked back up at the end when he's trying to kill him.
Speaker B:I got to the.
Speaker D:I got to the point where I was just enjoying Jack Knucklehead, Jack Nicholson's performance.
Speaker B:No, that's what I was going to.
Speaker C:Say in the middle.
Speaker C:That was like, the only thing I was holding on to, you know?
Speaker A:Yeah.
Speaker B:Anyway, moving on.
Speaker B:We look into our second title card, Closing Day, and reference to the Donner Party on the way up that we talked about.
Speaker B:Like I said, Jack seems a little too titillated by this reference.
Speaker B:More of Danny's gifts.
Speaker B:A vision of the sisters, first appearance of the sisters.
Speaker B:You know, a tour of the grounds with reference to all things the hotel.
Speaker B:Maybe this became a cliche later.
Speaker B:Hotels on Indian burial grounds.
Speaker B:Right.
Speaker B:Okay.
Speaker B:I guess back then it was still a thing, but now.
Speaker B:Oh, my God.
Speaker B:It's like.
Speaker B:It's like a.
Speaker B:That's a.
Speaker B:That's a.
Speaker B:If you're a writer, do not put.
Speaker D:Move the headstones.
Speaker B:You didn't move the graves.
Speaker C:Let me scratch that.
Speaker B:Yeah, Take that right out of your story, if that's come on in the.
Speaker D:Book, to go into a little bit more.
Speaker D:It was a high society thing.
Speaker D:Mobsters were murdered there.
Speaker D:Socialites.
Speaker D:The lady in the bathtub was the socialite and the whole thing.
Speaker D:So, like every ghost, when they were walking through the hallway, the guy, the two guys in the room with the teddy bear costume.
Speaker D:In the book, they're all kind of explained, but that's why I lean towards the hotel, just absorbing everybody because they're all still there.
Speaker B:Yeah, that makes sense.
Speaker C:Yeah.
Speaker C:Late.
Speaker C:Didn't realize, like, he kind of knew, I guess, about the movie.
Speaker C:Like, we didn't watch a trailer or anything, so it was interesting to me.
Speaker C:Like, he didn't realize when the girls first showed up, he thought they were guests.
Speaker C:So I just left it alone.
Speaker B:Yeah, sure.
Speaker C:I was like, all right, he'll find out soon enough.
Speaker C:But, like, he.
Speaker C:He thought there were other guests.
Speaker B:Yeah.
Speaker C:Thing.
Speaker C:Like, he missed it that they were taking us.
Speaker C:I guess he missed it.
Speaker C:They were taking over for the winter and just the family.
Speaker C:I thought they were guests.
Speaker C:There was somebody else that you see that he thought was there too.
Speaker C:And I was like, all right.
Speaker A:Speaking of the twins, my favorite way to freak Philip out is to.
Speaker A:When it's dark or whatever, I say, come play with us.
Speaker A:Dan.
Speaker B:Yeah.
Speaker D:I didn't notice this, but the first time, you know, when Jax.
Speaker D:When they're all meeting in the lobby, they're arriving, they've got so much luggage.
Speaker B:Yeah, yeah.
Speaker D:Volkswagen Beetle.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker D:How did that all feel?
Speaker D:And the other thing was when Danny's playing darts and those girls come walking in.
Speaker D:Yeah, I think that was the hotel coming.
Speaker D:Like, one of the pictures coming into live to come check out this.
Speaker C:The special.
Speaker D:This special shining battery that's gonna liven up the hotel.
Speaker C:Kubrick and his wonderful CA Camera work.
Speaker C:The.
Speaker C:The zoom in on Danny when he turns, look at the girls.
Speaker C:Was.
Speaker C:Was.
Speaker C:Was.
Speaker C:God awful, in my opinion.
Speaker D:You just don't get it, man.
Speaker B:Right.
Speaker C:Maybe I don't get it.
Speaker C:I was just like, yeah, ladies.
Speaker C:And I was like, whoa.
Speaker C:What.
Speaker C:What happened there?
Speaker C:Yeah, it just.
Speaker C:Nothing subtle about it.
Speaker C:Right in his face.
Speaker C:Yeah.
Speaker D:The whole movie was meant to make you uncomfortable.
Speaker B:No, no.
Speaker D:All the way around.
Speaker C:And it does in a lot of places in the right way.
Speaker C:And then I think it doesn't.
Speaker C:It does in a lot of wrong ways, too.
Speaker B:Yeah.
Speaker B:We meet.
Speaker B:We meet Dick, the head chef with gifts, like Danny.
Speaker B:The two discuss the gift.
Speaker B:Tony wants his secrets kept.
Speaker B:Like, Tony doesn't want to talk too much, doesn't want to reveal too much.
Speaker B:Danny doesn't want to talk about Tony.
Speaker B:And then we get this ominous foreshadowing of room 237, where they talk Are you scared of room 237?
Speaker C:I thought the setup of Doc was.
Speaker C:I'm pretty sure that was lifted from the book.
Speaker C:Correct me if I'm wrong, James.
Speaker C:So the bit of dialogue that I really liked was lifted from the book anyways.
Speaker C:But just the setting up of Doc and his stuff.
Speaker C:Because the.
Speaker C:Because Dick the chef calls him Doc.
Speaker B:Yes.
Speaker C:And Wendy's like, hey, how'd you.
Speaker C:How'd you call him?
Speaker C:You know, how do you know to call him Doc?
Speaker C:I was like, oh, I almost heard you, or whatever.
Speaker C:And she's like, pretty sure I didn't say it, you know.
Speaker C:But as the audience, you're like, no, they didn't.
Speaker C:This is the first we're hearing this.
Speaker C:Yeah, right.
Speaker C:I thought that was well done.
Speaker B:Yeah.
Speaker C:Like, well played by the actors and.
Speaker B:No, absolutely.
Speaker C:I like the reveal and the dialogue.
Speaker C:But again, I think that was all probably kings anyways.
Speaker B:But sure, that's the second title card.
Speaker B:The third title card is one month later.
Speaker B:So I guess they have a month where everything is going fine, seemingly everything in order.
Speaker B:Breakfast and bed.
Speaker B:Wendy's bringing Jack breakfast in bed.
Speaker B:Jack loves the Overlook more than any other place he's been.
Speaker B:Feels he's like he's been here before, but he's maybe experiencing some writer's block.
Speaker B:And I always shake my head when I hear that.
Speaker C:I said I would stop.
Speaker C:So it's been a month.
Speaker C:And she asked him, would you bring some breakfast from bed?
Speaker C:Anything yet?
Speaker C:Nothing yet.
Speaker C:You've had a month, man, to do nothing.
Speaker C:Phil, if you had a month to sit down and write, how much stuff would we come up with?
Speaker C:Well, we had nothing else.
Speaker C:No other responsibilities, not even a family.
Speaker C:Because this guy, you know.
Speaker C:Yeah, well, man, most writers would kill for that kind of time, you know?
Speaker D:He does.
Speaker C:If you're not a full time writer.
Speaker D:Jack Torrance does very good.
Speaker C:James Forge.
Speaker A:I was thinking throughout this whole movie, Philip would like to go be isolated.
Speaker D:In the same thing.
Speaker A:And I'm sitting there going, oh, no.
Speaker D:Is this a documentary of Phil going to the hotel?
Speaker C:I watched a movie about a guy going mad.
Speaker C:And you immediately thought of Phil.
Speaker C:That's up.
Speaker A:No, no.
Speaker D:About going up to the mountains for five months just to write.
Speaker C:No, but the way you.
Speaker A:Something he would do.
Speaker B:Yeah, well.
Speaker A:But not me.
Speaker A:I think I need to be.
Speaker B:Yeah.
Speaker C:I think any introvert would enjoy this would be okay for this job where an extrovert would go nuts, Right?
Speaker C:So they should have.
Speaker A:And you add the snow and I am out.
Speaker A:No, fuck.
Speaker C:A bunch of snow.
Speaker C:But they should have had like a personality test for the interview.
Speaker C:Right.
Speaker C:To see if they're introvert or extrovert.
Speaker B:I think they're pretty desperate.
Speaker B:Like, who's for sure?
Speaker B:Who's lining up?
Speaker C:Yeah.
Speaker C:Who's willing to take that up?
Speaker C:Yeah, yeah.
Speaker B:So, yes.
Speaker B:One month, Wendy and Danny are running through the maze, enjoying the maze.
Speaker B:And then we cut to Jack.
Speaker B:I said, jack seems to be in a maze of his own.
Speaker B:So we got this Wendy and Danny in the maze.
Speaker B:And then Jack, I think is in some kind of catatonic state at that point.
Speaker D:Right?
Speaker B:Yeah.
Speaker C:Is that the shot where he's looking out the window like a psychopath?
Speaker B:Yes.
Speaker C:And then he looks down at the.
Speaker C:Like a makeup of the maze and then it cuts to them.
Speaker C:Yeah, I did think.
Speaker C:I felt like that was set up.
Speaker C:Didn't think about till later.
Speaker C:But like, so he doesn't go, right.
Speaker C:She's looking outside with us.
Speaker C:And he's like, no, I got writing to do.
Speaker C:Liar.
Speaker B:Yeah.
Speaker C:So they go and do the.
Speaker C:They're out there.
Speaker C:Out in the maze.
Speaker B:Yes.
Speaker C:Later on, the boy runs to the maze to lose him and Jack gets lost in there.
Speaker C:I feel like that setup.
Speaker C:You didn't go earlier, buddy, now you're lost, you know?
Speaker D:Yeah, that's true.
Speaker D:I had made mention of that model the whole time.
Speaker C:Yeah, right.
Speaker B:Because, you know, obviously even if you've been through the maze, it'd still be different.
Speaker C:It would still suck.
Speaker B:Yeah.
Speaker B:But I think.
Speaker B:So my question was, you know, Danny, bright kid or whatever, he must have memorized.
Speaker B:He had to have memorized the.
Speaker B:Out of that maze because he knew he was leading Jack deep into that maze.
Speaker C:Yeah.
Speaker C:And then even does he fall.
Speaker C:He walks backwards on his steps, which is very.
Speaker B:So he knows.
Speaker D:Very smart for a 5 year old.
Speaker B:4 years old.
Speaker B:This kid was 4 years old when he made this movie, which I think.
Speaker A:That'S what I heard.
Speaker A:But I looked it up and it said five.
Speaker A:So same same thing.
Speaker B:Yeah, yeah.
Speaker C:Four or five.
Speaker C:Yeah.
Speaker B:That's an amazing job.
Speaker C:I'm running around that maze.
Speaker C:I'm not going to walk backwards through my tracks.
Speaker D:Yeah.
Speaker C:At 40, so.
Speaker B:Right.
Speaker C:Yeah.
Speaker B:Fourth title card.
Speaker B:Tuesday.
Speaker C:Now on a Tuesday.
Speaker B:So it's been a month and a Tuesday.
Speaker C:I don't know how many Tuesdays since that month.
Speaker B:A storm is coming.
Speaker C:Ridiculous.
Speaker B:Danny sees room 237 and another vision of the sisters.
Speaker B:These are Grady's daughters.
Speaker B:I guess Jack is writing, so he's actually typing on the typewriter at this point.
Speaker B:Now we don't know what he's typing.
Speaker B:It's revealed later what he is.
Speaker B:But yeah, Tuesday.
Speaker C:I do think he.
Speaker C:Well, yeah, I'm commit to this.
Speaker C:I think he thought he was writing a story.
Speaker C:Like.
Speaker C:Like, I don't think it's a good idea.
Speaker D:No.
Speaker D:There's something I want to bring up maybe at the end that will explain that.
Speaker B:Okay.
Speaker D:It's like one of the conspiracy theories that.
Speaker B:All right.
Speaker C:Okay.
Speaker D:Yeah.
Speaker D:Does he think he's writing a story?
Speaker D:Probably.
Speaker C:Yeah.
Speaker A:Well, that's what I always wondered.
Speaker B:Different formatting.
Speaker C:Like it's dialogue and different things and.
Speaker B:Yeah.
Speaker C:Sorry.
Speaker C:Because Phil rolled his eyes and it was great.
Speaker B:No, I thought.
Speaker B:I remember seeing it the first time and thinking that was a pretty cool reveal.
Speaker B:And I think it is.
Speaker D:Sure.
Speaker B:Yeah.
Speaker C:No, I don't have a problem with the reveal.
Speaker A:Yeah.
Speaker A:But if he was.
Speaker A:To me, if he was typing the same thing, it would just all be line after line after line.
Speaker C:Yeah.
Speaker C:There's a couple of pages like that, but there's other stuff that's.
Speaker A:Yeah, but it's almost like there is.
Speaker D:Dialogue there broken up into their.
Speaker B:Yes.
Speaker D:Paragraphs.
Speaker B:Reaching out for a catalyst.
Speaker B:There is the scene where Jack is typing and Wendy comes in and this is the quote that Chris likes.
Speaker B:You know.
Speaker B:You know, whether I'm typing or not, you hear.
Speaker C:Whether I'm typing or not typing or whatever the fuck you hear me doing here means I'm working.
Speaker B:Yeah.
Speaker C:Come in here.
Speaker B:Get the F out of here.
Speaker B:Right.
Speaker C:So that's the sign that's hanging above in my writing room.
Speaker B:Yeah.
Speaker C:I think it's funny shit.
Speaker C:Like, it was God awful.
Speaker C:It's terrible that you say that to somebody and mean it the way he did.
Speaker C:But.
Speaker B:Yeah.
Speaker C:So whenever Lathe and Stacy come up to my room when I'm writing to bother me because I have no door, I just playfully pointed the sign go, hey.
Speaker C:You know.
Speaker C:And they ignore it and they laugh and they go on and tell me what they're telling me Anyways.
Speaker B:Right.
Speaker C:I did have a.
Speaker C:On that note, just real quick, I actually did some writing this morning and Lathe had come up and was, you know, bothering me with whatever he was doing.
Speaker C:So when this scene played, I was like, see his face?
Speaker C:You saw that face this morning, didn't you?
Speaker C:Lee started laughing.
Speaker B:Yeah.
Speaker D:We need to get you an axe.
Speaker B:Right.
Speaker D:Right next to that sign.
Speaker C:Oh, that's.
Speaker C:I love it, James, that's wonderful.
Speaker D:Read the axe.
Speaker C:Read the axe.
Speaker C:You remember what happened.
Speaker C:Fucking remember what happened to these people anyhow.
Speaker C:Terrible.
Speaker C:Go ahead.
Speaker C:Sorry.
Speaker B:No, it's fine.
Speaker B:I just.
Speaker B:I have the catalyst as him, you know, telling her to get the fuck out of there.
Speaker B:Now this is the catalyst for Wendy, I think, because this is Wendy's first experience with something.
Speaker B:Because she reacts and you can see her debating in her mind, what do I make of this?
Speaker B:Okay.
Speaker C:She was even gonna bring him lunch.
Speaker C:The fucking dick.
Speaker B:Right.
Speaker B:Yeah.
Speaker B:So at that point I'm like, well, whose story is this?
Speaker B:It's a catalyst.
Speaker B:I think it's a change in behavior markedly for Wendy.
Speaker B:And I think she debates this.
Speaker B:This is Wendy and Danny story is what I have written here.
Speaker B:Wendy debates internally the rock that just got dropped into her pond.
Speaker B:Danny debates the issue of room 237.
Speaker B:Because he's there and he's trying to decide whether he wants to go in.
Speaker B:He decides.
Speaker B:He goes in to room 237 and I guess gets choked or whatever because I couldn't find any debate or anything on.
Speaker D:It's got to be right around there because I would peg it if it were going to go for Jack.
Speaker D:It's him sitting at the bar, taking the drink, like that's his next moment.
Speaker D:That's when he gets taken over by the hotel.
Speaker B:And he doesn't debate for a second about taking that drink.
Speaker D:No.
Speaker D:He's had five months, six months and a Tuesday of debate.
Speaker B:Yeah.
Speaker B:Well, yeah.
Speaker C:And a Wednesday and a Saturday and all these other random days that don't mean anything.
Speaker B:Yeah.
Speaker D:But, yeah, structure wise.
Speaker D:I have no clue.
Speaker B:No, I don't.
Speaker B:I don't know that there's.
Speaker C:Yeah, I mean, I see what you're saying about the, the.
Speaker C:The big moment of him deciding to take a drink.
Speaker C:Like, I have that, but that's like way later to me.
Speaker C:Yeah, that was like.
Speaker D:Makes no sense.
Speaker B:Yeah.
Speaker C:Midpoint false defeat.
Speaker C:Maybe that's when she.
Speaker C:He does that right after she.
Speaker C:I guess we're jumping ahead a little bit, but Raptor.
Speaker C:Well, we're almost there.
Speaker C:You said he goes to room 23, 237.
Speaker C:When Danny comes out, he's all, oh, yeah, Jack had had this horrible nightmare.
Speaker D:And Wendy was in the cellar with the boy.
Speaker C:Yeah.
Speaker C:And heard him screaming.
Speaker C:And then she goes up there and then Danny comes and she's like, oh, I'll just.
Speaker C:I'll get him out of here.
Speaker C:I'll get him out of the room.
Speaker C:And as she gets closer, she realize he's, you know, damn near catatonic, sucking on his thumb and his face and shirt are all messed up.
Speaker C:And then she accuses Jack because there's nobody else in the damn thing.
Speaker C:And it had to be Jack, right?
Speaker C:Well, in her mind.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:She accused him.
Speaker B:But there after.
Speaker B:There's scenes where Danny's playing and wants to go get his toy.
Speaker B:And she's like, no, don't wake your father.
Speaker B:So she is.
Speaker C:That was after the.
Speaker B:Yeah, she is clearly.
Speaker C:Yep.
Speaker B:Debating her activity now round.
Speaker C:Yep.
Speaker C:There's 40.
Speaker C:40 other rooms I can be in.
Speaker C:I'll be in those.
Speaker B:Yeah.
Speaker A:Okay.
Speaker B:Right.
Speaker A:Can I.
Speaker A:Did y' all not find it funny, though, that scene where Jack is sitting there at the bar and he's talking to.
Speaker A:Who was he talking?
Speaker C:Lloyd.
Speaker A:He's talking to Lloyd and.
Speaker A:What is her name?
Speaker B:Wendy.
Speaker A:Wendy.
Speaker A:She runs up and says, let's see.
Speaker A:I wrote it down.
Speaker A:Hold on.
Speaker D:Someone in the hotel.
Speaker A:There's someone.
Speaker A:Are you.
Speaker A:Are there's.
Speaker A:Trying to strangle Danny.
Speaker A:And his response was.
Speaker A:Are you out of your mind?
Speaker A:Yeah.
Speaker A:And he's sitting there talking to Lloyd, who's not there, so.
Speaker B:Well, he sees him, though.
Speaker B:Yeah, yeah.
Speaker C:No, no, no.
Speaker C:Definitely funny.
Speaker C:Like, I was like, all right, here's a guy who's crazy.
Speaker C:Here's a guy who's clearly crazy.
Speaker C:And then he has the nerve to ask her that.
Speaker D:Yeah.
Speaker D:He just had a drink.
Speaker C:She's completely flipped, though, from, how could you do this, you son of a bitch?
Speaker C:To hey, there's somebody else.
Speaker C:There's a psycho lady.
Speaker C:And not once does she especially.
Speaker C:Not that this guy necessarily deserves an apology.
Speaker C:Right.
Speaker C:But if you got a guy who's flying off the handle and he's abusive like you would think she would apologize.
Speaker C:Hey, Jack, I'm so sorry I accused you of attacking our kid again.
Speaker C:And some.
Speaker C:You know what I mean, however that goes.
Speaker D:Sorry I accused you of doing something entirely in your character.
Speaker B:Right.
Speaker C:I'm just saying, like, she never apologizes.
Speaker D:Right.
Speaker C:But she did convinced that there's this crazy lady in 237.
Speaker B:Yeah, no, I.
Speaker B:No, I hear you.
Speaker C:Just.
Speaker C:That was weird to me.
Speaker B:We get a fifth title card.
Speaker B:It's Thursday now, and it's very short.
Speaker B:The snow has come.
Speaker B:I only have one line.
Speaker B:The snow has come and Jack has gone.
Speaker B:I guess at this point he is off his.
Speaker B:I don't even remember the whole scene.
Speaker C:This is where he goes to the room.
Speaker C:Are we skipping that because he goes to the room?
Speaker D:Yeah, he goes up to the room to 2:30.
Speaker C:Did you check it out?
Speaker C:Yeah.
Speaker D:Have we jumped a far too head?
Speaker D:Wow.
Speaker D:Have we jumped a far too head?
Speaker C:Jumped apart.
Speaker D:I'm wording today.
Speaker B:No, we haven't jumped too far ahead.
Speaker C:I had to Think about it.
Speaker C:To put the words in order, James, Far too head.
Speaker B:I don't know.
Speaker C:Stop saying it.
Speaker C:I'm gonna say it like that now, because there wasn't.
Speaker D:You're welcome out.
Speaker B:There's not a lot happening on this fifth.
Speaker B:Not a lot happening on Thursday.
Speaker B:Like, it's a very short, if I remember, man.
Speaker C:Saturday was the day when stuff was happening.
Speaker C:I'm playing.
Speaker B:Yeah, well, the sixth title card is Saturday.
Speaker B:Jack is typing.
Speaker C:I was joking.
Speaker C:Like, okay, cool.
Speaker C:The title cards annoyed the shit out of me, so I was just picking a random day.
Speaker C:I had one of seven.
Speaker B:The next title card is Saturday.
Speaker B:When Jack is typing.
Speaker B:Wendy gets the ranger station on the radio.
Speaker B:She has disregarded.
Speaker B:Okay, yeah.
Speaker B:She has disregarded Jack's previous behavior or has taken attack of avoidance.
Speaker B:Like when Danny wants to get his toys.
Speaker B:But Wendy does not want him to disturb Jack.
Speaker B:Danny sees the girls again.
Speaker B:They speak this time.
Speaker B:Come play with us, Danny.
Speaker B:Or whatever.
Speaker B:Forever.
Speaker C:How's that go, sir?
Speaker C:How's it go?
Speaker B:Forever and ever.
Speaker D:Go stand in the hallway.
Speaker A:I was gonna have to wait till the lights are out.
Speaker C:Oh, there was a note on that.
Speaker C:Real quick.
Speaker C:So the girls say, come play with us, Danny.
Speaker C:Forever and ever and ever.
Speaker B:Right?
Speaker C:The.
Speaker C:The forever and ever never bit.
Speaker C:That's what Jack tells Danny about, you know, I want to stay in this hotel forever and ever.
Speaker C:I thought that was cool.
Speaker B:Yeah, that's cool again.
Speaker D:Goes back to the hotel.
Speaker C:Oh, yeah.
Speaker D:Absorbing people stay with us.
Speaker C:Because Danny's even asked him, hey, dad, are you happy?
Speaker B:Are you?
Speaker C:Oh, yeah.
Speaker C:I love this place.
Speaker C:Everybody else have a miserable time but dad, right?
Speaker C:I'm not getting your work done, you know.
Speaker B:Danny continues to debate his call.
Speaker B:Pictures in a book.
Speaker B:So.
Speaker B:So I see this is still a debate of Danny and Wendy.
Speaker B:So at that point, I'm leaning toward it being their story in terms of having to deal with this evil.
Speaker B:7th title card is Monday.
Speaker B:Danny is warned about the story.
Speaker B:Okay, so this is when.
Speaker C:What happened to Sunday, man?
Speaker B:Well, Saturday to Monday, man.
Speaker D:Day arrest.
Speaker B:Yeah.
Speaker C:All right.
Speaker B:They arrest no evil on Sunday.
Speaker B:Danny is warned about disturbing.
Speaker B:Jack rest.
Speaker C:Bullshit.
Speaker C:Sorry.
Speaker B:Date on Wednesday, baby.
Speaker B:Danny is warned about disturbing.
Speaker B:Jack goes to get his toys.
Speaker B:Speaks with Jack, who can't sleep.
Speaker B:There is too much to do.
Speaker B:Confesses he loves the hotel.
Speaker B:Wish they could stay forever.
Speaker C:Yep.
Speaker C:Sorry.
Speaker C:So, yeah, I jumped too far.
Speaker D:And then Danny asked, you'd never hurt us, would you?
Speaker C:Did your mom tell you that?
Speaker B:Yeah.
Speaker B:Well, he even says to Lloyd, you know, I would never hurt the little bastard or whatever.
Speaker C:Yeah, right.
Speaker C:It was one time.
Speaker C:One time.
Speaker C:And that the little fucker had my papers all over the place.
Speaker C:I love the.
Speaker C:What do you call them?
Speaker B:Right.
Speaker B:I love this.
Speaker B:You know, all this.
Speaker B:But.
Speaker B:But his mother, you know, now little.
Speaker C:Had my papers all over the room.
Speaker B:Yeah.
Speaker B:But I would never hurt him.
Speaker B:All right?
Speaker C:I.
Speaker C:I'm the liar.
Speaker C:Not a good writer and a bad dad, you know?
Speaker D:Yeah.
Speaker B:Here I have the break into two, which maybe I'm like trying to nail jello to the wall.
Speaker B:Is it the break into two?
Speaker B:I don't know.
Speaker B:I.
Speaker B:I'm going to call it the break into two.
Speaker B:Eighth title card.
Speaker B:Wednesday, Danny is playing ball in the hall.
Speaker B:Dan is playing in the hall.
Speaker B:Ball is rolled from nowhere.
Speaker B:He thinks he's calling out his mother.
Speaker B:Mom.
Speaker B:Mom.
Speaker B:This is the door to 237 thing open and Danny goes in.
Speaker B:Jack is having nightmares.
Speaker B:Dreamed he killed Wendy and Danny and chopped them up into little pieces.
Speaker B:Wendy to the rescue.
Speaker B:She comes.
Speaker B:Jack confesses he feels like he is losing.
Speaker B:So he has a moment of clarity here where he says he feels like he's losing his mind.
Speaker B:Just for a moment.
Speaker C:No.
Speaker C:And that's also to James point about seducing him, like, even while this man's sleeping.
Speaker B:Yes.
Speaker C:Right.
Speaker C:It's, you know, permeating his.
Speaker C:His mind and his dreams and.
Speaker C:And basically telling him, this is what you need to do in.
Speaker B:In.
Speaker D:In the book.
Speaker D:Danny, his vision, his shining is showing him the things to come.
Speaker B:Yeah.
Speaker D:But when he comes out of his state, he can't remember it.
Speaker D:So he's having nightmares, too.
Speaker D:But he's waking up going, I can't remember what it is.
Speaker D:Horror.
Speaker D:So it's going.
Speaker D:It's spreading around the family.
Speaker B:Danny appears, but is only Tony.
Speaker B:Now Jack is.
Speaker B:So he has a moment of clarity, but then immediately goes into a kind of catatonic state.
Speaker B:Jack does.
Speaker B:Danny has bruises.
Speaker B:And this is when Wendy accuses Jack.
Speaker D:I guess, for the drinks.
Speaker B:Yeah.
Speaker B:Jack goes to the bar and recognizes.
Speaker B:So again, before James brought clarity to this, I was like, okay, was this about a character coming back to the hotel?
Speaker B:Because he goes to talk and he recognizes Lloyd and Lloyd recognizes him.
Speaker B:You were always the best, Lloyd.
Speaker B:You were.
Speaker B:You were always the best.
Speaker B:Past tense.
Speaker B:Always the best bartender.
Speaker B:Talking like, you know.
Speaker C:Yeah, you know, it is weird.
Speaker C:I don't know.
Speaker C:But.
Speaker B:No, but if it's a seduction, then.
Speaker B:Then, yeah, because here's a guy who.
Speaker C:Badly needs a drink, wants a drink, right?
Speaker C:And he hasn't had any.
Speaker C:And like.
Speaker C:And they even make a note of saying there's Nothing there earlier, right?
Speaker B:Yes.
Speaker C:Was even confused about this scene, about, hey, is this happening or not?
Speaker C:I'm like, no, they showed us there's nothing there.
Speaker B:Right.
Speaker C:Like this.
Speaker C:I said, you'll see in a minute.
Speaker C:When.
Speaker C:When Wendy comes up, she can't see him or whatever.
Speaker C:Like this.
Speaker C:I said, this dude's not even having a drink.
Speaker C:I mean, he did all this shit sober.
Speaker B:Yes.
Speaker C:You know what I mean?
Speaker B:Under the influence, kind of.
Speaker D:Yeah.
Speaker C:Well, I mean, okay, yes.
Speaker C:I mean, the psychotic break.
Speaker C:But there was no.
Speaker C:When they did a toxicology on the.
Speaker C:On his body.
Speaker C:There was no alcohol in his body.
Speaker C:There's nothing there for him to drink.
Speaker D:They said again, in the book I keep.
Speaker C:I mean, that's not gonna show.
Speaker C:I'm just saying.
Speaker D:But when Wendy comes in and Jack has had, you know, many, many drinks by then, she can smell the gin.
Speaker B:Oh, yeah.
Speaker D:In the room.
Speaker D:And he stinks of it.
Speaker B:Really?
Speaker C:So still think it's not there?
Speaker C:It's the hotel.
Speaker D:Yeah.
Speaker D:The hotel is making him act that way.
Speaker C:Like he thinks.
Speaker C:I mean.
Speaker C:Yes.
Speaker C:Yeah.
Speaker B:But Wendy can smell.
Speaker C:That's cool.
Speaker A:Okay, well, in Stephen King's the Shining miniseries, Wendy picks up a bottle of Jack or whatever sitting there and hits him over the head.
Speaker C:Nice.
Speaker A:So there's actually a bottle.
Speaker C:Baseball bat, or she hits him multiple times.
Speaker A:No, she hits him with a bottle of alcohol.
Speaker B:Yeah.
Speaker D:Cool.
Speaker A:That was sitting there.
Speaker A:And it had a.
Speaker A:It had a note on there.
Speaker A:I think it said from.
Speaker A:From the hotel staff, the management.
Speaker A:Yeah, yeah, from the man.
Speaker A:That's what it was.
Speaker A:From the management.
Speaker A:But she actually picks up a bottle of.
Speaker A:I forget what kind of alcohol it is.
Speaker D:And just whatever it is the hotel is manifesting.
Speaker C:Y Stuff she sees later on, towards the end, like, that's not there.
Speaker C:Right.
Speaker C:I mean.
Speaker B:Yeah.
Speaker B:She sees the corpses and.
Speaker B:Anyway.
Speaker A:Yeah.
Speaker C:And they struggle with that too, because he's.
Speaker C:All right.
Speaker C:Well, they're ghosts.
Speaker C:I'm like, okay, yeah, they're ghosts.
Speaker C:But remember, Danny got, like, a shirt ripped in his face, actually.
Speaker C:So they can interact with you.
Speaker B:Yeah.
Speaker B:Lloyd lets our Grady.
Speaker B:Lets him out of the.
Speaker C:Correct.
Speaker C:Yeah, lets him out.
Speaker C:Yeah.
Speaker C:That's what it was.
Speaker C:It relates was like, how did he actually get out?
Speaker C:Does he actually get out?
Speaker C:And I'm like, yeah, interact with you.
Speaker C:Which is really messed up.
Speaker A:You know, one of the questions I had when watching this is, of course, y' all know I watch a lot of ghost shows and listen to these certified horror goodness.
Speaker A:Yes.
Speaker C:And then what do you call them?
Speaker A:I don't.
Speaker A:I don't Know, but a lot of these people who have these abilities like Danny, it actually runs in.
Speaker A:In the family.
Speaker A:So my question was always, is Jack, does he have the Shining or is it the hotel that is doing.
Speaker B:I don't think he ever has visions like Danny.
Speaker B:I think.
Speaker A:No, he doesn't before.
Speaker A:James says before but some people will have psychic abilities, but they don't open up to it or they don't.
Speaker B:Yeah, sure.
Speaker A:You know, and maybe the hotel.
Speaker A:But then when his mother.
Speaker A:When Wendy starts seeing things, then I'm like, okay, well this is just.
Speaker A:It's a free for all.
Speaker B:Well, I think that's the hotel.
Speaker D:The hotel's gains its strength.
Speaker D:Yeah.
Speaker D:It's drawing like a vampire off of the Shining.
Speaker D:And like Dick Halloran has a little bit.
Speaker D:So is like pictures in a book.
Speaker D:But Danny is like a nuclear grade.
Speaker B:Yeah.
Speaker D:Weapon like that much power.
Speaker D:So the hotel's really coming alive.
Speaker B:Yeah.
Speaker D:I don't know.
Speaker B:Well, anyway, moving into.
Speaker B:So if that's fun and games, right.
Speaker B:Dick in Miami.
Speaker B:I really.
Speaker B:Dick really likes his artwork.
Speaker B:Did you.
Speaker D:Oh, and the lights coming down.
Speaker D:They shape like boobs too, man.
Speaker C:Oh, I didn't see the light.
Speaker D:Oh yeah.
Speaker C:I noticed the.
Speaker C:The poster above the TV and the one above is bed.
Speaker C:I'm like late.
Speaker C:Of course.
Speaker C:Notice it too or whatever.
Speaker C:And he commented about the lady's hair.
Speaker C:I'm like.
Speaker C:He said, oh, some big hair.
Speaker C:I'm like, that's the only thing you saw.
Speaker D:He wasn't talking about the hair up top.
Speaker C:He goes.
Speaker C:And other things.
Speaker B:There is much made of sexual imagery in the Shining.
Speaker B:I mean you could watch these documentaries and.
Speaker B:Oh my God.
Speaker C:But I didn't.
Speaker C:I didn't understand it right.
Speaker B:Well for.
Speaker C:For Dick.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:I don't know.
Speaker B:Like, why would he like a porno mag on the.
Speaker C:Nice hand if he's single?
Speaker B:Like.
Speaker C:Cool.
Speaker C:But just have it.
Speaker C:Which.
Speaker C:Okay.
Speaker C:You want to poster.
Speaker C:Fine, have a poster.
Speaker C:But it just.
Speaker B:Yeah.
Speaker D:He was in Florida.
Speaker D:He was having a good time.
Speaker D:It was 80 degrees.
Speaker D:He doesn't like snow.
Speaker D:He's down there to just work a little and have a good time.
Speaker C:It didn't strike you as weird though?
Speaker D:No.
Speaker B:I caught it in when Danny goes into room 237.
Speaker C:Yeah.
Speaker B:The pattern on the carpet, it is very phallic.
Speaker C:Oh, is it?
Speaker B:Yeah.
Speaker C:Okay.
Speaker B:To the point where, you know, it's.
Speaker B:It's almost unmistakable.
Speaker B:Is that nice?
Speaker B:The pattern.
Speaker B:It's looped patterns anyway.
Speaker B:And then.
Speaker B:And that's probably Kubrick.
Speaker B:You know, I'm sure he thought that was Just the greatest thing.
Speaker B:I don't.
Speaker B:You know, I don't know what it means.
Speaker C:Like, the carpet look like dicks.
Speaker C:It'll be really artsy.
Speaker B:Yeah.
Speaker D:Yeah.
Speaker B:Jack investigates.
Speaker B:So this is where Jack investigates.
Speaker B:Room 237 for Wendy and gets.
Speaker B:That's what I.
Speaker B:I put down.
Speaker B:He gets catfished.
Speaker B:Right.
Speaker B:So he's.
Speaker D:Yeah, he does big time.
Speaker B:Right.
Speaker B:So.
Speaker C:Yep.
Speaker B:And then at this.
Speaker B:At this point, I was Even came.
Speaker C:Out of the water.
Speaker C:I like it.
Speaker B:Yeah.
Speaker B:At this point, I was getting slap happy because, you know, Jack gets catfished.
Speaker D:Dick, I caught that too.
Speaker D:Got slap happy from the girl coming out of the tub.
Speaker D:Well.
Speaker B:In my notes, I started Just.
Speaker B:Just.
Speaker D:Yeah.
Speaker B:At this point, I'm off the rail.
Speaker B:So Dick, with his pictures on the wall, he makes a call.
Speaker B:And I said, dick gets.
Speaker B:Gets call us, Interrupt us.
Speaker D:He can't call us.
Speaker D:Interrupt us.
Speaker B:He can't get the hotel on the line.
Speaker B:Right.
Speaker B:So Danny must have made it up.
Speaker B:Jack claims he didn't see a thing in room 237.
Speaker C:Yeah.
Speaker D:And Danny's trying to call Dick in Florida with his.
Speaker C:With his mind.
Speaker B:Yes.
Speaker B:Because Dick has his vision.
Speaker D:Yeah, because he's.
Speaker D:That Danny is that powerful to reach that far.
Speaker B:Danny has more visions.
Speaker B:Jack is angrier.
Speaker B:Not gonna let Wendy fuck it up.
Speaker B:You know, at this point, he.
Speaker B:He goes to a party, free drinks from Lloyd.
Speaker B:And a word with Grady, who has no recollection of killing his family, informs Jack he is the caretaker and always been the caretaker.
Speaker B:And then the two discuss correcting Wendy.
Speaker B:And there's this discussion of correcting the family.
Speaker B:And.
Speaker C:Yeah, well, because.
Speaker C:Yeah, he has no election.
Speaker C:No recollection at first.
Speaker C:Right.
Speaker C:You've always been the caretaker, sir.
Speaker C:And then he reveals that.
Speaker C:Yeah, I think at that moment is when Leeds realized, oh, that's the girls.
Speaker C:And, yeah, this is the guy.
Speaker C:Like, it was.
Speaker C:It was very funny that he had just cut on at that point.
Speaker C:He also had a.
Speaker C:Interesting note.
Speaker C:He's like.
Speaker C:They're in, like, Target's bathroom.
Speaker C:It's all red and white and, like.
Speaker C:It's like.
Speaker C:That's what he called it.
Speaker C:I'm like.
Speaker C:It was kind of a.
Speaker C:It was a weird bathroom.
Speaker B:It's very, very.
Speaker B:Yeah, yeah.
Speaker C:And I.
Speaker C:I feel like it didn't match the.
Speaker C:The room for somebody in the ballroom.
Speaker C:I don't know why.
Speaker B:I'm sure that the.
Speaker B:The red walls and white meant something.
Speaker B:You know, Kubrick could probably.
Speaker B:I don't know.
Speaker B:Well, Wendy is making plans to leave.
Speaker B:And then Danny, Tony.
Speaker B:Or I put Danny slash Tony because he's mostly Tony.
Speaker B:Coming up, starts his red drum kick.
Speaker B:Dick gets no answer from the overlook.
Speaker B:Ninth title card.
Speaker B:Possible break into three here, you know, again, just trying to nail it down.
Speaker B:Dick flies to Colorado.
Speaker B:Jack is typing, and Dick's plane comes in for landing.
Speaker B:Wendy goes around with a bat.
Speaker B:Now, like, she's going around armed at this point point, right.
Speaker B:Looking for Jack.
Speaker B:She discovers that Jack's writing is a bit repetitive.
Speaker B:Right.
Speaker C:Nice.
Speaker C:Yeah, I guess that Even structured.
Speaker B:Oh, it's 8:00am by the way.
Speaker B:The title card was 8:00am Really?
Speaker C:I thought.
Speaker C:I thought it was 9, so I'm glad I missed it.
Speaker C:8:00am what bothered me, just structure wise.
Speaker C:So he has the big scene in the.
Speaker C:With Grady in the Target bathroom and talks about corrections need to be made.
Speaker C:Right.
Speaker C:And how they could foil all his plans.
Speaker C:And I'm not gonna.
Speaker C:He's not gonna let Wendy it up.
Speaker C:Right.
Speaker C:But then he goes back to typing like it'd been a while since I'd seen this.
Speaker C:And I was thinking, all right, well, here's the next scene when he starts trying to chase him and attack him and kill him and all that.
Speaker C:Nope.
Speaker C:Back to typing.
Speaker B:Yeah.
Speaker C:Like, she's got to put him in the freezer first.
Speaker C:So they're just weird.
Speaker C:Like.
Speaker C:Yeah, I'll correct it.
Speaker C:Then I'll go back to writing.
Speaker C:So.
Speaker C:And maybe that's him fighting against the, you know, the hotel or something.
Speaker C:You know, but we didn't see that.
Speaker A:You know, Kubrick was changing the script constantly.
Speaker A:It got to the point where Jack Nicholson even said he didn't.
Speaker A:He didn't even read it until, I guess it was Tom or whatever.
Speaker B:And that's.
Speaker B:That sounds totally like a douche thing to do.
Speaker B:And, you know.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker D:Oh, it's Kubrick.
Speaker B:I'm smarter today than I was yesterday.
Speaker B:So let me make pages.
Speaker B:I mean, I'm sure that's got a.
Speaker B:As an actor, you're preparing for a role and you've taken the time to get these lines and how you.
Speaker B:And then you get page changes because Kubrick wants to, you know.
Speaker C:Yeah, no, I can totally see Douglas.
Speaker C:I'll tell you what, you know, I'll.
Speaker C:You give me these fucking night before and I'll be ready tomorrow.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker C:Am I gonna go down the road and be ready?
Speaker C:Yeah, I'll be ready in two weeks.
Speaker C:No, that.
Speaker B:Oh, my God.
Speaker B:Jack may not have.
Speaker C:Maybe he was picturing Kubrick, like, the whole time.
Speaker C:Like his face and why he was wanting to kill and, you know.
Speaker A:Yeah.
Speaker C:Got jump into little pieces he was really talking to Kubrick, you know.
Speaker B:Yeah.
Speaker A:The script was allegedly changed so many times during production, even a couple of times a day, that Jack Nicholson simply stopped reading it.
Speaker B:Yeah.
Speaker B:What's the point here?
Speaker B:I wrote, Jack may not have a hit on his hands, but Wendy gets one with her hands, knocks him on the ground with her bat.
Speaker B:Jack is dragged to the foot locker.
Speaker B:Food locker.
Speaker B:Jack has been busy, though.
Speaker B:You're not going anywhere.
Speaker B:He has disabled the snow cat.
Speaker D:And the radio.
Speaker B:And the radio.
Speaker B:Yeah.
Speaker C:I do like the shot of, like, from the floor.
Speaker B:Oh, yeah, no, absolutely.
Speaker C:Like, when he's in there, Wendy and.
Speaker C:Yeah, like, that was.
Speaker B:No, that was good.
Speaker B:10th title card.
Speaker B:It's 4pm Same day, apparently.
Speaker B:I guess the only one.
Speaker C:I'll take it back.
Speaker C:That one maybe makes sense because I think it cuts back to him being in the freezer.
Speaker C:And if you win the freezer on Tuesday and then we're cutting down the.
Speaker B:Side, not even a freezer.
Speaker C:He's going to be dead.
Speaker B:I think it's just a pantry because there's no ice in there.
Speaker B:It's just.
Speaker C:No, it's a big door.
Speaker D:It's a cooled pantry.
Speaker B:Yeah, but it's not a freezer.
Speaker A:No, it's not the freezer.
Speaker A:It's the pantry.
Speaker B:Because he's like.
Speaker A:Yeah, because he's got peanut butter in the.
Speaker B:Yeah, he's eating one.
Speaker C:Well, then.
Speaker C:Yeah, then it doesn't even matter.
Speaker C:It could.
Speaker C:They could have gone from Tuesday to Saturday.
Speaker C:I was gonna say, if they go.
Speaker B:To Saturday food in there.
Speaker C:He's looking like he did at the end, being frozen.
Speaker C:But, yeah, I thought it was a freezer.
Speaker C:So he shows how much I was paying attention.
Speaker C:Because it's a big door, like a freezer.
Speaker A:Well, I kept thinking that too, but.
Speaker C:The peanut butter and all that.
Speaker D:Climate controlled, humidity controlled.
Speaker B:Yeah.
Speaker B:So he's all right.
Speaker B:Grady visits Jack, doubts his abilities.
Speaker B:I.
Speaker B:And the others.
Speaker B:Harshest possible way is recommended now.
Speaker B:Yeah.
Speaker B:Grady says they must be dealt with in the harshest possible way.
Speaker B:Jack says he's up to it.
Speaker B:Grady releases Jack.
Speaker B:Now, at this point, I'm thinking, because Stephen King is a workaday writer, but I think he does draw upon some of his favorite things and puts them in books.
Speaker B:Right.
Speaker B:This scene was very.
Speaker B:It reminded me a great deal of the Stand when.
Speaker B:When Flag releases Lloyd from prison here, Jack says he's up to it.
Speaker B:Grady releases Jack.
Speaker B:Reminiscent of Flag releasing Lloyd from the stand.
Speaker B:Sell in the stand.
Speaker B:You make a deal, and I'll let you out, you know.
Speaker B:So did King Sort of draw on that again, maybe.
Speaker B:I mean, it could be.
Speaker C:I think it was just, you know, same guy wrote it.
Speaker C:So gonna be similarities, I'm saying.
Speaker B:Yeah.
Speaker B:You know, you have favorite things or whatever.
Speaker B:Break into three.
Speaker B:Dick drives to the Overlook.
Speaker B:The whole here's Johnny scene, which, you know, is very famous.
Speaker B:And that wrote Dick comes along with.
Speaker C:The Johnny Carson reference.
Speaker C:Correct.
Speaker B:Yeah, yeah.
Speaker B:Ed McMahon would say, here's Johnny, you know.
Speaker C:Yeah.
Speaker C:Because the curtains would part and then John comes out.
Speaker C:Johnny comes out.
Speaker D:Right.
Speaker C:That's what I explained to Lathe, because that's fairly certain.
Speaker C:But I was.
Speaker C:I wanted to make sure.
Speaker C:I asked you.
Speaker D:The guy before Jimmy didn't get.
Speaker C:It's like, why was he.
Speaker C:His name's Jack.
Speaker C:Why does he say, you're Johnny?
Speaker C:I'm like, well, it's.
Speaker C:It's Johnny Curtin.
Speaker C:Then explained it.
Speaker D:The guy before Jimmy.
Speaker D:Jimmy Fallon, the guy before Jay Leno was Johnny Carson.
Speaker C:Correct?
Speaker C:Yeah.
Speaker C:No, I've seen him, but I didn't.
Speaker C:I wanted to make sure that.
Speaker C: Carson's CARSON Reference in: Speaker B:It would have been recognizing.
Speaker D:Easily recognized.
Speaker C:Yeah.
Speaker D:Yeah.
Speaker D:Dick gets a hatchet to the side or the head.
Speaker B:Yeah.
Speaker B:Right in the stump, right in the sternum.
Speaker B:He's out all that way.
Speaker D:All that travel, just.
Speaker D:Well, I mean, he was a distraction.
Speaker D:He pulled Jack away from Wendy.
Speaker B:Sure.
Speaker D:So I guess he bought him some time.
Speaker C:Sherry's got it.
Speaker C:Sherry's got it.
Speaker C:We talked about earlier.
Speaker A:That is how they escaped.
Speaker A:They.
Speaker A:When they.
Speaker A:When Jack kept saying something about the.
Speaker A:Whatever they called it, the cat or whatever, the snow cat.
Speaker A:You know, he had destroyed it where they couldn't escape.
Speaker A:You know, it's almost like a horrible feeling.
Speaker A:It's like, okay, we're doomed because there's no way.
Speaker A:No one's coming to get us.
Speaker A:But then shows up, Dick with the other snowmobile.
Speaker A:And that.
Speaker A:That's their escape.
Speaker D:Yeah.
Speaker C:Yeah.
Speaker C:No, I was irritated.
Speaker C:He got on a plane, drove out of the way and did nothing.
Speaker C:He died.
Speaker D:He delivered a snow cap.
Speaker B:And then.
Speaker C:Yeah.
Speaker C:Sherry goes, no, but he delivers.
Speaker C:I'm like, okay, I'll shut the hell up.
Speaker C:Then he's there.
Speaker B:There's.
Speaker B:Wendy starts seeing visions.
Speaker B:And again, at this point, I'm just looking for jokes.
Speaker B:She sees this weird scene in the hotel, and I put.
Speaker B:You won't remember this.
Speaker B:It was a show called BJ and the Bear.
Speaker C:Bear.
Speaker C:Well, that's what we saw.
Speaker B:A long time.
Speaker B:Yeah.
Speaker B:And so you said.
Speaker B:I was like, what is this?
Speaker B:BJ and the Bear?
Speaker B:Because There's a guy in a bear costume.
Speaker C:My note says bear.
Speaker C:Bear ass.
Speaker D:BJ and a bear.
Speaker D:Wow.
Speaker B:Yeah.
Speaker B:BJ and the Bear was a story about a truck driver who had a chimp as a partner, and they would.
Speaker B:They would, you know, thanks for ruining.
Speaker C:You know, my note was.
Speaker C:Says bear ass, but, you know, bear the animal and then ass.
Speaker B:Yeah, because BJ and the bear.
Speaker B: Not the: Speaker C:Yeah.
Speaker C:What the.
Speaker C:I don't understand that.
Speaker C:Why do we got to see that?
Speaker C:What's.
Speaker B:Well, not.
Speaker C:Not what's going on there.
Speaker C:But why.
Speaker C:Why are we saying that Kubrick likes art?
Speaker B:Nasty bits.
Speaker B:That's fine.
Speaker B:That's.
Speaker B:Who doesn't like a nasty bit?
Speaker B:Maze chase.
Speaker B:Did Danny memorize the path of the maze?
Speaker B:I think he probably was smart, and I think he's a gifted kid.
Speaker B:He probably did cobwebs and corpses.
Speaker B:Blood elevator.
Speaker B:So Wendy sees the blood elevator that.
Speaker B:That Danny had seen the blood pouring out of.
Speaker D:The elevator usually gets off on the third floor, but this time it hit the ground floor.
Speaker B:That's right.
Speaker C:I thought the blood came on Tuesday, and now it's coming down Saturday.
Speaker B:And Wendy sees it all.
Speaker C:Yeah, everybody saw it, like, a thousand times.
Speaker C:They should cut to it a thousand times.
Speaker B:Yeah.
Speaker B:Wendy gets a vision of her own.
Speaker B:I put poor Dick is limp, gets killed.
Speaker B:Sorry.
Speaker B:Terrible, terrible joke.
Speaker C:I like it.
Speaker B:Jacket's cool.
Speaker C:He's.
Speaker B:He's running around the maze and is.
Speaker B:Is lost too.
Speaker B:He's getting colder and colder.
Speaker B:Danny exits the maze, reunites with Wendy.
Speaker B:They have a new snowcat, and they drive away.
Speaker B:Final image.
Speaker B: Jack in a photo from: Speaker B:You have always been here.
Speaker C:I forgot him being frozen.
Speaker C:Yeah, he's frozen like a Popsicle.
Speaker B:Frozen like a Popsicle.
Speaker C:Yeah.
Speaker C:So late to the Ready Player One.
Speaker C:I don't know if you guys have seen that.
Speaker D:Yeah, yeah, we watched Movie Night one time.
Speaker C:Okay, thank you for the reminder.
Speaker B:Long time ago.
Speaker C:That's, I guess, like, probably the most that Laith knew about this movie.
Speaker D:Oh.
Speaker C:So, like, a lot of the imagery from that movie where they go into the.
Speaker C:The shining universe.
Speaker C:Universe or whatever in Ready Player One.
Speaker C:Like, he remembered some of that, like, the blood, because the characters in the regular one actually get caught up, like, and they're floating in the blood.
Speaker B:It's been a long time.
Speaker C:And then the.
Speaker C:Somehow the old lady ends up with the ax out in the maze.
Speaker C:Down in Ready Player One.
Speaker C:But anyhow, like, Leith was connecting the dots there.
Speaker A:Did he see Twister?
Speaker A:Because the girls are in Twister.
Speaker C:The same girls.
Speaker C:He'd seen it, but.
Speaker B:Yeah.
Speaker C:I don't guess he didn't put it together.
Speaker A:That's the scariest scene to me of Twister.
Speaker A:Not because of the girls, but because it's in the dark, you see?
Speaker D:Oh, yeah.
Speaker D:The.
Speaker D:So I'm gonna ruin with the conspiracy theory about the Shining and see if this changes your mind on it.
Speaker D:All of this is in Wendy's head.
Speaker C:Yeah.
Speaker C:So I didn't read that theory.
Speaker C:I heard that, but I haven't.
Speaker D:Wendy has lost her mind.
Speaker D:She's having a schizophrenic episode from the.
Speaker C:Moment we see her.
Speaker C:Like even Danny brushing his teeth.
Speaker D:Or after that, that when they.
Speaker D:Essentially.
Speaker D:When they get to the hotel, she starts to have a psychotic break.
Speaker C:Interesting.
Speaker D:So that's why, you know, when Jack loses it at her and then he's back to normal, just typing away on his type.
Speaker D:She's imagining all these crazy things happening.
Speaker B:What is the foundation of that theory, like?
Speaker B:Or is that just.
Speaker D:It's essentially the edits of the movie.
Speaker B:Oh, yeah.
Speaker D:There are light switches in places, and then they're not there.
Speaker D:And the next time you see them, there's light fixtures that are there.
Speaker D:They're.
Speaker D:They're not there the first time you see that area.
Speaker D:Then they're there the second time.
Speaker C:Him.
Speaker D:There's all kinds of little things in the background that move.
Speaker D:There's chairs that are there in one scene.
Speaker D:And then when the camera turns back to Jack Nicholson, that chair is not there.
Speaker D:This is Stanley Kubrick.
Speaker B:Right.
Speaker D:He doesn't make mistakes, quote, unquote.
Speaker D:So people have come up with a theory that it's all in Wendy's mind.
Speaker D:She's the one that choked Danny.
Speaker D:She's the one causing all the issues.
Speaker D:But it's all in her head.
Speaker B:Yeah.
Speaker D:And Jack's trying to.
Speaker A:Never heard that.
Speaker D:Jack's trying to be in a.
Speaker D:A remote hotel alone with a person, have a psychotic break.
Speaker B:Yeah.
Speaker B:And I've seen movies that.
Speaker D:How much you want to put in that?
Speaker D:I don't know.
Speaker B:Well, I've seen movies that have pulled that.
Speaker D:There was a Shutter island and.
Speaker B:Sure.
Speaker B:And then there was a Jack.
Speaker B:Jack Cusack was Identity.
Speaker B:Identity, I thought was very, very clever.
Speaker D:Yeah.
Speaker B:So if you're gonna do that, do it.
Speaker D:Oh, no, exactly.
Speaker D:That's what I'm saying, is if you have to fill in the blanks with something like that, you don't have the movie you think you do.
Speaker B:Right, right.
Speaker B:I thought Identity and Shutter island are really enjoyable, and I enjoy the twist.
Speaker B:And even.
Speaker B:Even I see dead people.
Speaker B:What's the name of that movie.
Speaker B:Sixth Sense.
Speaker B:Right.
Speaker B:Oh, my God.
Speaker B:A neck breaker twist at the end.
Speaker B:Right.
Speaker B:I mean, and it's done brilliantly and.
Speaker B:But the audience is rewarded with that knowledge at the end.
Speaker B:Here you're.
Speaker B:If that's even the case, you're never given.
Speaker B:Yeah, I guess it's too artsy to actually tell the audience at the end that this is what's happened, you know?
Speaker B:I don't know.
Speaker D:Sure.
Speaker B:I guess I much prefer.
Speaker B:I like those kind of things, but.
Speaker B:But do them, you know?
Speaker B:I mean, I don't.
Speaker C:I don't mind a movie that has a bit of a ambiguous ending and I gotta think about it a little bit and keeps me thinking about it.
Speaker C:But, yeah, this.
Speaker C:If that was.
Speaker C:If the winning thing is true.
Speaker C:Yeah, he missed the mark.
Speaker C:I don't.
Speaker C:I don't think that's.
Speaker C:I guess.
Speaker B:Yeah.
Speaker C:Because leaving the.
Speaker C:Like, if you change the script, you know, eight times a day or whatever it was.
Speaker B:Oh, yeah.
Speaker B:Then he didn't have.
Speaker C:He didn't have a plan which explains light fixtures and who's to say he's not changing the set eight times a day too, right?
Speaker C:Like, yeah, he didn't have a plan.
Speaker C:And we know how, like, movies work with the coverage and all that.
Speaker C:That's why shit moves, right.
Speaker C:That's why there's continuity errors anyways, because they shoot all these things over and over and over and shit gets moved.
Speaker B:If you're changing it every day or so many times that your actors stopped reading you, you.
Speaker B:One, you've lost the confidence of your actors.
Speaker B:And two, who does that?
Speaker B:That is not a way.
Speaker B:You know, if you're artistic, that's fine.
Speaker B:You have an artistic vision.
Speaker B:That's great.
Speaker B:But how changing it every day.
Speaker C:Yeah.
Speaker C:I mean, this thing gets made a couple years later with Val Kilmer in the.
Speaker C:In the main role, this movie's not going to get finished.
Speaker B:Yeah.
Speaker C:He's gonna walk out.
Speaker B:Yeah, yeah.
Speaker B:Changing.
Speaker B:Yeah, that.
Speaker B:That to me is just flying by the sea of your pants and you don't have a plan.
Speaker B:Even as an artist, you.
Speaker B:Whatever.
Speaker B:Anyway, that's.
Speaker B:That's the Shining.
Speaker B:I don't.
Speaker B:Any closing thoughts or any other.
Speaker D:No, we spilled it all out.
Speaker B:I so pass recommend.
Speaker B:Consider there was a time when I would have recommended this movie.
Speaker B:Now, I think if you just want to see the best parts, just go to YouTube and watch Jack Nicholson's Several scenes and be done, you know, watch it once.
Speaker B:Okay, fine, but I don't.
Speaker B:I in good conscience cannot recommend it as a movie.
Speaker B:That is really worth your time at this point.
Speaker B:Not when there's YouTube and clips.
Speaker D:I would say you at least got to watch it once.
Speaker D:So you can watch doctor Sleep.
Speaker B:Yeah.
Speaker D:Because doctor Sleep is a tremendous movie.
Speaker B:Yeah.
Speaker D:And I would highly recommend that one.
Speaker D:This one.
Speaker D:I would.
Speaker D:I'm probably not going to watch it very much anymore, but it's worth a one watch at least.
Speaker C:Yeah, I'm kind of the same boat.
Speaker C:Like, I think if you're, if you're looking for, you know, checking off classics on your.
Speaker C:On your list or you're checking off horror movies and yeah, watch it.
Speaker C:But if it's, you know, outside of that, it's not a movie.
Speaker C:That to me holds up.
Speaker C:And there's a lot of value for multiple viewings, Right?
Speaker C:Yeah.
Speaker B:Yeah.
Speaker A:Okay.
Speaker A:Yeah.
Speaker A:This was my pick.
Speaker A:I've only seen it a couple of times.
Speaker A:I never bought it until just now because I don't prefer that over Stephen King's version of the Shining, the miniseries.
Speaker A:But I do recommend watching the Shining if you want to see a haunted house horror movie.
Speaker A:Whatever.
Speaker A:Like you said, it's a classic.
Speaker B:Yes, it's a classic because Kubrick heads make it a classic.
Speaker A:Well, all right.
Speaker A:Jack Nicholson's performance.
Speaker A:Yeah, okay.
Speaker B:Yes, yes.
Speaker B:All right.
Speaker B:So in the actor's studio, if you're one of those types, then yes, Jack Nicholson is the only redeeming thing I think about this movie.
Speaker D:But you're not going to this movie for the story is what we're saying.
Speaker B:Right.
Speaker D:Essentially.
Speaker A:Okay.
Speaker A:But if you're a fan of Stephen King and you want to see what he intended from his book.
Speaker A:I haven't read his book, but from what I understand, the Stephen King TV series version is.
Speaker A:Is more like it.
Speaker A:It is three disc, basically because it was a three night, two hour each night series.
Speaker A:It does actually take place and is filmed in the Stanley Hotel, which is where Stephen King got the inspiration for the movie.
Speaker A:He stayed there.
Speaker A:It's on my bucket list to.
Speaker A:To visit y' all.
Speaker D:Never been there?
Speaker C:No, no.
Speaker D:Been there.
Speaker C:Stanley or the Stanley.
Speaker C:Okay.
Speaker D:Overlook.
Speaker A:I don't think the Overlook is in Oregon or somewhere, right?
Speaker A:No, the.
Speaker A:The Overlook is in Oregon or something.
Speaker A:And the out shot I.
Speaker A:Outside shots, they only filmed there.
Speaker A:But it actually.
Speaker A:They filmed the Shining movie in England or something.
Speaker A:So it wasn't.
Speaker A:There is really a hotel like that and they built a set like the one in Stanley Kubrick's, but that's in a different state.
Speaker C:I think I'm confusing the.
Speaker C:The real one, I guess.
Speaker C:The Stanley.
Speaker A:The Stanley is in my head.
Speaker D:Yeah.
Speaker D:The Stanley.
Speaker D:We went on a ghost tour there.
Speaker D:And good news for Philip.
Speaker D:They have a channel on their TV that plays the Shining 24 7.
Speaker A:I heard that.
Speaker A:So I did hear that.
Speaker A:And.
Speaker A:And there are.
Speaker A:I just listened to one podcast.
Speaker A:Let me see what the name of the Haunted Road with Amy Bruni.
Speaker A:Another podcast slash ghost show that I watch.
Speaker A:Anyway, she just did last week an episode about the Stanley Hotel.
Speaker A:So all kinds of information about that.
Speaker A:But, I mean, watch them both.
Speaker B:Yeah.
Speaker B:I mean, I might.
Speaker B:I might go so far as consider.
Speaker A:Well, you know, if you.
Speaker A:If you like haunted movies or haunted house.
Speaker A:There's a lot more ghost, I think.
Speaker A:And in Stephen King's version, sure.
Speaker A:To me, it's more fun.
Speaker B:Yeah.
Speaker A:Not as bad language like in the other one.
Speaker B:Yeah.
Speaker C:So I think less pornographic paintings.
Speaker A:Oh, my.
Speaker A:Yeah.
Speaker B:Well, then all that's Kubrick and, you know, symbolism.
Speaker B:And I don't know what.
Speaker B:I think King is by far the more competent storyteller.
Speaker B:So if you're looking for a competent story, Stephen King's the Shining as a competent storyteller is far superior to in the book.
Speaker A:Let me ask you right quick, since y' all have read the book.
Speaker A:Did the book end like this movie ends with.
Speaker A:With the boiler blowing up, but Danny actually encouraged his father to let it blow up.
Speaker A:Did it do that?
Speaker A:Did they do that?
Speaker B:His father, remember, his father winds up being a hero because he.
Speaker A:He ends up being a hero.
Speaker D:That's the thing.
Speaker D:In the book.
Speaker D:He kind of comes out of it a little bit and was like, I gotta.
Speaker B:He destroys the hotel on the ghost.
Speaker A:Yeah.
Speaker A:He let Danny and then destroys everything.
Speaker A:And then it ends with.
Speaker A:And Dick lives.
Speaker C:Yeah.
Speaker A:And attends his high school.
Speaker A:It ends with the high school graduation.
Speaker A:I think it is with Danny in the movie.
Speaker D:Yeah.
Speaker D:And it turns out.
Speaker D:I don't know if it's in the movie or not, but in the book, Tony is Danny 10 years in the future.
Speaker B:Yeah.
Speaker B:Yes, this one.
Speaker A:And like I said, I haven't read it, so I was hoping that's how.
Speaker D:It was, that's the way it is, that the Stephen King's the Shining miniseries is a lot closer.
Speaker A:Well, Stephen King's in it, and he.
Speaker D:Wrote, and he must approve.
Speaker A:Yeah.
Speaker A:And.
Speaker A:But, yeah, that was one thing, because a lot of times I have a problem with how Stephen King ends his stories.
Speaker A:But this one, actually, I thought that has to be one of the best endings if.
Speaker A:If his father is actually the hero.
Speaker B:It's a good.
Speaker D:Yeah, that's how it ends.
Speaker D:Is Jack Torrance is the hero.
Speaker D:He goes down there and is with it when it explodes.
Speaker B:Yeah.
Speaker D:To save his family.
Speaker A:Yeah, yeah.
Speaker C:And that to me, like in the.
Speaker C:The doctor Sleep book, like I said, the sequel is great.
Speaker C:And obviously he.
Speaker C:One of the biggest differences from the movie dog sleep in the.
Speaker C:The book is the hotel does blow up in the book world.
Speaker C:So he can't go back to it.
Speaker A:Right.
Speaker C:Where in the movie he as a grown man, Danny goes back to it.
Speaker C:I thought that was one of the things was really cool that they like in hindsight, you know, them deciding not to blow it up in the.
Speaker C:In the.
Speaker C:In the.
Speaker C:In the movie.
Speaker C:Like being able to for a movie wise having that iconic, you know.
Speaker D:And doctor Sleep the book, they go back to the site of the hotel that it exploded.
Speaker C:Yeah.
Speaker C:But not the same.
Speaker C:Like he's walking around the same halls and the movies.
Speaker C:Walking around the same halls, looking at the door that has red room and the hole in it from the ax.
Speaker C:Like all that stuff.
Speaker D:It's really good movies.
Speaker A:Well, I'm gonna go back and watch Stanley Kubrick's Shining then and then I'm gonna rent yes.
Speaker D:You're gonna like doctor Sleep a lot.
Speaker C:Yeah.
Speaker B:All right.
Speaker B:I'll check it out.
Speaker D:Yeah.
Speaker D:So.
Speaker B:All right.
Speaker C:But yeah, I guess consider.
Speaker C:What is the word, Phil?
Speaker C:Yeah, consider it if you're looking for classics or you know, a horror.
Speaker C:But yeah.
Speaker B:Yeah.
Speaker B:All right.
Speaker B:Anything else?
Speaker C:Nope.
Speaker B:All right.
Speaker B:That is the.
Speaker B:The Shining.
Speaker A:Happy Halloween.
Speaker B:Yeah.
Speaker B:So enjoy this in October.
Speaker B:All right, we are out.
Speaker D:The rift started between Stephen King and Stanley Kubrick almost immediately.
Speaker B:And what I like are about four scenes from Jack Nicholson.
Speaker D:He just seems kind of like a down and out loser a little bit.
Speaker B:If you're a writer and you think there's such a thing as writer's block, then you're full of.
Speaker B:Okay.
Speaker B:It's a blue collar grinded out story and Stephen King doesn't f.
Speaker B:Around.
Speaker B:Right.
Speaker C:Sure.
Speaker B:Right.
Speaker B:A twisty bride that's going to go off the rails.
Speaker B:Well, I'm sure it's artistic and you just don't get it.
Speaker D:Yep.
Speaker B:Yeah, we're all going to have a real good time.
Speaker D:I'm going to murder my family to be a famous author.
Speaker B:He is going to resist the three act structure.
Speaker A:Come play with us, Dan.
Speaker B:No Evil on Sunday.
Speaker A:You know, Cubic was changing the script constantly.
Speaker A:The script was allegedly changed so many times during production, even a couple of times a day that Jack Nicholson simply stopped reading it.
Speaker B:Yeah, what's the point?
