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Barry S1E3: Barry's FedEx Bullet Delivery & The Assassin Who Lost His Soul
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What the hell happens when the Chechen mafia uses FedEx to deliver bullets? Jo and Amelie dive deep into Barry Season 1 Episode 3 "Make the Unsafe Choice" - and holy crow, this episode is a masterclass in dark comedy meets existential dread. Everything goes sideways in the most beautifully fecked up way possible.
The Chechens want Barry to kill Paco, but they're sending him a bullet via FedEx like it's an Amazon delivery. Meanwhile, we meet Stovka - this legendary assassin who's basically the 'Ghost of Christmas Future' if Barry doesn't turn himself around.
Meanwhile, Sally gets hit in the face with the 'unspoken' (shouted, really) Hollywood ageism reality as she is called in to read for a part to play the mom of someone her own fricken age.
From Kafka references (because we're cultured like that) to the most absurd product placement in TV history, this episode shows why Barry just might be the best thing to hit TV since Archer.
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Transcript
00:00:01
Jo
everyone, Joe here. And today we've got Amelie, or as she's known in Czech Republic. What was that name you gave before?
00:00:09
Amelie
Emily.
00:00:10
Jo
No, no, no, another one. other one no no no No, no, no, no, no.
00:00:12
Jo
That's Starbucks thing. What was the American's name?
00:00:16
Amelie
who are?
00:00:17
Jo
Yeah, Rua.
00:00:18
Amelie
Who are?
00:00:18
Jo
As today, it's Rua and Joe.
00:00:20
Amelie
Who are?
00:00:21
Jo
On Streaming Demons, Barry, Season 1, Episode 3, our sweet chapter 3. Make the sexy choice. Wait, what? Hit it. Oh, I guess that's like the middle of the music.
00:00:34
Jo
I don't know.
00:00:34
Amelie
Oh, yeah, it's the end, my friend.
00:00:35
Jo
It's the end of the music. Oh, wow, my God. There we go. Hey, fuck it. I know how to work work this board.
00:00:43
Jo
I think this goes way too long, though.
00:00:47
Jo
Yeah, i good enough. Hey, everyone. i think I'm going to cut this out. And like, I didn't make it shorter. need to make it shorter, which no guys
00:00:54
Amelie
Just like Barry, boom, boom.
00:00:56
Jo
Yeah, it's I think it's like 25 seconds otherwise, which is fine. But, you know, you need to really hit home now. Alright, so everyone, if you are new to the show, Streaming Demons, welcome.
00:01:09
Jo
This is our deep dive segment with my, not my Czechoslovakia friend, but my French friend in Czechoslovakia. Oh, it's not Czechoslovakia anymore. What is now?
00:01:20
Amelie
Czech Republic.
00:01:22
Jo
Sure. I think they actually changed the name again. don't know. It's a complex.
00:01:28
Amelie
Yes, you're right, because when you go on internet and you want to say I live in Czech Republic, it's Czechia and no one likes that.
00:01:29
Jo
Prague. You know?
00:01:35
Jo
Yeah.
00:01:37
Amelie
No one likes that. So I don't know. I came from the country.
00:01:41
Jo
No. And that's the thing. When I saw that happen, like, isn't there an already a fucking country called this? Like, isn't there like the already fucking country like this? Like, oh, I spelled differently. Like, cool, cool, cool. I spelled my name J-O, but it's actually pronounced Michael.
00:01:55
Amelie
ah ah Yeah, something like that.
00:01:56
Jo
Like, what the fuck? Yeah. So welcome Streaming Demons. Barry. Okay, so we talked about Barry the first couple of episodes. We're on Chapter 3, Make the Unsafe Choice. This is where they're tied up.
00:02:10
Jo
Barry and Fuchs were tied up, and the Chexchins want him to kill Paco. Because Paco was an informant for the check-ins? If I remember correctly, he's the informant for them, but they don't trust him because he knocked on his own organization. So how could you trust someone like that?
00:02:29
Jo
So like, we better kill the guy off now.
00:02:29
Amelie
Correct.
00:02:31
Jo
So they're basically killing ass heads at this point. So when you're seeing this, it doesn't seem the check-ins are very well put together as an organization.
00:02:42
Amelie
Correct.
00:02:43
Jo
Like they're not in the best of times at this point.
00:02:43
Amelie
Yes.
00:02:45
Amelie
No.
00:02:45
Jo
They're their luck. Yeah.
00:02:47
Amelie
It's a a little bit messy.
00:02:48
Jo
Does that, yeah a little bit, a little bit. Do you think that adds to the entertainment value of the show though? If they were just like this hardcore organization.
00:02:59
Amelie
Yes, because traditionally the mafia, it's always one plus one equal two. They know what they're going to do. They're always in the shadow. you know, they're well organized.
00:03:08
Jo
Right.
00:03:09
Amelie
And there is this darkness about them. They just kill and it's done. Here, they want someone to be killed, but it's complete mess.
00:03:17
Jo
Yeah.
00:03:18
Amelie
Like, they and Barry, they have a stage.
00:03:19
Jo
It's a map.
00:03:22
Amelie
Someone is coming from Czechia.
00:03:25
Jo
They're FedExing a bullet.
00:03:25
Amelie
Barry needs to kill. They say, oh...
00:03:27
Jo
Yeah.
00:03:28
Amelie
It's just like it's messy. And what is really interesting, it's not well organized. And it reminds me of when you go to work and nothing is
00:03:37
Amelie
Oh, wait a minute. Don't do that. You need to do this or you need to do that before.
00:03:41
Jo
Yeah.
00:03:42
Amelie
I have a question.
00:03:43
Jo
It's a show.
00:03:44
Amelie
Do you think the series was financed by FedEx and DHL? Because...
00:03:51
Jo
Well, it's funny you say because it's got to be a product placement.
00:03:54
Jo
They could have said the post office. Sorry, I just hit the fucking mic. They should have said the post office or something dumb like that, but they were very specific on this.
00:04:02
Amelie
Yeah, and I like the advertising.
00:04:03
Jo
The tracking app.
00:04:04
Amelie
It could be an advertising, you know, because it's like, yeah, hi, Barry, this is me, Hank.
00:04:06
Jo
It probably is.
00:04:09
Amelie
Yeah, so now, change of plan. You don't kill him right now. You wait a bit because I said it.
00:04:13
Jo
Yeah.
00:04:16
Jo
A bullet.
00:04:16
Amelie
And guess what? You can even receive on your phone.
00:04:19
Jo
Trap, ew.
00:04:22
Amelie
So you could cut this part of the series and place it like, you know, during the Super Bowl or something like that.
00:04:27
Jo
Brilliant.
00:04:27
Amelie
Boom, it's an advertising.
00:04:28
Jo
I like that idea.
00:04:30
Amelie
So, yeah, and the guy's like, are you shitting me right now?
00:04:30
Jo
Yeah, absolutely.
00:04:33
Amelie
No, no, no. Like, I just have the guy in front of me. No, no, no. You need to wait. Like, there's a bullet come.
00:04:38
Jo
Yeah.
00:04:38
Amelie
They're like, oh, a bullet. And they send you the SMS and bim, bada, boom.
00:04:41
Jo
The whole backstory.
00:04:42
Amelie
You kill the guy. Ah,
00:04:44
Jo
Yeah, no, I love it. And that's the greatest way they do... don't know if it's even exposition. They are telling a story in scene. And you're like, oh, this guy. And it's talking about the character. Because if you are trying to kill someone, you're like, oh, this is a very convoluted way.
00:05:02
Jo
Because why the fuck would you send him a bullet going to kill him anyway? like, oh, look, a bullet. What's this about? And your brain gets blown out, right? Yeah.
00:05:09
Jo
But it's kind of funny because they send it to this one place and he's at the other place. It's messed up. It's messed up. And you see when you see Barry go out to kill Paco, Barry still kind of he's in a sniper position. He's waiting. He's in the middle of of nowhere.
00:05:28
Jo
And he's just like, I got a chance right now. He's like, i want to kill him. I want to kill him. no. You have to wait for the fucking bullet. It's like, what the fuck? It's like, what the fuck, man?
00:05:35
Amelie
And he gets mad. He gets mad. He's like, are you?
00:05:37
Jo
Yeah.
00:05:38
Amelie
really for real and the guy comes and he's like stretching just in front of him like I'm in the wild right now I'm wide open I can have the guy I put myself in danger i want this thing to be done and now you're sending a day come on no and he has his personal life he needs to go to class he has this love interest etc love interest right yeah yeah
00:05:40
Jo
Yeah.
00:05:43
Jo
He's like wide open. Yeah.
00:05:47
Jo
Yeah.
00:05:53
Jo
Oh,
00:05:57
Jo
absolutely. The love interest of Sally. Yeah. The air quotes for this one. Right, and you have all this, while this is happening, the Chechens bring in Stovka, the higher, the big
00:06:12
Amelie
Yes.
00:06:14
Jo
It's like, it looks like some old dude, but I forgot how old they say it is on the ah ah show. like He's like, I'm like 30-something.
00:06:21
Amelie
45 years old.
00:06:21
Jo
It's supposed to be 45. Yeah, he looks like 80.
00:06:23
Amelie
Yeah. I thought he was eight years old. Once I rewatched it for this podcast, I'm like, he's just 45.
00:06:25
Jo
Yeah, yeah.
00:06:28
Jo
Yeah.
00:06:29
Amelie
I understood his son was 45. I like that character. like this actor. He just had a few lines, but really he was on point.
00:06:35
Jo
Yeah, brilliant job.
00:06:40
Jo
Yeah, he does it well.
00:06:41
Amelie
And it's really interesting to see the two difference between Fuchs, who is limit goofy, like bad guy, but goofy.
00:06:48
Jo
Yeah.
00:06:49
Amelie
And that's mine, who is really in the tragedy, like I killed thousands of men, but it doesn't mean anything.
00:06:52
Jo
Serious.
00:06:57
Amelie
I lost appetite of life.
00:07:00
Jo
Right.
00:07:00
Amelie
had a wife, had a son. My child is dead. There is just one way out. And that's really interesting to see the difference between him and Barry.
00:07:07
Jo
Yeah.
00:07:09
Amelie
Barry killed thousands of people and he has no emotion, no feeling, nothing.
00:07:14
Jo
Yeah.
00:07:14
Amelie
And this man is human. But we learn by the Chechen, he's a Chechen, he's a hero, he killed thousands of people.
00:07:17
Jo
Shit.
00:07:22
Jo
Yeah.
00:07:23
Amelie
There is a comic relief with Hank who's like, yeah, I remember when I was a child, I was a nightclub and he just flipped a cigarette and the bird went to the sky and exploded, you know what I mean?
00:07:34
Amelie
Like that's That's a killer. He's a killer. He's a respected killer.
00:07:34
Jo
Yeah.
00:07:37
Jo
Yeah.
00:07:38
Amelie
And all he did it just take his gun and shot himself.
00:07:42
Amelie
So that's interesting to see that character, right, who is kind of a soldier, just like Barry. And you see the difference between who has a conscience, who has a wife, etc., who just wants to kill himself, and Barry who had no idea of...
00:07:53
Jo
Yeah.
00:07:55
Jo
Got nothing. Not even furniture.
00:07:57
Amelie
yeah yeah it' It's He doesn't know.
00:08:01
Jo
Yeah, it's interesting the economy you have there because you have this, you know, watch.
00:08:03
Amelie
Like...
00:08:09
Jo
I'll liken this to a movie I love, Train to Busan. Have you seen Train to Busan? It's a Korean zombie film, one obviously on a train. okay Right, you have the father figure.
00:08:23
Jo
in Train Busan, who was this businessman, very dickish the beginning, and you have the COO of Stallion Express, or wear fucking Train, other older dude.
00:08:34
Jo
And you see is what the father figure could have been if he remains closed down and stuff like that. So you have the parallels, and then they have the character arcs in the movie.
00:08:46
Jo
With Barry, you have Stovka, Which if you see Barry, if he ever got kids, he very much could be in 20 years. You see what he could be, but he's not because he doesn't connect with the people that well. He's learning through the acting class he wants to connect with people.
00:09:06
Jo
Like Stovka had a life, but it was just kind of like, I have to kill because I was good at it. Barry's like, i I'm good at killing, but there's nothing else for me do anyways. Barry's very transactional that way.
00:09:18
Amelie
And so so there's very interesting because there's this scene where he has a monologue before shooting himself when he's like, my wife left me because I'm broken.
00:09:27
Jo
Yeah.
00:09:28
Amelie
So he has a conscious. Barry doesn't have a conscious at all. Barry, kill you because it's a job. He's going to kill you.
00:09:36
Jo
Clean your floors, kill the dude, fine, whatever.
00:09:40
Jo
Yeah. ah After like Buy you dog food today? Okay, cool. Do I do it before I kill your ex? All right, that's fine. Yeah, it's just like that. It's him taking an order.
00:09:40
Amelie
robot.
00:09:53
Jo
ah ah You want the Americana with whipped cream? Okay. ah should stab him in the balls? Okay. It's all like that. And the fun part with this is like Fuchs is talking to the guy trying to turn Stoka.
00:10:07
Jo
Like, hey, you know, once you're here, look at this. America, like Los Angeles. We have all things going on. You know, we can make ah tons of money and all the girls and all this and all the guys.
00:10:17
Jo
And every time Fuchs was saying something, how good life could be. It just kind of like makes Stoka more depressed.
00:10:24
Amelie
Exactly.
00:10:25
Jo
It's like, oh, fuck.
00:10:25
Amelie
And I know the woman and stuff and stuff and he's just like looking deep and he's like, I don't want...
00:10:26
Jo
It's all gone. Yeah.
00:10:31
Jo
Baby Yoda. He's like, Baby Yoda.
00:10:31
Amelie
No, I just... Yeah. Just like, there's no way to
00:10:43
Jo
um I'm pretty sure someone's rewinding that part and they're probably joking off to it.
00:10:48
Amelie
Oh, the life facts.
00:10:49
Jo
I'm not saying which voice it was.
00:10:49
Amelie
The life facts.
00:10:50
Jo
Maybe mine would you have this where he gets pushed to the edge by Fuchs.
00:10:50
Amelie
Oh, how do you do? How do you do?
00:10:57
Jo
And Fuchs is not trying to make him kill himself.
00:10:59
Jo
He's just trying to get free. But by doing this, he kind of destroys Stovka.
00:11:02
Amelie
Yeah.
00:11:08
Jo
Just like he's destroying Barry. Maybe.
00:11:10
Amelie
Do you think so? Because I think he just wanted to kill himself since the beginning. Because when the big bad guys, the mafia, come to him and say, would you like some tea?
00:11:19
Amelie
Would you like some coffee? Would you like to come with me? No, no. I just want to stay here on that chair.
00:11:24
Jo
Right.
00:11:25
Amelie
And that's all. I think he... He had enough. He had enough from the beginning.
00:11:28
Jo
Maybe. But I think Fuchs helped him kind of push him to the edge.
00:11:32
Amelie
Yeah.
00:11:33
Jo
I think he would have come.
00:11:33
Amelie
But that's interesting to see the two parallels, as you said. The guy's like, beautiful woman, money, killing people, yadadadada, business, business, America.
00:11:40
Jo
Yeah.
00:11:44
Amelie
And that guy was like, had a wife and kid. The kid died.
00:11:48
Jo
Yeah.
00:11:49
Amelie
I'm broken. I'm this.
00:11:50
Amelie
Which is very European drama, right? There is no...
00:11:50
Jo
Yeah.
00:11:53
Jo
It's fucking Chekhov.
00:11:56
Amelie
Yeah. Yeah, you know, there is a...
00:11:58
Jo
Oh, man, have no time.
00:11:59
Amelie
Go ahead.
00:12:00
Jo
Oh, no, no. Okay. Have you read Chekhov? I mean, you're actually are in fucking Prague. Have you read Anton Chekhov?
00:12:10
Jo
Maybe not. Maybe not. Ooh, I know what to get you for Christmas now, motherfuckers.
00:12:15
Amelie
Am I going to have surprise?
00:12:16
Jo
That... Yeah, well, that and the non-surprise of, I did buy the, you wanted, welcome to Streaming Demons where Emily and Joe talk about Montreal steak sauce or steak spice.
00:12:29
Jo
You wanted the steak, not the chicken one, right? The steak one?
00:12:31
Amelie
Go
00:12:32
Jo
Okay, good. Got you that. So, don't know. Maybe I'll, are you sure you want to hear this? It's about Chekhov. Maybe about Chekhov. It's going to take about a minute or two.
00:12:43
Amelie
ahead.
00:12:43
Jo
Alright, fuck it. As well as my fucking show.
00:12:44
Amelie
That's why do this podcast, because I know you are writer, you're reader, you're a man of theater, you're a man of knowledge and culture.
00:12:51
Jo
Romana Theater.
00:12:53
Amelie
Yes, we can be goofy, but also intellectual. And that's the perfect mix. And that's why I wanted you to do Barry with you, because there is a lot of of little things we can work on.
00:13:08
Amelie
go
00:13:09
Jo
Well... God, I'm thinking right now. might not even be in Chekhov. God damn it. This is funny. It's actually like Kafka.
00:13:20
Jo
How did get Chekhov and Kafka every confused?
00:13:23
Amelie
Kafka! Of course I read Kafka.
00:13:24
Jo
Fucking...
00:13:25
Amelie
Of course I knew Kafka.
00:13:25
Jo
Okay, yeah.
00:13:26
Amelie
Oh, la, la, check it.
00:13:27
Jo
When i said Prague, I'm like, Prague? What the fuck am I talking about?
00:13:30
Amelie
Look, there's a lot of people who talk about Kafka whenever they come to Prague because Kafka is like Mickey Mouse.
00:13:35
Jo
Because of the statues there and the...
00:13:36
Amelie
You know what I mean? You have the big head of Kafka turning around where you used to work and but but everybody comes there and take pictures because it's David Cherny and there's David Cherny too with all the different statues and art and stuff like that. So there's two people really well loved in Prague. It's David Cherny, which is a sculpture artist, who really cool, by the way.
00:14:00
Amelie
and Kafka. What I really like did about the tragedy of Kafka is he was kind of a loser when he was alive.
00:14:02
Jo
Yeah.
00:14:08
Amelie
He died. One of his cousins refused to burn his books, publish it, and boom, he became postpartum famous. And now when you come to Prague, there is his head, metallic head who turned, and that's where he used to work for an insurance.
00:14:21
Jo
Yeah. I went there.
00:14:25
Jo
Yeah.
00:14:26
Amelie
So immediately he hated his work. So, imagine Joe, you are not famous.
00:14:29
Jo
Yeah. Very much so.
00:14:31
Amelie
You die.
00:14:32
Jo
Yeah.
00:14:33
Amelie
I take your book.
00:14:34
Jo
Thanks for that.
00:14:34
Amelie
I sell your book to an editor. Boom, you became super famous. And there is in Montreal, next to work, you've got a giant head of Joseph's
00:14:40
Jo
The place where I hated the most. Yeah.
00:14:44
Jo
That sounds about right.
00:14:45
Amelie
Like, it's really nightmarish, don't you think? It's nightmarish.
00:14:48
Jo
No, but that's kind of about it. And that's, yeah, I actually saw that thing. And I saw a statue. I went on a small little walking tour. Nothing else to do, right? And it reminds me, does remind me of this one time where, like, this moth, I'm not going to use names. I'll just say it's a moth.
00:15:07
Jo
All I'm just going to say it's a a moth. And it was walking into this podiatrist's office. It was nighttime. I don't know why moths walk, but they get in there and the podiatrist is kind of like, ah, ah, that's weird for having a moth here. And, you know, like, why is this moth coming into my office?
00:15:30
Jo
And the moth goes like, that's pretty rude. The podiatrist goes, oh my God, you can talk. And the moth's like, well, yeah, of course I can talk. Can't you? Talk to me right now. In fact, most people talk they don't even listen anymore.
00:15:46
Jo
They just keep going on and on and on, and they think because my moth, I can't even speak to them. So they'll say sometimes things just weigh on my soul.
00:15:58
Jo
They weigh on my soul like Greta Samza does once in a while. They try to take care of me. They think they're doing the right thing, but... i I tell you, it's hard being moth and you go to work one day and you realize you've been a moth for 30 years at the same place.
00:16:18
Jo
They try to give you a little Rolex, but I'm a moth. I can't wear a Rolex. Where am I supposed to wear a watch? Am I a small moth arms? I can't do that. And they just drain their life out of you day in and day out. and Just an unbearable weight to it all, a finality out all. and you see this and you try to be the best moth you can be and,
00:16:42
Jo
You're trying to have little moth kids maybe and raise them well. And sometimes it works out and sometimes don't. But you keep trying. You keep trying and day in and day out. And every once in a while think you might get ahead. But no, no, There it comes, Gargovich, coming back down and stomping on you once again.
00:17:00
Jo
Apparently all of the days and nights you poured into your work left your wife unfulfilled so she leaves you later on. And you look back in your life and... You realize maybe I was just a moth in this big machine that we call life.
00:17:15
Jo
Maybe this all it ever will be. The podiatrist goes, my God, that's a horrible story, man. I'm so sorry. But maybe you should talk to someone about this.
00:17:30
Jo
Why did you come to my shop? And the moth goes, because he your light on.
00:17:37
Jo
Norm MacDonald, thank you. Yeah, Norm tells it better. I did like a minute. Thank you, thank you, thank you. Norm and I would be appearing nowhere because he's dead.
00:17:45
Amelie
That's nice!
00:17:46
Amelie
That's nice!
00:17:48
Jo
No, because we're talking about Kafka, which I thought we're talking about Chekhov for a second because I'm stupid. And then we went to this. So, yeah, okay, we going back to, oh, because we're talking about Stovka and like the unbearable, you know, just the unbearability of
00:18:02
Amelie
Correct!
00:18:03
Jo
Right? free For French, Jean-Paul Hacte.
00:18:05
Amelie
Jean-Paul Sartre!
00:18:06
Jo
Nausea.
00:18:07
Amelie
Oui, tout à fait!
00:18:07
Jo
Nausea, right? I'm sure of the French translation of the title. Not translation, real one in French. English translation is nausea. So you have this and Stavka pops himself out. Boom, goes away.
00:18:18
Jo
And so you see this part where Stavka is... unhappy with his job. He's really good at his job. He's unhappy with his life because of how much effort he put into his job. You see that as like a warning to Barry because Barry's really good job, but he's going to be extremely unhappy unless he starts connecting with people. And one of those people he tries to connect with is Sally.
00:18:39
Jo
And she's like, hey, you know, why don't you come over and try to like, are you in the middle of something? Like, no, no, I'm just about to kill someone. Like, what the fuck? You know?
00:18:51
Jo
And yeah.
00:18:51
Amelie
So for Sally, what is really interesting is in this episode, we're going to see how she works in a personal level as an actress.
00:19:01
Jo
Yeah.
00:19:03
Amelie
So I don't like Sally as a character. It's true. But I will admit it, for this episode and the next episode, we get an intimate glimpse into Sally's personal journey towards becoming an actress.
00:19:16
Amelie
From playing fairy... at a little girl's birthday party, to auditioning, to searching for a manager to represent her, you know. So there is in this episode more credit given to her, and she represents a woman, woman in general, who try to, yes, to get a role.
00:19:16
Jo
Yeah.
00:19:35
Jo
She's fleshed out.
00:19:38
Jo
Do the best you can.
00:19:40
Amelie
Yeah, yeah, yeah.
00:19:40
Jo
Just like Stofco was. like Doing the best you can in that position you're in. And has personal hits.
00:19:47
Amelie
Yeah, and that's interesting because he is the top of the top in his country. He's well-known. The two mafios are like, oh, it's him, it's him, it's him.
00:19:52
Jo
Yeah.
00:19:55
Jo
It's part who?
00:19:55
Amelie
Oh my God, like big rock star. Oh, he's great. He took 1,000 people, which is the same for Barry, who is known in his squad to be really good at killing.
00:20:07
Jo
Right.
00:20:08
Amelie
He is good at killing, right? But he's looking something more than just killing. And there you've got Tophka, as you said, was a warning when he's like, I've got a wife and kids. She left me. She said I was broken and my son is dead. So there is nothing left.
00:20:23
Amelie
So maybe the danger of knowing, being aware of
00:20:26
Jo
Hmm. Maybe. Maybe if this could be the Sally is the pre-recognition or premonition of it because she's we started to see her knowing and then she during that audition she's auditioning for someone she doesn't she doesn't know at the time but they did like a pilot together where there were friends or sisters something like that and then now she's playing the mom of that person and age-wise they look the fucking same by the way like if you look the two actresses side by side i'm like they look the same fucking age
00:20:58
Amelie
Correct.
00:21:01
Amelie
Yeah, it's crazy. Especially in America, you have the reputation to create show for teenagers with teenager character and the actress is 30 years old or the other one is 25 years old, etc.
00:21:07
Jo
Yeah. With the old. Yeah, I'm playing Luke Perry soon.
00:21:15
Jo
Yeah. That was my Riverdale. did you see Riverdale? Luke Perry was in it for a half minute. I'm like, man, he never fucking graduated. How the fuck he still in school?
00:21:23
Amelie
This is crazy.
00:21:23
Jo
Like, oh, he's the dad in this one. I didn't know that.
00:21:25
Amelie
It's a dad, yeah, it's a dad there. But I mean, when you look at the age of people, they're like, are you really like, say 22 years old and they play a 12 years old, you know, and they have to have a squeaky voice and problems and stuff like that.
00:21:27
Jo
Yeah.
00:21:31
Jo
They're 30s.
00:21:33
Jo
Yeah. Yeah.
00:21:39
Amelie
And like, nah, na nah, nah, nah. A 15 years old doesn't have abs. A 15 years old doesn't have this face.
00:21:46
Jo
Yeah.
00:21:46
Amelie
You know what I mean? Like, mm-mm-mm.
00:21:47
Jo
Which is kind of what really liked about the Harry Potter casting because they really were age. Like they were that age.
00:21:55
Amelie
Correct.
00:21:56
Jo
That's why it works.
00:21:56
Amelie
Yes. Yes, definitely. And you see them growing up.
00:21:58
Jo
Charlie Brown too, by the way.
00:22:01
Amelie
So that's interesting.
00:22:01
Jo
Yeah.
00:22:03
Amelie
Also, voice actor, for example, the series Hey Arnold, it was only kids of the age who was playing the voice.
00:22:10
Jo
That's Charlie Brown. Charlie Brown Christmas. When you listen to Charlie Charlie Brown Christmas, those are all kids.
00:22:12
Amelie
Yeah.
00:22:14
Amelie
Yeah.
00:22:15
Jo
Those are 100% kids. And that's what the whole thing, because everyone else was using voice actors. Well, most things was just Mel Blanc for the longest fucking time. Nothing wrong with Mel Blanc. He does have one stolen credit, by the way. It was someone else's voice, but they kind of like said, fuck you. He has a bigger agent.
00:22:30
Jo
Who knew? But you have Charlie Brown Christmas coming like, no, we want real kids. We want something you can't... don't want fake. We want the authenticity. And I think when you're seeing Sally being, you know, reading for the role of bomb to someone who's her own fucking age, it kind of like exposes the Hollywood like, oh yeah, this is this definitely Hollywood.
00:22:51
Jo
Like only in Hollywood you fucking play...
00:22:51
Amelie
Definitely.
00:22:52
Jo
Yeah.
00:22:54
Amelie
Yeah, and he has no sense. So she saw a friend. Hi, how are you?
00:22:58
Amelie
We found out she was not named called. It's a a friend or former colleague who just introduced her to the cast. She really insisted. They're like, yeah, sure, we can give her the role of the mom.
00:23:09
Jo
Yeah.
00:23:11
Amelie
And what I disagree with Sally is she look at her friend and she's like, okay, you're so skinny and you're you're part of disgusting.
00:23:19
Jo
Yeah.
00:23:21
Amelie
No, no, no, no, no. I'm not part of disgusting. I'm the daughter.
00:23:25
Amelie
So your son fell into the monkey cage, something, something.
00:23:30
Amelie
And she's like, she's losing it. I would have played the role. If I was at her play, I would play the role of the mother and say, no, I can be a
00:23:39
Amelie
can play the role. I'm starting something. I can be a mother. I'm going to play it. And from that theory, maybe get more jobs and more opportunity.
00:23:46
Jo
Yeah.
00:23:47
Amelie
And there,
00:23:47
Jo
Yeah. Yeah.
00:23:48
Amelie
I don't know why she cried. And think as you hear, we can like, oh, thought she was important. It was an ego boost.
00:23:58
Amelie
Or she was really mad because there is a 30 years old woman who play a teenager and I play the mom.
00:24:05
Amelie
Therefore, I'm ugly, maybe.
00:24:06
Jo
All the above. I think it's all the above.
00:24:08
Amelie
Like...
00:24:08
Jo
I think it hits her all at once. That's great insight. I think it hits her all at once. I think the age thing hits her like the, I look like the mom instead of the supermodel thing hits her at once. I think just the, I only got this, even this audition because not who I am, but because someone i i worked with and all just like hit her all at once.
00:24:34
Jo
And I agree. I would take it too. Fuck it, man.
00:24:37
Amelie
I have a note about that. One day we had a conversation about filters.
00:24:43
Amelie
Do you remember people who filter?
00:24:44
Jo
Oh yeah. I think like, Hey man, nice shot. Filter that fucking band. I love that band. The band play. Oh wait. I like, not that one that opened up for Bush. No.
00:24:54
Amelie
Found filters, like we have common friends who take pictures and sometimes when we add the pictures, there is way too many filters.
00:24:54
Jo
That Instagram. Hey
00:24:59
Jo
everyone.
00:25:02
Jo
Yeah. Yeah. Welcome to Streaming Demons where Joe gets in trouble from Emily talking.
00:25:05
Amelie
About...
00:25:08
Jo
Go for it.
00:25:09
Amelie
Let's trash talk. We had conversation about that and you need to know what I noticed is when they're mother, there is less filter.
00:25:10
Jo
No. We did.
00:25:20
Amelie
There is more original picture. But then when they're over 40 years old and they don't have children and they're single, etc.
00:25:23
Jo
Interesting.
00:25:28
Amelie
Filter, filter, filter.
00:25:28
Jo
They filtered the fuck out of it.
00:25:30
Amelie
You need to understand is the the world of women.
00:25:34
Jo
Okay, hold on. Let me get we notes out.
00:25:38
Jo
If people who are not listening or watching the podcast, Joe got like small notebook out to
00:25:38
Amelie
Are you ready?
00:25:42
Jo
Yes, go for it.
00:25:42
Amelie
Go, go, go, go.
00:25:43
Jo
Yeah.
00:25:44
Amelie
So in the world of women, if you are past 30 years old and you're not married yet you don't have kids, you have to compete with people who are between 18 and 25 years old.
00:25:45
Jo
So. Okay.
00:25:48
Jo
World of women.
00:25:51
Jo
Past 30.
00:25:55
Jo
Kids.
00:25:58
Amelie
And it's very, very difficult.
00:25:59
Jo
18, 25. Got it. So you're saying only date 18 to 25 year
00:26:00
Amelie
Right?
00:26:02
Amelie
Got it.
00:26:03
Amelie
Good, good. Yes. And when you are 35 years old and you're married, if you've got kids, you have apparently the golden pass that, oh, you're married, you've got kids.
00:26:09
Jo
35, got it.
00:26:16
Amelie
You're good. Please, in this door, come.
00:26:17
Jo
You become the kids. Yeah.
00:26:19
Amelie
However, if you're 35 years old you don't have kids and you're not married, stop. Please take this door, the crazy door. Excuse me. I'm not crazy. I just never married.
00:26:28
Jo
Don't have kids.
00:26:29
Amelie
Yes, but you don't have kids. I can't have kids. Like, I have a problem. I've got an issue. I'm sorry.
00:26:37
Amelie
That's very sad. That's the door, please.
00:26:37
Jo
Or just don't want to.
00:26:39
Jo
Yeah, man.
00:26:40
Amelie
But why? Because you're 35 years old and you're single. So you're crazy. There's a problem with you.
00:26:44
Jo
Yeah.
00:26:45
Amelie
Please, please, the door. And you're old, by the way. By the way, you're 37 years old. You're old. You're very old. bye Bye-bye. Bye-bye. And I know that how because I talk with a lot of women who are over 40 years old who decided to be single by choice or
00:27:00
Jo
Yeah.
00:27:01
Amelie
can't have kids, never wanted to have kids, especially when I got my triplets, people came to said, excuse me, if had triplets, I would jump out of the window. Have a nice day.
00:27:11
Amelie
But the way people talked to me, I became a mother, it was like entering a VIP room.
00:27:16
Jo
yeah
00:27:21
Amelie
Amelie, Amelie, you're you will mother, please come here. Welcome to the VIP room. You have the right to get your days off in advance compared to the other because you're mother.
00:27:32
Amelie
Also, we want to give you more time to get late. Yes, you can be late because you know, you're mother, right? Also, if you want money, we can give you more money. How many you have people to feed, right?
00:27:45
Amelie
Yes.
00:27:45
Jo
Shit.
00:27:46
Amelie
And when you see your colleagues who are 35 years old or single who try to have holidays, like, excuse me, Patrick, I gave my holiday two weeks in advance and everything. Yeah, but you understand, Stacey, you don't have kids.
00:27:58
Amelie
Or for Christmas, I know you're going to see your dying grandmother, but you need to understand you don't have kids.
00:28:00
Jo
Yeah.
00:28:05
Amelie
And I don't like that.
00:28:08
Amelie
And it's very, very pressured for women. Like I can see the shift. Like one day I had conversation. I say, what if one day I divorce, you know, or my partner?
00:28:19
Amelie
I hope not. dying, what will happen to me? like like I'm thinking about it and a lot of people are like, it's going to be really easy for you to find someone. And I'm like, why? Because you're my head and with kids. You're not crazy.
00:28:32
Amelie
And a lot of men said that to me from all around the world. You're not crazy. So Joseph, I can commit a a mass murder you and go to the judge and say, judge, I'm not crazy.
00:28:37
Jo
I've
00:28:44
Jo
got kids.
00:28:44
Amelie
I'm a mother.
00:28:46
Jo
Yeah, I think you're hanging around bad people. I think that's what the moral story was. If men are telling you that, they're scumbags. I'm so sorry. If men are saying that people who are over 35 and don't have kids or single are crazy, that this is wrong. I'm so sorry.
00:29:02
Jo
I think that's a bad, and I'm not saying you're saying that's correct.
00:29:05
Jo
I'm saying that's you're that's That's what they're saying.
00:29:06
Amelie
I know you're very intelligent and you're amazing and you're top, but my friend, I'm going to tell you what my GP told me before I left France.
00:29:14
Amelie
Remember.
00:29:15
Jo
Your vagina will stretch out like this when you have
00:29:18
Amelie
No, because I had a C-section.
00:29:20
Jo
Oh, sorry.
00:29:24
Amelie
see.
00:29:25
Amelie
My GP said to me before I left for the tour of the world, Amelie, remember, we are all monkeys. There is 1% of people who are intelligent. The rest are just dumb ass.
00:29:37
Amelie
So remember, I know you're a good guy and you at women in a different way than most of the men, right? You like to walk with them. You're very serious, like yada, yada, yada.
00:29:49
Amelie
And I know a lot of men who are like, for example, Paul, po my friend Paul, who always work with women who are fantastic, who always try to help out women help in their research, to get finance, to to give really good business advice.
00:29:55
Jo
Shout out, Paul.
00:30:01
Jo
Right.
00:30:05
Amelie
My cousin Camille, who got promoted. Bravo, Camille.
00:30:08
Jo
Yeah, you got me.
00:30:10
Amelie
She's trying as a woman to to be to be seen as a professional and she had to move from France to Canada and it's already completely different but she has to fight to get raise money to be respected etc so there is a world there where it's difficult for women just because you're single or you don't have a family or you don't have kids the good old conversation
00:30:17
Jo
Right, and not a piece of ass. Yeah.
00:30:24
Jo
Yeah.
00:30:38
Amelie
when you are single and you want a career what's a career
00:30:43
Jo
Well, oh that's the thing. emily I'm not disagreeing that the world's like that. I'm just saying it shouldn't be. That's all I'm saying. It shouldn't be like that.
00:30:48
Amelie
I agree.
00:30:50
Jo
I'm like, when you're hanging around people who are doing this, I think it perpetuates a really fucked up stereotype. But this is what Sally has to deal with. This is what Sally is dealing with. She's now at the age where she doesn't have kids.
00:31:00
Jo
She is in Hollywood and she's starting to fucking get the mom roles. She was from a sex roles like the roller dover roles to the mom roles and she's not handling it well.
00:31:07
Amelie
Yes. Yes.
00:31:12
Jo
She's not handling it well.
00:31:13
Amelie
Yeah. Yeah. Exactly.
00:31:15
Jo
You know, she's falling apart a bit on this and then that brings us back to like she's talking to, you know, I think she calls Barry up when he's about to like just keep the guy Paco in his sights, but he still can't kill the dude because DHL hasn't delivered the fucking bullet from NoHo Hank, right?
00:31:15
Amelie
Yeah.
00:31:38
Jo
So even if you want to kill me, it's like, I can't kill him. And he's just kind of like in between right now. At the same time, we do have like the cops starting to look into people. And I guess Janice and like Jean are starting to have that dinner, I think, is this episode.
00:31:56
Jo
But that's kind of in the foreground still. No, sorry. Jean and Detective Moss have dinner next episode. My bad. But they're starting to like plant the seed that they might be flirting.
00:32:08
Jo
a bit in this episode. But it's just a small little germination.
00:32:10
Amelie
There is a BPS.
00:32:11
Jo
I think that's what Barry does well. Something very small will bloom into something huge later on. Like there's payoffs for every little detail.
00:32:18
Amelie
Correct.
00:32:19
Jo
There's a payoff for every fucking detail, including like Hank sending the bullet in. there's a payoff to that detail. It's just like, oh, that's a little funny quirk. Like, no, it's the actual fucking detail, man. Or there's a payoff to Stovka blowing his fucking brains out.
00:32:34
Jo
There actually is later on. We won't spoil nothing, but there is a payoff to everything that happens here. And I think that's one of strengths of Barry is I don't know if they wrote the whole thing like a Bible for the show in advance. They usually do, but not this far, and not this detailed.
00:32:49
Jo
Or they just happen to be very conscientious every time they wrote an episode or every time they did a season. I'm not sure. Good thing that's right.
00:32:57
Amelie
That's why the writer is fantastic, because when a show like Barry is made, the most important and is the writing. You can really see there is a work behind it, somebody who is good at it.
00:33:07
Jo
Yeah.
00:33:09
Jo
Right. Absolutely. something. And this is if Bill wrote this one, this is like his third fucking episode writing. This is only the third thing he wrote.
00:33:22
Jo
If he wrote. the sorry. This one's why Duffy Boudreau. So Bill directed Bill Hader directed this. So the first two episodes is Alec Berg and Bill Hader writing. This episode is Duffy Boudreau.
00:33:34
Jo
So it's this continuality and it's really well done. Now, no real big spoilers. This entire thing is big spoiler for everyone. Barry doesn't end up shooting the guy. He gets the bullet.
00:33:48
Jo
the time he gets the fucking bullet, Barry's like, I got to fucking go. He's like, this guy doesn't come out of his house. What the fuck? So he goes inside. He goes inside and ends up strangling the guy to death.
00:34:01
Jo
The guy's like basically wearing, he's not wearing pajamas, but he's wearing like sweatpants.
00:34:05
Jo
He's just fucking chilling out. He's like watching a game or some shit. Like, you know, he's just fucking living life.
00:34:09
Amelie
every single that because he and care the home to kill the guy because he is crying thing come to my house much of shop and you receive a call is that what the police get child what are you wish any turn of the phone any good with kitchen any terms any he yeah
00:34:11
Jo
Yeah. but the all
00:34:16
Jo
Yeah.
00:34:18
Jo
Yeah.
00:34:22
Jo
A bullet. What the fuck says? Yeah.
00:34:28
Jo
Yeah.
00:34:31
Amelie
Barry and he screamed in Spanish and he ran.
00:34:32
Jo
Barry's like that.
00:34:34
Jo
Yeah. Yeah.
00:34:37
Jo
Yeah, and then once he gets choked off by Barry, Barry goes to Sally's house to comfort her. I think Barry's truly trying to comfort her and they end up having sex.
00:34:49
Jo
But as they're doing this, says something like Paco was saying at the end and she happens to have the key to what it says. Like, you don't have to do this as Barry's fucking strangling him.
00:34:59
Amelie
And he realized, it's true. I don't have to do this.
00:35:01
Jo
Yeah. Yeah. And that's how this... So the scene... The episode starts with have to go kill Paco and you have Strowka is going to kill you both once you you're... you The plan was once Barry was done, Strowka was going to kill both Fuchs and Barry.
00:35:18
Jo
That was the whole plan the Cheshire's had. It didn't work out. So you have this drama unfolding where the B story is Sally's journey as an actress and you still have this Barry character who's going to parallel a bookend and maybe Stovka or something else with Fuchs talking to him.
00:35:38
Jo
So you have all this wrapped up into one episode. How does the the episode overall feel to you?
00:35:43
Amelie
I like it. I would give a good 8 out of 10.
00:35:44
Jo
Yes. Nice.
00:35:47
Amelie
I really like it and that's why i like watching that series because you have the backstage of what it means to be an actor, what it means to be a writer, what it means to be a cameraman, etc., an artist in this case.
00:35:57
Jo
Right.
00:36:00
Jo
Yeah. Yeah.
00:36:04
Amelie
I really like the scenes when you see them having auditions, like it's raw, it's true. And Be Ladder, as you know, was a part of as as SNL, was a writer, worked for many, many years beyond the camera in the backstage, you can to cut the film and do the sound system, etc.
00:36:22
Amelie
It's not just two people who kiss on the screen. There is a cameraman, there is a lighting assistant, there is a person who's there for the color, for the sound, there is a cable guy, there is a makeup artist, there is da-da-dee-da-da-da, there is Hundreds and thousands of people who came for just one line, you know, and that's really, really interesting.
00:36:39
Jo
to bring it to life. Yeah.
00:36:43
Amelie
have the storyline of Barry, the killer, but I believe the story is more cinema. What cinema is a dream, etc.
00:36:52
Jo
Oh, wow. Interesting.
00:36:54
Amelie
And you see too crazy. You see the psychopath killed people and the people who have a dream and wants to come to Hollywood, you know. So I really like that. That's why I watch Barry. I don't care the bang, bang, gun, gun, etc. If it was just Barry as a killer, I may have watched the first season and that's all.
00:37:15
Amelie
But because you have the storyline with the different actors, with Sally who tried to become an actress,
00:37:21
Jo
Right.
00:37:22
Jo
It's the hooks.
00:37:22
Amelie
with Mr. Cossino, who is all there, with ah LA, and the people who said, oh, I'm an actor, but actually they're not.
00:37:28
Jo
Yeah.
00:37:30
Amelie
And because I know Beat Heather's backstory, was really caught up by this series because I like it.
00:37:41
Amelie
There's two worlds. It's funny, it's dark, and at the same time, you see the reality behind the camera, and I really like it.
00:37:50
Jo
It works really well. It reminds me of 30 Rock with Tina Fey.
00:37:55
Amelie
I love that Siri.
00:37:56
Jo
Right, because it shows the fucking, it's smart and it shows the background of shows like that, really.
00:37:56
Amelie
It's funny, but so well written.
00:38:04
Jo
It actually shows the background of things being made, so it's based in reality.
00:38:05
Amelie
Mm-hmm.
00:38:09
Jo
And I think that's what we keep coming back to, even how screwed up the objections were with the DHL, the THL thing. It's still based in reality. It's like, people are fucked up, man.
00:38:19
Jo
I mean, we see this all the time on the ah ah next true drama brought to you from your darkest neighborhood you know like ah my wife hired a hitman all that bullshit from the craigslist like a craigslist hitman what the fuck's this you're like i can't wait to watch this fucking thing on the grill so you you see how fucked up the world really is and they're not trying to do like the james bond we're talking about it's not james bond it's not like polished it's more like archer it's fucked up there you go
00:38:47
Amelie
yeah It's like Bojack Horseman said in the first episode when he talks about his series. So Bojack Horseman in the first episode has an interview with a guy.
00:38:55
Jo
Yeah.
00:38:57
Amelie
He's like, so what do you think people watch your series? Like, you know, After a long day at work, all you want is to sit in front of your TV show and see a happy ending and a happy family.
00:39:08
Amelie
Boom. And the reality is people are depressed, people are alcoholic, people are drug addict.
00:39:14
Jo
Roseanne show.
00:39:14
Amelie
Being an adult, is is it's lonely.
00:39:15
Jo
Yeah.
00:39:17
Amelie
It's not that cool. And there is a day after and the day after and the day after. And as the Chechens, they're killers, but they need to use DHL.
00:39:27
Amelie
They need to to to call with a mobile phone. They need to have company because they need money to stay in America.
00:39:30
Jo
Yeah.
00:39:33
Jo
Yeah.
00:39:35
Amelie
And they have their family back in the country who's like, hey, if you're fucked up in LA, you come back to your country.
00:39:40
Jo
Yeah.
00:39:40
Amelie
They have their own problems. They need to have the visa approval and stuff like that.
00:39:43
Jo
Right. It's very family oriented.
00:39:44
Amelie
So, yeah.
00:39:46
Jo
It is. Now, I think you hit it on the head. And next, next week, we are doing chapter four, commit to you. And this is where Gene actually goes to dinner of with with Detective Moss. We'll get into that all next week. Otherwise, this week, for myself, Joe, and my co-host, Amelie, for these very deep dives, I bid you good day. Remember, like, subscribe, and music.
00:40:11
Jo
Bye, y'all.
00:40:12
Amelie
Bye-bye.
00:40:16
Jo
Peace and long life.
00:40:18
Amelie
Peace and long lives.