Transcript
Speaker: G'day ghouls and ghosts, and welcome to another episode of a horror set. This is one of your hosts, Morg speaking. As it turns out, this episode became a pretty long one, so we have made our very first two -part episode. Thank you, Aaliyah, for this suggestion. I love you all! You've got a Star Wars mug! I do! It says, these are not the droids you're looking for. Oh, that's so cool.
Speaker: Yeah, this is why you need to come visit because I gotta show you all of my mug collection. I need to see your mug collection. Like not me, not Nemo, the mugs. Yeah. Oh, speaking of mugs, I have my dinosaur mug. Wait, wait. Oh, that's so sweet. Oh my gosh, look at, that's so cool. Yeah. Speaking of mugs. It's got a nice cup of tea.
Speaker: Yep, cup of tea. If we do sound different first morning... Well, not first morning. No, no, no. The times we recorded the first few episodes, it was definitely not the morning. Oh yeah, no, that was not... It was like midday. Midday to like 4pm. Yeah, it started at like 12 and then we were going for ages. When we got the mics working.
Speaker: Yeah, when we got them working and we remembered to turn them on and then plug them in. Because I keep dropping the ball on being editor. That's fine, I quite enjoy the editing. Anything that, like, means you have more work but you're okay with? Oh yeah, that, yeah. It might be... I'll be fine, I'll spice it together. Yeah, I believe in the power of mugs. Yeah, power of mugs is mighty. Powerful, powerful thing. Especially early morning. Oh yeah, we love it. Hello.
Speaker: hello dear listeners we will be talking today about a film called freaks yes 1932 from 1932 okay so the IMD synopsis is a circus the circus is beautiful trapeze artist Cleopatra
Speaker: agrees to marry the leader of sideshow performers but his deformed friends discover she is only marrying him for his inheritance. That's what IMDb has to say and now let's talk about what we have to say. What do we have to say? So this is your first time watching Freaks. What do you think? Um yeah.
Speaker: Would I find a film that you didn't like? Possibly. I don't think it's that necessary that I didn't like it. It's that I think you found one where this is the first time I didn't quite get the tone. Yes.
Speaker: I struggled very much with the tone of this film. A hundred percent. The tone is very funky. Yeah. Because... I was watching it and I was like, what am I supposed to think? And like, I didn't know where the film was going. It just felt a bit wonky. Yes. One thing that I... Are we going to do the thing where we go through the plot briefly first?
Speaker: It kind of is what it says on the tin, like IMDb kind of gets it right. What did you think of the opening scroll, like the text at the beginning? I missed that bit. Okay, so this is the thing with like... Maybe, wait, maybe that's why I didn't quite... So you started with the guy talking about the attraction that's the most hideous thing in the world.
Speaker: Yeah. The first time I watched it, I think it must have been that too, because I remember when I was watching it this time and I saw the opening scroll, I was like, oh, this is interesting. Okay. But the first time I watched it, it was the same. Yeah, it just got the drops you in it. And this guy is talking about this, do we say kind of heads up, we're going to use a lot of like language that they use.
Speaker: Yeah. And the language is not okay. This is from the 1930s. Yeah. This is like, you know, people born with abnormalities are the deformed, the like... Yeah. They were known during that time to be in air quotes freaks.
Speaker: Yeah I mean they are quite literally at a freak show that is their profession so yeah and then we need the whole idea of a freak show is in itself like horrific. Let's look at these people who were born different and that's you know you're going into this film with a strange tone. They're people who are visually born different as well. Shall I tell you about the opening scroll?
Speaker: Yes, I missed that. I'm intrigued. Well, wait, hang on. Did the opening scroll alter how you watched it the second time? A little bit. Should I save that for the context? Should we go with what you saw? Okay, the thing about this film is I feel like there's a lot of well intention. Yeah. Because it's this whole thing of that guy who's talking at the beginning, he's mentioning about how like,
Speaker: they live hard lives, they are born different and it affects how they live. And that's a true fact.
Speaker: a lot of people would probably be quite dismissive of that fact is Frank's kind of thoughts. Yeah. But he's kind of saying like, let's think. He seems trying to be in a well -mannered way. Yeah, but it's also very, it's very patronizing at times. Because it's this whole thing of like, offend one and you will offend them all. Yes. It's like, you know, they're not like a hive mind. Yeah. You know, it's not like a thing that like,
Speaker: They're all their own individual person.
Speaker: Yeah, like if you're born with an abnormality, you will have to form this cult -like hive mind. No, you're your own person. You're literally just a person. And then when he does show the first kind of glimpse you have of other people seeing freaks, we're going to use the word freaks a lot. It's what the film's called. It's like quite literally like a freak show. Yeah. And just the terms that were used in there.
Speaker: Yeah. So the first shot you have of the average crowd seeing freaks, there's like screams. Is there a woman who's famous? Yeah, I think there is a woman who's famous. We don't see this. We don't see her, but the man who's like this whole time being like,
Speaker: you need to treat them with a bit more kindness. You know, is saying like, offend one and you'll offend them all. But like, we need to treat them with kindness, cause her a living monstrosity. Yeah. And a monster baby. It's very like, yeah, let's be kind to them, but also yuck.
Speaker: yeah and it's like we need to be kind to them they have a heart hey let's put them in a zoo yes because she is literally like again you don't see her yet yeah she's in like one of those baby um basket things no i don't know what it's but it's like no it's like in the ground kind of thing like people are looking down or is it
Speaker: No, it's like it's like walls. Oh, yeah, yeah. Yeah, you know those like buildable ground crib things? Yeah, that's what I was pictured to be like, but not see through. Yeah, yeah, yeah. And so you have to like walk right up and look down to see. Yeah. And she's just kind of in there. Yeah, it's it's horrible.
Speaker: yeah and that's kind of your introduction to the film so like what did you make of that scene again like you're gonna have the issue that i have where i'm like i don't get the tone yeah yeah i'm just a bit i was i don't know i was like well what i think that was that was going on in my head like me just like go what but yeah i don't know but it's that i do like the bit that it wasn't revealed to see here until the end yes
Speaker: Yeah, yeah. We'll get on to that when we get to that because I do have thoughts about that. But yeah, you don't see her and then it can be just you. You get the intrigued bit because she's being hidden from the viewers, but you're getting that audience there in reaction.
Speaker: Yeah, and we also get told that she was once beautiful. Yeah. And so something, yeah, we get told she was once beautiful, something happened, and now this is how she's ended up. Yeah, the whole film is a kind of a flashback of how she got there. See, when I was watching the film, and it started the flashback, I thought, oh, yes, this is a flashback. And then as it carried on, I kind of lost that thought. I was like, oh, maybe it's not a flashback.
Speaker: confused until the end where it was revealed and I was like oh yeah this is a flashback yeah yeah yeah I get you so you didn't so did you have the moment where because it's basically you're told like she was a trapeze artist so then when you get introduced to a trapeze artist you're like oh how is she gonna become a quote -unquote freak yeah so did you have that if you lost that or was that still
Speaker: No, I did have that thought at the beginning because that was the first flashback introduction was to her and Hans. And so I had that, oh yeah, that's the bit where I had this is a flashback and then that kind of got lost on me as it went on. Well, I think you do kind of get swept up in the story. Yeah. Sorry if there's a disconnect.
Speaker: behind the scenes shenanigans yes yes we then cut to like Cleopatra is the name of this trapeze artist
Speaker: yes and she is incredibly tall and incredibly beautiful the guy i think says she was so beautiful she like turned down a prince or something like she had yeah something like that just to show off how beautiful she is to highlight the fact of what happened yeah yeah and then we meet Hans and Frieda and they are i should have researched what because i think i'm slightly behind on terminology
Speaker: Because I know, I know, I think my brain's just saying Tyrion Lannister. What is his name? I can't remember his name. But I know that his actor has said that he hates the word dwarf, but I know that there was an interview with like other people born with dwarfism as a term, like a medical term. And they said that they really preferred the name, the term dwarf.
Speaker: because they I like this one guy was like what's the alternative little people that's patronizing yeah so i don't know again it's not a hive mind no people have different thoughts i think people have different preferences yeah as far as i'm aware of it's still dwarf yeah you know elves and dwarves are fantasy and i think that was his main issue before word yeah
Speaker: Yeah, that makes sense. Hans and Frieda are two people with dwarfism and they are engaged. Yeah, they're recently engaged and straight away you can see they're having some issues.
Speaker: Yeah, because Hans is eyeing up Cleopatra. Visibly and in front of Frida. He's not being very good at the rest. Frida is kind of like, hey Hans, why are you looking at her? And he's reassuring at first. He is like, Frida, the only person I want to be with is the woman I asked to marry me. And he holds her hand. So I'm like, you know what? Hats off to you Hans and Frida. Yeah, I did like it when he said that. And then he kind of gets dismissive
Speaker: of her and falls for Cleo. He very quickly is like, cool, I've reassured her. Yeah. I don't need to worry about doing that anymore. Yeah, my job on that part is done, I can do whatever I want now. Yeah. He's like, no, no, no, no, constant reassurance. This film is a Frieda Stan film. I am a free to start account. Oh, yeah. She is so communicative.
Speaker: Anytime she needs reassurance, she is vocal about that. She is not internalized. Yeah, if she has any worries, she doesn't hesitate to ask or call for help from someone else. Was it Venus she was talking to? Yeah, Venus. With the washing line. Another woman who works at the circus, I think she's a seal trainer. The only time you see her doing anything vaguely circus related, she's putting away a seal. So I'm like, I don't know what she's doing, but she's great.
Speaker: But she's like, oh, I love her. She's like talking to Hans when she needs reassurance. But then she, like you said, like she also does have Venus where she's like, right, this isn't time to talk to Hans. He's not going to get it the way that like, you know, another woman might get it. And he could talk to Venus, you know, woman to woman. I love Frida. She's so good. She knows what she wants. And she, like you said, is very good for communication.
Speaker: Yeah, yeah, I love her so much. Yes. Oh, and again, communication. Because she basically has this act where she is on like a, I guess like a Shetland pony. Yeah, it's a Shetland pony and she dances. And she's dressed up in a kind of like a tutu. Yeah, and she's got ballet shoes. Yeah, yeah. So pretty. So pretty. And she has the like finger curl, like waves.
Speaker: she's stunning so yeah she goes and gets ready for the performance and she's like checking the harness of a pony and she's kind of given a guy who like brings the pony out like a little bit of shit because she's like is it on securely like last time it was on too loose
Speaker: yeah and she's not afraid to hold back yeah she's like you know some people might think i'm small and so i'll be easy to get around she's like no no my safety's important to me yeah have you done your job i love freda but yeah that kind of leaves hands to just ogle uh um cleopatra and then she kind of sees that and does this thing where she like drops her cake
Speaker: yeah for him to put it back on and he picks it up but then she doesn't kind of lean down and obviously yeah so he can't reach he's i think less than a week at all and she is quite a tall woman as well on top yeah and so she's like kind of smiling at him standing full height so obviously he can't
Speaker: yeah almost mockingly yeah and he says like are you laughing at me yeah hans yes like straight up like hey you know what is this yeah what are you doing i can't do that and he says i am a man with the same feelings they have and this is where i think the whole tone of the film is really interesting because it does have these moments where hans is saying
Speaker: I am a man with the same feelings they have. People look at me and they see a child because the dwarf is in that they, because obviously there's lots of different types. Yeah, there's a variety of types.
Speaker: I can't remember the name, but they essentially have proportional dwarfism. So they are fully proportioned in terms of an average heighted person, if that makes sense? Yeah. People look at him and they see him as a child, because he is short. And he's kind of like, I know I look like a child, but I am an adult man. He's not ashamed of who he is.
Speaker: Yeah, yeah. And so, and so again, you have that kind of thing of like, okay, this is a film from the 1930s, but it's having this, this... Yeah, it's having those moments, pushing through those boundaries at the time as well, of being like, hey, I'm a person too. 100%. So then she kind of says like, like, very like, oh my goodness, I'm sorry, I didn't realise, like, I didn't realise that you couldn't reach or something.
Speaker: And she kind of leans down and she's like, I'm not mocking you. And it's very flirty. Yeah. Kind of. All in front of Frida as well. All in front of Frida because she sat there on the pony looking over like, fuck this bitch. Yeah. That's my maths. And then yeah, as Cleopatra leaves, she like mocks her. She's kind of like playing with Frida's tutu. Yeah. You can see it visually. Visually you can see it upsets Frida.
Speaker: Yeah because Cleopatra's doing this whole thing of you know like it's it's very clear like she's in like this kind of trapeze artist like outfit which is very kind of slinky. It's very skinny and I suppose like a tutu is slightly childish and again you have that kind of issue of like
Speaker: These are adult people, but they're kind of because of their size made to look like children. And so, you know, owning your own identity as an adult when you are being portrayed as still, you know, a child
Speaker: is hard yeah yeah and so i think that's where the mocking comes from because she's like playing with the tutor and she's like oh how lovely Frida's just like get out of my way yeah just goes out on stage and just does the performance and again Frida she she's powerful she is powerful
Speaker: And then we cut to the... I think there's a little bit... Oh, there's the scene around the pond. Oh yeah, the lake. It's one of the two. There's a body of water. There is smaller than an ocean. And... There's two Frenchmen. Yes. Walking through... One of them is telling the others about these horrific monsters that he saw.
Speaker: Yeah, and he says that they should die at birth. Yes, like in France, if your child is born like that, you just put them out and you don't have a child anymore. Yeah, and then the other Frenchman is the opposite. He's like, oh no, let them play, they're okay.
Speaker: Yeah, yeah. And they come across this lake pond where the freaks are playing. And this guy, they come across them and they run. Yeah, they immediately hide behind the mother. Yeah, the guy who's saying they should all die is, you know, running forward and being like... Tries to confront them and chew them away. Yeah, yeah. And she says, you know, why are you doing this? They're children.
Speaker: Yeah, it's a sunny day. We're part of the circus. I just want them to have some sun. Yeah, yeah. You know, they're, you know, kept away in to be... A tent. ...viewed. Yeah. Exactly like a zoo. Let them have their time. Then it's the other Frenchman, he's like, oh no, you're okay. We'll leave. Yeah, yeah. And she says, I told you not to run.
Speaker: Yeah, I said it's okay, you don't have to run. You have nothing to be ashamed of, like only God can judge you kind of thing. She's trying to reassure into them, no, you are people too. Yeah, yeah. You have rights as well. Yeah, and you shouldn't be afraid and leave. You have every right to be there, as Aimese asked us.
Speaker: yeah yeah so like again it's that thing of tone because you have this woman saying you you you're wonderful you're people like you have your life and then we have eggs flirting the scene with Cleopatra and Hercules
Speaker: So Hercules is the strong man of the circus and he is, oh this is also where we meet Venus. Yeah it's just before the egg float and it's Venus is
Speaker: getting her things, leaving Hercules' trailer, and essentially breaking up with him, being like, hey, you done me dirty, I'm not having this. I'm gonna go to my own trailer and leave you. Yes. Which like, how could she ever have been with him? I know. Like, come on Venus. Especially when Frozo was there.
Speaker: literally. But you know, haven't we all at one point or another, you know, pined after a problematic man? Yeah, we live and we learn. Yeah. And she did learn. And she did learn. And she said, screw you, I'm out of here. And so yeah, and so Hercules goes around to Cleopatra's tent.
Speaker: And they have their egg flirting. She's all like, oh, I'll cook you some food. How many eggs do you want? And he's like, sex, did he say? Yeah, he's like, oh, I'm not all that hungry. Yeah, I'm not that hungry. Sex. And he's like, ooh. And then she's like making them and then she's like, how do you want them?
Speaker: and like turns around very like provocatively like how do you want me and then he just like makes out with her and is like holding her and then she's like you're squishing me to death and he's like you like it yeah and they're horrid people yeah they both are because they are the two people well there are others in the circus
Speaker: because there's also the two other, I don't know what their job is, to be mean. There's like the two blokes.
Speaker: Oh, yeah. Yeah, I don't know what they do. No, I don't know what they do. Get them up as circus. Bye bye. In Cleopatra and Hercules, we have the beginning of this kind of idea of who is the real freak. Yeah. Kind of thing. So yeah, it's this idea of like, Cleopatra and Hercules are completely normal looking people, and they are horrible.
Speaker: Yeah but they're really mean and they they set up this plan which is so horrible. Even before they set up a plan they're actively mocking all of these people and it's kind of like they're doing the exact same job you're doing. They're saying the performance you're a circus performer. What's the difference? Yeah literally what's the difference and but they're kind of you know looking at the... Yeah they still have that superiority thing going on.
Speaker: Yeah, and they don't like to even be kind of like seen with the freaks. No. It's that thing of like, you are so hideous, I shouldn't even have to see you. Yeah. I think it's only really out of those, it's Venus and Frozo who are the only ones who are nice. Yeah. And hang out with the others.
Speaker: Yeah, Venus and Frozo are kind of the allies. Yeah. We have everyone else, apart from that random French man, who seems okay. Yeah. Everyone else who is regular is absolutely horrid to these performers. Yeah, and tries to provoke them and make fun of them constantly and have these little jokes going on so they can get a laugh themselves and
Speaker: Yeah. And I think the thing about Venus is I think she is largely neutral to them. You kind of get the sense that she's friends with Frida, but she doesn't really interact with the others all that much. But Frozo is like super in the community. And I think she kind of, because she gets the hots for Frozo. Which brings her more into that community. Yeah.
Speaker: And so, and then, you know, by the end of it, she really is like part of the community. Yeah. But I guess I guess she's, you know, too busy being hanging out with Hercules and, you know, classic, classic problematic boyfriend ideas start to rub off until you go, what, this isn't what. Yeah. And so you start realizing, wait a minute, this isn't right.
Speaker: Yeah. The scene where Frida, we like talked about it briefly, but the scene where Frida is hanging up the laundry with Venus. And Venus is kind of like, how's Hans? How's it going? Like, are you excited for the wedding? Because they're recently engaged. Yeah. And they're gonna have a wedding soon. And she's like, let me tell you. Let me tell you, Venus. Stuff is going on.
Speaker: I'm having boy issues. Yeah. Yeah. But and the thing is, also, she's so sassy. She is. Because Venus is all like, don't worry. Like, why are you worrying about Cleopatra? Hans would never break your heart. And then she says something like, don't worry about Hans. He's with you through and through. And she's like, I'm not worried about Hans. I'm worried about Cleo. And then she's like mimicking Cleo being like,
Speaker: And she's just like, I hate you. They just seem like such good friends. They do. And I think they're next door to each other. So I think they have moments like that with each other quite often as well, which is quite nice.
Speaker: Yeah, yeah. And you do just kind of get the sense of like, the friendship is completely based on the fact that, and I guess this completely is the summation of the whole Carney spirit. You know, like Carney folk and circus is, you're not a freak. It's, um, Sinestro.
Speaker: What's the semester from Incredibles? If everyone's super, then no, no, semester is from... What is the Incredibles villain? Syndrome. Yes.
Speaker: Syndrome? Because he has like a self -importance. What's it called? That's a good name. Yeah, like what he says, if everyone's super, then no one is. It's that thing of like, if everyone's a freak, then no one is. And they can truly be themselves. And they don't have to be like, you know, they're not staring at each other. Because it's like, oh, yeah.
Speaker: That's fine. You're born without arms. I'm born without legs. It does not faze me. Yeah, there's nothing wrong here. So, so yeah, like scenes like that where she's hanging up the laundry room, Venus, you just get the sense that she's able to fully be herself. Yeah. Be worried about people looking at her. What do you reckon of Hans? Because I'm going on about Frida. No, I do. I do really like Frida. Hans, I think he's struggling. He is. Yeah.
Speaker: Yes. I don't... I don't... I don't know. Well, I have mixed feelings about Hans. I love that you said that because I think that's entirely unlocked. Yeah. Okay. If I posit this, would you reckon part of the attraction of Cleopatra isn't Cleopatra herself. It's the fact that she's a tall woman and he wants to be normal.
Speaker: Yeah, it's that long... That's only just clicked for me. Frida is okay with herself because she's fully accepted who she is. Yeah, but Hans hasn't. Yeah, he wants to be viewed as normal and he thinks that it's... I think Tinoire had a video on this. Well, black men dating white women is almost this... it shows that you've made it kind of thing.
Speaker: Yeah, I can't believe me. It's this idea of like, if you can attain the like, you are essentially trying to be like white by proxy. I don't know. I can't remember how she phrased it. But it was it's like that thing of like, if he can marry a tall woman, Hans, he can marry a tall woman, he has done what regular people can do. And that in itself is a is a win.
Speaker: Yeah, it's almost to him as if he's made it. Yeah, yeah. I never kind of connected it. It might not even actually be her, it might just be that as well. That's really interesting. I think he's lovely, but I just, again, we love Frieda. Yeah. How are you going to be breaking that girl's heart? Yeah, I think it's what I feel iffy about Hans is because he hates Frieda. Yeah, yeah.
Speaker: But again, I think with that idea of he's trying to get a sense of normalcy, I have more sympathy with that now. Because, yeah, it is that internalised ableism. He is not able to accept himself. It's as if he will be less of a freak if he marries Cleo.
Speaker: Yeah, yeah. Ugh, Hans. Poor thing. Poor thing. But I just, as I was making my notes throughout the film, then we have a bit more of Venus and Frozo because the bearded lady has a baby. Yeah. The bearded lady has a baby. So adorable. And like Frozo drops everything. He's in the middle of a conversation. Yeah, and he just drops it and just runs. He's like, this is more important. I need to see this baby. I need to be supportive.
Speaker: And again, I think this is where Venus is like becoming part of the community. Yeah. Because I swear they're like, they're kind of flirting. They're kind of like clamming. Yeah, well, as soon as she leaves here, she leaves on her way back to her original trailer. She bumps into Frozo.
Speaker: And then she's like shouting at him. Yeah. And then he goes, wait a minute, goes into her tray. I was like, you can't talk to me like that. And she's like, I'm sorry. I just needed to take it out on someone. Yeah. She's like, you were there. Yeah. And you were just there. And then. And again, that's why they just, they start losing this, like straight away. The chemistry, it's unreal. But like, again, we love the communication. The fact that she's like, honestly, I'm sorry, it wasn't you.
Speaker: You were just there and I needed to ventilate to someone. And he's like, fair play. I love it. Like, yeah, they're like in the middle of flirting. I think they're planning a date or something. Bearded lady has a baby. He's like, hey, baby, you're cute, but this is my family. Like this is like, you know, it's like, you know, another, like it's a little nephew being born. Like you get the sense that they are family and he rushes in and... He runs straight to the front.
Speaker: Just to see the baby. And he's all like, oh, is he a boy or a girl? And it's a girl. And he's like, oh, and she's already got like a beard coming in. Yeah, he's so excited about that. And it's just, oh. Yeah, and we love, yeah, we love that scene. And then we meet Daisy and Violet. Oh, yes, the twins. Daisy and Violet can join twins, they can join at the hip. Yeah.
Speaker: Daisy is engaged to a man of a stutter. Yeah, I can't remember his name. Do we learn his name? I can't remember his name either. Hold on, I do actually have the IMDb. Roscoe. Roscoe, yes. The stuttering circus clown. Yes.
Speaker: And yes, Daisy and Roscoe are engaged to be married. Violet hates Roscoe. Yeah. She is not a fan of him. No. I think Roscoe does seem to, he also does not like Violet. No. But also seems to be a bit controlling over Daisy. Yes. He is very like, you stay here when I'm talking to you. Yeah. And also like, my house is going to be how I want my house.
Speaker: And then that's when Violet says, well, actually half the house. Yeah, like. Because this is my house too. I'm here. And it was originally Daisy and Violet's house. Yes. We have this kind of recurring joke that the way, you know, she's trying to get Daisy away from Roscoe. Yeah. And he's like, no, I'm talking to her. And then she's like, well, I have to go.
Speaker: And then he's, you can't use that as an, he tries to say excuse, but you can't get that word out. So he says alibi, which I like. Yeah, yeah. And he says alibi again later on as instead of excuse. I really like that bit. Yeah, it's the exact same thing where she says it again and he's like, oh, you keep using that alibi. Yeah. Yeah, Daisy and Violet are great. I love them. And I love how Violet
Speaker: sticks up for Daisy as well. She doesn't just sit there and let her get shit. She's like, no, this is not okay. This is not a good environment. I am walking us out of here.
Speaker: Yeah. Yeah. Because also the way we first meet them is Frozo is like chatting and is like, how are you doing my lovely? Are you like excited for your wedding? And then Daisy's all like, well, I am, but Violet's annoyed. And then Violet's like, I can't. And then he does this trick where he gets Violet's closer eyes and pinches Daisy in the shoulder to see if Violet could feel. Yeah.
Speaker: And then that's when we meet Roscoe. And Roscoe's like, what's he doing? And Daisy's like, oh, he was just playing a joke on Violet. Yes, he was touching my shoulder, but... It was to do with Violet, not me. Yeah, like he's not flirting with me and also pinching a shoulder is not flirtation. No.
Speaker: I mean, it can be, but... But in that way, it was not. Again, like his family. Yeah. And Roscoe really, he just couldn't let it go. Yeah. Yeah. We're not aboard for Roscoe, love doing. No. But then we have the Hans and Frieda breakup scene. And it breaks my fucking heart, because again, Frieda, our communicative queen,
Speaker: is like, no, she's playing a joke. And he's like, I love her. And she just like, no, she's playing a joke and you're gonna get hit. Yeah, yeah. And she's still trying to look out for him. Yeah. And she says like, and he's kind of like, well, who cares if the rest of the world is laughing? We're in love. And she's like, no, no, she doesn't. She's leading this joke. Yeah, yeah. And she says like, she even says like, please, like,
Speaker: He's like, I don't care. I love her. And that's enough for me. And she's like, but it hurts me to see people laugh at you. Yeah. Please do this for me. Like, I am getting hurt in this. Which again, like, you know, communicating your feelings. She's like, I am. She's the queen of it. Yeah, she she every day she wakes up, she thinks about what she's thinking. She's like, right, these are my thoughts. I'm gonna stay true to them. I
Speaker: She does this thing. I'm going to talk about the actors at the end. Okay. But the actress does this thing where she is fiddling. Yeah, she's fiddling with her tie on her shirt. Like her blouse has a little tie. And she's fiddling with it the whole time. And it's just a most heartbreaking thing because she just looks. You can see she's uncomfortable and she's upset. Oh, I just want to hug her because she's like,
Speaker: trying to be like I am in pain. And she's still trying to be supportive of him at the same time and also look out for him whilst stating that she herself is hurting, is in pain and is like well if you go into this you are going to get hurt.
Speaker: Yeah, yeah. Because it's that thing of like, you can't tell your friend to break up with their boyfriend because they'll immediately cling to them more. So she can't be like, she sucks. She has to be like, look, this is... She's only warned. Yeah. And she can't like, yeah, she can't push too hard. And so in the end, she has to be like, okay, like, I just can't see you like this.
Speaker: And so she has to go. And then she goes straight to Cleopatra and says, I know what you're doing.
Speaker: And yeah, she's like, no, you cannot do this. This is not okay. And she's firm in her beliefs and is still trying to stand up for Hans. And it's like, no, you've got to stop this. But this is where the communication goes too far. Because she let slip. Yes. Because this whole time Hans has been buying Cleopatra.
Speaker: gift. Yeah. And there's this necklace, black diamond necklace, platinum. And it was given to Cleopatra. And we find out that here in Hercules had sold it and it was worth $500. And then they're like, Oh, I wonder how much this next gift is going to come from? And where is he getting this money from? Where's he getting this money from? How does he have so much money? And Frida says, like, I know you're only after him for the money.
Speaker: I know that he's told you about his inheritance. Yeah. And Cleo's like, Oh, inheritance. And I guess how we both know about the inheritance that she plays in.
Speaker: And whilst this is going on, Hickley's is hiding in Cleopatra's trailer as well, listening in. And you can tell that they were playing Hans, not just for the joke, but for the money. When you get that scene with the necklace. Yeah. But, and so you know that they know he has money, but they just don't know how much. Yes. And is that thing they're like, how does he have so much money? Yeah. Where is it coming from? In a second, they hear about this inheritance. They're like. Right. We're getting married. Yeah.
Speaker: And then Hercules, cause they are like, you know, sleeping together. Hercules is kind of like, you're going to marry him. Like you're going to have to, again, it's that idea of like, they actively look down on these people, they find them revolting. And it's that thing of like, you're going to be married to him that is disgusted.
Speaker: Yeah. But she's like, no. It's just for the money. She uses the words midget. Yeah, she does. She's like, no, midgets aren't very strong. So it's like, they're gonna kill him. Yeah.
Speaker: There's also, I think we skipped it. There's a scene earlier where the two guys that we hate who do nothing for the circus. Oh, yeah. And they're playing cards. They're playing cards. Yeah. And clear patches there. And so is Hans.
Speaker: is pretending to have like a... A bad shoulder. And so he's like rubbing her shoulder to make her feel better. And she's like moaning very sexually. Yeah trying to like him on. And oh thank you my love and like moaning. And these people are just laughing.
Speaker: And there's also a man who I just wanted to mention it because again it's sweet and it's this idea that you know for quote -unquote freaks are trying to be inclusive. There's this man who is the father of he's married to the bearded lady. Oh yeah and he comes up to the cards table. Yeah with cigars like really good cigars because he's like my daughter's been born like
Speaker: Do you want to celebrate with us? Yeah, and they're like, no, you're a fruit. And then they carry on laughing as he walks away. Yeah, and it's like these people are always trying to include. Yeah, they're not trying to close themselves off. They're being like, hey, yeah, you are welcome. Yeah, because it's not like they're like, oh, all normies get fucked.
Speaker: No. Because here they are trying to include these people. And also, you know, Frozo and Venus are part of the community. Yeah, they're very inclusive. They're very helpful towards them. And they're a good friend to them. Yeah. So I just wanted to go back to that. But then we get this idea of they're going to get married and then immediately it's the wedding. Yeah, you have the wedding meal. And I do like this scene.
Speaker: I think it's very well done, especially because they're all the freaks that are on the table with Cleopatra and Hans at the top and Hercules at the other side of Cleopatra. And they all start chanting and dancing one of us to Cleopatra. And she's like, no, I can't.
Speaker: Yeah, that's it. And she's like, no, this is too far. I just wanted his money. She doesn't say that, but you can see she's struggling. She's like getting furious. She's bubbling up. I can't be part of this. I am not like you.
Speaker: There's this guy who, this guy with non -proportional dwarfism has a big cup of wine. Everyone takes a sip. Yeah, they're all chanting, gooboo, gooboo, gooboo, gooboo, one of us, one of us. Gooboo, gooboo, gooboo, gooboo, we accept her, we accept her.
Speaker: yeah it's like this thing of like now you've married into the family you are and yeah there's um v i don't know what she's what is she called in the film the half woman half man is just what she's called in the film oh yeah she she has like vertically down like kind of like phantom of the opera
Speaker: yeah and she's the one who starts the chant yeah he's like they're married like yeah um one of us one of us we accept her we accept her um and they all take a sip from this big cup yeah like massive and and this guy is like walking along the table a sip for everyone a sip for everyone and then he comes to her table he takes a sip and then he holds it out to her
Speaker: and that's yeah that's when she breaks breaks and is just shouting at them and even before this though she is talking up her hounds as drink yeah she's getting hounds drunk and at the same time is in front of everyone she kissed hercules and that's when Frida just got up and left
Speaker: because you have this shot of Frida at the table and she's just like absolutely hating it and then at that point she leaves and again like if you think about it in the kind of no emotion sense that's her ex getting ridiculed so that should be like a you know win yeah you can see like you know that has nothing to do with her now that that's that's this other woman kissing this other man but
Speaker: She cares so deeply for Hans. She cannot see him. Yeah, she cannot stay and watch this. She needs to leave, otherwise she will do something. Yeah, yeah. And, and...
Speaker: And Cleopatra's just constantly, you know, she's getting drunker and drunker and she's pouring Hans's drink more and more and drink to my health, drink to my health and whenever he says anything kind of romantic or like, I'm so happy to have you, she's laughing in his face. Yeah. And not just the side but visually in front of everyone at this table. In front of everyone. And I think that's why, again, as she's
Speaker: in IMDB for half man, half woman. That's why she starts the chant. Yeah. To be like, wait a minute. You've married into this community now. You cannot be doing this. Like let's turn the energy. Turn the tables around. Let's point it at you instead. And also like, well, I don't think it's like kind of aggressive. I think it's more of a kind of... Accepting. The energy has dropped.
Speaker: we need to be celebrating. Yeah, because this should be a celebration, this is a marriage.
Speaker: Yeah. Yeah. And then, and then, yeah, Cleopatra, like, like we were saying, the guy gets to the front, he takes his sip and then he holds out to Cleo and she absolutely breaks. She says, you know, get out of here. You freaks. Get out of here. I don't want to see you. You disgust me. And she takes the cup and she froze it. She like froze the drink in this guy's face. Yeah. And very aggressively too.
Speaker: yeah and everyone's forced to leave and Hans is there like trying to be like what are you doing yeah what are you doing and she says like oh is and she again she's patronizing his whole thing is that he looks like a child but he is a man he is yeah he is a man and and and she is constantly
Speaker: Oh, there's my little boy. Oh, yeah. Yeah, she's downsizing it. She's... What's the word? I don't know. Like downplaying, but... Yeah, but like she's infantilizing him?
Speaker: Yeah. Yeah, because she's, and she, there's like a bit where she's like, does mommy need to put like little boy to bed and things like that. Yeah. And it's this thing of like, like she knows that and because he said to her earlier, people think of me as a child and I am a man, she knows that that's what's gonna bug him. Oh, hang on, I'll fully move. Yeah, yeah, yeah, get fully comfy.
Speaker: I couldn't feel my leg anymore. Because they had that conversation earlier, she knows that this is a trigger for him. She knows that this is what's gonna cause him. She knows this will pull his nerves, will push his buttons, will grate him. Yeah, yeah. And she's a horrible person. Yeah. And she plays on it. She uses it to her advantage.
Speaker: Yeah, or like the thing is, the thing is with this is at this point she's married to him. Yeah. She's essentially one, so why does she need to torment him? Yeah, why does she need to carry on? Yeah. She's one so she can get the money. Yeah, this is just for fun. Which shows just how evil she is.
Speaker: Yeah, yeah. And Hercules as well, like, like she she puts him Hercules lifts him up, which again, like, patronizing, so patronizing, and just make it put him completely out of power. Like, yeah, literally being held like he can't
Speaker: He's now at the mercy of Hercules. Yeah, who is literally the strongest man. And he picks him up and he puts her on Cleopatra's shoulders. And then she's running around pretending to be a horse and he's chasing around. And you can see the rest of the three, because this is as they're leaving. So it's in front of them again.
Speaker: And all the others around the table have been like, wait a minute. Yeah. Something's not right. Yeah. Especially I think there's a few looks as well between some of them when Cleopatra kisses Hercules at the table. They're like, wait a minute, something else is going on here.
Speaker: It may be love for Hans, but she's positive something. And then there's this, again, heartbreaking scene where for three of them are in a trailer. Yeah, it's like the next morning.
Speaker: Yeah, or I almost thought it was the same night but it was, it's just like after they go back because they do, they seem drunk still. Oh, right, okay. But anyway, like... I think I just assumed it was the next morning. Yeah, I mean, hey, maybe they are still drunk. Yeah, but we're drinking a lot. And Bubbly will get you. Yeah, that means sometimes you do wake up still drunk if you've drunken a lot.
Speaker: Yeah, Hans is in bed ill. No, no, no, even before that, when... Oh, yeah, this... Oh, I know what you mean. This scene is so heartbreaking because there's gaslighting in it. Yeah, they're being like, oh, no, it's you, my love. I just kissed Hicklies because it was the alcohol. Yeah. It was the bubbles. Why are you hurting me so much by accusing me of being so powerful? And Hans is down with his handkerchief crying.
Speaker: Yeah, and he is absolutely being ghastly into thinking that he is like, a, he's been ghastly into thinking he's a Roscoe, and he's not a Roscoe, like he's not a controlling man. Yeah, and in the end, he is the one apologizing.
Speaker: And it should not be him apologizing. And he is one active. He is every right to be upset. Yeah. One, he is every right to be like, even just with the things that he knows. Yeah. Right to be upset. But also he is actively being poisoned and ghastly thinking that he's the problem. Yeah. So. And then that's where I think it's the next morning. Yeah, then it's the next morning. And he's in bed, ill, the doctor's there being like, Oh, he's poisoned.
Speaker: yeah but she kind of tries to play it off with like oh did he just drink too much then yeah but then she also says like oh was i wrong to give him like the mustard water and so i i think it i don't know but i kind of because then the doctor doesn't really question it
Speaker: No, he says, no, you were right to do that. And to me, that was her trying to portray herself as a good person to cast the doubt elsewhere. Yes, yes. Yeah, yeah. I thought that was almost to cover the poison for like, oh, it might come up as poison because I gave him mustard water to help with his hangover.
Speaker: or something. But like, yeah, either way, she's like trying to cover herself up and be like, look at me and Karen for my husband, because I love him. Time is passing. And as we see... Yeah, time is passing as he's still in bed, infirmed, and we see her giving hands the poison instead of the medicine. Yes. She's kind of, I guess, like micro -dosing him. Yeah. So he is getting ill over time. Yeah. So it's less of like a... A gradual instead of a sudden hit.
Speaker: Yeah, so then it's less suspicious. Yeah. He's onto her. Yeah, she gives him the poison and then when he leaves the room, he like, he spits out into handkerchief. Yeah. Yeah. And you can see one of the other freaks were watching through the window. So I think it's that one that and you see him a few times through the window. Yeah. So it's as if he picked something up was wrong. And soon as he heard that there was poison.
Speaker: was like, well, I'm going to watch, see what's happening. And then he picks up that Hans was being poisoned by Cleopatra and how, and then informs Hans. Yeah, but also Hans is onto her enough to have, to accept that doubt.
Speaker: And when she leaves, he says, leave the door open for me, like I'd like the air. And so I think he knows like, I'm not strong enough to leave my bed, but like, I'm aware that everyone's looking out for me. Yeah. And they have, they can come in if they need to come in. Yeah, and we can plan.
Speaker: yeah and we do see a plan happening yes and and she's kind of again the absolute disgust that she has for these people like yeah as she leaves a lot of them are around the trailer because of course they are because they love Hans and yeah and he's ill they want to be there for him she just like walked past like you know like a rat just run in front of her foot yeah like how do i get out of here you need to you need to back up
Speaker: Yeah, yeah. And then we have the scene where, yes. You get a plotting scene. So two of them come into the... Venus confronts Hercules. Yes. Because Venus sees Hercules and Cleopatra together. And so she's like, right, I don't know what's going on, but
Speaker: Cleopatra did not marry him. No, you married her. And so she confronts Hercules and is like... What's going on? I don't know what's happening but you were putting my family at risk. Yeah.
Speaker: and I'm not happy about it. And I get like, I think when I first watched it, I didn't clue into the fact that Venus and Hercules had dated. And like watching it now, I'm like, wow, this is like, this isn't just her confronting a bad person. This is her confronting her ex. He's like, I know you. Confronting his shitty behaviours being like, no, you can't just go around doing this.
Speaker: Yeah, yeah. And someone is getting seriously hurt because of your actions, you need to stop. Oh, there's another scene where... Oh, this is just another little scene, like a cute scene very much earlier on in the film. I like how the film's only an hour long and we've already talked for over an hour. We've talked for a long time. But... Yeah, it's an hour and four minutes long. This is an hour and nine minutes.
Speaker: yeah at this point maybe yeah at this point i mean with the edits um but there's this bit where she's dressed up for a date oh yeah and it's a date that i assume they were like sorting when the yeah and that's why he forgot he's like baby a baby's being born i don't need to have this date in my head yeah yeah and he's he's there he suddenly had this yeah he suddenly had this idea of
Speaker: A bathtub on wheels? Yeah a bathtub on wheels. I just first thought he was having a bath. Yeah and so she's like standing on these clothes. Because you don't see the wheels. Yeah he's topless. And I was like oh they're moving quickly. Yeah she's standing really close to him and I'm like bam Venus you're taking a you're taking a peek before you like try before you buy.
Speaker: She's just doing some window shopping. Yeah. Just checking up the goods. Yeah. But yeah, she's like, I've dressed up all nice for my day. And she looks gorgeous. She's got those. She's got my hat on. Yeah, like the clip on hat. It's like, oh, stunning. Yeah. And he kind of turns her down. He's like, I completely forgot. I had this idea. And I wanted to work it out. Yeah. Yeah. And she's like. He seems very ADHD to me.
Speaker: He's like, oh, new job. What was I supposed to do? I don't care. I'm focusing on this now.
Speaker: And you can tell that she's annoyed, but you can tell that she also finds it very cute. Yeah, she's annoyed at first, but she doesn't mind, especially then when he gets out of the boat, the bathtub real thing. And then he kisses her. He's like, oh, I'm sorry. And then straight goes for it.
Speaker: Yeah. And she's taken aback. It's so romantic. And then she's like, okay, that's the first time you've done that. Like, why haven't you done that earlier? And he's like, well, it's the first time I kind of want it to do it. And yeah, he's like, I've thought about it before.
Speaker: felt like I, you know, felt the urge to do it now. And then it's just so cute. And like the flirting is just, oh, it's, I love them so much. And yeah, and there's also a really sweet scene between them earlier.
Speaker: they're kind of again it's I can't remember what the disagreement was then they keep they keep having disagreements but it's it's that kind of like she is having again that's why I think she wasn't part of the community because a lot of her annoyances is he is kind of prioritizing them and she is having this learning curve of oh this is literally his family
Speaker: Yeah, you have this you have this idea that she wasn't part of the community because all of her annoyances come from the fact that he is kind of prioritizing them. But it's just kind of thing of like, she's realizing, oh, this is literally his family. Like, you wouldn't get annoyed at a partner for saying, so I'm just gonna go help my gran with something. Like, you're not gonna know that's okay.
Speaker: Yeah, like, oh, my sister's in a bad place, I got to help her or something like that because that's family.
Speaker: And she is like, oh, she gets this that they are his family. Yeah. And that and that's where the annoyance kind of ends. And she's like, okay, this is this is cute. Like, yeah, you know, it's one of those like green flags of like, when when someone is so yeah, like, it's one of those comments that people say, like, when a guy like loves his mum, it's like a black.
Speaker: He respects women. And there's this scene, like so many of the scenes with her and him, he is, I just spilled my tea.
Speaker: editing mug, put this in. We've had, we've had a dilemma. We've had a spin. You're on the bum. My tea was next to me and it fell in and it's, oh, it's running down the couch. I kill him. Yeah, yeah. There'll be a big disconnect in tone because we're going to have to.
Speaker: Are you good? I don't know if you can see that. I mean it's a lovely colour it makes the purple quite nice and dark. We love. I'll just move and come back to that. Yeah let it let it dry. Yeah. Oh man.
Speaker: Ooh, fun times. Yeah, I... Because at first I wasn't quite sure about Frozo and... Frozo? Yeah, Frozo. And Venus. Because I was kind of like... I don't know if you've seen the original Godzilla. Yeah, a very long time ago. Yeah, it was a very long time for me as well. But then there's an American version of the original Godzilla, where it's literally...
Speaker: the film and they've just edited in. It's the original film, but they've just edited in a white man to be the protagonist. And I want to watch it so bad because apparently it's the most strange disconnected thing because obviously he's not in the original film. And yet they find a way to edit it so that he's the hero of a film that he has absolutely nothing to do with. It's like, it's crazy because obviously - This sounds crazy.
Speaker: we need to watch it. But at first I was worried that Venus and Frozo would kind of be like that, like be like
Speaker: Hey. The white saviours. Yeah. Look at these, look at these normies that are good. And they're helping these people, but they're not that. And every single one of their scenes, I think this is why it's so cool that you have Venus almost again. She has that. Yeah. She grows to understand, especially like you said, with Rosa, that
Speaker: their his family and oh wait I live with them too, I spend all my time with them too, they're essentially my family too. Yeah and why wasn't I thinking that before? She does do a bit of that reflection and like every single one of their scenes together is having that conversation almost. Yeah and having that growth. And I think especially you know I was going to say at the time even now you need that way in.
Speaker: Yeah. Because if this was a film that didn't have them, I mean, if it came out now, I don't know if this film could come out now, but if it did come out now and it didn't have them, it would be absolutely woke police, like, oh, so able -bodied people are evil. Yeah, it'd have a different view on it. But you have these people as that kind of way in.
Speaker: yeah to balance it yeah and there's this scene where procephaly commonly referred to as pinhead it's the condition to you know schlitzy and then the two other girls oh yeah i'm on your wavelengths yeah
Speaker: Yeah, it's a condition, yeah, what did I say? Microcephaly, commonly referred to as pinhead. There's this scene where, and she let's see is interesting. Again, I'm going to talk about the act at the end. The act is actually a man, but the character is female. Female.
Speaker: wearing this really pretty dress with flowers on it and Frozo's like oh that's a pretty dress you're looking lovely look at you in your dress like I should take that's it before she comes over he's telling Venus about his his dream where they were in Paris
Speaker: Yeah. And she's like, Oh, tell me more about this dream. And then he instantly is just sidetracked because he's like, Oh, my goodness. You look lovely. Yeah. Gorgeous. Like when I go to France, I shall have to get you a hat with a very big feather on it.
Speaker: Yeah and she and yeah she's absolutely loving it because yeah and putting all of it she lights up and it's like oh thank you. Yeah and then I cannot remember the name of the other two the other two and they're not on IMDB but um
Speaker: yeah the other two come over and he's like you two you look you look lovely i should yeah you look nice as well and then but then he's also because obviously it's like a new dress he is again like goes back to the same way he's you can tell he is not just putting compliments on them for the sake of it
Speaker: No, he's being genuine. He is saying to them, look at Schlitzy's dress. Doesn't she look gorgeous? Like, oh my goodness. And he's bringing everyone into, you know, he's not being a kiss -ass. He's not just shouting along with confidence. He's being genuine. He's being himself. He's being like, no, she looks beautiful. Please see this. And it is a very pretty dress. It's got like beautiful like lapels, what they called on dresses, colours.
Speaker: And then you just have this shot of Venus watching him compliment these, again, Schlitzy is played by a boy, but I think the other two are played by girls, and she is just watching
Speaker: him compliment these girls. And it is just, you can see her face like soften. I think she's getting a moment of realisation. Yeah, that's a really big moment. And she's like, he is a lovely man. Yeah.
Speaker: And he's also so cute. He is. Like, in terms of aesthetics, I mean, in terms of as a person, obviously he's miles above Hercules, but also, damn, he's cute. Yeah. And Hercules is not a looker, but I don't know how much of that is like...
Speaker: he's a trash human. Yeah how much of that is because of his personality. Yeah and there's also this moment again where they're flirting and the guy without legs comes up and he just butts into that conversation, absolutely love it. He's like
Speaker: Hey, this is my brother, I'm going to come into this conversation. And he's like, Oh, did you do the trick? I told you. And again, you're entirely right about the ADHD. Because he just goes from like, in depth conversation, yeah, immediately to like, Oh, this track, you've got to see this. I've been worried about this. And like, and it was it was the guy's idea. Yeah, his character name. I think the thing is, with so many of them,
Speaker: Yeah, his character name is Halfboy.
Speaker: no legs. It's his trick that he gave to Frozo. He was like, I think this would be really funny. And so again, it's like, yeah, and Frozo puts it into action. Yeah. And it's essentially like this oversized suit that he then gives this like, oversized mallet to Venus and it's like, hit me on the head and she's like, give me a bonk. She's hesitant, but then she's like, oh, okay.
Speaker: Again, it's because it's like coming to a conversation. She's like annoyed at him and she's like, yeah, I will give you a hit on the head. Like, you know what? We were in the middle of this conversation. I was getting my flirt on. I was putting all the moves. I will give you a hit on the head. And then like he hits him. She hits him on the head and the suit just pops up over his head. So it's like the head's like gone down into his neck.
Speaker: very similar to Meryl Streep. Yeah, it definitely comes to. Yeah, and then she is kind of like, okay, that is a good trick. There's a bit afterwards where he's like, what's wrong? Isn't it funny? And she's like,
Speaker: Yeah, it's very funny. Like we were in the middle of a conversation again. I just, yeah. And so then you get to the scene where they're in the bathtub and well, they're not in the bath together. And he kisses her and
Speaker: that is just such a kind of like conversation of this whole thing and you can tell like she is a part of a family and I think that is then when she confronts Hercules because now she's like no I'm in this. Yeah she's woken up from
Speaker: her blinkers she's no longer got those blinkers essentially and she's like oh okay uh yeah this is they're being treated even worse than i thought this is not okay and i'm now more involved with them i'm now part of the family um and so she's seeing more of what's going on and how they're being treated and is like no hey please you stop
Speaker: Yeah, because I guess you can tell because she was dating Hercules and he is not going to be hanging out with them at all. No, so she doesn't see that side as much. She wasn't aware. She just wasn't seeing them and so she didn't know what they were going through. It's very kind of like, you know, privilege. So she didn't even notice there was an issue.
Speaker: Like you can tell that once the issue is presented to her, she's like, whoa. Yeah, once she realised it was an issue, she was like, okay, this and that, okay. Yeah. But yeah, I just wanted to, because I think we skipped over those scenes and I do love them. Because again, it's that thing of - You show that journey. Yeah. And again, it's that thing of, these are the scenes that make me like this film, because you have those scenes with their people.
Speaker: Yeah, those things were necessary. Yeah, and like I said, it's the half boy's idea.
Speaker: Yeah. And, and he's so like, excited to be like, hey, they liked my idea. And like, you know, Frozo's like, yeah, they would, they were in stitches, they were in tears. It was hilarious. And it is like, showing them as people, they're not like, they're living. Yeah, showing them as who they are as people. Yeah, yeah. And being like, hey, you need to stop this prejudice.
Speaker: Yeah. And so, yeah, it's scenes like that that put this film on the green side. Yeah. And then we have a scene and then this is kind of the finale. Yeah. They're moving camp. During a thunderstorm. Thunderstorm, raining. I love how a lot of films, especially in that era, it's a thunderstorm where all is revealed. I just love that trope.
Speaker: It's like... Thunderstorms reveal all. They are scary. Nature is real going through it. And I just like that we are like, yeah, it's a horror film. Let's put the scary weather in. It's revealed why Hans is with two others. He's in front of Coo. Oh, three in the room. Three in the room? Yeah, it's Hans and two others with three.
Speaker: No, there's the guy with the flip knife, there's the guy with the gun and then there's the guy who keeps me in that harmonica. Yeah. Yeah, Cleopatra's like, get out. I need like Hans needs to rest and I need to give him his medicine. Wink, wink.
Speaker: And then... You guys need to go. That's when the guys... She doesn't even wait for them to leave. No, she just does it right in front of them, is it? Like, are you dumb? I don't care. Yeah. Are you an absolute fucking idiot? I mean, good, but... Yeah. And then that's where one of them pulls out the flip knife. I love that scene, as if, hey, bitch, you're not doing this. And then the other guy in the other corner pulls out his gun. Yeah. And then the other one, he just carries on playing the harmonic.
Speaker: Yeah, I love it because it's like diegetic music. Yeah. Because he's playing it and it is kind of like sort of spooky music. Yeah, it's on theme. And he just keeps playing it. And he, you know what, these are performers. That's what I mean. And they are performing. Yeah, like they're literally circus folk. He's like, oh, guys, let me set the mood. Let me set the atmosphere. He's like the bard. Yeah, he's gonna give everyone a boost. I'm gonna give everyone a
Speaker: plus four on performance. Inspiration. Yeah, she like literally goes to poison them. And this is when she's coming out with the medicine. And Hans just gets out of bed because he's, you know, he throws the covers back, he sits up, and then Cleopatra turns around and she's like, Oh, you're up. He confronts her. And it's like, yeah, he's like, no, bring out that little bottle.
Speaker: Yeah, I want to see what that bottle is. And then he's like, you've been poisoning me. And she legs it.
Speaker: And at this time, we also have Frieda finding Frozo. Yeah. Frieda finds Frozo because she's like, I just saw Hercules going into... Yeah, he breaks down the bottom half of the door. Hercules is going after Venus because she's confronted him. No, again, she's clued in. She doesn't know that Hercules is going to go after her, but she knows.
Speaker: Yeah, her brain has worked it out. Yeah, Frida's like... She's smart. I saw Venus confronting Hercules. And so if Hans is getting poisoned, there's going to be some danger to Venus if she knows anything. It's like not even that Hercules has said anything. Frida's just like, yo, Frozo, we don't trust this guy.
Speaker: Yeah, you need to go to Venus now. She needs help. And that's when the door gets bashed down. I was just going to say, again, we love how communicative these ladies are. But honey, play your cards closer to your chest.
Speaker: Maybe talk to Frozo before you confront. I guess we love it. I guess also that's again that idea of that's her ex. She thinks that's somewhat more of a connection. She thinks that that's enough and that they were together. He would never come for her.
Speaker: yeah maybe but she's got some safety because of it but she doesn't yeah but yeah i don't think she realized just how bad Hercules is yeah um again like ladies play your cards closer to your chest yeah um but yeah like you said Hercules is breaking down the door and then Frozo goes for him he's like no that's my girl
Speaker: Yeah, and he's yelling at Venus to get out, to be like, no, it's not safe for you and you need to get out. And then that's when the... And there's a bit where Hercules pushes him into like the fireplace. Yeah, they're proper brawling. Yeah, and Venus doesn't get out. No, she's like, I'm not leaving.
Speaker: That's my man. Yeah. How dare you. You kissed. Excuse me, that was a damn good kiss. I'd like a second. I'm not going to let you die. Yeah. And then the trailer topples over. And then there's lightning strikes. Yeah. And that's when Venus does leave because the trailer's toppled over. Yeah. She's like, okay, we need to exit this trailer. Yeah. And
Speaker: Hercules again because Hercules is the strong man. Frodo is going into this fight definitely at his disadvantage because he's just a clown. Yeah he's the clown and
Speaker: Yeah, Frozo is this strong ass man. Yeah, Frozo is the clown Hercules is the very useful. Yeah, I said it the wrong way around. Yeah, like Frozo is literally just like a clown. Hercules has got him down and again, it's the rain, it's the mud, it's everything.
Speaker: And then one of the, one of the freaks throws his blade. I think it's the switchblade guy. Yeah. Switchblade guy throws it and he gets Hercules and Hercules is like hurt and he's kind of crawling under the wreckage of the, he's, he's underneath the trailer. And it's these trailers with like these kind of big wheels. Yeah, like wagon wheels and. Yes. He's, he's kind of like,
Speaker: sitting height. It's kind of like half is about like there's enough space for half of a tall man to sit. Yeah, for a tall man to sit. And so all of the freaks who have, you know, the half boy is just walking on his arms through the rain. There's also this guy who we haven't mentioned, who has no arms or legs.
Speaker: Oh yeah. And you see him earlier, like lighting a cigarette. Lighting a cigarette. Yeah. I love that. It was so well done. Like he, like he props a cigarette up. He gets it. And it's like matches. Yeah. He, he flicks the match with his mouth. But he's like, yeah, has to like open the matchbox, take the match out, like close the matchbox, flick it and then light and then like blow out the match as well. It's so beautifully done. And it just shows how like able he is.
Speaker: Just how much he can do. Yeah. And so you have the half boy, you have him.
Speaker: because under a wagon they're not at a disadvantage. No, that's where they will thrive in a situation where there's a fight because the mobility of Strongman is limited in this place and he doesn't know how to work around this space whereas they do. Yeah.
Speaker: Everyone is coming for them. Yeah. All of the freaks. And again, you have that they go on about it in the film, this, um, if you, Yeah, exactly. The guy says at the start when he introduces offend one and you offend them all. And it is, yeah, like they have come for Hans and now they will pay. Yeah.
Speaker: And they absolutely kill Hercules. Yeah, they just go for him. And we, you know what? We love Morp Justice. Yeah. At the end of the day, I will go on record. We love Morp Justice, when it is justice. Yes, when it is justice. And this is justice. And here it is. This is justice. And then we have Cleopatra. She runs off into the forest.
Speaker: And again, she's being pursued. We don't see what happens to her. Except we do, because this is where it cuts back to the beginning. And the flashback has ended. And we're now in the modern time. And then we finally get that glimpse into this pit.
Speaker: And she essentially has no more legs, but it also kind of looks like... She looks like she's putt chicken. Yeah, it's like a chicken, yeah. Yeah, she's got feathers and a tail. Yeah, I don't quite know how. No, I was a bit confused a little bit. What do you reckon about the fact that you see her? I like the fact we see her at the end. Yes, I kind of wish we hadn't seen her at all.
Speaker: Yeah, and left it that mysteries. Oh, what actually happened? Yeah, but I guess it does kind of give it a conclusion. I guess maybe if we hadn't seen her, I would say it's a bit anticlimactic. Yeah, because the point was to get to what she is now.
Speaker: Yeah, yeah. I'm just, I'm just confused at the chicken part. Yes. Well, I guess because the point is they have to make her look more monstrous than anything ever before. Yes. And we've spent to make her a real spectacle, a real, in quotes, monster baby, as was said in the beginning.
Speaker: Yeah, we've spent the whole film getting to know these people with abnormalities. Yeah. And they don't look monstrous. So I guess they do have to make it not a common deformity. Yeah. Like if they're just taking away her legs, it's like, okay, well, we've seen the halfway walking around. Yeah.
Speaker: He's fine. So I guess they do have to go like a stage beyond. And then we have Hans. And it's also not revealed as well at that point what happens to Cleo. Just that it said that this is what happens when you hit one of them. Yes. It's just kind of like, hey. The magic of thunder. If on a thunderous night you've been long gone in
Speaker: Mm -hmm. You've been doing something bad. You've been trying to murder. You'll get your comeuppance. Yeah. Somehow become a chicken. Mm -hmm. You'll get your payback. Yeah. And then we have Hans, and he's living in a big mansion. A mansion. Yeah, a mansion with his big fireplace. He's, I think, leading the circus now? I kind of get the sense that he's left the circus.
Speaker: Well, yeah, that's what. He, because, I mean, he was never comfortable being a freak. Yeah. I had, I was unsure. I thought he's left, but I also thought maybe he hasn't. I was unsure what his position now was, but he's done something to, oh, he inherited the money. Yeah. I was gonna say, he's obviously done something to earn the money to get the mansion, but I was like, no, he's inherited the money. There we are. He's, he's, he's cashed in his inheritance and he's left the circus. Yeah. He's living comfortably now. But he's also like a recluse.
Speaker: yeah he doesn't want anyone like his butler comes in and he's like there's some people to see you and he's like trying them away yeah he will not see anyone apart from like his butler yeah or any other stuff we may work that he just doesn't want to see people it's frozo and venus and they're like no you will see us yeah because we've got someone who you need to see and like a cop do they say oh like i feel like they do kind of say like no no
Speaker: You owe her this. You owe her this. If they didn't say it, they gave the vibe, they implied it. That's what I got, yeah. Yeah. And it's Frida. And Frida is still... She cares about everything. She's so kind of... Yeah. Yeah. And she just gives him a hug and still reassures him. Yeah, yeah. Even after all, again, it is the internalised ableism that is the reason he rejects her.
Speaker: Yeah. He's hurt her and she still has his back. Yeah. And she says, you know, like Frozo and Venus have been good to me. I think I kind of got the sense that the circus closed.
Speaker: Yeah. There were some murders, some of the trailers toppled, maybe let's disband the circus. Yeah, we don't want anyone coming for us, we're good. But I just love the fact that even throughout all that, Venus and Frozo stay together and tuck on Frida. Yeah, because she says... I'm like, hey, you're coming with us.
Speaker: Yeah, she says she says they've been good to me. And I guess you kind of do get the sense, you know, it's 1930s, it would be hard for her to live a life on her own. But yeah, it's not a pity, like, no, it's a genuine kindness, you are a friend, you are a family.
Speaker: Yeah, we're here for you. And I do know what I want. I love that. I want a sequel. Yeah, of just them. I want a sequel of them in their like, little kind of like cottage home. Yeah, like or two bed apartment. Yeah, like, Frida is, you know, doing her thing and Frozo and like Venus are like happily married.
Speaker: And it is Frida and Hans getting back together. Yeah, very reuniting. And the whole film is him coming to terms. Yes, his growth. Whereas I think that this film is more on Venus's growth. Whereas the sequel would be his growth and come to terms with himself and who he is and finally feeling accepted.
Speaker: Yeah, yeah, and then they can be together at the end. Yeah. But he has to, there's like a big seed. He has to have that journey. There's a big seed where he apologizes for her, he caused her. And Frida being Frida and how much she loves him is like, and how clued in she is. Yeah, it's like, no, it's okay. I know, I know why you did the thing. Yeah, I know what was going on. I struggled with his thoughts too, like,
Speaker: It's fine. We move, we grow, we love. Yeah. That's why I won as a sequel. Don't know about how it would be made given these actors. That's the 1930s. Yeah. But I think, yeah, that's my head cannon for what happens next.
Speaker: Yeah, no, I have the same head kind of. Because because again, like you don't get the thing that Hans and Frida are instantly back together, but they have that hug. Yeah. And it's kind of like, okay, there's there's still peace. Yeah, it's more of a peace.
Speaker: Um, peace offering. Yeah. Peace is exactly for bird. You can see that there's still love there, but it's not like, let's make out. No, it's like there's still the, I'm still hurt from what you did, but I know there was, I know the external factors going on, but it's, it's okay. Yeah.
Speaker: And I think, you know, Frida's reassurance is probably one of the most, like, helpful things to harm. Yeah, I think that's what saves him. Yeah. Because he's, he's completely secluded himself. He's completely shut himself off. And this is probably the, like, only human contact he's had. Yeah. Is this hug from Frida? Yeah. And again, like, not to, not to, like, we've been saying this whole time, of our own people.
Speaker: Yeah, so I'm not saying it's because she has the exact condition that he has. But I think it is more meaningful. Yeah, she does. It is that thing of like, yeah, like, like, you know, any anyone else, she's had a similar journey. Yes. It's that thing of, you know, Frozo could say, Hey, man, I know what you're going through. And he doesn't.
Speaker: He can see and he can understand, but he can never relate. Yeah. He doesn't know what it feels like inside, like as a person to have gone through this specific thing. Yeah. Because like, yeah, like as Hans keeps saying, like he's an adult man. He has lived his whole life with this. And that's the film Freaks.
Speaker: Yes. Fought some feelings, and then I'll get into context. And heads up, we've literally already been recording for an hour and 48 minutes. I have a lot of context.
Speaker: I feel like it's very important. I feel like the context would be important. Because I think this film is so like, like we've been saying throughout this whole time, we're trying to be like delicate with words because obviously this is, it's an interesting film, because it has that weird tone. So I do have a lot of context. I think it's necessary. Heads up.
Speaker: No, I think the context would be necessary for this film as well. Even though I've not heard what you've said, I think because of the film it is. We'll get Moog to say at the end whether she thought that context was necessary. Yeah, I'll give the final view. At the end you're like, no Kitty, you just talked for an hour and it was pointless. Yeah, shut up. But no, I did.
Speaker: I do like the film a bit more now. I still have the tone issues.
Speaker: Yes. I think sometimes it does just help to talk it through because you actually think about what you thought because it helps you process it more. It's such a confronting film. Yeah. Like the film is literally called Freaks. Yeah. It hits you in the face. You know what I mean? It's not like sideshow like performers. It's not circus. It's Freaks. Freaks.
Speaker: It's so derogatory. Everything about this film feels so derogatory, so it's, yeah. I 100 % agree. I just love the scenes and the growth with Venus and Frozo. I think those, as I said, they were necessary. Mm -hmm. Mm -hmm. Because I was so wary, like, it is that thing of, yeah, like,
Speaker: Do we need to, you know, it's, it's that thing of, um, not really spoilers for the D &D movie, but we recently both watch for D &D and we were talking about it. And one of my main criticisms is why the hell are we following Chris Pine? Yeah, they would have been so much better if it would have forced anybody else. Literally anybody else.
Speaker: He's just such a bland character. Hey, welcome to our episode on D &D. But it's just this thing of, but of course he's the main character because he's the straight white man. Yeah. You know, of course he's the main character. And it's that, of course, that annoys me so much. You know what I mean? It's never even questioned.
Speaker: because of course he's the main character, even though, like I said, he's so very bland. And I was so wary about Frozo and Venus, because they are, you know, able bodied, like in a film that should be about the freaks.
Speaker: Owning. Owning their abnormalities. It highlights why are they, like it's the superiority of that white saviour. Yeah, exactly. Abled. Abled body saviour narrative. But I don't think it does fall into that. No. It's like, I think I did have that question, is it? But it's like, no. I think because, I mean, at the end of the day, they don't.
Speaker: Like the whole, you know, white savior narrative is, is an issue because they are the savior. Yeah. Whereas in this film, like Hercules is gonna kill Frozo. Yeah. He has him down in the mud. And it's the freaks, they band together. Yeah, they plan this coup. And it's, but yeah, it's like you said, the switch bay guy is the one that takes down Hercules.
Speaker: Yeah, he's the one who gets Hercules off of Frozo. And then Frozo isn't even in the ending, because again, it's under the trailer. He would be at the same disadvantage that Hercules is. So it's like, you know what?
Speaker: And also, he is a part of a family in the way that they keep saying. He is not, and I think that's why I don't like their allies. He and Venus aren't part of the mob justice. Because whilst they are completely here for the community,
Speaker: They are still not, no. And I think I like that. I like that they're not in the mob justice because it is that thing of like, this is your business and not in a this is your business, we're not involved. No, it's more in a, it's your place to take them down. Yeah. I'm not going to take up this over and do it for you because you are more than capable of doing it yourself. Yeah. Yeah. I'm not going to talk over you kind of. Yeah. You have your own voice. Yeah. Yeah. Do it.
Speaker: And, and again, like when they go to see Hans at the end, they don't say, they do say some things in that scene, but they hardly say anything. No, they don't leave the doorway. No. Until they, yeah, they stand in the doorway and then Frieda's the one who enters the room. And then those two, they leave Frieda and Hans to it. Yeah. And it is that thing of like, again, like they are allies. Yeah. They're like, we're gonna use
Speaker: our station as well as white people in the 1930s, we are going to be able to walk up into this mansion. Yeah, we're going to use our advantage to the pluses to get Frida into this building so she can get to Hans and be like, yeah, yeah. And, you know,
Speaker: like with Venus confronting Hercules, she is, she knows, I think one of the reasons that she does confront him is she knows he would like, you know, if the half boy or if the half man, half woman. Actually, do you know what, I think she's down as half woman, half man.
Speaker: yeah isn't it wild isn't it patriarchal that my mouth wants to say man before woman yeah like the half boy half woman and the half woman half man like if they were the ones to confront Hans then they would have been in more danger yeah so much more danger and she is aware of that and yeah that's why she is the one going to confront Hercules she is
Speaker: Yeah, she's aware of it. There is actually a scene where the half -woman, half -man does say something to Hercules. I can't remember. And he just punches.
Speaker: Yeah, um, and... Oh, just for reference... It's just Lex's comment, I think is made. I was going to say, just for reference, I am using she -her pronouns because the actress does use she -her pronouns. And again, when I talk about the actors, I will get into that. But
Speaker: But yeah, like he just decks her. Like not even like a gentle punch, like she falls. He fallongos. And he's a strong man. He's a strong man, so that is a punch. And I don't know if Venus sees that or if she's actually just clued in, but like she is again using that privilege of I am able -bodied, I know that this absolute dickhead
Speaker: You will not hesitate for anybody else. You know, it's a punch today. What will it be tomorrow? I don't know if she actually knows of their poisoning harms. I don't think she knows that much. She just has the suspicions that something's going on. It's not okay. And someone's being hurt. So yeah, she doesn't even know that they're actively trying to kill already. Yeah. She knows that any of the freaks would be in danger. Yeah.
Speaker: So I think, yeah, I had a lot of thought about Frozo and Venus. And again, isn't it interesting that we spend so much time talking about them and not the others? Yeah. And that's where it becomes tricky again with the tone. Yeah. Again, I do think it is
Speaker: Very important. I mean, you're never going to have like, like we were saying, like, even if it came out today. Yeah. Well, I was like, I know when I was searching for film to watch it, I saw that it didn't come out in the UK until 2002. It was banned. Yeah. Yeah. Yeah. And this film was first released in 1932.
Speaker: Yeah, 1932. I, again, we got a lot of context to go. So should I get into it? Yeah, let's do a dive. If you don't care about context and you only wanted to hear the synopsis of Freaks 1932, and thank you so much for listening. We have been a horror shed. To hear about the context of the 1932 Freaks, keep your eyes peeled for part two.
