EP. 359 — Dream A Little Dream LIVE! (w/ James “Projector” Acaster)

[00:00:00] Paul Scheer: Jason Robards is Cory Feldman. And Cory Felman is Jason Robards. We saw Dream, A Little Dream, so you know what that means.

[00:00:14] Music: [Intro Song]

[00:00:43] Paul Scheer: Hello people of Earth! And hello, people of Los Angeles!

[00:01:08] We’re live at Largo to talk about the best Cory’s movie ever made Dream a little dream a movie that came out in 1989. Now I never have done this before but I’m doing it tonight because I was worried that you might have trouble tracking what the hell we’re talking about So what I did was I decided to pull the description from Wikipedia About this movie just to put us on the same page And I think this will help.

[00:01:42] “Bobby Keller is a slacker high school student who, while running through a shortcut through a backyard in his neighborhood one night, collides with Lainey, over whom Bobby has recently been obsessing. During the collision, elderly professor Coleman Edinger is performing a meditation exercise in the yard with his wife, Gina. Theorizing that if he and his wife can enter a meditative alpha state together, voluntarily, they will be able to live together forever. However, just as the Ettingers are on the verge of completing their meditation experiment, the teenager’s collision renders both teens unconscious, and acting a type of body switch between the four characters.”

[00:02:25] Wow. That’s the baseline that we just need to understand. We’ll break it all down, but I figured if I just laid that down, it puts us on the same page because honestly that clarified a few things for me. This movie is an hour and 54 minutes. When I saw that, everything stopped. I got upset. It’s a Cory’s movie. Then I did a little research, and I heard that the original cut is four hours.

[00:03:11] And that Corey Feldman has been trying to get that cut back out, released. Thank God he has not been successful. He did, however, get a sequel made with the Teen Witch herself, Robin Lively. We’ll talk about that later, but right now, there’s so much to talk about, and I can’t wait another minute. Please welcome to the stage, my co host, Mr. Jason Manzoukas!

[00:03:47] Jason Mantzoukas: What’s up, jerks!? That’s right. How we doing, Largo? Yeah, let’s go! How we doing, Jason? Everybody else, shut up.

[00:03:58] Paul Scheer: That’s right, there is a Jason in the audience tonight.

[00:04:00] Jason Mantzoukas: It’s the night of Jasons. Robards. Suits. This motherfucker.

[00:04:07] He gets it.

[00:04:08] Paul Scheer: Jason, I, uh, was saying that I was familiar with this film.

[00:04:12] Jason Mantzoukas: I was not.

[00:04:13] Paul Scheer: Okay. I never saw it, but I saw the commercial for it.

[00:04:16] Jason Mantzoukas: Release the Corey cut.

[00:04:17] Paul Scheer: Release the Corey cut.

[00:04:17] Jason Mantzoukas: Release the Corey cut. Give me four hours of this.

[00:04:22] Paul Scheer: The fact that it was ever like any cut of this was four hours is irresponsible

[00:04:28] Jason Mantzoukas: And and I read I cuz I read that too, and I read the other two hours is just more montages. More montages set to music. For a movie that is either about three or four people or three or four hundred people. I’m not sure.

[00:04:46] Paul Scheer: I can’t make heads or tails of it and the one pure joy of this film was watching it before our next co host comes out here on stage and then setting myself in a perfect position to watch her face as she saw certain scenes unfold.

[00:05:04] Jason Mantzoukas: That’s your, that’s your kink.

[00:05:05] Paul Scheer: That, it truly, it truly is. It’s like walking in front of somebody in a haunted mansion being like, oh they’re gonna get the shit scared out of them now. Wait, I cannot wait

[00:05:18] Jason Mantzoukas: For you, it’s just watching June will watch Love on a Leash.

[00:05:23] Paul Scheer: It works. It works for me. And ladies and gentlemen, please welcome our next co host June Diane Raphael!

[00:05:40] Welcome June. How are you?

[00:05:41] June Diane Raphael: I’m well. How are you Paul?

[00:05:43] Paul Scheer: I’m fine. Thank you so much for asking.

[00:05:45] June Diane Raphael: You know, I Just finished this movie, and I mean, minutes before.

[00:05:51] Jason Mantzoukas: I was in the green, there’s two green rooms back there. I was in one of them and could hear the movie ending as if it was an echo of my life but an hour ago.

[00:06:02] June Diane Raphael: Yeah.

[00:06:02] Jason Mantzoukas: Flashback, like we were in the dream state together. Right. Let’s all enter the dream state together tonight.

[00:06:08] June Diane Raphael: I want to get started because we have to talk about that description. There are several issues.

[00:06:12] Paul Scheer: Okay, I got it, I got it. Now here’s what I’ll say. Okay. Yes, the movie is almost two hours.

[00:06:19] Jason Mantzoukas: Which I couldn’t believe every time I paused and there was still so much because I was like I was like what’s happening plot wise is wrapping up.

[00:06:27] June Diane Raphael: Yeah, it had.

[00:06:28] Paul Scheer: When I saw it was still 35 minutes. I was like, it’s over It’s.

[00:06:33] June Diane Raphael: Been over for a long time I thought I was watching it with commercials because I watched it on Amazon when I When I played it, it said with commercial breaks and then started. And I was like, where’s that commercial break? Where is it?

[00:06:46] Like I need a break.

[00:06:47] Jason Mantzoukas: By the way, I’d like to be advertised to.

[00:06:49] June Diane Raphael: Yes, someone give me a break.

[00:06:53] Paul Scheer: Now, I’ll tell you this much at an hour and 55 minutes when the credits come on, you would think I would slam down that laptop and be like, done. No, I watched that, that duet had to, had to and, and rewound it.

[00:07:08] Jason Mantzoukas: Wow. Wow, wow, wow. I mean, I could talk about the dance sequences in this movie for the next, I don’t know, six hours.

[00:07:15] Paul Scheer: Well, you know what, before we, we do that, I, we have a very special guest tonight. It took me a while to even figure out how to introduce him because he is so prolific. He is a, uh, a comedian. He is an actor. He’s a podcaster. You might’ve heard his podcast Off Menu or Perfect Sounds. You might’ve read his bestselling book, uh, Classic Scrapes. You might’ve seen him on Task Master. He’s got a brand new special on HBO called Hecklers. Welcome, please welcome. James Acaster.

[00:07:52] Welcome. Have a seat. There you are.

[00:07:54] James Acaster: Am I here? Am I in the right place?

[00:07:56] Paul Scheer: So happy to have you. And I apologize that we made you watch this film.

[00:08:03] James Acaster: No, it was good. It was nice to come to LA, and watch that.

[00:08:08] Jason Mantzoukas: I guess I picture you just in a hotel crushing two hours of this which probably took you like more like four. Because of pausing like me.

[00:08:16] James Acaster: I had little pauses. And also during it I realized, I remembered that Cory Feldman had done an album that came out in 2016 called Angelic to the Core. Yes. Which is kind of like the music equivalent of this film, . And I was like, I haven’t, I haven’t actually heard that album. So I listened to that album after I watched this movie.

[00:08:36] Yeah. Which is over an hour long and 22 tracks.

[00:08:39] June Diane Raphael: Wow.

[00:08:39] Paul Scheer: 22. Wow. People aren’t doing the 22 track album.

[00:08:42] Jason Mantzoukas: I own it. It’s a double LP.

[00:08:43] James Acaster: It’s a double LP. Fred Durst is on it at one point.

[00:08:47] June Diane Raphael: So is that his voice at the end in the duet?

[00:08:50] James Acaster: I don’t think that is it? Yeah, actually I wouldn’t put it past him doing both of those voices at the end of the duet.

[00:08:56] Paul Scheer: I definitely think it was his voice because I think.

[00:08:59] June Diane Raphael: He sounded great.

[00:09:00] Paul Scheer: He they look he brought it. He’s It’s changed. It’s changed in time. I’ll say this much, I just want to understand where we’re all at with the Cory’s because, uh, for some people, the Cory’s were a very big, uh, thing. I remember them from the Lost Boys, but more for me, it was this movie called License to Drive.

[00:09:19] Easy, right? These are cool. These are cool guys. Um, I didn’t find them to be funny nor cool in this movie, but I didn’t know if you all had any.

[00:09:29] June Diane Raphael: No, it’s such a great question. Like, let’s start by locating ourselves in terms of the Cory’s um, my quarry contextualization is what I was actually, and I had, I really had to confront this. Like, I thought the Corey’s were hot growing up, but I was like, wow. Like the Corey’s can get it, both of them. And I watched this and I was. So stunned by what I was seeing and because I agree with you. Neither, neither cool, nor interesting, nor charming, nor hot. Like, and, and that was so sad. It was like something had died.

[00:10:09] Jason Mantzoukas: Oh, wow. There, there is your, your innocence.

[00:10:12] June Diane Raphael: I think it was more Corey Haynes, but even, even Corey Feldman. I was like, yeah, I’m, I’m about it. And then I saw. And I was like, wow, he’s unpleasant. He’s an unpleasant young man.

[00:10:29] Jason Mantzoukas: But very understated.

[00:10:33] June Diane Raphael: Subtle work.

[00:10:34] Paul Scheer: I mean, I would argue on some level, bold choice for two, like, heartthrob boys to be, to go from lost boys, horror film, fun, but funny, right, then license to drive, funny, uh, you know, and then.

[00:10:48] Jason Mantzoukas: Well, Corey feldman’s done Stand By Me by, at this point, like, you know.

[00:10:52] Paul Scheer: And then to, to team up and do a dramatic body switch movie about old people.

[00:10:58] June Diane Raphael: Calling it a body switch movie. It’s not.

[00:11:00] Jason Mantzoukas: It’s not because I only think what there’s one switch. The movie wants us to believe there’s two switches, right? And that is not the case.

[00:11:09] June Diane Raphael: And in your description, you implied that everyone switched. Well, you said there were four switches. There’s just not, Paul.

[00:11:16] Jason Mantzoukas: It’s only two switches.

[00:11:17] June Diane Raphael: Paul, there’s not. There’s one switch.

[00:11:18] Jason Mantzoukas: Paul, admit you’re wrong, Paul!

[00:11:20] Paul Scheer: Well, I would, I would argue, I would argue.

[00:11:22] James Acaster: There’s not, there’s not paul.

[00:11:23] Paul Scheer: Okay. Wow, you see? Thought James would get my back. Well, I think that one is a dormant body switch.

[00:11:29] Jason Mantzoukas: What? June. June. June just. A dormant body. June just did a spit take. This has been a physical weekend for you. Last night, you thought you were being attacked by a clip.

[00:11:49] Paul Scheer: I thought a dormant body switch because, uh.

[00:11:52] Jason Mantzoukas: You think Piper Laurie, you think Lainey was in Piper Laurie, but at the end, Corey Feldman says, I was just kidding about all that. It’s a full blown rug pull. Just like, ha ha, zoink!

[00:12:06] Paul Scheer: No, no, no, because Piper Laurie at the end is like, I’m listening to the cool music and I’m dancing around shaking my ass.

[00:12:13] James Acaster: Then why is he saying he made it up?

[00:12:15] Jason Mantzoukas: No, he made what he made up.

[00:12:16] James Acaster: That’s even crazier.

[00:12:18] Paul Scheer: I think he made up that there was like.

[00:12:20] Jason Mantzoukas: That they were gonna die.

[00:12:21] Paul Scheer: Yes

[00:12:22] Jason Mantzoukas: To me, oh, yeah, the movie wanted to be. The movie almost had a, like, Richard Curtis About Time, like, very sweet story inside of it, in that I was like, Oh, this is about Jason Robards realizing he can’t live forever and be young, he has to accept his own death. And that living as young, as a young Corey Feldman, And falling in love with the woman that he, you know, assuming that Piper Laurie, like Paul is saying, would be, you know, present and that that would be the love, and then that would lead to him accepting his mortality and dying, and wouldn’t that be sweet and heartfelt the way it is in a truly shattering, beautiful movie about time?

[00:13:00] This is not that, even a little bit.

[00:13:03] June Diane Raphael: And yet there are some moments I will admit the scene where Corey Feldman is talking Joel off a ledge because he’s about to kill someone. That’s a scene that happens. In that scene though he delivers a monologue to him from an old man’s perspective that I thought was quite moving.

[00:13:24] Jason Mantzoukas: When he talks to his parents, Alex rocco and Victoria Jackson.

[00:13:30] Paul Scheer: I’ve done some math on this. Yes, please. Okay, so Alex Rocco. Uh, is the father. He is born in 1936.

[00:13:39] Jason Mantzoukas: Great. We see him in this movie only wearing a bathrobe and housing Oreos. Just, just polishing off Oreos.

[00:13:51] Paul Scheer: That makes Alex Rocco at the time of this movie 53 years old.

[00:13:54] Jason Mantzoukas: A totally normal and cool age. Which, which might help you place where I am on the Cory’s meter.

[00:14:07] Paul Scheer: Then we have Victoria Jackson. She’s born in 1959. So at the time of this movie, she’s 30. So that’s a 53 year old married to a 30 year old, but here’s where it gets concerning. Corey was born in 1971. He’s 18. So that means that Victoria Jackson gave birth at 12 when Alex Rocco was 41. So, Alex Rocco was a 41 year old man who impregnated, I don’t know if they were together, but I would say maybe they were dating at 11 and then they had a baby at 12.

[00:14:44] James Acaster: I’d say that goes a long way to explaining the vibe at home. The dynamic between the three of them now makes perfect sense. And although I was completely behind Corey Feldman when he gave them a telling off, I now think he should be more sympathetic to what they’ve been through.

[00:15:01] Jason Mantzoukas: In the first scene where the parents appear, Corey Feldman, it’s the post accident scene where Corey Feldman is waking up and seemingly has amnesia. What is really the case is that he’s waking up with Jason Robards inside of his body. And when it’s, and you see his point of view and it’s Alex Rocco and it’s Victoria Jackson.

[00:15:17] I was like, Oh, Victoria Jackson is playing his sister. And then I was like, Oh no, that’s good. This can’t be it. This can’t be what we’re doing. This is, this seems nuts. Yes. And Alex Rocco is. Like, full blown Alex Rocco.

[00:15:29] June Diane Raphael: I was about to say elderly man, but I know.

[00:15:30] Jason Mantzoukas: Hang on, man!

[00:15:34] June Diane Raphael: Can you see me now?

[00:15:35] Jason Mantzoukas: Be cool, bro! You just shocked me when you said Alex Rocco is 53 in this movie. That rocked me. I don’t know if I can recover from that information.

[00:15:47] June Diane Raphael: The crazy thing, I want to talk about her rollers. Her hair rollers. For roughly the next 20 minutes. They’re in a all the time. And I thought, okay, and it’s a, you know, it’s a choice you see a lot movies that are made around this time. Okay, but they’re in so much and not all hours of the day. Like there’s several times where they’re in. Yeah, like, that’s breakfast, okay. But then there are times where I know there’s a night scene where she’s got him in, and I’m like, Wow, what, what, how tight are these curls gonna be?

[00:16:23] They are.

[00:16:24] Jason Mantzoukas: We never see, do we?

[00:16:24] June Diane Raphael: We see, see once and it’s at the end and actually I was like, Oh wow, that’s character growth. Cause by the end she’s able, cause in a lot of movies you guys were able to understand women and their journeys by their hair, you know, as soon as it gets looser and you know, that’s great.

[00:16:42] It’s a great way to understand women, but we do, she has it down at one point and it’s rather relaxed, but um, It’s very short. So wow, those curlers are doing so much.

[00:16:55] Jason Mantzoukas: In this picture we’re looking at right now. I feel like somehow Alex Rocco and Corey Feldman are closer in age than either are to Victoria Jackson.

[00:17:07] Paul Scheer: I also what I pulled this picture because of the The tower of spam that is on the stove There is uh at a minimum i’m counting at least eight to ten cans of spam in a uh in a yeah in a pyramid formation I don’t know what’s going on in this house.

[00:17:31] Jason Mantzoukas: Next to, next to the fire extinguisher. You know if a fire extinguisher is that close at hand, there have been fires.

[00:17:38] June Diane Raphael: Oh, well, you know what happens right after he walks out is.

[00:17:41] Jason Mantzoukas: Oh yes!

[00:17:41] June Diane Raphael: Yeah, she lights the whole thing on fire.

[00:17:44] Paul Scheer: I guess the thing that I’m so confused about is, for all intents and purposes, this is a teen movie.

[00:17:51] Jason Mantzoukas: Is it?

[00:17:52] Paul Scheer: Well, that’s the question.

[00:17:53] Jason Mantzoukas: This is my real question is what is this movie?

[00:17:56] Paul Scheer: Well, that’s it.

[00:17:56] Jason Mantzoukas: Who is it about? Who are we rooting for? Who is the protagonist? Who is the antagonist?

[00:18:01] Paul Scheer: I think it has to be, I think the answer has to be, this is a Jason Robards film. Like, because if you, cause he’s somebody who wants to escape death, even though that’s not really clearly defined.

[00:18:13] Jason Mantzoukas: Um, but sort of, that, that is what he’s trying to set up is that he wants to be able to be with his love forever.

[00:18:19] Paul Scheer: And, but yet. The way they introduce him and his love is confusing. Because when he’s together I’m like, Oh, he’s the demented old man, and Piper Laurie and Harry Dean Stanton Or like what if they, okay, so.

[00:18:35] June Diane Raphael: Did anybody else think? So, I saw that scene. I actually watched it twice cause I had to rewind it and I thought, okay, they’re having an affair.

[00:18:43] Jason Mantzoukas: Clearly.

[00:18:44] June Diane Raphael: Yes. Okay.

[00:18:44] Jason Mantzoukas: She absolutely. Absolutely.

[00:18:47] June Diane Raphael: She, not only did she kiss, the energy between them aside from what they’re doing in that scene, and yes, they kissed for a little while on the lips. It’s a lingering mouth kiss.

[00:18:56] Jason Mantzoukas: So here’s my here’s what I think is going on is I think that they are mirroring both relationships between young and old so.

[00:19:07] June Diane Raphael: Say more.

[00:19:07] Jason Mantzoukas: So I think that I think that Harry Dean Stanton and Jason Robards are still stand ins for Joel and Bobby. There’s a, there’s a love triangle, Joel, there’s a love, Joel. I’m just saying, I think there is a, they’re constantly mirroring dialogue, mirroring, um, um, framing, mirroring, blocking. They’re constantly mirroring young to old. So that’s why I thought that was.

[00:19:33] June Diane Raphael: But do you think she is having an affair with him?

[00:19:36] Jason Mantzoukas: Yes.

[00:19:37] Paul Scheer: Yeah. James, do you think that she’s having an affair?

[00:19:39] James Acaster: I don’t know, man. You guys speak really fast and that’s like, that’s like.

[00:19:46] Jason Mantzoukas: Hurry up, James! James! Jump in, James!

[00:19:49] June Diane Raphael: Do you think they had an affair, James? Yes or no?

[00:19:51] Jason Mantzoukas: Go, James! Go!

[00:19:52] June Diane Raphael: Yes or no? It’s a simple question!

[00:19:54] James Acaster: I appreciate you asking me a question, but I’ve, uh, I’ve become an audience member at this point.

[00:20:09] June Diane Raphael: The whole time I watched the movie, I thought, Oh, it’s going to actually be really interesting to see Corey Feldman realized that Gina, Gina is having an affair.

[00:20:25] Jason Mantzoukas: Yes. Yes. Great. Never happens.

[00:20:27] June Diane Raphael: Never happens. Never see it. Never see it. Um. But he was described And I also was But who is Ike to them?

[00:20:34] Jason Mantzoukas: His best friend.

[00:20:35] June Diane Raphael: He’s described as a dependent, and I think that’s a joke, but he’s just a friend?

[00:20:39] Jason Mantzoukas: He’s his best, he’s Jason Robards best friend is what he says at some point.

[00:20:42] June Diane Raphael: Well he’s a lot younger than him.

[00:20:43] Jason Mantzoukas: Sure. Sure. Oh, I, listen, I agree.

[00:20:47] Paul Scheer: So much so that I thought Jason Robards was Gina’s father..

[00:20:50] Jason Mantzoukas: Yes! I would’ve believed it.

[00:21:00] James Acaster: Yeah, maybe. It felt like at times that they’d let a different person direct each scene. And they weren’t allowed to watch what’s been done so far.

[00:21:14] Jason Mantzoukas: You think the movie is constructed like an exquisite corpse writing piece? Yes.

[00:21:19] Paul Scheer: Well, there is there are these moments because in the beginning of the movie, I think the other thing that I’m missing in a I mean, it’s, is it a body swap? Again, I don’t know how to, uh, uh, a body swap movie.

[00:21:31] Jason Mantzoukas: It’s a body swap movie for Robards and Corey Feldman.

[00:21:34] Paul Scheer: Well, just Robards, because I guess, I guess Jason Robards.

[00:21:37] Jason Mantzoukas: Yeah, where’s corey Feldman?

[00:21:38] James Acaster: He’s in Dreamworld.

[00:21:39] Jason Mantzoukas: He’s in just Limbo?

[00:21:40] James Acaster: He’s in the Toilet Paper House.

[00:21:41] Jason Mantzoukas: And, by the way, I kept thinking eventually we’ll catch up to the period where someone TPs the house. That would be the final scene.

[00:21:50] June Diane Raphael: Starts moving out of it.

[00:21:52] Paul Scheer: I just thought that there is a lot of Twin Peaks elements in this whole movie that I was like, Ooh, this is kind of like, it was an interesting way. Yeah.

[00:21:59] June Diane Raphael: I bet that was in the four hour cut. We’ll never see it.

[00:22:02] Paul Scheer: But this idea of like Jason Robart, like I think a lot of times in a body switch movie, it’s like, I’m the dad. I have no time for my son. Then I switched with my son. I realized, Oh, I need to be a better dad. Jason Robards is actually a multi faceted character. He’s angry at kids, but he’s also very, like, spiritual, but he also eats well, and he has a sense about himself, like, I can’t quite get what he’s doing, and then, when he does the Michael Jackson dancing, I’m like, well, that’s definitely not Jason Robards.

[00:22:32] Jason Mantzoukas: But, but, and that point in the movie, Corey Feltman’s body is being controlled by Jason Robards. That’s what I’m saying, so the Michael Jackson stuff makes, like, just no sense. Well, that’s something that’s got to be coming from Corey Feltman.

[00:22:45] Paul Scheer: But I don’t also feel like Corey Feltman in the entire movie is like, ah, these damn kids. What I’m looking for is, is like a moment where they’re like, This is how you act as a kid. But he has no issue, he seems to fit in immediately.

[00:22:56] Jason Mantzoukas: He says to him, go watch the home videos, and you see him put a couple of cassettes in, but you never see the videos themselves. Like, I would have loved There’s so many montages, why not a training montage about how you train an old man, to act like an 80s teen. Give me that all day, every day. I guess

[00:23:15] Paul Scheer: He just watched the one Michael Jackson video a lot.

[00:23:19] Jason Mantzoukas: Like, seriously.

[00:23:19] June Diane Raphael: Laughed so hard. There was also a video in this, in this shot where he’s, he’s getting the videos and putting them in. There’s a video on top of the TV labeled Aunt Irma’s visit. Just a whole, whole VHS devoted to her time there.

[00:23:36] Paul Scheer: I had a video of my great grandma’s birthday, but I guess yeah, visit is not really video camera worthy.

[00:23:41] June Diane Raphael: I don’t think it was at a time. I appreciated the detail. Cause I was like, Oh, this was back when, if you had a VHS recorder, everything was worthy of filming.

[00:23:50] Paul Scheer: Yes. Yeah. I had a lot of tapes, a lot of, yeah, a lot of tapes. But this again, the issue of it is, is like, it’s not an old man being in a young boy’s body. Cause he never even seems to enjoy. Hey, I’m young.

[00:24:05] Jason Mantzoukas: I’m so sorry to disagree with you, Paul, but he does look himself in the mirror and say, at least he’s got a good body.

[00:24:11] June Diane Raphael: I forgot about that.

[00:24:12] Paul Scheer: Which to me is Corey Feldman improvising.

[00:24:17] Jason Mantzoukas: What?

[00:24:18] James Acaster: That was, no, that was refreshing. It’s not, it’s not often you see someone’s self pet their self. There’s not enough self petting goes on.

[00:24:30] June Diane Raphael: I was actually getting a little bit upset with Jason Robards as the film went on because it didn’t, it seemed like he was falling in love with Lainey, who’s Lainey, Lainey, who’s not Gina, Lainey, who’s Lainey.

[00:24:46] Jason Mantzoukas: It is only that that it is a love story between an old man and a teenage girl who he’s just convinced is his girlfriend.

[00:24:54] Paul Scheer: But if you took that and put that in the real world, that would be frightening. Like you are my wife. You are my wife. It’s like, no, I’m not. I’m just a P I’m somebody else. And, and he does it until she was like, yeah, I guess I am your wife. I got, she doesn’t even believe it.

[00:25:10] James Acaster: To be fair. She is frightened when he says that, and then in the next scene, she’s not. She is frightened for one scene.

[00:25:22] Paul Scheer: She, she basically goes like, you’re not going to stop calling me your wife. So I’ll go with it. And I think that that’s a good way of just being, she’s just, yes. And being him.

[00:25:30] James Acaster: Her other option is the most fucked character I’ve ever seen in a film. So, like, it’s either the guy says, you’re my wife, or the guy’s got a gun.

[00:25:40] Paul Scheer: Oh my god. Well, why is that guy so crazy?

[00:25:43] Jason Mantzoukas: Joel? Yeah. I thought for so long that Joel was the villain of the movie. And in fact, he’s not. He’s their best friend. Even though they dress, the Corys dress so much more like the bad guys. Dumas and those guys. Then they do Joel in his blue suede fringe coat. Joel looks like the handsome bully asshole who shows up with a gun. Why is he best friends with the Corey?

[00:26:08] June Diane Raphael: I don’t know. I couldn’t understand the hierarchy of this high school.

[00:26:12] Jason Mantzoukas: I wrote that down multiple times. What is this school’s hierarchy?

[00:26:15] Paul Scheer: Here’s the problem. The other Corey should have been Joel. Cause it’s like my best friend, but Corey Hame is kind of just. He has nothing to do.

[00:26:25] Jason Mantzoukas: Here’s my pick. This is what I think happened. I think Corey Haim broke his leg. And Corey Feldman was like, Hey, my buddy needs a job. Can he just like, hang out on set and be around? Because his character can’t be in the script. He’s nothing he does has any effect whatsoever. If the movie ended and Corey Haim was revealed to be a ghost or or a Tyler Durden I genuinely was like maybe he’s a Tyler Durden here.

[00:26:54] I don’t know.

[00:26:55] Paul Scheer: There’s only been one Corey the entire time. You’re right though. It’s a it’s an odd The movie poster, it’s the two of them, and Lainey, it’s, you know, it’s, it’s, it’s, you’re like, this is it, this is the, this is the buddy, but it’s Joel. Joel is, cause even in the end, the, the climactic moment is saving Joel from a life of despair. But we don’t like Joel, I don’t think we like Joel. Joel’s scary to me.

[00:27:20] Jason Mantzoukas: Joel sucks.

[00:27:21] James Acaster: If I met the actor who plays Joel now, I would kill him.

[00:27:27] Jason Mantzoukas: And you would be justified. You would be, we would all back you up and be like, we would all provide an alibi.

[00:27:33] Paul Scheer: The fact that Joel, the fact that Lainey’s mother, oh my God, I get into Lainey’s mother, but.

[00:27:39] Jason Mantzoukas: Holy shit.

[00:27:42] Holy and Ron. Ron. Oh, we have to talk about Ron.

[00:27:49] Paul Scheer: Ron. It seemingly is just dating Lainey’s mom and tranks like she

[00:27:57] Jason Mantzoukas: Why don’t you help me with this? He says handing her a roofied glass of wine.

[00:28:04] Audience Member: But here’s the thing Why are they tranking her? I know why we don’t want her to go to sleep.

[00:28:13] Jason Mantzoukas: I think so that she won’t run away, like, get out of bed.

[00:28:16] June Diane Raphael: But that’s crazy.

[00:28:17] Jason Mantzoukas: Yeah? You think?

[00:28:18] June Diane Raphael: So at the ready. That’s what’s so disturbing. It’s like, get it? Mix it up?

[00:28:24] Paul Scheer: She had it, though, as if.

[00:28:26] Jason Mantzoukas: A loose capsule. Yeah. She had a loose capsule that she could open and do this like she’s a spy.

[00:28:32] June Diane Raphael: It’s not the first time this has happened.

[00:28:36] James Acaster: This is reassuring to hear you all talk about this because I thought, because I’ve not, I’ve not spent much time in America. I don’t know what your customs are. I didn’t.

[00:28:43] June Diane Raphael: Know what we’re about.

[00:28:44] Jason Mantzoukas: How dare you?

[00:28:45] James Acaster: The whole, the whole thing was done so casually and so like routinely.

[00:28:50] June Diane Raphael: I mean, listen, after this.

[00:28:51] James Acaster: I assumed you all roofied your kids when it’s time for bed. When there’s a boy you don’t like, give her this. Oh.

[00:28:59] June Diane Raphael: I imagine after this week and the election, you have some questions.

[00:29:03] Paul Scheer: The other thing too, and I know that we are focusing on that he, that she roofied her own daughter and yeah, that’s a, that’s something that we should flag. Gotta get her to bed.

[00:29:13] James Acaster: You gotta focus on it a little bit, Paul.

[00:29:17] Paul Scheer: Well, this is what I thought.

[00:29:18] James Acaster: You’re speaking in a way as if you’re about to gloss over it.

[00:29:21] Paul Scheer: Look.

[00:29:22] And I’m glad that you’re calling. I’m not gonna glop. Sure. It’s bad. Whatever. But it was also the fact that they were giving her wine too. Like I thought it was a double. It was a double whammy. It was like. Drink some liquor and it’s roofied.

[00:29:37] Jason Mantzoukas: The thing you are never supposed to do mix pills and lick and booze What are you doing?

[00:29:42] Paul Scheer: And yet? They’re so upset when they catch a boy in her in a room and why was she covered in red? Was that the blood from his face?

[00:29:50] James Acaster: He punched the window and cut his hand and then went I know where this is going her face.

[00:29:58] Jason Mantzoukas: I love that he respectfully walks away, you know, you’re right, I’m sorry to interrupt you, respectfully walks away, then immediately frantically climbs the lattice, and then shatters the window and starts screaming, WAKE UP! WAKE UP!

[00:30:13] June Diane Raphael: But, also dude, like at that point you could have just run past them, like you’ve caused such a commotion.

[00:30:18] Paul Scheer: I will also argue as somebody who grew up in a suburban neighborhood, The, uh, the amount of glass that they, like, at least by sound design let you know, it’s like, he’s banging on that window and there’s no sound.

[00:30:30] It’s like he’s on the outside of an airplane, it’s like, KUNK, KUNK, KUNK, KUNK. And it’s silent inside her room. Like, I was surprised, I was like, he should, she should be able to hear him okay.

[00:30:38] James Acaster: I think her mum’s the type of person who would have installed soundproof glass into her daughter’s window so no one could hear whatever the fuck is going on there on a weekly basis.

[00:30:50] Paul Scheer: You’re right, now it all makes sense.

[00:30:51] June Diane Raphael: And I am actually wondering if one of the reasons why Lainey couldn’t body switch with Gina is because of the amount of tranquilizers. Something just didn’t.

[00:31:02] Jason Mantzoukas: It’s just being suppressed by Valium.

[00:31:06] James Acaster: Like her, her spirit is like, was floating down and then was like, I can’t get in this, she’s drunk as fuck.

[00:31:11] June Diane Raphael: Oh, she’s not here.

[00:31:13] Paul Scheer: Just kind of going to only lift up her arm.

[00:31:15] Jason Mantzoukas: I’m curious, has anyone in this audience ever scaled a lattice or a ladder in order to get into someone’s room? No, right?

[00:31:26] Paul Scheer: Whoa.

[00:31:27] June Diane Raphael: Yeah, not a lattice, but I’ve had, it was my own house, so I don’t know if that matters. But I’ve had to scale. Yeah, I’ve had to scale.

[00:31:34] Paul Scheer: Where did you scale?

[00:31:36] June Diane Raphael: I scaled, um, I scaled my house in Long Island in Rockwell Center.

[00:31:40] Paul Scheer: Which side?

[00:31:41] June Diane Raphael: The

[00:31:42] James Acaster: Oh, someone suspicious?

[00:31:46] Paul Scheer: I just want to see how high you went up.

[00:31:48] June Diane Raphael: Only, no, no, no, but only onto the roof, like the flat roof. That was right above the porch.

[00:31:52] Paul Scheer: Wow, okay. Wow, it’s impressive.

[00:31:55] June Diane Raphael: Thank you.

[00:31:56] James Acaster: Even though I don’t know that house Yeah, and I don’t know your relationship or anything that story made more sense than the movie we watched. It’s with you every step of the way. I can picture the house.

[00:32:09] June Diane Raphael: There was a minute the characters were clear and.

[00:32:13] James Acaster: That was good

[00:32:14] June Diane Raphael: Location.

[00:32:15] Paul Scheer: There is this thing with the movie which is It’s the dream world, there, there’s a lot of stuff going on here, which makes me also feel like it may be the script is a little bit tighter and then some improv is taking it off track a little bit, because there are, there isn’t there a moment in there where Corey, uh, Hame is like, what am I doing here? Who am I? I’m a good looking guy. Ladies like me. I’m like, Oh, what’s happening now?

[00:32:42] Jason Mantzoukas: Not only that, but that’s the scene where he’s alone in the car waiting for Joel to come out with a gun. It keeps fading to black, then fading back in for another round of Corey Haim improv. That is not, he’s like, I went to the dance, nobody wants to dance with me, bap, bap, beep, boop, boop.

[00:32:56] And then it’s like, Joel comes out and he’s like, I got, I refilled the flask. Joel, my guy, you gotta slow down. Andy’s got a gun and Corey Haim’s like, aw, come on, man. Be cool.

[00:33:08] James Acaster: They must have let him run for a while.

[00:33:10] Jason Mantzoukas: Big time.

[00:33:10] James Acaster: Yeah, I think the yeah the in and out thing is like they were clearly like behind the camera going just let him go.

[00:33:15] Jason Mantzoukas: Yeah, baby.

[00:33:16] Paul Scheer: Well, that’s how the opening of the movie is like that because they’re having a sleepover a little slumber party.

[00:33:21] Jason Mantzoukas: I couldn’t make heads or tails of this.

[00:33:23] Paul Scheer: The old I would like I should just play in the opening scene because it is It really is. No, the audience revolted against it.

[00:33:30] Jason Mantzoukas: Yes, yes. Hey, keep talking, we’ll show the whole movie, assholes. The doors are locked, it doesn’t matter.

[00:33:38] James Acaster: Also refreshing to have a film that’s got like two opening credit sequences.

[00:33:43] Paul Scheer: Right, well that Yes. Jason Robards is singing in front of an audience.

[00:33:48] James Acaster: That’s the second one. That’s the second one. The first one is the Corey’s in their room, um, seemingly hating each other. Right. And then there’s Robards, which is a name I’ve just learned today, by the way. Okay. And I’ve heard it a billion times now. But that’s the second one, right?

[00:34:03] Paul Scheer: Well, yeah, that, you know what, I don’t even have that opening one. I have the Jason Robards singing because this is an, again, an odd choice. It’s like, Oh, this is our main character, I guess. Like, we’ve just seen the Corys. Now we watch him, and he’s not singing.

[00:34:16] Jason Mantzoukas: Cause this is dreams. This is in the dream space.

[00:34:20] Paul Scheer: Okay, oh!

[00:34:21] Jason Mantzoukas: Corey Feldman and Jason Robards are sharing this dream. This is the first existence of the dream space.

[00:34:27] Paul Scheer: I didn’t know this. Okay.

[00:34:29] June Diane Raphael: Which is a little weird.

[00:34:31] Jason Mantzoukas: I’m so sorry, I’m a scholar of this movie. Am I wrong?

[00:34:34] June Diane Raphael: No, you’re right.

[00:34:35] Jason Mantzoukas: You don’t think so?

[00:34:36] June Diane Raphael: This is definitely a dream.

[00:34:38] Jason Mantzoukas: Hang on, Tim says just Robards, and I believe Tim.

[00:34:41] June Diane Raphael: Tim. No, I don’t believe Tim in this one instance, because, in this one instance. Because Corey Feldman in this next scene says I had a dream of an old man.

[00:34:49] Jason Mantzoukas: Yeah, him. It’s.

[00:34:50] June Diane Raphael: You missed it.

[00:34:51] James Acaster: He says it’s the guy he sees on the way to school.

[00:34:53] Jason Mantzoukas: Yeah, Tim. Eat shit, Tim. Fuckin idiot.

[00:34:58] James Acaster: Eat shit, Tim, you idiot. I’m trying to fit in.

[00:35:01] Jason Mantzoukas: James, get him!

[00:35:02] James Acaster: Eat a bunch of shit, Tim.

[00:35:04] Jason Mantzoukas: Yeah, get him!

[00:35:04] James Acaster: Out of your own ass.

[00:35:06] Jason Mantzoukas: Get him, James! Internationally humbled!

[00:35:10] James Acaster: Hope you’re hungry, Tim, because you’re eating a bag of shit.

[00:35:16] June Diane Raphael: Here’s something I found troubling, though, about the logic. If Corey Feldman, Corey Feldman did dream, I won’t say if, he did have this dream that we’re seeing right now. It seems, though, that everything got thwarted by happenstance with the bike. It just, if they hadn’t collided, what would have happened?

[00:35:37] What would have happened? Would they have What, where would their bodies have gone?

[00:35:41] Jason Mantzoukas: Someone in the audience was like, right. Yes, June, I thought the same thing.

[00:35:46] June Diane Raphael: I also, because, but that’s what’s weird is Corey Feldman was dreaming this way before that collision.

[00:35:54] Jason Mantzoukas: Yes, yes. And because they always cut through his house, so they have this back and forth every day when they’re cutting through the yard and having that angry back and forth.

[00:36:03] June Diane Raphael: So you think it’s just like he happens to be dreaming about him?

[00:36:06] Jason Mantzoukas: Yes. He says, I dreamt about that guy. He literally says.

[00:36:09] June Diane Raphael: I know, I know, but my point is that it felt in the, or that the movie wanted us to feel that they were always going to switch bodies.

[00:36:18] James Acaster: Oh, I don’t know. I don’t know if I agree with you there, June.

[00:36:22] June Diane Raphael: I guess you’re getting pretty comfortable up here.

[00:36:24] James Acaster: I’m a bit there. I think you’re right. I think they have a connection. And that’s why the body switch swap was able to happen so efficiently. Because I think they were already, they were already connected. Uh, in the dream world.

[00:36:42] Paul Scheer: I think what we needed was one line where, uh, where they say, Hey, come on, don’t be so hard on the kids. He’s like you when you were a kid. Like, give me something.

[00:36:53] Jason Mantzoukas: This movie needed rules. This movie needed two scenes of exposition.

[00:36:58] Paul Scheer: And by the way, they had plenty of time. Two hours.

[00:37:01] Jason Mantzoukas: And instead it was just montages. Instead it was replaced by music montages. And let me be clear. The music is dynamite.

[00:37:09] June Diane Raphael: I loved it.

[00:37:09] Jason Mantzoukas: The soundtrack. The music is it’s REM. I’m like, I’m a real sucker for Van Morrison’s into the mystic.

[00:37:17] June Diane Raphael: I was singing it when it came on.

[00:37:19] Jason Mantzoukas: You play that song for me. And it is instant emotion that went a long way to investing me in this.

[00:37:25] Paul Scheer: I will also say it’s a weird era of 1989. And these kids are like, rap is dead. We listened to old sixties music. And it was like, mm, it doesn’t. Look, I like this music, it was great, but they’re singing like doo wop by like a, a, a trash can fire. And then at one point, and then they just cut away from that real quick.

[00:37:46] Jason Mantzoukas: Don’t tell St. Clair.

[00:37:49] Paul Scheer: But there is like, it is, it is odd that they, their choice, but yet they’re also dancing like Michael Jackson. Music is great. Great sound.

[00:37:57] June Diane Raphael: I did want to say one thing, which is.

[00:38:01] Jason Mantzoukas: Get him, June. Get him. Just wait.

[00:38:04] June Diane Raphael: Wait a second. You’ll find another moment to jump in. It’s not now. Um, I did want to say one thing about their collision, because it seemed to me that that collision, which took place Uh, no. Lainey’s on the bicycle and Corey Feldman is running. It seemed to me that they had about 15 to 20 feet to avoid that collision.

[00:38:33] Jason Mantzoukas: They must have seen each other.

[00:38:35] June Diane Raphael: They had to. They must have seen each other. No one was coming around the corner.

[00:38:38] Jason Mantzoukas: They were the only people running in a direct path in someone’s backyard.

[00:38:41] June Diane Raphael: It was not a blind turn, it was straight, I’m running towards you, I’m on a bicycle, riding to you and now we collide.

[00:38:50] Jason Mantzoukas: Shouldn’t, like, you know, the movie logic should have included someone dying or whatever, but what in fact happens is the old people disappear? They just evaporate? Into the dream space?

[00:39:04] Paul Scheer: Well, first of all, James is, I don’t wanna.

[00:39:07] Jason Mantzoukas: Please shut up, James.

[00:39:09] James Acaster: I don’t know what’s going on, man. For a while I couldn’t get a word in And then I started being more assertive when I got the hand. And I don’t know, I don’t know I don’t know what to do. Back home with It’s not like this.

[00:39:21] Jason Mantzoukas: Yeah, you’re not home anymore, James.

[00:39:24] James Acaster: The fact, it wasn’t the first time for the listener that I got the hand, I got it earlier on and I thought, that’s not for me, and it was.

[00:39:29] June Diane Raphael: It was. Yeah Listen this is Trump’s America, baby.

[00:39:40] James Acaster: Yeah.

[00:39:43] Jason Mantzoukas: I couldn’t figure out is in the dream state when okay when when Jason Robards and and and Bobby and right Bobby Corey Feldman are in the yard talking Lainey and Gina are in the house packing up, right, but we keep cutting to them in the house packing up, but what world are they in together?

[00:40:05] Paul Scheer: That’s the prank.

[00:40:06] Jason Mantzoukas: They in the dream show?

[00:40:08] Paul Scheer: That’s the prank world.

[00:40:09] Jason Mantzoukas: Oh, prank world. What’s the prank world?

[00:40:13] Paul Scheer: Well, I think that Corey Feldman is doing the big prank of, you’re gonna lose her, right? So he’s creating that prank world of they’re packing, they’re leaving, but that’s never actually part of it so, he’s manifest, like he’s manifesting that inside world, like Matrix style.

[00:40:31] Jason Mantzoukas: I agree because I don’t think any of that is real, obviously.

[00:40:34] Paul Scheer: And that’s why he doesn’t have pants on with the tuxedo. He’s already showing you, I’m a prankster.

[00:40:38] Jason Mantzoukas: I believe, I sincerely believe Corey Feldman for some reason was allowed to choose all of his own wardrobe.

[00:40:46] Paul Scheer: He doesn’t even go to wardrobe.

[00:40:48] June Diane Raphael: One of my favorite things though about, about, teenagers in the 80s in movies is that so many of them are dressed in like business casual like there’s there are so many like 11th graders who are in business suits. And it’s just so delightful to see.

[00:41:06] Jason Mantzoukas: Some of us were suits to school.

[00:41:07] June Diane Raphael: Listen, my sister for a and I thought she was so cool. My older sister wore in high school lace lace uh, turtlenecks and big brooches and giant, giant blazers over it and her hair twisted back. I mean, she was dressed like an elderly woman. And I was like, awesome.

[00:41:28] Paul Scheer: I used to bring a briefcase to school because I thought it was cool.

[00:41:32] Jason Mantzoukas: Incredible.

[00:41:34] Paul Scheer: Why not?

[00:41:35] June Diane Raphael: I’m just trying to imagine though, from Lainey’s point of view, from Lainey’s point of view, Corey Feldman has told her like, Hey, remember those old people? Like, they’re not there anymore.

[00:41:47] Jason Mantzoukas: And they don’t have a dog.

[00:41:49] June Diane Raphael: No, and they’re gone. And if I’m Lainey, I’m like, wow, you’ve definitely killed them and this is your confession and I’m next, you know, and she takes the news in stride, really, that’s all.

[00:42:10] Paul Scheer: James.

[00:42:12] June Diane Raphael: This is now your time. James.

[00:42:14] Jason Mantzoukas: The show, James, the show is yours.

[00:42:16] James Acaster: The pressure now.

[00:42:18] Paul Scheer: What do you want to say now?

[00:42:20] James Acaster: Look, I agree with everything June said.

[00:42:21] June Diane Raphael: Good. Good.

[00:42:25] James Acaster: No, I think you’re right, especially because he’s saying to her, uh, you know, we’re married already! And all this stuff, and they’re not there. And all that’s going on, but I think because she’s going from Joel to him. Yes. This scene, like all of us, we’re basically looking for someone who’s better than our ex. Yeah. Just even slightly.

[00:42:44] June Diane Raphael: Yes. The bar is so low with Joel. Yeah.

[00:42:47] James Acaster: So she’s like, oh cool, he’s not like an absolute psychopath who my parents want to induct into a cult.

[00:42:52] June Diane Raphael: Yes. I also was obsessed with the dance team at this high school. And what’s They were, I never got the sense that they were getting ready for an event, you know, or some sort of competitive.

[00:43:06] Jason Mantzoukas: Four hour cut, but I would have loved to see what they were rehearsing turn into a performance.

[00:43:11] June Diane Raphael: Yeah. And like, is it a dance team?

[00:43:14] Jason Mantzoukas: Um, solo too. She’s doing a solo to a modernized version of dream, a little dream that turns into the duet that is this still is from this movie as a dance duet.

[00:43:26] Paul Scheer: This movie has a minimum of five top hats. Yes. Uh, there’s two in this scene, there’s two in the end, and I believe Corey Feldman is rocking another top hat early on in the movie as well. Like, top hats.

[00:43:39] Jason Mantzoukas: I heard he rented them his hat collection. He made production pay for his hats.

[00:43:44] Paul Scheer: No, but the dance team is doing something, again, it’s setting up something. We’re gonna see it. They’re all there. They’re doing their thing. No. We’re not. We only see, I mean, guess.

[00:43:54] June Diane Raphael: Yeah, and the group number they’re rehearsing is pretty simple.

[00:43:58] Jason Mantzoukas: Even the, yeah. Wow. Wow. Wow. All right. June is already internalized.

[00:44:06] June Diane Raphael: I’m ready to do it.

[00:44:07] James Acaster: Joel’s friend in the first, the first time we see them dancing and Joel’s Joel’s looking from the wing at that point, we don’t really know. It’s our first introduction to Joel.

[00:44:15] Paul Scheer: Right. And that’s, and we already know that Joel’s a psycho and his friends like, Hey man, why are we waiting for the two Corey’s? I’m bored. And he’s like, wait, they’ll be here. It’s like, what were they going to go wait outside the jail? Like, well, it was a weird meeting point and it didn’t seem that they were going anywhere.

[00:44:32] James Acaster: Very confusing, but the friend, I, it was the only person in the film I related to.

[00:44:37] Paul Scheer: Well, he’s,

[00:44:39] James Acaster: He’s like, why the fuck are we watching these? What are we doing? He pops up every now and again, and he always seems like a pretty reasonable guy.

[00:44:48] Paul Scheer: The nicest guy!

[00:44:49] James Acaster: Everyone is going crazy and losing their minds and not reacting in a way that you would ever react to something, and he’s the only one there going, everyone else knows this is nuts, right?

[00:44:58] Jason Mantzoukas: I just want to play flag football.

[00:45:00] James Acaster: Yeah, he’s there at the gun thing. Yeah, he’s like Even when the speech is going on he’s like, Not the time, Corey. There’s so much happening here. Why are you giving a speech like you’re an old man? We need to nip this in the bud.

[00:45:18] Paul Scheer: I also love that like, the idea that ending is If an old man could talk you outta shooting a person, it’s like, shouldn’t be that hard of a, a, like, alleged to jump off a Yeah, yeah. Don’t, don’t kill the high school bully for no apparent reason. The bully doesn’t do. Like it got a couple of punches.

[00:45:38] James Acaster: He stole some food off his plate earlier in the film. Right, yeah. When he was on his way to see his buddies. Right, yeah, so. And also, Joel is not wrapped so tight. Joel, frequently in the film, goes from talking to someone and going, Yeah, you’re my best friend to, Never say that to me again!

[00:45:55] Regularly. Regularly. You’re right, you’re right. Non stop, he’s like, And that’s why we’re all friends. I will gut you with your fucking swipe! So there’s no point that I don’t think Joel would have shot that guy. In fact, I think it’s very unrealistic that he got talked out of it They’re lucky that all of them walked away from that in that alley.

[00:46:18] Paul Scheer: By the way, I thought This this movie was going in such a direction that I literally thought Joel is going to turn now and shoot Corey.

[00:46:27] Jason Mantzoukas: Yes.

[00:46:28] June Diane Raphael: Yeah, for sure.

[00:46:28] Jason Mantzoukas: I was rooting for him.

[00:46:29] Paul Scheer: Me too. And I would have been like, oh, what a tragic ending. And then Jason Robards would have, like, lived and been like, oh, life is precious. And I would have been like, yeah, that’s a good movie. Like, and then then he doesn’t shoot Corey, but then he walks right up to that Dumas’s face with the gun. Dumas. And then empties the bullet.

[00:46:49] Jason Mantzoukas: That scene, that scene when they, when it all ends and Corey’s like, I’m going to go over there and drink a beer. And, and finally Joel lowers the gun or whatever. And they all go to the back and they’re talking and they’re drinking beers. Dumas stays on his knees in front of the headlights of the car. Like rocked.

[00:47:05] Paul Scheer: He crosses himself.

[00:47:07] Jason Mantzoukas: He is like, his life is changed.

[00:47:09] James Acaster: Yeah, yeah.

[00:47:12] June Diane Raphael: I think what was hard though is like, again, with the high school hierarchy being so fluid, you know, I, I didn’t, I, I thought Joel was a popular rich kid.

[00:47:23] Jason Mantzoukas: He seemed like the cock of the walk kind of guy.

[00:47:25] June Diane Raphael: Absolutely.

[00:47:26] Jason Mantzoukas: The jacket says it all.

[00:47:28] June Diane Raphael: But I don’t, But I, I didn’t understand why Dumas, why he was a target for Dumas.

[00:47:34] Jason Mantzoukas: I don’t either.

[00:47:34] Paul Scheer: Well, I think Dumas is just a straight up bully, right? I mean.

[00:47:37] Jason Mantzoukas: But Joel seems like he would be the bully.

[00:47:39] June Diane Raphael: Guys like Joel are protected in, in the order that we all subscribe to.

[00:47:45] Paul Scheer: Like the prison, like a prison system. Like he’s like.

[00:47:47] Jason Mantzoukas: He’s handsome.

[00:47:47] James Acaster: It was really confusing. I, again, I don’t know what the, I only really know your hierarchy from Saved by the Bell.

[00:47:53] Paul Scheer: Sure. Right. Sure.

[00:47:54] June Diane Raphael: No, that’s it.

[00:47:54] James Acaster: So like I know that there’s like jocks and, uh, the cool kids and the geeks and stuff. Yeah. But like in England. The really tough kid wouldn’t be beating up the popular kid like that’s my read of Joel Yeah, but he’s like Zack Morris.

[00:48:07] June Diane Raphael: Yes.

[00:48:08] James Acaster: And now I see Slater’s bullying him for some reason it’s like you guys are meant to be friends. What did you meant to be both Duncan Screech? Yeah.

[00:48:15] Jason Mantzoukas: Well, I it makes no sense to me that Joel.

[00:48:19] James Acaster: May he rest in peace. I’m sorry to bring him up.

[00:48:23] Jason Mantzoukas: Made no sense to me that Joel’s crew included the Corey’s Like, because he and Corey Feldman seem to be competing over the same girl, so in, there’s some way that the fact that they were best friends, they were almost too close, then why is Dumas even here?

[00:48:40] Paul Scheer: And Joel and lainey don’t seem to have a great relationship on the outset either. Like, when we look at these characters across the board, We have Lainey, uh, her mother is, is tranking her, is, uh, roofing her. We have Corey Haim, whose mom ran over him with a car. We have.

[00:48:58] James Acaster: Oh, I forgot that. Yeah. That’s the reason he’s I’ve only just put that together.

[00:49:02] Paul Scheer: Yeah. That’s why he’s got the limp and the cane that he walks around like Charlie Chaplin. It’s spinning, it’s doing a lot. Doesn’t seem like it’s supporting the leg. Um, even though he really did have a broken leg. And then, um, and then you have, uh, Feldman whose parents You know, he’s, he’s a son of a 13 year old bride.

[00:49:20] James Acaster: I have a theory about that.

[00:49:21] Paul Scheer: Yeah, yeah.

[00:49:22] James Acaster: I think that, uh, before this film, there was another body swap and, um, the dad’s age appropriate wife body swapped with a child.

[00:49:33] Paul Scheer: All right, now I’m in, now I’m, I’m.

[00:49:36] James Acaster: And he had to continue the relationship with the woman he loved, knowing that her body was no longer what society would deem acceptable.

[00:49:44] Paul Scheer: By the way, at one point, if you’re, you know, on your flight, on your flight back, I encourage you to watch a David Duchovny film that we did here on the show called The Secret.

[00:49:57] Jason Mantzoukas: Don’t even, don’t even explain it, just watch it.

[00:50:00] Paul Scheer: Okay.

[00:50:02] James Acaster: I’ll just watch it. You guys have been so generous to me with my viewing so far. I’ll take more recommendations from you. What else should I watch for the 13 hour flight home, guys?

[00:50:23] June Diane Raphael: By the way, justice for Shelly. Yes. Justice for Shelly.

[00:50:28] Jason Mantzoukas: Yes!

[00:50:29] June Diane Raphael: You know, she really got the short end of the stick.

[00:50:32] Paul Scheer: Who’s Shelly?

[00:50:32] Jason Mantzoukas: She’s.

[00:50:33] June Diane Raphael: Who’s Shelly?

[00:50:34] Jason Mantzoukas: How dare you?

[00:50:37] Paul Scheer: Who’s Shelly?

[00:50:39] June Diane Raphael: Who’s Shelly?

[00:50:40] James Acaster: You made us do this, asshole.

[00:50:45] Jason Mantzoukas: This is exactly the problem. You don’t even recognize that Shelly is a true hero.

[00:50:52] Paul Scheer: That’s the shirt.

[00:50:52] June Diane Raphael: Who’s Shelly?

[00:50:54] James Acaster: And who’s Shelly? How dare you question any of this.

[00:51:00] Paul Scheer: I don’t know.

[00:51:01] June Diane Raphael: Shelly is Corey Feldman’s girlfriend. Like, they are established in a relationship.

[00:51:07] Jason Mantzoukas: Oh, she does all of his homework on his girlfriend.

[00:51:11] June Diane Raphael: They are a couple. They are together.

[00:51:13] Jason Mantzoukas: Oh, they’re in love. She’s in love with him rather, which, which, which she is. She is. She does all this homework. She’s very.

[00:51:20] Paul Scheer: I was confused about Shelly because she pops in very intermittently as well as like, oh, I can’t believe it. I don’t even know what she’s seen that she can’t believe it that she storms off. We don’t get enough time with Shelly to understand .

[00:51:33] Jason Mantzoukas: Well, she’s Ellie Laney and the girl who’s dressed like an Andrews sister. Yeah, I couldn’t make heads or tails I was like, all right, I’m going with it. But like they seem to be a crew but again this movie exists in a feast or famine kind of scenario It’s either everybody all at once cacophonously in a scene together or it’s just two people and that’s it It’s like it really it careens between way too many people and no people.

[00:51:59] Paul Scheer: I felt like I counted 12 people in the first 15 minutes and I was like any one of these could be the main character and I don’t know where to invest my emotions And then I start to find out.

[00:52:10] June Diane Raphael: That’s why you had to let go of Shelly so quickly.

[00:52:12] Paul Scheer: Yeah, you guys keep on saying Shelly Isn’t it Cherry? Oh, okay

[00:52:19] Jason Mantzoukas: Don’t you feel stupid?

[00:52:21] Paul Scheer: My research says Cherry

[00:52:24] Jason Mantzoukas: Get him Tim.

[00:52:26] James Acaster: That’s embarrassing. How many people have you said that to?

[00:52:29] Paul Scheer: I said it to Shelly.

[00:52:30] James Acaster: During the week in cafes and restaurants.

[00:52:33] Paul Scheer: Tim, am I right or wrong? Is it Cherry or Shelly?

[00:52:35] James Acaster: Eat a bag of shit.

[00:52:36] June Diane Raphael: Thank you.

[00:52:40] James Acaster: And put some more shit on top of it. And eat that shit as well.

[00:52:45] Paul Scheer: Let me, let me go, I know we’ve talked about it.

[00:52:47] James Acaster: Am I fitting in? Is that how we talk to each other?

[00:52:48] Paul Scheer: Yeah, it was good.

[00:52:49] Jason Mantzoukas: You’re You’re on fire, James.

[00:52:51] Paul Scheer: Let’s go, let’s go into the audience.

[00:52:52] Let’s talk to them a little bit. Whoa. See what they have. Um, I want to see where you’re all at, because I have a feeling you’ll unpack some things that we didn’t even get to. Alright, hi. How are you? What’s your name? Good. Jane. Okay. What’s your question?

[00:53:08] Audience Member: Um, it’s just, I just wanted to point out that, um, Lainey’s mom says something truly disturbing that nobody’s mentioned, which is when Lainey says, Joel hit me. The mom says, what did you do to provoke him? Or why did you provoke him like that?

[00:53:21] Paul Scheer: Very Drop Dead Fred mom. Yeah.

[00:53:24] Jason Mantzoukas: Who, I want to be clear, you support who you think is a good mother. Scathing indictment, Team Sanity.

[00:53:34] Paul Scheer: Well, I think that she is protecting her daughter. I think I have a different opinion about this woman.

[00:53:41] Jason Mantzoukas: Okay.

[00:53:43] Paul Scheer: Yeah. I mean, she does, she’s a, she is not a good role model for her daughter.

[00:53:49] June Diane Raphael: He’s trying to get out of this.

[00:53:50] Jason Mantzoukas: Look at him twisting.

[00:53:52] James Acaster: Uh, Paul, I don’t think we’re ready to move on to another question. I think that was a very valid point that was raised.

[00:54:02] Paul Scheer: Well, yeah, what did she do to provoke him?

[00:54:07] Jason Mantzoukas: Classic Team Sanity.

[00:54:11] James Acaster: She may or may not have body swapped with an old woman and then not dance with him at the prom or whatever the fuck that dance was.

[00:54:17] June Diane Raphael: Here’s a question after the prom, when Lainey and Bobby go to that, uh, dance hall. Was that a dream or was that real?

[00:54:28] Paul Scheer: That’s like a Twin Peaks dance hall.

[00:54:30] Jason Mantzoukas: It’s for sure seems yes, the dream scapey, but, but who honestly knows?

[00:54:35] Paul Scheer: No, because they’re dancing with only old people.

[00:54:37] June Diane Raphael: But I could see him knowing exactly where to go.

[00:54:41] Jason Mantzoukas: Friday night at the VFW. There’s a, there’s, they play big band music. And you can dance with, you know, I could see that because everybody, you know.

[00:54:49] June Diane Raphael: Because if it were a dream sequence, then they would have had to have both been asleep.

[00:54:55] Paul Scheer: Well, i, one of them, I agree. No, no. Cause Lainey can be in the dream world because of the prankster. Lainey’s already in.

[00:55:02] June Diane Raphael: Stop bringing up the prankster.

[00:55:06] Paul Scheer: The prankster, the prankster can manipulate the dream world.

[00:55:09] June Diane Raphael: I completely missed the prankster storyline. I, every time you bring it up.

[00:55:13] Jason Mantzoukas: Yeah, it is there, but I mean, it’s only there in the one moment where he says, I, I made that. This is all a prank. That’s all. It’s all that. He never says prank. He just.

[00:55:21] June Diane Raphael: Did you go back and watch it with that in mind?

[00:55:24] Paul Scheer: I mean, I recontextualize the entire film in that last moment of the film.

[00:55:28] Jason Mantzoukas: But isn’t it, what we don’t, and what we’re uninterested in interrogating here so far is that Corey Feldman’s character wants to stay in the dreamscape. Yeah. He wants to be dead. Yeah. He’s not dead. Full stop!

[00:55:42] James Acaster: He’s just in the dream world, where things are better than his life, cause he doesn’t like his parents, he doesn’t like all of that. He doesn’t like his pants.

[00:55:48] Paul Scheer: Freddy Krueger, Freddy krueger liked the dream world too.

[00:55:52] Jason Mantzoukas: Bitch! That’s a Freddy Krueger quote.

[00:55:58] Paul Scheer: What’s your name, sir? My name is Dan. Okay, what’s your question?

[00:56:00] Audience Member: So, just keeping on going in on her mom, because she’s the absolute worst, not only did she ask what she did to provoke her, but then, in the next scene, she says, I heard about that fight you got in. Like, completely gaslighting her when Shelly had told her that, uh, what’s his name, Joel hit her. So, just like, even worse.

[00:56:19] Jason Mantzoukas: Her mother is encouraging her to fuck Joel, and she’s like, I don’t think I want to, or I’m ready yet. And she’s like, do it.

[00:56:28] Paul Scheer: Now Tim, Tim, I’m going to get to you, but you look like you were trying to get my attention. Like, do you feel like you have something to add to the mom discussion? All right, we’ll get to you.

[00:56:37] Jason Mantzoukas: No, Tim has written a bunch of slams on James.

[00:56:46] Paul Scheer: All right, what’s your name? What’s your question?

[00:56:48] Audience Member: Uh, my name is Mike. So we had a bit of a different interpretation of the movie.

[00:56:53] Paul Scheer: Oh, I love it. Who’s the we?

[00:56:54] Jason Mantzoukas: Who’s we?

[00:56:56] Paul Scheer: Okay, great. Two of them. I didn’t know if it was like a whole row of people.

[00:56:59] Audience Member: So we thought that when they had the collision, that the body switch fully happened for Corey Feldman, but sort of happened for the two women, in that, And that’s why she like couldn’t remember her locker combination and she was vibing with the old music and that Jason Robards in Corey Feldman was trying to bring Piper Laurie out of Laney.

[00:57:29] June Diane Raphael: I think this all is the same.

[00:57:31] Jason Mantzoukas: Yes, we agree with you.

[00:57:32] Audience Member: Because you were saying, you were saying.

[00:57:34] Jason Mantzoukas: So then, but it never happened.

[00:57:35] Paul Scheer: I think what he, I think what he’s saying is I was right. That there’s a, it’s a.

[00:57:38] Jason Mantzoukas: No, no, I agree.

[00:57:40] June Diane Raphael: You want to say you, you want to agree with Paul, it was a dormant, it was a dormant swap.

[00:57:45] James Acaster: Yeah.

[00:57:46] Audience Member: But it was quasi dormant.

[00:57:47] Jason Mantzoukas: My, is your name Mike? Yeah. Tell me the scene where that is, where Gina is revealed in Lainey’s body.

[00:57:55] Audience Member: Yeah. The lot, there’s a lot, the lips, the lips.

[00:57:59] James Acaster: I think someone says, I think Harry Dean Stanton says, or someone says, maybe it didn’t happen with her all the way because she wasn’t as into it or something.

[00:58:06] June Diane Raphael: Yes.

[00:58:07] James Acaster: So I think that’s meant to make us think what you’re saying.

[00:58:10] Paul Scheer: And while you are agreeing with me and you are right, I will also say.

[00:58:14] James Acaster: You said full body swap, Paul.

[00:58:16] Paul Scheer: I will, hold on, but this is what I’ll say. The moment before the accident, she’s like, shut up. You’re wrecking it, which made me believe she was more into it than him because she’s fully into it But yet the movie then says I guess she wasn’t into it enough.

[00:58:32] Audience Member: So then so then the other question is so then why at the end are Laney and Corey Feldman together agree because they really they have not made it at all.

[00:58:43] Paul Scheer: She’s never met Corey Feldman.

[00:58:44] Jason Mantzoukas: Nope She’s only met Jason Robards in, no, no, they, they’re, I mean, they’re friends from before the movie, but.

[00:58:50] Paul Scheer: Well, right, because they’re friends, because.

[00:58:52] Jason Mantzoukas: But her, she has been romanced by Jason Robards in Corey Feldman’s Michael Jackson body.

[00:58:59] Paul Scheer: So then. But Gina, right, but Gina doesn’t really.

[00:59:03] James Acaster: Eloquently put.

[00:59:04] Paul Scheer: But Gina kind of Gina has the affectations of, she’s listening to modern music, she’s dancing, shaking her butt around.

[00:59:12] Jason Mantzoukas: At the end.

[00:59:13] Paul Scheer: At the end, but doesn’t have any memory. Cause she’s like, Oh, I didn’t want to wake you. You were sleeping so well. So she doesn’t even realize that she’s been gone, but then.

[00:59:23] Jason Mantzoukas: And she can’t like like what yeah, no, none of it really again, none of it makes sense and I want to be clear. I do think paul and mike and mike’s crew I do think the movie is trying Is trying to seed those ideas.

[00:59:37] That it is in fact a f But, but, why wouldn’t you just do it? Why not have it be all four people swap and it’s like we’re young again, uh oh, but we can’t be young again uh oh, we have to die.

[00:59:50] June Diane Raphael: Or, or.

[00:59:51] Jason Mantzoukas: Get out of here, stop running the country, die already.

[00:59:54] June Diane Raphael: Yes, wow. But here’s the thing.

[01:00:01] Jason Mantzoukas: Stop, stop it.

[01:00:03] June Diane Raphael: Here’s the thing though. I think an even better version. I didn’t need them to full swap right away. I was okay with a dormant swap. But what I thought was gonna happen.

[01:00:12] Jason Mantzoukas: A DS?

[01:00:13] June Diane Raphael: Yes I was fine with an early DS, but what I thought was gonna happen is that is that something was gonna unlock Gina in Lainey and that was going to be what Jason Robards understood that he didn’t understand about his wife in those, you know, 40 odd years that they were together. That also didn’t happen.

[01:00:36] Jason Mantzoukas: Neither couple learned anything new about anybody and nobody had anything.

[01:00:42] Paul Scheer: I would hope that the one thing that the Jason Robards would learn when he gets back is to get a bigger bed because they were sharing a twin bed.

[01:00:51] June Diane Raphael: But Paul, back in those days in the 80s, I think one of the greatest advancements we’ve made as a people has been bigger beds.

[01:00:59] Jason Mantzoukas: Bigger beds.

[01:01:00] James Acaster: I don’t think they needed it. I don’t think they needed it. Robards and his wife. I don’t think spent a lot of time side by side, if you know what I mean.

[01:01:08] June Diane Raphael: So I have heard from, I actually, Paul and I know a couple that won’t, won’t upgrade into a bigger bed because they believe there’s something very intimate and, and they credit a smaller bed to a long lasting relationship. So I do think there is something.

[01:01:24] Paul Scheer: Anyone here in a smaller bed relationship?

[01:01:26] June Diane Raphael: It’s just a full size.

[01:01:30] Paul Scheer: All right, you’re in a smaller bed relationship, all right, there it is.

[01:01:33] Jason Mantzoukas: And for me at this point, I think it’s just, I think it’s just, yeah.

[01:01:36] June Diane Raphael: Please, please.

[01:01:38] Jason Mantzoukas: How big is that bed?

[01:01:40] June Diane Raphael: And it’s by choice?

[01:01:42] Audience Member: Yes, it is by choice. I have a full size bed, and it is quite ample for us. We are not large people, so it is the perfect size for both of us.

[01:01:56] June Diane Raphael: Wow.

[01:01:57] Jason Mantzoukas: Full size bed.

[01:01:58] Audience Member: I have a king size bed.

[01:01:58] James Acaster: Real Joel vibes from this guy.

[01:02:03] Paul Scheer: He has a full size, you have a king size.

[01:02:06] James Acaster: She started to talk for two seconds, couldn’t even do the hand. Fuckin right in there, it is ample size for us, we are not big people. It’s absolutely fine, I thought you were my friend! Gun to Paul’s head, Paul’s on his knees.

[01:02:24] Paul Scheer: Oh God, oh God, thank you God, oh God.

[01:02:27] James Acaster: Don’t. Shoot. Paul.

[01:02:30] Paul Scheer: I will say that you, so you’re a two bed relationship because you have a big bed, you have a small bed, and you can go back and forth.

[01:02:35] June Diane Raphael: Oh, that’s totally different. And that’s the dream.

[01:02:37] Jason Mantzoukas: Oh, well, let me ask you, I have a question. So, so you don’t live together? Not yet. Not yet. So when you do, which bed will you choose?

[01:02:46] June Diane Raphael: Great question, Jason.

[01:02:49] Audience Member: Obviously the king size.

[01:02:51] Jason Mantzoukas: The king size? And you, sir?

[01:02:53] Audience Member: We’ll see.

[01:02:54] Jason Mantzoukas: We’ll see.

[01:02:55] Audience Member: Whatever fits in the bedroom.

[01:02:57] Jason Mantzoukas: We’ll see. It’s a king size bed, motherfucker. You know it is. You know it is.

[01:03:02] Paul Scheer: I love it.

[01:03:04] Jason Mantzoukas: Let’s get rid of the king. Let’s keep sleeping in that full size bed. Get out of town! Absolutely not.

[01:03:11] Paul Scheer: A testament to how good their relationship is.

[01:03:12] June Diane Raphael: I’ve asked Paul if we can get an Alaska, which is.

[01:03:15] Jason Mantzoukas: What’s that?

[01:03:16] June Diane Raphael: An Alaska is especially makes the biggest bed you can get. Yeah. It’s the size of this stage.

[01:03:22] Jason Mantzoukas: And you can see Russia from it.

[01:03:27] June Diane Raphael: And I, I have it on a favorite tab on my computer and I look at it and I think about it and I think what life would be like with it.

[01:03:35] Paul Scheer: I’m all for an Alaska bed. I don’t mind an Alaska bed.

[01:03:38] June Diane Raphael: The problem is the quality of the mattress.

[01:03:39] Paul Scheer: Well, that’s it.

[01:03:41] James Acaster: You can fit all the podcast equipment between the two of you. Never have to leave your bed. Jason just has to visit every now and again. Sit at the end like a dog. The three of you talk about whatever movie you’ve just watched.

[01:03:56] Paul Scheer: Plenty of room for him. He doesn’t even feel awkward there because it’s such a big bed.

[01:03:59] June Diane Raphael: Yeah, it’s the whole size of the room.

[01:04:01] Jason Mantzoukas: Plus you can see the northern lights.

[01:04:04] Paul Scheer: What’s your question? I’ll lean into you here.

[01:04:07] Audience Member: Um, my question is, in Corey Feldman’s bedroom, there is a The Lost Boys movie poster. And what are the implications of that for this universe?

[01:04:19] Paul Scheer: So, I had a theory about this, which was

[01:04:22] June Diane Raphael: Prank world?

[01:04:25] Paul Scheer: I’m glad you brought this up. My theory is that Corey Feldman has a poster of the Lost Boys in his room because he’s a fan of the Lost Boys, so much so that he’s modeled his own dressing after one of the stars of the Lost Boys.

[01:04:41] So he is dressing like Corey Feldman. But it’s not Corey Feldman.

[01:04:45] Jason Mantzoukas: I believe you, Paul, and I think that, I think what bears it, what bears it out is that I believe that Corey Feldman would play a character that is a fan of Corey Feldman.

[01:04:56] Paul Scheer: Got a good body.

[01:04:59] Jason Mantzoukas: Definitely an improvised line.

[01:05:01] Paul Scheer: Alright, Tim, what do you got over here?

[01:05:03] Tim, I feel like you got something. The energy off you tonight.

[01:05:08] Jason Mantzoukas: Give it up for Tim, everybody. Give it up for Tim.

[01:05:12] Paul Scheer: Alright, Tim.

[01:05:15] Audience Member: I watched the sequel today.

[01:05:17] Paul Scheer: Oh, right, the sequel. Dream a Little Dream 2.

[01:05:20] Jason Mantzoukas: I am just now finding out that this exists.

[01:05:24] Paul Scheer: Should we play the trailer and then hear your question?

[01:05:27] Audience Member: Yes.

[01:05:28] Paul Scheer: Okay, hold on.

[01:05:30] James Acaster: Tim’s hardcore.

[01:05:31] Paul Scheer: Yeah, tim doesn’t fuck around.

[01:05:33] James Acaster: I regret going in so hard.

[01:05:35] Paul Scheer: Alright, so this is the sequel to Dream. I haven’t even watched this, I figured I would uh, surprise myself with it. Oh wait, that’s the first one. Oh, sorry, the projector moved down. We’ll fix that in one second.

[01:05:47] James Acaster: Tim just told me to sort the projector.

[01:05:48] Jason Mantzoukas: Wow. Wow.

[01:05:51] James Acaster: He said James Projector.

[01:05:52] Jason Mantzoukas: James Projector.

[01:05:54] James Acaster: I just said that I regret it for the first time. What the hell? James projector, are you fucking out of your mind? I’m not sorting the projec, I’m the guest, none of this is my responsibility. None of this is on me, I could shit my pants and walk off and I’ve done a great job.

[01:06:14] Jason Mantzoukas: Just so you know, just so you know, when this episode gets released, you will be credited as James Projector.

[01:06:23] James Acaster: James Projector, holy Christ.

[01:06:28] Jason Mantzoukas: Tim, Tim’s getting too big for his britches.

[01:06:30] June Diane Raphael: Tim.

[01:06:32] Paul Scheer: Okay.

[01:06:32] June Diane Raphael: Oh God, to not even make a full sentence out of it.

[01:06:37] James Acaster: You put me in a bad mood for the trailer now, Tim. I might be unnecessarily harsh.

[01:06:42] Paul Scheer: Respect our guest, Tim. Respect our guest.

[01:06:43] Jason Mantzoukas: Tim is in a full body sweat.

[01:06:45] June Diane Raphael: That was funny.

[01:06:46] James Acaster: I do just kind of do you want the projector back in your goddamn eyes? And you can watch the trailer that way, Tim. How’s that fun? Everyone can stand behind you and watch it projected on the back of your fucking head. James Projector, you fucking high. The whole week in this goddamn city, everyone talking to me like a piece of shit. I don’t need it from you as well. Pitching ideas to fucking cokeheads. Now I’m here.

[01:07:21] Paul Scheer: I do just want to point out that this movie Uh, Dream a Little Dream 2 was released in 19

[01:07:27] James Acaster: James Projector!

[01:07:30] Jason Mantzoukas: That’s the t shirt! That’s the t shirt!

[01:07:33] June Diane Raphael: Has to be!

[01:07:35] Paul Scheer: That’s amazing. Dream a Little Dream 2 was released in 1995.

[01:07:43] Jason Mantzoukas: Wait, what was one? What year was one?

[01:07:47] Paul Scheer: Uh, 1989.

[01:07:48] Jason Mantzoukas: Okay, thank you.

[01:07:48] Paul Scheer: And it starred the two Corys and Robin Lively from Teen Witch. Here we go.

[01:07:52] Jason Mantzoukas: Ugh, top that.

[01:07:56] Trailer Audio: Cory Feldman.

[01:07:56] Jason Mantzoukas: James! James! Projector!

[01:08:00] Trailer Audio: And Cory Haynes. You’re not gonna believe this.

[01:08:04] Sorry. Who really hit it off with the hit, Dream a Little Dream. Are hilariously reunited.

[01:08:11] James Acaster: That’s on me. That’s my bad. That’s on me. That’s on me. That’s on me. That’s on me.

[01:08:44] Jason Mantzoukas: Leave all this in.

[01:08:48] Paul Scheer: Oh my god. Alright, here we go.

[01:08:54] Trailer Audio: Corey Feldman Joel And Corey Haim You’re not gonna believe this Sorry Who really hit it off in the hit Dream a Little Dream. Are hilariously reunited. And discover Robin Lively.

[01:09:11] I’m not into this kind of a thing

[01:09:13] In Dream a Little Dream 2

[01:09:17] Jason Mantzoukas: Oh, come on

[01:09:19] Paul Scheer: Wow, uh, I guess they just took the Michael Jackson and the the gunplay and they carried that into the sequel, but.

[01:09:25] Jason Mantzoukas: There’s so much michael Jackson stuff. Yeah, I’m like stymied by that.

[01:09:30] James Acaster: You guys are watching that right?

[01:09:32] Jason Mantzoukas: Oh for sure. Yeah, we got a probably will end up doing it

[01:09:34] June Diane Raphael: Yeah, for sure.

[01:09:35] Paul Scheer: All right. So what do you got?

[01:09:40] Audience Member: Nevermind.

[01:09:46] Jason Mantzoukas: You did it again.

[01:09:50] Paul Scheer: Obviously we had opinions about this movie, but there are people out there with a different opinion. It is now time for Second Opinions.

[01:10:02] Audience Member: Hello, I am Jason. Review said it was bad, a total train wreck. I couldn’t help thinking that it wasn’t bad at all. Review said it sucked as a complete disaster, I couldn’t help thinking it wasn’t bad at all.

[01:10:23] Second opinions, they had these thoughts inside of their heads, and they typed them with their keys.

[01:10:34] Paul Scheer: Amazing! Give it up for Jason!

[01:10:46] Alright! For whatever reason, it’s just June and I on stage.

[01:10:51] June Diane Raphael: I love it. I love it.

[01:10:54] Paul Scheer: There are 1, 673 reviews for this film, which is a lot, uh, especially, uh, doing this show a lot. That’s a huge amount. Eighty three percent of the reviews of this film are five star reviews. Only 1 percent are one star reviews.

[01:11:16] Um, I’ll start off here from 2024 in March. All right. So this is just a little while ago. Jessica writes

[01:11:22] “Best part is how elderly and teens come together in harmony. Always so much to learn from the elderly. Five stars.”

[01:11:36] Jason Mantzoukas: I will say, and maybe it is just because I’m elderly. It was, I loved a lot. I, I did think, like, again, I know I brought up About Time earlier, and if you haven’t seen it, I cannot recommend it enough.

[01:11:47] It is an astonishingly beautiful and heartbreaking movie, but there were moments between the young and old and I was like, oh, I wish this, this movie. More, uh, dug in more on that. There was such great stuff there. Anyway, sorry.

[01:11:59] Paul Scheer: Well, Karen Brobst in 2014 wrote,

[01:12:02] “You must see this movie and appreciate Corey Feldman.”

[01:12:06] The review goes like this.

[01:12:07] “This was one of the best movies I’ve ever seen. I am 65 years old, and I have gone to a movie every week of my whole life! Five stars!”

[01:12:21] For a whole life, every week, every week! I’m going to end with this one because it will tie into, uh, what’s going to happen next here. Uh, E. Cooley, uh, titles this review, “Great movie for all generations.”

[01:12:34] “It’s so romantic. It has a lot of human emotion in it. I have to admit. I used to be in love with Meredith Salinger, who played Lainey in the film. Corey Feldman might not be the best actor ever, but he was excellent in this, and the Academy Awards should have noticed. The rest of the crew, well, they made an excellent movie, and the director and editor, they did a first rate job. What else did this director do? Five stars!”

[01:13:02] Now, sometimes on the show we say, Oh, we’ll do a third opinion. But you know what? The best opinion might come from someone, uh, who was there. And tonight we have a very special guest. Uh, you know her from the film as Lainey. But please welcome Meredith Salinger! Welcome. Welcome, Meredith. Well, this was a treat because we know each other and when we picked this movie I didn’t realize that you were in it until I looked at the poster of it and I want to know everything. I mean we all do I imagine I mean, yeah, like thoughts reflections anything.

[01:13:45] Meredith Salinger: I don’t understand this. You guys have said things tonight that i’m like, I never got this movie when we did it. I don’t understand it. It never made sense. I asked a thousand questions and then I was never got the answers. No, no.

[01:14:00] Paul Scheer: Was I right that you are dormant. Were you dormant? Was it dormant? Was there a dormant Gina inside of you? Were you told to play?

[01:14:08] Meredith Salinger: It was dormant. I believe that it was because at first she’s sort of like doing things that she doesn’t normally do. You guys got the lip pull thing and then he’s like, Okay. When you go to bed tonight, like maybe you’ll find her in there.

[01:14:23] Paul Scheer: Right.

[01:14:24] Meredith Salinger: And So then I think you get that little bits of them together, but like you’re right. It’s never been fully.

[01:14:31] June Diane Raphael: Now I have an important question in terms of your choices, were you working with the reality that your mom was tranquilizing you every night?

[01:14:45] Meredith Salinger: In retrospect listening to all the terrible things like I didn’t really feel like.

[01:14:48] Paul Scheer: It was the 80s. It was a different time.

[01:14:51] Meredith Salinger: It was the 80s. Like, all that stuff about, like, he hit me and all that stuff. And I’m pretty, like, I’m a super feminist. Like, that stuff really didn’t really set in my brain. But I think the whole filming of that movie was so weird.

[01:15:07] Jason Mantzoukas: Oh, really? Meredith, this is movie was weird to film?

[01:15:12] Meredith Salinger: But everybody in that movie was like musical, like Mickey Thomas played the teacher, Mickey Thomas from Jefferson Starship or something.

[01:15:20] Jason Mantzoukas: Oh yeah, right.

[01:15:21] Meredith Salinger: Okay. And then the guy who was like, Tim is right, the boyfriend of the mom. He’s like, Ron Ron is, is something something and Foley what Dan Engle.

[01:15:32] Paul Scheer: Tim get on this.

[01:15:33] Jason Mantzoukas: Tim, faster.

[01:15:37] Meredith Salinger: Like that guy’s a famous musician.

[01:15:39] Jason Mantzoukas: Director or the writer somehow the.

[01:15:42] Meredith Salinger: Director is the son of Alex Rocco.

[01:15:48] Jason Mantzoukas: What this movie is directed by kid Rocco?

[01:15:54] Meredith Salinger: Yes.

[01:15:56] Paul Scheer: I mean were you present for the Michael Jacks? I mean, you were for parts of it, but were

[01:16:01] Meredith Salinger: Was I present for the Michael jackson?

[01:16:03] I mean,

[01:16:03] Paul Scheer: because it’s like, that’s one of

[01:16:05] Meredith Salinger: That dance scene is haunting me to this day, like.

[01:16:08] Jason Mantzoukas: Can you go a little bit into, how did this happen?

[01:16:11] Meredith Salinger: Yeah. Well, there was a choreographer.

[01:16:14] Paul Scheer: Okay.

[01:16:14] Meredith Salinger: But then.

[01:16:18] Paul Scheer: Gone.

[01:16:18] Jason Mantzoukas: That was. But then there was maybe another choreographer?

[01:16:23] Meredith Salinger: But then there, but then there was a Corey-ographer.

[01:16:24] Paul Scheer: A Corey-ographer

[01:16:25] Jason Mantzoukas: Tim!

[01:16:28] James Acaster: Game recognize game.

[01:16:31] Jason Mantzoukas: Tim! Absolutely elevating Meredith and just crushing James.

[01:16:39] James Acaster: Look, I can’t fault the guy. He picks his moments well.

[01:16:43] Meredith Salinger: I mean, they did keep explaining that situation like, Oh, how would the old man know how to dance?

[01:16:48] And you said, Oh, he watched that Michael Jackson video over and over. And so it was sort of like you could, you could, um, justify.

[01:16:55] Paul Scheer: Right. Anything happened in the scene that we didn’t see, right? It’s like, what, what? Oh, well, he could have done a million things, We just aren’t privy to them, right?

[01:17:02] Meredith Salinger: Right, like, like, yeah, like costume choices got chosen, cause like, you know, you might have a personal preference as an actor.

[01:17:09] Paul Scheer: Yeah, cause he doesn’t really, and this is the thing, what I would say is like, that makes the movie hard, because he never seems to be embodying an old man.

[01:17:18] Meredith Salinger: Right, but he trips sometimes. Okay. So sometimes it’s not like perfect.

[01:17:25] Paul Scheer: Right, okay.

[01:17:25] June Diane Raphael: Well, you, you, Lainey to me has a very classic trajectory of like a young woman in these movies, which is she spends most of the movie trying not to get raped at every turn, just like trying to fend off rapists.

[01:17:41] Meredith Salinger: It’s true.

[01:17:42] June Diane Raphael: And then the guy who doesn’t want to rape her right away, she falls in love with and is then like has that classic line and this happens after the Michael Jackson, uh, dance, which is you’re so crazy. Yeah. And I was so happy that to see you play out that narrative because it is. It’s just very iconic.

[01:18:09] Meredith Salinger: Yes, it’s an epic performance.

[01:18:11] Jason Mantzoukas: But there is, there is an element of it, which is insane, which is that your character is for all intents and purposes falling in love with Jason Robards. Right. Not Corey Feldman, not Bobby.

[01:18:25] Meredith Salinger: Right.

[01:18:25] Paul Scheer: Like, I wanted that last scene to be you to be like walking away with Corey Feldman, but looking back at Jason Robards.

[01:18:32] Jason Mantzoukas: Like, yeah. Or not with Corey Feldman at all. Just like ding dong Jason Robards house.

[01:18:39] Meredith Salinger: Yeah, that would have been good.

[01:18:40] June Diane Raphael: When you were working on the dance sequence, did you, was there any information from the director of like, this is dance club and you compete every Friday? This is.

[01:18:51] Meredith Salinger: Oh, like why? What was that group?

[01:18:53] June Diane Raphael: Yeah.

[01:18:54] Meredith Salinger: I think it was just like dance class. At school, maybe. I yeah, but you said something earlier about um, like how it doesn’t make sense And why is Cory Hame even in it? and I my favorite part of the entire movie is that scene with Cory Hame in the car Where it’s going on and he’s like hello, honey, like he’s just so funny and cute and adorable And, and that was the best part of the movie for me, just that little, um, him being funny in that moment.

[01:19:22] Paul Scheer: Here’s a thought that, knowing that you were going to come out here, I was thinking about this, I looked about, it’s shot in North Carolina, right? You shot?

[01:19:29] Meredith Salinger: Yeah, on wilmington Beach.

[01:19:30] Paul Scheer: All right, so you’re shooting in, uh, and I believe the high school is the same high school from the pilot of Dawson’s Creek. I did some deep diving.

[01:19:36] Meredith Salinger: Oh yeah, I did Dawson’s creek there too.

[01:19:38] Paul Scheer: Okay, oh yeah, wow, it’s, look at, oh, it’s, you weren’t.

[01:19:40] James Acaster: Oh, you went back there and filmed Dawson’s Creek?

[01:19:41] Meredith Salinger: I did, I went back to film Dawson’s Creek, yeah.

[01:19:43] James Acaster: Was that wild? Being back at Dream a Little Dream.

[01:19:49] You know, Van Der Beek, I filmed Dream a Little Dream here. I don’t know what it was about. And I was there. I asked a lot of questions. I know what this is about. It’s your creek.

[01:20:12] Paul Scheer: When you’re, but you’re there in North Carolina and I always feel like when you’re, when you’re in a, in a place away from home, there is like this kind of, you have family that forms there, but you also are with these two guys who are arguably at the height of their career at this point. Is there hang out there or they are like, are they, are they, are they like just a, are they just kind of untouchable in this?

[01:20:36] Meredith Salinger: No, no, no. We actually had the most fun filming. We, you know, Shelly and I were besties and we’d hang out with, um, Harry Dean and smoke pot. And it was super fun.

[01:20:50] Jason Mantzoukas: Can you imagine? Hanging out with Harry Dean Stanton and Piper Laurie and being like, what’s it like?

[01:20:54] June Diane Raphael: I mean, Harry, Harry’s Harry and Harry Dean’s performance in, in Pretty, and Pink is one of the most important performances ever.

[01:21:01] Meredith Salinger: He’s so amazing. And we’d stay, we all stayed at the same hotel and there was a bar at the bottom of the hotel. And every now and then, like we’d go down there and order strawberry daiquiris. But then, um, for my, well, the day I turned 18, we were shooting and a cop came on set and I thought, oh my God. We’re in trouble because we ordered strawberry daiquiris with whipped cream downstairs.

[01:21:25] And I was really scared and I’m a really good girl. And, um, and so the cop and the, I stopped filming and everybody’s like, what, looking at me. And I’m so scared. And, and the cop comes up to me and then somebody presses. And he’s like a total stripper. They hired for me on my 18th birthday.

[01:21:47] James Acaster: Dean Stanton blazing another J, watching the.

[01:21:52] Meredith Salinger: It was a different time.

[01:21:54] James Acaster: You’re welcome.

[01:21:56] Meredith Salinger: People did like this movie back then, though. I know everyone’s like, it’s the worst movie ever. But back then, and some people were like, that’s my favorite movie, and one of my best friends was a total fan when I first met her. She’s like, that’s my favorite. I’m like really?

[01:22:12] Paul Scheer: Meredith. Thank you for being here.

[01:22:14] Meredith Salinger: Thank you guys. This was awesome.

[01:22:20] June Diane Raphael: Thank you.

[01:22:21] Jason Mantzoukas: Fantastic work.

[01:22:24] Paul Scheer: You’re so great in the movie.

[01:22:26] Meredith Salinger: Oh, yeah.

[01:22:26] Paul Scheer: You’re such a great sport for being here and trying to answer questions from a film that was shot in 1988. So I appreciate you, uh, going down.

[01:22:34] Jason Mantzoukas: And it made no sense then.

[01:22:36] Meredith Salinger: No, made no sense then either. Yeah.

[01:22:38] Paul Scheer: But you, but like I said, like, these are the movies that I remember this movie. I was, it was a big deal movie. It’s so awesome to have you here. Anything that, uh, you want us to know? Anything else about you? Anything we can, yeah, anything at all?

[01:22:50] Audience Member: Well, um, I have been coming to the Largo for, like, 20 million years. My best friend always sings here, my, Nika Costa, and my husband is Patton Oswalt, and I’m always, backstage watching from the side and it’s super fun to be up on stage and I’m happy you asked me.

[01:23:05] Paul Scheer: Yeah, we’re so happy that you’re here. What a treat Give it up for Meredith.

[01:23:11] Jason Mantzoukas: Yes!

[01:23:21] Paul Scheer: All right. That was awesome. All right, well.

[01:23:24] June Diane Raphael: Such a treat.

[01:23:26] Paul Scheer: We’ve done it. We’ve done it. We’ve told tim to fuck himself. Told James to work on the projector. Um, we know what our t shirt is. Uh, now, James, I want you to talk, you have an HBO special coming out. Actually, I’m imagining that this will be out at the same time. So we can just say it like that. So your HBO special is out right now. Tell us a little bit about that so we know where to find it. It’s called, uh, uh, I’m sorry, is that right?

[01:23:52] James Acaster: Heckler’s Welcome!

[01:23:53] Paul Scheer: Welcome, sorry.

[01:23:54] James Acaster: Sorry, I don’t know, you’ve got a lot on your plate. You’ve had to watch a different film every day your whole life.

[01:23:59] Paul Scheer: I’ve watched it and I’m 65 years young.

[01:24:03] James Acaster: It’s called heckler’s Welcome, it’s shot, uh, where I grew up and, uh, it’s a gig where I allow the audience to do whatever they like, there are no rules, so it’s like an audience full of Tims. And, um, I perform it in the round as well, they are surrounding me, they can do whatever, uh, I’m dealing with them while also trying to tell the story of why I’m doing this show and uh, about my own shortcomings, it’s here, so it’s out on HBO.

[01:24:30] Paul Scheer: Uh, and. Now, I imagine every night is different. So how many shows did you tape or is it a, is it a, like a, a compilation of multiple shows or just one great show?

[01:24:39] James Acaster: It’s the one show in Northampton, uh, where, where I used to go and watch shows when I was, before I was even a comedian, um, and, uh, I was so panicked about if we’d get a good one or not that I also filmed it, uh, in Dublin and in a place called Truro in the UK and, uh, have no use for those now. But, um, filmed those anyway and we also did an audio recording in my actual home, home hometown of Kettering and that’s out on vinyl and it’s a completely different show to the HBO one because they heckle me for 95 percent of that and it’s such a small town that the hecklers turn out to know each other.

[01:25:15] Jason Mantzoukas: I will also recommend James other two specials. One of which is called Repertoire. It is on Netflix. And the other is called Cold Pizza 1997 I Hate Myself.

[01:25:27] James Acaster: I love watching people trying to remember that title.

[01:25:29] Jason Mantzoukas: It’s something like that.

[01:25:30] James Acaster: Cold Lasagna I Hate Myself 1999.

[01:25:32] Jason Mantzoukas: Thank you.

[01:25:32] James Acaster: And that is available exclusively on my website.

[01:25:34] Jason Mantzoukas: And it is incredible. Both of these specials are absolutely fantastic. Huge fan. Also your season of Taskmaster.

[01:25:41] Paul Scheer: Great season of Taskmaster. Uh, your books are fantastic, uh, How to Quit Social Media, uh, Classic Scrapes, um, I didn’t even have to look at anything. I know it in my head.

[01:25:51] Jason Mantzoukas: Paul and I have both done your podcast, which is fantastic, and thank you for doing ours.

[01:25:55] James Acaster: And june will be on it. And you can do the hand as much as you like.

[01:25:59] June Diane Raphael: Okay, great.

[01:26:00] James Acaster: We will be so glad to have you on it if you would like to come on and talk about food. Well, I’ve never made an enemy on a podcast before.

[01:26:08] Paul Scheer: This is great. You got two. You got two.

[01:26:12] James Acaster: I don’t give a shit about Tim.

[01:26:15] Paul Scheer: All right, everybody. Thank you so much. We’ll see you next time. Bye bye everybody.

[01:26:26] All right. Thank you, James Acaster. And thank you, Meredith Salinger for coming down to tell us a little bit more about Dream, a Little Dream. I mean, that was truly a dream come true. A big, Shout out to the amazing staff at Largo and everybody up in the booth this past week, we’ve had a great team there and we will be back in January for a three night run.

[01:26:48] So get those tickets right now, but if you can’t make it out to LA, we have our holiday show coming up. That’s right. Our holiday show on December 12th with Jessica St. Claire. Now you might want to immortalize Dream, a Little Dream, but. We are going to immortalize a moment from this show that’s a little bit different.

[01:27:06] You see, we figured there’s no better t shirt than a t shirt that says, James Projector. That’s right. We have the James projector shirt right now in our Teepublic store. Go to Teepublic.com/stores/HDTGM. It will be on sale right now. I mean, on sale and on sale, like discounted. Anyway. People, if you got opinions, if you have a take, I mean, I don’t know what we could have missed from Dream, a Little Dream, but if you have something to tell us, give us a call at 619-PAULASK or jump on our discord at Discord.gg/HDTGM.

[01:27:41] And we will break it down together. We will answer your questions and you know what Jason and I have to talk about a lot of stuff. And, uh, one of the things we’re going to talk about is the Back to the Future Musical that Jason had no idea about. And that I am truly obsessed with. So, uh, that is a fun little bit that you get to look forward to in next week’s Last Looks.

[01:28:04] Um, by the way, people, if you want something special for me from the holidays, uh, I’m going to give it to you. That’s right. Because at the pod swag store, I have personalized, or I should say I have signed a bunch of my books with different sayings from How Did This Get Made. Now, if you want something even more personal head to my website and I’ll personalize it to you with what you want me to say. That’s right, people.

[01:28:24] Uh, you got two options. You can get a Geo storm. You can get a face waterfalls, or you can get Dear Beth. Will you marry me, Paul Scheer. I mean, I’ve done it all. We also have a bunch of great Christmas gifts at podswag. com. How did this get made? Pod swag gifts. It’s so good. I love our Team Fred and Team Sanity pint glasses.

[01:28:43] All right, people. Remember if you listen to us on Apple podcasts or Spotify, we’re Please make sure you are subscribed to our feed and have automatic downloads turned on in the show settings. It helps us, and we really appreciate that a lot. And last but not least, I have to thank our entire team, who this show could not be done without.

[01:28:59] I am talking about our producers, Scott Sonne and Molly Reynolds, our movie picking producer, Avaryll Halley, and our engineer, Casey Holford, and our associate producer, Jess Cisneros. That’s all I got, people. We’ll see you next week on Last Looks. Bye for now.