At number four, Bibs has selected Teenage Sex and Death at Camp Miasma.

Yeah.

I love Teenage Sex and Death at Camp Miasma, and I actually love everything Jane Schoenbrun's done so far.

And so far, all of their movies have been this kinda commentary, but about different topics.

Just before, um, like literally yesterday, the day before we recorded, uh, I sent an email saying, "Can we carve out an exception for horror TV?" Because what I wanted to put more than anything else was I Saw the TV Glow.

But we all agreed, no, that's pushing it too far.

I was also thinking about, uh, We're All Going to the World's Fair, which is about the phenomena of online horror filmmakers, which feels more prescient now, I think, to people who weren't already in that space.

What do you think of this one as our fulcrum point here on the draft?

There you go

... from a co-host.

Okay, Danny says, sorry, uh, "In his last film, John Belushi is a dull, ineffectual, married suburbanite, whose dreary existence comes to an end when Dan Aykroyd and Cathy Moriarty move next door.

Never have so many bad things happened to one man.

Seemingly crazy, super aggravating Aykroyd shoots at him.

Seductive Moriarty makes it with his wife, Catherine Walker, and that's only the beginning.

If you've had crummy and incorrigible neighbors, you'll be able to identify with Belushi's plight.

[laughs]

Mm-hmm

...

he made a movie about people living through a moment, and it's a memory piece.

Uh, it's, it is as accurate a memory piece as, you know, the, the...

There are things that catch on that become kind of a, a, a shorthand for an era.

A Christmas Story is a very much a, a memory piece that people love for capturing a certain moment.

I think this is as able in what it's doing in evoking what it was like in Florida during the Cuban Missile Crisis era and the Wild West of film distribution at a point right before the studios understood that they could co-op all the exploitation fare and make it themselves, that they could plus it up just a little bit.

[laughs]

Yeah.

Where Sister Maura's the one that kind of pushes her in the right direction.

And I love it because it's a real question that, uh, I, I have heard people who are, who are very strongly faithful, you know, they believe that there is a God, there is a master plan, there is a design, that this world was created for a reason, and when you ask them about the idea of life on other planets or the size of the universe, it's, it's hard to reconcile because-

Right

... and we will wake up to the fact that it is the things that connect us that will save us.

And I, I believe the movie is very optimistic and very hopeful and has this sense of Spielberg's faith is in us.

I don't think it's about whether Spielberg believes in aliens or whether Spielberg believes in...

I think Spielberg's faith that he's really debating in this movie is, do I have faith in humanity? And he does.

Oh.

I think not only is this a terrific comedy, but it is a comedy that has aged very, very well.

And this is something that we talk about with comedies a lot, that the shelf life of comedy changes.

I don't know if you guys have seen Nirvana, the band, the movie, the show yet, or Nirvana, the movie.

Great.

It's terrific.

And there is a joke in that movie.

But yeah, no, that's a Saul Bass original, and it's freaky as

Yeah.

Not a rante fan, but yeah, it's one of those things that it's almost always a red flag when you hear filmmakers say, "I've, for 20 years this has been the thing that I've wanted to make." And they make it finally.

Yes.

And there was a whole series of things.

And then he went off and started making movies, and just kinda held onto it as his thing.

I wonder if she saw the final film and was, recognized anything that they-