Lovett or Leave It - Introducing Ruined with Alison Leiby & Halle Kiefer!

Episode Date: June 14, 2023

Introducing Crooked's new horror movie podcast Ruined, from LOLI head writer Halle Kiefer and Alison Leiby! If it’s in a word, or it’s in a look, do not read your kid that mysterious book. Halle and Alison welcome The Babadook, and open the door to the scariest horror of all: motherhood.Listen to new episodes of Ruined each week wherever you get your podcasts: crooked.com/ruined.

Hi everybody, today I am joined by Lowly head writer and host of the hilarious horror movie podcast Ruined, Hallie Kiefer. Oh hello! Hallie and I are so excited to share an episode of Ruined right here for Lowly listeners. It's one of our favorites about the cult classic, it's the Babadook. Have you seen the Babadook? Of course I've seen the Babadook. And what are your thoughts about his late era in life, um, their late in life. Sorry, their late in life emergence as a queer icon. Sure. Why not? And I do think that speaks to some queerness where it's like you see queerness in everything,

even if it's some very weird guy in a top hat terrorizing a family. Well, it's funny too because it's not like the Babadook is subtle in what it's trying to talk about. Yeah, it's not like you could be like, oh, maybe it's queer. This is about grief. It's about grief. Yes, yeah. I think it's just the top hat.

I think it's the top hat and the coat and the gloves. Yes. And that was enough. So, you know that there's a viral post of someone... I was going to ask you about this, yes. So there's a viral post about someone dressed as a Babadook and it says, went to a Halloween party, thought it was a costume party.

Turns out it was just an adult drinking wine party and she's in a full Babadook get up. It's incredible. That's my friend Katie. I love that. I love your friend. Please Google it if you haven't seen this. It's incredible. And I think that that is also what being queer is, is showing up and being like, I'm the

Babadook. Oh, they took that out of my Babadook. I didn't realize I wasn't supposed to be the Babadook today. I'm sorry. I'm just the Babadook. So take a listen if you yourself are the Babadook or are interested in horror movies in general. And make sure to subscribe to Ruined wherever you get your podcasts. Subscribe to Ruined.

Babadook. Babadook. If scary movies give you dread, keep you up late night in bed, here's a podcast that will help you ease your mind. We'll explain the plot real nicely, then we'll talk about what's frightening so you never have to have a spooky time. It's Ruined. Hi, guys.

I'm Halle Kiefer. I'm Allison Leiby. And this is the 18th time we've started this podcast. Because we can't say our names. Welcome to Ruined, a podcast where we ruin a horror movie for you. Yeah, that way you don't have to go to the Wikipedia page like I always do. Yeah, because she's scared. I'm scared.

I am scared. Movies aren't real, Allison. Or are they? Okay, well, I'm going to kill you. Oh, no. Well, then we'll make a horror movie about it and then review it. It'll be very meta. Oh, but you won't have either'm going to kill you. Oh, no. Well, then we'll make a horror movie about it and then review it. It'll be very meta. Oh, but you won't have either of us to do it.

It's going to be some lesser but hotter version of us in the movie. The way it should be. Yes, as always. So this week we are doing one of my personal faves. Oh. The Babadook. Oh, I hate it.

From 2014. Directed and written by Jennifer Kent. So everyone in it has a delightful, oh my God, I was going to do an Australian accent. Did you hear how bad that was the second

it came out of my mouth? I truly, the United Jackson, I can't do like a British, Irish, Scottish, Australian,

like none of those are in my, I mean, I only have like Jewier than who I, like I get. I like how you, you're like,

I have a list of accents I can't do, so don't ask me. Don't ask me to do an Australian act. Like a reverse resume of things you can't do. Yeah. It's so crazy I don't do more acting work. So we had Allison watch the Babadook trailer, and what is your, what's your reaction? That is undeniably the scariest trailer I have ever seen. Hell yeah.

Was it on, did it air, like, did it air in ads? Yes, because I remember being very amped for this. But did you see John Mulaney's, John Mulaney and the Sack Lunch Bunch? I have not watched it yet. Well, they're sort of a runner where they talk to kids about their fears, and all their fears are from not simply horror movies,

but seeing the trailers. There's little girls like, oh, I saw a trailer for Us. She's watching some YouTube video that was appropriate for kids, but seeing the trailers. There's little girls like, oh, I saw a trailer for Us. She's watching some YouTube video that was appropriate for kids, but the ad was for Us. I think that it should be illegal to advertise horror movies. I know that that really puts the market

in a very precarious place, but like- It's a really interesting question. But like, there is a terrifying, I forget, it's like for some like bad horror movie that's like outside of subculture where I host my show every Sunday night when it's dark out. And there is a giant billboard next to the door

of like a child with like claws gripping its head for like, I have no idea what the movie is. Oh, I want to know. But it's super scary. And I'm like, well, now I'm seeing that at night. And then I do think the world is not built for the delicate and the easily frightened, the fainting goats of the world.

I am a fainting goat. But I'm sympathetic because, like, it's like, why do I have to see this? And a lot of things are spooky. A lot of stuff is scary. Speaking of this film. This is perhaps the scariest thing I've ever seen in my life. So we're going to take a—

I can't imagine. Like, sometimes when I see the trailer and then we talk about it, I'm like, I think I could, like, watch that movie. Yeah. I don't think there is a world where I will watch one second of this film. There isn't and you shouldn't.

You'll be too scared. I'm so scared. But I will say, we like to take a baseline scary of sort of, sort of the overall scariness of the film, sort of the theme.

And Allison, how scared do you find the idea of being a mother? Oh, I mean, terrifying? Yeah. My boyfriend and I have been talking about sort of like, if we want to have a child. Oh, I mean, terrifying? Yeah, and my wife and I have been talking about sort of like if we want

to have a child. And I do, even the idea of it brings up so much of my fears, a lot of which are in this movie, which is when you're a parent, particularly a mother, unfortunately,

a lot relies on you not totally losing your goddamn mind. Yeah. And unfortunately, it seems like that happens a lot. It does. So I think this movie is a lot relies on you not totally losing your goddamn mind. Yeah. And unfortunately, it seems like that happens a lot. It does. So I think this movie is a lot about, like,

what if you're taking care of a being that is so totally vulnerable to you, and if things start to go wrong for you, well, that kid's, you know, he doesn't have much, he can't go anywhere. Yeah, and also, like, being a parent, I imagine, is about, like, wanting to control as much of the environment and experiences as possible. And, like, we know, like, not a parent, I imagine, is about, like, wanting to control as much of the environment and experiences as possible.

And, like, we know, like, not just from these movies, but also, like, the world, that you can't do that. And it would, like, drive me insane. Well, get ready to be driven insane by the Babadook. Oh, I hate him. So, I—oh, my God. So, we begin— And I imagine the movie is actually much, much scarier than the trailer. I mean, the trailer's a very good snapshot of it.

It's—I'm someone who does not scare easily, the trailer's a very good snapshot of it. I'm someone who does not scare easily, I would say, watching films at least. Oh, I watched it again. I was spooked. Ooh, I was in a dark room. It was very spooky. So the film begins.

We see Amelia, sort of our protagonist, kind of coming out of a dream where she's in a car accident. And she looks over and she sees her... In the dream. In the dream. But she looks over and sees her husband, Oscar, and we soon find out that he did die in a car accident. Okay. And she looks over and she sees her— In the dream. In the dream. Okay. But she looks over and sees her husband, Oscar, and we soon find out that he did die in a car accident while they were driving to the hospital for Amelia

to give birth to their son, Sam. So he died on the day his son was born, which you're already setting up every once in a while. Great start. Great start. And so she sort of— It's a lot about having problems sleeping, and in and out of a dream state so she sort of, it's a lot about like having problems sleeping and in and out of a dream state.

You don't know it's a dream. And she's exhausted. And Sam is her son, who's the biggest eyed little bug of a boy. He's so cute, but he's a problem child. And obviously watching it, you're like,

oh, she never dealt with her grief. He never, he's terrified. His whole thing is like, he keeps building these little like gadgets, like he has a little catapult to protect her from monsters. And obviously that is him.

How can I protect my mother from dying knowing that my father died? Yeah, of course. That's just like passed on. Exactly. So she's never dealt with her husband's death, which would be seven years ago. And obviously she's transferring it to her son.

Unfortunately, instead of going to get therapy, we're going to descend into madness. Of course. Over the course of the film. If real, if therapy existed in most scary movies, there would be no plot. Yeah, the moral of this story is go to therapy. Yeah.

Go immediately. If you're like, if I should go, just go. But that's hard because maybe her health insurance doesn't cover it, and then it's like, okay. Which is another scary element of the, you know, system that I should go, just go. But that's hard because maybe her health insurance doesn't cover it and then it's like, okay, Which is another scary element of the, you know, system that we've built here.

So. So she works at a hospice and she's kind of like a hunky co-worker who seems to like her and has a really nice name, Robbie. And,

you know, she's exhausted because, you know, her son is just, he's really clingy and needy and you can see the way in which like a kid

with a lot of problems who is really clingy and needy would just drain you. Yeah. in which, like, a kid with a lot of problems who is really clingy and needy. Would just drain you. Yeah, it's very reasonable. Like, he is afraid. His dad is dead. Clearly, she's not talking to him about it. Yeah, a sad mess.

And so his reactions are normal, but also you can see how, like, she feels like she's just trapped with this kid who she doesn't know what to do with him. He's constantly screaming and falling down and, like, building weird machines and he's breaking into the basement where she keeps the husband's stuff. Oh, God. And sort of throwing it around, but not in a bad way. Just like he's a kid.

He's a kid. He's seven. Yeah. It's like they can't, they're not in control. Right. And she's not handling it well, obviously, because she has not dealt with her own grief. So you know that off top, right? And so she has her sister is Claire, and Claire has a daughter Ruby, and Claire and Ruby are like the way that a mother and a child should be. Yes. Ruby's like a little tiny princess, and Claire has like a husband and a great life, and really is a bad sister

and a real bitch to her, to Amelia during this movie. She does not offer any support, even though her sister is clearly struggling from the get. Before the Babadook even shows up, her sister is struggling. She's just like being a bitch. She's like, my life is amazing. Yeah, it's like your son, basically like, oh, your son has all these problems.

Like, offer some help. Exactly. Like, there's clearly, she has a need. But again, I guess we're like, they're isolated. Even the people that she's close to can't really offer her. Right. Her sister's essentially like, you should get over your husband's death. And it's like, okay, but like, that's not.

Lovely advice from somebody whose life is perfect. Who has ever been helped who's depressed would be like, get over it. It's like, oh, okay. Right. So, yeah. So, she gets called, Amelia gets called into Sam's school, and he has built a crossbow that shoots darts. Cool.

That's great. Which is pretty impressive, frankly. I mean, honestly, like, it's a good sign that he's so, I mean, he's going to be an engineer if he survives. And so they're like, we want to assign him a one-on-one monitor

because we're concerned about him. And she's like, I'm going to pull him out of the school, which is, again, they are- That feels like not the answer. Exactly. Like, I would like, let's get more adult eyes on this kid.

So she pulls him out of school. So now he's just home right now, right? Because she's trying to look for another school, but he's home. They're in this house, which is very big, and it's kind of falling apart a little bit. She does a good job, but like, you can see the seams are starting to split.

Right. You know? Is it a metaphor for her mental state? Absolutely. The whole movie, spoiler alert, you knew that from the trailer, it's her mental, we've seen it from her perspective.

So like when things start to go, you're like, it's an unreliable, she's an unreliable narrator in her own life. So, you know, and also I feel like,

you know, it's like as a potential mother, it is like, what if your kid is the problem child? What if he is constantly screaming? What if he can't sleep? What if, he's like the weird kid.

He doesn't have friends. You don't want that. Even Ruby, his cousin can't stand him, but she's a little bitch too. Like mother, like daughter. Exactly. But she obviously is acting like her mother acts.

So it's like, you sort of pass these things down to your kid without realizing it. So, of course, oh, and the one nice person in the world is Mrs. Roach, who lives next door. And she's very sweet to Sam. And, you know, she's just sort of like,

oh, like a mother figure to Amelia. She's like the one bright spot. And so they go home one night and Amelia's just totally exhausted. And, you know, Claire was like, I don't want to do a joint birthday party with Ruby and Sam because Ruby doesn't like Sam anymore

and wants to do a princess party. Building crossbows. Right. And like, there is something there where it's like, okay, the crossbow thing is not great.

So then, they go into bed and Sam says, oh, can you read me a book? And he goes to the bookcase and he pulls out a book. And it's a pop-up book

called Mr. Babadook. Why even have that book? Well, why not say, where'd this book come from? Yeah, that's actually a really, like, okay, keep going. If book come from? Yeah, that's actually a really, like, okay, keep going.

If it's in a word or it's in a look, you can't get rid of the Babadook. If you're a really clever one and you know what it is to see, then you can make friends with a special one,

a friend of you and me. His name is Mr. Babadook and this is his book. A rumbling sound, then three sharp knocks. Ba-ba-ba-dook-dook-dook. That's when you'll know he's around. You'll see him if you look. This is what he wears on top.

He's funny, don't you think? See him in your room at night. And you won't sleep a wink. I'll soon take off my funny disguise. Take heed of what you've read. Once you see what's underneath, you're going to wish you were dead. Why?

Obviously, Sam bursts into tears and is like hysterically fucked up by this. As a 36-year-old woman, it makes me want to start screaming. I would open the book, see the terrifying gray and white pop-ups and say, nope, won't be reading this book to my seven-year-old child.

Who's like, obviously like super traumatized and like carrying your grief. Exactly. So, but she, so she, so then she tries to like. Where is that book from? Unknown. Okay. Unknown. And she's looking at it and like the pages are blank.

So there's no copyright. There's no publisher. It's a handmade book. Why would you read it? No. You should— So, but she has sleep problems of her own, so Sam eventually falls asleep,

and she's got, like, a horrible tooth pain, so she's constantly, like, rubbing her face, and it has this, like, irritating thing. And she's super lonely. Like, it's—you know, she's watching a romantic movie, and we see her—at some point, she's in her car, and she's, like, watching A Couple Kiss, and she's, a romantic movie and we see her, at some point she's in her car and she's like watching A Couple Kiss and she's like so desperately lonely and just not, you know, and then so she goes upstairs and she gets her vibrator.

You know what I mean? She's a woman with beans. And just as she's about to nut, Sam bursts in the room. It was like, my closet doors are open. There's the Babadooks in there. This is why I don't think I want a child. But also she did that. No, interrupt your masturbating sessions.

Right, yeah. You will not be able to masturbate in peace ever again. But also, like, why did you think... Right. Why would you show him that book? Like, he's going to be able to easily sleep and not have any nightmares after that fucking terrifying book?

Exactly. So she, you know... So then he finally goes back to sleep, and he's in her bed, and she's reading The Artist's Way, which I thought that was a funny book. And so, she hears something

in the hall and she does a horror movie thing which you never should do, which is, she just shuts off the light and puts the sheet over her head. That'll stop it. Because she's in denial.

Of course. So they oversleep. She has to lie and be like, oh, Sam was sick. She's running late to work and she goes there and Robbie,

her nice, cute co-worker. Where's Sam now that he's not in school when she goes to work? She's over at Aunt Claire's. So Claire is babysitting him during the day. During the day.

And so, at least on this day. And so Robbie's like, you know, if your kid's sick, you look exhausted, just go home. So instead of going home

to her son, she goes to the mall and she gets ice cream and she, it's like that's her one moment of peace is like being alone. I get it.

And you know, it's like heart. Like she's alone. You want to alone. I get it. And you know, it's like heart. Like she's alone. You want to have that break. She gets back, she looks at her phone. Claire's called her like 10 times. She's like, oh shit.

So she goes over to Claire. Claire flips out on her and is like, all he did all day was talk to the air and he kept talking about Babadook and he scared Ruby. And I'm like,

okay, well the kids do weird. That's not so, you know what I mean? I wouldn't be like pissed about that as another mother. I'd be like, hey, is everything okay? But there is something where it's like once a kid's like quote unquote a't be, like, pissed about that as another mother. I'd be like, hey, is everything okay? But there is something with, like, once a kid's, like, quote, unquote, a bad kid,

like, everyone does view that kid that way, which is so sad. But, like, I remember that happening as a kid. It was like, oh, the bad kid. Right. And maybe they were bad, but there was stuff going on at home. Right. And it's like, oh, these kids, whatever. And also, not everything they're doing is, like, terrorizing.

Like, it's just, like, any little thing. It's like, oh, well, that's because he's bad, and so obviously that's a bad thing. It's like, well, maybe he's just, like, terrorize it. Like, it's just like any little thing. It's like, oh, well, that's because he's bad, and so obviously that's a bad thing. It's like, well, maybe he's just, like, scared. And so she goes, that's when she, when they get home and they realize that he went down the basement and he threw all the stuff around, so she's pissed about that,

and she finds a photo of her and her husband with the eyes crossed out. Oh, God. And she's like, why would you do this? And he's like, I didn't do it. The Babadook did it. And then she finds glass in her dinner, and he's like, the Babadook did it,

and he's screaming, and he's just, he's just so distraught, and she's just, like, giving it back to him in this dinner and he's like the Babadook did it and he's screaming and he's just so distraught and she's just like giving it back to him in this way that you're like ugh the whole movie. Yeah it's just this cycle of like anxiety and Exactly. And so in the middle of the night Sam's like thinks she sees something in the bureau

Amelia hears a crash and the bureau has fallen over luckily Sam's okay. Okay. But he's like, he is now convinced the Babadook's trying to get in, and he's screaming over and over again, don't let it in, don't let it in. Don't let it in!

Don't let it in! Don't let it in! Don't let it in! And she takes out the book, and she tears it into pieces, and is like, look, this book is, like, not real. I'm tearing it up. She takes it and throws it into the garbage. That night, the lights flicker, and Amelia hears the door.

Three sharp knocks. No, that's awful. That's so like, oh my god. So the next day is Ruby's princess party, which they're not doing a But nothing happens from that. No. Okay. So the next day, but they're exhausted. Every night something happens. Oh, you would just be up all night.

Yeah, every night something happens in this house. So, both she and Sam are exhausted and distraught. And, like, it just, like, creates this cycle over and over again. And they do a great job of depicting it. Because I'm just, like, the whole time, like, they can't. Like, they're both so on. Tired. Yeah, like a raw nerve.

So, of course, when they take him to the Christmas party, he just wants to cling to her. And he doesn't want to go play with the girls who are mean to him. But she's like, get out of here. You know to go play with the girls who are mean to him. But she's like, get out of here. You know, go play with the girls. She's like, I need a minute. Yeah. But then, sort of in the parallel, her sister's friends are all super condescending to her.

And they're like, oh, I heard you used to be a writer. And, you know, all this stuff. The artist's way. And she flips out on them. Because mom's like, I never get time to work out anymore. Amelia's like, that sounds so horrible. What a tragedy for you. And Claire's like, this is why I don't want to invite you to things.

Yeah. That's fair. So then there's sort of a parallel discussion where Ruby is bullying Sam. Because he, because he's the problem child, he's also the most vulnerable. Right. So Ruby's like, you know, your dad died so he didn't have to be your dad anymore. Oh my God. Horrible shit.

Kids are so mean. Because like they don't understand the actual like reality and implications of things they say. So they say horrible, horrible things like to be kind of mean but they're actually being like

eviscerating. And so meanwhile though, Claire is like, Amelia is like, you don't give me any support. I'm on the verge. Like I'm not doing okay. Amelia says,

you never come to the house anymore. And Claire says, I don't come to your house because I don't want to be around your son. It's like, you are a bad sister. You are a bad person. Yeah. Like, she is not doing well, and you're putting fuel on the fire. So, fuck her. But in retaliation, Sam pushes Ruby out of a treehouse and breaks her nose.

Oh. So, now Claire is like, don't you ever bring your son over here until he gets treatment or blah, blah, blah. So, you know, they're driving home and Amelia screamed, like Sam is screaming, get out, get out,

you know, screaming about the Babadook again. And Amelia screams at him, why can't you be normal? At home? No, in the car. In the car. On the way home.

So then he has a seizure in the car. So he's convulsing and she drags him out of the car and she's screaming it past her body. It's like, something's wrong with my son.

She takes him in and the doctor's like, don't worry. It's like, something's wrong with my son. She takes him in and the doctor's like, don't worry. I think it's like a febrile seizure which is actually common in children. Okay. But we're going to make sure. We're going to do some tests.

And, you know, she's sort of like, I'm not doing well. I really want him to see a psychiatrist. And they're like, don't worry. It seems like you're catastrophizing. A lot of kids see monsters and stuff.

And she's like, no, it's not. This is something worse. Like, this is something that's going on. And they're like, okay, we'll get you in. But of course, an indictment of our healthcare system, or Australia's healthcare system, it's like, it's going to be a couple weeks.

A couple weeks? They don't have a couple weeks. Right. They definitely don't have a couple days. And so Amelia says, can you give him like a sedative to sleep? And the doctor's like, I don't like to do that until things are really bad. And Amelia's like, it's bad. It's bad.

So he gives her a week of sedatives. So now every night she's giving Sam sedatives to knock him out. Okay. So we know that's sort of in play. But she has no sedatives. No, which I was like, ask him. I'm like, get some for you.

Yeah, just be like, we're both, I don't know, exhausted. I would. So Sam is like, why don't, when they're back home that night, Sam's like, why don't people like me? And Amelia goes, what do you mean, sweetheart? And I was like,

you were just screaming at him, be normal. Like, he, you know, it's like she's putting all this onto him and has no awareness. He's reflecting it right back.

Exactly. And also, the only other person he knows is your sister, who's a huge bitch, Ruby is a bitch, and Mrs. Roach, who's very nice.

Yeah. But that's it. And Sam is sort of like, I need to protect you. I need to protect you. I need to protect the house. And he says, I promise to protect you if you protect me. Amelia's like, yeah, of course. You're sort of like, I need to protect you. I need to protect you. I need to protect the house. And he says, I promise to protect you if you protect me. Amelia's like, yeah, of course.

You're my kid. I'm going to protect you. It's like what this is. So he takes a sedative. He's finally able to go to sleep. And well, you know, unfortunately, there's a knock on the door. No, I don't like it. In fact, there's three sharp knocks.

And she opens the door. The book is back. The book is back? The book is intact. And it has been returned to her. No. And it has been pieced together. So it's not even like this is another copy, like. It is, it's been physically taken out of the garbage and there's more pages, Allison. No, why? Oh my God. Oh my God. I'll wager with you. I'll make you a bet. The more you deny, the stronger I get. You start to change when I get in.

The Babadook growing right under your skin. Oh my God. Oh, come. Come see what's underneath. And then we look at the pop-up illustrations, and the pop-up illustrations are what appears to be a pop-up Amelia. No. Killing their dog, Bugsby.

Or Bugsy. Killing Sam and slitting her own throat. So she immediately throws it on the grill and sets it on fire and burns it. But then— But, like, wouldn't you want that evidence to exist? Well, we're about to have that. That's exactly—you're right. If this ever happens to you, if the Babadook book shows up, do not burn it. Do not tear it up. No. Show someone else. And say, I want the Babadook arrested. I want him prosecuted. Put his

picture up in all of the post offices with a wanted sign. I am calling Nancy Grace and I am putting the Babadook on blast. No, she, so basically what we're supposed to take is the metaphor of him getting in the house is the Babadook is getting inside Amelia. Of her. And changing her in this fundamental way. And the phone rings no and she picks it up and she hears a voice say we just had the Babadook sounds you saw the trailer and it's so scary

it's so unbelievably scary also it implies the Babadook can use the phone which is also terrible. Which is really funny to imagine him just, like, at a payphone. I was thinking, like, he has a flip phone still.

Yeah, he has, like, a razor. Allison, at this point, what would you do? I would, I mean, I would. What would you do? I would not have burned the book. I would have, like, grabbed the kid, gotten in the car. But also, then, I would be afraid to go outside. Yes.

Like, I would call 911 first. And what would you tell them? That's the issue. I would be afraid to go outside. Yes. Like, I would call 911 first. And what would you tell them? That's the issue. I'm getting scared by a book. Yes. A book is freaking me out. No. I would, like,

explain everything that is happening. They would come and be like, we need to put you into a psychiatric institution. And at least then, I'd be there. That's a really good point.

I mean, I guess, I would argue that Bobbitt could still get in there. I mean, I guess. But then, like, aren't there people watching? Like, no one's paying attention to her in the house right now. Yeah, they're on their own.

She and Sam are very isolated. Whereas, like, if you were in a hospital or, like, even if you were in jail, there'd be other people around. Absolutely. So Amelia does go to the police and does try to file a report. And the police are like, well, where's the book? And she does say, I burned it. And they're like, well, ma'am, we don't have any evidence of it.

But she's saying, like, somebody's stalking me. Somebody made this book. Somebody's calling the house, which is all true. And the police are like, we're the police. We're not going to do anything. Also, like, let's get that phone call record. Right. It's like, oh, M. Babadook has been calling.

Bob A. Duke has been calling the house and harassing me. Mr. Robert Anthony Duke. has been calling. Bob A. Duke has been calling the house and harassing me. Mr. Robert Anthony Duke. And then while she's there, there's a lot of moments that when I describe them I think are going to sound funny, but they're genuinely fucking terrifying.

No, there is no way that anything that happens in this movie could be remotely funny except for the artist's way. So the police officer is like, okay, well,

if you want to file a report and he bends down and on the coat rack is a top hat, a big long coat, and some very long pointy gloves, which is funny, the idea that someone was just wearing that. Right, yeah, but that's like an outfit for anybody in the 20th century. So at this point, so she goes home, and Mrs. Roach next door is watching Sam. And Amelia is sort of acting odder and odder. So her behavior is starting to change.

Yes. And, you know, she notices all these roaches crawling out from behind the fridge. So she pulls the fridge out, and there's like a gaping hole in the wall. Great. And these roaches are streaming out. Roaches are always scary. And I think that's a nod to, like, things, because she's so depressed, things have started falling apart.

Like, there's dishes in the sink. There's food kind of rotting on the table. She's not taking care of her son and her house. So, unexpectedly to her, two people from child services show up. And they're like, hey, I'm Prue and Warren, the most Australian names I could think of. And, yeah, so we know that you withdrew Sam,

so we just want to make sure we have a plan in place to get him back into school, because he cannot be out of school. And so we just want to check, and it looks like things are maybe going a little crazy here. And she's like, no, no, I'm cleaning the house because I had this roach infestation. Then she points at the wall and there's no hole. There's nothing there. And she's like, oh, like she has though. And so the CBS is like, we're going to be back next week. So we're going to work on that plan. Don't worry. Which I think is like they're being as helpful, supportive, considering

they could tell something is really hugely wrong. Yeah. But then she's cleaning up, being like, I can't have my house like this. I'm going to, you know—so she looks as she's cleaning, and we see Mrs. Roach in a hallway in Mrs. Roach's house, and the Babadooks are staring there. Is that—was that in the trailer? Yeah. I did not—I think that's when I, like, backed away towards the door. And that's when he sort of looks like Marilyn Manson. Well, true.

Which I think is fun. That is fun. But, I mean, I think you definitely would want Marilyn Manson in your house more than the Babadook. 100%. Yeah. Rune is brought to you by Mosh. Whether you're at the gym or on the go, Mosh protein bars are the smart snack to keep your brain and body fit, fueled, and feeling good. At 160 calories and only one gram of sugar, Mosh protein bars are the guilt-free snack your brain and body will crave. Your brain is your number one tool,

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He's like, I'm exhausted. I'm a child. And she's like, no, you need to stay up with me. So now Amelia's scared. But it's like, he's a child. What's he going to do? What's he going to do? Exactly.

So, and Bugsy starts to like, becomes hostile towards Amelia and like sits on Sam. Because Bugsy can tell something is going on. Yes, dogs always know when evil is around. And he's sort of barking at her as if she is an intruder or something is going on with her, which she now is. There's an interloper in the house, and it is her. Finally, they go to sleep. They're in bed together, and we see the door pop open. And we see someone come in, and Allison, I got bad news.

That's the Babadook. Of course it is. She's going to sleep. Do we see, like,, and Allison, I got bad news, that's the Babadook. Of course it is. She's going to sleep. Do we see, like, are we seeing, or is it very shadowy? It's very shadowy, so rarely do you see him.

Yes. So she looks up, and the Babadook is now skittering across the ceiling. No, skittering is a scary, no. It is quickly, jerkily moving,

silently, across the ceiling. So she does the classic move of pulling your sheet up, pretending he's not there. And then we see in the trailer, he goes, ba-ba-doo, and then screams. So scary.

And so, you know, she wakes up in the morning, even more discombobulated. Wait, but like, we don't see, like, that's like, it's like he says that. Yeah, he doesn't like kill her or grab them or something. He's just there. He's in the house. So we know that it's in the house. And the implication is sort of that he's getting closer to closer.

Yes, and I guess we're to believe that she's so depressed that she can't do anything anymore. It's not even an option. Yeah, so then she's so sick. She's going to a hotel. She calls in sick to work because she can't, you know. While I both understand that, I'm also, like, I would want to be like, we need to go be around some people that aren't the Babadook. Yeah, and I think that's what's scary about it.

It's sort of like she, as the adult, is no longer able to make those decisions. Sam, unfortunately, is now in a position where he can tell something is going really wrong. Yeah. But he's seven. You have no agency. And he keeps being like, well, I can call Auntie Claire. I can call Mrs. Roach. Maybe I'll go over to—

Like, he's trying to offer really good solutions. He's like, I know two people people so I think we should call them and she's like no we're not calling anyone I just need sleep I just need to go to sleep oh and then this co-worker Robbie who's very nice

came over and was like oh I know that your kid was sick and so he brought like roses and like a little model train and I was like oh no she flips out in front of Sam like she screams at Sam and she's like

who ever heard of a like a seven year old who's still afraid of monsters and it's like everyone every ever heard of a 70-year-old who's still afraid of monsters? And it's like, everyone. Every 70-year-old. And so Robbie, you don't ever see him again, but you know Robbie was like, oh, no.

This is a mess. Yeah, I am not getting involved in this, which sucks. Yeah. But, yeah, so we see him. Oh, when the Babadook's crawling across the ceiling, there's a shot where it looks like he leaps off the ceiling and becomes the size of a roach and goes into Amelia's throat. Nope. So I think we're to think the Babadook has now fully entered her being.

I don't like that at all. So, you know, Sam started bugging her like, Mom, I don't go to school and there's no food. And, you know, like he tells her. What's happening? And she screams at him, well, if you're really that hungry, why don't you go eat shit?

And she's very nice so when that happens, Sam's like, oh yeah, no, okay, things are bad. I gotta call Auntie Claire

at some point. So, but he like apologized to her and now he's afraid of her and she's apologizing and takes him for fast food but then as they're driving home, the Babadook's on the hood

of the car so she crashes the car. Oh my God. And the, you know, all this stuff's happening and like, so finally they're driving home, the Babadook's on the hood of the car, so she crashes the car. Oh my God. And the, you know, all this stuff's happening, and like, so finally they go home, and, you know, Mrs. Roach is like, hey, it seems like some, you need some support. Something's wrong. I'm happy to watch Sam. I'm happy to come over. You can come over here. Yeah.

And Amelia's like, no. This is my house. I'm gonna stay in here. Everything's fine. Everything's fine. She's in denial about it. At a certain point, she's in a full bathtub and she brings Sam into the bathtub with her. No, no, no, no, no, no, no, no.

Yeah. No, no, no, no, no, no, no. And things keep going. Things keep progressing. She bolts up in the middle of the night and she hears the voice say, there's someone in the house. I can't believe she can even sleep

at this point. I think the idea is like, they're both so exhausted that they'll just fall asleep and then like, yeah. So it's not real sleep. No. And then she runs downstairs

and Sam is trying to call Aunt Claire. And she rips the phone out of his hands and and then like, yeah. So it's not real sleep. No. And then she runs downstairs and Sam is trying to call Aunt Claire. And she rips the phone out of his hands. And she's like, no, Sam's just being bad again. We're fine. And then she takes the batteries out of the phone. And she's like, you don't call anyone. You don't, whatever. So now she's like abusing him.

That's right. And she takes a knife and she cuts the landline. And then it just now has a knife. And, you know, it's just like. Is it nighttime now? Day knife. And, you know, it's just like... Is it nighttime now? Daytime. Hard to tell. Like, there's a lot of shots where, like,

it seems like it's day and then you look outside, it's night. Or, like, it seems like it's night and it's morning. So the distinction between night and day, because they no longer go to school or work, it sort of dissolves. It's always dark in the house. The house is falling apart. Again, she's depressed.

The depression is sort of taking over both of their lives. Sam, meanwhile, is like hoarding his like monster fighting tools. Like he has his crossbow, you know. Oh, Sam. And she, but she's making him stay up with her. And at a certain point, they're watching TV and she looks over and he's covered in blood. Oh my God. And she screams, but then she's dreaming.

So she wakes up. And she like wakes up and he's. Yeah. Okay. But then later, she wakes up because he's screaming and she's standing But then later, she wakes up, and because he's screaming, and she's standing over him, he's on the couch, she's holding a knife. So she's like not even in control anymore. Exactly.

And so like she sees him like in a sleepwalking state go into the basement, and while they're in there, the Babadook says to her, you can bring me the boy. And he says, he's like, you can bring me the boy, you can bring me the boy, you can bring me the boy. It's just the voice.

Yeah, it's just the voice. Well, we see, when we see the Babadook, it is her husband. It's Oscar. So that's obviously not Oscar. No, of course. The Babadook as Oscar is sort of like, you could bring me Sam. And I think what we're supposed to be is, you could kill Sam, probably. And sort of, that's what we, yeah. Kill your son. Listen, no bad ideas to brainstorm. Maybe you should kill Sam. Yeah. And so we've been seeing, that's what we saw in the book. You know what I mean? It's sort of like the progression of her madness. Has the book come back at all?

No. So we see it twice, and then I think that's, I don't think it comes back again. Okay. So I guess we arrived at the point of the film where I got to ask you, who do we think survives this movie? Who will survive?

I don't know. I mean, I want Sam to survive because I don't like when the kid dies. Absolutely. It's so scary.

I feel like Auntie Claire or Ruby, one of them, is in grave danger. Okay. Mrs. Roach as well. Okay.

And what do we think about Bugsy the dog? Dead. Yep. And what do we think about Bugsy the dog? Dead. Yep. And I think Amelia lives. Great. Well, you're absolutely

right about Bugsy. Yeah, I mean like Which you don't see in a lot of films. Well, it's kind of like in the conversations around that Netflix documentary

Oh, Don't Fuck With Cats? Don't Mess Fuck With Cats or whatever. It's like people are more upset about like the animal violence than the human violence. Yeah, I didn't watch it. I have a hard time with that too. But yeah, people could give a fuck about humans. Well, it's the same way people are just like obsessed with PETA. And I'm like, what are you doing for people? Right, exactly. Yeah,

people could fucking die as far as people are concerned. But like once like a cute dog or like a mink, I'm like, what even is a mink? Right, they are cute. They're like skinny cats, sort of. Are they? No, I think they're a weasel, right? Is it like an otter, ferrets? I feel like you're trying to trick me

into saying that you could wear fur and I'm against it. I don't, no, no, no, I don't. But I'm just like, I'm like, you've never, like most people never encounter that animal in real life, but like walk by a bunch of homeless people every day. Oh, 100%. I wouldn't even, would never give them a dime. You can care about both, but like you can't just care about the one. Right, like, walk by a bunch of homeless people every day. Oh, 100%. I wouldn't even, would never give them a dime.

Like, you can care about both, but, like, you can't just care about the one. Right, if it was a big pile of minks, people would really want to give them money. Yes. So what do you think the end, what do you think the twist is going to be? What do you think is going to happen with the Babadook?

I, I mean, I got to believe it's her imagination, like, that it's, like, her interiority. So, like, I'm gonna guess that she ends up in a mental institution after killing someone. Okay, great guess. So, um, she immediately kills the dog. Yeah, I mean... Following this, she snaps its neck

and just fucking leaves its body in the kitchen. That's horrifying. So this is sort of the beginning and the end. Yeah. The rotten tooth that she's been sort of futzing with the whole time, she just reaches in her mouth and just yanks it out. As someone who had two root canals this summer,

I can't even begin to understand. Like, that's pure insanity. So at this point, because Bugsy's died, we know the next one up is Sam. And Sam knows at this point his mom has— Lost it. —crossed a Rubicon that, you know. So he locks himself in a room,

and the mom tries to lure him out by saying, Bugs, he's hurt. We need to get him help. I find all this so scary and sad and distressing. Like, the idea of, like, tricking a child to, like, so he comes to you to hurt him. And using their grief to trick them, too. It's so scary and awful.

And then she, in order to open the door, she grabs the doorframe. It's sort of a hereditary-type move, which you have not seen. But in this, Amelia grabs the doorframe and then jumps up and kicks the door. She grabs the doorframe and it's sort of a hereditary type move, which you have not seen, but in this, Amelia grabs the doorframe and then jumps up and kicks the door in,

essentially, and is like pounding against the door with her feet, which is also very perturbing. And then she glides across the floor because she is now, she's been totally

Babadookified. She's Babadooked. She's Babadooked. She says, sometimes I want to smash your head against the wall until your brains pop out. To her son.

To her son. So he shoots her with a crossbow dart. Understandably. And hits her with a catapult ball. Thank God. And then so finally there's a knock on the door. Mrs. Roach is like, hey, what the fuck's going on? I hear all this commotion.

It's the middle of the goddamn night. And I know that this time of year is very hard for you. And we realize it's the anniversary of her husband's death. You know, and Mrs. Roach was like, if you need help, I love both of you. I will be here. I am here. Use me as a resource.

And so next time we see, like, Amelia walks in and Sam's in the kitchen trying to get the back door. And Amelia's like gentle and kind and sort of like, I'm really sorry. I'm sorry you're scared. I'm sick. I'm really sick. And I haven't been good since your dad died.

So you're like, okay. Maybe we're on the other side of that. And she's like, I just talked to Mrs. Roach so we could stay there tonight if we want to. And you're like, okay, great. So we're going to go over there. But then she says to Sam, I want you to meet your dad. It's beautiful there. You'll be happy. I mean, that's. So she's going to kill her kid. And what I think is fucked up about this, I mean, not fucked up, this is what's scary, is like people do kill their kids. And I think it is because unfortunately for a lot, like mental illness and there's a lot of reasons people do it. But I think it is because, unfortunately, for a lot, like mental illness, and there's a lot of reasons

people do it, but I think there are people who do do that what they did, like, it'll be better. And it's like, in no way can that

ever be better, but like, whatever is going on, those people's minds are so warped that it's like, oh no, you thought this was better.

I do believe that, yeah. Yeah, like she is so isolated and so depressed and she's both like, it'll be better if, essentially,

if we both are dead. Are dead, if we're all dead. Yeah. But she says that after, she's like, we're going to Mrs. Roach, so it both like, it'll be better if, essentially, if we both are dead. Are dead. If we're all dead. Yeah. But she says that after. She's like, we're going to Mrs. Roach. So it's like, you said, oh, God. Exactly.

And then Sam's like, well, we said that we would, you know, protect each other. Yeah. You know, you promised me that. And so this is sort of her fight with the Babadook inside, you know. Right. And she starts to strangle Sam, but she can't do it.

Right. And she's sort of convulsing and eventually she passes out and when she wakes up Sam has her tied up in the basement oh my god how did he even he's a very resourceful little boy I don't they must have run into the basement then she got she passed out or something so she's already there he ties her down and he says I know you don't love me the Babadook won't let you. But I love you, Mom. And I always will. No. And I'm like, Babadook! Now I'm also just like crying. Oh my God, no.

It's like so emotional. But like then you sort of like, she starts to fight for her self back. So she gets him and she's like vomiting all this oil. And she's like convulsing and stuff. And you sort of think for a moment like, okay, she got it out of her system, I suppose.

But the Sam tells her, you can't get rid of the Babadook. So that's sort of what, unfortunately, one season side. Why does he know that? I guess in the book. Okay. Oh, yeah. Oh, it does say, like, you can't get rid.

Yeah. So in his mind, this is a literal book. Right. Then he gets sucked back up the stairs. So he gets sucked up to their bedrooms, like, dragged up to the bedrooms. And so finally, she runs up, and she's starting to fight. Like, she's like, I will fight for my house. I will fight for my son.

I will fight my own internal struggle. Yes. And the Babadook is sort of this beautiful shot where, like, the rest of the room is in darkness. And you see the Babadook has, like, essentially wings that are, like, leather, like his gloves. Like, these creepy, like, angel wings, sort of. Oh, God.

And so the figure that steps out of the darkness is her husband again. And she's like, don't make me do this. Don't make me do this. And then you see what happened in the car accident, which is he turns and I'm assuming

this is what happened. Basically, the top half of his head gets ripped off, essentially. And so weird to believe that essentially That's what the hat's for?

The top hat's keeping it on. So I think it's not simply that her husband died. It's that she watched her husband die terribly. Oh, horrific. She probably has PTSD or whatever. Of It's that she watched her husband die terribly. Oh, horrific. She probably has PTSD or whatever. Of course.

She watched this horrible thing and has never— And so she's sobbing. And the idea is like, now this is— She's accepting this. She's revisiting it in order that she will survive past it. And so, you know, she rejects the Babadook. She's like, you're nothing. This is my house.

You're trespassing in my house. And the Babadook sort of retreats, but he doesn't leave the house. He rushes and he's in the basement. So now he's just locked in the basement. And so if you can't get rid of the Babadook, what do you have to do? Move? You learn to live with them. You learn to live with them? Oh my God. So it's two weeks later. And so the reason that I guess he used to do joint birthdays with his cousin Ruby is that Amelia never wanted to have birthdays on the day because that was the day her husband died. Oh, right. So they would do it on Ruby's birthday.

Yeah. So now it's two weeks later. They're going to have it on his actual birthday. CPS comes and is like, okay, so you're on track to go back to school. It seems like things are doing okay. We just want to keep checking on. We're going to come like every week or whatever. It seems like things are a lot better.

And, you know, Sam says like, oh, you know, I was born on the day my dad died. And in the past when he said that, Amelia was like, don't tell people that. That's embarrassing. And now Amelia's like, nope. That's true. Absolutely. Also, like, that's true. Like, that'll come out eventually.

Yeah. And so it's sort of like, okay, things are going better. There's some acceptance. Yeah. They go out in the garden and they find a bunch of worms. Amelia's like, I'm going to take it down. So she goes out and she feeds the Babadook. So the Babadook's just going to live in the house. But as long as you, basically,

if you are adjusted to the Babadook, you can live with it. And it is like, she has to live with her grief. You can't get rid of a grief, but you don't have to let it destroy you. So he eats a big bowl of worms and dirt. You don't see it, but you know he does. You know that's happening. And then there's this little scene at the end that it almost makes you think like, oh, is this all a fantasy and did they all die? But I don't think so. I think it's just sort of like the heightened reality they live in

where they're like cuddling and they're happy and everything seems like it's going really well. And she's like, happy birthday. And he's like, and he loves magic and tricks and stuff. And he's like, I'll show you a trick. And he does like a sleight of hand and he has a coin. She's like, wow, that's an amazing trick. He's like, it's not over.

And then he puts it under a silver dish and then he pulls it up and there's a dove under it. And that's the end. And I was like, in another movie. That's a weird ending.

In another movie, it makes me feel like there was another scene at the end where you realize that she's just dead. Like, they're both dead in the basement or something.

Right. And then they're like, no, this is too grim. Because it's so fantastical. But maybe we're just supposed to think like, what they've done is so magical and wonderful.

It actually transcends reality. Just like the Babadook is the metaphor, the dove is now the metaphor. I guess. I would almost rather a grimmer, more explicit I don't know.

explanation of what is happening now. Yeah, I really enjoyed it, but that was the only moment where I'm like, what? Like, it's sort of like, well, I was going to give another example.

We'll do it at some other point. But there are certain movies that have a happy ending. I'm like, I wonder if they're original ending. Yeah. But listeners, if it is, let us know if we're

dead on. Somehow, contact us. So we're going to do a classic segment of ours, Fatal Mistakes. Fatal Mistakes. Yes. So what are some fatal mistakes people make in this?

Or not fatal, but bad. Right, because I guess like most people lived. Yeah. This seems like everyone except for the dog lived. Poor Bugsy. Bugsy. Oh, Bugsy. And they never really addressed that.

Like, she did murder the dog in front of her child. Yeah, that's pretty traumatic. So was everything else. It is a crime. Yes, that is a crime. I think, like, not, like, asking for help. Not asking for help. Like, at all the points at which there were people who could, like, her co-worker, her sister, Mrs. Roach, like, being like, I do need the help.

Like, something is wrong. Also, burning the book. Yeah. Like, if you have a crazy like, being like, I do need the help. Like, something is wrong. Also, burning the book. Yeah. Like, if you have a crazy book, don't burn it. If she had showed up with that, like, they would have had to at least follow up on something. Like, okay, someone did make this crazy book. There is something here. Absolutely.

Like, let's dust it for prints. Let's find where it came from. Don't take your kid out of school because you're mad. Yeah. Don't pull your kid out of the one stable thing they have. No. And same with her not going to work. Like, the more time outside of that house, it seems like, the better off they might be.

Exactly. And then finally, if Mrs. Roach asks you to come over, just go over. Just go over. Get out of the house. Don't wait. Just go right away. I wanted to, because one of those signature things of the Babadook I love so much is the voice. So I'm going to make us deliver some classic movie lines as the Babadook.

Okay. And I've written, I've given you a couple over there. I'm going to make us deliver some classic movie lines as the Babadook. Okay. And I've written, I've given you a couple over there. I'm going to go first. Okay. Let me see which one. Hold on, I have to, it's like Babadook. Okay, I'm going to do the second one that's written there, so you're just going to do the first one, okay? There's no

crying in baseball. Alright, that is, of course, from League of Their Own, and you're going to do the first one on there. I'll have what she's having. Incredible. Oh, yeah. Beautiful. Is that what the Babadook sounds like when it comes?

Oh, no. Yes. I mean, I know that the woman in When Harry Met Sally does not say. Does the Babadook fuck? Yeah. I don't like it. Mm-mm. He keeps the hat on.

But you know, you can leave your hat on. We don't, I guess we could probably get right to that song because nobody knows what it is. Speaking of what the Babadook sounds like when he comes, it sort of gives me a hand-handed segue to the other thing I want to talk about, which is, if you know the Babadook,

you know that he had a second life as a LGBTQ icon. Now knowing this, it is even more, like knowing the actual movie and everything, way more confusing.

It was funny about it because I was like, oh, is it because he has like a top hat and tails and he's kind of like doing too much? But then I think it was just a Tumblr meme

where people were like, um, if you didn't understand the metaphor from my experience. And so it sort of just spiraled from that and there was a couple,

it was a, you should please look this up at, I think it was like 2017. Yeah. It was only a couple years ago. the movie came out

like too long for it to make sense. But he, a lot of people at Pride were dressed as the Babadook and were voguing as the Babadook. And then finally, when they released Babadook on DVD,

there is a special Pride edition where it donates money to an LGBT. That's great. But it's just so funny that they were like, yeah, he gay. Why not? And I, because I thought like,

oh, there's going to be some rationale. No, it's just a Tumblr meme that people piled on. Somebody just decided like, I'm going to make this a gay icon. And like edited it into Drag Race. I just love that shit so much because he is so scary. So scary. He's not a camp, it's not a camp character.

It is so spooky. Like that trailer, like I forgot, like I remember that happening. And then like, and we talked about it. And like watching that trailer, I completely was like out again. I was like, no, this is a terrifying, there's nothing silly. There's nothing, like, kind of, like, tongue-in-cheek about it. It's just scary. And I was trying to think of, like, what other classic,

because I think, unfortunately, we live in a heteronormative society. So I feel like when a character doesn't have a sexuality, we default to straight. Right. The Babadook reads straight to me, but maybe my gaydar, it must be wrong. Of course. So I was trying to think of what other famous, horror, iconic characters could be LGBTQ, not simply whether they

themselves are gay or lesbian, but can be an icon. And the first one I thought was It, of course. Oh, yes, we're looking at The Babadook in front of a rainbow pride flag. He does look very happy, but he is there to make you kill your kids. Yeah. I mean, everything he's about.

Like, also, he's just the embodiment of grief. Yes. Grief and PTSD and exhaustion. Horrible, like, depression. And I'm going to say Annabelle, the haunted doll. Uh-huh. Yeah. Just because I get the vibe.

Well, a doll. Yeah. Dolls are, like, not, like, but but like, they're scary, but like elegant. And I think that that's fun for like making an icon for anything. But like, especially like an LGBT, like that feels. And I almost feel like it should be too, because Pennywise is already a clown. And it's like doing so much and like up for it. But I guess maybe Pennywise is just trying a little too hard.

Yeah. It's just a lot of, like, to do. I would like to see Pennywise on Drag Race, but he would be kicked off, like, the first episode. Well, because, like, there's just, like, nothing. Like, also, that movie, just the trailers alone, it just terrifies the shit out of me. Well, don't worry.

We're definitely going to do it. I know we are. I'm going to need to. I mean, I do need to know, like, more about it. I can't wait. You know, we'll do all of them. I think that Michael Myers feels like a fun one. He's got the white mask, right?

Yes, yeah. That feels like very, you know, could be a container for anything that you want to imbue into it. Absolutely. Like iconography wise. And just someone does not have to, like someone, you could be gay in any way. Right. And I think he's a great example of being gay in a serial killer way. Yeah.

So finally, can we rate this on a spooky scale? Ten. It was so— The trailer alone was truly horrifying. Yeah. I gave it—I'm going to give it—I gave it eight screams. But boy, I'm going to give it nine screams. You're moving to nine?

This is the highest rated one we've done so far. I feel it is one of the few films that I have genuinely been scared by the second time I saw it. Yeah. And that's like a pretty impressive feat for a movie. Yeah. Well, guys, thank you so much for joining us. Yeah. Thank you so much.

I remember. This was fun. Keep it spooky. Bye. Ruined is a Radio Point production with executive producers Alex Bach, Sabrina Fonfetter, and Houston Snyder. Bye.