TRASHFUTURE - *UNLOCKED* Britainology 6: Carry On Films (Based Anglovibes)

Episode Date: July 31, 2021

We're at it again. Nate and Milo have reviewed the 1968 film CARRY ON UP THE KHYBER for yet another Britainology, and this one is a real laser-focused look at this absurd island. Why is it so horny? Why is everything a double entendre? Is this really the nation that once ruled the waves? You be the judge -- hope you enjoy! If you want more Britainology, you can get 2 episodes a month on the $10 tier, or one episode a month on the $5 tier. Sign up on Patreon here: https://www.patreon.com/trashfuture   Please consider donating to charities helping Palestinian people here: https://www.islamic-relief.org.uk/palestine-emergency-appeal/?gclid=EAIaIQobChMI3oja5NbR8AIVSOmyCh2LdQ9rEAAYAiAAEgKM9PD_BwE and here: https://www.grassrootsalquds.net/ *WEB DESIGN ALERT* Tom Allen is a friend of the show (and the designer behind our website). If you need web design help, reach out to him here:  https://www.tomallen.media/ Trashfuture are: Riley (@raaleh), Milo (@Milo_Edwards), Hussein (@HKesvani), Nate (@inthesedeserts), and Alice (@AliceAvizandum)          

Hello. You're listening to yet another episode of Britonology. I'm Milo Holmes and I'm joined as ever by my co-host, Nate Bethea. Hello. It's a lovely autumn day in mid-October in London. The sun has shown for like 15 minutes today. And then it's just slate gray. Just too much, if anything. Yeah, exactly. Like a bunch of British people are going to get melanoma by accident because of this. Like basically everyone's dad and uncle has gotten a sunburn from this somehow. And yeah,

they're going to be yelling about this country's going to the dogs, you know. Yeah. It's woken up the Scots again. Exactly. It's terrible. Exactly. Yeah. You know, it's a very normal day. We've decided on this beautiful autumn day to spend it journeying into the cursed minds of Britain once again. We have. And this week, or rather this episode, we've decided to talk about a series of films that you are way more familiar with than I am. The Carry On films. Oh, yeah.

Now, we didn't go so far as to punish ourselves by watching all like 32 or 36 or however many Carry On films. 31. Yeah. I mean, good God. I only know that because I'm looking at the Wikipedia page. I'm not like, I don't have that much of an encyclopedic knowledge of it. Yeah. I mean, it would have probably have been an entire separate podcast if we watched every Carry On film and reviewed them. And I would have fucking set myself on fire. I would have fled Britain. I would have ripped up my British passport and fucking swum into the goddamn English channel.

I'd be like, I don't care if I land in fucking the Netherlands and I have to learn how to play honk ball, hoof to claw. So like, I don't care. Get me off this island. This is like your wife just finds you like twitching in your sleep and muttering stuff to yourself like, oh, missus. Oh my God. So my big takeaway from the beginning was that I should clarify. Initially, the film, the film that we watched was Carry On Up the Khyber, which is, I picked for Nate because I knew it was the one that Nate would love the most because it is a Carry On film set half in like the British Raj in India and what now would be

Pakistan and half in Afghanistan. Although it looks like it was filmed in Scotland. It doesn't matter. Yes. The countryside is not looking very Afghan at all. However, also there are no Afghans or Indians or Pakistanis. There's just a lot of white British people, some of whom are wearing brown face. Many of whom are doing slightly in the modern years, problematic accents. Let's just call it that. The film came out in 1968. And some of you who follow me on Twitter may have noticed that I tweeted a bit when I was

watching it during the time I was watching it and then afterwards and I said, this is the worst piece of shit I've ever seen. That's one comment I made. The next one was this is really unfunny and racist, but also horny the entire time. Oh, is that deeply horny films? Yeah. And horny in a way that's never explicit, but always just like body and full of double entendres. And it's just, it's like, okay, I did a writing program. I did a master of fine arts and creative writing. And one of our instructors made the comment that if you have a sort of recurring joke in a story that once is great twice, okay, three times is too much. If you're

going to do it more than three, you have to do it a hundred times. And then it becomes funny again if it's just constantly fucking happening. And so to me, that's... It's jerk van de klok. Yeah, absolutely. And that to me is what gives the film humor is that it's basically nonstop horny jokes the whole time. You can see how some of this filtered into other British comedy. There are some elements of like the shows I'm familiar with like Blackadder or Monty Python. There's also some things with regard to shows that I've watched like Mel Brooks films from the same period that are kind of like this. But this is just horny vaudeville, but filmed, but also very deeply British. Yeah. And there's a lot of like people going,

there's a lot of like just what we might call like horny voice. Like all of the... Like in Carrot, because I think it's a whole thing of like to understand Carrion. And I think that this is going to absolutely break the psyches of our American listeners trying to get into fucking Carrotville. I mean, like you're used to being tortured with British stuff, but they are not. And like the Carrion films, I mean, these are genuinely a British institution to the point where like as a child, I can just remember these big... You know, when there's like Sunday afternoon and they just put some old shit on TV, it would invariably be a Carrion film. I don't really remember the plots of any of these films

in that great detail, but like I have seen them many of them. What was it? The network, there was an American cable network on like basic cable. I think it was like Turner Classic movies or something like that. And they show a lot of these things. And the best way I could describe these films is that imagine taking the sort of general rhythm and pattern of like something like I Love Lucy, but then making it really British and really horny. And that these have become kind of, I don't know, like emblematic of a kind of mentality about, I don't know, the empire, British greatness, the thing about British humor and those things along those lines. But when you watch them now, you're just sort of like, this is just... It's like the Michelin

web sketch, like the humor gets ruined if you just say, go, should I just take my cock out now? It's no longer because everything is about like, oh, I'm gonna take your temperature on. Yeah, because actually this is something, right? Like our listeners might be more familiar with the Michelin web board in 1970s hospital sketch, which I also sent tonight, which is very much a direct send up of the Carrion films. I think that's almost all that it's referencing. And yeah, like these films are like, because one thing I would say about them is that they're extremely knowing. It's like, it's not supposed to be a good film. It's like, very much is like, deeply sort of like pastiche. And I don't know why they decided to make them so horny, but like every

single Carrion film, it's like the exact same. It's just constant, doublant, tondra, vibes. But also, like, Carrion films in particular are very... They're not just... This isn't just Britonology. We're now like even deeper into like Cockneology, because they're incredibly London. Like they're all shot at Ealing Studios. Like the whole thing is like, powerfully shit my nan would say. And so like there were obviously, there were loads of like doublant tondras in the film, which you didn't get because you weren't raised by a four foot 11 insane Cockney woman, right? No. 100%. I mean, there were things that I got, but also the things that were sort of, I was helped to get by the visuals of just like boobs are out or something like that. You know

what I mean? Like it's just not actually exposed, but rather like just close up shots on... Sign language. When the boobs are out, it's a doublant tondra. Yeah. Close ups on boobs and huge preseers and things along those lines and just like... All right. If we talk about the plot of the film, if you summarize the plot of the film, it's legitimately this stupid. There is an elite unit, notionally elite unit of British troops on the border of Afghanistan, and they have to wear a Highland uniform. And one of them gets caught... The third foot and mouth regimen, which is the first little gag of the film that you get. And they're not supposed to wear underwear. And as such, the Afghans and the Indians are terrified

of them because their dicks are hanging out. However, one of them basically gets accosted by... Private James Whittle. Private James Whittle is one of the eww characters. It's cool. Yeah, exactly. He's a private who looks about 50 and an enormous man who at least looks like he could be Afghan, but is extremely... His name is like Bob Smith or something. He's not Afghan at all. But bunged it in. Bunged it in. Yeah, great. Absolutely. He basically assaults him and discovers that he is wearing underwear, which is... Because he's wearing undergarments that they're issued but not allowed to wear, this apparently will... Which is incredibly British, actually, to issue you something you're not supposed to wear.

That's 100%. Yeah, US Army too, 100%. We gave you this stuff and you can't wear it. Shout out to the random American military listeners. If we have any, you all know what we're talking about about the polar bear suit. You're not allowed to wear that shit. They might issue it to you. The polar bear suit. So there's the extreme cold weather clothing system or acronym, Equix, as we call it. And the very top layer is basically like a big puffy coat, like a gray North Face style puffy coat and marshmallow suit. We also call it that. So there's a couple of... Like a fleece. We were sometimes allowed to wear the gray fleece. I have never... The only time I was ever allowed to wear the marshmallow top was basically in

like a cold weather training thing where we're supposed to like, trust your clothing kind of thing. Because it looks too comfortable and too cool, there's no way that ever let us wear. It just looks too badass. It's like a fly-ass wrapper jacket and you're not allowed to wear it. Never. Not allowed to wear it. You're just wandering around looking like a two-pack. I did see a guy wearing when he was like a Navy dude as an augmentee in Afghanistan who was part of like the counter IED training thing. And this dude clearly thought he was the coolest guy on the planet because he had like big hair for a military person and was walking around in like the big marshmallow jacket with just a gun tucked into his belt, like just a fucking 9mm.

And that guy was Pete Butch. Yeah, he was just way, way, way too cool. Also never left the fob. But the point being... Navy. I mean, why was he so far from the sea? I know. He was closest to the... In a country very close to the point on the planet, it's the furthest from any body of water and they sent a fucking Navy. I don't get it. Absolutely. But long story short, okay, we've done great. Somebody's got to teach these people how to be gay. That's a thing they've never learned before. There is no history of that here. I mean, Michael York in the carry-on films would be too powerful.

Yeah, yeah, yeah. The projector reels would have melted in 1960s British cinema. Having it off with a twink. You're not allowed to wear that sleeping bag uniform private. Take off your clothes right now. Yeah, so basically, we've digressed to talk army talk for a second. But point being, the private is not allowed to... No one is allowed to wear these undergarments. But not only is this private wearing them and he gets captured and the guy, obviously, he gets knocked out and the bunged it in guy takes them off him. And then reveals to... That's all off-camera, by the way. It's just recounted later in like a pseudo-horny way.

Of course, yeah. And something about the private, his privates, etc. Yeah, you couldn't miss with that shit. Anyway, the Kazi, the leader of the Raj or whatever part of India they're in, which... Yeah, he's like the local Indian slash Pakistani ruler. This is another gag in the film because I believe Kazi is an Indian or possibly Arabic word for like a toilet. And basically, in cockney, kind of like slang vernacular, a Kazi is a shitter. Or a Kazi can mean like a shithole, like a bad place to even want to go to. And so there are all these jokes about people being on the Kazi or like in the Kazi, like stuff like that, but where it implies they're taking a shit. So they're actually just meeting

with this guy. Yeah, exactly. So long story short, also played by a white British guy. Yeah, Kenneth Williams, who is in every carry-on film. And I have to say, you could think that he is doing like a slightly problematic accent, but that is just the voice that Kenneth Williams does. Kenneth Williams talks like this. Oh, I'm not sure I could do that. He sounds like really camp Alan Rickman. That's the Kenneth Williams voice. 100%. But he's also got a very tightly wound turban. And it just, it basically looks like as long as he's only surrounded by dudes, it would be Te Lawrence having the best time of his life.

And so basically the Kazi and bunged it in, decide that they can lead a rebellion against the British because no one in India or Afghanistan will be afraid of the British and their Highland guards and who are the third foot and mouth regiment. If they know that they wear underpants. Absolutely. And this is basically like a state secret. However, it's then revealed that basically all of them wear underpants because they're not supposed to do it, but they do it anyway. Yeah. But all of them believe that none of the others do. Exactly. And so they have like a surprise open ranks inspection where they're all forced to lift their kilts and it's revealed that all of them are wearing it. But the governor of

this province or whatever, the guy played by Sid James. This is a Sidney Ruff Diamond. Yeah. His extremely horny cockney wife snaps a photo with an old timey camera. This is supposed to be 1890 because she wants to see a bunch of dudes dicks, but instead the picture is a bunch of dudes all wearing underpants. And so because she has this picture, she then decides she wants to have sex with the Kazi and she promises him that she'll give him the photo if he has sex with her, but he keeps refusing to do it. Yeah. It's heavily implied that the Kazi is gay. I think it would be safe to, given that he's played by Kenneth Williams and he's doing everything he can to

avoid having sex with the big busty English woman. He's going like, oh, wouldn't you like to have a look under my garments? And he's like, oh, not now, darling. I must hurry away. There is a fun gag actually where she's talking about like, oh, wouldn't you like to have sex with me? And he's like, oh, no, I don't make love. And she's like, why not? And he's like, well, I have someone to do everything for me. Yeah, I mean, you're getting the vibe if you understand where we're coming from with this. Yeah, it's just that for like 90 minutes. And like all of these, all the main characters are in like every single one of these films, they just like reuse the same cast. And like, so a lot of these people were definitely big household names at the time. I

mean, like Sid James, who's been dead for some time, who plays the British governor, is like an iconic British figure of just like extremely cockney guy who is renowned for this like dirty laugh that he has, which is like. He's also, if I'm not mistaken, South African originally, he was from South Africa. He was a South African Jewish guy who left and moved to Britain. And I could kind of pick up a little hint of a South African accent every now and then when he talked. But also apparently he was such an inveterate gambler who constantly lost money that like he had to keep doing the horny films. He had to keep doing the horny films in his agent and had like a secret account. So his wife wouldn't know how much money he was making.

So in a way, like the sort of debauched English guy that he's playing, he's not that far off the mark. So he's basically just playing himself. I imagine him and his wife having an actual carry on film dynamic where like he's away gambling. And she's like, Oh, well, I hope he's not losing his shirt. So anyway, basically, Lady Rough Diamond gets kidnapped, gets taken by the Kazi. They think she's been kidnapped, but actually she wants to fuck the Kazi. And so he has to go to Afghanistan. Well, actually prior to that, the governor goes over to the Kazi and tries to convince him that

they don't wear underpants. The Kazi shows him the underpants and he's like, well, why don't you prove it to me? And he has like Captain Keen, the sort of a inveterate British Army officer. This was another character I really liked because it's like a very good Captain Keen and the Sergeant Major, whose name is Sergeant Major Mucknut, who are like an amazing, an amazing parody of the sort of like British Army officer Sergeant Major Combo where the officer's just going like, Oh, oh dear, well, we can't have that. Can we? And then the Sergeant Major starts going, pull up your skirts now. This kind of constantly drilling people to walk them around and stuff like that. And there's a moment where Sir Sidney Rough Diamond asks them both to lift up their

kilts to show the Kazi. And the Sergeant Major is like, Oh, I'd rather not. And then he's like, I've ordered you. And he's like, I'd rather not. And then they have this like whispered conversation. And then you hear the officer go, but so am I. And it transpires that they are both also wearing the undergarments despite being the people who had initially initiated this entire disciplinary proceeding about not wearing undergarments. Exactly. And so that's that's then leads to the scene in which Lady Rough Diamond takes the photo, expecting to see a bunch of dude's dicks and instead they're all wearing underwear. So then she takes the photo to the Kazi. And I'm just thinking about that bit now that like the entire conceit there is

that she just wants to photograph a bunch of guys dick. Taking a secret dick pic. No, absolutely. That's the fucking plot. And that. Oh, I have a racy daguerreotype. And that drives the plot of the rest of the film is that she has this print of the guys lifting their skirts up and they're, they're, you know, all wearing underpants. And so basically, she takes it to the Kazi and she says that he can have it. There's a whole joke about she's taken this racy photograph to the Kazi, which makes it sound like she's taken it to the toilet to check off. You know, actually, this film is excellent. It rules. It's extremely based. There are some

slightly racist bits, which it could do without, but in general. Anyway, so he then makes her come with him to Afghanistan to meet with the tribal chiefs because he wants to get them. He wants to show them the photograph to get them riled up because then they'll be like, well, the English don't actually wear underpants. And so we can kill them. Well, they do wear underpants. Right. Yeah, they do. They do wear underpants so we can kill them. And so they went up going across the, you know, the Khyber Pass to Afghanistan. And then basically, well, two things happen. Number one, because she's gone missing, they think she's been kidnapped. So the Captain Keane, Sergeant Major McNutt, Private Whittle, and a horny evangelist minister that

they meet. Oh, yeah. And basically blackmail. Mr. Belcher. Mr. Belcher, who they blackmail into going with them because he speaks the language. He's never specified which language, but he speaks the local language. And they blackmail him by basically getting a hot girl to come seduce him. And then they catch him in the act. And basically, it's implied that he apparently is known to be this horny, debauched guy, but that it'll ruin his reputation if it gets out. Yes, he's a missionary, right? So there's this, yeah, because there's that scene where they like, they drag him out of this brothel that he's in or whatever. And it's like fully like loony tunes. Like he's got the like, the bib of his shirt is like curling up at the end.

Yeah. Yeah. So long story short, they go to Afghanistan. They put on fake beards, pretend to be tribal chiefs. They basically the Kazi gang gang trans up, but as their own gender, just becoming we're becoming more male. And the Kazi addresses this group of Afghan tribesmen who shoot at him when they're expressing happiness for the agreement. The Kazi is like really scared because they keep firing the guns loosely in their direction. And he says, don't worry if they hit you, it will only be by accident. Yes. And they shake their heads up, down for no and left, right for yes. And basically the whole thing is like- And they say, nee, nee, nee, nee for yes and yee, yee, yee for no.

They're, yeah, apparently they're inscrutable, completely inscrutable. And so what they do is the, is that our plucky band of heroes basically fakes their way into the compound, pretending to be the tribal chiefs in question, and then gets told to like take advantage of the Kazi's hospitality, which they basically get sent to a harem and then just get really horny and chase women around without actually having sex with them because they can't show that in film. So instead it's just them kissing them and like frolicking in a pool. Just like rubbing their boobs a lot. Like there's a lot of just like motorboating in this film. Exactly. There's like low key, just like that is, that is what sex was in Britain in 1968,

was just like motorboating some fat titties. So basically then the actual tribal chiefs show up and it's revealed what's going on. So they have to escape. They escape with the help of the Kazi's daughter. Who is in love with Captain Keen. Yeah, falls in love with Captain Keen. And in the process of basically escaping, which they do eventually escape, Lady Rough Diamond's photograph falls out of her, of her brazier because she's, she's hiding in her fucking tits basically. And it falls out when they're climbing a ladder that a fockier helps them by pulling an enormous ladder out of his basket and so on. Of course. Yeah. Yeah. Just every, every shirt. Snakes and ladders. Oh, fuck, that's actually the joke. It's in the fucking movie.

This film is excellent. It's like the more, the more like actual critical analysis I do of this film, the more I'm like, wow, this is actually really densely written. So effectively they, they get out, they escape, but the problem is, is now the Kazi and bunged it in have the photo. And so they're able to raise their tribal army. So what happens is they then retreat, they run out, they get passed back to the, the, the border fort where they've discovered that basically everyone has been killed. Yeah. Which actually, as a scene, I didn't remember from the film and kind of surprised me because the whole film is like, there's constant like, like both nodding towards

both sex and violence, but none of it ever actually happens. And so there was only just a pile of dead bodies. And I'm like, Oh, okay. All right. Well, damn. Yeah. And effectively, so Private Whittle and Sergeant Major McNutt, if I'm not mistaken, stay behind to hold them off, but all the bullets are gone. All the gun barrels are bent. The correct me if I'm wrong, but they've put like a phonograph inside the Maxim gun cartridge. So it plays music when they're trying to fire. But there's an amazing scene just as, as this happens, because they're with the,

it's like the Kazi's daughter and the, the governor's wife and Captain Keane, Private Whittle and the, the Sergeant Major are at the Khyber Pass and they see the like the army of the Kazi and bunged it in approaching. And so they have this conversation where Captain Keane says, well, I suppose I will have to say and hold them off. And then the Sergeant Major goes, that's no job for an officer. And he goes, but Sergeant Major, it's certain death. And he goes, that's why it's no job for an officer. And he goes, oh, yes, quite right. So then basically they stay behind. Of course, they don't get killed. They eventually just run away as well. They're able to escape. And then they return to the,

to Sydney Rough Diamonds Palace, the, the Raj Palace or whatever, where he has been basically notionally making amends because the Kazi has wronged him by stealing his wife. So to make amends, he has to send over like all 73 of his harem mistresses. So he's just constantly having sex with them the whole time. Yeah. Sydney Rough Diamonds Dick is like a pepper army at this point. Like just fucking the whole. So of course, it's never shown on scene on, on, on, on screen rather. It's just more implied that he's working, slowly working his way through. And the whole joke is it's Tiffin, which I guess is some kind of word for sweets. I'd never heard this before. Oh yeah. So Tiffin is, I think a Hindi word to do with having like afternoon

some kind of snacks. Yeah. And so, but there's actually a British cake called Tiffin, which is kind of like a, like somewhere between a brownie and a flapjack. It's kind of like a hard chocolate, like cake type things, like like layers of chocolate and biscuit and stuff and be like a rocky road or something. Yeah. Yeah. Yeah. Yeah. Yeah. And so, yeah, Tiffin is like afternoon tea, whenever they're having Tiffin, it means they're fucking. Yeah. Like this is constantly referenced. And so. And one of the, one of the, the Kazi's wives is in there with him when his own wife arrives and she's like, this is great. I can tell your wife that we have made amends. And he's like, you'll do no such thing. He begins like shoving her into a wardrobe. Yeah. So effectively then,

when they, they can then get surrounded by the Kazi and the Afghan army who begin, you know, firing cannons and shooting at them. And what they do is then to have a normal dinner, a nice black tie dinner. Yeah. This was, okay, this was a part of the film I didn't fully understand because like the bit is that they're having dinner and like cannonballs keep coming through the window and stuff. And there's like a string quartet playing, but like plaster keeps falling off the ceiling and like landing and all and gets a point where they're all just like completely white with plaster. They just completely dissociate. They're like, dinner comes first, we're just going to pretend this isn't happening. Like, well, apparently we're going to get overrun

and killed. So we're just going to have a nice dinner, pretend this is not happening. This to me is the missionary, Mr. Belcher keeps freaking out. Yeah. This to me is the most British scene of the entire film, like 100%. Like whenever the British people, I've said this before, the British mentality is, well, the other room in my house is on fire, no need to get excited about it. I'll just put the kettle on. Like that is 100% the mentality. So seeing this scene, I was just like, yeah, this I believe. Anyway, they then get in a firefight when they breach the wall. They come out and start firing at people. Not very many people are killed. It just seems like struggling. Yeah, there's a lot of just like grappling, grappling. Captain Keane goes out and

wrestles with a few Afghans and then comes back and goes, fall back, men. And then when they do fall back at that at that moment, basically where it looks like all is lost, he orders them to raise their skirts and they're finally not wearing underwear. And this scares the Indian slash Afghans so much they all run away. And thus the day is saved. And then and Kenneth Williams says, why are you all running away? What's to be afraid of if someone not wearing something under their skirt? And then he looks in and goes, oh, then again. Yes. And then Mr. Belcher staggers out. What if a gay man was afraid of a dick? Mr. Belcher, who's completely shell shocked at this point, staggers out and looks at the Union Jack in the compound, which says, I'm backing Britain on

it. And he says something to the effect of like, they're all mad, but yes, I am or something like that. And then that's the end of the film. Yeah. I mean, what could be a better metaphor for the current Brexit scenario that a man like disheveled and covered in plaster from his own house, falling down, stumbling out of a building and seeing a Union Jack says, I'm backing Britain on it and being like, yes. And then or you know, an entire gathering of high society, people basically just be like, oh, we're getting shelled. We're gonna die. Let's have a nice dinner. Let's just not talk about that. Exactly. Yes. More chlorine, sir. Exactly. So long story short, this is the most British thing I've ever seen in my fucking life. And when you tell me that these films are all

sort of more or less the same, that they're just like different scenarios, but the same actors and always horny and sexist and racist because of their time. Yeah, I wasn't surprised at all. But to me, I guess in a way, I've never seen any of these films before. And I've only seen British comedy, like TV comedy and stuff, from either a slightly later era or much later, that either kind of indirectly references it in a way. It's never the actual thing. To me, this film is sort of like, now I understand where Benny Hill comes from. Because it's just, it's the same sort of thing. Like it's just like, oh, I'm horny. Just that nice stuff. Yeah, this is probably the most racist one because most of them aren't really set in

historical scenarios. They're mostly in like, there's one called like carry-on camping and it's just set on a campsite. Like most of them are much more banal scenarios than like the British Raj in India. Yeah, exactly. So this one really gets to the heart of things, I suppose. Yeah, which is partly why I picked this one. I mean, I can read you out some other titles of carry-on films because even I, I've not seen all of them. Absolutely. Someone pointed out to me that carry-on up the Khyber, the Khyber Pass, ass as rhyming slang. Oh, I didn't even know that. He's going right up the Khyber. So we've got, oh wow, they go back to 1958. Jesus Christ. Carry-on Sergeant, carry-on nurse, based on nurse sketch, of course, fans of the show. Carry-on teacher, carry-on constable,

carry-on regardless, which I quite like as a diversion from the theme. Carry-on cruising, carry-on cavvy, carry-on jack, carry-on spying, carry-on Cleo. I mean, carry-on spying is actually the name of a new British law, I believe. Carry-on dogging, the only way to have sex. Exactly. Carry-on cowboy, carry-on screaming, which sounds like a much more effective advice for Britain. Don't lose your head. Follow that camel. Okay, that one might be slightly racist. Carry-on doctor, carry-on up the Khyber, carry-on camping, carry-on again doctor, carry-on up the jungle, carry-on loving, carry-on Henry, carry-on at your convenience, carry-on matron. It really kind of started to get more obvious as time goes on. Carry-on abroad, just

generically abroad, carry-on girls, carry-on dick, carry-on behind, carry-on England, that's carry-on, carry-on Emmanuel, and carry-on Columbus, which is 1992 for carry-on Columbus. There's also a list of unmade carry-on films, which entered pre-production before being abandoned, which include carry-on smoking, where the story rolled round a fire station, carry-on spaceman, and which involved going to space. I'm not surprised they didn't make that one. Just a horny film saying space. As one does. I would love to see what the bawdy double entendres would be in space. Yeah, it does add a whole new dimension to it, where you're sort of confined to

a physical space, like you can't go outside because it's outer space and you'll die. You have to be horny and chase girls around in zero gravity, just fucking floating back and forth. In a way, it kind of tests the limits of the genre. The airlock knob is stuck. I can't budge it with a spanner. I have to suck it off. Oh, don't open it. You'll get sucked off. And never do you awful. Chance would be a fine thing.

This is what Britology should be now, just me and you improvising carry-on dialogue. It's quite easy. You just have to put stock phrases like chance would be a fine thing after things, or just like, oh, matron. Fucking Christ, man. Yeah, I mean, nothing. I've made the joke before, I think, on trash future and elsewhere, that growing up with one English parent that I felt like maybe something of an affinity for stuff, because I just grew up watching British TV or recorded British TV and things like that. But nothing's first words what it misses. But nothing has made me feel more American than living in Britain. So I'm like, what the fuck is

this? What the fuck is this place? What is going on? And this, I think, is one of those examples of it where, to me, this feels so foreign and just weird, like obviously common language and such, like I understand what's going on. But I'm just sort of like, y'all are insane. Oh, absolutely. And especially in 1968, a very like peak Britain hours. There was a back when there were 240 pence in the pound. There was a moment for me where I had the same thing with America when I was dating Emma. And for the Super Bowl in 2018, we went to one of her like rich California friends had this like skiing lodge in Salt Lake City. So we went down there for this like Super Bowl weekend. There were like 15 of us there. So I'm the only British person

there, right? Everyone else is incredibly like waspy America. And like we watched the Super Bowl, which is like what I mean, I really don't care for American football. What I especially don't care for is British people who aggressively like American football. I'm like that is just pathetic. It is weird. You're a cuck. Like you've got your own sports to choose from. Don't like like American football just because it's been marketed to you, you fucking moron. As an aside, we one time got dinner in a pub and it was the night of the Super Bowl and people were literally like showing up because they were gonna like start watching the game at, you know, 11 p.m. or whatever. I'm like, you're insane. I'm American and you're fucking insane. What are you doing? Do you remember when

we were in that restaurant? Yeah. And that guy, the waiter was like, oh, you're American. I'm a Packers man myself. What did you make of the Super Bowl? The Super Bowl had been like four months before. And I was like, dude, if the Colts are in it, I'll watch, but the Colts won't be in it ever because they fucking suck. The Colts won the Super Bowl once in Indiana. We'll never forget that, but like absolutely. Yeah. You want me to talk about Peyton Manning not being able to run. I can do that all day long. But don't forget the Colts and I'll never forget the Dave Matthews band. Dave Matthews band is a whole other story though, because he's a South African guy in America who started a jam band that's just weirdly popular. And like apparently was at one point the most

successful American touring act, which does not surprise me at all, given the weird devotion attached to it. I wonder why America would appeal to a white South African. I wonder. But you were saying you were, yeah, and we watched the Super Bowl and, and, you know, whatever it's a vehicle for advertising mostly. But I was enjoying the adverts because the adverts were like, do you like beer by this truck? Like there's like, like British adverts are weird, but there's a joy to like the incredible like sledgehammer simplicity of American advertising, which I do always enjoy. Like, yeah, do you like, do you like tits by this loan? Like very, I enjoy it. But yeah, so we watched the Super Bowl and then afterwards, like later that

night, one of the, one of the Americans in an attempt to bridge that great cultural divide was like, it's like, oh, that must be like such a crazy fish out of water experience for you, like watching the Super Bowl in America. And I'm like, not really. I was like, do you want to know what really made me feel alienated? And he's like, sure. And I'm like, when after the Super Bowl, Saturday night live came on and you were all laughing at the jokes. I'm like, there were no jokes in that, buddy. You were just laughing at noises. You were laughing at things which had the rhythm of jokes, but were not funny in any way. What I love about Saturday night live is that when they do happen upon a funny concept for a sketch,

the sketch is like seven minutes long because they have to fill what like an hour or two hours of fucking, like it's a long ass show. And so if they have a funny idea, it would make for like a 90 second to, you know, five minute maybe sketch, but it just goes on forever because they've got to fill the time somehow. Absolutely. They could just have more of the band playing. It would be a lot better. I could just do more. I would appreciate it if Saturday night live was at least 50% just carry on shit. Like just like slapstick people making Doobal on Tondra's, you know, there was actually a Saturday night live running joke about these two guys who were like 18th century British Phops were like powdered wigs and stuff. And they just talk about yes. And invariably,

inside the re-smoke house invariably get discriminated against because like they would they would go to a restaurant and they would the sign would say, please wait to be seated. And then they turn around and say, no Phops allowed or something like that. Oh, I think I have seen this. Yeah. Yeah. So there were there were things, things maybe maybe that might be up here alley slightly, but no, it's more like Saturday night live. The thing I always tell people is that there's always this appeal to like the Halcyon days of when Saturday night live was funny, because a lot of like now beloved comics got their start there. People like Eddie Murphy, John Belushi. I think Chevy Chase was on it for in the early days. Dan Ackroyd was on it. Dana

Carvey, Mike Myers, the people who were went on to be the comedians in America, but like it was never good. Like there were Mike Myers who went on to make basically the modern carry-on film. Yeah, exactly. Yeah. I mean, honestly, Austin Powers does draw so much from both carry-on and from Bond movies. Although to be fair to Mike Myers, his parents are English. And so like, I think he grew up in Canada, but like his parents are English immigrants. And so I get the impression that like for him, you know, it was an opportunity to just like sort of meld that. It's a very horny microclimate up there. That's all we can say. Very, very much is. Yes. So as all of our subjective evidence has proven of people from Canada, they are horny. But yeah, I mean,

Saturday night live was never, it was never consistently good. And anybody who thinks back at him like, oh, I remember it was good. Like they're just, that's just sort of like the rose tinted effect of looking back on like when you were young and stuff. Because I remember watching it, I remember laughing at like Norm MacDonald doing weekend update. But then if I go back and watch those, it's like, for one, his jokes are kind of cringe, just like generally punching down kind of raises kind of sexist, but also like they're just not funny. Like it was never really funny. The best way to watch Saturday night live is like buy one of those two hour, I don't know, like a fucking DVD of like The Best or Saturday Live of the 1980s. And they will be able to fill

two hours of funny stuff because they have an entire decades material to work off of. It's just not good. They produced one good two hour show in a decade. I mean, the Eddie Murphy sketch about like white, because there was this famously, there was this American book that was then made into a documentary in the sixties called Black Like Me, where a guy literally like basically did like a professional quality blackface, like pretend to be black and like wrote about his experience, like what was like being black in America. And so Eddie Murphy did one about white like me, where like basically like he goes to a bank in whiteface and everybody's like sober until like the one black person leaves and then there's just a party and there's throwing

money everywhere and they're like pay us back or don't like that kind of shit. Like Eddie Murphy had some really good stuff. And what's it called? I want to say, I don't think Dave Chappelle was on Saturday Night Live, but he had, he's guested on it before, you know, and weirdly like shows like Mad TV basically managed to be at times slightly funnier than Saturday Night Live, just because it is such a fucking tired format at this point. It's such a long show, but also it has that it has that curse of TV where it's trying to be like family programming and trying to like appeal to like across the board. Yeah. I mean, and Lauren Michaels has always been like a huge asshole about like ever pushing it in a different direction, like people who did

anything vulgar that could have gotten them in trouble with the FCC or anything like that. Like he would like blacklist them forever and stuff like that. And so I mean, it's just one of those things where yeah, it's just not, it's for one, I don't think it's live anymore. And for another, like it's just not funny. I mean, that's the thing that is a thing that I really hate in entertainment is the concept of family entertainment. Yeah. Like there's no such thing as family entertainment, children's and children's children and adults do not like the same things. Stop trying to make us like the same things. And then when you do have a crossover thing that's both popular with kids and adults, like say for example, Shrek, the reason why it's popular is because

there's secret horny jokes in it the entire time. In a way, we all just want to be British. It misses. Yeah. Exactly. See, that was the beauty of something like a carry on film because as a child, you don't really understand any of the like horny elements of it. So you're just like, oh, what a peculiar film about the British. They really like kissing and hugging and that's it because you don't actually see. Oh, he's giving her a mammogram. Yeah. I mean, I did recognize elements of some of these kinds of jokes in other British comedy things that I've seen that are like slightly more slapsticky than like modern stuff. And obviously like, yeah, the Michelin Weblook sketch that you sent me, like I get it now. I would have gotten that before because I

think I'd seen enough dumb British stuff to kind of pick up on it. But like for example, Number Wang in Michelin Weblook, I had not seen any cursed British game shows from the 70s before. So that would have been like funny in a way, but it wouldn't have been as funny as it would be for a person who grew up here, obviously, I suppose. Yeah. I mean, nothing will ever quite compare to the majesty of Bullseye. A game show where you play darts and you win prizes that are of just completely differing values. Like one of the prizes will be a lawn mower, like another prize will be a holiday to Corfu, but then yet another prize will be like a small kettle. The thing for me with the carry on films, I mean, what I know of them and having seen this one all

the way to the end was it did strike me in a way that it felt like I was watching a sketch comedy series in a way that like, obviously, this was like midway through the franchise, if you will. Yeah. Yeah. And so like, it just sort of felt as though watching it, a lot of it, like I bet you I would get a lot of sort of stock things if I'd watched more of the films because it does strike me. They found a formula that worked and they were like, we're gonna fucking run this shit into the ground. And that's just what they did. And I mean, apparently, Sid James is like a huge fan of them. He was like, look, I really love doing these movies. Like I make time to do these movies and stuff like that. Because like, to me, they just, it strikes me that they do represent a kind

of like, what I'm guessing would be a sort of like music hall, vaudeville sketch kind of thing. Like, if you're thinking about the people that these would have been popular for, your nan, for example, or people older than her, even, it does make me think that perhaps like, okay, you know, if you went to like the Hackney Empire or some shit, and they were doing sketches, this is the kind of thing you'd expect for a knee's up. Exactly. A lot of like that. Because you see sort of like, I guess someone like Bruce Forsythe, who we talked about on the show before, is kind of like a slightly sanitized version of this same brand of humor. Like a lot of his stuff when he was like hosting shows or game shows or whatever, there would be that element of like

doobal on tondra to it, but like in a slightly, a slightly more sanitized way. Similarly, like obviously like pantomime is a huge British tradition, which is maybe something we can talk about on this show at some point, but of basically having like, incredibly bawdy productions of plays at Christmas, which are aimed at children. So it's like a production of Snow White, but it's like incredibly horny and full of this kind of like, ooh, Mrs. Carrie on style jokes, but it's properly aimed at like six year olds, but it's so the parents can sit there and be like, horny. And I remember when I was a kid going to see a pantomime of I think Dick Whittington which had Jim Davidson in it. I'd British listeners to the show will be familiar with Jim

Davidson. I don't know if you've ever come across Jim Davidson. I don't think so now. He is a club comic from like the 80s, who now is like kind of sort of cancelled for just being, well, being a club comic from the 80s and thereby having a lot of like jokes, which are offensive. But at the time he was like a real sort of like, he'd presented some game shows and stuff as well. And yeah, I remember like, yeah, this whole thing was just full of like gags, like why do some chickens lay white eggs and some chickens lay brown eggs and they'd be like, because some chickens don't wipe their arses. It was like that level of Well, that was less racist than I thought it was going to be. So I think even Jim Davidson

would have struggled to be racist about chickens to be fair. Imagine if he somehow brought that into the whole into the whole race debate, he would have truly have been like an innovator in racism. I mean, if anyone could do it, it would be British comedians. Actually, they take that back. British comedians don't tend to be racist. They tend to just be like, they basically, if the modes of what's acceptable change in their lifetime, which invariably they do, they get really butt hurt about it. And then British comedians whining about how you can't say nog on a fucking TV show anymore is basically like, in the grand scheme of things, it's just like this country's going to the dogs, but for British comedians, it's a permutation of

bass, but it's just like it's specifically for them basically being slightly past their prime, the sort of David Bedeal effect, which obviously we know very well, because I cannot fucking stand David Bedeal. People at my benches. It's terrible, really. These people just don't understand comedy. Yeah. They won't even let me say Uber misses. Next thing you know, they'll just make me take my cock out instead of making oblique references to it for 90 minutes. What will it carry on film? But everyone's played by David Bedeal. Well, we have more blackface than the actual series.

I was playing a white character. I had to put on whiteface over my blackface. Yeah. I mean, just in case American listeners, you weren't familiar with the TV comedian David Bedeal, who has tried to reinvent himself as a anti-racism campaigner, specifically focusing on why he hated Jeremy Corbyn and why Jeremy Corbyn was an anti-Semite, et cetera, et cetera. You need to understand the framework of this. What David Bedeal completely failed to ever reconcile is the fact that in the 90s, he was on a TV show, a comedy show called Fantasy Football, in which for an extended period, he made fun of a guy who I think played for like Nottingham Forest named Jason Lee. And basically, Jason Lee was a black football player who had his hair

in dreadlocks that he would basically tie up in a bun, basically, or in a knot when he played. And David Bedeal made fun of him on the show by putting on blackface and wearing a pineapple on his head. And to the point where Jason Lee got harassed by fans so much his family couldn't even come to games because it was too distressing of just people wearing blackface and pineapples in the fashion popularized by David Bedeal, who was white and Jewish. It's a classic blackface-pineapple combo that we all know enough. And so to the point where he basically he wound up quitting football when his career kind of faltered. And he basically said like, I went through an extended period of depression because

I could not basically do my job without people putting on pineapples on their heads and making fun of me. And it's like, that's because of David Bedeal. So hilariously, and this is a whole other subject that I've talked about, that it's hilarious to me how often you have to clarify when a British TV comedian has decided they hate Jeremy Corbyn in the left and the Labour Party and so on and so forth. You have to separate into the have they done blackface on TV in the last of the years or not. And you'd be surprised at how challenging it is. So let's be perfectly honest. That is the Bedeal phenomenon if you're not familiar with him. But to me, bringing it back to what I was talking about previously is that I do think that

this kind of stuff, okay, the treatment of Indians and Afghans is extremely cringe. Like you can't get away from how incredibly like uncomfortably racist it feels. But most of the film is like you said, it's just beating like an oblique track around horniness and never saying it outright, but having everything, everything being alluded to in like the most just incessant way. It's just like every single part of the film is just like, why take my coat out tomorrow? Like that kind of thing, like it's very, very... Yeah. Oh, yeah. There's a lot of like back passages. I'll find your back passage.

Well, precisely, yes. I don't know if that was actually an expression that people use or if I just put like... Just anything that sounds vaguely sexual. You've got it in a carry-on film. Yeah, exactly. And so to me, I'm trying to think if we have an analog to this in America. And I don't think we do because I think that for better or worse in America, it's either completely sanitized and sexless or it's just like, we're fucking. You know what I mean? Like there's not really this middle ground where you're constantly alluding to sex without it being over. There are perhaps more... I mean, you can find some gray area.

I think about TV shows where it has to be somewhat subtle, but I mean, let's be perfectly honest. America is a country where for a film to be shown and be allowed to be seen in the 1950s, I think in movie theaters or on TV, I can't remember what it was, they basically weren't allowed to show a married couple in bed together. And so they had to do a split screen thing where they're like in bed but talking on the phone, but it's done in such a way as to imply they're in bed together because if they were in bed together in the shot, then that would have been seen as obscene in America. Wow. Incredible. Recent enough, in the sense that this was shot in color. So it has to be...

Absolutely, man. It was definitely post-war. So that's the level of repression, but then like... I mean, America is a Puritan country run by Puritans, as we know. But then also we have... We're constantly pushing the limits with regard to how much sex we'll show in films that are R rated as well. So it's that dichotomy in America of like incredibly repressed and also incredibly horny in a different manner. Yeah, yeah. Yeah, this is kind of a more... Because I think because in British society, we love nudge, nudge, wink, wink stuff so much just for its own sake. Not even to avoid saying

the thing directly, but just as a kind of like... Britain has made such a perverse R out of like communicating without directly saying anything that is sort of like... We love that as like a ground for humor. I don't really know why. Yeah, that's a good point, isn't it? I mean, I think about we don't really have that. Like for us, there's certain things where they have to skirt around things because of what you can get away with saying on TV. And also, more recently, if films were going to be released before the sort of streaming era, you had certain limits on what could be shown so that you could get an R rating and not an NC17 rating because like movie theaters typically won't show films that are NC17. And the films that we're supposed to sort of push the

limits to like make NC17 rated films successful were such huge flops that just sucked really bad. So it just never really happened. Yeah. Well, and also because I think there's this kind of thing where I just think Britain is like an extremely unsexy culture. Like there's certain things that we're good at and like sexy isn't one of them. So we've like leaned extremely hard into this kind of like sex in Britain is like always a joke. I always find this really funny. Like when you watch porn, right? And then often because you're watching porn in the UK, it will recommend like British porn to you. They have like a category for this now, like British porn. And occasionally, I'll click on it out of pure curiosity. And every time I'm like, no,

they're like 30 seconds in, they're like, oh, yeah, go on in. Oh, put your cock in me. And I'm like, no, we're so bad at this. Like even when both of the people are attractive, it just doesn't work. It's like, oh, you're a cheeky cat. Oh, yeah. I'll suck on your knob. But it's like, no, just stop this. I remember in, I want to say 2005, 2006, there was a thread on a forum that I was a member of where they were just screenshotting the most ridiculous British porn ads that were appearing as like pop-ups on ads. And just putting them in the thread like, have you guys seen this? Is this normal? Yeah. And I remember one of them was like, Britain's super, super, super tit queen shakes her

lovely jugs for you. It was just like, it was so ridiculous. I love it when she shakes her lovely jugs for me. That is, it's in my most viewed. And so, yeah, I do think that there's an extent to which, yeah, well, you know, which is funny to me too, because it's like, when I think about, when I think about the American portrayal of Britain, you know, the sort of like the commonplace expectations that people have, it's one of being really sexually repressed. But at the same time, if you know anything about Britain, clearly Americans are more that way. Americans are more directly sort of communicating our feelings to people. But when it comes to like, like, I'll give you an example of things,

when it comes to like talking about sex or like jokes about sex and stuff like that, it's way more restrained in America than it is here. I also feel the same way about, like, I was always told, like, there's certain things, you know, British people are really buttoned up about. But what I realized is that like they are, it's just that they're buttoned up about different things that Americans are. And so British people will say things that seem unbelievably forward to Americans, because like there are things that we're weirded out about. And so a good example of that would be drugs, like British people just talk about fucking taking drugs. Americans get so clammed up and uncomfortable about it, like, you absolutely

just don't do that. Whereas British people never talk about like social standing or money. Yeah, yeah, yeah, yeah, yeah, all the class signifier and Americans absolutely will. But like British people, I've been in situations where they just randomly asked me like, you know, to talk about religion or to talk about like traumatic experiences when I was in the military. I'm like, I don't really know you. Why are you asking me this? Like that kind of stuff. And I realized that it is a question of what are you buttoned up about? And I feel like these films kind of kind of touch on the fact that like, is Britain a like a sexually repressed place? Not really. But it's just more that the like you said, the way that it's treated in sort of

popular culture and in portrayals and stuff is that like, it's never, it's never like sensual. It's just like, it's either funny or it's just, I don't know, crass, but it's never, it's never tried like trying to be like, you know, let's talk about being lovers and stuff like that. It's never like that at all. I mean, Britain, Britain is the country that invented the word slapper. And for that reason, I was talking about one of my few more friends the other day, just like bringing back the word slapper, like they've done reclaim slot. Let's try and reclaim slapper. I think that's a great. I never even heard slapper before. What is that? It just basically means like slag or slug. It has that more like kind of, whereas slug has a bit

of more like kind of aggressive. Slapper has a bit more like kind of like bawdy 1960s undertone to it, but like describing someone as a brass or something. I remember there was so much stuff about World War II. I remember reading a book about the European Theater of Operations about how like American soldiers were just surprised that like British women weren't necessarily as repressed about sex as Americans are. And so there's like so much fucking going on with like American soldiers stationed here to the point where like it was kind of a joke amongst British people. And there was famously, there was an anecdote about a sign somewhere near like an American base in, I want to say in like Norfolk or something like that, where people had put up a

sign that said, you know, attention Americans, GIs, please drive slowly. That little child in the street might be yours. A lot of fucking, you know, that's the thing is Americans, Americans didn't realize how repressed they were until they went to other countries where like people aren't as that's how that's how your British half of the family became American. Yeah. Yeah. Well, my grandmother was fucking 16 when my mom was born. So yes, 100%. You are a product of horny British people in World War II. Yeah. Well, post-war, but yeah, exactly. Yeah. Yeah. Yeah. So I mean, yeah, it's, it's wild. But I mean, watching this film has, it's grandfather just going, ooh, I miss it. It's like a, it's like a deeply southern accent. Ooh, man.

Madam, mind if I take you out for a root beer? Oh, I'd love a rocherick. Ma'am, would you, would you mind terribly if I were to take you around the back passage? Yeah. Would it be, would it be forward of me to suggest that you join me in the car? I don't really have any bedspice, but he's swallowing the corner would do. Ooh, bend me over the hostess trolley. Love. I don't know if that's a Norfolk accent. I can't do a Norfolk accent. Norfolk. Okay. Norfolk. It's a bit like that. Fuck it up. Bend me over the hostess trolley. Why not? The thing about, the weird thing about Norfolk is it's about as far east in the country as you can get, but the accent they have is like West country. Yeah. I've never

really, I've never experienced it. It's like to be able to keep like. Rural is the only way I can describe it. Like our crunchers might describe that. Yeah. And like I said, my mom's family, my grandmother's family, it's all Norwich, that area kind of people. So yeah, it's just like wild. But yeah, man, I, in a way, I felt like I learned a lot, but I think my big takeaway that I just said, the thing that, that when I, when I mentioned it online, saying that like, this is a, this sucks, but B, this is really unfunny and racist, but also horny the entire time. And people are like, yes, that is carry on films and that is Britain. You must understand that. And so I felt like in a way I happened upon something crucial in that regard. I actually like, in a way, I mean, I

think that like that we have, we have a slight difference of opinion on this purely on the basis that I think that like, for me, A, there's a slightly more nostalgia attack. Sure. Yeah, that makes sense. And B, like there's that element of like, I really get all of these like stupid cockney double entendre as well. Like half the phrases is just stuff you've never heard. Yeah. And I wonder, has that kind of like pleasing, like timbre of like a joke your nan would make? Like I said, my buddy in New Mexico, and I was a kid, his dad was a rabbi, and he had like every Mel Brooks movie ever made. Like Mel Brooks is extremely Jewish, American comedian. I grew up watching lots and lots of Mel Brooks movies, which are no joke,

like also horny, but in a different way. And so in a way, I wonder if we watch, I don't know, high anxiety or history of the world part one or something like that. I don't know if you might roll your eyes at the jokes and I would be like, Oh, not only is this hilarious to me, but also it's nostalgic. In the same way that like, I get where the jokes are coming from in this film, but like, it's hard to approach it as a complete outsider and not roll your eyes at some of them. Oh, completely. I mean, it's very stupid. I think kind of the, I surprised myself, I was expecting to be like, Oh, this will be like a fun thing to torture Nate with. But I watching it back, I kind of, because I saw this film like as a quite a small child and I've not seen it since.

And watching it back, I think I came away from it with this kind of sense of like, Oh, actually, like this is like, aside from like some of the sort of like the ways that it's made that are quite like dated in terms of like the ways they represent like Afghans or whatever, which are kind of like, I think a sort of like it's done naively in a kind of there's not any like really egregious like, in a way, it looks bad now because it wouldn't be done that way. Now it is like very stereotypical and shitty. But I think the thing that makes it is that like, there was not any thought of like, let's make this movie and have Indian or Afghan or any kind of South Asian actors is just, we're just going to put makeup on white people. And they're just

going to do, Hello, I'll do my funny accent, like that kind of shit. And so in a way, that's the part that's aged the worst, I think. But the rest of the film to me, I was kind of like, Oh, this is actually like, this is like very knowing and like quite based. I kind of got a like quite a wholesome vibe of it. Like there is just this sense of this is just like horny grandpa is like winking at you about like, you know, there was a part of me though, that I did think about this. And I was like, when you think about what was happening in Britain in the late 60s, it would have been really, really fucking annoying if you were, you know, an immigrant or the child of immigrants in this country. And like, you know, every, every six months, a new racist horny film

came out where like, because, you know, the same as sort of like David Bedeal, Jason Lee phenomenon, I can only imagine how fucking annoyed people would be, but like, haha, I'm going to crack jokes from the latest carry on film at you guy who lives in this country and is also British. But that I think is funny and foreign, you know what I mean? Yeah, people keep trying to have a horny sex with the guy that runs the corner shop. I'm trying to run my corner shop. People keep making Tiffin jokes at me and I do not get it. Yeah, yeah, that kind of a thing. So I mean, in a way, I did have to think about that. Like it would have in that regard, it's kind of aged poorly. But I mean, yeah, it's definitely that's not one of Mel Brooks, one of Mel Brooks's most

famous movies blazing saddles, like probably uses the N word like 200 times. I mean, it's so when you talk about and it's it's doing wrong, it's funny, but also like, wow, what a movie you cannot show on TV anymore. Like, and it absolutely like is let's put it this way. I don't think you could justify that movie, even though the jokes are funny and that it is making fun of racism and absolutely. I was gonna say, I've not seen that film, but I know that the concept is that it's 100% making fun of racism and also like, I know for a fact that like Mel Brooks employed a ton of black actors, like they loved working with him in the sense that like, it wasn't meant to be like making fun of black people, it was meant to

make fun of old timey racism. But like, it's people's tastes have changed since like 1974 or whatever, in a way that like that style of a send up, you just can't do it anymore than we're going to do like just full on saying slurs ironically on the podcast kind of shit. We aren't doing that. We edit that out. Sometimes takes nine hours. Why do you think I'm always on Twitter at two in the morning? Because I got to edit every single slur out. It's just me constantly interrupting Riley just saying, day go into the mic. Whop. Oh, Jesus Christ. Well, this was this was an edifying experience. I appreciate Milo. We covered so many topics, sad in our life, the army. Yeah, you know, what we do is all of our

classics. This is Britonology. And one thing I would say is that if you have ideas for Britonology, a couple of things we have thought about doing. We have thought about doing one on post-punk music. We've thought about doing one on the Falkland Islands war. We've thought about doing one on, we were actually talking to friend of the show, Juliet Jakes, about doing an episode about a half man, half biscuit. Something I know nothing about at all. We were thinking about bringing on friend of the show, Tom Usher, to talk about UK garage and drum and bass music and the sort of like after scene in London in general and stuff like that. So that might even be like slightly Riley's commie nightclub, but for Britonology. So we have ideas, but if there's

a topic you're interested in, and most importantly, it's a topic that you think people would pay money for to hear about, then please, please let us know because we absolutely want to keep doing this. And we are, at least in my case, I can speak for myself, extremely gratified and touched in a way that people seem to like this because yeah, who knew? Yeah, it's the weirdest thing, isn't it? It's just an excuse for me and Nate to sit in the studio, hit the vape and talk about Britain really. Yeah, which so in a way, we've just monetized our hobbies, but we appreciate you being willing to pay for it because that then actually allows us to do this as our full-time job. So absolutely. Thank you for that. It's all we'd love to see. Yeah, and until next time, this has been

Britonology. I've been Nate Pathay. This is... My little evidence and yeah, we'll see you around the back passage.