Episode 96: Garry Marshall's Holiday Trilogy (with Jake Atwood)

[00:00:19] Speaker A: Hello, everyone, and welcome to Odd Trilogies with Logan and Andy. I'm Logan. So. [00:00:23] Speaker B: And I'm Andy Carr. [00:00:24] Speaker A: And Odd. Odd Trilogies. We take a trio of films, whether tied by cast and crew, thematic elements, or just numerical order, and we discussed the good, the bad, and the weird surrounding each film. And in honor of Valentine's Day, we thought, you know, last year we did Wong Kar Wai's Love Trilogy. But you know what? That's too. That's too much. That's too good for the show of odd trilogies. You know, we were. We were. We were spoiled with that last year, so we thought it was fun. [00:00:52] Speaker B: Yeah, we gotta keep ourselves humble. [00:00:54] Speaker A: So we thought it'd be fun to choose a Valentine's Valentine's Day trilogy where only one of the films is about Valentine's Day. [00:01:02] Speaker B: Well, more specifically, today's guest thought it would be fun. [00:01:06] Speaker A: It is true. It is true. Our guest today is, you may know, from last year, as we went through our harrowing journey through Pastor Dave's plights in the God's Not Dead sequels, we have our beloved friend Jake Atwood back. Jake, say hi. You can say hi now. [00:01:26] Speaker C: Hey. Hey. Thanks, guys. Happy to be back on the podcast. And I'm sorry that I said, suggested, you know, this torture for you guys, but, you know. Oh, no, no, no. With us just passing Groundhog's Day in the real time, I wonder if any of these calendar day movies really are in the top four of calendar movies. You know, like, I think that that would be the success story here, if any of these are a top four. And I don't know, maybe that'll be. Give us room to discuss, you know. [00:01:59] Speaker A: Now when we talk about calendar movies, are we also talk horror films like Halloween, since that is technically a calendar film? [00:02:07] Speaker C: Yeah, I think if it has the name, if it's Groundhog day, Friday the 13th, you could even put in there. Yeah, I think it's day. [00:02:17] Speaker B: These three movies are quickly falling out of the top four already. Maybe out of the top. [00:02:24] Speaker A: The more horror films we think of that were on holidays. [00:02:28] Speaker C: Yeah, Independence Day. Yeah, it's a rough company. It's a really rough company. [00:02:33] Speaker A: Yeah, we're. We're. We're not being there on the bush anymore with this. We are not just covering Valentine's Day. We're also covering New Year's Eve and Mother's Day with Garry Marshall's Holiday trilogy. A director that has an insane filmography, practically a Hollywood royalty before his passing in 2016. The man is mainly known, I would say with older generations as the creator of Happy Days, which is insane. But in case of the film space of our conversation today, the man is known for Beaches overboard in the 80s. He is, you know, Pretty Woman, Runaway Bride, and for more of our generation, probably maybe the only other time we'll be able to talk about Garry Marshall on this show, if it gets a full trilogy. And that is his contribution to the Princess Diaries films because he is the director of Princess Diaries 1 and 2, Royal Engagement, and as well as a slew of other films in between that. Because not only is this Garry Marshall's holiday trilogy, I didn't even know this until I looked up afterwards. These are the last three films that Garry Marshall directed before he passed away. [00:03:50] Speaker B: We could call this the Twilight of Garry Marshall trilogy. [00:03:53] Speaker A: And I feel like that would be mean if we did that, even though it's true. And. [00:04:01] Speaker C: And with all due respect, like, this definitely feels like rewatching at least Valentine's Day, but revisiting his movies. These really feel like an end of an era. Like, I don't know if this kind of like schmaltzy, you know, everything feels like you're walking into, like a Hallmark card energy. And I. Oh, yeah, I don't know. I missed it in some parts. And I think the more of these movies I watched, the more sick of it I got. Know it gives and it takes, right? [00:04:30] Speaker A: I think it hilariously evolved, slash aged into what we think of as the grandma film. Just subject in terms of like, is it book club? It's the Jane Fonda. There's book club one, book club two. [00:04:44] Speaker B: Yeah, there's 80 for Brady. Brady. [00:04:47] Speaker C: This feels like a spiritual step to 80 to Brady. [00:04:51] Speaker A: It was hilarious. How the. Probably the failure as these films went on more and more in terms of their hits in the box office, that it ultimately just led to. Fuck, it just put Jane Fonda in a movie and they're talking about something saucy. Maybe a grandma will go see it in theaters. And then that's like, honestly, I prefer those types of films than what we get in this trilogy. Honestly, just a little bit. [00:05:17] Speaker B: At least there's like an embracing of a specific. Like, you know, there's just the age culture, there's the, you know, jokes tied in with that. Whereas, yeah, with our trilogy, as we'll get into, it's a little bit, I think, too broad to nail anything because. [00:05:37] Speaker A: It'S fascinating to think that this year is the 15th anniversary of Valentine's Day of the movie. Not. Not the actual holiday, just. But just like to think. Yeah, I was thinking the other day of, like, it's the same gap, I think, between Ghostbusters and the Matrix from, like, when Valentine's Day came out to where we are at now. There is. There is enough of a gap. And this is entirely true. And I haven't told the guys this at all, but over the weekend, I saw Companion. [00:06:13] Speaker B: Oh, yeah. [00:06:14] Speaker A: The Jack Quaid. It's a really fun time. Really 7 out of 10, really fun in theaters. But one of the main characters in this film. In the film is the little girl who has a crush on the boy in Valentine's Day. And she's, like, in her mid to late 20s now. And I didn't know this until yesterday, and I was losing my mind when I was being like, I cannot believe that little girl who's, like, in the film for, like, five seconds is now popped up into my recent watches. Because, Lord, because we can really describe all three of these films together with the same synopsis, which is basically, these are giant, or trying to be giant. Mother's Day's case. Ensemble films surrounding people living through these holidays. Usually it takes place in one day. Mother's Day. It takes place kind of over a week, just dealing with Mother's Day. And with the first two films, you have just an ungodly huge cast. Specifically, New Year's Eve is probably the biggest, as you've. [00:07:26] Speaker B: Yeah, yeah. [00:07:27] Speaker A: And. [00:07:28] Speaker C: Well, let's. [00:07:28] Speaker A: Let's. [00:07:29] Speaker C: Yeah. Pay respect to Valentine's Day of kicking off of this concept. And I really think it's. It's the closest these movies come to a big ensemble where it's fun when they all connect up. [00:07:41] Speaker A: Well, I do want to know, Jake, just from your experience of having to watch films for the pod pertaining to God's Not Dead. Was watching the latter two films of this trilogy worse than watching the God's Not Dead films together? Or do you. Do you think the God's Not Dead films are still your least favorite that you watch for the show? [00:08:04] Speaker C: You know, Logan, it's a good question. And I. I think ultimately, even when the returns are low, there's something to be said about God's Not Dead of, like, having a proper narrative that keeps continuing. So as. As much as it becomes a soap opera, I still feel like I know where, you know, like, these characters have come from. I. Excluding Valentine's Day, which I feel like there's a couple narratives where I'm like, okay, that really pulls in the heartstring. I had trouble connecting with anybody, especially in New Year's Eve or New Year's Day. Ye. And with. Yeah, I guess just by Mother's Day, I was just. I was worn out with the whole. The, you know. Yeah. [00:08:49] Speaker A: Quick synopsis. 2010's Valentine's Day is a huge ensemble film, takes place in LA over the entirety of Valentine's Day, the day the whole film is just in one day. With Ashton Kutcher being the first of the myriad of a cast that we get introduced to in that film with his kind of being the linchpin to like the beginning and the end as a florist on Valentine's Day. New Year's Eve's main protagonist, quote unquote, is Hilary Swank because she works for the company that has the New Year's Eve ball drop. And it pertains with the ball. And you know, it's a big year because I think it's the first time she's ever had this position. And also pseudo kind of ends with her actually. No, it doesn't. It ends with Josh Duhammeble. We'll get to that point. Point. And then Mother's Day, I believe, starts with Jennifer Aniston as kind of our linchpin, as just a mom doing mom things. [00:09:48] Speaker B: Yeah. [00:09:48] Speaker A: And we will get to that. But to go back to Valentine's Day, it is no surprise that this is the most popular of the three of them, as well as probably the most profitable of the three. Because you know exactly going into this film, what you are getting in terms of it being all these casts, all the cast that you're seeing on this poster, you will at least see two or three times in the span of a two hour runtime, maybe even more if you're lucky. And that doesn't even count the characters that don't make it on the poster, because there are genuinely a lot of people that don't make it on the poster. And yeah, we also should probably talk about the fact that when we were watching these films, we watched Valentine's Day together. And Andy was like, listen, I don't know if we'll have the time to find. To watch the other two. And I'm not gonna watch the other two tonight, so let's find a separate time to watch it together. So we watched the final two films in this trilogy separately. Yeah, I did the thing where for Valentine's Day, we watched it all the way through together as a family. New Year's Eve, I watched while I was full transparency editing the Wolfman episode for the podcast and then feels appropriate. And then Mother's Day I started about 45 minutes in, stopped it, lived my life a little bit on a Sunday, and then came back and finished it. [00:11:18] Speaker C: Which I think that's. [00:11:19] Speaker A: That's. [00:11:19] Speaker C: That's healthy, you know, That's. That's healthy, actually. You're. You're treating these movies with the respect. [00:11:24] Speaker A: They actually saw Companion in between my Mother's Day watches. I stopped Mother's Day. [00:11:30] Speaker B: Mother's Day was the one that ended up being kind of a background task for me, or I was doing other things in the background, as that's basically. [00:11:39] Speaker A: What all three of these films are the best at is just like laundry folding, background tasks. Like, I don't know what's on TNT right now. Valentine's Day. [00:11:50] Speaker B: The look on Jake's face as he disagrees with our notion. [00:11:54] Speaker A: Is it. [00:11:54] Speaker C: You know, I. I've got to stand up a little bit for Valentine's Day. From the. There's at least enough of, like, the star factor that these movies are trying to go for. That hits. [00:12:06] Speaker A: Yeah. [00:12:06] Speaker C: I think also 15 years greater. Taylor Swift's appearance in this movie just also is gonna warrant some level of, like, cultural fascination. The fact that, you know, like, she was dating Taylor Lautner, that, like, you know, there are things added to it by that. But I also just. Yeah, I think that, like, it is pulling in a cast that knows what it is, and it's selling this very, like, you know, like, everything about this movie screams, like, ideal Valentine's Day movie date. You know, the movie itself is selling it. Whereas I don't know who is watching New Year's Eve on New Year's Eve. It doesn't really. It doesn't really, you know, movie can connect. [00:12:50] Speaker B: Valentine's Day makes sense as a product because it's like, okay, I can go on a date on Valentine's Day to Valentine's Day, see every actor in the world. All the actors I like anyway, and my girlfriend will also like all of them. Yeah, New Year's Eve. I don't want to go watch a movie on New Year's Eve about New. [00:13:11] Speaker C: Year's Eve, Mother's Day with your mother Sounds like a horrible time, but truly. [00:13:16] Speaker B: It'S gonna bring up weird subjects, which it does, and not very elegantly. Yeah, yeah. [00:13:24] Speaker A: It makes sense as to why Valentine's Day is the most profitable of the three films. Because, yeah, it. Like you both said, it speaks for itself. It literally is just, like, the easiest excuse to go to a theater with someone who may or may not like going to the theater. But it's like, oh, My gosh, I know who Jennifer Garner is. That's Jamie Foxx. Is that Queen Latifah? Oh, wait, you've already taken my money. Well, I should go see, they got. [00:13:47] Speaker B: Julia Roberts and Emma Roberts. [00:13:50] Speaker A: Oh my gosh, both of them crazy. And. [00:13:54] Speaker C: Yeah, and it, it like it captures certain energy too, of like you. You can at least understand these like one dimensional character where it's like, well, I hate Valentine's Day. Well, I love Valentine's Day. There's a natural back where there were like, no one in New Year's Eve convinced me that they hated New Year's Eve. And everyone loves New Year's Eve. Like you have Ashton Kutcher and he's just like, oh man, everybody's texting me on this day and I haven't heard these people from last year. And it's like, well, first of all, no one texts anybody on New Year's Eve. Everybody's getting texted on New Year's Day. But also it's like, this is as cynical this movie can be about the holiday. [00:14:30] Speaker A: To say this film is like diabetically sweet I think is an understatement. I think this is just a very, just romantic, very base level idea of love and what Valentine's Day means to you, but in a very cutesy way. Perfect for a date night type of film. And it is something that is like, yeah, it's. When we were watching it together, it was, I think, constantly reminding myself, I understand why this exists. I know why it made as much money as it did. But my God, we are 35 minutes in and we are still getting introduced to people and it could not. And I'll be completely honest to get this out of the way now because I don't know how this episode is gonna go in terms of staying with structure because we might just be going all the way around with these fucking films. This is technically my favorite of the three. Like, I think looking back at it, this was the most, definitely the most entertaining. And I think I. And I think it introduces, I think the most interesting aspect any of these films have, which is like having a huge cast of characters giving them very little to work with, but introducing to the audience that every single character is connected in some way, shape or form. And wondering how the fuck this movie is going to connect everyone in some way, shape or form. And like guessing how this goes, like. [00:15:55] Speaker B: Okay, I remember, like, oh, go ahead. [00:15:57] Speaker A: No, you go ahead. [00:15:59] Speaker B: Well, I was gonna say, I agree with you. I think we've kind of already begun to outline the Reasons why Valentine's Day, like, works the best overall as a version of this or as an attempt, an iteration of this formula that it sets off. And it is probably my favorite overall. Although I think New Year's Eve has my favorite, like, single aspect to it. And Mother's Day is, like. Was, like, the least taxing on me. [00:16:37] Speaker A: Oh, I got. I. [00:16:38] Speaker B: Not the best, but it is. It was the least taxing. [00:16:41] Speaker A: You see, it's funny that you say that now. I'm excited to get to Mother's Day because that's my least favorite. I fucking hated watching Mother's Day. I fucking hated watching Mother's Day. And it is. Oh, my God, it is just. It's so. [00:16:56] Speaker C: Well, yeah. Sorry, go ahead. [00:16:58] Speaker B: No, no, no. [00:17:01] Speaker C: To stay on Valentine's Day for a second. The. The la. Ness of it adds something as well. The fact that all these characters are in this crazy big city, and so these connections feel, like, more natural. And you can see Amelia with New Year's Eve. They're trying to go for a similar thing with New York. [00:17:18] Speaker B: Yeah. [00:17:18] Speaker C: And I. I really don't think it does because I. I don't think. Like you were saying, Logan. I'm as invested in how do these characters know by the end of that movie. And who's it. Julia Roberts is there. And, like, she's the woman Josh Duhamel, like, had connected. [00:17:34] Speaker A: Literally. [00:17:35] Speaker C: Sorry, sorry. Sarah Jessica Parker. [00:17:38] Speaker A: We're Julia Roberts credit. She's only in two of the three films. [00:17:42] Speaker C: She feels like she's in every scene, but maybe that's just me. Yeah. These two characters connect and I felt nothing because, like, really, I like, you know, you have Josh Duhamel's character who is only, like, it's. [00:17:56] Speaker A: It's. It just. [00:17:57] Speaker C: It feels so bizarre to be like, I always go to the same New Year's Eve party. And, And. And my. You know, I. I got slipped his phone number and, like, it's very much going for that, like, very cute, like, love can happen anywhere thing. And I just don't. I just. I don't think New Year's Eve is the movie to back that up. [00:18:15] Speaker A: Oh, it's also when. When he does those scenes, it's against, like, Lisa fucking Simpson. Like, it's Yeardley Smith, I'm pretty sure is the woman who's in the car with him. The RV taking him to the. To the party. And it's just. It's. Again, it's just a. It's so understandable in terms of just like, both the first two films are like, $52 million in budget. And you can understand why because of the cast, as well as the fact that they're shooting in LA and New York, like, especially. They clearly got footage from probably 2010's New Year's Eve, I would imagine. Like, they probably actually shot some stuff. [00:18:54] Speaker C: Yeah, there was stock footage that they had. [00:18:56] Speaker A: Yeah. They even got to kidnap Bloomberg for a hot minute to throw them on the stage to get ready for that 2012 New Year's Day. But I wanted to bring up, before we get even further, the thing I did during Mother's Day when I had no interest to keep watching. I wrote down how many plot lines were in both. All three movies and Valentine's Day. [00:19:19] Speaker B: Oh, okay. [00:19:20] Speaker A: Yeah. So this is. This is. This is my list of things from the first two movies as far as I can. Again, plot in these films is a loose term. So I'm really just kind of going for, like, gags that are reoccurring as well as, like, you know, big actors that show up maybe for five seconds. Doesn't matter. They have a point. They connect a dot, whatever. Valentine's day has, like, 14 plots that I like was, like, getting in my head. And New Year's Eve and Mother's day surprisingly have 11 plots. They have the same amount of plots, and. Which is fascinating because Mother's Day has, like, half the star power, if not a third. [00:19:57] Speaker B: Yeah. [00:19:59] Speaker A: But I wrote down for Valentine's Day, there's Kutcher Flores plot. Jessica Biel hates V Day plot. Julia Roberts and Bradley Cooper on a plane plot. Which, by the way, props to them to get paid to sit in a fake plane for, like, oh, yeah, an hour and a half. [00:20:15] Speaker B: Yeah. That was like an afternoon of shooting. [00:20:17] Speaker C: Yeah. [00:20:18] Speaker A: Toe for Grace. [00:20:18] Speaker C: Got the toe for Grace. And Hathaway's plot. Yeah. [00:20:21] Speaker B: Probably the MVP plot of the movie for me. [00:20:25] Speaker A: Yeah. [00:20:25] Speaker C: The best line, really holding down. [00:20:27] Speaker B: Yeah. [00:20:28] Speaker A: The best line is from the Eric Dane is gay plot, which is, I'm gay and I'm going to play like, that was probably my favorite line in that whole movie. Little boy love plot, grandparents. [00:20:39] Speaker C: And you have the two teenage couples plot. [00:20:41] Speaker A: Yeah. [00:20:41] Speaker C: I have got the Taylors. And then you've got Emma Roberts and her boyfriend. [00:20:45] Speaker A: Roberts wants to fuck plot. And Emma Roberts wants to find the boy plot. There are two different Emma Roberts plots. Kutcher proposal plot. Because technically Kutcher has, like, two different plots, which is he's the florist. And then Jessica Alba says yes, then no, and then it's gone from the movie. [00:21:04] Speaker B: Right. And then he falls in love with his best friend. [00:21:08] Speaker A: Yeah. Grandparents in crisis plot. And then Queen Latifah as Eric Dane's publicist slash phone sex plot. That's. [00:21:16] Speaker B: Queen Latifah is just bits in this. [00:21:19] Speaker A: Yeah, She's. I mean, Queen Latifah is a class act. And if you want her to pretend she's having phone sex with someone, she will do the best she can to her ability. [00:21:28] Speaker C: But, yeah, I don't think she ever left that office set either. So, again, like, just a perfect inclusion in this kind of movie. [00:21:34] Speaker A: I wonder. [00:21:35] Speaker B: It's kind of the same as, like, John Lithgow in the next film. He's just in his office. [00:21:40] Speaker C: Oh, yeah. [00:21:41] Speaker A: Fuck, I forgot Lithgow was in New Year's Eve. [00:21:44] Speaker B: He has, like, one or two scenes. [00:21:46] Speaker A: Yes. [00:21:46] Speaker C: Yeah, it's. You can't leave. It's Grammy season. [00:21:50] Speaker B: Get me a coffee. [00:21:55] Speaker A: Yeah, it. I mean, Valentine's Day, I think, was just the most fun, mainly because of how unhinged it feels. Unintentionally. Because, again, it's like you would think of all three of these films, you would think the first Valentine's Day or New Year's Eve would have multiple writers on the script. So when Andy tells us there is a single writer for both Valentine's Day and New Year's Eve, it is the same writer. Like, that is insane. Should be. That is. It is crazy. Especially when Mother's Day, honestly, feels like the lowest stakes and the least crazy the entire time. And yet it has, like, four writers. [00:22:35] Speaker B: Yeah. [00:22:36] Speaker A: And it's. Or three. But it's. It's just. It was just so much fun rewatching Valentine's Day as a group, in a sense of just being like, what the fuck is going on? But also, like, we cannot pay attention. These are the perfect films. Again, you don't look at the screen for a while. You come back, and whatever you think the first thought is as to what just happened, chances are is what happened. Like, it is constantly going on. You have characters in this film that are like. You have George Lopez, who has no point other than to be like, what can I say? It's love. Or, like, you know, there's this character or that character that just pop up for five seconds. There are actually actors that pop in every single one of these films that are like background actors. [00:23:17] Speaker C: Like, oh, Kathy Bates has, like, two or three lines in all of Valentine's Day. It's like, what? [00:23:23] Speaker A: She's got two or three lines. Jessica Biel is sad the entire time. Jennifer Gardner is A teacher, and then also is a dead army vet in Mother's Day for five seconds, which is the wildest thing to see her show up and then not be like, oh, we're gonna get, like, a flashback to get more Jennifer Gardner, and we don't get any Jennifer Gardner. It was just an experience to have because this is. Was this the first time you've seen this, Andy? [00:23:56] Speaker B: Yeah, first time. All three for me. [00:23:58] Speaker A: Okay, so this is the second time I'd seen Valentine's Day. I had watched it once, I think, after it came out, like, maybe a year or so after Jake. Is this the first time you'd seen all these? [00:24:08] Speaker C: I never seen Mother's Day, but I had caught, like, again, I had caught, like, in the basis since New Year's Eve to know that it was a movie. But again, it's not really, like, designed to, like, attack, like, grab your attention throughout, because it's just constantly. It's juggling so many plots that you're like, oh, and now Ludacris is here. You know, it's. It's moving at such a clip. [00:24:32] Speaker B: Yeah. Valentine's Day feels the most like it expects you to pay attention to each plot line. Not because all of them are great or interesting, but the way they're all woven together feels a lot more thought out and a lot more organic than the other two. In which it feels like we're going to tell seven different stories, and then at the end, we'll pretend they were all connected. [00:24:57] Speaker A: Yeah. [00:24:58] Speaker B: Honestly, Valentine's Day does a little bit, but for the most part, like, a lot more, you know, especially with, like, the Ashton Kutcher of it all playing parts in kind of multiple stories. [00:25:08] Speaker A: Like, I'll joke about the Bradley Cooper and Julia Roberts played plot forever, because it's just so funny how they're on plane the entire time. But I will say, the first time I ever watched, the first time I watched this film, I was, I think, genuinely surprised. When you get to fucking Julia Roberts, be like, she's not talking about a husband, she's talking about the little boy. [00:25:29] Speaker B: Yeah. [00:25:29] Speaker A: Or the fact that Bradley Cooper is gay in the movie. Like, when they're like, oh, it's Eric Dane. That's his partner. And it's like, that's, like, the most fun. [00:25:38] Speaker B: Gary Marshall really said Bradley Cooper is gay in 2010. [00:25:42] Speaker A: And he said Bradley Cooper gay. And he probably saw what, hey, so what Hot American Summer and went there. Yes, that's my man. I want to sit on a plane for 100 minutes. [00:25:52] Speaker B: Honestly, I don't know. [00:25:53] Speaker C: I don't know if either of the movies have the energy that's cooking there where it's like, sure, let's just. Let's. Let's take our flag in this proudly, be like, you know, New Year's Eve. I think there's several points where it's trying to, like, get you to some deep feeling about, wow, a new year is coming, a new day. And it's like, it's. All of it washes over the exact. [00:26:14] Speaker B: Same part of that is lost in the. Like, I think in New Year's Eve and Mother's Day, there's a lot more just conceptual reaching to try and, like, find an idea that will resonate with people. Whereas Valentine's Day is like, half of this movie is just people saying they hate Valentine's Day, which is like a thing. Like, a lot of people say that. [00:26:35] Speaker A: Oh, yeah. [00:26:36] Speaker B: Like, it's like most of us at some point in our lives could have related to the notion that Valentine's Day is bullshit. Which, you know, maybe. I mean, it is. But, you know, whereas, like, the new I hate New Year's Eve plot in New Year's Eve is like, okay, dude. And then Mother's Day, like, almost a lot of that movie feels like has nothing to do with Mother's Day. [00:27:01] Speaker A: I think the only one that would be the closest to quote, unquote, I hate Mother's Day is the Brit Robertson plot. But only because it's like, she's just like, I'm adopted. And that. That scene. Okay, we can't get into Mother's Day right now. [00:27:13] Speaker B: There's too much. Not there yet. [00:27:15] Speaker A: But I will say, though I guess to be. It's not really a defense. But like, when it comes to New Year's Eve, I will say, I think in terms of the plot stuff, I think most of the plots, I kind of was like, oh, this is cute and fun. A little bit more than with Valentine's Day, like, in my opinion. And I'd love to hear what your guys choices are for this. My little favorite plot in all three of these films is probably the Zac Efron Pfeiffer plot. It's like, I feel like it's very straightforward, cute, a fun premise that you could make like a 30 minute short on. [00:27:48] Speaker B: Yeah. [00:27:49] Speaker A: Which is basically kind of what you're doing with these films. So it's like, you know. [00:27:52] Speaker C: Yeah. [00:27:53] Speaker A: And Zac Efron, of course, you know, brings the biggest bombshell of that movie, which is that he is the brother to Sarah Jessica Parker, which I could not let that go. That was so fucking funny. Where it's like Abigail Breslin and Zac Efron. There's not that huge of a gap compared to, like, Sarah Jessica Parker and Zach. Zach could just be a nephew. You don't have to put you don't have a brother on there. It's just so funny. And they revealed that. But, yeah, in terms of, like, the cast, too, I think there is. I think mostly the biggest overlap is Hector Elizondo, because he's grandpa who gets terrible news on Valentine's Day. At the worst time, he's the European. Or, like, is he supposed to be Russian? I think his name is Kaminsky. He's like the New Year's Eve ball technician. And then a Mother's Day. Yeah, Mother's Day. He's Julia Roberts's, I believe, agent. [00:28:52] Speaker B: God, I don't even remember him in Mother's Day. I know he's in there, but I don't remember what he does. [00:28:59] Speaker A: I had to be like, why is Hector Elizondo in all three of these films? And then I remember, oh, yeah, Princess Diaries 1 and 2. He's decent. Both of those. [00:29:06] Speaker B: He's probably friends with Gary Marshall since the 80s. He's been in all of his movies. [00:29:12] Speaker A: That makes sense. [00:29:13] Speaker C: Yeah. To his credit. He's an absolute ham, though. And, like, you need. You need somebody to soak up all that gooeyness. And I feel like he really kind of comes in, especially in Valentine's Day. He, like, with all these characters with all these different plots. I think, ironically, the plot he's the weakest in is the one with his own, like, like, past marital infidelity with a past business partner. It's like one of those scenes that just hand waves to, like, be like, oh, this is. [00:29:41] Speaker A: What's. [00:29:41] Speaker C: This is what's going on with this character right now. [00:29:44] Speaker B: Yeah, he's kind of just like, cute, insightful grandpa the whole time. And then suddenly the plot becomes about him and his marriage and it's like, oh, this is sad and weird. And why is our time on this right now? [00:29:59] Speaker A: What's also funny, too, is, like, sense. There's so many bigger stars in this and they're trying to, like, tie them up a bit more. There's just some times where people are just like, all right, so and so, here's my plot for this movie. And they have to be like, okay, well, here's what we think about love. Like, the funny thing about the Elizondo and is it Shirley MacLaine? Is his wife. Yeah. Is the fact that, like, they're connected to this whole thing because they're Julia Roberts parents, I believe, or like Julia Roberts husband's parents or something like that. I don't know. But they're the grandparents. [00:30:35] Speaker B: They're watching the kid that she's coming home to. [00:30:38] Speaker A: Emma Roberts is the babysitter to the kid. And at one point, Emma Roberts is basically telling the grandparents, who, again, she's the babysitter to this kid. Just basically telling the grandparents, yeah, I really just wanted to lose my virginity to my boyfriend before he's such and such. And then they're like, well, here's the thing about love. And it's like, this is not an actual conversation. This is so ridiculous. Because that conversation is what also leads to Shirley MacLaine breaking down and saying that she cheated on him. It's like a back to back to back. [00:31:10] Speaker B: It's just too much all at once. [00:31:13] Speaker C: And you guys are so right. There are so many just contrivances that just hold up the plots of these movies that it's like, it's almost more fun to be like Jenga and be like, what could we even take out of this where we lose, Like, I like, as, you know, maybe we'll just move into the New Year's Eve of it. But, like, what is. What is the Katherine Heigl Jon Bon Jovi story doing? Good Lord, for anything. I think that's New Year's Eve. You have to have the performers and you have Lea. Michelle needs to be this, like, young ingenue that had, like, I get it. But also, you could have just had Jon Bon Jovi show up. And the way that Michael Bloomberg shows up in this movie, and you've lost, like, nothing. [00:31:53] Speaker A: For me, it's also the fact that in that same thing you get in the Katherine Heigl plot, you have Sofia Vergara as her sous chef. And also Russell Peters is here, too. Just because he's here, he has no clue. [00:32:07] Speaker C: Logan. I completely forgot that both of those. [00:32:09] Speaker A: People were in that movie. I know. That's what's so fucking funny about this is what comes the most excited about talking to these movies is like, I wonder who is forgotten from which film? Because I think I just, like. Because in my head, it's like. It's like, oh, yeah, all these films are pretty easy to describe. And then they're like, well, what about this person? And it's like, either you go the most convoluted shit you can think of in terms of, like, what Josh Duhamel's plot is. Or it's like you say, oh, why is Jake T. Austin in New Year's Eve? And it's like, oh, he's a cute teenage boy. He was on Wizards of Waverly Place. He's in, like, three scenes. Nat Wolf is also in this fucking movie. [00:32:44] Speaker B: For some reason. [00:32:45] Speaker C: Completely forgot about him. [00:32:46] Speaker A: Yeah, he's like. He's a friend. At one point, I remember Nat Wolf because it's one of the only times I laughed at New Year's Eve. They do like, who you gonna kiss tonight? Like, one of the. One of the, like, newscasters. She's like a woman in, like, I think her 30s or 40s goes to like, Nat Wolf is like, who you gonna kiss tonight? And Nat wolf, who's like 15, it looks like, goes, maybe you tonight, babe. And it's like, what is. Why are you making Nat Wolf? [00:33:08] Speaker C: Ha ha. I'm taking four. All right. Yeah, no, that's fine. [00:33:12] Speaker A: Jim Belushi's in one scene. Like, I love how Jim Belushi, he's. He's the. He's the elevator technician. I think he's a landlord. That helps with that. Ludacris is just there to just be like, you know what? Hillary Swank, New Year's Eve something special. And then his kids show up at the end with his wife, and that's like, all he fucking does. Like, it is just. I literally at one point thought the most interesting thing the film could do is if Hilary Swank was the girl that was supposed to meet Josh Duhamel. But the real twist of that plotline is that Hilary Swank is the daughter of Robert De Niro who is fucking dying. [00:33:49] Speaker B: Dying in a hospital. [00:33:52] Speaker C: Let's pay our respects to this Robert De Niro performance that has no reason being this good. You guys, take it away. [00:33:58] Speaker B: I will say this is the single element that I was alluding to earlier that is my favorite element in all three of these movies. Because somehow, some way out of nowhere, Robert De Niro manages, like, a genuinely fucking good performance in, you know, you could say it's a nothing character. I would say there's a little bit more going on in his character than most of the other characters in all three of these movies. Oh, yeah, he just. He just nails this, like, sad, hollowed out man who's looking back on his life and sees all the mistakes he made. And it's like, dude, these. He's. He's bookended. All of his scenes are bookended by just absolute nonsense that I couldn't give a shit about. And then he shows up on screen and it's like, suddenly, I'm invested. [00:34:47] Speaker A: You're invested. And it's like, even though I wasn't, I was just constantly shocked every time he was on screen being like, dude, like, you can be like Bill Murray in a chair in, like, 2016's Ghostbusters, where you just are glazed over and you're just reading the lines off. You don't have. [00:35:05] Speaker B: It's not like De Niro doesn't have those kinds of roles in filmography. Like, he absolutely has those movies that he just did for the paycheck. And more power to him. This was probably also just for the paycheck, but goddamn if he didn't put a little more effort in than he had to. [00:35:21] Speaker A: Yeah. And it also has, like, I guess the second, like, saddest quote unquote, plot line to a degree, which is like the Halle Berry of it all, where it's like she shows up for five seconds and then you find out that her whole thing is that she wants to say Happy New Year's to Common who's in Iraq. [00:35:38] Speaker B: Right. [00:35:39] Speaker A: And is like husband and husband. [00:35:41] Speaker B: Just has a bummer of an ending. [00:35:43] Speaker A: Yeah. Here's another thing, too. This is something we should talk about because I think this is generally what drives the creation of these films to a degree. Because if you look on Wikipedia, in terms of what is the productions of either one of these films, I think Wikipedia goes. Why are you asking? I feel like you understand why they're. These movies exist. But I think the big thing of it all is that these films are basically trying to be love, actually, but not as tonally inconsistent or as sad. For the most part, it leads into being more batshit unhinged until, like. Like New Year's Eve is, I guess, the closest of the three films to feel like love, actually. But that is bare minimum. Because it's like. [00:36:25] Speaker B: Yeah, it has the most, like, bittersweet and sad plots. [00:36:30] Speaker A: Yeah, well, Valentine's character, Valentine's Day, also has Paul Williams. Like, this is. The episode is gonna be like, every 10 to 15 minutes, we're gonna be like, yeah, that person's in there too. [00:36:42] Speaker B: Yeah. [00:36:43] Speaker A: Jesus Christ. Like, I mean, I can't even feel like it wasn't even going into it feeling like we're gonna rip on Taylor Swift, because I was. I had no intention of doing so, because to be completely honest, it's like. [00:36:55] Speaker B: The least interesting thing we could rip. [00:36:56] Speaker A: And I feel bad that someone said that she should be in this because it's like she is a child. Yeah, she is not an actress. At least at this age. A bit of porn in her life. No, she's. It's funny to think that this woman is gonna probably have a directorial debut in the next two years that's gonna make like a shit ton of money just cuz it's Taylor Swift. But it's just every, every time she shows up and Lautner shows up and it's like I only remembered, I think like them making out on camera because it was just like, oh, that's the joke. They're in high school. Oh my God. And then like there's one more scene and I believe she's. I think she's singing a song that's in the movie. And then she like gets out. She just walks away. It's. It's just, it's a Mad Libs of a movie. Like all three of these feel like mad libs in terms of. And then insert celebrity walks in and talks about this and it's like, oh my gosh. I'm trying to think of just highlights of Valentine's Day are probably Patrick Dempsey with his full heart trying to make Ashton Kutcher not tell Jennifer Gardner that he's cheating on her with the florist code. Like use bro code in terms of florist code. You also have, oh my gosh, gotta. [00:38:14] Speaker C: Give respect to Jamie Foxx, the sports reporter that's being forced to cover love and how do you feel on Valentine's Day? And then they're able to thread this back into Eric Dane being the sports figure. Like this is when the movie's like kind of at its schmaltzy best, is when it's like everybody's just aimlessly wandering into the next plot. It's really the act of keeping track of it all. It's like no one, like no one could recite this. There's. It's meant to just be like so many pockets of like this celebrity, this character, this, you know. Yeah. [00:38:48] Speaker A: So I think one of Jamie Foxx's last lines is literally when he's reporting on the Eric Dane story. He goes, we stand behind you so and so, but not too close. And that's like, yeah, right. [00:39:00] Speaker C: Shout out to 2010. [00:39:03] Speaker A: It is just hilarious when you know there's clearly been so much that's changed movie wise since this movie has come out. But like, it feels just wild that it's been 15 years since this movie's come out because it feels like at its worst, the type of dog shit you would kind of still see today, but with more actors than you would see in those movies. Yeah, I understand Jake. In terms of like missing these types of like, oh my God, why are there so many people here jam packed in this like sardine can of a movie that has no right to be 50 plus million dollars, have like a 20 plus actor cast that have like, you know, all these different fan bases to a degree, I guess. Like, yeah, the Anne Hathaway phone sex of it all is such a wild story that is just like so funny how it ends. [00:39:56] Speaker C: It's like almost that all these actors, because there's so many of them, you're able to just take these bold swings with a plot line. It's gonna be like 15 minutes, you know, like, no one is really like getting super. I mean, I guess excluding our, you know, Robert De Niro, like, no one is really like kind of trying to like be grounded in a deep, real emotional state. It's meant to be like popcorn shooting. [00:40:22] Speaker A: B roll coverage for this film must have been a blast because it literally is. Most of this film is just like now shoot these people kissing on the street. They're holding hands. Oh my gosh, she's giving her flowers. [00:40:35] Speaker C: Scenic New York. [00:40:36] Speaker A: Scenic. [00:40:37] Speaker C: Scenic la. The burbs, I guess, Atlanta of Mother's Day. [00:40:42] Speaker A: There's that shot, I think there's the shot in Valentine's Day where we all laughed, where George Lopez is swinging on the swing set with his wife, where it's like, when did you shoot? Why? Why did you shoot this? [00:40:52] Speaker B: You didn't have God. The shot in Valentine's Day where George Lopez goes into his house and we see through the window him joining with his family. We all wanted that to be his family from the George Lopez show. And we just hear Low Rider playing in the background. [00:41:09] Speaker A: Oh my God. [00:41:10] Speaker B: Muffled. [00:41:12] Speaker A: And again, to go back to back with these films is not surprising, but it does feel like there should have probably been a bit more air to breathe between these films. Unless they were aware that if they didn't jump on the Valentine's Day hype train money wise, they weren't going to get any more interest. Yeah, came out like 2013. Maybe it would have been less so. [00:41:35] Speaker B: Yeah, I think they were probably and maybe rightfully suspecting that they were on to kind of like a little mini craze, a mini era in film where they were like, oh, we can get like a million a list names in a movie to sign up if we just only make them show up for two days. And so, you know, they were probably trying to ride that wave. And, you know, they knew, okay, people actually will see shit like this. So I'm sure. I'm sure that either the studio or Garry Marshall were like, yeah, let's. Let's make another one while we can. [00:42:13] Speaker A: Yeah, it's like Gary's. Gary's interested. Just get him over there. Get him to New York. We'll start shooting now. There's no. There's no script. Don't worry about it. [00:42:22] Speaker B: I am stunned that New year's Eve made $140 million, because, like, I can't. I literally have no memory of that movie ever existing until now. [00:42:35] Speaker A: I mean, there's no overlap, I think, for any of the three things, like, for our demographics. Except for, like, oh, sure, I watched Glee. We. I think Jake and I both watched Glee when it was still running at the time. And so, like, seeing. [00:42:49] Speaker C: Yeah, this is probably the first Lea Michele big, you know, big screen performance. So maybe that's also, like, that star power. But, yeah, it really. Yeah. Zac Efron's young and hot and 17 again. Just probably around there. [00:43:05] Speaker A: I think Hairspray, a year or two prior to this. And so, like, you did not have to be like, yeah, this is the High School Musical kid. But now he's in real movies like Hairspray and New Year's Eve. Yeah, it's. Yeah, I think it's hilarious, too, because I think Valentine's Day has the energy that it could be for, you know, date night stuff for, like, our generation as well as, like, you know, Gen X or, you know, baby boomers. Like, it really is something that could, like, transcend the generation. [00:43:36] Speaker B: Quadrants. Film. [00:43:37] Speaker A: Yeah. Well, as I think New Year's Eve, I think it's smaller in terms of what those quadrants are. I don't. I don't think anyone in our generation was probably like, yeah, like you said, who wants to see a film about New Year's Eve before New Year's Eve? Or also, who would even watch it on New Year's Eve? And then Mother's Day is just like, by the time you get to that. [00:43:59] Speaker B: Point, it's been fucking five years. [00:44:01] Speaker A: It's been five years. [00:44:03] Speaker B: Gary Marshall is just like, I know I got one more in me. Let me do it. [00:44:07] Speaker A: And I have to say, even though these films are not remotely phenomenal, cinematography wise or, like, set design wise, that slashing half, like, 50% of the budget from New Year's Eve to Mother's Day is fucking felt. I think you can see it on screen. I think at One point while I was watching this, my roommate came in and watched it a little bit with me and they said, this looks like a Hallmark movie. Oh, yeah, yeah, it's. [00:44:40] Speaker B: I mean, all three of them do, but Mother's Day certainly feels like they had the rug pulled out from under them. [00:44:48] Speaker A: And I think Jake was making a joke about it earlier, but it's definitely the Atlanta of it all. It's definitely the fact that it's like, yeah, there's shot in Atlanta. They don't do. They don't even try to make it be like, and here's these fun things you can do in Atlanta. [00:44:59] Speaker B: Right. The other two films, they use the personality of the town they're in to like augment the story. I mean, I think Valentine's Day does it best. Ironically, pulling off kind of like a small town story in LA is funny, but also like, kind of makes sense when all of these people that you're looking at on screen are famous and probably know each other in real life. New York City, obviously, you know, the, the New Year's Eve of it all is huge in New York and the ball drop and all that. And then, yeah, you get to the suburbs of Atlanta and it's like, what is, what is the identity of this setting? Like, what. It's completely anonymous. It could be anywhere. And yeah, they're not, they're. [00:45:42] Speaker A: None of the characters that talk to each other are neighbors. They never say, like, how they've met each other. Like the fact that Jennifer Aniston, Kate Hudson and Britt Robertson are like our trio of moms. And then it's just like, how do these three meet? And there's never an explanation again. Can't get into Mother's Day too much with this yet. We need to, I want to get all that we get out of Valentine's Day and New Year's Eve because Mother's Day is just at its core, it is. So it was such a wild, frustrating movie in a way that I wasn't expecting from these movies, especially after watching Valentine's Day and New Year's Eve, where like there's, there's, there's an energy to the first two films where it's like, even with New Year's Eve, where it's like, this is worse in places, like, I would probably, I was not. We should probably talk about the Seth Meyers in the room because I feel like he's like one of the worst actors of the three films. Like, and then I don't know if it's really on him Well, I mean. [00:46:45] Speaker B: He'S, you know, he's a comedian and a TV personality more than an actor. [00:46:50] Speaker A: Yeah. Could you imagine? Oh, this would definitely be a perfect Colin Jost role. [00:46:56] Speaker B: Oh, yeah. [00:46:58] Speaker A: Actually, I think Colin might be. Would do this better. There's a good chance Colin could do this one better. [00:47:03] Speaker B: They should have just let it be Colin and ScarJo. [00:47:05] Speaker A: Oh, no, it should be Michael Che and Colin Jost. They're the couple. [00:47:09] Speaker B: Michael Che as the pregnant wife. [00:47:12] Speaker A: Yeah. [00:47:14] Speaker C: I mean, clearly Gary Marshall likes something. And having an SNL guy in Seth Meyers, because I can't think of any other reason why we need Jason Sudeikis in Mother's Day other than to get those young men in the audience to watch this film. [00:47:29] Speaker A: Like, in New Year's Eve. Just the amount of, like, Carrie Ellis is just like, he's the doctor for Robert De Niro who shows up. Is it a scene? [00:47:37] Speaker B: Yeah. [00:47:38] Speaker A: Carla Gugino, who's also wildly in this movie as a. Like, not really a New age nurse or like a pregnancy doctor, but, like, she seemed, like, very meditative for some reason. Her character was very much into meditation and stuff. [00:47:56] Speaker B: Zen about it all. [00:47:58] Speaker A: What? Yeah, there's just. Gosh, I'm just looking at the list again of all the people that are in it. Matthew Broderick, that was probably the biggest jump scare in the entire movie was Matthew Broderick, so good popping up in New Year's Eve to basically be Mr. New Year is what he basically is. [00:48:18] Speaker B: Right. [00:48:19] Speaker A: It was like, the ball has to drop. Here's this funny tangent I have about New Year's, and it's like, oh, my God, why are you here? [00:48:28] Speaker C: I will say, I don't know if this is, like, necessarily a positive thing, but at least with both Valentine's Day and New Year's Eve, New Year's Eve, you have a character who's like. Like Ashton Kutcher needs to deliver flowers for the holiday to exist. You know, Hillary Swank needs to have this ball dropped for new. Like, there's a character, like, the weight of the holiday is that person. I don't know if that's necessarily a great thing or a good. [00:48:51] Speaker B: But at least it gives, like, the plot. Yeah. [00:48:54] Speaker C: Where it's like, well, he's got to deliver these flowers, man. That's his job. It's Valentine's Day. [00:49:00] Speaker A: It's easy. Jake. And Mother's Day. Julia Roberts has to have an awful bob and sell mood jewelry to mothers on the Home Shopping Network. [00:49:11] Speaker C: That's true. She has to hold all of Mother Kind with her show. [00:49:16] Speaker A: It is funny. I mean, I don't know what screams directed by a man more than Mother's Day. Just being like. It's hard being a mom. I don't know what you want me to tell you. I don't. What do you want me to do? Also, I don't know. Did you know who did the narration for Mother's Day? Because another funny thing about these three films is that Valentine's Day at least has a cohesive. Like Paul Williams is at the beginning. Paul Williams is at the end. I think it's a book sprinkled in throughout New Year's Eve. Has Josh. Josh, Jamal. Is it do. Is it. [00:49:49] Speaker B: I think it's. [00:49:49] Speaker C: I've heard Josh Duhamel. [00:49:50] Speaker B: I've heard Du. Mel and Duhamel. I don't know which it is, but I think it's Dumel. [00:49:55] Speaker C: I heard Duhamel when he was the host of the short lived CBS show Buddy Games. He hosted. Yeah. [00:50:02] Speaker A: I'm so glad you pulled. [00:50:03] Speaker B: Not to be. Not to be confused with the slightly shorter, slightly skinnier Timothy Oliphant who is in Same type of guy. [00:50:13] Speaker A: Evil Josh Duhamel. [00:50:16] Speaker B: Evil cool Josh. [00:50:18] Speaker A: Yeah. But yeah, Josh Duhamel does the ending kind of because they do like, I think radio chatter in the beginning of New Year's Eve. And then Josh ends New Year's Eve. Mother's Day has a rambling moment at the very beginning that is done by the late Penny Marshall, who is Gary Marshall's sister, who. Penny Marshall is also Hollywood royalty to an extent because she did. She directed A League of Their Own Big as well as she was, I believe, Laverne and Laverne and Shirley. [00:50:54] Speaker B: So like, it's like, oh, yeah, yeah, yeah. [00:50:55] Speaker A: But when she started talking to Mother's Day, I was like, what is going on? This. This conversation feels like it is improv and I do not know who this woman is. [00:51:08] Speaker B: Right. [00:51:09] Speaker A: Where is this woman coming from? And then I had to just like I scrambled on IMDb being like, please just tell me who this woman is. [00:51:17] Speaker C: Logan, you need more trust in these movies. You need to trust the journey that Mother's Day is trying to take you off. [00:51:22] Speaker A: Except at this time where she's talking about, you know, sometimes Mother's Day is fun, sometimes Mother's Day is hard. What's shown on the screen is a woman in a bathrobe shoving a banana into a school bus for her daughter. So it's like these things are like, what the fuck is going on? Why is this happening? And that woman, by the way, who's like. He throws the banana at the school bus. She's in all three of these movies. [00:51:46] Speaker B: Right. And I don't even remember her name. [00:51:49] Speaker A: Is she. Well like her character name, the actress. Yeah, off the top of my head because I've seen her other stuff before, but she's a. I believe she's Emma Roberts's mom in Valentine's Day. She's Abigail Breslin's friend's mom. She's like that mom that is constantly following them around. [00:52:08] Speaker B: Yeah. [00:52:08] Speaker A: Then. And then she's the mom that Jason Sudeikis looks at her ass for a bit in the, in the, in the fitness studio. [00:52:15] Speaker B: Yeah. [00:52:16] Speaker A: Who also throws a banana at a school bus. [00:52:18] Speaker B: She always plays like the kind of weirdo in the background in these movies. [00:52:22] Speaker A: Yeah. And you know what? She does a decent job at it. Yeah, she's. She was, she was, she was kind of funny in New Year's Eve, I think. And again I. In my head, if you are not funny in one of these films, that doesn't automatically mean you are not funny at general. [00:52:37] Speaker B: Oh, it's. There's a lot of reasons that things don't work in these movies that have nothing to do with the actors. [00:52:43] Speaker A: Because again, yeah, like Seth Meyers is a charismatic funny guy who's been on Late Night now for like what, almost a decade, if not over a decade at this point. [00:52:52] Speaker C: Yeah, somewhere like that. [00:52:54] Speaker A: And he has to work off of Jessica Biel, Sarah Paulson and Till. I think it's Till Schweinger or Schwager who is like. He's Hugo Stiglitz and Inglourious Bastards for some reason. He is. It is just like it is. Oh my gosh. Because I, I can't even. I don't know what the. I can't even imagine seeing these movies in theaters and wondering what a response would be from the crowd. Except for like the cheapest of laughs at like, you know, I could see, I could see the Emma Roberts, his boyfriend being naked with a guitar in front of his crotch. Being like a one guy is cracking up way too hard moment in the theater. [00:53:37] Speaker B: Probably like a middle aged mom losing her shit at that. Yeah, like just dying one of those hooting and hollering laughers. [00:53:46] Speaker A: God, could you imagine ruining the screening for everyone if AMCs had bars when this movies had come out? There'd be like wine everywhere. It would just be cocktails aplenty at these. [00:53:55] Speaker C: The dream. [00:53:57] Speaker A: That would. Honestly, that would be the most perfect way to watch these Movies is a full theater of middle aged drunk people, middle aged women with the occasional husband who was dragged to them. [00:54:09] Speaker B: Yeah. [00:54:10] Speaker C: Yeah. I feel like these movies failed to capture that raw energy that you see in, like, Mamma Mia. Where it's just like, you know, everybody here is having, like. It has moments of like, all these actors are having a great time making this. [00:54:23] Speaker B: Oh, yeah. Oh, no. [00:54:24] Speaker C: It's so light and breezy. [00:54:26] Speaker B: Whereas these movies scream. All of these actors are collecting a decent paycheck for minimal work. Like, that is the energy they emanate. It's not everybody's having fun. It's everybody's happy that they're working very little for good pay. [00:54:39] Speaker A: And they don't care if they fuck up. Like, they're clearly like, yeah, it's. We'll do it again. [00:54:44] Speaker B: Well, nobody cares if they fuck up. [00:54:45] Speaker A: All three of these films have blooper reels at the very end of them, which. God bless, you know, Incredible. [00:54:51] Speaker C: Dying, a lost tradition. Thank you, Logan. [00:54:53] Speaker A: Yeah, I wish they were. We would return. I still think about how Carry On, My Wayward Son plays when Anchorman does its blooper reel at the end of its film. You know, that's a top tier blooper reel in my hand. Probably the last time I'd see a blooper reel in a film is when do we all see Between Two Ferns, the movie together with that Netflix. [00:55:14] Speaker B: I think that's so. [00:55:15] Speaker A: Yeah, I think that's like the last time I think I've seen a. [00:55:17] Speaker B: That's a hell of a blooper reel. [00:55:19] Speaker A: That is a wonderful. I've actually watched that blooper reel by itself, more so than I've seen any actual clip of that movie. Just to hear. [00:55:27] Speaker B: I remember the blooper versions of the scenes better than, like, the movie versions of the scenes. [00:55:32] Speaker A: Just to watch Galifianakis go, Don Draper's suit in the Smithsonian next to Cosby sweater, and then just Jon Hamm fucking loses. [00:55:40] Speaker B: Yeah. [00:55:43] Speaker C: Alrighty. I think we might be dragging our feet. Let's. Let's just get to Mother's Day. You know, who wants to serve it up for us? [00:55:51] Speaker B: Yeah, we've been in it and not in it. Yeah, we've been dipping our toe into Mother's Day. The water's a little too cold. [00:55:59] Speaker A: I will say I think this is my least favorite and why I despise this movie a little bit more than the other two because again, here's the thing on letterboxd, Valentine's Day and New Year's Eve are like a One out of five. And Mother's Day is a half star. Like, that's. It's not really that huge of a gap in terms of if I like these more than the others, they all died. This might be one of the worst trilogies we've had to watch in full, like, back to back to back. And I'm so glad we're here with Jake to do it because, again, it was worth it. It was worth doing this episode just to watch Jake keep us on track on our own podcast. But Mother's Day adds something to the equation that I didn't realize I was going to despise as soon as it was added. Because Valentine's Day and New Year's Eve are very basic. They are. You know, they have no commentary other than what they talk about with love resolutions, you know, beginnings in New Year's Eve sense and just all that. Mother's Day decides to add social commentary to the conversation in a way that I would say makes this film that much more unbearable, which is in the film Our Four Leads, because, like, because of all these three films, this is the one that has, I think, the most distinguish, like this, you know, distinct protagonists, which are Jennifer Aniston as mom in crisis, Brit Robertson as who is my mom plot. Jason Sudeikis, who is doing double duty as sad dad, who lost wife plot, as well as my daughters are teenagers now and I'm in hell plot. And then there is Kate Hudson with the most, I think the worst plot in all of these movies, which is Help my mom, Margo Martindale is racist, and I married an Indian man and didn't tell my husband that my mom is a giant racist. And then on top of that, you turn next to her and there's Sarah Chalk, who I think most people now would know her as Beth from Rick and Morty. But at the time, Scrubs. [00:58:16] Speaker C: Scrubs fame. Yeah. [00:58:17] Speaker A: Who is gay in the film with her wife, Cameron Esposito, who is a comedian who's pretty prominent at the time. And so Margot Martindale is just like, I hate minorities and the gays. And that's like, the whole thing. [00:58:34] Speaker B: The film has no idea what to do with that. [00:58:36] Speaker A: Yeah. Until she, like, hangs out with Kate Hudson's son, her grandson. And then it's like, you know what? Maybe we aren't so different after all. And it was the most embarrassingly basic thing. [00:58:49] Speaker B: Yeah, well, and she gets on the. On the call with Anvi or Asif Manvi's mom and figures out that whole dynamic that, oh, well, we can Be racist as long as we both find it funny. [00:59:07] Speaker A: Yeah. The best part about Las Vegas is you can go outside and go anywhere and see sand, just like home. And then Monty's mom is like, I don't know what that means, but that sounds funny. [00:59:19] Speaker B: Yeah, that sounds racist and funny. [00:59:22] Speaker A: And not only that, the movie ends on them. It ends on both of them and just hard cuts to black as they're hanging out. And it's the biggest fuck you that any of these movies have done is end on racist Margot Martindale and her mother in law. It also is like the movie is trying to make you feel bad for Kate Hudson when in all honesty, she's a horrible person for not telling her husband the truth about anything. And on top of all this, we have the Jennifer Aniston plot, which is basically Aniston and Oliphant are not the best co parents. Oliphant in particular is not a great co parent because he is basically putting his ex wife into a crisis at every given moment. And it also was funny because Tilly, the Olyphant's whole thing in the film is that not only is he Jennifer Aniston's ex husband, he got married again to a much younger woman. This younger woman at the time when the movie was getting. Because I was curious, she was like born in the mid-80s, mid to late-80s, so like there's like a 20 year gap. She is older though, than Brit Robertson, who's like another one of our protagonists in the film. So every time Jennifer Aniston would make fun of the fact that tell him if the Oliphant was apparently married to a child, it would just hard cut to Brit Robertson and I'd be like, she's younger. Like, what are you, like what is this whole thing? Like, what are you doing? Like, what. What are you saying with that? Gosh, The Sudeikis plot is also just like. Sudeikis has all these moms who just want him to get laid and he's just too sad to get laid. Of course, all three of these films have that one plot where two of the actors kind of come together in some way, shape or form. Jake talked about it with New Year's Eve where it's like one of the weaker plots is the Duhamel and Sarah Jessica Parker reveal. Yeah, it's like you don't get any time with them. You're just like, you're told about their history and then they meet up and they kiss once and they're together. Valentine's Day is the Strongest of the three with the Kutcher Gardner plotline, friends to lovers plot. And then Mother's Day. It is the most awkward of the three relationships with like Aniston and Sudeikis kind of. [01:01:44] Speaker B: Yeah. And it never really even goes there. The movie ends before they like at their little meet cute. [01:01:50] Speaker A: I love Jake's face right now. Jake is. [01:01:52] Speaker C: It's just. I just don't feel anything at that point. Like the. The like. I think these reveals are like. They be. It's like they become the plot where it's like, how is this character gonna connect to this? [01:02:06] Speaker B: Yeah, it becomes doing it for the sake of doing it. Because the previous movies did it. You know, it kind of. [01:02:11] Speaker C: You're 100% right. [01:02:12] Speaker B: End credit scenes in superhero movies. It's like, well, we have to have one. You know, just think about the, like the insult to injury in that fucking Sudeikis meeting Aniston scene at the end is like. Then the little like afterthought reveal that, oh, that's my gym. The gym that you work at. That's my gym. As if. Yeah, that fucking matters at this point. [01:02:37] Speaker A: And also the gym is like completely incidental. It's like two rooms put together in one. Like, it's not a big gym. [01:02:46] Speaker B: He would recognize her. [01:02:48] Speaker A: The scene where Sudeikis like, hides behind that mom's ass is like, clearly Aniston could see you. Like, what do we do? And again, think about the fact that like, these are also the type of films where if you think about, oh, shit, these people have been in movies before together. And it's so fascinating that like, you know, Aniston and Sudeikis were in Horrible Bosses 1 and 2 together. [01:03:10] Speaker B: Yeah. [01:03:11] Speaker A: And have more chemistry together in those two films where they're basically. They just fuck in the first film because it's Charlie Day's horrible boss is Jennifer Aniston. They have more chemistry in the little time they have together in those two films. [01:03:26] Speaker B: They were also. They also had. We're the Millers. [01:03:28] Speaker A: They had. Were the Millers as well. Which they have great chemistry in that. Like, it is. And it's the fact that like the chemistry moments in this film is Jennifer Aniston crying and screaming in her car while Sudeikis awkwardly walks away until like the very end where it's like, I don't know, guys. She's kind of attractive. And like, Sudeikis kids are basically like, just fuck her. Like, it's like his kids are just like, jump on her, man. I want a mom. I'm so I'm sad about mom, but I want a new mom. For yourself sake. Oh, my gosh. It's. Yeah. Starting Sudeikis whole plot next to his wife's grave. It's just. [01:04:08] Speaker C: And I get it. I get that this movie is trying to check off a bunch of different mother identities on a list of like, oh, the awkward dynamic of the new. [01:04:18] Speaker B: This kind of mother. [01:04:19] Speaker C: Yeah, right. And so I totally get that. Like, it's, It's. It's constructed around that, but there is just. It. It loses. It loses steam as quickly as it builds it up. Because you're, like, constantly shifting. Like, you know, I mean, like, you're shifting into this situation where it's like, oh, no, what if your mom's a little bit racist? You know, like all of these, like, quirky things about motherhood without any sort of, like, what is this for? What are we, you know, I want to know. What do we learn? [01:04:48] Speaker A: I want to know what Julia Roberts was actually doing during the production of this or why she's so little in it. Because she is on the poster of this movie, but she feels noticeably less screen time than everybody else. [01:05:02] Speaker C: Like, one of her big wonder that too. [01:05:04] Speaker A: One of her big moments is when she meets Jennifer Aniston for the first time. Looks like it's happening at a pool at a Ramada Inn. Like, it just feels like it's just fucking happy in a random pool. They have one scene together where she gives her the bangle, which gives the hijinks of the vending machine right fucking bit. And just like, she shows up for like 15 minutes. Her whole thing is that she is Brit Robertson's long, you know, long lost mom, basically. And there is no, like, I'm not your mom. It is literally she gets pushed out of the room. Hector Elizondo is like, are you sure? No. Talk to Jennifer Julia Roberts for like, maybe 30 minutes. She talks. She has a scene with Hector Lozando, and then she's like, yeah, I've always known you're my dad. Daughter. I actually have pictures of you, so I know for a fact you're my daughter. And it's like, what is that? There's also Jack Whitehall, who is unfortunately not doing an American accent in this movie. Would have been a lot funnier. He was doing an American accent, but not his whole plot line is that he's a comedian and he has a kid. That's it. That's like his whole plot. [01:06:14] Speaker B: Yeah. Not a lot of, like, movement in that plot. [01:06:18] Speaker A: No. [01:06:19] Speaker B: Again, it's not like a point A to point B thing. [01:06:22] Speaker A: It was fascinating looking up just like, how many, like, in my head, how many plots were in each film. And to think that, like, New Year's Eve and Mother's Day kind of had the same amount. Because in all honesty, I think another reason why this movie is like the worst of the three is that at least for Valentine's Day and New Year's Eve, they stick to the convention of it's only in a day, it's only one day, it stays in that day. You have to like. So at least with Valentine's Day, the end of Valentine's Day is literally when the sun goes fucking down. And New Year's Eve, the end of New Year's Eve is literally when it becomes New Year's Day. Mother's Day. It takes apparently a week to get to Mother's Day. And I think it drags so hard trying to get to the fucking holiday itself that it's like, just make it like two days. Even if you just want to do multiple days. [01:07:11] Speaker C: Make it the whole weekend. [01:07:13] Speaker A: Yeah, Mother's Day weekend would be a blast. Just do that. And. And unlike the other two films, like, I don't even think they go into even trying to describe why Kate Hudson or Jennifer Aniston or Robertson know each other. I think they really just say, like, they're all moms. They just so happen to have mom Dar. And they ran into each other. Like, it. There's no, like. I think yoga might be the connecting factor for the three of them, but I don't know for certain. [01:07:39] Speaker B: It's nebulous. [01:07:40] Speaker A: Yeah, it's nebulous. And it's like anytime compared to the other two films where at least I think there is a plot line where it's like, not even interesting, but, like, this is kind of a train wreck in an interesting fashion. Like, in a fascinating way. Everything in this is just like. It's just boring. I think I laughed once. I think once I laughed watching it. And I think it was not meant to happen. I think it was not meant to be funny. It was just one of those movies where it was like. I think I got to the half, like the back end of the film and I was like, God, this is Garry Marshall's last film. And just like, really sat with that as I thought for a second. [01:08:21] Speaker B: Yeah, kind of a. Kind of a whimper. [01:08:24] Speaker C: It's just like a mom rom com is always a hard sell, you know? Like, I think there's really. For a very, very specific audience. And I think that, like, yeah, I Mean, it. It definitely limits what it's trying to do in the other movies where it's like, you know, like, young people, old people. It's, you know. [01:08:44] Speaker B: Yeah. [01:08:45] Speaker C: I don't know. I think it's the most constrained but also the most unhinged, like, at least in plot of all of them. And I just. Oh, it's weird. It's weird in that way. [01:08:55] Speaker A: Do you like the part where they did the wedding in Shorty's Bar and it's called Shorty's because he's a little person? Is that. Do you like that part? [01:09:02] Speaker C: You know, I think. You know, I think, yeah, there's definitely a lot of things where it's like, yeah, the humor isn't going to be aged well, but it's also the kind of humor that an old. Like, somebody who would be old in that time would be interested of. Like, well, you see all these social medias. I can't keep up. Twitter, me. What does that mean? Like, every single one of these movies has some, like, throw away, like, look me up on Facebook. Like, it's. It. It. You know, I mean, it's that kind of, you know, like, I guess that's. I guess that's what we're doing now. [01:09:35] Speaker A: Yeah, it. My Lord. I think it really. I think it honestly made it worse that it ended on Margo Martindale and it just cut to black. I think I actually rewound it a minute just to make sure I didn't miss anything, because I felt like I looked away for a second and then the Meghan Trainor song that I think was written for this fucking movie, or at least it's called Mom. It's just called mom by Meghan Trainor. [01:10:00] Speaker B: Yeah. There's just no attempt at, like, a real sense of finality or closure in this one. Like, there is in the other two, which, like, you know, say what you will, the other two have stupid endings, but at least they have endings. [01:10:18] Speaker A: Do you think that it would have been more profitable for them if they just did a Christmas one of these? Like, do you think they were thinking about doing that at one point and then they were like, no, that's kind of too much like love, actually, since it is Christmas, so we should just, you know. [01:10:34] Speaker B: Yeah. I also wonder if it kind of became like a. I don't know, a mission for Garry Marshall to like, spend more time focusing on, like, the lesser, like, the less celebrated holidays in cinema, like, on. On screen, you know, there aren't a ton of movies about these three holidays. I mean, I Guess New Year's Eve. There's probably a decent amount. But, like, we don't think about New Year's Eve movies as like a genre. Whereas Christmas movies are ubiquitous, Halloween movies are ubiquitous. [01:11:07] Speaker A: But it's so funny too, to even bring that up where it's like the ones that we would consider, like the best Halloween movies or the best Christmas movies are films where they have actual plots, like characters. [01:11:19] Speaker B: Yes. That's a. That's a problem unique to this trilogy, Logan. [01:11:23] Speaker A: Yeah. It's like it just so happens to have this holiday in the background. Well, this is the holiday in the foreground. [01:11:30] Speaker B: Yeah. [01:11:31] Speaker A: The actors in the mid ground. And then the backstory or character or whatever the script is is like in the far background. Like, it's just like. It is funny. Think about that. [01:11:43] Speaker C: And also, like, you know, Valentine's Day in New Year's Eve, or at least holidays where it's like, and then two people kiss and then the world is saved, you know, and it's just like, maybe he ran out of. Maybe there was not a third holiday where it really could. You could build like that kind of rom com. [01:12:00] Speaker B: Mother's Day as a holiday is just a very different vibe from the other two. There's not. And I don't necessarily mean this like, you know, sexually, but there is not like a romanticism to Mother's Day like there is to the other two. [01:12:16] Speaker A: No. [01:12:16] Speaker B: Right. There's not like an idealized picture that everybody has in their mind of a Mother's Day. [01:12:23] Speaker A: No. [01:12:24] Speaker B: Or like, what, the tenets of Mother's Day or things like that? [01:12:27] Speaker A: No. I think Andy's right. I think Arbor Day is a sexier holiday movie. On President's Day, I was. While I was watching this, I was talking to somebody while watching it, like, literally was just on speakerphone while working on Wolfman, while watching the New Year's Eve, and they're like, what would a President's Day version of these movies look like? We were just trying to think of, like, what you would do in other holiday equivalent. I know that if they tried to make one now, they would try to put Sabrina Carpenter in it. [01:12:56] Speaker B: Oh. [01:12:57] Speaker C: And they would. They wouldn't be wrong. [01:12:58] Speaker A: They wouldn't be wrong at all. [01:13:00] Speaker B: I think you'd get a lot of, like, music stars in a movie like this. [01:13:04] Speaker A: These days you get some people from Outer Banks. I think it's some Netflix shows. It'd be a Netflix. [01:13:10] Speaker B: What is the ideal Gary Marshall holiday movie cast in 2025? [01:13:15] Speaker C: And in 2020, we call it International Kissing Day. That's the whole plot. [01:13:20] Speaker B: Gary Marshall's juice Juneteenth. [01:13:22] Speaker A: I was literally just thinking just, like, you know, how fucking in that alternate, like, universe, how horrified I would be to see, like, a poster for that. I don't think I could ever have the. The guts to see that in the theater. Yeah, it is. It's funny to think that, like, you know, the 15 year gap between, like, now and Valentine's Day doesn't feel like the biggest in terms of the changes of, like, what, you know, is popular now to a degree. Maybe. Maybe if anything, the superheroes of it all. But that's just fucking anything when we talk about the last, like, 15 to 15 years. Yeah, but, like, there's just this energy of, like, you could definitely do this at any point now. But I think at this point, it is a streaming. It's a Peacock original. It's a Netflix original. It's Hulu. It's. I mean, technically, I think we kind of got something like this from Netflix and Hulu with, like, Modern Love, or I think they had, like, a love show, I think, on prime where it's like, you know, they have, like, an ensemble cast that have, like, I think, intertwining stories depending. And those seemed. I've heard a pretty decent. But, yeah, it's one of those things where it's pretty clean cut as to why these movies exist. There's a part of me. There's probably a sick part of me that kind of misses studios literally throwing money at something so vapid compared to now, where it's like, if a studio throws money at something and it doesn't feel. Doesn't feel like it's like, oh, this is so clean cut. Like, I don't know if I've seen. [01:15:11] Speaker B: Yeah, I think if you're gonna do something like this now, you would have to. It would have to be, like, kind of weirdly cynical and, like. [01:15:20] Speaker A: Yeah. [01:15:20] Speaker B: Making fun of itself, but in, like, obviously the lamest way possible. [01:15:25] Speaker A: Like, in like, a David Wayne. [01:15:27] Speaker C: I think you're literally just describing Valentine's Day. [01:15:31] Speaker B: Valentine's Day? I don't think so. [01:15:33] Speaker A: Yeah. [01:15:33] Speaker C: At least in the way it's trying to be cynical about itself. [01:15:37] Speaker B: I don't. I don't think Valentine's Day is cynical about itself. I think some of the characters in Valentine's Day are cynical about itself. [01:15:44] Speaker C: Right. You're right. It's trying to, like, comment on it. [01:15:49] Speaker B: Yeah. Yeah. But I think it's a comment of, like, positivity and idealism. Whereas I think, like, if you Were to make a movie like this today, the all star cast, the, you know, kind of 70 plots thing, it would end up being like a sort of making fun of itself. Like, oh, isn't this crazy seeing all these big faces on here? Like, probably a bunch of pop culture references. I think it would somehow be even more hollow than like these movies. [01:16:21] Speaker C: Yeah, you're so right. You're so right. [01:16:24] Speaker A: Well, I guess the question would be since, like, on paper, this film is based like both, all three of these films to a degree, are doing the Love actually method of getting a talented ensemble, multiple intertwining stories to a degree. And they all come together at the very end in some way kind of climax besides writing. Because clearly writing is the biggest difference here between Love actually and all these films, despite the British aspect of it as well. So despite those two things, what do you think kind of stands Love actually apart from these three movies in a way? [01:17:00] Speaker B: I'm probably not the best person to answer because it is years since I've seen Love actually and I barely remember it. [01:17:06] Speaker A: I don't know. To me, I feel like a big thing about Love actually, which is why I'm always so surprised when people talk about it being their favorite Christmas movie is. I think that movie works on its edge because it has a bit of an edge to it as a Christmas film in terms of the fact that like, there's a minor plot that is Martin Freeman and a woman as porn star stand ins and it's like their meet cute is on the set of a porn. Like a porn set. Or the fact that like Bill Nighy's whole character is how he's just like a dis. You know, just like just completely disgruntled. I fucking hate the industry. The music industry. I'm gonna make a shitty album and it's gonna make so much money and then I just makes a whole lot of money. And it's very popular. And I mean, I think it's just. [01:17:54] Speaker B: Not as like spick and span, squeaky clean, safe. I mean, it's, you know, I'm not gonna say it's the riskiest. It's not, but like, yeah, it does live, like you said, on its edge and kind of in a way trying to, you know, portray a little bit more realism in the variety of lives and people represented. So I think that is probably something because all three of these movies are just like the entire thing feels like shot in a little Hollywood bubble. [01:18:32] Speaker C: Yeah, yeah, yeah. [01:18:34] Speaker A: Like, everything was shot in like six days and then the rest of the time was to just get, like, pickup. [01:18:39] Speaker B: Everybody made a million dollars. [01:18:43] Speaker A: Yeah, I mean, it's. No, I just. I thought it was an interesting question because in all honesty, there's not much really to talk about with these three that we haven't already said. Like, it's just for a director who is, I would say, fairly Hollywood royalty in his time, like, you know, from up until his death, it is kind of just like a bit of a bummer that the man kind of has, you know, cult classics and beloved films in the 80s. Pretty Woman being an icon in the 90s, as well as people who like Runaway Bride as well as the Princess Diaries films in the 2000s. He has other films in between. All those that are, I would say, seem critically didn't do well. But, like, he has a bunch of films that kind of could be different indicators or like, this defines the 2000s for me, or the 90s or the 80s. Like, one of these films in the background. And I do not think any of these films are like, these Films define the 2000 and tens for me, other than the fact that, yeah, you just probably in 2025 would not find this level of a cast. And I think you don't really see a level of the cast like this. [01:19:46] Speaker B: Until, like, unless it's a Christopher Nolan movie. [01:19:49] Speaker A: Yeah. And Christopher Nolan film, or around this time move movie 43 is something that's kind of also very similar. [01:19:56] Speaker C: Yeah, no, that's. That's, I think, the closest analog this really has to it in its own era, where it's like one person attaches onto the project and you have all these other big names that are in for just a little bit. [01:20:08] Speaker A: But. [01:20:08] Speaker C: Yeah, I don't know. I think these movies just have, like, a sensibility that is lost, where it's like. No, but there really isn't a real audience for something that's this saccharine. This just like, well, you know, this. You know, we're having a great time and love conquers all. And like, you know, they're just, you know. Yeah. The commentary in it is just saying that we love the holiday and there's nothing wrong with that. [01:20:33] Speaker A: These are, you know, these are three films where I think everyone involved has been told at one point in their lives from their agents, this is what you do to become a movie star. You do this, you do that. You definitely do a rom com. And hey, guess what? What if you did a rom com where you have a total 10 lines and you're like, fifth on the call sheet. [01:20:53] Speaker B: Right. [01:20:53] Speaker C: Like, seems great. [01:20:55] Speaker A: Yeah, why? Yeah, honestly, like. Yeah, that's why not. And also Taylor Swift and Taylor Lautner, huge at the time, of course. You just. Just ride the coattails on that. Or like a New Year's Eve. The Glee, The Glee fandom. Maybe you'll get some people with that. [01:21:09] Speaker C: The ludicrous people, the Fast and Furious people will show up for him. [01:21:13] Speaker A: Yeah, lutely. De Niro, you know, gonna get the old. The old, the old men going, ah, De Niro's a New Year's Eve. I gotta go see him. [01:21:21] Speaker B: And maybe, maybe Taylor Swift will direct the modern analog for these, for this kind of movie. [01:21:29] Speaker A: I'm not even fucking joking. I would be there day one, if anyone could fucking. I would love to see. I mean, she has the directorial debut be one of these types of movies. [01:21:38] Speaker C: She should just remake Valentine's Day. She should, she should just play herself or play her character. Valentine's Day, her songs are the whole soundtrack. Yeah, yeah. [01:21:48] Speaker A: I think the funniest I felt, I mean, one of the funny things that we talked about during Valentine's Day while we were watching it was when I had the thought and I proposed it to both of you and everyone in the room when we were to watch it. What is more outlandish in modern? Like, if you went back in time and told someone that Taylor Swift is now dating a multi super bowl champion or that Taylor Lautner is married to a woman who is named Taylor Lautner, like, what would be the most outlandish thing of those two? Because they're both right. [01:22:21] Speaker B: Yeah, it's incredible. [01:22:23] Speaker A: Yeah. That's the Garry Marshall's Holiday trilogy. Hopefully, you know, if down the line, if Andy feels nice and I feel like, you know, it's worth watching if Princess Diaries 3 ever comes out, maybe we can, you know, bring back Gary Marshall to talk about films that people actually like from him. [01:22:40] Speaker B: Bring him back. Like we resuscitate. [01:22:42] Speaker A: No. [01:22:43] Speaker B: Raising his corpse from the grave. [01:22:45] Speaker A: Oh, no. [01:22:47] Speaker B: Exhuming Gary Marshall. [01:22:49] Speaker A: But yeah, before we talk about what we're doing next, Jake, thank you so much for being part of this episode. And I know there's probably a part of you that thought we were going to rag on you because we are doing this episode because of you. But in all honesty, I wouldn't want to do an episode like this without you. And this would. This made us so much more fun having all, all of us be able to talk about each film, whether via text or in person. It made it a lot more fun just being like we were all in misery together. In some way, shape or form. [01:23:23] Speaker B: We're also being nice because we need you back for another episode this year. [01:23:26] Speaker A: Oh, that's right. [01:23:27] Speaker C: Well, he's for sure. [01:23:28] Speaker A: We don't need to be nice to that. He's already. [01:23:30] Speaker C: And thank you guys. Thank you guys for having me on the pod once again. That's been great. I just, you know, I find, you know, I find this is in the definition of your guys'show that you can't. You can't shun a real odd trilogy where it's like this just. This exists. This was made. Yeah. Happy to be on board. Episode 96, man. [01:23:52] Speaker B: Wow. [01:23:53] Speaker A: Yeah. [01:23:53] Speaker C: Any plans for 100? It's coming up soon. [01:23:57] Speaker A: We do have a plan, but it just didn't tbd. Yeah. What? What? The episode's gonna be. [01:24:04] Speaker C: Awesome. [01:24:05] Speaker A: But yeah, no, I mean, that's a good point to kind of talk about it. We like when we talked about our Sony. Is it sssu. [01:24:13] Speaker B: Yeah. [01:24:14] Speaker A: We at the time didn't have our kind of schedule figured out for the year, and now we have figured it out and we're super excited for what we're doing this year. We have some fun, you know, kind of additions to our usual schedule as well as, you know, other free quals. Probably going to do. Definitely do some quickies and reviews. But to get not too far ahead of the time, I did want to throw over to Andy to talk about what our March trilogy is going to be, because our next episode will be March 1st. [01:24:41] Speaker B: Yes. [01:24:42] Speaker A: And it will. It is not a Gary Marshall trilogy, in case someone was hoping to get to that point. But no, this is a trilogy that Andy brought to my attention that actually pertains to a trilogy we did last year to a degree. And we had such a fun time talking about that trilogy. We thought, you know, maybe another spin on that kind of idea with another director. And Andy, would you like to talk about that? [01:25:06] Speaker B: Yeah. Well, and actually, another kind of through line here. Jake is kicking off a little. A little string of guest spot episodes over the next month or so. [01:25:19] Speaker A: Sure is. [01:25:20] Speaker B: And not just guest spots, but trilogies proposed to us by our guest. So Jake came to us with the Holiday trilogy. And yes, like Logan mentioned, our next episode does have a little bit of tie to Episode, at least thematically, that we did last year in Alan J. Pakula's Paranoia trilogy. We are actually doing another Paranoia trilogy, not by Alan Jay Pakula, but by an entirely different director, one John Frankenheimer. And this trilogy was actually suggested to us by next episode's guest, Matt Hurt. Who has also been on the pod before. He guested on our Kurosawa Shakespeare episode. [01:26:10] Speaker A: Yeah. [01:26:10] Speaker B: So John Frankenheimer, hugely prolific director, particularly in the 60s, 70s, 80s. Also the director of one of Logan's and my shared loves, Grand Prix. And yes, he. He created a conceptual trilogy of his own surrounding paranoia. And that would be. This may be out of order, but would be Seven Days in May, the Manchurian Candidate, and Seconds, all 60s films, if I remember correctly. [01:26:51] Speaker A: Yeah, I think so. [01:26:53] Speaker B: I think it's all 60s, but yeah. [01:26:55] Speaker C: 62, 64, and 66. [01:26:57] Speaker B: There we go. Thank you. [01:26:58] Speaker A: Hey. [01:27:01] Speaker C: I can look on Google. [01:27:03] Speaker B: But, yes, we are revisiting the chaotic brain cage of paranoia. Through this time, the Eyes of John Frankenheimer and guest starring Matt Hurt, which. [01:27:18] Speaker A: I'm excited to have Matt back on the show because I bet he was really disappointed our Kurosawa episode wasn't five hours long. [01:27:27] Speaker B: Well, you know, we can always reach higher. [01:27:29] Speaker A: Yeah, the Frankenheimer episode, we can always see how long that goes. But, yeah, tune in on March 1st when we cover John Frankenheimer's Paranoia trilogy with Matt Hurt. And as always, I'm Logan Sot. [01:27:44] Speaker B: And I'm Andy Carr. [01:27:45] Speaker A: Thank you so much for listening. Bye.