The ULTIMATE Texas Chainsaw Massacre Documentary Review: Chain Reactions (2024)

➡ This text is about a podcast episode discussing the impact of the horror film, Texas Chainsaw Massacre, on five artists. The hosts, Paranoid American and Sean Chris, interview Patton Oswalt and others about their experiences with the film. They discuss how the film’s realism and gore influenced their creative work and how it compares to other films. The hosts also talk about the film’s unique viewing experience due to its old, grainy quality, and how it felt like a found footage film.
➡ The text discusses the impact of the film “Texas Chainsaw Massacre” on various individuals, including Takashi Mike, a Japanese filmmaker, and Alexandra Heller, an Australian film critic. Mike shares how watching the film at 15 influenced his own filmmaking, while Heller discusses the film’s delayed release in Australia and its subsequent impact. The text also explores the film’s unique ability to evoke strong emotions before the viewer fully understands the story, and its influence on the horror genre.
➡ The text discusses the impact and influence of low-budget horror films like “Texas Chainsaw Massacre” and “Blair Witch Project”. It highlights how these films, despite their small budgets, managed to create a significant impact due to their unique storytelling and innovative filming techniques. The text also discusses Stephen King’s views on his own work and the moral implications of his stories. Lastly, it explores different interpretations of “Texas Chainsaw Massacre”, showing how viewers can derive different meanings from the same film.
➡ The text discusses a documentary about the movie Texas Chainsaw Massacre, focusing on different perspectives and interpretations of the film. It highlights a memorable scene where a character is hung on a meat hook, and how this shocked viewers. The text also mentions how watching a film or hearing a song can change a person’s life. Finally, it ends with a promotion for a comic book about Stanley Kubrick directing the Apollo space missions.

That man had a pierced nipple. Under the docks yeah, under the docks Buried deeper we breaking the locks. Under the docks under the docks yeah under the docks. Ahoy, mateys. This is under the Docks with Paranoid American and Sean Chris. Mainstream Mondays charting through the treacherous waves of normie documentaries. To let you know, do they sink or do they swim? Visit paranoidamerican.com kill them birds.com and don’t forget to, like, subscribe and share. Share, Share the show. This is chain reactions from 2024. It came out towards the end of the year, I think, and it’s about the 50th anniversary of Texas Chainsaw Massacre.

So if you didn’t feel old, maybe you feel old now hearing that that movie itself is. Is 50 years old. Over 50 years old now. About an hour and 40 minutes and some change. And the billing is essentially the teachers Chainsaw Massacre’s impact on five specific artists. So we get an interview with Patton Oswalt. I wasn’t expecting Takashi Mike, Alexandra Heller Nicholas, Stephen King, and Karen Kusama. Or Kusama. And I’ll talk about who these people are and why you might care about them as we go through this. But essentially it’s just a little look back at Texas Chainsaw Massacre and how it affected all these different people in their own creative endeavors.

So have you seen the original Texas Chainsaw Massacre? I have. It was the same lure as the Faces of Death, right? Th. Those are the two films as growing up, you’re like, dude, gotta be careful. If you watch, it’s when you’re like seven and someone’s telling you that you’re pretty scared, man. You’re like, this sounds crazy. And you’re watching it like you’re thinking that you’re gonna die. The documentary is pretty straightforward. You get five separate interviews, one after the other, and then it ends. Spoiler alert. Then it ends. But I think that it’s done in a fairly decent way and it’s very predictable.

So it starts out, chapter one, Patton Oswald. And now you’re talking to Patton Oswald. And my first thought was, you mean like the ice age Disney voice guy? Like, he’s going to be the leading person that talks about Texas Chainsaw. And also my eyes rode a little bit just because, like, politically he’s like, jumped all over the place. I was like, all right, whatever. Let’s see what he’s got to say. It wasn’t that bad, though, man. I wrote down a few of his observations and in my first note was like, not off to a good start.

But I was able to set that aside. And his particular take as he’s talking about Texas Chainsaw Massacre is how his first scary movie was Nosferatu, like an early black and white sort of silent movie. But he said that it was this really scary experience where he’s just in a normal day in suburbia, you know, inside of a room with a bunch of his friends. And then they turn the lights off and they put a projector on the wall. He was like, just light flashing on the wall transported me to, like, a scary alley in Germany at some point.

And that. That feeling, not the movie as much as the feeling of I could be teleported from safety into this weird realm. That. That’s what kind of fascinated him. I thought that was an interesting observation. It. It got me thinking because I. I was scared of Chucky as a. As a kid, right? Like, I was like, dang, this movie is terrifying. I showed my daughter that she wanted to watch it, and total difference. She was like. Because I had never seen anything like that, right? And then, like, you know how CGI or effects that they use and stuff now is totally different from them.

So now kids have seen so much wild stuff that that is just like, oh, that’s funny to me. But I was terrified. I was like, oh, my God, Chucky’s gonna get me. What? So he makes a really good point on that. Not the nosu thing, right? Like, we can see that. Like, okay, yeah, it’s interesting art wise, but I don’t know if I’m gonna get nightmares from it. But then he talks about Texas Chainsaw Massacre being another one of those versions of movies. And he also makes this comment that you’ll see come up in all the different interviews.

And I really do without feeling, like, too much like an old fogey, right? Like back in my day. But he’s talking about the difference of seeing it in HDTV or in 4K remaster and all this. He’s like, I had to put it into this TV that had a slot for the vcr. There was no rewind. There was no, like, fast forward or stop or play or. There was. It was a stop and a play. There was nothing else. So you, like, you put this in and you’re just watching it and you’re watching on a grainy old television.

And the quality of the tape is making a little bit, like, rustic, I’ll say. And it all gives it this extra aesthetic of a found footage. It almost feels. He mentions that it’s like killers stole somebody’s camera and Started recording themselves doing these horrible things to just like random people. And then it didn’t feel like a movie. And he also makes some really good links to other of other movies that are kind of all on the same vein. So he mentions Man Bites Dog, which is a black and white movie about a film crew that follows around like a psychopath, like a hitman.

And it just like, here’s how he kills people. And then you also mentioned Soldier Blue, which is an old Western that gets pretty spicy on how brutal that entire like, forefront was. And if they came up on Natives, it wasn’t necessarily like there was some kind of decorum. Right? There wasn’t really like a. Any kind of rules of warfare at that point. And then he mentions a movie I’d never heard of before and I don’t ever want to watch called the act of Seeing With One’s Own Eyes, which is literally just a autopsy of a human being from start to finish.

And that this came out, I guess, for people to watch. And he’s mentioning that. And by the way, that the Entire thing’s on YouTube. You can watch the entire thing on YouTube, which is the goriest thing ever. He’s kind of making these comparisons of how certain types of media and these movies that show like, insane acts, but that they are actually important, that somehow they have some kind of a credibility just because of how visceral the gore and like the. The horror is. I don’t know. That’s. That’s what I was pulling from it. Not what I was expecting from Patton.

And they kind of comp. He kind of compares it to like, the realism, to like how it used to be, how they show like the old films of where. That’s where he’s comparing it to the. These actual real life, like, this could really happen. It’s not like some phony, like, you know, like the 50s, a UFO just floating in the sky. You’re like, you know, that’s a little bit scary. Or the people Eater that’s walking around in. In a costume. You’re like the realism of it. Of. You’re like, oh, this is something in America I don’t ever.

You now you drive through a small town and you’re like, ah, let’s hope we don’t break down. Yeah, he makes that a really good point of that. And then there was also one other thing towards the end of his interview where he’s mentioning all these old classic movies where there’s this motif where like a woman’s trying to run away from the Mansion and like get away from the guy. But it was seen as romantic, is the guy would like run after her and grab her and like whisk her back up and rush her up the stairs and throw her into bed.

And then, you know, the movie would kind of end and be like, oh my God, whatever. Like, how romantic. And. But that. The Texas Chainsaw Massacre has a similar scene, but it’s. The girl is trying to run out of the house and she almost makes it to the front door, but then Leatherface goes and grabs her and picks her up and walks her back. And it. And it was this way of saying that this was inspired by actual classic cinema that the director, by the way, Toby Hooper, that he actually grew up with, and that it was just manifesting itself in a.

In a psychotic way. And I never had never even considered that. But now I don’t think I. I can watch that scene of Texas Chainsaw Massacre again without thinking of like Gone with the Wind or. Or whatever the hell. You know, all these old western romance were like some Casablanca, right? Like at the airport, hey, babe, here’s looking at you. Like that kind of stuff. I won’t either. And that some of the way they broke down this film was eye openening for me. Again, when I saw that, I was young and then I saw it again as a teenager, right? Like I.

I haven’t watched the original in a couple decades, right? I haven’t seen it forever. And the way that they’re breaking down the film is interesting to me because it’s like when people go, yeah, he was writing this song and it was about this and you’re like, but was it though? Because sometimes people say that and then you talk to the artist and they’re like, I don’t know, I just put some words down. You know what I mean? The second chapter is an interview with Takashi Mike, who made Ichi the Killer and a whole bunch of other ones.

But he’s kind of well known in worldwide. But like Japanese horror movies and it’s all in subtitles because he just speaks Japanese. And he was talking about. When he was 15, he went to the city and they wanted to go and see a movie. And originally it was going to be Charlie Chaplin’s City Lights, which is like a pretty old movie. It was like 1920s or something. And at some point in the process they decided not to see that, that it would have been a waste of time to go all the way into town and see some old movie.

And that there was a poster for something called Devil’s Sacrifice. And Devil’s Sacrifice is a rough Japanese translation of what they called Texas Chainsaw Massacre. So he goes in there and he said, Takashi Mike says that he. He immediately feels affection for the bad guys for like the, the family of inbreds and for Leatherface, and that he starts rooting for him. And by the end of the movie, he’s more sympathetic with them than he is with any of the victims, which you could probably see in Ichi the Killer and all of other Takashi Mike’s movies. You can kind of see this and that also this premise of that the conveying pain to make someone watch a movie and, and that they actually feel so uncomfortable that they start empathizing with someone that’s going through pain.

That that is some sort of high level version of communication and that this is kind of what he saw repeating over and over again. And he, and he makes this really interesting I. This claim about how if he had gone and seen Charlie Chaplin that day when he was 15 instead of going to see Texas Chainsaw Massacre, probably never would have gotten into movies. We wouldn’t have had anything in his catalog. And it is wild sometimes to think, like, man, just like the movie that you decided to see when you were 15 years old, you could have gone in theater A or theater B.

And the fact you went in theater B, everything changed for you. That was kind of wild to hear him say. And, and you believe it because he’s got a catalog that shows it. I also liked where he mentions that most horror films, you’re like, hey, there’s a reason why they have, like, you know, hatred or they’re getting revenge or something like that. And they’re like, there is no revenge. It’s just there’s people like this that exist. Like, you know what I mean? That there’s no real premise of, like, they were scorned, the town did this to them.

You know, like Frankenstein, for instance, where, you know, he’s just a monster that was created. Well, the, the monster, actual Frankenstein, someone’s gonna be like, it’s not Frankenstein, bro. It’s Dr. Frankenstein. But he’s just created a monster. And the monster is just trying to live life. And then, like, the townspeople don’t like him. So maybe he’s going out after revenge. He’s like, there is no real reason for them to kill these people, except this is what we do. I like too that he said that for a while, Japanese people thought that this was just Texas, and maybe by proxy, this was just America.

And you Were like, he was legitimately afraid of the state of Texas because he just figured if you took the wrong road, then you’re being butchered by Leatherface, essentially. The third chapter of this Is a Lady Alexandra Heller. Nicholas and I had. Every time a name came up, I was just like, all right, I just want to see who this person is first. So she’s an Australian film critic, and I got to admit, as soon as I saw. All right, here we go. Here’s the film critic of the interviews. My eyes, like, almost rolled out of my head.

But again, just like Patton Oswald, I feel like she had some decent things to say, like, some actual insight. And she mentioned how in Australia, even though Texas Chainsaw Massacre came out in the states in 74, it was banned for over 10 years in Australia. And it finally came out in 84, when she was, like, 10. And she said that that, like, this hype had built up in those 10 years of this film that keeps getting banned over and over. And there was also a film that she said, like, for older brothers and not for, like, the younger sister.

So it had this allure and, like, this mystique to it. And when she finally saw it, I think she was, like, in her 20s or something. She said that it felt more like an art film, and that also that Texas Chainsaw Massacre is a mov. This is one that I really. I could relate to. Said it’s a movie you feel before you can think about it, like, you’ll see a visceral image, and you already have some kind of a reaction to it before you even sat down and think, like, wait, what am I looking at here? What happened to that person? Like, why are they acting this way? So the.

The fact that it’s able to elicit emotion before it even tells you what the story’s about. And almost that there is no story. It’s just. It almost feels like a found footage kind of thing. I thought that that was interesting. And then she also made a pretty deep cut that I had never even heard this before. But at the end, when Leatherface is chasing after them, they’re in this truck, and he, like, starts attacking the side of the truck with the chainsaw. And the side of the truck says, black Maria Towing Company or something, but that Black Maria was the name of Thomas Edison’s film company, the very first movie studio on the planet in human history.

The very first one. And that it was almost the. The director, Toby Hooper, was using Texas Chainsaw Massacre to kind of see, like, look, I’m, like, attacking the very foundation of this entire art form. So I. I thought it was kind of cool that she mentioned that because they deeply analyzed. It’s like, I never have. This gave me the opportunity to kind of analyze it, which I’ve never done in my life. I just watched it like, whoa, this is crazy. But she’s right about the emotion part, because you have all these different emotions. Not just fear for the people running around.

You have emotions for Leatherface and the family. And then you start kind of feeling for Leatherface what they’re talking about, even throughout the film, of like, hey, what’s he going through? He’s playing these characters. And you have so much thoughts, more than just, like, I’m scared. And they’ve obviously watched this film numerous times, because I’ve watched it a few times, but I’ve never watched it and been like, oh, this is this. They brought out points that I would never have thought of, of what this film could represent and to really attack the foundation and it being something that you’ve never seen before, because now watching it, you’re like, this has been around for 50 years, these different films.

At that time, nothing had been seen like this ever. And like you to your point earlier, you’re watching on a grainy VHS tape on a old tv. It probably gives you a real scarier feel than even watching the. The remakes, the. The. The modernized Chainsaw Massacres, where it’s like, oh, that’s great camera work. That’s great graphics. That’s great aesthetics that they put on side as for the costumes. But it’s not as scary and it’s not as real. And Alexandra the. The Australian film critic, she also mentioned that it was kind of in that same category as Faces of Death because it.

Around the same time period, and it had that same urban legend feel of, like, man, I. I heard that some of those scenes were real. I heard some of those scenes they shot in a real, you know, murder scene in, like, some haunted mansion somewhere. So there’s definitely that feel to it. Then we get into the fourth chapter, and it’s Stephen King. They actually get Stephen King to sit down and talk about Texas Chainsaw Massacre. And again, I’m like, when is he gonna bring up Trump? But he doesn’t. So he talks about how his favorite original scary movies were all black and white, and even mentions one called Earth Versing the flying Saucers.

And it shows flying saucer crash in a D.C. and then another one crashes into, like, the Washington Monument, and it topples over and it looks Mad fake. It looks like Godzilla level cgi. But he said at the time that watching stuff like that is what made him think, like, I want to do things that combine absolute fantasy with, like, real life somehow. Like. Like actual and still horror in a way that people are visualizing it. And then he goes on to a. A couple other comparisons. He compares Texas Chainsaw Massacre to the Blair Witch Project. And I actually thought that was interesting because he says that both of them were made by tiny cast on tiny budgets.

They were both amateur films. And. And I looked this up. So blair witch cost 60k to create the original one, which is adjusted for inflation, which is even scarier, is about 120k. So 60k in 1999 is now 120k in 2025. That’s its own horror story. And that Texas chainsaw massacre in 74, it cost 140k, which is roughly a million. Now it’s like just over 900,000 in 2025. So still, even for the time, a million dooll movie in the 70s, adjusted for inflation for 140k was still considered amateur, low budget. You know, all those other things, I don’t know about you either one of those is, like, so far out of reach.

So these are both endeavors, but that’s the. That’s the level. And it was a good connection because I do think that they both have that same kind of feel. And Stephen King throws a little shade at Kubrick in this one too, because he’s like, yeah, and the Shining Man, Stanley Kubrick had to spend all this money on fancy equipment and expensive cameras. And his scenes were just really cold. And when you compare them to Texas Chainsaw Massacre, that’s, like, full of motion and dynamic. And he said he asked Toby how he was able to pull that scene off.

And Toby was like, yeah, we just kind of tied a camera to the end of a 2×4 and ran through the woods. And I just like how he kind of throws shade a little bit at Kubrick. Like, yeah, Kubrick couldn’t do anything near Texas Chainsaw Massacre even with all the money in the world. Yeah, a little. A little shot. The beef still exists, right? I’m sure Kubrick, if he didn’t have the money, he would be able to do that. Because it’s what it is, is that you’re like, well, I have to get a scene. I don’t have money for it.

I gotta figure it out. But if you got the money. But I did think that was interesting too. I was wondering if you’re Gonna bring it up because I’m like, here we go. I was like, kind of like, actually cool with Stephen King for once, where he’s not, like, you know, political. I was like, okay. I’m like, well, here we go. There he is taking shots still at Kubrick. I was like, and Kubrick can’t even defend himself. And then this is. Again, it goes on a little bit of a tangent because we got Stephen King here, and Stephen King is making some pretty crazy statements in here.

So he also mentions that Texas Chainsaw Massacre. And I don’t know if I agree with this, but he’s like, texas Chainsaw Massacre. It’s about something that wouldn’t really happen. You wouldn’t expect someone to go and watch Texas Chainsaw Massacre, then move out into, like, a creepy part of nowhere Texas and start wearing people’s skin as a mask and get a chainsaw and hack people to death with a chainsaw. That there’s this. This difference between reality and illusion when you see a story like that. And then he talks about a book that he wrote called Rage, which I haven’t heard about in a while because he kind of like.

He like, self banned this thing. This was one like the Rolling Stones said they weren’t going to play that. That black song, fade to Black anymore because people died in it. So he talks about Rage. Rage is a Stephen King novel about a school shooter, essentially, that this kid gets fed up with a teacher and the students, and he goes to school and he shoots people down. And then apparently there was an actual school shooting soon after the release of that book, and they found that book on the shooter. So Stephen King said that, you know, he goes, at the time, school shootings weren’t really a thing.

And that’s my defense, and it still isn’t a good one. So I can. I took it off the shelves. I banned it. I removed it from sale. And when he said that, though, I was like, man, that’s almost like silently implying that anything that you haven’t taken off the shelf is somehow like, morally better or that more acceptable than the school shooter narrative. And it’s like I started going through all the other weird stuff that. That Stephen King has left in his books that he hasn’t condemned yet. Like, man, there’s a lot of weird things happening to kids in those books that apparently are not as bad as the Rage book.

So I. I thought was an interesting little tangent that he brought us on. He’s the one that brought up Rage, and he’s the one that brought Up. And the. The idea was almost that, hey, I write about things that are only scary, but they still can’t happen. And, and Texas Chainsaw Massacre wouldn’t actually happen. Which is almost the exact opposite of what the first few interviewers all were saying. And then plus you just think about like throughout the years of knowing that most of these characters were based off Ed Gein, right? Like, this stuff did happen before Texas Chainsaw Massacre.

So that’s what I found interesting too, where he’s like, yeah, it could never happen. I’m like, well, it kind of already did before the movie. And that’s what inspired the movie. Yeah, someone that’s like, so that has so strongly influenced the Zeitgeist, yet has absolutely no read on Normal World. I guess it just, it makes sense. And then he also says something kind of funny that I was like, bro, do you hear yourself talking? He’s like, yeah, man, Texas Chainsaw Massacre, what a great movie. And he does it all in less than an hour and a half.

And it’s like, man, take a note, bro, like, every movie I’ve ever seen from you is like 6 hours too. Anyways, this is about Stephen King, but I was. It was interesting that he brought those points up and how strongly it influenced them. Even though I don’t necessarily see the influence in his work, it almost seems like he deviates from that. And then the very last interview is Karen, I want to say Kusama. And I think the movie that you probably recognize her from the most is Jennifer’s Body, the one with Megan Fox. And she’s talking about how this entire story of Texas Chainsaw Massacre is really about an American family that can’t figure out how to modernize.

It’s no longer about living out in rural farmland and that like the old like machismo misogyny thing, it’s no longer appropriate, but they can’t evolve past that. And then she starts getting super woke political about how, yeah, the movie was prophetic. And it’s about how America is just this horrible, violent nation and that. That Toby was a prophet because he saw this getting. And I’ll be honest, like, I don’t have a whole lot of other notes about that last interview because it just turned into the most predictable. Like she said what I would expect a film critic to say, it’s like, yeah, you know, this movie is really just a reflection of our own darkness and our own shadows.

Like almost paint by number. So no, no Shots fired. I like Jennifer’s body, but also, I didn’t really resonate as much with what she was saying at the end. Well, she basically was saying, like, yeah, like, they’re just ranchers that lost all their cattle to big business, and now they’re just slaughtering humans. Like, you know what I mean? Like, the new cattle is human beings. A lot of the. The stuff that they were talking about that’s got in the little weeds for me, but it is what it is. Hidden Treasures and overboard moments of the Chain Reactions, which is the Texas Chainsaw Massacre documentary.

What. What are the hidden treasures in this one for you? For me, the hidden treasures are a lot of. Patton Oswell has a couple. Each of the interviews has a little bit of where I’ve never really thought about the movie in the sense, like, they’re talking about, like, the scene where he’s at the end and he’s cutting the sun up. Like, they. They really analyze the character more for me, and how they break it down. And the hidden gem, the hidden treasure, for me, I’ll say, is actually that people watch films and what they take away from it is totally different from everybody else.

Right. Someone can watch and just be horrified and be like, I’m scared. And then somebody else can watch it and find so many deep things inside of the film. So that’s just entertainment in a nutshell, which is always interesting to me. And they really highlight in this documentary of where someone can watch something and how it inspires them. There was one. I can’t remember if it was Patton Oswald or Stephen. I want to say Patton Oswald. And he talked about how he went on a date with his girlfriend in, like, high school or something. And, like, the mom went along with them, and they saw Silence of the Lambs.

Just a weird movie to see with your girlfriend and her mom. But at the end of the movie, which is about, you know, that has a bill that’s basically a leather face or an Ed Gein kind of character that’s making, you know, clothing out of people’s skin. And at the end of the movie, he was like, yeah, I wasn’t sure what the mom thought. And then she was like, I can’t believe that. And he’s like, yeah, I know. You know, isn’t that. Wasn’t that a crazy film? He’s like, that man had a pierced nipple. And that.

That was her takeaway from the whole movie that she was offended at was that they showed a guy with a nipple piercing, not that he was slaughtering people and wearing hair, skin as clothing. So the. The point that someone can see a movie and take something completely different away. They kind of drive that home. I also really like that we get these five completely different viewpoints on how to rewatch Texas Chainsaw Massacre. The one in particular that really, like, struck me is people kept talking about how vital this meat hook moment in the movie was where Leatherface, like, the girl’s just screaming, and he just walks over to this girl as she’s screaming, lifts her up and puts her on a meat hook.

Still alive, she’s still screaming. And then he just kind of walks away. And he does it in this way of like, that’s just what you do. You just put the thing onto the meat hook and then you continue your job completely unaffected by that screaming. And so many people were like, I can’t believe I just saw that in a movie. This is crazy. I didn’t know movies were allowed to show something like that. And I realized as soon as they said that that I’ve got one of those moments too. And mine is so. Because I’m in the mode of like, oh, so this scene in Texas Chainsaw Massacre is like this scene and Gone with the Wind.

You know, if you’re putting all these cor. Or it’s like this scene in Nosferatu where the boat’s coming is when the girl’s walking into the house. So as soon as they start talking about the meat hook, I was like, man, the first scary movie that I saw that rocked my world. And I was like, oh, my God, this is a normal scary movie. It was called Silent Night, Deadly Night, I think, or might just been called Silent Night. And it’s got this scene where a deranged Santa serial killer grabs this lady and he, like, thrusts her on top of, like, a deer antlers that are hanging on the wall.

And you see the antlers, like, come straight out of her and he just, like, keeps going at it. I was like, damn. Now I’m thinking, did they get that from the meat hook scene in Texas Chainsaw Massacre? And that’s really just another homage to another classic scene. So it was interesting how as I’m watching the documentary itself, it made me rethink some other movie and, like, decode that in a little bit. And then also, I really, really love. I’m starting to realize I like these Whitman sampler mixtape style documentaries where it’s, here’s five isolated parts, and then at the end of the fifth part, the documentary just ends, the credits just roll.

And I was. I was almost like a breath of relief. I was like, oh, here comes the Part where they, like, summarize it all and you get a super cut and, like, nope, it just document, you know, interview. 1, 2, 3, 4, 5. Documentary ends. And by the end of it, it kind of, like, left me thinking. And I thought it was a strong show of confidence. Like, all right, now think about what. This, that, that you will. And I just liked how it kind of came to that, like, sharp ending. Sink or swim. You go first.

Surprisingly, it’s a swim for me. When I saw who was gonna be in it, I was already ready to sink it to the bottom of the ocean. And just to hear their perspectives, and thank God they didn’t get too political. There’s a little bit of stuff, you know, that they could throw, but not. Not enough to make me, like, tank the film. Film’s great where, like, you get so much different perspectives. And I just love the aspect of how people are inspired. For me, it just showed me, like, you can watch, like you said earlier, you can go to movie A or movie B, and then your whole life can change.

At 15 years old, or, you know, I mean, 12 years old, 20 years old. Seeing one film, hearing one song can change the trajectory of what you plan to do with your life. So it’s a swim for me. Same here. I wasn’t expecting this when this came up was like, all right, whatever. I’ve seen Texas Chainsaw Massacre. I know people like horror movies. How great could this documentary really be? What are you going to teach me about? And I’m even surprised that I’m giving it a swim because one of my favorite takes on Texas Main Chop, Texas Chainsaw Massacre that didn’t even come up in this documentary was how it was about the meat packing industry.

And that essentially every single person that gets slaughtered in this movie, they’re just showing that here’s what we do to animals every single day. And that there’s this whole, like, vegan, vegetarian, PETA approach to the movie. I was. I was shocked they didn’t cover that because that was one of the few that I’ve actually heard of. But regardless, even that they didn’t go over that one. Maybe even for the better, because now I don’t think I’ll ever be able to watch Texas Chainsaw Massacre the same way again. I’m always going to be getting all annoying and artsy about it, like, oh, this reminds me of this scene in this movie, right? But I think they’re, like, legitimately might be like that.

And then also, I’m definitely learning the whole mixtape. Whitman Sampler preference that I’ve got here. And I would liken this movie a lot to that Room 237 movie, which is about watching Stanley Kubrick’s the Shining in five or six different angles. Except this one. It’s. It’s got the same format as room 237, but it’s not like all conspiratorial. But it is a really interesting way of like, look at how vastly different people were walking away from this movie and how it was inspiring them in completely different ways and in another completely different way. You can go to paranoidamerican.com and go get you a comic book.

You can. And experience real life scenarios that you never would expect to know. Go to killthemocking birds.com like subscribe Share Share Share this is under the docks Peace. Socks. Under the docks under the docks. Ready for a cosmic conspiracy about Stanley Kubrick, moon landings and the CIA? Go visit nasacomic.com. CIA Stanley Kubrick boy the song that’s why we’re singing the song I’m NASA comic.com go visit Nas go visit NASA comic.com oh nec.com CIA’s biggest con Stanley Kubrick put us on. That’s why we’re singing this song about NASA comic.com go visit NASA comic.com go visit NASA comic.com yeah go visit NASA never a straight answer is a 40 page comic about Stanley Kubrick directing the Apollo space missions.

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