Ratatouille: Murder Mind Control NLP and Health Code Violations

➡ This text is a conversation from a podcast discussing the Disney movie Ratatouille. The hosts talk about their personal experiences with cooking and how it relates to the film. They also discuss the importance of having useful skills in a post-apocalyptic world, such as cooking or dealing with firearms. The conversation ends with a discussion about the movie’s target audience and Pixar’s relationship with Disney.
➡ The speaker discusses Pixar’s strategy of creating films like Wally and Up that appeal to older audiences, contrasting Disney’s focus on younger viewers. They express mixed feelings about some Pixar films, finding that some don’t hold up as well upon rewatching. They also discuss the pronunciation of “Ratatouille” and the cultural sensitivity of Pixar films, noting that while some aspects may not be entirely accurate, they generally appreciate the films. Lastly, they talk about the voice cast of Ratatouille, noting that not all characters have French accents.
➡ The text discusses the career of a director who was involved in the creation of the movie Ratatouille. After disagreements and changes in the movie’s direction, he left the project and his career took a different path. He now teaches and works on smaller projects, including a TikTok musical. The text also mentions a new project about Satanists in Manhattan during the 1930s and 1940s, which is an interactive visual novel game.
I’m sorry, but the text provided doesn’t seem to contain any information that can be summarized. Could you please provide a more detailed text or article?
➡ The text discusses a Disney animated movie that features more adult themes, including guns and death, which is unusual for Disney. The movie, which was a huge success, also stands out for its realistic 3D animation and the inclusion of human characters. The text also mentions the design of the rat characters, which are made to look cute with big eyes, despite being realistic in other aspects. The author also shares a personal anecdote about keeping a rat as a pet.
➡ The text discusses the lifespan of rats and their portrayal in movies, particularly in Ratatouille. It highlights how the movie realistically shows the short lifespan of rats and their susceptibility to tumors. The text also compares Ratatouille to other movies and cartoons featuring rats, like Teenage Mutant Ninja Turtles, and discusses the artistic choices in Ratatouille, such as its color palette. Finally, it mentions the awards Ratatouille won and its competition at the time.
➡ The text discusses a Pixar movie, its soundtrack, and the popularity of its vinyl album. It also talks about the concept of Michelin stars in restaurants, and how they can be lost if the chef dies or leaves. The text also mentions the stress of working in a high-end restaurant and the expectations of fine dining. Lastly, it discusses personal experiences with fine dining and the cost of meals at various restaurants.
➡ The text discusses a movie set in a high-end French restaurant, where due to budget constraints, the same kitchen set was used in different scenes. The conversation then shifts to the idea of whether a chef’s mood can influence the taste of the food they prepare. They also compare cooking to other art forms like music, suggesting that blending different ingredients can be similar to blending different music genres or art styles.
➡ The text discusses the parallels between playing a musical instrument, like a cello, and cooking, using the movie Ratatouille as an example. It highlights how the main character, Remy, uses his heightened sense of smell to create unique recipes, much like a musician would interpret a piece of music. The text also explores the idea of Remy abandoning his role as a poison detector for his rat colony to pursue his passion for cooking, and the potential consequences of this decision. Lastly, it draws a comparison between the characters in Ratatouille and those in Breaking Bad, suggesting that the kitchen could be seen as a metaphor for a meth lab.
➡ The text discusses the moral implications of stealing, particularly in the context of the movie Ratatouille. It questions whether taking someone’s garbage is considered stealing and explores the idea that the main characters, the rats, might be guided by a higher power. The text also suggests that the chefs in the movie might be directed by rats and discusses the symbolism of the chef’s hat. Lastly, it questions the message the movie sends to children about food and survival.
➡ The text discusses various interpretations and theories about the characters and plot of the movie Ratatouille. It suggests that the characters might represent different elements of a person, with Alfredo Linguini as the self, Anton Ego as the ego, and Skinner as the shadow. The text also explores the idea that the original Gusteau was controlled by a rat, based on a scene where rat hair is found in his hat. Lastly, it mentions the possibility of a sequel and compares characters from Ratatouille to those in other films.
➡ The text discusses the characters and themes in the movie Ratatouille. It explores the roles of Remy, the rat who loves to cook, and Linguini, the human he befriends. The text also discusses a particularly dark scene involving an exterminator shop and the concept of Disney proxies, where characters face hardships or loss. Lastly, it delves into the idea of control and manipulation, as seen in Remy’s ability to control Linguini’s movements by pulling his hair.

Ask about Illuminati sister chart in the upbeat Is it Disney mind control? Is this MK Ultra dlux? I go dance there we go from real to real I go dance there Bohemian roll and normal feel hook is there Ask about and I see a co Disney teacher Come to everybody A co Disney A wish upon a star A co Disney to know about you shall fall. Oh, A co Disney A new grand Pinocchio D hello. Welcome to the Aaught Disney podcast. It’s where we look for the magic inside the rat. Because at Disney, it all started with a rat.

Or at least the movie Ratatouille did. So this is Matt here. Hi, Thomas. How’s it going? Your parents are dead. Your family has abandoned you. What are you gonna do about it? Cook. Gratitude. I can’t cook, though. I got a big problem there. I would need the rat guiding my hair thing. Yeah, anyone. Anyone can cook. But does everybody want to cook? Definitely not. No. Some people definitely have a passion, and then there’s a lot of people that just see it as a chore. And I guess, unfortunately, I’m usually in the latter, unless it’s something that I know that I can knock out of the park.

So maybe that’s part of it. If you know that everything you touch turns into just pure gold. If you’re like King Midas in the kitchen, then maybe it is always sort of a pleasure. I don’t know. I mean, I. When I was growing up, I was in the Boy Scouts and I could cook on a campfire. You know, you’d make silver turtles or grill your steak or whatnot. Make an omelette, that sort of thing. Dutch oven. I don’t know if that counts. Maybe, I don’t know, just cooking count. Yeah, we got yakiniku in Japan. So then they just give you a bunch of raw meat, and you have a fire in the middle of your table and you burn it all up.

So does that count as cooking? You are technically cooking, but it’s. I guess it depends on the options, because they’re also. I mean, I really do believe this, that once the. The world finally starts coming to an end and all governments have collapsed and your fiat currency means absolutely nothing. Hell, your gold might not even mean anything either. People are just like, yeah, I’m tired. You know, like zombie days. But one of the very few professions, aside from being able to manufacture, repair, and improve firearms, would be a chef. If you can cook really good food, you kind of get an extra level of status that’s not afforded in modern society.

But when society completely breaks down now, all of a sudden you do have like a skill set that would be incredibly high in demand. So I recommend those two lines of work. Either dealing with firearms or being a chef. Or prostitution. Right? Yeah, yeah, I guess so. I mean all three of them once you get old. Although I guess cooking you can probably do much later in age than prostitution or working with things that require very, very low tolerances of error. Right, Right. But wait for the apocalypse. Yeah, I, I, hell, I don’t have a good skill set.

I’m screwed if the apocalypse hits us. Also, the more you cook, the better you are at it. But I think the more you’re a prostitute, maybe the worse if you are at it at a certain while. Right. Like, you know, it’s weird. It’s like it’s an inverse of, of experience, I guess. I had that happen with bowling like 20 years ago. The bowling alley nearby had like, you know, dollar games. I had my own shoes, I had my own ball, I had my own wrist car pretty good for a while. But then the more I practice, the worse I got, which I think that might have been tended damage.

But because I would just like throw, I had a 15 pound ball, I’d almost like literally throw it at the pins. So that’s probably not the way to do it. Probably not. And yeah, you can do long term damage on that. So yeah, you’re kind of like the, of the, the bowling alley, I guess. But I did get a 285 once, which is pretty good if you know that was once. But yeah, my average for a while was like in the 180s. And then the more I practiced, the more it kept just going down. So I was like, okay, it’s time to stop doing this.

And I’ve not been a new hobby more than a decade. Yeah, or focus on your other hobbies. But you can next. I guess at any point you can always pick this up. My wife would love that if I, if I would do that. I don’t like getting my hands dirty. I guess it’s a problem. I don’t want goop on my hands. You know what I mean? Just, just a pro tip out there, but I’ve got a whole bunch of like surgical gloves left over from pandemic times. Right. But man, they, they completely changed the world of handling raw chicken.

Knowing that at any point you can just peel off that weird like slimy feel from your hands and then your hands are just normal again. It, it, it lets you like get all up in there a lot More than you would if. If it weren’t so. Well, I. I do wash the dishes. I have to do, you know, something to not be a complete prick. So I do notice my wife will put on these rubber gloves and I. I don’t bother with gloves when washing the dishes. So I don’t know who washes the dishes in Ratatouille, Right.

Because he takes over and no one really, like, fills in that role. Is it just. They do steam all the. They steam clean all the rats, if you remember. So there’s gotta be a few rats doing the dishes. I got the steam cleaner. I ran one of those things when I was working. Environmental education. The kid. You know, it’s like kids would stay a few days and every few days you’d have the dishwasher duty. And. Yeah, I didn’t mind reaching in there and pulling out the, like, insanely hot dishes. That was fine. I don’t think I use gloves for that either.

So it’s burned my hands. Yeah, it was military KP duty. It’s the one. It’s the one thing that you touches are all the plates and silverware coming right out of the steam cleaner that, you know, is probably like the most clean thing that you’ll encounter that entire day. Yeah, yeah. Maybe that was the charm of it. Like, it’s hot, but I just know it’s so clean. And that’s. That’s one of the chief things about Ratatouille. The. The. I mean, when you think about it, we’re only one step from like Willard or something, you know, like, Willard is nearby.

Like, there’s scenes in the movie where Linguini opens a closet. Like a hundred rats come out, and it’s kind of like cute and funny. I’m like, man, that would be freaking terrifying in real life. Well, I mean, at that point, there’s. If it’s a game of numbers, then you’ve just hit the lottery. You’ve just bought every single scratch off card in the gas station. Every. In terms of catching something that you’re going to die from. Oh, yeah, yeah, yeah, yeah. Who knows what. Well, they were all steamed clean, so at least that was. No, no, that’s when they’re just stealing the food.

So they are just dirty rats at that point in time. Good point. Vermin. That was like. That was like the biggest suspense I had. Like, when they’re about to cook, I’m like, they’re about to cook. Having just come in off the street now, that car trunk and stuff. And then so they. That maybe the most important shot of the movie is them in the steam cleaner. I don’t know. I was just talking to my parents before this. I mentioned, yeah, I’m doing Ratatouille. And my dad’s like, yeah, I never watched. I didn’t want to see a rat protagonist.

I guess that’s true. He is the protagonist of the whole movie. Yeah, I would make an argument, I guess I. This was an interesting one because I don’t know of any other Disney movie we’ve seen so far that felt like it was a, like literally aimed at a older demographic than say, Toy Story. Like all the other ones, it felt like they had like more complex storylines or maybe they were getting to some like adult situations. But this one is very adult. Like it’s. This could kind of target, you know, teens, 40s, 50s, because it doesn’t try and cater to a younger audience, from what I can tell.

Well, that as we get into production stuff, one of the reasons for that is this is we’re entering the three movie run where Pixar didn’t know if it was going to continue being part of Disney. Because if you’ve read the book the Disney War, which is interesting, there’s a whole lot of Pixar kind of pulling out. Disney realizing, or I guess Iger at that point realizing that they are screwed without Pixar, goes to Steve Jobs and says, give me your price. We need to buy Pixar. But during that period where Pixar is kind of like holding Disney for ransom a bit, they made, they made basically films that were outside of the Disney box, being this Wally and Up, all of which kind of feel a little bit targeted towards older audiences.

Maybe that was their, their ace in the hole. Like we’ll, we’ll take on the slightly older demographic and Disney can just keep making movies for the little kids. And those three movies just mentioned too, probably three of my personal favorites, at least in like the top 20, if I have to be super generous with it. I will be curious next week when we get to Wally, because I did a podcast on Wally maybe a year ago and we were like, this isn’t as good as we remembered. So especially the second half. I just remember so much of that movie being fun.

But we’ll see, we’ll see. We’ll see where it goes. We will definitely have things to talk about that that is, it undoubtedly has conversations. So it’s probably more than Ratatouille to be honest. But Ratatouille, I was very happy because I, because of that and Having watched Coco a few also a few months ago and having the same thing like, oh, this movie has some issues. I was like, kind of like, oh no. Am I going to find out like ratatouille is like has issues now, which I don’t think it does. It’s pretty much how I remembered it.

I haven’t seen it for 15 years or so, but I think this is. It’s pretty much where I remembered it. So that was nice because I was like, am I going to start tirade going on tirades about like how Pixar actually is not nearly as good as a reputation says, which there’s something to that. But ratatouille holds up. I think this. It was a good one. Now I can detect that you are emphasizing or at least pronouncing the L. You’re saying ratatouille. And I guess I’ve always heard it and said it as ratatouille. Almost as if the two Ls were like Spanish and turned into a Y.

I’m just curious. You, I feel like you would be the expert more than me. At least out of the two of us. Is it ratatouille with an L? Oh, geez, I’m not. Okay, Ratatouille. You are correct according to the wiki pronunciation. Okay. I was, I was just checking because it would have blow my mind. Okay. I’ve always worded a certain way. You know, that might be something about living in Japan. Because if you do see Japanese words, especially in written in ratatouille. Yeah. Re. It would be re at the end probably. So. But yeah, you. You have to pronounce like every sound because it’s, you know, the phonic.

Excuse me? The phonic sounds. So you would. Maybe I’m just reading ratatouille to you that way. I don’t know any French either, by the way. So I can. I had to do trivia for something a few weeks ago. I had a bunch of French stuff and I was just sitting there butchering it like mad. You know, I. I learned enough for one summer and then immediately forgot it all. So it’s. Languages for me are weird like that that if you don’t use it constantly, it just gets a little bit worse and a little bit worse until the point where you’re like, oh, I don’t even know what the hell that basic phrase means anymore without having to look it up again.

Yeah, that happened with me in German, so. And then, you know, living in Japan, there’s a period where I’d like mix up German and Japanese words. And I think I basically. They think you’re yelling at them all of a sudden. I think I flushed all of my German at this point. So. Which, you know, for my life is useful because they need to know more Japanese. So although this is another film that kind of got bumped from one creator to another, like, we keep seeing this happen, which I guess is just the name of the business.

Right. But there was an animator for Pixar, Jan Pinkava, Czech, British American director, writer, animator. He did Jerry’s Game, that early short with the chess playing old guy. So this was his baby. But then he left Pixar in 2005 and it got shuttled over to Brad Bird instead. So who did the Incredibles and, you know, later did like Mission Impossible, Ghost Protocol and Tomorrowland. So I wonder what was behind all that. I mean, I don’t know the backstory, but it seems leaving your. Your baby with Pixar and going somewhere else, either an absolute life changing moment unrelated, or it’s, you know, creative differences to the extreme.

Well, this says in an interview given in 2006, Pinkava had no comment about this turn of events and for two years staunchly refrained from comment on the genesis of the film. So it seems he actually was bumped as director before he left. And maybe that, like, was a big part of him leaving. But yeah, it’s another thing of I. Maybe. Not that. I don’t know. Is this film culturally insensitive or sensitive or does it not matter at all? For me, I guess it doesn’t matter at all, but maybe that’s insensitive. I don’t know. I think. Well, I don’t know what you mean by that.

I always assume this movie is culturally sensitive in some ways. I guess I’m coming through with that because when we did Coco, our guest for that particular podcast over at Films of Filth, if you’re interested, was a Mexican animator who now lives in Japan. And she was like, we’ll talk about more when we get to Coco. But she was like, that is not a Mexican boy, that’s an American boy in this family. There’s no way that family would be like, no music in our life. Every Mexican family is like obsessed with having music in their life.

And, you know, she was just like, this is clearly like an American film with like, just a bunch of Mexico trappings. And I don’t think an improvement to me, we’re being honest here. Yeah. Well, the same year there was the Book of Life, which was a Mexican production. Another I Think that was stop motion animated. And so that was the contrast. It’s like, well, here’s where it’s, you know, that was made by a Mexican company where Coco had like, two or three token people in the production. So they could be like, look, we have some Mexicans here.

You know, kind of like how Blazing Saddles of Mel Brooks hired Richard Pryor as a writer just so they’d have a black guy on the writing staff. I mean, if we’re going to use Blazing Saddles as an example here, I feel like, again, sometimes it’s an improvement. A little whitewashing sometimes adds a little. And it’s not because of the whitewashing itself. It’s because that comes along with all of the Hollywood magic and incantations that we’ve been harvesting for, like, four centuries in this country. Yeah, yeah. But anyway, France, I mean, I, I, France is close enough.

I don’t know. I, I don’t even know I’ve been, I’ve been to Paris, but it was 30 years ago. There’s not a single in the whole movie. So I feel that alone means that it was being very culturally sensitive to France. Okay, yes, yes, I, I can, I can definitely go along with that, but. And then the accents are weird, I guess, I guess most. There’s a couple people that have accents like the, the evil chef that’s running in place before Linguini has, has the kind of derpy accent. But then you’ve got the voice cast who is not doing accents, because why would you ask Patton Oswald to do a French accent as Remy the rat Ian Holm? You don’t ask that guy to talk differently.

You know, Lou Romano, I guess, big for the time. He voices Linguini. He’s Everyone Loves Raymond is that, that’s his show, which I never watched. Okay? So for me, he’s not famous. I mean, I know the name because I, But I’ve never seen an episode of that show, so I think this is the only thing I’ve ever seen that involved Ray Romano. It is interesting where everyone else has some sort of like a French accent and then just Patton Oswald is talking. Lou Romano, by the way. Well, he, Lou doesn’t. Excuse me, Lou Romano. Wait a minute.

Am I going crazy? Oh, I am going crazy. Okay. This is just a guy who works for Pixar. Sorry, not Ray Romano, man. I’ve been thinking that for, like, 20 years. Okay? I just learned. Good for me. Correction to myself. For 20 years of thinking that a sitcom star would voice Linguini. Well, because Linguini seems like he’s early 20s, right? He’s a young, He’s a young guy in this. Yeah, he does feel very sitcommy too, when you think about it. So, I mean, there’s a lot of sitcom setups in this movie. Like you said, it’s a little more adult, not in like a mature way, but in a structure way.

So it’s a little more like a sitcom that will also, I mean, so the. To back up some of the reasons why it felt so much more adult. Hey, I’ve already got a sweet spot in my heart for feature length Disney animated movies that feature guns. And this one’s got a few guns in it, or at least a couple. It’s got at least two different guns and violent scenes using guns. But it also shows a lot of death, like dead bodies of rats hanging in a window at a certain point. It has the steam clean scene that you mentioned.

There’s a lot of things where they don’t leave it up to imagination as much. Almost every other Disney movie prior to this, when someone was gonna die or if you were in, you know, sort of implying death, it would be told through a shadow being cast or someone looking scared. And then the camera shows elsewhere and maybe you see like an effect of disturbance. In this one you’re literally seeing dead bodies hanging rat corpses by the dozens. Do you recall the theatrical poster for this one? It has Remy the Rat up against the door, pinned in by 10 knives, two forks, and he’s holding a piece of cheese with the tagline he’s dying to become a chef.

So yeah, even for the promotion, they’re not messing around here, man. Like we know that the stakes are this guy will be murdered essentially by anyone that sees him in any capacity. And that becomes like the driving force for him to stay hidden. And I guess the way that they present it is they’re not messing around with it. They’re not like dancing around of like, oh, who knows what will become of him? It’s like, no, no, that we know exactly what’s going to become him. And they’re probably going to stick them in like a glue trap or stab him with a knife or hang them outside this window like these other 30 rats hanging above the rat.

Poison. Exactly. So yeah, I lost whatever thought I had there. But I guess it is interesting just with the marketing, also has the violence just a little bit baked in what house? This movie, of course. Wildly successful, budget of 150, box office of 623 million. So, you know, obviously Pixar’s role of the dice, I guess worked out here. Excuse me. In the end, this did end up being distributed and everything by Disney, so it’s still fully in the Disney canon. But I guess this is what was going to happen to Pixar if they became their own entity.

And when we get To Toy Story 3 and Brave, I guess we’re going to see what happens when they end up back in the fold, so to speak. Oh God. The Toy Story 3 is one of the most evil movies I can think of in their entire catalog. Well, it’s certainly one of the. I mean I, you and I saw it as adults, but yeah, I imagine a kid watching that with the furnace scene is getting somewhat traumatized. So I’ll save my thoughts for when we get there. Oh yeah, yeah, we’ll have plenty when we get there.

But how about Ratatouille? Have you Ratatouille? I guess start saying it correctly, I guess. But yeah, what’s, what’s your background with this one? Had you seen it before? I saw it once before, probably right around the time it came out. I’m pretty sure that I was actively working at Disney doing like some 3D animation in as much smaller capacity than the feature length films. But this was, you know, like inspirational just because this is what the big guys were doing, you know, and like the, the building on the other side of the country essentially. But I thought it was even back when I saw originally, I thought it was a really good movie.

And I think also out of all of the 3D animated movies that we’ve seen so far, ignoring Christmas Carol because that one was kind of a cheat because we did it early, it was for Christmas. But this is the first one where it holds up at least in 2025. Nothing here is like, oh man, this looks like some really old PlayStation whatever there. There’s enough technical tricks that are happening in this movie that it doesn’t pull my focus away the way that it. It kind of does in almost all the other 3D movies up to this point.

Yeah, I’m thinking, well, definitely the, the pure Disney ones. None of them look particularly good. So I’m really only thinking of Pixar as to compare against the Incredibles. I guess it’s a little shy. They’re a little too shiny maybe. Did you know there’s an Incredibles character in this movie? Oh, who’s that? The what is name? Bombs Away or something. But he’s reading a newspaper that has his own name on it. Okay, no, I did not catch that. So There we go. What was the last. Is the Pixar before this? Was that the Incredibles, or did they do now? I gotta look at our Disney list.

But yeah, the toy. The first two Toy Stories definitely look dated, even though they’re, you know, pretty good movies. Bugs Life, I think we came out of that one being like, ooh, why did anybody like this ever? The difference there, I’m already noticing, too, is that Toy Story 1 and 2, like, I could still get through it and enjoy the whole movie and not be so distracted from the lack of, you know, technical, advanced sort of animation. But when it came to Bug’s Life, for whatever reason, it was like I had a nitpick every single scene just because of how obvious the difference really was.

The Incredibles, I guess that first came to mind because that’s the only one that really tried to do humans as much as this movie. And between the Incredibles and this, it was just Cars also having no humans whatsoever. So, yeah, that. That’s makes this one stand out too, I guess, along with the Incredibles, is that this one features humans the entire time. Not just walking by in quick little scenes, but almost every, you know, every other scene in this whole movie includes a bunch of humans of all different sizes and moving around and dynamics. So again, it adds to how timeless I guess this movie still feels.

But then again, we’re only talking 20 years. I guess when we talk 30 years or 40 years, all this changes. Yeah. And then the rats themselves. You know, earlier you could just have shiny rats, but with Monsters Inc. They did the what fur mapping with Sully or whatever. So now that’s just all over the place with the rats here. They didn’t really take a shortcut there. They did try to make them not anthropomorphic quite. I mean, they make a big deal when Remy starts trying to walk upright, like a walk, like a man. But they can’t make them look like actual rats either, because that would be kind of dissuading.

I don’t think it would have made 600 million-plus. If they really look like rats, maybe it’s the big eyes that do it. Yeah, somehow they were able to make a serviceable, not repelling rat. Although the design of Remy and all the other rats, too, because they are, I want to say realistic, but they have, like, the same color as rats, and they don’t have, like, crazy sort of like eye eyelids or like, huge eyelashes or anything. So they all just. Just kind of look generic, too. They just look like regular rats in a way, which I don’t know, maybe that’s a good thing.

Yeah, but, but with big eyes, I mean, that. That’s something you learn, like with manga or anime or whatever. The way you make kawaii, you know, make things cute is to give them big eyes. The bigger the eyes, the cuter they are and the safer you are from humans. If, you know, if you notice that usually the animals that could be classified as vermin or any other, you know, usually like rabbits and dogs and puppies and usually the size of the eye compared to the rest of the face determines how likely a human is to kill you.

Right? Right. Well, I mean, let’s think of. If you see Mickey Mouse in your house, you are going to try and, you know, swat him or mouse trap him or something, right? Well, I mean, I guess in real life, if I see a rat and the rat or the mouse and the mouse has giant eyes, now I’m like, little shorts. Yeah. It doesn’t become. Yeah, if the mouse has shorts. I don’t know. I guess. You live with Stuart Little, right? Some people lived with Stuart Little for two movies. Well, I actually, I. I kept a rat for at least four months until my mom found out about it.

But I had like a rat that I chilled with for. I don’t know, I think it must have been like 12 or 13, but it lived in my jacket for most of that time. Well, I did look about 3/4 through this movie. It suddenly occurred to me, like, how long do rats live? And it was like Black rats about two years, brown rats about four years. A rat is a pet maybe up to six years. And the oldest rat ever was like 12, I think. So I am like, you know, this scam’s only going to work for a year or two, I guess.

It’s not a scam. At the end of the movie, they got little walkways for the rats and stuff, but. But Remy’s dead in two years. You know, like, that’s the upper register. Probably. Maybe I’ll make it may maybe three, because he’s eating well. Well, and also rats notoriously end up getting all sorts of tumors and stuff like that, which is one of the reasons why they use them so often. Or they used to use them a lot in all these, you know, sort of like treatments, like. Like chemistry experiments. I don’t want to. I don’t use any of the specific terms because I won’t have to edit this too much.

But the thing that they would do to rats just because of how prone they are to tumors means that Even two years is probably being very, like, aggressively optimistic. So at the end, when the bistro, where they go to the rat part of the bistro, like, those rats should be like, disturbing and screwed up then and on. And you know, these are vectors too. So I like the way that they get around this, is that the rats just gang up on anyone that threatens their existence. And then they tie you up and they throw you in a freezer.

So that part, I think I liked a lot about this movie on how they solved this premise. So either you accept the rats or the rats hog tie you and throw you in a freezer. Those are two options. They do not show the mechanics of that. Maybe that would be too much like a horror movie as the rats consume them and tie them up. I don’t know. I think Disney could do a decent way with it. Just turn it into like a little musical. Someone singing while they’re all doing it. Yeah, sure, why not? But I just thought it’s interesting that you’re like, they show the dead rat bodies, but they do not show you.

When the rats subdue and. And bind two people. Can we charge rats with kidnapping? I don’t think so. There might be a loophole in there. I know. We don’t have the laws for that, do we? It didn’t seem like we needed it. But if. Yeah, if you can. Can, like, train. Like, who is the Teenage Mutant Ninja Turtles character? I think his name was Rat King, who had ultimate control over all the rats in the sewers. And I always wondered, even as a kid, is this a legal loophole? Like, can the law come after you and prove that you were able to train thousands of rats to sort of like attack your enemies? Because I don’t know if that’s even something you could prove in court.

Even Splinter. I don’t know. I did. I didn’t. I don’t remember the Rat King. My. Most of my team was my Teenage Mutant Ninja Turtles. Of course. I wanted to be a cool kid when I was 10. So I read the original black and white comic books. I don’t think I saw that much of the show, to be honest. I remember just playing the nes. Teenage. Oh, that show absolutely raised me. It was one of the only cartoons that I got excited hearing the theme song. Oh, of course. Written by Chuck Lorre. But yeah, it’s not that I think it’s.

I wanted to be a cool 10 year old. So I was like, ah, I don’t need that kid stuff. I’m reading the dark original comic books. Like that two extra years older I am. Yeah, no, no, it definitely, definitely shows because I, that was how I felt about Power Rangers and I, and I noticed people that were like two or three years younger than me don’t share the same shame. And I guess shame is even the right word because I had just grown out of it. I saw, I was like, oh, what are these silly people wearing? You know, like, I guess it’s just Kaiju in general at that point.

But I didn’t know anything else other than that. But. So I get that. Although I think you might have also been left out on just a magical moment in time that’ll never return when you could literally be wearing, you know, Ninja Turtles slippers and a Ninja Turtle pajamas and eating Ninja Turtles cereal with a little Ninja Turtle spoon and everything. The little bowl that looked like a shell. I had some of the. I had figures. I did have figures. I played the crap out of the four player arcade games and the NES game where every. Everyone only remembers the water level because 90% of your time playing that game trying to get through the water level.

And I would say this is related to Ratatouille, in case you’re like, where the hell are these guys going? Because Splinter was also represented like this, this dirty rat that you would not want to be, you know, sort of in the same room with. But he was also this wise master that kind of taught everyone he was able to bring and develop skills and even humans. Right. That was formidable even against his enemies, despite being a rat. So I do feel that, I guess like Splinter sort of ran so that Ratatouille could walk and then cook.

Yeah, yeah. I mean, give, give Remy, if he does make it to that upper, upper register of 12 rat years, you know, he is going to be basically like a, a Zen chef master at, in his extreme old age. Right. And he’s way cooler than Stuart Little. Like you mentioned Stuart Little earlier, Stuart Little is for babies right now. And then Ratatouille is going to help you get a Michelin star. That’s not for babies. Michelin stars don’t go to babies. Especially not three or four. Well, I guess the place gets closed so it never gets any stars back.

But I did like that where I there is that second where you’re like, did the rats also murder the health inspector guy? It’s like, oh, no, no. This restaurant is getting closed. So again, that makes it a slightly more adult movie, right? Things work out a little weird in the end, as life does, even with the rats. I mean, the fantastic Elements. Paris itself, of course, is not entirely accurate. This is supposed to be like, Dreamtime Paris, you know, Like, I don’t think they were going for accuracy in the city. Well, and if you notice, too, aside from a tiny, tiny handful of scenes, almost every scene in Paris, aside from when Ratatouille gets the.

The genealogical papers talking about, you know, inheritance, that scene is in the daylight because they want to show a lot of the action. But almost every other scene you see outside in Paris is going to be at nighttime versus whenever you’re in the kitchen. It’s, like, well lit. So it was definitely like the stark contrast between, okay, here’s Paris, here’s the outside world, and now here we are inside the hearth, inside of, like, the place that feels like home to all these outsiders. Yeah, the color palette here is interesting. It’s basically like brown, gold, and tan, like the entire movie, you know, I mean, I’m not saying it doesn’t have little shocks of color or that it’s monochromatic, but when I think of the movie, it’s black, gold and tan, you know? Yeah, they don’t.

They don’t drown you with sort of. Again, this is probably the other reason that it feels less like a. Like a children’s Disney movie and more adult oriented is because it actually keeps to a. Like a design style. Like in the style guide, you usually have, like, a certain color palette that you’d play with, or if you just. Even just going back and watch any, like, master movies, they do tend to stick with a palette as opposed to just a bunch of colors. Although, like, in the Wild, maybe, for example, like, you probably see every single color that your TV pixels are capable of producing.

Like, all 16 million of them. Yeah, I like it getting blasted in the face with colors. I mean, I’m not being. Well, you’ve seen enough anime that, like, your body needs that now. That’s part. It’s like an extra source of vitamin D almost. Right. I’m checking out what awards this movie got, because I was like, this does seem to be Pixar. A little more on their own. Being like, let’s up our art game a little bit at the time. What was it nominated for? Best original score, Sound editing, sound mixing, Original screenplay. Of course, it won the best animated feature.

What else? What else was up for that? And let’s think extra. If you were removed as director on your own movie and then it starts winning all these awards. Yeah, well, no comment for two years, I guess, is part of it. Right. We check back in and See if there’s a comment yet. Yeah. The other movies up against it were Purse Police, which I’ve never seen, and Surfs up, which I’ve also never seen. So I guess there wasn’t so much competition that year. I don’t know. Anyway, yeah, this seems to a trounced that particular competition, but.

Yeah, yeah, with the color palette, with the music, this is like, I think the second Pixar that doesn’t have Randy Newman doing the soundtrack or something. It’s an improvement. As much as I like Randy Newman, this is the wrong place for him. Yeah. The soundtrack’s Michael Gashiano. I don’t know if I’m saying his name right, but, you know, he did the Incredibles and Lost and, well, half the movies of the past 15 years, but he’s all over the place now. This was also. I mean, in the. The vinyl world, I just got to throw out that the Ratatouille vinyl album is one of the more coveted.

Out of all of the different Disney albums that have come out, Ratatouille, for whatever reason, usually gets special treatment. And it goes quick. Yeah, yeah. Might be a quantity thing. Maybe they don’t make so many. Yesterday, my direction had been turned to Mickey mouse disco from 1979. That’s fun. I wonder. I remember growing up there was a Mickey Mouse sort of like workout and mouse or size. Yeah. I mean, that was. Even as a tiny little child, like, I’m almost probably like five or six. I knew there was something weird about that. I knew that what I was watching was never going to be normal.

Yeah. There’s a line you can draw from Mickey Mouse disco to mouse her size to. I think it’s Splash Dance, which is the mid-80s weird. Bringing back the characters because there’s a few years where they didn’t make animation or anything with the, you know, the. The big six or whatever, but. And they started putting on these albums. Right. So that was like, where the characters started getting into, like, circulation again, which is kind of weird. Yeah, this is. This is like opening up a weird can of worms all of a sudden. We’ll have to find a way to shoehorn some mouser size somehow.

Yeah, yeah. Some disco. Some mouser size. Mick, Minnie’s got a crush on you. That’s a song on Splash Dance that probably gave some people some weird developmental issues. Guaranteed at least one person out there was changed for the worse because of that. Minnie has a crush on me. I don’t know much about Michelin stars, but do they take a star away when the chef dies. Is that real? That seems rude. I’ve never heard that before. But, yeah, they. In this movie, they say that that’s part of tradition, is that, first of all, he got a bad rating by a critic, so he lost one star, and then he died because of the bad rating.

So then they lost another star and they never really gained that one back. Right. They go from five star to three star. Yeah, yeah. And then they’re closed. So they. They closed at three stars. And that bistro probably is no stars because it’s new. I guess they’re not in it for the stars, they’re in it for the food. I had to, I guess, on the. The occult side of things. I know you usually have the. The deluge of notes on that, but I definitely had two observations. I guess I’ll just throw out one. I. I just kept thinking, is Linguini like a golem or a talpa maybe? Because he’s.

He’s basically an empty vessel. I mean, there’s a character there, but the character barely matters, and Remy runs him, you know, so this is interesting. I just had him to check. So this does not seem definitive. There’s some examples that say if a chef leaves a popular restaurant that earned a star while they were the chef there, that. That does not mean that the chef or that the restaurant automatically loses a star. However, there is another example that that’s completely contrary to that, but it says that a Michelin star is based on three specific factors, which is the owner of the restaurant, the chef of the restaurant, and the location of the restaurant.

So if anything happens to change any of those three items, then the restaurant can lose a star. So I guess dying technically means that the chef changed so you would lose a star based on tradition. Okay, so it’s, It’s. It might be a real thing now. Just reading an article a few days ago where it’s like a chef of some restaurant, he opened a new restaurant, was like, I do not want Michelin people coming here and raiding my restaurant at all. I don’t want stars. Stay away. Which, I don’t know, that seems kind of like a good way to keep your sanity a little more.

Because when Linguini does show character, instead of being whatever he is, he’s just going nuts and stressed out. Right. Well, I guess the only time he really shows character is he’s now gonna have, like a glorified roller skate sort of server. Like, he would be. He would be at home working at Sonic, more so than in this Michelin star. Restaurant that he happened to own. And when the guy’s there reviewing and you’re on roller skates, I mean, I guess he’s so won over by the. The ratatouille that, you know, it doesn’t matter anymore. But, yeah, roller skating.

Wait. I’d be like, what the hell is going on? If it were me, I would take a star away if I saw my waiter coming up to me on roller skates. And, you know, I’m. I’m assuming that because they don’t show prices on the menus in this movie that it’s very expensive. So although it’s ratatouille that he’s serving, it seems like that guy’s probably paying, like, $200 or if they even charge the critic. But that’s a, like a $200, you know, price tag on that meal. Yeah, interesting. I’m thinking about food there because I don’t know how much fine dining have you done? I mean, I do.

I do poor person fine dining, which means, like, I’ve been on a cruise before, so I know what, like a simulated fine dining experiences. And once an airline was forced to bump me to first class on a transcontinental flight. So I’ve experienced, like, like the. The aerial version of fine dining. But, I mean, I don’t know, I’ve. I’ve never, you know, pursued that world or had it accept me in any capacity, except for, like, a crazy birthday when it was like, all right, let’s just go crazy, right? Let’s see here. Here’s a. A Michelin. All the different forks and all the different knives.

I knew at one point, because, oh, I can’t do that. Okay, that. To me, that. That’s like. Like the ultimate snooty fine dining is knowing exactly what the role is for each of the different utensils and where they go. And if one of them is facing the wrong direction and you point it out, you’re like, excuse me. You know, my. My cream spoon is above my sugar spoon. Okay. Okay, here we go. I just went to a. On Google Maps. I just went to a restaurant like, on the Seine River. I mean, if you’re. Three entrees, dessert, two desserts, bit of fish, it’s like a.

It’s like 60 to €100. I guess that’s not money wise. That’s not a lot. But I guess I also assume that fine dining, they would be like, sir, you can’t wear that in here. So that’s probably another element of it too. Or, like, I should Be able to wear those first. Like my, my version of fine dining is I can go and eat a hundred dollar steak in Vegas, but I can also wear flip flops while I’m doing it. Okay. I actually went to Tokyo Disney last week and got. Actually once it came through, my credit card is only 18 bucks.

At their Italian place where they had made all the food, it was Italian food, but it was supposed to look like dessert because it was a Wreck It Ralph themed from the Sugar Rush game. So there’s some versions of fine dining. Although French fine dining is very specific too. Right. It’s usually like very heavy cream. At least in my American experience. French dining just means lots of butter and lots of cream. Maybe every few months. My wife and I. One, my wife’s favorite restaurant is this place about 30, 30, 40 minute drive from here. It’s a French restaurant with the totally bizarre name of brands.

Can I’m like what does that mean? Sounds. I don’t know what that means. But yeah, it’s like it actually it’s not that expensive. It’s like lunch is like 12 or $13 and it’s pretty good. I mean compared to like good rose or something. Maybe it’s crap. I don’t know. So I don’t. Yeah, I mean, I don’t know. Maybe I’m judging a book by its cover too much. But if I see if it’s $12 for a meal, if it’s even $40 meal, it doesn’t sound like fine dining the same way that I assuming this, this restaurant would be like a five star restaurant.

But it comes out well presented and all that sort of stuff. And I think they, their, their dining room is like big and white with marble floors and feels like you’re eating in the final scene of 2001 the Space Odyssey where he’s in that big weird lit room, you know, so that’s. There’s an interesting juxtaposition here too because despite this being an expensive fine French restaurant, I did notice one of the technical details in this movie is that they kind of ran out of budget. Like they ate up that $150 million real quick. And I. That makes sense.

If you go through two different, or at least you know, you have two different directors on the movie. One of them has to get bumped out. That sounds like an expensive shuffling of, of seats a little bit, but that they reuse a lot of the models. In fact, the kitchen that you see at the end and the kitchen that you see at the beginning of the movie are both the same kitchen because. And the main reason I was trying to look up and see that I missed some sort of symbolism that they were trying to imply here or was there like a weird connection? And really it was just that they ran out of budget and they started reusing assets in the movie itself.

So even though the movie takes place in a restaurant where price would be, you know, no object or limitation because they don’t even list the prices yet, the actual kitchen within that restaurant or some of the components of it were definitely held back by budget. I guess I did notice that because at the end of the movie I was confused for a minute. I was like, wait, the ghost town’s closed? What are they doing in the kitchen? So I did have that. Like that’s the same place. But yeah, apparently that was not in a. An intended story side effect.

That was just we ran out of money and they just re reused the same file. I mean, yeah, I’m not going to hold them too much, you know, for doing that. That, that makes sense. Rather than making a kitchen that’s going to be on screen for three seconds, you know, makes sense, I get it. But yeah, I actually did get slightly confused for a second watching it. Let’s rip a few band aids off of this one and head on into the. To the rat itself. The rat itself. Okay. I mean, I’ve got a couple just ran like random questions and observations that this movie sort of inspired.

But one of them is this, this idea that like you can taste the love in cooking or that if someone, you know, really cares about what they’re doing, that you can taste that in the food. Implying that if you show up and you’re a chef and you’ve got a nasty attitude and you’ve got hate in your heart and you’ve been trolling people online and saying mean things on Call of Duty and then you show up to your shift that all the food you make is now going to be inferior somehow. The person that eats that food is going to be able to tell what sort of mood you were in.

Because it, there’s like a transference through that. I don’t believe any of that. But I’m curious if you believe any of that. What? When you were saying that, what came to mind, excuse me, is I haven’t been in the states for 15 years, so I don’t know what mass produced marijuana is like, but I’ve heard people say, you know, like, if it’s grown in like, you know, mass produced factory settings versus grown by a person who likes it, it’s going to be a very different product. I don’t know if I agree with that either, man. I think that a robot with a bunch of drones and aeroponic systems regulated by timers and could do just as, as well as someone that sits there and sings freaking Willie Nelson songs to their plans.

But you can’t think about practically if I come in with a real bad mood and I’m making the food, I’m kind of as opposed to something like, ah, I’m happily doing it. I mean they are going to probably do a slight, a slightly better job. Right, right, right. All things being equal, if you, if you are in such a bad mood that it’s distracting you from noticing, oh, maybe I grabbed the wrong ingredient. I put a little too much of this in there. That’s different though than being able to taste the actual emotion getting put into it.

And I guess the most extreme and maybe silly example of this one would be like, would you rather have a chef that literally just killed somebody, just ran over someone in their car and is on like a road rage maniac, but he’s a five star Michelin chef? Or you’re like 13 year old that really loves you but wants to make you, you know, ketchup spaghetti or something. I think that this almost proves that if there were a difference between love and hate in the heart of the chef, it would be so minute. It would be the difference of like just adding one extra dash of salt or not adding it.

I mean as a teacher, I have lots of kids I teach and you have to do a little discipline. So if I’m in a bad mood, I’m going to be doing it like probably like a little more like myself. Right. So the mood does infect the job you do. Now if we’re saying the 13 year old versus the five star chef, obviously those are two different worlds. But I guess, yeah, it’s an extreme example but, but also as a teacher your mood is definitely going to affect the, the end customer, I guess, which is the kid or maybe it’s the parent.

I don’t know how they look at the, the economics, but in this case the end customer is likely never going to see the chef. I mean, unless you’re hoity toity or you’re a critic and you’re able to call the chef. Like I want to talk to the chef personally and tell them how great this was. But usually there’s so many different like barriers between that. And I also wonder what if the chef is in a great mood and the customer’s in a great mood, but the server, like, they’re the road rage maniac. Right. Because I know a lot of servers that are just angry all the time, or at least I did that.

We’re angry, like, 24 7. Does the hate transfer into the food and change the food in some, like, you know, material way? I would think for the chef. Yes, because they are doing a slightly worse job for the server. No, they’re just the messenger. So I don’t know. I feel the jury’s still out. Like. Like, also the depictions of Beethoven, he’s usually angry when he’s doing his best music. Right? So. Well, he. Beethoven did not have friends. He was a grumpy person that was impossible to get along with. And, you know, he’s meddling in his nephew’s love life and crap, and.

Yeah, but again, like, if he was in a great mood, maybe we wouldn’t have gotten the same level of Beethoven. Maybe it would have been better. I guess we’ll never really know. Right? The jury will be out in that forever. Music is different, though, because music lets you channel rage, I think, better than cooking. I don’t know. We have all the angry chef shows. Right. Gordon Ramsay and stuff. So maybe anger does. Maybe anger puts a fire on your food. Maybe. And I think that they are directly related. In fact, in this movie, Ratatouille, as he’s describing how he feels about food and why it’s different for him, basically has synesthesia, and so does the main chef, the Gibralti.

What’s. What’s the. The dead one or the mean one? The dead one. I mean, they both have the same name, but. But. But he basically says the same thing. He says that being a good chef is like being a good musician and that you’re able to almost sort of orchestrate these different dishes the same way that a conductor might put together, like, a piece of music, and that when certain taste shows up, you’ll see, like, yellow lines if it’s, like, cheese. And then he’ll eat a strawberry. And the strawberry looks like these, like, purple waves. But then if you combine the two, it creates these new things.

But as all this is happening, too, those different shapes and those different colors are ascribed different, like, music genres. So it’s almost equating the difference between taking two art styles and blending them and taking two different music genres and blending them is the same as taking a piece of cheese and a strawberry and blending those together. Yeah. And all the interpretation, like, music. I mean, if you put on A Beethoven something. And you put on five different performances with five different constructor conductors and orchestras, it’s going to sound quite different. Like, even, I think, someone that’s not musically inclined.

I go for Beethoven’s fifth. Everybody knows that list of five versions of the original. And I think anyone’s gonna be like, oh, I definitely like some better than others. And then they’ll be different, you know, for. For who. Who you are. I played cello and I was real serious about. About five years ago. I’d gotten quite good. I. I don’t keep up the skills because I realized you have to keep them up and there was no reason to do that. But, you know, you play the. The Bach cello sonata suites, and there’s just. Yeah. Like, there’s no real instruction.

So it’s just up to you to decide how you’re going to play it. Like, what speed, how. How you’re going to. Together, all that sort of stuff. So, you know, I guess that’s like. Speaking of. I do have to. If you’re comparing different classical musicians, like, if you go to Bach, there is an album from 68 called Switched On Bach, which is just sort of box song. So definitely. Carlos did the Clockwork Orange soundtrack. Yeah, yeah, yeah, that’s very. But. But actually in that case, though, you are playing it on a modular synthesizer and doing something quite different.

Right. But the part with it, I’m saying, with the cello suites, it’s always the same instrument. Well, I mean, different cellos, but it’s always a cello and a bow. And then you’re just like kind of playing it different ways. Like, you could start slow and flowing. You could go kind of like fast and staccato, and both are correct because Bach never bothered to write any instructions. I guess that’s a good point, too, that in this movie, Ratatouille, he. Since he’s able. Since he has. Remy. Remy, we’re gonna eat the ratatouille. Well, I call him Ratatouille because he’s the rat and whatever.

Yeah. So Remy. Yeah, yeah. So Remy kind of shows this, though, because the way that he cooks is very much like Bach or someone making music and not writing down the notes exactly as they go. Because every single recipe that Remy comes up with or comes like, in contact with, he ends up changing it in these drastic ways that are completely different than how anyone else normally would have done it. But he’s also playing it by kind of ear by nose, where, like, something will get knocked into a stew and then just from the smell of It.

He knows exactly what he needs to add to it. And this. I guess they convey this early on in the movie when Remy can smell poison. And that makes him, like, the most sort of important rat in the entire colony, because now he can detect. And they even show that he kind of gets put to work. Now all of a sudden, he has to smell everyone’s food before they eat it so that they know whether or not it’s poison. And it reminded me, I don’t know if you’ve ever seen the movie, and it was based on a book called Perfume that had Dustin Hoffman in it.

If not, you absolutely have to see this movie. But the movie Perfume was about this guy that had such a heightened sense of smell that he could just take a whiff of something and know every single component that went into it and was able to deconstruct these. These, like, you know, perfume. Perfumes that were coming out there were, like, these coveted, like, intellectual property, very, like, secretive formulas. He could just smell it and know exactly what went into it. This is kind of exactly what Remy is. Right. Remy can smell something and then know all the different components that went into it, but also has the extra level of insight of, like, what would have made it better or, like, what things were added to this that shouldn’t have been added to it.

Well, it’s like he doesn’t like a sniffing job, but tech. You know, theoretically, that job is way more important than being a restaurant chef. Right. And how many, when he abandons them to go and become a chef, how many rats end up dying during that. That small moment in time? Well, he does get separated from them, Right? So there is, like, it was not his choice that would change things. Like, he was, like, separated, but then he was like, hey, I’m not gonna live with you guys. I’m gonna keep working at this restaurant, which lasts for maybe a few days.

And then the colony just takes over the restaurant, too, and they become, like, the sous chefs and everything. But he. Yeah, he would. During his separation, even after the separation, he willingly had just denied this entire role. And I guess they don’t need to worry about it anymore, because now that they’re inside the restaurant, although it closes down. Right. So unless he goes back to becoming a poison sniffer, that means that untold amounts of his colony are going to die again. I mean, death is a daily part of life in a rat colony, I’m sure. And maybe it’s not that big of a deal for them.

Yeah, it’s like, there goes Steve, you know, Someone had to die today. That’ll be in the sequel. Yeah, yeah, yeah, yeah. John just got shotgunned by an old lady. Yeah, that was for one rat. That seems wild. Why would you take a shotgun in your house to a rat, you know, and. And miss them? All right. Yeah, she might be senile. No. Okay, this. This one. Maybe it’s just because I’ve been rewatching Breaking Bad for completely unrelated reasons, but there were so many correlations in this movie where it felt that Remy is Walter White. Right. And Alfredo Linguini is Jesse Pinkman.

And in the same way that Remy is this master chemist, or in the meth world, you would call him a chef. He’s this master chef that’s taking this uneducated. Maybe even like a high school dropout. Definitely not a college educated young kid and kind of showing him the ropes, almost doing all the work for him yet let it. Like they’re taking some of this credit for it. Surrounded by death and surrounded by all sorts of other drugs and industry and. And subplots. But I couldn’t shake this comparison throughout the entire movie that maybe they’re cooking meth in this kitchen.

Or at least there could be a ratatouille Breaking Bad version that wouldn’t need to change too much. Yeah, I was gonna say Linguini, except for his hair follicles, has a much better time than Jesse Pigman, so. Right. Well, yeah, he relapse into to speedballing and taking heroin, but he could. I mean, they make a point early on in the movie that a lot of the people inside of a kitchen are basically pirates and criminals. Right. One of the guys is on the run from the law, that he might have killed someone, but he’s never quite clear about exactly who he killed or how he killed it.

You’ve got a degenerate gambler that’s been kicked out of every single casino. So it definitely seems that even the people inside this kitchen, you might find them in a lab cook as well. Well, sure. Oh, I was just looking. I know. And I forgot what it was. Lightning seared cheese. I like that. That’s near the beginning of the movie. Oh, yeah. You gotta be careful of the wild mushy seeds gathering those at the beginning. Of course. His nose works. I guess it’s fine. But don’t just go out and, you know, pick mushrooms. That’s bad call. Yeah.

He picked the picks. Chantrells, I think, at the beginning. Right. Of course, I’d always have my eye out for the magic ones, but. Yeah. Which I Think you can if you know what you’re looking for. You can probably find them on Japanese mountain size, but I wouldn’t know what I’m looking for, so. And mycology is quite a. That. That is a thing you need to know if you’re gonna do it. I mean, all you really got to do is just pinch the stem and see if it bruises blue or purple, and you’re pretty much good to go.

I mean, there’s more criteria to that, but that is one of the most distinct characteristics of cubensis is the way that it bruises blue. Okay, well, you’re already ahead of me, so I didn’t know that. So. Okay, well, there you go. Pro tip out there. And. And just because I did pay extra close attention, because one of my thoughts was, what if this entire movie Remy is just tripping because he eats a mushroom at the very beginning of the movie? Or is he dying? And these are all like the vision. This is like the DMT releasing into his brain as he slowly dies because he ate a poison mushroom.

But it does seem like they. They took extra care to make sure that it was like an edible chanterelle mushroom that you see him eating. Originally, he believed in heaven, so he’s covered. Sorry, in the movie, that. That is a line that she believed in heaven, so she’s covered. So I thought that was kind of interesting line. Well, and not just that, but Remy’s sort of like mouse or rat clan leader says thank God at one point, which also implies that they believe in, you know, one true God, that the rat colony is of some sort of monotheistic religion, which I thought was, again, fairly deep.

Maybe it wasn’t like a miss Site, maybe it was just a. A phrase that got thrown in there, but it makes grand implications. Right. Like now all of a sudden, the Bible maybe extends to rats as well. Yeah, it’s a. It’s a highly Catholic country, that France. Yeah, yeah. How many rats still carry the black Plague? Is that still. Is that still out there? It’s got to be out there somewhere. One of these rats must have the plague carrier carrying the plague. Right. Are we all just somewhat immune to that particular version of it and waiting for it to mutate at any given point by a lab in China somewhere or.

Or a rat under Notre Dame? I don’t know. But I was just thinking, like, even if they’re clean. See, that’s the thing. I keep going on the cleanliness. Even if they’re clean, they got to be carrying something, at least one of them, you know, Crawling all over your godliness is next to cleanliness. Remy says that at like the very beginning of the movie when he’s sort of explaining why he prefers to eat food that’s not directly out of the garbage and rotten. What did you think of Linguini’s first apartment when they show him in his, his quote unquote crappy apartment? Because I was like, hey, in Tokyo you’d love that.

And I guess in Paris you’d love that too. Have you. I mean, I thought, I thought it was pretty sweet digs. I’ve. I’ve lived in a much worse apartment than that. That’s what I was thinking. I, I spent one summer basically living in a walk in closet. So I’ve also stayed in not the greatest hotel in France in Paris. And even that was much worse than his apartment for apparently someone that can’t hold a job down for anything. Yeah, yeah. You said you had a few more questions. Yeah, there’s some, There’s a weird philosophy, I guess, if, if you had to figure out, like, what are the morals that this movie is trying to teach me, no pun intended, since morals, also a mushroom.

But one of the morals that it’s intending to feed you is this concept around stealing and theft. And I just, I cannot still wrap my head around it because basically Remy is saying that we shouldn’t steal garbage. Like, we, like, they shouldn’t be eating out of the garbage because that’s stealing and. Which doesn’t make any sense. But I’m. And I’m glad that it doesn’t make sense to me because then the Rat Clan leader comes out and he says, it’s not stealing if nobody wants it. Which I’m like, yeah, I kind of agree with that. I know that there’s legal issues with dumpster diving, but it’s mainly because of, like, legal ramifications.

If I eat something out of your dumpster and get sick from it, like, there is a chance that I could sue you. Or like there, there’s a line of reasoning, but I don’t think like thievery or stealing necessarily comes into it, especially if we’re just talking morals and ethics and you’re not even, you know, determined about the law if you don’t care about what the law says. So then the, the clan leader responds back and he says, if, you know, if it’s not stealing, if nobody wants it, then Remy says, if nobody wants it, why are we stealing it? And I know that was supposed to be this Zen inversion of logic, but it was like, no, that makes absolutely no sense.

Somebody wants it. We. I want it because I’m stealing it, but I’m not actually stealing it because. So I don’t know. The question is, is taking someone’s garbage stealing? If you eat out of somebody’s garbage, are you stealing from them for some reason? I just keep thinking the Seinfeld episode where George eats the eclair from the top of the garbage. Yeah. Was he stealing the garbage? Was he a Claire clean? He said it was. It was still in the wrapping and. Or on the thing and they just put it in there. But, yeah, the old dumpster.

Maybe Remy’s like some weird fundamentalist of this rat religion, you know? I guess so. You have. You have to be a zealot if religion is still new. Otherwise, it doesn’t go anywhere. So maybe this is just part of him being overzealous in his religion. But it’s. It’s really weird. It’s so weird because if a human steals food and gives it to him, now it’s not stealing. So maybe it’s more of keeping original sin on the humans. It’s like, hey, I don’t want this original sin stuff affecting all of rat kind. So let the humans do it.

They’re already filthy, dirty, sinful creatures. They can do all of this, like, these horrific things, and then we can just reap the benefits of it. So is this like the anti. Anti lame is then kind of. It’s more of like how you. The U.S. played in World War II. Like, let all those other people do all the horrible things, and we’ll just reap the benefits of it and act like we’re holier than thou. Is that working better for the first one where we show up at, like, the last five minutes of the war? Them doughboys. What else did I got here? He makes a note that being a good chef is about being fearless again.

That’s something Walter White definitely would have said. And then. Okay, here. Here’s. So I’ve got a whole bunch of different theories that some of them I went and I looked up, some of them I kind of formulated on my own and then found other people that had similar thoughts. One of them is, what if all of the different chefs, Gusteau, they. Even the Papa Gusteau was being directed by a rat. He also had a rat in his hat because they’re the very beginning of the movie where they’re showing all the different magazine articles about him, like getting his Michelin stars and stuff.

One of those. His hat is falling off a little bit. And there’s, like, a little blur, like, a little shadow on top of his head under where the hat would be. And it doesn’t look like. It’s just a motion line, and it doesn’t look defined enough to be, like, a tuft of hair. So I was just wondering, maybe he also. Like, the whole premise is that anyone can be a cook. And it would also make more sense for Alfredo Linguini to be following in his dad’s footsteps if all of them had always been just proxies for these rats that were doing all the work.

Daddy had a hamster up there a little bit different. Yeah. I get that’s how he broke. He’s like, I’m not going to cook with your stupid hamsters, dad. I’m going to cook with a rat. You know, maybe other chefs have a miniature Godzilla having them learn how to cook in their hat. Tiny Godzilla. Another interesting note is this is a rumor, but the reason for the chef’s hat, the practical reason, was to keep your hair out of the food, of course. But the reason why that became such a certain pronounced hat, like such an important ranking, is that King Henry VIII apparently had a hair in his food, and he beheaded the chef.

And as soon as that happened, legend goes that all the other chefs started wearing hats because now they realize how important it was to. Maybe. Maybe that’s the same thing where hair nets. Maybe. Like the first lunch lady that got a hair at the local elementary school. Yeah. They just decapitated at the preschool. And from then on, all of them were hair nets. Kids, gather around the playground. You’re gonna learn a lesson today. You said you didn’t like the lunch lady. Is that right? The. There’s also. Even Gusteau. The ghost of Gusteau is sort of like, re.

Enforcing these weird zealot ideals inside Remy’s head, because he also says at one point that a cook makes and a thief takes. And this is as Remy is running through the restaurant and he sees just, like, a piece of bread. Literally, it’s a crumb of bread that you would not expect a Michelin restaurant to be like, oh, there’s a piece of, like, a crumb of this bread that fell behind this cutting board. Let me make sure I put that into this customer’s food. Right. This is. This is just normal sort of spoilage. Right. This wouldn’t be something stealing.

But even as he goes to grab this crumb of food, as he’s. I mean, it’s kind of implied that he’s starving. He got separated from his Colony. He hasn’t found any food yet. He finally gets into this restaurant, sees a crumb, and then the ghost of Gusteau says, a cook makes and a thief takes. And then he also says, don’t steal, because food will come to those who love to cook. And I was just thinking, like, what message this movie’s sending me right now. If I am a child and my brain’s a little bit squishy, and it’s taking in all of these messages, it’s saying, like, if you’re starving and you see food that someone else is gonna throw away, don’t eat it.

It’ll just come eventually. And it’s just like, maybe that was the food that God was like, hey, guy, you’re starving. Here, I’ll hook you up. And you’re just like, no, I’m waiting for a rat. The breadcrumb is the apple. Also, keep in mind, it’s not Gatro’s ghost. They make it clear. He says it to Remy himself, like, dude, I don’t know anything. You don’t know. I’m really just talking to yourself. Right, but that’s. That is part of. That’s Remy talking to himself, really. Right, right. Which also, what if the rat inside of Gusteau’s hat was Remy’s grandpa or father or something? Right.

So now it’s actually the ghost of his dad showing up like a figment of his imagination, posing as Gusteau, but it really is him talking to his, like, epigenetics sort of forefathers. Well, you. You are. You are pitching a sequel there. A truly terrible sequel, but a very confusing, convoluted sequel. You’d have to do a Godfather 2 style where, like, some of it’s 50 years ago and some of it’s modern, you know, Do. Yeah. Do the God now. Now we’re onto something. Do the Godfather 2 for Ratatouille. There you go. There’s also room for maybe, like, a cannibal inspired ratatouille.

Oh, okay. To get back to those. Those gore films. Yeah, I think so. I think. I think it could work out. We’re almost ready for. Or I guess the next iteration. The next real version of Ratatouille would be them convincing everyone to eat bugs. It would just be part of, like, you know, Soros is now going to come in, and he’s gonna be ego. He’s gonna be the one that is. Is giving me ego. No way. Never. That would be fun, though. Oh, now we’re into real Hoyt cuisine and you’re eating bugs. You Know, a little bit of Lion King food there for you.

Who else? Ego2 is an interesting character in this one. He, I don’t know if you notice in the very beginning of the movie, they refer to, like, his job as being this, this food critic. Right. And he’s kind of given over to the one that kills the original Gusteau because he gives Gusteau a bad review, which makes him lose that first star. And losing that first star in the Battery View combined is what kills him. So he gets this name called the Grim Eater. And not only does he look like an undertaker, he’s got, like, these purple lines under his eyes.

He kind of looks like a fat Edgar Allan Poe in a way, but he also, if you notice, his office is shaped like a coffin, like a big wooden coffin. And the typewriter that he types on looks like a skull with, like, the teeth as the keys. So they really hammer in that this, this critic is essentially a representation of death. Yeah. And I, I found it, like, what stuck in my mind with the, with the Minion so popular a few years later. I’m like, do they kind of look at this guy a little bit for Gru, you know, the, the.

The Steve Carell’s voiced character into Despicable Me and Minion movies. Right, Right. And I, I could almost tie snagly Whiplash. Snidely Whiplash. I think Whiplash kind of has that same color palette and overall stature as. As this guy does. I also, also came to mind. I watched Mulholland Drive a few weeks ago and a few months ago. I’ve seen it twice recently. But do you remember the espresso guy from Mulholland Drive? Oh, no, you have to remind me. Do a rewatch. Now that lynch is gone, this is where the real heavies come into the, the, the.

I just remember a little miniature homeless guy at the end is like the main thing I remember from that movie. Anyway, it’s actually. It’s the. The guy that does the soundtrack playing like, like a mob or just a big studio. Heavy creepy is held. And then Dan Hyatta is next to him just looking angry the whole time. The guy’s like. You’re like, okay, you’re really gonna love this express. So we know the last few weren’t. But this is. This is top rated by many of the, you know, by. By critics or whatever. They give him the expressions napkin.

You know, he starts drinking. You know, it reminded me he’s just like drooling the espresso on a napkin because he didn’t like it. And that made me think of ego just being like, I won’t even, like, swallow the food if I don’t like it. I won’t chew it. It’s just coming right out, you know, like a bird. Yeah. He loves food so much that he won’t even eat it if he doesn’t love it. And that’s how much he loves it. That’s. That’s why it says skinny, right? I mean, they say skinny, but he, you know, he’s got like a.

Like a villain sort of stature to him. He’s like egg shaped. A little bit. Yes. Yeah. Skinny egg. That sounds right. Because the. The evil chef is. Is the one that’s kind of like. Like a little bowling ball. Getting back to the bowling stuff. He’s like a pygmy. Yeah. Skinner. That kind of went through my mind when. With those sheets that prove that linguini is the sun is there. Is the restaurant really just going to change hands like that? That sounds like years of litigation necessary before that happens. You know, it’s not like that would kind of be constituted as a will, although the will was written by the mom saying, here’s what he said.

So I guess it’s not really like a legal document, although it had a freaking notary stamp on it. So, I mean, that. That’s about as official as you can get, right? I guess. But even then, I feel like, you know, legal fees, litigation, blah, blah, this stuff never happens simply, does it? Oh, that. Actually, that reminds me, and this is another element of the. The conspiracy idea that the original Gusto was also controlled by a rat is that they go and they test the hair inside of his hat that’s been enclosed in glass, and when they do the DNA test, they’re like, oh, we.

We tried running this hair that was inside the original Gusto’s hat, but it came back as a rat hair. So we’re gonna run another one. And it makes you, like. I guess in the premise of the movie, it’s like, oh, somehow Remy’s hair is all over the place and it got into there. But really, it seems that that might be proof, Right, that Gusteau also had a rat in his hat and that’s where the rat hair came from. No, that’s the best kind of fan theory. You can’t disprove it, you can’t prove it, but it kind of makes the whole thing better.

Right? That. That’s why with James Bond, Skyfall was so disappointing, because up to that point, the fan theory that James Bond is just A designation given to a series of people, like, worked perfectly. And then Skyfall kind of screwed it up because they go to the Bond family home. But I think that’s how got Get Smart operated though, is that whoever had his particular number was that particular spy, because they went. Because I think Six was his sidekick. And they went through a couple different sixes. Yeah, we go to the Prisoner where numbers become like, really confusing and weird.

Also, number Six doesn’t even know why he’s that high on the numbers. I feel. I feel like we have to mention one of the most common interpretations of this movie, mainly because of the names of all the characters, but that they’re supposed to represent the different elements of a person. Right. And even you said that towards the end, Alfredo Linguini, like the. The human protagonist of this movie, he comes into his own. He starts showing his own actual personality. So some of the examples that I’ve seen of this laid out is that Alfredo is essentially the self, but he is the self that doesn’t have a shadow or Persona or an ego.

I threw out the word Tulpa a while ago, so maybe we’ll call him. Yeah, he’s sort of a Tulpa, or I mean, I would argue in an alchemical sense, he’s kind of like the Homunculus. He’s the. He’s this outer shell that has no spirit yet and is waiting for like a master to give it direction or purpose in life. I wrote golem, but I know you and your homunculus well. Say, yeah, honestly. So, yeah, he’s the golem. He’s the homunculus. He’s this weird proxy self. And then ego is the ego. Right. Anton Ego. He’s the chef.

That’s pretty cool. And. And this is. Yeah, there’s a little bit on those. He’s also death. So like, you know, death to the ego type of mentality. He’s the one that can make or break you. Then you’ve got the shadow, which has got to be the villain. And also it seems that Skinner, that the short little pygmy chef, he’s ragged as like one of Disney’s better villains because he kind of exudes all the things that a villain would go through without kind of being like overly, you know, like obnoxious about it. Like he’s a kind of like a really well self contained little villain go around.

But he’s the shadow because he’s the one that’s constantly thinking bad thoughts. And how can I use this information to screw someone else over? And then you’ve got Colette, which becomes the. The sex interest. Right? She’s the girlfriend that Alfredo Linguini ends up falling in love with. So she represents the animus. She represents, like, that primal energy and, like, you know, uniting. So you’ve got all these different elements in the movie. And then obviously, Remy is the one that’s orchestrating all of this. So he’s. He is the. The self versus Linguini, I guess, would be the Persona.

But they don’t have any perspective. Well, no. Come from ego. Right. Ego says that. That he’s the one that will bring the perspective. If you don’t have it, I’ll bring it. Which is something that the ego would provide. Yeah, yeah. No, that’s why I brought up. It’s like, right in the dialogue, like, even more so than usual. So, yeah, that holds. I mean, again, that’s the sort of thing where it’s like, oh, that deepens the movie somewhat now. And I’m seeing her through the production notes again, seeing if I missed something where they kind of mention that sort of thing.

But. And we. We mentioned this a little bit earlier before, too, that there’s this certain scene when Remy is still a little bit naive as to how dangerous humans can be. So his rat friend brings him to this. I guess it’s like an exterminator shop or something. I’ve never seen a store that’s dedicated just to killing rats. Usually they’ve got a whole bunch of other, you know, pesticides and stuff there. But this. The storefront that he shows them. But is this the most gruesome Disney scene in any Disney movie up to this point? Because it feels like the sheer volume of dead bodies that represent the same sort of character that the protagonist is.

This has been the most death that we’ve seen. Unless I’m. Unless I’m completely overlooking one of the previous movies. But up until this point, of the countless movies we’ve watched, this feels like the most gruesome scene. What did the Black Cauldron have? I think that had. But the Black Cauldron was edited. There were some scenes where it showed, like, skeletons and stuff and, like, flesh melting off of bodies, but that got cut. Yeah, we got the Haunted Mansion at Disneyland. Right. But that’s a different thing. But actually, one of the big things making that attraction was how much of it’s going to be scary, how much of it’s going to be funny with the two guys in charge basically at odds about what it was going to be.

So. But also I mean, also Haunted Mansion in maybe a morbid way, but it does imply that, like, life doesn’t come to a halting screech, that you still get to dance and have dinner parties and sing and have fun, even in this afterlife as ghosts. But in this particular scene in Ratatouille, like, these are just dead cadavers hanging by their heads, and nobody is dancing or singing or, like, having fun here. Yeah. Finding Nemo, I guess we. It cuts right at that moment where all the eggs disappear. And when you find out that the dentist’s daughter is, you know, killing all these fish, we see a dead fish, but, yeah, dead fish is different than a dead mammal, I guess, to.

To a human’s eye or about 20 of them. Right. We don’t see 20 dead fish in Little Nemo. Right, Right. So I’m just sitting here, like, taking your challenge and trying to think of some Disney that’s given us some dead bodies that. It feels like an escalation. It feels like maybe the most that we’ve seen. Maybe in Toy Story, you could be like, if you see a whole bunch of toys, like, lifeless toys on the ground, maybe those are all dead. Who knows? Like, the Poor Unfortunate Souls and A Little Mermaid are mildly disturbing. I also need to point out that we have a double Disney proxy here, which is somewhat rare.

Doesn’t happen in every single movie where Remy has a Disney proxy. He goes through where he gets separated from his colony, and now he has to figure out the world on his own. But also, Alfredo Linguini. He’s literally Disney proxy defined. Right. His dad dies of a heart attack or, like, a broken heart. It’s a heart attack. I mean, he definitely looks like he would have, you know, had some kind of heart disease issues going on, but then he never even knows his own dad, and then his mom dies, and now he’s abandoned in this world, has no friends and no job.

So I feel like the two different protagonists have their own individual Disney proxies going on. Remy’s gets resolved, but Alfredo Linguini’s obviously does not. Right. Right. Yeah. Interesting. I wrote the note about Remy and then didn’t really think about it too deeply with Linguini, but by then, the movie’s rolling, and I guess I’ve already spotted the Disney proxy, so I didn’t spot it the second time so much. I mean, subtle. Subconsciously, I’m sure I did, because they’re like, mom’s dead dad. We discover about dad later. But I. I guess the. The one that really sticks is The Remy one, which is resolved.

Whereas the. The second one that’s kind of like snuck in a little more is of course unresolved because those people are straight up dead. But it’s also the entire driving plot of the movie is the fact that he didn’t know his dad, therefore didn’t know he was the hair. And that his dad was dead, which is what Lost in the Star and that his mom was dead. And that’s the secret being kept from him. Right. That is, I guess, just thinking about a creative person and then their, their offspring. That. And there’s never a connection between the two.

Yeah. How much of that is like genetic? You know, I mean, obviously he can’t cook. He needs a rat. But maybe dad did too, as you said. So that’s. Yeah. Maybe the skill passes easier among rats than it does with unhumans. Or maybe the skill with Linguini and Dad is the ability. Because it is made clear like, oh, this isn’t normal that I just tug on your hair and you become a puppet. You know, if you were Homunculus, it would, it would make sense if you’re a homunculus. Right. But it’s implied that it works with him, but it probably wouldn’t work with most anyone else.

So that could be his actual talent is the ability to be controlled, which is kind of a depressing talent. It’s like one of the. The crappier X Men, you know, powers like. Well, kind of. Although this is dovetailing a little bit into like MK Ultra. More specifically the whole Project Monarch. Like the what? Some of the darkest corners of Project Monarch Conspiracy is that redheads and redheads with green eyes and this like RH negative bloodline is among one of the. The biggest Myers, the smallest minorities on the planet. And that certain groups of elite families were specifically breeding with or you know, these like redheaded, pale skinned, green eyed people.

Because I guess this one is. Is somewhat of a medical fact that they require more anesthetic. Anesthetics I guess in order to get put under. Or maybe it’s la. I can’t remember what it is. But they’re. They’re either less receptive or more sensitive to anesthetics in order to get them knocked out, which makes them somewhat of an anomaly. But that in the Project Monarch conspiracy world this has been correlated to them being having a higher threshold for pain, which makes it so that they can be trained in trauma based programming more easily. And that this trauma based programming is.

Does have an epigenetic factor in it. So that if your great great grandpa was tortured and over and over and became disassociative and had these multiple personalities and they did that to his kids and his kids and his kids. So on that at a certain point, all of your offspring are ready to enter a trance at just like the flick of a wrist. Like you could just snap your fingers and now all of a sudden you’re in a trance without having to even warm you up or put you into this like, hypnotic state or hypnog state.

And if that’s the case, here we’ve got redheaded Remy that has no known family members around. Here’s this orphaned red, you know, redhead that just at the. The snap of this little rat’s fingers, is able to be controlled. Like he basically. Maybe it’s not the same as entering a trance because you get the idea that he’s conscious throughout it, but he has absolutely no control over his own motor functions. He even says it out loud at a certain point. He’s like, wow, I’m surprisingly, like taken over by you just pulling my hair. Like I’ve got just an automatic response.

Right? So it’s a weird skill, but I guess it’s a skill. By the way, the earlier version of this movie with the original director, I think Daddy Gatro was going to be alive. I’m not quite sure how that works, having watched the. The final product. And the rats were going to be a little more, like, cuter. So those were changes made to make the rats a little more realistic and the Disney proxy would. And the second one was a late stage change to them. Maybe that’s what got him fired. Maybe he was like, I see what you guys are doing, and I refuse to take part in this Disney proxy ritual.

And they were like, there’s the door, maybe. Well, they switched directors first and then he left. So there was that, I guess, you know, you can’t fire me, I quit sort of thing going on. So, I mean, now there’s like a, like a. Honestly, there’s a third Disney proxy with the director where now they separated him from the rest of his family and then killed his dad that he had written into the movie. And they’re like, nope, not only are you off the movie, but we just killed your movie dad. So this one spills into real life.

Okay. I think the dude’s still finding some work though. Leica Studios, I think, or something. So, you know, and then I’m seeing what he’s up to now. Out of curiosity. Currently Pixar. This is the first director of the Ratatouille. Well, actually it looks like he’s. He’s teaching now, so he’s not. Maybe, maybe it didn’t work out so well in the end. Okay. I mean, maybe it worked out fine. I’m just saying, as far as being a creative maker of animated movies, it doesn’t seem to have worked out. So I guess it was a kneecapping, getting thrown off this movie.

Yeah, this is Jan Picava. Yes, yes, yes. And yeah, I’m looking. It’s like, oh, it’s just the Pixar things. And the rest is basically footnotes. Like he’s doing stuff but create a new director on a whole bunch of shorts. Yeah, so that does unfortunately sound like a step down. Although, you know, it’s not like he’s in the gutter, I guess, so that’s good. And also, I mean, he was the writer on something called Ratatouille, the Tick Tock musical. But just by, I guess, my own personal limitations, if I see the phrase a TikTok musical in the name of a movie, I just automatically skip it.

Yeah, I was kind of like, that’s not a real movie. I’m curious. I’m curious what that means and what it’s about. I mean, I, I know what all the words individually mean, but I don’t know what the difference is between a musical and a Tick Tock musical. It almost seems like it’s a musical that you might walk away with like an epileptic seizure and maybe like extra tariffs. Yeah, yeah. I’m just, I. I’ve gotten old and farty enough that I have no not working knowledge of Tick Tock other than the name. So I mean, geographically you’re way closer to it than I am.

I am. And I think so. How popular is it in Japan? I feel like most of my students are all just like, I watch YouTube where I guess in the States it’s more like I’m watching Tick Tock. Is it? I don’t know what the kids are doing these days. Maybe it leapfrogged over Japan somewhat, because I feel like all the Tick Tock stuff I hear is coming from the States. So anyway, have not, have not joined the Tick Tock generation yet. That for me at least. Do you have any other temples? Those temples are being guarded by your gods and they’re doing a great freaking job at it.

Good job, Commie. Do you have any other big notes you want to throw out on this one? I think those are the main one. I think those are some pretty Good ones that the, the whole premise is that there really was a rat all along. Even for Papa Gustav. The notes on like the Jungian sort of archetypes, all the mentions of death and guns and violence. Oh, there was one other. I don’t know if this is considered like an Easter egg, but at the very beginning of the movie when Remy is running around through the rafters of this building, like an apartment building, there’s these two lovers that I guess are in some sort of a quarrel and a gun goes off and you see the bullet like rip through the ceiling.

And you look down and then right at like as they’re struggling over who can control this firearm, they start kissing and making up. And then towards the end of the movie you see that they’re like out on a date together with each other. So there’s like this weird B plot of these, you know, violent, this violent couple that shoots at each other when they’re mad. That then I get pretty toxic. Yeah, that’s, that’s toxicity. Maybe that’s the, the culturally insensitive part of France. But I just, I figure that it just gets a pass like, oh, this is just how people are in France.

They’re just like so incredibly romantic that they would shoot you if you said that you were going to leave them. But it’s not in a toxic way, it’s in a romantic way. Yep. Bullets are romantic, of course, especially when they hit you. I guess nobody got hit. It’s all fun and games till somebody gets hurt, right? Well, if you really love them, I mean, are you hitting or are you missing? If you love somebody, shoot them. Free Stink Song. Right. Well, I guess we’ll wrap it up now. What you up to? You have, you have many things.

So I guess what, what’s your project? You got on the mind. So yeah, it’s actually hard to figure out which. The next one that gets all my focus and just based on the number of people that have signed up to be notified when the project launches. It’s going to be the Satanic Panic game, which is the easy name to remember. Satanic panicgame.com and that’ll bring you to this project I’ve been working on for damn going on like three or four years now. It’s called Lucifer Lives in lower Manhattan and it’s a interactive visual novel. It’s got original artwork, original writing, original music, everything.

It’s a full blown game. It’s about a six hour story. I mean if, if you speed through it, although probably take closer to like 8 to 10 hours for a lot of people. But it’s entirely about a real story about Satanists in Manhattan during the 1930s and 1940s. It turns into a murder mystery where you have to kind of solve a couple different crimes all within this apartment building over the course of one night. Amongst all of these Satanists. And it’s got characters that are inspired directly by some of the largest actresses of the 1930s and 40s and occultists.

There’s sort of like a manly Palmer hall character that makes an appearance. There’s a whole bunch of. It’s. It’s essentially inspired by the Seventh Victim and Cat People and RKO horror movies around this time period. So it’s a, it’s a love letter to a whole bunch of different things. Visual novels, murder mysteries, 1930s and 40s occultists, everything. So that’s the big one that I’ve been working on. That’ll probably come out next. All right, over here, I do a lot of media podcasting out this and that. It’s@podcastiopodcast.org there’s stuff about the Twilight Zone. I mentioned films and filth where we talked about a few Pixar movies in a different context, of course, but I think we’ve done Wally Coco and Toy Story 3.

All have committed podcasts over there. So go over and dig those. Where do you have them for dinner? Man, did you have dinner? Rat rat steak Ready for a cosmic conspiracy about Stanley Kubrick, moon landings and the CIA? Go visit nasacomic.com nasacomic.com CIA Stanley Kubrick put us on this While we’re singing this song go visit nasacomic.com go visit NASA comic.com CIA’s biggest con Stanley Kubrick put us on that’s why we’re singing this song about nessacomic.com go visit NASA comic.com go visit NASA comic dot com never a straight answer is a 40 page comic about Stanley Kubrick directing the Apollo space missions.

This is the perfect read for comic Kubrick or conspiracy fans of all ages. For more details visit nasacomic.com light to bring give you the light my plane paper the highs ablaze somewhat of an amazing feel when it’s real to real you will engage it your favorite of course the lord of an arrangement I gave you the proper results to hit the pavement if they get emotional hate maybe your language a game how they playing it well without lakers evade them whatever the cause they are to shape shift Snakes get decapitated met is the apex execution of flame you out new circular bomb distributed at war? Rather gruesome for eyes to see? Max them out that I like my trees? Blow it off in the face? You’re despising me for what though calculated and rather cutthroat? Paranoid American? Must be all the bloods folk for real? Lord, give me your day, your way? Vacate, they wait around to hate? Whatever they say, man, it’s not in the least bit? We get heavy rotate when a beat hits? So thank us your wealth? I’m for real? You’re welcome? They never had a deal? You’re welcome? Man, they lacking a pill? You’re welcome? Yet they doing it still? You’re welcome?
[tr:tra].