Alicia: Hey, just a heads up the
episode you're about to listen

to this week is nightmare on
Elm street to Freddie's revenge.

It's directed by Jack shoulder
and written by David Chaskin.

The episode includes descriptions of
extreme body horror, sexual harassment,

and abuse, occasionally aimed towards
minors and the sexualization of violence.

After the music we'll talk about the
movie in full, so expect spoilers.

Oh.

And while you're here, if you can
stop by our Patreon progressively

horrified.patrion.com, you'll get extra
episodes, all episodes a week early.

And most importantly, if you
decide to support us, you'll get

to help us keep the lights on.

We'd greatly appreciate it.

Now let's get onto the show.

Emily: Okay.

Let's Yeah.

Hell yeah!

No worries.

Jeremy: Good evening.

And welcome to Progressively Horrified,
the podcast where we hold horror to

progressive standards it never agreed to.

Tonight, we're kicking off pride month by
talking about a slasher sequel, which has

in its own way become more controversial
and notorious than the original.

It's Nightmare on Elm
Street II: Freddy's Revenge.

And along with it, we'll be talking
about the documentary about it: Scream,

comma, Queen: My Nightmare on Elm Street.

I am your host, Jeremy Whitley.

And with me tonight, I have a
panel of cinephiles and cenobites.

First, they're here to invade your
house and find queer content in all

your favorite movies, my co-host
and comic book writer, Ben Kahn.

Ben, how are you tonight?

Ben: Of all the details in this movie
that I have not been able to stop thinking

about by far at the top of the list,
is that the cereal that this family is

eating is called Fu Man Chu, C H E W.

I know that's a very tiny detail
to start out on, but it blew my

fucking mind with just it's...

Jeremy: I have no less than
three notes about that.

Ben: Yeah.

That casual background racism that
they went out of their way to make.

Emily: It might as well be cheddar goblin.

Jeremy: Speaking of which, we picked
her up at the spooky crossroads

of anime and sexy monster media.

It's co-host and comics
artist, Emily Martin.

How are you tonight?

Emily?

Emily: I'm feeling like I've never seen
the idiom trying to play it straight.

So like exemplified and, or have I have
not seen it be as applicable in my life.

Because this is a gay movie
about a guy who kisses a girl.

Jeremy: Yeah.

Well, we'll talk a lot more
about that, especially in

reference to the documentary.

Uh, But also before we get to that,
along with our usual gang, we have

a, for our friend of the show, host
of Deep Space Dive, Elana Levin!

Elana, how are you?

Elana: I'm excited to
talk about this movie.

I uh, I think when you guys had me on
to talk about Nightmare on Elm Street,

I was like, but what if we could talk
about Nightmare on Elm Street II instead?

You were mentioning the Fu Man Chews,
like completely racist cereal thing.

Oh yeah.

From the breakfast scene.

Like the reason that they're doing
that is because they like to have that

shot of that younger sister with the
long fake fingernails that are the

toy that came in the box of cereal.

And like there's a million ways they
could have had that, which is, you know,

visually reminiscing of Freddy, right.

With the knife hands?

They could have done that with having it
be like spooky, witch nails or something.

There's no reason it had
to be like Fu Man Chu.

But like, that is why they did that.

Ben: Just do like a count
Chocula type, witch thing.

Elana: Yeah.

Yeah!

It woulda been so much less bizarre..

Ben: But it's the eighties.

They were just really proud of that.

Like racist, word play.

Count Chocula was made in 1971.

It was around.

Emily: Yeah.

And I think that this is an example
of just how rushed the movie was

because people weren't really thinking
about these decisions, you know?

First of all, aside from the fucking
racist ass shit who wants chewy cereal?

Jeremy: Fu Man Crunch
would have been preferable.

Ben: Yeah, you want Fu Man Crunch!

Emily: Yeah.

Ben: What I love about this movie is that
if you go to it's Wikipedia article right

off the bat under reception, there's
two sections, one critical response.

Two, homoerotic subtext,

Emily: Subtext?

Ben: Homoerotic subtext has its
own section in the Wikipedia page.

Emily: I mean.

Jeremy: This is going to be the
bulk of our discussion, I think.

So let's go ahead and get
the basics out of the way.

It's directed by Jack Sholder,
who you may know from directing

Alone in the Dark or the Generation
X TV movie which blew my mind.

I have not thought about that
thing in a good 10 years.

It is also written by David Chaskin
whose most famous, I think for

running a lot of 21 Jump Street.

And it stars Mark Patton in the lead role.

Also Kim Myers as his girlfriend
and uh, Robert Englund

reprising his role as Freddy.

IMDb describes this as a teenage boy
is haunted by his dreams by deceased

child murder, Freddy Krueger, who was
out to possess him in order to continue

his reign of terror in the real world.

And uh, Elana, I know, like you
said, you'd been dying to talk

about this one, basically, since we
talked to you about the first one.

uh, What is it about this film
that, that you love so much

that you wanted to talk about?

Elana: It's funny.

I was actually aware of the documentary
about the film before I saw the film.

I, uh, I was introduced to the documentary
Scream, Queen my Nightmare on Elm Street

because I was at Flame Con uh, at the
year that they were finishing making it.

And Mark Patton had a booth there.

And I was intrigued by
the, like the title.

And so this poor guy had to
literally explain to me like the

movie and also that there would be a
documentary about movies, phenomenon.

And I was like, I haven't even
seen this movie, but I'm really

sold about your documentary.

It's such an interesting illustration
of the gap between the actual queer

experience, what heterosexual people
fear about the queer experience and

like just the imagination and what's
different between playing with queer

themes versus like what it is to be
lived and embodied as a queer person.

I feel like I'm getting ahead of myself
a bit on that, but I think there's

like, especially in light of like the
world right now, it feels like there's

a lot to be sad about all of that.

Yeah.

Ben: We don't know what the state
of the world is going to be when

you're listening to it, but it's bad.

Emily: I mean, it's been bad.

It's yeah.

Ben: That's unlikely to change,
like for the foreseeable future.

No matter when you listen to this,
listener, even far in the future,

I'm just going to assume you're
also dealing with bad times.

Emily: And this movie does
have some things to say?

About identity.

And I feel like identity is the
thing that is trying to talk about.

There's a lot of things that are
trying to happen in this film.

And that's sort of the long and
the short of it, I think for this

movie, is that whether or not it
is progressive about how gay it is.

It is just so confused by it's,
just in its own being that it

really isn't saying much either way.

It's just the film itself
has an identity crisis.

Jeremy: I think an important thing
to know about this movie going ,in

is that Nightmare on Elm Street, a
Nightmare on Elm Street, the original

came out in 1984 and basically is
the reason that New Line Cinema still

exists because it did so well that
the, this, you know, little independent

company just blew up overnight.

And so naturally they decided to
capitalize on that by having Nightmare

on Elm Street II come out in 1985.

They discussed in the documentary
that like they were filming the pool

scene that is the climax of this
movie on the 4th of July in 1985.

And the movie was coming out on
Thanksgiving, like it was that much

of a rush to get everything done.

Emily: Wow.

Ben: I mean, I feel like this movie
is very much cemented a place in

horror movie history for its queer
subtext or queer text, I should say.

Elana: Yeah.

Ben: But I feel like stripped of
that, it's not a particularly great

sequel to Nightmare on Elm Street.

Emily: No.

Ben: Like even just like the main thing
that I kept going back to is just why

isn't Freddy killing people in dreams?

That's his thing!

Elana: Yeah.

Ben: It's just like, I'm just imagining
being an audience in 1985 being like,

it's like, that's what was so great.

Like it set him apart and it was in a
premise that inherently yielded itself

to every single kill being wildly
inventive and creative and unpredictable.

And it was just something that set
the first movie so far apart with

that focus on sleep versus awakeness.

And I like, like what this could have
done by really blurring those lines and

adding in like, them being unsure of
what's real and what's not, but he just

doesn't kill people in the dreams just
wants to slash him up in the real world.

And that's, I don't know, we got lots
of other villains who slash people

up with knives in the real world.

Freddy's the only dream murderer!

Emily: Yeah.

This, despite having a whole template
of the movie that came before this

movie has like very little coherence
in terms of the rules and the stakes.

And you know, what means what.

Cause the last movie that's that is to
say the original Nightmare on Elm Street

had like two, three endings in the
movie, not including the endings that

were not included in the movie, but-

Ben: Him turning into
that car fucking rules.

What an amazing way to
end that first movie.

I love the Freddy car.

Emily: Yeah.

Ben: Fantastic.

Emily: And so they have this
sort of open-ended situation.

And then this movie kind of is trying
really, I mean, I've seen movies really

fail at being sequels where they're like,
oh, this happened once, I guess, whatever.

But this movie is trying really
hard to be a sequel but just

can't get its hands on it.

Jeremy: Um, Interesting.

I think It is linked by
being set in the same house.

Like he, uh, our, our main character
uh, Jesse moves into with his family the

house uh, that was previously killing
people where you know, Nancy used to live.

And his dad apparently knew
all about this but didn't tell

any of the rest of the family.

Ben: His dad fucking sucks.

Yeah.

Reaganite suburban boomer, bullshit dad.

And I'm so mad that he receives
it no comeuppance during the film,

except for a parakeet, scratches him.

Oh no.

A parakeet.

Yeah.

Like they didn't

Emily: give a shit about those birds.

I'm mad about that box.

Yeah.

They gave him that like, they were
like, oh shit, the birds were sleeping.

And then the bird is like
flying around the room.

This is a, this is a love bird.

This is like a bird.

That's the size of, I don't know.

Jeremy: Okay, this is going
to make no sense to anybody.

We haven't done-

Ben: Birds are in the
movie and they explode.

Catch up!

Jeremy: Okay.

So the plot of this and why it doesn't
particularly follow the original

Nightmare's formula very well.

Is that rather than having a group
of kids on the street where, you

know, Freddy was murdered by their
parents experienced nightmares

where he exists and then kill them.

This is isolated to Jesse.

This one kid um, who is having these
nightmares in which Freddy attacks him or

he meets Freddy, Or he turns into Freddy
and slowly over the course of the movie,

it becomes more and more him turning into
Freddy and Freddy acting through him and

then killing people in the real world.

There's also a lot of bits and
pieces that don't make any sense.

Like Emily was referencing they have
a pair of parakeets in the house

that at one point go insane and start
attacking them and then explode.

Like literally explode.

Ben: Not gonna lie.

That part's pretty great.

Jeremy: There's a recurring issue
of where the house gets really hot,

which I assume is I assume the house
getting really hot to supposed to

have something to do with the fact
that Freddy is somehow linked to the

boiler in this house and they, he keeps
seeing him down there at the furnace.

Ben: Yeah.

I think other than just being
hints that, Freddy is there.

Yeah.

That goes nowhere.

Despite them bringing up the
temperature multiple times.

Emily: Yeah.

And I mean, yes, it isn't.

I assume it's in Southern
California cause there's like

deserts everywhere or whatever.

Jeremy: Could have been
the deserts of Ohio.

Elana: No that the truck
hits some Joshua trees.

So no matter where it is, they're
like literally destroying some

of my favorite wildlife, which
is definitely only in California.

Emily: Well, I mean, shit's melting.

So it was like, it's
either there, Arizona.

And then the bus ends up in like
Bryce Canyon and that's Utah.

Ben: I don't know why, but I always
imagined just like in Indiana suburbs.

Emily: I mean.

Ben: Don't ask me why.

Emily: Cause it's eerie?

Jeremy: It's Ohio.

That's where the um, town supposedly
exists, but it is very much

built in Southern California.

Ben: Good to know.

So yeah, we start with
Jesse getting on a bus.

Elana: I feel like in the scene,
when you see him getting on

the bus, he looks really pained
and awkward in the beginning.

And like, he has the sense that he's this
weirdo outsider, but that's his dream.

Once you actually see him in school, he's
not like this weird kid who everybody

hates, like this girl likes him.

You know, you know what I mean?

Like, when he's in his own head,
he has a lot less self-esteem for

who he is in relation to his peers.

And he like, actually, like, he
doesn't look as he know, like when

you first begin to think where
you're like, oh, look at that nerd.

And then when the movie begins in
her, she was like, oh, he's actually

not a nerd, he's like normal.

Ben: Yeah.

That was the biggest plot twist of the
movie was me realizing that, oh Grady

isn't the bully piece of shit character.

Emily: Yeah.

Like this movie, it's trying to be
so many different things like Grady,

I guess it's supposed to be the
rude jock, but he's actually like

the best friend who asks fucking
Jesse out multiple times on screen.

Ben: That's such a great observation
though, that he envisions himself

as like this total outsider.

And this very isolated person, even
though, in real life, he moves into

this new town and instantly has
like people crushing on him and like

he's befriending popular people.

Elana: I think it's such a specifically
like closeted gay person thing to be

like, they all think I'm a weirdo.

And it's like, no, I not, maybe they
don't actually, you know what I mean?

Like I felt like That was really telling.

Ben: It's the kind of thing
that's honestly so brilliant.

I wonder if they knew how smart it was.

Emily: I don't think this movie
knows anything about itself.

Elana: No.

Jeremy: I mean it's a very deliberate
decision because he is made up completely

differently in this opening scene.

is made up like a weird,
like a weird goth kid and uh-

Emily: Literally a New wave kid.

Jeremy: Yeah.

And then by the time we actually get
to like him during daylight hours in

the movie, he basically looks like,
you know, New Hope Age, Mark Hamill.

He's a teen heartthrob.

He's uh, you know, he looks like he
could be the could be in, what is it?

Yeah, one of the "girl"
magazines of the time.

Ben: Right?

Uh, 17.

Jeremy: There you go.

Emily: Yeah.

Ben: Yeah.

Emily: YM.

Young & Modern.

Is that in the eighties?

I don't know.

Ben: Playgirl?

Burt Reynolds?

Emily: Teen Vogue.

Playgirl is for, well, it could
be for some teens, but um, anyway.

Ben: Yeah.

The cool ones.

Emily: So we're in the
bus, it's a nightmare.

There, the bus drives into Joshua tree
and then to Bryce canyon and then to hell.

It's a dream.

Ben: Um, the world splitting open, I think
is one of the better effects of the movie.

It's something imaginative and
interesting and cool and unique.

And it happens in a fucking dream
where the horror of Nightmare on

Elm Street is supposed to happen.

And all you get in the real world is
like slashy glove ended the pool bubbles.

Emily: There is

Elana: The body horror happens
in real life, essentially.

Yeah.

Emily: The body horror real life.

Ben: I got no complaints
about the body horror.

Emily: The coach died as
I assume he wanted to.

Elana: Yes.

Oh, absolutely.

The coach had definitely
died as he wanted to do.

Emily: It was a drowned in
balls and then spank to death.

Ben: That was the best death in the movie.

Elana: That was the best death in any
movie, what are you talking about!

Jeremy: He was like, what
happened to this man?

I was like, he took a lot of balls
to the face and then got tied up in

the shower and beat with a, you know,
whipped with a, a towel until he died.

Ben: He died the way he lived.

Emily: For real.

So yeah.

So Jesse's, Jesse is dreaming that
he's in the bus in Hell and you know,

maybe it's just global, global warming.

I think it's just global warming.

And this is a comment global warming.

Jeremy: They do a thing I always like,
which is the bus driver is Robert Englund.

And then he becomes Freddy, which is like,
oh, you see Robert Englund, you're like,

this bus driver, it doesn't look right.

He looks creepy.

Ben: That's a great detail.

Speaking of the coach, before we fully
get to him and where we eventually see

him later in the movie, can we appreciate
that this Ohio suburb has a thriving,

gay nightclub or gay S and M club.

Emily: I dunno if that club is thriving.

Jeremy: Apparently it's filmed
at a place that's actually very

popular gay nightclub in LA, so.

Elana: Yeah.

That's a real, that was one of
the points of pointed out to

the people who were in denial.

You know, the director, who's like,
oh, I didn't intend any, but they're

like, dude, it's just literally
shot in a gay nightclub in LA.

It's like, oh, I didn't know.

Ben: I didn't, I'm so tired of
these homophobes homoerotic themes.

And I'm like, how much of this
movie is Jesse wearing nothing but

tightie whities drenched in sweat?

Elana: Yeah.

Like All of it.

And you know what that wasn't
because he told you to do it.

Like, Basically I basically, this was this
whole thing where this movie comes out.

There's a lot of people basically
arguing that, oh, this is really queer

and there are cute, but like in a, in
a negative like, oh, this is so gay!

And they're blaming it all
on the actor who basically

forcibly re closeted himself.

Like he was, you know, mostly
closeted, but kind of out

professionally a little bit.

And they completely get to
closet himself because of the

homophobic response from fans.

And the, the director and screenwriter
of the movie basically blamed it

on him saying, oh, it's gay because
Mark Patton was just so gay.

He couldn't help, but like
flouncing all over this movie when

like, actually the movie itself
is extremely subtextually gay.

Ben: The movie is about Freddy
Kruger, trying to get into the

body of a young, sweaty teen!

Elana: Of a handsome young man!

Emily: He says, I want to be inside you.

I'm your dad now?

Or I'm your daddy...

Jeremy: He also says, I've got the body or
you've got the body, I've got the brain.

Ben: There is literally a scene where
Jesse goes to a gay S and M club.

Elana: Yeah.

On a weeknight.

Ben: It was that the actors
idea, I don't fucking think so.

Elana: No!

And then it's so easy for them
to just sort of put it on him.

There basically, it's a movie
that has a lot of queer subtext

that was made by homophobes.

And it's sort of like, how does
something interesting and the heart of

it despite of itself is what I would say.

Ben: That is wild and-

Jeremy: Watching Scream, Queen
is super interesting because it

is, it follows Mark Patton and he
talks a lot about his own story.

And I think this is as good a place
as any to kind of talk about that

because part of his journey in this,
as he really wants to confront David

Chaskin, who's the writer of the movie
cause Jack Sholder who directed it,

his policy seems to be, to play dumb.

Oh, I didn't know there was subtexts.

Oh, I didn't know it was gay.

Oh, that was just the clubs
that they scouted for this.

I don't, you know.

Elana: And he's playing dumb with
a big fucking smile on his face.

Jeremy: And David Chaskin has had several
interviews about it where he has said

like, oh, basically it comes down to,
oh, it was supposed to be subtext.

But Mark is so gay that everything just
played as gay instead of subtextual.

Ben: Grady is introduced, pulling
down Jesse's pants and underwear.

So another character can then
stare at him and go nice ass.

Emily: Yeah.

I mean, that is the girl.

It is a girl that says he has a
nice ass, but he is like tackled

crotch first where like Grady
literally jumps into his crotch.

Like they're trying to do a fusion dance.

Ben: They didn't know there were subjects.

Do we need to describe
the coach's death again?

Emily: Yeah.

So this movie, like for this blaming
the gayness on the main actor who is

constantly sexualized by the camera.

Like he's not coming in going, oh my God.

You know, like he's he kisses a woman.

And uh, he's

Ben: It's not- it's not a great kiss.

It's not, it's a pretty awkward film kiss.

Emily: It is an awkward-

Jeremy: That's the most
uncomfortable thing in the movie.

Emily: Yes.

Ben: They do not look like
they know how to do this.

Emily: So, I mean, which I guess makes
sense because they're teens, I guess is

the only bone I can throw this movie.

Ben: I throw it in the queer subtext.

Emily: Sure.

Yeah.

Like

Ben: I'm looking at that being like, ah,
this is like when uh, she has sex with

the boyfriend and Jennifer's body, and
then she goes into with Jennifer and she

has a way better, like, sexyier time.

Emily: Yeah.

Yeah.

It's It's uh, one of those
identity crisis kind of-

Ben: That's how I interpreted it.

Emily: Yeah.

One of those moments,
which is very applicable-

Ben: The actors not
having great chemistry.

Emily: Yep.

Well, where I'm going here is this
movie sexualizes, the main character.

There's a lot of close-ups of the
characters butt like he has this

little dance that he's doing to his
new wave and like he's like jamming his

booty into the shelf and everything.

And then he does this dance where he like-

Elana: It's a cleaning your room
sequence and they were going to go,

they're trying to go for like a Tom
Cruise, Risky Business kind of thing.

Emily: Yeah.

Elana: But they didn't,
they didn't achieve that.

That's not on, that's
really not on the actor.

That's like the
choreographer and director.

Ben: It's so scummy of them
to put that on the actor.

That's like, if after Phantom Menace,
George Lucas had come out saying actually

the reason why you hated Jar-Jar is cause
Ahmed Best, like, did a terrible job.

Elana: Yeah, exactly.

Think about like in this dance sequence,
he like pops off like a firecracker

thing as the hot girl comes into the
bedroom, like in a different kind of

production or contracts that would
be like extremely heterosexual.

Right.

And yet I've heard people
refer to that particular moment

as being particularly gay.

And I'm like, well, I mean, I
guess it's particularly bisexual

potentially, but this is a person,
miming like with a visual metaphor of

ejaculation when the hot girl comes.

So.

Emily: Yeah.

Elana: The music selection
for it was pretty good though.

I would give them that also
probably be pretty gay.

Emily: Yes.

It's going to say this, you
know, the music selection.

Ain't no Risky Business here.

Jeremy: The coach is a particularly
problematic element in this movie.

Ben: Oh, it's so problematic.

Jeremy: Because there's this initial
fight between the two boys and he takes

them aside and decides to make them go.

I'm not sure if they're supposed
to be doing pushups in the field or

they're just supposed to be planking.

Elana: They're like planking!

Ben: Before,

Jeremy: they just have
to go sit out there.

They just have to go stand out there
in the field and do this for awhile.

And like, as they're doing this, he
is asking Grady about the coach and

the coach was like, oh, he hangs
out at the gay S and M joint uptown.

He loves pretty boys like you.

And then like, we didn't go to the
gay S and M joint later he's there.

And I guess it's supposed
to bust Mark or bust Jess?

Elana: Yeah.

For underage drinking.

Ben: This seems like it
should be a mutual busting.

Like this seems like its a mutually
assured destruction kind of thing.

Emily: Yeah.

Jeremy: Instead the coach makes him
go run laps and then uh, creeps,

creeps on him a bit in the shower
before it gets to the full Freddy...

Ben: Yeah.

The implication I got was that he
was absolutely going to rape Jesse.

Like I thought when he started to
pull it out, like the jump rope and

stuff like that, like I'm like, oh,
this is like, I thought like, oh,

that's how far this is going to go.

Or how far he's intends to take it.

Emily: Yeah, there was definitely a menace
about the coach, especially since he

was just shitty to them the whole time.

But, you know, I was not expecting
the movie to go so far as to make

the coach literally like a patron
of the S and M club and then

fucking break all the SNM rules.

Ben: In terms of depicting gay people as
violent sadomasochistic, like monsters.

This portrayal is right in
line with Zed in Pulp Fiction.

That's the level of just that's the level
of gay men do, like just being D he's.

So dehumanized and just this is
some of the, just the worst of

society's hatred towards queer people.

Emily: Yeah.

Not only is the coach depicted
as you know, kind of a weirdo

and all this kind of stuff, but
he's also depicted as a predator.

Yeah.

Ben: Hey, what do you do with a
movie where the only queer content

of that era is wildly homophobic?

Elana: Yeah.

Ben: Yeah.

The Nightmare on Elm Street.

Two-story yeah.

Elana: I mean like basically like you
have this, you know, there's a movie

which is full of queer subtext and it's
all because the, screenplay is basically

writing the notion of wouldn't it be
scary if there was something inside

you that wanted to make you be gay.

And within the context, especially of
this coming out in the mid eighties,

where like, HIV was extremely rampant.

Everybody.

If if you came out to your parents,
they would probably be like, oh,

you're going to get AIDS and die.

That would be like their number one
fucking thing they would verbalize to you.

Yeah.

And so being queer is seen as this, like
a moral, not just a moral panic, but a

panic to your direct physical health.

And so you have these like straight
people who are like, wouldn't it be

scary if there was something inside
you that was forcing you to be gay?

Wouldn't that be horrific?

And then of course the reality
is for actual queer people, it's

like, no, we actually are gay.

And the only horror story is
you guys doing that to us.

And so it's this really weird, in this
really weird space where like, you

know, you can like look at this as being
a piece of film that is really sort

of campy and queer in a lot of ways,
but it's all because it's being set

up in this like homophobic framework.

And the thing is that the screenwriter
and the director, they both refused to

engage seriously with the implications
of the story they're telling.

So they like want to be able to be like,
Ooh, look how risque and edgy we are.

And like, they basically
say this in the documentary.

They're like, oh, it's so risque
and edgy that we're talking

about these things, but then they
don't want to acknowledge it all.

Like how that intersects in the lives
of actual real people who are queer.

And so, that's the difference between
something like this and something

like, you know, Rocky Horror, which
is like actually made by queer people

or Hellraiser, you know what I mean?

It's just, I mean, it's a
completely different thing.

Jeremy: I think it's still
bizarre too, in that.

So often the text of the script and of
what's happening are so at odds with the

visuals, because like this coach death
scene, like when he, he busts him at

the club and then makes them run around
and tells him to go take a shower.

And there's every implication that the
coach is about to do something horrible.

You know, Jesse is sitting there showering
by himself and the coach gets sort of tied

up by these jump ropes and dragged across
the floor and tied up in the shower and.

They really sexualized his death
in a way that is usually reserved

for teenage women in horror.

Ben: At any school age listeners we
might have, I don't care what in crimes,

you're a teacher busts you like for
doing, they cannot force you to just

take a shower by yourself at night.

Like.

Elana: Or run laps or
any of that after school.

Emily: The, the amount of power
that this teacher exercises

over the students is unusual.

Even for the eighties.

You know, when people were taking
communal showers and, or, you know,

kids were possibly still taking
communal showers in high school.

Ben: Uh, if you're like drinking wine
and a teacher catches you with wine

and they're like, oh, I'm going to
tell the principal about the wine.

Unless you go take your shower right now.

You'd be like, fuck, no, you
creep tell about the wine.

I'm going to tell him you tried
to make a teenager shower.

You goddamn fucking weirdo.

Now you've won.

Emily: People were carding
people for drinks in 1985, right?

Ben: Alicia, I will absolutely
understand if you just cut all of this.

Elana: I mean, the drinking
age was 18 in most places.

Okay.

And 21 in some places, 18 in other places.

So, I mean, almost no matter what,
like yeah, this kid should be carded.

Yeah.

Not 18.

He's like second, 6, 16, 17.

Emily: Yeah.

And he shows up in the club and they
give him alcohol without carding him.

And that's when the teacher busts him.

Ben: Okay.

This is the wildest moment.

And arguably, maybe the evilest character
in the movie is this bartender that

pours beer in an old fashioned glass.

Emily: Just to fuck with the kid.

Or maybe this is just the movie,
not understanding how things work

.
Ben: And said if only just the sheer
balls of like you charged full price and

then only poured him half of the beer.

Emily: Uh, He was trying
to pace him, you know.

Elana: That's what I'm thinking.

You just trying to pace him.

Yeah.

Emily: So instead of carding him.

Ben: Like that blew my mind, the
beer in the old fashioned glass.

Emily: You need a little bit
of, you know, the frothy cap.

But seriously though.

Okay.

Actually, this is all serious.

Jesse.

Is living in this house where Nancy lived
from nightmare one and Glen is nowhere to

be found because he's dead or whatever.

I think he turned into jelly.

And the last one, which is sad, I got
mulched in his bed, even though it's

the same writer as 21 jump street.

But I guess, you know, J D couldn't
do multiple things at once.

But anyway.

Ben: Hashtag make it stop.

Emily: Oh my God.

Jeremy: Um, So we, we get a discovery of
Nancy's diary by Lisa and Jesse at one

point uh, you know, and, and it's read
in sort of a neurotic way by Jesse to

start with of like this man she's being
followed by and you know, was after her.

Elana: The jumping around between her
talking about her boyfriend across

the street and how hot he is, and then
talking about Freddy in her dreams,

because they don't really like it.

She's clearly talking about two different
people, but they don't realize it.

And so that you have this real
transition between her then sort of like

reading her erotic description of her
boyfriend and then talking about Freddy.

Emily: And this is after the dream
sequence where Jesse sees Freddy and

Freddy is like, I want you to body.

Ben: Yeah.

the queer south Tex was an accident.

Jeremy: Surely we'll find the actual,
We'll find the glove in the furnace.

Uh, You know, and keep just wondering
around with that, despite the fact

that he doesn't want to be, because
that's my Freddy, this is also where

we get the exploding parakeets.

They

Ben: Free knife glove.

There's a free knife glove.

Sure.

Yeah.

And you can cut vegetables.

Just imagine like swish,
swish, vegetables ready.

Emily: I want to talk about
these exploding birds because the

birds aren't really in the movie
much, but they make a point to be

like, shh, tiny bird is sleeping.

And then Freddy's power
of melting shit shows up.

And one of the birds is already dead.

And the other one like gets out and is
flying around the room and this family

has a fucking conniption fit and tries
to fucking kill their bird with a broom,

Ben: zero hesitation.

They're like, this bird
is out of its cage.

It less die.

Emily: Yeah.

And it scratches the Dad on the
cheek, and then it's coming at

people and like knocking shit down,
like it's some sort of menace.

But this is a, I think it's
technically a love bird.

It might as well be a budgie.

Elana: Yeah.

Not scary.

Ben: Just knockin' over lamps.

Elana: Yeah, I've seen the
birds and this is not the birds.

Emily: Yeah.

This is not the birds.

This is half a bird.

Ben: Which is the worst thing that happens
to the down the whole movie, which makes

me concerned that this movie wants us to
agree with the dad on one thing, which is.

Jeremy: So basically if Ward
Cleaver was a serial killer,

Ben: like, And the three with the dad
on, and this whole movie is that I'm with

him on Jesse needing to clean his room.

That's a shit load of boxes.

Come on, Jesse.

Emily: Yeah.

Like Jesse's like, I'm going to go out
and see a girl that got the, dad's like,

no, you have to dance in your room first.

I don't want my son to be get,
I mean, shit, you know, like it

almost is like, he's like, oh.

Ben: No partying with girls until
you've done your queer dances.

Emily: Yes.

Until you literally pop off
with their little fucking

popper, I just made a gesture.

That is basically what that was.

Ben: You know what gesture she made.

Emily: You know, wink!

So yeah.

Freddy wants Jesse to kill for him.

And I guess it means that he wants
to possess Jesse and that leads to.

Ben: All of these are red flags
in a relationship by the way.

Emily: Well, in and the, it really is
unfortunate and the way that it kind

of shows that Jesse is weak to Freddy's
power because gay question mark?

Jeremy: I do want to talk about
the tender moment that he has

with Freddy next to the stairwell.

Freddy is literally caressing him with
his knife glove down the side of his face.

And apparently according to everybody
involved in that, on one take had the

idea of having him put one of the knives
into Jesse's mouth in the section.

And luckily we were spared that bit.

Elana: Because the makeup the makeup
guy pulled mark pat in the side and was

like, do not let him do this to you.

This would be very bad.

And Mark was like, oh
yeah, no, you're right.

You know?

Thank God the makeup artists,
queers looking out for queers,

do not let them do that.

Emily: Animals don't explode
into flames for no reason.

Ben: I hated the dad.

Emily: Yeah.

He's just immediately trying
to kill that poor bird.

Ben: Well, also you just immediately
jumps straight to like Jesse, you must've

made our birds spontaneously combust.

Emily: Yeah.

That's fucking rude.

Ben: Jesse, why did your
gayness make the bird explode?

Emily: Cause he was so he was flaming,

Jeremy: You know, birds
are allergic to gayness.

Little known fact.

Emily: Is this why Freddy has heat
powers is cause he's also flaming?

Elana: Oh, I love it.

I love it.

Jeremy: I think Freddy is actually
possessing the house in this movie.

Emily: Yeah.

Well he seems to have like
an area of effect, right?

With the melting and then party.

Like when-

Elana: He does have an area of effect.

Yeah.

Jeremy: In the first one it's
like genealogical right?

Like it's the kids of the people who
burned him, literally burned him.

And this one is like, oh, well
I guess you live here now.

Ben: I thought it worked kind of
similar to candy man or like the

belief of Freddy propagates, Freddy.

Emily: I think the belief of Freddy helps,
but don't you hate it when lightning

hits your dishes through the window?

Jeremy: It makes me go to an S and M club.

Every time it happens.

Emily: Yeah.

I remember in the eighties when like,
God was like, Hey, wait, you need

to respond to your gay instinct.

Jeremy: Fuck this plate in particular.

Ben: Before we can go to the club though
we have to have him wake up super sweaty

and tighty whities again and again.

Where was his agent being there being
like, put him in boxers, like let's

kill, let's kill the sweat by half.

Emily: For all of this
shit given to the actor.

Every other dude in this movie
is wearing tiny short shorts.

Elana: Yes, but it's
appropriate to the time period.

Emily: Yeah, it is.

But.

Ben: That's true.

Maybe no one was wearing
boxers in the eighties.

I don't know.

I wasn't there.

Emily: Uh, Fucking Grady
was wearing boxing.

Wasn't he wearing boxers in his room?

Ben: Grady's fucking awesome.

Elana: I don't think he was, although,
Tom Cruise was wearing, it was wearing

briefs in the Risky Business, like.

Ben: Yeah but the briefs
works with the button down.

Elana: Okay.

But like that, it's not unusual
that they were all wearing briefs.

That is what I'm saying.

Emily: No, yeah.

That's, That's valid because yes it is.

Um,

Ben: I have been flagged
for my anti tighty whities

bias and I will accept that.

Jeremy: Oh, I'm also anti tighty
whities and I grew up on them.

So, you know.

Elana: But no, like it's the eighties.

That's not unusual.

I mean, it's just really the
way the camera tends to focus

on his body and sometimes we'll
do very strange angles too.

Like.

Ben: If you were trying to this movie not
be explicitly queer you would make none

of the decisions that the filmmakers make.

Emily: Yeah.

Yeah.

Yeah.

I mean like his tits are always
out, even when he's fucked up even

the lighting balance makes his
tits look incredibly voluptuous.

Yeah.

I mean, like, I don't know.

There was something about how it was
lit, how it was shot, how, like there

was particular shadowing on his package.

Like you could not avoid that.

And.

Ben: There's no way, Joel Schumacher
wasn't influenced by this movie at least.

Right?

Emily: What if this, but on purpose
except the characters in the Joel

Schumacher movie, aren't like as tits out.

Jeremy: Hey, hold on to it.

We'll be talking about Joe
Schumacher in one week.

Emily: Okay.

Sounds good.

I'm excited for you.

I'm me too.

Ben: Get ready for a lot of 24 jokes.

Cause that's my main experience
of Kiefer Sutherland.

Elana: Oh, Oh boy.

No.

Before he was that he was the
other, it was better before.

Ben: Well the best Sutherland movie will
also be the YouTube video where he gets

drunk and tackles the Christmas tree.

Elana: I don't know about
that, but that sounds amazing.

Emily: It is amazing.

I've seen it in his great,
but also we can't forget about

Flatliners or the three musketeer.

He was in that, right?

Jeremy: Everybody was in that.

Elana: Oh yeah, he was, yeah.

Ben: Okay.

Emily: Sorry.

Okay.

So, yeah, lightning hits a window.

You go to a, you go to S and M club.

For some reason, your teacher's there.

He takes you to your back to school.

We talk about this part,
drowns balls, whatever.

Ben: I think we all been
there like Banksy canceling.

You go to the local S and M club.

Your teachers there.

Emily: I remember in the eighties, when
your teacher would bust you for drinking

half a beer out of a Brandy glass or some
shit and then make you run laps around

the basketball court inside, and then
the teacher would get attacked by balls.

So

Ben: Something the setup and
writing of the sequence is

about the level of a porno plot.

Emily: Yeah.

Well, calling it a plot is kind
of a lot, but it's a porno setup.

Um.

Jeremy: He's tied up
by the, the jump ropes.

He is, has his clothes forcibly
ripped off by an invisible hand.

And uh, Mark watches all of this
from the steam of the shower until

he uh, Walks out like mark is there
and also sort of Freddy as there.

And then there's the glove and
uh, you know, scratches down the

coaches back and the coaches dead.

It was a little unclear how some of this
happens and who is actually involved,

but mark uh, comes to and notices
that he is quite, the coach is quite

dead and uh, runs out into the night.

And it's picked up by some bullies.

Ben: I mean, I was baffled by
just us smash, cutting from

the bar to Jesse in the gym.

And just assume this is
too sudden a transition.

This must be a dream sequence.

Like how far away- you made him get a car?

How far did you drive?

You unlocked the keys to the gym.

You turned on all the lights.

Like this is such a complicated
time saving process for this weird

sadomasochism, like ritual he has.

Emily: Yeah.

So he like, that's the thing is I was
thinking about it like, okay, so we have

this crazy smash cut bar gym, right in
that time, dude had to have convinced uh,

Jesse to come with him, driven him to the
school, set up everything in the school,

turned everything on and then had Jesse.

And this, we come in
as Jesse is finishing.

His laps and going to take a shower
during this time, this entire

time, dude is still in his leather.

Get up like.

That's inappropriate school attire.

Yeah.

Dude gives no fucks, I guess.

Someone may have in the process of
creating and setting this whole scene up.

Been like, this is what he
gets for like being gay.

But now these days it's like, yeah, he got
what he wanted to life, which was to be

a sub to Freddy Kruger, like who doesn't.

Jeremy: Okay.

It cannot be overstated.

How much of a predator he
has played at as in this?

Ben: Yeah.

Oh my God.

Like he is, this coach is given
not a single shred of humanity.

He is a remorseless and monster whose
death we are supposed to rejoice in.

Elana: The whole relationship with this
movie with sports is sort of interesting.

I watched the movie with my husband
who observed that all of the balls were

thrown, were thrown by either stuntman
or other people were not thrown well.

And he's like, but if anybody
wants to make that about Mark,

Mark, didn't throw any of them.

So I'm like, I'm like,
this is a good insight.

I appreciate your feedback
on the baseball playing.

I, so that was about the most heterosexual
thing that was happened around that movie.

But um, but it made me think about this.

Cause there's a lot of like random, like
people having unpleasant experiences,

dealing with athletics happening in
this movie, but it's not even like,

like people get hit in the head.

It's like They're not having a good time.

No, one's having a good time.

Emily: Yeah.

It's not like, uh, Jesse is the one kid
that doesn't know how to catch a ball.

Like he, he doesn't catch the
ball properly, but that's just

something that he has in common
with a lot of people, I guess.

Elana: So.

Yes, exactly.

Many baseball mistakes were made.

Ben: And maybe there's just because, you
know, I was a product of the budget cuts

that already taking place by the nineties.

I was pretty dang shocked to
see archery at this gym class.

Elana: I am older than you,
but we had, we had archery.

We had archery.

Emily: Did you have archery on the
field, the same field that a bunch

of people were on playing baseball?

Elana: No.

It was facing a different direction.

Yeah.

Ben: What I was saying,

Jeremy: I was never saying that the
apparently boys are the only ones

that are allowed to play baseball,
but girls can have a bow and arrow.

I feel like that's a
weird distinction to make.

Ben: Well that's because archery
is a women's way to hunt.

Emily: There's no crying in baseball.

Yeah.

Ben: Everyone knows you're allowed
to just fucking sob in archery.

It doesn't matter.

Emily: Yeah.

Because you really, really
uh, it doesn't matter at all.

How well you can see when you're
firing a deadly weapon at a target.

Ben: Now there's a way, if this was
just a thing that was part of the

eighties or if they were setting up
an archery based death for later on.

But, okay, no, just eighties.

Emily: Yeah.

Remember in the eighties
when you could play archery.

Wow.

Remember the eighties, when you can
shoot arrows at people on the same

field that were playing baseball.

Ben: Uh, I mean, is that not the
plot of, we need to talk about Kevin.

Emily: That didn't even
take place in the eighties.

He didn't have a concealed carry
license for that fucking bow.

Let me tell you that.

Jeremy: The next major thing
that happens in this movie

though, is Lisa's eternal party.

Lisa's party is basically
half of this movie.

Okay.

Ben: Lisa's party, which
is parents sanctioned?

Emily: Okay.

Elana: Yeah now.

I'm- I'm sorry.

I've had that party like,
so this is a thing like.

We'll have fun.

Oh, you want to make hotdogs?

That's fine.

Okay.

We're going to go to bed.

Just don't do anything too bad.

And like you're all walking.

None of you are driving.

Okay, bye.

Like I've, we've hosted that.

Emily: And this party is telegraphed at
like, I don't know, scene two, scene three

in the film that isn't a dream sequence.

I do have to mention that when the
police drop Jesse off from whatever

encounter he had in the, at the gym,
they say, does this belong to you?

Elana: Yeah.

Yeah.

Jeremy: And dad immediately
assumes that he is on the drugs.

Ben: I want to defend my ignorance
without the party situation with the

defense that I was not invited to any high
school parties, parent sanctioned or not.

Emily: I don't know.

Yeah.

I'm sorry, Ben.

Ben: I was not cool.

Emily: Parties do hurt though.

Like they say in Invader Zim.

Ben: Oh, I got to college in
Philly and caught up on lost time.

Emily: Sure.

But when you drive, if you go to a
party before college, it's very painful.

They also establish that Nancy's
mom killed herself in a living room.

She wasn't killed by Freddy
coming out of the door.

She wasn't sucked in by the bed.

Jeremy: She gets pulled through the door
by Freddy is the end of the last movie.

So presumably she is found dead in the
living room and they do not go well she

must've died from being sucked in the
very small window in the front door.

Ben: Wasn't that possibly
a dream sequence?

Like, did she also like get set on fire?

Emily: I don't remember.

Jeremy: Everything's a dream
sequence in that movie.

Emily: Yeah.

Like she was sucked in bed.

Ben: Yeah.

I don't think it matters so
long as the deaths are creative

and fun and surprising, which
none of these are really are?

Jeremy: The only thing that will really
matter of the description of what happens

to Nancy is that Nancy is not dead.

She is away in a mental institution,
which will come up in the next movie.

Ben: All we need to know is,
she was the protagonist of the

franchise's first and movie.

And hasn't been seen, I'm like, cool.

She's in a mental instill institution.

That's what happens to every surviving
last girl from a horror movie when

she shows back up in the sequel.

Elana: This one got a doctorate.

She's the best.

Emily: Yeah.

Bold of them to assume that
mental institutions were actually

functional in the eighties.

Elana: Mm-hmm.

That's because they were written
by people who expected them to

exist growing up in the seventies.

Ben: A topic richly
explored by uh, The Joker.

Emily: Yes.

Well, so the other thing is that.

Ben: Uh, I wish you could see the
look, Jeremy is giving me that,

just the mention of The Joker Movie.

It's deserved.

I deserve it.

Let's be clear about that.

Let's be clear.

Emily: Jeremy looks very disappointed.

So such disappoint.

Okay.

So there's all this shit going on.

And Jesse is obviously shaken by this.

And so his love interest that is a girl?

Lisa is trying to figure out
what's going on with him.

And she's like, oh, you're psychic.

This is the only explanation.

That you're psychic.

And that you're like, you can sense shit.

So we're going to go to the power
plant where Fred Krueger killed

those 20 kids in there or something.

And then the boiler and
blah, blah, blah, blah, blah.

And then they find a rat in a locker.

And and then the demon from
Evil Dead shows up in uh, the

basement of Jesse's house.

Ben: I mean, in defense to the dad and the
mom and the love interest, who is a woman?

The question mark.

I do feel like all of their theories,
whether that'd be drugs or mental

illness or being psychic do, on the
face of it, all sound more plausible

than no a demon is just trying to
homoerotically take over my body.

Elana: Well, I like her idea that
he's probably just psychic, cause that

fits a narrative in which he's like
a cool guy who has special abilities.

Do you know what I mean?

It's like a hopeful, like great
deal of what it probably is.

It's like the hopeful
supernational interpretation of it.

Do you know?

Ben: And have you thought
about using it for good?

Maybe it could be a Jason Blood
and Etrigan type situation.

Elana: So she's kind of saying
to him, she's like, Ooh, let's

use your power to solve crimes!

And then it's like, no, actually
the problem was within like.

Ben: Honestly that might I can
see if this movie was made today.

I could see that honestly being
the direction they go, a la

Malignant or 2021 Candy Man.

Just following this trend, we've
been seeing of horror villains given

almost like superhero origin stories.

Emily: Yeah.

Jeremy: I think like he, he has an
anti chip and a lot of ways that

she's like, what's wrong with you?

Let's investigate, let's work this out.

Let's figure it out.

And he was like, no, I don't want to know!

Emily: Yeah.

And he's like, no, this isn't cool though.

This isn't like a fun thing.

This is the shitty thing.

Jeremy: I run from my gay thoughts.

What if you embraced them?

Ben: Yeah.

It's like, maybe I want to think that deep
down, Lisa knows she's not the girlfriend.

She's like the best friend.

Emily: Yeah.

Well, she kisses her best friend
at some point later in the movie.

I know it's on the cheek, but it's, I
mean, so you also homoerotic undertones.

Ben: They started making out and
then after just a few seconds,

Jesse just goes dead pan.

I'm going to leave.

I'm not into this.

Emily: Well, his tongue sticks out.

Jeremy: This is after he
gets a monster tongue.

Elana: No, it's horrific.

Like it re-e yeah.

Emily: Yeah.

And he's like, I just, I'm
not ready to eat out yet.

Ben: That's true.

I forgot about the monster tongue.

Emily: Well.

And so, after go to the- he
gets the monster tongue and

Jeremy: Feels like he has to leave.

And my thought was, I mean, and I might
not be a bad thing in this case, but

instead he decides that he has not
managed to shake Fred Krueger, but he

in fact needs to go deal with this and
he can't, he doesn't want to kill Lisa.

So he goes to the house of somebody
he's more comfortable with killing.

Grady.

uh, Wakes the up in the
middle of the night.

And is like, Hey, Grady.

Guy who I've been in a fight
with twice in this movie who I

guess is also my best friend.

Could you watch me sleep and make
sure that I don't kill anybody?

Ben: Did we get the fine where Grady
says he's grounded because he pushed

his grandma down a flight of stairs.

Emily: Yeah.

That was the scene where Grady
said he couldn't go to the

party because he's grounded.

Cause he pushes grandma down a flight
of stairs, but he still asks Jesse,

if they want to go out, have a pizza.

And he's Hey man, do
you want to have pizza?

Do you want to, you know, and then Jesse
gets mad and then Brady has a little fit.

And he was like, fine.

I don't like you.

Anyway.

And then later on at the party,
when Jesse shows up at Grady's room.

Ben: This could have been
Heart Stopper 25 years earlier.

Jeremy: Yeah.

I mean he does.

So Jesse does leave the party where his
girlfriend is actively trying to have sex

with him to go hang out in Grady's room.

Grady, by the way, very straight room.

So cars, very boys it's straight cat

Elana: love his poster.

She's got great social decisions.

Is bedding is like fake leather.

And also he's got like that new Memphis.

Do you, are any of you old enough
to remember when like they had that

Memphis red print with the dots and
the lines of the skills that bedding?

I like, I wanted that bedding.

He had that bedding.

Emily: I had that bedding.

Elana: You had that bedding.

Emily: I had that bedding.

Yeah.

That's the one with the
triangle and the squiggle.

Ben: I had bed sheets that had
the logos of all the NBA teams.

Emily: Nice.

Come on and slam it's gone.

Also, it could be Lisa
Frank, I don't know.

Which is rainbow.

Elana: Right.

And purple and gridlines.

Has some visual interest
in a Memphis design style.

Like Grady's bedding.

Emily: Yeah.

Ben: Well, I was trying to imagine
Freddy in a like, a Lisa Frank setting.

Then I realized, oh wait,
that would actually work.

Cause then that's the setting of a
dream and you have horror, Freddy

doing horrible Freddy slasher
things to a Lisa Frank world.

I'm like, damn, that's the level of
imaginative and dreamy dream logic

stuff that I really wish this movie did.

Any of.

Elana: What I love is that like Grady
literally says to him, like you could be

making out with your girlfriend right now.

And it said you're with me in my
room asking me to watch you sleep.

Emily: Well he says - he says
specifically, she wants to make

out with you, but you'd rather
sleep with me is his actual line.

Go ahead, Ben.

Ben: Oh, I'm sorry for interrupting there.

No like the way someone recut
The Shining to make it look like

a family friendly, like movie.

I need someone to re cut this
movie to make a trailer where it

just looks like a prestige period
piece coming of age gay movie.

Emily: I mean, he does
come out at the end.

Ben: Yeah.

Well, well this is the scene.

Yeah.

Where Freddy literally comes out.

Jeremy: That was the best and the worst
scene, because like Freddy literally

burst out from inside of his skin in this
one, and then proceeds to kill Grady.

And then I guess we're just supposed to
go back to the party like there's cops

and adults and everything like trying
to bust into the one room he's in.

And apparently he can just open the
small window there and climb out.

And nobody notices.

Emily: Freddy's really good at going
through small spaces as, and also like

pulling people through small spaces.

It's like a rat that way,
which is why they show the rat.

I don't think that's
why they show the rat.

I'm just, I'm theorizing here.

But there's also this weird
phenomenon here that happens that

whenever Jesse is trying to combat
Freddy, there are whale noises.

And my theory about this is that the whale
noises are the like holy gayness of Jesse

trying to overcome the evil of Freddy.

And the reason that this whale
noises is either because of legend,

has it unicorns make whale noises.

And that's not according to legend,
but according to Legend the film

where the unicorns make whale noises.

Ben: Okay.

Emily: That makes more sense.

Right.

Ben: So it feels like people just saw
narwhals and things just got really

confused through a game of telephone.

Emily: But you can now say
legend has it and just say

whatever happens to that movie.

And then you'd be like, well,
according to legend, you know.

Ben: Legend has it Tom Cruise just
frolics around a meadow without pants on.

Emily: Yeah.

Jeremy: But it has the
devil's fucking ripped.

Emily: Yeah.

Ben: Well, that's true.

Emily: Yeah.

Well there you go.

Ben: Abs for days.

We all seen that sexy, angry,
crying, Lucifer painting.

Emily: Oh yeah.

And the sculpture?

There's a lot of them.

Everybody wants to bang the
devil and they're right.

Ben: Let he who would not bang
Lucifer cast the first stone.

Emily: For real?

Oh, speaking of casting stones and
banging, there's a bit in the scene where

the coach is dying when the coach like,
as he dies, all of the showers go off.

It's a metaphor for ejaculation anyway.

Um, Back to-

Ben: It's not subtle.

Emily: It's whale sounds.

That's where I was going.

Whale sounds.

Did you all follow the thing about
the whale songs that I was saying?

Elana: No, please help me out.

Emily: Oh, the whale sounds
are the holy gayness.

Uh, They're the, the
moral, the moral right.

Of Jesse being true to himself.

Being able to-

Jeremy: That is your theory.

Emily: That is my theory.

Elana: Because basically she saves,
the whole story is making, it seems

like, oh, his girlfriend saves him
like, or like Mark Patton's characters,

redeemed by the love of his girlfriend.

She was like, I'm not afraid of
you, but really I think what he's

actually saved by his love of himself.

So rather than it being like, this is
like the final girl who's saving you.

And like somehow making you magically
heterosexual, it's like, no, he's

saved by the fact that he's realized.

I was like, no, I am in fact gay.

And my girlfriend is my friend and
she supports me and now I'm okay.

And that's how he's able to- right?

Ben: Yeah.

I don't know how the movie
intended it for it to be.

They probably intended for it to be, look,
you saved by the power of heterosexuality,

but I like your interpretation.

Elana: Thank you.

Jeremy: That is definitely something
that uh, Mark Patton cites the

writer of this movie as having said
in interviews in the documentary

is that he, he wrote the movie, not
as homoerotic, but as homophobic.

And in the story, it proves that any
gay man can be brought back from the

edge by the love of a good woman.

This is apparently something he said in
an interview sometime ago, which he does

not seem to believe currently, but he
definitely is on record as having said.

So

Emily: Jesus Christ.

Ben: Who watches the Seinfeld episode,
where Elaine tries to make her co-worker

straight, and roots for Elaine?

Emily: I don't remember that.

Ben: Yeah.

I don't know why the Seinfeld
there's always my go to reference.

Emily: I mean, it's
Seinfeld scarred us all.

Ben: That's a very, it's
a very obscure episode.

I don't know why I
referenced it so freely.

It's not a good reference point.

Jeremy: So Freddy comes
and attacks the pool.

Uh, kills a whole bunch of people.

We get most of our body count here.

After having penetrated his
best friend, he comes to the

pool to penetrate some more.

Elana: There's that one guy, the one
bystander who tries to talk Freddy

down and he is braver than anyone.

And then.

Emily: Yeah.

Elana: Yeah.

Emily: He's like, everything's okay.

Like he's like trying to talk down
like a, an angry dog, you know?

It's okay, buddy.

No, one's going to hurt you, buddy.

I'm like, you see this as a, this is a
crazy stink man with like knife hands.

Ben: Like everything's on fire!

Emily: Turned water on fire?

Dude made water catch on fire.

Jeremy: He's approaching Freddyas if he
has seen Carrie the night before yeah.

He's Hey, somebody just
sent me to just talk to her.

It would all be okay.

You know?

Ben: That's like being like, Hey
Carrie, I just want you to know,

like I voted for you for prom queen.

Jeremy: One guy tries to talk him down.

The pool boils.

He's got flame shooting everywhere.

He walks through a garden wall
at one point we just leaving

a pillar of flame behind.

So teleporting is apparently
one of Freddy's things here.

Ben: So what you're saying,
not in the mood to talk.

Jeremy: No, he's uh, there to party.

Um, He's there to dance.

And so he murders a bunch of
people and then encounters his

girlfriend, and then Freddy runs away.

And she tracks him back to the furnace,
which we were at previously where uh,

Emily wanted to talk about the uh, animals
with human faces, which only appear here.

And they're never explained-

Ben: Right?!

Emily: Yeah!

Jeremy: Outside this place.

Ben: What the fuck are those?!

Emily: So I had seen this movie before,
but maybe I didn't see all of it because

I do not remember the dogs with human
faces that don't really do anything.

They just growl at uh, Lisa.

And she's just like, okay.

And then she walks by, and then, so
she's, she's going through the boiler

room type area, w whatever, this is
a power plant, what is it powered by?

I know what I mean.

It makes power.

But, there's a bunch of different,
like hallucinations that Lisa has,

and she's trying to fight Freddy
by, I don't know, not believing

that he's scary or something?

Elana: That was really
what her approach was.

Ben: Yeah.

Emily: Yeah.

Ben: I don't believe in
you than you can't hurt me.

Emily: Yeah.

She's basically downvoting
Freddy at this point.

But even though Freddy is being as
entertaining as um, showing her all

of his demon animal menagerie that
he obviously cares about because

he doesn't just explode them.

There's a rat, the rat becomes a demon.

Then the rat is attacked by a
cat, which also becomes a demon.

And then nothing happens with that.

You know, th the cat is not eaten
by a dog, eaten by a horse and

lived in the house that Jack built.

There's, you know, which would
have been interesting if it did

something like that, but it just
ends up being her versus Freddy.

Jeremy: She just attacks and
literally melts Freddy off of Jesse

with the power of heterosexual love.

Emily: She just makes
out with them to death.

So I guess that means that
Freddy is absolutely a gay icon.

Like the Babadook.

Ben: Are we sure he's like a
gay icon, like the Babadook?

Or is he more like, I don't know,
like Bryan Singer-y, because he's

just wants to take over young boys.

Emily: Mmm...

yeah.

I don't like that.

Yeah.

Jeremy: I was telling Alicia about
this movie and I was like, yeah, people

got really mad that like, they put
so much homoeroticism into Freddy.

And her point was, God forbid, this
child murderer and molester also be gay.

Wouldn't that be terrible?

Ben: Right?

Emily: God.

Jeremy: Because that is, let's not forget.

The origin of Freddy is he was
kidnapping and murdering children.

So all of the people on the block
got together and burned him alive.

So both probably not the best gay icon
and also is him having gay subtexts

really the worst thing that could
have happened to this franchise?

Elana: No, it's really mostly
like I'm interested in this as

a historical, like case in terms
of what happened to Mark Patton.

And I really recommend the documentary
because I think for folks who might

be younger or who are less like aware
of queer history or in queer things

in the period, like I think it's a
really good viewer friendly, not like

overly, this is not like some fucking
CNN political documentary- through a

cultural history documentary, looking at
what, you know, his particular experience

of being a gay man in the eighties uh,
working in the entertainment and the

entertainment industry was like, and his
own life story is really interesting.

Ben: Yeah, like, it's that story
that makes this movie, I guess I I'll

recommend cause like I'm not sure how
this movie really stands on its own,

except for it's just like legacy as part
of queer cinema, but then definitely

as part of Mark Patton's story is that
it's definitely worth recommended.

Jeremy: God, yeah.

I think Scream, Queen is really
worth looking at because for those

who don't know, it is covered in
the documentary Scream, Queen.

What happened to Mark Patton spinning
out of this is that he wasn't out.

Nobody was really out at that point
in Hollywood and this movie sort of

outed him and his, you know, agents
who knew this about him said, well,

you know, you don't really have
a future as a leading man at this

point, you could be a character actor.

Because obviously, you're
going to be cast as gay.

You can't really play straight.

At which point is his boyfriend at the
time who was on Dynasty playing, you

know, a leading man role was, getting
photographed for these girls magazines

and stuff like that and was sort of hiding
him, at which point they sort of broke

up because He couldn't be outed as gay.

Mark then proceeded to kind of leave
acting and, and leave his boyfriend.

And then find out later that
he was HIV positive and his

boyfriend shortly thereafter died.

Mark had was not only HIV positive,
but had AIDS as a result of this.

Got uh, cancer and tuberculosis
among other things.

And somehow managed to survive all of
that being, you know, mostly alone and

having, you know, later moved to Mexico
and was basically just out of Hollywood,

was out of acting altogether for years,
for decades until, the documentary about

the Nightmare on Elm Street series Never
Sleep Again, sort of tracked him down.

And he found out about both this sort
of cult status of the movie and the

sort of anti-gay blow back on the
internet and, in the rest of the world.

But has since then started,
doing conventions and is really

like, known as an activist is
you see a lot in this movie.

Telling his story and using it to
influence queer people who are a fan

of horror and cinema and be able to,
to share all of this stuff about his

life in the context of, this fairly
goofy sequel to a horror movie.

Emily: Mark is the true gay icon though.

Yeah.

Yes.

Elana: Absolutely.

Mark is the gay icon.

Fucked Freddy.

Mark is the real icon.

I have so much respect for him and
I'm so glad he got to tell his story.

Ben: I know this is a very glib
observation after that heavy stuff, but

I do find it a little ironic that in the
queerest Nightmare on Elm Street movie

is probably Freddy at his least campy.

He gets way campier after this.

Emily: Yeah, that's right.

Well, I was thinking about Dream Warriors
and, but he's he's not terribly, but Dream

Warriors is the first time he says bitch.

Elana: Yeah.

So he was inspired.

He was like, I want to be as camp as
like the media is acting like I must be.

Like, perhaps the response
inspired him to become more camp.

Jeremy: Yeah.

The, one of the thing I wanted to
say about the documentary about

Scream, Queen is that it is also
narrated by Cecil Baldwin, who,

you know, anybody who's gotten into
Welcome to Nightvale and Cecil.

However you feel about Welcome to
Nightvale, cause it's the thing

that's been around for a long time.

But Cecil is great.

Emily: Fantastic.

Okay.

Because I think I'm the only one
on here on, on the show right now

that has not seen Scream, Queen.

Is that true?

Ben: I also haven't seen.

I've seen like parts of it, but I
haven't seen the full thing yet.

Emily: Okay.

Jeremy: And it's on
Shudder, so everybody knows.

Go check it out.

Emily: I have-

Elana: And you can rent it.

We paid we, but we rented it off
like YouTube or apple or whatever.

So even if you don't want to
Shudder, you can watch it.

Yeah.

Jeremy: Yeah.

I guess the question now I
think would be a, Is this a, is

this movie feminist in any way?

Ben: No.

Emily: No.

Elana: No.

Ben and Emily: I mean, Lisa's

Ben: there, but this movie feels
pretty wholly uninterested in

exploring its women characters.

Emily: Does not pass the Bechdel Test.

Ben: No.

Emily: Yeah, absolutely not.

Ben: It just feels like an easy, just, no,

Jeremy: I feel like Lisa is this
close to being like a great, like

to being the hero of this movie.

But they go with direction with
it that I'm less comfortable with.

It's less her fighting Freddy and more
her saving Jesse through the power of

heterosexual love, which considering the
amount of gay subtext that has been in

the movie up to that point is troubling.

Emily: Yeah, I would agree.

Jeremy: Yeah.

I think we've talked pretty extensively
about how it deals with LGBTQ themes.

Is there anything else
anybody wanted to add to that?

As far as this movie goes,

Emily: I thought it was ironic that the
imagery of this character supposedly

being saved by head heterosexuality
was coming out of another thing.

So there's that.

Elana: You mean coming out of the body?

Emily: While he's coming out of Freddy.

Ben: I guess he's supposed to be
coming out of his terrible gay

cocoon as a big straight butterfly.

Emily: Yeah.

And that's another metaphor.

I um, there's no such thing
as a straight butterfly.

Jeremy: I don't think this
movie has anything to say about

racial and social justice.

The Fu Man Chews is the closest it gets
to actually addressing racism at all.

And it's just bad.

Ben: I mean, does being racist
count as addressing racism.

Emily: I mean, we can't say like,
cause there's movies that are not

racist that are, and there are movies
that are anti-racist and then there

are movies that are just racist and
this is a just racist situation.

Jeremy: It addressed racism by
saying hello and shaking its hand.

And then proceeding on.

Emily: Yeah.

Did you meet my friend racism?

He's also here.

We didn't have to point him out.

Ben: So far out of my way to be racist
- He had a cameo - for a background gag.

Jeremy: It's literally like
racism has a cameo in this movie.

Emily: And it's literally, it's
just as out of left field as

cheddar goblin, but cheddar goblin
is not racist as far as I know.

Ben: Give me a few months.

I'll figure something out.

Emily: Okay.

Sounds good.

Ben: I'll get it.

I'll get it spread to
they'll get spread around.

Jeremy: We feel like we have
anything interesting to say

about class in this regard?

Everyone is kind of the
same class in this movie.

Yeah.

They do make a point of him having
a real, a real hoopty of a car.

Elana: The, they refer to is referred
as being the hot rich girl, but there

isn't really anything beyond that.

Interests them explaining
why she has a pool.

Ben: Yeah.

Also the way they honestly depicted that
family, I feel like him having a shitty

car was probably less about money and more
just like the dad actively hating Jesse.

Elana: Yeah.

Emily: Yeah.

Well, and the car isn't that bad though.

Like the girl likes the car.

She's literally like, well, cool car.

And he's like, whoa, deadly dinosaur.

And you know, yeah.

It's not smogs, but it's a
fucking Cadillac like convertible.

Jeremy: And does not need
a key to start, which is-

Ben: Again to quote our uh, Joel
Schumacher's best Batman work.

It's the car chicks.

dig the car.

That's a real line.

Someone got paid to both
write and deliver that line.

Emily: Look, we could talk about
the yass-ification of Batman later.

Jeremy: Yeah.

Well, next week when we talk
about Lost Boys, we can talk

all about Joel Schumacher.

Ben: Can we have a specialty
with, we just rank all the various

Batman by how Yass they are?

Like just the various yass-ified
to non-yass-ified scale?

Emily: Adam West is the yassiest one.

Ben: Oh without a doubt!

Emily: Okay.

So we've done it.

There it is the end.

Jeremy: I mean, Christian
Bale at the bottom, right?

Well, Ben Affleck.

Emily: Yeah.

I forgot about Ben Affleck.

Jeremy: Ben Affleck, Christian Bale.

Ben: That's our Patreon exclusive.

Yeah.

Oh, Robert Pattinson like is so like, he's
like anti-yass that comes all the way back

around to being yasss with the eye shadow.

Emily: Oh, the eye shadow and
the hair and like the fucking,

My Chemical Romance emo hair.

Yeah.

You know, that he's well, if people
saw me in a like marching band

outfit, they would look at me.

So that's not quite my thing,
but, you know, I mean, when he was

little, he was in that red ninja
outfit anyway, Freddy Kruger.

Jeremy: Yeah.

So, uh, would we recommend
people watch this movie?

Ben: I'd recommend it as part of like
this larger story about queerness in

Hollywood and this very moving true story.

But on its own.

And especially if, again, like it does
have its place for being a halt for being

like part of queer cinema in that history,
but just playing on its own as a movie?

It's not very good.

And I definitely recommend just
watching the first one again over this.

Emily: Yeah.

I mean, I think that this movie is mostly
a companion piece to Scream, Queen.

So you know exactly what Scream,
Queen is, is talking about.

And it sounds like not again, I
haven't seen Scream, Queen, but

it sounds like Scream, Queen talks
pretty in depth about this movie.

Ben and Emily: We

Ben: recommend it as a
companion to Scream, Queen.

We do not recommend it as
Nightmare on Elm Street 2,

Jeremy: I feel like every one of these
franchises has one of these, right.

There's Nightmare on Elm Street II.

There's Halloween 3, that they're
like uh, Friday, 13th and new blood,

which are all just like, what if
it wasn't our trademark villain?

Or what if like, it didn't go like this?

Uh, What if the thing that made
us famous, we just didn't do that.

And I will say this for this movie.

It is not the worst Nightmare on Elm
Street that belongs squarely to 5

the dream child, which is horrible
and does feature Freddy, but in

an almost entirely passive role.

Ben: I was imagining like
a little baby Freddy.

So it's just like this fuck
that little baby with a little

baby sweater and a baby fedora.

The idea is that the baby claw hand.

Jeremy: That they're going to be giving
birth to the child of Freddy, and that

is sort of like, they're trying to do
a Rosemary's baby thing and it's bad.

It's very bad.

But I mean, cause it's basically
like you could watch 1 3, 4.

Ben: What, where they going
for that Seed of Chucky money?

Jeremy: It was well before Seed of Chucky.

It was just like they were out of ideas
and you know, they cause Dream Warriors

and Dream Master which are three and
four, three especially is very good.

And four is, you know, the
sequel to three, which is

okay, but less good I think.

And then you get to the end of the
series and I really liked New Nightmare.

Freddy's Dead is okay.

But dream child is real bad.

And so like this one is not

Ben: And then he fights Jason!

Jeremy: Yeah.

That's not strictly speaking a
Nightmare on Elm Street film.

But yeah, th this one is not, it's
difficult when to recommend, I think as

an artifact, it is really interesting
to look at and along with Scream,

Queen, it is interesting to look at.

But on its own, it's just, it's
it's not a very good movie.

It is an interesting movie,
But yeah, it's not the best.

I mean, keeping that in mind, let's go
ahead and go to our recommendations.

Elana what do you have
to recommend for people?

Elana: Well, you should definitely
watch Scream, Queen: My Nightmare on

Elm Street, which you don't have to
watch and that all need to see it.

My other recommendation
actually is going to be a movie.

That's a very short movie by my friend.

Kevin Maher, that you can watch online.

It's on YouTube.

It's called Freddy's Fail: the Rise
and Fall of a Nightmare on Elm Street.

And it is a short movie looking at the
history of the popularity of Freddy

Krueger as not just a character, but
like a marketing, a brand and an icon.

Like he was Freddy Kruger for awhile
was on all kinds of consumer products.

That one could purchase.

Emily: Yeah.

Elana: Like not only was there like
a horror hotline, but they were just

really merchandising the hell out of him.

And it sort of and he sort of puts
together a case as to like why that

happened, how that happened and
how it led the character to not be

so great after the overexposure.

And it's a really funny
short little movie.

So check that out.

Emily: Nice.

Elana: The name of my friend's
channel is is Atomic Abe like Abraham

Lincoln, but made out of atoms.

So Atomic Abe productions on YouTube,

Emily: Atomic Abe.

Alright.

Jeremy: Yeah.

Ben: I will recommend something
that is just holy and celebratory,

queer and wonderfully.

So, and that is Our Flag Means Death.

Yes!

I'm so angry that hasn't been
renewed for season two yet.

And I don't know why.

But yeah, it is, it knows it's queer.

It is queer at every level and it is
just so, so wonderfully romantic and

joyous and also heart rip your heart out.

But in a good way.

Elana: No, like seriously, I would
tell people- People are like Elana, so

what's keeping you going these days.

And I'm like two things, the
insurgence of the American Labor

Movement and Our Flag Means Death.

Those are the only...

It's.

It's so fucking wonderful.

I covered it on my podcast.

So, we pitched the show in
the beginning of the episode.

So if you wanted to listen to Graphic
Policy Radio really recent episode on Our

Flag Means Death we sort of give you the
non spoiler pitch as to why the show is

awesome for about the first 12 minutes.

And then we go into a really in-depth
conversation, including lots of

pirate history, facts especially
queer pirate history facts.

Emily: Nice.

The show isn't only good because
Taika Waititi is a fucking

salt and pepper spicy snack.

But it helps.

It does help.

There's a lot, I mean, there's
a lot really awesome going on.

We have the non-binary character
played by a non binary actor.

We have um-

Jeremy: Rhys Darby.

Emily: Yes, we have Rhys Darby, of course.

Anyway, but what do I recommend?

I was going to say Lost Boys.

We talk about the Lost Boys.

We'll talk about that soon.

Stay tuned for a podcast about that movie.

Also if you want to watch something
that was maybe originally intended

to be gay, but then not intended to
be gay, but then she turned around

and was actually incredibly gay.

The the dub diversion of the anime,
Yoroiden Samurai Troopers, Ronin

Warriors, which was on TV on Saturday
mornings for a while in the early

nineties- that has a lot of subtext.

And I feel like by trying to make
it rock and roll, I'm not sure what

the story is behind it, but they
tried to make it rock and roll.

But this is a magical boys
show about dudes that get armor

that it's made out of flowers.

And they are samurai
and they thrust a lot.

So that's fun.

The original show Yoroiden Samurai
Troopers really comes off as some kind

of traditional Japanese dare I say,
propaganda, or, you know, something that's

a little bit more just straightforward,
boring, but the dubbed version makes

it more gay and therefore delightful.

Jeremy: Nice.

What I w what I would recommend
is something completely

unrelated to this film.

I stumbled on a thing that I had
heard about, and I decided to

watch the first episode of it.

And then three hours later at two in
the morning, I had watched the entire

six issue or six episode series.

And that is, We Are Lady Parts.

If you haven't seen Lady Parts, it's
about a punk band of Muslim girls.

The sort of told through the
eyes of one of these characters

who she loves to play music.

But anytime that she plays in front
of a crowd uh, she gets incredibly

nauseous and unfortunately starts
vomiting and possibly having stuff

coming up the other end as well.

But she gets recruited by these group of,
you know, hardcore girls who are doing

this punk band and putting it together.

And it's told like it's such an
incredibly intelligent and funny show.

And at the same time has this level
of authenticity of characters that

you're like out clearly, these are
like people that this person knows.

They're fashioned after real people.

There's no question watching it because
you know, one of the four girls in the

band is queer and has sort of this you
know, relationship with a non Muslim

girl in the story that is a big sort
of point in the first season there.

And all of the actresses are,
are incredible and the show is.

It's hard to, it's hard to
underestimate how funny it is.

While at the same time being incredibly
serious about a lot of stuff about

discrimination and then the way we treat
Muslim people and specifically Muslim

women as, you know, Western society.

And I think none of that is better
exemplified than one of their songs

that has played a couple of times in
the series, which is Voldemort Under

My Headscarf which is a song about how
people are sure that people, that they're

hiding something under their headscarf.

And that it's totally Voldemort
because that's definitely a thing

that happens to the first Harry
Potter book with a character.

So.

Elana: Oh my god.

Emily: Oh yeah!

Jeremy: Yeah.

So, they really push up against that
stuff and keep going and interesting ways.

And yet it's only six
episodes it's on Peacock.

I like literally I started
watching it and couldn't stop.

It was, I was like, I
gotta get through this.

It's so good.

But yeah, We Are Lady Parts.

Extremely good show.

Um, Yeah, I think that
about wraps it up for us.

Elana.

Do you want to let people know
where they can find out more

about you and your podcast and
everything else you're doing on?

Elana: Yeah.

Yeah.

So I'm the host of Graphic Policy
Radio, where comics and politics meet

um, love to have all of these folks are
actually either been on my show or will

be on, I know Meghan's coming on soon
to talk about the work of Neal Adams.

I need to solidify that on my calendar.

But yeah, we uh, talk about
comics and comics, adjacent media

um, the Our Flag Means Death
episode is a bit of an outlier.

The show is just that good that
I had to cover it anyway, even

though it breaks my normal format.

I also have Deep Space Dive, which is
my Star Trek, Deep Space Nine podcast.

We just posted an episode of Anthony
Oliveria, where we really talk

about religion and DS9 episode
titled is the space Pope Catholic?

And as for me, I'm on Twitter a little
bit too much at E L a N a underscore

Brooklyn that's Elana underscore Brooklyn.

And actually I will connect you with
meaningful, useful things you can do to

help make the world like be less terrible.

So that's another service
that I offered to society.

Let me know.

There's lots of stuff people can do.

Yeah.

Emily: Thank you for your service.

Jeremy: Uh, As for the rest of us, you
can find Emily at megamoth on Twitter

and at mega underscore moth on Instagram.

And then megamoth.net.

Ben is on Twitter at BentheKahn and on
their website and Ben Kahn comics.com,

where you can pick up all of their
books, including the new Immortals

Fenix Rising graphic novel from
great beginnings, and the GLAAD award

nominated Renegade Rule graphic novel.

And finally, for me, you can find
me on Twitter and Instagram at J

Rome five eight, and my website,
Jeremy whitley.com, or you can

check out everything that I write.

And of course the podcast is on Patreon
at Progressively Horrified, our website

at Progressivelyhorrified.Transistor.Fm
and on Twitter at ProgHorrorPod.

And we would love to hear from you there
uh, you know, tell us what you think

about this episode, about this movie,
about what else you'd like to see.

Cause we're always looking
for new movies to watch.

And of course we would also love to
hear from you in the form of reviews.

If you enjoy this podcast, please,
wherever you're listening to it, go

ahead and give us a five star review
to help other people find the podcast.

I do again, want to think
Elana for joining us.

Elana, It was a lot of fun.

Thanks for coming.

Emily: Yeah, thank you.

Elana: Thank you.

I always love talking with you guys.

Ben: Thank you so much for joining us.

Jeremy: And now that we've talked
about Freddy's revenge, we can

talk about Dream Warriors sometime.

Ben: Yeah.

Elana: I really want to talk about
Dokken, so just be prepared for just

nothing but Dokken the entire episode.

Emily: I'm prepared.

Jeremy: I think Emily
is down for Dokken-cast.

Emily: Oh my God.

Elana: Thank you.

Emily: Dokken Corner?

Dokken Show.

Elana: They were really good guys.

Jeremy: Talkin Dokken?

Emily: Oooh, we're Talkin' Dokken.

Oh, that's good.

Jeremy: Thank you as always to
Emily and Ben for joining me

and thank you for listening and
until next time stay horrified.

Alicia: Progressively Horrified
was created by Jeremy Whitley

and produced by Alicia Whitley.

This episode featured the horror
squad, Jeremy, Ben, and Emily, along

with special guests, Elana Levin.

All opinions expressed by the
commentators are solely their own

and do not represent the intent or
opinion of the filmmakers nor do they

represent the employers, institutions,
or publishers of the comments.

Our theme music is epic darkness
by Mario Cola six and was provided

royalty free from Pixabay.

If you liked this episode, you can
support us on Patrion and you can

also get in touch with us on Twitter
at Prague horror pod, or by email

at progressivelyhorrified@gmail.com.

Thanks for listening.

Bye.

Emily: Also can find uh, fan art for
Our Flag Means Death on my Twitter.

It's the only art that I've posted lately.

Elana: Oh shit.

Let me go find that!

Jeremy: Yeah.