Alright, lean in for a second because we need to talk about the absolute blueprint for parental paranoia. We're stepping into the apartment building that basically birthed modern psychological horror. And no, Coco, I'm not talking about your last apartment complex. Though the landlord vibe was familiar. Talking about Rosemary's baby.

What a masterpiece this movie is. This is Parallel Frequencies. I am Just Blane, she is Coco. You're the Freqs. What's up over there, Coco?

Are you ready for Rosemary's baby? More than ready. More than ready. I have never seen this movie before and watched it to prepare for this episode today for you, Freqs. And as I'm watching it, I'm thinking, how is this the first time I've ever seen this?

Right? I figured I didn't want to hype it up for you too much. I wanted you to kind of be surprised, but I knew what you were getting into, you know? I don't know what I was getting into when I ordered my package. You see, I'm still sitting here waiting on that.

You are a poll-tank leader and we're still sitting here waiting for your package. Same spot, same clothes. Same clothes. Can't believe. Worse smell at this point.

So everything's the same except the smell. Yeah, I probably... No, no, no. But for real, we're actually recording ahead of time. Tell us why we're recording ahead of time.

All right. Well, it's Whistful Wednesday, but on Wednesday, about three months in advance, I scheduled a mom's day off. This is a yearly tradition that I do for myself. I have invited other moms. Sometimes other moms can make it, sometimes they can't.

Sometimes I do it all by myself, which might be the case when I take the day off. But I like to take advantage of the last few weeks of school. I feel this kind of ticking time bomb sort of clock. It's not really impending doom per se, but it is an impending change of lifestyle, if that makes sense. My kids are home for summer.

I am the primary caregiver and momager of my household. So it's a lot of responsibility. Three boys all of summer, all the time. I just like to take these last few weeks before they get out of school to do one day where I just play hooky for the day and I just go do whatever I want to do for the day. So that's what I'm doing on Whistful Wednesday.

Do you tell people that you're doing this or do you just secretly go do it? Or what happens here? What are you going to do? I want to block it on my schedule. That's why we're recording this a day early because I need to block the schedule off, make sure that I don't accidentally schedule other things because I will.

I'm so like me to do that. But I make sure that people know and then I invite my favorite mom friends. I'll pick some mom friends I know and be like, hey, I'm doing this. If it works out in your schedule that you could take the day off to and come with me, great. So sometimes last year I had a group of four of us that all went together.

It was super fun. That's fine. So this is going to be airing after this happens. So let's talk to Future Coco. Let's talk to Future Coco.

How was your day? What did you do for your mom's day? Where did you go? What happened? So restful.

I feel so invigorated. I like to ride the tracks just because it's fun and it's a fun way to get into the city. So take the tracks in. There's this great little cafe. I might mess up the name of it because I've never heard it pronounced out loud, but it's like cave cafe or cave cafe.

It's a Turkish coffee place in Salt Lake and it's up in the kind of like almost to the avenues. So old Victorian houses that were made into Airbnbs and coffee houses and things like that. So it's cute. Love that area. Cute little artsy vibe.

There's tarot readers like me, Reiki healers like me. It's my people. It's my vibe. So I'll take a book. I'll go order me some coffee and some baklava and some good pastries and treats and I'll just sit and sip my coffee.

So you ride the train. You ride tracks up there. I have never ridden tracks, but I was a frequent flyer of the Hollywood Red Line or anything right there in LA because I used public transportation for the five years or so I was there. First five years. Honestly, I used public transportation.

I would not get a car because I didn't have a parking place in my apartment and I was not going to fight Hollywood parking on the street every night. So I rode the buses and trains. It was wild. So I need to ride tracks. I should ride.

I got an idea. I got an idea. What if me and you ride tracks together and record an episode and we do the movie Snow Piercer? Now I know you may not know what that is, but it just clicked in my head and that would be the movie we should talk about while riding a train to downtown Salt Lake. I think that'd be fun.

What do you think? We should do that? Absolutely. We'd be the coolest people on the train. I mean, are you kidding?

There'd be like people riding it up to the U to go to school. There's college kids ride it all the time. The Red Line goes straight from here where we live in our neighborhood to the U all the way on the other side. So you'd be so jealous of us. Like, excuse me, guys, we're podcasting over here.

Okay? Yeah. Now I took you to the subway in Hollywood. I'm taking you there. Wow.

We rode the... Hollywood and Vine, the Red Line. The Red Line. Yeah. I mean, I've ridden the Underground in London.

Super proud of myself. I'm one of those people who's actually terrified of public transportation. Not because I think there's weirdos on the train or any of that kind of stuff. I'm not worried about that. I am terrified of getting lost.

I'm terrified of my own incompetence and not being able to figure out that I got on the right train, going the right direction to get me where I need to go. So we don't have as much of an intricate system as some of the big cities like LA, London. So it has kind of their simpler version. Yeah. From what I've seen, it's nice.

It's really nice here. So yeah, we're going to put that on the docket that we're going to watch Snowpiercer, the movie. There's a TV series that came out too. And this movie is wild. Yeah, I'm not going to tell you what it's all about, but we'll get to that.

But right now, A Whistful Wednesday, Rosemary's Baby. I'm going to speak on this right off the top. Roman Polanski, director. This is one of those situations where... And you can come at me.

You can debate with us. You can join the conversation, Freqs, but can you separate art with the artist? Because Roman Polanski is a piece of shit. He evaded the US to... Or he left the US to evade a statutory rape trial, and he's still been there.

Lots of stuff going on. Lots of people have certain feelings about all that, but I can't just glance over that and not say anything. Especially with some of the content that's in this movie that we see. And it's like, huh, all right, well, I saw the inspiration for what he... So it's disgusting what happened there.

And like I said, it's been a while. He's been there since 1978. So that's 48 years, I think, if my math is close 50-ish, close to 50 years. I can only hope, even though he evaded punishment here, that perhaps he's not continuing the same behavior over there. And then has...

Or maybe he doesn't get caught again. I don't know, but... It's always been a thing to, can we separate the art from the artist? Because we go through that in music, too. We see that with people like Kanye West.

Ye now. He was Hale and Hitler at one point. And then, yeah, how do you still... R. Kelly was another one.

He's off in prison now. Do you still appreciate his music? Those are a little bit different to me because Roman Polanski making a movie, the art isn't just his. You got all these other people in this that you've got to give some respect to. And I want them, I want the Mia Farah, I want these people to be put on a pedestal above him.

Because without them, this movie, I don't care. It wouldn't have happened. It wouldn't have been what it ended up being. And now that I got that past, I don't want to talk anymore about Roman Polanski. No more about that.

We'll talk just about Rosemary's Baby, the incredible performance from Mia Farah and everybody else involved. I mean, we talk about cast chemistry all the time. And cast alchemy is one phrase I found, I came up with yesterday. Remember, this one was cast alchemy complete. Like John Cassavetes as Guy Woodhouse, Mia Farah, Ruth Gordon, Sydney Blackmere, Ralph Bellamy, Maurice Evans.

You can keep going down this list. And these were heavy hitters for every, every scene. This movie doesn't have a scene where you can just kind of kick back and relax. It's not going to happen. The entire thing, you got a whole character with the apartment building that they're in themselves.

Like there's so much going on and so many layers to this movie. I watched this movie twice last night. And still it's all different stuff. You know, I did, I watched it back to back last night. So yeah, go ahead and give me off the top, Coco, because this was your first watch.

What did you think? So much, so much going on here. Let's start with the very beginning. Let's start with the apartment itself. Like architecture, history.

This is something we live in the Western United States. So a lot of the old buildings we see here, and even some of them are getting demolished and replaced quickly. There may be a hundred years old. But one of the things you find when you leave the West and you go to the like New York, for example, or if you go across the pond to a European country and you go, people are living in 400 year old houses and buildings. Like it's insane to me.

And I love seeing the architecture as they walk you through the building and they walk you through the apartment. And one thing you'll notice is how compartmentalized the floor plans were at a certain time. I like architecture. So this is just like my nerdiness coming out. But, you know, nowadays we're all about the open concept and the flow.

And, you know, it's interesting to me that they had like a nice, big, open living room that you had to get through this hallway to. You've got this gorgeous fireplace, even after they paint it and it's all white. It's so pretty. But it's right across the hall from their bedroom. That's not something you would typically see because it's like the private chambers are right there across from the public area of the house where you bring guests.

So that's just like first impressions. I just loved that the apartment being a cast member was part of that experience. So like what's going on? Yeah. And how about that opening?

The cinematography on the opening right there with the la la la la la. That music, that eerie kind of. Yeah. Settling music. It's unsettling and settling at the same time.

But if you notice the cinematography there, we kind of come floating in. You come floating into that building like it's something that got into the building. And you're already kind of feeling like, man, something's kind of off. But I do love the architecture. Let's get into Gaslighting because that is what this movie is.

Oh my God. Guy Woodhouse and Gaslighting makes him the villain of this movie, played by John Castaveras beautifully, by the way. Honestly, he might be the real villain of this place even before the demon with the yellow eyes pops up. And he's a struggling actor, which already probably got a chip on his shoulder. Let's just be real.

He's doing commercials. He's self-centered. He knows how to put on an act when he needs to. I mean, there's a lot of red flags. Yeah.

I mean, he's doing commercials and tasting the dirt of rejection. And he's ravenous for success. He'll do anything for success. And then his main rival suddenly mysteriously goes blind, already tipping off to the viewer. Hmm.

What's going on? And then boom, Guy gets the part. It's the ultimate Hollywood hustle taken to the most literal demonic extreme. What makes this movie itch under your skin 50 plus years later, because this thing came out in 1968, which is wild on its own to think that something like this came out. This was disturbing, you know, but 50 years later, it gets under our skin still because it's not the supernatural stuff.

It's the human betrayal. You know, it's that because that stings when we see this. We see her. We know what she's going through. And you got so many people around her gaslighting her telling her it's OK.

Oh, there's the FedEx package. Got the package. It only took two days. No, we already went through that. We don't have to.

You can finally shower. I can take a shower now. No, we're still filming this today. But I was talking about. Yeah, I was talking about the gaslighting and yes.

Nowhere to turn that feeling that Mia Farrow's character would. By the way, I just want to give some accolades to Mia Farrow. What an amazing performance. I mean, that is what makes this movie what it is. It really reminds me of Shelley DeVille in The Shining.

Is it Shelley DeVille? She's got that same kind of almost. I don't want to say homely because I hate kind of using that kind of stuff. But desperate, desperate. Yeah, but she gave me that.

She gave me the show and Shelley DeVille's performance came after this. So she may have taken a lot of inspiration from Mia Farrow's performance in Rose Near His Baby. But I did notice it. But go ahead on Mia Farrow and what she was doing because incredible. Yeah, the emotions that I just feel for her.

But like the feeling that she starts to get where everything feels like the walls are closing in and she has nowhere to turn. No one to help her. It's so sad that that comes with this horror movie aspect of like what supernatural things are happening to her in the movie that it's actually really relatable. It's actually really relatable to a lot of women and a lot of circumstances where you get yourself into a place where there's just nowhere to turn for help. You're trying to find safety.

You're trying to find someone who will believe you. I'm not crazy. I know what I see. I know what I feel. And everywhere you turn, even Dr.

Hill betrays her. What? Come on. I'm just devastated for her. And it also feels like a sort of familiar feeling.

Not that I've been in a place that dire in my life, but just as a woman, I think we carry a sort of generational trauma inside of ourselves that understands this kind of there's nowhere safe for you to be. You're under the thumb of these men. Yeah. But I think there's a I think there's a real parallel. Like, I think there's a corporate parallel to this.

You know, like the fact that Guy Woodhouse trades his wife's autonomy for a Broadway deal, just like that. Like that's his soul and his wife and his child. I mean, that's the ultimate casting couch horror story right there. Wrapped up in a velvet coven robe. You know, like it's I've been in corporate and media long enough to know that there are some serious occult vibes that are in parts of it.

And it may not be, you know, a childless, a tennis root or whatever they were wearing. You know, sometimes you just need a middle management title and a corporate credit card. And it's the same thing. So, you know, I just. Right.

Somebody is in charge and somebody needs their worship. Which brings me up to ask the question to you, to the Freqs. Like, when in your career have you realized that the price of admission or when in life have you realized that the price of admission is just a little too high? You know, like that's what I look at in Guy Woodhouse's case. That price of admission was a little too high for what you gave.

So, yeah, but I just I can see that. Let's talk about Roman and Minnie. Yes, let's. My favorite actor and actress in this entire movie. Though, of course, Mia Farah did a great job.

You know, nothing against that. But Gordon playing Minnie. My favorite hands down. She won an Oscar deservedly for this role right here. I didn't even know that.

Yeah, she did. I mean, you could double check me out there. Freqs, make sure. I think I'm just I remember I believe she did win an Oscar. But these people are the ultimate personification of the smothering community.

They look eccentric, colorful, high society grandparents, you know, like it's like they they're putting off a facade basically because they're running a whole lot tighter ship than they seem to to portray. You know, so right off the bat that you kind of you kind of love them. Right. I do. I would love being neighbors with them, honestly.

I mean, they kind of give up just this. Yeah, maybe a little overbearing. I mean, you can see it when she's settling in to rest and be at home for the evening and read a book. And all of a sudden, they're at her door and they're like, can we come in? You know, and you kind of are like, well, sometimes I just want to be alone.

But I mean, neighbors that feel that comfortable and are there to like care for you and invite you to dinner and her natural way of speaking to Rosemary, the way she just, you know, oh, yeah, yeah, yeah, it's fine. It's fine. I'll talk to you later. OK, well, we'll see you on the other side. And this is my impression of many.

I don't know if it's good, but this is what I'm doing. So I would love to be in your sweet heart. You're looking great. You look so thin. You know, all the things I just I just fell in love with her and I could see why you would invite her into your life and want her to be around and help you pick colors for your nursery.

Let's let's be completely honest. If a neighbor like her. Well, first of all, they hand you a lucky charm that smells like a dumpster behind a seafood restaurant. You're probably going to toss that bastard into the river. But Rosemary being polite.

Isolated. That's the big one. She's isolated. And that's what they prey on. Yeah.

You know, like, but if we had neighbors like that, we I'd be welcoming it first. You know, that's that's how I am. But when you start showing up at my door and I'm trying to have me time, I'm going to say no, I'm going to say no, you're not coming in right now. Sorry. Yeah.

Yeah. Boundaries, people. This is a good lesson. And boundaries are OK. Boundaries are loving.

Boundaries are kind. And people who need to respect your boundaries are people who love and honor you. So it yeah, it should have been less people pleasing and more boundary holding, I think maybe would have saved quite a lot. And let's let's get into the real horror of this movie. And we've kind of touched on it already.

And it's the fear of not being believed. That, to me, is the emotional core of this movie, because it hits a whole lot different depending on where you are in life. You know, Rosemary knows something is deeply, inherently wrong. You know, her body's telling her instincts are screaming at her. It's a woman's intuition.

Once again, you know, you go in, you tell the doctor what's wrong. They say, no, no, no, no, no, no, no, you got this. It takes some time and all. And you end up with what exactly what you said was wrong, you know. So it happens all the time.

And she's losing. Believe yourself. Believe your gut. Believe your intuition. Follow it.

Usually, if you've got an impression or feeling about something, you are almost always right. Exactly like her body telling her, you know, is screaming at her. She's losing weight. She's pregnant. How do you lose weight when you're pregnant?

You're not supposed to. She's in excruciating pain. She's eating raw meat straight from the butcher paper. Like, come on. Something's not right.

You know, like you feel for her every year. Don't get me wrong, guys. The first trimester in pregnancy and sometimes for a lot of people the whole time through the sickness and the morning sickness and the things that you go through. I mean, it can be a crazy wild ride in a normal pregnancy. So I kind of get the feeling she was trying to write it off like, well, it's normal.

I mean, it's you know, my doctors are telling me it's OK. And, you know, it's her first time being pregnant. How would she know any different? Right. I mean, you got to give her credit for I think most women would be in that same boat.

They would be like, yeah, but it's normal to lose a little bit of weight at first because you're sick a lot. And then I'll gain weight later. And she didn't know any better. Exactly. And every single man in her life, her husband, her prestigious doctor, the system tells her she's just being a hysterical pregnant woman, completely invalidating her reality.

She knows what's going on. They dial down her volume until she sounds like static in the radio and they don't want to hear it. It's just all of her autonomy. They take away all respect for her. And by the way, I mean, it shouldn't just be pregnant women.

But in general, if you're ever wondering how to treat a woman, if anyone out there is wondering like what is the right way, generally speaking, to be nurtured and cared for and treated with a certain level of respect is so wonderful. Like when you're pregnant, you want people to treat you like you're growing life inside of you. We got to take care of you. Let's make sure you're eating. Let's make sure you're sleeping.

That's all fine. That's all great. But to act like, oh, you don't know what you're talking about. You just be quiet. Oh, you can't have that.

You can't eat that. You can't do that. And then to like lock it down, like having them in charge of you. Yes. And that's what I'm saying right there is they are in charge enough to where you are sitting there speaking truth that scene where they're all in the room basically.

And she Rosemary is speaking nothing but the truth. And they are all standing there around looking at her saying, no, no, no, no, no, no. That's terrifying. When you are trapped in a single room and you can't do anything about that, that to me is the psychological isolation, not just isolated physically. Now you've got the psychological part and, you know, it's who's opening and holding the door open for the monster.

At that point, you got it open. You got the door open for that psychological trauma to come in and it's going to happen. Then you got the supernatural stuff going on, too. So, yeah, but you this is this to me. That's what's terrifying to me.

It's like me sitting here saying, oh, the sky is blue and somebody else telling you looking you dead. And I say, no, no, no, no, no, no. And a bunch of people doing that to you to where you feel crazy. That's scary. There's a couple of little examples, like little microaggressions that you see.

One that I remember was when they're fighting after the party and she's like, I'm not going to go see Dr. Saperstein anymore. I'm not taking those shakes that those drinks. I'm not doing it. I got to find another.

I got to get a second opinion. I got to get a second opinion. And he says, how is that going to make the doctor feel? Or he says something like along the lines of like, well, your heart is feelings or how is he supposed to feel about that? And she's like, what do you mean?

How is he supposed to feel? I remember like that scene being so like, oh, my gosh, she's actually being expected to put some some doctors feelings. She is being cared for as the pregnant woman who's supposed to be cared for. And then the other one was when she was looking for the book and she had gotten her friend's book and it had given her clues about what was going on. And she was looking for it and she's like, where's my book?

And the husband's like, oh, he got rid of it. She's like, that was my he gave it to me. That meant something to me. And he was like, it was upsetting you. And I just like these little moments.

I hope people watch this movie or see moments like that. If they're dating someone, these little things happen like that. There's a little micro things. They might be easy to write off and be like, oh, they just weren't thinking or they're just being selfish in that moment. Or they were, you know, whatever.

It was just it was a momentary lapse in judgment. If you're seeing that kind of dynamic happening in a relationship with someone, red flags just run the other direction. It's a good rule of thumb. Absolutely. And there are so many instances of that that happened in this movie.

Even when let's talk about when he rapes her. That's that is a hard, hard, hard scene to watch. And when it gets when they're done and he's like. Oh, it's it's it's disgusting, but he's basically saying, oh, it's OK. No, it's not.

Yeah. He's like, well, I didn't want to miss baby night. So you were passed out anyway. And it was kind of, you know, he kind of alludes to the fact that it was a little exciting for him. Yeah, that is not OK.

And I was like, hell no. And he played it off so nonchalantly like it's just OK. And I'm like, if you say if anybody out there, man, woman, whatever, if you watch that scene right there and you feel OK, you got you need to get some help. Yeah. The here is that being married, the woman's life and body are his property.

And that is, again, it's not explicitly said. And that's something that I would like to think we've evolved for some people, not so much. So I feel like this is a great time to just highlight that and say, like, hey, that sort of culture, that sort of underlying belief system that we maybe have had in the past, it's dead now. And we need to move on from that and call it out for what it is. Yeah, that's this is I'm going to tell you right now, watching that scene, it is not OK.

Yeah, it feels very icky and triggering probably for a lot of women, I'm sure. I'm sure it should. Just everybody should feel should feel icky watching that scene. And then that scene, it's early in the movie, but it leads to the climax of the movie. And we get to that famous or infamous final sequence where at this point, Rosemary, she finds the hidden door.

She walks into this parlor and there's the black cradle. She's hearing a baby crying and they're giving her lies about that. They're saying, oh, somebody else moved in. She spills it out. They're not telling.

Yeah. But she that's the thing. That's also the thing, too. When she goes through that spill and she lays out every single thing that has happened and has been done and it's none of this. Well, I think this happened.

And she says it factually. That's where you know she knows. And it's it hits. And it's like, oh, my God, like, what? What now?

Yeah. And when when she's in there and she looks at the baby, I love this right here. Yeah, for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for image in your mind is far more powerful. And this is what I believe about horror movies in general. You know this about me.

I think when they don't show the things, the full horror of it all, the monster, the entity, whatever it might be, in this case, it was the baby. I mean, it's like, she thought maybe her baby was in danger, that it was going to be sacrificed to the witches because of what she'd read about them and eating babies, which I'm going to get to in a second. But that she looks and all you see is her reaction to the baby? Fantastic. That's the twist.

That's the big twist here in this whole movie that makes this a masterpiece instead of just a supernatural monster flick. She doesn't reject it. The maternal instinct kicks in. The human need to protect what is hers kicks in and overrides the sheer cosmic horror of what she's looking at. She starts to rock the damn cradle.

Are you serious? Yeah. You know, like that's, it's dark. It's beautifully dark, deeply twisted. Yeah, it does.

You see this moment and I knew it was so pivotal. It was going to be a pivotal is she's sitting down. Minnie brings her a cup of tea and she's like with tannis root. I love that part where she's like, okay. She's like, now it's just Lipton's tea, darling, just drink it, whatever.

I love that part. But she's sitting there and you see her look over at the baby and you see them rocking the baby and you see this decision happening. This is Mia Farrow's acting subtext skills. It's fantastic. She's just, this moment of decision is happening where she's like, she could, and then this is me watching for the very first time.

I'm like, she's either going to pick up the dagger and stab the baby with it, which is very Catholic, God fearing woman, right? Or what she ends up doing is making the decision that this isn't what I wanted, but that's my baby one way or another. That's my child. And that's what you see that decision happening in her face as she walks over and is like, you're rocking him too fast. Yep.

What a movie. I want to hear the witch stuff from that book. Is that some real stuff in it? Tell me about that. Let's get into that.

I have to address that because I was almost shocked as I watched this movie. I didn't know this was a witch movie. We didn't cover this in the witch movie project and we totally could have. So you touch on the witch aspect of this movie, clearly. This is still in an era of propaganda where we believed witches are satanic and witches were coinciding with each other.

We believe that they were all the same thing. And I have worked very hard to put it out there that that is not true. That's not what that is. Do I believe that there may be witches that are satanic? Probably.

Maybe. But that doesn't mean the same thing. They don't coincide. So I just have to put it out there that Tanis root was mentioned many times in the movie. It was fictional.

There's no such thing as Tanis root. They believe it may have been like a pseudo acronym for Satan or maybe associated with that. But Tanis root is not a real thing. I would imagine that if something was an herb or something that had healing properties, it would smell good because your body would not be rejecting it. It would be accepting it.

So that to consider. But these witches essentially start out to be exactly what the etymology of the word witch is coming from Wicca, which means wise person. They have herbs growing all in their houses. She's making an herbal tincture or herbal drink for her to support her pregnancy. I mean, this starts out to be very much like what witch would be.

It's only the association with evil and devil and Antichrist and Satan child and Satan worship and Hail Satan at the end when they're doing the... It's all that that I think is we need to put the kibosh on when it comes to our image. I thought that scene where they're doing all the Hail Satan stuff. I was like, you know what? This looks like a good time minus the baby and all that.

I was like, this is not a bad party. I was all for it. So nice place. Satanists and Church of Satan, they're doing some amazing charity work in our world. The Satanic temple.

Let's get it right. The Satanic temple, because I am a member. I'm going to tell you that now. I am a member. The Satanic temple is the one.

Yep. Go look into that and you'll see that that's not the Hail Satan one as much as the fuck the man as much because yes, go look into that. I think our Freqs would appreciate the Satanic temple. I actually have a hoodie. I bought a hoodie once and it says Hail Satan.

It's in all black. I got it from them and part of the money went to fund an abortion clinic or something in Texas, I think was what it was. So, you know, not getting into political beliefs. There's a lot of elements to that that we could go into that are not quite depicted in a horror film that's meant to scare God-fearing people that maybe were Catholic or brought up Catholic and made to fear that, right? There's obviously been a lot of centuries behind the propaganda of like, fear the devil and fear the demons and then this and this and the saints and the crosses and the crucifix and the blah, blah, blah.

So I don't necessarily love the association of witches with that side of it in this movie because the myth of eating children that witches had came from them being assisting in abortions and assisting in women's pregnancy and women's health during many, many times in our history when they've given that bad rap because they wanted people to believe that witches were killing babies and then like, taking their blood for eternal youth or whatever the story goes. It's just not true. I think there's a great metaphor analogy in Rosemary's Baby and it can show us that we spend ourselves, spend so much time fighting monstrosities, abominations around us that we do end up adopting them in a way or nurturing them or at least making them a part of our daily routine before you even know it too. Like you can cut that out. Yeah, what you resist will persist.

Yes, exactly. And I see that in this movie and I see that in life. And Rosemary's Baby, I'm going to give you a recommendation of a movie to go watch now. And you probably didn't know about this. Apartment 7A on Paramount by Natalie Erica James.

It's the prequel to Rosemary's Baby and it just came out a couple years ago. It's on Paramount, Minnie's in it played by a different actor. Yeah, I got to see that. Let's see if there is good. I don't know if anyone's hiring me but I could play Minnie, the younger version of Minnie if anyone wants me to go.

I was thinking, I was like, you know what? Halloween this year, you would make a great Minnie. You could do that. You could do that. Oh my gosh, you got to give me some curlers and some.

And then maybe Matt could go as Roman. And then I guess that leaves Rosemary and me as Guy. I don't know about that. I don't know. I do.

I think you could make a great Minnie. Give us that impression one more time. Let me hear. Oh, it's okay, darling. I'll bring you your drink a little bit later.

Okay? You just make sure you drink that up. You drink that drink up. You drink it right up. You sound like her.

You could look like her. I think you got it, Coco. I love it. I love her. I love the New York.

She just feels like so perfect. Perfect New York older lady. I don't know. But yeah, one thing we didn't talk about and I just want to briefly mention it. I know we've gone over time, but the short haircut, right?

The short haircut that D-Bro gets. And we just have to acknowledge the symbolism behind that and being her autonomy of making the choice to cut her hair that short. And she thinks it's very volg. She thinks it's really in. And the way she's treated by her husband about that haircut.

Because I kept asking myself, what's the significance here? Why did they all of a sudden cut her hair? Why is that part of the story? Why does that part of the story? And I think it really was symbolic of he treating her like the only thing that's wrong with you is that ugly haircut that you got.

And I was like, bastard. Yeah. Yeah. Got to say it. As we wrap up this episode, for the Freqs out there, I want you to look at things you're in your life.

Are you feeling something that elevates you or are you rocking a cradle for a coven that doesn't have your best interest at heart? Think about it, really. I don't mean are you part of Coco's coven. Coco's coven, that's got a nice ring to it. Yeah.

If I formed a coven, it would be great. I think you should. I think we could get you a coven if you want one. I mean, you go have You could have a coven by yourself. My coven's going to mom's day off tomorrow.

That's right. All right. That's going to wrap it up for this edition of Parallel Frequencies on Rosemary's Baby. We may have to revisit this again because it's going to be one of those that a lot of things pop up and I'm going to be like, oh, shit, forgot to talk about that. Apartment 7A, go watch the prequel.

Maybe we do an episode on that one. Yeah, but this was fun. We've been looking forward to this one for a while. Parallel Frequencies, I'm Just Blane. She's Coco.

You are the Freqs and we will see you on the other side.