Parallel Frequencies with Just Blane and Coco. We're back for an all new week of shows. We just passed the weekend. The Oscars were last night. We gotta talk about that.

Oh yeah, yeah. I'm not very good at making sure I watch all of the nominees before the Oscars come around, but we still love to print the ballots and do our guesses before everything starts. I got the kids involved this year. They were cheering for their winners. It was a lot of fun.

That's correct. You guys didn't invite me. I didn't get my ballot picked. You gotta do that for your kids. You gotta get your kids involved and get them excited.

It's like a sporting event at our house. So we're just watching and most of us are like, don't know what that was. We should at least watch the trailers on some of them before we pick. Who took the win last night for you at the house? My husband.

Okay. He had 10 picks, 10, 10 categories that he got correct. And he was like, that's crazy. I haven't seen any of these. I was just guessing on most of them.

As you can probably do with a lot of them, you can look at the names of who's in it and who directed. You can look at a lot of that and kind of figure things out. I just want to toot my own horn here for a minute because this was months ago. Do you remember this months ago on the show when I said this? One Battle After Another is going to win picture of the year.

Let's go to another crazy storyline that's fun. And guess who is involved in this one? Benicio del Toro. One Battle After Another, Paul Thomas Anderson, not Wes Anderson, another Anderson. This movie for me will probably, and this is why it says Sinners won't win the picture of the year if it's nominated.

One Battle After Another is going to win picture of the year. Leo crushed it. There's going to be some actors, supporting best supporting actors in this as well. Sean Penn. It could be Sean Penn.

Look at me. Look at me. Like I know what I'm talking about. I would have won more of those categories last night if I had listened to you because I kept going through and I was like, One Battle After Another. Nah, I'm going to pick Sinners on this one.

And I'm going to pick this on this one. And I think I picked Ethan Hawke for best supporting actor. Of course, Sean Penn won. So I was kicking myself all night like, nah, should have listened. Should have listened.

I'm a pretty good judge of Oscars and except for when it comes to Toni Collette. Did she win last night? I don't care if she was nominated or not. She should win every year. She should get an award every year.

Yeah, I didn't see her. I didn't see her on the red carpet. I wasn't paying attention enough to see who I saw. I still feel like One Battle After Another is your winner. I'm glad I said it back months ago.

I didn't change. I didn't think I didn't think the change because that movie to me did stand out. Sure, there were a lot of other ones. And I said it right there. I said Sinners is not going to win because One Battle After Another will.

Michael B. Jordan got that award, though. He well deserved. Yeah, like, come on. Yeah.

He went to In-N-Out right where I used to live. I saw the video he posted. It was literally my backyard of where my apartment was in Hollywood. But he was at In-N-Out celebrating with that Oscar last night. I liked it.

I love when they do that. Oh my gosh. It's amazing. You imagine. Just the energy of what that must be like to be at the Oscars, to be at the afterparties.

Well, the after party at In-N-Out, that's literally about a block from where the Chinese did, where they had the Oscars. A lot of people don't know that it's it's it's in Hollywood. But a lot of people don't realize that the Oscars are filmed at the mall. It's a mall. I was told by kids that we were just there last August or September, early September.

We were just there doing our our red carpet event. Look at us. To live. Yeah, look at us. But we walked right through that theater, the same red carpet, the area that they do that.

And I was telling my kids and I was like, you know, it looks really jazzed up right here on TV. But it really is just a mall. Like when you're there in real life, you're like, OK. It's a mall. I've been to the theater.

I've went and watched movies there like it's just a mall. It's I will tell you this. I've been I lived on Hollywood Boulevard. And when the Oscars are going on, that is a little bit different of a whole street and a mall because my first year there, it looked like a war zone. I'm not going to I'm not going to kid here.

You walk down Hollywood and right there at La Brea, there were concrete barriers put up in it. And it was it was they were stacked like it was wild. You couldn't drive down it. They didn't. You know, it was to keep out anything that you could think of that would be harmful to that to that area.

I'm not going to name off stuff because we're not going to give people ideas if they don't already have them. But they did. They had these big concrete barriers all put up. And it's a whole lot different right there on Hollywood Boulevard. I should pull up.

I got pictures of that. I should have got those ready for this episode right here. I'll show them. We always have time. We always have time.

Yeah. But I think that's I just thought about that, like the way that they did things right there. Hollywood Boulevard between La Brea and Orange and in Highland, really all that area. But yeah, that's a mall. Yeah.

It's just the mall. It's crazy that all the celebrities are right there. I've been to so much great energy. Yeah, I've been to red carpet premieres. I've been all that kind of stuff right there.

But I've also shopped in eight right there. You know, it's crazy. That's what we did. This is movie Monday. And we should have done One Battle After Another.

We really should have. But we are on the list. For the Freqs that are are waiting for us to talk about some of these Oscar movies, don't worry. It's on the list. We've got we're going to be covering them for sure.

So just stay tuned. We're just not the type to go with just the hype of what's going on right now. We're going to go at it on our schedule, on our time and on our time. That's right. And our time right now is we're in March and we're given our credit where credit is due.

It's Women's History Month. We had International Women's Day, but it's the whole month, if you ask me. And that's what we're doing here. And it would be the whole year if it was up to me. Yeah.

Yeah. With Black History Month. Same with all of it. Let's just celebrate everybody. I've always understood this could be controversial, but I've always understood the months dedicated to certain things, but I have not understood the months dedicated to certain things because it should be all the time.

But I get it. I get we got it. We got it. Yeah, we get credit where credit is due once again. Yeah, we're doing a focus on it.

And that is nice. It's nice to highlight these groups at the time that we that we do and then celebrate them all the time. This one today, I love I love a good revenge. Women's Revenge flick. And you know what?

We'll actually get into that. We'll we'll we'll probably wrap up with something about that. And was the bride really getting revenge or was it something else? We'll get to that. We'll get to that.

But I'm talking about a movie that has lived rent free in my head since 2003 when it first dropped and it's Kill Bill Part One, Part Two, the whole bloody affair. We're talking about it all. And Tarantino won. First of all, is one of my favorite directors. He is probably my favorite.

And every movie he's put out, I enjoyed. I studied him in college. Believe it or not, I went to college. Can you guys can you freak believe that? I believe it.

I believe it. Not only that, but I want a good show at not at being ignorant. But you're not. We all know. All right.

We can see. All right. Well, Tarantino, though, to me is one of the greats. He's up there with the greats. And he's going to be he's one of those that's very polarizing.

It's either you love the movie or you hate them. Pulp Fiction came out and it was the greatest masterpiece of all time or a piece of shit, depending on who you asked, because they didn't like the order of the movie. Why? How do you do something at the end and then go back? You know, not everything is linear.

And Tarantino was the one that showed us that. Kill Bill is really no different. This is like eight movies in one. And it's not rushed because the whole bloody affair, which is what we watched, I've seen every version. But the whole bloody affair is the way that he intended it.

And it's four and a half hours long of just everything that you can think of. Am I right? Was that your first viewing? What was your initial thoughts here? My first viewing this.

I have seen Kill Bill. I know I haven't seen it, but I have seen it being presented to me all these years, right? People talking about it. It's obviously got its huge fandom. I don't know what it was about it that I just wasn't like, got to see that.

I got to watch it. I was just like, yep, it's probably pretty cool. I probably like it. And then it just right past me every time, every time, every time. So we're getting ready for this.

I'm like, I'm going to watch it for the very first time. I'm going to go ahead and go with the whole bloody affair. I'm just going to go for it. So if I have a unique perspective at all, it might be that my very first time, my first exposure was not to watch it as volume one, volume two, but to watch the whole bloody affair and all the extras. And that's the perspective that I'm coming at it with.

So here we go. Which is totally different. Me being a huge Tarantino fan and that was as I'm going to age myself, that was when this came out, I was in college. So I was studying film and I was doing all this. I had to watch it in the two parts, but I do remember it being a really cool time because movies back then, you had to wait for this for part two or the sequel, you had to wait years.

And I remember Kill Bill, part one. And here's the thing, Tarantino wanted this to be one movie from the beginning. But they told him nobody's going to sit in the theater for four hours or whatever. You got to cut it into two. And how hilarious that is now.

The people are sitting in movie theaters watching marathons all day. Now, you're in our backyard right now, Coco. There's a Jurassic Park marathon going on. And I'm thinking, yeah, people are sitting there for literally Lord of the Rings, marathons, Harry Potter, marathons, Twilight marathons. They don't want to leave the theater.

We're sitting in our homes and we're binge watching 12 hours of TV shows in a row. So, yeah, years ago, this was it was too long. You didn't want to be in a theater for longer, two hours. Or it was frowned upon. It was like, oh, well, you're not going to make any money.

And a lot of it did go to money. If a movie's past two hours long, guess how many times you can use that theater a day? Not as many times as an hour and 20 minute movie that you can get more screenings of, put more butts in the seats. So I get it. But it was cool then, because I remember this.

It came out, part one came out and part two was like four months later. So it was awesome. It was like, holy cow. You get to see this in the sequel within six months. Like, that's awesome for timing.

And this is when, you know, DVDs, they came out and it was always. You always had to wait. We didn't have any streaming services and stuff. So you always had to wait, wait, wait. And you didn't have to do this.

But yeah, movies would go, they would be released and they'd be out for as long as they could make the most money, as long as it was selling out tickets for. I mean, so it could be there for a long time. If it was really popular movie. And then and then it would go to the five dollar theaters. You remember that there was always like a less good theater in town.

So you go see it at the Cineplex or something, you know, where they built luxury seats. Maybe that was a new theater. Then go to the five dollar theater that was like the old theater. Still falling apart a little bit. Maybe the popcorn machine didn't work.

That kind of thing. And then you would have to wait for it to get through that run for it to go out into the movie rental, the blockbuster. Your our town had great American video. That was just a little video store. You go rent it on VHS or or DVD.

And then they would sell it to you in the stores after a period of time. My hometown video store was called the video store. Not even kidding. That was it. That's but you're absolutely right.

Oh, we also had a Hollywood video in our town. And I just saw there you go. Side note, it is now a funeral home. Oh, makes sense. I thought that was hilarious last night.

That's very fitting. That's very fitting. So up until this point in Tarantino's career, we'd seen him pay homage to different types of movies and Kill Bill itself. I mean, well, we had Pulp Fiction, like I said, you had Jackie Brown, Reservoir Dogs. You had seen him mix all these different stuff, these different styles together.

Even even in Pulp Fiction, you had a samurai sword at one point. And, you know, there's there's certain things that you start seeing in all of his movies. And that's the Tarantino universe. But this Kill Bill movie, we knew it was going to be a hot one when it was coming out. He was starting to get to the peak.

He was really talked about. And this was his love letter to revenge samurai films, Spaghetti Westerns, which was a kind of a forgotten genre. And basically every exploitation flick he ever watched at 2 a.m. He took a reference from it and put it into the Kill Bill. And he did this later on, too.

But this was when he really, to me, started to shine. And it was one of his. On screen actor, actor, you know, respect, whatever. But Uma Thurman, that's a staple in his movies. And she, the bride, is got to be one of the most iconic revenge characters in the history of film.

Beatrix Kiddo. Beatrix Kiddo is their name. But you don't find out. Yeah. What do you think about the bride, though?

Well, I loved when doing some research and finding out that she really kind of wrote that with him and she was credited at the end, thanks to Q&A or Q&U at the end of the credits. Yeah. Just giving her credit for like coming up with this idea that she was going to be a bride. And that that was like a kind of creative collaboration. And her character, you know, almost right from the beginning.

My my hair today, I'm trying to pull pull inspiration from what this character reminded me of. And I don't know if you remember seeing the X-Files episode, Kill Switch, that character, she had black eyes and slick back ponytail, blonde, gorgeous, but kind of dark and really into it was this whole episode about uploading yourself to AI so that you can live forever. Super cool episode of X-Files, by the way. But that's kind of what it pulled from right at the beginning. I was like, oh, this warrior, but very feminine at the same time.

I am so into it and I have a lot to say about it, but I'll just say first impressions, I was like, all right, I'm here for it. All girls, whether we're athletic or not, we want that warrior part of us. We want that to want to be able to be that in some form or another. We want to be able to hold our own. We want to be able to know that we're not weak.

We're not subjective to whatever our situation is, that we can hold our own, basically, right, whether it's words or physically. Yeah. It satisfies that for us, I think. And this this movie right here, you said it, the women, the cast. Holy cow.

Vivica A. Fox, Lucy Liu, Darryl Hannah, Uma Thurman, like stacked with powerful women. And Tarantino knew what he was doing. He knew putting those women together. He knew what that was going to do.

And. It's like I said, it's that revenge story, but not only is the bride taking revenge against men, she's taking a revenge against the women and everybody else who all had a part to do in basically the setup to the movie where she gets shot in the head on her wedding day. She wakes up in a coma, makes a list and starts checking the names off of all the people who wronged her. So sure, it's starting with the first guys that she wakes up to. Oh, my God.

I mean, those kind of things in movies, they're just they taste so good. And I will just say personally, for my perspective on Quentin Tarantino, I'm not a big fan of violence. Like I don't like seek out violent movies to watch personally. But I love his movies because they always feel like the violence is so juicy, like like, yeah, we're going to want to see Nazis getting killed. We're going to want to see, you know, we want to see the revenge.

We want to see people who have harmed others to get their just rewards. And and there's there's just a part of us, even the kindest and the gentlest and the most peaceful people. I would like to think of myself in that category, because it's hard for me to even picture myself enacting any kind of violence. And I'll talk about this more later when we get to it. But there are certain situations where you're like, I would like to think that I could be that violent in that situation.

I would like to think I could. I mean, this guy, Bill, took four years of her life and her baby, really. So she thinks so. You got to you got to. Yeah.

I think you would be revenge. I think you'd be looking for yours, too. And I think it's totally psychotic to be like, oh, that's good. When you see a scene where it's just really that bloody and gory, the blood spraying everywhere. I mean, most of the time I watch a movie and I go, oh, a little bit, but not in his movies.

I don't do that. I go, yeah, let's go. And yes, that scene, the scene was really bloody by design by Tarantino, let's just say, and no, it was practical effects, no CGI, none of that stuff for most of the scenes. But that was going back to some of his genius. It's like on paper, this movie sounds simple.

But when you got Tarantino involved, you've got basically a movie that is Frankenstein's Monster of Influences. It's Quentin Tarantino's Monster of Influences. Shaw Brothers Kung Fu, Japanese Samurai cinema, Sergio Leone. You know, that's huge black exploitation, even a little bit of animes in there. It's like it's like he went through his VHS collection and said, how do we do all this at once?

Yeah. And how do we make it work? Which is hard to do. I mean, I don't think just anybody could do that. And a lot of people would just be like, oh, it's a copycat.

Look, they're just copycatting all of these things. Yeah. And his more of like, I'm going to take inspiration from these things and I'm going to amplify it and make it my own. And it's next level. Right.

I mean, that's very different and very hard to do. I mean, underneath all of the genre mashup madness, there's a beating heart. And that's what that's what gives it this movie, what it is. And the beating heart is Uma Thurman as the bride. She's the anchor for this film.

Let's talk about her because she's more than just a bad ass. Sure, she's a stone cold killer, but she's got a whole lot deeper human meaning, emotion. It's there. And it's basically her life is ripped away from her. Unborn child, she doesn't know the future.

Her identity is gone. She didn't even have a name for the first, what, two thirds of the movie. She's just called the bride even, you know. So she really wakes up and she's one of these people who's got nothing to lose. She's not, you know, there's nothing that she can do that's any worse.

That's terrifying because that's somebody that you can't hurt. She's already been hurt. Yeah. Yeah. You don't die.

Technically, I mean, shot and came back. She's like that. That's scary to me. That's not somebody who won't come in after you. Somebody's got literally nothing to lose who thinks she's already been dead once.

Got shot in the head. Oh, yeah. I love the line that Bud or was his name Sidewinder? I'm getting that right. I think so.

His line where he says that woman deserves her revenge. Yes. And we deserve to die. That was one of my favorite lines in the movie. Just I love that these assassins, all of these cold, hard killers, they've got killing in their blood.

They know what they're doing. They're super skilled. They're also trained to kind of remove all the emotions out of it and go for it. What you need to do. That comes first.

You don't think about anything else. And even still, there's this element of rule following and respect for each other. That skill and just professionalism, I guess, is maybe what it would be. But this almost code of conduct they have for each other is incredible. Like, we can't just kill her while she's in a coma.

She deserves better than that. This kind of thing where it's like they're cold, hard killers, but they're also going to consider these things and go, this is this is somebody we respect quite a bit as well. They have I got that feeling from everybody. Yeah, they got like unwritten rules is what it is. It's like unwritten rules in the assassin world that you can't go against, like like killing her in a coma.

That should have been easy, but they don't do that way. I love that you pointed that out because, yeah, I think she might have. I think that that character maybe didn't have quite the rule following that everyone else did because she she killed the master. You know, she reveals at the end. I don't think she had scruples about any of that.

But I want to point out that her the bride, Beatrix, as the hero of this story, I loved following along with how it fell in line with these archetypes that we know of in in literature and almost like that Christ archetype character where they have to be found worthy. They're the only ones who can do it. There may even be the. In this, it would be more subtle, but the hint of a prophecy of the one, you know, the kind of thing, and it kind of alludes to that with her. It's not as obvious, but it still has it follows a lot of those same archetypes of story, and it's shown mostly with the sword, the sword with Hattari Hanzo, the steel samurai sword, you know, for him to come out of retirement, you know, he has his blood oath, but he's forsaking that just to make her one more sword.

I mean, how many times do we see that special sword is given to the one that is worthy in fairy tale, right? King Arthur, the legends in Arthurian legend of getting the one sword. So he's almost kind of a takes the place of a sovereignty goddess that we see in other mythology, where it's like, I have deemed you worthy of this sword that I will make for you. And it's almost mythical, magical. There's something about this sword.

In this case, it's just the level of craftsmanship that goes into it. But there is something kind of other level, otherworldly about it. Right. Like she gets the sword and then it's like, whoa, he made you a sword. Everyone's noted noting it, taking note.

So you just brought another genre into it that I didn't think about, and that's fantasy. He's got some fantasy in here. He's got that mixed in. Yeah, let's talk about it. We've talked about the genres and stuff.

Let's talk about the structure and style of the of the movie, the Tarantino touch, because it's not a traditional three act film. It's not that structure at all. I mean, the movie came out in two parts. It's more like a series of chapters, literally their name. Volume one, pure adrenaline, the bride verse for needed green.

Then you got the the old Rene and the crazy 88. That that is an iconic fight scene. Yes. That's the one I was talking about with all the blood. Two months to film.

Yeah. But then you go. Then you go to volume two, or if you're in the whole bloody affair after the intermission, it slows down, gets more introspective, more emotionally complex. So we went from a bunch of violence in this first half of this this movie to all right, let's slow this thing down, which is totally opposite of what most movies do. It's usually that buildup, bunch of violence, roll the credits.

Big battle. Yeah. Yeah. We get the backstory. We start getting backstory about like Pai Mei and the truth about what happened.

The final confrontation with Bill, which is, by the way, not a big fight, violent scene. It's just conversation. It's a wreck. I was ready for it. I was like my kids were coming in and out as we were trying to watch this.

I'd have to pause it and be like, OK, like help the kids and then get them out of the out of the room so we could watch the super violent. I was getting ready for a big violent battle with Bill and got the kids out of the way and then hit play. And I was like, oh, they probably could have stayed for this. But I think that's something that's the way that they ended. That was very beautiful, though, because when confronting a person that basically destroyed everything and you want to take back power, it's not through violence that would be well, technically, yeah, sure, she did go through some violence, but it's not through just violence.

It's through closure that she gets what she wants. And I think that's a big thing. I think she's getting closure on all this stuff. It's not necessarily about killing these people, but that's what it takes to give her her closure. Then so be it.

It was about letting go, letting go, kind of. And that that symbolism, too, of the five steps, I I loved that because I mean, I was taking it very not literally. Like, I thought, OK, you do the the five point, whatever it's called, that she learned from Pai Mei. And oh, yeah. And then it would be like the timing of five steps and his heart would explode.

Well, I thought that's what was going to happen. But the literal five steps was just epic. I mean, just it was the absolute perfect ending. I thought to let him go. He gets to have his dignity.

She gets to maybe not forgive him, but forgive, let go. Kind of letting go of you did what you did. We did what we did. It is what it is. Now you may go.

And knowing that the whole time, even as their conversation maybe would have gotten to a point where they were both like, all right, we each understand each other. We understand why we understand, you know, maybe we let go of any resentments towards each other about what happened. But knowing deep down, I kept feeling like, yeah, but he can't live. And she knew it. There was just this understanding.

And that's kind of the back to the whole assassin's rule. It's almost like he knew it. She knew it. It was like, I can't let you live. This is this is how this is going to end.

Right. Would it have been different? I'm sure I know it would have. Or was that was it necessary for them to have a big violent battle at the end after all we've seen so much? I don't think so.

I think that's like you said, that's the perfect ending. The absolute perfect ending. Let's talk about the soundtrack. Tarantino is known for great music in all of his movies. But this one to me, next level, you had everything from Bernard Herman's Haunting Strings, any old Mario Cone.

Most of the soundtrack was him. You even had RZA in the Wu-Tang Clan. And then that whistle from Twisted Nerve that still gives people cheer. Yeah, that's fantastic. Every needle drop, let's just say, is intentional.

Every song choice is doing its work, setting the mood, building attention, celebrating violence even. It's not just the background. It's not background noise in this movie at all. It's almost part of the set. You kind of feel, right?

Like the music playing when she goes to Sidewinder's trailer to confront him and the music playing. It's like he's playing it out of his trailer or possibly not. Maybe it's playing in the background of the movie. But it feels like it's part of the set. I mean, in the crazy 888 fight scene, you get the sirens going off.

That's absolutely setting the tone. Bang, bang, my baby shot me down. When that hits any time now that anybody plays it anywhere, you think about this movie and it's an instant emotional gut punch when you hear that song. And that's what this movie, this movie sets cultural tones for us, too. There are so many movies that have taken inspiration from just Kill Bill Alone, not just Tarantino, but Kill Bill Alone.

And you start seeing it. You probably even though you've never seen the movie, you've seen movies that were inspired by this one, by Kill Bill. You know, like that's that's huge to me. The iconic yellow jumpsuit. I mean, that was something that I know was taken from another movie, another reference, right.

But but then it became kind of the Kill Bill. Yeah. Thing, right. The image of the Lord opening the sword. I found myself researching how to get myself a samurai sword while watching it.

I may have tried to maybe see how much it would be defined. Yeah. All part of the of the experience that this movie created. I got it. I want to say, too, about the violence, the violence in this movie, even though it was so much and absurd, it was needed because it's like Tarantino, the violence as opera, you know, I mean, think about the House of Blue Leaves sequence alone is 20 minutes of ballet carnage.

Oh, I love it. Limbs flying, blood spring, bodies piling up. And the thing is, it's not realistic. It's stylized. It's almost cartoonish.

Well, that's the point. That's the point. Like you said earlier, you don't normally seek out violent movies, but in this, it's so violent, but he's not trying to do it in a way to make you sick. Yeah, some of the other movies, you know, he's theatrical. It's violence as a performance.

And it's so over the top that it creates distance for the viewer at home. And I think that's OK. I don't think we're sitting there thinking, oh, I can't watch this because. You know, blood doesn't squirt up out, you know, like it. That's not how things work.

We assume, yeah. Don't know. Never decapitated a person at a boardroom. But if I could, I'd want to do it like Lucy Liu. Oh, yeah.

The little footsteps. All of this, these women, it's there's a lot of motherhood and identity in there, too. Yeah. And that's that's what I was going to say was getting to that point. The the balance between the masculine and feminine, because it's very I mean, the violence and the swordplay, that feels very masculine.

It feels like, you know, requiring a lot of skill and strength and on training and things like that. You mostly see with men warriors or that it's been depicted for us for thousands of years. But to have this sort of other side to it that was represented in this movie, I loved all the murders. Anybody that was killed in this movie was taking place. All women.

Yeah. Women were the only ones that killed anybody, which I loved. And then to show that there was this other human side where the second the second Beatrix gets a positive pregnancy test. Yeah, everything changes for her, everything. Her purpose.

She says it. It's not subtext in the in the plot. It's she's telling Bill that changed everything. In that moment, I could not put my life on the line anymore because it wasn't my life. And that how what better way to explain what it means and what it feels like to be a mother.

And not everybody has that experience. Some people are like, well, I don't think I was meant to be a mother. They don't want to be a mother. Totally fine. No judgment there.

But for those with that maternal desire or instinct, it is so exactly like that in our whole world. I think that the world likes to ignore it. I think that the world likes to think that women could have careers or do whatever, and they would just keep going like they've always been. They get to be. They want them to be the maiden forever and never transition into what it means to be the mother.

And I think that the bride showed that so well in this movie to be like, I am an assassin. I do kill like it's in my blood to kill. I fully acknowledge that. And yet I have this other part of me. It's going to drive the ship now.

The mother part, right? For my child. Yeah. And she really gives it to Bill, like in a way that's sure, I think violence would have been what he would have wanted. Like that would have that would have been almost like a he won type of thing, even if he did die.

But the way that it happened was poetic. Yeah. And because we find out that when Bill shot her, and this is in volume two or halfway through the movie, but that's when she finds out that and that she's pregnant and we think the baby died. Then she finds out that the baby's not dead. So it's a lot.

It's a lot of this push and pull of emotion. Yeah. That she's going through. And she's a complex character. She's not just a cold hearted killer assassin.

She is also this woman mother that that is shown very early on, even when she's in that first battle with the first person on the list. And she sees the school bus come and they take a break from killing each other. They literally take a break from trying to kill one another. Let's talk about Bill too. David Carradine.

Rest in peace, David Carradine. But he plays this weird mix of charm and menace. He is pretty cool, calm and collected and almost fatherly at times. Yeah. It's not just, you know, to everybody, which makes him even more terrifying.

Yeah. Yeah. It feels unsettling. Almost all of the scenes are like this because, you know, they're assassins and you don't know what's going to happen next. Like, oh, oh, wait, they're talking.

But like somebody what? But that he plays that really well because he's he could have killed her. I mean, yeah, you know, from the very start. But you've got this feeling like she's totally vulnerable or she's exposed. What's going to happen?

Is he going to be gentle with her? Or is he going or is that killer instinct going to kick in and he's going to go at her like we don't know for most of the scene in the end? Unnerving. Yeah. Big time.

He he I can't see anybody else in that role of Bill other than than David Carradine. Mm hmm. It's hard to. Yeah. It's hard to put anybody else in any of these roles.

I always think Tarantino does a great job of casting most of his roles, and he uses the same type of people. He uses the same actors in most of his movies. He's got his own posse, let's say. Yeah. Yeah.

Ensemble. His ensemble, his his total ensemble. This is I love this movie and we could talk six hours about this movie. We may actually do this movie again somewhere down the road and just pick another part of it or pick another aspect that we could run with because there's so much to take from this. And like I said earlier, the cultural influence is not going anywhere.

This came out 20 years ago. That's hard to believe. 20, 20 plus. And we see we see it still influence filmmakers today. We're talking about it like, you know, we're talking about it.

People will watch this because we're talking about Kill Bill. That's how important this movie is to. Film in general, and I'm I know the Tarantino. I know the people out there who don't like him. They're they're tuning out right now.

But you know what? Like, you got to say that this guy's done a lot for film. And when AI takes over making movies, I don't think they're going to be able to make these Tarantino type of movies. No, the details, the details and choices that were made in this movie particularly, but I think he does in all of his movies. I think you can see the attention to detail.

And I'll point out one part that that is highlighted to me. And it happens throughout the whole movie. But I loved when she's fighting. What's her name? Elle, she's fighting the their own hands.

Yeah. And they're in the trailer and they each kick each other and fall back. And the split screen where it shows both of them fall back. The attention to detail to create something like that, to show that. I just thought that was so signature.

Quentin Tarantino, that was perfect. S tier A plus for that. That whole trailer thing. First of all, I have a legitimate phobia of snakes. Oh, legitimate, legitimate.

It's it's it's it's a phobia. Don't I'm serious. Don't play pranks on me. Anybody out there. We don't don't play that.

It's a legit phobia. That's the only thing in the world I'm scared of. Legitimate scared of. So that but I love that scene. But the whole time, I've got to pick my feet up off the ground.

I've got to be like, where's the snake? Where is the snake the whole time? And I'm like this and I'm like, oh, my God. And I'm thinking about the whole time. I'm like, oh, my God, that snakes on the floor.

It's got to be like right about here, right about, you know. So I'm watching that scene all the time already kind of on edge. But that seems incredible. As so many in this movie are. And it's wild because you take you take that fight scene and then you take the crazy 88 fight scene.

And it's like two different movies. You show those out of context and don't show the character. You could even show Uma Thurman. Yeah, you think you should be just playing a different character in a different movie in a different movie. But it's the same movie.

And I love that. And that's what I always get from this is it's one of those. It's I watch frequently and it'll be. One of the times when I don't know what kind of movie I want to watch, well, I'll just watch them all at once. I just watch like nine genres at one time because I'll put on Tarantino.

Kill Bill. Yeah. Yeah, we're still waiting for that volume three. It's been teased, but we don't know. I don't know if it's been confirmed, but a lot of people are are like the the daughter, Nikki, comes back at Beatrix for revenge for her mother.

And I'd love to see the two daughters. Oh, man. Grown up and trained and. See what happens. I don't know.

Maybe Tarantino will give it to us. Maybe he'll do that for us or at least. I don't know. Tell us, give us something, give us a. Yeah, we could write a graphic novel for for all we know.

Like whatever, it don't matter at this point. Yeah. And I would love to see a little bit more of Beatrix's backstory, the way that we got the anime backstory and Oren. That was so incredible. I almost wanted to see that for each of them.

I was like, oh, are we going to get this for each of the of the people on her list? So there's a lot of opportunity there. It's not a potential. Let me make a note on that, because I think that the anime in the whole bloody affair that just released recently on digital might be on blue right now. I believe the anime on that is a little bit longer than what they showed.

Originally, I think it was an extended version because I don't remember sitting there for that long. That was a long sequence in the whole bloody affair. Yeah. To the point to where you're like, holy crap, I just watched like 30 minutes of anime before you realize it. And I don't think it was that long during the the theatrical run.

I could be wrong. Somebody out there will know one of our Freqs will get get at me and tell me if I'm wrong. But it did feel a lot longer. And it sucked me in more and gave me. More depth, more care about Oren.

Like I was like, oh, yes, I can see some of this now. So final thoughts from you on this final thoughts. I really I guess I just want to highlight the the great focus it was on women in this whole movie. We tend to think of all of these types of movies, if it's a kind of a violent warrior revenge, I mean, even all of the movies that Quentin Tarantino pulled from to make this movie, all of his inspirations, it would typically be men fighting men and this kind of thing. But there was a scene where they were talking about I'm the boss of you.

And the word I'm the boss of you came out. And I realized how much. Oh, it was Sidewinder was at the the bar that he works for and he was asking for work and the boss was like, I'm the boss of you. And I remember thinking, man, is that not just the perfect thing to just zoom in on to see a wider picture of this whole movie? But in one little part to see that that this was this sort of I'm the boss of you hierarchy, this masculine energy of patriarchy that's like, I'm the boss of you and you're the boss.

And then this boss has a boss and then somebody is king and somebody is emperor. And it really is designed to control everybody underneath that, especially men. So for him to be like, you're not the boss, I'm the boss of you. And then for that guy to go out into the world and to be like, well, now who am I the boss of and to have his ass get kicked? Yeah, I don't know.

It just felt like if you just zoom in on that little part, it also kind of highlights the theme of the entire movie. I love that. Yeah, Bill is a master class in style, meaning substance. This movie will never be forgotten. It will only be mimicked in probably the best kind of ways.

And I will watch it again and again and again. But I do got a question for the Freqs out there. Did the bride get justice or revenge? Is there even a difference? We want to hear from you.

But that's it right here for Parallel Frequencies with Just Blane and cocoa. This week's a big week because we got Ted Lasso coming up tomorrow. We got alien Sigourney Weaver and alien Wednesday. I can't wait for that one because she's that's the biggest heroine there's ever been. And I'll get into my take on why alien is the scariest movie ever.

OK, I know there's scarier movies, but I'm going to tell you why it is. And we'll get to that Wednesday. We got to the part Thursday coming up again. All women will do it all women again. Try to part Thursday and then Friday.

What we got Friday. What is the last Friday? Oh, yeah. Pamela Anderson, the last showgirl. For those who haven't seen it, it may be a little bit of a tucked away movie.

Many people haven't gotten a chance to see yet. And so this is your chance to make sure you get to watch it before we talk about it on Friday, because it's worth the watch. That's what we like to do on Feature Friday. We like to bring up movies that maybe you didn't see but need to. So that's going to be a good one.

I don't know if I've seen it. That's not the one she got the barbwire tattoo for. Right. No, that movie was called more recent. Yeah, I think I think that movie was called Barbar.

Well, we'll get into our Pamela Anderson and the last showgirl on Wednesday. But yeah, Freqs out there. We appreciate each and every one of you for hanging out with us. Keep riding this ride. We're going to keep on blowing up and having fun.

That's what we're doing. But until next time, we'll see you right here. Parallel Frequencies.