This transcript was automatically generated and might contain errors.

[0:12] Jesse McAnally: Hello, I'm Jesse McAnally.

[0:14] Alan Seales: And I'm Alan Seales.

[0:15] Liz Eston: And I'm Liz Eston.

[0:17] Jesse McAnally: And welcome to Carrey'd Away, a podcast where we explore the films and television shows starring the one and only James Eugene Carrey.

[0:24] Alan Seales: And how are you guys doing today?

[0:27] Liz Eston: Good.

[0:27] Alan Seales: Good!

[0:28] Jesse McAnally: I'm nailed it.

[0:29] Alan Seales: Hashtag nailed it all day.

[0:31] Jesse McAnally: I've been recording and working. And this has been one of the things I've been looking forward to the most, and it is so lovely to see both of you.

[0:39] Liz Eston: It's so lovely to see you too.

[0:41] Alan Seales: We are recording this 100% literally five minutes after we did our last ones.

[0:44] Jesse McAnally: There's been no elongated hiatus break.

[0:47] Alan Seales: No time gaps.

[0:47] Liz Eston: What are you talking about?

[0:48] Jesse McAnally: Wormhole.

[0:49] Alan Seales: Wormhole.

[0:50] Jesse McAnally: But I'm actually not as good as you, Alan, sadly, because I had to watch All in Good Taste, which might be one of the most disgusting things I've ever had to watch for a podcast in my life.

[1:03] Liz Eston: I came close to doing the cartoon version of putting toothpicks in my eyelids to keep from not looking away.

[1:13] Jesse McAnally: You kind of do need to get the Clockwork Orange material style on your eyes to get through this because this is rough and not in the same way that Copper Mountain or, oof, what was our pilot episode?

[1:25] Alan Seales: Rubberface.

[1:26] Jesse McAnally: Those two were short, sweet, and not great. This was just—this made me feel sick.

[1:32] Liz Eston: I've got a movie that'll make a good show, make it home!

[1:35] Jesse McAnally: Make it all filmmaker.

[1:37] Liz Eston: Make it on a taste labor shoes.

[1:44] Jesse McAnally: But this film was released in 1983. And guess what else happened in 1983?

[1:48] Liz Eston: It is the year that the Super Mario Brothers game debuts.

[1:51] Jesse McAnally: Margaret Thatcher wins an landslide victory in the general elections in the UK.

[1:56] Alan Seales: That would be nice to have a general election there sometime.

[1:58] Jesse McAnally: The first mobile phones are introduced to the public by the Motorola Company, and Jim Carrey starred in a weird nudie comedy called All in Good Taste.

[2:08] Alan Seales: And then the trailer will play here.

[2:10] Liz Eston: Would you say starred?

[2:12] Jesse McAnally: Like he starred in it.

[2:14] Alan Seales: He's definitely in there.

[2:17] Jesse McAnally: Like this is one of those things that if he had not become who he is, we would have never recognized his pasty white ass from the other pasty white asses.

[2:26] Alan Seales: But the thing is, the studios 100% plastered his face all over all the VHS covers as soon as he became famous.

[2:33] Liz Eston: Like Copper Mountain and like Rubberface. It is a theme that we've developed here.

[2:39] Jesse McAnally: But how many lines does he have in All in Good Taste?

[2:45] Liz Eston: I had to think about it. This is a really hard question.

[2:48] Jesse McAnally: He has no lines.

[2:50] Liz Eston: None, okay.

[2:51] Jesse McAnally: Okay, just make sure I didn't sleep through one.

[2:52] Liz Eston: Okay.

[2:53] Jesse McAnally: No, no, no, no. He is introduced like a jump scare.

[2:57] Alan Seales: They introduced him like he has already been in the film for 45 minutes.

[3:02] Jesse McAnally: And we're just supposed to know who he is.

[3:04] Liz Eston: He has a name and everything.

[3:07] Alan Seales: Like they introduce him by name. He comes in and then he's just part of the action for the rest of the movie, carrying around the weird briefcasey thing.

[3:18] Jesse McAnally: Yeah, he was given boobery.

[3:20] Liz Eston: This film was released May 6th, 1983. It was written by Rick Green, Anthony Kram Rethier, and Robert C. Diaz Do. It was directed by Anthony Kram Rethier as well, and it is about a filmmaker who is upset to find out that his wholesome script about an orphan and his dog has been warped into a film about strippers.

[3:41] Jesse McAnally: Um, it is based on the director-writer Anthony Kram Rethier's real-life stories and working in Hollywood and how he became corrupted into the more seedy filmography scene.

[3:55] Liz Eston: Um, and yeah. It's weird to look up anyone involved in this production, um, because a lot of them aren't with us anymore.

[4:03] Jesse McAnally: So they are very well known in Canada in their film and theater scene, but outside of Canada, nobody knows who they are.

[4:10] Alan Seales: I have no idea who these people are or were.

[4:15] Liz Eston: And even Robert C. Diaz Dol is uncredited.

[4:23] Jesse McAnally: But so how do you know he wrote—he co-wrote it, I guess?

[4:26] Liz Eston: That's a Liz question. How do you know he wrote it?

[4:28] Jesse McAnally: The internet told me he was uncredited, so that's my story.

[4:33] Liz Eston: I would love the idea that this gentleman, this French Canadian gentleman, and the only reason why I'm adding any credence to it is because that is the most French Canadian name I've ever seen, um, just as like, hey, I did an uncredited rewrite where I said girl walks in with the big boobies out. Um, I want my name on that film.

[4:50] Alan Seales: Well, he was also a writer on one of the directors' previous movies, known as Mondo Strip. Um, but he was credited as Leo Zeppelin, not Led Zeppelin, Leo Zeppelin.

[5:03] Liz Eston: Are you sure it's not a typo?

[5:04] Alan Seales: No.

[5:05] Liz Eston: No, I hope not.

[5:08] Jesse McAnally: Anthony was actually really well known in his local scene in Toronto, but sadly in the 90s he got Parkinson's, and there was a lot of write-ups about local filmmaker surviving Parkinson's, and sadly that is what took his life in nineteen ninety-three.

[5:22] Alan Seales: Um, almost a decade to the day when All in Good Taste came out.

[5:27] Jesse McAnally: I don't hope that the critical success of this movie caused him any health concerns.

[5:34] Alan Seales: It is interesting though. I only bring that up to say that he—the biggest thing that this film is known for is its tie and connection to Jim Carrey.

[5:44] Liz Eston: And he died right before Jim Carrey made it big, and his film would have a resurgence of this disgusting thing in Jim Carrey's career.

[5:52] Jesse McAnally: So he wouldn't see the legacy of what this film would be because Jim Carrey's big year wasn't until nineteen ninety-four, a year after this guy died.

[6:00] Alan Seales: That's actually really sad.

[6:02] Liz Eston: Yes.

[6:03] Jesse McAnally: Cause this—this was obviously something that they were all very much into Jim Carrey.

[6:16] Alan Seales: Gosh, uh, yeah, I mean, isn't that like all great artists? Their work isn't appreciated until they're dead.

[6:22] Liz Eston: Yeah, this is very much like the Island of Le Grand Jot from Sunday in the Park with George.

[6:28] Jesse McAnally: He was the George Seurat of nudie films starring Canadians.

[6:32] Alan Seales: When we started talking about doing this podcast and you were like, alright, so here's the list. We're gonna go through these and just warning, um, the third one, All in Good Taste, it's got a little bit of nudity in it.

[6:49] Jesse McAnally: Oh, you told him just a little. I knew that Jim Carrey was embarrassed by this film and said like, yeah, I'm sad it's still out there, but whatever, um, I was young. So I'm like, alright, that's a nudie film.

[7:00] Alan Seales: I don't think it was straight up porn though, because I hadn't watched it yet.

[7:06] Liz Eston: No.

[7:07] Alan Seales: No, no, no, no. It wasn't, 'cause I don't even remember any male genitalia.

[7:15] Jesse McAnally: Yes, there was the man in the cowboy hat and the tie walking around with a big floppy dick out.

[7:20] Liz Eston: Yes.

[7:20] Alan Seales: Yes, yes, yes.

[7:22] Jesse McAnally: Alright.

[7:23] Alan Seales: So no, I take that back. But there was no actual penetration as far as I know, but not on screen, at least.

[7:25] Liz Eston: Not on screen.

[7:32] Alan Seales: Right.

[7:33] Jesse McAnally: So could be behind the scenes, we don't know.

[7:35] Alan Seales: Where—when was the MPAA in whatever the rating system invented, created?

[7:40] Jesse McAnally: That was invented after the, um, oh god, I think it was the Hays Code was kicked out because they didn't quite like how that was going on. So I want to say around the mid-60s, um, right after Kubrick's Lolita was when they brought in like a proper rating system.

[7:57] Alan Seales: 1968. The MPAA established a system of movie rating.

[8:02] Jesse McAnally: Alright, so I was gonna wonder if this was rated NC-17 or not.

[8:06] Alan Seales: I mean, because we're—I don't think—I think this was unrated.

[8:10] Jesse McAnally: Yeah, it was Canada. They just make it and say sorry.

[8:14] Alan Seales: And also the MPAA is only America.

[8:17] Liz Eston: I don't know when the Canadian rating system would have come in.

[8:20] Alan Seales: MPAC and Motion Picture Association of Canada.

[8:23] Jesse McAnally: I don't know. They probably have their own rating system.

[8:26] Alan Seales: So they shot this in 60 millimeter film, like they—this is a proper movie. This isn't like, um, because things like now, like we have Velocipaster where it looks—it's shot on the same thing as everything else.

[8:40] Jesse McAnally: Um, yeah, it is a proper film shot for cheap.

[8:45] Alan Seales: The thing—it's such an uneven narrative. Like, Alan, can you even try to describe what the plot of this movie is to me?

[8:52] Jesse McAnally: Um, Jim Carrey walks around trying not to show his wiener.

[8:56] Alan Seales: And yes, that is an element, but there is an overall plot about our lead character who is not Jim Carrey, um, but a gentleman called, um, I think his name is Timothy, played by Jonathan Welsh.

[9:09] Liz Eston: Yes.

[9:10] Alan Seales: Yes.

[9:10] Jesse McAnally: Um, so Timothy is a film writer, um, a very upstanding man with a wife that he loves, but every—and he's got this little movie about an orphan and a puppy, but every time he takes it to these TV producers, they want to add tits and ass to it and tanify it.

[9:27] Liz Eston: And he's like, no, no, no.

[9:29] Alan Seales: And then they trap him into a contract, and no matter what, he has to make this tits and ass movie.

[9:34] Jesse McAnally: Um, and his wife is like, no, you shouldn't have to do this because character spectacle test, all that kind of stuff. And then he decides, you know what, I'm gonna do it. But he's such a nice guy, and it's such a—it's so awkward for him to be around all these naked ladies and men and stuff, and then the movie just focuses on naked ladies for the last 30 minutes, and he is a successful nudie director, and that is how the movie ends.

[9:58] Liz Eston: How much of these stories back in the day, or even currently, do you think get written because somebody on the creative team just wants to be around a bunch of nakey ladies?

[10:09] Alan Seales: A hundred percent. I'm pretty sure that's the reason why Euphoria exists.

[10:15] Jesse McAnally: Probably like any show where there's a gratuitous amount of nudity, I think it's just because the dudes who wrote it and directed it want to be around a bunch of naked people.

[10:24] Alan Seales: Well, I—yeah. I could see that. That's why I think Game of Thrones was so into that early on.

[10:31] Jesse McAnally: They're unpacking a lot of their own sexual frustrations through their art.

[10:35] Alan Seales: George R. R. Martin.

[10:36] Jesse McAnally: Yeah. That's a really interesting point to bring up because you watch things as a casual observer, and maybe like in an un—without a personal connection to anybody in the movie or their crew or the writer, you know, whatever it is, right? And then you come out and you're like, that was really fucked up. That was weird. Like, I can't believe someone would write about that. And then you think—you gotta think deeper because somebody actually did write it.

[11:02] Liz Eston: And like if you were friends with this person or these people, like, I don't know. Does it change your view of somebody who's writing a bunch of stories about incest or about being around nakey ladies all the time?

[11:16] Alan Seales: There could be—there is a side of this, um, where you could see it as someone trying to do art and doing it the right way and hiring the intimacy coordinators and all that. Like a person who writes and directs a lot of messed up things, who I do not believe in any way is a pervert or weirdo, is like David Lynch, where these things will happen and he just looks like, alright, good job, everybody. I don't think he's doing it for any kind of like second perverse sense.

[11:45] Jesse McAnally: Um, the way I think that's a—the guy that directed Blonde, he just likes seeing Ana de Armas naked.

[11:52] Alan Seales: Yeah, what about like Tarantino? Just strange.

[11:54] Jesse McAnally: Well, you know, his foot fetish, that is always in his films, like it's not even like thinly veiled anymore, it's just direct.

[12:03] Alan Seales: That's true.

[12:04] Jesse McAnally: Margaret's feet deserved a fucking title above the film in Once Upon a Time in Hollywood.

[12:11] Alan Seales: That is very true.

[12:12] Jesse McAnally: Alright, well, how about we get back to Jim?

[12:15] Alan Seales: I mean, technically this is all connected, um, because it is about like this guy who obviously has a lot of hang-ups about like the sexual situation he's found himself in, and I think in his mind he's trying to make a real movie here, and at least may have started that way, and then he just falls into like the conventions because that's what he knows would sell videotapes to dirty perverts.

[12:39] Liz Eston: That's what's baffling because the first 30 minutes is just him in boardrooms with the craziest looking men you've ever seen.

[12:46] Alan Seales: It is actually kind of meta.

[12:48] Jesse McAnally: I mean, it's very meta, right? Because, yeah, like I wonder if he was just trying to sell this script and they—and somebody was like, you need more tits and ass in it.

[12:57] Alan Seales: Alright, somebody with a big cowboy hat was just like, put some boobs in it.

[13:02] Jesse McAnally: Like, but I don't—I don't want to make some real art.

[13:04] Alan Seales: Nope, nakey ladies. We need lots of naked ladies.

[13:07] Jesse McAnally: Um, I wish that was just the title of this movie, Lots of Nakey Ladies.

[13:12] Alan Seales: Um, but then there's like a weird scene where he is about to get sexually assaulted by one of these guys. Like, do you remember this scene? Because I felt like I was daydreaming when it happened.

[13:22] Jesse McAnally: I felt like, what's going on? Am I making this up?

[13:26] Liz Eston: Um, do you remember the scene, please?

[13:29] Liz Eston: The only thing I remember him potentially being assaulted is when he goes to the Miss Nude World like prep area and they like chase him all through the building.

[13:39] Alan Seales: Oh, you talk about all the women?

[13:41] Liz Eston: Yeah, all the women chase him. No, I'm talking about the scene where he meets a guy, he comes in a robe and he's like, you want me to produce this film, right? And then he just starts trying to tackle and sexually assault him.

[13:52] Alan Seales: There's—yeah, there's a lot of non-consensual stuff going on here, which is icky, very icky.

[14:00] Liz Eston: However, the women in this film, where it's given credit, have a lot of agency over their own sexuality.

[14:06] Jesse McAnally: Um, there is that moment he talks to one of the strippers, and she's just like, Hey, it's better than waiting tables. I have a lot of autonomy, and I feel good about it, it makes me feel calm. And I'm like, that is actually a fairly like reasonable reason why people strip, and it doesn't make her any less of a woman, doesn't make her a slut. She's like, this is just like easy, and I like it. And I respected it. And then the rest of the movie also existed. Then there was every other line outside of that. But it was just like, I was amazed that it had such a weirdly liberal view of strippers.

[14:42] Alan Seales: Or I like it, do they have a proper name, like exotic dancers? It's not sex work because they're I I don't know. I feel like stripping isn't quite sex work because sex work. Dancing, I guess it's the yeah. Exotic dancers.

[14:55] Jesse McAnally: Yeah, maybe. Exotic dancers. Yeah. Um, we'll go with that. So, yes. I Google enough- I've Googled a lot of weird stuff for this movie, and I don't know if I want to Google it. Your browsing history is really re-evaluating you right now.

[15:08] Jesse McAnally: So I guess we do have to get to the carry of it all. Jim Carrey has a glorified cameo in what is probably the biggest like nakedy amount of human beings I've ever seen sees.

[15:22] Alan Seales: How do you do? My name is Timothy Sandy, and it's my assistant Ralph Parker. I'm glad you doesn't have a chance. Jim Carrey enters the movie like a jump scare, where they they say, This is Jim Carrey's character. Ralph. He is my photographer and assistant. We've never seen Ralph before. We'll never see Ralph again. But here he is in this one scene. And then uh a naked woman who, to her credit, was a pretty good actress. Like, delivered all of her lines, like with character, like she was fine, and she's like, you guys have to get naked too. And then so Jim Carrey and our lead guy are just wandering naked through this house full of naked people. And we see Jim Carrey's white pasty buttocks.

[16:07] Jesse McAnally: Yes. He does not say a single line, but he does bear all. And he waves very awkwardly at the naked women. What do you think the casting breakdown was for this role? Um must be comfortable nude. Um photography experience preferred. Do you know how to hold a camera? Know how to hold a camera and have a butt? Then you'd you're right for this role. Line memorization might not be required.

[16:34] Alan Seales: Do you think do you think any oh god, like there was no intimacy coordinator on this set, right? They were just like going around. No, no. No. No.

[16:44] Jesse McAnally: Um, and it's this, like, I think they're going for like a Hugh Hefner style house that they're going to, but it looks like a warehouse. It's a far cry away from the like the Playboy mansion. And there's this slim pickens looking motherfucker with a tie, a cowboy hat, and nothing else, walking around with his dangling all flipping all about. Um, and he i it's just baffling. It's baffling that on a Monday morning I'm watching this. I I feel like this would also be uh if eyes what eyes wide shut without the budget.

[17:20] Alan Seales: Or the point. Or I'm shut has a very specific point it's trying to make about a lot of things.

[17:29] Jesse McAnally: That's true. This has no point to make. No. Well, I uh ain't Boobies grand naked, like watching this, I don't think so. I I can't imagine that Jim Carrey feels great about this nowadays. Maybe he felt differently about it in the early 2000s than he does now, now that he's like, I'm not a real man anymore. I'm just a body in a vessel, man. I was never even in that movie. Who was that guy? That wasn't me. I feel like that would be the shit he'd say as opposed to the night. He's like, yeah, it's a little embarrassing, but whatever.

[18:01] Alan Seales: Yeah, well, we all are just consciousness is floating in a meat sleeve. So I get that. I totally get that. But I still think those meat sleeves should be vaccinated. Vaccinate your meat sleeves.

[18:15] Jesse McAnally: I I he was nothing. He was a nothing in there. The worst part is it's the scene that you want to try to fast forward through, but you can't because you know it's the one scene that Jim Carrey's in. So you have to watch it all. I that was essentially the entire movie, aside from Jim Carrey not being in the first however many minutes of it. Way too long. But yeah, I it was. I mean, I don't like talking ill about films, but it was one of the worst.

[18:40] Alan Seales: Oh no, are you gonna upset the production designer here? It was just Are they gonna roast you on Twitter? Like, we worked really hard for this titty movie in the 80s. You don't believe it was so hard to get these Nikki ladies uh to show up in one place for no money. We hate him in burgers. This man also directed a movie called Mondo Nude, so I don't think you're disrespecting his movies.

[19:01] Jesse McAnally: Oh okay. Okay. And also he's dead. Mondo nude, and what was the other one? The big the big landing strip? There's a lot of them. Uh he directed Mondo Strip Mondo Nude. Some do it for money, some do it for fun. Wait, is it two movies or one movie? That's one movie. Some do okay. Some do it for for for money, and then the sequel, some do it for fun. Yeah, also there's no plot to this movie, so I don't even know what it's about. Just like, alright, I'm gonna go. Call it my Nikki ladies. The plot's just been boobs. I've never seen I MDB throw up its hands except for these movies.

[19:40] Jesse McAnally: The the first three here. I do want to say, in all fairness, I do want to say something nice about this film that I thoroughly enjoyed. I think the theme song is fucking great. The all day song is gr wonderful. Can we can we play a little bit now without getting a few? Oh yeah, it's playing right now. Like it's good. I don't think anyone's gonna sue us. Like, honestly, if we could make that the carried away theme song, I'd be cool with it. On goo to it really is a good song. And I would remember it at the beginning I'm being like, this is surprisingly a catchy number, and then at the end I'm like, ah, you still got me. Even after all that, you still got me smiling.

[20:17] Alan Seales: Performed by Alan Thick. Oh god. Also, I can confirm he took 46 minutes for Jim Carrey to show up. Holy crap. Yeah. Well wait, d did you probably knew I well, okay. This is Jim Carrey's third film, and the first two. He had a bunch of lines. Sure. So I guess you're underutilizing your act. I don't know. I guess it was Jim. Jim just, you know, taking another another notch on his resume. What if this is how he got a side card?

[20:48] Jesse McAnally: Oh no. Wouldn't that be sad? I do want to talk a little bit about our proper lead actor, Jonathan Welsh. Um I don't think he's that bad a performer, sincerely. I think he was for a lead character, he did pretty well. Um he's also gone on to a lot of other Canadian things. Most um he was um in an episode of Goosebumps. Um he was in Kung Fu, the legend continues. He was a very well-known stage and theater actor in Canada. And he's also dead.

[21:18] Alan Seales: Um he died in 2005. Not funny. It's just the way you said it. And he's also dead. He is also dead. Um he was in an episode of the Wonderful World of Disney as one of his last roles as Park Policeman. Um he worked really, really hard um to get those roles. And I honestly don't think he's bad. Um before we go into the critic carried corner. I forget what we called it. Uh I think it's called a critic corner.

[21:44] Jesse McAnally: Critical corner. Critical corner. I do want to talk about advertising and how this film had changed in its advertising. How do you think you would advertise this film? Uh comes the naked ladies. Okay. This was the first promo image and poster for it. Um try to describe what you're looking at for the audio audience.

[22:06] Alan Seales: Okay. Um, it is a cartoony. It's definitely like a a drawing of all white people in front of a pool in that classic 80s font. It's all in good taste with a big like a camp flag in the back that says four seasons nudest camp. And then we've got our uh what is gonna be Jim Carrey and our and our other lead with some incredible muscles, I might add, in front of um muscles may not appear in the movie. May not be to scale. Um with three other women who are all very nude with their lady bits all covered strategically by objects or positions, while one of them is trying to take something away from our blonde guy.

[22:54] Jesse McAnally: No, it's trying to take away the suitcase. Oh, the suitcase from Jonathan Welsh, yes. I do want to say, with this poster, I think this is the first time Jim Carrey is credited with the name we know him as. Because previously he was only known as James Carey. And it's did you did you put the rectangle around his name or did it come that way?

[23:14] Alan Seales: Wow. Yeah, it says at the bottom, starring Harvey Atkin, Jack Creeley with Jim Carrey in a rectangle. So it stands out. Okay, so this is the original thing before Jim Carrey became what he would become. This is what it became much later on when the DVD release came out. Describe what you're seeing now.

[23:31] Jesse McAnally: That is Jim Carrey's giant face in front of a lady butt in a thong that says Crazy Zany surreal. All in good taste. And the only name on the on the poster is Jim Carrey.

[23:49] Alan Seales: Yes. Um, so the I will say they did put the focus where it belongs, and it was on the butt. That is the main character of this movie, if it is not Jonathan Welsh.

[23:58] Jesse McAnally: Do you see? It's Jim Carrey's butt, not a lady's butt. Yeah, that's that's definitely yeah. I love how he's looking though at the words crazy zany surreal, like the nice butt in front of him doesn't exist.

[24:09] Alan Seales: Well, maybe he's looking at the boobies, like maybe that's where his eyes are going. Oh, I get yeah. I'm guess I fine, I'll give you that one. And then final one, this is the more recent one. And what on Wikipedia as well. And this is the one most people know. And I believe that is a still image they took from the Truman show.

[24:27] Jesse McAnally: Yes, that is. Well, now it is all of wait, is that the go back? Is that the same Jim Carrey face? That is the same Jim Carrey face. Right, okay. Yes. Same Jim Carrey face without the Photoshop treatment. Okay, so it's more of his face from the Truman show in front of an old film photography camera, where in the world. Which I guess I mean he does hold one of those throughout most of the movie. Credit. Right. So in the reflection in the lens of the photography camera, we see a woman's body in a bikini. Above the words, all in good taste. Still his is the only name on the cover. But we still have, in very small text, crazy. Zady. Surreal. I would not use any of those three move words to describe this film, to be honest.

[25:12] Alan Seales: What would your three words be? Um gross, icky booby.

[25:16] Jesse McAnally: I would say boobies, boring skin. Ball sack. Yeah. Balsack. Cowboy. Individual ball sack. There is one ball sack. Hyphen A. Butts and boring. Boring. Well, there's barely any butts except for the Jim Carrey butts. I know, but I got bored of the boobs. I mean, it does not look like that set was properly heated either, so everyone looked very cold. If you know what I mean. Also, a good chunk of the footage wasn't even filmed for this movie. It was borrowed for other movies.

[25:49] Alan Seales: So I I it's so seamless I couldn't even tell. So do you think this director just filmed a bunch of scenes in random places and just reworks all of the footage in different orders and re-releases them as different movies with no story?

[26:02] Jesse McAnally: I think like he probably is hired to do a lot of um nudie films like this. Um and he just accumulates footage and then he's like, oh, I'll get my buddy Cowboy Jim, and then my other buddy, the oh, there's this comedian in Ontario that's doing pretty good. Let's bring him in for a day. He'll see some boobies. Um, and we'll we'll make a short, like 20 minute thing, and we'll fill the rest up with like the these nudie videos I have. I want to describe I want to steal the plot line from Jim Carrey online because I think they have a very interesting one, which is the young filmmaker Timothy Sandy is sent out to investigate adult business with his photographer Ralph. Much nudity and fun and games ensue.

[26:44] Alan Seales: There's no fun at all. No, nor games. I don't think anyone played a game. Nothing ensued. The only thing true about that statement is nudity. And we'll be right back to carry it away after these messages.

[27:09] Jesse McAnally: Alright, Liz, I'm curious. What did the critics have to say? If there are any critics, um, I'm sure you found some wild things out there in the wild.

[27:19] Liz Eston: I'm gonna just be honest with you. No one bothered to review this with any critical club.

[27:25] Jesse McAnally: What? No one's all over this.

[27:29] Liz Eston: No, I do my best, but I found a fun little IMDB review where someone descends into madness looking for Jim Carrey while watching the movie.

[27:38] Jesse McAnally: Let's go. What do we have a name of this person?

[27:41] Liz Eston: I need to use her name named Haggis with two A's. Haggis. Hagis. Um, H A A G I already did it there. Uh and the title of this review is Jim Carrie Nude to exclamation points.

[27:54] Liz Eston: Oh boy. As Canadian films go, this is atypical bad cinematography covered with middle school style of boisterous stage acting and a plot fit to be marketed with a Surgeon General's award.

[28:08] Jesse McAnally: It feels like a boomer wrote this.

[28:10] Alan Seales: I don't even need to see them, but I'm pretty sure a boomer wrote that.

[28:13] Jesse McAnally: Yeah, uh, you'll see you'll get on the next line it's a boober.

[28:17] Alan Seales: Normally I'm not the type of guy who gets his jollies for gazing at the cracks of feature film actors before they go were famous.

[28:24] Jesse McAnally: No matter what you've heard.

[28:26] Alan Seales: But this is too good for wait wait wait wait.

[28:28] Jesse McAnally: No matter what wait are we hearing things about Haggis?

[28:33] Alan Seales: This is Haggis the famous crack reviewer.

[28:36] Jesse McAnally: I love looking at celebrity cracks but don't let anyone tell you that I don't know who this person is for dunking on the but they bothered to write a review All in Good Taste in IMDB.

[28:47] Alan Seales: Whatever you read it's not true.

[28:48] Jesse McAnally: Unless it is uh so out of about 40 minutes of misfire humor, seven dozen floppy breast shots and a directing style below par, even a mentos ad, no gym.

[28:59] Alan Seales: Then comes the scene where our journalist friend takes a story into the shady hallows of a sleazy massage parlor.

[29:05] Jesse McAnally: It starts out as hokey as you'd expect with the reporter getting totally bare assed and wandering around the facilities and she's how I describe something hokey.

[29:13] Alan Seales: That sounds hokey to me.

[29:14] Jesse McAnally: And she's goodies for pseudo comedic effects.

[29:19] Alan Seales: Then you notice the photographer the guy brings along visually record the event and there he is all righty then he doesn't say that.

[29:28] Jesse McAnally: In fact he has no lines for the entire scene yes he is nude all pasty in fact and yes there are a few butt shots but he cleverly covers his goodies with 35mm camera.

[29:40] Alan Seales: That's okay that's okay.

[29:42] Jesse McAnally: And that's all this person had to say that's okay.

[29:42] Alan Seales: That's okay.

[29:47] Jesse McAnally: Um That's okay.

[29:48] Alan Seales: I can't disagree with this review, but I also can't bring myself to agree with anything they said either.

[29:55] Jesse McAnally: I feel like they spent money on this.

[29:58] Alan Seales: I have not spent money on this, so I feel like I'm in the win category here.

[30:03] Jesse McAnally: And you're also one of five people that didn't write or review of all in good taste and IMDB.

[30:08] Alan Seales: So it's air.

[30:09] Jesse McAnally: You're right.

[30:10] Alan Seales: You're right.

[30:10] Jesse McAnally: Um it's fascinating, just the folks that will be like he wasn't even I was expecting like a negative negative, but it felt like that was a thoughtful review that they put some time and like effort in.

[30:23] Alan Seales: This is like the people who give serious reviews on Yelp thinking it carries weight.

[30:27] Jesse McAnally: Or people like review podcasts.

[30:31] Alan Seales: Full stop.

[30:34] Jesse McAnally: Um actually I can't confirm where he got it because I cut this out of the review because it was boring, but he checked this person checked it out of a 99 cent video store a few years ago because it said Jim Carrey on it.

[30:45] Alan Seales: Okay, I'm imagining like a family video that didn't act like I'm imagining a kid that just saw like the Grinch and is like, Jim Carrey is my favorite actor.

[30:55] Jesse McAnally: Oh, this has Jim Carrey in it.

[30:57] Alan Seales: Mommy, can I rent it from the store?

[30:59] Jesse McAnally: Yes, little haggis.

[31:01] Alan Seales: You can get whatever video you'd like for 99 cents.

[31:05] Jesse McAnally: Oh, thank you, Mommy.

[31:06] Alan Seales: I paid with it for it with my own like little pennies, and then the apathetic family video clerk's like, I don't know if this is right for kids, but also I don't care enough.

[31:15] Jesse McAnally: Here you go, squirt.

[31:16] Alan Seales: Um, and then the kid goes home and puts it in, and then all the saggy boobies.

[31:23] Jesse McAnally: And you know what little haggis said?

[31:25] Alan Seales: This is pretty hokey.

[31:26] Jesse McAnally: And zany.

[31:27] Alan Seales: Such a zany time.

[31:29] Jesse McAnally: Such a zany zany movie for little haggis.

[31:34] Alan Seales: Okay, speaking of weird editors, I do want to bring this up because it is connected.

[31:38] Jesse McAnally: Like nudie pictures and people getting their start.

[31:42] Alan Seales: One of the weird things that I've discovered by my deep dive into a lot of people is like Orson Wells, in his lowest part of his career, would just hire kids to help make his next feature film.

[31:53] Jesse McAnally: Um, and kids would need to eat somehow.

[31:55] Alan Seales: So there's a couple porn films that are co-edited by Orson Wells just to get his second AD back on the set.

[32:02] Jesse McAnally: He's like, just give me the film, I'll edit this shit.

[32:05] Alan Seales: And I like to imagine that Orson Wells might have edited this film.

[32:10] Jesse McAnally: Maybe.

[32:11] Alan Seales: Um I have to.

[32:12] Jesse McAnally: I wonder what he was thinking during the Jim Carrey scene.

[32:15] Alan Seales: That pasty ass.

[32:17] Jesse McAnally: I love that Pastiness.

[32:19] Alan Seales: I'm gonna put it in the world.

[32:20] Jesse McAnally: Oh, the French wine.

[32:23] Alan Seales: From the front of the film.

[32:25] Jesse McAnally: 40 minutes of the shit, you know.

[32:27] Alan Seales: This is this is where the big payoff comes.

[32:29] Jesse McAnally: Right here, 40 minutes in.

[32:31] Alan Seales: I should call Peter Bagdonovich to watch this.

[32:33] Jesse McAnally: I think he'll get a real kick out of it.

[32:35] Alan Seales: Let's pass around toothpicks so everyone can keep their eyes open.

[32:39] Jesse McAnally: This is a bit of shit, you know that, right?

[32:43] Alan Seales: Alright, Alan, what were you about to say?

[32:46] Alan Seales: I was just looking up what haggis is, because I needed to figure this out.

[32:49] Jesse McAnally: I was right.

[32:50] Alan Seales: It's a Scottish Gaelic savory pudding containing sheep's pluck.

[32:56] Jesse McAnally: Which is hard.

[32:57] Alan Seales: And cooked in a sheep's stomach.

[32:58] Jesse McAnally: Which is heart, liver, and lungs minced with onion, oatmeal, suet, spices, and ellipses.

[33:05] Alan Seales: So it is a zoo is beef fat.

[33:07] Jesse McAnally: Oh, okay.

[33:08] Alan Seales: And it's usually cooked in a sheep's stomach and just boiled for a while.

[33:13] Jesse McAnally: Well, then this food rated this movie quite well, it sounds like.

[33:19] Alan Seales: The idea of haggis more than the actual physical being of Haggis.

[33:25] Jesse McAnally: This is the spirit of Haggis.

[33:26] Alan Seales: If we are all running through life as consciousness is inside a meat sleeve, why can't that meat sleeve just be filled with haggis?

[33:33] Jesse McAnally: And vaccines.

[33:34] Alan Seales: Yeah.

[33:35] Jesse McAnally: Vaccinate your meat sleeves.

[33:39] Alan Seales: And that's what I'm calling your children.

[33:40] Jesse McAnally: Speaking of children, let's hear what the children over on Letterboxd.com thought about this film.

[33:46] Liz Eston: Liz, what do we got?

[33:47] Jesse McAnally: In our letterbox game, where Liz is gonna read reviews to me and Alan, and we have to guess whether or not they're a one-star review or a five-star review based on the review alone.

[33:58] Alan Seales: Drink every time I said review.

[34:00] Jesse McAnally: I sure hope children aren't reviewing this, but yeah.

[34:03] Liz Eston: Oh sorry, rousing a hundred and one people have watched this movie on Letterboxd.

[34:08] Jesse McAnally: Very few people have reviewed this, but it is a some some of them are pretty good.

[34:13] Liz Eston: So Alright.

[34:14] Alan Seales: Alan, you want to start?

[34:15] Liz Eston: Because your name starts with an A?

[34:17] Alan Seales: Sure.

[34:18] Liz Eston: I'll I'll go with that.

[34:19] Jesse McAnally: Alright.

[34:20] Liz Eston: Okay, so one or five.

[34:23] Alan Seales: Only worth it if you want to see Jim Carrey's bottom.

[34:26] Jesse McAnally: But is Jim Carrey a bottom?

[34:27] Alan Seales: Wait, there is a question mark there.

[34:29] Jesse McAnally: I was gonna I was gonna say, it sounds like a question.

[34:31] Alan Seales: Um It is a question.

[34:32] Jesse McAnally: Then I'm gonna give that one star.

[34:34] Alan Seales: That is correct.

[34:35] Jesse McAnally: Ding ding.

[34:36] Alan Seales: Bravo.

[34:37] Jesse McAnally: I'm gonna guess most of these are gonna be one star.

[34:41] Alan Seales: I'm gonna go off on a limb here and there might be some fringe ones that are a little higher.

[34:46] Jesse McAnally: Don't get carried away.

[34:48] Alan Seales: Hey!

[34:52] Jesse McAnally: The theme song.

[34:55] Alan Seales: Alright, Jess, you ready?

[34:57] Jesse McAnally: I am.

[34:58] Liz Eston: So this uh this one is one of two that is translated from German.

[35:01] Alan Seales: Alright, let's see how good German translation does.

[35:04] Liz Eston: This is from Google Translate, so it might be a little off, but I think it's pretty.

[35:07] Jesse McAnally: Do your best German accent with this.

[35:09] Alan Seales: No, I'm not you.

[35:10] Liz Eston: Uh spilled vodka tonic on my keyboard.

[35:15] Jesse McAnally: Spitz vodka Tonik on the keyboard!

[35:18] Alan Seales: That's the entire keyboard.

[35:19] Liz Eston: Um, that is a negative experience, so I'm betting it's a one star.

[35:23] Jesse McAnally: It is a one star.

[35:24] Alan Seales: Oh I can't wait.

[35:25] Liz Eston: My keyboard with vodka tonic same before I drink it.

[35:31] Jesse McAnally: Yeah, just put it in there and I did it for Jim Carrey.

[35:42] Alan Seales: Oh, I watched it.

[35:43] Jesse McAnally: I watched it.

[35:45] Alan Seales: I'm I'm gonna go with a one-star again.

[35:47] Liz Eston: That is correct.

[35:48] Alan Seales: Alright.

[35:50] Jesse McAnally: Alright, Jessie, ready?

[35:52] Alan Seales: I'm ready.

[35:53] Jesse McAnally: Put me in, coach.

[35:55] Alan Seales: Thank you.

[35:57] Liz Eston: Jim Carrey appears without speaking for about two minutes.

[36:00] Jesse McAnally: He does, however, take off his clothes.

[36:02] Liz Eston: And if you've dreamed of seeing young Jim Carrey's butt, this is the film for you.

[36:06] Jesse McAnally: That sounds positive.

[36:07] Alan Seales: I'm gonna give that a five.

[36:08] Liz Eston: That is correct.

[36:09] Jesse McAnally: Wow.

[36:12] Alan Seales: I have dreamed about that.

[36:13] Jesse McAnally: So I personally haven't, but you know, we all have.

[36:16] Liz Eston: Is Jim Carrey an attractive guy, Liz?

[36:19] Liz Eston: No.

[36:19] Alan Seales: Like hasn't.

[36:20] Liz Eston: He never has been.

[36:21] Alan Seales: Okay.

[36:21] Jesse McAnally: Wait, Jenny Jenny McCarthy?

[36:23] Alan Seales: Wait, this is I can't remember who he was married to.

[36:26] Liz Eston: He was with Jenny McCarthy.

[36:27] Alan Seales: He's never married.

[36:28] Liz Eston: Uh um Electra Carmen Electra.

[36:31] Alan Seales: What did I say in the first episode?

[36:33] Liz Eston: Which is totally wrong.

[36:35] Alan Seales: I think it was like Carmen Electra or something.

[36:39] Liz Eston: Someone that he was not with.

[36:40] Alan Seales: It was that lady from Rubberface.

[36:42] Jesse McAnally: Yeah.

[36:42] Alan Seales: I do want to bring up when we get to it, like all of his relationships and how they come to be, including his first wife, his second wife, and his girlfriends in between.

[36:53] Liz Eston: Okay.

[36:56] Jesse McAnally: Unless you're trying to get a giggle out of seeing carry, I'm pretty sure they'll find better porn than this.

[36:56] Alan Seales: Better porn than this.

[37:07] Liz Eston: Is that Haggis again?

[37:09] Jesse McAnally: I actually could tell you the user is on than this.

[37:12] Alan Seales: Metapone and Jim Carron.

[37:16] Jesse McAnally: I'm gonna go with a one star.

[37:18] Alan Seales: Uh that is a one.

[37:19] Jesse McAnally: Yes.

[37:20] Alan Seales: But they went to the real Moulin Rouge.

[37:22] Jesse McAnally: They didn't just use stock footage.

[37:23] Alan Seales: I'm sure they went to the real one.

[37:26] Jesse McAnally: But a porn I can watch like.

[37:30] Alan Seales: Mondo landing strip.

[37:31] Jesse McAnally: Mondo landing strip.

[37:32] Alan Seales: But that don't got no germ carry in it.

[37:34] Jesse McAnally: This is the early 80s.

[37:36] Alan Seales: Alright.

[37:37] Jesse McAnally: Okay.

[37:37] Alan Seales: This one is also translated from German.

[37:40] Liz Eston: Did the Germans really like this movie?

[37:42] Alan Seales: Or did you know?

[37:42] Liz Eston: Two Germans really did.

[37:44] Alan Seales: I think they're friends, because they also reviewed another Jim Carrey movie I looked up later that same time.

[37:49] Jesse McAnally: Did they try to start a podcast that failed?

[37:52] Alan Seales: Maybe.

[37:53] Liz Eston: Alright.

[37:54] Alan Seales: Our taste was good, but the movie is oh well.

[37:57] Jesse McAnally: You can see the rating.

[37:59] Alan Seales: That's a one.

[38:00] Liz Eston: That is a one.

[38:01] Alan Seales: There's not a lot of trickery in these.

[38:03] Jesse McAnally: It's very venting.

[38:06] Alan Seales: Oh well.

[38:08] Jesse McAnally: Alright, Alan.

[38:09] Alan Seales: If you get this, you'll win, because there's no more reviews.

[38:12] Jesse McAnally: Yay, there's an odd number.

[38:14] Alan Seales: There's only 10 reviews total for this movie on one.

[38:17] Jesse McAnally: Why don't you make this a tie why don't you make this a tiebreaker with whoever answers first?

[38:21] Alan Seales: Oh.

[38:22] Jesse McAnally: 50-50 chance of saying I want to hear a buzzing sound.

[38:26] Alan Seales: I'm just gonna hedge my bets and go with one star right now.

[38:29] Jesse McAnally: This is one star!

[38:31] Alan Seales: Alright, well, we'll hear it first though.

[38:33] Liz Eston: Okay.

[38:33] Alan Seales: I guess they're trying to critique the sex-minded culture, but they undermine it by showing rando boobies throughout.

[38:40] Jesse McAnally: But boy, do I love boobies.

[38:43] Alan Seales: This is one Alan won.

[38:44] Jesse McAnally: It's five.

[38:45] Alan Seales: Damn!

[38:49] Jesse McAnally: But boy, do I love Zaboobies?

[38:52] Alan Seales: No, that wasn't translated from German.

[38:55] Jesse McAnally: It was just English.

[38:56] Alan Seales: He just wrote Z Boobies.

[38:58] Liz Eston: Why you did write your reviews again?

[39:00] Alan Seales: I did not say that in jest.

[39:02] Liz Eston: He did write boobies.

[39:05] Jesse McAnally: The naked ladies.

[39:07] Alan Seales: The Nicoletties are very attractive in all in good taste.

[39:12] Liz Eston: Two German letterboxers really love the porny era of Jim Carrey's career.

[39:16] Jesse McAnally: It's very strange.

[39:17] Alan Seales: I mean the porny era is intr.

[39:20] Jesse McAnally: Like, what was their other film they covered?

[39:22] Alan Seales: Is it next week's subject?

[39:23] Jesse McAnally: Yes.

[39:24] Alan Seales: Alright.

[39:25] Jesse McAnally: Guys, if you loved us talking about pointless nudity and gratuity, man, wait for next week.

[39:31] Alan Seales: Don't worry.

[39:32] Jesse McAnally: Eventually, there's a very porny podcast we're doing will turn into a podcast about Horton.

[39:37] Alan Seales: Husserl, here's a who.

[39:38] Jesse McAnally: And Mr. Popper's penguin.

[39:40] Alan Seales: And Sonic the Hedgehog.

[39:42] Jesse McAnally: Come on.

[39:42] Alan Seales: Which one?

[39:43] Jesse McAnally: One and two.

[39:44] Alan Seales: And one and two.

[39:45] Jesse McAnally: Oh man.

[39:46] Alan Seales: We should have like one of your kids join us for the Sonic the Hedgehog episode.

[39:50] Jesse McAnally: Okay.

[39:51] Alan Seales: Alright.

[39:52] Jesse McAnally: Alright.

[39:52] Alan Seales: Well, we will do that.

[39:53] Jesse McAnally: I will bring in Logan for uh actually both kids.

[39:56] Alan Seales: My younger one will probably give the most entertaining review.

[39:59] Jesse McAnally: And it's gonna sound like what is our overall thoughts on all in good taste?

[40:09] Alan Seales: And is it an alrighty then or a no spanky?

[40:14] Jesse McAnally: Alan, why don't you start us off?

[40:15] Alan Seales: I the face you're given really is just it it hurts me inside to see you so broken up like this.

[40:21] Jesse McAnally: He's crying.

[40:22] Alan Seales: Alan is crying.

[40:23] Jesse McAnally: There are literal tears coming out of his eyes.

[40:28] Alan Seales: Oh, he's just doing his vocus.

[40:30] Jesse McAnally: Oh goodness.

[40:31] Alan Seales: Um I believe that all art has a place in this world.

[40:36] Jesse McAnally: And this particular That's incorrect, Alan.

[40:38] Alan Seales: It's incorrect.

[40:39] Jesse McAnally: You haven't seen a bad movies, Alan.

[40:41] Alan Seales: This particular art installation does not belong in my world.

[40:43] Jesse McAnally: I'm gonna give this a no spank you then.

[40:46] Alan Seales: No, no spank you.

[40:48] Jesse McAnally: Have you have we given an alrighty then to anything yet?

[40:51] Alan Seales: I don't believe we have.

[40:52] Jesse McAnally: I think someone gave a very light alrighty then to rubber face, but I might have done that.

[40:57] Alan Seales: That sounds like me.

[40:58] Jesse McAnally: I think you did.

[40:58] Alan Seales: Yeah, you gave you were on the phone.

[41:00] Jesse McAnally: Okay.

[41:00] Alan Seales: I was on the phone.

[41:01] Jesse McAnally: I didn't hate that one.

[41:02] Alan Seales: I really I had a good time watching it despite everything.

[41:06] Jesse McAnally: Um Liz, what about you?

[41:08] Liz Eston: Uh you know, as a woman watching a bunch of naked women for two hours nearly, it's uh on the cusp of being uncomfortable no matter how much agency they have.

[41:20] Jesse McAnally: It's yeah, it's mostly because it always feels exploitative no matter how much one character has agency.

[41:27] Liz Eston: It gets to a point where you're like, can these women put in their clothes and talk?

[41:31] Jesse McAnally: Like, it's like not to define them by their boobs and how much they can dance on a pole badly.

[41:36] Liz Eston: But there is that one scene where a woman literally puts on her clothes and talks and explains the situation.

[41:43] Jesse McAnally: There's one scene, but they need to be like two or three.

[41:46] Liz Eston: That'd be nice.

[41:47] Jesse McAnally: But you know, this man also directed Mondo Strip and Mondo nudes, so I'm not gonna expect deep philosophical things about women in this.

[41:55] Liz Eston: Liz, I do have a question.

[41:57] Jesse McAnally: Um this is one I'm thinking about right now, and maybe need a second brain on.

[42:02] Liz Eston: Does this film pass the Bechtel test?

[42:04] Jesse McAnally: Um let me see if the characters have names.

[42:08] Jesse McAnally: Yeah, I think they all have names. I know at least the one that gives the monologue does. And the secretary has a name. I think her name is the secretary, but it's a name nonetheless. Um, her name there's a lot of every girl has a name. Everyone. Okay, everyone has a name, but I don't think they ever talk to each other. And I don't think it's about to be a few. No, they talk about trying to get him into the pool. That was a conversation, but is that a man?

[42:35] Alan Seales: Ooh.

[42:36] Jesse McAnally: So for those who don't know, our listeners who may not know what the Bechtel test is. Um, the Bechtel test. Um, it is a test created by Alison Bechtel, um, cartoonist and main character of the musical Funhome. Um, she wrote it in her comics that I can't say, but look it up, you'll know it. Um, she is very good, but she also made this jokey thing where a character in her comics won't watch films unless it passes her test, which is there has to be at least two women in it. They have to be named and they have to talk to each other about something that isn't a man. It's a very simple test, but a lot of films and media fails it.

[43:10] Alan Seales: Yeah.

[43:10] Jesse McAnally: So yeah, this does not pass the Bechtel test.

[43:12] Alan Seales: No, but there are a lot of women and they do talk to each other and they are all named. So they were almost there.

[43:18] Jesse McAnally: Yeah. I wish they said their names in the movie and not in the IMDB listings, but you know.

[43:23] Alan Seales: Yeah.

[43:24] Jesse McAnally: But yeah, I mean I've heard. Ralph.

[43:30] Alan Seales: Ralph the can't. He has a last name too, actually.

[43:33] Jesse McAnally: Yeah. It's like this is my the cameraman, Ralph last name. I don't remember his last name.

[43:37] Alan Seales: Oh, my last name's last name.

[43:40] Jesse McAnally: No last name.

[43:42] Alan Seales: But yeah, I have a different perspective as a, you know, the person who has the like has the body of these ladies just like, yeah, I don't. Uh no spank you. It's worse than rubber face. I was way too hard on it. I'm sorry to rubber face. I was way too hard on you. It's not the most sexy thing Shapiro's ever done.

[44:01] Jesse McAnally: You had a real trouble with rubber face. I remember that one specifically.

[44:05] Alan Seales: Yeah, but I was a young I was a teenager with embody insecurity. It hit me a little too hard. Now this one hit you in a different way.

[44:13] Jesse McAnally: This one hit me at a place that I was pissed off and didn't want to watch it anymore and wish I put toothpicks in my eyes.

[44:20] Alan Seales: Not to keep them open, but to gouge them out.

[44:22] Jesse McAnally: Yes.

[44:23] Alan Seales: Yeah.

[44:23] Jesse McAnally: Two different styles. Two different ways. I feel like I have a confession to make here. I kind of cheated with this one. Um, I watched it all the way through, but I watched it at 1.5 speed.

[44:39] Alan Seales: Jess is a cheater.

[44:40] Jesse McAnally: I didn't know that was an option. And I don't know how to feel about this. I will say that that did make it a little bit more enjoyable. So when they are running around the rooms and getting chased, they're like moving at like fucking Benny Hill speeds, and that was lovely.

[45:01] Alan Seales: Um, that does sound funny.

[45:03] Jesse McAnally: So I can't say that I was completely miserable watching this, but this film makes me sick. Um, makes me feel icky. Um, I feel like the people making it are doing not great things and probably weren't altogether great people. And Jim Carrey is right to be embarrassed to have his name attached to this and to be the marketing tool to sell more copies of this piece of shit. This is the probably the hardest no spank you I all give. And cut to me a year later saying, like, Mr. Popish Penguins is the worst thing that we've ever covered. I sincerely believe this is gonna be hard to beat, except maybe by next week's topic. Um, that one looks pretty rough too.

[45:40] Alan Seales: Um, yeah, it's rough.

[45:47] Jesse McAnally: I gave it a glance a while ago. It is rough. It'll be I think someone should do the math which has more topless women, this or like what's the title of the next one?

[45:58] Alan Seales: The Sex and Violence Comedy Hour?

[46:00] Jesse McAnally: Family Hour.

[46:01] Alan Seales: Um what? Did the writer Rick and Morty make that?

[46:05] Jesse McAnally: No, it's a bunch of can horny Canadians. Bunch of hard no spank you. Not not a good movie, not a good watch. Do not recommend. Not even out of morbid curiosity. Um, look at the pictures of Jim Carrey on the IMDB page. And look at the theme song.

[46:19] Alan Seales: Oh, yeah, the theme song.

[46:22] Jesse McAnally: Make that my ice. Make it all in the taste of the good looking blonde that you have at home. Make your bells go off in your head. And when she says her desire burns like a fire, you gotta talk business instead. Make it all in the taste. Make it all in good taste. Make it all in good taste. They say that flavor. Make it all in good taste. Make it all in good taste.

[46:50] Alan Seales: Um, you know on IMDB, they have like keywords, plot keywords. I really just want to read you some of those right now because I discovered this, and the first four really drew my attention. And I feel like this is what we should really wrap this up in a neat bow with. So, are you ready, Alan?

[47:06] Alan Seales: I was born ready.

[47:08] Jesse McAnally: Alright, there are 24 plot keywords, and I'm gonna read all of them. The first one male pubic hair, pubic hair, male frontal nudity, nudity. Female bare butt. Female front frontal nudity. Female pubic hair, female rear nudity. Dog. Stripper. Bloopers during credits. Stock footage, topless, strip tease, moulin rouge, male stripper. Lap dances sing. Filmmaking. Film in film. Director. Female nudity. Female frontal nudity. Exploitation filmmaking. And independent film.

[47:41] Alan Seales: Hmm.

[47:42] Jesse McAnally: All accurate representations. Sincerely, IMDB did a better job marketing this film than any of the DVD covers. There's also a very extensive parents' guide for this movie on IMDb.

[47:54] Alan Seales: Oh my gosh.

[47:56] Jesse McAnally: Explain to the parents.

[47:57] Alan Seales: It does.

[47:58] Jesse McAnally: It does. There is a lot of examples of sex and nudity. One example of violence and gore. None of profanity that is listed, which is a lie. Two of alcohol and drug smoking scenes. And uh in their frightening and intense scenes is just the word nun. I mean, the entire movie is an intense scene, if you ask me.

[48:19] Alan Seales: Yeah.

[48:21] Jesse McAnally: Um, my favorite part is when it says a slightly nude woman answers the door. She is fully nude, not even slightly. Nothing there's no slightly Alan.

[48:32] Alan Seales: Why don't you promote your other content for people to find you at?

[48:36] Jesse McAnally: I have a solo podcast where I speak by myself to my guests.

[48:42] Alan Seales: Do you talk like that?

[48:43] Jesse McAnally: Yes, I uh it is called The Robot. No, it's not. Um, the theatre podcast. I talk with Broadway peeps about their life and their career, and I have uh co another podcast I co-host called Was It Chance, both on the Broadway Podcast Network. Um, yeah, that's a pretty good one. I really enjoyed being on uh Was It Chance. Um, you and Heather have a great vibe on that show.

[49:05] Alan Seales: Um, a very sibling vibe that you don't quite find in a lot of podcasts.

[49:10] Jesse McAnally: Um, but it is kind of magical when you do. Um, sincerely.

[49:14] Alan Seales: Well, thank you. Um you were a good you were a very good guest. It was a lot of fun. I do it again. I don't think I'll be asked back, but I'd do it again.

[49:21] Jesse McAnally: Well, you're not on our shit list yet, so you're our yes, yes.

[49:25] Alan Seales: Um, Liz, why don't you promote your stuff for people to find you on the interwebs?

[49:30] Liz Eston: Alright. Uh, I'm on Twitter at Elizabeth Eston, letterboxed at Lizaber910 if you want to see my weird opinions about movies. Uh-oh. I'm also I'm the co-host of Patreon with Cheese, which is the Musicals Cheese Patreon exclusive podcast. And I also occasionally fill in on musicals with cheese, and I was a guest one time.

[49:52] Jesse McAnally: So always I love your opinions on things. I love talking with you. And also, I know we have a lot of video extraordinaires out there, and Liz Eston is the best video editor you're ever gonna find. Um, sincerely, if you're ever looking for someone to like help tighten up videos, she'll make it better than you could do it on your own. And I sincerely believe that. But if you want to follow our podcast, we're on Twitter at Carried Away Pod, um, Instagram at carried awaypod. Email us at carried away podcast at gmail.com. Our title card is created by the amazing Grace Aki. Follow her on Instagram at It's GraceAckie. This show is produced by the wonderful, the incredible Elizabeth Eston. We love you, Liz. Our theme song is I choose you by the band Thanks, but it might be all in good taste. Um thank you to the Broadway Podcast Network for having us on the platform and for not kicking us off for talking about so many butts and boobies.

[50:47] Alan Seales: Boobies, eh?

[50:48] Jesse McAnally: Tasty butts.

[50:49] Alan Seales: Oh, look at those boobies, eh?

[50:50] Jesse McAnally: Those boobies.

[50:51] Alan Seales: Whoobies.

[50:52] Jesse McAnally: Well, Nikki ladies.

[50:53] Alan Seales: Ooh.

[50:54] Jesse McAnally: I'm just gonna leave while you guys talk about Nikki ladies, because I don't think I need to be part of this conversation.

[50:59] Alan Seales: What you can't appreciate Nikki ladies, eh? You got a problem about that?

[51:04] Jesse McAnally: Oh, never, but not as much as you do. I just like the idea of polite Canadians talking about Nikki ladies, eh? So I'm gonna go. I heard her boobies were out. We need to make a movie, but we need to do it tastefully. So we can't really show all of the the wang that we want to. So how about we offset it with boobies?

[51:26] Alan Seales: Yeah!

[51:27] Jesse McAnally: Boobies, eh? Boobies. That's what we ran out of money, so we need just need to use your old stripper movies to finish the movie. I mean, it's a pretty good idea until hockey comes back, so why not do it? We've got a strict deadline. We have to finish it before before the season begins, eh? Because then we'll just be too distracted to focus on boobies, eh?

[51:46] Alan Seales: Yeah, yeah. What's that all about?

[51:47] Jesse McAnally: What is that about? My buddy Jim will come for a day. He he's got his own 35 mil camera and he takes some pictures behind the scenes.

[51:54] Alan Seales: Oh, he brings his own camera. That'll save us on the budget, eh?

[51:57] Jesse McAnally: Yeah, we did run out of money. Um, stock footage. That's it. I feel like I need to apologize on behalf of Canada.

[52:08] Alan Seales: For both.

[52:09] Jesse McAnally: Well, yeah. I'm not sure. Well, maybe if they didn't make this movie, then maybe they owe us the apology.

[52:15] Alan Seales: Did you ever think about that list?

[52:16] Jesse McAnally: That's a good point.

[52:17] Alan Seales: That's a good point. They didn't make this movie. As a country, they all voted on it. This is Justin Trudeau. Someone make a notes app apology in Canada about this movie. I want Canada.

[52:29] Jesse McAnally: The Twitter account to rate a notes out of apology saying, hey, we were made aware of all in good taste, and as a country, we apologize.

[52:38] Alan Seales: He was 12 when this movie came out, Justin Trudeau.

[52:42] Jesse McAnally: We could have warned him. Hey, don't do those Halloween costumes. But he did vote to approve the movie.

[52:47] Alan Seales: You are correct. He was 12.

[52:49] Jesse McAnally: He was 12.

[52:50] Alan Seales: He was 12.

[52:54] Jesse McAnally: Fun fact. Okay, this exact year, 1983. I know exactly what Justin Trudeau was doing. Um, because they interviewed him seeing the emp our Return of the Jedi after he steps out the theater, and he's like, Oh, I think it's better than the f the best one out of the three. That was that's his one claim to fame until he becomes Prime Minister.

[53:17] Alan Seales: A wild clip that I know exists is Justin Trudeau coming out of Return of the Jedi in 1983, the same year he voted to create All in Good Taste, saying, Oh, Return of the Jedi is the best of the Star Wars movies, eh? One day I'm gonna become Prime Minister.

[53:31] Jesse McAnally: Shut up! None of the shameful things I've done in the past will come out. I'll still win, though. It's alright. He's alright, because I I have my good looks.

[53:41] Alan Seales: So handsome.

[53:42] Jesse McAnally: So handsome. So handsome. I can't do that. Forget the hate graves. I'm I'm handsome. I'll just say I'm sorry. What's that about? Justin Trudeau, come on the podcast. Apologize. Defend yourself. Defend yourself. This is the lady from Rubberface. Come on the podcast. I want to remind the world we need to make that happen. Yeah, either Jim Carrey or Justin Trudeau, um, either of them I will be equally happy with.

[54:05] Alan Seales: Alright, what if we get them together debating their own debating a film about let's see, what should we get them on?

[54:12] Jesse McAnally: Return of the Jedi.

[54:12] Alan Seales: Return of the Jedi, yes. Do you still believe it's the best out of the three?

[54:18] Jesse McAnally: Uh well, I haven't seen they ran up seeing the the rest of them, so uh whatever.

[54:23] Alan Seales: What about you, Jim Carrey?

[54:24] Jesse McAnally: Oh, I've never seen a Star Wars movie, or has it seen me? Sincerely, I don't believe I'm ever physically in a presence, um, let alone watching a film. And we're just here like this is the worst content imaginable. Cut to Jess and Alan's faces.

[54:47] Alan Seales: Um, who do you think did this letterbox review?

[54:49] Jesse McAnally: I believe they love their mother quite a bit. And that's really what matters. Jim, how would you why are you what do you think this person thought of your movie when they said you were sexy?

[54:58] Alan Seales: Um maybe I was at that time.

[55:00] Jesse McAnally: My friend. Was I ever even in that body? My soul brother Haggis. We're connected. Through the goat. Or haggis. Through the goat stomach that both of our meals have been served from. I'm gonna go with the opinion that at least one letterbox review is haggis every week. We'd have to call in from Haggis.

[55:21] Alan Seales: It's a character from another universe.

[55:25] Jesse McAnally: I should just have Andrew come in and be a haggis every week for at least one letterbox review with an angry phone call. Hey, I heard you were talking about me, eh? Heard you were talking about my letterbox review, okay.

[55:39] Alan Seales: Alright, on that note, we are ending a very chaotic, a very booby, and very uncomfortable episode of Carrey'd Away. Um, we'll see you next time. And remember, it's all in good taste, and the musical play now.