Parasite – Ki-jung and the restless

Full transcript of Parasite – Ki-jung and the restless.

0:00Oti: Welcome to 2021.

0:02KT: With a voice like that, with those dulcet tones, I know I can make it through 2021. Mhmm. You know who has followed us from 2020? Who? We have some very exciting patron announcements. Woo hoo. Woo hoo. Woo hoo. We'll also put the links in the show notes. Make sure you go check out their podcast as well. We have Paul and Griff. They do some very exciting tantalizing movie news as well as top 10, top five horror ones. They do Freddy Krueger, they do give credit to Kelly Rowland.

0:34Oti: Oh, love them. Love the Excel.

0:36KT: We also have LogoSmith Media, My Sisters, Indie Faith, also Smoke and Mirrors. Lots of great movie news, some great stories, some great topics from my Polynesian sisters. And not lastly, most deliciously, we have Brent and PJ from the Hustle motherfucking Hustle. Yes. Home Video Hustle. Thank you so much, guys. Everyone that's listening, most beloved friends and lovers, make sure you go and check out their podcast. We are spanking all the asses, and we are splooshing all the sploosh. Let's get on with the show.

1:34KT: Friends and lovers. Welcome to the For Your Reference podcast in 2021. It's your host, KT.

1:34Oti: And Oti.

1:34KT: Forget to pack your car panties and meet me at the bean flicking couch. Join us, fellow bong hive, as we deliver an episode long verbal ovation to the multilayered exemplification of the universal and specific Korean struggle in social status with the film Parasite.

2:02Oti: Jesus.

2:05KT: And the podcast there, I say. Not ready for a whopper in your holes, friends and lovers? Welcome. Welcome. It is the qualite. It is what we do around here. Before we sploosh and need a post coitus cigarette and a nap, let's get on to the stats Oti. Mhmm. In way of writing, we have Bong Joon Ho as well as Han Jin-won, obviously directed by the effervescent for many generations to come, Bong Joon Ho. We have cast all the stars are in the constellations tonight,

2:37KT: Song Kang-ho, Lee Sun-kyun, and Cho Yeo-jeong. Mhmm. And, obviously, I need to give a shout out to Choi Woo-shik. If you are a particular patron, you will be able to listen to our Okja early release episode while Parasite comes out. He's in there. He's also in Train to Busan, which I know we will definitely cover one of these days. Just not recognizing Peninsula. I think Peninsula is Voldemort in Korean. Agreed. And also another honorary shout out in the cast of Park Seo-joon. Go and listen to our Itaewon episode.

3:15KT: And we are a purveyor in Korean cinema and also TV shows. We've also covered Burning with the well lauded and well accolated Lee Chang-dong. Mhmm. In regards to the box office, this may surprise you, Oti. The budget is estimated at $11,400,000.

3:32Oti: Really?

3:33KT: Yeah. You know, reading interviews, watching interviews. They pretty much built the semi basement home as well as the Parks mansion as well because they didn't really wanna flood a whole city so to do everything and for everything to look so beautifully aesthetic 11.4, mate that's Blumhouse money you're laughing True that. True that. Let's continue the accolades. We have a worldwide gross of $258,500,000.

4:06Oti: Woah. They made bank.

4:09KT: Yeah. That that's a lot of upper class money. Mhmm. If you're welcome. This film premiered in May 2019 at the Cannes Film Festival. As we know, it is well lauded. It won the Palme d'Or. It won four Oscars. If you'd like to quiz me, bong hive, it was international film, best directing, original screenplay, and best picture. Mhmm. Mhmm. Obviously, BAFTAs as well and SAG Awards. Much accolations galore. This is a very tantalizing film. It is also a film of quality,

4:46KT: and we have the privilege to say we were one of the first countries to experience it outside of the Cannes Film Festival. Mhmm. So we saw it in June and it premiered in May. We saw it in June in Australia as part of the Sydney Film Festival. Yep. And, you know, we'll get into our first impressions, but this is our third time watching it. Mhmm. I so we had watched it as part of the Sydney Film Festival. We had watched it just for funsies,

5:11KT: and then they were about to release the black and white version in Australian cinemas. And, unfortunately, that's when cinemas start shut down, pandemic, panoramic, Pamela Anderson, whatever you wanna call it. So, unfortunately, I wasn't able to experience that, but we did get our third watch in most recently. So wow, Oti. Mhmm. Welcome welcome, friends and lovers. We do have a tantalizing catalog. We are over a 100 episodes. Yeah. We are. Close to a 100 review episodes.

5:45KT: That is a nice way to say if you don't want us to spoil you in the most bleachiest of ways, I guess go and turn to other episodes because we are going to get into a lot of detail about Parasite. Mhmm. Mhmm. So let's get into first impressions. So we've mentioned that we've watched it three times, Oti. I am going to sacrifice you in the bong hive because you weren't fully all you weren't all thrusters splooshing.

6:13KT: And I did have We had qualm. It almost broke the foundation of our household that you didn't recognize this as your masterpiece, and you didn't recognize me as your number one and only Hokage. So let's talk about your first impressions, maybe first, second, third impressions, how you land with Parasite, how you feel about it.

6:13Oti: So I love Parasite,

6:36Oti: but the first time watching it, I had qualms. Okay. I had qualms that I thought were not met or at least Bong didn't meet them, at least my expectations of the movie and of the characters. Mhmm. By the end of it, I felt frustrated. I felt angry. What? Woah. Hey. I'm just telling you I'm just telling you how it is and how it was, rather. So I had my issues with it.

6:36KT: I think some of your issues were projecting, but okay.

6:36Oti: Probably projecting.

7:05Oti: But that's why we're For Your Reference, mate. It's not for your projection. It's from it's from our frame of reference. So Yes. Everything we watch, we try and at least perceive our essence to it.

7:05KT: And I do love your essence on every night.

7:05Oti: Exactly. So so I had my issues on the first watch, on the second, and on the third. I I took a bit of it it it at least improved the movie a bit. It improved

7:30Oti: my viewing experience because I think by the start watch, we'd watch it in our own TV. Mhmm. And I had a lot more I paid more close attention to the movie that I was allowed to in the cinema with all the distractions of people moving or laughing or I'm a very tunnel viewer sort of approach to watching movies. I Which is weird because I'm always talking. I learn I learn to integrate at least one more voice into the viewing watching experience

7:59Oti: rather than having a group of 50 odd people laughing or chewing or it just takes you off the movie, and you get to miss a few aspects of it a bit.

7:59KT: And we we don't have the time to get into it in this episode, but it is very interesting seeing,

8:16KT: you know, the consumption of entertainment shifting because they both have their pros and cons, and there's always a trade off. Right? I love that we experience Parasite as part of the Sydney Film Festival, and we're one of the Oh, for sure. Me pull my glasses up. We're one of the first to experience it in the world outside of the Cannes Film Festival. Right? That's an experience that needed to be had. Yeah. But also at the same time, you don't get the luxury of it did have subtitles, but, you know, comprehensive subtitles,

8:48KT: you know, moments to really be able to digest without, you know, the periphery of other people's reactions. But then when you're watching at home, you don't get that visceral experience. Yeah. You do through the film, but you don't get that periphery. And I guess, you know, there there are moments where they're great, like Parasite, and there are moments where they're not welcome, like Queen & Slim. Right? So it's definitely something that that needs to be juggled and also has nothing to do with the film, but it helps enhance

9:20KT: the experience. Yeah. But we don't have time to get into that, but I just wanted to interject

9:25KT: if you're nasty.

9:25Oti: And I fully agree. Like, there's aspects of the movie that I don't even get to appreciate the first time watching. Yeah. So it's definitely played a part in how I perceive the movie overall now. And, yeah, it's it's a good movie, but Oh. It's a really good movie. Oh.

9:42Oti: I wouldn't say I I wouldn't come out here and say we are all different, and we all have our tastes, we all have our preferences. I love Parasite, and I agree to your, you know, is it the best thing I've ever watched in my life? Probably not because from my frame of reference, that's not it. Yeah.

9:42KT: It's District 9, apparently.

9:42Oti: But I do love it. I do love it, though. Okay.

10:02KT: Let's get into my first impressions. Cutely enough, our first episode of 2020 was Succession, and we absolutely loved it. And if you've listened to the Succession episode also, if you haven't watched Succession, go and fucking do it or fuck off, as our daddy Brian Cox would say. But in the Succession episode of the For Your Reference podcast, I did liken the pleasurable experience to a new sex position. And I would say, non sacrilegiously, even though I am thinking about Bong Joon Ho half of the time, that Parasite

10:41KT: is a new sex position. Oh, wow. And what I mean by that is, you know, you're when you're doing it the first time, you're still trying to figure out the mechanics of it. You're feeling a pleasurable sensation, but you're not necessarily sure where it's coming from. Right? And then when you do the position or when you do the Parasite again, you start to figure out what's bringing you pleasure or in some cases what Oti kinks don't work. Right? But I absolutely love Parasite.

11:11KT: I was that annoying fucking person in the cinema pulling my glasses up, pulling Ossie's glasses up, pulling all of our genitals out. It was absolutely amazing. I loved that experience. For every Bad Boys, like, that we cover, we do have a Parasite, and I am absolutely splooshed in every single regard. We did watch it, you know, now wow. Almost two years ago, we watched Parasite.

11:42KT: But we wanted Almurican or even people that just didn't have access the first time to be able to watch it so we could cover it in a comprehensive way. Mhmm. Until we get to a point where people care enough to want to hear or want to pay for our opinions as soon as something comes out we do have the luxury of covering things as we see fit and when we have the time or when we feel compelled to yep And this is exactly the case for Parasite. And I'm pretty sure it will just be

12:14KT: it will just be KT McGrion splooshing all over the episode if we ever tried to record it right out of the cinema. Mhmm. Am I promising anything more intelligent? Listen to a John episode. Yeah. We were two bottles of wine right out of the cinema recording John Wick. Yeah. Or Jonathan Wickerson, if you're nasty. But here we are. Very learned, very splooshed, well lubricated in many of the ways. And as you can tell, I am a fully fledged member. If not, I've got my little tent outside of the official bong hive trying to infiltrate

12:53KT: my way into there. You know, we're going to get into a lot of discussion. You know, some of you guys are very nasty. And if you're still here and you haven't watched Parasite, this is your last official warning because we are going to talk about the movie, but spoilers and the last act are going to come out because we need to do that to be able to dig deep, especially in regards to social standing. So if you're in our social standing, most welcome. We're not the richest, but we're the most bluishiest.

13:25KT: The last thing I would say in regards to my first impressions, because I'm not sure if this will if I will be granted the opportunity or Oti's going to play, like, Splooshies Awards music to tune me out. Hello, friends and lovers of 2021. It is KT from the For Your Reference podcast making the first official PSA of this year. Do not trivialize art. There are many films that you can GIF and you can meme me, but do not do this to Parasite.

14:01KT: You know, I I love the idea of having things that you can reference. If anything, we are a reference podcast, and I do understand that. Park So-dam is an amazing actress who plays Ki-jung, otherwise known as Jessica. It just bothers me watching interviews where, literally, they just ask her to do that little chant and that song, and that kind of becomes you know, it it distills the film into that, and it bothers me. And you have Western interviewers asking the cast of Parasite,

14:33KT: how does it feel for Hollywood to know who you are? Piss right off is what I'd say. Me the right off. Mhmm. It fucks me the right off. And if you wanna hear about my BTS thoughts, I guess you can meet me on my personal Twitter account, and we can talk all about that. But it really it bothers me. If you were waiting for the official definition of KT as a hwanker, there I am. Am I a gatekeeper?

14:59KT: In no sentence. But if you do try and come here with some nonsense, I will knock you the fuck out. Shall we continue? Yep. Alright. Let's continue. Hoo hoo hoo. Mhmm. Are you raging? Azabul. It is most welcome. Mhmm. Thank you very much. Let's talk about the film. There are a lot of characters surrounding this film, and I do feel like they are representative of the economy, of society. There are some very real universal themes that are going on here that are felt all around the world, but there are some very specific South Korean

15:40KT: themes that are going on as well, and I can't wait to talk about that. Mhmm. But before we do that, let's talk about the directing slash cinematography. And this is your time, Oti, if you're nasty, to pull your Criterion monocles up.

15:57Oti: I think this is one of the things that I'd we do I really do get to appreciate the first watch or even maybe the second watch because I think we watched we watched a Bong interview Yeah. Where he suggested that he was influenced Mhmm. By a 1960 movie going by the name The Housemaid.

16:17KT: Kim Ki-young, shout outs.

16:17Oti: Yep. And

16:20Oti: when we watched The Housemaid and then watched Parasite afterwards, it was just mind blowing because he talked about the staircase in Housemaid and how he took it to symbolize class. Mhmm. And then when we watched Parasite, all we could see were staircases. Yeah. You know? And and what we saw, like, we're like, oh, wow. Opening all minds to a different level of watching movies. It's exciting.

16:48Oti: And then it got us to think a lot more. At least it got me to think a lot more while watching it. You know? We in the Kim's house, you know, it's a semi basement apartment Yeah. Where we have this small window outlooking the street. Just a little bit of hope. A little bit to keep you going. Yeah. Just a little bit. Yeah. And then in the Parks residence, it's full on. Mhmm. Like, it's all glass made, overlooking

17:12Oti: a really lush green garden. Springtime of youth, don't you reckon? Exactly, man. Jiraiya would have been having a party out there. Naruto reference. Sweet. It's it's it really opened our eyes to understanding or appreciating what he was trying to do and what he was trying to allude to in the movie. Mhmm. So I took the cinematography at least made elevated or influenced specific aspects of the movie where before,

17:40Oti: I was just looking at it as a mere, oh, this looks cool. It looks pretty good. You know? Yeah. At the end of the day, at least, I think from a director's perspective, we just want your movie to look good. But overlaying messages in it and and the symbols takes it to a different level.

17:56KT: Oh, absolutely. Absolutely. And on The Criterion let me pull both of my monocle glasses up. On The Criterion Collection, we do have Bong Joon Ho's interview, and he is lauding and referencing The Housemaid. He talks about horizontal lines. Right? And like you said, it's conditional priming. Like, if if someone told you there are more blue cars than any other color in existence, you will start to believe that that's the case. So every time you see a blue car, it reaffirms that. Not to the level of QAnon.

18:33KT: Know, cross off your For Your Reference bingo. I referenced QAnon in our first episode of twenty twenty one. What a great fossil. But but everything is so meticulous. Without being a color grading artist, I would say that there was a difference in the class, even visually. Because when we were with the Kim's family in the semi basement, it did feel a bit more gritty. There was more green and, you know, gray sort of shade. A green florist and tint. Yeah. Definitely. Why must you mention my privates? Okay. Go and watch Schitt's Creek.

19:14KT: Who thought we would be referencing so much? But also, the joke's on you, I guess. Read the title. Also, we earn our explicit tag wherever we can. Oh, for sure. And then like you mentioned, the springtime of youth, when we're in the Parks Mansion, there's really nothing to worry about. Yeah. There's sun shining on us. We're having a good time. Even when it's raining, we're sipping our whiskey. We're having a great time.

19:14Oti: Actually, yeah, sunlight played a big part. It it was really light and vivid in Park's residence.

19:42Oti: And then when you move on to the Kims, barely any sunlight just from the small window that was coming in. And even from the shots, you had this closed sort of perspective where you felt you felt claustrophobic Yeah. While watching them. Yeah. Absolutely. But in the when watching the Parks, man, you you felt like you could do cartwheels and somersaults.

20:02KT: I'm not smart enough. I'm not clever enough to verbalize, but the fact that they were only able to connect to the outer world in their place of excrement, I think, also speaks to their conditions as well. Oh, yeah. And it's very interesting, and I can't wait to talk about the families specifically because they had a very different reception to their current state of events and their circumstances. But let's move on to the story

20:34KT: and also the writing of the film.

20:34Oti: So I I loved it. I love the story. I love the story.

20:34KT: Your qualm then? Because you're saying you love it, but at the start, you were DMXing me, sir. And we do love that sex position, but we're not talking about that now.

20:34Oti: My qualms aren't all quenched.

20:52KT: Oh my.

20:52Oti: Albeit the fact that I still love the story Mhmm. I had issues with aspects of the characters. Okay. So it wasn't necessarily the execution. It was the choice of the characters. Yeah. Okay. Yeah. Because I felt and I I think we'll get into different characters and more in-depth analysis later on. But to me, especially coming from Africa, we didn't have everything growing up. My parents struggled, and I appreciated everything that they could to get me to access things. So when watching a different family in a situation where they didn't have everything

21:28Oti: And the decisions they made once they landed on, you know, a gold cloud, it just felt a bit jarring on mistakes they made, on how greed perpetrated them to do things that I didn't agree with. I think who you are is I think who you are is who you are,

21:45Oti: whether you're rich or poor.

21:45KT: And I think that's something to talk about as well. I think one of the things that would surprise you, friends and lovers, is you wouldn't necessarily associate the word conservative with the For Your Reference podcast. But in regards to, you know, financially, I would say we are quite conservative. So I get what you're saying, but also at the same time, you of all people should be able to acknowledge that you are existing in a system where you are set up to fail,

22:17KT: that there is no sense that you will be able to get to where you need to go. And I'll bring some examples from the film. I think it's right after Ki-woo and Ki-jung get recruited into the Parks' house. Recruited because it was very militant. It was very dutiful and deliberate. Right? And I think they're at a buffet for drivers.

22:38KT: And during that very casual sort of discourse, and I gotta give credit to Bong Joon Ho as well because a lot of the social commentary happens in very casual conversation. Yeah. Right? It doesn't need to hit you over the head. It can flick your bean instead. Oh my did I create a merch? You sure did. That only I will wear but there is a discourse there and very casually they talk about all of the jobs that Ki-taek has been through

23:06KT: And I love that because it furthers the narrative even from earlier in the film that even if you're skilled and not in this case, but in some cases, even if you're qualified, the economic model isn't set up for everyone to succeed. It's set up for everyone to participate, but it's not set up for everyone to succeed. And that is something that I really appreciate from that. And what I would say, what I would counter, go and listen to our Itaewon episode,

23:36KT: is if they know that they're never going to get to the level of opulence that the Parks have, why not squander it all? Why not celebrate the moments that they have? Specifically within South Korea, they have what's called chaebols. Right South Korea's economy grew much faster in comparison to other countries in the world credit to the chaebols which are family run conglomerates that had support from the government but what happens now is a handful of super opulent higher upper class people

24:11KT: are living the good life. Yeah. But then you have millions of people that have grown these conglomerates that are never really going to be able to grow that. And,

24:22KT: you know, to bring it back to a worldwide sort of universal themes, we have a housing bubble. Right? There's a housing bubble in Australia. There's a housing bubble specifically in South Korea, and there's also, you know, the global financial crisis that was based on the housing bubble. Sunny and Brandy from the Book of Lies podcast that did The Big Short, tell me if I'm wrong or not if we're best friends. But, you know, South Korea has seen a financial crisis in the nineties, in the February, and unfortunately, due to the Pamela Anderson also

24:57KT: going to see problem because there there was already problems before the panoramic pandemic. Right? So, you know, South Korea as well as the world is not in good standing right now. So if all you have is now

25:12KT: and you have the luxury of your loved ones with you, why not squander it all is what I'm saying.

25:12Oti: I understand all that. I get that. We covered aspects of this when we we when we talked about #BlackAF and what Kenya Barris said about African Americans finding a gold mine and squandering it all because they fucking didn't have it all. Give him his gold chain. So get in when you get it, get your gold chain, mate. Get your Ferrari. Get everything that you'd want. You know?

25:12KT: Also,

25:38KT: Michaela Coel's I May Destroy You. There was a discourse about that of

25:43KT: now that black people are coming up, why can't they drive their Mercedes? Because now it's hurting the environment.

25:43Oti: Yeah. Yeah. There's aspects of that, and I I fully appreciate that angle. Mhmm. But we're talking about characters here Yeah. Who are not naive.

25:58Oti: Uh-huh. They're pretty smart. Yep. We have Ki-woo. I'm I'm I'm thinking in the sense of this guy is is super smart. He knows he always tries to plan. He always talks about planning. I have a plan for this. I have a plan for that. Yep. You know? Even when they would reach the end of towards the end of the movie where they were in the gym and he's asking the dad what the plan was, and the dad's saying, oh, I don't have any plan because once you once you don't have a plan, you you can't fail.

25:58KT: Let's stay in that moment because that is very pertinent to what we're talking about. And, naturally,

26:30KT: you know, this film talks a lot about social status. And, unfortunately, social mobility in some countries don't fucking exist. And I would say even in this regard, that's the case as well. Yeah. Right? So that gymnasium scene, I I don't even know if this is something that people talk about a lot. I tried to stray away from specific reviews of Parasite. I try to stay I don't know. I just need to mention, it fucking pisses me off when people say, explaining

27:04KT: the ending of Parasite. Just fucking watch it. Oh, does it have a twist that you never saw coming? Yes. But, also, don't don't fucking trivialize art. I'm fucking sick of it. Just watch it.

27:18Oti: I agree. Just watch it. But that doesn't take care of us all of the of the major issue where we have characters who are living in in a lower standing in society. But once they got a a tasting of Park's life Everybody talk about Park's life. Not the park, but they fully lose themselves in the moment. Yeah. You own it. Don't ever let it go.

27:45KT: Your hip hop roots are coming out, Oti.

27:45Oti: And and

27:49Oti: it just frustrated me because I appreciate now that I have pulled myself by the bootstrap. Mhmm. And where I am now, I do not see myself landing on a fucking Goku's Nimbus and then blowing it all away because, what, greed?

27:49KT: Did you just give us another anime's reference?

27:49Oti: Yeah. This was supposed to be all an anime podcast. Anyway, I do not appreciate that because I've lived that, and I know where how hard it is to climb that ladder. I'm not fully up there yet, but shit.

28:20KT: With my minus five qualifications, I think it's wrong to approach economics from your specific circumstance. I think you need to look at the broader statistics and how on a on an optic scale, everyone is moving or everyone is failing. I think that needs to be discussed. But let's go back to the gymnasium scene. Right? And if you are not talking about the gymnasium scene when you were talking about Parasite, hey, if you want me to be a sex position consultant, I'll tell you that you're doing it wrong. But

28:54KT: let's go back to that gymnasium scene because I think that really speaks to, you know, the simmering and the crescendo, which we will see later on in the film in the third act, if you will, of how it really builds up from there. If you're not really bought in, if you're not able to identify or at least be able to resonate or to be able to empathize to some certain extent, then you're not going to get it in the gymnasium. You kind of have to be in before that point. Yeah.

29:28KT: And exactly what you're saying. So we have the Kim family. We have daddy Kim, and we have Ki-woo. And you can see that they've both lived very different lives. You know, they've lived that semi basement life, and they've been trying to efficiently find a way to fold these pizza boxes, but they've both had very different experiences even if those experience are just additional years of the same shit that you've had to continue to eat. And that's the difference that we see here. Ki-woo still has that periphery

30:04KT: of things that can still be better. I feel like Ki-taek daddy Kim

30:09KT: kind of accepts that this is just their lot in life.

30:09Oti: Yeah. He can see else is a bonus. I agree that Ki-woo sees beyond the glass, beyond the window of the pissing man outside the apartment. I fully appreciate that. And and I know that Ki-taek doesn't see that. He's in a four by four. He doesn't see shit outside the window. Anything else is great,

30:29Oti: like bringing the fumigation to help our place, but he doesn't see any sort of mobility

30:35Oti: further up the social standing. Yeah. He's fully disillusioned. He accepts where it is finances financially and socially. And I and we've all been there. Yep. Or at least I've been there where you you look towards the future.

30:35KT: Are you trying to Oti snipes me?

30:35Oti: No.

30:35KT: How much have you how much have you been evading, sir?

30:35Oti: I'm just saying, we've all seen a future where we can't see how it becomes better,

31:00Oti: and then a moment happens where you have to grab the moment. Mhmm. And just change your fortunes. And Ki-woo does that. Ki-woo does that for them. Yeah. He gets in as a tutor Yep. Where he tutors Da-hye. Mhmm. You know? And he brings on their sister Yeah. To become an art therapist.

31:22KT: Don't you love when they're eating at the buffet? She was like, yeah. I just googled the shit and made the rest up. Yeah. Yeah. Which speaks to her fucking intelligence.

31:32Oti: Yeah. Absolutely. It and, you know, she ad libbed to a point where it was believable for pre you know, call call miss Park whatever you want. Call her naive. Call her privileged. Call her whatever. But she's fucking rich. When you are capable enough to be fooled by someone that knows nothing of I know not you know, it's not that she just believes it off the hill of her feet. Yeah.

31:32KT: Is that a

31:58KT: that a Kenyan proverb, or is that an Oti phrase or mine?

31:58Oti: I'm pretty sure that's a thing. International

32:03Oti: fake.

32:05KT: Feel free to hashtag fact check Oti. But my if if I was still in high school, I would have him on my folder. Park Seo-joon, Min's character. He mentioned that she was young and simple. So I don't necessarily think that missus Park was steeped in the arts. I I wouldn't say steeped in the arts. I would just say She cared about her son, and she felt like that Jessica knew what she was talking about. I think it it's nothing further than that.

32:36Oti: Cool. I took them as the astute people in the society, especially mister Park.

32:42KT: She's a bit aloof.

32:42Oti: She's aloof, but what about the husband then? Well, yeah. It can't just be, oh, we've made all this money. You just don't make money and stay there. You can lose money as quickly as you made it. The fact that they've been up there and we have miss Park saying, oh, we've even gotten to a point where we're actually now getting even more fucking money. Yeah. But she's saying we as the royal we, as the collective we, not her. Mister Park is not you know, he he's with it. He's not he's not simple. Oh, yeah. He's a businessman.

32:42KT: It doesn't mean they know anything about art.

32:42Oti: I'm not thinking you know the funniest thing about rich people is they know how to keep their fucking money. Yeah. Because they don't fucking spend it. They spend other people's money. So for you to say to come here and say, oh, this this three or this four people can come into their family and just squander all their riches on them because, hey. We're simple? Me. I don't buy it.

32:42KT: No. I'm saying in that particular facet,

33:37KT: they're not necessarily savants of art. They made a big yourself, sir.

33:44Oti: At least it speaks to Ki-jung's intelligence.

33:47KT: Yeah. I'm absolutely giving credence to Ki-jung. Even the fact that we have Ki-taek very earlier in the film lauding Ki-jung saying, does Oxford have a mastery course in forgery? Because Ki-jung would be there. And that's exactly going back to my foundational sploosh. Oh my. If we didn't already had our patron tears, which goes back to my foundational sploosh of even if you are talented, even if you are qualified, not in the official sense,

34:19KT: there are systems that are in place that you will never be able to succeed in, and that is exactly the case. You mentioned that Ki-woo was very capable and very smart and very forthcoming in regards to his plans. You have Ki-jung, who is able to do the forgery and also bullshit the wankery rich people to to the fact that she knows even the psychotic dark corner.

34:42KT: Yeah. And then we have missus Park identifying that in the drawing. Oh, she's so lovely. And she's like, I sit there at dinner and watch it every day, and I didn't notice. She's really she's she's well meaning, but she is very simple also in that regard. The mom if if there's any sort of qualm you wanna have with a character, I'm in the ring with you, bro. Mhmm. If you wanna talk about Chung-sook.

35:07KT: But anyone else, I will definitely go to bat for.

35:07Oti: Cool. Go to bat for them. I'm all I'm saying is Mhmm. You can't have fully realized characters in Ki-woo and Ki-jung and then all laid asunder because,

35:24Oti: what, greed? Throw the plans out the fucking window?

35:24KT: No. But you what you're not understanding is they may never have this opportunity again, so why not live it up? They're earning money. They're getting a salary.

35:36Oti: We have miss Parks being fully, fully generous. Uh-huh. To a fault, I might say. Yep. You know? Here's the salary. I've added an extra bit for inflation. She is the sweetest lady there is. She is very sweet. And she she treats her employees, at least when it comes to paying them Mhmm. Without any restrictions. Yep. When they were bringing them over for the kids' impromptu birthday party Yep. You know, she was like, yeah. We'll pay them overtime.

36:07Oti: Yeah. She did not hold to her coffers because at least we know that she would pay. And once you realize that you're getting that money, just sit with it. Be with it. Earn it.

36:07KT: Well, I think this is great because it's the battles of your mamas. And we have missus Park, we have Chung-sook.

36:23KT: And what I wanna take you to is the scene of opulence that you do not care for. I think that that really bothered you, and that's a foil projection that you need to reconcile in a different time, which is where you have the Kim family living in the mansion and enjoying it while the Park family is away. And Chung-sook says something very interesting. You know, she goes on a verbal tirade on

36:52KT: and I think it was also in response to Ki-taek because Ki-taek's like, oh, these rich people are very nice. Yeah. Paraphrasing. And she says they're nice because they're rich. Yeah. And, okay, fine. Roll credits. But then she makes it unbelievable because we always say, if you're gonna lie, make it believable. And she's like, if I was rich, I would be nice too. And it's like, no, motherfucker. You're a fucking asshole,

37:16KT: whether you're rich or poor. And I think if she was rich, she'd be even far worse. She would be worse. I do not wanna see a film where Chung-sook is the rich person. But let's go back to it because she mentioned something subtitled that I think was very important that I wanna touch on. She mentioned that money is an iron. That

37:36KT: it it kind of wrinkles out all of your issues in life.

37:36Oti: Yeah. Agreed to a point. What bothered me with Chung-sook is that she just talked out of her ass. Yeah. She did not factually believe or at least we did not get a representation

37:51Oti: of what she was saying on screen.

37:51KT: And her ass had a lot to say even in regards to Ki-taek.

37:56Oti: Especially when we get introduced to Moon-gwang when she's coming back. Yeah. We have this mentality where because Chung-sook is fucking poor. Yeah. So you would treat a fellow person who's in your social standing the same, at least as well as you want to be treated.

37:56KT: Okay. So let's talk about it. Right? Because familiarity

38:17KT: breeds contempt. And when I talk about familiarity, I'm talking about within a social standing. Yeah. Right? And what I really love about this film is, you know, just when you think your sex position is done, switch. Right? And then you feel a deeper sensation from that position or that parasite if you're nasty because it it really did become at some point, you realize it's the rich versus the poor. Right? Without actually realizing within the poor, there's there's different hierarchy within that as well. Yeah. And, you know, for Chung-sook

38:58KT: or for the whole family, but very believably with Chung-sook, for her to think that she is above anyone where they were physically, financially, in every aspect of the world, for her to look down on someone else, it made no fucking sense. It didn't. And maybe we are kumbaya around the campfire, but it really didn't make any sense because, you know, even Moon-gwang, she was saying, sis, my sis, my sis. Right? Yeah. But it wasn't until the whole family, very cockamamie, fell down the stairs, and they pretty much exposed themselves. Right?

39:35KT: That she had no more leverage. Yeah. And then Chung-sook was like, my sis, my sis. And then Moon-gwang's like, fuck you, motherfucker. I'm going to look after my own. Yeah.

39:47Oti: Yeah. And I think that's where we get a completely different contrast on who the Kims are and at least what how Moon-gwang and Geun-sae orchestrated the whole para parasitical sort of relationship Uh-huh. With with the Kims with the Parks. Sorry.

39:47KT: It is it's very interesting because,

40:08KT: also, at the same time, within the lower class, I guess what's also exemplified through the film is, yeah, the Kims are living in a semi basement home, so they still have a way to navigate within normal society. But at any point, they could become basement dwellers. And I think that's part that's the part that perhaps is missing for the characters, but we can definitely pick up as ourselves. As much as we scorn and we poo poo those that are slightly marginally

40:46KT: worse than we are, we could definitely be in that position in any moment. You know? Specifically within South Korea, but also universally within the world, you come to a point where official institutions won't give you any loans anymore. Right? Yeah. And that's what we have with Moon-gwang and Geun-sae. They turned to a loan shark, and that was referenced I don't know if they wanted to give a full circle to the Venn diagram, but it was mentioned earlier that Ki-taek did work at a Vietnamese cake shop right and

41:20KT: we see that Geun-sae had a very similar situation where he was being chased by loan sharks and you know, depending on whatever spoon you had, whether it was a silver spoon or not, it's very easy to say they shouldn't borrow from loan sharks, but also at the same time, you're not understanding the struggle that they had to go through in their path. That maybe they had exhausted it already, and maybe this is this is the hippie dippie KT that's coming out, but I do feel for Moon-gwang and Geun-sae. Maybe not in the last

41:58KT: maybe not in the last theatrical act of this Shakespearean tragedy, but I did feel for them because at any point in time, unfortunately, it's a very precarious balance in South Korea, but also globally as well. That as much as you are able to fold your pizza boxes, you could be hiding undercover for criminal reasons, but also financial reasons as well.

42:23Oti: Yeah. And I hold nothing against them. I fully understand the situation.

42:23KT: Why do you understand them and not the Kim family?

42:23Oti: Because they did not exploit. They did not go beyond the line. They did not they they were not greedy. They were not greedy.

42:23KT: Social change doesn't happen when people say please and thank you, sir.

42:23Oti: Of course, there's a parasitical relationship with everyone, you know, with with the Kims and and how with the Parks and how they interacted. But at least they knew not to draw too much fucking blood.

42:54Oti: There was a level of understanding that they'd lived he had lived down there on the basement Yep. For four years. Mhmm. That's something I don't think the Kims would have done because they would have gotten greedy. Would have gone upstairs. They would have partied the hell out. Yep. They would have gotten caught. They would have been raging because they're seen as lesser human beings Yep. For the societal standing. Mhmm. Which is fully under which I can fully appreciate as a viewer. But as a person,

43:25Oti: no. I can't. I really can't just. Because in Moon-gwang, we see she knows where she stands. She takes care of Geun-sae for four years Yep. In the basement. And they could have probably gone on for twenty more years. And they would have and she was doing this even before the the Parks came to this house. So it's it's it's a bloody long relationship where she she knows how to tether tether the line without falling over. Okay.

43:52KT: It's very interesting, and I don't think we have the time and and maybe not the protective shell to go through it in this episode. But it's very interesting on who you resonate with and who your allegiances lie to or at least where your dick is swinging. Right? But it is very interesting because they're both from a lower sort of standing socially, financially in every sense of the word. But, yeah, it's it's it's a delicate balance of

44:27KT: where do you ask for too much and where do you just accept the fact that this is where you are and that's it. How did you feel tonally in regards to the film? Because as we get to the last third, I would say it does get very eccentric, I would say, is the word. You know, we have the Native American reenactments. But more so, I'm saying, if you're not already bought in by the film, maybe you think that's a bit out of place. But I felt that was very deserved. And when

45:04KT: Ki-taek actually stabbed mister Park, that was a triumphant moment for me. One of the most satisfying, thrilling, visceral experiences in cinema that I've ever experienced.

45:19Oti: Wow.

45:21KT: Again, I am KT Trimagasi, but I'm not going to go around stabbing people.

45:26Oti: I felt like tonally, I was being taken on a on a on a merry-go-round.

45:26KT: I don't think you were bought in.

45:26Oti: See? Not not not even that. We started off being slightly comedic, and then we shifted gears to being this sort of A heist ish. A heist ish thriller sort of mood or genre. And then we ended up in this sort of dark, horrific sort of way. And I'm like, cool. I see her. I can see how I can see the buildup of mister Kim getting there. Yep. And whilst I understand all that, I understand

46:02Oti: him feeling less of a human being, feeling less that he cannot see beyond you know, he cannot see the vision. He cannot see what the future holds. Yep. He's fully disillusioned. Mhmm. I bought into that because we've we have character development. We have storylines built into that. Credit to the writing. Credit to the writing. Mhmm. But what I didn't understand or what I didn't get is in all their decisions Yep. Is what caused this chaos.

46:29KT: Oh,

46:30KT: come on.

46:30Oti: Their greed caused this.

46:34Oti: Chung Chung-sook's inability to connect with someone who has the same similar standing with her built this.

46:38KT: How dare you? How dare you? Why when we were

46:38Oti: This was a tragedy of their own making.

46:38KT: No. But why when we're reviewing Spartacus, you're like, go for blood, motherfuckers. And then here, you're like, be nice, say please and thank you, and be on your merry way.

46:38Oti: Not say please and thank you because

47:00Oti: Spartacus is a is a step removed from reality. In my in my understanding or at least in my viewing.

47:00KT: Because it's not set in modern times. Is that what you're saying?

47:00Oti: Yeah. With this, I'm fully encapsulated in my own upbringing and in my social growth and in my, you know, be it sociopolitical

47:20Oti: messaging that's there because they cover a lot in that space.

47:20KT: Well, I go against your advice, and KT's advice is treat every day like it's a third act of Parasite, motherfuckers.

47:20Oti: You

47:33Oti: know what's interesting, though? Yep. Is getting mister Park's view of the social low class people in society. Yep. Because he he equates them to a wet drug or the subway, a distinguished smell Yeah.

47:52KT: Which is heartening as fuck. But I love the fact that you brought it up because I do feel like that is a vehicle. Not it it goes beyond smell. Right? Because it's very easy in a film to be able to exemplify it through smell. But, you know, financially, sexually, racially, I feel like on some sort of scale, we've all felt lesser in a room of other people.

48:20KT: Yeah. And that was definitely a universal theme that was being tapped on in that particular moment throughout the film. But if you're feeling the triumph that I'm feeling, you definitely felt it in that moment. People that make you feel like you shouldn't even be in the room or in some cases not even exist. Right? Yeah.

48:40Oti: Yep. I get that. And I think what Bong did so well predicting it, even in certain shots where they were running from the house when it was raining. We get a symbol where the rain is so completely it's symbolic of how different it is for people in Different classes. In different classes. Yeah. You know, you have the the super rich people who It's a very picturesque. Oh, it's rainy. How beautiful. Let's put a let's put our teepee out sun can just chill out there. No worries.

49:13Oti: But for the lower class, it's completely different. Their whole house was destroyed. Yeah. Their sense of livelihood where they had to take that snap decision to decide what is valuable to you, salvage that because everything is fucking washing away. Yeah. Yeah. And that's where as well my qualms with this came from because

49:33Oti: if greed didn't play a factor in this, they would have been home. Mhmm. They would have closed the window. Yep. The apartment wouldn't have been flooded. They would have ended up in a gymnasium. They would have listened to Park describing them as associating with the smell.

49:50Oti: All of that.

49:50KT: Oh, come on. People are gonna treat you the way they're going to treat you, but you wouldn't hear it.

49:57Oti: He wouldn't be there to hear it.

50:00KT: Yeah. But even in the interactions, way that the they treat you. Friends and lovers, meet me at the solstice. We will revolt. There's a saying ignorance is bliss. There's a reason why that's around. Well, yeah, it's also why you mute and block people. No one in particular, motherfuckers. Exactly.

50:18Oti: It's the fucking block. It's the reality it's it's it's it's reality's fucking block. If you're not there,

50:25Oti: it can't hurt you, mate.

50:25KT: Yeah. But also, at the same time, rest in love and peace, Andy Whitfield. I guess I'm feeling my Spartacus sort of loins right now.

50:37KT: Yes. You said they got too greedy. But also at the same time, were they just supposed to lay down and live their semi basement life for the rest of their life? What is wrong with them wanting to dare to dream to have more?

50:37Oti: They always had plans. We had Ki-woo who had plans for days. Yeah. But once the whole family is on a fucking payroll, there's no plan to utilize that money.

50:37KT: But what's wrong with that? Why can't they?

50:37Oti: The only thing we saw them using that money for is fucking eating a buffet,

51:06Oti: squandering the money they have. Fun. I accept there's a level of, I want this. I need this, or let's get something that we'll never have. There's a level of indulgence because they don't know how much longer they'll have this opulence.

51:19KT: And the fact that we're talking about a buffet as opulence in 2021,

51:24KT: that is some lower class shit. Right? That is some struggle shit.

51:24Oti: Mate, our buffet in African countries or at least in other countries is fucking ridiculous. It's expensive. It's not like the $10 buffet, you Ravi. No. Buffet symbolizes something different. I didn't realize. To get a fucking buffet in Kenya is is super expensive. It's something that only the rich can get. It's a it's a it's a it's a social thing. It's a social class thing. Mhmm. You know, here in in Australia in Australia,

51:55Oti: it's something different. Like, oh, buffet is like, hey, mate. Let's go get a buffet. That's different. Yeah. It's not a $10 thing.

51:55KT: But what you also need to acknowledge, if you're saying Kenya is different to Australia, so is South Korea,

52:07KT: my love.

52:07Oti: And that buffet wasn't any the last thing. Buffets, is it I'm just looking at it from what it's been written. Mhmm. They were leaving and getting meals or trying to get coupons or whatever the fuck they were trying to get to survive the day to day. Yeah. Buffets was never in their agenda. And when they're the football club, they're like, hey. Indulge in everything you can. Eat everything you can because it's it's a once in a lifetime moment. Yeah. It's nothing that they could have gotten if they were not getting that money. Interesting. Equating that to my understanding of what buffet symbolized in in Kenya, in Africa.

52:07KT: It's interesting the way that social class brings such a very vibrant and vivacious

52:46KT: dialogue because my whole family drove over an hour because my dad won $60 in a lottery ticket. So it's a very different experience, I guess, around the world as as global as we can be on the For Your Reference podcast. But also at the same time, universally, I feel if you're not seeing the end of the tunnel, if you're not part of the chaebols in South Korea, then get the fuck that's yours in that fucking moment. And even if it's not yours, get it. Get it while you can and dip it out.

53:28Oti: Right. They just squander the opportunity, and they put themselves in a position where they got they got to the field.

53:36KT: If you wanna have a very layered if you wanna have a very conflicting discussion, then we can talk about where they are living their opulence, where Ki-jung is in the tub, and they're all sitting around and eating. If you wanna have a really layered, complex discussion, then we can talk about that because there is a moment when they reflect on the driver that they dismissed as well as a housemaid, not 1960, that they dismissed. Right? And they start to

54:06KT: grapple with their humanity of, I've taken someone else's place, and for the sake of them continuing to be able to function, they have to believe that they got a better job. But you don't know that. They might be struggling worse than you now. Yeah. If you wanna have a real, you know, something that you can hold more than a cup full of bosom, yeah. Let's talk about that because that is some real grappling of social class that we can talk about. Because it's it's very easy for me

54:36KT: When we're talking about the Kims and the Parks, there's a very easy line of, they're not bad people, but I'm going to get as much as I can get. But if you're talking about everyone that's kind of in the same social class, that's some very immediate discussion.

54:49KT: Then, yeah, I am all the way in with you. Ki-jung kind of just didn't care, and I understand that as well. She's just like, I need to get what I need to get because what else is tomorrow? She knows she's talented, but also at the same time, they mentioned earlier in the film, she doesn't have the finances. They don't have the finances for her to go to school. And

55:10KT: whether she was forced to or not, she kind of just accepts that. She also mentioned how she took odd jobs of being in people's weddings, right, just to be able to fill the attendance. And if you're able to catch the bouquet, you get extra money. Right? So so there is a lot of grappling of what they deserve in this lifetime and also what that means for other people because you took their jobs. Maybe not to the point of they took their jobs from South Park,

55:41KT: but you really see a grappling of social class within that. So if you wanna have immediate discussion, that's where we would have it, my love. And also at the same time, I'm not sure if you noticed, they were drinking really high shelf spirits, but they were also eating really cheap sort of meats. And I love some cheap meats. They had some salami. They had even at some point, Ki-jung was eating dog food without even realizing it.

56:07KT: That's sad. That was more towards the opulence of how the Parks are living. But but I'm saying it's a melding of those worlds. They're drinking their liquor, but they brought their own food in. So it's a juxtaposition of the opulence that they're indulging in, whether warranted or not according to you, but also the fact that they brought their own food in. And it was a very jarring visual to me because they were eating really cheap sort of meats

56:33KT: but they were indulging in really high shelf sort of liquor. So if you really wanna get into some layered discussion, that's where we have it my love. If you wanna talk about the Parks versus the Kims, I am the Kims all the way twenty four seven or a day.

56:33Oti: Cool. Like

56:49Oti: and I and I get that. To a level, I get that.

56:49KT: You're about to say appreciate.

56:49Oti: You know, like, you could go back to the to the Parks over and over again.

57:03Oti: And

57:03KT: Oh, hello, Jackie Chan from Rush Hour.

57:03Oti: I cannot see

57:08Oti: any reason why Yeon-kyo was a problem in this.

57:08KT: I don't think she was a problem.

57:14KT: I think these characters are representative of the social class in South Korea, but also universally the world. And in some cases, you'll get really nice, well intended rich people. And then in some cases, you'll get really vile and bitter lower class people.

57:14Oti: Coming to missus Park, it's not until where mister Park says that he has he he he there's this smell that Post bean flicking.

57:39Oti: Yeah. That Ki-taek has. Yeah. You know, it's not until then that he she senses it, that she gets it, that she smells it. Yeah. Before that, she was happy in her ignorance

57:52Oti: of not knowing.

57:52KT: I wouldn't think she was ignorant, though. Look at you. You're being ignorant. You're calling everyone ignorant. I don't think they're being ignorant, though. I think they're just focusing on their specific circumstances and not worrying the fuck whatever anyone else is going on about. I don't think that's ignorant.

57:52Oti: Ignorance naivete.

58:10Oti: Call it whatever you fuck you wanna call it. OTT.

58:16Oti: She was fully happy in that level. She did not smell anything. She was just you know?

58:16KT: I don't think she thinks too deeply, though. Not in a bad way. I wish I didn't think so deeply.

58:27Oti: Then do you think that missus Park married rich?

58:32KT: No. But we also don't know if both of them were already rich to start off with.

58:37Oti: Maybe so. Based on the behavior of Chung-sook, oh, man. I I feel like Yeah. Chung-sook, what's the opposite of a MVP? Because that's what she gets.

58:48KT: Least valuable player? She was a problem and a half for me. But I think she also brings some realness to it because everyone else gives us hope in the lower class. Right? That we're all pulling up by our bootstraps. And then you have motherfucker Chung-sook coming around the corner reminding you that there are some really spiteful and scorn lower class people, and that's what she represented. So it is multilayered and it's an exemplification of social class, which is what I'm pretty sure the intro was. I get it.

59:23Oti: All I'm saying is the trajectory that the characters took, I did not fully resonate with. I did not understand it.

59:23KT: You don't think it had to get to the point of stabbing and killing people. Is that what you're saying?

59:23Oti: The point of stabbing mister Park. No. That's just a frustration that was bought out of greed, in my opinion, and them being in a position where they shouldn't have been in the first place.

59:23KT: But if they're never going to get anything better than a semi basement,

59:50KT: in the realms of a film, okay, because if we're we're not economists. Right? So we're not talking about the real real world shit. Right? But if we're talking about the realms of a film, we kind of disband, like, the consequences of reality. And we kind of see that come to play when people start getting knocked in the head. Right? So when we disband the consequences of reality, what's so wrong with them getting this?

60:18KT: Whether it's whether it's willful or not, what's wrong with them getting this in that moment? Because at any moment, they'll be thrust back into the fumigation and pizza boxes. When you are consuming film that portrays social commentary with real world, like, themes, do you disband any sense of reality and let people go for broke? Because if that's the question that's being posed that I pose myself that I, myself, will answer, then yes. I will fucking go on a rampage. Just like we did in our El Hoyo, The Platform episode,

60:57KT: you know, we're talking about some real world themes. We're talking about some real world problems. But in a realm of a movie, I am disbanding real life consequences. And I am going to light the flame, and I'm going to go into a rampage and revolt with you. That's how I feel.

60:57Oti: No. It's an allegorical device that Bong has used.

60:57KT: Yeah. Allegorically, I'll go on a rampage then. Join me in the solstice.

61:27Oti: No. Like, I you can talk about all the cinematic devices, all the all the all the themes and and all that. At the end of the day, it was based fully on an aspect where we could all relate to on some base level. Okay.

61:44KT: If you didn't know, Oti is our residential accountant. I'm going to do what you may consider a sex position, but is also known as sixty minuting Oti. Okay. So let's let's start to debrief. Parasite, the masterpiece, the dutifully executed. Do you believe that there was messaging, whether well or not, do you believe that there was messaging in regards to social status in society?

62:16Oti: There was messaging.

62:18KT: So it's a yes or no, sir? Yeah. Yes. And do you believe within the social classes that were portrayed in Parasite, there were layers to it? Yes. Do you also believe that even within a social class, lower class, for example, that there was friction within members of that social class?

62:37Oti: Yeah.

62:39KT: Do you also believe that regardless of social class, irregardless if you're nasty, that we all deserve some level of luxury?

62:49Oti: Yeah.

62:49KT: The court rests your honor.

62:49Oti: Yes. But then again, there are nuances to everything.

62:49KT: There are absolutely nuances.

62:56KT: Nuances that you agreed in earlier questions were exemplified through the masterpiece of Parasite.

63:03Oti: To what degree?

63:05KT: I take reprieve, your honor. My advice to you friends and lovers, and in some cases, motherfuckers, is learn how to have a discourse on film. As as much as Oti and I are a unit in every delectable sense of the word, there are moments where even in fraying hairs, we disagree with each other, but it always becomes a tantalizing sexual avatar tentacle discourse. And I love that about us. You know, there's a push and pull if you're nasty,

63:41KT: where we can really get to an understanding not only of ourselves or also how we saw the film portray itself. And Parasite, for many, many years to come, will continue to be that.

63:54Oti: True.

63:55KT: Because I'm not about toxic masculinity, because women can also be masculine, you motherfuckers in 2021. I will allow you to have the last word. Is there anything else you would like to say, my love?

63:55Oti: I just wanna restate the fact that I did love Parasite,

64:09Oti: but at the end of the day, this is a podcast where we need to have some sort of level of discourse and discussion and having alternate views on things or at least bring alternate views to better understand the effects of what Parasite meant and brought to the table in terms of it being

64:29Oti: a movie worth talking about in decades to come.

64:29KT: I didn't know that you were the embodiment of Terrence Howard. It's like you just you just slapped us across the face and said, but I love you, baby.

64:44Oti: What's that got to do with anything,

64:44KT: If

64:49KT: you're enjoying The Empire of For Your Reference, thank you so much for joining us on this discourse. I personally had some sort of trepidation about covering this film because I love it so much and because it means a lot, and I do love the messaging. Even in some cases, you know, Oti doesn't necessarily agree with the messaging. You can definitely agree that there is multidimensional layer of messaging. Mhmm. So thank you for joining us. I feel like we're not done with Parasite.

65:22KT: Probably not. Probably a Patreon episode just Yeah. To further like in the future, we'll rewatch it again, and it'll be a Patreon exclusive. But Kamsahamnida, thank you so much for listening and joining us in 2021. And we really appreciate you guys, you know, coming onto our podcast and listening and, in some cases, also interacting with us. We are going to finish off in a segment we call For Your Reference. Oti.

65:52Oti: I would like to reference a movie that's dear in my heart. A movie that talks about the sociopolitical aspects of a society, in this case, Nairobi, Africa, Kenya, I mean, that's Nairobi Half Life. I think it does it quite well without overpromising too much, without getting its head out or at least sticking its beak out of the realism that is the world or at least in the capitalistic nature of the world. Alright.

66:23KT: Well, with such a compelling reference, we need to cover it soon, don't you think, my love? Oh, for sure. If you'll allow me in this social standing, I have two references, my love. Mhmm. The first one is Kim Ki-young's 1960 The Housemaid. Yep. And the last is if you are dabbling, if you've got your genitals wet in South Korean cinema, I will recommend Along with the Gods. Nice. It's also been announced that the third and also fourth installment of Along with the Gods is being worked on right now, Oti. Brilliant. So thank

67:00KT: you so much. We love you guys, friends and lovers. If you would like to continue along in a non subtitled view on Twitter and Instagram, we are @ForYourRefPod. You could write us an email on hello@fyrpodcast.com. And we'll see you guys next week. See you.