Subscribe
Share
Share
Embed
What started as an exploration of the devil in their show, The Exorcist Minute, has grown into something much greater. Find all the original episodes of the show and more right here in The Devil's Details with Lester Ryan Clark and Kynan Dias.
Coming up on the Devil's Details, judged. Saved. Oh my.
Kynan Dias:Oh my. George Decay.
Lester Ryan Clark:The perfect voice of God right there. Good morning, Star, and welcome to another episode of the Devil's Details. A show where we dig up, decipher, dissect, deconstruct the many forms of the devil. One of my names is Lester Ryan Clark.
Kynan Dias:And I sometimes go by Keenan Diaz.
Lester Ryan Clark:And this is the finale, so it's like, Keenan Lester. And then we just we just like, we hold it for as long
Kynan Dias:as we can do. Lester.
Lester Ryan Clark:And then Chandelier Falls.
Kynan Dias:Right. Right. We get opera. This is easy. Yeah.
Kynan Dias:We've watched our first or second operas.
Lester Ryan Clark:Yeah. We're feeling cultured. We're feeling smarter.
Kynan Dias:I've seen an opera. I'm smart.
Lester Ryan Clark:Not just musicals like everybody says. But, folks, this is okay. So firstly, I I just wanna give a little preface here. We thought that we were going to divide this up into three parts. We thought we were gonna do acts one and two for the first one, which we did.
Lester Ryan Clark:Mhmm. Then acts three and four for this episode, and then we're gonna finish off with act five. And then we both realized that act five is literally just the final song. Mhmm. If they even have an act five, sometimes they just lump that in with act four.
Lester Ryan Clark:So there was very this is actually probably going to be a very short episode because there's not much left to cover even though we're doing it all the way to the end. We're not leaving anything out. We're we're covering everything, but this layout of acts three and four and then, you know, the little the the tiny little act five, it it covers everything else. And it and it just goes on a on a, like, a a breakneck pace.
Kynan Dias:Yeah. This is probably gonna be a short episode. Famous Clark words. Yeah. We'll see about that.
Kynan Dias:Yeah.
Lester Ryan Clark:So now we're in act three, and here's where Gounod's opera really leans in to its tragic elements. You got you gotta understand that French grand opera of this period was all about this dramatic intensity. You got these these massive choruses. Choruses? Corusai?
Lester Ryan Clark:Cori. Yeah.
Kynan Dias:Chorusbodes.
Lester Ryan Clark:Yeah. There we go. Right? Like like octopuses. Mhmm.
Lester Ryan Clark:You get these big supernatural elements and all this complex staging. That's why some productions actually cut parts of these acts, and we're gonna get into that.
Kynan Dias:Yeah. Boo. Boo. I like all this stuff.
Lester Ryan Clark:Give give it all to us.
Kynan Dias:Yeah. You you we were watching this World Opera House version, and they they moved some things around, but they kept most of mostly everything and Yes. Use it for special effects and the the opera equivalent of gore and orgies and stuff like that. So I'm happy we watched this one.
Lester Ryan Clark:How could you not have a Walpurgis night? Like Right. Let's avoid it. Gotta have that. Yeah.
Lester Ryan Clark:Yeah. But, yeah, there's just so much going on that you have to kind of like pick your dramatic moments kinda carefully depending you know, who's directing it, who's staging it.
Kynan Dias:Right?
Lester Ryan Clark:Mhmm. Mhmm. So our act three opens with this scene that a lot of productions skip. Mhmm. This is Marguerite being mocked by the local girls.
Lester Ryan Clark:It's a really brutal moment that shows how French opera love to mix the the intimate with the spectacular. And you might remember it from the Goethe version.
Kynan Dias:Mhmm.
Lester Ryan Clark:This is oh, shoot. I forgot the she only appears in that one scene, but it's it's Marguerite's friend who's like Elizabeth or something like that. Yes. I think it was that. Yeah.
Lester Ryan Clark:Mhmm. She's talking about their their mutual friend who got pregnant out of wedlock. And it's like, we're gonna we're gonna, like, crash her wedding and snatch a wreath off of her head and and, like, throw, like, rocks at her or something like that. And it's like, god. This is, like, like, like, heartless.
Lester Ryan Clark:But
Kynan Dias:But she says it, like, as as you do, of course.
Lester Ryan Clark:Like, that's Yeah. Like
Kynan Dias:Yeah. Like, you and I have done that multiple times before.
Lester Ryan Clark:Right. Like, this is this is just, you know, before they invented hoop on a stick.
Kynan Dias:Yeah. They it's crazy because they had the hoop and they had the stick, but they didn't put it together until Pierre Hoop on a stick Right. Put it together. Yeah.
Lester Ryan Clark:They were too busy beating people that they thought were sinners with the stick.
Kynan Dias:Right. And
Lester Ryan Clark:they were like, what what else can you do with a stick? It's like, you know, just good old European fun. I almost said good old American fun, but,
Kynan Dias:you know,
Lester Ryan Clark:that comes later. But yeah. So so we have we have a rep we have an echo of that scene.
Kynan Dias:Right.
Lester Ryan Clark:But now it's it's just Marguerite, it it's been streamlined. Now Marguerite is being mocked by the local girls. Right. And Sybil comes in, tries to comfort her. We get this touching scene where he offers he offers to kill Faust.
Lester Ryan Clark:Mhmm. Yes. Do that. Sybil, go. Don't even don't even ask for it.
Lester Ryan Clark:Just go. Just grab just go.
Kynan Dias:But no. But she knows that would send Sybil to hell. Aw. You don't get to murder people just because they're mean.
Lester Ryan Clark:Yeah. I guess not.
Kynan Dias:I mean, next time I run into a priest, I'll check. Yeah. Yeah. What if they're like what if they're like really really mean? Father, what if they're really real like a real bitch?
Kynan Dias:Yeah. Yeah. How much of a bitch are we talking about, my son? Like, really, really, really.
Lester Ryan Clark:Like, stole all our government data mean. Yeah. I don't know. No. But yeah.
Lester Ryan Clark:No. No. No. Like like, this this was a common theme in French operas was this kind of like revenge promise.
Kynan Dias:It's like I
Lester Ryan Clark:vow to to avenge you. Right? Right. But Marguerite, right, she's she's pregnant and abandoned. She still loves Faust.
Lester Ryan Clark:No. Gretchen, what are you doing? Stop it. Listen listen to Sibyl. Just let him don't even just just tell him no he shouldn't, but then wink.
Kynan Dias:If only something were to happen to Faust.
Lester Ryan Clark:Yes. Do it operatically. And just like it's like, you shouldn't kill Faust in this exact way Mhmm. With this gun, with this, you know, all of that. Just come on.
Lester Ryan Clark:Yeah.
Kynan Dias:No. But in all seriousness, right, she she doesn't love Siebel and Mhmm. But she doesn't want to see him, you know, turned corrupt. So like that that's a way that she is different from Faust. Yeah.
Kynan Dias:Yeah. She she doesn't wanna corrupt him just for her own sake. Right?
Lester Ryan Clark:Yeah. I think this is almost like like a a brother sister relationship. Mhmm. Mhmm. It's like looking at it's like, no.
Lester Ryan Clark:No. No. No. I need to look after you. You shouldn't Right.
Lester Ryan Clark:You shouldn't turn to sin. You shouldn't be, you know, a bad boy like Faust.
Kynan Dias:We'd love the jackets. Yeah. Right. Yeah. Anyway But so he's been brother zoned, you're saying?
Lester Ryan Clark:Yeah. Yeah. I think so.
Kynan Dias:Or like what happens to Milhouse. He gets big sister zoned.
Lester Ryan Clark:Oh, yeah. Yeah.
Kynan Dias:Yeah. He says, Milhouse, you're like a big sister to me. He says, why does everyone keep saying that?
Lester Ryan Clark:Oh, Milhouse. Milhouse and Sybil, there's some very kind of Oh, yeah. Yeah. Yeah.
Kynan Dias:They're both played by grown women.
Lester Ryan Clark:That is true. Yeah. But then, okay, folks, we get the famous soldiers chorus when Valentin returns. And remember how we were talking about before? It was like it's like, oh, this is a little bit different from the Goethe version.
Lester Ryan Clark:Right? Valentin isn't just, like, hanging creepily outside of, of Gretchen's house
Kynan Dias:Right.
Lester Ryan Clark:You know, like, obsessed over, who she's dating until this act. Right.
Kynan Dias:This this
Lester Ryan Clark:is this is when he comes back, and he and he's, you know, this is one of those big showpiece moments that French opera is famous for, but it immediately transitions into this incredibly intimate scene where Faust and Mephisto show up. And Mephisto's, like, supposedly trying to, you know, get Faust to like, one version says a black sabbath, and the other one, I I think I think we're talking about the Walpurgis knight here.
Kynan Dias:Okay. The so the Walpurgus knight and the Black Sabbath, is that this is all the same in
Lester Ryan Clark:this version? I think they are supposed to be the same.
Kynan Dias:Okay.
Lester Ryan Clark:Yeah. Alright. So taking them to Black Sabbath, and then Mhmm. Then we're gonna go see some Iron Maiden and some no. But, no, like like, he he seems happy to stick around and cause trouble in the Fist of Rose.
Lester Ryan Clark:Right? And he sings this wickedly sarcastic serenade just like he did in in the Goethe version, which leads to the duel with Valentin. Most productions stage this as this really, like, intense mix of, like, swordplay and singing. Right? This is again, I keep on thinking about how how many moving parts an opera has.
Lester Ryan Clark:Right? Right. It's not it like, it's it's also the spectacle. It's also the special effects. It's also like it's almost like like I was talking before, it's like the it's like seeing vocal Olympics.
Kynan Dias:Yes. Uh-huh. Right?
Lester Ryan Clark:And you have and you have all of this stuff to kind of like accompany it.
Kynan Dias:Right? Mhmm. Right.
Lester Ryan Clark:Yeah. Including a ballet, which we're gonna get into.
Kynan Dias:Mhmm. Yeah. So what's a little different in this duel, think, the Goethe one, if I'm remembering correctly Mhmm. Is that in the Goethe one, as I recall it, it's it's Mephistopheles is kinda like Faust's shadow, like like like,
Lester Ryan Clark:you know.
Kynan Dias:And in this one, he's like he's taunting Valentin directly. Right?
Lester Ryan Clark:So you
Kynan Dias:can get all these these these, you know, vocal parts singing with each other. Right. Yeah. He's kinda like, like, I bet you couldn't. I bet you couldn't kill this guy.
Kynan Dias:Right? And and then egging him out in that direction. So he's doing the thing that Goethe did, which is like, you know, I'll I'll block for you and I'll aim for you. All you have to do is do that. Euthrustal Henry.
Kynan Dias:Yeah. Yeah. But in addition, he's like, hey, Valentin, you suck. Right? Yeah.
Kynan Dias:He's like, yo, feel fatty, fat, fat. And he somehow, like, convinces Valentin to throw that medal away that that Marguerite had given him that he Right. Has sort of said to Wagner is, like, saving his life on the battlefield. Mhmm. Mhmm.
Kynan Dias:And for some re I I don't quite track why that is. So I so I get the idea that, like, Mephistopheles has done that to him. He's been like Right. Yeah. Like you you hey.
Kynan Dias:You wouldn't you wouldn't be so hot if you didn't have that metal around your neck.
Lester Ryan Clark:I think it is that kind of like it's like the temptation of it's like, I'm gonna work on his pride. I'm gonna Right. Mhmm. You know, it's like, oh, like like like, why don't you fight me, you know, without that protection?
Kynan Dias:Right. Mhmm.
Lester Ryan Clark:Right.
Kynan Dias:So he throws that away and boopity boppity boopity boop, he gets stabbed through the gullet. Yeah.
Lester Ryan Clark:Yep. Yep. Yep. Yep. And I like how so up to this point, we've had we've had Faust and he has changed from that, like, that that black kind of Halloween costume Devil leotard Mhmm.
Lester Ryan Clark:Where he had that that cartoon pitchfork. And if you notice, like, he's walking around now, like, he's got, you know, like, he's like, he's putting on the Ritz. Right? He's got, like, the the tuxedo and everything like that, and he's got this cane, and the cane is just the pitchfork without the head.
Kynan Dias:Right.
Lester Ryan Clark:It's the same it's the same thing. So he's been walking around with his cane. Yeah. And right when the fight happens, Mephisto basically kind of like unsheathes the cane, and he's like, okay. Now it's time to fight.
Lester Ryan Clark:And so there was a sword in the cane the whole time, basically.
Kynan Dias:Oh, I see. Yeah. One of those.
Lester Ryan Clark:Yeah. I gotta get
Kynan Dias:one of those canes with the sword in it.
Lester Ryan Clark:Mhmm. Right? It's a it's you know, it it does it does triple duty. Right? Because first it was first it was a weapon, then it was not a weapon, and then it was a weapon again.
Lester Ryan Clark:Because it was a pitchfork, then a cane, then it was a sword.
Kynan Dias:You have a secret weapon. Yeah.
Lester Ryan Clark:Yeah. Yeah. It's a weapon that's secretly not a weapon and then a weapon.
Kynan Dias:Right. And we get so we get Valentin's death, and it plays out similarly to the Goethe one. Mhmm. But it seems like Gounod is more on our side or more like how a sane person would, where where Valentin so that we have this chorus and the chorus is like, you know, she killed him. Right?
Kynan Dias:She killed him because of Faust. Right? And then Valentin goes and, like, curses her, like, what we're used to. It like, shame on you. Mhmm.
Kynan Dias:Yeah. But then the chorus is like, oh, Valentin. What what are you doing, man? Like like Yes. Forgive her.
Kynan Dias:Like, maybe it's true, maybe it's not true, but forgive her, and or else you won't go to heaven either.
Lester Ryan Clark:Yes. I really like that. Really like that Gounod has decided. It's like, no. Everything that Valentin is saying is is wrong.
Lester Ryan Clark:Right. And and he should just die. No. Right.
Kynan Dias:Oh, but no. But please, like, yeah, you do something good here at the hour of your death and forgive your sister, and he's
Lester Ryan Clark:like, Margarit, come closer. Come closer. A curse on you.
Kynan Dias:Yeah. And he dies still. So yeah. So so it's much the same, but but, you know, what we could do with this chorus, Gounod doesn't have, like, I guess can kind of narrate through and tell us, like, how we're supposed to think about it how Gounod thinks about it in the three days.
Lester Ryan Clark:Right. Yeah. Yeah. And and I get, you know, back to I mean, it's like, you know, you you go all the way back to, like, the Greek chorus. Right?
Lester Ryan Clark:And they're like, they're like, we're going to we're going to mirror how the audience should be reacting at this point.
Kynan Dias:Right? Yeah. Yeah. Mhmm.
Lester Ryan Clark:Yeah. But, yeah, and then we get the church scene that follows this, probably the most Gothic thing you will ever see on an opera stage. Mhmm. Right? Marguerite is praying, and Mephisto is literally summoning demons to torment her, and you get this amazing theatrical effect where the sacred and the profane are mixing on the stage.
Lester Ryan Clark:I really love this version of it because it opens and it looks like there's like like a statue in the center of the stage. And it's it's like, you know, like any of those statues you see in Catholic churches with, you know, with like the the saints and everything like that. Yep. And one of the saints, you know, dressed all in this kind of like stony gray has their back to us. Mhmm.
Lester Ryan Clark:And Gretchen comes on, Marguerite comes on, and she begins to pray to it. And the statue in the center of this like piece turns around and it's Mephistopheles.
Kynan Dias:Yeah. I like it. I fell for it. Yeah. Even though there's a very similar trick earlier in in, like, act one during the fair, I fell for it then.
Kynan Dias:I fell for it here again. Yeah.
Lester Ryan Clark:See, I would have fallen for it. I would have I think I would have liked it. I still like it, but, like, I there there's, like, a trailer of the of the show, and you see him you you see him dressed as a statue. You also see him in a dress. Yeah.
Lester Ryan Clark:And I'm like, oh, when is that gonna happen?
Kynan Dias:Yeah. I like this church sequence. So so it is the it's the the prayer the prayerful idea that we have of Goethe, but then we're adding dancers and things to it that Yeah. They can make it operatic. Mhmm.
Kynan Dias:And it's like point counterpoint. So it's not just like, you know, Marguerite saying her piece. Now we have, like, the the people, you know, trying to still still seduce her away and tempt her away even though she's in, like, a church where I guess we we expect, oh, this can only be one thing. This can only be about redemption and salvation and the power of Christ. And, yeah, we have demons in the church, which is, you know, quite shocking sometimes.
Lester Ryan Clark:Yes. But I really like that the demons are there because she thinks she deserves the demons. Uh-huh.
Kynan Dias:You know what I mean? Uh-huh. Right.
Lester Ryan Clark:So she has let them in.
Kynan Dias:She lets them in. Don't do that, girl.
Lester Ryan Clark:Yeah. Never demons are just like ires.
Kynan Dias:Demons demons are like vampires.
Lester Ryan Clark:That is the dumbest thing that I ever say. But no. It like, but that is that is how they have the power to to enter this holy place is because, like, all of this is happening in her mind. Right? Like, the like, the the statue coming to life isn't actually, like, objectively coming to life.
Lester Ryan Clark:Right. It's it's, you know, she's kneeling down to pray and but she's she's got, like, hell on her mind, and that's represented by part of the statue, like, turning around, and it's Mephistopheles, and he's and he's singing. They're they're doing this, like like, a dueling singing with
Kynan Dias:each other. Mhmm. Right. Yeah. Yeah.
Kynan Dias:Yeah. I like that because I I mean, it's it's a duet. It's a duet, but it does feel like a a duel more than more than them. Yep. Like, they're stabbing at each other with their voices.
Kynan Dias:Yeah.
Lester Ryan Clark:It feels like like a like a duet, but, like, she doesn't realize that somebody else is there singing
Kynan Dias:with her.
Lester Ryan Clark:Right? She thinks that's her own thoughts.
Kynan Dias:Mhmm. Right? Right.
Lester Ryan Clark:Yeah.
Kynan Dias:I forget in in the version of the Royal Opera House, does she faint? In the in the libretto, she's supposed to faint. She faints a lot, I think.
Lester Ryan Clark:This this time period, we got Scrooge, we got Dante, we got we got what? Faust fainting all over the place?
Kynan Dias:Yeah. He faints. Yeah.
Lester Ryan Clark:Right? Frodo faints all over the I mean, that's little bit later, but, like Mhmm. Everybody just fainting.
Kynan Dias:I've never fainted.
Lester Ryan Clark:Yeah. I I think I have. Mhmm. And I but I'm I'm not sure.
Kynan Dias:You're not sure you woke up and didn't tell anybody? Is it are you not sure?
Lester Ryan Clark:No. Yeah. Because it happened yeah. Well well, like, I got punched in the stomach.
Kynan Dias:Oh my god.
Lester Ryan Clark:And, yeah, it was during a fight. I got punched in the stomach, and I don't remember falling down. Uh-huh. It's just one minute I was on my feet, and then the next minute I was, like, on the ground, and I look up and everyone just kinda like backs away from it. So I guess something must have happened.
Kynan Dias:And you wake up and they're all looking at you and they say, Lester, if you don't pass this course, you're gonna fail college. And like, but college? I graduated from college twenty years ago. No. No.
Kynan Dias:You have and you you you don't go to the classroom. I don't know what the classroom is. And I am in my underwear. Yeah.
Lester Ryan Clark:What's what what class is it even? It's fighting class. You gotta punch the teacher in the stomach. We were talking about on our other show, like, now now that we're older, like, all of our nightmares are just like us getting into trouble.
Kynan Dias:Mhmm.
Lester Ryan Clark:And and I had a dream
Kynan Dias:Mhmm.
Lester Ryan Clark:That I was in a production of Faust, and it was opening night. And and I was, in the wings in costume, and I like, that's when I realized, wait a minute. I've never been to a single goddamn rehearsal. I don't know any of these lines. I don't even know French.
Kynan Dias:No time like the present to learn French.
Lester Ryan Clark:Then I just gotta just just shamble on stage and and and be Mephistopheles for you know? And it's a and it's a lot of, like, you know, mahaha.
Kynan Dias:But you got your dream role.
Lester Ryan Clark:Yeah. I did. Mephistopheles. But,
Kynan Dias:yeah, when in doubt, could just be,
Lester Ryan Clark:Yep. And there you go. And that's and then people people just because because the here's here's the here's the great thing. It's like the audience doesn't know French either.
Kynan Dias:So, you know, they're like, I
Lester Ryan Clark:think he's talking about Margarita.
Kynan Dias:Yeah. And the super titles aren't live. They're so they're there. So everyone can just read around, you know, they Yeah. Read like like what's supposed to be, and you're fine.
Lester Ryan Clark:Great. The word the phrase why have you summoned me sounds a lot like like margaritas. Interesting. Yeah. But So then so then we get into what what some people are saying is the beginning of act four.
Lester Ryan Clark:Mhmm. Right? And we're we're going to the Walt Purdue's knife that, you know, it's like, yes. Like, this is not classical Walt
Kynan Dias:Purdue's knife.
Lester Ryan Clark:This is this is the the Western European, like, witches and and, you know, like, goblins and ghosts and stuff. Yes.
Kynan Dias:In the Harz Mountains and everything.
Lester Ryan Clark:Yes. Exactly. Right? And a lot again, a lot of productions cut this.
Kynan Dias:Yeah. Boo. If if you go to a production of Faust and they cut, Faulkberg is not, you should leave and ask for your money back. That's my advice.
Lester Ryan Clark:I okay. So you and I both saw this production. Mhmm. What would be the benefit of like, for time or what?
Kynan Dias:Because they don't have a ballerina company attached to you, I think. Time? Yeah. Who cares? It's you're already there for three hours.
Lester Ryan Clark:Yeah. Right? This is like this is like, you know, theatrical cut fellowship of the ring or directors be like like, who's gonna who's gonna choose the theatrical cut at this point?
Kynan Dias:Well, you know, I'm a I'm a huge horror for the Oscars. I love the Oscars. Right now. It's like whatever the Oscars tell me to watch, I'll watch those movies. If something doesn't get an Oscar nomination, I'll be like, oh, I'll see that.
Kynan Dias:Never. I'll see that some other time, but really never. Yeah. But, you know, but they're always trying to cut it for time. Mhmm.
Kynan Dias:Mhmm. Because casuals out there care about how long the Oscars are. I I would watch that if it's seven hours long. Yeah. Yeah.
Kynan Dias:I love the Oscars. And they're always trying be like like, oh, we're going to whoever wins best makeup, we're gonna record their speech during the commercial. We're gonna cut it down to ten seconds. Yeah. Like, who's that for?
Kynan Dias:Yeah. People who don't care about this.
Lester Ryan Clark:I I don't I don't have time to watch all of this thing that
Kynan Dias:I love.
Lester Ryan Clark:I have to go do other things.
Kynan Dias:Right. Yeah. I'd watch it if it was eight hours long.
Lester Ryan Clark:Yeah. There you go. Right? This this is our Super Bowl, folks.
Kynan Dias:Right. Exactly. We're recording this during the Super Bowl.
Lester Ryan Clark:Didn't mention
Kynan Dias:that. Yes. Do do do you are you bothered by that last year that we recorded this during the actual Super Bowl?
Lester Ryan Clark:No. I'm I'm actually not gonna watch it.
Kynan Dias:No. No.
Lester Ryan Clark:Yeah. There's actually there's a little little I don't know if if how how dated this is gonna be, but there's a there's a little boycott going around, you know, saying maybe you shouldn't watch it because Oh, how come? Well, this is the first time that a president has ever shown up to the Super Bowl, and it's and it's gonna cost us millions of dollars.
Kynan Dias:Oh, because Pence went a couple years ago, guess.
Lester Ryan Clark:Oh, did it?
Kynan Dias:Yeah. I didn't know I didn't know the president was going to institute that he's going Oh, Yeah. Yeah. Oh, okay.
Lester Ryan Clark:I I will check out afterwards to see to see everybody's reaction.
Kynan Dias:If he drops mustard on his suit, which that's not necessarily a dig towards Trump. Think that's just what people do at I think that is. Yeah. At Super Bowls. But that's
Lester Ryan Clark:If he doesn't drop mustard on
Kynan Dias:his suit, that'll be weird. I did watch some of the Puppy Bowl earlier, though.
Lester Ryan Clark:The wait. Wait. Wait. Wait. Wait.
Lester Ryan Clark:Let's stop this. Hang wait. Wait. There's a a what?
Kynan Dias:You don't watch the Puppy Bowl?
Lester Ryan Clark:I didn't know there until this moment. Oh, yeah. Tell me more about this.
Kynan Dias:The Puppy Bowl is on TBS every year, and it's two puppy teams, and they fight to get points, you know, on a on a on a little football field. And I don't know how they they don't I don't know how to explain how they score, just they're cute and they get points. Mhmm. And this year, it's team fluff versus team rough.
Lester Ryan Clark:Folks, we are we are wasting our time and our money on on watching grown men throw a ball around
Kynan Dias:Right.
Lester Ryan Clark:When we could be watching cute and or rough puppies do cute and or rough puppy things.
Kynan Dias:Yeah. Puppable is great.
Lester Ryan Clark:Are the commercials as good?
Kynan Dias:No. They're on TBS. The halftime show is much better. It's the the kiddie halftime show. Every year.
Kynan Dias:It's different cats every year, but they're yeah. They're they're kitty cats.
Lester Ryan Clark:Okay. Okay. Okay. Well, that is that is going into my schedule.
Kynan Dias:Yeah. I've got it I've got it DVR ed. So so I did I didn't miss the Super Bowl, but I am missing the Puppy Bowl for
Lester Ryan Clark:Okay.
Kynan Dias:For you, Lester.
Lester Ryan Clark:Oh, I'm I'm I'm I'm flattered. I'm honored. But yeah. Okay. So so, Walpurgis Knight.
Lester Ryan Clark:Right?
Kynan Dias:Mhmm.
Lester Ryan Clark:Which is okay. So that makes a lot of sense, though, because you were saying sometimes it might be cut because well, the the one that we saw, Walpurgis Night, was the ballet. Right. Mhmm. Right?
Lester Ryan Clark:And I'm remembering now it's like, okay. Yeah. This is this like, this is an amalgamation of all musical things in one show. Yeah. And I remember it's like like in in Amadeus, it's like, oh, no.
Lester Ryan Clark:You're not allowed to have a ballet and an opera. Right? Mhmm. Yeah. So so So I guess Walpurgus Knight would be the ballet.
Lester Ryan Clark:What did you think of this Walpurgis Knight? It was it was a little bit different.
Kynan Dias:Yeah. I love it. Oh, different from from Goethe's one.
Lester Ryan Clark:Right? Different from Goethe's one, and I was also I was also kind of just expecting Mhmm. Like a song similar to, like, the golden calf. It's like, you know, just demons cavorting. Almost like Night on Bald Mountain, but it was very kind of, like, delicate, you had these, like, nymphs and, you know, things in you know, I was I was like, oh, this is a this is a new take on it.
Kynan Dias:Yeah. Very feminine. Right? Mhmm.
Lester Ryan Clark:Mhmm.
Kynan Dias:So in here, we have ballerinas who look like ballerinas. We also have, like, you know, male ballerinas. And in the rural opera house version, they're they're kind of they kinda not I guess, kinda look like cabaret dancers, but they're Yeah. You know, much more sexualized than Mhmm. Mhmm.
Kynan Dias:Than how we normally think of ballerinas.
Lester Ryan Clark:Kinda like a top hat and a cane and yeah.
Kynan Dias:Yeah. Yeah. Yeah. Shirtless And dudes and and then they're wearing like leather and all that stuff.
Lester Ryan Clark:Right. Shirtless, but also with the like the tux coat.
Kynan Dias:Yeah. Exactly. Yeah. That's how that you know, that's how you should rock it. When whenever we get nominated for the podcast awards or whatever is out there, we should we should go shirtless with the tux jacket.
Lester Ryan Clark:Sure. I like it.
Kynan Dias:Just and the cover band. Mhmm. Mhmm. Yeah. Yeah.
Kynan Dias:To hide my tummy because I'm shy. Yeah.
Lester Ryan Clark:Well, now I see. I got I got I currently have a four pack. Uh-huh. So that'll cover the the the the two nonexistent abs that I still don't gotta work off. Right?
Lester Ryan Clark:And you know I'm gonna be nervous at that awards thing, so I'm gonna be eating and drinking a lot.
Kynan Dias:That's right. Yeah. Exactly. Mountain Dew there. Yeah.
Kynan Dias:But then, yeah, Mephistopheles is kinda showing off, you know, women that he could have, which is, again, different from Goethe's where Goethe's he they talk about Helen of Troy briefly, and then he's like, well, what about this local girl who's right there?
Lester Ryan Clark:Right.
Kynan Dias:Which you might say is like he's he's being lazy a little bit. Right.
Lester Ryan Clark:We I mean, we get we we do get a Helen of Troy, like, little bit later.
Kynan Dias:Later. Right.
Lester Ryan Clark:Right. But, like, we when it's when it's when it's all Gretchen all the time Right. Then he's he's comparing her to Helen of Troy. And at the Walpurgis night, like, we we meet these, like, these sexy witches. Mhmm.
Lester Ryan Clark:But here, it's again, I I love the the reveal because you got Mephistopheles, and he's dressed in this big flowing black robe. Mhmm. And he's like, let me paint a picture for you. And the he literally kinda does because, like, as the music is going, he's got his back to us, and the backdrop changes, and you're now in this forest.
Kynan Dias:Mhmm.
Lester Ryan Clark:And the spotlight goes up on these, I guess, like, like, archetypally archetypally? Archetypically? Mhmm. Archetypal, like like, beautiful women. You have I think you have a Helen of Troy there, but you also have, like, someone dressed as, like, Athena and Right.
Lester Ryan Clark:Just, like, all these different kind of, like, like, goddess versions of of feminine beauty. And then in the middle of it all is Mephistopheles, again, with his back to us. Mhmm. But he then he turns around, takes off his robe, and it is him in a dress. And it's the greatest thing because, like, he is he he he's still got these, like, big beefy arms.
Lester Ryan Clark:Mhmm. And but then he but then he takes out a fan, and he, like, does that kind of, like, coy, like, putting it yeah. Right? It is it is it is Bugs Bunny, the opera.
Kynan Dias:And still with his with his base. Right?
Lester Ryan Clark:Right.
Kynan Dias:Yeah. Yeah. Yeah. Yeah. So, yeah, I think you're right in that it's supposed to be Helen and Athena.
Kynan Dias:The two women who were called out are Cleopatra Uh-huh. Yeah. And then Leia. Yes. And had look up who Leia was.
Kynan Dias:And there's two women named Leia in real life, which makes it confusing. And apparently, like, way back when, one of them was sort of known as, you know, two like, a beautiful woman, one of them was was known more of like a like a scholar leader, now they've just been combined in in our mythos. So that she's like a wonderful scholar leader who's also beautiful.
Lester Ryan Clark:Mhmm. Because that's because that's that's how we have to historically remember women is is by their looks.
Kynan Dias:Right. If
Lester Ryan Clark:I two women ruled the you say, but was she hot?
Kynan Dias:Well, there's two women who are who are with the same names. Let's from a hundred years apart, let's smash them together. Yeah. Right. Oh, but that's sort the thing is that Cleopatra might not have been hot in real life.
Kynan Dias:But that that that sort of that that might have been oh, shoot. I I can't I don't remember the actual historian who did this. But but saying that Cleopatra was hot and that she that she seduced her way to power might have been a way of like dealing with the fact that she had outsmarted the the Greeks and the Romans.
Lester Ryan Clark:Oh, of course. Of course. Guys would be like, oh,
Kynan Dias:She she slept her way up there. That's the only way. So when Mark Antony and well, because she did have relationship with Julius Caesar and Mark Antony, right? Right. But it's like the only way that that could have happened is because they, you know, that they were thinking with their nether parts and that she got them by there and not that she was a brilliant strategician in her own
Lester Ryan Clark:Right. It couldn't been that she was a better tactician and a better manipulator of people. It was they were thinking with their little Caesars. Pizza, pizza.
Kynan Dias:Yeah. Exactly. But so yeah. So, yeah, he he reveals himself there and again, it got me. This surprised me.
Kynan Dias:I know you got got ruined for you in the trailer.
Lester Ryan Clark:Right? Yeah. And also, like, once once it is ruined for you, like, as he's singing, he's that's another thing about just the, I guess, like, the physical like, the logistics of opera. Mhmm. You have to have, like, a clear pathway in front of your mouth so nothing gets, like, distorted or anything.
Lester Ryan Clark:Uh-huh. So he's literally holding the the hood kind of like as open as possible. He can't just like let it, you know, drape down over him or else, you know, the sound wouldn't sound correctly. Right. So but as he's opening it, you can see just on on his ears, these little pearl earrings kind of like swinging and dangling.
Lester Ryan Clark:I was like, I know I know what's coming.
Kynan Dias:Well, it's also very similar to Frankenfurter's entrance in the rock and art pictures. Yeah. It's completely covered up in this little robe thing.
Lester Ryan Clark:Yeah. But but, no, it's it's it's a great like, I I have not seen another version that that does this. I think I think this is like like inserting some comedy where, like and and that's the beauty of of this is you can you can find new fresh ways to to do these to do these stories even though, you know, the author is no longer with us. Right? Yeah.
Lester Ryan Clark:Yeah. But, yeah, he's dancing around with all the demons. And then he gets this vision of Marguerite, Faust does. He gets a vision of Marguerite with an axe mark on her throat. Mhmm.
Lester Ryan Clark:It's kinda like foreshadowing of where this is all going. This is kind of like, you know, back with like with Goethe, they see the Medusa or at least Right. Mephistopheles says it's the Medusa, but, like, it's it's this vision of Marguerite with her with her head cut off. Mhmm. So we're wondering, like, like, oh, what's you know, what I the you have to be doing something with that later to show it at all.
Lester Ryan Clark:Right?
Kynan Dias:Yeah. Like, there's just
Lester Ryan Clark:the rules of storytelling. Like, you can't like like, what if that just didn't happen? What if what if, you know, the Faust and and Marguerite just go off together and her net her head never gets cut cut off?
Kynan Dias:Mhmm. Right. Yeah. Well, yeah. So when we do get Marguerite back in the Royal Opera House version, she's always gonna have this, like, red necklace.
Kynan Dias:It's it's kinda like a red, like, rope necklace around her Yeah. Throat. So that that just keeps that idea up. But, yeah, before we leave Valpurgisnach, again, the Royal Opera House version where you know, I think in the in the I don't know because I just read the libretto. I don't know how to read the music notes.
Kynan Dias:Mhmm. Mhmm. So in the libretto, it just says like, okay, dance one, dance of the Nubians, two, adagio, three, dance antique, four, Cleopatra's dance, five, woman of Troy, six, the mirror variations, and seven, the dance of phryne, p h r y n e. Okay. So in the Royal Opera House version though and so I think there's a lot of leeway is what I mean.
Kynan Dias:Like, as long as you're, like like, fitting in those themes, basically, you can do kind of what you want with the ballet Uh-huh. I believe. Mhmm. Correct me if I'm wrong if I but I don't see any other notes anywhere. So in the Royal Opera House version, they have one of the ballerinas portraying a pregnant woman who is like Yes.
Kynan Dias:Having a you know, so a ballerina in a like in a like a long ballerina dress. Right? Having a painful childbirth and like maybe even like dying in childbirth.
Lester Ryan Clark:Right. And everybody around her is doing that thing like they do in Midsommar where they're all kind of like reacting with her and they're like,
Kynan Dias:know? Right. Yeah. So so like it it it gives us an idea. So like later on when when Marguerite is, like, talking about that she's had this baby and it's died, like, we, in this version, have kind of already seen it happen.
Lester Ryan Clark:Right. Yeah. And this could be I mean, we can interpret this so many ways. This can be this can be, like, what's actually happening. Like, that that that spirit has kind of, like, taken on the the shape of Marguerite and is showing Faust or this is all in Faust's mind
Kynan Dias:Right.
Lester Ryan Clark:Or, like, it's a nightmare that he's having or or or it's, meanwhile, while Faust is is having, you know, fun with Mephisopheles, this is Mhmm. Happening to to Marguerite. Right. But they like, she she has the baby on stage, and they kind of like Mhmm. They run up with a little coffin, a little casket.
Lester Ryan Clark:Mhmm. And and they put the baby in it, and then they they put it down center stage, and that becomes like the next scene.
Kynan Dias:Mhmm.
Lester Ryan Clark:Yeah. Like everything else, everybody else scatters and then the next scene happens. Yeah. Yeah.
Kynan Dias:These are smart people over at the Royal Opera House.
Lester Ryan Clark:Yes. Oh, yeah. You know what? I I think they got a bright future. I think they I think they should keep this up, you know?
Kynan Dias:Yeah. We love them, but also, Lester, remember to cancel your subscription when we're done with this episode so you're not auto auto renewed.
Lester Ryan Clark:I was I was I was thinking about that today. I was like, I was like, okay. Finished it. Should I should I should I cancel now? No.
Lester Ryan Clark:No. I might need to watch it again as we're as we're recording. No. No. No.
Lester Ryan Clark:No.
Kynan Dias:No. Not yet. Not yet. No. Alright.
Kynan Dias:You're you're geniuses. You have my 10 pounds.
Lester Ryan Clark:Yes. Yes.
Kynan Dias:I'm not gonna give you 20.
Lester Ryan Clark:Maybe maybe I'll watch another one before the before the month is out.
Kynan Dias:Yeah. You know? But
Lester Ryan Clark:but yeah. So then we get the prison scene, and this is this opens up with the the little casket. Right. And everything comes together. The staging usually, like, emphasizes just how far we've come from that innocent garden scene in act two.
Lester Ryan Clark:Right? Right. Marguerite has lost her mind, her child just like in in lost her child just like in in Goethe. Mhmm. But where Goethe gave us this like, in in heightened poetic drama, Gounod gives us this incredibly emotional music where Marguerite keeps drifting between past and present.
Lester Ryan Clark:And what I like is because, you know, you were talking about, like, there's the vision of Marguerite Mhmm. You know, with with the ribbon on her neck, And then also, like, the one of the, like, the spirits, like, has that baby in Right. In the Walpurgis night. But then we get to see the actual Marguerite, and she has in every version I've seen, she has chopped her hair off. Is that like a was that like a convention of, like, prisoners back then?
Lester Ryan Clark:Like, if you're if you're in prison, like, you're like, and and you have long hair, now it's chopped?
Kynan Dias:I think it's a convention of condemned prisoners. Oh, okay. So I asked but I guess I don't I guess I don't know. I don't know if you were not gonna because I guess, like, most of the times where I've seen that is in Les Miserables or in Mary Queen of Scots that happens to her. Right?
Kynan Dias:Yeah. Marie Antoinette, they shaved her head. So I always thought it was because they were going to cut her head off.
Lester Ryan Clark:And this is like makes it like, so so that's like shorthand for it's like, okay. This this head's gonna roll. Like, so
Kynan Dias:Yes. So I I don't know, though. Maybe they did it to everybody because it would make some sense of, like, trying to control lice or something.
Lester Ryan Clark:Yeah. Yeah. But I
Kynan Dias:don't know. It is but they leave some of it on. So
Lester Ryan Clark:Right.
Kynan Dias:Yeah. I think it is to embarrass them. I think it is to humble them and
Lester Ryan Clark:I can see that too.
Kynan Dias:Yeah. Yeah. I mean, thinking of like Marie Antoinette or Mary Queen of Scots. And, you know, they had part of their job as queen was to, you know, have have a whole bunch of hair. Right?
Kynan Dias:Right. And to look really together. So, yeah.
Lester Ryan Clark:Just be the face of Paris or Right. Do remember in the Seventh Seal when they were burning the witch, the witch had her hair chopped off.
Kynan Dias:Yes. Her shirt hair looking great though.
Lester Ryan Clark:Mhmm. Mhmm.
Kynan Dias:You're saying? Like fashionable, beautiful, nice, sexy woman. Exactly. But yeah, yeah, they're going Where
Lester Ryan Clark:does come? You know, it's like the executioner comes and sees Margaret and is like, you know. Right. It's like, you know Just girl.
Kynan Dias:You look great. It's like it's like
Lester Ryan Clark:over left is the gallows, but right is the catwalk. Like, that's how you and just this euro euro pop, you know. Yeah. Mephisopheles is like, I can't even complain. This is this is amazing.
Lester Ryan Clark:Yeah.
Kynan Dias:It's a bop.
Lester Ryan Clark:Yep. Yep. Yep. But, yeah, no. None of that is happening.
Lester Ryan Clark:She is she is drifting between past and present in her despair. Mhmm. Usually, like like a really heartbreaking moment where she remembers the garden scene and productions often echo the staging from act two to drive home like how far things have fallen. Mhmm. And then we get now, the way we saw this, this was still part of the same act, but a lot of the, the the the descriptions are calling this the final act.
Lester Ryan Clark:They're calling this, act five right here.
Kynan Dias:Just the jail cell entirely?
Lester Ryan Clark:Just the jail cell entirely. Well, like like when Faust shows up. Right? Yeah. So this is this is pure grand opera.
Lester Ryan Clark:You've got Mephisto coming in, telling both Faust and Marguerite to hurry up because Faust has, you know, just like in Goethe, he's shown up, and he's like like, you know, I'm I'm I'm come to to save you. I'm your knight in shining armor. Right? And it usually it's usually staged with with Mephisto getting more and more demonic and Marguerite's, like, incredible salvation aria. Right?
Lester Ryan Clark:Mhmm. I'm gonna try this. Agnes or Agnes, pure Agnes Radius maybe?
Kynan Dias:Very good.
Lester Ryan Clark:Yeah. I did it. But no. This is this is the song that I remember. Like, they did a version of this in Phantom, like, right near the end, right near the climax.
Lester Ryan Clark:And it is like, if you go back and listen, the entire opera kind of has this theme kind of, like, sprinkled into it. It's like, And here is where it finally comes home, and you have these three characters. You have Marguerite, Faust, and Mephisto, and they're weaving in and out. And then at the very very end, all of them kind of like converge and they're singing the same notes. Yeah.
Lester Ryan Clark:And this this is where this is where most productions go all out. Right? Yeah. Rising platforms, heavenly lights. Right?
Lester Ryan Clark:Angel choruses. Right? You know, in the rafters and everything like that. And then, like you said, Keenan, this is where the you know, so the last thing that Mephisto says is, you know, you are judged. You are damned.
Lester Ryan Clark:Right? I think it was. Right? Or something like that. Mhmm.
Lester Ryan Clark:And the answer to that is the choir of angels coming down and saying, so. It's like like, no. She is saved. Right. And it it really is beautiful.
Lester Ryan Clark:Watch any production of this just this moment or listen to the music of this moment. It really like, it it it it's the culmination of everything from this opera. Right. And interestingly, this is the first time I saw Mephisto kind of like he has a very, very different reaction in this in the one we saw because the it I it's like, at first, it's just like one angel or maybe that's even god. Yeah.
Lester Ryan Clark:Appearing on the balcony, and and he answers Mephisto's, you know, call of, like, damned, and then he says, saved. Mhmm. And Mephisto looks up, and he kind of, like, has this smile of recognition. Yeah. And and he, like, points.
Lester Ryan Clark:He's like, oh, you got me.
Kynan Dias:You got me.
Lester Ryan Clark:He's like it's like he's almost happy to see God, and he's like, oh, I I knew you'd like, oh, yeah. You did it. That classic God.
Kynan Dias:Yeah. In in this version, it's kinda like he's happy to see Marguerite win because it means Faust loses. It's like Mhmm. Like, that's fun. You know, for whatever reason, that's that's fun to him.
Kynan Dias:Because they they don't have the same kind of bet again like if they do in Goethe or
Lester Ryan Clark:Right.
Kynan Dias:Or Marlow. Right? So we're not really quite sure what what his game plan is. We don't have the the Jobian Devil at the beginning, like Right. Laying out, like, what interest he has in Faust.
Kynan Dias:He just seems to be there to to fuck things up.
Lester Ryan Clark:Right. And it's like it's it's almost like he has been allowed Mhmm. On Earth to, like, like, make as as much of a mess as he can just cause as much mischief. Right. And then, you know, and then as soon as, you know, you know, the sun goes down and the street lights come on, right, it's time to go home.
Lester Ryan Clark:Right? Know, it's dinner time. And and seeing God make his entrance in this way, it's like, ah, well played. So like they were playing chess the whole time. Yeah.
Lester Ryan Clark:Right? And he's like, ah, this is this that was good. That was good.
Kynan Dias:He recognized his game.
Lester Ryan Clark:Yes. Exact. There we go. Right?
Kynan Dias:Yeah. So, again, in the Royal Opera House version, it is that the the little his little demons come around and they as Marguerite dies Mhmm. They they drag him away. They drag Faust away. Yeah.
Kynan Dias:And while we're being distracted by the face of God coming up here, they have reversed quick change to Faust back to his old self.
Lester Ryan Clark:Yes.
Kynan Dias:And that's really cool. And then Marguerite drops dead and Mephistopheles backs away and he gets to his what looks like his original trapdoor that he'd come out to begin with. Yep. Mhmm. And then he's he's like, see you suckers.
Kynan Dias:And he starts to melt down away. Mhmm. And even his little minions, they they're like, wait. Mephistopheles, come back. And they go to find him, and he seems even happy to abandon them there with Faust.
Kynan Dias:Right. He's like, Yeah.
Lester Ryan Clark:Like, this was this was the best game I've ever
Kynan Dias:played. Alright. Yeah. So, yeah, so because it doesn't really say like what happens to Faust here, right, we don't have Faust getting dragged to hell. I mean, that seems to be how most people read this opera though, that that's what happens.
Kynan Dias:Right?
Lester Ryan Clark:Yeah.
Kynan Dias:But it's not called out that way. And in the Royal Opera House version, he does not get dragged to hell. He just gets left alone on an empty stage.
Lester Ryan Clark:Yeah? Do we have when was the last time Faust got it was in it was in Marlowe.
Kynan Dias:In Marlowe. Right.
Lester Ryan Clark:It's the only time that he gets what he deserves. I like to imagine no. No. No. No.
Lester Ryan Clark:No. No. I'm I'm I'm reworking this. In the one that we saw, he did get dragged to hell. That's his hell.
Lester Ryan Clark:He's just he's just gotta live like like, he's just gotta repeat his, like, years of sadness as an old man. So he's in
Kynan Dias:stage of the Royal Opera House?
Lester Ryan Clark:Yes.
Kynan Dias:He just can't leave the stage? So next week when they're doing Annie, he has to just watch her hair.
Lester Ryan Clark:The sun will come out. Like, no. Take me. Take me. Don't cry for me, Arjun.
Lester Ryan Clark:No. Cry for me, Faust.
Kynan Dias:Yeah. So I guess it it's not like it wouldn't be like against the text to show him getting dragged to hell, but that's not in the text as far as I could see it.
Lester Ryan Clark:What is with this hesitance
Kynan Dias:to have this man go to hell? I guess he'll get dragged eventually to hell. But yeah. Like, again so just to just to clarify, the opera doesn't go on into Faust part two. It's just Faust part one.
Kynan Dias:Yeah. So, yeah, in Faust part two, he eventually goes to hell. Right? No. Oh, wait.
Kynan Dias:That was two weeks ago, and I've already forgotten. He gets he gets
Lester Ryan Clark:he gets rescued by a bunch of sexy angels and and and Mephistopheles tries to to get him, but he's like he's to turn around
Kynan Dias:for angels. By the angels. That's right. Yeah. So I guess he doesn't go to hell.
Lester Ryan Clark:Yeah. It's only it's only in the the the Marlowe one Mhmm. Where he's kinda got a thing from Mephistopheles anyway. So it's kind of like heaven for him anyway.
Kynan Dias:Yeah. But he'll he's going to hell. This version here is going to hell.
Lester Ryan Clark:Yes. Yes.
Kynan Dias:Unless he says the right words when he's dying. Mhmm. Sorry. Is that too dark?
Lester Ryan Clark:Which are beetlejuice, beetlejuice, beetlejuice.
Kynan Dias:It was like eventually, he's dying. He's like, oh god. What did what did Marguerite say? Oh, angels, pure angels, radiant. Oh, Faust.
Kynan Dias:See, now now now
Lester Ryan Clark:if I was an angel Mhmm. Like, on if I was on angel duty that day Mhmm. Right, and I had just I had just finished, you know, Carrie and Marguerite up into heaven, like, great. You made it. Like, we're so sorry.
Lester Ryan Clark:Your life is shitty. Yeah. Get ready for, like, you know, your eternal reward. That's gonna be great. And then I just hear, you know, still down on earth.
Lester Ryan Clark:It's like, what about me? I'm I'm sorry for all the things I did. I would I I I look I look up Mhmm. And I'd see, you know, God with his arms folded, tapping his foot. He's like, you gotta do it for everybody.
Lester Ryan Clark:And I'd be like and I would be the slowest
Kynan Dias:Mhmm. Mhmm.
Lester Ryan Clark:Clumsiest angel on my way back down.
Kynan Dias:Right.
Lester Ryan Clark:And and I'd I'd also have, like, Nephistopheles on speed dial. Was like, hey. Come get your guy before before I get there, please. You know? And I was just like, oh, no.
Lester Ryan Clark:Faust, we're coming for you. We're gonna we're gonna bring you up. Just go, oh, you're so far away, Faust. Oh, no. Oh, no.
Lester Ryan Clark:If only if only my my my little wings were fast enough to to catch oh, it looks like Mephistopheles is there. Oh, and he's a big scary devil.
Kynan Dias:I'm scared
Lester Ryan Clark:of him. Devil. Oh, no. Oh, and then I and I'll grab and just because I wanna rub it in, I'll I'll actually grab his his hand. And I'm like, there.
Lester Ryan Clark:I got you. Everything's gonna be okay.
Kynan Dias:And then I drop him. Like, oh,
Lester Ryan Clark:you're too manly and I love you. Oh, you're so you're just so big and tough. It's I can't I can't carry you up to heaven. I guess you're going with Mephistophelesia. Piece of shit.
Lester Ryan Clark:Yeah. Anyway. Alright. But yeah. But yeah, folks, that I mean, aside from all that, that was the Faust opera.
Kynan Dias:Alright. We'll we'll have one more week of Faust, which would be the movie version.
Lester Ryan Clark:Yeah. This is our this is we're we're gonna cap it all off Mhmm. With FW Murnau's Faust.
Kynan Dias:Yeah. And I'm really interested to yeah. German folktale. Alright. I'm really interested in you seeing some of the imagery.
Kynan Dias:So the story is much the same Mhmm. As long as I remember it. But but, yeah, the imagery of it that I think is really key to how we see the Devil.
Lester Ryan Clark:Yeah. But, yeah, folks, for this month, our bonus episode is gonna be Fallen. Mhmm. We're gonna be looking at that movie with Denzel Washington.
Kynan Dias:Mhmm.
Lester Ryan Clark:We're not gonna be looking at it with Denzel Washington. We're gonna be
Kynan Dias:Oh, I wish.
Lester Ryan Clark:Yeah. Yeah. The he's he's in the movie that we're gonna be looking. If Yeah. Any of you guys know Denzel Washington, he's like, hey.
Lester Ryan Clark:He's like, come on to the show and, you know, watch it with Lester and King and just, you know, just do us a solid.
Kynan Dias:Yeah. Yeah.
Lester Ryan Clark:We'll give you two free months of
Kynan Dias:Oh, really?
Lester Ryan Clark:Of bonus. Yeah. Yeah. Don't even have to pay the $10.
Kynan Dias:Oh, god. I don't how that works with that system. That sounds complicated, but alright. Sure. Mhmm.
Kynan Dias:Mhmm.
Lester Ryan Clark:Yeah. But folks, this has been another episode of the Devil's Details. I have been Lester Ryan Clark. You can summon me on all the socials as Lester Ryan Clark.
Kynan Dias:And I've been Keenan Diaz. You can invoke me on Instagram and Letterbox as Howdy Keenan.
Lester Ryan Clark:Yeah. Find more of our shows and other really cool podcasts at truestory.fm or feel free to drop us a message at banana for scale mail, that's mail,@gmail.com. We also got our Facebook listener group, Banana for scale. That's community for all of our shows including this one. It's a private group, but just request to join, and we'll let you into the Inferno family.
Lester Ryan Clark:But for now, until next time folks. Love and hisses.