Prepare your ears, humans. Happy, sad, confused, begins now.

Today on Happy Sec, infused filmmaker Edgar Wright embraces his dark side with last night in Soho.

Hey guys, Josh Harrow, it's here. Welcome to another edition of Happy, sad, confused.

Back on the podcast, Mr. Edgar Wright, we love ourselves a great filmmaker who

just seemingly always delivers, and sometimes in the most unexpected of ways,

this latest film from Edgar Wright, like his last one, Baby Driver, which was definitely a change of

pace from what we'd seen before. Well, similarly last night in Soho, I think it's going to

excite audiences, audiences and surprise audiences in the best possible way. Fear not, this is a

spoiler-free chat with Edgar having seen this movie. I am so happy that I was not spoiled going

in, and certainly I'm not going to ruin it for you guys. This is a film that has a lot of unexpected

fun twists and turns, and yeah, it's best seen with frankly just the broad strokes. Basically,

the broad strokes are this. This is a film that is about a young woman who a fashion, a

sparring fashion designer who moves to London to go to school, and seemingly visits the past,

60s London, 60s Soho specifically, and starts to kind of become embroiled with some

dastardly deeds of the past. What is real, what is not, what is dream, what is truth.

Those questions shall be answered when you actually see last night in Soho. Wow, what a tease,

what a tease. It is, it is a great film. It is led by Thomas and Mackenzie who you might have

seen in Jojo Rabbit among other things, and you tell her joy, former guest on the podcast,

as well as Matt Smith in Terence Stamp, and Diana Riggs, sadly in her last performance, but it's

a great one. So yes, this is a great film to dig into, and Edgar is one of those filmmakers

that is just that's a like to chat with. I've been talking to Edgar Wright since not quite

shone at the dead times, but I think I met him back when Hot Fuzz was coming out, and seemingly

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