You have to control yourself. And welcome back to horror queers.

We're talking black and white cat, black and white cake.

We're talking, and this is where the lesbians live.

And we're talking a cat.

Kill it, Michael.

And I'm Joe. And I'm Trace. And we're talking, cat. Kill it, Michael. And I'm Joe.

And I'm Trace.

And we're talking, if these files are right, Father Halloran dies the same day that Allison Parker disappears and becomes sister Teresa, tomorrow.

That is so emblematic of this movie, isn't it?

It is such a, I rewound that part so many times, Rob was like, is this grammatically correct? It doesn't make any sense. But, I mean, it does, but like, it doesn't. It does, and it doesn't, and it feels like, wait, who wrote this? No one said that line out loud until we had to go in front of the camera. Not at all. But yes, everyone, we are discussing Michael Winner's 1977 film The Sentinel, a film that Joe

has been trying to get us to cover for, I'm going to say years, Joe?

It's been years.

And it's not me because this is the first time watch.

So this has been recommended to us several times.

As I said in the outro, we've got a couple of listeners who have been begging us for yes, at least two, two and a half years at this point. We just always bounces around the schedule, I think in part because neither you or I had seen it. So we didn't feel too strongly about it. But we wanted to make an effort to get it on the schedule this year.

So welcome to the last month of the year.

We're squeezing it in.

Meanwhile, all those Waxwork fans are like, what the fuck, guys?

Trace and I have yet to confirm next year's schedule.

But yeah, this was a first time watch for me.

And I, ah, this is interesting, Joe.

I don't think this is a good movie, but I found so much of it very, there's so many good ideas here that I think with a different execution. This borders close to good to great for me, but it's just not there.

...