|Good Boy (2025) Ending Explained: Does The Dog Die?

This week we're breaking down Good Boy (2025), the seventy-thousand-dollar indie horror that out-grossed The Rock at the box office and won its golden retriever a real acting award against actual humans. We dig into whether the monster is real, why this movie is secretly a grief story, and which one of us would survive moving into a haunted family farmhouse. (Spoiler: Jessica is Todd. We're sorry, Jessica.)

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Episode Breakdown

• Ben Leonberg shot the entire movie at nineteen inches off the ground using his own dog Indy, his own house, and four hundred shooting days
• The Kuleshov effect, ADR'd dog whines, and the wild fact that Indy was never actually scared in a single frame
• The lantern reveal in the bedroom, the dog skeleton in the basement, and the ending that's been wrecking horror fans for weeks
• Is the monster real, or is it just what dying looks like to a dog who has no words for it?

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Transcript

[Ambrose:] Okay, picture this. You're in your living room. It's late. Your dog is doing the thing. 

[Jessica:] What thing?

[Ambrose:]You know the thing. The ears go flat, the body goes still, and the head slowly turns toward an empty corner of the room. And just stares. You know, no growl. No bark. Just... looking. At nothing.

[Jessica:] Oh god. Not the corner stare.

[Ambrose:] Yeah that dreadful corner stare.

[Jessica:] Oh I hate that corner stare.

[Ambrose:] Everyone hates the corner stare. And every pet owner listening to this knows exactly what I'm talking about, because every pet owner has tried to convince themselves it's fine.

[Jessica:] I’m guilty for sure. 

[Ambrose:] It’s just a shadow. It's a bug. Or he heard the fridge. But there's that tiny little caveman part of your brain that goes…wait? What does he see that I don’t see?

[Jessica:] Yeah, because dogs aren't staring at nothing. That's the thing. They are staring at something. We just can't see it.

[Ambrose:] Right. And horror movies have been mining this for decades. Every haunted house movie, there's a dog. And the dog knows first. The dog freaks out at a door. The dog refuses to go in a room. And then, this is the part that actually bugs the hell out of me…the dog dies.

[Jessica:] Awwww that sucks.

[Ambrose:] I know right. It’s like a narrative sacrifice. Like the dog has to die to tell the audience "the humans are in real trouble now." So, the dog is basically a smoke alarm with fur.

[Jessica:] [laughs] That’s a horrible way to put that…but I have to agree it’s accurate.

[Ambrose:] And then you have this guy Ben Leonberg sitting there watching Poltergeist one night. And he sees his dog lose his mind at this weird corner of the house and he thought. Why is the dog always the side character? 

[Jessica:] Oh I think the same thing. 

[Ambrose:] I mean come on the dog knows everything. He sees everything, and let’s just admit it right here right now. The dog is one damn good ghost detector.

[Jessica:] Okay. I see where your going with this…So what if the dog was the movie?

[Ambrose:] Really, Jessica?

[Jessica:] Okay so where is this going.

[Ambrose:] As I was saying. He thinks about it, and then years later he goes. You know what? I’m gonna do it. I’m going to make a haunted house movie from the dog’s point of view. 

[Jessica:] Didn’t I just say that? 

Yes you did just say that. But I was getting there…Anyway he thinks about it. Then he decides he’s gonna do it with his actual dog. And he’s gonna do it for basically no money. And his wife and himself are going to be the only two people on set for three years.

[Jessica:] Wait…That’s one crazy ass idea. First off…it took three years to make this movie?

[Ambrose:] Yeah… Three years. And Seventy Grand. It was just one dog, one house in New Jersey, and four hundred shooting days.

[Jessica:] Just four hundred?

[Ambrose:] Yup. Four hundred.

[Jessica:] That's psychotic.

[Ambrose:] You would think that. Right? But, it turned into one of the most surprising horror hits of the year. 

[Jessica:] Really. 

[Ambrose:] Yeah. It made over eight million dollars. And it beat The Rock at the box office the weekend it opened—

[Jessica:] Hold on. It beat who?

[Ambrose:] Dwayne Johnson. You know “The Rock.” Who starred in The Smashing Machine. That big A-24 MMA drama. It was suppose to on the road for an Oscar. Like, an actual prestige push. But this dog movie blew right past it.

[Jessica:] A dog movie?

[Ambrose:] Yup. Just seventy grand, a golden retriever named Indy, and a camera pointed at the floor.

[Jessica:] Okay, I’m confused. What are we talking about.

[Ambrose:] We’re talking about Good Boy. It was Ben Leonberg’s debut. And it came out in October of 2025. It was a IFC and Shudder Indie horror. And the best part it was shot at the guy’s actual house, and starring his actual dog.

[Jessica:] Is this the one where everyone online was losing their mind about whether the dog dies?

[Ambrose:] That’s the one. And that was basically the whole marketing campaign. People where on Google searching for “Does the dog die in Good Boy.” That search alone shot up about two thousand percent the week the trailer dropped.

[Jessica:] Of course it did. Because, we all know you could have a hundred humans die in a horror movie and people will just eat their popcorn. But God forbid you  put one golden retriever in danger? And well, you got yourself a Riot on your hands.

[Ambrose:] Yeah. full riot right there. And Leonberg literally said the third most common comment on his trailer was "if anything happens to this dog I'm going John Wick on the director."

[Jessica:] Well. Do you blame them? 

[Ambrose:] I don’t. 

[Jessica:] That’s good. Because you see people don’t play when it comes to animals even dogs getting hurt in movies.

[Ambrose:] No. They don’t. But here’s what’s wild…IFC was planning on a little limited release. You know, maybe a handful of theaters. But that trailer got the biggest reach in IFC’s history. So, of course they panicked… but in a good way and pushed it to sixteen hundred and fifty theaters. And opening weekend it does two point three million dollars.

[Jessica:] Wait…On a seventy thousand dollar movie.

[Ambrose:] Yup. 

[Jessica:] Now that’s insane.

[Ambrose:] Right. So, they already made their money back twenty times over by Sunday night.

[Jessica:] Okay. Slow down a bit here for a second. So what you’re saying is. It’s the underdog story of the year? Literally.

[Ambrose:] Oh no you didn’t.

[Jessica:] I had to.

[Ambrose:] Oh, you didn’t have to.

[Jessica:] No. I had to. You left that door wide open.

[Ambrose:] Okay. You got me there. But here’s the part that I really want to talk about. Because going in, I though this was gonna be a gimmick movie. So I thought…okay cool, It’s a dog’s Point of View, and it’s just ninety minutes of a dog being scared, because we’ve all seen the trailer. And it’s that. But it’s also…not that. It’s like, the dog is the vehicle and it tells you a completely different kind of horror story.

[Jessica:] Okay…I’m listening. Tell me what kind of horror story is this?

[Ambrose:] Well, it’s the kind where the monster might not be real, and the dog has to figure out what to do.

[Jessica:] Oh. That’s it?

[Ambrose:] Yeah…That’s the movie.

[Jessica:] Okay…Yeah. That’s… Okay…Let’s do this.

[Ambrose:] Okay then. So, here’s the setup. You’ve go this guy named Todd, played by Shane Jensen. Though to be honest you kind of never fully see his face in the whole movie.

[Jessica:] Wait… Why?

[Ambrose:] That’s because the camera is locked just nineteen inches off the ground throughout the entire movie. Like, that’s not a gimmick shot. That is the rule. And every shot in this movie is at the dog’s height. So if a human is standing up and talking. Well, you’re either seeing their knees or the back of their head. And Leonberg commits to that.

[Jessica:] Oh, that's actually genius.

[Ambrose:] Well it does fit the narrative. It makes you see the entire movie from the dog’s view. 

[Jessica:] Again genius. 

[Ambrose:] I know right. And here’s the best part. So, Todd is sick. And we don’t get told exactly what it is. And Critics have been reading it as lung cancer because he’s coughing up blood later in the movie, but they never name it. It’s just…Todd is dying. And he’s running out of treatment options.

[Jessica:] Now that's a grim setup.

[Ambrose:] It sure is. And the movie opens cold with Todd basically passed out in a dark room, the TV static going, and Indy's just sitting there, and then we have his sister Vera who bursts in and calls for help. So you know from frame one that Todd's body is failing him.

[Jessica:] And Indy is the one who's there when it happens.

[Ambrose:] Yeah. Indy’s always there. And that’s the thing. Todd decides, okay, I’m gonna leave New York, and I’m gonna go out to my dead grandfather’s old farmhouse in the middle of the woods, and I’m gonna rest. And his sister Vera begs him not to. She’s like, that house is cursed. It’s where grandpa died. And she begs him not to go.

[Jessica:] Let me guess, he still goes.

[Ambrose:] He does.

[Jessica:] Of course he does.

[Ambrose:] Hey, it’s a classic horror movie choice. But also, Jess, here’s the thing I keep coming back to…And I don’t know if he’s being dumb or not. I think he’s going out there to die where his grandpa died.

[Jessica:] Oh. Oh, that's worse.

[Ambrose:] Right? Like it's less "I'm being reckless" and more "I'm going home."

[Jessica:] Okay, that actually not bad. It actually softens the “why would you go there” question. Because me being the audience I’m screaming at him not to go. But, if his plan was to go quietly in the night, it makes it a different movie.

[Ambrose:] You’re right. It is a different movie. And here’s the other piece…grandpa had a dog too. And his name was Bandit. And we see Bandit in these old camcorder videos that Todd watches. And grandpa is played by Larry Fessenden, by the way—

[Jessica:] Oh, that definitely a great choice.

[Ambrose:] Yeah it was. Because Larry Fessenden is the patron saint of indie horror. Because if you’re making a scrappy horror movie on fumes, you can bet Larry will show up. And in this one he’s in like a VHS home video cameo. And you ONLY see him on a camcorder screen.

[Jessica:] I’d say that is a good use for him. Don’t you think?

[Ambrose:] It is. Because it makes the whole thing feel like this is somebody's real family. And it has that real home video vibe. And there's a real person who lived in this house and died. And now his grandson is coming to do the same thing.

[Jessica:] And let’s not forget about the dog was also in that same house.

[Ambrose:] True. And that dog… Bandit, becomes kind of the ghost story underneath the ghost story. Because Indy starts noticing things right away.

[Jessica:] Like what?

[Ambrose:] Okay. The first night they are there. You see all these shadows moving around, but nothing is causing them. Well, nothing human at least. 

[Jessica:] That’s creepy. 

[Ambrose:] Tell me about it. But anyways. You hear this faint breathing sound when Todd’s sleeping. And remember what I said about Corners in a house. 

[Jessica:] Oh I remember. 

[Ambrose:] Well in this corner it’s darker than it should be. And then…we see it…or Indy see’s it. A black humanoid shape. It’s just a flicker at first.

[Jessica:] And isn’t this where Leonberg's whole trick starts working? Because Indy can’t say anything.

[Ambrose:] You catch on quick.

[Jessica:] What can I say…I’m that good. 

[Ambrose:] Ok there lower your ego. 

[Jessica:] I don’t have an ego. 

[Ambrose:] Yeah ok..Anyways your right. The dog can’t just say “hey there’s a guy in the corner.” Because all he can do is get up and walk over to that corner and just stand very still and just look at it. And WE, the audience, start getting alarmed on his behalf. Because we know what that stillness means—

[Jessica:] Yeah…Death…

[Ambrose] You’re so extreme. 

[Jessica:] I know. But, okay. So we gotta talk about how he got those shots. Because every review I've read on this movie is like "the dog gives a better performance than most human actors." And I watched it and I was like yeah, you're right… But how?

[Ambrose:] Well, let me just say this is my favorite part of this whole production story. Because Leonberg has been extremely open about this and it will just break your brain just a little.

[Jessica:] Okay then…break my brain.

[Ambrose:] Okay. You know Indy, the dog. Right?

[Jessica:] Yeah. 

[Ambrose:] Well he was never actually scared. 

[Jessica:] Wait…what? 

[Ambrose:] Yeah not once. In fact, in any shot where Indy looked terrified…You know, wide eyes. Locked in. Ears back. The whole nine yards. Well he’s just looking at Ben standing behind the camera.

[Jessica:] No way.

[Ambrose:] Yup. He’s just thinking "what's Dad doing?"

[Jessica:] Oh My God.

[Ambrose:] And ben will literally tell you. He’s like, the filmmaking is doing all the work. We cut to a dark corner, we have ominous music going, and we cut to the dog with the neutral curious face. And your brain fills in the terror. You are projecting the fear onto the dog. Because the dog is not getting emotional. The dog is just wondering when he will get his next treat.

[Jessica:] Oh my god, that's the Kuleshov effect. That's the Soviet film theory thing where you show a face and then a bowl of soup and people say the guy looks hungry, but you show the same face and a dead baby and people say the guy looks sad.

[Ambrose:] Yup. That’s it. It’s pure Kuleshov. And the dog is the neutral face. Because the shot around him is doing all the acting.

[Jessica:] That’s…okay, that's actually brilliant. And also a little depressing? Like we all watched this dog win an award for acting and the dog was…not acting?

[Ambrose:] Oh, we’re going to get to the dog’s acting skills and we’ll talk about that award…trust me.

[Jessica:] Oh, we definitely have to talk about all of that.

[Ambrose:] And let’s not beat around the bush…let’s get into it right now…

[Jessica:] Okay. 

[Ambrose:] So, Indy wins this Howl of fame award at SXSW, which is for best canine performance. Cute Right? 

[Jessica:] Okay. 

[Ambrose:] But then at the Astra Film Awards—

[Jessica:] Oh you mean the real ones.

[Ambrose:] Yea. The real ones. So, Indy gets nominated for Best Performance in a Horror or Thriller. And this is where it gets crazy. He’s competing against humans. You know, actual human actors.

[Jessica:] Oh My God…No, he didn’t?

[Ambrose:] Oh he did…And he wins.

[Jessica:] Wow! Now, that’s funny as hell.

[Ambrose:] And get this… he’s the first dog in history to win a major film acting award. And he won it against real human competition. And Leonberg wasn’t there so he accepted it on video with Indy sitting right next to him. 

[Jessica:] That is the greatest thing I've ever heard. I need that video on a loop.

[Ambrose:] Well, it’s on their Instagram page. And you can go watch it right now. If you want to.

[Jessica:] Oh I’m definitely doing that tonight when I get home…Anyway. So, the dog isn’t actually scared and the dog is just out there winning awards for not being scared.

[Ambrose:] pretty much. 

[Jessica:] And meanwhile in the movie Indy starts losing his grip on reality in this house? 

[Ambrose:] he does. 

[Jessica:] Okay…what happens next?

[Ambrose:] Well, he starts finding things. And this is where it gets sad in a way I was not expecting. So, Indy was exploring the house one night and he finds…get this…a bandana underneath this old wardrobe.

[Jessica:] Let me guess. It’s Bandit’s bandana.

[Ambrose:] It sure was. And it was stiff and filled with dust.

[Jessica:] Gross. 

[Ambrose:] I know and It’s been there for years. And then all of sudden Indy starts seeing Bandit. Like…in this translucent, shivering ghost dog. And this is where Bandit leads him to all these different places in the house. It’s as if Bandit was trying to show him something. 

[Jessica:] Oh no.

[Ambrose:] And this is where Indy starts having these nightmares. Like actual nightmares of the grandfather dying. 

[Jessica:] I didn’t know dogs could have nightmares.

[Ambrose:] Oh they can. And in these dreams there was this black figure standing over him.

[Jessica:] Okay so Indy is basically receiving the grandfather's death in reruns.

[Ambrose:] Yeah pretty much. And meanwhile Todd is getting worse. He’s coughing up blood. And he’s even getting mean. Like he’s been snapping at Indy. Hell, he even snapped at his own sister when she called him. 

[Jessica:] Yeah that’s not good. 

[Ambrose:] And then one night…and this is the scene that’s stuck with me…Indy wakes up and sees Todd in the hallway, who was fully checked out, He’s slamming his own head against the basement door.

[Jessica:] Oh, oh. Yeah that’s definitely not a good sign.

[Ambrose:] And the crazy thing is he kept doing it over and over.

[Jessica:] And Indy was just sitting there watching this right?

[Ambrose:] He sure was. And the crazy part was Indy didn’t know how to help him…I mean what does a dog do with that?

[Jessica:] yeah I know. What do they do? 

[Ambrose:] That’s the million dollar question right there. 

[Jessica:] Okay. 

[Ambrose:] But Indy does see that figure again and this time the figure moves right into the bedroom and Indy see’s Todd collapse. Just as Indy started to move the door just closes between them. And suddenly Indy Is separated from his owner and is now in this dark house all alone. And the expression on his face is like he has no clue what just happened.

[Jessica:] That’s because he’s a dog.

[Ambrose:] True. But, Indy does what any normal dog would do. He runs and tries to get help from the neighbor. Which happens to be a guy named Richard. He’s this grizzled old dude who lives nearby. And he’s the one who warned them about the fox traps on the property. 

[Jessica:] Oh right. I forgot he told them when they first arrived there. 

[Ambrose:] Yeah well remember Indy can’t talk and he’s heading right to Richard, and —

[Jessica:] Oh yeah. That’s when he gets caught in the fox trap.

[Ambrose:] He sure did. But let me just tell you how they shot it, because it’s truly amazing…

[Jessica:] Oh I bet it was. 

[Ambrose:] Oh trust me you’re gonna love this…So, there’s no actual trap on the dog. 

[Jessica:] I kind of figured that. 

[Ambrose:] Of course you did…So, Leonberg is just off camera and he’s scratching Indy’s back legs, Which in turns makes Indy do this happy squirm thing. Like he’s getting a belly rub. 

[Jessica:] Awwww how cute. 

[Ambrose:] Yeah super cute. So anyway Ben jacks up the shutter speed, and adds the camera shake, and he sometimes…get this…sometimes he reverses the footage. 

[Jessica:] Really. That makes so much sense. 

[Ambrose:] I know right. So, Indy is rolling into this full happy belly-rub position because Indy is being yanked off his feet by an invisible wire.

[Jessica:] That’s insane…But wait…that sounds a lot like what they use to do in Silent movies?

[Ambrose:] Oh, you have such a keen mind when it comes to movies.  

[Jessica:] What can I say. I love movies. 

[Ambrose:] Yeah I know you do. And your right. This entire movie is essentially a silent movie with a dog in it. You know because dog’s can’t talk. 

[Jessica:] Hardy Har Har. You are so hilarious. 

[Ambrose:] What can I say I try. But anyways—

[Jessica:] Okay, enough with the jokes. Can we get back to the plot for a moment. 

[Ambrose:] Okay…fine. 

[Jessica:] So Indy’s in the trap, Todd is losing it, so what happens next?

[Ambrose:]  Alright. So Todd finds Indy and he isn’t happy with him.

[Jessica:] Really. Why not?  

[Ambrose:] Well, you’d think he would be happy with the dog who was just trying to find help. But…no he gets angry with him and drags him back to the house and chains him up outside in a doghouse, And just leaves him there.

[Jessica:] Oh, Todd. What have you done.

[Ambrose:] I know, right.

[Jessica:] No, no, Todd is being a jerk. Like I get that he's sick and all. And I get that he's possessed by whatever, but…that’s his dog. And his dog has been trying to save his life.

[Ambrose:] Oh I agree.

[Jessica:] And what does he do…he chains him up outside.

[Ambrose:] Oh you’re not going to get any argument out of me on that one. 

[Jessica:] That’s a first. 

[Ambrose:] Whatever… But here’s the crazy part. Indy watches that figure just walk the perimeter of the property and then walks right into the house.

[Jessica:] And of course Todd doesn’t have a clue what’s happening around him.

[Ambrose:] Not a clue. And it’s like, the darkness is winning. Because Indy who is suppose to be protecting Todd is locked out and chained to a doghouse. And Todd is inside with you know —

[Jessica:] Yeah. The black figure who’s been following him around this whole time. And at this point I started to realized we weren’t getting out of this alive.

[Ambrose:] No. Your right we’re not getting out of this alive.

[Jessica:] I kind of figured that.  

[Ambrose:] Let me explain why…Because in Act three…and I…Alright wait a minute…Jess, 

[Jessica:] Oh boy here we go…

[Ambrose:] I want to just walk you through this because I think this ending is going to be what people will remember the most about this movie.

[Jessica:] Okay.

[Ambrose:] Okay. So, Indy breaks loose and he’s fighting off this…Well, it’s this visual moment where a grotesque hand comes out of the doghouse and tries to grab the chain and pull Indy into the doghouse. 

[Jessica:] Oh no. 

[Ambrose:] But Indy rips loose and starts running for the house. He hears Todd in distress and he just breaks into the basement.

[Jessica:] Okay. I’m following.

[Ambrose:] So, on the basement stairs he finds…now, get this… a skeleton. And not just some regular skeleton. No. A dog skeleton.

[Jessica:] Oh let me guess… Bandit?

[Ambrose:] Give that girl a prize…You would be right. It’s Bandit and he starved to death in the basement.

[Jessica:] Awww poor Bandit. Is it Because his owner never came back?

[Ambrose:] Right again. Bandit was waiting. And that's what killed him. His…Loyalty.

[Jessica:] Oh, I'm not…I’m not okay with that.

[Ambrose:] I didn’t think you would be. And you probably won’t be okay with what I’m about to tell you next.

[Jessica:] Oh great.

[Ambrose:] So, Indy steps over Bandit and runs up the stairs to Todd's bedroom. And Todd is sitting there. And he lights up when he sees Indy. And of course he apologizes to him.

[Jessica:] Like he should. 

[Ambrose:] I know right. And he says he's sorry for chaining him up. And this is where it gets interesting…Todd picks up a Lantern…raises it —

[Jessica:] Oh don’t you say it—

[Ambrose:] — and on the bed, behind him, is his own dead body.

[Jessica:] Ohhhh. I told you not to say it.

[Ambrose:] Sorry. But I did tell you that you were not going to like what I was about to tell you next. 

(Insert) [Jessica:] I know, but still. 

[Ambrose:] What can I say…I’m sorry….Anyway, so Todd is already dead and the Todd that is talking to Indy is a ghost. See Todd died in the night but he doesn’t know it yet.

[Jessica:] Wow. That is a genuinely great horror moment.

[Ambrose:] It’s so good…And the way they shot it…was pure gold. 

[Jessica:] Oh I bet it was…

[Ambrose:] Because it’s such a simple moment. It’s just the camera holding there, then the lantern comes up. The light slowly moves across the bed… and then you see the body. 

[Jessica: Oh no. 

[Ambrose:] And that’s it. No jump scare. No loud music hit. No cheap scare. We just cut to Indy’s face, and the movie lets that reaction sit there. That’s what makes it work.

[Jessica:] That is so brilliant…I love it…and well hate it also…because Todd is no longer with us.

[Ambrose:] Yeah that’s the part that really hits you. And then the figure comes back and drags Todd's spirit out of the room on a chain.

[Jessica:] Wait…a chain?

[Ambrose:] Yeah. On a literal chain. 

[Jessica:] Damn talk about hitting you right in the face. 

[Ambrose:] I know right. And Indy follows them down into the basement. Like right past Bandit’s skeleton. And into… okay. But, before I go any further. 

[Jessica:] would you stop that…and just tell me. 

[Ambrose:] Well I have to build some tension…

[Jessica:] You’re such a goof ball.  

[Ambrose:] I know…but, anyway…I just want you to follow along with me because it goes full fairy tale…because there’s a cave under the basement.

[Jessica:] Wait…what? 

[Ambrose:] You heard me. A cave. Right underneath the house. Which has no business being there. It’ this mythic underworld…it’s a place the dead go.

[Jessica:] And Todd is being pulled into it.

[Ambrose:] Yup. And he goes right in. And Indy follows him in and pulls him back out.

[Jessica:] So, he goes into the underworld to get his human.

[Ambrose:] He sure does. And he almost saves him. 

[Jessica:] Really?…

[Ambrose:] Yeah. So he get’s Todd out of the cave. But, you know the figure comes back and coats Todd in the same black substance that the figure is made of. It’s like the sickness is visually covering him.

[Jessica:] And that's when Todd —

[Ambrose:] Turns to Indy and says the line. And this is the line that's gonna end up on horror blogs forever. He says, "You're a good dog. But you can't save me. You gotta stay here."

[Jessica:] Oh…that’s pulling at my heart strings right there.

[Ambrose:] And that is when the entity takes him.

[Jessica:] Okay.

[Ambrose:] And then it’s the next day. Mainly it’s morning. And this is where Vera shows up and finds Todd’s body. And she finds Indy sitting alone at the top of the basement stairs. And this is where she just starts crying, and calling for him to come to her. 

[Jessica:] Oh My God My heart is breaking. 

[Ambrose:] Yeah this was one painful scene to watch. So Indy is hesitant to go to her. Indy can still hear Todd’s whistle. It’s coming from the place where Indy was just at. And this whistle is calling him back.

[Jessica:] Okay…you finally did it…I’m finally crying over here.

[Ambrose:] Oh My God we have finally broke the girl who said she could never be broken…Let’s take it in for a moment. 

[Jessica:] Oh shut up and let’s continue. 

[Ambrose:] Okay, okay sorry I just had to reminisce in it for a second…Okay. So, Indy hesitates for a second. Because we know that he really wants to go and be with his person…and…of course he chooses to go up the stairs to Vera.

[Jessica:] So what your saying is he chooses to live.

[Ambrose:] Of courses he chooses to live…Why would he choose death.

[Jessica:] I don’t know..he’s a dog and he wants to be with his owner. 

[Ambrose:] Okay did you not just hear me just say he choose Vera?

[Jessica:] So, any normal dog would want to be with his owner…

[Ambrose:] Anyway the end credits roll, And for the whole credits it’s just shots of Indy sticking his head out of the car window as Vera drives them away through the woods. And…get this…

[Jessica:] Oh boy…

[Ambrose:] near the end of the credits…one more time…we hear Todd’s whistle. It’s faint and distant…Calling.

[Jessica:] And Indy?

[Ambrose:] Well, Indy just pulls his head back inside the car.

[Jessica:] That's so sad.

[Ambrose:] I know right. It pulls at your heart strings.

[Jessica:] It sure does…like, I can’t believe he's still hearing him. I guess he'll always hear him.

[Ambrose:] He will. But he's not going back.

[Jessica:] Okay. Okay. So let me try to say what I think this movie is actually about.

[Ambrose:] Oh boy here we go.

[Jessica:] No, no, no hear me out. Because the question I had the whole time was…is the monster real or not. And Leonberg has said in interviews he wanted that to be ambiguous. Like Shining ambiguous.

[Ambrose:] Exactly.

[Jessica:] And I can see how it works. 

[Ambrose:] Do you?…

[Jessica:] I do. Because the house is haunted. And his grandfather dies in the house. 

[Ambrose:] Okay…

[Jessica:] And Bandit gets trapped in the basement and slowly dies also. 

[Ambrose:] uh huh. 

And now Todd goes there to die. It was a literal monster, with a literal curse.  And to top it all off a literal underworld cave under the house.

[Ambrose:] Pretty much.

[Jessica:] Now. You also said there was no monster. 

[Ambrose:] I did. 

[Jessica:] It was just cancer, or whatever it is. 

[Ambrose:] Right. 

[Jessica:] And Todd is just dying. And Indy, who is a dog, has no way to understand that. 

[Ambrose:] Go on. 

[Jessica:] Okay. Because he has no concept of illness.  

[Ambrose:] This is true. 

[Jessica:] But he can sense something is wrong. 

[Ambrose:] This is also true. 

[Jessica:] So the dog’s brain takes all of that and makes it into a monster in the corner. 

[Ambrose:] You know, I never thought of it that way. 

[Jessica:] I know right. Anyways, he makes up the shadow in the hall, with a chain. Because he has to turn it into something he can try to chase off.

[Ambrose:] And that's the whole thing. That's what got me. The monster isn't real. The monster is what dying looks like when you don't have the words for it.

[Jessica:] And what wrecked me is… Bandit got that too.

[Ambrose:] I know. Right? 

[Jessica:] And because, Bandit’s whole thing was, his owner got sick,

[Ambrose:] And I kind of got that same feeling about Indy. 

[Jessica:] Yeah, I saw that pattern also. And his owner just disappeared into the basement, and Bandit stayed by the door waiting. And he never left. And he starved. 

[Ambrose:] I know. What a horrible way to die. 

[Jessica:] Yeah that broke my heart because he didn't understand. And he thought his owner was coming back.

[Ambrose:] And Indy…Indy has that same confusion.

[Jessica:] Right. 

[Ambrose:] And it’s the same exact confusion Bandit had. But for Indy Todd calls him from the tunnel at the end…and you can see it in his eyes he really wanted to go.

[Jessica:] But he doesn't.

[Ambrose:] Right. He doesn't. And that's what the movie is doing, I think. It's taking the one scene we've all seen a hundred times. The dog waiting at the window for someone who isn't coming home. And saying okay but what if the dog learned.

[Jessica:] What if the dog walks away from the window. 

[Ambrose:] Right. What if the dog just walked away.

[Jessica:] That's not horror. That's grief.

[Ambrose:] Your right. It’s a grief movie with a horror skin on it.

[Jessica:] And here’s the thing I want to say, because I know some people are just gonna see this movie as it’s slow, it’s repetitive. 

[Ambrose:] I know right. 

[Jessica:] And yes there is a loop in the middle where it’s like, Indy sees the thing, Indy walks over. But Todd doesn’t even notice it. 

[Ambrose:] Yeah that confused me. 

[Jessica:] I know. Right? And then Todd gets sicker, and we repeat. I saw this when I was reading some of the critics that called it out and yes they’re not completely wrong.

[Ambrose:] No they're not.

[Jessica:] But I think the repetition is the point? Like, the dog’s experience of this would be just that repetitive. 

[Ambrose:] Okay. 

[Jessica:] He doesn’t have a story structure. He just has days and nights. He has the thing in the corner coming back again, and again. And again.

[Ambrose:] That's a really good point.

[Jessica:] So I can't fully roast the pacing because I think the pacing is also part of what it's saying.

[Ambrose:] Yeah. And honestly, the movie is only seventy-three minutes long. Like, it’s not overstaying its welcome. 

[Jessica:] Oh, you hit that on the head.. 

[Ambrose:]It’s barely over an hour.  And If a seventy-three minute movie feels slow, that’s the movie telling you that time works differently in its world. 

[Jessica:] Okay where you going with this?  

[Ambrose:] Which, I mean… dogs perceive time about thirty percent slower than we do by the way.

[Jessica:] Wait… what?

[Ambrose:] Oh yeah. That's documented. Because to a dog, we're moving and talking slower than we think we are. So the pacing in this movie may literally be dog pacing.

[Jessica:] Okay, now I’m mad. 

[Ambrose:] Why? 

[Jessica:] Because I don’t know why this is not a bigger talking point…hearing that for the first time it just amazes me.

[Ambrose:] Yeah, I know. I was also shocked to hear that myself.

[Jessica:] Alright. I need to shift gears for a sec because I need to know…would you survive Good Boy?

[Ambrose:] [laughs] Oh god.

[Jessica:] It’s a good question. I want to know if you would you survive this movie?

[Ambrose:] That’s funny. But, here’s the thing. I’m not Todd.

[Jessica:] Oh ok sure your not.  

[Ambrose:] I know who I am. And the reason I say that is because I would know to listen to my dog. 

[Jessica:] Okay. 

[Ambrose:] Hey don’t laugh, I’m serious. Like if my dog is staring at a corner for a very long time in a new house that I just moved into. I would definitely have some concerns about the house.

[Jessica:] oh okay. 

[Ambrose:] For sure.

[Jessica:] See, I don't believe you.

[Ambrose:] Okay. why don't you believe me.

[Jessica:] Because nobody listens to their dog. That's the whole point of the movie. If people listened to their dogs, horror movies wouldn't exist.

[Ambrose:] Okay. That’s fair.

[Jessica:] And I know for absolute certainty you would definitely ignore your dog.

[Ambrose:] Oh so you think you know…do ya? 

[Jessica:] Yeah I do. You’d be like “Oh he’s just being weird.” Or “he probably just saw a moth or something.”

[Ambrose:] Okay I’ll admit you got me there. 

[Jessica:] Wow you are going on the record and admitting I got you? 

[Ambrose:] Yeah. But, I’d more then likely do that the first time. But then I would come home and see my dog chewing on one of my grandfather’s old bandana’s and I would go…actually now that I think about it. That’s too specific. I’d just be outta there.

[Jessica:] So, basically what your saying is that the dog would have to hand you a prop for you to get the hint?

[Ambrose:] Yeah, that’s exactly what I’m saying…So, what about you?

[Jessica:] Oh, I wouldn’t survive. 

[Ambrose:] of course you would. 

[Jessica:] No hear me out first. Because I AM Todd. I’m the person who moves into the family farmhouse. And I’d be like, it’s fine, my sister is just being overly dramatic. It’s a free house. And I would say to myself… I’m gonna get better here.

[Ambrose:] Oh, you’re….yeah, you’re Todd. I can definitely see that.

[Jessica:] I sure am.

[Ambrose:] And you’re over there coughing up blood and FaceTiming your sister going “it’s fine, I promise, it’s fine”

[Jessica:] And let’s not forget that the dog is acting all weird ever since I got there.

[Ambrose:] [laughs] Oh My God. You’re too funny girl.

[Jessica:] But, hey I think I could last, conservatively around six days.

[Ambrose:] Wow. Six days eh. That’s mighty generous of you.

[Jessica:] Okay, maybe just four.

[Ambrose:] Now four I can believe. 

[Jessica:] Of course you can. 

[Ambrose:] And here’s the thing that would take you out for sure…

[Jessica:] Oh here we go. 

[Ambrose:] The basement door. 

[Jessica:] Wait…What? 

[Ambrose:] I know, I know. But here me out first.

[Jessica:] Okay go on. 

[Ambrose:] Because I know that the dog would try to get you to go into the basement. And you would definitely go in the basement.

[Jessica:] Hmmm…that’s not wrong. 

[Ambrose:] Because you’re curious… And that my friend is how you would die.

[Jessica:] Hmmm. So what your saying is I would die because I’d be curious?

[Ambrose:] Yup. you’d be curious.

[Jessica:] Okay. That’s actually honestly respectable.

[Ambrose:] What can I say… 

[Jessica:] Well you can say nothing…So, if there was one scenario that YOU can think of that would have you surviving this movie, without running alway like a scared little girl.

[Ambrose:] Wow. That’s hurtful.

[Jessica:] oh suck it up. You know I’m only kidding with you.

[Ambrose:] I know you are. I was just messing with you.

[Jessica:] Oh sure you were… 

[Ambrose:] Anyways. So, the only scenario where I live is if I'm the neighbor. You know, Richard. 

[Jessica:] That’s a good choice…I would of never saw that coming from you… 

[Ambrose:] I know, that’s why I chose him. Anyways he’s the fox trap guy. Because he lives through the whole movie. And he's just out there setting traps.

[Jessica:] Oh he sure is.

[Ambrose:] And Richard is just over there minding his own business. And who cares if he finds a body every twenty years or so. 

[Jessica:] Uhhh…the families would… 

[Ambrose:] Yeah, yeah, yeah. I know. But he’s living a full life.

[Jessica:] Now that’s the horror movie life plan. Be the neighbor and NOT the protagonist.

[Ambrose:] I like that…be the neighbor. And NEVER the protagonist.

[Jessica:] Yup. That’s a great plan.

[Ambrose:] Okay. Let me ask you the most important question… 

[Jessica:] Okay. 

[Ambrose:] Who is this movie for? Because I can see people not really into this one. But I can also see people falling in love with it, and honestly they’re both right in my opinion.

[Jessica:] Yeah this is definitely a movie that is gonna split people for sure. But I think if you come in wanting scares, like jump scares and —

[Ambrose:] You're not gonna get them.

[Jessica:] No your not. This movie has like…honestly maybe one traditional scare in the whole movie. 

[Ambrose:] This is so true. 

[Jessica:] And the movie is more along the lines of something like creeping dread.

[Ambrose:] Right. It’s got mood. It’s got atmosphere. And it’s a dog staring really long at a corner for a really long time.

[Jessica:] And if your not locked in with the dog. Then you’re not really gonna be locked into the movie. And hey, I get it. It’s not for everyone.

[Ambrose:] Right. But if you are locked in with the dog — it's like a vise. The whole thing closes on you slowly.

[Jessica:] And I would say this. For the people who liked The Babadook. And who liked The Devil’s Backbone, Hereditary for all the grief parts and not the satanism part.

[Ambrose:] That's a good list.

[Jessica:] And for the people who want a horror movie that's actually sad. And not just sad-adjacent. And  not sad in the third act. But sad as the engine.

[Ambrose:] This is definitely that kind of movie.

[Jessica:] But if you want a monster to rip through a house, Well, this isn't your movie.

[Ambrose:] This is definitely not your movie. But again if you want to sob into your pillow while your dog looks at you all confused? This is your movie.

[Jessica:] Now, that’s the log line right there. “Sob into your pillow while your dog looks at you all confused and stuff.”

[Ambrose:] I know right.

[Jessica:] I also want to say…

[Ambrose:] Here we go… 

[Jessica:] No, not here we go..What I wanted to say was the craft here is genuinely incredible. Because for just seventy thousand dollars, Leonberg made this thing look like a fifteen million dollar movie. 

[Ambrose:] Oh I’ll definitely give him that. 

[Jessica:] Right. And with the lighting being all gorgeous and stuff. And we can’t forget about the sound design that was doing so much work —

[Ambrose:] Oh the sound design is definitely the unsung hero.

[Jessica:] It sure is. With every breath, every creak, every single noise is placed perfectly. And when you realize Indy’s barks and whines are all replaced in post because Leonberg couldn’t get one single clean audio cut.

[Ambrose:] Yeah that was a shocker for sure. 

[Jessica:] I know right. And the guy who did the post sound on this is a a pure magician. He’s doing ADR on a dog. For freaking sake.

[Ambrose:] And the one sound they couldn’t fake was the dog’s sniffs. 

[Jessica:] go figure. 

[Ambrose:] Yeah I was surprised by that fact myself. But as we learned all of the sniffs came from a library of audio sounds. 

[Jessica:] It’s true folks. 

[Ambrose:] And the reason why was because Indy kept head butting the microphone. Go figure a dog pushing his nose up against a microphone every time they put it close to him.

[Jessica:] That’s so…I mean I love that. 

[Ambrose:] And what blows my mind is that there is a room somewhere with a library full of dog sniffs and they just pull from for this movie. That is so wild to even think about.

[Jessica:] And that’s my favorite detail of the whole production. And somewhere there’s a credit that says “ Sniffs by:” and I need to know that guys name.

[Ambrose:] Yeah I want to see that person’s résumé.

 [Jessica:] Sign me up to…Okay as always it’s fun talking about these movies with you guys. And that brings me to the gruesome part of the show —

[Ambrose:] Oh I know where you’re going with this.

[Jessica:] Really now.

[Ambrose:]  

[Jessica:] Okay then…why don’t you let us all in on your ground breaking discovery.

[Ambrose:] It’s time we take this down deep into the Critic’s Crypt and discuss our final thoughts and give it a final rating.

[Jessica:] Well, well, look at that. It’s captain obvious right there.

[Ambrose:] Why thank you….No wait…what? I’m not captain obvious here. 

[Jessica:] You catch on quickly…Just lead the way Crypt Boy!

[Ambrose:] Okay so we made it down here, and first off I want to just say… this crypt smells worse than usual.  

[Jessica:] Yeah I know. It kind of smells like wet dog.

[Ambrose:] Oh don’t you even go there.

[Jessica:] No seriously. Did you bring a dog down here?

[Ambrose:] No I didn’t bring a dog down here.

[Jessica:] Well, the crypt smells like wet dog. That's a sentence I've now said out loud.

[Ambrose:] If you think about it for just a sec. It kind of feels thematically appropriate though, given what we just watched. Don’t you think?

[Jessica:] I guess if you put it that way…it does fit the movie. You know we’re in a damp hole, so the vibe is perfect.

[Ambrose:] Yes indeed. The vibes are correct… Okay. Good Boy. Ben Leonberg. His own dog. His own house. His own seventy thousand dollars.

[Jessica:] You can say that again.

[Ambrose:] Right. So, he brings his own dog, his own house and the wild part is he also brings his own seventy thousand dollars.

[Jessica:] So technically it’s his own back yard apparently.

[Ambrose:] I know right. He really wanted to make this movie. And I guess he wasn’t a hundred precent anyone was going to fork up the money for this project.

[Jessica:] Yeah. You’d have to say it’s kind of a risky thing to do.

[Ambrose:] That is so true…but okay. Let me just mention the one thing that kept coming back to me while watching this movie. He commitment to putting that camera just nineteen inches off the ground…

[Jessica:] right. 

[Ambrose:] I’m not talking a few shots nah. I’m talking the whole damn movie was shot like that and he never breaks.

[Jessica:] Not once.

[Ambrose:] And that should of been a gimmick. Right? 

[Jessica:] it should have. 

[Ambrose:] I mean come on on paper it’s a gimmick…But it’s not. It forces every scene to be staged differently. Because you can’t just do a normal shot reverse shot conversation with two people.

[Jessica:] Right. 

[Ambrose:] You have to shoot it from the floor’s point of view. So the whole movie has this off-feeling about it because we are not used to seeing the world like that.

[Jessica:] Yeah and you don’t even realize it at first.

[Ambrose:] Right. 

[Jessica:] Like I didn’t start seeing it until probably twenty minutes in. I was like feeling all weird and stuff and I couldn’t figure out why.

[Ambrose:] Exactly! It's working on you before you even know what it's doing.

[Jessica:] I know. But let me just say this real quick. I want to talk abut my positive take on this movie…it was the basement reveal. You know, with the lantern. Where Todd sits up and right behind him is his body just lying there.

[Ambrose:] Oh that shot is so good.

[Jessica:] It really is. No stinger. No music sting. No jump. It's just… the light moves, and there it is, and then they cut to Indy's face. And that's it. That's the scene.

[Ambrose:] And pretty damn good scene. I can see why you love that scene. Because so many horror movies would of put some giant musical hit on that and ruin it.

[Jessica:] They'd ruin it. Yes. They'd put a violin sting and a flash cut and it'd be over.

[Ambrose:] But, Leonberg just lets it land.

[Jessica:] Your right. He just lets it sit there and rot in your brain. Which in my opinion was the right call.

[Ambrose:] Okay. My other one…and I know I’m gonna sound insane…but I’d have to say the sound design is actually doing eighty percent of the heavy lifting in this movie.

[Jessica:] I don't think you sound insane. I think you’re absolutely correct.

[Ambrose:] With this type of horror movie where the dog can’t talk. You have to ask yourself how do you build tension?

[Jessica:] Good Point. 

[Ambrose:] It’s easy. Well, you build it with breathing. You build it with the creak of the floorboards. The wind. And that low hum that’s underneath every night scene. And the fact that they had to ADR every single bark and whine…it’s the price you pay for working with dogs in the movies…

[Jessica:] Isn’t that the truth. 

[Ambrose:] It sure is and if you put something in their face —

[Jessica:] They will eat the microphone.

[Ambrose:] And he just kept head butting the boom mic.

[Jessica:] That’s so cute. 

Yeah real cute…Anyways.  So, they had this small sound design team that consisted of Brian Goodheart, Kelly Eastman, and the films composer, Sam Boase-Miller.

[Jessica:] Well those guys need an award for the work they did on this movie. 

[Ambrose:] They sure do because they were the one’s who was dubbing in all the dog noises…I just want to say this…that they all deserve to win an award for that.

[Jessica:] They sure do…we need to find a Sniff Guy…

[Ambrose:] What? 

[Jessica:] wait that came out wrong.

[Ambrose:] Yeah. That kind of sound a bit creepy there Jessica.

[Jessica:] I know it did. But. What I meant to say was we need to find a sound guy…

[Ambrose:] Good save there. 

[Jessica] Anyway..we gotta talk about the not-so-fun part.

[Ambrose:] Wait…We do?

[Jessica:] Yeah. The middle stretch of this movie. 

[Ambrose:] Oh right. The Loop… 

[Jessica:] Yeah, but let me says this first before we hit on that loop. So, I’m not gonna pretend it didn't drag in some places. Like there was this chunk in the middle where it’s the same repetitive thing happened over and over. You know Indy sees the figure,

[Ambrose:] sure do. 

[Jessica:] Indy walks over, and Todd doesn’t notice a thing. Then repeat again.

[Ambrose:] Yeah, you said that earlier and I still agree with you. There is this loop right in the middle of this movie.

[Jessica:] Right. The loop. And I get the argument that the loop is the point because it's a dog's experience of time. I get  that. But I also think you could've trimmed maybe one cycle of it and not lost anything.

[Ambrose:] Wait…one cycle and you would be fine.

[Jessica:] Yeah. 

[Ambrose:] But wouldn’t it make the movie shorter? I mean it’s only like seventy three minutes long.

[Jessica:] Oh. I didn’t think about it like that.

[Ambrose:] I’m not saying your wrong…I’m just thinking it’s already a short movie as it is. And having that loop in the middle isn’t that bad —

[Jessica:] I can see  your point now.

[Ambrose:] Okay then…here’s my negative…and this one might be a bit petty…it’s that I wanted just slightly more of Vera…

[Jessica:] Really? 

[Ambrose:] Now before you go all psycho on me. Let me explain. She’s the one who tells him not to go. And she’s the one who shows up at the end. Think about it. She’s the emotional anchor on the human side and she gets like…what three scenes.

[Jessica:] Yeah… She's basically a phone call away.

[Ambrose:] And I get it…it’s a dog movie. It’s not a Vera movie. But when she shows up at the end and finds Todd’s body, I wanted it to hit harder…and it just didn’t. And that’s because I didn’t know her enough to feel it.

[Jessica:] That's a fair notion.

[Ambrose:] Now. Let me be very clear on this. I don't think it breaks the movie. I just think it's the one place where the dog's-eye-view rule cost us something.

[Jessica:] Let me try to understand your logic…

[Ambrose:] Okay. 

[Jessica:] So, you’re saying because Indy doesn’t care about Vera? And you think he only cares about Todd…So, that’s the reason we don’t get enough Vera scenes?

[Ambrose:] Exactly. The rule of the movie is also the limitation of the movie.

[Jessica:] Yeah..I don’t agree on that one…but anyway…

[Ambrose:] Of course you don’t agree with me. 

[Jessica:] Hey we can’t agree on everything can we? 

[Ambrose:] No. 

[Jessica:] Okay then. Let’s move on to our ratings.

[Ambrose:]Oh right. I almost forgot why we even came down here.

[Jessica:] Wait…are you serious?

[Ambrose:] Nah…I’m just pulling your leg.

[Jessica:] Seriously…you’re such an ass.

[Ambrose:] I know…But let’s get to the ratings. 

[Jessica:] Fine. With that little stunt…I’m going first.

[Ambrose:] Go for it.

[Jessica:] So I want to start off by just saying I really did enjoy this movie…

[Ambrose:] Oh boy that’s not a good start… 

[Jessica:] No, no, it is. But there was a few things I didn’t like for example that loop. I just can’t let that one go. But the craft, the sound, and the reveal and that ending. Are all the reason I’m giving it a four and half out five coffins. It would of got that full five if they just cut out one of those loops.

[Ambrose:] That’s a very interesting take I have to say.

[Jessica:] Well, what can is say. 

[Ambrose:] No. You said it all. So, I want to start off by just saying that ending has to be one of the saddest things I’ve watched all year,

[Jessica:] I agree.  

[Ambrose:] and I don’t think I can shake it. And of course the dog pulling his head back into the car…yeah that’s gonna live in my head rent free for a very long time. And I’m also giving [Ambrose:] it a four and half out five also. I have to agree with you on that loop thing Jessica. 

[Jessica:] Wait…what? You agree with me. 

[Ambrose:] I know shocking.

[Jessica:] Oh look at us being all agreeable.

[Ambrose:] Don’t get use to it. 

[Jessica:] Oh I won’t.

[Ambrose:] Okay get me out of this crypt. I don’t know how I’m going to get that wet dog smell out of my clothes.

[Jessica:] Yeah. I feel that way every time we come down in this Crypt.

[Ambrose:] Wait…you have wet dog smell in your clothes every time you come down here?

[Jessica:] No silly…I’m just saying this Crypt smell gets to me every time we come down here. It’s like I have to shower for days to get this smell off me.

[Ambrose:] Wow. T.M.I. I don’t think I needed to know all that.

[Jessica:] Well, you kind of asked—

[Ambrose:] Uh…no I didn’t

[Jessica:] Whatever..move your ass Crypt Boy!

[Ambrose:] I’m moving, I’m moving…geesh!

[Ambrose:] Okay, sooo, we just did Good Boy…

[Jessica:] And I’m emotionally destroyed. All I want to do right now is call my dog.

[Ambrose:] Oh I second that one. I just want to call my dog and say “Hey buddy. You good? You seeing anything weird? Blink twice if there’s a ghost.”

[Jessica:] He blinked. Ambrose. Trust me he blinked.

[Ambrose:] Oh no. Don’t say that.

[Jessica:] Honestly though, this movie ruined me in the best way. Because it's not even gory — it's just sad and tense and your dog is the only one who knows.

[Ambrose:] And that's the part that got me. The dog knows. He's been knowing the whole time. We're the dumb ones.

[Jessica:] We are always the dumb ones in horror. It's our brand.

[Ambrose:] Look — here's what we want from you. Go rewatch Good Boy, but this time only watch Indy. Don't watch the humans. Don't watch the house. Just track the dog. Tell me you don't see something new.

[Jessica:] Oh that's a dare… That's a full-on dare.

[Ambrose:] It's a dare. But report back. And although this is a fair warning, you might cry.

[Jessica:] No. You WILL cry. There’s no “might.” Anyways, well be back next week with another movie that we can ruin for ourselves.

[Ambrose:] This is true…alright…give your dog a treat and we’ll see you next week.

[Jessica:] Okay Bye!

[Ambrose:] Byeeee!