Hate Watching with Dan and Tony

Hate Watching The Animal: Beast Mode Or Bust


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A goat gag, a blow dart, and one perfect Norm Macdonald riff walk into a movie. We dive into The Animal with our gloves off and our sense of humor intact, asking a simple question that unlocks the whole watch: can lowbrow comedy land when the lead can’t elevate the bit? One of us relishes the film’s shameless silliness and second-screen charm; the other sees a conveyor belt of half-built jokes that never earn their own punchlines. From the evidence-room meltdown to the press conference “what’s in my butt” moment, we break down why justification is the secret ingredient that turns a smirk into an actual laugh.

We pull on the bigger comedy thread too—what separates Rob Schneider’s neutral energy from Jim Carrey’s bit-running force of nature, and why even a brief cameo can reveal the gulf. Then Norm Macdonald storms in with a mob scene so precisely built—questions, rhythm, escalation—that it becomes a mini masterclass in how to make a premise sing. Around that, we interrogate the movie’s inconsistent “animal science,” the romance logic that never makes sense, and the tonal snapping between mailbox-humping discomfort and a dolphin-style hero save that forgets the seal on the poster.

Beyond the laughs and groans, we branch into what keeps movies in the culture. We celebrate the early-2000s needle drops that still slap, contrast box office muscle with cultural cachet through the Avatar lens, and talk about spectacle that satisfies in the moment but leaves no totems behind. We also swap notes on Under the Silver Lake, where mood can outlast meaning, and wrestle with the Stranger Things finale—how manipulation and catharsis can coexist when the craft is confident. Stick around to the end for our next watch: Steven Soderbergh’s Presence, a ghost’s-eye experiment that promises rules, restraint, and plenty to argue about.

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Hate Watching with Dan and TonyBy Dan Goodsell and Tony Czech

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