Halle and Alison brave the Icelandic fog and the ram man to ruin Lamb.

 

TRANSCRIPT

 

[theme music]: If scary movies give you dread. Keep you up late night in bed, here’s a podcast that will help you ease your mind. We’ll explain the plot real nicely then we’ll talk about what’s frightening, so you never have to have a spooky time. It’s Ruined.

 

Halle Kiefer: Hello. Welcome to Ruined. I’m Halle.

 

Alison Leiby: And I’m Alison.

 

Halle Kiefer: And this is a podcast where we ruin a horror movie just for you.

 

Alison Leiby: Just for all of you. Halle, how are you?

 

Halle Kiefer: I’m good. I’m officially 40. We did it Joe.

 

Alison Leiby: Oh my God. I am so sorry. Happy birthday.

 

Halle Kiefer: Thank you. I that’s my feeling about it. No.

 

Alison Leiby: Yeah.

 

Halle Kiefer: Thank you. We did it.

 

Alison Leiby: Welcome.

 

Halle Kiefer: Thank you. I I’m trying to think, of course, on my birthday took shrooms, and, I had what I would call a complete, not ego death, but, a dissolution of the self.

 

Alison Leiby: Wow.

 

Halle Kiefer: On my  birthday, but here we are. I mentally reassembled just in time to record this podcast.

 

Alison Leiby: [laughs] But do you feel any different? Better or worse?

 

Halle Kiefer: You know, I’m. I’m in process. I think I feel better, honestly. I think for me, it was like, oh, I really had, set in my mind. It’s sort of like an existential level, like, sort of like, oh, I’m not married by 40 or something that I have.

 

Alison Leiby: Yeah, yeah, yeah.

 

Halle Kiefer: It is a failure and I don’t believe in that again for myself or anyone else. But I think it was sort of it’s still there, you know. So.

 

Alison Leiby: Yeah.

 

Halle Kiefer: Good to know I’m still standing.

 

Alison Leiby: Yeah.

 

Halle Kiefer: After the fact. Did you get anything like, when you turned 40? Was it any, like, you feel any sort of revelation?

 

Alison Leiby: Well, it’s tough because my birthday is at the very end of the year.

 

Halle Kiefer: Okay.

 

Alison Leiby: So it’s like it has kind of like it already kind of conflict, like the end of the year and aging a year like conflate for me. So it’s like hard to say. If it was like a big I felt like a relief. Like I was like, oh, I’m here.

 

Halle Kiefer: Yeah.

 

Alison Leiby: Like I don’t have to like. Be afraid of this anymore. But also, like, I’m clearly fine. So.

 

Halle Kiefer: Yeah.

 

Alison Leiby: This is great.

 

Halle Kiefer: I guess for me it’s like, I feel like I have to or I want to sort of double down on the things I was already doing. Versus sort of this endless quest for affirmation. I feel like to find this is what I just want. I, it’s like I’d like anyone and in particular women and queer people to do this at 25, you don’t have to wait till 40 to be like, oh, who the fuck cares what anyone else thinks about anything?

 

Alison Leiby: Yeah.

 

Halle Kiefer: But that’s easy. Easier said than done, obviously. But yes.

 

Alison Leiby: That gets easier with time too. So that’s like the worst trick of that is like, oh, it’s easier to feel that way when you’re older. But the great thing would be to figure it out when you’re young.

 

Halle Kiefer: Yeah. I feel like people always say youth is wasted on the young. And it’s like being young is horrible. And I feel like I feel great about being older and having that perspective.

 

Alison Leiby: I miss how I physically felt when I was younger.

 

Halle Kiefer: Oh yeah, no, my bones are crumbling.

 

Alison Leiby: Yeah, just falling apart on the inside every day. And maybe the  outside.

 

Halle Kiefer: Every day is like, oh no, I, I ate a little too much sugar. So I, I did wake up at like midnight. To be fair, I went to bed like at 8 p.m. like, I, I, I went to bed too early and then was up in the middle night and I feel like that is, just going to become more and more of a thing as I age.

 

Alison Leiby: Yeah.

 

Halle Kiefer: Well, what are you going to do? Thankful to be alive. Thankful to be here with you. How are you doing?

 

Alison Leiby: I’m fine. I am, I think, almost done with allergy hell.

 

Halle Kiefer: I’m so sorry. Yeah, we recorded. It is Monday morning is Friday. Because poor Alison has, New York allergies.

 

Alison Leiby: Yes. And I could, like, barely talk or breathe. But now it’s, like, better still bad. And I went upstate for the night, and I was. It was, like, better up there, even though there were more trees.

 

Halle Kiefer: New York, I feel like. Don’t they always famously say that, they only planted, like, male trees.

 

Alison Leiby: Yes male trees.

 

Halle Kiefer: So there’s, like, an insane amount of pollen. So probably that, like, upstate. Probably because it’s—

 

Alison Leiby: Just the woods where it’s like, trees are just naturally it’s not like, specified for, like, we want to make sure these don’t grow any fruit. So nobody who didn’t pay for the fruit can get the fruit, or that’s like part of the, capitalism. So it was better up there. And now I’m just kind of like readjusting. And it’s like almost I think I’m almost done, which is exciting. I do want to plug a thing before.

 

Halle Kiefer: Oh great.

 

Alison Leiby: The movie, is if you are in New York in July, July 23rd, before the pandemic. I did this once a year, but my friend and I produced a show where we raised money and tampons and pads for women who are in shelters in the New York area. We work with this great group if you want to learn more. Distributing Dignity, which all they do is get feminine hygiene products and new bras to like women in shelters, women in prisons, women in places where that’s not top of mind, and certainly not accessible financially for many of the people. And it’s a big fun show with like, Joyelle Nicole Johnson and Liza Treyger and Emmy Blotnick. And we also do a big raffle with really fun prizes. And for every box of tampons you bring, you get raffle tickets. So if you come, sit in, then we take all of those like just direct to a shelter in addition to the money. So it’s like a very big fun, super femme feeling great night. So if you’re in New York, July 23rd at the Bell House in Brooklyn, and it’s very fun and it will sell out because we will have some special guests. So if you’re thinking about coming, get your ticket whenever this comes out. [laughs]

 

Halle Kiefer: Exciting. And if you can’t make it, please donate to that organization, because that sounds just.

 

Alison Leiby: Yes. Distributing Dignity or and that’s they’re pretty local to the New York area. So if you’re looking for somebody more local to where you live so you can make more of an impact, like there are definitely organizations and people that are doing that work. And it feels like, something that gets ignored and, menstrual freedom and dignity is something not afforded to a lot of a lot of people in this country right now. So, and around the world.

 

Halle Kiefer: I also feel like, you know, as, as, as the year goes on, it’s just whatever any of us could do to materially help any group of people.

 

Alison Leiby: Yes.

 

Halle Kiefer: You know, I think, you know, we’ve certainly talked about this, but it’s like we can have all the theoretical conversations in the world.

 

Alison Leiby: Sure.

 

Halle Kiefer: If you’re getting out of prison and you don’t have like, even tampons, it’s like, well, what? That’s what we’re talking about. Like, all of this comes down to like, well, what is any one particular person supposed to do without the actual goods? You need to live, right? So good. I’m glad you’re doing that, Alison.

 

Alison Leiby: Yeah. I mean, we have done it up until our last show. The last time we did it was March 4th, 2020, and it was not as well attended as the other ones of the past where we were like, I wonder if this, virus thing is real.

 

Halle Kiefer: Yeah.

 

Alison Leiby: It was like, it was like the last show I did, and then everything kind of shut down the next week, and it was pretty wild. So we’re super psyched to be back with a great lineup. And please get your tickets or donate to someone in your area, because that is an important piece I think I like. I didn’t have a tampon on me the other day, and I was like, this is how lot I have money. So.

 

Halle Kiefer: Yeah.

 

Alison Leiby: Definitely. Something needs to be done. Done. So that’s that. I’ll plug it again in July.

 

Halle Kiefer: Great. Well, guys. Well, let’s kick off. We are starting a brand new month, and as promised, it is daddy month.

 

Alison Leiby: Daddies.

 

Halle Kiefer: The Daddies of horror. It’s really interesting. There simply aren’t as many daddies. There’s obviously a lot of male, horror figures and male creatures, but not as the motherhood, I think we all agree is horrifying on some level.

 

Alison Leiby: Yeah.

 

Halle Kiefer: Either the idea of it or the pressure of it and then sort of the vulnerability of it, but so I, I did have to create a do a little, more research to show our daddy line up. And the first one up is a movie that we had discussed doing, for the longest time.

 

Alison Leiby: Mm hmm yes.

 

Halle Kiefer: And finally we’re getting around to it. And that, of course, is Lamb, the 2021, Icelandic horror movie directed by Valdimar Jóhannsson. And it was, co-written by Sjón. S, J, O, N. A moniker, just a singular moniker.

 

Alison Leiby: Oh love it.

 

Halle Kiefer: He works a lot with Bjork.

 

Alison Leiby: Makes sense.

 

Halle Kiefer: So, again, love someone with simply one name. But yeah, we I remember when this came out immediately wanted to see it. Of course, as is my, M.O. didn’t see it. And it stars. N—

 

Alison Leiby: Had you seen it before?

 

Halle Kiefer: No.

 

Alison Leiby: You watched it for this? Oh, okay. Wow.

 

Halle Kiefer: Yeah. I really enjoyed it. This really, was, wildly successful film when it came out, and, it stars, I again, I feel bad Noomi Rapace, who I associate with, the Girl with the Dragon Tattoo.

 

Alison Leiby: With the Dragon Tattoo.

 

Halle Kiefer: Fabulous. Absolutely terrifying. And we always like to have start things off by having Alison watch the trailer. Alison, what did you think of the trailer for Lamb?

 

Alison Leiby: I mean, really mixed feelings because the lamb is very cute.

 

Halle Kiefer: So cute Alison.

 

Alison Leiby: And I was like, I was like, watching because, like, obviously the trailer, like, it starts nice and it gets worse. And like for the first half I was like, I want one.

 

Halle Kiefer: I know.

 

Alison Leiby: Like no I don’t.

 

Halle Kiefer: The character design is very good because it is, it’s like part of you is like, well, they should be reacting with more horror and then you see like, oh. Oh. It’s a little lamb guys.

 

Alison Leiby: It’s a little lamb guy. And he’s so cute. I just like, I don’t know, lambs. I like kind of stopped eating lamb because as much as I love it, it I’m like, they’re cute. This sucks I really—

 

Halle Kiefer: Yeah.

 

Alison Leiby: But the lamb is so cute.

 

Halle Kiefer: Yeah.

 

But the, everything else that’s happening is pretty terrifying. And it just, I, you know, I’m interested to see kind of like, what this movie is saying and, like, what happens because it’s, like, kind of hard to tell exactly what’s going on from the trailer. But we got to stop fucking around with nature so much. Let nature be what it is.

 

Halle Kiefer: And that’s what we’re always doing. We’re always trying to take control of nature.

 

Alison Leiby: Yes.

 

And I think to your point about the tone or sort of like not necessarily, being immediately clear that this has a very much, it has a, fairy tale vibe.

 

Alison Leiby: Yes.

 

Halle Kiefer: And I think we’re playing with that idea of a fairy tale, the decisions one makes in a fairy tale, and what is then visited upon you when you, start meddling in things that you have no control over and pretend like you do.

 

Alison Leiby: Yes.

 

Halle Kiefer: And, we always, I say baseline scary for Alison. Alison, how scary do you find the concept of finding a child and simply taking it in as your own? No questions.

 

Alison Leiby: No, no. Like, even Rizz the cat who is of the streets. A third party kind of.

 

Halle Kiefer: Vetted him?

 

Alison Leiby: Managed that to be like, oh, is he healthy? Is he ready to live in a house? All of those. And then he came to me. So like, even he’s, you know, he’s fine. But that to do it for anything kind of more like, I know Rizz is alive. But like, for anything with more consciousness or more connection, I don’t know that I don’t.

 

Halle Kiefer: Yeah.

 

Alison Leiby: There was not supposed to just take stuff.

 

Halle Kiefer: Yeah, there’s there was no point that you were afraid that Rizz might be the devil’s baby. You know, you weren’t like. Uh oh.

 

Alison Leiby: There are at night when he’s running around howling and grunting, I’m like, oh, you are from hell. But mostly he seems fine.

 

Halle Kiefer: And then, would you like to guess the twist in the movie lamb?

 

[voice over]: Guess the twist.

 

Alison Leiby: Well, now I’m like, is that the devil’s baby? You said that.

 

Halle Kiefer: Is nothing quite so on the nose as the devil if that makes sense.

 

Alison Leiby: Is there a is it a twist or is it kind of?

 

Halle Kiefer: I mean, I guess it’s sort of like it is like a fairy tale, like it’s not a twist. It’s just sort of like, oh, when you’re watching it, like, well, that’s going to come back and bite you in the ass.

 

Alison Leiby: Yes.

 

Halle Kiefer: Like obviously that was the wrong decision. So I would say.

 

Alison Leiby: Guess the gist.

 

Halle Kiefer: It’s almost it’s almost like halfway between twist and gist.

 

Alison Leiby: Okay.

 

Halle Kiefer: So I almost want to say, well yeah. Let’s guess the gist Alison. And the gist my question to you is, so, what what happened? How did how did this happen? Well, what is what is revealed about the lamb child.

 

Alison Leiby: I. I’m going to guess it’s her child. Like the the human woman somehow is like she didn’t birth it, but. It is hers somehow.

 

Halle Kiefer: Great.

 

Alison Leiby: Then all of the other animals kill her.

 

Halle Kiefer: Oh, okay.

 

Alison Leiby: For. Doing that.

 

Halle Kiefer: Great, excellent. And again, I know people are critical of me just affirming when you guess. But these are that’s a great guess. And like that is that’s I get that you’re picking up what the trailer is pointing down.

 

Alison Leiby: Yeah. Kind of.

 

Halle Kiefer: Yeah and if you were to guess the exact thing, I’m not going to tell you because then, you know, you’re kind of—

 

Alison Leiby: Then what are we doing for the rest of the hour?

 

Halle Kiefer: Then what are we doing? [coughs] Excuse me, everyone, it is very rainy. It’s, like, very grim.

 

Alison Leiby: Is it? Oh, I see, I’ve seen a lot of tweets about, like, LA being very gray. May.

 

Halle Kiefer: Yeah. Gray May. And then.

 

Alison Leiby: June gloom.

 

Halle Kiefer: June gloom and then no sky July. Now. Apparently.

 

Alison Leiby: Wow. That’s like the survive to 25 industry motto. [laughs]

 

Halle Kiefer: Let us begin ruining Lamb. We open in the POV of a large, shuddering, grunting, thundering creature making its way through a blizzard on an Icelandic plane. So we are whatever this creature is.

 

Alison Leiby: Okay.

 

Halle Kiefer: Stomping across this white landscape. We approach a herd of snow covered Shetland ponies. Adorable. Oh, and they take one look at us and they bolt. So whatever we are [both speaking] the ponies do not like. We see a light in the distance for snow. It’s on the side of. And I don’t know why I wrote this. The sheep house. I mean the barn.

 

Alison Leiby: Sure. Sheep house.

 

Halle Kiefer: We see a ram sort of peering out a little window into the blizzard, and we see the herd there in the corral inside the barn, which is very cozy against the snow. But they too start to panic when they hear the door open.

 

Alison Leiby: Not great.

 

Halle Kiefer: And the same heavy, thudding footsteps and hard breathing enters the barn.

 

Alison Leiby: Mm

 

Halle Kiefer: [heavy breathing] And we could tell from what it sounds like. Alison. Whatever it is, it walks on two feet.

 

Alison Leiby: Oh.

 

Halle Kiefer: And one of the sheep, presumably in a complete panic. This is why I completely agree, is what I would do. Just collapses.

 

Alison Leiby: Yes, I in any, stressful scenario, I will just disintegrate.

 

Halle Kiefer: Yeah, I very much. I’m like a fainting goat.

 

Alison Leiby: Yes.

 

Halle Kiefer: You remember, when we watched, Dead Alive. And, spoiler of that, dog first pulled out of something’s mouth. Someone’s mouth. I almost vomited just watching that. If I heard that if I’m a sheep, I would just die. I would just.

 

Alison Leiby: Done.

 

Halle Kiefer: Yeah. That’s over. And as the radio in the barn plays quietly, organ music from a church service. We see the sheep peering out their little sheep window into the snow. And in a parallel, we see María, our main character, played by Noomi Rapace. She’s listening to the same song. It’s obviously a Christmas service playing as she prepares dinner in the farmhouse. She and her husband, Ingvar are setting the table. They’re having a full spread, even though it’s just the two of them.

 

Alison Leiby: I like that.

 

Halle Kiefer: And we see. Presumably the same creature watching her from outside the house disguised by the driving snow. And we hear the breathing as it watches María. Text on the screen. Kafli one. Chapter one in Icelandic. So again. We’re gonna have chapters. The fairy tale theme of it all.

 

Alison Leiby: Okay.

 

Halle Kiefer: Months later, it’s summertime. Maybe even early fall. It’s gorgeous. It’s green. Ingvar goes over to the barn. He watches María, who has a tractor, and we see that they have a sheep farm. And then they’re also like tilling some kind of field. And at one point, we see them putting in bulbs, into the field. But again, it’s just them. They live out of nowhere, which I think as a child, I that idea terrified me. I’m like, you got to be able to go to the movies or something or something.

 

Alison Leiby: Something.

 

Halle Kiefer: And now in my old age, you’re like, ah, wouldn’t that be nice to just be in the middle of nowhere.

 

Alison Leiby: Be away.

 

Halle Kiefer: He. He turns on the radio, he starts cleaning up the sheep corral, giving them fresh hay. All of the sheep are so cute.

 

Alison Leiby: Sheep are cute.

 

Halle Kiefer: There’s so sweet. I love all livestock. I think they’re so sweet.

 

Alison Leiby: Yeah. Me too. I grew up in a in a rural area, so I have, like, distinct memories of, like, putting my head against the side of a cow. Like, it’s just so nice.

 

Alison Leiby: Cows are so gentle.

 

Halle Kiefer: And they also have this adorable sheepdog who watches over the sheep as they chow down. Meanwhile, we see María. She’s driving the tractor and dragging what looks like chain mail across the ground. So I’m like, are they aerating it? Are they tilling it? I don’t know, but they’re doing something.

 

Alison Leiby: Farmers? We don’t know.

 

Halle Kiefer: And they’re at it. They’re hard working.

 

Alison Leiby: Yeah.

 

Halle Kiefer: And Ingvar goes back to the house to wash his hands and get some lunch ready. And there’s like this, like long shots of their cat eating cat food, which I loved.

 

Alison Leiby: Oh yeah.

 

Halle Kiefer: Like, just like beautiful long shots of farm life that I really enjoyed.

 

Alison Leiby: Mm hmm.

 

Halle Kiefer: Ingvar makes steak and potatoes on the stove. Alison, it is finally birthing season, so the lambs are being born.

 

Alison Leiby: Okay.

 

Halle Kiefer: And they’re actually birthing live lambs. And apparently, like, they had to be trained how to do that. And they birth a lamb from a sheep, and the little soaking wet lamb shakes itself awake, a successful birth.

 

Alison Leiby: Oh.

 

Halle Kiefer: We have a very sweet. The mother starts to clean the lamb. Both Ingvar and María smile. They’re really happy. They birth, another lamb. Turns out a set of twins. Things are going great on the farm, so of course things will, of course, have to take a turn—

 

Alison Leiby: Are like goats and lamb and sheep and stuff like that. Are they kind of like I mostly one at a time. Mammal birth?

 

Halle Kiefer: I think so.

 

Alison Leiby: Like like cats. It’s like ah, there’s six, you know.

 

Halle Kiefer: Yeah. I think it’s usually 1 or 2 I think.

 

Alison Leiby: Yeah.

 

Halle Kiefer: Versus like a litter. But yeah, that’s a really good question. I think max—

 

Alison Leiby: Yeah, they’re big.

 

Halle Kiefer: Yes. Yeah. Great. Because yeah, I guess like those kinds of animals you’re being born larger.

 

Alison Leiby: Yeah.

 

Halle Kiefer: So it would be harder to fit you in versus, you know, I mean.

 

Alison Leiby: Tiny baby kittens.

 

Halle Kiefer: Yeah. Oh yeah. You can pack them in there. I was just saying I feel like someone should mention Octomom and not that she’s a cat. Those are babies are kittens. But at a certain point, it is like well the body’s like, well, this was simply too many. I don’t know.

 

Alison Leiby: This is too many.

 

Halle Kiefer: We’re gonna do our best we can. But, I think I think maxing out I don’t know four I don’t, I don’t know.

 

Alison Leiby: Yeah.

 

Halle Kiefer: If anyone has given birth to multiples. Let us know your thoughts on this.

 

Alison Leiby: Yeah. Let us know.

 

Halle Kiefer: I presume they are. [screams] But, you know, in the middle of, lunch, Ingvar says, apropos of nothing they’re saying time travel is possible now. She says, well, well, how are they going to do that? And Ingvar says, well it’s theoretically possible. And María listens and says also that it’d be possible if we go to the future and go back to the past. And Ingvar smiles and says, well, you know, I’m enjoying the present right now. But María seems troubled by the idea of going back into the past. What that would mean. And I and I, as I wrote, I don’t know if that’s just because she’s Icelandic, that she’s constantly looking worried.

 

Alison Leiby: Yes.

 

Halle Kiefer: I don’t know if that’s just the vibe.

 

Alison Leiby: That does feel like what’s going on in Iceland.

 

Halle Kiefer: Yeah. But the but the conversation makes me think, okay, something has happened in the past. We are seeding her, her discontent, perhaps in a way that Ingvar seems very happy with their life, and they also live in the shadow of these incredible mountains. They’re treeless, so it’s like grass and rocks all the way up to the snow line.

 

Alison Leiby: Mm hmm okay.

 

Halle Kiefer: Gorgeous. María goes into the barn. There’s another sheep about to give birth. She checks in. Not quite time. They sort of go back to the house and wait around. Ingvar takes, a little snooze in a chair, and María watches him sleep happily. He wakes up and she says, I didn’t do the upper barn. If you wouldn’t mind starting there. And then she takes a nap. So basically, it’s like we are birthing lambs, tilling the field, napping and eating lunch. That sounds like heaven.

 

Alison Leiby: That’s all it is, I don’t know, it’s a lot of manual labor for me. But, you know, if it was just walking around, I’d be pretty happy.

 

Halle Kiefer: I’m going to say something that this is maybe the pettiest thing I’ve ever said on this podcast, but please understand me when I say this, okay? María’s eyebrows are simply too done for this woman.

 

Alison Leiby: Yeah for this life.

 

Halle Kiefer: Now, if she I obviously there’s a lesbian I, to learn more about, but the butch and femme of it all I think is really been helpful. Like there is a woman who could be a sheep farmer who does a full beat and it is the pleasure of it. It is something that is like gives her femininity. So I almost was like, if you could just show us doing her, like if she just did her makeup. And that was like something that was just like—

 

Alison Leiby: Just once so we know she’s doing it.

 

Halle Kiefer: She has like, so this is a 2021. But maybe Europe, they got a little later. These are like the, 2016 like super drawn on brows.

 

Alison Leiby: Yes.

 

Halle Kiefer: In a way that like, oh, I, this is someone who gets up and does that intentionally every morning.

 

Alison Leiby: Right.

 

Halle Kiefer: And the rest of this character doesn’t suggest that.

 

Alison Leiby: Yes.

 

Halle Kiefer: Like, she doesn’t have makeup on the rest her face, she’s obviously stunning, but she’s wearing, like, just regular—

 

Alison Leiby: Clothes and regular. Yeah.

 

Halle Kiefer: So that was the idea just you know, like, just have us watch her do her makeup one time, and then I’d be fine with it. Otherwise we’re pretending. It’s like if she just had a bright red lip, I guess. But even then, that would seem more intentional.

 

Alison Leiby: It would be more like, yes, this is me. Like those brows were meant to look like.

 

Halle Kiefer: Yeah.

 

Alison Leiby: Flawless brows. And like, you don’t need other makeup if your brows look great, like.

 

Halle Kiefer: Right. It’s very funny where it’s like this character does not suggest that she’s doing that. But obviously as someone who has done my eyebrows all sorts of ways.

 

Alison Leiby: Yes.

 

Halle Kiefer: We see, exactly. What’s going on. Ingvar goes to the barn and we see him feeding the sheep again. The sheep are like, obviously love them. The sheep are very excited when they walk in. And frankly, at this point, I’m just enjoying watching the sheep. This was just an Icelandic sheep documentary I would enjoy it.

 

Alison Leiby: I would be very into that.

 

Halle Kiefer: We see Ingvar, go into the office in the barn where they have all of their farm related, financial information, pour himself a cup of coffee from his thermos and to take some sort of taking sheep notes, whatever the sheep expenses are. Inside, María eats toast and coffee and reads a book with their cat on her lap.

 

Alison Leiby: That is literally my dream scenario. [laughs]

 

Halle Kiefer: Yeah, it’s it is very soothing, too. And I think, again, we’re setting up, this soothing, comfortable, positive fairytale life they have together. They go in, they start tagging the lambs, they take a notch out of the ear. And so the lambs are bleating and the lambs are so sweet, and they are sort of writing down the numbers Ingvar says 374. And they, they’re just sort of enjoying their time. They’re drinking coffee in the barn and she says, wow, it’s a lot better this year than last. And he says, and that was better than the year before. So things are really looking up around the sheep farm Alison.

 

Alison Leiby: That’s good, good sheep stuff.

 

Halle Kiefer: She does. Well, the only thing is the tractor is making a new noise and she says, okay, well, we better take a look at it now before we start planting. We’ll get that sorted out if we have to, like, you know, pay to get it fixed. Alison, from inside the barn, the dog starts barking and they run in. Another lamb is being born. They climb into the corral and they help the sheep deliver her lamb. And when it hits the floor, we see their faces as they react in horror. Ingvar picks it up and hands it to María, who cradles it like a baby. And it’s making a lot of very baby style noises.

 

Alison Leiby: Yeah.

 

Halle Kiefer: In a human way. But at this point we only see that it has a little lamb’s head. Alison, I think, you know, based on the trailer, what has been born, it is a lamb human hybrid.

 

Alison Leiby: Yes.

 

Halle Kiefer: Or rather, I guess a humanoid lamb.

 

Alison Leiby: Yes. Because it has, like lamb, like arms.

 

Halle Kiefer: It is a is. It is a bi—

 

Alison Leiby: Yeah.

 

Halle Kiefer: Creature with a lamb’s head.

 

Alison Leiby: Yeah.

 

Halle Kiefer: Alison, in this case, in this specific moment, what would you do?

 

[voice over]: What would you do?

 

Alison Leiby: Like? I think I’d call in a professional.

 

Halle Kiefer: You got to call someone. I don’t know who that is.

 

Alison Leiby: You gotta. You gotta be like, this happened, and it’s like, just even this—

 

Halle Kiefer: This happened.

 

Alison Leiby: This has happened. Like, even from the much more, like, realistic and not like, this is a fairy tale. And we’re going to raise this as our child before we’re all brutally murdered or something. If your job is, is raising and birthing and and keeping lamb and other livestock. If there’s some kind of medical reason that’s genetic that happened with this. Like, I would want to make sure that this isn’t going to go on. Like we’ve been having good lamb years. I don’t want this to be like, oh no, like this doesn’t seem I don’t know what you do with lambs or like what you need, what they’re up to with them. But like just from a business standpoint for the farm.

 

Alison Leiby: Yes.

 

Halle Kiefer: I’d be like, let’s make sure that this is a one time thing and we don’t have to worry about it.

 

Halle Kiefer: Yeah, you got to—

 

Alison Leiby: It that way.

 

Halle Kiefer: You gotta think there’s a veterinarian that they call.

 

Alison Leiby: Yeah.

 

Halle Kiefer: You gotta thinking there’s gonna be a sheep veterinarian up here in Iceland. Because I also got—

 

Alison Leiby: That’s all anybody is.

 

Halle Kiefer: Yeah. My thing is like, what if this isn’t the first time this has happened? You know, because my thought is like, it’s new to you and obviously, you know a lot about sheep. But for all we know, this is something that at least in Iceland, this veterinarian might be have more information about.

 

Alison Leiby: Oh, we’ve seen this before. It they grow huge and they’re dangerous. Or they’re like, fuck up your house or your farm land or like something like.

 

Halle Kiefer: Yeah.

 

Alison Leiby: Even for that reasoning, let alone all of the other, like clearly, horror and and.

 

Halle Kiefer: Supernatural.

 

Alison Leiby: Mythological things that are going on.

 

Halle Kiefer: Absolutely. I, I was saying we usually at least got to Google it and.

 

Alison Leiby: Yes.

 

Halle Kiefer: Unfortunately. Google again, now that Meta’s on it, Google’s breaking down the AI’s horrible.

 

Alison Leiby: Even searching your eye in your own Gmail is becoming really difficult. And I’m like, I’m putting in keywords that I know are in an email that is like in an archive. Just find it.

 

Halle Kiefer: Yeah. And again, like I just if you Google anything, it is just apparently on Google you could opt out of the AI, which I will be doing. And people have been like saying trying Bing and like other search, engines, which I will. Absolutely. But yeah, I guess maybe that would be a problem if you tried. If they tried to Google it, it wouldn’t even work because the goddamn AI. Alison.

 

Alison Leiby: Yeah, yeah.

 

[theme music]: [AD BREAK]

 

Halle Kiefer: So they bundle up the lamb person, the lamb baby and take it up to the house. And she makes a little cradle out of a metal water tub and fills it with grass and Ingvar brings over a big bottle of delicious sheep’s milk. And they feed the lamb. And the lamb is frequently played by a real lamb, like there’s certain shots later where like, it’s CGI or like it’s—

 

Alison Leiby: Because it’s standing on two feet. Yeah.

 

Halle Kiefer: And this when it’s a baby, you know, just a little lamb.

 

Alison Leiby: It’s just a little lamb. Their faces. They’re so cute. Their ears? Oh, I love lambs.

 

Halle Kiefer: But Alison, in the barn, the sheep that gave birth to the baby is very anxious. And it’s bleating, bleating and pacing around because she wants her babies. She wants to nurse her baby. And the baby has been taken from her.

 

Alison Leiby: Oh. Poor sheep.

 

Halle Kiefer: María and Ingvar, of course, immediately falls in fall in love with this baby. And they sort of set it up next to their bed like it’s a bassinet.

 

Alison Leiby: Yes.

 

Halle Kiefer: And they lay down and they sleep, and we see Ingvar take an old crib they have in the barn. So the barn is full of, like, old furniture that they either are selling or redoing. And he takes an old crib out and starts to make a nice little lamb baby next to their bed. And, meanwhile, the mother sheep, every time it sees María, is sort of panicking and bleat like bleating like, bring back my baby. And the more you see it, the more you are on the sheep mother’s side. You know.

 

Alison Leiby: 100%.

 

Halle Kiefer: Yeah. Like whatever happened, I do want my baby back. And we María look at the mother lamb very coldly and then again goes inside to take care of the lamb baby, creating it like, cradling it, wrapping it a blanket. Ingvar, however, is, starting to get a little freaked out. I think he sort of is having a lot of thoughts about this. We see him later driving the tractor alone, and he stops to burst into tears. And again, he’s an Icelandic sheep farmer, so he’s normally stoic, so he pulls it together.

 

Alison Leiby: Yes.

 

Halle Kiefer: And he drives on and the tractor is making a new noise. So I think now he’s going to focus on that. We see a heavy fog roll in and the sheep are grazing in it. Again, a beautiful shot. And they’re little ones we see. It must be a couple of months. They’re getting fluffier and bigger.

 

Alison Leiby: Yes.

 

Halle Kiefer: As they graze out on the field and we see a lamb baby stand up in its crib. So it’s been a long enough time for the lamb baby standing up.

 

Alison Leiby: Okay.

 

Halle Kiefer: And we see Alison. It doesn’t have hooves. It is a little human like hands. So lamb head, kind of a, infant moving into a toddler body.

 

Alison Leiby: But furry?

 

Halle Kiefer: No, no, it’s it’s got human hands.

 

Alison Leiby: Okay.

 

Halle Kiefer: Yes. So, yeah. The hands are not covered in. What do they got? Well, well, yeah. They’re not wooly. Later we see Ingvar working on the tractor, and he’s throwing a toy made of knotted rope for the sheepdog, who barks and chases it. And we see the dog whimpering, and it runs back to hide behind. Behind Ingvar. And Ingvar says, what’s got into you? And he looks out the shed. He sees the knotted rope toy and it’s stained brown. Presumably with blood.

 

Alison Leiby: Okay.

 

Halle Kiefer: María, meanwhile, was putting up the laundry on the line, and she hears a bleating again, and they both see the mother lamb has left the herd from where it was grazing, and now standing outside their bedroom window crying. You know for her child.

 

Alison Leiby: Aw wants her baby back.

 

Halle Kiefer: And the lamb baby was looking out the window. So we see this little head looking, you know, and it’s like.

 

Alison Leiby: No.

 

Halle Kiefer: It’s it’s a baby. But like, obviously it has a connection to its mother.

 

Alison Leiby: Of course.

 

Halle Kiefer: And they shoo her away. But then I was seeing her cradling the lamb.

 

Alison Leiby: I guess like what would you do though? Because if it has like a human like, esque body like it’s not just living in the barn.

 

Halle Kiefer: I guess maybe, like, let her hang out with it. Like, maybe—

 

Alison Leiby: Don’t separate them entirely.

 

Halle Kiefer: Yeah.

 

Alison Leiby: But it seems like maybe a bed is the right move, but.

 

Halle Kiefer: Yeah, like, have her sleep in there, but then, like, maybe take her to the barn so the mother can be there. And also, like.

 

Alison Leiby: Supervised.

 

Halle Kiefer: You’re feeding her sheep’s milk anyways. So I say let the baby.

 

Alison Leiby: Let it nurse.

 

Halle Kiefer: Nurse. You know, it’s seems fine if that’s what she’s doing it. Anyways, but again, they’re watching movies at night and they can hear the mother lamb just crying and crying and crying.

 

Alison Leiby: Yeah.

 

Halle Kiefer: And they’re watching a movie. And they, because of the bleating, they miss part of the dialogue. And she says, what did he say? Anything Ingvar says, I don’t know. I didn’t hear something about fairy tales. So again, we’re setting up.

 

Alison Leiby: Here we are.

 

Halle Kiefer: We are in a fairy tale. And María goes to close the window so they won’t hear the poor mother sheep crying for her baby. And then I wrote, well, now they might both have to die.

 

Alison Leiby: Yeah, that’s not great.

 

Halle Kiefer: If this is a fairy tale. You know, we I, we kind of assume.

 

Alison Leiby: Yeah.

 

Halle Kiefer: But, yeah, it is so cute. And we see them cradling the lamb as the mother stands out in the middle of the night sobbing, you know, in her sheep way. Next day, with this beautiful shot of the nearby river. Stunning. María tells Ingvar I’m going to go out, take the tractor around, I’m going to tractor all day. And he says, okay, great, I’m going to make the rounds, the sheep rounds while she’s asleep and María says, please just stay with her. I, I’m just feeling really anxious. And if you could stay with her and then when I come back, we could go together or something. Of course. The second María leaves, Ingvar puts the baby lamb on the couch, and this bitch is sleepy because she’s sleeping all the time, and she’s snoozing on her little blanket on a pillow.

 

Alison Leiby: Snoozing.

 

Halle Kiefer: And he goes to sort of take, you know, his rounds. Of course, she wakes up. And again, we hear the mother sheep outside the house bleating and sobbing. Ingmar goes into the barn to fix a window frame, and we see the fog rolling in again. Later María arrives back to the farm and asks always, you know, is she still asleep and Ingvar says, yeah, she must have really tired. She’s been asleep for hours. Of course. María goes to check on the lamb  baby. Alison, she is gone.

 

Alison Leiby: Yeah.

 

Halle Kiefer: They check the entire house. They start panicking and for the first time we hear the name that they gave her, which is in the movie, it’s Ada, but it’s spelled Ada. So I’m going to say Ada because I’m going to forget. But it is Ada. They get dressed again after coming in and they run out of the fog, which is thick. Also, she is white, so it’s sort of like it is a white fog. And also.

 

Alison Leiby: Yes.

 

Halle Kiefer: You know, she is a little white has a white—

 

Alison Leiby:  Yeah. Yeah. Right. Easy to blend in.

 

Halle Kiefer: Yeah. Ingvar’s calming. Trying to calm María down, saying we’ll find her. Do not worry I will go run down and check near the river. And this is terrifying shot. He goes to the river and it’s like a shot of him up the bank and it’s like, oh, if she fell down there, she’s dead. She’s in the water. She is gone.

 

Alison Leiby: Yeah, yeah yeah, yeah, yeah.

 

Halle Kiefer: This is a steep embankment. This is not, you know, like, oh, you’re walking up to it casually.

 

Alison Leiby: Right.

 

Halle Kiefer: And this is a raging river, you know, probably like based on the time periods by, like the or the time of year, it’s like the snow might be melting. This is not a brook. Is not a creek.

 

Alison Leiby: No.

 

Halle Kiefer: Ingvar comes back to find María, who’s panicking and running around the farm, and finally they hear, a lamb bleating in the fog. She’s with her mother, of course. María and Ingvar, grab Ada up and start walking back to the house. And the sheep mother is following them like crying and screaming in her little sheep way.

 

Alison Leiby: I feel so bad for the sheep mom.

 

Halle Kiefer: Alison, María turns and screams at the sheep Mother. Go away.

 

[clip of Noomi Rapace]: Further.

 

Halle Kiefer: So again, you know, somebody is going to die. And that’s on you at this point. You can you understand why you you get it.

 

Alison Leiby: Right. And like what is the harm.

 

Halle Kiefer: Yeah. Right. You can’t spend time with her I don’t really yeah. It’s like right.

 

Alison Leiby: She’s not going to get into like a lengthy custody battle with you. Like, how—

 

Halle Kiefer: How would she call a lawyer? She has hooves.

 

Alison Leiby: She wants to see her baby that you ripped away from her.

 

Halle Kiefer: Her right this second. She was bored, for God’s sakes. Ingvar puts Ada to bed. And we see for the first time there’s another bedroom. He goes into it. It’s full of children’s things. They don’t have a child.

 

Alison Leiby: Yeah, no.

 

Halle Kiefer: But perhaps at one point they did.

 

Alison Leiby: They did have the crib in a way that.

 

Halle Kiefer: Exactly. So you get some things from the other room. He returns the bedroom and Maria is sort of like watching Ada like a hawk. And, first time this is the first time we see her full body, that she has a human body.

 

Alison Leiby: Yeah, yeah yeah. Okay. Oh, okay.

 

Halle Kiefer: And Ingvar turns, tucks her in, and the rain starts coming down outside. Kafli two. Chapter two. We see a car driving out to the sheep farm in the driving rain. We see the herd go out to pasture. There’s one little black sheep. It’s so cute.

 

Alison Leiby: Aw, sheep.

 

Halle Kiefer: We see María take, Ada out into the fields, which is now full of, flowers, like yellow flowers everywhere, and starts to braid her flower crown. And so Ada looks like she’s like a toddler, so, like.

 

Alison Leiby: Yeah, yeah.

 

Halle Kiefer: So between 1 and 2.

 

Alison Leiby: Sure.

 

Halle Kiefer: But she’s able to walk on her own, you know, with help, and she says, oh, isn’t this pretty? And she puts the flower crown over Ada’s ears and again, adorable. Meanwhile, we see the rear view window of this car driving to the sheep farm. A dark haired woman with smudged eye makeup who looks really distraught.

 

Alison Leiby: Oh.

 

Halle Kiefer: And we see her look into the rearview mirror repeatedly. Some distance from the farm, we see her stop the car, and there’s a man and a woman in it with her. They get out, they open the trunk, and they take out a fourth person, a man in a leather jacket.

 

Alison Leiby: From the trunk?

 

Halle Kiefer: From the trunk.

 

Alison Leiby: Okay.

 

Halle Kiefer: They take him out and literally throw him off to the side of the road. In the middle of nowhere Iceland.

 

Alison Leiby: Is he, like, limp? Like he is like, sedated or dead?

 

Halle Kiefer: No, it looks I it looks like he is, totally fine and presumably owes somebody money. He like they’re not beating him up. He’s not injured. They are just physically taking him and throwing him out of the car.

 

Alison Leiby: Good luck. Fuck off.

 

Halle Kiefer: Fuck off. The other three climb back in and the dark haired woman peels away, driving back, presumably to the city.

 

Alison Leiby: Yes.

 

Halle Kiefer: The man shouts after them. Hey! But they’re gone. It’s like, yeah, if somebody throws you out of a truck in the middle of nowhere calling to them, they’re not going to turn around.

 

Alison Leiby: Right?

 

Halle Kiefer: At the farm, Ingvar and María get into bed with their respective reading materials. Also, because it’s Iceland. Like, sometimes they go to bed in what seems like broad daylight. They also are napping during the day because it is hard work.

 

Alison Leiby: Yes.

 

Halle Kiefer: And they’re of course dressed in their little farmer pajamas. The man is in all black leather jacket, big beard, and starts walking up the road to the farm. María, when she falls asleep, starts having restless dreams. An omen, a harbinger.

 

Alison Leiby: Seems that way.

 

Halle Kiefer: In her dreams we see the sheep. They’re sort of shot in sepia, so they’re bright yellow. They stare at her with blank white eyes, as if a light is being shown into the back of their eyeballs, and they stare at her in and out of the darkness. She awakens to hear rain on the window, and again the mother sheep outside under the window, crying for her baby. Alison Ingvar is falling asleep, so María makes a game time decision.

 

Alison Leiby: Oh, no.

 

Halle Kiefer: Yeah. She goes out, this bitch goes outside, gets the shotgun down. They have a shotgun that’s over the door of the barn office. Now loads, takes the gun out into the rain and shoots the mother sheep in the head.

 

Alison Leiby: No. I feel so bad for her.

 

Halle Kiefer: Obviously, she will lose everything. I’m like María. Have you never seen a movie?

 

Alison Leiby: I mean.

 

Halle Kiefer: Have you never read—

 

Alison Leiby: Being out there in the middle of nowhere. But still, you should know that’s wrong.

 

Halle Kiefer: Yeah, and again, it’s not the sheep’s fault. Not the sheep has done nothing wrong.

 

Alison Leiby: Right.

 

Halle Kiefer: She drags the mother sheep’s corpse into the field and buries it. And the grave is like six inches deep. She, learn to dig a grave, lady. She barely puts the effort into this.

 

Alison Leiby: No.

 

Halle Kiefer: And when she walks back to the farm, we see the man in the leather jacket is behind a stone wall on the farm, having seen it all. She goes inside to clean. She’s like wiping the sheep blood off of her. And I was like, get in the shower. What is Iceland like? What are you talking like?

 

Alison Leiby: I don’t.

 

Halle Kiefer: You towel? Get in there.

 

Alison Leiby: No.

 

Halle Kiefer: In the morning, we see the man, the leather jacket.

 

Alison Leiby: Wait, you’re getting in bed.

 

Halle Kiefer: Yeah, right. Again, another scene where I’m like, you would shower and, like, put your laundry away.

 

Alison Leiby: Yeah, right.

 

Halle Kiefer: We see the man in the morning, the male leather jacket awakened in the barn to see a little girl watching him. A little girl with the head of a sheep.

 

Alison Leiby: Yeah.

 

Halle Kiefer: But he’s not expecting. And so you’re sort of rolls over to go back to sleep. And when he opens his eyes again, the girl’s gone. So he saw it. But I think he’s like, all right, well, I was just thrown out of a car. I’m not going to tell.

 

Alison Leiby: I’m clearly dissociating, and that’s not a real thing.

 

Halle Kiefer: Outside, we see Ingvar start up the tractor and the man in leather walks out to greet him. Alison, the strange man is Pétur, Ingvar’s wayward brother, here to crash the party. And so our understanding is basically like, every once in a while, Pétur owes someone money or fucks up super badly. Or.

 

Alison Leiby: And he ends up.

 

Halle Kiefer: And then ends up back at the farm for a certain amount of time until he leaves. Or they kick him out because it’s too much.

 

Alison Leiby: Right?

 

Halle Kiefer: But he always does return to the farm. And Ingvar is like, did you sleep in the barn? Come inside. Eat. He’s like, yeah, I didn’t want to wake you. And María is like, oh, so you’re back again.

 

Alison Leiby: Oh, did you hear any of—

 

Halle Kiefer: The stuff I did? Did you hear a gunshot by any chance? But she’s they’re both friendly to him or friendly enough. And they serve. She serves him a lunch and Pétur sees they have a third plate out already. He says, oh, are you expecting company? Ingrid calls for Ada and Pétur turns to see Ada, who again is a little girl with a sheep’s head.

 

Alison Leiby: Yes.

 

Halle Kiefer: And she’s watching the doorway, and she has like a yellow, sweater on and like, kind of a big belly. And she looks like. Do you remember that, viral video during the pandemic of the guy who’s doing, who’s on the news, like, from home.

 

Alison Leiby: Oh, and his kids. Yes.

 

Halle Kiefer: And his little his daughter has a yellow sweater and big glasses. That’s what she looks like with a sheep’s head. It’s so.

 

Alison Leiby: So cute.

 

Halle Kiefer: I love that video so much. And then the baby flies in.

 

Alison Leiby: It’s just delightful.

 

Halle Kiefer: Pétur does not immediately react. He’s just completely flummoxed. He is baffled.

 

Alison Leiby: Yes. What would you, in that scenario like?

 

Halle Kiefer: I would just sit there, which is what—

 

Alison Leiby: I’d be like, okay.

 

Halle Kiefer: And María calls Ada and says, Ada, this is Pétur, daddy’s brother. This is your Uncle Pétur. Pétur again doesn’t say anything. And later he’s helping Ingvar around the the farm. And Ada takes a bath with María. And they they’re, like, splashing around the bathtub. And Pétur’s holding the, ladder while Ingvar paints the side of the barn. And then finally he says to his brother, what the fuck is this?

 

Alison Leiby: Yeah.

 

Halle Kiefer: Like what is happening?

 

Alison Leiby: At some point that has to be asked.

 

Halle Kiefer: And Ingvar just says it’s happiness. Pétur, then. While Ingvar’s painting goes back into the house and basically spies on María in the bathtub. And this is it seems like he is. This is not the first time he has ogled his brother’s wife.

 

Alison Leiby: Yeah, yeah, yeah, yeah.

 

Halle Kiefer: And then he has some kind of, like, ulterior motive for being here, and he’s has a very delusional idea of what? Why he’s here. What María’s interest in him is.

 

Alison Leiby: Yeah.

 

Halle Kiefer: And that’s probably why she had her reaction was much more subdued that then Ingvar, who doesn’t seem to understand that that’s part of.

 

Alison Leiby: What’s happening.

 

Halle Kiefer: Brother’s vibe. Yeah. Pétur, of course, later is talking to his brother and again tries to sort of protest and, you know, interject like, so about that lamb baby you have. And Ingvar says, you can say, as long as you want, but don’t interfere with how María and I live our lives. And then my question at this point was like, so where do they think Ada came from?

 

Alison Leiby: Right.

 

Halle Kiefer: To have a third party come in and be like, oh, why do you like it? Then it’s like, oh, for the beginning. It’s like, okay, so maybe this is a fairy tale. Maybe this is like an Icelandic thing, maybe like they’re treating this like it’s normal because we’ll find out it is normal or something.

 

Alison Leiby: Yeah, but it’s like clearly it’s not.

 

Halle Kiefer: Yeah. And again any again not normal person. But I think most people would see. So like I think well this is the devil’s business. So then that’s the first time I was like so where do you think this came from. If, if a third party is flagging it as unusual.

 

Alison Leiby: Right?

 

Halle Kiefer: That night. María asks Ingvar when they get in bed. Why is he back? And he says, I don’t know, the usual, I suppose you know. And she says, oh, people misunderstood him and owe him money and Ingvar laughs. He’s like, he’s always a really unlucky in that way. So I think again, he’s he’s always somebody who has excuses, always ends up back there. And she says, well do you know how long he’s staying? And Ingvar says I don’t know. The next day we see María driving the tractor, Ingvar and Pétur are in the back of the tractor, and they’re dropping bulbs or seeds into the freshly tilled soil. Meanwhile, Ada is alone, and we see her at the river.

 

Alison Leiby: No, see, like if you’re going to treat.

 

Halle Kiefer: Yeah.

 

Alison Leiby: Ada, as a child, then you need to, like.

 

Halle Kiefer: Watch her like a child.

 

Alison Leiby: Yeah. Do all the things that you would do to protect a child and make sure that they don’t.

 

Halle Kiefer: At least lock the door.

 

Alison Leiby: Wander off and fall off a ravine or something.

 

Halle Kiefer: Exactly. It’s not like she’s seven or, like, old enough to. Okay, we can somehow trust that she’ll stay at the house or something. Which even then I wouldn’t do. If you have a river right there. It seems incredibly dangerous. But the sheepdog is watching her like. It’s like whimpering and very anxious. So that was cute. We see the tractor stop, and Ada is watching her parents in the distance, and María sort of takes out a thermos and snacks. And while there, you know Ingvar is not paying attention. Pétur reaches over and touches María’s face.

 

Alison Leiby: No, that’s not for brother in laws?

 

Halle Kiefer: Yes. She flinches and says, don’t do that. And Pétur says, you know, I saw you taking a bath. You left the door open. Did you want me to sneak a peek? She says. What are you doing, Pétur? Pétur, don’t be a child. And I wrote here, Pétur is going to die. I’m going to call it now.

 

Alison Leiby: I hope so.

 

Halle Kiefer: Because again, it’s like that is the mind of a pervert, but not even in a fun way. Like.

 

Alison Leiby: Yeah.

 

Halle Kiefer: Oh, you were taking a bath with your child. Who, by the way, is a lamb? I assume it’s because you wanted me to watch spy on you.

 

Alison Leiby: Yes, yes, that was for me.

 

Halle Kiefer: Yeah, that’s a long walk, Pétur.

 

Alison Leiby: Boy. No.

 

Alison Leiby: And it’s off a short dock, you know. But finally he started like he. Pétur, he’s decided he’s had enough. So now he’s going to start criticizing them. He says well it’s you two are childish playing house with that animal. He’s not wrong. But in the morning, Pétur wakes, Ingvar wakes up Pétur and says, we’re going to clear out stuff from the shed. It’d be great if you could help. And Pétur’s like, oh, okay. It’s okay. You can’t just crash here and criticize our lamb baby.

 

Alison Leiby: And not help.

 

Halle Kiefer: Grow up. Yeah. So we see Marie and Ingvar carry out an old arm chair, and Pétur immediately sits on. It’s like, oh, I remember this chair. Like I say, it was like a family heirloom.

 

Alison Leiby: Yeah.

 

Halle Kiefer: In that barn, Pétur finds his old drum set and he starts rocking out, and he’s pretty. He’s pretty damn good and he’s loving it. And this Ada comes in and starts dancing to the drum, which is very cute. And it’s sort of like he starts to warm to her a little bit.

 

Alison Leiby: Sure.

 

Halle Kiefer: Instead of treating her like an animal. Pétur again, is like takes a break and sits on the arm chair and Ada approaches him and he grabs some grass and starts to offer to her. He says here sheep sheep and starts feeding her grass, and in his defense, she’s happily eating the grass. She seems to eat the grass fine.

 

Alison Leiby: Right.

 

Halle Kiefer: Like the only time we’ve seen her eat it is human food. But if she’s a lamb, I think that that seems fine.

 

Alison Leiby: Yeah.

 

Halle Kiefer: Ingvar, however, is outraged. He runs over and. And Pétur’s like, what’s the big deal? She’s not a human. She’s an animal. But that is a huge affront to Ingvar. And María’s not there. But we know that María would feel the same way. Like, how dare you treat our daughter like an animal? Yes, she has the head of a lamb. But she is—

 

Alison Leiby: She’s still. She is a person. She is a child that we are raising as our child.

 

Halle Kiefer: Alison. That night, when María and Ingvar sleeping, Pétur takes Ada to the barn. We see him take down the shotgun from above the office door, and in my mind I’m like, how does he imagine this going over when they wake up?

 

Alison Leiby: Right. Like they’re going to be like, Pétur, what did you like? You are allegedly going to what? Shoot the being their reasoning as their child’s right and expect no like that they’re not going to kick you out like?

 

Halle Kiefer: It doesn’t add up.

 

Alison Leiby: Be outraged and devastated?

 

Halle Kiefer: And again he’s only doing it because his brother told him not to treat her like an animal. So he’s going to shoot her like an animal?

 

Alison Leiby: Yeah.

 

Halle Kiefer: But he used to, like, help her put on her like little wellies and jacket and hold her hand. So it’s again, like, we’re going through, like she’s obviously a toddler or a little kid.

 

Alison Leiby: Doing all of the things that are in line with a human child.

 

Halle Kiefer: He has to hold her hand with as that he tries to assassinate her in the field. Even if you think she’s some sort of natural abomination, she’s still alive.

 

Alison Leiby: Right.

 

Halle Kiefer: And he sees her, he cocks the gun and he pointed at her little lamb head. And just then María jerks awake in bed, panicked, sensing something is wrong.

 

Alison Leiby: Yeah.

 

Halle Kiefer: She looks to the crab, the crib is empty, and she starts to run out of the house, but then she looks in. In the living room, Pétur is falling asleep in a chair and Ada is curled in his arms, asleep as he snoozes in the living room. So I think we’re to think he has decided this is not the move, and instead he will start to, embrace her as part of the family.

 

Alison Leiby: Okay.

 

Halle Kiefer: Kafli 2 or Kafli 3. Chapter three. We see María somewhere on the property, praying at a cross, one of three crosses marking like a little grave site. I presume the farm is. I presume it was Ingvar’s family’s farm. It could be hers, I suppose. Yeah, but it’s like sort of a small family graveyard. On the property. And where she stands, we see on the cross it says Ada, Ingvar’s daughter. And something that is translated to an angel on earth, an angel in heaven. Alison. They had a daughter named Ada.

 

Alison Leiby: Yes.

 

Halle Kiefer: Which explains why they had all that kid stuff. Why they had the crib, why they had everything. We later see Ingvar reading the story of Dema Lima Lim, which is a very cute, children’s book to Ada. As she falls asleep and we see a flashback, presumably the day the human Ada died, because we see a coatless panicked Ingvar running through the mud like in the rain. He falls and he picks it up and screams Ada. And they don’t spell it out, but I presume he’s running towards the river.

 

Alison Leiby: Yeah, that makes the most sense.

 

Halle Kiefer: Yeah. I don’t know where else she would. It was she could have died some other way. By the way. The way that’s depicted. It’s like she must have drowned.

 

Alison Leiby: Wandered off and yeah.

 

Halle Kiefer: Back in modern time, we see Pétur, set off with Ada in the tractor. He’s giving her a ride around the farm. María and Ingvar take the opportunity to have sex while they’re, you know, get some alone time. Pétur takes Ada out to the lake and they throw out fishing nets, and he starts teaching her some rhymes. He says, you know, I knew all the rhymes as a kid. Not that it really helped with my life, but it’s really important to know. Ada doesn’t speak, but she does react like she understands that.

 

Alison Leiby: Okay, I was going to ask if she makes any noises, either human or sheep.

 

Halle Kiefer: No, she doesn’t really, or anything. She also does not speak any language, human language. But she, you know, seems to understand when they talk to her and, like, give her instructions.

 

Alison Leiby: Yeah.

 

Halle Kiefer: They get out, they catch a bunch of fish on the way back, the tractor dies and won’t restart, so they have to carry their fish the rest of the way. So sort of halfway between the lake and the farm, the tractor finally, conked out. They get back and they find Marie and Ingvar in a great mood, having had sex and God knows how long since they have a sheep baby in their home now. And María takes Ada to wash up for dinner. Pétur tells Ingvar about the tractor. He says, well, did you check the filter? I think that was the problem. Pétur says, do you think I’m an idiot? It’s like, okay, dude.

 

Alison Leiby: Okay.

 

Halle Kiefer: Calm down.

 

Ingvar says, well we made a plate for you. Ingvar’s drinking wine and offers Pétur some and Pétur says I’m not really drinking right now, but Ingvar says, well, the game’s on today. So I thought we were, you know, sort of have like a, a pre-game and then we’ll all watch it together. It’d be fun. This I could not for the life of me figure out what sport it was. It is handball. It is professional handball.

 

Alison Leiby: That’s a thing in in Europe. Much more than it is here.

 

Halle Kiefer: Because I assumed, oh, the game, it’s soccer. And they cut to a soccer game. Except they’re only using their hands with a much smaller ball. And I’m like, what am I looking at? It did seem fun. It has the same vibe as soccer.

 

Alison Leiby: Yeah, we played in middle school, I remember.

 

Halle Kiefer: So they’re they’re they’re, you know, spend the day in front of the TV having a blast. They’re all drinking. They’re all freaking out again. I don’t care about sports at all. So, you know, it’s an alien experience to me. And Ada’s watching and then sort of scampers out of the room as they start screaming. They, cut to the TV, their team is losing. Everyone’s bummed, you know? And in the end, their team ends up losing. And it’s sort of a, a little bit of a, a cloud falls over the group.

 

Alison Leiby: Sure.

 

Halle Kiefer: But María says this should cheer everybody up and puts on a VHS tape of Pétur’s band’s music video. So, again, I think we’re to think he used to be.

 

Alison Leiby: Okay.

 

Halle Kiefer: More in his heyday, you know, because I think they’re all supposed to be like 45, you know?

 

Alison Leiby: Yeah.

 

Halle Kiefer: You know, when he was younger, was in this band, and when they put it on, we see it’s him and the dark haired woman from the car. I was like, damn, what did you do that you—

 

Alison Leiby: Wow, there is a history there.

 

Halle Kiefer: Yeah. This woman, you were in a fairly successful band from the looks of it. Or maybe a one hit wonder, but like, enough that you were semi-famous and had a music video. And now she threw out of a car. We see there doing sort of a very Depeche Mode thing. They’re like in front of these, like cave walls, and they’re both in black. And Pétur says, I don’t, I don’t we don’t have to do this, but they’re all a little bit drunk. So then, they’re just watching and they start dancing. And he says, you know, this really has not aged badly. It’s actually like, held up pretty well.

 

Alison Leiby: Yeah.

 

Halle Kiefer: And María gets goes to Ada and they start dancing. Pétur’s Pétur’s doing the, dance moves that he did in the music video, and he joins them and everyone’s having happy and having fun. [clip from Lamb] And we know that of course shit will start to fall apart momentarily because it seems like things are going okay. Unfortunately, as they dance we also see Pétur look at María who’s like laughing and having fun. Clearly he’s down bad for his brother’s wife. While everyone else is dancing. Ada runs outside and we see her running up to the sheep dog. She turns and Alison. We hear that old familiar heavy breathing from the beginning.

 

Alison Leiby: Uh oh.

 

Halle Kiefer: And we see reflected in Ada’s sheep eye. We see a tall white humanoid shape. Ada bolts and runs into the barn, and for the first time we see her looking at a little mirror in the office. We see her look into the mirror.

 

Alison Leiby: Oh.

 

Halle Kiefer: And she sees her face for the first time. And I think the implication is.

 

Alison Leiby: She didn’t know.

 

Halle Kiefer: She didn’t know. And she is just seen for the first time someone who looks like her. Showing up back at the farm.

 

Alison Leiby: Yeah.

 

Halle Kiefer: Alison, at this point in the film. Who will survive?

 

[voice over]: Who will survive.

 

Alison Leiby: I think Pétur’s got to go. Just because. All his weird stuff.

 

Halle Kiefer: Absolutely.

 

Alison Leiby: I’m a little, like, torn on María and Ingvar, because I do feel like they’ve done something wrong here, but it also feels like it came from loss. Which isn’t isn’t excusable, but it’s like less, I don’t know, in the scheme of evils. Less than. Just like we want this baby and we’re going to take it. I do think they’re all good. All the humans are going to die, and Ada will survive and go off with this being that is clearly her parent.

 

Halle Kiefer: Yeah. I feel like, there’s sort of an element of, the changeling child. Sort of the fairy child, the child that’s been delivered to you. But then if you take it in, there are repercussions. So I personally think once they killed the mother sheep, you knew things were gonna fall.

 

Alison Leiby: Yeah, you can’t. I do have a lot of questions that I will need answers to, but I want to see if we get some of them explained before this ends.

 

[AD BREAK]

 

Halle Kiefer: Inside, the adults get more drunk and they start playing handball sort of sloppily in the house. Ingvar gets too drunk and they put him to bed. Ada ran, runs in and again she can’t speak, so she can’t tell them. Oh, by the way, I saw.

 

Alison Leiby: I know that I have the head of a lamb.

 

Halle Kiefer: Yeah, I so I know that I’m a lamb. And I saw maybe like a lamb person arrive at the farm who’s outside. But Ingvar says, come in and cuddle with me as I fall asleep. So Ada runs and like, sort of clings to her dad and she’s breathing heavy obviously like, panicked. But they’re all drunk, so they’re not picking up on that.

 

Alison Leiby: Yeah.

 

Halle Kiefer: And we also see a framed photo of the herd on the wall in their bedroom, which I love. I love that they framed a photo of their herd of sheep.

 

Alison Leiby: It’s really good.

 

Halle Kiefer: Outside. Alison, we zoom in, as we zoom in the herd, we hear, like, the sounds outside. And with the sheep, we hear sort of start panicked bleating. We hear the sheep dog barking, the sheep vocalizing again in the barn. But unfortunately, Pétur and María, the only two adults who are still conscious, are really drunk. Of course, Pétur joins Mary in the kitchen where she’s starting to clean up, tries to take her hand. She’s like, please don’t do this. It’s been such a nice evening. And he says, it could get even nicer. Dude. Come on.

 

Alison Leiby: No. Also like read the room. She doesn’t want that.

 

Halle Kiefer: She has rejected you so many times and presumably has done this before when he has come here because she acts like this is a common thing he does. She says, stop this. And sort of turns and starts cleaning. And he says, Does Ada know you killed her mother? Of course he she did not know that. Pétur saw that. And she turns and goes in the hallway. He follows her and she turns to him and she starts kissing Pétur.

 

Alison Leiby: Oh.

 

Halle Kiefer: But only as a way to sort of back him up to the door of the spare room and then shove him inside.

 

Alison Leiby: Okay, great.

 

Halle Kiefer: And she locks and she slams the door and locks it. She he’s yelling and pounding on the door and to cover up the sound María goes to start to play the piano. And when Pétur stops yelling, presumably falling asleep in the spare room, she stops playing Alison. We see the corpse of the sheep dog covered in blood in the field.

 

Alison Leiby: Oh.

 

Halle Kiefer: And their cat sitting in the grass, looking around.

 

Alison Leiby: Like fuck.

 

Halle Kiefer: Yeah. Like uh oh. A little while later, María goes to his bedroom, opens a door, wakes up Pétur and says, get dressed. I’m driving you to the bus stop. You’re getting out of here. I’m not having you in my house. And he there’s nothing he could really say. I was like, yeah, I right, he obviously do this every time I’m here. Then at night you kick me out.

 

Alison Leiby: Yeah.

 

Halle Kiefer: And she drives him in their car. Not the tractor this time and like. And again it’s like. Pétur, what did you think was going to happen? That is your brother’s wife. And also she made it very clear multiple times she has no interest in you.

 

Alison Leiby: Yes.

 

Halle Kiefer: But he seems hung over and remorseful, and he looks at her at home. Ingvar wakes up and calls for them. There’s no sign of them. Didn’t even leave a note. Which you got to leave a note if you’re just going to leave.

 

Alison Leiby: You got to leave a note.

 

Halle Kiefer: You know, to leave suddenly, Ingvar gets like a little container of cherries, and maybe she makes her dad’s toast. So this is the first time we’ve seen her, like, make something. So she’s obviously old enough to, like, do tasks now.

 

Alison Leiby: Right?

 

Halle Kiefer: He asks her to turn off the radio. She does so again. She’s very smart. And, she picks up the cat, she’s holding the cat, and they sit across from one another again. She can’t. She can’t or doesn’t communicate what she saw out in the, field.

 

Alison Leiby: Right.

 

Halle Kiefer: The car, meanwhile, stops. Both Pétur and María get out, and he turns to her and she says, Pétur. And he says, I know. She takes a duffel bag out and gives it to him, and he starts smoking a cigarette and she says, look, I know how this seems to you. I know this may seem odd, but it is a gift. It is a new beginning for Ingvar and us. For me. Okay, this is a good thing, and we just have to do it. And Pétur, you know, seems regretful but understanding. Back at the ranch, Ingvar gets ready to go out and take care of the sheep. Calls for the sheep dog. No reply. That’s strange. He calls Ada. Honey, are you coming? Will you come with me to fix the tractor? And she does. So Ingvar and Ada are walking to the tractor to try to fix it and drive it back, while María waits at the bus stop and when the bus arrives, she hands Pétur cash, which I thought was very nice.

 

Alison Leiby: That’s nice.

 

Halle Kiefer: You know, and puts, you know, they hug and it is sort of like, I wish you well, I don’t want you here anymore, but, like, I hope you do. Okay. And like, good luck. It’s not hostile or anything. Right? You know.

 

Alison Leiby: Just like this can’t continue.

 

Halle Kiefer: Yeah. Like, hey, you didn’t get our whole weird sheep daughter thing, so go back to your wife slash bandmate slash person who hates you. Good luck with that. [laughter] And so Pétur gets on the bus and drives away, and María heads back to the farmhouse. Meanwhile, Ingvar is walking hand in hand with Ada to the tractor, and he tells her, you know, the good thing to remember is when you walk towards the house, the mountain is directly, always directly behind you. But if you and then it’s reversed if you’re walking away from the house. But you’re might be wondering what if it’s foggy? Good question. Then you have to listen for the river. If you hear the river, then you could follow it as you walk. And you’ll always know your way home. And it’s a very sweet, fatherly moment. María drives home. She has a smile on her face, like, okay, great, we got rid of Pétur. Now we can finally go back into this again. Like very warm, like cozy fairy tale life that we have given ourselves.

 

Alison Leiby: Yes.

 

Halle Kiefer: Ingvar tries to restart the tractor while Ada plays with the flowers that are everywhere in the field. Unfortunately, they can’t get started so they start to walk back to the farm. María arrives at the farmhouse and parks finds them both gone. Of course she freaks out because in her mind, they should both still be there. She doesn’t know anything about them going to the tractor again. They don’t leave a note. People got to leave notes. She’s running around. She runs out the front door. Alison, and she hears a gunshot. And she runs in the direction of the sound, and we see Ingvar grabbing his neck. Blood gushing from between his fingers. Another shot rings out and hits his leg, and Ingvar falls and Ada’s just standing there looking baffled, not knowing what to do, and she turns and we see the gunman. The gunman is a Alison is a humanoid ram man.

 

Alison Leiby: Okay.

 

Halle Kiefer: With the head of a white ram and the body of a ram man, I suppose so. It’s like white and furry all the way down. And he lowers the shotgun that he has taken from their barn.

 

Alison Leiby: Okay.

 

Halle Kiefer: And then we see him walking away. He has a human, but which was a real choice.

 

Alison Leiby: Okay.

 

Halle Kiefer: María arrives at the tractor. We see Ada has her head on her father’s dying chest. The ram man grabs Ada’s hand and starts leading her away, and we see Ingvar try to grab Ada’s sleeve, but he’s too weak. And he watches them walk away. And we see Ada look back one last time before she disappears over the hill. And María arrives just after they disappear to find her dying husband, to find the shotgun next to him and ask what is happening. But he can’t reply as he is losing consciousness. And also, how do you explain? Oh—

 

Alison Leiby: Yeah. So this giant well kind of guy.

 

Halle Kiefer: A guy of some sort. A guy from hell or the mountain or nature. A humanoid ram man. As we all know, showed up and shot me in the neck, and she, of course, asked, where is Ada? But it’s too late. Ingvar has died. He’s fixing God’s tractor in heaven now.

 

Alison Leiby: Oh.

 

Halle Kiefer: And we end with a close up of María’s face. And I’m sorry. You could see the individual draw down brow hairs. It, like very like it was just such a big swing for the eyebrow styling of this movie.

 

Alison Leiby: Yes.

 

Halle Kiefer: And she turns and she looks into the camera and we see her gaze is in the direction where Ada went with the ram man. But there’s nothing there. She’s gone. We just see the horizon and María. We see her standing later in a fog, in the fog, and she looks around, not comprehending, and she closes her eyes and sort of tilts her head back and sighs. The end.

 

Alison Leiby: Wow.

 

Halle Kiefer: Alison, what are some, fatal mistakes you think may have been made in the movie Lamb?

 

[voice over]: Fatal mistakes.

 

Alison Leiby: I mean, look, don’t take a humanoid lamb child from one of your sheep. Keep it and raise it as your own child and kill its mother. And think that that’s all going to work out fine.

 

Halle Kiefer: Yeah I just.

 

Alison Leiby: That’s just not. It. That’s not a that’s not it.

 

Halle Kiefer: I’m sorry.

 

Alison Leiby: Also go, go therapeutically deal with the loss of your of your child. Your first child. Because I feel like if they had been better. If they had been working towards a healthier relationship with that grief, then maybe they would have been like, oh, this one will just replace that one.

 

Halle Kiefer: Absolutely right. Yeah. To give her the same name, I think that’s.

 

Alison Leiby: That. Really as the when Pétur showed up, I’m like, of course he’s like, what the fuck are you doing?

 

Halle Kiefer: Yes.

 

Alison Leiby: You. This I mean, aside from like, the obvious, like, giant question marks, like, this is clearly like a bizarre replacement playing house thing that is unhealthy.

 

Halle Kiefer: Right. Because even if they had found a human child and just named it Ada and—

 

Alison Leiby: Also not great.

 

Halle Kiefer: A huge red flag.

 

Alison Leiby: Yeah.

 

Halle Kiefer: What are you doing? I think I do like that the ram man sort his revenge against them for shooting his sheep wife. So I was like, did they know each other? Did he just pick a random sheep to impregnate?

 

Alison Leiby: Well, that’s like so. Yes. Why that sheep? And then, like.

 

Halle Kiefer: Just a little special something, I guess.

 

Alison Leiby: Had that sheep not died if like if it was if if these, if María and Ingvar were like, all right, well, you can live in the barn with your mom, and then we’ll kind of sort out what to do as you get older. Like, would he have come back? Was it was he looking for revenge or was he looking for his child?

 

Halle Kiefer: You know, that’s a good question. I think I assumed he was looking for his child. And then when he found that the sheep mother had been killed, he sought his revenge for that. Otherwise, I think he just would have taken that sheep maybe with him.

 

Alison Leiby: Yeah.

 

Halle Kiefer: But it does beg the question. Where does he live? Where is he from?

 

Alison Leiby: Yeah is he out in the fog?

 

Halle Kiefer: And are there only ram men that they have to impregnate real sheep? Because, like.

 

Alison Leiby: I guess my big question from just a genetics perspective was like, he seems more like he’s bipedal and like, has a human butt, but otherwise seems a little bit more ram than man.

 

Halle Kiefer: Yes, definitely. The whole head is a ram’s head.

 

Alison Leiby: And then. Has sex with a full regular sheep. Why is this, offspring so human?

 

Halle Kiefer: Well, I guess maybe she’s a fourth sheep by that point. So let’s say he’s half sheep. Let’s say he’s the devil. Let’s say the lets say human. But let’s say the devil. The devil had sex with the sheep, created the ram man. The ram man has sex with sheep. You’re right. It should be more sheep like.

 

Alison Leiby: Like more sheep. Yeah. That’s something. It’s like.

 

Halle Kiefer: Yes, you’re right.

 

Alison Leiby: It should be a little bit more sheep is my. That was my kind of big question. Wondering if there’s answers.

 

Halle Kiefer: No. You’re right.

 

Alison Leiby: Of course there aren’t.

 

Halle Kiefer: She should at least have hooves for hands like the hands.

 

Alison Leiby: Yeah. Right. I was imagining just kind of like a sheep. Like a sheep that is like.

 

Halle Kiefer: Standing up.

 

Alison Leiby: Moves as a human. Joints wise and like, mobility wise, but otherwise as, like, wooly and hooved or even the feet being hooved or something. But to be so human is, is just, I guess, a question that I have for the filmmakers.

 

Halle Kiefer: No. And I think that’s a really excellent question that unfortunately I don’t have the answers to.

 

Alison Leiby: If you know the answer, tell us out there in the listenership, but I doubt you do. [laughs]

 

Halle Kiefer: And then if, if, if Ada wanted to procreate, does she have to have sex with them, a male sheep or a male human?

 

Alison Leiby: Because then and what is that offspring.

 

Halle Kiefer: Right. Because then if she had sex with a human when she’s older, then that baby would be even less sheep than she is.

 

Alison Leiby: Right but it’s but is still of that lineage and therefore.

 

Halle Kiefer: Yeah.

 

Alison Leiby: Yeah, well these are the questions that we ask on this podcast.

 

Halle Kiefer: And because I, you know, I think if you’re listening, you’re like, oh, is this an Icelandic fairy tale they’re playing with? No, at least according to, the trivia on Amazon Prime, this is not playing with any existing story because, you know, you think, oh, is there some sort.

 

Alison Leiby: Some kind of—

 

Halle Kiefer: Changeling. Yeah, lamb baby. That seems like something they’d have. I mean, any country where you have lambs, I feel like that. That’d be pop up, but. No, no, there’s nothing quite so, explainable about it.

 

Alison Leiby: Well.

 

Halle Kiefer: And, there’s nothing interesting about that to the head. It’s like. Yeah, I just we just have to take it as it comes. And I really enjoyed it. It’s a very beautifully shot film.

 

Alison Leiby: Yeah.

 

Halle Kiefer: And I think it is a fairy tale. So, you know, as soon as I shoot that lamb, mother, that.

 

Alison Leiby: That [both speaking] it’s coming back. Yeah.

 

Halle Kiefer: Well, Alison, where would you place, lamb on the spooky scale?

 

[voice over]: A spooky scale.

 

Alison Leiby: I think this is a four and a half.

 

Halle Kiefer: Okay.

 

Alison Leiby: From me, I don’t think it’s a full five. But I do think it’s it’s unsettling in many ways.

 

Halle Kiefer: Yeah.

 

Alison Leiby: But just even just like the big, vast farmland and the fog and the isolation and all of like that alone just creates, like, a very like. And then.

 

Halle Kiefer: Yeah.

 

Alison Leiby: For all of this to happen. But also that lamb is too cute for me to be too scared.

 

Halle Kiefer: I know it it was so sweet and adorable. Yeah. I’m going to give it a three because I do love, the ram man.

 

Alison Leiby: Yes, the ram man.

 

Halle Kiefer: And and at the end it is sad and harrowing. When you see Ingvar shot and the killing of the mother, the good mother sheep. It it was. Yeah. It’s very. It’s an unnerving film.

 

Alison Leiby: Yes.

 

Halle Kiefer: A scary film.

 

Alison Leiby: Yes. That’s that’s a great word to use for it.

 

Halle Kiefer: But I really enjoyed it. And we hope you enjoyed this. As we, continue apace in daddy month.

 

Alison Leiby: Daddy month.

 

Halle Kiefer: Starting off as our first daddy.

 

Alison Leiby: Yes.

 

Halle Kiefer: The humanoid ram, man.

 

Alison Leiby: Yeah. Two daddies in this movie to really. Two daddies.

 

Halle Kiefer: Two daddies. War. The war of the daddies. Well, everyone, until next time. Shout out to the daddies out there.

 

Alison Leiby: Yeah, shout out to all the daddies. And please, keep it spooky.

 

Halle Kiefer: Don’t forget to follow us at Ruined podcasts and Crooked Media on Instagram, Twitter and TikTok for show updates. And if you’re just as opinionated as we are, consider dropping us a review. Ruined is a Radio Point and Crooked Media production, we’re your writers and hosts Halle Kiefer and Alison Leiby. This show is executive produced by Alex Bach, Sabrina Fonfeder and Houston Snyder, and recorded and edited by Kat lossa. From Crooked Media our executive producer is Kendra James with production and promotional support from Ari Schwartz, Kyle Seglin, Julia Beach, Caroline Dunphy and Ewa Okulate

 

 

 

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