Missed the prep article? Here it is.
Want to watch along? Here are part one and part two.
Before we dip into the frenzy, let’s get tipsy with a drink I crafted in honor of our de trop hero: The Donnie DuPre.
To make this gorgeous blue beauty, you’ll need:
- 2 oz. blue curacao (I used DeKuyper brand)
- 2 oz. coconut rum (Malibu)
- 1/4 oz. peach brandy (E&J)
- 1/4 oz. cinnamon schnapps (Goldschläger)
- 1 thick lemon wedge
- Combine all liquid ingredients in a shaker with ice cubes. Shake it like a Polaroid picture until chilled.
- Pour the liquid into a martini glass.
- Cut a lemon into quarters and slice one wedge in the middle so it can hang onto the martini glass. What you do with the other lemon wedges is up to you; I suggest squeezing them into a glass of plain water for the hangover preventative you’ll need after this number.
- Enjoy responsibly.
Serves: 1 overly ambitious soul
Unless you want it to burn like your last relationship, you’ll use the lemon. The burn is from the brandy, the source of the faint peach undertones. The cinnamon schnapps rides along with the peach, giving the whole drink a spicy flair. Hints of coconut and orange pop up, but they more or less take a backseat to the first two flavors.
It looks like a girl drink, but you’ll get trashed if you chug it. Nurse this one over an hour or so and you should be okay. That is unless you want to get loopy real quick, but only if you’re not planning on going anywhere for the next couple of hours.
So pour yourself a Donnie as we watch the first episode of Demo Reel.
We open with an intro from Doug Walker himself. It’s a rundown of the new format on the That Guy With The Glasses website, with a new Demo Reel-related video every Tuesday, a talk show, a game show, and other stuff “for you guys.” The “guys” being viewers who were still mourning the loss of the Critic, some of whom I’ll bet were stapling printouts of Doug’s face onto secondhand Teddy Ruxpin bears hanging from neckties serving as nooses.
“I hope you enjoy what we got,” Doug says as we fade to black. Now I’m a little sad for him.
In a charming warehouse style home in Scary Philadelphia (I’m just reading the text overlay, folks), we find Cole Sear in bed, clutching the bed sheets to his chin. Sitting up with him is a grown man speaking in that growly, grim voice most Hollywood actors seem to employ when performing dramatic moments.
WILLIS: So, Cole… it’s been a rough day, hasn’t it?
COLE: Yes, Dr. Bruce Willis.
WILLIS: And now you’re gonna tell me your dirty little secret, aren’t you?
This is all kinds of wrong already.
If you’ve seen The Sixth Sense, you know what this is all about. I never saw the movie, but thanks to a flash cartoon from years ago, I know the Shyamallamadingdangdong surprise. But this little production has an entirely different twist.
Just like the original Cole, this one sees dead people, and three unwelcome spirits pop up to illustrate his special talent. Beetlejuice, Casper, and Ghost Dad. Dr. Bruce Willis is appropriately terrified to the see the latter, as anyone should be.
GHOST DAD: Now how ’bout a Jell-O Puddin’ Pop from the fiery depths of Hell?
A ball of flame erupts from the bottom edge of the screen, which has the appearance of originating from Ghost Dad’s groin. Interpretations in the wake of recent events are encouraged.
There’s only one thing to do at a time like this.
Call the Ghostbusters!… Chicago Division (they’re branching out).
The guys get to busting right away. Even little Cole gets a shot at a ghost. Nuclear-powered devices be damned, this is fun for all ages!
COLE: Oh! Get him, too. He’s a ghost.
Without hesitation, the Busters zap Dr. Bruce Willis. Thus ends this ludicrous yet sweetly short retelling of The Sixth Sense.
A bouncy song about scary ghosts featuring the vocal talents of a derpy Randy Newman (impersonator) carries us through the end credits. You’ll notice the credits featuring Donnie DuPre linger while others are rushed through. This Donnie guy must be really important. Let’s meet him.
There he is. Mr. DuPre (played by Doug Walker), the scourge of Channel Awesome, all decked out in a button-up shirt and a fedora (this was pre-neckbeard appropriation). He’s sure happy to tell us about his small online production company. The crowning music is a bit too awe-inspiring for this speech, but given Donnie’s obvious ego, it’s appropriate.
And he does have quite the ego. In fact, he’s overly confident in his ability to do movies “better” than big budget companies. The long and short of it is that Donnie is way in over his head in the humble quest to reimagine blockbusters. He has very little talent, skill, and craft to pull it off. But by God, is he gonna try. He can’t go it alone, of course, so he’s roped in other people to partake in this botch. We’ll meet them along the way, but it’s worth watching Donnie’s rundown of his cast and crew.
It’s also worth noting that while it’s the same face and voice, I can’t detect a single trace of the Critic in this character. The legendary ranter is truly gone, cold and dead, never again to comment on or complain about movies, never to smile or laugh or feel joy… replaced with the warm, timidly arrogant Donnie, the new pet and darling who will provide mirth and laughter for all who loved the Critic. Long may he live.
(In hindsight, it’s probably a good thing I wasn’t part of the Channel Awesome fandom. I would have been hung by my thumbs in the forums.)
With the main introduction out of the way, let’s peek in on a brainstorming session.
You’ll notice the “real time” segments are in black and white while the movie segments are in full color. It’s kind of nice to have the two differentiated—whoa, is that a Tombow dual brush pen Donnie is holding?
Holy crap, it is! They’re a Japanese brand, almost comparable to Copic markers, but way more affordable. Brush pens are typically used for lettering art, but they’re also good for coloring. I use my grayscale palette set for shading sketches and storyboards.
Er, anyway, Donnie, actress Rebecca Stoné, and writer Tacoma Narrows are reading a review of their latest production. Their retelling of The Sixth Sense went over very well, with the most positive reaction being “what the hell did I just watch?”
But successful studios just don’t stop producing. It’s time to move on to the next blockbuster. Donnie thinks they should stick with the supernatural direction. Start a trend, right? He asks Tacoma for ideas.
Tacoma suggests Wuthering Heights. Question is, which adaptation?
Take your pick of any production made before or during 2012, guys. But if you mash together the 1950 version starring Charlton Heston, the definitive 1939 version, and somehow wedge the Heathcliff cartoon in there, you’ll have people asking “What the fuck did I just watch?”
Donnie thinks that’s a fantastic idea, but Batman would be better. Tacoma politely disagrees (and he’ll disagree a lot) that Batman isn’t supernatural.
REBECCA: Sure he is! Always flying around, sucking people’s blood…
Forget the Wuthering Heights mashup. I’d watch a Bat-Cula movie.
Let’s meet Tacoma (played by Malcolm Ray). A screenwriter hopeful who wanted to break into the industry, he seized the opportunity to work with Donnie. Better to start small than aim too high, after all, especially in cutthroat Hollywood.
Although Donnie was happy to hire the young writer, almost nothing of Tacoma’s has made it into any of the films. But seeing how Donnie is director, producer, and Almighty at Demo Reel, Tacoma can still respect him as an artist.
TACOMA: Respect is such a strong word.
Now let’s meet Rebecca Stoné (played by Rachel Tietz).
REBECCA: That’s Stone, not Stone-ay. The accent is silent.
That makes per… fect… sense…
Ah, anyway, Rebecca studied acting in college, after which she put on her one-woman show, Hamlet, portraying the titular character as a woman trapped in a man’s body. Acting in Demo Reel projects doesn’t pay all the bills, so she moonlights as a security guard in a warehouse somewhere in Chicagoland. The workers there have an agreement with Demo Reel, in that the company gets to operate in the warehouse and the non-gangster workers get to have their gunfire ignored.
REBECCA: They don’t ask questions and we don’t ask questions.
Back to the hashing out session, Donnie shares his vision of remaking all the Christopher Nolan Batman movies. It will be like the Adam West version where all the villains team up to take out Batman.
DONNIE: Except with more sharks!
Well, crap. Sharks and no chance of a rapidly expanding superhero universe I can never hope to follow? I’m sold!
Tacoma seems overwhelmed already. Tossing every Nolanesque element into a blender and setting it on liquid sounds like a disaster, but Donnie assures him it’s the American way.
DONNIE: Too much, too fast. […] Ask Carl, he’s as American as Uncle Sam. Aren’t you, Carl?
CARL: Ja. Sure. As American as foosball und apple shtrudel.
Let’s meet Demo Reel’s mysterious cameraman, Carl Copenhagen (played by Rob Walker). (And, yes, I am going to be phonetically transcribing his lines to the best of my abilities.) Carl has led a very colorful, very classified life, and the only concrete information you’ll get out of him is that he remembers a time “before ze Vall fell” and he may have worked for the Stasi. Baby-faced Carl looks too young to even remember when 99 Luftballons ruled the German airwaves, but my head canon declares that he participated in some post-Nazi “fountain of youth” type experiment.
You won’t get much out of Carl except a severe tight lip and several swipes of his black marker. So your friendly questionnaire is going to look very dark, indeed.
CARL: Ha! Ha, look, zere’s only vun more question left. “How are you?” None of your business.
(Rob’s German accent is laudable, but the cap badge is probably triggering a poor military historian.)
Carl’s assistant and the second cameraman, Quinn (played by Jim Jarosz), wants us to know he did not work for the IRA.
QUINN: And I ain’t gonna answer any questions ye got fer me.
You probably have some questions about Demo Reel’s operations. Namely, how it’s funded. For starters, they’re bleeding money. For… seconders… they’re relying on Donnie’s wife’s income to keep everything afloat.
DONNIE: And I know what you’re thinking: “Donnie, how is that fair to you?” Well, it’s not. I mean, you have no idea the stigma that’s placed on stay-at-home husbands who make remakes of films with their best friends. Some might say I’m cheap… or, uh, dodging responsibility, but I ask you this: What kind of guy wants to set the women’s work liberation… thingy… years back? Not me.
So by “allowing” his wife to work, Donnie is creating a vacancy for another woman to fill. If he weren’t a fluffhead, this could be a backhanded comment about women in the workforce and how modern society wants mores to be challenged by updated gender roles. This is so covertly assholish and oblivious, I can’t help but admire it.
Back to the brainstorming session. Tacoma puts out the idea of going with the Harvey Dent character from the first Burton film. Donnie instantly likes it, but not because they’d give Billy Dee Williams a chance to play the Two-Face role in spirit, but because it’d be like “seeing Lando Calrissian play both the good and the bad.”
Tacoma resignedly goes with it
Now we go to—mother of fuck, my ears! I had my earbuds in! Dammit, that musical intro was a surprise. Cripes, hold on. Let me recover.
After the aural assault of a title card, we open up on Wayne Estate House Manor Hall where Alfred (Tacoma) is informing a freshly orphaned Bruce Wayne (Rebecca) that he is now the boy’s legal guardian.
YOUNG BRUCE: Wait a minute. Isn’t that confusing seeing how you’re also my butler?
ALFRED: I don’t much like your tone. Go to your room.
YOUNG BRUCE: Go to your room!
ALFRED: Yes, Master Bruce.
We’re taken “[twenty] very bizarre years later” where we follow up on a grownup Bruce telling Alfred he’s ready for the next phase in his life: Costumed vigilantism.
Alfred is fine with it. The Waynes’ fortune has supplied him a revolving door of escorts (and apparently enough plastic surgery to keep him as young as he looked in the first scene).
ALFRED: The way I see it, if you wanted to go shoot the Pope, I’d be right behind you.
Heartened by Alfred’s blessing, Bruce goes to dress up as his worst fear.
If you’re as flabbergasted as Alfred, don’t worry, Donnie-Bruce has the perfect explanation:
DONNIE-BRUCE: He’s an Italian plumber who steps on turtles. That’s rude. And then he kicks them out of their shell—takes their home and bludgeons them to death with it? Man’s a psychotic! I don’t want that person near my toilets.
Compelling, but it’s a dud with Alfred. He tries other costumes, including a housing market correction. But to his credit, Donnie-Bruce at least knows what his fears look like in costumes. (Now I wonder how Submechanophobia Woman would dress.)
Back in the real world (well, real-ish), Rebecca talks openly about the trials of playing multiple roles as the only woman on the Demo Reel team. It’s a trial she happily welcomes, as her one-woman shows have prepared her for the oldest of tokenisms.
After her take on Hamlet, she performed a one-woman Titanic. She reenacts the steamy love scene between Jack and Rose… mostly off-screen. Carl isn’t about to give the viewers a good look, although it doesn’t sound like he’s enjoying himself, either. Frankly, I wouldn’t mind watching Rebecca reenact passengers banging into the smokestacks as the ship is upending.
There’s a crisis on set. Donnie is missing one of the gloves for the Batman costume. He needs that glove. His reasoning is other characters could figure out Batman’s true identity from the “very Bruce Wayne-ish” hand.
Unless Bruce Wayne is a part-time hand model, I don’t think anyone in Gotham is going to suss out the Dark Knight’s true identity upon seeing those suspiciously upper-class, silky knuckles. But Donnie can’t let it slide.
The trio brainstorm ways to write around the missing glove. Perhaps Bruce Wayne is really Michael Jackson? Because there’s a black glove and a white hand… No, it won’t do.
DONNIE: I have no idea where I’m going with this! This is the stupidest idea!
So many Critic fans hate-fucked their Teddy Ruxpin effigies at that line, I bet.
Missing costume piece or no, filming must continue.
GORDON: Bearded One-Gloved Batman, a new enemy seems to have shown their face.
BATMAN: Who is that, High-Pitched Commissioner Gordon?
GORDON: He’s a bank robber dressed in all white makeup, simply known as The Joker. Thoughts?
*careful deliberation lasting all of four seconds*
BATMAN: He can wait.
Yeah, the lunatic clown robbing banks can wait. What could go wrong?
Plenty, as the After Effects explosions prove.
BATMAN: Wow! We were wrooong on that one!
(By the way, it’s kind of fun listening to Doug gnar his lines.)
It’s time to rely on Harvey Dent, whose tactics of dealing with criminals seems to be threatening them with a gun and a coin. I bet he’s great with children and animals.
Tacoma has some reservations about his Joker costume. Namely, the makeup portion. At Demo Reel, the cast and crew are all about racial sensitivity—well, one of them is—and Tacoma is concerned the clown face may be misinterpreted as whiteface.
REBECCA: Look, if it makes you feel any better, we did just cast you as a Cream of Wheat-making servant who always sides with his rich, white master no matter how insane he is.
Tacoma calmly rolls with it.
TACOMA: You crackers had it coming.
(Watch the background to catch Donnie futzing with the Batman mask on his fedora.)
Man, I can’t wait for those sharks. I guess we do have to go through boring plot crap, but seeing those toothy beasts is gonna be worth the wait.
Back in the movie, we witness the famous confrontation between the Joker and Batman. I’d summarize their conversation, but I’m struck by the absurdity of all this. Not the Demo Reel take on this scene, but the concept of costumed vigilantes and villains in general. The world made sense twenty minutes ago, and all it took was a low-budget internet video to flip everything upside-down. I don’t think I can take superheroes seriously ever again.
Catastrophic revelations aside, the Joker gives Batman a choice between saving the volatile politician Harvey Dent and said politician’s fiancée, Rachel (not the real life actress, the character). Batman makes the decision to go for Rachel because “I want nookie!”
Cut to Rachel held captive in Empty Warehouses, Inc. and Harvey Dent roped up in Condemned Building, Co. (a Division of Empty Warehouses, Inc.). It was considerate of the Joker to provide his hostages two-way radios, although that might have been more to torture the two of them with the other’s screams. But I guess a hostage situation between two lovers is what you make of it. Dent certainly is making the best of it, making sweet telecommunicative love to Rachel as he sexily assures her of the law prevailing above all else.
But who should kill the mood but Batman. The Dark Knight is disappointed he found Dent instead of Rachel, but may as well rescue the one, right? Rachel doesn’t see it that way and tries dropping hints to Dent about Batman’s true identity.
Batman scoots Dent back toward the exit, trying to drown out Rachel’s ramblings with nonsense sounds (“Na na na na na na na na na na na na na na na na…”). If only Gordon and his cops would show up!
Welp. Rachel goes explode-y. That’s what you get for using a subpar GPS, coppers.
Oh, I wouldn’t miss it, especially with the sharks!
Part two opens up with Rebecca talking about being cast as Catwoman. The impressions are pretty cute, including the one of a cat being trapped in a washing machine.
CARL: How za hell vould you know zat?
After the tragedy of losing Rachel to a case of the ‘splodies, Donnie-Bruce ponders the purpose of crime fighting. Hanging up the mask and cowl is probably the best thing he could do. But Alfred is there to talk some sense into him.
ALFRED: That’s cock-and-tease bull bollocks! You are Gotham City’s destiny, and it’s time that you started acting like an adult and dress up as a bat!
BRUCE: What about Rachel?
ALFRED: *bleep* Rachel! Rachel is Kentucky Fried Chicken. Eleven herbs and spices in the deep fryer!
BRUCE: Jesus, Alfred! Give me a minute to mourn!
ALFRED: You can mourn when you’re dead!
Behind the scenes, Tacoma needs a confidence boost for his upcoming performance. The voice of Bane is tricky to get down. Luckily, Donnie has a great trick he learned from Ian Sinclair…’s stalker… in which you first do a Sean Connery impression, then an impression of Sean Connery giving birth to Adam Sandler, then “doing the Ninja Gaiden thing” with your hands and placing them over your mouth.
As the trio lose their minds over the cleverness of this technique, Carl and Quinn get to drinking. To be honest, I would, too.
Bane has set up evil shop in an Arby’s. Why such an obvious headquarters? Because, as Bane claims, “who wants to pay five dollars for crappy deli meat in a cafeteria that the 70s forgot?”
Go to hell, you facehugger-fellating phony. Arby’s shaved meat and knock-off au jus sauce is the best overpriced white trash meals ever. But he does give the curly fries a break since they “are curiously tasty.”
SOMEONE OFF-SCREEN: Then you’re gonna love my knuckle sandwich.
Rising up from an invisible coffin like the Bat-Cula mashup we’ll never see, Batman arrives to kick Bane’s ass. How did he find Gotham’s biggest menace in the most obvious of hideaways? Using his super duper detective skills… and help from some lady wearing a mask and cat ears.
A slow-motion fight with some sped up parts ensues. As soon as it begins, it ends with Bane delivering a chop to Bruce’s neck. With the Dark Knight out of the way, the villains prepare to strike at sunrise. A good time to attack, but the henchies ask why.
BANE: Because Arby’s breakfast sucks.
MALE HENCHIE: But, sir, what about the curly fries? They won’t be done for lunch hour!
BANE: Oh, don’t worry. When the special sauce is done and the egg croissants lie in ashes, then you have my permission to fry.
TINY PIECE OF TACOMA’S SOUL: *dies*
BANE: That was the stupidest line ever.
Tacoma has more problems ahead as he’s dead adamant about not introducing the other villains Donnie’s way. Nothing can persuade him, not even Donnie’s gorgeous baby blues can crack the writer’s mountain-steady will.
TACOMA: We’re not doing the Supervillain Shuffle!
As you can see, Tacoma forcibly goes along with it.
So we get Ra’s al Ghul, acid attack Harvey Dent, Dr. Crane (Scarecrow), and the Joker performing the Supervillain Shuffle with the opening tune of The Fresh Prince of Bel Air with the first few beats on perpetual loop (probably for real life copyright reasons).
But no sharks. Maybe they’re still gluing together felt or spray painting the trash bags for their costumes.
The shuffle was the straw that broke the camel’s back. Tacoma is fed up with his boss’s shit. Donnie tries to talk him out of walking, with Rebecca whispering gentle reinforcements.
DONNIE: The reason… you shouldn’t quit… is because you have so much potential still untapped.
REBECCA: Potential…
Donnie’s bulldozing of Tacoma’s ideas is nothing more than his attempt to combine both their visions in a Technicolor muddle. Tacoma agrees to come back as long as he gets to rewrite the ending.
DONNIE: Why? What’s wrong with my ending?
REBECCA: His ending…
TACOMA: Batman should not be an alien from the planet Zeiss—
Donnie agrees before Tacoma blows a gasket. All they have to do is write the climax.
REBECCA: Climax…
In Indiafrica, Bruce finds himself in the world’s greatest prison. The world’s greatest detective shouldn’t have any problem escaping it, seeing how there are no guards and a hole leading back to the outside world.
If only Bruce possessed spider climbing skills, though. The weird-ass chorus savagely chanting off-screen probably doesn’t help, either. (By the way, what do you hear them say? I’m getting “bash ’em, bash ’em, bubble gum, bubble gum.” What say we make this Channel Awesome’s version of the Yanny vs. Laurel debate?)
Rebecca flounces up to Donnie, holding what appears to be a trash bag left to melt in the hot sun and then raked over repeatedly with a fork. That’s untrue, because Donnie actually left a swimming cap on the stove. On purpose. The smell alone should earn him a rap on the knuckles, which Rebecca looks ready to deliver.
Taking a cue from Tacoma, she reluctantly goes along with it and plays a little boy singing the anthem for the next scene.
Purposefully trudging through the bowels of the stadium, Bane comes to the end of the field tunnel, his cruel eyes scanning the thousands of targets whose lives he plans to end. But soft! The canorous story of this great country’s struggle to survive that fateful night when all was sure to be lost seizes his ears… and his grim heart.
BANE: Maybe I’ve got it all wrong. Maybe there is still hope and decency left in the world.
… and the moment is completely fucked up by a shrill pitch even Sia would call excessive.
BANE: Oh! That is dreadful. Well, time to die.
A controlled, isolated explosion takes out the kid, and Bane soon makes the diamond his center stage. He threatens the audience with his “nuclear thingama-bomb.” To his utter shock, the sports revelers are surprisingly okay with this turn of events. They cheer on the supervillain, who then announces his plan to hail a taxi and get way the hell away from the stadium before blowing it up… except he destroyed all the bridges leading out of the city.
Not wanting to be literally hoisted by his own nuclear petard, Bane suggests they keep the game going. Boos all around. Damn, this is a pretty nihilistic bunch.
After rescuing Gordon and his cops from falling through an icy lake (and falling through himself), Batman confronts Bane. In fact, quite a few other people confront Batman. It seems anyone with a bone to pick with him chooses now to show up. It’s so convoluted, they need a flowchart.
Which is even more brain-meltingly confusing.
But you know what makes sense? Senseless violence!
I’m stealing *CRABS!* for a future comic. Check out Tacoma throwing shade at Donnie in the last sound effect.
Still no sharks. I bet they’re being saved for the climax.
But the bomb! It’s about to go off! Gads! Hey, I just thought of something. Maybe the sharks are in the bomb. Makes as much sense as anything else in this movie.
Only one thing can be done to save Gotham. Batman must sacrifice himself.
CATWOMAN: Why? Why would you sacrifice yourself?
BATMAN: Because you either die a hero… or live long enough to see yourself become the villain. I’m not the hero that Gotham deserves… but the one they need. For I am the terror that flaps in the night… I am the very model of a modern major general… I am the walrus… I am what I am and that’s all that I am… for I am… Bat-Jesus.
And so our hero ascends into the low-res stock photo clouds, taking with him the city’s peril. Kabloomers.
Now the moment Tacoma has been waiting for. Donnie sits down with him to hear his idea for the ending.
TACOMA: It’s always bothered me… at the end, Alfred looks up and he sees something, and Nolan just gives it away. You actually see Bruce Wayne and Selena together. You don’t need that. It should be ambiguous. You know, Alfred looks up. He smiles. What does Alfred see? You hold that shot, and the audience just keeps guessing the whole time. You know, it’s more powerful that way.
You can almost see the wheels turning (and getting stuck for a few seconds) behind Donnie’s eyes. Tacoma’s idea is brilliant. He’s on board. The viewer will never see what Alfred sees. He just needs to write up a cue card.
Now it’s Tacoma’s big scene. He sips his drink. As he sets the mug down, his catches something in front of him. His eyes sparkle with recognition, and his face glows with the joy of knowing something beautiful has been restored in the world.
ALFRED: Why, Master Wayne! I can’t believe it’s you sitting right there across from me, and with Selena Kyle! Who wouldathunkit? You two, free and together at last. Oh, happy day!
*beat*
ALFRED: Wait. Motherfu—!
Donnie has to agree, this was a better take on that scene. And he didn’t have to show what Alfred was seeing.
After the non-speedy credits, we get some bonus footage of Donnie opening bills. Huzzah. Watching indie filmmakers perform humdrum tasks is riveting. Dusting must be like a methamphetamine cocktail.
But the envelope in Donnie’s hand contains a letter. A threatening letter.
DONNIE: “Dear Donnie DuPre, we represent Swede filmmakers everywhere”… blah blah blah… “we saw Be Kind, Rewind first”… yadda yadda yadda… “we will make you pay”… blah blah blah blah blah, okay, doesn’t matter.
Donnie goes to dub Tacoma’s speaking parts with his own voice, setting the camera down and giving us a glimpse at the letter he rashly ignored.
Wow, these guys mean business, Donnie. You need to be caref—
Wait. He didn’t show any sharks.
Motherfu—!
DONNIE: There’s no question that Demo Reel Productions is doing far superior work than anything that’s in cinema today. So leave a comment down below to let us know which film you’d like to see Demo Reel do next!
Yeah, I got some suggestions for ya. How about Jaws, Megalodon, Dino Shark, or Great White? How about letting the Swedes throw your oblivious butt into a shark tank? A shark tank with… actual sharks in it… and some saltwater, because I guess if the sharks just writhe around gasping, they can’t be effective… So, yeah, how about them apple sharks, you half-witted, fedora-sportin’ shark leaver-outer?
*sigh* But I guess I’ll forgive you long enough to continue the review.
Prep Episode 1 Episode 2 Episode 3 Episode 4 Episode 5 Episode 6 Cleanup
