WEBVTT Kind: captions Language: en 00:00:00.000 --> 00:00:05.400 For avant-garde film fans across the nation, it’s  the eve of one of the most exciting days of the   00:00:05.400 --> 00:00:10.740 year: The beginning of OddFest, a prestigious  film festival that features offerings from some   00:00:10.740 --> 00:00:16.140 of the strangest names in cinema. Now in its 40th  year, the organization has featured films from   00:00:16.140 --> 00:00:21.180 the likes of legendary artists and filmmakers  David Cronenberg, Frank Henenlotter, Sion Sono,   00:00:21.180 --> 00:00:27.120 Julia Ducournau, David Lynch, Panos Cosmatos,  the Soska Sisters, Flying Lotus, and Lars Von   00:00:27.120 --> 00:00:31.740 Trier at their strangest, as well as a bevy of  creators so bizarre and obscure, the average   00:00:31.740 --> 00:00:37.200 person would never have heard of them. But for the  attendants of OddFest, they were Gods made flesh. 00:00:37.740 --> 00:00:41.700 Of course, one person’s exciting event  is another person’s stressful logistical   00:00:41.700 --> 00:00:45.840 nightmare - And in this case, the latter  role falls at the feet of The Programmer:   00:00:45.840 --> 00:00:50.220 The member of OddFest’s organizational board  tasked with managing the festival’s lineup   00:00:50.220 --> 00:00:54.300 and making sure they all release smoothly. He’s  passionate about getting these films out there   00:00:54.300 --> 00:00:58.800 to audiences that will truly appreciate them - But  that doesn’t make the process of getting it all to   00:00:58.800 --> 00:01:04.260 happen any easier. It’s a relatively thankless  job, but hey, somebody’s gotta do it, right? 00:01:04.800 --> 00:01:07.740 The Programmer is burning the  midnight oil at the Carolina Theater,   00:01:07.740 --> 00:01:12.300 the historic movie theatre in Durham, North  Carolina, that’s hosting OddFest this year.   00:01:12.300 --> 00:01:16.140 He’d spent the better part of the evening  discussing various contingencies with the   00:01:16.140 --> 00:01:19.620 theatre’s manager, then making the final  checks on scheduling and licensing.   00:01:20.280 --> 00:01:25.140 All the invisible work that goes into making  OddFest safe, fun, and, most importantly,   00:01:25.140 --> 00:01:30.600 legal. With how touchy movie studios often get  about their intellectual property, screening   00:01:30.600 --> 00:01:35.520 the wrong thing without getting a bevy of proper  clearances could spell disaster for all involved. 00:01:35.520 --> 00:01:40.680 Little does this unfortunate Programmer know,  another kind of disaster is rolling down the   00:01:40.680 --> 00:01:45.480 hill towards him. A disaster that even someone  with his experience could never anticipate. 00:01:46.080 --> 00:01:51.300 It’s almost 2 AM when he receives a knock on the  door of his temporary office. He jumps slightly.   00:01:51.300 --> 00:01:56.160 Wasn’t he the only one still in the building?  Maybe someone had come back… Either way,   00:01:56.160 --> 00:02:00.660 he pauses for a moment, oddly nervous,  before calling out, “Yes? Come in?” 00:02:00.660 --> 00:02:05.640 The door creaks slowly open, and a strange  figure leans into the gap. It’s a round,   00:02:05.640 --> 00:02:09.960 squat man wearing a suit, with his hair  slicked back by liberal amounts of highly   00:02:09.960 --> 00:02:14.400 fragrant pomade. Behind this strange little  man, who reminds the Programmer a little of   00:02:14.400 --> 00:02:18.300 Danny Devito’s rendition of The Penguin  from Batman Returns, is a pair of tall,   00:02:18.300 --> 00:02:24.840 grey-faced men who look oddly similar. Twins,  perhaps? Either way, the Programmer blinks hard,   00:02:24.840 --> 00:02:29.160 just to make sure he’s not dreaming, because  things have gotten decidedly Lynchian here. 00:02:29.160 --> 00:02:34.020 The Short Man and the two Tall Men enter the  room and casually take seats across from the   00:02:34.020 --> 00:02:38.640 Programmer. It’s only now that the Programmer  notices that the peculiar Short Man is carrying   00:02:38.640 --> 00:02:43.680 a black leather briefcase. He finally plucks up  the courage to ask who exactly these people are,   00:02:43.680 --> 00:02:46.800 and what they’re doing here the night  before OddFest is scheduled to begin. 00:02:46.800 --> 00:02:51.840 The Short Man gives a wide, almost eerie  grin that splits his pale face in two,   00:02:51.840 --> 00:02:57.420 and says, with an oddly soft voice,  “We represent the fine people at AWCY.” 00:02:57.420 --> 00:03:03.780 Suddenly, the Programmer feels himself breaking  into a cold sweat. Of course. The AWCY Group is   00:03:03.780 --> 00:03:07.500 one of OddFest’s biggest benefactors - It’s  their funding that’s allowed the festival   00:03:07.500 --> 00:03:12.480 to continue operating over the last twenty  years since all the subsidies dried up. The   00:03:12.480 --> 00:03:16.380 Programmer feels terrible for not realizing  sooner; it must be his sleep-deprived mind.   00:03:16.380 --> 00:03:22.080 Immediately, he forces a smile, all genial and  welcoming. He’s in the presence of greatness. 00:03:22.740 --> 00:03:27.300 “Oh, of course,” the Programmer says, trying  to play it all off. “Where are my manners?   00:03:27.300 --> 00:03:30.840 Is there anything I can do for you? Is the  festival all going ahead to your liking?” 00:03:31.440 --> 00:03:34.620 The Short Man places his briefcase  on the table and unlocks it,   00:03:34.620 --> 00:03:39.540 before turning it to the Programmer. On  the inside, there are four blank DVD cases.   00:03:40.320 --> 00:03:44.400 The Programmer suddenly feels as though he’s been  involved in some kind of shady, illicit deal. 00:03:45.180 --> 00:03:49.260 “These four short films,” the Short  Man says. “I’d like you to play each   00:03:49.260 --> 00:03:54.000 of these before four of your most popular  movies tomorrow. Each one is a piece with   00:03:54.000 --> 00:03:58.260 considerable artistic merit. We can assure  you that if these new conditions are met,   00:03:58.260 --> 00:04:03.300 OddFest will receive notably higher funding  in the years to come. Orders from the top.” 00:04:03.300 --> 00:04:06.180 It’s an offer that the  Programmer really can’t refuse. 00:04:06.840 --> 00:04:10.020 The next day, the festival begins. Thousands of   00:04:10.020 --> 00:04:13.620 eager fans of weird cinema have poured  in from across the country and beyond,   00:04:13.620 --> 00:04:17.280 all eager to take in and appreciative  some truly mind-expanding movies.   00:04:18.060 --> 00:04:23.280 But nothing can prepare them for just how much  their viewings today are going to change them. 00:04:23.280 --> 00:04:28.440 Audiences assemble for the four most popular  films of the day and are given the preliminary   00:04:28.440 --> 00:04:32.160 announcement that they would be the first  to experience some exclusive short films   00:04:32.160 --> 00:04:36.000 premiering here at OddFest as a kind of  appetiser for the longer films to come.   00:04:36.000 --> 00:04:40.800 It leaves them giddy with excitement, as in  the theatre’s four different primary screens,   00:04:40.800 --> 00:04:45.840 the short films that the Programmer had been  given in the dead of night begin to play. As one   00:04:45.840 --> 00:04:51.720 can expect from such an event, these short films  are strange, bizarre, and perhaps even to most,   00:04:51.720 --> 00:04:57.600 rather disturbing. But the most disturbing  experiences would only truly unfold afterwards. 00:04:58.260 --> 00:05:01.140 Much to the horror of the  Programmer and his many co-workers,   00:05:01.140 --> 00:05:05.520 mass disaster breaks out at the Carolina  Theatre. Fighting erupts in the stands,   00:05:05.520 --> 00:05:09.840 violent brawls that leave many bloody and  bashed. Some set fires around the theatre,   00:05:09.840 --> 00:05:15.120 burning up reels of a number of valuable rare  films. Others are simply watching and laughing   00:05:15.120 --> 00:05:20.820 uprauriously, seemingly amused beyond belief at  the carnage unfolding all around them. Others   00:05:20.820 --> 00:05:25.320 are almost catatonic with some unexplained  terror, rocking back and forth on the ground,   00:05:25.320 --> 00:05:28.920 seemingly suddenly so confused and  distressed by the world around them. 00:05:28.920 --> 00:05:33.420 And perhaps most inexplicably of all, a  large group of people from screen four   00:05:33.420 --> 00:05:38.340 run frantically into the bathrooms, where they  started drinking toilet water, faces contorted   00:05:38.340 --> 00:05:43.440 into rictus grins of enjoyment. It’s a sight so  horrifying that it seems almost like something   00:05:43.440 --> 00:05:48.360 out of one of the festival’s seedier films. It  takes the Durham PD considerable time, effort,   00:05:48.360 --> 00:05:53.220 and manpower to contain what is rapidly becoming  known as the “OddFest Riot.” But little did   00:05:53.220 --> 00:05:58.080 anyone involved know, the effects that had taken  place today were only a taster for the horrors   00:05:58.080 --> 00:06:02.820 to come - Because everyone who saw the short  films that day would never be the same again. 00:06:03.660 --> 00:06:09.060 This may seem like a film lover’s worst nightmare,  but sadly, it’s a cold reality when you’re dealing   00:06:09.060 --> 00:06:16.080 with SCP-1127, a series of anomalous short  films ranging from 23 to 42 minutes in length,   00:06:16.080 --> 00:06:21.660 believed to have been created by members of an  anomalous art collective known as Are We Cool Yet?   00:06:21.660 --> 00:06:26.220 Thus far, the SCP Foundation has been able  to contain four different examples of these   00:06:26.220 --> 00:06:30.000 cursed short films, but researchers  and field operatives are not ruling   00:06:30.000 --> 00:06:33.660 out the possibility that there are more  in circulation - or that there are many   00:06:33.660 --> 00:06:37.920 other copies of the films we know about, still  readily available to the film-viewing public. 00:06:37.920 --> 00:06:42.240 The reason these films have been given a  collective designation in the Foundation Archives   00:06:42.240 --> 00:06:47.040 rather than a series of individual designations  is that those who have witnessed the films have   00:06:47.040 --> 00:06:51.300 reported considerable stylistic similarities  between them, even though the content can differ   00:06:51.300 --> 00:06:56.460 wildly. For example, the majority of the footage  in each film is taken from pre-existing sources,   00:06:56.460 --> 00:07:02.100 such as other movies, news feeds, documentaries,  TV, and archival footage. Each of these movies   00:07:02.100 --> 00:07:07.500 also features a “Narrator” character who gives  the films a kind of thematic cohesion. These   00:07:07.500 --> 00:07:11.340 Narrators will somehow interject into  the recycled footage on occasion, too. 00:07:11.340 --> 00:07:16.380 Watching these films will cause permanent changes  in the personality and disposition of the viewer,   00:07:16.380 --> 00:07:21.240 which the Foundation has currently found no ways  of successfully treating. Even applying amnestic   00:07:21.240 --> 00:07:25.440 treatment, which erases the memory of viewing  the films, does nothing to alter their effects. 00:07:25.440 --> 00:07:30.540 Now, before we get into the disturbing specifics  of each of these demented short films, I do have   00:07:30.540 --> 00:07:35.220 a slight piece of good news for any film fans  out there. First, the anomalous effects are only   00:07:35.220 --> 00:07:39.720 activated if someone consumes a cumulative  twenty minutes of one of the films. So if   00:07:39.720 --> 00:07:42.960 you’re watching a movie and begin to recognize  some of the features we’re about to discuss,   00:07:42.960 --> 00:07:47.100 make sure you get yourself and anyone else  out of there before the anomalous properties   00:07:47.100 --> 00:07:51.360 have a chance to take effect. There are also  no anomalous effects when the audio and the   00:07:51.360 --> 00:07:56.100 visuals are consumed separately - the films  must be taken holistically to affect you. 00:07:56.100 --> 00:07:59.940 This brings us to the films themselves  - or at least the ones we’re currently   00:07:59.940 --> 00:08:05.340 aware of - designated SCP-1127-1, SCP-1127-2,   00:08:05.340 --> 00:08:13.560 SCP-1127-3, and SCP-1127-4. Each of these  films has its own unique anomalous effects,   00:08:13.560 --> 00:08:17.760 seemingly influenced by the content of  each one. Let’s start at the shallow end   00:08:17.760 --> 00:08:22.440 before we progressively get deeper into the more  nightmarish examples - which is saying something,   00:08:22.440 --> 00:08:29.880 given SCP-1127-1 is narrated by a Nazi Clown. And  no, I am not speaking in hyperbolic terms here. 00:08:29.880 --> 00:08:37.380 SCP-1127-1 is a 23-minute film entitled “Were  Clowns Always Yellow?” and was first discovered   00:08:37.380 --> 00:08:41.760 illegally spliced into the film of a non-anomalous  movie being shown at a New York City Cineplex.   00:08:42.300 --> 00:08:48.720 As I alluded to not long ago, the narrator of this  film is a man in a period-accurate World War II SS   00:08:48.720 --> 00:08:54.240 uniform, save for one detail: He has a clownish  face painted on in greasepaint. The recycled   00:08:54.240 --> 00:08:58.740 footage, in addition to archival footage of World  War II, comes largely from movies that deal with   00:08:58.740 --> 00:09:03.480 the events and fallout of the tragic war and the  many atrocities committed within - Including The   00:09:03.480 --> 00:09:08.280 Night Porter, the unreleased Jerry Lewis movie The  Day The Clown Cried, and even The Sound of Music. 00:09:08.280 --> 00:09:12.060 The Nazi Clown goes on a rant about  the nature of humor before pulling   00:09:12.060 --> 00:09:15.120 out his holstered Luger pistol and  shooting Jerry Lewis in the head. 00:09:15.120 --> 00:09:19.800 You may think that audiences would find this  material disturbing, but on the contrary,   00:09:19.800 --> 00:09:24.120 people who have watched this film frequently  describe it as the funniest movie they’ve ever   00:09:24.120 --> 00:09:29.040 seen. And for those who experience the film’s  anomalous effects, the strangeness does not end   00:09:29.040 --> 00:09:34.680 there. SCP-1127-1 essentially reverses  the polarity of the subject’s humor and   00:09:34.680 --> 00:09:38.880 disgust. For the rest of their life, they will  find things typically considered depressing,   00:09:38.880 --> 00:09:43.980 morbid, or disgusting to be hilarious,  whereas they will find things intended to   00:09:43.980 --> 00:09:47.880 be comedy - no matter how innocuous  - to be disgusting and disturbing. 00:09:47.880 --> 00:09:54.240 Wars, tragedies, cruelty, and funerals suddenly  become hilarious, but when Foundation researchers   00:09:54.240 --> 00:09:59.400 tested the film on a group of D-Class Personnel,  they started having extreme reactions of physical   00:09:59.400 --> 00:10:04.260 revulsion towards comedy. One member of D-Class  personnel had to be physically restrained while   00:10:04.260 --> 00:10:09.300 being shown an episode of Monty Python’s Flying  Circus. However, other than some strange reactions   00:10:09.300 --> 00:10:14.220 in public and very peculiar media tastes, this  film won’t make you unable to enter society after   00:10:14.220 --> 00:10:19.320 some quick amnestic treatment from the Foundation.  The same can, sadly, not be said for the next one. 00:10:19.920 --> 00:10:26.160 SCP-1127-2 is a 37-minute-long movie  entitled “Crazy Where? You Are”,   00:10:26.160 --> 00:10:30.900 and was first discovered posted online, where  it managed to get views in the quadruple digits   00:10:30.900 --> 00:10:35.580 before the Foundation was able to find it and  shut it down. Nobody truly knows what kind of   00:10:35.580 --> 00:10:40.020 horrific damage it could have caused in that time,  considering its extremely dangerous anomalous   00:10:40.020 --> 00:10:44.460 effects. The film featured a twelve-year-old  girl as its Narrator, methodically performing   00:10:44.460 --> 00:10:48.120 surgery on her teddy bear while wearing  a blue dress and a black domino mask,   00:10:48.120 --> 00:10:53.520 like the ones commonly worn by classic heroes like  the masked swordsman Zorro and Batman’s sidekick,   00:10:53.520 --> 00:10:59.940 Robin. But the content and result of “Crazy  Where? You Are” are anything but heroic. 00:10:59.940 --> 00:11:06.060 The girl eerily whispers things like, “… what are  you afraid of … violence … afraid that violence   00:11:06.060 --> 00:11:12.360 is the answer … or is it the question … ask the  question you are afraid of … you already know the   00:11:12.360 --> 00:11:17.640 answer … pain doesn’t hurt” while a montage  of children’s media mixed with incredibly   00:11:17.640 --> 00:11:22.260 violent media plays below, including everything  from the infamous shock film Faces of Death,   00:11:22.260 --> 00:11:26.700 to old Bugs Bunny cartoons from the  1940s that really haven’t aged well.   00:11:26.700 --> 00:11:31.140 You might think that experiencing this bizarre  little film would greatly disturb its viewers,   00:11:31.140 --> 00:11:35.700 but those who watch long enough to experience  its anomalous effect, they will report no   00:11:35.700 --> 00:11:39.900 strong reaction to the film at all. They  will appear stony-faced and disconnected. 00:11:39.900 --> 00:11:44.580 They’ll then carry this feeling of general  apathy away from the film and back into their   00:11:44.580 --> 00:11:49.860 everyday life. These unfortunate moviegoers will  slowly lose their sense of empathy and begin to   00:11:49.860 --> 00:11:54.720 experience a complete severing of their emotional  investment in the world around them. Even hostile   00:11:54.720 --> 00:11:58.680 and dangerous situations will register with  the same sense of disinterest that one might   00:11:58.680 --> 00:12:03.360 feel towards a slice of overcooked toast. This  would undeniably mean that the victims might   00:12:03.360 --> 00:12:07.920 become indifferent to their own safety, but  it doesn’t stop there. Viewers of this film   00:12:07.920 --> 00:12:12.720 are likely to develop sociopathic tendencies,  including the desire to hurt others out of a   00:12:12.720 --> 00:12:17.220 sense of detached intellectual curiosity.  We have no way of knowing how many serial   00:12:17.220 --> 00:12:22.200 killers started their monstrous journey by viewing  this nasty little short film and being inspired. 00:12:22.740 --> 00:12:26.340 Because of this volatile and dangerous  change, the Foundation believes that   00:12:26.340 --> 00:12:31.320 those affected are unable to safely reintegrate  into society, and must remain in containment. 00:12:31.980 --> 00:12:39.000 Next comes a film that is less frightening  and more deeply tragic. This is SCP-1127-3,   00:12:39.000 --> 00:12:42.480 a 30-minute short film entitled  “All? Comes With Yesterday.”   00:12:43.380 --> 00:12:48.300 This devious little piece of cinema found its  way in front of unwitting eyes via a pirate   00:12:48.300 --> 00:12:52.560 UHF signal in a coastal Michigan town,  which exposed innocent viewers of public   00:12:52.560 --> 00:12:58.080 television to 72 hours of the cursed film on  loop. No physical copy of this film has ever   00:12:58.080 --> 00:13:03.120 been obtained by the SCP Foundation, and from the  original recorded broadcast alone, the Foundation   00:13:03.120 --> 00:13:07.560 is aware that people in the double digits were  affected by its dangerous anomalous properties. 00:13:07.560 --> 00:13:11.460 The Narrator of this film is a woman  who appears to be in her mid-thirties,   00:13:11.460 --> 00:13:15.900 wearing an Elizabethan ball gown and a golden  theatrical mask in the form of a rat’s face,   00:13:15.900 --> 00:13:20.640 which appears to be permanently affixed to her  own. Rather than speaking in complete sentences,   00:13:20.640 --> 00:13:25.920 this Narrator’s speech is eerily fragmented,  with one recorded segment being her whispering,   00:13:25.920 --> 00:13:37.980 “Desire. Aspire. Require. Conspire. Acquire.  Retire. Expire. Choir. Pyre. Liar. Liar. Liar.   00:13:37.980 --> 00:13:43.980 Liar…”, after which she continued to simply  repeat the word “Liar” over several minutes,   00:13:43.980 --> 00:13:48.120 while mashed-up footage of several  classic movies plays, including Robocop,   00:13:48.120 --> 00:13:52.200 the biblical epic The Ten Commandments,  Francis Ford Coppola’s Apocalypse Now,   00:13:52.200 --> 00:13:56.700 Natural Born Killers, Eraserhead, and  George Romero’s original Dawn of the Dead. 00:13:56.700 --> 00:14:00.900 With a setup that strange and eclectic,  you’re probably wondering what the end   00:14:00.900 --> 00:14:05.700 result of viewing this strange little offering  is. To put it simply, it induces a state of   00:14:05.700 --> 00:14:10.020 debilitating technophobia - you become a  perpetually-anxious Luddite, terrified of   00:14:10.020 --> 00:14:14.460 anything considered even vaguely “technological.”  And we mean this in the broadest sense of the   00:14:14.460 --> 00:14:18.780 word. Anything deemed to be manufactured by  mechanical means, from furniture to clothes,   00:14:18.780 --> 00:14:23.040 becomes terrifying to the unfortunate  viewers of “All? Comes With Yesterday.” 00:14:24.000 --> 00:14:26.940 Because of the life-altering  extent of the phobia induced,   00:14:26.940 --> 00:14:30.600 people affected by this film are unable  to integrate back into normal society,   00:14:30.600 --> 00:14:36.180 and instead need to be given Class-A Amnestics  before being permanently institutionalized. 00:14:36.180 --> 00:14:41.820 And finally, the film that, for your psychological  health, we’ll leave mostly to the imagination.   00:14:41.820 --> 00:14:51.180 SCP-1127-4, a 42-minute film with the ominous  title “Why Are You Crying?” Over 300 hundred DVD   00:14:51.180 --> 00:14:55.260 copies of this film were slipped between the  pages of bawdy romance novels in a number of   00:14:55.260 --> 00:15:00.780 Canadian bookstores, claiming to be a “special  feature” that comes with the book. And those   00:15:00.780 --> 00:15:05.580 who were morbidly curious enough to watch it  had their lives forever changed for the worse. 00:15:06.180 --> 00:15:10.140 The Narrator of this film is a man whose  face is obscured by a menacing leather   00:15:10.140 --> 00:15:14.640 mask. He gives a freeform soliloquy about  the nature of love and attraction over   00:15:14.640 --> 00:15:18.780 footage of various shocking or abstract  underground films and cult classics,   00:15:19.440 --> 00:15:24.840 like Cremaster 3, The Rocky Horror Picture Show,  and the late Italian filmmaker Pier Pasolini’s   00:15:24.840 --> 00:15:30.840 infamous final film before his sudden murder,  1975’s Salo. Anyone who watches this film for   00:15:30.840 --> 00:15:36.000 long enough is likely to develop some very…  original ideas about the nature of attraction,   00:15:36.000 --> 00:15:42.720 ideas that most of us might consider somewhat  strange or disturbing. I think we’ll leave it   00:15:42.720 --> 00:15:47.100 at that. But suffice to say, many of the  people affected by “Why Are You Crying?”   00:15:47.100 --> 00:15:51.960 are unable to return to society after their  viewing, and need to remain in containment. 00:15:51.960 --> 00:15:56.100 Any instances of these cursed films found  outside of containment are under the purview   00:15:56.100 --> 00:16:01.440 of Mobile Task Force Mu-53, also known as  “Ebert’s Thumb” - named after the iconic   00:16:01.440 --> 00:16:05.100 film critic Roger Ebert. Physical copies  are to be seized and held in storage,   00:16:05.100 --> 00:16:10.200 and digital copies are to be contained and heavily  encrypted before being neutralized for safety   00:16:10.200 --> 00:16:15.600 purposes. SCP-1127 instances are to be kept in  the secure media vault of a classified site,   00:16:15.600 --> 00:16:19.680 and only brought out for testing when  personally approved by the acting Site Director. 00:16:19.680 --> 00:16:23.220 Only D-Class personnel are permitted to  view the films for their full duration.   00:16:23.220 --> 00:16:27.600 Foundation personnel who, during testing,  are exposed to a cumulative 15 minutes of   00:16:27.600 --> 00:16:31.200 any of the films are to be reassigned to  a different project for safety purposes. 00:16:31.200 --> 00:16:36.060 People who have viewed the films are to undergo  a full psychological evaluation by Foundation   00:16:36.060 --> 00:16:40.680 psychologists and psychiatrists to determine  the extent of the effects on them and decide   00:16:40.680 --> 00:16:45.600 what additional treatment, if any, they require.  Thankfully, because of the inert nature of this   00:16:45.600 --> 00:16:49.560 anomaly, it is still classified as Safe,  but anyone lurking out there with copies   00:16:49.560 --> 00:16:54.480 of the films could cause horrific damage at any  time by exposing unwitting people to the films. 00:16:54.480 --> 00:16:58.320 So if any shady individuals invite you to  a private film festival in their basement,   00:16:58.320 --> 00:17:01.680 it’s probably best to just decline. These   00:17:01.680 --> 00:17:04.740 films aren’t going to be hitting the  Criterion collection any time soon. 00:17:04.740 --> 00:17:09.840 Cinema can be a transformative experience.  Everyone’s seen that one movie that saves   00:17:09.840 --> 00:17:14.160 their life and changes everything. Just make  sure, if you’re planning on burning through   00:17:14.160 --> 00:17:18.600 a few short films this weekend, you know  how, exactly, you want to be transformed… 00:17:18.600 --> 00:17:24.000 If you want to support our important mission here  at Dr. Bob, check out the Dr. Bob Patreon and   00:17:24.000 --> 00:17:28.980 become a junior researcher today! Now go and watch  another entry from the files of Dr. Bob, like   00:17:28.980 --> 00:17:35.100 SCP-1432 Doll DVD, for another piece of anomalous  entertainment that will forever change your life   00:17:35.100 --> 00:17:39.000 for the worse. And make sure you subscribe  and turn on notifications, so you don’t miss   00:17:39.000 --> 00:17:43.740 a single anomaly, as we delve further and further  into the SCP Foundation’s classified archives.