1
00:01:03,884 --> 00:01:09,907
www.subtitulamos.tv

2
00:01:27,387 --> 00:01:28,530
Sorry, ma'am.

3
00:01:28,555 --> 00:01:30,382
Unless you're a resident,
I can't let you in.

4
00:01:32,382 --> 00:01:34,296
Officer McCoy called me.

5
00:01:35,762 --> 00:01:37,187
About my mom.

6
00:01:37,759 --> 00:01:42,164
- I'm, sorry for your loss.
- It's okay. It's fine.

7
00:01:42,421 --> 00:01:44,218
You have five minutes. Room 304.

8
00:01:44,810 --> 00:01:46,148
I remember.

9
00:01:50,768 --> 00:01:52,069
Thanks.

10
00:02:16,828 --> 00:02:18,037
Hey, kid.

11
00:02:18,656 --> 00:02:20,272
Where you been all day?

12
00:03:40,725 --> 00:03:43,897
_

13
00:04:32,182 --> 00:04:34,213
There's some mashed taters for you.

14
00:04:34,638 --> 00:04:35,907
I made them.

15
00:04:47,509 --> 00:04:48,673
So eat up.

16
00:04:58,231 --> 00:04:59,832
Oh, hey, sweety.

17
00:05:04,496 --> 00:05:08,113
How cute. You're having dinner together?

18
00:05:08,568 --> 00:05:10,336
Can I... can I join?

19
00:05:12,184 --> 00:05:14,587
Smile. Say hi to the camera.

20
00:05:15,474 --> 00:05:19,059
- Where did you get that?
- I traded my chain for it.

21
00:05:19,231 --> 00:05:20,431
I thought you'd like it.

22
00:05:20,457 --> 00:05:22,340
We can, like, make films and stuff.

23
00:05:22,366 --> 00:05:24,043
Like, you know, like Family Dinner.

24
00:05:24,932 --> 00:05:27,785
We said we were saving
that, you fucking idiot!

25
00:05:27,811 --> 00:05:29,762
It's okay. We've got
enough for the week.

26
00:05:29,788 --> 00:05:31,246
I'll sort it out.

27
00:05:31,516 --> 00:05:33,907
I'm not going back out
on the streets again.

28
00:05:33,933 --> 00:05:36,395
Okay, okay. I know, I know. Chill.

29
00:05:36,421 --> 00:05:38,679
Chill? You're telling me to chill?

30
00:05:39,496 --> 00:05:41,474
You fucking idiot.

31
00:05:42,220 --> 00:05:43,755
Come on, let's go.

32
00:05:50,754 --> 00:05:51,778
Abby?

33
00:05:51,804 --> 00:05:53,895
Make sure you put Betsy away.

34
00:05:54,166 --> 00:05:55,348
Idiot!

35
00:05:57,725 --> 00:05:59,840
- What did I tell you?
- It's not a big deal!

36
00:05:59,866 --> 00:06:02,247
It is a big deal! We
don't have enough money!

37
00:06:02,817 --> 00:06:04,997
Now, take that back, you hear me?

38
00:06:20,501 --> 00:06:23,615
One, two, three,

39
00:06:23,805 --> 00:06:27,677
four, five, six, seven,

40
00:06:27,904 --> 00:06:30,131
eight, nine, ten.

41
00:06:30,156 --> 00:06:31,732
Ready or not, here I come!

42
00:06:32,991 --> 00:06:35,029
I'm coming to find you!

43
00:06:54,552 --> 00:06:56,057
Where are you?

44
00:07:38,040 --> 00:07:39,883
Tiff, come on home, honey!

45
00:07:39,909 --> 00:07:42,335
Dinner's ready! Time to come home!

46
00:07:42,504 --> 00:07:44,320
Now, please! It's getting dark!

47
00:07:44,346 --> 00:07:45,640
No, wait!

48
00:07:46,730 --> 00:07:48,359
I have something to show you.

49
00:07:57,004 --> 00:07:58,338
You're still it.

50
00:07:58,364 --> 00:08:01,401
I have to go. Don't
you have dinner time?

51
00:08:02,388 --> 00:08:03,502
Bye!

52
00:08:07,668 --> 00:08:08,713
Bye.

53
00:08:29,344 --> 00:08:31,239
The Fairy in the Forest.

54
00:08:34,181 --> 00:08:37,145
"Once upon a time, there
was a girl named Elle."

55
00:08:39,618 --> 00:08:42,700
"Who wished for a better
life but was under a spell."

56
00:08:46,394 --> 00:08:49,465
"Until one day, a fairy
heard these cries

57
00:08:49,664 --> 00:08:52,536
and swooped down to find
her from the skies."

58
00:08:53,626 --> 00:08:55,645
"The fairy said, 'Elle, follow me.'"

59
00:08:55,671 --> 00:08:58,364
"'I'll teach you to make
your dreams a reality.'"

60
00:09:04,934 --> 00:09:07,635
"So off they went, down a winding river,

61
00:09:08,545 --> 00:09:11,627
but what they found would
make Elle quiver."

62
00:09:13,455 --> 00:09:15,697
"Hidden in the woods, there was a cave."

63
00:09:15,723 --> 00:09:18,471
"To pass through, she'd
have to be brave."

64
00:09:23,461 --> 00:09:27,336
"The fairy said, 'Follow your
heart and it shall light the way,

65
00:09:27,452 --> 00:09:30,984
or in the darkness forever
you shall stay.'"

66
00:09:37,013 --> 00:09:39,828
"For even things that are dark and scary

67
00:09:39,882 --> 00:09:42,828
can still be fit for girls and fairies."

68
00:09:47,993 --> 00:09:51,179
"So Elle went through the
cave, following the stream."

69
00:09:51,211 --> 00:09:54,390
"She followed her heart
and chased her dreams."

70
00:09:56,622 --> 00:09:59,211
"And what she found
would break the spell,

71
00:10:00,274 --> 00:10:03,453
for on the other side,
she met the new Elle."

72
00:10:20,687 --> 00:10:21,930
Hurry!

73
00:10:22,049 --> 00:10:23,479
Where are we going?

74
00:10:23,601 --> 00:10:25,526
You'll see. Come on!

75
00:10:38,488 --> 00:10:40,048
- Don't worry. Come on.
- Tif?

76
00:10:40,074 --> 00:10:41,699
I told you not
to play by the river!

77
00:10:41,725 --> 00:10:44,730
- It's fine. Come on.
- I can't!

78
00:10:45,390 --> 00:10:46,424
Why not?

79
00:10:46,721 --> 00:10:48,022
I'm not allowed.

80
00:10:48,175 --> 00:10:49,214
Why?

81
00:10:49,787 --> 00:10:51,147
Where are you going?

82
00:10:51,173 --> 00:10:52,308
Wait up!

83
00:11:52,371 --> 00:11:53,460
Betsy?

84
00:12:03,208 --> 00:12:04,476
Where are you?

85
00:12:11,570 --> 00:12:12,638
Betsy.

86
00:12:13,104 --> 00:12:14,609
Don't be scared.

87
00:12:16,363 --> 00:12:17,602
It's okay.

88
00:12:19,328 --> 00:12:20,953
Can I tell you a secret?

89
00:12:21,282 --> 00:12:23,008
A secret you can't tell anyone.

90
00:12:25,398 --> 00:12:27,446
I found a cave in the forest.

91
00:12:27,501 --> 00:12:28,929
There's a fairy.

92
00:12:29,126 --> 00:12:32,703
She took me there, just like Elle.

93
00:12:34,326 --> 00:12:35,914
It's our secret, okay?

94
00:12:57,382 --> 00:12:58,520
Fuck!

95
00:12:59,082 --> 00:13:00,754
Fuck, fuck!

96
00:13:05,177 --> 00:13:06,270
Fuck.

97
00:13:10,139 --> 00:13:11,929
How could this happen?

98
00:13:17,875 --> 00:13:20,755
Zed? We're gonna have to pawn!

99
00:13:27,738 --> 00:13:28,900
No.

100
00:13:32,650 --> 00:13:33,782
Abby?

101
00:13:33,808 --> 00:13:35,596
Mommy's gonna need to borrow your book

102
00:13:35,622 --> 00:13:37,206
for a little while, okay?

103
00:13:37,232 --> 00:13:38,733
No. No, I need it.

104
00:13:38,807 --> 00:13:41,112
I'll get sick if I don't take it.

105
00:13:41,307 --> 00:13:44,050
I need my medicine, okay?

106
00:13:44,323 --> 00:13:47,128
- You don't want Mommy to
get sick, do you? - Please.

107
00:13:47,154 --> 00:13:49,018
This can go, I guess.

108
00:13:49,659 --> 00:13:52,190
Just let the kid keep
the book, all right?

109
00:13:52,339 --> 00:13:54,409
I don't give a fuckin' bullshit.

110
00:13:54,435 --> 00:13:56,214
It's all gotta go.

111
00:13:57,039 --> 00:13:58,667
And it's your fault!

112
00:13:58,928 --> 00:14:00,529
Mommy, please.

113
00:14:00,573 --> 00:14:02,283
That's enough, Abigail!

114
00:14:02,308 --> 00:14:05,057
- Please, please.
- Don't be so fuckin' selfish!

115
00:14:05,306 --> 00:14:07,768
- Please...
- Zed, get the box!

116
00:14:11,184 --> 00:14:12,511
I'm sorry, kid.

117
00:14:18,364 --> 00:14:21,932
Please, Zed, please.
Don't let Mom take it.

118
00:14:27,675 --> 00:14:30,602
Please, Zed, please!
No, no, Zed, please!

119
00:15:21,115 --> 00:15:22,249
Hello?

120
00:15:25,416 --> 00:15:26,660
Hello?

121
00:15:28,394 --> 00:15:30,504
Hey, kid! Get outta there!

122
00:15:30,530 --> 00:15:31,996
It's not safe!

123
00:15:33,302 --> 00:15:35,465
Geez, what are you doin' in there?

124
00:15:35,491 --> 00:15:37,387
Where are your parents at?

125
00:15:38,426 --> 00:15:41,004
It's not safe for kids
to be playing down here.

126
00:15:44,762 --> 00:15:46,277
Let's try this again.

127
00:15:46,303 --> 00:15:48,238
Why don't you just tell me your name?

128
00:15:48,595 --> 00:15:49,763
Abigail.

129
00:15:50,092 --> 00:15:52,246
Okay, Abigail. Where do you live?

130
00:15:56,336 --> 00:15:58,074
In one of the complexes?

131
00:15:59,651 --> 00:16:00,941
Why don't you show me?

132
00:16:15,704 --> 00:16:16,838
Hey, kid.

133
00:16:17,248 --> 00:16:18,839
Which apartment is yours?

134
00:16:20,635 --> 00:16:21,846
304.

135
00:16:27,854 --> 00:16:29,141
Betsy...

136
00:16:30,081 --> 00:16:31,570
Thanks, mister.

137
00:16:39,213 --> 00:16:40,373
Betsy?

138
00:17:10,323 --> 00:17:12,714
"Hidden in the woods, there was a cave."

139
00:17:13,985 --> 00:17:16,768
"To pass through, she'd
have to be brave."

140
00:17:17,954 --> 00:17:20,628
"Follow your heart and
it shall light the way,

141
00:17:22,012 --> 00:17:25,190
or in the darkness
forever you shall stay."

142
00:17:26,482 --> 00:17:28,510
You shouldn't have to be here.

143
00:17:36,118 --> 00:17:37,987
Forest...

144
00:18:36,969 --> 00:18:38,279
Abby!

145
00:18:39,190 --> 00:18:41,354
What is she doing?

146
00:18:41,380 --> 00:18:43,237
Abby, come back here!

147
00:18:43,622 --> 00:18:45,591
Go get her right now!

148
00:18:56,422 --> 00:18:57,800
Down here!

149
00:19:38,723 --> 00:19:40,306
I love you, Betsy.

150
00:19:56,724 --> 00:19:58,462
Follow your heart.

151
00:20:08,073 --> 00:20:09,216
No, no!

152
00:20:09,241 --> 00:20:10,925
No, no, no. No, no!

153
00:20:11,175 --> 00:20:13,570
No, no, please! Please, please!

154
00:20:13,610 --> 00:20:16,301
Wait, no! No! No, Betsy!

155
00:20:16,327 --> 00:20:17,645
Betsy!

156
00:20:17,920 --> 00:20:19,003
No!

157
00:21:05,141 --> 00:21:07,430
_

158
00:21:56,655 --> 00:21:57,974
Zed!

159
00:22:01,961 --> 00:22:04,568
Smile. Say hi to the camera.

160
00:22:04,943 --> 00:22:06,386
Where did you get that?

161
00:22:06,412 --> 00:22:08,990
Pretty cool, right? I
traded my chain for it.

162
00:22:09,290 --> 00:22:11,162
You did what?

163
00:22:11,498 --> 00:22:12,756
I thought you'd like it.

164
00:22:12,782 --> 00:22:14,420
We can, like, make films and stuff.

165
00:22:14,446 --> 00:22:16,686
Like, you know, like Family Dinner.

166
00:22:22,778 --> 00:22:24,793
No, no. No.

167
00:22:28,183 --> 00:22:30,394
"Hidden in the woods, there was a cave."

168
00:22:30,420 --> 00:22:33,019
"To pass through, she'd
have to be brave."

169
00:22:33,589 --> 00:22:36,371
"Follow your heart and
it shall light the way,

170
00:22:36,745 --> 00:22:40,230
or in the darkness
forever you shall stay."

171
00:22:40,877 --> 00:22:42,387
No, no.

172
00:22:42,413 --> 00:22:45,269
No, no, no, no. I'm sorry.

173
00:22:53,425 --> 00:22:56,308
_

174
00:22:56,620 --> 00:23:02,761
www.subtitulamos.tv

175
00:23:06,302 --> 00:23:07,978
Welcome back from The Void.

176
00:23:08,004 --> 00:23:09,299
Thanks for watching.

177
00:23:09,454 --> 00:23:13,158
I'm David Cummings, the creator
and host of The NoSleep Podcast,

178
00:23:13,358 --> 00:23:16,770
and today, we're joined by
author Rebecca Klingel,

179
00:23:16,795 --> 00:23:19,740
author of the NoSleep
story, Betsy the Doll,

180
00:23:19,765 --> 00:23:22,901
which we adapted into the
episode, "Plastic Smile."

181
00:23:23,635 --> 00:23:26,004
Welcome, Rebecca. Thanks
for joining us today.

182
00:23:26,338 --> 00:23:27,639
Thank you. It's great to be here.

183
00:23:27,818 --> 00:23:30,317
We've just experienced your story.

184
00:23:30,342 --> 00:23:33,111
It's been around now for, I
guess, almost ten years.

185
00:23:33,345 --> 00:23:35,789
What inspired you?

186
00:23:35,814 --> 00:23:38,383
Where did that twisted story come from?

187
00:23:38,583 --> 00:23:43,096
With Betsy the Doll, I believe,
like with a lot of my stories,

188
00:23:43,121 --> 00:23:45,532
especially in those first
few years on NoSleep,

189
00:23:45,557 --> 00:23:47,192
I reverse engineered it.

190
00:23:47,492 --> 00:23:52,030
You know, dolls are very
kind of scary to me anyway,

191
00:23:52,364 --> 00:23:54,908
and I thought, maybe
I could make a story

192
00:23:54,933 --> 00:23:57,110
with a doll that has
a really good twist,

193
00:23:57,135 --> 00:23:58,211
since I love twists.

194
00:23:58,236 --> 00:23:59,905
So, I kind of started with the twist

195
00:24:00,138 --> 00:24:01,648
and then worked backwards

196
00:24:01,673 --> 00:24:03,116
trying to see, like, what characters

197
00:24:03,141 --> 00:24:04,484
would fit that really well,

198
00:24:04,509 --> 00:24:08,555
like, how can I economize the
space that I have to just

199
00:24:08,580 --> 00:24:10,982
give them enough to... to... to......

200
00:24:11,283 --> 00:24:13,059
be invested and then just hit them

201
00:24:13,084 --> 00:24:15,462
with that sucker punch at
the end, that, you know...

202
00:24:15,487 --> 00:24:16,596
And I do this a lot

203
00:24:16,621 --> 00:24:19,065
with the "humans were
the monster all along,"

204
00:24:19,090 --> 00:24:20,926
but Betsy was really the start of that.

205
00:24:21,326 --> 00:24:23,937
Right. I was so hoping your
answer was going to be,

206
00:24:23,962 --> 00:24:25,305
"Oh, that's exactly what happened to me

207
00:24:25,330 --> 00:24:27,833
when I was a girl."

208
00:24:28,533 --> 00:24:30,477
Now, on NoSleep,

209
00:24:30,502 --> 00:24:32,979
and not just the subreddit,
but the podcast,

210
00:24:33,004 --> 00:24:35,540
you have written some of
the most popular stories,

211
00:24:35,874 --> 00:24:38,176
some of the classics, Room 733,

212
00:24:38,510 --> 00:24:41,121
which was so fun to do on the podcast,

213
00:24:41,146 --> 00:24:44,424
and I know a lot of your
stories tend to have

214
00:24:44,449 --> 00:24:46,126
that... that twist at the end

215
00:24:46,151 --> 00:24:50,330
or that completely change...
completely changed directions.

216
00:24:50,355 --> 00:24:53,892
Do you tend to go into stories
thinking always of a twist,

217
00:24:54,092 --> 00:24:55,869
or is that just... that's just something

218
00:24:55,894 --> 00:24:58,330
that sort of naturally
evolves in the story?

219
00:24:59,831 --> 00:25:02,008
No, the twist is the first thing.

220
00:25:02,033 --> 00:25:03,877
With me, the twist is the first thing,

221
00:25:03,902 --> 00:25:05,679
and then I build around that.

222
00:25:05,704 --> 00:25:08,682
Character is really fun,
it's not very hard,

223
00:25:08,707 --> 00:25:12,152
you know, but the twist and
the kind of mechanics of it,

224
00:25:12,177 --> 00:25:13,345
and how you're going to hide it

225
00:25:13,745 --> 00:25:16,648
and how deep you're going
to twist the knife,

226
00:25:17,215 --> 00:25:21,695
those are really where I start
with a horror story, is there,

227
00:25:21,720 --> 00:25:25,832
because if you can land all of
that and you're not worried

228
00:25:25,857 --> 00:25:29,594
about having good characters,
then you're done, you know?

229
00:25:30,462 --> 00:25:32,439
So, you're a parent, you have kids,

230
00:25:32,464 --> 00:25:36,209
and I'm curious how you... how
you start to craft stories

231
00:25:36,234 --> 00:25:39,646
where there may be children
who are going through trauma

232
00:25:39,671 --> 00:25:42,774
or experiencing some dire situations?

233
00:25:43,008 --> 00:25:44,718
Do you feel like you want to lean in

234
00:25:44,743 --> 00:25:45,777
to that kind of trauma?

235
00:25:46,344 --> 00:25:49,155
Yeah. I would say,

236
00:25:49,180 --> 00:25:51,758
people that read my stuff
probably wouldn't...

237
00:25:51,783 --> 00:25:54,853
would... probably would say
that I do lean into it.

238
00:25:55,220 --> 00:25:57,697
And... But I think there's a line,

239
00:25:57,722 --> 00:25:59,499
and it's really a balancing act.

240
00:25:59,524 --> 00:26:02,002
You know, Betsy is... It
deals with a lot of trauma,

241
00:26:02,027 --> 00:26:04,963
but it's really about kind
of the fog of childhood,

242
00:26:05,196 --> 00:26:07,841
and realizing things in adulthood

243
00:26:07,866 --> 00:26:09,409
that kind of horrify you about

244
00:26:09,434 --> 00:26:11,211
what was really going on back then,

245
00:26:11,236 --> 00:26:13,171
but you were too young to understand.

246
00:26:13,371 --> 00:26:15,382
So, I find that really relatable

247
00:26:15,407 --> 00:26:16,508
across the board.

248
00:26:16,975 --> 00:26:18,385
Absolutely, absolutely.

249
00:26:18,410 --> 00:26:20,779
Now, we'll transition from the,

250
00:26:21,079 --> 00:26:24,049
the morbid children being in peril,

251
00:26:24,516 --> 00:26:25,959
to the great news, which is,

252
00:26:25,984 --> 00:26:28,094
you have taken your writing career

253
00:26:28,119 --> 00:26:30,530
from NoSleep and you've
published novels,

254
00:26:30,555 --> 00:26:34,634
and now you've transitioned
into writing for television,

255
00:26:34,659 --> 00:26:35,961
writing for the screen.

256
00:26:36,217 --> 00:26:38,527
What has that journey been like for you?

257
00:26:38,763 --> 00:26:40,407
You know, it was a bit bumpy.

258
00:26:40,432 --> 00:26:43,443
I had never written a screenplay

259
00:26:43,468 --> 00:26:49,516
before writing for The
Haunting of Hill House.

260
00:26:49,541 --> 00:26:53,386
And I had to look on
YouTube how to do it.

261
00:26:53,411 --> 00:26:57,223
I found it difficult,
because with prose,

262
00:26:57,248 --> 00:26:59,526
you know, it just...
It flows out of you,

263
00:26:59,551 --> 00:27:00,794
you can write whatever you want,

264
00:27:00,819 --> 00:27:02,429
you don't have to worry
about shoot-ability,

265
00:27:02,454 --> 00:27:04,397
or budget, or anything like that,

266
00:27:04,422 --> 00:27:07,367
and location management.
And then with script,

267
00:27:07,392 --> 00:27:09,736
you can't get into characters' heads,

268
00:27:09,761 --> 00:27:13,807
you have to find different, interesting,

269
00:27:13,832 --> 00:27:16,267
sometimes experimental,
ways to show things.

270
00:27:16,668 --> 00:27:17,978
So it was actually

271
00:27:18,003 --> 00:27:21,247
a challenge, because I went
from writing whatever I want

272
00:27:21,272 --> 00:27:22,949
to now I have notes, and I have to write

273
00:27:22,974 --> 00:27:25,585
in a specific way, and you know,
"You can't end it that way,

274
00:27:25,610 --> 00:27:26,853
and we can't have that character,"

275
00:27:26,878 --> 00:27:30,757
so, it was difficult, but
I really enjoyed it.

276
00:27:30,782 --> 00:27:33,259
There's really something
about writing something

277
00:27:33,284 --> 00:27:36,262
and then seeing a large group of people

278
00:27:36,287 --> 00:27:38,698
bring it to life on the screen.

279
00:27:38,723 --> 00:27:41,501
I mean, that's just, it's wonderful.

280
00:27:41,526 --> 00:27:42,427
It's wonderful.

281
00:27:42,694 --> 00:27:45,572
That's right. Now, you've
done a lot of writing

282
00:27:45,597 --> 00:27:47,532
with director Mike Flanagan.

283
00:27:47,799 --> 00:27:49,175
What happens with a lot of people

284
00:27:49,200 --> 00:27:50,577
when they watch shows like that,

285
00:27:50,602 --> 00:27:52,112
they don't necessarily realize

286
00:27:52,137 --> 00:27:55,173
that it's not just
necessarily one writer,

287
00:27:55,373 --> 00:27:57,884
and you work in what we
call the writers' room,

288
00:27:57,909 --> 00:27:59,119
and so you're collaborating

289
00:27:59,144 --> 00:28:00,478
with a bunch of different people.

290
00:28:00,879 --> 00:28:02,622
How has that process been for you?

291
00:28:02,647 --> 00:28:04,891
I love it. But I really think

292
00:28:04,916 --> 00:28:06,893
that NoSleep kind of
helped prep me for that

293
00:28:06,918 --> 00:28:08,887
because I had been writing on my own.

294
00:28:09,220 --> 00:28:10,363
And then finding NoSleep,

295
00:28:10,388 --> 00:28:12,265
there was a lot of collaborations,

296
00:28:12,290 --> 00:28:14,267
and projects, and fun things

297
00:28:14,292 --> 00:28:15,602
that you would do with other writers,

298
00:28:15,627 --> 00:28:18,196
so it wasn't too different
from a writers' room.

299
00:28:18,563 --> 00:28:21,074
But writing in a writers'
room is a lot of fun

300
00:28:21,099 --> 00:28:23,710
because you can... You
are free to throw out...

301
00:28:23,735 --> 00:28:26,513
Even if you have a crappy idea,
you can throw it out there,

302
00:28:26,538 --> 00:28:27,914
because people can kind of understand

303
00:28:27,939 --> 00:28:29,941
what you're getting at, and
then it develops from there.

304
00:28:30,341 --> 00:28:32,352
So, it's just a lot more

305
00:28:32,377 --> 00:28:36,214
brains' creativity going
into a story than just one.

306
00:28:36,781 --> 00:28:39,392
So, I mentioned earlier that
the story Betsy the Doll

307
00:28:39,417 --> 00:28:41,194
was written almost ten years ago,

308
00:28:41,219 --> 00:28:44,497
and it's been adapted a
number of different times.

309
00:28:44,522 --> 00:28:46,533
It's been on The NoSleep Podcast.

310
00:28:46,558 --> 00:28:48,334
I'm sure there are
other horror narrators

311
00:28:48,359 --> 00:28:49,469
who have done it.

312
00:28:49,494 --> 00:28:51,730
And now, it's been
brought to the screen.

313
00:28:52,130 --> 00:28:54,399
What is it that you think is...

314
00:28:54,933 --> 00:28:56,776
that has made this story so compelling?

315
00:28:56,801 --> 00:29:00,080
What is it that the audiences
have really kind of latched onto

316
00:29:00,105 --> 00:29:04,484
with this story, that people
want to perform it, express it,

317
00:29:04,509 --> 00:29:07,345
and that obviously people
enjoy consuming it?

318
00:29:09,347 --> 00:29:11,082
Yeah, you know, I think...

319
00:29:11,282 --> 00:29:13,059
I really think with Betsy with Doll,

320
00:29:13,084 --> 00:29:16,896
it's because people would have
been satisfied with a story

321
00:29:16,921 --> 00:29:19,390
about a haunted doll if
it was scary enough,

322
00:29:19,891 --> 00:29:22,202
but what they got was even worse.

323
00:29:22,227 --> 00:29:24,395
And I don't think, well, I hope,

324
00:29:24,729 --> 00:29:26,539
that a lot of people
didn't see that coming.

325
00:29:26,564 --> 00:29:30,343
So, it is a bit of a double-dip,
because you have a scary story

326
00:29:30,368 --> 00:29:33,079
about a haunted doll, and
then you have, you know,

327
00:29:33,104 --> 00:29:35,515
that you get to enjoy about,

328
00:29:35,540 --> 00:29:36,816
you know, the first and second act,

329
00:29:36,841 --> 00:29:38,051
and then the third act it's just

330
00:29:38,076 --> 00:29:41,554
a totally different
pivot that is kind of

331
00:29:41,579 --> 00:29:43,823
a different scary feeling
in your stomach.

332
00:29:43,848 --> 00:29:45,391
So, I think that's probably

333
00:29:45,416 --> 00:29:47,427
a lot of what Betsy the Doll is,

334
00:29:47,452 --> 00:29:50,155
is that it's kind of two things
that are twisted into one.

335
00:29:51,422 --> 00:29:53,700
Well, Rebecca, we thank
you for joining us today.

336
00:29:53,725 --> 00:29:56,069
Thank you for sharing
this great story with us,

337
00:29:56,094 --> 00:29:58,429
and we hope you love how it turns out,

338
00:29:58,997 --> 00:30:00,999
and continued success in the future.

339
00:30:01,566 --> 00:30:03,376
Thank you, David. It was
great to talk to you,

340
00:30:03,401 --> 00:30:06,713
great to be here, and to discuss
my favorite thing in the world,

341
00:30:06,738 --> 00:30:08,206
which is horror and twists.

342
00:30:08,807 --> 00:30:11,284
Thanks for joining us for
this exclusive interview

343
00:30:11,309 --> 00:30:12,877
with our NoSleep writers.

344
00:30:13,178 --> 00:30:15,580
We look forward to you
joining us next time.