Cassie McCullough

Yeah, it's not that long ago.

I make it sound like, you know, this is from 1742.

You know, they pick up various people on the way and there's something to do with parents trying to find their child.

It's got this kind of, it's again, it's actually revisiting that question of dedicating yourself to an ideal, to completely committing your life to reaching a particular end.

And what happens when that end turns out not to be what you expected or a complete anti-climax or disappointment, which is almost the question that is considered in Remains of the Day as well.

And what do you make of,

A, your life and B, the quest you have undertaken when the end point is just so crushingly disappointing, basically.

It's sort of stepped away from the absolute realism, I suppose, of the first four or five for the last three.

But I still find them oddly realist in their non-realism, if that makes sense.

And that's why I still find them so incredibly relatable.

Yeah, exactly.

It worked.

I was going to ask where you sit on that because that for me is actually one of my favorites because it's basically the castle by Kafka, right?

It's his take on that.

But you know what?

I'm in the minority.

I'm willing to concede.

You are.

I'm probably wrong.

Maybe I'm just rooting for the underdog, you know?