The Peanutbutter Solution (1985)

We dive right into The Peanut Butter Solution — a wonderfully bonkers 1985 kids’ fantasy where 11-year-old Michael loses all his hair after a spooky encounter, uses a ghost-given peanut-buttery potion that makes his hair grow out of control, and gets kidnapped by a sinister art teacher who wants to turn that magic hair into irresistible paintbrushes. We riff on the plot (yes, the peanut-butter recipe includes “five dead flies” — don’t try this at home), break down the family dynamics (absent mom, sister Susie filling the parental role), and point out how the villain’s brush-for-profit scheme turns the kid-friendly romp into something oddly dark. I explain a bit about production: it’s a Canadian Tales for All film shot with practical effects (no CGI), modest mid-’80s funding, and—fun fact—features a teen Celine Dion on the soundtrack doing one of her first English recordings. We also chat about the era: why 1985 felt culturally distinct (Live Aid, early AIDS awareness) and how that shapes the film’s tone, plus why the movie’s multicultural accents and low-budget charm give it cult status. Along the way we gush about the standout supporting players (Connie, the brave best friend; the surprisingly expressive dog), mock the wig moments, and share our takes on the climax and moral — kids using imagination and teamwork to outwit adults who’ve gone off the rails. Finally, if you liked this one, we toss you a couple of snack-tray recs (Little Monsters, The Witches) to keep the spooky-kid-movie vibe rolling. We dive headfirst into the gloriously weird world of The Peanut Butter Solution — and yes, we say 'we' because we were the two lunch-break renegades chomping through this one. We start off with our usual banter (shag carpet, AOL discs, Tom Hanks yelling about cash in podcasting — the classics), then rewind to 1985 and let the story unfold: eleven‑year‑old Michael gets scared by ghosts, loses his hair, and then follows a ghostly recipe that restores it… except he uses too much peanut butter. Hair grows out of control, the sinister art teacher (the Señor) smells profit and suddenly we’re in a bizarre kidnap-and-paintbrush business. We walk listeners through the plot beats — the wig gag, the midnight blender scene, the rope-to-tie-up-hair bits — and laugh at how many ways a children’s story can go sideways. We also break down why this movie still tickles our strange-film nerve: practical effects (no CGI — real wigs, puppetry, in-camera tricks), a low but clever Canadian budget, and the fact that it was filmed bilingually in Quebec. We highlight a couple of delightful curiosities — Celine Dion singing one of her first English songs for the soundtrack (yes, really), Skippy’s promotional cameo, and the odd multicultural chorus of kids chanting as Michael runs home. Along the way we toss in the human stuff: the family dynamics (a sister playing mom, an artist father), the vulnerability of kids, and how a film meant for kids crests into genuinely creepy territory when a teacher starts kidnapping children to make enchanted paintbrushes. We close with our takeaways: it’s bonkers, practical effects are charming, and if you like off‑kilter kids’ films, this one’s a culty treat. Takeaways: We walk listeners through the film’s wild plot: an 11‑year‑old loses his hair from a supernatural fright, uses a peanut‑butter concoction that makes it grow uncontrollably, and then a sinister art teacher exploits the hair to make irresistibly magical paintbrushes — hair‑raising, literally. I explain practical effects basics in plain terms: the movie relied on wigs, prosthetics, in‑camera tricks and physical props rather than CGI, which gives the film a tactile, handmade charm that modern effects often smooth away. We put the movie in 1985 context — Live Aid, Gorbachev, early AIDS awareness — to show how cultural moments shape storytelling and why some elements feel dated without that historical framing. I call out the family dynamics and character setup: Michael’s mom is absent, Susie fills a parental role, and those choices create vulnerability that fuels the plot and emotional stakes for child protagonists. We poke fun at eccentric production choices — many accents, reused wigs, chanting kids, and a creepy van-driving art teacher — but we also praise the earnestness and inventiveness behind a low‑budget Canadian production. I dig into the themes: exploitation of childhood creativity, commodification of talent (hair turned into brushes), and how fear and friendship become tools to both harm and rescue children. We offer viewing tips and extras: watch it as a kids’ fantasy with surprisingly dark edges, enjoy Celine Dion’s early English songs, appreciate the practical effects, and treat it as a charming, cult Canadian oddity. Companies mentioned in this episode: AOL Skippy Severin Films Nickelodeon National Film Board of Canada Stanford University Facebook Odysee Bluesky Yoplait Patty's Video Palace