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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey you welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is Joe McCormick. And today on Weird House Cinema,

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Speaker 3: we're going to be talking about the nineteen eighty four

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Speaker 3: sci fi horror thriller Night of the Comet. Should we

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Speaker 3: throw comedy in there as well? I mean it is

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Speaker 3: a funny movie overall, maybe sci fi horror comedy thriller,

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Speaker 3: Night of the Comment starring Katherine Mary Stewart, Kelly Moroney,

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Speaker 3: and Robert Beltran, Written and directed by Tom Everhart.

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Speaker 2: Yeah, I would say quirky eighties comedy. But even that,

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Speaker 2: you got to couch it appropriately. I don't know, because

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Speaker 2: that could that could mean different things as well. And

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Speaker 2: this film strikes just a unique balance. I feel like

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Speaker 2: it is. You know, it's funny, it's heartfelt, it has

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Speaker 2: some thrills in it. In a way, I would almost

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Speaker 2: say that the film is a little uneven in the

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Speaker 2: way that it kind of veers around the road a

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Speaker 2: little bit thematically and genre wise, but it doesn't do

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Speaker 2: so in a way that feels completely disorienting. It remains

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Speaker 2: true to its core throughout the whole way, but there

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Speaker 2: are moments that definitely feel more like a horror movie

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Speaker 2: than others, and ultimately end up landing in a really

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Speaker 2: lighthearted spot despite the apocalyptic ramifications of the realm.

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Speaker 3: Right right, So, this is a movie that multiple listeners

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Speaker 3: have requested we cover on the show over the past

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Speaker 3: few years. I don't remember how many times we've gotten

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Speaker 3: a Night of the Comment requests in email, but it's

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Speaker 3: come up a good bit and I'm really excited we

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Speaker 3: finally found an occasion to talk about it. As always,

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Speaker 3: we're going to be talking about the plot in some detail.

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Speaker 3: We might not do a scene by scene breakdown in

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Speaker 3: this one like we do with some films, and maybe

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Speaker 3: more of a rough sketch of the plot, but still

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Speaker 3: it will have extensive spoilers. So if you would like

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Speaker 3: to see the movie with no spoilers from us, you

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Speaker 3: should hop out here come back after you've seen it. Now,

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Speaker 3: if you've been keeping up with our movie selections over

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Speaker 3: the past few weeks, like Day of the Beast and

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Speaker 3: Santa Claus, the movie you might wonder is Night of

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Speaker 3: the Comet a Christmas movie? I would say medium, yes,

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Speaker 3: not one hundred percent, but medium, yes, sort of in

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Speaker 3: the blue sunshine zone. It isn't about Christmas, and I

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Speaker 3: don't recall if an on screen character ever says the

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Speaker 3: word Christmas, though I think the narrator does. But we

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Speaker 3: can tell from the set decoration that the story takes

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Speaker 3: place in the weeks before Christmas, and I think this

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Speaker 3: is actually a big part of what makes people come

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Speaker 3: back to this film over and over. So Night of

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Speaker 3: the Comet rough sketch. It tells the story of two

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Speaker 3: teenage sisters from the San Fernando Valley trying to deal

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Speaker 3: with a sudden, almost wrap sure like apocalyptic death and

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Speaker 3: disappearance of basically everyone on earth, which is caused by

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Speaker 3: the passage of a strange comet. And of course it

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Speaker 3: goes lots of weird places from here, involving zombies, department

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Speaker 3: store raiders, or I don't know, mall pirates. It's got

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Speaker 3: scientific conspiracies. We'll explore all of that later. But because

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Speaker 3: everyone in this movie has disappeared, that's sort of the

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Speaker 3: main premise. Many of the locations in the movie are

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Speaker 3: empty spaces, empty city streets and sidewalks throughout Los Angeles.

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Speaker 3: No cars, no people, empty houses, empty radio stations, empty

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Speaker 3: movie theaters, empty malls and shopping centers. And I don't

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Speaker 3: know exactly why, but this is something I personally always

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Speaker 3: find fascinating to look at in movies. It's one of

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Speaker 3: my favorite kind of things. Empty spaces that are usual,

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Speaker 3: that are the kinds of spaces that are usually full

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Speaker 3: of human activity, like city streets or places of business.

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Speaker 3: A lot of the most memorable sets and locations I

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Speaker 3: can think of in the movies are of this kind.

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Speaker 3: So movies that come to mind are like The Omega

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Speaker 3: Man or Escape from New York or Twenty eight Days Later.

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Speaker 3: You know, these all have very recognizable urban locations that

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Speaker 3: should be jammed with people, but instead they're totally desolate,

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Speaker 3: totally empty, and even on a less dramatically post apocalyptically

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Speaker 3: emptied note, I think throughout his catalog, John Carpenter has

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Speaker 3: a real eye for shots of empty places, empty locations

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Speaker 3: that create a simultaneously creepy and alluring feeling, at least

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Speaker 3: for me.

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Speaker 2: Oh absolutely yeah. I'd put in the Mouth of Madness

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Speaker 2: up there as well. As another great example from his

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Speaker 2: filmography that makes use of depopulated areas and outside of

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Speaker 2: Carpenter's filmography, and pointing to contemporary television, I'll point once

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Speaker 2: more to the excellent Pluribus television series.

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Speaker 3: But yeah, Night of the Comet has this quality as well.

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Speaker 3: But it has these like, you know, empty spaces, but

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Speaker 3: with the I believe exquisite twist that a lot of

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Speaker 3: these empty barren spaces, both indoors and outdoors across LA

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Speaker 3: are decorated for Christmas. And I think this accentuates both

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Speaker 3: the creepiness and the coziness of the setting. And it's

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Speaker 3: that nice contradictory duality that makes the setting so interesting

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Speaker 3: and unusual and fun. What do you think about that, Rob, Yeah?

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Speaker 2: Yeah, I mean much can be said about the Christmas

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Speaker 2: layer being added to any film. You know, there are

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Speaker 2: numerous examples of this with you know, I guess like

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Speaker 2: Diehard is one of the big ones, right where not

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Speaker 2: a Christmas movie, but Christmas things going on in the background,

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Speaker 2: a little bit of Christmas dressing, and you know, by

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Speaker 2: doing that, you can't help but create some new ideas

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Speaker 2: out of you know, at least sort of vague back

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Speaker 2: of your mind, ideas about what the import of various

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Speaker 2: scenes and plot elements are.

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Speaker 3: Yeah. Yeah, So I think that the Christmas setting really

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Speaker 3: helps in that regard. I think the Christmas setting also

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Speaker 3: contributes to the fact that so many people regard Knight

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Speaker 3: of the Comment as a comfort film, which is a

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Speaker 3: weird thing about it. If you go reading, you know,

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Speaker 3: like user reviews of this, you'll find all over people

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Speaker 3: saying like, this is my comfort movie. I watch this

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Speaker 3: every year, or I put it on too fall asleep.

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Speaker 3: You know, people find it comforting despite the fact that

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Speaker 3: it is a story about the sudden annihilation of nearly

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Speaker 3: all of humankind, plus gross zombies, lots of murder and

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Speaker 3: you know, evil conspiracies and needles and all kinds.

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Speaker 2: Of actual threats, Like, yeah, there's actual peril in this film,

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Speaker 2: so terrible stuff.

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Speaker 3: Yeah, but I.

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Speaker 2: Agree, it does have a comfy vibe to it. I've

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Speaker 2: always seen it, you know, the one time. But I

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Speaker 2: can see why people keep coming back to this one.

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Speaker 2: I can see why people like it at Christmas as well.

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Speaker 2: Like i'd kind of you'd mentioned that it was a

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Speaker 2: Christmas movie. I'd kind of forgotten about it. About this

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Speaker 2: the detail. I've gone into video drome here in Atlanta

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Speaker 2: to rent it and I couldn't find it. I kept

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Speaker 2: finding all the other Night of the Blank movies and

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Speaker 2: I was like, where do y'all have a Night of

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Speaker 2: the comment? They're like, oh Christmas section. So yeah, it's

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Speaker 2: a Christmas movie. Nice, but you know there is going

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Speaker 2: to be nice thematic use of Christmas prophecy and apocalypse,

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Speaker 2: at least in the opening of the film. And I

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Speaker 2: think if we dig deeper, we have to realize that

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Speaker 2: winter seasonal rituals and celebrations are often about an apocalypse,

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Speaker 2: like they are about the apocalypse of winter and the

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Speaker 2: hope that we will re emerge from this apocalypse. On

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Speaker 2: the other side.

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Speaker 3: Yeah, though very different to have it set at Christmas

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Speaker 3: in La in that regard, because it doesn't look it

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Speaker 3: doesn't look cold, you know, the weather seems to be nice.

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Speaker 2: Yeah, yeah, yeah. The La Christmas background for a film

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Speaker 2: is like almost like a subcategory onto itself, isn't it.

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Speaker 3: It's like Lethal Weapon or something in that set around Christmas.

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Speaker 3: I feel like it is.

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Speaker 2: I believe you when you say it. I don't think

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Speaker 2: I've ever actually watched Lethal Weapon.

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Speaker 3: But I want to talk about another major reason that

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Speaker 3: I think people regard this as a comfort movie despite

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Speaker 3: all the horrific subject matter, and that is the fact

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Speaker 3: that on a character level, you could say neither of

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Speaker 3: the comet is really very tenderhearted. At its core, there

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Speaker 3: is a realistically sometimes fraud and petty, but also funny

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Speaker 3: and genuinely loving relationship between the main two characters. Again,

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Speaker 3: these are the sisters, Regina played by Catherine Mary Stewart

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Speaker 3: and Samantha played by Kelly Moroney. So, yes, you know

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Speaker 3: we're we're in a story dealing with like space dust,

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Speaker 3: zombies and people in helicopters with questionable injections. But really

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Speaker 3: the movie is about these two sisters being real teenagers

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Speaker 3: with their own kinds of selfishness and attitude, but also

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Speaker 3: looking out for each other and really rising to the

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Speaker 3: occasion to protect the bonds of family.

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Speaker 2: Yeah, this is a great sibling duo. Sometimes we watch

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Speaker 2: movies where we have to ask ourselves, are these two siblings?

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Speaker 2: Is this a brother and sister? We don't know. It's

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Speaker 2: not really that well developed. It is the core of

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Speaker 2: this movie, these two sisters, these two performances, the relationship

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Speaker 2: that they have on screen. It's holding everything up. It's

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Speaker 2: the reason that people keep coming back to this film,

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Speaker 2: I guarantee.

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Speaker 3: Though I also don't want to oversell it in that

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Speaker 3: direction because the way I just said it, I agree

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Speaker 3: with what I just said, but that could be taken

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Speaker 3: in a way that makes it sound too sentimental and serious.

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Speaker 3: It's not, like, mainly this movie is funny and it

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Speaker 3: does not feel sentimental. It has a weird, somewhat dark

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Speaker 3: sense of humor, and that irony is not just in

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Speaker 3: like specific dialogue exchanges, like the sisters do have funny

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Speaker 3: dialogue exchanges with each other, so that there is humor

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Speaker 3: in the dialogue, but it's not just there. The irony

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Speaker 3: runs through the whole story, from like the baseline baseline

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Speaker 3: concept to the texture of individual scenes.

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Speaker 2: Yeah. Yeah, And I also want to stress that, like,

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Speaker 2: there will be plenty of moments that reminds you that, yes,

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Speaker 2: I am watching a genre film. I am watching a

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Speaker 2: lower budget production here, but in all the admirable ways.

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Speaker 2: You know, it's gonna be a little crunchy in places,

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Speaker 2: but in the best way possible. Yeah, you feel like

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Speaker 2: they're human hands have made the thing that you're watching.

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Speaker 2: But yeah, I agree, it does have some very emotional moments,

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Speaker 2: So we'll come back to some of these later on.

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Speaker 2: But there's something about the balance of sentiment. This seems

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Speaker 2: to feel for a film that sets out on some

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Speaker 2: level to tell an apocalypse story focused on a particular

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Speaker 2: teenage worldview, which which I'm to understand, is something that

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Speaker 2: the filmmakers looked into, like asking teenagers their thoughts about

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Speaker 2: the idea of apocalypse and the end of the world

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Speaker 2: and really trying to sort of get in their headspace,

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Speaker 2: because as we've covered on stuff to blow your mind before,

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Speaker 2: and you know, maybe we should cover again, Like, there's

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Speaker 2: a lot of studies out there about how the teenage

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Speaker 2: brain works, you know, how teenagers are wired to sort

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Speaker 2: of make sense of the world around them and what

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Speaker 2: sort of values they put on different things, and I

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Speaker 2: feel like that texture is seemingly well represented in this film,

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Speaker 2: again for the type of film that it is not

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Speaker 2: a deep psychological study of what it is to be

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Speaker 2: a teenager, but a more lighthearted affair, a more humble affair.

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Speaker 3: Yeah, I agree. I think Regina and Samantha here are

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Speaker 3: also very interesting characters in the ways that they subvert

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Speaker 3: simultaneously a couple of different relevant stereotypes that you would

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Speaker 3: see in culture and in especially in movies of this

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Speaker 3: type from this time period. So the first one I

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Speaker 3: want to mention is like a broader cultural stereotype, and

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Speaker 3: that's the valley girl. You know. The valley girl stereotype

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Speaker 3: from what I've been reading, emerged in like the late

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Speaker 3: seventies early eighties. In fact, just the year before Night

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Speaker 3: of the Comet there had been a romantic comedy film

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Speaker 3: called Valley Girls came out in eighty three, starring Nicholas

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Speaker 3: Cage and Deborah Foreman. I noticed that this movie has

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Speaker 3: a lot of like cast and crew overlap with Night

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Speaker 3: of the Comet. I'm not sure why, but valley girl

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Speaker 3: caricatures were all over the movies of like the mid

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Speaker 3: eighties through the mid nineties.

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Speaker 2: It makes sense to take whatever was popular the year

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Speaker 2: before and add zombies andro apocalypse to it and produce

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Speaker 2: something new. Except in this case, they did a really

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Speaker 2: nice job of help.

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Speaker 3: Yeah, inverting some of the features of the stereotype in

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Speaker 3: interesting ways. Like most people probably already know what a

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Speaker 3: valley girl is, but just in case you don't, you know,

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Speaker 3: the stereotypical valley girl is an upper middle class girl

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Speaker 3: or young woman from southern California, generally from the San

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Speaker 3: Fernando Valley of LA who has certain characteristic speech patterns,

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Speaker 3: using like as an interjection and speaking in uptalk, and

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Speaker 3: so valley girls talk like this, and they're almost always

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Speaker 3: characterized with overwhelmingly negative personality traits. They're characterized as dumb,

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Speaker 3: ditsy or vapid, as unseerious, superficial and materialistic, as incompetent

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Speaker 3: at any real world skills, as obsessed with physical appearance, money, fashion,

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Speaker 3: and cute boys, and as selfish and thoughtless.

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Speaker 2: Yeah, they are often objectified physically. They generally in films,

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Speaker 2: sometimes especially in the horror films, they are victimized and

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Speaker 2: made the victims of some sort of a killer right,

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Speaker 2: and in general not given a lot of depth.

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Speaker 3: The way that the main two sisters in this movie

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Speaker 3: interact with the stereotype is very interesting because in a

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Speaker 3: lot of ways, at the surface level, Regina and Samantha

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Speaker 3: do match the type. They are clearly rendered as valley girls.

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Speaker 3: They are flippant in a way that can come off

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Speaker 3: as unseerious. They are very interested in fashion and clothes

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Speaker 3: and in dating Samantha especially. They can be selfish at times,

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Speaker 3: but then again, everybody can be selfish at times, and

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Speaker 3: so the interesting thing is that while at that level

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Speaker 3: of focus they are valley girls. We come to see

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Speaker 3: that they just don't match a lot of these negative

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Speaker 3: characterizations in more or important ways. Reggie and Sam are

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Speaker 3: not dumb or ditsy at all. They're actually pretty clever

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Speaker 3: and witty. They're not incompetent. They're actually quite resourceful and

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Speaker 3: in fact well trained in the use of submachine guns.

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Speaker 3: And though they are flippant about things, this is something

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Speaker 3: you see with valley girls in the movies all the time,

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Speaker 3: the whatever quality, you know, whatever, I don't care about that,

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Speaker 3: you know, it's usually portrayed as a kind of unseeriousness

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Speaker 3: about life. I don't think Reggie and Sam are unseerious.

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Speaker 3: I think their flippancy comes off more as a kind

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Speaker 3: of weary wisdom and a strategy for coping with the

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Speaker 3: difficulties of life. Like they have faced some hardship, not

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Speaker 3: so much material hardship in their lives, because they come

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Speaker 3: from a rather materially comfortable situation, but you know, they

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Speaker 3: face a hard family life, and so they have a

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Speaker 3: kind of I don't know, a distance and a wisdom

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Speaker 3: about them, and that in the end feels more like

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Speaker 3: what feeds their flippancy than just like a lack of

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Speaker 3: ability to appreciate what matters in life, because at the

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Speaker 3: end of the story they do appreciate what matters. So anyway,

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Speaker 3: I think very interesting variation on this character type. They

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Speaker 3: are clearly valley girls, but they're tough, smart valley girls

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Speaker 3: who can in a small way, save the world. There's

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Speaker 3: another stereotype they defy, which is less broadly cultural and

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Speaker 3: more specific to genre films. They really defy the trend

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Speaker 3: of how young women are portrayed in horror movies of

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Speaker 3: the eighties, and in this sense that the violation of

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Speaker 3: the trend is clearer. You know, in horror movies of

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Speaker 3: the eighties you can observe this pretty dominant pattern. Young

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Speaker 3: women who survive the dangers of the movie and who

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Speaker 3: are supposed to be likable are usually somewhat reserved passive

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Speaker 3: rule followers, the classic final girl from much film criticism.

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Speaker 3: In these movies, young women who are assertive, brash, active,

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Speaker 3: and rebellious are more often supposed to be unlikable and

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Speaker 3: are punished with death. It's the classic sexist moral double

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Speaker 3: standard of slasher films. Night of the comment, I think

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Speaker 3: is one of the exceptions to this trend. Reggie and

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Speaker 3: Sam are both assertive. They've got real mean kind of attitude.

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Speaker 3: They are rule breakers who raise hell, and they are

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Speaker 3: clearly supposed to be quite likable, and they survive the

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Speaker 3: horrors in the end.

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Speaker 2: Yeah. I really like this about the film, and this

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Speaker 2: is something that in watching it you kind of just

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Speaker 2: sort of gradually pick up on. But I thought it

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Speaker 2: was a rather sex positive film, which I think is

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Speaker 2: worth stating for again, a movie with zombies in it

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Speaker 2: from the nineteen eighties that features two valley girl characters.

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Speaker 2: Like we learned through various little tidbits and scenes that

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Speaker 2: like Reggie has a sex life and has a sexual history,

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Speaker 2: and it is treated just very casually. It is not

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Speaker 2: like the major focus of the picture it is. There's

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Speaker 2: not like judgment brought down upon her because of it.

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Speaker 2: It is just part of the texture of her character,

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Speaker 2: which again is not something you see in the stereotypical

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Speaker 2: valley girl or even you know, sexually active female character

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Speaker 2: in so many horror or horror related pictures of this

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Speaker 2: time period.

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Speaker 3: Yeah, the movie is centered around a great couple of

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Speaker 3: main characters who are just very different than what I'm

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Speaker 3: used to seeing from movies of this time and place.

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Speaker 3: They might be more familiar to you know, younger audiences

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Speaker 3: who might have grown up with more recent films that

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Speaker 3: have more characters like this but there, but they feel

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Speaker 3: great in this early eighties context.

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Speaker 2: Yeah, yeah, I would absolutely agree. Yeah, I'm glad that

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Speaker 2: you picked this movie gave me a chance to finally

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Speaker 2: watch it. It's a film that I've heard about for years,

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Speaker 2: and I knew that it was very well regarded. My

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Speaker 2: wife had seen it and has mentioned before, Oh, that's

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Speaker 2: a fun film. That's a fun film. And I think

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Speaker 2: there are two main reasons I had never sought it

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Speaker 2: out before and never actually sat down and watched it.

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Speaker 2: I think one is that it is a Night of

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Speaker 2: the blank movie, and there are so many of them,

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Speaker 2: you know, Night of the Hunter, Night of the Creeps,

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Speaker 2: And I think in particular, I would kind of confuse

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Speaker 2: it with Night of the Creeps, and I would be like, oh,

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Speaker 2: Night of the Comet, I saw that, but I would

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Speaker 2: be thinking about Night of the Creeps, so you can

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Speaker 2: kind of lose track of which night of the film

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Speaker 2: you have seen.

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Speaker 3: Night of the Creeps also scrappy and fun.

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Speaker 2: Yeah, Yeah, that's a good one, Like I was thinking,

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Speaker 2: if we were to say in twenty twenty six, we

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Speaker 2: will only watch movies that are Night of the Blank,

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Speaker 2: we would eat pretty well at least for a while. Yeah,

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Speaker 2: But I think the other big reason why I had

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Speaker 2: never seen it is, you know, this is a well

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Speaker 2: made film that has a lot of fun with genre

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Speaker 2: staples and pop culture quirkiness. It's stylish, it's funny, but

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Speaker 2: its main strength is those two characters, Reggie and Samantha,

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Speaker 2: and they're the system highlight, but not always in ways

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Speaker 2: that can easily be summarized with say a gift or

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Speaker 2: even a clip.

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Speaker 3: It's I don't know.

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Speaker 2: It's a film that stands on its complete cinematic experience

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Speaker 2: and lives in people's hearts almost more as a feeling.

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Speaker 2: I think, you know, yeah, I guess part of it

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Speaker 2: comes down to the way the film is promoted. Like

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Speaker 2: you look at its original trailer, it's original poster, and

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Speaker 2: I love its original poster. I love some of the

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Speaker 2: more recent posters people have done on some of the

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Speaker 2: re releases and so forth, but even the really good

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Speaker 2: ones don't necessarily capture what the film is, and it's

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Speaker 2: maybe just a little harder to lass, so what works

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Speaker 2: about it and then sell it to someone. So even

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Speaker 2: the people over the years who had told me like, hey,

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Speaker 2: it's a really good film, you should check it out,

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Speaker 2: I don't know, one struggles to make a really impassioned

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Speaker 2: argument for it. I don't know.

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Speaker 3: Yeah, I mean, I guess the surprise of the film

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Speaker 3: in some ways can't be embodied in an image, because

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Speaker 3: part of what the movie is is, let's I would

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Speaker 3: show you a picture of a couple of characters within

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Speaker 3: a setting, and then the surprise of the movie is

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Speaker 3: you would watch it and discover these characters aren't quite

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Speaker 3: what you assumed they would be.

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Speaker 2: Right, right, Yeah, coming back to the subversion that we

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Speaker 2: were talking about earlier. Yeah, Now, I think you're about

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Speaker 2: to get into another aspect about it, and that is

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Speaker 2: that we're talking about a film that is a cult favorite.

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Speaker 2: And we've talked about cults in the ancient sense on

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Speaker 2: the show before, and cults involve a certain amount of initiation.

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Speaker 3: Right ah, yeah, Yeah, the secret rights and you know what, Yeah,

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Speaker 3: there are a few secrets at least involved in the

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Speaker 3: making of this film. Secrets in the sense of like

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Speaker 3: tricks to pull it off with what limited resources they have.

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Speaker 3: So this movie, yeah, as you were just alluding to,

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Speaker 3: it's sort of the very definition of a cult classic.

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Speaker 3: It is a scrappy, low budget production made for only

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Speaker 3: about seven hundred thousand dollars. It grows millions, you know,

383
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Speaker 3: So it did wildly better than its budget, and it

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Speaker 3: in up punching way above its weight on the basis

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Speaker 3: of great fundamentals like just a strong script, great performances

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Speaker 3: from the main cast, and a lot of clever filmmaking

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00:22:12,960 --> 00:22:16,919
Speaker 3: tricks to get shots and locations and certain scenes on

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Speaker 3: the cheap. In fact, I was reading about some of

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Speaker 3: these tricks in a twenty twenty four article for Nerdice

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Speaker 3: by Audrey Fox called the Fascinating history and horror legacy

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Speaker 3: of Night of the Comet. One example is, I don't

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Speaker 3: think I would have thought of this, But how do

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Speaker 3: they get all these shots of empty La streets? You

394
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Speaker 3: know that's going to be expensive to do well. The

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Speaker 3: production absolutely did not have budget to shut down the

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Speaker 3: streets of La for filming. That does cost a lot.

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Speaker 3: So instead they did it you know what people sometimes

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Speaker 3: call more guerrilla style filmmaking. They just shot at when

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Speaker 3: and how they could, and they got a lot of

400
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Speaker 3: these empty exterior shots of la first thing on Christmas

401
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Speaker 3: morning when the streets were just empty organically, and so

402
00:23:04,920 --> 00:23:07,399
Speaker 3: they got some stuff that way other stuff. They're just

403
00:23:07,560 --> 00:23:11,600
Speaker 3: very opportunistically looking for chances to get good shots, like

404
00:23:11,600 --> 00:23:15,560
Speaker 3: there was apparently one sunset shot featured in the movie

405
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Speaker 3: that they the director, or I think maybe the director

406
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Speaker 3: of photography just like got out of his hotel window

407
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Speaker 3: one morning. Another thing that I thought was fun was

408
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Speaker 3: reading about how the creators wanted to have pop music

409
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Speaker 3: on the soundtrack because that would match the Valley Girl theme.

410
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Speaker 3: But of course they couldn't afford to license all of

411
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Speaker 3: these actual huge pop hits, you know, they can't get

412
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Speaker 3: Banana Rama and Minute Work and the Culture Club. So

413
00:23:42,680 --> 00:23:47,800
Speaker 3: music supervisor Don Perry coordinated the production of original tracks

414
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Speaker 3: for the movie, which sound like they would be pop

415
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Speaker 3: hits of the early eighties, but I guess most of

416
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Speaker 3: them were original songs. There's also one very important use

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Speaker 3: of Cyndi Lauper's Girl Just Want to Have Fun, But

418
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Speaker 3: apparently to save money, they used a cover, not the

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Speaker 3: original recording, but it sounds close enough that I didn't

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Speaker 3: realize it was a cover while watching the movie. I

421
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Speaker 3: thought it was the real thing.

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Speaker 2: Yeah, yeah, same. I had to pick up on that later.

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00:24:13,880 --> 00:24:17,159
Speaker 2: But but yeah, this is a great point. You know,

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Speaker 2: it reminds me that this is you can see the

425
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Speaker 2: fingerprints of this film where I don't know, you can

426
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Speaker 2: see the genetic legacy of this film and things like

427
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Speaker 2: Stranger Things.

428
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Speaker 3: Yeah.

429
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Speaker 2: Stranger Things, though, is a project with the budget to

430
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Speaker 2: actually license every song, seemingly every song they could possibly want.

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Speaker 3: Let's just throw a Master of Puppets in there.

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Speaker 2: Yeah, yeah, it's no big deal that any eighties song

433
00:24:39,200 --> 00:24:41,080
Speaker 2: you could possibly want. I don't know, maybe there's something

434
00:24:41,119 --> 00:24:43,000
Speaker 2: they couldn't and maybe there was something they couldn't afford,

435
00:24:43,040 --> 00:24:47,840
Speaker 2: but it seems like they had limitless possibilities at their disposal.

436
00:24:47,880 --> 00:24:49,879
Speaker 2: But yeah, here they had to be a little a

437
00:24:50,000 --> 00:24:54,000
Speaker 2: little little more savvy, but they totally pulled it off.

438
00:24:54,040 --> 00:24:57,520
Speaker 2: They were still able to via the music of the film,

439
00:24:57,600 --> 00:25:02,240
Speaker 2: both its score and it's sort of needle drop soundtrack,

440
00:25:02,800 --> 00:25:07,040
Speaker 2: they were able to really capture like the cultural reality

441
00:25:07,040 --> 00:25:08,320
Speaker 2: of the world they're trying to portray.

442
00:25:08,680 --> 00:25:10,200
Speaker 3: Yeah, all right.

443
00:25:10,680 --> 00:25:13,159
Speaker 2: You know, we generally talk about elevator pitches here and

444
00:25:13,160 --> 00:25:16,879
Speaker 2: then we do the trailer. I had to pick up

445
00:25:16,880 --> 00:25:19,119
Speaker 2: on the fact that the narration in the trailer for

446
00:25:19,160 --> 00:25:22,240
Speaker 2: this film is provided by the voice of God Don

447
00:25:22,359 --> 00:25:25,360
Speaker 2: la Fontaine, and at one point he says the night

448
00:25:25,480 --> 00:25:30,000
Speaker 2: the teenagers ruled the world, which is not a great

449
00:25:30,040 --> 00:25:31,800
Speaker 2: pitch for the movie that we get and kind of

450
00:25:31,800 --> 00:25:33,879
Speaker 2: ties into what I was saying earlier about, like, how

451
00:25:33,920 --> 00:25:36,240
Speaker 2: do you sell people on night of the comet? You

452
00:25:36,280 --> 00:25:38,639
Speaker 2: can say the night that the teenagers ruled the world.

453
00:25:39,400 --> 00:25:41,679
Speaker 2: It sounds impressive, It sounds like that might get butts

454
00:25:41,680 --> 00:25:43,679
Speaker 2: in seats, But that really has nothing to do with

455
00:25:43,720 --> 00:25:44,119
Speaker 2: the movie.

456
00:25:45,200 --> 00:25:47,520
Speaker 3: Well, yeah, first of all, because it's not just a night, right,

457
00:25:47,560 --> 00:25:49,679
Speaker 3: the teenagers are ruling the whole world from now on.

458
00:25:49,760 --> 00:25:51,840
Speaker 2: It seems to like, yeah, it seems to be. However

459
00:25:51,880 --> 00:25:54,840
Speaker 2: many there are left. Yeah, But anyway, and that note,

460
00:25:54,880 --> 00:25:56,240
Speaker 2: let's go ahead and listen to a little bit of

461
00:25:56,240 --> 00:26:09,000
Speaker 2: this trailer. This one's a really good one.

462
00:26:11,960 --> 00:26:14,439
Speaker 3: Did you ever wonder what it would be like to

463
00:26:14,520 --> 00:26:19,879
Speaker 3: be one of the last people on earth? Would you

464
00:26:19,960 --> 00:26:25,239
Speaker 3: see there's nobody, I mean, there's nobody. What would you do? Hey,

465
00:26:25,280 --> 00:26:26,639
Speaker 3: I'm sorry, at the end of the world makes me

466
00:26:26,640 --> 00:26:29,560
Speaker 3: a little nervous. Where would you go?

467
00:26:30,280 --> 00:26:31,080
Speaker 4: The story?

468
00:26:32,920 --> 00:26:35,639
Speaker 2: We'll get ready to find out because the comedy is

469
00:26:35,640 --> 00:26:37,160
Speaker 2: coming into your orbit.

470
00:26:37,680 --> 00:26:39,480
Speaker 3: The legal drinking age is now ten.

471
00:26:41,280 --> 00:26:45,399
Speaker 1: Lead I d let's be real, it's the Night of

472
00:26:45,440 --> 00:26:46,639
Speaker 1: the Comet.

473
00:26:46,640 --> 00:26:47,760
Speaker 4: Get me if I come back.

474
00:26:50,920 --> 00:26:52,000
Speaker 3: Night of the Comet.

475
00:26:52,600 --> 00:26:55,600
Speaker 4: I'm taking request from all you teenage comic zombies.

476
00:26:55,520 --> 00:27:00,320
Speaker 3: The night the teenagers ruled the world. Yeah, Night of

477
00:27:00,440 --> 00:27:01,360
Speaker 3: the Comics.

478
00:27:02,200 --> 00:27:19,240
Speaker 4: Regarding civilization is honest fiction, isn't it? All?

479
00:27:19,400 --> 00:27:22,840
Speaker 2: Right? Well, we forgot to mention where you can watch this.

480
00:27:23,320 --> 00:27:26,840
Speaker 2: It's pretty readibly readily available, at least when it comes

481
00:27:26,880 --> 00:27:31,000
Speaker 2: to physical media. There have been multiple really great releases

482
00:27:31,040 --> 00:27:34,080
Speaker 2: of this. When I looked around for any kind of

483
00:27:34,119 --> 00:27:38,440
Speaker 2: like faster digital method, I was coming up empty personally,

484
00:27:38,520 --> 00:27:40,399
Speaker 2: but those things change months to months. But there have

485
00:27:40,440 --> 00:27:43,000
Speaker 2: been a number of great releases. And again I rented

486
00:27:43,160 --> 00:27:45,280
Speaker 2: this on Blu Ray from Video Drum here in Atlanta.

487
00:27:45,680 --> 00:27:48,080
Speaker 3: You can stream it if you've got MGM plus I

488
00:27:48,119 --> 00:27:48,800
Speaker 3: think right now.

489
00:27:48,760 --> 00:27:51,760
Speaker 2: Okay, yeah, there's it's amaze.

490
00:27:52,840 --> 00:27:54,240
Speaker 3: Too many services now, yeah.

491
00:27:54,280 --> 00:27:56,520
Speaker 2: Yeah. Generally, oftentimes I can go on letterbox and I

492
00:27:56,560 --> 00:27:58,360
Speaker 2: can use that little feature to see like where can

493
00:27:58,359 --> 00:28:02,359
Speaker 2: I watch this, and half the time that will actually

494
00:28:02,359 --> 00:28:04,960
Speaker 2: help me out more than half the time. But sometimes

495
00:28:05,200 --> 00:28:07,160
Speaker 2: there's some option that I don't have clicked, I guess,

496
00:28:07,160 --> 00:28:08,119
Speaker 2: and I just can't find it.

497
00:28:08,320 --> 00:28:11,160
Speaker 3: Yeah. Of course this may no longer be the case

498
00:28:11,200 --> 00:28:13,160
Speaker 3: by the time you hear this episode.

499
00:28:12,920 --> 00:28:23,000
Speaker 2: Right, or it could be everywhere. Who knows. All right,

500
00:28:23,119 --> 00:28:25,080
Speaker 2: let's go ahead and get into the people behind this film.

501
00:28:25,119 --> 00:28:28,080
Speaker 2: We mentioned Tom Eberheart Earlier born nineteen forty seven, the

502
00:28:28,160 --> 00:28:32,760
Speaker 2: director and the writer here, American filmmaker whose first credited

503
00:28:32,800 --> 00:28:36,320
Speaker 2: work is a nineteen seventy eight educational stranger danger short

504
00:28:36,440 --> 00:28:41,120
Speaker 2: titled better Safe Than Sorry. I don't think I've seen.

505
00:28:40,960 --> 00:28:43,680
Speaker 3: That one, but I probably not his best work.

506
00:28:43,920 --> 00:28:46,320
Speaker 2: Probably not. I mean, you know, it's just how he

507
00:28:46,400 --> 00:28:49,640
Speaker 2: was getting started. But his first full length film followed.

508
00:28:49,640 --> 00:28:52,440
Speaker 2: It was nineteen eighty four Sole Survivor, about a woman

509
00:28:52,480 --> 00:28:55,560
Speaker 2: who cheats death and then death sends zombies after her.

510
00:28:57,560 --> 00:28:59,480
Speaker 2: I saw some people seem to not like it. Some

511
00:28:59,480 --> 00:29:01,800
Speaker 2: people it's pretty good, So I don't know. You can

512
00:29:01,840 --> 00:29:05,280
Speaker 2: see connections between that and this, And to a certain extent.

513
00:29:05,280 --> 00:29:09,440
Speaker 3: It sounds like a more personified danger form of final

514
00:29:09,480 --> 00:29:13,240
Speaker 3: destination instead of just like bad luck coming. Yeah, yeah,

515
00:29:13,560 --> 00:29:16,160
Speaker 3: to get you. It's like literal zombies. Yeah.

516
00:29:16,240 --> 00:29:18,680
Speaker 2: Yeah, that's my understanding, but I have not seen it.

517
00:29:19,240 --> 00:29:23,440
Speaker 2: I think it deaths in zombies after so Night of

518
00:29:23,480 --> 00:29:26,520
Speaker 2: the Comment was his follow up to that film, and

519
00:29:26,600 --> 00:29:28,480
Speaker 2: the success of Night of the Comet led to a

520
00:29:28,520 --> 00:29:31,959
Speaker 2: string of generally comedy films that he's doing. I mean,

521
00:29:31,960 --> 00:29:35,360
Speaker 2: I guess they maybe bleed over in other subgenres as well.

522
00:29:35,360 --> 00:29:39,320
Speaker 2: But you have nineteen eighty eights The Night Before that

523
00:29:39,400 --> 00:29:42,440
Speaker 2: has Keanu Reeves in it, nineteen eighty eight's Without a

524
00:29:42,480 --> 00:29:45,320
Speaker 2: Clue that is a Sherlock Holmes movie in which Watson

525
00:29:45,520 --> 00:29:49,280
Speaker 2: is the real detective behind a drunken Sherlock Holmes, with

526
00:29:49,400 --> 00:29:54,240
Speaker 2: Michael Kaine's playing Homes and Ben Kingsley playing Watson, which

527
00:29:54,280 --> 00:29:56,920
Speaker 2: is interesting because I think I may have seen this

528
00:29:57,080 --> 00:29:59,320
Speaker 2: ages ago and just have like zero memories of it.

529
00:29:59,400 --> 00:30:02,240
Speaker 2: But the casting there, you could imagine it being flipped

530
00:30:02,280 --> 00:30:05,560
Speaker 2: either way, Like Michael Caine and Ben Kingsley are eat

531
00:30:05,840 --> 00:30:10,200
Speaker 2: each more than capable of playing either the straight man

532
00:30:10,480 --> 00:30:14,160
Speaker 2: or the goofy character in this duo.

533
00:30:14,320 --> 00:30:15,240
Speaker 3: So I like it.

534
00:30:15,880 --> 00:30:17,800
Speaker 2: Oh, and then Paul Freeman is in that as Moriarty,

535
00:30:17,840 --> 00:30:20,239
Speaker 2: so it's a really good looking cast. Let's see. Other

536
00:30:20,280 --> 00:30:24,680
Speaker 2: pictures include eighty nine's Gross Anatomy with Matthew Modine, ninety

537
00:30:24,680 --> 00:30:27,840
Speaker 2: two's Captain Ron with Kurt Russell and Martin Short, and

538
00:30:27,920 --> 00:30:30,200
Speaker 2: some TV work followed as well. He also wrote the

539
00:30:30,280 --> 00:30:32,520
Speaker 2: nineteen ninety one movie All I Want for Christmas, and

540
00:30:32,560 --> 00:30:34,680
Speaker 2: he was one of the screenwriters on Honey, I Blew

541
00:30:34,760 --> 00:30:36,320
Speaker 2: Up the Kids in ninety two.

542
00:30:36,720 --> 00:30:38,640
Speaker 3: I think he just blew up one kid?

543
00:30:38,800 --> 00:30:39,600
Speaker 2: Was it just one kid?

544
00:30:39,800 --> 00:30:40,360
Speaker 3: Just one kid?

545
00:30:40,600 --> 00:30:42,520
Speaker 2: Honey I blew Up the Kid? And then if they

546
00:30:42,520 --> 00:30:45,000
Speaker 2: were to do an Alien style sequel, it would be Honey,

547
00:30:45,080 --> 00:30:47,440
Speaker 2: I Blew Up the Kids, and then that would have

548
00:30:47,440 --> 00:30:49,960
Speaker 2: been followed by Honey, I Blew Up even more Children.

549
00:30:51,200 --> 00:30:53,959
Speaker 2: I don't think the franchise went that far. All right,

550
00:30:54,080 --> 00:30:57,520
Speaker 2: let's let's talk about the actors here. We're gonna take

551
00:30:57,560 --> 00:31:00,320
Speaker 2: things in a different order than their build because because

552
00:31:00,320 --> 00:31:03,800
Speaker 2: as we've been saying, it's really the story of Reggie

553
00:31:03,840 --> 00:31:08,080
Speaker 2: and Samantha and Reggie. Regina Belmont is played by Catherine

554
00:31:08,080 --> 00:31:12,480
Speaker 2: Mary Stewart, Canadian actress who we've discussed on the show

555
00:31:12,520 --> 00:31:16,600
Speaker 2: before because her first big break was nineteen eighties The Apple,

556
00:31:17,160 --> 00:31:19,200
Speaker 2: in which she played Beebe. Do you remember Bebee?

557
00:31:19,280 --> 00:31:21,840
Speaker 3: I think she's like the main girl and she there's

558
00:31:21,920 --> 00:31:23,880
Speaker 3: like the boy and the girl and they become stars,

559
00:31:23,880 --> 00:31:24,120
Speaker 3: and she.

560
00:31:24,640 --> 00:31:28,800
Speaker 2: Is the Eve character in this there's a retelling of

561
00:31:28,840 --> 00:31:31,680
Speaker 2: the Garden of Eden, and she has a big me

562
00:31:31,800 --> 00:31:35,360
Speaker 2: Want Drugs song that she sings, well it's lip sync,

563
00:31:35,440 --> 00:31:41,120
Speaker 2: but the song is called Speed and she's singing about speed.

564
00:31:41,360 --> 00:31:44,560
Speaker 3: The whole time. Drugs. Yeah, because hey, hey, hey, Bim's

565
00:31:44,600 --> 00:31:46,480
Speaker 3: on the way. I was just thinking about that the

566
00:31:46,520 --> 00:31:47,000
Speaker 3: other day.

567
00:31:48,720 --> 00:31:51,840
Speaker 2: So yeah. The Apple and kind of a notorious mass

568
00:31:51,840 --> 00:31:55,680
Speaker 2: of a film, but also super goofy and fun. I

569
00:31:55,800 --> 00:31:56,880
Speaker 2: legitimately love it.

570
00:31:57,040 --> 00:31:58,479
Speaker 3: And everyone should see The Apple.

571
00:31:58,640 --> 00:31:59,800
Speaker 2: Everyone should see The Apple.

572
00:32:00,880 --> 00:32:01,080
Speaker 3: You know.

573
00:32:01,760 --> 00:32:05,760
Speaker 2: It has biblical power to it. But she was fun

574
00:32:05,840 --> 00:32:09,320
Speaker 2: in it, you know. She also did a nineteen eighty

575
00:32:09,360 --> 00:32:13,800
Speaker 2: movie called Powderheads. This is a Canadian ski comedy, and

576
00:32:13,840 --> 00:32:15,800
Speaker 2: she also had a tiny role as a salesgirl in

577
00:32:15,880 --> 00:32:18,800
Speaker 2: nineteen eighty one's Nighthawks, and then from eighty two to

578
00:32:18,880 --> 00:32:21,360
Speaker 2: eighty three, so just about a year, she did one

579
00:32:21,440 --> 00:32:25,040
Speaker 2: hundred and fifty episodes of Days of Our Lives, followed

580
00:32:25,040 --> 00:32:28,800
Speaker 2: by both this film, Night of the Comet and another

581
00:32:28,880 --> 00:32:31,480
Speaker 2: nineteen eighty four movie that we've also discussed on Weird

582
00:32:31,480 --> 00:32:33,880
Speaker 2: House Cinema. For the last Starfighter.

583
00:32:34,320 --> 00:32:38,160
Speaker 3: That's a weird coincidence because in this movie, the character

584
00:32:38,240 --> 00:32:41,360
Speaker 3: of Reggie is obsessed with playing an arcade cabinet shoot

585
00:32:41,400 --> 00:32:45,960
Speaker 3: him up game called Tempest, And in the Last Starfighter,

586
00:32:46,000 --> 00:32:48,160
Speaker 3: the premise is not her character, but I think her

587
00:32:48,240 --> 00:32:53,120
Speaker 3: boyfriend's character is the main guy in that and the

588
00:32:53,160 --> 00:32:56,520
Speaker 3: premise of the movie is that he is accidentally trained

589
00:32:56,680 --> 00:33:01,680
Speaker 3: in interstellar space combat. Yeah, by playing an arcade game

590
00:33:01,720 --> 00:33:03,200
Speaker 3: that was put on Earth by an alien.

591
00:33:03,560 --> 00:33:08,920
Speaker 2: Right, let's see. Subsequent films included the nineteen eighty six

592
00:33:09,040 --> 00:33:12,480
Speaker 2: Killer of Fembot TV movie Annihilator, the nineteen eighty seven

593
00:33:12,520 --> 00:33:16,360
Speaker 2: adaptation of George R. R. Martin's Night Flyers, eighty nine's Weekend

594
00:33:16,360 --> 00:33:19,520
Speaker 2: at Bernie's, nineteen ninety one's The Psychic, not to be

595
00:33:19,560 --> 00:33:23,080
Speaker 2: confused with the Ful She's seventy seven movie released under

596
00:33:23,080 --> 00:33:25,760
Speaker 2: the same name, and then many others as well. She

597
00:33:25,760 --> 00:33:28,360
Speaker 2: also pops up in two episodes of the nineteen nineties

598
00:33:28,400 --> 00:33:29,360
Speaker 2: Outer Limits series.

599
00:33:30,120 --> 00:33:33,440
Speaker 3: You know, I've liked Catherine Mary Stewart in all the

600
00:33:33,480 --> 00:33:36,440
Speaker 3: films of hers we've covered, but this is I think,

601
00:33:36,560 --> 00:33:39,719
Speaker 3: hands down the best of the movies we've covered her in.

602
00:33:39,800 --> 00:33:43,320
Speaker 3: And she's also the best in it exactly. Yeah, yeah,

603
00:33:43,400 --> 00:33:45,920
Speaker 3: she's great in this. Her character is great.

604
00:33:45,960 --> 00:33:50,080
Speaker 2: Like you know, in a bad movie, a talented performer,

605
00:33:50,200 --> 00:33:52,480
Speaker 2: they can still they can still shine through it. But

606
00:33:52,520 --> 00:33:55,040
Speaker 2: a movie like this, where everything else is like meeting

607
00:33:55,040 --> 00:33:58,440
Speaker 2: their abilities, it just amplifies how good they are. And so, yeah,

608
00:33:58,480 --> 00:34:04,360
Speaker 2: she's great here. No musical numbers, No, why isn't this

609
00:34:04,400 --> 00:34:05,600
Speaker 2: a Broadway musical?

610
00:34:05,640 --> 00:34:05,840
Speaker 3: Though?

611
00:34:05,840 --> 00:34:08,880
Speaker 2: This would be Oh, it's perfect. You can imagine exactly

612
00:34:08,960 --> 00:34:10,120
Speaker 2: where all the songs would go.

613
00:34:10,560 --> 00:34:12,920
Speaker 3: I'm running through it in my head right now. It's amazing.

614
00:34:12,960 --> 00:34:16,319
Speaker 3: Oh can you imagine the song by the Raiders in

615
00:34:16,360 --> 00:34:20,879
Speaker 3: the Hall that would the villain song there? Yeah, absolutely,

616
00:34:21,040 --> 00:34:22,520
Speaker 3: it would be called I'm Not Crazy.

617
00:34:22,800 --> 00:34:25,080
Speaker 2: Yeah, you have one about you know where they're looking

618
00:34:25,160 --> 00:34:27,000
Speaker 2: up to see the comment. That's a musical number.

619
00:34:27,080 --> 00:34:27,840
Speaker 3: So totally.

620
00:34:28,000 --> 00:34:33,719
Speaker 2: Yeah, surely somebody's working on this. But if they're not screenwriters, playwrights,

621
00:34:35,040 --> 00:34:36,280
Speaker 2: musical geniuses, get.

622
00:34:36,160 --> 00:34:41,280
Speaker 3: On, hey, hey, hey, comments on the way exactly. Yeah,

623
00:34:41,280 --> 00:34:43,000
Speaker 3: but oh hey, but that's just one of the two

624
00:34:43,000 --> 00:34:45,960
Speaker 3: main sisters. The other one is Samantha played by Kelly Morony.

625
00:34:46,440 --> 00:34:49,400
Speaker 2: That's right, Kelly Maroney, American actress who did three hundred

626
00:34:49,400 --> 00:34:52,359
Speaker 2: and nineteen episodes of the soap opera Ryan's Hope from

627
00:34:52,400 --> 00:34:55,680
Speaker 2: seventy nine through eighty two. Again, I'm just always impressed

628
00:34:55,719 --> 00:34:59,120
Speaker 2: by how many episodes of these soap operas they were

629
00:34:59,160 --> 00:35:02,520
Speaker 2: able to put out and brief amounts of time. And

630
00:35:02,600 --> 00:35:04,839
Speaker 2: she followed up with a supporting role in nineteen eighty

631
00:35:04,880 --> 00:35:07,880
Speaker 2: two's Fast Times at Ridgemont High and after Night of

632
00:35:07,920 --> 00:35:11,160
Speaker 2: the Comment, she returned to the Horror of the American

633
00:35:11,200 --> 00:35:14,880
Speaker 2: Shopping Mall for Weird House Cinema favorite Chopping Mall in

634
00:35:14,960 --> 00:35:16,879
Speaker 2: nineteen eighty six, in which she is the star.

635
00:35:17,440 --> 00:35:19,279
Speaker 3: Oh okay, I knew she was in it, but I

636
00:35:19,280 --> 00:35:20,960
Speaker 3: forgot she was like the main game.

637
00:35:20,920 --> 00:35:21,640
Speaker 2: She's caught build.

638
00:35:21,960 --> 00:35:22,320
Speaker 3: Okay.

639
00:35:23,440 --> 00:35:27,000
Speaker 2: Subsequent films include eighty six's The Zero Boys, eighty seven's

640
00:35:27,000 --> 00:35:30,400
Speaker 2: Big Bad Mama two, the nineteen eighty eight remake of

641
00:35:30,480 --> 00:35:32,760
Speaker 2: Not of This Earth that's the one that starred Tracy

642
00:35:32,840 --> 00:35:36,800
Speaker 2: Lord's And she's seemingly eased into the role of being

643
00:35:36,880 --> 00:35:39,880
Speaker 2: like a repeat genre film player and you know, so

644
00:35:41,040 --> 00:35:44,000
Speaker 2: cementing her legacy in genre films and like horror and

645
00:35:44,040 --> 00:35:45,320
Speaker 2: Horror Jason Cinema.

646
00:35:45,800 --> 00:35:48,800
Speaker 3: I read what I thought was a really great interview

647
00:35:48,960 --> 00:35:53,120
Speaker 3: with Kelly Moroni from twenty twenty one on the horror

648
00:35:53,120 --> 00:35:58,440
Speaker 3: magazine website Bloody Disgusting by their writer Jason Jenkins. And

649
00:35:58,760 --> 00:36:01,880
Speaker 3: I thought it was great because she talks with real

650
00:36:02,040 --> 00:36:05,960
Speaker 3: fondness about making Night of the Comet. Though I think

651
00:36:06,040 --> 00:36:08,960
Speaker 3: a lot of the warm feelings she has about it

652
00:36:09,560 --> 00:36:13,360
Speaker 3: benefit especially from hindsight, because she says at the time

653
00:36:14,080 --> 00:36:18,160
Speaker 3: in the eighties, horror movies were considered like a star

654
00:36:18,400 --> 00:36:22,400
Speaker 3: power destroyer. The thinking was if you do horror films,

655
00:36:22,520 --> 00:36:25,560
Speaker 3: you will never have a successful mainstream career after that.

656
00:36:26,600 --> 00:36:30,239
Speaker 3: So she says she had agents begging her not to

657
00:36:30,320 --> 00:36:32,680
Speaker 3: take these roles in movies like Night of the Comet

658
00:36:32,800 --> 00:36:36,719
Speaker 3: and Chopping Mall, but her perspective was, basically, you know,

659
00:36:37,080 --> 00:36:39,360
Speaker 3: I'm not rich. I can't afford to just wait for

660
00:36:39,400 --> 00:36:42,000
Speaker 3: the perfect role in a drama or romantic comedy to

661
00:36:42,040 --> 00:36:44,839
Speaker 3: come by. I gotta pay rent this month, so hell, yes,

662
00:36:44,920 --> 00:36:47,919
Speaker 3: I'm doing Night of the Comet and Chopping Mall. And

663
00:36:48,360 --> 00:36:51,920
Speaker 3: so it started off like that. But these roles in

664
00:36:52,000 --> 00:36:55,799
Speaker 3: weird horror movies, she sort of says, would go on

665
00:36:55,880 --> 00:36:58,960
Speaker 3: to create such an enduring fan base, and they would

666
00:36:59,040 --> 00:37:01,560
Speaker 3: end up meaning so much more to people than she

667
00:37:01,600 --> 00:37:05,240
Speaker 3: ever expected. Especially Night of the Comet. She talks about

668
00:37:05,400 --> 00:37:08,759
Speaker 3: fans contacting her to tell her that, you know, like

669
00:37:08,840 --> 00:37:11,399
Speaker 3: thinking about her character in this movie helped them get

670
00:37:11,440 --> 00:37:14,000
Speaker 3: through bullying in high school or something. They'd think, how

671
00:37:14,040 --> 00:37:16,600
Speaker 3: would Sam deal with this? She wouldn't let it get

672
00:37:16,640 --> 00:37:20,640
Speaker 3: to her weirdly emotionally affecting. And I think this is

673
00:37:20,680 --> 00:37:24,320
Speaker 3: a common experience you read about from actors who worked

674
00:37:24,360 --> 00:37:28,240
Speaker 3: on some of these older cult genre films, weird genre

675
00:37:28,360 --> 00:37:32,400
Speaker 3: movies that at the time people were making them, they

676
00:37:32,480 --> 00:37:35,200
Speaker 3: might have enjoyed making, but they didn't expect these movies

677
00:37:35,239 --> 00:37:37,799
Speaker 3: to have any particular staying power. I think they thought,

678
00:37:37,800 --> 00:37:40,000
Speaker 3: you know, this is just a paycheck. I'm just cashing

679
00:37:40,040 --> 00:37:43,960
Speaker 3: a check and making some disposable, you know, weird horror movie.

680
00:37:44,280 --> 00:37:47,120
Speaker 3: And now these are the things with the most enduring

681
00:37:47,200 --> 00:37:50,080
Speaker 3: legacy in their whole filmography. It's the things like people

682
00:37:50,200 --> 00:37:51,520
Speaker 3: contact them to talk about.

683
00:37:52,280 --> 00:37:55,840
Speaker 2: Yeah, I remember reading a similar thing about Tony Tony

684
00:37:55,880 --> 00:38:00,080
Speaker 2: lo Bianco, and God told me to like, he's the

685
00:38:00,160 --> 00:38:03,080
Speaker 2: lead in that. You know, it was a scrappy production

686
00:38:03,160 --> 00:38:07,000
Speaker 2: as well, with some definite guerrilla filming, and like he

687
00:38:07,200 --> 00:38:09,840
Speaker 2: was like, you know, he was just like laser focused

688
00:38:09,880 --> 00:38:13,000
Speaker 2: on continuing his career, doing the next project, the next project,

689
00:38:13,440 --> 00:38:14,920
Speaker 2: to the point where like there are scenes in that

690
00:38:14,960 --> 00:38:16,320
Speaker 2: where they just you know, it's like a stand in,

691
00:38:16,520 --> 00:38:18,680
Speaker 2: like he's not even in some of his characters scenes.

692
00:38:19,440 --> 00:38:22,239
Speaker 2: But you know, you know, looking back on it, you know,

693
00:38:22,320 --> 00:38:24,160
Speaker 2: he and others realized, like this is one of the

694
00:38:24,160 --> 00:38:27,000
Speaker 2: defining films of his career. You know, maybe not the

695
00:38:27,080 --> 00:38:29,840
Speaker 2: defining film, but for many especially you know, tied into

696
00:38:30,320 --> 00:38:33,440
Speaker 2: horror and weird cinema like this, this is what people

697
00:38:33,480 --> 00:38:36,520
Speaker 2: remember him most fondly for. Sometimes you only see that

698
00:38:36,560 --> 00:38:39,120
Speaker 2: in retrospect and you realize that that was my legacy

699
00:38:39,160 --> 00:38:39,960
Speaker 2: and I'm okay with it.

700
00:38:40,080 --> 00:38:42,399
Speaker 3: But yeah, she seems very happy with it now. Yeah,

701
00:38:42,440 --> 00:38:46,000
Speaker 3: And it's just interesting how stuff that you don't realize, Yeah,

702
00:38:46,040 --> 00:38:48,320
Speaker 3: stuff you don't realize is going to be your legacy

703
00:38:49,280 --> 00:38:50,760
Speaker 3: becomes so important to people.

704
00:38:51,080 --> 00:38:55,080
Speaker 2: Yeah, all right, So those are that's our are our

705
00:38:55,080 --> 00:38:59,759
Speaker 2: two stars, that's really our our our central protagonist and

706
00:38:59,800 --> 00:39:01,799
Speaker 2: her or you could look at it like they're both

707
00:39:01,800 --> 00:39:02,680
Speaker 2: our protagonists.

708
00:39:02,880 --> 00:39:05,120
Speaker 3: I mean, you might say it's a three way protagonist

709
00:39:05,120 --> 00:39:07,960
Speaker 3: here sort of, because Hector is also a very important character.

710
00:39:08,040 --> 00:39:11,399
Speaker 2: Hector is important. He's at least he's at least the

711
00:39:11,400 --> 00:39:16,240
Speaker 2: most important supporting character. Hector Gomez, played by Robert Beltran

712
00:39:17,520 --> 00:39:19,799
Speaker 2: top billing, but we did move him down a little

713
00:39:19,800 --> 00:39:23,440
Speaker 2: bit here since I feel like the girls are more important.

714
00:39:24,080 --> 00:39:28,640
Speaker 2: He's our hero, he's our love interest. He first hit

715
00:39:28,680 --> 00:39:31,279
Speaker 2: the big screen in nineteen eighty one zoot Suit. Not

716
00:39:31,360 --> 00:39:34,400
Speaker 2: a film I'm super familiar with, but all the posters

717
00:39:34,400 --> 00:39:37,640
Speaker 2: and images show Edward James almost like in a really

718
00:39:37,680 --> 00:39:41,560
Speaker 2: stylish zoot suit, So I'm already intrigued. Someone made a

719
00:39:41,640 --> 00:39:45,440
Speaker 2: film about zoot suits, or at least they use a

720
00:39:45,480 --> 00:39:48,560
Speaker 2: lot of zootsuits in them, I'm interested. But of course

721
00:39:48,560 --> 00:39:51,439
Speaker 2: he followed that up with the title role in Paul

722
00:39:51,440 --> 00:39:53,800
Speaker 2: Bartel's nineteen eighty two film Eating Raoul.

723
00:39:53,920 --> 00:39:55,400
Speaker 3: He is Raoul in that picture.

724
00:39:55,680 --> 00:39:58,839
Speaker 2: Yeah, He's done a lot of TV and film work

725
00:39:58,880 --> 00:40:01,160
Speaker 2: over the years, but Trek fan know him best as

726
00:40:01,239 --> 00:40:06,120
Speaker 2: Commander Chocote on Star Trek Voyager. As I mentioned before,

727
00:40:06,760 --> 00:40:09,399
Speaker 2: I'm more of a like next generation Deep Space nine,

728
00:40:09,640 --> 00:40:12,759
Speaker 2: and you know some of the films Trek fans, so

729
00:40:12,800 --> 00:40:15,320
Speaker 2: I never actually watched Voyager, so I'm not super familiar

730
00:40:15,320 --> 00:40:18,400
Speaker 2: with this character and only vaguely familiar with some of

731
00:40:18,440 --> 00:40:22,040
Speaker 2: the discussions around it, but I think everyone has at

732
00:40:22,120 --> 00:40:25,560
Speaker 2: least seen an image of him playing this character. He

733
00:40:25,600 --> 00:40:29,520
Speaker 2: has like a facial tattoo when he is in character

734
00:40:29,600 --> 00:40:31,160
Speaker 2: is Commander Chocote.

735
00:40:31,000 --> 00:40:34,839
Speaker 3: M Yeah and yeah I like him in this movie.

736
00:40:34,960 --> 00:40:37,479
Speaker 3: He plays like a guy who you're not so sure

737
00:40:37,480 --> 00:40:41,120
Speaker 3: about it first, but he becomes very solidly likable and

738
00:40:41,920 --> 00:40:43,359
Speaker 3: does some great heroics in the end.

739
00:40:43,480 --> 00:40:45,000
Speaker 2: Yeah, you think he might be a villain at first,

740
00:40:45,000 --> 00:40:46,560
Speaker 2: but then yeah, yeah, you go to Loven.

741
00:40:46,719 --> 00:40:51,200
Speaker 3: Yeah, and there is a scene where there's like great

742
00:40:52,480 --> 00:40:55,719
Speaker 3: just ambiguity and moral peril in the movie. We're like, oh, no,

743
00:40:55,880 --> 00:40:58,800
Speaker 3: is he gonna have to like kill a zombie child?

744
00:40:58,920 --> 00:41:03,279
Speaker 3: But he manages not to. He just like escapes. Yes, yeah, yeah, yeah.

745
00:41:03,320 --> 00:41:05,399
Speaker 2: This film for the most part, doesn't go too hard

746
00:41:05,400 --> 00:41:09,239
Speaker 2: on anything. Let's see who else do we have? All Right,

747
00:41:10,000 --> 00:41:14,800
Speaker 2: we mentioned the girls. Their stepmother is Doris Doris Belmont,

748
00:41:14,800 --> 00:41:17,880
Speaker 2: and she's played by Sharon Ferrell, who with nineteen forty

749
00:41:17,880 --> 00:41:21,239
Speaker 2: through twenty twenty three. Her TV film credits and film

750
00:41:21,280 --> 00:41:24,399
Speaker 2: credits go back to the nineteen fifties, and her other

751
00:41:24,440 --> 00:41:28,120
Speaker 2: credits include nineteen seventy four's It's Alive, nineteen eighties out

752
00:41:28,120 --> 00:41:32,080
Speaker 2: of the Blue and the stunt Man same year eighty

753
00:41:32,120 --> 00:41:35,719
Speaker 2: seven's Can't Buy Me Love, Oh, in nineteen ninety three's Arcade.

754
00:41:36,440 --> 00:41:38,600
Speaker 3: That's a movie we've talked about doing on the show

755
00:41:38,640 --> 00:41:40,799
Speaker 3: before a little. I'm a little conflicted on it. It's

756
00:41:40,880 --> 00:41:44,680
Speaker 3: like part of the part of the way it's really

757
00:41:44,719 --> 00:41:51,160
Speaker 3: funny and just a I don't know, zany cyber you know, mess.

758
00:41:51,600 --> 00:41:53,560
Speaker 3: But on the other hand, it's got some stuff in it.

759
00:41:53,560 --> 00:41:56,480
Speaker 3: This is just so distasteful. I don't know. I can't

760
00:41:57,200 --> 00:41:58,920
Speaker 3: but I don't know. Maybe one day I'll sort it

761
00:41:58,960 --> 00:42:01,240
Speaker 3: out and see if it's worth doing on the show.

762
00:42:01,520 --> 00:42:03,960
Speaker 2: All right, Another fun little role in this as we

763
00:42:04,000 --> 00:42:07,760
Speaker 2: have Mary Warrenoff in this picture as well. Fun supporting

764
00:42:07,840 --> 00:42:10,600
Speaker 2: role for Weird House Cinema favorite here, who we previously

765
00:42:10,640 --> 00:42:14,759
Speaker 2: discussed because she's in both Chopping Mall and nineteen eighty

766
00:42:14,760 --> 00:42:17,680
Speaker 2: six is Terror Vision, and of course she was in

767
00:42:17,760 --> 00:42:19,640
Speaker 2: Eating Rival as well, which we have not watched for

768
00:42:19,680 --> 00:42:24,120
Speaker 2: Weird House Cinema. But I always enjoy Mary warrenof when

769
00:42:24,120 --> 00:42:26,600
Speaker 2: she shows up in something. She started out as a

770
00:42:26,600 --> 00:42:29,600
Speaker 2: Warhol superstar in the eighties. She acted in a ton

771
00:42:29,640 --> 00:42:34,040
Speaker 2: of B movies, especially Corman and Corman related pictures. She

772
00:42:34,080 --> 00:42:36,319
Speaker 2: also did a lot of TV and stage work, and

773
00:42:36,360 --> 00:42:38,799
Speaker 2: in this she played She has a real cool cucumber

774
00:42:39,120 --> 00:42:41,520
Speaker 2: in this, a member of the shadowy government think tank

775
00:42:41,880 --> 00:42:45,840
Speaker 2: that survives the apocalypse, but she has a memorable character

776
00:42:45,920 --> 00:42:46,720
Speaker 2: arc heure as well.

777
00:42:46,840 --> 00:42:48,160
Speaker 3: Yeah, she's pretty spooky in this.

778
00:42:48,239 --> 00:42:51,520
Speaker 2: I like her now. The head of the shadowy government

779
00:42:51,560 --> 00:42:55,120
Speaker 2: think tank and our primary antagonist is doctor Carter and

780
00:42:55,160 --> 00:42:58,200
Speaker 2: he's played by Jeffrey Lewis, who of nineteen thirty five

781
00:42:58,400 --> 00:43:03,280
Speaker 2: through twenty fifteen prolific American character actor with a great

782
00:43:03,320 --> 00:43:05,920
Speaker 2: face for playing heavies and also just kind of like

783
00:43:05,960 --> 00:43:09,040
Speaker 2: haunted figures. And I don't know about you, Joe, but

784
00:43:09,120 --> 00:43:11,319
Speaker 2: it's hard for me to think of another actor who

785
00:43:11,360 --> 00:43:14,239
Speaker 2: is as much of a that guy actor as this guy.

786
00:43:14,360 --> 00:43:17,799
Speaker 2: And that I see this guy's face, I realize I've

787
00:43:17,960 --> 00:43:21,400
Speaker 2: definitely seen him in multiple things. I note all of

788
00:43:21,400 --> 00:43:24,000
Speaker 2: the films and TV shows in his filmography that I

789
00:43:24,040 --> 00:43:27,520
Speaker 2: have definitely seen, and yet I still struggle to say

790
00:43:27,560 --> 00:43:30,240
Speaker 2: what his most defining roles are. I mean, no shade

791
00:43:30,280 --> 00:43:32,200
Speaker 2: on him, but I think it just comes down to

792
00:43:32,280 --> 00:43:34,600
Speaker 2: him being a familiar supporting face and a lot of

793
00:43:34,640 --> 00:43:38,040
Speaker 2: the films I grew up watching. So what are some

794
00:43:38,080 --> 00:43:41,840
Speaker 2: of those films? Well, his credits include seventy three's High Planes, Drifter,

795
00:43:42,400 --> 00:43:46,279
Speaker 2: seventy four'st Thunderbolt and Lightfoot, seventy eight's Every Which Way

796
00:43:46,280 --> 00:43:50,359
Speaker 2: But Lose a Grade eight Movie, seventy nine, Salem's Lot,

797
00:43:50,600 --> 00:43:53,440
Speaker 2: ninety two's of the lawnmower Man, and two thousand and

798
00:43:53,480 --> 00:43:56,560
Speaker 2: five's The Devil's Rejects. I'll also note that he has

799
00:43:56,600 --> 00:44:01,760
Speaker 2: a supporting role in Luccio Fulci's seventy eight Western Silver Saddle.

800
00:44:01,840 --> 00:44:03,760
Speaker 2: He plays a character named two Strike Snake.

801
00:44:04,640 --> 00:44:05,359
Speaker 3: That's a good name.

802
00:44:05,640 --> 00:44:09,600
Speaker 2: Yeah, And he appears in the nineteen seventy two Louisiana

803
00:44:09,680 --> 00:44:11,960
Speaker 2: were wolf movie I think a TV movie Moon of

804
00:44:12,000 --> 00:44:16,400
Speaker 2: the Wolf, which I'm very intrigued by. But I asked

805
00:44:16,840 --> 00:44:20,600
Speaker 2: Eden at New Orleans Future Shock Video what she thought

806
00:44:20,600 --> 00:44:23,000
Speaker 2: about this picture, because she has all these New Orleans

807
00:44:23,040 --> 00:44:25,560
Speaker 2: and Louisiana films in the shop. She warned that it

808
00:44:25,560 --> 00:44:27,239
Speaker 2: was a bit of a snoozer. But I don't know.

809
00:44:27,440 --> 00:44:29,880
Speaker 2: Look at that poster, Joe, it looks pretty good. I

810
00:44:29,880 --> 00:44:32,400
Speaker 2: trust her judgment. But the poster is selling me on

811
00:44:32,480 --> 00:44:35,279
Speaker 2: an exciting movie about an almost clown face to wear

812
00:44:35,320 --> 00:44:37,440
Speaker 2: a wolfman breaking through doors.

813
00:44:38,000 --> 00:44:42,240
Speaker 3: Here's wolfy. I mean, yeah, it does recreate that shot

814
00:44:42,280 --> 00:44:44,239
Speaker 3: from the shining Otherwise, I don't know. This is one

815
00:44:44,239 --> 00:44:46,040
Speaker 3: where I might have to disagree Rob. I don't know

816
00:44:46,080 --> 00:44:49,439
Speaker 3: if this poster is selling me. The wolf looks too

817
00:44:49,760 --> 00:44:52,160
Speaker 3: clown shaped. Why does he have a clown nose?

818
00:44:52,360 --> 00:44:54,840
Speaker 2: I don't know. But it's a weird poster. It draws

819
00:44:54,840 --> 00:44:57,319
Speaker 2: me in. But again, it's not supposed to actually be

820
00:44:57,480 --> 00:45:01,279
Speaker 2: that good. But none of this is on Jeffrey Lewis.

821
00:45:00,680 --> 00:45:04,600
Speaker 2: I think he's great here, playing ultimately a kind of

822
00:45:04,640 --> 00:45:09,640
Speaker 2: klos Kinsky looking villain, but without presumably anything even approaching

823
00:45:09,680 --> 00:45:13,160
Speaker 2: the disruption, chaos and misery of actually casting Kloskinsky in

824
00:45:13,200 --> 00:45:13,680
Speaker 2: your film.

825
00:45:13,920 --> 00:45:19,080
Speaker 3: A kind of tense, touchy gray scientist in a jumpsuit

826
00:45:19,200 --> 00:45:21,080
Speaker 3: who's just sitting at the other end of the room

827
00:45:21,120 --> 00:45:25,680
Speaker 3: wearing sunglasses and pointedly asking you survey questions about medical history.

828
00:45:25,920 --> 00:45:31,040
Speaker 2: Yeah yeah, Oh, and then we mentioned the Mall Pirates.

829
00:45:31,280 --> 00:45:33,480
Speaker 2: The leader of the Mall Pirates is a character named Willy.

830
00:45:33,880 --> 00:45:36,120
Speaker 2: We know his name is Willy because it says it

831
00:45:36,160 --> 00:45:39,759
Speaker 2: on his outfit and people call him Willy. But he's

832
00:45:39,760 --> 00:45:43,640
Speaker 2: played by Ivany Roth born nineteen fifty seven secondary human

833
00:45:43,680 --> 00:45:46,960
Speaker 2: antagonist to the Mall Gaunt, actor who wore a lot

834
00:45:47,000 --> 00:45:50,160
Speaker 2: of monster in zombie suits during his career apparently, but

835
00:45:50,200 --> 00:45:53,800
Speaker 2: also played gang members like this. His other films include

836
00:45:53,840 --> 00:45:56,400
Speaker 2: eighty six is three point fifteen, The Moment of Truth,

837
00:45:56,440 --> 00:45:59,480
Speaker 2: playing a character named Freak. He's a Knight of the

838
00:45:59,520 --> 00:46:03,080
Speaker 2: Creeps playing Psycho Zombie. He's an eighty seven's Blue Monkey,

839
00:46:03,200 --> 00:46:06,520
Speaker 2: credited as the creature. He's in eighty eight Dead Heat

840
00:46:06,719 --> 00:46:09,560
Speaker 2: credited as in Zombie, and he played the Mummy in

841
00:46:09,600 --> 00:46:12,480
Speaker 2: the nineteen ninety three Tales from the Crypt episode Creep Course,

842
00:46:12,800 --> 00:46:15,279
Speaker 2: which starred Jeffrey Jones and Anthony Michael Hall.

843
00:46:16,719 --> 00:46:19,520
Speaker 3: He's got a very memorable line in this movie, which

844
00:46:19,880 --> 00:46:23,279
Speaker 3: unfortunately can't quote on the podcast here, but if you

845
00:46:23,320 --> 00:46:27,160
Speaker 3: look it up, it's one that people like, yeah, yeah.

846
00:46:27,400 --> 00:46:29,879
Speaker 2: And then finally, the composer for this picture is David

847
00:46:29,920 --> 00:46:33,560
Speaker 2: Campbell born nineteen forty eight, Canadian American composer and conductor.

848
00:46:33,719 --> 00:46:36,719
Speaker 2: His scores include eighty three's All the Right Moves and

849
00:46:36,760 --> 00:46:39,640
Speaker 2: the nineteen seventy eight TV movie Puff the Magic Dragon.

850
00:46:40,239 --> 00:46:42,560
Speaker 2: This is not aligned with Disney. I think this is

851
00:46:42,560 --> 00:46:45,160
Speaker 2: some other project, but the project was nominated for an

852
00:46:45,160 --> 00:46:49,200
Speaker 2: Emmy at the time, but Campbell's perhaps far better known

853
00:46:49,200 --> 00:46:52,720
Speaker 2: as a conductor and arranger and an arranger and a musician.

854
00:46:54,160 --> 00:46:57,200
Speaker 2: He conducted or arranged on such big films as ninety

855
00:46:57,239 --> 00:46:59,680
Speaker 2: eight's Armageddon, two thousand and twos, Men in Black two,

856
00:47:00,000 --> 00:47:02,960
Speaker 2: two thousand and five, Broke Back Mountain, and many others.

857
00:47:03,520 --> 00:47:07,440
Speaker 2: He also guest conducted the Los Angeles Philharmonic and the

858
00:47:07,440 --> 00:47:10,759
Speaker 2: Hollywood Bowl Orchestra for various collaborations with the likes of

859
00:47:10,920 --> 00:47:14,640
Speaker 2: Back and other big name artists, and he has various

860
00:47:14,880 --> 00:47:19,640
Speaker 2: string credits on a number of major albums, playing things

861
00:47:19,640 --> 00:47:22,920
Speaker 2: like the viola on everything from Jackson Brown self titled

862
00:47:22,960 --> 00:47:27,200
Speaker 2: nineteen seventy two album to Metallica's Death Magnetic album, two

863
00:47:27,200 --> 00:47:30,040
Speaker 2: recent works from Lady Gaga and many others. So he's

864
00:47:30,040 --> 00:47:33,640
Speaker 2: worked with a wide variety of artists, pretty impressive stuff.

865
00:47:34,239 --> 00:47:37,200
Speaker 2: As for his score here Electronic Score, I thought it

866
00:47:37,239 --> 00:47:41,000
Speaker 2: was terrific. Creates great atmosphere, whether that atmosphere is going

867
00:47:41,040 --> 00:47:44,120
Speaker 2: to be fun and sort of care free, or of

868
00:47:44,200 --> 00:47:48,160
Speaker 2: it's going to be a lot more tense and genre oriented.

869
00:47:48,640 --> 00:47:50,600
Speaker 2: And all of this is accompanied by some pretty great

870
00:47:50,680 --> 00:47:53,400
Speaker 2: nineteen eighties tracks. That help again place it firmly in

871
00:47:53,440 --> 00:47:54,800
Speaker 2: its time and cultural moment.

872
00:47:55,160 --> 00:47:59,040
Speaker 3: The opening music style, like the music that's playing with

873
00:47:59,080 --> 00:48:03,080
Speaker 3: the credits really to me reminded me of John Carpenter,

874
00:48:04,040 --> 00:48:06,160
Speaker 3: not saying they're trying to ape his style or anything,

875
00:48:06,200 --> 00:48:10,360
Speaker 3: but there's some definite overlap, Like the ominous synth music

876
00:48:10,360 --> 00:48:14,840
Speaker 3: feels like a Carpenter score, especially once the characters in

877
00:48:14,880 --> 00:48:17,880
Speaker 3: the opening keep they're like focusing on the sky and

878
00:48:17,920 --> 00:48:21,000
Speaker 3: the impending comment because it reminded me of the vaguely

879
00:48:21,080 --> 00:48:25,160
Speaker 3: doom layden astronomical phenomena at the beginning of Prince of Darkness.

880
00:48:25,480 --> 00:48:27,720
Speaker 2: Oh yeah, yeah, good connection.

881
00:48:36,680 --> 00:48:38,200
Speaker 3: So do you want to talk about the plot now?

882
00:48:38,520 --> 00:48:39,120
Speaker 2: Yeah?

883
00:48:39,239 --> 00:48:41,680
Speaker 3: Okay, Now, so on this movie, we're definitely not going

884
00:48:41,719 --> 00:48:43,920
Speaker 3: to do like a whole scene by scene recap like

885
00:48:43,960 --> 00:48:46,120
Speaker 3: we do with some films. Instead, I think we're going

886
00:48:46,200 --> 00:48:48,719
Speaker 3: to describe the opening and do a kind of very

887
00:48:48,719 --> 00:48:51,640
Speaker 3: sketchy summary of the rest and talk about some specifics

888
00:48:51,680 --> 00:48:55,640
Speaker 3: as they strike us. So we first pull up on

889
00:48:55,800 --> 00:48:59,960
Speaker 3: outer Space for the opening narration. The narrator says, since

890
00:49:00,200 --> 00:49:03,960
Speaker 3: before recorded time, it had swung through the universe in

891
00:49:04,000 --> 00:49:07,840
Speaker 3: an elliptical orbit so large that its very existence remained

892
00:49:07,840 --> 00:49:11,239
Speaker 3: a secret of time and space. But now, in the

893
00:49:11,320 --> 00:49:15,480
Speaker 3: last few years of the twentieth century, the visitor was returning.

894
00:49:16,000 --> 00:49:19,880
Speaker 3: And here's our reference to Christmas. Narrator says the citizens

895
00:49:19,920 --> 00:49:23,040
Speaker 3: of Earth would get an extra Christmas present this year

896
00:49:23,560 --> 00:49:26,799
Speaker 3: as their planet orbited through the tail of the comet.

897
00:49:27,120 --> 00:49:31,080
Speaker 3: Scientists predicted a light show of stellar proportions, something not

898
00:49:31,200 --> 00:49:35,279
Speaker 3: seen on Earth for sixty five million years, indeed not

899
00:49:35,480 --> 00:49:40,920
Speaker 3: since the time that the dinosaurs disappeared virtually overnight. And

900
00:49:41,000 --> 00:49:44,120
Speaker 3: while the narration plays, we see visions of Earth from space,

901
00:49:44,239 --> 00:49:47,400
Speaker 3: with a rusty red object flying close to the Earth.

902
00:49:47,920 --> 00:49:50,920
Speaker 3: And then we see something curious, a group of shadowy

903
00:49:51,040 --> 00:49:54,680
Speaker 3: human figures in gray jumpsuits gathering in the darkness of

904
00:49:54,680 --> 00:49:57,400
Speaker 3: a misty room. One of them presses a button to

905
00:49:57,480 --> 00:50:00,759
Speaker 3: close and seal a couple of heavy pneumatic doors. And

906
00:50:00,800 --> 00:50:03,879
Speaker 3: then the narrator says, there were a few who saw

907
00:50:03,920 --> 00:50:08,000
Speaker 3: this as more than just a coincidence, but most didn't.

908
00:50:08,800 --> 00:50:11,640
Speaker 2: Who is this narrator? So many things? Is it?

909
00:50:11,680 --> 00:50:12,600
Speaker 3: Don la fontaine?

910
00:50:13,320 --> 00:50:13,920
Speaker 2: I don't fix that.

911
00:50:14,600 --> 00:50:16,920
Speaker 3: And then we kept a party time like a happy

912
00:50:16,960 --> 00:50:19,360
Speaker 3: pop rock song comes on is called the song is

913
00:50:19,360 --> 00:50:23,040
Speaker 3: called the Whole World is celebrating that plays, and we

914
00:50:23,040 --> 00:50:25,680
Speaker 3: see these crowds gathered in the streets all over LA.

915
00:50:25,840 --> 00:50:29,040
Speaker 3: I wasn't able to determine how they filmed these shots.

916
00:50:29,120 --> 00:50:32,160
Speaker 3: I suspect they were I don't know, but I would

917
00:50:32,160 --> 00:50:35,560
Speaker 3: suspect they were using like footage of a natural gathering.

918
00:50:35,640 --> 00:50:38,880
Speaker 3: Maybe New Year's or something. I don't know, that's just

919
00:50:38,920 --> 00:50:42,440
Speaker 3: my guess. But yeah, people gathering in La, presumably all

920
00:50:42,480 --> 00:50:46,480
Speaker 3: over the world for these exuberant comet watching parties. People

921
00:50:46,480 --> 00:50:50,320
Speaker 3: are holding up iHeart Comet posters. They think the comet's

922
00:50:50,360 --> 00:50:53,440
Speaker 3: going to see that. You never know. Yeah, so, you know,

923
00:50:53,600 --> 00:50:56,480
Speaker 3: big masses of people. They're outside in the streets, young

924
00:50:56,520 --> 00:51:00,000
Speaker 3: couples kissing and dancing. Old people have got their binocular

925
00:51:00,280 --> 00:51:02,440
Speaker 3: and telescopes, and a lot of people are dressed up

926
00:51:02,480 --> 00:51:05,719
Speaker 3: in comment related gear. And then we see at the

927
00:51:05,840 --> 00:51:09,200
Speaker 3: marquee of a movie theater called the l Ray there

928
00:51:09,239 --> 00:51:12,240
Speaker 3: is an advertisement for midnight Comet show.

929
00:51:12,800 --> 00:51:15,080
Speaker 2: That's right, Yeah, we have the actual exteriors of the

930
00:51:15,440 --> 00:51:18,320
Speaker 2: l Ray Theater and historic theater in the area.

931
00:51:18,480 --> 00:51:20,759
Speaker 3: Next we go inside the movie theater where we're going

932
00:51:20,840 --> 00:51:23,600
Speaker 3: to meet one of our main characters. This is Regina

933
00:51:23,800 --> 00:51:27,000
Speaker 3: or Reggie played by Catherine Mary Stewart. Reggie works at

934
00:51:27,000 --> 00:51:29,840
Speaker 3: the theater, but when we first meet her, she is

935
00:51:30,160 --> 00:51:33,080
Speaker 3: ignoring her boss's pleas to get back on the job,

936
00:51:33,160 --> 00:51:36,319
Speaker 3: and she's concentrating fiercely on her high score at this

937
00:51:36,520 --> 00:51:39,680
Speaker 3: arcade cabinet in the lobby again. The game is called

938
00:51:39,800 --> 00:51:43,239
Speaker 3: Tempest I mentioned earlier. You know it's strange because she

939
00:51:43,280 --> 00:51:46,759
Speaker 3: was also in the Last Starfighter. Her manager Mel is

940
00:51:46,920 --> 00:51:50,640
Speaker 3: busy behind the counter hawking comet related merchandise. He's like

941
00:51:50,680 --> 00:51:54,800
Speaker 3: selling these headbands that have little alien, springy alien antenna

942
00:51:54,880 --> 00:51:56,680
Speaker 3: on him, and he's like, up.

943
00:51:56,560 --> 00:52:00,279
Speaker 2: Sell teenagers on different models. You get this, but take

944
00:52:00,280 --> 00:52:01,439
Speaker 2: a look at this this way.

945
00:52:01,600 --> 00:52:03,680
Speaker 3: I remember he's trying to sell one that has like

946
00:52:03,920 --> 00:52:08,359
Speaker 3: tinsel hair. He's like, look, blow on it, blowing the hair.

947
00:52:09,960 --> 00:52:13,759
Speaker 3: But after Regina earns a new high score at the game,

948
00:52:13,880 --> 00:52:17,560
Speaker 3: she enters her initials RG, or not her initials, but

949
00:52:17,640 --> 00:52:19,440
Speaker 3: I guess part of her name only too fine. To

950
00:52:19,520 --> 00:52:22,319
Speaker 3: her horror that one of her high score slots on

951
00:52:22,360 --> 00:52:25,600
Speaker 3: the machine is no longer occupied by her name. Somewhere

952
00:52:25,680 --> 00:52:28,360
Speaker 3: down the list, at sixth place, there is a d

953
00:52:28,719 --> 00:52:32,520
Speaker 3: MK instead of an RG, and this is hugely annoying

954
00:52:32,560 --> 00:52:35,200
Speaker 3: to her. She's supposed to own the entire machine.

955
00:52:35,160 --> 00:52:37,080
Speaker 2: And this will actually be a I don't know if

956
00:52:37,080 --> 00:52:39,680
Speaker 2: it'll be important later on, but they will come back

957
00:52:39,719 --> 00:52:39,920
Speaker 2: to this.

958
00:52:40,360 --> 00:52:43,680
Speaker 3: Yeah, So we learned that Reggie has been sort of

959
00:52:43,760 --> 00:52:46,600
Speaker 3: dating the projectionist at the movie theater, who's a boy

960
00:52:46,680 --> 00:52:50,960
Speaker 3: named Larry. Larry, we learned makes money by illegally lending

961
00:52:51,000 --> 00:52:54,320
Speaker 3: out film reels to geeks who want to make pirated copies.

962
00:52:54,480 --> 00:52:56,840
Speaker 3: So when we first meet him, he's on the phone

963
00:52:56,840 --> 00:52:58,480
Speaker 3: with a guy who wants to make a copy of

964
00:52:58,560 --> 00:53:01,200
Speaker 3: the theater's reel of it came from outer space in

965
00:53:01,280 --> 00:53:06,640
Speaker 3: three D, and they're negotiating a price, and Reggie wants

966
00:53:06,680 --> 00:53:09,360
Speaker 3: to spend the night with Larry instead of going home,

967
00:53:09,719 --> 00:53:12,320
Speaker 3: so she calls home to the house with an excuse

968
00:53:12,400 --> 00:53:15,480
Speaker 3: for her stepmom about like an astronomy field trip. It's

969
00:53:15,480 --> 00:53:19,360
Speaker 3: obviously made up, and her stepmom isn't buying it. I

970
00:53:19,360 --> 00:53:22,040
Speaker 3: guess we should explain the general situation. At the beginning

971
00:53:22,080 --> 00:53:25,320
Speaker 3: of the movie, Reggie, who is eighteen and a senior

972
00:53:25,320 --> 00:53:28,719
Speaker 3: in high school, and her sister Samantha, who is sixteen

973
00:53:28,840 --> 00:53:31,520
Speaker 3: and a junior, both live in a house in the

974
00:53:31,600 --> 00:53:34,560
Speaker 3: valley with their dad, who is never seen in the movie.

975
00:53:34,680 --> 00:53:37,959
Speaker 3: We're told he is a military officer who is busy

976
00:53:38,040 --> 00:53:41,239
Speaker 3: running secret wars in Central America, so he is not

977
00:53:41,400 --> 00:53:45,759
Speaker 3: home very much. And their stepmother, Doris, is presented as

978
00:53:45,800 --> 00:53:49,160
Speaker 3: a vain, mean spirited woman who is abusive to the

979
00:53:49,160 --> 00:53:51,200
Speaker 3: girls and unfaithful to their father.

980
00:53:51,760 --> 00:53:54,200
Speaker 2: Yeah, so it's not a pleasant home life.

981
00:53:54,400 --> 00:53:59,000
Speaker 3: Yeah. In the first scene we meet her, Samantha, she's

982
00:53:59,000 --> 00:54:02,320
Speaker 3: got an attitude. She's making smart ass comments to everybody.

983
00:54:02,480 --> 00:54:05,640
Speaker 3: She makes smart ass comments to Doris, and Doris reacts

984
00:54:05,719 --> 00:54:08,920
Speaker 3: by punching her in the face before going out to

985
00:54:08,960 --> 00:54:12,080
Speaker 3: the neighborhood comet party to watch the skies and canoodle

986
00:54:12,120 --> 00:54:16,719
Speaker 3: with a honky neighbor. So Reggie and sam are portrayed

987
00:54:16,760 --> 00:54:20,040
Speaker 3: as they're coming from a relatively affluent family, I think

988
00:54:20,040 --> 00:54:24,080
Speaker 3: at least upper middle class with material comforts, but also

989
00:54:24,320 --> 00:54:29,080
Speaker 3: enduring some harshness. There's clearly a deficit of love from

990
00:54:29,160 --> 00:54:32,840
Speaker 3: their parents, or at least their father's love seems to

991
00:54:32,840 --> 00:54:35,760
Speaker 3: come mainly in the form of weapons training and gifts

992
00:54:35,800 --> 00:54:40,160
Speaker 3: of firearms. There's a great scene later after everything goes

993
00:54:40,200 --> 00:54:43,279
Speaker 3: down where the girls are practicing shooting with I think

994
00:54:43,320 --> 00:54:47,080
Speaker 3: some mac tens that they found, and Sam is unimpressed

995
00:54:47,120 --> 00:54:49,880
Speaker 3: with the handling of the guns, and she's like, Daddy

996
00:54:49,880 --> 00:54:53,480
Speaker 3: would have gotten us Oozy's, which it's great. I think

997
00:54:53,520 --> 00:54:58,360
Speaker 3: I ever read that she improvised that line. Yeah, but anyway,

998
00:54:58,640 --> 00:55:01,200
Speaker 3: the night of the Comets Passage, Reggie spends the night

999
00:55:01,239 --> 00:55:04,600
Speaker 3: with Larry in the movie theater's projection booth, which their

1000
00:55:04,640 --> 00:55:07,759
Speaker 3: careful dimension happens to be encased in steel. I think

1001
00:55:07,800 --> 00:55:12,160
Speaker 3: they say that has to do with fire code. And

1002
00:55:12,200 --> 00:55:15,200
Speaker 3: then the next morning, Larry goes out to follow up

1003
00:55:15,280 --> 00:55:18,360
Speaker 3: on his film pirrating deal, but when he opens the

1004
00:55:18,400 --> 00:55:21,640
Speaker 3: door to go outside, he is suddenly attacked and killed

1005
00:55:21,680 --> 00:55:24,480
Speaker 3: by a zombie in a surprising and brutal scene. There's

1006
00:55:24,520 --> 00:55:26,319
Speaker 3: just like a guy out there with a wrench who

1007
00:55:26,400 --> 00:55:29,160
Speaker 3: just like whacks Larry and drags his body off.

1008
00:55:29,719 --> 00:55:32,280
Speaker 2: Yeah, yeah, he's gone. You're not sure if this character

1009
00:55:32,400 --> 00:55:34,640
Speaker 2: is going to really stick around. But he does not

1010
00:55:34,680 --> 00:55:38,120
Speaker 2: stick around. He is killed by a zombie with a wrench.

1011
00:55:38,480 --> 00:55:41,560
Speaker 3: After Reggie gets up, she takes a chance to replace

1012
00:55:41,600 --> 00:55:45,080
Speaker 3: the DMK score on the arcade game with her rag,

1013
00:55:45,280 --> 00:55:48,840
Speaker 3: and then she goes outside where she finds a very

1014
00:55:48,880 --> 00:55:53,200
Speaker 3: strange scene. So these are some of my favorite parts

1015
00:55:53,239 --> 00:55:54,919
Speaker 3: of the movie the parts where we get to see

1016
00:55:54,960 --> 00:56:00,279
Speaker 3: these empty locations with these piles of clothes on the

1017
00:56:00,280 --> 00:56:05,040
Speaker 3: street that are filled with red, rusty granular material or dust.

1018
00:56:05,160 --> 00:56:09,120
Speaker 3: It's very rapture like scenario. You know, I actually don't

1019
00:56:09,160 --> 00:56:14,000
Speaker 3: know if this was already a convention of depicting the

1020
00:56:14,400 --> 00:56:18,440
Speaker 3: Christian rapture idea with like empty piles of clothes around,

1021
00:56:19,000 --> 00:56:21,600
Speaker 3: this would show up in Christian movies later clothes.

1022
00:56:22,280 --> 00:56:25,799
Speaker 2: Yeah, oh so wait, you're telling me that that, like

1023
00:56:26,040 --> 00:56:31,520
Speaker 2: fundamentalist Christian cinema is portraying people being called naked up

1024
00:56:31,600 --> 00:56:34,040
Speaker 2: to heaven. Yeah. Yeah, I would have thought you would

1025
00:56:34,400 --> 00:56:35,640
Speaker 2: wear your full clothes.

1026
00:56:35,520 --> 00:56:40,000
Speaker 3: Like some of these movies that they like, the rapture happens,

1027
00:56:40,040 --> 00:56:43,200
Speaker 3: and then they're just empty clothes there. It's like, why

1028
00:56:43,239 --> 00:56:45,160
Speaker 3: did my wife get raptured and I didn't?

1029
00:56:46,200 --> 00:56:48,560
Speaker 2: What are they? Are they raptured into new clothes? Are

1030
00:56:48,600 --> 00:56:51,560
Speaker 2: they raptured into a smock or are they just showing

1031
00:56:51,640 --> 00:56:52,560
Speaker 2: up in heaven naked?

1032
00:56:53,360 --> 00:56:56,200
Speaker 3: They probably get robes, i'd imagine, Yeah, they get supplied

1033
00:56:56,200 --> 00:56:57,160
Speaker 3: with heavenly robes.

1034
00:56:57,440 --> 00:57:01,719
Speaker 2: Okay, that's just a guess, you know, with the sinful clothing, Well,

1035
00:57:01,800 --> 00:57:03,200
Speaker 2: it takes some of the pressure off. You don't have

1036
00:57:03,239 --> 00:57:05,680
Speaker 2: to worry about what you're wearing for when you get raptured,

1037
00:57:05,800 --> 00:57:08,000
Speaker 2: because the clothing is going to stay here anyway.

1038
00:57:08,280 --> 00:57:12,600
Speaker 3: Yeah, yeah, but anyway, I don't know when that depictions started.

1039
00:57:12,600 --> 00:57:14,320
Speaker 3: Maybe they got it from a night of the Commet.

1040
00:57:14,360 --> 00:57:19,680
Speaker 3: Who knows. So Reggie here accidentally locks herself out of

1041
00:57:19,680 --> 00:57:22,960
Speaker 3: the movie theater and the streets are totally deserted. She

1042
00:57:23,000 --> 00:57:26,040
Speaker 3: doesn't know what's going on, and while she's looking around

1043
00:57:26,960 --> 00:57:29,680
Speaker 3: in the alley beside the movie theater, she gets attacked

1044
00:57:29,720 --> 00:57:35,000
Speaker 3: by the same zombie that killed Larry. But Reggie is

1045
00:57:35,040 --> 00:57:39,280
Speaker 3: not helpless. Reggie is tough and she fights the zombie

1046
00:57:39,280 --> 00:57:41,000
Speaker 3: off and escapes on a motorcycle.

1047
00:57:41,480 --> 00:57:44,600
Speaker 2: Yeah, it's really satisfying to see her whip some butt

1048
00:57:44,640 --> 00:57:47,560
Speaker 2: here against the zombie. And you can definitely see, even

1049
00:57:47,600 --> 00:57:51,080
Speaker 2: in this early scene like shades of like Buffy the

1050
00:57:51,160 --> 00:57:53,840
Speaker 2: Vampire to come. Like I'm to understand Buffy the Vampire

1051
00:57:54,120 --> 00:57:58,200
Speaker 2: was to some extent inspired by the characters we see

1052
00:57:58,240 --> 00:57:58,840
Speaker 2: in this picture.

1053
00:57:59,120 --> 00:58:01,640
Speaker 3: I've read that too. Yeah, people say that that character

1054
00:58:01,720 --> 00:58:03,840
Speaker 3: came in part from this. Do we want to do

1055
00:58:03,840 --> 00:58:06,520
Speaker 3: a quick note on what the zombies in this movie

1056
00:58:06,720 --> 00:58:12,920
Speaker 3: are like because they're different than your Romero's style zombies,

1057
00:58:12,960 --> 00:58:17,440
Speaker 3: just you know, shambling, nonverbal brain eaters. The zombies in

1058
00:58:17,680 --> 00:58:22,360
Speaker 3: Night of the Comet retain some intelligence. They sometimes retain

1059
00:58:22,440 --> 00:58:25,960
Speaker 3: the ability to speak clearly, the ability to use tools.

1060
00:58:26,000 --> 00:58:30,040
Speaker 3: They're smarter and more human than most of your movie zombies,

1061
00:58:30,440 --> 00:58:34,080
Speaker 3: though it does seem their condition is progressive, so maybe

1062
00:58:34,120 --> 00:58:39,280
Speaker 3: these abilities and human qualities disappear gradually over time. Yeah.

1063
00:58:39,360 --> 00:58:42,000
Speaker 2: Yeah, And it's very different from what we tend to

1064
00:58:42,040 --> 00:58:45,120
Speaker 2: see in popular zombie media today, where you know, it's

1065
00:58:45,160 --> 00:58:48,400
Speaker 2: like you're fighting through it and then there's a point

1066
00:58:48,440 --> 00:58:51,880
Speaker 2: where you just cross over and now you're zombie. In

1067
00:58:51,920 --> 00:58:55,840
Speaker 2: this film, there's kind of a phase in between where

1068
00:58:55,880 --> 00:58:58,520
Speaker 2: you're not full zombie yet, but you're on your way

1069
00:58:58,560 --> 00:59:00,760
Speaker 2: to full zombie. And yeah, I don't know if we

1070
00:59:00,800 --> 00:59:03,920
Speaker 2: want to get into the actual explanation, I guess we

1071
00:59:04,000 --> 00:59:04,440
Speaker 2: might as well.

1072
00:59:04,480 --> 00:59:05,120
Speaker 3: Let's do it. Yeah.

1073
00:59:05,200 --> 00:59:08,320
Speaker 2: Yeah, we learn that what has happened is that somehow,

1074
00:59:08,880 --> 00:59:12,200
Speaker 2: via science or magic, the trail of the comet that

1075
00:59:12,280 --> 00:59:16,720
Speaker 2: Earth has passed through has kind of like infected or

1076
00:59:16,760 --> 00:59:20,440
Speaker 2: influenced people's bodies, and if you were out there standing

1077
00:59:20,520 --> 00:59:23,680
Speaker 2: under it, looking up well, you're just dust. Like seeing

1078
00:59:23,720 --> 00:59:26,360
Speaker 2: the common in its full glory or absorbing its energy

1079
00:59:26,760 --> 00:59:30,720
Speaker 2: just reduces you to this little pile of dust and

1080
00:59:30,760 --> 00:59:33,640
Speaker 2: your assembled clothes on the ground. But if you had

1081
00:59:33,800 --> 00:59:38,480
Speaker 2: varying degrees of protection in place, it's going to take longer.

1082
00:59:39,040 --> 00:59:42,640
Speaker 2: Maybe you're going to start feeling dry skinned over the

1083
00:59:42,680 --> 00:59:46,200
Speaker 2: next twenty four or forty eight hours, and eventually you're

1084
00:59:46,240 --> 00:59:49,160
Speaker 2: going to begin to become this kind of zombie that

1085
00:59:49,200 --> 00:59:52,439
Speaker 2: we've been discussing before, eventually turning into dust as well.

1086
00:59:52,960 --> 00:59:55,760
Speaker 2: Are those the broad strokes of it forgetting a key

1087
00:59:56,600 --> 00:59:57,440
Speaker 2: phase in it all?

1088
00:59:57,640 --> 01:00:02,600
Speaker 3: No, I think that's right. So, yeah, the zombieness comes

1089
01:00:02,640 --> 01:00:06,600
Speaker 3: on gradually. And at some point people do they turn aggressive.

1090
01:00:06,720 --> 01:00:09,320
Speaker 3: That seems to be a key characteristic of becoming a zombie.

1091
01:00:09,360 --> 01:00:13,200
Speaker 3: You just sort of attack whoever's around you. But yeah,

1092
01:00:13,240 --> 01:00:15,880
Speaker 3: you don't necessarily lose the ability to speak or to

1093
01:00:15,920 --> 01:00:19,480
Speaker 3: operate tools or anything like that. Maybe you do eventually,

1094
01:00:20,360 --> 01:00:22,240
Speaker 3: But the idea is eventually you will just die. You

1095
01:00:22,280 --> 01:00:25,080
Speaker 3: will turn to dust. It will dehydrate your body, and

1096
01:00:25,120 --> 01:00:27,160
Speaker 3: all that will be left is like the bone, you know,

1097
01:00:27,320 --> 01:00:30,600
Speaker 3: the minerals from your bones, and they'll crumble into dusty

1098
01:00:31,560 --> 01:00:32,200
Speaker 3: red dust.

1099
01:00:32,440 --> 01:00:36,760
Speaker 2: And it's one of the reasons too that so much

1100
01:00:36,760 --> 01:00:40,840
Speaker 2: of the film in the daylight portions is shot with this.

1101
01:00:41,440 --> 01:00:45,280
Speaker 2: I believe it is a graduated filter, so we have

1102
01:00:46,320 --> 01:00:48,680
Speaker 2: like it's redder at the top, and then it fades

1103
01:00:48,760 --> 01:00:52,040
Speaker 2: down becomes less red when you get closer to the

1104
01:00:52,040 --> 01:00:54,280
Speaker 2: bottom of the screen. And so I don't know how

1105
01:00:54,360 --> 01:00:56,840
Speaker 2: much of this is supposed to be like the influence

1106
01:00:56,840 --> 01:00:59,920
Speaker 2: of the comets still in the atmosphere, or like literally

1107
01:01:00,680 --> 01:01:05,200
Speaker 2: dust from human civilization that is reddening up the sky.

1108
01:01:06,320 --> 01:01:08,760
Speaker 3: No, I mean, I, oh, well, that's a good question. Yeah,

1109
01:01:08,840 --> 01:01:12,360
Speaker 3: is that the comets tailor is a like dissolved people

1110
01:01:12,520 --> 01:01:14,919
Speaker 3: now just like being blown in the wind. I don't

1111
01:01:14,960 --> 01:01:17,080
Speaker 3: know which one of those it is that we do

1112
01:01:17,120 --> 01:01:23,440
Speaker 3: see it. I think that the science of exactly what

1113
01:01:23,560 --> 01:01:26,080
Speaker 3: is going to happen to people and how inevitable it

1114
01:01:26,160 --> 01:01:28,560
Speaker 3: is that is called into question in the movie because

1115
01:01:28,600 --> 01:01:31,600
Speaker 3: some of the scientists arrive at the conclusion that basically,

1116
01:01:31,600 --> 01:01:34,440
Speaker 3: like we're all doomed, like there's no fixing it unless

1117
01:01:34,480 --> 01:01:37,080
Speaker 3: we come up with a serum. How would they do that?

1118
01:01:38,000 --> 01:01:40,960
Speaker 3: You know, that's something that's in the third act, But

1119
01:01:41,480 --> 01:01:45,000
Speaker 3: their initial idea at least proposed by the scientists is

1120
01:01:45,040 --> 01:01:48,200
Speaker 3: that there's no way to escape death unless we find

1121
01:01:48,200 --> 01:01:50,880
Speaker 3: a cure for this. The ending of the movie to me,

1122
01:01:50,960 --> 01:01:54,240
Speaker 3: seems to suggest the opposite, actually that once like the

1123
01:01:54,360 --> 01:01:57,520
Speaker 3: rains come and wash away all the dust, that actually

1124
01:01:57,560 --> 01:02:00,240
Speaker 3: being outside is okay, and like our main characters going

1125
01:02:00,280 --> 01:02:00,400
Speaker 3: to be.

1126
01:02:00,400 --> 01:02:02,640
Speaker 2: All right, Yeah, we're not left with any hint that

1127
01:02:02,840 --> 01:02:05,440
Speaker 2: our main character, I don't know. It's interesting to think

1128
01:02:05,440 --> 01:02:09,400
Speaker 2: about because not to jump I guess we've already jumped

1129
01:02:09,400 --> 01:02:12,280
Speaker 2: ahead here, but to jump ahead a considerable amount. We're

1130
01:02:12,280 --> 01:02:14,640
Speaker 2: eventually going to arrive in a familiar place in a

1131
01:02:14,680 --> 01:02:19,240
Speaker 2: film like this where a new nuclear family is assembled

1132
01:02:19,280 --> 01:02:23,360
Speaker 2: out of survivors, but it feels very cheerful and happy

1133
01:02:23,440 --> 01:02:26,280
Speaker 2: and content. Yes, in a way that may not be realistic,

1134
01:02:27,720 --> 01:02:30,880
Speaker 2: but but yeah, there's no indication that all of these

1135
01:02:30,960 --> 01:02:33,840
Speaker 2: people have like forty eight hours left to live. But

1136
01:02:34,000 --> 01:02:36,080
Speaker 2: on the other side, like I don't know, maybe they do,

1137
01:02:36,200 --> 01:02:38,280
Speaker 2: and maybe that's part of the message of the film.

1138
01:02:38,320 --> 01:02:42,280
Speaker 2: It's like, maybe they don't have long to survive. There

1139
01:02:42,320 --> 01:02:45,280
Speaker 2: is an expiration date on everything, but that's that's how

1140
01:02:45,320 --> 01:02:47,240
Speaker 2: it is in real life too. There is an expiration

1141
01:02:47,320 --> 01:02:48,120
Speaker 2: date on everything.

1142
01:02:49,560 --> 01:02:50,480
Speaker 3: You got to live, Yeah, you.

1143
01:02:50,440 --> 01:02:52,760
Speaker 2: Got to live. You know, death may be coming tomorrow,

1144
01:02:52,800 --> 01:02:55,600
Speaker 2: the day after, twenty years from now, but you've got

1145
01:02:55,600 --> 01:02:58,320
Speaker 2: to live in the time being. You're on the waiting list,

1146
01:02:58,000 --> 01:02:59,840
Speaker 2: you've got to live in the time being.

1147
01:03:00,200 --> 01:03:11,800
Speaker 3: Yeah. Yeah. So anyway, at the part we left off

1148
01:03:11,920 --> 01:03:15,840
Speaker 3: on in the plot, Reggie goes back home on this motorcycle.

1149
01:03:15,920 --> 01:03:19,040
Speaker 3: Along the way, she's like noticing that everywhere around her

1150
01:03:19,200 --> 01:03:23,000
Speaker 3: it's just devoid of people. Outside her house, the street

1151
01:03:23,360 --> 01:03:25,560
Speaker 3: is still set up for the comet party that the

1152
01:03:25,560 --> 01:03:28,880
Speaker 3: stepmom was going to, clothes and red dust piled up

1153
01:03:28,880 --> 01:03:32,520
Speaker 3: in the streets everywhere. And then when Reggie goes inside,

1154
01:03:32,560 --> 01:03:36,120
Speaker 3: at first you fear that Samantha is dead because everybody

1155
01:03:36,160 --> 01:03:39,320
Speaker 3: else is dead. But Reggie actually finds her alive and well.

1156
01:03:39,720 --> 01:03:43,120
Speaker 3: She explains that after her stepmom punched her, she fled

1157
01:03:43,120 --> 01:03:45,600
Speaker 3: the house and spent the night in the garden shed,

1158
01:03:45,680 --> 01:03:48,880
Speaker 3: which happens to be encased in steel. I was like,

1159
01:03:48,920 --> 01:03:51,520
Speaker 3: I don't know about that, but okay, we'll roll with it.

1160
01:03:52,280 --> 01:03:52,440
Speaker 4: Love.

1161
01:03:52,520 --> 01:03:54,919
Speaker 2: This is such a great inversion because our two main

1162
01:03:55,000 --> 01:04:01,160
Speaker 2: characters here, they were saved from supernatural death by sleeping

1163
01:04:01,160 --> 01:04:04,240
Speaker 2: with the projectionist. Yeah, and the other by running away

1164
01:04:04,240 --> 01:04:07,000
Speaker 2: from home. Yes, two things that in a you know,

1165
01:04:07,040 --> 01:04:09,320
Speaker 2: in a different film, like a slasher film, those would

1166
01:04:09,360 --> 01:04:10,760
Speaker 2: be like, oh, you're gonna die in the first.

1167
01:04:10,640 --> 01:04:13,520
Speaker 3: Act right now you have misbehaved and now you'll be punished.

1168
01:04:13,520 --> 01:04:15,880
Speaker 3: But no, like we've said, our rule breakers here are

1169
01:04:15,880 --> 01:04:20,400
Speaker 3: our heroes and their their craftiness is rewarded. So it

1170
01:04:20,480 --> 01:04:24,520
Speaker 3: takes a little convincing. But but Reggie does make Sam

1171
01:04:24,600 --> 01:04:27,800
Speaker 3: realize that their stepmom is dead and in fact everyone

1172
01:04:27,920 --> 01:04:31,000
Speaker 3: is dead there. I mean it's a little morbid. As

1173
01:04:31,040 --> 01:04:33,920
Speaker 3: I said earlier, like there's a dark sense of humor

1174
01:04:33,960 --> 01:04:37,439
Speaker 3: in this movie that is not always sweet. Like they're

1175
01:04:37,480 --> 01:04:40,520
Speaker 3: outside and they're like, it's Saturday morning, where are all

1176
01:04:40,560 --> 01:04:45,080
Speaker 3: the kids? And so the idea is somehow the comet

1177
01:04:45,080 --> 01:04:48,080
Speaker 3: has turned everyone into dust and they are the only

1178
01:04:48,120 --> 01:04:54,080
Speaker 3: ones left until they until the radio is playing and

1179
01:04:54,160 --> 01:04:57,880
Speaker 3: they realize it sounds like there's somebody at the radio

1180
01:04:57,960 --> 01:05:01,160
Speaker 3: station talking into the micro And this part was a

1181
01:05:01,200 --> 01:05:03,120
Speaker 3: little weird for me. I was like, oh boy, what

1182
01:05:03,160 --> 01:05:05,120
Speaker 3: would this be, Like, you know, the end of the world,

1183
01:05:05,200 --> 01:05:08,120
Speaker 3: and yet you're still getting new podcast episodes. Does that

1184
01:05:08,200 --> 01:05:10,640
Speaker 3: make you think that somebody out there is recording them

1185
01:05:10,640 --> 01:05:11,440
Speaker 3: they're still alive.

1186
01:05:12,040 --> 01:05:14,760
Speaker 2: No, it's just the AI generated podcast, that's all. And

1187
01:05:14,840 --> 01:05:17,760
Speaker 2: that's basically what it's the nineteen eighties version of that answer.

1188
01:05:17,840 --> 01:05:25,280
Speaker 2: They go to themo stylish eighties radio radio station you've

1189
01:05:25,280 --> 01:05:25,840
Speaker 2: ever seen?

1190
01:05:26,120 --> 01:05:27,640
Speaker 3: I would love to work in this place?

1191
01:05:27,760 --> 01:05:30,160
Speaker 2: Yeah, yeah, it looks I mean, we work for a

1192
01:05:30,240 --> 01:05:34,320
Speaker 2: radio company. I've seen radio studios before, you know, before

1193
01:05:34,360 --> 01:05:37,320
Speaker 2: I worked for this company, and since working with this company,

1194
01:05:37,440 --> 01:05:41,040
Speaker 2: they never look like this. This looks amazing. This is

1195
01:05:41,080 --> 01:05:45,000
Speaker 2: like Neon everywhere and big black couches, and you know,

1196
01:05:45,040 --> 01:05:48,440
Speaker 2: it looks like, yeah, it's it's decadent in eighties to

1197
01:05:48,520 --> 01:05:49,080
Speaker 2: the extreme.

1198
01:05:49,360 --> 01:05:52,120
Speaker 3: It looks like a location you would go to in

1199
01:05:52,360 --> 01:05:53,600
Speaker 3: grand theft auto vices.

1200
01:05:53,760 --> 01:05:56,680
Speaker 2: Yes, yes, oh my god, I've had the same thought,

1201
01:05:56,760 --> 01:05:59,840
Speaker 2: in part because of its stylishness and also just the

1202
01:06:00,200 --> 01:06:02,360
Speaker 2: reality of it, like this is a space that was

1203
01:06:02,360 --> 01:06:05,200
Speaker 2: assembled in a virtual world. Yeah, and that like the

1204
01:06:05,280 --> 01:06:09,720
Speaker 2: distances between things doesn't feel exactly right. Yeah.

1205
01:06:09,720 --> 01:06:12,720
Speaker 3: But while they're at the radio station hunting down this

1206
01:06:12,800 --> 01:06:15,440
Speaker 3: living person and again they find that it's just a

1207
01:06:15,440 --> 01:06:18,720
Speaker 3: pre taped show playing it's simulating a person being there,

1208
01:06:19,800 --> 01:06:25,320
Speaker 3: they meet someone actually there is another survivor there. They're

1209
01:06:25,400 --> 01:06:28,640
Speaker 3: meeting at first is tense because it's the guy Hector,

1210
01:06:29,000 --> 01:06:31,040
Speaker 3: and he pulls a gun on them because he's not

1211
01:06:31,080 --> 01:06:35,480
Speaker 3: sure that they are not zombies. But once he's you know,

1212
01:06:35,520 --> 01:06:38,200
Speaker 3: made himself comfortable that they are human, they're not zombies,

1213
01:06:38,240 --> 01:06:41,240
Speaker 3: they settle down. They get to know each other. Their

1214
01:06:41,280 --> 01:06:45,120
Speaker 3: relationship is tense at first, I think because it started

1215
01:06:45,160 --> 01:06:48,880
Speaker 3: at gunpoint, but they eventually realized. Both the sisters realize

1216
01:06:48,920 --> 01:06:51,800
Speaker 3: Hector is a good guy and they like him. Yeah.

1217
01:06:51,800 --> 01:06:53,680
Speaker 2: We cook realized he had the gun on them because

1218
01:06:53,680 --> 01:06:57,080
Speaker 2: he wanted to make sure that they were not becoming zombies.

1219
01:06:57,120 --> 01:07:00,000
Speaker 3: He wanted to see their eyes. Yeah, yeah, yeah. He's like,

1220
01:07:00,080 --> 01:07:01,600
Speaker 3: come into the light so I can see your eyes.

1221
01:07:03,040 --> 01:07:05,240
Speaker 3: So they start to get to know each other. We

1222
01:07:05,320 --> 01:07:06,600
Speaker 3: have a lot of scenes in the middle of the

1223
01:07:06,600 --> 01:07:08,880
Speaker 3: movie here where the characters are they're sort of just

1224
01:07:09,000 --> 01:07:11,480
Speaker 3: talking and figuring out what's going on, getting to know

1225
01:07:11,560 --> 01:07:17,200
Speaker 3: each other. While Hector and Reggie are talking, Sam realizes

1226
01:07:17,320 --> 01:07:20,000
Speaker 3: that nothing's stopping her from being the DJ of the

1227
01:07:20,080 --> 01:07:23,960
Speaker 3: radio station, so she starts playing with the radio. She's like,

1228
01:07:24,000 --> 01:07:26,360
Speaker 3: I'm the DJ now and talks into the microphone. She

1229
01:07:26,560 --> 01:07:30,000
Speaker 3: like cranks all of the knobs up to maximum. I

1230
01:07:30,000 --> 01:07:32,120
Speaker 3: don't know exactly what that would do, if that's like

1231
01:07:32,200 --> 01:07:35,080
Speaker 3: blasting out radios that are left on around the city.

1232
01:07:35,680 --> 01:07:40,120
Speaker 3: But somebody hears her because the phone lines start lighting up,

1233
01:07:41,200 --> 01:07:44,080
Speaker 3: and we learn later that Sam has gotten a call

1234
01:07:44,160 --> 01:07:47,000
Speaker 3: from people who identified themselves as part of a think

1235
01:07:47,080 --> 01:07:49,840
Speaker 3: tank based in the desert. This is going to be

1236
01:07:50,160 --> 01:07:54,040
Speaker 3: the Comet Research Group, a group that they say that

1237
01:07:54,080 --> 01:07:56,080
Speaker 3: they're based out in the desert. And what do they

1238
01:07:56,120 --> 01:07:58,800
Speaker 3: say to her That they're going to try to make contact,

1239
01:07:59,000 --> 01:08:00,920
Speaker 3: or that they tell them to hold in place and

1240
01:08:00,960 --> 01:08:01,880
Speaker 3: they will see them soon.

1241
01:08:02,080 --> 01:08:04,720
Speaker 2: Yeah, they're going to send a team and yeah, like

1242
01:08:04,760 --> 01:08:10,200
Speaker 2: they position themselves as an authority, like someone who can

1243
01:08:10,280 --> 01:08:13,440
Speaker 2: actually bring some level of salvation to the scenario.

1244
01:08:14,080 --> 01:08:17,760
Speaker 3: But then we see scenes of the scientists at this

1245
01:08:17,880 --> 01:08:22,000
Speaker 3: secret underground facility and I don't know what's the gist

1246
01:08:22,040 --> 01:08:24,360
Speaker 3: of what's going on there. Does when we actually see

1247
01:08:24,360 --> 01:08:28,320
Speaker 3: the scientists behind the scenes, that sense of authority feels

1248
01:08:28,360 --> 01:08:31,639
Speaker 3: a little shakier, like maybe they don't know exactly what's

1249
01:08:31,720 --> 01:08:34,360
Speaker 3: going on and they are not in agreement about what

1250
01:08:34,400 --> 01:08:35,040
Speaker 3: they should do.

1251
01:08:35,840 --> 01:08:39,200
Speaker 2: Yeah, yeah, we progressively see this. So first of all,

1252
01:08:40,000 --> 01:08:42,559
Speaker 2: they have like this. I love how they realized like

1253
01:08:42,600 --> 01:08:46,719
Speaker 2: the physical environment of their like vast underground base.

1254
01:08:46,960 --> 01:08:51,559
Speaker 3: It's more scrappy filmmaking techniques to put this together. There's

1255
01:08:51,560 --> 01:08:54,160
Speaker 3: like a guy in the foreground, a silhouette of a

1256
01:08:54,200 --> 01:08:57,000
Speaker 3: guard overneath this thing that you see. It's like this

1257
01:08:57,200 --> 01:08:58,240
Speaker 3: maze of offices.

1258
01:08:59,000 --> 01:09:02,360
Speaker 2: Yeah, yeah, get sense of like a vast cavern and

1259
01:09:02,560 --> 01:09:05,200
Speaker 2: in some great hallways, some great like sci fi bunker

1260
01:09:05,280 --> 01:09:08,400
Speaker 2: hallways and lab rooms. But yeah, there is a sense

1261
01:09:08,479 --> 01:09:11,479
Speaker 2: that I don't know, they don't really know how to respond,

1262
01:09:11,560 --> 01:09:14,879
Speaker 2: and maybe they have some sort of protocol they're following,

1263
01:09:14,920 --> 01:09:19,280
Speaker 2: but it is rapidly falling apart because we learned that

1264
01:09:19,320 --> 01:09:25,280
Speaker 2: there's varying degrees of infection already among these survivors. They

1265
01:09:25,280 --> 01:09:28,160
Speaker 2: are not immune to what's happening, and so they're running

1266
01:09:28,200 --> 01:09:31,439
Speaker 2: against the clock trying to cure themselves. And some of

1267
01:09:31,479 --> 01:09:34,080
Speaker 2: them think there is hope and others are convinced that

1268
01:09:34,120 --> 01:09:34,960
Speaker 2: there is no hope.

1269
01:09:35,280 --> 01:09:39,160
Speaker 3: Yeah. Did you notice this thing about their logo, rob

1270
01:09:39,479 --> 01:09:41,760
Speaker 3: They have a logo. The Comment Research Group has like

1271
01:09:41,800 --> 01:09:44,400
Speaker 3: a you know, a graphic that's on all of their

1272
01:09:44,439 --> 01:09:47,559
Speaker 3: stuff that is, if you zoom in on it, it's

1273
01:09:47,600 --> 01:09:51,240
Speaker 3: a maze, a circular maze that cannot be solved. If

1274
01:09:51,280 --> 01:09:53,880
Speaker 3: you look at the openings to the maze, the entrances

1275
01:09:53,960 --> 01:09:55,280
Speaker 3: only lead to dead ends.

1276
01:09:55,600 --> 01:09:58,680
Speaker 2: That is a wonderful insight. I didn't pick up on

1277
01:09:58,720 --> 01:10:01,160
Speaker 2: that when I watched the film. I loved the logo,

1278
01:10:01,280 --> 01:10:06,080
Speaker 2: but I didn't realize that it was amazed without a solution, which, yeah, yeah,

1279
01:10:06,120 --> 01:10:08,719
Speaker 2: I see it here, and that that is perfect because

1280
01:10:09,360 --> 01:10:13,320
Speaker 2: they have all the seeming sophistication and secrecy, and they

1281
01:10:13,360 --> 01:10:16,880
Speaker 2: have technology at their disposal, but there is no path

1282
01:10:16,960 --> 01:10:20,400
Speaker 2: forward for them, and they're all, I think, realizing that

1283
01:10:21,040 --> 01:10:22,520
Speaker 2: to some degree or another.

1284
01:10:22,479 --> 01:10:27,120
Speaker 3: Becoming increasingly desperate, and a division is breaking out between

1285
01:10:27,200 --> 01:10:27,960
Speaker 3: them because of it.

1286
01:10:28,240 --> 01:10:32,800
Speaker 2: Yeah, and Mary Warreno's character, you know, we initially meet her,

1287
01:10:32,920 --> 01:10:35,680
Speaker 2: she seems to be just another underling, Like she's kind

1288
01:10:35,680 --> 01:10:38,080
Speaker 2: of scary. She's gone out to meet them at the

1289
01:10:38,160 --> 01:10:41,480
Speaker 2: radio station. Eventually she's going to pull out a syringe

1290
01:10:42,000 --> 01:10:46,000
Speaker 2: containing uh, you know, some sort of presumed presumably a poison,

1291
01:10:46,640 --> 01:10:49,680
Speaker 2: and it's going to use it on Samantha and we're like,

1292
01:10:49,720 --> 01:10:53,360
Speaker 2: oh man, she's just a cold assassin here. We learn

1293
01:10:54,000 --> 01:10:56,920
Speaker 2: eventually that like she actually injected her with just a

1294
01:10:56,960 --> 01:11:00,280
Speaker 2: sedative that she spared her, and then she turns on

1295
01:11:00,760 --> 01:11:04,320
Speaker 2: her fellow think tank member who is like, hey, we

1296
01:11:04,400 --> 01:11:06,160
Speaker 2: got to go on and do more murders because that's

1297
01:11:06,200 --> 01:11:08,479
Speaker 2: what we were asked to do. And you know, she

1298
01:11:08,680 --> 01:11:11,559
Speaker 2: also has a tragic trajectory. She ends up injecting herself

1299
01:11:12,000 --> 01:11:15,120
Speaker 2: with the poison because she knows that she is gonna

1300
01:11:15,720 --> 01:11:17,920
Speaker 2: she's going to dust out here pretty soon. She's going

1301
01:11:17,960 --> 01:11:20,200
Speaker 2: to turn into a zombie, and she wants to save

1302
01:11:20,240 --> 01:11:22,200
Speaker 2: herself from that fate, right.

1303
01:11:22,320 --> 01:11:24,519
Speaker 3: But I think she doesn't feel right in the end

1304
01:11:24,720 --> 01:11:29,200
Speaker 3: euthanizing Samantha like she was supposed to, so she lets

1305
01:11:29,200 --> 01:11:32,480
Speaker 3: her live. And then Samantha actually turns out to be okay, yeah,

1306
01:11:32,520 --> 01:11:34,920
Speaker 3: which is which is a But they think that she's

1307
01:11:34,960 --> 01:11:38,200
Speaker 3: sick because she's like itching, you know, and she tries

1308
01:11:38,240 --> 01:11:39,920
Speaker 3: to explain to them. She's like, oh no, I always

1309
01:11:39,920 --> 01:11:41,600
Speaker 3: get like this when I'm nervous. I get you know,

1310
01:11:41,760 --> 01:11:45,840
Speaker 3: I get contact dermatitis when I you know, I've got anxiety.

1311
01:11:46,760 --> 01:11:50,520
Speaker 3: And they're like, oh no, she's turning into comet dust. Yeah.

1312
01:11:50,760 --> 01:11:54,920
Speaker 2: Now, eventually the think Tank group, the Commic Research Group,

1313
01:11:54,960 --> 01:11:57,200
Speaker 2: they are going to make off with Reggie and we're

1314
01:11:57,240 --> 01:11:58,880
Speaker 2: going to end up having to you know, she's going

1315
01:11:58,920 --> 01:12:01,280
Speaker 2: to have to escape and or be rescued. But in

1316
01:12:01,320 --> 01:12:03,600
Speaker 2: the meantime, we do get the we do get the

1317
01:12:03,600 --> 01:12:07,200
Speaker 2: trip to the mall, we get montage with shopping. Girls

1318
01:12:07,240 --> 01:12:10,000
Speaker 2: just want to have fun, and that's really that's that's

1319
01:12:10,000 --> 01:12:11,479
Speaker 2: some of the most fun in the film. That's a

1320
01:12:11,560 --> 01:12:12,519
Speaker 2: very memorable sequence.

1321
01:12:12,560 --> 01:12:14,200
Speaker 3: I agree, let's talk about that stuff in the middle.

1322
01:12:14,240 --> 01:12:16,160
Speaker 3: So one of the things in the middle is that

1323
01:12:16,560 --> 01:12:19,880
Speaker 3: Hector has to leave them, Like Reggie and Hector are

1324
01:12:19,920 --> 01:12:22,519
Speaker 3: clearly starting to fall in love, or at least you're

1325
01:12:22,520 --> 01:12:24,960
Speaker 3: getting the sense that they may think, well, we better

1326
01:12:25,000 --> 01:12:25,599
Speaker 3: fall in love.

1327
01:12:26,920 --> 01:12:29,200
Speaker 2: He's literally, as far as they know, the last man

1328
01:12:29,240 --> 01:12:29,599
Speaker 2: on earth.

1329
01:12:29,720 --> 01:12:31,720
Speaker 3: Yeah, and they kind of fight over him a little bit,

1330
01:12:31,920 --> 01:12:36,240
Speaker 3: but Reggie, but also I think Sam kind of accepts,

1331
01:12:36,240 --> 01:12:38,960
Speaker 3: like she's upset, but she's like, yeah, Reggie and him,

1332
01:12:39,040 --> 01:12:41,320
Speaker 3: or you know, she's like, why can't I find a guy?

1333
01:12:41,800 --> 01:12:47,439
Speaker 3: They're all dust now. But so saying oh, when we

1334
01:12:47,479 --> 01:12:49,800
Speaker 3: find out by the way, there's an explanation for why

1335
01:12:49,880 --> 01:12:53,519
Speaker 3: Hector is still alive. He spent the night in the

1336
01:12:53,600 --> 01:12:56,320
Speaker 3: steel enclosure in the back of the truck that he

1337
01:12:56,439 --> 01:13:00,920
Speaker 3: drives during when the comet passed. But so Hector has

1338
01:13:00,960 --> 01:13:02,320
Speaker 3: to go home because he has to go home and

1339
01:13:02,400 --> 01:13:06,280
Speaker 3: check on his mom. And this is another scene that

1340
01:13:06,320 --> 01:13:08,920
Speaker 3: I think really benefits from the Christmas setting because he

1341
01:13:09,000 --> 01:13:11,959
Speaker 3: goes back to his house and it's all decorated for Christmas.

1342
01:13:12,000 --> 01:13:14,960
Speaker 3: There's the Christmas tree and he you know, he doesn't

1343
01:13:14,960 --> 01:13:18,320
Speaker 3: find his mom in the house, but he does. When

1344
01:13:18,320 --> 01:13:21,280
Speaker 3: he's in there, he gets attacked by a child zombie,

1345
01:13:21,280 --> 01:13:23,920
Speaker 3: which is like, oh, what's gonna happen to have to

1346
01:13:23,920 --> 01:13:24,479
Speaker 3: happen here?

1347
01:13:24,720 --> 01:13:24,880
Speaker 4: Oh?

1348
01:13:24,960 --> 01:13:27,400
Speaker 2: Man? Before the zombie came out, there was one like

1349
01:13:27,439 --> 01:13:30,120
Speaker 2: just a beautiful, little subtle moment that I really loved.

1350
01:13:31,400 --> 01:13:34,200
Speaker 2: There are Christmas lights in the house in the living room,

1351
01:13:34,520 --> 01:13:36,960
Speaker 2: and there's a part there where Hector reaches up. His

1352
01:13:37,000 --> 01:13:39,360
Speaker 2: back's turned to the camera and he just reaches up

1353
01:13:39,400 --> 01:13:42,479
Speaker 2: and he like pushes this this link to Christmas lights,

1354
01:13:42,880 --> 01:13:45,160
Speaker 2: like up above the nail that's holding it up, just

1355
01:13:45,200 --> 01:13:49,160
Speaker 2: like adjusts it, you know, lovingly, tenderly. And I don't

1356
01:13:49,200 --> 01:13:50,400
Speaker 2: know that one little moment.

1357
01:13:50,200 --> 01:13:50,479
Speaker 4: Was just that.

1358
01:13:50,520 --> 01:13:52,120
Speaker 2: I thought that was so beautiful. I love it when

1359
01:13:52,120 --> 01:13:54,920
Speaker 2: a film can have those those little treasures in there.

1360
01:13:55,240 --> 01:13:58,000
Speaker 3: Absolutely agree, I mean, this is such a little moment,

1361
01:13:58,040 --> 01:14:00,280
Speaker 3: but it shows the way Hector cares that he hears

1362
01:14:00,320 --> 01:14:03,519
Speaker 3: for his mom and he cares for Yeah, that he's

1363
01:14:03,560 --> 01:14:05,320
Speaker 3: just fixing this thing even though it's the end of

1364
01:14:05,320 --> 01:14:10,479
Speaker 3: the world. So so yeah, but Hector escapes, he escapes

1365
01:14:10,520 --> 01:14:12,680
Speaker 3: the situation, and then we assume that he's going to

1366
01:14:12,760 --> 01:14:14,920
Speaker 3: be on the way back to LA to meet back

1367
01:14:15,000 --> 01:14:19,000
Speaker 3: up with Reggie and Sam. But in the meantime, Reggie

1368
01:14:19,000 --> 01:14:22,120
Speaker 3: and Sam are left alone in La. You know, they're

1369
01:14:22,160 --> 01:14:26,200
Speaker 3: having some you know, some trouble. Sam is having some

1370
01:14:26,280 --> 01:14:29,400
Speaker 3: trouble dealing with the situation, and they end up deciding

1371
01:14:29,439 --> 01:14:31,599
Speaker 3: to go shopping. And they're like, we can do anything

1372
01:14:31,640 --> 01:14:34,120
Speaker 3: we want. Why don't we you know, let's get out

1373
01:14:34,120 --> 01:14:35,479
Speaker 3: the credit cards and go shopping.

1374
01:14:35,560 --> 01:14:37,639
Speaker 2: Yeah, all the lights are still on. The tower never

1375
01:14:37,680 --> 01:14:39,920
Speaker 2: goes off in this apocalypse, so yeah, go shop.

1376
01:14:40,520 --> 01:14:43,240
Speaker 3: Amazing. So girls just want to have fun plays and

1377
01:14:43,280 --> 01:14:45,360
Speaker 3: they like go to the department store and they're getting

1378
01:14:45,360 --> 01:14:49,360
Speaker 3: whatever clothes and stuff they want. Unfortunately, at the department

1379
01:14:49,400 --> 01:14:53,200
Speaker 3: store there are some creeps busy turning into zombies. There

1380
01:14:53,200 --> 01:14:55,800
Speaker 3: were some boys who I think they worked in the

1381
01:14:55,880 --> 01:14:59,040
Speaker 3: like the loading dock below or something, and they must

1382
01:14:59,080 --> 01:15:02,559
Speaker 3: have spent the night encased in steel, so they didn't

1383
01:15:02,560 --> 01:15:05,840
Speaker 3: turn to dust. But now they're they're they're getting zombiefied

1384
01:15:05,880 --> 01:15:09,639
Speaker 3: pretty fast. So there are these creepy guys who are pale,

1385
01:15:09,760 --> 01:15:14,200
Speaker 3: wearing sunglasses inside and these strange suits. One guy has

1386
01:15:14,240 --> 01:15:17,120
Speaker 3: a suit with his name on it. Says Willie, I think.

1387
01:15:17,080 --> 01:15:21,720
Speaker 2: Yeah, they really feel like gooms from a Batman movie.

1388
01:15:21,880 --> 01:15:25,280
Speaker 3: Yeah, like from the first Tim Burton Batman movie. They

1389
01:15:25,280 --> 01:15:27,960
Speaker 3: feel like they would work for the Joker exactly. And

1390
01:15:28,000 --> 01:15:32,240
Speaker 3: so there's a confrontation in the department store where Reggie

1391
01:15:32,320 --> 01:15:34,479
Speaker 3: and Sam get into like a gun battle with these

1392
01:15:34,479 --> 01:15:36,840
Speaker 3: guys and they they out with them. At one point,

1393
01:15:36,880 --> 01:15:41,840
Speaker 3: Reggie Reggie outwits them by getting behind one of their

1394
01:15:42,120 --> 01:15:45,400
Speaker 3: number and taking him hostage, but unfortunately she did not

1395
01:15:45,520 --> 01:15:48,400
Speaker 3: anticipate how messed up they are, so they just like

1396
01:15:48,479 --> 01:15:52,200
Speaker 3: shoot the guy of theirs who she took hostage. So

1397
01:15:52,280 --> 01:15:56,439
Speaker 3: it's like okay, So Reggie and Sam get captured by

1398
01:15:56,439 --> 01:15:58,479
Speaker 3: these guys and then they go on to like it

1399
01:15:58,520 --> 01:16:00,679
Speaker 3: looks looks like it's gonna be curtain for them. They're

1400
01:16:00,680 --> 01:16:03,280
Speaker 3: playing the guys playing some weird Russian roulette kind of

1401
01:16:03,320 --> 01:16:06,320
Speaker 3: game with them, but at the last minute, the Comment

1402
01:16:06,360 --> 01:16:10,600
Speaker 3: Research Group shows up and they blast the pirates the

1403
01:16:10,640 --> 01:16:14,040
Speaker 3: creeps here, and this leads into the scenario we were

1404
01:16:14,040 --> 01:16:17,320
Speaker 3: talking about earlier, where the sisters are split up. Reggie

1405
01:16:17,439 --> 01:16:21,479
Speaker 3: is taken away to the Commet Research Groups headquarters. They

1406
01:16:21,560 --> 01:16:25,519
Speaker 3: keep Sam behind for a bit. I don't remember what

1407
01:16:25,600 --> 01:16:28,960
Speaker 3: explanation they give. I think it's that they need to

1408
01:16:29,000 --> 01:16:31,080
Speaker 3: run some medical tests on her first, and then they're

1409
01:16:31,080 --> 01:16:33,400
Speaker 3: going to bring her back. Actually their plan is just

1410
01:16:33,439 --> 01:16:37,760
Speaker 3: to euthanize her, but then Mary Warrenov's character ends up

1411
01:16:37,800 --> 01:16:50,040
Speaker 3: subverting this. Yes, so we don't know initially what happens

1412
01:16:50,040 --> 01:16:52,639
Speaker 3: to Sam. We just follow Reggie as she goes back

1413
01:16:52,760 --> 01:16:57,280
Speaker 3: to the headquarters to this underground bunker, and there we

1414
01:16:57,320 --> 01:17:00,160
Speaker 3: see some other stuff. We see that they have collect

1415
01:17:00,280 --> 01:17:03,599
Speaker 3: some other survivors, including a couple of children, and this

1416
01:17:03,640 --> 01:17:06,920
Speaker 3: really ups the stakes of the movie because now there's

1417
01:17:06,960 --> 01:17:11,639
Speaker 3: like even younger kids on hand, and suddenly it feels

1418
01:17:11,680 --> 01:17:13,920
Speaker 3: more real. It's like, oh no, what's going to happen

1419
01:17:13,960 --> 01:17:17,720
Speaker 3: to those kids? And it becomes clear that the scientists

1420
01:17:17,720 --> 01:17:20,680
Speaker 3: at the Comment Research Group are not you know, they

1421
01:17:20,680 --> 01:17:23,400
Speaker 3: don't have good intentions for these kids. What they're going

1422
01:17:23,479 --> 01:17:26,240
Speaker 3: to do is they're going to steal all the blood

1423
01:17:26,400 --> 01:17:29,280
Speaker 3: they can from the healthy people they have collected and

1424
01:17:29,320 --> 01:17:31,760
Speaker 3: brought back, and they're going to use that to make

1425
01:17:31,800 --> 01:17:35,840
Speaker 3: some kind of serum that will allow them to stave

1426
01:17:35,960 --> 01:17:38,280
Speaker 3: off their own comet related disease.

1427
01:17:38,800 --> 01:17:42,759
Speaker 2: Yeah. Yeah, So it's it's a pretty dire situation here.

1428
01:17:43,040 --> 01:17:45,280
Speaker 3: And so there are some great scenes at the headquarters here.

1429
01:17:45,560 --> 01:17:49,920
Speaker 3: Reggie has some real attitude when being interviewed by Jeffrey Lewis,

1430
01:17:50,000 --> 01:17:53,759
Speaker 3: the main guy in charge here. But eventually she busts

1431
01:17:53,800 --> 01:17:57,920
Speaker 3: out of her confinement and she plots an escape. She

1432
01:17:58,520 --> 01:18:02,479
Speaker 3: you know, arms herself, she busts the kids out, and

1433
01:18:02,520 --> 01:18:04,320
Speaker 3: then simultaneously, right.

1434
01:18:04,160 --> 01:18:06,280
Speaker 2: Before they could be gassed, because they were going to

1435
01:18:06,360 --> 01:18:08,920
Speaker 2: gas the kids, and they're like, well, uh, they're asking

1436
01:18:09,000 --> 01:18:12,639
Speaker 2: questions and like just just breathing and breathe the gas

1437
01:18:12,720 --> 01:18:15,160
Speaker 2: and then when you wake up, you'll be with Santa Claus.

1438
01:18:16,280 --> 01:18:18,240
Speaker 3: Yeah. Oh, And one of the kids is like Santa

1439
01:18:18,320 --> 01:18:21,160
Speaker 3: isn't real and then they're like be quiet and oh God.

1440
01:18:21,200 --> 01:18:24,280
Speaker 3: It's horrible. But Reggie saves them, and at the same

1441
01:18:24,439 --> 01:18:28,320
Speaker 3: time Sam and Hector arrive back on the scene. They

1442
01:18:28,720 --> 01:18:34,599
Speaker 3: track her to the location of the research groups underground layer.

1443
01:18:35,040 --> 01:18:38,840
Speaker 3: They approach under false pretenses. Hector is acting like a

1444
01:18:39,400 --> 01:18:43,679
Speaker 3: I don't know he did branch. Yeah, but they sneak

1445
01:18:43,720 --> 01:18:46,120
Speaker 3: in and they plant a bunch of dynamite and all that,

1446
01:18:46,280 --> 01:18:48,400
Speaker 3: and they bust Reggie and the kids out. So there's

1447
01:18:48,439 --> 01:18:51,240
Speaker 3: a big chase in confrontation at the end here, but

1448
01:18:51,479 --> 01:18:53,479
Speaker 3: all of our heroes make it out all right. So

1449
01:18:53,600 --> 01:18:58,320
Speaker 3: it is a strangely happy ending for this Annihilation film. Yeah.

1450
01:18:58,439 --> 01:19:01,960
Speaker 2: Yeah, again, we end with like the reassembly of a

1451
01:19:02,080 --> 01:19:07,360
Speaker 2: nuclear family here, and it seems like certainly a Reggie

1452
01:19:07,479 --> 01:19:09,679
Speaker 2: and Hector and the two kids who we've just met

1453
01:19:10,120 --> 01:19:13,559
Speaker 2: are now happy or content like reassembled as a family.

1454
01:19:14,439 --> 01:19:17,400
Speaker 2: Oh and then the one exception, of course, is that

1455
01:19:17,520 --> 01:19:20,559
Speaker 2: Samantha is still a little disappointed that she doesn't have somebody,

1456
01:19:20,640 --> 01:19:22,640
Speaker 2: you know, she really you know she we had that

1457
01:19:22,720 --> 01:19:25,799
Speaker 2: great tearful scene earlier where she was, you know, bemoaning

1458
01:19:25,960 --> 01:19:28,600
Speaker 2: the loss of her high school world like this, you know,

1459
01:19:28,880 --> 01:19:31,160
Speaker 2: this this boy at her school that she was interested

1460
01:19:31,240 --> 01:19:34,400
Speaker 2: in and sort of her her aspirations about bat scenario,

1461
01:19:34,520 --> 01:19:39,120
Speaker 2: and it was all taken away from her. But there

1462
01:19:39,240 --> 01:19:42,080
Speaker 2: is a fortunately, there is someone out there for her,

1463
01:19:42,600 --> 01:19:44,800
Speaker 2: and it brings us back to that score on the

1464
01:19:44,880 --> 01:19:45,400
Speaker 2: video game.

1465
01:19:45,720 --> 01:19:47,519
Speaker 3: That's right. So a guy pulls up in a car

1466
01:19:48,160 --> 01:19:51,040
Speaker 3: and they're like, who are you. He's like, well, I

1467
01:19:51,120 --> 01:19:53,479
Speaker 3: survived this whole thing. And he's a cute boy. And

1468
01:19:53,680 --> 01:19:57,320
Speaker 3: she and Samantha is clearly interested in him. And he

1469
01:19:57,479 --> 01:19:59,880
Speaker 3: introduces himself. I don't remember what he says. His name is,

1470
01:20:00,160 --> 01:20:03,560
Speaker 3: but Danny Mason Keener, Danny Mason Keener, d m K.

1471
01:20:04,040 --> 01:20:08,559
Speaker 3: And it should ring a bell for Reggie. But Reggie

1472
01:20:08,600 --> 01:20:10,320
Speaker 3: and Hector get to be happy. And the end, Sam

1473
01:20:10,439 --> 01:20:13,120
Speaker 3: hops into this new guy's car. They're gonna ride off

1474
01:20:13,240 --> 01:20:15,719
Speaker 3: and you know, I guess cruise around in Venice Beach

1475
01:20:15,840 --> 01:20:17,680
Speaker 3: or something. I don't know, what do you what do

1476
01:20:17,720 --> 01:20:20,559
Speaker 3: you do? Where do you cruise around anywhere you want?

1477
01:20:20,720 --> 01:20:20,960
Speaker 2: Really?

1478
01:20:21,439 --> 01:20:25,559
Speaker 3: I guess so, And uh, yeah, they're they're gonna they're

1479
01:20:25,600 --> 01:20:28,080
Speaker 3: gonna go to the beach. They're gonna go to the mall.

1480
01:20:28,160 --> 01:20:32,360
Speaker 3: I'm sure they'll go to the Sherman Oaks Galleria probably. Yeah,

1481
01:20:32,400 --> 01:20:34,600
Speaker 3: they're they're gonna have a great time at the end

1482
01:20:34,640 --> 01:20:35,040
Speaker 3: of the world.

1483
01:20:35,240 --> 01:20:38,360
Speaker 2: Yeah. The movie doesn't ask hard questions at at the end.

1484
01:20:38,439 --> 01:20:40,160
Speaker 2: It is just more about the feeling that you know

1485
01:20:40,880 --> 01:20:43,960
Speaker 2: a lot of terrible things have happened. Uh, but it's

1486
01:20:44,000 --> 01:20:45,800
Speaker 2: gonna be all right because we have each other, and

1487
01:20:46,200 --> 01:20:47,720
Speaker 2: you know, presented as it is in the movie, you

1488
01:20:47,800 --> 01:20:51,560
Speaker 2: accept that it absolutely works. It doesn't feel like a

1489
01:20:51,640 --> 01:20:54,240
Speaker 2: cop out, It doesn't feel too hammy. They I feel

1490
01:20:54,240 --> 01:20:55,720
Speaker 2: like they really did strike the right note.

1491
01:20:56,120 --> 01:20:57,559
Speaker 3: Any other things you want to talk about?

1492
01:20:57,840 --> 01:20:59,599
Speaker 2: Oh, I do want to go back to one scene

1493
01:20:59,600 --> 01:21:03,680
Speaker 2: and partic This occurs early earlier in the picture, but

1494
01:21:03,920 --> 01:21:09,120
Speaker 2: after the apocalypse has hit, and it concerns this sequence

1495
01:21:09,200 --> 01:21:14,000
Speaker 2: where Samantha takes off in a car and she's driving

1496
01:21:14,400 --> 01:21:17,200
Speaker 2: and then two cops pull up behind her and they

1497
01:21:17,240 --> 01:21:19,400
Speaker 2: pull her over, and then you know, she thinks she's

1498
01:21:19,680 --> 01:21:22,120
Speaker 2: gonna maybe talk her way out of this. She's drinking

1499
01:21:22,200 --> 01:21:24,960
Speaker 2: beer in this as well. She's drinking beer or drunk

1500
01:21:24,960 --> 01:21:25,479
Speaker 2: while driving.

1501
01:21:25,680 --> 01:21:27,559
Speaker 3: But also, isn't everybody gone.

1502
01:21:27,479 --> 01:21:30,080
Speaker 2: Well, everybody's gone, like with these police officers that have

1503
01:21:30,160 --> 01:21:33,160
Speaker 2: pulled her over, and then they look into the car

1504
01:21:33,200 --> 01:21:36,360
Speaker 2: and we see that they are zombie police officers and

1505
01:21:36,479 --> 01:21:40,120
Speaker 2: she wakes up screaming yeah. And then she goes to

1506
01:21:40,240 --> 01:21:43,759
Speaker 2: a mirror and she like strips down to her underwear

1507
01:21:43,800 --> 01:21:45,600
Speaker 2: and really one of the like the only scene that

1508
01:21:45,840 --> 01:21:48,439
Speaker 2: in the picture that feels like maybe it's getting into

1509
01:21:48,479 --> 01:21:51,360
Speaker 2: the mail gaze a bit more and is more in

1510
01:21:51,439 --> 01:21:54,720
Speaker 2: keeping with some of the cinema of its time. But

1511
01:21:54,840 --> 01:21:57,920
Speaker 2: then a zombie walks up behind her and then she

1512
01:21:58,040 --> 01:22:00,559
Speaker 2: wakes up again. So this movie dares to give us

1513
01:22:00,640 --> 01:22:02,839
Speaker 2: like the double dream fake.

1514
01:22:02,680 --> 01:22:05,320
Speaker 3: Out which double dream boo, yeah.

1515
01:22:05,080 --> 01:22:07,280
Speaker 2: Which made me laugh, is a little It was a

1516
01:22:07,280 --> 01:22:09,920
Speaker 2: little gimmicky, but it was fun gimmicky and those cops

1517
01:22:10,000 --> 01:22:11,160
Speaker 2: were really scary.

1518
01:22:11,080 --> 01:22:14,360
Speaker 3: Yes they were. Yeah, hats off to that. The double

1519
01:22:14,479 --> 01:22:17,479
Speaker 3: dream boo got me. I was like, surely the second

1520
01:22:17,520 --> 01:22:18,080
Speaker 3: one is real.

1521
01:22:19,560 --> 01:22:21,400
Speaker 2: Yeah, yeah, but no, it was a dream as well.

1522
01:22:21,479 --> 01:22:25,120
Speaker 2: I guess that maybe, you know, trying to understand what

1523
01:22:25,240 --> 01:22:28,479
Speaker 2: this scene meant. I think the idea is that she

1524
01:22:28,680 --> 01:22:31,519
Speaker 2: was coming to realize the true import of what had

1525
01:22:31,600 --> 01:22:34,360
Speaker 2: happened and what was still happening in the world, and

1526
01:22:34,360 --> 01:22:36,639
Speaker 2: it's like the reality and death and horror has kind

1527
01:22:36,640 --> 01:22:38,560
Speaker 2: of like exposed her. And maybe that's why you know,

1528
01:22:38,680 --> 01:22:41,680
Speaker 2: she has she's taken some of her clothing off. I

1529
01:22:41,760 --> 01:22:43,479
Speaker 2: think maybe that's what the filmmakers are trying to get

1530
01:22:43,479 --> 01:22:43,960
Speaker 2: across here.

1531
01:22:44,320 --> 01:22:47,000
Speaker 3: She well, I think it's after this scene that we

1532
01:22:47,160 --> 01:22:49,640
Speaker 3: see her really starting to kind of struggle with the

1533
01:22:49,720 --> 01:22:52,479
Speaker 3: situation because a lot, as we were talking about earlier,

1534
01:22:52,680 --> 01:22:55,840
Speaker 3: a lot of their attitude throughout this is not taking

1535
01:22:55,920 --> 01:22:59,720
Speaker 3: it too hard, like they deal with it fairly resiliently

1536
01:23:00,200 --> 01:23:00,639
Speaker 3: of the time.

1537
01:23:01,120 --> 01:23:03,760
Speaker 2: Yeah, there's a scene just before this, I think, where

1538
01:23:03,880 --> 01:23:06,760
Speaker 2: where Hector is talking to Reggie and it's like pointing out, like, hey,

1539
01:23:06,800 --> 01:23:09,000
Speaker 2: your sister's doing really well. It's like she's taking it

1540
01:23:09,120 --> 01:23:11,680
Speaker 2: much better than you are, and Reggie's like, well, that's

1541
01:23:11,720 --> 01:23:14,160
Speaker 2: because she doesn't know what's going on, Like she hasn't

1542
01:23:14,200 --> 01:23:16,960
Speaker 2: really come to terms with what's happened. Yeah, so I

1543
01:23:17,000 --> 01:23:20,560
Speaker 2: think this scene is about like her actually beginning to

1544
01:23:20,640 --> 01:23:22,759
Speaker 2: realize and waking up to what has occurred.

1545
01:23:23,160 --> 01:23:25,240
Speaker 3: Have you ever played the Tempest arcade game.

1546
01:23:26,040 --> 01:23:28,200
Speaker 2: I don't think I have. I looked at it like

1547
01:23:28,240 --> 01:23:30,000
Speaker 2: a lot of games from this era. You know, I

1548
01:23:30,080 --> 01:23:33,720
Speaker 2: totally understand that this was the cutting edge, and you know,

1549
01:23:33,760 --> 01:23:37,760
Speaker 2: it's probably quite addictive, but yeah, it looks really hard.

1550
01:23:38,960 --> 01:23:40,960
Speaker 2: It looks like I'm just setting myself up for failure

1551
01:23:41,000 --> 01:23:42,240
Speaker 2: if I tried to play something like this.

1552
01:23:42,600 --> 01:23:44,400
Speaker 3: I think the wiki page on it called it a

1553
01:23:44,760 --> 01:23:47,680
Speaker 3: tube shooter. I've never even heard that term before. I

1554
01:23:47,680 --> 01:23:48,599
Speaker 3: don't know what that means.

1555
01:23:48,920 --> 01:23:51,120
Speaker 2: Hmm, yeah, I guess I can guess based on the

1556
01:23:51,160 --> 01:23:52,920
Speaker 2: footage that they showed. I can see it. It's like

1557
01:23:52,960 --> 01:23:55,280
Speaker 2: you're you're kind of in a tube. It's kind of

1558
01:23:55,360 --> 01:23:58,759
Speaker 2: like Star Wars, right, You're in that trench, moving forward,

1559
01:23:58,800 --> 01:24:02,040
Speaker 2: shooting at things. I guess like that. Anyone out there

1560
01:24:02,040 --> 01:24:04,760
Speaker 2: who's more familiar with games, the games of this era,

1561
01:24:04,920 --> 01:24:08,040
Speaker 2: maybe you've played them in the arcade originally, or you've

1562
01:24:08,080 --> 01:24:10,280
Speaker 2: played some of the surviving machines, you know, right in,

1563
01:24:10,439 --> 01:24:12,760
Speaker 2: let us know your thoughts on it. I guess there

1564
01:24:12,760 --> 01:24:14,920
Speaker 2: are also a lot of clones and emulations out there

1565
01:24:14,960 --> 01:24:15,320
Speaker 2: as well.

1566
01:24:15,840 --> 01:24:18,639
Speaker 3: Yeah. Wait, this just made me realize was there ever

1567
01:24:18,720 --> 01:24:21,679
Speaker 3: a Night of the Comet officially licensed video game?

1568
01:24:24,000 --> 01:24:25,519
Speaker 2: Surely not right now?

1569
01:24:26,920 --> 01:24:28,040
Speaker 3: Looks like no.

1570
01:24:29,520 --> 01:24:32,360
Speaker 2: Would have made for a good pinball machine, I think.

1571
01:24:33,000 --> 01:24:36,760
Speaker 3: Yeah, absolutely, Okay, does that do it for a Night

1572
01:24:36,800 --> 01:24:37,920
Speaker 3: of the Comet? Yeah?

1573
01:24:37,960 --> 01:24:39,760
Speaker 2: I believe that does it. We're going to go ahead

1574
01:24:39,760 --> 01:24:42,360
Speaker 2: and shut the book here on Night of the Comet.

1575
01:24:42,880 --> 01:24:44,439
Speaker 2: But yeah, this was a really fun one. Glad I

1576
01:24:44,479 --> 01:24:46,640
Speaker 2: finally got around to watching it. I'm gonna have to

1577
01:24:46,680 --> 01:24:51,120
Speaker 2: add it to the Christmas tradition now just a reminder

1578
01:24:51,200 --> 01:24:53,080
Speaker 2: for everyone out there that's Stuff to Blow Your Mind

1579
01:24:53,240 --> 01:24:55,600
Speaker 2: is primarily a science and culture podcast with corpses on

1580
01:24:55,640 --> 01:24:58,200
Speaker 2: Tuesdays and Thursdays, but on Fridays we set aside most

1581
01:24:58,240 --> 01:25:00,240
Speaker 2: serious concerns and just talk about a weird film on

1582
01:25:00,360 --> 01:25:03,040
Speaker 2: Weird House Cinema and if you would like to, let's see.

1583
01:25:03,040 --> 01:25:05,559
Speaker 2: If you're on letterbox dot com, you can look us up.

1584
01:25:05,600 --> 01:25:07,880
Speaker 2: We're Weird House on that platform and we have a

1585
01:25:07,960 --> 01:25:09,760
Speaker 2: nice list of all the films we've covered over the years,

1586
01:25:09,800 --> 01:25:11,760
Speaker 2: and sometimes a peek ahead at what comes up next.

1587
01:25:12,320 --> 01:25:15,800
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1588
01:25:15,960 --> 01:25:17,519
Speaker 3: If you would like to get in touch with us

1589
01:25:17,560 --> 01:25:19,439
Speaker 3: with a feedback on this episode or any other, to

1590
01:25:19,560 --> 01:25:21,840
Speaker 3: suggest a topic for the future, or just to say hello,

1591
01:25:22,240 --> 01:25:25,080
Speaker 3: you can email us at contact at stuff to Blow

1592
01:25:25,120 --> 01:25:26,080
Speaker 3: your Mind dot com.

1593
01:25:33,120 --> 01:25:36,040
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1594
01:25:36,160 --> 01:25:38,880
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1595
01:25:39,080 --> 01:25:41,839
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