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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.

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Speaker 3: This is Rob Lamb and this is Joe McCormick.

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Speaker 2: And today we have a pretty fascinating slice of low

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Speaker 2: budget nineteen eighties New York City grimy genre cinema. It

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Speaker 2: is nineteen eighty seven's Mutant Hunt, a movie just so

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Speaker 2: so grimy, so covered in a patina of sleeves, but

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Speaker 2: without really featuring much in the way of grimy or

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Speaker 2: sleezy content. It is a near future dystopian cyberpunk adventure,

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Speaker 2: full of many of the familiar bells and whistles, you know, cyborgs,

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Speaker 2: bounty hunters, sunglasses at night, pleasure droids, advanced mobile personal

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Speaker 2: computer devices. It's absolutely as derivative as many other entries

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Speaker 2: in this subgenre. But at the same time, I just

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Speaker 2: really admired the hustle of this film. You know it

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Speaker 2: you know, clearly made with you know, gorilla style. I'm guessing,

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Speaker 2: with a lot of you know, just finding locations, shooting it,

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Speaker 2: trying for like really getting ambitious with some of the

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Speaker 2: things that it attempts to do with a limited budget,

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Speaker 2: but with you know, clearly some scrappy special effects artists,

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Speaker 2: and it trots out a few genuinely coolerly and even

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Speaker 2: thought provoking ideas and just really goes for it with

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Speaker 2: wild plot twists and effects, even as you can just

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Speaker 2: feel the budget strain underneath the vision.

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Speaker 3: If only we lived in this movie's version of the future.

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Speaker 3: When it comes to mapping software, where oh god, yes, yeah,

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Speaker 3: they've got these mapping programs that tell you how to

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Speaker 3: get somewhere, and it just shows basically an outline of

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Speaker 3: Lower Manhattan from space with no streets or words or

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Speaker 3: like text or any topography at all, just an outline

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Speaker 3: of the land mass and then an X in the middle.

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Speaker 3: Love it.

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Speaker 2: Yeah, oh there, yeah, Manhattan Island and this is where

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Speaker 2: I roughly am on it.

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Speaker 3: Yeah.

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Speaker 2: It's great because on one hand, the way that the

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Speaker 2: this this technology is used in the film like it

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Speaker 2: is actually spot on. This is exactly how we get

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Speaker 2: around today, you know, and I think any of us

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Speaker 2: that have gone to New York City, you find yourself

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Speaker 2: moving around in New York this way, checking your device,

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Speaker 2: seeing where you are, but with a lot more detail.

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Speaker 2: So they I.

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Speaker 3: Should have put the streets on there. Yeah, that's a

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Speaker 3: good idea.

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Speaker 2: Yea, the streets been a good addition, but yeah, instead

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Speaker 2: of just Where's Land and wears Water?

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Speaker 3: But yeah, there's a lot of good stuff in this movie. Actually,

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Speaker 3: it is quite funny in how most of it is realized.

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Speaker 3: But every now and then I was thinking like, well,

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Speaker 3: that could be an idea from a much more complex,

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Speaker 3: more interesting film. Specifically, I know you Flagged, and I

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Speaker 3: have the same thought that the esp of the cyborgs

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Speaker 3: was kind of interesting.

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Speaker 2: Yeah, yeah, yeah, This idea that the killer cyborgs have

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Speaker 2: some sort of limited esp so if you begin to

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Speaker 2: hunt them, they will detect this and they will begin

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Speaker 2: to hunt you back. Yes, kind of reminds me a

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Speaker 2: little bit of some of these thought experiments concerning future AI.

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Speaker 2: You know Roco's Basilisk, that sort of thing.

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Speaker 3: Where like the danger occurs to you once you are

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Speaker 3: aware of the of the robot as soon as you

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Speaker 3: know about it, it knows that you know about it,

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Speaker 3: and now it's coming to get you.

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Speaker 2: Yeah, and you want like, at what point do they

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Speaker 2: hunt you? Like, how serious do you have to be?

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Speaker 2: Is it just like if you would it would have

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Speaker 2: just a journalist suddenly be hunted by the Cyborgskau. They're

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Speaker 2: investigating the cyborg killings.

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Speaker 3: I don't know, what if it just crossed your mind

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Speaker 3: that you might be hunting the cyborgs but you're not

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Speaker 3: very committed to it, do they still come and get you?

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Speaker 2: I don't know. It's one of these ideas that I

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Speaker 2: think is probably here in large part to just sort

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Speaker 2: of grease the plot things along, but it really does

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Speaker 2: raise some interesting questions. Yeah, Also in general, I like

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Speaker 2: this grizzly concept of cyborgs whose organic components have been

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Speaker 2: mutated beyond recognition by altered like like futuristic altered rave drugs.

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Speaker 2: It's I don't know, it's just such a bombastic concept

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Speaker 2: and I don't know, and kind of thought provoking in

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Speaker 2: its own ways. If you're dealing with a cyborg where

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Speaker 2: it's not just terminator style where the flesh is on

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Speaker 2: there just as decoration, but if you have an integrated

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Speaker 2: system of organic and mechanical parts, then you know it

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Speaker 2: makes sense that it would It could be messed with,

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Speaker 2: It could be hacked on a technological level, but also

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Speaker 2: on an organic level.

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Speaker 3: I just had to go searching in my notes because

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Speaker 3: I remembered something and maybe it's good to bring this

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Speaker 3: up now. At the beginning, did you notice how it

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Speaker 3: almost seems to be the case in this movie that

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Speaker 3: there's a correlation between how gooey a cyborg is and

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Speaker 3: how strong or formidable it is supposed to be. Like

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Speaker 3: the more that a cyborg is dripping slime, the wetter

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Speaker 3: it looks, the more powerful it is.

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Speaker 2: Absolutely. Yeah, by the end of the film, we will

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Speaker 2: see one that is supposed to be mutated quote beyond recognition,

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Speaker 2: but is just a slimy, sneering ness of a cyborg

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Speaker 2: at this point, just a real, real slimy, slimy creature.

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Speaker 3: Yeah, it's got kind of a flap that's got half

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Speaker 3: of its mouth stuck together. It's just dripping orange juice concentrate.

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Speaker 3: And yeah, this is the strongest one it's been incubating. Actually,

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Speaker 3: the character Domina has it in like a mummy chrysalis

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Speaker 3: in her room and is she's cooking it for a while.

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Speaker 2: I guess that's right.

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Speaker 3: Yeah.

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Speaker 2: And the other thing I love about the film is,

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Speaker 2: of course the futuristic grave drug U four on being

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Speaker 2: a major plot point. I'm kind of a sucker for

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Speaker 2: any sci fi property that has a sci fi drug

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Speaker 2: in it, and this one has it in space.

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Speaker 3: Does it do anything all that unusual for the humans

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Speaker 3: who use it or does it just turn cyborgs into

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Speaker 3: mutant cyborgs? But in humans just makes you feel good?

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Speaker 2: Yeah, I think in humans it's just like some really

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Speaker 2: good rave drug. You know, it's like some sort of

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Speaker 2: I don't know if it's like an like MDMA or

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Speaker 2: it's like an opiate or something, or some sort of

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Speaker 2: combination of the two. But it makes you feel really good.

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Speaker 2: And the people who are you four on enjoyers are

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Speaker 2: really into it, and they they are offended if you

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Speaker 2: if you actually try and disrupt the supply.

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Speaker 3: Yeah, it's administered in the ear. I thought that was funny.

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Speaker 3: Real drugs you put in your ear with a little dropper.

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Speaker 2: I mean yeah, if you have like ear problems. I

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Speaker 2: guess I don't know about recreational drugs that go in

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Speaker 2: the ear, but maybe I'm just naive, all right, Yeah,

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Speaker 2: Mutant Hunt. I first saw this years ago. I think

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Speaker 2: I found it amid the various B movies that used

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Speaker 2: to populate Amazon Prime, back when they just seem to

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Speaker 2: have like a dump truck of slock was unloaded into

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Speaker 2: their servers and while they don't have the Sledge selection

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Speaker 2: they used to, you can still stream Mutant Hunt there

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Speaker 2: as of this recording, at least in the US, I

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Speaker 2: don't know about other regions, still absolutely holds up in

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Speaker 2: its sort of decayed format. This is like kind of

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Speaker 2: grimy film quality cigarette stains, you know, cigarette burns, rather

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Speaker 2: on the footage. But this is the sort of film

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Speaker 2: where I absolutely believe it's rewarding in general to watch

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Speaker 2: any film in the best quality possible, and I still

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Speaker 2: stand by that, but with a film like this, it

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Speaker 2: can also be rewarding to watch it in sort of

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Speaker 2: grimy the footage as well.

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Speaker 3: Yeah, it feels right to watch the stream that's available,

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Speaker 3: which is it looks like a rip from a VHS.

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Speaker 3: But if you go look up the stills that have

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Speaker 3: been put out by the Vinegar Syndrome release that has

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Speaker 3: this movie in high quality, it takes on a new

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Speaker 3: level of comedy to see all these costumes and sets

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Speaker 3: really crisp. But they were never meant to look this way.

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Speaker 2: Yeah, And at the same time, I have to say,

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Speaker 2: in the higher quality stills you'll find some of it.

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Speaker 2: You get a better you get a better sense of

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Speaker 2: of what they were going for, and you can admire

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Speaker 2: some of the lighting choices and the costumes and the

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Speaker 2: tree definitely. Yeah, So you know it goes both ways.

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Speaker 2: So yeah, this one's widely available for streaming or digital

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Speaker 2: viewing right now if you want to see it for yourself.

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Speaker 2: But yeah, Vinegar Syndrome put out a really nice looking

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Speaker 2: blu ray with fun extras, and the film itself is

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Speaker 2: scanned and restored in four K from its thirty five

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Speaker 2: milimeter original camera negative. Looks great again. I watched the

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Speaker 2: scuzzy video version of it, but now I really want

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Speaker 2: to pick up this Blu ray as well next time

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Speaker 2: I'm doing a Vinegar Syndrome order.

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Speaker 3: Okay, should we talk about the connections? Yeah?

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Speaker 2: Yeah, absolutely. Starting here at the top with the writer

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Speaker 2: and director, it's Tim kim Kay born nineteen forty four,

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Speaker 2: a very interesting figure in genre film history. Kin Kaid's

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Speaker 2: most notable contributions to cinema were actually outside of mainstream

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Speaker 2: or even low budget genre features like this, and was

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Speaker 2: actually that they were actually in the world of adult cinema.

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Speaker 2: Under the moniker Joe Gage, he was one of the

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Speaker 2: most influential and successful directors of gay adult cinema of

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Speaker 2: the nineteen seventies and early nineteen eighties. This is a

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Speaker 2: period often referred to as a kind of golden age

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Speaker 2: of adult content before the full advent of video, a

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Speaker 2: time when films tended to feature characters, plot, and sometimes

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Speaker 2: proved quite ambitious in their vision. You know, there were

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Speaker 2: attempts to do things that were artful, subversive, and so forth.

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Speaker 2: At worth noting as well that gay hardcore material had

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Speaker 2: only become legal in the US in the very early

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Speaker 2: seventies on the heels of stone Wall, so Kim Kaid

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Speaker 2: was really kind of a pioneer of sorts as well.

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Speaker 2: And from what I've read, Kincaid's biggest contribution as Joe

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Speaker 2: Gage was in his presentation of same sex encounters involving

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Speaker 2: blue collar, working class American characters that defied stereotypes were

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Speaker 2: at the same time validating and also depicted same sex

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Speaker 2: encounters as not merely a gay thing, but a broader

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Speaker 2: human thing, often involving characters that are not presented as

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Speaker 2: expressly gay in their identity. As Conrad Brewster put it

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Speaker 2: in a twenty eleven post at the Gay and Lesbian Review,

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Speaker 2: Joe Gage films weren't trying to represent the entire spectrum

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Speaker 2: of gay and bisexual life in the seventies and eighties.

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Speaker 2: His focus was specific, but at the same time highly

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Speaker 2: successful and influential, and his work could also apparently be

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Speaker 2: subversive and artful in its own way, so kin Kaid.

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Speaker 2: Before all of this, though, Kincaid's first film was a

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Speaker 2: nineteen seventy three straight sexploitation film titled The Female Response,

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Speaker 2: and this was right before his first ground raking foray

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Speaker 2: into gay adult cinema with nineteen seventy six is Kansas

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Speaker 2: City Trucking Company, starring Jack Wrangler and Richard Locke. This

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Speaker 2: was the first of his so called Kansas City trilogy.

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Speaker 2: I'm not going to go through all of his adult titles,

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Speaker 2: but these are historically of significance. This era of his

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Speaker 2: films he directed his gauge, occasionally directed under another pseudonym,

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Speaker 2: and this continued till around nineteen eighty five, and this

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Speaker 2: is when Kincaid made a shift to writing and directing

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Speaker 2: low budget genre films outside of the adult industry. And

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Speaker 2: I've read that at this point he was also married

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Speaker 2: and had young kids and wanted to focus on work

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Speaker 2: outside of that industry, and his wife at the time,

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Speaker 2: Cynthia Depalla acted as producer. So the first of these

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Speaker 2: films getting into this B cinema era, and this is

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Speaker 2: definitely the era that we find Mutant Hunt in. The

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Speaker 2: first of these films was eighty six Bad Girls Dormitory.

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Speaker 2: This is a woman's prison exploitation film shot guerrilla style

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Speaker 2: in New York City that he apparently offered to Charles

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Speaker 2: Band and Band reportedly passed said thank you, but no thanks,

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Speaker 2: but he was interested and he said, look, tell me

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Speaker 2: what you have planned, and they started talking, and this

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Speaker 2: led to Band serving as EP on several of his

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Speaker 2: pictures from this period, including Mutant Hunt.

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Speaker 3: Yeah, it's interesting to think how exactly Mutant Hunt fits

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Speaker 3: in with the standard Charles Band world DNA imprint. It

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Speaker 3: is not like movies like Metal Storm, The Destruction of

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Speaker 3: Jaredson or Dungeon Master, where I don't know, you can

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Speaker 3: watch a minute of it and you're like, this is

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Speaker 3: Charles Band. This is like the Charles Band zone. You

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Speaker 3: just know it's not like that, So I wouldn't have

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Speaker 3: I immediately identified it as a Band associated film. But

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Speaker 3: also it fits right in there when you have the

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Speaker 3: knowledge that Charles Band World, that feels right.

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Speaker 2: Yeah. I mean it also makes sense that it's kind

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Speaker 2: of adjacent to the Troma world without actually being a

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Speaker 2: trauma picture or having that sort of the goofiness and

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Speaker 2: self awareness that you often find in some of the

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Speaker 2: Troma or maybe the most popular of the trauma films.

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Speaker 3: Yeah.

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Speaker 2: So he followed up Bad Girls with Breeders in eighty six,

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Speaker 2: a grimy, sounds kind of nasty film about alien impregnations

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Speaker 2: in the New York City subway system. And after this

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Speaker 2: came nineteen eighty seven's Robot Holocaust, which MST three K

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Speaker 2: fans know all too well. It's been a long time

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Speaker 2: since I've seen the riff of that, but now I

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Speaker 2: kind of want to revisit it on its own now

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Speaker 2: that I've refamiliarized myself with Mutant Hunt.

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Speaker 3: I think that's like Season one, isn't it.

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Speaker 2: Yeah, it's pretty early early days. Yeah, and then came

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Speaker 2: today's film Mutant Hunt. After Mutant Hunt, he did the

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Speaker 2: eighty seven film Riot on forty second Street. This was

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Speaker 2: a crime movie starring Jeff Fayhee, And then nineteen eighty

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Speaker 2: eight He's The Occultist, in which quote, a cyborg private

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Speaker 2: eye is hired to protect a Caribbean president visiting New

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Speaker 2: York City from Sadistic Sorcerers. I've not seen it, but

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Speaker 2: that sounds amazing. I like all that. And then finally

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Speaker 2: he did nineteen ninety one's She's Back, a supernatural, dark

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Speaker 2: comedy that seems to be his most truly mainstream work

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Speaker 2: about an electrician haunted by his dead wife's ghost and

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Speaker 2: urged to take revenge on a gang of criminals. And

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Speaker 2: it starred Carrie Fisher and Robert Joy.

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Speaker 3: Hard to believe that the director of Mutant Hunt made

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Speaker 3: a Carrie Fisher movie.

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Speaker 2: Yeah, it's crazy. Right after this, Kincaid returned to adult

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Speaker 2: cinema from I believe two thousand and one through twenty seventeen,

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Speaker 2: possibly eighteen, as far as the main movie database listings go.

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Speaker 2: Eventually one of his now grown up sons did some

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Speaker 2: music scoring for some of these films, but at this

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Speaker 2: point I believe Kincaid is retired. He also wrote a

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Speaker 2: couple of novels and directed an off Broadway play called

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Speaker 2: Naked Highway in nineteen eighty three. I was even able

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Speaker 2: to find the playbill for this on eBay.

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Speaker 3: You know, I want to say about Mutant Hunt that

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Speaker 3: you never really know for sure, and maybe I could

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Speaker 3: read stuff about behind the scenes stuff and find out

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Speaker 3: I'm totally wrong, But this feels like a movie made

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Speaker 3: on a set that was a lot of fun, you

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Speaker 3: know what I mean, Just that energy comes through. It

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Speaker 3: seems like in between takes the actors were probably joking

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Speaker 3: around a lot. It just feels like a fun, lively

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Speaker 3: environment and maybe like they're not taking it too seriously

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Speaker 3: and everybody's cutting up and having a good time.

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Speaker 2: Yeah, And I think probably also important to stress, I

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Speaker 2: feel like this is a film where everybody was probably

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Speaker 2: excited about filmmaking. You know, there were a lot of

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Speaker 2: people that I think were maybe dipping their toes into

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Speaker 2: cinema and maybe decided to get back out afterwards. But

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Speaker 2: you know, that's an exciting time when you're trying something new,

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Speaker 2: or you know, you're trying something different, and certainly with

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Speaker 2: with the you know, presumably the gorilla style filmmaking that

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Speaker 2: was being employed here, that's also going to keep you pretty,

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Speaker 2: That's gonna keep you on your toes for sure.

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Speaker 3: Yeah.

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Speaker 2: All right, well let's get into the cast here. I'm

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Speaker 2: gonna I'm gonna basically go in billing order, but also

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Speaker 2: kind of divide things up among the factions. Because this

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Speaker 2: is a cyberpunk film, you got to have your factions.

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Speaker 2: First of all, let's talk about the bounty hunters, Matt

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Speaker 2: Reiker and associates, starting with Matt Riker, the world's greatest

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Speaker 2: mercenary and bounty hunter. What a guy, What a guy.

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Speaker 3: This guy is a gentleman of beef, as we might say.

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Speaker 3: But he just looks great in a pair of tidy

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Speaker 3: whities and they'll they'll treat you to that over and over. Yeah.

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Speaker 2: Yeah, Matt Riker played by Rick Jiannasi. Like a lot

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Speaker 2: of the actors in this film, I have no idea

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Speaker 2: how old this guy is. No dates available, yea. Though

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Speaker 2: he's one of the actors that did appear in many

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Speaker 2: different things. A frequent face in Kincaid's mainstream work, he

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Speaker 2: appears in Bad Girls, Dormitory, Robot, Holocaust, Riot on forty

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Speaker 2: Second Street, and The Occultist. And after this he went

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Speaker 2: on to play his most famous role, that of Harry

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Speaker 2: Griswold in the nineteen ninety Troma film Sergeant Kabuki Man NYPD.

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Speaker 2: The character Harry Griswold is also the title character in

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Speaker 2: that film. Okay, His other credits include eighty nine's Pose

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Speaker 2: for Murder, ninety six's Fatal Frames in two thousands, Time Quest.

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Speaker 2: He also did episodes of Another World Star, Trek Voyager,

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Speaker 2: Caroline in the City, Felicity, and Days of Our Lives.

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Speaker 2: So yeah, I would say pitch perfect beef performance here.

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Speaker 2: You know, he's earnest, he's reserved, he's not annoying really

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Speaker 2: for this movie. Perfect performance.

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Speaker 3: You've probably never seen a movie before when a guy

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Speaker 3: in just blinding white briefs and nothing else pulls a

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Speaker 3: crossbow off the wall and shoots a robot with it.

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Speaker 2: That's right. I mean again, he's the best, but even

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Speaker 2: the best needs some help from time to time, and

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Speaker 2: that's where his right hand man comes in, or at

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Speaker 2: least the right hand man for this film, Johnny Felix.

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Speaker 3: I love Johnny Felix. Every time Johnny Felix is on screen,

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Speaker 3: I just feel like everything's going to be okay.

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Speaker 2: Yeah, Johnny Felix seems to He's a cool cucumber. He's

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Speaker 2: got it under control, you know, ready to jump in

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Speaker 2: with some kicks or some tech, whatever the situation requires.

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Speaker 3: He has a good, lively, joyful reaction almost to seeing

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Speaker 3: things that are about to kill him, Like when the

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Speaker 3: cyborg is coming their way and starts smashing his hand

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Speaker 3: through the concrete, Johnny Felix just goes, WHOA Okay.

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Speaker 2: Also, in a world of seemingly ubiquitous cyborg activity, he

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Speaker 2: doesn't know what the word cyborg mean, Like it's like,

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Speaker 2: what do you call these things?

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Speaker 3: I was confused by that because I thought his one

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Speaker 3: of his main jobs was hunting down cyborgs. It seems

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Speaker 3: like that's what they do. But he can't remember the

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Speaker 3: word cyborg. He calls them jelly heads.

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Speaker 2: Maybe it's like really deeply he is something he doesn't

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Speaker 2: like about the term, and he refuses to use it,

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Speaker 2: like they're not technically cyborgs. I don't use that term

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Speaker 2: something like that.

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Speaker 3: But Darla takes offense to this, this other character. She's like,

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Speaker 3: they're called cyborgs.

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Speaker 2: N Felix did it right? Yeah? So Johnny Felix is

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Speaker 2: played by Ron Ronaldi here. He followed this up with

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Speaker 2: Riot on forty second Street, and he's also in the

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Speaker 2: eighty seven David a prior film Man Killers, and he

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Speaker 2: also has a small uncredited role in twenty In two

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Speaker 2: thousand and two, writers analyze that. He also did a

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Speaker 2: little bit of stunt work, which is not surprising because

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Speaker 2: he's throwing some mean kicks in this film. Yeah, all right,

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Speaker 2: And then we have Elaine Elliott. This character is a

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Speaker 2: dancer by night, also bounty hunter by night and private

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Speaker 2: op by night. I don't know what she does in

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Speaker 2: the day, it's not important, is.

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Speaker 3: It a private op? I thought she's a public op.

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Speaker 3: She's a fully candidated government whatever. You remember that line.

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Speaker 2: Yeah, she's like globby gobbedy.

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Speaker 3: Given there, I had to pass tests for my government

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Speaker 3: accdidation of being an op.

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Speaker 2: Okay, she's she's above bar and also below bar. She's

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Speaker 2: great whatever kind of job you need her for. Elaine

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Speaker 2: Elliott is played by Tani Vrennan. This was her first role,

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Speaker 2: and she went on to work in in Riot in

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Speaker 2: eighty eight's The Big Blue eighty eights, war Board, war Birds,

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Speaker 2: and ninety one Switch. She also popped up on the

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Speaker 2: TV shows Night Court and Beverly Hills nine O two

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Speaker 2: one zero.

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Speaker 3: She also seems like she's having a good time on set. Yeah,

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Speaker 3: almost laughing while she says a lot of her lines.

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Speaker 2: Yeah, and again I thought her performance is perfect for

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Speaker 2: this film. Oh yeah, no notes. All right, Now, let's

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Speaker 2: move on to the villainous faction of Intel Tracks, intel Tracks,

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Speaker 2: intel Tracks or in yeah say they say it different

380
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Speaker 2: ways they do Yeah. At one point it is intel Tracks,

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Speaker 2: So I'm not sure how we're really supposed to stress this.

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Speaker 3: I think we also get Intel Tracks, yea, intel Tracks. Yeah.

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Speaker 2: The CEO, I guess, or tyrannical ruler of Intel Tracks

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Speaker 2: is Z just just single letters? Z?

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Speaker 3: Is he doctor Z? As in bloodwaters of bloodwaters of

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Speaker 3: or just Z?

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Speaker 2: I think he's just Z. I would I thought about

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Speaker 2: Bloodwaters of Doctor Z a lot, which, as if you

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Speaker 2: remember from our episode, doesn't actually feature a character named

390
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Speaker 2: doctor C. But what doctor Leopold is his actual name

391
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Speaker 2: in that?

392
00:21:40,160 --> 00:21:41,119
Speaker 3: Oh? I forgot about that.

393
00:21:41,200 --> 00:21:43,200
Speaker 2: Yeah, but one of the alternate titles was Bloodwaters of

394
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Speaker 2: Doctor C, So it's okay to call him doctor C.

395
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Speaker 2: It's fine. But this Z is played by Bill Peterson.

396
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Speaker 2: Peterson was also in Bad Girls Dormitory, and that's really

397
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Speaker 2: about it. IMDb contains an incorrect reference to him in

398
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Speaker 2: a Rose Marie documentary which I spent way too much time.

399
00:22:02,280 --> 00:22:05,320
Speaker 2: I think I like scanned through most of the documentary

400
00:22:05,359 --> 00:22:07,960
Speaker 2: looking for this guy because they found it on Tube,

401
00:22:08,840 --> 00:22:11,160
Speaker 2: only to realize, oh no, no, they had him confused

402
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Speaker 2: with legendary trumpetear Bill Peterson. Different guy entirely. So this

403
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Speaker 2: Bill Peterson is another one of these actors where it's like,

404
00:22:20,000 --> 00:22:22,120
Speaker 2: who knows who this guy was and what he did

405
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Speaker 2: and how he ended up doing these couple of films.

406
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Speaker 2: But I love him here. He has a real villainous,

407
00:22:27,240 --> 00:22:31,000
Speaker 2: amazing Chris Well vibe. And he's also, like some of

408
00:22:31,000 --> 00:22:33,640
Speaker 2: our other notable characters, seems to be wearing like Rick

409
00:22:33,680 --> 00:22:36,600
Speaker 2: Owen's designs the whole time, like very gothy and black

410
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Speaker 2: and sleek and shiny.

411
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Speaker 3: He looks like he's dressed like a stag Beetley. He's

412
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Speaker 3: got the yeah, the black ribbed armor with the big shoulders.

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Speaker 3: I love Zi's energy. He has a smug, unctuous, unctuousness

414
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Speaker 3: about him, often with his chin held up real high.

415
00:22:55,560 --> 00:22:58,679
Speaker 3: He's a bit haughty, and he's often just standing in

416
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Speaker 3: a room with his arms folded behind his back before

417
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Speaker 3: the action begins, and then he gets a phone call,

418
00:23:05,359 --> 00:23:07,960
Speaker 3: so I guess he just stands like that in its downtime.

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Speaker 2: Yeah, often just commenting on his master plans to inject

420
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Speaker 2: cyborgs with club drugs and then enjoy the chaos. Yeah,

421
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Speaker 2: and profits.

422
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Speaker 3: That's right.

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Speaker 2: Let's see other people in his operation. At least at

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Speaker 2: first we have doctor Paul Haynes is one of his

425
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Speaker 2: cyborg designers and the architect of the Delta seven line

426
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Speaker 2: of cyborgs that will be important, played here by markmi Emilli.

427
00:23:33,280 --> 00:23:35,000
Speaker 2: Was also in Bad Girls as well as the nineteen

428
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Speaker 2: ninety nine vampire film Cold Hearts. Then doctor Paul Haynes

429
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Speaker 2: has a sister, Darla Haynes. This film has a lot

430
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Speaker 2: of characters for it's a limited scope really, but yeah,

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Speaker 2: we have Darla Haynes played by Mary Fahee. This is

432
00:23:53,880 --> 00:23:58,159
Speaker 2: Jeff Fayy's sister and her only other credit is Riot

433
00:23:58,160 --> 00:24:01,880
Speaker 2: on forty second Street. This is Jeff Ahee's sister. Yeah,

434
00:24:01,920 --> 00:24:04,280
Speaker 2: that's what's That's what the internet says.

435
00:24:04,359 --> 00:24:05,640
Speaker 3: Yeah, wow, amazing.

436
00:24:05,880 --> 00:24:08,320
Speaker 2: Yeah. Again, another one of these cases where I guess,

437
00:24:08,440 --> 00:24:10,119
Speaker 2: you know, I don't know her full history and what

438
00:24:10,200 --> 00:24:12,240
Speaker 2: she went on to do, but for a brief period

439
00:24:12,280 --> 00:24:14,199
Speaker 2: of time she's like, let me try the cinema thing out.

440
00:24:14,280 --> 00:24:18,600
Speaker 2: Let's see if it fits. So Matt Reiker, Johnny Felix,

441
00:24:18,720 --> 00:24:22,159
Speaker 2: Elaine Elliott, and Darla Haynes. They're gonna end up composing

442
00:24:22,200 --> 00:24:24,760
Speaker 2: our core group of four heroes, and I can't help

443
00:24:24,760 --> 00:24:28,560
Speaker 2: but think of them as selectable characters in an arcade

444
00:24:28,600 --> 00:24:30,800
Speaker 2: beat him Up like the old Teenage Mutant Ninja Turtles

445
00:24:30,840 --> 00:24:33,320
Speaker 2: or the X Men game. And indeed, this whole film

446
00:24:33,720 --> 00:24:36,320
Speaker 2: very much has a side scrolling beat him Up energy.

447
00:24:36,760 --> 00:24:41,520
Speaker 3: Absolutely, yes, it is in that Ninja Turtles fighting game zone.

448
00:24:41,640 --> 00:24:44,439
Speaker 2: It feels like that, yeah, yeah, and has lots of slime.

449
00:24:44,920 --> 00:24:47,280
Speaker 3: Even some of the costumes look like they would fit

450
00:24:47,320 --> 00:24:48,000
Speaker 3: into that world.

451
00:24:48,240 --> 00:24:51,960
Speaker 2: Yes, yeah, there's there's one character We'll come back to.

452
00:24:52,119 --> 00:24:55,960
Speaker 2: One of the cyborgs really does look like probably multiple

453
00:24:56,640 --> 00:24:58,720
Speaker 2: characters from Teenage Mutant Ninja Turtles.

454
00:24:58,920 --> 00:25:02,640
Speaker 3: One of the cyborgs looks like Kraying's android body. Yeah,

455
00:25:03,040 --> 00:25:03,920
Speaker 3: that build? Yeah?

456
00:25:04,119 --> 00:25:06,040
Speaker 2: Or which one was the is it? Which was a

457
00:25:06,160 --> 00:25:09,360
Speaker 2: Bebop a rock Steady? Which one was You're right, yeah, Bebop? Yeah.

458
00:25:09,560 --> 00:25:16,560
Speaker 2: It kind of looks like a pre mutation Bebop, all right. Uh,

459
00:25:16,960 --> 00:25:19,439
Speaker 2: you can't have just two factions in a cyberpunk story.

460
00:25:19,520 --> 00:25:24,399
Speaker 2: We also have what I'm calling Team Domina, led of

461
00:25:24,400 --> 00:25:28,080
Speaker 2: course by Domina. This is Z's rival, and I think

462
00:25:28,160 --> 00:25:31,640
Speaker 2: something of a cyborg originator. She takes credit for everything,

463
00:25:31,760 --> 00:25:34,320
Speaker 2: for all of Z's success in the cyborg world.

464
00:25:34,440 --> 00:25:37,280
Speaker 3: Yeah, he stole everything from her. Yeah. Uh.

465
00:25:37,440 --> 00:25:41,679
Speaker 2: Domina is a euphoron enjoyer and what seemingly what New

466
00:25:41,760 --> 00:25:44,480
Speaker 2: Jersey native is that? What's is that? The accent. I'm

467
00:25:45,240 --> 00:25:49,320
Speaker 2: I'm not great with my analysis of New York Area accents,

468
00:25:49,320 --> 00:25:53,200
Speaker 2: but it's strong in character defining. She kind of feels

469
00:25:53,240 --> 00:25:56,320
Speaker 2: like she could be a Sarah Squirm character on SNL

470
00:25:56,480 --> 00:25:56,919
Speaker 2: or something.

471
00:25:57,400 --> 00:26:01,240
Speaker 3: She's just I love her. I love Domina so much.

472
00:26:01,280 --> 00:26:04,960
Speaker 3: Her accent is great. Here's my take on her accent.

473
00:26:05,760 --> 00:26:10,640
Speaker 3: It sounds like a bad, fake New York Area accent,

474
00:26:10,880 --> 00:26:15,399
Speaker 3: but I think it's just a real, non movie actor

475
00:26:15,960 --> 00:26:20,600
Speaker 3: thick New York Area accent or New Jersey accent, That's

476
00:26:20,640 --> 00:26:23,040
Speaker 3: what I think. Like, I think this is her real voice.

477
00:26:23,359 --> 00:26:26,200
Speaker 3: And almost all of her lines in the movie begin

478
00:26:26,320 --> 00:26:29,840
Speaker 3: with the word Z. He's just always saying Z's name

479
00:26:29,880 --> 00:26:32,679
Speaker 3: because she's either talking to him or talking about him,

480
00:26:32,760 --> 00:26:35,639
Speaker 3: So almost every line starts off with her saying Z.

481
00:26:36,560 --> 00:26:40,000
Speaker 2: Yeah. Yeah, I feel you know, you feel bad for

482
00:26:40,080 --> 00:26:43,920
Speaker 2: the other individual in her life, Hydro, her loyal cyborg

483
00:26:44,000 --> 00:26:46,560
Speaker 2: because why not more talk about Hydro. Hydro's been for

484
00:26:46,600 --> 00:26:49,119
Speaker 2: you the whole time. He's been here for you the

485
00:26:49,119 --> 00:26:52,280
Speaker 2: whole time, But you're always talking about Z, who's your enemy,

486
00:26:52,320 --> 00:26:53,080
Speaker 2: that's elsewhere.

487
00:26:53,680 --> 00:26:56,280
Speaker 3: Well, she does tell Hydro that he is very loyal

488
00:26:56,359 --> 00:26:59,520
Speaker 3: and well programmed often and he said thank you, Domina.

489
00:26:59,720 --> 00:27:01,919
Speaker 3: But the next thing she says is She's like, but

490
00:27:02,040 --> 00:27:02,560
Speaker 3: that's Z.

491
00:27:04,880 --> 00:27:10,960
Speaker 2: Domina is played by Stormy Spill. This is Stormy Spill's

492
00:27:11,080 --> 00:27:14,600
Speaker 2: only credit. I could find no other evidence of Stormy

493
00:27:14,640 --> 00:27:19,320
Speaker 2: Spill popping up anywhere in any kind of media. I

494
00:27:19,359 --> 00:27:22,240
Speaker 2: can only imagine what sort of adventure Stormy Spill got

495
00:27:22,280 --> 00:27:25,320
Speaker 2: up to in mid eighties New York City. But she's

496
00:27:25,320 --> 00:27:28,320
Speaker 2: great here. I'm an instant Stormy Spill fan. And she

497
00:27:28,520 --> 00:27:30,720
Speaker 2: is also dressed like a Rick Owens model. For most

498
00:27:30,760 --> 00:27:31,160
Speaker 2: of the film.

499
00:27:31,640 --> 00:27:36,200
Speaker 3: She feels like a local celebrity. Yeah, it was cut,

500
00:27:36,680 --> 00:27:40,680
Speaker 3: you know, like when they put What's r C Baits

501
00:27:40,920 --> 00:27:44,280
Speaker 3: as Sam the Keeper and Werewolf or in the black

502
00:27:44,280 --> 00:27:47,160
Speaker 3: Hole Sun music video Rcy Bates. It was known as

503
00:27:47,160 --> 00:27:50,879
Speaker 3: a you know, around town LA local celebrity more than

504
00:27:50,920 --> 00:27:53,400
Speaker 3: as an actual movie star. But people knew of him

505
00:27:53,440 --> 00:27:56,159
Speaker 3: and liked him and so put him in things she

506
00:27:56,280 --> 00:27:59,679
Speaker 3: feels like that. She feels like somebody around town in

507
00:27:59,720 --> 00:28:02,480
Speaker 3: New yor or that everybody knows about and likes. And

508
00:28:02,560 --> 00:28:04,840
Speaker 3: somebody was like, we got to put Stormy in a movie.

509
00:28:05,119 --> 00:28:08,240
Speaker 2: Yeah, yeah, you can easily imagine like Stormy spilled like

510
00:28:08,280 --> 00:28:11,600
Speaker 2: being a notable owner of some local bar or an

511
00:28:11,720 --> 00:28:13,720
Speaker 2: MC I don't know, you know, a club or a

512
00:28:13,840 --> 00:28:16,439
Speaker 2: or less show or something. Yea, but you know, for

513
00:28:16,480 --> 00:28:19,280
Speaker 2: the rest of us years later, just a mystery.

514
00:28:19,720 --> 00:28:21,840
Speaker 3: But her on screen energy is a little bit like

515
00:28:21,960 --> 00:28:22,960
Speaker 3: share kind of.

516
00:28:23,080 --> 00:28:27,120
Speaker 2: Yeah share compared to Share in some user comments before.

517
00:28:27,400 --> 00:28:30,560
Speaker 3: But by way again of a stag beetle with the costuming.

518
00:28:31,440 --> 00:28:34,920
Speaker 2: Now we mentioned Hydro, her loyal cyborg, a slightly dopey

519
00:28:35,040 --> 00:28:39,479
Speaker 2: earlier Delta model, also the last of its kind. Hydro

520
00:28:39,680 --> 00:28:44,800
Speaker 2: is played by Doug Devas, but sometimes spelled like DeVos,

521
00:28:44,960 --> 00:28:49,040
Speaker 2: and I think DeVos feels more appropriate because of the

522
00:28:49,360 --> 00:28:52,080
Speaker 2: Cyborgs often look like they belong in a Devo video

523
00:28:52,680 --> 00:28:55,720
Speaker 2: or or or perhaps some other like you know, you know,

524
00:28:55,800 --> 00:28:59,400
Speaker 2: eighties Sunglasses at Nights sort of a music video or

525
00:28:59,440 --> 00:29:01,000
Speaker 2: like craft craft work.

526
00:29:01,080 --> 00:29:02,640
Speaker 3: For sure, it looked like craftwork.

527
00:29:02,720 --> 00:29:07,360
Speaker 2: The robots, yes, and they move like that. Yeah, yeah, yes,

528
00:29:07,840 --> 00:29:12,080
Speaker 2: so yeah, Doug Devas here, not to be confused with

529
00:29:12,120 --> 00:29:15,520
Speaker 2: the businessman of the same name. All right, getting a

530
00:29:15,520 --> 00:29:17,719
Speaker 2: little bit into the world of cyborgs and droids. There

531
00:29:17,720 --> 00:29:21,680
Speaker 2: are some great beefy cyborgs in this but I'm not

532
00:29:21,680 --> 00:29:23,120
Speaker 2: going to list all of them, but I am going

533
00:29:23,200 --> 00:29:25,640
Speaker 2: to mention we have a pleasure droid that shows up

534
00:29:25,720 --> 00:29:29,800
Speaker 2: last year's model and she is played by Leanne Baker.

535
00:29:30,560 --> 00:29:34,080
Speaker 2: Baker was also in Bad Girls, Breeders, and Riot, but

536
00:29:34,520 --> 00:29:36,920
Speaker 2: a lot of viewers will recognize her as the lead

537
00:29:37,120 --> 00:29:40,800
Speaker 2: Eva from the nineteen eighty six New York indie film Necropolis,

538
00:29:41,200 --> 00:29:43,720
Speaker 2: in which she plays a New York City punk witch.

539
00:29:45,160 --> 00:29:49,600
Speaker 2: This one has some notable VHS covers, included one here

540
00:29:49,600 --> 00:29:50,200
Speaker 2: for you, Joe.

541
00:29:50,520 --> 00:29:51,960
Speaker 3: It's made on graft paper.

542
00:29:52,240 --> 00:29:56,160
Speaker 2: Yeah yeah, yeah, like a motorcycle, short, spiky blonde hair,

543
00:29:57,080 --> 00:29:58,800
Speaker 2: you know, almost you know, a little bit of a

544
00:29:58,800 --> 00:30:02,920
Speaker 2: gozer vibe. But yeah, she instantly stands out. Her other

545
00:30:02,960 --> 00:30:06,720
Speaker 2: films include eighty seven, Psychos in Love and Galactic Jiggalow.

546
00:30:07,160 --> 00:30:10,200
Speaker 2: She retired from acting but has written at least one

547
00:30:10,320 --> 00:30:13,959
Speaker 2: young adult book, so she went on to become an author.

548
00:30:14,200 --> 00:30:16,480
Speaker 2: So yeah, look her up. She's fun.

549
00:30:17,000 --> 00:30:21,160
Speaker 3: She really punches her lines in this movie. She only

550
00:30:21,160 --> 00:30:23,320
Speaker 3: has a few lines, but every one of them is

551
00:30:23,440 --> 00:30:26,760
Speaker 3: just fully enunciated straight into the camera.

552
00:30:27,080 --> 00:30:30,160
Speaker 2: But she can't criticize because we find out she is

553
00:30:30,320 --> 00:30:31,000
Speaker 2: a cyborg.

554
00:30:31,120 --> 00:30:31,960
Speaker 3: So that's right.

555
00:30:32,040 --> 00:30:36,680
Speaker 2: Yeah, robotic acting, you know, excuses a lot, all right,

556
00:30:36,720 --> 00:30:38,640
Speaker 2: And then briefly getting into some of the folks behind

557
00:30:38,640 --> 00:30:40,920
Speaker 2: the special effects in this film. Again, the special effects

558
00:30:40,920 --> 00:30:44,640
Speaker 2: in this film are scrappy, low budget, but also awe

559
00:30:44,680 --> 00:30:46,080
Speaker 2: inspiring in their own way.

560
00:30:46,760 --> 00:30:50,280
Speaker 3: Yeah, the stretching arm effect is everything. When I was

561
00:30:50,400 --> 00:30:53,440
Speaker 3: watching this on my phone at first on an airplane,

562
00:30:53,440 --> 00:30:57,120
Speaker 3: and when that started happening, I just I was at

563
00:30:57,160 --> 00:30:59,840
Speaker 3: a loss because I needed to turn and talk to somebody.

564
00:31:00,040 --> 00:31:02,040
Speaker 3: It's just this random guy next to me, and I

565
00:31:02,080 --> 00:31:04,600
Speaker 3: can't like show it to him what I want to be.

566
00:31:04,640 --> 00:31:06,320
Speaker 3: Do you see the arm? Oh my god?

567
00:31:08,200 --> 00:31:10,760
Speaker 2: Well, I'm sure everyone around you was thinking about this

568
00:31:10,800 --> 00:31:13,080
Speaker 2: movie while you were watching. They're probably like, what is this?

569
00:31:13,160 --> 00:31:15,480
Speaker 2: What is he doing? Why is any watching the films

570
00:31:15,480 --> 00:31:16,320
Speaker 2: on the back of his seat?

571
00:31:17,520 --> 00:31:20,400
Speaker 3: Yeah, a good question. Well I had something much better

572
00:31:20,480 --> 00:31:22,320
Speaker 3: than any of that there, and it is this, and

573
00:31:23,480 --> 00:31:26,240
Speaker 3: to a large extent better because of the special effects.

574
00:31:27,000 --> 00:31:31,000
Speaker 3: That crazy arm stretching. Also, the later puppet of the

575
00:31:31,000 --> 00:31:32,880
Speaker 3: guy that I'm going to end up calling Bud, the

576
00:31:32,960 --> 00:31:38,120
Speaker 3: cyborg friendly cyborg that man that puppet is is incredible. Yeah,

577
00:31:38,360 --> 00:31:40,680
Speaker 3: way more elaborate than I would have expected for a

578
00:31:40,720 --> 00:31:44,080
Speaker 3: movie otherwise of this budget. If this makes any sense,

579
00:31:44,160 --> 00:31:50,120
Speaker 3: The special effects are definitely a production value rung above

580
00:31:50,480 --> 00:31:52,520
Speaker 3: say the sets and the costumes.

581
00:31:52,600 --> 00:31:55,440
Speaker 2: Absolutely, yes, Yeah, and again it's just a place where

582
00:31:55,480 --> 00:31:57,720
Speaker 2: you see the passion here, you see the passion in

583
00:31:57,760 --> 00:32:00,800
Speaker 2: these guys. Guys work, So are these guys well. We

584
00:32:00,880 --> 00:32:04,520
Speaker 2: have Ed French. He's credited with special makeup effects and

585
00:32:04,600 --> 00:32:06,760
Speaker 2: he was born in nineteen fifty one. French worked on

586
00:32:06,840 --> 00:32:11,240
Speaker 2: several Kincaid films and Acts and Breeders, and this is

587
00:32:11,280 --> 00:32:13,600
Speaker 2: around the same time he did eighty six is Dead

588
00:32:13,640 --> 00:32:17,240
Speaker 2: Time Stories and four episodes of Tales from the Dark Side.

589
00:32:17,280 --> 00:32:21,360
Speaker 2: He also had already worked in special effects makeup on

590
00:32:21,400 --> 00:32:24,440
Speaker 2: such films as eighty three sleep Away Camp, eighty Four's

591
00:32:24,560 --> 00:32:28,239
Speaker 2: Chud and eighty five's The Stuff. Since then, he's had

592
00:32:28,280 --> 00:32:30,560
Speaker 2: a hand in a ton of special effects of laden films,

593
00:32:30,600 --> 00:32:34,720
Speaker 2: including Terminator two, Hell Raiser, Bloodline, The Midnight Meat Train,

594
00:32:34,880 --> 00:32:37,960
Speaker 2: Sinister two, and The twenty twenty three Dungeons and Dragons

595
00:32:38,000 --> 00:32:44,360
Speaker 2: movie Wow, also credited with Cyborg Mechanical Designs. We have

596
00:32:44,440 --> 00:32:47,800
Speaker 2: Tom Lawton. Lawton had previously worked on eighty six's Class

597
00:32:47,840 --> 00:32:51,240
Speaker 2: of Newcombe High and Robot Holocaust, and went on to

598
00:32:51,320 --> 00:32:54,120
Speaker 2: work on A Nightmare on elm Street, four, The dream Master,

599
00:32:54,520 --> 00:32:57,000
Speaker 2: two thousand and five's King Kong, and two thousand and

600
00:32:57,080 --> 00:32:59,080
Speaker 2: five is The Lion, the Witch in a Wardrobe. These

601
00:32:59,200 --> 00:33:00,560
Speaker 2: last two as part of WETA.

602
00:33:01,440 --> 00:33:04,040
Speaker 3: I remember Nightmare four, I think has some very notable

603
00:33:04,080 --> 00:33:04,960
Speaker 3: special effects.

604
00:33:05,080 --> 00:33:07,520
Speaker 2: Yeah, this was like a yeah, this was a period

605
00:33:07,720 --> 00:33:10,360
Speaker 2: in the Nightmare. I guess, you know, after a point.

606
00:33:10,400 --> 00:33:12,200
Speaker 2: I mean, they all have some great special effects in them,

607
00:33:12,200 --> 00:33:13,960
Speaker 2: but this is a point where they're really going for

608
00:33:14,080 --> 00:33:17,840
Speaker 2: crazy stuff, right, Yeah, all right. Also Matt Vogel has

609
00:33:17,840 --> 00:33:21,560
Speaker 2: special effects credit. Vogel's previous films included included eighty one's

610
00:33:21,560 --> 00:33:25,680
Speaker 2: Miss forty five, The Nesting and Madman, as well as

611
00:33:25,720 --> 00:33:29,320
Speaker 2: eighty four's Chud, Robot Holocaust, Breeders, Necropolis, and eighty seven

612
00:33:29,360 --> 00:33:31,920
Speaker 2: Streak Trash. He went on to work on such films

613
00:33:31,960 --> 00:33:34,880
Speaker 2: as Frank and Hooker another film that I've watched on

614
00:33:34,920 --> 00:33:38,040
Speaker 2: an airplane and I keep almost coming back to Franken Hooker.

615
00:33:39,400 --> 00:33:42,280
Speaker 2: It's pretty great in its own way, but we also

616
00:33:42,320 --> 00:33:45,200
Speaker 2: did Kings of New York, Cloverfield and much more.

617
00:33:45,400 --> 00:33:46,640
Speaker 3: Bravo nice work.

618
00:33:47,520 --> 00:33:50,680
Speaker 2: Yeah, once again, as with Star Crash, I love the

619
00:33:50,800 --> 00:33:53,960
Speaker 2: violent laser blasts in this film. They just send the

620
00:33:54,000 --> 00:33:57,200
Speaker 2: sparks flying. And I also love how the cyborgs all

621
00:33:57,240 --> 00:33:59,960
Speaker 2: seem to have like green slime vomit for blood again,

622
00:34:00,160 --> 00:34:03,640
Speaker 2: or at least the mutated ones. Once they get really mutated,

623
00:34:03,880 --> 00:34:07,120
Speaker 2: there's all sorts of weird goo coming out of them.

624
00:34:07,400 --> 00:34:11,200
Speaker 3: I am used to seeing movies where the laser guns

625
00:34:11,360 --> 00:34:14,239
Speaker 3: are almost useless against the villain. You know this is

626
00:34:14,239 --> 00:34:17,000
Speaker 3: a comment you've got, like, Oh, I'm an invulnerable cyborg.

627
00:34:17,080 --> 00:34:20,080
Speaker 3: I can't be stopped. And so you see characters shooting

628
00:34:20,080 --> 00:34:22,840
Speaker 3: it with laser guns and the lasers just bounce off.

629
00:34:22,960 --> 00:34:25,719
Speaker 2: Or even when they kill somebody, they don't leave a mark.

630
00:34:25,760 --> 00:34:27,319
Speaker 2: It's just coming. You got me.

631
00:34:27,760 --> 00:34:31,719
Speaker 3: In this movie, the lasers are absolutely deadly. So there

632
00:34:31,719 --> 00:34:35,360
Speaker 3: will be characters locked in a life or death struggle

633
00:34:35,400 --> 00:34:37,840
Speaker 3: with the cyborg. But if they can pop one laser

634
00:34:37,920 --> 00:34:40,960
Speaker 3: blast off on the cyborg, Cyborg's done. Yeah that's it.

635
00:34:41,200 --> 00:34:43,560
Speaker 2: I'll take deadly rays for sure.

636
00:34:43,400 --> 00:34:45,479
Speaker 3: Exactly these deadly rays will be their death.

637
00:34:45,560 --> 00:34:48,680
Speaker 2: Yeah, all right, And finally, the score is by Don

638
00:34:48,800 --> 00:34:53,080
Speaker 2: Great born nineteen fifty one. Synth guitars, lots of cheesy

639
00:34:53,200 --> 00:34:56,920
Speaker 2: riffs that only sometimes match the on screen action. I

640
00:34:56,960 --> 00:34:59,520
Speaker 2: also get a great retro video game vibe from all

641
00:34:59,560 --> 00:35:01,560
Speaker 2: of this. You know, just the music that's playing as

642
00:35:01,600 --> 00:35:03,759
Speaker 2: you side scroll your way through a level.

643
00:35:03,719 --> 00:35:06,920
Speaker 3: Absolutely sounds like the music that loops in the background

644
00:35:06,960 --> 00:35:08,959
Speaker 3: in the old nes Batman game.

645
00:35:09,040 --> 00:35:15,600
Speaker 2: Yes, yes, absolutely. Great also composed scores for Breeders and Necropolis,

646
00:35:15,960 --> 00:35:17,360
Speaker 2: but he also had a lot. He also has a

647
00:35:17,400 --> 00:35:20,279
Speaker 2: lot of additional music and stock music slash production music

648
00:35:20,320 --> 00:35:27,640
Speaker 2: credits on all sorts of films.

649
00:35:31,000 --> 00:35:32,960
Speaker 3: Okay, we're doing the plot now, let's do it.

650
00:35:33,040 --> 00:35:33,880
Speaker 2: Let the hunt begin.

651
00:35:34,320 --> 00:35:36,840
Speaker 3: So the title and credits are a very nice glowing

652
00:35:37,000 --> 00:35:40,440
Speaker 3: green on black, like the computer screens in the Matrix,

653
00:35:40,560 --> 00:35:43,960
Speaker 3: you know, the digital rain look, not that design, just

654
00:35:44,000 --> 00:35:46,719
Speaker 3: the green on the black. It does, I don't know,

655
00:35:46,880 --> 00:35:50,520
Speaker 3: just makes you feel nostalgic for another era of computers. Also,

656
00:35:50,640 --> 00:35:53,480
Speaker 3: the opening music makes me feel nostalgic. We were just

657
00:35:53,480 --> 00:35:55,760
Speaker 3: talking about it being kind of like video game music,

658
00:35:56,280 --> 00:35:59,399
Speaker 3: but the song that plays at the beginning isn't quite

659
00:35:59,480 --> 00:36:01,680
Speaker 3: video game music. Yeah, that comes a little bit later

660
00:36:01,719 --> 00:36:04,319
Speaker 3: in like the fight scenes. The opening theme is that

661
00:36:04,880 --> 00:36:08,800
Speaker 3: nineteen eighties synth pulse that just makes me think about

662
00:36:08,840 --> 00:36:12,640
Speaker 3: a cop in a cream blazer with the sleeves pushed up,

663
00:36:12,719 --> 00:36:14,560
Speaker 3: you know what I'm saying. So it's a little bit

664
00:36:14,600 --> 00:36:18,400
Speaker 3: Miami Vice. It's also Grand Theft Auto Vice City. So

665
00:36:18,680 --> 00:36:22,960
Speaker 3: that whole thing also kind of a thin, plinky, little

666
00:36:23,280 --> 00:36:26,560
Speaker 3: snare beat. I don't know, it's a good sound. And

667
00:36:26,600 --> 00:36:28,799
Speaker 3: then the opening shot is New York City. We see

668
00:36:28,840 --> 00:36:31,719
Speaker 3: the skyline of Lower Manhattan at dusk with a dark

669
00:36:31,760 --> 00:36:34,440
Speaker 3: blue sky, orange sunset in the background, and all of

670
00:36:34,440 --> 00:36:35,480
Speaker 3: the buildings glowing.

671
00:36:36,320 --> 00:36:38,160
Speaker 2: Yeah, this reminded me just a little bit of the

672
00:36:38,200 --> 00:36:41,840
Speaker 2: A Trauma Team release Skyline. Trauma fans will know what

673
00:36:41,920 --> 00:36:42,600
Speaker 2: I'm talking about.

674
00:36:43,120 --> 00:36:45,960
Speaker 3: Also, in a way reminded me of the opening of

675
00:36:46,000 --> 00:36:49,960
Speaker 3: the John Travolta movie about John Gotti, which I don't recommend,

676
00:36:50,160 --> 00:36:54,200
Speaker 3: but it starts with Dravolta just looking at basically this

677
00:36:54,320 --> 00:36:56,799
Speaker 3: skyline of New York City and then he's like, New

678
00:36:56,880 --> 00:37:02,120
Speaker 3: York's the greatest city in the ef and world. So

679
00:37:02,320 --> 00:37:06,640
Speaker 3: after this we cut to an establishing shot outside of

680
00:37:06,680 --> 00:37:09,680
Speaker 3: a grungy looking building and a sign tells us this

681
00:37:09,800 --> 00:37:14,240
Speaker 3: is the headquarters of the company called in tel Tracks

682
00:37:14,400 --> 00:37:19,240
Speaker 3: Intel Tracks. We cut inside and there are random, dull

683
00:37:19,320 --> 00:37:23,040
Speaker 3: body parts hanging from the ceiling. That's promising. The first

684
00:37:23,040 --> 00:37:26,279
Speaker 3: thing we see is a severed mannequin arm on a wire,

685
00:37:26,320 --> 00:37:28,480
Speaker 3: just hanging in this dark room that looks like it's

686
00:37:28,520 --> 00:37:31,719
Speaker 3: a parking garage. There's a table that very much wants

687
00:37:31,800 --> 00:37:34,120
Speaker 3: you to believe it is a lab. So we have

688
00:37:34,280 --> 00:37:37,880
Speaker 3: test tubes lined up on racks, a white sculpture of

689
00:37:37,920 --> 00:37:40,920
Speaker 3: a hand mounted on a brick, and then a few

690
00:37:41,120 --> 00:37:44,000
Speaker 3: loops of IV tube dangling in the frame.

691
00:37:44,560 --> 00:37:47,600
Speaker 2: Yeah, a lot of these sets slash locations and they're

692
00:37:47,640 --> 00:37:50,040
Speaker 2: gonna They're gonna get you halfway there. You need you

693
00:37:50,080 --> 00:37:53,359
Speaker 2: bring a little imagination into your viewing. There's just enough

694
00:37:53,400 --> 00:37:55,560
Speaker 2: for you to figure out what this is supposed to be.

695
00:37:56,800 --> 00:38:00,000
Speaker 2: So we pan over to some cyborgs standing in a row,

696
00:38:00,160 --> 00:38:02,560
Speaker 2: and you can tell their cyborgs because they are wearing

697
00:38:02,640 --> 00:38:07,120
Speaker 2: the Mutant Hunt cyborg uniform, which is long dark pants,

698
00:38:07,600 --> 00:38:11,319
Speaker 2: a dark fitted button up shirt buttoned all the way

699
00:38:11,400 --> 00:38:16,319
Speaker 2: up including the collar high and tight haircut sunglasses even

700
00:38:16,360 --> 00:38:19,520
Speaker 2: at night and indoors, and we will get an explanation

701
00:38:19,560 --> 00:38:23,240
Speaker 2: for those sunglasses later, which is pretty ambitious. Most films

702
00:38:23,239 --> 00:38:26,600
Speaker 2: of this sort, they're just like, of course, everyone's wearing

703
00:38:26,640 --> 00:38:30,000
Speaker 2: sunglasses at night. It looks really cool. This film actually

704
00:38:30,000 --> 00:38:33,080
Speaker 2: bothers to give us some lore to explain it all.

705
00:38:33,320 --> 00:38:35,600
Speaker 3: I think the explanation, though, has to be a post

706
00:38:35,600 --> 00:38:39,480
Speaker 3: talk rationalization, because in the scene where it's happened, I

707
00:38:39,520 --> 00:38:41,960
Speaker 3: don't think that scene was originally in the story. I

708
00:38:42,000 --> 00:38:43,920
Speaker 3: think that's a later insert.

709
00:38:44,080 --> 00:38:46,080
Speaker 2: Do you think that? Do you think the actors requested

710
00:38:46,120 --> 00:38:49,680
Speaker 2: They're like, Tim, why are these cyborgs wearing sunglasses? I

711
00:38:49,680 --> 00:38:52,719
Speaker 2: don't know that my character would hunt them if they

712
00:38:52,719 --> 00:38:55,400
Speaker 2: were wearing sunglasses at night for no reason. We've got

713
00:38:55,440 --> 00:38:56,160
Speaker 2: to establish it.

714
00:38:56,640 --> 00:38:58,160
Speaker 3: No, I don't think that's the reason. I think the

715
00:38:58,239 --> 00:39:00,560
Speaker 3: reason is otherwise it wouldn't make any He sends it

716
00:39:00,600 --> 00:39:02,440
Speaker 3: all for there to be a sex scene in the

717
00:39:02,480 --> 00:39:04,840
Speaker 3: scene right after the scene where the heroes are like,

718
00:39:04,880 --> 00:39:07,680
Speaker 3: we've got to stop these cyborgs right now. They need

719
00:39:07,719 --> 00:39:10,880
Speaker 3: to explain why they have twelve hours until the cyborgs

720
00:39:10,880 --> 00:39:11,800
Speaker 3: can be hunted again.

721
00:39:11,960 --> 00:39:12,960
Speaker 2: There you go, there you go.

722
00:39:13,640 --> 00:39:18,000
Speaker 3: So we first see these guys, like the cyborgs are

723
00:39:18,040 --> 00:39:22,919
Speaker 3: moving around and it's very old school robot mime work. Again, craftworks.

724
00:39:22,960 --> 00:39:26,279
Speaker 3: We are the robots, you know, slow pivoting, ah, that

725
00:39:26,440 --> 00:39:29,560
Speaker 3: kind of thing. So after this we cut to some

726
00:39:29,600 --> 00:39:33,040
Speaker 3: different guys, three guys standing in a row. One of

727
00:39:33,080 --> 00:39:36,680
Speaker 3: them is Z, the character we already talked about, the villain, Z,

728
00:39:36,920 --> 00:39:39,440
Speaker 3: who is dressed like a stag beetle. He's wearing some

729
00:39:39,520 --> 00:39:42,800
Speaker 3: kind of vest or upper body armor that is shiny

730
00:39:42,800 --> 00:39:46,120
Speaker 3: and black ribbed in the front, with these flared out

731
00:39:46,200 --> 00:39:49,400
Speaker 3: shoulders so that he's kind of V shaped. He checks

732
00:39:49,400 --> 00:39:52,879
Speaker 3: his watch and he says, Zerum activation should begin now.

733
00:39:54,000 --> 00:39:57,480
Speaker 3: Right after this, a couple of cyborgs in this line

734
00:39:57,520 --> 00:40:02,239
Speaker 3: over here, they turn and they start attack the other cyborgs,

735
00:40:02,480 --> 00:40:05,680
Speaker 3: and we see them really damaging each other. Arms get

736
00:40:05,760 --> 00:40:08,840
Speaker 3: yanked out of sockets, their wires popping and shooting sparks.

737
00:40:09,160 --> 00:40:12,120
Speaker 3: One of them rips a head off, and Z says,

738
00:40:12,280 --> 00:40:17,360
Speaker 3: that's it. They're even more violent than I imagined. He says,

739
00:40:17,440 --> 00:40:21,319
Speaker 3: our customers will be pleased, don't you think, And then

740
00:40:21,320 --> 00:40:24,759
Speaker 3: it cuts to reaction shots of the two cyborgs beside him,

741
00:40:24,880 --> 00:40:29,440
Speaker 3: in which they do not react. Or that that's the joke. Meanwhile,

742
00:40:29,560 --> 00:40:32,680
Speaker 3: somewhere else in a tall building, there's an alarm going

743
00:40:32,719 --> 00:40:35,279
Speaker 3: off inside an empty white room that looks kind of

744
00:40:35,280 --> 00:40:38,919
Speaker 3: like an art studio with nothing on display. Have that feeling, yeah,

745
00:40:38,920 --> 00:40:42,040
Speaker 3: I sure to. In walks a woman wearing that same

746
00:40:42,120 --> 00:40:45,360
Speaker 3: kind of stag beetle outfit as z So big shiny

747
00:40:45,440 --> 00:40:49,400
Speaker 3: black leather shoulders and a ribbed front. And this is Demeana.

748
00:40:49,560 --> 00:40:52,840
Speaker 3: As we were saying earlier, Demeana is a phenomenon. She

749
00:40:52,960 --> 00:40:58,239
Speaker 3: just owns the screen. The alarm is sounding and Demina says,

750
00:40:58,360 --> 00:41:02,040
Speaker 3: sort of talking to the ceiling. She says, Hydro, what

751
00:41:02,440 --> 00:41:05,520
Speaker 3: was that? And then we cut to somewhere else and

752
00:41:05,560 --> 00:41:09,120
Speaker 3: there's a cyborg who looks even dorkier than the other cyborgs.

753
00:41:09,120 --> 00:41:12,000
Speaker 3: He's talking into a microphone. This is Hydro. He tells

754
00:41:12,000 --> 00:41:16,160
Speaker 3: Demina that the intel tracks cyborgs have been activated. She

755
00:41:16,280 --> 00:41:20,239
Speaker 3: asks the altered units. Hydro says this is correct, and

756
00:41:20,280 --> 00:41:23,759
Speaker 3: then Demeana begins to pace. So in this scene there's

757
00:41:23,760 --> 00:41:28,080
Speaker 3: some cinematography. She's wandering behind a bell jar that gives

758
00:41:28,080 --> 00:41:31,719
Speaker 3: her a slight funhouse mirror appearance when she crosses parts

759
00:41:31,760 --> 00:41:34,719
Speaker 3: of it, and she's thinking about the activation of these

760
00:41:34,800 --> 00:41:38,520
Speaker 3: altered units. She says that Z must be out of

761
00:41:38,600 --> 00:41:41,880
Speaker 3: his mind quote the way he has them programmed, they'll

762
00:41:41,880 --> 00:41:44,800
Speaker 3: turn against him. He'll be lucky if he isn't ripped apart.

763
00:41:45,360 --> 00:41:49,080
Speaker 3: But Demana is plotting. She tells Hydro that they're going

764
00:41:49,160 --> 00:41:51,120
Speaker 3: to keep an eye on what Z is up to

765
00:41:51,800 --> 00:41:55,640
Speaker 3: quote until I'm ready to unveil my creation to the world.

766
00:41:56,040 --> 00:41:59,759
Speaker 3: Z can play with his pathetic toys, and then she's

767
00:41:59,760 --> 00:42:03,239
Speaker 3: starts it's monologuing. So we learned that everything Z and

768
00:42:03,320 --> 00:42:08,040
Speaker 3: his people have ever produced, including Hydro, started in her laboratory.

769
00:42:08,840 --> 00:42:13,439
Speaker 3: She says, Z that thieving swine. Then she wanders over

770
00:42:13,520 --> 00:42:15,600
Speaker 3: to a figure that we can't quite see. It's held

771
00:42:15,600 --> 00:42:18,040
Speaker 3: off screen. We just sort of see an arm wrapped

772
00:42:18,040 --> 00:42:21,319
Speaker 3: in something white, and then she just starts rubbing the

773
00:42:21,480 --> 00:42:23,080
Speaker 3: arm and we hear it growling.

774
00:42:23,560 --> 00:42:25,600
Speaker 2: Yeah, there's gonna be a lot of build up concerning

775
00:42:25,600 --> 00:42:27,640
Speaker 2: this figure. Yeah, I wonder if it's going to be

776
00:42:27,680 --> 00:42:31,640
Speaker 2: a cyborg. So we cut back to Z and his

777
00:42:31,719 --> 00:42:35,399
Speaker 2: two dudes, and he says that he is creating five

778
00:42:35,480 --> 00:42:38,600
Speaker 2: different models of these things, with a thousand copies of

779
00:42:38,640 --> 00:42:42,520
Speaker 2: each quote total carnage, uncontrolled fury.

780
00:42:42,840 --> 00:42:46,279
Speaker 3: What more could anyone ask? Why is he doing this?

781
00:42:47,360 --> 00:42:50,640
Speaker 2: Well, yeah, I think he does generally enjoy chaos, but

782
00:42:50,680 --> 00:42:54,680
Speaker 2: we also will learn later for profit. He has a

783
00:42:54,719 --> 00:42:58,880
Speaker 2: client list that includes with tyrants and dictators and criminals

784
00:42:59,200 --> 00:43:03,480
Speaker 2: around the world, and they want a way to biologically

785
00:43:03,560 --> 00:43:09,480
Speaker 2: hack their worker cyborgs and turn them into mindless killing machines, for.

786
00:43:09,600 --> 00:43:13,240
Speaker 3: They cannot be controlled. Cannot because they specify many times

787
00:43:13,600 --> 00:43:16,719
Speaker 3: what these things are is that they cannot be controlled.

788
00:43:17,040 --> 00:43:19,840
Speaker 2: I mean, can you imagine a text CEO wanting to

789
00:43:19,880 --> 00:43:24,759
Speaker 2: make money off of a technological innovation that cannot be

790
00:43:24,840 --> 00:43:27,520
Speaker 2: fully controlled and may become a problem later on. I

791
00:43:27,520 --> 00:43:27,920
Speaker 2: don't know.

792
00:43:28,160 --> 00:43:30,600
Speaker 3: Well, at least there there's the illusion that it can

793
00:43:30,680 --> 00:43:34,640
Speaker 3: be controlled. You know, he's just saying He literally says,

794
00:43:34,680 --> 00:43:39,440
Speaker 3: these are uncontrollable. And so he calls in the maintenance

795
00:43:39,520 --> 00:43:43,080
Speaker 3: droids to clean up the borg massacre and incinerate the evidence,

796
00:43:44,120 --> 00:43:48,160
Speaker 3: and we get a hilariously dramatic scene of cyborgs killing

797
00:43:48,200 --> 00:43:52,800
Speaker 3: other cyborgs and smashing laboratory equipment. Body parts are smashed

798
00:43:52,880 --> 00:43:55,319
Speaker 3: up all over the floor. There's a funny shot of

799
00:43:55,440 --> 00:43:58,719
Speaker 3: the dead cyborgs lying on the ground smoking, and they

800
00:43:58,719 --> 00:44:01,480
Speaker 3: all have their mouths wide open in dentist mode.

801
00:44:01,719 --> 00:44:04,200
Speaker 2: Yeah, and also their limbs up like dead bugs.

802
00:44:04,280 --> 00:44:08,520
Speaker 3: I love it. Yeah. So next we meet a handsome

803
00:44:08,560 --> 00:44:11,040
Speaker 3: guy in a white lab coat and he walks into

804
00:44:11,040 --> 00:44:13,600
Speaker 3: the room with all of the fuming cyborg meat on

805
00:44:13,640 --> 00:44:16,600
Speaker 3: the ground, and Z is just standing there over the bodies.

806
00:44:16,640 --> 00:44:18,880
Speaker 3: This is one of the times when the scene starts

807
00:44:18,880 --> 00:44:21,520
Speaker 3: and Z is just standing there with his arms clasped,

808
00:44:21,640 --> 00:44:26,040
Speaker 3: hands clasped behind his back, not doing anything, and this

809
00:44:26,120 --> 00:44:28,000
Speaker 3: guy walks up. The guy in the lab coat is

810
00:44:28,080 --> 00:44:31,760
Speaker 3: Paul Haynes. Doctor Paul Haynes. He and his sister Darla

811
00:44:31,800 --> 00:44:35,080
Speaker 3: Haynes are Intel Tracks employees who worked on the design

812
00:44:35,280 --> 00:44:38,080
Speaker 3: of the Delta seven cyborgs, which is I think what

813
00:44:38,160 --> 00:44:41,279
Speaker 3: these are. So Haines goes up and sees all the

814
00:44:41,320 --> 00:44:44,839
Speaker 3: smoking meat and he's like, what is this? Zee says

815
00:44:44,880 --> 00:44:47,719
Speaker 3: he thought the lab was empty. Haines says that the

816
00:44:47,760 --> 00:44:50,759
Speaker 3: Delta sevens were not ready for activation. These have not

817
00:44:50,800 --> 00:44:54,879
Speaker 3: been safety tested yet. It's not time. Haynes says, I've

818
00:44:54,880 --> 00:44:57,759
Speaker 3: spent the last year on these cyborgs. You reduce them

819
00:44:57,800 --> 00:45:01,760
Speaker 3: to a pile of scrap. Z says my scrap doctor.

820
00:45:02,200 --> 00:45:05,440
Speaker 3: Your work is for the benefit of my corporation. If

821
00:45:05,480 --> 00:45:08,239
Speaker 3: you wish to keep your position, you'll forget everything you've

822
00:45:08,280 --> 00:45:12,840
Speaker 3: seen here. And Ze looks so annoyed. But the fact

823
00:45:12,920 --> 00:45:16,160
Speaker 3: that he seems so annoyed is especially funny because he's

824
00:45:16,200 --> 00:45:19,640
Speaker 3: not doing anything. He's just standing there like some kind

825
00:45:19,640 --> 00:45:23,000
Speaker 3: of palace guard when Haines comes in. And then after

826
00:45:23,080 --> 00:45:28,759
Speaker 3: this conversation, he wanders off, pretending obviously pretending to be

827
00:45:28,840 --> 00:45:31,319
Speaker 3: looking at something that's not there on the other side

828
00:45:31,360 --> 00:45:35,719
Speaker 3: of the room. So Haines kneels down and then he

829
00:45:35,920 --> 00:45:38,719
Speaker 3: I loved this. He dips a finger in the cyborg

830
00:45:38,840 --> 00:45:41,440
Speaker 3: juice and then is he gonna taste it? Yeah, he

831
00:45:41,600 --> 00:45:45,120
Speaker 3: just tastes it, like what's he assessing freshness? Yeah?

832
00:45:45,200 --> 00:45:47,600
Speaker 2: Yeah, I mean he's a he's not an angel from

833
00:45:47,640 --> 00:45:51,360
Speaker 2: the prophecy, so he presumably just has human Hell. You know,

834
00:45:51,400 --> 00:45:53,200
Speaker 2: we talked, we talked about this. You know, we have

835
00:45:53,280 --> 00:45:56,360
Speaker 2: a geologist out there in the world who can actually

836
00:45:56,360 --> 00:45:58,520
Speaker 2: taste a rock and tell you something about it. So

837
00:45:58,920 --> 00:46:03,000
Speaker 2: maybe Haines is just such an expert in the cyborg

838
00:46:03,040 --> 00:46:06,080
Speaker 2: world that he can taste just random cyborg juice and

839
00:46:06,160 --> 00:46:08,040
Speaker 2: tell you a little something about what's going on there.

840
00:46:08,160 --> 00:46:11,840
Speaker 3: He can debug cyborgs programming by tasting their juices.

841
00:46:12,400 --> 00:46:14,680
Speaker 2: Yeah, but you know the weird thing is we find

842
00:46:14,719 --> 00:46:18,480
Speaker 2: out later that anytime these altered cyborgs go anywhere, the

843
00:46:18,520 --> 00:46:22,280
Speaker 2: place just reeks of eupour on. Yet he's like sampling

844
00:46:22,360 --> 00:46:25,399
Speaker 2: the gou here and he's not getting high. Presumably right,

845
00:46:25,520 --> 00:46:28,920
Speaker 2: maybe this was this is cyborg goo from a non

846
00:46:29,120 --> 00:46:32,000
Speaker 2: Euphoron oh altered cyborg. So I guess it works.

847
00:46:32,080 --> 00:46:34,799
Speaker 3: I think you're right. Yeah, because these are the cyborgs

848
00:46:34,840 --> 00:46:38,239
Speaker 3: that Z had the other cyborgs kill these cyborgs. I

849
00:46:38,280 --> 00:46:41,399
Speaker 3: think Z was having the Euphoron cyborgs killed the non

850
00:46:41,440 --> 00:46:42,200
Speaker 3: Euphoron side.

851
00:46:42,280 --> 00:46:43,600
Speaker 2: There you go, that explains it.

852
00:46:44,280 --> 00:46:47,520
Speaker 3: Uh So he no, wait a minute, no, no, no, no, no,

853
00:46:47,560 --> 00:46:49,560
Speaker 3: that I'm thinking about that can't be right because he's

854
00:46:49,600 --> 00:46:53,080
Speaker 3: about to Paul is about to yank the core out

855
00:46:53,080 --> 00:46:54,920
Speaker 3: of the back of this cyborg and go figure out

856
00:46:54,960 --> 00:46:56,680
Speaker 3: what happened. So this has to be one of the

857
00:46:56,719 --> 00:46:57,400
Speaker 3: altered ones.

858
00:46:57,560 --> 00:47:00,960
Speaker 2: Oh Man missed opportunity to explore here with him getting

859
00:47:01,120 --> 00:47:04,120
Speaker 2: hooked on U FOURU on by sampling cyboord game.

860
00:47:04,520 --> 00:47:06,479
Speaker 3: So he takes it back to his lab, this little

861
00:47:06,520 --> 00:47:08,200
Speaker 3: core that he gets out of the back of the neck.

862
00:47:08,840 --> 00:47:12,160
Speaker 3: And I just want to flag here that, like everybody

863
00:47:12,160 --> 00:47:15,200
Speaker 3: in this movie has a funny costuming issue. Both Paul

864
00:47:15,280 --> 00:47:18,720
Speaker 3: and Darla are dressed really funny for lab work. Paul

865
00:47:18,920 --> 00:47:22,000
Speaker 3: is he is wearing a lab coat, but underneath it,

866
00:47:22,040 --> 00:47:24,920
Speaker 3: he's wearing this blue shirt that is open, like four

867
00:47:24,960 --> 00:47:25,759
Speaker 3: buttons down.

868
00:47:26,000 --> 00:47:28,080
Speaker 2: Yeah, like in his lab.

869
00:47:28,640 --> 00:47:31,520
Speaker 3: And Darla is wearing like a black party dress.

870
00:47:31,760 --> 00:47:34,279
Speaker 2: Ye, Like, I'm going out after the shoot today, so

871
00:47:34,640 --> 00:47:35,480
Speaker 2: can I just wear this?

872
00:47:35,960 --> 00:47:38,719
Speaker 3: Yeah, it looks like you're dressed for going out for cocktails.

873
00:47:38,880 --> 00:47:43,160
Speaker 3: That's what that's lab now. But again, basically, all of

874
00:47:43,200 --> 00:47:45,520
Speaker 3: the costumes in this movie are funny. We'll note them

875
00:47:45,560 --> 00:47:49,600
Speaker 3: as we go along. So they run some tests and

876
00:47:49,880 --> 00:47:53,600
Speaker 3: established that there is an alien molecule in the fluid

877
00:47:53,640 --> 00:47:56,480
Speaker 3: system of the affected cyborgs. Guess what it is. It's

878
00:47:56,600 --> 00:48:00,279
Speaker 3: U four on again. This is the fictional d rug

879
00:48:00,280 --> 00:48:02,800
Speaker 3: in the movie. Characters spend a lot of time talking

880
00:48:02,800 --> 00:48:04,799
Speaker 3: about it. They spend a lot of time doing it.

881
00:48:04,880 --> 00:48:07,880
Speaker 3: This is you put it in your ear And Paul

882
00:48:08,000 --> 00:48:11,480
Speaker 3: explains the computer readout on this stuff. He says, anti

883
00:48:11,640 --> 00:48:17,480
Speaker 3: organic reactions triggered by pre programmed sexual response, like what

884
00:48:17,600 --> 00:48:20,960
Speaker 3: are these going to be sexual cyborgs? Now? No, that

885
00:48:21,000 --> 00:48:23,640
Speaker 3: does not happen. There's nothing sexual about them. But they

886
00:48:23,719 --> 00:48:29,040
Speaker 3: keep characters keep describing what's going on with these killer

887
00:48:29,080 --> 00:48:33,680
Speaker 3: cyborgs in sexual terms, but the cyborgs do nothing remotely sexual.

888
00:48:34,360 --> 00:48:37,360
Speaker 2: Yeah. Yeah, this initial setup makes you wonder if you're

889
00:48:37,400 --> 00:48:39,120
Speaker 2: in for a much grimier film. But I think the

890
00:48:39,680 --> 00:48:41,960
Speaker 2: idea here is the drug messes up the cyborgs in

891
00:48:41,960 --> 00:48:45,279
Speaker 2: a way that makes them on some level experience hedonistic

892
00:48:45,320 --> 00:48:49,080
Speaker 2: pleasure via violence and death. But all they need to

893
00:48:49,080 --> 00:48:51,680
Speaker 2: do to feel that pleasure is just rip somebody's head off.

894
00:48:51,719 --> 00:48:54,200
Speaker 3: That sort of thing. I think this is Actually it's

895
00:48:54,320 --> 00:48:58,840
Speaker 3: drawing on some kind of like serial serial killer associated

896
00:48:59,080 --> 00:49:02,160
Speaker 3: ideas that like, oh, serial killers are getting some kind

897
00:49:02,200 --> 00:49:05,360
Speaker 3: of sexual pleasure when they go out and randomly murder people,

898
00:49:05,800 --> 00:49:08,640
Speaker 3: and that's what's happening to these cyborgs, I think is

899
00:49:08,680 --> 00:49:13,400
Speaker 3: the idea. Yeah. Anyway, Paul determines that three of the

900
00:49:13,560 --> 00:49:17,640
Speaker 3: mutated cyborgs escaped, and at once he picks up the

901
00:49:17,680 --> 00:49:20,239
Speaker 3: phone to call somebody. He explains to Darla that he's

902
00:49:20,239 --> 00:49:25,080
Speaker 3: contacting the only man he can trust, Matt Riker. Darla

903
00:49:25,120 --> 00:49:28,000
Speaker 3: is skeptical. She knows that Riker is a mercenary, but

904
00:49:28,080 --> 00:49:32,120
Speaker 3: Paul says those cyborgs can't be stopped by ordinary means.

905
00:49:32,760 --> 00:49:36,000
Speaker 3: But while Paul is making the phone call, they're interrupted.

906
00:49:36,160 --> 00:49:39,680
Speaker 3: Some cyborgs come in. Cyborgs come in and explain that

907
00:49:39,800 --> 00:49:43,440
Speaker 3: the two of them are being that Paul and Darla

908
00:49:44,239 --> 00:49:47,600
Speaker 3: are being placed under arrest for making mutated cyborgs. I

909
00:49:47,600 --> 00:49:49,600
Speaker 3: think Z is trying to pin this on them.

910
00:49:49,880 --> 00:49:51,880
Speaker 2: Yeah, whose cyborgs are these though? Or these are not

911
00:49:52,040 --> 00:49:55,040
Speaker 2: Z cyborgs but like law enforcement cyborgs.

912
00:49:55,080 --> 00:49:58,960
Speaker 3: Maybe Darla gets away by just kind of shoving a

913
00:49:59,040 --> 00:50:01,520
Speaker 3: table at one of the cyborgs and then she jogs

914
00:50:01,560 --> 00:50:02,080
Speaker 3: off and.

915
00:50:02,080 --> 00:50:04,040
Speaker 2: Yeah, they kind of like kind of lumbers at her

916
00:50:04,080 --> 00:50:06,480
Speaker 2: tour Johnson's style. Yeah, that she makes it.

917
00:50:06,840 --> 00:50:10,080
Speaker 3: The cyborgs are like the zombies and Night of the

918
00:50:10,080 --> 00:50:12,839
Speaker 3: Living Dead. They're slow moving, they're all messed up.

919
00:50:13,080 --> 00:50:15,960
Speaker 2: Yeah, it is explained that. I think most of them

920
00:50:16,160 --> 00:50:22,160
Speaker 2: are designed for like assembly line type work and dangerous

921
00:50:22,280 --> 00:50:24,879
Speaker 2: environmental work that sort of thing, so maybe they don't

922
00:50:24,920 --> 00:50:25,880
Speaker 2: have to move quickly.

923
00:50:26,440 --> 00:50:30,000
Speaker 3: We see Darla running away through these desolate futuristic city

924
00:50:30,040 --> 00:50:32,880
Speaker 3: streets at one point, unless she goes through a tunnel

925
00:50:32,960 --> 00:50:36,120
Speaker 3: and we see cars parked everywhere. It's very future in

926
00:50:36,160 --> 00:50:39,040
Speaker 3: New York City from the eighties. There's lots of trash

927
00:50:39,120 --> 00:50:41,840
Speaker 3: and graffiti. At one point, she passes a bit of

928
00:50:41,840 --> 00:50:45,640
Speaker 3: graffiti that says death may be your Santa clause.

929
00:50:46,400 --> 00:50:50,919
Speaker 2: Hmmm, interesting with claus felt like claws with a w.

930
00:50:53,520 --> 00:50:55,759
Speaker 3: So the cyborgs are in pursuit the whole time. They're

931
00:50:55,760 --> 00:50:58,920
Speaker 3: blasting at her with lasers but always missing. Eventually, she

932
00:50:59,040 --> 00:51:02,040
Speaker 3: comes to an apartartment building and runs up the stairs

933
00:51:02,040 --> 00:51:06,080
Speaker 3: to the home of Matt Riker. When she starts banging

934
00:51:06,080 --> 00:51:08,799
Speaker 3: on the door, Riker is asleep in his bed with

935
00:51:08,840 --> 00:51:10,799
Speaker 3: a woman next to him, with all the lights on.

936
00:51:11,719 --> 00:51:17,400
Speaker 3: And Riker's apartment is hilariously empty. It is painted white

937
00:51:17,560 --> 00:51:22,280
Speaker 3: brick walls and instead of furniture, he just has hooks

938
00:51:22,320 --> 00:51:24,759
Speaker 3: on the walls with weapons mounted on them.

939
00:51:25,120 --> 00:51:27,640
Speaker 2: Yeah, most of these shots there are no visible windows

940
00:51:27,680 --> 00:51:30,480
Speaker 2: in this place. And I've stayed in some New York

941
00:51:30,480 --> 00:51:34,480
Speaker 2: City basement apartments before, granted with more art and fewer

942
00:51:34,480 --> 00:51:37,120
Speaker 2: weapons on the walls. So this feels like a very

943
00:51:37,200 --> 00:51:39,560
Speaker 2: real location. But it also does just feel like an

944
00:51:39,560 --> 00:51:41,880
Speaker 2: absolute kill room of a New York City apartment.

945
00:51:42,120 --> 00:51:46,120
Speaker 3: Yes, so Riker gets up, does not get dressed, so

946
00:51:46,160 --> 00:51:48,719
Speaker 3: I can imagine a very beefy man. He looks kind

947
00:51:48,719 --> 00:51:51,080
Speaker 3: of like a soap opera star in tidy white ees,

948
00:51:51,280 --> 00:51:54,560
Speaker 3: brand new ones. By the looks of it, they're blindingly white.

949
00:51:54,920 --> 00:51:57,080
Speaker 3: He goes to the door, but before he can open it,

950
00:51:57,200 --> 00:52:01,480
Speaker 3: Darla Haynes busts in somehow, and she says, Matt Riker,

951
00:52:01,760 --> 00:52:04,480
Speaker 3: I'm in trouble. And then the lady in bed, who

952
00:52:04,480 --> 00:52:07,080
Speaker 3: had been in bed with Riker, pops up and says,

953
00:52:07,520 --> 00:52:09,080
Speaker 3: you bet you are a sweetheart.

954
00:52:11,040 --> 00:52:14,279
Speaker 2: The lady in bed is the short line here. This

955
00:52:14,360 --> 00:52:15,719
Speaker 2: is the one that we're going to find out later.

956
00:52:16,160 --> 00:52:20,520
Speaker 2: Is a pleasure bought. Yeah. Quick note on the tidy whities.

957
00:52:21,200 --> 00:52:23,440
Speaker 2: I haven't actually watched any of the Joe Gage films,

958
00:52:23,440 --> 00:52:26,680
Speaker 2: but I'm to understand that the standard white cotton briefs

959
00:52:27,040 --> 00:52:30,040
Speaker 2: are a hallmark of the blue collar working man aesthetic

960
00:52:30,120 --> 00:52:32,560
Speaker 2: in those films, So this might be one of the

961
00:52:32,600 --> 00:52:35,160
Speaker 2: things we can point to as a connection between the

962
00:52:35,200 --> 00:52:37,839
Speaker 2: Tim Kincaid films and the Joe Gage films.

963
00:52:37,840 --> 00:52:51,920
Speaker 3: Interesting, Okay, Anyway, before Darla and the others can discuss things,

964
00:52:52,000 --> 00:52:54,759
Speaker 3: cyborgs arrive. They just start coming in the door, and

965
00:52:54,800 --> 00:52:58,680
Speaker 3: then here begins one of the funniest action scenes I

966
00:52:58,719 --> 00:53:03,160
Speaker 3: can recall from any Basically, what happens is that mercenary

967
00:53:03,200 --> 00:53:07,319
Speaker 3: Matt Riker fights this gauntlet of buttoned up cyborgs. He's

968
00:53:07,360 --> 00:53:11,359
Speaker 3: still in his white briefs, but the staging is just magnificent.

969
00:53:12,280 --> 00:53:15,800
Speaker 3: Throughout the fight, they keep cutting away to new walls

970
00:53:15,880 --> 00:53:19,840
Speaker 3: with different weapons on them for Riker to use. There's

971
00:53:19,880 --> 00:53:22,680
Speaker 3: the way that people have to step over the bed

972
00:53:22,920 --> 00:53:26,080
Speaker 3: to get over it, producing a cute little mattress squeak

973
00:53:26,160 --> 00:53:26,640
Speaker 3: every time.

974
00:53:26,719 --> 00:53:29,600
Speaker 2: Yeah. Yeah, the cyborgs, big beef cyborgs having to step

975
00:53:29,640 --> 00:53:30,399
Speaker 2: over the bed.

976
00:53:30,520 --> 00:53:34,719
Speaker 3: Yes, Ryker hiding behind the punching bag while he's maneuvering

977
00:53:35,160 --> 00:53:38,319
Speaker 3: the way. Only one character moves at a time, and

978
00:53:38,400 --> 00:53:41,759
Speaker 3: when one character is moving, everybody else just stands there

979
00:53:41,800 --> 00:53:43,040
Speaker 3: still and watches them.

980
00:53:43,239 --> 00:53:43,680
Speaker 2: Yeah.

981
00:53:43,719 --> 00:53:46,000
Speaker 3: And the music this is where some of that video

982
00:53:46,080 --> 00:53:49,160
Speaker 3: game style music comes in. It's also very wah wah

983
00:53:49,200 --> 00:53:50,960
Speaker 3: eighties guitar going.

984
00:53:51,280 --> 00:53:53,799
Speaker 2: It's so good. Absolutely. Yeah.

985
00:53:53,840 --> 00:53:58,520
Speaker 3: There's one amazing sequence where Riker hand he manages to

986
00:53:58,880 --> 00:54:02,719
Speaker 3: he's got handcuff for some reason. He manages to handcuff

987
00:54:02,760 --> 00:54:06,640
Speaker 3: one of the cyborgs to the radiator using these handcuffs

988
00:54:06,680 --> 00:54:09,600
Speaker 3: that were just sitting on a table. And then while

989
00:54:09,760 --> 00:54:13,160
Speaker 3: the cyborg is cuffed there, it turns. It sees a

990
00:54:13,200 --> 00:54:15,799
Speaker 3: machete on the wall, but oh no, the machete's like

991
00:54:15,800 --> 00:54:20,200
Speaker 3: fifteen feet away. No problem. It starts reaching with its

992
00:54:20,320 --> 00:54:23,520
Speaker 3: arm and then just keeps reaching and keeps reaching and

993
00:54:23,600 --> 00:54:26,640
Speaker 3: keeps reaching, and the arm stretches, so the cyborgs have

994
00:54:26,760 --> 00:54:31,120
Speaker 3: stretch armstrong powers. It engages extender arm, and we do

995
00:54:31,200 --> 00:54:33,520
Speaker 3: get a cutaway where you see the full length arm

996
00:54:33,600 --> 00:54:36,520
Speaker 3: all the way stretched out, and then it retrieves the

997
00:54:36,560 --> 00:54:39,600
Speaker 3: machete so that it can chop off its own hand.

998
00:54:40,160 --> 00:54:44,240
Speaker 3: It squirts orange juice concentrate wires are poking out everywhere,

999
00:54:44,280 --> 00:54:46,080
Speaker 3: and then I think when it gets up it jams

1000
00:54:46,120 --> 00:54:47,760
Speaker 3: the hand back onto the wrist.

1001
00:54:48,040 --> 00:54:50,720
Speaker 2: Yes, it does, and then is ready to fight again.

1002
00:54:50,760 --> 00:54:54,360
Speaker 2: This scene takes forever, but every moment of it is awesome.

1003
00:54:54,640 --> 00:54:57,160
Speaker 2: I would love this sequence in any mid to high

1004
00:54:57,200 --> 00:54:59,279
Speaker 2: budget production, but I also just love it in a

1005
00:54:59,280 --> 00:55:01,480
Speaker 2: little bit low budget production like this.

1006
00:55:01,760 --> 00:55:04,680
Speaker 3: Yeah, it's so good and got all of the weapons.

1007
00:55:04,719 --> 00:55:07,279
Speaker 3: So there's a crossbow on the wall. Ryker ends up

1008
00:55:07,360 --> 00:55:09,960
Speaker 3: using that. There's a shotgun on the wall. I don't

1009
00:55:09,960 --> 00:55:11,960
Speaker 3: think he ever uses the shotgun. He picks it up

1010
00:55:11,960 --> 00:55:14,000
Speaker 3: and he tries to shoot it, but it jams and

1011
00:55:14,040 --> 00:55:15,600
Speaker 3: then he can't use it, so he just does to

1012
00:55:15,640 --> 00:55:16,520
Speaker 3: punch a cyborg.

1013
00:55:16,680 --> 00:55:18,680
Speaker 2: Or maybe he realizes his last minute. Oh yeah, I

1014
00:55:18,719 --> 00:55:23,040
Speaker 2: don't keep a loaded shotgun hanging on the wall. But yeah,

1015
00:55:23,120 --> 00:55:24,319
Speaker 2: that one, that one is no use.

1016
00:55:24,520 --> 00:55:26,640
Speaker 3: There's a harpoon that he never uses.

1017
00:55:26,760 --> 00:55:29,359
Speaker 2: Yeah, I would shot the harpoon. Gun doesn't get used.

1018
00:55:29,560 --> 00:55:33,279
Speaker 3: Yeah, what is the what are Raphael's weapons and the

1019
00:55:33,360 --> 00:55:33,839
Speaker 3: ninja shurt?

1020
00:55:33,880 --> 00:55:35,200
Speaker 2: Oh the sigh?

1021
00:55:35,360 --> 00:55:37,480
Speaker 3: Yeah, okay, he uses some of those, or he tries

1022
00:55:37,520 --> 00:55:39,960
Speaker 3: to use them and but the cyborg deflects him.

1023
00:55:40,000 --> 00:55:42,120
Speaker 2: Yeah, grabs them, whips him around, and then he goes

1024
00:55:42,160 --> 00:55:44,080
Speaker 2: to use them and they're deflected. But then in the

1025
00:55:44,080 --> 00:55:46,080
Speaker 2: next shot on the wall again.

1026
00:55:46,120 --> 00:55:49,200
Speaker 3: Oh very good, I didn't notice that. Eventually he gets

1027
00:55:49,200 --> 00:55:52,160
Speaker 3: one of the cyborgs with a night stand lamp attack like,

1028
00:55:52,160 --> 00:55:55,160
Speaker 3: he yanks the bull about and then zaps the cyborg

1029
00:55:55,200 --> 00:55:58,239
Speaker 3: with it. He so he kills a couple of the

1030
00:55:58,239 --> 00:56:01,600
Speaker 3: cyborgs and then the music stops and then Darla says

1031
00:56:01,719 --> 00:56:04,680
Speaker 3: they aren't human, and the woman in the bed says

1032
00:56:04,920 --> 00:56:09,400
Speaker 3: no kidding. Darla asks Riker for a cigarette, which I

1033
00:56:09,400 --> 00:56:11,759
Speaker 3: thought was funny, and he finally puts some pants on,

1034
00:56:12,680 --> 00:56:16,600
Speaker 3: and then Darla explains what happened. She asks Riker for help.

1035
00:56:16,719 --> 00:56:20,320
Speaker 3: Turns out Riker and her brother Paul had worked together

1036
00:56:20,360 --> 00:56:23,319
Speaker 3: in the past. Paul once saved Riker's life and he

1037
00:56:23,480 --> 00:56:26,200
Speaker 3: owes him one, so he's in for whatever this is.

1038
00:56:27,400 --> 00:56:31,120
Speaker 3: Then Darla gives the scoop. She says, Paul's head of

1039
00:56:31,160 --> 00:56:35,160
Speaker 3: research at Intel tracks he designed a new line of cyborgs,

1040
00:56:35,160 --> 00:56:39,000
Speaker 3: the Delta sevens, for hazardous occupations. A few hours ago,

1041
00:56:39,120 --> 00:56:43,000
Speaker 3: three of the Delta's malfunctioned. Someone had introduced U four

1042
00:56:43,160 --> 00:56:46,479
Speaker 3: on into their system. And then the lady in Riker's bed,

1043
00:56:46,520 --> 00:56:49,799
Speaker 3: who's still here and very much part of the conversation,

1044
00:56:50,360 --> 00:56:54,960
Speaker 3: says EU four on, who'd want to get robots high?

1045
00:56:55,040 --> 00:56:55,960
Speaker 2: In great delivery?

1046
00:56:56,200 --> 00:57:00,760
Speaker 3: And Darla says the drug decays and mutates psycho sexual

1047
00:57:00,840 --> 00:57:05,840
Speaker 3: response programs, corrupting the reasoning cortex. The other lady says,

1048
00:57:05,920 --> 00:57:10,960
Speaker 3: what's that in English? And then Reiker, comprehending perfectly, says

1049
00:57:11,080 --> 00:57:15,040
Speaker 3: they kill for pleasure. Yeah, I don't know how you

1050
00:57:15,040 --> 00:57:18,360
Speaker 3: get that from the other thing, but so Paul is

1051
00:57:18,400 --> 00:57:23,000
Speaker 3: being imprisoned by Intel tracks, which we learn is legal. Actually,

1052
00:57:23,120 --> 00:57:26,400
Speaker 3: the corporations in this movie can imprison anybody for up

1053
00:57:26,400 --> 00:57:27,680
Speaker 3: to seventy two hours.

1054
00:57:27,800 --> 00:57:28,200
Speaker 2: Quote.

1055
00:57:28,520 --> 00:57:31,760
Speaker 3: Ever since the Space Shuttle sex murders.

1056
00:57:32,000 --> 00:57:34,920
Speaker 2: Yes, the Space Shuttle sex murders, which is just just

1057
00:57:34,920 --> 00:57:37,960
Speaker 2: a nugget thrown out there for us to ponder. But

1058
00:57:38,000 --> 00:57:41,200
Speaker 2: I love it, like the kind of like gentle world building.

1059
00:57:41,240 --> 00:57:43,919
Speaker 2: It's like, what, like I imagine a world in which

1060
00:57:43,960 --> 00:57:46,880
Speaker 2: there was something called the Space Shuttle sex murders, and

1061
00:57:46,920 --> 00:57:48,960
Speaker 2: it's just sort of a common reference like yeah, yeah,

1062
00:57:49,080 --> 00:57:49,800
Speaker 2: when that happened.

1063
00:57:50,120 --> 00:57:54,160
Speaker 3: It's just a common reference point and it can explain anything. Apparently,

1064
00:57:54,200 --> 00:57:57,160
Speaker 3: why can corporations imprison people because of the Space Shuttle

1065
00:57:57,160 --> 00:57:57,640
Speaker 3: sex murder?

1066
00:57:57,720 --> 00:57:59,880
Speaker 2: We can't allow it to happen again. So yeah, we

1067
00:58:00,040 --> 00:58:02,480
Speaker 2: got to give corporations extra power over people.

1068
00:58:02,960 --> 00:58:07,120
Speaker 3: So Darla says, if you can't stop the mutants, Riker,

1069
00:58:07,160 --> 00:58:10,360
Speaker 3: who knows how many innocent people they'll murder. Riker says,

1070
00:58:10,440 --> 00:58:13,800
Speaker 3: I'll give it a try, but it's not going to

1071
00:58:13,840 --> 00:58:17,200
Speaker 3: be easy. Darla explains that the Delta sevens have five

1072
00:58:17,320 --> 00:58:20,880
Speaker 3: times as much strength as the cyborgs that Riker just killed,

1073
00:58:21,400 --> 00:58:24,680
Speaker 3: and he says, She says they have. This is where

1074
00:58:24,680 --> 00:58:28,080
Speaker 3: we get that they have a limited telepathic power, allowing

1075
00:58:28,120 --> 00:58:31,960
Speaker 3: them to sense potential harm, meaning that as long as

1076
00:58:32,000 --> 00:58:36,720
Speaker 3: you're hunting them, they'll be hunting you. That's good, that's

1077
00:58:36,720 --> 00:58:37,560
Speaker 3: pretty fascinating.

1078
00:58:37,560 --> 00:58:40,240
Speaker 2: And and again it makes you if we exist in

1079
00:58:40,240 --> 00:58:43,160
Speaker 2: a world where that exists. That's part of the cyborg build.

1080
00:58:43,800 --> 00:58:46,760
Speaker 2: Like what other details are out there? So I did?

1081
00:58:46,920 --> 00:58:47,880
Speaker 2: I do kind of love this.

1082
00:58:48,520 --> 00:58:50,960
Speaker 3: So Riker first jokes that he's going to not take

1083
00:58:50,960 --> 00:58:52,720
Speaker 3: the job. He's like, I don't know, this is too

1084
00:58:52,800 --> 00:58:54,360
Speaker 3: much for me. And then he's just like, no, I'm

1085
00:58:54,360 --> 00:58:57,040
Speaker 3: just kidding. I'll do it. And then more cyborgs just

1086
00:58:57,080 --> 00:59:00,560
Speaker 3: start pouring into the apartment. Whoops, they were talking too long,

1087
00:59:00,600 --> 00:59:03,640
Speaker 3: I guess, and another fight begins. I don't know why,

1088
00:59:03,680 --> 00:59:05,720
Speaker 3: but this time they go straight for the lady in

1089
00:59:05,760 --> 00:59:09,080
Speaker 3: the bed. The cyborg just scoops her up and throws

1090
00:59:09,080 --> 00:59:12,080
Speaker 3: her out the window. Oh no, but when she hits

1091
00:59:12,120 --> 00:59:14,640
Speaker 3: the ground, our fears are somewhat put to rest because

1092
00:59:14,640 --> 00:59:17,400
Speaker 3: we see there is no blood. Instead, she splats in

1093
00:59:17,440 --> 00:59:19,320
Speaker 3: a puddle of yellow green goop.

1094
00:59:19,800 --> 00:59:23,280
Speaker 2: Yeah, yeah, she's a cyborg. Fantastic sequence here and a

1095
00:59:23,280 --> 00:59:25,720
Speaker 2: good moment to just bring up the general cyborg fighting

1096
00:59:25,760 --> 00:59:28,200
Speaker 2: techniques that we see from these guys. They have two

1097
00:59:28,280 --> 00:59:31,760
Speaker 2: main grappling styles. They have the Monster Movie made in lift,

1098
00:59:31,840 --> 00:59:33,920
Speaker 2: you know, like any poster you've seen of a monster

1099
00:59:34,040 --> 00:59:35,320
Speaker 2: carrying an unconscious woman.

1100
00:59:35,640 --> 00:59:37,440
Speaker 3: Yeah, just lifting up. Yeah.

1101
00:59:37,600 --> 00:59:41,160
Speaker 2: And the other is a two handed frontal ballet lift.

1102
00:59:41,200 --> 00:59:43,640
Speaker 2: I'm not sure exactly what this is called, but you know,

1103
00:59:43,760 --> 00:59:47,320
Speaker 2: like lifting someone up in the air like a like

1104
00:59:47,400 --> 00:59:50,160
Speaker 2: a parent might lift a toddler above their head. That

1105
00:59:50,720 --> 00:59:54,720
Speaker 2: ballet move so not something you see like in wrestling

1106
00:59:54,760 --> 00:59:56,800
Speaker 2: per se, but it's one of the things that the

1107
00:59:56,840 --> 00:59:59,800
Speaker 2: cyborgs do here in addition to their chops, their punches

1108
00:59:59,800 --> 01:00:00,680
Speaker 2: and her head rips.

1109
01:00:00,800 --> 01:00:04,040
Speaker 3: Yeah, they do some brutal karate chops and they rip

1110
01:00:04,080 --> 01:00:08,520
Speaker 3: body parts off. But the fight continues. There's machete versus chair.

1111
01:00:09,120 --> 01:00:12,080
Speaker 3: One of the cyborgs gets a machete, Matt Riker as

1112
01:00:12,120 --> 01:00:14,760
Speaker 3: the chair and they're squaring off. Eventually, Ryker gets the

1113
01:00:14,840 --> 01:00:18,040
Speaker 3: upper hand and blasts the cyborg with a laser gun

1114
01:00:18,080 --> 01:00:20,040
Speaker 3: and that's it. And a laser gun does the trick

1115
01:00:20,600 --> 01:00:22,680
Speaker 3: and then a Riyker and Darla go to the window

1116
01:00:23,120 --> 01:00:26,560
Speaker 3: and Darla looks down at the body and she expresses shock,

1117
01:00:26,920 --> 01:00:29,720
Speaker 3: and Ryker says, easy, come, easy go, and she goes,

1118
01:00:29,720 --> 01:00:32,400
Speaker 3: how can you say that? And Ryker is like, ah,

1119
01:00:32,440 --> 01:00:34,960
Speaker 3: she wasn't a human, just a pleasure robot. Oh, okay,

1120
01:00:34,960 --> 01:00:35,560
Speaker 3: no big deal.

1121
01:00:36,480 --> 01:00:37,919
Speaker 2: She seemed to have a personality.

1122
01:00:38,280 --> 01:00:42,640
Speaker 3: Yeah, Well, question like, do the cyborgs in this movie

1123
01:00:42,720 --> 01:00:45,560
Speaker 3: want to live? Do they feel pain? In which case

1124
01:00:45,600 --> 01:00:47,960
Speaker 3: I would feel kind of bad anyway that she got

1125
01:00:48,040 --> 01:00:49,920
Speaker 3: thrown down there. I don't know. I don't know.

1126
01:00:50,160 --> 01:00:51,919
Speaker 2: Yeah, we're left to just try and figure it out.

1127
01:00:52,240 --> 01:00:54,240
Speaker 3: We at least learned that some of them later do

1128
01:00:54,360 --> 01:00:59,760
Speaker 3: feel pain. Yeah, it's trying, but so apparently no big

1129
01:00:59,760 --> 01:01:02,600
Speaker 3: deal from the movie's point of view, just a robot. Oh.

1130
01:01:02,640 --> 01:01:06,240
Speaker 3: And then also Ryker says, I smell euphour On, must

1131
01:01:06,240 --> 01:01:07,960
Speaker 3: have been pumped full of it. Which one is he

1132
01:01:08,040 --> 01:01:09,520
Speaker 3: talking about her or.

1133
01:01:09,480 --> 01:01:13,880
Speaker 2: The Yeah, yeah, it was confusing the first time I

1134
01:01:13,920 --> 01:01:14,640
Speaker 2: watched it as well.

1135
01:01:15,280 --> 01:01:17,320
Speaker 3: And then he says, seems an old friend of mine

1136
01:01:17,320 --> 01:01:20,320
Speaker 3: has been on the Euphoron trail for the FEDS. So

1137
01:01:20,400 --> 01:01:24,919
Speaker 3: we cut to a nightclub called Club Inferno, and there

1138
01:01:25,080 --> 01:01:27,240
Speaker 3: is a dance act going on. We see a lady

1139
01:01:27,280 --> 01:01:29,920
Speaker 3: with red hair with a mask on. It was kind

1140
01:01:29,920 --> 01:01:32,920
Speaker 3: of a bandit mask of some sort. And she's dancing

1141
01:01:33,120 --> 01:01:36,880
Speaker 3: on the stage. She's wearing like a black body suit

1142
01:01:36,880 --> 01:01:38,960
Speaker 3: with a bunch of holes in it. She almost looks

1143
01:01:39,000 --> 01:01:41,040
Speaker 3: like she could be in the cast of Cats. Did

1144
01:01:41,080 --> 01:01:43,680
Speaker 3: you get that? Yeah? Yeah, And this is going to

1145
01:01:43,720 --> 01:01:46,680
Speaker 3: be the character Elaine Elliott. So in the middle of

1146
01:01:46,720 --> 01:01:49,160
Speaker 3: her dance, there are a couple of creeps in the

1147
01:01:49,200 --> 01:01:51,880
Speaker 3: club that come up on stage and start messing with her,

1148
01:01:52,400 --> 01:01:54,680
Speaker 3: and then she beats them up and tosses them out

1149
01:01:54,680 --> 01:01:56,919
Speaker 3: on their butts. But I thought it was weird. While

1150
01:01:56,920 --> 01:01:59,720
Speaker 3: they're fighting, some people in the club are audibly like

1151
01:02:00,320 --> 01:02:05,480
Speaker 3: out and rooting for the attackers and the fight. Get her, Yeah,

1152
01:02:05,640 --> 01:02:09,840
Speaker 3: get her. This is not a very good club, it

1153
01:02:09,840 --> 01:02:12,880
Speaker 3: seems like. And so in this club we see people

1154
01:02:12,880 --> 01:02:15,720
Speaker 3: also doing you for on They're dabbing it into their ears.

1155
01:02:16,720 --> 01:02:19,800
Speaker 3: There's one guy just drinking from a bottle of Jack Daniels.

1156
01:02:19,840 --> 01:02:21,840
Speaker 3: Do they let you drink straight out of the bottle

1157
01:02:21,880 --> 01:02:22,320
Speaker 3: at a bar?

1158
01:02:22,600 --> 01:02:24,720
Speaker 2: They do that in movies if you're the protagonist and

1159
01:02:24,720 --> 01:02:26,760
Speaker 2: you've had a rough day, It's like, just leave me

1160
01:02:26,840 --> 01:02:28,320
Speaker 2: the bottle, Sam that sort of thing.

1161
01:02:28,560 --> 01:02:30,560
Speaker 3: But wouldn't they at least make you put it in

1162
01:02:30,560 --> 01:02:31,080
Speaker 3: the glass.

1163
01:02:31,480 --> 01:02:37,040
Speaker 2: I don't know I went to a bar in Thailand,

1164
01:02:37,040 --> 01:02:38,800
Speaker 2: I believe. Oh no, you know. I can't remember if

1165
01:02:38,800 --> 01:02:40,320
Speaker 2: I went to a bar. I just read about this

1166
01:02:41,040 --> 01:02:43,440
Speaker 2: while I was visiting Thailand. But like, there are bars

1167
01:02:43,440 --> 01:02:46,000
Speaker 2: in Thailand where you can bring in your own bottle

1168
01:02:46,080 --> 01:02:48,720
Speaker 2: that they will keep for you. And then I don't

1169
01:02:48,720 --> 01:02:50,480
Speaker 2: know if you're allowed to drink out of the bottle though,

1170
01:02:50,560 --> 01:02:52,120
Speaker 2: that's the thing.

1171
01:02:53,240 --> 01:02:56,240
Speaker 3: Anyway. Elaine comes down after her act and she talks

1172
01:02:56,240 --> 01:03:00,320
Speaker 3: to Riker and Darla. Riker introduces her at inter uses

1173
01:03:00,360 --> 01:03:03,600
Speaker 3: Elaine as private Op bounty hunter. Oh you were right,

1174
01:03:03,600 --> 01:03:07,200
Speaker 3: private op, he says, Private, okay, Private Op bounty hunter,

1175
01:03:07,360 --> 01:03:09,440
Speaker 3: Dancer of the Seven Veils. I just thought she's a

1176
01:03:09,440 --> 01:03:11,880
Speaker 3: public op because she says she does it for the government.

1177
01:03:11,920 --> 01:03:14,000
Speaker 3: So I don't know what's what's going on there. Maybe

1178
01:03:14,040 --> 01:03:16,320
Speaker 3: she's private and public and public.

1179
01:03:18,240 --> 01:03:21,080
Speaker 2: She's a busy woman. She has a number of.

1180
01:03:21,040 --> 01:03:26,320
Speaker 3: Hats totally, she's multitasking. Riker tells Elaine that he has

1181
01:03:26,520 --> 01:03:30,400
Speaker 3: a blotder job for her. A blotterer in this movie

1182
01:03:30,480 --> 01:03:34,960
Speaker 3: means murder. I think it means like assassinate. So he's

1183
01:03:34,960 --> 01:03:37,680
Speaker 3: got a blotder job for her. Does she want in?

1184
01:03:38,440 --> 01:03:41,160
Speaker 3: There's some haggling. She finds out that Riker is doing

1185
01:03:41,160 --> 01:03:43,880
Speaker 3: the job as a personal favor. But she's only interested

1186
01:03:43,880 --> 01:03:46,600
Speaker 3: if she can claim her usual fee. As we can

1187
01:03:46,640 --> 01:03:48,760
Speaker 3: see from the number of jobs she has, she must

1188
01:03:48,800 --> 01:03:52,560
Speaker 3: be she's interested in making bank and Riker says, don't

1189
01:03:52,560 --> 01:03:55,120
Speaker 3: worry about it, I'll cover your fee. He says. The

1190
01:03:55,160 --> 01:04:00,480
Speaker 3: targets are not human, they're cyborgs, quote mutants, psycho sexual killers.

1191
01:04:01,400 --> 01:04:03,920
Speaker 3: And we learned that lately Elaine has been working on

1192
01:04:03,960 --> 01:04:07,360
Speaker 3: a government case. Here's her public op stuff. She's tracking

1193
01:04:07,360 --> 01:04:12,000
Speaker 3: a large cash of euphoron smuggled in from the lunar colony.

1194
01:04:13,600 --> 01:04:16,240
Speaker 2: Yeah, this is another detail that it's like, what what

1195
01:04:16,560 --> 01:04:18,840
Speaker 2: is it? Euphoron comes from the moon? Are they like

1196
01:04:19,280 --> 01:04:23,120
Speaker 2: they're making it in like euphoron labs on the moon

1197
01:04:23,320 --> 01:04:26,760
Speaker 2: or they growing something there gets turned into euphoron, Or

1198
01:04:26,840 --> 01:04:30,000
Speaker 2: is something naturally occurring in the depths of the moon

1199
01:04:30,120 --> 01:04:32,480
Speaker 2: that it becomes uphoron. I don't know.

1200
01:04:32,720 --> 01:04:35,400
Speaker 3: That was my thought. Euphoron is made of the moon.

1201
01:04:35,800 --> 01:04:38,960
Speaker 3: It is a drug manufactured from the lunar regolith. That's good.

1202
01:04:38,960 --> 01:04:39,400
Speaker 3: I love it.

1203
01:04:39,440 --> 01:04:39,920
Speaker 2: I love it.

1204
01:04:40,480 --> 01:04:42,880
Speaker 3: But anyway, somebody on earth here, or at least in

1205
01:04:42,880 --> 01:04:45,720
Speaker 3: New York, has been buying up all of the euphorons,

1206
01:04:45,720 --> 01:04:48,360
Speaker 3: so the market has dried up. Somebody's buying it and

1207
01:04:48,440 --> 01:04:52,200
Speaker 3: hoarding it, and nobody knows where it is. H And

1208
01:04:52,240 --> 01:04:55,400
Speaker 3: then while she's talking, it took me until the second

1209
01:04:55,440 --> 01:04:57,600
Speaker 3: time I was watching this scene to notice, like, wait

1210
01:04:57,640 --> 01:05:00,400
Speaker 3: a second, isn't that Domeina sitting right next to her?

1211
01:05:00,560 --> 01:05:01,440
Speaker 3: That is that's.

1212
01:05:01,320 --> 01:05:05,280
Speaker 2: Her drinking something out of a coop glass there. Yeah, yeah,

1213
01:05:05,320 --> 01:05:08,280
Speaker 2: so they Oh, I'm sorry a Nick and Nora glass.

1214
01:05:08,320 --> 01:05:10,280
Speaker 3: I think I think that is right. Yeah, that is

1215
01:05:10,280 --> 01:05:13,880
Speaker 3: what it is. So Demina's just sitting there listening. I

1216
01:05:13,880 --> 01:05:16,800
Speaker 3: guess she's snooping on this conversation. Our heroes decide that

1217
01:05:16,840 --> 01:05:19,280
Speaker 3: they've got to get another one of their associates on board,

1218
01:05:19,280 --> 01:05:22,680
Speaker 3: a guy named Johnny Felix will meet him soon, and

1219
01:05:22,840 --> 01:05:26,320
Speaker 3: Elaine says, Riker, how do I find these mutants? Riker says,

1220
01:05:26,400 --> 01:05:30,240
Speaker 3: you don't they find you. So it turns out, yes,

1221
01:05:30,320 --> 01:05:33,760
Speaker 3: this was Domina sitting next to Elaine. Demina goes in

1222
01:05:33,800 --> 01:05:36,560
Speaker 3: back and places a phone call to Z remembers Z,

1223
01:05:37,440 --> 01:05:40,640
Speaker 3: I love this call. These personalities bouncing off of each

1224
01:05:40,640 --> 01:05:45,200
Speaker 3: other are so good. Demina says, Z, how good to

1225
01:05:45,200 --> 01:05:47,960
Speaker 3: hear your voice. It's been such a long time, so

1226
01:05:48,160 --> 01:05:52,320
Speaker 3: much blood under the bridge, Z says, what is it, Demeana?

1227
01:05:53,080 --> 01:05:56,640
Speaker 3: Demina says, Z all of the lines to start with.

1228
01:05:56,760 --> 01:05:56,840
Speaker 1: Ze.

1229
01:05:57,640 --> 01:05:59,960
Speaker 3: She says, as your old colleague as well as your

1230
01:06:00,080 --> 01:06:02,680
Speaker 3: ex partner, I thought I might have some information that

1231
01:06:02,720 --> 01:06:04,960
Speaker 3: would be of interest to you. But if I'm mistaken,

1232
01:06:05,080 --> 01:06:08,720
Speaker 3: don't let me disturb you. Ze says, We've been playing

1233
01:06:08,720 --> 01:06:11,480
Speaker 3: these games for too many years. Demeana sounds like some

1234
01:06:11,640 --> 01:06:13,480
Speaker 3: games without frontiers.

1235
01:06:13,040 --> 01:06:14,040
Speaker 2: Would say, I would say so.

1236
01:06:14,440 --> 01:06:16,880
Speaker 3: Yeah, So he says, now what is it? Do you

1237
01:06:16,960 --> 01:06:19,439
Speaker 3: want something from me? Or are you planning something that's

1238
01:06:19,480 --> 01:06:23,920
Speaker 3: going to hurt me? Demina says that genetic strain you

1239
01:06:24,040 --> 01:06:26,680
Speaker 3: introduced into your Delta sevens, it's about to cause you

1240
01:06:26,760 --> 01:06:30,240
Speaker 3: a few more problems than you've anticipated. You've got Matt

1241
01:06:30,320 --> 01:06:35,360
Speaker 3: Riker and his merry band on your case, baby, so

1242
01:06:35,600 --> 01:06:39,040
Speaker 3: they haggle about some stuff. I also love the way

1243
01:06:39,080 --> 01:06:42,040
Speaker 3: the scene looks because they both have these like orange

1244
01:06:42,080 --> 01:06:45,640
Speaker 3: red backgrounds behind them. Though they're in different places, but

1245
01:06:45,680 --> 01:06:47,080
Speaker 3: their backgrounds look the same.

1246
01:06:47,760 --> 01:06:51,240
Speaker 2: Yeah, and this is a scene in which the stills

1247
01:06:51,400 --> 01:06:53,560
Speaker 2: from the restored version that you'll find on the Vinegar

1248
01:06:53,600 --> 01:06:58,040
Speaker 2: Syndrome disc. They really pop and made these scenes. These

1249
01:06:58,040 --> 01:07:00,520
Speaker 2: stills especially made me realize I need to this up.

1250
01:07:00,840 --> 01:07:03,160
Speaker 3: So they're going to make a deal. Demina offers to

1251
01:07:03,240 --> 01:07:08,120
Speaker 3: share the location of Matt Riker's recently recruited associate. I

1252
01:07:08,120 --> 01:07:11,360
Speaker 3: think this means Elaine in exchange for fifty kilos of

1253
01:07:11,480 --> 01:07:15,240
Speaker 3: upour on. Domina says, you've made it very difficult for

1254
01:07:15,320 --> 01:07:17,760
Speaker 3: those of us who like to use uphoron as our

1255
01:07:17,840 --> 01:07:21,200
Speaker 3: favorite entertainment. And I for one field that I must

1256
01:07:21,280 --> 01:07:23,760
Speaker 3: go on record as telling you that I resent it.

1257
01:07:23,880 --> 01:07:27,320
Speaker 3: I really do. Is that Lion has too many words.

1258
01:07:27,400 --> 01:07:29,560
Speaker 3: You can cut that in half and say the same thing.

1259
01:07:30,560 --> 01:07:32,880
Speaker 2: She feels strongly about this, though I really think she

1260
01:07:32,960 --> 01:07:34,480
Speaker 2: does at Z.

1261
01:07:34,760 --> 01:07:37,439
Speaker 3: I love this line where Z replies by saying, you're

1262
01:07:37,600 --> 01:07:40,840
Speaker 3: so euphoroned out right now, you don't know what you're

1263
01:07:40,880 --> 01:07:45,480
Speaker 3: talking about. But Demina wants the fifty kilos of U

1264
01:07:45,560 --> 01:07:47,440
Speaker 3: four ons a. Z's going to give it to her

1265
01:07:47,600 --> 01:07:49,920
Speaker 3: and she and she's going to provide the location of

1266
01:07:49,960 --> 01:07:52,840
Speaker 3: the op. So it's a deal. And next thing we

1267
01:07:52,880 --> 01:07:56,120
Speaker 3: see Elaine is walking home from the club alone and

1268
01:07:56,160 --> 01:07:59,200
Speaker 3: she hears footsteps behind her on the sidewalk. She stops

1269
01:07:59,240 --> 01:08:01,760
Speaker 3: and looks back and it's a big old cyborg come

1270
01:08:01,840 --> 01:08:04,840
Speaker 3: in her way. So she runs to a yellow payphone

1271
01:08:04,920 --> 01:08:08,360
Speaker 3: and places a call to a new character, Johnny Felix. Ye,

1272
01:08:09,080 --> 01:08:12,320
Speaker 3: Johnny Felix is a cool guy in a short sleeve

1273
01:08:12,520 --> 01:08:16,320
Speaker 3: green mechanics jumpsuit who kind of looks like he's going

1274
01:08:16,479 --> 01:08:20,840
Speaker 3: for like a hairstyling of oats from Hollan Oats, you

1275
01:08:20,920 --> 01:08:24,080
Speaker 3: get that. Yeah, Like he's kind of small but muscly

1276
01:08:24,200 --> 01:08:27,320
Speaker 3: good looking guy with a strong dark mustache and a

1277
01:08:27,439 --> 01:08:32,160
Speaker 3: tight curly black mullet. Very cool look. And Johnny Felix,

1278
01:08:32,560 --> 01:08:37,040
Speaker 3: as I said before, he's just a very positive, sunshiny presence.

1279
01:08:37,120 --> 01:08:39,040
Speaker 3: Makes me feel like everything's gonna be okay.

1280
01:08:39,439 --> 01:08:41,639
Speaker 2: Yeah, he's got the kicks, he's got the tech. He's

1281
01:08:41,680 --> 01:08:42,719
Speaker 2: going to help you work it out.

1282
01:08:43,200 --> 01:08:45,840
Speaker 3: So Elaine calls Johnny Felix and he's walking on the

1283
01:08:45,880 --> 01:08:49,360
Speaker 3: sidewalk somewhere, eating with chopsticks out of a Chinese takeout box,

1284
01:08:50,000 --> 01:08:52,719
Speaker 3: and he answers the call by pressing a little button

1285
01:08:52,800 --> 01:08:55,599
Speaker 3: on his ear. So I think he's he's got a

1286
01:08:55,600 --> 01:08:58,640
Speaker 3: cell phone implanted in his ear. Johnny Felix is not

1287
01:08:58,800 --> 01:09:01,600
Speaker 3: a robot, He's not a cyborg. This is just a

1288
01:09:01,680 --> 01:09:03,200
Speaker 3: strictly business implant.

1289
01:09:03,360 --> 01:09:05,479
Speaker 2: And of course it made me think of earbuds. You know,

1290
01:09:05,520 --> 01:09:08,559
Speaker 2: there's so much in the visual language of a film

1291
01:09:08,680 --> 01:09:12,160
Speaker 2: like this depicting the technology the future that it easily

1292
01:09:12,200 --> 01:09:15,040
Speaker 2: just passes you by as a modern viewer of it,

1293
01:09:15,160 --> 01:09:17,240
Speaker 2: because this is already how we live.

1294
01:09:17,720 --> 01:09:21,720
Speaker 3: Yeah, it's true. So Elaine asks for help, says, a

1295
01:09:21,760 --> 01:09:24,599
Speaker 3: guy is after her, Johnny Felix. He's always making jokes.

1296
01:09:24,640 --> 01:09:27,480
Speaker 3: He's just like geez, you and your man problems, Elaine.

1297
01:09:28,160 --> 01:09:32,920
Speaker 3: But then she shares her location with him. Again. I

1298
01:09:32,960 --> 01:09:35,960
Speaker 3: said this earlier. I love anytime this movie shows a

1299
01:09:36,040 --> 01:09:38,640
Speaker 3: map with location data. It happens a lot in the

1300
01:09:38,680 --> 01:09:41,000
Speaker 3: second half of the movie. So in this case, there's

1301
01:09:41,000 --> 01:09:44,920
Speaker 3: a pixelated screen, vaguely shaped like the outline of Lower

1302
01:09:44,960 --> 01:09:48,679
Speaker 3: Manhattan as seen from space, with no features, no labeling,

1303
01:09:48,760 --> 01:09:52,160
Speaker 3: no streets or landmarks, just a solid island. And then

1304
01:09:52,200 --> 01:09:54,920
Speaker 3: a big X appears on part of the land mass.

1305
01:09:55,400 --> 01:09:58,200
Speaker 3: Johnny Felix looks at that, he says, I got you, babe,

1306
01:09:58,240 --> 01:09:59,960
Speaker 3: I'll be there in exactly eighty five second.

1307
01:10:02,760 --> 01:10:05,920
Speaker 2: Yeah, and this is where he breaks into a dead run, right.

1308
01:10:05,960 --> 01:10:08,040
Speaker 3: Yeah, well no, he shovels a few more bites of

1309
01:10:08,040 --> 01:10:08,679
Speaker 3: these noodles.

1310
01:10:08,920 --> 01:10:10,880
Speaker 2: You need that noodle fuel for the fight to come.

1311
01:10:11,120 --> 01:10:13,519
Speaker 3: Yeah, that's right. These sausages will give me the quick

1312
01:10:13,600 --> 01:10:16,800
Speaker 3: energy I need to escape. So he eats some more

1313
01:10:16,800 --> 01:10:19,680
Speaker 3: noodles and then he throws his takeout box on the sidewalk.

1314
01:10:19,840 --> 01:10:23,680
Speaker 3: Johnny Felix, that you litter bug. He's contributing to the

1315
01:10:23,720 --> 01:10:27,599
Speaker 3: miserable state of this dystopian cybercity. But then he takes

1316
01:10:27,640 --> 01:10:31,400
Speaker 3: off at a run. Meanwhile, the cyborg corners a lane

1317
01:10:31,479 --> 01:10:34,719
Speaker 3: on a kind of boardwalk or promenade overlooking the East

1318
01:10:34,800 --> 01:10:36,840
Speaker 3: River at night, and we see bridges lit up in

1319
01:10:36,880 --> 01:10:40,479
Speaker 3: the background. She taunts the cyborg. She says, come on,

1320
01:10:40,560 --> 01:10:44,080
Speaker 3: you putrid slime bag, take your best shot, and they

1321
01:10:44,120 --> 01:10:47,000
Speaker 3: tangle a bit. Elaine gets some good kicks in. Johnny

1322
01:10:47,000 --> 01:10:50,320
Speaker 3: Felix arrives on scene and then stands there watching while

1323
01:10:50,320 --> 01:10:53,120
Speaker 3: the cyborg and Elaine are wrestling. And then the cyborg

1324
01:10:53,200 --> 01:10:55,400
Speaker 3: holds her up in the air like he you know,

1325
01:10:55,439 --> 01:10:57,240
Speaker 3: like the cyborgs do, like he's going to do a

1326
01:10:57,280 --> 01:11:04,639
Speaker 3: body slam, but Johnny Felix else cut her some slack. Yeah,

1327
01:11:04,680 --> 01:11:08,120
Speaker 3: and the cyborg, hearing this, puts her down. I guess

1328
01:11:08,160 --> 01:11:10,960
Speaker 3: he cuts her some slack and then allows Johnny Felix

1329
01:11:10,960 --> 01:11:13,120
Speaker 3: to kick him in the face. And then our two

1330
01:11:13,240 --> 01:11:16,519
Speaker 3: humans run off and get some distance, and Elaine says,

1331
01:11:16,600 --> 01:11:19,439
Speaker 3: unless you've got some big artillery on you, this thing's

1332
01:11:19,600 --> 01:11:24,400
Speaker 3: too heavy, hitter. Some something got lost there, yeah, and

1333
01:11:24,439 --> 01:11:27,760
Speaker 3: then it and then the cyborg sort of menaces them.

1334
01:11:27,840 --> 01:11:31,080
Speaker 3: It walks up punching some holes in a big concrete block,

1335
01:11:31,680 --> 01:11:35,200
Speaker 3: and then Johnny Felix yells, WHOA So perhaps another time.

1336
01:11:35,280 --> 01:11:37,680
Speaker 3: They run away, and then after this they have a

1337
01:11:37,680 --> 01:11:40,639
Speaker 3: stroll and a little chat. They're again walking on this

1338
01:11:41,120 --> 01:11:44,280
Speaker 3: you know, sort of railing area overlooking the river by

1339
01:11:44,280 --> 01:11:47,639
Speaker 3: the city, and Elaine explains, I hate it when men

1340
01:11:47,760 --> 01:11:51,639
Speaker 3: save me. Johnny Felix says, well, excuse me for living.

1341
01:11:52,240 --> 01:11:54,519
Speaker 3: And then Elaine says, come on, Johnny, you know what

1342
01:11:54,560 --> 01:11:59,240
Speaker 3: I mean. It's humiliating. I am a fully accredited Federation's operative.

1343
01:11:59,400 --> 01:12:04,280
Speaker 3: I passed tests. Johnny Felix is he has a reasonable answer.

1344
01:12:04,280 --> 01:12:06,320
Speaker 3: He's like, look, Elaine, you know we all need help

1345
01:12:06,320 --> 01:12:06,880
Speaker 3: once in a while.

1346
01:12:06,920 --> 01:12:07,240
Speaker 2: It's true.

1347
01:12:07,320 --> 01:12:11,280
Speaker 3: Johnny Felix needs help sometimes too. But then Elaine says,

1348
01:12:11,520 --> 01:12:15,439
Speaker 3: even Riker, and there they gotta, they gotta admit Riker

1349
01:12:15,520 --> 01:12:19,120
Speaker 3: never needs help. Riker's different. But wait, why did Riker

1350
01:12:19,160 --> 01:12:23,120
Speaker 3: recruit them if he never needs help? Because Riker needs help,

1351
01:12:23,479 --> 01:12:28,000
Speaker 3: needs help? Yeah, yeah, uh yeah, so Elaine says, well,

1352
01:12:28,040 --> 01:12:30,120
Speaker 3: as of tonight, I'm just real glad I know an

1353
01:12:30,160 --> 01:12:32,719
Speaker 3: off with a phone implanted in his ear.

1354
01:12:32,920 --> 01:12:33,479
Speaker 2: There you go.

1355
01:12:33,720 --> 01:12:36,360
Speaker 3: Then Johnny Felix says, yeah, it's real convenient. And if

1356
01:12:36,360 --> 01:12:38,599
Speaker 3: I don't pay my bill, what can they do? Cut

1357
01:12:38,640 --> 01:12:41,479
Speaker 3: off my ear? Seems like they probably would.

1358
01:12:41,760 --> 01:12:44,639
Speaker 2: Yeah, that seems like the black mirror direction this would take.

1359
01:12:44,720 --> 01:12:57,600
Speaker 3: Yeah, yeah, speaking of ears. Next, there's a scene of

1360
01:12:57,640 --> 01:13:00,639
Speaker 3: Demeanor at her apartment or is this her lab anyway,

1361
01:13:00,760 --> 01:13:03,120
Speaker 3: slamming some U four on into her ear while she

1362
01:13:03,160 --> 01:13:07,080
Speaker 3: looks in a mirror. Hydro appears and gives her an update.

1363
01:13:08,040 --> 01:13:11,080
Speaker 3: Riker's off has escaped, the cyborg is still at large.

1364
01:13:11,200 --> 01:13:14,120
Speaker 3: Demina is very happy with all of this. She says

1365
01:13:14,240 --> 01:13:17,400
Speaker 3: that not all cyborgs are as well programmed as Hydro.

1366
01:13:17,720 --> 01:13:22,759
Speaker 3: Hydro says, thank you, Domina. Domina says, I often thought

1367
01:13:22,840 --> 01:13:25,800
Speaker 3: I should have stayed with the Delta sixes. Hydro, you

1368
01:13:25,880 --> 01:13:31,040
Speaker 3: were all so dependable, so trustworthy, so impervious to rust.

1369
01:13:31,439 --> 01:13:35,800
Speaker 3: Hydro says, thank you, Domina. Domina says, now you're the

1370
01:13:35,800 --> 01:13:38,400
Speaker 3: only one left all the I wonder how often she

1371
01:13:38,520 --> 01:13:40,320
Speaker 3: talks to him like this, you know, it just seems

1372
01:13:40,400 --> 01:13:43,960
Speaker 3: like it's the running theme in their house. But she says,

1373
01:13:44,000 --> 01:13:47,040
Speaker 3: all the others turned to scrap Z. Z had to

1374
01:13:47,080 --> 01:13:49,920
Speaker 3: be greedy. He always wanted more. Well, he's about to

1375
01:13:50,000 --> 01:13:52,439
Speaker 3: find out that it was more than he could ever handle.

1376
01:13:53,720 --> 01:13:56,760
Speaker 3: So many scenes where she's just predicting that Z will

1377
01:13:56,760 --> 01:13:58,639
Speaker 3: soon get his come up, and so it's gonna it's

1378
01:13:58,640 --> 01:14:01,400
Speaker 3: got to be really good when it finally comes. Yeah.

1379
01:14:01,640 --> 01:14:04,760
Speaker 3: So next we go back to Matt Riker's apartment, you know,

1380
01:14:04,800 --> 01:14:07,839
Speaker 3: the one with the weapon hooks instead of furniture. Johnny

1381
01:14:07,840 --> 01:14:10,479
Speaker 3: Felix is getting some reps in at the punching bag,

1382
01:14:10,920 --> 01:14:13,839
Speaker 3: and this scene is funny in how it's shot because

1383
01:14:13,960 --> 01:14:17,040
Speaker 3: at first, Johnny Felix is the only character we can see.

1384
01:14:17,080 --> 01:14:19,799
Speaker 3: We're just watching him work in the punching bag. Suddenly

1385
01:14:19,840 --> 01:14:22,840
Speaker 3: he stops fighting the bag and starts talking to the room.

1386
01:14:23,439 --> 01:14:26,160
Speaker 3: He says, I've tracked and logged four murders in the

1387
01:14:26,200 --> 01:14:28,680
Speaker 3: last eighty five minutes, but we don't see who he's

1388
01:14:28,720 --> 01:14:31,960
Speaker 3: talking to. Gradually we cut away and reveal basically all

1389
01:14:32,040 --> 01:14:33,880
Speaker 3: of the other characters are in the room with him,

1390
01:14:34,200 --> 01:14:37,920
Speaker 3: So we got Matt Riker here, Elaine, and Darla. Johnny

1391
01:14:37,920 --> 01:14:41,040
Speaker 3: Felix explains the murders he is tracking. He says, all

1392
01:14:41,080 --> 01:14:45,880
Speaker 3: in the same quadrant kill meth is identical and traces

1393
01:14:45,920 --> 01:14:49,439
Speaker 3: of euphour on looks like one of these creep boys

1394
01:14:49,600 --> 01:14:54,040
Speaker 3: is out on the job. And Darla says cyborgs. Paul

1395
01:14:54,080 --> 01:14:56,599
Speaker 3: would die if he knew. He never intended the Delta

1396
01:14:56,600 --> 01:15:01,599
Speaker 3: sevens to kill, but Matt Riker says someone did so.

1397
01:15:02,040 --> 01:15:04,719
Speaker 3: In the scene, Johnny Felix can never remember that they're

1398
01:15:04,720 --> 01:15:10,480
Speaker 3: called cyborgs, but again, he seems totally familiar with hunting cyborgs.

1399
01:15:10,520 --> 01:15:14,360
Speaker 3: This is like his standard work. It almost seems so yeah,

1400
01:15:14,520 --> 01:15:15,240
Speaker 3: very confusing.

1401
01:15:15,560 --> 01:15:18,720
Speaker 2: Yeah, it's like if you didn't know it was called

1402
01:15:18,760 --> 01:15:21,439
Speaker 2: an iPhone, Like everybody knows what this is.

1403
01:15:21,640 --> 01:15:25,000
Speaker 3: But your job is buying iPhone, yeah or something. Yeah,

1404
01:15:25,040 --> 01:15:27,880
Speaker 3: and he starts calling them jelly heads. But also in

1405
01:15:27,920 --> 01:15:31,200
Speaker 3: the scene, we learned that Johnny Felix is Riker's Q branch,

1406
01:15:31,240 --> 01:15:34,120
Speaker 3: so he busts out some toys for everybody. This includes

1407
01:15:34,240 --> 01:15:38,040
Speaker 3: tracking devices. Uh there's one that Darla can tune to

1408
01:15:38,160 --> 01:15:41,160
Speaker 3: pick up the mutants so that they can find them anywhere.

1409
01:15:41,280 --> 01:15:44,280
Speaker 3: Another device is one that can zero in on the

1410
01:15:44,320 --> 01:15:47,360
Speaker 3: molecular structure of Euphouron and will lead you to any

1411
01:15:47,439 --> 01:15:50,839
Speaker 3: quantity over ten kilos. They also have these little wind

1412
01:15:50,920 --> 01:15:53,920
Speaker 3: up cars with spikes on them that crawl around and

1413
01:15:53,960 --> 01:15:55,480
Speaker 3: then jump and then explode.

1414
01:15:55,920 --> 01:15:57,960
Speaker 2: Yeah yeah, and when they jump they make a cartoon

1415
01:15:58,040 --> 01:16:00,479
Speaker 2: sound like Yosemite. Sam just shot a tin can off

1416
01:16:00,479 --> 01:16:04,519
Speaker 2: of the fence post, which cham Yeah.

1417
01:16:04,560 --> 01:16:07,839
Speaker 3: So now I basically now we've got Finally the mutant

1418
01:16:07,920 --> 01:16:11,320
Speaker 3: hunt begins, the titular mutant hunt. It is here. Elaine

1419
01:16:11,360 --> 01:16:14,280
Speaker 3: is going to go hunting for the Upouron stash, Johnny

1420
01:16:14,280 --> 01:16:17,879
Speaker 3: Felix is going to hunt for Cyborg Alpha and Blotterer

1421
01:16:18,000 --> 01:16:21,160
Speaker 3: him and Matt Riker is going to hunt for Cyborg Beta.

1422
01:16:21,240 --> 01:16:24,360
Speaker 3: These are the two main cyborgs left. And Darla is

1423
01:16:24,400 --> 01:16:26,960
Speaker 3: going to stay at Matt Riker's apartment until the hunt

1424
01:16:27,000 --> 01:16:31,520
Speaker 3: is concluded. And Darla says, look, I know you're professional.

1425
01:16:31,640 --> 01:16:33,759
Speaker 3: I know you kill for money, But do you really

1426
01:16:33,800 --> 01:16:36,320
Speaker 3: know what you're dealing with? These things? Aren't you four

1427
01:16:36,400 --> 01:16:40,639
Speaker 3: on dealers or sex maniacs. They're superhuman machines, ten times

1428
01:16:40,640 --> 01:16:44,240
Speaker 3: stronger than any man. Wait, wasn't it five times stronger

1429
01:16:44,280 --> 01:16:46,240
Speaker 3: in the earlier scene that was an hour ago? They're

1430
01:16:46,280 --> 01:16:50,000
Speaker 3: just stronger now they're getting stronger. Yeah, And Johnny Felix

1431
01:16:50,120 --> 01:16:52,320
Speaker 3: is like, there's ten times stronger than any man. So

1432
01:16:53,000 --> 01:16:57,440
Speaker 3: Darla says, so so you can't even remember they're called cyborgs.

1433
01:16:58,280 --> 01:17:02,120
Speaker 3: Johnny Felix makes himself pronounced the name. He says cyborgs,

1434
01:17:03,120 --> 01:17:06,720
Speaker 3: and Darla then addresses Matt Riker. She says, you think

1435
01:17:06,760 --> 01:17:11,000
Speaker 3: brute force can solve anything, Well it can't. But Ryker

1436
01:17:11,120 --> 01:17:13,000
Speaker 3: is able to put her at ease. He's like, hey,

1437
01:17:13,000 --> 01:17:15,439
Speaker 3: you know your brother sent you here. Your brother trusted me,

1438
01:17:15,560 --> 01:17:19,960
Speaker 3: You should trust me too. Another funny costuming note. By

1439
01:17:19,960 --> 01:17:22,439
Speaker 3: this point of the movie, Riker is now wearing also

1440
01:17:22,479 --> 01:17:26,480
Speaker 3: a full body jumpsuit like Johnny Felix, but this jumpsuit

1441
01:17:26,560 --> 01:17:30,000
Speaker 3: has zippers that come in at angles on the chest

1442
01:17:30,120 --> 01:17:32,720
Speaker 3: that make it look like a country western shirt, like

1443
01:17:32,800 --> 01:17:36,800
Speaker 3: he's about to do a cowboy song. Anyway, they get

1444
01:17:36,800 --> 01:17:39,760
Speaker 3: to hunting. So I think after this part, I'm going

1445
01:17:39,840 --> 01:17:42,240
Speaker 3: to narrate the movie a little bit less closely. We'll

1446
01:17:42,280 --> 01:17:46,400
Speaker 3: do specific scenes instead of trying to cover everything. But

1447
01:17:46,560 --> 01:17:48,479
Speaker 3: generally in the middle of the movie, we're gonna have

1448
01:17:48,479 --> 01:17:52,200
Speaker 3: Matt Riker and Johnny Felix hunting their mutants, Elaine hunting

1449
01:17:52,240 --> 01:17:55,240
Speaker 3: the uphour on, and then Darla is going to have

1450
01:17:55,439 --> 01:18:00,080
Speaker 3: encounters with a previously assumed destroyed cyborg in Riker's.

1451
01:18:00,520 --> 01:18:03,800
Speaker 2: Yeah cyborg that yeah, they they seem to terminate in

1452
01:18:03,880 --> 01:18:06,960
Speaker 2: the initial battle, and it's just laying there. We see

1453
01:18:07,000 --> 01:18:11,160
Speaker 2: it laying against the wall, and it just looks completely disgusting,

1454
01:18:11,280 --> 01:18:13,800
Speaker 2: like why would you not clean this out? Like this

1455
01:18:13,880 --> 01:18:17,960
Speaker 2: thing must just reek of like rotting organic parts and

1456
01:18:18,120 --> 01:18:19,400
Speaker 2: you know, maybe U four on.

1457
01:18:19,920 --> 01:18:23,000
Speaker 3: Yeah, yeah, just chopped meat laying there in the wall.

1458
01:18:23,040 --> 01:18:27,120
Speaker 3: But it'll come up again later. So they set out

1459
01:18:27,160 --> 01:18:30,719
Speaker 3: on the hunt. And then right after this, right after

1460
01:18:30,760 --> 01:18:33,200
Speaker 3: the scene with like we're going to hunt the mutants, now,

1461
01:18:33,479 --> 01:18:36,679
Speaker 3: we cut to Riiker and Elaine in some other different

1462
01:18:36,720 --> 01:18:39,439
Speaker 3: apartment together and they decide it's time for some loving.

1463
01:18:40,240 --> 01:18:42,280
Speaker 3: It's like, aren't y'all on the clock? I know work

1464
01:18:42,400 --> 01:18:45,360
Speaker 3: is not everything, but there are mutant cyborgs killing people

1465
01:18:45,400 --> 01:18:50,360
Speaker 3: every few hours, but they start kissing on each other.

1466
01:18:50,439 --> 01:18:55,120
Speaker 3: Part of their foreplay involves tossing deadly explosives at each other. Yeah,

1467
01:18:55,240 --> 01:18:58,200
Speaker 3: and there's one part. I was laughing out loud here

1468
01:18:58,240 --> 01:19:01,680
Speaker 3: at the way that Elaine unzip Riker's jumpsuit and then

1469
01:19:01,760 --> 01:19:04,599
Speaker 3: peels it back to reveal those awesome tidy white eies

1470
01:19:04,680 --> 01:19:08,200
Speaker 3: yet again. And then while they're lying naked on the

1471
01:19:08,240 --> 01:19:13,960
Speaker 3: floor kissing, Elaine says, we have crazy mutant cyborgs out there.

1472
01:19:15,240 --> 01:19:18,200
Speaker 3: Riker makes an excuse here. He says, you saw the

1473
01:19:18,240 --> 01:19:21,479
Speaker 3: dark glasses. They can't take the light. Something about no

1474
01:19:21,600 --> 01:19:26,000
Speaker 3: compatibility of organic and synthetic parts. We have until tomorrow night.

1475
01:19:26,520 --> 01:19:28,639
Speaker 2: Okay, I'm not sure it makes sense, but I again

1476
01:19:28,680 --> 01:19:31,240
Speaker 2: I admire that there's a reason for the classes.

1477
01:19:30,880 --> 01:19:34,640
Speaker 3: That's why they can be doing this. But again, this

1478
01:19:34,720 --> 01:19:38,480
Speaker 3: scene feels to me like an after the fact interpolation. Yeah.

1479
01:19:38,600 --> 01:19:41,840
Speaker 2: Now I want to add here there's a love scene here,

1480
01:19:42,160 --> 01:19:46,240
Speaker 2: but it is amazingly tame, and oh yeah it is.

1481
01:19:46,520 --> 01:19:52,439
Speaker 2: There's nothing really, There's some very brief newdity in this

1482
01:19:52,520 --> 01:19:55,560
Speaker 2: film a couple of times, but like blink and you

1483
01:19:55,600 --> 01:19:57,760
Speaker 2: miss it, sort of thing, and it is kind of

1484
01:19:57,760 --> 01:20:00,200
Speaker 2: interesting to think about this film in particular, or at

1485
01:20:00,280 --> 01:20:04,080
Speaker 2: least I can't necessarily speak for other Tim Kinkaid pictures,

1486
01:20:04,439 --> 01:20:08,160
Speaker 2: but comparing the Tim Kinkaid pictures to like to the

1487
01:20:08,160 --> 01:20:11,160
Speaker 2: fact that he had this career in adult cinema, you

1488
01:20:11,200 --> 01:20:14,040
Speaker 2: almost get the sense that it's like he has unlike

1489
01:20:14,080 --> 01:20:17,519
Speaker 2: other filmmakers, and you know, b movie filmmakers, maybe you

1490
01:20:17,560 --> 01:20:21,280
Speaker 2: just didn't have a desire to explore anything overtly sexual

1491
01:20:21,760 --> 01:20:25,000
Speaker 2: in his sci fi pictures because he already had all

1492
01:20:25,000 --> 01:20:27,080
Speaker 2: these other films where he'd gotten to explore all of that.

1493
01:20:27,680 --> 01:20:30,120
Speaker 3: Yeah, there is this romance scene. It does feel kind

1494
01:20:30,120 --> 01:20:32,599
Speaker 3: of perfunctory, just like something they had to like get

1495
01:20:32,600 --> 01:20:35,320
Speaker 3: in there and get done really quick. It does not

1496
01:20:35,560 --> 01:20:40,800
Speaker 3: feel like Kincaid is eager to explore the sexual side

1497
01:20:40,800 --> 01:20:42,920
Speaker 3: of the story. It just seems like not something that's

1498
01:20:42,960 --> 01:20:43,840
Speaker 3: a high priority.

1499
01:20:44,439 --> 01:20:46,120
Speaker 2: Yeah, yeah, I guess it's one of those things sometimes

1500
01:20:46,120 --> 01:20:49,560
Speaker 2: in pictures, it's like you you portray a physical relationship

1501
01:20:49,600 --> 01:20:53,439
Speaker 2: in order to imply the emotional connection and the character

1502
01:20:53,520 --> 01:20:56,599
Speaker 2: level connection that you either don't have time to depict

1503
01:20:56,840 --> 01:20:59,600
Speaker 2: and establish, or you know, or you just it's not

1504
01:20:59,640 --> 01:21:00,760
Speaker 2: the sort of film where you do that.

1505
01:21:01,400 --> 01:21:03,439
Speaker 3: Yeah, that's interesting. I don't know if I've ever thought

1506
01:21:03,439 --> 01:21:05,479
Speaker 3: about it quite that way, but sometimes I think, yes,

1507
01:21:05,680 --> 01:21:09,559
Speaker 3: like a kiss can be cinematic shorthand for when you

1508
01:21:09,640 --> 01:21:12,439
Speaker 3: either don't have time to or don't have the skill

1509
01:21:12,560 --> 01:21:17,600
Speaker 3: to properly render a developing relationship. Well let's just have

1510
01:21:17,680 --> 01:21:18,960
Speaker 3: them kiss and there you go.

1511
01:21:19,240 --> 01:21:21,120
Speaker 2: But I mean, who among us has not fallen in

1512
01:21:21,120 --> 01:21:23,800
Speaker 2: love during the course of a mutant hunt? So I

1513
01:21:23,880 --> 01:21:27,400
Speaker 2: think we can all we can all resonate with this scene.

1514
01:21:27,800 --> 01:21:30,799
Speaker 3: So here we go to our first mutant murder scene

1515
01:21:31,000 --> 01:21:35,040
Speaker 3: plus Riker's intervention. So we're on a street with graffiti

1516
01:21:35,040 --> 01:21:38,200
Speaker 3: and trash everywhere. It's nighttime. There's a lady calling out

1517
01:21:38,200 --> 01:21:41,280
Speaker 3: a window above. She says, Amber Dawn, come inside. It's

1518
01:21:41,320 --> 01:21:42,120
Speaker 3: two in the morning.

1519
01:21:42,439 --> 01:21:44,400
Speaker 2: She is apparently we don't really find out until later,

1520
01:21:44,439 --> 01:21:47,560
Speaker 2: but she's calling a child. This is I guess a

1521
01:21:47,560 --> 01:21:50,080
Speaker 2: little bit of comic relief that's thrown into the picture.

1522
01:21:50,120 --> 01:21:52,559
Speaker 2: But there's some kid named Amberdon just out there playing

1523
01:21:52,680 --> 01:21:57,719
Speaker 2: in two am slime City, Dystopian New York.

1524
01:21:57,960 --> 01:22:01,680
Speaker 3: I'm playing with the toxic waste mom. Then later, yeah,

1525
01:22:01,720 --> 01:22:04,560
Speaker 3: there is a U four on couple kissing in an alleyway.

1526
01:22:04,760 --> 01:22:08,680
Speaker 3: Another couple wandering down the sidewalk. The cyborg smells these

1527
01:22:08,720 --> 01:22:11,040
Speaker 3: people and then meets them head on on the sidewalk.

1528
01:22:11,400 --> 01:22:14,960
Speaker 3: The cyborg karate chops the dude, and then somewhere else

1529
01:22:15,240 --> 01:22:17,559
Speaker 3: Matt Riker is walking around next to a chain link

1530
01:22:17,600 --> 01:22:20,760
Speaker 3: fence and his watch starts beeping. He looks at it

1531
01:22:20,840 --> 01:22:23,920
Speaker 3: and we see a screen that says human life termination

1532
01:22:24,240 --> 01:22:30,080
Speaker 3: process in progress, quadrants quadrants E one thirty five human

1533
01:22:30,200 --> 01:22:36,480
Speaker 3: life termination process in progress. So he starts running to intercept.

1534
01:22:37,040 --> 01:22:39,120
Speaker 3: You start. You think, man, this'd be faster if he

1535
01:22:39,120 --> 01:22:40,439
Speaker 3: had a car, because no.

1536
01:22:40,439 --> 01:22:43,200
Speaker 2: Motorcycle or something. Come on, motorcycles are cyberpunk.

1537
01:22:43,560 --> 01:22:46,280
Speaker 3: This this New York future has no traffic at all.

1538
01:22:46,360 --> 01:22:47,479
Speaker 3: We never see traffic.

1539
01:22:47,520 --> 01:22:49,880
Speaker 2: Yeah, where's the where's the public transportation system?

1540
01:22:50,680 --> 01:22:54,360
Speaker 3: Also we see now the cyborg is very bloody and bubbly.

1541
01:22:54,840 --> 01:22:58,559
Speaker 3: So this seems to fit with the theme that as

1542
01:22:58,640 --> 01:23:02,000
Speaker 3: the cyborgs become good, they are becoming more powerful.

1543
01:23:02,320 --> 01:23:02,519
Speaker 2: Yeah.

1544
01:23:03,240 --> 01:23:05,640
Speaker 3: Also, when the cyborg kills one of these people, I

1545
01:23:05,680 --> 01:23:07,320
Speaker 3: think this is when we just get a bunch of

1546
01:23:07,880 --> 01:23:11,680
Speaker 3: like meat slop thrown on the ufouron couple who are

1547
01:23:11,760 --> 01:23:12,840
Speaker 3: kissing in the alleyway.

1548
01:23:13,080 --> 01:23:15,599
Speaker 2: Yeah, they seem to just be like we we should

1549
01:23:15,600 --> 01:23:17,960
Speaker 2: be still until the murderous cyborg leaves so we can

1550
01:23:18,000 --> 01:23:19,040
Speaker 2: commence smooching again.

1551
01:23:19,280 --> 01:23:20,920
Speaker 3: Yeah, they don't run away or anything.

1552
01:23:21,160 --> 01:23:23,960
Speaker 2: I want to add that Riker. Yes, we are told

1553
01:23:23,960 --> 01:23:27,240
Speaker 2: that he is running, and we see him running, but

1554
01:23:27,520 --> 01:23:29,920
Speaker 2: probably by accident. It ends up feeling like he's not

1555
01:23:30,080 --> 01:23:33,240
Speaker 2: in enough of a hurry to stop this impending human

1556
01:23:33,280 --> 01:23:37,120
Speaker 2: life termination because like he gets there right and like

1557
01:23:37,120 --> 01:23:40,439
Speaker 2: strolls in kind of casually right after the cyborg rips

1558
01:23:40,520 --> 01:23:44,679
Speaker 2: an innocent person's head off. Yes, and then he's like, like, hey, cyborg,

1559
01:23:44,760 --> 01:23:45,280
Speaker 2: let's do this.

1560
01:23:46,080 --> 01:23:47,800
Speaker 3: He said. No, this is the line he says when

1561
01:23:47,800 --> 01:23:51,920
Speaker 3: he gets there. He says, you sure look ugly, real ugly.

1562
01:23:52,680 --> 01:23:56,960
Speaker 3: Hey cyborg, this cyborg just murdered somebody in cold blood.

1563
01:23:57,600 --> 01:24:00,559
Speaker 3: Maybe you should have skipped the one line here and

1564
01:24:00,600 --> 01:24:02,439
Speaker 3: just like jumped in and stop the murder.

1565
01:24:02,479 --> 01:24:04,519
Speaker 2: I don't know. I'm not going to tell Matt Ryker

1566
01:24:04,560 --> 01:24:05,719
Speaker 2: how to do his thing. He's the best.

1567
01:24:05,920 --> 01:24:09,240
Speaker 3: Also, the line seems backwards. He says, hey, cyborg last

1568
01:24:09,360 --> 01:24:12,519
Speaker 3: instead of first. He also, when they're fighting, there's a

1569
01:24:12,520 --> 01:24:17,040
Speaker 3: part where he says, don't get me steamed cyborg. He's

1570
01:24:17,080 --> 01:24:19,040
Speaker 3: going to kill this cyborg either way. What does it

1571
01:24:19,080 --> 01:24:20,000
Speaker 3: matter if he steamed?

1572
01:24:20,080 --> 01:24:22,400
Speaker 2: But the cyborg is also thinking, thank you for calling

1573
01:24:22,439 --> 01:24:25,120
Speaker 2: me by the correct term. I am a cyborg, I'm

1574
01:24:25,120 --> 01:24:26,040
Speaker 2: not a jelly head.

1575
01:24:26,760 --> 01:24:30,120
Speaker 3: So Riker is victorious in this fight. And then when

1576
01:24:30,200 --> 01:24:33,160
Speaker 3: the cyborg is busted down on the sidewalk, I think

1577
01:24:33,160 --> 01:24:36,120
Speaker 3: he gets out pliers and starts just taking it apart.

1578
01:24:36,360 --> 01:24:40,200
Speaker 2: Yeah, he kind of like field strips the field dresses

1579
01:24:40,280 --> 01:24:43,599
Speaker 2: the cyborg and gets the parts he needs to study later.

1580
01:24:44,640 --> 01:24:46,880
Speaker 2: I want to add that most of these fights also

1581
01:24:46,960 --> 01:24:50,640
Speaker 2: remind me a bit of nineteen fifties Luca movie action sequences,

1582
01:24:50,640 --> 01:24:53,120
Speaker 2: not because of the choreography or anything, but the way

1583
01:24:53,120 --> 01:24:55,840
Speaker 2: that they're staged and shot often wide and long, you

1584
01:24:55,840 --> 01:24:59,320
Speaker 2: know what I mean. Yeah, yeah, often lower budget situations

1585
01:24:59,360 --> 01:25:03,320
Speaker 2: where you're shooting the action wide and you're letting the

1586
01:25:03,360 --> 01:25:06,280
Speaker 2: action play out and you're missing none of the beats

1587
01:25:06,280 --> 01:25:07,880
Speaker 2: of the combat, which in a way is good because

1588
01:25:07,880 --> 01:25:10,720
Speaker 2: if the choreography is good, then it'll have it'll make

1589
01:25:10,800 --> 01:25:14,120
Speaker 2: sense from move to move and tell its own little story.

1590
01:25:14,160 --> 01:25:16,080
Speaker 2: But I don't know, it's not necessarily what we have

1591
01:25:16,120 --> 01:25:16,719
Speaker 2: going on here.

1592
01:25:17,520 --> 01:25:19,240
Speaker 3: So in the middle of the movie. There are more

1593
01:25:19,280 --> 01:25:22,679
Speaker 3: scenes of Demeanor pacing around her empty art gallery talking

1594
01:25:22,680 --> 01:25:25,000
Speaker 3: to Hydro about how she's gonna get revenge on Z,

1595
01:25:25,560 --> 01:25:27,840
Speaker 3: talking about how she needs you four on, and also

1596
01:25:28,080 --> 01:25:30,960
Speaker 3: monologuing to this other being which we now get a

1597
01:25:30,960 --> 01:25:34,280
Speaker 3: better look at, and it's a mummy. She just says,

1598
01:25:34,320 --> 01:25:38,080
Speaker 3: a mummy standing in her apartment. It's huffing and growling,

1599
01:25:38,160 --> 01:25:40,240
Speaker 3: and she talks to it kind of like she's hitting

1600
01:25:40,320 --> 01:25:40,720
Speaker 3: on it.

1601
01:25:41,160 --> 01:25:44,120
Speaker 2: Yeah. Yeah, which makes me feel worse for Hydro. It's like, yeah,

1602
01:25:44,280 --> 01:25:48,040
Speaker 2: Hydro has always been here for you, girl, and you're

1603
01:25:48,080 --> 01:25:51,200
Speaker 2: just touching on this giant mummy cyborg because it's got

1604
01:25:51,240 --> 01:25:55,320
Speaker 2: to be a cyborg, you know, while Hydro's just standing there. So, yeah,

1605
01:25:55,400 --> 01:25:56,320
Speaker 2: you feel bad for Hydro.

1606
01:25:56,840 --> 01:25:59,040
Speaker 3: It almost feels like there should be a scene where

1607
01:25:59,080 --> 01:26:02,120
Speaker 3: Hydro has like her a present or has flowers for her,

1608
01:26:02,160 --> 01:26:04,559
Speaker 3: but then he's he's like embarrassed and he doesn't give

1609
01:26:04,560 --> 01:26:05,040
Speaker 3: them to her.

1610
01:26:05,240 --> 01:26:07,720
Speaker 2: Yeah. Yeah, she's in there grinding on this mummy and

1611
01:26:07,760 --> 01:26:10,280
Speaker 2: he's like oh and then he just like head down,

1612
01:26:10,600 --> 01:26:12,280
Speaker 2: leaves the room with the present, Yeah.

1613
01:26:12,200 --> 01:26:13,759
Speaker 3: Puts the ring back in his pocket.

1614
01:26:13,920 --> 01:26:14,480
Speaker 2: Yeah.

1615
01:26:16,320 --> 01:26:18,840
Speaker 3: So there are scenes of Elaine hunting for U four on.

1616
01:26:19,120 --> 01:26:22,760
Speaker 3: She's just walking around strange deserted locations. At one point

1617
01:26:22,760 --> 01:26:26,400
Speaker 3: she's on a beach. She goes to empty factory buildings

1618
01:26:26,439 --> 01:26:27,400
Speaker 3: and she's singing, you.

1619
01:26:27,520 --> 01:26:31,040
Speaker 2: Four on, you four on, Where are you this one

1620
01:26:31,160 --> 01:26:34,360
Speaker 2: particular empty factory building. I didn't look up where this

1621
01:26:34,760 --> 01:26:37,200
Speaker 2: is or would have been, but it's quite impressive. Like

1622
01:26:37,520 --> 01:26:39,639
Speaker 2: they you know, there's a lot of gorilla style shooting

1623
01:26:39,640 --> 01:26:41,880
Speaker 2: in this, but they also they found some cool locations

1624
01:26:41,920 --> 01:26:42,439
Speaker 2: here and there.

1625
01:26:42,640 --> 01:26:45,479
Speaker 3: So one of Yeah, if it's the same place you're

1626
01:26:45,479 --> 01:26:47,920
Speaker 3: talking about, I assume it probably is. It's clearly a

1627
01:26:48,080 --> 01:26:51,280
Speaker 3: real location. It's way too vast and elaborate to be

1628
01:26:51,760 --> 01:26:53,520
Speaker 3: to have been built as a set.

1629
01:26:53,360 --> 01:26:55,439
Speaker 2: Yeah, or a mat painting. This is not a map painting.

1630
01:26:55,520 --> 01:26:57,720
Speaker 3: No, no, no, no, this is a real place. It's

1631
01:26:57,720 --> 01:27:02,160
Speaker 3: like a brutalist concrete building with interior facing windows over

1632
01:27:02,200 --> 01:27:05,240
Speaker 3: this courtyard and then but the courtyard is not open

1633
01:27:05,320 --> 01:27:08,080
Speaker 3: sky it's got a roof over it with skylight windows,

1634
01:27:08,560 --> 01:27:12,519
Speaker 3: and then just concrete opera boxes poking out from windows

1635
01:27:12,560 --> 01:27:14,720
Speaker 3: on the six floors that are facing in. It's a

1636
01:27:14,880 --> 01:27:18,400
Speaker 3: very cool looking place. Seems like it would have been

1637
01:27:18,439 --> 01:27:19,799
Speaker 3: used for a RoboCop set.

1638
01:27:20,040 --> 01:27:22,680
Speaker 2: Yeah. Yeah, and this correct me if I'm wrong. This

1639
01:27:22,720 --> 01:27:25,800
Speaker 2: is supposed to be the Intel Tracks headquarters.

1640
01:27:25,320 --> 01:27:29,040
Speaker 3: I think, so, yeah, okay, let's see somewhere. Oh there's

1641
01:27:29,080 --> 01:27:31,080
Speaker 3: one part I wanted to mention, just because it was

1642
01:27:31,280 --> 01:27:33,680
Speaker 3: unexpected and kind of interesting. There's the scene where the

1643
01:27:33,680 --> 01:27:36,160
Speaker 3: civilian beats a cyborg. Yeah.

1644
01:27:36,160 --> 01:27:39,040
Speaker 2: This is great because there's like this, this random Asian

1645
01:27:39,080 --> 01:27:41,360
Speaker 2: guy walking down the street or doing something. He's doing

1646
01:27:41,360 --> 01:27:43,960
Speaker 2: something on the street, taking the garbage out. Yeah, and

1647
01:27:44,000 --> 01:27:48,240
Speaker 2: then a cyborg attacks and you think, oh, this, this

1648
01:27:48,320 --> 01:27:50,519
Speaker 2: poor guy, this is just gonna we're going to establish

1649
01:27:50,600 --> 01:27:51,720
Speaker 2: cyborg dominance here.

1650
01:27:52,320 --> 01:27:54,439
Speaker 3: Yeah. Yeah, you think head's gonna get ripped off again.

1651
01:27:54,479 --> 01:27:57,560
Speaker 3: But instead, this guy has moves. He starts kicking the cyborg,

1652
01:27:57,640 --> 01:27:59,880
Speaker 3: he beats it up, and then he runs away.

1653
01:27:59,840 --> 01:28:02,280
Speaker 2: Yeah he does like some sort of cool flying headbut

1654
01:28:02,400 --> 01:28:05,719
Speaker 2: to the mid section of the cyborg and wins and leaves,

1655
01:28:05,760 --> 01:28:08,679
Speaker 2: and you're like, yeah, that was quite a roller coaster ride,

1656
01:28:08,720 --> 01:28:09,880
Speaker 2: and I'm glad this guy won.

1657
01:28:10,200 --> 01:28:13,680
Speaker 3: I just assumed any non op who faces a cyborg

1658
01:28:13,800 --> 01:28:17,120
Speaker 3: is dead meat, but some civilians in future New York

1659
01:28:17,160 --> 01:28:19,680
Speaker 3: are powerhouses. This guy's one of them. I don't know

1660
01:28:19,720 --> 01:28:22,320
Speaker 3: what the point of this scene was. It almost feels

1661
01:28:22,320 --> 01:28:25,759
Speaker 3: like it kind of goes against the theme of the story.

1662
01:28:25,800 --> 01:28:28,559
Speaker 3: But maybe it's just like, hey, we know this other

1663
01:28:28,600 --> 01:28:31,200
Speaker 3: guy who's a good, you know, martial artist. We could

1664
01:28:31,320 --> 01:28:33,320
Speaker 3: use him for something, and we don't really have room

1665
01:28:33,360 --> 01:28:35,400
Speaker 3: for another character in the movie, but well, how about

1666
01:28:35,479 --> 01:28:37,280
Speaker 3: just we have a scene where he beats up a cyborg.

1667
01:28:37,479 --> 01:28:39,599
Speaker 2: I guess, so that has to be it. It's like,

1668
01:28:39,680 --> 01:28:42,400
Speaker 2: this is the sort of thing in a more finely

1669
01:28:42,439 --> 01:28:45,120
Speaker 2: tuned film you wouldn't find this, or if you did

1670
01:28:45,120 --> 01:28:47,559
Speaker 2: find it, it would have some sort of important payoff later.

1671
01:28:48,240 --> 01:28:51,080
Speaker 2: Here is just there and you just enjoy it for

1672
01:28:51,120 --> 01:28:53,080
Speaker 2: what it is. It's just a gift that the movie

1673
01:28:53,120 --> 01:28:53,479
Speaker 2: gives you.

1674
01:28:53,680 --> 01:28:57,599
Speaker 3: Yeah, great scene. Yeah, no notes. There's also the scene

1675
01:28:57,600 --> 01:29:01,519
Speaker 3: where Demeana kidnaps Matt Reiker. She chains him up in

1676
01:29:01,560 --> 01:29:04,479
Speaker 3: her place. It tells him the whole plot explains Z's

1677
01:29:04,479 --> 01:29:08,559
Speaker 3: plot to create mutant these mutant cyborgs. She puts a

1678
01:29:08,600 --> 01:29:11,600
Speaker 3: bomb in his head, he gets an implanted bomb in

1679
01:29:11,600 --> 01:29:14,280
Speaker 3: his skull, and then Demino wants to make a deal

1680
01:29:14,320 --> 01:29:17,200
Speaker 3: with Riker. She's gonna help him if he will get

1681
01:29:17,280 --> 01:29:20,160
Speaker 3: rid of will help her get all of Z's uphour on.

1682
01:29:20,920 --> 01:29:23,240
Speaker 3: Ryker says, sounds to me like you have a bad

1683
01:29:23,360 --> 01:29:24,360
Speaker 3: pleasure Jones.

1684
01:29:26,240 --> 01:29:28,960
Speaker 2: Is that a thing? I guess let me go with

1685
01:29:28,960 --> 01:29:29,439
Speaker 2: the future.

1686
01:29:30,000 --> 01:29:35,400
Speaker 3: Demina says quite the opposite. I've created something extraordinary. Z

1687
01:29:36,760 --> 01:29:39,479
Speaker 3: Z thought he could use upour on to break through

1688
01:29:39,520 --> 01:29:42,360
Speaker 3: to the next level of strength and intelligence, But all

1689
01:29:42,360 --> 01:29:45,320
Speaker 3: he did was create sickness and plague. He had the

1690
01:29:45,360 --> 01:29:47,920
Speaker 3: answer right in front of him all the time. He

1691
01:29:48,000 --> 01:29:50,680
Speaker 3: didn't even see it. Seems like more rubbing it in

1692
01:29:50,800 --> 01:29:53,479
Speaker 3: Hydro's face. It's like she's talking about Hydro. He's the

1693
01:29:53,520 --> 01:29:55,080
Speaker 3: answer that was there all along.

1694
01:29:55,479 --> 01:29:58,639
Speaker 2: Yeah, but she's already kind of threatening. It's like Z's

1695
01:29:59,439 --> 01:30:02,760
Speaker 2: sick plot. He can't actually pull it off. I'm the

1696
01:30:02,760 --> 01:30:05,080
Speaker 2: only one who can pull off this sick plot.

1697
01:30:05,360 --> 01:30:10,120
Speaker 3: Yeah, exactly. So Riiker talks Domina into deactivating the bomb

1698
01:30:10,200 --> 01:30:12,879
Speaker 3: and planted in his head in exchange for telling Demino

1699
01:30:12,880 --> 01:30:16,200
Speaker 3: where Darla is, and then she's like all right, I'll

1700
01:30:16,240 --> 01:30:21,360
Speaker 3: do yeah, and then he just elbows her and escapes. Yeah,

1701
01:30:21,400 --> 01:30:24,120
Speaker 3: there is a whole plot here where Darla and the

1702
01:30:24,320 --> 01:30:29,439
Speaker 3: already destroyed cyborg in Matt Reker's apartment start interacting the

1703
01:30:29,479 --> 01:30:32,040
Speaker 3: cyborg has half of its face blown off. The half

1704
01:30:32,040 --> 01:30:36,320
Speaker 3: that's still there is pretty mangled. As we were saying earlier,

1705
01:30:36,360 --> 01:30:40,320
Speaker 3: the effects in this movie in general can look pretty cheap,

1706
01:30:40,400 --> 01:30:43,479
Speaker 3: and some of them are like cheap but great. I

1707
01:30:43,600 --> 01:30:46,320
Speaker 3: was suddenly pretty impressed with this one, Like this is

1708
01:30:46,439 --> 01:30:47,640
Speaker 3: elaborate puppetry.

1709
01:30:47,920 --> 01:30:48,880
Speaker 2: Yeah. Absolutely.

1710
01:30:49,920 --> 01:30:52,840
Speaker 3: Anyway, Darla sees the cyborg up and moving around and

1711
01:30:52,920 --> 01:30:56,080
Speaker 3: freaks out. She sees it. I think she's just getting

1712
01:30:56,120 --> 01:30:59,599
Speaker 3: out of the shower, and it says, doctor, don't be frightened.

1713
01:30:59,680 --> 01:31:03,759
Speaker 3: I can can't harm you now. Our damaged chromo system

1714
01:31:03,960 --> 01:31:06,920
Speaker 3: demands that we kill every six hours. I will be

1715
01:31:07,000 --> 01:31:10,200
Speaker 3: homicidally inactive until six seventeen am.

1716
01:31:11,720 --> 01:31:12,200
Speaker 2: That's great.

1717
01:31:12,720 --> 01:31:16,480
Speaker 3: Please, doctor, your brother created us. You know our circuitry.

1718
01:31:16,640 --> 01:31:20,040
Speaker 3: I am in great pain. You can neutralize my killer impulse.

1719
01:31:20,120 --> 01:31:22,679
Speaker 3: You must help me. You must return to the lab.

1720
01:31:23,400 --> 01:31:26,240
Speaker 3: So for a second I thought, well, wait, how sweet

1721
01:31:26,280 --> 01:31:28,960
Speaker 3: this is. This is about to become Bud, the mutant

1722
01:31:29,040 --> 01:31:33,080
Speaker 3: cyborg who is friend instead of foe. It's sort of that,

1723
01:31:33,200 --> 01:31:36,639
Speaker 3: but not exactly. He then picks Darla up while she's

1724
01:31:36,680 --> 01:31:39,599
Speaker 3: screaming and telling him to stop, and he ignores her

1725
01:31:39,640 --> 01:31:42,040
Speaker 3: and carries her away to Inteltrac's headquarters.

1726
01:31:42,360 --> 01:31:44,360
Speaker 2: You know this is another lift. I didn't. This is

1727
01:31:44,400 --> 01:31:47,320
Speaker 2: another grappling maneuver for the cyborgs. This is the put

1728
01:31:47,320 --> 01:31:49,960
Speaker 2: her heaver over your shoulder approach.

1729
01:31:49,680 --> 01:31:51,960
Speaker 3: Here and then just carries her down the sidewalk while

1730
01:31:52,000 --> 01:31:55,400
Speaker 3: she's screaming and like nobody helps her. New York, Yeah,

1731
01:31:55,439 --> 01:31:59,840
Speaker 3: bade City, slime City. So yeah, this cyborg is now

1732
01:31:59,840 --> 01:32:03,720
Speaker 3: not exactly nice, but at least homicidally inactive. He just

1733
01:32:03,760 --> 01:32:08,519
Speaker 3: wants help getting the neutralization of the impulse. So there's

1734
01:32:08,560 --> 01:32:11,519
Speaker 3: another cyborg street fight scene. We have a gang of

1735
01:32:11,680 --> 01:32:14,200
Speaker 3: U four on heads who try to jump a cyborg

1736
01:32:14,280 --> 01:32:17,320
Speaker 3: and get his upour on That's what they say. The

1737
01:32:17,360 --> 01:32:20,640
Speaker 3: cyborg fights back, and then Johnny Felix, who is for

1738
01:32:20,680 --> 01:32:24,640
Speaker 3: some reason watching from some metal bars up above, intervenes

1739
01:32:24,800 --> 01:32:28,240
Speaker 3: and fights the cyborg. And I was like, bad strategy.

1740
01:32:28,280 --> 01:32:30,080
Speaker 3: Why not let the gang fight it first.

1741
01:32:30,240 --> 01:32:32,200
Speaker 2: I guess he's trying to make friends. I don't know.

1742
01:32:33,880 --> 01:32:36,880
Speaker 3: Johnny Felix gives the cyborg a good beating. He keeps

1743
01:32:36,880 --> 01:32:40,320
Speaker 3: whacking it with poles and then he eventually impales its

1744
01:32:40,400 --> 01:32:43,960
Speaker 3: face with a pipe and then after he beats the cyborg,

1745
01:32:44,040 --> 01:32:46,920
Speaker 3: the U four on punks try to jump him, but

1746
01:32:47,080 --> 01:32:49,720
Speaker 3: Matt Reker is there. He's squatting on the roof, and

1747
01:32:49,760 --> 01:32:52,519
Speaker 3: then he jumps up like Spider Man, and together our

1748
01:32:52,520 --> 01:32:55,680
Speaker 3: two heroes beat up the punks. I think two of

1749
01:32:55,760 --> 01:32:58,320
Speaker 3: these three guys are the ones who attacked Elaine in

1750
01:32:58,400 --> 01:32:59,320
Speaker 3: the club.

1751
01:32:59,120 --> 01:33:01,679
Speaker 2: I believe, so. I think we saw the other punk

1752
01:33:01,760 --> 01:33:02,639
Speaker 2: in there as well.

1753
01:33:02,920 --> 01:33:04,599
Speaker 3: Yeah, and getting the Jack Daniels.

1754
01:33:04,720 --> 01:33:06,840
Speaker 2: Yeah, the punk with the crazy hair, which is another

1755
01:33:06,880 --> 01:33:08,880
Speaker 2: one of these figures. You just kind of assumed this

1756
01:33:09,000 --> 01:33:11,360
Speaker 2: was a New York like punk scene character or something

1757
01:33:11,400 --> 01:33:11,880
Speaker 2: at the time.

1758
01:33:13,000 --> 01:33:15,639
Speaker 3: While walking away from the scene, Johnny Felix and Matt

1759
01:33:15,680 --> 01:33:18,240
Speaker 3: Riker get a signal on their watches. They realized the

1760
01:33:18,280 --> 01:33:21,479
Speaker 3: cyborg in Riker's apartment has kidnapped Darla, so they go

1761
01:33:21,560 --> 01:33:25,479
Speaker 3: off in pursuit. There's a villain monologue scene somewhere in

1762
01:33:25,520 --> 01:33:28,200
Speaker 3: here where Z is talking to Paul, who is tied

1763
01:33:28,280 --> 01:33:31,439
Speaker 3: up on a table, very loosely tied up on a table.

1764
01:33:31,560 --> 01:33:33,760
Speaker 3: He's just laying on a table with his hands kind

1765
01:33:33,760 --> 01:33:35,720
Speaker 3: of some wires looped around him.

1766
01:33:35,800 --> 01:33:38,400
Speaker 2: Yeah, these are meta materials, I sim So that's fine,

1767
01:33:38,400 --> 01:33:39,360
Speaker 2: that's how it works. There.

1768
01:33:39,400 --> 01:33:42,880
Speaker 3: You go and Z explains his plot goes like this,

1769
01:33:43,040 --> 01:33:45,280
Speaker 3: You get the U four on, you put the uphur

1770
01:33:45,280 --> 01:33:48,519
Speaker 3: on in the cyborgs, and then the cyborgs mutate. Now

1771
01:33:48,560 --> 01:33:52,400
Speaker 3: you have uncontrollable homicidal maniacs with the strength of ten men.

1772
01:33:52,920 --> 01:33:55,760
Speaker 3: You sell them to the highest bidder. And Z says

1773
01:33:55,760 --> 01:33:58,240
Speaker 3: he has clients lined up all over the world. Somehow

1774
01:33:58,240 --> 01:34:02,040
Speaker 3: this makes you capable of global nomination. Sure, that's what

1775
01:34:02,080 --> 01:34:02,479
Speaker 3: he's doing.

1776
01:34:02,640 --> 01:34:12,120
Speaker 2: Yeah.

1777
01:34:12,160 --> 01:34:16,560
Speaker 3: At intel TRAC's headquarters, Matt Riker and Johnny Felix intercept

1778
01:34:16,680 --> 01:34:20,000
Speaker 3: Darla and Bud the cyborg. Bud the cyborg explains that

1779
01:34:20,080 --> 01:34:23,880
Speaker 3: he has been programmed to feel pain, why and that

1780
01:34:23,960 --> 01:34:26,720
Speaker 3: he can feel and he wants their help. And in

1781
01:34:26,760 --> 01:34:30,479
Speaker 3: the middle of the conversation, Elaine blows up Z's cash

1782
01:34:30,520 --> 01:34:32,720
Speaker 3: of you four on elsewhere in the facility and this

1783
01:34:32,800 --> 01:34:36,000
Speaker 3: causes havoc, but Bud the cyborg tells them, Hey, I

1784
01:34:36,000 --> 01:34:38,160
Speaker 3: can show you the way to get through undetected, so

1785
01:34:38,240 --> 01:34:43,000
Speaker 3: follow me. Meanwhile, Domina has another scene with her mummy.

1786
01:34:43,320 --> 01:34:46,120
Speaker 3: She says she's going to unleash the Delta eight on Z.

1787
01:34:46,520 --> 01:34:48,800
Speaker 2: Yeah, this is the Delta eight. The others have been

1788
01:34:48,840 --> 01:34:51,320
Speaker 2: Delta sevens. This is the most advanced cyborg.

1789
01:34:51,400 --> 01:34:54,599
Speaker 3: Yet she's got the best, and she says, and then

1790
01:34:54,680 --> 01:34:58,960
Speaker 3: we'll see whose combat units are the most expensive purchases

1791
01:34:59,040 --> 01:35:01,040
Speaker 3: on this plan this planet.

1792
01:35:01,080 --> 01:35:03,200
Speaker 2: At least there you go. She's gonna out z Z.

1793
01:35:03,680 --> 01:35:07,479
Speaker 3: So she starts ripping off the mummies bandages, revealing weird

1794
01:35:07,640 --> 01:35:10,960
Speaker 3: green runes carved into its back. And then she gets

1795
01:35:11,000 --> 01:35:13,439
Speaker 3: hot and heavy with the cyborg mummy. She just starts

1796
01:35:13,800 --> 01:35:14,720
Speaker 3: grinding on it.

1797
01:35:14,800 --> 01:35:17,080
Speaker 2: Yeah, suddenly her shirt is off and she's kind of

1798
01:35:17,080 --> 01:35:19,800
Speaker 2: like grinding against it, and yeah, I mean she is

1799
01:35:19,880 --> 01:35:25,080
Speaker 2: just into this uphuron pumped Delta eight cyborg and is

1800
01:35:25,120 --> 01:35:29,600
Speaker 2: gonna this is gonna be the the most hotly anticipated

1801
01:35:29,640 --> 01:35:30,880
Speaker 2: cyborg on the market.

1802
01:35:31,280 --> 01:35:35,320
Speaker 3: Also, the more goop equals more power, more power correlation

1803
01:35:35,560 --> 01:35:39,200
Speaker 3: that's holding because when we see the Delta eight Cyborg

1804
01:35:39,240 --> 01:35:41,840
Speaker 3: revealed at the climax, it is the gooeyest one of all.

1805
01:35:41,960 --> 01:35:45,879
Speaker 3: They say it is mutated beyond recognition. It's just dripping, Yeah.

1806
01:35:45,880 --> 01:35:52,800
Speaker 2: Just ball hairless, dripping, smiling, like just completely off its rocker.

1807
01:35:53,400 --> 01:35:55,840
Speaker 3: So here the character is kind of just running around

1808
01:35:55,880 --> 01:35:59,080
Speaker 3: in the facility. I think Elaine is blowing up the

1809
01:35:59,200 --> 01:36:03,400
Speaker 3: U four on Z keeps throwing random grenades at nothing.

1810
01:36:03,600 --> 01:36:06,120
Speaker 3: I don't know what. He's just throwing things that explode.

1811
01:36:07,200 --> 01:36:09,439
Speaker 3: And then there's a final showdown at the facility. So

1812
01:36:09,479 --> 01:36:13,040
Speaker 3: our heroes and their cyborg friend meet Z and Paul,

1813
01:36:13,120 --> 01:36:16,120
Speaker 3: who is his hostage. Z tries to tell Bud the

1814
01:36:16,160 --> 01:36:18,920
Speaker 3: cyborg that he can help it, but it's a lie.

1815
01:36:19,280 --> 01:36:22,519
Speaker 3: Paul tells the cyborg, Z made you like this, he

1816
01:36:22,600 --> 01:36:26,560
Speaker 3: made you kill so Bud the cyborg then grabs z

1817
01:36:27,040 --> 01:36:29,880
Speaker 3: buy the collar and hoists him high in the air

1818
01:36:29,960 --> 01:36:32,240
Speaker 3: with an arm stretch to create the image that's on

1819
01:36:32,280 --> 01:36:34,000
Speaker 3: the poster. We didn't talk about the poster.

1820
01:36:34,360 --> 01:36:36,240
Speaker 2: Yeah, yeah, there are at least a couple of different

1821
01:36:36,240 --> 01:36:38,920
Speaker 2: posters from back in the day out there. One of

1822
01:36:38,960 --> 01:36:42,960
Speaker 2: them is this amazing image of a cyborg slash mutant

1823
01:36:43,280 --> 01:36:46,280
Speaker 2: arm extending a dude into the air, and I think

1824
01:36:46,360 --> 01:36:48,080
Speaker 2: that was the reason I ended up watching it. I

1825
01:36:48,120 --> 01:36:52,080
Speaker 2: was like, that looks awesome, then quickly realizing this movie

1826
01:36:52,160 --> 01:36:54,599
Speaker 2: might not deliver on that image. But it does.

1827
01:36:54,800 --> 01:36:57,880
Speaker 3: It really does, And then the cyborg just throws Z

1828
01:36:58,080 --> 01:37:01,320
Speaker 3: on the ground. Then we get an twist. Demina shows

1829
01:37:01,400 --> 01:37:04,960
Speaker 3: up with her unwrapped mummy, the Delta eight. She's here

1830
01:37:05,000 --> 01:37:07,000
Speaker 3: to get her revenge on Z, but by the time

1831
01:37:07,040 --> 01:37:09,479
Speaker 3: she arrives, Z is already on the ground. So I

1832
01:37:09,479 --> 01:37:12,200
Speaker 3: guess it's just gonna get revenge on whoever, which is

1833
01:37:12,240 --> 01:37:12,960
Speaker 3: all of the good guys.

1834
01:37:13,000 --> 01:37:14,640
Speaker 2: It's plenty of venges to go around.

1835
01:37:14,840 --> 01:37:18,679
Speaker 3: And so the fight starts. Matt Riker says party time, Felix,

1836
01:37:19,120 --> 01:37:24,080
Speaker 3: Party time, and everybody fights. Matt Riker squares off against

1837
01:37:24,120 --> 01:37:28,520
Speaker 3: the Delta eight. It's more fighting basic kicking and jumping attacks.

1838
01:37:29,320 --> 01:37:33,080
Speaker 3: Elaine fights some other random cyborgs. At first, Johnny Felix

1839
01:37:33,120 --> 01:37:36,040
Speaker 3: just stands there watching with his arms crossed, not helping

1840
01:37:36,080 --> 01:37:36,679
Speaker 3: his friends.

1841
01:37:36,760 --> 01:37:38,120
Speaker 2: He's powering up. Yeah.

1842
01:37:38,160 --> 01:37:41,639
Speaker 3: At one point during the fight, Johnny Felix yells, God

1843
01:37:41,720 --> 01:37:45,080
Speaker 3: has come out of the ceiling what. I don't know

1844
01:37:45,080 --> 01:37:49,200
Speaker 3: what that means. But Elaine beats up some cyborgs and

1845
01:37:49,400 --> 01:37:52,160
Speaker 3: there's a funny part where she kicks a cyborg in

1846
01:37:52,200 --> 01:37:54,840
Speaker 3: the crotch after she knocks it down, and this makes

1847
01:37:54,880 --> 01:37:59,640
Speaker 3: a metallic clanking sound like oh, no crunching in this

1848
01:37:59,720 --> 01:38:05,160
Speaker 3: cry It's just a metallic clank. Yeah. And then Johnny

1849
01:38:05,160 --> 01:38:08,240
Speaker 3: Felix beats up a couple of cyborgs and then stomps

1850
01:38:08,280 --> 01:38:10,160
Speaker 3: on them and we see him lift his foot up

1851
01:38:10,200 --> 01:38:15,320
Speaker 3: from stomping on them, and it's just sticky pizza pizza

1852
01:38:15,320 --> 01:38:19,880
Speaker 3: bubblegum on his shoes. And at one point Riker in

1853
01:38:19,920 --> 01:38:22,280
Speaker 3: the fight jumps on the Delta eight's back and rides

1854
01:38:22,320 --> 01:38:26,240
Speaker 3: at piggyback. Yes, yes, but then there's the cyborg intervention.

1855
01:38:26,360 --> 01:38:29,439
Speaker 3: So the Delta eight gets Riker on the ground and

1856
01:38:29,479 --> 01:38:32,920
Speaker 3: then reaches out with its hand, just holding its hand

1857
01:38:32,960 --> 01:38:35,920
Speaker 3: out to him, and then Bud the Cyborg, the now

1858
01:38:36,000 --> 01:38:40,280
Speaker 3: sort of friendly cyborg, says, watch out its hand, don't

1859
01:38:40,360 --> 01:38:44,960
Speaker 3: let him use his hand, and then Ze shoots Bud

1860
01:38:45,000 --> 01:38:48,720
Speaker 3: the Cyborg with a laser so he's done for and

1861
01:38:48,760 --> 01:38:52,200
Speaker 3: then the Delta eight hand starts to glow. It glows

1862
01:38:52,240 --> 01:38:55,800
Speaker 3: from inside like a salt lamp. And then before the

1863
01:38:55,800 --> 01:38:58,439
Speaker 3: Delta eight can use his hand. Whatever this is going

1864
01:38:58,520 --> 01:39:01,720
Speaker 3: to mean, Darla intervene. It's Darla, sister of Paul. She

1865
01:39:01,800 --> 01:39:04,360
Speaker 3: intervenes and shoots the Delta eight with a laser gun

1866
01:39:04,479 --> 01:39:08,920
Speaker 3: and that does it. Delta eight collapses and Matt Riker says, thanks,

1867
01:39:08,960 --> 01:39:12,519
Speaker 3: ever thought about mercenary work. Elaine tells her, yeah, she'd

1868
01:39:12,560 --> 01:39:16,720
Speaker 3: be great at it. But here z still injured and

1869
01:39:16,760 --> 01:39:18,519
Speaker 3: on the ground. He's got to get one last pot

1870
01:39:18,520 --> 01:39:21,200
Speaker 3: shot off, so he shoots at Paul, but it's non fatal.

1871
01:39:21,240 --> 01:39:23,479
Speaker 3: It just hits him in the arm. And then Matt

1872
01:39:23,560 --> 01:39:26,040
Speaker 3: Riker says, I'm not going to take a bad guy

1873
01:39:26,080 --> 01:39:29,559
Speaker 3: out when he's on the ground, just kidding. He shoots

1874
01:39:29,640 --> 01:39:32,679
Speaker 3: Z and then Z bursts into flames and then starts

1875
01:39:32,720 --> 01:39:36,160
Speaker 3: wiggling around making mechanical sounds. And I was like, what

1876
01:39:37,760 --> 01:39:40,400
Speaker 3: is Z a cyborg that doesn't make any sense?

1877
01:39:40,520 --> 01:39:42,839
Speaker 2: Doesn't make any sense, but it does. It's a head scratcher.

1878
01:39:42,880 --> 01:39:44,880
Speaker 2: What would that mean for everything we've seen so far?

1879
01:39:44,920 --> 01:39:49,040
Speaker 2: As Z himself was also cybernetic, maybe he just has

1880
01:39:49,040 --> 01:39:52,040
Speaker 2: a lot of cybernetic parts. Like he's you know, augmented

1881
01:39:52,120 --> 01:39:53,360
Speaker 2: himself a lot. I don't know.

1882
01:39:53,520 --> 01:39:55,720
Speaker 3: Oh, kind of like Johnny Felix, except instead of just

1883
01:39:55,760 --> 01:39:58,800
Speaker 3: getting a phone in his ear, he's parts all over.

1884
01:39:59,080 --> 01:40:02,320
Speaker 2: Yeah. When you're the d tracks CEO, there's all sorts

1885
01:40:02,360 --> 01:40:05,360
Speaker 2: of like brand new bleeding edge gear you can have

1886
01:40:05,600 --> 01:40:06,720
Speaker 2: loaded up inside you.

1887
01:40:06,960 --> 01:40:09,639
Speaker 3: He's like Alex Rain and Nemesis. He keeps getting his

1888
01:40:09,760 --> 01:40:11,320
Speaker 3: machine percentage of Oh.

1889
01:40:11,240 --> 01:40:16,400
Speaker 2: Man, can you imagine al totally different visual cinematic worlds?

1890
01:40:16,439 --> 01:40:20,160
Speaker 2: But can you imagine those two cybernetic visions converging here.

1891
01:40:20,320 --> 01:40:24,920
Speaker 3: It's like Jetson's meet the Flintstone Nemesis, Nemesis meets Mutant Hunt.

1892
01:40:24,960 --> 01:40:29,000
Speaker 3: That should have been a crossover event absolutely. And then

1893
01:40:29,479 --> 01:40:31,600
Speaker 3: the sort of the coda to the film is elsewhere

1894
01:40:31,600 --> 01:40:33,920
Speaker 3: on the street, a mother calls to her child who's

1895
01:40:33,960 --> 01:40:37,439
Speaker 3: out playing on the sidewalk below. And we see the

1896
01:40:37,520 --> 01:40:39,559
Speaker 3: child and this is the Amber Dawn who is being

1897
01:40:39,600 --> 01:40:42,439
Speaker 3: called for earlier, who's like a little kid, not an adult,

1898
01:40:42,520 --> 01:40:45,400
Speaker 3: and the child locks eyes with the goofy cyborg who's

1899
01:40:45,439 --> 01:40:48,320
Speaker 3: down on the street there, and the cyborg smiles. I

1900
01:40:48,360 --> 01:40:50,640
Speaker 3: think it is supposed to recall the scene in the

1901
01:40:50,680 --> 01:40:55,800
Speaker 3: original Universal Frankenstein. Yeah, with the kid and the monster. Yeah.

1902
01:40:55,840 --> 01:40:58,280
Speaker 2: I guess. So it doesn't really have any depth or

1903
01:40:58,280 --> 01:41:00,479
Speaker 2: meaning here, but it's just kind of a a fun

1904
01:41:00,520 --> 01:41:02,400
Speaker 2: way to round things out. And I don't know, I

1905
01:41:02,439 --> 01:41:06,400
Speaker 2: can imagine an Amber Dawn character creating, you know, establishing

1906
01:41:06,400 --> 01:41:11,439
Speaker 2: a relationship with monstrous cyborgs and eventually becoming either the

1907
01:41:11,600 --> 01:41:15,880
Speaker 2: nemesis of Alex Rain or fighting alongside him. I don't know.

1908
01:41:16,560 --> 01:41:18,960
Speaker 3: Oh wait, I have a question. I'm sure we do see,

1909
01:41:18,960 --> 01:41:21,519
Speaker 3: but I just forgot what happens to Demeana at the end.

1910
01:41:22,960 --> 01:41:25,680
Speaker 2: Great question. I have no idea that she she just

1911
01:41:25,760 --> 01:41:28,400
Speaker 2: runs off. I don't remember her getting her blasted or

1912
01:41:28,960 --> 01:41:30,639
Speaker 2: torn in half or anything like that.

1913
01:41:32,760 --> 01:41:34,280
Speaker 3: I don't want to say we don't see it, because

1914
01:41:34,400 --> 01:41:37,880
Speaker 3: I may have just not remembered. But no, I forget

1915
01:41:37,880 --> 01:41:40,880
Speaker 3: what happens to her if we see so. Good question.

1916
01:41:41,479 --> 01:41:43,559
Speaker 2: Yeah, maybe I will go as far to say not

1917
01:41:43,840 --> 01:41:47,600
Speaker 2: firmly established if I don't remember it, because again, she

1918
01:41:47,720 --> 01:41:49,080
Speaker 2: was one of my favorite characters here.

1919
01:41:49,360 --> 01:41:54,320
Speaker 3: Yeah, okay, well that is mutant Hunt rob Strong selection,

1920
01:41:54,600 --> 01:41:58,400
Speaker 3: good pick. I love it. I'm going to order the disc.

1921
01:41:59,160 --> 01:42:01,680
Speaker 2: Awesome. Yeah, yeah, this one. I wish I had time

1922
01:42:01,720 --> 01:42:03,080
Speaker 2: for the disc, but as you mentioned, we were both

1923
01:42:03,120 --> 01:42:05,960
Speaker 2: traveling at the time, and I just needed something to

1924
01:42:06,000 --> 01:42:08,840
Speaker 2: watch on the airplane for Weird House. And this is

1925
01:42:08,880 --> 01:42:11,479
Speaker 2: the sort of film that I find that if I'm flying,

1926
01:42:11,560 --> 01:42:14,000
Speaker 2: I need to watch a film of this caliber. I

1927
01:42:14,080 --> 01:42:17,880
Speaker 2: haven't completely come up with a reason for why that is,

1928
01:42:17,920 --> 01:42:19,640
Speaker 2: but this is what works for me. Films like this,

1929
01:42:20,120 --> 01:42:23,920
Speaker 2: films like Franken Hooker, these I need to watch amid

1930
01:42:24,000 --> 01:42:26,600
Speaker 2: strangers a board an airplane.

1931
01:42:26,800 --> 01:42:30,240
Speaker 3: I was getting distinctly self conscious about like this older

1932
01:42:30,320 --> 01:42:32,040
Speaker 3: lady next to me seeing what I had on my

1933
01:42:32,080 --> 01:42:33,040
Speaker 3: screen all I'm watching.

1934
01:42:33,200 --> 01:42:35,519
Speaker 2: I don't know she needed to be exposed to Mutant Hunt.

1935
01:42:35,520 --> 01:42:37,360
Speaker 2: She's probably looked it up already and she's ordered her

1936
01:42:37,439 --> 01:42:38,360
Speaker 2: copy as.

1937
01:42:38,200 --> 01:42:40,439
Speaker 3: Well, I would hope, So that would be nice.

1938
01:42:41,120 --> 01:42:42,679
Speaker 2: All Right, We're going to go in end the hunt

1939
01:42:42,720 --> 01:42:44,439
Speaker 2: right here, but we'd love to hear from everyone out there.

1940
01:42:44,479 --> 01:42:46,960
Speaker 2: If you have thoughts about Mutant Hunt or any of

1941
01:42:46,960 --> 01:42:49,559
Speaker 2: the films we've discussed in this picture, or films we've

1942
01:42:49,560 --> 01:42:51,600
Speaker 2: covered in the past in Weird House, or films you

1943
01:42:51,640 --> 01:42:54,280
Speaker 2: think we should absolutely cover in the future, reach out

1944
01:42:54,320 --> 01:42:56,479
Speaker 2: to us. We'd love to hear from you. Just reminder

1945
01:42:56,520 --> 01:42:58,320
Speaker 2: to everyone, it's stuffed. Tobi Your Mind is primarily a

1946
01:42:58,320 --> 01:43:01,000
Speaker 2: science and culture podcast with core episodes on Tuesdays and Thursdays,

1947
01:43:01,000 --> 01:43:02,960
Speaker 2: but on Fridays we set aside at all of that

1948
01:43:03,200 --> 01:43:05,000
Speaker 2: and we mostly just talk about a weird film here

1949
01:43:05,000 --> 01:43:07,679
Speaker 2: on Weird House Cinema. Look us up on Letterboxed We're

1950
01:43:07,760 --> 01:43:09,360
Speaker 2: Weird House. We have a nice list of all the

1951
01:43:09,400 --> 01:43:11,679
Speaker 2: movies we've covered over the years, and sometimes a peek

1952
01:43:11,720 --> 01:43:13,400
Speaker 2: ahead at what comes up next.

1953
01:43:13,720 --> 01:43:17,200
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1954
01:43:17,560 --> 01:43:19,160
Speaker 3: If you would like to get in touch with us

1955
01:43:19,160 --> 01:43:21,519
Speaker 3: with feedback on this episode or any other, to suggest

1956
01:43:21,520 --> 01:43:23,360
Speaker 3: a topic for the future, or just to say hello,

1957
01:43:23,520 --> 01:43:25,880
Speaker 3: you can email us at contact at stuff to Blow

1958
01:43:25,960 --> 01:43:33,680
Speaker 3: your Mind dot com.

1959
01:43:33,800 --> 01:43:36,760
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1960
01:43:36,840 --> 01:43:39,639
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1961
01:43:39,800 --> 01:43:43,080
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.