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Speaker 1: Hey, welcome to Weird House Cinema. Rewind, let's see what

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Speaker 1: are we talking about this week? Oh, this is going

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Speaker 1: to be our episode from nine to seventeen, twenty twenty one,

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Speaker 1: in which we discussed the really excellent, quite fun nineteen

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Speaker 1: seventy nine film Time After Time, in which Jack the

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Speaker 1: Ripper steals HG. Wells time machine and travels to modern

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Speaker 1: day San Francisco. This one is kind of a classic,

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Speaker 1: kind of a minor classic. A lot of people love

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Speaker 1: this film. We really enjoyed it. Hope you enjoy our

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Speaker 1: discussion of it. Let's go.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamp and.

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Speaker 3: This is Joe McCormick, and it is Time Travel o'clock

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Speaker 3: on Weird House Cinema. Today's movie selection is the nineteen

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Speaker 3: seventy nine and romantic sci fi adventure Time After Time

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Speaker 3: by the American writer and filmmaker Nicholas Meyer. So this

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Speaker 3: is a movie that I had never seen until this week,

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Speaker 3: and I came across it by way of a plot

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Speaker 3: description in some article I was reading somewhere. I don't

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Speaker 3: even remember what it was now, but I discovered in

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Speaker 3: this article that there was allegedly a time travel adventure

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Speaker 3: movie in which the English writer HG. Wells, real historical

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Speaker 3: figure author of the novel The Time Machine, played in

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Speaker 3: this movie by Malcolm McDowell, must use a real time

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Speaker 3: machine to chase Jack the Ripper played by a smooth

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Speaker 3: and sadistic David Warner, through space and time in this

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Speaker 3: time machine to prevent the Ripper from slashing twentieth century

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Speaker 3: disco dancers. And the premise was it sounded so bonkers

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Speaker 3: that I immediately thought this had to be a good

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Speaker 3: option for weird House. And then the really surprising thing

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Speaker 3: was the more I read about it, the more it

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Speaker 3: seemed that most critics really liked this movie, even though

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Speaker 3: I had somehow never really heard of it, or if

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Speaker 3: i'd heard about it, it didn't make enough of an impression

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Speaker 3: that I remembered it. So I saw this out, and

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Speaker 3: I got to say I was really impressed. Now, on

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Speaker 3: the downside, for weird House context, at least, I will

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Speaker 3: say this movie doesn't actually when you're watching it, feel

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Speaker 3: quite as weird in its execution as a straight read

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Speaker 3: on the premise would lead you to assume. But nevertheless,

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Speaker 3: I think this is mostly just a really great movie,

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Speaker 3: and it opens up all kinds of interesting, bigger questions

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Speaker 3: about the themes and ambitions of time travel stories and

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Speaker 3: science fiction in general.

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Speaker 1: Yeah. I was excited to view this film again, especially

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Speaker 1: after watching Spooky's last week, in part because I was

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Speaker 1: excited because you had never seen it, and so that

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Speaker 1: would make it fresh. It's a film that I had

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Speaker 1: not seen in a long time. I remember watching it

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Speaker 1: on TV. I don't know if they used to show

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Speaker 1: it on like TNT or maybe came on A and

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Speaker 1: E or something back in the day, but I remember

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Speaker 1: watching it on television, and oh it does. It holds

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Speaker 1: up so well. I've spoken to various people and folks

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Speaker 1: who have seen this movie. They tend to like it.

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Speaker 1: I haven't met anybody who hated it. It's kind of

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Speaker 1: like an Orange Julius. I guess, as long as you

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Speaker 1: just don't really hate orange juice or really hate you know,

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Speaker 1: malls or malls or something. I don't know. It's a

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Speaker 1: terrible analogy, but I don't know. There's something about about

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Speaker 1: this film just seems to sit well with most people.

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Speaker 1: I don't know. Everything's very well calibrated, like it's sci fi,

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Speaker 1: but it's not so sci fi that it turns off

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Speaker 1: people that would be opposed to say rampaging more locks,

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Speaker 1: And yet people like us who might say, why are

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Speaker 1: there no more locks in this picture? It's still it's

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Speaker 1: still so captivating and well acted and well put together

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Speaker 1: that I ultimately can't argue too much about the results.

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Speaker 3: Yeah, I agree. I mean I would have, of course

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Speaker 3: enjoyed it if it went much weirder and wrapped in

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Speaker 3: more HG. Wells, lower, had more locks and all kinds

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Speaker 3: of stuff like that. It doesn't, And in fact, the

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Speaker 3: film is almost the opposite of that. I would say,

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Speaker 3: for a science fiction movie involving one of the most

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Speaker 3: notorious sadistic serial killers in history, this is an extremely

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Speaker 3: cozy feeling movie. Would you agree?

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Speaker 1: I would agree. I believe this was a PG, but

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Speaker 1: it was a nineteen seventy nine PG, so I do

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Speaker 1: not recommend watching this with your young children. Right, there

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Speaker 1: is blood, and there's some mature themes that are explored,

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Speaker 1: But even those mature themes, which are just part of

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Speaker 1: the tapestry you're invoking by bringing in a character like

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Speaker 1: Jack the Ripper, they are handled in a very light

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Speaker 1: and ultimately kind of comforting way, I guess.

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Speaker 3: And I think it also helps that you know it's funny.

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Speaker 3: I want to criticize myself because I think in a

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Speaker 3: previous episode of Weird House Cinema, I was trying to

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Speaker 3: list actors that just have that evil look, that unfortunately

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Speaker 3: just have faces where maybe they can't overcome the fact

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Speaker 3: that they look sadistic and sinister, and one of the

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Speaker 3: actors I singled out in this regard is Malcolm McDowell.

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Speaker 3: I'm like, it's going to be hard to have Malcolm

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Speaker 3: McDowell as a hero because he just looks like an

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Speaker 3: evil person. That's not a nice thing to say, but

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Speaker 3: for some reason he does. And yet I hadn't seen

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Speaker 3: this movie at the time. In this movie, he's so sweet.

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Speaker 1: He is, He's very lovable in this he's a Victorian

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Speaker 1: teddy bear, and he also feels smaller than usual, probably

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Speaker 1: by design the way they were shooting him and maybe

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Speaker 1: leaning into his actual hide a little bit instead of

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Speaker 1: putting him in an apple box or something. It's also

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Speaker 1: fascinating that this was the film that followed up The

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Speaker 1: Notorious Caligula, in which he very much played a villain

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Speaker 1: and a nasty character in a nasty film, and apparently

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Speaker 1: that was part of it. He's like, I really don't

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Speaker 1: want to play a villain for once. Can I play

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Speaker 1: the hero of a picture? And yeah, he's great in this.

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Speaker 3: It's almost hard to imagine the gap that has crossed

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Speaker 3: going from Caligula to this sweet romantic time travel adventure,

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Speaker 3: you know, love story galloping across time. Caligula is it's

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Speaker 3: It's a movie that I have tried to watch for

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Speaker 3: badness sake years ago with some friends and I couldn't

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Speaker 3: make it through the movie. It is just so repulsive

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Speaker 3: and like it is the one of the ugliest movies

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Speaker 3: I've ever seen. The colors hurt the eyes. It's just

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Speaker 3: relentless depressing violence and depravity. There's one part that's, you know,

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Speaker 3: it would have been funny in a different movie because

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Speaker 3: it's so ridiculous. There's a part where like I think

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Speaker 3: Malcolm McDowell is like watching a gigantic lawnmower in ancient Rome,

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Speaker 3: just like cut off the heads of people who were

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Speaker 3: buried up to their necks. But the movie is like

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Speaker 3: so depressing, Like even that wasn't funny, so it's just yeah,

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Speaker 3: just awful. And then yeah, going for that to this,

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Speaker 3: which is just this spry, sprightly, beautiful time travel adventure.

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Speaker 1: Yeah, yeah, it's quite quite a leape. But yeah, he's

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Speaker 1: very good in this. And I will say that as

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Speaker 1: Malcolm McDowell aged, I feel like he kind of aged

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Speaker 1: into that face even more to where it's harder to

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Speaker 1: imagine older Malcolm McDowell. I'm playing a likable character, a

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Speaker 1: non villain. But I say that he's been in so

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Speaker 1: many films. I'm sure he pops up later on playing

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Speaker 1: like a kind grandfatherly character. But also I think he

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Speaker 1: became increasingly type cast as he got older too. Yeah,

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Speaker 1: and he's still active. We'll get into his BioPen in

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Speaker 1: a bit. But yeah, he's still active, so there's still time.

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Speaker 3: Okay, how about a movie where Malcolm McDowell plays Santa Claus.

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Speaker 3: He could go to Kurt Russell route. You know, I

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Speaker 3: don't know.

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Speaker 1: I guess the part of the thing is if you

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Speaker 1: are going to pay out and get Malcolm McDowell to

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Speaker 1: play Santa Claus in your film, then clearly you want

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Speaker 1: villainous Santa Claus, Like, wonder, what are you doing?

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Speaker 3: You know? At this point is one of the Yeah,

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Speaker 3: one of those Santa Claus is the monster movies, like

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Speaker 3: the one with Goldberg, remember that one?

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Speaker 1: I know of it. Yeah.

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Speaker 3: Well, maybe we should give a little historical context for

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Speaker 3: the premise of this movie, which is, once again HG.

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Speaker 3: Wells must pursue Jack the Ripper through time in a

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Speaker 3: time machine to stop him from ripping the twentieth century.

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Speaker 1: Yeah, well, let's let it rip here. So first of all,

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Speaker 1: what do you need to know about HG. Wells and

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Speaker 1: the time Machine to enjoy this film? Well, not a lot,

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Speaker 1: but here are the basics. Time Machine is an excellent

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Speaker 1: eighteen ninety five novel by English writer HG. Wells, who

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Speaker 1: lived eighteen sixty six through nineteen forty five. It's a

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Speaker 1: short read, widely available, and in my opinion, it holds

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Speaker 1: up really well. It's a very readable text today.

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Speaker 3: One thing that's worth noting is that the time this

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Speaker 3: movie is set before HG. Wells wrote the novel, So

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Speaker 3: he wrote the novel in eighteen ninety five. I don't

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Speaker 3: remember exactly the year, but I think this is set

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Speaker 3: in eighteen ninety one one or ninety three, something like that.

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Speaker 3: Or the beginning is before they travel through.

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Speaker 1: Time eighteen eighty eight. I believe, oh okay, that would

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Speaker 1: be that would be prime ripping time, right there?

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Speaker 3: Oh okay, all right.

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Speaker 1: At any rate, this is not the absolute first time

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Speaker 1: travel yarn. It's an interesting discussion to get in. I

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Speaker 1: think we've talked about this in the show when he's

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Speaker 1: trying to figure out, like, who was the first person

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Speaker 1: to deal with time travel? But it was the first

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Speaker 1: time travel story to gain just a huge degree of popularity,

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Speaker 1: and Wells actually coined the term time machine. Now, to

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Speaker 1: be clear, the character in the book is just the

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Speaker 1: time traveler and is not Wells himself.

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Speaker 3: Wells written from a first person perspective.

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Speaker 1: It is but I don't think we're really supposed to

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Speaker 1: assume that Wells made a time machine.

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Speaker 3: No, no, no no.

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Speaker 1: This film, however, takes a different approach. Wells was a futurist,

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Speaker 1: though in real life he was not an inventor outside

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Speaker 1: of the invention of sci fi concepts and the like

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Speaker 1: and the exploration of new ideas. The book has been

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Speaker 1: adapted a few different times, the famous nineteen sixty George

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Speaker 1: Powe adaptation. This one has a really iconic look for

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Speaker 1: the time machine wonderful morlock designs. Like when you think morlocks,

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Speaker 1: these are the more locks you probably picture. But there

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Speaker 1: was also a nineteen seventy eight TV movie and a

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Speaker 1: two thousand and two remake that I've seen, and as

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Speaker 1: I remember it being alright. But the interesting thing about

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Speaker 1: it is that it was directed by Wells's great grandson,

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Speaker 1: Simon Wells.

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Speaker 3: Really that's interesting. Yeah, that's worth seeing it on its own.

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Speaker 3: Even if it came out in two thousand and two,

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Speaker 3: which man movies from two thousand and two, it is

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Speaker 3: hard to escape that early two thousand's look. It just

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Speaker 3: kind of bleeds into everything. I watched the movie from

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Speaker 3: two thousand and two the other day. It was a

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Speaker 3: really bad but enjoyable Clint Eastwood detective movie from two

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Speaker 3: thousand and two called blood Work. I don't know if

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Speaker 3: you've seen that one.

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Speaker 1: I've not seen that one.

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Speaker 3: Well, so, I mean absolute like hack detective story, hilarious

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Speaker 3: but also quite fun, and it's got that look it

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Speaker 3: just like everything from two thousand and two has this

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Speaker 3: I don't know, this some feature of like the contrast

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Speaker 3: and the colors and everything just everything looks kind of

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Speaker 3: slick and awful.

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Speaker 1: Well, it's been a while since I've saw the two

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Speaker 1: thousand and two Time Machine, but I remember, I remember

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Speaker 1: being entertained by it, and I remember that it had

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Speaker 1: Jeremy Irons as a Morlock in it.

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Speaker 3: So oh, good, good choice there.

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Speaker 1: Yeah, I remember the Morlocks look pretty good. But then again,

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Speaker 1: I'm just I'm generally in on the idea of moralo.

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Speaker 1: It's hard to break more locks for me.

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Speaker 4: Oh.

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Speaker 3: But one thing that was true about the historical figure HG.

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Speaker 3: Wells that is also true of the character in the

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Speaker 3: movie is that he was known as something of a

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Speaker 3: kind of progressive utopian socialists and a futurist, so he

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Speaker 3: had a lot of like visions of the future that

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Speaker 3: involved progressive political ideals. I'm not sure if all of

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Speaker 3: the exact things stated by the character in the film

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Speaker 3: would be real things that HG. Wells thought or would

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Speaker 3: have said, but it's at least sort of in the ballpark.

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Speaker 1: Right And then yeah, Ultimately, the film is largely about

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Speaker 1: the idea that if Wells represents optimism for the future

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Speaker 1: coming out of the Victorian Age, and ultimately the optimism

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Speaker 1: about what was possible in the Victorian Age in the

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Speaker 1: late nineteen hundreds. Then our other figure represents the worst

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Speaker 1: of that time period, the notorious character of Jack the Ripper.

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Speaker 1: So what do you need to know about Jack the Ripper? Okay,

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Speaker 1: here are the basics. So in many ways this is

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Speaker 1: the original true crime sensation and a topic of continued

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Speaker 1: and largely fruitless intrigue today. Also referred to as a

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Speaker 1: leather Apron, this was an unidentified serial killer active in

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Speaker 1: London's Whitechapel district around eighteen eighty eight. He targeted under

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Speaker 1: privileged members of society, generally prostitutes, and was known for

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Speaker 1: the modus operandi of slicing first the throat then the abdomen,

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Speaker 1: as well as his taunting letters to the media.

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Speaker 3: Now, one note I do have there is that because

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Speaker 3: this movie set me off on a reading spree where

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Speaker 3: I was like, oh, I need to know things about

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Speaker 3: Jack the Ripper. The letters are one of the most

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Speaker 3: famous things about him, though I think there is serious

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Speaker 3: doubt about the authenticity of all of the letters that

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Speaker 3: I think there's only one letter that historians take seriously

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Speaker 3: at all all as possibly being from the killer himself,

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Speaker 3: and this is the so called from Hell letter because

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Speaker 3: and I think the reason this is the only one

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Speaker 3: that's really taken seriously is that it was accompanied by

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Speaker 3: a jar containing a piece of actual human kidney, allegedly

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Speaker 3: taken from one of the victims, though it's not possible

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Speaker 3: to confirm whether it actually came from a victim or not.

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Speaker 3: They didn't have like DNA testing at the time, obviously,

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Speaker 3: and so it could have been obtained from a medical

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Speaker 3: college or cadaver or something like that.

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Speaker 1: Yeah, I believe the police at the time they suspected

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Speaker 1: or one of their theories was that that was the

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Speaker 1: origin of the organs. It came from some sort of

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Speaker 1: a cadaver situation as opposed to a murdered victim.

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Speaker 3: And one of the weird things about it is that

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Speaker 3: the from Hell letter, I will say, just as like

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Speaker 3: a literary appraisal of the interest contained in these letters,

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Speaker 3: it's one of the less interesting ones. Like the really

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Speaker 3: interesting letters are the ones that are pretty much yeah,

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Speaker 3: known to be hoaxes that were sent possibly by like

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Speaker 3: journalists trying to gin up interest in the story further

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Speaker 3: to sell more newspapers.

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Speaker 1: Yeah, absolutely, those are some of the more entertaining letters.

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Speaker 1: But also and you can see why they would have

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Speaker 1: been fabricated just to sort of drum up this this

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Speaker 1: this paranoi and excitement about the murders they have that

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Speaker 1: one of them has that line, I shan't stop ripping.

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Speaker 3: Right till I am good and buckled or something.

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Speaker 1: Yeah, so yeah, you know, there's a high probability that

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Speaker 1: he didn't write any of these letters, but they are

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Speaker 1: very much associated with him. The idea, this figure that

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Speaker 1: is killing and then mocking the press, that is that

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Speaker 1: is the subject of all this media and public fear

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Speaker 1: and fascination, but is also potentially feeding it as well

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Speaker 1: and feeding off of it, right.

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Speaker 3: And I think it's these letters, even though probably none

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Speaker 3: of them are authentic, or at least most of them

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Speaker 3: are not authentic, it's these letters that sort of create

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Speaker 3: one of the most lasting legacies of Jack the Ripper,

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Speaker 3: which is this idea that he's sort of playing a

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Speaker 3: game of chess with the police and that this is

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Speaker 3: a major part of his motivation. And this does come

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Speaker 3: through in the movie as well, because you see Jack

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Speaker 3: the Ripper in his identity before he's revealed to be

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Speaker 3: Jack the Ripper. He is a friend of H. G.

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Speaker 3: Wells and they play chess together in the movie, and

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Speaker 3: you know he's very into like outsmarting his opponents.

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Speaker 1: Yeah, now there are I think just five verified murders

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Speaker 1: if you will, by Jack the Ripper, though there are

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Speaker 1: others that may or may not be attributed to him,

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Speaker 1: depending on where you're falling. And then likewise, there's a

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Speaker 1: great deal of folklore, fiction and pseudohistory that just abound

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Speaker 1: within the realm of ripperology. He was never caught, and

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Speaker 1: there are numerous suspects that have been discussed over the years,

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Speaker 1: and they range from the potentially believable to the outrageous

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Speaker 1: to the unbelievable even during the time, and some of them,

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Speaker 1: some of these suspects did have a surgical background, because

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Speaker 1: there was the whole apparent removal of organs in the murders,

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Speaker 1: and so you know, some thought, well, this indicates that

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Speaker 1: they had the individual had some level of training or

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Speaker 1: expertise or familiarity with human anatomy. Now, in time after time,

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Speaker 1: the Ripper is this character, doctor John Leslie Stevenson, who

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Speaker 1: is not an historical person as far as I can tell.

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Speaker 1: But weirdly enough, the nineteen nineties Outer Limit episode Ripper,

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Speaker 1: which stars David Warner and Carrie Elwiss, was co written

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Speaker 1: by Leslie Stevens. So there you go. That's enough of

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Speaker 1: a connection for Ripper ology.

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Speaker 3: I think, wait, is Leslie Stevens a real person and

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Speaker 3: it's just a coincidence? Or is this a pseudonym for

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Speaker 3: saying it was like written by David Warner or something.

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Speaker 1: I mean, it's an IMDb writing credit that's not Warner.

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Speaker 1: So I think it's either just somebody who happens to

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Speaker 1: be Leslie Stevens, or is the actual Jack the Ripper

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Speaker 1: having time traveled to the nineties to make a career

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Speaker 1: for himself in in TV screenplay writing.

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Speaker 3: Okay, so the last week I have been wandering around

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Speaker 3: my house non stop singing that Cindy Lauper song. I

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Speaker 3: can't get it out of my head. Is it not

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Speaker 3: used in the film? In fact, the song was released

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Speaker 3: after this film came out. Is there any connection between them?

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Speaker 1: Allegedly, Cindy Lapper was inspired to write the song because

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Speaker 1: she liked the movie, and weirdly enough, there was a

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Speaker 1: In recent history, there has been a there was an

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Speaker 1: attempt to bring the novel Time after Time back as

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Speaker 1: a TV series, and each episode of the TV series

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Speaker 1: gets its title from the lyrics to Cindy Lauper's Time

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Speaker 1: after Time.

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Speaker 3: Nice. Nice. Cindy Lauper doesn't get enough credit as a songwriter.

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Speaker 3: You know, have you ever have you ever actually listened

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Speaker 3: to the like the lyrics of girls Just Want to

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Speaker 3: Have Fun? Actually like a sort of profound and sad song.

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Speaker 1: Yeah, yeah, I like some Cindy Lapper. I haven't really

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Speaker 1: been playing her recently, but yeah, she had a number

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Speaker 1: of hits. I would generally take the Cindy Lapper songs

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Speaker 1: of that era and put them above the Madonna songs

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Speaker 1: of that era.

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Speaker 3: Ooh, I don't know if I would go that far,

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Speaker 3: but definitely I'm a fan. And now I have to

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Speaker 3: correct myself because I actually just looked it up to

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Speaker 3: make sure and found out that Cindy Lauper did not

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Speaker 3: write Girls Just Want to Have Fun? Her version was

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Speaker 3: a cover version. Whoops. Oh okay, okay, Well great song anyway,

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Speaker 3: and her version is great.

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Speaker 1: So we've already pretty much done our elevator pitch for

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Speaker 1: Time after Time? Shall we go ahead and listen to

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Speaker 1: just a little bit of the trailer audio, not the

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Speaker 1: full thing, but just a little bit of the trailer.

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Speaker 3: Maybe some man I don't like this trailer. I feel

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Speaker 3: like it really it takes away from the movie. But okay,

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Speaker 3: let's just get at least get a snippet.

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Speaker 4: The time is eighteen three and novelist and in better H. G.

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Speaker 4: Wells makes a startling announcement, gentlemen, I am talking about

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Speaker 4: traveling through time in a machine constructed for that Betty Puppose.

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Speaker 3: The first to use the machine.

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Speaker 4: However, is doctor John Leslie Stevenson, better known to history

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Speaker 4: as Jack the Ripper Time after time.

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Speaker 1: Yeah, this is this is a bad trailer. I hate

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Speaker 1: the comedic trailer narrator who's like Jack the Ripper is

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Speaker 1: on a on a vacation, you know, it's like always

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Speaker 1: this kind of like Casey caseum ask voice that's like,

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Speaker 1: you're gonna have a good time at the theater and yeah,

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Speaker 1: give me the voice of God any day over this nonsense.

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Speaker 3: The trailer is bad in numerous ways, and I do

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Speaker 3: not recommend watching it. First of all, because of what

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Speaker 3: you're saying. The tone and the narrator are irritating, and

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Speaker 3: I think do not accurately communicate the spirit and feeling

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Speaker 3: of the movie. And second, the trailer reveals the entire plot,

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Speaker 3: including the ending it's one of those awful things. So like,

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Speaker 3: if you've seen the trailer, the movie is kind of

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Speaker 3: spoiled for you.

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Speaker 1: Yeah, yeah, not a good way to go into this film.

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Speaker 3: Now, being a time travel movie, one of the things

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Speaker 3: that I was thinking about for this episode is it

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Speaker 3: it sort of made me want to create an in

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Speaker 3: house taxonomy of major types of time travel stories, sorted

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Speaker 3: by prevalent themes. And of course, any given movie or

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Speaker 3: story can partake of multiple different time travel themes, multiple

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Speaker 3: of the themes that follow that we're about to talk about.

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Speaker 3: And I'm also sure this list will not be exhaustive.

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Speaker 3: People will probably write in and be like, hey, what

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Speaker 3: about this type of movie. It'll be something I didn't

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Speaker 3: even think about. But I think here are some of

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Speaker 3: the major categories of time travel stories, and we can

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Speaker 3: talk about how time after time fits or does not

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Speaker 3: fit into each of them. So the first one I

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Speaker 3: wanted to mention is what I would call the debugging

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Speaker 3: history story. And this is a type of time travel

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Speaker 3: story that focuses primarily on isolating variables of cause and

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Speaker 3: effect in the progression of history and human life. So

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Speaker 3: it's largely concerned with the consequences of decisions and the

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Speaker 3: long term ripple effects of seemingly minor events and encounters.

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Speaker 3: So this can be seen, for example, and Back to

402
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Speaker 3: the Future, where Marty McFly learns that certain minor interventions

403
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Speaker 3: with his parents as teenagers, like he gives his teenage

404
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Speaker 3: dad a pep talk about standing up for himself and

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Speaker 3: so forth, this radically changes the circumstances of his family

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Speaker 3: thirty years later. Or it can be seen in movies

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Speaker 3: that don't even really feature time travel, but just merely

408
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Speaker 3: the alteration of past events. An example here might be

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Speaker 3: the final act of It's a Wonderful Life, where George

410
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Speaker 3: Bailey learns that if Clarence the Angel tweaks history so

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Speaker 3: that he was never born, everybody else in his life

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Speaker 3: turns out miserable and impoverished, and he sees the impact

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Speaker 3: that his life had. I would actually say that Time

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Speaker 3: after Time does not partake heavily of the debugging history theme,

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Speaker 3: though there are little nods here and there, especially at

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Speaker 3: the ending. We can maybe something we could talk about

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Speaker 3: if you want or not, though it's a spoiler for

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Speaker 3: the movie, But this is not the major type we're

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Speaker 3: dealing with in Time after Time.

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Speaker 1: Yeah, this film. Ultimately, the character of Wells is more

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Speaker 1: interested in protecting the future. That's what prompts him to

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Speaker 1: travel through time in the film, or at least not

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Speaker 1: necessarily at protecting the actual future, but protecting Well's idea

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Speaker 1: all the future. So in a sense, the existence of

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Speaker 1: Jack the Ripper in even in the late nineteenth century

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Speaker 1: is a threat to his worldview and vision for change.

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Speaker 1: The idea of Jack the Ripper escaping into his envisioned

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Speaker 1: utopia is a total threat to this idea.

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Speaker 3: Now, while we're going through and talking about time after time,

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Speaker 3: I feel like we should also just run through this

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Speaker 3: list the example of Transfers to the other time travel

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Speaker 3: movie we've done.

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Speaker 1: Yeah, and I think the basic answer is always going

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Speaker 1: to be yes, sort of maybe, but who knows, because

435
00:23:14,560 --> 00:23:17,800
Speaker 1: Transfers is all over the place with time travel and

436
00:23:17,960 --> 00:23:20,800
Speaker 1: why they're doing it and who's doing it. But I

437
00:23:20,800 --> 00:23:23,120
Speaker 1: would say, yes, Transfers definitely does this, but.

438
00:23:23,119 --> 00:23:26,280
Speaker 3: It's messy, Okay, that's debugging history. The next major time

439
00:23:26,320 --> 00:23:29,640
Speaker 3: travel theme I would say is Journey to Time Island.

440
00:23:30,160 --> 00:23:32,359
Speaker 3: This is a time travel story. This is probably one

441
00:23:32,359 --> 00:23:35,679
Speaker 3: of the least thematically interesting ways of using time travel

442
00:23:35,680 --> 00:23:38,439
Speaker 3: in a story. And it's a story that uses some

443
00:23:39,040 --> 00:23:41,879
Speaker 3: time in the future or the past primarily as a

444
00:23:41,960 --> 00:23:46,160
Speaker 3: hostile setting for adventure. So in these stories, the past

445
00:23:46,240 --> 00:23:48,879
Speaker 3: or the future can be thought of as largely equivalent

446
00:23:48,920 --> 00:23:53,480
Speaker 3: to physical places like Skull Island or the Forbidden Planet.

447
00:23:53,560 --> 00:23:57,320
Speaker 3: It's just a dangerous place for the characters to arrive

448
00:23:57,560 --> 00:24:01,120
Speaker 3: and then face unfamiliar challenges. And I will say Time

449
00:24:01,160 --> 00:24:04,600
Speaker 3: after Time does not largely fall into this category, but

450
00:24:04,640 --> 00:24:08,480
Speaker 3: actually HG. Well's novel The Time Machine is more in

451
00:24:08,520 --> 00:24:09,280
Speaker 3: this vein.

452
00:24:09,560 --> 00:24:14,479
Speaker 1: Yeah, traveling into a distant future for example, that definitely

453
00:24:14,560 --> 00:24:17,840
Speaker 1: is a commentary on the present or the Victorian present

454
00:24:18,760 --> 00:24:21,280
Speaker 1: that the author lived in. But also it is just

455
00:24:21,359 --> 00:24:24,560
Speaker 1: kind of this fantastic place in which to have an adventure, right.

456
00:24:24,800 --> 00:24:28,280
Speaker 3: I think the Time Machine also partakes largely of another

457
00:24:28,359 --> 00:24:29,920
Speaker 3: more interesting category we'll get to.

458
00:24:29,880 --> 00:24:33,639
Speaker 1: In a minute now, the time travel the time Island.

459
00:24:33,720 --> 00:24:37,280
Speaker 1: Rather this idea, I was thinking to myself, Okay, well,

460
00:24:37,280 --> 00:24:39,199
Speaker 1: what's something that falls in line with this? In my

461
00:24:39,240 --> 00:24:41,960
Speaker 1: mind instantly goes to Ray Bradbury's A Sound of Thunder,

462
00:24:42,280 --> 00:24:46,760
Speaker 1: though that one is also a debugging history tale to

463
00:24:47,480 --> 00:24:51,040
Speaker 1: a large extent, sort of accidental debugging of the.

464
00:24:51,119 --> 00:24:55,200
Speaker 3: History This is bugging history. Yeah, inserting bugs in the

465
00:24:55,280 --> 00:24:56,280
Speaker 3: lines of code of history.

466
00:24:56,359 --> 00:24:56,520
Speaker 4: Yeah.

467
00:24:56,600 --> 00:24:58,840
Speaker 1: Yeah, the idea I can go back into dinosaur days

468
00:24:58,880 --> 00:25:01,920
Speaker 1: and have a safe adventure dinosaurs, but then you find

469
00:25:01,920 --> 00:25:05,159
Speaker 1: out no, you cannot by doing so, you're totally bugging

470
00:25:05,200 --> 00:25:05,719
Speaker 1: in the future.

471
00:25:05,960 --> 00:25:08,879
Speaker 3: That's a very good observation. Okay. Third category, so we

472
00:25:08,960 --> 00:25:11,639
Speaker 3: had debugging history, journey to time island. Third one, I

473
00:25:11,640 --> 00:25:14,000
Speaker 3: will say is what I would call fish out of time.

474
00:25:14,760 --> 00:25:17,560
Speaker 3: This is a time based equivalent of the standard fish

475
00:25:17,560 --> 00:25:21,520
Speaker 3: out of water plot seen most often in comedies, where

476
00:25:21,840 --> 00:25:25,679
Speaker 3: most of the tension, usually comedic tension, is based on

477
00:25:25,960 --> 00:25:29,679
Speaker 3: failures of the out of place protagonists to understand and adapt,

478
00:25:29,840 --> 00:25:33,800
Speaker 3: understand and adapt to local conditions, expectations, you know, wandering

479
00:25:33,840 --> 00:25:38,760
Speaker 3: around being confused by surroundings, accidentally violating taboos. So you

480
00:25:38,800 --> 00:25:41,919
Speaker 3: can think of like Borat but with time instead of place,

481
00:25:42,160 --> 00:25:44,560
Speaker 3: or Demolition Man with the Three seashells.

482
00:25:44,840 --> 00:25:48,359
Speaker 1: Yeah. Another example of this would be a Connecticut Yankee

483
00:25:48,400 --> 00:25:50,560
Speaker 1: in King Arthur's court. Sure you know whether a lot

484
00:25:50,560 --> 00:25:52,560
Speaker 1: of comedic fodder is made on the fact that, oh,

485
00:25:52,600 --> 00:25:54,720
Speaker 1: this person's out of time. They don't know what this means,

486
00:25:54,720 --> 00:25:56,600
Speaker 1: and the people that he's around now, they don't know

487
00:25:56,640 --> 00:25:59,200
Speaker 1: what this means, and hilarity encies.

488
00:25:59,160 --> 00:26:01,119
Speaker 3: And you know, I will say, usually Fish out of

489
00:26:01,160 --> 00:26:03,800
Speaker 3: Time is not one of my favorite time travel themes,

490
00:26:04,400 --> 00:26:06,520
Speaker 3: but Time after Time has a good amount of this,

491
00:26:06,760 --> 00:26:08,480
Speaker 3: and I loved it in this movie. I would say,

492
00:26:08,600 --> 00:26:11,360
Speaker 3: is it works much better in Time after Time than

493
00:26:11,400 --> 00:26:13,879
Speaker 3: it usually does in other stories of this sort.

494
00:26:14,320 --> 00:26:16,760
Speaker 1: Yeah, it really excels at this, often with stuff that

495
00:26:17,040 --> 00:26:20,840
Speaker 1: on paper just sounds awful, like the idea what if H. G.

496
00:26:21,040 --> 00:26:24,360
Speaker 1: Wells traveled to the late seventies and went to a McDonald's.

497
00:26:24,960 --> 00:26:28,280
Speaker 1: It sounds awful, but it's great. It's great. My favorite

498
00:26:28,320 --> 00:26:30,080
Speaker 1: that's one of my favorite scenes where he goes into

499
00:26:30,160 --> 00:26:32,240
Speaker 1: McDonald's and he's trying to make sense to everything. And

500
00:26:32,280 --> 00:26:36,000
Speaker 1: then later he's having a meal with the romantic interest

501
00:26:36,080 --> 00:26:39,000
Speaker 1: and she asked or how the food is and he's like, oh,

502
00:26:39,040 --> 00:26:42,760
Speaker 1: it's better than the Scottish restaurant where I had breakfast

503
00:26:42,960 --> 00:26:48,639
Speaker 1: MS McDougall's. So yeah, Yeah, this film excels at the

504
00:26:48,680 --> 00:26:49,480
Speaker 1: Fish out of Time.

505
00:26:49,840 --> 00:26:52,080
Speaker 3: Oh, and he gets really excited when he figures out

506
00:26:52,119 --> 00:26:53,040
Speaker 3: what fries are.

507
00:26:53,640 --> 00:26:56,040
Speaker 1: Oh yeah, yeah, He's like, oh, it's pump Fritz it's

508
00:26:56,080 --> 00:26:59,439
Speaker 1: pum friends. Now, as far as transfers goes, I think

509
00:26:59,520 --> 00:27:02,600
Speaker 1: they did that. I'm pretty sure they did this. Yeah,

510
00:27:02,600 --> 00:27:04,919
Speaker 1: there was a fair amount of humor in trancers, So

511
00:27:05,000 --> 00:27:08,320
Speaker 1: it's if you have humor in your time travel a scenario,

512
00:27:08,359 --> 00:27:11,160
Speaker 1: you're probably engaging in this trope.

513
00:27:11,400 --> 00:27:14,080
Speaker 3: Okay. The next category is the one. I feel like

514
00:27:14,119 --> 00:27:16,160
Speaker 3: I need a snapier name for this one, but it's

515
00:27:16,240 --> 00:27:19,200
Speaker 3: basically what I would call the time travel arms race.

516
00:27:19,600 --> 00:27:22,280
Speaker 3: And these are the ones that tend to be the

517
00:27:22,320 --> 00:27:27,040
Speaker 3: most complicated in terms of plotting, and that's because they're

518
00:27:27,040 --> 00:27:31,399
Speaker 3: the ones that take the premise the most seriously, like

519
00:27:31,440 --> 00:27:34,679
Speaker 3: they're thinking really hard about what it would actually be

520
00:27:34,920 --> 00:27:37,320
Speaker 3: like to have the power to travel back in time,

521
00:27:38,160 --> 00:27:41,040
Speaker 3: and not just as a means to get the protagonist

522
00:27:41,119 --> 00:27:44,639
Speaker 3: to an unfamiliar setting, but actually as an ongoing mechanism

523
00:27:44,680 --> 00:27:47,640
Speaker 3: that can be used over and over, often ultimately as

524
00:27:47,640 --> 00:27:51,400
Speaker 3: a weapon, something that grants god like power, because if

525
00:27:51,440 --> 00:27:53,520
Speaker 3: you know what's going to happen in advance, and you

526
00:27:53,560 --> 00:27:56,400
Speaker 3: have the power to go back in time and approach

527
00:27:56,480 --> 00:28:00,960
Speaker 3: any situation differently, you can make almost any situation turn

528
00:28:01,040 --> 00:28:04,240
Speaker 3: out your way. And so this gives anybody who possesses

529
00:28:04,320 --> 00:28:06,919
Speaker 3: the power of time travel the temptation to use it

530
00:28:06,920 --> 00:28:10,640
Speaker 3: for selfish, deceitful, or evil purposes, And so I think

531
00:28:10,680 --> 00:28:14,800
Speaker 3: these plots often contain both protagonists and antagonists who have

532
00:28:14,880 --> 00:28:18,359
Speaker 3: the power to travel through time trying to sort of

533
00:28:18,400 --> 00:28:21,959
Speaker 3: travel back further and further to gain advantage over one another.

534
00:28:22,720 --> 00:28:28,240
Speaker 3: So the themes of this would usually include thoughts about weaponry, strategy, tricks,

535
00:28:28,280 --> 00:28:31,239
Speaker 3: and the dangers of having too much power, especially too

536
00:28:31,280 --> 00:28:35,080
Speaker 3: much technological power. Good examples of this I think would include,

537
00:28:35,119 --> 00:28:40,240
Speaker 3: like the movie Primer, the overarching premise of the Terminator films,

538
00:28:40,280 --> 00:28:42,400
Speaker 3: though there's not a lot of this mechanic within the

539
00:28:42,480 --> 00:28:47,000
Speaker 3: movies themselves Terminator, the setup of each film usually involves

540
00:28:47,240 --> 00:28:50,640
Speaker 3: some form of the time travel arms race, and I

541
00:28:50,640 --> 00:28:52,760
Speaker 3: guess in terms of more recent movies, you could think

542
00:28:52,760 --> 00:28:54,440
Speaker 3: about Tenet as a version of this.

543
00:28:55,240 --> 00:28:57,840
Speaker 1: All right, Yeah, now, Transfers, I think I think definitely

544
00:28:57,880 --> 00:29:01,200
Speaker 1: Transwers got into this territory because there is the idea that, yeah,

545
00:29:01,280 --> 00:29:04,239
Speaker 1: cult members have gone back in time and they have

546
00:29:04,320 --> 00:29:07,240
Speaker 1: transfer armies, and so we need to send transfer cops

547
00:29:07,280 --> 00:29:10,440
Speaker 1: back in time to deal with them. So, yeah, Transfers

548
00:29:10,520 --> 00:29:13,280
Speaker 1: being a high minded time travel movie definitely gets in

549
00:29:13,360 --> 00:29:16,240
Speaker 1: on this action, though I.

550
00:29:16,240 --> 00:29:18,520
Speaker 3: Would say Time After Time has very little of this,

551
00:29:18,640 --> 00:29:21,280
Speaker 3: and it would have made it an entirely different film

552
00:29:21,320 --> 00:29:23,160
Speaker 3: in ways that we might mention later when we talk

553
00:29:23,200 --> 00:29:26,640
Speaker 3: a little bit more about the plot. But I don't

554
00:29:26,680 --> 00:29:29,120
Speaker 3: really hold this against the movie because it just decided

555
00:29:29,120 --> 00:29:30,560
Speaker 3: to go in a different direction with the way it

556
00:29:30,600 --> 00:29:34,160
Speaker 3: structured its story. But Time after Time could have been

557
00:29:34,160 --> 00:29:38,080
Speaker 3: a completely different film if it had just taken this

558
00:29:38,160 --> 00:29:41,480
Speaker 3: premise seriously and HG. Wells had said, Okay, I can

559
00:29:41,520 --> 00:29:43,760
Speaker 3: always just go back one more day in the past

560
00:29:43,800 --> 00:29:45,360
Speaker 3: and do this instead.

561
00:29:45,600 --> 00:29:48,560
Speaker 1: Right, right? Or I guess another thing that could have

562
00:29:48,600 --> 00:29:51,720
Speaker 1: complicated matters is the idea of is the question of

563
00:29:51,760 --> 00:29:54,440
Speaker 1: how many time machines are there, and is the time

564
00:29:54,520 --> 00:29:58,000
Speaker 1: machine a singular entity or is time travel a technology

565
00:29:58,040 --> 00:30:01,560
Speaker 1: that may be reproduced in this film. In Time after Time,

566
00:30:01,760 --> 00:30:06,000
Speaker 1: there is one time machine, and there's some interesting plot

567
00:30:06,040 --> 00:30:10,720
Speaker 1: mechanics that keep it that way. And additionally, nobody has

568
00:30:10,840 --> 00:30:14,680
Speaker 1: subsequently understood how time travel works. The time machine winds

569
00:30:14,760 --> 00:30:18,560
Speaker 1: up in a museum in San Francisco, and it's fully functional,

570
00:30:18,760 --> 00:30:21,320
Speaker 1: and nobody has really taken it apart to figure out

571
00:30:21,360 --> 00:30:24,600
Speaker 1: how it works. Which if you're going to be really

572
00:30:24,640 --> 00:30:27,800
Speaker 1: pedantic about it, Yeah, that's kind of silly, but it

573
00:30:28,200 --> 00:30:29,680
Speaker 1: works within the context of the film.

574
00:30:30,080 --> 00:30:32,520
Speaker 3: Yeah, agreed. So the next category I want to mention

575
00:30:32,640 --> 00:30:34,720
Speaker 3: is kind of a subcategory because it's more of a

576
00:30:34,720 --> 00:30:38,360
Speaker 3: category that would apply to usually how a like a

577
00:30:38,400 --> 00:30:41,440
Speaker 3: twist at the end of a time travel story. But

578
00:30:41,560 --> 00:30:43,080
Speaker 3: this is what I would call the have you heard

579
00:30:43,080 --> 00:30:46,560
Speaker 3: about the Fates version. I kind of don't want to

580
00:30:46,640 --> 00:30:49,960
Speaker 3: list examples of this because by including them in this

581
00:30:50,040 --> 00:30:53,400
Speaker 3: category I would usually be spoiling some kind of good

582
00:30:53,440 --> 00:30:56,760
Speaker 3: twist in the movie. But this is a variation that

583
00:30:56,840 --> 00:31:00,640
Speaker 3: usually starts with something that looks more like debugging history

584
00:31:01,000 --> 00:31:04,440
Speaker 3: or the time travel arms race, only for the protagonists

585
00:31:04,440 --> 00:31:07,400
Speaker 3: to discover too late that the Fates cannot be outrun

586
00:31:07,720 --> 00:31:10,560
Speaker 3: and while they thought they were avoiding some bad outcome

587
00:31:10,640 --> 00:31:13,160
Speaker 3: by going back and changing the past, they in fact

588
00:31:13,160 --> 00:31:16,080
Speaker 3: were not avoiding it or were even causing it, or

589
00:31:16,120 --> 00:31:17,160
Speaker 3: something to that effect.

590
00:31:17,600 --> 00:31:20,400
Speaker 1: Yeah, yeah, not so much. In this picture. Trancers did

591
00:31:20,400 --> 00:31:24,240
Speaker 1: not really get into this either, but I will say

592
00:31:24,280 --> 00:31:26,040
Speaker 1: that it does remind me. And this is not a

593
00:31:26,040 --> 00:31:29,480
Speaker 1: spoiler because and I'll explain why, but the Stephen King

594
00:31:29,560 --> 00:31:33,920
Speaker 1: time travel novel eleven twenty two sixty three is really

595
00:31:33,960 --> 00:31:36,880
Speaker 1: good for starters. I highly recommend this book, but it

596
00:31:37,640 --> 00:31:40,480
Speaker 1: definitely gets into this area early on, because there's this

597
00:31:40,600 --> 00:31:42,840
Speaker 1: idea that, yes, you can travel back into the past

598
00:31:42,960 --> 00:31:47,280
Speaker 1: via this portal, but once you get there, changing history

599
00:31:47,640 --> 00:31:51,720
Speaker 1: in any meaningful ways is incredibly difficult, because there's a

600
00:31:51,760 --> 00:31:54,440
Speaker 1: sense that it's like time, is this this surging river,

601
00:31:54,880 --> 00:31:59,240
Speaker 1: and to try and divert the river's course. There are forces,

602
00:32:00,200 --> 00:32:03,440
Speaker 1: not forces with names or faces so much, but like

603
00:32:03,560 --> 00:32:08,080
Speaker 1: just reality itself will revolt against you, like everything will

604
00:32:08,080 --> 00:32:11,360
Speaker 1: go wrong in your attempt to try and change the

605
00:32:11,360 --> 00:32:12,160
Speaker 1: course of history.

606
00:32:12,360 --> 00:32:14,800
Speaker 3: Oh that's interesting. Yeah, I haven't read that one, but

607
00:32:15,080 --> 00:32:15,800
Speaker 3: you've tempted me.

608
00:32:16,120 --> 00:32:21,480
Speaker 1: Yeah. Basically, an individual becomes convinced that going back and

609
00:32:21,480 --> 00:32:24,200
Speaker 1: stopping the assassination of John F. Kennedy will make the

610
00:32:24,200 --> 00:32:27,360
Speaker 1: world a substantially better place in the future, and therefore

611
00:32:27,480 --> 00:32:30,600
Speaker 1: it's worth it. It's worth basically like a one way

612
00:32:30,640 --> 00:32:34,200
Speaker 1: trip to go and see this through. And it's and

613
00:32:34,280 --> 00:32:37,200
Speaker 1: he King explores it for in a very long book.

614
00:32:37,920 --> 00:32:41,000
Speaker 1: And also it's a love story, which of course brings

615
00:32:41,040 --> 00:32:43,760
Speaker 1: us back to this movie. I was wondering as I

616
00:32:43,800 --> 00:32:49,240
Speaker 1: was watching it, how many subsequent time travel romances would

617
00:32:49,240 --> 00:32:51,840
Speaker 1: just simply not exist if not for Time after Time.

618
00:32:52,120 --> 00:32:56,239
Speaker 1: I'm thinking about everything from Outlander to Highlander, which even

619
00:32:56,280 --> 00:32:59,880
Speaker 1: though Highlander is not about traveling through time via mechanic,

620
00:33:00,120 --> 00:33:03,400
Speaker 1: it is about immortal characters living outside of their original

621
00:33:03,440 --> 00:33:06,800
Speaker 1: time and then falling in love. So I feel like

622
00:33:06,840 --> 00:33:09,880
Speaker 1: the film was probably very influential on this sort of

623
00:33:09,920 --> 00:33:11,560
Speaker 1: subgenre of time travel fiction.

624
00:33:11,960 --> 00:33:14,120
Speaker 3: Oh well, I think this is another great category we

625
00:33:14,120 --> 00:33:18,360
Speaker 3: should mention, which is the love across time story, which

626
00:33:18,480 --> 00:33:21,200
Speaker 3: is time after time. I think you could definitely says

627
00:33:21,240 --> 00:33:23,880
Speaker 3: an example of it's a type of love story. You know,

628
00:33:23,960 --> 00:33:26,120
Speaker 3: it's common in a love story to have people who

629
00:33:26,280 --> 00:33:28,560
Speaker 3: who clearly want to be together, but there's some kind

630
00:33:28,560 --> 00:33:31,560
Speaker 3: of tension that keeps them apart, and that could be

631
00:33:31,720 --> 00:33:34,400
Speaker 3: you know, social expectations, it could be you know, in

632
00:33:34,520 --> 00:33:38,280
Speaker 3: romantic comedies, is often a series of farcical misunderstandings that

633
00:33:38,360 --> 00:33:41,880
Speaker 3: leads them to fighting each other. But in a lot

634
00:33:41,880 --> 00:33:44,840
Speaker 3: of more sort of serious and tragic love stories across history,

635
00:33:44,880 --> 00:33:48,720
Speaker 3: it's often been like separation of time of space, you know, like, yeah,

636
00:33:48,760 --> 00:33:51,280
Speaker 3: like we're from different kingdoms or something, and we can't

637
00:33:51,320 --> 00:33:53,800
Speaker 3: be together for that reason, But there are movies that

638
00:33:53,840 --> 00:33:55,800
Speaker 3: do this with time travel as well. It's like, well, no,

639
00:33:55,880 --> 00:33:57,480
Speaker 3: I've got to go back to my time, and you

640
00:33:57,480 --> 00:33:59,280
Speaker 3: don't want to leave your time and so forth.

641
00:33:59,600 --> 00:34:02,080
Speaker 1: Yeah. Other times it's the lady hawk scenario. It's like,

642
00:34:02,120 --> 00:34:05,520
Speaker 1: you're you're a hawk during the day, I'm a wolf

643
00:34:05,520 --> 00:34:08,200
Speaker 1: at night, and we're just not lying. We can't align.

644
00:34:09,200 --> 00:34:11,239
Speaker 1: That's accept during a total eclipse, right.

645
00:34:11,920 --> 00:34:15,400
Speaker 3: That's right, okay. And then one last category I want

646
00:34:15,440 --> 00:34:17,160
Speaker 3: to mention because I think this is the one that

647
00:34:17,200 --> 00:34:19,920
Speaker 3: applies the most to time after time. This is the

648
00:34:19,960 --> 00:34:24,120
Speaker 3: category I would call fresh eyes for bad eras. And

649
00:34:24,200 --> 00:34:26,239
Speaker 3: this is the type of time travel story that is

650
00:34:26,400 --> 00:34:31,640
Speaker 3: primarily about commenting on the particular features of an age

651
00:34:31,680 --> 00:34:34,880
Speaker 3: of the time in which they are set, usually the present,

652
00:34:35,560 --> 00:34:39,360
Speaker 3: but often also the future as influenced by the present.

653
00:34:39,800 --> 00:34:41,760
Speaker 3: And so I think these tend to contain the most

654
00:34:41,880 --> 00:34:46,400
Speaker 3: social commentary of any of the time travel subgenres. So

655
00:34:46,600 --> 00:34:50,040
Speaker 3: the time traveler is able to look upon an age

656
00:34:50,520 --> 00:34:53,280
Speaker 3: such as the present and see it with fresh eyes,

657
00:34:53,480 --> 00:34:58,040
Speaker 3: noticing things, usually bad things that the chronolocals have learned

658
00:34:58,080 --> 00:35:01,520
Speaker 3: to ignore just because they're in your to them, and

659
00:35:01,600 --> 00:35:04,520
Speaker 3: so Time After Time actually, much like H. G. Wells

660
00:35:04,520 --> 00:35:07,800
Speaker 3: actual novel, The Time Machine, partakes heavily of this theme,

661
00:35:09,040 --> 00:35:11,800
Speaker 3: tying it back into the novel The Time Machine itself.

662
00:35:11,880 --> 00:35:13,759
Speaker 3: Apart from it just being a sort of journey to

663
00:35:13,800 --> 00:35:17,600
Speaker 3: Time Island, it's also very much this one because he

664
00:35:17,840 --> 00:35:22,840
Speaker 3: was using a dystopian vision of the future to suggest

665
00:35:22,960 --> 00:35:26,279
Speaker 3: that such a future would follow from negative trends that

666
00:35:26,400 --> 00:35:29,440
Speaker 3: existed in his present. So he's commenting on the present

667
00:35:29,719 --> 00:35:33,640
Speaker 3: by suggesting a horrible future. But in Time after Time,

668
00:35:33,800 --> 00:35:36,279
Speaker 3: it's just looking directly at the present. And I think

669
00:35:36,280 --> 00:35:39,200
Speaker 3: this is one of the most interesting ideas in the movie.

670
00:35:39,239 --> 00:35:43,200
Speaker 3: So it takes these two time travelers from eighteen nineties London.

671
00:35:43,360 --> 00:35:46,080
Speaker 3: So HG. Wells, who the character in the film, is

672
00:35:46,120 --> 00:35:50,720
Speaker 3: a progressive, utopian socialist in eighteen nineties London. He believes

673
00:35:50,760 --> 00:35:54,440
Speaker 3: that humanity will pretty soon advance to a golden age

674
00:35:54,480 --> 00:35:57,840
Speaker 3: of peace and prosperity and egalitarianism, where there will be

675
00:35:57,920 --> 00:36:01,640
Speaker 3: no war, no violence, no inn quality, no oppression, and

676
00:36:01,680 --> 00:36:04,320
Speaker 3: so forth. And then the other is Jack the Ripper,

677
00:36:04,360 --> 00:36:08,560
Speaker 3: who is sort of the embodiment of violent, sadistic, misogynist ID.

678
00:36:09,080 --> 00:36:12,279
Speaker 3: And what if these two figures suddenly got a look

679
00:36:12,320 --> 00:36:15,160
Speaker 3: at the world in nineteen seventy nine without having a

680
00:36:15,280 --> 00:36:17,960
Speaker 3: chance to get used to it as time progresses slowly

681
00:36:18,040 --> 00:36:21,760
Speaker 3: in the normal sense, what would they think? So, of course,

682
00:36:21,800 --> 00:36:24,520
Speaker 3: there's a scene in the present where Jack the Ripper

683
00:36:24,560 --> 00:36:28,160
Speaker 3: turns on a TV and he just starts flipping channels

684
00:36:28,160 --> 00:36:31,080
Speaker 3: for Wells to see what's on, and it's just seen

685
00:36:31,200 --> 00:36:35,480
Speaker 3: after scene both real and fictional of hatred, violence, murder,

686
00:36:35,719 --> 00:36:41,840
Speaker 3: war terrorism, nuclear escalation, full contact football, and Wells is

687
00:36:41,880 --> 00:36:46,440
Speaker 3: horrified to see that his utopian dreams were hopelessly naive,

688
00:36:46,920 --> 00:36:50,560
Speaker 3: and the Ripper is just like, yes, good war football,

689
00:36:50,719 --> 00:36:51,400
Speaker 3: I am home.

690
00:36:52,280 --> 00:36:55,000
Speaker 1: This is a lovely scene. Yeah, taking place in Jack

691
00:36:55,040 --> 00:36:59,799
Speaker 1: the Ripper's hotel room. That's a little messy because he's

692
00:36:59,840 --> 00:37:02,319
Speaker 1: been staying there. He hasn't been ripping there, but he's

693
00:37:02,360 --> 00:37:05,960
Speaker 1: been staying there. He has this line has several lines

694
00:37:06,000 --> 00:37:07,600
Speaker 1: that really drive this home, but one of them is

695
00:37:07,680 --> 00:37:11,120
Speaker 1: ninety years ago, I was a freak. Today I'm an amateur.

696
00:37:11,480 --> 00:37:14,920
Speaker 1: That's right, and there's Yeah, there's so much to love

697
00:37:14,920 --> 00:37:16,239
Speaker 1: in this. Some of the little things, like when he

698
00:37:16,280 --> 00:37:19,040
Speaker 1: turns on the TV, he's like he's clearly at ease

699
00:37:19,080 --> 00:37:22,160
Speaker 1: in this world. He's wearing the suit of the day,

700
00:37:22,320 --> 00:37:26,680
Speaker 1: you know, of the time period. He's he's largely acclimatized

701
00:37:26,760 --> 00:37:29,440
Speaker 1: to the late nineteen seventies at this point. But then

702
00:37:29,760 --> 00:37:32,600
Speaker 1: he holds the remote control in a really weird fashion

703
00:37:32,640 --> 00:37:34,880
Speaker 1: to turn on the TV, which is a great touch.

704
00:37:34,920 --> 00:37:37,880
Speaker 1: You know, it's like he because this character, Yeah, he's like,

705
00:37:38,000 --> 00:37:39,960
Speaker 1: I feel the spirit of this age, but I'm not

706
00:37:40,160 --> 00:37:42,120
Speaker 1: altogether on the technology just yet.

707
00:37:42,440 --> 00:37:44,640
Speaker 3: Yeah, it's great. And there are all these little things

708
00:37:44,719 --> 00:37:46,719
Speaker 3: in the movie that signal this as it goes on,

709
00:37:46,920 --> 00:37:50,279
Speaker 3: that there's an irony where H. G. Wells is the

710
00:37:50,280 --> 00:37:54,000
Speaker 3: progressive futurist and the age that he travels to does

711
00:37:54,000 --> 00:37:57,200
Speaker 3: include a lot of the ideals he believed in, Like

712
00:37:57,239 --> 00:38:00,440
Speaker 3: he is pleased to discover that women have more rights

713
00:38:00,480 --> 00:38:02,680
Speaker 3: now than they did in his time and so forth.

714
00:38:03,160 --> 00:38:06,200
Speaker 3: But there's this irony because he, for some reason doesn't

715
00:38:06,239 --> 00:38:09,080
Speaker 3: feel comfortable and easy to adapt to the culture of

716
00:38:09,120 --> 00:38:11,040
Speaker 3: the future in the way that Jack the Ripper does.

717
00:38:11,800 --> 00:38:14,840
Speaker 1: Yeah, the treatment of the Ripper in this it reminds

718
00:38:14,920 --> 00:38:17,280
Speaker 1: me a lot of the ideas that Alan Moore would

719
00:38:17,560 --> 00:38:21,840
Speaker 1: would later explore in his his now classic graphic novel

720
00:38:21,920 --> 00:38:24,880
Speaker 1: From Hell about Jack the Ripper, in which the Ripper

721
00:38:24,920 --> 00:38:30,280
Speaker 1: is presented as the dark embodiment of the Victorian age

722
00:38:30,640 --> 00:38:33,960
Speaker 1: and ultimately the beginning of the twentieth century, a kind

723
00:38:33,960 --> 00:38:37,560
Speaker 1: of profit of the modern age to follow. Now, needless

724
00:38:37,560 --> 00:38:40,200
Speaker 1: to say, that's a much darker treatment, and our ripper

725
00:38:40,239 --> 00:38:42,480
Speaker 1: in this film does not see himself as such a

726
00:38:42,520 --> 00:38:45,960
Speaker 1: grandiose figure. He's he simply shan't stop ripping, and this

727
00:38:46,040 --> 00:38:48,040
Speaker 1: is an even better age in which to do it.

728
00:38:48,320 --> 00:38:52,040
Speaker 1: But he, like, like that line above that we mentioned, implies,

729
00:38:52,640 --> 00:38:55,839
Speaker 1: he feels like the world has ultimately passed passed him by.

730
00:38:55,960 --> 00:38:59,600
Speaker 1: It's even, it's even it's not only met his his

731
00:38:59,600 --> 00:39:02,120
Speaker 1: his spear, but it has surpassed his spirit. But he's

732
00:39:02,160 --> 00:39:04,160
Speaker 1: happy to live in this age, right.

733
00:39:04,200 --> 00:39:06,560
Speaker 3: And so one could take this in a kind of

734
00:39:07,360 --> 00:39:10,319
Speaker 3: simplistic way and say that, well, maybe the movie is

735
00:39:10,400 --> 00:39:14,879
Speaker 3: just engaging in the sort of naive pessimism, the pessimistic

736
00:39:14,920 --> 00:39:17,600
Speaker 3: bias that makes people always think that times are just

737
00:39:17,719 --> 00:39:20,160
Speaker 3: the worst they've ever been, things are always getting worse

738
00:39:20,200 --> 00:39:22,440
Speaker 3: the hell in a hand basket, thinking, I would say,

739
00:39:22,440 --> 00:39:25,840
Speaker 3: the movie actually doesn't quite do that. It pretty frequently

740
00:39:26,000 --> 00:39:29,160
Speaker 3: acknowledges things that in Well's view, are better about the

741
00:39:29,200 --> 00:39:32,320
Speaker 3: present than they were in Well's time. But there's also

742
00:39:32,560 --> 00:39:36,160
Speaker 3: something off about the modern age, especially something the sort

743
00:39:36,200 --> 00:39:40,000
Speaker 3: of about the sort of indifference to violence and the

744
00:39:40,040 --> 00:39:43,880
Speaker 3: sort of callousness of the modern world that the Ripper

745
00:39:43,920 --> 00:39:45,000
Speaker 3: finds very welcoming.

746
00:39:45,760 --> 00:39:48,239
Speaker 1: What is the headline in the newspaper that he picks

747
00:39:48,320 --> 00:39:51,160
Speaker 1: up about. It's a sports headline. It's like Ram's massacre

748
00:39:51,239 --> 00:39:52,239
Speaker 1: cults or something like that.

749
00:39:52,400 --> 00:39:54,640
Speaker 3: Yeah, it is Ram's mall cults or something.

750
00:39:54,719 --> 00:39:56,920
Speaker 1: Yeah, Which I love that moment. That's a great one

751
00:39:56,960 --> 00:39:59,239
Speaker 1: of many great moments in the film where it's like, yeah,

752
00:39:59,280 --> 00:40:02,560
Speaker 1: that headline is just insane. It implies outside of the

753
00:40:02,560 --> 00:40:06,080
Speaker 1: you know, the modern sports understanding of it, that that

754
00:40:06,280 --> 00:40:09,759
Speaker 1: like herbivores are carrying each other apart in the streets,

755
00:40:10,040 --> 00:40:13,120
Speaker 1: you know, like we're living in like a biblically misaligned age.

756
00:40:13,360 --> 00:40:15,640
Speaker 3: Yeah, And so, I don't know. I appreciate the the

757
00:40:15,719 --> 00:40:18,640
Speaker 3: interesting complexity of the feeling that it has about the

758
00:40:18,680 --> 00:40:21,760
Speaker 3: present that like, some things have definitely progressed and gotten

759
00:40:21,800 --> 00:40:24,400
Speaker 3: better since the time that Wells is used to, but

760
00:40:24,520 --> 00:40:26,200
Speaker 3: there are other things that are just sort of like

761
00:40:26,280 --> 00:40:30,879
Speaker 3: always new sicknesses that continually emerge throughout history, and there's

762
00:40:30,920 --> 00:40:33,160
Speaker 3: something going on with the kind of with the kind

763
00:40:33,200 --> 00:40:37,319
Speaker 3: of inurement to violence and hatred that just is pervasive

764
00:40:37,400 --> 00:40:38,440
Speaker 3: in the modern world.

765
00:40:39,280 --> 00:40:41,200
Speaker 1: And I think I think a lot of this is

766
00:40:41,239 --> 00:40:44,840
Speaker 1: exemplified by the setting, because you know, I like the

767
00:40:44,880 --> 00:40:48,160
Speaker 1: idea of setting it in in the United States, even

768
00:40:48,200 --> 00:40:50,840
Speaker 1: though it you know, begins in what is supposed to

769
00:40:50,880 --> 00:40:54,440
Speaker 1: be London. But you could have easily you could imagine

770
00:40:54,440 --> 00:40:57,120
Speaker 1: someone arguing, well, let's set this in seventies New York,

771
00:40:57,200 --> 00:40:59,359
Speaker 1: you know, just straight to Hell City. But no, you

772
00:40:59,360 --> 00:41:02,320
Speaker 1: go to San Francisco. And their treatment to San Francisco

773
00:41:02,480 --> 00:41:04,880
Speaker 1: is this kind of almost fifty to fifty split of

774
00:41:04,960 --> 00:41:08,520
Speaker 1: cedier elements and seedier parts of town. But also you

775
00:41:08,560 --> 00:41:11,320
Speaker 1: have so many You have a lot of time in

776
00:41:11,360 --> 00:41:15,160
Speaker 1: the film to admire sort of modern late seventies architecture

777
00:41:15,200 --> 00:41:19,840
Speaker 1: in San Francisco, to walk through the parks in public spaces.

778
00:41:19,960 --> 00:41:22,759
Speaker 1: So I think it's a nice balance. It's achieved through

779
00:41:23,000 --> 00:41:25,560
Speaker 1: the setting, and ultimately the film is like a in

780
00:41:25,600 --> 00:41:27,680
Speaker 1: a way, it's like it makes you want to visit

781
00:41:28,160 --> 00:41:31,720
Speaker 1: of San Francisco. It's like a tourism brochure for the city.

782
00:41:32,120 --> 00:41:34,680
Speaker 3: They spend a lot of time wandering around the Pan

783
00:41:34,680 --> 00:41:38,680
Speaker 3: American Exposition buildings, which is funny because he's you know,

784
00:41:38,840 --> 00:41:42,319
Speaker 3: Wells is admiring them. In Mary Stein Virgin's character, I

785
00:41:42,360 --> 00:41:44,560
Speaker 3: think she has to break his heart and inform him

786
00:41:44,600 --> 00:41:45,640
Speaker 3: that they're made of plaster.

787
00:41:46,200 --> 00:41:49,200
Speaker 1: Yeah. Yeah. He asked if they're made of marble and

788
00:41:49,640 --> 00:41:50,880
Speaker 1: she says it says no plaster.

789
00:41:51,920 --> 00:41:55,560
Speaker 3: But is that actually worse? I don't know. They are

790
00:41:55,560 --> 00:42:06,840
Speaker 3: beautiful to look at. Since I guess it's time to

791
00:42:06,920 --> 00:42:09,680
Speaker 3: jump into the connections anyway, I just wanted to flag

792
00:42:09,840 --> 00:42:13,200
Speaker 3: a strange fact, which is that? Okay? So this movie

793
00:42:13,360 --> 00:42:17,040
Speaker 3: was directed and at least in part written by Nicholas Meyer.

794
00:42:17,040 --> 00:42:19,080
Speaker 3: I know was based on a novel, and I think

795
00:42:19,120 --> 00:42:21,400
Speaker 3: there are multiple story credits for the movie, but Nicholas

796
00:42:21,440 --> 00:42:25,279
Speaker 3: Meyer the director and I think wrote the screenplay at

797
00:42:25,360 --> 00:42:28,600
Speaker 3: least or was one of the writers. He made this movie,

798
00:42:28,600 --> 00:42:30,840
Speaker 3: which is about HG. Wells and Jack the Ripper traveling

799
00:42:30,880 --> 00:42:35,440
Speaker 3: through time to nineteen seventy nine San Francisco, and Nicholas

800
00:42:35,440 --> 00:42:38,080
Speaker 3: Meyer also was one of the writers of Star Trek

801
00:42:38,160 --> 00:42:41,680
Speaker 3: four The Voyage Home, which involves time traveling to present

802
00:42:41,760 --> 00:42:45,960
Speaker 3: day San Francisco, but from the future instead of the past. Interesting,

803
00:42:46,280 --> 00:42:47,840
Speaker 3: he knows what he likes. Yeah.

804
00:42:48,120 --> 00:42:48,200
Speaker 4: So.

805
00:42:48,320 --> 00:42:51,759
Speaker 1: Nicholas Meyer was born nineteen forty five American writer and

806
00:42:51,800 --> 00:42:54,440
Speaker 1: director who first made a splash with the nineteen seventy

807
00:42:54,440 --> 00:42:58,520
Speaker 1: four Sherlock Holmes novel The Seven Percent Solution, in which

808
00:42:58,520 --> 00:43:01,640
Speaker 1: Sigmund Freud helps Sherlock Holmes battle his drug addiction.

809
00:43:02,239 --> 00:43:02,719
Speaker 3: Interesting.

810
00:43:03,600 --> 00:43:07,160
Speaker 1: Meyer wrote the screenplay for then the nineteen seventy six

811
00:43:07,280 --> 00:43:12,120
Speaker 1: film adaptation that starred Nicole Williamson, Robert Duval, Alan Arkin,

812
00:43:12,360 --> 00:43:16,040
Speaker 1: and Lawrence Olivier, as well as Charles Gray and Samantha Egger.

813
00:43:16,560 --> 00:43:20,920
Speaker 1: It was a big hit. Meyer wrote more Holmes novels

814
00:43:21,160 --> 00:43:22,960
Speaker 1: and then went on to direct this film in nineteen

815
00:43:22,960 --> 00:43:26,320
Speaker 1: seventy nine, followed by Star Trek two, The Wrath of

816
00:43:26,400 --> 00:43:29,240
Speaker 1: Kahn in nineteen eighty two, and Star Trek Being Discovered

817
00:43:29,239 --> 00:43:32,280
Speaker 1: Country in nineteen ninety one, among other films, but those

818
00:43:32,320 --> 00:43:33,040
Speaker 1: were the big ones.

819
00:43:33,360 --> 00:43:36,080
Speaker 3: One interesting thing about Nicholas Meyer as a filmmaker was

820
00:43:36,080 --> 00:43:39,920
Speaker 3: that he was also behind the nineteen eighty three TV

821
00:43:40,040 --> 00:43:43,759
Speaker 3: special or TV movie The Day After, which was a

822
00:43:43,800 --> 00:43:48,960
Speaker 3: supposedly factual look at the possibilities of nuclear war, like

823
00:43:48,960 --> 00:43:53,640
Speaker 3: what if the Cold War went hot? And this It's

824
00:43:53,680 --> 00:43:56,160
Speaker 3: hard to tell exactly how influential it was, but it

825
00:43:56,200 --> 00:44:00,919
Speaker 3: has been alleged that this TV movie was pretty influential

826
00:44:01,040 --> 00:44:04,920
Speaker 3: even at high levels of government, and changed the thinking

827
00:44:05,000 --> 00:44:10,040
Speaker 3: of some military and political officials about antagonism in the

828
00:44:10,080 --> 00:44:10,600
Speaker 3: Cold War.

829
00:44:11,239 --> 00:44:14,000
Speaker 1: Oh wow. Now. He also wrote a number of screenplays,

830
00:44:14,040 --> 00:44:17,080
Speaker 1: including but not limited to, Star Trek, The Voyage Home,

831
00:44:17,920 --> 00:44:21,600
Speaker 1: The Human Stain, and the pilot episode for the twenty

832
00:44:21,640 --> 00:44:25,640
Speaker 1: seventeen TV series Time After Time, which we alluded to earlier,

833
00:44:25,960 --> 00:44:28,440
Speaker 1: which I have not seen it. It may be great,

834
00:44:28,640 --> 00:44:30,919
Speaker 1: but just looking at stills, it looks like it asked

835
00:44:30,960 --> 00:44:34,320
Speaker 1: the question what if time after Time? But hunkier.

836
00:44:34,800 --> 00:44:37,280
Speaker 3: Yeah, it's got some very square jaw lines.

837
00:44:38,400 --> 00:44:42,040
Speaker 1: So ultimately, Nicholas Meyer Saturn Award winner, and he's been

838
00:44:42,080 --> 00:44:44,960
Speaker 1: nominated for both an Academy Award and three Emmys.

839
00:44:45,320 --> 00:44:49,439
Speaker 3: But if I understand correctly, this movie, much like two

840
00:44:49,440 --> 00:44:52,040
Speaker 3: thousand and one A Space Odyssey, was one of the

841
00:44:52,120 --> 00:44:56,400
Speaker 3: rare cases where a movie based on a book is

842
00:44:56,520 --> 00:45:00,920
Speaker 3: being completed simultaneously to the completion of the book.

843
00:45:01,320 --> 00:45:05,239
Speaker 1: That's right, And this leads us to the writer Carl Alexander.

844
00:45:05,840 --> 00:45:08,480
Speaker 1: This is the son of William Tunberg, who wrote the

845
00:45:08,520 --> 00:45:11,880
Speaker 1: screenplay for Old Yeller and the nephew of Carl Tunberg,

846
00:45:11,880 --> 00:45:15,960
Speaker 1: who wrote the screenplay for Ben Hurr. This was his

847
00:45:16,000 --> 00:45:19,040
Speaker 1: first novel, Time after Time, though the book was actually

848
00:45:19,120 --> 00:45:23,640
Speaker 1: optioned before it was completed by Nicholas Meyer, who happened

849
00:45:23,680 --> 00:45:26,160
Speaker 1: to be a friend of Alexander's who had heard him

850
00:45:26,160 --> 00:45:28,479
Speaker 1: talking about it and had I think, looked at a

851
00:45:28,480 --> 00:45:34,640
Speaker 1: part of the novel before it was completed, and so

852
00:45:34,760 --> 00:45:36,000
Speaker 1: he was like, this is it. I want this to

853
00:45:36,040 --> 00:45:40,279
Speaker 1: be my next film, So the film is finished alongside

854
00:45:40,280 --> 00:45:41,920
Speaker 1: the book. The book and the film were being completed

855
00:45:41,960 --> 00:45:42,600
Speaker 1: at the same time.

856
00:45:43,040 --> 00:45:43,560
Speaker 3: Interesting.

857
00:45:43,640 --> 00:45:46,440
Speaker 1: Yeah. He went on to follow this up with a

858
00:45:46,480 --> 00:45:50,000
Speaker 1: sequel novel in twenty nineteen, or at least it published

859
00:45:50,040 --> 00:45:52,160
Speaker 1: in twenty nineteen. I'm not sure if someone else had

860
00:45:52,160 --> 00:45:53,880
Speaker 1: to finish it for him or how it worked out

861
00:45:53,920 --> 00:45:56,520
Speaker 1: with the manuscript, because he lived nineteen thirty eight through

862
00:45:56,560 --> 00:45:59,120
Speaker 1: twenty fifteen, so he would not have lived to see

863
00:45:59,520 --> 00:46:03,360
Speaker 1: Jacqueline the Ripper published in twenty nineteen. Now, the writer

864
00:46:03,520 --> 00:46:05,799
Speaker 1: Steve Hayes also has a story credit on in this

865
00:46:05,880 --> 00:46:09,080
Speaker 1: born nineteen thirty one. Again, I think this comes back

866
00:46:09,080 --> 00:46:10,879
Speaker 1: to the fact that the screenplay in the novel were

867
00:46:10,920 --> 00:46:13,920
Speaker 1: essentially being completed. At the same time, Hayes did a

868
00:46:13,920 --> 00:46:16,760
Speaker 1: lot of TV writing, including for at least two series

869
00:46:17,320 --> 00:46:19,960
Speaker 1: that I wasn't familiar with based on popular eighties action

870
00:46:20,120 --> 00:46:24,200
Speaker 1: films Conan which ran ninety seven through ninety eight, and

871
00:46:24,400 --> 00:46:27,239
Speaker 1: Rambo from nineteen eighty six, which I got excited about

872
00:46:27,280 --> 00:46:29,160
Speaker 1: and then realized that it was a cartoon. But then

873
00:46:29,200 --> 00:46:32,399
Speaker 1: also I find that weird that we decided Rambo needed

874
00:46:32,440 --> 00:46:33,200
Speaker 1: to be a cartoon.

875
00:46:33,920 --> 00:46:36,560
Speaker 3: Yeah, I didn't know there was a Conan or Rambo

876
00:46:36,640 --> 00:46:37,440
Speaker 3: TV series.

877
00:46:37,920 --> 00:46:40,200
Speaker 1: All right, Well, let's come back to Malcolm McDowell, who

878
00:46:40,280 --> 00:46:43,799
Speaker 1: plays h. G. Wells in this Born in nineteen forty three,

879
00:46:43,880 --> 00:46:46,239
Speaker 1: and this is a guy where it's hard to even

880
00:46:46,239 --> 00:46:49,120
Speaker 1: figure out where to begin. Legendary British actor who played

881
00:46:49,160 --> 00:46:54,040
Speaker 1: Alex and Stanley Kubrick's A Clockwork Orange in nineteen seventy one. Again,

882
00:46:54,080 --> 00:46:56,680
Speaker 1: he was in the notorious nineteen seventy nine film Caligula,

883
00:46:57,320 --> 00:47:00,200
Speaker 1: which came right before this one. He was in eighty

884
00:47:00,239 --> 00:47:03,920
Speaker 1: two's Cat People. I fondly remember him from a child

885
00:47:03,960 --> 00:47:06,960
Speaker 1: watching nineteen eighty three. He's Blue Thunder. He plays the

886
00:47:07,040 --> 00:47:10,280
Speaker 1: villain in that who flies this little helicopter that battles.

887
00:47:10,280 --> 00:47:13,440
Speaker 1: Our big combat police helicopter that is Blue Thunder.

888
00:47:13,800 --> 00:47:17,120
Speaker 3: Oh boy, I do not have a helicopter a battle movie.

889
00:47:17,160 --> 00:47:20,640
Speaker 3: How many are there? And I remember there's one called

890
00:47:20,680 --> 00:47:24,880
Speaker 3: I think Firebirds that has maybe Charlie Sheen or somebody

891
00:47:24,880 --> 00:47:25,120
Speaker 3: in it.

892
00:47:25,440 --> 00:47:27,560
Speaker 1: I think, so yeah, this one. I have no idea

893
00:47:27,600 --> 00:47:31,120
Speaker 1: how big of a splash Blue Thunder was at all,

894
00:47:31,120 --> 00:47:32,800
Speaker 1: but it was big for me as a kid because

895
00:47:32,920 --> 00:47:36,040
Speaker 1: my aunt had taped some films off of HBO. This

896
00:47:36,200 --> 00:47:39,360
Speaker 1: was one of them, and it was probably inappropriate for

897
00:47:39,400 --> 00:47:41,440
Speaker 1: me to be watching it, but I mainly watched it

898
00:47:41,480 --> 00:47:44,479
Speaker 1: for the helicopter combat scenarios, and then I would build

899
00:47:44,520 --> 00:47:47,080
Speaker 1: the helicopters out of legos and have them crash into

900
00:47:47,080 --> 00:47:47,439
Speaker 1: each other.

901
00:47:47,680 --> 00:47:50,000
Speaker 3: That's great. I was wrong. Actually it wasn't Charlie Sheen.

902
00:47:50,040 --> 00:47:52,319
Speaker 3: It was Nicholas Cage who was in Firebirds.

903
00:47:52,520 --> 00:47:52,680
Speaker 1: Oh.

904
00:47:53,000 --> 00:47:56,080
Speaker 3: Firebirds was a one of those bad action movies that

905
00:47:56,160 --> 00:47:58,319
Speaker 3: I taped off TV when I was a kid, because

906
00:47:58,320 --> 00:48:00,000
Speaker 3: I was like, looks like this will be a military

907
00:48:00,040 --> 00:48:03,000
Speaker 3: Harry action movie. I'm you know, I'm a boy in

908
00:48:03,080 --> 00:48:05,120
Speaker 3: East Tennessee. This is the kind of movie I'm supposed

909
00:48:05,160 --> 00:48:10,319
Speaker 3: to be watching. Not great, So Malcolm McDowell. Like we said,

910
00:48:10,400 --> 00:48:12,840
Speaker 3: he continues to work a lot in films and TV.

911
00:48:13,800 --> 00:48:16,759
Speaker 3: We can't we can't mention everything he's been in before.

912
00:48:16,760 --> 00:48:18,759
Speaker 3: I believe he's come up on the show before, not

913
00:48:18,760 --> 00:48:20,319
Speaker 3: not maybe in a film that we've watched, but in

914
00:48:20,400 --> 00:48:24,000
Speaker 3: you know, the various connections. But he played doctor Loomis

915
00:48:24,040 --> 00:48:27,759
Speaker 3: in both of Rob Zombie's Halloween films, which I have

916
00:48:27,840 --> 00:48:32,439
Speaker 3: not seen, but I assume he's villainous in those. Oh no,

917
00:48:32,719 --> 00:48:36,040
Speaker 3: he I mean he looks villainous because Malcolm mcdell usually does,

918
00:48:36,080 --> 00:48:38,239
Speaker 3: though he doesn't in time after time. I don't know

919
00:48:38,239 --> 00:48:41,960
Speaker 3: how exactly they accomplished that, maybe with the careful use

920
00:48:42,000 --> 00:48:47,759
Speaker 3: of hairstyling and facial hair. But no, he's not villainous

921
00:48:47,760 --> 00:48:53,319
Speaker 3: in the Rob Zombie Halloween movies. He's just not super helpful. Now.

922
00:48:53,320 --> 00:48:56,160
Speaker 1: One of the interesting things about Malcolm mcdowll in this

923
00:48:56,200 --> 00:48:58,760
Speaker 1: film is that this is where he met his second wife,

924
00:48:59,520 --> 00:49:04,480
Speaker 1: Mary Stubergen, who plays the character Amy Robbins born nineteen

925
00:49:04,520 --> 00:49:07,040
Speaker 1: fifty three. But yeah, they apparently met on this film,

926
00:49:07,440 --> 00:49:10,160
Speaker 1: fell in love on this film, were subsequently married, and

927
00:49:10,480 --> 00:49:13,840
Speaker 1: their son is Charlie McDowell or one of their children Anyways,

928
00:49:13,920 --> 00:49:16,360
Speaker 1: Charlie McDowell, who is a director who directed the excellent

929
00:49:16,400 --> 00:49:18,680
Speaker 1: twenty fourteen film The One I Love.

930
00:49:18,840 --> 00:49:21,879
Speaker 3: Mary Stein Virgin is also great in this. She has

931
00:49:22,280 --> 00:49:25,120
Speaker 3: a kind of funny, nervous energy in the movie, and

932
00:49:25,840 --> 00:49:29,919
Speaker 3: she's of course great as a comic actress. She essentially

933
00:49:31,120 --> 00:49:32,880
Speaker 3: would you say that you think she was sort of

934
00:49:32,920 --> 00:49:36,000
Speaker 3: playing a similar character in this to the character she

935
00:49:36,040 --> 00:49:37,680
Speaker 3: plays in Back to the Future three.

936
00:49:38,160 --> 00:49:39,960
Speaker 1: I guess so. Back to the Future three is one

937
00:49:40,000 --> 00:49:42,040
Speaker 1: of those films that I think most people only see once,

938
00:49:42,120 --> 00:49:44,520
Speaker 1: so I don't really remember her all that. I remember

939
00:49:44,600 --> 00:49:46,759
Speaker 1: the basics of the character, but I don't know how

940
00:49:46,800 --> 00:49:48,200
Speaker 1: closely they align with this.

941
00:49:48,600 --> 00:49:50,800
Speaker 3: Right, Well, I was just thinking Back to the Future

942
00:49:50,840 --> 00:49:54,160
Speaker 3: three had to in part be based on or partially

943
00:49:54,200 --> 00:49:56,360
Speaker 3: derived from her role in Time after Time.

944
00:49:56,840 --> 00:49:58,719
Speaker 1: Yeah, yeah, I would. I would think so. I mean,

945
00:49:58,760 --> 00:50:04,160
Speaker 1: because ultimately, I think most time travel romance novels or

946
00:50:04,200 --> 00:50:06,960
Speaker 1: films or TV shows have it have to at least

947
00:50:07,040 --> 00:50:10,160
Speaker 1: in some way look back to Time after Time. It

948
00:50:10,200 --> 00:50:11,440
Speaker 1: feels very influential.

949
00:50:12,200 --> 00:50:14,959
Speaker 3: But yeah, she I think it took me a while

950
00:50:15,000 --> 00:50:17,640
Speaker 3: to figure out that she is so good as a

951
00:50:17,680 --> 00:50:21,040
Speaker 3: comic actress because I think I recall the first the

952
00:50:21,080 --> 00:50:24,040
Speaker 3: first role in which I really became familiar with her

953
00:50:24,239 --> 00:50:29,320
Speaker 3: was as like a nefarious lawyer defending the bad company

954
00:50:29,320 --> 00:50:32,360
Speaker 3: in Philadelphia. Oh okay, you remember that.

955
00:50:34,160 --> 00:50:35,719
Speaker 1: It's been a long time. I think I saw that

956
00:50:35,840 --> 00:50:36,520
Speaker 1: many years ago.

957
00:50:36,719 --> 00:50:39,080
Speaker 3: Oh yeah, I think she plays a ruthless lawyer who's

958
00:50:39,160 --> 00:50:41,960
Speaker 3: who's defending the company this being sued and she has

959
00:50:42,040 --> 00:50:45,280
Speaker 3: like cruel scenes where she grills Tom Hanks on the stand.

960
00:50:46,040 --> 00:50:48,319
Speaker 3: But that was before i'd seen her really in any

961
00:50:48,400 --> 00:50:52,640
Speaker 3: comedy stuff. And she's great in comedies. She's great in

962
00:50:52,719 --> 00:50:56,560
Speaker 3: Step Brothers, where Will Ferrell is her son, I think,

963
00:50:56,680 --> 00:50:59,640
Speaker 3: and well, you know, it makes me wonder as Will

964
00:50:59,680 --> 00:51:02,400
Speaker 3: Ferrell her son with h. G. Wells from this movie.

965
00:51:03,440 --> 00:51:06,000
Speaker 1: I always enjoy her when she's she often pops up

966
00:51:06,080 --> 00:51:09,920
Speaker 1: in various comedy things that her husband Ted Danson is in,

967
00:51:10,600 --> 00:51:12,560
Speaker 1: and so she's been very funny in some of those films.

968
00:51:12,600 --> 00:51:15,160
Speaker 1: I remember she was in Elf and had a pretty

969
00:51:15,200 --> 00:51:18,720
Speaker 1: fun role in that. But ultimately Academy Award winning Actor

970
00:51:18,800 --> 00:51:22,640
Speaker 1: here with Mary as his steam burgon here, and she's

971
00:51:22,640 --> 00:51:24,680
Speaker 1: pretty good in this. Yeah, she's it's a it's it's

972
00:51:24,680 --> 00:51:28,080
Speaker 1: an interesting role because she's called upon in I think

973
00:51:28,200 --> 00:51:31,840
Speaker 1: her only second screen presence to play the modern woman,

974
00:51:32,239 --> 00:51:35,319
Speaker 1: to like to represent not only the modern woman from

975
00:51:35,360 --> 00:51:39,080
Speaker 1: the film's perspective, but the future woman, the woman of

976
00:51:39,120 --> 00:51:43,560
Speaker 1: the future from H. G. Wells perspective. So it's it's

977
00:51:43,640 --> 00:51:49,560
Speaker 1: kind of a it mostly holds up today. There are

978
00:51:49,560 --> 00:51:52,040
Speaker 1: certainly some some choices here and there where you're like, well,

979
00:51:52,239 --> 00:51:54,600
Speaker 1: I think they would they would inevitably do that differently

980
00:51:54,640 --> 00:51:58,480
Speaker 1: if you were to create this again in like twenty

981
00:51:58,520 --> 00:51:59,640
Speaker 1: twenty or twenty twenty one.

982
00:51:59,719 --> 00:52:01,920
Speaker 3: But well, I would say those are not choices on

983
00:52:02,000 --> 00:52:05,839
Speaker 3: mary Stein versions in the script. Yeah, there are some,

984
00:52:06,000 --> 00:52:08,759
Speaker 3: like it is ironic that some of the parts of

985
00:52:08,800 --> 00:52:12,400
Speaker 3: this movie that the movie clearly regards as the most

986
00:52:12,520 --> 00:52:16,759
Speaker 3: illustrative of the culture of the modern world are exactly

987
00:52:16,800 --> 00:52:20,560
Speaker 3: the ones that have aged the most poorly. Like they're like,

988
00:52:20,600 --> 00:52:23,960
Speaker 3: there's a scene where mary Stein Margins character uses casually

989
00:52:24,040 --> 00:52:27,600
Speaker 3: using offensive language to refer to lesbians, like she says

990
00:52:27,640 --> 00:52:30,640
Speaker 3: the D word. I assume that that word was considered

991
00:52:30,680 --> 00:52:33,080
Speaker 3: derogatory at the time. I think it was. And she

992
00:52:33,120 --> 00:52:35,000
Speaker 3: talks about how she does want to pursue her own

993
00:52:35,080 --> 00:52:37,960
Speaker 3: career ambitions, but she offers the disclaimer that I'm not

994
00:52:38,120 --> 00:52:39,160
Speaker 3: women's lib.

995
00:52:40,800 --> 00:52:45,879
Speaker 1: Yeah. Oh. She also echoes this idea that one's work

996
00:52:45,920 --> 00:52:48,640
Speaker 1: should be your life and that that's like a healthy

997
00:52:48,719 --> 00:52:53,239
Speaker 1: choice for the modern professional as if. Like, ultimately, Jack

998
00:52:53,280 --> 00:52:55,399
Speaker 1: the Ripper's main flaw is that he's making too much

999
00:52:55,440 --> 00:52:56,360
Speaker 1: time for his hobbies.

1000
00:52:56,640 --> 00:52:59,479
Speaker 3: Right, Yeah. I do think it's interesting though in this film,

1001
00:52:59,520 --> 00:53:02,600
Speaker 3: that's like compairing these you know, different expectations for how

1002
00:53:02,640 --> 00:53:05,799
Speaker 3: the future will turn out, especially with regards to things

1003
00:53:05,840 --> 00:53:08,000
Speaker 3: like moral values and all that that. Like, some of

1004
00:53:08,040 --> 00:53:10,759
Speaker 3: the things that are that are considered the most like

1005
00:53:10,880 --> 00:53:14,520
Speaker 3: sort of textural illustrations of how people think in the

1006
00:53:14,520 --> 00:53:16,720
Speaker 3: modern world are some of the things that have aged

1007
00:53:16,760 --> 00:53:17,280
Speaker 3: the worst.

1008
00:53:17,840 --> 00:53:21,560
Speaker 1: Yeah, yeah, that is interesting. But again, ultimately this is

1009
00:53:21,600 --> 00:53:24,480
Speaker 1: the writing nothing on Mary. Mary's great in this true.

1010
00:53:24,840 --> 00:53:27,799
Speaker 1: All right, let's let's get to our ripper. Let's talk

1011
00:53:27,800 --> 00:53:30,600
Speaker 1: a little bit about the actor who plays doctor John

1012
00:53:30,719 --> 00:53:34,480
Speaker 1: Leslie Stevenson aka Jack the Ripper. This is the legendary

1013
00:53:34,600 --> 00:53:35,400
Speaker 1: David Warner.

1014
00:53:35,760 --> 00:53:37,640
Speaker 3: David Warner is fantastic in this.

1015
00:53:38,200 --> 00:53:41,640
Speaker 1: Yes, yeah, he's he is great. Warner born nineteen forty

1016
00:53:41,680 --> 00:53:45,040
Speaker 1: one as of this recording, still still still around and

1017
00:53:45,440 --> 00:53:49,840
Speaker 1: either still active or was still active in a limited

1018
00:53:50,640 --> 00:53:54,160
Speaker 1: to a limited degree as of like twenty twenty. I'm

1019
00:53:54,160 --> 00:53:56,400
Speaker 1: not sure, especially when you're older individuals like this. I

1020
00:53:56,400 --> 00:53:58,720
Speaker 1: don't know if he has effectively retired at this point

1021
00:53:58,800 --> 00:54:00,879
Speaker 1: or he's going to come back and do some more

1022
00:54:00,960 --> 00:54:05,799
Speaker 1: voice acting. But he, like McDowell, has been in just

1023
00:54:05,880 --> 00:54:09,040
Speaker 1: everything twice. He has two hundred and twenty five acting

1024
00:54:09,080 --> 00:54:11,759
Speaker 1: credits on IMDb. He has done theater, he has done

1025
00:54:11,840 --> 00:54:14,839
Speaker 1: audio dramas. He seems like a guy who has just

1026
00:54:15,040 --> 00:54:18,840
Speaker 1: constantly been working through you know, just just NonStop throughout

1027
00:54:18,880 --> 00:54:22,160
Speaker 1: his career. Yeah, and like McDowell, he also has a

1028
00:54:22,239 --> 00:54:25,720
Speaker 1: real knack for playing villains and has played some really

1029
00:54:25,760 --> 00:54:29,520
Speaker 1: notable ones. He was in Titanic, he was in Tron

1030
00:54:30,120 --> 00:54:33,440
Speaker 1: Time Bandits. Oh yeah, he was in Star Trek. The

1031
00:54:33,480 --> 00:54:36,600
Speaker 1: Undiscovered Country also popped up on some key episodes of

1032
00:54:37,000 --> 00:54:41,160
Speaker 1: Trek television series, including the one where the Romulin tortures Picard.

1033
00:54:41,840 --> 00:54:47,080
Speaker 1: I'm sorry, not a Romulant. It's a Cadassian. Good what

1034
00:54:47,120 --> 00:54:47,440
Speaker 1: are they?

1035
00:54:48,080 --> 00:54:48,799
Speaker 3: I don't know.

1036
00:54:49,440 --> 00:54:53,000
Speaker 1: Not a Kardashi Cardassian, Yes, the Kardassians. He plays a

1037
00:54:53,080 --> 00:54:57,759
Speaker 1: Cardassian in that, and a Cardassian interrogator, and he is

1038
00:54:57,840 --> 00:55:00,960
Speaker 1: torturing Picard and trying him to to like break him

1039
00:55:01,320 --> 00:55:03,160
Speaker 1: a very memorable episode.

1040
00:55:03,560 --> 00:55:06,520
Speaker 3: Speaking of being in time travel movies, Oh, I love

1041
00:55:06,640 --> 00:55:09,839
Speaker 3: him in Time Bandits. He plays the villain in Time Bandits.

1042
00:55:09,600 --> 00:55:12,480
Speaker 3: He's the embodiment of evil. He's sort of the devil,

1043
00:55:13,440 --> 00:55:17,359
Speaker 3: but he is obsessed with technology in Time Bandits, which

1044
00:55:17,360 --> 00:55:20,000
Speaker 3: I think has some sort of satirical content, but like

1045
00:55:20,040 --> 00:55:22,680
Speaker 3: a lot of things in Time Bandits and Terry Gilliam

1046
00:55:22,680 --> 00:55:25,160
Speaker 3: movies more generally, and it's a thing that I like

1047
00:55:25,239 --> 00:55:29,120
Speaker 3: a lot of times, the satire is not super clear.

1048
00:55:29,320 --> 00:55:34,000
Speaker 3: It's satirical in a kind of vague way. But yeah,

1049
00:55:34,040 --> 00:55:36,000
Speaker 3: I love that the devil like he's he seems to

1050
00:55:36,040 --> 00:55:40,440
Speaker 3: not really understand what subscriber try dialing is, but he

1051
00:55:40,560 --> 00:55:43,439
Speaker 3: really wants to know about it, and he really wants

1052
00:55:43,520 --> 00:55:46,600
Speaker 3: to know about you know, about computers and things.

1053
00:55:47,360 --> 00:55:48,520
Speaker 1: I need to watch that one again.

1054
00:55:48,840 --> 00:55:49,840
Speaker 3: Yeah.

1055
00:55:50,160 --> 00:55:52,640
Speaker 1: So David Warner is an actor who's been in way

1056
00:55:52,680 --> 00:55:55,600
Speaker 1: too many things to list here, but I thought I

1057
00:55:55,680 --> 00:55:58,360
Speaker 1: might mention some of some of my additional favorite roles

1058
00:55:58,440 --> 00:56:00,440
Speaker 1: that he's had, and I think all of these are

1059
00:56:00,520 --> 00:56:03,400
Speaker 1: roles where he doesn't necessarily play a villain. He has

1060
00:56:03,440 --> 00:56:05,719
Speaker 1: a role in John Carpenter's in the Mouth of Madness,

1061
00:56:06,640 --> 00:56:09,960
Speaker 1: he plays the head of the Assassin's Guild and the Hogfather,

1062
00:56:10,760 --> 00:56:13,919
Speaker 1: and oh, most memorably, he plays both a good guy

1063
00:56:14,000 --> 00:56:16,720
Speaker 1: and a bad guy in the Quest of the Delta Knights.

1064
00:56:17,000 --> 00:56:17,960
Speaker 3: I don't know that movie.

1065
00:56:18,400 --> 00:56:21,200
Speaker 1: Oh, oh my goodness. So the Quest of the Delta

1066
00:56:21,239 --> 00:56:28,640
Speaker 1: Knights is this low budget Renfestie fantasy yarn and it

1067
00:56:29,480 --> 00:56:31,799
Speaker 1: was used on Mystery Science Theater three thousand, so it

1068
00:56:31,840 --> 00:56:35,320
Speaker 1: was riffed on that show. And it's a strong Mystery

1069
00:56:35,320 --> 00:56:40,160
Speaker 1: Science Theater three thousand episode, as I recall. But it's

1070
00:56:40,760 --> 00:56:42,600
Speaker 1: what the thing I love about it is that it's

1071
00:56:42,640 --> 00:56:45,680
Speaker 1: not something that comes to mind as a good David

1072
00:56:45,719 --> 00:56:50,280
Speaker 1: Warner film. But there was a fabulous interview with David

1073
00:56:50,280 --> 00:56:54,080
Speaker 1: Warner on The av Club by Will Harris with David Warner.

1074
00:56:54,120 --> 00:56:57,480
Speaker 1: This was in twenty seventeen where they basically just run

1075
00:56:57,520 --> 00:56:59,640
Speaker 1: through and ask him about various films that he was in,

1076
00:57:00,239 --> 00:57:01,840
Speaker 1: just you know, what kind of stories do you have

1077
00:57:01,920 --> 00:57:03,600
Speaker 1: from this picture? What kind of stories you have from

1078
00:57:03,600 --> 00:57:07,200
Speaker 1: this picture? And they asked him about the Quest of

1079
00:57:07,200 --> 00:57:10,479
Speaker 1: the Delta knightes and he responded with this, wow. Well,

1080
00:57:10,520 --> 00:57:13,200
Speaker 1: that was, of course a low budget film, which what's

1081
00:57:13,239 --> 00:57:16,440
Speaker 1: that called Mystery Science Theater? It ended up there laughs.

1082
00:57:16,880 --> 00:57:19,320
Speaker 1: But I had great fun doing it, playing two parts.

1083
00:57:19,600 --> 00:57:21,800
Speaker 1: Originally I was just asked to play the one part,

1084
00:57:22,000 --> 00:57:23,960
Speaker 1: and I said, would it save you money if I

1085
00:57:24,000 --> 00:57:27,080
Speaker 1: played two parts for the same money? And they said yes.

1086
00:57:27,680 --> 00:57:30,120
Speaker 1: So I had great fun changing from a black wig

1087
00:57:30,200 --> 00:57:33,040
Speaker 1: into a gray wig and putting brown contact lenses into

1088
00:57:33,040 --> 00:57:36,280
Speaker 1: my normal blue eyes. It was great fun logistically. So

1089
00:57:36,320 --> 00:57:38,840
Speaker 1: I have great affection for that little, low budget film.

1090
00:57:39,040 --> 00:57:41,640
Speaker 1: I've always loved that, this idea, that this film that

1091
00:57:41,680 --> 00:57:45,240
Speaker 1: we think of as being bad and you know, forgettable

1092
00:57:45,360 --> 00:57:48,800
Speaker 1: for an actor of David Warner's pedigree. He's like, no,

1093
00:57:48,920 --> 00:57:51,840
Speaker 1: that was tremendous fun. I'm so glad I did that picture.

1094
00:57:52,120 --> 00:57:52,640
Speaker 3: Wonderful.

1095
00:57:53,040 --> 00:57:56,160
Speaker 1: In that same interview, he also mentions that when it

1096
00:57:56,160 --> 00:57:59,800
Speaker 1: comes to time after time, the studio wanted Mick Jagger

1097
00:57:59,840 --> 00:58:04,560
Speaker 1: for this role. But yeah, but the filmmakers are like, no,

1098
00:58:04,640 --> 00:58:07,360
Speaker 1: we don't want Mick Jagger. We really want David Warner.

1099
00:58:07,520 --> 00:58:10,040
Speaker 1: And they fought for David Warner and thank god they

1100
00:58:10,040 --> 00:58:10,440
Speaker 1: got him.

1101
00:58:10,840 --> 00:58:13,640
Speaker 3: Yeah, because you had to save Mick Jagger for free Jack.

1102
00:58:14,800 --> 00:58:18,000
Speaker 1: I think free Jack chowse us everything we need to

1103
00:58:18,040 --> 00:58:20,640
Speaker 1: know that it would have. I'm not saying mc jagger

1104
00:58:20,640 --> 00:58:23,600
Speaker 1: would have made a bad Jack the Ripper, but I

1105
00:58:23,600 --> 00:58:25,440
Speaker 1: don't think he would have been well, he would not

1106
00:58:25,520 --> 00:58:26,920
Speaker 1: have been a very good Jack the Ripper. Let's just

1107
00:58:27,000 --> 00:58:27,520
Speaker 1: leave it there.

1108
00:58:27,720 --> 00:58:31,080
Speaker 3: I like David Warner. Yes, I'm glad we got David Warner.

1109
00:58:31,520 --> 00:58:34,000
Speaker 1: Yeah, he's great in this Get the Mate. That's your

1110
00:58:34,040 --> 00:58:37,080
Speaker 1: Mad Jagger, though that's not your David Warner, our ripper

1111
00:58:37,120 --> 00:58:42,360
Speaker 1: in this film of Doctor Stephenson. He's very, very stern,

1112
00:58:43,800 --> 00:58:48,400
Speaker 1: but at times he has a sardonic wit to him.

1113
00:58:48,440 --> 00:58:50,560
Speaker 1: He's it's just it's a great role and he has

1114
00:58:50,600 --> 00:58:53,800
Speaker 1: a lot of great lines in it. It's a very

1115
00:58:53,800 --> 00:58:56,439
Speaker 1: interesting villain. And ultimately I think this may be my

1116
00:58:56,440 --> 00:58:58,680
Speaker 1: my favorite take on Jack the Ripper. I mean, Jack

1117
00:58:58,680 --> 00:59:01,840
Speaker 1: the Ripper is a character that doesn't automatically mean great

1118
00:59:01,880 --> 00:59:06,120
Speaker 1: film presence, but he's I think Warner is terrific in

1119
00:59:06,160 --> 00:59:06,640
Speaker 1: this film.

1120
00:59:06,880 --> 00:59:09,800
Speaker 3: You know what I also love Warner in is Tron,

1121
00:59:10,000 --> 00:59:13,360
Speaker 3: where there's a thing in Tron where the same actor

1122
00:59:13,400 --> 00:59:16,320
Speaker 3: will usually play a character in the real world in

1123
00:59:16,920 --> 00:59:20,680
Speaker 3: meete space, but then also play a character within the

1124
00:59:20,800 --> 00:59:23,760
Speaker 3: digital world. And so David Warner does he's like a

1125
00:59:23,840 --> 00:59:29,040
Speaker 3: sort of corrupt software business leader guy. I think he

1126
00:59:29,120 --> 00:59:32,360
Speaker 3: steals somebody's ideas for some video games or something in

1127
00:59:32,400 --> 00:59:36,200
Speaker 3: the real world. But then within the computer world he

1128
00:59:36,280 --> 00:59:39,800
Speaker 3: plays the villain Sark, who is this evil like you know,

1129
00:59:39,920 --> 00:59:44,360
Speaker 3: Frisbee player who works for the Master Control program. If

1130
00:59:44,360 --> 00:59:46,760
Speaker 3: you haven't seen The Old Tron, it's worth seeing for

1131
00:59:46,800 --> 00:59:49,240
Speaker 3: a number of reasons. But David Warner is a great

1132
00:59:49,320 --> 00:59:49,880
Speaker 3: villain in it.

1133
00:59:50,080 --> 00:59:52,600
Speaker 1: Oh, yes, he's great. Oh I should also I mentioned

1134
00:59:52,600 --> 00:59:55,560
Speaker 1: that nineties Outer Limits episode that has Jack about Jack

1135
00:59:55,600 --> 00:59:58,200
Speaker 1: the Ripper. I watched it last night, so I just

1136
00:59:58,240 --> 01:00:02,000
Speaker 1: have to share real quick. It's titled Ripper, and it's

1137
01:00:02,080 --> 01:00:05,040
Speaker 1: pretty fun. It's maybe a little long, like the episode

1138
01:00:05,080 --> 01:00:09,400
Speaker 1: is longer than the premise demands, but it's it's pretty great.

1139
01:00:09,920 --> 01:00:13,200
Speaker 1: Carrie Elwiss is in it, but also Francis Fisher and

1140
01:00:13,560 --> 01:00:17,480
Speaker 1: France Newan of Death Moon Fame for us of Death

1141
01:00:17,520 --> 01:00:19,680
Speaker 1: Moon Fame. I don't think anybody is actually of Death

1142
01:00:19,720 --> 01:00:22,920
Speaker 1: Moon Fame, but but it's got a fun cast and

1143
01:00:23,120 --> 01:00:26,080
Speaker 1: the premise is essentially this, what if the Jack the

1144
01:00:26,120 --> 01:00:30,320
Speaker 1: Ripper murders were not due to a human killer, but

1145
01:00:30,440 --> 01:00:32,760
Speaker 1: we're due to some sort of a of an alien

1146
01:00:32,880 --> 01:00:37,400
Speaker 1: space snake that goes that travels into people's mouths and

1147
01:00:37,400 --> 01:00:41,160
Speaker 1: then emerges from their bellies, thus creating the abdominal wounds

1148
01:00:41,200 --> 01:00:42,320
Speaker 1: associated with.

1149
01:00:42,320 --> 01:00:46,000
Speaker 3: The Jack the Ripper killings. Wow, yeah, so it's okay.

1150
01:00:46,880 --> 01:00:48,240
Speaker 3: Is David Warner played the snake?

1151
01:00:48,680 --> 01:00:54,080
Speaker 1: No, David Warner plays a Scotland yard investigator, and Carrie

1152
01:00:54,160 --> 01:01:02,280
Speaker 1: Elwiss plays a former doctor turned opium And what is

1153
01:01:02,320 --> 01:01:05,040
Speaker 1: he is? He's an opium attic, but also he's drinking

1154
01:01:05,040 --> 01:01:09,440
Speaker 1: too much absinthe and is just generally depressed and sweaty

1155
01:01:09,480 --> 01:01:12,360
Speaker 1: all the time. And so so there's a lot of

1156
01:01:12,360 --> 01:01:15,880
Speaker 1: great overacting from him, like just the right level of overacting,

1157
01:01:15,880 --> 01:01:19,160
Speaker 1: the type of overacting you you want from Carrie Elvis.

1158
01:01:19,360 --> 01:01:21,400
Speaker 3: Okay, well, I guess I gotta see that one. Maybe

1159
01:01:21,400 --> 01:01:33,480
Speaker 3: it'll come up in a future anthology episode. All right.

1160
01:01:33,920 --> 01:01:35,920
Speaker 1: As far as other people in the film, like these

1161
01:01:35,920 --> 01:01:38,240
Speaker 1: are really the three main characters, I'm not sure how

1162
01:01:38,520 --> 01:01:40,520
Speaker 1: many of these other individuals we need to go into.

1163
01:01:40,560 --> 01:01:42,080
Speaker 1: Some of them are only in it briefly.

1164
01:01:43,400 --> 01:01:47,240
Speaker 3: There are some cameos that pop out. Corey Feldman shows

1165
01:01:47,320 --> 01:01:49,560
Speaker 3: up as a child. I don't think he has any lines,

1166
01:01:49,600 --> 01:01:51,120
Speaker 3: but I just saw him and I was like, wait,

1167
01:01:51,160 --> 01:01:53,240
Speaker 3: that's Corey Feldman. And then he just walks off screen.

1168
01:01:53,480 --> 01:01:56,000
Speaker 1: He may say something like look, mama, time machine or

1169
01:01:56,040 --> 01:01:58,360
Speaker 1: something like that man's in I don't know, he maybe

1170
01:01:58,400 --> 01:02:03,760
Speaker 1: says something, but yeah, this was his film debut. Another

1171
01:02:04,040 --> 01:02:07,680
Speaker 1: film debut. I believe this was at least his first credit.

1172
01:02:07,840 --> 01:02:12,040
Speaker 1: Film screen credit is mc gainey, who displays one of

1173
01:02:12,080 --> 01:02:15,200
Speaker 1: the London Bobbies. But this is an actor born nineteen

1174
01:02:15,280 --> 01:02:19,000
Speaker 1: forty eight. You may not envision him in your mind

1175
01:02:19,080 --> 01:02:20,680
Speaker 1: when I say his name, but if you look him up,

1176
01:02:20,720 --> 01:02:22,960
Speaker 1: you'll be like, oh, that guy because he's a character

1177
01:02:23,000 --> 01:02:28,000
Speaker 1: actor frequently cast as rotund creepers, bikers, and bad cops.

1178
01:02:28,480 --> 01:02:28,680
Speaker 4: Yeah.

1179
01:02:28,720 --> 01:02:31,880
Speaker 3: I think about the pilot of the plane in con Air.

1180
01:02:32,520 --> 01:02:35,320
Speaker 1: Yeah, yeah, that's right, that was him. Now. I usually

1181
01:02:35,400 --> 01:02:37,680
Speaker 1: pinpoint the music, and I should pinpoint the music in

1182
01:02:37,720 --> 01:02:42,200
Speaker 1: this one as well. It is a score by Miklos Rosa,

1183
01:02:42,560 --> 01:02:45,560
Speaker 1: who lived nineteen oh seven through nineteen ninety five. So

1184
01:02:45,720 --> 01:02:47,920
Speaker 1: if you're watching this in the score of this film

1185
01:02:48,080 --> 01:02:52,200
Speaker 1: feels very traditional. Well, that's because Rosa cut his teeth

1186
01:02:52,240 --> 01:02:54,800
Speaker 1: on film scores in the thirties and forties. He was

1187
01:02:54,840 --> 01:02:59,880
Speaker 1: a Hungarian American child prodigy. His earliest successes included The

1188
01:03:00,000 --> 01:03:02,640
Speaker 1: Feathers in nineteen thirty nine and The Thief of Baghdad

1189
01:03:02,680 --> 01:03:06,360
Speaker 1: in nineteen forty. He earned seventeen Academy Award nominations, including

1190
01:03:06,400 --> 01:03:09,120
Speaker 1: three oscars for Spellbound in forty five, a Double If

1191
01:03:09,160 --> 01:03:12,040
Speaker 1: in forty seven, and Ben Her in fifty nine. So

1192
01:03:12,520 --> 01:03:14,720
Speaker 1: huge name in the score business in the Golden Age

1193
01:03:14,760 --> 01:03:17,560
Speaker 1: of Hollywood. He composed a good one hundred scores and

1194
01:03:17,600 --> 01:03:21,320
Speaker 1: also maintain a career as a concert composer. So even

1195
01:03:21,360 --> 01:03:23,720
Speaker 1: though it's not the sort of film score that I

1196
01:03:23,720 --> 01:03:26,360
Speaker 1: would want, I would personally want to listen to outside

1197
01:03:26,400 --> 01:03:30,480
Speaker 1: of the viewing experience, it's a fine score by a

1198
01:03:30,560 --> 01:03:31,720
Speaker 1: legendary composer.

1199
01:03:32,000 --> 01:03:34,400
Speaker 3: It is a nonsynse score that you will allow.

1200
01:03:34,840 --> 01:03:36,440
Speaker 1: Yes, yeah, I will allow it.

1201
01:03:36,800 --> 01:03:38,200
Speaker 3: So I guess we're getting kind of close to the

1202
01:03:38,280 --> 01:03:40,360
Speaker 3: end here. It doesn't make a lot of sense, I

1203
01:03:40,400 --> 01:03:43,240
Speaker 3: think for this one to talk in much detail about

1204
01:03:43,280 --> 01:03:45,920
Speaker 3: the plot or scene by scene, but I mean broadly,

1205
01:03:46,680 --> 01:03:48,640
Speaker 3: the main thing is you have this setup where you

1206
01:03:48,760 --> 01:03:52,480
Speaker 3: establish the characters in the eighteen nineties, and then there

1207
01:03:52,560 --> 01:03:55,680
Speaker 3: is invocation of the time travel mechanism. So Jack the

1208
01:03:55,760 --> 01:03:59,800
Speaker 3: Ripper escapes to the future, and HG. Wells realizes what

1209
01:03:59,880 --> 01:04:03,080
Speaker 3: is happened, realizes that his friend is in fact Jack

1210
01:04:03,080 --> 01:04:05,520
Speaker 3: the Ripper has escaped to the future using his time

1211
01:04:05,560 --> 01:04:08,720
Speaker 3: machine that he invented, and now it's his responsibility to

1212
01:04:08,760 --> 01:04:11,520
Speaker 3: track him down and bring him to justice. So that's

1213
01:04:11,600 --> 01:04:13,600
Speaker 3: one half of the plot, is this sort of chase

1214
01:04:13,640 --> 01:04:15,680
Speaker 3: through time, and then the other half is broadly the

1215
01:04:15,720 --> 01:04:18,680
Speaker 3: love story. When HG. Wells arrives in the future, he

1216
01:04:18,720 --> 01:04:21,280
Speaker 3: and Mary Steinbergen, they meet each other at a bank

1217
01:04:21,360 --> 01:04:23,560
Speaker 3: because he is trying to exchange one hundred year old

1218
01:04:24,440 --> 01:04:27,560
Speaker 3: British pounds for money that he can use to buy

1219
01:04:27,720 --> 01:04:32,640
Speaker 3: Palm Fritz at mcdongle's and she is working there at

1220
01:04:32,640 --> 01:04:34,919
Speaker 3: the currency exchange. They meet and they fall in love,

1221
01:04:35,120 --> 01:04:37,520
Speaker 3: and there's a very sweet love story that develops between

1222
01:04:37,560 --> 01:04:41,440
Speaker 3: them as the plot goes on, and the threat of

1223
01:04:41,520 --> 01:04:43,680
Speaker 3: Jack the Ripper is sort of looming in the background.

1224
01:04:44,280 --> 01:04:46,640
Speaker 3: But apart from that, I mean, I guess, drawing on

1225
01:04:46,680 --> 01:04:49,680
Speaker 3: the themes, I think one thing that's interesting in this

1226
01:04:49,840 --> 01:04:55,560
Speaker 3: movie is it's very pointed about H. G. Wells's reaction,

1227
01:04:56,000 --> 01:05:02,320
Speaker 3: his extreme resistance to army himself with weapons in his

1228
01:05:02,360 --> 01:05:05,560
Speaker 3: struggle against Jack the Ripper when he goes to try

1229
01:05:05,560 --> 01:05:08,360
Speaker 3: to apprehend him. At first, he doesn't arm himself or

1230
01:05:08,400 --> 01:05:10,640
Speaker 3: try to use force in any way. He just goes

1231
01:05:10,680 --> 01:05:13,360
Speaker 3: and tries to talk him into coming back with him,

1232
01:05:13,600 --> 01:05:16,560
Speaker 3: and even later on, as the threat becomes more and

1233
01:05:16,640 --> 01:05:19,360
Speaker 3: more dire, it's only at a point of sort of

1234
01:05:19,400 --> 01:05:22,560
Speaker 3: like breakdown an extremity that he finally gets a gun.

1235
01:05:23,160 --> 01:05:25,080
Speaker 3: It's something that he's been urged to do, I think

1236
01:05:25,120 --> 01:05:29,280
Speaker 3: by Mary Steinbergen and maybe other characters before that time.

1237
01:05:29,320 --> 01:05:31,400
Speaker 3: And I wondered what you thought about that. It was

1238
01:05:31,440 --> 01:05:35,000
Speaker 3: an interesting decision to make this character who's so almost

1239
01:05:35,040 --> 01:05:38,880
Speaker 3: irrationally resistant to using weapons or arming himself.

1240
01:05:39,960 --> 01:05:43,640
Speaker 1: Yeah, I did wonder at that point in the film,

1241
01:05:43,720 --> 01:05:46,240
Speaker 1: like what it was ultimately supposed to mean. Like maybe

1242
01:05:46,240 --> 01:05:48,840
Speaker 1: I guess it was probably more about the character and

1243
01:05:49,480 --> 01:05:51,320
Speaker 1: the necessity of the plot, Like it may be one

1244
01:05:51,320 --> 01:05:54,160
Speaker 1: of those situations where you're like, Okay, he's in a

1245
01:05:54,200 --> 01:05:57,880
Speaker 1: life and death struggle. Surely he would break and get

1246
01:05:57,920 --> 01:06:00,280
Speaker 1: some sort of a weapon at this point. And then

1247
01:06:00,280 --> 01:06:02,600
Speaker 1: it also helps with the whole situation where the police

1248
01:06:02,600 --> 01:06:06,000
Speaker 1: have apprehended him and they find him not only behaving

1249
01:06:06,000 --> 01:06:09,320
Speaker 1: suspiciously but also armed. So I guess it has its

1250
01:06:09,400 --> 01:06:12,440
Speaker 1: role in the plot. I don't. I struggled to get

1251
01:06:12,440 --> 01:06:14,000
Speaker 1: anything more significant out of it.

1252
01:06:14,120 --> 01:06:16,400
Speaker 3: Personally, Well, well, I mean, I mean, I think it

1253
01:06:16,480 --> 01:06:19,280
Speaker 3: probably has something to do with like his utopian ideal,

1254
01:06:19,400 --> 01:06:22,960
Speaker 3: because Wells is imagining, you know, he's his character, and

1255
01:06:23,080 --> 01:06:26,720
Speaker 3: the actual HG. Wells in the late nineteenth century was

1256
01:06:26,760 --> 01:06:29,240
Speaker 3: a member of the Fabian Society and didn't think that,

1257
01:06:29,280 --> 01:06:33,080
Speaker 3: you know, that incrementalist change in a progressive direction would

1258
01:06:33,080 --> 01:06:36,200
Speaker 3: eventually eliminate war and poverty and all that kind of stuff.

1259
01:06:36,200 --> 01:06:40,120
Speaker 3: And so if he's thinking of the utopian ideal, I mean,

1260
01:06:40,200 --> 01:06:44,000
Speaker 3: it seems that he is committed to the utopian ideal

1261
01:06:44,080 --> 01:06:47,720
Speaker 3: of nonviolence in a way that even could be very

1262
01:06:48,000 --> 01:06:50,720
Speaker 3: self destructive and could be seen as irrational. In this

1263
01:06:50,880 --> 01:06:53,160
Speaker 3: case is where like clearly he's dealing with like a

1264
01:06:53,240 --> 01:06:57,480
Speaker 3: dangerous killer one on one. Yeah, And it's interesting that

1265
01:06:57,520 --> 01:06:59,640
Speaker 3: the time when he breaks this is in a moment

1266
01:06:59,680 --> 01:07:02,040
Speaker 3: of weakness. It's when he's sort of like lost it.

1267
01:07:02,400 --> 01:07:04,240
Speaker 1: True, true, Yeah, But.

1268
01:07:04,240 --> 01:07:06,600
Speaker 3: I thought that also had interesting implications. And I don't

1269
01:07:06,600 --> 01:07:09,160
Speaker 3: want to spoil anything, but for how how the conflict

1270
01:07:09,240 --> 01:07:10,520
Speaker 3: has finally resolved in the.

1271
01:07:10,560 --> 01:07:14,360
Speaker 1: End, another point I would I would make about the

1272
01:07:14,400 --> 01:07:16,960
Speaker 1: time machine because I, you know, what, to step into

1273
01:07:16,960 --> 01:07:19,200
Speaker 1: a movie like this and I expect to sort of

1274
01:07:19,200 --> 01:07:22,080
Speaker 1: geek out about the particulars of time travel a bit.

1275
01:07:22,400 --> 01:07:25,520
Speaker 1: And it's interesting because if you asked me to explain

1276
01:07:25,600 --> 01:07:28,000
Speaker 1: exactly how the time machine works, and I'm not talking

1277
01:07:28,040 --> 01:07:30,440
Speaker 1: about like the you know, the power system in all

1278
01:07:30,440 --> 01:07:32,320
Speaker 1: it's supposed to be like solar powered or something, but.

1279
01:07:32,240 --> 01:07:34,959
Speaker 3: There's solar powered even though it's in his basement, right.

1280
01:07:36,080 --> 01:07:39,240
Speaker 1: But there's this whole bit about the different keys that

1281
01:07:39,280 --> 01:07:42,560
Speaker 1: make it do different things, and I cannot tell you

1282
01:07:42,640 --> 01:07:47,880
Speaker 1: what how these exactly worked. But the film, the film

1283
01:07:47,920 --> 01:07:51,560
Speaker 1: screenplay and presentation is so effective that you you don't

1284
01:07:51,560 --> 01:07:54,760
Speaker 1: really have to think too much about it. But it's

1285
01:07:54,760 --> 01:07:57,160
Speaker 1: almost like the whole situation where it's like you have

1286
01:07:57,200 --> 01:07:59,320
Speaker 1: to try and draw a bicycle. You have this vision

1287
01:07:59,360 --> 01:08:01,240
Speaker 1: of the bicycle and and you think you understand it,

1288
01:08:01,280 --> 01:08:04,400
Speaker 1: but then you really don't, not enough to draw it. Now.

1289
01:08:04,440 --> 01:08:06,400
Speaker 1: I feel like that's how the time machine functions in

1290
01:08:06,440 --> 01:08:09,880
Speaker 1: this plot. Like they it works. I understand how it

1291
01:08:09,920 --> 01:08:13,080
Speaker 1: functions in the plot and ultimately in the climax of

1292
01:08:13,120 --> 01:08:17,000
Speaker 1: the picture. But I also would struggle to explain how

1293
01:08:17,040 --> 01:08:18,680
Speaker 1: these keys work and which one does what.

1294
01:08:19,120 --> 01:08:21,439
Speaker 3: That's one type of writing skill. I mean, one good

1295
01:08:21,960 --> 01:08:24,599
Speaker 3: quality of writing is writing that gives you the illusion

1296
01:08:24,640 --> 01:08:28,439
Speaker 3: of explanatory depth. I mean, most stories that you enjoy,

1297
01:08:28,560 --> 01:08:31,519
Speaker 3: you probably couldn't go through and explain in the same

1298
01:08:31,600 --> 01:08:35,280
Speaker 3: level of detail as the author why exactly everything happens

1299
01:08:35,320 --> 01:08:38,839
Speaker 3: and stuff. But there's a sort of ease you settle

1300
01:08:38,880 --> 01:08:41,600
Speaker 3: into with certain types of storytelling, with good writing and

1301
01:08:41,640 --> 01:08:44,240
Speaker 3: all that, where you just kind of like forget about it,

1302
01:08:44,280 --> 01:08:47,519
Speaker 3: You don't worry about it, and you accept that everything

1303
01:08:47,560 --> 01:08:50,280
Speaker 3: makes sense even when it often doesn't. And I mean,

1304
01:08:50,600 --> 01:08:53,920
Speaker 3: and one way in which it doesn't that I wanted

1305
01:08:53,920 --> 01:08:56,439
Speaker 3: to bring up is how this movie does not get

1306
01:08:56,479 --> 01:09:00,000
Speaker 3: into the archetype of the time travel story the arms

1307
01:09:00,280 --> 01:09:02,960
Speaker 3: that I was talking about earlier, and I was thinking

1308
01:09:02,960 --> 01:09:05,120
Speaker 3: about how different the movie could have been if it

1309
01:09:05,160 --> 01:09:08,200
Speaker 3: had embraced that ethic. So when Jack the Ripper flees

1310
01:09:08,240 --> 01:09:12,360
Speaker 3: to the future, the way HG. Wells decides to deal

1311
01:09:12,400 --> 01:09:14,080
Speaker 3: with it is he's going to go to the same

1312
01:09:14,160 --> 01:09:16,800
Speaker 3: time in the future and bring him back, instead of

1313
01:09:17,400 --> 01:09:21,080
Speaker 3: going one day in the past and preventing Jack the

1314
01:09:21,160 --> 01:09:23,840
Speaker 3: Ripper from stealing his time machine in the first place.

1315
01:09:24,360 --> 01:09:26,760
Speaker 1: Yeah, Like that might have been a wiser choice, but

1316
01:09:26,800 --> 01:09:29,120
Speaker 1: it wouldn't have made for his fun of motion picture.

1317
01:09:29,479 --> 01:09:33,559
Speaker 3: Yeah yeah, just different storytelling sensibilities. And ultimately, I mean,

1318
01:09:33,760 --> 01:09:36,160
Speaker 3: I think it comes down to what is it that

1319
01:09:36,240 --> 01:09:39,880
Speaker 3: the storyteller really wants us to think about. In this case,

1320
01:09:39,920 --> 01:09:43,520
Speaker 3: I think they want us to think about the qualities

1321
01:09:43,520 --> 01:09:45,719
Speaker 3: of the present age in which the movie was made,

1322
01:09:45,880 --> 01:09:48,559
Speaker 3: sort of the arc of history, and how that would

1323
01:09:48,560 --> 01:09:51,320
Speaker 3: be sort of metabolized by somebody from the past with

1324
01:09:51,479 --> 01:09:54,920
Speaker 3: utopian ideals and things like that, And it wants to

1325
01:09:54,960 --> 01:09:56,880
Speaker 3: tell that kind of story more than it wants to

1326
01:09:56,880 --> 01:10:00,400
Speaker 3: tell the kind of story about the power that would

1327
01:10:00,439 --> 01:10:03,639
Speaker 3: be granted by a time machine and how people would

1328
01:10:03,760 --> 01:10:04,719
Speaker 3: use that power.

1329
01:10:05,240 --> 01:10:08,200
Speaker 1: Yeah. Yeah. My final note on this film is that

1330
01:10:08,200 --> 01:10:10,639
Speaker 1: there's a scene later on where HG. Wells is using

1331
01:10:10,640 --> 01:10:14,639
Speaker 1: a phone booth. Oh wait, let me back up. Another

1332
01:10:14,680 --> 01:10:16,640
Speaker 1: great point in this film where I was laughing out

1333
01:10:16,720 --> 01:10:19,240
Speaker 1: loud and disturbing my wife while she's trying to work

1334
01:10:19,520 --> 01:10:21,800
Speaker 1: in the next room. Was the whole scene with the

1335
01:10:21,880 --> 01:10:24,640
Speaker 1: garbage disposal. Like, there's a scene where somebody goes to

1336
01:10:24,680 --> 01:10:26,599
Speaker 1: use a garbage disposal and you just see the hand.

1337
01:10:26,880 --> 01:10:29,519
Speaker 1: It turns out it's not HG. Wells, But you're like,

1338
01:10:29,560 --> 01:10:32,360
Speaker 1: oh no, don't let HG. Wells use the garbage disposal.

1339
01:10:32,640 --> 01:10:34,480
Speaker 1: He is not ready for this technology.

1340
01:10:34,800 --> 01:10:37,879
Speaker 3: Very good point. Yeah, and he's repeatedly confused by phones,

1341
01:10:37,920 --> 01:10:39,479
Speaker 3: though he eventually gets the hang of them.

1342
01:10:39,560 --> 01:10:39,880
Speaker 4: M m.

1343
01:10:40,880 --> 01:10:43,080
Speaker 3: But yeah, there's a great part where he goes to

1344
01:10:43,120 --> 01:10:46,200
Speaker 3: a telephone booth. And there's some like graffiti that I

1345
01:10:46,200 --> 01:10:50,000
Speaker 3: think is supposed to display the sort of like violence

1346
01:10:50,040 --> 01:10:51,439
Speaker 3: and callousness of the age.

1347
01:10:51,800 --> 01:10:55,200
Speaker 1: Yes, it says eat razor blades, which is great because

1348
01:10:55,200 --> 01:10:57,320
Speaker 1: it's one of the I love it when movie graffiti

1349
01:10:57,400 --> 01:11:01,160
Speaker 1: is like clearly orchestrated. It doesn't feel like an organic

1350
01:11:01,880 --> 01:11:06,280
Speaker 1: bit of legit graffiti art from the age, like this

1351
01:11:06,400 --> 01:11:09,120
Speaker 1: is the prop department. But it feels perfect for this film,

1352
01:11:09,160 --> 01:11:12,599
Speaker 1: Like it feels in line with the sort of worries

1353
01:11:12,640 --> 01:11:14,680
Speaker 1: about the future and the present that are inherent in

1354
01:11:14,760 --> 01:11:19,479
Speaker 1: this tale of Jack the Ripper traveling through time. All right, well,

1355
01:11:20,040 --> 01:11:22,639
Speaker 1: we're gonna probably go and close it out here. Obviously,

1356
01:11:22,680 --> 01:11:24,880
Speaker 1: we'd love to hear from everyone out there. If you

1357
01:11:24,920 --> 01:11:28,080
Speaker 1: have not seen Time after time, well lucky you. It's

1358
01:11:28,439 --> 01:11:31,920
Speaker 1: widely available on disc and as a digital purchase or rental,

1359
01:11:32,040 --> 01:11:34,240
Speaker 1: or a physical rental if you have a video store

1360
01:11:34,320 --> 01:11:37,559
Speaker 1: like say Videodrome in your area. As of this recording,

1361
01:11:37,640 --> 01:11:41,479
Speaker 1: it's currently streaming on HBO Max in the US, so

1362
01:11:41,840 --> 01:11:44,200
Speaker 1: if you sign into that app, into that app, if

1363
01:11:44,240 --> 01:11:46,240
Speaker 1: you use that service, you can skip all the Mortal

1364
01:11:46,280 --> 01:11:49,400
Speaker 1: Kombat and Suicide Squad stuff, go right to the classics.

1365
01:11:49,439 --> 01:11:52,280
Speaker 1: They really have a great selection of older films on there.

1366
01:11:52,439 --> 01:11:55,120
Speaker 3: Oh yeah, I've lately been impressed by the selection of

1367
01:11:55,160 --> 01:11:57,400
Speaker 3: older movies on HBO Max. Thumbs up on that.

1368
01:11:57,920 --> 01:11:59,519
Speaker 1: In the meantime, if you want to check out other

1369
01:11:59,520 --> 01:12:02,040
Speaker 1: episodes of Weird House Cinema, you'll find it on Fridays

1370
01:12:02,040 --> 01:12:04,200
Speaker 1: and the Stuff to Blow Your Mind podcast feed. We're

1371
01:12:04,200 --> 01:12:08,160
Speaker 1: primarily a science podcast, but on Fridays we put aside

1372
01:12:08,200 --> 01:12:11,519
Speaker 1: most of the science discussion. I guess there's been more

1373
01:12:11,520 --> 01:12:13,920
Speaker 1: of it in here since we're talking about time travel,

1374
01:12:14,560 --> 01:12:17,680
Speaker 1: but generally Fridays those are our days to just talk

1375
01:12:17,720 --> 01:12:19,320
Speaker 1: about weird films, and thus.

1376
01:12:19,280 --> 01:12:22,160
Speaker 3: Here we are huge thanks as always to our wonderful

1377
01:12:22,200 --> 01:12:25,200
Speaker 3: audio producer Seth Nicholas Johnson. If you would like to

1378
01:12:25,200 --> 01:12:27,559
Speaker 3: get in touch with us with feedback on this episode

1379
01:12:27,600 --> 01:12:30,040
Speaker 3: or any other, to suggest topic for the future, just

1380
01:12:30,080 --> 01:12:32,680
Speaker 3: to say hello. You can email us at contact at

1381
01:12:32,720 --> 01:12:41,679
Speaker 3: stuff to Blow your Mind dot com.

1382
01:12:41,840 --> 01:12:44,760
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1383
01:12:44,840 --> 01:12:47,639
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1384
01:12:47,800 --> 01:12:51,040
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.