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Speaker 1: Welcome to Stuff to Blow your Mind production of I

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Speaker 1: Heart Radio. Hey you, welcome to Weird House Cinema. This

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Speaker 1: is Rob Land, and this is Joe McCormick, and it

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Speaker 1: is Time Travel a clock on Weird House Cinema. Today's

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Speaker 1: movie selection is the nineteen seventy nine romantic sci fi

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Speaker 1: adventure Time after Time by the American writer and filmmaker

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Speaker 1: Nicholas Meyer. So this is a movie that I had

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Speaker 1: never seen until this week. Uh, And I came across

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Speaker 1: it by way of a plot description in some article

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Speaker 1: I was reading somewhere. I don't even remember what it

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Speaker 1: was now, but I discovered in this article that there

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Speaker 1: was allegedly a time travel adventure movie in which the

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Speaker 1: English writer H. G. Wells, real historical figure author of

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Speaker 1: the novel The Time Machine, played in this movie by

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Speaker 1: Malcolm McDowell. Must you was a real time machine to

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Speaker 1: chase Jack the Ripper played by a smooth and sadistic

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Speaker 1: David Warner through space and time in this time machine

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Speaker 1: to prevent the Ripper from slashing twentieth century disco dancers.

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Speaker 1: And the premise was it sounded so bonkers that I

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Speaker 1: immediately thought this had to be a good option option

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Speaker 1: for weird House. And then the really surprising thing was

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Speaker 1: the more I read about it, the more it seemed

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Speaker 1: that most critics really liked this movie, even though I

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Speaker 1: had somehow never really heard of it, or if I

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Speaker 1: had heard about it, it didn't make enough of an

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Speaker 1: impression that I remembered it. So so I saw it

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Speaker 1: this out, and I gotta say I was really impressed.

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Speaker 1: You know. On the downside, for for weird House context,

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Speaker 1: at least, I will say this movie doesn't actually when

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Speaker 1: you're watching it, feel quite as weird in its execution

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Speaker 1: as a straight read on the premise would lead you

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Speaker 1: to assume. But nevertheless, I think this is mostly just

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Speaker 1: a really great movie and it opens up all kinds

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Speaker 1: of interesting bigger question is about the themes and ambitions

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Speaker 1: of time travel stories and science fiction in general. Yeah.

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

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Speaker 1: after watching Spookies last week. Uh, in part because I

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Speaker 1: was excited because you had never seen it and and

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

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

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Speaker 1: watching it on TV. I don't know if they used

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Speaker 1: to show it on like t NT, or maybe it

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Speaker 1: came on an E or something back in the day.

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Speaker 1: But I remember watching it on television and uh oh

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Speaker 1: it's uh it does it holds up so well? I

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Speaker 1: don't I've I've spoken to various people and folks who

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

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

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

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Speaker 1: don't really hate orange Joes or really hate um, you know, malls,

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

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Speaker 1: but I don't know. It's something about about this film

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

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Speaker 1: 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 like us, who might say why

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

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Speaker 1: it's still so captivating and well acted and well put

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

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Speaker 1: I I agree. I mean, I would have, of course

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Speaker 1: enjoyed if it if it went much weirder and wrapped

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Speaker 1: in more h G. Wells Lower had more locks and

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Speaker 1: all kinds of stuff like that. It doesn't, And in fact,

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Speaker 1: the film is almost the opposite of that. I would say,

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Speaker 1: for a science fiction movie involving one of the most

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Speaker 1: like notorious, sadistic serial killers in history, this is an

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Speaker 1: extremely uh cozy feeling movie. Would you agree? I would agree.

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Speaker 1: I believe this was a PG, but it was a

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Speaker 1: nineteen seventy nine PG, so I do not recommend watching

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Speaker 1: this with with your young children. There is there is blood,

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Speaker 1: and there's some mature themes that are explored. But but

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Speaker 1: he even those mature themes, which are you know, just

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Speaker 1: part of the tapestry you're invoking by bringing in a

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Speaker 1: character like Jack the Ripper, they are they are handled

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Speaker 1: in a very light and ultimately kind of comforting way,

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Speaker 1: I guess, And I think it also helps that uh,

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Speaker 1: you know, it's funny. I wanna criticize myself because I

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Speaker 1: think in a previous episode of Weird House Cinema, I

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Speaker 1: was trying to list actors that just have that evil look,

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Speaker 1: that unfortunately just have faces where maybe they can't overcome

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Speaker 1: the fact that they look sadistic and sinister, and one

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Speaker 1: of the actors I singled out in this regard is

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Speaker 1: Malcolm McDowell. Like, it's gonna be hard to have Malcolm

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Speaker 1: McDowell as a hero because he just looks like an

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Speaker 1: evil person. That's not a nice thing to say, but

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Speaker 1: for some reason he does. And yet I haven't seen

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Speaker 1: this movie at the time. In this movie, he's so sweet.

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

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Speaker 1: He's a Victorian teddy bear. Uh. And and he he

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Speaker 1: also feels smaller than usual. Uh, probably by design the

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Speaker 1: way they were shooting him and maybe leaning into his

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Speaker 1: actual hide a little bit instead of putting him in

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Speaker 1: on an apple box or something. Um. Yeah, it's also

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Speaker 1: fascinating that he This was the film that followed up

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Speaker 1: the notorious Caligula, in which he very much played a

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

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Speaker 1: and apparently that was part of it. He's like, I

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Speaker 1: really don't want to play a villain for for once?

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Speaker 1: Can I play the hero of a picture? And yeah,

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Speaker 1: he's great in this. It's almost hard to imagine the

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Speaker 1: gap that has crossed going from Caligula to this sweet

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Speaker 1: romantic time travel adventure, you know, love story. Galloping across

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Speaker 1: the time. Caligula is it's It's a movie that I

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Speaker 1: have tried to watch for badness sake years ago with

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Speaker 1: with some friends, and I I couldn't make it through

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Speaker 1: the movie. It is just so so repulsive and like

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Speaker 1: it it's the one of the ugliest movies I've ever seen.

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Speaker 1: Like the colors hurt the eyes. It's just relentless depressing

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Speaker 1: violence and and depravity. There's one part that's, uh, you know,

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Speaker 1: it would have been funny in a different movie because

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Speaker 1: it's so ridiculous. There's a part where like, um, I

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Speaker 1: think Malcolm McDowell is like watching a gigantic lawnmower in

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Speaker 1: ancient Rome, just like cut off the heads of people

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Speaker 1: who were buried up to their necks. But but the

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Speaker 1: movie is like so depressing, Like even that wasn't funny.

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Speaker 1: Uh So, so it's just yeah, just awful. And then yeah,

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Speaker 1: going from that to this which is just this this spry,

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Speaker 1: sprightly beautiful time travel adventure. Yeah, yeah, it's it's it's

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Speaker 1: quite a quite elite. But yeah, he's he's very good

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Speaker 1: in this. And I will say that, as Malcolm McDowell aged,

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Speaker 1: I feel like he kind of aged into that face

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Speaker 1: even more to where it's harder to imagine older Malcolm

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Speaker 1: McDowell playing um a likable character and a non villain.

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Speaker 1: But but I say that he's been in so many films.

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Speaker 1: I'm sure he pops up later on playing like a

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Speaker 1: kind grandfatherly character. But but also I think he became

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Speaker 1: increasingly typecast as he got older too. Yeah, and he's

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Speaker 1: still active. We'll get into his bio open in a bit.

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

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Speaker 1: how about a movie where Malcolm McDowell plays Santa Clause

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Speaker 1: he could go to Kurt Russell route. You know, I

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Speaker 1: don't know. I guess the part of the thing is

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Speaker 1: if you are going to pay out and get Malcolm

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Speaker 1: McDowell to play Santa Claus in your film, then clearly

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Speaker 1: you want villainous Santa Claus. Like what are you doing?

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Speaker 1: You know at this point? One of the Yeah, one

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Speaker 1: of those Santa Claus is a is the Monster movie

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Speaker 1: is like the one with Goldberg? Remember that one I

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Speaker 1: know of it. Yeah, Well, and maybe we should uh

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Speaker 1: give a little historical context for the premise of this movie,

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Speaker 1: which is once again h G. Wells must pursue Jack

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Speaker 1: the Ripper through time in a time machine to stop

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Speaker 1: him from from ripping the twentieth century. Yeah, well, let's

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Speaker 1: let it rip here. So, first of all, what do

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Speaker 1: you need to know about H. G. Wells and the

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

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

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Speaker 1: novel by English writer H. G. Wells who lived eighteen

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Speaker 1: sixty six through nineteen five. It's a short read, widely available,

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Speaker 1: and in my opinion, it holds up really well. It's

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Speaker 1: a very readable text today. One thing that's worth noting

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Speaker 1: is that the time this movie is set before H. G.

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Speaker 1: Wells wrote the novel. So, uh so he wrote the

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Speaker 1: novel in I don't remember exactly the year, but I

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Speaker 1: think this is set in eighteen one or ninety three

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Speaker 1: something like that, or at the beginning is before they

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Speaker 1: travel through time eight I believe that would be the

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

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Speaker 1: al right? At any rate, U this is not the

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Speaker 1: absolute first time travel yarn. That's a it's an interesting

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Speaker 1: discussion to get in. I think we've talked about this

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Speaker 1: in the show when he's trying to figure out like

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Speaker 1: who was the first person to deal with time travel?

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Speaker 1: But it was the first time travel story to gain

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Speaker 1: just a huge degree of popularity, and Wells actually coined

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Speaker 1: the term time machine. Now, to be clear, the character

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Speaker 1: in the book is just the time traveler and is

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Speaker 1: not Wells himself. Alf Wells from a first person perspective,

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Speaker 1: and it is. But I don't think we're really supposed

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Speaker 1: to assume that Wells made a time machine. No, no,

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Speaker 1: no no. This this film, however, takes a different approach.

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Speaker 1: Um Wells was a futurist, though in real life he

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Speaker 1: was not an inventor outside of the invention of sci

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Speaker 1: fi concepts and the like and the exploration of new ideas.

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Speaker 1: The book has been adapted a few different times, including

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Speaker 1: the famous nineteen sixty George Powell adaptation. This one has

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Speaker 1: a really iconic look for the time machine, wonderful morelock designs,

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Speaker 1: Like when you think more locks, these are the more

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Speaker 1: locks you probably picture. But there was also a nine

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Speaker 1: eight TV movie and a two thousand to remake that

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Speaker 1: I've seen, and as uh, I remember it being all right.

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Speaker 1: But the interesting thing about it is that it was

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Speaker 1: directed by wells great grandson Simon Wells. Really that's interesting. Yeah,

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Speaker 1: that's worth seeing it on its own, even if it

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Speaker 1: came out in two thousand two, which man movies from

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Speaker 1: two thousand two, it is hard to escape that early too. Thousands. Look,

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Speaker 1: it just kind of bleeds in everything. I watched a

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Speaker 1: movie from two thousand two the other day. It was

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Speaker 1: a really bad but enjoyable Clint Eastwood detective movie from

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Speaker 1: two thousand two called blood Work. I don't know if

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Speaker 1: you've seen that one. I've not seen that one. Well, so,

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Speaker 1: I mean absolute like hack detective story, hilarious but also

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Speaker 1: quite fun, and it's got that look it just like

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Speaker 1: everything from two thousand two has this I don't know

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Speaker 1: this some feature of like the contrast and the colors

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Speaker 1: and everything. Just everything looks kind of slick and awful. Well,

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Speaker 1: it's been a while since I saw the two thousand

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Speaker 1: two time Machine, but I remember, I remember being entertained

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Speaker 1: by it, and I remember that it had Jeremy Irons

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Speaker 1: is a more lock in it, So oh, good, good

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Speaker 1: choice there. Yeah, I remember the more locks look pretty good.

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Speaker 1: But then again, I'm just I'm generally in on the

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Speaker 1: idea of moral it's hard to break more locks from me. Oh.

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Speaker 1: But one thing that was true about the historical figure H. G.

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Speaker 1: Wells that is also true of the character in the

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Speaker 1: movie is that he was known as something of a

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Speaker 1: kind of progressive utopian socialists and a futurist. So he

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Speaker 1: had a lot of like visions of the future that

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Speaker 1: involved uh, progressive political ideals. I'm not sure if all

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Speaker 1: of the exact things stated by the character in the

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Speaker 1: film would be real things that H. G. Wells thought

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Speaker 1: or would have said, but it's at least sort of

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Speaker 1: in the ballpark, right. And then ultimately, the film is

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Speaker 1: largely about the idea that if if Wells represents optimism

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Speaker 1: for the future coming out of the Victorian Age, and

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Speaker 1: ultimately the optimism about what was possible in the Victorian

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Speaker 1: Age in the late nineteen hundreds, then our other figure

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Speaker 1: represents the worst of that time period, the ricorious character

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Speaker 1: of Jack the Ripper. So what do you need to

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Speaker 1: know about Jack the Ripper? Okay, here the basics. So

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Speaker 1: in many ways, this is the original true crime sensation

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Speaker 1: and a topic of continued and largely fruitless intrigue today.

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Speaker 1: Also referred to as a leather apron, this was an

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Speaker 1: unidentified serial killer, active in London's Whitechapel district around eighty eight.

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Speaker 1: He targeted under privileged members of society, generally prostitutes, and

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Speaker 1: was known for the modus operandi of slicing first the

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Speaker 1: throat then the abdomen, as well as his taunting letters

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Speaker 1: to the media. Now, one note I do have there

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Speaker 1: is that because this movie set me off on a

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Speaker 1: reading spree where I was like, oh, I need to

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Speaker 1: know things about Jack the Ripper. Uh. The letters are

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Speaker 1: one of the most famous things about him, though I

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Speaker 1: think there is serious doubt about the authenticity of all

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Speaker 1: of the letters that I think there's only one letter

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Speaker 1: that historians take seriously at all as possibly being from

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Speaker 1: the killer himself, and this is the so called from

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Speaker 1: Hell letter because and I think the reason this is

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Speaker 1: the only one that's really taken seriously is that it

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Speaker 1: was accompanied by a jar containing a piece of actual

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Speaker 1: human kidney, allegedly taken from one of the victims, though

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Speaker 1: it's not possible to confirm whether it actually came from

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Speaker 1: a victim or not. They didn't have like DNA testing

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Speaker 1: at the time obviously, and uh and so, and it

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Speaker 1: could have been obtained from a medical college or cadaver

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Speaker 1: or something like that. Yeah, and I believe the police

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Speaker 1: at the time they suspected or that one of their

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Speaker 1: theories was that it that was the origin of the

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Speaker 1: organ as it came from some sort of you know,

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Speaker 1: um cadaver situation as opposed to have murder victim. And

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Speaker 1: one of the weird things about it is that the

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Speaker 1: from Hell letter, I will say, just as like a

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Speaker 1: literary appraisal of the interest contained in these letters, it's

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Speaker 1: one of the less interesting ones. Like the really interesting

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Speaker 1: letters are the ones that are pretty much yeah, known

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Speaker 1: to be hoaxes that were sent possibly by like journalists

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Speaker 1: trying to gin up interest in the story further to

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Speaker 1: sell more newspapers. Yeah. Absolutely, those those are some of

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Speaker 1: the more entertaining letters. But also and you can see

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Speaker 1: why they would have been fabricated just to sort of

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Speaker 1: drum up this uh this this paranois and excitement about

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Speaker 1: the murders they have that one of them has that

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Speaker 1: line I shan't stop ripping right until I am good

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Speaker 1: and buckled or something. Yeah, uh so, so, yeah, you know,

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Speaker 1: there's a high probability that he didn't write any of

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Speaker 1: these letters, but they are very much associated with him

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Speaker 1: the idea of this this figure that is killing and

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Speaker 1: then mocking the press, that is that is the subject

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Speaker 1: out of all this media and public fear and fascination,

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

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Speaker 1: off of it, right. And I think it's these letters,

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Speaker 1: even though probably none of them are authentic, or at

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Speaker 1: least most of them are not authentic. It's these letters

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Speaker 1: that sort of create one of the most lasting legacies

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Speaker 1: of Jack the Ripper, which is this idea that he's

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Speaker 1: sort of playing a game of chess with the police, uh,

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Speaker 1: and that this is a major part of his motivation.

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Speaker 1: And this does come through in the movie as well,

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Speaker 1: because you see Jack the Ripper in his identity before

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Speaker 1: he's revealed to be Jack the Ripper. Uh. He he

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Speaker 1: is a friend of H. G. Wells and they play

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Speaker 1: chess together in the movie, and you know he's very

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Speaker 1: into like outsmarting his opponents. Yeah. Now, there are I

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Speaker 1: think just five verified murders if you will, by Jack

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Speaker 1: the Ripper, though there are others that may or may

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Speaker 1: not be attributed to him, depending on where you're falling.

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Speaker 1: And then likewise, there's a great deal of folklore, fiction

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Speaker 1: and pseudo history that just abound within the realm of

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Speaker 1: Ripper ology. Um, he was never caught. And there are

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

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

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Speaker 1: outrageous to the unbelievable even during the time. Um, and

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Speaker 1: some of them, some of these suspects did have a

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Speaker 1: surgical background, because there was the whole apparent removal of

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Speaker 1: organs in the murders, and so you know, some thought,

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Speaker 1: well this, this indicates that they had the individual had

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Speaker 1: some level of training or expertise or familiarity with human anatomy. Now,

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Speaker 1: in time after time, the Ripper is this character Dr

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Speaker 1: John Leslie Stevenson, who is not an historical person as

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Speaker 1: far as I can tell. But weirdly enough, the Outer

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Speaker 1: Limit episode Ripper, which stars David Warner and carry Elis,

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Speaker 1: was co written by Leslie Stevens. So there you go.

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Speaker 1: That's enough of a connection for Ripper ology. I think, Wait,

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Speaker 1: is Leslie Stevens a real person and it's just a

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Speaker 1: coincidence or is this a pseudonym for saying it was

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Speaker 1: like written by David Warner or something? Um, I mean

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Speaker 1: it's an IMDb writing credit. That's not David Warner, So

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Speaker 1: I 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 uh in TV screenplay writing? Okay, So

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Speaker 1: the last week I've been wandering around my house NonStop

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Speaker 1: singing that Cindy Lauper song. I can't get it out

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Speaker 1: of my head. Is it's not used in the film?

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Speaker 1: In fact, the song was released after this film came out.

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Speaker 1: Is there any connection between them? Allegedly, Cindy Lauper was

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Speaker 1: inspired to write the song because she liked the movie,

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Speaker 1: and weirdly enough, there was a in re in history,

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Speaker 1: there's been a there was an attempt to bring the

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Speaker 1: novel Time After Time back as a TV series, and

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Speaker 1: each episode of the TV series gets its title from

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Speaker 1: the lyrics to Cindy Lauper's Time after Time. Nice Nice.

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Speaker 1: Cindy Lawper doesn't get enough credit as a songwriter. You know,

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Speaker 1: have you ever have you ever actually listened to the

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Speaker 1: like the lyrics of girls just want to have Fun?

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Speaker 1: That's actually like a sort of profound and sad song. Yeah, yeah,

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Speaker 1: I I like some Cindy Lapper. I haven't really been

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

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Speaker 1: of hits I would I would generally take the Cindy

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

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Speaker 1: Madonna songs of that era. Oh, I don't know if

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Speaker 1: I would go that far, but definitely I'm a fan.

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Speaker 1: And now I have to correct myself because I actually

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Speaker 1: just looked it up to make sure and found out

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Speaker 1: that Cyndy Lawper did not write girls Just Want to

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Speaker 1: Have Fun. Her version was a cover version. Whoops. Okay, well,

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Speaker 1: great song anyway, and her version is great. So we've

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Speaker 1: already pretty much done our elevator pitch for time after time?

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Speaker 1: Shall we go ahead and listen to just a little

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Speaker 1: bit of the trailer audio? Not the full thing, but

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Speaker 1: just a little bit of the trailer maybe some Oh man,

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Speaker 1: I don't like this trailer. I feel like it really

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Speaker 1: it takes away from the movie. But okay, let's let's

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Speaker 1: just get at least get a snippet. The time is

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Speaker 1: and novelists and in better H. G. Wells makes us

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Speaker 1: startling announcement, gentlemen, I am talking about traveling through time

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Speaker 1: in a machine constructed for that Betty purpose. The first

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Speaker 1: to use the machine, however, is Dr John Leslie Stevenson,

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Speaker 1: better known to history as Jack the Ripper Time after time. Yea, yeah,

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Speaker 1: this is this is a bad trailer. I hate the

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

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

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Speaker 1: kind of like Casey Cason asked, voice that's like, you're

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Speaker 1: gonna have a good time at the theater and give

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

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Speaker 1: The trailer is bad in numerous ways, and I do

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Speaker 1: not recommend watching it. First of all, because of what

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Speaker 1: you're saying. The tone and the narrator are irritating and

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Speaker 1: I think do not accurately communicate the the spirit and

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Speaker 1: feeling of the movie. And second, the trailer reveals the

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Speaker 1: entire plot, including the ending. It's one of those awful things.

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Speaker 1: So like, if you've seen the trailer, the movie is

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Speaker 1: kind of spoiled for you. Yeah. Yeah, not a good

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Speaker 1: way to go into this film. Now, being a time

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Speaker 1: travel movie. One of the things that I was thinking

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Speaker 1: about for this episode is it it sort of made

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Speaker 1: me want to create an in house taxonomy of major

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Speaker 1: types of time travel stories, sorted by prevalent themes um

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Speaker 1: And of course, any given movie or story can partake

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Speaker 1: of multiple different time travel themes, multiple of the themes

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Speaker 1: that follow that we're about to talk about. And I'm

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Speaker 1: also sure this list will not be exhaustive. People will

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Speaker 1: probably right in and be like, hey, what about this

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Speaker 1: type of movie? It will be something I didn't even

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Speaker 1: think about, But I think here are some of the

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Speaker 1: major categories of time travel stories. Uh and, and we

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Speaker 1: can talk about how time after time fits or does

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Speaker 1: not fit into each of them. So the first one

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Speaker 1: I wanted to mention is what I would call the

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Speaker 1: debugging history story. Uh and. This is a type of

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Speaker 1: time travel story that focuses primarily on isolating variables of

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Speaker 1: cause and effect in the progression of history and human life.

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Speaker 1: So it's largely concerned with with the consequences of decisions

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Speaker 1: and the long term ripple effects of seemingly minor events

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Speaker 1: and encounters. So this can be seen, for example, in

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Speaker 1: Back to the Future, where Marty McFly learns that that

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Speaker 1: you know, certain minor interventions with his parents as teenagers

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Speaker 1: like he gives his teenage dad a pep talk about

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Speaker 1: standing up for himself and so forth. This radically changes

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Speaker 1: the circumstances of his family thirty years later. Or it

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Speaker 1: can be seen in movies that don't even really feature

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Speaker 1: time travel, but just merely the alteration of past events.

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Speaker 1: An example here might be the final act of It's

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Speaker 1: a Wonderful Life, where George Bailey learns that, you know,

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Speaker 1: if if Clarence the Angel tweaks history so that he

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Speaker 1: was never born, everybody else in his life turns out

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Speaker 1: miserable and impoverished, and he sees the impact that his

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Speaker 1: life had. I would actually say that Time after Time

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Speaker 1: does not partake heavily of the debugging history theme, though

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Speaker 1: there are little nods here and there, especially at the ending.

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00:21:43,359 --> 00:21:45,280
Speaker 1: We can maybe something we can talk about if you

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Speaker 1: want or not, though it's a spoiler for the movie.

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Speaker 1: Um but but this is not the major type we're

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Speaker 1: dealing with in Time after Time. Yeah, this this film. Ultimately,

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Speaker 1: the character of Wells is more interested in protecting the future.

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Speaker 1: That's what That what prompts him to travel through time

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Speaker 1: in the film, or at least no not necessarily protecting

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Speaker 1: the actual future. By protecting wells idea all of the future.

409
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Speaker 1: So in a sense, the existence of Jack the Ripper

410
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Speaker 1: in UM, even in the late nineteenth century, is a

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Speaker 1: threat to his worldview and vision for change. The idea

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Speaker 1: of Jack the Ripper escaping into his envisioned utopia is

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Speaker 1: a total threat to this idea. Now, while we're going

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Speaker 1: through and talking about time after time, I feel like

415
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Speaker 1: we should also just run through this list. The example

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Speaker 1: of Transfers to the other time travel movie we've done, Yeah,

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

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

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Speaker 1: is all over the place with time travel and why

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Speaker 1: they're doing it and who's doing it. But I would say, yes,

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Speaker 1: Transfers definitely does this, but it's messy. Okay, that's a

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Speaker 1: debugging history. The next major time travel theme I would

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Speaker 1: say is Journey to Time Island. This is a time

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Speaker 1: travel story. This is probably one of the least thematically

425
00:22:58,800 --> 00:23:01,639
Speaker 1: interesting ways of using time travel in the story, and

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00:23:01,720 --> 00:23:05,080
Speaker 1: it's a story that uses some time in the future

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00:23:05,200 --> 00:23:08,760
Speaker 1: or the past primarily as a hostile setting for adventure.

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Speaker 1: So in these stories, the past or the future can

429
00:23:11,960 --> 00:23:16,080
Speaker 1: be thought of as largely equivalent to physical places like

430
00:23:16,200 --> 00:23:19,719
Speaker 1: Skull Island or the Forbidden Planet. It's just a dangerous

431
00:23:19,840 --> 00:23:24,600
Speaker 1: place for the characters to arrive and then face unfamiliar challenges.

432
00:23:25,280 --> 00:23:28,120
Speaker 1: And I will say Time after Time does not largely

433
00:23:28,200 --> 00:23:31,600
Speaker 1: fall into this category, but actually H. G. Wells novel

434
00:23:31,680 --> 00:23:35,240
Speaker 1: The Time Machine is more in this vein. Yeah, traveling

435
00:23:35,240 --> 00:23:39,480
Speaker 1: into a distant future for example. That uh, that definitely

436
00:23:39,520 --> 00:23:42,760
Speaker 1: is a commentary on the present or the Victorian present

437
00:23:43,720 --> 00:23:46,240
Speaker 1: that the author lived in. But also it is just

438
00:23:46,320 --> 00:23:49,520
Speaker 1: kind of this fantastic place in which to have an adventure, right.

439
00:23:49,560 --> 00:23:53,240
Speaker 1: I think the time machine also partakes largely of another

440
00:23:53,280 --> 00:23:56,120
Speaker 1: more interesting category we'll get to in a minute now

441
00:23:56,200 --> 00:23:59,959
Speaker 1: that the time travel the time Island. Rather this idea,

442
00:24:00,080 --> 00:24:02,239
Speaker 1: uh I was I was thinking to myself, Okay, well,

443
00:24:02,240 --> 00:24:04,040
Speaker 1: what's something that that falls in line with this? In

444
00:24:04,080 --> 00:24:06,919
Speaker 1: my mind instantly goes to Ray Bradbury's A Sound of Thunder,

445
00:24:07,240 --> 00:24:11,720
Speaker 1: though that one is also a debugging history tale to

446
00:24:11,800 --> 00:24:16,639
Speaker 1: a to a large extent, sort of accidental debugging of history.

447
00:24:17,119 --> 00:24:20,199
Speaker 1: That this is bugging history, Yeah, inserting bugs in the

448
00:24:20,240 --> 00:24:22,280
Speaker 1: lines of code of history. Yeah. Yeah, the idea I

449
00:24:22,280 --> 00:24:24,440
Speaker 1: can go back into dinosaur days and have a safe

450
00:24:24,440 --> 00:24:27,359
Speaker 1: adventure hunting dinosaurs, but then you find out no, you

451
00:24:27,440 --> 00:24:30,679
Speaker 1: cannot by doing so you're totally bugging in the future.

452
00:24:30,960 --> 00:24:34,040
Speaker 1: That's very good observation. Okay. Third category, so we had

453
00:24:34,040 --> 00:24:36,760
Speaker 1: debugging history, journey to time island. Third one, I will

454
00:24:36,760 --> 00:24:39,000
Speaker 1: say is what I would call fish out of time.

455
00:24:39,720 --> 00:24:42,480
Speaker 1: This is a time based equivalent of the standard fish

456
00:24:42,520 --> 00:24:46,480
Speaker 1: out of water plot seen most often in comedies, where

457
00:24:46,760 --> 00:24:50,639
Speaker 1: most of the tension, usually comedic tension is based on

458
00:24:50,920 --> 00:24:54,680
Speaker 1: failures of the out of place protagonists to understand and adapt,

459
00:24:54,800 --> 00:24:59,040
Speaker 1: understand and adapt to local conditions, expectations, you know, wandering around,

460
00:24:59,080 --> 00:25:03,920
Speaker 1: being confused by surroundings, accidentally violating taboos. So you can

461
00:25:03,920 --> 00:25:06,840
Speaker 1: think of like Borat but with time instead of place,

462
00:25:07,119 --> 00:25:10,920
Speaker 1: or Demolition Man with the three cshells. Yeah. Another example

463
00:25:10,960 --> 00:25:13,639
Speaker 1: of this would be um a Connecticut Yankee and King

464
00:25:13,760 --> 00:25:16,439
Speaker 1: Arthur's Court. You know, whether a lot of comedic fodder

465
00:25:16,520 --> 00:25:18,159
Speaker 1: is made on the fact that, oh, this person is

466
00:25:18,160 --> 00:25:19,720
Speaker 1: out of time. They don't know what this means, and

467
00:25:19,760 --> 00:25:21,719
Speaker 1: the people that he's around now they don't know what

468
00:25:21,760 --> 00:25:25,040
Speaker 1: this means, and hilarity ensues, and you know, I will say,

469
00:25:25,119 --> 00:25:27,240
Speaker 1: usually fish out of time is not one of my

470
00:25:27,280 --> 00:25:30,639
Speaker 1: favorite time travel themes. But Time after Time has a

471
00:25:30,680 --> 00:25:32,960
Speaker 1: good amount of this, and I loved it in this movie.

472
00:25:33,000 --> 00:25:35,560
Speaker 1: I would say, is it works much better in Time

473
00:25:35,600 --> 00:25:38,359
Speaker 1: after Time than it usually does in other stories of

474
00:25:38,359 --> 00:25:41,280
Speaker 1: this sort. Yeah, it really excels at this, often with

475
00:25:41,359 --> 00:25:44,200
Speaker 1: stuff that on paper just sounds awful, like the idea

476
00:25:44,280 --> 00:25:47,040
Speaker 1: what if what if H. G. Wells traveled to the

477
00:25:47,119 --> 00:25:49,960
Speaker 1: late seven Days and went to a McDonald's. Uh, it

478
00:25:50,119 --> 00:25:53,440
Speaker 1: sounds awful, but it's great. It's great. My favorite. That's

479
00:25:53,480 --> 00:25:55,080
Speaker 1: one of my favorite scenes where he goes into the

480
00:25:55,119 --> 00:25:57,199
Speaker 1: McDonald's and he's trying to make sense to everything. And

481
00:25:57,240 --> 00:26:00,919
Speaker 1: then later he's having a meal with the romantic interest

482
00:26:01,040 --> 00:26:03,600
Speaker 1: and and she asked or how the food is and

483
00:26:03,600 --> 00:26:07,000
Speaker 1: he's like, Oh, it's better than the Scottish restaurant where

484
00:26:07,000 --> 00:26:12,840
Speaker 1: I had breakfast macdougals. So yeah, yeah, this this film

485
00:26:12,840 --> 00:26:15,159
Speaker 1: excels at the fish out of time. Oh and he

486
00:26:15,200 --> 00:26:18,000
Speaker 1: gets really excited when he figures out what fries are.

487
00:26:18,600 --> 00:26:21,560
Speaker 1: Oh yeah yeah, he's like, oh, it's palm Fritz Fritz.

488
00:26:21,960 --> 00:26:24,640
Speaker 1: Now as far as transfers goes, um, I think they

489
00:26:24,680 --> 00:26:27,800
Speaker 1: did this. I'm pretty sure they did this. Uh, there's

490
00:26:27,840 --> 00:26:29,760
Speaker 1: a there was a fair amount of humor in transfers.

491
00:26:29,840 --> 00:26:31,600
Speaker 1: So it's if if you have humor in your time

492
00:26:31,640 --> 00:26:36,879
Speaker 1: travel scenario, you're probably engaging in this trope. Okay, the

493
00:26:36,960 --> 00:26:39,280
Speaker 1: next category is the one. I feel like I need

494
00:26:39,320 --> 00:26:41,760
Speaker 1: a snappier name for this one, but it's basically what

495
00:26:41,800 --> 00:26:45,040
Speaker 1: I would call the time travel arms race. And these

496
00:26:45,080 --> 00:26:48,440
Speaker 1: are the ones that tend to be the most complicated

497
00:26:48,480 --> 00:26:52,399
Speaker 1: in terms of plotting, and that's because they're the ones

498
00:26:52,960 --> 00:26:56,960
Speaker 1: that take the premise the most seriously, like they're thinking

499
00:26:57,080 --> 00:27:00,159
Speaker 1: really hard about what it would actually be like to

500
00:27:00,240 --> 00:27:03,600
Speaker 1: have the power to travel back in time and uh,

501
00:27:03,640 --> 00:27:06,000
Speaker 1: and not just as a means to get the protagonist

502
00:27:06,040 --> 00:27:09,600
Speaker 1: to an unfamiliar setting, but actually as an ongoing mechanism

503
00:27:09,640 --> 00:27:12,600
Speaker 1: that can be used over and over, often ultimately as

504
00:27:12,600 --> 00:27:16,439
Speaker 1: a weapon, something that grants godlike power, because if you

505
00:27:16,480 --> 00:27:18,600
Speaker 1: know what's going to happen in advance, and you have

506
00:27:18,680 --> 00:27:21,640
Speaker 1: the power to go back in time and approach any

507
00:27:21,680 --> 00:27:26,160
Speaker 1: situation differently, you can make almost any situation turn out

508
00:27:26,200 --> 00:27:29,359
Speaker 1: your way. And so this gives anybody who possesses the

509
00:27:29,359 --> 00:27:33,320
Speaker 1: power of time travel the temptation to use it for selfish, deceitful,

510
00:27:33,480 --> 00:27:36,520
Speaker 1: or evil purposes, and so I think these plots often

511
00:27:36,560 --> 00:27:40,359
Speaker 1: contain both protagonists and antagonists who have the power to

512
00:27:40,400 --> 00:27:44,000
Speaker 1: travel through time, uh, trying to sort of travel back

513
00:27:44,080 --> 00:27:47,760
Speaker 1: further and further to gain advantage over one another. So

514
00:27:47,880 --> 00:27:53,120
Speaker 1: the themes of this would usually include thoughts about weaponry, strategy, tricks,

515
00:27:53,240 --> 00:27:56,240
Speaker 1: and the dangers of having too much power, especially too

516
00:27:56,280 --> 00:27:59,959
Speaker 1: much technological power. Good examples of this I think would include,

517
00:28:00,080 --> 00:28:04,119
Speaker 1: like the movie primer Um, the overarching premise of the

518
00:28:04,240 --> 00:28:06,720
Speaker 1: Terminator films, though there's not a lot of this mechanic

519
00:28:06,840 --> 00:28:10,960
Speaker 1: within the movies themselves Terminator, the setup of each film

520
00:28:11,040 --> 00:28:14,280
Speaker 1: usually involves something some form of the time travel arms

521
00:28:14,359 --> 00:28:17,160
Speaker 1: race uh. And I guess in terms of more recent movies,

522
00:28:17,200 --> 00:28:19,400
Speaker 1: you could think about Tenant as a version of this.

523
00:28:20,200 --> 00:28:22,800
Speaker 1: All right, Yeah, now, Transfers, I think, I think definitely

524
00:28:22,800 --> 00:28:25,080
Speaker 1: transfer has got into this territory because there is the

525
00:28:25,160 --> 00:28:27,959
Speaker 1: idea that, yeah, cult members have gone back in time

526
00:28:28,080 --> 00:28:30,760
Speaker 1: and they have they have transfer armies, and so we

527
00:28:30,800 --> 00:28:33,440
Speaker 1: need to send Transfer cops back in time to deal

528
00:28:33,480 --> 00:28:36,640
Speaker 1: with them. So yeah, Transfers, being a high minded time

529
00:28:36,640 --> 00:28:41,200
Speaker 1: travel movie, definitely gets in on this action. Though I

530
00:28:41,200 --> 00:28:43,520
Speaker 1: would say Time after Time has very little of this,

531
00:28:43,600 --> 00:28:46,240
Speaker 1: and it would have made it an entirely different film

532
00:28:46,280 --> 00:28:48,120
Speaker 1: in ways that we might mention later when we talk

533
00:28:48,160 --> 00:28:51,360
Speaker 1: a little bit more about the plot. But uh, I

534
00:28:51,400 --> 00:28:53,520
Speaker 1: don't really hold this against the movie because it just

535
00:28:53,600 --> 00:28:55,400
Speaker 1: decided to go in a different direction with the way

536
00:28:55,440 --> 00:28:58,840
Speaker 1: its structured its story. But but Time after Time could

537
00:28:58,880 --> 00:29:02,120
Speaker 1: have been a completely different film if it had just

538
00:29:02,280 --> 00:29:06,160
Speaker 1: taken this premise seriously and and h G. Wells it said, Okay,

539
00:29:06,200 --> 00:29:08,240
Speaker 1: I can always just go back one more day in

540
00:29:08,280 --> 00:29:11,960
Speaker 1: the past and do this instead, right right? Um? Or

541
00:29:12,320 --> 00:29:14,960
Speaker 1: I guess another thing that could have complicated matters is

542
00:29:15,080 --> 00:29:17,240
Speaker 1: the idea of is the question of how many time

543
00:29:17,280 --> 00:29:20,560
Speaker 1: machines are there? And is the time machine a singular

544
00:29:20,640 --> 00:29:23,400
Speaker 1: entity or is time travel a technology that may be

545
00:29:23,600 --> 00:29:27,040
Speaker 1: reproduced in this film? In Time after Time, there is

546
00:29:27,080 --> 00:29:31,520
Speaker 1: one time machine, um, and there's some interesting plot mechanics

547
00:29:31,560 --> 00:29:36,360
Speaker 1: that keep it that way. And additionally, nobody has subsequently

548
00:29:36,400 --> 00:29:39,320
Speaker 1: understood the time how time travel works. The time machine

549
00:29:39,360 --> 00:29:42,400
Speaker 1: winds up in a museum in San Francisco, uh, and

550
00:29:42,440 --> 00:29:45,440
Speaker 1: it's fully functional, and nobody has really taken it apart

551
00:29:45,520 --> 00:29:48,959
Speaker 1: to figure out how it works. Um. Which, if if

552
00:29:48,960 --> 00:29:51,160
Speaker 1: you're gonna be really pedantic about about it. Yeah, it's

553
00:29:51,200 --> 00:29:53,760
Speaker 1: it's that's kind of silly, but it works within the

554
00:29:53,800 --> 00:29:56,480
Speaker 1: context of the film. Yeah, I agreed. So the next

555
00:29:56,520 --> 00:29:58,840
Speaker 1: category I want to mention is kind of a subcategory

556
00:29:58,880 --> 00:30:00,840
Speaker 1: because it's more of a category worry that would apply

557
00:30:00,960 --> 00:30:04,440
Speaker 1: to usually how a like a twist at the end

558
00:30:04,480 --> 00:30:06,760
Speaker 1: of an of a time travel story. But this is

559
00:30:06,800 --> 00:30:08,400
Speaker 1: what I would call the have you heard about the

560
00:30:08,400 --> 00:30:12,680
Speaker 1: Fates version. I kind of don't want to list examples

561
00:30:12,680 --> 00:30:15,480
Speaker 1: of this because by including them in this category I

562
00:30:15,480 --> 00:30:18,920
Speaker 1: would usually be spoiling some kind of good twist in

563
00:30:18,960 --> 00:30:22,680
Speaker 1: the movie. But this is a variation that usually starts

564
00:30:22,720 --> 00:30:26,160
Speaker 1: with something that looks more like debugging history or the

565
00:30:26,200 --> 00:30:30,000
Speaker 1: time travel arms race, only for the protagonist to discover

566
00:30:30,120 --> 00:30:33,040
Speaker 1: too late that the Fates cannot be outrun and while

567
00:30:33,120 --> 00:30:36,000
Speaker 1: they thought they were avoiding some bad outcome by going

568
00:30:36,040 --> 00:30:38,440
Speaker 1: back and changing the past, they in fact we're not

569
00:30:38,480 --> 00:30:41,480
Speaker 1: avoiding it or were even causing it or something to

570
00:30:41,560 --> 00:30:44,200
Speaker 1: that effect. Yeah, yeah, not so much. In this picture.

571
00:30:44,400 --> 00:30:47,760
Speaker 1: Transfers did not really get into this either. Um, but

572
00:30:47,920 --> 00:30:50,640
Speaker 1: I will say that it does remind me. And this

573
00:30:50,680 --> 00:30:53,000
Speaker 1: is not a spoiler because and I'll explain why, but

574
00:30:53,160 --> 00:30:58,640
Speaker 1: the Stephen King time travel novel sixty three, UH is

575
00:30:58,640 --> 00:31:01,640
Speaker 1: really good for starters. I have recommend this book, but

576
00:31:01,800 --> 00:31:04,800
Speaker 1: it uh, it definitely gets into this area early on

577
00:31:04,880 --> 00:31:07,080
Speaker 1: because there's this idea that, yes, you can travel back

578
00:31:07,120 --> 00:31:10,760
Speaker 1: into the past via this portal, but once you get there,

579
00:31:10,840 --> 00:31:15,040
Speaker 1: changing history in any meaningful ways is it is incredibly

580
00:31:15,080 --> 00:31:18,040
Speaker 1: difficult because there's a sense that it's like time is

581
00:31:18,080 --> 00:31:21,080
Speaker 1: this this surging river, and to try and divert the

582
00:31:21,200 --> 00:31:26,120
Speaker 1: river's course, there are forces like not not know forces

583
00:31:26,160 --> 00:31:28,600
Speaker 1: with with names or faces so much, but like just

584
00:31:29,000 --> 00:31:33,160
Speaker 1: reality itself will revolt against you, like everything will go

585
00:31:33,280 --> 00:31:36,600
Speaker 1: wrong in your attempt to try and change the course

586
00:31:36,600 --> 00:31:39,680
Speaker 1: of history. Oh that's interesting. Yeah, I haven't read that one,

587
00:31:39,720 --> 00:31:43,480
Speaker 1: but but you've tempted me. Yeah. Basically, it's a uh

588
00:31:43,520 --> 00:31:46,760
Speaker 1: an individual becomes uh convinced that going back and stopping

589
00:31:46,800 --> 00:31:49,480
Speaker 1: the assassination of John F. Kennedy will make the world

590
00:31:49,520 --> 00:31:52,600
Speaker 1: a substantially better place in the future, and therefore it's

591
00:31:52,640 --> 00:31:55,880
Speaker 1: worth it. It's worth basically like a one way trip

592
00:31:56,000 --> 00:31:59,400
Speaker 1: to go and see this through. And uh it's in here.

593
00:31:59,680 --> 00:32:02,280
Speaker 1: King explores it for in a very long book, but

594
00:32:02,360 --> 00:32:05,360
Speaker 1: in a in also it's a love story which which

595
00:32:05,400 --> 00:32:07,719
Speaker 1: of course brings us back to to this movie. I

596
00:32:07,800 --> 00:32:11,640
Speaker 1: was wondering as I was watching it, how many subsequent

597
00:32:11,880 --> 00:32:15,600
Speaker 1: time travel romances would just simply not exist if not

598
00:32:15,720 --> 00:32:19,080
Speaker 1: for Time after Time. I'm thinking about everything from Outlander

599
00:32:19,320 --> 00:32:23,640
Speaker 1: to Highlander, which even though Highlander is not about traveling

600
00:32:23,640 --> 00:32:27,000
Speaker 1: through time via mechanics, it is about immortal characters living

601
00:32:27,000 --> 00:32:30,200
Speaker 1: outside of their original time and then falling in love.

602
00:32:30,800 --> 00:32:33,440
Speaker 1: Uh So, I feel like the film was probably very

603
00:32:33,440 --> 00:32:36,600
Speaker 1: influential on this sort of subgenre of time travel fiction.

604
00:32:36,880 --> 00:32:39,080
Speaker 1: Oh well, I think this is another great category we

605
00:32:39,080 --> 00:32:42,959
Speaker 1: should mention, which is the the love across time uh story,

606
00:32:43,040 --> 00:32:45,800
Speaker 1: which is time after time. I think you could definitely

607
00:32:45,840 --> 00:32:48,640
Speaker 1: say as an example of it's a type of love story.

608
00:32:48,680 --> 00:32:50,360
Speaker 1: You know, it's common in a love story to have

609
00:32:50,480 --> 00:32:53,120
Speaker 1: people who who clearly want to be together, but there's

610
00:32:53,160 --> 00:32:56,000
Speaker 1: some kind of tension that keeps them apart, and that

611
00:32:56,040 --> 00:32:59,240
Speaker 1: could be you know, social expectations, it could be you know,

612
00:32:59,280 --> 00:33:03,160
Speaker 1: in romantic comedies, is often a series of article misunderstandings

613
00:33:03,160 --> 00:33:06,120
Speaker 1: that leads them to fighting each other. Uh in. But

614
00:33:06,240 --> 00:33:08,080
Speaker 1: in in a lot of more sort of serious and

615
00:33:08,120 --> 00:33:11,160
Speaker 1: tragic love stories across history, it's often been like separation

616
00:33:11,240 --> 00:33:14,240
Speaker 1: of time of space, you know, like like we're from

617
00:33:14,280 --> 00:33:16,920
Speaker 1: different kingdoms or something and we can't be together for

618
00:33:16,960 --> 00:33:19,160
Speaker 1: that reason. But there are movies that do this with

619
00:33:19,240 --> 00:33:21,160
Speaker 1: time travel as well. It's like, well, no, I've got

620
00:33:21,160 --> 00:33:22,760
Speaker 1: to go back to my time, and you don't want

621
00:33:22,800 --> 00:33:25,320
Speaker 1: to leave your time and so forth. Yeah. Other times

622
00:33:25,320 --> 00:33:28,080
Speaker 1: it's the lady hawks scenario. It's like you're a you're

623
00:33:28,120 --> 00:33:30,880
Speaker 1: a hawk during the day, I'm a wolf at night,

624
00:33:31,080 --> 00:33:35,000
Speaker 1: and we're just dontline, we can't align. That's accept during

625
00:33:35,000 --> 00:33:39,320
Speaker 1: a total eclipse, right, that's right, okay. And then one

626
00:33:39,400 --> 00:33:41,480
Speaker 1: last category I want to mention, but because I think

627
00:33:41,520 --> 00:33:43,680
Speaker 1: this is the one that applies the most to time

628
00:33:43,720 --> 00:33:46,840
Speaker 1: after time, this is the category I would call fresh

629
00:33:46,840 --> 00:33:49,880
Speaker 1: eyes for bad eras. And this is the type of

630
00:33:49,880 --> 00:33:53,960
Speaker 1: time travel story that is primarily about commenting on the

631
00:33:54,040 --> 00:33:57,760
Speaker 1: particular features of an age of the time in which

632
00:33:57,800 --> 00:34:02,000
Speaker 1: they are set, usually the present, but often also the

633
00:34:02,040 --> 00:34:05,360
Speaker 1: future as influenced by the present. And so I think

634
00:34:05,360 --> 00:34:08,520
Speaker 1: these tend to contain the most social commentary of any

635
00:34:08,560 --> 00:34:12,840
Speaker 1: of the time travel subgenres. So the time traveler is

636
00:34:12,920 --> 00:34:16,440
Speaker 1: able to look upon an age such as the present

637
00:34:16,560 --> 00:34:20,200
Speaker 1: and see it with fresh eyes, noticing things usually bad

638
00:34:20,280 --> 00:34:23,759
Speaker 1: things that the chrono locals have learned to ignore just

639
00:34:23,880 --> 00:34:28,080
Speaker 1: because they're inured to them. And so Time after Time actually,

640
00:34:28,160 --> 00:34:30,800
Speaker 1: much like H. G. Wells actual novel The Time Machine,

641
00:34:30,840 --> 00:34:34,880
Speaker 1: partakes heavily of this theme, uh tying it back into

642
00:34:34,920 --> 00:34:37,600
Speaker 1: the novel The Time Machine itself. Apart from it just

643
00:34:37,680 --> 00:34:40,439
Speaker 1: being a sort of journey to Time Island, it's also

644
00:34:40,640 --> 00:34:44,919
Speaker 1: very much this one because he was using a dystopian

645
00:34:45,080 --> 00:34:49,040
Speaker 1: vision of the future to suggest that such a future

646
00:34:49,040 --> 00:34:52,720
Speaker 1: would follow from negative trends that existed in his present.

647
00:34:52,920 --> 00:34:56,440
Speaker 1: So he's commenting on the present by suggesting a horrible future.

648
00:34:57,120 --> 00:34:59,880
Speaker 1: But in in Time After Time, it's just looking direct

649
00:35:00,120 --> 00:35:01,680
Speaker 1: ly at the present. And I think this is one

650
00:35:01,719 --> 00:35:04,360
Speaker 1: of the most interesting ideas in the movie. So it

651
00:35:04,360 --> 00:35:09,360
Speaker 1: takes these two time travelers from eighteen nineties London. So H. G. Wells,

652
00:35:09,400 --> 00:35:12,880
Speaker 1: who the character in the film, is a progressive, utopian

653
00:35:12,960 --> 00:35:17,120
Speaker 1: socialist in eighteen nineties London. He believes that humanity will

654
00:35:17,160 --> 00:35:20,080
Speaker 1: pretty soon advance to a golden age of peace and

655
00:35:20,160 --> 00:35:24,600
Speaker 1: prosperity and egalitarianism, where there will be no war, no violence,

656
00:35:24,640 --> 00:35:28,000
Speaker 1: no inequality, no oppression, and so forth. And then the

657
00:35:28,040 --> 00:35:30,040
Speaker 1: other is Jack, the Ripper, who is sort of the

658
00:35:30,080 --> 00:35:35,359
Speaker 1: embodiment of violence, sadistic, misogynist id And what if these

659
00:35:35,400 --> 00:35:38,000
Speaker 1: two figures suddenly got a look at the world in

660
00:35:38,120 --> 00:35:41,000
Speaker 1: nineteen seventy nine with without having a chance to get

661
00:35:41,080 --> 00:35:43,800
Speaker 1: used to it as time progresses slowly in the normal sense,

662
00:35:44,200 --> 00:35:47,480
Speaker 1: what would they think? So, of course, there's a scene

663
00:35:47,480 --> 00:35:50,200
Speaker 1: in the present where Jack the Ripper turns on a

664
00:35:50,320 --> 00:35:53,799
Speaker 1: TV and he just starts flipping channels for Wells to

665
00:35:53,840 --> 00:35:57,120
Speaker 1: see what's on, and it's just seen after seeing both

666
00:35:57,160 --> 00:36:03,279
Speaker 1: real and fictional of hatred, violence, murder, war, terrorism, nuclear escalation,

667
00:36:03,480 --> 00:36:08,200
Speaker 1: full contact football, and Wells is horrified to see that

668
00:36:08,360 --> 00:36:12,719
Speaker 1: his utopian dreams were hopelessly naive, and the Ripper is

669
00:36:12,800 --> 00:36:17,399
Speaker 1: just like, yes, good war football, I am home. This

670
00:36:17,480 --> 00:36:19,960
Speaker 1: is a lovely scene, you know, taking place in Jack

671
00:36:20,000 --> 00:36:23,040
Speaker 1: the rippers hotel room. Um, that's a you know a

672
00:36:23,080 --> 00:36:25,640
Speaker 1: little a little messy because he's been staying there. He

673
00:36:25,680 --> 00:36:28,600
Speaker 1: hasn't been ripping there, but he's been staying there. Uh.

674
00:36:28,760 --> 00:36:31,600
Speaker 1: He has this line has several lines that really drive

675
00:36:31,640 --> 00:36:33,399
Speaker 1: this home, but one of them is ninety years ago,

676
00:36:33,440 --> 00:36:38,480
Speaker 1: I was a freak. Today I'm an amateur, that's right, Um,

677
00:36:38,680 --> 00:36:40,200
Speaker 1: And there's there's so much to love, and there's some

678
00:36:40,239 --> 00:36:41,959
Speaker 1: of the little things, like when he turns on the TV,

679
00:36:42,239 --> 00:36:45,560
Speaker 1: he's like, he's clearly at ease in this world. He's

680
00:36:45,600 --> 00:36:47,960
Speaker 1: wearing the suit of the day, you know, of the

681
00:36:48,239 --> 00:36:52,800
Speaker 1: time period. He's he's largely acclimatized to the late nineties

682
00:36:52,800 --> 00:36:55,800
Speaker 1: seventies at this point. But then he holds the remote

683
00:36:55,800 --> 00:36:58,399
Speaker 1: control in a really weird fashion to turn on the TV,

684
00:36:58,760 --> 00:37:00,880
Speaker 1: which is a great touch. You know, it's like he

685
00:37:00,880 --> 00:37:03,840
Speaker 1: because this character, Yeah, he's like, I feel the spirit

686
00:37:03,880 --> 00:37:06,520
Speaker 1: of this age, but I'm not altogether on the technology

687
00:37:06,640 --> 00:37:09,040
Speaker 1: just yet. Yeah, it's great, And there are all these

688
00:37:09,040 --> 00:37:11,200
Speaker 1: little things in the movie that signaled this as it

689
00:37:11,280 --> 00:37:14,520
Speaker 1: goes on that um, there's an irony where H. G.

690
00:37:14,640 --> 00:37:17,960
Speaker 1: Wells is the progressive futurist and the age that he

691
00:37:18,000 --> 00:37:21,440
Speaker 1: travels to does include a lot of the the ideals

692
00:37:21,440 --> 00:37:24,000
Speaker 1: he believed in, Like he is pleased to discover that

693
00:37:24,000 --> 00:37:26,319
Speaker 1: that women have more rights now than they did in

694
00:37:26,440 --> 00:37:29,600
Speaker 1: his time and so forth. But there's this irony because

695
00:37:29,640 --> 00:37:32,799
Speaker 1: he for some reason doesn't feel comfortable and easy to

696
00:37:32,840 --> 00:37:34,920
Speaker 1: adapt to the culture of the future in the way

697
00:37:34,960 --> 00:37:38,719
Speaker 1: that Jack the Ripper does. Yeah. Uh, the treatment of

698
00:37:38,760 --> 00:37:40,400
Speaker 1: the Ripper, and this it reminds me a lot of

699
00:37:40,400 --> 00:37:44,480
Speaker 1: the ideas that Alan Moore would would later explore in

700
00:37:44,640 --> 00:37:47,960
Speaker 1: his his now classic graphic novel From Hell about Jack

701
00:37:48,000 --> 00:37:50,759
Speaker 1: the Ripper, in which the Ripper is presented as the

702
00:37:50,880 --> 00:37:56,360
Speaker 1: dark um uh embodiment of the Victorian age and ultimately

703
00:37:56,480 --> 00:37:59,000
Speaker 1: the the beginning of the twentieth century, a kind of

704
00:37:59,080 --> 00:38:02,839
Speaker 1: profit of the modern age to follow. Now, Needles would say,

705
00:38:02,840 --> 00:38:05,480
Speaker 1: that's a much darker treatment. And our ripper and this

706
00:38:05,520 --> 00:38:08,320
Speaker 1: film does not see himself as such a grandiose figure.

707
00:38:08,320 --> 00:38:11,200
Speaker 1: He's he simply shan't stop ripping, and this is an

708
00:38:11,200 --> 00:38:14,239
Speaker 1: even better age in which to do it. But he like, like,

709
00:38:14,239 --> 00:38:18,040
Speaker 1: like that line above that we mentioned implies, he feels

710
00:38:18,080 --> 00:38:21,359
Speaker 1: like the world has ultimately passed passed him by. It's even,

711
00:38:21,640 --> 00:38:25,080
Speaker 1: it's even it's it's not only met his his his spirit,

712
00:38:25,120 --> 00:38:27,520
Speaker 1: but it has surpassed his spirit. But he's happy to

713
00:38:27,560 --> 00:38:30,439
Speaker 1: live in this age, right. And so one could take

714
00:38:30,480 --> 00:38:33,319
Speaker 1: this in a in a kind of um simplistic way

715
00:38:33,320 --> 00:38:36,040
Speaker 1: and say that, well, maybe the movie is just engaging

716
00:38:36,080 --> 00:38:40,319
Speaker 1: in the sort of naive pessimism, the pessimistic bias that

717
00:38:40,360 --> 00:38:43,080
Speaker 1: makes people always think that times are just the worst

718
00:38:43,120 --> 00:38:45,440
Speaker 1: they've ever been. Things are always getting worse the hell

719
00:38:45,480 --> 00:38:48,120
Speaker 1: in a handbasket thinking, I would say, the movie actually

720
00:38:48,160 --> 00:38:52,040
Speaker 1: doesn't quite do that. It it pretty frequently acknowledges things

721
00:38:52,120 --> 00:38:54,719
Speaker 1: that in Wells view are better about the present than

722
00:38:54,760 --> 00:38:58,360
Speaker 1: they were in Wells time. But there's also something off

723
00:38:58,440 --> 00:39:01,120
Speaker 1: about the modern age of special something about the sort

724
00:39:01,120 --> 00:39:04,960
Speaker 1: of about the sort of indifference to violence and the

725
00:39:05,000 --> 00:39:08,800
Speaker 1: sort of callousness of the modern world that the Ripper

726
00:39:08,880 --> 00:39:12,680
Speaker 1: finds very welcoming. What is the headline in the newspaper

727
00:39:12,760 --> 00:39:15,040
Speaker 1: that he picks up about. It's a sports headline. It's

728
00:39:15,080 --> 00:39:17,759
Speaker 1: like rams massacre cults or something like that. It was

729
00:39:17,960 --> 00:39:21,160
Speaker 1: ramsmall cults or something. Yeah, which I love that moment.

730
00:39:21,200 --> 00:39:23,000
Speaker 1: That's a great one of many great moments in the

731
00:39:23,400 --> 00:39:25,560
Speaker 1: film where it's like, yeah, that headline is just insane.

732
00:39:25,640 --> 00:39:28,600
Speaker 1: It implies outside of the you know, the modern sports

733
00:39:28,680 --> 00:39:32,480
Speaker 1: understanding of it, that uh that like herbivores are are

734
00:39:32,520 --> 00:39:35,400
Speaker 1: tearying each other apart in the streets, you know, like

735
00:39:35,400 --> 00:39:38,640
Speaker 1: we're living in like a biblically misaligned age. Yeah, and

736
00:39:38,680 --> 00:39:42,000
Speaker 1: so I don't know, I appreciate the the interesting complexity

737
00:39:42,040 --> 00:39:44,319
Speaker 1: of the feeling that it has about the present that like,

738
00:39:44,440 --> 00:39:47,440
Speaker 1: some things have definitely progressed and gotten better since the

739
00:39:47,440 --> 00:39:50,000
Speaker 1: time that Wells is used to, but there are other

740
00:39:50,120 --> 00:39:52,719
Speaker 1: things that are just sort of like always new sicknesses

741
00:39:52,840 --> 00:39:56,600
Speaker 1: that continually emerge throughout history. And there's something going on

742
00:39:56,680 --> 00:39:59,080
Speaker 1: with a kind of with a kind of inurement to

743
00:39:59,320 --> 00:40:03,400
Speaker 1: violence and hatred that just is pervasive in the modern world.

744
00:40:04,239 --> 00:40:06,160
Speaker 1: And I think I think a lot of this is

745
00:40:06,200 --> 00:40:09,799
Speaker 1: exemplified by the setting, because you know, I like the

746
00:40:09,840 --> 00:40:12,920
Speaker 1: idea of setting it in in um in the United States,

747
00:40:12,920 --> 00:40:15,400
Speaker 1: even though it you know, it begins in what it's

748
00:40:15,400 --> 00:40:18,880
Speaker 1: supposed to be London, but you could have easily you

749
00:40:18,880 --> 00:40:21,480
Speaker 1: can imagine someone arguing, well, let's set this in seventies

750
00:40:21,560 --> 00:40:24,080
Speaker 1: New York, you know, just straight to Hell City. But no,

751
00:40:24,239 --> 00:40:26,719
Speaker 1: you go to San Francisco, and their treatment in San

752
00:40:26,760 --> 00:40:29,680
Speaker 1: Francisco is is this kind of almost fifty fifty split

753
00:40:29,760 --> 00:40:33,080
Speaker 1: of seedier elements and seedier parts of town. But also

754
00:40:33,400 --> 00:40:36,000
Speaker 1: you have so many, uh you have a lot of

755
00:40:36,000 --> 00:40:38,839
Speaker 1: time in the film to admire sort of modern late

756
00:40:38,880 --> 00:40:42,480
Speaker 1: seventies architecture in San Francisco, to to walk through the

757
00:40:42,520 --> 00:40:46,960
Speaker 1: parks in public spaces. So I think it's a nice balance.

758
00:40:47,000 --> 00:40:49,440
Speaker 1: It's achieved through the setting and ultimately the film is

759
00:40:49,520 --> 00:40:52,040
Speaker 1: like a in a way, it's like, uh, it makes

760
00:40:52,040 --> 00:40:54,480
Speaker 1: you want to visit of San Francisco. It's like a

761
00:40:54,640 --> 00:40:57,399
Speaker 1: like a tourism brochure for the city that they spent

762
00:40:57,480 --> 00:41:00,040
Speaker 1: a lot of time wandering around the Pan America and

763
00:41:00,120 --> 00:41:04,160
Speaker 1: Exposition buildings, which is funny because he's you know, wells

764
00:41:04,280 --> 00:41:07,520
Speaker 1: is admiring them, and Mary Steen Virgin's character, I think

765
00:41:07,560 --> 00:41:09,640
Speaker 1: she has to break his heart and inform him that

766
00:41:09,640 --> 00:41:13,640
Speaker 1: they're made of plaster. Yeah, he asked if they're made

767
00:41:13,640 --> 00:41:16,960
Speaker 1: of marble, and she says it is no plaster. But

768
00:41:17,160 --> 00:41:20,360
Speaker 1: is that actually worse? I don't. I don't know. They

769
00:41:20,400 --> 00:41:31,680
Speaker 1: are beautiful to look at. Since I guess it's time

770
00:41:31,719 --> 00:41:34,200
Speaker 1: to jump into the connections anyway, I just wanted to

771
00:41:34,239 --> 00:41:37,799
Speaker 1: flag a strange fact, which is that. Okay. So this

772
00:41:37,840 --> 00:41:41,279
Speaker 1: movie was directed and at least in part written by

773
00:41:41,360 --> 00:41:43,360
Speaker 1: Nicholas Meyer. I know they were was based on a

774
00:41:43,440 --> 00:41:45,440
Speaker 1: novel and I think there are multiple story credits for

775
00:41:45,440 --> 00:41:48,640
Speaker 1: the movie. But Nicholas Meyer the director and uh he

776
00:41:49,040 --> 00:41:51,399
Speaker 1: I think wrote the screenplay at least or was one

777
00:41:51,400 --> 00:41:53,840
Speaker 1: of the writers. Uh he made this movie, which is

778
00:41:53,840 --> 00:41:56,000
Speaker 1: about H. G. Wells and Jack the Ripper traveling through

779
00:41:56,040 --> 00:42:01,120
Speaker 1: time to nineteen nine San Francisco. And Nicholas Meyer also

780
00:42:01,280 --> 00:42:03,480
Speaker 1: was one of the writers of Star Trek four, The

781
00:42:03,560 --> 00:42:07,680
Speaker 1: Voyage Home, which involves time traveling to present day San Francisco,

782
00:42:07,880 --> 00:42:11,359
Speaker 1: but from the future instead of the past. Interesting. He

783
00:42:11,400 --> 00:42:14,480
Speaker 1: knows what he likes, so Nicholas Meyer was born nine

784
00:42:15,120 --> 00:42:18,440
Speaker 1: five American writer and director who first made a splash

785
00:42:18,480 --> 00:42:21,680
Speaker 1: with the nineteen seventy four Sherlock Holmes novel The Seven

786
00:42:21,680 --> 00:42:25,760
Speaker 1: Percent Solution, in which Sigmund Freud helps Sherlock Holmes battle

787
00:42:25,840 --> 00:42:30,480
Speaker 1: his drug addiction. Interesting. Meyer wrote the screenplay for then

788
00:42:30,520 --> 00:42:35,360
Speaker 1: the nineteen seventies six film adaptation that starred Nicole Williamson,

789
00:42:35,480 --> 00:42:39,040
Speaker 1: Robert Duval, Alan Arkin, and Laurence Olivier, as well as

790
00:42:39,120 --> 00:42:42,600
Speaker 1: Charles Gray and Samantha Egger. It was a big hit.

791
00:42:43,480 --> 00:42:46,719
Speaker 1: Meyer wrote more Holmes novels and then went on to

792
00:42:46,840 --> 00:42:50,160
Speaker 1: direct this film in nineteen seventy nine, followed by Star

793
00:42:50,280 --> 00:42:52,720
Speaker 1: Trek to the Wrath of Con in nineteen eighty two

794
00:42:52,840 --> 00:42:56,760
Speaker 1: and Star Trek Being Discovered Country in among other films,

795
00:42:56,760 --> 00:42:59,120
Speaker 1: but those those were the big ones. One interesting thing

796
00:42:59,160 --> 00:43:01,480
Speaker 1: about Nicholas Or as a filmmaker was that he was

797
00:43:01,520 --> 00:43:06,160
Speaker 1: also behind the nineteen eight three TV special or TV

798
00:43:06,280 --> 00:43:11,280
Speaker 1: movie The Day After, which was a supposedly uh factual

799
00:43:11,400 --> 00:43:14,279
Speaker 1: look at the possibilities of nuclear war like what if

800
00:43:14,280 --> 00:43:18,600
Speaker 1: the Cold War went hot? And uh and this It's

801
00:43:18,600 --> 00:43:21,120
Speaker 1: hard to tell exactly how influential it was, but it

802
00:43:21,200 --> 00:43:25,920
Speaker 1: has been alleged that this TV movie was pretty influential

803
00:43:26,000 --> 00:43:29,320
Speaker 1: even at like high levels of government and and changed

804
00:43:29,400 --> 00:43:34,560
Speaker 1: the thinking of some military and political officials about antagonism

805
00:43:34,600 --> 00:43:38,200
Speaker 1: in the Cold War now. He also wrote a number

806
00:43:38,200 --> 00:43:41,279
Speaker 1: of screenplays, including but not limited to, Star Trek, The

807
00:43:41,360 --> 00:43:45,760
Speaker 1: Voyage Home, Um, The Human Stain, and the pilot episode

808
00:43:45,800 --> 00:43:48,799
Speaker 1: for the two thousand seventeen TV series Time after Time,

809
00:43:48,800 --> 00:43:52,560
Speaker 1: which we alluded to earlier, which I have not seen it.

810
00:43:52,560 --> 00:43:55,000
Speaker 1: It may be great, but just looking at stills, it

811
00:43:55,040 --> 00:43:57,719
Speaker 1: looks like it asked the question what do you Time

812
00:43:57,760 --> 00:44:02,200
Speaker 1: after Time? But hunkier, it's got some very square jaw lines.

813
00:44:03,400 --> 00:44:07,040
Speaker 1: So ultimately, Nicholas Meyer Saturn Award winner, and he's been

814
00:44:07,080 --> 00:44:10,360
Speaker 1: nominated for both an Academy Award and three Emmys. But

815
00:44:10,840 --> 00:44:14,760
Speaker 1: if I understand correctly, this movie, much like two thousand

816
00:44:14,840 --> 00:44:17,840
Speaker 1: one of Space Odyssey was one of the rare cases

817
00:44:17,920 --> 00:44:22,600
Speaker 1: where a movie based on a book is being completed

818
00:44:22,719 --> 00:44:27,000
Speaker 1: simultaneously to the completion of the book. That's right. And

819
00:44:27,040 --> 00:44:30,920
Speaker 1: this leads us to the writer Carl Alexander. Uh. This

820
00:44:31,000 --> 00:44:34,040
Speaker 1: is the son of William Tunberg, who wrote the screenplay

821
00:44:34,080 --> 00:44:37,040
Speaker 1: for Old Yeller, and the nephew of Carl Tunberg who

822
00:44:37,040 --> 00:44:40,640
Speaker 1: wrote the screenplay for Ben Her. This was his This

823
00:44:40,719 --> 00:44:43,400
Speaker 1: was his first novel, Time after Time though. The book

824
00:44:43,480 --> 00:44:48,200
Speaker 1: was actually option before it was completed by Nicholas Meyer,

825
00:44:48,200 --> 00:44:50,319
Speaker 1: who happened to be a friend of Alexander's who you know,

826
00:44:50,400 --> 00:44:52,600
Speaker 1: had to heard him talking about it and had I think,

827
00:44:52,680 --> 00:44:57,320
Speaker 1: looked at a part of the uh, the the novel

828
00:44:57,400 --> 00:45:00,000
Speaker 1: before it was completed. Uh. And so he was like,

829
00:45:00,120 --> 00:45:01,760
Speaker 1: this is it. I want this to be my next film.

830
00:45:01,840 --> 00:45:05,640
Speaker 1: So the film is finished, Um, alongside the book. The

831
00:45:05,640 --> 00:45:09,279
Speaker 1: book in the film are being completed at the same time. Interesting. Yeah.

832
00:45:09,320 --> 00:45:11,800
Speaker 1: He went on to follow this up with a sequel

833
00:45:11,840 --> 00:45:15,040
Speaker 1: novel in twenty nineteen, or at least it published in

834
00:45:15,040 --> 00:45:17,160
Speaker 1: twenty nineteen. I'm not sure if someone else had to

835
00:45:17,200 --> 00:45:18,920
Speaker 1: finish it for him or how it worked out with

836
00:45:18,960 --> 00:45:22,440
Speaker 1: the manuscript because he lived ninety through two thousand and fifteen,

837
00:45:22,440 --> 00:45:25,440
Speaker 1: so he would not have lived to see Jacqueline the Ripper,

838
00:45:25,480 --> 00:45:29,600
Speaker 1: published in twenty nineteen. Now, the writer Steve Hayes also

839
00:45:29,640 --> 00:45:33,160
Speaker 1: has a story credit on In This Boord nineteen thirty one. Again,

840
00:45:33,200 --> 00:45:34,680
Speaker 1: I think this comes back to the fact that the

841
00:45:34,719 --> 00:45:37,080
Speaker 1: screenplay in the novel were essentially being completed. At the

842
00:45:37,120 --> 00:45:40,440
Speaker 1: same time, Hayes did a lot of TV writing, including

843
00:45:40,480 --> 00:45:43,400
Speaker 1: for at least two series that I wasn't familiar with

844
00:45:43,400 --> 00:45:48,799
Speaker 1: based on popular eighties action films Conan which ran eight

845
00:45:49,080 --> 00:45:52,319
Speaker 1: and Rambo from six, which I got excited about and

846
00:45:52,320 --> 00:45:54,439
Speaker 1: then realized that it was a cartoon. But then also

847
00:45:54,920 --> 00:45:57,440
Speaker 1: I find that weird that we decided Rambo needed to

848
00:45:57,480 --> 00:46:00,239
Speaker 1: be a cartoon. Yeah, I didn't know there were a

849
00:46:00,320 --> 00:46:03,640
Speaker 1: Conan or a Rambo TV series. All right, Well, let's

850
00:46:03,640 --> 00:46:06,480
Speaker 1: come back to Malcolm McDowell, who plays h. G. Wells

851
00:46:06,520 --> 00:46:09,279
Speaker 1: in This Uh born in nineteen forty three, and this

852
00:46:09,320 --> 00:46:10,919
Speaker 1: is this is a guy where it's it's it's hard

853
00:46:10,920 --> 00:46:13,560
Speaker 1: to even figure out where to begin. Legendary British actor

854
00:46:13,600 --> 00:46:19,040
Speaker 1: who played Alex and Stanley Kubrick's clockwork Orange in ninety one. Again,

855
00:46:19,080 --> 00:46:21,680
Speaker 1: he was in the notorious nineteen seventy nine film Caligula,

856
00:46:22,280 --> 00:46:25,080
Speaker 1: which came right before this one. He was in eight

857
00:46:25,200 --> 00:46:28,840
Speaker 1: twos Cat People. I fondly remember him from a child

858
00:46:28,880 --> 00:46:32,560
Speaker 1: watching us Blue Thunder. He plays the villain in that

859
00:46:32,640 --> 00:46:36,560
Speaker 1: who flies this little helicopter that battles are big combat

860
00:46:36,600 --> 00:46:42,040
Speaker 1: police helicopter. That is Blue Thunder a helicopter battle movie.

861
00:46:42,080 --> 00:46:45,120
Speaker 1: How many are there? And I remember, um, there's one

862
00:46:45,200 --> 00:46:49,400
Speaker 1: called I think Firebirds that has maybe Charlie Sheen or

863
00:46:49,440 --> 00:46:52,000
Speaker 1: somebody in it. I think, so, yeah, this one. I

864
00:46:52,000 --> 00:46:54,160
Speaker 1: have no idea how big of a splash Blue Thunder was,

865
00:46:54,800 --> 00:46:57,080
Speaker 1: uh at all, but it was big for me as

866
00:46:57,120 --> 00:47:00,160
Speaker 1: a kid because my aunt had taped some films off

867
00:47:00,200 --> 00:47:03,239
Speaker 1: of HBO. This was one of them, and uh, it

868
00:47:03,360 --> 00:47:05,120
Speaker 1: was probably inappropriate for me to be watching it, but

869
00:47:05,200 --> 00:47:08,759
Speaker 1: I I mainly watched it for the helicopter combat scenarios,

870
00:47:08,760 --> 00:47:10,840
Speaker 1: and then I would build the helicopters out of legos

871
00:47:11,080 --> 00:47:13,160
Speaker 1: and have them crash into each other. That's great. I

872
00:47:13,520 --> 00:47:16,080
Speaker 1: was wrong. Actually it wasn't Charlie Sheen. It was Nicholas Cage,

873
00:47:16,120 --> 00:47:19,759
Speaker 1: who was in Firebirds. Firebirds was a one of those

874
00:47:19,800 --> 00:47:22,560
Speaker 1: bad action movies that I taped off TV. When I

875
00:47:22,600 --> 00:47:24,279
Speaker 1: was a kid, because I was like, looks like this

876
00:47:24,320 --> 00:47:27,600
Speaker 1: will be a military action movie. I'm you know, I'm

877
00:47:27,600 --> 00:47:29,360
Speaker 1: a boy in East Tennessee. This is the kind of

878
00:47:29,360 --> 00:47:34,880
Speaker 1: movie I'm supposed to be watching. Not great. So Malcolm McDowell,

879
00:47:34,880 --> 00:47:36,880
Speaker 1: like we said, he continues to work a lot in

880
00:47:37,000 --> 00:47:41,000
Speaker 1: films and TV. Uh we can't. We can't mention everything

881
00:47:41,040 --> 00:47:42,560
Speaker 1: he's been in before. I believe he's come up on

882
00:47:42,600 --> 00:47:44,520
Speaker 1: the show before, not not maybe in a film that

883
00:47:44,560 --> 00:47:47,120
Speaker 1: we've watched, but in you know, the various connections. But

884
00:47:47,360 --> 00:47:51,160
Speaker 1: he played Dr Loomis and both of Rob Zombies Halloween films,

885
00:47:51,719 --> 00:47:54,560
Speaker 1: um which I have not seen, but I assume he's

886
00:47:54,600 --> 00:47:58,359
Speaker 1: villainous in those. Uh oh no, he I mean he

887
00:47:58,400 --> 00:48:01,759
Speaker 1: looks villainous because scolmcdwell usually does, though he doesn't in

888
00:48:01,840 --> 00:48:03,840
Speaker 1: time after time. And I don't know how exactly they

889
00:48:03,840 --> 00:48:07,799
Speaker 1: accomplished that. Maybe with the careful use of hairstyling and

890
00:48:07,800 --> 00:48:12,880
Speaker 1: facial hair. Um. But no, he's not villainous in the

891
00:48:12,920 --> 00:48:18,279
Speaker 1: Rob Zombie Halloween movies. He's just not super helpful. Now.

892
00:48:18,280 --> 00:48:21,160
Speaker 1: One of the interesting things about about Malcolm mcdowen this

893
00:48:21,200 --> 00:48:23,440
Speaker 1: film is that this is where he met his second

894
00:48:23,440 --> 00:48:27,520
Speaker 1: wife Mary Steinberg in Um, who plays the character Amy

895
00:48:27,640 --> 00:48:31,200
Speaker 1: Robbins Uh born nineteen fifty three. But yeah, they apparently

896
00:48:31,200 --> 00:48:33,399
Speaker 1: met on this film. Uh, fell in love on this film,

897
00:48:33,440 --> 00:48:37,520
Speaker 1: were subsequently married, and their son is Charlie McDowell or

898
00:48:37,520 --> 00:48:39,800
Speaker 1: one of their their children anyways, Charlie McDowell, who is

899
00:48:39,800 --> 00:48:43,080
Speaker 1: a director who directed the excellent film The One I

900
00:48:43,160 --> 00:48:45,880
Speaker 1: Love Mary Steen Virgin is also great in this. She

901
00:48:46,000 --> 00:48:49,160
Speaker 1: has a she has a kind of funny, nervous energy

902
00:48:49,280 --> 00:48:51,640
Speaker 1: in the movie. And uh, and she's of course great

903
00:48:51,680 --> 00:48:56,319
Speaker 1: as a as a comic actress. Um. She essentially would

904
00:48:56,360 --> 00:48:58,280
Speaker 1: you say that you think she was sort of playing

905
00:48:58,480 --> 00:49:01,280
Speaker 1: a similar character in this to the character she plays

906
00:49:01,320 --> 00:49:04,040
Speaker 1: in Back to the Future three. I guess Back to

907
00:49:04,080 --> 00:49:05,680
Speaker 1: the Future three is one of those films that I

908
00:49:05,680 --> 00:49:07,959
Speaker 1: think most people only see once, so I don't really

909
00:49:07,960 --> 00:49:10,600
Speaker 1: remember her all that. I remember the basics of the character,

910
00:49:10,960 --> 00:49:14,080
Speaker 1: but I don't know how closely they aligned with this. Well.

911
00:49:14,120 --> 00:49:16,359
Speaker 1: I was just thinking Back to the Future three had

912
00:49:16,440 --> 00:49:19,879
Speaker 1: to in part be based on or partially derived from

913
00:49:19,880 --> 00:49:22,759
Speaker 1: her role in Time after Time. Yeah, yeah, I would,

914
00:49:22,760 --> 00:49:25,000
Speaker 1: I would think so. I mean, because ultimately I think

915
00:49:25,440 --> 00:49:30,360
Speaker 1: most time travel romance novels or films or TV shows

916
00:49:30,640 --> 00:49:34,080
Speaker 1: haven't have to at least in some way look back

917
00:49:34,080 --> 00:49:37,640
Speaker 1: to time after time. It feels very influential. But yeah,

918
00:49:37,680 --> 00:49:40,360
Speaker 1: she I think it took me a while to figure

919
00:49:40,360 --> 00:49:43,520
Speaker 1: out that she is so good as a comic actress

920
00:49:43,640 --> 00:49:47,000
Speaker 1: because I think I recalled the first the first role

921
00:49:47,080 --> 00:49:49,600
Speaker 1: in which I really became familiar with her was as

922
00:49:49,640 --> 00:49:56,520
Speaker 1: like a nefarious uh lawyer defending the bad company in Philadelphia. Okay,

923
00:49:56,760 --> 00:50:00,200
Speaker 1: you remember that. I it's been a long time. Think

924
00:50:00,200 --> 00:50:02,359
Speaker 1: I saw that many years ago. Oh yeah, I think

925
00:50:02,400 --> 00:50:05,320
Speaker 1: she plays a ruthless lawyer who's who's defending the company

926
00:50:05,400 --> 00:50:08,560
Speaker 1: this being suited and she has like cruel scenes where

927
00:50:08,600 --> 00:50:11,600
Speaker 1: she grills Tom Hanks on the stand. But that was

928
00:50:11,640 --> 00:50:14,600
Speaker 1: before I'd seen her really in any comedy stuff. And

929
00:50:14,600 --> 00:50:17,560
Speaker 1: and she's great in comedies. She's uh, she she's great

930
00:50:17,560 --> 00:50:21,000
Speaker 1: in Step Brothers. Where where Will Ferrell is her son?

931
00:50:21,080 --> 00:50:24,480
Speaker 1: I think? And well, you know, it makes me wonders

932
00:50:24,520 --> 00:50:27,080
Speaker 1: Will Ferrell her son with H. G. Wells from this movie.

933
00:50:28,400 --> 00:50:30,960
Speaker 1: I always enjoy her when she's she often pops up

934
00:50:31,040 --> 00:50:35,520
Speaker 1: in various comedy things that her husband Ted Danson is in. Uh,

935
00:50:35,560 --> 00:50:37,520
Speaker 1: and say, she's been very funny in some of those films.

936
00:50:37,560 --> 00:50:39,560
Speaker 1: I remember she was an elf and had a pretty

937
00:50:39,840 --> 00:50:43,320
Speaker 1: pretty fun role in that, but ultimately Academy Award winning

938
00:50:43,360 --> 00:50:46,120
Speaker 1: actor here with with Mary as his steam burgeon here.

939
00:50:46,320 --> 00:50:48,920
Speaker 1: Um uh, and she's pretty good in this. Yeah, she's

940
00:50:48,920 --> 00:50:51,879
Speaker 1: it's a it's it's an interesting role because she's called

941
00:50:51,960 --> 00:50:55,400
Speaker 1: upon and I think her only second screen presence to

942
00:50:55,560 --> 00:50:59,080
Speaker 1: play the modern woman to like to represent not only

943
00:50:59,120 --> 00:51:03,560
Speaker 1: the modern woman from the film's perspective, but the future woman,

944
00:51:03,600 --> 00:51:07,359
Speaker 1: the woman of the future from H. G. Wells His perspective.

945
00:51:07,880 --> 00:51:13,000
Speaker 1: So it's it's kind of a uh, it mostly holds

946
00:51:13,080 --> 00:51:16,040
Speaker 1: up today. Uh. There, there's certainly some some choices here

947
00:51:16,040 --> 00:51:17,840
Speaker 1: and there where you're like, well, I think they would

948
00:51:17,840 --> 00:51:20,319
Speaker 1: they would inevitably do that differently if you were to

949
00:51:20,320 --> 00:51:25,400
Speaker 1: to create this again in like one. But well, I

950
00:51:25,440 --> 00:51:27,920
Speaker 1: would say those are not choices on Mary Stein versions

951
00:51:29,120 --> 00:51:31,759
Speaker 1: in the script. Yeah, there there are some, Like it

952
00:51:31,880 --> 00:51:34,320
Speaker 1: is ironic that some of the parts of this movie

953
00:51:34,719 --> 00:51:38,440
Speaker 1: that the movie clearly regards as the most illustrative of

954
00:51:38,480 --> 00:51:42,120
Speaker 1: the culture of the modern world are exactly the ones

955
00:51:42,200 --> 00:51:45,279
Speaker 1: that have aged the most poorly. Like they're they're uh,

956
00:51:45,440 --> 00:51:48,320
Speaker 1: Like there's a scene where Mary stein Margin's character uses

957
00:51:48,440 --> 00:51:52,279
Speaker 1: casually using offensive language to refer to lesbians, like she

958
00:51:52,320 --> 00:51:55,120
Speaker 1: says the D word. I assumed that that word was

959
00:51:55,200 --> 00:51:57,920
Speaker 1: considered derogatory at the time. I think it was. And

960
00:51:57,960 --> 00:51:59,799
Speaker 1: she talks about how she does want to pursue her

961
00:51:59,800 --> 00:52:02,799
Speaker 1: own career ambitions, but she offers the disclaimer that I'm

962
00:52:02,840 --> 00:52:08,400
Speaker 1: not women's lib which, yeah, she also echoes this this

963
00:52:08,520 --> 00:52:12,239
Speaker 1: idea that one's work should be your life and that

964
00:52:12,239 --> 00:52:15,319
Speaker 1: that's not like a healthy choice for the modern professional

965
00:52:15,760 --> 00:52:19,160
Speaker 1: um as if Like, ultimately, Jack the Ripper's main flaw

966
00:52:19,280 --> 00:52:22,600
Speaker 1: is that he's making too much time for his hobbies, right, Yeah,

967
00:52:22,760 --> 00:52:24,680
Speaker 1: I do think it's interesting though in this film that's

968
00:52:24,719 --> 00:52:27,680
Speaker 1: like comparing these, you know, different expectations for how the

969
00:52:27,719 --> 00:52:30,880
Speaker 1: future will turn out, especially with regards to things like

970
00:52:30,960 --> 00:52:33,120
Speaker 1: moral values and all that that. Like, some of the

971
00:52:33,160 --> 00:52:36,040
Speaker 1: things that are that are considered the most like sort

972
00:52:36,040 --> 00:52:39,840
Speaker 1: of textual illustrations of how people think in the modern

973
00:52:39,880 --> 00:52:43,279
Speaker 1: world are some of the things that have aged the worst. Yeah, yeah,

974
00:52:43,280 --> 00:52:47,040
Speaker 1: that is interesting, but but again, ultimately this is the writing.

975
00:52:47,160 --> 00:52:50,520
Speaker 1: Nothing on Mary. Mary's great in this All right, let's

976
00:52:50,600 --> 00:52:53,239
Speaker 1: let's get to our ripper. Let's talk a little bit

977
00:52:53,239 --> 00:52:56,840
Speaker 1: about the actor who plays Dr. John Leslie Stevenson a K.

978
00:52:57,120 --> 00:53:01,000
Speaker 1: Jack the Ripper. This is the legendary David Warner. David

979
00:53:01,040 --> 00:53:04,879
Speaker 1: Warner is fantastic in this. Yes, Yeah, he's he is great. Uh.

980
00:53:04,960 --> 00:53:09,680
Speaker 1: Warner borne as of this recording, still still still around

981
00:53:09,840 --> 00:53:14,239
Speaker 1: and either still active or was still active, uh in

982
00:53:14,239 --> 00:53:18,920
Speaker 1: a limited uh to a limited degree as of Like, Um,

983
00:53:18,920 --> 00:53:20,560
Speaker 1: I'm not sure, especially when you're doing a little older

984
00:53:20,560 --> 00:53:22,719
Speaker 1: individuals like this. I don't know if he has effectively

985
00:53:22,760 --> 00:53:24,759
Speaker 1: retired at this point or he's, you know, going to

986
00:53:24,880 --> 00:53:28,520
Speaker 1: come back and do some more voice acting. But he,

987
00:53:29,200 --> 00:53:32,520
Speaker 1: like McDowell, has been in just everything twice. He has

988
00:53:32,560 --> 00:53:36,160
Speaker 1: two five acting credits on IMDb. He has done theater,

989
00:53:36,280 --> 00:53:39,080
Speaker 1: he has done audio dramas. Uh. He seems like a

990
00:53:39,120 --> 00:53:42,040
Speaker 1: guy who has just constantly been working through you know,

991
00:53:42,120 --> 00:53:46,320
Speaker 1: just just NonStop throughout his old career. Yeah. And like McDowell,

992
00:53:46,360 --> 00:53:49,520
Speaker 1: he also has a real knack for playing villains and

993
00:53:49,600 --> 00:53:53,160
Speaker 1: has played some really notable ones. Uh. He was in Titanic,

994
00:53:53,600 --> 00:53:57,799
Speaker 1: he was in Tron Time Bandits. Yeah, he was in

995
00:53:57,840 --> 00:54:00,440
Speaker 1: Star Trek be Undiscovered Country also popped up on some

996
00:54:00,600 --> 00:54:04,279
Speaker 1: key episodes of of Trek television series including the one

997
00:54:04,280 --> 00:54:08,040
Speaker 1: where the Romulan tortures Picard. I'm sorry, not a Romulan.

998
00:54:08,239 --> 00:54:13,759
Speaker 1: It's a Cardassian. Good what are they? I don't know,

999
00:54:13,920 --> 00:54:17,640
Speaker 1: card not a cardass Dassian. Cardassian, Yes, the Cardassians. He

1000
00:54:17,680 --> 00:54:21,880
Speaker 1: plays a Cardassian in that, a Cardassian interrogator, and he

1001
00:54:22,080 --> 00:54:24,640
Speaker 1: is um. He is torturing Picard and trying him to

1002
00:54:24,960 --> 00:54:29,359
Speaker 1: to like break him. Very memorable episode. Speaking of being

1003
00:54:29,360 --> 00:54:32,800
Speaker 1: in time travel movies, oh, I love him. In Time Bandits.

1004
00:54:32,800 --> 00:54:35,360
Speaker 1: He plays the villain in Time Bandits. He's he's the

1005
00:54:35,400 --> 00:54:38,960
Speaker 1: embodiment of evil. He's sort of the devil, but he

1006
00:54:39,040 --> 00:54:42,640
Speaker 1: is obsessed with technology in Time Bandits, which I think

1007
00:54:42,719 --> 00:54:45,239
Speaker 1: has some sort of satirical content, but like a lot

1008
00:54:45,239 --> 00:54:47,960
Speaker 1: of things in Time Bandits and and Terry Gillian movies

1009
00:54:48,000 --> 00:54:50,279
Speaker 1: more generally, and it's the thing that I like a

1010
00:54:50,320 --> 00:54:54,440
Speaker 1: lot of times, the satire is not super clear, it's

1011
00:54:54,840 --> 00:54:59,000
Speaker 1: it's satirical in a kind of vague way. But yeah,

1012
00:54:59,000 --> 00:55:01,480
Speaker 1: I love the devil. He's he seems to not really

1013
00:55:01,600 --> 00:55:06,200
Speaker 1: understand what subscriber try dialing is, but he really wants

1014
00:55:06,239 --> 00:55:08,680
Speaker 1: to know about it, and he really wants to know

1015
00:55:08,760 --> 00:55:12,640
Speaker 1: about you know, about computers and things. I need to

1016
00:55:12,680 --> 00:55:16,400
Speaker 1: watch that one again. Yeah. So David Warner is an

1017
00:55:16,440 --> 00:55:18,440
Speaker 1: actor who's been in in way too many things to

1018
00:55:18,560 --> 00:55:21,520
Speaker 1: list here, but I thought I might mention some of

1019
00:55:21,640 --> 00:55:24,480
Speaker 1: some of my additional favorite roles that he's had, and

1020
00:55:24,520 --> 00:55:26,320
Speaker 1: I think all of these are roles where he doesn't

1021
00:55:26,360 --> 00:55:29,120
Speaker 1: necessarily play a villain. He has a role in John

1022
00:55:29,160 --> 00:55:32,200
Speaker 1: Carpenter's in the Mouth of Madness. Uh, he plays the

1023
00:55:32,560 --> 00:55:36,279
Speaker 1: head of the Assassin's Guild and the hog Father, and oh,

1024
00:55:36,600 --> 00:55:39,239
Speaker 1: most memorably, he plays both a good guy and a

1025
00:55:39,280 --> 00:55:42,000
Speaker 1: bad guy in the Quest of the Delta Knights. I

1026
00:55:42,040 --> 00:55:45,320
Speaker 1: don't know that movie. Oh, oh my goodness. So the

1027
00:55:45,400 --> 00:55:49,520
Speaker 1: Quest of the Delta Knights is this low budget RENFESTI

1028
00:55:49,880 --> 00:55:54,360
Speaker 1: fantasy yarn um and uh, it was. It was It

1029
00:55:54,440 --> 00:55:56,759
Speaker 1: was used on Mystery Science Theater three thousand, So it

1030
00:55:56,800 --> 00:55:59,200
Speaker 1: was riffed on on that show. And it's a it's

1031
00:55:59,239 --> 00:56:01,880
Speaker 1: a it's a strong Mystery Sentence Theater three thousand episode,

1032
00:56:01,920 --> 00:56:05,759
Speaker 1: as I recall. Uh, but I it's it's it's what.

1033
00:56:05,920 --> 00:56:07,759
Speaker 1: The thing I love about it is that it's not

1034
00:56:07,920 --> 00:56:12,120
Speaker 1: something that comes to mind as a good David Warner film.

1035
00:56:12,239 --> 00:56:15,840
Speaker 1: But there was a fabulous interview with David Warner on

1036
00:56:15,920 --> 00:56:19,000
Speaker 1: The A V. Club by Will Harris with David Warner.

1037
00:56:19,080 --> 00:56:22,680
Speaker 1: This was in where they basically just run through and

1038
00:56:22,719 --> 00:56:25,000
Speaker 1: asked him about various films that he was in, you know,

1039
00:56:25,120 --> 00:56:26,799
Speaker 1: just you know, what kind of stories do you have

1040
00:56:26,880 --> 00:56:28,560
Speaker 1: from this picture? What kind of stories you have from

1041
00:56:28,600 --> 00:56:32,080
Speaker 1: this picture? And they they asked him about the quest

1042
00:56:32,080 --> 00:56:35,040
Speaker 1: of the Delta Knights, and he responded with this, wow.

1043
00:56:35,200 --> 00:56:37,319
Speaker 1: Well that was, of course a low budget film which

1044
00:56:37,640 --> 00:56:40,400
Speaker 1: what's what's that called mystery science theater? It ended up

1045
00:56:40,400 --> 00:56:43,600
Speaker 1: there laughs. But I had great fun doing it, playing

1046
00:56:43,640 --> 00:56:46,239
Speaker 1: two parts. Originally I was just asked to play the

1047
00:56:46,280 --> 00:56:48,680
Speaker 1: one part, and I said, would it save you money

1048
00:56:48,680 --> 00:56:51,279
Speaker 1: if I played two parts for the same money? And

1049
00:56:51,320 --> 00:56:54,359
Speaker 1: they said yes. So I had great fun changing from

1050
00:56:54,360 --> 00:56:56,880
Speaker 1: a black wig into a gray wig and putting brown

1051
00:56:56,960 --> 00:56:59,880
Speaker 1: contact lenses into my normal blue eyes. It was great

1052
00:57:00,000 --> 00:57:02,960
Speaker 1: one logistically. So I have great affection for that little

1053
00:57:02,960 --> 00:57:05,759
Speaker 1: low budget film. I've always loved that, this idea, that

1054
00:57:05,800 --> 00:57:08,560
Speaker 1: this this film that we think of as being bad

1055
00:57:08,600 --> 00:57:11,640
Speaker 1: and you know, and forgettable for an actor of David

1056
00:57:11,640 --> 00:57:15,279
Speaker 1: Warner's pedigree. He's like, no, that was that was tremendous fun.

1057
00:57:15,400 --> 00:57:18,200
Speaker 1: I'm so glad I did that picture wonderful. In that

1058
00:57:18,320 --> 00:57:21,400
Speaker 1: same interview, he also mentions that when it comes to

1059
00:57:21,440 --> 00:57:25,520
Speaker 1: time after time, the studio wanted Mick Jagger for this role.

1060
00:57:26,280 --> 00:57:29,680
Speaker 1: But yeah, but but the filmmakers were like, no, we

1061
00:57:29,760 --> 00:57:32,600
Speaker 1: don't want Mick Jagger, we really want David Warner. And

1062
00:57:32,600 --> 00:57:36,160
Speaker 1: they fought for David Warner and thank god they got him. Yeah,

1063
00:57:36,320 --> 00:57:38,600
Speaker 1: because you had to save Mick Jagger for free Jack.

1064
00:57:39,760 --> 00:57:42,960
Speaker 1: I think free Jack chose this everything we need to

1065
00:57:42,960 --> 00:57:45,640
Speaker 1: know that it would have I'm not saying Mick Jagger

1066
00:57:45,640 --> 00:57:48,560
Speaker 1: would have made a bad Jack the Ripper, but I

1067
00:57:48,560 --> 00:57:50,440
Speaker 1: don't think he would have been well, he would not

1068
00:57:50,480 --> 00:57:51,920
Speaker 1: have been a very good Jack the Ripper. Let's just

1069
00:57:52,000 --> 00:57:54,919
Speaker 1: leave it there. I like David Warner. Yes, I'm glad

1070
00:57:54,960 --> 00:57:58,000
Speaker 1: we got David Warner. Yeah, he's great in this Get

1071
00:57:58,040 --> 00:58:00,320
Speaker 1: the Mate. That's your mate, Jagger though, that's not You're

1072
00:58:00,360 --> 00:58:04,400
Speaker 1: David Warner are Ripper in this film. Dr Stevenson Meat.

1073
00:58:05,160 --> 00:58:11,240
Speaker 1: He's very very stern um, but at times he has

1074
00:58:11,360 --> 00:58:14,640
Speaker 1: a sardonic wit to him. He's it's just it's a

1075
00:58:14,640 --> 00:58:16,520
Speaker 1: great role and he has a lot of great lines

1076
00:58:16,560 --> 00:58:20,440
Speaker 1: in it. Um. It's it's a very interesting villain and Ultimately,

1077
00:58:20,480 --> 00:58:22,560
Speaker 1: I think this may be my my favorite take on

1078
00:58:22,680 --> 00:58:24,160
Speaker 1: Jack the Ripper. I mean, Jack the Ripper is a

1079
00:58:24,240 --> 00:58:29,040
Speaker 1: character that doesn't automatically mean great film presence, but he's

1080
00:58:29,880 --> 00:58:32,120
Speaker 1: I think Warner's terrific in this film. You know what

1081
00:58:32,200 --> 00:58:35,240
Speaker 1: I also love Warner in is uh is Tron where

1082
00:58:35,520 --> 00:58:38,480
Speaker 1: there's a thing in Tron where the same actor will

1083
00:58:38,560 --> 00:58:41,600
Speaker 1: usually play a character in the real world in in

1084
00:58:41,880 --> 00:58:45,680
Speaker 1: mate space, but then also play a character within the

1085
00:58:45,720 --> 00:58:48,680
Speaker 1: digital world, And so David Warner does. He's like a

1086
00:58:48,760 --> 00:58:53,920
Speaker 1: sort of uh corrupt software business leader guy. I think

1087
00:58:53,920 --> 00:58:57,200
Speaker 1: he steals somebody's ideas for some video games or something

1088
00:58:57,240 --> 00:59:01,080
Speaker 1: in the real world, but then within the computer world

1089
00:59:01,120 --> 00:59:04,320
Speaker 1: he plays the villains Sark, who is this evil like

1090
00:59:04,560 --> 00:59:09,120
Speaker 1: you know, frisbee player who works for the Master Control program.

1091
00:59:09,200 --> 00:59:11,160
Speaker 1: If you haven't seen the Old Tron, it's it's worth

1092
00:59:11,200 --> 00:59:13,880
Speaker 1: seeing for a number of reasons. But David Warner is

1093
00:59:13,880 --> 00:59:16,600
Speaker 1: a great villain in it. Oh yes, he's great. Uh Oh.

1094
00:59:16,640 --> 00:59:19,240
Speaker 1: I should also I mentioned that nineties Outer Limits episode

1095
00:59:19,560 --> 00:59:21,680
Speaker 1: that has Jack about Jack the Ripper. I watched it

1096
00:59:21,760 --> 00:59:24,200
Speaker 1: last night, so I just have to share real quick.

1097
00:59:24,680 --> 00:59:28,040
Speaker 1: It's titled Ripper, and it's pretty fun it's maybe a

1098
00:59:28,080 --> 00:59:32,080
Speaker 1: little long, like the episode is longer than the premise demands,

1099
00:59:32,880 --> 00:59:36,040
Speaker 1: but it's it's pretty great. Uh, Carrie els is in it,

1100
00:59:36,080 --> 00:59:40,560
Speaker 1: but also Francis Fisher and France Newon of Death Moon

1101
00:59:40,600 --> 00:59:43,200
Speaker 1: Fame for us of death Men fame. I don't think

1102
00:59:43,240 --> 00:59:46,920
Speaker 1: anybody is actually of death Men fame. But but it's

1103
00:59:46,920 --> 00:59:49,480
Speaker 1: got a fun cast and the premise is essentially this,

1104
00:59:50,040 --> 00:59:53,480
Speaker 1: what if the Jack the Ripper murders were not due

1105
00:59:53,560 --> 00:59:56,400
Speaker 1: to a human killer, but we're due to some sort

1106
00:59:56,440 --> 01:00:00,680
Speaker 1: of of an alien space snake that goes that that

1107
01:00:00,800 --> 01:00:03,880
Speaker 1: travels into people's mouths and then emerges from their bellies,

1108
01:00:04,200 --> 01:00:07,680
Speaker 1: thus creating the abdominal wounds associated with the Jack the

1109
01:00:07,760 --> 01:00:13,680
Speaker 1: Ripper killings. Yeah, so it's okay. David Warner play the snake. No,

1110
01:00:13,920 --> 01:00:19,040
Speaker 1: David Warner plays um Scotland yard investigator and uh, Carrie

1111
01:00:19,120 --> 01:00:27,040
Speaker 1: Ellis plays a former doctor turned opium and um what

1112
01:00:27,200 --> 01:00:28,920
Speaker 1: is he is? An he's an opium atic, but also

1113
01:00:29,440 --> 01:00:32,720
Speaker 1: he's drinking too much, too much, absentthe and is just

1114
01:00:32,760 --> 01:00:36,520
Speaker 1: generally depressed and sweaty all the time. And so so

1115
01:00:36,560 --> 01:00:39,320
Speaker 1: he there's a lot of great overacting from him, like

1116
01:00:39,400 --> 01:00:41,960
Speaker 1: just the right level of overacting the type of overacting

1117
01:00:42,040 --> 01:00:45,080
Speaker 1: you you want from Carrie Elwis. Okay, well, I guess

1118
01:00:45,120 --> 01:00:47,040
Speaker 1: I gotta see that one. Maybe it'll come up in

1119
01:00:47,040 --> 01:00:59,000
Speaker 1: a in a future anthology episode. Al right. Um, as

1120
01:00:59,040 --> 01:01:01,240
Speaker 1: far as other people the film, like, these are really

1121
01:01:01,280 --> 01:01:03,840
Speaker 1: the three main characters, I'm not sure how many of

1122
01:01:03,880 --> 01:01:05,720
Speaker 1: these other individuals we need to go into. Some of

1123
01:01:05,760 --> 01:01:08,840
Speaker 1: them are only in it briefly. Um, there are some

1124
01:01:08,960 --> 01:01:13,080
Speaker 1: cameos that pop out. Corey Feldman shows up as a child.

1125
01:01:13,200 --> 01:01:14,960
Speaker 1: I don't think he has any lines, but I just

1126
01:01:14,960 --> 01:01:16,960
Speaker 1: saw him and I was like, wait, that's Corey Feldman.

1127
01:01:17,000 --> 01:01:20,080
Speaker 1: And then screen he may say something like look mom,

1128
01:01:20,080 --> 01:01:22,320
Speaker 1: a time machine or something like that man's in I

1129
01:01:22,320 --> 01:01:25,040
Speaker 1: don't know, he maybe says something, but yeah, this was

1130
01:01:25,160 --> 01:01:31,240
Speaker 1: his film debut. Another film debut. I believe this was

1131
01:01:31,280 --> 01:01:35,720
Speaker 1: at least his first credit film screen credit is mc gainey,

1132
01:01:35,800 --> 01:01:38,880
Speaker 1: who just plays one of the London Bobbies. But this

1133
01:01:38,920 --> 01:01:43,440
Speaker 1: is an actor born. You may not envisioned him in

1134
01:01:43,480 --> 01:01:45,160
Speaker 1: your mind when I say his name, but if you

1135
01:01:45,200 --> 01:01:47,280
Speaker 1: look him up, you'll be like, oh, that guy because

1136
01:01:47,280 --> 01:01:51,840
Speaker 1: he's a character actor frequently cast as rotund creepers, bikers

1137
01:01:51,880 --> 01:01:54,640
Speaker 1: and bad cops. Uh. Yeah, I think about the the

1138
01:01:54,720 --> 01:01:58,520
Speaker 1: pilot of the plane in con Air. Yeah, yeah, that's right,

1139
01:01:58,520 --> 01:02:01,280
Speaker 1: that was him. Now, I you really pinpoint the music,

1140
01:02:01,320 --> 01:02:03,520
Speaker 1: and I should pinpoint the music in this one as well.

1141
01:02:04,040 --> 01:02:08,360
Speaker 1: It is a score by Michelos Rosa, who lived nineteen

1142
01:02:08,360 --> 01:02:11,640
Speaker 1: o seven through nineteen So if you're watching this in

1143
01:02:11,680 --> 01:02:14,840
Speaker 1: the score to this film feels very traditional. Well that's

1144
01:02:14,880 --> 01:02:18,040
Speaker 1: because Rosa cut his teeth on film scores in the

1145
01:02:18,120 --> 01:02:22,880
Speaker 1: thirties and forties. He was a Hungarian American child prodigy.

1146
01:02:23,240 --> 01:02:26,280
Speaker 1: His earliest successes included The Four Feathers in nineteen thirty

1147
01:02:26,360 --> 01:02:29,040
Speaker 1: nine and The Thief of Baghdad in nineteen forty. He

1148
01:02:29,080 --> 01:02:32,680
Speaker 1: earned seventeen Academy Award nominations, including three Oscars for Spellbound

1149
01:02:32,760 --> 01:02:35,320
Speaker 1: in forty five, A Double Life and forty seven, and

1150
01:02:35,400 --> 01:02:38,120
Speaker 1: Been Her in fifty nine. So huge name in the

1151
01:02:38,160 --> 01:02:41,360
Speaker 1: score business in the Golden Age of Hollywood. He composed

1152
01:02:41,400 --> 01:02:43,960
Speaker 1: a good hundred scores and also maintain a career as

1153
01:02:43,960 --> 01:02:47,120
Speaker 1: a concert composer. So even though it's not the sort

1154
01:02:47,160 --> 01:02:49,200
Speaker 1: of film score that I would I would want, I

1155
01:02:49,200 --> 01:02:53,800
Speaker 1: would personally want to listen to outside of the viewing experience. Um,

1156
01:02:53,840 --> 01:02:57,040
Speaker 1: it's it's a fine score by a legendary composer. It

1157
01:02:57,160 --> 01:03:00,400
Speaker 1: is a nonsense score that you will allow. Yeah, yeah,

1158
01:03:00,400 --> 01:03:02,720
Speaker 1: I will allow it. So I guess we're getting kind

1159
01:03:02,720 --> 01:03:04,800
Speaker 1: of close to the end here. It doesn't make a

1160
01:03:04,840 --> 01:03:06,760
Speaker 1: lot of sense I think for this one to talk

1161
01:03:06,760 --> 01:03:09,880
Speaker 1: in much detail about about the plot or scene by scene,

1162
01:03:09,920 --> 01:03:12,520
Speaker 1: but I mean broadly, the main thing is you have

1163
01:03:12,560 --> 01:03:14,920
Speaker 1: this set up where you establish the characters in the

1164
01:03:14,960 --> 01:03:18,600
Speaker 1: eighteen nineties, and then there and then there is invocation

1165
01:03:18,640 --> 01:03:21,440
Speaker 1: of the time travel mechanisms. So Jack the Ripper escapes

1166
01:03:21,480 --> 01:03:24,760
Speaker 1: to the future and uh, and H. G. Wells realizes

1167
01:03:24,800 --> 01:03:27,600
Speaker 1: what has happened, realizes that his friend is in fact,

1168
01:03:27,800 --> 01:03:30,160
Speaker 1: Jack the Ripper has escaped to the future using his

1169
01:03:30,240 --> 01:03:33,520
Speaker 1: time machine that he invented, and now it's his responsibility

1170
01:03:33,560 --> 01:03:36,080
Speaker 1: to track him down and bring him to justice. So

1171
01:03:36,240 --> 01:03:38,200
Speaker 1: that's one half of the plot, is this sort of

1172
01:03:38,320 --> 01:03:40,480
Speaker 1: chase through time, and then the other half is broadly

1173
01:03:40,560 --> 01:03:43,080
Speaker 1: the love story. When H. G. Wells arrives in the future,

1174
01:03:43,480 --> 01:03:45,800
Speaker 1: he and Mary Steen Virgin, they meet each other at

1175
01:03:45,800 --> 01:03:48,280
Speaker 1: a bank because he is trying to exchange hundred year

1176
01:03:48,320 --> 01:03:52,240
Speaker 1: old British pounds for money that he can use to

1177
01:03:52,280 --> 01:03:57,040
Speaker 1: buy palm Fritz at McDougall's and um and she is

1178
01:03:57,040 --> 01:03:59,280
Speaker 1: working there at the currency exchange. They meet and they

1179
01:03:59,280 --> 01:04:01,479
Speaker 1: fall in love and there's a very sweet love story

1180
01:04:01,520 --> 01:04:04,360
Speaker 1: that develops between them as as the as the plot

1181
01:04:04,400 --> 01:04:07,080
Speaker 1: goes on, and that the threat of Jack the Ripper

1182
01:04:07,160 --> 01:04:09,960
Speaker 1: is sort of looming in the background. But apart from that,

1183
01:04:10,000 --> 01:04:12,680
Speaker 1: I mean, I guess, drawing on the themes, I think

1184
01:04:12,720 --> 01:04:17,280
Speaker 1: one thing that's interesting in this movie is, Uh, it's

1185
01:04:17,400 --> 01:04:23,520
Speaker 1: very pointed about h. G. Wells reaction his extreme resistance

1186
01:04:23,720 --> 01:04:28,320
Speaker 1: to arming himself with weapons in his struggle against Jack

1187
01:04:28,360 --> 01:04:30,600
Speaker 1: the Ripper. Like he when he goes to try to

1188
01:04:30,640 --> 01:04:33,560
Speaker 1: apprehend him, at first, he doesn't arm himself or try

1189
01:04:33,600 --> 01:04:35,720
Speaker 1: to use force in any way. He just goes and

1190
01:04:35,760 --> 01:04:38,720
Speaker 1: tries to talk him into coming back with him, and

1191
01:04:38,800 --> 01:04:42,200
Speaker 1: even later on, as the threat becomes more and more dire,

1192
01:04:42,760 --> 01:04:45,120
Speaker 1: it's only at a point of sort of like breakdown

1193
01:04:45,120 --> 01:04:48,280
Speaker 1: an extremity that he finally gets a gun. Uh. It's

1194
01:04:48,320 --> 01:04:50,240
Speaker 1: something that he's been urged to do, I think by

1195
01:04:50,240 --> 01:04:54,240
Speaker 1: Mary Stein Virgin and maybe other characters before that time.

1196
01:04:54,280 --> 01:04:56,360
Speaker 1: And I wondered what you thought about that there was

1197
01:04:56,400 --> 01:04:59,840
Speaker 1: an interesting decision to make this character who's so almost

1198
01:05:00,000 --> 01:05:05,640
Speaker 1: irrationally resistant to using weapons or arming himself. Yeah, that

1199
01:05:05,840 --> 01:05:08,760
Speaker 1: I did wonder at that point in the film, like

1200
01:05:08,880 --> 01:05:11,240
Speaker 1: what it was ultimately supposed to mean. Like maybe I

1201
01:05:11,280 --> 01:05:14,480
Speaker 1: guess it was probably more about the character and the

1202
01:05:14,640 --> 01:05:16,520
Speaker 1: necessity of the plot, Like it maybe one of those

1203
01:05:16,520 --> 01:05:19,080
Speaker 1: situations where you you you're like, Okay, he's in a

1204
01:05:19,160 --> 01:05:22,840
Speaker 1: life and death struggle. Surely he would break and get

1205
01:05:22,920 --> 01:05:25,040
Speaker 1: some sort of a weapon at this point. Uh. And

1206
01:05:25,040 --> 01:05:27,240
Speaker 1: then it also helps with the whole situation where the

1207
01:05:27,280 --> 01:05:29,440
Speaker 1: police have apprehended him and they find him not only

1208
01:05:30,520 --> 01:05:34,120
Speaker 1: behaving suspiciously but also armed. So I guess it has

1209
01:05:34,160 --> 01:05:36,720
Speaker 1: its role in the plot. I don't I was I

1210
01:05:36,720 --> 01:05:40,200
Speaker 1: struggled to getting anything more significant out of it. Well, well,

1211
01:05:40,240 --> 01:05:42,320
Speaker 1: I mean, I mean, I think it probably has something

1212
01:05:42,360 --> 01:05:45,640
Speaker 1: to do with like his utopian ideal, because Wells is

1213
01:05:45,680 --> 01:05:48,880
Speaker 1: imagining you know, he's his character and the actual H. G.

1214
01:05:49,000 --> 01:05:51,800
Speaker 1: Wells in in the late nineteenth century, like was a

1215
01:05:51,840 --> 01:05:54,480
Speaker 1: member of the Fabian Society and didn't think that, you know,

1216
01:05:55,120 --> 01:05:59,080
Speaker 1: that incrementalist change in a progressive direction would eventually eliminate

1217
01:05:59,160 --> 01:06:01,280
Speaker 1: war and poverty and all that kind of stuff. And

1218
01:06:01,320 --> 01:06:05,080
Speaker 1: so if he's thinking of the utopian ideal. I mean,

1219
01:06:05,160 --> 01:06:08,960
Speaker 1: it seems that he is committed to the utopian ideal

1220
01:06:09,040 --> 01:06:12,320
Speaker 1: of non violence in a way that even could be

1221
01:06:12,440 --> 01:06:15,600
Speaker 1: very self destructive and could be seen as irrational in

1222
01:06:15,640 --> 01:06:18,080
Speaker 1: these cases where like clearly he's dealing with like a

1223
01:06:18,200 --> 01:06:22,320
Speaker 1: dangerous killer one on one. Yeah. And and it's interesting

1224
01:06:22,360 --> 01:06:24,320
Speaker 1: that the time when he breaks this is in a

1225
01:06:24,360 --> 01:06:29,000
Speaker 1: moment of weakness. It's when he's sort of like lost it. Yeah,

1226
01:06:29,040 --> 01:06:31,400
Speaker 1: but I thought that also had interesting implications. And I

1227
01:06:31,400 --> 01:06:33,640
Speaker 1: don't want to spoil anything, but for how how the

1228
01:06:33,680 --> 01:06:37,880
Speaker 1: conflict is finally resolved in the end. Another point I

1229
01:06:37,920 --> 01:06:40,440
Speaker 1: would I would make about the time machine because I,

1230
01:06:40,520 --> 01:06:42,440
Speaker 1: you know, I want to step into a movie like

1231
01:06:42,480 --> 01:06:45,040
Speaker 1: this and I expect to sort of geek out about

1232
01:06:45,200 --> 01:06:48,560
Speaker 1: the particulars of time travel a bit. And it's interesting

1233
01:06:48,600 --> 01:06:51,200
Speaker 1: because if you ask me to explain exactly how the

1234
01:06:51,200 --> 01:06:54,040
Speaker 1: time machine works, and I'm not talking about like the

1235
01:06:54,080 --> 01:06:55,920
Speaker 1: you know, the power system at all. It's supposed to

1236
01:06:55,920 --> 01:06:58,120
Speaker 1: be like solar powered or something, but there's still powered

1237
01:06:58,120 --> 01:07:01,520
Speaker 1: even though it's in his basement, right, But there's this

1238
01:07:01,560 --> 01:07:04,480
Speaker 1: whole bit about, uh, the different keys that make it

1239
01:07:04,520 --> 01:07:08,640
Speaker 1: do different things, and I cannot tell you what how

1240
01:07:08,680 --> 01:07:13,400
Speaker 1: these exactly worked? Uh? But the film, the film screenplay

1241
01:07:13,400 --> 01:07:16,800
Speaker 1: and presentation is so effective that you you don't really

1242
01:07:16,800 --> 01:07:19,720
Speaker 1: have to think too much about it. Uh. But it's

1243
01:07:19,720 --> 01:07:22,000
Speaker 1: almost like the whole situation where it's like you you

1244
01:07:22,000 --> 01:07:23,960
Speaker 1: have to try and draw a bicycle. You have this

1245
01:07:24,080 --> 01:07:25,520
Speaker 1: vision of the bicycle in your head and you think

1246
01:07:25,560 --> 01:07:28,240
Speaker 1: you understand it, but then you really don't, not enough

1247
01:07:28,280 --> 01:07:30,240
Speaker 1: to draw it. Uh. And I feel like that's how

1248
01:07:30,240 --> 01:07:32,800
Speaker 1: the time machine functions in this this plot, Like they

1249
01:07:32,960 --> 01:07:35,440
Speaker 1: it works it. I understand how it functions in the

1250
01:07:35,480 --> 01:07:38,520
Speaker 1: plot and ultimately in the the climax of the picture,

1251
01:07:38,880 --> 01:07:42,560
Speaker 1: but I also would struggle to explain how these keys

1252
01:07:42,600 --> 01:07:44,840
Speaker 1: work and which one does what. That's one type of

1253
01:07:44,840 --> 01:07:48,080
Speaker 1: writing skill, I mean, one good quality of writing is

1254
01:07:48,120 --> 01:07:50,960
Speaker 1: writing that gives you the illusion of explanatory depth. I mean,

1255
01:07:51,000 --> 01:07:55,280
Speaker 1: most stories that you enjoy, you probably couldn't go through

1256
01:07:55,320 --> 01:07:57,720
Speaker 1: and explain in the same level of detail as the

1257
01:07:57,800 --> 01:08:01,040
Speaker 1: author why exactly everything happen ends and stuff. But there

1258
01:08:01,280 --> 01:08:04,680
Speaker 1: there's a sort of ease you settle into with certain

1259
01:08:04,720 --> 01:08:07,360
Speaker 1: types of storytelling, with good writing and all that, where

1260
01:08:07,400 --> 01:08:09,280
Speaker 1: where you just kind of like forget about it. You

1261
01:08:09,320 --> 01:08:12,440
Speaker 1: don't worry about it, and you you accept that everything

1262
01:08:12,520 --> 01:08:15,200
Speaker 1: makes sense even when it often doesn't. And I mean,

1263
01:08:15,320 --> 01:08:18,840
Speaker 1: and one way in which it doesn't that I wanted

1264
01:08:18,880 --> 01:08:21,400
Speaker 1: to bring up is how this movie does not get

1265
01:08:21,439 --> 01:08:24,840
Speaker 1: into the archetype of the time travel story the arms

1266
01:08:24,920 --> 01:08:27,720
Speaker 1: race that I was talking about earlier, and I was

1267
01:08:27,720 --> 01:08:30,000
Speaker 1: thinking about how different the movie could have been if

1268
01:08:30,000 --> 01:08:32,840
Speaker 1: it had embraced that ethic. So when Jack the Ripper

1269
01:08:32,880 --> 01:08:37,000
Speaker 1: flees to the future, the way H. G. Wells decides

1270
01:08:37,040 --> 01:08:38,600
Speaker 1: to deal with it is he's going to go to

1271
01:08:38,680 --> 01:08:40,960
Speaker 1: the same time in the future and bring him back

1272
01:08:41,080 --> 01:08:45,480
Speaker 1: instead of going one day in the past and preventing

1273
01:08:45,680 --> 01:08:48,160
Speaker 1: Jack the Ripper from stealing his time machine in the

1274
01:08:48,160 --> 01:08:51,639
Speaker 1: first place. Like that. That might have been a wiser choice,

1275
01:08:51,640 --> 01:08:54,920
Speaker 1: but it wouldn't have made for his fun of motion picture. Yeah, yeah,

1276
01:08:54,960 --> 01:08:58,560
Speaker 1: just different storytelling sensibilities. Um. And ultimately, I mean, I

1277
01:08:58,800 --> 01:09:01,240
Speaker 1: think it comes down to what is it that the

1278
01:09:01,720 --> 01:09:04,800
Speaker 1: storyteller really wants us to think about. In this case,

1279
01:09:04,840 --> 01:09:07,680
Speaker 1: I think they want us to think about, uh, the

1280
01:09:07,760 --> 01:09:10,719
Speaker 1: qualities of the present age in which the movie was made,

1281
01:09:10,800 --> 01:09:13,280
Speaker 1: sort of the the arc of history, and how that

1282
01:09:13,280 --> 01:09:16,160
Speaker 1: would be sort of metabolized by somebody from the past

1283
01:09:16,200 --> 01:09:19,479
Speaker 1: with utopian ideals and and things like that, and it

1284
01:09:19,520 --> 01:09:21,439
Speaker 1: wants to tell that kind of story more than it

1285
01:09:21,479 --> 01:09:24,920
Speaker 1: wants to tell the kind of story about the power

1286
01:09:25,000 --> 01:09:27,840
Speaker 1: that would be granted by a time machine and and

1287
01:09:27,880 --> 01:09:32,200
Speaker 1: how people would use that power. Yeah. My final note

1288
01:09:32,240 --> 01:09:34,200
Speaker 1: on this film is that there's a scene later on

1289
01:09:34,280 --> 01:09:36,679
Speaker 1: where H. G. Wells is using a phone booth. Oh

1290
01:09:36,720 --> 01:09:40,360
Speaker 1: my wait, let me back up another great point in

1291
01:09:40,400 --> 01:09:43,040
Speaker 1: this film where I was laughing out loud and disturbing

1292
01:09:43,040 --> 01:09:45,240
Speaker 1: my wife while she's trying to work in the next room.

1293
01:09:45,600 --> 01:09:48,200
Speaker 1: It was the whole scene with the garbage disposal. Like,

1294
01:09:48,240 --> 01:09:50,160
Speaker 1: there's a scene where somebody goes to use a garbage

1295
01:09:50,200 --> 01:09:52,360
Speaker 1: disposal and you just see the hand. It turns out

1296
01:09:52,360 --> 01:09:54,920
Speaker 1: it's not H. G. Wells, but you're like, oh no,

1297
01:09:55,040 --> 01:09:57,680
Speaker 1: don't let H. G. Wells use the garbage disposal. He

1298
01:09:57,800 --> 01:10:00,599
Speaker 1: is not ready for this technology. Very good point. Yeah,

1299
01:10:00,600 --> 01:10:03,840
Speaker 1: and he's repeatedly confused by phones that he eventually gets

1300
01:10:03,840 --> 01:10:06,920
Speaker 1: the hang of them. Um. But but yeah, there's a

1301
01:10:06,960 --> 01:10:09,439
Speaker 1: great part where he goes to a telephone booth and

1302
01:10:09,439 --> 01:10:11,920
Speaker 1: and there's some like graffiti that I think is supposed

1303
01:10:11,960 --> 01:10:15,840
Speaker 1: to to display the sort of like violence and callousness

1304
01:10:15,840 --> 01:10:19,040
Speaker 1: of the age. Yes, it says eat razor blades, which

1305
01:10:19,320 --> 01:10:21,120
Speaker 1: which is great because it's one of the I love

1306
01:10:21,120 --> 01:10:24,479
Speaker 1: it when movie graffiti is like clearly orchestrated. It doesn't

1307
01:10:24,520 --> 01:10:30,160
Speaker 1: feel like an organic bit bit of legit graffiti art

1308
01:10:30,240 --> 01:10:32,600
Speaker 1: from the age like this is the prop Department. But

1309
01:10:32,720 --> 01:10:34,880
Speaker 1: it feels perfect for this film. Like it. It feels

1310
01:10:34,960 --> 01:10:38,240
Speaker 1: in line with the sort of worries about the future

1311
01:10:38,240 --> 01:10:40,640
Speaker 1: in the present that are inherent in this tale of

1312
01:10:40,720 --> 01:10:45,160
Speaker 1: Jack the Ripper traveling through time. All right, well, we're

1313
01:10:45,160 --> 01:10:47,880
Speaker 1: gonna probably go and close it out here. Obviously, we'd

1314
01:10:47,880 --> 01:10:49,960
Speaker 1: love to hear from everyone out there. If you have

1315
01:10:50,120 --> 01:10:53,839
Speaker 1: not seen Time after Time, well lucky you. It's widely

1316
01:10:53,840 --> 01:10:56,839
Speaker 1: available on disc and as a digital purchase or rental

1317
01:10:57,000 --> 01:10:59,200
Speaker 1: or a physical rental if you have a video store

1318
01:10:59,240 --> 01:11:02,560
Speaker 1: like say video Home in your area. As of this recording,

1319
01:11:02,600 --> 01:11:06,559
Speaker 1: it's currently streaming on HBO Max in the US, So

1320
01:11:06,800 --> 01:11:08,639
Speaker 1: if you sign into that app, if you if into

1321
01:11:08,680 --> 01:11:10,679
Speaker 1: that app, if you use that service, you can skip

1322
01:11:10,680 --> 01:11:13,680
Speaker 1: all the Mortal Kombat and Suicide Squad stuff, go right

1323
01:11:13,720 --> 01:11:15,679
Speaker 1: to the classics they have. They really have a great

1324
01:11:15,680 --> 01:11:18,240
Speaker 1: selection of older films on there. Oh, Yeah, I've lately

1325
01:11:18,280 --> 01:11:21,320
Speaker 1: been impressed by by the selection of older movies on HBO.

1326
01:11:21,360 --> 01:11:23,760
Speaker 1: Max thumbs up on that. In the meantime, if you

1327
01:11:23,800 --> 01:11:25,679
Speaker 1: want to check out other episodes of Weird House Cinema,

1328
01:11:25,720 --> 01:11:27,800
Speaker 1: you'll find it on Fridays and the Stuff to Blow

1329
01:11:27,840 --> 01:11:31,439
Speaker 1: Your Mind podcast feed were primarily a science podcast, but

1330
01:11:31,800 --> 01:11:35,799
Speaker 1: on Friday's we put aside most of the science discussion.

1331
01:11:35,800 --> 01:11:37,200
Speaker 1: I guess there's been more of it and here since

1332
01:11:37,200 --> 01:11:41,280
Speaker 1: we're talking about time travel, but generally Friday's that those

1333
01:11:41,320 --> 01:11:43,599
Speaker 1: are those are our days to just talk about weird films,

1334
01:11:43,640 --> 01:11:46,400
Speaker 1: and thus here we are huge thanks as always to

1335
01:11:46,479 --> 01:11:49,920
Speaker 1: our wonderful audio producer Seth Nicholas Johnson. If you would

1336
01:11:49,960 --> 01:11:51,880
Speaker 1: like to get in touch with us with feedback on

1337
01:11:51,960 --> 01:11:54,679
Speaker 1: this episode or any other, to suggest topic for the future,

1338
01:11:54,840 --> 01:11:57,440
Speaker 1: just to say hello, you can email us at contact

1339
01:11:57,520 --> 01:12:07,200
Speaker 1: at stuff to Blow your Mind dot com. Stuff to

1340
01:12:07,200 --> 01:12:09,720
Speaker 1: Blow Your Mind is production of I Heart Radio. For

1341
01:12:09,800 --> 01:12:12,000
Speaker 1: more podcasts for My Heart Radio, visit the I Heart

1342
01:12:12,080 --> 01:12:14,800
Speaker 1: Radio app, Apple Podcasts, or wherever you listen to your

1343
01:12:14,800 --> 01:12:15,479
Speaker 1: favorite shows.