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Speaker 1: Hey, welcome to Weird House Cinema. Rewind, this is Rob Lamb.

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Speaker 1: We have another older episode for you here today. This

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Speaker 1: one originally published nine, twenty twenty one. It is the

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Speaker 1: nineteen seventy five film Teens in the Universe. Let's watch

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Speaker 1: Soviet work ethic take on the Sirens song of Fun

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Speaker 1: in this sci fi, very interesting sci fi picture. Robots,

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Speaker 1: space travel, all sorts of fun elements. Let's dive right in.

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

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Speaker 1: Hey, welcome to Weird House Cinema. I'm Rob Lamb.

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Speaker 3: And I'm Joe McCormick.

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Speaker 4: And today, in the spirit of our episodes on Boggy

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Speaker 4: Creek two and the Legend Continues, and Ewok's Battle for Indoor,

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Speaker 4: and maybe some others that are slipping my mind right now.

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Speaker 4: Today we're going to be covering a sequel without covering

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Speaker 4: the first film that it's a sequel too, which is

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Speaker 4: something that I actually really like doing, but it's very

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Speaker 4: important for this sequence of movies, I think, because today's

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Speaker 4: selection is called Teens in the Universe, or also known

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Speaker 4: as Children in the Universe, and this is a nineteen

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Speaker 4: seventy four seventy five. I see both years cited as

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Speaker 4: its release here. It is a nineteen seventy four to

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Speaker 4: seventy five young adult sci fi film made in the

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Speaker 4: Soviet Union. And the reason I think it's important that

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Speaker 4: we're looking at this second movie in a series instead

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Speaker 4: of the first one is that this is the only

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Speaker 4: one of the two movies that has gonzo robots end

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Speaker 4: to end.

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Speaker 1: Yes, yes, this one is going to be chock full

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Speaker 1: of fun robots. I should note, at least a version

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Speaker 1: I watched. The one of the first things to pop

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Speaker 1: up on the screen is it's rating, and it's rating

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Speaker 1: is ages seven plus. So I didn't test this. I'm

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Speaker 1: an eight year old. I think he would have probably

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Speaker 1: found it interesting. I don't know. It probably moves a

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Speaker 1: little slow for modern youth audiences, but it is for

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Speaker 1: the most part a young person's film. It's certainly viewable

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Speaker 1: by children. So this is one of the rare pictures

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Speaker 1: where we don't have to offer any disclaimers, or even

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Speaker 1: the sort of inherent disclaimer of don't watch this film

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Speaker 1: with your children.

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Speaker 4: Yeah, I would say, as a blanket rule, if you're

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Speaker 4: watching weird house cinema movies, don't you know, they're usually

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Speaker 4: assume to be not for kids. It's going to be

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Speaker 4: a lot of genre weirdness, but this one, yeah, i'd

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Speaker 4: you know, I think three year olds should watch this movie.

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Speaker 4: But yeah, so it's called Teens in the Universe, And

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Speaker 4: I wonder if a more accurate translation of the spirit

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Speaker 4: of this title would be teens in Space, because if

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Speaker 4: it's really supposed to be in the universe, where else

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Speaker 4: would they be. That's like from what movie was it

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Speaker 4: we did early on where somebody said, like the characters

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Speaker 4: were trying to go seek help outside the universe.

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Speaker 1: Yeah, yeah, sometimes I think that gets switched around in translations.

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Speaker 1: So yeah, I think Keeens in Space probably seems good.

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Speaker 1: But it's also interesting to think about the huge difference

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Speaker 1: between a teenager's film in America in a teenager's film

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Speaker 1: made in the Soviet Union. Yes, so, because if it

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Speaker 1: was called teens in Space and it was a you know,

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Speaker 1: a US film from the sixties or much less seventies,

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Speaker 1: be a totally different film.

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Speaker 4: Yes, I think it would be far less concerned with

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Speaker 4: like duty. Yes, But so the one thing I wanted

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Speaker 4: to point out is that there are several posters I

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Speaker 4: was finding online for this movie and for the film

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Speaker 4: that comes before it. So this is a sequel to

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Speaker 4: a I guess nineteen seventy four ish Soviet film called

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Speaker 4: Moscow Cassiopeia, and Moscow Cassiopeia has a really really beautiful old,

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Speaker 4: you know, hand drawn poster that has a kid in

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Speaker 4: a space suit with a helmet and then another kid

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Speaker 4: looks like like what they're like locked into the Phantom

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Speaker 4: Zone from the Superman movies.

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Speaker 1: Yeah. Yeah, it's very trippy and spacey, but also it

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Speaker 1: looks fun. It looks fun.

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Speaker 3: Yeah, yeah, totally. But then this movie.

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Speaker 4: I found a really good poster for it online, but

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Speaker 4: it's under an alternate title for the film, which was

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Speaker 4: a Sesta Vesmiran, which means just journey through space. So

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Speaker 4: this is an alternate title. Four Teens in the Universe,

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Speaker 4: and this one has like this creepy silhouette of a

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Speaker 4: head with like eyeball tentacles for hair, and then it

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Speaker 4: has goggles that are just showing some of the main

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Speaker 4: characters in them.

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Speaker 1: Yeah, it seems like an artistic treatment on some of

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Speaker 1: the robots that we see in the film.

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Speaker 4: Okay, elevator pitch for Teens in the Universe goes like this,

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Speaker 4: Earth receives a distress beacon from a star in the

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Speaker 4: constellation Cassiopeia, and it sends a spaceship full of Soviet

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Speaker 4: thirteen year olds to investigate. They discover a ravaged planet

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Speaker 4: full of very cool robots who turn their mission into

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Speaker 4: a thought experiment about what's the good life.

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Speaker 1: Yeah, it's in a sense, this is like your basic

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Speaker 1: travel to another planet, have an adventure tale Like this

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Speaker 1: is the exact kind of situation you would find in

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Speaker 1: an episode of Star Trek. We've come to a mysterious planet,

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Speaker 1: there was a maybe there was a distress beacon. What's

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Speaker 1: going on here? What went wrong here? What can we

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Speaker 1: do to fix it? And then what do we learn

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Speaker 1: about ourselves in the process.

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Speaker 4: Yeah, but you know, I would say it is we

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Speaker 4: can talk about the philosophical implications of this movie later on.

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Speaker 4: There are questions that have been dealt with in other

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Speaker 4: interesting books and movies, you know, fiction of various kinds.

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Speaker 4: We can get into that in the I guess the

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Speaker 4: deep thought section. But but I will say this is

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Speaker 4: unusually thoughtful for a children's movie.

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Speaker 1: Yeah, certainly when you if you go into it expecting

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Speaker 1: like the Western idea of a kid's film. Yeah, you know,

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Speaker 1: it's different, but this is something I'd like to look

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Speaker 1: at in future episodes of Weird House, as well as

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Speaker 1: we look at films that are that are children's films,

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Speaker 1: you know, because I think there will be a few

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Speaker 1: others that come up, and sometimes some very deep stuff

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Speaker 1: is discussed in these films, and I think appropriately.

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Speaker 4: So, Okay, let's hit some of that trailer audio. I

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Speaker 4: don't even know if this is an original trailer. This

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Speaker 4: might be some kind of recut recent thing, but at

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Speaker 4: least we uh oh. And also there's as far as

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Speaker 4: I'm aware, there is no dubbed version, so you're not

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Speaker 4: going to hear any dialogue in English or anything. But

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Speaker 4: we should at least get some of that good ominous

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Speaker 4: piano theme.

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Speaker 1: Yeah, what she wrote, dispair?

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Speaker 3: Will you make it?

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Speaker 5: Plenty of stations to.

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Speaker 1: Here?

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Speaker 5: We do?

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Speaker 1: All right? There you have it. Teens in space, teens

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Speaker 1: in the universe.

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Speaker 4: I like the music in this movie. There are several

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Speaker 4: different kinds. There's one section that has a really good

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Speaker 4: horn section going nuts when a character is being sort

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Speaker 4: of hypnotized and losing his mind.

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Speaker 1: Yeah, a lot of the time it felt like there

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Speaker 1: was either no music or the music maybe I just

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Speaker 1: wasn't noticing it because the visuals were so stimulating.

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Speaker 3: Yeah.

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Speaker 4: Yeah, and this movie is all about stimulation and the

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Speaker 4: dangers of stimulation and entertainment. So let's see where should

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Speaker 4: we start when talking about the basic background of the

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Speaker 4: film the connections.

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Speaker 1: Well, you know, I guess first of all, we should

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Speaker 1: point out this being a Soviet film, the connections aren't

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Speaker 1: going to be as robust as some of the other

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Speaker 1: films that we've discussed, but there's still some very interesting

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Speaker 1: stuff here. The big one, of course, is that this

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Speaker 1: is a Gorky Film studio motion picture. This was a

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Speaker 1: Moscow film studio that produced roughly a thousand films by

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Speaker 1: the fall of the Soviet Union, including but not limited

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Speaker 1: to nineteen sixty four's Jack Frost, which we've discussed on

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Speaker 1: the show before.

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Speaker 6: Rosco. Yeah.

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Speaker 1: Yeah, So they produced a lot of just high quality,

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Speaker 1: very interesting looking films. I recommend just looking through the

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Speaker 1: archives to see some of the stuff that they looked at,

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Speaker 1: because a lot of it's stuff that Western audiences have

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Speaker 1: little or no exposure to. For instance, there's a film

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Speaker 1: called The Witch's Cave that looks very fascinating. As the

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Speaker 1: name implies, it is an interstellar space movie. But you know,

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Speaker 1: I don't know, it does seem like they you know,

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Speaker 1: it wasn't just fantasy and sci fi films, but you

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Speaker 1: do see that interesting peril. I guess there's always an

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Speaker 1: interesting parallel between a culture's fantasy and their sci fi,

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Speaker 1: because the predominant fantasy in Russian cinema seems to have

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Speaker 1: long been and still is, you know, treatments of these

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Speaker 1: traditional Russian folklore tales, you know, Baby Yaga and these heroes,

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Speaker 1: the stuff that we've discussed, some stuff to blow your

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Speaker 1: mind before, and then the sci fi stuff. You know,

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Speaker 1: it has a lot of it seems to have, you know,

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Speaker 1: a very intellectual bent, you know.

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Speaker 4: Yeah, yeah, very well. I mean I think there's a

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Speaker 4: deep connection. When I've seen Soviet sci fi movies, they

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Speaker 4: have more of kind of the Stanislaw Limb kind of approach, thoughtful,

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Speaker 4: kind of slow moving, but asking a lot of potent

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Speaker 4: questions about human nature.

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Speaker 1: Yeah, yeah, so yeah, it's something to keep in mind

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Speaker 1: anytime we're looking at the Soviet films. Gorky Film Studio,

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Speaker 1: by the way, continued into post Soviet era as well,

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Speaker 1: and I believe it's still quite active. You can go

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Speaker 1: to their website gorkyfilm dot Ru and you can check

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Speaker 1: it out. Like they have an active Instagram account, so

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Speaker 1: you know, Gorky seems to be very much in business today.

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Speaker 4: In the credits for this movie, the full title it

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Speaker 4: gives is that this is from the Maxim Gorky Central

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Speaker 4: Movie Studios for Children's and youth Films, which sounds very

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Speaker 4: bureaucratically wholesome.

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Speaker 1: All right, well, let's talk about some of the people.

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Speaker 1: Some of these names are just gonna roll through because

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Speaker 1: I don't think they're gonna really resonate that much with

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Speaker 1: with a lot of our listeners, and or we couldn't

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Speaker 1: find connections that were meaningful to us. That doesn't mean

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Speaker 1: they're not very accomplished individuals. And also, my apologies for

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Speaker 1: butchering any Russian pronunciations.

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Speaker 4: Oh god, we're gonna get so many Russian names. Tera

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Speaker 4: we're doing our best. We're very sorry, but we'll yeah, well,

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Speaker 4: we'll yeah, We'll.

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Speaker 1: Give you what we have, all right. So this one

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Speaker 1: was directed by Richard Viktorov. It was written by Isaiah

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Speaker 1: kuz Netsov and avinir Zak, and it seems to have

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Speaker 1: been filmed predominantly in Crimea.

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Speaker 4: Yeah, it actually looked very like the outdoor scenes very

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Speaker 4: much look like Black Sea region, the kind of that

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Speaker 4: the Black Sea basin, They've got that kind of landscape.

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Speaker 1: Yeah, it's stars, I guess predominantly. The stars are the teens,

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Speaker 1: the titular teens in the universe. I was looking at

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Speaker 1: some of these many of them didn't seem to act

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Speaker 1: beyond these two films, at least according to IMDb, at

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Speaker 1: least in a way that's tracked on IMDb. But they're

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Speaker 1: quite good. I feel like that the teens come off

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Speaker 1: as I mean, they don't come off as robots. You know,

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Speaker 1: we have actual robots in the film, but you know,

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Speaker 1: like they seem to be decent actors, so that as

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Speaker 1: far as I can pick up off there pick up

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Speaker 1: on they're serious when they need to be serious, which

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Speaker 1: is a lot of the time, but they also have

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Speaker 1: these moments of humor which feels appropriate.

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Speaker 6: Yeah.

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Speaker 4: Well, one thing I will say about this movie is

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Speaker 4: that I think one of the things about it that

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Speaker 4: translates the least is the attempted comedy. Like comedy is

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Speaker 4: one of the hardest things I think to take a

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Speaker 4: cross cultural boundaries. And while I think a lot of

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Speaker 4: like the drama and stuff works in the movie, the

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Speaker 4: movie is very funny, but most of the funniest stuff

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Speaker 4: about it, I think is the unin intentional stuff. Do

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Speaker 4: you know, to an audience like us, I'm sure the

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Speaker 4: intentional comedy would probably be funnier to actual Russian speaking audiences.

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Speaker 1: Yeah, Now this does bring up an interesting question. You know,

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Speaker 1: the title of these episodes is Weird House Cinema, and

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Speaker 1: often the question is what's weird about this? And I

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Speaker 1: always want to ask myself the question is this legitimately weird?

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Speaker 1: Would this be weird for the audience that was intended

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Speaker 1: to consume it? Or am I just finding it weird

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Speaker 1: because I am watching it as as a member of

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Speaker 1: the outside culture. I feel like there's plenty of legitimately

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Speaker 1: weird stuff in this.

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Speaker 4: Oh yeah, it's both. Yeah, So part of the weirdness

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Speaker 4: is in us US. Part of it is just like

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Speaker 4: the gap in US not getting you know, cultural cues

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Speaker 4: that would be available to the original audience. But part

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Speaker 4: of it is also just I think, like the robots

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Speaker 4: and the sets and all this stuff that's objectively weird. Yeah,

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Speaker 4: that's weird in every language.

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Speaker 1: Yeah, all right. A few of the other actors worth

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Speaker 1: noting here. First of all, A big one apparently is

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Speaker 1: you know Kinty Smocktunovski, who lived nineteen twenty five through

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Speaker 1: nineteen ninety four, and his nickname was apparently the King

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Speaker 1: of Soviet Actors. I will probably just refer to him

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Speaker 1: as the King of Soviet Actors henceforth. But you don't apparently.

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Speaker 3: Keep saying in Kinty Smoktunovski.

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Speaker 1: Nope, we're going to go with the King of Soviet Actors,

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Speaker 1: the King. And he's great in this. He plays a

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Speaker 1: character that will get into a little bit more, but

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Speaker 1: he is the IOO, the Extraordinary Service executive. But this, Yeah,

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Speaker 1: he was apparently a huge deal in Soviet cinema. He

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Speaker 1: played Hamlet in the nineteen sixty four Soviet version and

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Speaker 1: just has a whole list of of credits on IMDb,

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Speaker 1: the King of Soviet Actors.

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Speaker 4: I saw at least one of his credits he plays

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Speaker 4: Vladimir Lenin.

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Speaker 1: Okay, so there you go.

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Speaker 4: That's like, well, I guess that's like playing I don't know,

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Speaker 4: Abraham Lincoln or something in American cinema.

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Speaker 1: Yeah, Now, there was one other actor, certainly not a

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Speaker 1: major actor in this film that seemed to have some

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Speaker 1: interesting connections for Western audiences, and that's this guy Alexander

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Speaker 1: Linkov who lived forty three through twenty fourteen, and he

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Speaker 1: plays one of the robots that will encounter, one of

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Speaker 1: the executor robots, one of the more comic looking robots.

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Speaker 1: But he was a longtime Russian actor who at least

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Speaker 1: has a small connection to Western films, and that he

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Speaker 1: was in a two thousand and seven film called Moscow

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Speaker 1: Chill opposite Norman Ritas, so that one is apparently an

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Speaker 1: American computer hacker in Russia thriller.

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Speaker 6: Oh boy, Yeah, got a love that. Wait?

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Speaker 4: Is Norman Ritas one of the boondock boys?

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Speaker 1: He is? Yeah, I was thinking about him. I've thought

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Speaker 1: about this before. It's maybe this is an illusion for me,

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Speaker 1: just based on things that I'm exposed to. But it

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Speaker 1: seems like he's an American actor who has long had

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Speaker 1: a lot of it seems to have done a fair

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Speaker 1: amount of work for foreign directors and in foreign films.

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Speaker 1: Like there's something about him that perhaps encapsulates America in

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Speaker 1: a way that speaks well not only to Americans, because

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Speaker 1: he's popular here as well, but perhaps captures something about

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Speaker 1: America as perceived by by other countries.

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Speaker 4: Oh that's interesting. Yeah, the kind of actor who specializes

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Speaker 4: in their own national cinema versus represents that national character

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Speaker 4: in external cinema.

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Speaker 1: Yeah, I'm not sure what it is. Like maybe he

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Speaker 1: has this like he's Norman Retis often plays cool characters,

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Speaker 1: for sure, but he has this kind of feral quality

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Speaker 1: to him as well.

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Speaker 3: You know, wait, is.

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Speaker 4: He a hacker in this Russian computer hacker movie? Like

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Speaker 4: does he put on the ski mask instead of the keyboard?

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Speaker 1: And I don't know, I don't know how cool it gets,

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Speaker 1: but he's definitely a hacker in it. Okay, But anyway, yeah,

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Speaker 1: Linkov was in that. He was also in a film

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Speaker 1: called The Barber of Siberia from ninety eight, alongside Julia Ormond,

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Speaker 1: Richard Harris, and Robert Hardy. I don't think it was

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Speaker 1: a media role, but here he is in a film

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Speaker 1: with some strong Western film connections.

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Speaker 3: Okay.

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Speaker 1: He was also in a film called kinga Mastov from

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Speaker 1: two thousand and nine, a Russian fantasy movie featuring Bobba

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Speaker 1: Yaga and produced by the Walt Disney company. Cis the

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Speaker 1: Russian subsidiary of Walt Disney.

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Speaker 4: What.

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Speaker 1: I was not familiar with this at all, but Walt

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Speaker 1: Disney Company CIS has put out like a string of

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Speaker 1: like big budget Russian fantasy films.

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Speaker 4: Well, that went completely under my radar. I had no idea.

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Speaker 1: Linkov was also a film, stage and voice actor in

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Speaker 1: animated films, but also in Russian dubs of foreign films

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Speaker 1: such as Harry Potter. And I was reading that he

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Speaker 1: did the voice of Mundunga's Fletcher in The Deathly Hows

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Speaker 1: Part one, which is interesting because I'm not sure where

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Speaker 1: one goes to really track this stuff. I don't think

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Speaker 1: that's on IMDb. You know, it makes me wonder. Oftentimes

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Speaker 1: it's interesting because, for instance, you'll have an international actor

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Speaker 1: who will translate their do their own translation, their own

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Speaker 1: dubbing rather in international versions of a film or a

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Speaker 1: TV show. But yeah, I wonder if there's an Internet

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Speaker 1: database for that information.

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Speaker 3: Interesting.

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Speaker 1: So anyway, lev Durov certainly not the biggest name in

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Speaker 1: this film, but he plays one of the interesting characters,

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Speaker 1: and he is a name that I was able to

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Speaker 1: connect to some other stuff.

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Speaker 4: All right, well, are you ready to get into the

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Speaker 4: full plot breakdown?

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Speaker 1: Let's do it, okay.

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Speaker 3: So we got some opening.

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Speaker 4: Credits at the beginning, with music and the standard sort

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Speaker 4: of interstellar breeze background with text in the cyrillic script.

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Speaker 4: And again I mentioned this earlier, but I like the music.

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Speaker 4: There's this great repeating piano theme that kind of sounds

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Speaker 4: like troubles afoot. It goes like dolu do do lou do.

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Speaker 4: And I was looking for anything interesting to come through

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Speaker 4: in the credits. I did catch one thing, actually, So

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Speaker 4: a lot of it was just yeah, names of actors

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Speaker 4: and people from Soviet cinema that I don't really know

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Speaker 4: much about and couldn't find connections to anything I know

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Speaker 4: much about. But there was one credit that was for

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Speaker 4: consulting Soviet astronaut Georgi Bera Gavoy, and I was like, huh, I've.

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Speaker 3: Never heard of that. Is this guy real?

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Speaker 4: So I looked him up and yep, he was a

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Speaker 4: real Soviet cosmonaut. He was a guy who flew ground

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Speaker 4: attack missions for the Soviet Air Forces in World War Two,

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Speaker 4: and then after the war he became a test pilot,

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Speaker 4: and then with the development of the Soviet space program,

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Speaker 4: he became a cosmonaut in the nineteen sixties, and barrak

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Speaker 4: voy here actually flew the Soyuz three mission in nineteen

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Speaker 4: sixty eight, which that went up and it orbited the

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Speaker 4: Earth several times. It was intended to perform some orbital

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Speaker 4: docking maneuvers, but I think they were unsuccessful for some reason.

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Speaker 4: But he was hailed as a hero upon his return

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Speaker 4: from space, and he would later go into politics in

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Speaker 4: some form after his retirement from the space program. That

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Speaker 4: I was just reading some interesting anecdotes from his life.

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Speaker 4: Apparently he was in during an assassination attempt on Leonid

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Speaker 4: Brezhnev in nineteen sixty nine. I think he just happened

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Speaker 4: to be standing nearby. I think maybe some group of

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Speaker 4: cosmonauts were being honored or something, and then there was

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Speaker 4: this failed attempt at assassination and he was injured by

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Speaker 4: like shattered.

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Speaker 3: Glass or something.

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Speaker 4: But then one last thing about this guy, there is

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Speaker 4: this bizarre unsited paragraph from Wikipedia that could be completely untrue,

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Speaker 4: totally uncited by have to read it for just like

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Speaker 4: oral legend qualities, even if there's nothing to it.

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Speaker 3: So it goes like this.

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Speaker 4: It says, quote in October nineteen sixty nine, Constantine Fayuktistov

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Speaker 4: and Georgy Berogavoy traveled as guests of NASA throughout the

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Speaker 4: United States, visiting any city they chose, and the Disneyland

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Speaker 4: amusement Park in California. They were joined on the trip

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Speaker 4: by US astronauts as hosts, to include Eugene Cernan, Neil

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Speaker 4: Armstrong and others. Kirk Douglas and others hosted receptions for

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Speaker 4: them in Hollywood. They were protected by special agents of

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Speaker 4: the US State Department on request of NASA. Almost every

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Speaker 4: place they went when accompanied by Eugene Cernan, if a

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Speaker 4: band was present, the song fly Me to the Moon was.

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Speaker 3: Played, which I hate that song.

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Speaker 4: And then it says when they visited Disney Park they

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Speaker 4: enjoyed the ride trip to the moon, then joked with

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Speaker 4: US astronauts that they went to Disneyland and not the Moon.

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Speaker 4: It was a trip that all enjoyed and international friendships

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Speaker 4: were made. So this paragraph has obviously been translated from

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Speaker 4: something I'm not sure what, but I found this really funny.

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Speaker 1: Well that is funny. I like a good tale of

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Speaker 1: astronaut camaraderie.

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Speaker 4: But it also makes me wonder if this is true

393
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Speaker 4: that he was like hooking up with the Kirk Douglas

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Speaker 4: and special people in Hollywood during a visit to the

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Speaker 4: United States in nineteen sixty nine. I wonder if that

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Speaker 4: had anything to do with him being a sort of

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Speaker 4: advisor to Soviet science fiction movies in the seventies.

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Speaker 1: Interesting. I don't know, you know, you get into you know,

399
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Speaker 1: you read things about in Soviet history about the idea

400
00:21:10,160 --> 00:21:14,159
Speaker 1: of exposure to other cultures and how at times that

401
00:21:14,280 --> 00:21:18,040
Speaker 1: is viewed as as dangerous. You know, like you've been

402
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Speaker 1: exposed to this, this other way of looking at the world,

403
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Speaker 1: and therefore it needs to be removed from you. But

404
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Speaker 1: I wonder if this would be a case where like, oh, well,

405
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Speaker 1: they were exposed to the Hollywood machine, they met Kirk Douglas.

406
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Speaker 1: Get him to advise on this film.

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00:21:33,359 --> 00:21:36,600
Speaker 4: Yeah, he's got some he's got space cred in film cred,

408
00:21:36,640 --> 00:21:39,440
Speaker 4: and he can smash them together in the particle collider

409
00:21:39,480 --> 00:21:42,560
Speaker 4: of his brain and produce brilliant insights into how you

410
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Speaker 4: should make a movie about going to the planet Robot.

411
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Speaker 4: I'm not really sure anything in the movie that I

412
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Speaker 4: noticed seemed to be informed by real experience in spaceflight.

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Speaker 4: Did you really catch anything there?

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Speaker 1: There was one little tidbit actually, and that was I

415
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Speaker 1: don't know if it was in your translation, because I

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00:22:00,600 --> 00:22:04,359
Speaker 1: you watched this on YouTube with subtitles. I watched it

417
00:22:04,400 --> 00:22:08,120
Speaker 1: on Amazon Prime with subtitles, and you know, we didn't

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Speaker 1: do it give them side by side comparison, but our

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Speaker 1: translation seemed to be just a little bit different.

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Speaker 4: Oh yeah in places. Well that'll be fun going forward. Yeah,

421
00:22:15,560 --> 00:22:16,720
Speaker 4: we can compare notes.

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Speaker 1: In my version, there was at least a mention about

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Speaker 1: there being a gun strapped to the seat of their

424
00:22:22,720 --> 00:22:25,879
Speaker 1: lander or strap behind the seat, and that made me

425
00:22:25,920 --> 00:22:28,359
Speaker 1: think about, like, this was the actual this was a

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Speaker 1: real quality of space exploration back in the day, is

427
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Speaker 1: that you would have some sort of weapon in the

428
00:22:35,880 --> 00:22:38,800
Speaker 1: in the vessel for when you landed, the idea being

429
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Speaker 1: that you're going to come back down in the wilderness

430
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Speaker 1: and then what if the wolves come for you. Then

431
00:22:44,880 --> 00:22:47,439
Speaker 1: it was a very real concern, and so I couldn't

432
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Speaker 1: help but wonder if that was a nod to space

433
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Speaker 1: exploration realism.

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Speaker 4: Oh yeah, that is interesting though. Of course, I think

435
00:22:54,600 --> 00:22:57,160
Speaker 4: in the movie when they go looking for their gun

436
00:22:57,200 --> 00:22:59,440
Speaker 4: in the lander shuttle, it's just gone. I think the

437
00:22:59,560 --> 00:23:03,000
Speaker 4: robots have stolen it or something, okay, but that.

438
00:23:03,000 --> 00:23:06,480
Speaker 1: Maybe that was maybe that was the cosmonauts thing. He's like,

439
00:23:07,000 --> 00:23:09,880
Speaker 1: this whole movie would not happen because they would grab

440
00:23:09,920 --> 00:23:11,920
Speaker 1: the gun from behind the seats and kill the robots.

441
00:23:11,920 --> 00:23:15,520
Speaker 1: And they're like, well, it's a kid's film, so we're

442
00:23:15,760 --> 00:23:17,159
Speaker 1: gonna work that out.

443
00:23:17,320 --> 00:23:19,080
Speaker 3: He's the continuity editor.

444
00:23:19,359 --> 00:23:28,919
Speaker 1: Yeah, okay.

445
00:23:28,960 --> 00:23:30,960
Speaker 4: So one thing that we've got to establish, I guess

446
00:23:31,200 --> 00:23:33,879
Speaker 4: going into this movie is that it is a sequel,

447
00:23:34,080 --> 00:23:37,720
Speaker 4: and there is some information that we will get at

448
00:23:37,720 --> 00:23:41,199
Speaker 4: the beginning of this movie, but just for basic background

449
00:23:41,320 --> 00:23:45,080
Speaker 4: setting it up, what happens in the previous film, Moscow Cassiopeia.

450
00:23:45,760 --> 00:23:48,600
Speaker 4: I did not watch Moscow Cassiopeia, but I did read

451
00:23:48,640 --> 00:23:49,399
Speaker 4: some summaries.

452
00:23:49,840 --> 00:23:50,159
Speaker 1: Okay.

453
00:23:50,440 --> 00:23:54,080
Speaker 4: The best summary was a one sentence line from IMDb

454
00:23:54,600 --> 00:23:58,359
Speaker 4: that goes like this quote, several children go to a

455
00:23:58,440 --> 00:24:01,919
Speaker 4: lifelong space mission to Capa because they don't want to

456
00:24:01,960 --> 00:24:02,560
Speaker 4: go to school.

457
00:24:04,920 --> 00:24:08,560
Speaker 1: Well that's that sounds probably accurate. These kids seem really sharp,

458
00:24:08,680 --> 00:24:10,679
Speaker 1: so oh, we're probably bored with school.

459
00:24:10,760 --> 00:24:13,640
Speaker 4: These kids are like all geniuses except maybe Lob. I'm

460
00:24:13,640 --> 00:24:14,600
Speaker 4: not sure about Lob.

461
00:24:15,560 --> 00:24:17,840
Speaker 1: What was Lob's specialty? They each have a specialty.

462
00:24:17,920 --> 00:24:22,720
Speaker 4: His specialty was like was like hijinks and glue. Oh yeah,

463
00:24:22,760 --> 00:24:24,920
Speaker 4: I don't know. We'll explain the characters, guys.

464
00:24:24,920 --> 00:24:25,199
Speaker 1: We go on.

465
00:24:25,560 --> 00:24:27,879
Speaker 4: But so the longer version of the summary of the

466
00:24:27,880 --> 00:24:30,520
Speaker 4: first movie, as I've pieced together from a few different

467
00:24:30,760 --> 00:24:34,160
Speaker 4: write ups on the web, it's that scientists on Earth

468
00:24:34,280 --> 00:24:37,760
Speaker 4: discover a radio signal emanating from a planet orbiting a

469
00:24:37,800 --> 00:24:41,600
Speaker 4: star in the Cassiopeia constellation, and the star is known

470
00:24:41,600 --> 00:24:45,800
Speaker 4: as Shadar or Alpha Cassiopeia, And so a mission is

471
00:24:45,840 --> 00:24:48,040
Speaker 4: formed to travel to the point of origin of the

472
00:24:48,119 --> 00:24:52,000
Speaker 4: radio signal. But the journey is going to take decades,

473
00:24:52,440 --> 00:24:56,000
Speaker 4: so you can't so like, you can't send an adult

474
00:24:56,119 --> 00:24:59,280
Speaker 4: crew because if you send crew a crew in their

475
00:24:59,280 --> 00:25:02,240
Speaker 4: thirties or four parties, they'll be old and infirm or

476
00:25:02,280 --> 00:25:04,959
Speaker 4: even dead by the time they reach the source. So

477
00:25:05,680 --> 00:25:08,960
Speaker 4: Earth decides they have to send a crew selected from

478
00:25:09,160 --> 00:25:11,920
Speaker 4: the brave youth of our planet, and the crew ends

479
00:25:12,000 --> 00:25:14,880
Speaker 4: up being composed of what are called Pioneers. I think

480
00:25:15,000 --> 00:25:17,840
Speaker 4: this is supposed to be the Soviet equivalent of the Scouts,

481
00:25:17,880 --> 00:25:20,800
Speaker 4: like Boy Scouts and Girl Scouts, but co ed okay,

482
00:25:21,280 --> 00:25:23,760
Speaker 4: But then there is some kind of malfunction. There is

483
00:25:23,840 --> 00:25:27,000
Speaker 4: a stowaway on the mission, who I believe is Lob,

484
00:25:27,080 --> 00:25:32,480
Speaker 4: the yellow haired guy, the corn head, and the spaceship

485
00:25:32,520 --> 00:25:35,800
Speaker 4: that they're traveling on ends up exceeding the speed of light.

486
00:25:36,240 --> 00:25:38,960
Speaker 4: I'm not sure how that works, because that's not physically possible,

487
00:25:38,960 --> 00:25:41,040
Speaker 4: but that's what they say. And so what happens is

488
00:25:41,080 --> 00:25:44,359
Speaker 4: they actually arrive at their destination far ahead of schedule,

489
00:25:45,000 --> 00:25:47,800
Speaker 4: and oops, we didn't have time to grow up before

490
00:25:47,840 --> 00:25:50,280
Speaker 4: we got here. So now they are not adults grown

491
00:25:50,320 --> 00:25:54,879
Speaker 4: in space, but their still teenage selves arrived at their destination.

492
00:25:55,440 --> 00:25:58,320
Speaker 1: So I love this setup because I think it really

493
00:25:58,359 --> 00:26:02,480
Speaker 1: does seem to captures something nice about how we think

494
00:26:02,560 --> 00:26:05,800
Speaker 1: about our children, you know, in this film, where we're

495
00:26:05,840 --> 00:26:09,560
Speaker 1: literally taking the youth and sending them through time and

496
00:26:09,640 --> 00:26:14,359
Speaker 1: space to a different place in order for them to

497
00:26:14,520 --> 00:26:18,480
Speaker 1: act on behalf of humanity. But of course, the normal

498
00:26:18,520 --> 00:26:22,760
Speaker 1: situation is we are inherently sending our children into the

499
00:26:22,800 --> 00:26:26,240
Speaker 1: future to be the future of humanity and preparing them

500
00:26:26,240 --> 00:26:29,480
Speaker 1: as best we can, etc. And in reality we often

501
00:26:29,520 --> 00:26:33,000
Speaker 1: find that they are arriving ahead of schedule. You know,

502
00:26:33,080 --> 00:26:36,320
Speaker 1: they're having to deal with the adult world far ahead

503
00:26:36,359 --> 00:26:38,960
Speaker 1: of what we kind of loosely expected.

504
00:26:39,160 --> 00:26:41,439
Speaker 4: Yeah, you kind of get the sense that every parent

505
00:26:41,520 --> 00:26:45,360
Speaker 4: in every generation discovers that their child is encountering too

506
00:26:45,440 --> 00:26:49,240
Speaker 4: much of the world too fast, and it's scary. But

507
00:26:49,320 --> 00:26:52,119
Speaker 4: in fact we're about to get exactly the opposite in

508
00:26:52,200 --> 00:26:54,119
Speaker 4: a scene at the very beginning of this movie. So

509
00:26:54,440 --> 00:26:57,560
Speaker 4: the first human action we get in Teens in the

510
00:26:57,640 --> 00:27:00,880
Speaker 4: Universe is that we open on a Russian family popping

511
00:27:00,960 --> 00:27:05,280
Speaker 4: champagne over a cake studded with many, many candles. They're

512
00:27:05,280 --> 00:27:08,080
Speaker 4: having a birthday party and it's in a very dimly

513
00:27:08,200 --> 00:27:10,119
Speaker 4: lit house. I will say, I'm not sure why they

514
00:27:10,119 --> 00:27:13,679
Speaker 4: don't have more some lights on, but they're in this

515
00:27:13,760 --> 00:27:18,320
Speaker 4: dim house. And they explain they're celebrating their son, Pavel's

516
00:27:18,359 --> 00:27:22,480
Speaker 4: fortieth birthday, but Pavel is not here whereas he Well,

517
00:27:22,560 --> 00:27:24,600
Speaker 4: we zoom in on a framed photo on the wall

518
00:27:25,800 --> 00:27:30,400
Speaker 4: that explains Pavel is the pilot of the starship Czaria,

519
00:27:30,480 --> 00:27:34,439
Speaker 4: and they give an explanation later what the acronym ZARIA

520
00:27:34,560 --> 00:27:39,959
Speaker 4: stands for. It stands for starship annihilating, relativistic nuclear. I'm

521
00:27:40,000 --> 00:27:42,280
Speaker 4: not sure how all those things fit together, but that's

522
00:27:42,280 --> 00:27:45,240
Speaker 4: what it is. So the starship Zaria is this mission

523
00:27:45,359 --> 00:27:50,440
Speaker 4: to Alpha Cassiopeia, which left Earth twenty seven years ago

524
00:27:50,640 --> 00:27:54,679
Speaker 4: when Pavel was thirteen, and the parents are celebrating his

525
00:27:54,880 --> 00:27:58,159
Speaker 4: fortieth birthday today because he should be forty. And it

526
00:27:58,160 --> 00:28:00,239
Speaker 4: shows all kinds of things in the house that are

527
00:28:00,240 --> 00:28:04,399
Speaker 4: sort of set aside and unused, labeled with card stock

528
00:28:04,480 --> 00:28:08,480
Speaker 4: that say things like Pavel's favorite chair, Pavil's school books,

529
00:28:08,760 --> 00:28:13,560
Speaker 4: and then my favorite Pavel's hobby nail collection. And I

530
00:28:13,600 --> 00:28:15,879
Speaker 4: had to rewind this a couple of times to figure

531
00:28:15,880 --> 00:28:18,280
Speaker 4: out if I was missing something, but that's what the

532
00:28:18,760 --> 00:28:21,920
Speaker 4: card says. And it's just a box full of long nails,

533
00:28:22,000 --> 00:28:25,160
Speaker 4: like nails you would use in construction. And this made

534
00:28:25,200 --> 00:28:28,800
Speaker 4: me wonder, Russian listeners, is this a cultural thing? Was

535
00:28:28,840 --> 00:28:32,800
Speaker 4: it common in the seventies for adolescents to collect large nails?

536
00:28:32,840 --> 00:28:33,680
Speaker 4: I've never heard of this.

537
00:28:34,560 --> 00:28:39,200
Speaker 1: The translation I had there's an adult who says these

538
00:28:39,240 --> 00:28:40,800
Speaker 1: are the nails he liked to hammer.

539
00:28:43,760 --> 00:28:46,840
Speaker 3: And I will say, I experience, that's good.

540
00:28:47,880 --> 00:28:50,600
Speaker 1: My experience as a father is that kids are very

541
00:28:50,600 --> 00:28:53,240
Speaker 1: interested in hammering nails and want to do it. Sure,

542
00:28:54,120 --> 00:28:56,160
Speaker 1: so I mean that much is true. I don't know

543
00:28:56,200 --> 00:28:56,840
Speaker 1: about the rest.

544
00:28:57,320 --> 00:28:59,800
Speaker 4: I mean, I also I loved hammering nails as a child,

545
00:28:59,800 --> 00:29:03,520
Speaker 4: but I don't. I've never heard of collecting nails.

546
00:29:03,440 --> 00:29:05,520
Speaker 1: Yeah, or to be you know, proudly displayed as one

547
00:29:05,560 --> 00:29:07,800
Speaker 1: of your top hobbies. Because in this very scene where

548
00:29:07,800 --> 00:29:10,240
Speaker 1: they're talking about it, we see like a peek into

549
00:29:10,440 --> 00:29:13,680
Speaker 1: what is presumed to be his his childhood room behind him,

550
00:29:14,040 --> 00:29:16,160
Speaker 1: and it's not like, I mean, this is not like

551
00:29:16,200 --> 00:29:18,320
Speaker 1: the you know, the opening stages of Willy Wonka, where

552
00:29:18,320 --> 00:29:21,760
Speaker 1: everybody's like, you know, they have that really fake feeling

553
00:29:21,920 --> 00:29:25,920
Speaker 1: version of of poverty, you know, where everybody's sleeping in

554
00:29:25,960 --> 00:29:27,920
Speaker 1: one bed and all like it looks like a nice

555
00:29:28,000 --> 00:29:30,360
Speaker 1: room and they're toys in there. It we don't get

556
00:29:30,360 --> 00:29:33,040
Speaker 1: the sense that they had an abnormal childhood, you know,

557
00:29:33,200 --> 00:29:35,480
Speaker 1: or that they had a childhood where the only toy

558
00:29:35,720 --> 00:29:37,760
Speaker 1: available was a box of nails.

559
00:29:39,320 --> 00:29:42,280
Speaker 4: That would be good, though, father Christmas brings you a

560
00:29:42,320 --> 00:29:43,320
Speaker 4: box of nails.

561
00:29:44,120 --> 00:29:47,320
Speaker 1: Yeah, I don't know. Maybe there's something symbolic too about this,

562
00:29:47,440 --> 00:29:49,600
Speaker 1: you know, we're getting into like, you know, the hammer

563
00:29:49,600 --> 00:29:51,480
Speaker 1: and the sickle and the idea of building things I

564
00:29:51,480 --> 00:29:51,800
Speaker 1: don't know.

565
00:29:52,800 --> 00:29:56,120
Speaker 4: Well anyway, so we see all of Pavel's things preserved

566
00:29:56,240 --> 00:29:59,000
Speaker 4: like this. But then suddenly the folks at the party

567
00:29:59,040 --> 00:30:01,920
Speaker 4: realized that someone is sitting in Pavel's favorite chair, which

568
00:30:01,960 --> 00:30:04,280
Speaker 4: no one is allowed to sit in. The favorite chair

569
00:30:04,320 --> 00:30:06,880
Speaker 4: has been soiled with a non Pavel butt, and there

570
00:30:06,960 --> 00:30:10,960
Speaker 4: is immediate confusion, and so this is going to be I.

571
00:30:10,880 --> 00:30:11,840
Speaker 1: Think, not outrage.

572
00:30:12,000 --> 00:30:15,280
Speaker 4: Not outrage, that's no, They're just kind of like, huh,

573
00:30:15,280 --> 00:30:19,200
Speaker 4: that's curious because there is suddenly this kind of mousey,

574
00:30:19,440 --> 00:30:23,920
Speaker 4: unimposing man who has a sly smile and he looks

575
00:30:24,080 --> 00:30:26,680
Speaker 4: like a bureaucrat of some kind. He's wearing a very

576
00:30:26,720 --> 00:30:31,760
Speaker 4: seventies suit, and he's just this meek, polite little man

577
00:30:31,800 --> 00:30:34,640
Speaker 4: who's like, pardon me, I have something to clarify for

578
00:30:34,720 --> 00:30:37,840
Speaker 4: you about this saga. And then he snaps his fingers

579
00:30:37,840 --> 00:30:40,600
Speaker 4: and turns on the lights by magic, and this is

580
00:30:40,640 --> 00:30:43,480
Speaker 4: in a kenty I believe the Yeah, this is the king,

581
00:30:43,680 --> 00:30:46,479
Speaker 4: This is the King, and he explains that in this

582
00:30:46,560 --> 00:30:50,719
Speaker 4: movie he is the In my edition, it was the EOE,

583
00:30:50,760 --> 00:30:55,800
Speaker 4: the Executorial Official of Elucidation. I think yours had a

584
00:30:55,800 --> 00:30:56,760
Speaker 4: different translation.

585
00:30:57,560 --> 00:31:00,760
Speaker 1: Yeah, well, I think the translation I pulled from IMDb,

586
00:31:00,960 --> 00:31:03,960
Speaker 1: so I can't remember what he called himself in the

587
00:31:04,080 --> 00:31:04,880
Speaker 1: version I watched.

588
00:31:05,080 --> 00:31:08,040
Speaker 4: So yeah, he's basically like, hello, I am the Magic

589
00:31:08,120 --> 00:31:11,200
Speaker 4: bureaucrat here who is in charge of explaining what's going

590
00:31:11,240 --> 00:31:15,320
Speaker 4: on in the plot, and a while apparently teleporting around

591
00:31:15,360 --> 00:31:17,960
Speaker 4: the room, like he just appears in Pavel's chair and

592
00:31:18,000 --> 00:31:20,600
Speaker 4: then suddenly he is sitting between two other party guests.

593
00:31:20,920 --> 00:31:25,960
Speaker 1: Yeah, he is overtly magical. You know, He's not obeying

594
00:31:26,000 --> 00:31:27,640
Speaker 1: the rules of the rest of the film, and to

595
00:31:27,680 --> 00:31:30,239
Speaker 1: a certain degree, seems to be aware that it is

596
00:31:30,280 --> 00:31:33,560
Speaker 1: a film. And I don't remember if he actually breaks

597
00:31:33,600 --> 00:31:35,320
Speaker 1: the fourth wall at any point, but there is a

598
00:31:35,360 --> 00:31:40,320
Speaker 1: sense that he's winking at us, the viewer, and all

599
00:31:40,360 --> 00:31:43,560
Speaker 1: the characters that encounter him, save the teens, I think

600
00:31:44,000 --> 00:31:47,000
Speaker 1: later on the film regard him with confusion. So it

601
00:31:47,040 --> 00:31:50,440
Speaker 1: felt appropriate that I didn't really understand him either. He's

602
00:31:50,560 --> 00:31:53,560
Speaker 1: kind of this Soviet Willy Wonka y. You know, he

603
00:31:53,640 --> 00:31:56,680
Speaker 1: seems to have god like powers, but he clearly can't

604
00:31:56,760 --> 00:32:01,000
Speaker 1: be God. But you know, maybe I saw I was thinking, well,

605
00:32:01,200 --> 00:32:06,280
Speaker 1: maybe he's a highly advanced technological civilizations representative in the story.

606
00:32:06,560 --> 00:32:09,200
Speaker 1: I don't know. The best I can think of is

607
00:32:09,240 --> 00:32:10,360
Speaker 1: just Soviet Lilly Wonka.

608
00:32:10,520 --> 00:32:12,960
Speaker 4: Yeah, he just a couple of times in the film

609
00:32:13,280 --> 00:32:17,080
Speaker 4: he just appears to do exposition and then do magic

610
00:32:17,160 --> 00:32:19,960
Speaker 4: things and characters.

611
00:32:20,040 --> 00:32:20,720
Speaker 3: Yeah, it's weird.

612
00:32:20,760 --> 00:32:25,280
Speaker 4: They act confused by his presence, like they don't understand him,

613
00:32:25,760 --> 00:32:27,480
Speaker 4: but not confused enough.

614
00:32:27,680 --> 00:32:30,280
Speaker 3: They're just like just mildly confused.

615
00:32:30,600 --> 00:32:32,480
Speaker 1: They trust him absolutely.

616
00:32:32,040 --> 00:32:35,200
Speaker 4: Yeah, but anyway, so he says he's here to clarify

617
00:32:35,280 --> 00:32:38,280
Speaker 4: something about this saga. So he asks Pavel's mother how

618
00:32:38,280 --> 00:32:41,960
Speaker 4: many candles are on the cake, and she explains, well, forty, right,

619
00:32:42,040 --> 00:32:44,880
Speaker 4: he was thirteen when he left Earth. Now twenty seven

620
00:32:44,960 --> 00:32:48,120
Speaker 4: years have gone by, so he'll be turning forty. But

621
00:32:48,240 --> 00:32:52,600
Speaker 4: then the magic bureaucrat asks her to count the candles again,

622
00:32:52,800 --> 00:32:56,160
Speaker 4: so she does, and there are only fourteen this time,

623
00:32:56,520 --> 00:33:00,120
Speaker 4: and he explains this is due to Einstein's paradox. And

624
00:33:00,160 --> 00:33:03,200
Speaker 4: here we get a very loose explanation of the effects

625
00:33:03,200 --> 00:33:07,160
Speaker 4: of relativistic time dilation, which of course is real. This

626
00:33:07,240 --> 00:33:09,400
Speaker 4: is something that a lot of the best sci fi

627
00:33:09,480 --> 00:33:11,560
Speaker 4: movies that try to stick to the hard science have

628
00:33:11,600 --> 00:33:14,720
Speaker 4: actually played with because it's one of the most magical

629
00:33:14,840 --> 00:33:21,160
Speaker 4: seeming things about real reality. Wonderful redundancy, Joe, real reality.

630
00:33:21,600 --> 00:33:23,720
Speaker 4: But it is true that time is not the same

631
00:33:23,760 --> 00:33:26,920
Speaker 4: for all observers everywhere in the universe. It passes differently

632
00:33:27,280 --> 00:33:30,560
Speaker 4: at relatively different rates, depending on things like how close

633
00:33:30,600 --> 00:33:33,040
Speaker 4: you are to a large center of mass or how

634
00:33:33,080 --> 00:33:36,640
Speaker 4: fast you're traveling relative to an observer. So it's true

635
00:33:36,640 --> 00:33:38,600
Speaker 4: that if you were to get in a spaceship and

636
00:33:38,680 --> 00:33:41,480
Speaker 4: travel it close to the speed of light, though time

637
00:33:41,520 --> 00:33:45,720
Speaker 4: would seem to pass normally for you to an outside observer,

638
00:33:46,240 --> 00:33:48,240
Speaker 4: you could appear to be living in a sort of

639
00:33:48,400 --> 00:33:51,640
Speaker 4: slow motion. So the people left behind on Earth would

640
00:33:51,720 --> 00:33:55,800
Speaker 4: age faster in relation. And the magic bureaucrat explains this

641
00:33:55,880 --> 00:33:57,800
Speaker 4: to the party guests. The point is that Pavel is

642
00:33:57,840 --> 00:34:01,160
Speaker 4: not actually forty, He's only fourteen, And I think the

643
00:34:01,160 --> 00:34:05,120
Speaker 4: immediate implication is, oh, no, these teens are not mature

644
00:34:05,200 --> 00:34:09,239
Speaker 4: enough to be exploring other planets. And I love thinking about,

645
00:34:09,400 --> 00:34:12,520
Speaker 4: like imagining if the same premise of movie were done

646
00:34:12,600 --> 00:34:18,000
Speaker 4: today by generationally terrified adults in the United States, Like, so,

647
00:34:18,160 --> 00:34:20,480
Speaker 4: you know, the supposed horror that would be represented by

648
00:34:20,480 --> 00:34:24,080
Speaker 4: the idea of zoomers tiktoking as they crash land into

649
00:34:24,080 --> 00:34:25,120
Speaker 4: the alien capital.

650
00:34:26,800 --> 00:34:28,560
Speaker 1: Yeah, I feel like you could you could tweak this

651
00:34:28,640 --> 00:34:32,400
Speaker 1: premise in various directions and get an interesting idea for

652
00:34:32,440 --> 00:34:34,920
Speaker 1: a film. You know, kids in space, teens in space,

653
00:34:35,120 --> 00:34:38,560
Speaker 1: twenty somethings in space, Boomers in space. There's so much

654
00:34:38,600 --> 00:34:40,480
Speaker 1: you could do boomers space.

655
00:34:42,640 --> 00:34:43,920
Speaker 3: What if it had gone the other way?

656
00:34:44,080 --> 00:34:46,040
Speaker 4: So they got there, Yeah, and they were like cranky

657
00:34:46,080 --> 00:34:47,279
Speaker 4: people in their seventies.

658
00:34:47,800 --> 00:34:51,040
Speaker 1: Yeah, that would that would be good. Also, I should

659
00:34:51,040 --> 00:34:53,480
Speaker 1: say that with the teens, we do get the impression

660
00:34:53,840 --> 00:34:55,760
Speaker 1: I don't know if this was in your version as well,

661
00:34:55,920 --> 00:34:58,239
Speaker 1: that they are they're augmented in such a way that

662
00:34:58,280 --> 00:35:01,560
Speaker 1: they can say, read Tolstoy with their minds. Like one

663
00:35:01,640 --> 00:35:03,319
Speaker 1: character says to the other, well, you know what it

664
00:35:03,360 --> 00:35:05,480
Speaker 1: says in tolsto im page such and such, line such

665
00:35:05,480 --> 00:35:06,799
Speaker 1: and such, and they're like pep oh.

666
00:35:06,880 --> 00:35:08,000
Speaker 6: Yeah.

667
00:35:08,000 --> 00:35:10,000
Speaker 4: So not all of them can do that. I think

668
00:35:10,040 --> 00:35:13,040
Speaker 4: that's just that one character who can quote books back

669
00:35:13,080 --> 00:35:16,279
Speaker 4: from memory because he's I think the implication is that

670
00:35:16,320 --> 00:35:19,080
Speaker 4: he happens to have a photographic memory for everything he's

671
00:35:19,080 --> 00:35:20,240
Speaker 4: ever read or consumed.

672
00:35:20,400 --> 00:35:23,279
Speaker 1: Oh okay, so maybe not technologically augmented, but just getting

673
00:35:23,320 --> 00:35:25,719
Speaker 1: back to the idea that these kids are all savants

674
00:35:26,160 --> 00:35:28,719
Speaker 1: or you know, just geniuses ahead of their time. They're

675
00:35:28,760 --> 00:35:30,120
Speaker 1: the very best of our youth.

676
00:35:30,400 --> 00:35:32,760
Speaker 4: Well, yeah, because some of these these kids are supposed

677
00:35:32,760 --> 00:35:35,799
Speaker 4: to be like thirteen fourteen, but they have expertise.

678
00:35:35,960 --> 00:35:36,480
Speaker 3: They are like.

679
00:35:36,520 --> 00:35:39,279
Speaker 4: Scientists, like one of the one of the boys is

680
00:35:39,320 --> 00:35:42,719
Speaker 4: a spaceship pilot. One of the girls is an exobiologist.

681
00:35:42,880 --> 00:35:45,760
Speaker 4: These are people who have completed postgraduate degrees.

682
00:35:45,800 --> 00:35:49,399
Speaker 1: But they're thirteen, right, But we're not sure what what's

683
00:35:49,400 --> 00:35:50,000
Speaker 1: his name.

684
00:35:50,600 --> 00:35:53,399
Speaker 3: Lobo Lobit Lobanov who goes by.

685
00:35:53,360 --> 00:35:57,160
Speaker 1: Law enough yea space ron Weasley. I kept thinking of him.

686
00:35:57,280 --> 00:36:00,840
Speaker 4: I'm not sure what his expertise is, if he has any,

687
00:36:01,239 --> 00:36:03,319
Speaker 4: I don't know. We'll explain more about him as we

688
00:36:03,360 --> 00:36:06,080
Speaker 4: go on. So but anyways, we finally cut to our

689
00:36:06,120 --> 00:36:09,719
Speaker 4: young heroes in the spaceship and it's nearing its destination.

690
00:36:10,200 --> 00:36:12,799
Speaker 4: And by the way, this movie has the kind of

691
00:36:13,480 --> 00:36:17,280
Speaker 4: outer space design that was more common in older movies

692
00:36:17,360 --> 00:36:19,919
Speaker 4: that I really like where you get I mean again,

693
00:36:20,000 --> 00:36:23,520
Speaker 4: it's not something that looks necessarily realistic, but you get

694
00:36:23,520 --> 00:36:28,120
Speaker 4: these colorful ribbons of nebulae and green stars and stuff.

695
00:36:28,160 --> 00:36:31,120
Speaker 4: It's kind of the theorem and picture of outer space.

696
00:36:31,880 --> 00:36:35,120
Speaker 1: Yeah, it's like a fairy light kind of cosmos, which

697
00:36:35,360 --> 00:36:38,000
Speaker 1: I see making a return in some places in some

698
00:36:38,200 --> 00:36:42,080
Speaker 1: sci fi cinema you know where though, Yeah, like I've

699
00:36:42,120 --> 00:36:44,319
Speaker 1: seen it like in some Star Wars stuff that's come out.

700
00:36:44,480 --> 00:36:46,320
Speaker 3: Oh that makes sense, Like yeah, where.

701
00:36:46,120 --> 00:36:47,640
Speaker 1: They're kind of getting back to the idea of like

702
00:36:47,680 --> 00:36:50,239
Speaker 1: what can we do that makes it more exciting, you know,

703
00:36:50,239 --> 00:36:53,560
Speaker 1: because we've had just the dark starfield for so long

704
00:36:53,640 --> 00:36:57,400
Speaker 1: cinematically that you know, especially in the more fantastic versions

705
00:36:57,440 --> 00:36:59,200
Speaker 1: of science fiction, people are saying, well, what can we

706
00:36:59,200 --> 00:37:01,600
Speaker 1: do to to flip the script on this?

707
00:37:01,920 --> 00:37:05,320
Speaker 4: Yeah, I am okay with a stylized design for outer space.

708
00:37:05,880 --> 00:37:06,880
Speaker 3: That is fine with me.

709
00:37:07,000 --> 00:37:09,120
Speaker 4: I don't care if that's not necessarily what it would

710
00:37:09,160 --> 00:37:12,040
Speaker 4: realistically look like from that capsule window.

711
00:37:12,520 --> 00:37:12,719
Speaker 1: Yeah.

712
00:37:13,200 --> 00:37:15,399
Speaker 4: And then of course we meet the young cosmonauts and

713
00:37:15,440 --> 00:37:19,319
Speaker 4: they've got cool white jumpsuits. Now I'm divided on this

714
00:37:19,400 --> 00:37:22,880
Speaker 4: because on one hand, I've come to the conclusion I

715
00:37:22,880 --> 00:37:25,640
Speaker 4: think you've said this before as well. I mean, I

716
00:37:25,640 --> 00:37:28,160
Speaker 4: believe we share the opinion that basically any movie can

717
00:37:28,200 --> 00:37:32,120
Speaker 4: improved with the addition of jumpsuits. Jumpsuits just make everything cooler.

718
00:37:32,520 --> 00:37:34,880
Speaker 3: Absolutely, But on the other hand.

719
00:37:35,200 --> 00:37:37,840
Speaker 4: It creates some problems in this movie because for most

720
00:37:37,880 --> 00:37:42,479
Speaker 4: of the movie I had trouble telling like at least

721
00:37:42,520 --> 00:37:45,319
Speaker 4: three of the boys apart from each other because they're

722
00:37:45,320 --> 00:37:47,800
Speaker 4: all dressed the same. They kind of look the same.

723
00:37:48,239 --> 00:37:50,959
Speaker 4: The girls less so because they had like different hairstyles

724
00:37:51,040 --> 00:37:53,439
Speaker 4: and like glasses or no glasses, like they were more

725
00:37:53,719 --> 00:37:57,200
Speaker 4: easily distinguishable. Three of the boys are just like, they've

726
00:37:57,200 --> 00:38:00,000
Speaker 4: got brown hair. They don't look super different from each other,

727
00:38:00,239 --> 00:38:01,760
Speaker 4: and they're dressed exactly the same.

728
00:38:02,239 --> 00:38:05,680
Speaker 1: Yeah. For me, it was the Gallas space glasses. There

729
00:38:05,719 --> 00:38:08,000
Speaker 1: was space Ron Weasley, and then there's just the rest.

730
00:38:08,200 --> 00:38:08,759
Speaker 6: Yeah.

731
00:38:08,840 --> 00:38:12,839
Speaker 4: So maybe what these movies should do is, yes, go jumpsuits,

732
00:38:12,960 --> 00:38:16,120
Speaker 4: but have different color jumpsuits so everybody's got their own

733
00:38:16,160 --> 00:38:18,080
Speaker 4: color and then it's easy to remember, Okay, this is

734
00:38:18,120 --> 00:38:18,719
Speaker 4: the red guy.

735
00:38:19,160 --> 00:38:19,600
Speaker 1: Yeah.

736
00:38:19,680 --> 00:38:21,600
Speaker 4: Oh and interestingly that would even fit with some of

737
00:38:21,680 --> 00:38:25,360
Speaker 4: the color coding technology themes in the movie. But anyway,

738
00:38:25,640 --> 00:38:28,040
Speaker 4: so three boys in the spaceship when we first meet them,

739
00:38:28,040 --> 00:38:31,279
Speaker 4: are discussing how to celebrate Pavel's birthday, just like his

740
00:38:31,360 --> 00:38:34,680
Speaker 4: parents were doing back home, and they're debating what kind

741
00:38:34,680 --> 00:38:38,040
Speaker 4: of Holideck program they should load. Maybe some nice pretty

742
00:38:38,040 --> 00:38:41,279
Speaker 4: outdoor nature scenes where they can go sunbathing, or maybe

743
00:38:41,320 --> 00:38:45,000
Speaker 4: a big ceremonial banquet hall and no, they end up

744
00:38:45,200 --> 00:38:48,239
Speaker 4: landing on the place every fourteen year old would most

745
00:38:48,280 --> 00:38:51,680
Speaker 4: love to celebrate their birthday inside their house with their parents.

746
00:38:52,160 --> 00:38:56,000
Speaker 1: Well, but these are not normal teens. These are teens

747
00:38:56,040 --> 00:38:59,200
Speaker 1: that are no longer on earth. So it's understandable that

748
00:38:59,239 --> 00:39:00,440
Speaker 1: they're overcome with home sickness.

749
00:39:00,520 --> 00:39:04,239
Speaker 4: Yeah yeah, yeah, And this actually becomes the point of

750
00:39:04,280 --> 00:39:06,919
Speaker 4: this whole sequence. But I love how they're talking about

751
00:39:06,920 --> 00:39:09,279
Speaker 4: how to put together this holideck image, and they're like,

752
00:39:09,320 --> 00:39:13,200
Speaker 4: don't forget the samovar and his white cat, and they

753
00:39:13,239 --> 00:39:17,040
Speaker 4: decide they're going to play some recorded like tape reels

754
00:39:17,200 --> 00:39:20,120
Speaker 4: of voices from his childhood home. I don't know why

755
00:39:20,160 --> 00:39:23,200
Speaker 4: they have those, but Pavel goes into the holodeck here

756
00:39:23,600 --> 00:39:26,719
Speaker 4: and he wanders through his childhood home, which has gymnasts

757
00:39:26,840 --> 00:39:29,400
Speaker 4: rings hanging from the ceiling. I thought that was cool,

758
00:39:30,400 --> 00:39:32,400
Speaker 4: so I guess maybe he's a gymnast, but he doesn't

759
00:39:32,440 --> 00:39:35,600
Speaker 4: really show off any gymnastic skills in the movie. And

760
00:39:35,640 --> 00:39:38,400
Speaker 4: the recorded voices play. It's this tape playing back his

761
00:39:38,520 --> 00:39:42,000
Speaker 4: parents talking. But then so at first he's just kind

762
00:39:42,040 --> 00:39:45,640
Speaker 4: of wandering around in this lonely reverie. But then it

763
00:39:45,680 --> 00:39:48,120
Speaker 4: gets a little too real and Pavel starts.

764
00:39:47,800 --> 00:39:50,120
Speaker 3: Being like Mama, Papa and.

765
00:39:50,000 --> 00:39:52,320
Speaker 4: The other kids stop the tape of his parents talking

766
00:39:52,360 --> 00:39:54,879
Speaker 4: because clearly has it has stabbed him in the heart.

767
00:39:54,960 --> 00:39:55,680
Speaker 3: He is wounded.

768
00:39:56,080 --> 00:39:58,680
Speaker 1: Yeah, the teens are so empathetic in this scene, and

769
00:39:58,920 --> 00:40:00,880
Speaker 1: I really loved it because I feel like I've been

770
00:40:00,880 --> 00:40:06,480
Speaker 1: watching some modern like teen drama content on like Netflix

771
00:40:06,480 --> 00:40:09,759
Speaker 1: and stuff, and it kind of grates on the soul

772
00:40:09,880 --> 00:40:12,239
Speaker 1: after a while. So it's nice to see in this

773
00:40:12,320 --> 00:40:14,560
Speaker 1: case teen's coming together and caring about each other.

774
00:40:14,600 --> 00:40:18,440
Speaker 4: Yeah, there's so in so much modern like teen stuff.

775
00:40:18,520 --> 00:40:21,920
Speaker 4: They're so mean to each other. And then these characters

776
00:40:22,000 --> 00:40:27,040
Speaker 4: are just so earnest. They are deeply, deeply earnest and

777
00:40:27,719 --> 00:40:29,600
Speaker 4: borderline sentimental about each other.

778
00:40:30,160 --> 00:40:32,120
Speaker 1: Yeah. So even though I couldn't tell several of them

779
00:40:32,160 --> 00:40:34,560
Speaker 1: apart from each other, I cared about all of them.

780
00:40:34,600 --> 00:40:35,680
Speaker 6: Oh yeah, yeahah.

781
00:40:35,719 --> 00:40:39,000
Speaker 4: And so the teens bust in after they've stopped the

782
00:40:39,080 --> 00:40:42,120
Speaker 4: voice playback and they all do this thing. This is

783
00:40:42,120 --> 00:40:44,600
Speaker 4: another question I have about whether this is a real

784
00:40:44,680 --> 00:40:47,000
Speaker 4: Russian thing or if it's just original to the movie,

785
00:40:47,840 --> 00:40:49,960
Speaker 4: where you would expect them in an American movie to

786
00:40:50,120 --> 00:40:52,879
Speaker 4: sing the happy Birthday song. They run in and they

787
00:40:52,920 --> 00:40:56,880
Speaker 4: do this shouted chant that translates to we wish you

788
00:40:56,920 --> 00:41:01,319
Speaker 4: a happy birthday. But it sounds kind of aggressive. It

789
00:41:01,360 --> 00:41:03,680
Speaker 4: sounds like a war cry. Do you remember this.

790
00:41:05,000 --> 00:41:07,800
Speaker 1: I don't remember this all that I watched it this morning,

791
00:41:08,280 --> 00:41:10,040
Speaker 1: but I don't remember this same. I mainly remember the

792
00:41:10,080 --> 00:41:11,120
Speaker 1: song that comes after it.

793
00:41:11,160 --> 00:41:12,080
Speaker 3: Oh yeah, yeah yeah.

794
00:41:12,080 --> 00:41:14,480
Speaker 4: So it goes by very fast. But the whole thing,

795
00:41:14,560 --> 00:41:17,000
Speaker 4: like we said, just makes Pavel very sad. He's homesick,

796
00:41:17,040 --> 00:41:20,240
Speaker 4: he misses his family. And then one of the pioneers

797
00:41:20,239 --> 00:41:22,560
Speaker 4: she you know, they all notice how sad Pavel is.

798
00:41:23,080 --> 00:41:24,920
Speaker 4: And then one of the pioneers I think this is

799
00:41:25,000 --> 00:41:30,360
Speaker 4: the exobiologist Varia. She gets this kind of frightening cold

800
00:41:30,520 --> 00:41:33,080
Speaker 4: resolve in her eyes, and she says, we should swear

801
00:41:33,160 --> 00:41:36,120
Speaker 4: an oath never to tease each other like this again,

802
00:41:36,520 --> 00:41:39,479
Speaker 4: reminding our friends of their homes so it wouldn't hurt

803
00:41:39,520 --> 00:41:43,200
Speaker 4: so much and weaken our resolve. And so she's very

804
00:41:43,400 --> 00:41:47,000
Speaker 4: When we first meet Varia, she's very all business, no

805
00:41:47,200 --> 00:41:51,040
Speaker 4: feelings or horsing around. And I think this comes through

806
00:41:51,040 --> 00:41:54,200
Speaker 4: when just a few minutes later we see Varia refusing

807
00:41:54,239 --> 00:41:56,600
Speaker 4: an offer of candy from one of the other girls.

808
00:41:56,600 --> 00:41:59,520
Speaker 4: She's just like, no, no candy for Varia. But anyway,

809
00:41:59,560 --> 00:42:01,959
Speaker 4: the other means they take what she says to heart,

810
00:42:02,000 --> 00:42:04,840
Speaker 4: and they interpret this as an oath never to reminisce

811
00:42:04,880 --> 00:42:07,680
Speaker 4: about Earth, and they just go around in a circle.

812
00:42:07,719 --> 00:42:11,319
Speaker 4: Everybody's swearing that they will never reminisce about Earth. But

813
00:42:11,400 --> 00:42:13,440
Speaker 4: then one of them is like, well, we can't, we

814
00:42:13,719 --> 00:42:18,040
Speaker 4: can't swear this. We can't help but reminisce, and he says, home, family,

815
00:42:18,400 --> 00:42:21,680
Speaker 4: those are the most valuable things we have. So then

816
00:42:21,719 --> 00:42:25,560
Speaker 4: the commander of the missions, who goes by vic Vic,

817
00:42:25,760 --> 00:42:29,920
Speaker 4: orders everyone to feel feelings and to reminisce, and they

818
00:42:30,040 --> 00:42:35,040
Speaker 4: celebrate this reminiscence, and they celebrate their innocence by busting

819
00:42:35,040 --> 00:42:37,799
Speaker 4: out a guitar and doing a musical number, which I

820
00:42:37,840 --> 00:42:41,040
Speaker 4: did not see coming. But I thought, what's interesting is

821
00:42:41,239 --> 00:42:43,520
Speaker 4: when they get out the guitar and they all sing together,

822
00:42:43,640 --> 00:42:47,040
Speaker 4: but they don't sing a song that sounds fun or

823
00:42:47,120 --> 00:42:53,080
Speaker 4: like a celebration. They sing this hideously somber song called

824
00:42:53,239 --> 00:42:56,319
Speaker 4: night has Passed Now. I tried to look this up

825
00:42:56,360 --> 00:42:59,640
Speaker 4: and find out if there's if it exists outside the movie.

826
00:42:59,680 --> 00:43:02,000
Speaker 4: I don't know if it's original to the film, or

827
00:43:02,000 --> 00:43:03,960
Speaker 4: if it's some kind of folk song that I just

828
00:43:03,960 --> 00:43:06,719
Speaker 4: couldn't dig up. But I think it's original to the

829
00:43:06,760 --> 00:43:10,319
Speaker 4: movie because the lyrics seem to refer to spaceflight as

830
00:43:10,320 --> 00:43:13,680
Speaker 4: saying things like, will the stars sincerely welcome us? And

831
00:43:13,960 --> 00:43:17,200
Speaker 4: there's one part where they compare traveling through the stars

832
00:43:17,239 --> 00:43:21,160
Speaker 4: to sailing through an ocean full of seaweed. But the

833
00:43:21,160 --> 00:43:23,239
Speaker 4: tune is very somber. It kind of reminds me of

834
00:43:23,640 --> 00:43:26,719
Speaker 4: the tune of Anatevka from Fiddler around the Roof.

835
00:43:27,200 --> 00:43:30,479
Speaker 1: Yeah, yeah, yeah, it certainly does have the somber feel

836
00:43:30,520 --> 00:43:32,120
Speaker 1: to it, you know, and it's about you know, they're

837
00:43:32,120 --> 00:43:35,719
Speaker 1: dealing with nostalgia, they're dealing with, you know, with homesickness,

838
00:43:35,719 --> 00:43:37,239
Speaker 1: so it feels appropriate.

839
00:43:37,480 --> 00:43:39,480
Speaker 4: I think it drives home though, that the teens are

840
00:43:39,600 --> 00:43:42,239
Speaker 4: very serious about their mission, right, you know, they're not

841
00:43:42,320 --> 00:43:43,600
Speaker 4: up there just to play.

842
00:43:43,719 --> 00:43:46,160
Speaker 1: Right, right, and they and they're they're far more capable

843
00:43:47,440 --> 00:43:52,279
Speaker 1: of accomplishing the task than one might assume just based

844
00:43:52,280 --> 00:43:53,600
Speaker 1: on the idea of teens in space.

845
00:43:53,840 --> 00:43:57,200
Speaker 4: Yes, So then we get a scene where we're back

846
00:43:57,239 --> 00:43:59,560
Speaker 4: on Earth and there's a press conference where I guess

847
00:43:59,600 --> 00:44:03,520
Speaker 4: some representatives of the Space Agency or talking about how

848
00:44:03,640 --> 00:44:08,000
Speaker 4: the scientists have decoded the original message coming from Alpha Cassiopeia,

849
00:44:08,560 --> 00:44:11,839
Speaker 4: and it means that the planet is inhabited by intelligent

850
00:44:12,000 --> 00:44:15,960
Speaker 4: beings and that their world suffered a catastrophe that threatened

851
00:44:16,200 --> 00:44:21,319
Speaker 4: entire civilization. Occasionally, the subtitles in my version were kind of,

852
00:44:21,400 --> 00:44:24,279
Speaker 4: I think, unintentionally funny because there was an accidental sort

853
00:44:24,320 --> 00:44:27,919
Speaker 4: of Boris and Natasha grammar, where like articles are left

854
00:44:27,960 --> 00:44:31,799
Speaker 4: out of sentences, so it would just say threatening entire civilization.

855
00:44:32,760 --> 00:44:34,600
Speaker 1: Yeah. I don't think I got that in mind, but

856
00:44:34,640 --> 00:44:38,000
Speaker 1: there was something about it about civilization being threatened in

857
00:44:38,040 --> 00:44:41,200
Speaker 1: a way that made me wonder, like, which civilization? Our civilization?

858
00:44:41,440 --> 00:44:41,520
Speaker 2: Uh?

859
00:44:41,800 --> 00:44:44,239
Speaker 1: Or was it there? Are we talking about the civilization

860
00:44:44,320 --> 00:44:46,640
Speaker 1: of an alien planet. I wasn't sure.

861
00:44:47,000 --> 00:44:49,200
Speaker 4: I think it was their planet at least, but it

862
00:44:49,239 --> 00:44:51,960
Speaker 4: could represent a threat to ours maybe if I don't

863
00:44:52,000 --> 00:44:55,040
Speaker 4: know that. That's the unanswered part. But I liked the

864
00:44:55,080 --> 00:44:57,160
Speaker 4: press core at this junket. I mean, I think it's

865
00:44:57,200 --> 00:45:01,719
Speaker 4: supposed to represent a gaggle of international press people. There's

866
00:45:01,760 --> 00:45:04,880
Speaker 4: like one guy with a big white beard smoking a pipe.

867
00:45:05,280 --> 00:45:08,560
Speaker 4: But then we also meet this smooth guy named he's

868
00:45:08,600 --> 00:45:14,040
Speaker 4: identified as Biff wayouned for a publication called Youth Journal,

869
00:45:14,600 --> 00:45:18,839
Speaker 4: and he's wearing a yellow turtleneck and a dark leather

870
00:45:19,000 --> 00:45:22,120
Speaker 4: jacket with some kind of orange pin on it. He

871
00:45:22,239 --> 00:45:25,719
Speaker 4: just looks very smooth, very cool. He looks like the

872
00:45:25,760 --> 00:45:27,760
Speaker 4: kind of guy who, like, if he was a journalist today,

873
00:45:27,880 --> 00:45:30,440
Speaker 4: like half of his social media timeline would just be

874
00:45:30,480 --> 00:45:33,600
Speaker 4: filled up with photos of his extreme sports hobby, you know,

875
00:45:33,640 --> 00:45:36,360
Speaker 4: he does like volcano snowboarding or something.

876
00:45:36,719 --> 00:45:39,879
Speaker 1: I just remember thinking, Wow, that sounds like a good beat,

877
00:45:40,040 --> 00:45:42,239
Speaker 1: you know, that sounds like a good publication to work for.

878
00:45:42,440 --> 00:45:43,760
Speaker 3: Yeah, we report on youth.

879
00:45:44,440 --> 00:45:47,560
Speaker 4: Yeah, but then we go back to the planet and

880
00:45:47,880 --> 00:45:49,880
Speaker 4: the pioneers are hanging out, and then there was a

881
00:45:49,920 --> 00:45:52,439
Speaker 4: part that really made me laugh where suddenly they're like, look,

882
00:45:52,440 --> 00:45:55,000
Speaker 4: there's the planet and it's just right outside the window.

883
00:45:55,320 --> 00:45:57,400
Speaker 1: Yeah. Well, they look at the star out one window

884
00:45:57,440 --> 00:45:58,919
Speaker 1: and then they look at the planet out the other.

885
00:45:59,440 --> 00:46:02,719
Speaker 1: But but the ship is we haven't really mentioned the

886
00:46:02,719 --> 00:46:04,920
Speaker 1: interior that much, but the inside of the ship that

887
00:46:05,360 --> 00:46:08,279
Speaker 1: looks amazing. Like all the sets in this film are

888
00:46:08,320 --> 00:46:11,960
Speaker 1: really well put together. You know, have these nice windows

889
00:46:12,000 --> 00:46:14,839
Speaker 1: to look out at the cosmos, but then you have

890
00:46:15,080 --> 00:46:17,080
Speaker 1: I think there's like one room in particular that has

891
00:46:17,080 --> 00:46:20,560
Speaker 1: this kind of like padded leather look to it, Yeah,

892
00:46:20,600 --> 00:46:23,920
Speaker 1: which looks just very comfy, like this is a cool spaceship.

893
00:46:24,239 --> 00:46:27,000
Speaker 4: A movie doesn't have to be super high budget to

894
00:46:27,000 --> 00:46:28,719
Speaker 4: have a lot of great texture in it. I mean,

895
00:46:28,760 --> 00:46:31,720
Speaker 4: you can just do that with like cool colorful sets

896
00:46:31,719 --> 00:46:32,800
Speaker 4: and costumes.

897
00:46:33,160 --> 00:46:33,600
Speaker 1: Yeah.

898
00:46:33,640 --> 00:46:36,200
Speaker 4: But anyway, this gives way to a debate about who's

899
00:46:36,239 --> 00:46:38,200
Speaker 4: going to be sent down in the landing party, because

900
00:46:38,200 --> 00:46:40,480
Speaker 4: I think there are like seven or eight of the

901
00:46:40,520 --> 00:46:43,040
Speaker 4: teen's total, and only three of them can go down

902
00:46:43,080 --> 00:46:46,160
Speaker 4: to the planet in the shuttle, and so they argue.

903
00:46:47,280 --> 00:46:47,560
Speaker 6: Again.

904
00:46:47,640 --> 00:46:50,279
Speaker 4: I had a hard time telling different boys in the

905
00:46:50,320 --> 00:46:53,759
Speaker 4: crew apart from each other at first, except for the

906
00:46:53,800 --> 00:46:56,520
Speaker 4: one named Lob, who is the one who has like

907
00:46:56,760 --> 00:47:02,600
Speaker 4: corn yellow hair, like super yellow, unnatural looking blonde hair,

908
00:47:03,000 --> 00:47:05,960
Speaker 4: who kind of reminded me of the blonde hair of

909
00:47:06,160 --> 00:47:08,080
Speaker 4: Ivan Tsarevich in Morosco.

910
00:47:08,680 --> 00:47:08,879
Speaker 1: Yeah.

911
00:47:08,960 --> 00:47:12,360
Speaker 4: Yeah, but different crew members make their cases. One of

912
00:47:12,360 --> 00:47:14,640
Speaker 4: the girls, I think this is Varya, is like, I

913
00:47:14,719 --> 00:47:16,480
Speaker 4: have to be in the landing party because I'm an

914
00:47:16,480 --> 00:47:19,960
Speaker 4: exobiologist and you need me to explain what life forms

915
00:47:20,000 --> 00:47:24,360
Speaker 4: we come in contact with. Seems reasonable. One of the boys,

916
00:47:24,400 --> 00:47:26,920
Speaker 4: I think this was Lob, says you have to send

917
00:47:26,920 --> 00:47:29,360
Speaker 4: me down because I'm the only one who's an expert

918
00:47:29,440 --> 00:47:35,320
Speaker 4: in extraterrestrial civilizations. What does that expertise entail.

919
00:47:36,280 --> 00:47:38,160
Speaker 1: I mean, it would have to be an expertise in

920
00:47:38,719 --> 00:47:43,839
Speaker 1: human civilizations, right, and then just some preparation to use

921
00:47:43,880 --> 00:47:46,120
Speaker 1: that knowledge to figure out what you're looking at in

922
00:47:46,200 --> 00:47:48,000
Speaker 1: another world. I guess I get.

923
00:47:47,800 --> 00:47:52,000
Speaker 4: The feeling that Lob is bsing, that Lob maybe does

924
00:47:52,040 --> 00:47:55,560
Speaker 4: not have much of an expertise actually, though on the

925
00:47:55,600 --> 00:47:58,239
Speaker 4: other hand he claimed. He says also he should be

926
00:47:58,280 --> 00:48:03,480
Speaker 4: sent down because he invented something called the universal glue

927
00:48:03,520 --> 00:48:05,560
Speaker 4: that I think must be a reference to something from

928
00:48:05,560 --> 00:48:09,480
Speaker 4: the previous film. But so the commander Vic he has

929
00:48:09,520 --> 00:48:11,600
Speaker 4: to make up his mind. And so we see the

930
00:48:11,640 --> 00:48:13,879
Speaker 4: other crew members kind of hanging out and talking about

931
00:48:13,920 --> 00:48:17,719
Speaker 4: their feelings. There's some interpersonal gossip. They talk about their crushes.

932
00:48:19,360 --> 00:48:22,800
Speaker 4: The exobiologist Varia talks about how she prefers when people

933
00:48:22,920 --> 00:48:24,200
Speaker 4: do not reveal.

934
00:48:23,880 --> 00:48:25,440
Speaker 3: What's inside of them.

935
00:48:25,880 --> 00:48:28,719
Speaker 4: And then there's also some talk about one of the

936
00:48:28,760 --> 00:48:31,040
Speaker 4: other girls on the crew. I think she's a medical doctor.

937
00:48:31,640 --> 00:48:34,400
Speaker 4: She's the one with quote loud glasses. I don't know

938
00:48:34,400 --> 00:48:36,080
Speaker 4: how that was translated in your version.

939
00:48:37,120 --> 00:48:39,560
Speaker 1: I didn't notice that, but it's the perfect way to

940
00:48:39,600 --> 00:48:44,080
Speaker 1: describe these glasses like they're big, they're they're pronounced, but

941
00:48:44,440 --> 00:48:46,200
Speaker 1: I think they're cool. Like if I saw somebody wearing

942
00:48:46,239 --> 00:48:48,880
Speaker 1: these glasses, I would be like, some cool, cool glasses.

943
00:48:48,920 --> 00:48:49,319
Speaker 1: I like it.

944
00:48:49,520 --> 00:48:52,080
Speaker 4: They're a statement. The frames are so thick they look

945
00:48:52,160 --> 00:48:54,560
Speaker 4: like they weigh five pounds, Like she must be a

946
00:48:54,560 --> 00:48:58,040
Speaker 4: struggle to keep her head pointed up. But so a

947
00:48:58,120 --> 00:49:00,560
Speaker 4: landing party is selected and the three get into the

948
00:49:00,560 --> 00:49:03,560
Speaker 4: shuttle and go down into the planet's atmosphere. So it

949
00:49:03,600 --> 00:49:08,600
Speaker 4: is Pavel, Lob, and Varia, and there's some chatter that

950
00:49:08,800 --> 00:49:11,280
Speaker 4: is repeated throughout the movie that did not make any

951
00:49:11,360 --> 00:49:13,640
Speaker 4: sense to me whatsoever. But as soon as they're coming

952
00:49:13,640 --> 00:49:18,200
Speaker 4: down through the fog, Lob starts declaring that they see

953
00:49:18,200 --> 00:49:22,640
Speaker 4: these spires, and Lob says those structures indicate the inhabitants

954
00:49:22,680 --> 00:49:25,160
Speaker 4: are wingless eight legged dragonflies.

955
00:49:25,719 --> 00:49:28,279
Speaker 1: Yeah, it was the same with my version. He would

956
00:49:28,360 --> 00:49:31,040
Speaker 1: kept going on about dragonflies and I'm not sure what

957
00:49:31,440 --> 00:49:33,360
Speaker 1: maybe though some of the humors lost, but yeah, I

958
00:49:33,360 --> 00:49:36,240
Speaker 1: didn't understand it. But I will say this whole landing

959
00:49:36,280 --> 00:49:40,560
Speaker 1: scene it really struck all the notes for the video

960
00:49:40,600 --> 00:49:43,480
Speaker 1: game No Man's Sky for me, because because they come

961
00:49:43,520 --> 00:49:46,880
Speaker 1: in and it's instantly, this beautiful landscape. You should get closer.

962
00:49:47,680 --> 00:49:50,880
Speaker 1: You begin to make out some like buildings or some

963
00:49:50,920 --> 00:49:53,319
Speaker 1: sort of structures in the distance. And they're also like

964
00:49:53,640 --> 00:49:58,560
Speaker 1: strange things moving around, like ball like creatures. And then

965
00:49:58,719 --> 00:50:02,839
Speaker 1: also the the spaceship comes in really hard, Yeah, and

966
00:50:02,960 --> 00:50:06,320
Speaker 1: basically just rex itself crashing, which also is my experience

967
00:50:06,360 --> 00:50:07,439
Speaker 1: with no Mansky right.

968
00:50:07,400 --> 00:50:11,319
Speaker 4: Yes, hot landing, definitely, yeah all the time. And yeah,

969
00:50:11,360 --> 00:50:13,160
Speaker 4: and it's cool that I look that they're like these

970
00:50:13,239 --> 00:50:16,920
Speaker 4: red trees and these weird white top shaped structures up

971
00:50:16,960 --> 00:50:21,839
Speaker 4: on pillars, and and it's also total star Trek rule,

972
00:50:21,880 --> 00:50:24,480
Speaker 4: like no need for helmets or contained atmosphere. They just

973
00:50:24,520 --> 00:50:28,000
Speaker 4: hop right out faces to the atmosphere, and they notice

974
00:50:28,000 --> 00:50:30,080
Speaker 4: a bunch of weird stuff. They notice there's a weird

975
00:50:30,200 --> 00:50:33,720
Speaker 4: echo when they shout on this planet, and I really

976
00:50:33,760 --> 00:50:37,160
Speaker 4: like they see some aliens, but they're not humanoid aliens.

977
00:50:37,200 --> 00:50:41,239
Speaker 4: They are these big white bubbles that bounce along in

978
00:50:41,320 --> 00:50:44,240
Speaker 4: a herd, So imagine a herd of sheep, but without

979
00:50:44,320 --> 00:50:46,760
Speaker 4: heads or legs, just bouncy balls.

980
00:50:47,200 --> 00:50:49,960
Speaker 1: Yeah, reminding me a bit of the alien in Dark

981
00:50:50,000 --> 00:50:53,919
Speaker 1: Star as well as uh, what's that? What's the old?

982
00:50:54,000 --> 00:50:54,120
Speaker 3: Uh?

983
00:50:54,920 --> 00:50:57,880
Speaker 1: The prisoner or the yeah the prisoner yeah, also strong

984
00:50:57,960 --> 00:50:59,160
Speaker 1: strong vibes of the prisoner.

985
00:50:59,280 --> 00:50:59,520
Speaker 6: Yes.

986
00:51:00,719 --> 00:51:04,239
Speaker 4: And so they're exploring and then Lob is like, Hey,

987
00:51:04,360 --> 00:51:08,719
Speaker 4: I have to go pee, and so he wanders off

988
00:51:08,760 --> 00:51:11,360
Speaker 4: by himself. But instead of peeing, or maybe in addition

989
00:51:11,440 --> 00:51:15,080
Speaker 4: to peeing, he starts writing graffiti on the structures of

990
00:51:15,120 --> 00:51:17,760
Speaker 4: this planet. He writes like Lob was here on a pillar.

991
00:51:18,440 --> 00:51:21,360
Speaker 4: And there's some tonal issues again of the storytelling that

992
00:51:21,560 --> 00:51:24,160
Speaker 4: I feel like maybe getting lost on me. But I

993
00:51:24,200 --> 00:51:26,439
Speaker 4: think Lob is supposed to be kind of the nick

994
00:51:26,520 --> 00:51:29,080
Speaker 4: Bottom of this movie, you know, the comic wind bag

995
00:51:29,120 --> 00:51:30,640
Speaker 4: who ends up with ass Ears.

996
00:51:31,080 --> 00:51:31,279
Speaker 6: Yeah.

997
00:51:31,360 --> 00:51:33,960
Speaker 1: Yeah, Like I say, he's kind of the Weasley of

998
00:51:34,000 --> 00:51:38,480
Speaker 1: the of the crew. He's there, he's there for some

999
00:51:38,719 --> 00:51:40,560
Speaker 1: comedic elements to shine through.

1000
00:51:40,800 --> 00:51:43,279
Speaker 4: But then this moment is where the movie for me

1001
00:51:43,400 --> 00:51:47,280
Speaker 4: really kicks into high gear because suddenly we meet the bots.

1002
00:51:47,400 --> 00:51:50,759
Speaker 4: We meet these I guess it's that the fact that

1003
00:51:50,840 --> 00:51:55,279
Speaker 4: he was writing on the pillar summons Disco robots from

1004
00:51:55,280 --> 00:51:57,680
Speaker 4: out of another dimension. They just like walk out from

1005
00:51:57,680 --> 00:52:00,600
Speaker 4: behind the pillar, not like there would have room for

1006
00:52:00,640 --> 00:52:01,680
Speaker 4: them to be standing there.

1007
00:52:01,719 --> 00:52:03,759
Speaker 3: There's the idea that like a rift.

1008
00:52:03,480 --> 00:52:05,879
Speaker 4: In the in time space has opened up and they

1009
00:52:05,920 --> 00:52:09,360
Speaker 4: just kind of come out of it. Yeah, and I

1010
00:52:09,440 --> 00:52:13,719
Speaker 4: love these bots. They I could think of tons of

1011
00:52:13,719 --> 00:52:17,160
Speaker 4: different ways to describe them. They're sort of cybertronic funk

1012
00:52:17,360 --> 00:52:20,719
Speaker 4: pin heads, like Pinhead the Cinabite in that they have

1013
00:52:22,000 --> 00:52:25,920
Speaker 4: metallic spikes for hair, but they also have these like

1014
00:52:26,000 --> 00:52:32,040
Speaker 4: white masks and gloves kind of almost military uniform but

1015
00:52:32,280 --> 00:52:39,000
Speaker 4: shiny acrylic texture on their jackets. And they dance everywhere

1016
00:52:39,040 --> 00:52:41,360
Speaker 4: when moving from here to there. They do not walk,

1017
00:52:41,400 --> 00:52:45,120
Speaker 4: but they do this bobbing, rhythmic disco strut.

1018
00:52:45,120 --> 00:52:48,640
Speaker 1: Yeah, which is accentuated by the bell bottoms that they're wearing. Yes,

1019
00:52:48,920 --> 00:52:52,600
Speaker 1: they're again black jumpsuit type of tire seems to have

1020
00:52:52,680 --> 00:52:56,839
Speaker 1: this bell bottom type pant addition to it.

1021
00:52:57,000 --> 00:53:00,120
Speaker 4: Yes, they are staying alive, and they communicate through through

1022
00:53:00,160 --> 00:53:03,239
Speaker 4: whistles and gestures which are translated by a computer on

1023
00:53:03,760 --> 00:53:07,600
Speaker 4: Lob suit. Lob and the robots bond over mathematics, like

1024
00:53:07,600 --> 00:53:11,120
Speaker 4: they attempt to write out some equations together, and then

1025
00:53:11,200 --> 00:53:13,440
Speaker 4: the robots just link arm in arm with Lob and

1026
00:53:13,480 --> 00:53:16,080
Speaker 4: they disco strut back to the other dimension with them.

1027
00:53:16,440 --> 00:53:20,040
Speaker 1: Yeah. They in my translation at any rate, when they

1028
00:53:20,040 --> 00:53:23,120
Speaker 1: correct him, they go It could happen to anybody. Oh,

1029
00:53:23,160 --> 00:53:25,520
Speaker 1: I can't remember if they were translating their whistles or what,

1030
00:53:25,719 --> 00:53:30,440
Speaker 1: but yeah, I love these robots they have for they

1031
00:53:30,480 --> 00:53:32,440
Speaker 1: feel very fun in a way that I think will

1032
00:53:32,440 --> 00:53:35,040
Speaker 1: be pivotal here in a bit. But they have this

1033
00:53:35,120 --> 00:53:37,600
Speaker 1: real cirque de sole feel to them. Like if you've

1034
00:53:37,600 --> 00:53:41,880
Speaker 1: ever anytime you're encountering something futuristic in cirqu disole, like,

1035
00:53:41,960 --> 00:53:45,920
Speaker 1: that's exactly the vibe these guys have. And yeah, they

1036
00:53:45,920 --> 00:53:49,160
Speaker 1: have that weird metal hair, sometimes complete with bald spots.

1037
00:53:49,200 --> 00:53:49,840
Speaker 1: Did you notice this?

1038
00:53:50,040 --> 00:53:50,360
Speaker 6: Yes?

1039
00:53:50,480 --> 00:53:52,360
Speaker 3: Sometimes yeah, yeah.

1040
00:53:52,000 --> 00:53:55,000
Speaker 1: And we learn later that these are there are a

1041
00:53:55,000 --> 00:53:57,719
Speaker 1: few different terms for them, but in my translation, these

1042
00:53:57,760 --> 00:53:59,799
Speaker 1: are the executioner bots.

1043
00:53:59,800 --> 00:54:02,880
Speaker 3: Or or executioner or executor.

1044
00:54:02,800 --> 00:54:06,920
Speaker 1: Oh well, I'm sorry, executor bots. Okay, yeah, but they

1045
00:54:06,920 --> 00:54:15,319
Speaker 1: are here to execute a particular plan or approach to life. Yeah,

1046
00:54:15,360 --> 00:54:18,080
Speaker 1: and yeah, more on them in a bit. But they

1047
00:54:18,080 --> 00:54:21,400
Speaker 1: are very mime like in their movements. I really enjoyed them,

1048
00:54:21,440 --> 00:54:23,000
Speaker 1: but they're also a little bit menacing.

1049
00:54:23,360 --> 00:54:25,879
Speaker 4: Yeah, I mean, I think it'll totally make sense once

1050
00:54:25,920 --> 00:54:28,440
Speaker 4: you get the full readout of what happened to this planet,

1051
00:54:28,480 --> 00:54:32,120
Speaker 4: But they feel exactly like robots that will kill you

1052
00:54:32,200 --> 00:54:35,279
Speaker 4: with fun. Yeah, and in my version, so they were

1053
00:54:35,280 --> 00:54:37,799
Speaker 4: called the executors in your version. In mine they were

1054
00:54:37,800 --> 00:54:39,320
Speaker 4: called the implementers.

1055
00:54:40,000 --> 00:54:40,160
Speaker 1: Ok.

1056
00:54:40,560 --> 00:54:43,120
Speaker 4: But so Varia and the other guy, I guess this Pavel.

1057
00:54:43,160 --> 00:54:46,399
Speaker 4: They're looking around for Lob after he's disappeared, and then

1058
00:54:46,960 --> 00:54:49,920
Speaker 4: they're wandering off, and then eventually they run into the

1059
00:54:50,040 --> 00:54:52,359
Speaker 4: robots as well and are invited to follow them back

1060
00:54:52,360 --> 00:54:55,120
Speaker 4: into wherever they took Lob, and they go and they

1061
00:54:55,200 --> 00:54:57,080
Speaker 4: end up in what appears to be some kind of

1062
00:54:57,200 --> 00:55:01,680
Speaker 4: underground facility with white walls. While back up at the ship,

1063
00:55:02,080 --> 00:55:06,600
Speaker 4: something interesting happens. The members of the Pioneer team who

1064
00:55:06,680 --> 00:55:10,239
Speaker 4: are left behind on the ship notice another spacecraft approaching them,

1065
00:55:10,800 --> 00:55:12,960
Speaker 4: or maybe it's not a spacecraft. Actually, it seems like

1066
00:55:13,000 --> 00:55:15,720
Speaker 4: it is some kind of space station that is orbiting

1067
00:55:15,760 --> 00:55:18,400
Speaker 4: the planet. And so they go look out the windows

1068
00:55:18,440 --> 00:55:21,560
Speaker 4: at this space station and they see humans or what

1069
00:55:21,640 --> 00:55:24,920
Speaker 4: appear to be humans, apparently humanoid aliens who look just

1070
00:55:25,080 --> 00:55:25,960
Speaker 4: like Earth humans.

1071
00:55:26,360 --> 00:55:28,759
Speaker 1: Yeah. The teens have to go up to what is

1072
00:55:28,840 --> 00:55:31,920
Speaker 1: I think described as something like an exhibition window or something,

1073
00:55:32,440 --> 00:55:34,719
Speaker 1: and it seems to exist as a means of displaying

1074
00:55:34,760 --> 00:55:38,400
Speaker 1: one's physical reality to another species without the necessity or

1075
00:55:38,480 --> 00:55:42,080
Speaker 1: interference perhaps of electronic communication. Yeah, because I have to

1076
00:55:42,120 --> 00:55:44,919
Speaker 1: say this is what I am. I am a living thing.

1077
00:55:45,040 --> 00:55:47,680
Speaker 3: Yeah, look at my arms and legs. They do like

1078
00:55:47,719 --> 00:55:49,560
Speaker 3: the big full arm waving thing.

1079
00:55:49,920 --> 00:55:51,000
Speaker 6: Yeah.

1080
00:55:51,120 --> 00:55:54,319
Speaker 4: And then so back to the landing party down in

1081
00:55:54,360 --> 00:55:57,360
Speaker 4: the planet or I guess in this underground facility. We

1082
00:55:57,680 --> 00:56:00,000
Speaker 4: cut to all three of the teens sitting in chair

1083
00:56:00,320 --> 00:56:04,600
Speaker 4: is just laughing hysterically and there is a talking head

1084
00:56:04,680 --> 00:56:07,120
Speaker 4: with these Oh man, so this is gonna be a

1085
00:56:07,120 --> 00:56:09,000
Speaker 4: different type of the robot class.

1086
00:56:09,360 --> 00:56:09,680
Speaker 3: Different.

1087
00:56:10,239 --> 00:56:13,200
Speaker 4: These are the controllers or the what we'll find out

1088
00:56:13,239 --> 00:56:16,960
Speaker 4: are called the meliorators in my version. But the way

1089
00:56:17,040 --> 00:56:19,680
Speaker 4: they look is they're dressed all in white and then

1090
00:56:19,719 --> 00:56:25,680
Speaker 4: they have these bizarre prisms for goggles, so imagine convex

1091
00:56:25,760 --> 00:56:31,960
Speaker 4: or concave lenses over their eyes that cause so much

1092
00:56:32,000 --> 00:56:35,200
Speaker 4: diffraction that it looks like they've got four or six eyes.

1093
00:56:36,280 --> 00:56:40,360
Speaker 1: Yeah. These costumes are really well done in my opinion.

1094
00:56:40,600 --> 00:56:44,040
Speaker 1: Like there's also some wiry and like robotic elements added

1095
00:56:44,040 --> 00:56:48,520
Speaker 1: to them that look really look really good in the suit.

1096
00:56:48,600 --> 00:56:50,960
Speaker 1: So you get the sense of the robotic, but also

1097
00:56:51,320 --> 00:56:54,920
Speaker 1: of the like the alien and the almost angelic, you know,

1098
00:56:55,000 --> 00:56:57,760
Speaker 1: with these kind of multiple eyes, so it's a really

1099
00:56:57,760 --> 00:56:58,319
Speaker 1: great look.

1100
00:56:58,480 --> 00:56:58,840
Speaker 6: Yeah.

1101
00:56:58,880 --> 00:57:02,359
Speaker 4: So one of the goggleheads says to them, to welcome you,

1102
00:57:02,440 --> 00:57:04,279
Speaker 4: we wanted to cheer you up, so I guess they

1103
00:57:04,360 --> 00:57:09,720
Speaker 4: just injected them with hysterical laughter. And then the kids

1104
00:57:09,719 --> 00:57:14,520
Speaker 4: start negotiating with the prism eyes. They say, the robots

1105
00:57:14,560 --> 00:57:17,200
Speaker 4: ask them, why did you come here, and they say, well,

1106
00:57:17,280 --> 00:57:20,360
Speaker 4: you called, you radioed for help, and the robots say, no,

1107
00:57:20,440 --> 00:57:22,760
Speaker 4: we did not, and the kids say, yes, you did,

1108
00:57:22,920 --> 00:57:25,760
Speaker 4: and then they say the signal was not ours, which

1109
00:57:25,800 --> 00:57:28,440
Speaker 4: was very intriguing. But anyway, this eventually ends up with

1110
00:57:28,560 --> 00:57:32,040
Speaker 4: lots of robots with those goggle eyes coming around, like

1111
00:57:32,080 --> 00:57:35,240
Speaker 4: coming on this thing. I guess this is weird to describe,

1112
00:57:35,240 --> 00:57:37,360
Speaker 4: but it happens a lot. It's in a lot of

1113
00:57:37,360 --> 00:57:39,840
Speaker 4: the rest of the movie. So it's like a ball TV.

1114
00:57:40,840 --> 00:57:45,960
Speaker 4: Imagine a rotating white sphere on which is projected an

1115
00:57:46,000 --> 00:57:48,680
Speaker 4: image of one of these controller robots.

1116
00:57:49,120 --> 00:57:53,440
Speaker 1: Yeah, like a spherical ike lamp. Yes, like hanging lamp

1117
00:57:53,520 --> 00:57:54,400
Speaker 1: is what it is.

1118
00:57:54,440 --> 00:57:58,560
Speaker 4: Yes, exactly, Yeah, and it like rotates and displays this image,

1119
00:57:58,880 --> 00:58:01,880
Speaker 4: and so different goggle heads keep coming on these these

1120
00:58:01,960 --> 00:58:06,560
Speaker 4: rotating ball TVs and asking the Pioneers if they want happiness,

1121
00:58:06,600 --> 00:58:08,880
Speaker 4: and they're like, sure, who you know who doesn't want

1122
00:58:08,880 --> 00:58:13,800
Speaker 4: happiness except Varia doesn't seem very interested in happiness, but

1123
00:58:13,840 --> 00:58:16,280
Speaker 4: the other two want happiness. And then they just start

1124
00:58:16,320 --> 00:58:19,680
Speaker 4: saying we will make you happy, We will make you happy,

1125
00:58:19,920 --> 00:58:22,440
Speaker 4: which was actually very creepy. I thought this was like

1126
00:58:22,480 --> 00:58:26,360
Speaker 4: an effectively disturbing scene. Yeah, and then somehow I don't

1127
00:58:26,360 --> 00:58:28,960
Speaker 4: remember what leads to this, but Lob ends up getting

1128
00:58:29,000 --> 00:58:32,560
Speaker 4: a remote control for reality. They are these objects called

1129
00:58:32,680 --> 00:58:36,520
Speaker 4: keys I guess, that operate the technology on this planet,

1130
00:58:36,600 --> 00:58:41,120
Speaker 4: and they're sort of this long, this long, prism shaped

1131
00:58:41,240 --> 00:58:42,800
Speaker 4: pointy thing and he gets.

1132
00:58:42,720 --> 00:58:45,320
Speaker 1: Yeah, like a multi colored prism shard of some sort.

1133
00:58:45,440 --> 00:58:47,160
Speaker 3: Yeah, yeah, yeah, a techno shard.

1134
00:58:55,720 --> 00:58:57,520
Speaker 4: And then back on the ship, the rest of the

1135
00:58:57,520 --> 00:59:01,560
Speaker 4: Pioneers have met with the the humanoid aliens from the

1136
00:59:01,600 --> 00:59:04,360
Speaker 4: space station. So now they're hanging out together and they're

1137
00:59:04,400 --> 00:59:06,720
Speaker 4: on the hollow deck in the ship. So they're sitting

1138
00:59:06,720 --> 00:59:10,280
Speaker 4: around in an earth landscape, educating the aliens about fruit

1139
00:59:10,400 --> 00:59:14,840
Speaker 4: and stuff. Here's what a pumpkin is, but the aliens

1140
00:59:14,880 --> 00:59:18,320
Speaker 4: here's where you get your big exposition dump. The aliens

1141
00:59:18,320 --> 00:59:22,200
Speaker 4: suddenly explain everything that went wrong with their planet, how

1142
00:59:22,200 --> 00:59:24,360
Speaker 4: it got all jacked up. So what they say is

1143
00:59:25,160 --> 00:59:28,640
Speaker 4: two hundred and fifty years ago, their civilization was thriving.

1144
00:59:29,040 --> 00:59:30,480
Speaker 4: Creativity brought them joy.

1145
00:59:30,640 --> 00:59:31,120
Speaker 3: They said.

1146
00:59:31,360 --> 00:59:37,320
Speaker 4: Our greatest accomplishments include biomechanical robots, the implementors or the executors.

1147
00:59:37,800 --> 00:59:41,000
Speaker 4: And they say that these robots freed the people of

1148
00:59:41,040 --> 00:59:43,920
Speaker 4: the planet from mechanical labor, because the robots could do

1149
00:59:44,000 --> 00:59:46,440
Speaker 4: all the work. But then they say, after that they

1150
00:59:46,480 --> 00:59:51,440
Speaker 4: created a new class of robots, the meliorators or the controllers,

1151
00:59:51,920 --> 00:59:54,200
Speaker 4: which they say quote not only had the ability to

1152
00:59:54,240 --> 00:59:59,400
Speaker 4: govern the implementers, but also to improve their design. However,

1153
00:59:59,800 --> 01:00:05,040
Speaker 4: the controller robots eventually resolved to improve even us the living.

1154
01:00:05,600 --> 01:00:09,480
Speaker 4: They reasoned, our perfect state would be happiness. Yet they

1155
01:00:09,520 --> 01:00:14,920
Speaker 4: thought happiness was being obstructed by tortures of creativity, desire

1156
01:00:15,000 --> 01:00:20,840
Speaker 4: for self improvement, empathy, benevolence, conscience. Their solution was to

1157
01:00:20,920 --> 01:00:24,760
Speaker 4: purge us of these qualities. We didn't want such happiness.

1158
01:00:24,840 --> 01:00:28,000
Speaker 4: We resisted, but it was too late. All you see

1159
01:00:28,040 --> 01:00:32,560
Speaker 4: is no more. So their planet was destroyed by a

1160
01:00:32,600 --> 01:00:37,040
Speaker 4: conflict with these robots, the meliorators or the controllers. And

1161
01:00:37,080 --> 01:00:40,960
Speaker 4: the alien says that during this conflict, the meliorators and

1162
01:00:41,040 --> 01:00:45,320
Speaker 4: controllers became very cunning, and they created an insidious sonic

1163
01:00:45,440 --> 01:00:49,760
Speaker 4: weapon quote, a mind altering sound, affecting all who heard it,

1164
01:00:50,120 --> 01:00:51,960
Speaker 4: eroding their strength of will.

1165
01:00:52,400 --> 01:00:56,080
Speaker 1: Yeah, which sounds very sci fi. And the payoff will

1166
01:00:56,520 --> 01:00:57,560
Speaker 1: be a little bit disappointed.

1167
01:00:57,960 --> 01:01:01,960
Speaker 4: Yeah, I actually really enjoyed the payoff, but in a

1168
01:01:02,360 --> 01:01:04,200
Speaker 4: kind of maybe unintentionally funny way.

1169
01:01:04,800 --> 01:01:06,880
Speaker 1: Yeah, I guess it gets into the whole conundrum we've

1170
01:01:06,880 --> 01:01:09,760
Speaker 1: talked about before. What does what does future music sound like?

1171
01:01:09,760 --> 01:01:11,520
Speaker 1: What does alien music sound like?

1172
01:01:11,640 --> 01:01:11,880
Speaker 5: Yes?

1173
01:01:12,400 --> 01:01:15,680
Speaker 4: And yeah, so they say the sonic weapon. It broke

1174
01:01:15,720 --> 01:01:19,200
Speaker 4: the minds of even the strongest of them. And then

1175
01:01:19,240 --> 01:01:21,680
Speaker 4: the robots got what they wanted, which was that all

1176
01:01:21,760 --> 01:01:24,600
Speaker 4: of the people of the planet just obediently followed the

1177
01:01:24,680 --> 01:01:28,520
Speaker 4: robots hypnotized by the sonic weapon. They followed them into

1178
01:01:28,640 --> 01:01:33,760
Speaker 4: chambers where they were converted into complacent, selfish beings of

1179
01:01:33,920 --> 01:01:39,080
Speaker 4: infinite mindless happiness, so just happy to the fullest extent

1180
01:01:39,160 --> 01:01:42,800
Speaker 4: possible for the human brain, but of course eclipsing all

1181
01:01:42,840 --> 01:01:48,640
Speaker 4: other desires, eclipsing desires to work, to care for friends

1182
01:01:48,640 --> 01:01:52,240
Speaker 4: and family and children, in which case they basically the

1183
01:01:52,240 --> 01:01:55,000
Speaker 4: people of this planet went extinct. Within a generation. They

1184
01:01:55,080 --> 01:01:57,480
Speaker 4: just rotted away in empty bliss.

1185
01:01:57,800 --> 01:01:59,760
Speaker 1: Yeah, they were tripped out on sensation, like they were

1186
01:01:59,800 --> 01:02:04,640
Speaker 1: under sedation. But I love I love the one little

1187
01:02:04,680 --> 01:02:06,920
Speaker 1: detail you mentioned there about how they said that they

1188
01:02:07,000 --> 01:02:10,480
Speaker 1: observed like the torture of creativity, you know, And I

1189
01:02:10,520 --> 01:02:12,760
Speaker 1: love that. It's kind of like the robots were saying,

1190
01:02:12,760 --> 01:02:16,200
Speaker 1: why are you engaging in these creative projects when they

1191
01:02:16,240 --> 01:02:18,200
Speaker 1: seem to make you so unhappy and they seem to

1192
01:02:18,200 --> 01:02:21,280
Speaker 1: stretch you out so much. It reminds me of a

1193
01:02:21,320 --> 01:02:25,200
Speaker 1: quote from a Raymond Chandler novel The Big Sleep, where

1194
01:02:25,720 --> 01:02:29,480
Speaker 1: I forget the details of it, but our detective character

1195
01:02:29,560 --> 01:02:32,360
Speaker 1: or comments one would think a writer would would be

1196
01:02:32,400 --> 01:02:35,960
Speaker 1: happy here. Uh, if a writer is ever happy anywhere,

1197
01:02:36,760 --> 01:02:39,200
Speaker 1: you know. So it's kind of like the robots are like, yeah,

1198
01:02:39,760 --> 01:02:41,920
Speaker 1: like you're why are you doing this creativity stuff? You're

1199
01:02:41,960 --> 01:02:44,520
Speaker 1: you're so unhappy. Let me just make you happy and

1200
01:02:44,600 --> 01:02:47,600
Speaker 1: we'll cut out all of this this unnecessary torment.

1201
01:02:47,960 --> 01:02:50,040
Speaker 4: Well, yeah, this is a really interesting thing, and I

1202
01:02:50,040 --> 01:02:52,919
Speaker 4: think it raises the main philosophical question of the movie,

1203
01:02:52,960 --> 01:02:54,320
Speaker 4: which I guess we can get into a little bit

1204
01:02:54,400 --> 01:02:57,280
Speaker 4: later in the in the Deep Thoughts section, But it's

1205
01:02:57,320 --> 01:03:01,760
Speaker 4: the question of uh, a robot not being able to

1206
01:03:01,840 --> 01:03:05,160
Speaker 4: understand that there are things we do that might not

1207
01:03:05,320 --> 01:03:08,280
Speaker 4: be pleasurable while we're doing them, and yet they're still

1208
01:03:08,400 --> 01:03:09,280
Speaker 4: valuable to us.

1209
01:03:09,320 --> 01:03:10,400
Speaker 3: And the robot says.

1210
01:03:10,160 --> 01:03:12,520
Speaker 4: Like, oh, you're doing the work of I don't know,

1211
01:03:12,600 --> 01:03:15,040
Speaker 4: learning a new skill or caring for your children or

1212
01:03:15,080 --> 01:03:18,240
Speaker 4: something that's not maximally fun. Let's let's make you have

1213
01:03:18,360 --> 01:03:18,920
Speaker 4: more fun.

1214
01:03:19,560 --> 01:03:22,720
Speaker 1: Yeah, And then the fun police show up, which pretty

1215
01:03:22,800 --> 01:03:25,360
Speaker 1: much what the executors are now.

1216
01:03:25,400 --> 01:03:27,800
Speaker 4: Then we get a diversion that's just a brief scene

1217
01:03:27,840 --> 01:03:30,520
Speaker 4: back on Earth with the King of the King of

1218
01:03:30,680 --> 01:03:33,000
Speaker 4: what's his name, the King of Russian actors.

1219
01:03:32,720 --> 01:03:36,040
Speaker 1: Or the King with the Soviet King of Cinema.

1220
01:03:36,160 --> 01:03:40,680
Speaker 4: Yeah, yeah, the King. He intervenes at mission control again,

1221
01:03:41,120 --> 01:03:44,800
Speaker 4: just using literal magic apparently to create to turn a

1222
01:03:44,840 --> 01:03:49,120
Speaker 4: payphone in the mission control office into a magic thing

1223
01:03:49,200 --> 01:03:52,760
Speaker 4: that will show the mission control people scenes on the

1224
01:03:52,800 --> 01:03:55,480
Speaker 4: spaceship where they can like look into a video feed

1225
01:03:55,560 --> 01:03:58,160
Speaker 4: inside a cigar box and see the Pioneers.

1226
01:03:58,560 --> 01:03:59,520
Speaker 3: And then I.

1227
01:03:59,480 --> 01:04:01,960
Speaker 4: Don't think the scene has any effect on the rest

1228
01:04:01,960 --> 01:04:03,360
Speaker 4: of the plot whatsoever.

1229
01:04:03,200 --> 01:04:06,040
Speaker 1: But he speeds things along, So yeah, I would love

1230
01:04:06,080 --> 01:04:08,480
Speaker 1: for Soviet science Willy Wonka to show up in other

1231
01:04:08,480 --> 01:04:12,000
Speaker 1: films that I'm watching, especially when they start feeling over long, just.

1232
01:04:11,960 --> 01:04:14,480
Speaker 4: To show up and do some exposition and snap his

1233
01:04:14,480 --> 01:04:17,080
Speaker 4: fingers and say, okay, let's.

1234
01:04:17,080 --> 01:04:18,160
Speaker 1: Get to the point.

1235
01:04:19,360 --> 01:04:21,360
Speaker 3: So back on the planet. I love that.

1236
01:04:21,520 --> 01:04:24,440
Speaker 4: So Pavel and Varia and Lob at this point, they

1237
01:04:24,520 --> 01:04:27,520
Speaker 4: are succumbing to the you know, we will give you

1238
01:04:27,600 --> 01:04:30,440
Speaker 4: happiness that these robots are doing in this underground chamber,

1239
01:04:30,800 --> 01:04:33,640
Speaker 4: and this is expressed through the fact that they are

1240
01:04:33,720 --> 01:04:38,360
Speaker 4: drinking juice, the ultimate decadence. They're just drinking orange juice,

1241
01:04:38,560 --> 01:04:42,440
Speaker 4: Papaia juice. At one point it looks like beat juice maybe,

1242
01:04:42,960 --> 01:04:48,960
Speaker 4: and Vic the commander radios them from the spaceship through

1243
01:04:48,960 --> 01:04:51,600
Speaker 4: the key that they have the shard, the remote control thing,

1244
01:04:51,960 --> 01:04:54,000
Speaker 4: and he tells them they're engraved danger.

1245
01:04:54,120 --> 01:04:54,959
Speaker 6: They have to leave.

1246
01:04:55,600 --> 01:04:57,760
Speaker 4: But then the goggle head comes on the TV and

1247
01:04:57,840 --> 01:05:00,200
Speaker 4: just tells them to chill, says there's no danger and

1248
01:05:00,240 --> 01:05:01,440
Speaker 4: he's going to make them happy.

1249
01:05:01,920 --> 01:05:04,160
Speaker 1: Yeah, just enjoy your unlimited juice.

1250
01:05:03,920 --> 01:05:06,040
Speaker 4: Right, and so they try to leave. Eventually they get

1251
01:05:06,040 --> 01:05:08,680
Speaker 4: out of the chamber and they go up to the

1252
01:05:08,720 --> 01:05:11,960
Speaker 4: surface to go back to their shuttle, but Varia disagrees

1253
01:05:12,000 --> 01:05:14,240
Speaker 4: because she's like, I want to stay and study the planet.

1254
01:05:14,280 --> 01:05:15,120
Speaker 3: I've got work to do.

1255
01:05:16,040 --> 01:05:17,920
Speaker 1: And she's like, don't you want to know why this

1256
01:05:17,960 --> 01:05:20,439
Speaker 1: is happening? Why these robots look like humans, et cetera.

1257
01:05:20,600 --> 01:05:20,760
Speaker 6: Right.

1258
01:05:20,840 --> 01:05:23,720
Speaker 4: Yeah, So she's dedicated to her mission doesn't want to leave,

1259
01:05:24,160 --> 01:05:26,960
Speaker 4: and this delays them enough that the robots attack. The

1260
01:05:27,000 --> 01:05:30,120
Speaker 4: disco pinheads dance out and they form a chorus line

1261
01:05:30,200 --> 01:05:32,480
Speaker 4: around the shuttle, like literally like a chorus line. They're

1262
01:05:32,520 --> 01:05:33,800
Speaker 4: like in a line dancing.

1263
01:05:34,040 --> 01:05:35,680
Speaker 1: Mm hmm. It's a great scene.

1264
01:05:35,840 --> 01:05:37,880
Speaker 4: And so of course the bots take the landing party

1265
01:05:37,920 --> 01:05:40,360
Speaker 4: prisoner again, and now there's no bones about it, the

1266
01:05:40,680 --> 01:05:43,439
Speaker 4: pretty talk of like, you know, you can leave any

1267
01:05:43,480 --> 01:05:45,160
Speaker 4: time you want. We just want to make you happy.

1268
01:05:45,200 --> 01:05:48,200
Speaker 4: That's over there there. You are our prisoners now, and

1269
01:05:48,240 --> 01:05:49,960
Speaker 4: we will make you happy, whether you like.

1270
01:05:49,920 --> 01:05:50,320
Speaker 3: It or not.

1271
01:05:51,120 --> 01:05:52,560
Speaker 1: Yeah, and then they blow up the ship.

1272
01:05:52,640 --> 01:05:54,959
Speaker 4: Yeah, they blow up the ship. I laughed out loud

1273
01:05:55,080 --> 01:05:57,080
Speaker 4: when they blew up the ship because it was a

1274
01:05:57,200 --> 01:05:59,160
Speaker 4: ridiculously huge explosion.

1275
01:05:59,560 --> 01:06:02,120
Speaker 1: Yeah, it looked good. It was clearly not a model.

1276
01:06:03,080 --> 01:06:05,720
Speaker 1: It's as if they had a tank fire on the

1277
01:06:05,720 --> 01:06:06,840
Speaker 1: prop or something. Yeah.

1278
01:06:06,840 --> 01:06:09,000
Speaker 4: Well, I think they do a quick cut where they

1279
01:06:09,640 --> 01:06:11,720
Speaker 4: you can see they move the prop out of the

1280
01:06:11,760 --> 01:06:13,640
Speaker 4: frame right as the explosion happens.

1281
01:06:13,640 --> 01:06:16,880
Speaker 1: Oh yeah, okay, well yeah it still looks like quality

1282
01:06:17,080 --> 01:06:17,760
Speaker 1: munitions though.

1283
01:06:17,840 --> 01:06:19,280
Speaker 6: Yeah.

1284
01:06:19,320 --> 01:06:22,120
Speaker 4: So Pavel, Lob and Varia are trying to figure out

1285
01:06:22,160 --> 01:06:25,560
Speaker 4: how to escape when they're trapped down in this underground layer,

1286
01:06:25,800 --> 01:06:28,320
Speaker 4: and Lob again goes on a weird rant about different

1287
01:06:28,400 --> 01:06:31,840
Speaker 4: kinds of dragonflies. I did not understand what this was

1288
01:06:31,880 --> 01:06:34,320
Speaker 4: supposed to mean. Maybe this is again, maybe this is

1289
01:06:34,320 --> 01:06:37,200
Speaker 4: some kind of reference to the previous movie. But Lob

1290
01:06:37,280 --> 01:06:41,160
Speaker 4: decides it's hopeless, says their bot captors are invincible. They

1291
01:06:41,160 --> 01:06:44,959
Speaker 4: will never defeat the bots. But then I loved this part.

1292
01:06:45,280 --> 01:06:49,160
Speaker 4: Varia comes up with the plan. She starts asking math

1293
01:06:49,280 --> 01:06:52,800
Speaker 4: questions to the bots. She's like, hey, what's five times seven?

1294
01:06:52,920 --> 01:06:53,120
Speaker 6: You know?

1295
01:06:53,200 --> 01:06:56,480
Speaker 4: And then other types of equations, and of course they

1296
01:06:56,520 --> 01:06:59,320
Speaker 4: can answer them. They're like, like, we know everything, we

1297
01:06:59,360 --> 01:07:03,200
Speaker 4: can do math. And then she asks them this. I

1298
01:07:03,240 --> 01:07:05,080
Speaker 4: don't know what this means, but I think I know

1299
01:07:05,080 --> 01:07:07,880
Speaker 4: what it's supposed to represent. Maybe your translation was different.

1300
01:07:07,920 --> 01:07:10,920
Speaker 4: She in my version, she says, A and B are

1301
01:07:10,960 --> 01:07:14,600
Speaker 4: sitting on a rose. A fell be fainted.

1302
01:07:14,920 --> 01:07:19,000
Speaker 1: What remains in mine they're sitting in a tree. Okay,

1303
01:07:19,040 --> 01:07:23,720
Speaker 1: a fell and be vanished, So take that for whatever

1304
01:07:23,760 --> 01:07:24,120
Speaker 1: it's worth.

1305
01:07:24,360 --> 01:07:27,760
Speaker 4: I don't understand this example in particular. Again, maybe something

1306
01:07:27,800 --> 01:07:30,040
Speaker 4: is lost in translation, but I think it's the old

1307
01:07:30,160 --> 01:07:33,600
Speaker 4: machine logic trap. I think what she's doing is this

1308
01:07:33,880 --> 01:07:38,000
Speaker 4: question is somehow supposed to represent a paradox, and she

1309
01:07:38,240 --> 01:07:41,760
Speaker 4: jams their brains with this logic paradox and they turn red.

1310
01:07:42,160 --> 01:07:44,480
Speaker 4: Smoke comes out of their faces, and they keel over

1311
01:07:44,560 --> 01:07:47,960
Speaker 4: and disintegrate, like just leave empty clothes like obi wan kenobi.

1312
01:07:48,480 --> 01:07:51,040
Speaker 4: But they're still trapped in this underground layer, like they

1313
01:07:51,040 --> 01:07:54,280
Speaker 4: can't find a way out, so they're roaming around. One

1314
01:07:54,280 --> 01:07:56,720
Speaker 4: thing I must point out is that the actors in

1315
01:07:56,760 --> 01:07:59,680
Speaker 4: this movie keep saying robot, but they don't pronounce it

1316
01:07:59,760 --> 01:08:02,520
Speaker 4: like we do in English today. They keep saying robot.

1317
01:08:02,840 --> 01:08:05,840
Speaker 1: Oh, I Like that's the way Zoidberg says it in Futurama.

1318
01:08:05,920 --> 01:08:08,480
Speaker 4: Yes, But here we get to the part where a

1319
01:08:08,520 --> 01:08:12,800
Speaker 4: rescue mission is assembled. So two more of the pioneers

1320
01:08:13,240 --> 01:08:15,640
Speaker 4: I don't remember there. I think one of them is

1321
01:08:15,720 --> 01:08:18,240
Speaker 4: Vic the commander. The other one I don't remember his name,

1322
01:08:19,520 --> 01:08:22,960
Speaker 4: but they get together with one of the aliens from

1323
01:08:23,000 --> 01:08:28,320
Speaker 4: the space station, this totally hairless guy named Agapit, and

1324
01:08:28,439 --> 01:08:30,680
Speaker 4: the three of them go down to the surface on

1325
01:08:30,720 --> 01:08:34,120
Speaker 4: a rescue mission and they manage to enter the underground

1326
01:08:34,160 --> 01:08:37,800
Speaker 4: layer where the original landing party is trapped. But Gogglehead

1327
01:08:37,800 --> 01:08:40,680
Speaker 4: comes on the ball TV and he's like, welcome, We're

1328
01:08:40,720 --> 01:08:42,880
Speaker 4: glad to have you. You will now be sent to

1329
01:08:42,960 --> 01:08:46,879
Speaker 4: the Chamber of Blissfulness, where in two of your hours

1330
01:08:46,920 --> 01:08:53,520
Speaker 4: you will become completely happy, happy, happy. So this introduces

1331
01:08:53,560 --> 01:08:56,440
Speaker 4: this chamber which is going to play into the climax

1332
01:08:56,479 --> 01:08:59,360
Speaker 4: of the movie. But so they're running around trying to

1333
01:08:59,400 --> 01:09:04,080
Speaker 4: rescue each rescue the other pioneers down there. They're navigating

1334
01:09:04,080 --> 01:09:07,680
Speaker 4: these foggy corridors. I guess they end up meeting up

1335
01:09:07,680 --> 01:09:10,040
Speaker 4: with their friends. So all six of the people are

1336
01:09:10,080 --> 01:09:13,680
Speaker 4: together now and they're trying to escape down these like

1337
01:09:14,240 --> 01:09:18,480
Speaker 4: holes filled with mist. But at some point Agapit stops.

1338
01:09:19,160 --> 01:09:22,080
Speaker 4: Remember he's the alien from the space station. He's never

1339
01:09:22,120 --> 01:09:24,000
Speaker 4: been down to the surface before. I think I think

1340
01:09:24,040 --> 01:09:26,919
Speaker 4: he was born on the space station. But he stops

1341
01:09:27,000 --> 01:09:29,080
Speaker 4: in the middle of a hall and he starts doing

1342
01:09:29,080 --> 01:09:33,120
Speaker 4: the Bonnaroo dance, you know, the music festival. You know,

1343
01:09:33,520 --> 01:09:36,880
Speaker 4: perhaps ecstasy is involved dance where the arms are over

1344
01:09:36,920 --> 01:09:38,960
Speaker 4: the head and the kind of twisting body.

1345
01:09:39,360 --> 01:09:41,880
Speaker 1: Well, I would think of it like cinematically, it probably

1346
01:09:41,920 --> 01:09:43,840
Speaker 1: has as much to do with sort of like go

1347
01:09:43,840 --> 01:09:46,599
Speaker 1: go dancing films. Okay, that's that's what comes to mind

1348
01:09:46,600 --> 01:09:51,720
Speaker 1: from me, sure, because yeah, he's instantly overcome by this

1349
01:09:51,720 --> 01:09:55,880
Speaker 1: this what to us would be archaic youth music, you know,

1350
01:09:56,160 --> 01:09:58,599
Speaker 1: like like it's the it's the sound of the youth

1351
01:09:58,640 --> 01:10:03,920
Speaker 1: culture overcoming him and drawing him into uh, into movement

1352
01:10:03,960 --> 01:10:06,960
Speaker 1: and dance, which at this point in the film, there's

1353
01:10:07,000 --> 01:10:10,200
Speaker 1: a really pervasive sense of this whole thing being about

1354
01:10:10,200 --> 01:10:11,439
Speaker 1: the dangers of youth culture.

1355
01:10:11,640 --> 01:10:14,759
Speaker 4: No, it's weird because the youth themselves in the movie

1356
01:10:14,800 --> 01:10:17,559
Speaker 4: are not really a special like they're very on the.

1357
01:10:17,479 --> 01:10:20,400
Speaker 3: Ball, yeah, except maybe they've been prepared.

1358
01:10:20,479 --> 01:10:24,840
Speaker 4: Yeah yeah, but but there, Yeah, there's this music that

1359
01:10:24,880 --> 01:10:29,240
Speaker 4: plays with like heavy bass and scramble horns, and Agapit

1360
01:10:29,680 --> 01:10:32,960
Speaker 4: dances off following this sonic weapon to his doom. This

1361
01:10:33,040 --> 01:10:35,320
Speaker 4: is the sonic weapon that they were talking about earlier.

1362
01:10:37,479 --> 01:10:39,640
Speaker 4: And so they're the the teens are like, well, we

1363
01:10:39,680 --> 01:10:41,880
Speaker 4: can we can try to rescue Agapit. Later, we got

1364
01:10:41,920 --> 01:10:44,160
Speaker 4: to find a way out of here, so they're running

1365
01:10:44,200 --> 01:10:46,680
Speaker 4: around but wherever the teens in the universe go. The

1366
01:10:46,720 --> 01:10:50,800
Speaker 4: gogglehead comes on ball TV and uh and starts trying

1367
01:10:50,840 --> 01:10:53,719
Speaker 4: to hypnotize them, you know, saying we will make you happy, happy,

1368
01:10:54,439 --> 01:10:57,839
Speaker 4: And then oh, I guess one of the other teens

1369
01:10:57,840 --> 01:11:00,200
Speaker 4: that came down was the girl with the thick glass

1370
01:11:00,439 --> 01:11:02,880
Speaker 4: you know, the loud glasses. And I think she is

1371
01:11:02,920 --> 01:11:06,680
Speaker 4: a medical technician of some kind because she comes up

1372
01:11:06,680 --> 01:11:10,240
Speaker 4: with a cool hack against the ball TVs, which is

1373
01:11:10,280 --> 01:11:12,960
Speaker 4: that she gets out a roll of bandages from her

1374
01:11:13,000 --> 01:11:15,800
Speaker 4: medical bag and just like holds it up over the

1375
01:11:15,920 --> 01:11:19,400
Speaker 4: edge of the spinning spherical television until she turns it

1376
01:11:19,479 --> 01:11:21,639
Speaker 4: into a mummy and the image on it is hidden.

1377
01:11:21,920 --> 01:11:24,240
Speaker 1: Yeah, it's it's kind of neat to watch, but it's

1378
01:11:24,360 --> 01:11:26,920
Speaker 1: it's kind of unclear why this really works.

1379
01:11:27,360 --> 01:11:28,479
Speaker 3: Yeah, somehow it does.

1380
01:11:28,640 --> 01:11:30,000
Speaker 6: Yeah. Yeah.

1381
01:11:30,080 --> 01:11:32,679
Speaker 4: And then we get several other scenes that I don't

1382
01:11:32,680 --> 01:11:34,600
Speaker 4: know if we can describe in too much detail, but

1383
01:11:34,600 --> 01:11:37,800
Speaker 4: they're just so good. There's a head exchanging scene where

1384
01:11:38,160 --> 01:11:41,400
Speaker 4: robots argue about whether they have each other's heads or not,

1385
01:11:41,640 --> 01:11:43,040
Speaker 4: and they are trying.

1386
01:11:42,840 --> 01:11:45,800
Speaker 1: To The comedy shines through in that scene because it's like,

1387
01:11:45,840 --> 01:11:47,400
Speaker 1: I think you've got my head. No, I think you have.

1388
01:11:47,560 --> 01:11:49,120
Speaker 1: When they're saying I think you have mine, I think

1389
01:11:49,160 --> 01:11:51,479
Speaker 1: you have mine. And then at first we think they're

1390
01:11:51,479 --> 01:11:54,280
Speaker 1: maybe talking about their hats or something, but no, they're

1391
01:11:54,320 --> 01:11:55,840
Speaker 1: talking about their heads. I switch.

1392
01:11:55,960 --> 01:11:58,920
Speaker 4: Yeah, so they're trying to trade heads. And there's some

1393
01:11:59,000 --> 01:12:03,640
Speaker 4: good robot bowling. We get some robot impersonation where a

1394
01:12:03,680 --> 01:12:06,639
Speaker 4: couple of the teens dress up as robots to run

1395
01:12:06,680 --> 01:12:10,559
Speaker 4: around and I think try to rescue Agapet. But eventually

1396
01:12:10,920 --> 01:12:15,879
Speaker 4: lob By himself wanders off down this trough of smoke

1397
01:12:16,080 --> 01:12:19,559
Speaker 4: to get into the inner sanctum to retrieve Agapit from

1398
01:12:19,600 --> 01:12:22,240
Speaker 4: the meliorators or the controllers. And I guess the place

1399
01:12:22,280 --> 01:12:27,280
Speaker 4: he's going into is the dreaded Chamber of Blissfulness. And

1400
01:12:27,439 --> 01:12:31,759
Speaker 4: this whole sequence in here just rocks, like the sets,

1401
01:12:31,800 --> 01:12:35,920
Speaker 4: the costumes, the sound effects. The Chamber of Blissfulness is

1402
01:12:35,960 --> 01:12:39,280
Speaker 4: like the mainframe room and the Nostromo and Alien, you know,

1403
01:12:39,600 --> 01:12:43,439
Speaker 4: where Dallas talks to Mother, except the walls have ears

1404
01:12:43,479 --> 01:12:47,360
Speaker 4: and lips, and there are these vertical half shell sarcopha

1405
01:12:47,400 --> 01:12:50,439
Speaker 4: guy over in the corner that look like they've got

1406
01:12:50,479 --> 01:12:53,920
Speaker 4: lining like a nonstick cake pan and then the Gogglehead

1407
01:12:54,000 --> 01:12:58,280
Speaker 4: meliorators are wandering around being creepy, and this whole scene

1408
01:12:58,400 --> 01:12:59,040
Speaker 4: was really good.

1409
01:12:59,439 --> 01:13:02,240
Speaker 1: Yeah, this scene is fabulous. And and oh those those

1410
01:13:02,320 --> 01:13:05,599
Speaker 1: robot costumes they put on. I love that scene as well,

1411
01:13:06,280 --> 01:13:08,520
Speaker 1: the fact that they're wearing those, because it kept making

1412
01:13:08,560 --> 01:13:10,599
Speaker 1: me think like, how did you guys get a costume

1413
01:13:10,680 --> 01:13:13,479
Speaker 1: out of those robots? Like did you flay a robot?

1414
01:13:13,600 --> 01:13:13,840
Speaker 6: Yeah?

1415
01:13:13,920 --> 01:13:16,599
Speaker 3: Did you scalp robot robots?

1416
01:13:16,680 --> 01:13:17,160
Speaker 6: Yeah?

1417
01:13:17,360 --> 01:13:19,920
Speaker 1: Because otherwise I didn't get the sense that the robots

1418
01:13:19,960 --> 01:13:23,439
Speaker 1: are wearing costume or wearing outfits and wigs like that's

1419
01:13:23,439 --> 01:13:27,240
Speaker 1: a part of their body. But you know they have

1420
01:13:27,320 --> 01:13:29,280
Speaker 1: that survival training, So I guess it works out.

1421
01:13:29,640 --> 01:13:32,880
Speaker 4: A naked disco robot has few secrets, a flayed disco

1422
01:13:33,000 --> 01:13:33,880
Speaker 4: robot has none.

1423
01:13:34,520 --> 01:13:35,360
Speaker 1: Is that Game of Thrones?

1424
01:13:35,400 --> 01:13:37,000
Speaker 3: That's some house Bolton wisdom?

1425
01:13:37,160 --> 01:13:39,080
Speaker 1: Okay, yeah, that sounds like some Bolton wisdom.

1426
01:13:39,160 --> 01:13:40,360
Speaker 6: Yeah.

1427
01:13:40,400 --> 01:13:43,240
Speaker 4: So Lob's got a pretty good plan for getting Agapit

1428
01:13:43,439 --> 01:13:46,760
Speaker 4: out of the Chamber of blissfulness. He goes in there,

1429
01:13:46,920 --> 01:13:49,439
Speaker 4: sits down with him. It does some fake laughing to

1430
01:13:49,479 --> 01:13:52,519
Speaker 4: be like wow, things are great, And I laughed out

1431
01:13:52,560 --> 01:13:54,120
Speaker 4: loud at Lobb's fake laughing.

1432
01:13:54,360 --> 01:13:55,120
Speaker 3: That was really good.

1433
01:13:55,479 --> 01:13:58,759
Speaker 4: But then his plan is to fake sick. He's like, here,

1434
01:13:58,960 --> 01:14:01,920
Speaker 4: follow my lead, like, oh, my stomach hurts.

1435
01:14:03,439 --> 01:14:06,519
Speaker 1: He's really he's really digging into that that teen tool

1436
01:14:06,560 --> 01:14:07,679
Speaker 1: set on this one right.

1437
01:14:08,160 --> 01:14:10,400
Speaker 4: In fact, they say like, we're gonna use the plan

1438
01:14:10,560 --> 01:14:12,320
Speaker 4: that we use to get out of the exam at

1439
01:14:12,360 --> 01:14:13,240
Speaker 4: school one time.

1440
01:14:13,600 --> 01:14:15,920
Speaker 1: Yep, they pull the Ferris Bueler.

1441
01:14:16,000 --> 01:14:16,320
Speaker 6: Yeah.

1442
01:14:16,360 --> 01:14:19,479
Speaker 4: So then Pavel and one of the other teens I

1443
01:14:19,479 --> 01:14:22,679
Speaker 4: guess maybe it's Vic or somebody. They leave with Agapit,

1444
01:14:22,760 --> 01:14:26,759
Speaker 4: the hairless alien to destroy the power plant that gives

1445
01:14:26,920 --> 01:14:30,160
Speaker 4: energy to the robots. So that's their plan to like

1446
01:14:30,240 --> 01:14:33,240
Speaker 4: stop this all and save the day. But Lob the

1447
01:14:33,520 --> 01:14:36,080
Speaker 4: yellow haired guy, has to go back and help the

1448
01:14:36,240 --> 01:14:40,000
Speaker 4: two girls escape because they fell asleep and they've been captured,

1449
01:14:40,560 --> 01:14:43,160
Speaker 4: and Varia and the girl with the thick glasses are

1450
01:14:43,200 --> 01:14:45,400
Speaker 4: going to be They're being taken to the Chamber of

1451
01:14:45,720 --> 01:14:49,320
Speaker 4: Blissfulness and we're told that like within thirty minutes they

1452
01:14:49,360 --> 01:14:53,280
Speaker 4: will be obliterated with total happiness. And there's there's one

1453
01:14:53,280 --> 01:14:55,639
Speaker 4: scene here where so Varia has been doing that trick

1454
01:14:55,640 --> 01:14:58,320
Speaker 4: where she keeps saying the A and B paradox to

1455
01:14:58,400 --> 01:15:01,559
Speaker 4: the implement her robots and fries them. But then she

1456
01:15:01,640 --> 01:15:04,800
Speaker 4: tries it on the controller robots and that doesn't work.

1457
01:15:04,840 --> 01:15:08,000
Speaker 4: They are too clever to get hot wired by a paradox.

1458
01:15:08,439 --> 01:15:10,519
Speaker 4: So I was thinking, Man, I wish they had they

1459
01:15:10,520 --> 01:15:12,759
Speaker 4: had tried instilling them with Cartesian doubt.

1460
01:15:12,840 --> 01:15:13,519
Speaker 3: That might work.

1461
01:15:14,040 --> 01:15:16,720
Speaker 1: Yeah, when in my version, at any rate, they asked,

1462
01:15:17,120 --> 01:15:19,960
Speaker 1: she asked the robot the A and B riddle, And

1463
01:15:20,000 --> 01:15:21,760
Speaker 1: then they think for a second, and they're like, the

1464
01:15:21,840 --> 01:15:25,040
Speaker 1: only thing that remains is your word for and yeah.

1465
01:15:25,080 --> 01:15:27,720
Speaker 1: So again I think we lose something in the translation

1466
01:15:27,800 --> 01:15:32,640
Speaker 1: of this paradox. But but yeah, these these guys, the controllers,

1467
01:15:32,680 --> 01:15:34,840
Speaker 1: are able to figure it out. They can process it.

1468
01:15:35,200 --> 01:15:37,080
Speaker 4: I mean, it might as well be like asking them,

1469
01:15:37,120 --> 01:15:40,320
Speaker 4: you know, what's one divided by zero. It's something that

1470
01:15:40,520 --> 01:15:42,080
Speaker 4: they shouldn't be able to do. But I think the

1471
01:15:42,120 --> 01:15:45,679
Speaker 4: idea is that the controllers can actually interrogate the question

1472
01:15:45,800 --> 01:15:48,160
Speaker 4: itself and say, like, I don't have to give you

1473
01:15:48,200 --> 01:15:48,960
Speaker 4: an answer for that.

1474
01:15:49,360 --> 01:15:52,360
Speaker 1: Yeah. And again, the controllers don't they walk like robots.

1475
01:15:52,439 --> 01:15:55,360
Speaker 1: They don't walk like like circusola mines.

1476
01:15:55,560 --> 01:15:56,280
Speaker 3: They don't dance.

1477
01:15:56,720 --> 01:15:58,760
Speaker 1: They're here. They're here to control the pleasure, not to

1478
01:15:58,840 --> 01:15:59,839
Speaker 1: administer the pleasure.

1479
01:16:00,000 --> 01:16:02,520
Speaker 4: We've got more Doctor Satan type movements.

1480
01:16:03,000 --> 01:16:03,800
Speaker 1: Yeah. Uh.

1481
01:16:04,200 --> 01:16:07,320
Speaker 4: I don't remember how exactly this happens, but somehow the

1482
01:16:07,320 --> 01:16:10,120
Speaker 4: the two Pioneers and Agapit, while they're out on the

1483
01:16:10,160 --> 01:16:14,160
Speaker 4: planet looking for the power station, uh, they run into

1484
01:16:14,200 --> 01:16:18,600
Speaker 4: some older model robots that are still left behind in

1485
01:16:18,600 --> 01:16:21,280
Speaker 4: the planet, like from before the era of the really

1486
01:16:21,320 --> 01:16:24,360
Speaker 4: bad robots. These are, like, I think, supposed to be innocent,

1487
01:16:24,520 --> 01:16:28,160
Speaker 4: nice robots, but one of them has this deep threatening

1488
01:16:28,280 --> 01:16:32,040
Speaker 4: voice with swiveling googly eyes like a chameleon, and says,

1489
01:16:32,280 --> 01:16:34,080
Speaker 4: I am a nanny robot.

1490
01:16:35,200 --> 01:16:38,240
Speaker 1: Yeah. These robots look a bit clunkier, a little goofier,

1491
01:16:38,479 --> 01:16:41,240
Speaker 1: a little more old fashioned. Their heads kind of look

1492
01:16:41,320 --> 01:16:45,679
Speaker 1: like dwarf spider bots. They're they're they're, they're they're fine.

1493
01:16:45,760 --> 01:16:45,960
Speaker 5: Yeah.

1494
01:16:46,000 --> 01:16:49,520
Speaker 4: And the nanny Robot and then his friend, the Mechanic Robot,

1495
01:16:49,760 --> 01:16:52,919
Speaker 4: they help out the the teens and Agapit.

1496
01:16:53,360 --> 01:16:53,519
Speaker 3: Uh.

1497
01:16:53,560 --> 01:16:56,120
Speaker 4: And then after they help them get into this vehicle

1498
01:16:56,200 --> 01:16:58,280
Speaker 4: that's going to take them to the power plant, they

1499
01:16:58,280 --> 01:17:00,960
Speaker 4: get attacked by the disco bots. They're told you will

1500
01:17:00,960 --> 01:17:03,840
Speaker 4: be disassembled, And I felt truly sad for Ninnybot and

1501
01:17:03,880 --> 01:17:04,599
Speaker 4: Mechanical Bot.

1502
01:17:05,720 --> 01:17:07,200
Speaker 3: I don't know. They seem like sweet bots.

1503
01:17:07,439 --> 01:17:11,200
Speaker 1: Well, you know that they're simple and their design.

1504
01:17:11,400 --> 01:17:14,080
Speaker 4: Yeah, But so the climax is that a Varia and

1505
01:17:14,080 --> 01:17:16,160
Speaker 4: the girl with the thick glasses are in the cake

1506
01:17:16,240 --> 01:17:19,120
Speaker 4: pans and the sarcopha guy in the chamber of blissfulness,

1507
01:17:19,479 --> 01:17:22,360
Speaker 4: and they're going to have their minds and personalities obliterated

1508
01:17:22,400 --> 01:17:24,600
Speaker 4: with the total happiness and it's going to be in

1509
01:17:24,600 --> 01:17:26,920
Speaker 4: a few minutes now, and can their friends stop it?

1510
01:17:27,640 --> 01:17:29,840
Speaker 4: So there are a few things that they try. Lob

1511
01:17:30,000 --> 01:17:33,640
Speaker 4: tries to glue the robot's feet to the floor with

1512
01:17:33,920 --> 01:17:36,880
Speaker 4: his tube of universal glue, which I knew would come back.

1513
01:17:36,920 --> 01:17:38,559
Speaker 4: They said that at the beginning. I guess it's like

1514
01:17:38,960 --> 01:17:41,840
Speaker 4: Chekhov's glue. And that works for three of the four

1515
01:17:41,960 --> 01:17:43,960
Speaker 4: robots in the room, but one of them is still

1516
01:17:44,560 --> 01:17:47,439
Speaker 4: active and attax Lob and immobilizes him.

1517
01:17:47,640 --> 01:17:50,040
Speaker 1: Yeah, it has like psychic powers and it's like making

1518
01:17:50,080 --> 01:17:51,160
Speaker 1: him float around and all.

1519
01:17:51,600 --> 01:17:53,479
Speaker 4: But then Agapit and the two boys get to the

1520
01:17:53,479 --> 01:17:56,160
Speaker 4: power plant where they are ambushed by a laser trap,

1521
01:17:56,200 --> 01:17:58,760
Speaker 4: which they defeat with a mirror, and then they go

1522
01:17:58,840 --> 01:18:01,600
Speaker 4: into the reactor core and they try to overload the

1523
01:18:01,680 --> 01:18:06,439
Speaker 4: robots by overcharging them basically, so they stick with that

1524
01:18:06,560 --> 01:18:09,599
Speaker 4: sharred key into the computer to operate it and make

1525
01:18:09,640 --> 01:18:13,439
Speaker 4: it overcharge the robots. But then the computer melts the

1526
01:18:13,840 --> 01:18:16,080
Speaker 4: shard key, so they're like, oh, no, we have nothing

1527
01:18:16,120 --> 01:18:21,320
Speaker 4: to operate it with. But then guess whose hobby saves

1528
01:18:21,400 --> 01:18:24,840
Speaker 4: the day? It is It is Pavel. He pulls like

1529
01:18:24,880 --> 01:18:28,120
Speaker 4: a nine inch long nail out of his suit. It's like,

1530
01:18:28,200 --> 01:18:30,439
Speaker 4: good thing I had this, and they jam it into

1531
01:18:30,439 --> 01:18:32,880
Speaker 4: the keyhole and the bad robots melt down.

1532
01:18:33,320 --> 01:18:36,599
Speaker 1: Yep, raining cinematic payoff saved by.

1533
01:18:36,439 --> 01:18:41,400
Speaker 4: His nail hobby. So all the bad robots melt down,

1534
01:18:41,520 --> 01:18:46,400
Speaker 4: the day is saved. The oh, the nanny Robot and

1535
01:18:46,439 --> 01:18:48,960
Speaker 4: the Mechanic Robot come to the rescue. They stop the

1536
01:18:49,040 --> 01:18:52,240
Speaker 4: killer Bliss machine and they free the two Pioneers, and

1537
01:18:52,280 --> 01:18:56,280
Speaker 4: then they say this line that was shockingly sweet. They say,

1538
01:18:56,320 --> 01:18:58,839
Speaker 4: we are defective, but we are your friends.

1539
01:18:59,320 --> 01:19:00,559
Speaker 3: That's we're friends are.

1540
01:19:00,840 --> 01:19:05,200
Speaker 4: Yeah, And then there's like just wraps things up really fast.

1541
01:19:05,280 --> 01:19:09,040
Speaker 4: It's super like fast forward resolution. Like the people in

1542
01:19:09,040 --> 01:19:12,400
Speaker 4: the space station are immediately resettling the planet. You see

1543
01:19:12,439 --> 01:19:16,720
Speaker 4: them streaming out of this giant rocket. They're like, oh,

1544
01:19:16,720 --> 01:19:19,360
Speaker 4: we're gonna use robots again, but we'll use them wisely

1545
01:19:19,439 --> 01:19:20,400
Speaker 4: this time for real.

1546
01:19:20,840 --> 01:19:23,559
Speaker 1: And there's a bit where the where Agapit is there

1547
01:19:23,600 --> 01:19:25,800
Speaker 1: and his father, who has a full head of hair,

1548
01:19:26,280 --> 01:19:30,160
Speaker 1: puts his hand lovingly on Agapit's bald scalp and tells

1549
01:19:30,240 --> 01:19:32,599
Speaker 1: him that now he is a man, and she'll grow

1550
01:19:32,640 --> 01:19:34,400
Speaker 1: his hair out. So just a little extra bit of

1551
01:19:34,400 --> 01:19:38,160
Speaker 1: world building to explain why why why Agapit is hairless?

1552
01:19:38,200 --> 01:19:40,639
Speaker 4: I guess yeah, I didn't get that. I mean, maybe

1553
01:19:40,680 --> 01:19:43,439
Speaker 4: there's some kind of environmental effect. But it was very

1554
01:19:43,680 --> 01:19:46,040
Speaker 4: that was that was funny. And then something like it's

1555
01:19:46,080 --> 01:19:48,320
Speaker 4: just a rapid sequence of funny things here at the

1556
01:19:48,360 --> 01:19:50,960
Speaker 4: end where suddenly the magic bureaucrat shows back up, you know,

1557
01:19:51,000 --> 01:19:55,559
Speaker 4: the King of Soviet actors. He just appears, uh, And

1558
01:19:55,680 --> 01:19:58,960
Speaker 4: he goes up to the kids and he delivers them

1559
01:19:58,960 --> 01:20:00,880
Speaker 4: a message. It's like a it's like a note that

1560
01:20:00,960 --> 01:20:04,680
Speaker 4: says like, hey, get back to Earth and he and

1561
01:20:04,760 --> 01:20:08,799
Speaker 4: again never explained why this movie has exactly one character

1562
01:20:08,960 --> 01:20:12,479
Speaker 4: with magic powers who has essentially no involvement in the

1563
01:20:12,520 --> 01:20:14,960
Speaker 4: actual plot. He's just sort of a framing device.

1564
01:20:15,400 --> 01:20:17,360
Speaker 1: Yeah, and with that whole shouldn't you be getting back

1565
01:20:17,360 --> 01:20:20,439
Speaker 1: to Earth? Note that he hands them. It's as if

1566
01:20:20,560 --> 01:20:23,640
Speaker 1: he's there to remind us too that this film is

1567
01:20:23,760 --> 01:20:27,920
Speaker 1: also an escapist venture and therefore is maybe a little

1568
01:20:27,960 --> 01:20:29,760
Speaker 1: bit dangerous. So it's kind of like, all right, all right,

1569
01:20:29,800 --> 01:20:31,760
Speaker 1: that was fun, but let's get back to work kids.

1570
01:20:31,840 --> 01:20:32,800
Speaker 1: Earth is where it's at.

1571
01:20:32,920 --> 01:20:36,160
Speaker 4: Yeah, And this connects, I guess, to the philosophical themes

1572
01:20:36,200 --> 01:20:40,120
Speaker 4: of the movie, because this movie, again, like I thought,

1573
01:20:40,120 --> 01:20:43,000
Speaker 4: it was unusually thoughtful for a kid's sci fi movie

1574
01:20:43,080 --> 01:20:46,920
Speaker 4: and asks legitimate philosophical questions that have been explored in,

1575
01:20:48,040 --> 01:20:50,240
Speaker 4: you know, in other works, like it's a big theme

1576
01:20:50,280 --> 01:20:53,680
Speaker 4: of David Foster Wallace's novel Infinite Jest, where there is

1577
01:20:53,760 --> 01:20:57,479
Speaker 4: this this thing called the Entertainment, which is a film

1578
01:20:57,640 --> 01:21:03,720
Speaker 4: that is lethally entertaining, so entertaining that when people watch it,

1579
01:21:02,880 --> 01:21:07,160
Speaker 4: it totally consumes their mentality and all they want to

1580
01:21:07,200 --> 01:21:09,280
Speaker 4: do is just watch the film over and over until

1581
01:21:09,280 --> 01:21:12,120
Speaker 4: they die. But it's also a theme, you know, going

1582
01:21:12,120 --> 01:21:15,040
Speaker 4: back farther to Brave New World. The idea of a

1583
01:21:15,160 --> 01:21:21,240
Speaker 4: hydonic dystopia place that is destroyed by an over obsession

1584
01:21:21,360 --> 01:21:25,120
Speaker 4: with the quest for pleasure also a theme explored in

1585
01:21:25,160 --> 01:21:27,680
Speaker 4: The Matrix. You remember there's that whole thing where you know,

1586
01:21:27,720 --> 01:21:30,200
Speaker 4: the bad guy played by Joe Panaliono wants to be

1587
01:21:30,600 --> 01:21:33,040
Speaker 4: reinserted back into the matrix so that he doesn't have

1588
01:21:33,080 --> 01:21:35,919
Speaker 4: to think about the big conflict and the underlying reality

1589
01:21:35,960 --> 01:21:39,720
Speaker 4: and can just live out his life in shallow, fake pleasures.

1590
01:21:40,560 --> 01:21:44,280
Speaker 4: And this relates actually to a thought experiment promoted by

1591
01:21:44,960 --> 01:21:49,320
Speaker 4: the American philosopher Robert Nozick called the Experience Machine or

1592
01:21:49,360 --> 01:21:52,280
Speaker 4: the Pleasure Machine, which was in a book published in

1593
01:21:52,400 --> 01:21:55,040
Speaker 4: nineteen seventy four, around the same time as this movie.

1594
01:21:55,240 --> 01:21:57,120
Speaker 4: It could be a coincidence, but I wonder if there's

1595
01:21:57,160 --> 01:22:00,599
Speaker 4: anything going on there. The basic gist of the Experience

1596
01:22:00,720 --> 01:22:04,680
Speaker 4: Machine thought experiment is that it's there to interrogate the

1597
01:22:04,680 --> 01:22:08,920
Speaker 4: premise of any ethical system or system of determining what

1598
01:22:08,960 --> 01:22:13,160
Speaker 4: the good life is that's based on hedonic utilitarianism, you know,

1599
01:22:13,240 --> 01:22:15,479
Speaker 4: just the idea that the right thing to do in

1600
01:22:15,479 --> 01:22:19,080
Speaker 4: any given situation would would be that which delivers the

1601
01:22:19,080 --> 01:22:22,000
Speaker 4: most pleasure and the least pain to the greatest number

1602
01:22:22,000 --> 01:22:24,679
Speaker 4: of people. Now, in a lot of cases, that seems

1603
01:22:24,680 --> 01:22:28,519
Speaker 4: like that's a pretty good way to calculate what you

1604
01:22:28,520 --> 01:22:31,120
Speaker 4: should and shouldn't do. Like it's nice to offer somebody

1605
01:22:31,120 --> 01:22:33,200
Speaker 4: a piece of candy, and it's not nice to punch

1606
01:22:33,240 --> 01:22:36,600
Speaker 4: them in the face. But Nosic's thought experiment indicates that

1607
01:22:36,640 --> 01:22:39,200
Speaker 4: there could well be limits to a principle that says

1608
01:22:39,320 --> 01:22:42,960
Speaker 4: the good life is simply defined by the maximizing of pleasure.

1609
01:22:43,640 --> 01:22:46,200
Speaker 4: Because he asks this, he says, like, what if you

1610
01:22:46,200 --> 01:22:48,640
Speaker 4: had a choice to get into a machine? I mean,

1611
01:22:48,680 --> 01:22:52,440
Speaker 4: imagine some kind of combination of drugs and virtual reality

1612
01:22:53,040 --> 01:22:57,040
Speaker 4: that would cause you to live a completely blissful existence

1613
01:22:57,160 --> 01:22:59,519
Speaker 4: every waking moment of your life. And you could live,

1614
01:22:59,720 --> 01:23:02,280
Speaker 4: you know, a long long time. But of course none

1615
01:23:02,320 --> 01:23:04,920
Speaker 4: of it would be real life. You'd just be lying there,

1616
01:23:04,960 --> 01:23:09,040
Speaker 4: hooked up to a machine that's tricking your body into

1617
01:23:09,200 --> 01:23:13,519
Speaker 4: experiencing maximal pleasure all the time. Would that be a

1618
01:23:13,520 --> 01:23:16,160
Speaker 4: good world? Is that a world we would actually want?

1619
01:23:16,240 --> 01:23:19,200
Speaker 4: Would it be better than this one that is full

1620
01:23:19,280 --> 01:23:22,800
Speaker 4: of suffering but is actually real? It would be objectively

1621
01:23:22,920 --> 01:23:27,200
Speaker 4: more pleasurable. But if that's not a good world, that

1622
01:23:27,240 --> 01:23:29,760
Speaker 4: makes us think that our intuitions are at least telling

1623
01:23:29,840 --> 01:23:33,400
Speaker 4: us that there is something that is ethically valuable, something

1624
01:23:33,439 --> 01:23:37,120
Speaker 4: that makes up the good life, other than just maximizing

1625
01:23:37,200 --> 01:23:41,000
Speaker 4: pleasure and minimizing pain that like maybe something about the

1626
01:23:41,040 --> 01:23:43,920
Speaker 4: good life has to do with real relationships with other

1627
01:23:44,080 --> 01:23:45,599
Speaker 4: minds and stuff like that.

1628
01:23:45,960 --> 01:23:48,719
Speaker 1: Yeah, I think some of these ideas are definitely reflecting

1629
01:23:48,720 --> 01:23:51,360
Speaker 1: in the film, though again on another level, I think

1630
01:23:51,360 --> 01:23:53,880
Speaker 1: a lot of it also kind of captures this idea

1631
01:23:53,920 --> 01:23:56,320
Speaker 1: of youth culture is a danger to our children, and

1632
01:23:56,360 --> 01:24:00,439
Speaker 1: our children are the future. How do we create future

1633
01:24:00,479 --> 01:24:05,440
Speaker 1: generation that is not going to be subjected to these influences,

1634
01:24:05,520 --> 01:24:09,160
Speaker 1: you know? And yeah, and I imagine it would be

1635
01:24:09,160 --> 01:24:11,880
Speaker 1: interesting to see like a deeper read from somebody you

1636
01:24:11,920 --> 01:24:16,439
Speaker 1: know about, you know, how this film fits into Russian

1637
01:24:16,479 --> 01:24:20,040
Speaker 1: culture in the mid nineteen seventies. You know, what sort

1638
01:24:20,080 --> 01:24:22,680
Speaker 1: of values we're warring. I I mean to again, to

1639
01:24:22,720 --> 01:24:25,519
Speaker 1: a certain extent, they're the same cultures that are the same.

1640
01:24:27,640 --> 01:24:29,960
Speaker 1: It's the same conflict in any culture. You know, there's

1641
01:24:30,040 --> 01:24:33,599
Speaker 1: always that concern about how our children are growing up

1642
01:24:33,920 --> 01:24:36,880
Speaker 1: and what are the influences that are going to potentially

1643
01:24:36,880 --> 01:24:39,679
Speaker 1: corrupt them, and how do we steer them correctly into

1644
01:24:39,720 --> 01:24:40,240
Speaker 1: the future.

1645
01:24:40,680 --> 01:24:43,280
Speaker 4: Yeah, and I mean I wonder I don't know, the

1646
01:24:43,360 --> 01:24:46,720
Speaker 4: movie doesn't ever get overtly political, but I wonder if

1647
01:24:46,760 --> 01:24:50,960
Speaker 4: there is some implicit political commentary here. In the idea

1648
01:24:51,000 --> 01:24:53,479
Speaker 4: that of like, perhaps you could view it as an

1649
01:24:53,520 --> 01:24:58,200
Speaker 4: indictment of capitalist economies, as this kind of empty pleasure machine,

1650
01:24:58,280 --> 01:25:01,799
Speaker 4: you know, something that is designed that in some ways,

1651
01:25:01,920 --> 01:25:06,040
Speaker 4: at least for some people, maximizes heidonic pleasure in the

1652
01:25:06,080 --> 01:25:11,240
Speaker 4: short term at the expense of meaningful relationships and family

1653
01:25:11,400 --> 01:25:12,880
Speaker 4: and duty and things like that.

1654
01:25:13,360 --> 01:25:17,720
Speaker 1: Yeah, it also might have had like cinema world contemplation

1655
01:25:17,720 --> 01:25:20,240
Speaker 1: because clearly, I mean, it's a movie made by movie makers.

1656
01:25:20,720 --> 01:25:24,880
Speaker 1: You know, it's coming out of the Russian movie industry.

1657
01:25:25,240 --> 01:25:27,240
Speaker 1: Like I wonder if it's kind of expressing some of

1658
01:25:27,280 --> 01:25:32,400
Speaker 1: their you know, internal discussions and conflicts. You know, like

1659
01:25:32,840 --> 01:25:35,719
Speaker 1: if you're making a kids movie, should the kids movie

1660
01:25:35,760 --> 01:25:39,160
Speaker 1: be just pure fun, just pure drivel, or should it

1661
01:25:39,439 --> 01:25:42,719
Speaker 1: attempt to tell a more complex story? Should it attempt

1662
01:25:42,800 --> 01:25:45,240
Speaker 1: to teach them something? Should it have this kind of

1663
01:25:45,280 --> 01:25:48,360
Speaker 1: a philosophical contemplation nestled within it?

1664
01:25:48,760 --> 01:25:48,960
Speaker 6: You know?

1665
01:25:49,320 --> 01:25:53,280
Speaker 4: Yeah, I think you know it's weird this. I feel

1666
01:25:53,320 --> 01:25:55,360
Speaker 4: like this is a great kind of movie to talk

1667
01:25:55,360 --> 01:25:58,720
Speaker 4: about on weird House Cinema because it is full of

1668
01:25:58,760 --> 01:26:02,920
Speaker 4: stuff that was totally unintentionally funny. Like there is a

1669
01:26:02,960 --> 01:26:08,760
Speaker 4: lot of weirdness that is obviously not intended by the filmmakers,

1670
01:26:08,800 --> 01:26:12,400
Speaker 4: but nevertheless, I think it's actually overall a pretty solid

1671
01:26:12,479 --> 01:26:15,200
Speaker 4: movie like that, I would say that given certain constraints,

1672
01:26:15,320 --> 01:26:18,000
Speaker 4: this is a well made film and actually kind of

1673
01:26:18,000 --> 01:26:22,479
Speaker 4: a thoughtful film despite being I don't know, somewhere between

1674
01:26:22,560 --> 01:26:26,919
Speaker 4: like Tarkowsky Solaris and a Disney Channel Kids Club movie.

1675
01:26:27,200 --> 01:26:29,519
Speaker 1: Yeah, yeah, absolutely, and those two kind of represent the

1676
01:26:29,560 --> 01:26:32,160
Speaker 1: extremes who were talking about, you know, should it be

1677
01:26:32,240 --> 01:26:36,920
Speaker 1: just pure empty entertainment or should it be just glacial,

1678
01:26:37,479 --> 01:26:41,920
Speaker 1: thought provoking art. And luckily the King of Cinema is

1679
01:26:41,960 --> 01:26:44,519
Speaker 1: around to speed things along force here though.

1680
01:26:44,880 --> 01:26:46,720
Speaker 4: So one last thing I want to say before the

1681
01:26:46,800 --> 01:26:49,759
Speaker 4: end here is it is unrelated to this movie except

1682
01:26:49,800 --> 01:26:52,640
Speaker 4: that I found it. When I was looking up this

1683
01:26:52,720 --> 01:26:55,600
Speaker 4: movie on like IMDb. It popped up in the recommended

1684
01:26:55,640 --> 01:26:59,599
Speaker 4: tab I think because it's another Soviet science fiction film

1685
01:26:59,640 --> 01:27:03,160
Speaker 4: for chill. But there's this movie I came across called

1686
01:27:03,720 --> 01:27:07,880
Speaker 4: Lilac Ball or the Purple Ball from nineteen eighty seven.

1687
01:27:08,520 --> 01:27:12,040
Speaker 4: That is I can't even describe the poster, just oh

1688
01:27:12,080 --> 01:27:15,360
Speaker 4: my god, there's like a big purple grape man covered

1689
01:27:15,360 --> 01:27:19,519
Speaker 4: in red hair. He looks like a gimmely Bigfoot with

1690
01:27:19,600 --> 01:27:20,479
Speaker 4: four arms.

1691
01:27:21,080 --> 01:27:24,559
Speaker 1: And you love the four armed Dailians too, I do. Yeah,

1692
01:27:24,680 --> 01:27:26,000
Speaker 1: they always call out to you.

1693
01:27:26,360 --> 01:27:28,760
Speaker 4: I think we might have to come back and see

1694
01:27:28,760 --> 01:27:30,479
Speaker 4: if the Lilac ball is any good.

1695
01:27:30,840 --> 01:27:36,439
Speaker 1: Yeah, it looks fun. Yeah, this was a fun one

1696
01:27:37,320 --> 01:27:39,640
Speaker 1: for anybody out there who's like, Okay, I'm in how

1697
01:27:39,680 --> 01:27:41,960
Speaker 1: do I watch this film? Well, you can find it

1698
01:27:42,000 --> 01:27:44,760
Speaker 1: for free on YouTube. That's the way you watched it.

1699
01:27:44,800 --> 01:27:46,519
Speaker 1: And what was it called on YouTube? Was it Teens

1700
01:27:46,520 --> 01:27:48,120
Speaker 1: in the Universe or Children in the Universe.

1701
01:27:48,280 --> 01:27:50,200
Speaker 4: It was called Teens in the Universe. And there are

1702
01:27:50,280 --> 01:27:55,040
Speaker 4: multiple versions, one that had subtitles in several different languages,

1703
01:27:55,080 --> 01:27:56,799
Speaker 4: and another one I think that didn't have any.

1704
01:27:56,680 --> 01:27:57,559
Speaker 3: Subtitles at all.

1705
01:27:57,640 --> 01:28:00,160
Speaker 4: So obviously look for the one that has your a

1706
01:28:00,280 --> 01:28:02,240
Speaker 4: language you can speak if you don't speak Russian.

1707
01:28:02,560 --> 01:28:06,839
Speaker 1: Yeah, and I watched it on Amazon Prime Video. Technically

1708
01:28:06,920 --> 01:28:08,880
Speaker 1: I bought it. I paid ninety nine cents for it.

1709
01:28:08,920 --> 01:28:12,000
Speaker 1: I don't know who I paid ninety nine cents too, exactly,

1710
01:28:12,360 --> 01:28:16,160
Speaker 1: But I clearly own this film now. But it's you'll

1711
01:28:16,200 --> 01:28:19,400
Speaker 1: find it by searching for the Teens in the Universe

1712
01:28:19,560 --> 01:28:26,080
Speaker 1: or it's actually listed as science fiction dilogy dilogy set

1713
01:28:26,080 --> 01:28:29,439
Speaker 1: of a trilogy and it's episode one in two. Episode

1714
01:28:29,439 --> 01:28:33,280
Speaker 1: one is Moscow Cassiopeia and episode two is Teens in Space.

1715
01:28:33,520 --> 01:28:36,200
Speaker 4: I gotta say there is a lot of weird looking

1716
01:28:36,520 --> 01:28:39,719
Speaker 4: Soviet science fiction. I think coming back to Eastern Block

1717
01:28:39,800 --> 01:28:43,360
Speaker 4: science fiction could be a really rich vein for us

1718
01:28:43,400 --> 01:28:44,839
Speaker 4: to mine in the future.

1719
01:28:44,920 --> 01:28:46,679
Speaker 1: Oh yeah, I know for a fact, there's some really

1720
01:28:46,720 --> 01:28:50,760
Speaker 1: good stuff that came out of East Germany back in

1721
01:28:50,760 --> 01:28:53,599
Speaker 1: the day. There's a in fact, there's some nice DVD

1722
01:28:53,720 --> 01:28:55,800
Speaker 1: sets of those films, so that might be a place

1723
01:28:55,840 --> 01:28:59,479
Speaker 1: to look as well. Well, this has been fun, but

1724
01:28:59,800 --> 01:29:02,840
Speaker 1: the Extraordinary Service executive is telling us that it's time

1725
01:29:02,880 --> 01:29:05,000
Speaker 1: to close things out and return to Earth. So we're

1726
01:29:05,040 --> 01:29:05,920
Speaker 1: going to do just that.

1727
01:29:06,280 --> 01:29:08,400
Speaker 3: Well, hopefully he can explain what this was all about.

1728
01:29:11,040 --> 01:29:13,040
Speaker 1: Yeah, he'll, he'll, he'll, he'll explain it for us.

1729
01:29:13,080 --> 01:29:14,840
Speaker 3: Here put my life into some context.

1730
01:29:14,920 --> 01:29:15,120
Speaker 6: Man.

1731
01:29:15,439 --> 01:29:18,800
Speaker 1: Yeah. But speaking of which, though, if anyone out there

1732
01:29:18,960 --> 01:29:21,720
Speaker 1: has experience with this film, you know, if you if

1733
01:29:21,760 --> 01:29:25,760
Speaker 1: you are Russian or of Russian descent, or grew up

1734
01:29:25,800 --> 01:29:28,360
Speaker 1: in an area where this played and was on television,

1735
01:29:28,680 --> 01:29:31,000
Speaker 1: you know, perhaps you have some something to share. You know,

1736
01:29:31,080 --> 01:29:33,040
Speaker 1: is this film a part of your childhood? If that

1737
01:29:33,120 --> 01:29:34,640
Speaker 1: is the case, I would love to hear from you

1738
01:29:34,680 --> 01:29:38,759
Speaker 1: and hear your take on children in Space or teens

1739
01:29:38,760 --> 01:29:41,760
Speaker 1: in Space or Moscow, Cassiopia for that matter, totally. In

1740
01:29:41,800 --> 01:29:43,639
Speaker 1: the meantime, if you want to check out other episodes

1741
01:29:43,680 --> 01:29:47,120
Speaker 1: of Weird House Cinema, you will find it every Friday

1742
01:29:47,640 --> 01:29:49,840
Speaker 1: in the Stuff to Blow Your Mind podcast feed, and

1743
01:29:49,880 --> 01:29:52,680
Speaker 1: that feed can be found wherever you get your podcasts.

1744
01:29:52,680 --> 01:29:55,120
Speaker 1: Just look for Stuff to Blow your Mind. You rate, review,

1745
01:29:55,160 --> 01:29:57,400
Speaker 1: and subscribe. Those are the things you can do to

1746
01:29:57,520 --> 01:30:01,160
Speaker 1: help us out. We don't have a blog for the

1747
01:30:01,160 --> 01:30:03,280
Speaker 1: show anymore, so what I've been doing is I've been

1748
01:30:03,360 --> 01:30:06,679
Speaker 1: using my personal blog Sammuda music dot com that's sem

1749
01:30:06,920 --> 01:30:10,439
Speaker 1: Uta Music like in Dune, and I put out up

1750
01:30:10,439 --> 01:30:13,240
Speaker 1: a little blog post for each episode of Weird House Cinema,

1751
01:30:13,280 --> 01:30:17,160
Speaker 1: and each of those episodes includes either a teaser or

1752
01:30:17,200 --> 01:30:21,080
Speaker 1: an actual title for the forthcoming episode, in case you're

1753
01:30:21,080 --> 01:30:23,200
Speaker 1: one of those people who wants to watch the film

1754
01:30:23,200 --> 01:30:25,840
Speaker 1: ahead of time before you listen to the episode.

1755
01:30:25,920 --> 01:30:29,519
Speaker 4: Ooh, we went long today? Anyway, huge thanks as always

1756
01:30:29,520 --> 01:30:32,519
Speaker 4: to our excellent audio producer Seth Nicholas Johnson, especially for

1757
01:30:32,920 --> 01:30:36,000
Speaker 4: editing this monster episode. If you would like to get

1758
01:30:36,040 --> 01:30:38,200
Speaker 4: in touch with us with feedback on this episode or

1759
01:30:38,200 --> 01:30:40,360
Speaker 4: any other, to suggest a topic for the future, or

1760
01:30:40,400 --> 01:30:42,920
Speaker 4: a movie for future weird House cinema, or just to

1761
01:30:42,920 --> 01:30:46,200
Speaker 4: say hello. You can email us at contact at stuff

1762
01:30:46,240 --> 01:30:54,719
Speaker 4: to Blow your Mind dot com.

1763
01:30:54,840 --> 01:30:57,800
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1764
01:30:57,880 --> 01:31:00,679
Speaker 2: more podcasts from my heart Radio, visit the iHeart Radio app,

1765
01:31:00,800 --> 01:31:04,080
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.