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

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Speaker 2: Hey, welcome to Weird How Cinema. I'm Rob Lamb.

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Speaker 3: And I'm Joe McCormick. And today, in the spirit of

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Speaker 3: our episodes on Boggy Creek two and the Legend Continues,

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Speaker 3: and Ewok's Battle for Indoor, and maybe some others that

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Speaker 3: are slipping my mind right now. Today we're going to

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Speaker 3: be covering a sequel without covering the first film that

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Speaker 3: is a sequel too, which is something that I actually

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Speaker 3: really like doing, but it's very important for this sequence

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Speaker 3: of movies, I think because today's selection is called Teens

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Speaker 3: in the Universe or also known as Children in the Universe.

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Speaker 3: And this is a nineteen seventy four seventy five I

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Speaker 3: see both years cited as its release here. It is

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Speaker 3: a nineteen seventy four to seventy five young adult sci

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Speaker 3: fi film made in the Soviet Union. And the reason

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Speaker 3: I think it's important that we're looking at this second

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Speaker 3: movie in a series instead of the first one is

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Speaker 3: that this is the only one of the two movies

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Speaker 3: that has Gonzo Robots end to end.

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Speaker 2: Yes, Yes, this one is going to be chock full

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Speaker 2: of fun robots. I should note, at least a version

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Speaker 2: I watched. One of the first things to pop up

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Speaker 2: on the screen is it's rating, and it's rating is

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Speaker 2: ages seven plus. So I didn't test this. I'm an

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Speaker 2: eight year old. I think he would have probably found

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Speaker 2: it interesting. I don't know. It probably moves a little

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Speaker 2: slow for modern youth audiences, but it is, for the

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Speaker 2: most part a young person's film. It's certainly viewable by children.

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Speaker 2: So this is one of the rare pictures where we

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Speaker 2: don't have to offer any disclaimers or even the sort

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Speaker 2: of inherent disclaimer of don't watch this film with your children.

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Speaker 3: Yeah, I would say, as a blanket rule, if you're

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Speaker 3: watching weird house cinema movies, don't you know they're usually

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Speaker 3: assume to be not for kids. It's going to be

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Speaker 3: a lot of genre weirdness. But this one, yeah, i'd

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Speaker 3: let you know. I think three year old should watch

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Speaker 3: this movie. But yeah, so it's called Teens in the Universe,

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Speaker 3: and I wonder if a more accurate translation of the

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Speaker 3: spirit of this title would be teens in Space, because

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Speaker 3: if it's really supposed to be in the universe, where

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Speaker 3: else would they be. That's like from what movie was it?

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Speaker 3: We did early on where somebody said, like the characters

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Speaker 3: were trying to go seek help outside the universe.

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Speaker 2: Yeah, yeah, sometimes I think that gets switched around in translations.

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Speaker 2: So yeah, I think Teens in Space probably seems good.

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Speaker 2: But it's also interesting to think about the huge difference

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Speaker 2: between a teenager's film in America in a teenager's film

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Speaker 2: made in the Soviet Union. Yes, so, because if it

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Speaker 2: was called Teens in Space and it was a you know,

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Speaker 2: a US film from the sixties or much less seventies,

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Speaker 2: be a totally different film.

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Speaker 3: Yes, I think it would be far less concerned with

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Speaker 3: like duty.

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Speaker 2: Yes.

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Speaker 3: But so the one thing I wanted to point out

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Speaker 3: is that they're several posters I was finding online for

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Speaker 3: this movie and for the film that comes before it.

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Speaker 3: So this is a sequel to a I guess nineteen

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Speaker 3: seventy four ish Soviet film called Moscow Cassiopeia, and Moscow

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Speaker 3: Cassiopeia has a really really beautiful, old, you know, hand

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Speaker 3: drawn poster that has a kid in a spacesuit with

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Speaker 3: a helmet and then another kid looks like what they're

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Speaker 3: like locked into the Phantom Zone from the Superman movies.

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Speaker 2: Yeah, yeah, it's it's very trippy and spacey, but also

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Speaker 2: it looks fun. It looks fun.

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

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Speaker 3: really good poster for it online, but it's under an

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Speaker 3: alternate title for the film, which was a Sesta Vesmiran,

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Speaker 3: which means just journey through space. So this is an

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Speaker 3: alternate title. Four Teens in the Universe, and this one

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Speaker 3: has like this creepy silhouette of a head with like

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Speaker 3: eyeball tentacles for hair, and then it has goggles that

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Speaker 3: are just showing some of the main characters in them.

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Speaker 2: Yeah, it seems like an artistic treatment on some of

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Speaker 2: the robots that we see in the film.

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Speaker 3: Okay, elevator pitch for Teens in the Universe goes like this,

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Speaker 3: Earth receives a distress beacon from a star in the

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Speaker 3: constellation Cassiopeia, and it sends a spaceship full of Soviet

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Speaker 3: thirteen year olds to investigate. They discover a ravaged planet

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Speaker 3: full of very cool robots who turn their mission into

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Speaker 3: a thought experiment about what's the good life.

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Speaker 2: Yeah, it's in a sense, this is like your basic

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Speaker 2: travel to another planet, have an adventure tail like this

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Speaker 2: is the exact kind of situation you would find in

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Speaker 2: an episode of Star Trek. We've come to a mysterious planet,

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Speaker 2: there was a maybe there was a distress beacon. What's

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Speaker 2: going on here? What went wrong here? What can we

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Speaker 2: do to fix it? And then what do we learn

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Speaker 2: about ourselves in the process.

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Speaker 3: Yeah, but you know, I would say it is we

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Speaker 3: can talk about the philosophical implications of this movie later on. There. Uh,

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Speaker 3: there are questions that have been dealt with in other

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Speaker 3: interesting books and movies and you know, fiction of various kinds.

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Speaker 3: We can get into that in the I guess the

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Speaker 3: deep thought section. But I will say this is unusually

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Speaker 3: thoughtful for it for a children's movie.

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Speaker 2: Yeah, certainly when you if you go into it expecting

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Speaker 2: like the Western idea of a kid's film. Yeah, you know,

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Speaker 2: it's different. But this is something I'd like to look

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Speaker 2: at in future episodes of Weird House as well as

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Speaker 2: we look at films that are that are children's films,

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Speaker 2: you know, because I think there'll be a few others

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Speaker 2: that come up, and sometimes some very deep stuff is

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Speaker 2: discussed in these films and I think appropriately.

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Speaker 3: So, okay, let's hit some of that trailer audio. I

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Speaker 3: don't even know if this is an original trailer. This

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Speaker 3: might be some kind of recut recent thing. But at

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Speaker 3: least we uh oh. And also there's, as far as

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Speaker 3: I'm aware, there is no dubbed version, so you're not

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Speaker 3: going to hear any dialogue in English or anything. But

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Speaker 3: we should at least get some of that good ominous

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Speaker 3: piano theme.

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Speaker 4: Yeah, why she won't disappear? Really, you made the plenty

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Speaker 4: of stations to here do.

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Speaker 2: All right? There you have it, teens in space, teens

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Speaker 2: in the universe.

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Speaker 3: I like the music in this movie. There there are

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Speaker 3: several different kinds. There's one section that has a really good,

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Speaker 3: uh good horn section going nuts when a character is

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Speaker 3: being sort of hypnotized and losing his mind.

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Speaker 2: Yeah, a lot of the time it felt like there

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Speaker 2: was either no music or the music. Maybe I just

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Speaker 2: wasn't noticing it because the visuals were so stimulating.

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Speaker 3: Yeah, uh yeah. And this movie is all about stimulation

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Speaker 3: and the dangers of stimulation and entertainment. So let's see,

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Speaker 3: where should we start when talking about the basic background

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Speaker 3: of the film, the connections.

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Speaker 2: Well, you know, I guess first of all, we should

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Speaker 2: point out this being a Soviet film, the connections aren't

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Speaker 2: going to be as robust as some of the other

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Speaker 2: films that we've discussed, but there's still some very interesting

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Speaker 2: stuff here. The big one, of course, is that this

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Speaker 2: is a Gorky Film studio Motion picture. This was a

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Speaker 2: Moscow film studio that produced roughly a thousand films by

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Speaker 2: the fall of the Soviet Union, including but not limited

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Speaker 2: to nineteen sixty four's Jack Frost, which we've discussed on

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Speaker 2: the show before. Rosco. Yeah. Yeah, So they produced a

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Speaker 2: lot of just high quality, very interesting looking films. I

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Speaker 2: recommend just looking through the archives to see some of

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Speaker 2: the stuff that they looked at, because a lot of

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Speaker 2: it's stuff that Western audiences have little or no exposure to.

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Speaker 2: For instance, there's a film called The Witch's Cave that

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Speaker 2: looks very fascinating. As the name implies, it is an

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Speaker 2: interstellar space movie. But you know that, I don't know,

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Speaker 2: it does seem like they you know, it wasn't just

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Speaker 2: fantasy and sci fi films, but you do see that

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Speaker 2: interesting peril. I guess there's always an interesting peril between

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Speaker 2: a culture's fantasy and their sci fi, because the predominant

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Speaker 2: fantasy in Russian cinema seems to have long been and

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Speaker 2: still is, you know, treatments of these these traditional Russian

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Speaker 2: folklore tales, you know, Baby Yaga and these heroes, the

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Speaker 2: stuff that we've discussed, some stuff to blow your mind before,

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Speaker 2: and then the sci fi stuff. You know, it has

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Speaker 2: a lot, a lot of it seems to have, you know,

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Speaker 2: a very intellectual bent, you know.

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Speaker 3: Yeah, yeah, very well. I mean I think there's a

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Speaker 3: deep connection. When I've seen Soviet sci fi movies, they

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Speaker 3: have more of kind of the Stanislaw Limb kind of approach, thoughtful,

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Speaker 3: kind of slow moving, but asking a lot of potent

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Speaker 3: questions about human nature.

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Speaker 2: Yeah, yeah, so, yeah, that's something to keep in mind

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Speaker 2: anytime we're looking at Soviet films. Gorky Film Studio, by

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Speaker 2: the way, continued into post Soviet era as well, and

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Speaker 2: I believe it's still quite active. You can go to

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Speaker 2: their website Gorkyfilm dot Ru and you can check it out,

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Speaker 2: like they have an active Instagram account, so you know,

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Speaker 2: Gorky seems to be very much in business today.

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Speaker 3: In the credits for this movie, the full title it

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Speaker 3: gives is that this is from the Maxim Gorky Central

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Speaker 3: Movie Studios for children's and youth films, which sounds very

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Speaker 3: bureaucratically wholesome.

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Speaker 2: All right, well, let's talk about some of the people.

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Speaker 2: Some of these names are just going to roll through

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Speaker 2: because I don't think they're going to really resonate that

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Speaker 2: much with a lot of our listeners, and or we

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Speaker 2: couldn't find connections that were meaningful to us. That doesn't

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Speaker 2: mean they're not very accomplished individuals. And also, my apologies

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Speaker 2: for butchering any Russian pronunciations.

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Speaker 3: Oh god, we're going to get so many Russian names, Tara.

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Speaker 3: We're doing our best. We're very sorry, but we'll yeah, well,

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Speaker 3: we'll yeah, We'll give you what we have.

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Speaker 2: All right. So this one was directed by Richard de Viktorov.

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Speaker 2: It was written by Isaiah kuz Netsov and Avignir Zak,

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Speaker 2: and it seems to have been filmed predominantly in Crimea.

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Speaker 3: Yeah, it actually looked very like the outdoor scenes very

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Speaker 3: much look like Black Sea region, the kind of that

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Speaker 3: the Black Sea basin. They've got that kind of landscape.

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Speaker 2: Yeah, it's stars, I guess predominantly the stars are the teens,

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Speaker 2: the titular teens in the universe. I was looking at

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Speaker 2: some of these many of them didn't seem to act

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Speaker 2: beyond these two films, at least according to IMDb, at

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Speaker 2: least in a way that's tracked on IMDb. But but

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Speaker 2: they're quite good. I feel like that the teens come

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Speaker 2: off as I mean, they don't come off as robots.

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Speaker 2: You know, we have actual robots in the film, but

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Speaker 2: you know, like they seem to be decent actors, so

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Speaker 2: that as far as I can pick up off there,

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Speaker 2: pick up on there, they're they're serious when they need

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Speaker 2: to be seriou, which is a lot of the time,

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Speaker 2: but they also have these moments of humor, which feels appropriate. Yeah.

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Speaker 3: Well, one thing I will say about this movie is

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Speaker 3: that I think one of the things about it that

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Speaker 3: translates the least is the attempted comedy. Like comedy is

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Speaker 3: one of the hardest things I think to take a

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Speaker 3: cross cultural boundaries. And while I think a lot of

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Speaker 3: like the drama and stuff works in the movie, the

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Speaker 3: movie is very funny, but most of the funniest stuff

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Speaker 3: about it, I think is the unintentional stuff. You know,

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Speaker 3: to an audience like us, I'm sure the intentional comedy

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Speaker 3: would probably be funnier to actual Russian speaking audiences.

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Speaker 2: Yeah, Now this does bring up an interesting question. You

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Speaker 2: know the title of these episodes is Weird House Cinema,

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Speaker 2: and often the question is what's weird about this? And

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Speaker 2: I always want to ask myself the question is this

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Speaker 2: legitimately weird? Would this be weird for the audience that

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Speaker 2: was intended to consume it? Or am I just finding

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Speaker 2: it weird because I am watching it as as a

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Speaker 2: member of the outside culture. I feel like there's plenty

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Speaker 2: of legitimately weird stuff in this.

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Speaker 3: Oh yeah, it's both. Yeah, So part of the weirdness

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Speaker 3: is in us US. Part of it is just like

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Speaker 3: the gap in US not getting you know, cultural cues

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Speaker 3: that would be available to the original audience. But part

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Speaker 3: of it is also just I think, like the robots

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Speaker 3: and the sets and all this stuff that's objectively weird. Yeah,

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Speaker 3: that's weird in every language.

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Speaker 2: Yeah, all right. A few of the other actors worth

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Speaker 2: noting here. First of all, a big one apparently is

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Speaker 2: Ino Kinty Smocktunovski, who lived nineteen twenty five through nineteen

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Speaker 2: ninety four, and his nickname was apparently the King of

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Speaker 2: Soviet Actors. I will probably just refer to him as

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Speaker 2: the King of Soviet actors henceforth.

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Speaker 3: But you don't keep saying Ino Kinty Smoktunovski.

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Speaker 2: No, We're going to go with the King of Soviet Actors,

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Speaker 2: the King, and he's great in this. He plays a

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Speaker 2: character that will get into a little bit more, but

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Speaker 2: he is the IOO, the extraordinary service executive. But this, yeah,

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Speaker 2: he was a huge deal in Soviet cinema. He played

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Speaker 2: Hamlet in the nineteen sixty four Soviet version and just

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Speaker 2: has a whole list of credits on IMDb, the King

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Speaker 2: of Soviet Actors.

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Speaker 3: I saw at least one of his credits he plays

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Speaker 3: Vladimir Lenin.

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Speaker 2: Okay, so there you go.

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Speaker 3: That's like, well, I guess that's like playing I don't know,

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Speaker 3: Abraham Lincoln or something in American cinema.

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Speaker 2: Yeah. Now, there was one other actor, certainly not a

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Speaker 2: major actor in this film that seemed to have some

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Speaker 2: interesting connections for Western audiences, and that's this guy Alexander Linkov,

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Speaker 2: who lived forty three through twenty fourteen. And he plays

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Speaker 2: one of the robots that will encounter, one of the

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Speaker 2: executor robots, one of the more comic looking robots. But

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Speaker 2: he was a longtime Russian actor who at least has

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Speaker 2: a small connection to Western films, and that he was

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Speaker 2: in a two thousand and seven film called Moscow Chill

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Speaker 2: opposite Norman Ritis, so that one is apparently an American

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Speaker 2: computer hacker in Russia thriller.

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Speaker 3: Oh boy, Yeah, got a love that. Wait, is Norman

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Speaker 3: read Us one of the boondock boys? He is?

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Speaker 2: Yeah, I was thinking about him. I've thought about this before.

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Speaker 2: It's maybe this is an illusion for me, just based

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Speaker 2: on things that I'm exposed to. But it seems like

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Speaker 2: he's an American actor who has long had a lot

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Speaker 2: of it seems to have done a fair amount of

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Speaker 2: work for foreign directors and in foreign films. Like there's

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Speaker 2: something about him that perhaps encapsulates America in a way

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Speaker 2: that speaks well, not only to Americans because he's popular

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Speaker 2: here as well, but perhaps captures something about America as

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Speaker 2: perceived by other countries.

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Speaker 3: Oh that's interesting. Yeah, the kind of actor who specializes

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Speaker 3: in their own national cinema versus represents that national character

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Speaker 3: in external cinema.

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Speaker 2: Yeah, I'm not sure what it is, like, maybe he

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Speaker 2: has this like he's Norman Readas often plays cool characters,

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Speaker 2: for sure, but he has this kind of feral quot

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Speaker 2: to him as well.

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Speaker 3: You know, wait, is he a hacker in this Russian

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Speaker 3: computer hacker movie? Like does he put on the ski

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Speaker 3: mask consider of.

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Speaker 2: The keyboard and I don't know, I don't know how

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Speaker 2: cool it gets, but he's definitely a hacker in it. Okay,

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Speaker 2: But anyway, yeah, Linkov was in that. He was also

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Speaker 2: in a film called The Barber of Siberia from ninety eight,

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Speaker 2: alongside it Julia Ormond, Richard Harris, and Robert Hardy. I

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Speaker 2: don't think it was a media role, but here he

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Speaker 2: is in a film with you know, some strong Western

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Speaker 2: film connections.

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Speaker 3: Okay.

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Speaker 2: He was also in a film called kinga Mastov from

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Speaker 2: two thousand and nine, a Russian fantasy movie featuring Bobba

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Speaker 2: Yaga and produced by the Walt Disney Company CIS, the

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Speaker 2: Russian subsidiary of Walt Disney.

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Speaker 1: What.

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Speaker 2: I was not familiar with this at all, But Walt

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Speaker 2: Disney Company CIS has put out like a string of

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Speaker 2: like big budget Russian fantasy films.

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Speaker 3: Well that went completely under my radar. I had no idea.

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Speaker 2: Linkov was also a film stay in voice actor in

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Speaker 2: animated films, but also in Russian dubs of foreign films

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Speaker 2: such as Harry Potter, and I was reading that he

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Speaker 2: did the voice of Mandunga's Fletcher in The Deathly Howells

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Speaker 2: Part one, which is interesting because I'm not sure where

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Speaker 2: one goes to really track this stuff. I don't think

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Speaker 2: that's on IMDb, you know, But it makes me wonder.

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Speaker 2: Oftentimes it's interesting because, for instance, you'll have an international

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Speaker 2: actor who will translate their do their own translation, their

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Speaker 2: own dubbing rather in international versions of a film or

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Speaker 2: a TV show. But yeah, I wonder if there's an

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Speaker 2: Internet database for that information.

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Speaker 3: Interesting.

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Speaker 2: So anyway, lev Durov certainly not the biggest name in

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Speaker 2: this film, but he plays one of the interesting characters,

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Speaker 2: and he is a name that I was able to

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Speaker 2: connect to some other stuff.

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Speaker 3: All Right, well, are you ready to get into the

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Speaker 3: full plot breakdown, let's do it. Okay, So we got

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Speaker 3: some opening credits at the beginning, with music and the

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Speaker 3: standard sort of interstellar breeze background with text in the

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Speaker 3: real script. And again I mentioned this earlier, but I

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Speaker 3: like the music. There's this great repeating piano theme that

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Speaker 3: kind of sounds like troubles afoot. It goes like Dolu

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Speaker 3: do do Lou do, and I was looking for anything

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Speaker 3: interesting to come through in the credits. I did catch

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Speaker 3: one thing, actually, so a lot of it was just yeah,

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Speaker 3: names of actors and people from Soviet cinema that I

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Speaker 3: don't really know much about and couldn't find connections to

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Speaker 3: anything I know much about. But there was one credit

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Speaker 3: that was for consulting Soviet astronaut Georgi Bera Gavoy, and

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Speaker 3: I was like, huh, I've never heard of that. Is

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Speaker 3: this guy real? So I looked him up and yep,

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Speaker 3: he was a real Soviet cosmonaut. He was a guy

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Speaker 3: who flew ground attack missions for the Soviet Air Forces

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Speaker 3: in World War Two, and then after the war he

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Speaker 3: became a test pilot, and then with the development of

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Speaker 3: the Soviet space program he became a cosmonaut in the

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Speaker 3: nineteen sixties and barak voy here actually flu the Soyuz

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Speaker 3: three mission in nineteen sixty eight, which that went up

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Speaker 3: and it orbited the Earth several times. It was intended

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Speaker 3: to perform some orbital docking maneuvers, but I think they

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Speaker 3: were unsuccessful for some reason. But he was hailed as

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Speaker 3: a hero upon his return from space, and he would

342
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Speaker 3: later go into politics in some form after his retirement

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Speaker 3: from the space program that I was just reading some

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Speaker 3: interesting anecdotes from his life. Apparently he was injured during

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Speaker 3: an assassination attempt on Leonid Brezhnev in nineteen sixty nine.

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Speaker 3: I think he just happened to be standing nearby. I

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Speaker 3: think maybe some group of cosmonauts were being honored or something,

348
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Speaker 3: and then there was this failed attempt at assassination and

349
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Speaker 3: he was injured by like shattered glass or something. But then,

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Speaker 3: one last thing about this guy, there is this bizarre

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Speaker 3: unsited paragraph from Wikipedia that could be completely untrue, totally

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Speaker 3: uncited by I have to read it for just like

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Speaker 3: oral legend qualities, even if there's nothing to it. So

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Speaker 3: it goes like this, it says quote. In October nineteen

355
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Speaker 3: sixty nine, Constantine Fayuk Tistav and Georgy Bearrogavoy traveled as

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Speaker 3: guests of NASA throughout the United States, visiting any city

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Speaker 3: they chose and the Disneyland amusement Park in California. They

358
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Speaker 3: were joined on the trip by US astronauts as hosts,

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Speaker 3: to include Eugene Cernan, Neil Armstrong, and others. Kirk Douglas

360
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Speaker 3: and others hosted receptions for them in Hollywood. They were

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Speaker 3: protected by special agents of the US State Department on

362
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Speaker 3: request of NASA. Almost every place they went when accompanied

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Speaker 3: by Eugene Cernan, if a band was present, the song

364
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Speaker 3: fly Me to the Moon was played, which I hate

365
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Speaker 3: that song. And then it says when they visited Disney

366
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Speaker 3: Park they enjoyed the ride trip to the Moon, then

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Speaker 3: joked with US astronauts that they went to Disneyland and

368
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Speaker 3: not the Moon. It was a trip that all enjoyed

369
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Speaker 3: in international friendships were made. So this paragraph has obviously

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Speaker 3: been translated from something I'm not sure what, but I

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Speaker 3: found this really funny.

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Speaker 2: Well that is funny. I like a good tale of

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Speaker 2: astronaut camaraderie.

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Speaker 3: But it also makes me wonder if this is true

375
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Speaker 3: that he was like hooking up with Kirk Douglas and

376
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Speaker 3: special people in Hollywood during a visit to the United

377
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Speaker 3: States in nineteen sixty nine. I wonder if that had

378
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Speaker 3: anything to do with him being a sort of advisor

379
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Speaker 3: to Soviet science fiction movies in the seventies.

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Speaker 2: Interesting. I don't know, you know, you get into you

381
00:20:33,760 --> 00:20:36,800
Speaker 2: read things about in Soviet history about the idea of

382
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Speaker 2: exposure to other cultures and how at times that is

383
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Speaker 2: viewed as as dangerous, you know, like you've been exposed

384
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Speaker 2: to this other way of looking at the world, and

385
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Speaker 2: therefore it needs to be removed from you. But I

386
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Speaker 2: wonder if this would be a case where like, oh, well,

387
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Speaker 2: they were exposed to the Hollywood machine. They met Kirk Douglas.

388
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Speaker 2: Get him to advise on this film.

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Speaker 3: Yeah, he's he's got space cred and in film cred,

390
00:21:03,240 --> 00:21:06,000
Speaker 3: and he can smash them together in the particle collider

391
00:21:06,080 --> 00:21:09,119
Speaker 3: of his brain and produce brilliant insights into how you

392
00:21:09,200 --> 00:21:12,520
Speaker 3: should make a movie about going to the planet Robot.

393
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Speaker 3: I'm not really sure anything in the movie that I

394
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Speaker 3: noticed seemed to be informed by real experience in spaceflight.

395
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Speaker 3: Did you really catch anything there?

396
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Speaker 2: There was one little tidbit, actually, and that was I

397
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Speaker 2: don't know if it was in your translation, because I

398
00:21:26,560 --> 00:21:30,440
Speaker 2: should note you watched this on YouTube with subtitles. I

399
00:21:30,560 --> 00:21:34,359
Speaker 2: watched it on Amazon Prime with subtitles, and you know,

400
00:21:34,400 --> 00:21:36,280
Speaker 2: we didn't do it give them side by side comparison,

401
00:21:36,440 --> 00:21:39,080
Speaker 2: but our translation seemed to be just a little bit different.

402
00:21:39,200 --> 00:21:42,120
Speaker 2: Oh yeah, in places. Well that'll be fun going forward. Yeah,

403
00:21:42,160 --> 00:21:45,000
Speaker 2: we can compare notes in my version, there was at

404
00:21:45,080 --> 00:21:48,320
Speaker 2: least a mention about there being a gun strapped to

405
00:21:48,400 --> 00:21:51,120
Speaker 2: the seat of their lander or strap behind the seat,

406
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Speaker 2: and that made me think about, like, this was the

407
00:21:53,680 --> 00:21:58,240
Speaker 2: actual this was a real quality of space exploration back

408
00:21:58,320 --> 00:22:00,440
Speaker 2: in the day, is that you would have some sort

409
00:22:00,480 --> 00:22:04,120
Speaker 2: of weapon in the in the vessel for when you landed,

410
00:22:04,720 --> 00:22:06,480
Speaker 2: the idea being that you're going to come back down

411
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Speaker 2: in the wilderness and then what if the wolves come

412
00:22:09,240 --> 00:22:12,760
Speaker 2: for you. Then it was a very real concern, and

413
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Speaker 2: so I couldn't help but wonder if that was a

414
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Speaker 2: nod to space exploration realism.

415
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Speaker 3: Oh yeah, that is interesting though. Of course, I think

416
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Speaker 3: in the movie when they go looking for their gun

417
00:22:23,800 --> 00:22:26,080
Speaker 3: and the lander shuttle, it's just gone. I think the

418
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Speaker 3: robots have stolen it or something.

419
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Speaker 2: Okay, but maybe that was maybe that was the Cosmonauts thing.

420
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Speaker 2: He was like, this whole movie would not happen because

421
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Speaker 2: they would grab the gun from behind the seats and

422
00:22:37,800 --> 00:22:40,240
Speaker 2: kill the robots. And they're like, well, it's a kid's film,

423
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Speaker 2: so we're going to work that out.

424
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Speaker 3: He is the continuity editor. Yeah, okay, so one thing

425
00:22:56,200 --> 00:22:58,399
Speaker 3: that we've got to establish, I guess going into this

426
00:22:58,520 --> 00:23:01,399
Speaker 3: movie is that it is a sequel, and there is

427
00:23:01,760 --> 00:23:04,960
Speaker 3: some information that we will get at the beginning of

428
00:23:05,080 --> 00:23:08,480
Speaker 3: this movie, but just for basic background setting it up,

429
00:23:08,560 --> 00:23:12,639
Speaker 3: what happens in the previous film, Moscow Cassiopeia. I did

430
00:23:12,720 --> 00:23:16,680
Speaker 3: not watch Moscow Cassiopeia, but I did read some summaries. Okay,

431
00:23:17,040 --> 00:23:20,560
Speaker 3: the best summary was a one sentence line from IMDb

432
00:23:21,200 --> 00:23:24,879
Speaker 3: that goes like this quote, Several children go to a

433
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Speaker 3: lifelong space mission to Cassiopeia because they don't want to

434
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Speaker 3: go to school.

435
00:23:31,520 --> 00:23:35,160
Speaker 2: Well that's that sounds probably accurate. These kids seem really sharp,

436
00:23:35,280 --> 00:23:37,240
Speaker 2: so oh, we're probably bored with school.

437
00:23:37,359 --> 00:23:40,240
Speaker 3: These kids are like all geniuses, except maybe Lob. I'm

438
00:23:40,280 --> 00:23:41,160
Speaker 3: not sure about Lob.

439
00:23:42,160 --> 00:23:44,400
Speaker 2: What was Lob's specialty? They each have a specialty.

440
00:23:44,520 --> 00:23:47,600
Speaker 3: His specialty was was like high jinks and glue.

441
00:23:48,119 --> 00:23:49,680
Speaker 2: Oh yeah, I don't know.

442
00:23:50,119 --> 00:23:52,359
Speaker 3: We'll explain the characters as we go on. But so

443
00:23:52,520 --> 00:23:55,000
Speaker 3: the longer version of the summary of the first movie,

444
00:23:55,040 --> 00:23:57,800
Speaker 3: as I've pieced together from a few different write ups

445
00:23:57,840 --> 00:24:01,480
Speaker 3: on the web, it's that science on Earth discover a

446
00:24:01,640 --> 00:24:04,920
Speaker 3: radio signal emanating from a planet orbiting a star in

447
00:24:05,040 --> 00:24:08,920
Speaker 3: the Cassiopeia constellation, and the star is known as Shadar

448
00:24:09,280 --> 00:24:12,840
Speaker 3: or Alpha Cassiopeia, and so a mission is formed to

449
00:24:12,960 --> 00:24:15,439
Speaker 3: travel to the point of origin of the radio signal.

450
00:24:15,840 --> 00:24:19,359
Speaker 3: But the journey is going to take decades, so you

451
00:24:19,640 --> 00:24:23,720
Speaker 3: can't so like, you can't send an adult crew because

452
00:24:23,760 --> 00:24:26,880
Speaker 3: if you send a crew in their thirties or forties,

453
00:24:27,160 --> 00:24:29,840
Speaker 3: they'll be old and infirm or even dead by the

454
00:24:29,920 --> 00:24:33,280
Speaker 3: time they reach the source. So Earth decides they have

455
00:24:33,400 --> 00:24:36,680
Speaker 3: to send a crew selected from the brave youth of

456
00:24:36,760 --> 00:24:39,560
Speaker 3: our planet, and the crew ends up being composed of

457
00:24:39,640 --> 00:24:42,560
Speaker 3: what are called Pioneers. I think this is supposed to

458
00:24:42,600 --> 00:24:45,119
Speaker 3: be the Soviet equivalent of the Scouts, like Boy Scouts

459
00:24:45,160 --> 00:24:48,440
Speaker 3: and Girl Scouts, but co ed okay, But then there

460
00:24:48,520 --> 00:24:51,560
Speaker 3: is some kind of malfunction. There is a stowaway on

461
00:24:51,720 --> 00:24:55,000
Speaker 3: the mission, who I believe is Lob, the yellow haired

462
00:24:55,080 --> 00:24:59,800
Speaker 3: guy the corn Head, and the spaceship that they're traveling

463
00:24:59,840 --> 00:25:03,119
Speaker 3: on ends up exceeding the speed of light. I'm not

464
00:25:03,200 --> 00:25:05,639
Speaker 3: sure how that works, because that's not physically possible, but

465
00:25:05,680 --> 00:25:07,800
Speaker 3: that's what they say. And so what happens is they

466
00:25:07,800 --> 00:25:12,320
Speaker 3: actually arrive at their destination far ahead of schedule, and oops,

467
00:25:12,400 --> 00:25:14,960
Speaker 3: we didn't have time to grow up before we got here.

468
00:25:15,080 --> 00:25:17,760
Speaker 3: So now they are not adults grown in space, but

469
00:25:18,160 --> 00:25:21,480
Speaker 3: their still teenage selves arrived at their destination.

470
00:25:22,040 --> 00:25:24,840
Speaker 2: So I love this setup because I think it really

471
00:25:24,960 --> 00:25:29,120
Speaker 2: does seem to capture something nice about how we think

472
00:25:29,160 --> 00:25:32,360
Speaker 2: about our children, you know, in this film, where we're

473
00:25:32,440 --> 00:25:36,159
Speaker 2: literally taking the youth and sending them through time and

474
00:25:36,240 --> 00:25:40,920
Speaker 2: space to a different place in order for them to

475
00:25:41,119 --> 00:25:45,040
Speaker 2: act on behalf of humanity. But of course the normal

476
00:25:45,119 --> 00:25:49,320
Speaker 2: situation is we are inherently sending our children into the

477
00:25:49,400 --> 00:25:52,800
Speaker 2: future to be the future of humanity and preparing them

478
00:25:52,840 --> 00:25:56,040
Speaker 2: as best we can, etc. And in reality we often

479
00:25:56,119 --> 00:26:00,520
Speaker 2: find that they are arriving ahead of schedule to deal

480
00:26:00,600 --> 00:26:04,080
Speaker 2: with the adult world, far ahead of what we kind

481
00:26:04,119 --> 00:26:05,520
Speaker 2: of loosely expected.

482
00:26:05,760 --> 00:26:08,000
Speaker 3: Yeah, you kind of get the sense that every parent

483
00:26:08,160 --> 00:26:11,920
Speaker 3: in every generation discovers that their child is encountering too

484
00:26:12,080 --> 00:26:15,800
Speaker 3: much of the world too fast, and it's scary. But

485
00:26:15,920 --> 00:26:18,680
Speaker 3: in fact we're about to get exactly the opposite in

486
00:26:18,800 --> 00:26:20,680
Speaker 3: a scene at the very beginning of this movie. So

487
00:26:21,040 --> 00:26:24,119
Speaker 3: the first human action we get in Teens in the

488
00:26:24,240 --> 00:26:27,399
Speaker 3: Universe is that we open on a Russian family popping

489
00:26:27,600 --> 00:26:31,880
Speaker 3: champagne over a cake studded with many, many candles. They're

490
00:26:31,880 --> 00:26:34,639
Speaker 3: having a birthday party, and it's in a very dimly

491
00:26:34,800 --> 00:26:36,719
Speaker 3: lit house. I will say, I'm not sure why they

492
00:26:36,720 --> 00:26:40,080
Speaker 3: don't have some more some lights on, but they're in

493
00:26:40,160 --> 00:26:43,920
Speaker 3: this dim house. And they explain they're celebrating their son,

494
00:26:44,119 --> 00:26:49,040
Speaker 3: Pavel's fortieth birthday, but Pavel is not here whereas he Well,

495
00:26:49,160 --> 00:26:51,160
Speaker 3: we zoom in on a framed photo on the wall

496
00:26:52,400 --> 00:26:56,840
Speaker 3: that explains Pavel is the pilot of the Starship Czaria,

497
00:26:57,080 --> 00:27:01,080
Speaker 3: and they give an explanation later what the acronym CSARIA

498
00:27:01,200 --> 00:27:06,600
Speaker 3: stands for. It stands for starship annihilating, relativistic Nuclear. I'm

499
00:27:06,600 --> 00:27:08,840
Speaker 3: not sure how all those things fit together, but that's

500
00:27:08,880 --> 00:27:11,800
Speaker 3: what it is. So the Starship Czaria is this mission

501
00:27:12,000 --> 00:27:17,080
Speaker 3: to Alpha Cassiopeia, which left Earth twenty seven years ago

502
00:27:17,240 --> 00:27:21,240
Speaker 3: when Pavel was thirteen, and the parents are celebrating his

503
00:27:21,480 --> 00:27:24,720
Speaker 3: fortieth birthday today because he should be forty. And it

504
00:27:24,760 --> 00:27:26,800
Speaker 3: shows all kinds of things in the house that are

505
00:27:26,840 --> 00:27:31,000
Speaker 3: sort of set aside and unused, labeled with card stock

506
00:27:31,119 --> 00:27:35,040
Speaker 3: that say things like Pavel's favorite chair, Pavil's school books,

507
00:27:35,359 --> 00:27:40,119
Speaker 3: and then my favorite Pavel's hobby nail collection. And I

508
00:27:40,200 --> 00:27:42,480
Speaker 3: had to rewind this a couple of times to figure

509
00:27:42,480 --> 00:27:45,240
Speaker 3: out if I was missing something. But that's what the

510
00:27:45,359 --> 00:27:48,440
Speaker 3: card says, and it's just a box full of long nails,

511
00:27:48,640 --> 00:27:51,760
Speaker 3: like nails you would use in construction. And this made

512
00:27:51,800 --> 00:27:55,399
Speaker 3: me wonder, Russian listeners, is this a cultural thing? Was

513
00:27:55,440 --> 00:27:59,359
Speaker 3: it common in the seventies for adolescents to collect large nails?

514
00:27:59,359 --> 00:28:00,159
Speaker 3: I've never heard of this.

515
00:28:01,160 --> 00:28:05,760
Speaker 2: The translation I had there's an adult who says these

516
00:28:05,840 --> 00:28:12,640
Speaker 2: are the nails he liked to hammer, And I will say, experience,

517
00:28:12,920 --> 00:28:16,639
Speaker 2: that's good. My experience as a father is that kids

518
00:28:16,720 --> 00:28:20,760
Speaker 2: are very interested in hammering nails and want to do it. Sure, so,

519
00:28:21,000 --> 00:28:23,040
Speaker 2: I mean that much is true. I don't know about

520
00:28:23,040 --> 00:28:23,400
Speaker 2: the rest.

521
00:28:23,920 --> 00:28:26,400
Speaker 3: I mean, I also I loved hammering nails as a child,

522
00:28:26,520 --> 00:28:29,600
Speaker 3: but I don't I've never heard of collecting nails.

523
00:28:30,040 --> 00:28:32,119
Speaker 2: Yeah, or to be, you know, proudly displayed as one

524
00:28:32,160 --> 00:28:34,400
Speaker 2: of your top hobbies. Because in this very scene where

525
00:28:34,440 --> 00:28:36,359
Speaker 2: they're talking about it, we see it like a peek

526
00:28:36,440 --> 00:28:39,440
Speaker 2: into what is presumed to be his his childhood room

527
00:28:39,640 --> 00:28:42,360
Speaker 2: behind him, And it's not like, I mean, this is

528
00:28:42,440 --> 00:28:44,680
Speaker 2: not like the you know, the opening stages of Willy Wonka,

529
00:28:44,720 --> 00:28:47,040
Speaker 2: where everybody's like, uh, you know they have that that

530
00:28:47,320 --> 00:28:51,560
Speaker 2: really fake feeling version of of of poverty. Uh, you know,

531
00:28:51,560 --> 00:28:53,840
Speaker 2: where everybody's sleeping in one bed and all like it

532
00:28:53,880 --> 00:28:55,640
Speaker 2: looks like a nice room and they're toys in there.

533
00:28:55,800 --> 00:28:57,719
Speaker 2: It we we don't get the sense that they had

534
00:28:57,760 --> 00:29:00,960
Speaker 2: an abnormal childhood, you know, or they had a childhood

535
00:29:00,960 --> 00:29:03,959
Speaker 2: where the only toy available was a box of nails.

536
00:29:05,960 --> 00:29:08,840
Speaker 3: That would be good, though, father Christmas brings you a

537
00:29:08,920 --> 00:29:09,880
Speaker 3: box of nails.

538
00:29:10,760 --> 00:29:13,880
Speaker 2: Yeah, I don't know. Maybe there's something symbolic too about this.

539
00:29:14,040 --> 00:29:16,160
Speaker 2: You know, we're getting into like, you know, the hammer

540
00:29:16,240 --> 00:29:18,040
Speaker 2: and the sickle and the idea of building things. I

541
00:29:18,080 --> 00:29:18,360
Speaker 2: don't know.

542
00:29:19,400 --> 00:29:22,680
Speaker 3: Well anyway, so we see all of Pavel's things preserved

543
00:29:22,840 --> 00:29:25,560
Speaker 3: like this. But then suddenly the folks at the party

544
00:29:25,680 --> 00:29:28,480
Speaker 3: realized that someone is sitting in Pavel's favorite chair, which

545
00:29:28,600 --> 00:29:30,880
Speaker 3: no one is allowed to sit in. The favorite chair

546
00:29:30,920 --> 00:29:33,440
Speaker 3: has been soiled with a non Pavel butt. And there

547
00:29:33,560 --> 00:29:36,880
Speaker 3: is immediate confusion, and so this is.

548
00:29:36,960 --> 00:29:39,920
Speaker 2: Going to be not outrage. Not outrage, that's key.

549
00:29:40,240 --> 00:29:43,560
Speaker 3: No, they're just kind of like, oh, that's curious, because

550
00:29:43,600 --> 00:29:47,320
Speaker 3: there is suddenly this kind of mousey, unimposing man who

551
00:29:47,360 --> 00:29:51,959
Speaker 3: has a sly smile and he looks like a bureaucrat

552
00:29:52,040 --> 00:29:55,240
Speaker 3: of some kind. He's wearing a very seventies suit and

553
00:29:55,600 --> 00:29:59,280
Speaker 3: he's just this meek, polite little man who's like, pardon me,

554
00:30:00,000 --> 00:30:02,360
Speaker 3: I have something to clarify for you about this saga.

555
00:30:02,800 --> 00:30:05,160
Speaker 3: And then he snaps his fingers and turns on the

556
00:30:05,280 --> 00:30:08,360
Speaker 3: lights by magic and this is in akenty I believe

557
00:30:08,840 --> 00:30:10,920
Speaker 3: the Yeah, this is the king, This is the king,

558
00:30:11,680 --> 00:30:13,880
Speaker 3: and he explains that in this movie he is the

559
00:30:14,400 --> 00:30:19,760
Speaker 3: In my edition, it was the EOE, the executorial official

560
00:30:19,920 --> 00:30:23,320
Speaker 3: of Elucidation. I think yours had a different translation.

561
00:30:24,160 --> 00:30:27,360
Speaker 2: Yeah, well, I think the translation I pulled was from IMBB,

562
00:30:27,560 --> 00:30:30,440
Speaker 2: so I can't remember what he called himself in the

563
00:30:30,680 --> 00:30:31,400
Speaker 2: version I watch.

564
00:30:31,720 --> 00:30:34,600
Speaker 3: So, yeah, he's basically like, hello, I am the magic

565
00:30:34,720 --> 00:30:37,800
Speaker 3: bureaucrat here who is in charge of explaining what's going

566
00:30:37,840 --> 00:30:41,920
Speaker 3: on in the plot, and a while apparently teleporting around

567
00:30:41,960 --> 00:30:44,520
Speaker 3: the room, like he just appears in Pavel's chair, and

568
00:30:44,600 --> 00:30:47,160
Speaker 3: then suddenly he is sitting between two other party guests.

569
00:30:47,560 --> 00:30:52,560
Speaker 2: Yeah, he is overtly magical. You know, he's not obeying

570
00:30:52,600 --> 00:30:54,200
Speaker 2: the rules of the rest of the film, and to

571
00:30:54,280 --> 00:30:56,800
Speaker 2: a certain degree seems to be aware that it is

572
00:30:56,880 --> 00:31:00,240
Speaker 2: a film. And I don't remember if he actually the

573
00:31:00,280 --> 00:31:02,240
Speaker 2: fourth wall at any point, but there is a sense

574
00:31:02,320 --> 00:31:07,000
Speaker 2: that he's winking at us, the viewer, and all the

575
00:31:07,120 --> 00:31:10,760
Speaker 2: characters that encounter him, save the teens, I think later

576
00:31:10,840 --> 00:31:13,880
Speaker 2: on the film regard him with confusion. So it felt

577
00:31:13,880 --> 00:31:17,320
Speaker 2: appropriate that I didn't really understand him either. He's kind

578
00:31:17,360 --> 00:31:20,520
Speaker 2: of this Soviet Willy Wonka. Yes, you know, he seems

579
00:31:20,560 --> 00:31:23,720
Speaker 2: to have godlike powers, but he clearly can't be God.

580
00:31:25,120 --> 00:31:27,520
Speaker 2: But you know, maybe so I was, I was thinking, well,

581
00:31:27,800 --> 00:31:32,800
Speaker 2: maybe he's a highly advanced technological civilizations representative in the story.

582
00:31:33,000 --> 00:31:35,760
Speaker 2: I don't know. The best I can think of is

583
00:31:35,840 --> 00:31:36,960
Speaker 2: just Soviet Willy Wonka.

584
00:31:37,080 --> 00:31:39,520
Speaker 3: Yeah, he just a couple of times in the film

585
00:31:39,920 --> 00:31:44,080
Speaker 3: he just appears to do exposition and then do magic things.

586
00:31:45,080 --> 00:31:49,640
Speaker 3: And characters, Yeah, it's weird. They were. They act confused

587
00:31:49,760 --> 00:31:52,640
Speaker 3: by his presence, like they don't understand him, but not

588
00:31:52,880 --> 00:31:57,640
Speaker 3: confused enough. They're just like just mildly confused. They trust

589
00:31:57,760 --> 00:32:00,840
Speaker 3: him absolutely, Yeah, But anyway, so he says he's here

590
00:32:00,960 --> 00:32:04,360
Speaker 3: to clarify something about this saga. So he asks Pavel's

591
00:32:04,400 --> 00:32:08,240
Speaker 3: mother how many candles are on the cake, and she explains, well, forty.

592
00:32:08,400 --> 00:32:08,520
Speaker 2: Right.

593
00:32:08,640 --> 00:32:11,480
Speaker 3: He was thirteen when he left Earth. Now twenty seven

594
00:32:11,560 --> 00:32:14,680
Speaker 3: years have gone by, so he'll be turning forty. But

595
00:32:14,840 --> 00:32:19,160
Speaker 3: then the magic bureaucrat asks her to count the candles again,

596
00:32:19,400 --> 00:32:22,680
Speaker 3: so she does, and there are only fourteen this time,

597
00:32:23,120 --> 00:32:26,600
Speaker 3: and he explains this is due to Einstein's paradox. And

598
00:32:26,720 --> 00:32:29,800
Speaker 3: here we get a very loose explanation of the effects

599
00:32:29,800 --> 00:32:33,680
Speaker 3: of relativistic time dilation, which of course is real. This

600
00:32:33,840 --> 00:32:35,959
Speaker 3: is something that a lot of the best sci fi

601
00:32:36,080 --> 00:32:38,120
Speaker 3: movies that try to stick to the hard science have

602
00:32:38,200 --> 00:32:41,280
Speaker 3: actually played with because it's one of the most magical

603
00:32:41,440 --> 00:32:47,720
Speaker 3: seeming things about real reality. Wonderful redundancy, Joe, real reality.

604
00:32:48,200 --> 00:32:50,280
Speaker 3: But it is true that time is not the same

605
00:32:50,360 --> 00:32:53,440
Speaker 3: for all observers everywhere in the universe. It passes differently

606
00:32:53,880 --> 00:32:57,120
Speaker 3: at relatively different rates, depending on things like how close

607
00:32:57,240 --> 00:32:59,560
Speaker 3: you are to a large center of mass or how

608
00:32:59,640 --> 00:33:03,200
Speaker 3: fast you're traveling relative to an observer. So it's true

609
00:33:03,240 --> 00:33:05,120
Speaker 3: that if you were to get in a spaceship and

610
00:33:05,280 --> 00:33:08,040
Speaker 3: travel it close to the speed of light, though time

611
00:33:08,120 --> 00:33:12,280
Speaker 3: would seem to pass normally for you to an outside observer,

612
00:33:12,840 --> 00:33:14,840
Speaker 3: you could appear to be living in a sort of

613
00:33:15,000 --> 00:33:18,200
Speaker 3: slow motion. So the people left behind on Earth would

614
00:33:18,320 --> 00:33:22,320
Speaker 3: age faster in relation, and the magic bureaucrat explains this

615
00:33:22,480 --> 00:33:24,360
Speaker 3: to the party guests. The point is that Pavel is

616
00:33:24,440 --> 00:33:27,720
Speaker 3: not actually forty, he's only fourteen. And I think the

617
00:33:27,800 --> 00:33:31,680
Speaker 3: immediate implication is, oh, no, these teens are not mature

618
00:33:31,800 --> 00:33:35,840
Speaker 3: enough to be exploring other planets. And I love thinking about,

619
00:33:36,000 --> 00:33:39,120
Speaker 3: like imagining if the same premise of movie were done

620
00:33:39,200 --> 00:33:44,520
Speaker 3: today by generationally terrified adults in the United States, Like, so,

621
00:33:44,760 --> 00:33:47,080
Speaker 3: you know, the supposed horror that would be represented by

622
00:33:47,080 --> 00:33:50,680
Speaker 3: the idea of Zoomer's tiktoking as they crash land into

623
00:33:50,680 --> 00:33:51,720
Speaker 3: the alien capital.

624
00:33:53,400 --> 00:33:55,880
Speaker 2: Yeah, I feel like you could tweak this premise in

625
00:33:56,040 --> 00:33:59,440
Speaker 2: various directions and get an interesting idea for a film.

626
00:33:59,680 --> 00:34:02,479
Speaker 2: You know, kids in space, teens in space, twenty somethings

627
00:34:02,520 --> 00:34:05,480
Speaker 2: in space, boomers in space. There's so much you could

628
00:34:05,480 --> 00:34:07,000
Speaker 2: do boom space.

629
00:34:09,239 --> 00:34:10,920
Speaker 3: What if it had gone the other way so they

630
00:34:10,960 --> 00:34:13,040
Speaker 3: got there, Yeah, and they were like cranky people in

631
00:34:13,120 --> 00:34:13,840
Speaker 3: their seventies.

632
00:34:14,400 --> 00:34:17,920
Speaker 2: Yeah, that would be good. Also, I should say that

633
00:34:18,040 --> 00:34:20,680
Speaker 2: with the teens, we do get the impression, I don't

634
00:34:20,719 --> 00:34:22,560
Speaker 2: know if this was in your version as well, that

635
00:34:22,680 --> 00:34:25,399
Speaker 2: they they're augmented in such a way that they can say,

636
00:34:25,560 --> 00:34:28,840
Speaker 2: read Tolstoy with their minds. Like one character says to

637
00:34:28,920 --> 00:34:30,720
Speaker 2: the other, well, you know what it says in Tolstoy

638
00:34:30,760 --> 00:34:32,440
Speaker 2: and page such and such, line such and such, and

639
00:34:32,480 --> 00:34:33,400
Speaker 2: they're like pep oh.

640
00:34:33,480 --> 00:34:36,360
Speaker 3: Yeah, So not all of them can do that. I

641
00:34:36,440 --> 00:34:39,360
Speaker 3: think that's just that one character who can quote books

642
00:34:39,440 --> 00:34:42,680
Speaker 3: back from memory because he's I think the implication is

643
00:34:42,760 --> 00:34:45,440
Speaker 3: that he happens to have a photographic memory for everything

644
00:34:45,520 --> 00:34:46,800
Speaker 3: he's ever read or consumed.

645
00:34:47,000 --> 00:34:49,920
Speaker 2: Oh okay, so maybe not technologically augmented, but just getting

646
00:34:49,920 --> 00:34:52,239
Speaker 2: back to the idea that these kids are all savants

647
00:34:52,760 --> 00:34:55,319
Speaker 2: or you know, just geniuses ahead of their time. They're

648
00:34:55,360 --> 00:34:56,680
Speaker 2: the very best of our youth.

649
00:34:57,000 --> 00:34:59,360
Speaker 3: Well yeah, because some of these these kids are supposed

650
00:34:59,360 --> 00:35:02,719
Speaker 3: to be like thirteen fourteen, but they have expertise. They

651
00:35:02,719 --> 00:35:05,360
Speaker 3: are like scientists, like one of the one of the

652
00:35:05,440 --> 00:35:07,880
Speaker 3: boys is a spaceship pilot, one of the girls is

653
00:35:07,960 --> 00:35:12,320
Speaker 3: an exobiologist. These are people who have completed postgraduate degrees

654
00:35:12,400 --> 00:35:13,640
Speaker 3: but they're thirteen.

655
00:35:13,840 --> 00:35:17,839
Speaker 2: Right, But we're not sure what what's his name, Lobo.

656
00:35:17,920 --> 00:35:20,360
Speaker 3: Lobit Lobanov who goes by lav.

657
00:35:20,280 --> 00:35:23,799
Speaker 2: Enough space Ron Weasley I kept thinking of him.

658
00:35:23,880 --> 00:35:27,080
Speaker 3: I'm not sure what his expertise is if he has

659
00:35:27,120 --> 00:35:29,799
Speaker 3: any I don't know, will explain more about him as

660
00:35:29,840 --> 00:35:32,360
Speaker 3: we go on. So but anyways, we finally cut to

661
00:35:32,520 --> 00:35:36,280
Speaker 3: our young heroes in the spaceship and it's nearing its destination.

662
00:35:36,800 --> 00:35:39,320
Speaker 3: And by the way, this movie has the kind of

663
00:35:40,080 --> 00:35:43,880
Speaker 3: outer space design that was more common in older movies

664
00:35:43,960 --> 00:35:46,520
Speaker 3: that I really like where you get I mean again,

665
00:35:46,600 --> 00:35:50,080
Speaker 3: it's not something that looks necessarily realistic, but you get

666
00:35:50,120 --> 00:35:54,680
Speaker 3: these colorful ribbons of nebulae and green stars and stuff.

667
00:35:54,760 --> 00:35:57,680
Speaker 3: It's kind of the the theorem and picture of outer space.

668
00:35:58,480 --> 00:36:01,680
Speaker 2: Yeah, it's like a very light kind of cosmos, which

669
00:36:01,960 --> 00:36:04,480
Speaker 2: I see making a return in some places in some

670
00:36:04,840 --> 00:36:08,680
Speaker 2: sci fi cinema, you know, where they yeah, like I've

671
00:36:08,719 --> 00:36:10,879
Speaker 2: seen it, like in some Star Wars stuff that's come out.

672
00:36:11,080 --> 00:36:12,840
Speaker 3: Oh that makes sense, Like yeah, where.

673
00:36:12,719 --> 00:36:14,200
Speaker 2: They're kind of getting back to the idea of like

674
00:36:14,280 --> 00:36:16,800
Speaker 2: what can we do? That makes it more exciting, you know,

675
00:36:16,840 --> 00:36:20,120
Speaker 2: because we've had just the dark starfield for so long

676
00:36:20,239 --> 00:36:24,000
Speaker 2: cinematically that you know, especially in the more fantastic versions

677
00:36:24,040 --> 00:36:25,759
Speaker 2: of science fiction, people are saying, well, what can we

678
00:36:25,840 --> 00:36:28,160
Speaker 2: do to you know, flip the script on this?

679
00:36:28,480 --> 00:36:31,880
Speaker 3: Yeah, I am okay with a stylized design for outer space.

680
00:36:32,480 --> 00:36:34,440
Speaker 3: That is fine with me. I don't care if that's

681
00:36:34,520 --> 00:36:37,480
Speaker 3: not necessarily what it would realistically look like from that

682
00:36:37,719 --> 00:36:38,640
Speaker 3: capsule window.

683
00:36:39,120 --> 00:36:39,319
Speaker 2: Yeah.

684
00:36:39,800 --> 00:36:41,920
Speaker 3: And then of course we meet the young cosmonauts and

685
00:36:42,040 --> 00:36:45,840
Speaker 3: they've got cool white jumpsuits. Now I'm divided on this

686
00:36:46,000 --> 00:36:49,480
Speaker 3: because on one hand, I've come to the conclusion I

687
00:36:49,480 --> 00:36:52,200
Speaker 3: think you've said this before as well. I mean, I

688
00:36:52,280 --> 00:36:54,759
Speaker 3: believe we share the opinion that basically any movie can

689
00:36:54,840 --> 00:36:59,680
Speaker 3: improved with the addition of jumpsuits. Jumpsuits just make everything cooler, absolutely,

690
00:37:00,040 --> 00:37:03,080
Speaker 3: But on the other hand, it creates some problems in

691
00:37:03,160 --> 00:37:06,200
Speaker 3: this movie because for most of the movie I had

692
00:37:06,360 --> 00:37:10,520
Speaker 3: trouble telling like at least three of the boys apart

693
00:37:10,840 --> 00:37:13,400
Speaker 3: from each other, because they're all dressed the same. They

694
00:37:13,520 --> 00:37:16,160
Speaker 3: kind of look the same. The girls less so because

695
00:37:16,160 --> 00:37:19,160
Speaker 3: they had like different hairstyles and like glasses or no glasses,

696
00:37:19,400 --> 00:37:23,080
Speaker 3: Like they were more easily distinguishable. Three of the boys

697
00:37:23,120 --> 00:37:25,480
Speaker 3: are just like, they've got brown hair, they don't look

698
00:37:25,560 --> 00:37:28,320
Speaker 3: super different from each other, and they're dressed exactly the same.

699
00:37:28,840 --> 00:37:32,239
Speaker 2: Yeah. For me, it was the Gallas space glasses. There

700
00:37:32,320 --> 00:37:34,560
Speaker 2: was space Ron Weasley, and then there was just the rest.

701
00:37:34,800 --> 00:37:38,399
Speaker 3: Yeah. So maybe what these movies should do is, yes,

702
00:37:38,520 --> 00:37:42,400
Speaker 3: go jumpsuits, but have different color jumpsuits, so everybody's got

703
00:37:42,440 --> 00:37:44,400
Speaker 3: their own color, and then it's easy to remember, Okay,

704
00:37:44,440 --> 00:37:45,279
Speaker 3: this is the red guy.

705
00:37:45,760 --> 00:37:46,000
Speaker 2: Yeah.

706
00:37:46,280 --> 00:37:48,239
Speaker 3: Oh and interestingly that would even fit with some of

707
00:37:48,280 --> 00:37:51,920
Speaker 3: the color coding technology themes in the movie. But anyway,

708
00:37:52,239 --> 00:37:54,640
Speaker 3: so three boys in the spaceship when we first meet them,

709
00:37:54,680 --> 00:37:57,840
Speaker 3: are discussing how to celebrate Pavel's birthday, just like his

710
00:37:57,960 --> 00:38:01,320
Speaker 3: parents were doing back home, and debating what kind of

711
00:38:01,400 --> 00:38:05,040
Speaker 3: Holideck program they should load. Maybe some nice, pretty outdoor

712
00:38:05,160 --> 00:38:07,960
Speaker 3: nature scenes where they can go sunbathing, or maybe a

713
00:38:08,000 --> 00:38:12,200
Speaker 3: big ceremonial banquet hall. And no, they end up landing

714
00:38:12,280 --> 00:38:15,040
Speaker 3: on the place every fourteen year old would most love

715
00:38:15,120 --> 00:38:18,240
Speaker 3: to celebrate their birthday inside their house with their parents.

716
00:38:18,760 --> 00:38:22,080
Speaker 2: Well, but these are these are not normal teens. These

717
00:38:22,080 --> 00:38:25,080
Speaker 2: are teens that are no longer on Earth. So it's

718
00:38:25,200 --> 00:38:27,080
Speaker 2: understandable that they're overcome with homesickness.

719
00:38:27,120 --> 00:38:30,759
Speaker 3: Yeah yeah, yeah, And this actually becomes the point of

720
00:38:30,880 --> 00:38:33,520
Speaker 3: this whole sequence. But I love how they're talking about

721
00:38:33,520 --> 00:38:35,880
Speaker 3: how to put together this Holodeck image, and they're like,

722
00:38:35,920 --> 00:38:39,759
Speaker 3: don't forget the Samovar and his white cat, and they

723
00:38:39,840 --> 00:38:43,600
Speaker 3: decide they're going to play some recorded like tape reels

724
00:38:43,800 --> 00:38:46,719
Speaker 3: of voices from his childhood home. I don't know why

725
00:38:46,760 --> 00:38:49,719
Speaker 3: they have those, but Pavel goes into the holideck here

726
00:38:50,200 --> 00:38:53,279
Speaker 3: and he wanders through his childhood home, which has gymnasts

727
00:38:53,440 --> 00:38:55,959
Speaker 3: rings hanging from the ceiling. I thought that was cool,

728
00:38:57,040 --> 00:38:59,000
Speaker 3: so I guess maybe he's a gymnast, but he doesn't

729
00:38:59,000 --> 00:39:02,160
Speaker 3: really show off any gymnastic skills in the movie, and

730
00:39:02,239 --> 00:39:05,000
Speaker 3: the recorded voices play. It's this tape playing back his

731
00:39:05,120 --> 00:39:08,600
Speaker 3: parents talking. But then so at first he's just kind

732
00:39:08,640 --> 00:39:12,239
Speaker 3: of wandering around in this lonely reverie. But then it

733
00:39:12,280 --> 00:39:15,200
Speaker 3: gets a little too real and Pavel starts being like Mama,

734
00:39:15,400 --> 00:39:18,080
Speaker 3: Papa and the other kids stop the tape of his

735
00:39:18,200 --> 00:39:21,480
Speaker 3: parents talking because clearly it has stabbed him in the heart.

736
00:39:21,560 --> 00:39:22,240
Speaker 3: He is wounded.

737
00:39:22,680 --> 00:39:25,279
Speaker 2: Yeah, the teens are so empathetic in this scene, and

738
00:39:25,520 --> 00:39:27,440
Speaker 2: I really loved it because I feel like I've been

739
00:39:27,480 --> 00:39:33,040
Speaker 2: watching some modern like teen drama content on like Netflix

740
00:39:33,120 --> 00:39:36,359
Speaker 2: and stuff, and it kind of grates on the soul

741
00:39:36,440 --> 00:39:38,800
Speaker 2: after a while. So it's nice to see in this

742
00:39:38,960 --> 00:39:41,120
Speaker 2: case teen's coming together and caring about each other.

743
00:39:41,200 --> 00:39:45,040
Speaker 3: Yeah, there's so in so much modern like teen stuff.

744
00:39:45,120 --> 00:39:48,480
Speaker 3: They're so mean to each other. And then these characters

745
00:39:48,600 --> 00:39:53,640
Speaker 3: are just so earnest. They are deeply, deeply earnest and

746
00:39:54,320 --> 00:39:56,160
Speaker 3: borderline sentimental about each other.

747
00:39:56,760 --> 00:39:58,719
Speaker 2: Yeah. So even though I couldn't tell several of them

748
00:39:58,760 --> 00:40:01,160
Speaker 2: apart from each other, I cared about all of them.

749
00:40:01,200 --> 00:40:04,520
Speaker 3: Oh yeah, yeah, yeah. And so the teens bust in

750
00:40:04,680 --> 00:40:07,400
Speaker 3: after they've stopped the voice playback, and they all do

751
00:40:07,560 --> 00:40:10,200
Speaker 3: this thing. This is another question I have about whether

752
00:40:10,320 --> 00:40:12,520
Speaker 3: this is a real Russian thing or if it's just

753
00:40:12,600 --> 00:40:15,600
Speaker 3: original to the movie, where you would expect them in

754
00:40:15,640 --> 00:40:18,640
Speaker 3: an American movie to sing the happy Birthday song. They

755
00:40:18,760 --> 00:40:22,440
Speaker 3: run in and they do this shouted chant that translates

756
00:40:22,520 --> 00:40:26,200
Speaker 3: to we wish you a happy birthday, but it's it

757
00:40:26,320 --> 00:40:29,120
Speaker 3: sounds kind of aggressive. It sounds like a war cry.

758
00:40:29,600 --> 00:40:30,239
Speaker 3: Do you remember this?

759
00:40:31,600 --> 00:40:34,360
Speaker 2: I don't remember this all that I watched it this morning,

760
00:40:34,880 --> 00:40:36,600
Speaker 2: but I don't remember this thing. I mainly remember the

761
00:40:36,680 --> 00:40:37,680
Speaker 2: song that comes after it.

762
00:40:37,760 --> 00:40:39,880
Speaker 3: Oh yeah, yeah yeah. So it goes by very fast.

763
00:40:40,480 --> 00:40:42,240
Speaker 3: But the whole thing, like we said, just makes Pavel

764
00:40:42,400 --> 00:40:45,480
Speaker 3: very sad. He's homesick, he misses his family. And then

765
00:40:45,640 --> 00:40:48,080
Speaker 3: one of the pioneers, she you know, they all notice

766
00:40:48,120 --> 00:40:50,920
Speaker 3: how sad Pavel is. And then one of the pioneers

767
00:40:50,920 --> 00:40:54,640
Speaker 3: I think this is the exobiologist Varia. She gets this

768
00:40:54,840 --> 00:40:58,879
Speaker 3: kind of frightening cold resolve in her eyes, and she says,

769
00:40:59,000 --> 00:41:02,120
Speaker 3: we should swear an never to tease each other like

770
00:41:02,239 --> 00:41:05,360
Speaker 3: this again, reminding our friends of their homes, so it

771
00:41:05,400 --> 00:41:08,960
Speaker 3: wouldn't hurt so much and weaken our resolve. And so

772
00:41:09,239 --> 00:41:13,360
Speaker 3: she's very When we first meet Varia, she's very all business,

773
00:41:13,560 --> 00:41:17,439
Speaker 3: no feelings or horsing around, and I think this comes

774
00:41:17,480 --> 00:41:20,120
Speaker 3: through in just a few minutes later, we see Varia

775
00:41:20,280 --> 00:41:23,120
Speaker 3: refusing an offer of candy from one of the other girls.

776
00:41:23,200 --> 00:41:26,080
Speaker 3: She's just like, no, no candy for Varia. But anyway,

777
00:41:26,200 --> 00:41:28,520
Speaker 3: the other teens they take what she says to heart

778
00:41:28,600 --> 00:41:31,400
Speaker 3: and they interpret this as an oath never to reminisce

779
00:41:31,440 --> 00:41:34,280
Speaker 3: about Earth. And they just go around in a circle.

780
00:41:34,360 --> 00:41:37,880
Speaker 3: Everybody's swearing that they will never reminisce about Earth. But

781
00:41:38,040 --> 00:41:40,040
Speaker 3: then one of them is like, well, we can't, we

782
00:41:40,320 --> 00:41:44,600
Speaker 3: can't swear this. We can't help but reminisce, and he says, home, family,

783
00:41:45,000 --> 00:41:48,239
Speaker 3: those are the most valuable things we have. So then

784
00:41:48,320 --> 00:41:52,080
Speaker 3: the commander of the mission, who goes by vic Vic

785
00:41:52,360 --> 00:41:56,520
Speaker 3: orders everyone to feel feelings and to reminisce, and they

786
00:41:56,640 --> 00:42:01,600
Speaker 3: celebrate this reminiscence, and they celebrate their innocence by busting

787
00:42:01,640 --> 00:42:04,320
Speaker 3: out a guitar and doing a musical number, which I

788
00:42:04,440 --> 00:42:07,640
Speaker 3: did not see coming, but I thought, what's interesting is

789
00:42:07,840 --> 00:42:10,080
Speaker 3: when they get out the guitar and they all sing together,

790
00:42:10,239 --> 00:42:13,600
Speaker 3: but they don't sing a song that sounds fun or

791
00:42:13,719 --> 00:42:19,680
Speaker 3: like a celebration. They sing this hideously somber song called

792
00:42:19,840 --> 00:42:22,839
Speaker 3: night has Passed Now. I tried to look this up

793
00:42:22,960 --> 00:42:26,239
Speaker 3: and find out if if it exists outside the movie.

794
00:42:26,320 --> 00:42:28,600
Speaker 3: I don't know if it's original to the film or

795
00:42:28,600 --> 00:42:30,520
Speaker 3: if it's some kind of folk song that I just

796
00:42:30,600 --> 00:42:33,279
Speaker 3: couldn't dig up. But I think it's original to the

797
00:42:33,360 --> 00:42:36,920
Speaker 3: movie because the lyrics seem to refer to spaceflight as

798
00:42:36,920 --> 00:42:40,200
Speaker 3: saying things like will the stars sincerely welcome us? And

799
00:42:40,600 --> 00:42:43,760
Speaker 3: there's one part where they compare traveling through the stars

800
00:42:43,840 --> 00:42:47,719
Speaker 3: to sailing through an ocean full of seaweed. But the

801
00:42:47,760 --> 00:42:49,759
Speaker 3: tune is very somber. It kind of reminds me of

802
00:42:50,560 --> 00:42:53,279
Speaker 3: the tune of Anatevka from Fiddler around the Roof.

803
00:42:53,840 --> 00:42:57,080
Speaker 2: Yeah, yeah, yeah, it certainly does have the somber feel

804
00:42:57,120 --> 00:42:58,719
Speaker 2: to it, you know, and it's about you know, they're

805
00:42:58,719 --> 00:43:02,400
Speaker 2: dealing with nostalgia, dealing with you know, with homesickness, so

806
00:43:02,920 --> 00:43:03,800
Speaker 2: it feels appropriate.

807
00:43:04,080 --> 00:43:06,080
Speaker 3: I think it drives home though, that the teens are

808
00:43:06,200 --> 00:43:08,800
Speaker 3: very serious about their mission, right, you know, they're not

809
00:43:08,960 --> 00:43:10,080
Speaker 3: up there just to play.

810
00:43:10,360 --> 00:43:12,720
Speaker 2: Right, right, and they and they're they're far more capable

811
00:43:14,040 --> 00:43:17,560
Speaker 2: of of of accomplishing the task than one might assume

812
00:43:18,400 --> 00:43:20,200
Speaker 2: just based on the idea of teens in space.

813
00:43:20,480 --> 00:43:23,799
Speaker 3: Yes, So then we get a scene where we're back

814
00:43:23,840 --> 00:43:26,200
Speaker 3: on Earth and there's a press conference where I guess

815
00:43:26,239 --> 00:43:30,040
Speaker 3: some representatives of the Space Agency are talking about how

816
00:43:30,239 --> 00:43:34,600
Speaker 3: the scientists have decoded the original message coming from Alpha Cassiopeia,

817
00:43:35,160 --> 00:43:38,400
Speaker 3: and it means that the planet is inhabited by intelligent

818
00:43:38,600 --> 00:43:42,520
Speaker 3: beings and that their world suffered a catastrophe that threatened

819
00:43:42,800 --> 00:43:47,399
Speaker 3: entire civilization. Occasionally, the the subtitles in my version were

820
00:43:47,560 --> 00:43:50,000
Speaker 3: kind of I think unintentionally funny because there was an

821
00:43:50,040 --> 00:43:54,080
Speaker 3: accidental sort of Boris and Natasha grammar, where like articles

822
00:43:54,120 --> 00:43:56,560
Speaker 3: are left out of sentences, so it would just say

823
00:43:56,719 --> 00:43:58,359
Speaker 3: threatening entire civilization.

824
00:43:59,360 --> 00:44:01,160
Speaker 2: Yeah, I don't think I got that in mind, but

825
00:44:01,239 --> 00:44:04,560
Speaker 2: there was something about it about civilization being threatened in

826
00:44:04,640 --> 00:44:07,840
Speaker 2: a way that made me wonder, like, which civilization? Our civilization?

827
00:44:08,040 --> 00:44:08,279
Speaker 4: Uh huh?

828
00:44:08,400 --> 00:44:10,799
Speaker 2: Or was it? There? Are we talking about the civilization

829
00:44:10,920 --> 00:44:13,200
Speaker 2: of an alien planet? I wasn't sure.

830
00:44:13,600 --> 00:44:15,759
Speaker 3: I think it was their planet at least, but it

831
00:44:15,840 --> 00:44:18,600
Speaker 3: could represent a threat to ours maybe if I don't know,

832
00:44:18,760 --> 00:44:22,360
Speaker 3: that's the unanswered part. But I liked the press corps

833
00:44:22,360 --> 00:44:24,200
Speaker 3: at this junket. I mean, I think it's supposed to

834
00:44:24,239 --> 00:44:28,640
Speaker 3: represent a gaggle of international press people. There's like one

835
00:44:28,680 --> 00:44:31,920
Speaker 3: guy with a big white beard smoking a pipe. But

836
00:44:32,000 --> 00:44:35,839
Speaker 3: then we also meet this smooth guy named he's identified

837
00:44:36,320 --> 00:44:41,239
Speaker 3: as Biff wayouned for a publication called Youth Journal, and

838
00:44:41,400 --> 00:44:46,000
Speaker 3: he's wearing a yellow turtleneck and a dark leather jacket

839
00:44:46,120 --> 00:44:48,880
Speaker 3: with some kind of orange pin on it. He just

840
00:44:48,920 --> 00:44:52,520
Speaker 3: looks very smooth, very cool. He looks like the kind

841
00:44:52,520 --> 00:44:54,360
Speaker 3: of guy who, like, if he was a journalist today,

842
00:44:54,480 --> 00:44:57,000
Speaker 3: like half of his social media timeline would just be

843
00:44:57,080 --> 00:45:00,160
Speaker 3: filled up with photos of his extreme sports hobby. You know,

844
00:45:00,280 --> 00:45:02,920
Speaker 3: he does, like volcano snowboarding or something.

845
00:45:03,320 --> 00:45:06,479
Speaker 2: I just remember thinking that sounds like a good beat,

846
00:45:06,640 --> 00:45:08,800
Speaker 2: you know, that sounds like a good publication to work for.

847
00:45:09,040 --> 00:45:12,320
Speaker 3: Yeah, we report on youth. Yeah, but then we go

848
00:45:12,440 --> 00:45:15,839
Speaker 3: back to the planet and the Pioneers are hanging out,

849
00:45:15,880 --> 00:45:17,320
Speaker 3: and then there was a part that really made me

850
00:45:17,440 --> 00:45:19,960
Speaker 3: laugh where suddenly they're like, look, there's the planet and

851
00:45:20,080 --> 00:45:22,120
Speaker 3: it's just right outside the window. Yeah.

852
00:45:22,160 --> 00:45:24,040
Speaker 2: Well, they look at the star out one window and

853
00:45:24,120 --> 00:45:26,080
Speaker 2: then they look at the planet out the other. But

854
00:45:26,920 --> 00:45:30,200
Speaker 2: the ship is we haven't really mentioned the interior that much,

855
00:45:30,239 --> 00:45:32,920
Speaker 2: but the inside of the ship that looks amazing. Like

856
00:45:33,239 --> 00:45:36,120
Speaker 2: all the sets in this film are really well put together.

857
00:45:37,239 --> 00:45:39,359
Speaker 2: You know, have these nice windows to look out at

858
00:45:39,440 --> 00:45:42,320
Speaker 2: the cosmos, but then you have I think there's like

859
00:45:42,480 --> 00:45:44,080
Speaker 2: one room in particular that has this kind of like

860
00:45:44,200 --> 00:45:48,600
Speaker 2: padded leather look to it, yeah, which looks just very comfy,

861
00:45:48,719 --> 00:45:50,440
Speaker 2: Like this is a cool spaceship.

862
00:45:50,840 --> 00:45:53,560
Speaker 3: A movie doesn't have to be super high budget to

863
00:45:53,640 --> 00:45:55,319
Speaker 3: have a lot of great texture in it. I mean,

864
00:45:55,360 --> 00:45:58,320
Speaker 3: you can just do that with like cool colorful sets

865
00:45:58,360 --> 00:45:59,120
Speaker 3: and costumes.

866
00:45:59,719 --> 00:45:59,879
Speaker 2: Yeah.

867
00:46:00,280 --> 00:46:02,799
Speaker 3: But anyway, this gives way to a debate about who's

868
00:46:02,840 --> 00:46:04,800
Speaker 3: going to be sent down in the landing party, because

869
00:46:04,800 --> 00:46:07,040
Speaker 3: I think there are like seven or eight of the

870
00:46:07,120 --> 00:46:09,640
Speaker 3: teens total, and only three of them can go down

871
00:46:09,680 --> 00:46:14,160
Speaker 3: to the planet. In the shuttle, and so they argue again.

872
00:46:14,239 --> 00:46:16,840
Speaker 3: I had a hard time telling different boys in the

873
00:46:16,920 --> 00:46:20,320
Speaker 3: crew apart from each other at first, except for the

874
00:46:20,400 --> 00:46:23,080
Speaker 3: one named Lob, who is the one who has like

875
00:46:23,400 --> 00:46:29,200
Speaker 3: corn yellow hair, like super yellow, like unnatural looking blonde hair,

876
00:46:29,600 --> 00:46:32,520
Speaker 3: who kind of reminded me of the blonde hair of

877
00:46:32,760 --> 00:46:34,719
Speaker 3: Ivan Tsarevich in Morosco.

878
00:46:35,280 --> 00:46:35,480
Speaker 2: Yeah.

879
00:46:35,560 --> 00:46:38,960
Speaker 3: Yeah, but different crew members make their cases. One of

880
00:46:39,000 --> 00:46:41,200
Speaker 3: the girls, I think this is Variya, is like, I

881
00:46:41,320 --> 00:46:43,080
Speaker 3: have to be in the landing party because I'm an

882
00:46:43,080 --> 00:46:46,560
Speaker 3: exobiologist and you need me to explain what life forms

883
00:46:46,600 --> 00:46:50,960
Speaker 3: we come in contact with. Seems reasonable. One of the boys,

884
00:46:50,960 --> 00:46:53,440
Speaker 3: I think this was Lob, says, you have to send

885
00:46:53,520 --> 00:46:55,880
Speaker 3: me down because I'm the only one who's an expert

886
00:46:56,040 --> 00:46:58,440
Speaker 3: in extraterrestrial civilizations.

887
00:46:59,520 --> 00:46:59,920
Speaker 2: What is that?

888
00:47:00,440 --> 00:47:01,879
Speaker 3: What does that expertise entail?

889
00:47:02,880 --> 00:47:04,640
Speaker 2: I mean it would have to be an expertise in

890
00:47:05,320 --> 00:47:10,399
Speaker 2: human civilizations, right, and then just some preparation to use

891
00:47:10,480 --> 00:47:12,719
Speaker 2: that knowledge to figure out what you're looking at in

892
00:47:12,760 --> 00:47:13,359
Speaker 2: another world.

893
00:47:13,400 --> 00:47:17,080
Speaker 3: I guess I get the feeling that Lob is bsing

894
00:47:17,400 --> 00:47:21,200
Speaker 3: that Lob maybe does not have much of an expertise actually,

895
00:47:21,680 --> 00:47:23,959
Speaker 3: though on the other hand, he claimed he says also

896
00:47:24,360 --> 00:47:28,040
Speaker 3: he should be sent down because he invented something called

897
00:47:28,320 --> 00:47:31,480
Speaker 3: the universal glue that I think must be a reference

898
00:47:31,560 --> 00:47:35,320
Speaker 3: to something from the previous film. But so the commander

899
00:47:35,480 --> 00:47:37,680
Speaker 3: vic he has to make up his mind. And so

900
00:47:37,800 --> 00:47:39,719
Speaker 3: we see the other crew members kind of hanging out

901
00:47:39,760 --> 00:47:43,120
Speaker 3: and talking about their feelings. There's some interpersonal gossip. They

902
00:47:43,200 --> 00:47:48,200
Speaker 3: talk about their crushes. The exobiologist Varia talks about how

903
00:47:48,280 --> 00:47:51,560
Speaker 3: she prefers when people do not reveal what's inside of them,

904
00:47:52,440 --> 00:47:55,320
Speaker 3: And then there's also some talk about one of the

905
00:47:55,400 --> 00:47:57,600
Speaker 3: other girls on the crew. I think she's a medical doctor.

906
00:47:58,280 --> 00:48:00,960
Speaker 3: She's the one with quote loud glasses. I don't know

907
00:48:01,000 --> 00:48:02,720
Speaker 3: how that was translated into your version.

908
00:48:03,719 --> 00:48:06,120
Speaker 2: I didn't notice that, but it's the perfect way to

909
00:48:06,200 --> 00:48:10,640
Speaker 2: describe these glasses. Like they're big, they're they're pronounced, but

910
00:48:11,000 --> 00:48:12,799
Speaker 2: I think they're cool. Like if I saw somebody wearing

911
00:48:12,840 --> 00:48:15,480
Speaker 2: these glasses, I would be like, there's some cool, cool glasses.

912
00:48:15,520 --> 00:48:15,840
Speaker 2: I like that.

913
00:48:16,120 --> 00:48:18,680
Speaker 3: They're a statement. The frames are so thick they look

914
00:48:18,760 --> 00:48:21,160
Speaker 3: like they weigh five pounds, Like she must be a

915
00:48:21,160 --> 00:48:24,640
Speaker 3: struggle to keep her head pointed up. But so a

916
00:48:24,719 --> 00:48:26,880
Speaker 3: landing party is selected and the three of them get

917
00:48:26,920 --> 00:48:29,480
Speaker 3: into the shuttle and go down into the planet's atmosphere,

918
00:48:29,560 --> 00:48:34,279
Speaker 3: so it is Pavel, Lob and Varia, and there's some

919
00:48:34,560 --> 00:48:37,080
Speaker 3: chatter that is repeated throughout the movie that did not

920
00:48:37,239 --> 00:48:39,759
Speaker 3: make any sense to me whatsoever. But as soon as

921
00:48:39,760 --> 00:48:44,239
Speaker 3: they're coming down through the fog, Lob starts declaring that

922
00:48:44,400 --> 00:48:48,400
Speaker 3: they see these spires, and Lob says those structures indicate

923
00:48:48,480 --> 00:48:51,760
Speaker 3: the inhabitants are wingless eight legged dragonflies.

924
00:48:52,320 --> 00:48:54,879
Speaker 2: Yeah, it was the same with my version. He would

925
00:48:55,000 --> 00:48:57,480
Speaker 2: kept going on about dragonflies and I'm not sure what

926
00:48:58,080 --> 00:49:00,239
Speaker 2: maybe though some of the humors lost, but yeah, didn't

927
00:49:00,320 --> 00:49:03,160
Speaker 2: understand it. But I will say this whole landing scene

928
00:49:04,320 --> 00:49:07,399
Speaker 2: it really struck all the notes for the video game

929
00:49:07,480 --> 00:49:10,160
Speaker 2: No Man's Sky for me, because because they come in

930
00:49:10,320 --> 00:49:13,440
Speaker 2: and it's instantly this beautiful landscape. You should get closer,

931
00:49:14,280 --> 00:49:17,440
Speaker 2: you begin to make out some like buildings or some

932
00:49:17,520 --> 00:49:19,840
Speaker 2: sort of structures in the distance, and they're also like

933
00:49:20,239 --> 00:49:25,160
Speaker 2: strange things moving around, like ball like creatures. And then

934
00:49:25,320 --> 00:49:30,000
Speaker 2: also the spaceship comes in really hard, yeah, and basically

935
00:49:30,200 --> 00:49:33,040
Speaker 2: just rex itself crashing, which also is my experience with

936
00:49:33,120 --> 00:49:33,920
Speaker 2: No Man Sky. Right.

937
00:49:34,000 --> 00:49:37,879
Speaker 3: Yes, hot landing definitely, yeah, all the time, and yeah,

938
00:49:37,960 --> 00:49:39,520
Speaker 3: and it's cool that I look at the there're like

939
00:49:39,600 --> 00:49:43,320
Speaker 3: these red trees and these weird white top shaped structures

940
00:49:43,400 --> 00:49:48,359
Speaker 3: up on pillars. And it's also total Star Trek rule,

941
00:49:48,480 --> 00:49:51,080
Speaker 3: like no need for helmets or contained atmosphere. They just

942
00:49:51,120 --> 00:49:54,600
Speaker 3: hop right out faces to the atmosphere and they notice

943
00:49:54,600 --> 00:49:56,640
Speaker 3: a bunch of weird stuff. They notice there's a weird

944
00:49:56,800 --> 00:50:00,440
Speaker 3: echo when they shout on this planet. I really like

945
00:50:00,560 --> 00:50:03,920
Speaker 3: they see some aliens, but they're not humanoid aliens. They

946
00:50:03,960 --> 00:50:08,319
Speaker 3: are these big white bubbles that bounce along in a herd,

947
00:50:08,440 --> 00:50:12,040
Speaker 3: So imagine a herd of sheep, but without heads or legs,

948
00:50:12,239 --> 00:50:13,360
Speaker 3: just bouncy balls.

949
00:50:13,800 --> 00:50:16,520
Speaker 2: Yeah, reminding me a bit of the alien in Dark

950
00:50:16,600 --> 00:50:20,480
Speaker 2: Star as well as, uh, what's that, what's the old

951
00:50:21,520 --> 00:50:24,400
Speaker 2: the prisoner or the yeah the prisoner. Yeah, also strong

952
00:50:24,600 --> 00:50:25,760
Speaker 2: strong vibes of the prisoner.

953
00:50:25,880 --> 00:50:26,080
Speaker 3: Yes.

954
00:50:26,920 --> 00:50:27,040
Speaker 4: Uh.

955
00:50:27,320 --> 00:50:30,799
Speaker 3: And so so they're exploring and then Lob is like, Hey,

956
00:50:30,960 --> 00:50:35,319
Speaker 3: I have to go pee, and so he wanders off

957
00:50:35,360 --> 00:50:37,920
Speaker 3: by himself. But instead of peeing, or maybe in addition

958
00:50:38,040 --> 00:50:41,600
Speaker 3: to peeing, he starts writing graffiti on the structures of

959
00:50:41,719 --> 00:50:44,320
Speaker 3: this planet. He writes like Lob was here on a pillar.

960
00:50:45,040 --> 00:50:47,920
Speaker 3: And there's some tonal issues again of the storytelling that

961
00:50:47,960 --> 00:50:50,520
Speaker 3: are I feel like maybe getting lost on me. But

962
00:50:50,640 --> 00:50:52,719
Speaker 3: I think Lob is supposed to be kind of the

963
00:50:52,800 --> 00:50:55,279
Speaker 3: nick Bottom of this movie, you know, the comic wind

964
00:50:55,400 --> 00:50:57,200
Speaker 3: bag who ends up with ass Ears.

965
00:50:57,680 --> 00:50:59,920
Speaker 2: Yeah. Yeah, Like I say, he's he's kind of the

966
00:51:00,040 --> 00:51:04,440
Speaker 2: Weasley of the crew. He's there, he's there for some

967
00:51:05,320 --> 00:51:07,120
Speaker 2: comedic elements to shine through.

968
00:51:07,400 --> 00:51:09,840
Speaker 3: But then this moment is where the movie for me

969
00:51:10,000 --> 00:51:13,880
Speaker 3: really kicks into high gear because suddenly we meet the bots.

970
00:51:14,040 --> 00:51:17,320
Speaker 3: We meet these I guess it's that the fact that

971
00:51:17,440 --> 00:51:21,879
Speaker 3: he was writing on the pillar Summon's Disco robots from

972
00:51:21,880 --> 00:51:24,239
Speaker 3: out of another dimension. They just like walk out from

973
00:51:24,280 --> 00:51:27,040
Speaker 3: behind the pillar, not like there would have been room

974
00:51:27,120 --> 00:51:29,080
Speaker 3: for them to be standing there. There's the idea that

975
00:51:29,239 --> 00:51:32,040
Speaker 3: like a rift in the in time space has opened

976
00:51:32,080 --> 00:51:34,520
Speaker 3: up and they just kind of come out of it. Yeah,

977
00:51:35,160 --> 00:51:39,680
Speaker 3: and I love these bots. They I could think of

978
00:51:40,000 --> 00:51:41,880
Speaker 3: tons of different ways to describe them. There's sort of

979
00:51:42,040 --> 00:51:46,759
Speaker 3: cybertronic funk pin heads, like Pinhead the Cinabite, in that

980
00:51:46,920 --> 00:51:52,040
Speaker 3: they have metallic spikes for hair, but they also have

981
00:51:52,200 --> 00:51:57,440
Speaker 3: these like white masks and gloves kind of almost military

982
00:51:57,640 --> 00:52:04,680
Speaker 3: uniform but shiny acrylic texture on their jackets and they

983
00:52:04,840 --> 00:52:07,200
Speaker 3: dance everywhere when moving from here to there, they do

984
00:52:07,360 --> 00:52:11,560
Speaker 3: not walk, but they do this bobbing rhythmic disco strut.

985
00:52:11,719 --> 00:52:14,959
Speaker 2: Yeah, which is accentuated by the bell bottoms that they're wearing.

986
00:52:15,880 --> 00:52:19,080
Speaker 2: They're again black jumpsuit type of tire seems to have

987
00:52:19,280 --> 00:52:23,320
Speaker 2: this bell bottom type pant addition to it.

988
00:52:23,600 --> 00:52:27,240
Speaker 3: Yes, they are staying alive, and they communicate through whistles

989
00:52:27,280 --> 00:52:30,960
Speaker 3: and gestures which are translated by a computer on lob suit.

990
00:52:31,840 --> 00:52:34,680
Speaker 3: Lob and the robots bond over mathematics, like they attempt

991
00:52:34,719 --> 00:52:38,360
Speaker 3: to write out some equations together, and then the robots

992
00:52:38,480 --> 00:52:40,640
Speaker 3: just link arm in arm with Lob and they disco

993
00:52:40,800 --> 00:52:42,640
Speaker 3: strut back to the other dimension with him.

994
00:52:43,080 --> 00:52:46,600
Speaker 2: Yeah, they in my translation at any rate, when they

995
00:52:46,680 --> 00:52:49,480
Speaker 2: correct him, they go It could happen to anybody. Oh,

996
00:52:49,760 --> 00:52:52,120
Speaker 2: I can't remember if they were translating their whistles or what.

997
00:52:52,360 --> 00:52:57,040
Speaker 2: But yeah, I love these robots they have for they

998
00:52:57,120 --> 00:52:59,040
Speaker 2: feel very fun in a way that I think will

999
00:52:59,080 --> 00:53:01,600
Speaker 2: be pivotal here in a bit. But they have this

1000
00:53:01,760 --> 00:53:04,200
Speaker 2: real cirq to sole feel to them, Like if you've

1001
00:53:04,200 --> 00:53:08,440
Speaker 2: ever anytime you're encountering something futuristic in cirqu disol, like

1002
00:53:08,600 --> 00:53:12,480
Speaker 2: that's exactly the vibe these guys have. And yeah, they

1003
00:53:12,520 --> 00:53:15,720
Speaker 2: have that weird metal hair, sometimes complete with bald spots.

1004
00:53:15,800 --> 00:53:16,440
Speaker 2: Did you notice this?

1005
00:53:16,640 --> 00:53:16,839
Speaker 4: Yes?

1006
00:53:17,120 --> 00:53:20,759
Speaker 2: Sometimes yeah, yeah, And we learned later that these are

1007
00:53:21,360 --> 00:53:23,880
Speaker 2: there are few different terms for them, but in my translation,

1008
00:53:24,160 --> 00:53:26,319
Speaker 2: these are the executioner bots.

1009
00:53:26,640 --> 00:53:29,400
Speaker 3: Or executioner or executor.

1010
00:53:29,440 --> 00:53:33,480
Speaker 2: Oh well, I'm sorry, executor bots, okay, Yeah, but they

1011
00:53:33,520 --> 00:53:41,879
Speaker 2: are here to execute a particular plan or approach to life. Yeah,

1012
00:53:41,960 --> 00:53:44,520
Speaker 2: and uh yeah, more on them in a bit. But

1013
00:53:44,560 --> 00:53:47,399
Speaker 2: they are very mime like in their movements. I really

1014
00:53:47,560 --> 00:53:49,560
Speaker 2: enjoyed them, but they're also a little bit menacing.

1015
00:53:49,960 --> 00:53:52,480
Speaker 3: Yeah, I mean, I think it'll totally make sense once

1016
00:53:52,520 --> 00:53:55,000
Speaker 3: you get the full readout of what happened to this planet.

1017
00:53:55,080 --> 00:53:58,680
Speaker 3: But they feel exactly like robots that will kill you

1018
00:53:58,800 --> 00:53:59,279
Speaker 3: with fun.

1019
00:53:59,760 --> 00:53:59,920
Speaker 2: Yeah.

1020
00:54:00,520 --> 00:54:03,000
Speaker 3: And in my version, so they were called the executors.

1021
00:54:03,040 --> 00:54:05,880
Speaker 3: In your version in mind, they were called the implementers.

1022
00:54:06,600 --> 00:54:07,440
Speaker 2: Okay, But so.

1023
00:54:07,800 --> 00:54:09,960
Speaker 3: Varia and the other guy, I guess this Pavel. They're

1024
00:54:10,000 --> 00:54:13,759
Speaker 3: looking around for Lob after he's disappeared, and then they're

1025
00:54:13,800 --> 00:54:17,000
Speaker 3: wandering off, and then eventually they run into the robots

1026
00:54:17,040 --> 00:54:19,160
Speaker 3: as well and are invited to follow them back into

1027
00:54:19,200 --> 00:54:21,920
Speaker 3: wherever they took Lob and they go and they end

1028
00:54:22,040 --> 00:54:24,360
Speaker 3: up in what appears to be some kind of underground

1029
00:54:24,440 --> 00:54:28,239
Speaker 3: facility with white walls. Meanwhile, back up at the ship,

1030
00:54:28,680 --> 00:54:33,239
Speaker 3: something interesting happens. The members of the Pioneer team who

1031
00:54:33,280 --> 00:54:36,799
Speaker 3: are left behind on the ship notice another spacecraft approaching them,

1032
00:54:37,400 --> 00:54:39,480
Speaker 3: or maybe it's not a spacecraft. Actually, it seems like

1033
00:54:39,600 --> 00:54:42,280
Speaker 3: it is some kind of space station that is orbiting

1034
00:54:42,360 --> 00:54:44,960
Speaker 3: the planet. And so they go look out the windows

1035
00:54:45,040 --> 00:54:48,120
Speaker 3: at this space station and they see humans or what

1036
00:54:48,239 --> 00:54:51,480
Speaker 3: appear to be humans, apparently humanoid aliens who look just

1037
00:54:51,680 --> 00:54:52,520
Speaker 3: like Earth humans.

1038
00:54:52,960 --> 00:54:55,320
Speaker 2: Yeah. The teens have to go up to what is

1039
00:54:55,440 --> 00:54:58,440
Speaker 2: I think described as something like an exhibition window or something,

1040
00:54:59,040 --> 00:55:01,280
Speaker 2: and it seems to ex as a means of displaying

1041
00:55:01,360 --> 00:55:04,960
Speaker 2: one's physical reality to another species without the necessity or

1042
00:55:05,080 --> 00:55:08,680
Speaker 2: interference perhaps of electronic communication. Yeah, because I have to

1043
00:55:08,719 --> 00:55:11,480
Speaker 2: say this is what I am. I am a living thing.

1044
00:55:11,640 --> 00:55:14,239
Speaker 3: Yeah, look at my arms and legs. They do like

1045
00:55:14,320 --> 00:55:16,120
Speaker 3: the big full arm waving thing.

1046
00:55:16,520 --> 00:55:16,759
Speaker 2: Yeah.

1047
00:55:17,719 --> 00:55:20,920
Speaker 3: And then so back to the landing party down in

1048
00:55:20,960 --> 00:55:23,920
Speaker 3: the planet, or I guess in this underground facility. We

1049
00:55:24,280 --> 00:55:26,960
Speaker 3: cut to all three of the teens sitting in chairs

1050
00:55:27,160 --> 00:55:31,360
Speaker 3: just laughing hysterically, and there is a talking head with

1051
00:55:31,560 --> 00:55:33,680
Speaker 3: these Oh man, so this is going to be a

1052
00:55:33,719 --> 00:55:38,640
Speaker 3: different type of the robot class. Different. These are the controllers,

1053
00:55:38,760 --> 00:55:42,000
Speaker 3: or what we'll find out are called the Meliorators in

1054
00:55:42,080 --> 00:55:44,800
Speaker 3: my version. But the way they look is they're dressed

1055
00:55:44,880 --> 00:55:49,080
Speaker 3: all in white and then they have these bizarre prisms

1056
00:55:49,280 --> 00:55:55,399
Speaker 3: for goggles, so imagine convex or concave lenses over their

1057
00:55:55,560 --> 00:55:59,840
Speaker 3: eyes that cause so much diffraction that it looks like

1058
00:55:59,920 --> 00:56:01,800
Speaker 3: they've got four or six eyes.

1059
00:56:02,880 --> 00:56:07,279
Speaker 2: Yeah, these costumes are really well done in my opinion. Like,

1060
00:56:07,320 --> 00:56:10,680
Speaker 2: there's also some wiry and like robotic elements added to

1061
00:56:10,800 --> 00:56:15,080
Speaker 2: them that look really look really good in the suit,

1062
00:56:15,200 --> 00:56:17,400
Speaker 2: so you get the sense of the robotic, but also

1063
00:56:17,920 --> 00:56:21,480
Speaker 2: of the like the alien and the almost angelic, you know,

1064
00:56:21,600 --> 00:56:24,320
Speaker 2: with these kind of multiple eyes. So it's a really

1065
00:56:24,400 --> 00:56:25,279
Speaker 2: great look. Yeah.

1066
00:56:25,480 --> 00:56:28,880
Speaker 3: So one of the goggleheads says to them, to welcome you,

1067
00:56:29,040 --> 00:56:30,840
Speaker 3: we wanted to cheer you up. So I guess they

1068
00:56:30,960 --> 00:56:35,960
Speaker 3: just injected them with hysterical laughter. And then the the

1069
00:56:36,080 --> 00:56:39,759
Speaker 3: kids start negotiating with the prism eyes. They they say,

1070
00:56:40,440 --> 00:56:42,880
Speaker 3: the robots ask them why did you come here? And

1071
00:56:43,160 --> 00:56:46,000
Speaker 3: they say, well, you called you radioed for help, And

1072
00:56:46,120 --> 00:56:48,879
Speaker 3: the robots say no, we did not, and the kids say, yes,

1073
00:56:49,000 --> 00:56:51,640
Speaker 3: you did, and then they say the signal was not ours,

1074
00:56:52,120 --> 00:56:54,880
Speaker 3: which was very intriguing. But anyway, this eventually ends up

1075
00:56:54,960 --> 00:56:58,399
Speaker 3: with lots of robots with those goggle eyes coming around,

1076
00:56:58,560 --> 00:57:01,200
Speaker 3: like coming on this thing. I guess this is weird

1077
00:57:01,280 --> 00:57:03,680
Speaker 3: to describe, but it happens a lot. It's in a

1078
00:57:03,719 --> 00:57:05,160
Speaker 3: lot of the rest of the movie. So it's like

1079
00:57:05,280 --> 00:57:11,399
Speaker 3: a ball TV. Imagine a rotating white sphere on which

1080
00:57:11,480 --> 00:57:15,080
Speaker 3: is projected an image of one of these controller robots.

1081
00:57:15,719 --> 00:57:20,000
Speaker 2: Yeah, like a spherical ike lamp. Yes, like hanging lamp

1082
00:57:20,120 --> 00:57:20,880
Speaker 2: is what it is.

1083
00:57:21,040 --> 00:57:25,040
Speaker 3: Yes, exactly, Yeah, and it like rotates and displays this image,

1084
00:57:25,480 --> 00:57:29,000
Speaker 3: and so different goggleheads keep coming on these these rotating

1085
00:57:29,080 --> 00:57:33,040
Speaker 3: ball TVs and asking the Pioneers if they want happiness,

1086
00:57:33,200 --> 00:57:35,960
Speaker 3: and they're like sure, you know who doesn't want happiness

1087
00:57:36,000 --> 00:57:40,480
Speaker 3: except Varia doesn't seem very interested in happiness, but the

1088
00:57:40,560 --> 00:57:43,160
Speaker 3: other two want happiness. And then they just start saying

1089
00:57:43,280 --> 00:57:46,200
Speaker 3: we will make you happy, We will make you happy,

1090
00:57:46,520 --> 00:57:48,960
Speaker 3: which was actually very creepy. I thought this was like

1091
00:57:49,080 --> 00:57:52,960
Speaker 3: an effectively disturbing scene. Yeah, and then somehow I don't

1092
00:57:52,960 --> 00:57:55,560
Speaker 3: remember what leads to this, but Lob ends up getting

1093
00:57:55,600 --> 00:57:59,120
Speaker 3: a remote control for reality. They are these objects called

1094
00:57:59,280 --> 00:58:03,080
Speaker 3: keys I guess, that operate the technology on this planet,

1095
00:58:03,200 --> 00:58:07,680
Speaker 3: and they're sort of this long, this long, prism shaped

1096
00:58:07,880 --> 00:58:09,400
Speaker 3: pointy thing, and he gets.

1097
00:58:09,320 --> 00:58:11,920
Speaker 2: Yeah, like a multicolored prism shard of some sort.

1098
00:58:12,040 --> 00:58:23,040
Speaker 3: Yeah, yeah, yeah, a techno shard. And then back on

1099
00:58:23,120 --> 00:58:25,960
Speaker 3: the ship, the rest of the Pioneers have met with

1100
00:58:26,280 --> 00:58:29,360
Speaker 3: the humanoid aliens from the space station. So now they're

1101
00:58:29,360 --> 00:58:32,080
Speaker 3: hanging out together, and they're on the hollow deck in

1102
00:58:32,200 --> 00:58:34,800
Speaker 3: the ship. So they're sitting around in an earth landscape,

1103
00:58:34,960 --> 00:58:39,200
Speaker 3: educating the aliens about fruit and stuff. Here's what a

1104
00:58:39,240 --> 00:58:42,400
Speaker 3: pumpkin is, but the aliens here, here's where you get

1105
00:58:42,440 --> 00:58:46,800
Speaker 3: your big exposition dump. The aliens suddenly explain everything that

1106
00:58:46,880 --> 00:58:49,880
Speaker 3: went wrong with their planet, how it got all jacked up.

1107
00:58:50,000 --> 00:58:53,200
Speaker 3: So what they say is two hundred and fifty years ago,

1108
00:58:53,600 --> 00:58:57,680
Speaker 3: their civilization was thriving. Creativity brought them joy. They said,

1109
00:58:57,960 --> 00:59:03,880
Speaker 3: our greatest accomplishments include biomechanical robots, the implementers or the executors.

1110
00:59:04,400 --> 00:59:07,600
Speaker 3: And they say that these robots freed the people of

1111
00:59:07,680 --> 00:59:10,520
Speaker 3: the planet from mechanical labor because the robots could do

1112
00:59:10,600 --> 00:59:12,960
Speaker 3: all the work. But then they say. After that, they

1113
00:59:13,080 --> 00:59:18,000
Speaker 3: created a new class of robots, the meliorators or the controllers,

1114
00:59:18,520 --> 00:59:20,760
Speaker 3: which they say quote not only had the ability to

1115
00:59:20,840 --> 00:59:25,880
Speaker 3: govern the implementers, but also to improve their design. However,

1116
00:59:26,480 --> 00:59:31,560
Speaker 3: the controller robots eventually resolved to improve even us, the living.

1117
00:59:32,200 --> 00:59:36,080
Speaker 3: They reasoned, our perfect state would be happiness. Yet they

1118
00:59:36,120 --> 00:59:41,480
Speaker 3: thought happiness was being obstructed by tortures of creativity, desire

1119
00:59:41,600 --> 00:59:47,360
Speaker 3: for self improvement, empathy, benevolence, conscience. Their solution was to

1120
00:59:47,520 --> 00:59:51,280
Speaker 3: purge us of these qualities. We didn't want such happiness.

1121
00:59:51,480 --> 00:59:54,560
Speaker 3: We resisted, but it was too late. All you see

1122
00:59:54,640 --> 00:59:55,240
Speaker 3: is no more.

1123
00:59:56,120 --> 00:59:56,160
Speaker 4: So.

1124
00:59:56,360 --> 01:00:01,000
Speaker 3: Their planet was destroyed by a conflict with these robots.

1125
01:00:01,120 --> 01:00:04,600
Speaker 3: The meliorators are the controllers, and the alien says that

1126
01:00:04,800 --> 01:00:09,200
Speaker 3: during this conflict, the Meliorators and controllers became very cunning,

1127
01:00:09,680 --> 01:00:13,800
Speaker 3: and they created an insidious sonic weapon quote, a mind

1128
01:00:13,880 --> 01:00:18,000
Speaker 3: altering sound, affecting all who heard it, eroding their strength

1129
01:00:18,080 --> 01:00:18,479
Speaker 3: of will.

1130
01:00:19,040 --> 01:00:22,360
Speaker 2: Yeah, which sounds very sci fi. And the payoff will

1131
01:00:22,520 --> 01:00:24,160
Speaker 2: will will be a little bit disappointed.

1132
01:00:24,520 --> 01:00:28,320
Speaker 3: Yeah, well no, I actually really enjoyed the payoff, but

1133
01:00:28,400 --> 01:00:30,760
Speaker 3: in a kind of maybe unintentionally funny way.

1134
01:00:31,400 --> 01:00:33,480
Speaker 2: Yeah, I guess it gets into the whole conundrum we've

1135
01:00:33,480 --> 01:00:36,320
Speaker 2: talked about before. What does what does future music sound like?

1136
01:00:36,400 --> 01:00:38,080
Speaker 2: What does alien music sound like?

1137
01:00:38,240 --> 01:00:38,400
Speaker 4: Yes?

1138
01:00:39,000 --> 01:00:42,240
Speaker 3: And yeah, so they say the Sonic weapon. It broke

1139
01:00:42,320 --> 01:00:45,760
Speaker 3: the minds of even the strongest of them. And then

1140
01:00:45,840 --> 01:00:48,240
Speaker 3: the robots got what they wanted, which was that all

1141
01:00:48,360 --> 01:00:51,200
Speaker 3: of the people of the planet just obediently followed the

1142
01:00:51,320 --> 01:00:55,080
Speaker 3: robots hypnotized by the Sonic Weapon. They followed them into

1143
01:00:55,240 --> 01:01:00,320
Speaker 3: chambers where they were converted into complacent, selfish being of

1144
01:01:00,520 --> 01:01:05,640
Speaker 3: infinite mindless happiness, so just happy to the fullest extent

1145
01:01:05,800 --> 01:01:09,360
Speaker 3: possible for the human brain, but of course eclipsing all

1146
01:01:09,440 --> 01:01:15,200
Speaker 3: other desires, eclipsing desires to work, to care for friends

1147
01:01:15,240 --> 01:01:18,800
Speaker 3: and family and children, in which case they basically the

1148
01:01:18,840 --> 01:01:21,560
Speaker 3: people of this planet went extinct within a generation. They

1149
01:01:21,680 --> 01:01:23,760
Speaker 3: just rotted away in empty bliss.

1150
01:01:24,400 --> 01:01:26,400
Speaker 2: Yeah, they were tripped out on sensation, like they were

1151
01:01:26,480 --> 01:01:31,240
Speaker 2: under sedation. But I love, I love the one little

1152
01:01:31,280 --> 01:01:33,520
Speaker 2: detail you mentioned there about how they said that they

1153
01:01:33,600 --> 01:01:37,000
Speaker 2: observed like the torture of creativity, you know, and I

1154
01:01:37,160 --> 01:01:39,360
Speaker 2: love that. It's kind of like the robots were saying,

1155
01:01:39,400 --> 01:01:42,840
Speaker 2: why are you engaging in these creative projects when they

1156
01:01:42,880 --> 01:01:44,800
Speaker 2: seem to make you so unhappy, and they seem to

1157
01:01:44,800 --> 01:01:47,840
Speaker 2: stretch you out so much. It reminds me of a

1158
01:01:47,960 --> 01:01:51,760
Speaker 2: quote from a Raymond Chandler novel The Big Sweet, where

1159
01:01:52,320 --> 01:01:56,760
Speaker 2: I forget the details of it, but our detective character comments,

1160
01:01:57,240 --> 01:01:59,480
Speaker 2: one would think a writer would would be happy here

1161
01:02:00,480 --> 01:02:03,000
Speaker 2: if a writer is ever happy anywhere.

1162
01:02:03,360 --> 01:02:03,520
Speaker 4: You know.

1163
01:02:04,200 --> 01:02:05,760
Speaker 2: So it's kind of like the robots are like, yeah,

1164
01:02:06,360 --> 01:02:08,520
Speaker 2: like you're why are you doing this creativity stuff? You're

1165
01:02:08,560 --> 01:02:11,040
Speaker 2: you're so unhappy. Let me just make you happy and

1166
01:02:11,200 --> 01:02:14,160
Speaker 2: we'll cut out all of this this unnecessary torment.

1167
01:02:14,560 --> 01:02:16,600
Speaker 3: Well, yeah, this is a really interesting thing, and I

1168
01:02:16,640 --> 01:02:19,560
Speaker 3: think it raises the main philosophical question of the movie,

1169
01:02:19,560 --> 01:02:20,920
Speaker 3: which I guess we can get into a little bit

1170
01:02:21,000 --> 01:02:23,880
Speaker 3: later in the in the deep Thoughts section, But it's

1171
01:02:23,920 --> 01:02:28,320
Speaker 3: the question of of a robot not being able to

1172
01:02:28,440 --> 01:02:31,720
Speaker 3: understand that there are things we do that might not

1173
01:02:31,920 --> 01:02:34,880
Speaker 3: be pleasurable while we're doing them, and yet they're still

1174
01:02:35,000 --> 01:02:37,240
Speaker 3: valuable to us. And the robot says like, oh, you're

1175
01:02:37,280 --> 01:02:40,120
Speaker 3: doing the work of I don't know, learning a new skill,

1176
01:02:40,360 --> 01:02:43,360
Speaker 3: or caring for your children or something that's not maximally fun.

1177
01:02:43,520 --> 01:02:45,520
Speaker 3: Let's let's let's make you have more fun.

1178
01:02:46,160 --> 01:02:48,840
Speaker 2: Yeah, and yeah than the fun Police show up, which

1179
01:02:49,080 --> 01:02:51,920
Speaker 2: pretty much what the executors are now.

1180
01:02:52,040 --> 01:02:54,360
Speaker 3: Then we get a diversion that's just a brief scene

1181
01:02:54,440 --> 01:02:57,040
Speaker 3: back on Earth with the King of the King of

1182
01:02:57,280 --> 01:03:01,200
Speaker 3: what's his name, the King of Russian actors or the King.

1183
01:03:01,160 --> 01:03:03,880
Speaker 2: With the Soviet King of Cinema. Yeah, yeah, the King.

1184
01:03:04,480 --> 01:03:09,040
Speaker 3: He intervenes at mission control again, just using literal magic

1185
01:03:09,120 --> 01:03:12,680
Speaker 3: apparently to create to turn a payphone in the mission

1186
01:03:12,760 --> 01:03:16,520
Speaker 3: control office into a magic thing that will show the

1187
01:03:16,760 --> 01:03:20,560
Speaker 3: mission control people scenes on the spaceship where they can

1188
01:03:20,640 --> 01:03:23,360
Speaker 3: like look into a video feed inside a cigar box

1189
01:03:23,520 --> 01:03:26,760
Speaker 3: and see the Pioneers. And then I don't think this

1190
01:03:26,880 --> 01:03:29,440
Speaker 3: scene has any effect on the rest of the plot whatsoever,

1191
01:03:29,800 --> 01:03:30,280
Speaker 3: but he.

1192
01:03:30,360 --> 01:03:33,160
Speaker 2: Speeds things along. So yeah, I would love for Soviet

1193
01:03:33,240 --> 01:03:35,520
Speaker 2: science Willie Wonka to show up in other films that

1194
01:03:35,560 --> 01:03:38,000
Speaker 2: I'm watching, especially when they start feeling over long.

1195
01:03:38,560 --> 01:03:41,000
Speaker 3: To show up and do some exposition and snap his

1196
01:03:41,080 --> 01:03:44,360
Speaker 3: fingers and say, okay, let's let's get to the point.

1197
01:03:45,960 --> 01:03:48,800
Speaker 3: So back on the planet. I love that. So Pavel

1198
01:03:48,960 --> 01:03:52,200
Speaker 3: and Varia and Lob at this point they are succumbing

1199
01:03:52,440 --> 01:03:54,800
Speaker 3: to the you know, we will give you happiness that

1200
01:03:54,920 --> 01:03:57,800
Speaker 3: these robots are doing in this underground chamber, and this

1201
01:03:58,280 --> 01:04:01,280
Speaker 3: is expressed through the fact that they are drinking juice,

1202
01:04:01,560 --> 01:04:06,200
Speaker 3: the ultimate decadence. They're just drinking orange juice, Papaia juice.

1203
01:04:06,640 --> 01:04:09,600
Speaker 3: At one point it looks like beat juice maybe. And

1204
01:04:10,440 --> 01:04:15,600
Speaker 3: Vic the commander radios them from the spaceship through the

1205
01:04:15,720 --> 01:04:18,160
Speaker 3: key that they have the shard, the remote control thing,

1206
01:04:18,560 --> 01:04:20,480
Speaker 3: and he tells them they're engraved danger.

1207
01:04:20,720 --> 01:04:21,520
Speaker 2: They have to leave.

1208
01:04:22,200 --> 01:04:24,280
Speaker 3: But then the goggle head comes on the TV and

1209
01:04:24,440 --> 01:04:26,760
Speaker 3: just tells them to chill, says there's no danger and

1210
01:04:26,840 --> 01:04:27,960
Speaker 3: he's going to make them happy.

1211
01:04:28,520 --> 01:04:31,240
Speaker 2: Yeah, just enjoy your unlimited juice, right, And so they

1212
01:04:31,280 --> 01:04:31,800
Speaker 2: try to leave.

1213
01:04:31,840 --> 01:04:34,600
Speaker 3: Eventually they get out of the chamber and they go

1214
01:04:34,960 --> 01:04:36,840
Speaker 3: up to the surface to go back to their shuttle,

1215
01:04:37,280 --> 01:04:39,800
Speaker 3: but Varia disagrees because she's like, I want to stay

1216
01:04:39,840 --> 01:04:41,680
Speaker 3: and study the planet. I've got work to do.

1217
01:04:42,640 --> 01:04:44,400
Speaker 2: And she's like, don't you want to know why this

1218
01:04:44,560 --> 01:04:46,880
Speaker 2: is happening, why these robots look like humans, etc.

1219
01:04:47,240 --> 01:04:49,960
Speaker 3: Right, Yeah, So she's dedicated to her mission doesn't want

1220
01:04:50,000 --> 01:04:53,320
Speaker 3: to leave, and this delays them enough that the robots attack.

1221
01:04:53,520 --> 01:04:56,320
Speaker 3: The disco pinheads dance out and they form a chorus

1222
01:04:56,440 --> 01:04:58,880
Speaker 3: line around the shuttle like literally like a chorus line.

1223
01:04:58,880 --> 01:05:01,040
Speaker 3: They're like in a ligned dancing mm hmm.

1224
01:05:01,280 --> 01:05:02,160
Speaker 2: It's a great scene.

1225
01:05:02,440 --> 01:05:04,439
Speaker 3: And so of course the bots take the landing party

1226
01:05:04,520 --> 01:05:07,000
Speaker 3: prisoner again, and now there's no bones about it, the

1227
01:05:07,280 --> 01:05:10,000
Speaker 3: pretty talk of like, you know, you can leave any

1228
01:05:10,080 --> 01:05:11,720
Speaker 3: time you want. We just want to make you happy.

1229
01:05:11,800 --> 01:05:14,760
Speaker 3: That's over there there. You are our prisoners now, and

1230
01:05:14,880 --> 01:05:16,840
Speaker 3: we will make you happy, whether you like it or not.

1231
01:05:17,760 --> 01:05:19,120
Speaker 2: Yeah, and then they blow up the ship.

1232
01:05:19,240 --> 01:05:21,560
Speaker 3: Yeah, they blow up the ship. I laughed out loud

1233
01:05:21,680 --> 01:05:23,440
Speaker 3: when they blew up the ship because it was a

1234
01:05:23,800 --> 01:05:25,720
Speaker 3: ridiculously huge explosion.

1235
01:05:26,200 --> 01:05:28,720
Speaker 2: Yeah, it looked good. It was clearly not a model.

1236
01:05:29,680 --> 01:05:32,280
Speaker 2: It's as if they had a tank fire on the

1237
01:05:32,360 --> 01:05:33,040
Speaker 2: prop or something.

1238
01:05:33,200 --> 01:05:35,360
Speaker 3: Yeah. Well, I think they do a quick cut where

1239
01:05:35,400 --> 01:05:38,120
Speaker 3: they you can see they move the prop out of

1240
01:05:38,240 --> 01:05:40,240
Speaker 3: the frame right as the explosion happens.

1241
01:05:40,240 --> 01:05:43,480
Speaker 2: Oh yeah, okay, well yeah it still looks like quality

1242
01:05:43,680 --> 01:05:44,640
Speaker 2: munitions though. Yeah.

1243
01:05:45,960 --> 01:05:48,720
Speaker 3: So Pavel Lab and Varia are trying to figure out

1244
01:05:48,760 --> 01:05:52,040
Speaker 3: how to escape when they're trapped down in this underground layer,

1245
01:05:52,400 --> 01:05:54,920
Speaker 3: and Lob again goes on a weird rant about different

1246
01:05:55,000 --> 01:05:58,480
Speaker 3: kinds of dragonflies. I did not understand what this was

1247
01:05:58,480 --> 01:06:00,920
Speaker 3: supposed to mean, maybe this is again, maybe this is

1248
01:06:00,920 --> 01:06:03,800
Speaker 3: some kind of reference to the previous movie. But Lob

1249
01:06:03,880 --> 01:06:07,720
Speaker 3: decides it's hopeless, says their bot captors are invincible. They

1250
01:06:07,760 --> 01:06:11,520
Speaker 3: will never defeat the bots. But then I loved this part.

1251
01:06:11,880 --> 01:06:15,720
Speaker 3: Varia comes up with the plan. She starts asking math

1252
01:06:15,880 --> 01:06:19,400
Speaker 3: questions to the bots. She's like, hey, what's five times seven?

1253
01:06:19,520 --> 01:06:19,680
Speaker 1: You know?

1254
01:06:19,800 --> 01:06:23,080
Speaker 3: And then other types of equations, and of course they

1255
01:06:23,120 --> 01:06:25,880
Speaker 3: can answer them. They're like, like, we know everything, we

1256
01:06:26,000 --> 01:06:29,760
Speaker 3: can do math. And then she asks them this. I

1257
01:06:29,840 --> 01:06:31,640
Speaker 3: don't know what this means, but I think I know

1258
01:06:31,680 --> 01:06:34,440
Speaker 3: what it's supposed to represent. Maybe your translation was different.

1259
01:06:34,560 --> 01:06:37,520
Speaker 3: She in my version, she says, A and B are

1260
01:06:37,600 --> 01:06:42,400
Speaker 3: sitting on a rose. A fell be fainted. What remains

1261
01:06:43,120 --> 01:06:43,640
Speaker 3: in mine?

1262
01:06:44,000 --> 01:06:47,720
Speaker 2: They're sitting in a tree. Okay, A fell and B vanished,

1263
01:06:48,000 --> 01:06:50,720
Speaker 2: So take that for whatever it's worth.

1264
01:06:50,960 --> 01:06:54,320
Speaker 3: I don't understand this example in particular. Again, maybe something

1265
01:06:54,440 --> 01:06:56,600
Speaker 3: is lost in translation, but I think it's the old

1266
01:06:56,800 --> 01:07:00,120
Speaker 3: machine logic trap. I think what she's doing is this

1267
01:07:00,480 --> 01:07:04,560
Speaker 3: question is somehow supposed to represent a paradox, and she

1268
01:07:04,840 --> 01:07:08,320
Speaker 3: jams their brains with this logic paradox and they turn red.

1269
01:07:08,760 --> 01:07:11,040
Speaker 3: Smoke comes out of their faces and they keel over

1270
01:07:11,160 --> 01:07:14,480
Speaker 3: and disintegrate, like just leave empty clothes like Obi wan kenobi.

1271
01:07:15,080 --> 01:07:17,600
Speaker 3: But they're still trapped in this underground layer, like they

1272
01:07:17,640 --> 01:07:20,840
Speaker 3: can't find a way out, so they're roaming around. One

1273
01:07:20,920 --> 01:07:23,320
Speaker 3: thing I must point out is that the actors in

1274
01:07:23,400 --> 01:07:26,240
Speaker 3: this movie keep saying robot, but they don't pronounce it

1275
01:07:26,400 --> 01:07:29,000
Speaker 3: like we do in English today. They keep saying robot.

1276
01:07:29,480 --> 01:07:31,760
Speaker 2: Oh, I like that the way Zoidberg says it in

1277
01:07:31,840 --> 01:07:32,400
Speaker 2: Future Uma.

1278
01:07:32,520 --> 01:07:35,000
Speaker 3: Yes, But here we get to the part where a

1279
01:07:35,120 --> 01:07:38,760
Speaker 3: rescue mission is assembled. So two more of the pioneers

1280
01:07:39,840 --> 01:07:42,200
Speaker 3: I don't remember there. I think one of them is

1281
01:07:42,320 --> 01:07:44,360
Speaker 3: Vic the commander, or the other one I don't remember

1282
01:07:44,440 --> 01:07:48,400
Speaker 3: his name. But they get together with one of the

1283
01:07:48,520 --> 01:07:53,960
Speaker 3: aliens from the space station, this totally hairless guy named Agapit,

1284
01:07:54,760 --> 01:07:57,080
Speaker 3: and the three of them go down to the surface

1285
01:07:57,200 --> 01:08:00,240
Speaker 3: on a rescue mission, and they managed to end the

1286
01:08:00,320 --> 01:08:03,360
Speaker 3: underground layer where the original ending party is trapped. But

1287
01:08:03,720 --> 01:08:07,040
Speaker 3: Gogglehead comes on the ball TV and he's like, welcome,

1288
01:08:07,120 --> 01:08:09,200
Speaker 3: We're glad to have you. You will now be sent

1289
01:08:09,400 --> 01:08:12,880
Speaker 3: to the Chamber of Blissfulness, where in two of your

1290
01:08:13,040 --> 01:08:19,400
Speaker 3: hours you will become completely happy, happy, happy. So this

1291
01:08:19,560 --> 01:08:22,439
Speaker 3: introduces this chamber, which is going to play into the

1292
01:08:22,479 --> 01:08:25,840
Speaker 3: climax of the movie. But so they're running around trying

1293
01:08:25,880 --> 01:08:30,120
Speaker 3: to rescue each rescue the other pioneers down there, they're

1294
01:08:30,160 --> 01:08:34,040
Speaker 3: navigating these foggy corridors. I guess they end up meeting

1295
01:08:34,160 --> 01:08:36,479
Speaker 3: up with their friends. So all six of the people

1296
01:08:36,520 --> 01:08:40,080
Speaker 3: are together now and they're trying to escape down these

1297
01:08:40,840 --> 01:08:45,040
Speaker 3: holes filled with mist. But at some point Agapit stops.

1298
01:08:45,760 --> 01:08:48,640
Speaker 3: Remember he's the alien from the space station. He's never

1299
01:08:48,720 --> 01:08:50,599
Speaker 3: been down to the surface before. I think, I think

1300
01:08:50,640 --> 01:08:53,439
Speaker 3: he was born on the space station. But he stops

1301
01:08:53,600 --> 01:08:55,639
Speaker 3: in the middle of a hall and he starts doing

1302
01:08:55,680 --> 01:08:59,640
Speaker 3: the Bonnaroo dance, you know, the music festival. You know,

1303
01:09:00,120 --> 01:09:03,439
Speaker 3: perhaps ecstasy is involved dance where the arms are over

1304
01:09:03,520 --> 01:09:05,479
Speaker 3: the head and the kind of twisting body.

1305
01:09:05,960 --> 01:09:08,479
Speaker 2: Well, I would think of it like cinematically, it probably

1306
01:09:08,520 --> 01:09:10,120
Speaker 2: has as much to do with sort of like a

1307
01:09:10,280 --> 01:09:12,920
Speaker 2: go go dancing films. Okay, that's that's what comes to

1308
01:09:13,000 --> 01:09:16,400
Speaker 2: mind from me, sure, because yeah, he's instantly overcome by

1309
01:09:16,520 --> 01:09:22,120
Speaker 2: this this what what to us would be archaic youth music,

1310
01:09:22,280 --> 01:09:24,800
Speaker 2: you know, like like it's the it's the sound of

1311
01:09:24,880 --> 01:09:29,360
Speaker 2: the youth culture overcoming him. And drawing him into uh,

1312
01:09:29,760 --> 01:09:33,320
Speaker 2: into movement and dance, which at this point in the film,

1313
01:09:33,360 --> 01:09:36,559
Speaker 2: there's a really pervasive sense of this whole thing being

1314
01:09:36,560 --> 01:09:38,040
Speaker 2: about the dangers of youth culture.

1315
01:09:38,240 --> 01:09:41,320
Speaker 3: No, it's weird because the youth themselves in the movie

1316
01:09:41,400 --> 01:09:44,519
Speaker 3: are not really a special like they're very on the ball.

1317
01:09:44,760 --> 01:09:47,000
Speaker 2: Yeah, except they've been prepared.

1318
01:09:47,080 --> 01:09:51,400
Speaker 3: Yeah yeah, but but there, Yeah, there's this music that

1319
01:09:51,479 --> 01:09:55,879
Speaker 3: plays with like heavy bass and scramble horns, and Agapit

1320
01:09:56,280 --> 01:09:59,479
Speaker 3: dances off following this sonic weapon to his doom. This

1321
01:09:59,640 --> 01:10:01,799
Speaker 3: is the song weapon that they were talking about earlier,

1322
01:10:04,080 --> 01:10:06,400
Speaker 3: and so the the teens are like, well, we can

1323
01:10:06,880 --> 01:10:08,840
Speaker 3: try to rescue Agapit later, we got to find a

1324
01:10:08,880 --> 01:10:11,639
Speaker 3: way out of here. So they're running around, but wherever

1325
01:10:11,720 --> 01:10:14,880
Speaker 3: the teens in the universe go, the Gogglehead comes on

1326
01:10:15,080 --> 01:10:18,640
Speaker 3: ball TV and starts trying to hypnotize them, you know,

1327
01:10:18,760 --> 01:10:21,639
Speaker 3: saying we will make you happy, happy, And then oh,

1328
01:10:22,600 --> 01:10:25,080
Speaker 3: I guess one of the other teens that came down

1329
01:10:25,320 --> 01:10:27,360
Speaker 3: was the girl with the thick glasses, you know, the

1330
01:10:27,520 --> 01:10:30,680
Speaker 3: loud glasses. And I think she is a medical technician

1331
01:10:31,120 --> 01:10:33,720
Speaker 3: of some kind because she comes up with a cool

1332
01:10:34,280 --> 01:10:37,639
Speaker 3: hack against the ball TVs, which is that she gets

1333
01:10:37,680 --> 01:10:40,800
Speaker 3: out a roll of bandages from her medical bag and

1334
01:10:41,040 --> 01:10:42,880
Speaker 3: just like holds it up over the edge of the

1335
01:10:42,960 --> 01:10:46,759
Speaker 3: spinning spherical television until she turns it into a mummy

1336
01:10:46,840 --> 01:10:48,240
Speaker 3: and the image on it is hidden.

1337
01:10:48,560 --> 01:10:50,720
Speaker 2: Yeah, it's it's kind of neat to watch, but it's

1338
01:10:50,960 --> 01:10:53,519
Speaker 2: it's kind of unclear why this really works.

1339
01:10:53,960 --> 01:10:55,479
Speaker 3: Yeah, somehow it does. Yeah.

1340
01:10:55,600 --> 01:10:55,800
Speaker 2: Yeah.

1341
01:10:56,680 --> 01:10:59,240
Speaker 3: And then we get several other scenes that I don't

1342
01:10:59,280 --> 01:11:01,080
Speaker 3: know if we can just cribe in too much detail,

1343
01:11:01,120 --> 01:11:04,080
Speaker 3: but they're just so good. There's a head exchanging scene

1344
01:11:04,160 --> 01:11:07,679
Speaker 3: where robots argue about whether they have each other's heads

1345
01:11:07,800 --> 01:11:09,639
Speaker 3: or not, and they are trying.

1346
01:11:09,439 --> 01:11:12,360
Speaker 2: To The comedy shines through in that scene because it's like,

1347
01:11:12,439 --> 01:11:13,960
Speaker 2: I think you've got my head, No, I think you have.

1348
01:11:14,200 --> 01:11:15,680
Speaker 2: When they're saying I think you have mine, I think

1349
01:11:15,760 --> 01:11:18,080
Speaker 2: you have mine. And then at first we think they're

1350
01:11:18,080 --> 01:11:20,880
Speaker 2: maybe talking about their hats or something, but no, they're

1351
01:11:20,920 --> 01:11:22,439
Speaker 2: talking about their heads. Yeah I switch.

1352
01:11:22,560 --> 01:11:25,519
Speaker 3: Yeah, So they're trying to trade heads, and there's some

1353
01:11:25,600 --> 01:11:30,200
Speaker 3: good robot bowling. We get some robot impersonation where a

1354
01:11:30,280 --> 01:11:33,200
Speaker 3: couple of the teens dress up as robots to run

1355
01:11:33,280 --> 01:11:37,120
Speaker 3: around and I think try to rescue Agapet. But eventually

1356
01:11:37,520 --> 01:11:42,439
Speaker 3: lob By himself wanders off down this trough of smoke

1357
01:11:42,680 --> 01:11:46,200
Speaker 3: to get into the inner sanctum to retrieve Agapit from

1358
01:11:46,200 --> 01:11:48,800
Speaker 3: the ameliorators or the controllers. And I guess the place

1359
01:11:48,880 --> 01:11:53,880
Speaker 3: he's going into is the dreaded Chamber of Blissfulness. And

1360
01:11:54,080 --> 01:11:58,320
Speaker 3: this whole sequence in here just rocks, like the sets,

1361
01:11:58,400 --> 01:12:02,479
Speaker 3: the costumes, the sound effects. The Chamber of Blissfulness is

1362
01:12:02,560 --> 01:12:05,800
Speaker 3: like the Mainframe room and the Nostromo and Alien, you know,

1363
01:12:06,200 --> 01:12:09,960
Speaker 3: where Dallas talks to Mother, except the walls have ears

1364
01:12:10,120 --> 01:12:13,920
Speaker 3: and lips, and there are these vertical half shell sarcopha

1365
01:12:14,000 --> 01:12:17,000
Speaker 3: guy over in the corner that look like they've got

1366
01:12:17,120 --> 01:12:20,280
Speaker 3: lining like a nonstick cake pan. And then the goggle

1367
01:12:20,360 --> 01:12:24,559
Speaker 3: head meliorators are wandering around being creepy. And this whole

1368
01:12:24,640 --> 01:12:25,599
Speaker 3: scene was really good.

1369
01:12:26,040 --> 01:12:28,840
Speaker 2: Yeah, this scene is fabulous. And and oh those those

1370
01:12:28,920 --> 01:12:32,160
Speaker 2: robot costumes they put on. I love that scene as well,

1371
01:12:32,880 --> 01:12:35,120
Speaker 2: the fact that they're wearing those, because it kept making

1372
01:12:35,200 --> 01:12:37,160
Speaker 2: me think, like, how did you guys get a costume

1373
01:12:37,280 --> 01:12:40,400
Speaker 2: out of those robots? Like did you flay a robot? Yeah?

1374
01:12:40,520 --> 01:12:43,200
Speaker 2: Did you scal robot robots?

1375
01:12:43,280 --> 01:12:43,479
Speaker 3: Yeah?

1376
01:12:43,960 --> 01:12:46,519
Speaker 2: Because otherwise I didn't get the sense that the robots

1377
01:12:46,560 --> 01:12:50,040
Speaker 2: are wearing costume or wearing outfits and wigs like that's

1378
01:12:50,040 --> 01:12:53,800
Speaker 2: a part of their body. But you know they have

1379
01:12:53,920 --> 01:12:55,880
Speaker 2: that survival training. So I guess it works out.

1380
01:12:56,240 --> 01:12:59,400
Speaker 3: A naked disco robot has few secrets, a flayed disco

1381
01:12:59,560 --> 01:13:02,720
Speaker 3: robot none. Is that Game of Thrones, that's some house

1382
01:13:02,800 --> 01:13:05,679
Speaker 3: Bolton wisdom. Okay, yeah that this sounds like some Bolton wisdom.

1383
01:13:05,800 --> 01:13:05,960
Speaker 2: Yeah.

1384
01:13:07,000 --> 01:13:09,879
Speaker 3: So Lob's got a pretty good plan for getting Agapit

1385
01:13:10,040 --> 01:13:13,320
Speaker 3: out of the Chamber of blissfulness. He goes in there,

1386
01:13:13,560 --> 01:13:16,000
Speaker 3: sits down with him. It does some fake laughing to

1387
01:13:16,080 --> 01:13:19,120
Speaker 3: be like, wow, things are great, And I laughed out

1388
01:13:19,160 --> 01:13:22,120
Speaker 3: loud at Lob's fake laughing. That was really good. But

1389
01:13:22,240 --> 01:13:25,240
Speaker 3: then his plan is to fake sick. He's like, here,

1390
01:13:25,600 --> 01:13:28,479
Speaker 3: follow my lead. They're like, oh, my stomach hurts.

1391
01:13:30,040 --> 01:13:33,120
Speaker 2: He's really he's really digging into that that teen tool

1392
01:13:33,200 --> 01:13:34,240
Speaker 2: set on this one right.

1393
01:13:34,800 --> 01:13:36,640
Speaker 3: In fact, they say like, we're going to use the

1394
01:13:36,720 --> 01:13:38,719
Speaker 3: plan that we used to get out of the exam

1395
01:13:38,800 --> 01:13:39,800
Speaker 3: at school one time.

1396
01:13:40,200 --> 01:13:42,479
Speaker 2: Yep, they pulled the Ferris Bueller.

1397
01:13:42,600 --> 01:13:46,040
Speaker 3: Yeah. So then Pavel and one of the other teams,

1398
01:13:46,040 --> 01:13:48,479
Speaker 3: I guess maybe it's vic or somebody. They leave with

1399
01:13:48,800 --> 01:13:52,920
Speaker 3: Agapit the hairless alien to destroy the power plant that

1400
01:13:53,080 --> 01:13:56,320
Speaker 3: gives energy to the robots. So that's their plan to

1401
01:13:56,520 --> 01:13:58,840
Speaker 3: to like stop this all and save the day. But

1402
01:13:59,240 --> 01:14:01,920
Speaker 3: Lob the yellow haired guy, has to go back and

1403
01:14:02,200 --> 01:14:05,519
Speaker 3: help the two girls escape because they fell asleep and

1404
01:14:05,600 --> 01:14:08,800
Speaker 3: they've been captured, and Varia and the girl with the

1405
01:14:08,840 --> 01:14:11,400
Speaker 3: thick glasses are going to be They're being taken to

1406
01:14:11,479 --> 01:14:14,880
Speaker 3: the Chamber of Blissfulness and we're told that like within

1407
01:14:15,040 --> 01:14:18,960
Speaker 3: thirty minutes they will be obliterated with total happiness. And

1408
01:14:19,080 --> 01:14:21,640
Speaker 3: there's there's one scene here where so Varia has been

1409
01:14:21,680 --> 01:14:23,600
Speaker 3: doing that trick where she keeps saying the A and

1410
01:14:23,760 --> 01:14:27,599
Speaker 3: B paradox to the implement her robots, and it fries them.

1411
01:14:27,720 --> 01:14:30,240
Speaker 3: But then she tries it on the controller robots and

1412
01:14:30,400 --> 01:14:33,240
Speaker 3: that doesn't work. They are too clever to get hot

1413
01:14:33,320 --> 01:14:36,240
Speaker 3: wired by a paradox. So I was thinking, Man, I

1414
01:14:36,320 --> 01:14:39,320
Speaker 3: wish they they had tried instilling them with Cartesian doubt.

1415
01:14:39,439 --> 01:14:40,080
Speaker 3: That might work.

1416
01:14:40,640 --> 01:14:43,360
Speaker 2: Yeah, when in my version, at any rate, they asked

1417
01:14:43,720 --> 01:14:46,519
Speaker 2: she asked the robot the A and B riddle, and

1418
01:14:46,600 --> 01:14:48,320
Speaker 2: then they think for a second and they're like the

1419
01:14:48,439 --> 01:14:51,000
Speaker 2: only thing that remains is your word for and yeah,

1420
01:14:51,680 --> 01:14:54,280
Speaker 2: so again I think we lose something in the translation

1421
01:14:54,439 --> 01:14:59,240
Speaker 2: of this paradox. But but yeah, these these guys, the controllers,

1422
01:14:59,280 --> 01:15:01,439
Speaker 2: are able to figure it out. They can process it.

1423
01:15:01,800 --> 01:15:03,640
Speaker 3: I mean, it might as well be like asking them,

1424
01:15:03,720 --> 01:15:06,840
Speaker 3: you know, what's one divided by zero. It's something that

1425
01:15:07,120 --> 01:15:08,640
Speaker 3: they shouldn't be able to do. But I think the

1426
01:15:08,760 --> 01:15:12,240
Speaker 3: idea is that the controllers can actually interrogate the question

1427
01:15:12,439 --> 01:15:14,720
Speaker 3: itself and say, like, I don't have to give you

1428
01:15:14,800 --> 01:15:15,479
Speaker 3: an answer for that.

1429
01:15:15,960 --> 01:15:18,919
Speaker 2: Yeah, and again, the controllers don't they walk like robots.

1430
01:15:19,040 --> 01:15:21,920
Speaker 2: They don't walk like like circusolay mines.

1431
01:15:21,960 --> 01:15:22,840
Speaker 3: Yeah, they don't dance.

1432
01:15:23,360 --> 01:15:26,439
Speaker 2: They're here to control the pleasure, not to administer the pleasure.

1433
01:15:26,520 --> 01:15:29,080
Speaker 3: They've got more Doctor Satan type movements.

1434
01:15:29,600 --> 01:15:29,840
Speaker 2: Yeah.

1435
01:15:30,800 --> 01:15:33,479
Speaker 3: I don't remember how exactly this happens, but somehow the

1436
01:15:34,200 --> 01:15:37,080
Speaker 3: two Pioneers and Agapit while they're out on the planet

1437
01:15:37,120 --> 01:15:42,120
Speaker 3: looking for the power station, they run into some older

1438
01:15:42,720 --> 01:15:45,599
Speaker 3: model robots that are still left behind in the planet,

1439
01:15:45,680 --> 01:15:48,599
Speaker 3: like from before the era of the really bad robots.

1440
01:15:48,640 --> 01:15:52,080
Speaker 3: These are like I think, supposed to be innocent, nice robots,

1441
01:15:52,600 --> 01:15:55,360
Speaker 3: but one of them has this deep threatening voice with

1442
01:15:55,520 --> 01:15:59,280
Speaker 3: swiveling googly eyes like a chameleon and says, I am

1443
01:15:59,360 --> 01:16:00,599
Speaker 3: a nanny robot.

1444
01:16:01,800 --> 01:16:04,799
Speaker 2: Yeah. These robots look a bit clunkier, a little goofier,

1445
01:16:05,040 --> 01:16:07,840
Speaker 2: a little more old fashioned. Their heads kind of look

1446
01:16:07,920 --> 01:16:12,280
Speaker 2: like dwarf spider bots. Uh, they're they're, they're, they're they're fine.

1447
01:16:12,360 --> 01:16:14,600
Speaker 3: Yeah. And the nanny Robot and then his friend, the

1448
01:16:14,680 --> 01:16:20,080
Speaker 3: Mechanic Robot, they help out the the teens and agapit uh.

1449
01:16:20,160 --> 01:16:22,719
Speaker 3: And then after they help them get into this vehicle

1450
01:16:22,840 --> 01:16:24,840
Speaker 3: that's going to take them to the power plant, they

1451
01:16:24,880 --> 01:16:27,280
Speaker 3: get attacked by the disco bots and they're told you

1452
01:16:27,360 --> 01:16:30,120
Speaker 3: will be disassembled. And I felt truly sad for nanny

1453
01:16:30,120 --> 01:16:33,120
Speaker 3: bot and mechanical Bot. I don't know, they seem like

1454
01:16:33,160 --> 01:16:33,799
Speaker 3: sweet bots.

1455
01:16:34,040 --> 01:16:37,120
Speaker 2: Well you know that they're they're they're simple and their

1456
01:16:37,240 --> 01:16:37,799
Speaker 2: their design.

1457
01:16:38,000 --> 01:16:40,720
Speaker 3: Yeah. But so the climax is that Varia and the

1458
01:16:40,800 --> 01:16:43,200
Speaker 3: girl with the thick glasses are in the cake pans

1459
01:16:43,280 --> 01:16:46,120
Speaker 3: and the sarcopha guy in the Chamber of blissfulness and

1460
01:16:46,240 --> 01:16:49,200
Speaker 3: they're gonna have their minds and personalities obliterated with the

1461
01:16:49,280 --> 01:16:51,479
Speaker 3: total happiness and it's going to be in a few

1462
01:16:51,520 --> 01:16:54,519
Speaker 3: minutes now, and can their friends stop it? So there

1463
01:16:54,560 --> 01:16:57,040
Speaker 3: are a few things that they try. Lob tries to

1464
01:16:57,720 --> 01:17:01,160
Speaker 3: glue the robot's feet to the floor with his tube

1465
01:17:01,200 --> 01:17:03,600
Speaker 3: of universal glue, which I knew would come back. They

1466
01:17:03,640 --> 01:17:06,400
Speaker 3: said that at the beginning. I guess it's like Chekhov's glue,

1467
01:17:06,760 --> 01:17:09,040
Speaker 3: And that works for three of the four robots in

1468
01:17:09,080 --> 01:17:11,720
Speaker 3: the room, but one of them is still active and

1469
01:17:12,080 --> 01:17:14,000
Speaker 3: attax Lob and immobilizes him.

1470
01:17:14,240 --> 01:17:16,639
Speaker 2: Yeah, it has like psychic powers and it's like making

1471
01:17:16,720 --> 01:17:17,720
Speaker 2: him float around and all.

1472
01:17:18,200 --> 01:17:20,040
Speaker 3: But then Agapit and the two boys get to the

1473
01:17:20,120 --> 01:17:22,719
Speaker 3: power plant where they are ambushed by a laser trap,

1474
01:17:22,800 --> 01:17:25,360
Speaker 3: which they defeat with a mirror, and then they go

1475
01:17:25,439 --> 01:17:28,160
Speaker 3: into the reactor core and they try to overload the

1476
01:17:28,320 --> 01:17:32,960
Speaker 3: robots by overcharging them basically, so they stick with that

1477
01:17:33,160 --> 01:17:36,200
Speaker 3: shard key into the computer to operate it and make

1478
01:17:36,280 --> 01:17:40,040
Speaker 3: it overcharge the robots. But then the computer melts the

1479
01:17:40,479 --> 01:17:42,679
Speaker 3: shard key, so they're like, oh, no, we have nothing

1480
01:17:42,720 --> 01:17:47,880
Speaker 3: to operate it with. But then guess whose hobby saves

1481
01:17:48,000 --> 01:17:51,920
Speaker 3: the day. It is Pavel. He pulls like a nine

1482
01:17:51,960 --> 01:17:54,960
Speaker 3: inch long nail out of his suit. It's like, good

1483
01:17:55,000 --> 01:17:57,080
Speaker 3: thing I had this, and they jam it into the

1484
01:17:57,200 --> 01:17:59,320
Speaker 3: keyhole and the bad robots melt.

1485
01:17:59,240 --> 01:18:03,160
Speaker 2: Down raining cinematic payoff saved.

1486
01:18:02,880 --> 01:18:07,960
Speaker 3: By his nail hobby. So all the bad robots melt down,

1487
01:18:08,120 --> 01:18:13,000
Speaker 3: the day is saved. The oh, the nanny Robot and

1488
01:18:13,040 --> 01:18:15,560
Speaker 3: the Mechanic Robot come to the rescue. They stop the

1489
01:18:15,640 --> 01:18:18,800
Speaker 3: killer Bliss machine and they free the two Pioneers, and

1490
01:18:18,920 --> 01:18:22,800
Speaker 3: then they say this line that was shockingly sweet. They say,

1491
01:18:22,920 --> 01:18:26,280
Speaker 3: we are defective, but we are your friends. That's where

1492
01:18:26,320 --> 01:18:30,599
Speaker 3: friends are. Yeah, And then there's like it just wraps

1493
01:18:30,680 --> 01:18:34,519
Speaker 3: things up really fast. It's super like fast forward resolution.

1494
01:18:34,840 --> 01:18:38,120
Speaker 3: Like the people in the space station are immediately resettling

1495
01:18:38,200 --> 01:18:40,960
Speaker 3: the planet. You see them streaming out of this giant rocket.

1496
01:18:42,160 --> 01:18:44,760
Speaker 3: They're like, oh, we're going to use robots again, but

1497
01:18:44,840 --> 01:18:46,960
Speaker 3: we'll use them wisely this time for real.

1498
01:18:47,439 --> 01:18:50,160
Speaker 2: And there's a bit where the where Agapit is there

1499
01:18:50,200 --> 01:18:52,360
Speaker 2: and his father, who has a full head of hair,

1500
01:18:52,880 --> 01:18:56,759
Speaker 2: puts his hand lovingly on Agapit's bald scalp and tells

1501
01:18:56,840 --> 01:18:59,200
Speaker 2: him that now he is a man and she'll grow

1502
01:18:59,240 --> 01:19:01,280
Speaker 2: his hair out. It's a little extra bit of world

1503
01:19:01,280 --> 01:19:04,759
Speaker 2: building to explain why why Agapit is hairless.

1504
01:19:04,800 --> 01:19:07,240
Speaker 3: I guess, yeah, I didn't get that. I mean, maybe

1505
01:19:07,320 --> 01:19:09,880
Speaker 3: there's some kind of environmental effect. But it was very

1506
01:19:10,280 --> 01:19:12,599
Speaker 3: that was that was funny, and then something like it's

1507
01:19:12,680 --> 01:19:14,880
Speaker 3: just a rapid sequence of funny things here at the

1508
01:19:14,960 --> 01:19:17,519
Speaker 3: end where suddenly the magic bureaucrat shows back up, you know,

1509
01:19:17,600 --> 01:19:22,040
Speaker 3: the King of Soviet Actors. He just appears, uh, and

1510
01:19:22,280 --> 01:19:25,559
Speaker 3: he goes up to the kids and he delivers them

1511
01:19:25,560 --> 01:19:27,439
Speaker 3: a message. It's like a it's like a note that

1512
01:19:27,560 --> 01:19:31,240
Speaker 3: says like, hey, get back to Earth and he and

1513
01:19:31,360 --> 01:19:35,400
Speaker 3: again never explained why this movie has exactly one character

1514
01:19:35,560 --> 01:19:39,080
Speaker 3: with magic powers who has essentially no involvement in the

1515
01:19:39,120 --> 01:19:41,519
Speaker 3: actual plot. He's just sort of a framing device.

1516
01:19:42,000 --> 01:19:43,960
Speaker 2: Yeah, And with that whole shouldn't you be getting back

1517
01:19:43,960 --> 01:19:47,000
Speaker 2: to Earth note that he hands them, it's as if

1518
01:19:47,160 --> 01:19:50,200
Speaker 2: he's there to remind us too that this film is

1519
01:19:50,360 --> 01:19:54,559
Speaker 2: also an escapist venture and therefore is maybe a little

1520
01:19:54,560 --> 01:19:56,360
Speaker 2: bit dangerous. So it's kind of like, all right, all right,

1521
01:19:56,400 --> 01:19:58,360
Speaker 2: that was fun, but let's get back to work kids.

1522
01:19:58,439 --> 01:19:59,360
Speaker 2: Earth is where it's at.

1523
01:19:59,479 --> 01:20:02,719
Speaker 3: Yeah, And this connects, I guess, to the philosophical themes

1524
01:20:02,800 --> 01:20:06,720
Speaker 3: of the movie, because this movie, again, like I thought,

1525
01:20:06,760 --> 01:20:09,599
Speaker 3: it was unusually thoughtful for a kid's sci fi movie

1526
01:20:09,680 --> 01:20:13,519
Speaker 3: and asks legitimate philosophical questions that have been explored in,

1527
01:20:14,640 --> 01:20:16,800
Speaker 3: you know, in other works, like it's a big theme

1528
01:20:16,880 --> 01:20:20,200
Speaker 3: of David Foster Wallace's novel Infinite Jest, where there is

1529
01:20:20,360 --> 01:20:24,040
Speaker 3: this this thing called The Entertainment, which is a film

1530
01:20:24,280 --> 01:20:27,960
Speaker 3: that is lethally entertaining. It is so entertaining that when

1531
01:20:28,000 --> 01:20:33,120
Speaker 3: people watch it, it totally consumes their their mentality and

1532
01:20:33,200 --> 01:20:34,960
Speaker 3: all they want to do is just watch the film

1533
01:20:35,000 --> 01:20:38,200
Speaker 3: over and over until they die. But it's also a theme,

1534
01:20:38,280 --> 01:20:40,360
Speaker 3: you know, going back farther to Brave New World. The

1535
01:20:40,479 --> 01:20:45,720
Speaker 3: idea of a hedonic dystopia place that is destroyed by

1536
01:20:46,160 --> 01:20:50,960
Speaker 3: an over obsession with the quest for pleasure also a

1537
01:20:51,040 --> 01:20:53,320
Speaker 3: theme explored in The Matrix. You remember, there's that whole

1538
01:20:53,360 --> 01:20:55,559
Speaker 3: thing where, you know, the bad guy played by Joe

1539
01:20:55,600 --> 01:20:58,920
Speaker 3: Panaliono wants to be reinserted back into the Matrix so

1540
01:20:58,960 --> 01:21:01,200
Speaker 3: that he doesn't have to think about the big conflict

1541
01:21:01,280 --> 01:21:03,519
Speaker 3: and the underlying reality and can just live out his

1542
01:21:03,640 --> 01:21:08,960
Speaker 3: life in shallow, fake pleasures. And this relates actually to

1543
01:21:09,160 --> 01:21:13,799
Speaker 3: a thought experiment promoted by the American philosopher Robert Nozick

1544
01:21:13,960 --> 01:21:17,680
Speaker 3: called the experience Machine or the pleasure Machine, which was

1545
01:21:17,760 --> 01:21:20,439
Speaker 3: in a book published in nineteen seventy four, around the

1546
01:21:20,520 --> 01:21:22,920
Speaker 3: same time as this movie. It could be a coincidence,

1547
01:21:22,960 --> 01:21:25,519
Speaker 3: but I wonder if there's anything going on there. The

1548
01:21:25,600 --> 01:21:29,240
Speaker 3: basic gist of the Experience Machine thought experiment is that

1549
01:21:29,520 --> 01:21:33,160
Speaker 3: it's there to interrogate the premise of any ethical system

1550
01:21:34,160 --> 01:21:37,080
Speaker 3: or system of determining what the good life is that's

1551
01:21:37,160 --> 01:21:40,560
Speaker 3: based on hydonic utilitarianism, you know, just the idea that

1552
01:21:41,040 --> 01:21:43,519
Speaker 3: the right thing to do in any given situation would

1553
01:21:43,680 --> 01:21:46,840
Speaker 3: would be that which delivers the most pleasure and the

1554
01:21:46,920 --> 01:21:50,120
Speaker 3: least pain to the greatest number of people. Now, in

1555
01:21:50,160 --> 01:21:52,240
Speaker 3: a lot of cases, that seems like that's a pretty

1556
01:21:52,800 --> 01:21:56,000
Speaker 3: good way to calculate what you should and shouldn't do,

1557
01:21:56,200 --> 01:21:58,519
Speaker 3: Like it's nice to offer somebody a piece of candy,

1558
01:21:58,600 --> 01:22:00,439
Speaker 3: and it's not nice to punch them in the face.

1559
01:22:01,160 --> 01:22:03,920
Speaker 3: But Nosic's thought experiment indicates that there could well be

1560
01:22:04,160 --> 01:22:06,760
Speaker 3: limits to a principle that says the good life is

1561
01:22:06,800 --> 01:22:11,360
Speaker 3: simply defined by the maximizing of pleasure. Because he asks this,

1562
01:22:11,600 --> 01:22:13,439
Speaker 3: he says, oh, like, what if you had a choice

1563
01:22:13,800 --> 01:22:16,040
Speaker 3: to get into a machine? I mean, imagine some kind

1564
01:22:16,040 --> 01:22:20,360
Speaker 3: of combination of drugs and virtual reality that would cause

1565
01:22:20,439 --> 01:22:24,759
Speaker 3: you to live a completely blissful existence every waking moment

1566
01:22:24,800 --> 01:22:27,639
Speaker 3: of your life, and you could live a long long time.

1567
01:22:28,200 --> 01:22:30,360
Speaker 3: But of course none of it would be real life.

1568
01:22:30,439 --> 01:22:32,759
Speaker 3: You'd just be lying there, hooked up to a machine

1569
01:22:33,280 --> 01:22:38,719
Speaker 3: that's tricking your body into experiencing maximal pleasure all the time.

1570
01:22:39,520 --> 01:22:41,559
Speaker 3: Would that be a good world? Is that a world

1571
01:22:41,640 --> 01:22:44,040
Speaker 3: we would actually want? Would it be better than this

1572
01:22:44,240 --> 01:22:47,880
Speaker 3: one that is full of suffering but is actually real?

1573
01:22:48,280 --> 01:22:52,320
Speaker 3: It would be objectively more pleasurable. But if that's not

1574
01:22:52,520 --> 01:22:55,640
Speaker 3: a good world, that makes us think that our intuitions

1575
01:22:55,680 --> 01:22:58,200
Speaker 3: are at least telling us that there is something that

1576
01:22:58,360 --> 01:23:01,519
Speaker 3: is ethically valuable, something that makes up the good life

1577
01:23:02,160 --> 01:23:06,519
Speaker 3: other than just maximizing pleasure and minimizing pain. That like,

1578
01:23:06,640 --> 01:23:08,640
Speaker 3: maybe something about the good life has to do with

1579
01:23:08,880 --> 01:23:12,040
Speaker 3: real relationships with other minds and stuff like that.

1580
01:23:12,560 --> 01:23:14,000
Speaker 2: Yeah, I think, I think. I think some of these

1581
01:23:14,040 --> 01:23:16,840
Speaker 2: ideas are definitely reflecting in the film though, though again

1582
01:23:16,920 --> 01:23:18,719
Speaker 2: on another level, I think a lot of it also

1583
01:23:19,280 --> 01:23:21,600
Speaker 2: kind of captures this idea of youth culture is a

1584
01:23:21,680 --> 01:23:24,200
Speaker 2: danger to our children, and our children are the future.

1585
01:23:24,680 --> 01:23:28,960
Speaker 2: How do we create a future generation that is not

1586
01:23:29,200 --> 01:23:34,280
Speaker 2: going to be subjected to these influences? You know? And Yeah,

1587
01:23:34,320 --> 01:23:36,479
Speaker 2: and I imagine it would be interesting to see like

1588
01:23:36,520 --> 01:23:39,519
Speaker 2: a deeper read from somebody you know about you know,

1589
01:23:39,840 --> 01:23:44,640
Speaker 2: how this film fits into Russian culture in the mid

1590
01:23:44,800 --> 01:23:48,000
Speaker 2: nineteen seventies. You know what sort of values we're warring,

1591
01:23:48,080 --> 01:23:50,479
Speaker 2: I mean, and to again, to a certain extent, they're

1592
01:23:50,479 --> 01:23:54,720
Speaker 2: the same cultures that are the same. It's the same

1593
01:23:54,800 --> 01:23:57,639
Speaker 2: conflict in any culture. You know, there's always that concern

1594
01:23:57,760 --> 01:24:00,760
Speaker 2: about how our children are growing up up and what

1595
01:24:00,880 --> 01:24:04,080
Speaker 2: are the influences that are going to potentially corrupt them,

1596
01:24:04,400 --> 01:24:06,799
Speaker 2: and how do we steer them correctly into the future.

1597
01:24:07,280 --> 01:24:09,840
Speaker 3: Yeah, and I mean, I wonder I don't know, the

1598
01:24:09,960 --> 01:24:13,320
Speaker 3: movie doesn't ever get overtly political, but I wonder if

1599
01:24:13,360 --> 01:24:18,000
Speaker 3: there is some implicit political commentary here in the idea that, like,

1600
01:24:18,800 --> 01:24:22,720
Speaker 3: perhaps you could view it as an indictment of capitalist economies,

1601
01:24:22,760 --> 01:24:25,479
Speaker 3: as this kind of empty pleasure machine, you know, something

1602
01:24:25,520 --> 01:24:28,880
Speaker 3: that is designed to that in some ways, at least

1603
01:24:28,960 --> 01:24:33,240
Speaker 3: for some people, maximizes heidonic pleasure in the short term

1604
01:24:33,400 --> 01:24:38,519
Speaker 3: at the expense of meaningful relationships and family and duty

1605
01:24:38,680 --> 01:24:39,360
Speaker 3: and things like that.

1606
01:24:39,960 --> 01:24:44,280
Speaker 2: Yeah, it also might have had like cinema world contemplation,

1607
01:24:44,360 --> 01:24:46,719
Speaker 2: because clearly, I mean, it's a movie made by movie makers.

1608
01:24:47,320 --> 01:24:51,400
Speaker 2: You know, it's coming out of the Russian movie industry,

1609
01:24:51,840 --> 01:24:53,800
Speaker 2: Like I wonder if it's kind of expressing some of

1610
01:24:53,880 --> 01:24:58,960
Speaker 2: their you know, internal discussions and conflicts. You know, like

1611
01:24:59,439 --> 01:25:02,400
Speaker 2: if you're making kids movie, should the kids movie be

1612
01:25:02,560 --> 01:25:06,439
Speaker 2: just pure fun, just pure drivel, or should it attempt

1613
01:25:06,520 --> 01:25:09,439
Speaker 2: to tell a more complex story? Should it attempt to

1614
01:25:09,479 --> 01:25:11,920
Speaker 2: teach them something? Should it have this kind of a

1615
01:25:12,000 --> 01:25:16,759
Speaker 2: philosophical contemplation nestled within it? You know, yeah, I think.

1616
01:25:18,360 --> 01:25:20,280
Speaker 3: You know, it's weird this. I feel like this is

1617
01:25:20,600 --> 01:25:22,559
Speaker 3: a great kind of movie to talk about on Weird

1618
01:25:22,600 --> 01:25:26,040
Speaker 3: House Cinema because it is full of stuff that was

1619
01:25:26,120 --> 01:25:31,720
Speaker 3: totally unintentionally funny. Like there is a lot of weirdness

1620
01:25:31,880 --> 01:25:36,240
Speaker 3: that is obviously not intended by the film makers. But nevertheless,

1621
01:25:36,640 --> 01:25:39,560
Speaker 3: I think it's actually overall a pretty solid movie. Like

1622
01:25:39,760 --> 01:25:42,720
Speaker 3: I would say that given certain constraints, this is a

1623
01:25:42,800 --> 01:25:45,479
Speaker 3: well made film and actually kind of a thoughtful film

1624
01:25:46,080 --> 01:25:51,240
Speaker 3: despite being I don't know, somewhere between like Tarkowsky Solaris

1625
01:25:51,360 --> 01:25:53,320
Speaker 3: and a Disney Channel Kids Club movie.

1626
01:25:53,800 --> 01:25:56,120
Speaker 2: Yeah, yeah, absolutely, And those two kind of represent the

1627
01:25:56,160 --> 01:25:58,720
Speaker 2: extremes who were talking about, you know, should it be

1628
01:25:58,880 --> 01:26:02,880
Speaker 2: just pure empty entertainment or should it be just you know,

1629
01:26:03,000 --> 01:26:08,280
Speaker 2: glacial thought provoking art. And luckily the King of Cinema

1630
01:26:08,479 --> 01:26:11,559
Speaker 2: is around to speed things long for us here though, So.

1631
01:26:11,760 --> 01:26:13,519
Speaker 3: One last thing I want to say before the end

1632
01:26:13,600 --> 01:26:16,439
Speaker 3: here is it is unrelated to this movie except that

1633
01:26:16,560 --> 01:26:19,599
Speaker 3: I found it When I was looking up this movie

1634
01:26:19,640 --> 01:26:22,439
Speaker 3: on like IMDb. It popped up in the recommended tab

1635
01:26:22,560 --> 01:26:26,920
Speaker 3: I think because it's another Soviet science fiction film for children.

1636
01:26:27,360 --> 01:26:31,400
Speaker 3: But there's this movie I came across called Lilac Ball

1637
01:26:31,800 --> 01:26:35,519
Speaker 3: or the Purple Ball from nineteen eighty seven, that is

1638
01:26:36,560 --> 01:26:39,040
Speaker 3: I can't even describe the poster, just oh my god,

1639
01:26:39,160 --> 01:26:42,679
Speaker 3: there's like a big purple grape man covered in red hair.

1640
01:26:42,880 --> 01:26:47,080
Speaker 3: He looks like a gimmely bigfoot with four arms.

1641
01:26:47,680 --> 01:26:51,000
Speaker 2: And you love the four armed aliens too, I do. Yeah,

1642
01:26:51,280 --> 01:26:52,560
Speaker 2: they always call out to you.

1643
01:26:52,960 --> 01:26:55,360
Speaker 3: I think we might have to come back and see

1644
01:26:55,360 --> 01:26:57,000
Speaker 3: if the Lilac Ball is any good.

1645
01:26:57,439 --> 01:27:03,000
Speaker 2: Yeah, it looks fun. Yeah, this was a fun one

1646
01:27:03,920 --> 01:27:06,240
Speaker 2: for anybody out there who's like, Okay, I'm in how

1647
01:27:06,280 --> 01:27:08,519
Speaker 2: do I watch this film? Well, you can find it

1648
01:27:08,600 --> 01:27:11,280
Speaker 2: for free on YouTube. That's the way you watched it.

1649
01:27:11,400 --> 01:27:13,120
Speaker 2: And what was it called on YouTube? Was it Teens

1650
01:27:13,160 --> 01:27:14,679
Speaker 2: in the Universe or Children in the Universe.

1651
01:27:14,880 --> 01:27:16,800
Speaker 3: It was called Teens in the Universe, and there are

1652
01:27:16,880 --> 01:27:21,599
Speaker 3: multiple versions, one that had subtitles in several different languages,

1653
01:27:21,680 --> 01:27:23,840
Speaker 3: and another one I think that didn't have any subtitles

1654
01:27:23,880 --> 01:27:26,200
Speaker 3: at all. So obviously look for the one that has

1655
01:27:26,320 --> 01:27:28,799
Speaker 3: your language you can speak if you don't speak Russian.

1656
01:27:29,160 --> 01:27:33,439
Speaker 2: Yeah, and I watched it on Amazon Prime Video. Technically

1657
01:27:33,520 --> 01:27:35,400
Speaker 2: I bought it. I paid ninety nine cents for it.

1658
01:27:35,520 --> 01:27:38,559
Speaker 2: I don't know who I paid ninety nine cents too, exactly,

1659
01:27:38,960 --> 01:27:42,760
Speaker 2: but I clearly own this film now. But it's you'll

1660
01:27:42,800 --> 01:27:45,960
Speaker 2: find it by searching for the Teens in the Universe

1661
01:27:46,200 --> 01:27:52,679
Speaker 2: or it's actually listed as science fiction dilogy dilogy set

1662
01:27:52,680 --> 01:27:56,000
Speaker 2: of a trilogy, and it's episode one in two. Episode

1663
01:27:56,040 --> 01:27:59,840
Speaker 2: one is Moscow Cassiopeia and episode two is Teens in Space.

1664
01:28:00,120 --> 01:28:02,759
Speaker 3: I gotta say there is a lot of weird looking

1665
01:28:03,160 --> 01:28:06,320
Speaker 3: Soviet science fiction. I think coming back to Eastern block

1666
01:28:06,400 --> 01:28:09,920
Speaker 3: science fiction could be a really rich vein for us

1667
01:28:10,000 --> 01:28:11,400
Speaker 3: to mine in the future.

1668
01:28:11,520 --> 01:28:13,240
Speaker 2: Oh yeah, I know for a fact there's some really

1669
01:28:13,320 --> 01:28:17,320
Speaker 2: good stuff that came out of East Germany back in

1670
01:28:17,400 --> 01:28:20,160
Speaker 2: the day. There's a in fact, there's some nice DVD

1671
01:28:20,320 --> 01:28:22,360
Speaker 2: sets of those films, so that might be a place

1672
01:28:22,439 --> 01:28:26,040
Speaker 2: to look as well. Well, this has been fun, but

1673
01:28:26,439 --> 01:28:29,400
Speaker 2: the Extraordinary Service executive is telling us that it's time

1674
01:28:29,520 --> 01:28:31,599
Speaker 2: to close things out and return to Earth. So we're

1675
01:28:31,640 --> 01:28:32,400
Speaker 2: going to do just that.

1676
01:28:32,880 --> 01:28:35,000
Speaker 3: Well, hopefully he can explain what this was all about.

1677
01:28:37,640 --> 01:28:39,640
Speaker 2: Yeah, he'll, he'll, he'll explain it for us.

1678
01:28:39,680 --> 01:28:41,680
Speaker 3: Here put my life in some context. Man.

1679
01:28:42,080 --> 01:28:45,320
Speaker 2: Yeah. But speaking of which, though, if anyone out there

1680
01:28:45,560 --> 01:28:48,280
Speaker 2: has experienced with this film, you know, if you if

1681
01:28:48,360 --> 01:28:52,360
Speaker 2: you are Russian or of Russian descent, or grew up

1682
01:28:52,400 --> 01:28:54,920
Speaker 2: in an area where this played and was on television,

1683
01:28:55,280 --> 01:28:57,560
Speaker 2: you know, perhaps you have some something to share. You know,

1684
01:28:57,720 --> 01:28:59,600
Speaker 2: was this film a part of your childhood. If that

1685
01:28:59,720 --> 01:29:01,200
Speaker 2: is the case, I would love to hear from you

1686
01:29:01,439 --> 01:29:05,320
Speaker 2: and hear your take on children in Space or teens

1687
01:29:05,360 --> 01:29:08,320
Speaker 2: in Space or Moscow Cassiopa for that matter. Totally. In

1688
01:29:08,400 --> 01:29:10,240
Speaker 2: the meantime, if you want to check out other episodes

1689
01:29:10,280 --> 01:29:13,679
Speaker 2: of Weird House Cinema, you will find it every Friday

1690
01:29:14,240 --> 01:29:16,400
Speaker 2: in the Stuff to Blow your Mind podcast feed, and

1691
01:29:16,479 --> 01:29:19,240
Speaker 2: that feed can be found wherever you get your podcasts.

1692
01:29:19,320 --> 01:29:21,759
Speaker 2: Just look for Stuff to Blow your Mind. You rate, review,

1693
01:29:21,800 --> 01:29:23,960
Speaker 2: and subscribe. Those are the things you can do to

1694
01:29:24,120 --> 01:29:27,720
Speaker 2: help us out. We don't have a blog for the

1695
01:29:27,800 --> 01:29:29,880
Speaker 2: show anymore, so what I've been doing is I've been

1696
01:29:29,960 --> 01:29:33,240
Speaker 2: using my personal blog Sammuda Music dot com. That's sem

1697
01:29:33,520 --> 01:29:37,040
Speaker 2: Uta Music like in Dune, and I put out up

1698
01:29:37,040 --> 01:29:39,639
Speaker 2: a little blog post for each episode of Weird House Cinema,

1699
01:29:39,880 --> 01:29:43,760
Speaker 2: and each of those episodes includes either a teaser or

1700
01:29:43,800 --> 01:29:47,680
Speaker 2: an actual title for the forthcoming episode, in case you're

1701
01:29:47,680 --> 01:29:49,760
Speaker 2: one of those people who wants to watch the film

1702
01:29:49,800 --> 01:29:52,280
Speaker 2: ahead of time before you listen to the episode.

1703
01:29:52,520 --> 01:29:56,120
Speaker 3: Ooh, we went long today? Anyway, Huge things as always

1704
01:29:56,120 --> 01:29:59,120
Speaker 3: to our excellent audio producer Seth Nicholas Johnson, especially for

1705
01:29:59,520 --> 01:30:02,599
Speaker 3: editing this monster episode. If you would like to get

1706
01:30:02,640 --> 01:30:04,800
Speaker 3: in touch with us with feedback on this episode or

1707
01:30:04,800 --> 01:30:06,960
Speaker 3: any other, to suggest a topic for the future, or

1708
01:30:07,000 --> 01:30:09,479
Speaker 3: a movie for future Weird House Cinema, or just to

1709
01:30:09,520 --> 01:30:12,799
Speaker 3: say hello, you can email us at contact at stuff

1710
01:30:12,840 --> 01:30:14,200
Speaker 3: to Blow your Mind dot com.

1711
01:30:21,439 --> 01:30:24,360
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1712
01:30:24,479 --> 01:30:27,240
Speaker 1: more podcasts from My Heart Radio, visit the iHeartRadio app,

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Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.