1
00:00:04,400 --> 00:00:08,360
Speaker 1: Hey, welcome to Weird House Cinema. Rewind. This is Rob Lamb,

2
00:00:08,400 --> 00:00:10,559
Speaker 1: and oh we have a we have a Christmas movie

3
00:00:10,560 --> 00:00:14,160
Speaker 1: here for you today, technically technically a Christmas movie. It

4
00:00:14,280 --> 00:00:19,759
Speaker 1: is the classic cult favorite nineteen seventy seven film Blue Sunshine.

5
00:00:20,600 --> 00:00:24,599
Speaker 1: This is a twisted tale of post sixties anxiety, hippie disillusionment,

6
00:00:25,000 --> 00:00:29,920
Speaker 1: and sensationalized media treatments of psychedelics. Is It's one of

7
00:00:29,960 --> 00:00:33,600
Speaker 1: our favorites. And again, technically a Christmas movie takes place

8
00:00:33,640 --> 00:00:36,279
Speaker 1: at Christmas, you will find the Christmas texture in it.

9
00:00:36,680 --> 00:00:39,360
Speaker 1: So let's go ahead and jump right in. This one

10
00:00:39,360 --> 00:00:42,040
Speaker 1: Originally published twelve, twenty twenty twenty four.

11
00:00:45,320 --> 00:00:52,640
Speaker 2: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

12
00:00:56,080 --> 00:00:59,440
Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamb.

13
00:00:59,520 --> 00:01:00,880
Speaker 3: And this Joe McCormick.

14
00:01:01,640 --> 00:01:04,440
Speaker 1: This week we're discussing a film that's really been on

15
00:01:04,480 --> 00:01:06,840
Speaker 1: the Weird House Cinema list pretty much from the good go,

16
00:01:07,319 --> 00:01:10,960
Speaker 1: and that is Blue Sunshine, a weird independent thriller and

17
00:01:11,160 --> 00:01:15,000
Speaker 1: kind of secret Christmas movie from nineteen seventy seven that

18
00:01:15,120 --> 00:01:21,479
Speaker 1: meld's sensationalized media ideas about psychedelics with chilling horror and

19
00:01:21,520 --> 00:01:25,840
Speaker 1: a biting critique of post sixties anxiety and hippie disillusionment.

20
00:01:26,400 --> 00:01:29,880
Speaker 1: It's also, in my opinion, just as cutting today. I mean,

21
00:01:29,920 --> 00:01:32,000
Speaker 1: it has its goofy moments to be cleared. We'll get

22
00:01:32,000 --> 00:01:35,800
Speaker 1: into those which are quite enjoyable, but the terror and

23
00:01:35,840 --> 00:01:39,520
Speaker 1: the anxiety in the picture absolutely holds up, as does

24
00:01:39,560 --> 00:01:42,040
Speaker 1: I think it's vision of a world in which to

25
00:01:42,120 --> 00:01:45,600
Speaker 1: invoke under s Thompson, the wave of optimism and progress

26
00:01:45,600 --> 00:01:48,680
Speaker 1: has seemingly crashed and fallen back, given way to a

27
00:01:48,720 --> 00:01:52,240
Speaker 1: world that seems to be spinning on, untethered from our will,

28
00:01:52,800 --> 00:01:56,120
Speaker 1: enraptured by commercialism, and at the same time we find

29
00:01:56,160 --> 00:01:59,960
Speaker 1: ourselves taking in more con man dreams of a better tomorrow,

30
00:02:00,040 --> 00:02:05,200
Speaker 1: well perhaps delusions not that dissimilar to the same things

31
00:02:05,240 --> 00:02:08,280
Speaker 1: that we saw as revelations a mere decade ago. And

32
00:02:08,360 --> 00:02:09,800
Speaker 1: at the same time, I think it's also a film

33
00:02:09,840 --> 00:02:12,639
Speaker 1: about the journey out of youth into middle age, out

34
00:02:12,639 --> 00:02:14,880
Speaker 1: of hope, into well maybe uncertainty.

35
00:02:15,360 --> 00:02:18,639
Speaker 3: I would say that this is the paranoid horror spin

36
00:02:18,880 --> 00:02:23,120
Speaker 3: on the Big Chill. Yeah, but I totally agree with

37
00:02:23,160 --> 00:02:26,360
Speaker 3: what you said about the duality of this movie. I

38
00:02:26,400 --> 00:02:29,920
Speaker 3: would put it in the Suspiria Zone, comparing it to

39
00:02:30,040 --> 00:02:34,040
Speaker 3: the Dario Argento film Suspiria in that it is both

40
00:02:34,400 --> 00:02:39,400
Speaker 3: extremely effective as intended as horror, Like there is some

41
00:02:39,480 --> 00:02:42,680
Speaker 3: of the scary stuff in this movie is terrifying. It

42
00:02:42,760 --> 00:02:46,720
Speaker 3: is it is so so strong, but it is also

43
00:02:47,400 --> 00:02:51,360
Speaker 3: extremely unintentionally funny in the same way that you have

44
00:02:51,440 --> 00:02:54,480
Speaker 3: both of these things in Suspiria. So in Suspiria you

45
00:02:54,880 --> 00:02:56,760
Speaker 3: have to create you know, the witch looming out the

46
00:02:56,800 --> 00:03:01,400
Speaker 3: window and the darkness and those great scenes of terror

47
00:03:01,440 --> 00:03:03,960
Speaker 3: creeping down the hall as the music swells. You know,

48
00:03:03,960 --> 00:03:06,240
Speaker 3: it's great stuff. But then you've also got the bat

49
00:03:06,320 --> 00:03:08,320
Speaker 3: that looks like a pair of rolled up socks and

50
00:03:08,360 --> 00:03:11,800
Speaker 3: the hilarious line deliveries. That's all there. Similar kind of

51
00:03:11,800 --> 00:03:16,960
Speaker 3: thing here, the kind of paranoia and anxiety that this

52
00:03:17,080 --> 00:03:22,079
Speaker 3: movie creates about a the kind of time bomb of unwellness,

53
00:03:22,200 --> 00:03:25,160
Speaker 3: like the idea that you have done something to your

54
00:03:25,240 --> 00:03:28,840
Speaker 3: body and your mind already years ago and there's no

55
00:03:28,960 --> 00:03:31,680
Speaker 3: way to go back and fix it, and now it

56
00:03:31,760 --> 00:03:35,080
Speaker 3: is just it is just mounting in its takeover of

57
00:03:35,120 --> 00:03:40,040
Speaker 3: your psyche. It's a truly terrifying atmosphere that's created there,

58
00:03:40,160 --> 00:03:42,080
Speaker 3: and at the same time. There is a lot of

59
00:03:43,760 --> 00:03:46,520
Speaker 3: wig stuff in this movie, like people trying to grab

60
00:03:46,600 --> 00:03:50,720
Speaker 3: wigs off people's heads, and like bald guys running around

61
00:03:50,720 --> 00:03:53,680
Speaker 3: beating people up in a disco, and it's like truly

62
00:03:54,080 --> 00:03:57,600
Speaker 3: a banquet of many different kinds of movie pleasure all

63
00:03:57,640 --> 00:03:58,400
Speaker 3: packed into one.

64
00:03:58,920 --> 00:04:01,920
Speaker 1: Yeah, there's more than one scene where the protagonist is

65
00:04:02,000 --> 00:04:04,480
Speaker 1: clearly trying to decide whether he should try and snatch

66
00:04:04,520 --> 00:04:06,640
Speaker 1: that wig or not snatch somebody's hair and see if

67
00:04:06,640 --> 00:04:10,360
Speaker 1: it's a wig, which is just, yeah, kind of inherently goofy.

68
00:04:10,400 --> 00:04:12,840
Speaker 1: But you can't take it away from the film because

69
00:04:13,040 --> 00:04:15,160
Speaker 1: like a lot of the stuff that works so extremely

70
00:04:15,200 --> 00:04:18,680
Speaker 1: well is tied into that concept. Yea, And yeah, I

71
00:04:18,680 --> 00:04:21,920
Speaker 1: agree on the central paranoia of the piece, something that

72
00:04:21,960 --> 00:04:25,440
Speaker 1: I mean clearly speaks to anyone who is growing older.

73
00:04:26,240 --> 00:04:28,680
Speaker 1: You know, you don't have to have ever consumed an

74
00:04:28,680 --> 00:04:32,279
Speaker 1: illicit drug of any kind to have those kind of

75
00:04:32,279 --> 00:04:36,240
Speaker 1: concerns about, you know, should I have you know, smoked,

76
00:04:36,240 --> 00:04:38,360
Speaker 1: should I have you know, did I drink too much alcohol?

77
00:04:38,360 --> 00:04:40,240
Speaker 1: That I do something unhealthy, That I make some sort

78
00:04:40,240 --> 00:04:42,479
Speaker 1: of choices in my life that are going to come

79
00:04:42,520 --> 00:04:45,760
Speaker 1: back to me, and so forth, And then it does

80
00:04:45,839 --> 00:04:48,400
Speaker 1: tie in of course really well then with the experience

81
00:04:48,440 --> 00:04:51,919
Speaker 1: of anyone who has engaged in any of these substances.

82
00:04:51,960 --> 00:04:53,680
Speaker 1: So yeah, it works in both ways.

83
00:04:53,880 --> 00:04:57,080
Speaker 3: That's right. It's a kind of Cronenbergie and escalation of

84
00:04:57,080 --> 00:04:59,680
Speaker 3: that normal wellness concern where you were You're like, oh,

85
00:04:59,760 --> 00:05:02,240
Speaker 3: is the fact that I used to smoke or used

86
00:05:02,279 --> 00:05:03,800
Speaker 3: to drink too much or something? Is that going to

87
00:05:03,880 --> 00:05:06,320
Speaker 3: come back and bite me? These worries about our health,

88
00:05:06,600 --> 00:05:10,360
Speaker 3: except turn that from a general worry about health into

89
00:05:10,480 --> 00:05:13,360
Speaker 3: a worry about your sanity, you know, a worry that

90
00:05:13,400 --> 00:05:15,040
Speaker 3: it will come back and it will turn you into

91
00:05:15,120 --> 00:05:17,960
Speaker 3: a homicidal maniac. Something you did ten years ago that

92
00:05:18,000 --> 00:05:18,839
Speaker 3: you can't undo.

93
00:05:19,200 --> 00:05:21,520
Speaker 1: Yeah, because that's the basic premises. We'll get into the

94
00:05:21,600 --> 00:05:24,799
Speaker 1: idea that there is a strain of LSD called Blue

95
00:05:24,839 --> 00:05:30,000
Speaker 1: Sunshine that ten years ago, what sixty seven, I think,

96
00:05:30,080 --> 00:05:34,040
Speaker 1: I think the year before the summer I love people

97
00:05:34,080 --> 00:05:36,559
Speaker 1: took it. But it has been like a ticking time bomb,

98
00:05:36,560 --> 00:05:41,280
Speaker 1: and now ten years later it is starting to transform

99
00:05:41,360 --> 00:05:46,920
Speaker 1: people suddenly rapidly into homicidal maniacs, you know, changing their

100
00:05:47,000 --> 00:05:51,279
Speaker 1: DNA perhaps even you know, adjusting the chromosomes and so forth.

101
00:05:51,560 --> 00:05:55,200
Speaker 1: And yeah, it's like These are people who were ten

102
00:05:55,279 --> 00:05:58,640
Speaker 1: years removed from the person they were when they took

103
00:05:58,680 --> 00:05:59,680
Speaker 1: those drugs to begin with.

104
00:06:00,160 --> 00:06:02,680
Speaker 3: Yeah, yeah, now there's another thing I wanted to talk

105
00:06:02,680 --> 00:06:04,760
Speaker 3: about that really stuck out to me on this viewing

106
00:06:04,800 --> 00:06:06,440
Speaker 3: of Blue Sunshine. This is not the first time I've

107
00:06:06,440 --> 00:06:08,960
Speaker 3: seen the movie. My friend Ben showed this to me

108
00:06:09,080 --> 00:06:10,720
Speaker 3: years and years ago. I might have even been in

109
00:06:10,880 --> 00:06:14,160
Speaker 3: high school or maybe early in college when he screened

110
00:06:14,160 --> 00:06:16,760
Speaker 3: this for me at his house, you know, and I

111
00:06:16,960 --> 00:06:20,680
Speaker 3: was really shocked by it then, and it stuck with

112
00:06:20,760 --> 00:06:22,800
Speaker 3: me for years. I think you and I literally talked

113
00:06:22,839 --> 00:06:26,880
Speaker 3: about doing Blue Sunshine ever since the first week we

114
00:06:26,880 --> 00:06:29,000
Speaker 3: were making Weird House Cinema. It was like one of

115
00:06:29,040 --> 00:06:30,520
Speaker 3: the first movies on our list.

116
00:06:30,800 --> 00:06:34,360
Speaker 1: Yeah, I mean it is a hugely popular, you know,

117
00:06:34,440 --> 00:06:37,960
Speaker 1: cult status weird film. So yeah, yeah, it's been on

118
00:06:38,000 --> 00:06:39,599
Speaker 1: the list since the beginning. I don't know, it just

119
00:06:39,600 --> 00:06:42,240
Speaker 1: seemed too soon somehow, like we haven't earned it yet.

120
00:06:43,839 --> 00:06:45,320
Speaker 3: But anyway, So there was a thing I was going

121
00:06:45,360 --> 00:06:48,719
Speaker 3: to get into, which is an interesting distinction I noticed

122
00:06:49,040 --> 00:06:51,920
Speaker 3: which separates it from most of the other movies I

123
00:06:51,920 --> 00:06:56,520
Speaker 3: would think of as psychedelic films. There is almost no

124
00:06:57,160 --> 00:07:01,440
Speaker 3: psychedelic imagery or journeying into to the mind or the

125
00:07:01,480 --> 00:07:06,720
Speaker 3: perception of people on psychedelics within Blue Sunshine. So there

126
00:07:06,760 --> 00:07:10,760
Speaker 3: are a lot of characters that are clearly having bad

127
00:07:11,000 --> 00:07:15,600
Speaker 3: psychedelic experiences in the movie, but we don't see from

128
00:07:15,680 --> 00:07:21,720
Speaker 3: their perspective. We only see them from the outside behaving erratically.

129
00:07:21,760 --> 00:07:23,520
Speaker 3: And this is really unique. I mean, I think about

130
00:07:23,520 --> 00:07:27,640
Speaker 3: all these other sixties drug movies, psychedelic movies, they all

131
00:07:28,000 --> 00:07:31,440
Speaker 3: employ some kind of like weird imagery to show the

132
00:07:31,440 --> 00:07:35,800
Speaker 3: psychedelic perspective of hallucinations, or they employ camera techniques to

133
00:07:35,840 --> 00:07:38,280
Speaker 3: show visual you know, they do double exposures and weird

134
00:07:38,360 --> 00:07:43,120
Speaker 3: kind of special effects to create that psychedelic viewpoint. This

135
00:07:43,240 --> 00:07:45,840
Speaker 3: movie has really none of that. It's a movie about

136
00:07:45,880 --> 00:07:51,000
Speaker 3: the dark side of extraordinary experiences within the mind, which,

137
00:07:51,120 --> 00:07:53,840
Speaker 3: in its own perspective, the perspective of the camera is

138
00:07:53,880 --> 00:08:00,040
Speaker 3: committed to an almost entirely material meat space picture. You

139
00:08:00,080 --> 00:08:00,920
Speaker 3: know what I'm talking.

140
00:08:00,680 --> 00:08:04,040
Speaker 1: About, Yeah, yeah, absolutely, I mean because I mean cinematically,

141
00:08:04,840 --> 00:08:08,960
Speaker 1: the psychedelic look was well established by this point, you know,

142
00:08:09,040 --> 00:08:11,960
Speaker 1: and we've all seen I think a lot of most

143
00:08:11,960 --> 00:08:14,480
Speaker 1: of the listeners to Weird House Cinema have seen films

144
00:08:14,480 --> 00:08:18,120
Speaker 1: that have psychedelic elements, you know, swirling colors, you know,

145
00:08:18,200 --> 00:08:21,560
Speaker 1: some sort of groovy in camera technique, or you know,

146
00:08:21,920 --> 00:08:24,920
Speaker 1: even some other kind of like special effect. A lot

147
00:08:25,000 --> 00:08:28,800
Speaker 1: of this stuff was already well established. In fact, the

148
00:08:28,880 --> 00:08:32,640
Speaker 1: Blu Ray that I used to watch Blue Sunshine, this

149
00:08:32,720 --> 00:08:36,400
Speaker 1: is the film centric Blu Ray edition. As an extra

150
00:08:37,240 --> 00:08:40,959
Speaker 1: amid some other really cool extras, it features an eighteen

151
00:08:41,000 --> 00:08:45,560
Speaker 1: minute nineteen sixty seven anti drug documentary titled LSD Insight

152
00:08:45,840 --> 00:08:50,120
Speaker 1: or Insanity, and it's terrific, and it contains plenty of

153
00:08:50,160 --> 00:08:54,640
Speaker 1: cliche and even quite inventive psychedelic sequences, you know, like

154
00:08:54,960 --> 00:08:58,520
Speaker 1: swirling colors, people like blurring in and out of existence,

155
00:08:58,600 --> 00:08:59,880
Speaker 1: strange things happening in the me.

156
00:09:01,120 --> 00:09:03,040
Speaker 3: I didn't get a chance to watch this in full,

157
00:09:03,120 --> 00:09:05,480
Speaker 3: but you shared it with me and I saw the beginning,

158
00:09:05,520 --> 00:09:09,400
Speaker 3: which was really great because it does not begin like

159
00:09:09,679 --> 00:09:12,200
Speaker 3: showing you people taking tabs of acid and saying like

160
00:09:12,240 --> 00:09:15,679
Speaker 3: the menace that threatens your mind. Instead, it begins by

161
00:09:15,679 --> 00:09:18,240
Speaker 3: showing a bunch of high schoolers and the narrators like

162
00:09:18,360 --> 00:09:24,199
Speaker 3: teenagers love to express themselves, even the boys. Yeah, it's

163
00:09:24,240 --> 00:09:27,120
Speaker 3: about like clothes and hairstyles. And I was just like

164
00:09:27,160 --> 00:09:28,959
Speaker 3: how are we going to get to the acid from this?

165
00:09:29,800 --> 00:09:31,600
Speaker 3: But of course it goes on to like, you know,

166
00:09:31,720 --> 00:09:35,600
Speaker 3: show parties, and there's one screen screen cap I pulled

167
00:09:35,640 --> 00:09:37,880
Speaker 3: here in our chat that's just like a lady with

168
00:09:37,920 --> 00:09:40,440
Speaker 3: a lighter in front of her face that says, why

169
00:09:40,480 --> 00:09:41,440
Speaker 3: be lame baby?

170
00:09:43,080 --> 00:09:46,920
Speaker 1: Yeah, LSD insider insanity. It's it's in full on YouTube,

171
00:09:47,160 --> 00:09:50,840
Speaker 1: so you can find it out there. But yeah, with

172
00:09:50,920 --> 00:09:53,840
Speaker 1: this film with Blue Sunshine, it seems to make a

173
00:09:53,880 --> 00:09:57,319
Speaker 1: conscious decision to avoid many of the trappings of cinematic

174
00:09:57,640 --> 00:10:02,320
Speaker 1: psychedelia for whatever reason. And you know, be it budget, hary,

175
00:10:02,559 --> 00:10:04,679
Speaker 1: or I think I would be inclined to think it

176
00:10:04,760 --> 00:10:08,960
Speaker 1: is just like an absolute creative choice here it absolutely works.

177
00:10:09,040 --> 00:10:11,640
Speaker 1: I mean, these are all characters for whom the world

178
00:10:11,640 --> 00:10:17,000
Speaker 1: of psychedelic experience was previously like you know, out there,

179
00:10:17,360 --> 00:10:19,680
Speaker 1: and now at this point in their lives, it is

180
00:10:19,800 --> 00:10:22,840
Speaker 1: very much like receding inside them. You know, they have

181
00:10:22,880 --> 00:10:26,360
Speaker 1: the memories of those days. It's part of who they were,

182
00:10:26,760 --> 00:10:29,160
Speaker 1: maybe only a small part of who they are now

183
00:10:29,600 --> 00:10:33,120
Speaker 1: and only you know, slightly connected to this world they're

184
00:10:33,160 --> 00:10:35,640
Speaker 1: living in. It's like an echo and therefore, I don't know,

185
00:10:35,679 --> 00:10:37,800
Speaker 1: it kind of makes sense that we don't see it

186
00:10:37,840 --> 00:10:40,719
Speaker 1: as much. All right. My elevator pitch for this one

187
00:10:40,800 --> 00:10:44,640
Speaker 1: is pretty simple. It's maybe you took too much acid. Yeah,

188
00:10:44,720 --> 00:10:46,320
Speaker 1: all right, let's go ahead and listen to a little

189
00:10:46,320 --> 00:10:47,480
Speaker 1: bit of the trailer audio here.

190
00:10:54,240 --> 00:11:34,920
Speaker 4: The nightmare has begun. Blue Sunshine, Blue Sunshine, It could

191
00:11:35,120 --> 00:11:36,240
Speaker 4: happen to you.

192
00:11:40,720 --> 00:11:43,080
Speaker 1: And we'll come back to discuss some of the marketing

193
00:11:43,280 --> 00:11:47,720
Speaker 1: materials here, because the marketing materials for Blue Sunshine certainly

194
00:11:47,840 --> 00:11:52,040
Speaker 1: ratcheted up the drug exploitation elements of the picture, and

195
00:11:52,080 --> 00:11:54,920
Speaker 1: you can argue to what extent those elements are actually

196
00:11:55,000 --> 00:11:56,640
Speaker 1: present in the film itself.

197
00:11:56,920 --> 00:11:59,400
Speaker 3: Were they trying to blair witch this thing a little

198
00:11:59,400 --> 00:12:02,520
Speaker 3: bit of making it like this is real? Blue Sunshine

199
00:12:02,559 --> 00:12:03,640
Speaker 3: is a real phenomenon.

200
00:12:03,800 --> 00:12:05,600
Speaker 1: I think so, because if you look at there's one

201
00:12:05,640 --> 00:12:08,880
Speaker 1: poster in particular that I think is just ridiculous, and

202
00:12:08,920 --> 00:12:11,600
Speaker 1: it says, like, bigger than the title of the film,

203
00:12:12,040 --> 00:12:14,720
Speaker 1: you have warning. If you were one of the millions

204
00:12:14,720 --> 00:12:17,400
Speaker 1: who took allucinogens in the late nineteen sixties, you may

205
00:12:17,400 --> 00:12:20,000
Speaker 1: be a human time bomb about to explode into a

206
00:12:20,000 --> 00:12:24,040
Speaker 1: bloody nightmare of uncontrollable killing. Think back, did you ever

207
00:12:24,080 --> 00:12:27,760
Speaker 1: hear the words blue Sunshine, try to remember your life

208
00:12:27,800 --> 00:12:31,520
Speaker 1: may depend on it. So I mean, clearly they're getting

209
00:12:31,559 --> 00:12:31,880
Speaker 1: in there.

210
00:12:32,480 --> 00:12:34,680
Speaker 3: I'm of mixed feelings about that because on one hand,

211
00:12:34,720 --> 00:12:37,800
Speaker 3: I feel like that's very strong marketing and it emphasizes

212
00:12:37,840 --> 00:12:40,720
Speaker 3: the effectiveness of the movie, but also like to put

213
00:12:40,720 --> 00:12:44,000
Speaker 3: that on the poster where it's not as clear that

214
00:12:44,120 --> 00:12:46,880
Speaker 3: this is like a fictional contrivance. That's just kind of mean.

215
00:12:47,240 --> 00:12:49,880
Speaker 1: Yeah, Like it doesn't it like this poster you have

216
00:12:49,920 --> 00:12:53,000
Speaker 1: to really scan down to see like the R rating. Otherwise,

217
00:12:53,040 --> 00:12:57,160
Speaker 1: even the credits don't look like they're not like laid

218
00:12:57,160 --> 00:12:59,360
Speaker 1: out like typical credits, So yeah, it looks like, oh,

219
00:12:59,400 --> 00:13:02,960
Speaker 1: it's just a about about the blue asset.

220
00:13:03,400 --> 00:13:06,280
Speaker 3: To be clear to anybody listening, this is a fictional

221
00:13:06,320 --> 00:13:08,320
Speaker 3: thing in the movie. There's no such thing as Blue

222
00:13:08,320 --> 00:13:11,240
Speaker 3: Sunshine that made people's hair fall out and kill everybody.

223
00:13:11,640 --> 00:13:15,520
Speaker 1: Yeah, yeah, all right, if you want to watch Blue

224
00:13:15,559 --> 00:13:19,400
Speaker 1: Sunshine for yourself, Lucky for you. Numerous special editions of

225
00:13:19,400 --> 00:13:21,520
Speaker 1: this film have come out. It's one of those where

226
00:13:21,520 --> 00:13:23,240
Speaker 1: I feel like they keep coming out with new ones.

227
00:13:23,520 --> 00:13:26,080
Speaker 1: I watched it on the film Centric Blu ray, rented

228
00:13:26,120 --> 00:13:29,439
Speaker 1: from Atlanta's own Video Drum Sinnapp's Films also put out

229
00:13:29,440 --> 00:13:31,880
Speaker 1: a great looking blu ray set with some really cool

230
00:13:31,880 --> 00:13:34,720
Speaker 1: custom sleeves. I think. I think Video Drum also has

231
00:13:34,760 --> 00:13:37,199
Speaker 1: this copy as well, and I'm sure it's streamable.

232
00:13:38,080 --> 00:13:40,640
Speaker 3: Yes, I watched. I watched it streaming. Cool.

233
00:13:49,160 --> 00:13:51,600
Speaker 1: All right, Well, let's get into the people involved here,

234
00:13:51,640 --> 00:13:54,840
Speaker 1: starting at the top with Jeff Lieberman. He's the director,

235
00:13:54,840 --> 00:13:57,720
Speaker 1: he's the writer. He also voices the parrot, which is

236
00:13:57,800 --> 00:13:58,720
Speaker 1: pretty great.

237
00:13:58,840 --> 00:14:00,800
Speaker 3: You know, we had a parrot in our last weird

238
00:14:00,800 --> 00:14:01,640
Speaker 3: house cinema movie.

239
00:14:01,760 --> 00:14:02,679
Speaker 1: Remember, Oh did we?

240
00:14:02,880 --> 00:14:05,400
Speaker 3: It was the rainbow wig guy in Rock and Roll?

241
00:14:05,640 --> 00:14:07,640
Speaker 1: Yes, of course. Oh yes, a humanoid parrot that's right.

242
00:14:07,920 --> 00:14:09,760
Speaker 3: Yes, who was selling tickets?

243
00:14:10,160 --> 00:14:15,520
Speaker 1: Yes? Yeah so. Jeff Leberman born nineteen forty seven American

244
00:14:15,520 --> 00:14:18,280
Speaker 1: film director and writer, best known for a trio of

245
00:14:18,400 --> 00:14:23,080
Speaker 1: thrillers that have each gained different levels of cult movie status.

246
00:14:23,680 --> 00:14:26,840
Speaker 1: The first in this trio was nineteen seventy six. Is Squirm,

247
00:14:27,320 --> 00:14:30,200
Speaker 1: a movie about killer earthworms that many of us know

248
00:14:30,320 --> 00:14:33,160
Speaker 1: best from Mystery Science Theater three thousand. This is the

249
00:14:33,440 --> 00:14:35,400
Speaker 1: Now You're Gonna Be the Worm Face movie?

250
00:14:35,640 --> 00:14:38,320
Speaker 3: Do I recall that the Mystery Science Theater edit of

251
00:14:38,360 --> 00:14:41,080
Speaker 3: this movie significantly sanitizes the film.

252
00:14:41,640 --> 00:14:43,920
Speaker 1: Yes, yeah, this is one, and I have to admit

253
00:14:44,000 --> 00:14:46,680
Speaker 1: I haven't watched it in full uncut. I love this

254
00:14:46,800 --> 00:14:49,320
Speaker 1: MST three K episode, but I really owe it to

255
00:14:49,360 --> 00:14:51,720
Speaker 1: Squirm to watch the full cut that has all of

256
00:14:51,760 --> 00:14:56,200
Speaker 1: the like grotesque makeup effects by the legendary Rick Baker,

257
00:14:57,280 --> 00:14:59,640
Speaker 1: lots of worm face action in there that I really

258
00:14:59,720 --> 00:15:02,920
Speaker 1: need to I really need to watch the full uncut

259
00:15:02,920 --> 00:15:06,480
Speaker 1: picture so that Squirm. Then came this picture Blue Sunshine,

260
00:15:06,960 --> 00:15:08,800
Speaker 1: and then in nineteen eighty one he gave us Just

261
00:15:08,840 --> 00:15:13,920
Speaker 1: Before Dawn. That's a backwood slasher starring George Kennedy. So

262
00:15:13,920 --> 00:15:15,640
Speaker 1: those are kind of the big ones. He also did

263
00:15:15,640 --> 00:15:18,080
Speaker 1: a nineteen eighty eight film titled Remote Control that looks

264
00:15:18,080 --> 00:15:21,240
Speaker 1: pretty entertaining. We might have to come back to that one.

265
00:15:21,440 --> 00:15:23,840
Speaker 1: He also worked on the screenplay for The Never Ending

266
00:15:23,880 --> 00:15:27,680
Speaker 1: Story three in nineteen ninety four. I don't think that's

267
00:15:27,880 --> 00:15:30,040
Speaker 1: that's a good one, but I'm gonna mention it just

268
00:15:30,040 --> 00:15:31,640
Speaker 1: because it connects to the never Ending Story.

269
00:15:32,560 --> 00:15:34,840
Speaker 3: Maybe it's like The Exorcist, where the second one's bad

270
00:15:34,880 --> 00:15:36,000
Speaker 3: with the third one's good. Again.

271
00:15:36,640 --> 00:15:40,600
Speaker 1: I have my doubts. But in the late seventies, Jeff

272
00:15:40,640 --> 00:15:42,840
Speaker 1: Lieberman was that he was a young director with a vision.

273
00:15:43,440 --> 00:15:46,360
Speaker 1: That's the way actor Robert Walden, who will come back

274
00:15:46,360 --> 00:15:48,520
Speaker 1: to in a minute, described him in an interview that's

275
00:15:48,560 --> 00:15:50,640
Speaker 1: one of the extras on the disc that I watched.

276
00:15:51,160 --> 00:15:54,320
Speaker 1: It described him as a young, really kind of egotistical director,

277
00:15:54,720 --> 00:15:58,840
Speaker 1: but with a firm, uncompromising vision for the cinematic world

278
00:15:58,840 --> 00:16:02,480
Speaker 1: in the story he wanted to create. He knew exactly

279
00:16:02,520 --> 00:16:06,320
Speaker 1: what he wanted to tell here, and he said in interviews.

280
00:16:06,360 --> 00:16:09,360
Speaker 1: Lieberman has that he didn't see Blue Sunshine at all

281
00:16:09,400 --> 00:16:12,800
Speaker 1: as an anti drug film. He himself had experiences with

282
00:16:12,920 --> 00:16:15,240
Speaker 1: LSD that I don't know the way he was describing them.

283
00:16:15,280 --> 00:16:19,280
Speaker 1: Some of the extras, they sounded on the whole positive. He's,

284
00:16:19,400 --> 00:16:22,400
Speaker 1: you know, admittedly he's a weird dude, and he talks

285
00:16:22,440 --> 00:16:25,400
Speaker 1: about how LSD made him realize that he was so

286
00:16:25,520 --> 00:16:28,520
Speaker 1: weird and he was always going to be a little

287
00:16:29,280 --> 00:16:34,080
Speaker 1: removed from normal mondane society. But but yeah. He said

288
00:16:34,080 --> 00:16:35,200
Speaker 1: that one of the things he set out to do

289
00:16:35,240 --> 00:16:39,040
Speaker 1: with Blue Sunshine was to use the anti drug paranoia

290
00:16:39,200 --> 00:16:42,560
Speaker 1: and propagon propaganda present in the media as a kind

291
00:16:42,600 --> 00:16:46,440
Speaker 1: of science fiction skeleton upon which to build his story,

292
00:16:46,760 --> 00:16:49,400
Speaker 1: which so he compares it ultimately to the bad science

293
00:16:49,440 --> 00:16:53,800
Speaker 1: of radioactive mutation in atomic b movies of the fifties.

294
00:16:54,320 --> 00:16:56,640
Speaker 3: Oh that's interesting because I was kind of wondering about

295
00:16:56,640 --> 00:17:00,840
Speaker 3: this while we were thinking about Jeff Leeber Here I

296
00:17:00,880 --> 00:17:04,280
Speaker 3: realized a point of comparison and a film with I

297
00:17:04,359 --> 00:17:09,159
Speaker 3: think you could argue similar themes. Is penos Cosmotos is

298
00:17:09,200 --> 00:17:10,320
Speaker 3: Beyond the Black Rainbow.

299
00:17:10,880 --> 00:17:15,840
Speaker 1: Yes, I'm I'm certain that Blue Sunshine was a major influence.

300
00:17:15,880 --> 00:17:17,879
Speaker 1: I'm Beyond the Black Rainbow, and you know, in some

301
00:17:17,960 --> 00:17:21,520
Speaker 1: of its themes of you know, post sixties disillusionment and

302
00:17:21,600 --> 00:17:25,040
Speaker 1: also like mega tripping bald psychopaths.

303
00:17:25,280 --> 00:17:27,880
Speaker 3: Yeah, I mean it's a point of view I can

304
00:17:28,119 --> 00:17:32,720
Speaker 3: sympathize with, even though I don't have an overall negative

305
00:17:32,800 --> 00:17:34,840
Speaker 3: view of psychedelics, and I'm not sure that I would

306
00:17:35,320 --> 00:17:39,760
Speaker 3: suspect that penos Cosmotos does, and as you say, Lieberman

307
00:17:39,920 --> 00:17:43,359
Speaker 3: apparently did not either. But I think it's kind of

308
00:17:43,400 --> 00:17:46,919
Speaker 3: interesting to explore the darker side of thing, because darker

309
00:17:46,920 --> 00:17:49,360
Speaker 3: side of this thing, because you do end up with

310
00:17:49,520 --> 00:17:52,800
Speaker 3: these people who are kind of psychedelic evangelists, you know,

311
00:17:52,840 --> 00:17:57,840
Speaker 3: these people like Timothy Leary who became famous for preaching

312
00:17:57,880 --> 00:18:01,000
Speaker 3: the virtues of taking psychedelics and saying, you know, all

313
00:18:01,320 --> 00:18:03,119
Speaker 3: the good things that it would do for your for

314
00:18:03,200 --> 00:18:05,240
Speaker 3: your mind, And I don't know, I think I have

315
00:18:05,280 --> 00:18:07,919
Speaker 3: a more balanced view on it, which takes the idea

316
00:18:07,960 --> 00:18:12,440
Speaker 3: of mind expansion somewhat seriously. But of course your mind

317
00:18:12,480 --> 00:18:15,040
Speaker 3: can expand in good or bad ways. And you know,

318
00:18:15,320 --> 00:18:18,280
Speaker 3: without the right kind of without the right kind of

319
00:18:18,320 --> 00:18:21,919
Speaker 3: guidance and framing of a psychedelic experience, you can imagine

320
00:18:21,920 --> 00:18:23,880
Speaker 3: it could make you a worse person. It just sort

321
00:18:23,920 --> 00:18:26,679
Speaker 3: of like opens up possibilities of personal change.

322
00:18:27,160 --> 00:18:28,879
Speaker 1: Yeah, yeah, I mean, we did a whole series on

323
00:18:28,920 --> 00:18:32,520
Speaker 1: psychedelics years back. Should should those episodes should be available

324
00:18:32,520 --> 00:18:36,160
Speaker 1: in the archives, stuffed to blow your mind? And yeah,

325
00:18:36,160 --> 00:18:37,720
Speaker 1: one of the things that we stress there is, yeah,

326
00:18:37,760 --> 00:18:43,000
Speaker 1: but bad trips do happen, and psychedelic experiences in general

327
00:18:43,680 --> 00:18:46,879
Speaker 1: tend to have they tend to not be just like

328
00:18:46,960 --> 00:18:52,120
Speaker 1: the rosy, colorful, cinematic psychedelic experience that you see in

329
00:18:52,160 --> 00:18:56,639
Speaker 1: like some of these psychedelic films. So it's yeah, and

330
00:18:56,680 --> 00:18:59,119
Speaker 1: then on top of that, without getting you know, super

331
00:18:59,160 --> 00:19:02,040
Speaker 1: into you know, the science and history of psychedelics, like

332
00:19:02,080 --> 00:19:04,280
Speaker 1: it does not they don't they tend not they don't

333
00:19:04,320 --> 00:19:07,719
Speaker 1: work well with everyone's brain chemistry, and some people absolutely

334
00:19:07,720 --> 00:19:12,159
Speaker 1: should not take them. So yeah, all of those caveats

335
00:19:12,280 --> 00:19:13,240
Speaker 1: very much in place here.

336
00:19:13,800 --> 00:19:16,880
Speaker 3: Yeah, and so I think there is an interesting cultural

337
00:19:16,960 --> 00:19:20,560
Speaker 3: role for films like this as a kind of not

338
00:19:20,640 --> 00:19:23,080
Speaker 3: that you should take Blue Sunshine seriously, as like a

339
00:19:23,119 --> 00:19:27,080
Speaker 3: scenario that would actually unfold, but because on one hand

340
00:19:27,119 --> 00:19:30,520
Speaker 3: you do have psychedelic evangelists who are out there, I

341
00:19:30,520 --> 00:19:35,640
Speaker 3: think over selling the unalloyed virtues of psychedelics, just like, oh,

342
00:19:35,640 --> 00:19:38,720
Speaker 3: it's perfect, it's all good, everybody should do it. On

343
00:19:38,760 --> 00:19:40,639
Speaker 3: the other hand, it's you know, you can get a balance,

344
00:19:40,680 --> 00:19:43,160
Speaker 3: you can get some people spinning out these these overly

345
00:19:43,200 --> 00:19:45,639
Speaker 3: negative scenarios and showing the kind of the side of

346
00:19:45,680 --> 00:19:47,440
Speaker 3: disillusionment and destruction.

347
00:19:47,920 --> 00:19:50,200
Speaker 1: And then also in the same way that like really

348
00:19:50,320 --> 00:19:54,679
Speaker 1: rosy you know, tinted psychedelic sequences and films are very entertaining.

349
00:19:54,800 --> 00:19:58,600
Speaker 1: Dark psychedelia is also very entertaining, And so yeah, I

350
00:19:58,640 --> 00:20:02,120
Speaker 1: think we need both just as filmgoers. All right, let's

351
00:20:02,119 --> 00:20:04,640
Speaker 1: get into the cast here, starting at the top with

352
00:20:04,760 --> 00:20:07,560
Speaker 1: the character Jerry Zipken. We're gonna be talking about Jerry

353
00:20:07,640 --> 00:20:10,640
Speaker 1: Zipkin quite a bit here played by Zalman King, who

354
00:20:10,680 --> 00:20:13,520
Speaker 1: lived nineteen forty two through twenty twelve.

355
00:20:14,200 --> 00:20:17,920
Speaker 3: Just let me compare two things, the experience of watching

356
00:20:18,000 --> 00:20:23,119
Speaker 3: Blue Sunshine versus how everybody seems to write and talk

357
00:20:23,160 --> 00:20:26,679
Speaker 3: about him, which is like, this is the handsomest, sexiest

358
00:20:26,720 --> 00:20:29,359
Speaker 3: guy who has ever lived. I'm not trying to insult him.

359
00:20:29,359 --> 00:20:31,320
Speaker 3: I mean, like, yeah, it's a good looking guy and

360
00:20:31,359 --> 00:20:34,560
Speaker 3: all that, but his vibe in the movie is weird.

361
00:20:34,720 --> 00:20:36,760
Speaker 3: I don't know, maybe it's just the character he's playing

362
00:20:36,760 --> 00:20:38,959
Speaker 3: in Blue Sunshine, but he does not come off like

363
00:20:39,080 --> 00:20:41,000
Speaker 3: a hunk of burn in love in this movie, even

364
00:20:41,040 --> 00:20:44,120
Speaker 3: though he is rather lovey dovey in some scenes. Mostly

365
00:20:44,160 --> 00:20:48,679
Speaker 3: he comes off as a weird, obsessed guy who is

366
00:20:48,720 --> 00:20:50,720
Speaker 3: on a different frequency than everybody else.

367
00:20:50,920 --> 00:20:54,400
Speaker 1: Yeah, and is on the run from authorities throughout most

368
00:20:54,440 --> 00:20:57,399
Speaker 1: of the pictures. So so yeah, but yeah, when you

369
00:20:57,400 --> 00:20:59,480
Speaker 1: hear when you hear people talk about him, like again,

370
00:20:59,520 --> 00:21:04,360
Speaker 1: coming back to that Robert Walden interview on the Blu Ray, Yeah,

371
00:21:04,400 --> 00:21:07,360
Speaker 1: he talks about how just like effortlessly charming and sexy

372
00:21:07,880 --> 00:21:10,639
Speaker 1: Zalman King was and how you know, how well he

373
00:21:10,680 --> 00:21:14,440
Speaker 1: worked with female co stars. But at the same time

374
00:21:14,440 --> 00:21:16,840
Speaker 1: he also talks about just like and I think this

375
00:21:16,880 --> 00:21:18,960
Speaker 1: is something we do see in his performance, about how

376
00:21:19,000 --> 00:21:21,920
Speaker 1: intense and stripped down his performances at times, Like he's

377
00:21:21,960 --> 00:21:25,000
Speaker 1: definitely like manic and freaking out at times. But then

378
00:21:25,040 --> 00:21:27,159
Speaker 1: there are there are a lot of scenes where you

379
00:21:27,200 --> 00:21:30,440
Speaker 1: know often talk about you know, performances where it's all

380
00:21:30,440 --> 00:21:32,840
Speaker 1: in the eyes and you can see the gears turning

381
00:21:33,280 --> 00:21:36,000
Speaker 1: behind the eyes, And we definitely get that from King.

382
00:21:35,840 --> 00:21:38,399
Speaker 3: In this There are scenes where it seems like he

383
00:21:38,440 --> 00:21:41,359
Speaker 3: should be saying more, but he's just totally silent. And

384
00:21:41,400 --> 00:21:44,439
Speaker 3: then there are other scenes where he's suddenly screaming and

385
00:21:44,480 --> 00:21:45,600
Speaker 3: I don't understand why.

386
00:21:46,440 --> 00:21:50,160
Speaker 1: Yeah, I mean he's he's having a rough time. Yeah,

387
00:21:50,359 --> 00:21:53,720
Speaker 1: but yeah, so Zalman King, actor turned director and producer.

388
00:21:53,800 --> 00:21:55,800
Speaker 1: His acting credits go back to the mid sixties. He

389
00:21:55,840 --> 00:21:57,879
Speaker 1: even pops up in a sixty five episode of The

390
00:21:57,960 --> 00:22:01,159
Speaker 1: Munsters playing some sort of like beer did hipster or something.

391
00:22:01,720 --> 00:22:03,639
Speaker 3: Is he is he like an igor character?

392
00:22:04,080 --> 00:22:06,040
Speaker 1: I don't know, he's like I think he's credited as

393
00:22:06,040 --> 00:22:09,280
Speaker 1: like bearded dude or something. But he did a lot

394
00:22:09,359 --> 00:22:12,040
Speaker 1: of TV westerns and the like. But his film career

395
00:22:12,080 --> 00:22:15,920
Speaker 1: took off more in the nineteen seventies. He's probably best

396
00:22:16,000 --> 00:22:19,040
Speaker 1: known for acting in Well this There's nineteen seventy six

397
00:22:19,119 --> 00:22:22,000
Speaker 1: is the passover plot. He's also in nineteen eighty one's

398
00:22:22,040 --> 00:22:25,640
Speaker 1: Galaxy of Terror. He also shows up in a film

399
00:22:25,680 --> 00:22:28,160
Speaker 1: I watched in the last couple of years, nineteen eighty

400
00:22:28,160 --> 00:22:32,320
Speaker 1: two's Endangered Species. That's a tight little cattle mutilation film

401
00:22:32,359 --> 00:22:35,920
Speaker 1: by Alan Rudolph. It's only a very small Zalman King,

402
00:22:36,600 --> 00:22:39,960
Speaker 1: Zaman King performance, very small part, but he was a

403
00:22:39,960 --> 00:22:41,080
Speaker 1: producer on that picture.

404
00:22:41,400 --> 00:22:44,480
Speaker 3: That's not the one we watched, Not the one we watched,

405
00:22:44,560 --> 00:22:44,880
Speaker 3: the head.

406
00:22:44,960 --> 00:22:48,280
Speaker 1: We watched The Return, The Return, Oh yeah, that was

407
00:22:48,320 --> 00:22:54,480
Speaker 1: The Return leans into the other worldly causes of cattle mutilation,

408
00:22:54,800 --> 00:22:57,200
Speaker 1: whereas I don't want to spoil anything, but I just

409
00:22:57,240 --> 00:22:59,640
Speaker 1: say Endangered Species is more of like a straight up

410
00:22:59,760 --> 00:23:00,760
Speaker 1: real world thriller.

411
00:23:01,480 --> 00:23:03,359
Speaker 3: Oh, I just looked it up. Yeah, this was the

412
00:23:03,720 --> 00:23:07,000
Speaker 3: Martin Landau, Jan Michael Vincent and Sybil Shepherd.

413
00:23:07,560 --> 00:23:08,800
Speaker 1: Yeah that's the one we watched.

414
00:23:08,880 --> 00:23:11,200
Speaker 3: Yeah, yeah, the Return and Vincent Chiavelli.

415
00:23:11,680 --> 00:23:15,120
Speaker 1: Yeah. Yeah, it's a lot of fun. Yeah, that episode

416
00:23:15,160 --> 00:23:18,439
Speaker 1: is of Weird House Cinemas in the archives. Now, the

417
00:23:18,480 --> 00:23:21,639
Speaker 1: first place I heard of Zalmon King though was This

418
00:23:21,680 --> 00:23:24,719
Speaker 1: was during the nineteen nineties. He had an erotic drama

419
00:23:24,760 --> 00:23:28,280
Speaker 1: anthology series titled Red Shoe Diaries, and I think it

420
00:23:28,320 --> 00:23:32,120
Speaker 1: was sometimes marketed as Zalman King's Red Shoe Diaries. And

421
00:23:32,720 --> 00:23:34,840
Speaker 1: I don't know where I was hearing ads for it,

422
00:23:34,840 --> 00:23:36,879
Speaker 1: because I don't think I ever watched it. But it

423
00:23:36,920 --> 00:23:39,480
Speaker 1: was a showtime series, so maybe it was on on

424
00:23:39,520 --> 00:23:43,240
Speaker 1: a showtime preview, maybe it was in syndication. I'm not sure,

425
00:23:43,560 --> 00:23:47,160
Speaker 1: but the name Zalman King it captured my young attention,

426
00:23:48,040 --> 00:23:50,840
Speaker 1: and indeed, Zalmon King made a name for himself directing

427
00:23:50,840 --> 00:23:54,080
Speaker 1: and producing motion pictures of a sensual and erotic nature.

428
00:23:54,320 --> 00:23:57,280
Speaker 1: These include nineteen eighty eight's Two Moon Junction, eighty nine's

429
00:23:57,280 --> 00:24:00,440
Speaker 1: Wild Orchid, nineteen ninety two's Red Shoe Diary S which

430
00:24:00,480 --> 00:24:03,920
Speaker 1: inspired the series, and nineteen ninety five's Delta of Venus.

431
00:24:04,200 --> 00:24:07,400
Speaker 1: Of these, I've only seen Delta of Venus, but as

432
00:24:07,440 --> 00:24:10,000
Speaker 1: I recall, it's been a long time, but it was

433
00:24:10,480 --> 00:24:12,960
Speaker 1: a beautifully shot piece inspired by the works of an

434
00:24:13,000 --> 00:24:16,440
Speaker 1: I nin So I'm no expert on this genre, but

435
00:24:16,480 --> 00:24:19,680
Speaker 1: I'd say you might roughly classify it as fairly high

436
00:24:19,760 --> 00:24:22,679
Speaker 1: minded erotica. He also produced nine and a half weeks.

437
00:24:23,040 --> 00:24:25,040
Speaker 3: I was just trying to think why I'd heard of

438
00:24:25,280 --> 00:24:27,280
Speaker 3: Red Shoe Diaries, But I looked it up and David

439
00:24:27,320 --> 00:24:30,160
Speaker 3: Ducoveney was in this, So there you go. That's why

440
00:24:30,720 --> 00:24:34,320
Speaker 3: is that the movie or the TV series? Let's see

441
00:24:34,920 --> 00:24:36,760
Speaker 3: it is the anthology series?

442
00:24:36,840 --> 00:24:37,800
Speaker 1: Okay, there you go.

443
00:24:38,240 --> 00:24:40,320
Speaker 3: Oh wait, how is it? How does it star David

444
00:24:40,359 --> 00:24:42,800
Speaker 3: Ducoveney If it's an anthology, maybe he's just in the

445
00:24:42,840 --> 00:24:47,879
Speaker 3: first episode. Maybe he's like the cryptkeeper, he's the sexy

446
00:24:47,920 --> 00:24:51,240
Speaker 3: crypt keeper. Yeah, David Dukeveney, Why don't you love me?

447
00:24:51,560 --> 00:24:54,720
Speaker 1: Yeah? All right? Moving on through the rest of the cast.

448
00:24:54,800 --> 00:24:59,560
Speaker 1: Deborah Winters plays Alicia Sweeney. This is Zipken's romantic interest

449
00:25:00,280 --> 00:25:02,720
Speaker 1: was born in nineteen fifty three. Prior to this, she'd

450
00:25:02,720 --> 00:25:05,520
Speaker 1: done several films, including nineteen seventies The People next Door,

451
00:25:05,920 --> 00:25:09,800
Speaker 1: seventy one's Cotch, seventy three's Class of forty four. Other

452
00:25:09,840 --> 00:25:12,479
Speaker 1: film credits include nineteen eighty sevens The Outing and nineteen

453
00:25:12,480 --> 00:25:17,120
Speaker 1: seventy seven's Tarantula's The Deadly Cargo. Oh, I gotta look

454
00:25:17,160 --> 00:25:17,520
Speaker 1: that up.

455
00:25:17,800 --> 00:25:20,200
Speaker 3: Yeah, we're covering that. I don't even know. I don't

456
00:25:20,200 --> 00:25:21,960
Speaker 3: know anything, but it's going on the list.

457
00:25:22,600 --> 00:25:25,119
Speaker 1: Her last film was the nineteen ninety two TV movie

458
00:25:25,119 --> 00:25:28,200
Speaker 1: Behind the Mask. She was also on TV's Gemini Man

459
00:25:28,240 --> 00:25:31,520
Speaker 1: starring Den Murphy, but is not in the MST three

460
00:25:31,640 --> 00:25:34,560
Speaker 1: K movie cut of Gemini Man that was titled Writing

461
00:25:34,600 --> 00:25:37,720
Speaker 1: with Death. I'd say Winter's is good in this. I

462
00:25:37,760 --> 00:25:40,359
Speaker 1: don't think I've seen her in anything else, but like

463
00:25:40,400 --> 00:25:44,200
Speaker 1: pretty much everyone in Blue Sunshine, she gives a believable

464
00:25:44,359 --> 00:25:48,680
Speaker 1: performance with the caveat a caveat here about when characters

465
00:25:48,720 --> 00:25:52,840
Speaker 1: actually freak out and become homicidal maniacs, but in terms

466
00:25:52,880 --> 00:25:55,439
Speaker 1: of like just normal human interactions, when people were playing

467
00:25:55,480 --> 00:26:02,000
Speaker 1: like regular characters. Everyone's really good in this, and her

468
00:26:02,080 --> 00:26:05,160
Speaker 1: character is a character with agency and intuition.

469
00:26:05,840 --> 00:26:08,080
Speaker 3: She is good. Though I don't know if you agree

470
00:26:08,119 --> 00:26:11,600
Speaker 3: with this. I would say the tone of her performance

471
00:26:11,880 --> 00:26:15,359
Speaker 3: is different from everybody else in the movie. I would

472
00:26:15,359 --> 00:26:19,359
Speaker 3: say everybody else is playing it a little bit straighter,

473
00:26:19,920 --> 00:26:22,800
Speaker 3: and she is playing it a little bit whimsical. Do

474
00:26:23,240 --> 00:26:25,600
Speaker 3: you know what I'm talking about? Like she is treating

475
00:26:25,640 --> 00:26:29,720
Speaker 3: this movie slightly more like a comedy than everybody else.

476
00:26:29,880 --> 00:26:33,359
Speaker 3: For everybody else, it's zero. She's on like fifteen or

477
00:26:33,359 --> 00:26:34,040
Speaker 3: twenty percent.

478
00:26:34,800 --> 00:26:37,840
Speaker 1: Yeah, I mean it's yeah, it is kind of like

479
00:26:38,240 --> 00:26:41,760
Speaker 1: she is in a sitcom or not a sitcom maybe,

480
00:26:41,760 --> 00:26:45,200
Speaker 1: but let's say, like a lighthearted TV drama titled Blue Sunshine,

481
00:26:45,240 --> 00:26:48,160
Speaker 1: whereas everyone else is in the gritty nineteen seventies thriller.

482
00:26:48,640 --> 00:26:51,000
Speaker 3: Like she has a little bit of a like roll

483
00:26:51,040 --> 00:26:53,680
Speaker 3: your eyes and look at the camera energy, and well,

484
00:26:53,720 --> 00:26:57,080
Speaker 3: everybody else's wigs are coming off and they're attacking strangers.

485
00:26:57,320 --> 00:26:59,280
Speaker 1: Yeah, but she's in a lot of scenes with Zalman King,

486
00:26:59,359 --> 00:27:01,720
Speaker 1: so it could just be like it's that natural charisma,

487
00:27:01,880 --> 00:27:04,280
Speaker 1: just like lightning the mood. Maybe a little too much,

488
00:27:13,040 --> 00:27:17,120
Speaker 1: all right. Next up, we have Mark Goddard playing Edward Fleming.

489
00:27:17,200 --> 00:27:21,040
Speaker 1: This is our sixties psychedelic guru turned seventies politician.

490
00:27:21,480 --> 00:27:23,840
Speaker 3: I was thinking of this guy as what if the

491
00:27:23,960 --> 00:27:28,080
Speaker 3: Richard Lynch character from God told me to left Gurudom

492
00:27:28,119 --> 00:27:29,760
Speaker 3: and decided to run for office.

493
00:27:30,119 --> 00:27:33,320
Speaker 1: Yeah, yeah, I think we mentioned panoskos Mados already, but

494
00:27:35,200 --> 00:27:39,359
Speaker 1: the character from his film Mandy Jeremiah sand I think

495
00:27:40,119 --> 00:27:43,439
Speaker 1: is kind of an extrapolation in some ways of this character,

496
00:27:43,560 --> 00:27:47,040
Speaker 1: at least the hints we have about who this character

497
00:27:47,240 --> 00:27:50,240
Speaker 1: was prior to the nineteen seventies, because that's one of

498
00:27:50,280 --> 00:27:54,439
Speaker 1: the interesting things about this character, Edward Fleming. There's so

499
00:27:54,520 --> 00:27:57,000
Speaker 1: much implied about who he was, and we don't get

500
00:27:57,000 --> 00:27:59,480
Speaker 1: to see any of it aside from a single image,

501
00:27:59,520 --> 00:28:03,040
Speaker 1: like a single goal photograph, and that photograph carries a

502
00:28:03,080 --> 00:28:05,800
Speaker 1: lot of weight, like it really it really forces we

503
00:28:06,119 --> 00:28:09,399
Speaker 1: imagine so much just from that one little thing, and

504
00:28:09,440 --> 00:28:13,639
Speaker 1: it ultimately delivers more than a dozen flashbacks would have. So.

505
00:28:14,000 --> 00:28:17,000
Speaker 1: Mark Goddard lived nineteen thirty six through twenty twenty three,

506
00:28:17,800 --> 00:28:20,879
Speaker 1: perhaps best remembered by many anyway as Major Don West

507
00:28:20,920 --> 00:28:23,240
Speaker 1: on the original Lost in Space series. He was like

508
00:28:23,240 --> 00:28:26,959
Speaker 1: the military dude. He has a cameo as a general

509
00:28:27,000 --> 00:28:30,879
Speaker 1: in the nineteen ninety eight film adaptation of Lost in Space, which,

510
00:28:31,040 --> 00:28:33,440
Speaker 1: because I recall, is pretty weird in its own right.

511
00:28:34,000 --> 00:28:36,000
Speaker 3: With the one with Joey from Friends in it.

512
00:28:36,440 --> 00:28:39,560
Speaker 1: Yeah, but even more importantly, it had Gary Oldman as

513
00:28:39,920 --> 00:28:43,680
Speaker 1: Doctor Smith and he like eventually mutates into a giant

514
00:28:43,720 --> 00:28:47,640
Speaker 1: spider thing. Yeah, all right, it's good, or at least

515
00:28:47,680 --> 00:28:50,520
Speaker 1: that's good. It's good. Bet, that's what I remember.

516
00:28:52,200 --> 00:28:54,520
Speaker 3: I recalled. I don't know why I recall that. Being

517
00:28:55,040 --> 00:28:59,000
Speaker 3: in the early days of DVD players, that being just

518
00:28:59,040 --> 00:29:02,000
Speaker 3: like a DVD you saw everywhere. They must have made

519
00:29:02,160 --> 00:29:03,880
Speaker 3: more copies of it than anything else.

520
00:29:04,200 --> 00:29:07,000
Speaker 1: Yeah, it felt very sleek in advance for the time,

521
00:29:07,000 --> 00:29:10,440
Speaker 1: as I recall. So anyway, God was mostly a TV

522
00:29:10,480 --> 00:29:13,680
Speaker 1: actor who appeared on such westerns and mystery series as

523
00:29:13,760 --> 00:29:16,840
Speaker 1: Johnny Ringo, The Detectives, and of course Lost in Space.

524
00:29:17,360 --> 00:29:20,280
Speaker 1: His other film credits include nineteen eighty three Strange Invaders

525
00:29:20,280 --> 00:29:23,560
Speaker 1: in nineteen seventy four's Death Squad. All right, next, we

526
00:29:23,600 --> 00:29:27,040
Speaker 1: have this character, doctor David Bloom, played by Robert Walden,

527
00:29:27,080 --> 00:29:30,240
Speaker 1: who I've mentioned already. Born in nineteen forty three, He's

528
00:29:30,240 --> 00:29:34,120
Speaker 1: our stressed out surgeon and friend of ZIPKNS. Robert Walden

529
00:29:34,160 --> 00:29:37,120
Speaker 1: was nominated for three Primetime Emmys for his work on

530
00:29:37,520 --> 00:29:39,080
Speaker 1: what seems to I don't know. I'd never heard of

531
00:29:39,080 --> 00:29:41,000
Speaker 1: this before, so it feels like maybe a kind of

532
00:29:41,000 --> 00:29:45,480
Speaker 1: forgotten successful TV series titled Lou Grant, which ran seventy

533
00:29:45,520 --> 00:29:47,280
Speaker 1: seven through eighty two. Did you know about this series?

534
00:29:47,800 --> 00:29:50,160
Speaker 3: This is a spinoff of Mary Tyler Moore. Lou Grant

535
00:29:50,240 --> 00:29:51,720
Speaker 3: is Mary Tyler Moore's boss.

536
00:29:51,960 --> 00:29:54,680
Speaker 1: There you go, ed asner, right, yeah, yeah, oh, okay,

537
00:29:54,680 --> 00:29:56,880
Speaker 1: well this is yeah, this is the ed Asner spinoff series.

538
00:29:56,920 --> 00:30:01,120
Speaker 1: I've never seen anything from this this series, but apparently

539
00:30:01,160 --> 00:30:04,240
Speaker 1: it was popular and Robert Walden must have been good

540
00:30:04,240 --> 00:30:06,560
Speaker 1: on it, and I totally believe it based on his

541
00:30:06,640 --> 00:30:09,320
Speaker 1: work here in Blue Sunshine, because again, there are a

542
00:30:09,360 --> 00:30:11,800
Speaker 1: lot of solid performances in this picture, but Walden's was

543
00:30:11,840 --> 00:30:14,440
Speaker 1: the one that instantly jumped out of me as being

544
00:30:14,520 --> 00:30:16,280
Speaker 1: like a very lived in portrayal, you.

545
00:30:16,240 --> 00:30:19,719
Speaker 3: Know, yeah, and you really do feel for this character

546
00:30:19,760 --> 00:30:23,520
Speaker 3: because the movie plants these seeds of worry in its

547
00:30:23,560 --> 00:30:27,160
Speaker 3: opening scenes, Like the opening the credits of the movie

548
00:30:27,240 --> 00:30:31,600
Speaker 3: keep intercutting with these vignettes of characters having mounting tension

549
00:30:31,720 --> 00:30:34,360
Speaker 3: and headaches and stress as the camera kind of like

550
00:30:34,440 --> 00:30:37,240
Speaker 3: zooms in on their face and really implies there's something

551
00:30:37,240 --> 00:30:40,720
Speaker 3: wrong with their brain. And this character gets that treatment,

552
00:30:40,760 --> 00:30:45,320
Speaker 3: and we see other characters in these vignettes have psychotic episodes,

553
00:30:45,440 --> 00:30:48,120
Speaker 3: and then you get to know more of this character

554
00:30:48,160 --> 00:30:51,040
Speaker 3: because he's a good friend of the protagonist, and you

555
00:30:51,120 --> 00:30:52,040
Speaker 3: really worry for him.

556
00:30:52,320 --> 00:30:55,479
Speaker 1: Yeah, As he explains in the extras that he'd been

557
00:30:55,520 --> 00:30:59,080
Speaker 1: hard up for work for a period there in the

558
00:30:59,080 --> 00:31:02,360
Speaker 1: mid seventies, but then his performance in nineteen seventy six

559
00:31:02,440 --> 00:31:06,000
Speaker 1: is All the President's Men really stirred things back up again,

560
00:31:06,040 --> 00:31:09,400
Speaker 1: and he started getting all these different scripts and inquiries.

561
00:31:09,240 --> 00:31:10,760
Speaker 3: Who was he? And All the President's Men?

562
00:31:13,120 --> 00:31:14,880
Speaker 1: You know, I've never seen All the President's Men, but

563
00:31:16,520 --> 00:31:18,760
Speaker 1: he's like, you know, fourth or fifth down, So it's

564
00:31:19,120 --> 00:31:21,920
Speaker 1: you know, a sizeable supporting role. I'm to assume.

565
00:31:22,600 --> 00:31:24,360
Speaker 3: Oh I just looked it up. He played one of

566
00:31:24,440 --> 00:31:25,400
Speaker 3: Nixon's lawyers.

567
00:31:25,640 --> 00:31:29,680
Speaker 1: Okay, yeah, yeah, So All the President's Men comes out

568
00:31:30,600 --> 00:31:32,680
Speaker 1: is a big enough hit that he starts getting all

569
00:31:32,680 --> 00:31:35,560
Speaker 1: these scripts and he starts saying yes to everything, including

570
00:31:35,560 --> 00:31:39,720
Speaker 1: Blue Sunshine, and in his career really you know, picks

571
00:31:39,760 --> 00:31:43,480
Speaker 1: up from there from that point on out, certainly because

572
00:31:43,520 --> 00:31:45,680
Speaker 1: of All the President's Men. Maybe not so much Blue Sunshine,

573
00:31:45,680 --> 00:31:48,120
Speaker 1: but he's great in this. In His many film credits

574
00:31:48,160 --> 00:31:52,200
Speaker 1: include nineteen seventies Bloody Mama, seventy Two's Rage and two

575
00:31:52,200 --> 00:31:56,040
Speaker 1: Pictures of Note from seventy seven, Capricorn one and Audrey Rose.

576
00:31:56,760 --> 00:32:00,320
Speaker 3: I liked Robert Walden in Blue Sunshine and Rob see

577
00:32:00,320 --> 00:32:01,000
Speaker 3: All the President's Men.

578
00:32:01,440 --> 00:32:03,520
Speaker 1: Yeah I should. It's a classic, you know, great cast

579
00:32:03,560 --> 00:32:06,080
Speaker 1: and all, but yeah, I'll have to put it on

580
00:32:06,080 --> 00:32:07,400
Speaker 1: the list. It's not one we can ever do for

581
00:32:07,440 --> 00:32:09,959
Speaker 1: Weird House. So sometimes it's hard for me to get

582
00:32:10,000 --> 00:32:12,600
Speaker 1: around to these films that are that are not weird.

583
00:32:12,920 --> 00:32:16,480
Speaker 3: Yeah, non fiction, political journalism, thriller. That's not really our

584
00:32:16,720 --> 00:32:18,600
Speaker 3: that's not really our zone on the show. But it

585
00:32:18,640 --> 00:32:19,160
Speaker 3: is really good.

586
00:32:19,320 --> 00:32:23,600
Speaker 1: If it was all the presidents werewolves now. But yeah,

587
00:32:23,680 --> 00:32:24,920
Speaker 1: let's see all. You know, we got to have a

588
00:32:24,920 --> 00:32:27,040
Speaker 1: police inspector. We got to have a detective in a

589
00:32:27,080 --> 00:32:30,080
Speaker 1: film like this, and that's Detective Clay played by Charles Siebert,

590
00:32:30,120 --> 00:32:33,760
Speaker 1: who lived nineteen thirty eight through twenty twenty two. Basically

591
00:32:33,840 --> 00:32:36,280
Speaker 1: established character actor of the seventies and nineties, was in

592
00:32:36,320 --> 00:32:39,160
Speaker 1: a bunch of stuff, including seventy eight coma, seventy nine's

593
00:32:39,280 --> 00:32:41,880
Speaker 1: Justice for All, did a lot of TV, like a

594
00:32:41,880 --> 00:32:45,880
Speaker 1: lot of episodes of Trapper John MD, and he directed

595
00:32:45,880 --> 00:32:48,080
Speaker 1: some Trapper John MD, which led to a lot of

596
00:32:48,120 --> 00:32:52,120
Speaker 1: other TV directorial work. Directed episodes of such shows as

597
00:32:52,120 --> 00:32:56,520
Speaker 1: Silk Stockings, Mortal Kombat Conquest, and Both Hercules and.

598
00:32:56,480 --> 00:32:59,200
Speaker 3: Zena Mortal Kombat Conquest.

599
00:32:59,760 --> 00:33:03,280
Speaker 1: Yeah, somebody had to direct them. You've got to have

600
00:33:03,320 --> 00:33:06,600
Speaker 1: somebody direct these shows. So you know, hats off to

601
00:33:06,680 --> 00:33:09,120
Speaker 1: the folks who step up and you know, take one

602
00:33:09,120 --> 00:33:09,719
Speaker 1: for the team.

603
00:33:10,360 --> 00:33:13,160
Speaker 3: I don't really recall anything about him in Blue Sunshine.

604
00:33:13,200 --> 00:33:15,960
Speaker 3: He's he's sort of a functional character. He's there to

605
00:33:16,560 --> 00:33:18,680
Speaker 3: facilitate the plot mechanics.

606
00:33:18,880 --> 00:33:22,200
Speaker 1: That's right. Now. The next character is far more impressive,

607
00:33:22,240 --> 00:33:24,240
Speaker 1: and that is the character of Wendy Fleming. This is

608
00:33:24,280 --> 00:33:29,840
Speaker 1: the the X of the politician Fliming that we already mentioned,

609
00:33:30,280 --> 00:33:33,160
Speaker 1: played by Anne Cooper. Yeah, great role.

610
00:33:33,680 --> 00:33:37,680
Speaker 3: This is such a pitiable movie character like you spend

611
00:33:37,840 --> 00:33:40,000
Speaker 3: I don't know, a good quarter of the runtime just

612
00:33:40,040 --> 00:33:42,640
Speaker 3: feeling excruciatingly bad for Wendy.

613
00:33:43,160 --> 00:33:46,200
Speaker 1: Yeah, she's she's damned, There's no doubt about it. And

614
00:33:46,280 --> 00:33:48,360
Speaker 1: you pretty much know that from the get go because

615
00:33:48,520 --> 00:33:50,880
Speaker 1: she's on the cover. She's on the poster for pretty

616
00:33:50,960 --> 00:33:54,840
Speaker 1: much any any poster, any box for Blue Sunshine you

617
00:33:54,920 --> 00:33:57,120
Speaker 1: might pick up. You know, we see that like the

618
00:33:57,160 --> 00:34:00,720
Speaker 1: woman with the bald head and the and these eyes

619
00:34:02,160 --> 00:34:05,640
Speaker 1: and so forth. So you have a sense that something

620
00:34:05,680 --> 00:34:08,600
Speaker 1: bad is coming. And I think she's pretty great in

621
00:34:08,640 --> 00:34:13,320
Speaker 1: the role. Again, a doomed, doomed role, doomed character, but

622
00:34:14,600 --> 00:34:16,120
Speaker 1: quite a fine performance in my opinion.

623
00:34:16,239 --> 00:34:16,880
Speaker 3: Yeah, totally.

624
00:34:17,360 --> 00:34:19,640
Speaker 1: Now, this is Anne Cooper without an E. Not to

625
00:34:19,680 --> 00:34:22,319
Speaker 1: be confused with Anne Cooper with an e who was

626
00:34:22,360 --> 00:34:24,920
Speaker 1: also active at the same time, and pops up in

627
00:34:25,000 --> 00:34:28,279
Speaker 1: some you know some genre pictures as well. Our Anne

628
00:34:28,480 --> 00:34:32,200
Speaker 1: here was a regular in the short lived Blue Thunder

629
00:34:32,280 --> 00:34:36,080
Speaker 1: TV series in nineteen eighty four, which also featured Dana Carvey.

630
00:34:36,880 --> 00:34:38,919
Speaker 1: This was a spin off of the nineteen eighty three

631
00:34:39,040 --> 00:34:44,600
Speaker 1: Dan O'Bannon pinned helicopter movie. I've never seen the TV series,

632
00:34:44,640 --> 00:34:46,640
Speaker 1: but I love Blue Thunder when I was a kid.

633
00:34:46,840 --> 00:34:50,239
Speaker 3: Wait, I don't know what it's a helicopter TV show.

634
00:34:50,440 --> 00:34:55,320
Speaker 1: Yes, so Blue Thunder the movie is about a like Essentially,

635
00:34:55,360 --> 00:34:58,960
Speaker 1: the police start using like a super super copter to

636
00:34:59,719 --> 00:35:04,600
Speaker 1: go out after criminals, and a lot of helicopter shenanigans.

637
00:35:04,680 --> 00:35:07,080
Speaker 1: En sue it is not a kid's movie, but I

638
00:35:07,120 --> 00:35:09,879
Speaker 1: somehow saw this one when I was a bit young.

639
00:35:10,400 --> 00:35:13,279
Speaker 3: Do the criminals have helicopters too? Otherwise it seems kind

640
00:35:13,280 --> 00:35:14,240
Speaker 3: of unfair.

641
00:35:15,080 --> 00:35:19,080
Speaker 1: The criminals don't have a helicopter. But eventually Malcolm McDowell

642
00:35:19,080 --> 00:35:21,080
Speaker 1: is in a small helicopter and there's like a big

643
00:35:21,120 --> 00:35:26,960
Speaker 1: helicopter like dogfight. So I loved it when I was young.

644
00:35:27,040 --> 00:35:30,080
Speaker 1: I have no idea how it stacks up today, all Right,

645
00:35:31,280 --> 00:35:34,799
Speaker 1: Let's see another one more like main cast actor to

646
00:35:34,800 --> 00:35:37,880
Speaker 1: mention here, and that is Ray Young, who plays Wayne

647
00:35:37,960 --> 00:35:42,279
Speaker 1: Mulligan Big Wayne Mulligan. Ray Young lived nineteen forty through

648
00:35:42,320 --> 00:35:45,600
Speaker 1: nineteen ninety nine. He was a six foot six actor

649
00:35:45,960 --> 00:35:48,920
Speaker 1: active in the seventies, eighties, and nineties, a lot of TV,

650
00:35:49,040 --> 00:35:52,440
Speaker 1: but some rather fun credits. His first credited role is Mango,

651
00:35:52,520 --> 00:35:55,800
Speaker 1: the hunchback in sixty nine Blood of Dracula's Castle starring

652
00:35:55,840 --> 00:35:58,960
Speaker 1: John Carradine, and he was also in five Bloody Graves

653
00:35:59,000 --> 00:36:02,040
Speaker 1: the same year. Subsequent film roles include parts in seventy

654
00:36:02,080 --> 00:36:06,120
Speaker 1: three's Coffee, eighty six's Hunter's Blood, and on TV, his

655
00:36:06,200 --> 00:36:09,160
Speaker 1: credits include everything from Bewitch, Bonanza, and Gun Smoke to

656
00:36:09,280 --> 00:36:12,160
Speaker 1: Quantum Leap and Star Trek Deep Space nine, and he

657
00:36:12,200 --> 00:36:15,560
Speaker 1: played Bigfoot in sixteen episodes of The Craft Super Show.

658
00:36:16,080 --> 00:36:19,600
Speaker 3: The premise of this character is so simple and yet

659
00:36:19,760 --> 00:36:25,560
Speaker 3: so effective. So the scenario is, people, without warning are

660
00:36:25,800 --> 00:36:29,359
Speaker 3: are randomly like going berserk and attacking everyone around them,

661
00:36:29,640 --> 00:36:32,160
Speaker 3: and one of the guys in the mix just happens

662
00:36:32,200 --> 00:36:35,840
Speaker 3: to be gigantic. Yeah yeah, And so you start you

663
00:36:35,960 --> 00:36:39,000
Speaker 3: just wonder like, uh oh.

664
00:36:38,360 --> 00:36:41,000
Speaker 1: Yeah, yeah, this guy goes off it's not good for

665
00:36:41,040 --> 00:36:44,520
Speaker 1: anybody because when they go off, one of the details

666
00:36:44,520 --> 00:36:46,920
Speaker 1: is that they also have super strength, like I mean,

667
00:36:46,960 --> 00:36:49,960
Speaker 1: not too in a degree where it's like magical and

668
00:36:50,040 --> 00:36:54,480
Speaker 1: unrealistic perhaps, but like really strong. Yeah, all right, this

669
00:36:54,560 --> 00:36:55,960
Speaker 1: is just a bit roll. I have to mention this.

670
00:36:56,120 --> 00:36:58,440
Speaker 1: I know, I realize I don't need to mention every

671
00:36:58,560 --> 00:37:00,759
Speaker 1: like model turned actress who pops up in a bit

672
00:37:00,840 --> 00:37:04,600
Speaker 1: part in a genre picture. But there's a campaign girl.

673
00:37:04,760 --> 00:37:06,840
Speaker 1: She's credited as campaign Girl that pops up late in

674
00:37:06,880 --> 00:37:10,040
Speaker 1: the picture. And she's played by Marcy Hanson born nineteen

675
00:37:10,080 --> 00:37:13,879
Speaker 1: fifty two, model turned actress, mostly in TV shows through

676
00:37:13,880 --> 00:37:16,759
Speaker 1: about nineteen eighty five. But of note, she was the

677
00:37:16,800 --> 00:37:19,960
Speaker 1: Playboy Playmate of the Month for October nineteen seventy eight.

678
00:37:19,960 --> 00:37:22,440
Speaker 1: That's the month I was born, So she is essentially

679
00:37:22,520 --> 00:37:26,680
Speaker 1: my zodiac sign. She is not on the cover of

680
00:37:26,719 --> 00:37:30,239
Speaker 1: this Playboy though, because and I've I've never even looked

681
00:37:30,239 --> 00:37:32,520
Speaker 1: at this Playboy, but you're familiar with it. You probably

682
00:37:32,560 --> 00:37:34,280
Speaker 1: are picturing this is the one that had Dolly Parton

683
00:37:34,360 --> 00:37:37,600
Speaker 1: on the cover. Oh Donley, she has the bunny ears

684
00:37:37,600 --> 00:37:43,000
Speaker 1: and all that's apparently this edition of Playboy magazine.

685
00:37:42,560 --> 00:37:44,360
Speaker 3: Hats off to you, Dolly.

686
00:37:44,480 --> 00:37:47,080
Speaker 1: Yeah, this is just a quick bit of trivia, but

687
00:37:47,400 --> 00:37:51,640
Speaker 1: Sandy King John Carpenter's frequent producer and script supervisor. The

688
00:37:51,680 --> 00:37:54,719
Speaker 1: two were married in nineteen ninety. She was script supervisor

689
00:37:54,800 --> 00:37:55,520
Speaker 1: on this picture.

690
00:37:56,080 --> 00:37:58,239
Speaker 3: Interesting crossover. Didn't expect that.

691
00:37:58,920 --> 00:38:02,840
Speaker 1: And then finally getting the music. The music here is

692
00:38:02,880 --> 00:38:05,920
Speaker 1: a score by Charles Gross, who was born nineteen thirty

693
00:38:05,920 --> 00:38:10,800
Speaker 1: four apparently still was American composer who worked in film, TV, cartoons,

694
00:38:10,840 --> 00:38:14,759
Speaker 1: in industrial films. His biggest film scores were probably eighty

695
00:38:14,840 --> 00:38:18,040
Speaker 1: nine's Turn in Hooch and nineteen nineties Air America, two

696
00:38:18,120 --> 00:38:22,080
Speaker 1: films that I assume are not really sought after by

697
00:38:22,520 --> 00:38:27,480
Speaker 1: vinyl soundtrack and score collectors, but clearly big pictures. Other

698
00:38:27,560 --> 00:38:30,560
Speaker 1: scores of his from this time period include nineteen seventy

699
00:38:30,560 --> 00:38:33,239
Speaker 1: five's Have a Nice Weekend and the nineteen seventy eight

700
00:38:33,239 --> 00:38:36,359
Speaker 1: TV movie Siege. I can't speak to any of those

701
00:38:36,400 --> 00:38:38,920
Speaker 1: other scores, but his work on Blue Sunshine, I think

702
00:38:39,040 --> 00:38:41,720
Speaker 1: is excellent and it's a huge part of the film's

703
00:38:42,000 --> 00:38:43,319
Speaker 1: effectively creepy aur.

704
00:38:44,000 --> 00:38:47,120
Speaker 3: I absolutely agree the music is highly effective. I don't

705
00:38:47,160 --> 00:38:49,600
Speaker 3: know exactly what the creative process was here, but I

706
00:38:49,600 --> 00:38:53,399
Speaker 3: was just imagining that I don't know. The director came

707
00:38:53,440 --> 00:38:55,960
Speaker 3: to the composer and said, this is the feeling I

708
00:38:56,000 --> 00:38:58,720
Speaker 3: want to go for, you know, paranoia, that there's something

709
00:38:58,760 --> 00:39:01,040
Speaker 3: wrong with you and that it could suddenly irrupt and

710
00:39:01,080 --> 00:39:04,480
Speaker 3: take over your mind. And then the composer came back

711
00:39:04,520 --> 00:39:07,880
Speaker 3: with this and it was just bingo, exactly exactly what

712
00:39:07,960 --> 00:39:12,040
Speaker 3: the movie needs. And so there's like this opening song

713
00:39:12,120 --> 00:39:14,480
Speaker 3: that we get when we first have the credits of

714
00:39:14,520 --> 00:39:16,560
Speaker 3: the film, where you're like looking at the full moon

715
00:39:16,680 --> 00:39:19,920
Speaker 3: and the black sky and you hear these eerie, hollow

716
00:39:20,000 --> 00:39:23,919
Speaker 3: rhythms playing on a marimba, and then there is this

717
00:39:24,400 --> 00:39:27,200
Speaker 3: lead that comes in that's kind of a dissonant, high

718
00:39:27,360 --> 00:39:30,400
Speaker 3: droning sound. It's a little bit electronic but also hard

719
00:39:30,400 --> 00:39:34,360
Speaker 3: to place, and it's just this feeling of something inside

720
00:39:34,400 --> 00:39:37,200
Speaker 3: you getting worse and worse. It is the ultimate I

721
00:39:37,320 --> 00:39:40,680
Speaker 3: got the bad acid sound. I was trying to think

722
00:39:40,719 --> 00:39:44,040
Speaker 3: of what to compare it to. The instrumentation of this

723
00:39:44,200 --> 00:39:47,520
Speaker 3: main paranoia track kind of reminds me of the feeling

724
00:39:47,560 --> 00:39:50,240
Speaker 3: of do you know the song Claphands by Tom Waits.

725
00:39:50,480 --> 00:39:52,759
Speaker 1: I don't know this one though, Oh it's a great.

726
00:39:52,520 --> 00:39:55,960
Speaker 3: Song, but similar kind of paranoid, bad, acid feeling.

727
00:39:56,480 --> 00:40:01,400
Speaker 1: Oh wow. Yeah, it's this score a little bit with

728
00:40:01,400 --> 00:40:03,920
Speaker 1: what I think of as the nineteen seventies night gallery

729
00:40:04,000 --> 00:40:08,680
Speaker 1: jazz sound. You know, it's it's got unsettling bits of

730
00:40:09,239 --> 00:40:12,879
Speaker 1: discordant percussion. There are those synth flourishes, and there's there's

731
00:40:12,920 --> 00:40:15,000
Speaker 1: at least one dose of sleigh bells in the mix.

732
00:40:15,040 --> 00:40:16,600
Speaker 1: I don't know if you notice the sleigh bells, but

733
00:40:16,600 --> 00:40:18,800
Speaker 1: I'm pretty sure we hear sleigh bells at one point.

734
00:40:19,000 --> 00:40:21,480
Speaker 1: Christmas movie, Yeah, I gotta have sleigh bells if it

735
00:40:21,480 --> 00:40:24,080
Speaker 1: takes place at Christmas. But more to the point, yeah,

736
00:40:24,280 --> 00:40:26,759
Speaker 1: the score I think really captures a feeling of an

737
00:40:26,920 --> 00:40:30,640
Speaker 1: order falling apart into a disorder, the illusion of sanity

738
00:40:30,880 --> 00:40:34,080
Speaker 1: into madness and hope into I don't know, the status quo.

739
00:40:34,640 --> 00:40:35,239
Speaker 3: Yeah yeah.

740
00:40:36,040 --> 00:40:38,400
Speaker 1: The score, by the way, is available on disc, at

741
00:40:38,480 --> 00:40:40,920
Speaker 1: least as part of the film centric Blu ray, So

742
00:40:40,960 --> 00:40:43,120
Speaker 1: when I got it from Videodrome, I was able to

743
00:40:43,160 --> 00:40:46,680
Speaker 1: pop the CD into the player in my I guess

744
00:40:46,760 --> 00:40:50,279
Speaker 1: ancient automobile and play a little bit of the Blue

745
00:40:50,320 --> 00:40:53,359
Speaker 1: Sunshine score as I drove around town. And we're going

746
00:40:53,400 --> 00:40:54,799
Speaker 1: we're going a bit long here, but I'm just gonna

747
00:40:54,840 --> 00:40:59,239
Speaker 1: mention in passing that there are also vocal tracks on

748
00:40:59,320 --> 00:41:03,040
Speaker 1: the soundtrack that are performed by the Humane Society for

749
00:41:03,120 --> 00:41:06,480
Speaker 1: the Preservation of Good Music. They include such tracks as

750
00:41:06,560 --> 00:41:09,480
Speaker 1: Disco Blue, this is going to be in our disco

751
00:41:09,520 --> 00:41:11,319
Speaker 1: sequence laid in the picture, and then there's also a

752
00:41:11,360 --> 00:41:12,719
Speaker 1: track called Blue Sunshine.

753
00:41:12,800 --> 00:41:14,320
Speaker 3: Do they have lyrics about acid?

754
00:41:15,000 --> 00:41:17,040
Speaker 1: I didn't have time to really get into the lyrics

755
00:41:17,040 --> 00:41:20,360
Speaker 1: of Disco Blue, but I don't know. Maybe they're about acid.

756
00:41:20,640 --> 00:41:23,160
Speaker 3: I think it was in our Flash Gordon episode that

757
00:41:23,200 --> 00:41:26,560
Speaker 3: we were talking about that rare thing of movies with

758
00:41:26,719 --> 00:41:30,160
Speaker 3: soundtracks made for the film that have lyrics about the

759
00:41:30,200 --> 00:41:32,680
Speaker 3: plot of the film. You know, Flash Gordon has that

760
00:41:32,719 --> 00:41:35,360
Speaker 3: with the Queen songs. But we're saying otherwise it seems

761
00:41:35,400 --> 00:41:38,520
Speaker 3: fairly rare in a non musical movie, but it would

762
00:41:38,560 --> 00:41:40,880
Speaker 3: be hilarious of Blue Sunshine as another example.

763
00:41:41,680 --> 00:41:44,040
Speaker 1: I think it may be. Yeah, I don't remember the

764
00:41:44,080 --> 00:41:46,960
Speaker 1: track Blue Sunshine, but I do remember Disco Blue.

765
00:41:48,120 --> 00:41:50,279
Speaker 3: Wait, is that what plays in the disco scene?

766
00:41:50,360 --> 00:41:50,600
Speaker 4: It is?

767
00:41:50,719 --> 00:41:57,040
Speaker 1: Yeah, oh, and in the disco yeah.

768
00:42:01,080 --> 00:42:03,359
Speaker 3: Well, folks were about to get into the plot, and

769
00:42:03,680 --> 00:42:05,879
Speaker 3: you should know that this all leads up to a

770
00:42:06,040 --> 00:42:07,680
Speaker 3: disco horror climax.

771
00:42:08,120 --> 00:42:11,000
Speaker 1: Yeah, fittingly, fittingly so.

772
00:42:11,120 --> 00:42:13,480
Speaker 3: The action of the movie opens in a hospital, in

773
00:42:13,480 --> 00:42:16,560
Speaker 3: a hallway in a hospital, and into frame comes the

774
00:42:16,560 --> 00:42:19,560
Speaker 3: first of the major characters. We meet doctor David Bloom

775
00:42:19,600 --> 00:42:22,319
Speaker 3: played by Robert Walton, and when we meet him, he

776
00:42:22,360 --> 00:42:24,920
Speaker 3: does not look so good. He's got his white coat

777
00:42:25,000 --> 00:42:29,440
Speaker 3: hanging open. He looks disheveled, pale, with circles under his eyes.

778
00:42:30,040 --> 00:42:32,799
Speaker 3: He is a doctor, but it looks like he has

779
00:42:32,840 --> 00:42:37,600
Speaker 3: not had a good night's sleep in weeks. He stops

780
00:42:37,920 --> 00:42:40,040
Speaker 3: at a water fountain to throw back a couple of

781
00:42:40,040 --> 00:42:43,240
Speaker 3: pills before going on to visit one of his patients.

782
00:42:43,239 --> 00:42:46,279
Speaker 3: And one thing I will note, it seems I can't

783
00:42:46,320 --> 00:42:49,640
Speaker 3: say exactly how, but somehow to fit into the same

784
00:42:49,719 --> 00:42:51,759
Speaker 3: kind of theme as like not ever showing us the

785
00:42:52,080 --> 00:42:55,520
Speaker 3: psychedelic experience, not having any of the flashbacks. We see

786
00:42:55,560 --> 00:42:59,400
Speaker 3: a lot of characters taking drugs in the movie, but

787
00:42:59,520 --> 00:43:03,360
Speaker 3: they're not psychedelic drugs. They're like throwing back pills to

788
00:43:03,480 --> 00:43:05,560
Speaker 3: stop some kind of pain or distress.

789
00:43:06,040 --> 00:43:10,160
Speaker 1: Yeah, yeah, some sort of prescription pharmaceuticals or over the

790
00:43:10,200 --> 00:43:12,680
Speaker 1: counter medicine. We're not always entirely sure.

791
00:43:12,960 --> 00:43:15,600
Speaker 3: Yeah, So anyway, he takes his pills. Then he goes

792
00:43:15,640 --> 00:43:18,040
Speaker 3: to visit a patient who's an older woman lying in

793
00:43:18,040 --> 00:43:22,040
Speaker 3: a hospital bed, and even she notices that he looks exhausted.

794
00:43:22,120 --> 00:43:25,040
Speaker 3: She asks him, doctor, aren't you eating? And he tries

795
00:43:25,080 --> 00:43:27,279
Speaker 3: to put her fears to rest. He says, you know,

796
00:43:27,360 --> 00:43:30,480
Speaker 3: sometimes there's just a little too much aggravation in his job,

797
00:43:31,040 --> 00:43:34,279
Speaker 3: and he's so he's trying to assure her, but on

798
00:43:34,320 --> 00:43:36,640
Speaker 3: his way out of the room, she stops him and

799
00:43:36,719 --> 00:43:40,400
Speaker 3: she says, with some desperation, doc, are you gonna have

800
00:43:40,440 --> 00:43:43,320
Speaker 3: to cut me up again? And it kind of seems

801
00:43:43,360 --> 00:43:45,759
Speaker 3: like the question is just too much for him, like

802
00:43:45,840 --> 00:43:51,440
Speaker 3: his bedside manner collapses, like he can't just keep being positive,

803
00:43:51,760 --> 00:43:55,680
Speaker 3: and he says, we'll see, and then we see there's

804
00:43:55,680 --> 00:43:58,239
Speaker 3: some kind of pressure building in him. His gaze goes

805
00:43:58,320 --> 00:44:01,080
Speaker 3: sharp and far off, like he just had a horrible thought.

806
00:44:01,560 --> 00:44:04,520
Speaker 3: And then this high pitched, droning sound returns from the

807
00:44:04,520 --> 00:44:07,160
Speaker 3: soundtrack at the beginning, and we zoom on his face

808
00:44:07,400 --> 00:44:10,720
Speaker 3: and he begins to furiously rub his temples with his fingers,

809
00:44:10,760 --> 00:44:13,480
Speaker 3: trying to make the pain stop, and we cut to black,

810
00:44:14,080 --> 00:44:16,280
Speaker 3: and this is a theme we'll see with a number

811
00:44:16,280 --> 00:44:18,480
Speaker 3: of characters through the movie. This kind of like zoom

812
00:44:18,520 --> 00:44:21,359
Speaker 3: in on the face as they look pained and distressed,

813
00:44:21,400 --> 00:44:23,400
Speaker 3: and it's like something is happening in their brain.

814
00:44:24,200 --> 00:44:24,839
Speaker 1: Yeah.

815
00:44:24,960 --> 00:44:27,520
Speaker 3: Now here we return to what we saw before this scene,

816
00:44:27,560 --> 00:44:29,879
Speaker 3: which was the full moon and the night sky kind

817
00:44:29,880 --> 00:44:34,080
Speaker 3: of engorged, pale full moon set against the dark background

818
00:44:34,080 --> 00:44:36,960
Speaker 3: with this eerie music playing, and here we see the

819
00:44:37,000 --> 00:44:41,480
Speaker 3: title Blue Sunshine. Now the next vignette like this that

820
00:44:41,520 --> 00:44:43,960
Speaker 3: we get is where we meet Wendy Fleming played by

821
00:44:43,960 --> 00:44:47,000
Speaker 3: Ann Cooper and without any and she is babysitting a

822
00:44:47,040 --> 00:44:50,920
Speaker 3: couple of kids. They're sitting on the seventies est of couches.

823
00:44:51,040 --> 00:44:54,560
Speaker 3: It is a I think the way you describe this

824
00:44:54,800 --> 00:45:00,000
Speaker 3: is a green, brown, orange, and baby blue vertical chevron

825
00:45:00,280 --> 00:45:04,480
Speaker 3: pattern with one of those nobbly upholstery types used to

826
00:45:04,480 --> 00:45:06,440
Speaker 3: see on these couches. I don't know what the material

827
00:45:06,520 --> 00:45:08,640
Speaker 3: is called, but my family had an old couch like

828
00:45:08,680 --> 00:45:10,759
Speaker 3: this when I was growing up, where like the I

829
00:45:10,800 --> 00:45:12,960
Speaker 3: don't know, the thread on the upholstery is not of

830
00:45:13,000 --> 00:45:15,280
Speaker 3: an even thickness, so it's all kind of nubby.

831
00:45:16,120 --> 00:45:20,000
Speaker 1: Yeah. Yeah, there's an Instagram account I really love called

832
00:45:20,080 --> 00:45:21,600
Speaker 1: Daughter of the Seventies that has a lot of like

833
00:45:21,680 --> 00:45:26,040
Speaker 1: images of nineteen seventies decor and food and advertisements and

834
00:45:26,400 --> 00:45:28,880
Speaker 1: if you dig that vibe, blue Sunshine is for you.

835
00:45:29,360 --> 00:45:31,560
Speaker 3: Yeah, the seventies ness will not stop. We will have

836
00:45:31,600 --> 00:45:34,239
Speaker 3: to observe several things as we go on. But so

837
00:45:34,680 --> 00:45:38,000
Speaker 3: Wendy is babysitting a couple of kids and they're simultaneously

838
00:45:38,080 --> 00:45:41,879
Speaker 3: watching TV and reading a book about Rapunzel. So there's

839
00:45:41,920 --> 00:45:45,480
Speaker 3: a kind of chaos, and the boy keeps randomly shrieking,

840
00:45:45,520 --> 00:45:48,600
Speaker 3: which is bothering Wendy. She has a terrible headache. And

841
00:45:48,640 --> 00:45:51,800
Speaker 3: then suddenly they notice that what's playing on TV is

842
00:45:51,840 --> 00:45:56,080
Speaker 3: a campaign ad for a politician named Ed Fleming who

843
00:45:56,160 --> 00:45:59,680
Speaker 3: is running for Congress, And we learn that Ed is

844
00:45:59,719 --> 00:46:04,200
Speaker 3: When's husband, but they are separated. They're estranged, and the

845
00:46:04,280 --> 00:46:06,880
Speaker 3: kids know that Ed is her husband. They ask is

846
00:46:06,920 --> 00:46:10,400
Speaker 3: he going to be president someday? She says maybe. They say,

847
00:46:10,600 --> 00:46:12,880
Speaker 3: can we come to visit in the White House? And

848
00:46:12,920 --> 00:46:15,279
Speaker 3: she gets a little quiet and says she doesn't think so,

849
00:46:15,480 --> 00:46:17,759
Speaker 3: because she and mister Fleming are married, but they're not

850
00:46:17,880 --> 00:46:20,839
Speaker 3: living together right now, And we just get the sense

851
00:46:20,880 --> 00:46:23,560
Speaker 3: that Wendy is not at peace with this arrangement.

852
00:46:23,719 --> 00:46:26,759
Speaker 1: Like she's not happy, right, Yeah, these kids are a lot.

853
00:46:27,440 --> 00:46:29,879
Speaker 3: So she goes on reading the Rapunzel book, and when

854
00:46:29,880 --> 00:46:32,040
Speaker 3: they get to the part about Rapunzel letting down her

855
00:46:32,080 --> 00:46:33,919
Speaker 3: hair so the prince can climb it to the top

856
00:46:33,920 --> 00:46:36,680
Speaker 3: of the tower, the little girl on the couch reaches up,

857
00:46:37,040 --> 00:46:39,680
Speaker 3: takes hold of a lock of Wendy's long, dark hair

858
00:46:39,800 --> 00:46:44,719
Speaker 3: and pulls. However, the hair comes out in her hands.

859
00:46:44,920 --> 00:46:47,760
Speaker 3: She says like, look what I did. And then Wendy,

860
00:46:48,160 --> 00:46:51,239
Speaker 3: with horror, examines the lock of hair that has come

861
00:46:51,239 --> 00:46:54,759
Speaker 3: out of her head. She looks disturbed and afraid. Then

862
00:46:54,760 --> 00:46:57,680
Speaker 3: we cut to the night again, the moon, the dark sky,

863
00:46:57,800 --> 00:47:01,160
Speaker 3: the creepy music, the credits. We get a third vignette.

864
00:47:01,480 --> 00:47:04,200
Speaker 3: It's a scene in a kitchen. A woman named Barbara

865
00:47:04,400 --> 00:47:07,720
Speaker 3: is talking to a male friend, a next door neighbor

866
00:47:08,600 --> 00:47:11,960
Speaker 3: about her husband, who is a policeman. The husband has

867
00:47:12,000 --> 00:47:15,840
Speaker 3: apparently been drinking heavily. Their marriage is strained. The woman

868
00:47:15,960 --> 00:47:19,120
Speaker 3: says that he's been having nightmares, he talks in his sleep,

869
00:47:19,360 --> 00:47:22,080
Speaker 3: and his hair is falling out, and she's finding ways

870
00:47:22,120 --> 00:47:24,439
Speaker 3: to blame herself. You know, am I doing something wrong?

871
00:47:24,440 --> 00:47:26,560
Speaker 3: Where she says maybe it's the stress of his job.

872
00:47:26,880 --> 00:47:29,600
Speaker 3: He is a police officer. But the male friend, who

873
00:47:29,680 --> 00:47:33,799
Speaker 3: I think is also supposed to be a cop, dismisses this.

874
00:47:34,000 --> 00:47:35,879
Speaker 3: He says it, look, you know, I'm losing a few

875
00:47:35,880 --> 00:47:39,280
Speaker 3: hairs myself. You can't blame yourself. It's not your fault.

876
00:47:39,680 --> 00:47:42,560
Speaker 3: And they're talking about it. But suddenly the husband is there,

877
00:47:42,840 --> 00:47:46,840
Speaker 3: standing in the doorway. And so this is one of

878
00:47:46,840 --> 00:47:49,480
Speaker 3: the first times where this scene is like tonally at

879
00:47:49,480 --> 00:47:53,880
Speaker 3: odds because the content of the scene is very tense

880
00:47:54,040 --> 00:47:57,520
Speaker 3: and scary and puts you on edge. But then the

881
00:47:57,640 --> 00:48:00,719
Speaker 3: way the husband is dressed when he shows up is

882
00:48:00,960 --> 00:48:03,160
Speaker 3: very funny. I don't know if it would have looked

883
00:48:03,160 --> 00:48:06,360
Speaker 3: funny in the seventies, probably not, but it's very nineteen

884
00:48:06,400 --> 00:48:10,520
Speaker 3: seventy seven outfit. He's wearing like a thigh length black jacket,

885
00:48:10,920 --> 00:48:14,160
Speaker 3: pants hiked up I think past his navel, tucked in

886
00:48:14,560 --> 00:48:18,560
Speaker 3: blood red polo shirt with gigantic seventies collar, like the

887
00:48:18,600 --> 00:48:21,319
Speaker 3: collar tips are going out almost to his shoulders. And

888
00:48:21,360 --> 00:48:24,719
Speaker 3: he's just standing in the doorway staring with the sorest

889
00:48:24,840 --> 00:48:27,080
Speaker 3: expression in the history of our species.

890
00:48:28,320 --> 00:48:29,280
Speaker 1: And then he gets weirder.

891
00:48:30,080 --> 00:48:33,240
Speaker 3: That's right, because suddenly a macaw flies into the kitchen

892
00:48:33,640 --> 00:48:36,680
Speaker 3: lands on his shoulder while he is still doing the

893
00:48:37,200 --> 00:48:41,120
Speaker 3: unmovable sour puss, and then the macaw says hello, Johnny,

894
00:48:41,600 --> 00:48:47,960
Speaker 3: and then it says, right, bosunshine, blue sunshine, what's that?

895
00:48:48,680 --> 00:48:51,160
Speaker 3: But here we get another one of those scanners style

896
00:48:51,360 --> 00:48:54,400
Speaker 3: zoom ins on Johnny's eyes and forehead, while the sharp

897
00:48:54,440 --> 00:48:58,440
Speaker 3: notes from the soundtrack just start stabbing. And then we

898
00:48:58,480 --> 00:49:00,600
Speaker 3: go back to the moon and the credits. And this

899
00:49:00,680 --> 00:49:03,160
Speaker 3: is where I want to emphasize again, I got a

900
00:49:03,200 --> 00:49:06,800
Speaker 3: hand it to the filmmakers, the fashion choices and weird

901
00:49:06,880 --> 00:49:10,840
Speaker 3: maccaw antics aside, the movie so far is building such

902
00:49:10,920 --> 00:49:16,080
Speaker 3: an incredible atmosphere of unsafety and human malfunction. The plot

903
00:49:16,120 --> 00:49:18,680
Speaker 3: hasn't even really been articulated yet. There's not a word

904
00:49:18,719 --> 00:49:22,719
Speaker 3: about LSD. But these little dip ins with different characters,

905
00:49:22,760 --> 00:49:27,200
Speaker 3: all showing some kind of stress and disorder mounting inside

906
00:49:27,239 --> 00:49:30,759
Speaker 3: of them in intensity, they collectively add up to a

907
00:49:30,800 --> 00:49:34,520
Speaker 3: feeling already bordering on panic. There is something wrong with

908
00:49:34,600 --> 00:49:38,040
Speaker 3: these people. There is something wrong with the world, something

909
00:49:38,080 --> 00:49:42,200
Speaker 3: wrong with us that we don't understand. And it's this feeling,

910
00:49:42,320 --> 00:49:44,680
Speaker 3: it's this terror that we're at the edge of a

911
00:49:44,719 --> 00:49:46,080
Speaker 3: total loss of control.

912
00:49:46,600 --> 00:49:47,239
Speaker 1: Absolutely.

913
00:49:47,760 --> 00:49:50,400
Speaker 3: Now next, we're actually about to meet our protagonists. So

914
00:49:50,440 --> 00:49:52,960
Speaker 3: we go to a house party. It's a house party

915
00:49:52,960 --> 00:49:57,320
Speaker 3: in a very seventies house, big cozy, a frame, logs

916
00:49:57,440 --> 00:50:01,920
Speaker 3: roasting in the fireplace, shag carpets to infinity, very you know,

917
00:50:02,000 --> 00:50:05,640
Speaker 3: wood paneling everywhere, liquor bottles all over the kitchen counter.

918
00:50:05,880 --> 00:50:07,040
Speaker 3: I should have checked if there was.

919
00:50:07,040 --> 00:50:07,400
Speaker 4: J and B.

920
00:50:07,880 --> 00:50:09,200
Speaker 3: I don't know. I don't know if they had J

921
00:50:09,280 --> 00:50:11,879
Speaker 3: and B. But there's like, you know, they're cool guys

922
00:50:11,880 --> 00:50:14,399
Speaker 3: sitting backwards on chairs or sitting up on the back

923
00:50:14,440 --> 00:50:18,600
Speaker 3: of the couch, and it's kind of like the feeling

924
00:50:18,640 --> 00:50:21,120
Speaker 3: of the scene is like that orson Wells Poll mess

925
00:50:21,160 --> 00:50:24,360
Speaker 3: on Commercial, but younger and hipper and more bohemian.

926
00:50:25,160 --> 00:50:28,040
Speaker 1: Yeah, it's it's an interesting vibe. And the fireplace looks

927
00:50:28,120 --> 00:50:32,480
Speaker 1: looks great. A little Netflix, Where is my Blue Sunshine fireplace? Yes,

928
00:50:32,719 --> 00:50:36,560
Speaker 1: you're wasting time on the squid game in which the

929
00:50:36,560 --> 00:50:39,280
Speaker 1: fireplace is too small. I watched it last night. Fireplace

930
00:50:39,360 --> 00:50:42,280
Speaker 1: is too small. Give us like a large Blue Sunshine

931
00:50:42,360 --> 00:50:43,840
Speaker 1: nineteen seventies fireplace.

932
00:50:44,400 --> 00:50:47,200
Speaker 3: Wait at this point or after all the murders take place.

933
00:50:48,880 --> 00:50:52,640
Speaker 1: I think I would prefer before the murders. Yeah, that's

934
00:50:52,920 --> 00:50:54,960
Speaker 1: more the vibe I want in my living room. But

935
00:50:55,440 --> 00:50:56,520
Speaker 1: I'll take what I can.

936
00:50:56,360 --> 00:50:58,720
Speaker 3: Get, Okay. So here we get to Zelman King playing

937
00:50:58,719 --> 00:51:02,080
Speaker 3: our protagonist Jerry Zipken, and he is huddled up in

938
00:51:02,160 --> 00:51:05,240
Speaker 3: an intimate corner of the room talking to Deborah Winters

939
00:51:05,280 --> 00:51:08,680
Speaker 3: playing the character Alicia Sweeney. They're here on a date

940
00:51:08,719 --> 00:51:11,279
Speaker 3: together and they're acting very lovey dovey. It's a lot

941
00:51:11,320 --> 00:51:13,719
Speaker 3: of kind of cuddling and kissing and oh, I love you.

942
00:51:14,520 --> 00:51:17,520
Speaker 3: By the way, here, I want to note Jerry's master

943
00:51:17,719 --> 00:51:21,760
Speaker 3: work Christmas sweater. Yes, it plays a bit against type

944
00:51:21,800 --> 00:51:24,080
Speaker 3: in terms of color scheme, though it's weird. I was

945
00:51:24,120 --> 00:51:28,279
Speaker 3: noticing something about the photography in the movie. I had

946
00:51:28,640 --> 00:51:32,400
Speaker 3: totally different ideas of what color this sweater was depending

947
00:51:32,440 --> 00:51:34,760
Speaker 3: on the scene. Like there's one scene where he's outside

948
00:51:35,600 --> 00:51:38,400
Speaker 3: and it looks it looks like deep blue, like royal

949
00:51:38,480 --> 00:51:40,520
Speaker 3: blue and white, and then there's another scene where it

950
00:51:40,560 --> 00:51:42,640
Speaker 3: looks more kind of purple and red. So I'm not

951
00:51:42,680 --> 00:51:46,160
Speaker 3: sure which is the truer color, but at least in

952
00:51:46,239 --> 00:51:49,040
Speaker 3: terms of the earlier color scheme, we see the blue

953
00:51:49,080 --> 00:51:52,160
Speaker 3: and white Christmas sweater. That's interesting because it's like you know,

954
00:51:52,400 --> 00:51:54,200
Speaker 3: it should be red and green, shouldn't it if it's

955
00:51:54,239 --> 00:51:57,239
Speaker 3: Christmas sweater. But he can't be stopped. It's like he's

956
00:51:57,280 --> 00:52:00,600
Speaker 3: a rebel in all aesthetics. And the main imagery on

957
00:52:00,640 --> 00:52:04,600
Speaker 3: the Christmas sweater is prancing pairs of reindeer with enormous,

958
00:52:04,680 --> 00:52:10,000
Speaker 3: almost irish elk sized antlers. So anyway, we get Zalmon

959
00:52:10,080 --> 00:52:12,879
Speaker 3: king here wearing this, you know, making a statement kind

960
00:52:12,880 --> 00:52:17,080
Speaker 3: of copy uniform Christmas sweater, and he's having this sweet

961
00:52:17,120 --> 00:52:20,920
Speaker 3: little conversation in the corner with his date Alicia, and

962
00:52:21,080 --> 00:52:24,759
Speaker 3: suddenly their attention is diverted from each other by who

963
00:52:24,800 --> 00:52:26,720
Speaker 3: is that over in the corner of the other corner

964
00:52:26,760 --> 00:52:30,080
Speaker 3: of the room. That's Brian James morphing into Rodin.

965
00:52:30,320 --> 00:52:32,919
Speaker 1: That's right, playing the character Tony who we only see

966
00:52:32,920 --> 00:52:36,480
Speaker 1: in this scene. Brian James lived nineteen forty five through

967
00:52:36,520 --> 00:52:39,480
Speaker 1: nineteen ninety nine. Veteran character actor that I think most

968
00:52:39,520 --> 00:52:41,720
Speaker 1: of you probably know best from his role as Leon

969
00:52:41,840 --> 00:52:45,080
Speaker 1: and really Scott's Blade Runner. He was also the one

970
00:52:45,120 --> 00:52:48,080
Speaker 1: of the generals in the Fifth Element Unforgettable Mug.

971
00:52:48,160 --> 00:52:51,080
Speaker 3: This guy, yeah, good character actor. He's the guy who

972
00:52:51,120 --> 00:52:54,560
Speaker 3: you see him really flound during in the void comptest

973
00:52:54,600 --> 00:52:57,759
Speaker 3: in Blade Leunter, in this my Mother, I'll tell you

974
00:52:57,800 --> 00:52:58,520
Speaker 3: about my mother.

975
00:52:58,800 --> 00:53:03,200
Speaker 1: That's the one. In this though, Tony is either the

976
00:53:03,239 --> 00:53:06,120
Speaker 1: only guy in the social group who is still taking

977
00:53:06,239 --> 00:53:09,120
Speaker 1: LSD or is the guy in the social group who

978
00:53:09,280 --> 00:53:14,160
Speaker 1: took way too much LSD. Yeah, it's an interesting choice.

979
00:53:14,320 --> 00:53:17,640
Speaker 3: Yeah. So he starts like raising up his arms as

980
00:53:17,640 --> 00:53:20,480
Speaker 3: if he's flapping his wings and making monster sounds, and

981
00:53:20,520 --> 00:53:22,680
Speaker 3: then runs around the room in monster mode, and the

982
00:53:22,760 --> 00:53:26,680
Speaker 3: other characters are like, hey, remember Rodin somebody's like the artist,

983
00:53:26,880 --> 00:53:32,000
Speaker 3: No the monster. Anyway, After the Rodane attack, the friends

984
00:53:32,040 --> 00:53:34,279
Speaker 3: all decide to pose for a picture, but before that

985
00:53:34,320 --> 00:53:37,320
Speaker 3: they convince one of the guys at the party a dude. Now,

986
00:53:37,480 --> 00:53:40,319
Speaker 3: this is confusing because they really do call this guy

987
00:53:40,520 --> 00:53:45,600
Speaker 3: different name yes sometimes that I was so confused. They

988
00:53:45,600 --> 00:53:49,560
Speaker 3: call him both Frankie and Franny, and they call him

989
00:53:49,600 --> 00:53:53,160
Speaker 3: Frankie more often early, but then they keep calling him

990
00:53:53,200 --> 00:53:55,319
Speaker 3: Franny when they refer back to him for the rest

991
00:53:55,320 --> 00:53:56,960
Speaker 3: of the movie. So I think I'm gonna say Franny

992
00:53:57,000 --> 00:54:00,399
Speaker 3: instead of Frankie because that name usage persists more.

993
00:54:00,680 --> 00:54:04,279
Speaker 1: Yeah, and I believe that's how he's listed in like

994
00:54:04,360 --> 00:54:06,440
Speaker 1: IMDb and all on the credits for the movie.

995
00:54:06,719 --> 00:54:08,719
Speaker 3: Yeah, so they asked him to sing a song like

996
00:54:08,760 --> 00:54:11,080
Speaker 3: he used to. This guy's he's sort of a life

997
00:54:11,080 --> 00:54:13,680
Speaker 3: of the party type, he's a cool guy. Again. The

998
00:54:13,719 --> 00:54:17,319
Speaker 3: seventies noss of his clothing is overwhelming. He's wearing what

999
00:54:17,360 --> 00:54:21,360
Speaker 3: looks like a brown vulure sport jacket over a purple

1000
00:54:21,400 --> 00:54:25,520
Speaker 3: and white plaid shirt with a huge black tie hanging

1001
00:54:25,560 --> 00:54:28,480
Speaker 3: down to the crotch of his pants, and he starts

1002
00:54:28,480 --> 00:54:31,680
Speaker 3: singing an old standard from the fifties called just in Time,

1003
00:54:32,040 --> 00:54:34,839
Speaker 3: which has some interesting lyrics. It's I don't know who

1004
00:54:34,880 --> 00:54:36,759
Speaker 3: originally did this song. It sounds like it could be

1005
00:54:36,800 --> 00:54:39,800
Speaker 3: a you know, Frank Sinatra type singer song, but I

1006
00:54:39,840 --> 00:54:42,839
Speaker 3: don't think it was Sinatra, but that sort of thing.

1007
00:54:43,840 --> 00:54:47,479
Speaker 3: And the lyrics include things like my time was running low,

1008
00:54:47,640 --> 00:54:50,560
Speaker 3: the losing dice were tossed, my bridges all were crossed,

1009
00:54:50,719 --> 00:54:53,480
Speaker 3: nowhere to go? Now you're here, and now I know

1010
00:54:53,760 --> 00:54:57,719
Speaker 3: just where I'm going. Yeah, you're going. You're going to

1011
00:54:57,760 --> 00:54:58,480
Speaker 3: a bad place.

1012
00:55:00,040 --> 00:55:05,840
Speaker 1: Seeing the juxtaposition between Tony's acid antics and then this song,

1013
00:55:06,200 --> 00:55:07,759
Speaker 1: it kind of like fits into this theme you see

1014
00:55:07,760 --> 00:55:12,800
Speaker 1: throughout the movie where the characters are I think to

1015
00:55:13,239 --> 00:55:18,880
Speaker 1: varying degrees, maybe a little embarrassed by their psychedelic experiences

1016
00:55:18,920 --> 00:55:21,759
Speaker 1: and sort of the culture of the sixties, and so

1017
00:55:21,960 --> 00:55:25,600
Speaker 1: it's almost like a gut reaction to Tony still doing

1018
00:55:25,640 --> 00:55:27,920
Speaker 1: his thing and being like a little embarrassing. Is like,

1019
00:55:28,000 --> 00:55:30,120
Speaker 1: let's do an old standard, let's do the kind of

1020
00:55:30,200 --> 00:55:33,839
Speaker 1: music that our parents liked, you know. And so they

1021
00:55:34,480 --> 00:55:36,200
Speaker 1: start building this fifties number, you know.

1022
00:55:36,640 --> 00:55:39,280
Speaker 3: Yeah, So while Frannie is singing the song, he starts

1023
00:55:39,400 --> 00:55:41,480
Speaker 3: dancing with one of the women at the party, and

1024
00:55:41,520 --> 00:55:44,839
Speaker 3: then he goes to dip her and I think her date.

1025
00:55:44,960 --> 00:55:47,000
Speaker 3: This guy is not happy about this, and he reaches

1026
00:55:47,040 --> 00:55:50,000
Speaker 3: out and grabs Franny by the hair, which is already

1027
00:55:50,040 --> 00:55:53,960
Speaker 3: a weird thing to do. But suddenly, to everyone's shock,

1028
00:55:54,480 --> 00:55:58,440
Speaker 3: Franny's hair all comes off at once in the guy's hand,

1029
00:55:59,000 --> 00:56:03,000
Speaker 3: leaving Franny compleatletely bald except for a few patches, and

1030
00:56:03,040 --> 00:56:06,560
Speaker 3: the tone of the scene changes in an instant. Frannie

1031
00:56:06,600 --> 00:56:10,480
Speaker 3: suddenly looks wild and deranged. The music starts skittering with

1032
00:56:10,520 --> 00:56:13,799
Speaker 3: these tense violins, and Fanny bolts out the front door

1033
00:56:13,840 --> 00:56:15,040
Speaker 3: of the house into the night.

1034
00:56:15,640 --> 00:56:17,759
Speaker 1: Yeah, And at first, everyone's just like, whoa that was

1035
00:56:17,880 --> 00:56:21,040
Speaker 1: super weird and random, right, But then like it does

1036
00:56:21,120 --> 00:56:23,600
Speaker 1: kick in that everybody here is friends to some degree,

1037
00:56:23,760 --> 00:56:26,040
Speaker 1: and they sort of decide, well, we should go look

1038
00:56:26,080 --> 00:56:27,479
Speaker 1: for him. That dude needs help.

1039
00:56:27,800 --> 00:56:30,799
Speaker 3: Well, I think it's mainly Jerry that decides to go

1040
00:56:30,840 --> 00:56:32,680
Speaker 3: look for him. People get weirded out and the party

1041
00:56:32,719 --> 00:56:35,160
Speaker 3: kind of breaks up in multiple directions. So, like several

1042
00:56:35,200 --> 00:56:38,880
Speaker 3: of the friends, including Jerry's date Alicia that's Deborah Winters,

1043
00:56:39,160 --> 00:56:43,239
Speaker 3: they get into a car to head into town. She's saying, like,

1044
00:56:43,280 --> 00:56:45,840
Speaker 3: I need some honey, honey, you'll help me feel better.

1045
00:56:46,719 --> 00:56:48,560
Speaker 1: And Tony, I guess, just flies off into the night.

1046
00:56:48,640 --> 00:56:49,720
Speaker 1: We never see Tony again.

1047
00:56:50,040 --> 00:56:53,520
Speaker 3: Yeah, oh yeah, that's right. Where does Tony go. I

1048
00:56:53,520 --> 00:56:56,000
Speaker 3: don't know he's got He does not stay behind to

1049
00:56:56,040 --> 00:56:59,000
Speaker 3: become one of the murder victims, but he also maybe

1050
00:56:59,000 --> 00:57:01,560
Speaker 3: he goes to town. Maybe Tony needs some honey, he

1051
00:57:01,560 --> 00:57:05,000
Speaker 3: needs Rodane food. But anyway, so a few more stay

1052
00:57:05,000 --> 00:57:07,719
Speaker 3: behind at the house and Jerry alone decides to go

1053
00:57:07,800 --> 00:57:10,240
Speaker 3: look around outside for Franny to make sure he's okay.

1054
00:57:10,320 --> 00:57:21,800
Speaker 3: He takes a flashlight goes out walking in the trees. Meanwhile,

1055
00:57:21,840 --> 00:57:24,320
Speaker 3: back at the house, a few guests are hanging around

1056
00:57:24,360 --> 00:57:27,680
Speaker 3: the fire, smoking cigarettes, talking about what happened. They can't

1057
00:57:27,680 --> 00:57:30,120
Speaker 3: figure out if it was a prank or not. Franny's

1058
00:57:30,160 --> 00:57:33,040
Speaker 3: the kind of guy who does pull pranks, but I

1059
00:57:33,040 --> 00:57:36,240
Speaker 3: don't know. It was so strange. Then there's a knock

1060
00:57:36,240 --> 00:57:39,160
Speaker 3: at the door. One of them goes to answer, and oh,

1061
00:57:39,200 --> 00:57:43,320
Speaker 3: here he is again. It's Franny, bald, pale, with a manic,

1062
00:57:43,520 --> 00:57:47,040
Speaker 3: crazed look in his eyes. He bursts through the threshold

1063
00:57:47,240 --> 00:57:52,840
Speaker 3: and commences a homicidal rampage, and it is a shocking scene.

1064
00:57:52,880 --> 00:57:55,240
Speaker 3: He murders the other guests of the party, one of

1065
00:57:55,240 --> 00:57:58,680
Speaker 3: them at least by like throwing her into the fireplace.

1066
00:57:58,720 --> 00:57:59,560
Speaker 3: It is horrible.

1067
00:58:00,040 --> 00:58:03,320
Speaker 1: That's horrifying. This is not the fireplace I want in

1068
00:58:03,320 --> 00:58:04,640
Speaker 1: my living room. Netflix.

1069
00:58:05,240 --> 00:58:07,880
Speaker 3: So meanwhile, Jerry's out walking in the woods and he

1070
00:58:08,000 --> 00:58:12,600
Speaker 3: finds Franny's hair hanging from a tree branch, and I

1071
00:58:12,680 --> 00:58:15,280
Speaker 3: recall it, so I have more perspective on this now.

1072
00:58:15,680 --> 00:58:17,680
Speaker 3: I think this is supposed to be a wig. But

1073
00:58:17,800 --> 00:58:20,040
Speaker 3: I remember the first time I saw the movie, I

1074
00:58:20,160 --> 00:58:23,320
Speaker 3: was really confused, Like, is it that his real hair

1075
00:58:23,440 --> 00:58:25,600
Speaker 3: all fell off at once and is still in a

1076
00:58:25,640 --> 00:58:28,880
Speaker 3: single mass like this or within the movie. Is it

1077
00:58:28,960 --> 00:58:30,840
Speaker 3: supposed to be a wig, with the idea that like

1078
00:58:30,920 --> 00:58:33,280
Speaker 3: his hair has been falling out and he's been wearing

1079
00:58:33,280 --> 00:58:34,920
Speaker 3: a wig to hide it. I think it's the latter.

1080
00:58:35,360 --> 00:58:38,480
Speaker 1: Yeah, yeah, because this seems to be a common feature

1081
00:58:38,480 --> 00:58:40,479
Speaker 1: in the film, is that people are losing their hair

1082
00:58:41,000 --> 00:58:45,400
Speaker 1: to the Blue Sunshine syndrome. They are obtaining wigs. We

1083
00:58:45,440 --> 00:58:48,240
Speaker 1: see wigs for sale and some of the scenes late

1084
00:58:48,280 --> 00:58:50,440
Speaker 1: in the picture, and it almost becomes this kind of

1085
00:58:50,440 --> 00:58:56,160
Speaker 1: metaphor for like the mask of normal life that one

1086
00:58:56,640 --> 00:59:00,800
Speaker 1: imposes upon themself to despite the trauma that's going on

1087
00:59:00,880 --> 00:59:01,440
Speaker 1: inside you.

1088
00:59:02,080 --> 00:59:05,880
Speaker 3: Yeah. So here, Jerry hears a scream coming from the house,

1089
00:59:05,920 --> 00:59:07,640
Speaker 3: so he goes running back to the house and he

1090
00:59:07,680 --> 00:59:12,040
Speaker 3: finds the three remaining guests all murdered and they're like

1091
00:59:12,120 --> 00:59:15,440
Speaker 3: burning in the fireplace. Again. It's a horrible scene. So

1092
00:59:15,560 --> 00:59:18,520
Speaker 3: he's in shock from this and he's like sort of

1093
00:59:18,680 --> 00:59:21,880
Speaker 3: just wandering around like what's going on, And suddenly Franny

1094
00:59:22,040 --> 00:59:25,480
Speaker 3: pops out from behind a curtain and attacks him. They

1095
00:59:25,520 --> 00:59:29,480
Speaker 3: begin to fight. This scuffle leads them outside outside in

1096
00:59:29,480 --> 00:59:31,680
Speaker 3: front of the house and then into the street where

1097
00:59:31,760 --> 00:59:35,400
Speaker 3: Franny is hit by a passing truck and we do

1098
00:59:35,440 --> 00:59:37,360
Speaker 3: get a jump scare when the truckers like go to

1099
00:59:37,440 --> 00:59:39,240
Speaker 3: check on him, he like pops up again, but then

1100
00:59:39,280 --> 00:59:43,240
Speaker 3: falls down and dies. Jerry goes back up to the

1101
00:59:43,240 --> 00:59:45,040
Speaker 3: house and just kind of sits in front of front

1102
00:59:45,080 --> 00:59:49,959
Speaker 3: of the fireplace, and one of the truckers jumps to conclusions,

1103
00:59:50,000 --> 00:59:52,640
Speaker 3: gets a revolver out of his glove box and follows

1104
00:59:52,720 --> 00:59:55,160
Speaker 3: Jerry up to the house, where he confronts him shoots

1105
00:59:55,200 --> 00:59:58,040
Speaker 3: him in the arm. It's clear the trucker thinks Jerry

1106
00:59:58,200 --> 01:00:01,680
Speaker 3: is responsible for all these murder and then Jerry, in

1107
01:00:01,760 --> 01:00:05,800
Speaker 3: a strange acting moment, issues this grating, full volume proclamation

1108
01:00:05,920 --> 01:00:09,400
Speaker 3: that I didn't kill anybody, and then he escapes in his.

1109
01:00:09,360 --> 01:00:13,080
Speaker 1: Car, not looking good. Jerry not looking good.

1110
01:00:13,280 --> 01:00:15,360
Speaker 3: And then it's clear that when the cops arrive later,

1111
01:00:15,680 --> 01:00:17,840
Speaker 3: they come to the same conclusion as the trucker. They're

1112
01:00:18,080 --> 01:00:21,480
Speaker 3: obviously as Almon King did all of this. There's a

1113
01:00:21,520 --> 01:00:24,600
Speaker 3: scene where a detective is interviewing Alicia outside the house.

1114
01:00:24,640 --> 01:00:27,160
Speaker 3: She's back here now, and she is adamant that Jerry

1115
01:00:27,240 --> 01:00:30,440
Speaker 3: is not responsible, but the detective is adamant that he is.

1116
01:00:31,320 --> 01:00:33,320
Speaker 3: Just wanted to note this movie does have I think

1117
01:00:33,360 --> 01:00:37,160
Speaker 3: the inspector here is Inspector Clay just like Plan nine

1118
01:00:37,160 --> 01:00:38,920
Speaker 3: from outer Space. That's t worst character.

1119
01:00:39,080 --> 01:00:41,760
Speaker 1: Oh man, that can't be an accident. That's got to

1120
01:00:41,800 --> 01:00:42,360
Speaker 1: be intentional.

1121
01:00:42,520 --> 01:00:44,160
Speaker 3: Then we get a scene with the cops talking to

1122
01:00:44,200 --> 01:00:46,480
Speaker 3: each other where they explain their theories. One of them

1123
01:00:46,520 --> 01:00:50,520
Speaker 3: says that Zipkin is erratic as hell. He graduated from Cornell,

1124
01:00:50,680 --> 01:00:52,960
Speaker 3: top of his class, and now he hasn't got a

1125
01:00:53,000 --> 01:00:55,520
Speaker 3: pot to piss in. He must have had ten jobs

1126
01:00:55,520 --> 01:00:58,160
Speaker 3: from the last five years. He quit his last one

1127
01:00:58,240 --> 01:01:01,880
Speaker 3: because the firm wouldn't hire enough women. And this really

1128
01:01:01,920 --> 01:01:05,120
Speaker 3: gets the partner's attention. And I thought he was going

1129
01:01:05,200 --> 01:01:07,880
Speaker 3: to say something sexist here, but instead he says and

1130
01:01:07,920 --> 01:01:12,480
Speaker 3: then he barbecues three of them in a fireplace. It

1131
01:01:12,520 --> 01:01:15,960
Speaker 3: seems counterintuitive to the cops, and yet they are not deterred.

1132
01:01:15,960 --> 01:01:18,880
Speaker 3: He is their prime suspect. Anyway, Jerry's now on the

1133
01:01:18,960 --> 01:01:21,000
Speaker 3: run from the cops. He shows up at the hospital

1134
01:01:21,080 --> 01:01:24,160
Speaker 3: looking for his friend David, the doctor, the very stressed

1135
01:01:24,160 --> 01:01:27,560
Speaker 3: out doctor who we met earlier. So he's got an

1136
01:01:27,600 --> 01:01:31,440
Speaker 3: obvious bloody gunshot wound in his arm, but he, you know,

1137
01:01:31,480 --> 01:01:34,560
Speaker 3: he's like dabbing it and carrying this dirty, bloody rag

1138
01:01:35,440 --> 01:01:37,840
Speaker 3: walks into the hospital and the reception is like a

1139
01:01:37,960 --> 01:01:40,840
Speaker 3: receptionist is like, oh yeah, the doctor will see you.

1140
01:01:40,880 --> 01:01:42,760
Speaker 3: His office is down the hall. Just go on in.

1141
01:01:43,240 --> 01:01:46,840
Speaker 3: Like what did doctors work like that in the seventies

1142
01:01:47,000 --> 01:01:48,520
Speaker 3: or is this just movie magic?

1143
01:01:48,600 --> 01:01:48,760
Speaker 4: Yeah?

1144
01:01:48,800 --> 01:01:51,040
Speaker 1: No, no, it's just a little more laid back, right, And I.

1145
01:01:51,000 --> 01:01:55,240
Speaker 3: Like how when David looks at the wound, the first

1146
01:01:55,280 --> 01:01:57,840
Speaker 3: thing he says is like, hmm, not too bad. The

1147
01:01:57,880 --> 01:02:02,560
Speaker 3: inflection is almost kind of like nice good. Jerry tries

1148
01:02:02,600 --> 01:02:05,160
Speaker 3: to lie and tell him he was accidentally shot by

1149
01:02:05,200 --> 01:02:08,040
Speaker 3: a hunter, but David is like, Jerry, I have to

1150
01:02:08,080 --> 01:02:11,440
Speaker 3: report all gunshot wounds. I can't, you know, just forget

1151
01:02:11,440 --> 01:02:14,880
Speaker 3: about this. So they have an argument because David knows

1152
01:02:14,920 --> 01:02:18,680
Speaker 3: that he's lying. He's hiding something. And after David leaves

1153
01:02:18,680 --> 01:02:20,520
Speaker 3: the room, there's a part where Jerry notices a bunch

1154
01:02:20,520 --> 01:02:23,280
Speaker 3: of hair on the floor. His doctor buddy seems to

1155
01:02:23,280 --> 01:02:27,040
Speaker 3: be shedding, and there's ominous music here. When Jerry asks

1156
01:02:27,080 --> 01:02:29,680
Speaker 3: about this, Bloom shrugs it off. He's just like as

1157
01:02:29,720 --> 01:02:32,760
Speaker 3: stress of the job. But in this conversation he casually

1158
01:02:32,840 --> 01:02:35,640
Speaker 3: drops a mention of past drug use. He's like, you know,

1159
01:02:35,720 --> 01:02:38,920
Speaker 3: I don't party like I used to. Now there's a

1160
01:02:38,920 --> 01:02:41,520
Speaker 3: scene where we meet up with Wendy again the lady

1161
01:02:41,520 --> 01:02:44,840
Speaker 3: who was babysitting earlier, and she's getting her hair shampooed

1162
01:02:44,920 --> 01:02:47,200
Speaker 3: in the sink by another lady. I was not quite

1163
01:02:47,240 --> 01:02:49,600
Speaker 3: sure if this is her friend or her hairstylist. I

1164
01:02:49,600 --> 01:02:50,320
Speaker 3: think it's a friend.

1165
01:02:50,560 --> 01:02:52,440
Speaker 1: Yeah, I wasn't sure if this was the kid's parents

1166
01:02:52,520 --> 01:02:54,400
Speaker 1: or what. But at any rate, it's not essential.

1167
01:02:54,720 --> 01:02:56,640
Speaker 3: So they're trying to figure out why her hair is

1168
01:02:56,680 --> 01:02:59,480
Speaker 3: falling out. The other lady speculates that it could be

1169
01:02:59,480 --> 01:03:03,720
Speaker 3: because when isn't quote getting any This is a true

1170
01:03:03,720 --> 01:03:07,040
Speaker 3: health fact she read in Cosmo. It affects your bioorrhythms,

1171
01:03:07,080 --> 01:03:07,760
Speaker 3: she said.

1172
01:03:08,040 --> 01:03:10,360
Speaker 1: And it's kind of ridiculous, but they play it well.

1173
01:03:10,360 --> 01:03:11,120
Speaker 1: They play it well.

1174
01:03:11,840 --> 01:03:16,240
Speaker 3: But Wendy confesses that she's having persistent headaches and terrible

1175
01:03:16,360 --> 01:03:19,320
Speaker 3: nightmares whenever she sleeps. She's frightened that something is really

1176
01:03:19,320 --> 01:03:21,680
Speaker 3: wrong with her. And once again, the fear in this

1177
01:03:21,760 --> 01:03:24,560
Speaker 3: scene is palpable, and you really feel bad for Wendy,

1178
01:03:25,000 --> 01:03:28,560
Speaker 3: for Wendy and David both. I've already said this, but

1179
01:03:28,600 --> 01:03:30,840
Speaker 3: I really just do want to emphasize that in a

1180
01:03:31,160 --> 01:03:34,320
Speaker 3: kind of an exploitation thriller movie, like this, and you

1181
01:03:34,520 --> 01:03:38,840
Speaker 3: wouldn't necessarily expect to feel a lot of empathy, like

1182
01:03:38,920 --> 01:03:42,360
Speaker 3: a lot of emotional sympathy for the characters and their struggles.

1183
01:03:42,360 --> 01:03:44,640
Speaker 3: But in this movie, you really really do, or at

1184
01:03:44,720 --> 01:03:47,480
Speaker 3: least I did. Like Wendy and David, you are feeling

1185
01:03:47,600 --> 01:03:51,800
Speaker 3: so bad for and so worried for. Yeah. Now, ultimately,

1186
01:03:51,880 --> 01:03:55,880
Speaker 3: in this conversation Wendy's friend here she links Wendy's stress

1187
01:03:55,920 --> 01:03:58,760
Speaker 3: and her nightmares and everything to her separation from her husband,

1188
01:03:58,760 --> 01:04:01,400
Speaker 3: because again, Wendy does really seemed to be at peace

1189
01:04:01,440 --> 01:04:04,560
Speaker 3: with this situation. She hasn't recovered from it. And then

1190
01:04:04,560 --> 01:04:07,960
Speaker 3: there's a great cut coming up where Wendy's like, how

1191
01:04:08,080 --> 01:04:10,360
Speaker 3: how can I put Eddie in the past when his

1192
01:04:10,600 --> 01:04:13,280
Speaker 3: gorgeous face is plastered all over the city, you know,

1193
01:04:13,320 --> 01:04:16,120
Speaker 3: because he's running for office, so there are the posters everywhere.

1194
01:04:16,320 --> 01:04:19,840
Speaker 3: Then we cut straight to a campaign poster, a defaced

1195
01:04:20,240 --> 01:04:22,880
Speaker 3: ed Fleming for Congress poster stuck up to the back

1196
01:04:22,920 --> 01:04:25,920
Speaker 3: of a bus station where somebody has wided out his

1197
01:04:26,080 --> 01:04:29,600
Speaker 3: eyes and half of his hair and drawn fangs and

1198
01:04:29,680 --> 01:04:32,240
Speaker 3: a snake tongue coming out of his lips so he

1199
01:04:32,280 --> 01:04:36,360
Speaker 3: looks like a clownish Reptilian grindle and the slogan on

1200
01:04:36,400 --> 01:04:38,400
Speaker 3: top of the sign is here is the future.

1201
01:04:38,800 --> 01:04:39,360
Speaker 1: Yeah.

1202
01:04:39,440 --> 01:04:41,880
Speaker 3: I was thinking about this, and I wonder if the

1203
01:04:41,960 --> 01:04:44,920
Speaker 3: subplot of the political campaign in this movie was it

1204
01:04:45,000 --> 01:04:48,040
Speaker 3: all inspired by Taxi Driver, which came out the year before.

1205
01:04:48,160 --> 01:04:49,760
Speaker 3: I can't be sure there, but I don't know. I

1206
01:04:49,840 --> 01:04:51,600
Speaker 3: felt some similarities.

1207
01:04:51,960 --> 01:04:54,120
Speaker 1: Yeah, yeah, it might be there, just sort of in

1208
01:04:54,240 --> 01:04:59,280
Speaker 1: terms of basic structure, different purpose, and different characters obviously,

1209
01:05:00,000 --> 01:05:03,520
Speaker 1: but yeah, he might be onto something there. I'm just

1210
01:05:03,520 --> 01:05:05,440
Speaker 1: going to add that all of this was shot in

1211
01:05:05,560 --> 01:05:09,080
Speaker 1: La so anytime we're outdoors in this picture, we do

1212
01:05:09,120 --> 01:05:13,280
Speaker 1: get these authentic scenes of nineteen seventies Los Angeles, be

1213
01:05:13,360 --> 01:05:17,640
Speaker 1: it something like MacArthur Park or various the Arthur J.

1214
01:05:17,760 --> 01:05:19,560
Speaker 1: Will Memorial Fountain and so forth.

1215
01:05:20,320 --> 01:05:23,520
Speaker 3: Yeah, a lot of beautiful, notable public spaces in this movie.

1216
01:05:23,560 --> 01:05:26,400
Speaker 3: You see a lot of parks and pedestrian overpasses and

1217
01:05:26,480 --> 01:05:30,840
Speaker 3: interesting little plazas and stuff. Anyway, in this scene, we

1218
01:05:30,920 --> 01:05:33,600
Speaker 3: get Jerry, who is still on the run from police,

1219
01:05:33,960 --> 01:05:38,000
Speaker 3: meeting up with Alicia. She does believe he's innocent, but

1220
01:05:38,240 --> 01:05:41,240
Speaker 3: she thinks maybe he should turn himself in anyway, because

1221
01:05:41,320 --> 01:05:44,880
Speaker 3: running makes him look guilty and I like that, Jerry.

1222
01:05:45,320 --> 01:05:47,480
Speaker 3: I feel like this is not a thing that would

1223
01:05:47,520 --> 01:05:50,720
Speaker 3: normally make the protagonist on the run from police say

1224
01:05:51,120 --> 01:05:53,400
Speaker 3: but I like that. His response is, I can't go

1225
01:05:53,480 --> 01:05:57,440
Speaker 3: to jail, even for one day. I'll go bananas. It's

1226
01:05:57,440 --> 01:06:00,200
Speaker 3: a different kind of response. It's like, okay, know thyself,

1227
01:06:00,240 --> 01:06:02,560
Speaker 3: I cannot do the time, even until I make bail.

1228
01:06:02,720 --> 01:06:05,080
Speaker 3: Just can't do it. I feel like the more normal

1229
01:06:05,120 --> 01:06:07,320
Speaker 3: protagonist there would have said, like, I've got to get

1230
01:06:07,360 --> 01:06:09,240
Speaker 3: to the bottom of who the real killer is or

1231
01:06:09,280 --> 01:06:10,760
Speaker 3: something I don't know, something like that.

1232
01:06:10,880 --> 01:06:12,440
Speaker 1: Yeah, yeah, I don't know. It kind of feels like

1233
01:06:12,480 --> 01:06:14,200
Speaker 1: one of those lines you throw in when you realize,

1234
01:06:14,360 --> 01:06:16,040
Speaker 1: you know, I really need to put something in here

1235
01:06:16,080 --> 01:06:18,800
Speaker 1: to explain why he's doing this, and you know, maybe

1236
01:06:18,840 --> 01:06:21,360
Speaker 1: it's a little bit throwaway, but it establishes, Okay, there

1237
01:06:21,440 --> 01:06:22,080
Speaker 1: is a reason.

1238
01:06:22,480 --> 01:06:25,280
Speaker 3: So they argue about what could have made Franny act

1239
01:06:25,360 --> 01:06:28,280
Speaker 3: the way he did, and while they're having this conversation,

1240
01:06:28,360 --> 01:06:31,840
Speaker 3: they just happened to stumble across a guy reading a newspaper.

1241
01:06:32,360 --> 01:06:35,919
Speaker 3: The paper is a copy of the National Informer, which

1242
01:06:35,960 --> 01:06:39,200
Speaker 3: has this shocking photo and then the headline that says

1243
01:06:39,240 --> 01:06:43,520
Speaker 3: Glendale detective goes mad it kills wife, children, neighbor, then

1244
01:06:43,600 --> 01:06:48,560
Speaker 3: kills self. Even neighbor's dog not spared. Night of terror.

1245
01:06:49,040 --> 01:06:51,960
Speaker 3: So we look at this and we're like, oh, wait

1246
01:06:52,000 --> 01:06:54,120
Speaker 3: a minute, we know who that is. That is the

1247
01:06:54,160 --> 01:06:56,480
Speaker 3: guy from the opening vignette who was wearing the cherry

1248
01:06:56,520 --> 01:06:58,920
Speaker 3: red shirt with the mile wide collar and the macaw

1249
01:06:59,040 --> 01:07:02,400
Speaker 3: on his shoulder, yelling Blue Sunshine, something terrible happened.

1250
01:07:03,240 --> 01:07:06,240
Speaker 1: This is hilarious because I just love the idea that

1251
01:07:06,280 --> 01:07:11,360
Speaker 1: this newspaper is running a photograph of a corpse. Yes,

1252
01:07:11,440 --> 01:07:14,800
Speaker 1: front page, partially above the fold, it's mostly below the fold,

1253
01:07:14,840 --> 01:07:19,200
Speaker 1: but still like, when is you ever see something this grotesque?

1254
01:07:19,560 --> 01:07:21,720
Speaker 1: But at the same time, maybe it does kind of

1255
01:07:21,720 --> 01:07:27,000
Speaker 1: work because like maybe that's blue Sunshine is theorizing like

1256
01:07:27,240 --> 01:07:29,080
Speaker 1: this is where the world is. You would run this

1257
01:07:29,160 --> 01:07:30,880
Speaker 1: on the front page of your newspaper.

1258
01:07:31,040 --> 01:07:33,160
Speaker 3: This is the bleak, broken world we live in.

1259
01:07:33,360 --> 01:07:34,160
Speaker 1: Yeah.

1260
01:07:34,280 --> 01:07:36,840
Speaker 3: So Jerry and Alicia see the photo and they notice

1261
01:07:36,880 --> 01:07:40,280
Speaker 3: that the murderer is hairless, looking exactly like Franny. They

1262
01:07:40,320 --> 01:07:43,360
Speaker 3: don't know this guy, but they're like, what another bald

1263
01:07:43,680 --> 01:07:48,480
Speaker 3: murder ram page. That's strange. So Jerry buys a copy

1264
01:07:48,480 --> 01:07:51,640
Speaker 3: of the paper at a newsstand starts reading it as

1265
01:07:51,640 --> 01:07:54,800
Speaker 3: he like drifts away up an escalator while Alicia yells

1266
01:07:54,800 --> 01:07:56,680
Speaker 3: at him not to leave her behind. She's like, I

1267
01:07:56,720 --> 01:07:58,360
Speaker 3: want to go on the lamb with you and help

1268
01:07:58,400 --> 01:08:01,680
Speaker 3: you figure this out. He ignores her and reads the story.

1269
01:08:02,280 --> 01:08:03,640
Speaker 3: I want to say, this is a case of there

1270
01:08:03,640 --> 01:08:07,400
Speaker 3: are several moments like this in the movie where I

1271
01:08:07,400 --> 01:08:10,240
Speaker 3: feel like Alicia is trying to be helpful and Jerry

1272
01:08:10,360 --> 01:08:13,640
Speaker 3: is just not. He's not being very nice.

1273
01:08:14,000 --> 01:08:16,360
Speaker 1: No, no, and again he's having a hard time.

1274
01:08:16,439 --> 01:08:19,400
Speaker 3: But still, anyway, it's obvious what the next move is.

1275
01:08:19,760 --> 01:08:22,360
Speaker 3: In order to prove his innocence. Jerry himself has to

1276
01:08:22,400 --> 01:08:24,439
Speaker 3: solve the case. He's got to figure out what's going on,

1277
01:08:24,920 --> 01:08:27,920
Speaker 3: that's right. Yeah, So the first stop is he wants

1278
01:08:28,000 --> 01:08:30,200
Speaker 3: to go to the scene of the crime reported in

1279
01:08:30,240 --> 01:08:32,120
Speaker 3: the paper. I guess the paper just like gives out

1280
01:08:32,160 --> 01:08:35,439
Speaker 3: the address where the crimes occur. So Jerry goes and

1281
01:08:35,439 --> 01:08:38,480
Speaker 3: he talks to the neighbor lady who's suspicious of reporters.

1282
01:08:38,560 --> 01:08:41,320
Speaker 3: He has to assure her he is not one. This

1283
01:08:41,680 --> 01:08:44,600
Speaker 3: character actress here seemed very familiar to me. I was like,

1284
01:08:44,680 --> 01:08:46,040
Speaker 3: I know her from something.

1285
01:08:46,240 --> 01:08:48,720
Speaker 1: Oh yeah, this is Alice Ghostly who lived nineteen twenty

1286
01:08:48,760 --> 01:08:52,040
Speaker 1: three through two thousand and seven. Very familiar character actress.

1287
01:08:52,600 --> 01:08:55,400
Speaker 1: Her film credits alone include nineteen sixty twos To Kill

1288
01:08:55,400 --> 01:08:59,599
Speaker 1: a Mockingbird, sixty sevens The Graduate, seventy eight's Grease, and

1289
01:08:59,640 --> 01:09:01,479
Speaker 1: just loads of other stuff. She was on forty eight

1290
01:09:01,520 --> 01:09:04,920
Speaker 1: episodes of Designing Women on TV. So, yeah, this is

1291
01:09:04,920 --> 01:09:08,800
Speaker 1: a very familiar face, even if you can't line it

1292
01:09:08,880 --> 01:09:11,200
Speaker 1: up with a particular title like you've seen her before.

1293
01:09:11,600 --> 01:09:15,600
Speaker 3: So she starts filling Jerry in with Mostly she's just

1294
01:09:16,200 --> 01:09:19,000
Speaker 3: recounting a lot of the grizzly details of the crime,

1295
01:09:19,120 --> 01:09:23,080
Speaker 3: like explaining all of the fatal injuries. Though strangely, she

1296
01:09:23,200 --> 01:09:26,240
Speaker 3: explains that in years past, Johnny was always so gentle

1297
01:09:26,280 --> 01:09:28,280
Speaker 3: and kind, He was the nicest guy. What could have

1298
01:09:28,400 --> 01:09:33,120
Speaker 3: changed in him? Jerry breaks into the house and one

1299
01:09:33,120 --> 01:09:35,040
Speaker 3: of the funny things here is that there is a

1300
01:09:35,080 --> 01:09:39,120
Speaker 3: framed photo of Johnny in full copy uniform by himself,

1301
01:09:39,160 --> 01:09:42,280
Speaker 3: sitting on the mantle. She seems like an odd thing

1302
01:09:42,320 --> 01:09:43,160
Speaker 3: to have in your house.

1303
01:09:43,720 --> 01:09:47,080
Speaker 1: Yeah, you know, you just need an establishing shot, right.

1304
01:09:47,560 --> 01:09:51,840
Speaker 3: Yeah, there's oh my god. He goes up to the

1305
01:09:51,880 --> 01:09:54,439
Speaker 3: stairs where there is like a white tape outline of

1306
01:09:54,479 --> 01:09:56,680
Speaker 3: a body, you know, like in a crime scene, but

1307
01:09:56,960 --> 01:10:00,679
Speaker 3: it's on top of the stairs, which are completely covered

1308
01:10:00,760 --> 01:10:03,160
Speaker 3: in orange shag carpet.

1309
01:10:03,680 --> 01:10:04,919
Speaker 1: Yeah, it's pretty glorious.

1310
01:10:05,600 --> 01:10:10,080
Speaker 3: Not just carpeted stairs, orange shag carpet stairs, go Valls.

1311
01:10:11,800 --> 01:10:14,799
Speaker 3: So anyway, he's like looking, Jerry's looking at the crime scene,

1312
01:10:15,240 --> 01:10:19,680
Speaker 3: and somehow here he like viscerally relives the crime. The

1313
01:10:19,760 --> 01:10:22,400
Speaker 3: strange thing is this is the closest the movie ever

1314
01:10:22,479 --> 01:10:25,439
Speaker 3: comes to anything that feels like a sharing of a

1315
01:10:25,439 --> 01:10:29,040
Speaker 3: psychedelic perspective. It's like he's hallucinating that he's there during

1316
01:10:29,080 --> 01:10:31,920
Speaker 3: the crime. Except we get the feeling that Jerry is

1317
01:10:31,960 --> 01:10:35,120
Speaker 3: not on drugs and probably never did any drugs, and

1318
01:10:35,200 --> 01:10:38,160
Speaker 3: so I don't know, that's kind of odd. It's almost

1319
01:10:38,200 --> 01:10:40,760
Speaker 3: like they're implying he's psychic. But this never comes back

1320
01:10:40,800 --> 01:10:41,599
Speaker 3: again in the movie.

1321
01:10:41,920 --> 01:10:44,439
Speaker 1: I feel like Jerry did some drugs. I don't know. Oh, okay,

1322
01:10:45,320 --> 01:10:48,519
Speaker 1: I mean he didn't do Blue Sunshine, but I mean

1323
01:10:48,560 --> 01:10:49,400
Speaker 1: he did a little something.

1324
01:10:49,920 --> 01:10:52,840
Speaker 3: Oh maybe they never talk about it. Yeah, but maybe

1325
01:10:52,840 --> 01:10:56,559
Speaker 3: he just has the shining. Also, there's a bird scare here.

1326
01:10:56,680 --> 01:10:58,720
Speaker 3: There's like, oh, here's something in the closet, and he

1327
01:10:58,760 --> 01:11:02,080
Speaker 3: opens it up and the McCall flies out, but the

1328
01:11:02,160 --> 01:11:05,040
Speaker 3: macaw says, hello, Johnny. And then what was the other

1329
01:11:05,080 --> 01:11:07,160
Speaker 3: thing the bird said in the earlier scene. It says

1330
01:11:07,360 --> 01:11:12,559
Speaker 3: blue sunshine. Now this rattles something in Jerry's brain. He's like,

1331
01:11:12,680 --> 01:11:16,200
Speaker 3: blue sunshine? Where have I heard those words before? So

1332
01:11:16,680 --> 01:11:19,120
Speaker 3: he goes and breaks into another dwelling. He goes to

1333
01:11:19,400 --> 01:11:24,200
Speaker 3: Franny's house. I think this is Franny's photo studio. And

1334
01:11:24,280 --> 01:11:26,240
Speaker 3: he goes and he looks around and there are pictures

1335
01:11:26,240 --> 01:11:29,120
Speaker 3: on the wall of Jerry and Franny and other friends

1336
01:11:29,160 --> 01:11:31,920
Speaker 3: of theirs. And then he comes to one photo. He's

1337
01:11:32,000 --> 01:11:34,519
Speaker 3: one he's seen before, and it's the one he's looking for.

1338
01:11:35,520 --> 01:11:38,160
Speaker 3: Why who is that in the photo? It is aspiring

1339
01:11:38,280 --> 01:11:41,479
Speaker 3: Congressman Ed Fleming, who we've seen several times now in

1340
01:11:41,520 --> 01:11:45,160
Speaker 3: his campaign commercials and posters, except here he's a bit younger,

1341
01:11:45,520 --> 01:11:47,679
Speaker 3: and he is dressed up like some kind of new

1342
01:11:47,680 --> 01:11:52,360
Speaker 3: age spiritual guru with long blonde Richard Lynch hair, wearing

1343
01:11:52,439 --> 01:11:55,320
Speaker 3: shell beads in a kind of double exposure shot with

1344
01:11:55,479 --> 01:11:58,599
Speaker 3: rays of light emanating from his face. And then the

1345
01:11:58,640 --> 01:12:01,679
Speaker 3: title of this photo is on a label underneath. It's

1346
01:12:01,680 --> 01:12:03,760
Speaker 3: called blue Sunshine.

1347
01:12:03,880 --> 01:12:06,040
Speaker 1: Yeah, And this is the this is the image that

1348
01:12:06,760 --> 01:12:11,439
Speaker 1: implies so much about Fleming's past, and again it's it's

1349
01:12:11,439 --> 01:12:15,479
Speaker 1: better than a dozen flashbacks, like yeah, your mind goes there.

1350
01:12:15,520 --> 01:12:17,160
Speaker 1: Just by seeing this image.

1351
01:12:16,840 --> 01:12:19,360
Speaker 3: The plot thickened. So time to go to a campaign event.

1352
01:12:20,240 --> 01:12:22,320
Speaker 3: We go to an Ed Fleming campaign event where we

1353
01:12:22,360 --> 01:12:26,040
Speaker 3: meet several other major characters. Fleming himself, who is who

1354
01:12:26,120 --> 01:12:30,280
Speaker 3: is handsome, charismatic, and assertive, but also we're going to

1355
01:12:30,280 --> 01:12:35,120
Speaker 3: get the sense that he is maybe an untrustworthy, unsavory guy.

1356
01:12:34,720 --> 01:12:38,439
Speaker 3: He's a guy who you know, he's he's a glad hander,

1357
01:12:38,520 --> 01:12:43,120
Speaker 3: he's very charming in person, but he's probably a liar

1358
01:12:43,200 --> 01:12:45,519
Speaker 3: and a cheat and and maybe other bad things.

1359
01:12:46,160 --> 01:12:47,840
Speaker 1: But at the same time, I think it's important to

1360
01:12:47,840 --> 01:12:51,800
Speaker 1: stress that Fleming doesn't come off as like sometimes you

1361
01:12:51,840 --> 01:12:54,400
Speaker 1: have a political character in a film like this and

1362
01:12:54,439 --> 01:12:57,120
Speaker 1: it's like this guy is a is a clear danger

1363
01:12:57,160 --> 01:13:00,840
Speaker 1: to everything. It's more like he's kind of a stand politician,

1364
01:13:00,960 --> 01:13:05,960
Speaker 1: like he's he's as bad as all the other political

1365
01:13:06,000 --> 01:13:08,920
Speaker 1: candidates out there. And we also get the impression, i mean,

1366
01:13:09,000 --> 01:13:12,400
Speaker 1: perhaps just because it's California, that like he's probably a

1367
01:13:12,400 --> 01:13:17,000
Speaker 1: progressive candidate. You know, they never say for sure, but

1368
01:13:17,200 --> 01:13:19,720
Speaker 1: you know, you get the impression it's like this guy,

1369
01:13:20,040 --> 01:13:22,599
Speaker 1: like on paper, he's probably not that bad, but like

1370
01:13:23,000 --> 01:13:24,919
Speaker 1: he is part of the political machine.

1371
01:13:25,080 --> 01:13:28,360
Speaker 3: He doesn't come off as frighteningly power hungry, like like

1372
01:13:28,439 --> 01:13:30,559
Speaker 3: Greg Stilson in the Dead Zone or something.

1373
01:13:30,640 --> 01:13:32,559
Speaker 1: Yeah, I was just thinking of the Dead Zone. Yeah.

1374
01:13:32,720 --> 01:13:36,400
Speaker 3: Instead, it's more just kind of like he's a maybe untrustworthy,

1375
01:13:36,479 --> 01:13:40,640
Speaker 3: narcissistic guy who's slightly ambitious and is advancing to a

1376
01:13:40,680 --> 01:13:42,600
Speaker 3: political career. Yeah.

1377
01:13:42,640 --> 01:13:45,240
Speaker 1: But it's interesting because we already have that juxtaposition with

1378
01:13:45,280 --> 01:13:48,200
Speaker 1: that photograph, so we know who he used to be,

1379
01:13:48,560 --> 01:13:50,280
Speaker 1: and maybe who he used to be isn't that far

1380
01:13:50,320 --> 01:13:53,160
Speaker 1: removed from who he is now, you know, selling a dream,

1381
01:13:53,360 --> 01:13:56,320
Speaker 1: selling an idea, and is there anything at the heart

1382
01:13:56,360 --> 01:13:57,479
Speaker 1: of it now?

1383
01:13:57,560 --> 01:14:00,519
Speaker 3: We also in the scene meet Wayne Mully again, who

1384
01:14:00,560 --> 01:14:04,479
Speaker 3: is Fleming's bodyguard on the campaign, a former college football

1385
01:14:04,479 --> 01:14:07,519
Speaker 3: player who decided he like walks up to Alicia here

1386
01:14:07,560 --> 01:14:09,840
Speaker 3: at the campaign scene, and I think he's trying to

1387
01:14:10,240 --> 01:14:11,960
Speaker 3: get a date here. He's like, hey, I used to

1388
01:14:11,960 --> 01:14:15,800
Speaker 3: play football. He's huge and imposing. You look at this

1389
01:14:15,840 --> 01:14:18,080
Speaker 3: guy and you think, wow, be really bad if he

1390
01:14:18,200 --> 01:14:22,400
Speaker 3: like lost his marbles and started running around punching people. Yeah. Anyway,

1391
01:14:22,479 --> 01:14:24,720
Speaker 3: Jerry gets a minute aside to talk to Fleming. He

1392
01:14:24,760 --> 01:14:27,000
Speaker 3: comes to the campaign trailer and asks to meet him,

1393
01:14:27,040 --> 01:14:29,400
Speaker 3: and Fleming does meet him. He asks him whether he

1394
01:14:29,479 --> 01:14:32,320
Speaker 3: knew Franny, and Fleming says he did, yeah, years ago.

1395
01:14:32,320 --> 01:14:34,439
Speaker 3: They went to college together. They were both at Stanford

1396
01:14:34,439 --> 01:14:38,719
Speaker 3: at the same time. And Jerry informs Fleming of Franny's death.

1397
01:14:39,720 --> 01:14:44,519
Speaker 3: And this conversation is interrupted, by the way by one

1398
01:14:44,560 --> 01:14:47,680
Speaker 3: of the staffers yelling like, mister Fleming, I have the

1399
01:14:47,720 --> 01:14:50,960
Speaker 3: puppet people on the phone. This will make more sense

1400
01:14:51,040 --> 01:14:53,640
Speaker 3: later because there is a campaign event that includes a

1401
01:14:53,640 --> 01:14:58,320
Speaker 3: puppet show. Yeah, okay, But at the moment, I'm like,

1402
01:14:58,360 --> 01:15:01,200
Speaker 3: what are the puppet people? Are we big territory? Here

1403
01:15:01,720 --> 01:15:05,040
Speaker 3: is this attack of the puppet people. Yeah, like the

1404
01:15:05,320 --> 01:15:08,240
Speaker 3: puppet people in that movie get control of a telephone

1405
01:15:08,280 --> 01:15:09,800
Speaker 3: and they're like, we got to call Ed Fleming. He

1406
01:15:10,040 --> 01:15:11,240
Speaker 3: can help us. Yeah.

1407
01:15:11,280 --> 01:15:14,280
Speaker 1: Yeah, likely we do get some payoff on this later on.

1408
01:15:14,560 --> 01:15:15,560
Speaker 3: Yeah.

1409
01:15:15,600 --> 01:15:16,000
Speaker 1: Anyway.

1410
01:15:16,080 --> 01:15:18,960
Speaker 3: In this conversation, Jerry asks Fleming if he has ever

1411
01:15:19,000 --> 01:15:22,760
Speaker 3: heard the words blue Sunshine, and Fleming denies it, but

1412
01:15:22,840 --> 01:15:27,000
Speaker 3: he is obviously lying. What is he hiding anyway, Mulligan

1413
01:15:27,040 --> 01:15:30,040
Speaker 3: comes in to break up the conversation, and suddenly Jerry

1414
01:15:30,080 --> 01:15:33,120
Speaker 3: has to flee because Alicia's police tale is here. She's

1415
01:15:33,160 --> 01:15:35,679
Speaker 3: being followed by police everywhere she goes. They spot Jerry

1416
01:15:35,720 --> 01:15:39,040
Speaker 3: and it turns into a car chase. Jerry gets away

1417
01:15:39,040 --> 01:15:40,960
Speaker 3: in this car chase because he has a vehicle with

1418
01:15:41,040 --> 01:15:43,240
Speaker 3: four wheel drive in the cops, don't he like goes

1419
01:15:43,320 --> 01:15:55,840
Speaker 3: up a hillside yep. Anyway, Jerry and Alicia meet up

1420
01:15:55,920 --> 01:15:58,759
Speaker 3: later to compare notes, and Alicia has learned some stuff.

1421
01:15:58,760 --> 01:16:00,920
Speaker 3: She learns stuff from Mulligan and when they were talking

1422
01:16:01,240 --> 01:16:04,799
Speaker 3: she found out that Franny Fleming and the red shirt

1423
01:16:04,840 --> 01:16:08,400
Speaker 3: guy who did the horrible crime they all graduated from

1424
01:16:08,439 --> 01:16:11,640
Speaker 3: Stanford together ten years ago at the same time. And

1425
01:16:11,680 --> 01:16:15,519
Speaker 3: then Jerry realizes his doctor friend David also graduated from

1426
01:16:15,520 --> 01:16:18,240
Speaker 3: Stanford ten years ago and his hair has been falling

1427
01:16:18,280 --> 01:16:20,760
Speaker 3: out too, and oh boy. Here we cut to a

1428
01:16:20,960 --> 01:16:24,680
Speaker 3: very suspenseful scene where David is like in the operating

1429
01:16:24,760 --> 01:16:27,360
Speaker 3: room getting ready for surgery, and we're all like, oh no,

1430
01:16:27,720 --> 01:16:30,760
Speaker 3: oh no, we know what's coming next. But it's a

1431
01:16:30,800 --> 01:16:32,840
Speaker 3: bit of a fake out because he gets through that.

1432
01:16:33,080 --> 01:16:35,879
Speaker 3: He does have like a tense moment in the surgery

1433
01:16:35,920 --> 01:16:38,720
Speaker 3: where he's like yelling at his subordinates to get him

1434
01:16:38,720 --> 01:16:41,760
Speaker 3: instruments and stuff, but it does not turn into it

1435
01:16:41,800 --> 01:16:44,880
Speaker 3: does not go where you think it's going. So after this,

1436
01:16:45,000 --> 01:16:47,640
Speaker 3: Jerry has a confrontation with David where Jerry tries to

1437
01:16:47,720 --> 01:16:51,400
Speaker 3: yank David's hair out. This is a strange scene, but

1438
01:16:51,439 --> 01:16:54,880
Speaker 3: it stays on and Jerry explains his theory to his friend.

1439
01:16:54,920 --> 01:16:57,639
Speaker 3: He's trying to make sense of all this, but he's like, hey,

1440
01:16:57,680 --> 01:17:01,360
Speaker 3: you went to Stanford with these three guys, and David

1441
01:17:01,920 --> 01:17:04,320
Speaker 3: fills in some more information. He's like, yeah, we did

1442
01:17:04,400 --> 01:17:07,559
Speaker 3: all go to college together. When we were there, Ed Fleming,

1443
01:17:07,600 --> 01:17:10,080
Speaker 3: who's now running for Congress, he was a drug dealer.

1444
01:17:10,439 --> 01:17:14,040
Speaker 3: He was everybody's connection for all things narcotic and psychedelic,

1445
01:17:14,600 --> 01:17:17,559
Speaker 3: and David stresses. He's like, I don't want to get

1446
01:17:17,600 --> 01:17:19,800
Speaker 3: Fleming in trouble. I don't want this coming out about

1447
01:17:19,840 --> 01:17:22,920
Speaker 3: him because it could ruin his political career. And I

1448
01:17:23,000 --> 01:17:26,280
Speaker 3: was just thinking, man, any movie about politics from more

1449
01:17:26,320 --> 01:17:29,240
Speaker 3: than I don't know, eight years ago feels so quaint

1450
01:17:29,280 --> 01:17:31,880
Speaker 3: now because they're all like, wow, if we found out

1451
01:17:31,920 --> 01:17:35,120
Speaker 3: something that reflected poorly on this politician's character, They could

1452
01:17:35,120 --> 01:17:36,040
Speaker 3: never be elected.

1453
01:17:36,320 --> 01:17:40,720
Speaker 1: Yeah, yeah, for real. But it makes sense here. It's

1454
01:17:40,760 --> 01:17:43,800
Speaker 1: like he's he says he's donated to the campaign. He's

1455
01:17:43,800 --> 01:17:46,400
Speaker 1: still to some degree, you know, connected to this guy.

1456
01:17:46,720 --> 01:17:49,800
Speaker 1: There were friends at one point, so you know, he's

1457
01:17:49,800 --> 01:17:51,439
Speaker 1: not looking to stir up some trouble.

1458
01:17:51,880 --> 01:17:55,160
Speaker 3: Yeah, And once again, the movie does not signal anything

1459
01:17:55,280 --> 01:17:58,439
Speaker 3: unusual about Fleming's political agenda. He just seems like a

1460
01:17:58,479 --> 01:18:01,280
Speaker 3: regular politician. They also don't make it clear like what

1461
01:18:01,400 --> 01:18:04,400
Speaker 3: his you know, like left right orientation is, or what

1462
01:18:04,479 --> 01:18:06,840
Speaker 3: party he's with. He's just sort of like politician.

1463
01:18:07,560 --> 01:18:09,680
Speaker 1: But he we do get the idea that he is

1464
01:18:09,960 --> 01:18:12,120
Speaker 1: he is selling the dream, you know, we see that

1465
01:18:12,200 --> 01:18:14,719
Speaker 1: on the campaign posters. He is selling the future.

1466
01:18:15,120 --> 01:18:17,640
Speaker 3: Anyway, after a lot of himming and hauling in this conversation,

1467
01:18:17,840 --> 01:18:20,799
Speaker 3: David does come around. He's like, wait a minute, yes,

1468
01:18:21,000 --> 01:18:24,840
Speaker 3: I have heard of Blue Sunshine. That was the name

1469
01:18:24,920 --> 01:18:28,679
Speaker 3: of a particular batch of acid that Fleming was selling

1470
01:18:28,760 --> 01:18:32,240
Speaker 3: ten years ago. And there's a scary moment where David

1471
01:18:32,280 --> 01:18:34,880
Speaker 3: reveals he bought some, but then he's like, I never

1472
01:18:34,920 --> 01:18:38,080
Speaker 3: took it, so he bought some. He got scared because

1473
01:18:38,120 --> 01:18:40,600
Speaker 3: he's like he ultimately decided they were making this in

1474
01:18:40,680 --> 01:18:43,479
Speaker 3: chemistry labs. You never knew what was in it. You

1475
01:18:43,560 --> 01:18:45,479
Speaker 3: might have gotten a bad batch. You might have gotten

1476
01:18:45,479 --> 01:18:47,880
Speaker 3: one that wasn't what it was supposed to be. So

1477
01:18:48,080 --> 01:18:50,280
Speaker 3: instead of taking it, he sold it to somebody else.

1478
01:18:50,320 --> 01:18:53,719
Speaker 3: He got rid of it. And Jerry asks him, He's like, Okay,

1479
01:18:53,760 --> 01:18:56,600
Speaker 3: in your opinion as a doctor, could it be that

1480
01:18:56,640 --> 01:18:59,720
Speaker 3: there was something different about this batch, something wrong with

1481
01:18:59,760 --> 01:19:02,840
Speaker 3: it that would become like a time bomb in your body,

1482
01:19:02,880 --> 01:19:05,240
Speaker 3: causing you to lose all of your hair and then

1483
01:19:05,320 --> 01:19:09,679
Speaker 3: turn into a homicidal madman. Exactly ten years later, David says,

1484
01:19:09,840 --> 01:19:13,800
Speaker 3: it's unlikely, but not impossible. Therefore, by movie logic it

1485
01:19:13,880 --> 01:19:18,400
Speaker 3: is proven. Yes, But how could Jerry prove this to

1486
01:19:18,439 --> 01:19:20,680
Speaker 3: the police, Well, David says, you know, you would need

1487
01:19:20,720 --> 01:19:23,640
Speaker 3: to get a blood sample from one of the effective

1488
01:19:23,960 --> 01:19:27,880
Speaker 3: affected individuals while they're still alive to show the quote

1489
01:19:27,960 --> 01:19:31,840
Speaker 3: chromosomal damage. This is very like, Okay, We're coming to

1490
01:19:31,880 --> 01:19:35,479
Speaker 3: a lot of conclusions very fast, but they scheme together.

1491
01:19:35,520 --> 01:19:37,679
Speaker 3: They're like, Okay, if one of these Blue Sunshine time

1492
01:19:37,720 --> 01:19:40,599
Speaker 3: bombs is on a rampage, he will have super strength,

1493
01:19:40,800 --> 01:19:44,040
Speaker 3: so you'll need a powerful tranquilizer to sedate him and

1494
01:19:44,080 --> 01:19:46,120
Speaker 3: then the blood sample can be taken. So now you've

1495
01:19:46,120 --> 01:19:49,559
Speaker 3: got a plan. So next scene, we have another Fleming

1496
01:19:49,600 --> 01:19:53,200
Speaker 3: campaign event. Both Jerry and Alicia meet there and we

1497
01:19:53,280 --> 01:19:57,480
Speaker 3: meet Wayne Mulligan again. Remember that's Fleming's huge oaf bodyguard,

1498
01:19:57,800 --> 01:20:02,080
Speaker 3: and he sees Alicia across the crowd and fall. She's like, oh, yeah,

1499
01:20:02,120 --> 01:20:04,320
Speaker 3: I'm just out window shopping and he goes, oh, you

1500
01:20:04,560 --> 01:20:08,479
Speaker 3: like shopping, well, let me buy you whatever you want

1501
01:20:08,520 --> 01:20:11,840
Speaker 3: with my campaign expense account. We get some sense there's

1502
01:20:11,840 --> 01:20:15,360
Speaker 3: some corruption in the campaign here, but he keeps trying

1503
01:20:15,400 --> 01:20:18,040
Speaker 3: to hit on her, and they're like standing on the

1504
01:20:18,080 --> 01:20:21,960
Speaker 3: sidewalk and as they're talking, a large truck whizzes by

1505
01:20:22,000 --> 01:20:25,599
Speaker 3: and honks its horn, and this freaks Mulligan out. First,

1506
01:20:25,640 --> 01:20:28,439
Speaker 3: the gust of wind from the truck rises up and

1507
01:20:28,520 --> 01:20:31,000
Speaker 3: Mulligan grabs hold of his hair, almost as if he

1508
01:20:31,000 --> 01:20:34,360
Speaker 3: doesn't want it to blow away. Uh oh, and then

1509
01:20:34,360 --> 01:20:36,600
Speaker 3: he yells at the truck as though the sound of

1510
01:20:36,640 --> 01:20:41,320
Speaker 3: the horn were inflicting pain upon him. Anyway, after this outburst,

1511
01:20:41,360 --> 01:20:45,519
Speaker 3: he invites Alicia to their next campaign event because that's

1512
01:20:45,520 --> 01:20:48,320
Speaker 3: going to be the following night at quote Shoppers World.

1513
01:20:48,520 --> 01:20:51,479
Speaker 3: Shoppers World is a mall. Oh yeah, baby, we're going

1514
01:20:51,479 --> 01:20:54,519
Speaker 3: to a nineteen seventy seven mall. And it gets better

1515
01:20:54,800 --> 01:20:58,400
Speaker 3: because Mulligan says there's a discothech at the mall called

1516
01:20:58,760 --> 01:21:03,320
Speaker 3: Big Daddy's Meet Me at the Bar. Also, did I

1517
01:21:03,360 --> 01:21:06,000
Speaker 3: mention in the scene Alicia is wearing a black cowboy

1518
01:21:06,040 --> 01:21:07,559
Speaker 3: hat and a red turtle deck.

1519
01:21:08,000 --> 01:21:10,560
Speaker 1: Oh yeah, she looks fabulous. Yeah, but but yeah, I

1520
01:21:10,640 --> 01:21:13,280
Speaker 1: love that. This also says our trajectory. This movie is

1521
01:21:13,320 --> 01:21:16,800
Speaker 1: going to end in a disco tech and a shopping mall.

1522
01:21:16,840 --> 01:21:20,120
Speaker 1: Almost like and I'm not a disco hater. I love

1523
01:21:20,160 --> 01:21:21,200
Speaker 1: some disco, but.

1524
01:21:21,280 --> 01:21:22,840
Speaker 3: This movie might be disco hate.

1525
01:21:22,920 --> 01:21:25,240
Speaker 1: Yeah, yeah, this might be some disco hate, like presenting

1526
01:21:25,240 --> 01:21:29,400
Speaker 1: the idea that like American culture dies in the disco

1527
01:21:29,520 --> 01:21:31,320
Speaker 1: and in the shopping mall, you know, like this is

1528
01:21:31,360 --> 01:21:34,200
Speaker 1: the this is the perfect place for Blue Sunshine to

1529
01:21:34,320 --> 01:21:35,320
Speaker 1: reach its conclusion.

1530
01:21:35,840 --> 01:21:38,840
Speaker 3: Okay, next scene, we're back with poor Wendy Fleming and

1531
01:21:38,880 --> 01:21:41,920
Speaker 3: the kids she's babysitting. They're watching cartoons on TV and

1532
01:21:41,960 --> 01:21:44,840
Speaker 3: Wendy's in the kitchen and oh boy, one of my

1533
01:21:44,880 --> 01:21:46,880
Speaker 3: favorite things in the movies. We get a peek inside

1534
01:21:46,920 --> 01:21:49,759
Speaker 3: the cabinet to see some bona fide nineteen seventy seven food.

1535
01:21:50,720 --> 01:21:53,679
Speaker 3: I see some Quaker oats, I think some kidney beans,

1536
01:21:54,280 --> 01:21:57,080
Speaker 3: Campbell's canned soup. You can't quite read the label, but

1537
01:21:57,160 --> 01:22:00,000
Speaker 3: let's just say it's cream of celery or maybe split

1538
01:22:00,200 --> 01:22:03,960
Speaker 3: with him. But then finally what we definitely see is

1539
01:22:04,000 --> 01:22:06,560
Speaker 3: a can of Hormel canned to Molly's.

1540
01:22:06,680 --> 01:22:08,400
Speaker 1: Mmmm, I think I remember those.

1541
01:22:08,640 --> 01:22:11,280
Speaker 3: Yeah. Also a vial of pills stored in the same

1542
01:22:11,320 --> 01:22:15,439
Speaker 3: cabinet as the food, which also seems very seventy seven. Yeah.

1543
01:22:15,479 --> 01:22:17,720
Speaker 3: So the mother of the two kids is hanging out

1544
01:22:17,760 --> 01:22:19,880
Speaker 3: at first, and she's like about to leave them there

1545
01:22:20,000 --> 01:22:23,599
Speaker 3: with Wendy and go back home for a bit when

1546
01:22:23,680 --> 01:22:26,759
Speaker 3: Jerry Zipken knocks at the door. So the other lady

1547
01:22:26,760 --> 01:22:28,360
Speaker 3: looks out the peep hole and she sees him and

1548
01:22:28,400 --> 01:22:31,680
Speaker 3: she's like, hmm, not bad, what a hunk. So they

1549
01:22:31,800 --> 01:22:35,120
Speaker 3: let Jerry in, you know, she goes off. He introduces

1550
01:22:35,200 --> 01:22:38,000
Speaker 3: himself as a friend of Eddie, and Jerry and Wendy

1551
01:22:38,040 --> 01:22:40,559
Speaker 3: exchanged some niceties, but eventually, once they're out of ear

1552
01:22:40,560 --> 01:22:42,960
Speaker 3: shot of the kids, he gets to the point he says,

1553
01:22:43,320 --> 01:22:47,519
Speaker 3: did you ever hear of Blue Sunshine? And she plays

1554
01:22:47,560 --> 01:22:51,320
Speaker 3: coy pretends she doesn't know. She's like, are you trying

1555
01:22:51,320 --> 01:22:54,920
Speaker 3: to score from Eddie, almost implying that he still deals drugs.

1556
01:22:56,840 --> 01:22:59,920
Speaker 3: But she gets very defensive of her estranged husband, accusing

1557
01:23:00,040 --> 01:23:03,000
Speaker 3: Jerry of trying to damage his political career. Jerry's like,

1558
01:23:03,040 --> 01:23:04,840
Speaker 3: I don't care about that. That's not what it is.

1559
01:23:04,920 --> 01:23:07,120
Speaker 3: I'm just trying to find out everybody who may have

1560
01:23:07,200 --> 01:23:10,280
Speaker 3: received this batch of acid. And she gets very upset

1561
01:23:10,320 --> 01:23:13,880
Speaker 3: and kicks Jerry out of her apartment. But uh oh.

1562
01:23:14,280 --> 01:23:18,360
Speaker 3: After Jerry leaves, Wendy is very stressed out. She's breathing heavily.

1563
01:23:18,800 --> 01:23:22,400
Speaker 3: The kids start chanting that. The kids are chanting, we

1564
01:23:22,439 --> 01:23:25,200
Speaker 3: want ice cream, we want ice cream, and then screaming

1565
01:23:25,240 --> 01:23:28,120
Speaker 3: we want hot dogs, we want hot dogs. I think

1566
01:23:28,120 --> 01:23:30,880
Speaker 3: we can all see where this is going. Wendy starts

1567
01:23:30,920 --> 01:23:32,800
Speaker 3: to have a blue sunshine freak out.

1568
01:23:33,400 --> 01:23:36,760
Speaker 1: Yeah, and this is a terrifying sequence, this horror, he

1569
01:23:36,760 --> 01:23:37,280
Speaker 1: holds up.

1570
01:23:37,640 --> 01:23:40,519
Speaker 3: The level of menace is off the charts. She starts

1571
01:23:40,600 --> 01:23:43,559
Speaker 3: like frantically chewing up all her pills. Then her eyes

1572
01:23:43,640 --> 01:23:45,719
Speaker 3: roll back in her head. She's frothing at the mouth.

1573
01:23:45,960 --> 01:23:48,839
Speaker 3: Then she pulls her wig off to reveal a totally

1574
01:23:48,920 --> 01:23:52,320
Speaker 3: bald head. So creepy, and then she looks at the

1575
01:23:52,400 --> 01:23:55,960
Speaker 3: kitchen knives and this is so it's horrible.

1576
01:23:56,000 --> 01:23:56,920
Speaker 1: She's here with the kids.

1577
01:23:57,040 --> 01:24:00,160
Speaker 3: But just as Jerry is leaving the building, something doesn't

1578
01:24:00,240 --> 01:24:02,599
Speaker 3: quite feel right to him, and he decides to go back.

1579
01:24:02,920 --> 01:24:04,960
Speaker 3: And then there's a kind of this is against tone

1580
01:24:05,000 --> 01:24:08,400
Speaker 3: because this scene in the apartment above is so creepy

1581
01:24:08,439 --> 01:24:12,200
Speaker 3: and awful. But then, like Jerry is, it's taking too

1582
01:24:12,240 --> 01:24:14,120
Speaker 3: long for him to get back up there because they're

1583
01:24:14,160 --> 01:24:18,320
Speaker 3: like older people taking forever in the elevator. Yes, and

1584
01:24:18,400 --> 01:24:21,080
Speaker 3: so we're intercutting between that funny thing and the elevator

1585
01:24:21,160 --> 01:24:24,800
Speaker 3: with baldwindy like walking up behind the kids with a knife.

1586
01:24:24,840 --> 01:24:28,840
Speaker 3: This movie absolutely does not pass the Gene Siskel test.

1587
01:24:29,439 --> 01:24:33,280
Speaker 3: It has scenes of a maniac chasing little children around

1588
01:24:33,280 --> 01:24:35,120
Speaker 3: with a knife. Of course, you know, Ciskel didn't like

1589
01:24:35,160 --> 01:24:38,200
Speaker 3: any movie where kids were shown in peril. This is

1590
01:24:38,280 --> 01:24:41,360
Speaker 3: some explicit horrifying children in peril.

1591
01:24:41,640 --> 01:24:44,280
Speaker 1: Yeah, because the way they play it, too, is so believable,

1592
01:24:44,280 --> 01:24:47,160
Speaker 1: because it's like the kids don't understand what's happening. They

1593
01:24:47,600 --> 01:24:49,960
Speaker 1: think it is a game, and then they're getting a

1594
01:24:50,000 --> 01:24:53,280
Speaker 1: little upset about the game, and yeah, it's it's it's rough.

1595
01:24:53,720 --> 01:24:57,479
Speaker 3: Fortunately the children are unharmed. Jerry gets back bursts in

1596
01:24:57,479 --> 01:25:00,240
Speaker 3: in time to stop her, and then Jerry and Perry

1597
01:25:00,280 --> 01:25:03,160
Speaker 3: and Wendy wrestle for the knife until finally Wendy is

1598
01:25:03,200 --> 01:25:07,040
Speaker 3: thrown from the apartment balcony in the struggle. She falls

1599
01:25:07,040 --> 01:25:10,559
Speaker 3: to her death, leaving Jerry standing there holding a bloody knife,

1600
01:25:11,280 --> 01:25:13,559
Speaker 3: and then by the time people get there, it just

1601
01:25:13,680 --> 01:25:16,920
Speaker 3: looks like Jerry has murdered again. Jerry is really bad

1602
01:25:16,960 --> 01:25:19,519
Speaker 3: about doing things that make him look guilty when he

1603
01:25:19,600 --> 01:25:22,280
Speaker 3: is not a murderer. Like the neighbor comes in and

1604
01:25:22,320 --> 01:25:25,880
Speaker 3: sees him and starts screaming, and his reaction is not like, no, no,

1605
01:25:25,920 --> 01:25:28,760
Speaker 3: you don't understand. Instead, he runs up to her and

1606
01:25:28,800 --> 01:25:31,720
Speaker 3: puts a bloody hand over her mouth and yells at

1607
01:25:31,760 --> 01:25:32,639
Speaker 3: her to be quiet.

1608
01:25:33,320 --> 01:25:35,160
Speaker 1: I also have to throw in this sequence where Wendy

1609
01:25:35,280 --> 01:25:37,680
Speaker 1: goes out the window and falls to her death. Very

1610
01:25:37,720 --> 01:25:41,639
Speaker 1: well executed. We've all seen films where someone falls from

1611
01:25:41,640 --> 01:25:44,800
Speaker 1: a height and it's not believable. This is very well

1612
01:25:44,800 --> 01:25:49,200
Speaker 1: done and is quite believable. Nobody's chunking a mannequin out

1613
01:25:49,200 --> 01:25:50,639
Speaker 1: of a window for this sequence.

1614
01:25:50,960 --> 01:25:52,960
Speaker 3: Okay, we get a few more scenes where just some

1615
01:25:53,080 --> 01:25:56,720
Speaker 3: information is shared between characters. Fleming finds out about the

1616
01:25:56,720 --> 01:25:58,680
Speaker 3: death of his wife and he finds out from the

1617
01:25:58,720 --> 01:26:02,719
Speaker 3: police that they think Jerry Zipken is responsible for the murder.

1618
01:26:03,920 --> 01:26:07,639
Speaker 3: We get a scene of Jerry meeting again with David.

1619
01:26:07,680 --> 01:26:09,800
Speaker 3: They meet in the park where Jerry is getting the

1620
01:26:09,840 --> 01:26:13,040
Speaker 3: tranquilizers that he's going to use, But David is dressed

1621
01:26:13,120 --> 01:26:15,120
Speaker 3: up like a drug dealer. He's wearing like shades in

1622
01:26:15,160 --> 01:26:16,720
Speaker 3: a long coat. I think there's supposed to be some

1623
01:26:16,760 --> 01:26:20,320
Speaker 3: irony here. And in the scene, David mentions another guy

1624
01:26:20,360 --> 01:26:23,920
Speaker 3: he remembered taking the Blue Sunshine, a football player named

1625
01:26:23,920 --> 01:26:27,320
Speaker 3: Wayne Mulligan. All he wanted was acid, acid acid.

1626
01:26:28,040 --> 01:26:29,760
Speaker 1: Oh man, he didn't even care if it was blue

1627
01:26:29,880 --> 01:26:30,080
Speaker 1: or not.

1628
01:26:30,479 --> 01:26:33,719
Speaker 3: Also another random scene of Jerry being mean for no reason.

1629
01:26:33,760 --> 01:26:36,559
Speaker 3: He steals money from a guy with drug addiction for

1630
01:26:36,600 --> 01:26:37,559
Speaker 3: no particular reason.

1631
01:26:37,960 --> 01:26:39,719
Speaker 1: Is this the guy who's like coming up in close

1632
01:26:39,760 --> 01:26:41,679
Speaker 1: talking to him on the bench. Yeah.

1633
01:26:41,760 --> 01:26:43,639
Speaker 3: The guy's like, I need you to go over there

1634
01:26:43,680 --> 01:26:45,639
Speaker 3: and buy some for me, and Jerry takes his money

1635
01:26:45,680 --> 01:26:46,759
Speaker 3: and then he just leaves.

1636
01:26:47,439 --> 01:26:49,920
Speaker 1: There is a really creepy bald guy who comes up

1637
01:26:49,920 --> 01:26:53,439
Speaker 1: and stares at him in this scene and Its fun

1638
01:26:53,479 --> 01:26:56,280
Speaker 1: detail is that Jeff Lieberman says that they were filming

1639
01:26:56,320 --> 01:26:58,720
Speaker 1: and this dude just walked up and they were like,

1640
01:26:59,040 --> 01:27:01,800
Speaker 1: get at a release in that dude's hands. We got

1641
01:27:01,880 --> 01:27:03,680
Speaker 1: to get him to sign a release. We've got to

1642
01:27:03,680 --> 01:27:04,920
Speaker 1: have him in the picture. But this is just a

1643
01:27:04,960 --> 01:27:05,880
Speaker 1: guy who wandered up.

1644
01:27:06,160 --> 01:27:08,519
Speaker 3: Also a scene around here where Alicia is talking to

1645
01:27:08,640 --> 01:27:11,559
Speaker 3: the detective who's been following her and she's like, look,

1646
01:27:11,640 --> 01:27:14,240
Speaker 3: Jerry's innocent, and I can prove it. She comes up

1647
01:27:14,240 --> 01:27:16,360
Speaker 3: with the scheme. All we got to do is get

1648
01:27:16,400 --> 01:27:20,679
Speaker 3: this guy Wayne Mulligan and have him tested, have him test.

1649
01:27:20,720 --> 01:27:25,479
Speaker 3: Oh yeah, have him tested for Blue Sunshine. But there's

1650
01:27:25,520 --> 01:27:27,760
Speaker 3: also a scene there's like a gun store scene of

1651
01:27:27,840 --> 01:27:31,240
Speaker 3: Jerry buying a hand pumped pellet gun to shoot the

1652
01:27:31,280 --> 01:27:35,599
Speaker 3: Tranquilizer Dart. And I thought this scene is interesting because

1653
01:27:35,680 --> 01:27:39,160
Speaker 3: Jerry learns a litany to defeat the villain. It's like

1654
01:27:39,240 --> 01:27:43,280
Speaker 3: he's practicing a magic spell that has rhyming lines. The

1655
01:27:43,400 --> 01:27:46,679
Speaker 3: last line is about how to operate the pellet gun

1656
01:27:46,760 --> 01:27:50,200
Speaker 3: with the darts. But the last line of the litany

1657
01:27:50,320 --> 01:27:52,800
Speaker 3: is because if you jerk, it won't work.

1658
01:27:53,439 --> 01:27:55,960
Speaker 1: Yeah, it's a full mantra that he learns here from

1659
01:27:56,000 --> 01:27:58,960
Speaker 1: the dude at the gun store, and it's very effect.

1660
01:27:59,040 --> 01:28:01,200
Speaker 1: It's kind of ridiculus us in its own way, which

1661
01:28:01,360 --> 01:28:03,080
Speaker 1: I think you're about to touch on, but you know,

1662
01:28:03,120 --> 01:28:04,719
Speaker 1: I don't know. You get a feel for the weapon

1663
01:28:04,760 --> 01:28:07,960
Speaker 1: that is clearly going to be pivotal in the finale

1664
01:28:08,040 --> 01:28:12,400
Speaker 1: of the picture, and and we have this weird, almost

1665
01:28:12,400 --> 01:28:15,799
Speaker 1: you know, semi magical litany that he's going to recite.

1666
01:28:15,880 --> 01:28:16,840
Speaker 1: So I dig it.

1667
01:28:17,320 --> 01:28:20,040
Speaker 3: So as a story element, it really works. But there

1668
01:28:20,040 --> 01:28:23,479
Speaker 3: are also ridiculous things about this scene. Like the gun

1669
01:28:23,560 --> 01:28:26,680
Speaker 3: store has a practice range inside the store where there's

1670
01:28:26,720 --> 01:28:29,200
Speaker 3: a target on the wall that they're shooting at, but

1671
01:28:29,320 --> 01:28:32,280
Speaker 3: it's just the target is just down the middle of

1672
01:28:32,320 --> 01:28:35,400
Speaker 3: the store from where they are, like where customers are browsing.

1673
01:28:35,840 --> 01:28:38,920
Speaker 3: There's like he like raises his gun to aim at

1674
01:28:38,960 --> 01:28:41,479
Speaker 3: the target. There's just some cop shopping in the store

1675
01:28:41,680 --> 01:28:43,960
Speaker 3: leans in front of the target. What.

1676
01:28:44,479 --> 01:28:47,599
Speaker 1: Yeah, this is not good gun layout, gun storm layer.

1677
01:28:47,680 --> 01:28:49,439
Speaker 1: I mean, I don't know what good gun store layout is,

1678
01:28:49,479 --> 01:28:52,240
Speaker 1: but it's not this. Also, this sequence always makes this

1679
01:28:52,320 --> 01:28:54,360
Speaker 1: Noggs makes me think of Terminator. You know just what

1680
01:28:54,400 --> 01:28:54,880
Speaker 1: you see here?

1681
01:28:54,880 --> 01:28:59,120
Speaker 3: Pow yeah, yeah, a phase plasma rifle with forty watt range.

1682
01:28:59,479 --> 01:29:02,960
Speaker 3: They do not have it. It's just dark gun here. Okay,

1683
01:29:02,960 --> 01:29:04,720
Speaker 3: but we're headed up to the climax, so we had

1684
01:29:04,760 --> 01:29:08,080
Speaker 3: two shoppers World for the campaign event. Slash Disco Tech,

1685
01:29:08,160 --> 01:29:10,840
Speaker 3: Acid freak Out. Fleming and Mulligan are going to be

1686
01:29:10,880 --> 01:29:13,160
Speaker 3: there for the campaign event, or Mulligan's going to be there,

1687
01:29:13,160 --> 01:29:16,240
Speaker 3: I guess to go on a date with Alisha. Jerry's

1688
01:29:16,280 --> 01:29:19,040
Speaker 3: going to be there with his tranquilizer gun. Alisha will

1689
01:29:19,040 --> 01:29:21,519
Speaker 3: be there to entrap Mulligan so he can be caught

1690
01:29:21,520 --> 01:29:25,840
Speaker 3: at the cops and then quote tested on Alisha's say, So, well,

1691
01:29:25,880 --> 01:29:28,000
Speaker 3: why the cops are going along with this, I don't know,

1692
01:29:28,080 --> 01:29:32,240
Speaker 3: but she's convinced them, so good job Alisha. Also puppets

1693
01:29:32,240 --> 01:29:34,559
Speaker 3: here we get to the puppets. What is the deal

1694
01:29:34,640 --> 01:29:38,160
Speaker 3: with this puppet show co headlining with the Fleming campaign event?

1695
01:29:38,240 --> 01:29:41,320
Speaker 3: It makes me think of in Spinal Tap when the

1696
01:29:41,320 --> 01:29:44,040
Speaker 3: puppet show gets top billing over Spinal Tap at the

1697
01:29:44,240 --> 01:29:44,960
Speaker 3: at the carnival.

1698
01:29:45,720 --> 01:29:49,200
Speaker 1: I guess they just wanted something that's, you know, non political.

1699
01:29:49,280 --> 01:29:51,599
Speaker 1: He was. He stressed that earlier. It's like they can't

1700
01:29:51,600 --> 01:29:54,599
Speaker 1: do political material, just some sort of feel good, feel

1701
01:29:54,600 --> 01:29:55,160
Speaker 1: good stuff.

1702
01:29:55,439 --> 01:29:57,960
Speaker 3: Yeah, so the puppets are singing that song just in

1703
01:29:58,040 --> 01:30:01,400
Speaker 3: time that Frandy was singing earlier. We also get some

1704
01:30:01,439 --> 01:30:05,280
Speaker 3: pre rampage taste of the discothech. Everybody's dancing. There's there

1705
01:30:05,280 --> 01:30:08,040
Speaker 3: are you know, of course you're flashing disco lights, but

1706
01:30:08,080 --> 01:30:12,559
Speaker 3: the color tone of the disco tech is very red. Yeah.

1707
01:30:12,600 --> 01:30:14,000
Speaker 1: I just I wanted to be there. It's like I

1708
01:30:14,120 --> 01:30:16,120
Speaker 1: kept thinking, like, if I walked up to that bar,

1709
01:30:16,240 --> 01:30:18,320
Speaker 1: what kind of just horrible drink could I order?

1710
01:30:18,439 --> 01:30:19,400
Speaker 3: You know, what.

1711
01:30:20,960 --> 01:30:23,919
Speaker 1: Crappy nineteen seventies cocktail could I order and just absolutely

1712
01:30:24,000 --> 01:30:25,120
Speaker 1: love it? Because of the setting.

1713
01:30:25,560 --> 01:30:27,599
Speaker 3: Yeah, you might think there would be some tiki drinks here,

1714
01:30:27,640 --> 01:30:31,240
Speaker 3: but instead she goes up and orders a martini with

1715
01:30:31,280 --> 01:30:34,880
Speaker 3: two olives. Sidebar on martinis and movies, you know, every

1716
01:30:34,880 --> 01:30:38,320
Speaker 3: time somebody orders a martini in a movie, unless it's

1717
01:30:38,360 --> 01:30:41,880
Speaker 3: like the James Bond order, they order a dry Martini's like,

1718
01:30:41,920 --> 01:30:44,559
Speaker 3: what where's the appreciation for a nice wet martini in

1719
01:30:44,600 --> 01:30:45,120
Speaker 3: the movies?

1720
01:30:45,400 --> 01:30:47,800
Speaker 1: Yeah? I don't know. I guess maybe it's just photographs.

1721
01:30:47,400 --> 01:30:51,120
Speaker 3: Better you tell the visual difference.

1722
01:30:51,320 --> 01:30:55,000
Speaker 1: I don't know. I mean, maybe to fill it with

1723
01:30:55,080 --> 01:30:57,599
Speaker 1: water and olives and you're good to go anyway.

1724
01:30:57,680 --> 01:31:00,400
Speaker 3: Mulligan's here, but he looks like he's not doing so good.

1725
01:31:00,479 --> 01:31:04,200
Speaker 3: He is sweating, skittish, he starts yelling at the music

1726
01:31:04,280 --> 01:31:07,519
Speaker 3: for being too loud. So it seems like you're not

1727
01:31:08,120 --> 01:31:10,200
Speaker 3: getting off on the right foot for this date, Wayne,

1728
01:31:10,960 --> 01:31:13,080
Speaker 3: And then he tells Alicia that he's going to the

1729
01:31:13,120 --> 01:31:17,439
Speaker 3: men's room to freshen up. So meanwhile, Jerry arrives at

1730
01:31:17,479 --> 01:31:19,080
Speaker 3: the mall and we see him like loading up his

1731
01:31:19,120 --> 01:31:21,920
Speaker 3: trank darts in the parking lot and at the disco,

1732
01:31:22,240 --> 01:31:25,640
Speaker 3: the police lieutenant arrives and meets with Alicia. She has

1733
01:31:25,680 --> 01:31:28,599
Speaker 3: apparently gotten somewhat drunk by this time. This is another

1734
01:31:28,600 --> 01:31:30,559
Speaker 3: one of these things where I feel like she's acting

1735
01:31:30,640 --> 01:31:33,360
Speaker 3: a bit more like this is a comedy. Yeah, Like

1736
01:31:33,600 --> 01:31:36,160
Speaker 3: she's had several drinks by the time the police arrive,

1737
01:31:36,600 --> 01:31:38,960
Speaker 3: and she's like she tells him that Mulligan's been in

1738
01:31:39,000 --> 01:31:41,600
Speaker 3: the bathroom for a long time, Like I don't know

1739
01:31:41,640 --> 01:31:43,599
Speaker 3: what he's doing in there, but like, why is she

1740
01:31:43,640 --> 01:31:46,280
Speaker 3: having any drinks when the goal there's a mission.

1741
01:31:46,560 --> 01:31:49,840
Speaker 1: Yeah, you're on a mission here. The mission was it

1742
01:31:49,960 --> 01:31:51,160
Speaker 1: to have three cocktails?

1743
01:31:51,280 --> 01:31:55,120
Speaker 3: Yes, So we go inside the bathroom with the police

1744
01:31:55,160 --> 01:31:57,680
Speaker 3: go in there and Mulligan is having an episode. A

1745
01:31:57,720 --> 01:32:01,280
Speaker 3: blue Sunshine attack is imminent. They try to interrogate Mulligan,

1746
01:32:01,560 --> 01:32:04,360
Speaker 3: but suddenly his wig comes off, and this is apparently

1747
01:32:04,400 --> 01:32:07,759
Speaker 3: the trigger. He like slams the cop against the bathroom

1748
01:32:07,840 --> 01:32:10,160
Speaker 3: stall and knocks him out, and then runs out of

1749
01:32:10,200 --> 01:32:13,759
Speaker 3: the bathroom and just goes on a rampage inside the disco.

1750
01:32:13,920 --> 01:32:16,519
Speaker 3: So a big chunk of what's left in the movie

1751
01:32:16,640 --> 01:32:19,240
Speaker 3: is just Mulligan rampaging in the disco.

1752
01:32:19,680 --> 01:32:22,160
Speaker 1: At one point, he gorilla presses a girl and throws

1753
01:32:22,160 --> 01:32:23,639
Speaker 1: her across the dance floor.

1754
01:32:23,880 --> 01:32:28,559
Speaker 3: Yes, he's running around just beating everybody up and they're

1755
01:32:29,040 --> 01:32:31,840
Speaker 3: Probably the most famous line from the movie is like

1756
01:32:32,000 --> 01:32:34,320
Speaker 3: Jerry sees all these people running out of the disco

1757
01:32:34,479 --> 01:32:36,920
Speaker 3: while he's in the mall, and he's like, what's going on?

1758
01:32:37,160 --> 01:32:40,160
Speaker 3: And this man turns to Jerry and says, there's a

1759
01:32:40,200 --> 01:32:45,080
Speaker 3: bald maniac in there and he's going batch. Now. Jerry

1760
01:32:45,160 --> 01:32:49,040
Speaker 3: runs in to rescue Alicia from the disco where she's

1761
01:32:49,160 --> 01:32:52,200
Speaker 3: At one point, she gets trapped inside the DJ's box,

1762
01:32:52,360 --> 01:32:54,400
Speaker 3: so like she's in this glass box with all of

1763
01:32:54,400 --> 01:32:58,600
Speaker 3: the music equipment, and Mulligan is outside, like beating on

1764
01:32:58,600 --> 01:33:01,400
Speaker 3: the windows trying to get to her, but she outsmarts

1765
01:33:01,479 --> 01:33:04,599
Speaker 3: him because she realizes she can turn the music all

1766
01:33:04,640 --> 01:33:06,920
Speaker 3: the way up to like drive him, you know, to

1767
01:33:07,000 --> 01:33:10,439
Speaker 3: like drive him away. So she kind of outsmarts him there.

1768
01:33:10,640 --> 01:33:13,799
Speaker 3: He runs away out of the disco, and then Jerry

1769
01:33:13,840 --> 01:33:15,519
Speaker 3: has to chase him with the darts, and so the

1770
01:33:15,560 --> 01:33:17,720
Speaker 3: final showdown is kind of a cat and mouse game

1771
01:33:17,760 --> 01:33:21,120
Speaker 3: inside a department store, and we get this scene where

1772
01:33:21,240 --> 01:33:25,280
Speaker 3: Zipken knows Mulligan is approaching him. He recites the litany

1773
01:33:25,320 --> 01:33:29,000
Speaker 3: of the pellet gun. He's like, squeeze, don't jerk. If

1774
01:33:29,040 --> 01:33:31,880
Speaker 3: you jerk, it won't work, almost like the magic spell

1775
01:33:31,960 --> 01:33:35,479
Speaker 3: to defeat the warlock. And then as Mulligan looms boom

1776
01:33:35,720 --> 01:33:38,280
Speaker 3: dark to the neck, he nails it, and we cut

1777
01:33:38,320 --> 01:33:40,400
Speaker 3: to epilogue text, Oh.

1778
01:33:40,360 --> 01:33:43,639
Speaker 1: Yeah, well we sort of. It's really beautiful. I thought,

1779
01:33:43,800 --> 01:33:46,479
Speaker 1: like we have fire, Like he's down to the giant.

1780
01:33:46,520 --> 01:33:50,679
Speaker 1: He's down the maniac Mulligan. Here he's sitting next to him,

1781
01:33:50,880 --> 01:33:53,400
Speaker 1: dark gun in hand, and we begin to pan back

1782
01:33:53,479 --> 01:33:56,519
Speaker 1: right and we begin to see more details of the

1783
01:33:56,520 --> 01:34:01,479
Speaker 1: shopping mall, and we hear Fleming's cam Pain speech and

1784
01:34:01,680 --> 01:34:05,559
Speaker 1: he's talking about making America good again, and he's throwing

1785
01:34:05,600 --> 01:34:08,240
Speaker 1: out all these lines about the future of selling the

1786
01:34:08,280 --> 01:34:14,360
Speaker 1: future to everyone, and it's like it's really haunting. And

1787
01:34:14,400 --> 01:34:17,080
Speaker 1: then we get the epilogue text, which I would argue

1788
01:34:17,120 --> 01:34:20,240
Speaker 1: is maybe what wasn't completely necessary. I feel like we

1789
01:34:20,360 --> 01:34:23,200
Speaker 1: already had a really firm landing here, but I don't know.

1790
01:34:23,200 --> 01:34:24,760
Speaker 1: They lean in just a little bit more into the

1791
01:34:24,840 --> 01:34:27,160
Speaker 1: drugs plitation element right as we close out.

1792
01:34:27,280 --> 01:34:30,160
Speaker 3: The epilogue text feels more like the movie poster. It

1793
01:34:30,280 --> 01:34:33,840
Speaker 3: says Wayne Mulligan was tested. Remember they were going to

1794
01:34:34,000 --> 01:34:37,560
Speaker 3: test him. He was tested and found to have extensive

1795
01:34:37,640 --> 01:34:43,600
Speaker 3: chromosomic aberrations and is confined at Alhambra State Sanitarium. A

1796
01:34:43,640 --> 01:34:47,040
Speaker 3: special task force of the United States Federal Drug Administration

1797
01:34:47,439 --> 01:34:51,519
Speaker 3: reports that two hundred and fifty five doses of Blue

1798
01:34:51,520 --> 01:34:57,120
Speaker 3: Sunshine manufactured in September nineteen sixty seven are still unaccounted for.

1799
01:34:58,120 --> 01:35:00,320
Speaker 3: And they ended the sentence with the prepose.

1800
01:35:01,240 --> 01:35:05,080
Speaker 1: Well, I have to have to I'm glad they didn't

1801
01:35:05,080 --> 01:35:09,160
Speaker 1: go full animal House on the epilogue here and tell

1802
01:35:09,200 --> 01:35:12,560
Speaker 1: you what every character did, because I love the ambiguity,

1803
01:35:12,600 --> 01:35:15,040
Speaker 1: like we don't know what happens with Fleming was the

1804
01:35:15,080 --> 01:35:17,960
Speaker 1: campaign successful, you know, what does he go on to do.

1805
01:35:18,320 --> 01:35:20,519
Speaker 1: We don't know how it shakes out with other people

1806
01:35:20,560 --> 01:35:24,680
Speaker 1: who took Blue Sunshine, So I think the epilogue was unnecessary.

1807
01:35:24,800 --> 01:35:27,639
Speaker 1: But what they added here is still creepy in its

1808
01:35:27,640 --> 01:35:28,000
Speaker 1: own right.

1809
01:35:28,560 --> 01:35:31,479
Speaker 3: Fleming comes to power on a campaign promise of blue

1810
01:35:31,560 --> 01:35:33,720
Speaker 3: Sunshine for every spine in America.

1811
01:35:34,520 --> 01:35:37,080
Speaker 1: Yeah like that that would be too much, but yeah,

1812
01:35:37,280 --> 01:35:39,679
Speaker 1: I like the ambiguity of it though. I like where

1813
01:35:39,680 --> 01:35:40,160
Speaker 1: we landed.

1814
01:35:40,720 --> 01:35:43,160
Speaker 3: So that's Blue Sunshine. If you've got a stomach for

1815
01:35:43,200 --> 01:35:47,479
Speaker 3: exploitation horror. I think it's a really really fine example.

1816
01:35:47,960 --> 01:35:50,320
Speaker 3: And again, once again want to emphasize what I said

1817
01:35:50,320 --> 01:35:54,560
Speaker 3: earlier works on multiple levels. It is both super effective

1818
01:35:54,600 --> 01:35:58,840
Speaker 3: as horror, incredibly creepy and paranoid, and also one of

1819
01:35:58,880 --> 01:36:00,719
Speaker 3: the funniest movies I've wanted in a while.

1820
01:36:01,000 --> 01:36:03,360
Speaker 1: Yeah, and with I think some some very strong social

1821
01:36:03,360 --> 01:36:06,639
Speaker 1: commentary that stands the test of time. So uh, strong

1822
01:36:06,760 --> 01:36:09,840
Speaker 1: recommendation for this one. If this is your your deal

1823
01:36:09,880 --> 01:36:11,880
Speaker 1: at all, and if you're looking for an off kilter

1824
01:36:12,080 --> 01:36:16,080
Speaker 1: Christmas movie, here you have it. Merry Christmas, Blue Sunshine.

1825
01:36:17,240 --> 01:36:20,320
Speaker 1: I need a Blue Sunshine ornament now, but I'll have

1826
01:36:20,360 --> 01:36:22,080
Speaker 1: to look end of that. Hm hmm.

1827
01:36:22,479 --> 01:36:24,280
Speaker 3: I'm trying to think what the ornament would.

1828
01:36:24,120 --> 01:36:28,080
Speaker 1: Be bald ahead of course, Oh yeah, it's gotta be

1829
01:36:28,439 --> 01:36:29,160
Speaker 1: gotta be windy.

1830
01:36:29,400 --> 01:36:31,160
Speaker 3: I wonder if you can just get a copy of

1831
01:36:31,320 --> 01:36:35,160
Speaker 3: Jerry's Christmas sweater from Blue Sunshine. That'd be a deep cut.

1832
01:36:35,320 --> 01:36:37,760
Speaker 1: That'd be a deep cut. VHS box art would also

1833
01:36:37,800 --> 01:36:39,840
Speaker 1: be really cool. I I have a little VHS box

1834
01:36:39,920 --> 01:36:43,120
Speaker 1: art ornament of chopping mall On on the tree. I

1835
01:36:43,160 --> 01:36:46,000
Speaker 1: also have a phantasm sphere which which you gave me

1836
01:36:46,360 --> 01:36:49,759
Speaker 1: last year. Yeah, so it's it's it's heavy and it's sharp.

1837
01:36:50,560 --> 01:36:51,960
Speaker 1: I think this is all made by Mondo.

1838
01:36:52,320 --> 01:36:54,600
Speaker 3: Oh I didn't mean for it to be threatening in

1839
01:36:54,640 --> 01:36:56,080
Speaker 3: your home, but yeah.

1840
01:36:55,960 --> 01:36:59,680
Speaker 1: It's it's we're we're all safe around Sharbobbicks now, so

1841
01:36:59,800 --> 01:37:00,479
Speaker 1: we're good.

1842
01:37:00,400 --> 01:37:02,320
Speaker 3: But always in fact baby.

1843
01:37:02,560 --> 01:37:06,360
Speaker 1: Yeah, all right, we're gonna go and close out this episode.

1844
01:37:06,360 --> 01:37:08,080
Speaker 1: This one of them, maybe a bit of a long one,

1845
01:37:08,120 --> 01:37:09,400
Speaker 1: but you know, we had to go into all the

1846
01:37:09,439 --> 01:37:12,960
Speaker 1: details here. It's Blue Sunshine after all. We'll remind you

1847
01:37:13,000 --> 01:37:14,840
Speaker 1: that Stuff to Blow your Mind is primarily a science

1848
01:37:14,840 --> 01:37:17,240
Speaker 1: and culture podcast, with core episodes in the feed on

1849
01:37:17,280 --> 01:37:19,519
Speaker 1: Tuesdays and Thursdays. But on Wednesdays we do a short

1850
01:37:19,560 --> 01:37:22,360
Speaker 1: form episode and on Fridays we do Weird House Cinema.

1851
01:37:22,360 --> 01:37:24,680
Speaker 1: That's our time to set aside most serious concerns and

1852
01:37:24,720 --> 01:37:27,519
Speaker 1: talk about a strange film like this one. And if

1853
01:37:27,560 --> 01:37:29,240
Speaker 1: you want a full list of the movies we've covered

1854
01:37:29,280 --> 01:37:32,240
Speaker 1: over the years, go to letterbox dot com. You'll find

1855
01:37:32,320 --> 01:37:34,280
Speaker 1: us there as weird House that's our username, and we

1856
01:37:34,280 --> 01:37:35,800
Speaker 1: have a list there of all the films we've covered

1857
01:37:35,840 --> 01:37:38,719
Speaker 1: so far, and sometimes sometimes there's a glimpse at what's

1858
01:37:38,720 --> 01:37:39,439
Speaker 1: coming up next.

1859
01:37:40,080 --> 01:37:43,799
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1860
01:37:44,200 --> 01:37:45,800
Speaker 3: If you would like to get in touch with us

1861
01:37:45,840 --> 01:37:48,080
Speaker 3: with feedback on this episode or any other, to suggest

1862
01:37:48,120 --> 01:37:50,080
Speaker 3: a topic for the future, or just to say hello,

1863
01:37:50,479 --> 01:37:53,040
Speaker 3: you can email us at contact at stuff to Blow

1864
01:37:53,040 --> 01:38:00,160
Speaker 3: your Mind dot com.

1865
01:38:00,600 --> 01:38:03,559
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1866
01:38:03,640 --> 01:38:07,480
Speaker 2: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1867
01:38:07,560 --> 01:38:09,360
Speaker 2: or wherever you listen to your favorite shows.