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

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Speaker 2: Hey you welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick. And Hey,

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Speaker 3: we're back from our break with a brand new episode

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Speaker 3: of Weird House Cinema. Today we're going to be talking

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Speaker 3: about the nineteen eighty four sci fi fantasy action anthology

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Speaker 3: film The Dungeon Master aka Rage War aka the Charles Band.

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Speaker 2: Sampler platter, that's right, and I think sampler platter is key. Okay,

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Speaker 2: I'll come back to this time and time again, but

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Speaker 2: this movie really does feel like they are saying, Hey,

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Speaker 2: what can what does Charles Band have to offer to you?

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Speaker 2: Are you thinking of financing a load of mid budget

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Speaker 2: genre film? Consider all that Empire Pictures has to.

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Speaker 3: Offer exactly, consider all the props in costumes we already have.

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Speaker 2: Yeah you need some desert apocalypse vehicles, we got them.

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Speaker 2: Yeah you need some Gromlins, Oh we got gromlins.

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Speaker 3: Oh my god, this movie has great gromlins. Now. I

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Speaker 3: wonder if you were able to find out the answer

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Speaker 3: to this, are the gromlins in this film also leftovers?

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Speaker 3: The same way the Metal Storm props are reused or

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Speaker 3: is it were these original monsters, Like did John Carl

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Speaker 3: Beechler make original monsters?

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Speaker 2: I don't know for certain on this, but I suspect

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Speaker 2: Beekler created something custom here. I feel like Beechler's segment

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Speaker 2: he is one of the he's one of the special

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Speaker 2: effects guys in general for this picture, but also he

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Speaker 2: wrote and directed one of the segments. I get the

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Speaker 2: impression that he put a lot of energy into this,

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Speaker 2: and I think these are this is a fresh Gromlin

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Speaker 2: that we have.

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Speaker 3: So this movie is sometimes build as an anthology film,

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Speaker 3: and I think that is correct in a sense, but

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Speaker 3: it could also be misleading because when you think of

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Speaker 3: an anthology film, usually you think of like three to

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Speaker 3: five self contained stories that each sort of have a beginning, middle,

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Speaker 3: and end, and they are chained together by some kind

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Speaker 3: of framing narrative. This is not like that. Instead, this

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Speaker 3: is chaining together something like seven different roughly five minute

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Speaker 3: little things in the movie they referred to as challenges.

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Speaker 3: So the main premise here is that there is a

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Speaker 3: man played by Jeffrey Byron who is so good at

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Speaker 3: computers that the devil or some wizard that seems to

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Speaker 3: be somewhat equivalent to the Devil says I'm going to

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Speaker 3: challenge you to a series of contests, and each of

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Speaker 3: these contests is by a different director affiliated with the

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Speaker 3: Charles Band Cinematic Universe.

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Speaker 2: It would kind of be like, and now that I

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Speaker 2: think about this potential comparison, I really like this idea

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Speaker 2: and I kind of hope someone does it. It's like

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Speaker 2: if you did a film The Labors of Hercule, and

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Speaker 2: each labor was a segment directed by a different director,

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Speaker 2: written and directed by a different filmmaker, and at the

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Speaker 2: end you had like a complete film. But it's also

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Speaker 2: less than that because it's you can't really take each

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Speaker 2: individual challenge or segment out of this movie and enjoy

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Speaker 2: it on its own. For the most part, Icaus you

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Speaker 2: sort of can, but like they're not really self contained units,

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Speaker 2: and even as a whole, they don't necessarily build much

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Speaker 2: one to the other. In fact, different cuts of the

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Speaker 2: film have included them in different orders and it doesn't

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Speaker 2: really matter.

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Speaker 3: Yeah. Yeah, this movie, also, I will say, has big

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Speaker 3: written by a thirteen year old boy.

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Speaker 2: Energy it does, which is one of its charms. It's

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Speaker 2: like there is an there's an innocence to it in

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Speaker 2: that regard, and it has this in common with a

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Speaker 2: number I think of these sort of Charles Band produced

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Speaker 2: pictures from this time period.

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Speaker 3: Yeah, so that's very much true. It has the sort

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Speaker 3: of desires and sensibilities of like a thirteen year old

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Speaker 3: Nintendo addict. But also it is a really fun movie.

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Speaker 2: Yeah. Absolutely, It's a terrifically fun film, full of goofy moments,

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Speaker 2: ambitious special effects on a budget and a time constraint.

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Speaker 2: I want to say, I want to say that this

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Speaker 2: was all shot in like five weeks or something, you know,

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Speaker 2: that makes sense, and it mostly good natured charm for

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Speaker 2: the you know, on the whole. It's it's also a

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Speaker 2: place where you have a lot of first time directors

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Speaker 2: really going at it, guys who would continue to grow

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Speaker 2: up in the Charles Band Empire pictures Full Moon Universe,

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Speaker 2: and here they are like hitting the ground running, you know,

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Speaker 2: doing the best they can. Again with limited resources, limited time,

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Speaker 2: and having to work with the constraints of this picture.

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Speaker 2: I will say, you know, again, very disjointed, challenge segments

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Speaker 2: that don't necessarily build one to the next. But at

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Speaker 2: the same time, this film takes place almost entirely within

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Speaker 2: the dreamscape, and therefore it's almost kind of fitting that

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Speaker 2: there is this. There's sometimes a feeling of like weird

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Speaker 2: repetition that things don't make a lot of sense. There's

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Speaker 2: a lot of dream logic, either intentional or unintentional.

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Speaker 3: The solution to most of the challenges is the same,

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Speaker 3: and it's not a very interesting one.

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Speaker 2: Yeah, Like, imagine if you were a dungeon master, as

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Speaker 2: the title suggests, and the solution to all the puzzles

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Speaker 2: who gave your players was blasted in the gym with

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Speaker 2: a laser you know that would do.

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Speaker 3: A little do a little beat boop on your computer

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Speaker 3: and then it shoots a laser that was it.

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Speaker 2: Was the seven more times than you got it.

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Speaker 3: I think this movie should also be taken as a

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Speaker 3: tribute to long suffering girlfriends everywhere. You know, they love

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Speaker 3: their dude even though he's somewhat irritating and gets them

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Speaker 3: into insanely unappealing situations, like Jeffrey Byron, this is the

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Speaker 3: third time this week that your relationship with an artificial

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Speaker 3: computer woman has gotten me kidnapped by the devil.

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Speaker 2: Absolutely well, that kind of leads nicely to my elevator

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Speaker 2: pitch for this is Ladies and gentlemen. The following contest

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Speaker 2: is a seven round competition for the dominance of reality.

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Speaker 2: In the Black Tides, representing magic and immortality, it's Mestima

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Speaker 2: the Devil. In the red Shorts, the very short red

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Speaker 2: running shorts, we have Paul Bradford representing computers and the

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Speaker 2: teachings of Wayne Dyer and girlfriend having so ring the bell.

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Speaker 3: Oh man, I'm ringing it. If you can't hear, I'm

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Speaker 3: ringing it.

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Speaker 2: All right. Let's you know, we don't have to promote

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Speaker 2: the film. Let's let the trailer audio promote the film

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Speaker 2: a little bit. I don't know if we'll run the

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Speaker 2: whole thing. This one repeats itself a little bit, but

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Speaker 2: let's have a taste.

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Speaker 4: He is a warrior in a wasteland without mercy. He

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Speaker 4: has survived where countless others have died. He has destroyed

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Speaker 4: all that would kill. He is the only one who

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Speaker 4: can face the challenges of.

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Speaker 3: The Dungeon Master.

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Speaker 4: You are a worthy of Doonet.

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Speaker 2: Bring the Dark.

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Speaker 3: The Excalibrate.

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Speaker 4: A warrior trapped in a timeless void, locked in mortal

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Speaker 4: combat against the Overlord, to the agonies of strange beasts

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Speaker 4: and lost souls prepare for the end. The Dungeon Master

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Speaker 4: rated PG.

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Speaker 3: Thirty.

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Speaker 2: All right, So the Dungeon Master. One word, how do

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Speaker 2: you find it? How do you watch it for yourself?

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Speaker 2: If you would like to? Well, For physical media enthusiasts,

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Speaker 2: I highly recommend the excellent Aero Video Blu ray release

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Speaker 2: from I Believe twenty twenty three, if you can find it.

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Speaker 2: I rented it from Atlanta's own video drome, but it

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Speaker 2: seems like it's harder to get a hold of right now.

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Speaker 2: I don't know if it's out of print or it's

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Speaker 2: like there's some sort of rights thing or what have you,

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Speaker 2: but I couldn't find a place where you could actually

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Speaker 2: buy it.

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Speaker 3: So I watched two different versions of this movie. The

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Speaker 3: first time I saw it was a few weeks ago

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Speaker 3: because a friend of mine showed it to me that

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Speaker 3: was on some kind of disc. I don't know which

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Speaker 3: disc release it was, but I figured it took me

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Speaker 3: a while to figure out which cut I was looking

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Speaker 3: at where, But originally I saw the theatrical cut, and

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Speaker 3: then when we picked it for the show, I went

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Speaker 3: back and rewatched it on to B which is the

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Speaker 3: only mainstreaming option I'm aware of now where you can

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Speaker 3: watch this movie. And it turned out that was a

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Speaker 3: different cut of the film, the extended cut, which has

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Speaker 3: a long sequence at the beginning, grossly violating the film's

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Speaker 3: theatrical PG thirteen rating. And then also it has a

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Speaker 3: different order of the challenges.

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Speaker 2: Yeah, that's right. There are at least three main releases

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Speaker 2: of the film, three main cuts. There's the US theatrical cut,

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Speaker 2: there is the original Rage War cut that was the

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Speaker 2: original title for the picture, and then there's the Euroage

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Speaker 2: War cut. So the US theatrical cut, in my opinion,

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Speaker 2: sadly chops off the excellent opening dream sequence directed by

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Speaker 2: Charles Band in order to secure that precious PG thirteen rating.

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Speaker 2: More on that sequence in a bit. The Euroage War

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Speaker 2: cut edits out some of the nudity in that sequence,

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Speaker 2: along with apparently part of Mestima's cat torture monologue from

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Speaker 2: later on in the film, which is not come on,

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Speaker 2: not a great loss, but also not like that terrible.

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Speaker 2: It's just a monologue. He's not doing anything other than

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Speaker 2: chewing up the scenery. And like you said, also the

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Speaker 2: challenge sequence differs between Rage War and Dungeon Master cuts.

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Speaker 2: But again for the most part, it doesn't really matter

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Speaker 2: what order you see the different challenges in. But in

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Speaker 2: my opinion, I think you're best off with the Rage

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Speaker 2: War cut. This is available on the Arrow Disc. This

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Speaker 2: is seemingly also the version on two B, but again

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Speaker 2: the Arrow disc has like all three versions, so you

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Speaker 2: can sort of mix and match, pick and choose and

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Speaker 2: so forth.

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Speaker 3: Now I can't remember, because I know we talked about

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Speaker 3: this off mic as well, But did we already mention

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Speaker 3: in this episode that neither of the titles have anything

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Speaker 3: to do with the movie?

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Speaker 2: Oh? Yeah, Like, there's not really a Master of Dungeons.

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Speaker 2: There's absolutely there's not. You might assume from the title,

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Speaker 2: as I long did, that this was going to be

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Speaker 2: some sort of a Dungeons and dragonsploitation film, you know

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Speaker 2: about the dangers of dungeons and dragons. You know, at

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Speaker 2: the time period, there are no dangers of dungeons and dragons,

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Speaker 2: of the danger of having a good time. But there's

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Speaker 2: none of that. Yeah, there's very arguably a dungeon master

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Speaker 2: in this. And there's not a Rage War either, whatever

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Speaker 2: a rage war would be.

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Speaker 3: There's a little bit of rage, there's really not a war.

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Speaker 3: I mean there's like a fistfight.

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Speaker 2: Yeah, and that's pretty much yet. But I have no

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Speaker 2: better title suggestions here, so really really, I mean they're

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Speaker 2: both find titles from the Empire Pictures standpoint. All right,

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Speaker 2: let's get into the people behind this picture. So we're

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Speaker 2: gonna have to approach this one a little bit differently

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Speaker 2: because this film has eight credited directors due to its

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Speaker 2: various multiple dream sequences and the connecting material. So instead

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Speaker 2: of listing them all right here up top, we're going

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Speaker 2: to touch in on those individual directors and write as

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Speaker 2: we roll through the plot later on. But I will

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Speaker 2: go ahead and just cover the rest of the connections

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Speaker 2: as usual, because again, this is not a true anthology film.

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Speaker 2: The core cast remains the same throughout the picture, but

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Speaker 2: we do have to just at the top just acknowledge that, Yeah,

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Speaker 2: this is very much a Charles Band production. And Charles

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Speaker 2: Band is credited as one of the directors. I think

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Speaker 2: he directed all of the connective tissue in the picture.

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Speaker 2: He has an original story credit and he was also

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Speaker 2: the producer.

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Speaker 3: Oh yeah, I loved how based on a story by

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Speaker 3: Charles Band. What was that story?

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Speaker 2: Like?

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Speaker 3: Did he write this out as fiction?

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Speaker 2: I mean they one of the things that they asked

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Speaker 2: I should mention that that excellent Arrow release has a

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Speaker 2: nice extended interview with Jeffrey Byron, who plays Paul Bradford,

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Speaker 2: our hero, and one of the questions they asked him

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Speaker 2: is like, was there actually a full script? And he's like, yes,

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Speaker 2: there was a full script for this film, though you know,

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Speaker 2: I guess portions of it were of course written by

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Speaker 2: different rectors, because each director also wrote their segment, and

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Speaker 2: presumably Charles band like wrote out the connective tissue as well.

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Speaker 2: So so yeah, I guess he just he had this

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Speaker 2: idea one day, what if you were so into computers

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Speaker 2: and so good at it that the Devil himself took offense.

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Speaker 3: I guess you could take this as a sort of

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Speaker 3: update on the like, I don't know, Merlin or Doctor

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Speaker 3: Faustus kind of thing.

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Speaker 2: Yeah, Devil went down to Georgia, right.

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Speaker 3: Yeah, you're at you're at the edges of human knowledge

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Speaker 3: and skill and experience, and then, like you, you receive

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Speaker 3: a contact from the world beyond. Except Mistema doesn't primarily

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Speaker 3: tempt Paul. He does at one point, but he's not

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Speaker 3: mainly there to be a Methistopheles saying, like, you know, here,

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Speaker 3: let's make a deal. He wants to fight Paul. He

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Speaker 3: wants to say, like your computer against my monsters.

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Speaker 2: Right, but he doesn't even really fully understand like computers

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Speaker 2: as like technology as a as like the opposite of

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Speaker 2: magic or anything like. He seems to think that technology

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Speaker 2: is magic and he is here to prove his own

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Speaker 2: magical superiority. All right, Well more on the plot here

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Speaker 2: in a bit. But yeah. Charles Band born nineteen fifty one.

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Speaker 2: We've talked about him before in the show Prolific B

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Speaker 2: movie writer, director and producer. Active since the early seventies

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Speaker 2: and still pumping him out. He's often compared to the

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Speaker 2: late Roger Corman, recently passed rest in peace, but I

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Speaker 2: think he's I think it's largely an accurate comparison. As

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Speaker 2: a producer, he's known for various eighties films under the

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Speaker 2: Empire Pictures banner, such as this one, followed in nineteen

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Speaker 2: eighty eight after its closing with Full Moon Productions, which

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Speaker 2: gave us some of the most memorable nineties video rental

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Speaker 2: store selections, and continues to give the world such later

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Speaker 2: day Full Moon franchise titles as Evil Bong in the

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Speaker 2: Ginger dead Man's film series.

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Speaker 3: Now, my impression of the arc of this career is

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Speaker 3: that in both cases it leans heavily on horror movies

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Speaker 3: that are funny, but the difference being that, like as

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Speaker 3: time went on, the jokes became more overt and explicit,

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Speaker 3: whereas earlier on most of it was like horror movies

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Speaker 3: that you know, were funny, but they weren't winking at

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Speaker 3: the camera. They were just like playing it mostly straight

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Speaker 3: but being silly.

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Speaker 2: That's right. Yeah, And you know, there's something to be

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Speaker 2: said for like the Empire Pictures period, you know, actually

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Speaker 2: getting some theatrical releases such as Metal Storm, which we've

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Speaker 2: talked about on the show, and then later on it

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Speaker 2: becomes increasingly like video rental store aimed, and then you know,

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Speaker 2: ultimately in the modern era it's more about a digital

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Speaker 2: film and so forth. So yeah, yeah, there's a lot

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Speaker 2: of analysis one could do about, like the changing business

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Speaker 2: of motion pictures. And certainly there's something to be said

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Speaker 2: for a company that's been able to stay around this

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Speaker 2: long in some form or another and still making you know,

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Speaker 2: some some level of profit, even if it's I don't know,

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Speaker 2: I was going to say something about like maybe not

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Speaker 2: making as much of a cultural impact, But who am

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Speaker 2: I to doubt the cultural impact of the Evil Bong series.

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Speaker 3: I doubt the Evil Bong series will have any lines

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Speaker 3: of dialogue that entered the public consciousness the way I

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Speaker 3: reject your reality and substitute my own has.

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Speaker 2: That's right, that one has has its own reach for sure.

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Speaker 3: Yeah, well we'll get to that later.

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Speaker 2: So I'm not going to go through all the Charles

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Speaker 2: Band stuff here, but I do want to sort of

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Speaker 2: place the Dungeon Master in contact. So this was Band's

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Speaker 2: sixth directorial effort, following seventy three's Last Foxtrott in Burbank.

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Speaker 2: This was his first film, a sex comedy, edited by

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Speaker 2: John Carpenter. Then there was seventy six's Crash, starring Jose

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Speaker 2: Ferrer and John Carradine. There was nineteen eighty two's Parasite

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Speaker 2: with Demi Moore. Then came nineteen eighty three's The Alchemist.

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Speaker 2: In nineteen eighty three's metal Storm The Destruction of Jared

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Speaker 2: Sin a theatrically released three D motion picture that we've

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Speaker 2: talked about on on Weird House Cinema.

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Speaker 3: Metal Storm The Destruction of Jared Sin was wonderful because

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Speaker 3: it has such a complicated title, but once again, much

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Speaker 3: like Dungeon Master, the title is misleading. There is a Jaredson,

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Speaker 3: I don't know if there's a metal Storm, and Jaredsen

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Speaker 3: is not destructed in the film. He escapes at the end.

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Speaker 2: He's fine, that's right, but still kind of a fun time. So.

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Speaker 2: But the interesting thing though, according to Jeffrey Byron, is

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Speaker 2: that production on Rage War began the next day after

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Speaker 2: they rap production on metal Storm. So like they had

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Speaker 2: the rap party, everyone went home at eleven pm, and

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Speaker 2: then the next day six am, everyone's up and working

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Speaker 2: on Rage War.

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Speaker 3: Beautiful, and it's clear that they're not just reusing some

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Speaker 3: sets and costumes and props and all that from Metal Storm.

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Speaker 3: But it's got the same hero. So if you'll recall,

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Speaker 3: in metal Storm, Jeffrey Byron played the Luke Skywalker character,

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Speaker 3: it was Tim Thomerson who played the Han solo character.

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Speaker 3: There's sort of a sort of Star Wars meets Mad

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Speaker 3: Max is the concept of Metal Storm, and Jeffrey Byron

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Speaker 3: returns this time to be our computer geek turned hero.

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Speaker 2: That's right. Jeffrey Byron born nineteen fifty five, Star of

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Speaker 2: metal Storm. Like we said, he was already a reasonably

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Speaker 2: experienced TV actor prior to his work with Band. Started

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Speaker 2: out as a child actor and actually appeared in the

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Speaker 2: nineteen sixty three john Ford film Donovan's Reef. Interesting fact two.

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Speaker 2: John Ford was his godfather, and he was also in

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Speaker 2: an episode of the original Twilight Zone. He continued to

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Speaker 2: work extensively in television after these two Band productions, occasionally

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Speaker 2: with film roles, and in twenty twenty two he worked

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Speaker 2: with Band again on the band produced mini series The Resonator,

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Speaker 2: a Full Moon production.

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Speaker 3: The Resonator.

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Speaker 2: Yeah, I don't know much about it, but I think

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Speaker 2: for a while I was subscribed to like the full

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Speaker 2: Moon channel on Prime and I saw it featured there

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Speaker 2: about it? Never push play?

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Speaker 3: Okay, I'm going to make a face comparison that did

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Speaker 3: not occur to me until just this very moment. But

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Speaker 3: close your eyes and picture this Jeffrey Byron, remove the hair.

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Speaker 3: Just look at the face. A little bit like a

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Speaker 3: more baby faced version of Vigo Mortensen.

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Speaker 2: Do you see do you see? Yeah? Yeah, a bit

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Speaker 2: a bit. In this film he has the he's wearing

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Speaker 2: glasses a lot because he's supposed to be a nerd,

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Speaker 2: but he's one of these. He's like a glasses on nerd,

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Speaker 2: glasses off hunk, which we often see in pictures, especially

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Speaker 2: this time period. You also see the you know, the

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Speaker 2: female variation of this as well, but he's got those

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Speaker 2: glasses on. I have to say, I think I think

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Speaker 2: he's really fun in this. He brings a lot of

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Speaker 2: energy and enthusiasm to the role, and I found that

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Speaker 2: he's the extras with him on the arrow disc or

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Speaker 2: rather insightfully, he has a lot of great things to

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Speaker 2: say about the production and the folks that he worked

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Speaker 2: with kind of sums up the like the feeling that

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Speaker 2: a lot of a lot of the people involved here

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Speaker 2: were getting to do things for the first time. I'm

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Speaker 2: you know, first time directors. Byron got to got to

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Speaker 2: write one of the segments as we'll discuss, got to

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Speaker 2: work with his brother on that segment, and also got

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Speaker 2: to bring in various like friends from acting school that

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Speaker 2: he wanted to work with, So you know, everybody was

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Speaker 2: really excited. People got to do a lot of fun things,

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Speaker 2: and it seems like it was a pretty pretty fun

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Speaker 2: production for the most part. So it's always nice to

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Speaker 2: hear those stories.

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Speaker 3: This is one of the reasons I imagine people are

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Speaker 3: skeptical about the idea that this movie had a full

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Speaker 3: script because it feels so much like they're just doing

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Speaker 3: whatever they could think of or whatever they wanted to

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Speaker 3: do with what they had. You know, it seems very

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Speaker 3: much a It has an intense feel of improvisation.

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Speaker 2: It really does, so I too kind of take that

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Speaker 2: full script with a grain of salt. I wonder how

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Speaker 2: much of it was, like, you know, like scene five,

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Speaker 2: we do something with the cars from metal Storm.

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Speaker 3: Yeah, yeah, maybe the full script had had markers like

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Speaker 3: Jeffrey Byron fights a troll.

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Speaker 2: Yeah, because yeah, there's not a lot that goes on

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Speaker 2: beyond that in some of these segments.

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Speaker 3: Oh no, no, I meant like there is, but like

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Speaker 3: what would be filled in later as well? What access

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Speaker 3: to locations do we already have, what sets do we have,

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Speaker 3: What props and costumes do we have? What kind of

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Speaker 3: troll makeup can we get together? And it has that

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Speaker 3: feel of that it was either something that was from

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Speaker 3: a previous movie or somebody was on set wanting to

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Speaker 3: try something and this is what they did.

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Speaker 2: Yeah, absolutely, all right. We've been talking about Masteema the

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Speaker 2: demonic figure in this kind of a devil, kind of

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Speaker 2: a wizard, played by the terrific Richard Mole, who lived

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Speaker 2: nineteen forty three through twenty twenty three. Mole sadly passed

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Speaker 2: away since we last talked about him on Weird House Cinema.

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Speaker 2: He had a role in Metal Storm, but yeah, towering

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Speaker 2: I believe. He's six ' eight classically trained actor, best

396
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Speaker 2: known for his role as the good natured giant bailiff

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Speaker 2: Bullshannon in all nine seasons one hundred and ninety three

398
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Speaker 2: episodes of the sitcom Night Court from nineteen eighty four

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Speaker 2: through nineteen ninety two. So this film and Metal Storm,

400
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Speaker 2: which again he was also in in a reduced part,

401
00:22:11,200 --> 00:22:16,080
Speaker 2: played like a mutant, like warlord or something. These were

402
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Speaker 2: both cyclops. That's right, he was a cyclops. These were

403
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Speaker 2: right before Night Court, so he'd end up shaving his

404
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Speaker 2: head of course for the Bullshannon roll. But he actually

405
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Speaker 2: had a full head of hair for Metal Storm that

406
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Speaker 2: they covered up with a bald cap. And I'm not

407
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Speaker 2: sure at this point if he still has a full

408
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Speaker 2: head of hair and or if he's wearing a wig.

409
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Speaker 2: But what we end up with is Richard Mole with

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Speaker 2: this long black hair. He ends up looking a bit

411
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Speaker 2: like Christoph Limbert if Christoph Limbert took the teenage mutant

412
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Speaker 2: Ninja turtled Mutagen you know, and grew, you know, about

413
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Speaker 2: three feet tall and so forth. But it's a really fun,

414
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Speaker 2: over the top devil Wizard performance here.

415
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Speaker 3: He's Richard Mole taken to like ten percent dead heite

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Speaker 3: status with Christoph Lambert styling.

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Speaker 2: Yeah, all right. We mentioned the long suffering girlfriend, and

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Speaker 2: Paul's long suffering girlfriend is the character Gwynn Rogers, played

419
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Speaker 2: by Leslie Wing born nineteen sixty three. So Wing was

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Speaker 2: coming off of I believe, a few TV roles and

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Speaker 2: would largely work in television up to around two thousand

422
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Speaker 2: and eight according to the databases, but she also pops

423
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Speaker 2: up in such films as nineteen ninety three's Calendar Girl,

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Speaker 2: nineteen ninety six is the Frighteners in nineteen ninety eight

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Speaker 2: Strange Land, that's the Dee Snyder scripted horror film. She's

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Speaker 2: mostly a tongue in cheek damsel in distress in this film,

427
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Speaker 2: as well as, of course a technophobic, long suffering girlfriend.

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Speaker 2: But I don't know, I thought she was able to

429
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Speaker 2: shine through the limitations of these roles, and also generally

430
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Speaker 2: looks phenomenal in every scene, in part I think due

431
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Speaker 2: to the costume design by Kathy Clark.

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Speaker 3: Agreed. Yeah, so she plays like a Paul's girlfriend who

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Speaker 3: is an aerobics instructor. Because it's nineteen eighty four. You

434
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Speaker 3: know what else would the main character's girlfriend be. She

435
00:24:03,680 --> 00:24:07,280
Speaker 3: teaches aerobics classes, and we get to see those. They're

436
00:24:07,320 --> 00:24:10,960
Speaker 3: just like, let's check in on the aerobics class. And

437
00:24:11,680 --> 00:24:16,000
Speaker 3: she clearly is jealous of Paul's relationship with this talking

438
00:24:16,040 --> 00:24:18,840
Speaker 3: computer woman that seems to dominate his life and his

439
00:24:18,960 --> 00:24:22,760
Speaker 3: decision making. And at the beginning of the movie, I

440
00:24:22,800 --> 00:24:26,159
Speaker 3: feel like we I don't know if this was like

441
00:24:26,240 --> 00:24:28,600
Speaker 3: the intention of the script, but I feel like we

442
00:24:28,760 --> 00:24:32,520
Speaker 3: identify very much more with Gwynn than we do with

443
00:24:32,600 --> 00:24:36,040
Speaker 3: the hero because he's acting ridiculous. She's like, you know,

444
00:24:36,160 --> 00:24:39,360
Speaker 3: you're spending too much time with this computer woman. Why

445
00:24:39,359 --> 00:24:41,879
Speaker 3: don't you, you know, let me know where I stand

446
00:24:41,920 --> 00:24:44,679
Speaker 3: relative to her, And he's like, no, no, we should

447
00:24:44,680 --> 00:24:47,040
Speaker 3: get married. See the computer told me it would be

448
00:24:47,040 --> 00:24:50,920
Speaker 3: a good idea. Yeah, so she's the one really making sense,

449
00:24:51,000 --> 00:24:53,359
Speaker 3: But also she spends a lot of the movie, just

450
00:24:53,400 --> 00:24:57,400
Speaker 3: being like chained to various surfaces in different types of underwear,

451
00:24:57,520 --> 00:25:00,600
Speaker 3: being like save me, Paul, and he's like, okay, I'll

452
00:25:00,600 --> 00:25:05,160
Speaker 3: save you. I do appreciate that one of the less

453
00:25:05,320 --> 00:25:08,879
Speaker 3: creative segments in the movie, which is essentially just a

454
00:25:08,920 --> 00:25:12,840
Speaker 3: scene from Metal Storm slotted into this movie, does do

455
00:25:12,880 --> 00:25:15,159
Speaker 3: one thing right, which is they finally give Gwynn a

456
00:25:15,240 --> 00:25:17,560
Speaker 3: chance to fight back against the bad guys when they

457
00:25:17,720 --> 00:25:20,840
Speaker 3: arms her with a plasma rifle and she starts blowing

458
00:25:20,960 --> 00:25:22,040
Speaker 3: up desert buggies.

459
00:25:22,400 --> 00:25:24,480
Speaker 2: That's right. Yeah, that is the I think the big

460
00:25:24,520 --> 00:25:27,120
Speaker 2: redeeming quality of that segment, which is otherwise not one

461
00:25:27,119 --> 00:25:29,280
Speaker 2: of my favorites. But yeah, at least we get to

462
00:25:29,280 --> 00:25:31,840
Speaker 2: see this character act in a strong fashion.

463
00:25:32,200 --> 00:25:35,080
Speaker 3: But Leslie Wing, as we were saying, does also bring

464
00:25:35,119 --> 00:25:37,480
Speaker 3: a good sense of humor to this role, Like even

465
00:25:37,520 --> 00:25:40,200
Speaker 3: in some of the Damsel in distress scenes, she has

466
00:25:40,280 --> 00:25:43,040
Speaker 3: some very funny moments and funny line deliveries.

467
00:25:43,359 --> 00:25:46,119
Speaker 2: Absolutely, all right, that's the core cast. Those are the

468
00:25:46,160 --> 00:25:47,760
Speaker 2: characters we keep coming back to. But I do want

469
00:25:47,760 --> 00:25:50,960
Speaker 2: to just mention a few cameos of note, and well,

470
00:25:50,960 --> 00:25:53,360
Speaker 2: of course mention them again when they pop up. The

471
00:25:53,520 --> 00:25:59,560
Speaker 2: entire band wasp, that's w asp. No one's exactly sure

472
00:25:59,560 --> 00:26:02,800
Speaker 2: what it's staying as for perhaps white Anglo Saxon Protestants,

473
00:26:02,880 --> 00:26:06,080
Speaker 2: which I'm not sure they were or are, but I

474
00:26:06,119 --> 00:26:08,560
Speaker 2: think there always been a little shifty on what it means,

475
00:26:08,560 --> 00:26:10,600
Speaker 2: if it means anything, and maybe it doesn't, because this

476
00:26:10,720 --> 00:26:14,560
Speaker 2: is like an eighties hair metal band, right, like a

477
00:26:14,560 --> 00:26:17,320
Speaker 2: little bit yeah, what a little bit hair band, a

478
00:26:17,320 --> 00:26:20,160
Speaker 2: little bit Black Sabbath kind of, but not much.

479
00:26:20,480 --> 00:26:22,719
Speaker 3: It seemed to me. The idea is they're they're a

480
00:26:22,720 --> 00:26:26,960
Speaker 3: hair metal band, but they were intentionally trying to be

481
00:26:27,080 --> 00:26:30,760
Speaker 3: shock rockers, like they were. They were saying, Okay, people

482
00:26:30,800 --> 00:26:33,720
Speaker 3: have this idea that these hair metal bands are are

483
00:26:33,800 --> 00:26:36,800
Speaker 3: evil and immoral and decadent. What if we just like

484
00:26:37,040 --> 00:26:40,760
Speaker 3: tried to appear as as immoral and decadent as we

485
00:26:40,880 --> 00:26:45,159
Speaker 3: possibly could. So the main the main singer's persona, as

486
00:26:45,200 --> 00:26:47,840
Speaker 3: far as I can tell, he's like, what if what

487
00:26:47,960 --> 00:26:52,080
Speaker 3: if Ozzy Osbourne were a much worse guy? That's me?

488
00:26:52,920 --> 00:26:55,440
Speaker 2: Yeah, And I'm going to sing directly about it, not

489
00:26:55,480 --> 00:26:57,280
Speaker 2: really with details, but just I'm going to tell you

490
00:26:57,280 --> 00:26:59,639
Speaker 2: that I'm that I have no morals and so forth.

491
00:27:00,280 --> 00:27:02,640
Speaker 3: A line from the song he sings in the movie

492
00:27:02,720 --> 00:27:04,320
Speaker 3: it says, I have no morales.

493
00:27:05,000 --> 00:27:09,399
Speaker 2: The front man we're talking about here is Blackie Lalss

494
00:27:09,600 --> 00:27:13,760
Speaker 2: great name, born nineteen fifty six, who is tremendous in

495
00:27:13,840 --> 00:27:16,879
Speaker 2: this section. So I look forward to talking about Blackie

496
00:27:16,960 --> 00:27:20,360
Speaker 2: Lalss later on a few other kind of weird inclusions here.

497
00:27:20,480 --> 00:27:23,960
Speaker 2: Peter Kent born nineteen fifty seven plays one of the zombies,

498
00:27:24,000 --> 00:27:28,160
Speaker 2: but he was Arnold Schwarzenegger's longtime stunt double. We also

499
00:27:28,240 --> 00:27:31,800
Speaker 2: have phil of Fondo Caro born nineteen fifty eight, who

500
00:27:31,800 --> 00:27:33,639
Speaker 2: plays one of the Stone Canyon people.

501
00:27:34,440 --> 00:27:35,440
Speaker 3: Oh okay, Yeah.

502
00:27:35,480 --> 00:27:39,800
Speaker 2: He's a very familiar face from various genre pictures, pictures

503
00:27:39,800 --> 00:27:41,880
Speaker 2: that generally have some sort of a little person role,

504
00:27:42,520 --> 00:27:45,159
Speaker 2: so he's been in everything from Return of the Jedi

505
00:27:45,359 --> 00:27:50,080
Speaker 2: and The Doors to Goolies two, Phantasm two, and various

506
00:27:50,119 --> 00:27:53,320
Speaker 2: band productions. He's really good. He has a lot of charisma,

507
00:27:53,440 --> 00:27:56,479
Speaker 2: so you'll often encounter him in and out of monster

508
00:27:56,560 --> 00:27:58,399
Speaker 2: suits and pictures from this time period.

509
00:27:58,520 --> 00:28:01,080
Speaker 3: He does have a lot of chance to use personality

510
00:28:01,080 --> 00:28:02,879
Speaker 3: in this role. He mostly he's just one of two

511
00:28:02,920 --> 00:28:06,920
Speaker 3: guys who steals Jeffrey Byron's wrist computer and runs away

512
00:28:06,920 --> 00:28:09,760
Speaker 3: with it. And then that leads Jeffrey Byron to have

513
00:28:09,840 --> 00:28:11,400
Speaker 3: to like see some stop motion.

514
00:28:11,720 --> 00:28:13,760
Speaker 2: Yeah. Basically, it's like one of those moments where if

515
00:28:13,760 --> 00:28:16,160
Speaker 2: you've seen a lot of films from this period, you'll

516
00:28:16,160 --> 00:28:17,720
Speaker 2: be like, Hey, I know that guy, where's he going?

517
00:28:17,760 --> 00:28:19,639
Speaker 2: And you don't really see me? Okay, yeah, okay. And

518
00:28:19,680 --> 00:28:22,520
Speaker 2: then finally we have an actor credited with the name

519
00:28:22,600 --> 00:28:27,040
Speaker 2: Gina Calabresi playing the girl in the opening dream sequence.

520
00:28:28,000 --> 00:28:29,080
Speaker 3: Oh yeah, yeah.

521
00:28:29,119 --> 00:28:31,480
Speaker 2: Now, this is also the name of a character from

522
00:28:31,640 --> 00:28:34,560
Speaker 2: the Miami Vice TV series, so it seems like this

523
00:28:34,640 --> 00:28:37,960
Speaker 2: might be a stage name. But she was also in

524
00:28:38,000 --> 00:28:41,320
Speaker 2: the nineteen eighty six sci fi girl's rock band Vicious Lips,

525
00:28:41,480 --> 00:28:45,480
Speaker 2: so worth singling out here. She has very, very fetching eyes,

526
00:28:45,560 --> 00:28:48,520
Speaker 2: as we'll discuss all right in the score. Hey, this

527
00:28:48,560 --> 00:28:50,520
Speaker 2: is a Charles Band picture, so I don't have to

528
00:28:50,520 --> 00:28:53,720
Speaker 2: tell you that his brother Richard Band born nineteen fifty three,

529
00:28:54,160 --> 00:28:56,520
Speaker 2: was of course involved with the score for this picture.

530
00:28:56,680 --> 00:29:00,280
Speaker 2: But Shirley Walker, who lived nineteen forty five through two

531
00:29:00,280 --> 00:29:03,320
Speaker 2: thousand and six, also has a score credit. She has

532
00:29:03,480 --> 00:29:06,560
Speaker 2: pretty extensive credits as well, and was one of the

533
00:29:06,600 --> 00:29:10,680
Speaker 2: few female American film and television composers and conductors working

534
00:29:10,760 --> 00:29:14,760
Speaker 2: during her heyday, and by working, I mean at times

535
00:29:14,800 --> 00:29:17,200
Speaker 2: like getting like full credit for being like the sole

536
00:29:18,520 --> 00:29:23,440
Speaker 2: composer on various film scores, and she also worked at

537
00:29:23,440 --> 00:29:26,520
Speaker 2: other levels on various scores. She played synth on the

538
00:29:26,520 --> 00:29:29,880
Speaker 2: score for Apocalypse Now and worked in various capacities on

539
00:29:29,920 --> 00:29:33,160
Speaker 2: scores for such films as eighty four's Goolies, nineteen ninety

540
00:29:33,160 --> 00:29:37,120
Speaker 2: six's Escape from La I believe she and Carpenter share

541
00:29:37,280 --> 00:29:39,600
Speaker 2: credit for that one, and she was also involved in

542
00:29:39,640 --> 00:29:42,240
Speaker 2: the score for nineteen eighty nine Batman. She was also

543
00:29:42,280 --> 00:29:45,560
Speaker 2: nominated for three Primetime Emmys, including one nomination for the

544
00:29:45,600 --> 00:29:48,000
Speaker 2: classic Batman the animated series show.

545
00:29:48,440 --> 00:29:50,640
Speaker 3: Oh that had great music for a cheah.

546
00:29:50,720 --> 00:29:54,080
Speaker 2: Yeah, so she was reading a bit about her. She's

547
00:29:54,120 --> 00:29:59,640
Speaker 2: generally remembered well for her contributions to film score and

548
00:29:59,720 --> 00:30:03,240
Speaker 2: TV scored during this era. All right, and then effects.

549
00:30:03,240 --> 00:30:05,560
Speaker 2: We'll come back to the effects later on, because some

550
00:30:05,600 --> 00:30:09,160
Speaker 2: of the key people directing some of these sequences were

551
00:30:09,160 --> 00:30:16,320
Speaker 2: also big effects names.

552
00:30:19,640 --> 00:30:20,920
Speaker 3: Was it time to talk about the plot?

553
00:30:21,120 --> 00:30:23,720
Speaker 2: Yeah, let's let's dream fall into the schlock. Let's do it.

554
00:30:24,160 --> 00:30:27,480
Speaker 3: Okay, Wait, are we talking about the extended opening sequence?

555
00:30:27,560 --> 00:30:30,960
Speaker 2: Or not, Yeah, let's do it, because I, in my opinion,

556
00:30:31,560 --> 00:30:34,840
Speaker 2: it's really good. It sets a nice tone for the

557
00:30:34,920 --> 00:30:37,240
Speaker 2: rest of the film. And I was a little hesitant

558
00:30:37,320 --> 00:30:39,400
Speaker 2: because I'd heard like, well, there's one cut of the

559
00:30:39,440 --> 00:30:41,719
Speaker 2: film that has full frontal nudity at the top, and

560
00:30:41,800 --> 00:30:44,520
Speaker 2: they had, and they removed it before the theatrical release,

561
00:30:44,520 --> 00:30:46,440
Speaker 2: which might made me think that it was going to

562
00:30:46,520 --> 00:30:51,080
Speaker 2: be like more scandalous or trashy, but that's clearly not

563
00:30:51,120 --> 00:30:52,600
Speaker 2: what they were going for. I think they were going

564
00:30:52,600 --> 00:30:56,000
Speaker 2: for something like more Charles Band directed.

565
00:30:55,680 --> 00:30:58,440
Speaker 3: Artsy uh huh. Well, it seems like they were trying

566
00:30:58,440 --> 00:31:00,600
Speaker 3: to get out of the R rating territory orient into

567
00:31:00,640 --> 00:31:01,480
Speaker 3: the PG thirteen.

568
00:31:01,600 --> 00:31:04,280
Speaker 2: Yeah. Yeah, so they're like, we can't have full frontal

569
00:31:04,280 --> 00:31:07,800
Speaker 2: female nudity at the beginning, even if it's tasteful, because

570
00:31:07,800 --> 00:31:09,640
Speaker 2: we want that PEG thirteen. All right.

571
00:31:09,680 --> 00:31:14,000
Speaker 3: Well, so the extended version starts with Jeffrey Byron lying

572
00:31:14,040 --> 00:31:17,360
Speaker 3: asleep on a bed with like an electrical lead, like

573
00:31:17,400 --> 00:31:21,719
Speaker 3: an EKG patch attached to his forehead and to his wrist.

574
00:31:22,360 --> 00:31:25,600
Speaker 3: He's very moist and sweaty looking, and he's in a

575
00:31:25,720 --> 00:31:28,320
Speaker 3: dark room full of fog. This is obviously some kind

576
00:31:28,360 --> 00:31:32,520
Speaker 3: of dream land, and he stirs and comes awake, and

577
00:31:32,560 --> 00:31:34,760
Speaker 3: he sees in the room a woman in a red

578
00:31:34,840 --> 00:31:37,560
Speaker 3: dress with hair blowing in the wind, standing there in

579
00:31:37,560 --> 00:31:41,400
Speaker 3: the fog giving him eyes, like really giving him eyes.

580
00:31:41,560 --> 00:31:43,600
Speaker 2: And their great eyes, like I said, just really stares

581
00:31:43,640 --> 00:31:46,120
Speaker 2: trying to do so, I mean not Meg Foster level,

582
00:31:46,200 --> 00:31:48,760
Speaker 2: but like sub Meg Foster intensity.

583
00:31:49,000 --> 00:31:51,520
Speaker 3: Yeah, So she walks out of the room. He gets

584
00:31:51,560 --> 00:31:54,680
Speaker 3: up to follow, and he follows her as she goes outside.

585
00:31:54,960 --> 00:31:57,960
Speaker 3: And then this is one of those scenes where I

586
00:31:57,960 --> 00:32:01,480
Speaker 3: feel like somebody just found a cool looking location in

587
00:32:01,520 --> 00:32:03,760
Speaker 3: the world and they were like, let's shoot something there,

588
00:32:04,120 --> 00:32:06,600
Speaker 3: and this is it. So she like goes up a

589
00:32:06,640 --> 00:32:12,200
Speaker 3: staircase onto a weird concrete bunker like construction that is

590
00:32:12,280 --> 00:32:18,400
Speaker 3: one of many identical concrete constructions lined up in the

591
00:32:18,520 --> 00:32:21,200
Speaker 3: in the sand in this clearing. Do you know what

592
00:32:21,200 --> 00:32:22,360
Speaker 3: we were looking at here, Rob?

593
00:32:23,320 --> 00:32:27,520
Speaker 2: It is a bit particular of like fortification location somewhere

594
00:32:27,520 --> 00:32:30,920
Speaker 2: in California, but I don't remember what the name of

595
00:32:30,960 --> 00:32:34,560
Speaker 2: it is. Our California natives can chime in, but yeah,

596
00:32:34,760 --> 00:32:37,719
Speaker 2: it also is very reminiscent of a number of former

597
00:32:37,760 --> 00:32:41,480
Speaker 2: fortifications in the United States that I've visited on vacations

598
00:32:41,480 --> 00:32:43,960
Speaker 2: and so forth. It looks really hot, you know, it's hot,

599
00:32:44,040 --> 00:32:45,720
Speaker 2: like just so much direct sun.

600
00:32:45,880 --> 00:32:48,360
Speaker 3: Well, and Jeffrey Byron is sweaty as heck in this

601
00:32:48,840 --> 00:32:50,880
Speaker 3: in this part of the movie. So they're kind of

602
00:32:51,000 --> 00:32:54,520
Speaker 3: chasing each other around playfully in slow motion, running around

603
00:32:54,520 --> 00:32:58,480
Speaker 3: these bunkers, and they go into a dark hallway with

604
00:32:58,520 --> 00:33:00,120
Speaker 3: a bright light at the end of the one and

605
00:33:00,280 --> 00:33:04,080
Speaker 3: runs in silhouette, and Jeffrey Byron chases and she's like, ooh,

606
00:33:04,440 --> 00:33:09,400
Speaker 3: come down here, and then she suddenly disrobes and is like, yes,

607
00:33:09,840 --> 00:33:12,800
Speaker 3: I love you, Jeffrey Byron. And so they get onto

608
00:33:12,880 --> 00:33:15,920
Speaker 3: a bed in this dark bunker and start to mess around.

609
00:33:15,920 --> 00:33:19,000
Speaker 3: But then suddenly at the other end of the room,

610
00:33:19,640 --> 00:33:23,920
Speaker 3: a steel bulkhead door that looks like it belongs on

611
00:33:23,960 --> 00:33:28,080
Speaker 3: a submarine swings open, and from the other side of

612
00:33:28,240 --> 00:33:32,560
Speaker 3: the door, which is glowing with pink light, these beefy,

613
00:33:32,720 --> 00:33:36,360
Speaker 3: ghoulish mutants pour into the room. And by the way,

614
00:33:36,400 --> 00:33:39,280
Speaker 3: this is all still in slow mo with dreamy music playing,

615
00:33:39,840 --> 00:33:43,160
Speaker 3: and they kidnap the dream woman and slam the door

616
00:33:43,160 --> 00:33:45,160
Speaker 3: shut behind them.

617
00:33:45,440 --> 00:33:48,200
Speaker 2: I like it. I'm already intrigued. What's going on in

618
00:33:48,240 --> 00:33:49,560
Speaker 2: this dream? What does it represent.

619
00:33:50,040 --> 00:33:54,080
Speaker 3: I also like that the monsters here are different types

620
00:33:54,120 --> 00:33:56,520
Speaker 3: of like they're mixed in appearance. One is a full

621
00:33:56,560 --> 00:34:01,280
Speaker 3: on monster head with huge protruding jaws and fangs, and

622
00:34:01,480 --> 00:34:03,760
Speaker 3: some of the other ones just look like regular people

623
00:34:03,840 --> 00:34:06,200
Speaker 3: but just sort of dirty and dressed in rags.

624
00:34:06,520 --> 00:34:08,480
Speaker 2: Yeah, it's kind of like that moment in the Simpsons

625
00:34:08,840 --> 00:34:12,000
Speaker 2: Treehouse episode The Shinning when all the random monsters spill

626
00:34:12,080 --> 00:34:15,799
Speaker 2: into the refrigerator to grab Homer and drag him away. Yeah.

627
00:34:15,880 --> 00:34:19,680
Speaker 3: Yeah, anyway, she gets dragged off beyond the submarine door,

628
00:34:19,719 --> 00:34:24,760
Speaker 3: it's slams shut and then bam. Empire Pictures presents Jeffrey

629
00:34:24,800 --> 00:34:28,200
Speaker 3: Byron in Rage War. This is the version that is

630
00:34:28,239 --> 00:34:29,480
Speaker 3: not called Dungeon Master.

631
00:34:30,200 --> 00:34:32,160
Speaker 2: All right, so this is the Rage War cut. But

632
00:34:32,200 --> 00:34:34,839
Speaker 2: if you're watching the US theatrical cut, you don't get

633
00:34:34,920 --> 00:34:37,520
Speaker 2: any like dreams or nudity or monsters. You just get

634
00:34:37,560 --> 00:34:40,360
Speaker 2: Jeffrey Byron waking up right and at the beginning is

635
00:34:40,400 --> 00:34:44,000
Speaker 2: just like, oh, and that's the beginning of the picture.

636
00:34:44,040 --> 00:34:46,880
Speaker 2: And so I just feel like it's less intriguing. Instead

637
00:34:46,880 --> 00:34:49,080
Speaker 2: of asking what does this dream represent? Who's the woman?

638
00:34:49,120 --> 00:34:51,560
Speaker 2: Who are the monsters, It's like how long was this

639
00:34:51,560 --> 00:34:52,720
Speaker 2: guy asleep. I guess.

640
00:34:53,680 --> 00:34:56,040
Speaker 3: I mean, I can understand another reason for cutting it

641
00:34:56,080 --> 00:34:58,840
Speaker 3: out beyond just like trying to get the rating they wanted,

642
00:34:58,880 --> 00:35:02,319
Speaker 3: which is it makes Jeffrey but I know it's just

643
00:35:02,360 --> 00:35:05,040
Speaker 3: a dream, but still makes Jeffrey Byron seem a little

644
00:35:05,160 --> 00:35:07,719
Speaker 3: unfaithful because the woman in his dream is not Gwen.

645
00:35:08,280 --> 00:35:11,759
Speaker 2: That's right. Yeah it doesn't really And yeah, his faithfulness

646
00:35:11,800 --> 00:35:15,120
Speaker 2: does come up at times as a plot point. So yeah,

647
00:35:15,400 --> 00:35:17,080
Speaker 2: I could see that being a reason for it. And

648
00:35:17,440 --> 00:35:20,399
Speaker 2: I can also imagine it being a situation where if

649
00:35:20,440 --> 00:35:24,640
Speaker 2: your Charli Band or Charlie Band, as jeff Jeffrey Byron

650
00:35:25,040 --> 00:35:28,160
Speaker 2: kept referring to him. You've brought in all these young guys,

651
00:35:28,200 --> 00:35:30,560
Speaker 2: you know, to have their first shot at directing something,

652
00:35:30,719 --> 00:35:32,680
Speaker 2: and then you got to make cuts. You know, you

653
00:35:32,719 --> 00:35:35,759
Speaker 2: cut your own dead. It makes sense. So you know

654
00:35:36,360 --> 00:35:38,399
Speaker 2: you're filming this project, it makes sense to go ahead

655
00:35:38,400 --> 00:35:40,600
Speaker 2: and just cut your own intro, especially if it fulfills

656
00:35:40,640 --> 00:35:41,160
Speaker 2: other needs.

657
00:35:41,520 --> 00:35:44,480
Speaker 3: Now I have another interpretive question about the opening sequence.

658
00:35:44,800 --> 00:35:48,640
Speaker 3: We get to know the artificial intelligence, the computer that

659
00:35:48,880 --> 00:35:52,279
Speaker 3: is Jeffrey Byron's companion here. It is named Cal and

660
00:35:52,360 --> 00:35:56,000
Speaker 3: it has a woman's voice and in many ways is

661
00:35:56,040 --> 00:35:59,680
Speaker 3: treated as an actual feminine entity in addition to just

662
00:35:59,719 --> 00:36:03,319
Speaker 3: having a woman's voice, like Gwynn is jealous of it

663
00:36:03,360 --> 00:36:06,640
Speaker 3: and so forth, And so it makes me wonder, is

664
00:36:06,680 --> 00:36:09,640
Speaker 3: the woman in the opening dream sequence supposed to be

665
00:36:09,880 --> 00:36:14,000
Speaker 3: a fleshly embodiment of cal the computer woman.

666
00:36:14,719 --> 00:36:16,640
Speaker 2: Yeah? I could see that working. All of these things

667
00:36:16,680 --> 00:36:19,680
Speaker 2: would make a lot of sense if the plot didn't

668
00:36:19,719 --> 00:36:22,360
Speaker 2: just veer off in a kind of drastically different direction

669
00:36:22,520 --> 00:36:25,080
Speaker 2: with the introduction of Mestema. You know, yeah, because all

670
00:36:25,080 --> 00:36:27,160
Speaker 2: of this would work if it were like a nineties

671
00:36:27,200 --> 00:36:29,680
Speaker 2: Outer Limits episode about falling in love with the computer,

672
00:36:29,960 --> 00:36:33,160
Speaker 2: and lord knows there are episodes of that show about

673
00:36:33,160 --> 00:36:35,719
Speaker 2: this very topic. But yeah, then it becomes like, and

674
00:36:35,719 --> 00:36:37,840
Speaker 2: then what if the devil showed up the challenged you

675
00:36:37,920 --> 00:36:39,080
Speaker 2: to a game of dream Battle.

676
00:36:39,200 --> 00:36:42,279
Speaker 3: Yeah, it could have been Charles Band presents her. But

677
00:36:42,320 --> 00:36:45,600
Speaker 3: then it's just like, oh, here's a demon lord coming

678
00:36:45,640 --> 00:36:50,000
Speaker 3: in to do some magic. So anyway, after the credits,

679
00:36:50,200 --> 00:36:53,719
Speaker 3: Jeffrey Byron wakes up. He's been asleep, fitfully hunched over

680
00:36:53,760 --> 00:36:56,040
Speaker 3: a desk in his apartment, wearing a suit. He was

681
00:36:56,040 --> 00:36:59,600
Speaker 3: sleeping in his suit, always a good move. A computer

682
00:36:59,719 --> 00:37:05,160
Speaker 3: general feminine voice says repeatedly, late for repair appointment, please respond,

683
00:37:05,920 --> 00:37:08,320
Speaker 3: going over and over. This is the voice of cal

684
00:37:08,440 --> 00:37:10,360
Speaker 3: Get used to it. There will be a lot of

685
00:37:10,360 --> 00:37:13,799
Speaker 3: it in the movie. Jeffrey Byron thanks his computer and

686
00:37:13,840 --> 00:37:16,359
Speaker 3: gets up to leave, and then we see him at work.

687
00:37:16,400 --> 00:37:19,959
Speaker 3: He's doing repairs on computer equipment. It's nineteen eighty four

688
00:37:20,120 --> 00:37:23,480
Speaker 3: and he is a world class computer geek. He seems

689
00:37:23,480 --> 00:37:27,680
Speaker 3: to be replacing CPUs in some giant mainframe or maybe

690
00:37:27,719 --> 00:37:28,800
Speaker 3: it's just a copy machine.

691
00:37:28,800 --> 00:37:29,120
Speaker 4: I don't know.

692
00:37:29,160 --> 00:37:32,280
Speaker 3: It's some kind of big thing, like you know, mechanical

693
00:37:32,680 --> 00:37:37,839
Speaker 3: machine hulk inside inside an office, and he's like all

694
00:37:37,920 --> 00:37:40,840
Speaker 3: up in the computer guts, just like yankin out circuit

695
00:37:40,840 --> 00:37:44,000
Speaker 3: boards and having a look. And we learn that Jeffrey

696
00:37:44,000 --> 00:37:47,120
Speaker 3: Byron is known as the best troubleshooter in the business.

697
00:37:47,160 --> 00:37:49,440
Speaker 3: And we can see why because when he looks at

698
00:37:49,440 --> 00:37:52,000
Speaker 3: a circuit board, he doesn't just see it with his

699
00:37:52,160 --> 00:37:55,480
Speaker 3: human eyes. He's robbed. Let me know if you had

700
00:37:55,480 --> 00:37:58,520
Speaker 3: a different understanding. But the way I interpreted what we

701
00:37:58,560 --> 00:38:01,719
Speaker 3: see is that when he looks through his glasses, which

702
00:38:01,800 --> 00:38:05,520
Speaker 3: look like regular glasses on the outside, they do some

703
00:38:05,600 --> 00:38:09,759
Speaker 3: kind of analysis, like he's got terminator vision through his glasses,

704
00:38:09,800 --> 00:38:13,080
Speaker 3: so he's actually made like Google Glass or something. A

705
00:38:13,120 --> 00:38:13,840
Speaker 3: good bit early.

706
00:38:14,440 --> 00:38:16,440
Speaker 2: Yeah, I was confused for a little bit because at

707
00:38:16,440 --> 00:38:18,799
Speaker 2: first I was like, is Paul a robot? Is he

708
00:38:18,840 --> 00:38:21,239
Speaker 2: an android or a cyborg? Like where are we going

709
00:38:21,280 --> 00:38:24,400
Speaker 2: with this, Charles band? But then yet becomes clear that no,

710
00:38:24,520 --> 00:38:27,520
Speaker 2: he just has Google Glass a few decades early, and yeah,

711
00:38:27,560 --> 00:38:31,200
Speaker 2: this is enhancing his computer repair abilities among other things,

712
00:38:31,239 --> 00:38:32,640
Speaker 2: as we'll discover.

713
00:38:32,960 --> 00:38:35,840
Speaker 3: Well, but it is ambiguous because that is how I

714
00:38:35,880 --> 00:38:38,800
Speaker 3: interpreted it, that he has this AI. You know, he

715
00:38:38,840 --> 00:38:42,959
Speaker 3: has a computer with artificial intelligence. He has a wristwatch

716
00:38:43,040 --> 00:38:46,680
Speaker 3: and a pair of glasses that are augmented with that

717
00:38:46,920 --> 00:38:50,239
Speaker 3: computer somehow, like the computer is instantiated in them. But

718
00:38:50,440 --> 00:38:54,120
Speaker 3: also later Gwyn makes a reference to that experiment you

719
00:38:54,160 --> 00:39:00,279
Speaker 3: were in that linked you with cal and so I

720
00:39:00,280 --> 00:39:03,400
Speaker 3: don't know what that means that he has some enhanced

721
00:39:03,440 --> 00:39:06,480
Speaker 3: ability to communicate with a computer beyond what a normal

722
00:39:06,480 --> 00:39:08,839
Speaker 3: computer geek would have because of an experiment.

723
00:39:09,280 --> 00:39:12,080
Speaker 2: That's a good point. Yeah, but yeah, we never hear

724
00:39:12,080 --> 00:39:14,840
Speaker 2: anything else about that. There's no further development on that

725
00:39:14,840 --> 00:39:15,960
Speaker 2: plot point anyway.

726
00:39:16,000 --> 00:39:17,960
Speaker 3: The guy he's working for in the office is just

727
00:39:18,000 --> 00:39:22,719
Speaker 3: like computers ah, they're everywhere. And so Jeffrey's character, as

728
00:39:22,719 --> 00:39:24,799
Speaker 3: we've said, his name is Paul. I'm gonna start calling

729
00:39:24,840 --> 00:39:27,640
Speaker 3: him Paul instead of saying Jeffrey Byron every time. At

730
00:39:27,680 --> 00:39:29,920
Speaker 3: the end of the workday, we see Paul coming out

731
00:39:29,960 --> 00:39:32,640
Speaker 3: of this big, futuristic looking office building and talking to

732
00:39:32,680 --> 00:39:35,560
Speaker 3: a coworker of his. The coworker offers him a ride home,

733
00:39:36,320 --> 00:39:38,720
Speaker 3: but Paul is not going to accept because, as always,

734
00:39:38,719 --> 00:39:41,160
Speaker 3: he wants to run home. Paul is into fitness, and

735
00:39:41,239 --> 00:39:46,440
Speaker 3: Don thinks this is disgusting. Yeah, So we see Paul

736
00:39:46,719 --> 00:39:49,880
Speaker 3: like running around and sort of tapping on his glasses

737
00:39:49,960 --> 00:39:53,440
Speaker 3: or tapping on his wrist to initiate some kind of

738
00:39:53,680 --> 00:39:56,200
Speaker 3: thing that Cal is doing, Like I think she's timing

739
00:39:56,280 --> 00:39:59,560
Speaker 3: his run to get home or something. Now, if Cal

740
00:39:59,560 --> 00:40:02,000
Speaker 3: were just being a fit bit here, that would be

741
00:40:02,040 --> 00:40:04,160
Speaker 3: one thing. Oh, that's very cool, and people didn't have

742
00:40:04,200 --> 00:40:07,840
Speaker 3: those in nineteen eighty four. But Cal has other powers,

743
00:40:07,920 --> 00:40:13,759
Speaker 3: essentially computer telekinesis. So Paul uses Cal to like he's

744
00:40:13,840 --> 00:40:16,360
Speaker 3: running down the sidewalks and he will like beat boop

745
00:40:16,480 --> 00:40:20,000
Speaker 3: on his watch or on his glasses to change the

746
00:40:20,040 --> 00:40:23,040
Speaker 3: color of traffic lights suddenly, so that he never has

747
00:40:23,080 --> 00:40:25,640
Speaker 3: to wait. He can always just run across and never stop.

748
00:40:25,880 --> 00:40:28,480
Speaker 3: Very cool, Paul, very safe.

749
00:40:29,040 --> 00:40:32,320
Speaker 2: Yeah, and again to your point, we have to remember

750
00:40:32,560 --> 00:40:35,600
Speaker 2: Paul is possibly an android. I don't think I really

751
00:40:35,600 --> 00:40:38,360
Speaker 2: thought about this enough during my viewing of the picture. Yeah,

752
00:40:38,360 --> 00:40:40,640
Speaker 2: like that's clear, and we don't know he could be

753
00:40:40,800 --> 00:40:42,839
Speaker 2: like full android. We don't know how much of him

754
00:40:42,920 --> 00:40:45,240
Speaker 2: is human anymore. And it doesn't matter.

755
00:40:46,880 --> 00:40:51,880
Speaker 3: Yeah, it doesn't. Also, during this jogging and cybercrime sequence,

756
00:40:51,920 --> 00:40:55,759
Speaker 3: we meet Gwynn, who is Paul's girlfriend. The camera just

757
00:40:55,800 --> 00:40:59,120
Speaker 3: sort of stops by her dance aerobics class, and my lord,

758
00:40:59,200 --> 00:41:01,680
Speaker 3: the eighties of it all here. This is one of

759
00:41:01,719 --> 00:41:05,080
Speaker 3: the most eighties looking scenes I have ever witnessed.

760
00:41:05,480 --> 00:41:10,000
Speaker 2: Oh absolutely yes, the sheen of sweat, the cut of

761
00:41:10,080 --> 00:41:14,640
Speaker 2: the athletics gear, the serious look in the eyes. I

762
00:41:15,120 --> 00:41:17,160
Speaker 2: am a child of the eighties, so I'm here for

763
00:41:17,239 --> 00:41:21,160
Speaker 2: any and all eighties aerobic sequences, from ful Chee's Murder

764
00:41:21,280 --> 00:41:23,919
Speaker 2: Rock to the recent and I thought quite good TV

765
00:41:24,040 --> 00:41:28,640
Speaker 2: series Physical, Like, if it's about aerobics, I'm probably you've

766
00:41:28,640 --> 00:41:30,720
Speaker 2: got my attention. Let's see what it's what's going to happen?

767
00:41:31,080 --> 00:41:34,600
Speaker 3: Specifically, it's dance aerobics, like they're doing a synchronized dance

768
00:41:34,960 --> 00:41:37,920
Speaker 3: routine into a mirror and they're you know, they got

769
00:41:37,920 --> 00:41:41,359
Speaker 3: the full like the spandex, the legwarmers, the headbands, the

770
00:41:41,440 --> 00:41:43,320
Speaker 3: frizzy hair. It's just great.

771
00:41:43,680 --> 00:41:47,160
Speaker 2: Yeah. And it's often a situation where there's either like

772
00:41:47,239 --> 00:41:50,239
Speaker 2: no emotion on the face of the individual doing it,

773
00:41:50,400 --> 00:41:54,040
Speaker 2: or there is like like heightened emotion like this, like

774
00:41:54,120 --> 00:41:58,799
Speaker 2: you know, almost kind of like a plastic exuberance and

775
00:41:59,040 --> 00:42:00,400
Speaker 2: like a big smile something.

776
00:42:00,680 --> 00:42:03,160
Speaker 3: This was really making me think about the Key and

777
00:42:03,239 --> 00:42:04,879
Speaker 3: Peel champions.

778
00:42:05,080 --> 00:42:07,960
Speaker 2: Oh yeah, that was great. So it's great. You know

779
00:42:08,080 --> 00:42:10,600
Speaker 2: they have this in common. This couple is really into

780
00:42:10,600 --> 00:42:12,040
Speaker 2: fitness in their own ways.

781
00:42:12,280 --> 00:42:13,279
Speaker 3: Yes, exactly. So.

782
00:42:13,600 --> 00:42:13,799
Speaker 4: Oh.

783
00:42:13,920 --> 00:42:16,560
Speaker 3: Also, on the way home, Paul stops because he sees

784
00:42:16,560 --> 00:42:18,920
Speaker 3: a vendor selling flowers and he's like, oh, got to

785
00:42:18,960 --> 00:42:21,560
Speaker 3: get some flowers for Gwynn. But then he opened the

786
00:42:21,640 --> 00:42:23,719
Speaker 3: stops and he opens up his wallet and he has

787
00:42:23,800 --> 00:42:25,960
Speaker 3: no money. And it's funny because we get a real

788
00:42:26,120 --> 00:42:29,480
Speaker 3: good shot of the empty wallet. There's just the puckered wallet,

789
00:42:29,520 --> 00:42:32,960
Speaker 3: there nothing in it, and making sure you understand, but

790
00:42:33,040 --> 00:42:37,120
Speaker 3: no problem. Paul goes to a nearby ATM and then

791
00:42:37,360 --> 00:42:40,800
Speaker 3: uses his computer powers to get money out of the ATM.

792
00:42:40,880 --> 00:42:43,359
Speaker 3: Now we I think had a different understanding of what

793
00:42:43,400 --> 00:42:47,040
Speaker 3: was happening here. I interpreted this as Paul was stealing

794
00:42:47,120 --> 00:42:50,200
Speaker 3: money from some random account to go buy the flowers.

795
00:42:50,320 --> 00:42:52,959
Speaker 3: But you thought maybe he was getting his own money out,

796
00:42:53,000 --> 00:42:55,399
Speaker 3: in which case, why would he need to like hack it.

797
00:42:55,920 --> 00:42:57,719
Speaker 2: At first I thought he was hacking it, But then

798
00:42:57,760 --> 00:43:01,640
Speaker 2: there is a line shortly following this. I think when

799
00:43:01,680 --> 00:43:04,680
Speaker 2: he gets back to his apartment about yeah, he gets

800
00:43:04,719 --> 00:43:07,239
Speaker 2: a call or something I don't remember, but there's something

801
00:43:07,239 --> 00:43:10,400
Speaker 2: about his account being overdrawn by like twenty dollars. But

802
00:43:10,480 --> 00:43:13,080
Speaker 2: now I'm second guessing myself and wondering if that's in

803
00:43:13,160 --> 00:43:16,720
Speaker 2: both cuts or if that's something that was added because

804
00:43:16,719 --> 00:43:18,440
Speaker 2: they didn't want to make it seem like he was

805
00:43:18,480 --> 00:43:20,279
Speaker 2: a thief, because Paul is supposed to be a good guy.

806
00:43:20,320 --> 00:43:22,600
Speaker 2: You know, he's supposed to be I guess, you know,

807
00:43:22,680 --> 00:43:26,200
Speaker 2: lawful good And it's a little more ambiguous if he's

808
00:43:26,320 --> 00:43:29,400
Speaker 2: like just getting money out of random ATMs, just using

809
00:43:29,400 --> 00:43:30,600
Speaker 2: his Android powers.

810
00:43:30,880 --> 00:43:33,399
Speaker 3: Yeah, I don't know. Another way to interpret it is

811
00:43:33,440 --> 00:43:36,120
Speaker 3: that if his account is overdrawn, that would be the

812
00:43:36,160 --> 00:43:38,799
Speaker 3: obvious reason that he could not get his own money out,

813
00:43:38,800 --> 00:43:42,160
Speaker 3: and would have to steal from the ATMU. But yeah,

814
00:43:42,160 --> 00:43:44,600
Speaker 3: it could be. They also put that in to suggest

815
00:43:44,680 --> 00:43:46,600
Speaker 3: like no, no, no, he was getting his own money. It's

816
00:43:46,680 --> 00:43:50,879
Speaker 3: just I don't know. But so anyway, he uses cowl

817
00:43:51,000 --> 00:43:53,439
Speaker 3: to hack an ATM and one way or another gets

818
00:43:53,440 --> 00:43:56,960
Speaker 3: money out of it buys flowers. So back home, Paul

819
00:43:57,160 --> 00:44:00,239
Speaker 3: has computer stuff everywhere. There are big circuit boards leaning

820
00:44:00,320 --> 00:44:03,160
Speaker 3: up against the walls. There's a printer with just reams

821
00:44:03,200 --> 00:44:05,520
Speaker 3: of god knows what's spewing out of it and piling

822
00:44:05,600 --> 00:44:08,400
Speaker 3: up on the floor. It's that kind where what is

823
00:44:08,440 --> 00:44:10,440
Speaker 3: printed out of it is all like attached. You got

824
00:44:10,480 --> 00:44:13,560
Speaker 3: to tear it off. I guess. The apartment has a

825
00:44:13,680 --> 00:44:16,439
Speaker 3: raised entryway with a step down into the living room,

826
00:44:16,440 --> 00:44:17,279
Speaker 3: which I always like.

827
00:44:17,880 --> 00:44:18,000
Speaker 4: Uh.

828
00:44:18,239 --> 00:44:21,600
Speaker 3: And when Paul comes in, he now has a ring

829
00:44:21,680 --> 00:44:24,720
Speaker 3: top six pack of diet coke with only one can

830
00:44:24,840 --> 00:44:27,319
Speaker 3: hanging on the rings. Did you notice this? So that

831
00:44:27,440 --> 00:44:31,240
Speaker 3: implies to me that he stopped, possibly stole more money

832
00:44:31,680 --> 00:44:34,359
Speaker 3: to buy six diet cokes and drink five of them

833
00:44:34,360 --> 00:44:35,080
Speaker 3: on the way home.

834
00:44:35,920 --> 00:44:38,920
Speaker 2: Well possibly so oh, I do want to add one

835
00:44:38,920 --> 00:44:42,000
Speaker 2: little tidbit from the Jeffrey Byron extras on the disc.

836
00:44:42,239 --> 00:44:45,680
Speaker 2: This is Jeffrey Byron's actual apartment at the time end

837
00:44:45,719 --> 00:44:48,440
Speaker 2: of the film, like they that I love I love

838
00:44:48,440 --> 00:44:50,160
Speaker 2: it when they have those details like that's how like,

839
00:44:51,160 --> 00:44:54,040
Speaker 2: you know, kind of like Gorilla and low budget everything was,

840
00:44:54,360 --> 00:44:55,920
Speaker 2: you know, it's like, what do we have to work

841
00:44:55,960 --> 00:44:58,960
Speaker 2: with here? We got those leftover Apocalypse cars and do

842
00:44:59,000 --> 00:45:01,719
Speaker 2: we have an apartment? Can we just shoot at your apartment? Yes?

843
00:45:01,800 --> 00:45:02,719
Speaker 2: Absolutely we can.

844
00:45:03,160 --> 00:45:06,040
Speaker 3: This is Jeffrey Byron's real empty wallet. This is Jeffrey

845
00:45:06,040 --> 00:45:09,200
Speaker 3: Byron's real computers spitting out realms.

846
00:45:08,800 --> 00:45:10,120
Speaker 2: Of whatever it maybe.

847
00:45:10,239 --> 00:45:13,320
Speaker 3: Yeah, anyway, he pops the last diet coke and drinks

848
00:45:13,320 --> 00:45:16,680
Speaker 3: it while talking to Cal. They're talking about I think

849
00:45:16,719 --> 00:45:19,600
Speaker 3: this is the part where Cal's like, bank account overdrawn

850
00:45:19,719 --> 00:45:20,640
Speaker 3: twenty dollars.

851
00:45:20,760 --> 00:45:22,120
Speaker 2: That's right, that's what it was.

852
00:45:22,480 --> 00:45:25,319
Speaker 3: Yeah, yeah, And then Gwenn comes home. She comes home

853
00:45:25,320 --> 00:45:29,080
Speaker 3: with groceries, talking about how she bought swordfish steaks, and

854
00:45:29,560 --> 00:45:34,120
Speaker 3: he's like, Gwen, let's get married. But there is a

855
00:45:34,120 --> 00:45:38,360
Speaker 3: point of friction in the relationship, which is Paul's other relationship,

856
00:45:38,440 --> 00:45:42,040
Speaker 3: the one with Cal and Gwinn is like, Paul, I

857
00:45:42,080 --> 00:45:44,879
Speaker 3: am not going to marry you until we work out

858
00:45:44,920 --> 00:45:48,200
Speaker 3: where I stand relative to that computer, and this is

859
00:45:48,239 --> 00:45:50,680
Speaker 3: the part where she mentions quickly that he had that

860
00:45:50,800 --> 00:45:54,440
Speaker 3: experiment done to him, which is what linked Cal to

861
00:45:54,520 --> 00:45:55,000
Speaker 3: his brain.

862
00:45:55,120 --> 00:45:58,040
Speaker 2: I guess, I guess, so yeah yeah, but.

863
00:45:58,040 --> 00:46:01,320
Speaker 3: Again no details given up that it's just a vague,

864
00:46:01,480 --> 00:46:02,640
Speaker 3: vague sort of suggestion.

865
00:46:02,920 --> 00:46:04,440
Speaker 2: It's still a red flat for sure.

866
00:46:04,760 --> 00:46:08,359
Speaker 3: Yes, So Paul cooks dinner for them. Apparently he did

867
00:46:08,400 --> 00:46:10,600
Speaker 3: a very nice job cooking dinner. She's like, hmm, that

868
00:46:10,719 --> 00:46:13,200
Speaker 3: was so good. But then he blows it by being like,

869
00:46:13,360 --> 00:46:17,319
Speaker 3: oh yeah, Cal found this great recipe for me to use. Uh,

870
00:46:17,560 --> 00:46:21,440
Speaker 3: And she's just exasperated by this, and then he offered

871
00:46:21,480 --> 00:46:23,960
Speaker 3: He's like, how about some dessert and pulls out a

872
00:46:24,000 --> 00:46:27,120
Speaker 3: box and it's got an engagement ring in it, and

873
00:46:27,239 --> 00:46:30,439
Speaker 3: Gwynn says, you know, Paul, I love you, but I'm

874
00:46:30,480 --> 00:46:32,960
Speaker 3: still not ready for this. You're just too obsessed with

875
00:46:33,120 --> 00:46:35,320
Speaker 3: this computer. You got to you gotta do something different.

876
00:46:35,920 --> 00:46:39,040
Speaker 3: Paul has a great response to this. He tries to

877
00:46:39,120 --> 00:46:42,080
Speaker 3: convince Gwnn that she should marry him because Cal said

878
00:46:42,080 --> 00:46:44,640
Speaker 3: it was a good idea. So he like sits her

879
00:46:44,680 --> 00:46:47,000
Speaker 3: down in front of the computer and like inputs. He's

880
00:46:47,080 --> 00:46:50,200
Speaker 3: you know, do doo, dude, Like inputting things on the keyboard,

881
00:46:50,640 --> 00:46:54,840
Speaker 3: and uh, says Cal, tell me the probability of success if, like,

882
00:46:55,360 --> 00:46:57,759
Speaker 3: you know, a woman like this marries a man like this,

883
00:46:57,920 --> 00:47:03,840
Speaker 3: And Cal says, probable outcome sex sass, and she looks annoyed.

884
00:47:04,360 --> 00:47:06,520
Speaker 2: Yeah, come on, Paul, get it together.

885
00:47:06,920 --> 00:47:09,280
Speaker 3: Anyway, they go to bed. They sleep on the sleeping

886
00:47:09,320 --> 00:47:11,279
Speaker 3: on a fold out couch in the living room of

887
00:47:11,320 --> 00:47:13,600
Speaker 3: the apartment. So I don't know if Jeffrey Byron's apartment

888
00:47:13,600 --> 00:47:16,520
Speaker 3: here had a bedroom, but uh, that's where they are.

889
00:47:16,920 --> 00:47:20,680
Speaker 3: And then we see through Paul's glasses. They're like sitting

890
00:47:20,719 --> 00:47:23,319
Speaker 3: it's a framed shot. The glasses are sitting on a

891
00:47:23,360 --> 00:47:26,040
Speaker 3: table and we're looking through the lenses, and in the

892
00:47:26,120 --> 00:47:31,320
Speaker 3: lenses we see these jets of green fire lut rising

893
00:47:31,440 --> 00:47:34,279
Speaker 3: up and it's like, oh, something magical is happening. And

894
00:47:34,320 --> 00:47:37,920
Speaker 3: it's happening sort of through the augmented reality interface of

895
00:47:38,000 --> 00:47:43,080
Speaker 3: his computer enhanced glasses, and this takes them into some

896
00:47:43,400 --> 00:47:47,200
Speaker 3: other dream. We see Jeffrey Byron wake up in a

897
00:47:47,239 --> 00:47:51,520
Speaker 3: dream world and he's wearing a different outfit immediately, so

898
00:47:51,600 --> 00:47:54,480
Speaker 3: this is not just his pajamas. He is like in

899
00:47:54,719 --> 00:47:58,200
Speaker 3: sleeveless black tights and they are covered by what I

900
00:47:58,200 --> 00:48:00,759
Speaker 3: think is supposed to be armor, but it is this

901
00:48:00,960 --> 00:48:05,560
Speaker 3: very goofy looking padded gray thing with bulky wristwarmers, one

902
00:48:05,560 --> 00:48:07,400
Speaker 3: of which has computer stuff in it.

903
00:48:08,040 --> 00:48:10,160
Speaker 2: Yeah. I mean it's goofy. I won't argue against that,

904
00:48:10,320 --> 00:48:13,799
Speaker 2: but when you consider how goofy a costume like this

905
00:48:13,920 --> 00:48:16,759
Speaker 2: could be in a picture of this caliber, I feel

906
00:48:16,800 --> 00:48:19,600
Speaker 2: like we got to cut it some slack. Plus they

907
00:48:19,640 --> 00:48:21,440
Speaker 2: do kind of make fun of it later on, so

908
00:48:21,480 --> 00:48:24,360
Speaker 2: I think it's supposed to be a little outrageous, you know,

909
00:48:26,280 --> 00:48:28,680
Speaker 2: and particularly in the slasher segment where he's like running

910
00:48:28,719 --> 00:48:31,560
Speaker 2: around and countering, you know, police officers, and they're kind

911
00:48:31,560 --> 00:48:32,600
Speaker 2: of like, what are you wearing here?

912
00:48:33,160 --> 00:48:36,920
Speaker 3: Yeah? Yeah, yeah, the police officers who don't like jelly donut,

913
00:48:37,120 --> 00:48:40,760
Speaker 3: that's right. Yeah. So Paul wakes up dressed in this stuff.

914
00:48:41,000 --> 00:48:44,560
Speaker 3: He's in this outdoor landscape, green, lush forest, and he

915
00:48:44,600 --> 00:48:48,440
Speaker 3: starts walking around and he comes to a waterfall where

916
00:48:48,560 --> 00:48:52,920
Speaker 3: a dream world version of Gwynn. So doing better? Now,

917
00:48:53,040 --> 00:48:56,840
Speaker 3: now this is your real girlfriend in the dream. He

918
00:48:56,920 --> 00:49:00,759
Speaker 3: comes to a waterfall where a dream world version of

919
00:49:00,880 --> 00:49:03,719
Speaker 3: gwyn So she's like very different looking. She's sort of

920
00:49:03,800 --> 00:49:07,640
Speaker 3: dressed in a sparkly fairy tale outfit. She's got this,

921
00:49:08,200 --> 00:49:11,320
Speaker 3: you know, very elaborate makeup on, and she's like swimming

922
00:49:11,360 --> 00:49:14,600
Speaker 3: around under the falls and he tries to call out

923
00:49:14,640 --> 00:49:17,239
Speaker 3: to her, but she can't hear him. And then he

924
00:49:17,360 --> 00:49:21,200
Speaker 3: starts melting and his skin is blistering and sloughing off,

925
00:49:21,600 --> 00:49:25,400
Speaker 3: and he starts banging against an invisible barrier in the

926
00:49:25,440 --> 00:49:29,080
Speaker 3: air between him and gwyn which in alternate shots is

927
00:49:29,080 --> 00:49:31,799
Speaker 3: represented as a rock wall, so like he can't reach

928
00:49:31,840 --> 00:49:34,680
Speaker 3: her and he's melting. Then he wakes up back in

929
00:49:34,719 --> 00:49:39,000
Speaker 3: his apartment and Gwinn isn't there. Then he turns blue

930
00:49:39,120 --> 00:49:42,040
Speaker 3: and gets zapped to somewhere else. So this is kind

931
00:49:42,040 --> 00:49:45,960
Speaker 3: of convoluted, going back and forth these different places, and

932
00:49:46,160 --> 00:49:49,920
Speaker 3: somewhere else he goes is a location we will return

933
00:49:50,000 --> 00:49:52,680
Speaker 3: to between each of the challenges we see in the movie.

934
00:49:52,680 --> 00:49:57,320
Speaker 3: It's kind of this desert landscape. It's like a big, craggy, dry,

935
00:49:57,440 --> 00:50:01,239
Speaker 3: desiccated mud flat in the nighttime, and it's illuminated by

936
00:50:01,280 --> 00:50:04,640
Speaker 3: these standing jets of fire like we saw reflected in

937
00:50:04,680 --> 00:50:09,000
Speaker 3: the classes earlier. Gwenn is here. She is chained up

938
00:50:09,040 --> 00:50:12,080
Speaker 3: to a rock in her underwear, yelling at Paul for help,

939
00:50:12,520 --> 00:50:15,560
Speaker 3: and Paul is like, Okay, let's try to figure out

940
00:50:15,560 --> 00:50:20,600
Speaker 3: what's happening here, and Gwenn replies, Paul, these are real chains.

941
00:50:21,480 --> 00:50:24,040
Speaker 2: All right. So at this point, like they're in a

942
00:50:24,040 --> 00:50:27,400
Speaker 2: shared dream state. I guess, like the conjoined dreaming is

943
00:50:27,440 --> 00:50:30,320
Speaker 2: taking place. Yes, but then it's like it's very heightened

944
00:50:30,560 --> 00:50:34,000
Speaker 2: and they do not have complete control. They're definitely not lucid.

945
00:50:33,719 --> 00:50:37,279
Speaker 3: Here, right, right, So they're trying to figure out what's

946
00:50:37,320 --> 00:50:39,560
Speaker 3: going on. Gwenn and Sis the chains are real, and

947
00:50:39,600 --> 00:50:43,200
Speaker 3: then uh oh, here comes the big bad. The movie

948
00:50:43,280 --> 00:50:48,520
Speaker 3: really starts to cook when Mistema appears. So Mistema is

949
00:50:48,800 --> 00:50:51,400
Speaker 3: Richard mal dressed like Dracula.

950
00:50:51,520 --> 00:50:53,919
Speaker 2: I guess, yeah, yeah, they even added to little Widow's peak.

951
00:50:54,040 --> 00:50:54,600
Speaker 2: I noticed that.

952
00:50:54,840 --> 00:50:57,920
Speaker 3: Yeah. So he's got the long hair, he's got the big,

953
00:50:57,960 --> 00:51:01,560
Speaker 3: big collar, pointy collar, some frilly stuff inside the collar,

954
00:51:02,080 --> 00:51:04,680
Speaker 3: and he's just looking very severe. I think they also

955
00:51:04,719 --> 00:51:07,680
Speaker 3: put some contacts in his eyes to make the pupils

956
00:51:07,760 --> 00:51:09,320
Speaker 3: or irises kind of gleaming.

957
00:51:10,080 --> 00:51:10,759
Speaker 2: I think you're right.

958
00:51:11,440 --> 00:51:15,600
Speaker 3: Anyway. What Mistema does first is he zaps Gwen with

959
00:51:15,800 --> 00:51:20,280
Speaker 3: a laser from his eyes, and this magically changes Gwen's outfit.

960
00:51:20,440 --> 00:51:24,120
Speaker 3: It changes her into some kind of ancient gown. I

961
00:51:24,160 --> 00:51:26,480
Speaker 3: don't know what you'd call this outfit, but she looks

962
00:51:26,520 --> 00:51:28,719
Speaker 3: kind of like a like a princess in a movie

963
00:51:28,760 --> 00:51:29,720
Speaker 3: about ancient Greece.

964
00:51:30,000 --> 00:51:31,480
Speaker 2: Yeah, like she's supposed to be in a sword and

965
00:51:31,560 --> 00:51:32,560
Speaker 2: sandals kind of a deal.

966
00:51:32,640 --> 00:51:36,759
Speaker 3: Yeah, yeah, Yeah. And then Mistema also zaps Paul and

967
00:51:36,960 --> 00:51:43,600
Speaker 3: changes him back from his pajamas into the costume he

968
00:51:43,680 --> 00:51:46,080
Speaker 3: was wearing a minute ago with the gray padded parts.

969
00:51:46,160 --> 00:51:49,000
Speaker 3: So did we really need the first dream segment? I

970
00:51:49,000 --> 00:51:50,759
Speaker 3: don't know. There was a lot of back and forth

971
00:51:50,800 --> 00:51:53,040
Speaker 3: there that just kind of gets canceled out.

972
00:51:53,239 --> 00:51:55,040
Speaker 2: Yeah, they're just kind of creating a lot of extra

973
00:51:55,160 --> 00:51:57,240
Speaker 2: work here for Kathy Clark.

974
00:51:57,880 --> 00:52:01,080
Speaker 3: Yeah. So anyway, the first thing our new villain says

975
00:52:01,160 --> 00:52:06,520
Speaker 3: is you are a worthy opponent for Misteema. So we

976
00:52:06,600 --> 00:52:10,480
Speaker 3: get some of the basic implication of why the villain

977
00:52:10,520 --> 00:52:14,400
Speaker 3: has showed up here. He is impressed by something about Paul.

978
00:52:14,640 --> 00:52:17,920
Speaker 3: He thinks he thinks Paul is strong, Paul is powerful,

979
00:52:18,000 --> 00:52:21,840
Speaker 3: and Paul is a challenge for him. So he says

980
00:52:22,120 --> 00:52:25,320
Speaker 3: to Paul, now you have all power centered on you.

981
00:52:25,320 --> 00:52:30,239
Speaker 3: You may call upon your machines, your magic machines, and

982
00:52:30,280 --> 00:52:32,000
Speaker 3: then he commands that Paul neil.

983
00:52:32,440 --> 00:52:35,000
Speaker 2: All right, all right, So different ways of looking at this,

984
00:52:35,239 --> 00:52:37,680
Speaker 2: Like Paul is either like he's either so good with

985
00:52:37,719 --> 00:52:39,719
Speaker 2: computers that he's attracted the eye or of the Lord

986
00:52:39,760 --> 00:52:44,040
Speaker 2: of Darkness. Either either he's ahead of all the Silicon

987
00:52:44,160 --> 00:52:47,920
Speaker 2: Valley guys working at the time, or Mastema has previously

988
00:52:48,040 --> 00:52:52,600
Speaker 2: challenged and defeated the likes of Steve Wosniak in dream combat,

989
00:52:52,840 --> 00:52:55,560
Speaker 2: or going back to the android thing, like yeah, like

990
00:52:55,600 --> 00:52:59,640
Speaker 2: Steve Wozniak is not an android, Paul is. Paul is

991
00:52:59,719 --> 00:53:02,759
Speaker 2: like literally something special that could attract the ire of

992
00:53:02,800 --> 00:53:03,240
Speaker 2: a demon.

993
00:53:03,600 --> 00:53:06,560
Speaker 3: Well maybe he is, okay, so here's here's the next thing.

994
00:53:06,800 --> 00:53:10,560
Speaker 3: So Paul does neil when Mistema commands him, and then

995
00:53:10,600 --> 00:53:14,440
Speaker 3: Mistema zaps a sword into existence in his hand. He

996
00:53:14,719 --> 00:53:18,160
Speaker 3: raises his arms and he screams by the power of

997
00:53:18,200 --> 00:53:23,040
Speaker 3: the Prince of Darkness, and then he you know, does

998
00:53:23,080 --> 00:53:26,120
Speaker 3: the nighting thing to Paul, and he says, I dub

999
00:53:26,239 --> 00:53:30,440
Speaker 3: the ex calibrate, which is spelled with an eight for

1000
00:53:30,520 --> 00:53:35,040
Speaker 3: the eight part, So X calibrate. It's like excalibre and

1001
00:53:35,160 --> 00:53:40,360
Speaker 3: calibrate And what did in your mind, Rob, what did

1002
00:53:40,719 --> 00:53:45,399
Speaker 3: X calibrate refer to did it refer to exclusively the

1003
00:53:45,520 --> 00:53:49,279
Speaker 3: computer or did it refer to Paul or did it

1004
00:53:49,320 --> 00:53:54,560
Speaker 3: refer to the composite team of Paul and the computer.

1005
00:53:55,239 --> 00:53:57,759
Speaker 2: I guess it's the composite that's That's the best I

1006
00:53:57,800 --> 00:54:00,120
Speaker 2: can think of. And with the other caveat that, it's

1007
00:54:00,160 --> 00:54:03,200
Speaker 2: probably just a situation where it sounded cool. But if

1008
00:54:03,239 --> 00:54:05,920
Speaker 2: I'm being generous, I guess it's supposed to be this

1009
00:54:06,280 --> 00:54:07,520
Speaker 2: composite individual.

1010
00:54:08,160 --> 00:54:12,120
Speaker 3: Okay, Well, after this Cal, which is still the computer,

1011
00:54:12,360 --> 00:54:15,520
Speaker 3: maybe now excalibrate or maybe Cal is just part of excalibrate.

1012
00:54:15,600 --> 00:54:18,680
Speaker 3: Whatever Cal is inside Paul's wristwarmer. So he's got a

1013
00:54:18,719 --> 00:54:20,839
Speaker 3: little pit boy, you know, thing on his wrist that's

1014
00:54:20,880 --> 00:54:24,640
Speaker 3: a computer screen. And Cal starts talking and doing like

1015
00:54:24,719 --> 00:54:28,400
Speaker 3: a green text on a black screen readout which says

1016
00:54:28,719 --> 00:54:35,640
Speaker 3: it says like Misteema equals Beelzebub, Belile Satan, and Mistema

1017
00:54:35,680 --> 00:54:39,560
Speaker 3: thinks this is hilarious. He praises Paul's magic powers. Paul

1018
00:54:39,760 --> 00:54:42,960
Speaker 3: tries to explain that it's not magic, it's technology, but

1019
00:54:43,440 --> 00:54:55,800
Speaker 3: Mistema is not hearing any of this. So Mistema explains

1020
00:54:55,840 --> 00:54:58,759
Speaker 3: he's been searching for a worthy magical opponent for centuries.

1021
00:54:59,040 --> 00:55:01,839
Speaker 3: Finally he found in Paul. I do wonder how did

1022
00:55:01,840 --> 00:55:05,799
Speaker 3: he become aware of Paul. I don't know. But he

1023
00:55:05,960 --> 00:55:08,400
Speaker 3: explains that Paul must face, with the help of his

1024
00:55:08,520 --> 00:55:12,359
Speaker 3: risk computer, seven challenges, and if he fails even one

1025
00:55:12,400 --> 00:55:16,000
Speaker 3: of them, Mistima will devour both of their souls, his

1026
00:55:16,239 --> 00:55:19,520
Speaker 3: and Gwinn's. And Gwynn is like Paul, I think he

1027
00:55:19,640 --> 00:55:20,960
Speaker 3: means business.

1028
00:55:21,480 --> 00:55:24,040
Speaker 2: All right. Well, now the challenge has been laid out,

1029
00:55:24,640 --> 00:55:27,960
Speaker 2: Paul has no choice but to accept. And this is

1030
00:55:28,000 --> 00:55:30,680
Speaker 2: where we start getting into the challenges again, each one

1031
00:55:31,239 --> 00:55:34,680
Speaker 2: directed by a different director. Charles Band is going to

1032
00:55:34,719 --> 00:55:39,120
Speaker 2: direct one. Charles Band directed the Connective Tissue. And I

1033
00:55:39,200 --> 00:55:41,799
Speaker 2: also want to add that when you look at the

1034
00:55:41,840 --> 00:55:46,400
Speaker 2: directorial credits for this picture, there's also a guy by

1035
00:55:46,440 --> 00:55:49,040
Speaker 2: the name of Michael Karp born nineteen fifty nine who

1036
00:55:49,200 --> 00:55:53,080
Speaker 2: just directed additional scenes, so he's in there somewhere as well.

1037
00:55:53,320 --> 00:55:56,840
Speaker 3: Okay, Now, as we said before, the order of the

1038
00:55:56,960 --> 00:55:59,759
Speaker 3: challenges is different depending on which cut you're watching, So

1039
00:55:59,800 --> 00:56:01,160
Speaker 3: I think think we're going to talk about them in

1040
00:56:01,200 --> 00:56:03,719
Speaker 3: the order they are presented in the Rage War cut

1041
00:56:03,800 --> 00:56:07,680
Speaker 3: the extended version. So the first challenge in that is

1042
00:56:07,719 --> 00:56:11,080
Speaker 3: the one known as Ice Gallery, written and directed by

1043
00:56:11,320 --> 00:56:12,360
Speaker 3: Rose Marie Turco.

1044
00:56:13,040 --> 00:56:16,480
Speaker 2: Yeah, writer director. I don't believe her birthday. To his

1045
00:56:16,560 --> 00:56:19,880
Speaker 2: public record, she only has a couple of credits on IMDb,

1046
00:56:20,160 --> 00:56:24,320
Speaker 2: this and the nineteen eighty three drama Scarred, which she

1047
00:56:24,400 --> 00:56:26,960
Speaker 2: also wrote and directed. So yeah, I'm not a lot

1048
00:56:27,000 --> 00:56:28,560
Speaker 2: known about her, but this is her work.

1049
00:56:29,080 --> 00:56:33,960
Speaker 3: So in this challenge, Masteema teleports Paul somewhere else so

1050
00:56:34,000 --> 00:56:36,319
Speaker 3: that he ends up like falling down a tunnel and

1051
00:56:36,360 --> 00:56:40,920
Speaker 3: he emerges into a frosty cavern filled with frozen characters.

1052
00:56:41,040 --> 00:56:44,680
Speaker 3: It's like if there were a horror movie wax museum

1053
00:56:45,280 --> 00:56:48,799
Speaker 3: inside the Wampa Cave on Hawth. So there is a

1054
00:56:49,040 --> 00:56:52,200
Speaker 3: sexy werewolf man kind of like, you know, an open

1055
00:56:52,239 --> 00:56:55,879
Speaker 3: button shirt with you know, a good physique, but he's

1056
00:56:55,920 --> 00:56:58,000
Speaker 3: got a were wolf head. He's sort of a white wolf,

1057
00:56:58,080 --> 00:57:02,080
Speaker 3: you know, he's a very cold, frosty looking werewolf. There

1058
00:57:02,080 --> 00:57:06,000
Speaker 3: are also zombies, and then in the background there's some

1059
00:57:06,840 --> 00:57:10,560
Speaker 3: stuff of questionable cultural sensitivity, like there is a witch

1060
00:57:10,600 --> 00:57:14,120
Speaker 3: doctor type character with a bone through his nose. There

1061
00:57:14,200 --> 00:57:16,560
Speaker 3: is also a wax figure of a guy in a

1062
00:57:16,680 --> 00:57:21,160
Speaker 3: Victorian era top hat with a fluffy red Cravat, and

1063
00:57:21,520 --> 00:57:24,320
Speaker 3: Paul and Gwynn are both here. They're both here in

1064
00:57:24,400 --> 00:57:27,520
Speaker 3: the icy cave full of wax figures, and they're wandering

1065
00:57:27,520 --> 00:57:29,640
Speaker 3: around calling out to one another, but they can't find

1066
00:57:29,680 --> 00:57:34,200
Speaker 3: each other. And Paul says, looks like Mestima's private art gallery.

1067
00:57:34,720 --> 00:57:37,720
Speaker 3: And then Paul wipes the snow off of a plaque

1068
00:57:37,800 --> 00:57:40,600
Speaker 3: underneath the top hat guy and discovers that he has

1069
00:57:40,720 --> 00:57:44,520
Speaker 3: labeled Jack the Ripper. So I guess the mystery is solved.

1070
00:57:44,520 --> 00:57:48,200
Speaker 2: It was him. So at this point I was just

1071
00:57:48,200 --> 00:57:50,000
Speaker 2: trying to figure out, like what's the theme here? Like

1072
00:57:50,400 --> 00:57:52,560
Speaker 2: why are all these individuals here? Is it? Like, okay,

1073
00:57:52,920 --> 00:57:57,040
Speaker 2: history's greatest monsters, like a wax museum, you know, Hall

1074
00:57:57,160 --> 00:57:59,720
Speaker 2: of Killers and so forth, Here's the werewolf, here's Jack

1075
00:57:59,720 --> 00:58:03,000
Speaker 2: the Ripper. But then it takes some other interesting directions.

1076
00:58:03,320 --> 00:58:05,640
Speaker 3: Yeah, yeah, okay, so monster, I mean, Jack the Ripper

1077
00:58:05,720 --> 00:58:08,520
Speaker 3: was like a real person and the werewolf is a

1078
00:58:08,560 --> 00:58:11,160
Speaker 3: is a fictional monster. But okay, so you know whatever.

1079
00:58:11,600 --> 00:58:16,000
Speaker 3: But then Gwinn comes across a frozen Albert Einstein. Not

1080
00:58:16,240 --> 00:58:19,720
Speaker 3: just Albert Einstein standing there like the others, he is

1081
00:58:19,800 --> 00:58:24,080
Speaker 3: sitting on a throne of ice, cradling a big pointy

1082
00:58:24,240 --> 00:58:28,040
Speaker 3: cluster of crystals, like he's, you know, a wizard examining

1083
00:58:28,040 --> 00:58:32,160
Speaker 3: a palanteer, and Gwinn says, oh my god, that s Einstein.

1084
00:58:34,480 --> 00:58:36,280
Speaker 2: Yeah, why is he here? I don't know, you know,

1085
00:58:36,360 --> 00:58:38,840
Speaker 2: he was you know, he's no saint, but I don't

1086
00:58:38,880 --> 00:58:40,960
Speaker 2: know if he's really like belongs in there with a

1087
00:58:40,960 --> 00:58:44,160
Speaker 2: werewolf and Jack the Ripper. But okay, okay, movie, let's

1088
00:58:44,160 --> 00:58:44,680
Speaker 2: go with it.

1089
00:58:44,800 --> 00:58:48,400
Speaker 3: Gwinn says, there's bloody Mary. How does how does windo

1090
00:58:48,560 --> 00:58:53,080
Speaker 3: bloody Mary? By sight? They also identify Louis the sixteenth

1091
00:58:53,120 --> 00:58:56,240
Speaker 3: with his head in a guillotine, and then Paul says,

1092
00:58:56,400 --> 00:58:59,960
Speaker 3: looks like every criminal in the world is here again

1093
00:59:00,000 --> 00:59:01,840
Speaker 3: and the werewolf Einstein.

1094
00:59:03,520 --> 00:59:05,480
Speaker 2: Hi, I mean the case can be made. The case

1095
00:59:05,520 --> 00:59:06,000
Speaker 2: can be made.

1096
00:59:06,440 --> 00:59:09,000
Speaker 3: The samurai over there is a criminal for some reason?

1097
00:59:09,160 --> 00:59:09,760
Speaker 3: What did he do?

1098
00:59:10,640 --> 00:59:11,680
Speaker 2: He's a ronan, I guess.

1099
00:59:12,200 --> 00:59:16,400
Speaker 3: Okay, So Gwen then starts freezing solid, yelling out for

1100
00:59:16,480 --> 00:59:19,720
Speaker 3: help while Paul sinks under the floor and disappears, and

1101
00:59:19,760 --> 00:59:23,960
Speaker 3: then Mistema is like, you know, Gwenn's saying, I'm freezing.

1102
00:59:24,000 --> 00:59:27,000
Speaker 3: I can't move my legs, and then Mistema's voice over

1103
00:59:27,040 --> 00:59:29,960
Speaker 3: comes in and says, shall I warm you up? And

1104
00:59:30,000 --> 00:59:33,280
Speaker 3: then the lights turn red and she thaws out. She

1105
00:59:33,400 --> 00:59:36,880
Speaker 3: thaws out, but so does everybody else, and Jack the

1106
00:59:36,960 --> 00:59:39,760
Speaker 3: Ripper comes alive, and the werewolf comes alive. They're all

1107
00:59:40,040 --> 00:59:43,560
Speaker 3: now menacing, and Jack the Ripper grabs Gwen and starts,

1108
00:59:43,720 --> 00:59:45,880
Speaker 3: you know, holding out a knife like he's gonna like

1109
00:59:45,920 --> 00:59:48,520
Speaker 3: he's gonna get her. But then Paul comes to the rescue.

1110
00:59:48,600 --> 00:59:50,440
Speaker 3: Like first he sank under the floor, but then he

1111
00:59:50,520 --> 00:59:55,000
Speaker 3: crawls out of a tunnel. He a samurai tries to

1112
00:59:55,040 --> 00:59:58,800
Speaker 3: attack Paul, but he defeats the samurai by I think

1113
00:59:58,880 --> 01:00:03,640
Speaker 3: pressing some buttons on is wristwarmer, which like electrifies the samurai.

1114
01:00:03,800 --> 01:00:06,280
Speaker 3: And then the samurai you know, gets hit with a laser,

1115
01:00:06,320 --> 01:00:09,840
Speaker 3: gets electrified and falls over. And then Paul runs and

1116
01:00:09,960 --> 01:00:12,840
Speaker 3: hits Jack the Ripper with a rock, and then they

1117
01:00:12,880 --> 01:00:15,800
Speaker 3: figure out the solution to the puzzle. They have to

1118
01:00:15,920 --> 01:00:19,440
Speaker 3: use Einstein's ice crystal as a grenade in order to

1119
01:00:19,520 --> 01:00:23,680
Speaker 3: defeat the monsters, the criminals, and the random dudes. Challenge

1120
01:00:23,760 --> 01:00:24,640
Speaker 3: number one bested.

1121
01:00:25,400 --> 01:00:27,080
Speaker 2: All right, all right, it is a pretty fun one.

1122
01:00:27,200 --> 01:00:29,560
Speaker 2: I think it's a good one to kick things off.

1123
01:00:29,560 --> 01:00:31,360
Speaker 2: In this cut of the film agreed.

1124
01:00:31,440 --> 01:00:33,560
Speaker 3: As with many of the ones that will follow, there

1125
01:00:33,600 --> 01:00:35,240
Speaker 3: are things that don't make a lot of sense, but

1126
01:00:35,960 --> 01:00:38,640
Speaker 3: as you know, it was a fun ride. So Paul

1127
01:00:38,920 --> 01:00:41,640
Speaker 3: wakes back up in the holding area again this is

1128
01:00:41,680 --> 01:00:45,960
Speaker 3: like the craggy desert arena, and you know, Mistema is impressed.

1129
01:00:46,000 --> 01:00:50,000
Speaker 3: He's like, your performance was quite good. Ex calibrate and

1130
01:00:50,040 --> 01:00:54,600
Speaker 3: then Paul asks where Gwynn is and Misstema says trust me,

1131
01:00:55,640 --> 01:01:01,040
Speaker 3: and Paul says, yeah, well I don't think so, Mistema good,

1132
01:01:01,080 --> 01:01:03,920
Speaker 3: comeback all right. So then we were on to challenge

1133
01:01:04,000 --> 01:01:06,640
Speaker 3: number two. This is the one called Demons of the Dead,

1134
01:01:06,720 --> 01:01:08,440
Speaker 3: directed by John Carl Beekler.

1135
01:01:08,960 --> 01:01:13,720
Speaker 2: That's right, John Carl Beekler born nineteen fifty two died

1136
01:01:13,760 --> 01:01:18,280
Speaker 2: twenty nineteen. Legendary practical effects and makeup master that we've

1137
01:01:18,280 --> 01:01:23,000
Speaker 2: talked about on the show previously, I think specifically in

1138
01:01:23,040 --> 01:01:27,120
Speaker 2: our episodes on Arena, the Eliminators and Terror Vision. He

1139
01:01:27,160 --> 01:01:30,200
Speaker 2: worked on a number of cult classic horror films, including

1140
01:01:30,240 --> 01:01:34,120
Speaker 2: eighty five's re Animator, eighty six is from Beyond Just

1141
01:01:34,160 --> 01:01:36,200
Speaker 2: a master of flesh and blood, this guy. He also

1142
01:01:36,240 --> 01:01:39,280
Speaker 2: had a great career as a director, helming eighty six

1143
01:01:39,360 --> 01:01:43,360
Speaker 2: as Troll eighty seven, Cellar Dweller, Friday the Thirteenth, The

1144
01:01:43,400 --> 01:01:47,360
Speaker 2: New Blood, and nineteen nineties Goolies Go to College, just

1145
01:01:47,360 --> 01:01:48,200
Speaker 2: to name a few there.

1146
01:01:48,600 --> 01:01:53,080
Speaker 3: His Friday the Thirteenth movie is often considered a fan favorite.

1147
01:01:53,200 --> 01:01:56,320
Speaker 3: It's the one where Jason faces off against the girl

1148
01:01:56,320 --> 01:01:57,240
Speaker 3: with telekinesis.

1149
01:01:57,280 --> 01:01:59,400
Speaker 2: Oh, God, that one's great. I love that one. So

1150
01:02:00,040 --> 01:02:03,720
Speaker 2: they'd say that's the that's the shining jewel. Great effects

1151
01:02:03,720 --> 01:02:05,800
Speaker 2: in that one. And that's the thing about Beekler. And

1152
01:02:05,880 --> 01:02:08,240
Speaker 2: that's the thing about this segment is like you can

1153
01:02:08,280 --> 01:02:10,240
Speaker 2: tell he went all at it. This was his first

1154
01:02:11,120 --> 01:02:15,280
Speaker 2: directorial effort, I believe. And also he did all the

1155
01:02:15,320 --> 01:02:18,480
Speaker 2: special effects, so he's really throwing everything at the board here,

1156
01:02:18,600 --> 01:02:21,400
Speaker 2: like limited runtime, limited resources, but he makes the most

1157
01:02:21,400 --> 01:02:22,360
Speaker 2: out of it, right.

1158
01:02:22,400 --> 01:02:25,240
Speaker 3: So Paul awakes in a cave full of cobwebs and

1159
01:02:25,280 --> 01:02:29,520
Speaker 3: pink lights, and then these zombie warriors start shambling out

1160
01:02:29,560 --> 01:02:34,800
Speaker 3: and attacking him. The zombies in this sequence look really great.

1161
01:02:34,840 --> 01:02:37,560
Speaker 3: They've got these sort of like sunken dark eyes and

1162
01:02:37,800 --> 01:02:41,680
Speaker 3: they look really just evil. They're excellent design.

1163
01:02:42,160 --> 01:02:44,240
Speaker 2: Yeah, this is my favorite of the challenges. I love

1164
01:02:44,240 --> 01:02:48,760
Speaker 2: the vibrant color. I like this nightmare world of zombies,

1165
01:02:48,800 --> 01:02:53,000
Speaker 2: flesh caves, and ultimately imp kings. So it's really good.

1166
01:02:53,400 --> 01:02:56,360
Speaker 3: So Paul starts doing battle with these zombie warriors, but

1167
01:02:57,000 --> 01:02:59,240
Speaker 3: the problem is they return to life every time he

1168
01:02:59,280 --> 01:03:01,400
Speaker 3: defeats them. He's like beating him up, hitting him with

1169
01:03:01,400 --> 01:03:03,720
Speaker 3: swords and stuff, and so he can chop their heads off,

1170
01:03:03,760 --> 01:03:05,520
Speaker 3: but they just sort of get back up, pick up

1171
01:03:05,560 --> 01:03:09,320
Speaker 3: their heads and come at him again. So Paul runs away,

1172
01:03:09,680 --> 01:03:12,400
Speaker 3: but this was funny to me. Not far away. He

1173
01:03:12,480 --> 01:03:16,080
Speaker 3: runs like ten paces to the side and encounters a

1174
01:03:16,200 --> 01:03:20,280
Speaker 3: nasty little grimlin king sitting on a tiny throne, which

1175
01:03:20,360 --> 01:03:25,520
Speaker 3: introduces itself as rat Spit, caretaker of the dead. This

1176
01:03:26,280 --> 01:03:27,680
Speaker 3: what do you want to say about the design of

1177
01:03:27,800 --> 01:03:28,960
Speaker 3: rat Spit, rob.

1178
01:03:29,040 --> 01:03:34,760
Speaker 2: Oh, I mean big gromblin energy. Here Beekler is credited

1179
01:03:34,800 --> 01:03:37,880
Speaker 2: as playing rat Spit, so I assume he's the puppeteer

1180
01:03:38,120 --> 01:03:41,280
Speaker 2: because it's an obvious puppet. I guess he's the voice actor.

1181
01:03:41,640 --> 01:03:44,040
Speaker 2: It's a little rough around the edges, but in all

1182
01:03:44,040 --> 01:03:46,400
Speaker 2: the right ways for a gromlin, you know, like I

1183
01:03:46,520 --> 01:03:48,959
Speaker 2: want it to look like an obvious puppet, Like that's

1184
01:03:49,040 --> 01:03:50,360
Speaker 2: part of the pleasure of the thing.

1185
01:03:50,680 --> 01:03:56,240
Speaker 3: Rat spit has a gold necklace, has these goat like horns,

1186
01:03:56,400 --> 01:03:59,400
Speaker 3: is like a nasty little devil. One side of his mouth,

1187
01:03:59,480 --> 01:04:03,000
Speaker 3: the upper lip is just like raised in a permanent sneer,

1188
01:04:04,040 --> 01:04:06,600
Speaker 3: and he is holding a scepter that looks to me

1189
01:04:06,800 --> 01:04:09,400
Speaker 3: kind of like a very elongated sweet potato.

1190
01:04:09,880 --> 01:04:11,880
Speaker 2: Yeah, he could easily be on the cover of a

1191
01:04:11,920 --> 01:04:15,960
Speaker 2: metal album. He's really awesome. Perhaps the band's name is Ratspit.

1192
01:04:16,240 --> 01:04:19,840
Speaker 3: Oh yeah, maybe so. Ratspit says he's the Caretaker of

1193
01:04:19,840 --> 01:04:23,880
Speaker 3: the Dead, and then Paul goes dead. This is a

1194
01:04:23,920 --> 01:04:26,480
Speaker 3: common Did you notice that a lot of the dialogue

1195
01:04:26,480 --> 01:04:28,960
Speaker 3: in the movie had this kind of pattern where, you know,

1196
01:04:29,080 --> 01:04:33,520
Speaker 3: a monster villain would would say something like, I'm Caretaker

1197
01:04:33,520 --> 01:04:36,000
Speaker 3: of the dead and the character just the other character

1198
01:04:36,040 --> 01:04:41,440
Speaker 3: responds dead, just sort of like please continue. Basically. Yeah.

1199
01:04:41,520 --> 01:04:44,760
Speaker 3: So Ratspit explains that Paul is here to be tested

1200
01:04:44,960 --> 01:04:49,240
Speaker 3: against that which every man must face death. So the

1201
01:04:49,360 --> 01:04:53,040
Speaker 3: zombie warriors attack again, and Paul first tries to survive

1202
01:04:53,120 --> 01:04:55,920
Speaker 3: by blasting the zombies with ex Calibrate. You know, he

1203
01:04:56,040 --> 01:04:59,080
Speaker 3: like presses a series of keys on his wrist thing

1204
01:04:59,120 --> 01:05:01,479
Speaker 3: and it zaps the with lasers, but that doesn't work.

1205
01:05:02,000 --> 01:05:04,400
Speaker 3: Then he comes up with a new plan, zap the

1206
01:05:04,520 --> 01:05:08,880
Speaker 3: crystal on Rat spits sweet Potato staff and that makes

1207
01:05:08,920 --> 01:05:13,040
Speaker 3: the zombies disappear. And then Paul, after this, is made

1208
01:05:13,080 --> 01:05:17,320
Speaker 3: to face a new challenge, a zombie version of himself.

1209
01:05:17,920 --> 01:05:20,280
Speaker 2: Oh and this one looks really good too, Yeah it does.

1210
01:05:20,320 --> 01:05:22,160
Speaker 3: It does look like Jeffrey Byron basically.

1211
01:05:22,280 --> 01:05:23,120
Speaker 2: Yeah.

1212
01:05:23,440 --> 01:05:27,880
Speaker 3: So Paul stares down zombie Paul. But then Zombie Paul disappears,

1213
01:05:28,320 --> 01:05:31,400
Speaker 3: and Ratspit is incredulous. He's like, how could you have

1214
01:05:31,480 --> 01:05:33,840
Speaker 3: defeated it? You know, this was your own destiny, but

1215
01:05:33,920 --> 01:05:37,240
Speaker 3: Paul says it is not his destiny. Then comes the

1216
01:05:37,280 --> 01:05:42,280
Speaker 3: most famous exchange in the movie. A voiceover of Misteema

1217
01:05:42,480 --> 01:05:46,840
Speaker 3: comes in and the voiceover Estema says, in a future reality,

1218
01:05:47,080 --> 01:05:51,600
Speaker 3: I shall destroy you, and Paul replies, I reject your

1219
01:05:51,680 --> 01:05:53,800
Speaker 3: reality and I substitute my own.

1220
01:05:54,880 --> 01:05:57,920
Speaker 2: Boom. Yeah, there you go. This is a This is

1221
01:05:57,920 --> 01:05:59,920
Speaker 2: a famous line from this film. I mean, you know,

1222
01:06:00,720 --> 01:06:03,640
Speaker 2: as famous as anything from The Dungeon Master is. And

1223
01:06:04,640 --> 01:06:06,840
Speaker 2: Jeffrey Byron talks a little bit about it on the

1224
01:06:07,080 --> 01:06:09,520
Speaker 2: extras on the Arrow Disc and he says that it's

1225
01:06:09,560 --> 01:06:12,240
Speaker 2: actually a line that's stuck with him, you know, throughout

1226
01:06:12,240 --> 01:06:14,280
Speaker 2: his life. And lines up with a lot of the

1227
01:06:14,320 --> 01:06:16,760
Speaker 2: ideas that he got into via the likes of Wayne

1228
01:06:16,840 --> 01:06:21,919
Speaker 2: Dyer manifesting and so forth. So I think that's fair.

1229
01:06:21,920 --> 01:06:25,000
Speaker 2: You know, the line is hokey and awesome on our

1230
01:06:25,080 --> 01:06:27,640
Speaker 2: side of the screen, but I can understand how like

1231
01:06:27,720 --> 01:06:32,200
Speaker 2: a long percolating line spoken by the actor, embodied by

1232
01:06:32,200 --> 01:06:35,640
Speaker 2: the actor playing that character, even in something like rage War,

1233
01:06:36,080 --> 01:06:38,480
Speaker 2: might come back to you again and again and you know,

1234
01:06:38,560 --> 01:06:39,840
Speaker 2: even you know, be in power.

1235
01:06:40,560 --> 01:06:42,880
Speaker 3: I don't remember this from my own viewing, but I

1236
01:06:42,960 --> 01:06:46,560
Speaker 3: read online that one of the hosts of MythBusters was

1237
01:06:46,560 --> 01:06:50,600
Speaker 3: fond of quoting this line. I assume to say, like, no,

1238
01:06:50,680 --> 01:06:53,360
Speaker 3: I'm not going to accept defeat on whatever we're trying

1239
01:06:53,400 --> 01:06:54,840
Speaker 3: to do, and I'm going to make it work.

1240
01:06:55,160 --> 01:06:58,000
Speaker 2: Yeah, that's awesome. I mean it's it may not be.

1241
01:06:58,040 --> 01:07:01,080
Speaker 2: It's not the Litany against fear, but if it helps

1242
01:07:01,080 --> 01:07:03,600
Speaker 2: you get through your day, go for it. It's fine.

1243
01:07:03,800 --> 01:07:06,800
Speaker 3: Okay. So challenge number two defeated. Oh wait, I did

1244
01:07:06,840 --> 01:07:09,200
Speaker 3: forget one detail about it, which was very funny. There's

1245
01:07:09,240 --> 01:07:11,919
Speaker 3: a part where Paul is mouthing off to Rat Spit,

1246
01:07:12,000 --> 01:07:14,840
Speaker 3: and I think he calls him spit Rat, and Rat

1247
01:07:14,840 --> 01:07:16,760
Speaker 3: Spit corrects him. He's like rat spit.

1248
01:07:17,920 --> 01:07:20,040
Speaker 2: Yeah, he's very defensive on that point.

1249
01:07:20,400 --> 01:07:22,720
Speaker 3: But yeah, So back to the desert with Paul.

1250
01:07:23,520 --> 01:07:26,400
Speaker 2: That's two down right. We've done two challenges, two of

1251
01:07:26,440 --> 01:07:29,160
Speaker 2: them down now, and the movie could end at any

1252
01:07:29,200 --> 01:07:32,480
Speaker 2: moment because if he loses one, that's it exactly.

1253
01:07:32,560 --> 01:07:36,760
Speaker 3: Yeah. So this interlude after the challenge, it starts off

1254
01:07:36,840 --> 01:07:40,440
Speaker 3: with Mastema just being a horrible creep and groping at Gwinn,

1255
01:07:41,280 --> 01:07:43,840
Speaker 3: and then Paul stops it by shooting him with a

1256
01:07:43,920 --> 01:07:47,640
Speaker 3: laser from excalibrate what else this does put a stop

1257
01:07:47,680 --> 01:07:50,680
Speaker 3: to it, and Mistema sort of backs off and then

1258
01:07:50,960 --> 01:07:54,240
Speaker 3: pivots to having an animated dragon duel.

1259
01:07:54,920 --> 01:07:57,520
Speaker 2: Yeah, it's pretty fun, like it has a color scheme

1260
01:07:57,520 --> 01:08:00,880
Speaker 2: that reminds me of Disney's Sleeping View, I bet you know.

1261
01:08:00,960 --> 01:08:03,240
Speaker 2: So it's it doesn't last long, it doesn't seem really

1262
01:08:03,240 --> 01:08:05,720
Speaker 2: go anywhere, but it's fun. It's nice.

1263
01:08:06,080 --> 01:08:08,680
Speaker 3: Yeah, and then it goes on, so they have the

1264
01:08:08,720 --> 01:08:11,360
Speaker 3: animated dragon duel and then it's onto just something else.

1265
01:08:11,400 --> 01:08:15,000
Speaker 3: So it's very non sequitor a series of things here.

1266
01:08:15,240 --> 01:08:19,360
Speaker 3: The next thing is Mastema says, do you fancy music?

1267
01:08:19,920 --> 01:08:23,160
Speaker 3: This is a piece of my own composing, and then

1268
01:08:23,240 --> 01:08:27,040
Speaker 3: we get a terrible dissonant wall of sound. It's the

1269
01:08:27,120 --> 01:08:29,679
Speaker 3: choirs of hell, screams of the damn to that sort

1270
01:08:29,680 --> 01:08:34,720
Speaker 3: of thing. And then Paul responds by programming Excalibrate to

1271
01:08:34,840 --> 01:08:37,760
Speaker 3: play rock and roll music, very eighties rock and roll music.

1272
01:08:38,439 --> 01:08:42,160
Speaker 3: And then Masteema, seemingly offended, is like, you call this

1273
01:08:42,439 --> 01:08:47,000
Speaker 3: noise music, you shall have your fill of it. So

1274
01:08:47,080 --> 01:08:48,680
Speaker 3: what do you think the next challenge is going to

1275
01:08:48,720 --> 01:08:49,920
Speaker 3: be about? It's heavy metal.

1276
01:08:50,360 --> 01:08:52,519
Speaker 2: Ah yeah, And this one's a lot of fun too.

1277
01:08:52,560 --> 01:08:54,599
Speaker 2: This one is written and directed by Charles Band.

1278
01:08:55,080 --> 01:08:59,639
Speaker 3: So we are instantly transported to a Wasp concert. They're

1279
01:08:59,760 --> 01:09:02,639
Speaker 3: in side of club. Everybody in the club is wearing

1280
01:09:02,720 --> 01:09:05,720
Speaker 3: black leather and a lot of people have gothy makeup on.

1281
01:09:07,040 --> 01:09:12,920
Speaker 3: Gwinn is being held hostage on stage by the band Wasp.

1282
01:09:14,000 --> 01:09:17,200
Speaker 3: She's in some kind of rock and roll torture device

1283
01:09:17,320 --> 01:09:20,960
Speaker 3: on the stage, and it seems that to get to

1284
01:09:21,000 --> 01:09:23,240
Speaker 3: her and save her, Paul is going to have to

1285
01:09:23,280 --> 01:09:24,240
Speaker 3: go through Wasp.

1286
01:09:24,720 --> 01:09:28,040
Speaker 2: That's right. And oh man, there's a lot unwrap here. So,

1287
01:09:28,200 --> 01:09:31,080
Speaker 2: I mean Gwenn's outfit looks amazing. Here, we get a

1288
01:09:31,120 --> 01:09:35,280
Speaker 2: lot of Blackie Lawless as we'll discuss. And it's interesting

1289
01:09:35,320 --> 01:09:38,879
Speaker 2: too that this sequence was shot at the historic Whiskey

1290
01:09:38,920 --> 01:09:41,920
Speaker 2: A Go Go venue in West Hollywood, though apparently in

1291
01:09:42,000 --> 01:09:44,960
Speaker 2: the dead middle of the night, after closing time, because

1292
01:09:45,000 --> 01:09:47,200
Speaker 2: you know, they had shows they need to do, so

1293
01:09:47,240 --> 01:09:51,400
Speaker 2: after the concert was finished, after the concert goers we're

1294
01:09:51,400 --> 01:09:54,080
Speaker 2: out incomes Charles Band and crew and they filmed this

1295
01:09:54,120 --> 01:09:55,080
Speaker 2: awesome sequence.

1296
01:09:55,439 --> 01:09:57,880
Speaker 3: Man, that must have been really because I'd imagine the

1297
01:09:57,880 --> 01:09:59,400
Speaker 3: concerts go pretty late there.

1298
01:09:59,640 --> 01:10:01,960
Speaker 2: Yeah, I would guess so, Like I think Jeffrey Byron

1299
01:10:02,200 --> 01:10:04,240
Speaker 2: and the extra said something about it being at midnight,

1300
01:10:04,280 --> 01:10:07,639
Speaker 2: but I'm thinking that's too early. Yeah, It's like I'm

1301
01:10:07,680 --> 01:10:11,120
Speaker 2: thinking they were picking up around like two or three, right,

1302
01:10:11,479 --> 01:10:11,880
Speaker 2: I don't know.

1303
01:10:11,960 --> 01:10:15,080
Speaker 3: Yeah, Whiskey a Go Go closing up by midnight, Yeah.

1304
01:10:14,920 --> 01:10:16,760
Speaker 2: Because this is a venue that goes back to the

1305
01:10:16,840 --> 01:10:19,760
Speaker 2: early sixties and hosted all sorts of acts like the

1306
01:10:19,760 --> 01:10:24,519
Speaker 2: Beach Boys, that Doors, Motley Crue, Parliament Funkadelic, and of

1307
01:10:24,520 --> 01:10:28,520
Speaker 2: course probably WASP I'm getting at least in this movie. Yeah.

1308
01:10:28,640 --> 01:10:32,920
Speaker 3: So this short segment, this challenge is sort of a

1309
01:10:33,160 --> 01:10:37,000
Speaker 3: It embodies a larger genre of horror movies that would

1310
01:10:37,360 --> 01:10:39,559
Speaker 3: also be happening at this time period, which is sort

1311
01:10:39,560 --> 01:10:43,280
Speaker 3: of metalsploitation. It's like heavy metal meets some kind of

1312
01:10:43,360 --> 01:10:44,320
Speaker 3: monstrous evil.

1313
01:10:44,680 --> 01:10:48,840
Speaker 2: Yeah, a little metalsploitation on your sampler platter here, and

1314
01:10:48,920 --> 01:10:50,680
Speaker 2: we'll have to, at some point in the future come

1315
01:10:50,720 --> 01:10:54,080
Speaker 2: back and do it like a proper full metalsploitation film

1316
01:10:54,200 --> 01:10:58,000
Speaker 2: in which your heavy metal bands are either actually demons

1317
01:10:58,120 --> 01:11:02,360
Speaker 2: or actual devil worshipers, and and so forth. It's a

1318
01:11:02,360 --> 01:11:05,679
Speaker 2: subgenre that I think is a lot of fun. But yeah,

1319
01:11:05,720 --> 01:11:08,600
Speaker 2: we get a lot of Blackie loless here, looking like

1320
01:11:08,600 --> 01:11:12,120
Speaker 2: a no fielding parody of an eighties rocker. But he's

1321
01:11:12,200 --> 01:11:15,840
Speaker 2: just all in on it, just just snarling, big eyed,

1322
01:11:17,680 --> 01:11:19,559
Speaker 2: crazy rocker hair. I love it.

1323
01:11:19,880 --> 01:11:22,000
Speaker 3: So Paul of course has to go save Gwynn. But

1324
01:11:22,360 --> 01:11:23,960
Speaker 3: in order to do that, he will have to face

1325
01:11:24,000 --> 01:11:26,840
Speaker 3: his greatest challenge yet, which is getting from the bar

1326
01:11:27,000 --> 01:11:30,040
Speaker 3: area back to his spot in the pit, you know,

1327
01:11:30,120 --> 01:11:32,160
Speaker 3: getting through the crowd. He has a hard time.

1328
01:11:32,600 --> 01:11:34,679
Speaker 2: Yeah, that's kind of the core part of this challenge,

1329
01:11:34,680 --> 01:11:36,879
Speaker 2: isn't it, moving through a crowd? Yeah.

1330
01:11:37,000 --> 01:11:39,800
Speaker 3: I Meanwhile, Wasp is singing a song about how they

1331
01:11:39,800 --> 01:11:42,479
Speaker 3: are bad. This is the song about I have no morals,

1332
01:11:42,520 --> 01:11:43,560
Speaker 3: I do evil.

1333
01:11:44,600 --> 01:11:46,160
Speaker 2: Show, don't tell Wasp come on?

1334
01:11:46,600 --> 01:11:49,760
Speaker 3: Yeah yeah, now, so I do enjoy heavy metal, I'm

1335
01:11:49,800 --> 01:11:52,839
Speaker 3: not personally a big fan of Wasp. However, this dude's

1336
01:11:52,960 --> 01:11:58,120
Speaker 3: outfit is top shelf. His jacket has circular saw blades

1337
01:11:58,160 --> 01:12:01,200
Speaker 3: attached to the sleeves, and that's just smart. I mean,

1338
01:12:01,200 --> 01:12:03,519
Speaker 3: that's convenient, like you never know when you're gonna need him.

1339
01:12:04,000 --> 01:12:06,479
Speaker 2: Yeah. Yeah, it hats off again to Kathy Clark.

1340
01:12:06,520 --> 01:12:10,760
Speaker 3: Here. So the singer from Wasp is holding Gwynn hostage

1341
01:12:10,760 --> 01:12:12,960
Speaker 3: and Paul gets up on stage to rescue her, but

1342
01:12:13,000 --> 01:12:15,439
Speaker 3: then he gets knocked They knock him down into the

1343
01:12:15,439 --> 01:12:19,880
Speaker 3: pit again, and the Wasp guy is like, you know,

1344
01:12:19,960 --> 01:12:22,559
Speaker 3: he's indicating that he's gonna kill Gwinn with a with

1345
01:12:22,600 --> 01:12:26,320
Speaker 3: a machete. But then Paul he thinks about it, and

1346
01:12:26,360 --> 01:12:29,800
Speaker 3: he does some beat booping on his Excalibrate and it

1347
01:12:29,880 --> 01:12:33,280
Speaker 3: tells him that he can defeat the singer by disintegrating

1348
01:12:33,360 --> 01:12:37,800
Speaker 3: him with high frequency sound. But the ultimately that just

1349
01:12:37,880 --> 01:12:39,799
Speaker 3: ends up looking like it blasts him with a laser

1350
01:12:39,840 --> 01:12:42,800
Speaker 3: again like it does with everything else. So he does that. Also,

1351
01:12:42,880 --> 01:12:43,919
Speaker 3: the singer was mastema.

1352
01:12:45,160 --> 01:12:47,240
Speaker 2: I feel like if they'd had more time and maybe

1353
01:12:47,280 --> 01:12:49,320
Speaker 2: thought this little bit more. He could have like like

1354
01:12:49,439 --> 01:12:54,559
Speaker 2: opposed heavy metal music with like electronic ambient music, you know,

1355
01:12:54,720 --> 01:12:56,599
Speaker 2: like it could have been more of a proper duel

1356
01:12:56,680 --> 01:13:00,559
Speaker 2: back and forth, and then electro ambience wins. You know,

1357
01:13:00,680 --> 01:13:04,639
Speaker 2: it's like the powers of Steve Roach overcome the powers

1358
01:13:04,640 --> 01:13:07,920
Speaker 2: of Loss. But we don't have that much time.

1359
01:13:08,240 --> 01:13:21,880
Speaker 3: I reject your reality and substitutino. Yeah, so back to

1360
01:13:21,960 --> 01:13:26,320
Speaker 3: the desert once again, more kind of bandying about threats,

1361
01:13:26,320 --> 01:13:31,400
Speaker 3: and dialogue between Misteema and you know, Exclibrate or Paul

1362
01:13:31,800 --> 01:13:38,280
Speaker 3: Msteema is like, you performed magnificently, and Paul starts bismirching Misteema.

1363
01:13:38,400 --> 01:13:40,360
Speaker 3: He says, you know what you are. You're the lowest

1364
01:13:40,360 --> 01:13:43,200
Speaker 3: of the low. You use people for your own entertainment,

1365
01:13:43,560 --> 01:13:47,280
Speaker 3: your own little whims and fancies. So they start kind

1366
01:13:47,280 --> 01:13:50,280
Speaker 3: of laser zapping back and forth at each other, but

1367
01:13:50,560 --> 01:13:54,880
Speaker 3: Paul's laser does nothing to Misteema, and Misteema explains, this

1368
01:13:55,040 --> 01:13:58,479
Speaker 3: barrier cannot be penetrated. It is powered by a thousand

1369
01:13:58,560 --> 01:14:01,679
Speaker 3: dead souls, so you know it's hard to get through.

1370
01:14:01,479 --> 01:14:04,759
Speaker 2: That, all right, Yeah, fair enough, and then we're popped

1371
01:14:04,760 --> 01:14:07,960
Speaker 2: into the next challenge. This next one is the Stone

1372
01:14:08,040 --> 01:14:11,400
Speaker 2: Canyon Giant sequence, and this one's written and directed and

1373
01:14:11,479 --> 01:14:14,800
Speaker 2: special effects by David Allen, who lived nineteen forty four

1374
01:14:14,840 --> 01:14:18,160
Speaker 2: through nineteen ninety nine. Stop motion animation legend that we

1375
01:14:18,160 --> 01:14:21,000
Speaker 2: previously talked about in our episode on the Band produced

1376
01:14:21,080 --> 01:14:24,880
Speaker 2: Robot Jocks, which, of course Joy has excellent robot stop

1377
01:14:24,920 --> 01:14:26,040
Speaker 2: motion animation in it.

1378
01:14:26,360 --> 01:14:27,799
Speaker 3: God, I love robot Chocks.

1379
01:14:29,840 --> 01:14:32,960
Speaker 2: So Alan sadly died in nineteen ninety nine at the

1380
01:14:33,000 --> 01:14:36,320
Speaker 2: age of fifty four, but during his career he worked

1381
01:14:36,360 --> 01:14:41,479
Speaker 2: on the Howling Willow, Freaked Ghostbusters to Young Sherlock Holmes,

1382
01:14:41,479 --> 01:14:44,439
Speaker 2: and a ton of Charles Band Full Moon productions, providing

1383
01:14:44,479 --> 01:14:47,200
Speaker 2: the sort of stop motion work that really set some

1384
01:14:47,240 --> 01:14:48,960
Speaker 2: of those films apart, you know, that kind of like

1385
01:14:49,040 --> 01:14:53,559
Speaker 2: old fashioned Harry Howsen esque stop motion work. So he's

1386
01:14:53,560 --> 01:14:56,680
Speaker 2: the man behind the cool animation bits and laser blasts

1387
01:14:56,720 --> 01:14:59,760
Speaker 2: and cue the Wings Serpent. And when he died, he

1388
01:14:59,840 --> 01:15:02,919
Speaker 2: was working on The Prime Evils, his sort of magnum opus,

1389
01:15:03,320 --> 01:15:06,000
Speaker 2: and it was left unfinished at the time, but there

1390
01:15:06,000 --> 01:15:09,480
Speaker 2: were enough notes and materials left behind that his colleague

1391
01:15:09,680 --> 01:15:14,800
Speaker 2: Chris Indicott and stop motion animator Kent Burton were able

1392
01:15:14,880 --> 01:15:17,719
Speaker 2: to keep working on it. Charles Band ended up raising

1393
01:15:17,760 --> 01:15:20,479
Speaker 2: some money through Intoggo that allowed them to finish it,

1394
01:15:20,520 --> 01:15:22,640
Speaker 2: and it was finally released in twenty twenty three. It

1395
01:15:22,720 --> 01:15:26,599
Speaker 2: even really received a limited theatrical run. I haven't seen

1396
01:15:26,640 --> 01:15:28,519
Speaker 2: it yet, but fans seem to love it. I think

1397
01:15:28,520 --> 01:15:30,920
Speaker 2: it's just, you know, chocked full of those old fashioned

1398
01:15:30,920 --> 01:15:34,719
Speaker 2: Harry Housen style effects, and hey, you know, it'd probably

1399
01:15:34,720 --> 01:15:39,320
Speaker 2: make a good double feature with Phil Tippett's Mad God. Oh.

1400
01:15:39,360 --> 01:15:41,439
Speaker 3: I just looked it up. This looks great. I'm gonna

1401
01:15:41,439 --> 01:15:42,200
Speaker 3: have to check this out.

1402
01:15:42,479 --> 01:15:45,040
Speaker 2: Yeah, yeah, I've looked around at reviews and folks really

1403
01:15:45,080 --> 01:15:48,360
Speaker 2: seemed to really enjoy it. But yeah, anyway. Prior to

1404
01:15:48,479 --> 01:15:51,280
Speaker 2: Dungeon Master, Allen had worked on numerous films with stop

1405
01:15:51,280 --> 01:15:54,880
Speaker 2: motion elements, everything from Equinox in seventy to Flesh Gordon

1406
01:15:54,960 --> 01:15:58,439
Speaker 2: in seventy four, but also films like eighty one's The

1407
01:15:58,479 --> 01:16:01,320
Speaker 2: Howling and eighty three's Twilight Zone the movie. But his

1408
01:16:01,400 --> 01:16:04,639
Speaker 2: only directorial credit, according to IMDb, was a nineteen sixty

1409
01:16:04,680 --> 01:16:08,160
Speaker 2: eight short film titled Raiders of the Stone Ring. So

1410
01:16:08,240 --> 01:16:11,760
Speaker 2: this was his first I guess real chance it coming

1411
01:16:11,800 --> 01:16:14,400
Speaker 2: in and directing something, and then he would follow this

1412
01:16:14,520 --> 01:16:17,680
Speaker 2: up with puppet Master two in nineteen ninety that's his

1413
01:16:17,840 --> 01:16:19,799
Speaker 2: only other featured directorial credit.

1414
01:16:20,080 --> 01:16:23,160
Speaker 3: So in this segment, Paul gets transported unconscious to a

1415
01:16:23,240 --> 01:16:27,040
Speaker 3: rocky canyon it looks like somewhere in southern California, and

1416
01:16:27,160 --> 01:16:29,400
Speaker 3: he gets his wrist computer stolen by a couple of

1417
01:16:29,439 --> 01:16:32,160
Speaker 3: locals while he is asleep, and then he wakes up

1418
01:16:32,280 --> 01:16:35,360
Speaker 3: chases to get the computer back, but this chase leads

1419
01:16:35,439 --> 01:16:40,120
Speaker 3: him to a temple with a giant stone statue on top,

1420
01:16:40,600 --> 01:16:44,040
Speaker 3: and Cal starts sending the alert. The computer says sensing

1421
01:16:44,160 --> 01:16:47,960
Speaker 3: occult power and man if only all computers could do that.

1422
01:16:48,960 --> 01:16:53,479
Speaker 3: The statue wakes up and becomes a lumbering stop motion

1423
01:16:53,680 --> 01:16:58,680
Speaker 3: hulk that chases Paul through the ravine and eventually in

1424
01:16:58,720 --> 01:17:01,920
Speaker 3: this case Paul will actually Cal figures out that the

1425
01:17:01,960 --> 01:17:06,600
Speaker 3: stone giant is a god named Tammock, which is from Indonesia.

1426
01:17:07,080 --> 01:17:11,679
Speaker 3: That was an unexpected detail, and this information seems perhaps

1427
01:17:11,840 --> 01:17:14,599
Speaker 3: useful in figuring out that in order to defeat it,

1428
01:17:15,000 --> 01:17:17,479
Speaker 3: Paul must use his computer to zap it with a

1429
01:17:17,560 --> 01:17:18,840
Speaker 3: laser in the head.

1430
01:17:19,560 --> 01:17:23,080
Speaker 2: So exactly the same solution to all of the challenges.

1431
01:17:23,120 --> 01:17:26,960
Speaker 3: Okay, yeah, but once again challenge bested.

1432
01:17:27,400 --> 01:17:29,519
Speaker 2: Yeah, and ultimately this one is a lot of fun

1433
01:17:29,560 --> 01:17:33,160
Speaker 2: because you have this great stop motion creature and you know,

1434
01:17:33,200 --> 01:17:35,360
Speaker 2: if you know just a little bit about stop motion work,

1435
01:17:35,400 --> 01:17:38,280
Speaker 2: you know it takes forever and is a very laborious

1436
01:17:38,320 --> 01:17:42,720
Speaker 2: way to create cinematic magic. So you know, most of

1437
01:17:42,760 --> 01:17:46,599
Speaker 2: the effort went into creating this creature and having it actual,

1438
01:17:47,240 --> 01:17:50,680
Speaker 2: having an actual interface between it and our live action performance,

1439
01:17:51,160 --> 01:17:52,320
Speaker 2: and it works really well.

1440
01:17:52,400 --> 01:17:52,559
Speaker 4: You know.

1441
01:17:52,640 --> 01:17:55,280
Speaker 2: It's short, sweet, to the point, but a lot of fun.

1442
01:17:55,520 --> 01:17:58,559
Speaker 3: Yeah. So after this, Paul comes back to the desert

1443
01:17:58,640 --> 01:18:02,000
Speaker 3: another interlude with Misteama, and Mistema's got a new thing.

1444
01:18:02,240 --> 01:18:05,200
Speaker 3: And now Mistema is like, Okay, if you let me

1445
01:18:05,360 --> 01:18:08,880
Speaker 3: keep Gwen, I'll let you go free and I will

1446
01:18:08,880 --> 01:18:13,000
Speaker 3: give you wealth sufficient to create your own empire. And

1447
01:18:13,080 --> 01:18:15,920
Speaker 3: so Mistema creates this big pile of gold in front

1448
01:18:15,960 --> 01:18:18,120
Speaker 3: of Paul, and Paul like picks up a piece of

1449
01:18:18,120 --> 01:18:20,840
Speaker 3: gold and he's like nah, tosses it down, doesn't take

1450
01:18:20,880 --> 01:18:26,519
Speaker 3: the bait. Next, Misteema tempts Paul with three beautiful women

1451
01:18:26,640 --> 01:18:30,120
Speaker 3: who appear and they sort of vamp around him, rubbing

1452
01:18:30,120 --> 01:18:34,280
Speaker 3: his arms. And then when Gwenn sees this, she yells foul,

1453
01:18:36,880 --> 01:18:40,280
Speaker 3: So will Paul surrender Gwenn sold to Satan in exchange

1454
01:18:40,280 --> 01:18:41,719
Speaker 3: for three demonic brides.

1455
01:18:41,920 --> 01:18:43,240
Speaker 2: Gwinn thinks there's a chance.

1456
01:18:43,560 --> 01:18:47,920
Speaker 3: Yes, Gwinn, clearly she's worried. Yeah, but Paul no. He

1457
01:18:47,960 --> 01:18:50,120
Speaker 3: thinks about it for a minute, but then Gwenn like

1458
01:18:50,240 --> 01:18:53,040
Speaker 3: yells at him with a scolding tone, and Paul steps away.

1459
01:18:53,080 --> 01:18:56,200
Speaker 3: He's like, nope, I turn it down. I reject your reality,

1460
01:18:56,240 --> 01:19:00,400
Speaker 3: and I will save Gwen. And this leads Miss Stema

1461
01:19:00,439 --> 01:19:04,799
Speaker 3: to raise his arms and shriek in a truly hilarious manner,

1462
01:19:05,760 --> 01:19:08,559
Speaker 3: and then we're transported to the next challenge, which is

1463
01:19:08,600 --> 01:19:09,800
Speaker 3: the one called Slasher.

1464
01:19:10,000 --> 01:19:12,800
Speaker 2: Yeah. This is the one written by Jeffrey Byron and

1465
01:19:12,840 --> 01:19:17,360
Speaker 2: directed by his brother Steve Stafford, who used the pseudonym

1466
01:19:17,439 --> 01:19:20,360
Speaker 2: Steve Ford on this one. This is also alluding to

1467
01:19:20,400 --> 01:19:26,639
Speaker 2: their godfather with the Ford moniker, but Byron also cast

1468
01:19:26,720 --> 01:19:29,920
Speaker 2: several disacting school friends in the sequence. His brother, Steve

1469
01:19:30,000 --> 01:19:32,760
Speaker 2: born nineteen fifty had previously done a lot of work

1470
01:19:32,760 --> 01:19:35,280
Speaker 2: as a camera operator on such films as seventy four's

1471
01:19:35,360 --> 01:19:39,320
Speaker 2: Young Frankenstein nineteen eighties, The Ninth Configuration, which is a

1472
01:19:39,439 --> 01:19:43,960
Speaker 2: very weird film eighty two's Tutsi and Byron indicated in

1473
01:19:44,000 --> 01:19:46,400
Speaker 2: the extras on the Arrow Disc that he perhaps had

1474
01:19:46,400 --> 01:19:49,840
Speaker 2: had some additional directing experience as well before this, but

1475
01:19:50,520 --> 01:19:55,120
Speaker 2: IMDb lists this as Stafford's first directorial effort is directorial debut.

1476
01:19:55,520 --> 01:19:57,680
Speaker 2: He'd go on to direct nineteen nineties The Color of

1477
01:19:57,760 --> 01:20:01,160
Speaker 2: Evening and various TV projects. It also has a long

1478
01:20:01,200 --> 01:20:04,840
Speaker 2: and apparently ongoing career as a helicopter pilot for film productions,

1479
01:20:04,960 --> 01:20:08,200
Speaker 2: like stunt work but also like aerial camera stuff.

1480
01:20:08,880 --> 01:20:14,080
Speaker 3: Okay, so this one begins in an alleyway. Paul appears

1481
01:20:14,120 --> 01:20:17,280
Speaker 3: in an alley. There's like a newspaper headline I think,

1482
01:20:17,400 --> 01:20:20,400
Speaker 3: showing Gwyn's death and indicating she is the victim of

1483
01:20:20,439 --> 01:20:24,799
Speaker 3: a serial killer. And then Paul finds a dead body

1484
01:20:25,040 --> 01:20:27,679
Speaker 3: in the alley next to him, but it's somebody else,

1485
01:20:27,760 --> 01:20:30,759
Speaker 3: it's not when and then Mistima comes in with voiceover

1486
01:20:30,800 --> 01:20:34,920
Speaker 3: and explains, look, the article you saw is a premonition

1487
01:20:35,120 --> 01:20:38,800
Speaker 3: of what tomorrow's paper will be. You have one hour

1488
01:20:38,920 --> 01:20:42,599
Speaker 3: to find Gwynn and save her from this serial killer,

1489
01:20:42,880 --> 01:20:47,720
Speaker 3: or you will be defeated. Did I get that right? Yeah?

1490
01:20:47,760 --> 01:20:51,719
Speaker 2: Okay, this is not one of my favorite segments. It doesn't.

1491
01:20:52,680 --> 01:20:54,559
Speaker 2: It's fine. It's fine.

1492
01:20:55,400 --> 01:20:58,439
Speaker 3: Cops arrive, they find Paul just next to a dead

1493
01:20:58,479 --> 01:21:01,960
Speaker 3: body in this alley. They arrest him, throw him into

1494
01:21:01,960 --> 01:21:04,640
Speaker 3: the police car, and then drive away, just leaving the

1495
01:21:04,720 --> 01:21:09,080
Speaker 3: dead body there with no one guarding the crime scene. Amazing.

1496
01:21:10,200 --> 01:21:13,280
Speaker 3: So Paul, while they're riding in the police car, Paul

1497
01:21:13,280 --> 01:21:15,680
Speaker 3: looks out the window and he sees Gwynn on the sidewalk,

1498
01:21:16,160 --> 01:21:18,400
Speaker 3: so he's like, oh, there she is. I need to

1499
01:21:18,400 --> 01:21:21,519
Speaker 3: get back to her. She meanwhile, we learn is going

1500
01:21:21,560 --> 01:21:24,120
Speaker 3: to a dancer audition, so I guess she's still like

1501
01:21:24,400 --> 01:21:26,800
Speaker 3: she did, you know, dance aerobics in the real world.

1502
01:21:26,800 --> 01:21:29,679
Speaker 3: In the stream world, she's just a dancer and she's

1503
01:21:29,720 --> 01:21:31,640
Speaker 3: going to an audition that she saw an ad for

1504
01:21:31,720 --> 01:21:35,400
Speaker 3: in the paper. Paul uses the computer to like laser

1505
01:21:35,479 --> 01:21:39,160
Speaker 3: lock pick his handcuffs, and then meanwhile, we see the

1506
01:21:39,200 --> 01:21:43,280
Speaker 3: serial killer puttering around his house from behind. The actor

1507
01:21:43,280 --> 01:21:45,519
Speaker 3: who plays the serial killer looks a lot like Paul

1508
01:21:45,600 --> 01:21:49,760
Speaker 3: Riser as Burke, and he's I don't know. He's like

1509
01:21:49,800 --> 01:21:55,240
Speaker 3: collecting newspaper clippings about all his murders, typical serial killer stuff,

1510
01:21:55,400 --> 01:21:58,760
Speaker 3: typical stuff. He's like getting out a box of new scalpels.

1511
01:22:01,280 --> 01:22:04,599
Speaker 3: The cops are having a conversation about hating jelly donuts,

1512
01:22:04,640 --> 01:22:06,759
Speaker 3: and then in the middle of this, Paul just dives

1513
01:22:06,800 --> 01:22:08,840
Speaker 3: out of the police cars. So this apparently is not

1514
01:22:08,920 --> 01:22:11,200
Speaker 3: the kind that has doors that lock from the outside.

1515
01:22:11,600 --> 01:22:13,360
Speaker 2: Maybe he picked them with his android brain.

1516
01:22:13,600 --> 01:22:18,599
Speaker 3: Oh maybe. So cal tells Paul where the next murder

1517
01:22:18,920 --> 01:22:21,599
Speaker 3: will take place. It's a dance auditorium, and he runs

1518
01:22:21,600 --> 01:22:26,000
Speaker 3: to get there. He gets there and he's looking around

1519
01:22:26,040 --> 01:22:29,200
Speaker 3: inside for Gwen. But and the computer tells him like

1520
01:22:29,280 --> 01:22:33,120
Speaker 3: sixty seconds to challenge termination, I guess, meaning to stop

1521
01:22:33,160 --> 01:22:38,759
Speaker 3: her from getting serial murdered. And he's really taking his time.

1522
01:22:38,800 --> 01:22:41,320
Speaker 3: He's just kind of wandering around looking like Gwen Gwenn.

1523
01:22:41,320 --> 01:22:43,200
Speaker 3: But then finally he sees her. He's like, oh, there

1524
01:22:43,240 --> 01:22:45,880
Speaker 3: she is. He walks in on Burke, getting ready to

1525
01:22:45,960 --> 01:22:49,120
Speaker 3: stab her, but then he saves her. That was that

1526
01:22:49,240 --> 01:22:51,040
Speaker 3: was it. He saves her from the serial killer. And

1527
01:22:51,040 --> 01:22:52,920
Speaker 3: then the cops come and they grab a serial killer.

1528
01:22:53,240 --> 01:22:56,320
Speaker 2: So that's that segment. You know, it was different from

1529
01:22:56,320 --> 01:22:59,040
Speaker 2: the others. It stands apart, you know. It has some

1530
01:22:59,520 --> 01:23:02,360
Speaker 2: ever so light laughs in it, so I you know,

1531
01:23:02,640 --> 01:23:04,680
Speaker 2: but for the most part it's another one of these

1532
01:23:04,680 --> 01:23:07,519
Speaker 2: segments that really feels like it's just a promotional example

1533
01:23:07,800 --> 01:23:09,559
Speaker 2: of what Empire Pictures can do for you.

1534
01:23:10,000 --> 01:23:13,240
Speaker 3: Okay, challenging number six, there's only two left. This one

1535
01:23:13,320 --> 01:23:15,719
Speaker 3: is the one called Cave Beast, and it was directed

1536
01:23:15,720 --> 01:23:18,479
Speaker 3: by Peter Minoogian, who we remember from Arena.

1537
01:23:19,160 --> 01:23:21,960
Speaker 2: That's right. I believe we talked about him twice born

1538
01:23:22,040 --> 01:23:26,320
Speaker 2: nineteen forty nine, because he directed the stupendous The Eliminators

1539
01:23:26,439 --> 01:23:30,439
Speaker 2: in eighty six and then Arena in eighty nine. This

1540
01:23:30,600 --> 01:23:33,400
Speaker 2: was his debut directorial credit, but he served as Band's

1541
01:23:33,439 --> 01:23:36,200
Speaker 2: first assistant director on Metal Storm as well as some

1542
01:23:36,240 --> 01:23:36,879
Speaker 2: other pictures.

1543
01:23:37,320 --> 01:23:41,599
Speaker 3: Eliminators was the one with the Mandroid, the Ninja, the

1544
01:23:41,640 --> 01:23:43,520
Speaker 3: Mercenary and by you Betty.

1545
01:23:44,439 --> 01:23:48,120
Speaker 2: Oh yeah, it's the one that's mostly about boats.

1546
01:23:49,320 --> 01:23:50,479
Speaker 3: It's so about boats.

1547
01:23:50,960 --> 01:23:51,160
Speaker 2: Oh.

1548
01:23:51,240 --> 01:23:54,599
Speaker 3: Eliminators was great. By you, Betty. I love by you, Betty.

1549
01:23:54,880 --> 01:23:57,599
Speaker 2: Yeah. And Arena, of course is an alien boxing film

1550
01:23:57,760 --> 01:24:00,240
Speaker 2: that is great. It's like what if Star Trek was

1551
01:24:00,280 --> 01:24:03,320
Speaker 2: mostly about alien Mma and that's your movie.

1552
01:24:03,479 --> 01:24:05,679
Speaker 3: We still talk about by you Betty in our household

1553
01:24:05,680 --> 01:24:08,280
Speaker 3: pretty often. It's it's She's a point of reference for

1554
01:24:08,320 --> 01:24:11,479
Speaker 3: some reason, I guess because she's out like working in

1555
01:24:11,520 --> 01:24:14,360
Speaker 3: the heat on the sweaty river. So like whenever we're

1556
01:24:14,360 --> 01:24:17,240
Speaker 3: like getting sweaty working in the yard or something, it's like, oh,

1557
01:24:17,320 --> 01:24:19,160
Speaker 3: I'm feeling like by you Betty over here.

1558
01:24:19,240 --> 01:24:22,160
Speaker 2: There you go, all right, But Cave Beast, you can

1559
01:24:22,200 --> 01:24:24,200
Speaker 2: guess where this is going and what it's what the

1560
01:24:24,240 --> 01:24:24,679
Speaker 2: main threat.

1561
01:24:25,560 --> 01:24:28,800
Speaker 3: You know, they are really reusing some locations. So I

1562
01:24:28,840 --> 01:24:31,479
Speaker 3: think the Stone Canyon exterior is the same as the

1563
01:24:31,560 --> 01:24:34,840
Speaker 3: exterior and this thing. From from what I can tell,

1564
01:24:35,120 --> 01:24:37,639
Speaker 3: we're also just seeing caves over and over that may

1565
01:24:37,640 --> 01:24:40,760
Speaker 3: well be the same cave set shot from different angles.

1566
01:24:41,320 --> 01:24:43,280
Speaker 2: Yeah, I mean it is a dream, so it has

1567
01:24:43,400 --> 01:24:45,080
Speaker 2: kind of a dream logic sense to it, you know,

1568
01:24:45,120 --> 01:24:46,840
Speaker 2: where it's like, oh, man, I was having this dream

1569
01:24:46,880 --> 01:24:49,120
Speaker 2: about this cave and there were zombies in it. But

1570
01:24:49,160 --> 01:24:51,200
Speaker 2: then I woke up. But man, I went back to sleep,

1571
01:24:51,240 --> 01:24:53,679
Speaker 2: and what I had another cave dream, like a slightly

1572
01:24:53,720 --> 01:24:56,920
Speaker 2: different one. I was fighting just one monster this time.

1573
01:24:57,080 --> 01:24:59,880
Speaker 3: This time the monster is a troll and Paul is

1574
01:25:00,040 --> 01:25:02,760
Speaker 3: playing like the Banana bomb game with the troll there

1575
01:25:03,479 --> 01:25:06,040
Speaker 3: on different ends of the cave, throwing things at each

1576
01:25:06,080 --> 01:25:09,439
Speaker 3: other like rocks and throwing these crystal shards at one another.

1577
01:25:10,360 --> 01:25:15,000
Speaker 3: Somehow it ends when somehow a blast coming from somewhere

1578
01:25:15,040 --> 01:25:18,280
Speaker 3: causes a rock fall which lands on the troll. I

1579
01:25:18,320 --> 01:25:21,080
Speaker 3: watched this twice and I don't understand how or why

1580
01:25:21,160 --> 01:25:22,240
Speaker 3: the troll was defeated.

1581
01:25:22,600 --> 01:25:24,439
Speaker 2: No, it doesn't really make a lot of sense. The

1582
01:25:24,479 --> 01:25:27,040
Speaker 2: troll looks good, though, Oh yeah, a little devil horns,

1583
01:25:27,120 --> 01:25:28,599
Speaker 2: kind of a gargoyle look to it.

1584
01:25:28,880 --> 01:25:31,839
Speaker 3: I agree, yeah, good look control. And then the troll

1585
01:25:32,080 --> 01:25:37,559
Speaker 3: win killed, transforms into a beautiful angel, like a beautiful

1586
01:25:37,560 --> 01:25:39,400
Speaker 3: woman in an angel costume.

1587
01:25:39,800 --> 01:25:43,080
Speaker 2: Yeah. Played by stunt woman Diane Carter born nineteen fifty,

1588
01:25:43,080 --> 01:25:45,360
Speaker 2: who worked on such films as nineteen eighty is the Return,

1589
01:25:45,520 --> 01:25:48,800
Speaker 2: which we covered on Weird House, Blade Runner, and Star

1590
01:25:48,880 --> 01:25:51,599
Speaker 2: Trek to the Wrath of Khan, in which she also

1591
01:25:51,680 --> 01:25:55,920
Speaker 2: plays a regular one scientist. But here, Yeah, she is

1592
01:25:55,920 --> 01:25:58,600
Speaker 2: an angel and her outfit is on the verge of

1593
01:25:58,680 --> 01:25:59,960
Speaker 2: endangering that pg. Thirteen.

1594
01:26:00,640 --> 01:26:02,680
Speaker 3: There is so much of that in this movie. It's

1595
01:26:02,720 --> 01:26:05,599
Speaker 3: almost like they're trying to save money on the costume

1596
01:26:05,640 --> 01:26:07,920
Speaker 3: budget with you know, you don't want to spend too

1597
01:26:07,960 --> 01:26:08,920
Speaker 3: much on materials.

1598
01:26:09,160 --> 01:26:13,200
Speaker 2: Yeah, but again, it's a solid costume. Kathy Clark I'll

1599
01:26:13,200 --> 01:26:15,280
Speaker 2: mention her again, knocked it out of the park with

1600
01:26:15,320 --> 01:26:16,000
Speaker 2: these costumes.

1601
01:26:16,160 --> 01:26:18,200
Speaker 3: I mean it looks like they give her full like

1602
01:26:18,320 --> 01:26:21,639
Speaker 3: feathery angel wings, even for she never stands up. She's

1603
01:26:21,680 --> 01:26:26,479
Speaker 3: just like laying here the transformation form of a dying troll. Yeah,

1604
01:26:26,520 --> 01:26:28,760
Speaker 3: the hair too is feather I don't know. Can you

1605
01:26:28,800 --> 01:26:31,479
Speaker 3: explain the ending here? So I'm gonna quote it. I'll

1606
01:26:31,520 --> 01:26:35,320
Speaker 3: say what happens? Dreamy music starts playing in a gentle voice.

1607
01:26:35,400 --> 01:26:38,479
Speaker 3: The angel says, you didn't listen. You would have won

1608
01:26:38,560 --> 01:26:41,400
Speaker 3: if you just walked out of the cave. Paul says,

1609
01:26:41,439 --> 01:26:44,680
Speaker 3: I didn't know. I had no idea. She says, I

1610
01:26:44,840 --> 01:26:49,040
Speaker 3: too transgressed and was banished to this cave. He says,

1611
01:26:49,160 --> 01:26:53,120
Speaker 3: I'm sorry. If there's something anything I can do, She says,

1612
01:26:53,520 --> 01:26:58,960
Speaker 3: you've done it. She disappears, and then Paul challenge bested.

1613
01:26:59,320 --> 01:27:02,200
Speaker 3: Paul's trained ported back to the desert of Mistema. That's it.

1614
01:27:02,880 --> 01:27:05,320
Speaker 2: Wow, Yeah, I have no idea what any of that means, Like,

1615
01:27:05,400 --> 01:27:06,439
Speaker 2: was she a real angel?

1616
01:27:06,600 --> 01:27:06,680
Speaker 4: Like?

1617
01:27:06,760 --> 01:27:10,760
Speaker 2: I don't know it. It makes no sense, but check

1618
01:27:10,800 --> 01:27:12,320
Speaker 2: it off the list because it's accomplished.

1619
01:27:12,800 --> 01:27:16,080
Speaker 3: Okay, So this time, Mistema is sitting in a big chair,

1620
01:27:16,200 --> 01:27:19,800
Speaker 3: surrounded by rocks, fire spears, shoved into the ground, green light,

1621
01:27:20,479 --> 01:27:24,600
Speaker 3: and here begins Mistema's famous monologue about setting fire to

1622
01:27:24,680 --> 01:27:27,840
Speaker 3: a cat that starts off when I was a lad.

1623
01:27:29,600 --> 01:27:32,360
Speaker 2: Yeah, it kind of goes on forever too and with

1624
01:27:32,439 --> 01:27:36,120
Speaker 2: lots of details, don't I think it's kind of funny

1625
01:27:36,160 --> 01:27:39,040
Speaker 2: that it was cut for the euro release. But on

1626
01:27:39,080 --> 01:27:42,559
Speaker 2: the other hand, it's like, yeah, this goes on too long.

1627
01:27:43,560 --> 01:27:47,000
Speaker 3: Paul responds to the lighting a cat on fire story

1628
01:27:47,120 --> 01:27:50,960
Speaker 3: by giving a discourse on the Sanskrit concept of a himsa,

1629
01:27:51,040 --> 01:27:53,519
Speaker 3: which is the principle of causing no harm. The way

1630
01:27:53,560 --> 01:27:57,960
Speaker 3: Paul explains it is respect for every living creature. And

1631
01:27:58,040 --> 01:28:02,120
Speaker 3: Mistema really doesn't like this. But by the way, I

1632
01:28:02,120 --> 01:28:05,840
Speaker 3: have questions about Mastema's monologue. At some point Misteema was

1633
01:28:06,000 --> 01:28:08,000
Speaker 3: a lad. I thought he was Satan.

1634
01:28:08,560 --> 01:28:13,080
Speaker 2: Hmm, yeah, I don't know. He's maybe yeah, I don't know.

1635
01:28:13,200 --> 01:28:16,439
Speaker 2: He's a mortal who becomes a demon lord later because

1636
01:28:16,439 --> 01:28:17,200
Speaker 2: of all his sins.

1637
01:28:17,840 --> 01:28:22,000
Speaker 3: Maybe, Okay, So Misteema does another monologue after Paul talks

1638
01:28:22,040 --> 01:28:24,280
Speaker 3: about a himza. I feel like we should give a

1639
01:28:24,320 --> 01:28:27,800
Speaker 3: grade after we assess Masteema's essay here. So the Essay

1640
01:28:27,880 --> 01:28:32,519
Speaker 3: goes like this, what conceit? What hypocrisy? You mortals think

1641
01:28:32,560 --> 01:28:36,680
Speaker 3: you are so full of heart and soul, love and kindness.

1642
01:28:37,920 --> 01:28:41,200
Speaker 3: You think your God looks down on you with tenderness

1643
01:28:41,200 --> 01:28:45,280
Speaker 3: and mercy. You're mistaken, my friend. It is humanity, not

1644
01:28:45,479 --> 01:28:48,640
Speaker 3: the devil that is read in Tooth and Claw. It

1645
01:28:48,760 --> 01:28:53,200
Speaker 3: is your God that reiins down terror on you. Okay,

1646
01:28:53,439 --> 01:28:56,120
Speaker 3: I mean I feel like the logic does not really

1647
01:28:56,160 --> 01:28:58,559
Speaker 3: connect from one sentence to another. Is he mad? Is

1648
01:28:58,600 --> 01:29:00,840
Speaker 3: he talking about God or human humans or what?

1649
01:29:01,200 --> 01:29:03,120
Speaker 2: Yeah? Who's the bad guy here? Who you placing the

1650
01:29:03,120 --> 01:29:05,760
Speaker 2: blame on? And what does it have to do with

1651
01:29:05,800 --> 01:29:07,160
Speaker 2: anything else in the film?

1652
01:29:07,680 --> 01:29:12,080
Speaker 3: Nothing? Nothing? Anyway, Paul tells Mastima that he is bored

1653
01:29:12,160 --> 01:29:14,439
Speaker 3: because he has no heart and no soul, which makes

1654
01:29:14,479 --> 01:29:18,760
Speaker 3: immortality unbearable. So Mastema gets really mad and teleports both

1655
01:29:18,800 --> 01:29:21,559
Speaker 3: Paul and Gwynn to the final challenge. This is the

1656
01:29:21,560 --> 01:29:25,559
Speaker 3: one called Desert Pursuit aka a five minute version of

1657
01:29:25,640 --> 01:29:27,560
Speaker 3: metal Storm The Destruction of Jaredson.

1658
01:29:28,200 --> 01:29:30,240
Speaker 2: Yeah, this is the one where they just they are

1659
01:29:30,280 --> 01:29:34,479
Speaker 2: straight up using leftover apocalyptic vehicles that they just used

1660
01:29:34,760 --> 01:29:37,920
Speaker 2: to shoot metal Storm, And it's written and directed by

1661
01:29:37,920 --> 01:29:41,080
Speaker 2: Ted Nicolau born nineteen forty nine. We've talked about Ted

1662
01:29:41,120 --> 01:29:44,679
Speaker 2: previously because he directed one of my favorite horror comedies

1663
01:29:44,720 --> 01:29:48,400
Speaker 2: of all time nineteen eighty six is Terror Vision, So

1664
01:29:48,439 --> 01:29:50,000
Speaker 2: go back to that episode if you want to hear

1665
01:29:50,000 --> 01:29:53,200
Speaker 2: more about him. But suffice to say that this sequence

1666
01:29:53,240 --> 01:29:56,400
Speaker 2: with his directorial debut, and it's basically just one big

1667
01:29:56,439 --> 01:30:00,679
Speaker 2: action sequence using those leftover Apocalypse cars. It may be

1668
01:30:01,040 --> 01:30:04,880
Speaker 2: in many respects it's my least favorite challenge in the picture,

1669
01:30:05,080 --> 01:30:08,960
Speaker 2: but like we pointed out earlier, at least Gwynn gets to,

1670
01:30:09,479 --> 01:30:11,800
Speaker 2: you know, be the hero, the hero for a change,

1671
01:30:11,840 --> 01:30:14,080
Speaker 2: and blow things up with a plasma rifle. So it's

1672
01:30:14,120 --> 01:30:15,479
Speaker 2: got that going for it. Yeah.

1673
01:30:15,479 --> 01:30:17,840
Speaker 3: I appreciate that. I mean, it's just it's fun in

1674
01:30:17,880 --> 01:30:19,599
Speaker 3: the same way that Metal Storm is fun. I feel

1675
01:30:19,600 --> 01:30:22,639
Speaker 3: like we appreciate this less because we've seen metal Storm.

1676
01:30:22,720 --> 01:30:24,280
Speaker 2: It's true, Yeah, but maybe if.

1677
01:30:24,160 --> 01:30:26,559
Speaker 3: You hadn't seen metal Storm and didn't know they were

1678
01:30:26,640 --> 01:30:29,040
Speaker 3: just you know, essentially lifting a scene out of that

1679
01:30:29,120 --> 01:30:32,439
Speaker 3: and putting it in here, it might be more exciting.

1680
01:30:32,840 --> 01:30:36,800
Speaker 2: This is the leftover Thanksgiving turkey sandwich exactly. Well, yes,

1681
01:30:36,920 --> 01:30:39,000
Speaker 2: I take that. You know, you're generally the my memory

1682
01:30:39,080 --> 01:30:41,640
Speaker 2: is the leftover turkey sandwich was better than Thanksgiving, So

1683
01:30:41,680 --> 01:30:46,120
Speaker 2: it's not that it's something else, it's leftovers reheat.

1684
01:30:46,840 --> 01:30:49,400
Speaker 3: So Paul and Gwyn appear in an airplane graveyard in

1685
01:30:49,439 --> 01:30:53,879
Speaker 3: the desert. Cow does a scan and determines inhabitants hostile.

1686
01:30:54,120 --> 01:30:57,559
Speaker 3: The inhabitants immediately show up. They're you're basic, you know

1687
01:30:57,640 --> 01:31:00,599
Speaker 3: if they made it of Tuscan raiders and lords among us.

1688
01:31:00,640 --> 01:31:04,000
Speaker 3: They're guys in sci fi desert punk outfits with hockey masks.

1689
01:31:04,800 --> 01:31:08,280
Speaker 3: They were probably exactly the same costumes used in Metal Storm.

1690
01:31:08,520 --> 01:31:11,479
Speaker 3: They drive cars that were used in Metal Storm. Paul

1691
01:31:11,640 --> 01:31:14,639
Speaker 3: uses his wrist computer to blast the guys and steal

1692
01:31:14,680 --> 01:31:17,439
Speaker 3: one of their desert buggies. The warriors getting another one

1693
01:31:17,439 --> 01:31:19,559
Speaker 3: of the buggies and speed after them. So it's sort

1694
01:31:19,560 --> 01:31:22,920
Speaker 3: of a dollar store mad Max car chase. And yeah,

1695
01:31:22,920 --> 01:31:25,600
Speaker 3: this is the part where Gwinn she's like fed up

1696
01:31:25,640 --> 01:31:27,640
Speaker 3: with it. She's like, I'm I'm done with all this,

1697
01:31:27,760 --> 01:31:31,320
Speaker 3: and she grabs a plasma rifle and blows the other

1698
01:31:31,360 --> 01:31:34,400
Speaker 3: cars to bits. So it's more blasting, but from a

1699
01:31:34,400 --> 01:31:37,240
Speaker 3: different source than the previous blasting. All of the previous

1700
01:31:37,320 --> 01:31:40,719
Speaker 3: lasers came from Paul's wristwarmer. Now it's this big gun

1701
01:31:40,760 --> 01:31:43,679
Speaker 3: that Gwinn has. It's the only segment where Gwyn gets

1702
01:31:43,720 --> 01:31:46,120
Speaker 3: to shoot bad guys instead of just screaming for help.

1703
01:31:46,200 --> 01:31:50,160
Speaker 3: So congrats on that. But then it also ends with

1704
01:31:51,160 --> 01:31:53,960
Speaker 3: like Mistema sending them into a game of chicken with

1705
01:31:54,040 --> 01:31:57,680
Speaker 3: another desert remote desert car, and like the cars hit

1706
01:31:57,720 --> 01:32:00,320
Speaker 3: each other and blow up. But I guess somehow our

1707
01:32:00,360 --> 01:32:03,839
Speaker 3: heroes get transported out of them back to the desert,

1708
01:32:04,560 --> 01:32:08,160
Speaker 3: and then the final sequence is just is just a

1709
01:32:08,160 --> 01:32:11,519
Speaker 3: fist fight between Paul and Mistema and that's how it ends.

1710
01:32:11,800 --> 01:32:15,040
Speaker 2: Yeah, Like basically, Paul is like, well, you know what,

1711
01:32:15,520 --> 01:32:18,479
Speaker 2: you have all these advantages because you're immortal and nothing cols,

1712
01:32:18,479 --> 01:32:20,479
Speaker 2: why don't you have a mortal fist fight with me

1713
01:32:21,120 --> 01:32:23,280
Speaker 2: and we'll settle it that way, a good old fashioned

1714
01:32:23,280 --> 01:32:26,120
Speaker 2: cowboy slug fest, and Esteema's like, let's do it. And

1715
01:32:26,160 --> 01:32:28,320
Speaker 2: then they just have like a just kind of a

1716
01:32:28,360 --> 01:32:31,880
Speaker 2: mediocre brawl at the edge of a pit and Misteema

1717
01:32:32,040 --> 01:32:35,400
Speaker 2: like falls into said pitt and is defeated, and like

1718
01:32:35,560 --> 01:32:37,439
Speaker 2: basically the movie ends at that point. I think we

1719
01:32:37,439 --> 01:32:39,439
Speaker 2: get our one like shot of like, oh they're together

1720
01:32:39,479 --> 01:32:41,719
Speaker 2: and happy now. But then we're done.

1721
01:32:41,920 --> 01:32:44,160
Speaker 3: No, it's not just that he yeah, pushes Mastema into

1722
01:32:44,200 --> 01:32:46,720
Speaker 3: the pit. After the fist fight, they get transported back

1723
01:32:46,760 --> 01:32:50,160
Speaker 3: to their apartment. They're standing there in their apartment and

1724
01:32:50,200 --> 01:32:54,920
Speaker 3: then Gwynn says, she's like, Okay, Paul, let's get married.

1725
01:32:55,160 --> 01:32:57,680
Speaker 3: And also, I'm cool with your computer now.

1726
01:32:57,840 --> 01:33:02,760
Speaker 2: I like Cal, Yeah, where what changed her mind? There

1727
01:33:02,800 --> 01:33:07,479
Speaker 2: was nothing in the challenges that would support that. But okay,

1728
01:33:07,520 --> 01:33:08,080
Speaker 2: fair enough.

1729
01:33:08,439 --> 01:33:10,639
Speaker 3: I mean I think she was right to begin with. Again,

1730
01:33:10,760 --> 01:33:13,160
Speaker 3: you know, you should be accepting of your your partner's

1731
01:33:13,240 --> 01:33:16,759
Speaker 3: hobbies and interests, even if they get a little obsessive sometimes.

1732
01:33:16,800 --> 01:33:19,839
Speaker 3: But Paul is clearly way too obsessed with this computer.

1733
01:33:19,920 --> 01:33:20,759
Speaker 3: It's not healthy.

1734
01:33:21,160 --> 01:33:25,200
Speaker 2: Yeah, it's the reason they just went through these demonic challenges. Yes,

1735
01:33:25,680 --> 01:33:28,160
Speaker 2: so really she should be like, Paul, we need to

1736
01:33:28,160 --> 01:33:31,719
Speaker 2: have some time apart. I need to think about this. Yeah.

1737
01:33:32,080 --> 01:33:34,800
Speaker 3: I could understand if at the end she was like,

1738
01:33:34,960 --> 01:33:37,360
Speaker 3: you know, tamp it down a little bit, Just tamp

1739
01:33:37,400 --> 01:33:40,040
Speaker 3: down the cal a little bit. You treat it more

1740
01:33:40,080 --> 01:33:42,559
Speaker 3: like a hobby, spend some time on it. But you

1741
01:33:42,600 --> 01:33:45,400
Speaker 3: can't let cal determine your entire life. And it seems

1742
01:33:45,479 --> 01:33:49,200
Speaker 3: instead like the conclusion is she's okay with cal. Cal's

1743
01:33:49,240 --> 01:33:51,719
Speaker 3: going to make all her decisions for us now hand

1744
01:33:51,800 --> 01:33:53,440
Speaker 3: things over to Skynet.

1745
01:33:53,720 --> 01:33:56,400
Speaker 2: But on the other hand, like he has saved the day,

1746
01:33:56,560 --> 01:34:00,000
Speaker 2: right he and to gather, they have defeated the demonic threats.

1747
01:34:00,080 --> 01:34:04,479
Speaker 2: So fair enough, happy ending has been earned, so I'll

1748
01:34:04,479 --> 01:34:06,680
Speaker 2: accept it. And it is a lot of fun. You know.

1749
01:34:06,800 --> 01:34:09,120
Speaker 2: We can rag it for a rag on it for

1750
01:34:09,160 --> 01:34:14,600
Speaker 2: its various lapses and logic and how this jointed it

1751
01:34:14,600 --> 01:34:17,160
Speaker 2: can feel, but it's a lot of fun. None of

1752
01:34:17,200 --> 01:34:21,639
Speaker 2: the there's never really a dull moment. You're constantly trying

1753
01:34:21,640 --> 01:34:24,640
Speaker 2: to figure out what's happening, you know, just flowing with

1754
01:34:24,680 --> 01:34:29,080
Speaker 2: the dream logic and these often abrupt changes and shift

1755
01:34:29,120 --> 01:34:31,280
Speaker 2: in tone. So yeah, it's a lot of fun.

1756
01:34:31,560 --> 01:34:32,640
Speaker 3: Okay, that doesn't for me.

1757
01:34:33,120 --> 01:34:35,280
Speaker 2: Yeah, there's nothing much else to say other than yeah,

1758
01:34:35,320 --> 01:34:37,200
Speaker 2: if you're interested and you haven't seen it, go watch

1759
01:34:37,240 --> 01:34:41,120
Speaker 2: The Dungeon Master aka Rage War, and you can also

1760
01:34:41,280 --> 01:34:45,400
Speaker 2: puzzle over all of these questions as well. All right,

1761
01:34:45,479 --> 01:34:47,120
Speaker 2: we'll go in and close it up here, but we'd

1762
01:34:47,120 --> 01:34:49,680
Speaker 2: love to hear from everyone out there as always. Do

1763
01:34:49,720 --> 01:34:54,839
Speaker 2: you have particular memories experiences related to viewing the Dungeon

1764
01:34:54,880 --> 01:34:58,760
Speaker 2: Master aka Rage War. Which version did you see? Do

1765
01:34:58,800 --> 01:35:02,599
Speaker 2: you have thoughts on Whiskey a Go Go? You have

1766
01:35:02,680 --> 01:35:05,360
Speaker 2: thoughts on any of the locations featured in the film

1767
01:35:05,439 --> 01:35:08,400
Speaker 2: California people right in. We'd love to hear from you,

1768
01:35:09,000 --> 01:35:11,080
Speaker 2: And just a reminder that Stuff to Blow Your Mind

1769
01:35:11,120 --> 01:35:13,719
Speaker 2: is primarily a science podcast with core episodes on Tuesdays

1770
01:35:13,720 --> 01:35:16,280
Speaker 2: and Thursdays, but on Fridays we set aside most serious

1771
01:35:16,280 --> 01:35:18,280
Speaker 2: concerns to just talk about a weird film on Weird

1772
01:35:18,320 --> 01:35:20,400
Speaker 2: House Cinema. And if you want to see a list

1773
01:35:20,400 --> 01:35:22,600
Speaker 2: of all the movies we've covered on Weird House Cinema

1774
01:35:22,960 --> 01:35:25,920
Speaker 2: thus far, go to letterbox dot com. It's l E

1775
01:35:26,000 --> 01:35:28,280
Speaker 2: T T E R B o x D dot com.

1776
01:35:28,320 --> 01:35:30,519
Speaker 2: Our username there is weird House, and we have a

1777
01:35:30,600 --> 01:35:32,760
Speaker 2: nice list of everything we've covered. You can look at

1778
01:35:32,800 --> 01:35:34,840
Speaker 2: all the box art. It's like go into a video

1779
01:35:34,920 --> 01:35:39,240
Speaker 2: rental store, but you know in your mind and online

1780
01:35:39,320 --> 01:35:42,320
Speaker 2: and so forth, so yeah, check it out. It's a

1781
01:35:42,320 --> 01:35:42,840
Speaker 2: lot of fun.

1782
01:35:43,160 --> 01:35:46,680
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1783
01:35:47,000 --> 01:35:48,439
Speaker 3: If you would like to get in touch with us

1784
01:35:48,520 --> 01:35:51,479
Speaker 3: with feedback on this episode or any other to suggest

1785
01:35:51,479 --> 01:35:53,759
Speaker 3: a topic for the future, or just to say hello.

1786
01:35:54,120 --> 01:35:56,960
Speaker 3: You can email us at contact a Stuff to Blow

1787
01:35:56,960 --> 01:36:04,680
Speaker 3: Your Mind dot com.

1788
01:36:04,880 --> 01:36:07,800
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1789
01:36:07,920 --> 01:36:11,720
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1790
01:36:11,800 --> 01:36:13,599
Speaker 1: or wherever you listen to your favorite shows.