1
00:00:03,040 --> 00:00:06,120
Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

2
00:00:13,320 --> 00:00:15,240
Speaker 2: Hey you welcome to Weird House Cinema.

3
00:00:15,280 --> 00:00:18,520
Speaker 3: This is Rob Lamb and this is Joe McCormick, and

4
00:00:18,640 --> 00:00:22,079
Speaker 3: yes it's true. Today we're going to be talking about

5
00:00:22,120 --> 00:00:25,960
Speaker 3: the Super Mario Brothers movie. No, no, no, Not the

6
00:00:25,960 --> 00:00:29,240
Speaker 3: one currently in theaters as we record this, with Jack

7
00:00:29,320 --> 00:00:32,159
Speaker 3: Black as the voice of Bowser, the one currently on

8
00:00:32,320 --> 00:00:36,600
Speaker 3: four dollars DVDs, with Dennis Hopper as not only the voice,

9
00:00:36,640 --> 00:00:40,159
Speaker 3: but the body and the soul of Bowser. Though when

10
00:00:40,200 --> 00:00:44,000
Speaker 3: I first thought about this, I was calling him Bowser.

11
00:00:44,080 --> 00:00:46,879
Speaker 3: Is this before the character was called Bowser in the

12
00:00:46,920 --> 00:00:50,640
Speaker 3: Mario verse. In this movie, he's just Koopa. How did

13
00:00:50,680 --> 00:00:51,440
Speaker 3: that change happen?

14
00:00:51,920 --> 00:00:55,840
Speaker 2: I think Lance Hendrickson is King Bowser in this. Oh,

15
00:00:55,880 --> 00:00:59,720
Speaker 2: I believe that's how he's credited. Which I don't know

16
00:00:59,760 --> 00:01:02,560
Speaker 2: why they made this choice, because I feel like he's

17
00:01:02,560 --> 00:01:05,360
Speaker 2: more of a Dentis Hopper is totally playing some version

18
00:01:05,360 --> 00:01:08,040
Speaker 2: of Bowser in this. Maybe they just thought like Koopa

19
00:01:08,200 --> 00:01:08,800
Speaker 2: sounded better.

20
00:01:08,840 --> 00:01:12,160
Speaker 3: I don't know anyway. Yes, we are, of course talking

21
00:01:12,280 --> 00:01:17,440
Speaker 3: about the live action Super Mario Brothers movie from nineteen

22
00:01:17,560 --> 00:01:20,399
Speaker 3: ninety three, and I'm pretty sure. This one was a

23
00:01:20,480 --> 00:01:23,040
Speaker 3: parent's night out movie for me. So I was a kid.

24
00:01:23,880 --> 00:01:27,000
Speaker 3: I think I had a babysitter, had a kid cuisine,

25
00:01:27,080 --> 00:01:31,360
Speaker 3: frozen meal for dinner, maybe some oatmeal cookies afterwards, fresh

26
00:01:31,400 --> 00:01:34,240
Speaker 3: rental from the video store. And what was that rental?

27
00:01:34,319 --> 00:01:37,160
Speaker 3: It was a VHS tape of Super Mario Brothers.

28
00:01:37,520 --> 00:01:40,040
Speaker 2: Yeah. I don't think I ever saw this as a kid.

29
00:01:40,080 --> 00:01:42,360
Speaker 2: I didn't see it until I was an adult. But

30
00:01:42,440 --> 00:01:46,520
Speaker 2: I remember seeing the promotional materials for it, perhaps a trailer,

31
00:01:46,880 --> 00:01:49,280
Speaker 2: you know, maybe an article or at least a screen

32
00:01:49,960 --> 00:01:53,600
Speaker 2: shot in Time magazine or something, and I remember thinking, well,

33
00:01:53,640 --> 00:01:57,880
Speaker 2: this is a bold choice for adapting the Mario Brothers

34
00:01:58,320 --> 00:02:01,120
Speaker 2: video game. But I also so was too young to

35
00:02:01,200 --> 00:02:03,600
Speaker 2: question it. I was like, yes, this is the way,

36
00:02:03,680 --> 00:02:07,800
Speaker 2: this is what we're doing. This is the cinematic Mario Brothers.

37
00:02:08,200 --> 00:02:10,520
Speaker 3: When you're a kid, this has come up many times

38
00:02:10,520 --> 00:02:12,680
Speaker 3: on the show before. When you're a kid, you don't

39
00:02:12,680 --> 00:02:15,400
Speaker 3: really have that sense of this is not a way

40
00:02:15,480 --> 00:02:18,200
Speaker 3: that movies are supposed to be. If a movie exists,

41
00:02:18,200 --> 00:02:21,720
Speaker 3: it's like, yeah, that's what movies are like that that's legitimate.

42
00:02:22,240 --> 00:02:24,080
Speaker 2: I mean, that's the way I was My son is

43
00:02:24,120 --> 00:02:28,600
Speaker 2: not this way. Like, he's a Pokemon fan and I've

44
00:02:28,600 --> 00:02:30,600
Speaker 2: watched some Pokemon with him. Some of it is some

45
00:02:30,639 --> 00:02:34,079
Speaker 2: weird stuff, but we watched Pokemon Detective Peak of two

46
00:02:34,120 --> 00:02:36,840
Speaker 2: together and we had a great time watching it. I

47
00:02:36,840 --> 00:02:39,040
Speaker 2: thought it was as I've mentioned on the show before,

48
00:02:39,120 --> 00:02:42,920
Speaker 2: I thought it was substantially good, especially considering it is

49
00:02:42,960 --> 00:02:47,160
Speaker 2: also essentially a video game adaptation. But he refuses to

50
00:02:47,240 --> 00:02:51,120
Speaker 2: acknowledge it. Now. He's like, no, the Pokemons don't look right.

51
00:02:51,240 --> 00:02:53,840
Speaker 2: They look and he has all these critiques about it,

52
00:02:53,880 --> 00:02:55,679
Speaker 2: and I'm just kind of like, you're a little young

53
00:02:55,680 --> 00:02:57,200
Speaker 2: to understand this, but you know you're going to have

54
00:02:57,240 --> 00:02:59,519
Speaker 2: to find that middle ground with other people and realize

55
00:02:59,560 --> 00:03:02,680
Speaker 2: that Pokemon Detective Pikachu is like the bridge that will

56
00:03:02,680 --> 00:03:05,000
Speaker 2: bring other people in, that will allow you to connect

57
00:03:05,000 --> 00:03:07,680
Speaker 2: with other people outside of like the Pokemon fandom.

58
00:03:07,919 --> 00:03:09,800
Speaker 3: Well, I haven't seen that one. But we'll have to

59
00:03:10,000 --> 00:03:12,480
Speaker 3: compare our experiences in a minute, because I think we

60
00:03:12,560 --> 00:03:15,639
Speaker 3: cannot cover the Super Mario Brothers movie without talking a

61
00:03:15,680 --> 00:03:18,399
Speaker 3: little bit more generally about the concept of video game

62
00:03:18,440 --> 00:03:20,920
Speaker 3: to movie adaptations. But I want to hold off on

63
00:03:20,960 --> 00:03:23,400
Speaker 3: that for a second because the first thing I have

64
00:03:23,480 --> 00:03:26,080
Speaker 3: to say is Now that I have gone back and

65
00:03:26,120 --> 00:03:30,240
Speaker 3: reviewed the evidence, I can say without a doubt, in

66
00:03:30,280 --> 00:03:34,080
Speaker 3: my opinion, this is one of the weirdest movies we

67
00:03:34,160 --> 00:03:37,080
Speaker 3: have covered on the show, and one of the weirdest

68
00:03:37,120 --> 00:03:41,080
Speaker 3: movies I have ever seen. I am truly at a

69
00:03:41,120 --> 00:03:47,040
Speaker 3: loss for words to express how bizarre Super Mario Brothers is,

70
00:03:47,120 --> 00:03:54,320
Speaker 3: both qualitatively and quantitatively. There is a dank manic luminosity

71
00:03:54,400 --> 00:03:58,120
Speaker 3: to the proceedings. It is a dream dreamed by a

72
00:03:58,160 --> 00:04:02,080
Speaker 3: slime mold who is also a corporate lawyer. It is

73
00:04:02,120 --> 00:04:06,600
Speaker 3: a warm garbage bag leaking black liquid onto your bed,

74
00:04:06,880 --> 00:04:09,920
Speaker 3: But the garbage bag and the liquid are made of

75
00:04:10,080 --> 00:04:15,320
Speaker 3: lawnmower man's style CGI, and the garbage bag is also poocy.

76
00:04:16,560 --> 00:04:18,400
Speaker 3: I don't know where you fall in this. Obviously, there

77
00:04:18,400 --> 00:04:20,920
Speaker 3: are different ways that movies can be weird, but I

78
00:04:21,760 --> 00:04:24,800
Speaker 3: I struggle to think of a movie we've covered on

79
00:04:25,040 --> 00:04:28,280
Speaker 3: our show about weird movies that is as weird as

80
00:04:28,320 --> 00:04:28,800
Speaker 3: this one.

81
00:04:29,800 --> 00:04:32,080
Speaker 2: Yeah. I mean, they're all weird in different ways, and

82
00:04:32,160 --> 00:04:36,159
Speaker 2: it can be hard to to to compare them. The

83
00:04:36,200 --> 00:04:39,480
Speaker 2: way I kept thinking about this film is to think

84
00:04:39,480 --> 00:04:42,440
Speaker 2: of it in terms of evolution and misnomers about evolution,

85
00:04:42,520 --> 00:04:45,640
Speaker 2: as will discuss come up just throughout the film, so

86
00:04:45,720 --> 00:04:48,560
Speaker 2: that that'll be something we'll discuss in a bit. But

87
00:04:49,000 --> 00:04:52,080
Speaker 2: you know, it's it's easy to think about bad films,

88
00:04:52,120 --> 00:04:56,440
Speaker 2: weird films, miscalibrated films as being the result of a

89
00:04:56,440 --> 00:05:00,440
Speaker 2: whole bunch of bad decisions, but it's not not really

90
00:05:00,640 --> 00:05:04,000
Speaker 2: necessarily the case, like in this movie is the result

91
00:05:04,320 --> 00:05:06,279
Speaker 2: of a number of bad decisions, but also a lot

92
00:05:06,320 --> 00:05:10,680
Speaker 2: of solid or even great decisions. But in the same

93
00:05:10,680 --> 00:05:13,279
Speaker 2: way that evolution is a linear progression, but not one

94
00:05:13,279 --> 00:05:17,200
Speaker 2: of just like constant quote unquote improvement Necessarily, it's not

95
00:05:17,279 --> 00:05:21,400
Speaker 2: like an ascension towards heaven. The evolution of a film

96
00:05:21,760 --> 00:05:25,360
Speaker 2: from you know, conception and pre production to final form

97
00:05:25,680 --> 00:05:28,760
Speaker 2: to the version that goes into theaters or on vhs

98
00:05:28,760 --> 00:05:33,520
Speaker 2: and DVDs, it doesn't mean that what you're going to

99
00:05:33,600 --> 00:05:36,719
Speaker 2: get at the end is going to be great. Like

100
00:05:36,760 --> 00:05:38,600
Speaker 2: in this case, you can almost think of it as

101
00:05:38,680 --> 00:05:43,960
Speaker 2: sort of like terminal evolution. Evolution can produce a morphological form,

102
00:05:44,360 --> 00:05:47,320
Speaker 2: a way of life that is very niche, but is

103
00:05:47,360 --> 00:05:51,160
Speaker 2: also ultimately doomed to extinction because of how niche it is.

104
00:05:51,520 --> 00:05:53,440
Speaker 2: And that's kind of what we have here, a movie

105
00:05:53,440 --> 00:05:57,160
Speaker 2: that was created to fill a particular niche, and one

106
00:05:57,200 --> 00:05:59,960
Speaker 2: that may not actually exist, and as it turned out,

107
00:06:00,120 --> 00:06:00,960
Speaker 2: was also doomed.

108
00:06:01,400 --> 00:06:05,200
Speaker 3: The creative elements in this movie do not feel like

109
00:06:05,279 --> 00:06:08,920
Speaker 3: they were selected through the process of a single cohesive

110
00:06:09,040 --> 00:06:11,960
Speaker 3: vision of what the movie should be. Instead, it kind

111
00:06:11,960 --> 00:06:16,960
Speaker 3: of feels like a catemorary domice of creative elements. So

112
00:06:17,000 --> 00:06:21,520
Speaker 3: it's just rolling up chairs and doughnuts and nails and

113
00:06:21,560 --> 00:06:25,279
Speaker 3: people and they're all in this ball together in the end.

114
00:06:25,960 --> 00:06:28,680
Speaker 2: Yeah, it's not even like sometimes with films, there's this

115
00:06:28,760 --> 00:06:31,240
Speaker 2: feeling of like a push and pull, like this side

116
00:06:31,279 --> 00:06:33,960
Speaker 2: wanted a comedy, this side wanted a horror movie, and

117
00:06:34,040 --> 00:06:37,039
Speaker 2: you have something, you know, mismanaged in between, or you

118
00:06:37,080 --> 00:06:39,440
Speaker 2: have just multiple genres kind of hit in a film.

119
00:06:39,680 --> 00:06:43,120
Speaker 2: We've talked about that a bit, but yeah, this one,

120
00:06:43,240 --> 00:06:45,520
Speaker 2: I guess the best way I can think about it

121
00:06:45,560 --> 00:06:49,320
Speaker 2: is you take the source material here, the Super Mario

122
00:06:49,400 --> 00:06:53,560
Speaker 2: Brothers video games that existed up until this point, and

123
00:06:53,720 --> 00:06:57,280
Speaker 2: to adapt them into a live action film, you're gonna

124
00:06:57,279 --> 00:07:00,080
Speaker 2: have to make some bold choices, and they definitely made

125
00:07:00,120 --> 00:07:03,719
Speaker 2: some bold choices. It just ultimately didn't take on a

126
00:07:03,760 --> 00:07:07,080
Speaker 2: form that most of us can can really connect.

127
00:07:06,800 --> 00:07:10,120
Speaker 3: With Okay, well, this sounds like the bridge to talking

128
00:07:10,280 --> 00:07:13,560
Speaker 3: about the general concept of video game to movie adaptation,

129
00:07:13,760 --> 00:07:16,680
Speaker 3: something that actually happens a lot now, but this was

130
00:07:16,760 --> 00:07:21,320
Speaker 3: once a completely new thing. Of course, people have long

131
00:07:21,480 --> 00:07:27,400
Speaker 3: been adapting text based literature into movies. So plays, short stories, novels,

132
00:07:27,440 --> 00:07:30,920
Speaker 3: those all become movies, you know. Those kinds of adaptations

133
00:07:30,960 --> 00:07:34,040
Speaker 3: have been made for more than a century. And while

134
00:07:34,160 --> 00:07:38,600
Speaker 3: there are always interesting choices and changes that take place

135
00:07:38,640 --> 00:07:42,640
Speaker 3: when adapting a story from one medium to another, I

136
00:07:42,680 --> 00:07:45,360
Speaker 3: think it's safe to say that adapting a novel, or

137
00:07:45,440 --> 00:07:49,000
Speaker 3: especially adapting a play to the screen, is often a

138
00:07:49,040 --> 00:07:53,360
Speaker 3: fairly natural transition. And it can depend on the novel itself,

139
00:07:53,680 --> 00:07:56,760
Speaker 3: but presumably there's a narrative of some sort and that

140
00:07:56,800 --> 00:07:59,800
Speaker 3: can be embodied by actors and set designers and so

141
00:08:00,320 --> 00:08:04,920
Speaker 3: and captured on film. Now, especially for more recent video games,

142
00:08:05,560 --> 00:08:08,600
Speaker 3: the transition is also fairly natural, and I think that's

143
00:08:08,640 --> 00:08:12,440
Speaker 3: because over time a lot of big budget video games

144
00:08:12,720 --> 00:08:16,760
Speaker 3: have become more cinematic in style and structure. Like big

145
00:08:16,840 --> 00:08:20,240
Speaker 3: video games now often have stories and characters in plot

146
00:08:20,320 --> 00:08:24,120
Speaker 3: structure almost exactly like a movie, except you play as

147
00:08:24,200 --> 00:08:27,440
Speaker 3: one of the characters instead of just watching, but Super

148
00:08:27,480 --> 00:08:31,080
Speaker 3: Mario Brothers in the early nineties was a totally different

149
00:08:31,160 --> 00:08:33,040
Speaker 3: type of media. This is a video game where you

150
00:08:33,040 --> 00:08:36,880
Speaker 3: play as a little cluster of pixels, a little man

151
00:08:36,960 --> 00:08:39,840
Speaker 3: in overalls with a mustache and a hat, and you

152
00:08:39,920 --> 00:08:42,760
Speaker 3: run from left to right and you jump on fanged

153
00:08:42,840 --> 00:08:46,800
Speaker 3: mushroom monsters and malicious turtles, and you go down sewer

154
00:08:46,840 --> 00:08:51,560
Speaker 3: pipes into castles. The actual story is very thin, So

155
00:08:52,200 --> 00:08:55,720
Speaker 3: I'm really just riveted actually by the idea of what

156
00:08:55,760 --> 00:08:57,679
Speaker 3: it must have felt like when this was a new

157
00:08:57,720 --> 00:09:00,199
Speaker 3: thing to do. Nobody had ever really adapted a videodo

158
00:09:00,320 --> 00:09:03,920
Speaker 3: game to a movie, a feature length movie before, So, like,

159
00:09:04,040 --> 00:09:05,920
Speaker 3: how do you do it? How do you turn that

160
00:09:06,280 --> 00:09:09,440
Speaker 3: little man running across the screen and jumping on things

161
00:09:09,480 --> 00:09:13,440
Speaker 3: into a ninety minute story? If I try to go

162
00:09:13,559 --> 00:09:16,040
Speaker 3: back in a time machine, imagine it's the early nineties

163
00:09:16,120 --> 00:09:18,480
Speaker 3: and I've been given this as a writing project, I

164
00:09:18,559 --> 00:09:20,720
Speaker 3: really do not know what I would have thought about it,

165
00:09:20,800 --> 00:09:22,560
Speaker 3: Like where to start? What do you do?

166
00:09:23,320 --> 00:09:26,040
Speaker 2: Yeah, yeah, this is interesting. I like how you point

167
00:09:26,080 --> 00:09:29,400
Speaker 2: out just like the the initial novelty of this. And

168
00:09:29,920 --> 00:09:33,600
Speaker 2: I was reading actually Michael Weldon's writings on this, published

169
00:09:33,640 --> 00:09:37,240
Speaker 2: in nineteen ninety six, So three years after this came out,

170
00:09:37,559 --> 00:09:40,160
Speaker 2: this film came out in the Psychotronic Video Guide, and

171
00:09:40,200 --> 00:09:42,880
Speaker 2: he points out a lot about the film that we'll

172
00:09:42,880 --> 00:09:44,840
Speaker 2: be pointing out. You know, I think we have shared

173
00:09:44,880 --> 00:09:48,440
Speaker 2: the same general opinion, but he includes the line it

174
00:09:48,480 --> 00:09:52,800
Speaker 2: didn't stop more movies based on video games, which to

175
00:09:52,960 --> 00:09:55,760
Speaker 2: us with our modern perspective like it, I mean, we

176
00:09:55,800 --> 00:09:59,599
Speaker 2: can't imagine them having stopped, you know, but yeah, that

177
00:10:00,040 --> 00:10:01,520
Speaker 2: kind of I think for me sums up that at

178
00:10:01,520 --> 00:10:04,080
Speaker 2: the time, like this was this was a novel idea,

179
00:10:04,120 --> 00:10:06,959
Speaker 2: and they were adapting things that didn't scream for adaptation

180
00:10:07,040 --> 00:10:09,839
Speaker 2: because you look at something like Silent Hill. Silent Hill

181
00:10:09,920 --> 00:10:14,319
Speaker 2: has you know, their gameplay innovations there and a lot

182
00:10:14,360 --> 00:10:18,120
Speaker 2: of technical advancements, but you have things like pyramid Head,

183
00:10:18,160 --> 00:10:22,120
Speaker 2: you know, things with a definite design quality to them,

184
00:10:22,400 --> 00:10:26,360
Speaker 2: a definite setting, and even with Silent Hill, you sort

185
00:10:26,360 --> 00:10:29,079
Speaker 2: of have a story there, right, But but you know,

186
00:10:29,160 --> 00:10:31,360
Speaker 2: things you can latch onto and be like, yes, let's

187
00:10:31,360 --> 00:10:34,480
Speaker 2: make a pyramid Head movie. But with Mario, the true

188
00:10:34,480 --> 00:10:39,400
Speaker 2: innovations are all deeply technical, They're all deeply embedded in

189
00:10:40,040 --> 00:10:43,440
Speaker 2: game design. Like that's where Super Mario was so innovative,

190
00:10:43,440 --> 00:10:45,320
Speaker 2: and the reason it was so successful is it was

191
00:10:45,360 --> 00:10:47,560
Speaker 2: doing things that had not been done before.

192
00:10:47,920 --> 00:10:50,280
Speaker 3: Well, you notice a lot of modern video games have

193
00:10:50,320 --> 00:10:53,360
Speaker 3: a difficulty setting called story mode for people who are

194
00:10:53,400 --> 00:10:56,120
Speaker 3: not very interested in gameplay mechanics. They just want to

195
00:10:56,160 --> 00:10:59,480
Speaker 3: experience it as a story like a movie. That type

196
00:10:59,480 --> 00:11:02,320
Speaker 3: of mode would make no sense whatsoever for the original

197
00:11:02,320 --> 00:11:05,360
Speaker 3: Mario games. There isn't a story like. The story is

198
00:11:05,400 --> 00:11:07,280
Speaker 3: the gameplay. It's just the gameplay.

199
00:11:07,720 --> 00:11:09,760
Speaker 2: Oh man, I wish we had. We would have had

200
00:11:09,800 --> 00:11:12,280
Speaker 2: story mode back in the day. I remember I had

201
00:11:12,320 --> 00:11:16,320
Speaker 2: Castlevania for any s I didn't have Mario. Castlevania was

202
00:11:16,360 --> 00:11:18,559
Speaker 2: always too hard for me. I never made it very

203
00:11:18,600 --> 00:11:20,560
Speaker 2: far through that game. I would have loved to have

204
00:11:20,559 --> 00:11:22,680
Speaker 2: had a story mode for that, even though there's you know,

205
00:11:22,920 --> 00:11:25,880
Speaker 2: basically no story or narrative to Castlevania. Either.

206
00:11:26,200 --> 00:11:29,400
Speaker 3: To be fair, I maybe getting terminology mixed up story

207
00:11:29,440 --> 00:11:31,640
Speaker 3: mode I think maybe also just sometimes means like not

208
00:11:31,800 --> 00:11:34,400
Speaker 3: multiplayer early. But you know what I'm talking about, that

209
00:11:34,440 --> 00:11:37,640
Speaker 3: difficulty setting. It's like the easy mode where you are

210
00:11:37,800 --> 00:11:40,160
Speaker 3: just there. You just want to experience the narrative. You

211
00:11:40,200 --> 00:11:41,439
Speaker 3: don't want to have to fight for it.

212
00:11:41,760 --> 00:11:43,560
Speaker 2: Yeah, I don't want to get frustrated with it. I

213
00:11:43,600 --> 00:11:45,240
Speaker 2: just want to ride this out.

214
00:11:45,440 --> 00:11:47,480
Speaker 3: Okay, there's a second thing that I'd say, at least

215
00:11:47,480 --> 00:11:49,920
Speaker 3: from my perspective, I have to make clear at the

216
00:11:50,000 --> 00:11:52,760
Speaker 3: very beginning in order for you to understand what the

217
00:11:52,800 --> 00:11:55,760
Speaker 3: experience of watching Super Mario Brothers is like, and it's

218
00:11:55,800 --> 00:12:00,520
Speaker 3: that in a pure visual sense, this is, with doubt

219
00:12:00,600 --> 00:12:03,840
Speaker 3: one of the ugliest movies we have covered on a

220
00:12:03,840 --> 00:12:06,680
Speaker 3: Weird House and one of the ugliest movies I have

221
00:12:06,800 --> 00:12:10,640
Speaker 3: ever seen. And I don't even think that is an

222
00:12:10,679 --> 00:12:13,760
Speaker 3: oversight by the filmmakers, Like I don't think that's unintentional.

223
00:12:14,040 --> 00:12:17,520
Speaker 3: From what I've read, they were trying to create something

224
00:12:17,920 --> 00:12:20,240
Speaker 3: that was hideous to look at. It was part of

225
00:12:20,240 --> 00:12:24,079
Speaker 3: an intended esthetic that one of the producers. I was

226
00:12:24,120 --> 00:12:26,960
Speaker 3: reading an article by Karina Longworth from many years ago,

227
00:12:27,400 --> 00:12:29,920
Speaker 3: sort of a retrospective about the making of this film,

228
00:12:30,480 --> 00:12:32,760
Speaker 3: and she said that the producers were calling it an

229
00:12:32,800 --> 00:12:36,960
Speaker 3: aesthetic of new brutalism. I don't know what that means.

230
00:12:37,000 --> 00:12:39,160
Speaker 3: That was their term, and they said it was, you know,

231
00:12:39,320 --> 00:12:43,800
Speaker 3: it was set to be inspired by kind of perverse

232
00:12:43,920 --> 00:12:46,839
Speaker 3: urban settings and industrialism.

233
00:12:47,559 --> 00:12:51,880
Speaker 2: Ah. Now that's interesting because as we'll discuss in a bit.

234
00:12:53,360 --> 00:12:55,240
Speaker 2: I don't really love the music in this film. I

235
00:12:55,280 --> 00:12:58,719
Speaker 2: feel like the music is outside of one piece from

236
00:12:58,720 --> 00:13:04,040
Speaker 2: the soundtrack, very forgettable to bad. But imagine if it

237
00:13:04,080 --> 00:13:07,480
Speaker 2: had had a heavy industrial soundtrack, because clearly, yeah, that's

238
00:13:07,480 --> 00:13:10,240
Speaker 2: what the aesthetics are asking for it ultimately, not like

239
00:13:10,280 --> 00:13:14,840
Speaker 2: a traditional score, not even like some cool funk, but

240
00:13:15,120 --> 00:13:18,199
Speaker 2: just some straight up like nurse with wound or something

241
00:13:18,360 --> 00:13:22,199
Speaker 2: playing with like a sound of cacophony, get some einsters

242
00:13:22,240 --> 00:13:23,760
Speaker 2: into a new bottin in there or something.

243
00:13:24,040 --> 00:13:27,319
Speaker 3: The Mario theme as done by Ministry.

244
00:13:27,240 --> 00:13:29,959
Speaker 2: Ye, Ministry would have been a great a great pick

245
00:13:30,000 --> 00:13:31,560
Speaker 2: for the way this film looks.

246
00:13:32,760 --> 00:13:37,760
Speaker 3: Can you imagine the Swans take on Mario? Yeah? I

247
00:13:37,800 --> 00:13:39,240
Speaker 3: would listen to that in a heartbeat.

248
00:13:40,040 --> 00:13:41,640
Speaker 2: Yeah, And I think that this is this is a

249
00:13:41,640 --> 00:13:43,720
Speaker 2: great point to make. Yeah, this idea that there are

250
00:13:43,760 --> 00:13:46,560
Speaker 2: aspects of the film that are pushing in a more

251
00:13:47,320 --> 00:13:50,160
Speaker 2: you know, creative and inventive direction. But at the other hand,

252
00:13:50,160 --> 00:13:52,800
Speaker 2: this was like what a fifty million dollar picture aimed

253
00:13:52,800 --> 00:13:56,800
Speaker 2: at a mainstream audience and presumably for children. Those are

254
00:13:56,840 --> 00:13:59,200
Speaker 2: certain things, Yeah, there are certain things that had to

255
00:13:59,240 --> 00:14:01,560
Speaker 2: be in check, like like you know, you probably can't

256
00:14:01,559 --> 00:14:04,760
Speaker 2: go to graphic on melting a dude in this movie,

257
00:14:04,800 --> 00:14:08,240
Speaker 2: and it's gonna end up having a traditional score, no

258
00:14:08,280 --> 00:14:13,080
Speaker 2: matter how gnarly the visuals are so. Historically speaking, no

259
00:14:13,120 --> 00:14:15,679
Speaker 2: one liked this movie. No one seems to have liked

260
00:14:15,720 --> 00:14:19,520
Speaker 2: working on it. Neither critics nor audiences found much to

261
00:14:19,560 --> 00:14:24,400
Speaker 2: love about it. It was a box office bomb. However,

262
00:14:25,160 --> 00:14:27,600
Speaker 2: it does seem like maybe the cheese has aged into

263
00:14:27,640 --> 00:14:31,000
Speaker 2: something more desirable, at least for some segments of the population,

264
00:14:31,200 --> 00:14:33,680
Speaker 2: or at least some individuals. I was reading that Quentin

265
00:14:33,720 --> 00:14:37,600
Speaker 2: Tarantino defended the film recently on his I believe he's

266
00:14:37,600 --> 00:14:41,640
Speaker 2: on a podcast and in hosted an enthusiastic showing on

267
00:14:41,760 --> 00:14:44,920
Speaker 2: it now. Tarantino certainly has a love of weird films,

268
00:14:45,240 --> 00:14:47,800
Speaker 2: although he sometimes makes some really you know, head scratching

269
00:14:47,840 --> 00:14:50,080
Speaker 2: picks for favorites. I seem to recall he loved twenty

270
00:14:50,120 --> 00:14:51,960
Speaker 2: thirteen's Lone Ranger, for example.

271
00:14:52,680 --> 00:14:56,760
Speaker 3: That's a I don't know but yeah, but okay, I Well,

272
00:14:56,800 --> 00:15:00,840
Speaker 3: we two also have enthusiasm for out of the way picks,

273
00:15:01,080 --> 00:15:04,680
Speaker 3: kind of strange movies that nobody else would really think

274
00:15:04,720 --> 00:15:07,640
Speaker 3: were even worth revisiting. They can't and you know, what.

275
00:15:08,680 --> 00:15:12,480
Speaker 3: I can't say that I loved or even necessarily liked

276
00:15:12,520 --> 00:15:16,320
Speaker 3: Super Mario Brothers, but I'm really glad we decided to

277
00:15:16,360 --> 00:15:18,280
Speaker 3: cover it for the show because I think this movie

278
00:15:18,400 --> 00:15:23,480
Speaker 3: is maybe not pleasant, but it is fascinating. I think

279
00:15:23,520 --> 00:15:26,720
Speaker 3: you could write a book length work about this film,

280
00:15:27,400 --> 00:15:29,840
Speaker 3: about how it was made and what it means, and

281
00:15:29,880 --> 00:15:31,000
Speaker 3: I would read that book.

282
00:15:31,600 --> 00:15:33,520
Speaker 2: Yeah. Yeah, I think it's important to know, especially with

283
00:15:35,000 --> 00:15:37,520
Speaker 2: critics like Michael Weldon and even you know, some other

284
00:15:37,560 --> 00:15:41,560
Speaker 2: contemporary reviews. Is like when this was new, when this

285
00:15:41,720 --> 00:15:45,800
Speaker 2: was the latest release, like it didn't have this historic place,

286
00:15:46,520 --> 00:15:50,600
Speaker 2: you know. So I think even the critics who really

287
00:15:50,600 --> 00:15:52,600
Speaker 2: gave it a lashing, you know, they would they probably

288
00:15:52,600 --> 00:15:56,080
Speaker 2: would consider a similar picture in a different light if

289
00:15:56,120 --> 00:16:01,440
Speaker 2: it were from thirty years ago to their writing. So, yeah,

290
00:16:01,520 --> 00:16:04,160
Speaker 2: it is. It's a weird film. It's it's an ugly film,

291
00:16:04,440 --> 00:16:07,560
Speaker 2: but there's a lot of interesting stuff going on in

292
00:16:07,600 --> 00:16:08,920
Speaker 2: it now.

293
00:16:08,960 --> 00:16:13,720
Speaker 3: Since it was, of course ostensibly a film mostly for children,

294
00:16:13,880 --> 00:16:16,760
Speaker 3: it had toy tie ins, and you included a photo

295
00:16:16,840 --> 00:16:21,080
Speaker 3: of those action figures here in the outline. Just wretched,

296
00:16:21,440 --> 00:16:22,680
Speaker 3: wretched toys.

297
00:16:23,320 --> 00:16:25,560
Speaker 2: Yeah, they remind me. They're almost as repulsive as the

298
00:16:25,600 --> 00:16:30,680
Speaker 2: Dick Tracy toys that I definitely own several of They

299
00:16:30,720 --> 00:16:32,560
Speaker 2: look like they have similar bodies, you know.

300
00:16:33,000 --> 00:16:35,200
Speaker 3: Okay, so two of the toys are Mario and Luigi.

301
00:16:35,320 --> 00:16:38,240
Speaker 3: I get that. One toy is Dennis Hopper as King Koopa.

302
00:16:38,360 --> 00:16:42,000
Speaker 3: One is one of the movies goombas, which are getting

303
00:16:42,080 --> 00:16:46,480
Speaker 3: nasty looking. But then two of the six pictured here

304
00:16:47,200 --> 00:16:50,280
Speaker 3: are just They're just the guys from Night at the Roxbury.

305
00:16:50,480 --> 00:16:53,440
Speaker 3: They're like Fisher Stevens and the other dude from the

306
00:16:53,480 --> 00:16:55,480
Speaker 3: movie were in suits to go out to the club.

307
00:16:55,920 --> 00:17:01,320
Speaker 2: Yeah, like the least marketable in terms of children characters film. Meanwhile,

308
00:17:01,320 --> 00:17:03,800
Speaker 2: the goomba looks really good, Like the goomba toy actually

309
00:17:03,840 --> 00:17:07,200
Speaker 2: does look better than the goomba's in the movie. Agree,

310
00:17:07,600 --> 00:17:10,120
Speaker 2: all right, So Joe, what's the what's the elevator pitch

311
00:17:10,160 --> 00:17:10,560
Speaker 2: on this one?

312
00:17:10,960 --> 00:17:16,399
Speaker 3: Well, it's a hymn A Mario No I do? Okay,

313
00:17:16,440 --> 00:17:20,480
Speaker 3: So it's uh, Mario and Luigi are. They're struggling plumbers

314
00:17:20,520 --> 00:17:25,159
Speaker 3: in Brooklyn. They meet Daisy, a paleontologist who happened to

315
00:17:25,359 --> 00:17:28,800
Speaker 3: have hatched from an egg. Together, the three of them

316
00:17:28,840 --> 00:17:32,439
Speaker 3: are sucked into an alternate dimension where people evolved from

317
00:17:32,560 --> 00:17:36,639
Speaker 3: dinosaurs and everything is gross, and an evil Dennis Hopper

318
00:17:36,960 --> 00:17:40,560
Speaker 3: wants to make our world gross like his. Can the

319
00:17:40,640 --> 00:17:41,480
Speaker 3: humans stop him?

320
00:17:41,920 --> 00:17:45,320
Speaker 2: All right? Let's listen to that trailer audio.

321
00:17:49,160 --> 00:17:58,320
Speaker 4: They're brothers, They're plumbers. They're on the trail of a

322
00:17:58,400 --> 00:18:03,320
Speaker 4: kidnapped princess and a mystical meteorite.

323
00:18:04,280 --> 00:18:06,919
Speaker 3: That gives any one who possesses EXI.

324
00:18:08,440 --> 00:18:12,080
Speaker 4: The power to rule the universe.

325
00:18:12,680 --> 00:18:15,639
Speaker 2: Get me the rocks.

326
00:18:18,520 --> 00:18:25,760
Speaker 4: They must rescue the princess physic escaping and make.

327
00:18:25,680 --> 00:18:29,520
Speaker 3: It safely back later, alligators.

328
00:18:29,119 --> 00:18:53,000
Speaker 4: To our world before time runs out. Get him Super

329
00:18:53,160 --> 00:18:54,080
Speaker 4: Mario Brothers.

330
00:18:54,600 --> 00:19:01,240
Speaker 2: This ain't no game all right. Now. If you're wondering

331
00:19:01,520 --> 00:19:04,920
Speaker 2: where can I watch nineteen ninety three Super Mario Brothers,

332
00:19:05,080 --> 00:19:07,840
Speaker 2: Well it's pretty much only available as physical media, so

333
00:19:08,240 --> 00:19:11,440
Speaker 2: go out and get it now on bare bones Blu ray, DVD,

334
00:19:11,600 --> 00:19:13,040
Speaker 2: LaserDisc or VHS.

335
00:19:13,560 --> 00:19:16,080
Speaker 3: We watched it on a DVD that might as well

336
00:19:16,119 --> 00:19:17,199
Speaker 3: have been a VHS.

337
00:19:17,880 --> 00:19:20,359
Speaker 2: Oh yeah, this is I mean, I'm glad you were

338
00:19:20,680 --> 00:19:23,359
Speaker 2: on it and you ordered up a couple of these

339
00:19:23,400 --> 00:19:26,399
Speaker 2: three dollars DVDs for us. But man, this is one

340
00:19:26,440 --> 00:19:29,520
Speaker 2: of the most bare bones DVD releases of a major

341
00:19:29,560 --> 00:19:33,040
Speaker 2: motion picture I've ever seen the menu for it, Like

342
00:19:33,080 --> 00:19:36,879
Speaker 2: the onscreen menu looks like one of those template default

343
00:19:36,920 --> 00:19:40,480
Speaker 2: menus on a burn your own DVD program from like

344
00:19:40,520 --> 00:19:41,400
Speaker 2: fifteen years ago.

345
00:19:41,800 --> 00:19:44,720
Speaker 3: It might literally have been something like that. And when

346
00:19:44,760 --> 00:19:48,000
Speaker 3: the menu pops up, it plays the Super Mario theme

347
00:19:48,119 --> 00:19:51,880
Speaker 3: like from the game. But I swear they modulated it somehow,

348
00:19:51,960 --> 00:19:56,240
Speaker 3: so it sounds sad. It literally sounds like the depressed

349
00:19:56,359 --> 00:20:01,800
Speaker 3: version of the Mario music. Dun dund dun dundun.

350
00:20:03,119 --> 00:20:05,479
Speaker 2: Yeah, like a busted holiday card or something.

351
00:20:06,640 --> 00:20:06,840
Speaker 3: Yeah.

352
00:20:06,880 --> 00:20:09,000
Speaker 2: I don't know if the Blu ray received any more love.

353
00:20:09,119 --> 00:20:12,840
Speaker 2: I tend to doubt it. I mean, I don't think

354
00:20:12,880 --> 00:20:16,040
Speaker 2: any release for this film re release has given it

355
00:20:16,080 --> 00:20:18,439
Speaker 2: any amount of love. It's been just sort of cast

356
00:20:18,440 --> 00:20:21,680
Speaker 2: out there, like we don't want Pirates to provide the

357
00:20:21,720 --> 00:20:24,320
Speaker 2: people who are interested with this film. So okay, we'll

358
00:20:24,359 --> 00:20:35,080
Speaker 2: put it out all right. Shall we get into the

359
00:20:35,119 --> 00:20:38,040
Speaker 2: connections on this one? The people of note because there

360
00:20:38,080 --> 00:20:41,320
Speaker 2: are a number of fascinating folks and very talented folks

361
00:20:41,359 --> 00:20:46,879
Speaker 2: involved in the creation of this monstrosity. So first of all,

362
00:20:47,320 --> 00:20:51,280
Speaker 2: the director's chairs. We have a pair of directors. I

363
00:20:51,280 --> 00:20:53,520
Speaker 2: believe they were husband and wife at the time. Annabel

364
00:20:53,640 --> 00:20:57,399
Speaker 2: Jenkle and Rocky Morton both born in nineteen fifty five,

365
00:20:57,840 --> 00:20:59,720
Speaker 2: so yeah, these two were a couple. They found it

366
00:20:59,800 --> 00:21:02,560
Speaker 2: Q Cumber Studios in the late nineteen seventies and they

367
00:21:02,560 --> 00:21:06,320
Speaker 2: specialized in music videos, TV commercials, title sequences, stuff like that.

368
00:21:06,800 --> 00:21:09,560
Speaker 2: They worked with a number of notable clients and musical talents,

369
00:21:09,760 --> 00:21:14,360
Speaker 2: but what really put them on the map was Max Headroom.

370
00:21:14,480 --> 00:21:18,439
Speaker 2: Max Headroom debuted in a fifty seven minute TV film,

371
00:21:18,520 --> 00:21:21,840
Speaker 2: Max Headroom Twenty Minutes Into the Future in nineteen eighty five.

372
00:21:21,920 --> 00:21:24,280
Speaker 2: He was played, of course, by the talented Matt Freuher

373
00:21:24,800 --> 00:21:29,280
Speaker 2: in a cyberpunk origin story for this character that I

374
00:21:29,359 --> 00:21:33,000
Speaker 2: think a lot of us associate with later becoming a

375
00:21:33,080 --> 00:21:34,240
Speaker 2: spokesman for Coke.

376
00:21:36,040 --> 00:21:38,600
Speaker 3: But I thought the whole point of Max Headroom is

377
00:21:38,680 --> 00:21:43,120
Speaker 3: that he is an evil, soulless, computer generated representative of

378
00:21:43,160 --> 00:21:46,639
Speaker 3: an oppressive corporate conglomerate that wants to rule the world

379
00:21:46,640 --> 00:21:47,600
Speaker 3: with an iron fist.

380
00:21:48,359 --> 00:21:50,000
Speaker 2: Well, I don't know. I think you might know more

381
00:21:50,000 --> 00:21:52,640
Speaker 2: about Max Headroom than I do. I haven't seen any

382
00:21:52,680 --> 00:21:57,160
Speaker 2: of these Max Headroom properties aside from like the Coke spots,

383
00:21:57,320 --> 00:21:59,920
Speaker 2: so all I know is that he's digital and kind

384
00:21:59,920 --> 00:22:00,520
Speaker 2: of plastic.

385
00:22:00,880 --> 00:22:03,320
Speaker 3: Yeah. I've never actually seen this TV film or anything,

386
00:22:03,359 --> 00:22:06,000
Speaker 3: but like I've seen clips and I've read about it.

387
00:22:06,080 --> 00:22:08,000
Speaker 3: That's what I thought it was. It seems to me

388
00:22:08,119 --> 00:22:12,760
Speaker 3: like if like Dick Jones from RoboCop became the spokesperson

389
00:22:12,800 --> 00:22:13,240
Speaker 3: for coke.

390
00:22:13,920 --> 00:22:16,320
Speaker 2: Yeah. I don't know, So maybe we have some Max

391
00:22:16,359 --> 00:22:19,520
Speaker 2: Headroom fans out there. You can set the record straight

392
00:22:19,560 --> 00:22:22,200
Speaker 2: on this, but Max was a hit. He almost immediately

393
00:22:22,200 --> 00:22:25,199
Speaker 2: got his own Channel four music video presentation show that

394
00:22:25,240 --> 00:22:28,760
Speaker 2: got aired on Cinemax in the US the Coke deal. Obviously.

395
00:22:29,359 --> 00:22:32,080
Speaker 2: Max even had his own TV show on ABC in

396
00:22:32,160 --> 00:22:35,320
Speaker 2: nineteen eighty seven, and we continue to have various cameos

397
00:22:35,560 --> 00:22:37,720
Speaker 2: over the years and it remains something of I guess

398
00:22:37,760 --> 00:22:41,080
Speaker 2: like an eighties odd ball cultural icon. All right, But anyway,

399
00:22:41,080 --> 00:22:44,200
Speaker 2: back to Jenkle and Morton here. Following Max Headroom, they

400
00:22:44,200 --> 00:22:47,680
Speaker 2: did a nineteen eighty eight film titled Da starring Dennis Quaid,

401
00:22:47,720 --> 00:22:53,000
Speaker 2: Meg Ryan, Charlotte Rampling, Daniel Stern, and Jane Kazmarak. Wow,

402
00:22:53,640 --> 00:22:56,080
Speaker 2: an impressive cast. I have not seen it. It was

403
00:22:56,119 --> 00:22:59,720
Speaker 2: apparently like a neo noir flick, and it did pretty

404
00:22:59,720 --> 00:23:02,840
Speaker 2: well clear and commercially, I understand it's actually a remake

405
00:23:02,880 --> 00:23:06,199
Speaker 2: of a nineteen forty nine film, and Michael Weldon in

406
00:23:06,280 --> 00:23:10,199
Speaker 2: his review stress that the original is definitely better. But

407
00:23:10,280 --> 00:23:13,159
Speaker 2: then came nineteen ninety three Super Mario Brothers, and you know,

408
00:23:13,359 --> 00:23:15,720
Speaker 2: there's a lot to unpack here about what didn't work,

409
00:23:16,560 --> 00:23:20,119
Speaker 2: and you know what a bomb it was, certainly, and

410
00:23:20,200 --> 00:23:22,400
Speaker 2: it kind of I think caused a pause in both

411
00:23:22,440 --> 00:23:26,520
Speaker 2: their careers. I believe Morton continued doing music videos. We

412
00:23:26,640 --> 00:23:30,280
Speaker 2: don't see much from him afterwards, either in terms of

413
00:23:30,440 --> 00:23:33,520
Speaker 2: film or TV credits, at least around two thousand and five,

414
00:23:33,880 --> 00:23:36,359
Speaker 2: which is also around the time that the couple having

415
00:23:36,400 --> 00:23:39,399
Speaker 2: to divorce. I think Morton's work has mostly been in

416
00:23:39,480 --> 00:23:43,320
Speaker 2: music videos, and Jankell has continued to direct, including the

417
00:23:43,760 --> 00:23:46,720
Speaker 2: two thousand and nine TV movies skellg The owl Man

418
00:23:46,840 --> 00:23:51,120
Speaker 2: starring Tim Roth and John sim and twenty eighteen's Tell

419
00:23:51,160 --> 00:23:54,320
Speaker 2: It to the Bees starring Billy Boyd and Anna Paquin.

420
00:23:54,640 --> 00:23:56,800
Speaker 3: Yeah, I think I can say I'm not familiar with

421
00:23:56,920 --> 00:24:00,000
Speaker 3: it either of the director's other work really, apart from

422
00:24:00,040 --> 00:24:02,119
Speaker 3: what little bit I know about Max Headroom. So that

423
00:24:02,320 --> 00:24:04,359
Speaker 3: you know, all I've got to go on here is

424
00:24:04,400 --> 00:24:08,639
Speaker 3: Super Mario Brothers. I can't get further into their heads.

425
00:24:08,440 --> 00:24:12,800
Speaker 2: All right, the writers on this. So there's, first of all,

426
00:24:12,800 --> 00:24:16,639
Speaker 2: there are a pair here. There's Terry Runt, I believe

427
00:24:16,640 --> 00:24:18,919
Speaker 2: it is I may be mispronouncing that, are you Nte

428
00:24:19,280 --> 00:24:22,760
Speaker 2: who lived nineteen sixty through nineteen ninety four, along with

429
00:24:22,960 --> 00:24:26,960
Speaker 2: Parker Bennett dates unknown. They'd previously written nineteen ninety one's

430
00:24:27,000 --> 00:24:31,520
Speaker 2: Mystery Date. Bennett was a cartoonist and apparently was in advertising.

431
00:24:31,560 --> 00:24:34,920
Speaker 2: But that's all I really dug up about their professional careers.

432
00:24:35,800 --> 00:24:39,879
Speaker 2: The other credited writer is Ed Solomon born nineteen sixty.

433
00:24:40,000 --> 00:24:42,040
Speaker 2: Solomon is best known for his writing work and I

434
00:24:42,040 --> 00:24:44,800
Speaker 2: believe all the Bill and Ted films, from the Bill

435
00:24:44,840 --> 00:24:47,480
Speaker 2: and Ted franchise, the first Men in Black movie, the

436
00:24:47,640 --> 00:24:50,840
Speaker 2: Now You See Me films, and also such titles as

437
00:24:50,920 --> 00:24:53,680
Speaker 2: ninety two's Mom and Dad Saved the World, that two

438
00:24:53,720 --> 00:24:58,000
Speaker 2: thousand Charlie's Angels movie, and twenty twenty one's No Sudden

439
00:24:58,040 --> 00:24:58,840
Speaker 2: Move Now.

440
00:24:58,880 --> 00:25:02,760
Speaker 3: I think one thing to stress, and this will make

441
00:25:02,800 --> 00:25:05,160
Speaker 3: a lot of sense if you see the movie, is

442
00:25:05,200 --> 00:25:08,560
Speaker 3: that the script that we ended up with being shot

443
00:25:08,640 --> 00:25:12,479
Speaker 3: and making the movie was by no means the first

444
00:25:12,560 --> 00:25:16,399
Speaker 3: attempt or the first draft to script this thing. I

445
00:25:16,720 --> 00:25:18,960
Speaker 3: don't know. I've read accounts where I lost track of

446
00:25:19,000 --> 00:25:21,040
Speaker 3: all the different version I think there was something like

447
00:25:21,320 --> 00:25:26,840
Speaker 3: nine different scripts or something, and it went through all

448
00:25:26,920 --> 00:25:30,159
Speaker 3: kinds of development hell or I don't know if it's

449
00:25:30,200 --> 00:25:32,480
Speaker 3: technically development hell. That might be a more specific thing.

450
00:25:32,680 --> 00:25:36,520
Speaker 3: It went through a very complicated creative process. In fact,

451
00:25:36,640 --> 00:25:41,320
Speaker 3: I was reading an article in Yahoo Entertainment about one

452
00:25:41,359 --> 00:25:45,359
Speaker 3: of the screenwriters who did an early draft for the movie.

453
00:25:45,880 --> 00:25:49,400
Speaker 3: And this article is by John San called the Super

454
00:25:49,440 --> 00:25:52,200
Speaker 3: Mario Brothers Movie Turns twenty five, How the Infamous Dud

455
00:25:52,280 --> 00:25:56,119
Speaker 3: was inspired by an Oscar winning film. This article claims

456
00:25:56,119 --> 00:25:59,439
Speaker 3: that the first draft of the script, again completely different

457
00:25:59,480 --> 00:26:02,280
Speaker 3: from what was actually filmed, was written by the Oscar

458
00:26:02,320 --> 00:26:05,400
Speaker 3: winning screenwriter Barry Morrow, who was one of the two

459
00:26:05,440 --> 00:26:09,399
Speaker 3: writers behind rain Man, and he was brought on board

460
00:26:09,440 --> 00:26:12,800
Speaker 3: because of the rain Man script because of quote his

461
00:26:13,240 --> 00:26:15,199
Speaker 3: talent for writing Brothers.

462
00:26:15,920 --> 00:26:16,480
Speaker 2: Oh wow.

463
00:26:16,800 --> 00:26:20,840
Speaker 3: So a few quotes from the article, Morrow says, my son,

464
00:26:20,880 --> 00:26:23,640
Speaker 3: who was very small at the time, was Mario crazy.

465
00:26:23,920 --> 00:26:25,679
Speaker 3: I said I would do it just to get Mario

466
00:26:25,760 --> 00:26:30,199
Speaker 3: games for my son. Probably. Apparently it was going to

467
00:26:30,200 --> 00:26:33,199
Speaker 3: be an origin story telling the story of how the

468
00:26:33,240 --> 00:26:35,479
Speaker 3: Mario Brothers became.

469
00:26:35,320 --> 00:26:37,960
Speaker 2: Super Don't they just step on a mushroom? Like that's

470
00:26:38,000 --> 00:26:39,040
Speaker 2: the original version.

471
00:26:39,320 --> 00:26:41,479
Speaker 3: Yeah, I think that is. But so, he says he

472
00:26:41,480 --> 00:26:43,840
Speaker 3: can't remember all of the details of his script. I've

473
00:26:43,840 --> 00:26:46,600
Speaker 3: read a few other allegations about it elsewhere that it

474
00:26:47,200 --> 00:26:50,439
Speaker 3: had a kind of mythic structure and involved like a

475
00:26:50,440 --> 00:26:53,840
Speaker 3: great journey or a quest. But he says it hinged

476
00:26:53,880 --> 00:26:57,160
Speaker 3: on quote a ring getting lost in a drain, and

477
00:26:57,200 --> 00:27:00,840
Speaker 3: that's what led Mario and Luigi into the plumbing world.

478
00:27:01,200 --> 00:27:03,760
Speaker 2: Well, I mean makes sense. You got to start somewhere. Uh.

479
00:27:04,359 --> 00:27:07,160
Speaker 3: He also says, quote, I didn't even finish the script.

480
00:27:07,280 --> 00:27:09,800
Speaker 3: I had the last scene I was working on when

481
00:27:09,840 --> 00:27:12,280
Speaker 3: the courier arrived and said I've been told to take

482
00:27:12,320 --> 00:27:14,720
Speaker 3: it whether you're finished or not. Off it went.

483
00:27:15,600 --> 00:27:18,640
Speaker 2: Wow. That story itself is pretty crazy, just in terms

484
00:27:18,680 --> 00:27:21,280
Speaker 2: of like a pre internet age, like there's no like

485
00:27:21,320 --> 00:27:23,080
Speaker 2: we need you to email the script. Now it's like

486
00:27:23,160 --> 00:27:24,600
Speaker 2: the courier is at the door.

487
00:27:25,480 --> 00:27:28,000
Speaker 3: Yeah, so he had to hand off the unfinished script.

488
00:27:28,080 --> 00:27:32,360
Speaker 3: Of course it was. It may have fed into subsequent scripts,

489
00:27:32,400 --> 00:27:35,840
Speaker 3: which were subsequently revised in many different ways. I've heard

490
00:27:35,840 --> 00:27:40,639
Speaker 3: that the shooting script that they ended up using, I

491
00:27:40,680 --> 00:27:42,520
Speaker 3: think the claim I read about I think this was

492
00:27:42,560 --> 00:27:46,240
Speaker 3: in the Koreana Longworth article in Grantland that I read

493
00:27:46,280 --> 00:27:50,760
Speaker 3: about this. That script they said by the time they

494
00:27:50,920 --> 00:27:54,199
Speaker 3: used it had no original pages in it, so you

495
00:27:54,240 --> 00:27:56,040
Speaker 3: know they would have like the color coding of the

496
00:27:56,080 --> 00:27:59,160
Speaker 3: different revision pages, and there were no white pages from

497
00:27:59,200 --> 00:28:00,439
Speaker 3: the first draft. Left.

498
00:28:00,960 --> 00:28:04,520
Speaker 2: Wow. Well, if creatively this is a train that eventually

499
00:28:04,520 --> 00:28:07,560
Speaker 2: goes off the tracks, we have to acknowledge that that

500
00:28:07,600 --> 00:28:12,320
Speaker 2: train began long ago in a station of just pure

501
00:28:12,359 --> 00:28:16,679
Speaker 2: game development. The individual that, of course this begins with

502
00:28:16,960 --> 00:28:21,440
Speaker 2: is Shagiru Miyamoto born nineteen fifty two, video game designer, producer,

503
00:28:21,520 --> 00:28:24,560
Speaker 2: and game director in Nintendo. His work also includes the

504
00:28:24,600 --> 00:28:27,680
Speaker 2: creation of the Legend of Zelda, Donkey Kong, f Zero,

505
00:28:27,800 --> 00:28:30,520
Speaker 2: and Star Fox. He has been described as the father

506
00:28:30,600 --> 00:28:32,040
Speaker 2: of modern video games.

507
00:28:32,400 --> 00:28:35,600
Speaker 3: I don't know a lot about him personally, but yeah,

508
00:28:35,600 --> 00:28:37,200
Speaker 3: I don't know. How can you argue with that track

509
00:28:37,240 --> 00:28:41,880
Speaker 3: record that is an incredible creative and technical mind.

510
00:28:42,240 --> 00:28:45,280
Speaker 2: Yeah, all right, let's get into the cast here. Obviously,

511
00:28:45,760 --> 00:28:48,960
Speaker 2: the lead is Mario Mario. Mario is his full name

512
00:28:49,680 --> 00:28:53,040
Speaker 2: and the character's name, and Mario Mario is played by

513
00:28:53,200 --> 00:28:56,200
Speaker 2: Bob Hoskins. Who of nineteen forty two through twenty fourteen.

514
00:28:56,680 --> 00:29:00,680
Speaker 2: Hoskins was a versatile British actor, probably best known to

515
00:29:00,800 --> 00:29:03,800
Speaker 2: many out there for his role as Eddie Valiant in

516
00:29:03,880 --> 00:29:06,800
Speaker 2: nineteen eighty eight, who framed Roger Rabbit, But of course

517
00:29:06,960 --> 00:29:08,680
Speaker 2: he came into that role on the back of a

518
00:29:08,720 --> 00:29:12,440
Speaker 2: lot of highly regarded work, including nineteen seventy nine Pennies

519
00:29:12,480 --> 00:29:16,280
Speaker 2: from Heaven, nineteen eighty two's The Long Good Friday, playing

520
00:29:16,280 --> 00:29:20,480
Speaker 2: a gangster British gangster opposite Helen Mirren and Paul Freeman.

521
00:29:21,240 --> 00:29:24,320
Speaker 2: Nineteen eighty four is The Honorary Console, which was also

522
00:29:24,440 --> 00:29:27,320
Speaker 2: released under the title Beyond the Limit. On that he

523
00:29:27,640 --> 00:29:30,200
Speaker 2: acted opposite Richard Gear and Michael Caine. And then there's

524
00:29:30,240 --> 00:29:33,920
Speaker 2: nineteen eighty seven's Mona Lisa playing a criminal again opposite

525
00:29:34,040 --> 00:29:37,720
Speaker 2: Kathy Tyson, Michael Caine, Robbie Coltrane and Clark Peters. That

526
00:29:37,760 --> 00:29:40,760
Speaker 2: one was directed by Neil Jordans, so a great actor,

527
00:29:41,080 --> 00:29:44,120
Speaker 2: maybe best known for his roles outside of some of

528
00:29:44,120 --> 00:29:47,360
Speaker 2: these films, roles as heavies, you know, as kind of

529
00:29:47,400 --> 00:29:50,600
Speaker 2: tough guys and gangsters. But there's a lot of interesting

530
00:29:50,600 --> 00:29:53,720
Speaker 2: stuff in there too. Amid some obvious paydays I've seen

531
00:29:53,760 --> 00:29:58,360
Speaker 2: some creepy performances from him and also just some basic

532
00:29:58,760 --> 00:29:59,960
Speaker 2: authority figure roles.

533
00:30:00,360 --> 00:30:03,200
Speaker 3: Bob Hoskins was a great actor. Yeah, I love him.

534
00:30:03,760 --> 00:30:07,440
Speaker 3: He has quite famously and emphatically insisted that this was

535
00:30:07,520 --> 00:30:10,719
Speaker 3: the worst thing he ever worked on in his entire career,

536
00:30:11,240 --> 00:30:15,040
Speaker 3: and has had just venomous things to say about it

537
00:30:15,080 --> 00:30:19,840
Speaker 3: in interviews. But I was reading in that Grantland article

538
00:30:20,720 --> 00:30:25,080
Speaker 3: about the other actors who at some point were considering

539
00:30:25,320 --> 00:30:28,000
Speaker 3: or were considered for the role of Mario. Do you

540
00:30:28,080 --> 00:30:30,520
Speaker 3: know who these other potential Marios were.

541
00:30:31,640 --> 00:30:34,560
Speaker 2: I am going to guess Robert de Niro.

542
00:30:34,880 --> 00:30:36,760
Speaker 3: He's not on the list. He may have been in there,

543
00:30:36,800 --> 00:30:40,400
Speaker 3: but not here. Okay, No, first one, Karina Longworth says,

544
00:30:40,400 --> 00:30:44,479
Speaker 3: first one, Dustin Hoffman wanted to be Mario again because

545
00:30:44,520 --> 00:30:48,480
Speaker 3: his kids were Nintendo maniacs, and so he wanted to

546
00:30:48,520 --> 00:30:53,200
Speaker 3: impress his kids, apparently by being Mario on screen. But

547
00:30:53,320 --> 00:30:58,320
Speaker 3: that didn't work out. I think originally the game executive,

548
00:30:58,360 --> 00:31:01,000
Speaker 3: so this may have been the people at Nintendo rather

549
00:31:01,040 --> 00:31:04,680
Speaker 3: than the movie studio, wanted Danny DeVito. I mean it

550
00:31:04,720 --> 00:31:06,440
Speaker 3: seems like a very clear choice there.

551
00:31:06,960 --> 00:31:09,400
Speaker 2: Yeah, yeah, yeah, I mean de Vito would have been

552
00:31:09,440 --> 00:31:11,400
Speaker 2: interesting in the role. Would have brought a different energy

553
00:31:11,440 --> 00:31:15,400
Speaker 2: because one thing about Hoskins Mario is that he looks

554
00:31:15,400 --> 00:31:18,560
Speaker 2: like he's ready for a brawl a lot in this film, like,

555
00:31:18,600 --> 00:31:21,760
Speaker 2: oh yeah, his intensity is a little unnerving at times.

556
00:31:21,840 --> 00:31:24,200
Speaker 3: He looks like he could kill somebody in an argument

557
00:31:24,240 --> 00:31:25,000
Speaker 3: about football.

558
00:31:25,160 --> 00:31:28,760
Speaker 2: Yeah, and his character frequently says that he wishes to

559
00:31:28,880 --> 00:31:29,440
Speaker 2: kill people.

560
00:31:29,680 --> 00:31:32,960
Speaker 3: Yes, So this is a Mario who expresses death, which

561
00:31:33,000 --> 00:31:37,840
Speaker 3: is constantly yeah. But apparently Danny DeVito ended up not

562
00:31:37,880 --> 00:31:41,280
Speaker 3: being involved in this because he wanted to concentrate on

563
00:31:41,440 --> 00:31:45,840
Speaker 3: directing and co starring in Hafa. Okay, I think that

564
00:31:45,920 --> 00:31:50,640
Speaker 3: was starring Jack Nicholson as Jimmy Hoffer. Okay. Next thing

565
00:31:50,680 --> 00:31:54,240
Speaker 3: after this was that apparently Tom Hanks was considered for

566
00:31:54,280 --> 00:31:56,760
Speaker 3: the role. This would have been Tom hank right around

567
00:31:56,800 --> 00:31:57,880
Speaker 3: the time of Forrest Gump.

568
00:31:57,920 --> 00:32:02,200
Speaker 2: I believe, No, I don't know. Hank's would have been

569
00:32:02,280 --> 00:32:06,320
Speaker 2: Luigi at Best yeah, though I honestly don't even know

570
00:32:06,360 --> 00:32:07,760
Speaker 2: how I have a strong opinion about this.

571
00:32:09,520 --> 00:32:13,160
Speaker 3: Tom Hanks apparently wanted five million for the role, but

572
00:32:13,280 --> 00:32:16,000
Speaker 3: instead they ended up going with Bob Hoskins. And it's

573
00:32:16,000 --> 00:32:19,840
Speaker 3: weird because it's like, I can't really fault them for that.

574
00:32:19,920 --> 00:32:23,600
Speaker 3: Seems like a great choice, But then again, I don't know,

575
00:32:23,720 --> 00:32:27,000
Speaker 3: Like Hoskins ended up being so hostile about the very

576
00:32:27,080 --> 00:32:32,040
Speaker 3: idea of this film. I don't know. I mean maybe

577
00:32:32,120 --> 00:32:34,800
Speaker 3: I one wonders if there had been a different actor

578
00:32:34,840 --> 00:32:36,800
Speaker 3: in the role, if the whole movie could have taken

579
00:32:36,840 --> 00:32:38,200
Speaker 3: a different direction. I don't know.

580
00:32:38,320 --> 00:32:41,600
Speaker 2: Yeah, yeah, hard to say. Now, you can't have Mario

581
00:32:41,680 --> 00:32:45,920
Speaker 2: without Luigi and Luigi Mario is played by John Leguizamo

582
00:32:46,160 --> 00:32:49,920
Speaker 2: born nineteen sixty. I've seen this film singled out as

583
00:32:49,960 --> 00:32:52,760
Speaker 2: the role that allowed him to rise to fame, and

584
00:32:52,840 --> 00:32:55,040
Speaker 2: maybe that's the case. But he'd certainly been putting in

585
00:32:55,120 --> 00:32:58,120
Speaker 2: the work prior to Mario Brothers and has done a

586
00:32:58,160 --> 00:33:01,239
Speaker 2: great deal since Mario Brothers to cement his legacy as

587
00:33:01,240 --> 00:33:05,160
Speaker 2: a comedian and an actor with both comedic and dramatic power.

588
00:33:05,720 --> 00:33:09,320
Speaker 2: His earliest credit is playing Madonna's boyfriend's friend in the

589
00:33:09,360 --> 00:33:13,280
Speaker 2: nineteen eighty four music video for Borderline, followed by small

590
00:33:13,440 --> 00:33:16,280
Speaker 2: roles in such films as Diehard Too and Regarding Henry.

591
00:33:16,560 --> 00:33:19,640
Speaker 2: But it's clearly off to the races after Mario Brothers,

592
00:33:19,920 --> 00:33:22,000
Speaker 2: and the man has worked so much that I can't

593
00:33:22,000 --> 00:33:24,360
Speaker 2: even hit it all like the high points. But just

594
00:33:24,440 --> 00:33:26,640
Speaker 2: to name a few films of note, there's Tu Wong

595
00:33:26,720 --> 00:33:29,880
Speaker 2: Foo Thanks for Everything, Julie Newmart from ninety three, the

596
00:33:29,960 --> 00:33:33,920
Speaker 2: nineteen ninety six adaptation of Romeo and Juliet Oh nineteen

597
00:33:34,000 --> 00:33:37,840
Speaker 2: ninety seven Spawn, in which he plays the villainous clown character.

598
00:33:38,320 --> 00:33:40,840
Speaker 3: Yeah, that's a role.

599
00:33:40,960 --> 00:33:43,920
Speaker 2: I know it's probably not like up there for like

600
00:33:44,040 --> 00:33:47,840
Speaker 2: examples of Leguizamo at his best, but like that is

601
00:33:47,880 --> 00:33:52,360
Speaker 2: a role where the times raw energy that he has

602
00:33:52,400 --> 00:33:57,160
Speaker 2: as an actor is really essential. Like he's wearing God

603
00:33:57,200 --> 00:33:59,880
Speaker 2: only knows how much makeup in that to become clown,

604
00:34:00,400 --> 00:34:03,400
Speaker 2: and he's able to like shine through that in a

605
00:34:03,440 --> 00:34:08,600
Speaker 2: way that feels like impishly comedic and also villainous at

606
00:34:08,640 --> 00:34:09,200
Speaker 2: the same time.

607
00:34:09,680 --> 00:34:13,920
Speaker 3: February tenth, twenty twenty three article on comicbook dot Com

608
00:34:14,080 --> 00:34:18,080
Speaker 3: features quotes from an interview with John Leguizamo. John Leguizamo

609
00:34:18,200 --> 00:34:20,760
Speaker 3: is asked of all the villains he's played in his career,

610
00:34:20,880 --> 00:34:24,680
Speaker 3: what is his favorite. Leg Guizamo says, I gotta say clown.

611
00:34:26,400 --> 00:34:26,840
Speaker 2: Awesome.

612
00:34:27,520 --> 00:34:29,400
Speaker 3: He says he liked it because of the level of

613
00:34:29,440 --> 00:34:32,160
Speaker 3: difficulty and because of how much freedom he had like

614
00:34:32,239 --> 00:34:35,840
Speaker 3: to add lib and get crazy, and so he says, quote,

615
00:34:35,880 --> 00:34:37,200
Speaker 3: I pushed it to the max.

616
00:34:37,760 --> 00:34:42,680
Speaker 2: Well, it absolutely worked. We may eventually rewatch Spawn for

617
00:34:42,719 --> 00:34:46,080
Speaker 2: Weird House Cinema. In many ways, it's not an experience

618
00:34:46,120 --> 00:34:50,160
Speaker 2: I'm looking forward to, but his performance, actually several of

619
00:34:50,200 --> 00:34:52,120
Speaker 2: the performances would be the main thing I would want

620
00:34:52,160 --> 00:34:55,200
Speaker 2: to come back for. All Right, and I'll mention some

621
00:34:55,239 --> 00:34:57,359
Speaker 2: of their Leguizamo films in a bit, But another one

622
00:34:57,360 --> 00:34:59,640
Speaker 2: of note is twenty twenty two is the Menu. That's

623
00:34:59,680 --> 00:35:01,640
Speaker 2: probably one of the more recent ones that I've seen

624
00:35:01,680 --> 00:35:03,520
Speaker 2: from him, and I thought he was great in that,

625
00:35:03,680 --> 00:35:07,399
Speaker 2: playing this kind of washed up action actor that I've

626
00:35:07,440 --> 00:35:09,680
Speaker 2: seen him in interviews. Say that he kind of patterned

627
00:35:09,680 --> 00:35:12,600
Speaker 2: this character after Steven Sagal because he worked with and

628
00:35:12,600 --> 00:35:15,480
Speaker 2: he had, like many people, he has a Steven Sagall story,

629
00:35:15,640 --> 00:35:18,319
Speaker 2: many people in the industry, and so he based that

630
00:35:18,440 --> 00:35:20,240
Speaker 2: character in part on Steven Sagal.

631
00:35:20,840 --> 00:35:23,560
Speaker 3: Let me gues. Steven Sagal told him that he could

632
00:35:23,640 --> 00:35:26,799
Speaker 3: read anyone's mind just by shaking their hand, and then

633
00:35:26,880 --> 00:35:29,520
Speaker 3: leg Wasamo shook his hand and Segal passed out on

634
00:35:29,560 --> 00:35:32,680
Speaker 3: the floor something like that.

635
00:35:33,200 --> 00:35:36,560
Speaker 2: All Right, we mentioned we mentioned our villain already, but

636
00:35:36,680 --> 00:35:40,040
Speaker 2: we have King Koopa, and this is played by Dennis Hopper,

637
00:35:40,040 --> 00:35:43,520
Speaker 2: who lived nineteen thirty six through twenty ten. This is,

638
00:35:43,560 --> 00:35:46,280
Speaker 2: weirdly enough, our first Dennis Hopper movie in our left

639
00:35:47,000 --> 00:35:49,600
Speaker 2: two plus years of weird house cinema, which is kind

640
00:35:49,600 --> 00:35:51,960
Speaker 2: of a shock because Dennis Hopper is an actor with

641
00:35:52,040 --> 00:35:56,319
Speaker 2: a long career that experiences multiple spikes and dips and

642
00:35:56,440 --> 00:35:59,719
Speaker 2: has a lot of weird films in there from different decades.

643
00:36:00,160 --> 00:36:02,239
Speaker 3: Yeah, he's one of those who, you know, he's done

644
00:36:02,239 --> 00:36:05,560
Speaker 3: his prestige films, but also he clearly was not above

645
00:36:06,120 --> 00:36:09,200
Speaker 3: cash in a paycheck doing some kind of weird sci

646
00:36:09,239 --> 00:36:11,160
Speaker 3: fi slop. He did that quite a bit.

647
00:36:11,840 --> 00:36:14,720
Speaker 2: Yeah. So he came up in TV in the occasional

648
00:36:14,719 --> 00:36:17,680
Speaker 2: Western during the nineteen fifties, and then in the sixties,

649
00:36:18,400 --> 00:36:19,520
Speaker 2: you know, things got weird.

650
00:36:19,600 --> 00:36:19,839
Speaker 3: Man.

651
00:36:20,400 --> 00:36:23,120
Speaker 2: He started appearing in things like the nineteen sixty one

652
00:36:23,160 --> 00:36:26,279
Speaker 2: horror film Night Tide. He played a neo Nazi on

653
00:36:26,320 --> 00:36:30,240
Speaker 2: the nineteen sixty three episode of The Twilight Zones He's Alive,

654
00:36:30,920 --> 00:36:33,960
Speaker 2: And certainly there were more TV and westerns mixed in there.

655
00:36:34,120 --> 00:36:36,440
Speaker 2: But he also appeared in the nineteen sixty six Space

656
00:36:36,560 --> 00:36:41,240
Speaker 2: Vampire film Queen of Blood, starring John Saxon. In sixty seven,

657
00:36:41,320 --> 00:36:44,960
Speaker 2: he appeared in the Corman directed Jack Nicholson scripted LSD

658
00:36:45,160 --> 00:36:50,239
Speaker 2: movie The Trip, which which is certainly amusing. I have

659
00:36:50,360 --> 00:36:53,440
Speaker 2: seen The Trip. Other notable sixties films, of course, include

660
00:36:53,480 --> 00:36:56,760
Speaker 2: Cool Hand, Luke, Hang Him High, Oh in nineteen sixty

661
00:36:56,840 --> 00:37:00,759
Speaker 2: nine's Easy Rider, which he also directed and wrote the

662
00:37:00,800 --> 00:37:04,720
Speaker 2: first of nine directorial credits, which also included nineteen seventy

663
00:37:04,719 --> 00:37:08,120
Speaker 2: one's The Last Movie. He was in sixty nine's True Grit.

664
00:37:08,200 --> 00:37:10,680
Speaker 2: In nineteen seventy nine, of course, he played a memorable

665
00:37:10,719 --> 00:37:14,359
Speaker 2: role as the as a deranged photo journalist in Apocalypse Now.

666
00:37:15,360 --> 00:37:18,480
Speaker 2: And I think his eighties output may be classified by

667
00:37:18,480 --> 00:37:20,799
Speaker 2: some as a slump, but he's still and during that

668
00:37:20,840 --> 00:37:23,160
Speaker 2: time period he gave us a nineteen eighty one Stigmata

669
00:37:23,160 --> 00:37:26,680
Speaker 2: movie titled Reborn. And then, of course he had a

670
00:37:26,760 --> 00:37:30,440
Speaker 2: strong nineteen eighty six with both The Texas Chainsaw Massacre

671
00:37:30,520 --> 00:37:32,160
Speaker 2: two and Blue Velvet.

672
00:37:32,440 --> 00:37:33,680
Speaker 3: Wow. Yeah, that's a year.

673
00:37:34,480 --> 00:37:37,520
Speaker 2: Did you notice Joe in this movie? The MANI like

674
00:37:37,880 --> 00:37:42,719
Speaker 2: sort of campaign and dictator posters for King Coopa include

675
00:37:42,719 --> 00:37:45,040
Speaker 2: one where King Coopa has a big chainsaw.

676
00:37:45,640 --> 00:37:46,640
Speaker 3: No, I didn't see that.

677
00:37:46,920 --> 00:37:49,279
Speaker 2: Yeah, I did notice until like the end sequences when

678
00:37:49,320 --> 00:37:51,480
Speaker 2: they're kind of like throwing overthrowing him and tearing the

679
00:37:51,480 --> 00:37:54,319
Speaker 2: stuff down, But there's clearly a big chainsaw in one

680
00:37:54,360 --> 00:37:54,960
Speaker 2: of the posters.

681
00:37:55,360 --> 00:37:58,360
Speaker 3: One of my favorite sort of understated movie scenes of

682
00:37:58,360 --> 00:38:01,880
Speaker 3: all time is Dennis Hopper shopping for chainsaws at a

683
00:38:01,960 --> 00:38:04,040
Speaker 3: chainsaw store in TCM two.

684
00:38:04,640 --> 00:38:07,400
Speaker 2: Yeah. Yeah, I think that's one of my favorite sequences

685
00:38:07,400 --> 00:38:09,320
Speaker 2: in that movie as well. All Right, Then, in the

686
00:38:09,600 --> 00:38:13,600
Speaker 2: early nineties, his career experienced another strong villains surge with

687
00:38:13,800 --> 00:38:16,600
Speaker 2: Roles and not only ninety three's Mario but also ninety

688
00:38:16,640 --> 00:38:20,120
Speaker 2: three's True Romance Who in ninety four Speed, which of

689
00:38:20,120 --> 00:38:22,440
Speaker 2: course was pretty huge at the time. He followed it

690
00:38:22,520 --> 00:38:25,399
Speaker 2: up with nineteen ninety five's water World, and I guess

691
00:38:25,400 --> 00:38:28,480
Speaker 2: after that there's another slump period, but he still gave

692
00:38:28,560 --> 00:38:32,560
Speaker 2: us nineteen ninety six as Basquillot as well as Space Truckers.

693
00:38:33,320 --> 00:38:35,919
Speaker 2: Of note, he was a modern art collector and owned

694
00:38:35,920 --> 00:38:40,239
Speaker 2: an extensive collection, and I believe he owned some Basciot paintings.

695
00:38:40,800 --> 00:38:43,960
Speaker 2: But anyway, the rest of his career is pretty packed

696
00:38:43,960 --> 00:38:47,319
Speaker 2: with projects, with some standouts at least for us, like

697
00:38:47,400 --> 00:38:50,560
Speaker 2: George Romero's Land of the Dead from two thousand and five,

698
00:38:50,760 --> 00:38:53,239
Speaker 2: which reunited him with John Leguizama.

699
00:38:53,480 --> 00:38:55,799
Speaker 3: He plays a similar kind of character in Land of

700
00:38:55,840 --> 00:38:58,920
Speaker 3: the Dead to his King Koopa character. Yeah, he's like,

701
00:38:59,680 --> 00:39:03,279
Speaker 3: he's sort of a post apocalyptic rich guy who lives

702
00:39:03,360 --> 00:39:06,520
Speaker 3: up in a you know, skyscraper above all the poor

703
00:39:06,600 --> 00:39:08,200
Speaker 3: people in the zombie land.

704
00:39:08,600 --> 00:39:10,600
Speaker 2: Yeah. I remember seeing Land of the Dead when it

705
00:39:10,640 --> 00:39:15,000
Speaker 2: came out, and I remember liking it, but not like

706
00:39:15,040 --> 00:39:16,960
Speaker 2: falling in love with it. It's interesting to look at

707
00:39:17,000 --> 00:39:20,960
Speaker 2: where zombie cinema and zombie TV shows and so forth

708
00:39:20,960 --> 00:39:24,399
Speaker 2: have gone since that time period, because I feel like, take,

709
00:39:24,400 --> 00:39:27,720
Speaker 2: for instance, The Walking Dead. Clearly, you know, it owes

710
00:39:27,920 --> 00:39:32,120
Speaker 2: a huge nod to all of Romero zombie films, but

711
00:39:32,160 --> 00:39:34,760
Speaker 2: I feel like, if you had to compare The Walking

712
00:39:34,840 --> 00:39:37,160
Speaker 2: Dead film by film, I feel like it has more

713
00:39:37,160 --> 00:39:39,359
Speaker 2: in common with Land of the Dead and that kind

714
00:39:39,400 --> 00:39:43,600
Speaker 2: of vision of post zombie apocalypse society, you.

715
00:39:43,560 --> 00:39:45,840
Speaker 3: Know, well, Land of the when you think about the

716
00:39:46,080 --> 00:39:48,799
Speaker 3: Romero movies in order, so Night of the Living Dead

717
00:39:48,840 --> 00:39:52,319
Speaker 3: is about the night of the outbreak. Dawn of the

718
00:39:52,360 --> 00:39:57,560
Speaker 3: Dead is taking place as civilization is falling apart. Day

719
00:39:57,600 --> 00:40:00,000
Speaker 3: of the Dead is very interesting because It takes place

720
00:40:00,200 --> 00:40:03,480
Speaker 3: apparently after civilization has fallen apart, and it has a

721
00:40:03,560 --> 00:40:06,759
Speaker 3: very small, isolated cast. It's like a group of scientists

722
00:40:06,760 --> 00:40:10,399
Speaker 3: and military personnel living alone on a base and they're

723
00:40:10,440 --> 00:40:12,600
Speaker 3: not even sure if anybody else is left out in

724
00:40:12,640 --> 00:40:15,440
Speaker 3: the world. Land of the Dead comes along after that.

725
00:40:15,520 --> 00:40:17,920
Speaker 3: It's the fourth film, and it sort of opens back

726
00:40:18,000 --> 00:40:20,759
Speaker 3: up again. It has a social element and it's like, Okay, well,

727
00:40:20,760 --> 00:40:23,640
Speaker 3: here's what a city looks like in the zombie world.

728
00:40:24,080 --> 00:40:27,719
Speaker 3: People have reorganized. There is a social structure now, and

729
00:40:27,840 --> 00:40:29,280
Speaker 3: this is this is what emerges.

730
00:40:29,880 --> 00:40:41,279
Speaker 2: Yeah, all right, all right, But back to Mario. We

731
00:40:41,360 --> 00:40:44,279
Speaker 2: have the character Daisy, who I guess is essentially like

732
00:40:44,600 --> 00:40:45,200
Speaker 2: the Princess.

733
00:40:45,239 --> 00:40:49,040
Speaker 3: This is the princess character identifiable as the princess from

734
00:40:49,040 --> 00:40:52,120
Speaker 3: Mario only because she's named Daisy, which I guess she

735
00:40:52,239 --> 00:40:54,239
Speaker 3: is maybe in some of the games, like the maybe

736
00:40:54,280 --> 00:40:56,160
Speaker 3: the Game Boy one or something, I'm not sure, and

737
00:40:56,200 --> 00:40:58,759
Speaker 3: because they say she's a princess, but she never like

738
00:40:59,080 --> 00:41:01,319
Speaker 3: looks like the prince from the games, and she never

739
00:41:01,400 --> 00:41:04,399
Speaker 3: like flies like in Super Mario two. So I don't

740
00:41:04,440 --> 00:41:05,920
Speaker 3: know what else would tire her to that.

741
00:41:06,280 --> 00:41:09,080
Speaker 2: Yeah, that's right, Luigi, I don't know if he double jumps.

742
00:41:09,080 --> 00:41:11,239
Speaker 2: He kind of double jumps, I guess, But I don't

743
00:41:11,280 --> 00:41:12,400
Speaker 2: think Daisy ever flies.

744
00:41:12,800 --> 00:41:15,160
Speaker 3: They all do spend a lot of time digging up turnups.

745
00:41:16,440 --> 00:41:20,480
Speaker 2: No, they don't, all right, So Daisy's played by Samantha

746
00:41:20,560 --> 00:41:23,560
Speaker 2: Mathis born nineteen seventy. Former child actor. She appeared in

747
00:41:23,600 --> 00:41:26,160
Speaker 2: nineteen nineties Pump Up the Volume. She was a voice

748
00:41:26,160 --> 00:41:29,640
Speaker 2: actor on Fern Gully, then Mario happened. Not a lot

749
00:41:29,680 --> 00:41:33,160
Speaker 2: of video game movies after that, but more traditional dramas.

750
00:41:33,440 --> 00:41:36,239
Speaker 2: She pops Up in nineteen ninety six, Is Broken Arrow,

751
00:41:36,520 --> 00:41:38,840
Speaker 2: a nineteen ninety nine episode of The Outer Limits, and

752
00:41:39,000 --> 00:41:42,600
Speaker 2: she was in the cast of American Psycho in two thousand.

753
00:41:42,840 --> 00:41:44,720
Speaker 2: She was also in two thousand and fourths The Punisher,

754
00:41:44,760 --> 00:41:48,440
Speaker 2: and had a role on the TV series The Strain of.

755
00:41:48,560 --> 00:41:51,239
Speaker 3: Note in My Household. At least when Rachel saw the

756
00:41:51,239 --> 00:41:54,200
Speaker 3: cast of this movie, she was like, Oh, it's Amy.

757
00:41:54,600 --> 00:41:57,960
Speaker 3: And that's because Samantha Mathis plays the adult version of

758
00:41:58,000 --> 00:42:00,520
Speaker 3: the youngest sister Amy. I think the younger version is

759
00:42:00,880 --> 00:42:04,719
Speaker 3: Kirsten Dunst. In the nineteen ninety four film adaptation of

760
00:42:04,760 --> 00:42:08,680
Speaker 3: Little Women directed by Julian Armstrong, which is a beloved

761
00:42:08,719 --> 00:42:11,320
Speaker 3: film in our house. It's long been one of her favorites.

762
00:42:12,120 --> 00:42:15,880
Speaker 2: Oh, very nice. Well, I can't say much about Samantha

763
00:42:16,000 --> 00:42:18,920
Speaker 2: Mathis in this film other than it's probably not the

764
00:42:18,920 --> 00:42:21,920
Speaker 2: best representation of what she was capable of. You know,

765
00:42:21,960 --> 00:42:24,480
Speaker 2: her scenes to me anyway, they felt at times they

766
00:42:24,480 --> 00:42:27,439
Speaker 2: feel either green or disconnected, and it may not even

767
00:42:27,480 --> 00:42:30,200
Speaker 2: be anything that's a reflection on her experience level at

768
00:42:30,200 --> 00:42:32,600
Speaker 2: the time. You know. It's just like we said, this

769
00:42:32,840 --> 00:42:35,360
Speaker 2: is not the production that perhaps one should use to

770
00:42:35,440 --> 00:42:37,480
Speaker 2: judge everyone's acting abilities.

771
00:42:38,239 --> 00:42:40,560
Speaker 3: Yeah, it seems like she's kind of going through the motions,

772
00:42:40,600 --> 00:42:42,919
Speaker 3: but most of the actors are. I think the only

773
00:42:42,920 --> 00:42:47,560
Speaker 3: one who's not just going through the motions is Dennis Hopper,

774
00:42:47,760 --> 00:42:50,280
Speaker 3: which you know he would kind of give you something

775
00:42:50,360 --> 00:42:52,240
Speaker 3: even when he was just collecting a paycheck.

776
00:42:52,640 --> 00:42:55,399
Speaker 2: Yeah, all right, let's move on to the goons. First

777
00:42:55,480 --> 00:42:58,520
Speaker 2: of all, we have Fisher Stevens playing Iggy. This is

778
00:42:58,520 --> 00:43:01,759
Speaker 2: one of Kopa's goons. Born nineteen sixty three, a fine

779
00:43:01,760 --> 00:43:04,680
Speaker 2: actor of stage, screen and TV, who is unfortunately best

780
00:43:04,719 --> 00:43:07,400
Speaker 2: remembered by many for the ill conceived role of the

781
00:43:07,480 --> 00:43:11,279
Speaker 2: roboticist Ben on Short Circuit one and two. He was

782
00:43:11,320 --> 00:43:14,279
Speaker 2: also in nineteen ninety five's Hackers. But he's really been

783
00:43:14,280 --> 00:43:16,720
Speaker 2: in some solid stuff over the last ten years, including

784
00:43:16,920 --> 00:43:21,080
Speaker 2: twenty fourteen's The Grand Budapest Hotel, twenty sixteen's Hail Caesar,

785
00:43:21,719 --> 00:43:24,439
Speaker 2: twenty sixteen is The Night Of on HBO and also

786
00:43:24,480 --> 00:43:27,640
Speaker 2: the HBO series Secession. But he's just one of two goons.

787
00:43:27,719 --> 00:43:30,160
Speaker 2: These are the koop of cousins. As we later learned,

788
00:43:30,760 --> 00:43:33,600
Speaker 2: the other one is Spike, played by Richard Edson born

789
00:43:33,640 --> 00:43:35,880
Speaker 2: nineteen fifty four. This is a character actor with a

790
00:43:36,200 --> 00:43:38,120
Speaker 2: is a great sort of loopine look, a kind of

791
00:43:38,200 --> 00:43:41,879
Speaker 2: lean and hungry look. Best known to many out there

792
00:43:41,960 --> 00:43:44,640
Speaker 2: is the Garage Attendant in nineteen eighty six is Ferris

793
00:43:44,640 --> 00:43:47,359
Speaker 2: Bueller's Day Off. He was also in such films as

794
00:43:47,400 --> 00:43:50,080
Speaker 2: eighty six as Howard the Duck, eighty nine's Do the

795
00:43:50,120 --> 00:43:52,960
Speaker 2: Right Thing, an episode of the TV series Monster Zoh,

796
00:43:53,040 --> 00:43:56,560
Speaker 2: and then Rob Zombie's twenty nineteen film Three from Hell.

797
00:43:56,640 --> 00:43:59,000
Speaker 2: All right, we have another villain to sort of round

798
00:43:59,000 --> 00:44:02,480
Speaker 2: out our villain cast here, and that's the character Lena,

799
00:44:02,800 --> 00:44:05,080
Speaker 2: who I don't to my knowledge, is not based on

800
00:44:05,120 --> 00:44:10,160
Speaker 2: anything from the actual video games. But Lena is played

801
00:44:10,200 --> 00:44:13,520
Speaker 2: by the terrific Fiona Shaw born nineteen fifty eight a

802
00:44:13,560 --> 00:44:17,360
Speaker 2: tremendous Irish film and theater actor, probably best known to

803
00:44:17,520 --> 00:44:21,640
Speaker 2: most out there as Aunt Dursley on the Harry Potter films,

804
00:44:22,000 --> 00:44:24,440
Speaker 2: but she's far more than that. Some of her older

805
00:44:24,480 --> 00:44:27,719
Speaker 2: credits include nineteen eighty nine's My Left Foot. She was

806
00:44:27,719 --> 00:44:29,799
Speaker 2: one of the stars of that film. She's in the

807
00:44:29,920 --> 00:44:32,719
Speaker 2: nineteen nineties Mountains of the Moon, which is a film

808
00:44:32,760 --> 00:44:36,440
Speaker 2: about Captain Sir Richard Francis Burton. After Mario. You can

809
00:44:36,480 --> 00:44:39,799
Speaker 2: look to such films of hers as Neil Jordan's The

810
00:44:39,840 --> 00:44:43,239
Speaker 2: Butcher Boy from ninety seven, that ill conceived nineteen ninety

811
00:44:43,280 --> 00:44:46,440
Speaker 2: eight Avengers movie. She had a fun witch role on

812
00:44:46,600 --> 00:44:49,960
Speaker 2: HBO's True Blood, and she has a tremendous role in

813
00:44:50,239 --> 00:44:54,600
Speaker 2: Star Wars and Or playing and Or's mother. So I

814
00:44:54,640 --> 00:44:56,600
Speaker 2: think a lot of folks a lot of folks are

815
00:44:56,600 --> 00:44:59,279
Speaker 2: probably familiar with her from and Orr as well, but

816
00:44:59,400 --> 00:45:01,279
Speaker 2: she's also up on some of their big shows like

817
00:45:01,360 --> 00:45:03,720
Speaker 2: Flea Bag and Killing Eve in recent years.

818
00:45:04,160 --> 00:45:07,120
Speaker 3: Give us Lena, we love Lena. Do we agree? We

819
00:45:07,160 --> 00:45:07,680
Speaker 3: love Lena?

820
00:45:08,360 --> 00:45:10,839
Speaker 2: Yeah? Yeah? I thought she was great in this. I mean,

821
00:45:10,880 --> 00:45:14,840
Speaker 2: she's she's smoking, she's she's very fashionable, and they have

822
00:45:14,920 --> 00:45:17,920
Speaker 2: her done up as this you know, kind of vamping villain,

823
00:45:18,000 --> 00:45:20,239
Speaker 2: which of course is you know, very different from from

824
00:45:20,280 --> 00:45:22,839
Speaker 2: Aunt Dursley. You know, Fano Shaw had a great deal

825
00:45:22,880 --> 00:45:25,520
Speaker 2: of range, and I feel like she tends to eat

826
00:45:25,600 --> 00:45:29,279
Speaker 2: up her scenes rather nicely. There's there's one scene though,

827
00:45:29,360 --> 00:45:32,800
Speaker 2: where she lunges and puts a knife to a princess's throat,

828
00:45:33,040 --> 00:45:36,880
Speaker 2: and I legit jumped because it felt real on Shaw's

829
00:45:36,880 --> 00:45:38,640
Speaker 2: part in a way that nothing else in the movie

830
00:45:38,640 --> 00:45:41,040
Speaker 2: had felt real up till that point. I was like, Ah,

831
00:45:41,040 --> 00:45:41,920
Speaker 2: she's got a knife.

832
00:45:42,040 --> 00:45:45,440
Speaker 3: Oh yeah, yeah, she's great. She's she's a lizard queen,

833
00:45:46,320 --> 00:45:50,400
Speaker 3: but with the kind of bride of Frankenstein edge. Yeah, yeah,

834
00:45:50,440 --> 00:45:50,959
Speaker 3: she's good.

835
00:45:51,200 --> 00:45:54,200
Speaker 2: Okay, we get into the smaller roles here. We're almost

836
00:45:54,239 --> 00:45:56,759
Speaker 2: done with the lineup here. But Mojo Nixon is in

837
00:45:56,920 --> 00:45:59,520
Speaker 2: Sea plays a character named Toad. This is one of

838
00:45:59,560 --> 00:46:04,560
Speaker 2: the very few screen rolls of the rockabilly psychobilly icon.

839
00:46:04,680 --> 00:46:08,239
Speaker 2: Mojo Nixon born nineteen fifty seven, probably best known for

840
00:46:08,280 --> 00:46:11,440
Speaker 2: such songs as Don Henley Must Die, Don't let Him

841
00:46:11,440 --> 00:46:15,279
Speaker 2: Get Back Together with Glenn Fry That's of course, and

842
00:46:15,320 --> 00:46:17,600
Speaker 2: he at one point performed that song with Don Henley,

843
00:46:17,800 --> 00:46:21,080
Speaker 2: but also such songs as you Can't Kill Me, Bring

844
00:46:21,120 --> 00:46:23,759
Speaker 2: Me the Head of David Geffen, and many more. He's

845
00:46:23,800 --> 00:46:26,840
Speaker 2: known for having this kind of like wild gonzo persona.

846
00:46:27,480 --> 00:46:29,839
Speaker 3: If you don't have Mojo Nixon, your store could use

847
00:46:29,840 --> 00:46:30,360
Speaker 3: some fixin.

848
00:46:32,040 --> 00:46:34,080
Speaker 2: All right, So more on Mojo Nixon in a bit.

849
00:46:34,840 --> 00:46:37,200
Speaker 2: Lance Hendrickson is in the cast here, as we alluded

850
00:46:37,239 --> 00:46:42,480
Speaker 2: to earlier, I think playing King Bowser, the deposed King Bowser.

851
00:46:42,719 --> 00:46:44,680
Speaker 2: So he's not really in this movie. This is more

852
00:46:44,840 --> 00:46:46,719
Speaker 2: or less just a cameo, and it's kind of a

853
00:46:46,760 --> 00:46:48,880
Speaker 2: crummy cameo because if you're not looking for him, you

854
00:46:48,920 --> 00:46:50,840
Speaker 2: might not realize that this is Lance Hendrickson.

855
00:46:51,320 --> 00:46:53,880
Speaker 3: And he doesn't even have anything interesting to say. He

856
00:46:54,040 --> 00:46:56,480
Speaker 3: just like pops up and he's like, well here I

857
00:46:56,520 --> 00:46:57,960
Speaker 3: am I love plumbers.

858
00:46:58,280 --> 00:47:02,040
Speaker 2: Yeah, He's like, love those plumbers and that's so yeah. Somehow,

859
00:47:02,080 --> 00:47:04,279
Speaker 2: we've never watched the Lance centrix In movie on Weird

860
00:47:04,280 --> 00:47:07,359
Speaker 2: House Cinema, so we're not going to get into him here.

861
00:47:07,520 --> 00:47:10,840
Speaker 2: We'll come back when we watch a proper Lance synrix

862
00:47:10,880 --> 00:47:13,040
Speaker 2: In movie if you have suggestions for what that might

863
00:47:13,080 --> 00:47:15,480
Speaker 2: be right in, But obviously he's best remembered as the

864
00:47:15,560 --> 00:47:18,479
Speaker 2: role of Bishop of the Android in nineteen eighty six,

865
00:47:18,560 --> 00:47:22,200
Speaker 2: is Aliens, and then finally, the music on this one

866
00:47:22,480 --> 00:47:25,800
Speaker 2: is the work of Alan Silvestrie born nineteen fifty session

867
00:47:25,840 --> 00:47:29,160
Speaker 2: guitarist who broke into Hollywood composing in the seventies and

868
00:47:29,160 --> 00:47:31,160
Speaker 2: went on to score a ton of big movies, including

869
00:47:31,680 --> 00:47:33,960
Speaker 2: Romance in the Stone in nineteen eighty four, Back to

870
00:47:34,040 --> 00:47:36,320
Speaker 2: the Future, all the Back of the Future films, eighty

871
00:47:36,360 --> 00:47:40,680
Speaker 2: seven's Predator, ninety five's Judge Dread, Forrest Gump in ninety four,

872
00:47:41,360 --> 00:47:44,080
Speaker 2: and some of those big marvel A Injurs movies as well.

873
00:47:44,080 --> 00:47:47,160
Speaker 2: He's a two time Oscar nominee. Nothing wrong with this

874
00:47:47,239 --> 00:47:49,239
Speaker 2: score at all, but I hate it.

875
00:47:50,160 --> 00:47:52,520
Speaker 3: Yeah, yeah, solvester. He's done a lot of great stuff.

876
00:47:52,920 --> 00:47:55,239
Speaker 3: Back to the Future scores magical, I mean, yeah, yeah,

877
00:47:55,480 --> 00:47:58,719
Speaker 3: it makes the movie, it creates the feel. But I

878
00:47:58,719 --> 00:48:01,120
Speaker 3: thought the movie that I don't know. I thought the

879
00:48:01,200 --> 00:48:04,480
Speaker 3: music in the Mario movie was kind of trash, except

880
00:48:04,560 --> 00:48:07,640
Speaker 3: for the George Clinton cover of Walk the Dinosaur, which

881
00:48:08,560 --> 00:48:10,520
Speaker 3: I don't know, how could a person not love that?

882
00:48:11,120 --> 00:48:13,560
Speaker 2: Oh? Yeah, that that is a great track. Wonderful. P

883
00:48:13,719 --> 00:48:16,160
Speaker 2: Funk cover of Walk the Dinosaur love it.

884
00:48:16,320 --> 00:48:19,520
Speaker 3: I think it's credited to George Clinton and the goom buzz.

885
00:48:19,840 --> 00:48:22,000
Speaker 3: I don't know if that's actually p Funk or George

886
00:48:22,040 --> 00:48:24,040
Speaker 3: Clinton and some other I don't know.

887
00:48:24,360 --> 00:48:24,960
Speaker 2: No idea.

888
00:48:25,560 --> 00:48:27,120
Speaker 3: All right, you ready to talk about the plot?

889
00:48:27,880 --> 00:48:29,440
Speaker 2: Oh yeah, let's talk about the plot.

890
00:48:30,000 --> 00:48:32,720
Speaker 3: So I wanted to note the music of the opening credits.

891
00:48:32,760 --> 00:48:35,440
Speaker 3: The first thing we get is the original Super Mario

892
00:48:35,520 --> 00:48:39,360
Speaker 3: Brothers theme song from the game you Know, D Do Do,

893
00:48:40,000 --> 00:48:43,400
Speaker 3: But there's something different. There's like a jazzy high hat

894
00:48:43,440 --> 00:48:46,080
Speaker 3: beat keeping time with it, and then a sort of

895
00:48:46,160 --> 00:48:49,759
Speaker 3: minor chord pad fills in, and then the Mario theme

896
00:48:49,840 --> 00:48:53,279
Speaker 3: gradually fades out and a traditional score comes in. I

897
00:48:53,360 --> 00:48:57,040
Speaker 3: think there's a sort of eerie flute melody, and that

898
00:48:57,360 --> 00:49:02,840
Speaker 3: is even that musical transition I think is emphasizing a

899
00:49:02,920 --> 00:49:06,200
Speaker 3: theme that will come through in many other design choices

900
00:49:06,280 --> 00:49:08,560
Speaker 3: about the beginning of the movie. I'll come back to

901
00:49:08,600 --> 00:49:11,000
Speaker 3: that in a minute. But so, first of all, we

902
00:49:11,080 --> 00:49:14,319
Speaker 3: see like a weird pixelated landscape, looks like it could

903
00:49:14,320 --> 00:49:17,920
Speaker 3: be from a Nintendo game, and a voiceover narration begins

904
00:49:18,520 --> 00:49:21,240
Speaker 3: and it says, a long, long time ago, the earth

905
00:49:21,360 --> 00:49:24,440
Speaker 3: was ruled by dinosaurs. They were big, so not a

906
00:49:24,440 --> 00:49:28,120
Speaker 3: lot of people went around Hasslinom And I immediately thought,

907
00:49:28,239 --> 00:49:30,839
Speaker 3: why does this sound like a voice from the Simpsons.

908
00:49:31,320 --> 00:49:34,320
Speaker 3: But I looked up the narrator and I immediately understood

909
00:49:34,360 --> 00:49:37,759
Speaker 3: why it's Dan Castellanida, the voice of Homer Simpson a

910
00:49:37,760 --> 00:49:39,360
Speaker 3: bunch of other Springfield characters.

911
00:49:39,840 --> 00:49:43,040
Speaker 2: I like this choice. I felt like this instantly grabbed

912
00:49:43,040 --> 00:49:43,520
Speaker 2: my attention.

913
00:49:43,920 --> 00:49:46,920
Speaker 3: Yeah. So the narrator goes on and while this is happening,

914
00:49:46,960 --> 00:49:50,760
Speaker 3: the pixelated landscape starts to reveal dinosaurs. They're eating leaves

915
00:49:50,800 --> 00:49:54,800
Speaker 3: and stuff, and the animations are i'm gonna say not strong.

916
00:49:55,120 --> 00:49:57,680
Speaker 3: They kind of look like something from a five dollars

917
00:49:57,800 --> 00:50:01,520
Speaker 3: educational CD rom you bought it com Usa in the nineties.

918
00:50:01,800 --> 00:50:04,520
Speaker 2: Yeah, they're kind of feel like they're intentionally crunchy. All right,

919
00:50:05,000 --> 00:50:07,680
Speaker 2: I assume it was intentionally an intentional act.

920
00:50:07,719 --> 00:50:07,839
Speaker 4: Yea.

921
00:50:08,080 --> 00:50:11,120
Speaker 3: So the narration says, actually, no people went around Hasslingam

922
00:50:11,160 --> 00:50:15,440
Speaker 3: because there weren't even people yet, just the first tiny mammals. Basically,

923
00:50:15,600 --> 00:50:19,839
Speaker 3: life was good. Then then after this, the dinosaurs they

924
00:50:19,880 --> 00:50:22,160
Speaker 3: start talking to each other and one of them is

925
00:50:22,239 --> 00:50:24,839
Speaker 3: chewing on what looks like blonde hair. By the way,

926
00:50:25,760 --> 00:50:28,120
Speaker 3: the dinosaur says, you know, it just don't get no

927
00:50:28,239 --> 00:50:31,319
Speaker 3: better than this, and the other dinosaur says yeah, and

928
00:50:31,440 --> 00:50:33,640
Speaker 3: I'm like, why do they have New York accents?

929
00:50:33,960 --> 00:50:36,000
Speaker 2: I think you're about to find out that's right.

930
00:50:36,040 --> 00:50:38,600
Speaker 3: So we cut back to the pixelaid landscape. It says

931
00:50:38,760 --> 00:50:44,160
Speaker 3: Brooklyn sixty five million years ago. Then the narrator says,

932
00:50:44,200 --> 00:50:49,160
Speaker 3: then something happened. A giant meteorite struck the earth. Goodbye dinosaurs,

933
00:50:49,520 --> 00:50:53,120
Speaker 3: and we see the impact, and the narrator says, but

934
00:50:53,200 --> 00:50:56,960
Speaker 3: what if the dinosaurs weren't all destroyed? And now we

935
00:50:57,000 --> 00:51:00,840
Speaker 3: start zooming through a bunch of abstract, grainy CG stuff,

936
00:51:00,880 --> 00:51:03,520
Speaker 3: And all I could think is, you know, everybody knows

937
00:51:03,600 --> 00:51:07,040
Speaker 3: Custer died at Little Bighorn, but what this movie presupposes

938
00:51:07,160 --> 00:51:11,600
Speaker 3: is maybe he didn't. So the narrator says, what if

939
00:51:11,600 --> 00:51:15,439
Speaker 3: the impact of that meteorite created a parallel dimension where

940
00:51:15,480 --> 00:51:20,320
Speaker 3: the dinosaurs continue to thrive and evolve into intelligent, vicious,

941
00:51:20,400 --> 00:51:24,880
Speaker 3: aggressive beings just like us, And hey, what if they

942
00:51:25,000 --> 00:51:28,040
Speaker 3: found a way back? And then we are slammed with

943
00:51:28,120 --> 00:51:31,600
Speaker 3: the title super Mario Brothers. I want to talk about

944
00:51:31,640 --> 00:51:33,839
Speaker 3: the title design because I feel like it's kind of

945
00:51:33,920 --> 00:51:37,040
Speaker 3: getting at the same thing that music transition was a

946
00:51:37,080 --> 00:51:40,440
Speaker 3: minute ago. What is the title suggesting with this like

947
00:51:40,800 --> 00:51:46,960
Speaker 3: gleaming gray metal surface and the industrial rivet font. I

948
00:51:47,000 --> 00:51:50,319
Speaker 3: think the implication is like, oh, you played this as

949
00:51:50,320 --> 00:51:54,719
Speaker 3: a video game, but playtime's over. Mario's not just an

950
00:51:54,760 --> 00:51:59,080
Speaker 3: innocent fantasy anymore. Mario's in the real world now, where

951
00:51:59,120 --> 00:52:02,120
Speaker 3: things are made of metal and held together by rivets,

952
00:52:02,239 --> 00:52:06,160
Speaker 3: and there is smog and acid, rain and crime and

953
00:52:06,239 --> 00:52:09,320
Speaker 3: probably a guy with a mohawk carrying a boom box.

954
00:52:09,560 --> 00:52:10,680
Speaker 3: Let's see what happens.

955
00:52:11,120 --> 00:52:14,480
Speaker 2: I also think that the title card here for Mario Brothers,

956
00:52:14,760 --> 00:52:16,960
Speaker 2: it looks like a like it's from a commercial for

957
00:52:17,000 --> 00:52:19,600
Speaker 2: a hard hitting law firm that is ready to fight

958
00:52:19,680 --> 00:52:19,960
Speaker 2: for you.

959
00:52:20,280 --> 00:52:25,040
Speaker 3: Yeah optional, Robert Vaughn, Yeah, Robert Vaughan. Yeah, it's time

960
00:52:25,080 --> 00:52:26,800
Speaker 3: to get tough, Mario.

961
00:52:27,000 --> 00:52:29,160
Speaker 2: Tough Mario and Mario fighting for.

962
00:52:29,120 --> 00:52:34,040
Speaker 3: You anyway, So it says a cut to Brooklyn twenty

963
00:52:34,120 --> 00:52:37,080
Speaker 3: years ago. So we're gonna get more prologued. It's like

964
00:52:37,120 --> 00:52:40,200
Speaker 3: a rainy night, woman's running around. She leaves a strange

965
00:52:40,239 --> 00:52:43,239
Speaker 3: metallic capsule on the steps of a convent. The lady

966
00:52:43,320 --> 00:52:46,080
Speaker 3: runs away, she climbs down into a manhole. I guess

967
00:52:46,080 --> 00:52:51,000
Speaker 3: into the sewer. She wanders off into some kind of

968
00:52:51,160 --> 00:52:53,640
Speaker 3: like tunnel, and then she bumps into Dennis Hopper. There

969
00:52:53,680 --> 00:52:56,640
Speaker 3: he is. He's lurking in the shadows wearing a military

970
00:52:56,760 --> 00:52:59,360
Speaker 3: uniform that has so many metals. I guess it's the

971
00:52:59,400 --> 00:53:02,320
Speaker 3: dictator look or you know, he looks like Patent or something.

972
00:53:02,880 --> 00:53:05,240
Speaker 3: And he says, where is the rock? And she screams

973
00:53:05,239 --> 00:53:10,560
Speaker 3: and runs away, and then the tunnel seemingly collapses. Back

974
00:53:10,680 --> 00:53:15,000
Speaker 3: at the convent, the nuns open up the capsule. There

975
00:53:15,160 --> 00:53:18,319
Speaker 3: is apparently an egg inside. The egg hatches and then

976
00:53:18,400 --> 00:53:23,040
Speaker 3: out comes a human baby. Yeah, all right, and then

977
00:53:23,080 --> 00:53:25,960
Speaker 3: there is a weird, jagged crystal left with the egg.

978
00:53:26,120 --> 00:53:29,560
Speaker 3: One of the nuns holds it up significantly. This means something,

979
00:53:30,320 --> 00:53:32,680
Speaker 3: and then we cut to another setting. It is Brooklyn.

980
00:53:32,960 --> 00:53:36,279
Speaker 3: Now I see buildings, I see traffic, I see a

981
00:53:36,320 --> 00:53:40,239
Speaker 3: billboard ad for newports that seems telling about what kind

982
00:53:40,239 --> 00:53:42,359
Speaker 3: of movie this is going to be. Again, presumably this

983
00:53:42,400 --> 00:53:44,520
Speaker 3: is for children, but one of the first things we

984
00:53:44,560 --> 00:53:46,920
Speaker 3: see in the modern world is a cigarette ad.

985
00:53:47,440 --> 00:53:48,240
Speaker 2: Yeah.

986
00:53:48,400 --> 00:53:51,719
Speaker 3: So we meet our heroes, Mario played by Bob Hoskins

987
00:53:51,719 --> 00:53:55,399
Speaker 3: and Luigi played by John Leguizamo. Their plumbers, rob would

988
00:53:55,400 --> 00:53:57,799
Speaker 3: you say they are down on their luck plumbers?

989
00:53:58,080 --> 00:54:00,839
Speaker 2: Yeah, yeah, they seem. They talked about how they're like

990
00:54:00,880 --> 00:54:05,319
Speaker 2: three bills behind on paying their rent. They're having a

991
00:54:05,360 --> 00:54:07,839
Speaker 2: tough time, and they're having a tough time just getting

992
00:54:07,920 --> 00:54:09,800
Speaker 2: anybody to hire them.

993
00:54:10,360 --> 00:54:12,920
Speaker 3: A major source of their financial woes seems to be

994
00:54:13,000 --> 00:54:18,200
Speaker 3: that Luigi is addicted to paranormal, fringe and conspiracy media.

995
00:54:18,360 --> 00:54:21,760
Speaker 3: So he's like spending their last dime to buy copies

996
00:54:21,840 --> 00:54:25,760
Speaker 3: of some weekly world news type publication with articles about

997
00:54:25,800 --> 00:54:30,279
Speaker 3: a scientist that turns people's brains into cheese. Also in

998
00:54:30,360 --> 00:54:35,440
Speaker 3: Luigi's media diet, he's watching a TV show called Miraculous World.

999
00:54:35,600 --> 00:54:37,799
Speaker 3: That is this supposed to be in search of I

1000
00:54:37,800 --> 00:54:38,239
Speaker 3: think so.

1001
00:54:38,760 --> 00:54:40,799
Speaker 2: Yeah, definite, in search of vibes here.

1002
00:54:42,080 --> 00:54:44,279
Speaker 3: So he's like watching a segment He's like, Wow, this

1003
00:54:44,320 --> 00:54:47,600
Speaker 3: guy just found out he was in another dimension. So

1004
00:54:47,880 --> 00:54:52,080
Speaker 3: there are a bunch of conflicts between the characters established.

1005
00:54:52,520 --> 00:54:55,720
Speaker 3: The differences are that Mario takes their dire financial situation

1006
00:54:55,880 --> 00:54:58,640
Speaker 3: seriously and Luigi does not seem to worry too much.

1007
00:54:59,640 --> 00:55:03,760
Speaker 3: Also conflicts between them Mario does not believe in parallel

1008
00:55:03,800 --> 00:55:07,000
Speaker 3: dimensions and the scientist who turns people's brains into cheese,

1009
00:55:07,320 --> 00:55:10,600
Speaker 3: and Luigi says, but Mario, you gotta believe in something,

1010
00:55:12,680 --> 00:55:17,040
Speaker 3: love that Mario is generally just more stressed out and serious,

1011
00:55:17,120 --> 00:55:18,920
Speaker 3: and Luigi's kind of happy, go lucky.

1012
00:55:19,840 --> 00:55:22,160
Speaker 2: Yeah, it makes sense. He's got more spring in his step,

1013
00:55:22,160 --> 00:55:22,920
Speaker 2: he can double.

1014
00:55:22,719 --> 00:55:26,440
Speaker 3: Jump, Yeah, exactly. Yeah. And so they have some arguing

1015
00:55:26,480 --> 00:55:28,919
Speaker 3: in banter and traffic while they're driving to a job.

1016
00:55:29,000 --> 00:55:32,600
Speaker 3: I think they're literally just shown like driving over garbage cans,

1017
00:55:32,680 --> 00:55:37,040
Speaker 3: absolutely reckless, dangerous behavior. Once they get to the job site,

1018
00:55:37,160 --> 00:55:41,319
Speaker 3: a rival plumbing company called Scapelli has taken the job. Now,

1019
00:55:41,320 --> 00:55:44,879
Speaker 3: what's the deal with Scipelli. Scapelli is not a blue

1020
00:55:44,960 --> 00:55:47,960
Speaker 3: collar plumber like Mario and Luigi. He's a rich big

1021
00:55:47,960 --> 00:55:51,000
Speaker 3: wig who rides around in a limousine. And when I

1022
00:55:51,000 --> 00:55:52,960
Speaker 3: saw him come out, I looked up the actor and

1023
00:55:53,000 --> 00:55:55,799
Speaker 3: I was like, Oh, that's Carlo Ritzi from the Godfather.

1024
00:55:58,200 --> 00:56:03,440
Speaker 3: So so yeah, it was Barzini. I guess this means

1025
00:56:03,480 --> 00:56:05,960
Speaker 3: he is implied to be a mobster in addition to

1026
00:56:06,120 --> 00:56:07,360
Speaker 3: running a plumbing company.

1027
00:56:07,960 --> 00:56:10,120
Speaker 2: Oh yeah, because it's not long before we get a

1028
00:56:10,160 --> 00:56:15,560
Speaker 2: scene where he like blatantly threatens our heroine and says

1029
00:56:15,600 --> 00:56:18,040
Speaker 2: like it'd be a shame if you were to disappear

1030
00:56:18,040 --> 00:56:21,080
Speaker 2: on the streets like these other young women have been disappearing.

1031
00:56:20,920 --> 00:56:23,200
Speaker 3: Super Mario Brothers, the movie Children.

1032
00:56:23,880 --> 00:56:23,960
Speaker 2: Ye.

1033
00:56:25,280 --> 00:56:27,680
Speaker 3: So from here we move on to a sort of

1034
00:56:27,960 --> 00:56:31,840
Speaker 3: news segment that I don't know what's going on with

1035
00:56:31,880 --> 00:56:35,240
Speaker 3: the narrative here, Like there's no established character watching the news.

1036
00:56:35,280 --> 00:56:38,600
Speaker 3: It's just suddenly a news segment. And there's a construction

1037
00:56:38,760 --> 00:56:42,560
Speaker 3: site that has been controversially shut down by university students

1038
00:56:42,560 --> 00:56:46,719
Speaker 3: who are digging for dinosaur bones. And there's conflict between Scappelli,

1039
00:56:46,800 --> 00:56:50,680
Speaker 3: who wants the site open for business, and Daisy, this

1040
00:56:50,760 --> 00:56:53,800
Speaker 3: character who comes out and she is the head paleontologist

1041
00:56:53,800 --> 00:56:55,680
Speaker 3: at the dig site. She wants to keep the dig

1042
00:56:55,719 --> 00:56:58,200
Speaker 3: going in the name of science, and this is when

1043
00:56:58,239 --> 00:57:01,040
Speaker 3: Scapelli threatens her. He's like, lot of girls been going

1044
00:57:01,120 --> 00:57:05,799
Speaker 3: missing in Brooklyn lately, which implies that he is responsible

1045
00:57:05,840 --> 00:57:08,200
Speaker 3: for that, but we find out he's not. It's dinosaurs

1046
00:57:08,280 --> 00:57:09,680
Speaker 3: kidnapping girls from Brooklyn.

1047
00:57:10,120 --> 00:57:12,279
Speaker 2: Yeah, but still one of the many one of the

1048
00:57:12,320 --> 00:57:14,920
Speaker 2: many points in the film where it's like this is

1049
00:57:15,400 --> 00:57:17,840
Speaker 2: for kids. This seems a little little hard edged.

1050
00:57:18,200 --> 00:57:22,440
Speaker 3: Yeah, So later we see a duo of twitchy guys

1051
00:57:22,520 --> 00:57:26,040
Speaker 3: dressed like they're from the movie Hackers, and they're tailing

1052
00:57:26,160 --> 00:57:29,520
Speaker 3: Daisy around. This is Fisher Stevens and Richard Edson playing

1053
00:57:29,560 --> 00:57:33,240
Speaker 3: Iggy and Spike, and it's first it's like, maybe these

1054
00:57:33,280 --> 00:57:36,320
Speaker 3: guys are not from around here, because Spike comes back

1055
00:57:36,320 --> 00:57:38,360
Speaker 3: to the car with a couple of hot dogs and

1056
00:57:38,400 --> 00:57:41,040
Speaker 3: he's like, they said it was dog meat. And then

1057
00:57:41,040 --> 00:57:43,600
Speaker 3: they throw away the buns and they eat the hot dogs,

1058
00:57:44,000 --> 00:57:47,080
Speaker 3: and they identify Daisy from a description which is that

1059
00:57:47,680 --> 00:57:51,280
Speaker 3: she has two legs, one head, and two arms.

1060
00:57:51,840 --> 00:57:55,040
Speaker 2: But so do they Well, it's recurring joke that there

1061
00:57:55,040 --> 00:57:59,720
Speaker 2: lizards and they can't tell mammals apart, so they'll, you know,

1062
00:57:59,800 --> 00:58:02,120
Speaker 2: come back to that. I will say one other thing

1063
00:58:02,160 --> 00:58:05,240
Speaker 2: about Fisher Stevens character in this If there's someone in

1064
00:58:05,280 --> 00:58:10,200
Speaker 2: your life that is thinking about growing sideburns and you

1065
00:58:10,320 --> 00:58:13,880
Speaker 2: don't want them to grow sideburns, show them a picture

1066
00:58:13,960 --> 00:58:17,040
Speaker 2: of Fisher Stevens from this film, and I think that's

1067
00:58:17,040 --> 00:58:18,440
Speaker 2: going to take care of all your problems.

1068
00:58:18,880 --> 00:58:22,080
Speaker 3: Yeah. So the Koopagons here try to chase Daisy, but

1069
00:58:22,120 --> 00:58:26,800
Speaker 3: they are foiled by running face first into plate glass. Meanwhile,

1070
00:58:26,920 --> 00:58:29,120
Speaker 3: Daisy and Luigi run into each other at a pay

1071
00:58:29,160 --> 00:58:31,240
Speaker 3: phone and they have a meet cute and Luigi is

1072
00:58:31,320 --> 00:58:35,400
Speaker 3: just instantly in love. He's adorably awkward. He's like, wow,

1073
00:58:35,520 --> 00:58:37,919
Speaker 3: I haven't heard the name Daisy around here before, or wait,

1074
00:58:38,160 --> 00:58:40,360
Speaker 3: he has heard it because it's also the name of

1075
00:58:40,400 --> 00:58:44,240
Speaker 3: a flower. And Mario and Luigi end up giving Daisy

1076
00:58:44,240 --> 00:58:46,560
Speaker 3: a ride back to the dig site. Luigi asks her

1077
00:58:46,600 --> 00:58:49,439
Speaker 3: out on a date and she agrees. So it's later

1078
00:58:49,520 --> 00:58:53,600
Speaker 3: that night and it's a double date at an Italian restaurant.

1079
00:58:53,840 --> 00:58:56,720
Speaker 3: They're having a big old mess of Spaghettian meatballs and

1080
00:58:56,760 --> 00:59:01,760
Speaker 3: I was like, whoa, whoa, who is Mario's date? Yeah,

1081
00:59:01,840 --> 00:59:05,440
Speaker 3: they're all talking and Daisy has expertise on iridium layers

1082
00:59:05,440 --> 00:59:08,919
Speaker 3: and geological strata, and Mario's date is talking about how

1083
00:59:08,960 --> 00:59:12,520
Speaker 3: not to get tan lines. And it's I think it's

1084
00:59:12,600 --> 00:59:14,680
Speaker 3: said that they all wrote out to dinner together in

1085
00:59:14,720 --> 00:59:15,480
Speaker 3: the plumbing van.

1086
00:59:16,320 --> 00:59:18,720
Speaker 2: Yeah, yeah, cool, this is the I want to say.

1087
00:59:18,720 --> 00:59:20,720
Speaker 2: We're like twenty minutes into the film at this point,

1088
00:59:21,120 --> 00:59:23,880
Speaker 2: and it was and you're watching and you're like, wow,

1089
00:59:23,920 --> 00:59:27,360
Speaker 2: this film has really given children so little to latch onto.

1090
00:59:27,520 --> 00:59:30,640
Speaker 3: This is so little, It's true. So we learn a

1091
00:59:30,640 --> 00:59:33,120
Speaker 3: bit about Daisy's backstory at dinner. Here, she says she

1092
00:59:33,200 --> 00:59:36,480
Speaker 3: was left at a convent as a baby, raised by nuns,

1093
00:59:36,520 --> 00:59:39,440
Speaker 3: and that she has this weird crystal necklace that was

1094
00:59:39,520 --> 00:59:41,520
Speaker 3: left with her and she still wears it, though she

1095
00:59:41,600 --> 00:59:43,640
Speaker 3: does not mention that she hatched from an egg. I

1096
00:59:43,680 --> 00:59:55,040
Speaker 3: don't know if anybody ever told her that. Now, Spike

1097
00:59:55,080 --> 00:59:57,720
Speaker 3: and Iggy are still following Daisy around, but they get

1098
00:59:57,760 --> 01:00:01,960
Speaker 3: confused and think Mario's eight is Daisy, and they throw

1099
01:00:02,000 --> 01:00:04,880
Speaker 3: a bag over her head and kidnap her. They take

1100
01:00:04,880 --> 01:00:09,560
Speaker 3: her to another dimension. Meanwhile, Luigi and Daisy are they're

1101
01:00:09,600 --> 01:00:12,600
Speaker 3: just having more cute date stuff. They're awkwardly flirting and

1102
01:00:12,600 --> 01:00:15,240
Speaker 3: they're they're hitting it off, and the dialogue in these

1103
01:00:15,280 --> 01:00:19,360
Speaker 3: scenes is atrociously unnatural, but the actors are almost charming

1104
01:00:19,480 --> 01:00:22,800
Speaker 3: enough to pull it off. Almost uh. They end up

1105
01:00:22,880 --> 01:00:24,840
Speaker 3: going back to the dig site, and then they go

1106
01:00:25,000 --> 01:00:28,920
Speaker 3: down into the underground tunnel and Daisy shows Luigi some

1107
01:00:29,000 --> 01:00:33,400
Speaker 3: of the dinosaur bones they have unearthed, and she says,

1108
01:00:33,520 --> 01:00:36,360
Speaker 3: so they're looking at a dinosaur. It's got big reptilian fangs,

1109
01:00:36,840 --> 01:00:39,439
Speaker 3: but she says it has opposable thumbs, and she says,

1110
01:00:39,480 --> 01:00:42,560
Speaker 3: it's almost as if he was a monster. Trying to

1111
01:00:42,560 --> 01:00:46,280
Speaker 3: be a human being. It's beautiful, and then Luigi's like,

1112
01:00:46,400 --> 01:00:48,360
Speaker 3: you're beautiful and then they kiss.

1113
01:00:49,000 --> 01:00:53,280
Speaker 2: Okay, yeah, just you're you're you're kissing, kissing, saying in

1114
01:00:53,360 --> 01:00:53,840
Speaker 2: the sewer.

1115
01:00:54,160 --> 01:00:58,480
Speaker 3: But they're interrupted because Schipelli's sabotage plumbers that like his

1116
01:00:58,600 --> 01:01:01,720
Speaker 3: sapper team is there and they have just sabotaged the

1117
01:01:01,760 --> 01:01:04,720
Speaker 3: dig site. So they like blow up some pipes or

1118
01:01:04,720 --> 01:01:08,240
Speaker 3: something and everything's flooding. Mario brothers come to the rescue.

1119
01:01:08,320 --> 01:01:12,120
Speaker 3: There's an action packed plumbing scene until Daisy is kidnapped

1120
01:01:12,120 --> 01:01:15,320
Speaker 3: by the Cooper brothers and Mario and Luigi they're chasing.

1121
01:01:15,320 --> 01:01:16,960
Speaker 3: They're like, oh, we got to get her back. They

1122
01:01:17,000 --> 01:01:20,040
Speaker 3: discover that she has been taken through some sort of portal,

1123
01:01:20,400 --> 01:01:23,560
Speaker 3: a wall of solid rock that is also a dimensional rift.

1124
01:01:23,880 --> 01:01:27,720
Speaker 3: Luigi jumps through it, Mario reluctantly follows because he's afraid

1125
01:01:27,720 --> 01:01:30,840
Speaker 3: of heights. They tumble through a bunch of hideous CGI

1126
01:01:31,000 --> 01:01:33,440
Speaker 3: before popping out on the other side unharmed.

1127
01:01:33,640 --> 01:01:36,560
Speaker 2: Yeah, so the CGI is definitely hideous, especially when they're

1128
01:01:36,560 --> 01:01:39,000
Speaker 2: sticking their faces through it. There's a real help me

1129
01:01:39,080 --> 01:01:43,480
Speaker 2: I am in Hell. I also have to comment on

1130
01:01:43,560 --> 01:01:46,880
Speaker 2: the plumbing sequence. Because yeah, that was amazing, because it's

1131
01:01:46,920 --> 01:01:49,400
Speaker 2: almost like there was a note at some point from

1132
01:01:49,440 --> 01:01:52,160
Speaker 2: the producers and they're like, aren't Mario and Luigi plumbers?

1133
01:01:52,400 --> 01:01:55,280
Speaker 2: Shouldn't we have a scene where they're actually plumbing, Like

1134
01:01:55,320 --> 01:01:58,480
Speaker 2: this is clearly the appeal of the character to young people.

1135
01:01:58,920 --> 01:02:01,240
Speaker 2: We need more plumbing, Like, well, this is right, It

1136
01:02:01,600 --> 01:02:04,680
Speaker 2: just doesn't work from a character creation standpoint if we

1137
01:02:04,760 --> 01:02:05,880
Speaker 2: don't see them plumbing.

1138
01:02:06,320 --> 01:02:08,160
Speaker 3: Well, they have a lot more plumbing later. They have

1139
01:02:08,240 --> 01:02:09,800
Speaker 3: plumbing in like the third act.

1140
01:02:10,120 --> 01:02:13,080
Speaker 2: Yeah, Like this is the point that at least some

1141
01:02:13,120 --> 01:02:14,880
Speaker 2: of the writers who worked on the script were like,

1142
01:02:15,080 --> 01:02:16,400
Speaker 2: gotta get that plumbing in there.

1143
01:02:16,560 --> 01:02:18,960
Speaker 3: So they pop out in a kind of crowded subway station,

1144
01:02:19,160 --> 01:02:23,760
Speaker 3: but it's a weird crowded subway station. There is this

1145
01:02:23,920 --> 01:02:26,880
Speaker 3: fibrous gunk hanging out all over the place. We will

1146
01:02:26,960 --> 01:02:30,440
Speaker 3: later learn this is the fungus. And it's hard to

1147
01:02:30,480 --> 01:02:34,120
Speaker 3: describe the vibe of this place. It is sort of

1148
01:02:34,360 --> 01:02:38,080
Speaker 3: it has elements of country Western, but also heavy metal

1149
01:02:38,480 --> 01:02:43,720
Speaker 3: and cyberpunk. It's like they're outdoors, but it seems indoors.

1150
01:02:43,840 --> 01:02:47,280
Speaker 3: It's constantly night time. There are neon lights everywhere. I

1151
01:02:47,320 --> 01:02:49,760
Speaker 3: was thinking it's a little bit Vegas Strip, a little

1152
01:02:49,800 --> 01:02:54,200
Speaker 3: bit Biff World, a little bit Blade Runner, I don't know.

1153
01:02:54,280 --> 01:02:57,000
Speaker 3: And of course there's a big sign that says vote

1154
01:02:57,040 --> 01:02:59,240
Speaker 3: for Koopa, so at least they get to vote here.

1155
01:02:59,720 --> 01:03:01,760
Speaker 2: I think all of these sequences were filmed in a

1156
01:03:01,840 --> 01:03:04,160
Speaker 2: like a giant industrial space in North Carolina.

1157
01:03:05,720 --> 01:03:09,160
Speaker 3: Wait literally literally yeah, oh wow, Okay.

1158
01:03:08,920 --> 01:03:10,800
Speaker 2: So for the rest of the film, we're somewhere at

1159
01:03:10,840 --> 01:03:13,800
Speaker 2: North Carolina in a big like former factory or something

1160
01:03:13,880 --> 01:03:14,520
Speaker 2: or warehouse.

1161
01:03:15,080 --> 01:03:17,680
Speaker 3: So a lot of the attempted humor in this movie

1162
01:03:17,920 --> 01:03:20,280
Speaker 3: doesn't work, But there are a few moments here on

1163
01:03:20,320 --> 01:03:23,080
Speaker 3: the streets when they first arrive and I forget what

1164
01:03:23,120 --> 01:03:27,160
Speaker 3: this place is called Koopa World or whatever, that are

1165
01:03:27,200 --> 01:03:29,680
Speaker 3: actually kind of funny. There was one part I laughed at, like,

1166
01:03:29,720 --> 01:03:31,920
Speaker 3: so there are lizards everywhere because this is you know,

1167
01:03:32,080 --> 01:03:36,240
Speaker 3: Dino Manhattan sort of, and there are lizards fighting in

1168
01:03:36,280 --> 01:03:38,320
Speaker 3: the streets, and there are people with sort of various

1169
01:03:38,360 --> 01:03:41,480
Speaker 3: reptilian features, and then there's a lady pushing a big

1170
01:03:41,520 --> 01:03:44,720
Speaker 3: egg in a stroller, and I did laugh at that.

1171
01:03:44,720 --> 01:03:46,880
Speaker 2: That was good. I like how we start seeing some

1172
01:03:46,920 --> 01:03:49,920
Speaker 2: dinosaur mutants in there, but not that many. It's kind

1173
01:03:49,920 --> 01:03:52,160
Speaker 2: of the reverse of sometimes you know, you have like

1174
01:03:52,200 --> 01:03:54,440
Speaker 2: your Star Wars Cantena scene and you have a lot

1175
01:03:54,480 --> 01:03:57,040
Speaker 2: of great aliens and then you have a few humans

1176
01:03:57,120 --> 01:03:59,280
Speaker 2: in the background just to sort of fill things out.

1177
01:03:59,480 --> 01:04:02,320
Speaker 2: We get there, it's mostly humans that are presumed to

1178
01:04:02,320 --> 01:04:06,600
Speaker 2: be evolved reptiles, and then also some reptile mutants thrown in,

1179
01:04:06,600 --> 01:04:07,640
Speaker 2: but only like one or two.

1180
01:04:08,000 --> 01:04:10,600
Speaker 3: Another funny gag here, there's a brief glimpse of a

1181
01:04:10,640 --> 01:04:14,000
Speaker 3: marquee outside of Grindhouse Theater and it's showing a movie

1182
01:04:14,040 --> 01:04:15,960
Speaker 3: called I Was a Teenage Mammal.

1183
01:04:16,640 --> 01:04:21,880
Speaker 2: Yeah, Triple X by the way, for kids.

1184
01:04:21,880 --> 01:04:25,120
Speaker 3: For the kids, yeah, exactly. And Mario and Luigi just

1185
01:04:25,200 --> 01:04:27,720
Speaker 3: keep saying where are we? This is crazy, and they're

1186
01:04:27,720 --> 01:04:30,720
Speaker 3: making jokes about how Manhattan got really bad since we

1187
01:04:30,720 --> 01:04:34,160
Speaker 3: were last here. So finally we meet the villain and

1188
01:04:34,400 --> 01:04:38,200
Speaker 3: again this is Koopa played by Dennis Hopper. My god,

1189
01:04:38,240 --> 01:04:40,200
Speaker 3: what would you call his hairstyle?

1190
01:04:40,880 --> 01:04:44,600
Speaker 2: I guess it's kind of like Dino rose something to

1191
01:04:44,720 --> 01:04:47,400
Speaker 2: really allow them to lean into the reptilian vibe that

1192
01:04:47,440 --> 01:04:50,560
Speaker 2: they've cultivated for him. And it's he's one of several

1193
01:04:50,720 --> 01:04:53,120
Speaker 2: extreme hairstyles that we see in the movie.

1194
01:04:53,600 --> 01:04:56,120
Speaker 3: It's like he has blonde hair, but yeah, it's styled

1195
01:04:56,200 --> 01:04:59,720
Speaker 3: up into the kind of rows of like the things

1196
01:04:59,720 --> 01:05:03,440
Speaker 3: on an Alligators back. Yeah, and he's hanging out with

1197
01:05:03,480 --> 01:05:07,320
Speaker 3: his creepy lady friend Lena. Oh, I mean, maybe we

1198
01:05:07,320 --> 01:05:09,120
Speaker 3: should go a little bit deeper on what's going on

1199
01:05:09,200 --> 01:05:13,120
Speaker 3: with Lena here. She's like Jillian Anderson as Margaret Thatcher,

1200
01:05:13,200 --> 01:05:15,800
Speaker 3: but with the charm turned down to zero and the

1201
01:05:15,840 --> 01:05:20,720
Speaker 3: body temperature dial set to room. There is a scene

1202
01:05:20,760 --> 01:05:23,480
Speaker 3: later where she's being irritable and Koopa says, looks like

1203
01:05:23,560 --> 01:05:25,760
Speaker 3: someone woke up on the wrong side of the nest

1204
01:05:25,840 --> 01:05:26,480
Speaker 3: this morning.

1205
01:05:28,120 --> 01:05:30,960
Speaker 2: That must be an ed Solomon line that way. Oh yeah, yeah,

1206
01:05:31,200 --> 01:05:35,160
Speaker 2: But anyway, I like Fiona Shaw on this. Again, this

1207
01:05:35,320 --> 01:05:37,480
Speaker 2: is not a character that comes from the Games as

1208
01:05:37,480 --> 01:05:40,200
Speaker 2: far as I know. This is a creation just for

1209
01:05:40,360 --> 01:05:44,280
Speaker 2: ninety three's Mario. But it's a lot of fun. Anytime

1210
01:05:44,640 --> 01:05:49,040
Speaker 2: Lena is on on screen, I'm interested in what she's doing.

1211
01:05:49,440 --> 01:05:53,760
Speaker 3: Yes, love Lena. So Dennis Hopper gives a speech where like,

1212
01:05:53,880 --> 01:05:56,920
Speaker 3: while he's doing this, he's dipped. Did you understand he's

1213
01:05:56,960 --> 01:06:00,000
Speaker 3: like dipping his hands in hot wax and making whack

1214
01:06:00,400 --> 01:06:01,680
Speaker 3: gloves for himself.

1215
01:06:02,600 --> 01:06:05,800
Speaker 2: Yeah, I don't. It's something. He's talking about the dangers

1216
01:06:05,800 --> 01:06:07,840
Speaker 2: of fun guy. So I thought maybe it was some

1217
01:06:07,880 --> 01:06:09,400
Speaker 2: sort of decontamination thing.

1218
01:06:09,480 --> 01:06:12,160
Speaker 3: I don't know, So he says, look at this place, pathetic.

1219
01:06:12,200 --> 01:06:14,640
Speaker 3: It gets worse every day. The humans on the other

1220
01:06:14,680 --> 01:06:17,440
Speaker 3: side have a world full of resources ready for the taking.

1221
01:06:17,800 --> 01:06:21,840
Speaker 3: Imagine an endless supply of food, clean air, water, And

1222
01:06:21,920 --> 01:06:25,600
Speaker 3: what are we stuck with this pit hole? Germs everywhere,

1223
01:06:26,000 --> 01:06:30,360
Speaker 3: fungus sixty five million years, we've been exiled here after

1224
01:06:30,400 --> 01:06:34,840
Speaker 3: that meteorite struck, while mammals roam free and the other dimension, well,

1225
01:06:34,920 --> 01:06:37,919
Speaker 3: not for long. So he lays out his whole plot

1226
01:06:38,000 --> 01:06:41,160
Speaker 3: right here in this first scene. He says, finally, when

1227
01:06:41,160 --> 01:06:44,000
Speaker 3: he gets hold of the Princess Daisy and the rock,

1228
01:06:44,120 --> 01:06:47,280
Speaker 3: he'll be able to finally merge our world with theirs

1229
01:06:47,320 --> 01:06:50,080
Speaker 3: and get rid of the mammals. So Spike and Iggy

1230
01:06:50,080 --> 01:06:52,400
Speaker 3: show up to report that they have the princess, but

1231
01:06:52,520 --> 01:06:55,600
Speaker 3: they forgot to get the rock, and Koopa needs the

1232
01:06:55,680 --> 01:06:58,800
Speaker 3: rock too where he can't merge the dimensions, and they say, oh, well,

1233
01:06:58,840 --> 01:07:02,120
Speaker 3: a couple of plumbers took it, and so Coopa puts

1234
01:07:02,160 --> 01:07:06,600
Speaker 3: out an APB on all plumbers. Now. Meanwhile, back with Mario,

1235
01:07:06,640 --> 01:07:10,120
Speaker 3: and Luigi. There was another I thought actually intentionally funny

1236
01:07:10,120 --> 01:07:13,320
Speaker 3: scene that works where they get mugged by a little

1237
01:07:13,360 --> 01:07:18,160
Speaker 3: old lady. It's like this little old lady who's like, oh, hello, gentlemen,

1238
01:07:18,240 --> 01:07:21,360
Speaker 3: you know this is a dangerous neighborhood. Are you too armed?

1239
01:07:21,400 --> 01:07:24,000
Speaker 3: And they're like what no, And then she pulls out

1240
01:07:24,040 --> 01:07:25,720
Speaker 3: like a laser gun and she's like, give me all

1241
01:07:25,760 --> 01:07:26,760
Speaker 3: your coupa coins.

1242
01:07:28,240 --> 01:07:30,960
Speaker 2: Yeah. This felt like something out of the old like

1243
01:07:31,200 --> 01:07:33,680
Speaker 2: out of an old Judge Dread comic book. If you're

1244
01:07:33,680 --> 01:07:36,240
Speaker 2: not familiar with the Judge Dad comic books, they had

1245
01:07:36,240 --> 01:07:39,560
Speaker 2: a pretty wacky vibe. For instance, in the comics, Judge

1246
01:07:39,640 --> 01:07:43,680
Speaker 2: Dread had an elderly cleaning lady named Maria who spoke

1247
01:07:43,720 --> 01:07:46,520
Speaker 2: with an exaggerated Italian accent. And this was not a

1248
01:07:46,520 --> 01:07:47,440
Speaker 2: one off character.

1249
01:07:48,840 --> 01:07:52,520
Speaker 3: I like, you included a panel here, maya judge.

1250
01:07:52,480 --> 01:07:55,840
Speaker 2: Yeah, you come aback to your old Maria. Yeah. Oh.

1251
01:07:55,840 --> 01:07:58,680
Speaker 3: But also after this, it's like a fight breaks out

1252
01:07:58,680 --> 01:08:02,120
Speaker 3: in this scene, and another lady, not the little old

1253
01:08:02,200 --> 01:08:04,240
Speaker 3: lady who tried to rob them, a different lady in

1254
01:08:04,280 --> 01:08:08,080
Speaker 3: a red dress with legion of doom spikes wearing pneumatic

1255
01:08:08,200 --> 01:08:11,560
Speaker 3: rocket boots ends up stealing the meteorite chard from them.

1256
01:08:11,720 --> 01:08:15,960
Speaker 3: She'll come back then. Also, I guess a few minutes later,

1257
01:08:16,080 --> 01:08:20,639
Speaker 3: the Koopa police come and arrest Mojo Nixon for standing

1258
01:08:20,720 --> 01:08:23,880
Speaker 3: on the sidewalk singing a satirical song about King Koopa.

1259
01:08:24,560 --> 01:08:27,760
Speaker 2: Yeah, and Mojo Nixon's character Toad here has just an

1260
01:08:27,760 --> 01:08:31,800
Speaker 2: extreme hairstyle. It is just something else. It's like a spiral.

1261
01:08:32,280 --> 01:08:35,080
Speaker 3: It's good. And by the way, Mario, like this movie,

1262
01:08:35,120 --> 01:08:38,639
Speaker 3: takes a stand. Mario takes great offense as an avid

1263
01:08:38,640 --> 01:08:42,280
Speaker 3: defender of free speech. Mario angrily insists that you cannot

1264
01:08:42,360 --> 01:08:45,040
Speaker 3: arrest a guy for singing a song. And then the

1265
01:08:45,080 --> 01:08:47,960
Speaker 3: police noticed that Mario is a plumber and they arrest

1266
01:08:48,000 --> 01:08:50,679
Speaker 3: him too. They arrest him in Luigi and Luigi protests

1267
01:08:50,680 --> 01:08:52,600
Speaker 3: that he's not a plumber, just an apprentice.

1268
01:08:52,920 --> 01:08:55,960
Speaker 2: Yeah, and Mojo Nixon's not even doing any obscene songs here.

1269
01:08:56,000 --> 01:08:59,240
Speaker 2: I mean, depending where you stand on obscenity laws, I

1270
01:08:59,240 --> 01:09:02,040
Speaker 2: guess a case could be made with some tracks. But

1271
01:09:02,160 --> 01:09:04,760
Speaker 2: he's just criticizing the Koopa government here.

1272
01:09:05,200 --> 01:09:07,439
Speaker 3: Now they get in a police car and they take

1273
01:09:07,479 --> 01:09:09,600
Speaker 3: them to the police station. But we should stop to

1274
01:09:09,960 --> 01:09:13,080
Speaker 3: mention the cars in this movie for a second. Every

1275
01:09:13,200 --> 01:09:16,880
Speaker 3: car in the Koopa world is mad maxified. They have

1276
01:09:17,000 --> 01:09:19,839
Speaker 3: engines on the outside, they have all kinds of spikes

1277
01:09:19,840 --> 01:09:22,640
Speaker 3: and doodads poking out all over the place. And then

1278
01:09:22,680 --> 01:09:27,000
Speaker 3: they've also got they're all constantly shooting sparks out of

1279
01:09:27,040 --> 01:09:27,759
Speaker 3: their roofs.

1280
01:09:28,160 --> 01:09:30,639
Speaker 2: I've seen a lot of movies with Mad Max cars

1281
01:09:30,680 --> 01:09:34,360
Speaker 2: in them, you know, and you know, some are good,

1282
01:09:34,439 --> 01:09:37,160
Speaker 2: some are bad. Some you see a lot of work

1283
01:09:37,200 --> 01:09:39,880
Speaker 2: and some it seem a little more slapped together. A

1284
01:09:39,920 --> 01:09:42,240
Speaker 2: lot of work went into these and they're.

1285
01:09:42,000 --> 01:09:45,600
Speaker 3: Really ugly hideous. Yeah. Now there was another thing that

1286
01:09:45,640 --> 01:09:48,320
Speaker 3: I thought, I don't know, this was like almost funny.

1287
01:09:48,760 --> 01:09:50,519
Speaker 3: I wasn't quite sure what was going on. But there

1288
01:09:50,560 --> 01:09:53,320
Speaker 3: is an atmosphere of total chaos at the police station.

1289
01:09:53,600 --> 01:09:57,360
Speaker 3: Like while Mario and Luigi are being booked and they're

1290
01:09:57,400 --> 01:09:59,639
Speaker 3: doing it, they're doing the bid about how they're both

1291
01:09:59,720 --> 01:10:02,719
Speaker 3: named Mario. That's their last name, so it's Mario Mario,

1292
01:10:02,840 --> 01:10:05,920
Speaker 3: Luigi Mario. But while this is going on, the booking

1293
01:10:05,960 --> 01:10:10,000
Speaker 3: officer is getting his back rubbed with the spike of

1294
01:10:10,040 --> 01:10:13,080
Speaker 3: a high heel on a woman's foot, which is attached

1295
01:10:13,080 --> 01:10:16,200
Speaker 3: to a leg that is jutting in from off screen.

1296
01:10:16,360 --> 01:10:20,320
Speaker 3: At an impossible angle, and meanwhile there is just constantly

1297
01:10:20,520 --> 01:10:23,719
Speaker 3: glass shattering everywhere and people jumping around.

1298
01:10:25,040 --> 01:10:27,439
Speaker 2: Yeah, like this really feels this is one of those

1299
01:10:27,439 --> 01:10:31,080
Speaker 2: things that especially felt like late eighties, early nineties, you know,

1300
01:10:31,080 --> 01:10:34,760
Speaker 2: it feels very MTV. It feels very in line with

1301
01:10:34,880 --> 01:10:37,080
Speaker 2: the director's sensibilities.

1302
01:10:37,439 --> 01:10:40,519
Speaker 3: But Mario and Luigi get defungused at jail. They go

1303
01:10:40,560 --> 01:10:43,880
Speaker 3: through a defungusing process and then they go into lock

1304
01:10:44,000 --> 01:10:47,479
Speaker 3: up where Mojo Nixon gives them some exposition. He explains

1305
01:10:47,560 --> 01:10:50,200
Speaker 3: history to them. He's like, Okay, you're in a parallel dimension.

1306
01:10:50,240 --> 01:10:51,760
Speaker 3: By the way, I don't know how he knows all this,

1307
01:10:52,280 --> 01:10:55,120
Speaker 3: but he's like, you're in a parallel dimension that was

1308
01:10:55,160 --> 01:10:59,320
Speaker 3: split off by the KPg impact some somehow, you came

1309
01:10:59,360 --> 01:11:03,040
Speaker 3: over here from mammal dimension into this one. Oh and

1310
01:11:03,080 --> 01:11:05,160
Speaker 3: by the way, he says that the fungus that is

1311
01:11:05,240 --> 01:11:08,920
Speaker 3: choking the city, he says, it's that old king. I

1312
01:11:08,920 --> 01:11:10,720
Speaker 3: guess the guy who used to be in charge here.

1313
01:11:11,560 --> 01:11:16,240
Speaker 3: Mojo Nixon says, he's been de evolved. So Koopa comes in.

1314
01:11:16,280 --> 01:11:18,680
Speaker 3: He's trying to find out where the meteorite piece is

1315
01:11:18,920 --> 01:11:20,840
Speaker 3: and he does this ploy where he pretends to be

1316
01:11:20,880 --> 01:11:23,479
Speaker 3: their lawyer. That didn't really work out, so they go

1317
01:11:23,640 --> 01:11:29,000
Speaker 3: into the d evolution chamber. Now, this is actually a

1318
01:11:29,160 --> 01:11:32,920
Speaker 3: major theme in the film, that isn't. I don't know

1319
01:11:33,040 --> 01:11:37,000
Speaker 3: how this theme became so big in the Super Mario

1320
01:11:37,120 --> 01:11:39,600
Speaker 3: Brothers movie. Does this have anything to do with the

1321
01:11:39,640 --> 01:11:41,519
Speaker 3: games in any way you're aware of?

1322
01:11:42,200 --> 01:11:44,680
Speaker 2: Well, just that Mario gets big and then if he

1323
01:11:44,680 --> 01:11:48,040
Speaker 2: gets injured, he becomes small again. Right, he loses his powers,

1324
01:11:48,040 --> 01:11:51,000
Speaker 2: and I guess you could say he's de evolving to

1325
01:11:51,080 --> 01:11:51,639
Speaker 2: some extent.

1326
01:11:51,960 --> 01:11:54,280
Speaker 3: So yeah, it's a machine with like a chair and

1327
01:11:54,320 --> 01:11:56,920
Speaker 3: then the chair you sit in it, you get strapped

1328
01:11:56,920 --> 01:11:59,120
Speaker 3: down and it sticks your head up in a big

1329
01:11:59,200 --> 01:12:02,280
Speaker 3: hole that za aps you with blue light until you

1330
01:12:02,400 --> 01:12:06,320
Speaker 3: come out having been changed. And Koopa gives a Bond

1331
01:12:06,400 --> 01:12:09,160
Speaker 3: villain speech about how the machine works. He says, normally,

1332
01:12:09,360 --> 01:12:13,240
Speaker 3: evolution is an upward process. Things evolved to get smarter,

1333
01:12:13,680 --> 01:12:17,880
Speaker 3: achieve higher forms. This machine does the opposite, reducing you

1334
01:12:17,960 --> 01:12:21,960
Speaker 3: to a primordial state. And I hate to be pedantic here,

1335
01:12:22,000 --> 01:12:24,920
Speaker 3: but we got to Coopa. That is a classic rookie

1336
01:12:25,000 --> 01:12:29,080
Speaker 3: mistake about evolution. Evolution does not mean things get higher

1337
01:12:29,200 --> 01:12:34,040
Speaker 3: or better, just means lineages of organisms adapt to environmental pressures,

1338
01:12:34,200 --> 01:12:38,000
Speaker 3: so they adapt to proliferate in their present environment. There's

1339
01:12:38,040 --> 01:12:42,680
Speaker 3: no up in evolution. But unfortunately the cringe science does

1340
01:12:42,720 --> 01:12:46,080
Speaker 3: not stop there, because Mario gets mad at Koopa and

1341
01:12:46,080 --> 01:12:49,240
Speaker 3: he says, what single celled organism did you evolve from?

1342
01:12:49,600 --> 01:12:53,720
Speaker 3: And Coopa says Tyrannosaurus rex the lizard king, thank you

1343
01:12:53,840 --> 01:12:57,639
Speaker 3: very much, which I would argue as more than one cell.

1344
01:12:58,080 --> 01:13:00,360
Speaker 2: I did like that. Dennis Hopper makes the bulge choice

1345
01:13:00,400 --> 01:13:02,360
Speaker 2: to act this scene out with his arms and a

1346
01:13:02,360 --> 01:13:04,040
Speaker 2: t rex pose. I don't know if you noticed that

1347
01:13:04,160 --> 01:13:06,479
Speaker 2: or have them kind of like little t rex arms.

1348
01:13:08,240 --> 01:13:12,559
Speaker 2: I also have to point out that the devo chamber

1349
01:13:12,600 --> 01:13:14,920
Speaker 2: here major set piece in the film, and they made

1350
01:13:14,960 --> 01:13:19,360
Speaker 2: a toy place that of this where you like strap

1351
01:13:19,360 --> 01:13:20,840
Speaker 2: in an act. It's kind of like the swine ped

1352
01:13:20,920 --> 01:13:23,960
Speaker 2: I guess from Masters of the Universe. I can't tell

1353
01:13:24,000 --> 01:13:26,720
Speaker 2: from the grainy image I found of the box how

1354
01:13:26,760 --> 01:13:29,719
Speaker 2: it was supposed to work. And I would ask listeners

1355
01:13:29,720 --> 01:13:31,880
Speaker 2: out there, Hey, if you had this toy, what was

1356
01:13:31,920 --> 01:13:35,160
Speaker 2: it like? But let's not get ourselves. Nobody had this toy.

1357
01:13:35,520 --> 01:13:38,599
Speaker 3: They had a toy, a mass produced toy set of

1358
01:13:38,680 --> 01:13:41,040
Speaker 3: the d evolution Chamber.

1359
01:13:42,520 --> 01:13:46,000
Speaker 2: I refuse to believe any child actually had this toy.

1360
01:13:46,040 --> 01:13:47,839
Speaker 3: But so what does it actually do in the movie?

1361
01:13:48,840 --> 01:13:51,479
Speaker 3: Like we see it demonstrated on poor Mojo Nixon. He

1362
01:13:51,520 --> 01:13:53,760
Speaker 3: gets his head stuck in it and it transforms his

1363
01:13:53,840 --> 01:13:57,519
Speaker 3: Mojo Nixon head into like a tiny reptilian head.

1364
01:13:58,160 --> 01:14:00,679
Speaker 2: Yeah, some great cgi there, as well as his face goes.

1365
01:14:02,240 --> 01:14:06,120
Speaker 3: Yeah, and we're told that this is a goomba. But

1366
01:14:06,120 --> 01:14:08,240
Speaker 3: that's funny because that's not what the goombas are in

1367
01:14:08,280 --> 01:14:11,720
Speaker 3: the games the game. In the games, they're like ambulatory mushrooms,

1368
01:14:11,800 --> 01:14:15,880
Speaker 3: not like people with large bodies and tiny, creepy reptile heads.

1369
01:14:16,520 --> 01:14:18,479
Speaker 2: Yeah. Yeah, there's stitching a lot of stuff together here.

1370
01:14:18,760 --> 01:14:21,479
Speaker 3: Now, I will say I remember that the transformation of

1371
01:14:21,560 --> 01:14:25,960
Speaker 3: people into goombas in this movie was an element that

1372
01:14:26,160 --> 01:14:28,920
Speaker 3: I found unsettling when I saw it as a kid.

1373
01:14:29,040 --> 01:14:32,719
Speaker 3: Something seemed to kind of perverse and wrong about it.

1374
01:14:32,600 --> 01:14:33,960
Speaker 3: It didn't feel good.

1375
01:14:34,840 --> 01:14:38,639
Speaker 2: Yeah, he's not only turning them into creatures. He's turning

1376
01:14:38,720 --> 01:14:41,640
Speaker 2: them into creatures that act and look stupid, So it

1377
01:14:41,680 --> 01:14:42,799
Speaker 2: feels like more of a crime.

1378
01:14:43,320 --> 01:14:45,799
Speaker 3: There's a scene later where Cooper reveals his like grand

1379
01:14:45,840 --> 01:14:50,240
Speaker 3: master plan is to devote all of the humans and

1380
01:14:50,320 --> 01:14:52,679
Speaker 3: the mammal dimension and turn them into monkeys.

1381
01:14:54,360 --> 01:14:57,160
Speaker 2: By the way, this whole merging of the of the dimensions,

1382
01:14:57,200 --> 01:14:59,640
Speaker 2: merging of the planes, I don't know if this is

1383
01:15:00,120 --> 01:15:02,360
Speaker 2: truly This is not the first work of fiction to

1384
01:15:02,520 --> 01:15:04,880
Speaker 2: deal with this possibility, but this I do know that

1385
01:15:04,920 --> 01:15:08,719
Speaker 2: this becomes a major plot point in the later Mortal

1386
01:15:08,800 --> 01:15:13,679
Speaker 2: Kombat games. So one has to wonder did they get

1387
01:15:13,720 --> 01:15:16,120
Speaker 2: that from the Super Mario Brothers movie or is there

1388
01:15:16,200 --> 01:15:19,200
Speaker 2: some other key bit of like Warring Dimension media that

1389
01:15:19,240 --> 01:15:20,200
Speaker 2: I'm just not thinking of.

1390
01:15:21,400 --> 01:15:23,439
Speaker 3: Well, anyway, so they send Toad off to join the

1391
01:15:23,439 --> 01:15:27,559
Speaker 3: other goombas Mario and Luigi. They sort of overpower their captors.

1392
01:15:27,600 --> 01:15:30,040
Speaker 3: They beat up the guards. They throw Koopa into the

1393
01:15:30,120 --> 01:15:33,360
Speaker 3: de evolution machine. So you're thinking, like, oh, is the

1394
01:15:33,360 --> 01:15:37,639
Speaker 3: movie about to be over? But no, Luigi, they crank

1395
01:15:37,720 --> 01:15:40,840
Speaker 3: the dial to the Jurassic setting, but he's like only

1396
01:15:40,880 --> 01:15:42,479
Speaker 3: in there for a second. That sort of pokes his

1397
01:15:42,560 --> 01:15:44,400
Speaker 3: head in and then he falls back out. But when

1398
01:15:44,439 --> 01:15:47,719
Speaker 3: he comes back out, he has these like morphing vertical

1399
01:15:47,800 --> 01:15:50,080
Speaker 3: pupils that are fading in and out.

1400
01:15:50,400 --> 01:15:52,599
Speaker 2: Yeah, it's one of the first of several scenes where

1401
01:15:52,880 --> 01:15:55,400
Speaker 2: Koopa glitches. Dinosaur I guess you'd say.

1402
01:15:55,439 --> 01:15:58,360
Speaker 3: Mm hmm. There's a big action scene where they're like

1403
01:15:58,400 --> 01:16:03,280
Speaker 3: fighting goombas with flamethrow and they eventually come under a car,

1404
01:16:03,439 --> 01:16:06,439
Speaker 3: a police car and get out of there, and the

1405
01:16:06,479 --> 01:16:08,280
Speaker 3: car chase ends with them going through a tunnel and

1406
01:16:08,280 --> 01:16:11,840
Speaker 3: getting spit out in some kind of desert. After this,

1407
01:16:12,000 --> 01:16:15,120
Speaker 3: there is a scene where Koopa is having a mud

1408
01:16:15,160 --> 01:16:17,240
Speaker 3: bath with Lena.

1409
01:16:17,360 --> 01:16:20,200
Speaker 2: Yeah, this is a pretty solid scene. Like the set.

1410
01:16:20,280 --> 01:16:21,880
Speaker 2: I don't know about the scene, but the set looks

1411
01:16:21,920 --> 01:16:25,320
Speaker 2: really dope, okay, And there's something about having your villain

1412
01:16:25,439 --> 01:16:27,519
Speaker 2: in the mud bath. It reminded me of the we

1413
01:16:27,560 --> 01:16:29,839
Speaker 2: have a mud bath scene in twenty twenty one's Dune

1414
01:16:29,880 --> 01:16:34,720
Speaker 2: with the baron in there as he's addressing his underlings.

1415
01:16:34,760 --> 01:16:39,320
Speaker 2: So similar connection there. I don't know if Denise Villeneuve

1416
01:16:39,520 --> 01:16:42,919
Speaker 2: was looking at this when he was putting together his

1417
01:16:43,160 --> 01:16:45,240
Speaker 2: dreams for his doing adaptation.

1418
01:16:45,640 --> 01:16:49,200
Speaker 3: Surely, surely it was inspired by the Super Mario Brothers movie.

1419
01:16:50,320 --> 01:16:53,040
Speaker 3: Dennis Hopper has a line this almost fell ad libbed.

1420
01:16:53,320 --> 01:16:56,160
Speaker 3: He says, you know what I love about mud, It's

1421
01:16:56,280 --> 01:16:58,639
Speaker 3: clean and it's dirty at the same time.

1422
01:16:59,600 --> 01:17:03,320
Speaker 2: Yeah, ull kids, kids.

1423
01:17:05,479 --> 01:17:09,720
Speaker 3: Oh so meanwhile, remember Daisy, Remember the paleontologist. Yeah, oh yeah, yeah,

1424
01:17:09,920 --> 01:17:12,320
Speaker 3: she's been hanging out with all of the women from

1425
01:17:12,360 --> 01:17:15,280
Speaker 3: the Mammal Dimension that I guess were all except her

1426
01:17:15,439 --> 01:17:18,360
Speaker 3: erroneously brought here by Iggy and Spike because they thought

1427
01:17:18,439 --> 01:17:20,680
Speaker 3: all of them were her. But now they're all just

1428
01:17:20,720 --> 01:17:23,360
Speaker 3: still here and they're like hanging out, stuck in this room.

1429
01:17:24,000 --> 01:17:28,519
Speaker 3: And Mario's date from Meatball Night is here. Nice and

1430
01:17:28,680 --> 01:17:33,080
Speaker 3: Lena shows up in the room to extract Princess Daisy

1431
01:17:33,160 --> 01:17:36,759
Speaker 3: from the room of the Mammal Dimension women, and Lena

1432
01:17:36,880 --> 01:17:39,559
Speaker 3: dresses her up in a purple gown and jewelry and

1433
01:17:39,680 --> 01:17:42,759
Speaker 3: gives some exposition. She says that Daisy is the daughter

1434
01:17:43,200 --> 01:17:48,240
Speaker 3: of the former queen of this world who stole the rock.

1435
01:17:48,360 --> 01:17:51,400
Speaker 3: That's what they're calling this, like Little Shard smuggled the

1436
01:17:51,400 --> 01:17:55,400
Speaker 3: baby into the Mammal dimension and then died. And Daisy

1437
01:17:55,439 --> 01:17:57,719
Speaker 3: wants to know about her father. Is he still living

1438
01:17:58,160 --> 01:18:00,519
Speaker 3: and Lena says, depends on what you mean by living,

1439
01:18:00,840 --> 01:18:04,520
Speaker 3: And later she asks Coopa about him. Coopa says, oh,

1440
01:18:04,720 --> 01:18:10,080
Speaker 3: he's around again, referring we will find it, spoiler, we

1441
01:18:10,120 --> 01:18:12,479
Speaker 3: will find out that all of the fungus that's just

1442
01:18:12,560 --> 01:18:15,840
Speaker 3: all over everything, in every building and room in this

1443
01:18:15,920 --> 01:18:18,920
Speaker 3: world is the former king. He's I guess he got

1444
01:18:18,960 --> 01:18:19,720
Speaker 3: really big.

1445
01:18:20,000 --> 01:18:23,759
Speaker 2: Yeah, which in and out of itself, it's grotesquely realized

1446
01:18:23,800 --> 01:18:26,320
Speaker 2: in the film, but it's it's kind of a neat idea,

1447
01:18:26,520 --> 01:18:29,080
Speaker 2: this idea that the deposed king was too powerful to

1448
01:18:29,120 --> 01:18:31,720
Speaker 2: really go away, and that he's like he's everywhere. I mean,

1449
01:18:31,720 --> 01:18:34,360
Speaker 2: there's something kind of potent about that. You can imagine

1450
01:18:34,360 --> 01:18:38,360
Speaker 2: this being used a great effect in a different work

1451
01:18:38,439 --> 01:18:38,880
Speaker 2: of fiction.

1452
01:18:39,800 --> 01:18:41,800
Speaker 3: So there's a new scene where I think Coopa is

1453
01:18:41,880 --> 01:18:45,519
Speaker 3: punishing Spike and Iggy for failing many times, and Spike

1454
01:18:45,560 --> 01:18:48,880
Speaker 3: gets sent into the Devo machine. But then instead of

1455
01:18:48,920 --> 01:18:51,720
Speaker 3: being made to DEVO, he has made to Evo. They

1456
01:18:51,760 --> 01:18:55,760
Speaker 3: so they set the dial to quote advanced. Yeah, they

1457
01:18:55,760 --> 01:18:58,040
Speaker 3: pop his head in. He comes out with a vastly

1458
01:18:58,040 --> 01:19:02,439
Speaker 3: improved vocabulary and he starts doing math problems. And then

1459
01:19:02,479 --> 01:19:04,320
Speaker 3: they do this to the other guy as well. So

1460
01:19:04,360 --> 01:19:07,680
Speaker 3: now they are both smart. But in this movie, smart

1461
01:19:08,000 --> 01:19:10,880
Speaker 3: just means listing a lot of synonyms for a word.

1462
01:19:10,960 --> 01:19:14,080
Speaker 2: Somebody just said, yeah, yeah, they just book smart. They

1463
01:19:14,080 --> 01:19:18,760
Speaker 2: don't actually do anything smart in the film. They just

1464
01:19:18,800 --> 01:19:21,080
Speaker 2: suddenly have a different vocabulary.

1465
01:19:20,479 --> 01:19:22,840
Speaker 3: Though I think it does change their politics. Now they

1466
01:19:22,880 --> 01:19:26,120
Speaker 3: start sort of revolting against King Cooper. Remember, they're like,

1467
01:19:26,160 --> 01:19:27,080
Speaker 3: you're a fascist.

1468
01:19:27,439 --> 01:19:29,679
Speaker 2: That's right, that's right. They just have very little ability

1469
01:19:29,680 --> 01:19:32,400
Speaker 2: to do anything about it because they're not plumbers.

1470
01:19:32,800 --> 01:19:35,720
Speaker 3: That's right. That's right. Oh somewhere in here, there's a

1471
01:19:35,760 --> 01:19:37,400
Speaker 3: scene where Daisy meets Yoshi.

1472
01:19:37,680 --> 01:19:40,080
Speaker 2: I remember, Oh yeah, Yoshi is one of the highlights

1473
01:19:40,120 --> 01:19:40,599
Speaker 2: of the film.

1474
01:19:40,880 --> 01:19:45,080
Speaker 3: Yes, so there's a tiny theropod dinosaur, definitely not as

1475
01:19:45,160 --> 01:19:48,040
Speaker 3: cute as Yoshi in the games, but he's sort of,

1476
01:19:48,080 --> 01:19:52,000
Speaker 3: you know, a dog sized dinosaur, and Daisy's getting to

1477
01:19:52,000 --> 01:19:55,240
Speaker 3: know him, and Koopa enters the scene and says, Yoshi

1478
01:19:55,320 --> 01:19:58,559
Speaker 3: is a pet of the royal family. And Daisy is

1479
01:19:58,600 --> 01:20:02,200
Speaker 3: of course amazed because here's dinosaur. She's a paleontologist, she's

1480
01:20:02,200 --> 01:20:04,759
Speaker 3: always studied them, but never seen one alive of course.

1481
01:20:05,520 --> 01:20:07,800
Speaker 2: Yeah, yeah, so this was something I remember from the

1482
01:20:07,800 --> 01:20:10,000
Speaker 2: trailers and the promotional materials when I was a kid.

1483
01:20:10,000 --> 01:20:12,760
Speaker 2: I was like, yes, this this is Yoshi. This is great. This,

1484
01:20:13,000 --> 01:20:15,519
Speaker 2: I mean, who doesn't want to see this movie with

1485
01:20:15,560 --> 01:20:17,559
Speaker 2: a with a cute dinosaur that's your friend.

1486
01:20:18,040 --> 01:20:20,680
Speaker 3: Sure, but this scene really ends up taking a turn. So,

1487
01:20:21,080 --> 01:20:23,840
Speaker 3: first of all, there's more exposition. There's a lot of

1488
01:20:23,880 --> 01:20:28,479
Speaker 3: just explaining. Coopa explains that their dementia, well, he doesn't

1489
01:20:28,479 --> 01:20:31,680
Speaker 3: explain this, it like is demonstrated with a prop that

1490
01:20:31,720 --> 01:20:35,360
Speaker 3: their world is Aracus pretty much like the planet has

1491
01:20:35,439 --> 01:20:37,920
Speaker 3: one big city and the rest of the planet is

1492
01:20:37,960 --> 01:20:41,160
Speaker 3: an endless desert. So Coopa spins the globe around and

1493
01:20:41,200 --> 01:20:43,559
Speaker 3: there's only one landmark, the city. The rest is just

1494
01:20:43,640 --> 01:20:46,720
Speaker 3: flat desert. So like, if there's only one landmark on

1495
01:20:46,760 --> 01:20:48,559
Speaker 3: your planet, why would you have a globe?

1496
01:20:49,000 --> 01:20:53,440
Speaker 2: I mean, maybe it's not nothing out there, there's some landmarks.

1497
01:20:53,760 --> 01:20:57,599
Speaker 3: Yeah, So Coopa explains to her also that she's one

1498
01:20:57,600 --> 01:21:01,160
Speaker 3: of them. You know, she's descended from dinah, not mammals,

1499
01:21:01,600 --> 01:21:04,439
Speaker 3: and we will in later scenes see her bonding and

1500
01:21:04,439 --> 01:21:06,760
Speaker 3: making friends with Yoshi. I guess not just because she's

1501
01:21:06,840 --> 01:21:11,000
Speaker 3: interested in dinosaurs, but because she is one. Then the

1502
01:21:11,040 --> 01:21:14,839
Speaker 3: scene takes a horrible turn and Coopa gets really creepy.

1503
01:21:14,920 --> 01:21:18,200
Speaker 3: He does like a cgi snake tongue thing at Daisy

1504
01:21:18,240 --> 01:21:22,519
Speaker 3: and tries to kiss her. It is absolutely disgusting, and

1505
01:21:22,560 --> 01:21:25,320
Speaker 3: in a way, I guess hats off to Dennis Hopper

1506
01:21:25,360 --> 01:21:28,000
Speaker 3: because I assume they probably told him. Hey, okay, time

1507
01:21:28,040 --> 01:21:30,760
Speaker 3: to be the King of creeps, and he accomplishes it.

1508
01:21:31,360 --> 01:21:34,280
Speaker 3: But I don't know, I do not understand how anybody

1509
01:21:34,320 --> 01:21:37,000
Speaker 3: involved thought this scene was appropriate in a movie for

1510
01:21:37,080 --> 01:21:37,719
Speaker 3: little kids.

1511
01:21:38,560 --> 01:21:43,320
Speaker 2: Yeah, because he's playing an abusive, lecherous totalitarian, but in

1512
01:21:43,360 --> 01:21:46,479
Speaker 2: ways that break through the sort of simplified cartoon version

1513
01:21:46,600 --> 01:21:47,640
Speaker 2: of those attributes.

1514
01:21:48,000 --> 01:21:50,680
Speaker 3: Yeah, it's just gross, and so like, is this a

1515
01:21:50,760 --> 01:21:53,080
Speaker 3: kid's movie? And then to add more to that, so

1516
01:21:53,200 --> 01:21:56,880
Speaker 3: Daisy rejects him, and then Coop Coopa sends her away

1517
01:21:56,880 --> 01:22:00,479
Speaker 3: with Gumba's and he kicks Yoshi. He kicks Yoshi, cruelty

1518
01:22:00,479 --> 01:22:04,599
Speaker 3: to animals. Also, I don't really blame Hopper here because

1519
01:22:04,600 --> 01:22:06,840
Speaker 3: I think he's probably doing what they told him to

1520
01:22:06,880 --> 01:22:10,920
Speaker 3: do and create this awful, detestable villain. But this, the

1521
01:22:11,040 --> 01:22:14,160
Speaker 3: tone is just miles off the mark for what this

1522
01:22:14,280 --> 01:22:16,000
Speaker 3: movie is presumably supposed to be.

1523
01:22:16,640 --> 01:22:29,920
Speaker 2: Absolutely. Yeah, Now, of course, where at Mario and Luigi

1524
01:22:30,000 --> 01:22:31,960
Speaker 2: at this point they've been cast out into the desert

1525
01:22:32,080 --> 01:22:33,200
Speaker 2: and with the fremen.

1526
01:22:33,640 --> 01:22:37,240
Speaker 3: Yeah that's right, yes, after having given their water. I

1527
01:22:37,280 --> 01:22:39,400
Speaker 3: don't know. Yeah, So they're out in the desert wandering around.

1528
01:22:39,479 --> 01:22:42,240
Speaker 3: They're arguing with each other at some point that they

1529
01:22:42,360 --> 01:22:45,040
Speaker 3: end up crossing paths with Iggy and Spike after Iggy

1530
01:22:45,040 --> 01:22:47,320
Speaker 3: and Spike crash their dune buggy in a mud pit,

1531
01:22:48,080 --> 01:22:51,439
Speaker 3: and then they fill Mario and Luigi in on the

1532
01:22:51,479 --> 01:22:54,320
Speaker 3: exposition that the audience already knows all the stuff about

1533
01:22:54,320 --> 01:22:57,040
Speaker 3: the world. Skoupon needs the Shard to merge the dimensions,

1534
01:22:57,040 --> 01:22:59,880
Speaker 3: et cetera. This movie spends a lot of time going

1535
01:23:00,080 --> 01:23:03,080
Speaker 3: over stuff that's already been covered. Character is just telling

1536
01:23:03,400 --> 01:23:07,000
Speaker 3: exposition to characters of things the audience already knows, sometimes

1537
01:23:07,040 --> 01:23:09,520
Speaker 3: like four or five iterations of the same information.

1538
01:23:09,960 --> 01:23:11,640
Speaker 2: Yeah, I don't know how much of that is. Just

1539
01:23:12,040 --> 01:23:13,920
Speaker 2: like it's kind of a clunky plot, and so they

1540
01:23:13,920 --> 01:23:16,400
Speaker 2: felt like they really needed a hammer at home. I

1541
01:23:16,400 --> 01:23:19,400
Speaker 2: don't know, like maybe if they had one less exposition sequence,

1542
01:23:19,560 --> 01:23:23,479
Speaker 2: I wouldn't have as clear of an idea about what's

1543
01:23:23,479 --> 01:23:23,840
Speaker 2: going on.

1544
01:23:24,160 --> 01:23:26,320
Speaker 3: But they agree to work together. They say, like, Spike

1545
01:23:26,320 --> 01:23:28,639
Speaker 3: and Iggy can have the shard if they help Mario

1546
01:23:28,680 --> 01:23:31,599
Speaker 3: and Luigi rescue Daisy. So they make their way back

1547
01:23:31,600 --> 01:23:34,280
Speaker 3: to the city by knocking out some Coopa cops at

1548
01:23:34,320 --> 01:23:37,519
Speaker 3: a dump with plumbing equipment, and they steal a garbage

1549
01:23:37,560 --> 01:23:40,640
Speaker 3: truck and then they go to a night club to

1550
01:23:40,720 --> 01:23:44,400
Speaker 3: find the lady who stole the meteorite shard, and once again,

1551
01:23:44,640 --> 01:23:47,000
Speaker 3: is this movie supposed to be for kids? This club

1552
01:23:47,080 --> 01:23:51,120
Speaker 3: scene really seemed way too adult. Like there's just leather

1553
01:23:51,280 --> 01:23:54,479
Speaker 3: and butts everywhere. It's a weird vibe.

1554
01:23:54,800 --> 01:23:57,720
Speaker 2: Yeah, there's a lot of underwear in this scene, and

1555
01:23:57,960 --> 01:24:00,320
Speaker 2: I kept expecting the lady with three breasts from Total

1556
01:24:00,320 --> 01:24:02,160
Speaker 2: Recall to show up. You know, It's like that kind

1557
01:24:02,160 --> 01:24:03,080
Speaker 2: of a vibe.

1558
01:24:03,280 --> 01:24:07,080
Speaker 3: It is exactly that kind of setting. Yeah, So Mario's

1559
01:24:07,080 --> 01:24:09,680
Speaker 3: plan to get the meteorite chard is to charm the

1560
01:24:09,760 --> 01:24:12,080
Speaker 3: lady who beat them up and stole it earlier. Turns

1561
01:24:12,120 --> 01:24:15,479
Speaker 3: out her name is Bertha, and turns out it sort

1562
01:24:15,479 --> 01:24:18,400
Speaker 3: of works, like he goes up and he's like, hello, beautiful,

1563
01:24:18,439 --> 01:24:21,160
Speaker 3: and she punches him at first, but then she dances

1564
01:24:21,160 --> 01:24:24,640
Speaker 3: with him. Then he gets the shard back. Then then

1565
01:24:24,680 --> 01:24:27,639
Speaker 3: a George Clinton cover of Walk the Dinosaur starts playing.

1566
01:24:27,960 --> 01:24:31,439
Speaker 3: Then goombas arrived, commanded by Lena, and then Lena gets

1567
01:24:31,439 --> 01:24:33,720
Speaker 3: hold of the shard, but Mario and Luigi managed to

1568
01:24:33,840 --> 01:24:36,439
Speaker 3: escape the goombas with the help of Bertha, who is

1569
01:24:36,520 --> 01:24:39,320
Speaker 3: very strong and who is now in love with Mario.

1570
01:24:39,439 --> 01:24:42,120
Speaker 3: I think she like kisses him and calls him sugar

1571
01:24:42,160 --> 01:24:45,880
Speaker 3: buns or something, and then she gives them pneumatic rocket boots,

1572
01:24:45,920 --> 01:24:48,800
Speaker 3: which she calls stompers. And I think here is the

1573
01:24:48,840 --> 01:24:52,360
Speaker 3: first time we see the Super Mario brothers actually gaining

1574
01:24:52,479 --> 01:24:54,960
Speaker 3: some of their powers from the game, because now they

1575
01:24:55,000 --> 01:24:57,559
Speaker 3: can jump because they have the boots from Bertha.

1576
01:24:58,040 --> 01:24:59,760
Speaker 2: Now they can do again. This is something that they

1577
01:24:59,760 --> 01:25:01,760
Speaker 2: were like, well, they've got a jump. They've got a jump.

1578
01:25:01,760 --> 01:25:03,760
Speaker 2: They've got to do plumbing and they have to jump.

1579
01:25:03,840 --> 01:25:08,760
Speaker 3: So there's another chase they escape. There is a scene

1580
01:25:08,600 --> 01:25:12,639
Speaker 3: where we see Coopa taunting a big hunk of fungus

1581
01:25:12,680 --> 01:25:17,519
Speaker 3: hanging over an empty throne, and again we will find out, oh,

1582
01:25:17,600 --> 01:25:20,000
Speaker 3: this is the king. This is Daisy's father, the king.

1583
01:25:20,720 --> 01:25:22,960
Speaker 3: And then Coopa goes and he orders a pizza on

1584
01:25:23,000 --> 01:25:26,840
Speaker 3: a videophone. He wants a Coopa Special with pterodactyl tail,

1585
01:25:27,040 --> 01:25:31,439
Speaker 3: dino lizard, hold the mammal, no worms, and spicy. So

1586
01:25:31,560 --> 01:25:34,559
Speaker 3: the Marios after this, they sneak into Koopa tower by

1587
01:25:34,560 --> 01:25:39,360
Speaker 3: doing plumbing like they like, twist some bolts and stuff

1588
01:25:39,400 --> 01:25:42,000
Speaker 3: on pipes in order to turn off the heat, so

1589
01:25:42,040 --> 01:25:44,519
Speaker 3: the tower turns cold and this is not good for

1590
01:25:44,560 --> 01:25:48,479
Speaker 3: the dinosaurs. They also find the outfits of their actual

1591
01:25:48,520 --> 01:25:51,200
Speaker 3: colors from the game. They just like find red overalls

1592
01:25:51,200 --> 01:25:54,280
Speaker 3: for Mario and green for Luigi. I think it's somewhere

1593
01:25:54,280 --> 01:25:57,160
Speaker 3: around here that Lena starts turning on Coopa, Like, she

1594
01:25:57,280 --> 01:26:00,360
Speaker 3: starts to get jealous of his desire for Daisy. So

1595
01:26:00,439 --> 01:26:02,479
Speaker 3: she's like, well, I'm gonna take the shard and I'll

1596
01:26:02,520 --> 01:26:03,960
Speaker 3: merge the worlds without him.

1597
01:26:04,280 --> 01:26:05,920
Speaker 2: And this is great because, like I said, I'm I'm

1598
01:26:05,920 --> 01:26:09,240
Speaker 2: here for Lena. I'm ready to support Lena and her

1599
01:26:09,720 --> 01:26:14,200
Speaker 2: coup against Koopa. So let's see if she can pull

1600
01:26:14,240 --> 01:26:14,559
Speaker 2: it off.

1601
01:26:14,880 --> 01:26:17,280
Speaker 3: Yeah, she tries to go to Daisy's room and kill her,

1602
01:26:17,439 --> 01:26:20,960
Speaker 3: but that doesn't work because Yoshi intervenes. Yoshi bites Lena,

1603
01:26:21,080 --> 01:26:24,920
Speaker 3: and Daisy escapes. Oh and meanwhile, Daisy has been making friends,

1604
01:26:24,920 --> 01:26:27,879
Speaker 3: not just with Yoshi but with the Mojo Nixon Gumba.

1605
01:26:28,600 --> 01:26:31,479
Speaker 3: They're friends now. I guess he's like a nice one.

1606
01:26:31,880 --> 01:26:34,719
Speaker 2: Yeah. They let him keep the harmonica that he played

1607
01:26:34,720 --> 01:26:37,519
Speaker 2: in life, and so it's always around his neck to

1608
01:26:37,560 --> 01:26:39,120
Speaker 2: identify which one he is.

1609
01:26:39,439 --> 01:26:42,240
Speaker 3: That's right, And it turns another thing. The Mario brothers

1610
01:26:42,240 --> 01:26:45,320
Speaker 3: somehow discovered that Goomba's like to dance, so they like

1611
01:26:45,439 --> 01:26:48,400
Speaker 3: get them swaying back and forth to music in order

1612
01:26:48,439 --> 01:26:51,000
Speaker 3: to evade them while they're trying to sneak around through

1613
01:26:51,000 --> 01:26:52,120
Speaker 3: some elevator shafts.

1614
01:26:52,640 --> 01:26:55,120
Speaker 2: Yeah, I know those sequences. Those are some great weird

1615
01:26:55,160 --> 01:26:58,559
Speaker 2: scenes that also feel like they're part of a children's movie,

1616
01:26:58,560 --> 01:27:02,240
Speaker 2: you know, like big dumb looking monsters or dancing with

1617
01:27:02,280 --> 01:27:03,840
Speaker 2: each other. And I accept it.

1618
01:27:04,320 --> 01:27:07,400
Speaker 3: So eventually, I guess Daisy meets up with you men.

1619
01:27:07,439 --> 01:27:12,040
Speaker 3: There's so many characters just like meeting, crossing paths, getting captured, uncaptured, escaping,

1620
01:27:12,080 --> 01:27:14,799
Speaker 3: blah blah blah. Just there's a lot of plot movement

1621
01:27:14,960 --> 01:27:18,240
Speaker 3: without a lot of significance really changing. But it's like

1622
01:27:18,360 --> 01:27:20,840
Speaker 3: Daisy meets up with Spike and Iggy, who explained to

1623
01:27:20,880 --> 01:27:23,799
Speaker 3: her that her father, the King, was the first victim

1624
01:27:23,880 --> 01:27:27,400
Speaker 3: of Koopa's de evolution machine. He is the fungus that

1625
01:27:27,439 --> 01:27:31,479
Speaker 3: covers the entire city. As we've said, she tries to

1626
01:27:31,560 --> 01:27:35,000
Speaker 3: talk to the fungus father, then she frees Yoshi from

1627
01:27:35,000 --> 01:27:38,240
Speaker 3: his chains. Then she just hacks the computer system. She

1628
01:27:38,320 --> 01:27:39,439
Speaker 3: starts like getting in there.

1629
01:27:40,840 --> 01:27:43,479
Speaker 2: I have to drive home that the what we see

1630
01:27:43,520 --> 01:27:46,960
Speaker 2: in the throne room of the former Kings as fungus.

1631
01:27:47,160 --> 01:27:49,479
Speaker 2: It's just really disgusting. Looks like the failed results of

1632
01:27:49,560 --> 01:27:52,519
Speaker 2: a telepod experiment from the Fly or something.

1633
01:27:52,640 --> 01:27:55,400
Speaker 3: Oh yeah, totally yeah. It's just a weird kind of

1634
01:27:55,479 --> 01:28:01,000
Speaker 3: slime and flesh gunk. Oh but somewhere here, I guess

1635
01:28:01,400 --> 01:28:04,080
Speaker 3: Mario and Luigi make it into the tower. They reunite

1636
01:28:04,080 --> 01:28:07,479
Speaker 3: with Daisy. They are introduced to the fungus King. Here's somehow.

1637
01:28:07,520 --> 01:28:10,280
Speaker 3: Mario gets reminded about his meatball night date, whose name

1638
01:28:10,360 --> 01:28:14,519
Speaker 3: is Daniella. Okay, that's her name. She's also stuck here

1639
01:28:14,520 --> 01:28:16,280
Speaker 3: in the Koopa World with all of the other women

1640
01:28:16,320 --> 01:28:19,280
Speaker 3: from Brooklyn who were kidnapped, and he's like, oh yeah,

1641
01:28:19,280 --> 01:28:21,880
Speaker 3: I promised to take her to WrestleMania. That means I've

1642
01:28:21,880 --> 01:28:25,240
Speaker 3: got to rescue her. So he goes to rescue her.

1643
01:28:25,280 --> 01:28:28,519
Speaker 3: He does it, and they all Mario and all of

1644
01:28:28,560 --> 01:28:32,160
Speaker 3: the ladies from Mammal World go bob sledding down a

1645
01:28:32,200 --> 01:28:35,479
Speaker 3: giant pipe pursued by goombas. I think this is another

1646
01:28:35,720 --> 01:28:39,280
Speaker 3: nod of the games, like going down the pipes, and

1647
01:28:39,320 --> 01:28:42,840
Speaker 3: there's some kind of Kinney Loggins music play in They

1648
01:28:42,840 --> 01:28:45,519
Speaker 3: get spit out in the streets of Koopatown, where they

1649
01:28:45,560 --> 01:28:50,120
Speaker 3: reunite with Daisy and Luigi, and at some point in

1650
01:28:50,120 --> 01:28:52,439
Speaker 3: their Daisy and Luigi were captured, and then they got

1651
01:28:52,479 --> 01:28:55,360
Speaker 3: away again. I don't know how all that happened. But

1652
01:28:55,439 --> 01:28:57,960
Speaker 3: then there's more action in the streets. Koopa's down there

1653
01:28:58,000 --> 01:29:01,440
Speaker 3: aiming a de evolution gun at them. There are devolution

1654
01:29:01,600 --> 01:29:04,920
Speaker 3: guns now, not just the machine with the chair, So

1655
01:29:05,040 --> 01:29:07,240
Speaker 3: from here it's sort of action all the way to

1656
01:29:07,280 --> 01:29:10,519
Speaker 3: the end. There is a sequence where Lena is trying

1657
01:29:10,560 --> 01:29:13,920
Speaker 3: to get the shard and she gets electrified somehow and

1658
01:29:13,960 --> 01:29:16,840
Speaker 3: gets big hair and then runs down the tunnel to

1659
01:29:16,960 --> 01:29:21,160
Speaker 3: the dimensional rift. Luigi and Daisy also run down there

1660
01:29:21,200 --> 01:29:24,679
Speaker 3: after her. They return the girls from Brooklyn back to Brooklyn,

1661
01:29:25,120 --> 01:29:27,680
Speaker 3: they say, tell everyone in Brooklyn about the invasion of

1662
01:29:27,720 --> 01:29:33,120
Speaker 3: the goombas that's coming. Lena inserts the shard into the meteorite,

1663
01:29:33,200 --> 01:29:35,839
Speaker 3: but it blasts her into the wall and she becomes

1664
01:29:35,880 --> 01:29:41,719
Speaker 3: a cooked skeleton with frizzy hair. Luigi and Daisy are like, oh, yeah,

1665
01:29:41,720 --> 01:29:44,639
Speaker 3: of course that happened to her, because only Daisy has

1666
01:29:44,720 --> 01:29:47,240
Speaker 3: the power to insert or remove the shard.

1667
01:29:48,160 --> 01:29:50,240
Speaker 2: Okay, all right, I.

1668
01:29:49,720 --> 01:29:52,519
Speaker 3: Don't recall that being established before, but maybe I missed it.

1669
01:29:52,720 --> 01:29:54,920
Speaker 2: Yeah, we're leaning a little bit on the Dark Crystal.

1670
01:29:54,960 --> 01:29:55,680
Speaker 2: At this point, I.

1671
01:29:55,640 --> 01:29:58,800
Speaker 3: Think, yeah, yeah, there's a bunch of just action, like

1672
01:29:58,880 --> 01:30:02,280
Speaker 3: Koopa's trying to shoot Mario and Luigi with fireballs in

1673
01:30:02,320 --> 01:30:08,120
Speaker 3: the street. There's a big fight. But when the shard

1674
01:30:08,320 --> 01:30:11,719
Speaker 3: is insurged into the media rite, everything gets interrupted because

1675
01:30:12,400 --> 01:30:15,320
Speaker 3: they're like their bodies start dissolving. So like Coopa and

1676
01:30:15,400 --> 01:30:18,040
Speaker 3: Mario are in a standoff and they're turning into pixels

1677
01:30:18,040 --> 01:30:21,760
Speaker 3: and flying away, and Coopa's like, we're merging.

1678
01:30:22,720 --> 01:30:25,519
Speaker 2: Oh my god. This was a part in the movie

1679
01:30:25,520 --> 01:30:27,879
Speaker 2: where I was like, oh my goodness, what is happening?

1680
01:30:27,960 --> 01:30:30,360
Speaker 2: Like I was just for a minute there, just totally

1681
01:30:30,720 --> 01:30:32,439
Speaker 2: thrown off. I was like, are we about to time

1682
01:30:32,479 --> 01:30:36,519
Speaker 2: cop Here they're can merge together and occupy the same

1683
01:30:36,600 --> 01:30:38,640
Speaker 2: mass at the same time. I don't know, but of

1684
01:30:38,640 --> 01:30:39,720
Speaker 2: course it's the dimensions.

1685
01:30:40,040 --> 01:30:43,400
Speaker 3: Yeah. Yeah, So the merging dissolves Koopa and Mario. It

1686
01:30:43,479 --> 01:30:47,040
Speaker 3: sends them to the mammal dimension Brooklyn, where they pop

1687
01:30:47,080 --> 01:30:51,240
Speaker 3: out on the the dig site of the Scipelli dig.

1688
01:30:52,240 --> 01:30:56,640
Speaker 3: We see the dissolving of the World Trade Center, like

1689
01:30:56,680 --> 01:30:59,720
Speaker 3: the towers dissolve, and somebody comments, those guys will do

1690
01:30:59,800 --> 01:31:01,160
Speaker 3: any thing for publicity.

1691
01:31:02,800 --> 01:31:03,360
Speaker 2: Yikes.

1692
01:31:05,080 --> 01:31:08,120
Speaker 3: Coopa gets there and he shoots the de evolution gun

1693
01:31:08,200 --> 01:31:12,679
Speaker 3: at Schipelli, who turns into a chimpanzee. Once again, humans

1694
01:31:12,720 --> 01:31:15,000
Speaker 3: did not evolve from chimpanzees. Yeah.

1695
01:31:15,080 --> 01:31:17,080
Speaker 2: Yeah, also did not evolve from mushrooms.

1696
01:31:17,920 --> 01:31:22,360
Speaker 3: Also true. So Coopa then says he's going to make

1697
01:31:22,360 --> 01:31:24,960
Speaker 3: a monkey out of Mario. He aims the de evolution

1698
01:31:25,120 --> 01:31:29,280
Speaker 3: gun at him, but then Mario remembers Luigi earlier said hey,

1699
01:31:29,320 --> 01:31:32,880
Speaker 3: we should trust the fungus. So Mario says, trust the fungus,

1700
01:31:33,360 --> 01:31:35,680
Speaker 3: and he holds up a piece of fungus as a

1701
01:31:35,760 --> 01:31:39,160
Speaker 3: human shield or a fungus shield, and the de evolution

1702
01:31:39,320 --> 01:31:43,320
Speaker 3: gun hits it and it gets bigger, and then Daisy

1703
01:31:43,320 --> 01:31:45,439
Speaker 3: and Luigi managed to get the shard out of the

1704
01:31:45,479 --> 01:31:50,400
Speaker 3: media orite. So Coopa and Mario dissolve back to Iracush

1705
01:31:50,800 --> 01:31:53,559
Speaker 3: and then, hey, all of your friends are back here,

1706
01:31:53,600 --> 01:31:56,040
Speaker 3: and let's do a payoff of everything that happened earlier.

1707
01:31:56,640 --> 01:32:01,120
Speaker 3: So remember how the goombas like to dance, Welljo Nixon Gumba,

1708
01:32:01,200 --> 01:32:04,040
Speaker 3: he starts playing the harmonica and they start dancing, so

1709
01:32:04,080 --> 01:32:07,799
Speaker 3: they're not fighting. And hey, remember Bertha with her rocket boots,

1710
01:32:07,960 --> 01:32:10,400
Speaker 3: Well she's here with rocket boots. Luigi puts them on

1711
01:32:10,520 --> 01:32:14,280
Speaker 3: and starts zooming around. Hey, remember those devo guns. Mario

1712
01:32:14,360 --> 01:32:16,960
Speaker 3: and Luigi get them and they use them on Koopa

1713
01:32:17,080 --> 01:32:21,360
Speaker 3: to turn him into a velociraptor. Remember, oh, we've seen

1714
01:32:21,800 --> 01:32:24,519
Speaker 3: remember bob bombs from the Mario game, the little like

1715
01:32:24,720 --> 01:32:28,800
Speaker 3: walking bombs, like from a cartoon. They keep popping up

1716
01:32:28,800 --> 01:32:30,760
Speaker 3: in the game because the Fungus is like trying to

1717
01:32:30,840 --> 01:32:34,599
Speaker 3: hand them to Mario. There was one that was ignited earlier.

1718
01:32:34,640 --> 01:32:37,080
Speaker 3: I skipped over that during the big action scene in

1719
01:32:37,120 --> 01:32:40,000
Speaker 3: the streets. It walks back over to Koopa, blows up,

1720
01:32:40,080 --> 01:32:43,439
Speaker 3: launches him sky high. He falls back down, roars. He's

1721
01:32:43,439 --> 01:32:48,200
Speaker 3: still dinosaurish. Mario and Luigi they keep shooting him with

1722
01:32:48,280 --> 01:32:52,080
Speaker 3: the de evolution gun until he turns into primordial Ooze,

1723
01:32:52,360 --> 01:32:54,720
Speaker 3: and then the people of Coopaville celebrate. I guess they

1724
01:32:54,720 --> 01:32:57,840
Speaker 3: didn't like Koopa, but we were given no indication of that.

1725
01:32:58,840 --> 01:33:02,200
Speaker 3: Then everybody hugs the fungus. King turns back into Lance

1726
01:33:02,240 --> 01:33:06,479
Speaker 3: Henrickson and says I'm back. Love those plumbers, and then

1727
01:33:06,520 --> 01:33:09,800
Speaker 3: we never see him again. Daisy uses the shard to

1728
01:33:09,840 --> 01:33:12,880
Speaker 3: magically open the portal, you know, but it's like, Oh,

1729
01:33:12,880 --> 01:33:15,240
Speaker 3: but I can't leave. This is my world. You know,

1730
01:33:15,520 --> 01:33:20,120
Speaker 3: I haven't even met Lance Hendrickson yet. So the Marios

1731
01:33:20,200 --> 01:33:24,439
Speaker 3: go back to their world, Daisy stays here, and so

1732
01:33:24,880 --> 01:33:27,240
Speaker 3: then we get a little epilogue. So back home in Brooklyn,

1733
01:33:27,280 --> 01:33:31,439
Speaker 3: the Mario brothers, they're hanging out with Daniella. They're eating

1734
01:33:31,479 --> 01:33:36,360
Speaker 3: spaghetti and meatballs. They're watching that Unsolved Mysteries show and hey, look,

1735
01:33:36,439 --> 01:33:39,400
Speaker 3: look we're on the show. Now there's a segment about

1736
01:33:39,439 --> 01:33:42,240
Speaker 3: the time that we saved this dimension from the ruthless

1737
01:33:42,280 --> 01:33:45,840
Speaker 3: dinosaur Dictator, and then they high five about being on

1738
01:33:45,920 --> 01:33:50,160
Speaker 3: TV until Daisy comes to the door. She is wearing scorched,

1739
01:33:50,280 --> 01:33:54,120
Speaker 3: tattered clothing. She's holding a de evolution gun. She says,

1740
01:33:54,320 --> 01:33:57,519
Speaker 3: I need your help, Mario Brothers. You're never gonna believe this,

1741
01:33:57,920 --> 01:34:03,080
Speaker 3: and then Mario says, oh, I believe That's that's the

1742
01:34:03,080 --> 01:34:05,640
Speaker 3: moral of the movie. Now when somebody says something, he

1743
01:34:05,760 --> 01:34:07,880
Speaker 3: is no longer skeptical. He just believes it.

1744
01:34:10,000 --> 01:34:11,960
Speaker 2: This is a great moment where they're setting up a

1745
01:34:12,000 --> 01:34:15,040
Speaker 2: sequel that absolutely would never happen. But it made me wonder,

1746
01:34:15,320 --> 01:34:18,120
Speaker 2: is this the coming of Wart the villain from the

1747
01:34:18,160 --> 01:34:21,400
Speaker 2: main villain from Super Mario Brothers too. That's like invading

1748
01:34:21,400 --> 01:34:23,280
Speaker 2: the world of Dreams or whatever was going on in

1749
01:34:23,320 --> 01:34:23,719
Speaker 2: that game.

1750
01:34:24,200 --> 01:34:27,559
Speaker 3: The second live action Super Mario Brothers movie would, as

1751
01:34:27,600 --> 01:34:29,760
Speaker 3: we said, involve a lot of turnip digging, you know,

1752
01:34:29,880 --> 01:34:33,719
Speaker 3: pulling things up, throwing them, getting on top of blocks,

1753
01:34:34,040 --> 01:34:34,639
Speaker 3: the good stuff.

1754
01:34:34,720 --> 01:34:37,040
Speaker 2: That's that's the one I actually owned. That was the

1755
01:34:37,080 --> 01:34:39,840
Speaker 2: one that I have the most experienced with. Still never

1756
01:34:39,880 --> 01:34:41,759
Speaker 2: made it to wart was not good at these games.

1757
01:34:42,520 --> 01:34:44,240
Speaker 3: Well that was a marathon. I knew this one was

1758
01:34:44,240 --> 01:34:45,960
Speaker 3: going to go long, and as we said, there's a

1759
01:34:46,000 --> 01:34:47,880
Speaker 3: lot of stuff about this we didn't even get into.

1760
01:34:48,479 --> 01:34:51,439
Speaker 3: This is like, I really meant it when I said

1761
01:34:51,439 --> 01:34:54,400
Speaker 3: a I think a book length work could be devoted

1762
01:34:54,439 --> 01:34:57,120
Speaker 3: to Super Mario Brothers the movie, what it is and

1763
01:34:57,160 --> 01:34:59,879
Speaker 3: what it means and why it's so strange.

1764
01:35:00,680 --> 01:35:02,879
Speaker 2: Did you stick around for the post credit sequence?

1765
01:35:03,520 --> 01:35:04,479
Speaker 3: Is there actually one?

1766
01:35:04,760 --> 01:35:06,080
Speaker 2: There actually is one? Yes?

1767
01:35:06,200 --> 01:35:07,080
Speaker 3: Oh wow, I didn't.

1768
01:35:07,640 --> 01:35:10,960
Speaker 2: It's real dumb. It's where you have a couple of

1769
01:35:11,880 --> 01:35:15,360
Speaker 2: representatives of a Japanese video game company, presumably Nintendo or

1770
01:35:15,360 --> 01:35:17,760
Speaker 2: maybe they even say they're from Nintendo, and there they

1771
01:35:17,880 --> 01:35:19,840
Speaker 2: show up and they're like, we're here, we hear we've

1772
01:35:19,880 --> 01:35:21,599
Speaker 2: heard about your adventures, and we would love to turn

1773
01:35:21,640 --> 01:35:24,400
Speaker 2: them into a video game. We think audiences would love this.

1774
01:35:24,640 --> 01:35:27,280
Speaker 2: And then it's revealed it's not Mario and Luigi they're

1775
01:35:27,280 --> 01:35:31,120
Speaker 2: talking to. It's the Koopa cousins and they and they,

1776
01:35:31,880 --> 01:35:34,800
Speaker 2: they go back and forth about what the game might

1777
01:35:34,880 --> 01:35:38,360
Speaker 2: be called. And there's some like you know, bad humor there,

1778
01:35:38,400 --> 01:35:40,800
Speaker 2: But luckily it only lasts a few seconds and that's it.

1779
01:35:41,120 --> 01:35:44,639
Speaker 3: Totally missed it. But so they're living in our dimension now.

1780
01:35:45,320 --> 01:35:48,880
Speaker 2: I think so, yes, Okay, yeah, unless they are now

1781
01:35:48,920 --> 01:35:52,000
Speaker 2: splinter dimensions. I don't know there. If you, if you

1782
01:35:52,040 --> 01:35:54,160
Speaker 2: think too long and hard about this movie, there you

1783
01:35:54,200 --> 01:35:57,960
Speaker 2: know a lot of a lot of possibilities emerge, possibilities

1784
01:35:57,960 --> 01:36:01,439
Speaker 2: that could have been explored in various ways in the

1785
01:36:01,479 --> 01:36:03,880
Speaker 2: sequel that you, I guess, can only view in an

1786
01:36:03,920 --> 01:36:04,799
Speaker 2: alternate dimension.

1787
01:36:05,200 --> 01:36:07,120
Speaker 3: Okay, we've got to end it there. This has been

1788
01:36:07,760 --> 01:36:08,880
Speaker 3: ridiculously long.

1789
01:36:09,360 --> 01:36:11,880
Speaker 2: All right, we shall end it there. But we'd love

1790
01:36:11,880 --> 01:36:15,200
Speaker 2: to hear from everyone out there. Oh, especially if you

1791
01:36:15,200 --> 01:36:18,320
Speaker 2: have experiences with the release of this movie. Did you

1792
01:36:18,360 --> 01:36:20,720
Speaker 2: see it in a theater? What was your level of

1793
01:36:20,760 --> 01:36:24,240
Speaker 2: excitement for it? As like a video game player, I

1794
01:36:24,280 --> 01:36:26,439
Speaker 2: don't need I'd like I say, I refuse to believe

1795
01:36:26,439 --> 01:36:28,439
Speaker 2: anybody owned any of these toys, but if you did,

1796
01:36:28,520 --> 01:36:30,599
Speaker 2: right in, we'd love to hear from. You. Might need

1797
01:36:30,600 --> 01:36:34,519
Speaker 2: to include photographic evidence though, to convince me. And yeah,

1798
01:36:34,560 --> 01:36:37,200
Speaker 2: we'll be back next week. On Weird House Cinema, we're

1799
01:36:37,240 --> 01:36:39,840
Speaker 2: primarily a science podcast and the Stuff to Blow Remind

1800
01:36:39,840 --> 01:36:42,519
Speaker 2: podcast feed core episodes on Tuesdays and Thursdays, but on

1801
01:36:42,560 --> 01:36:45,280
Speaker 2: Friday's we set aside most serious concerns to just talk

1802
01:36:45,280 --> 01:36:48,120
Speaker 2: about a weird film. But as we if you've seen

1803
01:36:48,120 --> 01:36:50,360
Speaker 2: in this episode, we're still not going to let particularly

1804
01:36:50,400 --> 01:36:53,960
Speaker 2: bad science takes go by without some comment.

1805
01:36:54,360 --> 01:36:57,320
Speaker 3: Huge thanks to our audio producer JJ Posway. If you

1806
01:36:57,320 --> 01:36:59,440
Speaker 3: would like to get in touch with us with feedback

1807
01:36:59,439 --> 01:37:01,639
Speaker 3: on this episode or any other, to suggest a topic

1808
01:37:01,680 --> 01:37:03,960
Speaker 3: for the future, or just a salo, you can email

1809
01:37:04,080 --> 01:37:14,320
Speaker 3: us at contact Stuff to Blow your Mind dot com.

1810
01:37:14,439 --> 01:37:17,400
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1811
01:37:17,479 --> 01:37:20,280
Speaker 1: more podcasts from My Heart Radio, visit the iHeartRadio app,

1812
01:37:20,400 --> 01:37:23,160
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.