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Speaker 1: Hey, you welcome to Weird House Cinema. Rewind. This is

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Speaker 1: Rob Lamb and today we are sharing an episode that

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Speaker 1: originally published though it's the eight one twenty twenty five.

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Speaker 1: This is Invitation to Hell from nineteen eighty four. This

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Speaker 1: is a Wes Craven made for TV movie with some

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Speaker 1: really fun like horror sci fi qualities to it. You

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Speaker 1: think you know Wes Craven, Well this is This is

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Speaker 1: a weirder, deeper cut. Let's jump right into the episode.

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

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Speaker 1: Hey you welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And I am Joe McCormick. And today on Weird House Cinema,

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Speaker 3: we are going to be talking about the nineteen eighty

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Speaker 3: four ABC made for TV horror movie Invitation to Hell,

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Speaker 3: directed by none other than Wes Craven. Did you know

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Speaker 3: he made made for TV movies?

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Speaker 1: Was this multiple?

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Speaker 3: Was this before Nightmare on Elm Street or after?

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Speaker 1: We'll get into this in a bit, but I believe

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Speaker 1: this came out right before and or in the same

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Speaker 1: year as Nightmare. So okay, we had a couple of

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Speaker 1: different things happening at the same time.

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Speaker 3: Here Wow, So Invitation to Hell starring Robert Urich, Joanna Cassidy,

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Speaker 3: and Susan Lucci. Of apparently I didn't know this when

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Speaker 3: I first watched this movie, but apparently of like Soap

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Speaker 3: Opera Royalty, a great fame.

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Speaker 1: Superstar in the soap opera world.

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Speaker 3: But this movie is about an expensive and exclusive West

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Speaker 3: Coast country club that is in fact run by Satan.

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Speaker 1: It's true. So this one originally aired on Thursday May

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Speaker 1: twenty fourth, nineteen eighty four, in the eight to ten

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Speaker 1: pm slot Eastern Time. I was looking this up on

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Speaker 1: tv tango dot com. I think it was the highest

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Speaker 1: rated network offering that night, beat out Simon and Simon

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Speaker 1: Memory if my memory is correct. There it is not

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Speaker 1: to be confused with a nineteen eighty two British horror

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Speaker 1: film of the same name, directed by Michael J.

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Speaker 3: Murphy.

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Speaker 1: So there are two Invitations to Hell out there. You

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Speaker 1: can accept them both, but just don't confuse the two.

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Speaker 3: Both seem to involve people being invited to like swanky,

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Speaker 3: fancy parties in order to be killed or exploited in

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Speaker 3: some way. Yeah, so earlier this week. The reason I

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Speaker 3: picked this movie is that I found myself craving that sweet,

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Speaker 3: unique flavor of made for TV horror. We've covered at

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Speaker 3: least two other made for TV horror movies on Weird

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Speaker 3: House Cinema. One was the nineteen seventy eight CBS film

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Speaker 3: Death Moon starring Robert Foxworth. That was the work beast

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Speaker 3: of the Work, based about a guy who he's getting

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Speaker 3: too stressed out at work, so he goes on vacation

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Speaker 3: to Hawaii, but uh oh turn into a were wolf.

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Speaker 1: Yeah. Love that movie. I finally had to buy a

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Speaker 1: bootleg of it because if you look around, if you

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Speaker 1: grow attached to some of these seventies and eighties TV movies,

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Speaker 1: there's not always a physical media choice out there, not

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Speaker 1: always a legitimate one, So sometimes you have to be

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Speaker 1: a little creative if you want to give it a

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Speaker 1: forever home in your house.

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Speaker 3: The other one that we've done already is the nineteen

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Speaker 3: seventy two CBS horror fantasy Gargoyles. That was the one

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Speaker 3: with Cornell Wild, Bernie k C, Jennifer Salt, and Scott

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Speaker 3: Glenn as a motorcycle hooligan. That one was about subterranean

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Speaker 3: demons living in the American Southwest, which are called gargoyles

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Speaker 3: for some unspecified reason.

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Speaker 1: Yeah. Also an excellent film. Excellent weird film.

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Speaker 3: Have we done another one that I'm forgetting? I think

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Speaker 3: those are the only two made for TV.

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Speaker 1: Now, Shevy, I don't think we've actually done any other

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Speaker 1: Weird House episodes on other TV films. Of note that

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Speaker 1: we have scouted a few others. I know we've talked

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Speaker 1: about nineteen seventy three's the Horror at thirty seven thousand feet.

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Speaker 3: Is that the one that's like an adaptation of the

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Speaker 3: Twilight Zone thing with Shatner with the Grimlin on the

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Speaker 3: airplane wing or is that a different one? Oh? No,

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Speaker 3: this is the one. Druid magic, Yeah, Druid magic on

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Speaker 3: the airplane.

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Speaker 1: Yes, some sort of druid magic or exorcism, so a

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Speaker 1: number of different elements, including the shat going on at

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Speaker 1: thirty seven thousand feet.

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Speaker 3: That must have been the association.

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Speaker 1: Yeah, okay, Yeah, we've also kind of batted around the

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Speaker 1: idea of doing nineteen seventy thre's of the night Stalker.

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Speaker 1: The kickstarted the TV series as well as of course,

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Speaker 1: there are various Frankenstein, Dracula, and other horror adaptations for

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Speaker 1: the small screen, though sometimes in those cases you get

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Speaker 1: kind of out of because one of the things we're

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Speaker 1: kind of talking about here are these weird one shot

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Speaker 1: TV movies that are not a part of any other franchise,

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Speaker 1: and they're not like a prestige picture like some of

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Speaker 1: these Frankenstein Dracula pictures are kind of like the big

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Speaker 1: mini series of the day. Like you wouldn't compare this

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Speaker 1: film to say any get Like you wouldn't compare it

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Speaker 1: to the old Showgun TV mini series. Obviously that was

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Speaker 1: a real prestige project. This is something a little different somewhere,

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Speaker 1: kind of stuck between a prestige TV mini series or

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Speaker 1: a prestige TV movie and your standard you know, episodic offerings.

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Speaker 3: Yeah, I would say this movie is in its business

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Speaker 3: life more of a quick and dirty cash in, but

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Speaker 3: I you know, I want to sing for its virtues

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Speaker 3: in this episode. So another reason that I was thinking

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Speaker 3: about made for TV movies is that just recently, like

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Speaker 3: in the past week, Rachel and I watched another one

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Speaker 3: from also from nineteen seventy eight, the same year as

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Speaker 3: Death Moon, which was an ABC made for TV horror

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Speaker 3: called The Initiation of Sarah. Have you seen this?

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Speaker 1: Rob? I have not.

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Speaker 3: It seems heavily based on Stephen King's Carrie that the

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Speaker 3: movie version of Carrie with Sissy's Basic came out in

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Speaker 3: nineteen seventy six, so this would have been, you know,

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Speaker 3: in the wake of that, a couple of years after.

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Speaker 3: This movie was about a It's about a troubled young

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Speaker 3: woman with telekinetic powers who goes to college, gets bullied

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Speaker 3: by a bunch of mean sorority girls led by Morgan Fairchild,

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Speaker 3: and you can guess where it goes. Based on the

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Speaker 3: Carry model, a similar kind of arc. There's you know,

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Speaker 3: there's no pig's blood, but there's a similar there's like

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Speaker 3: she sort of casts a spell that turns Morgan Fairchild

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Speaker 3: like like evil looking and ugly, though this one has

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Speaker 3: a variant. Unlike Carrie, where the telekinetic girl is sort

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Speaker 3: of coached in the dark side of the force by

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Speaker 3: by a mentor, an evil mentor, in this movie it's

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Speaker 3: Shelley Winter is wearing a druid robe and a huge wig.

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Speaker 3: So that one was pretty fun. But anyway, that brought

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Speaker 3: me to Invitation to Hell, which I think is even

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Speaker 3: more of a winner. There is something I find delightful

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Speaker 3: and even intoxicating about the particular combination of spiciness and

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Speaker 3: blandness that you get with American made for TV horror

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Speaker 3: from these decades, from the seventies and eighties. Often these

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Speaker 3: movies do have a really weird and disturbing premise and

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Speaker 3: some wild ideas inside them, kind of trapped inside, but

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Speaker 3: the imagination at work feels muted, muffled, of course censored

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Speaker 3: for content because it was on TV, but also contorted

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Speaker 3: into a particular shape. I think we talked about this

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Speaker 3: when we did the episode on Gargoyles. You know that

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Speaker 3: you got to accommodate ad breaks and hit predictable plot

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Speaker 3: beats on the TV timeline, So it creates this weird effect,

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Speaker 3: especially when it's a horror story where I wanted to

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Speaker 3: compare it to seeing the outline of a dread outer god,

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Speaker 3: but only through translucent glass bricks. Like occasionally, something weird

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Speaker 3: and wild kind of gets loose in the story and

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Speaker 3: for a moment it breaks through the confines of the format,

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Speaker 3: before everything kind of settles back down and the being

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Speaker 3: goes back behind the wall, and it ends up being

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Speaker 3: kind of quaint and cozy at the same time, and

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Speaker 3: I really like it.

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Speaker 1: Yeah, Yeah. We were talking a little bit about this

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Speaker 1: off Mike before we started recording. We were talking about

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Speaker 1: other West Craven pictures, and I pointed out that I

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Speaker 1: was trying to figure out how to express how I

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Speaker 1: felt about this, because I'm not gonna I'm not gonna

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Speaker 1: go out there and say this is the best West

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Speaker 1: Craven film at and it's also far from the worst.

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Speaker 1: But I might have liked it in ways that I

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Speaker 1: have never liked of Wes Craven film And I think

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Speaker 1: it comes down to comfiness. This film felt comfy in

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Speaker 1: a way that even I think objectively better Wes Craven

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Speaker 1: films and certainly more influential West Craven films, are not.

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Speaker 1: Like that might be part of what you're talking about here,

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Speaker 1: Like the TV format is kind of this this way,

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Speaker 1: this way of grounding the storytelling and in a way

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Speaker 1: that makes you feel a little safer, Like this is

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Speaker 1: network television in the seventies or eighties. It can only

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Speaker 1: go so hard on me. You know, it has kid

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Speaker 1: gloves on, perhaps to a certain extent because they got

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Speaker 1: to wrap this up by ten PM, But it.

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Speaker 3: Also provides a funny and comfortable contrast with the weirder

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Speaker 3: and wilder elements of the horror themes. I just like

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Speaker 3: the hot and cold showers element of it.

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Speaker 1: Oh yeah, and this one's got some h This one

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Speaker 1: really goes all over the place.

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Speaker 3: Yeah yeah, Now you were saying, in a way, you

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Speaker 3: might think of this as kind of a favorite of

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Speaker 3: Wes craven experiences. Some reviewers online regard this as Wes

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Speaker 3: Craven's worst movie. I don't think that's right. I'll give

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Speaker 3: it that is. He certainly has movies that I think

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Speaker 3: are more artistically ambitious and more interesting and certainly scarier.

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Speaker 3: This movie, I think is not very scary, but it

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Speaker 3: is highly watchable and very entertaining and a lot of fun,

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Speaker 3: I would say, much more so than some of Craven's

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Speaker 3: lesser theatrical releases. And you know, even it has a

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Speaker 3: kind of made for TV hopiness, but has some ideas.

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Speaker 3: It's like, yeah, it's it's having some fun. It's it's

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Speaker 3: playing around.

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Speaker 1: It's having some fun. It has things to say about

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Speaker 1: ambition in the American dream.

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Speaker 3: Yeah.

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Speaker 1: So yeah, it's there's a fair amount going on here

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Speaker 1: in this picture. And as we'll discuss too, it is

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Speaker 1: perhaps a cut above some of the other made for

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Speaker 1: TV films that were popping out around this time. Yeah,

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Speaker 1: and to be clear, it is I think it is

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Speaker 1: very easy to dismiss made for TV movies, particularly from

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Speaker 1: this era, as lower budget productions produced to adhere to

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Speaker 1: network standards, you know, thinking of them as sort of

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Speaker 1: bland sandboxes for bland filmmakers and bland actors. But of

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Speaker 1: course there's still plenty of room for talent to shine

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Speaker 1: through even in those constraints. And I think part of

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Speaker 1: it may be as well that a lot of us

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Speaker 1: have gotten away from watching films on broadcast television in general.

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Speaker 1: But TV absolutely was, and you know, I guess to

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Speaker 1: a large etent still is a medium for film watching.

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Speaker 1: In fact, TV is where some films really cemented their following.

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Speaker 1: And I'm not just talking about like the cult films

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Speaker 1: that you know, you and I may have grown up

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Speaker 1: watching on TV and listeners may have grown up watching

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Speaker 1: on TV like Beast Master and Clash of the Titans

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Speaker 1: and stuff like that. You can say that about films

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Speaker 1: like The Wizard of Oz. I was recently rewatching this

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Speaker 1: film with my kid and it had the Turner Classic

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Speaker 1: Movies intro by Ben Menkwitz, and he pointed out in

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Speaker 1: this intro that when this film was released in thirty

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Speaker 1: nine and then re released in forty nine and fifty five,

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Speaker 1: you know, it's a critical success, but really only a

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Speaker 1: modest financial success. It might sound crazy, but it was

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Speaker 1: on TV that The Wizard of Oz apparently really caused

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Speaker 1: viewers to fall in love with it. This is where

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Speaker 1: it really began to take on the legendary status that

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Speaker 1: it has today, which was that was a real eye

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Speaker 1: opener for me.

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Speaker 3: I wonder if that's the case with a lot of

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Speaker 3: classic films. I'm just speculating, so I don't know in

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Speaker 3: this case, but like I would strongly suspect that there

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Speaker 3: are maybe a lot of holiday films that are like that,

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Speaker 3: that are like big because of reruns on TV. Like,

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Speaker 3: I wonder if that's the case with It's a Wonderful Life.

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Speaker 3: Comparing the original release of that to like how much

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Speaker 3: love it got in the years, you know, as I

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Speaker 3: played in the holidays and stuff like that, I.

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Speaker 1: Would not be surprised at all. Yeah, if that were

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Speaker 1: the case, and even into fairly recent years, I think

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Speaker 1: it's been surprising at how you can be surprised at

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Speaker 1: at like what films can really like spike ratings. A

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Speaker 1: friend of mine who at the time worked for Cartoon

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Speaker 1: Network and pointed out that like whenever they would play

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Speaker 1: The Mask Too, the sequel to Jim Carrey's The Mask,

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Speaker 1: ratings would just go through the like it was. It

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Speaker 1: was it was I'm not gonna say it would go

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Speaker 1: through the roof. But I think the idea was like,

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Speaker 1: if they needed to like sort of juice the ratings

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Speaker 1: a little bit, this was always a film they could

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Speaker 1: they could call upon.

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Speaker 3: This is always a lever they could pull. Is that

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Speaker 3: just like ninety minutes of a cartoon faced dog biting crotches?

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Speaker 1: I guess so, but you know, it's what it's what

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Speaker 1: works now. But to come back to this film and

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Speaker 1: some of the others we've talked about, I am just

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Speaker 1: continually impressed by just how weird and daring some of

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Speaker 1: these TV movies of the Week were in the seventies

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Speaker 1: and eighties, you know, rolling out strange scripts, bringing them

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Speaker 1: to life, often with modest budget casts and production values,

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Speaker 1: and sometimes with up and coming or future big name

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Speaker 1: actors attached. You know, the likes of John Carpenter and

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Speaker 1: Steven Spielberg, and of course Wes Craven.

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Speaker 3: Yeah, that's right, was Steven Spielberg's duel made for TV

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Speaker 3: movie also, I believe it was. Yeah, also had early

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Speaker 3: made for TV stuff, So so yeah, it is not

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Speaker 3: just a play place for hacks. I mean, you know,

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Speaker 3: some of the best and most revered directors in Hollywood

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Speaker 3: did a lot of work here. Another thing that I

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Speaker 3: think is interesting about Invitation to Hell is that it

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Speaker 3: reminds me of a favorite that we have covered on

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Speaker 3: Weird House Cinema before, and that is the unli loved

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Speaker 3: but excellent Halloween sequel Halloween three Season of the Witch.

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Speaker 3: These are examples of the rare horror movie in which

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Speaker 3: a sort of that have as their main feature a

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Speaker 3: kind of economic or class critique, and that have a

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Speaker 3: business as the main demonic villain. I thought that was

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Speaker 3: kind of interesting. You would think there'd be more movies

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Speaker 3: like that, but I struggle to come up with many examples.

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Speaker 3: I mean, it's the case here. I mean, the closest

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Speaker 3: thing you get is stuff that's more on the border

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Speaker 3: of like horror and sci fi, where you get it's

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Speaker 3: like a weird creature that is made by some experiment

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Speaker 3: or something like that. And even then, like the monster

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Speaker 3: is just made by corporate malfeasance, you know, and ignoring

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Speaker 3: safety protocols and so forth. Now, this, this movie we're

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Speaker 3: talking about today has well. Actually this would be kind

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Speaker 3: of difficult thing to disentangle. Do you think in Invitation

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Speaker 3: to Hell that the country Club or the corporation is

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Speaker 3: actually the main evil institution? Which is the main servant

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Speaker 3: of Hell and which one is more in service of

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Speaker 3: the other.

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Speaker 1: I guess it's the country Club. I don't want to

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Speaker 1: spoil too much at this point, but I guess it's

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Speaker 1: the country club. Even though like with the country club

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Speaker 1: exist if the company wasn't there, I don't know. They

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Speaker 1: are kind of intermingled, and it seems like there's a

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Speaker 1: lot of influence going back both ways.

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Speaker 3: It seems like almost like the corporation exists. I mean,

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Speaker 3: they're making aerospace technology, but it just exists to funnel

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Speaker 3: people into the country club.

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Speaker 1: Yeah, and then the head of the country club can

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Speaker 1: just come over and tour your top secret projects at

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Speaker 1: any moment.

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Speaker 3: So that's right.

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Speaker 1: It's a weird setup.

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Speaker 3: Well, maybe we should say here, as always on Weird

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Speaker 3: House Cinema, we are going to discuss the plot in

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Speaker 3: a lot of detail. So if you would like to

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Speaker 3: see Invitation to Hell without any additional spoilers, go watch

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Speaker 3: it yourself. It's widely available. You can watch it streaming

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Speaker 3: pause here. Go watch it and come back and listen

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Speaker 3: to the rest. But if you think you're probably not

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Speaker 3: going to watch it, or if you just don't care

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Speaker 3: if we spoil the plot for you, you may proceed.

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Speaker 1: All right, let's go ahead and listen to a little

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Speaker 1: trailer audio. This time I was able to grab a

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Speaker 1: little bit of the ABC movie promo. I like the

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Speaker 1: network television promo for this film off of YouTube, So

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Speaker 1: let's go ahead and listen to a little bit of that.

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Speaker 3: It's a good one. They were a perfect family finding

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Speaker 3: a new life and a new home. But an invitation

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Speaker 3: and the hottest spot in town as became an invitation

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Speaker 3: to Hell. One week from to night at eight seven,

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Speaker 3: said to Lem.

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Speaker 1: Move see, don't you want to stay up late? I'm

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Speaker 1: not really late. Don't you want to stay up to

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Speaker 1: ten pm? Watching this movie?

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Speaker 3: Now? I'm tuning in. I'm going to turn down any

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Speaker 3: party invitations and any invitations to something other than Hell,

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Speaker 3: because I already have an Invitation to Hell on that's

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Speaker 3: your TV screen.

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Speaker 1: And you can still watch sixty minutes or twenty twenty afterwards.

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Speaker 1: I think it's twenty twenty.

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Speaker 3: That arekay nice?

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Speaker 1: All right? As Joe mentioned earlier, Yeah, you can definitely

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Speaker 1: go and stream this pretty much anywhere you want. I

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Speaker 1: watched it on Prime. I believe it's It's come out

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Speaker 1: on both DVD and VHS before, but I don't think

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Speaker 1: it's received much attention on the physical media front, more

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Speaker 1: than other made for TV films, to be sure. But

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Speaker 1: you know you're not going to find an exquisite Blu

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Speaker 1: ray of Invitation to Hell.

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Speaker 3: Can I tell you my ideal way to own this.

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Speaker 3: It would be like those tapes of the Star Wars

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Speaker 3: Holiday Special where commercials are hardbaked in. If somebody out

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Speaker 3: there has that, If you have a rip of Invitation

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Speaker 3: to Hell with commercials in it, please please send it

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Speaker 3: our way. I desperately want this.

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Speaker 1: All right. Let's jump into the connections here the people

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Speaker 1: who made this film, starting at the top with s Craven,

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Speaker 1: who lived nineteen thirty nine through twenty fifteen. This is

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Speaker 1: somehow our first Wes Craven movie.

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Speaker 3: We've talked about doing other ones. We definitely talked about

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Speaker 3: doing Swamp Thing and a number of other movies. Yeah.

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Speaker 3: Wes Craven's got a lot of great films. But here, finally,

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Speaker 3: at last, we have made it to the crave.

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Speaker 1: Yeah. Yeah. Legendary American horror director. He was an academic

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Speaker 1: and Humanity's professor in the mid sixties. His masters was

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Speaker 1: in philosophy and writing, but then the Sirens Song of

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Speaker 1: Cinema lured him away, initially into some low level editing positions,

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Speaker 1: as well as some work in the adult film industry

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Speaker 1: during the early to mid seventies, including writing and directing

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Speaker 1: under the moniker Abe Snake Abe Snake, which I love

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Speaker 1: that name because it sounds as ridiculously made up and

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Speaker 1: on brand for an adult film director as Wes Craven

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Speaker 1: does for horror. The Wes Craven was for his actual name,

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Speaker 1: so good now. It was uncommon for filmmakers at various

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Speaker 1: points in their career to do this, of course, especially

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Speaker 1: during the adult film industry's golden age. But of course,

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Speaker 1: his first breakout directorial effort was the notorious nineteen seventy

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Speaker 1: two revenge film The Last House on the Left, followed

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Speaker 1: by nineteen seventy seven's The Hills Have Eyes and the

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Speaker 1: seventy eight TV movie Summer of Fear starring Linda Blair.

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Speaker 3: Never Seen that one.

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Speaker 1: Oh, and then also nineteen eighty one's Deadly Blessing This

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Speaker 1: is another TV movie starring Ernest Borgnine. After this came

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Speaker 1: his take on DC's Swamp Thing in eighty two, which

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Speaker 1: show which you just mentioned this one, of course, starred

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Speaker 1: Louis Jordaan, Adrian Barbou and ray Wise. Ray Wise played

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Speaker 1: the Swamp Thing. And then in nineteen eighty four. This

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Speaker 1: was a very interesting year for Craven because on one hand,

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Speaker 1: we get this film, along with The Hills Have Eyes

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Speaker 1: Part two, often considered one of, if not his worst film,

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Speaker 1: and for I think in part because I've also read

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Speaker 1: it might not have actually been completed. It's supposedly a mess.

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Speaker 1: And it's also a film where, if memory serves, everybody

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Speaker 1: including a dog, has a flashback to the first film.

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Speaker 3: Where they get to re use footage. Yeah you pad

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Speaker 3: that thing out, baby, Yeah.

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Speaker 1: But this was also the year that he wrote and

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Speaker 1: directed the excellent A Nightmare on Elm Street, a film

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Speaker 1: that really did change horror cinema forever. You just can't

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Speaker 1: understate how important A Nightmare of That on Elm Street

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Speaker 1: was the creation of Freddy Krueger.

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Speaker 3: So around the same time as Invitation to Hell. He's

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Speaker 3: sort of there's somewhat overlapping projects a Nightmare on Elm

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Speaker 3: Street and Invitation to Hell.

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Speaker 1: Yeah, I don't have the exact timeline on things, but yeah,

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Speaker 1: like a number of different things were coming to fruition,

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Speaker 1: including the big one or the first of a few

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Speaker 1: different big ones for Wes Craven. You know, he was

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Speaker 1: far from one hit wonder.

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Speaker 3: Though his success with Elm Street weirdly enough would not

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Speaker 3: stop him from doing additional made for TV movies.

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Speaker 1: No, no, yeah, because the weird thing. I mean, it's

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Speaker 1: not really weird. But we've seen so many cases where

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Speaker 1: a director, you know, strikes it strikes gold, and they're

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Speaker 1: going to come back and do that sequel, at least

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Speaker 1: the first sequel, because that's going to help fund the

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Speaker 1: next thing. But he did not immediately return to the

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Speaker 1: Elm Street director's chair. He kept mostly to the horror genre,

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Speaker 1: but explored some sci fi horror in the nineteen eighty

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Speaker 1: five TV movie Chiller. I haven't seen that one, but

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Speaker 1: that's like a cryogenics picture.

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Speaker 3: Yeah, it's got a guy who gets cryogenically preserved and

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Speaker 3: then comes back to life, and then I think goes

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Speaker 3: around stabbing people or something as Paul s Orvino as

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Speaker 3: a priest in it.

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Speaker 1: Also, nineteen eighty six is Deadly Friend, which is I

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Speaker 1: think a robotics movie. I almost rented it thinking it

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Speaker 1: was invitation to help, Like. I picked it up off

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Speaker 1: the shelf and I'm like, oh, this is the one

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Speaker 1: Joe was talking about, and then I realized, oh, wait,

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Speaker 1: this is actually.

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Speaker 3: Not It doesn't mean we shouldn't watch it, though, No. No.

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Speaker 1: During this time, he also direct did an episode of

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Speaker 1: The Magical World of Disney, an episode titled Casebusters starring

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Speaker 1: Noah Hathaway. Of course we know is a Treyu from

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Speaker 1: the Never Ending Story.

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Speaker 3: Oh okay, not the only never Ending Story tie in

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Speaker 3: in this episode, correct.

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Speaker 1: He also directed five episodes of the nineteen eighties Twilight

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Speaker 1: Zone revival, and then came the infamous nineteen eighty eight

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Speaker 1: production of The Serpent in the Rainbow. I don't know if

425
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Speaker 1: infamous is really the right way to describe it, but

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Speaker 1: I know this one had had a very troubled production story.

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Speaker 1: There were a lot of complications filming this.

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Speaker 3: Yeah, that was a movie about voodoo.

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Speaker 1: Yeah. Nineteen eighty nine Shocker came next. That that's what

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Speaker 1: I know you have a fair amount of enthusiasm for.

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Speaker 3: Yeah. I think that's a bullseye in my category of

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Speaker 3: not good but a good time. Yeah.

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Speaker 1: And then nineteen ninety one's The People Under the Stairs,

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Speaker 1: a movie that I have seen, but it's weird. My

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Speaker 1: memory of seeing it is still overshadowed by my childhood

436
00:23:04,560 --> 00:23:07,600
Speaker 1: idea of what this movie might be, if that makes sense,

437
00:23:07,640 --> 00:23:10,280
Speaker 1: Like seeing the posts, you're seeing the VHS box art, Like,

438
00:23:10,359 --> 00:23:15,679
Speaker 1: I remember my anticipation of this movie far more than

439
00:23:15,680 --> 00:23:17,760
Speaker 1: I remember actually seeing it. I remember you and I

440
00:23:17,800 --> 00:23:20,119
Speaker 1: have talked about this before. How you would I think

441
00:23:20,160 --> 00:23:21,160
Speaker 1: we would sort of do the.

442
00:23:21,119 --> 00:23:24,080
Speaker 3: Same thing, like wander around the video store when we

443
00:23:24,080 --> 00:23:27,440
Speaker 3: were young and look at the horror box covers and

444
00:23:27,880 --> 00:23:31,160
Speaker 3: just imagine what the movie is without actually seeing it.

445
00:23:31,280 --> 00:23:34,040
Speaker 3: So sometimes when you actually when you're older and you

446
00:23:34,080 --> 00:23:36,280
Speaker 3: can see these movies, or maybe you're still too young

447
00:23:36,320 --> 00:23:39,160
Speaker 3: to be watching them, but you see them anyway, it

448
00:23:39,240 --> 00:23:42,119
Speaker 3: just doesn't match the movie you already imagined, And so

449
00:23:42,200 --> 00:23:43,880
Speaker 3: you end up with a blended memory.

450
00:23:44,320 --> 00:23:48,159
Speaker 1: Yeah, yeah, it's true. So it wasn't until nineteen ninety

451
00:23:48,160 --> 00:23:51,720
Speaker 1: four that he returned to the Elm Street franchise with

452
00:23:51,800 --> 00:23:55,119
Speaker 1: the meta horror film New Nightmare, in which he, like

453
00:23:55,240 --> 00:23:58,160
Speaker 1: many members of the original cast, plays himself as well

454
00:23:58,200 --> 00:23:59,760
Speaker 1: in addition to directing it.

455
00:24:00,000 --> 00:24:02,280
Speaker 3: I have a lot of positive feelings about New Nightmare,

456
00:24:02,359 --> 00:24:04,360
Speaker 3: but my memory I haven't seen it in a long time,

457
00:24:04,359 --> 00:24:07,600
Speaker 3: but my memory is it almost is more exciting as

458
00:24:07,640 --> 00:24:10,639
Speaker 3: a premise than effective as a completed film.

459
00:24:11,400 --> 00:24:14,000
Speaker 1: Yeah, I think. What also, I saw it the year

460
00:24:14,040 --> 00:24:16,760
Speaker 1: it came out, but it was I think one of

461
00:24:16,800 --> 00:24:19,000
Speaker 1: the factors that I have to take into account is

462
00:24:19,040 --> 00:24:21,640
Speaker 1: this was the same year, nineteen ninety four that John

463
00:24:21,640 --> 00:24:24,800
Speaker 1: Carpenter's In the Mouth of Madness came out. Both films

464
00:24:24,800 --> 00:24:27,800
Speaker 1: that play with the sort of meta idea of horror

465
00:24:27,800 --> 00:24:32,600
Speaker 1: fiction and reality blending and the membrane between the two

466
00:24:32,720 --> 00:24:36,840
Speaker 1: worlds growing thin. And I think they're both effective in

467
00:24:36,880 --> 00:24:39,280
Speaker 1: their own way. But In the Mouth of Madness really

468
00:24:39,320 --> 00:24:42,240
Speaker 1: resonated with me at the time and stands out more

469
00:24:42,240 --> 00:24:43,760
Speaker 1: in my own memory as a film that I love.

470
00:24:44,000 --> 00:24:46,520
Speaker 3: Yeah, I think that's a more exciting film overall. But

471
00:24:46,680 --> 00:24:48,440
Speaker 3: the premise of New Nightmare is really cool for people

472
00:24:48,480 --> 00:24:52,119
Speaker 3: who aren't familiar. The idea is that it's about real people.

473
00:24:52,160 --> 00:24:54,600
Speaker 3: It's about Wes Craven as Wes Craven. I mean, he's

474
00:24:54,640 --> 00:24:56,960
Speaker 3: not the main character. The main character is Heather Langenkamp,

475
00:24:57,080 --> 00:24:59,480
Speaker 3: the actress who played the main character in the first

476
00:24:59,560 --> 00:25:04,159
Speaker 3: Nightmare movie, as herself, and other fictionalized versions of like

477
00:25:04,200 --> 00:25:06,959
Speaker 3: the actors and you know, Robert England and people involved

478
00:25:06,960 --> 00:25:09,639
Speaker 3: in these movies. And the premise is that there is

479
00:25:09,680 --> 00:25:14,800
Speaker 3: a sort of ancient entity which attaches itself to characters

480
00:25:14,880 --> 00:25:17,560
Speaker 3: in like scary stories that are told around the campfire

481
00:25:17,600 --> 00:25:20,440
Speaker 3: over the years, and it attaches itself to the idea

482
00:25:20,480 --> 00:25:23,560
Speaker 3: of Freddy Krueger. So for these people in the real world,

483
00:25:23,680 --> 00:25:26,480
Speaker 3: the fictional character Freddy Krueger becomes real.

484
00:25:27,240 --> 00:25:32,240
Speaker 1: It was a really daring idea. I feel like it's

485
00:25:32,280 --> 00:25:34,720
Speaker 1: exactly what the franchise needed at that point. I feel

486
00:25:34,760 --> 00:25:37,199
Speaker 1: like we can look at the timeline of Freddy Krueger

487
00:25:37,240 --> 00:25:39,040
Speaker 1: movies and can realize that it was getting long in

488
00:25:39,080 --> 00:25:41,760
Speaker 1: the tooth and it needed to be shaken up one

489
00:25:41,800 --> 00:25:44,800
Speaker 1: way or another. And this was like, this was a

490
00:25:44,840 --> 00:25:49,160
Speaker 1: pretty artful and imaginative way to shake things up and

491
00:25:49,320 --> 00:25:51,720
Speaker 1: clearly like the way that brought Wes Craven back to

492
00:25:51,760 --> 00:25:54,679
Speaker 1: the picture. Yeah, totally now. He followed that up with

493
00:25:54,720 --> 00:25:58,080
Speaker 1: the nineteen ninety five Eddie Murphy horror comedy Vampire in Brooklyn,

494
00:25:58,440 --> 00:26:00,919
Speaker 1: which was widely panned at the time and there were

495
00:26:00,920 --> 00:26:02,960
Speaker 1: a lot of jokes about it. But I believe it's

496
00:26:02,960 --> 00:26:06,360
Speaker 1: been reassessed in recent years and there's some different ideas

497
00:26:06,359 --> 00:26:08,760
Speaker 1: about how we should look at Vampire in Brooklyn. I

498
00:26:08,760 --> 00:26:11,399
Speaker 1: don't think I ever saw it myself, though, but the

499
00:26:11,480 --> 00:26:13,720
Speaker 1: following year Craven hit it out of the park once

500
00:26:13,760 --> 00:26:17,040
Speaker 1: more with a hugely successful Scream, which would spawn an

501
00:26:17,160 --> 00:26:20,720
Speaker 1: entire franchise, obviously, with Craven directing the first four films,

502
00:26:20,720 --> 00:26:24,159
Speaker 1: this time with twenty eleven Scream four standing as his

503
00:26:24,240 --> 00:26:27,400
Speaker 1: final directorial credit before his death in twenty fifteen.

504
00:26:27,760 --> 00:26:30,160
Speaker 3: You know, after the first Scream, I think you could

505
00:26:30,359 --> 00:26:34,360
Speaker 3: very legitimately make the charge that the Scream movies are

506
00:26:34,840 --> 00:26:38,320
Speaker 3: no longer innovating. They're just kind of varying the same formula.

507
00:26:39,560 --> 00:26:42,320
Speaker 3: So you know, that may be fair. But I've been

508
00:26:42,440 --> 00:26:45,000
Speaker 3: entertained by all of them. I haven't been bored by

509
00:26:45,000 --> 00:26:45,960
Speaker 3: a Scream movie yet.

510
00:26:46,600 --> 00:26:49,280
Speaker 1: Yeah. I mean, I haven't gotten to the point where

511
00:26:49,280 --> 00:26:52,840
Speaker 1: I have wanted to go back and reassess the Scream movies.

512
00:26:52,880 --> 00:26:55,640
Speaker 1: I enjoyed them. I enjoyed them at the time, and

513
00:26:56,240 --> 00:26:57,840
Speaker 1: I guess on one level, it kind of makes me

514
00:26:57,880 --> 00:27:00,160
Speaker 1: feel old to realize that ghost Face is a horror

515
00:27:00,600 --> 00:27:03,600
Speaker 1: icon now, like he's shown up in the Mortal Kombat

516
00:27:03,640 --> 00:27:08,320
Speaker 1: franchise as a DLC character at this point, alongside the

517
00:27:08,480 --> 00:27:11,600
Speaker 1: likes of Freddy Krueger and Jason voor Hee's and the

518
00:27:11,680 --> 00:27:12,920
Speaker 1: Xena morphin Predator.

519
00:27:13,200 --> 00:27:15,600
Speaker 3: Wait a minute, if he's in Mortal does he like

520
00:27:15,720 --> 00:27:17,159
Speaker 3: call lu Kang on the phone?

521
00:27:17,760 --> 00:27:20,360
Speaker 1: I don't know play. This is the latest one that

522
00:27:20,440 --> 00:27:23,880
Speaker 1: my poor system can't play this one. Someone else will

523
00:27:23,880 --> 00:27:25,880
Speaker 1: have to write in and tell us how this plays out.

524
00:27:26,160 --> 00:27:29,080
Speaker 3: I mean, the phone calls are crucial. That's what scream is.

525
00:27:29,760 --> 00:27:31,720
Speaker 1: I would hope. So Johnny Katee has the phone, maybe

526
00:27:31,720 --> 00:27:35,679
Speaker 1: he can get phone calls from ghost Face. Okay, well anyway.

527
00:27:35,840 --> 00:27:39,880
Speaker 1: Wes Craven's Scream Era also included some notable deviations, most

528
00:27:39,880 --> 00:27:43,120
Speaker 1: notably the nineteen ninety nine drama Music of the Heart,

529
00:27:43,119 --> 00:27:46,560
Speaker 1: which starred Meryl Streep. She was nominated for Best Actress

530
00:27:46,800 --> 00:27:49,480
Speaker 1: Academy Award for that role. He also directed a segment

531
00:27:49,480 --> 00:27:52,040
Speaker 1: in two thousand and six is Paris just him? This

532
00:27:52,200 --> 00:27:55,240
Speaker 1: is French so and may be butchering alongside the likes

533
00:27:55,280 --> 00:27:58,280
Speaker 1: of the Cohen Brothers and others. I saw this one

534
00:27:58,320 --> 00:28:01,720
Speaker 1: in the cinema. I think I only remember the Coen

535
00:28:01,760 --> 00:28:04,800
Speaker 1: Brothers segment though, okay, I think it had steep.

536
00:28:04,520 --> 00:28:05,280
Speaker 3: Yuseimi in it.

537
00:28:06,160 --> 00:28:09,280
Speaker 1: But Craven also directed the two thousand and five werewolf

538
00:28:09,320 --> 00:28:13,240
Speaker 1: movie Cursed starring Christina Ricci, and the air travel thriller

539
00:28:13,320 --> 00:28:16,720
Speaker 1: Red Eye starring Rachel McAdams, Killian Murphy and of course

540
00:28:16,800 --> 00:28:18,040
Speaker 1: the legendary Brian Cox.

541
00:28:18,160 --> 00:28:20,080
Speaker 3: Oh, I didn't know Brian Cox was in that. Now

542
00:28:20,119 --> 00:28:20,960
Speaker 3: I kind of want to see it.

543
00:28:21,160 --> 00:28:24,680
Speaker 1: Yeah, I haven't seen it. I often avoid the air

544
00:28:24,720 --> 00:28:27,680
Speaker 1: travel thrillers. But I mean that's a good cast. There's

545
00:28:27,720 --> 00:28:29,760
Speaker 1: no doubt about it. Love all three of them.

546
00:28:30,119 --> 00:28:33,119
Speaker 3: Oh yeah, well that's fair, realis That's probably the reason

547
00:28:33,160 --> 00:28:35,720
Speaker 3: we have not yet covered Gok body Snatcher from Hell.

548
00:28:36,320 --> 00:28:39,520
Speaker 1: Yeah, now's the time, though, I'm in between flights, so

549
00:28:39,600 --> 00:28:42,320
Speaker 1: you don't have any trips coming up, not for a

550
00:28:42,320 --> 00:28:42,640
Speaker 1: couple of.

551
00:28:42,680 --> 00:28:45,080
Speaker 3: Months, so yeah, okay, well maybe we should do it.

552
00:28:45,240 --> 00:28:49,120
Speaker 1: Yeah, all right, Now that we've done Wes Craven, hopefully

553
00:28:49,200 --> 00:28:52,240
Speaker 1: due diligence there at least a brief overview, we'll move

554
00:28:52,240 --> 00:28:55,000
Speaker 1: on to the writer, the screenwriter of this TV movie.

555
00:28:55,000 --> 00:28:58,400
Speaker 1: It's Richard Rothstein, who lived nineteen forty three through twenty

556
00:28:58,440 --> 00:29:02,360
Speaker 1: eighteen American screen and producer whose first produced script was

557
00:29:02,400 --> 00:29:06,280
Speaker 1: the nineteen seventy eight western shoot The Sundown, co starring

558
00:29:06,480 --> 00:29:10,080
Speaker 1: very young Christopher Walken. His credits include various other films

559
00:29:10,080 --> 00:29:13,360
Speaker 1: and TV movies, but most notable are eighty two episodes

560
00:29:13,400 --> 00:29:16,920
Speaker 1: of TV's The Hitchhiker, which ran eighty four through ninety seven,

561
00:29:17,240 --> 00:29:21,640
Speaker 1: and of course nineteen ninety two's Universal Soldier starring Jean

562
00:29:21,680 --> 00:29:22,400
Speaker 1: Claude van Dam.

563
00:29:22,720 --> 00:29:24,800
Speaker 3: Oh. Okay, yeah, he was.

564
00:29:24,760 --> 00:29:26,440
Speaker 1: Just involved with the first one, but you'll see him

565
00:29:26,440 --> 00:29:31,640
Speaker 1: as he gets a character credit on all subsequent Universal Soldier.

566
00:29:31,320 --> 00:29:33,880
Speaker 3: Movies that also of Doulph Londgren.

567
00:29:33,960 --> 00:29:37,280
Speaker 1: Yep, yep, he's definitely in the first one and eventually

568
00:29:37,400 --> 00:29:40,840
Speaker 1: pops back up in the latter ones as well. All right,

569
00:29:40,920 --> 00:29:43,880
Speaker 1: getting into the cast here, top billing goes to Robert Urick,

570
00:29:44,200 --> 00:29:49,080
Speaker 1: who plays Matt Winslow. Urick lived nineteen forty six through

571
00:29:49,240 --> 00:29:53,360
Speaker 1: two thousand and two American leading man actor, best remembered

572
00:29:53,360 --> 00:29:55,720
Speaker 1: for his work in the seventies and eighties, which included

573
00:29:55,760 --> 00:29:58,880
Speaker 1: a lot of TV, including the title role in Spencer

574
00:29:58,960 --> 00:30:01,680
Speaker 1: for Hire and the role of Jake Spoon in the

575
00:30:01,720 --> 00:30:06,280
Speaker 1: nineteen eighty nine mini series Lonesome Dove. Oh yeah, that

576
00:30:06,560 --> 00:30:07,920
Speaker 1: of course had a terrific cast.

577
00:30:08,280 --> 00:30:11,040
Speaker 3: I haven't seen it, but I started reading the novel

578
00:30:11,160 --> 00:30:13,240
Speaker 3: last year and really liked it, but then just didn't

579
00:30:13,280 --> 00:30:16,280
Speaker 3: finish it. Oh yeah, it's a great novel as well.

580
00:30:16,560 --> 00:30:19,200
Speaker 3: There's another one in that series that I read, Comanche Moon,

581
00:30:19,240 --> 00:30:21,960
Speaker 3: that I really liked. But yeah, the mini series was

582
00:30:22,000 --> 00:30:25,200
Speaker 3: definitely a prestige project. Had Robert Duvall in it, also

583
00:30:25,240 --> 00:30:29,040
Speaker 3: had Sonny Carl Davis in it, a bunch of people.

584
00:30:29,720 --> 00:30:32,400
Speaker 3: But yeah, Robert Urick is in that and plays a

585
00:30:32,800 --> 00:30:37,720
Speaker 3: plays a character that kind of it's easy to look

586
00:30:37,720 --> 00:30:39,800
Speaker 3: at his role in this picture and sort of identified

587
00:30:39,960 --> 00:30:42,560
Speaker 3: the sort of leading man type roles that he played.

588
00:30:42,840 --> 00:30:48,160
Speaker 3: He plays a flawed character in Lonesome Dove, a character

589
00:30:48,200 --> 00:30:51,360
Speaker 3: that ends up having not a great trajectory. Other films

590
00:30:51,400 --> 00:30:54,320
Speaker 3: of his include seventy three's Magnum Force. Oh, and then

591
00:30:54,320 --> 00:30:58,080
Speaker 3: the nineteen eighty two Alan Rudolph cattle mutilation conspiracy thriller

592
00:30:58,200 --> 00:31:01,920
Speaker 3: Endangered Species. It's another one where he gets to play

593
00:31:02,920 --> 00:31:05,600
Speaker 3: a more morally complicated character.

594
00:31:05,280 --> 00:31:07,400
Speaker 1: As you might expect from an Alan Rudolph picture.

595
00:31:07,720 --> 00:31:11,280
Speaker 3: Once again, that was not the cattle mutilation movie we

596
00:31:11,360 --> 00:31:13,480
Speaker 3: talked about. That was the other one.

597
00:31:13,640 --> 00:31:17,200
Speaker 1: Yeah, yeah, this is one where this one leans more

598
00:31:17,240 --> 00:31:20,760
Speaker 1: conspiracy thriller as opposed to aliens doing things to cows.

599
00:31:21,480 --> 00:31:24,760
Speaker 1: But it's also it's pretty great. It's like it's Alan Rudolph,

600
00:31:25,160 --> 00:31:29,000
Speaker 1: you know, going for a mainstream thriller vibe, but it's

601
00:31:29,080 --> 00:31:32,680
Speaker 1: quite effective. It's one that I've toyed around with the

602
00:31:32,720 --> 00:31:35,160
Speaker 1: idea of covering. I definitely want to cover some Alan

603
00:31:35,240 --> 00:31:38,080
Speaker 1: Rudolph film at one point or another. Is just a

604
00:31:38,120 --> 00:31:39,360
Speaker 1: matter of picking the right one.

605
00:31:39,480 --> 00:31:41,280
Speaker 3: I've got one on my list we can talk about

606
00:31:41,320 --> 00:31:42,160
Speaker 3: after this episode.

607
00:31:42,240 --> 00:31:46,120
Speaker 1: Oh yeah, yeah. But anyway, I like Robert Urick, you know, yeah,

608
00:31:46,280 --> 00:31:49,160
Speaker 1: you know, very much seventies eighties leading man stock but

609
00:31:49,200 --> 00:31:52,000
Speaker 1: I feel like he always gets the job done. And

610
00:31:52,120 --> 00:31:54,880
Speaker 1: you know, obviously he's an actor we would have liked

611
00:31:54,920 --> 00:31:56,920
Speaker 1: to have seen more from. We didn't get to see

612
00:31:56,920 --> 00:31:59,200
Speaker 1: a lot of late career character work from him, as

613
00:31:59,240 --> 00:32:01,800
Speaker 1: he passed from cancer at age of fifty five.

614
00:32:03,360 --> 00:32:06,720
Speaker 3: Yeah, the main character in this movie I actually found

615
00:32:07,200 --> 00:32:11,160
Speaker 3: quite likable, So Matt Winslow. This character, he's sort of

616
00:32:11,360 --> 00:32:15,240
Speaker 3: a classic like solid family man, like a loving father

617
00:32:15,760 --> 00:32:19,520
Speaker 3: and a good husband and an emblem of rectitude, so

618
00:32:19,560 --> 00:32:22,680
Speaker 3: you might expect, well, he's kind of an uncomplicated character,

619
00:32:22,880 --> 00:32:25,640
Speaker 3: so there's not much to get into here, But I

620
00:32:25,680 --> 00:32:29,680
Speaker 3: don't know, I really enjoyed this character. Actually, he's a

621
00:32:29,680 --> 00:32:32,720
Speaker 3: good guy by trade. In the movie, he's an engineer

622
00:32:32,760 --> 00:32:36,560
Speaker 3: who works in this aerospace technology industry and they have

623
00:32:36,680 --> 00:32:40,320
Speaker 3: him designing cutting edge suits for astronauts to wear, like

624
00:32:40,360 --> 00:32:43,560
Speaker 3: in the next phase of Solar System exploration. And he

625
00:32:43,680 --> 00:32:47,400
Speaker 3: has this ludicrous sci fi dialogue to deliver where he's

626
00:32:47,440 --> 00:32:50,280
Speaker 3: like having them point this space suit helmet at things

627
00:32:50,320 --> 00:32:53,520
Speaker 3: and it identifies whether it is human or not, or

628
00:32:53,560 --> 00:32:56,880
Speaker 3: a non human terrestrial or non terrestrial.

629
00:32:56,400 --> 00:33:00,080
Speaker 1: Being, yes, or if you are benign or malignant? Is

630
00:33:00,080 --> 00:33:01,240
Speaker 1: it malignant or malicious?

631
00:33:01,640 --> 00:33:04,760
Speaker 3: Yeah, benign or malignant beings of whether or not there

632
00:33:04,760 --> 00:33:07,280
Speaker 3: from Earth, And it just the helmet knows.

633
00:33:08,040 --> 00:33:10,120
Speaker 1: It's remarkable tech that he developed here.

634
00:33:10,440 --> 00:33:13,280
Speaker 3: So he's but he delivers that with a kind of

635
00:33:13,360 --> 00:33:18,800
Speaker 3: illan that's admirable. Also, this character, Matt and by extension, Urik,

636
00:33:18,880 --> 00:33:21,880
Speaker 3: is a megahunk, and the movie is not shy about

637
00:33:21,920 --> 00:33:24,240
Speaker 3: like letting you get a good idea of what his

638
00:33:24,280 --> 00:33:26,600
Speaker 3: butt looks like and some nice fitting khakis.

639
00:33:27,360 --> 00:33:30,240
Speaker 1: Yeah that's right. He's at least shirtless in one scene.

640
00:33:31,000 --> 00:33:34,120
Speaker 3: But this is a kind of leading man, good guy

641
00:33:34,240 --> 00:33:39,080
Speaker 3: role that I think we could potentially underappreciate. It takes

642
00:33:39,120 --> 00:33:40,840
Speaker 3: a little more skill than you might think when you

643
00:33:41,160 --> 00:33:43,200
Speaker 3: first watched this movie because of all the different stuff

644
00:33:43,200 --> 00:33:46,320
Speaker 3: he has to do and that he has to navigate

645
00:33:46,720 --> 00:33:51,040
Speaker 3: the performance of, like fighting off demonic versions of his

646
00:33:51,080 --> 00:33:54,920
Speaker 3: own children that are attacking him, and you know he

647
00:33:54,920 --> 00:33:55,720
Speaker 3: does well with it.

648
00:33:55,920 --> 00:33:57,480
Speaker 1: Yeah, yeah, Yeah. He has to do kind of like

649
00:33:57,520 --> 00:34:01,760
Speaker 1: the grounded, believable stuff and then like lean into the

650
00:34:01,760 --> 00:34:04,160
Speaker 1: the endo the role when it gets super weird towards

651
00:34:04,240 --> 00:34:16,120
Speaker 1: the end. Yeah, all right, So that is Matt Winslow

652
00:34:16,239 --> 00:34:19,720
Speaker 1: playing his wife. Pat Winslow is Joanna Cassidy born nineteen

653
00:34:19,800 --> 00:34:24,000
Speaker 1: forty five, two time Emmy nominated Actress for Elite Actress

654
00:34:24,040 --> 00:34:26,400
Speaker 1: Role on eighty four's Buffalo Bill and then a guest

655
00:34:26,440 --> 00:34:30,080
Speaker 1: role in the TV series Six Feet Under. Best remembered

656
00:34:30,120 --> 00:34:32,880
Speaker 1: by many of you, though, as the snake handling replicant

657
00:34:32,960 --> 00:34:35,200
Speaker 1: Zora in Ridley Scott's Blade Runner.

658
00:34:35,680 --> 00:34:38,360
Speaker 3: Oh okay, I didn't make that connection, all right.

659
00:34:38,480 --> 00:34:41,400
Speaker 1: She's the one who she's wearing like a yeah yeah,

660
00:34:41,440 --> 00:34:45,040
Speaker 1: it's like a shower curtain trench coat and she gets

661
00:34:45,040 --> 00:34:47,200
Speaker 1: gunned down in the street by our hero.

662
00:34:47,480 --> 00:34:49,840
Speaker 3: Yeah, yeah, totally is. She's working at the club and

663
00:34:49,880 --> 00:34:51,839
Speaker 3: she has the snake. Yeah, yeah, I remember her.

664
00:34:52,200 --> 00:34:54,759
Speaker 1: She also played the character Dolores in nineteen eighty eights

665
00:34:54,760 --> 00:34:57,239
Speaker 1: who framed Roger Rabbit, and she had a role in

666
00:34:57,320 --> 00:34:59,160
Speaker 1: seventy three as the laughing Policeman.

667
00:34:59,440 --> 00:35:02,640
Speaker 3: She's also good here playing a conflicted character, someone who's

668
00:35:02,640 --> 00:35:07,160
Speaker 3: torn between wanting to be like a loyal and kind

669
00:35:07,280 --> 00:35:10,200
Speaker 3: wife and mother to her family, but she's also feeling

670
00:35:10,239 --> 00:35:14,279
Speaker 3: the pull of like ostentatious wealth and the desire to

671
00:35:14,320 --> 00:35:18,080
Speaker 3: be included in this in this rich new jet set

672
00:35:18,120 --> 00:35:19,480
Speaker 3: that the family has moved in with.

673
00:35:19,719 --> 00:35:22,640
Speaker 1: Yeah, because that's all that's ultimately the meat, like the

674
00:35:22,680 --> 00:35:27,080
Speaker 1: social commentary that this film dabbles in as ambition and

675
00:35:27,120 --> 00:35:30,000
Speaker 1: what do you want to be versus what you are?

676
00:35:30,480 --> 00:35:32,440
Speaker 1: What are you know? What are your values? What are

677
00:35:32,440 --> 00:35:37,040
Speaker 1: your ambitions? What is the American dream that either you

678
00:35:37,120 --> 00:35:39,680
Speaker 1: have for yourself or is being inflicted upon you? And

679
00:35:39,719 --> 00:35:41,040
Speaker 1: who is doing the inflicting.

680
00:35:41,239 --> 00:35:43,960
Speaker 3: Oh oh, let's talk about Jessica Jones. Yes, that is

681
00:35:44,000 --> 00:35:44,879
Speaker 3: the character's name.

682
00:35:45,000 --> 00:35:49,000
Speaker 1: Yes, it's such a Yeah, it feels like such an

683
00:35:49,040 --> 00:35:51,960
Speaker 1: everyday name for this character. And I guess part of

684
00:35:52,000 --> 00:35:55,160
Speaker 1: it is like I grew up with somebody named Jessica Jones,

685
00:35:55,200 --> 00:35:57,680
Speaker 1: so it like it just feels like it's like literally

686
00:35:57,719 --> 00:36:01,520
Speaker 1: the girl next door's name. And the character that Susan

687
00:36:01,600 --> 00:36:03,080
Speaker 1: Lucci is playing here is anything.

688
00:36:03,120 --> 00:36:08,000
Speaker 3: But isn't Jessica Jones also a superhero? There was a

689
00:36:08,040 --> 00:36:08,960
Speaker 3: show of wasn't there?

690
00:36:09,239 --> 00:36:13,799
Speaker 1: Yeah, yeah, Jessica Jones. It's a Marvel character. But I

691
00:36:13,840 --> 00:36:16,120
Speaker 1: think they I'm not an expert on that character, but

692
00:36:16,120 --> 00:36:18,239
Speaker 1: I think they chose the name Jessica Jones right, or

693
00:36:18,280 --> 00:36:21,200
Speaker 1: at least they focused in on it because it sounds

694
00:36:21,239 --> 00:36:23,480
Speaker 1: so normal for a superhero, and it's about her being

695
00:36:23,520 --> 00:36:26,960
Speaker 1: like an ex costume superhero now living a more like

696
00:36:27,880 --> 00:36:32,600
Speaker 1: you know, film noir, kind of like gritty realistic existence.

697
00:36:32,719 --> 00:36:34,520
Speaker 3: Oh okay, well, I didn't know anything about it. I

698
00:36:34,600 --> 00:36:37,200
Speaker 3: just knew if the character existed, but yeah, anyway, So

699
00:36:37,280 --> 00:36:40,319
Speaker 3: this is Jessica Jones in Invitation to Hell. Is the

700
00:36:40,400 --> 00:36:45,520
Speaker 3: character played by Susan Lucci, the daytime TV soap opera

701
00:36:45,760 --> 00:36:49,720
Speaker 3: Royalty who we were talking about earlier. And Lucci seems

702
00:36:49,760 --> 00:36:52,680
Speaker 3: to be having the time of her life in this movie,

703
00:36:52,800 --> 00:36:56,200
Speaker 3: playing the Satanic Impress of the golf course. I love this.

704
00:36:56,960 --> 00:36:59,120
Speaker 1: Yeah, she's really getting in there and having a good

705
00:36:59,160 --> 00:37:02,200
Speaker 1: time with this. She was born in nineteen forty six,

706
00:37:02,280 --> 00:37:05,520
Speaker 1: still active, best known for her long running Emmy winning

707
00:37:05,640 --> 00:37:08,800
Speaker 1: role as Erica Kine on the soap opera All My Children.

708
00:37:09,080 --> 00:37:11,520
Speaker 1: I believe if IMDb is correct here, and they usually

709
00:37:11,600 --> 00:37:14,880
Speaker 1: are oney seven hundred and forty two episodes.

710
00:37:14,400 --> 00:37:16,400
Speaker 3: Of that series. How is that possible?

711
00:37:18,120 --> 00:37:21,760
Speaker 1: Yeah, just they crank them out and then they run forever,

712
00:37:22,200 --> 00:37:26,120
Speaker 1: or they ran forever. She also co starred with Robert

713
00:37:26,239 --> 00:37:30,480
Speaker 1: Urich in the nineteen ninety two thriller Double Edge. Undoubtedly

714
00:37:30,560 --> 00:37:33,320
Speaker 1: a TV legend here, and I've read that this whole

715
00:37:33,320 --> 00:37:37,480
Speaker 1: film exists because her nineteen eighty three contract to keep

716
00:37:37,520 --> 00:37:40,160
Speaker 1: acting on All My Children specified that she would get

717
00:37:40,200 --> 00:37:43,600
Speaker 1: to do some sort of a like a TV movie

718
00:37:43,600 --> 00:37:46,480
Speaker 1: of the week, and so they had this script written

719
00:37:46,600 --> 00:37:48,560
Speaker 1: with her in mind. They were like, we've got to

720
00:37:48,560 --> 00:37:52,640
Speaker 1: make we need to make a sci fi drama for

721
00:37:52,920 --> 00:37:56,719
Speaker 1: Susan Lucci. See what you can put together, and so

722
00:37:57,120 --> 00:37:58,880
Speaker 1: we end up with her playing Jessica Jones.

723
00:37:58,880 --> 00:38:03,000
Speaker 3: Here this West Craven movie is actually a Susan Lucci vehicle.

724
00:38:03,480 --> 00:38:06,799
Speaker 1: Yes, yeah, I think Crave. I've read that Craven came

725
00:38:06,800 --> 00:38:09,719
Speaker 1: in kind kind of laid on it, like there's still

726
00:38:09,719 --> 00:38:12,120
Speaker 1: pre production, but a lot of the elements were already

727
00:38:12,120 --> 00:38:14,239
Speaker 1: in place. But then he hit the ground running, you know,

728
00:38:14,239 --> 00:38:16,520
Speaker 1: finishing and putting everything together and figuring out how to

729
00:38:17,000 --> 00:38:20,839
Speaker 1: make a few things work. But yeah, really fun role here.

730
00:38:20,920 --> 00:38:23,760
Speaker 1: I think this and the nineteen eighty seven TV movie

731
00:38:23,800 --> 00:38:27,719
Speaker 1: Haunted by Her Past maybe the only projects she's done

732
00:38:27,719 --> 00:38:30,120
Speaker 1: that have a true speculative element to them. So you

733
00:38:30,160 --> 00:38:32,839
Speaker 1: can imagine somebody who's like cranking out soap opera after

734
00:38:32,880 --> 00:38:35,600
Speaker 1: soap opera episode, you know, having a great time getting

735
00:38:35,600 --> 00:38:36,880
Speaker 1: to play the devil.

736
00:38:37,320 --> 00:38:39,200
Speaker 3: Yeah, she should have done it more.

737
00:38:39,840 --> 00:38:43,080
Speaker 1: Also, of note, she was in a nineteen ninety five

738
00:38:43,200 --> 00:38:47,120
Speaker 1: TV movie called Ebby, in which she plays a female

739
00:38:47,239 --> 00:38:51,879
Speaker 1: version of Ebenezer Scrooge. I haven't seen that one either,

740
00:38:51,920 --> 00:38:54,080
Speaker 1: but that also sound that sounds like that was also

741
00:38:54,160 --> 00:38:57,600
Speaker 1: a fun alternative to what she usually did.

742
00:38:57,880 --> 00:38:59,799
Speaker 3: Do you know if on All My Children did she

743
00:39:00,080 --> 00:39:02,480
Speaker 3: play a good character or a bad character?

744
00:39:03,480 --> 00:39:06,960
Speaker 1: I think maybe more bad. It seems like all the

745
00:39:07,000 --> 00:39:11,120
Speaker 1: memorable soap opera characters are baddies, right, Like those are

746
00:39:11,280 --> 00:39:15,160
Speaker 1: the characters you love to hate, right maybe you know

747
00:39:15,200 --> 00:39:18,200
Speaker 1: you remember names like you know, and I'm betraying my

748
00:39:19,560 --> 00:39:21,120
Speaker 1: you know how little I know about soap operas. But

749
00:39:21,120 --> 00:39:24,239
Speaker 1: you're gonna remember Barnabas Collins because he's a vampire. You're

750
00:39:24,239 --> 00:39:27,760
Speaker 1: gonna remember presumably Erica Kane because she's also a baddie.

751
00:39:28,440 --> 00:39:30,120
Speaker 3: Does sound like a bad character name?

752
00:39:30,200 --> 00:39:32,759
Speaker 1: Yeah, speaking of names, I guess it would have been

753
00:39:32,760 --> 00:39:34,879
Speaker 1: too on the nose if they called her Lucci fur

754
00:39:35,000 --> 00:39:38,600
Speaker 1: in this, you know, so they probably like just call

755
00:39:38,640 --> 00:39:42,839
Speaker 1: her Jessica jobs all right. Up next, we have Joe

756
00:39:42,960 --> 00:39:49,439
Speaker 1: Recabuto playing Tom Peterson born nineteen forty nine, probably best

757
00:39:49,480 --> 00:39:51,040
Speaker 1: known to many of you out there. This is the

758
00:39:51,080 --> 00:39:53,000
Speaker 1: main connection I had to his work because he played

759
00:39:53,000 --> 00:39:57,080
Speaker 1: the character Frank on TV's Murphy Brown, which I remember

760
00:39:57,120 --> 00:39:58,799
Speaker 1: watching a lot as a kid. For some reason, I

761
00:39:58,800 --> 00:40:00,440
Speaker 1: think because it was it was on tele vision and

762
00:40:00,480 --> 00:40:03,160
Speaker 1: that's it was something the family was watching. But he

763
00:40:03,640 --> 00:40:06,840
Speaker 1: was nominated for an Emmy for that performance. He was

764
00:40:06,880 --> 00:40:09,480
Speaker 1: also in the nineteen eighty six movie Raw Deal, which

765
00:40:09,480 --> 00:40:10,959
Speaker 1: we were just talking about last week.

766
00:40:11,200 --> 00:40:13,120
Speaker 3: Why were we talking about Raw Deal last time?

767
00:40:13,320 --> 00:40:15,680
Speaker 1: Oh? Yeah, why were It was somebody somebody one of

768
00:40:15,680 --> 00:40:17,279
Speaker 1: the actors or lifted up.

769
00:40:17,360 --> 00:40:19,399
Speaker 3: I just looked it up. It was Sam Wanamaker. There

770
00:40:19,440 --> 00:40:21,839
Speaker 3: you go, yeah, who directed Sindbad and The Eye at

771
00:40:21,840 --> 00:40:22,240
Speaker 3: the Tiger.

772
00:40:22,320 --> 00:40:26,239
Speaker 1: There you go. Yeah. So Rogo Bhutto also did. I

773
00:40:26,320 --> 00:40:28,319
Speaker 1: did a lot of TV work, but also directed quite

774
00:40:28,320 --> 00:40:30,879
Speaker 1: a bit of television, including many episodes of Murphy Brown.

775
00:40:31,000 --> 00:40:33,399
Speaker 1: Here he's good.

776
00:40:33,440 --> 00:40:33,560
Speaker 3: Here.

777
00:40:33,600 --> 00:40:35,280
Speaker 1: I don't have a lot to say about this performance,

778
00:40:35,320 --> 00:40:38,319
Speaker 1: but he's he's good. He is the the the the

779
00:40:38,360 --> 00:40:43,040
Speaker 1: co worker, I guess, former acquaintance of our lead character saying, hey,

780
00:40:43,080 --> 00:40:44,800
Speaker 1: you're working for the big evil corporation.

781
00:40:45,000 --> 00:40:48,000
Speaker 3: Great. Yeah, Well he's I think he's the friend who

782
00:40:48,160 --> 00:40:52,080
Speaker 3: tempted Matt and his family to come into this. He's like,

783
00:40:52,200 --> 00:40:53,799
Speaker 3: I have gone to take a job at a big

784
00:40:53,840 --> 00:40:55,799
Speaker 3: evil corporation. Why don't you come work at the big

785
00:40:55,840 --> 00:40:58,799
Speaker 3: evil corporation. You'll make lots of money. Yeah, and so

786
00:40:58,880 --> 00:41:02,560
Speaker 3: he plays like an ratiating, nervous corporate grimlin.

787
00:41:03,040 --> 00:41:06,600
Speaker 1: Yeah yeah, yeah, yeah, it's a good performance, all right.

788
00:41:06,640 --> 00:41:09,080
Speaker 1: We also have Kevin McCarthy showing up at least forel

789
00:41:09,080 --> 00:41:12,520
Speaker 1: a little bit. He's not in this much, plays mister Thompson.

790
00:41:13,160 --> 00:41:16,440
Speaker 1: McCarthy lived nineteen fourteen through twenty ten. American actor, nominated

791
00:41:16,440 --> 00:41:18,520
Speaker 1: for an Oscar for his performance in the nineteen fifty

792
00:41:18,520 --> 00:41:22,600
Speaker 1: two adaptation of Death of a Salesman, but probably best

793
00:41:22,640 --> 00:41:26,280
Speaker 1: known to many out there for his maniacal paranoid performance

794
00:41:26,280 --> 00:41:30,480
Speaker 1: in nineteen fifty six's Invasion of the Body Snatchers. He

795
00:41:30,560 --> 00:41:35,200
Speaker 1: also pops up in various genre films to follow multiple

796
00:41:35,280 --> 00:41:40,680
Speaker 1: Joe Dante films, if I remember correctly, previously mentioned him

797
00:41:40,680 --> 00:41:43,160
Speaker 1: on the show, because the episode I recorded with David's

798
00:41:43,160 --> 00:41:47,719
Speaker 1: Treepy on Joe Dante's Innerspace, of course, features Kevin McCarthy.

799
00:41:48,040 --> 00:41:52,799
Speaker 3: Kevin McCarthy has powerful, malicious boss energy, and that, in

800
00:41:52,840 --> 00:41:55,160
Speaker 3: fact is exactly the role he plays in this movie.

801
00:41:55,200 --> 00:41:57,880
Speaker 3: But I imagine he was just getting cast over and

802
00:41:57,880 --> 00:42:00,560
Speaker 3: over again as the guy who calls the man character

803
00:42:00,640 --> 00:42:02,480
Speaker 3: into his office to tell him he's fired.

804
00:42:02,920 --> 00:42:06,560
Speaker 1: Yeah, Yeah, that's the generally he played like, certainly later

805
00:42:06,560 --> 00:42:09,440
Speaker 1: in his career, tended to play nasty old men and

806
00:42:09,480 --> 00:42:10,960
Speaker 1: he was excellent at it.

807
00:42:11,080 --> 00:42:13,200
Speaker 3: Oh and speaking of old men, we also in this

808
00:42:13,320 --> 00:42:16,680
Speaker 3: movie have Bill Irwin, the perpetual old man of the movies.

809
00:42:17,120 --> 00:42:19,480
Speaker 1: Yes, yes, playing Walt Henderson.

810
00:42:20,040 --> 00:42:20,200
Speaker 3: Yeah.

811
00:42:20,239 --> 00:42:25,000
Speaker 1: Irwin lived nineteen fourteen through twenty ten. American character actor

812
00:42:25,000 --> 00:42:27,000
Speaker 1: appeared in more than two hundred and fifty television and

813
00:42:27,080 --> 00:42:30,200
Speaker 1: film roles, including the one that earned him an Emmy nomination.

814
00:42:30,239 --> 00:42:34,440
Speaker 1: In nineteen ninety three, he played retiree Sid Fields on Seinfeld,

815
00:42:34,800 --> 00:42:37,080
Speaker 1: and we previously discussed him in our episode on the

816
00:42:37,120 --> 00:42:38,840
Speaker 1: nineteen eighty four short film Quest.

817
00:42:39,440 --> 00:42:43,160
Speaker 3: He's got a brief sympathetic role in this movie. But yeah,

818
00:42:43,160 --> 00:42:45,520
Speaker 3: it's a nice contrast to the other things I've seen

819
00:42:45,600 --> 00:42:48,239
Speaker 3: him in, which are mainly comedies where he needs to

820
00:42:48,239 --> 00:42:49,719
Speaker 3: pop up as like a curmudgeon.

821
00:42:50,120 --> 00:42:52,880
Speaker 1: Yeah. Yeah, here he is a little bit more to do.

822
00:42:52,960 --> 00:42:54,799
Speaker 1: He has a nice scene, and the last we see

823
00:42:54,800 --> 00:42:57,400
Speaker 1: of him it's it's actually really sad.

824
00:42:57,800 --> 00:42:59,560
Speaker 3: Yeah, yeah, all right.

825
00:42:59,600 --> 00:43:02,080
Speaker 1: We also have a sheriff character that shows up. I

826
00:43:02,120 --> 00:43:03,919
Speaker 1: don't think he has a name. Maybe he has a name,

827
00:43:04,719 --> 00:43:07,399
Speaker 1: but it played by Nicholas Worth, who lived nineteen thirty

828
00:43:07,400 --> 00:43:12,480
Speaker 1: seven through two thousand and seven. Instantly recognizable rotun typically

829
00:43:12,560 --> 00:43:16,239
Speaker 1: bald or balding American character actor, you know, kind of

830
00:43:16,280 --> 00:43:19,480
Speaker 1: like built like a like a pit bull. Probably best

831
00:43:19,560 --> 00:43:21,600
Speaker 1: known to many of you out there for his role

832
00:43:21,920 --> 00:43:25,040
Speaker 1: as the henchman Polly in nineteen nineties Dark Man.

833
00:43:25,440 --> 00:43:28,120
Speaker 3: He body slams Robert Urich in this movie.

834
00:43:28,200 --> 00:43:30,520
Speaker 1: He does, he does, He gets the fulsome wrestling moves.

835
00:43:30,640 --> 00:43:32,000
Speaker 3: They have a wrestling scene.

836
00:43:32,600 --> 00:43:34,920
Speaker 1: Yeah, so obviously this guy played a lot of heavies.

837
00:43:35,560 --> 00:43:39,239
Speaker 1: His credits include seventy three Screen Blackula Scream, seventy four

838
00:43:39,320 --> 00:43:42,760
Speaker 1: is The Terminal Man, seventy eights Coma, seventy nine's The Glove,

839
00:43:43,680 --> 00:43:45,880
Speaker 1: nineteen eighties Don't Answer the Phone. I believe he was

840
00:43:45,920 --> 00:43:48,239
Speaker 1: the main villain in that. He pops up an eighty

841
00:43:48,239 --> 00:43:51,520
Speaker 1: two swamp Thing, eighty six is Heartbreak, Ridge, eighty eight's

842
00:43:51,520 --> 00:43:55,080
Speaker 1: Hell Comes to Frogtown, and Action Jackson and The Naked

843
00:43:55,160 --> 00:43:58,840
Speaker 1: Gun Wow. He also plays a demon in ninety four's

844
00:43:58,880 --> 00:44:02,040
Speaker 1: Dark Angel The Ascent. He's in ninety six is Barbed Wire.

845
00:44:02,280 --> 00:44:04,520
Speaker 1: Did a lot of TV pops up on The X

846
00:44:04,560 --> 00:44:06,520
Speaker 1: Files and a couple of different star Trek shows.

847
00:44:06,680 --> 00:44:08,760
Speaker 3: No, I don't remember what he did in The X Files,

848
00:44:09,600 --> 00:44:12,160
Speaker 3: but yeah, he's good. I don't even remember if he

849
00:44:12,160 --> 00:44:15,120
Speaker 3: has any lines in this movie, but he does stand

850
00:44:15,200 --> 00:44:17,880
Speaker 3: there in Menace People and then yeah, has a pretty

851
00:44:17,920 --> 00:44:19,240
Speaker 3: sweet fight scene.

852
00:44:19,560 --> 00:44:21,680
Speaker 1: Oh and we need to talk about the Winslow children.

853
00:44:22,400 --> 00:44:25,520
Speaker 1: Oh yes, yeah, the Winslow family. We have two children.

854
00:44:25,560 --> 00:44:29,000
Speaker 1: There's a boy and a girl, both famous in their

855
00:44:29,040 --> 00:44:31,480
Speaker 1: own right. That's right, but let's start with the girl.

856
00:44:31,560 --> 00:44:34,440
Speaker 1: Let's start with the daughter. It is the character Chrissy,

857
00:44:34,560 --> 00:44:38,319
Speaker 1: played by so Leigh moon Fry born nineteen seventy six.

858
00:44:38,440 --> 00:44:40,440
Speaker 1: It's TV's Punky Brewster. That's who it is.

859
00:44:40,640 --> 00:44:43,400
Speaker 3: I've never seen Punky Brewster, but the name is burned

860
00:44:43,440 --> 00:44:45,200
Speaker 3: in my brain from when I was a kid, people

861
00:44:45,239 --> 00:44:48,560
Speaker 3: talked about Punky Brewster. I imagined her as just like a

862
00:44:48,600 --> 00:44:50,799
Speaker 3: girl Dennis the Menace is that sort of it.

863
00:44:51,320 --> 00:44:53,600
Speaker 1: I only have vague memories of watching this show, but

864
00:44:53,640 --> 00:44:57,560
Speaker 1: I remember it's like Punky Brewster, like she was to

865
00:44:57,560 --> 00:45:01,120
Speaker 1: be celebrated. Okay, she was a lot of fun. She

866
00:45:01,160 --> 00:45:05,400
Speaker 1: was a handful obviously child actor here turned grown person actor.

867
00:45:06,560 --> 00:45:08,920
Speaker 1: She's also known for her work in ninety three's Pumpkinhead

868
00:45:08,960 --> 00:45:12,279
Speaker 1: two Blood Wings. She's also she was a cast member

869
00:45:12,320 --> 00:45:14,920
Speaker 1: on TV Sabrina and the Teenage Witch. This is the

870
00:45:15,000 --> 00:45:17,040
Speaker 1: version that ran two thousand and through two thousand and three.

871
00:45:17,520 --> 00:45:18,960
Speaker 1: She's also done a little bit of directing.

872
00:45:19,280 --> 00:45:22,680
Speaker 3: So this movie does ask a decent amount of the

873
00:45:22,800 --> 00:45:26,680
Speaker 3: children characters she has to play, not only like a

874
00:45:26,680 --> 00:45:29,279
Speaker 3: little girl who's kind of upset about her family having

875
00:45:29,320 --> 00:45:31,480
Speaker 3: to move to a new city, like she misses their

876
00:45:31,520 --> 00:45:34,320
Speaker 3: old house, but she also gets to play a demonic,

877
00:45:34,400 --> 00:45:38,720
Speaker 3: possessed child who's like, there's only bad Chrissy now yep.

878
00:45:39,360 --> 00:45:41,319
Speaker 1: Yeah, yeah, so she gets to have some fun with

879
00:45:41,360 --> 00:45:45,200
Speaker 1: this role for sure, and then playing her brother. Robbie

880
00:45:45,440 --> 00:45:49,520
Speaker 1: Winslow is Barrett Oliver born nineteen seventy three, a child

881
00:45:49,520 --> 00:45:51,560
Speaker 1: actor that we previously talked about on the show because

882
00:45:51,600 --> 00:45:55,960
Speaker 1: he of course played Dastian Balthazar Bucks in a much

883
00:45:56,000 --> 00:45:59,799
Speaker 1: bigger film from the same year than Never Ending Story, both.

884
00:45:59,520 --> 00:46:00,800
Speaker 3: In the same year. Wow.

885
00:46:01,040 --> 00:46:02,560
Speaker 1: Yeah, his other credit.

886
00:46:03,000 --> 00:46:05,800
Speaker 3: It's like Peter Mayhew being in Star Wars and Sindbad

887
00:46:05,880 --> 00:46:07,520
Speaker 3: and The Eye of the Tiger the same year. Yeah.

888
00:46:07,560 --> 00:46:09,960
Speaker 1: I mean, you keep working and some things take off

889
00:46:09,960 --> 00:46:13,879
Speaker 1: and some things don't, right, but yeah, it's so it's

890
00:46:13,960 --> 00:46:17,560
Speaker 1: quite a quite a quite a cast here, and the

891
00:46:17,640 --> 00:46:21,839
Speaker 1: family itself is pretty interesting. So like, after I'd watched

892
00:46:21,840 --> 00:46:23,840
Speaker 1: the film, I had to show the first ninety seconds

893
00:46:23,840 --> 00:46:26,120
Speaker 1: of it to my to my wife. We'll talk about

894
00:46:26,120 --> 00:46:28,440
Speaker 1: why in just a few minutes here. But then I

895
00:46:28,440 --> 00:46:30,520
Speaker 1: also was like, stick around, I've got to point out

896
00:46:30,520 --> 00:46:34,000
Speaker 1: some things about this family, all right, moving behind the scene.

897
00:46:34,280 --> 00:46:36,640
Speaker 1: The cinematographer on this is Dean Cundy. Oh.

898
00:46:36,760 --> 00:46:38,680
Speaker 3: Yeah, we've talked about him on the show before. He

899
00:46:38,719 --> 00:46:42,160
Speaker 3: was a cinematographer and I believe the very first movie

900
00:46:42,239 --> 00:46:44,880
Speaker 3: we ever featured on Weird House Cinema right without Warning?

901
00:46:45,200 --> 00:46:49,120
Speaker 1: Correct, Yes, nineteen eighties without Warning. More famous probably for

902
00:46:49,160 --> 00:46:51,480
Speaker 1: his work on Who Framed Roger Rabbit, which he won

903
00:46:51,560 --> 00:46:55,640
Speaker 1: an oscar for ninety three, is Jurassic Park ninety six,

904
00:46:55,719 --> 00:46:58,080
Speaker 1: is Apollo thirteen, and many others. He's worked, of course,

905
00:46:58,120 --> 00:47:03,200
Speaker 1: extensively with John Carpenter robertson Machis Yeah, and great on Clark.

906
00:47:04,920 --> 00:47:07,000
Speaker 3: So I love Dean Coundy's work. Was he also a

907
00:47:07,040 --> 00:47:10,040
Speaker 3: cinematographer on Halloween three season of The Witch, by the way.

908
00:47:09,880 --> 00:47:11,640
Speaker 1: He was, Yeah, I believe that's one of the one

909
00:47:11,640 --> 00:47:13,600
Speaker 1: of the other ways that Dean Coundy has come.

910
00:47:13,560 --> 00:47:16,920
Speaker 3: Up before interesting but also connection in that these movies

911
00:47:16,960 --> 00:47:21,120
Speaker 3: share these kind of unusual horror themes. Invitation to Hell

912
00:47:21,600 --> 00:47:25,360
Speaker 3: is not beautiful to look at by any stretch of

913
00:47:25,360 --> 00:47:28,920
Speaker 3: the imagination. The things it has to show you are

914
00:47:29,000 --> 00:47:34,280
Speaker 3: mostly not all that exciting, and yet I think Coundy's

915
00:47:34,320 --> 00:47:37,520
Speaker 3: cinematography is one of the reasons the movie is so

916
00:47:37,800 --> 00:47:41,960
Speaker 3: eminently watchable, even when he really when all he has

917
00:47:42,000 --> 00:47:46,240
Speaker 3: to show you are fairly drab sets and locations, Kundy

918
00:47:46,400 --> 00:47:49,640
Speaker 3: just has a very strong sense for visual storytelling, and

919
00:47:49,680 --> 00:47:53,880
Speaker 3: his camera naturally adds momentum to the story. So I

920
00:47:53,960 --> 00:47:56,640
Speaker 3: don't think it's the only thing that makes Invitation to

921
00:47:56,680 --> 00:47:59,720
Speaker 3: Hell a very fun and watchable movie despite being somewhat

922
00:47:59,719 --> 00:48:04,680
Speaker 3: low budget. But yeah, there's something going on with the cinematography,

923
00:48:04,760 --> 00:48:06,960
Speaker 3: despite the fact that the movie is not much to

924
00:48:07,000 --> 00:48:09,440
Speaker 3: write home about in terms of visual spectacle.

925
00:48:10,280 --> 00:48:10,560
Speaker 1: Yeah.

926
00:48:10,719 --> 00:48:11,160
Speaker 3: Yeah.

927
00:48:11,360 --> 00:48:14,160
Speaker 1: Though on that note, it is worth pointing out that

928
00:48:14,760 --> 00:48:17,160
Speaker 1: many of these TV movies were apparently produced if in

929
00:48:17,239 --> 00:48:19,680
Speaker 1: this era, were produced way too fast and at a

930
00:48:19,800 --> 00:48:24,480
Speaker 1: lower budget, so they couldn't really benefit from storyboarding. But apparently,

931
00:48:24,520 --> 00:48:27,680
Speaker 1: since this was a Susan Lucci vehicle. In all, the

932
00:48:27,719 --> 00:48:31,000
Speaker 1: studio went the extra mile and they hired st board

933
00:48:31,080 --> 00:48:36,719
Speaker 1: artist Petco d Kodiev, who is apparently known to some

934
00:48:36,840 --> 00:48:39,880
Speaker 1: extent as the count behind the scenes to sketch everything

935
00:48:39,880 --> 00:48:42,560
Speaker 1: out in pre production. He'd previously worked on the nineteen

936
00:48:42,600 --> 00:48:45,560
Speaker 1: eighty three feature film Blue Thunder, which is the helicopter Movie,

937
00:48:45,840 --> 00:48:47,719
Speaker 1: and went on to work on such films as eighty

938
00:48:47,760 --> 00:48:49,640
Speaker 1: six Is King Kong Lives and eighty seven Is The

939
00:48:49,719 --> 00:48:50,239
Speaker 1: Running Man.

940
00:48:50,480 --> 00:48:53,600
Speaker 3: Oh okay, so the storyboarding may also have helped give

941
00:48:53,640 --> 00:48:56,480
Speaker 3: this movie more visual coherence than it might have had

942
00:48:56,520 --> 00:48:59,280
Speaker 3: otherwise it was just sort of a over the shoulder

943
00:48:59,320 --> 00:49:01,400
Speaker 3: point and shoot like a lot of TV movies would be.

944
00:49:01,760 --> 00:49:05,400
Speaker 1: Yeah. And then finally, the composer here is Sylvester Levy,

945
00:49:05,880 --> 00:49:08,160
Speaker 1: who lived He's still around as far as I know.

946
00:49:08,480 --> 00:49:12,240
Speaker 1: Born nineteen forty five, Hungarian composer who also scored nineteen

947
00:49:12,280 --> 00:49:17,160
Speaker 1: eighty six's Cobra, nineteen nineties Navy Seals, and various TV projects,

948
00:49:17,200 --> 00:49:18,960
Speaker 1: including the TV series Werewolf.

949
00:49:19,280 --> 00:49:23,480
Speaker 3: Is this brother of Anton no No, but.

950
00:49:23,680 --> 00:49:27,120
Speaker 1: He's also partially responsible for the Elton John song Victim

951
00:49:27,160 --> 00:49:29,360
Speaker 1: of Love from nineteen seventy nine. One of the writers

952
00:49:29,360 --> 00:49:32,120
Speaker 1: on that and he won a Grammy in nineteen seventy

953
00:49:32,160 --> 00:49:35,319
Speaker 1: five for the song Fly Robin Fly, performed by the

954
00:49:35,360 --> 00:49:39,600
Speaker 1: German disco group Silver Convention, a group that he helped

955
00:49:39,600 --> 00:49:40,080
Speaker 1: put together.

956
00:49:40,400 --> 00:49:42,480
Speaker 3: Rob I thought you might like the score on this movie.

957
00:49:42,480 --> 00:49:45,839
Speaker 3: It's very synth heavy, and it has it's Moody's. Those

958
00:49:45,840 --> 00:49:49,520
Speaker 3: are things I think that attract you to a film score. Yeah, yeah,

959
00:49:49,600 --> 00:49:51,440
Speaker 3: I like it. Yeah, yeah, I liked it too. A

960
00:49:51,480 --> 00:49:54,920
Speaker 3: lot of parts reminded me actually of the synth themes

961
00:49:54,960 --> 00:49:55,759
Speaker 3: in The Terminator.

962
00:49:56,560 --> 00:49:59,080
Speaker 1: Yeah, yeah, that's a good point. And yeah, I thought

963
00:49:59,120 --> 00:50:01,680
Speaker 1: it worked well for the p because especially we get

964
00:50:02,080 --> 00:50:04,560
Speaker 1: a pretty rocking opening scene, but then we get a

965
00:50:04,560 --> 00:50:08,400
Speaker 1: lot of scenes in which it's like a family getting

966
00:50:08,440 --> 00:50:11,920
Speaker 1: situated in this nice looking neighborhood, this nice little slice

967
00:50:11,920 --> 00:50:15,120
Speaker 1: of the American corporate dream, and yet the music is

968
00:50:15,160 --> 00:50:17,359
Speaker 1: here to remind us that things are maybe not what

969
00:50:17,400 --> 00:50:26,319
Speaker 1: they seem.

970
00:50:26,480 --> 00:50:28,719
Speaker 3: All Right, you want to talk about the plot, let's

971
00:50:28,760 --> 00:50:32,640
Speaker 3: jump into it. So if you don't decide to watch

972
00:50:32,840 --> 00:50:36,120
Speaker 3: Invitation to Hell in full, let me at least convince

973
00:50:36,120 --> 00:50:39,280
Speaker 3: you to watch the first ninety seconds or so. Yeah,

974
00:50:39,360 --> 00:50:42,640
Speaker 3: it has a strong, cold opening, pulling you in. After

975
00:50:43,120 --> 00:50:44,640
Speaker 3: do you know what aired right before this.

976
00:50:45,200 --> 00:50:47,200
Speaker 1: I was trying to find out that I couldn't get

977
00:50:47,200 --> 00:50:49,120
Speaker 1: a firm answer, So I'm thinking maybe it was just

978
00:50:49,320 --> 00:50:52,479
Speaker 1: like your regional nightly Neves or maybe the national nightly news,

979
00:50:52,719 --> 00:50:54,719
Speaker 1: because it would have been seven to I mean, it

980
00:50:54,719 --> 00:50:59,120
Speaker 1: would have been eight to ten Eastern, So I'm guessing, yeah,

981
00:50:59,120 --> 00:51:00,840
Speaker 1: you would have just been after that news. Watch the

982
00:51:00,880 --> 00:51:04,360
Speaker 1: movie and then watch twenty twenty.

983
00:51:03,840 --> 00:51:06,480
Speaker 3: Right, so it's fighting the Frizzies at eleven and then

984
00:51:06,800 --> 00:51:10,840
Speaker 3: cuts to this. So we open the We open on

985
00:51:10,880 --> 00:51:13,680
Speaker 3: the exterior of a country club. It is a bright

986
00:51:13,800 --> 00:51:18,040
Speaker 3: sunny day. Birds are singing, rich people doing fancy country

987
00:51:18,040 --> 00:51:20,680
Speaker 3: club stuff. You see golf carts zipping around. There are

988
00:51:20,680 --> 00:51:23,600
Speaker 3: a couple of ladies walking through the valet a lot

989
00:51:23,680 --> 00:51:26,440
Speaker 3: carrying tennis rackets with covers on them. This actually got

990
00:51:26,440 --> 00:51:30,759
Speaker 3: me wondering why did tennis rackets ever need covers. I

991
00:51:30,840 --> 00:51:33,680
Speaker 3: never had a cover for any tennis racket I ever had,

992
00:51:33,680 --> 00:51:35,000
Speaker 3: But like, what does the cover do?

993
00:51:36,040 --> 00:51:37,960
Speaker 1: I don't know. I guess if it's if it's nice,

994
00:51:38,120 --> 00:51:39,440
Speaker 1: you need to put a cover on it.

995
00:51:40,840 --> 00:51:45,879
Speaker 3: The music selection here is eerie synthesizer chords with reverb heartbeats,

996
00:51:46,680 --> 00:51:49,959
Speaker 3: and we pan over and see some of the people

997
00:51:50,040 --> 00:51:52,160
Speaker 3: coming to the club. There's like a guy leaning against

998
00:51:52,160 --> 00:51:55,520
Speaker 3: a no parking sign and a polo shirt with what

999
00:51:55,560 --> 00:51:56,960
Speaker 3: do you call it when you got a sweatshirt with

1000
00:51:56,960 --> 00:51:59,520
Speaker 3: the arms tied around your neck. It's a real yacht

1001
00:51:59,560 --> 00:52:03,360
Speaker 3: club look, yeah. Yeah. And then in the background we

1002
00:52:03,440 --> 00:52:06,800
Speaker 3: see a green golf course and beyond that typical arid

1003
00:52:06,880 --> 00:52:10,520
Speaker 3: mountains that you would see in coastal southern California. So

1004
00:52:10,800 --> 00:52:15,000
Speaker 3: a station wagon with some really sick wood paneling hauls

1005
00:52:15,040 --> 00:52:17,560
Speaker 3: up to the gate and we see a sign telling

1006
00:52:17,640 --> 00:52:21,560
Speaker 3: us where this is. It is the Steaming Springs Country Club.

1007
00:52:23,520 --> 00:52:27,880
Speaker 1: I love this. Every time they mentioned steaming Steaming Springs,

1008
00:52:28,760 --> 00:52:30,759
Speaker 1: it just made me think of like steaming polo crap

1009
00:52:30,880 --> 00:52:33,560
Speaker 1: or something I don't know, And I feel like that

1010
00:52:33,719 --> 00:52:35,520
Speaker 1: had to have been intentional on the part of the

1011
00:52:35,520 --> 00:52:37,000
Speaker 1: filmmaker's screenwriter.

1012
00:52:37,120 --> 00:52:40,279
Speaker 3: Here, there's a lot that on my first watch I

1013
00:52:40,280 --> 00:52:43,160
Speaker 3: thought maybe unintentional, and then when I came back to it,

1014
00:52:43,200 --> 00:52:45,160
Speaker 3: I was like, no, they did that on purpose.

1015
00:52:44,920 --> 00:52:46,120
Speaker 1: Yes, Springs.

1016
00:52:46,400 --> 00:52:50,239
Speaker 3: Yeah, the station wagon is being driven by a uniformed

1017
00:52:50,320 --> 00:52:54,040
Speaker 3: chauffeur with a fancy little hat. And then we finally

1018
00:52:54,080 --> 00:52:57,240
Speaker 3: get our first good look at Susan Lucci in costume

1019
00:52:57,280 --> 00:53:00,200
Speaker 3: in character. This is the character that will later be

1020
00:53:00,239 --> 00:53:03,560
Speaker 3: introduced as Jessica Jones. She's sort of the queen Wasp

1021
00:53:03,680 --> 00:53:07,560
Speaker 3: of the club and her look is amazing. It is

1022
00:53:07,640 --> 00:53:12,440
Speaker 3: a cherry red, full body outfit. I was gonna say

1023
00:53:12,520 --> 00:53:15,359
Speaker 3: pant suit, but it's not really a pant suit. It's

1024
00:53:15,440 --> 00:53:18,640
Speaker 3: like because it's not like a jacket over something. It's

1025
00:53:18,719 --> 00:53:21,680
Speaker 3: more like a shirt and pants going down to the

1026
00:53:21,719 --> 00:53:25,160
Speaker 3: ankles up to the neck, all cherry red, with long sleeves,

1027
00:53:25,560 --> 00:53:29,800
Speaker 3: some kind of silver metal half belt object at her waist,

1028
00:53:30,280 --> 00:53:33,160
Speaker 3: and big, big hair like it's all up in this

1029
00:53:33,480 --> 00:53:39,080
Speaker 3: voluminous black, curly perm. She's also wearing a white patch

1030
00:53:39,160 --> 00:53:42,040
Speaker 3: on her chest with a design that I couldn't decipher

1031
00:53:42,040 --> 00:53:44,279
Speaker 3: at first, but eventually you get a close up and

1032
00:53:44,320 --> 00:53:47,920
Speaker 3: I realized it is the Steaming Spring's logo, which is

1033
00:53:48,000 --> 00:53:52,040
Speaker 3: three wispy lines that I guess signifies steam rising, and

1034
00:53:52,040 --> 00:53:55,279
Speaker 3: then maybe Steaming Springs would be like two s's, but

1035
00:53:55,320 --> 00:53:58,400
Speaker 3: then there's another S. There there's three lines. I believe

1036
00:53:58,400 --> 00:54:02,040
Speaker 3: it is not an accident that this superficially reminds us

1037
00:54:02,160 --> 00:54:03,520
Speaker 3: of the SS insignia.

1038
00:54:04,520 --> 00:54:06,640
Speaker 1: Yeah, Yeah, like maybe they originally were just gonna have

1039
00:54:06,719 --> 00:54:08,600
Speaker 1: two of them on there, and they're like, that's a

1040
00:54:08,600 --> 00:54:10,319
Speaker 1: little too much. We should just go back and just

1041
00:54:10,360 --> 00:54:13,399
Speaker 1: have the three of these things on there. But yeah,

1042
00:54:13,400 --> 00:54:16,400
Speaker 1: this is quite a look. Huge hair, a jumpsuit that

1043
00:54:16,440 --> 00:54:18,880
Speaker 1: makes her look like she works at Gismonic's Institute instead

1044
00:54:18,880 --> 00:54:22,920
Speaker 1: of the golf club the country club. Yeah, this is

1045
00:54:22,920 --> 00:54:27,360
Speaker 1: our Luchi fur and it's striking right from the beginning.

1046
00:54:27,680 --> 00:54:30,640
Speaker 3: So Jessica Jones is walking across the driveway as the

1047
00:54:31,000 --> 00:54:35,319
Speaker 3: chauffeur of the wo Woody wagon drives up to the

1048
00:54:35,320 --> 00:54:39,879
Speaker 3: clubhouse entrance. Unfortunately, our chauffeur here gets distracted because he's

1049
00:54:39,920 --> 00:54:43,359
Speaker 3: ogling a couple of ladies in teal and purple bikinis,

1050
00:54:44,120 --> 00:54:47,160
Speaker 3: and he's on a collision course with Jessica Jones, who,

1051
00:54:47,239 --> 00:54:49,120
Speaker 3: by the way, does not even try to get out

1052
00:54:49,120 --> 00:54:51,759
Speaker 3: of the way. She just stands there staring head on

1053
00:54:51,920 --> 00:54:55,040
Speaker 3: at the car barreling toward her. The driver does a

1054
00:54:55,040 --> 00:54:59,359
Speaker 3: double take, tire screech, crash. Jessica goes under the car,

1055
00:55:00,080 --> 00:55:03,920
Speaker 3: ever stops, looks out through the rear windshield, and then

1056
00:55:04,080 --> 00:55:08,560
Speaker 3: Jessica rises up from the ground like a lever. Yes,

1057
00:55:09,400 --> 00:55:12,839
Speaker 3: totally stiff hands on hips. She just pops up into

1058
00:55:12,880 --> 00:55:13,400
Speaker 3: the window.

1059
00:55:13,840 --> 00:55:16,040
Speaker 1: Yep, yep. She totally pulls a low Pan on this

1060
00:55:16,080 --> 00:55:18,040
Speaker 1: guy or I guess you know, they trouble a little

1061
00:55:18,080 --> 00:55:21,080
Speaker 1: China low pan pulls a Jessica Jones. Though, I'm gonna

1062
00:55:21,120 --> 00:55:23,879
Speaker 1: go ahead and assume that neither Craven nor Carpenter were

1063
00:55:23,920 --> 00:55:27,800
Speaker 1: the first to pull this exact sequence this. I'm curious.

1064
00:55:27,800 --> 00:55:29,960
Speaker 1: I have no answer here, but I feel like this

1065
00:55:30,040 --> 00:55:32,360
Speaker 1: must have come from somewhere. This must have been established

1066
00:55:32,600 --> 00:55:35,520
Speaker 1: somewhere else. Otherwise it was created here. I don't know.

1067
00:55:35,719 --> 00:55:38,560
Speaker 3: Well, it's like no Sparatu again. Yeah, I get you're right. Yeah.

1068
00:55:38,560 --> 00:55:41,759
Speaker 3: So she then points a finger like I curse you.

1069
00:55:42,320 --> 00:55:46,239
Speaker 3: She just points a finger and the rear windshield shatters.

1070
00:55:46,360 --> 00:55:50,080
Speaker 3: The driver starts screaming, and then there is smoke fuming

1071
00:55:50,120 --> 00:55:53,160
Speaker 3: out of his clothes. Yeah.

1072
00:55:53,360 --> 00:55:55,880
Speaker 1: Yeah, I showed this scene to my wife because I like,

1073
00:55:55,920 --> 00:55:57,440
Speaker 1: you gotta watch you gotta watch this first in the

1074
00:55:57,440 --> 00:55:59,799
Speaker 1: first ninety seconds of this film, And she commented this

1075
00:55:59,800 --> 00:56:03,440
Speaker 1: whole sequence with Susan Lucci plays out like a demonic

1076
00:56:03,640 --> 00:56:06,240
Speaker 1: nineteen eighties hair commercial. You know, look at how confident

1077
00:56:06,280 --> 00:56:06,680
Speaker 1: she is.

1078
00:56:07,040 --> 00:56:09,960
Speaker 3: That's so right, Yeah, maybe she's born with it. Maybe

1079
00:56:09,960 --> 00:56:11,800
Speaker 3: it's a gift from the Prince of Darkness.

1080
00:56:11,920 --> 00:56:15,760
Speaker 1: Yeah, she's turning heads, she's snatching souls, she's microwaving dudes

1081
00:56:15,840 --> 00:56:16,839
Speaker 1: in their cars.

1082
00:56:16,840 --> 00:56:21,560
Speaker 3: That's right. Yeah. So the driver melts a pretty solid melt, right, yeah. Yeah.

1083
00:56:21,800 --> 00:56:23,600
Speaker 3: I mean they don't show you too much goop. It

1084
00:56:23,680 --> 00:56:26,279
Speaker 3: is made for TV, but I did a freeze frame

1085
00:56:26,320 --> 00:56:30,000
Speaker 3: here and in mid melt, he looks like Lawn Cheney

1086
00:56:30,040 --> 00:56:32,560
Speaker 3: as the Phantom of the Opera, but with huge teeth,

1087
00:56:32,920 --> 00:56:36,960
Speaker 3: hollow eyes, and sweaty wax for skin. I like this model.

1088
00:56:37,360 --> 00:56:39,120
Speaker 1: Yeah, this is yeah, this looked I thought it looked

1089
00:56:39,120 --> 00:56:42,120
Speaker 1: really good, especially again since this is like, you know what,

1090
00:56:42,280 --> 00:56:44,840
Speaker 1: eight oh five pm on a Thursday.

1091
00:56:45,000 --> 00:56:45,440
Speaker 3: This is it.

1092
00:56:46,040 --> 00:56:47,000
Speaker 1: It's hitting pretty hard.

1093
00:56:47,360 --> 00:56:49,880
Speaker 3: But I also like that they're giving you Susan Lucci

1094
00:56:49,960 --> 00:56:52,560
Speaker 3: before they give you any of the good guys. She's

1095
00:56:52,680 --> 00:56:55,239
Speaker 3: just out here at the golf course melting drivers.

1096
00:56:55,640 --> 00:56:58,839
Speaker 1: And I guess it's part of the whole vibe. Is Yeah,

1097
00:56:58,880 --> 00:57:00,719
Speaker 1: you want to get the viewer hook, right, give them

1098
00:57:00,760 --> 00:57:02,480
Speaker 1: a taste of how weird this is going to be.

1099
00:57:02,640 --> 00:57:05,840
Speaker 1: Let them see Susan Lucci. They know who Susan Lucci

1100
00:57:05,960 --> 00:57:09,200
Speaker 1: is and they'll be inclined to stick around for the

1101
00:57:09,280 --> 00:57:09,960
Speaker 1: rest of the picture.

1102
00:57:10,320 --> 00:57:13,280
Speaker 3: As you said, she microwaves him. He's good and melted,

1103
00:57:13,320 --> 00:57:15,520
Speaker 3: and then she just looks very pleased with her work

1104
00:57:15,600 --> 00:57:18,120
Speaker 3: and walks away from the car. She tosses her hair

1105
00:57:18,160 --> 00:57:21,000
Speaker 3: and walks away beaming. And I was thinking, who has

1106
00:57:21,040 --> 00:57:23,640
Speaker 3: to clean this up? Do they have staff there who

1107
00:57:23,720 --> 00:57:26,200
Speaker 3: just mop up melted chauffeurs? And also, this is a

1108
00:57:26,200 --> 00:57:28,680
Speaker 3: company car. It says Steaming Springs on the side of it.

1109
00:57:28,880 --> 00:57:31,920
Speaker 1: Yeah. Yeah, And the screenshot you included in the outline,

1110
00:57:32,000 --> 00:57:34,120
Speaker 1: you can see that this dude that she just melted

1111
00:57:34,200 --> 00:57:38,680
Speaker 1: has the silver Spring, Silver Springs, the Steaming Springs logo

1112
00:57:38,880 --> 00:57:42,360
Speaker 1: on his outfit as well. So, yeah, she just totally melted.

1113
00:57:42,400 --> 00:57:45,960
Speaker 1: And employee, did I say silver springs earlier? I know,

1114
00:57:46,080 --> 00:57:48,080
Speaker 1: I was hearing this in Stevie Nick's voice a lot.

1115
00:57:48,200 --> 00:57:49,600
Speaker 1: It will happen again.

1116
00:57:49,960 --> 00:57:56,360
Speaker 3: You can be my melted driver, let's see. Oh yeah, okay,

1117
00:57:56,400 --> 00:57:58,880
Speaker 3: So that's the cold open. After that we go on

1118
00:57:59,000 --> 00:58:02,520
Speaker 3: to meet our main family, the main characters. This is

1119
00:58:02,560 --> 00:58:05,440
Speaker 3: the Winslow family. So you got the father, Matt Winslow

1120
00:58:05,480 --> 00:58:08,880
Speaker 3: played by Robert Urick. The mother Patricia Winslow played by

1121
00:58:09,000 --> 00:58:12,920
Speaker 3: Joanna Cassidy, the daughter Chrissy played by Sleigh Moonfry, and

1122
00:58:12,960 --> 00:58:15,640
Speaker 3: the son Robbie played by Barrett Oliver. And also we

1123
00:58:15,640 --> 00:58:17,480
Speaker 3: don't see him until later, but the family has a

1124
00:58:17,600 --> 00:58:19,240
Speaker 3: very cute dog named Albert.

1125
00:58:19,600 --> 00:58:21,040
Speaker 1: Oh, yes, he'll be important later on.

1126
00:58:21,320 --> 00:58:24,240
Speaker 3: Yeah, to check in with the does the dog die crowd,

1127
00:58:25,000 --> 00:58:27,600
Speaker 3: I'll say the answer is no, but the dog is

1128
00:58:27,840 --> 00:58:32,640
Speaker 3: conceptually threatened. Yes. So the family they're on a car trip.

1129
00:58:32,680 --> 00:58:34,560
Speaker 3: When we first see them. They are cruising down the

1130
00:58:34,640 --> 00:58:38,560
Speaker 3: highway and another gorgeous American made station wagon of the

1131
00:58:38,640 --> 00:58:41,240
Speaker 3: nineteen eighties. I don't know if this one has wood panels,

1132
00:58:42,240 --> 00:58:44,720
Speaker 3: but we get the title and the credits playing and

1133
00:58:44,840 --> 00:58:48,560
Speaker 3: terminator font over aerial shots of the highway and like

1134
00:58:48,680 --> 00:58:53,360
Speaker 3: recently developed valley subdivisions in southern California, and of course

1135
00:58:53,440 --> 00:58:58,200
Speaker 3: more golf courses. And then in the car our first

1136
00:58:58,200 --> 00:59:02,240
Speaker 3: impression of the family is of the sun and we

1137
00:59:02,280 --> 00:59:04,440
Speaker 3: get the idea that he's the kind of kid who's

1138
00:59:04,480 --> 00:59:07,760
Speaker 3: really interested in getting the high score. He's into points,

1139
00:59:08,520 --> 00:59:10,760
Speaker 3: so he's like, there's a dog five points and I

1140
00:59:10,840 --> 00:59:14,160
Speaker 3: just saw two flags fifteen points, four hundred and seventy

1141
00:59:14,200 --> 00:59:16,720
Speaker 3: four hundred and eighty and he's just saying numbers. It

1142
00:59:16,760 --> 00:59:19,360
Speaker 3: reminds me of that Tim and Eric sketch where it's

1143
00:59:19,400 --> 00:59:23,720
Speaker 3: an ad and they're just saying numbers. Anyway, Chrissy is

1144
00:59:23,800 --> 00:59:27,200
Speaker 3: tired of playing Robbie's game, and she is especially annoyed

1145
00:59:27,200 --> 00:59:29,760
Speaker 3: that he counted those flags he just saw because they're

1146
00:59:29,760 --> 00:59:32,800
Speaker 3: on a golf course and golf course flags do not

1147
00:59:32,920 --> 00:59:36,240
Speaker 3: count as flags. But she also wants to quit the

1148
00:59:36,280 --> 00:59:38,720
Speaker 3: game because there are no more animals to see, just

1149
00:59:38,800 --> 00:59:43,040
Speaker 3: dumb buildings. I think that's a metaphor. So the family

1150
00:59:43,200 --> 00:59:46,240
Speaker 3: is moving from their home in the Midwest to their

1151
00:59:46,280 --> 00:59:49,960
Speaker 3: new house in southern California because Matt, who is an engineer,

1152
00:59:50,160 --> 00:59:53,720
Speaker 3: got a new job at a company called micro Digitech.

1153
00:59:54,440 --> 00:59:56,840
Speaker 3: And for a second I was like, surely they can't

1154
00:59:56,840 --> 00:59:59,440
Speaker 3: be playing on a real company, because Digitech is the

1155
00:59:59,480 --> 01:00:02,480
Speaker 3: real the name of a real brand. They're the makers of,

1156
01:00:02,840 --> 01:00:05,440
Speaker 3: like the beloved Digitech whammy pedal for guitars.

1157
01:00:05,880 --> 01:00:08,360
Speaker 1: Well, what sound is the whammy pedal responsible for?

1158
01:00:08,560 --> 01:00:11,880
Speaker 3: Well, it's like a it's like an octave shifting pedal

1159
01:00:11,960 --> 01:00:14,440
Speaker 3: or tone shifting pedal, so you can play one note

1160
01:00:14,480 --> 01:00:16,960
Speaker 3: on your guitar, and then with the whammy pedal, you

1161
01:00:16,960 --> 01:00:19,400
Speaker 3: can make it an octave below or an octave above

1162
01:00:19,560 --> 01:00:23,240
Speaker 3: that actual tone. So it's like what you hear Jack

1163
01:00:23,240 --> 01:00:25,720
Speaker 3: White playing the guitar, but it sounds like a bass guitar.

1164
01:00:25,880 --> 01:00:28,200
Speaker 3: He's making that bass guitar sound with a whammy pedal

1165
01:00:28,240 --> 01:00:31,120
Speaker 3: to kick it an octave down. Oh okay, I see,

1166
01:00:31,640 --> 01:00:33,480
Speaker 3: but I think this is just a coincidence. I mean,

1167
01:00:33,480 --> 01:00:35,400
Speaker 3: it's kind of an obvious name for a company. I

1168
01:00:35,440 --> 01:00:40,480
Speaker 3: guess that makes digital technology Digitech, but this is micro

1169
01:00:40,600 --> 01:00:43,880
Speaker 3: Digitech anyway. So the family's driving into town and Robbie,

1170
01:00:43,920 --> 01:00:46,800
Speaker 3: the son, he's a computer boy, and he's reading off

1171
01:00:46,840 --> 01:00:49,840
Speaker 3: the names of various company headquarters. He's like, oh, the

1172
01:00:49,880 --> 01:00:55,040
Speaker 3: TRX Corporation, micro Chip International. Boy, it sounds like computer heaven.

1173
01:00:55,760 --> 01:01:03,360
Speaker 3: And then Chrissy, his sister, says, computers don't go to heaven. Well,

1174
01:01:03,400 --> 01:01:06,920
Speaker 3: we'll see about that. So on the drive, Matt and

1175
01:01:06,960 --> 01:01:09,720
Speaker 3: Patricia have a conversation, making it clear that this is

1176
01:01:09,760 --> 01:01:12,479
Speaker 3: a big step up for them, this move, but one

1177
01:01:12,520 --> 01:01:16,480
Speaker 3: that Matt is a little bit uncertain about. Previously, they

1178
01:01:16,520 --> 01:01:20,160
Speaker 3: were scraping by on Matt's meager income from whatever he

1179
01:01:20,240 --> 01:01:22,440
Speaker 3: was doing before. I guess he was either an independent

1180
01:01:22,600 --> 01:01:25,040
Speaker 3: engineer and inventor, or he was like working at a

1181
01:01:25,120 --> 01:01:28,200
Speaker 3: university or something. They say this is his first time

1182
01:01:28,240 --> 01:01:31,760
Speaker 3: working for a big corporation, so it's a huge increase

1183
01:01:31,800 --> 01:01:35,760
Speaker 3: in pay and prestige, and Patricia is very excited for him,

1184
01:01:36,800 --> 01:01:38,880
Speaker 3: but he's like, I don't know, I've never worked for

1185
01:01:38,920 --> 01:01:42,240
Speaker 3: a big corporation. I'm just not sure about it. And

1186
01:01:42,320 --> 01:01:44,960
Speaker 3: the kids also seemed divided on the move. Robbie is

1187
01:01:45,200 --> 01:01:47,640
Speaker 3: very excited for a taste of the good life, but

1188
01:01:47,800 --> 01:01:50,800
Speaker 3: Chrissy says she misses the snow back home, and she

1189
01:01:50,880 --> 01:01:53,320
Speaker 3: also says she doesn't like the building that her dad

1190
01:01:53,440 --> 01:01:55,680
Speaker 3: is going to be working in. They showed this building.

1191
01:01:55,760 --> 01:01:58,920
Speaker 3: It's like a high rise office building, much taller than

1192
01:01:59,200 --> 01:02:01,439
Speaker 3: any of the other story ructures around it, with these

1193
01:02:01,560 --> 01:02:05,880
Speaker 3: mirrored windows top to bottom reflecting the sun. And Matt

1194
01:02:05,920 --> 01:02:08,760
Speaker 3: asks Chrissy why she doesn't like the building. She says,

1195
01:02:08,840 --> 01:02:10,840
Speaker 3: because you can't see the people inside.

1196
01:02:11,400 --> 01:02:12,840
Speaker 1: M Yeah, I like that moment.

1197
01:02:13,360 --> 01:02:15,320
Speaker 3: They don't play it like it's all that ponderous though.

1198
01:02:15,640 --> 01:02:17,200
Speaker 3: She just kind of says it and they move on.

1199
01:02:17,360 --> 01:02:19,560
Speaker 3: But I don't know. It was stuck and stuck in

1200
01:02:19,600 --> 01:02:20,040
Speaker 3: here for me.

1201
01:02:20,120 --> 01:02:22,720
Speaker 1: Yeah, it's a subtle effect, and in general, I love

1202
01:02:22,800 --> 01:02:24,440
Speaker 1: the banter with the family. Yeah, I felt like the

1203
01:02:24,440 --> 01:02:28,000
Speaker 1: banter felt very realistic. It felt like a realistic amount

1204
01:02:28,000 --> 01:02:30,640
Speaker 1: of squabbling between the children, but also laid out in

1205
01:02:30,680 --> 01:02:33,320
Speaker 1: a way that helped establish some of the overall themes

1206
01:02:33,760 --> 01:02:37,360
Speaker 1: and establishing like what's going on in this family's life?

1207
01:02:37,600 --> 01:02:40,680
Speaker 3: Right, So they arrived at their new home. It's a big,

1208
01:02:40,800 --> 01:02:44,760
Speaker 3: beautiful house and a beautiful subdivision. Think of the Simpsons

1209
01:02:44,800 --> 01:02:48,959
Speaker 3: episode if you've seen it, You Only Moved Twice. In fact,

1210
01:02:49,200 --> 01:02:52,320
Speaker 3: this movie as a whole has serious overlap with You

1211
01:02:52,360 --> 01:02:56,560
Speaker 3: Only Moved Twice. Yeah, it was more like a like

1212
01:02:56,560 --> 01:02:59,760
Speaker 3: an eighties West Coast version of the house on Maple

1213
01:02:59,800 --> 01:03:03,120
Speaker 3: Systems Drive, or at least that's what it's supposed to be,

1214
01:03:03,120 --> 01:03:06,120
Speaker 3: because the house is indeed huge and spacious and nice

1215
01:03:06,160 --> 01:03:09,080
Speaker 3: looking from the outside. A lot of the interior sets

1216
01:03:09,200 --> 01:03:12,280
Speaker 3: look like they were hastily built on a sound stage.

1217
01:03:12,920 --> 01:03:15,920
Speaker 3: So the kitchen is huge, but the cabinets and stuff

1218
01:03:16,040 --> 01:03:20,160
Speaker 3: kind of remind me of my college dorm room. So anyway,

1219
01:03:20,200 --> 01:03:24,280
Speaker 3: everybody's happy to move in. They're laughing exploring. Matt picks

1220
01:03:24,360 --> 01:03:27,800
Speaker 3: up Patricia and carries her over the threshold, and while

1221
01:03:27,800 --> 01:03:30,360
Speaker 3: the movers are bringing things in, Patricia and Matt they

1222
01:03:30,360 --> 01:03:32,960
Speaker 3: have a mild argument. Matt's unpacking some kind of high

1223
01:03:32,960 --> 01:03:36,880
Speaker 3: tech gizmo from a padded steel carrying case, and Patricia

1224
01:03:37,000 --> 01:03:39,200
Speaker 3: is like, hold it. She tells him that she wants

1225
01:03:39,240 --> 01:03:41,920
Speaker 3: him to take all his computer things and inventions into

1226
01:03:41,920 --> 01:03:44,080
Speaker 3: the lab at work, because she wants this to be

1227
01:03:44,160 --> 01:03:47,480
Speaker 3: a home, not a laboratory. And you never see it,

1228
01:03:47,480 --> 01:03:49,280
Speaker 3: but you get the idea that maybe their house in

1229
01:03:49,320 --> 01:03:51,920
Speaker 3: the Midwest was kind of like Doctor Forrester's burrow in

1230
01:03:52,000 --> 01:03:54,000
Speaker 3: Deep thirteen. Yeah.

1231
01:03:54,120 --> 01:03:57,800
Speaker 1: Yeah, And I think it's important to note that Patty's

1232
01:03:58,280 --> 01:04:02,160
Speaker 1: Patty's not being unreasonable here, like and he also, you know,

1233
01:04:02,480 --> 01:04:05,400
Speaker 1: sees the logic and what she's saying and quickly agrees.

1234
01:04:05,480 --> 01:04:07,800
Speaker 1: He's like, yeah, I'll put this in the garage. You know.

1235
01:04:07,880 --> 01:04:10,920
Speaker 1: She's like, this is a chance for us to live

1236
01:04:10,960 --> 01:04:15,040
Speaker 1: a little differently. And at this point in the film,

1237
01:04:15,440 --> 01:04:17,600
Speaker 1: it doesn't feel like that ambition is getting out of

1238
01:04:17,640 --> 01:04:18,240
Speaker 1: control at all.

1239
01:04:18,280 --> 01:04:21,160
Speaker 3: It seems reasonable totally. You do not get the idea

1240
01:04:21,160 --> 01:04:24,240
Speaker 3: at all in the beginning that there's anything wrong with

1241
01:04:24,280 --> 01:04:28,520
Speaker 3: what Patricia wants Yeah, that comes in more with like

1242
01:04:28,560 --> 01:04:33,400
Speaker 3: the influence of the Queen Wasp at the club and stuff. Also,

1243
01:04:33,440 --> 01:04:36,360
Speaker 3: there's a very funny scene with Robbie the son antagonizing

1244
01:04:36,400 --> 01:04:40,840
Speaker 3: the moving men. He's on this computer in his new room,

1245
01:04:40,920 --> 01:04:43,080
Speaker 3: and the moving man's like, what you got on their games?

1246
01:04:43,120 --> 01:04:45,880
Speaker 3: And he's like, no, I have a computerized inventory of

1247
01:04:45,920 --> 01:04:48,120
Speaker 3: all my things, so I'll know if you lose any

1248
01:04:48,240 --> 01:04:52,080
Speaker 3: of it. And indeed, his computer starts flashing and reveals

1249
01:04:52,120 --> 01:04:54,920
Speaker 3: that he is missing a candy bar. You must have

1250
01:04:55,000 --> 01:04:58,680
Speaker 3: inventoried that. And then we see the mover like surreptitiously

1251
01:04:58,720 --> 01:05:00,200
Speaker 3: put a candy bar, like pull it out out of

1252
01:05:00,200 --> 01:05:02,960
Speaker 3: his pocket and put it on the kid's bed. But like,

1253
01:05:03,600 --> 01:05:06,440
Speaker 3: how would the computer know the candy bar was missing

1254
01:05:06,600 --> 01:05:10,360
Speaker 3: unless it had been inventoried in by a human. This

1255
01:05:10,520 --> 01:05:12,560
Speaker 3: is just a good prelude to the way the movie

1256
01:05:12,800 --> 01:05:17,280
Speaker 3: generally treats computers, which is that they are omniscient. They

1257
01:05:17,280 --> 01:05:20,360
Speaker 3: are somehow fully aware of their physical surroundings.

1258
01:05:20,480 --> 01:05:23,840
Speaker 1: Yeah, it's a great example of late seventies early eighties

1259
01:05:24,080 --> 01:05:27,240
Speaker 1: computers and films. In a way, this matches up very

1260
01:05:27,240 --> 01:05:32,240
Speaker 1: closely with what Mother does in Alien. Of course, Alien

1261
01:05:32,320 --> 01:05:35,560
Speaker 1: takes place in the future. It is a at least

1262
01:05:35,560 --> 01:05:38,000
Speaker 1: by our own from our own vantage point, a retro

1263
01:05:38,040 --> 01:05:41,320
Speaker 1: futuristic view of computer technology. But also in films like that,

1264
01:05:41,360 --> 01:05:43,280
Speaker 1: it's just this is just what computers do, right. You

1265
01:05:43,360 --> 01:05:47,280
Speaker 1: just talk to him conversationally, kind of like what we're

1266
01:05:47,280 --> 01:05:52,000
Speaker 1: doing now with these different chatbots, but at the time,

1267
01:05:52,160 --> 01:05:56,040
Speaker 1: you know, completely beyond what they were capable of doing totally.

1268
01:05:56,080 --> 01:05:59,600
Speaker 3: There's a scene where Matt later just goes starts typing

1269
01:05:59,600 --> 01:06:02,600
Speaker 3: in been ended questions on like a doss prompt and

1270
01:06:02,960 --> 01:06:05,720
Speaker 3: like it's like he's using chat GPT, but it's the

1271
01:06:05,800 --> 01:06:18,439
Speaker 3: green letters on the black screen. Yeah. So later that night,

1272
01:06:18,720 --> 01:06:22,720
Speaker 3: the Winslows get a visit from some family friends who

1273
01:06:22,760 --> 01:06:26,920
Speaker 3: already live here and already work for this corporation. This

1274
01:06:27,000 --> 01:06:30,720
Speaker 3: is Mary and Tom Peterson and their kids, old family friends.

1275
01:06:31,840 --> 01:06:33,880
Speaker 3: We already talked about this, I think. But Tom is

1276
01:06:33,920 --> 01:06:35,960
Speaker 3: the guy who already took a job at this company,

1277
01:06:36,000 --> 01:06:39,880
Speaker 3: and he invited Matt to come join him. And first

1278
01:06:39,880 --> 01:06:42,320
Speaker 3: there's kind of a jump scare where they're hearing rattling

1279
01:06:42,320 --> 01:06:47,720
Speaker 3: outside the windows, and Robbie the Sun is like it's zombies. Definitely,

1280
01:06:47,960 --> 01:06:52,720
Speaker 3: they do stuff like that, but they go you know,

1281
01:06:52,760 --> 01:06:54,960
Speaker 3: we get a boot scare, and then the friends come in. Oh,

1282
01:06:55,000 --> 01:06:56,880
Speaker 3: it's actually just our friends. They brought a bucket of

1283
01:06:56,960 --> 01:06:57,640
Speaker 3: chicken with them.

1284
01:06:58,240 --> 01:06:59,760
Speaker 1: What time is it supposed to be that.

1285
01:07:00,120 --> 01:07:03,400
Speaker 3: It looks like late late at night? Is pitch black outside?

1286
01:07:03,440 --> 01:07:05,960
Speaker 3: Did they show up with a bucket of KFC? And

1287
01:07:06,000 --> 01:07:08,800
Speaker 3: then the kids just each reach in and grab a

1288
01:07:08,840 --> 01:07:12,240
Speaker 3: fried chicken piece and run away. I mean, I remember

1289
01:07:12,280 --> 01:07:13,360
Speaker 3: no plates here.

1290
01:07:15,000 --> 01:07:18,120
Speaker 1: I mean, I can I remember these buckets of chicken

1291
01:07:18,160 --> 01:07:20,800
Speaker 1: well from my own childhood. I can only imagine in

1292
01:07:20,840 --> 01:07:24,160
Speaker 1: this case has some cold chicken in there, not that

1293
01:07:24,240 --> 01:07:28,120
Speaker 1: it matters. In fact, I feel like KFC buckets were

1294
01:07:28,200 --> 01:07:32,640
Speaker 1: consumed like at least half the time, like just completely

1295
01:07:32,680 --> 01:07:35,000
Speaker 1: room temperature, if not like fridge temperature.

1296
01:07:35,160 --> 01:07:38,440
Speaker 3: Yeah. So the kids run off and play, and the

1297
01:07:38,440 --> 01:07:41,800
Speaker 3: adults gather around a piano. When Patricia starts playing music.

1298
01:07:41,840 --> 01:07:43,680
Speaker 3: She's playing when the Saints go marching in, I think

1299
01:07:43,680 --> 01:07:46,400
Speaker 3: they're trying to do a sing along. There were comments

1300
01:07:46,440 --> 01:07:49,880
Speaker 3: earlier about her once being a struggling music major, and

1301
01:07:49,920 --> 01:07:52,280
Speaker 3: in this scene you really get some of the class

1302
01:07:52,480 --> 01:07:56,800
Speaker 3: anxiety themes coming out. Tom and Mary both make kind

1303
01:07:56,800 --> 01:08:00,240
Speaker 3: of awkward comments. Mary is like, oh yeah, remember when

1304
01:08:00,240 --> 01:08:02,280
Speaker 3: we used to do this in the dorm room, gathered

1305
01:08:02,280 --> 01:08:05,440
Speaker 3: around that horrible, old, upright piano. But then they're like, oh,

1306
01:08:05,560 --> 01:08:09,120
Speaker 3: is this still the same piano you have? And Tom says,

1307
01:08:09,120 --> 01:08:11,960
Speaker 3: no worries. The days of out of tune pianos and

1308
01:08:12,000 --> 01:08:14,720
Speaker 3: beat up old furniture they're all behind you. Now you're

1309
01:08:14,760 --> 01:08:17,679
Speaker 3: in the big leagues. And Tom tries to make them

1310
01:08:17,720 --> 01:08:20,680
Speaker 3: toast to success, and once again it's like that that

1311
01:08:20,800 --> 01:08:22,599
Speaker 3: hammer horror toast to satan.

1312
01:08:24,040 --> 01:08:27,240
Speaker 1: Yeah, the piano here made me think of the of

1313
01:08:27,560 --> 01:08:31,040
Speaker 1: the TV show The Unbreakable Kimmy Schmid. At one point

1314
01:08:31,080 --> 01:08:33,240
Speaker 1: they pick up a stand up piano that is like

1315
01:08:33,360 --> 01:08:37,040
Speaker 1: left on the curb that has the word bed bugs

1316
01:08:37,040 --> 01:08:39,280
Speaker 1: spray painted on it, and they end up bringing it

1317
01:08:39,320 --> 01:08:41,679
Speaker 1: into the apartment. So I can only imagine a similar

1318
01:08:41,720 --> 01:08:42,479
Speaker 1: situation here.

1319
01:08:43,680 --> 01:08:46,800
Speaker 3: Sure, you just don't sleep on the piano, you'll be fine.

1320
01:08:48,320 --> 01:08:51,880
Speaker 3: So later there's a scene where Matt is tucking the

1321
01:08:51,960 --> 01:08:55,120
Speaker 3: kids into bed and Robbie is up in his bed

1322
01:08:55,160 --> 01:08:57,720
Speaker 3: playing a handheld kind of beat boop game where he's

1323
01:08:57,720 --> 01:09:00,920
Speaker 3: blasting spaceships to save the galaxy, and he says, you know,

1324
01:09:00,920 --> 01:09:03,080
Speaker 3: how come I can save the whole Galaxy, But I

1325
01:09:03,120 --> 01:09:06,599
Speaker 3: can't go to the Halloween party. What Halloween party? It's

1326
01:09:06,640 --> 01:09:08,880
Speaker 3: the one Tom and Mary's kids are going to. It's

1327
01:09:08,920 --> 01:09:13,240
Speaker 3: at the club and it's for members only. Don't you

1328
01:09:13,280 --> 01:09:14,560
Speaker 3: want to fit in? Matt?

1329
01:09:15,600 --> 01:09:19,799
Speaker 1: I kept wondering about this handheld device that Robbie's playing

1330
01:09:19,880 --> 01:09:22,799
Speaker 1: on here. Is this supposed to be an actual device

1331
01:09:23,000 --> 01:09:26,120
Speaker 1: or is this Can we never see the screen? I

1332
01:09:26,200 --> 01:09:29,640
Speaker 1: never saw the screen clearly, so I'm wondering if this

1333
01:09:29,720 --> 01:09:31,920
Speaker 1: is this tabil that he's playing on, which, you know,

1334
01:09:31,960 --> 01:09:34,080
Speaker 1: we looks just like some sort of an iPad or

1335
01:09:34,120 --> 01:09:36,439
Speaker 1: something here today, if this was actually some sort of

1336
01:09:36,479 --> 01:09:40,280
Speaker 1: video gaming device of the time, or they're just getting

1337
01:09:40,280 --> 01:09:41,360
Speaker 1: a little futuristic here.

1338
01:09:41,560 --> 01:09:45,559
Speaker 3: Yeah, what were handheld gaming devices like in nineteen eighty four?

1339
01:09:45,800 --> 01:09:49,400
Speaker 3: That seems I don't think there was a game boy yet?

1340
01:09:49,600 --> 01:09:49,880
Speaker 3: Was there?

1341
01:09:50,000 --> 01:09:52,320
Speaker 1: No? No, And by the early nineties he still had

1342
01:09:52,360 --> 01:09:55,400
Speaker 1: some very like I don't know, he's a crude little

1343
01:09:55,479 --> 01:09:58,760
Speaker 1: video game. I'm not even sure. I forget the terminology

1344
01:09:58,800 --> 01:10:00,760
Speaker 1: for them, but they were barely video games. You know,

1345
01:10:00,760 --> 01:10:03,000
Speaker 1: you're moving a few pixels around. They were not on

1346
01:10:03,000 --> 01:10:04,679
Speaker 1: the level of like a game boy or anything.

1347
01:10:04,760 --> 01:10:09,519
Speaker 3: They're more like a digital watch where you press buttons. Yeah, okay,

1348
01:10:09,600 --> 01:10:13,280
Speaker 3: Well anyway, so that's what he's playing. He's you know, blasting.

1349
01:10:13,400 --> 01:10:15,800
Speaker 3: I think they call it Astrobomber is the name of

1350
01:10:15,840 --> 01:10:18,720
Speaker 3: the game. But so the next day we're going to

1351
01:10:18,760 --> 01:10:22,559
Speaker 3: get some work stuff. We get carpooling to Matt's new

1352
01:10:22,640 --> 01:10:25,559
Speaker 3: job where he's riding to work with Tom. When he

1353
01:10:25,600 --> 01:10:29,040
Speaker 3: gets into Tom's car, Tom basically has Clarence Bodiker in

1354
01:10:29,080 --> 01:10:32,479
Speaker 3: the back seat. It's his boss. It's this character named

1355
01:10:33,120 --> 01:10:37,720
Speaker 3: Larry Ferris, and Tom is embarrassed that he has to

1356
01:10:37,720 --> 01:10:39,960
Speaker 3: give his boss a ride to work in his car,

1357
01:10:40,000 --> 01:10:42,880
Speaker 3: which he calls a junker. But I'm going to say

1358
01:10:42,960 --> 01:10:46,519
Speaker 3: I cannot tell the difference between the supposedly good cars

1359
01:10:46,600 --> 01:10:49,400
Speaker 3: and the allegedly bad cars in this movie. They all

1360
01:10:49,439 --> 01:10:52,240
Speaker 3: just look the same. They look like huge American made

1361
01:10:52,240 --> 01:10:54,360
Speaker 3: sedans from the eighties. Yeah.

1362
01:10:54,520 --> 01:10:57,960
Speaker 1: Yeah, I mean I have similar problems today figuring out

1363
01:10:57,960 --> 01:11:01,000
Speaker 1: what is a nice cars what's not. But I do

1364
01:11:01,040 --> 01:11:03,160
Speaker 1: want to point out like this was definitely I'm so

1365
01:11:03,280 --> 01:11:06,280
Speaker 1: used to watching a weird house film, and as certainly

1366
01:11:06,320 --> 01:11:09,760
Speaker 1: if there's some sort of evil corporation going on. When

1367
01:11:09,960 --> 01:11:12,439
Speaker 1: the boss is introduced, I take note I'm like, Okay,

1368
01:11:12,479 --> 01:11:13,960
Speaker 1: I need to look this guy up, see what this

1369
01:11:14,040 --> 01:11:17,519
Speaker 1: actor is. But it really doesn't matter. With Larry Ferris.

1370
01:11:18,280 --> 01:11:20,120
Speaker 1: They really don't come back around to him.

1371
01:11:20,360 --> 01:11:22,800
Speaker 3: Not much. I mean later at the Halloween party he

1372
01:11:22,880 --> 01:11:26,599
Speaker 3: shows up in a very tasteless costume, but.

1373
01:11:26,520 --> 01:11:28,800
Speaker 1: That's about it. Like otherwise, Yeah, he's not much of

1374
01:11:28,840 --> 01:11:29,320
Speaker 1: a character.

1375
01:11:30,439 --> 01:11:33,840
Speaker 3: But we do find out that Larry is Tom's sponsor

1376
01:11:34,040 --> 01:11:38,040
Speaker 3: at the club. So at the office we meet, first

1377
01:11:38,080 --> 01:11:41,519
Speaker 3: of all Matt's secretary, Grace, who is the first time

1378
01:11:41,520 --> 01:11:44,240
Speaker 3: we meet her. She's sneaking around with some secret binders,

1379
01:11:44,320 --> 01:11:47,360
Speaker 3: hiding things in drawers and stuff. But we also meet

1380
01:11:47,400 --> 01:11:51,920
Speaker 3: Matt's project, which is the EVA Suit for the Astronauts

1381
01:11:52,040 --> 01:11:54,839
Speaker 3: of the Future, and this is why Matt was hired

1382
01:11:55,280 --> 01:12:01,000
Speaker 3: to design computer components for this suit that Tom explains

1383
01:12:01,120 --> 01:12:04,920
Speaker 3: astronauts are going to wear for an upcoming manned mission

1384
01:12:05,000 --> 01:12:08,840
Speaker 3: to the surface of Venus. Hilarious concept.

1385
01:12:09,240 --> 01:12:11,760
Speaker 1: And at this point I have to also know the

1386
01:12:11,800 --> 01:12:15,320
Speaker 1: suit is hanging from the ceiling, almost as if it

1387
01:12:15,360 --> 01:12:18,680
Speaker 1: is an object of worship. Yeah, and I feel like

1388
01:12:18,760 --> 01:12:21,320
Speaker 1: at this point, if you weren't already hooked in and

1389
01:12:21,400 --> 01:12:24,559
Speaker 1: strapped in for this movie, you strap in at this

1390
01:12:24,600 --> 01:12:28,360
Speaker 1: point because Okay, we started with the Lucci for blat

1391
01:12:28,400 --> 01:12:31,680
Speaker 1: melting dudes and cars, and now we have introduced a

1392
01:12:31,800 --> 01:12:35,400
Speaker 1: clearly important spacesuit and we're about to get more rad

1393
01:12:35,400 --> 01:12:38,880
Speaker 1: details about it. Like already this movie's going a little

1394
01:12:38,920 --> 01:12:39,800
Speaker 1: bonkers on us.

1395
01:12:39,880 --> 01:12:42,960
Speaker 3: Yeah, but to be clear, like for a mission that

1396
01:12:43,040 --> 01:12:46,559
Speaker 3: will never happen, there is no reason to take human

1397
01:12:46,640 --> 01:12:49,120
Speaker 3: cru to the surface of Venus, and that that is

1398
01:12:49,160 --> 01:12:50,080
Speaker 3: not really doable.

1399
01:12:50,320 --> 01:12:54,440
Speaker 1: Well, we don't know in this reality. Perhaps there's something

1400
01:12:54,479 --> 01:12:57,240
Speaker 1: else that has occurred. I don't know, we can dream

1401
01:12:57,280 --> 01:12:57,800
Speaker 1: about it.

1402
01:12:58,680 --> 01:13:02,320
Speaker 3: The other thing that's funny is so Tom, he explained.

1403
01:13:02,400 --> 01:13:04,920
Speaker 3: Tom is in the marketing department. He's going to be

1404
01:13:05,000 --> 01:13:08,360
Speaker 3: responsible for selling this suit. And I was thinking, is

1405
01:13:08,360 --> 01:13:11,840
Speaker 3: there a marketing department for technology that you're only gonna

1406
01:13:12,000 --> 01:13:15,160
Speaker 3: ever make a handful of for a single buyer, Like,

1407
01:13:15,520 --> 01:13:18,760
Speaker 3: wouldn't it instead be you would make a bid and

1408
01:13:18,800 --> 01:13:21,760
Speaker 3: get a government contract to make a select number of them.

1409
01:13:21,800 --> 01:13:24,520
Speaker 3: Here it seems like they're kind of making this spacesuit

1410
01:13:24,600 --> 01:13:27,479
Speaker 3: on spec and the marketing department will have to sell

1411
01:13:27,520 --> 01:13:32,000
Speaker 3: it to NASA. Yeah, so anyway, Yeah, let's take a

1412
01:13:32,040 --> 01:13:35,240
Speaker 3: look at the suit whatter it's features. Well, we learned

1413
01:13:35,240 --> 01:13:38,000
Speaker 3: that it can withstand heat up to a bazillion degree

1414
01:13:38,080 --> 01:13:40,720
Speaker 3: is they demonstrate by blasting it with a flamethrower and

1415
01:13:40,720 --> 01:13:46,200
Speaker 3: there's no damage. It is armed with a laser pistol

1416
01:13:46,479 --> 01:13:49,320
Speaker 3: that shoots out of the like shoots out on a

1417
01:13:49,360 --> 01:13:52,880
Speaker 3: slide mechanism from the wrist like Travis Bickle's gun and

1418
01:13:53,000 --> 01:13:57,000
Speaker 3: taxi driver it like, is this concealed shootout into the

1419
01:13:57,040 --> 01:13:59,760
Speaker 3: hand a laser pistol? What is this for?

1420
01:14:00,520 --> 01:14:06,480
Speaker 1: I mean, one can guess blasting Venusians, blasting rival astronauts.

1421
01:14:08,439 --> 01:14:12,759
Speaker 1: Maybe it's really more of a utility laser and they're

1422
01:14:12,800 --> 01:14:14,880
Speaker 1: just firing it off. But then why would you need

1423
01:14:14,920 --> 01:14:16,920
Speaker 1: a quick draw on it? I don't know, in a

1424
01:14:17,000 --> 01:14:20,240
Speaker 1: dangerous environment on Venus or in orbit above Venus or

1425
01:14:20,240 --> 01:14:23,680
Speaker 1: in the clouds above Venus. But either way, I do

1426
01:14:23,800 --> 01:14:25,760
Speaker 1: love this thing. And you can already tell this is

1427
01:14:25,760 --> 01:14:26,599
Speaker 1: going to be important.

1428
01:14:26,800 --> 01:14:30,400
Speaker 3: Yes, it's also armed with a flamethrower of its own.

1429
01:14:30,479 --> 01:14:32,519
Speaker 3: We just saw it getting blasted with one, but it

1430
01:14:32,560 --> 01:14:34,719
Speaker 3: has one that comes out of the arm. This also

1431
01:14:34,760 --> 01:14:39,400
Speaker 3: will clearly be very useful on Venus. And then I

1432
01:14:39,400 --> 01:14:43,360
Speaker 3: think this is Matt's main contribution. It's got a computerized

1433
01:14:43,560 --> 01:14:46,960
Speaker 3: visor that is going to tell you the temperature of

1434
01:14:47,000 --> 01:14:50,439
Speaker 3: whatever you're looking at, and then also whether the thing

1435
01:14:50,520 --> 01:14:54,439
Speaker 3: you're looking at is human or non human, terrestrial or

1436
01:14:54,479 --> 01:14:59,240
Speaker 3: non terrestrial, and malignant or benign. How does it know

1437
01:14:59,280 --> 01:15:02,160
Speaker 3: those things? Never explained at this point.

1438
01:15:02,200 --> 01:15:05,040
Speaker 1: I feel like maybe we do want just a little

1439
01:15:05,080 --> 01:15:07,960
Speaker 1: additional hint that I guess there are aliens on Venus

1440
01:15:08,000 --> 01:15:12,519
Speaker 1: and we don't know how they feel about humans, and

1441
01:15:12,600 --> 01:15:15,439
Speaker 1: maybe they're difficult to tell from humans. That's the only

1442
01:15:15,479 --> 01:15:16,800
Speaker 1: way this technology makes sense.

1443
01:15:16,880 --> 01:15:18,920
Speaker 3: Oh, I didn't even think about that. Yeah, this would

1444
01:15:18,960 --> 01:15:21,400
Speaker 3: only be necessary if the thing you were looking at

1445
01:15:21,479 --> 01:15:25,320
Speaker 3: is indistinguishable from human anyway. Yeah, because if they just

1446
01:15:25,479 --> 01:15:28,439
Speaker 3: encounter a being on Venus and it's coming toward them,

1447
01:15:28,479 --> 01:15:31,120
Speaker 3: would they be like, is this from Earth? I don't know.

1448
01:15:32,160 --> 01:15:35,160
Speaker 1: I want to stress again that this script was apparently

1449
01:15:35,600 --> 01:15:38,880
Speaker 1: written for Susan Lucci, so one can imagine like this

1450
01:15:39,000 --> 01:15:42,360
Speaker 1: script was plopped on her agent's desk and then on

1451
01:15:42,400 --> 01:15:45,320
Speaker 1: her desk, and she looked through it and she was like, yes,

1452
01:15:45,520 --> 01:15:46,240
Speaker 1: let's do this.

1453
01:15:46,520 --> 01:15:50,960
Speaker 3: Give me that, give me more of that. So back home,

1454
01:15:51,120 --> 01:15:55,759
Speaker 3: there is a conflict about furniture. Patricia wants new stuff

1455
01:15:55,800 --> 01:15:59,640
Speaker 3: befitting of their upgraded social status. At first, Matt kind

1456
01:15:59,640 --> 01:16:02,680
Speaker 3: of scott this, but then like some boys from the

1457
01:16:02,720 --> 01:16:07,000
Speaker 3: neighborhood come by to play Astrobomber the video game. And

1458
01:16:07,040 --> 01:16:10,519
Speaker 3: this includes not just the not just Tom and Mary's kid,

1459
01:16:10,560 --> 01:16:13,760
Speaker 3: but the kid of Larry Ferris, the Clarence Bodiker guy,

1460
01:16:13,840 --> 01:16:18,639
Speaker 3: the Boss, and Billy Ferris. The kid. He first of all,

1461
01:16:18,680 --> 01:16:21,040
Speaker 3: he is a poor sport. He gets mad and smashes

1462
01:16:21,120 --> 01:16:23,960
Speaker 3: Robbie's game when he loses. And also when he walks

1463
01:16:23,960 --> 01:16:26,960
Speaker 3: into the house, he insults the Winslow's furniture. He's like,

1464
01:16:27,040 --> 01:16:30,280
Speaker 3: why do you all have such old furniture? But like,

1465
01:16:30,320 --> 01:16:32,640
Speaker 3: have you ever heard a kid? I'll say something. I

1466
01:16:32,640 --> 01:16:37,440
Speaker 3: don't know if they observe that anyway, So the Winslow's

1467
01:16:37,479 --> 01:16:40,559
Speaker 3: all head out to the furniture store. That's the last

1468
01:16:40,560 --> 01:16:43,000
Speaker 3: straw we got to get new furniture. On the way,

1469
01:16:43,080 --> 01:16:45,879
Speaker 3: they nearly get run off the road by a chauffeured

1470
01:16:45,960 --> 01:16:49,639
Speaker 3: car that is like doing a doing tokyo, drifting into

1471
01:16:49,800 --> 01:16:53,920
Speaker 3: the club of the Steaming Springs entrance, and Matt is

1472
01:16:54,240 --> 01:16:56,040
Speaker 3: he gets out. He's very angry. He gets out of

1473
01:16:56,080 --> 01:16:58,800
Speaker 3: the car to trade insurance info, but the passenger of

1474
01:16:58,840 --> 01:17:02,200
Speaker 3: this car gets out and it is Jessica Jones played

1475
01:17:02,240 --> 01:17:06,680
Speaker 3: by Susan Lucci. She introduces herself as the club's directors.

1476
01:17:06,840 --> 01:17:08,880
Speaker 3: She's like, I know all about you. She knows all

1477
01:17:08,920 --> 01:17:11,800
Speaker 3: of the family names and everything. She says, no need

1478
01:17:11,840 --> 01:17:14,960
Speaker 3: to trade insurance info. Allow me to have my goons

1479
01:17:14,960 --> 01:17:17,599
Speaker 3: intimidate you instead. So she just gets back in the car,

1480
01:17:17,680 --> 01:17:19,920
Speaker 3: and here we get this. Who's the actor of the

1481
01:17:19,920 --> 01:17:23,200
Speaker 3: sheriff worth Yeah, yeah, the sheriff guy. He says, here,

1482
01:17:23,280 --> 01:17:26,000
Speaker 3: we're a small, tight knit community. We do things a

1483
01:17:26,040 --> 01:17:29,479
Speaker 3: little differently, and I think that includes like not trading

1484
01:17:29,479 --> 01:17:32,559
Speaker 3: insurance info when it's this car. Maybe she's just going

1485
01:17:32,640 --> 01:17:38,240
Speaker 3: to send you some suspect of gifts instead. So next

1486
01:17:38,680 --> 01:17:41,439
Speaker 3: we see an initiation at the club. So we see

1487
01:17:41,479 --> 01:17:46,680
Speaker 3: Tom and Mary's family undergoing their final initiation into Steaming Springs,

1488
01:17:47,320 --> 01:17:50,920
Speaker 3: and we have the honorable Jessica Jones presiding. So the family,

1489
01:17:51,080 --> 01:17:55,120
Speaker 3: they're all standing there in these terry cloth robes in

1490
01:17:55,160 --> 01:17:58,080
Speaker 3: front of this door that is like, you know, has

1491
01:17:58,320 --> 01:18:01,080
Speaker 3: steam pouring out of it in White Life, and Jessica

1492
01:18:01,160 --> 01:18:04,360
Speaker 3: Jones says, you are now accepted into the inner circle,

1493
01:18:04,680 --> 01:18:08,080
Speaker 3: and by the symbolic entrance into our ancient spring, you

1494
01:18:08,200 --> 01:18:13,240
Speaker 3: forever forsake the mundane world and merge yourself into the protective,

1495
01:18:13,439 --> 01:18:17,960
Speaker 3: exclusive shield of the club. And so they're standing there

1496
01:18:18,000 --> 01:18:20,760
Speaker 3: and the doors open, the steam pours out, the white light,

1497
01:18:21,240 --> 01:18:24,400
Speaker 3: and Jones says, do you forsake all for the club?

1498
01:18:24,720 --> 01:18:27,559
Speaker 3: And the family all say they say I do. Then

1499
01:18:27,800 --> 01:18:31,320
Speaker 3: enter into the spring and taste its power. So they

1500
01:18:31,360 --> 01:18:33,720
Speaker 3: go inside and the doors close behind them, and then

1501
01:18:33,760 --> 01:18:36,759
Speaker 3: the sheriff just stands outside the door, our arms folded.

1502
01:18:37,680 --> 01:18:39,519
Speaker 3: So at first it looks like, I don't know, maybe

1503
01:18:39,520 --> 01:18:44,160
Speaker 3: they're going into just a really steamy sauna. Yeah.

1504
01:18:44,200 --> 01:18:46,720
Speaker 1: I at first you would assume, Okay, this is the

1505
01:18:46,760 --> 01:18:52,040
Speaker 1: actual spring, this is the steaming spring. Yeah. But there's

1506
01:18:52,120 --> 01:18:55,439
Speaker 1: more details emerge. It becomes clear this is no ordinary spring.

1507
01:18:55,520 --> 01:18:58,400
Speaker 1: This is something infernal.

1508
01:18:58,800 --> 01:19:02,360
Speaker 3: Right. So back at the office, Matt catches Grace sneaking

1509
01:19:02,400 --> 01:19:05,000
Speaker 3: around in the records room where she doesn't have clearance,

1510
01:19:05,080 --> 01:19:07,400
Speaker 3: and she nervously hands him a file that she wants

1511
01:19:07,479 --> 01:19:10,839
Speaker 3: him to look into. They get interrupted by Harry Thompson,

1512
01:19:10,920 --> 01:19:14,200
Speaker 3: the president of the company. Matt does not rat out

1513
01:19:14,240 --> 01:19:17,560
Speaker 3: Grace here, he covers for her and the president of

1514
01:19:17,600 --> 01:19:20,200
Speaker 3: the company. Thompson is like, here's a very important person

1515
01:19:20,240 --> 01:19:22,719
Speaker 3: I want you to meet, Matt. It's TV Susan Lucci.

1516
01:19:24,040 --> 01:19:26,839
Speaker 1: This is Kevin McCarthy playing mister Thompson here.

1517
01:19:26,720 --> 01:19:30,920
Speaker 3: Right, yeah, yeah, the boss guy. And this guy suggests

1518
01:19:31,040 --> 01:19:32,880
Speaker 3: that Matt. First of all, he's like, hey, did you

1519
01:19:32,920 --> 01:19:34,719
Speaker 3: know she has a club? You should join her club.

1520
01:19:35,479 --> 01:19:37,639
Speaker 3: There's a lot of scenes like that. It does kind

1521
01:19:37,640 --> 01:19:40,960
Speaker 3: of get repetitive somewhat. There's so much insisting that people

1522
01:19:41,040 --> 01:19:45,960
Speaker 3: join the club. But the boss also says that he

1523
01:19:46,080 --> 01:19:47,960
Speaker 3: needs to give her a tour of all his highly

1524
01:19:47,960 --> 01:19:52,720
Speaker 3: classified research. And Matt's like, but isn't that stuff classified?

1525
01:19:52,760 --> 01:19:57,120
Speaker 3: And he says, Matt, Miss Jones is family. So he's

1526
01:19:57,160 --> 01:20:01,280
Speaker 3: trying to show off the suit's capabilities. And Jessica is like, ooh, Matt,

1527
01:20:01,600 --> 01:20:04,400
Speaker 3: did you play a sport in college? I like your muscles.

1528
01:20:05,120 --> 01:20:07,120
Speaker 3: And she says at the club, we have lots of

1529
01:20:07,200 --> 01:20:12,960
Speaker 3: exercise equipment, lots of pleasurable things. And Matt is like, well,

1530
01:20:13,160 --> 01:20:15,719
Speaker 3: I guess I'm not much of a joiner. And she says,

1531
01:20:15,760 --> 01:20:17,200
Speaker 3: you know, you should think about it. It can do

1532
01:20:17,280 --> 01:20:19,960
Speaker 3: a lot more for you than you would think. And

1533
01:20:20,000 --> 01:20:23,040
Speaker 3: then ooh, we get a stinger here. So as Jessica

1534
01:20:23,120 --> 01:20:26,480
Speaker 3: is walking out of the room, we see from inside

1535
01:20:26,560 --> 01:20:29,759
Speaker 3: the space helmet and when she walks across its field

1536
01:20:29,800 --> 01:20:33,080
Speaker 3: of view, it renders a judgment on her. The screen

1537
01:20:33,120 --> 01:20:35,240
Speaker 3: says non human malignant.

1538
01:20:36,920 --> 01:20:38,679
Speaker 1: That's just for us the viewer at this point.

1539
01:20:38,840 --> 01:20:42,599
Speaker 3: All right, Matt doesn't get to see it. Okay, So

1540
01:20:42,720 --> 01:20:45,840
Speaker 3: next we have let's see, Oh, we have a scene

1541
01:20:45,840 --> 01:20:49,000
Speaker 3: where we find out that since being initiated into the club,

1542
01:20:49,479 --> 01:20:51,800
Speaker 3: Tom has gotten a promotion. Now he has a big,

1543
01:20:51,840 --> 01:20:54,840
Speaker 3: fancy office. It's got like six computers in it. Does

1544
01:20:55,000 --> 01:20:57,639
Speaker 3: doesn't Tom work in marketing? Does he need all those computers?

1545
01:20:57,840 --> 01:21:00,240
Speaker 1: It looks like a multiperson workspace, but they're just Is

1546
01:21:00,280 --> 01:21:01,040
Speaker 1: this his office now?

1547
01:21:01,280 --> 01:21:05,240
Speaker 3: Yeah? Tom again insists that Matt should join the club.

1548
01:21:05,280 --> 01:21:07,479
Speaker 3: He says, you join the club, you start rubbing shoulders

1549
01:21:07,479 --> 01:21:10,439
Speaker 3: with top top people. It's like the end of Indiana

1550
01:21:10,520 --> 01:21:15,160
Speaker 3: Jones and the Top Men. But Matt is resistant. He's

1551
01:21:15,200 --> 01:21:17,599
Speaker 3: got bad feelings about it, and he leaves with Tom

1552
01:21:17,720 --> 01:21:22,280
Speaker 3: still insisting. Meanwhile, Mary arrives at their house and is

1553
01:21:22,320 --> 01:21:26,120
Speaker 3: showing off to Patricia her new car. Patricia is very jealous,

1554
01:21:26,520 --> 01:21:29,960
Speaker 3: and Patricia she's telling Matt she she thinks they should

1555
01:21:30,000 --> 01:21:31,960
Speaker 3: join the club. She's like, it's our turn, Matt, It's

1556
01:21:31,960 --> 01:21:34,800
Speaker 3: our turn to have a little piece of success. And

1557
01:21:34,840 --> 01:21:36,960
Speaker 3: this is the part of the movie where there's like

1558
01:21:37,120 --> 01:21:38,960
Speaker 3: it's the middle of the night and Matt gets up.

1559
01:21:39,000 --> 01:21:41,760
Speaker 3: The kids are having a slumber party, and that creepy kid,

1560
01:21:41,800 --> 01:21:44,400
Speaker 3: Billy Ferris is there, and Matt goes into the kitchen

1561
01:21:44,680 --> 01:21:47,640
Speaker 3: and Billy Ferris is like, up at midnight staring at

1562
01:21:47,720 --> 01:21:51,080
Speaker 3: a TV that's just showing old footage of riots and

1563
01:21:51,200 --> 01:21:52,320
Speaker 3: violence in the streets.

1564
01:21:52,800 --> 01:21:55,080
Speaker 1: This is a local channel. I'm the semi.

1565
01:21:55,680 --> 01:22:01,280
Speaker 3: Yeah, so let's see. There's a little some more plot stuff.

1566
01:22:01,400 --> 01:22:04,000
Speaker 3: Matt finds out at work that Grace has been fired

1567
01:22:04,040 --> 01:22:07,679
Speaker 3: by Thompson, the big boss, and he goes to confront

1568
01:22:07,680 --> 01:22:09,479
Speaker 3: Thompson about this. He says he wants him to hire

1569
01:22:09,520 --> 01:22:11,800
Speaker 3: her back, and Thompson kind of implies, well, he might

1570
01:22:11,880 --> 01:22:16,439
Speaker 3: consider it if Matt and his family join the club. Geez, okay,

1571
01:22:16,479 --> 01:22:19,800
Speaker 3: you're making your point. So finally, Matt, Patricia and the

1572
01:22:19,880 --> 01:22:23,080
Speaker 3: family get a tour of the club. Tom and Mary

1573
01:22:23,120 --> 01:22:25,400
Speaker 3: are sponsoring them, and they walk around seeing all of

1574
01:22:25,439 --> 01:22:29,439
Speaker 3: the wonderful facilities. You got tennis courts, a pool, golf course,

1575
01:22:29,600 --> 01:22:32,599
Speaker 3: Jim with a big weight room full of beautiful athletic

1576
01:22:32,600 --> 01:22:36,800
Speaker 3: people sculpting their bodies, and Jessica Jones tells them that

1577
01:22:36,840 --> 01:22:39,080
Speaker 3: they could be initiated in as little as three or

1578
01:22:39,120 --> 01:22:43,200
Speaker 3: four weeks. And Matt wanders off from the tour into

1579
01:22:43,240 --> 01:22:46,840
Speaker 3: an off limits corridor down to the door. The door

1580
01:22:46,880 --> 01:22:49,679
Speaker 3: we saw earlier from the initiation. This is the door

1581
01:22:49,720 --> 01:22:53,320
Speaker 3: to the spring, and he's sort of getting ready to

1582
01:22:53,640 --> 01:22:56,439
Speaker 3: try to look inside, but Jessica Jones finds him and

1583
01:22:56,479 --> 01:22:59,719
Speaker 3: stops him. He explains that he thought he heard someone

1584
01:22:59,760 --> 01:23:02,160
Speaker 3: crying out for help on the other side of the door,

1585
01:23:02,640 --> 01:23:06,240
Speaker 3: and Jessica's like, oh, it was probably someone crying out

1586
01:23:06,439 --> 01:23:10,640
Speaker 3: in ecstasy. Pleasure can make you feel that good, you know?

1587
01:23:10,880 --> 01:23:14,599
Speaker 3: Did you know pleasure can make you feel good? Jessica

1588
01:23:14,680 --> 01:23:17,280
Speaker 3: Jones tells him that she can carry She can tell

1589
01:23:17,320 --> 01:23:19,519
Speaker 3: he doesn't care about money, but she thinks he does

1590
01:23:19,600 --> 01:23:22,840
Speaker 3: care about pleasure, and she will make sure that his

1591
01:23:22,960 --> 01:23:27,320
Speaker 3: membership is as pleasurable as possible. Now, this is a

1592
01:23:27,360 --> 01:23:30,040
Speaker 3: theme they're kind of developing the movie, but I think

1593
01:23:30,160 --> 01:23:33,360
Speaker 3: this one doesn't necessarily work right because you never get

1594
01:23:33,400 --> 01:23:36,680
Speaker 3: the feeling that Matt is all that tempted or like

1595
01:23:36,720 --> 01:23:38,400
Speaker 3: he's about to give in or anything.

1596
01:23:38,680 --> 01:23:41,240
Speaker 1: Yeah, I feel like we would need a couple of

1597
01:23:41,280 --> 01:23:44,400
Speaker 1: scenes sprinkled here there that show that he is to

1598
01:23:44,479 --> 01:23:49,680
Speaker 1: some degree sexually frustrated or you know, or particularly hedonistic

1599
01:23:49,720 --> 01:23:52,559
Speaker 1: in one way or another. As it stands, it's kind

1600
01:23:52,560 --> 01:23:57,320
Speaker 1: of like Jessica Jones is just saying, you're a human,

1601
01:23:57,520 --> 01:24:01,360
Speaker 1: you're all hot to trot, so let me just push

1602
01:24:01,360 --> 01:24:04,679
Speaker 1: those buttons. It feels a little desperate on her part,

1603
01:24:04,760 --> 01:24:09,360
Speaker 1: and it makes him feel a little more immune to

1604
01:24:09,520 --> 01:24:10,559
Speaker 1: her various powers.

1605
01:24:11,320 --> 01:24:12,840
Speaker 3: Yeah, I agree. I think it would have worked a

1606
01:24:12,840 --> 01:24:15,880
Speaker 3: little better if they'd shown him being slightly more vulnerable

1607
01:24:15,920 --> 01:24:18,360
Speaker 3: to the seduction. And it's just like bullets bouncing off

1608
01:24:18,360 --> 01:24:21,080
Speaker 3: of Superman, and he doesn't really seem I mean, he

1609
01:24:21,120 --> 01:24:22,599
Speaker 3: seems like bothered by it.

1610
01:24:22,880 --> 01:24:26,000
Speaker 1: He's bothered. He's bothered by this temptation. He's bothered by

1611
01:24:26,040 --> 01:24:29,880
Speaker 1: the door to perhaps hell, and he's also bothered by

1612
01:24:29,880 --> 01:24:32,599
Speaker 1: the fact that there's no basketball court here. He does

1613
01:24:32,640 --> 01:24:34,479
Speaker 1: point back, He's like, where the where's the where's the

1614
01:24:34,479 --> 01:24:36,679
Speaker 1: b ball? And they're just all that like, oh, it's

1615
01:24:36,680 --> 01:24:39,200
Speaker 1: a great place, like they were like we forgot the

1616
01:24:39,200 --> 01:24:40,040
Speaker 1: basketball court.

1617
01:24:40,800 --> 01:24:43,759
Speaker 3: Oh yeah, if only that would be the final victory

1618
01:24:43,760 --> 01:24:44,200
Speaker 3: for Satan.

1619
01:24:44,360 --> 01:24:46,160
Speaker 1: If she should have she should have led with that,

1620
01:24:46,280 --> 01:24:48,599
Speaker 1: she'd be like, we will add a basketball court man.

1621
01:24:49,520 --> 01:24:52,520
Speaker 1: Two of them full sight have done it recruited.

1622
01:24:52,560 --> 01:24:54,960
Speaker 3: Now he gets to become spawn because they made him

1623
01:24:55,080 --> 01:24:59,000
Speaker 3: basketball court. But so he gets freaked out and leaves

1624
01:24:59,000 --> 01:25:01,320
Speaker 3: after this, and he a fight with Patricia in the

1625
01:25:01,320 --> 01:25:03,760
Speaker 3: parking lot. She wants to join the club, Matt does not,

1626
01:25:04,160 --> 01:25:06,880
Speaker 3: and they're at an impasse. This is one of those

1627
01:25:06,920 --> 01:25:10,439
Speaker 3: movie conflicts that I think could be alleviated simply by

1628
01:25:10,479 --> 01:25:13,640
Speaker 3: one character telling the other what happened, but for some

1629
01:25:13,760 --> 01:25:17,519
Speaker 3: reason he doesn't. Yeah, So Patricia is upset because there

1630
01:25:17,640 --> 01:25:20,280
Speaker 3: is a club rule that says families have to join

1631
01:25:20,360 --> 01:25:24,120
Speaker 3: as a unit, but Matt won't join. So so she's like,

1632
01:25:24,160 --> 01:25:25,880
Speaker 3: oh no, I want to join, but we can't. But

1633
01:25:25,920 --> 01:25:29,400
Speaker 3: then Patricia has a meeting with Jessica Jones, and Jessica says,

1634
01:25:29,439 --> 01:25:32,320
Speaker 3: you know, we don't have to be rigidly religious about

1635
01:25:32,320 --> 01:25:36,160
Speaker 3: our rules. So we cut straight to the initiation once again,

1636
01:25:36,360 --> 01:25:39,360
Speaker 3: steamy door, the terry cloth robes, and the liturgy about

1637
01:25:39,439 --> 01:25:41,519
Speaker 3: you know, we're gonna forsake all others merge with the

1638
01:25:41,560 --> 01:25:44,719
Speaker 3: protective shield of the club, and it is Patricia, Robbie,

1639
01:25:44,720 --> 01:25:47,479
Speaker 3: and Chrissy joining without Matt, and we see them walk

1640
01:25:47,520 --> 01:25:50,760
Speaker 3: into the steamy doorway. Chrissy gets scared and tries to

1641
01:25:50,840 --> 01:25:53,439
Speaker 3: run away, but the creepy sheriff stops her, makes her

1642
01:25:53,479 --> 01:25:56,080
Speaker 3: go in, and then we get what's clearly an ad break.

1643
01:26:05,960 --> 01:26:09,360
Speaker 3: At this point, Matt's family has been replaced by replicants,

1644
01:26:09,360 --> 01:26:14,240
Speaker 3: a kind of Stepford Satan family that is simultaneously perfect

1645
01:26:14,360 --> 01:26:19,680
Speaker 3: and evil. They are very docile and elegant and well behaved,

1646
01:26:19,760 --> 01:26:23,559
Speaker 3: but also obsessed with the club and cruel and getting

1647
01:26:23,680 --> 01:26:26,560
Speaker 3: barked and growled at by their dog. And there's a

1648
01:26:26,600 --> 01:26:29,280
Speaker 3: whole subplot with the dog, by the way. So Matt

1649
01:26:29,360 --> 01:26:33,160
Speaker 3: later gets a call at work from Bill Irwin, playing

1650
01:26:33,160 --> 01:26:38,639
Speaker 3: a veterinarian. This is just by coincidence, the husband of Grace,

1651
01:26:38,800 --> 01:26:43,439
Speaker 3: Matt's former secretary, and you know. He asks him to

1652
01:26:43,439 --> 01:26:47,600
Speaker 3: come out to his kennel and he explains that Patricia

1653
01:26:47,720 --> 01:26:51,599
Speaker 3: brought their dog. Albert said it was vicious from day one,

1654
01:26:51,800 --> 01:26:54,519
Speaker 3: probably some kind of brain tumor, and it had attacked

1655
01:26:54,600 --> 01:26:58,000
Speaker 3: their children and needed to be put down. So the

1656
01:26:58,080 --> 01:26:59,760
Speaker 3: vet lied to her and said he would do it

1657
01:26:59,800 --> 01:27:02,639
Speaker 3: after or she left. Fortunately, the dog's still okay, folks,

1658
01:27:02,680 --> 01:27:05,240
Speaker 3: and we see it runs out and Matt pet's the

1659
01:27:05,280 --> 01:27:06,479
Speaker 3: dog and everybody's happy.

1660
01:27:06,720 --> 01:27:09,080
Speaker 1: But not only did she say that she wanted the

1661
01:27:09,080 --> 01:27:10,840
Speaker 1: dog put down, She's like, I want to watch.

1662
01:27:11,000 --> 01:27:13,760
Speaker 3: Yeah, that was good. That was a nice detail. That

1663
01:27:13,880 --> 01:27:16,720
Speaker 3: was that he said, we don't do things that way.

1664
01:27:18,240 --> 01:27:21,280
Speaker 3: So Matt goes home to confront Patricia about this, and

1665
01:27:21,600 --> 01:27:24,520
Speaker 3: when he arrives, she has had the house goth renode

1666
01:27:24,560 --> 01:27:27,080
Speaker 3: while he was at work, so now it's all dark

1667
01:27:27,120 --> 01:27:29,639
Speaker 3: blue walls, moody abstract art.

1668
01:27:30,280 --> 01:27:32,200
Speaker 1: It's like the house and beal juice at this point.

1669
01:27:33,040 --> 01:27:36,600
Speaker 3: Yeah, and later we see Jessica Jones has sent Patricia

1670
01:27:36,640 --> 01:27:41,360
Speaker 3: a new grand piano, and so he comes in and

1671
01:27:41,400 --> 01:27:43,880
Speaker 3: she's in the kitchen with a knife and a black

1672
01:27:43,920 --> 01:27:47,160
Speaker 3: cocktail dress. He confronts her about the dog, and she

1673
01:27:47,520 --> 01:27:50,160
Speaker 3: just sort of deflects and manipulates him with a knife

1674
01:27:50,160 --> 01:27:52,840
Speaker 3: in her hand, and she wants him to join the club.

1675
01:27:52,960 --> 01:27:54,920
Speaker 3: So things are not right with his family.

1676
01:27:55,360 --> 01:27:57,720
Speaker 1: You know. This is the point where Joan Cassidy, I think,

1677
01:27:57,760 --> 01:28:01,280
Speaker 1: really gets to shine as well, because she's great earlier

1678
01:28:01,320 --> 01:28:03,920
Speaker 1: in the picture, playing the normal Pat. But now she

1679
01:28:03,960 --> 01:28:07,519
Speaker 1: gets to play this sinister, ambitious but sort of possessed

1680
01:28:07,560 --> 01:28:12,799
Speaker 1: Stepford pat And yeah, it has it's a nice performance,

1681
01:28:12,800 --> 01:28:14,519
Speaker 1: so I enjoyed it. You know, you expect her to

1682
01:28:15,520 --> 01:28:18,880
Speaker 1: start going on a replicant rampage at any moment.

1683
01:28:19,040 --> 01:28:21,880
Speaker 3: Yeah, and then also there's a funny seat. Later that night,

1684
01:28:22,000 --> 01:28:25,840
Speaker 3: Patricia is all like sexually aggressive with him. She's like

1685
01:28:26,000 --> 01:28:29,519
Speaker 3: she's jumping him and she she's there's one part where

1686
01:28:29,520 --> 01:28:32,400
Speaker 3: she's just repeating, I'm just making love to you, darling.

1687
01:28:33,960 --> 01:28:36,120
Speaker 3: But it looks like who he's been making love to

1688
01:28:36,280 --> 01:28:39,280
Speaker 3: is Freddy Krueger, because you see the scratches on his back.

1689
01:28:39,439 --> 01:28:42,240
Speaker 3: He's like looking in the mirror and they're like deep gouges.

1690
01:28:42,720 --> 01:28:44,519
Speaker 1: Yeah, she goes, she goes zool on him.

1691
01:28:44,560 --> 01:28:47,800
Speaker 3: For sure does not look like fingernails, cause those looks

1692
01:28:47,840 --> 01:28:52,080
Speaker 3: like knives. Yeah, let's see. So the next day, Matt

1693
01:28:52,160 --> 01:28:56,519
Speaker 3: finds out that Grace, his old secretary, was unfortunately killed

1694
01:28:56,520 --> 01:28:59,720
Speaker 3: in a terrible car accident with someone trying to shut

1695
01:28:59,720 --> 01:29:03,200
Speaker 3: her up up And Matt goes and finds the files

1696
01:29:03,240 --> 01:29:05,160
Speaker 3: that Grace had tried to get him to read earlier.

1697
01:29:05,200 --> 01:29:07,320
Speaker 3: I guess he forgot about it. Till now and then

1698
01:29:07,400 --> 01:29:09,760
Speaker 3: this is the scene where he's just typing questions into

1699
01:29:09,760 --> 01:29:12,679
Speaker 3: a computer to get information. What he finds out here

1700
01:29:12,840 --> 01:29:16,480
Speaker 3: is that all of the senior management at micro Digitech

1701
01:29:16,560 --> 01:29:20,960
Speaker 3: were promoted after becoming members of the Steaming Springs Country Club.

1702
01:29:21,280 --> 01:29:24,040
Speaker 3: So Matt now he has to learn more. He sneaks

1703
01:29:24,040 --> 01:29:26,760
Speaker 3: into the country club to investigate. He goes down into

1704
01:29:26,800 --> 01:29:30,120
Speaker 3: the basement to the door. He first uses some kind

1705
01:29:30,120 --> 01:29:33,720
Speaker 3: of gadget to hack the key code to access the door.

1706
01:29:33,760 --> 01:29:37,479
Speaker 3: The key code includes the number six sixty six, and

1707
01:29:37,600 --> 01:29:41,200
Speaker 3: then he uses a thermometer probe from the spacesuit to

1708
01:29:41,360 --> 01:29:44,120
Speaker 3: test the temperature inside the door. When he gets at

1709
01:29:44,160 --> 01:29:47,120
Speaker 3: a crack open and he says eight hundred degrees no

1710
01:29:47,320 --> 01:29:50,519
Speaker 3: human could withstand it. And while he's sitting there, you know,

1711
01:29:50,520 --> 01:29:53,240
Speaker 3: getting the temperature, there's an ambush. He is attacked by

1712
01:29:53,479 --> 01:29:56,080
Speaker 3: the sheriff and they have a big fight scene. This

1713
01:29:56,120 --> 01:29:58,240
Speaker 3: is the scene with the wrestling moves where Matt gets

1714
01:29:58,280 --> 01:30:01,479
Speaker 3: like body slammed into the floor. So how's he going

1715
01:30:01,520 --> 01:30:05,160
Speaker 3: to defeat this this demonic sheriff. Well, he electrocutes him

1716
01:30:05,200 --> 01:30:08,320
Speaker 3: on a chain link fence with a lamp. After this,

1717
01:30:08,479 --> 01:30:10,519
Speaker 3: Matt comes home this is the Oh. Then we get

1718
01:30:10,520 --> 01:30:14,040
Speaker 3: the scene where the children are, you know, fully evilfied.

1719
01:30:14,160 --> 01:30:17,320
Speaker 3: Now he comes home and he finds Chrissy mutilating her

1720
01:30:17,360 --> 01:30:20,800
Speaker 3: stuffed bunny with a crowbar and he's like, hey, let's

1721
01:30:20,800 --> 01:30:23,200
Speaker 3: be nice, and she says, we do not like nice,

1722
01:30:23,320 --> 01:30:26,439
Speaker 3: and she's whacking with the crowbar. He says, you're not

1723
01:30:26,560 --> 01:30:29,800
Speaker 3: my daughter, and then with a pazuzu voice, she says,

1724
01:30:29,840 --> 01:30:33,160
Speaker 3: but I am your daughter. And he's like, is she

1725
01:30:33,320 --> 01:30:36,519
Speaker 3: down there, down in the springs and she says, she

1726
01:30:36,600 --> 01:30:39,760
Speaker 3: explains it the mechanics here. She says, good Chrissy is

1727
01:30:39,840 --> 01:30:45,000
Speaker 3: down there in the springs. But you've just got bad Chrissy. Now, bad, bad,

1728
01:30:45,280 --> 01:30:49,519
Speaker 3: bad Chrissy. And so Matt is attacked by evil children,

1729
01:30:49,560 --> 01:30:52,320
Speaker 3: by bad Chrissy and bad Robbie, and he has to

1730
01:30:52,360 --> 01:30:54,800
Speaker 3: lock both of them inside a closet. Why does that

1731
01:30:54,800 --> 01:30:57,320
Speaker 3: closet lock from the outside. That's not a yeah, you

1732
01:30:57,320 --> 01:30:59,120
Speaker 3: shouldn't have closet locked from the outside.

1733
01:30:59,200 --> 01:31:01,320
Speaker 1: I mean, maybe it was part of these new renovations,

1734
01:31:01,880 --> 01:31:05,160
Speaker 1: all sorts of sinister changes to the house.

1735
01:31:06,439 --> 01:31:10,559
Speaker 3: Then bad Patricia attacks him with a golf club. He escapes,

1736
01:31:10,800 --> 01:31:13,960
Speaker 3: He escapes the house, and then he goes to the lab,

1737
01:31:14,320 --> 01:31:18,000
Speaker 3: the lab at work, where he dons the suit.

1738
01:31:18,640 --> 01:31:20,559
Speaker 1: I think it was coming at this point, you knew

1739
01:31:20,600 --> 01:31:21,200
Speaker 1: it was coming.

1740
01:31:21,479 --> 01:31:24,640
Speaker 3: Yeah, it's all coming together now. So while he's all

1741
01:31:24,680 --> 01:31:28,800
Speaker 3: getting suited up in the spacesuit, he is confronted by

1742
01:31:28,840 --> 01:31:32,160
Speaker 3: Tom with a gun and Tom, this is bad Tom,

1743
01:31:32,200 --> 01:31:36,519
Speaker 3: I guess also and bad Tom says, you're not one

1744
01:31:36,560 --> 01:31:39,719
Speaker 3: of us, Matt, You're a loser. We are the winners

1745
01:31:39,760 --> 01:31:41,760
Speaker 3: and we have to get rid of the losers. And

1746
01:31:41,800 --> 01:31:44,559
Speaker 3: he's going to shoot him, but it's like a duel.

1747
01:31:44,560 --> 01:31:47,880
Speaker 3: It's a quick draw. There's a blast, and what you

1748
01:31:48,000 --> 01:31:50,880
Speaker 3: realize happened is that Matt has blasted Tom with the

1749
01:31:50,960 --> 01:31:53,040
Speaker 3: sleeve laser gun on the suit.

1750
01:31:54,160 --> 01:31:55,880
Speaker 1: Yeah, you knew it was going to be important, and

1751
01:31:55,920 --> 01:31:56,400
Speaker 1: there it was.

1752
01:31:56,960 --> 01:31:59,400
Speaker 3: So Matt puts on the suit helmet, which has a

1753
01:31:59,479 --> 01:32:02,600
Speaker 3: dark vibe, and then uses it to sneak into the

1754
01:32:02,680 --> 01:32:06,320
Speaker 3: club during the Halloween party we've heard so much about.

1755
01:32:06,960 --> 01:32:10,000
Speaker 3: This party has a number of guests, including Larry Ferris,

1756
01:32:10,200 --> 01:32:14,760
Speaker 3: the Boss, dressed as Nazi officers. Not a great Halloween costume, No.

1757
01:32:15,000 --> 01:32:18,879
Speaker 1: I mean, you know, some things were acceptable in the eighties.

1758
01:32:19,960 --> 01:32:22,880
Speaker 1: Maybe this was a little more acceptable at the time,

1759
01:32:23,000 --> 01:32:26,840
Speaker 1: but I don't know, he's really he's really into it here,

1760
01:32:26,880 --> 01:32:29,320
Speaker 1: So I think we are meant to see this as

1761
01:32:29,360 --> 01:32:30,640
Speaker 1: somewhat sus.

1762
01:32:30,560 --> 01:32:33,400
Speaker 3: Should We also mention Jessica Jones's costume. This is one

1763
01:32:33,439 --> 01:32:35,880
Speaker 3: of the main images you will see of this movie

1764
01:32:35,960 --> 01:32:39,240
Speaker 3: is Susan Lucci in this Halloween costume. I don't know

1765
01:32:39,320 --> 01:32:41,280
Speaker 3: exactly what she's supposed to be. She's kind of a

1766
01:32:41,320 --> 01:32:45,960
Speaker 3: big hair, ziggy stardust devil, like a red suit, sparkles,

1767
01:32:46,280 --> 01:32:47,840
Speaker 3: hair volume, all that.

1768
01:32:48,760 --> 01:32:50,439
Speaker 1: Yeah, yeah, I'm not sure what it's supposed to be.

1769
01:32:50,520 --> 01:32:53,160
Speaker 1: But either are a lot of great costumes. There's Generally it

1770
01:32:53,200 --> 01:32:56,160
Speaker 1: just looks like a fun party. I mean, yes, it's

1771
01:32:56,240 --> 01:33:02,439
Speaker 1: being held by awful half demon peeple, but it looks

1772
01:33:02,439 --> 01:33:04,200
Speaker 1: pretty good. It looks like I got some cool snacks,

1773
01:33:04,200 --> 01:33:06,680
Speaker 1: cool decorations, and you know, I assume there's maybe a

1774
01:33:06,720 --> 01:33:08,320
Speaker 1: DJ spinning. I don't know.

1775
01:33:08,560 --> 01:33:10,640
Speaker 3: I'm not saying I would sell my soul to go

1776
01:33:10,680 --> 01:33:12,639
Speaker 3: to this party, but if I could go like Matt,

1777
01:33:12,720 --> 01:33:14,920
Speaker 3: if I could sneak in without selling my soul, I'd

1778
01:33:14,960 --> 01:33:16,080
Speaker 3: like to check this party out.

1779
01:33:16,200 --> 01:33:18,920
Speaker 1: Yeah, selling your soul, You're not selling your soul just

1780
01:33:18,920 --> 01:33:21,839
Speaker 1: for this party. There are a whole number of benefits

1781
01:33:21,840 --> 01:33:22,639
Speaker 1: and this is just one.

1782
01:33:23,280 --> 01:33:26,960
Speaker 3: That's right. So Matt goes there, and then he sneaks

1783
01:33:27,000 --> 01:33:29,320
Speaker 3: away from the party with the suit on and enters

1784
01:33:29,320 --> 01:33:31,960
Speaker 3: the code to the secret door. And then finally he

1785
01:33:32,000 --> 01:33:36,040
Speaker 3: goes into the steaming spring. Yes, and along the way

1786
01:33:36,040 --> 01:33:39,760
Speaker 3: he's followed by Jessica Jones. He sees her coming after him,

1787
01:33:39,760 --> 01:33:41,639
Speaker 3: and he tries to stop her with the flame thrower,

1788
01:33:41,680 --> 01:33:43,759
Speaker 3: but it doesn't seem to work on her just walks

1789
01:33:43,800 --> 01:33:49,360
Speaker 3: through the flames. And so now Matt descends into what

1790
01:33:49,479 --> 01:33:53,880
Speaker 3: is beyond the door. It's hell, baby, It's Hell. Yeah. Yeah.

1791
01:33:54,080 --> 01:33:57,000
Speaker 1: And again you you can see all this coming together.

1792
01:33:57,680 --> 01:33:59,120
Speaker 1: You see it, saw it coming together when all the

1793
01:33:59,120 --> 01:34:02,559
Speaker 1: pieces were on the table. But at this point, Matt,

1794
01:34:02,680 --> 01:34:07,439
Speaker 1: clad in a spacesuit of his own design, powered by AI,

1795
01:34:08,080 --> 01:34:12,479
Speaker 1: armed with a laser and a flamethrower, is descending into Hell,

1796
01:34:13,160 --> 01:34:16,960
Speaker 1: literally harrowing Hell, in an attempt to save his family

1797
01:34:17,720 --> 01:34:21,920
Speaker 1: from the depths of damnation. And he's doing this by

1798
01:34:22,040 --> 01:34:24,840
Speaker 1: venturing through an occult gateway to Hell that happens to

1799
01:34:24,880 --> 01:34:27,519
Speaker 1: be in the basement of his local country club. I mean,

1800
01:34:27,960 --> 01:34:30,640
Speaker 1: that's bonkers. I love it. This is again. This is

1801
01:34:30,680 --> 01:34:35,400
Speaker 1: all happening before ten pm on a Thursday on network television.

1802
01:34:37,160 --> 01:34:39,400
Speaker 1: This is amazing that this suld. This film should be

1803
01:34:39,400 --> 01:34:42,559
Speaker 1: more celebrated for its weirdness. It's so good. Okay, so yeah.

1804
01:34:42,680 --> 01:34:46,599
Speaker 3: Hell is a craggy red cave full of these deep

1805
01:34:46,680 --> 01:34:50,719
Speaker 3: pits from which are coming these screams for help Somewhere

1806
01:34:50,720 --> 01:34:53,400
Speaker 3: down below. Matt does hear his family calling for help,

1807
01:34:53,520 --> 01:34:56,640
Speaker 3: so he goes up to the edge and Jessica's in

1808
01:34:56,680 --> 01:34:59,360
Speaker 3: there also, still talking to him. It's like, it's hopeless.

1809
01:34:59,400 --> 01:35:01,559
Speaker 3: You can't say them, you know, you got to stop.

1810
01:35:01,640 --> 01:35:03,760
Speaker 3: But he makes a leap of faith into the pit,

1811
01:35:05,040 --> 01:35:06,960
Speaker 3: and then he wakes up at the bottom in a

1812
01:35:07,040 --> 01:35:10,439
Speaker 3: kind of mirror world version of his neighborhood, where he

1813
01:35:10,479 --> 01:35:13,680
Speaker 3: goes into his home and he finds his family imprisoned

1814
01:35:13,720 --> 01:35:18,680
Speaker 3: behind these animated barriers. Patricia's tortured soul is playing piano

1815
01:35:18,840 --> 01:35:22,400
Speaker 3: in Anguish, and Jessica shows up once again and tells

1816
01:35:22,479 --> 01:35:24,719
Speaker 3: him that he can never rescue his family. He says,

1817
01:35:24,760 --> 01:35:27,760
Speaker 3: they all came here willingly, they made the choice, and

1818
01:35:27,800 --> 01:35:30,160
Speaker 3: then she also says that the Patricia down here is

1819
01:35:30,720 --> 01:35:33,040
Speaker 3: the weak Patricia. You don't even want her bag this

1820
01:35:33,120 --> 01:35:35,840
Speaker 3: is the one that has no will, no power to

1821
01:35:36,000 --> 01:35:39,000
Speaker 3: you know, survive. This is just the weak part of

1822
01:35:39,040 --> 01:35:42,280
Speaker 3: her that has been purged. And Matt's like, no, that's

1823
01:35:42,320 --> 01:35:45,120
Speaker 3: the good Patricia, And he says, that's what you've done,

1824
01:35:45,240 --> 01:35:47,439
Speaker 3: isn't it. You've taken all the love, all the good

1825
01:35:47,479 --> 01:35:50,280
Speaker 3: in people who joined the club and put them down here.

1826
01:35:50,640 --> 01:35:54,800
Speaker 3: And you know, so this movie is it's the way

1827
01:35:54,800 --> 01:35:57,320
Speaker 3: it attacks its themes, I think you could argue is

1828
01:35:57,360 --> 01:36:00,320
Speaker 3: somewhat simplistic. But I was thinking about this, and so,

1829
01:36:00,439 --> 01:36:03,000
Speaker 3: you know, that's kind of interesting. The idea that in

1830
01:36:03,120 --> 01:36:08,240
Speaker 3: order to receive some kinds of luxury, people might trade

1831
01:36:08,320 --> 01:36:12,040
Speaker 3: in good parts of themselves, like put the good parts

1832
01:36:12,080 --> 01:36:16,240
Speaker 3: of themselves in storage, so that a broken, diminished part

1833
01:36:16,280 --> 01:36:19,000
Speaker 3: of themselves can enjoy the fabulous amenities.

1834
01:36:20,360 --> 01:36:22,960
Speaker 1: I think, by some measurements, this would be a theological

1835
01:36:23,000 --> 01:36:26,080
Speaker 1: misuse of Hell, taking the good parts out of someone

1836
01:36:26,120 --> 01:36:28,479
Speaker 1: and keeping them there and letting the worst of them

1837
01:36:28,560 --> 01:36:31,200
Speaker 1: thrive on earth. Not to go on a tangent here

1838
01:36:32,160 --> 01:36:36,200
Speaker 1: about what hell is theologically and the role it plays

1839
01:36:36,200 --> 01:36:38,200
Speaker 1: in the human psyche, but yeah, it does give us

1840
01:36:38,200 --> 01:36:40,559
Speaker 1: some food for thought here. And I want to add

1841
01:36:40,600 --> 01:36:43,160
Speaker 1: that the effects here, I think are quite good all

1842
01:36:43,200 --> 01:36:46,439
Speaker 1: things considered. I mean, you can feel this TV movie

1843
01:36:46,439 --> 01:36:50,519
Speaker 1: of the week's budget straining at the seams, but we

1844
01:36:50,600 --> 01:36:52,720
Speaker 1: have a solid, rocky set. We have that in this

1845
01:36:52,880 --> 01:36:57,160
Speaker 1: weird precipice over this gulf that contains at the very

1846
01:36:57,200 --> 01:36:59,960
Speaker 1: bottom a replica of his neighborhood. Like this is Trip

1847
01:37:00,080 --> 01:37:03,760
Speaker 1: being weird. And there's a palpable feeling at that point

1848
01:37:03,800 --> 01:37:05,720
Speaker 1: when he's standing on the edge of the cliff and

1849
01:37:05,720 --> 01:37:10,800
Speaker 1: he's being mocked and or tempted by Jessica Jones that

1850
01:37:10,920 --> 01:37:13,040
Speaker 1: you know, like we've traveled well beyond the point of

1851
01:37:13,040 --> 01:37:16,679
Speaker 1: no return. And again, it's not even ten pm Eastern

1852
01:37:17,000 --> 01:37:19,840
Speaker 1: Time on ABC Television on a Thursday, but it feels

1853
01:37:19,880 --> 01:37:24,640
Speaker 1: like we've gone past midnight. Yeah, it's just it's the

1854
01:37:24,720 --> 01:37:27,280
Speaker 1: sort of thing I think it would feel right at home,

1855
01:37:27,360 --> 01:37:31,000
Speaker 1: and you're weirder contemporary television dramas or the films that

1856
01:37:31,040 --> 01:37:36,280
Speaker 1: have a particular psychotronic bent to them. So yeah, again,

1857
01:37:36,439 --> 01:37:38,600
Speaker 1: I feel like this film should be more celebrated for

1858
01:37:38,600 --> 01:37:40,880
Speaker 1: its weirdness. It should not be at the bottom of

1859
01:37:40,920 --> 01:37:41,840
Speaker 1: the West Craven Heap.

1860
01:37:42,400 --> 01:37:44,280
Speaker 3: Yeah, I would say, in fact, if you don't give

1861
01:37:44,320 --> 01:37:46,200
Speaker 3: this a five out of five on letterbox that you

1862
01:37:46,240 --> 01:37:50,559
Speaker 3: should go to hell. You can go straight into the

1863
01:37:50,560 --> 01:37:51,439
Speaker 3: steaming springs.

1864
01:37:51,560 --> 01:37:53,759
Speaker 1: At least the weak part of you that wasn't strong

1865
01:37:53,880 --> 01:37:55,679
Speaker 1: enough to give this film five stars.

1866
01:37:57,360 --> 01:37:59,960
Speaker 3: So let's see. Oh, we get another part here where

1867
01:38:00,120 --> 01:38:02,120
Speaker 3: Jessica tries to tempt Matt with like, you know you

1868
01:38:02,200 --> 01:38:05,880
Speaker 3: don't want Patricia, you want me once again. It doesn't

1869
01:38:05,880 --> 01:38:09,760
Speaker 3: really work because of how they've characterized Matt. You never

1870
01:38:09,800 --> 01:38:11,160
Speaker 3: feel like he's seriously tempted.

1871
01:38:11,479 --> 01:38:13,280
Speaker 1: Yeah, she should have should have been be ball again.

1872
01:38:13,320 --> 01:38:15,680
Speaker 1: She'd been like, yeah, how about how about basketball? I

1873
01:38:15,720 --> 01:38:18,880
Speaker 1: can offer you all the basketball in the world, and

1874
01:38:18,920 --> 01:38:20,479
Speaker 1: then he and then he might be tempted.

1875
01:38:20,800 --> 01:38:23,479
Speaker 3: She like pulls out a copy of Space Jam and

1876
01:38:23,600 --> 01:38:26,840
Speaker 3: she's on VHS. She's like, this is from the future, Matt,

1877
01:38:27,040 --> 01:38:28,080
Speaker 3: it's your future.

1878
01:38:28,400 --> 01:38:31,519
Speaker 1: A Space Jam showdown right here at the end would

1879
01:38:31,560 --> 01:38:32,880
Speaker 1: have would have just capped it.

1880
01:38:32,960 --> 01:38:36,880
Speaker 3: Yes, So Matt. At this point, he decides to take

1881
01:38:36,960 --> 01:38:39,559
Speaker 3: off his space suit to save his family. I don't

1882
01:38:39,560 --> 01:38:41,240
Speaker 3: remember how he figures out he's got to do this,

1883
01:38:41,360 --> 01:38:45,360
Speaker 3: but this also seems thematically loaded. He has to change

1884
01:38:45,439 --> 01:38:49,280
Speaker 3: out of the protective EVA suit, the technology that he

1885
01:38:49,320 --> 01:38:52,280
Speaker 3: has been working on back into khakis and a polo

1886
01:38:52,360 --> 01:38:54,839
Speaker 3: shirt to save the good parts of his family.

1887
01:38:55,439 --> 01:38:58,479
Speaker 1: Yeah more. I guess this is more symbolic than sensible.

1888
01:39:00,520 --> 01:39:02,840
Speaker 1: But oh and I wanted to mention too, like the

1889
01:39:02,840 --> 01:39:06,840
Speaker 1: the like laser lights that his family's souls are trapped in.

1890
01:39:07,120 --> 01:39:10,640
Speaker 1: It's kind of like the the laser lights from the

1891
01:39:10,680 --> 01:39:14,960
Speaker 1: egg chamber above aboard the spaceship at the beginning of Alien,

1892
01:39:15,479 --> 01:39:16,719
Speaker 1: except blue instead of green.

1893
01:39:17,000 --> 01:39:19,679
Speaker 3: Yeah, it is like that. So the power of love

1894
01:39:19,760 --> 01:39:22,760
Speaker 3: saves the whole family. They you know, they embrace, and

1895
01:39:22,800 --> 01:39:25,640
Speaker 3: they all awake together back in their house, seemingly in

1896
01:39:25,720 --> 01:39:29,080
Speaker 3: the real world. They hear sirens outside. What's that noise?

1897
01:39:29,120 --> 01:39:31,479
Speaker 3: And so they go outside to look, and there are

1898
01:39:31,479 --> 01:39:33,920
Speaker 3: people running around saying there is a big fire down

1899
01:39:33,960 --> 01:39:37,719
Speaker 3: at the club. It's been burning all night, and oh, okay,

1900
01:39:37,720 --> 01:39:39,880
Speaker 3: I guess that's that's it for the club. And then

1901
01:39:40,240 --> 01:39:42,920
Speaker 3: Christy says that her bunny is hungry. This the bunny

1902
01:39:43,000 --> 01:39:45,360
Speaker 3: is intact once again, So we get kind of we're

1903
01:39:45,360 --> 01:39:47,760
Speaker 3: getting kind of a redo on reality. I guess things

1904
01:39:47,760 --> 01:39:50,639
Speaker 3: that we saw destroyed are actually now intact once again.

1905
01:39:51,880 --> 01:39:54,960
Speaker 3: And Patricia's like, oh, I guess we better feed bunny okay,

1906
01:39:55,400 --> 01:39:57,960
Speaker 3: and it looks like everything's cool now. Yeah, all good.

1907
01:39:58,560 --> 01:40:02,519
Speaker 1: Yeah, surprisingly up beat ending because I was again when

1908
01:40:02,560 --> 01:40:04,200
Speaker 1: he was standing on the edge of that cliff, I

1909
01:40:04,280 --> 01:40:06,760
Speaker 1: was like, oh, he's not coming back from this. This

1910
01:40:06,840 --> 01:40:10,360
Speaker 1: is going to have a bleak ending. But they pulled

1911
01:40:10,400 --> 01:40:13,200
Speaker 1: back on it. They landed us in a nice spot

1912
01:40:14,080 --> 01:40:16,840
Speaker 1: so that we can lead into twenty twenty.

1913
01:40:17,240 --> 01:40:19,640
Speaker 3: I want to revisit the question I asked earlier, now

1914
01:40:19,640 --> 01:40:22,360
Speaker 3: that we've talked about the whole plot, what is the

1915
01:40:22,400 --> 01:40:26,720
Speaker 3: core evil institution? Is it the country club or the corporation?

1916
01:40:27,160 --> 01:40:31,600
Speaker 3: I think it's Steaming Springs. It's like that micro digitech.

1917
01:40:32,320 --> 01:40:37,479
Speaker 3: It is suggested exists only to provide employment to people

1918
01:40:37,560 --> 01:40:40,599
Speaker 3: who can be recruited into the service of our dark

1919
01:40:40,640 --> 01:40:42,480
Speaker 3: lord at Steaming Springs.

1920
01:40:43,960 --> 01:40:46,920
Speaker 1: Yeah. Yeah, I think that's a good read on it.

1921
01:40:47,120 --> 01:40:50,760
Speaker 1: I guess you know, thematically, the main threat is just

1922
01:40:52,040 --> 01:40:56,599
Speaker 1: the spirit of wealth and ambition that permeates society, both

1923
01:40:56,600 --> 01:40:59,040
Speaker 1: at work and at home and you know, in your

1924
01:40:59,080 --> 01:41:04,360
Speaker 1: social But yeah, I was thinking, Okay, the gateway to

1925
01:41:04,400 --> 01:41:07,680
Speaker 1: hell is definitely at the country club, so that is

1926
01:41:07,760 --> 01:41:11,080
Speaker 1: in many ways the focal point. But then Jessica Jones

1927
01:41:11,120 --> 01:41:15,000
Speaker 1: has complete access to all the high tech, presumably top

1928
01:41:15,000 --> 01:41:19,320
Speaker 1: secret experiments going on at Digitech. So the two were

1929
01:41:20,080 --> 01:41:22,960
Speaker 1: linked at this point anyway. And who knows, maybe some

1930
01:41:23,320 --> 01:41:27,280
Speaker 1: member of the club back before it became possessed had

1931
01:41:27,360 --> 01:41:31,519
Speaker 1: some role in opening or widening that Hell mouth so

1932
01:41:31,600 --> 01:41:33,120
Speaker 1: that everything can get out of whack. There's like a

1933
01:41:33,120 --> 01:41:35,160
Speaker 1: whole prequel you could explore right there.

1934
01:41:36,200 --> 01:41:42,559
Speaker 3: I'd watch that pre Invitation to Hell arriving early. Yeah, okay,

1935
01:41:42,600 --> 01:41:46,519
Speaker 3: well that was Invitation to Hell nineteen eighty four, as

1936
01:41:46,560 --> 01:41:49,880
Speaker 3: we've said, thumbs up from me. Check it out.

1937
01:41:50,120 --> 01:41:52,080
Speaker 1: Yeah, this one was great. This is one I really

1938
01:41:52,160 --> 01:41:56,400
Speaker 1: wasn't even aware of. I was. I don't know. Maybe

1939
01:41:56,439 --> 01:41:59,640
Speaker 1: it's part of that attitude that we can sometimes have

1940
01:41:59,680 --> 01:42:03,200
Speaker 1: about made for TV films that even though I've certainly

1941
01:42:03,920 --> 01:42:07,880
Speaker 1: poured through Wes Craven's filmography and IMDb many times, I've

1942
01:42:07,880 --> 01:42:11,439
Speaker 1: just kind of skipped over these made for TV films

1943
01:42:11,560 --> 01:42:14,280
Speaker 1: and I've paid more attention to his more well known films.

1944
01:42:14,320 --> 01:42:16,240
Speaker 1: But yeah, this one, this one was a real treat.

1945
01:42:16,439 --> 01:42:18,360
Speaker 3: Well, let's let's look at the other one and see

1946
01:42:18,360 --> 01:42:18,800
Speaker 3: how they are.

1947
01:42:19,520 --> 01:42:21,720
Speaker 1: Yeah, I mean, if they're as good as if they're

1948
01:42:21,760 --> 01:42:23,439
Speaker 1: even close to as good as this one. They're worth

1949
01:42:23,479 --> 01:42:26,720
Speaker 1: worth they're worth checking out for sure. All right, Well,

1950
01:42:26,720 --> 01:42:28,360
Speaker 1: we're gonna go ahead and close up this episode of

1951
01:42:28,400 --> 01:42:30,439
Speaker 1: Weird House centem up. What we'd love to hear from

1952
01:42:30,479 --> 01:42:33,720
Speaker 1: everyone out there? Do you have thoughts on Invitation to Hell?

1953
01:42:34,560 --> 01:42:37,640
Speaker 1: Did you if anyone out there solid on network television

1954
01:42:37,680 --> 01:42:40,880
Speaker 1: in eighty four, I definitely want to hear about that,

1955
01:42:41,080 --> 01:42:44,200
Speaker 1: or or if you've watched it with commercials intact, uh,

1956
01:42:45,000 --> 01:42:46,840
Speaker 1: do write in and tell us all about it, or

1957
01:42:46,840 --> 01:42:49,000
Speaker 1: if you've watched it recently and you have some some

1958
01:42:49,000 --> 01:42:51,760
Speaker 1: some thoughts about how it fits into the filmography of

1959
01:42:51,880 --> 01:42:55,400
Speaker 1: this legendary director. Yeah, right in and we'll have a

1960
01:42:55,439 --> 01:42:57,719
Speaker 1: we'll have a little conversation. Well, well, well we'll share

1961
01:42:57,880 --> 01:43:00,800
Speaker 1: potentially share your email on a future listener man episode

1962
01:43:01,120 --> 01:43:03,880
Speaker 1: of Stuff to Blow Your Mind. Just a reminder that

1963
01:43:03,880 --> 01:43:05,800
Speaker 1: Stuff to Blow Your Mind is primarily a science and

1964
01:43:05,840 --> 01:43:08,439
Speaker 1: culture podcast, with core episodes on Tuesdays and Thursday, short

1965
01:43:08,439 --> 01:43:10,799
Speaker 1: form episode on Wednesdays and on Fridays. We set aside

1966
01:43:10,800 --> 01:43:13,800
Speaker 1: most serious concerns to just talk about a weird film

1967
01:43:13,800 --> 01:43:15,800
Speaker 1: here on Weird House Cinema. Look us up on a

1968
01:43:15,840 --> 01:43:18,559
Speaker 1: letterbox where we are Weird House. You can follow a

1969
01:43:18,600 --> 01:43:20,400
Speaker 1: list of all the films we've covered over the years,

1970
01:43:20,439 --> 01:43:23,200
Speaker 1: and sometimes there's a peek ahead at what's coming up next.

1971
01:43:23,600 --> 01:43:25,479
Speaker 1: And next week is cat Week. By the way, we

1972
01:43:25,520 --> 01:43:27,920
Speaker 1: haven't really broadcast that fact chat on the show, but

1973
01:43:28,680 --> 01:43:31,599
Speaker 1: if you like cats or don't like cats, it's perfect

1974
01:43:31,600 --> 01:43:35,200
Speaker 1: week to tune in. We're experimenting with some thematic weeks

1975
01:43:35,200 --> 01:43:37,559
Speaker 1: spread throughout the year, and yes we will come back

1976
01:43:37,560 --> 01:43:39,600
Speaker 1: around and do a Dog week as well, once we

1977
01:43:39,720 --> 01:43:42,519
Speaker 1: pinpoint the appropriate time of a year for that to happen.

1978
01:43:42,760 --> 01:43:44,360
Speaker 3: As the dog star rises.

1979
01:43:44,880 --> 01:43:45,320
Speaker 1: There you go.

1980
01:43:45,840 --> 01:43:49,880
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1981
01:43:50,120 --> 01:43:51,680
Speaker 3: If you would like to get in touch with us

1982
01:43:51,680 --> 01:43:54,120
Speaker 3: with feedback on this episode or any other, to suggest

1983
01:43:54,160 --> 01:43:56,320
Speaker 3: a topic for the future, or just to say hello,

1984
01:43:56,479 --> 01:43:59,400
Speaker 3: you can email us at contact at stuff to Blow

1985
01:43:59,439 --> 01:44:00,559
Speaker 3: your Mind dot com.

1986
01:44:07,479 --> 01:44:10,400
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1987
01:44:10,520 --> 01:44:14,320
Speaker 2: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1988
01:44:14,400 --> 01:44:16,200
Speaker 2: or wherever you listen to your favorite shows.