WEBVTT - Weirdhouse Cinema Rewind: Invitation to Hell (1984) 0:00:04.120 --> 0:00:06.920 Hey, you welcome to Weird House Cinema. Rewind. This is 0:00:07.040 --> 0:00:10.319 Rob Lamb and today we are sharing an episode that 0:00:10.320 --> 0:00:13.560 originally published though it's the eight one twenty twenty five. 0:00:13.720 --> 0:00:18.040 This is Invitation to Hell from nineteen eighty four. This 0:00:18.120 --> 0:00:21.720 is a Wes Craven made for TV movie with some 0:00:21.800 --> 0:00:25.919 really fun like horror sci fi qualities to it. You 0:00:25.960 --> 0:00:28.639 think you know Wes Craven, Well this is This is 0:00:28.680 --> 0:00:35.320 a weirder, deeper cut. Let's jump right into the episode. 0:00:36.479 --> 0:00:42.760 Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 0:00:46.880 --> 0:00:50.160 Hey you welcome to Weird House Cinema. This is Rob Lamb. 0:00:50.120 --> 0:00:53.640 And I am Joe McCormick. And today on Weird House Cinema, 0:00:53.680 --> 0:00:56.000 we are going to be talking about the nineteen eighty 0:00:56.040 --> 0:01:01.720 four ABC made for TV horror movie Invitation to Hell, 0:01:01.920 --> 0:01:05.200 directed by none other than Wes Craven. Did you know 0:01:05.240 --> 0:01:06.960 he made made for TV movies? 0:01:07.520 --> 0:01:08.679 Was this multiple? 0:01:09.000 --> 0:01:11.760 Was this before Nightmare on Elm Street or after? 0:01:12.800 --> 0:01:14.639 We'll get into this in a bit, but I believe 0:01:14.720 --> 0:01:17.640 this came out right before and or in the same 0:01:17.720 --> 0:01:20.240 year as Nightmare. So okay, we had a couple of 0:01:20.240 --> 0:01:21.679 different things happening at the same time. 0:01:21.720 --> 0:01:26.640 Here Wow, So Invitation to Hell starring Robert Urich, Joanna Cassidy, 0:01:26.760 --> 0:01:30.720 and Susan Lucci. Of apparently I didn't know this when 0:01:30.760 --> 0:01:34.040 I first watched this movie, but apparently of like Soap 0:01:34.080 --> 0:01:36.320 Opera Royalty, a great fame. 0:01:36.160 --> 0:01:38.080 Superstar in the soap opera world. 0:01:38.480 --> 0:01:42.279 But this movie is about an expensive and exclusive West 0:01:42.319 --> 0:01:45.840 Coast country club that is in fact run by Satan. 0:01:47.600 --> 0:01:51.800 It's true. So this one originally aired on Thursday May 0:01:51.840 --> 0:01:55.120 twenty fourth, nineteen eighty four, in the eight to ten 0:01:55.240 --> 0:01:58.640 pm slot Eastern Time. I was looking this up on 0:01:58.720 --> 0:02:01.000 tv tango dot com. I think it was the highest 0:02:01.080 --> 0:02:04.520 rated network offering that night, beat out Simon and Simon 0:02:04.840 --> 0:02:08.440 Memory if my memory is correct. There it is not 0:02:08.520 --> 0:02:12.480 to be confused with a nineteen eighty two British horror 0:02:12.520 --> 0:02:15.040 film of the same name, directed by Michael J. 0:02:15.240 --> 0:02:15.640 Murphy. 0:02:16.080 --> 0:02:18.600 So there are two Invitations to Hell out there. You 0:02:18.639 --> 0:02:21.200 can accept them both, but just don't confuse the two. 0:02:21.600 --> 0:02:25.760 Both seem to involve people being invited to like swanky, 0:02:25.840 --> 0:02:29.280 fancy parties in order to be killed or exploited in 0:02:29.320 --> 0:02:33.840 some way. Yeah, so earlier this week. The reason I 0:02:33.840 --> 0:02:37.119 picked this movie is that I found myself craving that sweet, 0:02:37.240 --> 0:02:41.160 unique flavor of made for TV horror. We've covered at 0:02:41.240 --> 0:02:44.320 least two other made for TV horror movies on Weird 0:02:44.320 --> 0:02:48.959 House Cinema. One was the nineteen seventy eight CBS film 0:02:49.240 --> 0:02:52.959 Death Moon starring Robert Foxworth. That was the work beast 0:02:52.960 --> 0:02:56.560 of the Work, based about a guy who he's getting 0:02:56.560 --> 0:02:58.480 too stressed out at work, so he goes on vacation 0:02:58.600 --> 0:03:01.120 to Hawaii, but uh oh turn into a were wolf. 0:03:01.480 --> 0:03:03.520 Yeah. Love that movie. I finally had to buy a 0:03:03.520 --> 0:03:07.400 bootleg of it because if you look around, if you 0:03:07.480 --> 0:03:10.480 grow attached to some of these seventies and eighties TV movies, 0:03:11.280 --> 0:03:14.120 there's not always a physical media choice out there, not 0:03:14.200 --> 0:03:16.919 always a legitimate one, So sometimes you have to be 0:03:16.960 --> 0:03:19.440 a little creative if you want to give it a 0:03:19.480 --> 0:03:20.760 forever home in your house. 0:03:21.440 --> 0:03:24.520 The other one that we've done already is the nineteen 0:03:24.600 --> 0:03:29.160 seventy two CBS horror fantasy Gargoyles. That was the one 0:03:29.200 --> 0:03:32.440 with Cornell Wild, Bernie k C, Jennifer Salt, and Scott 0:03:32.480 --> 0:03:37.120 Glenn as a motorcycle hooligan. That one was about subterranean 0:03:37.200 --> 0:03:41.640 demons living in the American Southwest, which are called gargoyles 0:03:41.720 --> 0:03:43.360 for some unspecified reason. 0:03:43.880 --> 0:03:47.240 Yeah. Also an excellent film. Excellent weird film. 0:03:47.720 --> 0:03:49.520 Have we done another one that I'm forgetting? I think 0:03:49.560 --> 0:03:51.440 those are the only two made for TV. 0:03:51.680 --> 0:03:54.480 Now, Shevy, I don't think we've actually done any other 0:03:54.520 --> 0:03:57.920 Weird House episodes on other TV films. Of note that 0:03:57.960 --> 0:03:59.880 we have scouted a few others. I know we've talked 0:04:00.000 --> 0:04:03.400 about nineteen seventy three's the Horror at thirty seven thousand feet. 0:04:04.240 --> 0:04:06.120 Is that the one that's like an adaptation of the 0:04:06.720 --> 0:04:09.720 Twilight Zone thing with Shatner with the Grimlin on the 0:04:09.720 --> 0:04:11.480 airplane wing or is that a different one? Oh? No, 0:04:11.600 --> 0:04:14.600 this is the one. Druid magic, Yeah, Druid magic on 0:04:14.640 --> 0:04:15.200 the airplane. 0:04:15.320 --> 0:04:18.120 Yes, some sort of druid magic or exorcism, so a 0:04:18.200 --> 0:04:21.600 number of different elements, including the shat going on at 0:04:21.640 --> 0:04:22.760 thirty seven thousand feet. 0:04:22.920 --> 0:04:24.240 That must have been the association. 0:04:24.360 --> 0:04:27.120 Yeah, okay, Yeah, we've also kind of batted around the 0:04:27.120 --> 0:04:29.599 idea of doing nineteen seventy thre's of the night Stalker. 0:04:30.120 --> 0:04:32.880 The kickstarted the TV series as well as of course, 0:04:32.920 --> 0:04:37.080 there are various Frankenstein, Dracula, and other horror adaptations for 0:04:37.160 --> 0:04:40.440 the small screen, though sometimes in those cases you get 0:04:40.560 --> 0:04:42.520 kind of out of because one of the things we're 0:04:42.560 --> 0:04:46.240 kind of talking about here are these weird one shot 0:04:46.400 --> 0:04:50.640 TV movies that are not a part of any other franchise, 0:04:50.800 --> 0:04:53.640 and they're not like a prestige picture like some of 0:04:53.640 --> 0:04:56.720 these Frankenstein Dracula pictures are kind of like the big 0:04:56.760 --> 0:04:59.359 mini series of the day. Like you wouldn't compare this 0:04:59.480 --> 0:05:03.400 film to say any get Like you wouldn't compare it 0:05:03.440 --> 0:05:06.719 to the old Showgun TV mini series. Obviously that was 0:05:06.720 --> 0:05:11.240 a real prestige project. This is something a little different somewhere, 0:05:11.440 --> 0:05:15.320 kind of stuck between a prestige TV mini series or 0:05:15.360 --> 0:05:21.240 a prestige TV movie and your standard you know, episodic offerings. 0:05:21.600 --> 0:05:25.000 Yeah, I would say this movie is in its business 0:05:25.040 --> 0:05:27.400 life more of a quick and dirty cash in, but 0:05:27.680 --> 0:05:29.799 I you know, I want to sing for its virtues 0:05:29.960 --> 0:05:33.919 in this episode. So another reason that I was thinking 0:05:33.920 --> 0:05:36.440 about made for TV movies is that just recently, like 0:05:36.480 --> 0:05:39.279 in the past week, Rachel and I watched another one 0:05:39.320 --> 0:05:41.640 from also from nineteen seventy eight, the same year as 0:05:41.880 --> 0:05:46.000 Death Moon, which was an ABC made for TV horror 0:05:46.080 --> 0:05:49.039 called The Initiation of Sarah. Have you seen this? 0:05:49.160 --> 0:05:49.920 Rob? I have not. 0:05:50.120 --> 0:05:54.000 It seems heavily based on Stephen King's Carrie that the 0:05:54.040 --> 0:05:56.400 movie version of Carrie with Sissy's Basic came out in 0:05:56.480 --> 0:05:58.640 nineteen seventy six, so this would have been, you know, 0:05:58.720 --> 0:06:00.400 in the wake of that, a couple of years after. 0:06:01.440 --> 0:06:04.320 This movie was about a It's about a troubled young 0:06:04.320 --> 0:06:08.680 woman with telekinetic powers who goes to college, gets bullied 0:06:08.680 --> 0:06:11.800 by a bunch of mean sorority girls led by Morgan Fairchild, 0:06:12.320 --> 0:06:14.800 and you can guess where it goes. Based on the 0:06:14.880 --> 0:06:17.200 Carry model, a similar kind of arc. There's you know, 0:06:17.240 --> 0:06:19.560 there's no pig's blood, but there's a similar there's like 0:06:19.920 --> 0:06:22.960 she sort of casts a spell that turns Morgan Fairchild 0:06:23.120 --> 0:06:28.080 like like evil looking and ugly, though this one has 0:06:28.120 --> 0:06:32.280 a variant. Unlike Carrie, where the telekinetic girl is sort 0:06:32.320 --> 0:06:35.120 of coached in the dark side of the force by 0:06:35.400 --> 0:06:38.080 by a mentor, an evil mentor, in this movie it's 0:06:38.200 --> 0:06:41.119 Shelley Winter is wearing a druid robe and a huge wig. 0:06:42.360 --> 0:06:44.480 So that one was pretty fun. But anyway, that brought 0:06:44.520 --> 0:06:47.640 me to Invitation to Hell, which I think is even 0:06:47.680 --> 0:06:51.760 more of a winner. There is something I find delightful 0:06:51.960 --> 0:06:57.880 and even intoxicating about the particular combination of spiciness and 0:06:58.320 --> 0:07:02.159 blandness that you get with American made for TV horror 0:07:02.240 --> 0:07:05.680 from these decades, from the seventies and eighties. Often these 0:07:05.720 --> 0:07:11.000 movies do have a really weird and disturbing premise and 0:07:11.080 --> 0:07:15.880 some wild ideas inside them, kind of trapped inside, but 0:07:16.120 --> 0:07:21.080 the imagination at work feels muted, muffled, of course censored 0:07:21.120 --> 0:07:24.280 for content because it was on TV, but also contorted 0:07:24.400 --> 0:07:27.560 into a particular shape. I think we talked about this 0:07:27.600 --> 0:07:29.640 when we did the episode on Gargoyles. You know that 0:07:29.680 --> 0:07:33.240 you got to accommodate ad breaks and hit predictable plot 0:07:33.280 --> 0:07:39.160 beats on the TV timeline, So it creates this weird effect, 0:07:39.280 --> 0:07:42.360 especially when it's a horror story where I wanted to 0:07:42.400 --> 0:07:45.520 compare it to seeing the outline of a dread outer god, 0:07:45.640 --> 0:07:51.600 but only through translucent glass bricks. Like occasionally, something weird 0:07:51.640 --> 0:07:54.880 and wild kind of gets loose in the story and 0:07:55.000 --> 0:07:57.960 for a moment it breaks through the confines of the format, 0:07:58.200 --> 0:08:01.120 before everything kind of settles back down and the being 0:08:01.160 --> 0:08:03.760 goes back behind the wall, and it ends up being 0:08:03.840 --> 0:08:06.160 kind of quaint and cozy at the same time, and 0:08:06.320 --> 0:08:07.280 I really like it. 0:08:07.880 --> 0:08:09.640 Yeah, Yeah. We were talking a little bit about this 0:08:09.720 --> 0:08:13.560 off Mike before we started recording. We were talking about 0:08:13.560 --> 0:08:16.840 other West Craven pictures, and I pointed out that I 0:08:17.680 --> 0:08:19.360 was trying to figure out how to express how I 0:08:19.360 --> 0:08:21.280 felt about this, because I'm not gonna I'm not gonna 0:08:21.280 --> 0:08:22.760 go out there and say this is the best West 0:08:22.800 --> 0:08:26.000 Craven film at and it's also far from the worst. 0:08:26.600 --> 0:08:29.920 But I might have liked it in ways that I 0:08:30.000 --> 0:08:32.560 have never liked of Wes Craven film And I think 0:08:32.600 --> 0:08:36.200 it comes down to comfiness. This film felt comfy in 0:08:36.240 --> 0:08:41.600 a way that even I think objectively better Wes Craven 0:08:41.640 --> 0:08:44.680 films and certainly more influential West Craven films, are not. 0:08:45.080 --> 0:08:48.040 Like that might be part of what you're talking about here, 0:08:48.120 --> 0:08:53.080 Like the TV format is kind of this this way, 0:08:53.200 --> 0:08:56.400 this way of grounding the storytelling and in a way 0:08:56.400 --> 0:08:58.040 that makes you feel a little safer, Like this is 0:08:58.120 --> 0:09:01.800 network television in the seventies or eighties. It can only 0:09:01.840 --> 0:09:04.640 go so hard on me. You know, it has kid 0:09:04.640 --> 0:09:06.760 gloves on, perhaps to a certain extent because they got 0:09:06.800 --> 0:09:08.600 to wrap this up by ten PM, But it. 0:09:08.559 --> 0:09:14.560 Also provides a funny and comfortable contrast with the weirder 0:09:14.600 --> 0:09:18.760 and wilder elements of the horror themes. I just like 0:09:18.840 --> 0:09:20.880 the hot and cold showers element of it. 0:09:21.080 --> 0:09:23.160 Oh yeah, and this one's got some h This one 0:09:23.280 --> 0:09:24.760 really goes all over the place. 0:09:24.960 --> 0:09:27.240 Yeah yeah, Now you were saying, in a way, you 0:09:27.320 --> 0:09:29.480 might think of this as kind of a favorite of 0:09:29.600 --> 0:09:33.240 Wes craven experiences. Some reviewers online regard this as Wes 0:09:33.320 --> 0:09:37.480 Craven's worst movie. I don't think that's right. I'll give 0:09:37.520 --> 0:09:40.319 it that is. He certainly has movies that I think 0:09:40.360 --> 0:09:45.920 are more artistically ambitious and more interesting and certainly scarier. 0:09:46.000 --> 0:09:48.680 This movie, I think is not very scary, but it 0:09:48.800 --> 0:09:52.640 is highly watchable and very entertaining and a lot of fun, 0:09:52.760 --> 0:09:54.840 I would say, much more so than some of Craven's 0:09:54.920 --> 0:10:00.760 lesser theatrical releases. And you know, even it has a 0:10:00.840 --> 0:10:03.600 kind of made for TV hopiness, but has some ideas. 0:10:03.720 --> 0:10:06.400 It's like, yeah, it's it's having some fun. It's it's 0:10:06.440 --> 0:10:07.480 playing around. 0:10:07.320 --> 0:10:10.720 It's having some fun. It has things to say about 0:10:11.120 --> 0:10:14.040 ambition in the American dream. 0:10:14.440 --> 0:10:14.640 Yeah. 0:10:15.080 --> 0:10:17.480 So yeah, it's there's a fair amount going on here 0:10:17.480 --> 0:10:20.200 in this picture. And as we'll discuss too, it is 0:10:20.240 --> 0:10:23.840 perhaps a cut above some of the other made for 0:10:23.920 --> 0:10:27.200 TV films that were popping out around this time. Yeah, 0:10:27.360 --> 0:10:29.480 and to be clear, it is I think it is 0:10:29.679 --> 0:10:33.000 very easy to dismiss made for TV movies, particularly from 0:10:33.000 --> 0:10:36.680 this era, as lower budget productions produced to adhere to 0:10:36.760 --> 0:10:39.760 network standards, you know, thinking of them as sort of 0:10:39.760 --> 0:10:43.480 bland sandboxes for bland filmmakers and bland actors. But of 0:10:43.559 --> 0:10:45.480 course there's still plenty of room for talent to shine 0:10:45.520 --> 0:10:49.199 through even in those constraints. And I think part of 0:10:49.240 --> 0:10:51.040 it may be as well that a lot of us 0:10:51.040 --> 0:10:55.079 have gotten away from watching films on broadcast television in general. 0:10:55.520 --> 0:10:59.160 But TV absolutely was, and you know, I guess to 0:10:59.200 --> 0:11:01.680 a large etent still is a medium for film watching. 0:11:02.160 --> 0:11:05.760 In fact, TV is where some films really cemented their following. 0:11:05.800 --> 0:11:07.920 And I'm not just talking about like the cult films 0:11:07.960 --> 0:11:10.200 that you know, you and I may have grown up 0:11:10.559 --> 0:11:12.680 watching on TV and listeners may have grown up watching 0:11:12.720 --> 0:11:14.720 on TV like Beast Master and Clash of the Titans 0:11:14.760 --> 0:11:18.000 and stuff like that. You can say that about films 0:11:18.040 --> 0:11:21.320 like The Wizard of Oz. I was recently rewatching this 0:11:21.400 --> 0:11:26.000 film with my kid and it had the Turner Classic 0:11:26.080 --> 0:11:29.360 Movies intro by Ben Menkwitz, and he pointed out in 0:11:29.440 --> 0:11:32.520 this intro that when this film was released in thirty 0:11:32.600 --> 0:11:35.080 nine and then re released in forty nine and fifty five, 0:11:35.400 --> 0:11:37.400 you know, it's a critical success, but really only a 0:11:37.440 --> 0:11:41.760 modest financial success. It might sound crazy, but it was 0:11:41.800 --> 0:11:47.680 on TV that The Wizard of Oz apparently really caused 0:11:47.920 --> 0:11:49.760 viewers to fall in love with it. This is where 0:11:49.800 --> 0:11:54.400 it really began to take on the legendary status that 0:11:54.520 --> 0:11:57.000 it has today, which was that was a real eye 0:11:57.040 --> 0:11:57.680 opener for me. 0:11:58.080 --> 0:11:59.840 I wonder if that's the case with a lot of 0:12:00.000 --> 0:12:04.000 classic films. I'm just speculating, so I don't know in 0:12:04.360 --> 0:12:07.679 this case, but like I would strongly suspect that there 0:12:07.679 --> 0:12:10.840 are maybe a lot of holiday films that are like that, 0:12:10.840 --> 0:12:13.200 that are like big because of reruns on TV. Like, 0:12:13.240 --> 0:12:15.400 I wonder if that's the case with It's a Wonderful Life. 0:12:15.600 --> 0:12:18.480 Comparing the original release of that to like how much 0:12:18.880 --> 0:12:21.280 love it got in the years, you know, as I 0:12:21.400 --> 0:12:23.640 played in the holidays and stuff like that, I. 0:12:23.600 --> 0:12:25.800 Would not be surprised at all. Yeah, if that were 0:12:25.800 --> 0:12:28.520 the case, and even into fairly recent years, I think 0:12:28.520 --> 0:12:31.000 it's been surprising at how you can be surprised at 0:12:31.040 --> 0:12:36.920 at like what films can really like spike ratings. A 0:12:36.960 --> 0:12:39.640 friend of mine who at the time worked for Cartoon 0:12:39.679 --> 0:12:41.920 Network and pointed out that like whenever they would play 0:12:41.960 --> 0:12:45.040 The Mask Too, the sequel to Jim Carrey's The Mask, 0:12:45.480 --> 0:12:47.720 ratings would just go through the like it was. It 0:12:47.760 --> 0:12:49.280 was it was I'm not gonna say it would go 0:12:49.280 --> 0:12:50.760 through the roof. But I think the idea was like, 0:12:50.840 --> 0:12:52.720 if they needed to like sort of juice the ratings 0:12:52.720 --> 0:12:54.840 a little bit, this was always a film they could 0:12:54.920 --> 0:12:55.800 they could call upon. 0:12:55.880 --> 0:12:57.640 This is always a lever they could pull. Is that 0:12:57.760 --> 0:13:01.040 just like ninety minutes of a cartoon faced dog biting crotches? 0:13:01.280 --> 0:13:03.719 I guess so, but you know, it's what it's what 0:13:03.840 --> 0:13:06.960 works now. But to come back to this film and 0:13:06.960 --> 0:13:08.760 some of the others we've talked about, I am just 0:13:08.800 --> 0:13:11.800 continually impressed by just how weird and daring some of 0:13:11.840 --> 0:13:15.360 these TV movies of the Week were in the seventies 0:13:15.400 --> 0:13:18.520 and eighties, you know, rolling out strange scripts, bringing them 0:13:18.520 --> 0:13:22.760 to life, often with modest budget casts and production values, 0:13:23.280 --> 0:13:25.600 and sometimes with up and coming or future big name 0:13:25.600 --> 0:13:27.920 actors attached. You know, the likes of John Carpenter and 0:13:27.920 --> 0:13:29.880 Steven Spielberg, and of course Wes Craven. 0:13:30.000 --> 0:13:34.560 Yeah, that's right, was Steven Spielberg's duel made for TV 0:13:34.640 --> 0:13:37.240 movie also, I believe it was. Yeah, also had early 0:13:37.320 --> 0:13:40.160 made for TV stuff, So so yeah, it is not 0:13:40.640 --> 0:13:42.840 just a play place for hacks. I mean, you know, 0:13:42.880 --> 0:13:46.800 some of the best and most revered directors in Hollywood 0:13:47.040 --> 0:13:49.400 did a lot of work here. Another thing that I 0:13:49.400 --> 0:13:52.720 think is interesting about Invitation to Hell is that it 0:13:52.880 --> 0:13:56.040 reminds me of a favorite that we have covered on 0:13:56.600 --> 0:14:00.480 Weird House Cinema before, and that is the unli loved 0:14:00.559 --> 0:14:04.520 but excellent Halloween sequel Halloween three Season of the Witch. 0:14:04.920 --> 0:14:10.400 These are examples of the rare horror movie in which 0:14:10.520 --> 0:14:14.960 a sort of that have as their main feature a 0:14:15.120 --> 0:14:20.440 kind of economic or class critique, and that have a 0:14:20.800 --> 0:14:25.240 business as the main demonic villain. I thought that was 0:14:25.320 --> 0:14:27.520 kind of interesting. You would think there'd be more movies 0:14:27.600 --> 0:14:30.119 like that, but I struggle to come up with many examples. 0:14:30.160 --> 0:14:33.040 I mean, it's the case here. I mean, the closest 0:14:33.080 --> 0:14:34.960 thing you get is stuff that's more on the border 0:14:34.960 --> 0:14:37.640 of like horror and sci fi, where you get it's 0:14:37.680 --> 0:14:40.680 like a weird creature that is made by some experiment 0:14:40.840 --> 0:14:42.800 or something like that. And even then, like the monster 0:14:43.000 --> 0:14:47.000 is just made by corporate malfeasance, you know, and ignoring 0:14:47.520 --> 0:14:51.120 safety protocols and so forth. Now, this, this movie we're 0:14:51.120 --> 0:14:54.200 talking about today has well. Actually this would be kind 0:14:54.200 --> 0:14:58.080 of difficult thing to disentangle. Do you think in Invitation 0:14:58.200 --> 0:15:02.280 to Hell that the country Club or the corporation is 0:15:02.360 --> 0:15:06.720 actually the main evil institution? Which is the main servant 0:15:06.720 --> 0:15:08.840 of Hell and which one is more in service of 0:15:08.880 --> 0:15:09.240 the other. 0:15:09.960 --> 0:15:11.640 I guess it's the country Club. I don't want to 0:15:11.680 --> 0:15:15.400 spoil too much at this point, but I guess it's 0:15:15.440 --> 0:15:18.400 the country club. Even though like with the country club 0:15:18.440 --> 0:15:20.400 exist if the company wasn't there, I don't know. They 0:15:20.400 --> 0:15:23.120 are kind of intermingled, and it seems like there's a 0:15:23.120 --> 0:15:24.960 lot of influence going back both ways. 0:15:25.280 --> 0:15:28.400 It seems like almost like the corporation exists. I mean, 0:15:28.440 --> 0:15:32.640 they're making aerospace technology, but it just exists to funnel 0:15:32.680 --> 0:15:34.240 people into the country club. 0:15:34.600 --> 0:15:36.280 Yeah, and then the head of the country club can 0:15:36.360 --> 0:15:38.800 just come over and tour your top secret projects at 0:15:38.800 --> 0:15:39.320 any moment. 0:15:39.360 --> 0:15:39.960 So that's right. 0:15:41.040 --> 0:15:41.960 It's a weird setup. 0:15:43.080 --> 0:15:45.080 Well, maybe we should say here, as always on Weird 0:15:45.080 --> 0:15:47.560 House Cinema, we are going to discuss the plot in 0:15:47.600 --> 0:15:49.360 a lot of detail. So if you would like to 0:15:49.400 --> 0:15:54.120 see Invitation to Hell without any additional spoilers, go watch 0:15:54.120 --> 0:15:56.840 it yourself. It's widely available. You can watch it streaming 0:15:56.880 --> 0:15:59.560 pause here. Go watch it and come back and listen 0:15:59.560 --> 0:16:01.440 to the rest. But if you think you're probably not 0:16:01.480 --> 0:16:03.160 going to watch it, or if you just don't care 0:16:03.160 --> 0:16:05.600 if we spoil the plot for you, you may proceed. 0:16:06.080 --> 0:16:08.880 All right, let's go ahead and listen to a little 0:16:08.920 --> 0:16:11.560 trailer audio. This time I was able to grab a 0:16:11.600 --> 0:16:14.760 little bit of the ABC movie promo. I like the 0:16:15.360 --> 0:16:18.240 network television promo for this film off of YouTube, So 0:16:18.480 --> 0:16:20.600 let's go ahead and listen to a little bit of that. 0:16:20.680 --> 0:16:26.600 It's a good one. They were a perfect family finding 0:16:26.600 --> 0:16:29.240 a new life and a new home. But an invitation 0:16:29.320 --> 0:16:35.440 and the hottest spot in town as became an invitation 0:16:35.640 --> 0:16:37.840 to Hell. One week from to night at eight seven, 0:16:37.920 --> 0:16:38.560 said to Lem. 0:16:38.440 --> 0:16:45.280 Move see, don't you want to stay up late? I'm 0:16:45.320 --> 0:16:46.840 not really late. Don't you want to stay up to 0:16:46.920 --> 0:16:48.120 ten pm? Watching this movie? 0:16:48.160 --> 0:16:50.960 Now? I'm tuning in. I'm going to turn down any 0:16:51.120 --> 0:16:54.800 party invitations and any invitations to something other than Hell, 0:16:55.240 --> 0:16:57.680 because I already have an Invitation to Hell on that's 0:16:57.680 --> 0:16:58.840 your TV screen. 0:16:58.600 --> 0:17:00.880 And you can still watch sixty minutes or twenty twenty afterwards. 0:17:00.880 --> 0:17:01.760 I think it's twenty twenty. 0:17:01.760 --> 0:17:03.080 That arekay nice? 0:17:03.680 --> 0:17:06.240 All right? As Joe mentioned earlier, Yeah, you can definitely 0:17:06.280 --> 0:17:08.600 go and stream this pretty much anywhere you want. I 0:17:08.640 --> 0:17:12.240 watched it on Prime. I believe it's It's come out 0:17:12.320 --> 0:17:15.360 on both DVD and VHS before, but I don't think 0:17:15.359 --> 0:17:19.080 it's received much attention on the physical media front, more 0:17:19.119 --> 0:17:21.639 than other made for TV films, to be sure. But 0:17:22.440 --> 0:17:24.560 you know you're not going to find an exquisite Blu 0:17:24.720 --> 0:17:26.160 ray of Invitation to Hell. 0:17:26.480 --> 0:17:29.640 Can I tell you my ideal way to own this. 0:17:30.119 --> 0:17:32.600 It would be like those tapes of the Star Wars 0:17:32.600 --> 0:17:37.120 Holiday Special where commercials are hardbaked in. If somebody out 0:17:37.119 --> 0:17:39.920 there has that, If you have a rip of Invitation 0:17:40.040 --> 0:17:43.879 to Hell with commercials in it, please please send it 0:17:43.920 --> 0:17:45.960 our way. I desperately want this. 0:17:54.200 --> 0:17:57.920 All right. Let's jump into the connections here the people 0:17:57.920 --> 0:18:00.680 who made this film, starting at the top with s Craven, 0:18:00.760 --> 0:18:04.159 who lived nineteen thirty nine through twenty fifteen. This is 0:18:04.200 --> 0:18:06.280 somehow our first Wes Craven movie. 0:18:06.760 --> 0:18:09.200 We've talked about doing other ones. We definitely talked about 0:18:09.200 --> 0:18:13.359 doing Swamp Thing and a number of other movies. Yeah. 0:18:13.400 --> 0:18:16.400 Wes Craven's got a lot of great films. But here, finally, 0:18:16.440 --> 0:18:18.080 at last, we have made it to the crave. 0:18:18.400 --> 0:18:23.440 Yeah. Yeah. Legendary American horror director. He was an academic 0:18:23.480 --> 0:18:26.440 and Humanity's professor in the mid sixties. His masters was 0:18:26.480 --> 0:18:29.679 in philosophy and writing, but then the Sirens Song of 0:18:29.760 --> 0:18:34.240 Cinema lured him away, initially into some low level editing positions, 0:18:34.240 --> 0:18:36.760 as well as some work in the adult film industry 0:18:36.840 --> 0:18:40.040 during the early to mid seventies, including writing and directing 0:18:40.359 --> 0:18:45.280 under the moniker Abe Snake Abe Snake, which I love 0:18:45.359 --> 0:18:48.960 that name because it sounds as ridiculously made up and 0:18:49.119 --> 0:18:53.720 on brand for an adult film director as Wes Craven 0:18:53.800 --> 0:18:57.720 does for horror. The Wes Craven was for his actual name, 0:18:58.720 --> 0:19:02.280 so good now. It was uncommon for filmmakers at various 0:19:02.280 --> 0:19:04.960 points in their career to do this, of course, especially 0:19:05.040 --> 0:19:08.719 during the adult film industry's golden age. But of course, 0:19:08.920 --> 0:19:12.560 his first breakout directorial effort was the notorious nineteen seventy 0:19:12.560 --> 0:19:16.240 two revenge film The Last House on the Left, followed 0:19:16.320 --> 0:19:20.119 by nineteen seventy seven's The Hills Have Eyes and the 0:19:20.240 --> 0:19:24.199 seventy eight TV movie Summer of Fear starring Linda Blair. 0:19:24.480 --> 0:19:25.479 Never Seen that one. 0:19:25.960 --> 0:19:29.560 Oh, and then also nineteen eighty one's Deadly Blessing This 0:19:29.600 --> 0:19:33.440 is another TV movie starring Ernest Borgnine. After this came 0:19:33.520 --> 0:19:36.480 his take on DC's Swamp Thing in eighty two, which 0:19:36.520 --> 0:19:38.840 show which you just mentioned this one, of course, starred 0:19:38.920 --> 0:19:43.520 Louis Jordaan, Adrian Barbou and ray Wise. Ray Wise played 0:19:43.560 --> 0:19:47.560 the Swamp Thing. And then in nineteen eighty four. This 0:19:47.680 --> 0:19:50.440 was a very interesting year for Craven because on one hand, 0:19:50.800 --> 0:19:54.119 we get this film, along with The Hills Have Eyes 0:19:54.200 --> 0:19:58.200 Part two, often considered one of, if not his worst film, 0:19:58.600 --> 0:20:01.480 and for I think in part because I've also read 0:20:01.560 --> 0:20:05.080 it might not have actually been completed. It's supposedly a mess. 0:20:05.440 --> 0:20:09.240 And it's also a film where, if memory serves, everybody 0:20:09.240 --> 0:20:12.080 including a dog, has a flashback to the first film. 0:20:13.520 --> 0:20:15.879 Where they get to re use footage. Yeah you pad 0:20:15.880 --> 0:20:17.719 that thing out, baby, Yeah. 0:20:17.760 --> 0:20:20.879 But this was also the year that he wrote and 0:20:20.880 --> 0:20:23.440 directed the excellent A Nightmare on Elm Street, a film 0:20:23.440 --> 0:20:26.960 that really did change horror cinema forever. You just can't 0:20:27.080 --> 0:20:30.200 understate how important A Nightmare of That on Elm Street 0:20:30.240 --> 0:20:31.760 was the creation of Freddy Krueger. 0:20:32.119 --> 0:20:35.359 So around the same time as Invitation to Hell. He's 0:20:35.359 --> 0:20:38.600 sort of there's somewhat overlapping projects a Nightmare on Elm 0:20:38.640 --> 0:20:40.120 Street and Invitation to Hell. 0:20:40.400 --> 0:20:43.760 Yeah, I don't have the exact timeline on things, but yeah, 0:20:43.800 --> 0:20:46.040 like a number of different things were coming to fruition, 0:20:46.520 --> 0:20:49.600 including the big one or the first of a few 0:20:49.640 --> 0:20:52.679 different big ones for Wes Craven. You know, he was 0:20:52.720 --> 0:20:54.600 far from one hit wonder. 0:20:54.520 --> 0:20:57.639 Though his success with Elm Street weirdly enough would not 0:20:57.840 --> 0:21:01.040 stop him from doing additional made for TV movies. 0:21:01.160 --> 0:21:04.159 No, no, yeah, because the weird thing. I mean, it's 0:21:04.240 --> 0:21:08.560 not really weird. But we've seen so many cases where 0:21:08.600 --> 0:21:11.160 a director, you know, strikes it strikes gold, and they're 0:21:11.200 --> 0:21:12.720 going to come back and do that sequel, at least 0:21:12.720 --> 0:21:16.080 the first sequel, because that's going to help fund the 0:21:16.119 --> 0:21:18.760 next thing. But he did not immediately return to the 0:21:18.800 --> 0:21:22.920 Elm Street director's chair. He kept mostly to the horror genre, 0:21:23.400 --> 0:21:26.240 but explored some sci fi horror in the nineteen eighty 0:21:26.240 --> 0:21:29.000 five TV movie Chiller. I haven't seen that one, but 0:21:29.040 --> 0:21:30.520 that's like a cryogenics picture. 0:21:30.600 --> 0:21:33.480 Yeah, it's got a guy who gets cryogenically preserved and 0:21:33.480 --> 0:21:36.000 then comes back to life, and then I think goes 0:21:36.040 --> 0:21:39.000 around stabbing people or something as Paul s Orvino as 0:21:39.040 --> 0:21:39.840 a priest in it. 0:21:41.080 --> 0:21:44.240 Also, nineteen eighty six is Deadly Friend, which is I 0:21:44.240 --> 0:21:47.640 think a robotics movie. I almost rented it thinking it 0:21:47.720 --> 0:21:50.159 was invitation to help, Like. I picked it up off 0:21:50.200 --> 0:21:51.479 the shelf and I'm like, oh, this is the one 0:21:51.600 --> 0:21:53.600 Joe was talking about, and then I realized, oh, wait, 0:21:53.640 --> 0:21:54.520 this is actually. 0:21:54.240 --> 0:21:57.320 Not It doesn't mean we shouldn't watch it, though, No. No. 0:21:58.600 --> 0:22:01.359 During this time, he also direct did an episode of 0:22:01.520 --> 0:22:06.440 The Magical World of Disney, an episode titled Casebusters starring 0:22:06.480 --> 0:22:09.440 Noah Hathaway. Of course we know is a Treyu from 0:22:09.480 --> 0:22:10.399 the Never Ending Story. 0:22:10.560 --> 0:22:13.879 Oh okay, not the only never Ending Story tie in 0:22:13.960 --> 0:22:15.520 in this episode, correct. 0:22:16.880 --> 0:22:19.880 He also directed five episodes of the nineteen eighties Twilight 0:22:19.960 --> 0:22:23.439 Zone revival, and then came the infamous nineteen eighty eight 0:22:23.480 --> 0:22:27.480 production of The Serpent in the Rainbow. I don't know if 0:22:27.480 --> 0:22:29.280 infamous is really the right way to describe it, but 0:22:29.320 --> 0:22:32.439 I know this one had had a very troubled production story. 0:22:32.480 --> 0:22:34.320 There were a lot of complications filming this. 0:22:34.840 --> 0:22:36.560 Yeah, that was a movie about voodoo. 0:22:36.920 --> 0:22:42.040 Yeah. Nineteen eighty nine Shocker came next. That that's what 0:22:42.200 --> 0:22:44.919 I know you have a fair amount of enthusiasm for. 0:22:45.280 --> 0:22:48.679 Yeah. I think that's a bullseye in my category of 0:22:48.800 --> 0:22:52.240 not good but a good time. Yeah. 0:22:52.400 --> 0:22:55.080 And then nineteen ninety one's The People Under the Stairs, 0:22:55.119 --> 0:22:59.119 a movie that I have seen, but it's weird. My 0:22:59.240 --> 0:23:04.520 memory of seeing it is still overshadowed by my childhood 0:23:04.560 --> 0:23:07.600 idea of what this movie might be, if that makes sense, 0:23:07.640 --> 0:23:10.280 Like seeing the posts, you're seeing the VHS box art, Like, 0:23:10.359 --> 0:23:15.679 I remember my anticipation of this movie far more than 0:23:15.680 --> 0:23:17.760 I remember actually seeing it. I remember you and I 0:23:17.800 --> 0:23:20.119 have talked about this before. How you would I think 0:23:20.160 --> 0:23:21.160 we would sort of do the. 0:23:21.119 --> 0:23:24.080 Same thing, like wander around the video store when we 0:23:24.080 --> 0:23:27.440 were young and look at the horror box covers and 0:23:27.880 --> 0:23:31.160 just imagine what the movie is without actually seeing it. 0:23:31.280 --> 0:23:34.040 So sometimes when you actually when you're older and you 0:23:34.080 --> 0:23:36.280 can see these movies, or maybe you're still too young 0:23:36.320 --> 0:23:39.160 to be watching them, but you see them anyway, it 0:23:39.240 --> 0:23:42.119 just doesn't match the movie you already imagined, And so 0:23:42.200 --> 0:23:43.880 you end up with a blended memory. 0:23:44.320 --> 0:23:48.159 Yeah, yeah, it's true. So it wasn't until nineteen ninety 0:23:48.160 --> 0:23:51.720 four that he returned to the Elm Street franchise with 0:23:51.800 --> 0:23:55.119 the meta horror film New Nightmare, in which he, like 0:23:55.240 --> 0:23:58.160 many members of the original cast, plays himself as well 0:23:58.200 --> 0:23:59.760 in addition to directing it. 0:24:00.000 --> 0:24:02.280 I have a lot of positive feelings about New Nightmare, 0:24:02.359 --> 0:24:04.360 but my memory I haven't seen it in a long time, 0:24:04.359 --> 0:24:07.600 but my memory is it almost is more exciting as 0:24:07.640 --> 0:24:10.639 a premise than effective as a completed film. 0:24:11.400 --> 0:24:14.000 Yeah, I think. What also, I saw it the year 0:24:14.040 --> 0:24:16.760 it came out, but it was I think one of 0:24:16.800 --> 0:24:19.000 the factors that I have to take into account is 0:24:19.040 --> 0:24:21.640 this was the same year, nineteen ninety four that John 0:24:21.640 --> 0:24:24.800 Carpenter's In the Mouth of Madness came out. Both films 0:24:24.800 --> 0:24:27.800 that play with the sort of meta idea of horror 0:24:27.800 --> 0:24:32.600 fiction and reality blending and the membrane between the two 0:24:32.720 --> 0:24:36.840 worlds growing thin. And I think they're both effective in 0:24:36.880 --> 0:24:39.280 their own way. But In the Mouth of Madness really 0:24:39.320 --> 0:24:42.240 resonated with me at the time and stands out more 0:24:42.240 --> 0:24:43.760 in my own memory as a film that I love. 0:24:44.000 --> 0:24:46.520 Yeah, I think that's a more exciting film overall. But 0:24:46.680 --> 0:24:48.440 the premise of New Nightmare is really cool for people 0:24:48.480 --> 0:24:52.119 who aren't familiar. The idea is that it's about real people. 0:24:52.160 --> 0:24:54.600 It's about Wes Craven as Wes Craven. I mean, he's 0:24:54.640 --> 0:24:56.960 not the main character. The main character is Heather Langenkamp, 0:24:57.080 --> 0:24:59.480 the actress who played the main character in the first 0:24:59.560 --> 0:25:04.159 Nightmare movie, as herself, and other fictionalized versions of like 0:25:04.200 --> 0:25:06.959 the actors and you know, Robert England and people involved 0:25:06.960 --> 0:25:09.639 in these movies. And the premise is that there is 0:25:09.680 --> 0:25:14.800 a sort of ancient entity which attaches itself to characters 0:25:14.880 --> 0:25:17.560 in like scary stories that are told around the campfire 0:25:17.600 --> 0:25:20.440 over the years, and it attaches itself to the idea 0:25:20.480 --> 0:25:23.560 of Freddy Krueger. So for these people in the real world, 0:25:23.680 --> 0:25:26.480 the fictional character Freddy Krueger becomes real. 0:25:27.240 --> 0:25:32.240 It was a really daring idea. I feel like it's 0:25:32.280 --> 0:25:34.720 exactly what the franchise needed at that point. I feel 0:25:34.760 --> 0:25:37.199 like we can look at the timeline of Freddy Krueger 0:25:37.240 --> 0:25:39.040 movies and can realize that it was getting long in 0:25:39.080 --> 0:25:41.760 the tooth and it needed to be shaken up one 0:25:41.800 --> 0:25:44.800 way or another. And this was like, this was a 0:25:44.840 --> 0:25:49.160 pretty artful and imaginative way to shake things up and 0:25:49.320 --> 0:25:51.720 clearly like the way that brought Wes Craven back to 0:25:51.760 --> 0:25:54.679 the picture. Yeah, totally now. He followed that up with 0:25:54.720 --> 0:25:58.080 the nineteen ninety five Eddie Murphy horror comedy Vampire in Brooklyn, 0:25:58.440 --> 0:26:00.919 which was widely panned at the time and there were 0:26:00.920 --> 0:26:02.960 a lot of jokes about it. But I believe it's 0:26:02.960 --> 0:26:06.360 been reassessed in recent years and there's some different ideas 0:26:06.359 --> 0:26:08.760 about how we should look at Vampire in Brooklyn. I 0:26:08.760 --> 0:26:11.399 don't think I ever saw it myself, though, but the 0:26:11.480 --> 0:26:13.720 following year Craven hit it out of the park once 0:26:13.760 --> 0:26:17.040 more with a hugely successful Scream, which would spawn an 0:26:17.160 --> 0:26:20.720 entire franchise, obviously, with Craven directing the first four films, 0:26:20.720 --> 0:26:24.159 this time with twenty eleven Scream four standing as his 0:26:24.240 --> 0:26:27.400 final directorial credit before his death in twenty fifteen. 0:26:27.760 --> 0:26:30.160 You know, after the first Scream, I think you could 0:26:30.359 --> 0:26:34.360 very legitimately make the charge that the Scream movies are 0:26:34.840 --> 0:26:38.320 no longer innovating. They're just kind of varying the same formula. 0:26:39.560 --> 0:26:42.320 So you know, that may be fair. But I've been 0:26:42.440 --> 0:26:45.000 entertained by all of them. I haven't been bored by 0:26:45.000 --> 0:26:45.960 a Scream movie yet. 0:26:46.600 --> 0:26:49.280 Yeah. I mean, I haven't gotten to the point where 0:26:49.280 --> 0:26:52.840 I have wanted to go back and reassess the Scream movies. 0:26:52.880 --> 0:26:55.640 I enjoyed them. I enjoyed them at the time, and 0:26:56.240 --> 0:26:57.840 I guess on one level, it kind of makes me 0:26:57.880 --> 0:27:00.160 feel old to realize that ghost Face is a horror 0:27:00.600 --> 0:27:03.600 icon now, like he's shown up in the Mortal Kombat 0:27:03.640 --> 0:27:08.320 franchise as a DLC character at this point, alongside the 0:27:08.480 --> 0:27:11.600 likes of Freddy Krueger and Jason voor Hee's and the 0:27:11.680 --> 0:27:12.920 Xena morphin Predator. 0:27:13.200 --> 0:27:15.600 Wait a minute, if he's in Mortal does he like 0:27:15.720 --> 0:27:17.159 call lu Kang on the phone? 0:27:17.760 --> 0:27:20.360 I don't know play. This is the latest one that 0:27:20.440 --> 0:27:23.880 my poor system can't play this one. Someone else will 0:27:23.880 --> 0:27:25.880 have to write in and tell us how this plays out. 0:27:26.160 --> 0:27:29.080 I mean, the phone calls are crucial. That's what scream is. 0:27:29.760 --> 0:27:31.720 I would hope. So Johnny Katee has the phone, maybe 0:27:31.720 --> 0:27:35.679 he can get phone calls from ghost Face. Okay, well anyway. 0:27:35.840 --> 0:27:39.880 Wes Craven's Scream Era also included some notable deviations, most 0:27:39.880 --> 0:27:43.120 notably the nineteen ninety nine drama Music of the Heart, 0:27:43.119 --> 0:27:46.560 which starred Meryl Streep. She was nominated for Best Actress 0:27:46.800 --> 0:27:49.480 Academy Award for that role. He also directed a segment 0:27:49.480 --> 0:27:52.040 in two thousand and six is Paris just him? This 0:27:52.200 --> 0:27:55.240 is French so and may be butchering alongside the likes 0:27:55.280 --> 0:27:58.280 of the Cohen Brothers and others. I saw this one 0:27:58.320 --> 0:28:01.720 in the cinema. I think I only remember the Coen 0:28:01.760 --> 0:28:04.800 Brothers segment though, okay, I think it had steep. 0:28:04.520 --> 0:28:05.280 Yuseimi in it. 0:28:06.160 --> 0:28:09.280 But Craven also directed the two thousand and five werewolf 0:28:09.320 --> 0:28:13.240 movie Cursed starring Christina Ricci, and the air travel thriller 0:28:13.320 --> 0:28:16.720 Red Eye starring Rachel McAdams, Killian Murphy and of course 0:28:16.800 --> 0:28:18.040 the legendary Brian Cox. 0:28:18.160 --> 0:28:20.080 Oh, I didn't know Brian Cox was in that. Now 0:28:20.119 --> 0:28:20.960 I kind of want to see it. 0:28:21.160 --> 0:28:24.680 Yeah, I haven't seen it. I often avoid the air 0:28:24.720 --> 0:28:27.680 travel thrillers. But I mean that's a good cast. There's 0:28:27.720 --> 0:28:29.760 no doubt about it. Love all three of them. 0:28:30.119 --> 0:28:33.119 Oh yeah, well that's fair, realis That's probably the reason 0:28:33.160 --> 0:28:35.720 we have not yet covered Gok body Snatcher from Hell. 0:28:36.320 --> 0:28:39.520 Yeah, now's the time, though, I'm in between flights, so 0:28:39.600 --> 0:28:42.320 you don't have any trips coming up, not for a 0:28:42.320 --> 0:28:42.640 couple of. 0:28:42.680 --> 0:28:45.080 Months, so yeah, okay, well maybe we should do it. 0:28:45.240 --> 0:28:49.120 Yeah, all right, Now that we've done Wes Craven, hopefully 0:28:49.200 --> 0:28:52.240 due diligence there at least a brief overview, we'll move 0:28:52.240 --> 0:28:55.000 on to the writer, the screenwriter of this TV movie. 0:28:55.000 --> 0:28:58.400 It's Richard Rothstein, who lived nineteen forty three through twenty 0:28:58.440 --> 0:29:02.360 eighteen American screen and producer whose first produced script was 0:29:02.400 --> 0:29:06.280 the nineteen seventy eight western shoot The Sundown, co starring 0:29:06.480 --> 0:29:10.080 very young Christopher Walken. His credits include various other films 0:29:10.080 --> 0:29:13.360 and TV movies, but most notable are eighty two episodes 0:29:13.400 --> 0:29:16.920 of TV's The Hitchhiker, which ran eighty four through ninety seven, 0:29:17.240 --> 0:29:21.640 and of course nineteen ninety two's Universal Soldier starring Jean 0:29:21.680 --> 0:29:22.400 Claude van Dam. 0:29:22.720 --> 0:29:24.800 Oh. Okay, yeah, he was. 0:29:24.760 --> 0:29:26.440 Just involved with the first one, but you'll see him 0:29:26.440 --> 0:29:31.640 as he gets a character credit on all subsequent Universal Soldier. 0:29:31.320 --> 0:29:33.880 Movies that also of Doulph Londgren. 0:29:33.960 --> 0:29:37.280 Yep, yep, he's definitely in the first one and eventually 0:29:37.400 --> 0:29:40.840 pops back up in the latter ones as well. All right, 0:29:40.920 --> 0:29:43.880 getting into the cast here, top billing goes to Robert Urick, 0:29:44.200 --> 0:29:49.080 who plays Matt Winslow. Urick lived nineteen forty six through 0:29:49.240 --> 0:29:53.360 two thousand and two American leading man actor, best remembered 0:29:53.360 --> 0:29:55.720 for his work in the seventies and eighties, which included 0:29:55.760 --> 0:29:58.880 a lot of TV, including the title role in Spencer 0:29:58.960 --> 0:30:01.680 for Hire and the role of Jake Spoon in the 0:30:01.720 --> 0:30:06.280 nineteen eighty nine mini series Lonesome Dove. Oh yeah, that 0:30:06.560 --> 0:30:07.920 of course had a terrific cast. 0:30:08.280 --> 0:30:11.040 I haven't seen it, but I started reading the novel 0:30:11.160 --> 0:30:13.240 last year and really liked it, but then just didn't 0:30:13.280 --> 0:30:16.280 finish it. Oh yeah, it's a great novel as well. 0:30:16.560 --> 0:30:19.200 There's another one in that series that I read, Comanche Moon, 0:30:19.240 --> 0:30:21.960 that I really liked. But yeah, the mini series was 0:30:22.000 --> 0:30:25.200 definitely a prestige project. Had Robert Duvall in it, also 0:30:25.240 --> 0:30:29.040 had Sonny Carl Davis in it, a bunch of people. 0:30:29.720 --> 0:30:32.400 But yeah, Robert Urick is in that and plays a 0:30:32.800 --> 0:30:37.720 plays a character that kind of it's easy to look 0:30:37.720 --> 0:30:39.800 at his role in this picture and sort of identified 0:30:39.960 --> 0:30:42.560 the sort of leading man type roles that he played. 0:30:42.840 --> 0:30:48.160 He plays a flawed character in Lonesome Dove, a character 0:30:48.200 --> 0:30:51.360 that ends up having not a great trajectory. Other films 0:30:51.400 --> 0:30:54.320 of his include seventy three's Magnum Force. Oh, and then 0:30:54.320 --> 0:30:58.080 the nineteen eighty two Alan Rudolph cattle mutilation conspiracy thriller 0:30:58.200 --> 0:31:01.920 Endangered Species. It's another one where he gets to play 0:31:02.920 --> 0:31:05.600 a more morally complicated character. 0:31:05.280 --> 0:31:07.400 As you might expect from an Alan Rudolph picture. 0:31:07.720 --> 0:31:11.280 Once again, that was not the cattle mutilation movie we 0:31:11.360 --> 0:31:13.480 talked about. That was the other one. 0:31:13.640 --> 0:31:17.200 Yeah, yeah, this is one where this one leans more 0:31:17.240 --> 0:31:20.760 conspiracy thriller as opposed to aliens doing things to cows. 0:31:21.480 --> 0:31:24.760 But it's also it's pretty great. It's like it's Alan Rudolph, 0:31:25.160 --> 0:31:29.000 you know, going for a mainstream thriller vibe, but it's 0:31:29.080 --> 0:31:32.680 quite effective. It's one that I've toyed around with the 0:31:32.720 --> 0:31:35.160 idea of covering. I definitely want to cover some Alan 0:31:35.240 --> 0:31:38.080 Rudolph film at one point or another. Is just a 0:31:38.120 --> 0:31:39.360 matter of picking the right one. 0:31:39.480 --> 0:31:41.280 I've got one on my list we can talk about 0:31:41.320 --> 0:31:42.160 after this episode. 0:31:42.240 --> 0:31:46.120 Oh yeah, yeah. But anyway, I like Robert Urick, you know, yeah, 0:31:46.280 --> 0:31:49.160 you know, very much seventies eighties leading man stock but 0:31:49.200 --> 0:31:52.000 I feel like he always gets the job done. And 0:31:52.120 --> 0:31:54.880 you know, obviously he's an actor we would have liked 0:31:54.920 --> 0:31:56.920 to have seen more from. We didn't get to see 0:31:56.920 --> 0:31:59.200 a lot of late career character work from him, as 0:31:59.240 --> 0:32:01.800 he passed from cancer at age of fifty five. 0:32:03.360 --> 0:32:06.720 Yeah, the main character in this movie I actually found 0:32:07.200 --> 0:32:11.160 quite likable, So Matt Winslow. This character, he's sort of 0:32:11.360 --> 0:32:15.240 a classic like solid family man, like a loving father 0:32:15.760 --> 0:32:19.520 and a good husband and an emblem of rectitude, so 0:32:19.560 --> 0:32:22.680 you might expect, well, he's kind of an uncomplicated character, 0:32:22.880 --> 0:32:25.640 so there's not much to get into here, But I 0:32:25.680 --> 0:32:29.680 don't know, I really enjoyed this character. Actually, he's a 0:32:29.680 --> 0:32:32.720 good guy by trade. In the movie, he's an engineer 0:32:32.760 --> 0:32:36.560 who works in this aerospace technology industry and they have 0:32:36.680 --> 0:32:40.320 him designing cutting edge suits for astronauts to wear, like 0:32:40.360 --> 0:32:43.560 in the next phase of Solar System exploration. And he 0:32:43.680 --> 0:32:47.400 has this ludicrous sci fi dialogue to deliver where he's 0:32:47.440 --> 0:32:50.280 like having them point this space suit helmet at things 0:32:50.320 --> 0:32:53.520 and it identifies whether it is human or not, or 0:32:53.560 --> 0:32:56.880 a non human terrestrial or non terrestrial. 0:32:56.400 --> 0:33:00.080 Being, yes, or if you are benign or malignant? Is 0:33:00.080 --> 0:33:01.240 it malignant or malicious? 0:33:01.640 --> 0:33:04.760 Yeah, benign or malignant beings of whether or not there 0:33:04.760 --> 0:33:07.280 from Earth, And it just the helmet knows. 0:33:08.040 --> 0:33:10.120 It's remarkable tech that he developed here. 0:33:10.440 --> 0:33:13.280 So he's but he delivers that with a kind of 0:33:13.360 --> 0:33:18.800 illan that's admirable. Also, this character, Matt and by extension, Urik, 0:33:18.880 --> 0:33:21.880 is a megahunk, and the movie is not shy about 0:33:21.920 --> 0:33:24.240 like letting you get a good idea of what his 0:33:24.280 --> 0:33:26.600 butt looks like and some nice fitting khakis. 0:33:27.360 --> 0:33:30.240 Yeah that's right. He's at least shirtless in one scene. 0:33:31.000 --> 0:33:34.120 But this is a kind of leading man, good guy 0:33:34.240 --> 0:33:39.080 role that I think we could potentially underappreciate. It takes 0:33:39.120 --> 0:33:40.840 a little more skill than you might think when you 0:33:41.160 --> 0:33:43.200 first watched this movie because of all the different stuff 0:33:43.200 --> 0:33:46.320 he has to do and that he has to navigate 0:33:46.720 --> 0:33:51.040 the performance of, like fighting off demonic versions of his 0:33:51.080 --> 0:33:54.920 own children that are attacking him, and you know he 0:33:54.920 --> 0:33:55.720 does well with it. 0:33:55.920 --> 0:33:57.480 Yeah, yeah, Yeah. He has to do kind of like 0:33:57.520 --> 0:34:01.760 the grounded, believable stuff and then like lean into the 0:34:01.760 --> 0:34:04.160 the endo the role when it gets super weird towards 0:34:04.240 --> 0:34:16.120 the end. Yeah, all right, So that is Matt Winslow 0:34:16.239 --> 0:34:19.720 playing his wife. Pat Winslow is Joanna Cassidy born nineteen 0:34:19.800 --> 0:34:24.000 forty five, two time Emmy nominated Actress for Elite Actress 0:34:24.040 --> 0:34:26.400 Role on eighty four's Buffalo Bill and then a guest 0:34:26.440 --> 0:34:30.080 role in the TV series Six Feet Under. Best remembered 0:34:30.120 --> 0:34:32.880 by many of you, though, as the snake handling replicant 0:34:32.960 --> 0:34:35.200 Zora in Ridley Scott's Blade Runner. 0:34:35.680 --> 0:34:38.360 Oh okay, I didn't make that connection, all right. 0:34:38.480 --> 0:34:41.400 She's the one who she's wearing like a yeah yeah, 0:34:41.440 --> 0:34:45.040 it's like a shower curtain trench coat and she gets 0:34:45.040 --> 0:34:47.200 gunned down in the street by our hero. 0:34:47.480 --> 0:34:49.840 Yeah, yeah, totally is. She's working at the club and 0:34:49.880 --> 0:34:51.839 she has the snake. Yeah, yeah, I remember her. 0:34:52.200 --> 0:34:54.759 She also played the character Dolores in nineteen eighty eights 0:34:54.760 --> 0:34:57.239 who framed Roger Rabbit, and she had a role in 0:34:57.320 --> 0:34:59.160 seventy three as the laughing Policeman. 0:34:59.440 --> 0:35:02.640 She's also good here playing a conflicted character, someone who's 0:35:02.640 --> 0:35:07.160 torn between wanting to be like a loyal and kind 0:35:07.280 --> 0:35:10.200 wife and mother to her family, but she's also feeling 0:35:10.239 --> 0:35:14.279 the pull of like ostentatious wealth and the desire to 0:35:14.320 --> 0:35:18.080 be included in this in this rich new jet set 0:35:18.120 --> 0:35:19.480 that the family has moved in with. 0:35:19.719 --> 0:35:22.640 Yeah, because that's all that's ultimately the meat, like the 0:35:22.680 --> 0:35:27.080 social commentary that this film dabbles in as ambition and 0:35:27.120 --> 0:35:30.000 what do you want to be versus what you are? 0:35:30.480 --> 0:35:32.440 What are you know? What are your values? What are 0:35:32.440 --> 0:35:37.040 your ambitions? What is the American dream that either you 0:35:37.120 --> 0:35:39.680 have for yourself or is being inflicted upon you? And 0:35:39.719 --> 0:35:41.040 who is doing the inflicting. 0:35:41.239 --> 0:35:43.960 Oh oh, let's talk about Jessica Jones. Yes, that is 0:35:44.000 --> 0:35:44.879 the character's name. 0:35:45.000 --> 0:35:49.000 Yes, it's such a Yeah, it feels like such an 0:35:49.040 --> 0:35:51.960 everyday name for this character. And I guess part of 0:35:52.000 --> 0:35:55.160 it is like I grew up with somebody named Jessica Jones, 0:35:55.200 --> 0:35:57.680 so it like it just feels like it's like literally 0:35:57.719 --> 0:36:01.520 the girl next door's name. And the character that Susan 0:36:01.600 --> 0:36:03.080 Lucci is playing here is anything. 0:36:03.120 --> 0:36:08.000 But isn't Jessica Jones also a superhero? There was a 0:36:08.040 --> 0:36:08.960 show of wasn't there? 0:36:09.239 --> 0:36:13.799 Yeah, yeah, Jessica Jones. It's a Marvel character. But I 0:36:13.840 --> 0:36:16.120 think they I'm not an expert on that character, but 0:36:16.120 --> 0:36:18.239 I think they chose the name Jessica Jones right, or 0:36:18.280 --> 0:36:21.200 at least they focused in on it because it sounds 0:36:21.239 --> 0:36:23.480 so normal for a superhero, and it's about her being 0:36:23.520 --> 0:36:26.960 like an ex costume superhero now living a more like 0:36:27.880 --> 0:36:32.600 you know, film noir, kind of like gritty realistic existence. 0:36:32.719 --> 0:36:34.520 Oh okay, well, I didn't know anything about it. I 0:36:34.600 --> 0:36:37.200 just knew if the character existed, but yeah, anyway, So 0:36:37.280 --> 0:36:40.319 this is Jessica Jones in Invitation to Hell. Is the 0:36:40.400 --> 0:36:45.520 character played by Susan Lucci, the daytime TV soap opera 0:36:45.760 --> 0:36:49.720 Royalty who we were talking about earlier. And Lucci seems 0:36:49.760 --> 0:36:52.680 to be having the time of her life in this movie, 0:36:52.800 --> 0:36:56.200 playing the Satanic Impress of the golf course. I love this. 0:36:56.960 --> 0:36:59.120 Yeah, she's really getting in there and having a good 0:36:59.160 --> 0:37:02.200 time with this. She was born in nineteen forty six, 0:37:02.280 --> 0:37:05.520 still active, best known for her long running Emmy winning 0:37:05.640 --> 0:37:08.800 role as Erica Kine on the soap opera All My Children. 0:37:09.080 --> 0:37:11.520 I believe if IMDb is correct here, and they usually 0:37:11.600 --> 0:37:14.880 are oney seven hundred and forty two episodes. 0:37:14.400 --> 0:37:16.400 Of that series. How is that possible? 0:37:18.120 --> 0:37:21.760 Yeah, just they crank them out and then they run forever, 0:37:22.200 --> 0:37:26.120 or they ran forever. She also co starred with Robert 0:37:26.239 --> 0:37:30.480 Urich in the nineteen ninety two thriller Double Edge. Undoubtedly 0:37:30.560 --> 0:37:33.320 a TV legend here, and I've read that this whole 0:37:33.320 --> 0:37:37.480 film exists because her nineteen eighty three contract to keep 0:37:37.520 --> 0:37:40.160 acting on All My Children specified that she would get 0:37:40.200 --> 0:37:43.600 to do some sort of a like a TV movie 0:37:43.600 --> 0:37:46.480 of the week, and so they had this script written 0:37:46.600 --> 0:37:48.560 with her in mind. They were like, we've got to 0:37:48.560 --> 0:37:52.640 make we need to make a sci fi drama for 0:37:52.920 --> 0:37:56.719 Susan Lucci. See what you can put together, and so 0:37:57.120 --> 0:37:58.880 we end up with her playing Jessica Jones. 0:37:58.880 --> 0:38:03.000 Here this West Craven movie is actually a Susan Lucci vehicle. 0:38:03.480 --> 0:38:06.799 Yes, yeah, I think Crave. I've read that Craven came 0:38:06.800 --> 0:38:09.719 in kind kind of laid on it, like there's still 0:38:09.719 --> 0:38:12.120 pre production, but a lot of the elements were already 0:38:12.120 --> 0:38:14.239 in place. But then he hit the ground running, you know, 0:38:14.239 --> 0:38:16.520 finishing and putting everything together and figuring out how to 0:38:17.000 --> 0:38:20.839 make a few things work. But yeah, really fun role here. 0:38:20.920 --> 0:38:23.760 I think this and the nineteen eighty seven TV movie 0:38:23.800 --> 0:38:27.719 Haunted by Her Past maybe the only projects she's done 0:38:27.719 --> 0:38:30.120 that have a true speculative element to them. So you 0:38:30.160 --> 0:38:32.839 can imagine somebody who's like cranking out soap opera after 0:38:32.880 --> 0:38:35.600 soap opera episode, you know, having a great time getting 0:38:35.600 --> 0:38:36.880 to play the devil. 0:38:37.320 --> 0:38:39.200 Yeah, she should have done it more. 0:38:39.840 --> 0:38:43.080 Also, of note, she was in a nineteen ninety five 0:38:43.200 --> 0:38:47.120 TV movie called Ebby, in which she plays a female 0:38:47.239 --> 0:38:51.879 version of Ebenezer Scrooge. I haven't seen that one either, 0:38:51.920 --> 0:38:54.080 but that also sound that sounds like that was also 0:38:54.160 --> 0:38:57.600 a fun alternative to what she usually did. 0:38:57.880 --> 0:38:59.799 Do you know if on All My Children did she 0:39:00.080 --> 0:39:02.480 play a good character or a bad character? 0:39:03.480 --> 0:39:06.960 I think maybe more bad. It seems like all the 0:39:07.000 --> 0:39:11.120 memorable soap opera characters are baddies, right, Like those are 0:39:11.280 --> 0:39:15.160 the characters you love to hate, right maybe you know 0:39:15.200 --> 0:39:18.200 you remember names like you know, and I'm betraying my 0:39:19.560 --> 0:39:21.120 you know how little I know about soap operas. But 0:39:21.120 --> 0:39:24.239 you're gonna remember Barnabas Collins because he's a vampire. You're 0:39:24.239 --> 0:39:27.760 gonna remember presumably Erica Kane because she's also a baddie. 0:39:28.440 --> 0:39:30.120 Does sound like a bad character name? 0:39:30.200 --> 0:39:32.759 Yeah, speaking of names, I guess it would have been 0:39:32.760 --> 0:39:34.879 too on the nose if they called her Lucci fur 0:39:35.000 --> 0:39:38.600 in this, you know, so they probably like just call 0:39:38.640 --> 0:39:42.839 her Jessica jobs all right. Up next, we have Joe 0:39:42.960 --> 0:39:49.439 Recabuto playing Tom Peterson born nineteen forty nine, probably best 0:39:49.480 --> 0:39:51.040 known to many of you out there. This is the 0:39:51.080 --> 0:39:53.000 main connection I had to his work because he played 0:39:53.000 --> 0:39:57.080 the character Frank on TV's Murphy Brown, which I remember 0:39:57.120 --> 0:39:58.799 watching a lot as a kid. For some reason, I 0:39:58.800 --> 0:40:00.440 think because it was it was on tele vision and 0:40:00.480 --> 0:40:03.160 that's it was something the family was watching. But he 0:40:03.640 --> 0:40:06.840 was nominated for an Emmy for that performance. He was 0:40:06.880 --> 0:40:09.480 also in the nineteen eighty six movie Raw Deal, which 0:40:09.480 --> 0:40:10.959 we were just talking about last week. 0:40:11.200 --> 0:40:13.120 Why were we talking about Raw Deal last time? 0:40:13.320 --> 0:40:15.680 Oh? Yeah, why were It was somebody somebody one of 0:40:15.680 --> 0:40:17.279 the actors or lifted up. 0:40:17.360 --> 0:40:19.399 I just looked it up. It was Sam Wanamaker. There 0:40:19.440 --> 0:40:21.839 you go, yeah, who directed Sindbad and The Eye at 0:40:21.840 --> 0:40:22.240 the Tiger. 0:40:22.320 --> 0:40:26.239 There you go. Yeah. So Rogo Bhutto also did. I 0:40:26.320 --> 0:40:28.319 did a lot of TV work, but also directed quite 0:40:28.320 --> 0:40:30.879 a bit of television, including many episodes of Murphy Brown. 0:40:31.000 --> 0:40:33.399 Here he's good. 0:40:33.440 --> 0:40:33.560 Here. 0:40:33.600 --> 0:40:35.280 I don't have a lot to say about this performance, 0:40:35.320 --> 0:40:38.319 but he's he's good. He is the the the the 0:40:38.360 --> 0:40:43.040 co worker, I guess, former acquaintance of our lead character saying, hey, 0:40:43.080 --> 0:40:44.800 you're working for the big evil corporation. 0:40:45.000 --> 0:40:48.000 Great. Yeah, Well he's I think he's the friend who 0:40:48.160 --> 0:40:52.080 tempted Matt and his family to come into this. He's like, 0:40:52.200 --> 0:40:53.799 I have gone to take a job at a big 0:40:53.840 --> 0:40:55.799 evil corporation. Why don't you come work at the big 0:40:55.840 --> 0:40:58.799 evil corporation. You'll make lots of money. Yeah, and so 0:40:58.880 --> 0:41:02.560 he plays like an ratiating, nervous corporate grimlin. 0:41:03.040 --> 0:41:06.600 Yeah yeah, yeah, yeah, it's a good performance, all right. 0:41:06.640 --> 0:41:09.080 We also have Kevin McCarthy showing up at least forel 0:41:09.080 --> 0:41:12.520 a little bit. He's not in this much, plays mister Thompson. 0:41:13.160 --> 0:41:16.440 McCarthy lived nineteen fourteen through twenty ten. American actor, nominated 0:41:16.440 --> 0:41:18.520 for an Oscar for his performance in the nineteen fifty 0:41:18.520 --> 0:41:22.600 two adaptation of Death of a Salesman, but probably best 0:41:22.640 --> 0:41:26.280 known to many out there for his maniacal paranoid performance 0:41:26.280 --> 0:41:30.480 in nineteen fifty six's Invasion of the Body Snatchers. He 0:41:30.560 --> 0:41:35.200 also pops up in various genre films to follow multiple 0:41:35.280 --> 0:41:40.680 Joe Dante films, if I remember correctly, previously mentioned him 0:41:40.680 --> 0:41:43.160 on the show, because the episode I recorded with David's 0:41:43.160 --> 0:41:47.719 Treepy on Joe Dante's Innerspace, of course, features Kevin McCarthy. 0:41:48.040 --> 0:41:52.799 Kevin McCarthy has powerful, malicious boss energy, and that, in 0:41:52.840 --> 0:41:55.160 fact is exactly the role he plays in this movie. 0:41:55.200 --> 0:41:57.880 But I imagine he was just getting cast over and 0:41:57.880 --> 0:42:00.560 over again as the guy who calls the man character 0:42:00.640 --> 0:42:02.480 into his office to tell him he's fired. 0:42:02.920 --> 0:42:06.560 Yeah, Yeah, that's the generally he played like, certainly later 0:42:06.560 --> 0:42:09.440 in his career, tended to play nasty old men and 0:42:09.480 --> 0:42:10.960 he was excellent at it. 0:42:11.080 --> 0:42:13.200 Oh and speaking of old men, we also in this 0:42:13.320 --> 0:42:16.680 movie have Bill Irwin, the perpetual old man of the movies. 0:42:17.120 --> 0:42:19.480 Yes, yes, playing Walt Henderson. 0:42:20.040 --> 0:42:20.200 Yeah. 0:42:20.239 --> 0:42:25.000 Irwin lived nineteen fourteen through twenty ten. American character actor 0:42:25.000 --> 0:42:27.000 appeared in more than two hundred and fifty television and 0:42:27.080 --> 0:42:30.200 film roles, including the one that earned him an Emmy nomination. 0:42:30.239 --> 0:42:34.440 In nineteen ninety three, he played retiree Sid Fields on Seinfeld, 0:42:34.800 --> 0:42:37.080 and we previously discussed him in our episode on the 0:42:37.120 --> 0:42:38.840 nineteen eighty four short film Quest. 0:42:39.440 --> 0:42:43.160 He's got a brief sympathetic role in this movie. But yeah, 0:42:43.160 --> 0:42:45.520 it's a nice contrast to the other things I've seen 0:42:45.600 --> 0:42:48.239 him in, which are mainly comedies where he needs to 0:42:48.239 --> 0:42:49.719 pop up as like a curmudgeon. 0:42:50.120 --> 0:42:52.880 Yeah. Yeah, here he is a little bit more to do. 0:42:52.960 --> 0:42:54.799 He has a nice scene, and the last we see 0:42:54.800 --> 0:42:57.400 of him it's it's actually really sad. 0:42:57.800 --> 0:42:59.560 Yeah, yeah, all right. 0:42:59.600 --> 0:43:02.080 We also have a sheriff character that shows up. I 0:43:02.120 --> 0:43:03.919 don't think he has a name. Maybe he has a name, 0:43:04.719 --> 0:43:07.399 but it played by Nicholas Worth, who lived nineteen thirty 0:43:07.400 --> 0:43:12.480 seven through two thousand and seven. Instantly recognizable rotun typically 0:43:12.560 --> 0:43:16.239 bald or balding American character actor, you know, kind of 0:43:16.280 --> 0:43:19.480 like built like a like a pit bull. Probably best 0:43:19.560 --> 0:43:21.600 known to many of you out there for his role 0:43:21.920 --> 0:43:25.040 as the henchman Polly in nineteen nineties Dark Man. 0:43:25.440 --> 0:43:28.120 He body slams Robert Urich in this movie. 0:43:28.200 --> 0:43:30.520 He does, he does, He gets the fulsome wrestling moves. 0:43:30.640 --> 0:43:32.000 They have a wrestling scene. 0:43:32.600 --> 0:43:34.920 Yeah, so obviously this guy played a lot of heavies. 0:43:35.560 --> 0:43:39.239 His credits include seventy three Screen Blackula Scream, seventy four 0:43:39.320 --> 0:43:42.760 is The Terminal Man, seventy eights Coma, seventy nine's The Glove, 0:43:43.680 --> 0:43:45.880 nineteen eighties Don't Answer the Phone. I believe he was 0:43:45.920 --> 0:43:48.239 the main villain in that. He pops up an eighty 0:43:48.239 --> 0:43:51.520 two swamp Thing, eighty six is Heartbreak, Ridge, eighty eight's 0:43:51.520 --> 0:43:55.080 Hell Comes to Frogtown, and Action Jackson and The Naked 0:43:55.160 --> 0:43:58.840 Gun Wow. He also plays a demon in ninety four's 0:43:58.880 --> 0:44:02.040 Dark Angel The Ascent. He's in ninety six is Barbed Wire. 0:44:02.280 --> 0:44:04.520 Did a lot of TV pops up on The X 0:44:04.560 --> 0:44:06.520 Files and a couple of different star Trek shows. 0:44:06.680 --> 0:44:08.760 No, I don't remember what he did in The X Files, 0:44:09.600 --> 0:44:12.160 but yeah, he's good. I don't even remember if he 0:44:12.160 --> 0:44:15.120 has any lines in this movie, but he does stand 0:44:15.200 --> 0:44:17.880 there in Menace People and then yeah, has a pretty 0:44:17.920 --> 0:44:19.240 sweet fight scene. 0:44:19.560 --> 0:44:21.680 Oh and we need to talk about the Winslow children. 0:44:22.400 --> 0:44:25.520 Oh yes, yeah, the Winslow family. We have two children. 0:44:25.560 --> 0:44:29.000 There's a boy and a girl, both famous in their 0:44:29.040 --> 0:44:31.480 own right. That's right, but let's start with the girl. 0:44:31.560 --> 0:44:34.440 Let's start with the daughter. It is the character Chrissy, 0:44:34.560 --> 0:44:38.319 played by so Leigh moon Fry born nineteen seventy six. 0:44:38.440 --> 0:44:40.440 It's TV's Punky Brewster. That's who it is. 0:44:40.640 --> 0:44:43.400 I've never seen Punky Brewster, but the name is burned 0:44:43.440 --> 0:44:45.200 in my brain from when I was a kid, people 0:44:45.239 --> 0:44:48.560 talked about Punky Brewster. I imagined her as just like a 0:44:48.600 --> 0:44:50.799 girl Dennis the Menace is that sort of it. 0:44:51.320 --> 0:44:53.600 I only have vague memories of watching this show, but 0:44:53.640 --> 0:44:57.560 I remember it's like Punky Brewster, like she was to 0:44:57.560 --> 0:45:01.120 be celebrated. Okay, she was a lot of fun. She 0:45:01.160 --> 0:45:05.400 was a handful obviously child actor here turned grown person actor. 0:45:06.560 --> 0:45:08.920 She's also known for her work in ninety three's Pumpkinhead 0:45:08.960 --> 0:45:12.279 two Blood Wings. She's also she was a cast member 0:45:12.320 --> 0:45:14.920 on TV Sabrina and the Teenage Witch. This is the 0:45:15.000 --> 0:45:17.040 version that ran two thousand and through two thousand and three. 0:45:17.520 --> 0:45:18.960 She's also done a little bit of directing. 0:45:19.280 --> 0:45:22.680 So this movie does ask a decent amount of the 0:45:22.800 --> 0:45:26.680 children characters she has to play, not only like a 0:45:26.680 --> 0:45:29.279 little girl who's kind of upset about her family having 0:45:29.320 --> 0:45:31.480 to move to a new city, like she misses their 0:45:31.520 --> 0:45:34.320 old house, but she also gets to play a demonic, 0:45:34.400 --> 0:45:38.720 possessed child who's like, there's only bad Chrissy now yep. 0:45:39.360 --> 0:45:41.319 Yeah, yeah, so she gets to have some fun with 0:45:41.360 --> 0:45:45.200 this role for sure, and then playing her brother. Robbie 0:45:45.440 --> 0:45:49.520 Winslow is Barrett Oliver born nineteen seventy three, a child 0:45:49.520 --> 0:45:51.560 actor that we previously talked about on the show because 0:45:51.600 --> 0:45:55.960 he of course played Dastian Balthazar Bucks in a much 0:45:56.000 --> 0:45:59.799 bigger film from the same year than Never Ending Story, both. 0:45:59.520 --> 0:46:00.800 In the same year. Wow. 0:46:01.040 --> 0:46:02.560 Yeah, his other credit. 0:46:03.000 --> 0:46:05.800 It's like Peter Mayhew being in Star Wars and Sindbad 0:46:05.880 --> 0:46:07.520 and The Eye of the Tiger the same year. Yeah. 0:46:07.560 --> 0:46:09.960 I mean, you keep working and some things take off 0:46:09.960 --> 0:46:13.879 and some things don't, right, but yeah, it's so it's 0:46:13.960 --> 0:46:17.560 quite a quite a quite a cast here, and the 0:46:17.640 --> 0:46:21.839 family itself is pretty interesting. So like, after I'd watched 0:46:21.840 --> 0:46:23.840 the film, I had to show the first ninety seconds 0:46:23.840 --> 0:46:26.120 of it to my to my wife. We'll talk about 0:46:26.120 --> 0:46:28.440 why in just a few minutes here. But then I 0:46:28.440 --> 0:46:30.520 also was like, stick around, I've got to point out 0:46:30.520 --> 0:46:34.000 some things about this family, all right, moving behind the scene. 0:46:34.280 --> 0:46:36.640 The cinematographer on this is Dean Cundy. Oh. 0:46:36.760 --> 0:46:38.680 Yeah, we've talked about him on the show before. He 0:46:38.719 --> 0:46:42.160 was a cinematographer and I believe the very first movie 0:46:42.239 --> 0:46:44.880 we ever featured on Weird House Cinema right without Warning? 0:46:45.200 --> 0:46:49.120 Correct, Yes, nineteen eighties without Warning. More famous probably for 0:46:49.160 --> 0:46:51.480 his work on Who Framed Roger Rabbit, which he won 0:46:51.560 --> 0:46:55.640 an oscar for ninety three, is Jurassic Park ninety six, 0:46:55.719 --> 0:46:58.080 is Apollo thirteen, and many others. He's worked, of course, 0:46:58.120 --> 0:47:03.200 extensively with John Carpenter robertson Machis Yeah, and great on Clark. 0:47:04.920 --> 0:47:07.000 So I love Dean Coundy's work. Was he also a 0:47:07.040 --> 0:47:10.040 cinematographer on Halloween three season of The Witch, by the way. 0:47:09.880 --> 0:47:11.640 He was, Yeah, I believe that's one of the one 0:47:11.640 --> 0:47:13.600 of the other ways that Dean Coundy has come. 0:47:13.560 --> 0:47:16.920 Up before interesting but also connection in that these movies 0:47:16.960 --> 0:47:21.120 share these kind of unusual horror themes. Invitation to Hell 0:47:21.600 --> 0:47:25.360 is not beautiful to look at by any stretch of 0:47:25.360 --> 0:47:28.920 the imagination. The things it has to show you are 0:47:29.000 --> 0:47:34.280 mostly not all that exciting, and yet I think Coundy's 0:47:34.320 --> 0:47:37.520 cinematography is one of the reasons the movie is so 0:47:37.800 --> 0:47:41.960 eminently watchable, even when he really when all he has 0:47:42.000 --> 0:47:46.240 to show you are fairly drab sets and locations, Kundy 0:47:46.400 --> 0:47:49.640 just has a very strong sense for visual storytelling, and 0:47:49.680 --> 0:47:53.880 his camera naturally adds momentum to the story. So I 0:47:53.960 --> 0:47:56.640 don't think it's the only thing that makes Invitation to 0:47:56.680 --> 0:47:59.720 Hell a very fun and watchable movie despite being somewhat 0:47:59.719 --> 0:48:04.680 low budget. But yeah, there's something going on with the cinematography, 0:48:04.760 --> 0:48:06.960 despite the fact that the movie is not much to 0:48:07.000 --> 0:48:09.440 write home about in terms of visual spectacle. 0:48:10.280 --> 0:48:10.560 Yeah. 0:48:10.719 --> 0:48:11.160 Yeah. 0:48:11.360 --> 0:48:14.160 Though on that note, it is worth pointing out that 0:48:14.760 --> 0:48:17.160 many of these TV movies were apparently produced if in 0:48:17.239 --> 0:48:19.680 this era, were produced way too fast and at a 0:48:19.800 --> 0:48:24.480 lower budget, so they couldn't really benefit from storyboarding. But apparently, 0:48:24.520 --> 0:48:27.680 since this was a Susan Lucci vehicle. In all, the 0:48:27.719 --> 0:48:31.000 studio went the extra mile and they hired st board 0:48:31.080 --> 0:48:36.719 artist Petco d Kodiev, who is apparently known to some 0:48:36.840 --> 0:48:39.880 extent as the count behind the scenes to sketch everything 0:48:39.880 --> 0:48:42.560 out in pre production. He'd previously worked on the nineteen 0:48:42.600 --> 0:48:45.560 eighty three feature film Blue Thunder, which is the helicopter Movie, 0:48:45.840 --> 0:48:47.719 and went on to work on such films as eighty 0:48:47.760 --> 0:48:49.640 six Is King Kong Lives and eighty seven Is The 0:48:49.719 --> 0:48:50.239 Running Man. 0:48:50.480 --> 0:48:53.600 Oh okay, so the storyboarding may also have helped give 0:48:53.640 --> 0:48:56.480 this movie more visual coherence than it might have had 0:48:56.520 --> 0:48:59.280 otherwise it was just sort of a over the shoulder 0:48:59.320 --> 0:49:01.400 point and shoot like a lot of TV movies would be. 0:49:01.760 --> 0:49:05.400 Yeah. And then finally, the composer here is Sylvester Levy, 0:49:05.880 --> 0:49:08.160 who lived He's still around as far as I know. 0:49:08.480 --> 0:49:12.240 Born nineteen forty five, Hungarian composer who also scored nineteen 0:49:12.280 --> 0:49:17.160 eighty six's Cobra, nineteen nineties Navy Seals, and various TV projects, 0:49:17.200 --> 0:49:18.960 including the TV series Werewolf. 0:49:19.280 --> 0:49:23.480 Is this brother of Anton no No, but. 0:49:23.680 --> 0:49:27.120 He's also partially responsible for the Elton John song Victim 0:49:27.160 --> 0:49:29.360 of Love from nineteen seventy nine. One of the writers 0:49:29.360 --> 0:49:32.120 on that and he won a Grammy in nineteen seventy 0:49:32.160 --> 0:49:35.319 five for the song Fly Robin Fly, performed by the 0:49:35.360 --> 0:49:39.600 German disco group Silver Convention, a group that he helped 0:49:39.600 --> 0:49:40.080 put together. 0:49:40.400 --> 0:49:42.480 Rob I thought you might like the score on this movie. 0:49:42.480 --> 0:49:45.839 It's very synth heavy, and it has it's Moody's. Those 0:49:45.840 --> 0:49:49.520 are things I think that attract you to a film score. Yeah, yeah, 0:49:49.600 --> 0:49:51.440 I like it. Yeah, yeah, I liked it too. A 0:49:51.480 --> 0:49:54.920 lot of parts reminded me actually of the synth themes 0:49:54.960 --> 0:49:55.759 in The Terminator. 0:49:56.560 --> 0:49:59.080 Yeah, yeah, that's a good point. And yeah, I thought 0:49:59.120 --> 0:50:01.680 it worked well for the p because especially we get 0:50:02.080 --> 0:50:04.560 a pretty rocking opening scene, but then we get a 0:50:04.560 --> 0:50:08.400 lot of scenes in which it's like a family getting 0:50:08.440 --> 0:50:11.920 situated in this nice looking neighborhood, this nice little slice 0:50:11.920 --> 0:50:15.120 of the American corporate dream, and yet the music is 0:50:15.160 --> 0:50:17.359 here to remind us that things are maybe not what 0:50:17.400 --> 0:50:26.319 they seem. 0:50:26.480 --> 0:50:28.719 All Right, you want to talk about the plot, let's 0:50:28.760 --> 0:50:32.640 jump into it. So if you don't decide to watch 0:50:32.840 --> 0:50:36.120 Invitation to Hell in full, let me at least convince 0:50:36.120 --> 0:50:39.280 you to watch the first ninety seconds or so. Yeah, 0:50:39.360 --> 0:50:42.640 it has a strong, cold opening, pulling you in. After 0:50:43.120 --> 0:50:44.640 do you know what aired right before this. 0:50:45.200 --> 0:50:47.200 I was trying to find out that I couldn't get 0:50:47.200 --> 0:50:49.120 a firm answer, So I'm thinking maybe it was just 0:50:49.320 --> 0:50:52.479 like your regional nightly Neves or maybe the national nightly news, 0:50:52.719 --> 0:50:54.719 because it would have been seven to I mean, it 0:50:54.719 --> 0:50:59.120 would have been eight to ten Eastern, So I'm guessing, yeah, 0:50:59.120 --> 0:51:00.840 you would have just been after that news. Watch the 0:51:00.880 --> 0:51:04.360 movie and then watch twenty twenty. 0:51:03.840 --> 0:51:06.480 Right, so it's fighting the Frizzies at eleven and then 0:51:06.800 --> 0:51:10.840 cuts to this. So we open the We open on 0:51:10.880 --> 0:51:13.680 the exterior of a country club. It is a bright 0:51:13.800 --> 0:51:18.040 sunny day. Birds are singing, rich people doing fancy country 0:51:18.040 --> 0:51:20.680 club stuff. You see golf carts zipping around. There are 0:51:20.680 --> 0:51:23.600 a couple of ladies walking through the valet a lot 0:51:23.680 --> 0:51:26.440 carrying tennis rackets with covers on them. This actually got 0:51:26.440 --> 0:51:30.759 me wondering why did tennis rackets ever need covers. I 0:51:30.840 --> 0:51:33.680 never had a cover for any tennis racket I ever had, 0:51:33.680 --> 0:51:35.000 But like, what does the cover do? 0:51:36.040 --> 0:51:37.960 I don't know. I guess if it's if it's nice, 0:51:38.120 --> 0:51:39.440 you need to put a cover on it. 0:51:40.840 --> 0:51:45.879 The music selection here is eerie synthesizer chords with reverb heartbeats, 0:51:46.680 --> 0:51:49.959 and we pan over and see some of the people 0:51:50.040 --> 0:51:52.160 coming to the club. There's like a guy leaning against 0:51:52.160 --> 0:51:55.520 a no parking sign and a polo shirt with what 0:51:55.560 --> 0:51:56.960 do you call it when you got a sweatshirt with 0:51:56.960 --> 0:51:59.520 the arms tied around your neck. It's a real yacht 0:51:59.560 --> 0:52:03.360 club look, yeah. Yeah. And then in the background we 0:52:03.440 --> 0:52:06.800 see a green golf course and beyond that typical arid 0:52:06.880 --> 0:52:10.520 mountains that you would see in coastal southern California. So 0:52:10.800 --> 0:52:15.000 a station wagon with some really sick wood paneling hauls 0:52:15.040 --> 0:52:17.560 up to the gate and we see a sign telling 0:52:17.640 --> 0:52:21.560 us where this is. It is the Steaming Springs Country Club. 0:52:23.520 --> 0:52:27.880 I love this. Every time they mentioned steaming Steaming Springs, 0:52:28.760 --> 0:52:30.759 it just made me think of like steaming polo crap 0:52:30.880 --> 0:52:33.560 or something I don't know, And I feel like that 0:52:33.719 --> 0:52:35.520 had to have been intentional on the part of the 0:52:35.520 --> 0:52:37.000 filmmaker's screenwriter. 0:52:37.120 --> 0:52:40.279 Here, there's a lot that on my first watch I 0:52:40.280 --> 0:52:43.160 thought maybe unintentional, and then when I came back to it, 0:52:43.200 --> 0:52:45.160 I was like, no, they did that on purpose. 0:52:44.920 --> 0:52:46.120 Yes, Springs. 0:52:46.400 --> 0:52:50.239 Yeah, the station wagon is being driven by a uniformed 0:52:50.320 --> 0:52:54.040 chauffeur with a fancy little hat. And then we finally 0:52:54.080 --> 0:52:57.240 get our first good look at Susan Lucci in costume 0:52:57.280 --> 0:53:00.200 in character. This is the character that will later be 0:53:00.239 --> 0:53:03.560 introduced as Jessica Jones. She's sort of the queen Wasp 0:53:03.680 --> 0:53:07.560 of the club and her look is amazing. It is 0:53:07.640 --> 0:53:12.440 a cherry red, full body outfit. I was gonna say 0:53:12.520 --> 0:53:15.359 pant suit, but it's not really a pant suit. It's 0:53:15.440 --> 0:53:18.640 like because it's not like a jacket over something. It's 0:53:18.719 --> 0:53:21.680 more like a shirt and pants going down to the 0:53:21.719 --> 0:53:25.160 ankles up to the neck, all cherry red, with long sleeves, 0:53:25.560 --> 0:53:29.800 some kind of silver metal half belt object at her waist, 0:53:30.280 --> 0:53:33.160 and big, big hair like it's all up in this 0:53:33.480 --> 0:53:39.080 voluminous black, curly perm. She's also wearing a white patch 0:53:39.160 --> 0:53:42.040 on her chest with a design that I couldn't decipher 0:53:42.040 --> 0:53:44.279 at first, but eventually you get a close up and 0:53:44.320 --> 0:53:47.920 I realized it is the Steaming Spring's logo, which is 0:53:48.000 --> 0:53:52.040 three wispy lines that I guess signifies steam rising, and 0:53:52.040 --> 0:53:55.279 then maybe Steaming Springs would be like two s's, but 0:53:55.320 --> 0:53:58.400 then there's another S. There there's three lines. I believe 0:53:58.400 --> 0:54:02.040 it is not an accident that this superficially reminds us 0:54:02.160 --> 0:54:03.520 of the SS insignia. 0:54:04.520 --> 0:54:06.640 Yeah, Yeah, like maybe they originally were just gonna have 0:54:06.719 --> 0:54:08.600 two of them on there, and they're like, that's a 0:54:08.600 --> 0:54:10.319 little too much. We should just go back and just 0:54:10.360 --> 0:54:13.399 have the three of these things on there. But yeah, 0:54:13.400 --> 0:54:16.400 this is quite a look. Huge hair, a jumpsuit that 0:54:16.440 --> 0:54:18.880 makes her look like she works at Gismonic's Institute instead 0:54:18.880 --> 0:54:22.920 of the golf club the country club. Yeah, this is 0:54:22.920 --> 0:54:27.360 our Luchi fur and it's striking right from the beginning. 0:54:27.680 --> 0:54:30.640 So Jessica Jones is walking across the driveway as the 0:54:31.000 --> 0:54:35.319 chauffeur of the wo Woody wagon drives up to the 0:54:35.320 --> 0:54:39.879 clubhouse entrance. Unfortunately, our chauffeur here gets distracted because he's 0:54:39.920 --> 0:54:43.359 ogling a couple of ladies in teal and purple bikinis, 0:54:44.120 --> 0:54:47.160 and he's on a collision course with Jessica Jones, who, 0:54:47.239 --> 0:54:49.120 by the way, does not even try to get out 0:54:49.120 --> 0:54:51.759 of the way. She just stands there staring head on 0:54:51.920 --> 0:54:55.040 at the car barreling toward her. The driver does a 0:54:55.040 --> 0:54:59.359 double take, tire screech, crash. Jessica goes under the car, 0:55:00.080 --> 0:55:03.920 ever stops, looks out through the rear windshield, and then 0:55:04.080 --> 0:55:08.560 Jessica rises up from the ground like a lever. Yes, 0:55:09.400 --> 0:55:12.839 totally stiff hands on hips. She just pops up into 0:55:12.880 --> 0:55:13.400 the window. 0:55:13.840 --> 0:55:16.040 Yep, yep. She totally pulls a low Pan on this 0:55:16.080 --> 0:55:18.040 guy or I guess you know, they trouble a little 0:55:18.080 --> 0:55:21.080 China low pan pulls a Jessica Jones. Though, I'm gonna 0:55:21.120 --> 0:55:23.879 go ahead and assume that neither Craven nor Carpenter were 0:55:23.920 --> 0:55:27.800 the first to pull this exact sequence this. I'm curious. 0:55:27.800 --> 0:55:29.960 I have no answer here, but I feel like this 0:55:30.040 --> 0:55:32.360 must have come from somewhere. This must have been established 0:55:32.600 --> 0:55:35.520 somewhere else. Otherwise it was created here. I don't know. 0:55:35.719 --> 0:55:38.560 Well, it's like no Sparatu again. Yeah, I get you're right. Yeah. 0:55:38.560 --> 0:55:41.759 So she then points a finger like I curse you. 0:55:42.320 --> 0:55:46.239 She just points a finger and the rear windshield shatters. 0:55:46.360 --> 0:55:50.080 The driver starts screaming, and then there is smoke fuming 0:55:50.120 --> 0:55:53.160 out of his clothes. Yeah. 0:55:53.360 --> 0:55:55.880 Yeah, I showed this scene to my wife because I like, 0:55:55.920 --> 0:55:57.440 you gotta watch you gotta watch this first in the 0:55:57.440 --> 0:55:59.799 first ninety seconds of this film, And she commented this 0:55:59.800 --> 0:56:03.440 whole sequence with Susan Lucci plays out like a demonic 0:56:03.640 --> 0:56:06.240 nineteen eighties hair commercial. You know, look at how confident 0:56:06.280 --> 0:56:06.680 she is. 0:56:07.040 --> 0:56:09.960 That's so right, Yeah, maybe she's born with it. Maybe 0:56:09.960 --> 0:56:11.800 it's a gift from the Prince of Darkness. 0:56:11.920 --> 0:56:15.760 Yeah, she's turning heads, she's snatching souls, she's microwaving dudes 0:56:15.840 --> 0:56:16.839 in their cars. 0:56:16.840 --> 0:56:21.560 That's right. Yeah. So the driver melts a pretty solid melt, right, yeah. Yeah. 0:56:21.800 --> 0:56:23.600 I mean they don't show you too much goop. It 0:56:23.680 --> 0:56:26.279 is made for TV, but I did a freeze frame 0:56:26.320 --> 0:56:30.000 here and in mid melt, he looks like Lawn Cheney 0:56:30.040 --> 0:56:32.560 as the Phantom of the Opera, but with huge teeth, 0:56:32.920 --> 0:56:36.960 hollow eyes, and sweaty wax for skin. I like this model. 0:56:37.360 --> 0:56:39.120 Yeah, this is yeah, this looked I thought it looked 0:56:39.120 --> 0:56:42.120 really good, especially again since this is like, you know what, 0:56:42.280 --> 0:56:44.840 eight oh five pm on a Thursday. 0:56:45.000 --> 0:56:45.440 This is it. 0:56:46.040 --> 0:56:47.000 It's hitting pretty hard. 0:56:47.360 --> 0:56:49.880 But I also like that they're giving you Susan Lucci 0:56:49.960 --> 0:56:52.560 before they give you any of the good guys. She's 0:56:52.680 --> 0:56:55.239 just out here at the golf course melting drivers. 0:56:55.640 --> 0:56:58.839 And I guess it's part of the whole vibe. Is Yeah, 0:56:58.880 --> 0:57:00.719 you want to get the viewer hook, right, give them 0:57:00.760 --> 0:57:02.480 a taste of how weird this is going to be. 0:57:02.640 --> 0:57:05.840 Let them see Susan Lucci. They know who Susan Lucci 0:57:05.960 --> 0:57:09.200 is and they'll be inclined to stick around for the 0:57:09.280 --> 0:57:09.960 rest of the picture. 0:57:10.320 --> 0:57:13.280 As you said, she microwaves him. He's good and melted, 0:57:13.320 --> 0:57:15.520 and then she just looks very pleased with her work 0:57:15.600 --> 0:57:18.120 and walks away from the car. She tosses her hair 0:57:18.160 --> 0:57:21.000 and walks away beaming. And I was thinking, who has 0:57:21.040 --> 0:57:23.640 to clean this up? Do they have staff there who 0:57:23.720 --> 0:57:26.200 just mop up melted chauffeurs? And also, this is a 0:57:26.200 --> 0:57:28.680 company car. It says Steaming Springs on the side of it. 0:57:28.880 --> 0:57:31.920 Yeah. Yeah, And the screenshot you included in the outline, 0:57:32.000 --> 0:57:34.120 you can see that this dude that she just melted 0:57:34.200 --> 0:57:38.680 has the silver Spring, Silver Springs, the Steaming Springs logo 0:57:38.880 --> 0:57:42.360 on his outfit as well. So, yeah, she just totally melted. 0:57:42.400 --> 0:57:45.960 And employee, did I say silver springs earlier? I know, 0:57:46.080 --> 0:57:48.080 I was hearing this in Stevie Nick's voice a lot. 0:57:48.200 --> 0:57:49.600 It will happen again. 0:57:49.960 --> 0:57:56.360 You can be my melted driver, let's see. Oh yeah, okay, 0:57:56.400 --> 0:57:58.880 So that's the cold open. After that we go on 0:57:59.000 --> 0:58:02.520 to meet our main family, the main characters. This is 0:58:02.560 --> 0:58:05.440 the Winslow family. So you got the father, Matt Winslow 0:58:05.480 --> 0:58:08.880 played by Robert Urick. The mother Patricia Winslow played by 0:58:09.000 --> 0:58:12.920 Joanna Cassidy, the daughter Chrissy played by Sleigh Moonfry, and 0:58:12.960 --> 0:58:15.640 the son Robbie played by Barrett Oliver. And also we 0:58:15.640 --> 0:58:17.480 don't see him until later, but the family has a 0:58:17.600 --> 0:58:19.240 very cute dog named Albert. 0:58:19.600 --> 0:58:21.040 Oh, yes, he'll be important later on. 0:58:21.320 --> 0:58:24.240 Yeah, to check in with the does the dog die crowd, 0:58:25.000 --> 0:58:27.600 I'll say the answer is no, but the dog is 0:58:27.840 --> 0:58:32.640 conceptually threatened. Yes. So the family they're on a car trip. 0:58:32.680 --> 0:58:34.560 When we first see them. They are cruising down the 0:58:34.640 --> 0:58:38.560 highway and another gorgeous American made station wagon of the 0:58:38.640 --> 0:58:41.240 nineteen eighties. I don't know if this one has wood panels, 0:58:42.240 --> 0:58:44.720 but we get the title and the credits playing and 0:58:44.840 --> 0:58:48.560 terminator font over aerial shots of the highway and like 0:58:48.680 --> 0:58:53.360 recently developed valley subdivisions in southern California, and of course 0:58:53.440 --> 0:58:58.200 more golf courses. And then in the car our first 0:58:58.200 --> 0:59:02.240 impression of the family is of the sun and we 0:59:02.280 --> 0:59:04.440 get the idea that he's the kind of kid who's 0:59:04.480 --> 0:59:07.760 really interested in getting the high score. He's into points, 0:59:08.520 --> 0:59:10.760 so he's like, there's a dog five points and I 0:59:10.840 --> 0:59:14.160 just saw two flags fifteen points, four hundred and seventy 0:59:14.200 --> 0:59:16.720 four hundred and eighty and he's just saying numbers. It 0:59:16.760 --> 0:59:19.360 reminds me of that Tim and Eric sketch where it's 0:59:19.400 --> 0:59:23.720 an ad and they're just saying numbers. Anyway, Chrissy is 0:59:23.800 --> 0:59:27.200 tired of playing Robbie's game, and she is especially annoyed 0:59:27.200 --> 0:59:29.760 that he counted those flags he just saw because they're 0:59:29.760 --> 0:59:32.800 on a golf course and golf course flags do not 0:59:32.920 --> 0:59:36.240 count as flags. But she also wants to quit the 0:59:36.280 --> 0:59:38.720 game because there are no more animals to see, just 0:59:38.800 --> 0:59:43.040 dumb buildings. I think that's a metaphor. So the family 0:59:43.200 --> 0:59:46.240 is moving from their home in the Midwest to their 0:59:46.280 --> 0:59:49.960 new house in southern California because Matt, who is an engineer, 0:59:50.160 --> 0:59:53.720 got a new job at a company called micro Digitech. 0:59:54.440 --> 0:59:56.840 And for a second I was like, surely they can't 0:59:56.840 --> 0:59:59.440 be playing on a real company, because Digitech is the 0:59:59.480 --> 1:00:02.480 real the name of a real brand. They're the makers of, 1:00:02.840 --> 1:00:05.440 like the beloved Digitech whammy pedal for guitars. 1:00:05.880 --> 1:00:08.360 Well, what sound is the whammy pedal responsible for? 1:00:08.560 --> 1:00:11.880 Well, it's like a it's like an octave shifting pedal 1:00:11.960 --> 1:00:14.440 or tone shifting pedal, so you can play one note 1:00:14.480 --> 1:00:16.960 on your guitar, and then with the whammy pedal, you 1:00:16.960 --> 1:00:19.400 can make it an octave below or an octave above 1:00:19.560 --> 1:00:23.240 that actual tone. So it's like what you hear Jack 1:00:23.240 --> 1:00:25.720 White playing the guitar, but it sounds like a bass guitar. 1:00:25.880 --> 1:00:28.200 He's making that bass guitar sound with a whammy pedal 1:00:28.240 --> 1:00:31.120 to kick it an octave down. Oh okay, I see, 1:00:31.640 --> 1:00:33.480 but I think this is just a coincidence. I mean, 1:00:33.480 --> 1:00:35.400 it's kind of an obvious name for a company. I 1:00:35.440 --> 1:00:40.480 guess that makes digital technology Digitech, but this is micro 1:00:40.600 --> 1:00:43.880 Digitech anyway. So the family's driving into town and Robbie, 1:00:43.920 --> 1:00:46.800 the son, he's a computer boy, and he's reading off 1:00:46.840 --> 1:00:49.840 the names of various company headquarters. He's like, oh, the 1:00:49.880 --> 1:00:55.040 TRX Corporation, micro Chip International. Boy, it sounds like computer heaven. 1:00:55.760 --> 1:01:03.360 And then Chrissy, his sister, says, computers don't go to heaven. Well, 1:01:03.400 --> 1:01:06.920 we'll see about that. So on the drive, Matt and 1:01:06.960 --> 1:01:09.720 Patricia have a conversation, making it clear that this is 1:01:09.760 --> 1:01:12.479 a big step up for them, this move, but one 1:01:12.520 --> 1:01:16.480 that Matt is a little bit uncertain about. Previously, they 1:01:16.520 --> 1:01:20.160 were scraping by on Matt's meager income from whatever he 1:01:20.240 --> 1:01:22.440 was doing before. I guess he was either an independent 1:01:22.600 --> 1:01:25.040 engineer and inventor, or he was like working at a 1:01:25.120 --> 1:01:28.200 university or something. They say this is his first time 1:01:28.240 --> 1:01:31.760 working for a big corporation, so it's a huge increase 1:01:31.800 --> 1:01:35.760 in pay and prestige, and Patricia is very excited for him, 1:01:36.800 --> 1:01:38.880 but he's like, I don't know, I've never worked for 1:01:38.920 --> 1:01:42.240 a big corporation. I'm just not sure about it. And 1:01:42.320 --> 1:01:44.960 the kids also seemed divided on the move. Robbie is 1:01:45.200 --> 1:01:47.640 very excited for a taste of the good life, but 1:01:47.800 --> 1:01:50.800 Chrissy says she misses the snow back home, and she 1:01:50.880 --> 1:01:53.320 also says she doesn't like the building that her dad 1:01:53.440 --> 1:01:55.680 is going to be working in. They showed this building. 1:01:55.760 --> 1:01:58.920 It's like a high rise office building, much taller than 1:01:59.200 --> 1:02:01.439 any of the other story ructures around it, with these 1:02:01.560 --> 1:02:05.880 mirrored windows top to bottom reflecting the sun. And Matt 1:02:05.920 --> 1:02:08.760 asks Chrissy why she doesn't like the building. She says, 1:02:08.840 --> 1:02:10.840 because you can't see the people inside. 1:02:11.400 --> 1:02:12.840 M Yeah, I like that moment. 1:02:13.360 --> 1:02:15.320 They don't play it like it's all that ponderous though. 1:02:15.640 --> 1:02:17.200 She just kind of says it and they move on. 1:02:17.360 --> 1:02:19.560 But I don't know. It was stuck and stuck in 1:02:19.600 --> 1:02:20.040 here for me. 1:02:20.120 --> 1:02:22.720 Yeah, it's a subtle effect, and in general, I love 1:02:22.800 --> 1:02:24.440 the banter with the family. Yeah, I felt like the 1:02:24.440 --> 1:02:28.000 banter felt very realistic. It felt like a realistic amount 1:02:28.000 --> 1:02:30.640 of squabbling between the children, but also laid out in 1:02:30.680 --> 1:02:33.320 a way that helped establish some of the overall themes 1:02:33.760 --> 1:02:37.360 and establishing like what's going on in this family's life? 1:02:37.600 --> 1:02:40.680 Right, So they arrived at their new home. It's a big, 1:02:40.800 --> 1:02:44.760 beautiful house and a beautiful subdivision. Think of the Simpsons 1:02:44.800 --> 1:02:48.959 episode if you've seen it, You Only Moved Twice. In fact, 1:02:49.200 --> 1:02:52.320 this movie as a whole has serious overlap with You 1:02:52.360 --> 1:02:56.560 Only Moved Twice. Yeah, it was more like a like 1:02:56.560 --> 1:02:59.760 an eighties West Coast version of the house on Maple 1:02:59.800 --> 1:03:03.120 Systems Drive, or at least that's what it's supposed to be, 1:03:03.120 --> 1:03:06.120 because the house is indeed huge and spacious and nice 1:03:06.160 --> 1:03:09.080 looking from the outside. A lot of the interior sets 1:03:09.200 --> 1:03:12.280 look like they were hastily built on a sound stage. 1:03:12.920 --> 1:03:15.920 So the kitchen is huge, but the cabinets and stuff 1:03:16.040 --> 1:03:20.160 kind of remind me of my college dorm room. So anyway, 1:03:20.200 --> 1:03:24.280 everybody's happy to move in. They're laughing exploring. Matt picks 1:03:24.360 --> 1:03:27.800 up Patricia and carries her over the threshold, and while 1:03:27.800 --> 1:03:30.360 the movers are bringing things in, Patricia and Matt they 1:03:30.360 --> 1:03:32.960 have a mild argument. Matt's unpacking some kind of high 1:03:32.960 --> 1:03:36.880 tech gizmo from a padded steel carrying case, and Patricia 1:03:37.000 --> 1:03:39.200 is like, hold it. She tells him that she wants 1:03:39.240 --> 1:03:41.920 him to take all his computer things and inventions into 1:03:41.920 --> 1:03:44.080 the lab at work, because she wants this to be 1:03:44.160 --> 1:03:47.480 a home, not a laboratory. And you never see it, 1:03:47.480 --> 1:03:49.280 but you get the idea that maybe their house in 1:03:49.320 --> 1:03:51.920 the Midwest was kind of like Doctor Forrester's burrow in 1:03:52.000 --> 1:03:54.000 Deep thirteen. Yeah. 1:03:54.120 --> 1:03:57.800 Yeah, And I think it's important to note that Patty's 1:03:58.280 --> 1:04:02.160 Patty's not being unreasonable here, like and he also, you know, 1:04:02.480 --> 1:04:05.400 sees the logic and what she's saying and quickly agrees. 1:04:05.480 --> 1:04:07.800 He's like, yeah, I'll put this in the garage. You know. 1:04:07.880 --> 1:04:10.920 She's like, this is a chance for us to live 1:04:10.960 --> 1:04:15.040 a little differently. And at this point in the film, 1:04:15.440 --> 1:04:17.600 it doesn't feel like that ambition is getting out of 1:04:17.640 --> 1:04:18.240 control at all. 1:04:18.280 --> 1:04:21.160 It seems reasonable totally. You do not get the idea 1:04:21.160 --> 1:04:24.240 at all in the beginning that there's anything wrong with 1:04:24.280 --> 1:04:28.520 what Patricia wants Yeah, that comes in more with like 1:04:28.560 --> 1:04:33.400 the influence of the Queen Wasp at the club and stuff. Also, 1:04:33.440 --> 1:04:36.360 there's a very funny scene with Robbie the son antagonizing 1:04:36.400 --> 1:04:40.840 the moving men. He's on this computer in his new room, 1:04:40.920 --> 1:04:43.080 and the moving man's like, what you got on their games? 1:04:43.120 --> 1:04:45.880 And he's like, no, I have a computerized inventory of 1:04:45.920 --> 1:04:48.120 all my things, so I'll know if you lose any 1:04:48.240 --> 1:04:52.080 of it. And indeed, his computer starts flashing and reveals 1:04:52.120 --> 1:04:54.920 that he is missing a candy bar. You must have 1:04:55.000 --> 1:04:58.680 inventoried that. And then we see the mover like surreptitiously 1:04:58.720 --> 1:05:00.200 put a candy bar, like pull it out out of 1:05:00.200 --> 1:05:02.960 his pocket and put it on the kid's bed. But like, 1:05:03.600 --> 1:05:06.440 how would the computer know the candy bar was missing 1:05:06.600 --> 1:05:10.360 unless it had been inventoried in by a human. This 1:05:10.520 --> 1:05:12.560 is just a good prelude to the way the movie 1:05:12.800 --> 1:05:17.280 generally treats computers, which is that they are omniscient. They 1:05:17.280 --> 1:05:20.360 are somehow fully aware of their physical surroundings. 1:05:20.480 --> 1:05:23.840 Yeah, it's a great example of late seventies early eighties 1:05:24.080 --> 1:05:27.240 computers and films. In a way, this matches up very 1:05:27.240 --> 1:05:32.240 closely with what Mother does in Alien. Of course, Alien 1:05:32.320 --> 1:05:35.560 takes place in the future. It is a at least 1:05:35.560 --> 1:05:38.000 by our own from our own vantage point, a retro 1:05:38.040 --> 1:05:41.320 futuristic view of computer technology. But also in films like that, 1:05:41.360 --> 1:05:43.280 it's just this is just what computers do, right. You 1:05:43.360 --> 1:05:47.280 just talk to him conversationally, kind of like what we're 1:05:47.280 --> 1:05:52.000 doing now with these different chatbots, but at the time, 1:05:52.160 --> 1:05:56.040 you know, completely beyond what they were capable of doing totally. 1:05:56.080 --> 1:05:59.600 There's a scene where Matt later just goes starts typing 1:05:59.600 --> 1:06:02.600 in been ended questions on like a doss prompt and 1:06:02.960 --> 1:06:05.720 like it's like he's using chat GPT, but it's the 1:06:05.800 --> 1:06:18.439 green letters on the black screen. Yeah. So later that night, 1:06:18.720 --> 1:06:22.720 the Winslows get a visit from some family friends who 1:06:22.760 --> 1:06:26.920 already live here and already work for this corporation. This 1:06:27.000 --> 1:06:30.720 is Mary and Tom Peterson and their kids, old family friends. 1:06:31.840 --> 1:06:33.880 We already talked about this, I think. But Tom is 1:06:33.920 --> 1:06:35.960 the guy who already took a job at this company, 1:06:36.000 --> 1:06:39.880 and he invited Matt to come join him. And first 1:06:39.880 --> 1:06:42.320 there's kind of a jump scare where they're hearing rattling 1:06:42.320 --> 1:06:47.720 outside the windows, and Robbie the Sun is like it's zombies. Definitely, 1:06:47.960 --> 1:06:52.720 they do stuff like that, but they go you know, 1:06:52.760 --> 1:06:54.960 we get a boot scare, and then the friends come in. Oh, 1:06:55.000 --> 1:06:56.880 it's actually just our friends. They brought a bucket of 1:06:56.960 --> 1:06:57.640 chicken with them. 1:06:58.240 --> 1:06:59.760 What time is it supposed to be that. 1:07:00.120 --> 1:07:03.400 It looks like late late at night? Is pitch black outside? 1:07:03.440 --> 1:07:05.960 Did they show up with a bucket of KFC? And 1:07:06.000 --> 1:07:08.800 then the kids just each reach in and grab a 1:07:08.840 --> 1:07:12.240 fried chicken piece and run away. I mean, I remember 1:07:12.280 --> 1:07:13.360 no plates here. 1:07:15.000 --> 1:07:18.120 I mean, I can I remember these buckets of chicken 1:07:18.160 --> 1:07:20.800 well from my own childhood. I can only imagine in 1:07:20.840 --> 1:07:24.160 this case has some cold chicken in there, not that 1:07:24.240 --> 1:07:28.120 it matters. In fact, I feel like KFC buckets were 1:07:28.200 --> 1:07:32.640 consumed like at least half the time, like just completely 1:07:32.680 --> 1:07:35.000 room temperature, if not like fridge temperature. 1:07:35.160 --> 1:07:38.440 Yeah. So the kids run off and play, and the 1:07:38.440 --> 1:07:41.800 adults gather around a piano. When Patricia starts playing music. 1:07:41.840 --> 1:07:43.680 She's playing when the Saints go marching in, I think 1:07:43.680 --> 1:07:46.400 they're trying to do a sing along. There were comments 1:07:46.440 --> 1:07:49.880 earlier about her once being a struggling music major, and 1:07:49.920 --> 1:07:52.280 in this scene you really get some of the class 1:07:52.480 --> 1:07:56.800 anxiety themes coming out. Tom and Mary both make kind 1:07:56.800 --> 1:08:00.240 of awkward comments. Mary is like, oh yeah, remember when 1:08:00.240 --> 1:08:02.280 we used to do this in the dorm room, gathered 1:08:02.280 --> 1:08:05.440 around that horrible, old, upright piano. But then they're like, oh, 1:08:05.560 --> 1:08:09.120 is this still the same piano you have? And Tom says, 1:08:09.120 --> 1:08:11.960 no worries. The days of out of tune pianos and 1:08:12.000 --> 1:08:14.720 beat up old furniture they're all behind you. Now you're 1:08:14.760 --> 1:08:17.679 in the big leagues. And Tom tries to make them 1:08:17.720 --> 1:08:20.680 toast to success, and once again it's like that that 1:08:20.800 --> 1:08:22.599 hammer horror toast to satan. 1:08:24.040 --> 1:08:27.240 Yeah, the piano here made me think of the of 1:08:27.560 --> 1:08:31.040 the TV show The Unbreakable Kimmy Schmid. At one point 1:08:31.080 --> 1:08:33.240 they pick up a stand up piano that is like 1:08:33.360 --> 1:08:37.040 left on the curb that has the word bed bugs 1:08:37.040 --> 1:08:39.280 spray painted on it, and they end up bringing it 1:08:39.320 --> 1:08:41.679 into the apartment. So I can only imagine a similar 1:08:41.720 --> 1:08:42.479 situation here. 1:08:43.680 --> 1:08:46.800 Sure, you just don't sleep on the piano, you'll be fine. 1:08:48.320 --> 1:08:51.880 So later there's a scene where Matt is tucking the 1:08:51.960 --> 1:08:55.120 kids into bed and Robbie is up in his bed 1:08:55.160 --> 1:08:57.720 playing a handheld kind of beat boop game where he's 1:08:57.720 --> 1:09:00.920 blasting spaceships to save the galaxy, and he says, you know, 1:09:00.920 --> 1:09:03.080 how come I can save the whole Galaxy, But I 1:09:03.120 --> 1:09:06.599 can't go to the Halloween party. What Halloween party? It's 1:09:06.640 --> 1:09:08.880 the one Tom and Mary's kids are going to. It's 1:09:08.920 --> 1:09:13.240 at the club and it's for members only. Don't you 1:09:13.280 --> 1:09:14.560 want to fit in? Matt? 1:09:15.600 --> 1:09:19.799 I kept wondering about this handheld device that Robbie's playing 1:09:19.880 --> 1:09:22.799 on here. Is this supposed to be an actual device 1:09:23.000 --> 1:09:26.120 or is this Can we never see the screen? I 1:09:26.200 --> 1:09:29.640 never saw the screen clearly, so I'm wondering if this 1:09:29.720 --> 1:09:31.920 is this tabil that he's playing on, which, you know, 1:09:31.960 --> 1:09:34.080 we looks just like some sort of an iPad or 1:09:34.120 --> 1:09:36.439 something here today, if this was actually some sort of 1:09:36.479 --> 1:09:40.280 video gaming device of the time, or they're just getting 1:09:40.280 --> 1:09:41.360 a little futuristic here. 1:09:41.560 --> 1:09:45.559 Yeah, what were handheld gaming devices like in nineteen eighty four? 1:09:45.800 --> 1:09:49.400 That seems I don't think there was a game boy yet? 1:09:49.600 --> 1:09:49.880 Was there? 1:09:50.000 --> 1:09:52.320 No? No, And by the early nineties he still had 1:09:52.360 --> 1:09:55.400 some very like I don't know, he's a crude little 1:09:55.479 --> 1:09:58.760 video game. I'm not even sure. I forget the terminology 1:09:58.800 --> 1:10:00.760 for them, but they were barely video games. You know, 1:10:00.760 --> 1:10:03.000 you're moving a few pixels around. They were not on 1:10:03.000 --> 1:10:04.679 the level of like a game boy or anything. 1:10:04.760 --> 1:10:09.519 They're more like a digital watch where you press buttons. Yeah, okay, 1:10:09.600 --> 1:10:13.280 Well anyway, so that's what he's playing. He's you know, blasting. 1:10:13.400 --> 1:10:15.800 I think they call it Astrobomber is the name of 1:10:15.840 --> 1:10:18.720 the game. But so the next day we're going to 1:10:18.760 --> 1:10:22.559 get some work stuff. We get carpooling to Matt's new 1:10:22.640 --> 1:10:25.559 job where he's riding to work with Tom. When he 1:10:25.600 --> 1:10:29.040 gets into Tom's car, Tom basically has Clarence Bodiker in 1:10:29.080 --> 1:10:32.479 the back seat. It's his boss. It's this character named 1:10:33.120 --> 1:10:37.720 Larry Ferris, and Tom is embarrassed that he has to 1:10:37.720 --> 1:10:39.960 give his boss a ride to work in his car, 1:10:40.000 --> 1:10:42.880 which he calls a junker. But I'm going to say 1:10:42.960 --> 1:10:46.519 I cannot tell the difference between the supposedly good cars 1:10:46.600 --> 1:10:49.400 and the allegedly bad cars in this movie. They all 1:10:49.439 --> 1:10:52.240 just look the same. They look like huge American made 1:10:52.240 --> 1:10:54.360 sedans from the eighties. Yeah. 1:10:54.520 --> 1:10:57.960 Yeah, I mean I have similar problems today figuring out 1:10:57.960 --> 1:11:01.000 what is a nice cars what's not. But I do 1:11:01.040 --> 1:11:03.160 want to point out like this was definitely I'm so 1:11:03.280 --> 1:11:06.280 used to watching a weird house film, and as certainly 1:11:06.320 --> 1:11:09.760 if there's some sort of evil corporation going on. When 1:11:09.960 --> 1:11:12.439 the boss is introduced, I take note I'm like, Okay, 1:11:12.479 --> 1:11:13.960 I need to look this guy up, see what this 1:11:14.040 --> 1:11:17.519 actor is. But it really doesn't matter. With Larry Ferris. 1:11:18.280 --> 1:11:20.120 They really don't come back around to him. 1:11:20.360 --> 1:11:22.800 Not much. I mean later at the Halloween party he 1:11:22.880 --> 1:11:26.599 shows up in a very tasteless costume, but. 1:11:26.520 --> 1:11:28.800 That's about it. Like otherwise, Yeah, he's not much of 1:11:28.840 --> 1:11:29.320 a character. 1:11:30.439 --> 1:11:33.840 But we do find out that Larry is Tom's sponsor 1:11:34.040 --> 1:11:38.040 at the club. So at the office we meet, first 1:11:38.080 --> 1:11:41.519 of all Matt's secretary, Grace, who is the first time 1:11:41.520 --> 1:11:44.240 we meet her. She's sneaking around with some secret binders, 1:11:44.320 --> 1:11:47.360 hiding things in drawers and stuff. But we also meet 1:11:47.400 --> 1:11:51.920 Matt's project, which is the EVA Suit for the Astronauts 1:11:52.040 --> 1:11:54.839 of the Future, and this is why Matt was hired 1:11:55.280 --> 1:12:01.000 to design computer components for this suit that Tom explains 1:12:01.120 --> 1:12:04.920 astronauts are going to wear for an upcoming manned mission 1:12:05.000 --> 1:12:08.840 to the surface of Venus. Hilarious concept. 1:12:09.240 --> 1:12:11.760 And at this point I have to also know the 1:12:11.800 --> 1:12:15.320 suit is hanging from the ceiling, almost as if it 1:12:15.360 --> 1:12:18.680 is an object of worship. Yeah, and I feel like 1:12:18.760 --> 1:12:21.320 at this point, if you weren't already hooked in and 1:12:21.400 --> 1:12:24.559 strapped in for this movie, you strap in at this 1:12:24.600 --> 1:12:28.360 point because Okay, we started with the Lucci for blat 1:12:28.400 --> 1:12:31.680 melting dudes and cars, and now we have introduced a 1:12:31.800 --> 1:12:35.400 clearly important spacesuit and we're about to get more rad 1:12:35.400 --> 1:12:38.880 details about it. Like already this movie's going a little 1:12:38.920 --> 1:12:39.800 bonkers on us. 1:12:39.880 --> 1:12:42.960 Yeah, but to be clear, like for a mission that 1:12:43.040 --> 1:12:46.559 will never happen, there is no reason to take human 1:12:46.640 --> 1:12:49.120 cru to the surface of Venus, and that that is 1:12:49.160 --> 1:12:50.080 not really doable. 1:12:50.320 --> 1:12:54.440 Well, we don't know in this reality. Perhaps there's something 1:12:54.479 --> 1:12:57.240 else that has occurred. I don't know, we can dream 1:12:57.280 --> 1:12:57.800 about it. 1:12:58.680 --> 1:13:02.320 The other thing that's funny is so Tom, he explained. 1:13:02.400 --> 1:13:04.920 Tom is in the marketing department. He's going to be 1:13:05.000 --> 1:13:08.360 responsible for selling this suit. And I was thinking, is 1:13:08.360 --> 1:13:11.840 there a marketing department for technology that you're only gonna 1:13:12.000 --> 1:13:15.160 ever make a handful of for a single buyer, Like, 1:13:15.520 --> 1:13:18.760 wouldn't it instead be you would make a bid and 1:13:18.800 --> 1:13:21.760 get a government contract to make a select number of them. 1:13:21.800 --> 1:13:24.520 Here it seems like they're kind of making this spacesuit 1:13:24.600 --> 1:13:27.479 on spec and the marketing department will have to sell 1:13:27.520 --> 1:13:32.000 it to NASA. Yeah, so anyway, Yeah, let's take a 1:13:32.040 --> 1:13:35.240 look at the suit whatter it's features. Well, we learned 1:13:35.240 --> 1:13:38.000 that it can withstand heat up to a bazillion degree 1:13:38.080 --> 1:13:40.720 is they demonstrate by blasting it with a flamethrower and 1:13:40.720 --> 1:13:46.200 there's no damage. It is armed with a laser pistol 1:13:46.479 --> 1:13:49.320 that shoots out of the like shoots out on a 1:13:49.360 --> 1:13:52.880 slide mechanism from the wrist like Travis Bickle's gun and 1:13:53.000 --> 1:13:57.000 taxi driver it like, is this concealed shootout into the 1:13:57.040 --> 1:13:59.760 hand a laser pistol? What is this for? 1:14:00.520 --> 1:14:06.480 I mean, one can guess blasting Venusians, blasting rival astronauts. 1:14:08.439 --> 1:14:12.759 Maybe it's really more of a utility laser and they're 1:14:12.800 --> 1:14:14.880 just firing it off. But then why would you need 1:14:14.920 --> 1:14:16.920 a quick draw on it? I don't know, in a 1:14:17.000 --> 1:14:20.240 dangerous environment on Venus or in orbit above Venus or 1:14:20.240 --> 1:14:23.680 in the clouds above Venus. But either way, I do 1:14:23.800 --> 1:14:25.760 love this thing. And you can already tell this is 1:14:25.760 --> 1:14:26.599 going to be important. 1:14:26.800 --> 1:14:30.400 Yes, it's also armed with a flamethrower of its own. 1:14:30.479 --> 1:14:32.519 We just saw it getting blasted with one, but it 1:14:32.560 --> 1:14:34.719 has one that comes out of the arm. This also 1:14:34.760 --> 1:14:39.400 will clearly be very useful on Venus. And then I 1:14:39.400 --> 1:14:43.360 think this is Matt's main contribution. It's got a computerized 1:14:43.560 --> 1:14:46.960 visor that is going to tell you the temperature of 1:14:47.000 --> 1:14:50.439 whatever you're looking at, and then also whether the thing 1:14:50.520 --> 1:14:54.439 you're looking at is human or non human, terrestrial or 1:14:54.479 --> 1:14:59.240 non terrestrial, and malignant or benign. How does it know 1:14:59.280 --> 1:15:02.160 those things? Never explained at this point. 1:15:02.200 --> 1:15:05.040 I feel like maybe we do want just a little 1:15:05.080 --> 1:15:07.960 additional hint that I guess there are aliens on Venus 1:15:08.000 --> 1:15:12.519 and we don't know how they feel about humans, and 1:15:12.600 --> 1:15:15.439 maybe they're difficult to tell from humans. That's the only 1:15:15.479 --> 1:15:16.800 way this technology makes sense. 1:15:16.880 --> 1:15:18.920 Oh, I didn't even think about that. Yeah, this would 1:15:18.960 --> 1:15:21.400 only be necessary if the thing you were looking at 1:15:21.479 --> 1:15:25.320 is indistinguishable from human anyway. Yeah, because if they just 1:15:25.479 --> 1:15:28.439 encounter a being on Venus and it's coming toward them, 1:15:28.479 --> 1:15:31.120 would they be like, is this from Earth? I don't know. 1:15:32.160 --> 1:15:35.160 I want to stress again that this script was apparently 1:15:35.600 --> 1:15:38.880 written for Susan Lucci, so one can imagine like this 1:15:39.000 --> 1:15:42.360 script was plopped on her agent's desk and then on 1:15:42.400 --> 1:15:45.320 her desk, and she looked through it and she was like, yes, 1:15:45.520 --> 1:15:46.240 let's do this. 1:15:46.520 --> 1:15:50.960 Give me that, give me more of that. So back home, 1:15:51.120 --> 1:15:55.759 there is a conflict about furniture. Patricia wants new stuff 1:15:55.800 --> 1:15:59.640 befitting of their upgraded social status. At first, Matt kind 1:15:59.640 --> 1:16:02.680 of scott this, but then like some boys from the 1:16:02.720 --> 1:16:07.000 neighborhood come by to play Astrobomber the video game. And 1:16:07.040 --> 1:16:10.519 this includes not just the not just Tom and Mary's kid, 1:16:10.560 --> 1:16:13.760 but the kid of Larry Ferris, the Clarence Bodiker guy, 1:16:13.840 --> 1:16:18.639 the Boss, and Billy Ferris. The kid. He first of all, 1:16:18.680 --> 1:16:21.040 he is a poor sport. He gets mad and smashes 1:16:21.120 --> 1:16:23.960 Robbie's game when he loses. And also when he walks 1:16:23.960 --> 1:16:26.960 into the house, he insults the Winslow's furniture. He's like, 1:16:27.040 --> 1:16:30.280 why do you all have such old furniture? But like, 1:16:30.320 --> 1:16:32.640 have you ever heard a kid? I'll say something. I 1:16:32.640 --> 1:16:37.440 don't know if they observe that anyway, So the Winslow's 1:16:37.479 --> 1:16:40.559 all head out to the furniture store. That's the last 1:16:40.560 --> 1:16:43.000 straw we got to get new furniture. On the way, 1:16:43.080 --> 1:16:45.879 they nearly get run off the road by a chauffeured 1:16:45.960 --> 1:16:49.639 car that is like doing a doing tokyo, drifting into 1:16:49.800 --> 1:16:53.920 the club of the Steaming Springs entrance, and Matt is 1:16:54.240 --> 1:16:56.040 he gets out. He's very angry. He gets out of 1:16:56.080 --> 1:16:58.800 the car to trade insurance info, but the passenger of 1:16:58.840 --> 1:17:02.200 this car gets out and it is Jessica Jones played 1:17:02.240 --> 1:17:06.680 by Susan Lucci. She introduces herself as the club's directors. 1:17:06.840 --> 1:17:08.880 She's like, I know all about you. She knows all 1:17:08.920 --> 1:17:11.800 of the family names and everything. She says, no need 1:17:11.840 --> 1:17:14.960 to trade insurance info. Allow me to have my goons 1:17:14.960 --> 1:17:17.599 intimidate you instead. So she just gets back in the car, 1:17:17.680 --> 1:17:19.920 and here we get this. Who's the actor of the 1:17:19.920 --> 1:17:23.200 sheriff worth Yeah, yeah, the sheriff guy. He says, here, 1:17:23.280 --> 1:17:26.000 we're a small, tight knit community. We do things a 1:17:26.040 --> 1:17:29.479 little differently, and I think that includes like not trading 1:17:29.479 --> 1:17:32.559 insurance info when it's this car. Maybe she's just going 1:17:32.640 --> 1:17:38.240 to send you some suspect of gifts instead. So next 1:17:38.680 --> 1:17:41.439 we see an initiation at the club. So we see 1:17:41.479 --> 1:17:46.680 Tom and Mary's family undergoing their final initiation into Steaming Springs, 1:17:47.320 --> 1:17:50.920 and we have the honorable Jessica Jones presiding. So the family, 1:17:51.080 --> 1:17:55.120 they're all standing there in these terry cloth robes in 1:17:55.160 --> 1:17:58.080 front of this door that is like, you know, has 1:17:58.320 --> 1:18:01.080 steam pouring out of it in White Life, and Jessica 1:18:01.160 --> 1:18:04.360 Jones says, you are now accepted into the inner circle, 1:18:04.680 --> 1:18:08.080 and by the symbolic entrance into our ancient spring, you 1:18:08.200 --> 1:18:13.240 forever forsake the mundane world and merge yourself into the protective, 1:18:13.439 --> 1:18:17.960 exclusive shield of the club. And so they're standing there 1:18:18.000 --> 1:18:20.760 and the doors open, the steam pours out, the white light, 1:18:21.240 --> 1:18:24.400 and Jones says, do you forsake all for the club? 1:18:24.720 --> 1:18:27.559 And the family all say they say I do. Then 1:18:27.800 --> 1:18:31.320 enter into the spring and taste its power. So they 1:18:31.360 --> 1:18:33.720 go inside and the doors close behind them, and then 1:18:33.760 --> 1:18:36.759 the sheriff just stands outside the door, our arms folded. 1:18:37.680 --> 1:18:39.519 So at first it looks like, I don't know, maybe 1:18:39.520 --> 1:18:44.160 they're going into just a really steamy sauna. Yeah. 1:18:44.200 --> 1:18:46.720 I at first you would assume, Okay, this is the 1:18:46.760 --> 1:18:52.040 actual spring, this is the steaming spring. Yeah. But there's 1:18:52.120 --> 1:18:55.439 more details emerge. It becomes clear this is no ordinary spring. 1:18:55.520 --> 1:18:58.400 This is something infernal. 1:18:58.800 --> 1:19:02.360 Right. So back at the office, Matt catches Grace sneaking 1:19:02.400 --> 1:19:05.000 around in the records room where she doesn't have clearance, 1:19:05.080 --> 1:19:07.400 and she nervously hands him a file that she wants 1:19:07.479 --> 1:19:10.839 him to look into. They get interrupted by Harry Thompson, 1:19:10.920 --> 1:19:14.200 the president of the company. Matt does not rat out 1:19:14.240 --> 1:19:17.560 Grace here, he covers for her and the president of 1:19:17.600 --> 1:19:20.200 the company. Thompson is like, here's a very important person 1:19:20.240 --> 1:19:22.719 I want you to meet, Matt. It's TV Susan Lucci. 1:19:24.040 --> 1:19:26.839 This is Kevin McCarthy playing mister Thompson here. 1:19:26.720 --> 1:19:30.920 Right, yeah, yeah, the boss guy. And this guy suggests 1:19:31.040 --> 1:19:32.880 that Matt. First of all, he's like, hey, did you 1:19:32.920 --> 1:19:34.719 know she has a club? You should join her club. 1:19:35.479 --> 1:19:37.639 There's a lot of scenes like that. It does kind 1:19:37.640 --> 1:19:40.960 of get repetitive somewhat. There's so much insisting that people 1:19:41.040 --> 1:19:45.960 join the club. But the boss also says that he 1:19:46.080 --> 1:19:47.960 needs to give her a tour of all his highly 1:19:47.960 --> 1:19:52.720 classified research. And Matt's like, but isn't that stuff classified? 1:19:52.760 --> 1:19:57.120 And he says, Matt, Miss Jones is family. So he's 1:19:57.160 --> 1:20:01.280 trying to show off the suit's capabilities. And Jessica is like, ooh, Matt, 1:20:01.600 --> 1:20:04.400 did you play a sport in college? I like your muscles. 1:20:05.120 --> 1:20:07.120 And she says at the club, we have lots of 1:20:07.200 --> 1:20:12.960 exercise equipment, lots of pleasurable things. And Matt is like, well, 1:20:13.160 --> 1:20:15.719 I guess I'm not much of a joiner. And she says, 1:20:15.760 --> 1:20:17.200 you know, you should think about it. It can do 1:20:17.280 --> 1:20:19.960 a lot more for you than you would think. And 1:20:20.000 --> 1:20:23.040 then ooh, we get a stinger here. So as Jessica 1:20:23.120 --> 1:20:26.480 is walking out of the room, we see from inside 1:20:26.560 --> 1:20:29.759 the space helmet and when she walks across its field 1:20:29.800 --> 1:20:33.080 of view, it renders a judgment on her. The screen 1:20:33.120 --> 1:20:35.240 says non human malignant. 1:20:36.920 --> 1:20:38.679 That's just for us the viewer at this point. 1:20:38.840 --> 1:20:42.599 All right, Matt doesn't get to see it. Okay, So 1:20:42.720 --> 1:20:45.840 next we have let's see, Oh, we have a scene 1:20:45.840 --> 1:20:49.000 where we find out that since being initiated into the club, 1:20:49.479 --> 1:20:51.800 Tom has gotten a promotion. Now he has a big, 1:20:51.840 --> 1:20:54.840 fancy office. It's got like six computers in it. Does 1:20:55.000 --> 1:20:57.639 doesn't Tom work in marketing? Does he need all those computers? 1:20:57.840 --> 1:21:00.240 It looks like a multiperson workspace, but they're just Is 1:21:00.280 --> 1:21:01.040 this his office now? 1:21:01.280 --> 1:21:05.240 Yeah? Tom again insists that Matt should join the club. 1:21:05.280 --> 1:21:07.479 He says, you join the club, you start rubbing shoulders 1:21:07.479 --> 1:21:10.439 with top top people. It's like the end of Indiana 1:21:10.520 --> 1:21:15.160 Jones and the Top Men. But Matt is resistant. He's 1:21:15.200 --> 1:21:17.599 got bad feelings about it, and he leaves with Tom 1:21:17.720 --> 1:21:22.280 still insisting. Meanwhile, Mary arrives at their house and is 1:21:22.320 --> 1:21:26.120 showing off to Patricia her new car. Patricia is very jealous, 1:21:26.520 --> 1:21:29.960 and Patricia she's telling Matt she she thinks they should 1:21:30.000 --> 1:21:31.960 join the club. She's like, it's our turn, Matt, It's 1:21:31.960 --> 1:21:34.800 our turn to have a little piece of success. And 1:21:34.840 --> 1:21:36.960 this is the part of the movie where there's like 1:21:37.120 --> 1:21:38.960 it's the middle of the night and Matt gets up. 1:21:39.000 --> 1:21:41.760 The kids are having a slumber party, and that creepy kid, 1:21:41.800 --> 1:21:44.400 Billy Ferris is there, and Matt goes into the kitchen 1:21:44.680 --> 1:21:47.640 and Billy Ferris is like, up at midnight staring at 1:21:47.720 --> 1:21:51.080 a TV that's just showing old footage of riots and 1:21:51.200 --> 1:21:52.320 violence in the streets. 1:21:52.800 --> 1:21:55.080 This is a local channel. I'm the semi. 1:21:55.680 --> 1:22:01.280 Yeah, so let's see. There's a little some more plot stuff. 1:22:01.400 --> 1:22:04.000 Matt finds out at work that Grace has been fired 1:22:04.040 --> 1:22:07.679 by Thompson, the big boss, and he goes to confront 1:22:07.680 --> 1:22:09.479 Thompson about this. He says he wants him to hire 1:22:09.520 --> 1:22:11.800 her back, and Thompson kind of implies, well, he might 1:22:11.880 --> 1:22:16.439 consider it if Matt and his family join the club. Geez, okay, 1:22:16.479 --> 1:22:19.800 you're making your point. So finally, Matt, Patricia and the 1:22:19.880 --> 1:22:23.080 family get a tour of the club. Tom and Mary 1:22:23.120 --> 1:22:25.400 are sponsoring them, and they walk around seeing all of 1:22:25.439 --> 1:22:29.439 the wonderful facilities. You got tennis courts, a pool, golf course, 1:22:29.600 --> 1:22:32.599 Jim with a big weight room full of beautiful athletic 1:22:32.600 --> 1:22:36.800 people sculpting their bodies, and Jessica Jones tells them that 1:22:36.840 --> 1:22:39.080 they could be initiated in as little as three or 1:22:39.120 --> 1:22:43.200 four weeks. And Matt wanders off from the tour into 1:22:43.240 --> 1:22:46.840 an off limits corridor down to the door. The door 1:22:46.880 --> 1:22:49.679 we saw earlier from the initiation. This is the door 1:22:49.720 --> 1:22:53.320 to the spring, and he's sort of getting ready to 1:22:53.640 --> 1:22:56.439 try to look inside, but Jessica Jones finds him and 1:22:56.479 --> 1:22:59.719 stops him. He explains that he thought he heard someone 1:22:59.760 --> 1:23:02.160 crying out for help on the other side of the door, 1:23:02.640 --> 1:23:06.240 and Jessica's like, oh, it was probably someone crying out 1:23:06.439 --> 1:23:10.640 in ecstasy. Pleasure can make you feel that good, you know? 1:23:10.880 --> 1:23:14.599 Did you know pleasure can make you feel good? Jessica 1:23:14.680 --> 1:23:17.280 Jones tells him that she can carry She can tell 1:23:17.320 --> 1:23:19.519 he doesn't care about money, but she thinks he does 1:23:19.600 --> 1:23:22.840 care about pleasure, and she will make sure that his 1:23:22.960 --> 1:23:27.320 membership is as pleasurable as possible. Now, this is a 1:23:27.360 --> 1:23:30.040 theme they're kind of developing the movie, but I think 1:23:30.160 --> 1:23:33.360 this one doesn't necessarily work right because you never get 1:23:33.400 --> 1:23:36.680 the feeling that Matt is all that tempted or like 1:23:36.720 --> 1:23:38.400 he's about to give in or anything. 1:23:38.680 --> 1:23:41.240 Yeah, I feel like we would need a couple of 1:23:41.280 --> 1:23:44.400 scenes sprinkled here there that show that he is to 1:23:44.479 --> 1:23:49.680 some degree sexually frustrated or you know, or particularly hedonistic 1:23:49.720 --> 1:23:52.559 in one way or another. As it stands, it's kind 1:23:52.560 --> 1:23:57.320 of like Jessica Jones is just saying, you're a human, 1:23:57.520 --> 1:24:01.360 you're all hot to trot, so let me just push 1:24:01.360 --> 1:24:04.679 those buttons. It feels a little desperate on her part, 1:24:04.760 --> 1:24:09.360 and it makes him feel a little more immune to 1:24:09.520 --> 1:24:10.559 her various powers. 1:24:11.320 --> 1:24:12.840 Yeah, I agree. I think it would have worked a 1:24:12.840 --> 1:24:15.880 little better if they'd shown him being slightly more vulnerable 1:24:15.920 --> 1:24:18.360 to the seduction. And it's just like bullets bouncing off 1:24:18.360 --> 1:24:21.080 of Superman, and he doesn't really seem I mean, he 1:24:21.120 --> 1:24:22.599 seems like bothered by it. 1:24:22.880 --> 1:24:26.000 He's bothered. He's bothered by this temptation. He's bothered by 1:24:26.040 --> 1:24:29.880 the door to perhaps hell, and he's also bothered by 1:24:29.880 --> 1:24:32.599 the fact that there's no basketball court here. He does 1:24:32.640 --> 1:24:34.479 point back, He's like, where the where's the where's the 1:24:34.479 --> 1:24:36.679 b ball? And they're just all that like, oh, it's 1:24:36.680 --> 1:24:39.200 a great place, like they were like we forgot the 1:24:39.200 --> 1:24:40.040 basketball court. 1:24:40.800 --> 1:24:43.759 Oh yeah, if only that would be the final victory 1:24:43.760 --> 1:24:44.200 for Satan. 1:24:44.360 --> 1:24:46.160 If she should have she should have led with that, 1:24:46.280 --> 1:24:48.599 she'd be like, we will add a basketball court man. 1:24:49.520 --> 1:24:52.520 Two of them full sight have done it recruited. 1:24:52.560 --> 1:24:54.960 Now he gets to become spawn because they made him 1:24:55.080 --> 1:24:59.000 basketball court. But so he gets freaked out and leaves 1:24:59.000 --> 1:25:01.320 after this, and he a fight with Patricia in the 1:25:01.320 --> 1:25:03.760 parking lot. She wants to join the club, Matt does not, 1:25:04.160 --> 1:25:06.880 and they're at an impasse. This is one of those 1:25:06.920 --> 1:25:10.439 movie conflicts that I think could be alleviated simply by 1:25:10.479 --> 1:25:13.640 one character telling the other what happened, but for some 1:25:13.760 --> 1:25:17.519 reason he doesn't. Yeah, So Patricia is upset because there 1:25:17.640 --> 1:25:20.280 is a club rule that says families have to join 1:25:20.360 --> 1:25:24.120 as a unit, but Matt won't join. So so she's like, 1:25:24.160 --> 1:25:25.880 oh no, I want to join, but we can't. But 1:25:25.920 --> 1:25:29.400 then Patricia has a meeting with Jessica Jones, and Jessica says, 1:25:29.439 --> 1:25:32.320 you know, we don't have to be rigidly religious about 1:25:32.320 --> 1:25:36.160 our rules. So we cut straight to the initiation once again, 1:25:36.360 --> 1:25:39.360 steamy door, the terry cloth robes, and the liturgy about 1:25:39.439 --> 1:25:41.519 you know, we're gonna forsake all others merge with the 1:25:41.560 --> 1:25:44.719 protective shield of the club, and it is Patricia, Robbie, 1:25:44.720 --> 1:25:47.479 and Chrissy joining without Matt, and we see them walk 1:25:47.520 --> 1:25:50.760 into the steamy doorway. Chrissy gets scared and tries to 1:25:50.840 --> 1:25:53.439 run away, but the creepy sheriff stops her, makes her 1:25:53.479 --> 1:25:56.080 go in, and then we get what's clearly an ad break. 1:26:05.960 --> 1:26:09.360 At this point, Matt's family has been replaced by replicants, 1:26:09.360 --> 1:26:14.240 a kind of Stepford Satan family that is simultaneously perfect 1:26:14.360 --> 1:26:19.680 and evil. They are very docile and elegant and well behaved, 1:26:19.760 --> 1:26:23.559 but also obsessed with the club and cruel and getting 1:26:23.680 --> 1:26:26.560 barked and growled at by their dog. And there's a 1:26:26.600 --> 1:26:29.280 whole subplot with the dog, by the way. So Matt 1:26:29.360 --> 1:26:33.160 later gets a call at work from Bill Irwin, playing 1:26:33.160 --> 1:26:38.639 a veterinarian. This is just by coincidence, the husband of Grace, 1:26:38.800 --> 1:26:43.439 Matt's former secretary, and you know. He asks him to 1:26:43.439 --> 1:26:47.600 come out to his kennel and he explains that Patricia 1:26:47.720 --> 1:26:51.599 brought their dog. Albert said it was vicious from day one, 1:26:51.800 --> 1:26:54.519 probably some kind of brain tumor, and it had attacked 1:26:54.600 --> 1:26:58.000 their children and needed to be put down. So the 1:26:58.080 --> 1:26:59.760 vet lied to her and said he would do it 1:26:59.800 --> 1:27:02.639 after or she left. Fortunately, the dog's still okay, folks, 1:27:02.680 --> 1:27:05.240 and we see it runs out and Matt pet's the 1:27:05.280 --> 1:27:06.479 dog and everybody's happy. 1:27:06.720 --> 1:27:09.080 But not only did she say that she wanted the 1:27:09.080 --> 1:27:10.840 dog put down, She's like, I want to watch. 1:27:11.000 --> 1:27:13.760 Yeah, that was good. That was a nice detail. That 1:27:13.880 --> 1:27:16.720 was that he said, we don't do things that way. 1:27:18.240 --> 1:27:21.280 So Matt goes home to confront Patricia about this, and 1:27:21.600 --> 1:27:24.520 when he arrives, she has had the house goth renode 1:27:24.560 --> 1:27:27.080 while he was at work, so now it's all dark 1:27:27.120 --> 1:27:29.639 blue walls, moody abstract art. 1:27:30.280 --> 1:27:32.200 It's like the house and beal juice at this point. 1:27:33.040 --> 1:27:36.600 Yeah, and later we see Jessica Jones has sent Patricia 1:27:36.640 --> 1:27:41.360 a new grand piano, and so he comes in and 1:27:41.400 --> 1:27:43.880 she's in the kitchen with a knife and a black 1:27:43.920 --> 1:27:47.160 cocktail dress. He confronts her about the dog, and she 1:27:47.520 --> 1:27:50.160 just sort of deflects and manipulates him with a knife 1:27:50.160 --> 1:27:52.840 in her hand, and she wants him to join the club. 1:27:52.960 --> 1:27:54.920 So things are not right with his family. 1:27:55.360 --> 1:27:57.720 You know. This is the point where Joan Cassidy, I think, 1:27:57.760 --> 1:28:01.280 really gets to shine as well, because she's great earlier 1:28:01.320 --> 1:28:03.920 in the picture, playing the normal Pat. But now she 1:28:03.960 --> 1:28:07.519 gets to play this sinister, ambitious but sort of possessed 1:28:07.560 --> 1:28:12.799 Stepford pat And yeah, it has it's a nice performance, 1:28:12.800 --> 1:28:14.519 so I enjoyed it. You know, you expect her to 1:28:15.520 --> 1:28:18.880 start going on a replicant rampage at any moment. 1:28:19.040 --> 1:28:21.880 Yeah, and then also there's a funny seat. Later that night, 1:28:22.000 --> 1:28:25.840 Patricia is all like sexually aggressive with him. She's like 1:28:26.000 --> 1:28:29.519 she's jumping him and she she's there's one part where 1:28:29.520 --> 1:28:32.400 she's just repeating, I'm just making love to you, darling. 1:28:33.960 --> 1:28:36.120 But it looks like who he's been making love to 1:28:36.280 --> 1:28:39.280 is Freddy Krueger, because you see the scratches on his back. 1:28:39.439 --> 1:28:42.240 He's like looking in the mirror and they're like deep gouges. 1:28:42.720 --> 1:28:44.519 Yeah, she goes, she goes zool on him. 1:28:44.560 --> 1:28:47.800 For sure does not look like fingernails, cause those looks 1:28:47.840 --> 1:28:52.080 like knives. Yeah, let's see. So the next day, Matt 1:28:52.160 --> 1:28:56.519 finds out that Grace, his old secretary, was unfortunately killed 1:28:56.520 --> 1:28:59.720 in a terrible car accident with someone trying to shut 1:28:59.720 --> 1:29:03.200 her up up And Matt goes and finds the files 1:29:03.240 --> 1:29:05.160 that Grace had tried to get him to read earlier. 1:29:05.200 --> 1:29:07.320 I guess he forgot about it. Till now and then 1:29:07.400 --> 1:29:09.760 this is the scene where he's just typing questions into 1:29:09.760 --> 1:29:12.679 a computer to get information. What he finds out here 1:29:12.840 --> 1:29:16.480 is that all of the senior management at micro Digitech 1:29:16.560 --> 1:29:20.960 were promoted after becoming members of the Steaming Springs Country Club. 1:29:21.280 --> 1:29:24.040 So Matt now he has to learn more. He sneaks 1:29:24.040 --> 1:29:26.760 into the country club to investigate. He goes down into 1:29:26.800 --> 1:29:30.120 the basement to the door. He first uses some kind 1:29:30.120 --> 1:29:33.720 of gadget to hack the key code to access the door. 1:29:33.760 --> 1:29:37.479 The key code includes the number six sixty six, and 1:29:37.600 --> 1:29:41.200 then he uses a thermometer probe from the spacesuit to 1:29:41.360 --> 1:29:44.120 test the temperature inside the door. When he gets at 1:29:44.160 --> 1:29:47.120 a crack open and he says eight hundred degrees no 1:29:47.320 --> 1:29:50.519 human could withstand it. And while he's sitting there, you know, 1:29:50.520 --> 1:29:53.240 getting the temperature, there's an ambush. He is attacked by 1:29:53.479 --> 1:29:56.080 the sheriff and they have a big fight scene. This 1:29:56.120 --> 1:29:58.240 is the scene with the wrestling moves where Matt gets 1:29:58.280 --> 1:30:01.479 like body slammed into the floor. So how's he going 1:30:01.520 --> 1:30:05.160 to defeat this this demonic sheriff. Well, he electrocutes him 1:30:05.200 --> 1:30:08.320 on a chain link fence with a lamp. After this, 1:30:08.479 --> 1:30:10.519 Matt comes home this is the Oh. Then we get 1:30:10.520 --> 1:30:14.040 the scene where the children are, you know, fully evilfied. 1:30:14.160 --> 1:30:17.320 Now he comes home and he finds Chrissy mutilating her 1:30:17.360 --> 1:30:20.800 stuffed bunny with a crowbar and he's like, hey, let's 1:30:20.800 --> 1:30:23.200 be nice, and she says, we do not like nice, 1:30:23.320 --> 1:30:26.439 and she's whacking with the crowbar. He says, you're not 1:30:26.560 --> 1:30:29.800 my daughter, and then with a pazuzu voice, she says, 1:30:29.840 --> 1:30:33.160 but I am your daughter. And he's like, is she 1:30:33.320 --> 1:30:36.519 down there, down in the springs and she says, she 1:30:36.600 --> 1:30:39.760 explains it the mechanics here. She says, good Chrissy is 1:30:39.840 --> 1:30:45.000 down there in the springs. But you've just got bad Chrissy. Now, bad, bad, 1:30:45.280 --> 1:30:49.519 bad Chrissy. And so Matt is attacked by evil children, 1:30:49.560 --> 1:30:52.320 by bad Chrissy and bad Robbie, and he has to 1:30:52.360 --> 1:30:54.800 lock both of them inside a closet. Why does that 1:30:54.800 --> 1:30:57.320 closet lock from the outside. That's not a yeah, you 1:30:57.320 --> 1:30:59.120 shouldn't have closet locked from the outside. 1:30:59.200 --> 1:31:01.320 I mean, maybe it was part of these new renovations, 1:31:01.880 --> 1:31:05.160 all sorts of sinister changes to the house. 1:31:06.439 --> 1:31:10.559 Then bad Patricia attacks him with a golf club. He escapes, 1:31:10.800 --> 1:31:13.960 He escapes the house, and then he goes to the lab, 1:31:14.320 --> 1:31:18.000 the lab at work, where he dons the suit. 1:31:18.640 --> 1:31:20.559 I think it was coming at this point, you knew 1:31:20.600 --> 1:31:21.200 it was coming. 1:31:21.479 --> 1:31:24.640 Yeah, it's all coming together now. So while he's all 1:31:24.680 --> 1:31:28.800 getting suited up in the spacesuit, he is confronted by 1:31:28.840 --> 1:31:32.160 Tom with a gun and Tom, this is bad Tom, 1:31:32.200 --> 1:31:36.519 I guess also and bad Tom says, you're not one 1:31:36.560 --> 1:31:39.719 of us, Matt, You're a loser. We are the winners 1:31:39.760 --> 1:31:41.760 and we have to get rid of the losers. And 1:31:41.800 --> 1:31:44.559 he's going to shoot him, but it's like a duel. 1:31:44.560 --> 1:31:47.880 It's a quick draw. There's a blast, and what you 1:31:48.000 --> 1:31:50.880 realize happened is that Matt has blasted Tom with the 1:31:50.960 --> 1:31:53.040 sleeve laser gun on the suit. 1:31:54.160 --> 1:31:55.880 Yeah, you knew it was going to be important, and 1:31:55.920 --> 1:31:56.400 there it was. 1:31:56.960 --> 1:31:59.400 So Matt puts on the suit helmet, which has a 1:31:59.479 --> 1:32:02.600 dark vibe, and then uses it to sneak into the 1:32:02.680 --> 1:32:06.320 club during the Halloween party we've heard so much about. 1:32:06.960 --> 1:32:10.000 This party has a number of guests, including Larry Ferris, 1:32:10.200 --> 1:32:14.760 the Boss, dressed as Nazi officers. Not a great Halloween costume, No. 1:32:15.000 --> 1:32:18.879 I mean, you know, some things were acceptable in the eighties. 1:32:19.960 --> 1:32:22.880 Maybe this was a little more acceptable at the time, 1:32:23.000 --> 1:32:26.840 but I don't know, he's really he's really into it here, 1:32:26.880 --> 1:32:29.320 So I think we are meant to see this as 1:32:29.360 --> 1:32:30.640 somewhat sus. 1:32:30.560 --> 1:32:33.400 Should We also mention Jessica Jones's costume. This is one 1:32:33.439 --> 1:32:35.880 of the main images you will see of this movie 1:32:35.960 --> 1:32:39.240 is Susan Lucci in this Halloween costume. I don't know 1:32:39.320 --> 1:32:41.280 exactly what she's supposed to be. She's kind of a 1:32:41.320 --> 1:32:45.960 big hair, ziggy stardust devil, like a red suit, sparkles, 1:32:46.280 --> 1:32:47.840 hair volume, all that. 1:32:48.760 --> 1:32:50.439 Yeah, yeah, I'm not sure what it's supposed to be. 1:32:50.520 --> 1:32:53.160 But either are a lot of great costumes. There's Generally it 1:32:53.200 --> 1:32:56.160 just looks like a fun party. I mean, yes, it's 1:32:56.240 --> 1:33:02.439 being held by awful half demon peeple, but it looks 1:33:02.439 --> 1:33:04.200 pretty good. It looks like I got some cool snacks, 1:33:04.200 --> 1:33:06.680 cool decorations, and you know, I assume there's maybe a 1:33:06.720 --> 1:33:08.320 DJ spinning. I don't know. 1:33:08.560 --> 1:33:10.640 I'm not saying I would sell my soul to go 1:33:10.680 --> 1:33:12.639 to this party, but if I could go like Matt, 1:33:12.720 --> 1:33:14.920 if I could sneak in without selling my soul, I'd 1:33:14.960 --> 1:33:16.080 like to check this party out. 1:33:16.200 --> 1:33:18.920 Yeah, selling your soul, You're not selling your soul just 1:33:18.920 --> 1:33:21.839 for this party. There are a whole number of benefits 1:33:21.840 --> 1:33:22.639 and this is just one. 1:33:23.280 --> 1:33:26.960 That's right. So Matt goes there, and then he sneaks 1:33:27.000 --> 1:33:29.320 away from the party with the suit on and enters 1:33:29.320 --> 1:33:31.960 the code to the secret door. And then finally he 1:33:32.000 --> 1:33:36.040 goes into the steaming spring. Yes, and along the way 1:33:36.040 --> 1:33:39.760 he's followed by Jessica Jones. He sees her coming after him, 1:33:39.760 --> 1:33:41.639 and he tries to stop her with the flame thrower, 1:33:41.680 --> 1:33:43.759 but it doesn't seem to work on her just walks 1:33:43.800 --> 1:33:49.360 through the flames. And so now Matt descends into what 1:33:49.479 --> 1:33:53.880 is beyond the door. It's hell, baby, It's Hell. Yeah. Yeah. 1:33:54.080 --> 1:33:57.000 And again you you can see all this coming together. 1:33:57.680 --> 1:33:59.120 You see it, saw it coming together when all the 1:33:59.120 --> 1:34:02.559 pieces were on the table. But at this point, Matt, 1:34:02.680 --> 1:34:07.439 clad in a spacesuit of his own design, powered by AI, 1:34:08.080 --> 1:34:12.479 armed with a laser and a flamethrower, is descending into Hell, 1:34:13.160 --> 1:34:16.960 literally harrowing Hell, in an attempt to save his family 1:34:17.720 --> 1:34:21.920 from the depths of damnation. And he's doing this by 1:34:22.040 --> 1:34:24.840 venturing through an occult gateway to Hell that happens to 1:34:24.880 --> 1:34:27.519 be in the basement of his local country club. I mean, 1:34:27.960 --> 1:34:30.640 that's bonkers. I love it. This is again. This is 1:34:30.680 --> 1:34:35.400 all happening before ten pm on a Thursday on network television. 1:34:37.160 --> 1:34:39.400 This is amazing that this suld. This film should be 1:34:39.400 --> 1:34:42.559 more celebrated for its weirdness. It's so good. Okay, so yeah. 1:34:42.680 --> 1:34:46.599 Hell is a craggy red cave full of these deep 1:34:46.680 --> 1:34:50.719 pits from which are coming these screams for help Somewhere 1:34:50.720 --> 1:34:53.400 down below. Matt does hear his family calling for help, 1:34:53.520 --> 1:34:56.640 so he goes up to the edge and Jessica's in 1:34:56.680 --> 1:34:59.360 there also, still talking to him. It's like, it's hopeless. 1:34:59.400 --> 1:35:01.559 You can't say them, you know, you got to stop. 1:35:01.640 --> 1:35:03.760 But he makes a leap of faith into the pit, 1:35:05.040 --> 1:35:06.960 and then he wakes up at the bottom in a 1:35:07.040 --> 1:35:10.439 kind of mirror world version of his neighborhood, where he 1:35:10.479 --> 1:35:13.680 goes into his home and he finds his family imprisoned 1:35:13.720 --> 1:35:18.680 behind these animated barriers. Patricia's tortured soul is playing piano 1:35:18.840 --> 1:35:22.400 in Anguish, and Jessica shows up once again and tells 1:35:22.479 --> 1:35:24.719 him that he can never rescue his family. He says, 1:35:24.760 --> 1:35:27.760 they all came here willingly, they made the choice, and 1:35:27.800 --> 1:35:30.160 then she also says that the Patricia down here is 1:35:30.720 --> 1:35:33.040 the weak Patricia. You don't even want her bag this 1:35:33.120 --> 1:35:35.840 is the one that has no will, no power to 1:35:36.000 --> 1:35:39.000 you know, survive. This is just the weak part of 1:35:39.040 --> 1:35:42.280 her that has been purged. And Matt's like, no, that's 1:35:42.320 --> 1:35:45.120 the good Patricia, And he says, that's what you've done, 1:35:45.240 --> 1:35:47.439 isn't it. You've taken all the love, all the good 1:35:47.479 --> 1:35:50.280 in people who joined the club and put them down here. 1:35:50.640 --> 1:35:54.800 And you know, so this movie is it's the way 1:35:54.800 --> 1:35:57.320 it attacks its themes, I think you could argue is 1:35:57.360 --> 1:36:00.320 somewhat simplistic. But I was thinking about this, and so, 1:36:00.439 --> 1:36:03.000 you know, that's kind of interesting. The idea that in 1:36:03.120 --> 1:36:08.240 order to receive some kinds of luxury, people might trade 1:36:08.320 --> 1:36:12.040 in good parts of themselves, like put the good parts 1:36:12.080 --> 1:36:16.240 of themselves in storage, so that a broken, diminished part 1:36:16.280 --> 1:36:19.000 of themselves can enjoy the fabulous amenities. 1:36:20.360 --> 1:36:22.960 I think, by some measurements, this would be a theological 1:36:23.000 --> 1:36:26.080 misuse of Hell, taking the good parts out of someone 1:36:26.120 --> 1:36:28.479 and keeping them there and letting the worst of them 1:36:28.560 --> 1:36:31.200 thrive on earth. Not to go on a tangent here 1:36:32.160 --> 1:36:36.200 about what hell is theologically and the role it plays 1:36:36.200 --> 1:36:38.200 in the human psyche, but yeah, it does give us 1:36:38.200 --> 1:36:40.559 some food for thought here. And I want to add 1:36:40.600 --> 1:36:43.160 that the effects here, I think are quite good all 1:36:43.200 --> 1:36:46.439 things considered. I mean, you can feel this TV movie 1:36:46.439 --> 1:36:50.519 of the week's budget straining at the seams, but we 1:36:50.600 --> 1:36:52.720 have a solid, rocky set. We have that in this 1:36:52.880 --> 1:36:57.160 weird precipice over this gulf that contains at the very 1:36:57.200 --> 1:36:59.960 bottom a replica of his neighborhood. Like this is Trip 1:37:00.080 --> 1:37:03.760 being weird. And there's a palpable feeling at that point 1:37:03.800 --> 1:37:05.720 when he's standing on the edge of the cliff and 1:37:05.720 --> 1:37:10.800 he's being mocked and or tempted by Jessica Jones that 1:37:10.920 --> 1:37:13.040 you know, like we've traveled well beyond the point of 1:37:13.040 --> 1:37:16.679 no return. And again, it's not even ten pm Eastern 1:37:17.000 --> 1:37:19.840 Time on ABC Television on a Thursday, but it feels 1:37:19.880 --> 1:37:24.640 like we've gone past midnight. Yeah, it's just it's the 1:37:24.720 --> 1:37:27.280 sort of thing I think it would feel right at home, 1:37:27.360 --> 1:37:31.000 and you're weirder contemporary television dramas or the films that 1:37:31.040 --> 1:37:36.280 have a particular psychotronic bent to them. So yeah, again, 1:37:36.439 --> 1:37:38.600 I feel like this film should be more celebrated for 1:37:38.600 --> 1:37:40.880 its weirdness. It should not be at the bottom of 1:37:40.920 --> 1:37:41.840 the West Craven Heap. 1:37:42.400 --> 1:37:44.280 Yeah, I would say, in fact, if you don't give 1:37:44.320 --> 1:37:46.200 this a five out of five on letterbox that you 1:37:46.240 --> 1:37:50.559 should go to hell. You can go straight into the 1:37:50.560 --> 1:37:51.439 steaming springs. 1:37:51.560 --> 1:37:53.759 At least the weak part of you that wasn't strong 1:37:53.880 --> 1:37:55.679 enough to give this film five stars. 1:37:57.360 --> 1:37:59.960 So let's see. Oh, we get another part here where 1:38:00.120 --> 1:38:02.120 Jessica tries to tempt Matt with like, you know you 1:38:02.200 --> 1:38:05.880 don't want Patricia, you want me once again. It doesn't 1:38:05.880 --> 1:38:09.760 really work because of how they've characterized Matt. You never 1:38:09.800 --> 1:38:11.160 feel like he's seriously tempted. 1:38:11.479 --> 1:38:13.280 Yeah, she should have should have been be ball again. 1:38:13.320 --> 1:38:15.680 She'd been like, yeah, how about how about basketball? I 1:38:15.720 --> 1:38:18.880 can offer you all the basketball in the world, and 1:38:18.920 --> 1:38:20.479 then he and then he might be tempted. 1:38:20.800 --> 1:38:23.479 She like pulls out a copy of Space Jam and 1:38:23.600 --> 1:38:26.840 she's on VHS. She's like, this is from the future, Matt, 1:38:27.040 --> 1:38:28.080 it's your future. 1:38:28.400 --> 1:38:31.519 A Space Jam showdown right here at the end would 1:38:31.560 --> 1:38:32.880 have would have just capped it. 1:38:32.960 --> 1:38:36.880 Yes, So Matt. At this point, he decides to take 1:38:36.960 --> 1:38:39.559 off his space suit to save his family. I don't 1:38:39.560 --> 1:38:41.240 remember how he figures out he's got to do this, 1:38:41.360 --> 1:38:45.360 but this also seems thematically loaded. He has to change 1:38:45.439 --> 1:38:49.280 out of the protective EVA suit, the technology that he 1:38:49.320 --> 1:38:52.280 has been working on back into khakis and a polo 1:38:52.360 --> 1:38:54.839 shirt to save the good parts of his family. 1:38:55.439 --> 1:38:58.479 Yeah more. I guess this is more symbolic than sensible. 1:39:00.520 --> 1:39:02.840 But oh and I wanted to mention too, like the 1:39:02.840 --> 1:39:06.840 the like laser lights that his family's souls are trapped in. 1:39:07.120 --> 1:39:10.640 It's kind of like the the laser lights from the 1:39:10.680 --> 1:39:14.960 egg chamber above aboard the spaceship at the beginning of Alien, 1:39:15.479 --> 1:39:16.719 except blue instead of green. 1:39:17.000 --> 1:39:19.679 Yeah, it is like that. So the power of love 1:39:19.760 --> 1:39:22.760 saves the whole family. They you know, they embrace, and 1:39:22.800 --> 1:39:25.640 they all awake together back in their house, seemingly in 1:39:25.720 --> 1:39:29.080 the real world. They hear sirens outside. What's that noise? 1:39:29.120 --> 1:39:31.479 And so they go outside to look, and there are 1:39:31.479 --> 1:39:33.920 people running around saying there is a big fire down 1:39:33.960 --> 1:39:37.719 at the club. It's been burning all night, and oh, okay, 1:39:37.720 --> 1:39:39.880 I guess that's that's it for the club. And then 1:39:40.240 --> 1:39:42.920 Christy says that her bunny is hungry. This the bunny 1:39:43.000 --> 1:39:45.360 is intact once again, So we get kind of we're 1:39:45.360 --> 1:39:47.760 getting kind of a redo on reality. I guess things 1:39:47.760 --> 1:39:50.639 that we saw destroyed are actually now intact once again. 1:39:51.880 --> 1:39:54.960 And Patricia's like, oh, I guess we better feed bunny okay, 1:39:55.400 --> 1:39:57.960 and it looks like everything's cool now. Yeah, all good. 1:39:58.560 --> 1:40:02.519 Yeah, surprisingly up beat ending because I was again when 1:40:02.560 --> 1:40:04.200 he was standing on the edge of that cliff, I 1:40:04.280 --> 1:40:06.760 was like, oh, he's not coming back from this. This 1:40:06.840 --> 1:40:10.360 is going to have a bleak ending. But they pulled 1:40:10.400 --> 1:40:13.200 back on it. They landed us in a nice spot 1:40:14.080 --> 1:40:16.840 so that we can lead into twenty twenty. 1:40:17.240 --> 1:40:19.640 I want to revisit the question I asked earlier, now 1:40:19.640 --> 1:40:22.360 that we've talked about the whole plot, what is the 1:40:22.400 --> 1:40:26.720 core evil institution? Is it the country club or the corporation? 1:40:27.160 --> 1:40:31.600 I think it's Steaming Springs. It's like that micro digitech. 1:40:32.320 --> 1:40:37.479 It is suggested exists only to provide employment to people 1:40:37.560 --> 1:40:40.599 who can be recruited into the service of our dark 1:40:40.640 --> 1:40:42.480 lord at Steaming Springs. 1:40:43.960 --> 1:40:46.920 Yeah. Yeah, I think that's a good read on it. 1:40:47.120 --> 1:40:50.760 I guess you know, thematically, the main threat is just 1:40:52.040 --> 1:40:56.599 the spirit of wealth and ambition that permeates society, both 1:40:56.600 --> 1:40:59.040 at work and at home and you know, in your 1:40:59.080 --> 1:41:04.360 social But yeah, I was thinking, Okay, the gateway to 1:41:04.400 --> 1:41:07.680 hell is definitely at the country club, so that is 1:41:07.760 --> 1:41:11.080 in many ways the focal point. But then Jessica Jones 1:41:11.120 --> 1:41:15.000 has complete access to all the high tech, presumably top 1:41:15.000 --> 1:41:19.320 secret experiments going on at Digitech. So the two were 1:41:20.080 --> 1:41:22.960 linked at this point anyway. And who knows, maybe some 1:41:23.320 --> 1:41:27.280 member of the club back before it became possessed had 1:41:27.360 --> 1:41:31.519 some role in opening or widening that Hell mouth so 1:41:31.600 --> 1:41:33.120 that everything can get out of whack. There's like a 1:41:33.120 --> 1:41:35.160 whole prequel you could explore right there. 1:41:36.200 --> 1:41:42.559 I'd watch that pre Invitation to Hell arriving early. Yeah, okay, 1:41:42.600 --> 1:41:46.519 well that was Invitation to Hell nineteen eighty four, as 1:41:46.560 --> 1:41:49.880 we've said, thumbs up from me. Check it out. 1:41:50.120 --> 1:41:52.080 Yeah, this one was great. This is one I really 1:41:52.160 --> 1:41:56.400 wasn't even aware of. I was. I don't know. Maybe 1:41:56.439 --> 1:41:59.640 it's part of that attitude that we can sometimes have 1:41:59.680 --> 1:42:03.200 about made for TV films that even though I've certainly 1:42:03.920 --> 1:42:07.880 poured through Wes Craven's filmography and IMDb many times, I've 1:42:07.880 --> 1:42:11.439 just kind of skipped over these made for TV films 1:42:11.560 --> 1:42:14.280 and I've paid more attention to his more well known films. 1:42:14.320 --> 1:42:16.240 But yeah, this one, this one was a real treat. 1:42:16.439 --> 1:42:18.360 Well, let's let's look at the other one and see 1:42:18.360 --> 1:42:18.800 how they are. 1:42:19.520 --> 1:42:21.720 Yeah, I mean, if they're as good as if they're 1:42:21.760 --> 1:42:23.439 even close to as good as this one. They're worth 1:42:23.479 --> 1:42:26.720 worth they're worth checking out for sure. All right, Well, 1:42:26.720 --> 1:42:28.360 we're gonna go ahead and close up this episode of 1:42:28.400 --> 1:42:30.439 Weird House centem up. What we'd love to hear from 1:42:30.479 --> 1:42:33.720 everyone out there? Do you have thoughts on Invitation to Hell? 1:42:34.560 --> 1:42:37.640 Did you if anyone out there solid on network television 1:42:37.680 --> 1:42:40.880 in eighty four, I definitely want to hear about that, 1:42:41.080 --> 1:42:44.200 or or if you've watched it with commercials intact, uh, 1:42:45.000 --> 1:42:46.840 do write in and tell us all about it, or 1:42:46.840 --> 1:42:49.000 if you've watched it recently and you have some some 1:42:49.000 --> 1:42:51.760 some thoughts about how it fits into the filmography of 1:42:51.880 --> 1:42:55.400 this legendary director. Yeah, right in and we'll have a 1:42:55.439 --> 1:42:57.719 we'll have a little conversation. Well, well, well we'll share 1:42:57.880 --> 1:43:00.800 potentially share your email on a future listener man episode 1:43:01.120 --> 1:43:03.880 of Stuff to Blow Your Mind. Just a reminder that 1:43:03.880 --> 1:43:05.800 Stuff to Blow Your Mind is primarily a science and 1:43:05.840 --> 1:43:08.439 culture podcast, with core episodes on Tuesdays and Thursday, short 1:43:08.439 --> 1:43:10.799 form episode on Wednesdays and on Fridays. We set aside 1:43:10.800 --> 1:43:13.800 most serious concerns to just talk about a weird film 1:43:13.800 --> 1:43:15.800 here on Weird House Cinema. Look us up on a 1:43:15.840 --> 1:43:18.559 letterbox where we are Weird House. You can follow a 1:43:18.600 --> 1:43:20.400 list of all the films we've covered over the years, 1:43:20.439 --> 1:43:23.200 and sometimes there's a peek ahead at what's coming up next. 1:43:23.600 --> 1:43:25.479 And next week is cat Week. By the way, we 1:43:25.520 --> 1:43:27.920 haven't really broadcast that fact chat on the show, but 1:43:28.680 --> 1:43:31.599 if you like cats or don't like cats, it's perfect 1:43:31.600 --> 1:43:35.200 week to tune in. We're experimenting with some thematic weeks 1:43:35.200 --> 1:43:37.559 spread throughout the year, and yes we will come back 1:43:37.560 --> 1:43:39.600 around and do a Dog week as well, once we 1:43:39.720 --> 1:43:42.519 pinpoint the appropriate time of a year for that to happen. 1:43:42.760 --> 1:43:44.360 As the dog star rises. 1:43:44.880 --> 1:43:45.320 There you go. 1:43:45.840 --> 1:43:49.880 Huge thanks as always to our excellent audio producer JJ Posway. 1:43:50.120 --> 1:43:51.680 If you would like to get in touch with us 1:43:51.680 --> 1:43:54.120 with feedback on this episode or any other, to suggest 1:43:54.160 --> 1:43:56.320 a topic for the future, or just to say hello, 1:43:56.479 --> 1:43:59.400 you can email us at contact at stuff to Blow 1:43:59.439 --> 1:44:00.559 your Mind dot com. 1:44:07.479 --> 1:44:10.400 Stuff to Blow Your Mind is production of iHeartRadio. For 1:44:10.520 --> 1:44:14.320 more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 1:44:14.400 --> 1:44:16.200 or wherever you listen to your favorite shows.