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

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Speaker 2: Hey you welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe mcformack. And

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Speaker 3: today on Weird House Cinema, we are going to be

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Speaker 3: looking at the nineteen eighty six science fiction horror comedy

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Speaker 3: Terror Vision. I would call this movie a festival of

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Speaker 3: bad taste.

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Speaker 2: Yes, Terror Vision nineteen eighty six is a campy, cheesy,

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Speaker 2: over the top send up of TV trash culture. And

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Speaker 2: I think one of the reasons that I love it

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Speaker 2: so much I didn't see this one back in the day.

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Speaker 2: I only saw this in the last ten years or

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Speaker 2: so for the first time. But I think it perfectly

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Speaker 2: captures for me the feeling of watching tons of late

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Speaker 2: night television in the nineteen nineties, especially the kind of

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Speaker 2: stuff you'd encounter on USA Up All Night, which ran

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Speaker 2: nineteen eighty nine to nineteen ninety eight, and other examples

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Speaker 2: of late night programming. You never knew what sort of camp, sweeze,

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Speaker 2: outrighte horror or just sheer weirdness you might encounter, and

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Speaker 2: for better or worse, likely worse, you also used all

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Speaker 2: of this content to sort of try and figure out

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Speaker 2: how the world works.

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Speaker 3: Oh no, that's a terrible way to figure out how

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Speaker 3: the world works.

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Speaker 2: I mean this it was it was the nineties. TV

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Speaker 2: helped raise us, and you know, we trusted that it

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Speaker 2: knew what it was doing. And I think that kind

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Speaker 2: of energy is also spoofed somewhat.

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Speaker 3: And in this picture, when I say it's a festival

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Speaker 3: of bad taste, I mean that deliberately in that it

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Speaker 3: seems like every element of the film was sort of

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Speaker 3: intentionally selected to turn up the gain on tastelessness in

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Speaker 3: whatever way it could, so like the monsters in it

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Speaker 3: are intentionally gross. It does get into melt movie territory.

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Speaker 3: There's just a lot of like ooh, is in kind

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Speaker 3: of like barf inducing texture. In fact, even one of

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Speaker 3: the characters looks at the monster and just says, he's

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Speaker 3: so barfy. But then on top of that, the film

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Speaker 3: is just full like a lot of the satire in

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Speaker 3: it is visual satire. It like doesn't it's not even

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Speaker 3: in the script. It's just like the way characters are

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Speaker 3: dressed and the interior sets and everything are structured in

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Speaker 3: such a way as to be maximally offensive to the eye,

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Speaker 3: to your sense of like color coordination and generally to

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Speaker 3: your sense of like cultural aesthetics or taste, like everything

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Speaker 3: is gaudy and over the top, and in a way

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Speaker 3: I think is meant to be a kind of I

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Speaker 3: don't know exactly what this movie is going for. I

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Speaker 3: don't know if it is a satire of American culture

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Speaker 3: in the nineteen eighties or a satire of the way

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Speaker 3: American culture is typically depicted on TV in the nineteen eighties.

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Speaker 3: Does that make sense?

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Speaker 2: Yeah, And I think it can kind of be both

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Speaker 2: when you get into this idea of here's the way

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Speaker 2: things are depicted and then in media, and then that

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Speaker 2: media is consumed, and then via consumption of that media,

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Speaker 2: is it then reproduced in culture?

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Speaker 3: Okay, well, yeah, and this movie is in many ways

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Speaker 3: about media consumption. The primary thing people do in this

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Speaker 3: movie is watch television and then in various ways become

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Speaker 3: affected by what's on the television, sometimes literally, because what's

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Speaker 3: on the television is a monster that comes out of

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Speaker 3: the screen and then eats and replicates the body of Brampa.

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Speaker 2: Yes, yes, yeah, it's it's a really fun send up,

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Speaker 2: I believe, if if I remember correctly from some of

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Speaker 2: the extras, Director Ted Nicolau said that he thinks of

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Speaker 2: the set and visual feel of Terror Vision as an

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Speaker 2: operatic Italian exaggeration of American culture, because, as we'll discuss,

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Speaker 2: this was filmed in Rome, and so a lot of

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Speaker 2: a lot of the crew members were Italian filmmakers.

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Speaker 3: Oh that's interesting because I feel like I quite often

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Speaker 3: able to detect even subdermal Italian influences in film, and

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Speaker 3: I wouldn't have been able to tell you that about

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Speaker 3: this one.

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Speaker 2: Yeah, I wouldn't say it has a particular Italian feel

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Speaker 2: to it, but yeah, this one's a fun one. It's

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Speaker 2: I think it's also what you might classify as a

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Speaker 2: satellite TV panic movie. Movies are stories that use fantasy

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Speaker 2: to explore the suddenly expansive reach of cable and satellite television,

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Speaker 2: as well as the feeling of perhaps overchoice that may

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Speaker 2: set in. I think the only other prime example of

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Speaker 2: this subgenre, or perhaps sub subgenre is Stay Tuned from

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Speaker 2: nineteen ninety two that's directed by Peter Hyams of Time

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Speaker 2: Coop Fame, starring John Ritter and Eugene Levy. And it's

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Speaker 2: interesting that that movie's working title was also Terror Vision,

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Speaker 2: and that one involved a family literally sucked into the

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Speaker 2: world of TV programming. Been a long time since I've

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Speaker 2: seen that one, but I think the family is perhaps

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Speaker 2: more likable in that one. One thing that Ted Nicolau

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Speaker 2: has said about the Family and Terror Vision is that, yes,

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Speaker 2: they're all over the top stereotypes, and they're not supposed

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Speaker 2: to be particularly likable because you want to feel okay

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Speaker 2: when they all inevitably are eaten by the monster. Now

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Speaker 2: in this movie, we're also going back to band camp

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Speaker 2: because this is an Empire International picture, so it was

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Speaker 2: produced by Charles Band and it was definitely developed title

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Speaker 2: and poster first, and yeah, it was a shot back

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Speaker 2: to back in Rome alongside nineteen eighty six is trove Man.

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Speaker 3: When those Charles Band production tags with the flame textured

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Speaker 3: lettering come on at the beginning of the movie, they

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Speaker 3: are so evocative they make me feel like I am

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Speaker 3: nineteen years old. I'm sitting on the carpeted floor in

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Speaker 3: somebody's apartment living room. The fibers of the carpet are

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Speaker 3: just sequinned with little yellow bits of popcorn, both fresh

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Speaker 3: and fossilized. It's like one thirty five am. It's a Tuesday,

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Speaker 3: and the movie is just starting.

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Speaker 2: There you go, yeahs and by the light of the

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Speaker 2: TV screen. My elevator pitch for this one, I think

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Speaker 2: is satellite TV is bridging the gap between the dysfunctional

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Speaker 2: American family and dysfunctional alien civilizations.

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Speaker 3: Is the alien civilization dysfunctional? I feel like the most

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Speaker 3: sympathetic character in the movie is actually the reptilian creature

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Speaker 3: who comes through the television screen to try to help

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Speaker 3: deal with the mess, but then it's murdered by a

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Speaker 3: TV horror host.

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Speaker 2: Yes, he is in a way the most likable character,

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Speaker 2: the most noble character, but also he's trying to clean

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Speaker 2: up his own whoopsie. You know, like, this is a

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Speaker 2: culture that raises monstrous pets, and then when they get

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Speaker 2: too big and two monsterus, they just like zap them

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Speaker 2: across the universe and don't worry about them. So yeah,

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Speaker 2: I might I might be applying reading too much dysfunction

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Speaker 2: into their ways, but they kind of created this whole mess. Yeah.

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Speaker 3: There may be some unethical elements in how the machinery

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Speaker 3: of this alien civilization works, but the one alien we

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Speaker 3: meet it does seem moderately well intentioned within the range

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Speaker 3: of his freedom of action.

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Speaker 2: Yeah, yeah, we'll see if he can pull pull it off.

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Speaker 2: Let's go ahead and listen to part of the trailer. Yeah,

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Speaker 2: I think JJ on this one. Let's just let's just

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Speaker 2: have a little bit of it. This trailer feels a

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Speaker 2: little long and definitely contains spoilers and visual spoilers. So

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Speaker 2: if you're interested in watching this more or less spoiler free,

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Speaker 2: I mean, we've already spoiled a few things, and it's

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Speaker 2: it's the kind of film where you can go into

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Speaker 2: it with spoilers and you're not going to really ruin

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Speaker 2: your experience. But let's just get a part of this

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Speaker 2: the trailer audio here.

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Speaker 4: Intellectuals are Kyans, just a typical American family. The only

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Speaker 4: thing they're missing is a pen. But have we got

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Speaker 4: a surprise for that. You see, Stanley Putterman's new satellite

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Speaker 4: TV has just gone on the bleak, and it's drawn

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Speaker 4: in a creature from out of space. Like all new pets,

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Speaker 4: this one's causing a little trouble around the house and

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Speaker 4: he's eating the pottermans out of house and home in

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Speaker 4: val It seems like this creature will eat anything little,

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Speaker 4: just about anything.

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Speaker 2: You would wrote amost SuDS and coolouse. This suns In

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Speaker 2: to Metal. All Right, now, if you want to watch

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Speaker 2: this movie in full before continuing the rest of the episode.

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Speaker 2: This is a film that was streaming years back. I

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Speaker 2: think I saw it for the first time on Prime,

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Speaker 2: back when they had a vast selection of strange films

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Speaker 2: that you could just comb through. There's not a great

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Speaker 2: streaming option for it as of this recording, but it

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Speaker 2: is widely available on Blu Ray. You can actually get

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Speaker 2: it as a DVD Blu Ray combo with the video

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Speaker 2: Dead nineteen eighty seven, which otherwise has nothing to do

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Speaker 2: with this film. But it's a nice, nice Blu Ray edition,

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Speaker 2: good quality and has a nice thirty minute behind the

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Speaker 2: scenes featurette. This worth watching as well. We rented it

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Speaker 2: from Video Trump. All right, let's get into the connections here.

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Speaker 2: The people who made this film. The writer and director

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Speaker 2: is Ted Nicolau born nineteen forty nine, writer and director,

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Speaker 2: probably best known for his work with Charles Band's Empire

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Speaker 2: in Full Moon Pictures. He graduated from the University of

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Speaker 2: Texas Film Program and worked as a sound recordist on

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Speaker 2: nineteen seventy four's The Texas Chainsaw Massacre. Joe for You,

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Speaker 2: I included a picture that I saw on Nicolao's Instagram

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Speaker 2: account that shows him on the set of Texas Chainsaw

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Speaker 2: Massacre with some recording equipment.

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Speaker 3: See just chilling in the Sawyer family's living room here.

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Speaker 2: I guess that's the porch. Looks like the porch. He's

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Speaker 2: out chilling on the porch with the recording equipment. Well,

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Speaker 2: I guess everyone's inside just sweating it out.

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Speaker 3: He looks like Frank Zappa.

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Speaker 2: Yet, well you know that Zappa will come up again

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Speaker 2: in this episode. But yeah, really, yeah, yeah, he's got

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Speaker 2: that cool mustache going on here. After this, he worked

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Speaker 2: as an editor on such films as seventy nine's Tourist Trap,

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Speaker 2: eighty one's Butcher Baker, nightmare Maker, Goolies and Trancers in

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Speaker 2: eighty four, Robot Jocks in eighty nine, and Trancers two

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Speaker 2: in ninety one. So at least a couple of films

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Speaker 2: that we've watched.

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Speaker 3: Have you ever seen Tourist Trap? That one is weird?

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Speaker 2: Is this the one where people were buried up to

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Speaker 2: their necks in the dirt or is this a different one?

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Speaker 3: Maybe though I don't remember that element. It's a movie

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Speaker 3: where it's sort of a Texas Chainsaw style movie where

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Speaker 3: you know, some city kids come to the rural estate

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Speaker 3: of a creepy guy in Texas. But the creepy guy

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Speaker 3: is Chuck Connors, like he plays like a country music

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Speaker 3: guy in The Blues Brothers.

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Speaker 2: Okay, you know, now that I look at it, I

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Speaker 2: think I haven't seen Tourist Trap. I think I watched

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Speaker 2: a riff track version of this years back. I'm thinking

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Speaker 2: about some other film with the buried up to your

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Speaker 2: neck situation. I'm thinking of Motel Hell by the Way

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Speaker 2: from nineteen eighty, which has Rory Calhoun in it. But

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Speaker 2: that's one that I've never watched. But I remember my

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Speaker 2: aunt explaining the plot to me when I was a

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Speaker 2: very young child, and I was like horrified that such

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Speaker 2: a film existed. So I think maybe that's kept me

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Speaker 2: from seeing it, even though it is I think supposed

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Speaker 2: to be a satire of things like the Texas chainsaw massacre.

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Speaker 3: I just looked it up and Chuck Connors is not

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Speaker 3: in The Blues Brothers, So I don't know why I

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Speaker 3: said that earlier.

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Speaker 2: Well, it's an extensive cast. Easy to get lost in

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Speaker 2: the cast of that film.

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Speaker 3: His wiki says that Chuck Connors did meet with leand

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Speaker 3: Brezhnev at some point.

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Speaker 2: Okay, well anyway, Ted Nikolau. His first writing and directing

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Speaker 2: credit is nineteen eighty four as the Dungeon Master, followed

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Speaker 2: by the Linda Blair movie Savage Island in eighty five.

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Speaker 2: As we mentioned, he was brought in to bring Charles

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Speaker 2: bands post and title idea to life with Terror Vision,

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Speaker 2: and he pushed, but he got to create its direction

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Speaker 2: from there, and so he pushed hard to take the

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Speaker 2: concept into comedic and camp territory, and that's where we

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Speaker 2: end up landing post Terror Vision, which was not a success.

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Speaker 2: Upon release, he went on to direct Subspecies two and three.

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Speaker 2: I've heard that Subspecies two is the best one, by

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Speaker 2: the way, as well as Subspecies four and five. He

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Speaker 2: also directed ninety two s Bad Channels, which touches on

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Speaker 2: similar themes as TerrorVision, but with radio and music video.

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Speaker 2: He also directed two thousand and four's Puppet Master Versus

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Speaker 2: Demonic Toys.

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Speaker 3: If he did another TV satire movie, I'd be kind

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Speaker 3: of interested to see that one back to back the

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Speaker 3: Bad Channels one there, because Terror Vision seems to simultaneously

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Speaker 3: skewer American TV consumption and TV programming, but also skewers

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Speaker 3: the critique of such like the characters who are going

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Speaker 3: on about how bad television is are also made the

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Speaker 3: subject of fun.

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Speaker 2: Yeah. So I hope everyone understands the concept here that

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Speaker 2: it's not a film that comes off as really judge

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Speaker 2: or anything like. It's not so serious in its satire perhaps,

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Speaker 2: and it is ultimately, you know, played for laughs and fun.

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Speaker 2: Not at all.

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Speaker 3: No, it is wacky and again a festival of bad taste.

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Speaker 2: Well, let's talk about the family in this, a family

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Speaker 2: that consists of a husband, a wife, a daughter, a son,

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Speaker 2: and a grandfather that in this case lives with them.

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Speaker 2: Kind of a structure that's very similar to that of

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Speaker 2: the Simpsons.

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Speaker 3: Ah okay, yes, except if Grandpa Simpson lived in a

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Speaker 3: fallout shelter under the Simpsons house exactly.

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Speaker 2: So let's start with the daughter, Susie Putterman played by

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Speaker 2: Dianne Franklin born nineteen sixty two, iconic eighties teen actor

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Speaker 2: who appeared in The The Last American Virgin and Amityville

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Speaker 2: two in nineteen eighty two. She was in Better Off

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Speaker 2: Dead and in nineteen eighty five, and also Bill and

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Speaker 2: Ted's Excellent Adventure in eighty nine. She also did a

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Speaker 2: fair amount of TV and has remained active to this

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Speaker 2: day in various productions. Susie Petterman is an MTV eighties

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Speaker 2: kid with I don't know, how would you how would

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Speaker 2: you describe the fashions of Susie Putterman.

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Speaker 3: Well, she's sort of a cross between I think what

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Speaker 3: was considered, you know, pop music fashionable at the time,

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Speaker 3: So the kind of dress of like Pat Benatar or

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Speaker 3: Cindy Lauper, but then crossed with an actual Barbie doll,

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Speaker 3: so very over the top, neon pink kind of clothing

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Speaker 3: and stuff like that. And she also has really really

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Speaker 3: big hair. Her hair extends I'd say at least ten

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Speaker 3: inches off of her scalp.

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Speaker 2: Yeah. Her her entire identity seems to be based on

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Speaker 2: watching MTV, which again is perfect fits the theme perfectly.

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Speaker 2: And Franklin is absolutely great in the role. Just the

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Speaker 2: right amount of campyus it's over the top and also

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Speaker 2: just a little bit green in all the right ways

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Speaker 2: for a movie like this.

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Speaker 3: Yeah, I think she understood what was going on all right.

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Speaker 2: Then we have the younger son, Sherman Putterman, played by

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Speaker 2: Chad Allen born nineteen seventy four eighties child actor who

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Speaker 2: also did a lot of TV. Voiced Charlie Brown on

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Speaker 2: Happy New Year Charlie Brown in eighty six prior to

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Speaker 2: this film, and his TV credits include such shows as

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Speaker 2: Webster Tales from the Dark Side, Highway to Heaven, Punky Brewster,

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Speaker 2: Star Trek, The Next Generation, and The Wonder Years. Sherman

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Speaker 2: is essentially kind of a kid Rambo. He idolizes Grandpa

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Speaker 2: and is into whatever Grandpa's into, because I guess part

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Speaker 2: of it is that his actual parents are kind of

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Speaker 2: completely checked out and chasing their own interests. Right.

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Speaker 3: They are hedonistic, materialist eighties yuppies.

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Speaker 2: All right, Well let's talk about them. The dad, Stan Putterman,

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Speaker 2: is played by the excellent they always excellent Garrett Graham

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Speaker 2: born nineteen forty nine. We've discussed Garrett Graham before, as

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Speaker 2: he had a small but fun role in another great

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Speaker 2: nineteen eighty six horror comedy, Chop Mallugh.

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Speaker 3: Was he just like a security guard in that?

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Speaker 2: Yeah, a doomed security guard. I think he was doomed.

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Speaker 2: I don't remember. He was very distracted.

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Speaker 3: I don't think I've seen a movie Garrett Graham was

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Speaker 3: in where he survived.

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Speaker 2: Yeah, he plays a lot of like mid or early

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Speaker 2: horror film death characters. I think but Yeah. Is was

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Speaker 2: an American stage, television and film actor with a knack

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Speaker 2: for camp. He appeared in four different Brian to Palm

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Speaker 2: of films, most notably nineteen seventy four is Phantom of

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Speaker 2: the Paradise, in which he plays Beef. Graham's other credits

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Speaker 2: include nineteen seventy seven's Demon Seed, eighty six is Rat Boy,

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Speaker 2: eighty seven's It's a Live three Island of the Alive

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Speaker 2: Police Academy six in nineteen eighty nine, and he plays

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Speaker 2: the titular Bud in Chud two Bud the Chud, also

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Speaker 2: from nineteen eighty nine. He's in Child's Play two from

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Speaker 2: nineteen ninety and he did. He has numerous TV credits

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Speaker 2: as well, including I Mean All Sorts of Stuff, multiple Tracks, Shit, Weird, Science,

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Speaker 2: Law and Order, and one Tales from the Crypt episode

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Speaker 2: The Man Who Is Death. His last credit was in

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Speaker 2: twenty twelve.

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Speaker 3: This character Stan is egocentric, hedonistic, seeking of pleasure and adulation,

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Speaker 3: and he wants to be respected for his skills at

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Speaker 3: assembling do it yourself home electronics installations, especially the new

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Speaker 3: satellite Dish.

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Speaker 2: Now playing his wife. The mom. Raquel Putterman is Mary

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Speaker 2: Warrenoff born nineteen forty three, another camp and genre legend

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Speaker 2: that we also mentioned in Chopping Mom because she has

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Speaker 2: a very small part in that. She started out as

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Speaker 2: a Warhol superstar what back in the sixties, I believe,

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Speaker 2: and acted in a ton of B movies, especially Corman films.

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Speaker 2: She also did a lot of TV and stage work.

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Speaker 2: I always smile when she shows up in a film

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Speaker 2: because she's generally an absolute delight. She often appeared in

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Speaker 2: films alongside friend and fellow actor Paul Martel, her director

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Speaker 2: and co star in nineteen eighty two's Eating Raoul. Her

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Speaker 2: other credits include seventy five's Death Race two thousand, which

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Speaker 2: is a very fun, kind of wacky Corman race movie

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Speaker 2: like Racing Across the Desert, nineteen seventy nine's Rock and

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Speaker 2: Roll High School, and nineteen eighty four's Night of the Comet.

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Speaker 2: She did one episode of The Monster's Horror Anthology TV show,

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Speaker 2: and she still occasionally acts. She was in two thousand

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Speaker 2: and nine's House of the.

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Speaker 3: Devil, Mary Warnow's great I always love to see her.

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Speaker 2: Yeah, in this she's an aerobics enthusiast and general self

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Speaker 2: absorbed mom. Apparently she was called in to read for

337
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Speaker 2: the role of Medusa, who will get to in a bit,

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Speaker 2: but then campaigned for the role of the mother instead

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Speaker 2: and she got it, and yeah, I think she's great

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Speaker 2: in this role, all right. And then we have Grandpa

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Speaker 2: Putterman played by Bert Remsen, who have nineteen twenty five

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Speaker 2: through nineteen ninety nine American character actor with a lot

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Speaker 2: of credits, a lot of TV credits, a lot of

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Speaker 2: them like war in Westerns going back to the early

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Speaker 2: nineteen fifties. He pops up in such films as fifty

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Speaker 2: nine's Port Chop Hill, fifty nine's Destination Space, He's in

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Speaker 2: nineteen seventy five's Nashville, he's in nineteen ninety's Dick Tracy,

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Speaker 2: he's in The Bodyguard from ninety two, and he's in

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Speaker 2: Maverick from ninety four. Like I say, his TV credits

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Speaker 2: are just really extensive and include things like the original

351
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Speaker 2: Outer Limits but also the Andy Griffith Show. Grandpa in

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Speaker 2: this film is a kooky conspiracy nuts survivalist who again

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Speaker 2: lives in the family's fallout shelter beneath the house, and

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Speaker 2: he's a he's an enthusiastic advocate of regenerated lizard tail jerky.

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Speaker 3: You know, I thought it was interesting that this is

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Speaker 3: a character who I would not be surprised to see

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Speaker 3: in a wacky satirical film of today. But I don't know,

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Speaker 3: he seems kind of ahead of his time. I guess

359
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Speaker 3: there were like apocalypse preppers in the eighties too, but

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Speaker 3: I don't know that it seems like a less volent

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Speaker 3: trope from that time.

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Speaker 2: Yeah, all right, now we mentioned Susie Petterman. Well, Susie

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Speaker 2: has a boyfriend. Her boyfriend is O D, which is

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Speaker 2: not an Irish name. As the character this chuck about

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Speaker 2: this in the film, but it's the initials O D

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Speaker 2: played by John Grys born nineteen fifty seven. Many of

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Speaker 2: you probably know John Gry's best as Uncle Rico in

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Speaker 2: two thousand and four as Napoleon Dynamite. He's great in that,

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Speaker 2: but he's been a fun, weird presence in TV and

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Speaker 2: film for a long time. Prior to Terror Vision, he

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Speaker 2: did various teen movies, including Real Genius in eighty five.

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Speaker 2: Other credits include Running Scared in eighty six. He pops

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Speaker 2: up in Monster Squad in eighty seven, Fright Night two

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Speaker 2: in eighty eight, The Grifters in nineteen ninety, Men in

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Speaker 2: Black in ninety seven, Taken Three in twenty fourteen, and

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Speaker 2: his TV credits include such shows as The nineties Outer Limits,

377
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Speaker 2: Sons of Anarchy, Lost, Creep Corp. LC, and The White Lotus.

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Speaker 2: So he's all over the place.

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Speaker 3: He is in The White Lotus, he's he's the wolf

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Speaker 3: Man in Monster Squad, he's okay, yeah, yeah, yeah. And

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Speaker 3: you know what, great respect to him in Terror Vision

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Speaker 3: because much like Diane Franklin, like he gets what's going on,

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Speaker 3: and in his case, he does not hold back at all.

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Speaker 3: He just like goes into this role teeth first.

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Speaker 2: Yeah. On the extras on the disk they interview him

386
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Speaker 2: and he's like, yeah, I would. We were just all in.

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Speaker 2: But at a time or two I'd come up to

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Speaker 2: Ted Nicolau and it be like, Ted, am I am

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Speaker 2: I doing too much?

390
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Speaker 4: Here?

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Speaker 2: Am I going? Is it this too over the top?

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Speaker 2: And Nikola would be like, no, No, it's perfect, it's perfect.

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Speaker 2: Keep doing what you're doing.

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Speaker 4: More.

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Speaker 3: Spittle should be flying out of your mouth every line

396
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Speaker 3: you deliver.

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Speaker 2: All right, now we're getting into just a we're gonna try.

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Speaker 2: I'm gonna try and grow a little shorter on these.

399
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Speaker 2: But we have some other bit characters here. There's a

400
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Speaker 2: character named Spiro who shows up with his girlfriend Cherry.

401
00:21:54,280 --> 00:21:57,800
Speaker 2: Spiro is played by Alejandro Ray, who lived nineteen thirty

402
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Speaker 2: through nineteen eighty seven. Argentinian born actor and occasional TV director,

403
00:22:01,480 --> 00:22:03,800
Speaker 2: active back into the nineteen fifties. Did a lot of

404
00:22:03,800 --> 00:22:07,200
Speaker 2: TV in Westerns, did seventy eight episodes of The Flying Nun,

405
00:22:07,520 --> 00:22:10,520
Speaker 2: an episode of Night Gallery pops up in nineteen eighties,

406
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Speaker 2: the Ninth Figuration, and you better know he did an

407
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Speaker 2: episode of The Love Book.

408
00:22:16,560 --> 00:22:19,359
Speaker 3: He's doing an episode of The Love Boat in this movie.

409
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Speaker 2: He is. Yeah, I guess he's supposed to be an insensitive,

410
00:22:23,160 --> 00:22:27,480
Speaker 2: over the top Euroster stereotype, specifically like a Greek stereotype.

411
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Speaker 2: I guess. I suppose there's the fact that Nicolau I

412
00:22:32,240 --> 00:22:35,159
Speaker 2: assume of Greek descent. I don't know, but yeah, Spiro

413
00:22:35,240 --> 00:22:38,000
Speaker 2: and his girlfriend Cherry are adventurous lovers who have been

414
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Speaker 2: invited to the Spiderman Home. Cherry is played by Randy

415
00:22:41,240 --> 00:22:44,280
Speaker 2: Brooks born nineteen fifty four. She did a lot of

416
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Speaker 2: action and crime oriented TV work. She was in nineteen

417
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Speaker 2: eighty three's The Man with Two Brains and nineteen eighty

418
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Speaker 2: six is Hamburger the Motion Picture. She also has a

419
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Speaker 2: bit part in the Michael Crichton written and directed film

420
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Speaker 2: Looker from nineteen eighty one. Oh.

421
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Speaker 3: I don't know if I ever even heard of that.

422
00:23:00,480 --> 00:23:03,239
Speaker 3: But what is Hamburger the Motion Picture? Is that like

423
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Speaker 3: a McDonald's tie in thing.

424
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Speaker 2: It's not what I'm familiar with. It looks like one

425
00:23:08,240 --> 00:23:12,480
Speaker 2: of these like over the top comedy films of the

426
00:23:12,560 --> 00:23:16,360
Speaker 2: time that either didn't resonate then and certainly hasn't continued

427
00:23:16,359 --> 00:23:18,719
Speaker 2: to resonate now. Like you never hear, I never hear

428
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Speaker 2: anything about it. Maybe it's great, but I've never seen it.

429
00:23:22,080 --> 00:23:24,239
Speaker 3: Oh, I just looked it up. Okay, it says it

430
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Speaker 3: is one of the nineteen eighties teen sex comedy movies.

431
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Speaker 2: All Right, there you go.

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Speaker 3: Not a not a wonderful genre that people love revisiting

433
00:23:34,720 --> 00:23:38,359
Speaker 3: this and the poster is just repulsive. It's just like

434
00:23:38,400 --> 00:23:40,760
Speaker 3: a bunch of people inside a Hamburger bun.

435
00:23:41,960 --> 00:23:47,159
Speaker 2: It it was acceptable in the eighties. But anyway, we

436
00:23:47,240 --> 00:23:48,760
Speaker 2: mentioned there was going to be a Medusa in this.

437
00:23:48,800 --> 00:23:51,959
Speaker 2: We do have a character named Medusa played by Jennifer

438
00:23:52,040 --> 00:23:55,199
Speaker 2: Richards born nineteen forty eight Pleasure. Essentially, this is a

439
00:23:55,280 --> 00:23:59,280
Speaker 2: late night horror host in the vein of Elvira. She

440
00:24:00,080 --> 00:24:02,400
Speaker 2: in this film. She also seems to have a nine

441
00:24:02,480 --> 00:24:05,240
Speaker 2: hundred number you can call, which also is like spot

442
00:24:05,280 --> 00:24:09,080
Speaker 2: on for memories of watching late night television, you know,

443
00:24:09,280 --> 00:24:11,520
Speaker 2: particularly in the nineties or I guess the late eighties.

444
00:24:12,200 --> 00:24:15,240
Speaker 2: Richard's credits include a fair amount of TV, including Night Court,

445
00:24:15,480 --> 00:24:17,920
Speaker 2: Mama's Family, and Star Trek The Next Generation.

446
00:24:18,480 --> 00:24:22,800
Speaker 3: Another teeth first performance. She's just like chomping the scenery.

447
00:24:23,200 --> 00:24:24,040
Speaker 3: She's doing great.

448
00:24:24,880 --> 00:24:28,879
Speaker 2: Speaking of teeth, we also have funny Carl Davis in this.

449
00:24:29,000 --> 00:24:31,920
Speaker 2: He plays his character Norton, who's the satellite dish guy.

450
00:24:32,760 --> 00:24:37,800
Speaker 2: I think most people know him from his most culturally

451
00:24:37,800 --> 00:24:41,320
Speaker 2: important role, and that is playing Rabbit in Transfers too.

452
00:24:42,640 --> 00:24:44,720
Speaker 3: You know, I was thinking where would more people know

453
00:24:44,840 --> 00:24:46,960
Speaker 3: him from, and it would probably be he's like the

454
00:24:47,000 --> 00:24:50,399
Speaker 3: guy who complains about his food at the Judge Reinhold's

455
00:24:50,480 --> 00:24:54,320
Speaker 3: restaurant in Fast Times at Ridgemont High. And I guess

456
00:24:54,160 --> 00:24:57,320
Speaker 3: he's also in Filma and Louise. Don't remember what he

457
00:24:57,400 --> 00:25:00,840
Speaker 3: is in that he but he Yeah. When I was like,

458
00:25:00,920 --> 00:25:03,359
Speaker 3: I recognize this guy. What do I recognize him from?

459
00:25:03,680 --> 00:25:07,359
Speaker 3: It was transfers To. He's the what like, he's a

460
00:25:07,480 --> 00:25:12,520
Speaker 3: hospital orderly who helps one of Jack Death's reincarnated time

461
00:25:12,600 --> 00:25:17,280
Speaker 3: travel wives escape from an institution controlled by the bad guys.

462
00:25:17,840 --> 00:25:21,200
Speaker 2: I believe that's it. I believe you nailed it, Joe. Okay, Yeah,

463
00:25:21,240 --> 00:25:25,159
Speaker 2: I would say Sonny Carl Davis is probably recognized for

464
00:25:25,240 --> 00:25:27,960
Speaker 2: films like Filma and Luise and Fast Times at Richmond High,

465
00:25:28,320 --> 00:25:33,320
Speaker 2: but he is known for playing Rabbit, specifically in transfers To.

466
00:25:33,640 --> 00:25:37,520
Speaker 2: But this character also came back in multiple Evil Bong movies,

467
00:25:37,560 --> 00:25:41,320
Speaker 2: so you know there's a whole He has an expanded

468
00:25:41,400 --> 00:25:46,400
Speaker 2: role within the Charles Band expanded cinematic universe. Right now,

469
00:25:46,440 --> 00:25:49,760
Speaker 2: going behind the scenes, we have to mention that John

470
00:25:49,800 --> 00:25:53,560
Speaker 2: Carl Beechler worked on this this film Born. He lived

471
00:25:53,600 --> 00:25:57,240
Speaker 2: nineteen fifty two through twenty nineteen. A practical special effects

472
00:25:57,240 --> 00:25:58,720
Speaker 2: and makeup legend.

473
00:25:58,760 --> 00:26:02,440
Speaker 3: John Carl Beckler to make slime. He liked to make

474
00:26:02,560 --> 00:26:06,480
Speaker 3: like makeup effects and creature models and stuff that were

475
00:26:06,480 --> 00:26:09,000
Speaker 3: covered in some sort of mucus.

476
00:26:09,520 --> 00:26:12,200
Speaker 2: Yeah, and there's a lot of mucus to go around

477
00:26:12,200 --> 00:26:16,240
Speaker 2: in this film. He's come up on the show before

478
00:26:16,359 --> 00:26:20,080
Speaker 2: because he did special effects on nineteen eighty six The Eliminators,

479
00:26:20,320 --> 00:26:23,440
Speaker 2: which I guess wasn't particularly mucusy, But he also worked

480
00:26:23,440 --> 00:26:27,360
Speaker 2: on nineteen eighty nine's Arena, which definitely had its sheriff mucus.

481
00:26:27,680 --> 00:26:31,480
Speaker 3: The Eliminators was the Bayou Betty movie, and the Arena

482
00:26:31,800 --> 00:26:35,840
Speaker 3: was the one where the guy fights people. He fights aliens.

483
00:26:35,840 --> 00:26:38,879
Speaker 3: He like has boxing matches with giant crickets.

484
00:26:38,640 --> 00:26:42,680
Speaker 2: That's right. Beekler worked on a number of cult classic

485
00:26:42,720 --> 00:26:46,359
Speaker 2: horror films, including eighty five's Reanimator eighty six Is From Beyond,

486
00:26:46,440 --> 00:26:49,919
Speaker 2: both very drippy movies. Just yeah, a master of flesh

487
00:26:49,920 --> 00:26:52,879
Speaker 2: and blood in films like this. He also had a

488
00:26:52,880 --> 00:26:56,600
Speaker 2: great career as a director, filming eighty six's trollll So

489
00:26:56,840 --> 00:26:59,439
Speaker 2: at the time of this movie, he was editing Troll

490
00:26:59,520 --> 00:27:02,000
Speaker 2: at night because they had just wrapped and he was

491
00:27:02,040 --> 00:27:04,520
Speaker 2: shooting this during the day, working on special effects on

492
00:27:04,560 --> 00:27:08,760
Speaker 2: this during the day. All in Rome, let's see. He

493
00:27:08,800 --> 00:27:12,000
Speaker 2: also directed eighty seven Cellar Dweller. He directed Friday the

494
00:27:12,040 --> 00:27:16,119
Speaker 2: Thirteenth and New Blood, and also nineteen nineties Goolies Go

495
00:27:16,160 --> 00:27:18,840
Speaker 2: to College, just to name a few. What are the

496
00:27:18,840 --> 00:27:22,160
Speaker 2: Goolies major in toilet studies?

497
00:27:22,640 --> 00:27:27,440
Speaker 3: Sure, he did the Friday the Thirteenth movie with the

498
00:27:27,720 --> 00:27:30,600
Speaker 3: psychic girl in it. It's the one that's Jason versus

499
00:27:30,640 --> 00:27:32,920
Speaker 3: the girl who has Telekinesis.

500
00:27:32,359 --> 00:27:34,639
Speaker 2: That one's great? I love that one. It's one of

501
00:27:34,640 --> 00:27:38,360
Speaker 2: the best. Yeah, and Jason looks at his best in that.

502
00:27:38,359 --> 00:27:39,120
Speaker 2: It's just amazing.

503
00:27:39,160 --> 00:27:42,040
Speaker 3: Look, agreed, that's the first Kane Hodder movie and has

504
00:27:42,119 --> 00:27:44,200
Speaker 3: one of the best Jason costume designs.

505
00:27:44,680 --> 00:27:48,240
Speaker 2: Yeah, absolutely well. In this he designed and built the

506
00:27:48,320 --> 00:27:51,159
Speaker 2: Hungry Beast, which we'll explain in the pit, based on

507
00:27:51,320 --> 00:27:55,600
Speaker 2: some ideas from Ted Nicolau. Apparently they wanted a monster

508
00:27:55,760 --> 00:27:58,960
Speaker 2: that looked horrifying and stupid at the same time. I

509
00:27:58,960 --> 00:28:01,639
Speaker 2: think they nailed it all right. Quick note on the

510
00:28:01,720 --> 00:28:05,200
Speaker 2: music here, So the score is by Richard Band. This

511
00:28:05,240 --> 00:28:08,480
Speaker 2: is Charles Band's brother born nineteen fifty three, who has

512
00:28:08,560 --> 00:28:13,320
Speaker 2: just worked extensively on Empire and Full Moon Pictures. So

513
00:28:13,560 --> 00:28:16,280
Speaker 2: just you know, if you can name a Full Moon picture,

514
00:28:16,320 --> 00:28:20,200
Speaker 2: he probably scored it. The score here is aggressively campy

515
00:28:20,240 --> 00:28:25,280
Speaker 2: and kooky, but effective. Apparently Nicolau was originally in talks

516
00:28:25,280 --> 00:28:28,919
Speaker 2: with both the Cramps and Frank Zappa about possibly scoring

517
00:28:28,960 --> 00:28:31,440
Speaker 2: the film, but and they didn't approach band at first

518
00:28:31,440 --> 00:28:33,040
Speaker 2: because they weren't sure he was going to be able

519
00:28:33,080 --> 00:28:36,840
Speaker 2: to really ratchet up the camp, but he accepted the challenge,

520
00:28:36,840 --> 00:28:38,280
Speaker 2: and I think it works pretty well.

521
00:28:38,560 --> 00:28:42,680
Speaker 3: Wow, I could see the Cramps or Frank Zappa being

522
00:28:42,720 --> 00:28:45,120
Speaker 3: perfect for this that. Yeah, both make sense.

523
00:28:45,840 --> 00:28:47,680
Speaker 2: But then they were able to bring in on the

524
00:28:47,760 --> 00:28:51,600
Speaker 2: soundtrack the American art rock band The Fibonaccis, who wrote

525
00:28:51,640 --> 00:28:54,400
Speaker 2: and recorded five tracks for the film, including off the

526
00:28:54,520 --> 00:28:58,840
Speaker 2: excellent theme song. They came out of the Los Angeles

527
00:28:58,960 --> 00:29:01,680
Speaker 2: art punk scene and were from eighty one through eighty eight,

528
00:29:01,720 --> 00:29:04,760
Speaker 2: and then I think they came back together in ninety two. Briefly.

529
00:29:05,520 --> 00:29:08,719
Speaker 2: Their songs pop up on another of a number of

530
00:29:08,800 --> 00:29:11,920
Speaker 2: sort of indie films, on eighty two's Android eighty seven

531
00:29:12,000 --> 00:29:16,960
Speaker 2: slam Dance and lead to vocalist Maggie Song also acted

532
00:29:17,000 --> 00:29:20,560
Speaker 2: in another eighties weird camp art horror film of note,

533
00:29:20,800 --> 00:29:23,840
Speaker 2: nineteen eighty nine's Doctor Caligari has nothing to do with

534
00:29:23,880 --> 00:29:28,160
Speaker 2: the cabinet Cabinet of Doctor Caligari, and I'm not sure

535
00:29:28,160 --> 00:29:30,040
Speaker 2: it's right for weird House, but it is a trip

536
00:29:30,720 --> 00:29:34,320
Speaker 2: if you were interested in that sort of film. Let's

537
00:29:34,320 --> 00:29:37,760
Speaker 2: hear just a taste of the theme song terror Vision

538
00:29:37,840 --> 00:29:40,720
Speaker 2: by the Fibonaccis. Give us a legal limit on this one.

539
00:29:40,800 --> 00:29:50,760
Speaker 2: JJ I love it. I'm not sure if we got

540
00:29:50,800 --> 00:29:54,240
Speaker 2: to hear much of the lyrics there, but they're pretty

541
00:29:54,240 --> 00:29:57,360
Speaker 2: great and they're like they're really on message. Here, cold

542
00:29:57,400 --> 00:30:01,160
Speaker 2: October night, Mom and Dad asleep, creeping as their bedroom door.

543
00:30:01,200 --> 00:30:03,720
Speaker 2: I hear the cries of sheep. I dance by the

544
00:30:03,800 --> 00:30:07,080
Speaker 2: light of the TV screen all night long. I watched

545
00:30:07,120 --> 00:30:10,160
Speaker 2: the Medusa's eyes turn green. But my own reflection I've

546
00:30:10,200 --> 00:30:11,520
Speaker 2: never seen love it.

547
00:30:12,120 --> 00:30:15,360
Speaker 3: Oh Okay, maybe I'm reading too deep into this, but

548
00:30:15,640 --> 00:30:18,400
Speaker 3: the cries of sheep is that so on one hand,

549
00:30:18,400 --> 00:30:20,840
Speaker 3: you could say that is like it's just a spooky

550
00:30:20,880 --> 00:30:23,720
Speaker 3: horror image sheep are being led to the slaughter, but

551
00:30:23,880 --> 00:30:26,200
Speaker 3: also it's like, ah, we are all sheep watching the

552
00:30:26,240 --> 00:30:29,680
Speaker 3: TV and just you know, doing whatever, reproducing whatever activities

553
00:30:29,680 --> 00:30:32,880
Speaker 3: we see on the screen. But also the line about

554
00:30:32,960 --> 00:30:35,760
Speaker 3: Medusa's eyes turned green. But my own reflection I've never

555
00:30:35,800 --> 00:30:37,800
Speaker 3: seen again. Am I reading too much into it that

556
00:30:37,880 --> 00:30:40,880
Speaker 3: this is saying like the because we are able to

557
00:30:41,440 --> 00:30:45,360
Speaker 3: just sort of like hypnotize ourselves with constant media, we

558
00:30:45,560 --> 00:30:47,600
Speaker 3: like never have time to self reflect.

559
00:30:48,240 --> 00:30:50,760
Speaker 2: Yeah, yeah, I think I think it's fair. I think

560
00:30:50,760 --> 00:30:55,840
Speaker 2: it's okay, a fair analysis. If you happen to be

561
00:30:55,880 --> 00:30:58,920
Speaker 2: a vinyl collector, you can get the original soundtrack and

562
00:30:58,960 --> 00:31:02,680
Speaker 2: score on vinyl from a company I'm not familiar with,

563
00:31:02,880 --> 00:31:07,400
Speaker 2: wr WTFWW Records, but it includes both the Richard Bands

564
00:31:07,440 --> 00:31:20,160
Speaker 2: score and those five tracks by the zibanachis all right, Joe, Well,

565
00:31:20,240 --> 00:31:23,200
Speaker 2: shall we go ahead and bang on the satellite dish

566
00:31:23,360 --> 00:31:25,840
Speaker 2: and tune into the plot? Right?

567
00:31:26,000 --> 00:31:28,680
Speaker 3: So, I don't think it would make sense to cover

568
00:31:28,800 --> 00:31:30,520
Speaker 3: every scene in the plot like we do with some

569
00:31:30,680 --> 00:31:34,200
Speaker 3: movies here, because this is more of a wacky satirical film,

570
00:31:34,840 --> 00:31:36,560
Speaker 3: So I don't know, it feels weird to do a

571
00:31:36,560 --> 00:31:38,560
Speaker 3: full scene by scene recap, but I think we will

572
00:31:38,880 --> 00:31:41,000
Speaker 3: zoom in pretty close on like the opening.

573
00:31:41,520 --> 00:31:42,160
Speaker 2: Yeah.

574
00:31:42,240 --> 00:31:46,680
Speaker 3: So after those flame textured Charles Band production tags go away,

575
00:31:47,080 --> 00:31:51,240
Speaker 3: the movie opens on a miniature model planet surface set

576
00:31:51,480 --> 00:31:54,320
Speaker 3: and there is a dark blue alien sky, a red

577
00:31:54,400 --> 00:31:57,400
Speaker 3: gas giant looming over the horizon, and a bunch of

578
00:31:57,520 --> 00:32:01,120
Speaker 3: towers and monuments and various structures cover and greebles. And

579
00:32:01,320 --> 00:32:04,240
Speaker 3: I always love this kind of thing, love a model

580
00:32:04,560 --> 00:32:05,480
Speaker 3: planet surface.

581
00:32:06,000 --> 00:32:08,840
Speaker 2: Yeah you can. You can definitely spot a piece of

582
00:32:10,040 --> 00:32:14,320
Speaker 2: USS Enterprise model kit in there upside down. Yeah.

583
00:32:14,400 --> 00:32:17,720
Speaker 3: I think there are also some vacuum cleaner attachment parts

584
00:32:17,840 --> 00:32:19,760
Speaker 3: that have and spray painted silver.

585
00:32:20,040 --> 00:32:20,920
Speaker 2: Yeah. Nice.

586
00:32:21,400 --> 00:32:22,959
Speaker 3: And then we get a little key at the bottom.

587
00:32:22,960 --> 00:32:27,840
Speaker 3: It says Planet Pluton Sanitation Department, and then there's a pause,

588
00:32:28,640 --> 00:32:31,880
Speaker 3: and then the third line appears. It says mutant creature

589
00:32:31,920 --> 00:32:35,840
Speaker 3: disposal unit. That got to laugh out of me. I

590
00:32:35,880 --> 00:32:40,760
Speaker 3: don't know that that was good. That's just like very specific.

591
00:32:41,920 --> 00:32:45,800
Speaker 3: So then we cut inside straight to an extreme close

592
00:32:45,920 --> 00:32:49,440
Speaker 3: up of this disgusting face. It's sort of like a

593
00:32:49,600 --> 00:32:55,680
Speaker 3: sentient slice of burned pizza, some gross, wet red wall

594
00:32:55,840 --> 00:32:59,320
Speaker 3: of skinless flesh with a single eyeball and a mouth

595
00:32:59,360 --> 00:33:02,320
Speaker 3: with barracu to teeth, and it is gargling at us.

596
00:33:03,040 --> 00:33:05,800
Speaker 3: Then we pull back and revealed that this face is

597
00:33:05,920 --> 00:33:09,200
Speaker 3: behind some kind of glass shield, and then there is

598
00:33:09,240 --> 00:33:13,400
Speaker 3: a humanoid alien with a scaly reptilian head banging on

599
00:33:13,440 --> 00:33:16,600
Speaker 3: the glass, and the humanoid alien moves over to a

600
00:33:16,600 --> 00:33:20,920
Speaker 3: control panel and yanks a lever which apparently incinerates the

601
00:33:20,960 --> 00:33:24,040
Speaker 3: wall of pizza monster behind the glass. You know, some

602
00:33:24,120 --> 00:33:27,080
Speaker 3: kind of energy fills the room. I guess like they

603
00:33:27,120 --> 00:33:29,280
Speaker 3: tried to do in the Green Slime to you know,

604
00:33:29,400 --> 00:33:32,520
Speaker 3: incinerate the the green slime that was clinging to the

605
00:33:33,000 --> 00:33:36,680
Speaker 3: suits that the astronauts brought back with them from the asteroid.

606
00:33:37,040 --> 00:33:39,840
Speaker 3: But much like in the Green Slime, it doesn't work.

607
00:33:39,920 --> 00:33:43,520
Speaker 3: Instead of the creature being incinerated, we see a tower

608
00:33:43,680 --> 00:33:47,120
Speaker 3: kind of shoot out a little bullet of electricity into

609
00:33:47,320 --> 00:33:51,680
Speaker 3: space and it flies around and then bounces between planets

610
00:33:51,720 --> 00:33:53,920
Speaker 3: like a pinball in a pinball cabinet, you know, hitting

611
00:33:53,920 --> 00:33:57,240
Speaker 3: the bumpers, and then it finally comes straight at the

612
00:33:57,280 --> 00:34:00,680
Speaker 3: screen and I think this means that the Pea entity

613
00:34:00,880 --> 00:34:01,760
Speaker 3: is coming to Earth.

614
00:34:02,600 --> 00:34:05,280
Speaker 2: Yeah, that seems like what's going to happen. And you know,

615
00:34:05,400 --> 00:34:07,560
Speaker 2: this is one of those films where they they showed

616
00:34:07,640 --> 00:34:11,520
Speaker 2: us the monster immediately, which I think works in two

617
00:34:11,600 --> 00:34:14,640
Speaker 2: ways for this film. For starters, the monster looks great,

618
00:34:15,040 --> 00:34:16,799
Speaker 2: Bee cler hit it out of the park here with

619
00:34:17,120 --> 00:34:20,480
Speaker 2: the Hungry Beast. But also the sort of movie this is.

620
00:34:20,560 --> 00:34:22,719
Speaker 2: This is not a movie that is built around the

621
00:34:22,719 --> 00:34:24,920
Speaker 2: suspense of what will the monster look like?

622
00:34:25,239 --> 00:34:28,560
Speaker 3: Well, yeah, because this is this is not a horror movie.

623
00:34:28,600 --> 00:34:32,560
Speaker 3: This is a comedy movie using the conventions of horror,

624
00:34:32,640 --> 00:34:36,439
Speaker 3: and you know, keeping the keeping the monsters form more

625
00:34:36,480 --> 00:34:39,799
Speaker 3: secret I think works better for the purpose of suspense.

626
00:34:41,040 --> 00:34:44,440
Speaker 3: There's something that is funnier about showing the monster right

627
00:34:44,440 --> 00:34:47,719
Speaker 3: at the beginning. Then we go to Earth and we

628
00:34:47,760 --> 00:34:50,280
Speaker 3: meet our core family. We already talked about these characters,

629
00:34:50,320 --> 00:34:53,640
Speaker 3: but briefly, there is Stan the father. That's Garrett Graham.

630
00:34:53,680 --> 00:34:55,719
Speaker 3: When you first meet him, he is fiddling with the

631
00:34:55,840 --> 00:34:59,360
Speaker 3: install it yourself satellite TV antenna that he just bought.

632
00:35:00,080 --> 00:35:01,560
Speaker 3: I think this is picking up on You know, this

633
00:35:01,600 --> 00:35:03,920
Speaker 3: movie is not alone in this that there is a

634
00:35:04,120 --> 00:35:10,239
Speaker 3: common trope in eighties movies of the suburban dad who

635
00:35:10,680 --> 00:35:15,840
Speaker 3: loves to takes great pride in installing expensive electronics himself,

636
00:35:15,880 --> 00:35:18,560
Speaker 3: you know, in his new sound system or in setting

637
00:35:18,680 --> 00:35:20,600
Speaker 3: up the new television and so forth.

638
00:35:21,120 --> 00:35:24,880
Speaker 2: Yeah, he's at once overconfident in his own abilities to

639
00:35:24,920 --> 00:35:28,759
Speaker 2: tinker with this stuff, but also has no patience for it.

640
00:35:29,160 --> 00:35:32,600
Speaker 2: And that is also very demanding of the expertise that's

641
00:35:32,600 --> 00:35:34,080
Speaker 2: called in to actually fix it.

642
00:35:34,400 --> 00:35:36,520
Speaker 3: Oh right, which is why we've got Sunny Carl Davis

643
00:35:36,560 --> 00:35:39,040
Speaker 3: just like standing there nearby. At first, I thought like, Okay,

644
00:35:39,200 --> 00:35:41,239
Speaker 3: is this guy supposed to be like a friend or

645
00:35:41,280 --> 00:35:44,239
Speaker 3: a neighbor of Garrett Graham's. But no, he is the

646
00:35:44,480 --> 00:35:48,840
Speaker 3: television antenna repair guy and he's standing there drinking drinking

647
00:35:48,880 --> 00:35:50,680
Speaker 3: beers out of Garrett Graham's fridge.

648
00:35:51,200 --> 00:35:54,280
Speaker 2: Oh not just any beers there, Heine's. They're Heinekens. This

649
00:35:54,280 --> 00:35:57,520
Speaker 2: this movie seems to have been sponsored by Heineken.

650
00:35:57,840 --> 00:36:00,360
Speaker 3: They say the word heinee of at least ten times times.

651
00:36:00,800 --> 00:36:03,880
Speaker 2: Yeah. I mean, if it's funny once, just keep doing it.

652
00:36:03,880 --> 00:36:06,400
Speaker 3: It'll be funny the seventh time you talk about guzzling

653
00:36:06,440 --> 00:36:08,319
Speaker 3: a heini Yeah.

654
00:36:08,680 --> 00:36:10,879
Speaker 2: We also have to note like at this point, we're

655
00:36:10,960 --> 00:36:13,320
Speaker 2: outside the house. We'll get to talk about the interior

656
00:36:13,320 --> 00:36:15,279
Speaker 2: of the house in a minute, but just outside, it's

657
00:36:15,719 --> 00:36:19,760
Speaker 2: clear that this was an interior set that was created

658
00:36:19,800 --> 00:36:23,239
Speaker 2: to look like, you know, the outside of this house

659
00:36:23,280 --> 00:36:27,120
Speaker 2: probably somewhere in suburban California. But it has this just

660
00:36:27,280 --> 00:36:30,359
Speaker 2: wonderful look because on one hand, it doesn't feel one

661
00:36:30,440 --> 00:36:33,080
Speaker 2: hundred percent fake. You know, it doesn't feel completely phony.

662
00:36:33,760 --> 00:36:38,840
Speaker 2: It feels accurate, but it also feels artificial enough that

663
00:36:39,239 --> 00:36:42,680
Speaker 2: we really get into this this wonderful zone that you know,

664
00:36:42,719 --> 00:36:44,680
Speaker 2: I would compare it to some of the films of

665
00:36:44,719 --> 00:36:48,360
Speaker 2: say Tim Burton artificial satirical America.

666
00:36:48,719 --> 00:36:51,400
Speaker 3: Yeah, yeah, I would not have thought of that comparison,

667
00:36:51,440 --> 00:36:54,319
Speaker 3: but yeah, the Tim Burton thing, it has a kind

668
00:36:54,360 --> 00:36:59,840
Speaker 3: of Edward Scissorhands quality to the satirical picture painted of

669
00:37:00,000 --> 00:37:05,319
Speaker 3: subourban America, except it is a little less precious, not

670
00:37:05,400 --> 00:37:08,960
Speaker 3: a little, a lot less precious and more wacky and disgusting.

671
00:37:09,400 --> 00:37:10,680
Speaker 2: Yeah.

672
00:37:10,880 --> 00:37:14,560
Speaker 3: Now inside the house we meet Raquel, that's the mother

673
00:37:14,680 --> 00:37:17,920
Speaker 3: played by Mary Warrenov and she's trying to do her aerobics.

674
00:37:18,120 --> 00:37:20,719
Speaker 3: This is another thing that I feel like there are

675
00:37:20,719 --> 00:37:24,240
Speaker 3: a million movies that have the you know, the wealthy

676
00:37:24,320 --> 00:37:29,160
Speaker 3: suburban mom from the eighties who's constantly wearing an aerobics

677
00:37:29,160 --> 00:37:32,120
Speaker 3: outfit and doing aerobics along with like a TV program.

678
00:37:32,520 --> 00:37:34,719
Speaker 2: Yeah, absolutely, absolute stereotype.

679
00:37:34,719 --> 00:37:39,280
Speaker 3: Here stereotypes continue with the daughter Suzig and she's dressed.

680
00:37:39,400 --> 00:37:42,160
Speaker 3: You know, it's a Pat Benatar kind of thing. There's spandex,

681
00:37:42,200 --> 00:37:46,160
Speaker 3: a pink sweater, you know, like thirty different necklaces and

682
00:37:46,200 --> 00:37:50,399
Speaker 3: beads and bracelets, multicolored hairdo that comes way up off

683
00:37:50,400 --> 00:37:53,160
Speaker 3: the top of her head, big big hair. The son Sherman.

684
00:37:54,040 --> 00:37:57,800
Speaker 3: He likes to play army. You know, that's his whole personality. Basically,

685
00:37:57,520 --> 00:37:59,640
Speaker 3: he likes to run around with toy guns, and then

686
00:37:59,719 --> 00:38:02,640
Speaker 3: later in the movie, it turns out his grandfather has

687
00:38:02,719 --> 00:38:05,080
Speaker 3: turned has trained him how to use like grenades and

688
00:38:05,120 --> 00:38:06,160
Speaker 3: real machine guns.

689
00:38:06,640 --> 00:38:09,839
Speaker 2: Yeah yeah, and I guess Gramps has done most of

690
00:38:09,880 --> 00:38:13,080
Speaker 2: the raising of the child, as Dad is too interested

691
00:38:13,120 --> 00:38:14,120
Speaker 2: in his own pursuits.

692
00:38:14,320 --> 00:38:17,319
Speaker 3: Yes, when we first meet Gramps, he comes through the

693
00:38:17,320 --> 00:38:22,080
Speaker 3: front door muttering about some conspiracy involving U two spy planes,

694
00:38:22,520 --> 00:38:25,840
Speaker 3: and he's carrying a sign about eating lizards to survive

695
00:38:25,880 --> 00:38:29,759
Speaker 3: the apocalypse. And we understand that Gramps's day job is

696
00:38:29,920 --> 00:38:32,600
Speaker 3: that he stands on a street corner downtown with this

697
00:38:32,719 --> 00:38:35,279
Speaker 3: sign and yells at people and hands out pamphlets about

698
00:38:35,280 --> 00:38:36,280
Speaker 3: the end of the world.

699
00:38:36,760 --> 00:38:39,239
Speaker 2: Yeah. Yeah, he's wearing this ridiculous outfit. There's like a

700
00:38:39,239 --> 00:38:43,240
Speaker 2: military uniform with plastic lizards glued to it and stuff.

701
00:38:43,320 --> 00:38:46,040
Speaker 2: It's so over the top, it's wonderful.

702
00:38:46,320 --> 00:38:48,399
Speaker 3: Now, well, Garrett Graham is working on the satellite dish.

703
00:38:48,440 --> 00:38:51,520
Speaker 3: Suddenly there was a giant bolt of lightning from space

704
00:38:51,640 --> 00:38:54,520
Speaker 3: and it comes down into the satellite dish. Somehow it

705
00:38:54,680 --> 00:38:57,640
Speaker 3: fixes the satellite dish and now the TV's working all right.

706
00:38:58,320 --> 00:39:00,840
Speaker 3: And so there's a scene where all the men they're

707
00:39:00,920 --> 00:39:03,640
Speaker 3: like holding this remote control for the TV, which is,

708
00:39:03,880 --> 00:39:06,440
Speaker 3: you know, the size is bigger than a laptop would be.

709
00:39:06,480 --> 00:39:09,640
Speaker 3: Now it's got all these dials and controls on it,

710
00:39:09,680 --> 00:39:12,600
Speaker 3: and they're flipping around to enjoy their own favorite channels.

711
00:39:12,600 --> 00:39:15,520
Speaker 3: So for a bit they watch like a martial arts movie,

712
00:39:16,000 --> 00:39:21,120
Speaker 3: and then they tune into just footage of like troops

713
00:39:21,120 --> 00:39:25,319
Speaker 3: marching around from some historical thing, and the Gramps is like, oh,

714
00:39:25,400 --> 00:39:29,040
Speaker 3: the troop movements. We've got to watch this. For some reason,

715
00:39:29,080 --> 00:39:31,160
Speaker 3: they just as a whole family stand there and watch

716
00:39:31,239 --> 00:39:34,799
Speaker 3: pornography for a minute. And then oh, and then they

717
00:39:34,800 --> 00:39:37,960
Speaker 3: turned that the daughter's requests. They put it on MTV

718
00:39:38,440 --> 00:39:43,000
Speaker 3: and it's some Nigel Toughnell type heavy metal singer going

719
00:39:43,040 --> 00:39:46,400
Speaker 3: like eh, And of course Susie is really into it,

720
00:39:46,440 --> 00:39:50,200
Speaker 3: but also Mary Warnov she's like, this is wrong. He's

721
00:39:50,239 --> 00:39:54,360
Speaker 3: so nasty, but clearly she is into heavy metal also secretly.

722
00:39:56,120 --> 00:39:58,799
Speaker 3: Now Grams does not like MTV. He says it is

723
00:39:58,880 --> 00:40:03,239
Speaker 3: brain rot, it is the intellectual conspiracy, and he you know,

724
00:40:03,480 --> 00:40:07,680
Speaker 3: changes the channel, which ends up being turned to what

725
00:40:07,800 --> 00:40:12,479
Speaker 3: is the MEDUSA program. It's called Medusa's midnight horror thon, which,

726
00:40:12,520 --> 00:40:17,360
Speaker 3: as you said earlier, Rob is an Elvira style comedically

727
00:40:17,400 --> 00:40:18,760
Speaker 3: seductive horror host.

728
00:40:19,400 --> 00:40:23,240
Speaker 2: Elvira, the Mistress of the Dark being the character portrayed

729
00:40:23,280 --> 00:40:28,560
Speaker 2: by Cassandra Peterson. That's a campy, over the top, voluptuous

730
00:40:29,200 --> 00:40:31,960
Speaker 2: kind of like Queen of the Night. You could compare

731
00:40:32,000 --> 00:40:38,399
Speaker 2: this character Elvira to Vampira of decades prior, who, of course,

732
00:40:38,440 --> 00:40:40,960
Speaker 2: pops up in the excellent Edwood movie Plan nine from

733
00:40:40,960 --> 00:40:41,640
Speaker 2: Outer Space.

734
00:40:42,040 --> 00:40:45,040
Speaker 3: At one point, I think Vampira tried to sue Elvira

735
00:40:45,160 --> 00:40:48,520
Speaker 3: for stealing her act, but I don't know how that

736
00:40:48,600 --> 00:40:49,520
Speaker 3: court case worked out.

737
00:40:50,040 --> 00:40:53,960
Speaker 2: We love them both, We're not going to choose sides now.

738
00:40:53,960 --> 00:40:58,680
Speaker 3: Of course, Gramps turns into the cartoon wolf when Medusa

739
00:40:58,760 --> 00:41:00,680
Speaker 3: comes on TV. You know, his eye as are shooting

740
00:41:00,760 --> 00:41:03,120
Speaker 3: six feet out of his head, and he comes up

741
00:41:03,160 --> 00:41:05,680
Speaker 3: with a way of rationalizing why it's okay to keep

742
00:41:05,719 --> 00:41:09,200
Speaker 3: watching this even though you know the MTV was brain rot.

743
00:41:09,600 --> 00:41:12,719
Speaker 3: He says, war stories and horror movies are educational. You know,

744
00:41:12,719 --> 00:41:17,840
Speaker 3: they're survival oriented. And I loved this because it reminds

745
00:41:17,880 --> 00:41:20,440
Speaker 3: me of one of my favorite bits of real world

746
00:41:20,520 --> 00:41:23,440
Speaker 3: video ever, which if you've never seen this before, you

747
00:41:23,480 --> 00:41:26,040
Speaker 3: should look it up. It is a nineteen seventy nine

748
00:41:26,200 --> 00:41:30,279
Speaker 3: reported segment by a local news station in Fort Worth,

749
00:41:30,400 --> 00:41:34,120
Speaker 3: Texas about the release of Ridley Scott's Alien, where they've

750
00:41:34,160 --> 00:41:37,040
Speaker 3: got a reporter on the ground interviewing people coming out

751
00:41:37,080 --> 00:41:40,040
Speaker 3: of the movie theater who have just watched Daien, including

752
00:41:40,080 --> 00:41:42,400
Speaker 3: people who brought their small children with them, and so

753
00:41:42,480 --> 00:41:45,480
Speaker 3: they're like asking, kids, you know, did you like was

754
00:41:45,520 --> 00:41:47,799
Speaker 3: the movie scary? Did you like it? So they talked

755
00:41:47,800 --> 00:41:49,920
Speaker 3: to this one boy and he's like, uh, yeah, it

756
00:41:49,960 --> 00:41:52,319
Speaker 3: was scary. Yeah, I'm glad I saw it. But then

757
00:41:52,360 --> 00:41:54,560
Speaker 3: they go up to this father who is there with

758
00:41:54,600 --> 00:41:58,040
Speaker 3: his wife and an elementary school age son, and the

759
00:41:58,080 --> 00:42:00,839
Speaker 3: reporter goes, are you sorry, sir you brought your son

760
00:42:00,880 --> 00:42:04,600
Speaker 3: along to see Alien? And the father is like, no, ma'am,

761
00:42:04,640 --> 00:42:06,600
Speaker 3: I think he needs to know that things like this

762
00:42:06,640 --> 00:42:09,359
Speaker 3: could happen in life. No, ma'am, I think you should

763
00:42:09,360 --> 00:42:09,719
Speaker 3: have seen it.

764
00:42:09,719 --> 00:42:12,960
Speaker 4: There's something that he needs to know that things could

765
00:42:13,040 --> 00:42:14,480
Speaker 4: like that could happen in life. You know.

766
00:42:14,600 --> 00:42:17,879
Speaker 2: I mean, on one hand, this is true. I mean,

767
00:42:18,000 --> 00:42:21,640
Speaker 2: Alien is a story that you can learn something from,

768
00:42:21,840 --> 00:42:22,120
Speaker 2: you know.

769
00:42:22,680 --> 00:42:25,240
Speaker 3: To be fair to Yeah, okay, I don't know about

770
00:42:25,400 --> 00:42:28,520
Speaker 3: things like this could happen depends on how loose you

771
00:42:28,560 --> 00:42:31,600
Speaker 3: are with things like this, But yeah, there are good

772
00:42:31,719 --> 00:42:34,440
Speaker 3: lessons in Alien, like, for example, if they had just

773
00:42:34,520 --> 00:42:37,080
Speaker 3: listened to Ripley and followed quarantine, none of this would

774
00:42:37,120 --> 00:42:37,760
Speaker 3: have ever happened.

775
00:42:37,960 --> 00:42:41,920
Speaker 2: Yeah, just follow protocol. An Alien is essentially a shake

776
00:42:41,960 --> 00:42:45,440
Speaker 2: hands with danger in space like this is what happens

777
00:42:45,800 --> 00:42:50,080
Speaker 2: when you don't follow protocol. Xenomorph run loud but.

778
00:42:50,160 --> 00:42:53,160
Speaker 3: Anyway, Gramp's seems to take the same attitude. In Terror

779
00:42:53,280 --> 00:42:58,399
Speaker 3: Vision MTV may be degeneracy, but lusty horror movies are educational.

780
00:42:58,480 --> 00:43:01,480
Speaker 3: The events of Terror Vision are contingencies that.

781
00:43:01,440 --> 00:43:03,719
Speaker 2: Should be prepared for absolutely.

782
00:43:04,560 --> 00:43:06,640
Speaker 3: At some point here there is a scene where the

783
00:43:06,719 --> 00:43:11,520
Speaker 3: parents meet Ode, who is Susie's boyfriend. And again this

784
00:43:11,680 --> 00:43:15,600
Speaker 3: is Uncle Rico from Napoleon Dynamite and he is in

785
00:43:15,719 --> 00:43:18,279
Speaker 3: full heavy metal gear. You know, he's got all the

786
00:43:18,640 --> 00:43:21,839
Speaker 3: leather and the studs, and he's got long hair, and

787
00:43:21,960 --> 00:43:24,760
Speaker 3: he is very bill and ted in personality.

788
00:43:24,920 --> 00:43:29,440
Speaker 2: Dude, Yeah, he's got chains. He's got a band shirt.

789
00:43:29,719 --> 00:43:33,640
Speaker 2: I think it says wasp like wasp on it. I'm

790
00:43:34,120 --> 00:43:36,439
Speaker 2: is this a real band? I really am not sure.

791
00:43:36,680 --> 00:43:39,160
Speaker 2: I don't know. Maybe it's his band, because we also

792
00:43:39,280 --> 00:43:41,360
Speaker 2: learned that he is a genius musician.

793
00:43:41,719 --> 00:43:43,600
Speaker 3: Oh yeah, we hear a bit of his band later,

794
00:43:43,760 --> 00:43:46,319
Speaker 3: not really enough to make an impression because they start

795
00:43:46,360 --> 00:43:48,440
Speaker 3: playing it for the monster later and the monster just

796
00:43:48,480 --> 00:43:52,440
Speaker 3: destroys the speakers. But anyway, they first see okay, their

797
00:43:52,520 --> 00:43:55,120
Speaker 3: daughter's got a heavy metal boyfriend, and they're all horrified.

798
00:43:55,400 --> 00:43:57,560
Speaker 3: But then it seems like they're trying to impress him,

799
00:43:57,600 --> 00:44:01,040
Speaker 3: which makes sense because Od is cool. You know. While

800
00:44:01,400 --> 00:44:04,160
Speaker 3: while waiting for Susie to get ready, he starts doing

801
00:44:04,239 --> 00:44:08,279
Speaker 3: air guitar by himself to no music except the squealing

802
00:44:08,320 --> 00:44:11,640
Speaker 3: of a lizard battle on the TV. So, like Gramps

803
00:44:11,680 --> 00:44:17,160
Speaker 3: and Sherman are watching Robot Monster. It's robot and it's

804
00:44:17,200 --> 00:44:21,120
Speaker 3: that scene where the lizards fight. But I wonder if

805
00:44:21,160 --> 00:44:24,200
Speaker 3: you noticed this, rob they're watching Robot Monster, but not

806
00:44:24,440 --> 00:44:27,040
Speaker 3: with original audio. It looks like it's a version of

807
00:44:27,080 --> 00:44:29,319
Speaker 3: the movie that has been redubbed. I don't know if

808
00:44:29,320 --> 00:44:30,600
Speaker 3: that was a rights thing or what.

809
00:44:31,280 --> 00:44:33,080
Speaker 2: Yeah, I don't know, but I did notice that that

810
00:44:33,120 --> 00:44:36,960
Speaker 2: they they clearly redubbed it for use here could have

811
00:44:36,960 --> 00:44:37,840
Speaker 2: been audio quality.

812
00:44:38,239 --> 00:44:40,439
Speaker 3: Yeah, So at one point, while they're in the living

813
00:44:40,480 --> 00:44:43,520
Speaker 3: room there. Odie looks at Gramps and he goes, hey,

814
00:44:43,760 --> 00:44:48,800
Speaker 3: oh dude, what you eaten? And yeah, he says, lizard

815
00:44:48,840 --> 00:44:52,080
Speaker 3: tale jerky want to stick And he says, no, thanks,

816
00:44:52,080 --> 00:44:56,880
Speaker 3: I just pigged out. But anyway, here we get an

817
00:44:56,880 --> 00:45:00,200
Speaker 3: opportunity for Gramps to describe his theory, handing od one

818
00:45:00,200 --> 00:45:04,359
Speaker 3: of his pamphlets. His theory is that lizard tails are

819
00:45:04,400 --> 00:45:07,680
Speaker 3: the perfect regenerating food source, because he says, you eat

820
00:45:07,680 --> 00:45:09,920
Speaker 3: the tail, the lizard don't give a hoot. He just

821
00:45:09,960 --> 00:45:11,960
Speaker 3: grows a new one. Then you eat that too.

822
00:45:12,360 --> 00:45:16,400
Speaker 2: Yeah, I'm not sure this actually works in real life,

823
00:45:16,440 --> 00:45:19,400
Speaker 2: but no, you know. But then again, one gets the

824
00:45:19,400 --> 00:45:23,480
Speaker 2: impression that that grandpa here has signed up for a

825
00:45:23,560 --> 00:45:26,160
Speaker 2: number of ideas that don't actually work in real life.

826
00:45:27,080 --> 00:45:30,080
Speaker 2: He's again clearly into a lot of conspiracy thinking.

827
00:45:30,560 --> 00:45:33,600
Speaker 3: Meanwhile, Garrett Graham and Mary warrenov are having a conversation

828
00:45:33,920 --> 00:45:37,200
Speaker 3: about the daughter's boyfriend and they're like, why do kids

829
00:45:37,320 --> 00:45:40,120
Speaker 3: dress like that? You know, Ode doesn't he know how

830
00:45:40,200 --> 00:45:42,920
Speaker 3: ridiculous he looks? And this is while Garrett Graham is

831
00:45:42,920 --> 00:45:47,280
Speaker 3: putting on his like swinger seduction outfit, which is a

832
00:45:47,320 --> 00:45:50,520
Speaker 3: shirt with a huge collar opened down to like the

833
00:45:50,560 --> 00:45:53,200
Speaker 3: his stomach and wearing a bunch of gold chains.

834
00:45:53,800 --> 00:45:56,520
Speaker 2: Oh yeah, the costuming is always on point. Earlier, when

835
00:45:56,560 --> 00:45:59,759
Speaker 2: he's working on the satellite dish, he has an ascot. Yes,

836
00:46:00,080 --> 00:46:00,560
Speaker 2: it's great.

837
00:46:01,000 --> 00:46:04,080
Speaker 3: There's also somewhere in here on the TV there's a

838
00:46:04,120 --> 00:46:08,799
Speaker 3: TV commercial for a TV called the Super TV, the

839
00:46:08,840 --> 00:46:12,440
Speaker 3: Super Television, which is shown rotating on a TV screen

840
00:46:12,680 --> 00:46:15,920
Speaker 3: on the TV screen, so the TV is showing a

841
00:46:15,960 --> 00:46:18,480
Speaker 3: TV that is showing a TV and they're all the

842
00:46:18,520 --> 00:46:19,280
Speaker 3: same TV.

843
00:46:20,239 --> 00:46:21,840
Speaker 2: Just a blissful holy moment.

844
00:46:22,400 --> 00:46:24,800
Speaker 3: The plot really gets going when Gramps tries to change

845
00:46:24,840 --> 00:46:26,799
Speaker 3: the channel again. He wants to look at like the

846
00:46:26,920 --> 00:46:30,120
Speaker 3: troop movements again so called. I think this looks like

847
00:46:30,160 --> 00:46:33,000
Speaker 3: these are just like old fascist newsreels or something. I

848
00:46:33,000 --> 00:46:35,680
Speaker 3: don't know what they are. But he ends up tuning

849
00:46:35,760 --> 00:46:39,920
Speaker 3: into the wrong thing. He's tuning into a monster. There's

850
00:46:40,000 --> 00:46:43,560
Speaker 3: just like a claw and belching sounds and an eyeball

851
00:46:43,840 --> 00:46:47,560
Speaker 3: on the TV screen. And they watched that for a while,

852
00:46:47,640 --> 00:46:49,920
Speaker 3: but it seems to be kind of boring because like

853
00:46:50,000 --> 00:46:52,000
Speaker 3: nothing's happening. It's just a monster there.

854
00:46:52,680 --> 00:46:55,520
Speaker 2: Yeah, this is, of course the hungry base that has

855
00:46:55,560 --> 00:47:00,640
Speaker 2: been zapped here from across the galaxy, and it's just

856
00:47:00,680 --> 00:47:02,799
Speaker 2: sort of hanging out somehow on the other side of

857
00:47:02,800 --> 00:47:03,959
Speaker 2: the TV screen.

858
00:47:04,040 --> 00:47:06,600
Speaker 3: Now before it actually emerges from the TV. At some

859
00:47:06,640 --> 00:47:09,560
Speaker 3: point they end up watching part of another real movie,

860
00:47:09,560 --> 00:47:12,920
Speaker 3: so they were doing Robot Monster earlier. Later they're watching

861
00:47:12,960 --> 00:47:16,840
Speaker 3: The Giant Claw, which is a sort of American kaiju

862
00:47:16,960 --> 00:47:19,879
Speaker 3: movie from nineteen fifty seven about a large bird from

863
00:47:19,920 --> 00:47:21,959
Speaker 3: outer space that attacks airplanes.

864
00:47:22,640 --> 00:47:26,520
Speaker 2: That's right, that's a Sam Katzman production, same producer of

865
00:47:27,360 --> 00:47:32,640
Speaker 2: a Creature with the Adam Brain. Oh okay, yeah, yeah.

866
00:47:31,880 --> 00:47:34,439
Speaker 3: But anyway, I guess even the Giant Claw cannot hold

867
00:47:34,480 --> 00:47:38,040
Speaker 3: their attention. So Gram's and Sherman fall asleep watching TV,

868
00:47:38,200 --> 00:47:42,120
Speaker 3: and then while they're asleep, a slime covered tentacle monster

869
00:47:42,320 --> 00:47:45,520
Speaker 3: slithers out of the screen of the TV, just like

870
00:47:45,560 --> 00:47:47,680
Speaker 3: the girl in the Ring and is now in three

871
00:47:47,719 --> 00:47:48,760
Speaker 3: dimensional reality.

872
00:47:49,400 --> 00:47:52,360
Speaker 2: Oh yes, and the Hungry Beast here is just amazing,

873
00:47:53,400 --> 00:47:58,360
Speaker 2: absolutely fantastic practical effects monster. It's a morphous and thang

874
00:47:58,600 --> 00:48:01,040
Speaker 2: like as in John Carpenter's The Thing, but at the

875
00:48:01,080 --> 00:48:04,160
Speaker 2: same time has just a completely bonker's look to it,

876
00:48:04,520 --> 00:48:08,080
Speaker 2: like there's some perhaps some rat think qualities. There also

877
00:48:08,200 --> 00:48:12,840
Speaker 2: qualities of just a big, happy dog, which will become

878
00:48:12,960 --> 00:48:16,960
Speaker 2: more apparent later on in the picture. Key appendages, if

879
00:48:17,000 --> 00:48:20,120
Speaker 2: we can call them, that seem to be an eyeball tentacle,

880
00:48:20,600 --> 00:48:24,040
Speaker 2: a claw tentacle, and a tongue like a big, fleshy

881
00:48:24,080 --> 00:48:27,840
Speaker 2: tongue that is rather amorphous, but also can kind of

882
00:48:27,880 --> 00:48:30,600
Speaker 2: form a secondary face and mouth for biting people.

883
00:48:31,520 --> 00:48:35,120
Speaker 3: Now, Gramps and Sherman have some encounters with this monster.

884
00:48:35,320 --> 00:48:37,880
Speaker 3: They get scared by it. Grams is convinced that it

885
00:48:37,920 --> 00:48:40,680
Speaker 3: was not a monster but a burglar, because he says,

886
00:48:41,040 --> 00:48:46,319
Speaker 3: quote sometimes them burglars wear halle Ween masks, and they

887
00:48:46,360 --> 00:48:50,840
Speaker 3: go to Grandpa's fallout shelter to arm themselves. Meanwhile, Norton,

888
00:48:51,000 --> 00:48:56,080
Speaker 3: the satellite dish repair man, comes back. This is Sunny

889
00:48:56,080 --> 00:48:59,600
Speaker 3: Carl Davis again. He's rooting around trying to fix the

890
00:48:59,600 --> 00:49:04,000
Speaker 3: satellite dish. He finds that the electronics box connected to

891
00:49:04,080 --> 00:49:07,040
Speaker 3: the base of the dish has overflowed with a sort

892
00:49:07,080 --> 00:49:10,000
Speaker 3: of coal slaw of alien slime and guts.

893
00:49:10,880 --> 00:49:13,319
Speaker 2: So he starts cleaning that out and you know what's

894
00:49:13,360 --> 00:49:13,920
Speaker 2: going to happen.

895
00:49:14,640 --> 00:49:17,719
Speaker 3: That's right, poor rabbit is doomed here. He gets I

896
00:49:17,800 --> 00:49:20,760
Speaker 3: think he is the first person eaten by the alien.

897
00:49:20,760 --> 00:49:33,279
Speaker 2: As it should be, as God wills it, And.

898
00:49:33,239 --> 00:49:36,160
Speaker 3: So here we're into a kind of general rampage. Middle

899
00:49:36,200 --> 00:49:38,800
Speaker 3: third of the movie. We do see the monster eat

900
00:49:39,000 --> 00:49:42,200
Speaker 3: Gramps at some point. What exactly is the process here?

901
00:49:42,239 --> 00:49:45,680
Speaker 3: It's sort of complicated. First, it puts the clamps on Gramps,

902
00:49:45,840 --> 00:49:47,960
Speaker 3: so it has a claw that's sort of a clamp

903
00:49:48,040 --> 00:49:52,680
Speaker 3: style claw, squeezes Grandpa's head and then folds his head

904
00:49:52,719 --> 00:49:55,480
Speaker 3: in half, and there is blood squirting everywhere, but I

905
00:49:55,480 --> 00:49:57,840
Speaker 3: don't know if it's supposed to be blood. It's not red.

906
00:49:57,960 --> 00:50:02,040
Speaker 3: It is a green liquid leaking out of a Grandpa's head.

907
00:50:02,200 --> 00:50:05,440
Speaker 3: So I guess the monster somehow turns his blood green

908
00:50:05,680 --> 00:50:07,760
Speaker 3: or is the green liquid coming from the monster?

909
00:50:08,200 --> 00:50:09,720
Speaker 2: Yeah, I don't know. It's kind of like a trolled

910
00:50:09,800 --> 00:50:12,280
Speaker 2: toification perhaps.

911
00:50:12,680 --> 00:50:17,360
Speaker 3: Yeah. Then Graham's disintegrates. He melts into a green puddle

912
00:50:17,480 --> 00:50:21,000
Speaker 3: on the floor, So melt movie status confirmed. And then

913
00:50:21,000 --> 00:50:25,480
Speaker 3: the monster starts vacuuming up the green slime and Grandpa's clothes,

914
00:50:25,520 --> 00:50:28,760
Speaker 3: but then spits out his dog tags and then Sherman

915
00:50:28,880 --> 00:50:31,279
Speaker 3: runs into the room just in time to see the

916
00:50:31,360 --> 00:50:34,239
Speaker 3: monster before it shockwarps into the television.

917
00:50:34,960 --> 00:50:38,040
Speaker 2: I have to add this whole death scene is all

918
00:50:38,080 --> 00:50:40,200
Speaker 2: the more shocking because it was done on wall to

919
00:50:40,239 --> 00:50:42,920
Speaker 2: wall carpeting, you know, like that just makes it all

920
00:50:42,960 --> 00:50:44,640
Speaker 2: the more worse. How are you gonna ever get that

921
00:50:44,680 --> 00:50:45,719
Speaker 2: slime up out of there?

922
00:50:46,040 --> 00:50:48,239
Speaker 3: Well, that is the thing. There are scenes of the

923
00:50:48,280 --> 00:50:51,880
Speaker 3: movie where I just kept recently noticing anew the work

924
00:50:51,920 --> 00:50:54,640
Speaker 3: that must have gone into making this house set the

925
00:50:54,800 --> 00:50:59,000
Speaker 3: gaudiest house in history. So there is like a combination

926
00:50:59,160 --> 00:51:03,920
Speaker 3: of neon and pastel color schemes like neon and pastel

927
00:51:04,040 --> 00:51:09,520
Speaker 3: upholstery on the furniture, just gold stuff everywhere, erotic artworks

928
00:51:09,560 --> 00:51:13,960
Speaker 3: on every wall, not good artworks, like tasteless erotic paintings

929
00:51:13,960 --> 00:51:16,600
Speaker 3: all over the place. It is kind of a Vegas

930
00:51:16,680 --> 00:51:21,200
Speaker 3: strip Easter egg themed marl Lago. And they keep calling

931
00:51:21,280 --> 00:51:22,360
Speaker 3: it the Pleasure Dome.

932
00:51:22,960 --> 00:51:26,640
Speaker 2: Yeah, that that sums it up. But yeah, to your point,

933
00:51:26,760 --> 00:51:31,360
Speaker 2: you keep seeing new details, new bits of art, new

934
00:51:32,080 --> 00:51:35,640
Speaker 2: curios on the shelf, and so forth. Yeah, a lot

935
00:51:35,640 --> 00:51:39,040
Speaker 2: of love and attention went into creating this monstrosity of

936
00:51:39,080 --> 00:51:39,480
Speaker 2: a house.

937
00:51:40,200 --> 00:51:43,200
Speaker 3: So some other things go on in here. Sherman calls

938
00:51:43,239 --> 00:51:45,359
Speaker 3: the cops, but they do not want to come and help.

939
00:51:45,400 --> 00:51:47,320
Speaker 3: At this point, At some point later in the movie,

940
00:51:47,320 --> 00:51:49,160
Speaker 3: a cop does come to the house, just to get

941
00:51:49,200 --> 00:51:52,840
Speaker 3: eaten by the monster. Of course, as as is canon

942
00:51:52,920 --> 00:51:55,800
Speaker 3: in all films of this sort, At some point also

943
00:51:56,040 --> 00:51:59,759
Speaker 3: Stan and Raquel come home with their dates and their

944
00:51:59,800 --> 00:52:02,160
Speaker 3: their whole thing is they are into swinging, so they

945
00:52:02,160 --> 00:52:06,440
Speaker 3: bring a couple home to swing with, and then there

946
00:52:06,239 --> 00:52:08,960
Speaker 3: are there are some funny elements to this whole romantic

947
00:52:09,000 --> 00:52:13,440
Speaker 3: farce subplot, like Stan trying to be as attractive as

948
00:52:13,440 --> 00:52:15,800
Speaker 3: he can is. Garrett Graham is quite funny in that

949
00:52:16,200 --> 00:52:20,120
Speaker 3: there are also some painfully unfunny things that haven't aged well,

950
00:52:20,160 --> 00:52:24,319
Speaker 3: that are just like a misunderstanding about Spiro, the guy

951
00:52:24,360 --> 00:52:27,879
Speaker 3: they bring home, being bisexual and interested in Stan, which

952
00:52:28,120 --> 00:52:31,920
Speaker 3: they did not understand, and that's like, that's pretty cringey.

953
00:52:32,800 --> 00:52:36,360
Speaker 2: Yeah, though, I guess if I'm being generous, most of

954
00:52:36,480 --> 00:52:39,120
Speaker 2: the a good portion of the cringe seems to be

955
00:52:39,200 --> 00:52:43,520
Speaker 2: placed on Garrett Graham's character for getting riled up over

956
00:52:43,560 --> 00:52:44,240
Speaker 2: the whole situation.

957
00:52:44,640 --> 00:52:46,760
Speaker 3: That's true, Like, I think a lot of other films

958
00:52:46,760 --> 00:52:49,360
Speaker 3: of this time would have made Spiro the target of

959
00:52:49,400 --> 00:52:52,080
Speaker 3: all the jokes in this thing, But actually more Garret

960
00:52:52,120 --> 00:52:54,440
Speaker 3: Graham is that the target of the jokes, I think.

961
00:52:54,680 --> 00:52:57,520
Speaker 2: Yeah, and I will add the erotic jacuzzi room also

962
00:52:57,600 --> 00:53:00,239
Speaker 2: starts paying off when the monster gets in to the

963
00:53:00,280 --> 00:53:05,040
Speaker 2: pool and starts eating people whilst pretending to be some

964
00:53:05,120 --> 00:53:06,200
Speaker 2: of the people that it is eaten.

965
00:53:06,560 --> 00:53:08,960
Speaker 3: That's right, So it eats both of the guest swingers

966
00:53:09,000 --> 00:53:12,920
Speaker 3: in the jacuzzi room and then also eats the two

967
00:53:12,960 --> 00:53:16,160
Speaker 3: main parents in the jacuzzi room. So all adults eaten, now.

968
00:53:16,560 --> 00:53:19,000
Speaker 2: Yeah, yeah, which it's kind of fit. It's like the

969
00:53:19,080 --> 00:53:21,560
Speaker 2: kids were kind of on their own anyway, without a

970
00:53:21,600 --> 00:53:24,680
Speaker 2: lot of guidance from the parental units and Grandpa, and

971
00:53:24,719 --> 00:53:26,960
Speaker 2: now they truly are on their own. The parents have

972
00:53:27,040 --> 00:53:29,400
Speaker 2: been completely consumed by the stuff that came out of

973
00:53:29,400 --> 00:53:30,680
Speaker 2: the television. Mmmm.

974
00:53:31,000 --> 00:53:34,040
Speaker 3: Ah, yeah, it's a metaphor. I see, Yeah, it's deep.

975
00:53:34,120 --> 00:53:37,760
Speaker 3: This movie real's deep. So at some point Sherman tries

976
00:53:37,840 --> 00:53:41,080
Speaker 3: to explain this is before the parents get eaten. When

977
00:53:41,160 --> 00:53:43,920
Speaker 3: Mary Warrenov comes home and finds him up and running around,

978
00:53:43,920 --> 00:53:46,879
Speaker 3: she's like, get you know, get in bed, but he's

979
00:53:46,880 --> 00:53:48,960
Speaker 3: trying to explain, No, a monster came out of the

980
00:53:48,960 --> 00:53:52,400
Speaker 3: TV and it ate Grandpa, and she's not interested in that,

981
00:53:52,480 --> 00:53:54,799
Speaker 3: but she is mad about the puddle of slime on

982
00:53:54,840 --> 00:53:57,360
Speaker 3: the living room floor, and there was a line that

983
00:53:57,440 --> 00:54:00,200
Speaker 3: really made me laugh because of I guess how it

984
00:54:00,239 --> 00:54:03,480
Speaker 3: was phrased, as Sherman says something like that's what Grandpa

985
00:54:03,640 --> 00:54:10,280
Speaker 3: turned into. Another funny scene from before All the Adults

986
00:54:10,320 --> 00:54:13,640
Speaker 3: Get Eaten is when Garrett Graham is showing off his

987
00:54:13,760 --> 00:54:18,319
Speaker 3: erotic jacuzzi room to the new friends and he's like

988
00:54:18,600 --> 00:54:21,399
Speaker 3: bragging about his sound system he installed in the room

989
00:54:21,480 --> 00:54:26,160
Speaker 3: and the supposedly Roman artworks on the walls, and there

990
00:54:26,320 --> 00:54:30,759
Speaker 3: is a Meanwhile, there's a reptile alien silently making imploring

991
00:54:30,840 --> 00:54:35,840
Speaker 3: gestures on the TV screen behind them, and then finally

992
00:54:35,880 --> 00:54:40,960
Speaker 3: the sound comes on on the TV and the guy's

993
00:54:41,000 --> 00:54:43,640
Speaker 3: going like, people of Earth, you must destroy your satellite

994
00:54:43,719 --> 00:54:47,440
Speaker 3: receivers and keep your televisions deactivated for two hundred years,

995
00:54:48,040 --> 00:54:50,480
Speaker 3: and going on with all this stuff, and then the

996
00:54:51,200 --> 00:54:54,279
Speaker 3: swingers who have come to the house are basically like,

997
00:54:54,320 --> 00:54:57,080
Speaker 3: what is this movie? It is making me feel very erotic.

998
00:54:58,760 --> 00:55:01,200
Speaker 2: I love that the alien is telling them to turn

999
00:55:01,239 --> 00:55:03,880
Speaker 2: the TVs off for two centuries, like it would have

1000
00:55:03,920 --> 00:55:07,160
Speaker 2: been you know, it would have still been satirical if

1001
00:55:07,160 --> 00:55:09,120
Speaker 2: they were like people of Earth, you can be saved

1002
00:55:09,120 --> 00:55:11,520
Speaker 2: if you just turn your TVs off for twenty four hours,

1003
00:55:11,560 --> 00:55:13,799
Speaker 2: because obviously we're not going to do that. I won't

1004
00:55:13,800 --> 00:55:17,880
Speaker 2: do it, but to make it two hundred years, that's perfect.

1005
00:55:18,320 --> 00:55:21,000
Speaker 3: Now, there are some funny bits in here. One thing

1006
00:55:21,120 --> 00:55:24,239
Speaker 3: is that the Hungry Beast that comes out of the

1007
00:55:24,280 --> 00:55:26,960
Speaker 3: TV after it eats people, it can sort of replicate them,

1008
00:55:27,000 --> 00:55:30,839
Speaker 3: so it's like the thing in a way, and so

1009
00:55:31,239 --> 00:55:35,719
Speaker 3: at some point replicates Grandpa. And there's a part where

1010
00:55:35,760 --> 00:55:38,480
Speaker 3: Mary Warrenov is like yelling down into the bunker to

1011
00:55:38,600 --> 00:55:43,760
Speaker 3: find Grandpa, and the monster recreates Grandpa's face and pokes

1012
00:55:43,760 --> 00:55:45,680
Speaker 3: it out from behind a wall and it's just dripping

1013
00:55:45,719 --> 00:55:48,800
Speaker 3: with ooze, and Mary Warrenov doesn't notice.

1014
00:55:49,360 --> 00:55:51,520
Speaker 2: Yeah, I guess the joke here is that, yes, the

1015
00:55:51,600 --> 00:55:56,040
Speaker 2: Hungry Beast is not a great impersonator, but everyone in

1016
00:55:56,080 --> 00:55:58,759
Speaker 2: the world of this film is so self absorbed that

1017
00:55:59,000 --> 00:56:01,239
Speaker 2: no one really noticed. They're just like, oh, I guess

1018
00:56:01,280 --> 00:56:04,359
Speaker 2: that is Grandpa. I guess that is a mom, dad

1019
00:56:04,400 --> 00:56:08,040
Speaker 2: and their friends. You know, nobody questions it. Now at

1020
00:56:08,040 --> 00:56:11,120
Speaker 2: this point, again, adults are out the out of the picture.

1021
00:56:11,200 --> 00:56:15,600
Speaker 2: It's just the youth who are left to stand up

1022
00:56:15,640 --> 00:56:17,640
Speaker 2: to the monster. And you might expect the film to

1023
00:56:17,680 --> 00:56:22,680
Speaker 2: take the sort of predictable, you know, battle direction here

1024
00:56:22,719 --> 00:56:25,440
Speaker 2: where Okay, now the kids, the youth have to band

1025
00:56:25,440 --> 00:56:27,440
Speaker 2: together to fight the monster. It seems like it's going

1026
00:56:27,480 --> 00:56:29,759
Speaker 2: to maybe go that way or the movie's gonna end

1027
00:56:29,920 --> 00:56:32,719
Speaker 2: prematurely one or the other. But we end up going

1028
00:56:32,760 --> 00:56:34,480
Speaker 2: in a different direction. We end up going in an

1029
00:56:34,480 --> 00:56:35,560
Speaker 2: et direction.

1030
00:56:36,000 --> 00:56:37,920
Speaker 3: That's right, because what are the youth going to do

1031
00:56:38,000 --> 00:56:41,120
Speaker 3: when when a monstrous entity comes from the television? They're

1032
00:56:41,160 --> 00:56:43,200
Speaker 3: going to make an unholy alliance with it?

1033
00:56:43,719 --> 00:56:46,920
Speaker 2: That's right, it's about to eat O D O D

1034
00:56:47,440 --> 00:56:50,480
Speaker 2: puts his arms up, you know, like ah, and as

1035
00:56:50,480 --> 00:56:53,160
Speaker 2: he does so, the monster stops for a second. The

1036
00:56:53,160 --> 00:56:57,480
Speaker 2: monster pauses. The monster's looking at those like studs and chains,

1037
00:56:57,880 --> 00:57:02,360
Speaker 2: and we get the monsters flashback to its alien master

1038
00:57:03,040 --> 00:57:06,200
Speaker 2: in some distant part of the universe being nice to it,

1039
00:57:06,880 --> 00:57:10,600
Speaker 2: raising it, giving it treats, and suddenly he's pacified. The

1040
00:57:10,719 --> 00:57:12,160
Speaker 2: hungry beast is pacified.

1041
00:57:12,600 --> 00:57:18,320
Speaker 3: Right, So the Beast's humanoid alien friend had gloves that

1042
00:57:18,360 --> 00:57:22,280
Speaker 3: were like heavy metal leather studs. Yes, perfect, I mean

1043
00:57:22,600 --> 00:57:24,200
Speaker 3: it is sweet actually.

1044
00:57:25,800 --> 00:57:28,200
Speaker 2: Because again, they designed this creature so well that he

1045
00:57:28,320 --> 00:57:31,440
Speaker 2: is monstrous and horrific, but also kind of looks like

1046
00:57:31,480 --> 00:57:32,960
Speaker 2: a big, stupid, happy dog too.

1047
00:57:33,520 --> 00:57:36,440
Speaker 3: Yeah. Od he says he looked at my studs and

1048
00:57:36,520 --> 00:57:40,960
Speaker 3: cooled out. This dude's into metal. This is also the

1049
00:57:40,960 --> 00:57:44,000
Speaker 3: part where Susie is like, he's so barfie.

1050
00:57:44,680 --> 00:57:46,000
Speaker 2: He is very Barfye.

1051
00:57:46,680 --> 00:57:49,800
Speaker 3: But they go about teaching the Barfee monster the ways

1052
00:57:49,840 --> 00:57:52,360
Speaker 3: of Earth. So they're feeding him food, and I thought

1053
00:57:52,400 --> 00:57:54,720
Speaker 3: it was funny that all of the food they feed

1054
00:57:54,800 --> 00:57:58,440
Speaker 3: him is like hyper processed food that comes in plastic

1055
00:57:58,520 --> 00:58:00,440
Speaker 3: boxes or cardboard boxes.

1056
00:58:01,440 --> 00:58:03,280
Speaker 2: Yeah, and I think I could have missed something, but

1057
00:58:03,320 --> 00:58:05,840
Speaker 2: I think the joke too is that he doesn't the

1058
00:58:06,120 --> 00:58:08,280
Speaker 2: hungry beast doesn't actually want to eat the food. He

1059
00:58:08,360 --> 00:58:10,520
Speaker 2: just wants to eat the packaging, like he just he

1060
00:58:10,560 --> 00:58:11,520
Speaker 2: wants to eat garbage.

1061
00:58:11,800 --> 00:58:16,080
Speaker 3: Yeah. They also teach him about music. They play Od's

1062
00:58:16,200 --> 00:58:20,160
Speaker 3: music for him, but he like kicks, like stabs a

1063
00:58:20,200 --> 00:58:23,280
Speaker 3: tentacle into one of the speakers and all that. They

1064
00:58:23,360 --> 00:58:27,000
Speaker 3: teach the monster about TV, of course, the most important

1065
00:58:27,080 --> 00:58:28,040
Speaker 3: invention on Earth.

1066
00:58:28,560 --> 00:58:31,640
Speaker 2: Yeah, and so for a little bit it seems like they're,

1067
00:58:31,920 --> 00:58:34,200
Speaker 2: you know, they're pacifying the monster, they're making friends with

1068
00:58:34,240 --> 00:58:38,720
Speaker 2: the monster. But as it turns out, like this is

1069
00:58:38,760 --> 00:58:41,760
Speaker 2: not going to work. They can only pacify the beast

1070
00:58:41,840 --> 00:58:44,960
Speaker 2: for so long. The beast is is unpredictable, and we

1071
00:58:45,000 --> 00:58:48,040
Speaker 2: eventually learned that this is why he was disposed of.

1072
00:58:48,160 --> 00:58:51,520
Speaker 2: This is why he was essentially loaded into a teleporter

1073
00:58:51,600 --> 00:58:54,440
Speaker 2: and beamed across the universe. And this is where Pluthar

1074
00:58:54,920 --> 00:58:57,640
Speaker 2: shows up to save the day. This is, I believe,

1075
00:58:57,680 --> 00:58:59,480
Speaker 2: the same alien we see at the beginning of the

1076
00:58:59,520 --> 00:59:03,160
Speaker 2: picture disposing of the mutant. This is the same alien

1077
00:59:03,200 --> 00:59:08,440
Speaker 2: that has been visible on the TV transmission saying people

1078
00:59:08,440 --> 00:59:11,000
Speaker 2: of Earth, you must turn off your televisions for two centuries.

1079
00:59:11,560 --> 00:59:14,600
Speaker 2: But now he has appeared in person, beamed through the

1080
00:59:14,640 --> 00:59:18,280
Speaker 2: television into the living room, and he's wearing like a

1081
00:59:18,320 --> 00:59:23,120
Speaker 2: spacesuit so that he can withstand Earth's atmosphere. And you know,

1082
00:59:23,160 --> 00:59:26,560
Speaker 2: he spent the whole picture trying to warn them about

1083
00:59:26,600 --> 00:59:29,400
Speaker 2: this monster and about the thread and how dangerous this

1084
00:59:29,520 --> 00:59:33,120
Speaker 2: organism is. And now he's here and he's like, I

1085
00:59:33,160 --> 00:59:36,320
Speaker 2: am here to help you. Let me help you. And

1086
00:59:36,480 --> 00:59:39,880
Speaker 2: he even offers to resurrect the dead family members. Though

1087
00:59:40,240 --> 00:59:42,480
Speaker 2: I thought this was this hilarious, he does add that

1088
00:59:42,520 --> 00:59:45,880
Speaker 2: they will have to live in special aquariums. They are

1089
00:59:45,920 --> 00:59:47,160
Speaker 2: genetically resurrected.

1090
00:59:47,480 --> 00:59:50,640
Speaker 3: Yeah, but here we get the intersection with another plot

1091
00:59:50,680 --> 00:59:52,880
Speaker 3: thread that's been developing. Wait did we even mention the

1092
00:59:52,880 --> 00:59:54,560
Speaker 3: thing about Medusa yet? I don't think we did.

1093
00:59:54,640 --> 00:59:57,440
Speaker 2: Oh you know, so they called the cops. The cops

1094
00:59:57,720 --> 01:00:01,120
Speaker 2: showed up and the cop was killed by the monster. Yeah,

1095
01:00:01,160 --> 01:00:03,920
Speaker 2: so they need someone. They were like, well, let's call Medusa.

1096
01:00:04,080 --> 01:00:06,400
Speaker 2: She's into this stuff and she's a part of our

1097
01:00:06,440 --> 01:00:09,480
Speaker 2: lives because she's on television. Let's call her. They want

1098
01:00:09,480 --> 01:00:11,440
Speaker 2: to make money. I think, oh, that's right. This is

1099
01:00:11,520 --> 01:00:14,520
Speaker 2: when they have seemingly befriended the creature and they're like, yeah,

1100
01:00:14,600 --> 01:00:16,040
Speaker 2: let's make some money. Yeah.

1101
01:00:16,080 --> 01:00:19,360
Speaker 3: So Susie calls up Medusa on the you know, the

1102
01:00:19,400 --> 01:00:23,040
Speaker 3: TV horror host, the Alvira type lady, and says, I've

1103
01:00:23,080 --> 01:00:25,160
Speaker 3: got something really scary for you that would be great

1104
01:00:25,160 --> 01:00:26,840
Speaker 3: for your show. You know, give us some money and

1105
01:00:27,120 --> 01:00:30,920
Speaker 3: and and you can have it, trying to sell the

1106
01:00:30,960 --> 01:00:33,440
Speaker 3: monster to her, and Medusa is initially not interested. She

1107
01:00:33,480 --> 01:00:36,680
Speaker 3: says she has several parties to go to, but they're like, well,

1108
01:00:36,680 --> 01:00:38,800
Speaker 3: here's our address. You know, you can come by our

1109
01:00:38,880 --> 01:00:41,800
Speaker 3: party later if you want to check out what we've

1110
01:00:41,800 --> 01:00:42,360
Speaker 3: got to show.

1111
01:00:42,400 --> 01:00:42,560
Speaker 2: You.

1112
01:00:43,000 --> 01:00:44,920
Speaker 3: So you don't think Medusa is going to actually come

1113
01:00:44,920 --> 01:00:46,640
Speaker 3: to their house, but I guess she does. Maybe those

1114
01:00:46,680 --> 01:00:48,560
Speaker 3: other parties she went to were really lame.

1115
01:00:49,200 --> 01:00:51,720
Speaker 2: Yeah, we don't know for sure, but she shows up.

1116
01:00:52,000 --> 01:00:55,720
Speaker 2: She leaves her producer I think, in the vehicle, and

1117
01:00:56,280 --> 01:00:59,640
Speaker 2: she comes in and she sees Pluthar talking to the children,

1118
01:00:59,720 --> 01:01:02,560
Speaker 2: to the youths here, and he has like some sort

1119
01:01:02,560 --> 01:01:04,840
Speaker 2: of a ray gun in his hand. So she decides

1120
01:01:04,840 --> 01:01:07,280
Speaker 2: to save the day. Like her noble act is to

1121
01:01:07,320 --> 01:01:11,760
Speaker 2: come up behind Pluthar and uh and and bash in

1122
01:01:11,880 --> 01:01:15,720
Speaker 2: his dome that that like acrylic or glass dome that

1123
01:01:15,840 --> 01:01:19,160
Speaker 2: is around his head. Bashes that in and then we

1124
01:01:19,240 --> 01:01:24,080
Speaker 2: get this great scene where Pluthar's helmet depressurizes and his

1125
01:01:24,080 --> 01:01:27,440
Speaker 2: head explodes inside it. So he here we go, this

1126
01:01:27,560 --> 01:01:30,440
Speaker 2: was the one guy who could have saved everyone. Uh,

1127
01:01:30,480 --> 01:01:33,120
Speaker 2: and now he's dead. He's sorta in the He's kind

1128
01:01:33,120 --> 01:01:36,080
Speaker 2: of the Milton Arbogast of this picture.

1129
01:01:36,040 --> 01:01:39,320
Speaker 3: The detective from Psycho. Yeah.

1130
01:01:39,360 --> 01:01:42,640
Speaker 2: And Medusa's like, hey, yeah, you're welcome. I just saved you.

1131
01:01:43,360 --> 01:01:46,040
Speaker 2: But of course she has not saved anyone. The monster

1132
01:01:46,120 --> 01:01:50,320
Speaker 2: proceeds to eat absolutely everybody, and so the ending of

1133
01:01:50,360 --> 01:01:52,600
Speaker 2: the picture we get. For the ending of the picture,

1134
01:01:52,600 --> 01:01:56,320
Speaker 2: we get this classic The nightmare continues slash spreads. Ending

1135
01:01:57,320 --> 01:02:00,080
Speaker 2: the hungry beast has eaten everyone in the house and

1136
01:02:00,240 --> 01:02:04,240
Speaker 2: some it's taken on the form of Medusa sort of. Again,

1137
01:02:04,360 --> 01:02:07,080
Speaker 2: it's not that the creature's not that good at mimicking

1138
01:02:07,160 --> 01:02:11,920
Speaker 2: human beings, and it's mimicking of Medusa is just really awful.

1139
01:02:12,200 --> 01:02:15,040
Speaker 2: It's only about half there. But again, people in this

1140
01:02:15,080 --> 01:02:18,320
Speaker 2: world are completely self absorbed and not very attentive. So

1141
01:02:18,360 --> 01:02:20,320
Speaker 2: she climbs in the back of her producer's vehicle and

1142
01:02:20,360 --> 01:02:23,000
Speaker 2: she's like, let's go back to the TV station, and

1143
01:02:23,080 --> 01:02:26,439
Speaker 2: so that's where they're headed, inevitably to spread more terror

1144
01:02:26,520 --> 01:02:33,320
Speaker 2: vision across the earth. Cure the music, yep, tervision, and yeah,

1145
01:02:33,360 --> 01:02:36,120
Speaker 2: it's played for Kookie laughs, and I love it despite

1146
01:02:36,160 --> 01:02:39,320
Speaker 2: the fact that all of our characters died and perished

1147
01:02:39,360 --> 01:02:40,320
Speaker 2: in the belly of a monster.

1148
01:02:40,640 --> 01:02:43,520
Speaker 3: Well, it's a kind of perfect bogeyman figure in that regard.

1149
01:02:43,600 --> 01:02:45,439
Speaker 3: So it's like, you know, kids, if you don't turn

1150
01:02:45,480 --> 01:02:48,120
Speaker 3: off the TV in time, you will know what it

1151
01:02:48,200 --> 01:02:50,479
Speaker 3: is to roast in the depths of a slore this day.

1152
01:02:52,120 --> 01:02:55,680
Speaker 2: All right, So that is terror vision again. I think

1153
01:02:55,720 --> 01:02:59,960
Speaker 2: a pretty pretty fabulous and fun bit of weird cinema

1154
01:03:00,120 --> 01:03:03,120
Speaker 2: from the mid nineteen eighties didn't make much of a splash,

1155
01:03:03,160 --> 01:03:05,040
Speaker 2: I think when it came out, but has developed a

1156
01:03:05,120 --> 01:03:06,400
Speaker 2: cult following overtime.

1157
01:03:06,720 --> 01:03:08,880
Speaker 3: I'm trying to think if this basic plot element were

1158
01:03:08,960 --> 01:03:11,040
Speaker 3: used today, what it would be. A monster gets beamed

1159
01:03:11,080 --> 01:03:11,760
Speaker 3: through TikTok.

1160
01:03:11,840 --> 01:03:15,200
Speaker 2: I guess yeah, they would probably it would probably be

1161
01:03:15,240 --> 01:03:17,240
Speaker 2: some sort of a social media thing, right, that would

1162
01:03:17,240 --> 01:03:20,480
Speaker 2: be the main commentary. That's the TV is less of

1163
01:03:20,560 --> 01:03:23,040
Speaker 2: the idiot box and now the idiot box is the

1164
01:03:23,120 --> 01:03:24,000
Speaker 2: thing in our hands.

1165
01:03:24,280 --> 01:03:25,840
Speaker 3: I mean they're both still idiot boxing.

1166
01:03:26,240 --> 01:03:28,360
Speaker 2: Yes, there's still lots of idiots stay to go around

1167
01:03:28,880 --> 01:03:30,600
Speaker 2: in media. But yeah, I guess we'd have to take

1168
01:03:30,600 --> 01:03:33,160
Speaker 2: a slightly different form and satellite it's not really the

1169
01:03:33,160 --> 01:03:35,360
Speaker 2: satellite now, it would be the Internet. So it would

1170
01:03:35,360 --> 01:03:39,880
Speaker 2: be the hungry beast crawling through the Internet, and each

1171
01:03:39,960 --> 01:03:43,960
Speaker 2: character would be like a different stereotype of how obsessed

1172
01:03:44,000 --> 01:03:47,880
Speaker 2: we are with different corners of the Internet. But it

1173
01:03:47,920 --> 01:03:50,200
Speaker 2: wouldn't be the same. It wouldn't be the same terror vision.

1174
01:03:50,960 --> 01:03:52,560
Speaker 2: All right, well, we're going to go ahead and close

1175
01:03:52,560 --> 01:03:55,480
Speaker 2: it out there, but just to remind you Stuff to

1176
01:03:55,480 --> 01:03:58,840
Speaker 2: Blow Your Mind is primarily a science podcast with core

1177
01:03:58,880 --> 01:04:02,520
Speaker 2: episodes on Tuesday and Thursdays. On Mondays we do a

1178
01:04:02,520 --> 01:04:04,520
Speaker 2: listener mail. On Wednesday's we do a short form Monster

1179
01:04:04,560 --> 01:04:07,240
Speaker 2: Factor Artifact episode, but on Fridays we set aside most

1180
01:04:07,240 --> 01:04:09,720
Speaker 2: serious concerns to just watch a weird movie on Weird

1181
01:04:09,720 --> 01:04:11,960
Speaker 2: House Cinema. And if you want a list of all

1182
01:04:11,960 --> 01:04:13,960
Speaker 2: the movies we've covered over the year as well, you

1183
01:04:13,960 --> 01:04:15,680
Speaker 2: can look in a couple of places. I blog about

1184
01:04:15,680 --> 01:04:18,640
Speaker 2: these at simmutemusic dot com. But also if you go

1185
01:04:18,680 --> 01:04:20,720
Speaker 2: to letterbox dot com, it's l E T T E

1186
01:04:20,840 --> 01:04:23,120
Speaker 2: R B o x D dot com. You'll find our

1187
01:04:23,240 --> 01:04:25,880
Speaker 2: username there. We are Weird House, and we have a

1188
01:04:25,960 --> 01:04:28,280
Speaker 2: list there of all the movies we've covered so far,

1189
01:04:28,320 --> 01:04:31,640
Speaker 2: and sometimes there's a glimpse ahead of what's coming up next.

1190
01:04:32,480 --> 01:04:35,840
Speaker 2: We're we're in reruns next week, but the week after

1191
01:04:35,880 --> 01:04:37,920
Speaker 2: that we do have a film picked out and you'll

1192
01:04:37,920 --> 01:04:40,360
Speaker 2: see a hint of that on the letterboxed list.

1193
01:04:40,800 --> 01:04:44,440
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1194
01:04:44,600 --> 01:04:46,280
Speaker 3: If you would like to get in touch with us

1195
01:04:46,280 --> 01:04:48,760
Speaker 3: with feedback on this episode or any other to suggest

1196
01:04:48,760 --> 01:04:50,800
Speaker 3: a topic for the future, or just to say hello.

1197
01:04:51,160 --> 01:04:53,960
Speaker 3: You can email us at contact Stuff to Blow Your

1198
01:04:53,960 --> 01:05:01,480
Speaker 3: Mind dot com.

1199
01:05:01,680 --> 01:05:04,640
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1200
01:05:04,720 --> 01:05:08,560
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1201
01:05:08,640 --> 01:05:10,400
Speaker 1: or wherever you listen to your favorite shows.