WEBVTT - Weirdhouse Cinema: TerrorVision

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey you welcome to Weird House Cinema.

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<v Speaker 3>This is Rob Lamb and this is Joe mcformack. And

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<v Speaker 3>today on Weird House Cinema, we are going to be

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<v Speaker 3>looking at the nineteen eighty six science fiction horror comedy

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<v Speaker 3>Terror Vision. I would call this movie a festival of

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<v Speaker 3>bad taste.

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<v Speaker 2>Yes, Terror Vision nineteen eighty six is a campy, cheesy,

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<v Speaker 2>over the top send up of TV trash culture. And

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<v Speaker 2>I think one of the reasons that I love it

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

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<v Speaker 2>I only saw this in the last ten years or

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<v Speaker 2>so for the first time. But I think it perfectly

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<v Speaker 2>captures for me the feeling of watching tons of late

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<v Speaker 2>night television in the nineteen nineties, especially the kind of

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<v Speaker 2>stuff you'd encounter on USA Up All Night, which ran

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<v Speaker 2>nineteen eighty nine to nineteen ninety eight, and other examples

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<v Speaker 2>of late night programming. You never knew what sort of camp, sweeze,

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<v Speaker 2>outrighte horror or just sheer weirdness you might encounter, and

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<v Speaker 2>for better or worse, likely worse, you also used all

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<v Speaker 2>of this content to sort of try and figure out

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<v Speaker 2>how the world works.

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<v Speaker 3>Oh no, that's a terrible way to figure out how

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<v Speaker 3>the world works.

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<v Speaker 2>I mean this it was it was the nineties. TV

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<v Speaker 2>helped raise us, and you know, we trusted that it

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<v Speaker 2>knew what it was doing. And I think that kind

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<v Speaker 2>of energy is also spoofed somewhat.

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<v Speaker 3>And in this picture, when I say it's a festival

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<v Speaker 3>of bad taste, I mean that deliberately in that it

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<v Speaker 3>seems like every element of the film was sort of

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<v Speaker 3>intentionally selected to turn up the gain on tastelessness in

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<v Speaker 3>whatever way it could, so like the monsters in it

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<v Speaker 3>are intentionally gross. It does get into melt movie territory.

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<v Speaker 3>There's just a lot of like ooh, is in kind

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<v Speaker 3>of like barf inducing texture. In fact, even one of

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<v Speaker 3>the characters looks at the monster and just says, he's

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<v Speaker 3>so barfy. But then on top of that, the film

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<v Speaker 3>is just full like a lot of the satire in

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<v Speaker 3>it is visual satire. It like doesn't it's not even

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<v Speaker 3>in the script. It's just like the way characters are

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<v Speaker 3>dressed and the interior sets and everything are structured in

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<v Speaker 3>such a way as to be maximally offensive to the eye,

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<v Speaker 3>to your sense of like color coordination and generally to

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<v Speaker 3>your sense of like cultural aesthetics or taste, like everything

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<v Speaker 3>is gaudy and over the top, and in a way

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<v Speaker 3>I think is meant to be a kind of I

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<v Speaker 3>don't know exactly what this movie is going for. I

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<v Speaker 3>don't know if it is a satire of American culture

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<v Speaker 3>in the nineteen eighties or a satire of the way

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<v Speaker 3>American culture is typically depicted on TV in the nineteen eighties.

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<v Speaker 3>Does that make sense?

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<v Speaker 2>Yeah, And I think it can kind of be both

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<v Speaker 2>when you get into this idea of here's the way

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<v Speaker 2>things are depicted and then in media, and then that

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<v Speaker 2>media is consumed, and then via consumption of that media,

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<v Speaker 2>is it then reproduced in culture?

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<v Speaker 3>Okay, well, yeah, and this movie is in many ways

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<v Speaker 3>about media consumption. The primary thing people do in this

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<v Speaker 3>movie is watch television and then in various ways become

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<v Speaker 3>affected by what's on the television, sometimes literally, because what's

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<v Speaker 3>on the television is a monster that comes out of

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<v Speaker 3>the screen and then eats and replicates the body of Brampa.

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<v Speaker 2>Yes, yes, yeah, it's it's a really fun send up,

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<v Speaker 2>I believe, if if I remember correctly from some of

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<v Speaker 2>the extras, Director Ted Nicolau said that he thinks of

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<v Speaker 2>the set and visual feel of Terror Vision as an

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<v Speaker 2>operatic Italian exaggeration of American culture, because, as we'll discuss,

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<v Speaker 2>this was filmed in Rome, and so a lot of

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<v Speaker 2>a lot of the crew members were Italian filmmakers.

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<v Speaker 3>Oh that's interesting because I feel like I quite often

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<v Speaker 3>able to detect even subdermal Italian influences in film, and

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<v Speaker 3>I wouldn't have been able to tell you that about

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<v Speaker 3>this one.

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<v Speaker 2>Yeah, I wouldn't say it has a particular Italian feel

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<v Speaker 2>to it, but yeah, this one's a fun one. It's

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<v Speaker 2>I think it's also what you might classify as a

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<v Speaker 2>satellite TV panic movie. Movies are stories that use fantasy

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<v Speaker 2>to explore the suddenly expansive reach of cable and satellite television,

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<v Speaker 2>as well as the feeling of perhaps overchoice that may

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<v Speaker 2>set in. I think the only other prime example of

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<v Speaker 2>this subgenre, or perhaps sub subgenre is Stay Tuned from

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<v Speaker 2>nineteen ninety two that's directed by Peter Hyams of Time

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

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<v Speaker 2>interesting that that movie's working title was also Terror Vision,

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<v Speaker 2>and that one involved a family literally sucked into the

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<v Speaker 2>world of TV programming. Been a long time since I've

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<v Speaker 2>seen that one, but I think the family is perhaps

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<v Speaker 2>more likable in that one. One thing that Ted Nicolau

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<v Speaker 2>has said about the Family and Terror Vision is that, yes,

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<v Speaker 2>they're all over the top stereotypes, and they're not supposed

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<v Speaker 2>to be particularly likable because you want to feel okay

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<v Speaker 2>when they all inevitably are eaten by the monster. Now

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<v Speaker 2>in this movie, we're also going back to band camp

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<v Speaker 2>because this is an Empire International picture, so it was

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<v Speaker 2>produced by Charles Band and it was definitely developed title

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<v Speaker 2>and poster first, and yeah, it was a shot back

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<v Speaker 2>to back in Rome alongside nineteen eighty six is trove Man.

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<v Speaker 3>When those Charles Band production tags with the flame textured

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<v Speaker 3>lettering come on at the beginning of the movie, they

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<v Speaker 3>are so evocative they make me feel like I am

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<v Speaker 3>nineteen years old. I'm sitting on the carpeted floor in

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<v Speaker 3>somebody's apartment living room. The fibers of the carpet are

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<v Speaker 3>just sequinned with little yellow bits of popcorn, both fresh

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

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<v Speaker 3>and the movie is just starting.

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<v Speaker 2>There you go, yeahs and by the light of the

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<v Speaker 2>TV screen. My elevator pitch for this one, I think

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<v Speaker 2>is satellite TV is bridging the gap between the dysfunctional

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<v Speaker 2>American family and dysfunctional alien civilizations.

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<v Speaker 3>Is the alien civilization dysfunctional? I feel like the most

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<v Speaker 3>sympathetic character in the movie is actually the reptilian creature

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<v Speaker 3>who comes through the television screen to try to help

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<v Speaker 3>deal with the mess, but then it's murdered by a

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<v Speaker 3>TV horror host.

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<v Speaker 2>Yes, he is in a way the most likable character,

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<v Speaker 2>the most noble character, but also he's trying to clean

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<v Speaker 2>up his own whoopsie. You know, like, this is a

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<v Speaker 2>culture that raises monstrous pets, and then when they get

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<v Speaker 2>too big and two monsterus, they just like zap them

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

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<v Speaker 2>I might I might be applying reading too much dysfunction

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

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<v Speaker 3>There may be some unethical elements in how the machinery

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<v Speaker 3>of this alien civilization works, but the one alien we

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<v Speaker 3>meet it does seem moderately well intentioned within the range

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<v Speaker 3>of his freedom of action.

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

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

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<v Speaker 2>I think JJ on this one. Let's just let's just

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<v Speaker 2>have a little bit of it. This trailer feels a

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<v Speaker 2>little long and definitely contains spoilers and visual spoilers. So

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

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

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<v Speaker 2>it's the kind of film where you can go into

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<v Speaker 2>it with spoilers and you're not going to really ruin

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<v Speaker 2>your experience. But let's just get a part of this

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<v Speaker 2>the trailer audio here.

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<v Speaker 4>Intellectuals are Kyans, just a typical American family. The only

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<v Speaker 4>thing they're missing is a pen. But have we got

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

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<v Speaker 4>TV has just gone on the bleak, and it's drawn

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<v Speaker 4>in a creature from out of space. Like all new pets,

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<v Speaker 4>this one's causing a little trouble around the house and

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<v Speaker 4>he's eating the pottermans out of house and home in

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<v Speaker 4>val It seems like this creature will eat anything little,

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<v Speaker 4>just about anything.

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<v Speaker 2>You would wrote amost SuDS and coolouse. This suns In

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<v Speaker 2>to Metal. All Right, now, if you want to watch

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<v Speaker 2>this movie in full before continuing the rest of the episode.

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<v Speaker 2>This is a film that was streaming years back. I

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<v Speaker 2>think I saw it for the first time on Prime,

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<v Speaker 2>back when they had a vast selection of strange films

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<v Speaker 2>that you could just comb through. There's not a great

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<v Speaker 2>streaming option for it as of this recording, but it

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<v Speaker 2>is widely available on Blu Ray. You can actually get

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<v Speaker 2>it as a DVD Blu Ray combo with the video

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<v Speaker 2>Dead nineteen eighty seven, which otherwise has nothing to do

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

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<v Speaker 2>good quality and has a nice thirty minute behind the

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<v Speaker 2>scenes featurette. This worth watching as well. We rented it

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

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<v Speaker 2>The people who made this film. The writer and director

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<v Speaker 2>is Ted Nicolau born nineteen forty nine, writer and director,

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<v Speaker 2>probably best known for his work with Charles Band's Empire

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<v Speaker 2>in Full Moon Pictures. He graduated from the University of

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<v Speaker 2>Texas Film Program and worked as a sound recordist on

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

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<v Speaker 2>I included a picture that I saw on Nicolao's Instagram

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<v Speaker 2>account that shows him on the set of Texas Chainsaw

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<v Speaker 2>Massacre with some recording equipment.

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<v Speaker 3>See just chilling in the Sawyer family's living room here.

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<v Speaker 2>I guess that's the porch. Looks like the porch. He's

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<v Speaker 2>out chilling on the porch with the recording equipment. Well,

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<v Speaker 2>I guess everyone's inside just sweating it out.

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<v Speaker 3>He looks like Frank Zappa.

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<v Speaker 2>Yet, well you know that Zappa will come up again

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<v Speaker 2>in this episode. But yeah, really, yeah, yeah, he's got

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<v Speaker 2>that cool mustache going on here. After this, he worked

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<v Speaker 2>as an editor on such films as seventy nine's Tourist Trap,

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<v Speaker 2>eighty one's Butcher Baker, nightmare Maker, Goolies and Trancers in

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<v Speaker 2>eighty four, Robot Jocks in eighty nine, and Trancers two

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<v Speaker 2>in ninety one. So at least a couple of films

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<v Speaker 2>that we've watched.

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<v Speaker 3>Have you ever seen Tourist Trap? That one is weird?

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<v Speaker 2>Is this the one where people were buried up to

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<v Speaker 2>their necks in the dirt or is this a different one?

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

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<v Speaker 3>where it's sort of a Texas Chainsaw style movie where

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<v Speaker 3>you know, some city kids come to the rural estate

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<v Speaker 3>of a creepy guy in Texas. But the creepy guy

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<v Speaker 3>is Chuck Connors, like he plays like a country music

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<v Speaker 3>guy in The Blues Brothers.

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<v Speaker 2>Okay, you know, now that I look at it, I

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<v Speaker 2>think I haven't seen Tourist Trap. I think I watched

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<v Speaker 2>a riff track version of this years back. I'm thinking

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<v Speaker 2>about some other film with the buried up to your

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<v Speaker 2>neck situation. I'm thinking of Motel Hell by the Way

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<v Speaker 2>from nineteen eighty, which has Rory Calhoun in it. But

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<v Speaker 2>that's one that I've never watched. But I remember my

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<v Speaker 2>aunt explaining the plot to me when I was a

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<v Speaker 2>very young child, and I was like horrified that such

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<v Speaker 2>a film existed. So I think maybe that's kept me

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<v Speaker 2>from seeing it, even though it is I think supposed

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<v Speaker 2>to be a satire of things like the Texas chainsaw massacre.

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<v Speaker 3>I just looked it up and Chuck Connors is not

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<v Speaker 3>in The Blues Brothers, So I don't know why I

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<v Speaker 3>said that earlier.

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

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<v Speaker 2>the cast of that film.

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<v Speaker 3>His wiki says that Chuck Connors did meet with leand

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<v Speaker 3>Brezhnev at some point.

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<v Speaker 2>Okay, well anyway, Ted Nikolau. His first writing and directing

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<v Speaker 2>credit is nineteen eighty four as the Dungeon Master, followed

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<v Speaker 2>by the Linda Blair movie Savage Island in eighty five.

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<v Speaker 2>As we mentioned, he was brought in to bring Charles

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<v Speaker 2>bands post and title idea to life with Terror Vision,

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<v Speaker 2>and he pushed, but he got to create its direction

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<v Speaker 2>from there, and so he pushed hard to take the

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<v Speaker 2>concept into comedic and camp territory, and that's where we

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<v Speaker 2>end up landing post Terror Vision, which was not a success.

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<v Speaker 2>Upon release, he went on to direct Subspecies two and three.

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<v Speaker 2>I've heard that Subspecies two is the best one, by

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<v Speaker 2>the way, as well as Subspecies four and five. He

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<v Speaker 2>also directed ninety two s Bad Channels, which touches on

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<v Speaker 2>similar themes as TerrorVision, but with radio and music video.

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<v Speaker 2>He also directed two thousand and four's Puppet Master Versus

0:12:35.160 --> 0:12:36.000
<v Speaker 2>Demonic Toys.

0:12:36.720 --> 0:12:40.440
<v Speaker 3>If he did another TV satire movie, I'd be kind

0:12:40.440 --> 0:12:42.360
<v Speaker 3>of interested to see that one back to back the

0:12:42.679 --> 0:12:46.960
<v Speaker 3>Bad Channels one there, because Terror Vision seems to simultaneously

0:12:47.920 --> 0:12:54.679
<v Speaker 3>skewer American TV consumption and TV programming, but also skewers

0:12:54.760 --> 0:12:57.640
<v Speaker 3>the critique of such like the characters who are going

0:12:57.679 --> 0:13:00.640
<v Speaker 3>on about how bad television is are also made the

0:13:00.720 --> 0:13:01.640
<v Speaker 3>subject of fun.

0:13:02.320 --> 0:13:05.720
<v Speaker 2>Yeah. So I hope everyone understands the concept here that

0:13:05.760 --> 0:13:08.320
<v Speaker 2>it's not a film that comes off as really judge

0:13:08.880 --> 0:13:14.840
<v Speaker 2>or anything like. It's not so serious in its satire perhaps,

0:13:14.880 --> 0:13:17.360
<v Speaker 2>and it is ultimately, you know, played for laughs and fun.

0:13:17.640 --> 0:13:18.120
<v Speaker 2>Not at all.

0:13:18.200 --> 0:13:21.520
<v Speaker 3>No, it is wacky and again a festival of bad taste.

0:13:22.280 --> 0:13:25.319
<v Speaker 2>Well, let's talk about the family in this, a family

0:13:25.400 --> 0:13:28.319
<v Speaker 2>that consists of a husband, a wife, a daughter, a son,

0:13:28.600 --> 0:13:31.240
<v Speaker 2>and a grandfather that in this case lives with them.

0:13:31.920 --> 0:13:34.160
<v Speaker 2>Kind of a structure that's very similar to that of

0:13:34.160 --> 0:13:34.800
<v Speaker 2>the Simpsons.

0:13:35.240 --> 0:13:39.160
<v Speaker 3>Ah okay, yes, except if Grandpa Simpson lived in a

0:13:39.320 --> 0:13:42.839
<v Speaker 3>fallout shelter under the Simpsons house exactly.

0:13:43.960 --> 0:13:48.079
<v Speaker 2>So let's start with the daughter, Susie Putterman played by

0:13:48.200 --> 0:13:52.320
<v Speaker 2>Dianne Franklin born nineteen sixty two, iconic eighties teen actor

0:13:52.360 --> 0:13:55.360
<v Speaker 2>who appeared in The The Last American Virgin and Amityville

0:13:55.400 --> 0:13:58.120
<v Speaker 2>two in nineteen eighty two. She was in Better Off

0:13:58.200 --> 0:14:02.439
<v Speaker 2>Dead and in nineteen eighty five, and also Bill and

0:14:02.480 --> 0:14:05.440
<v Speaker 2>Ted's Excellent Adventure in eighty nine. She also did a

0:14:05.440 --> 0:14:07.880
<v Speaker 2>fair amount of TV and has remained active to this

0:14:07.960 --> 0:14:12.280
<v Speaker 2>day in various productions. Susie Petterman is an MTV eighties

0:14:12.360 --> 0:14:15.280
<v Speaker 2>kid with I don't know, how would you how would

0:14:15.320 --> 0:14:17.439
<v Speaker 2>you describe the fashions of Susie Putterman.

0:14:17.800 --> 0:14:19.880
<v Speaker 3>Well, she's sort of a cross between I think what

0:14:20.040 --> 0:14:23.920
<v Speaker 3>was considered, you know, pop music fashionable at the time,

0:14:24.040 --> 0:14:26.880
<v Speaker 3>So the kind of dress of like Pat Benatar or

0:14:26.920 --> 0:14:30.760
<v Speaker 3>Cindy Lauper, but then crossed with an actual Barbie doll,

0:14:30.920 --> 0:14:34.360
<v Speaker 3>so very over the top, neon pink kind of clothing

0:14:34.440 --> 0:14:37.200
<v Speaker 3>and stuff like that. And she also has really really

0:14:37.240 --> 0:14:40.800
<v Speaker 3>big hair. Her hair extends I'd say at least ten

0:14:40.840 --> 0:14:42.120
<v Speaker 3>inches off of her scalp.

0:14:42.640 --> 0:14:45.080
<v Speaker 2>Yeah. Her her entire identity seems to be based on

0:14:45.280 --> 0:14:49.560
<v Speaker 2>watching MTV, which again is perfect fits the theme perfectly.

0:14:49.880 --> 0:14:52.080
<v Speaker 2>And Franklin is absolutely great in the role. Just the

0:14:52.160 --> 0:14:55.840
<v Speaker 2>right amount of campyus it's over the top and also

0:14:55.960 --> 0:14:58.280
<v Speaker 2>just a little bit green in all the right ways

0:14:58.320 --> 0:14:59.120
<v Speaker 2>for a movie like this.

0:14:59.600 --> 0:15:02.560
<v Speaker 3>Yeah, I think she understood what was going on all right.

0:15:02.600 --> 0:15:05.640
<v Speaker 2>Then we have the younger son, Sherman Putterman, played by

0:15:05.760 --> 0:15:08.920
<v Speaker 2>Chad Allen born nineteen seventy four eighties child actor who

0:15:09.040 --> 0:15:12.000
<v Speaker 2>also did a lot of TV. Voiced Charlie Brown on

0:15:12.040 --> 0:15:14.520
<v Speaker 2>Happy New Year Charlie Brown in eighty six prior to

0:15:14.560 --> 0:15:18.640
<v Speaker 2>this film, and his TV credits include such shows as

0:15:18.640 --> 0:15:22.480
<v Speaker 2>Webster Tales from the Dark Side, Highway to Heaven, Punky Brewster,

0:15:22.560 --> 0:15:26.080
<v Speaker 2>Star Trek, The Next Generation, and The Wonder Years. Sherman

0:15:26.280 --> 0:15:30.240
<v Speaker 2>is essentially kind of a kid Rambo. He idolizes Grandpa

0:15:30.440 --> 0:15:33.840
<v Speaker 2>and is into whatever Grandpa's into, because I guess part

0:15:33.840 --> 0:15:35.760
<v Speaker 2>of it is that his actual parents are kind of

0:15:35.800 --> 0:15:39.920
<v Speaker 2>completely checked out and chasing their own interests. Right.

0:15:40.000 --> 0:15:43.240
<v Speaker 3>They are hedonistic, materialist eighties yuppies.

0:15:44.480 --> 0:15:47.560
<v Speaker 2>All right, Well let's talk about them. The dad, Stan Putterman,

0:15:48.000 --> 0:15:51.240
<v Speaker 2>is played by the excellent they always excellent Garrett Graham

0:15:52.040 --> 0:15:55.480
<v Speaker 2>born nineteen forty nine. We've discussed Garrett Graham before, as

0:15:55.520 --> 0:15:58.160
<v Speaker 2>he had a small but fun role in another great

0:15:58.240 --> 0:16:01.120
<v Speaker 2>nineteen eighty six horror comedy, Chop Mallugh.

0:16:02.120 --> 0:16:04.200
<v Speaker 3>Was he just like a security guard in that?

0:16:04.720 --> 0:16:07.280
<v Speaker 2>Yeah, a doomed security guard. I think he was doomed.

0:16:07.720 --> 0:16:09.240
<v Speaker 2>I don't remember. He was very distracted.

0:16:10.640 --> 0:16:13.040
<v Speaker 3>I don't think I've seen a movie Garrett Graham was

0:16:13.080 --> 0:16:14.320
<v Speaker 3>in where he survived.

0:16:15.680 --> 0:16:19.800
<v Speaker 2>Yeah, he plays a lot of like mid or early

0:16:19.840 --> 0:16:24.800
<v Speaker 2>horror film death characters. I think but Yeah. Is was

0:16:24.840 --> 0:16:27.360
<v Speaker 2>an American stage, television and film actor with a knack

0:16:27.440 --> 0:16:30.200
<v Speaker 2>for camp. He appeared in four different Brian to Palm

0:16:30.240 --> 0:16:33.560
<v Speaker 2>of films, most notably nineteen seventy four is Phantom of

0:16:33.600 --> 0:16:37.480
<v Speaker 2>the Paradise, in which he plays Beef. Graham's other credits

0:16:37.560 --> 0:16:40.840
<v Speaker 2>include nineteen seventy seven's Demon Seed, eighty six is Rat Boy,

0:16:41.200 --> 0:16:44.040
<v Speaker 2>eighty seven's It's a Live three Island of the Alive

0:16:44.440 --> 0:16:47.440
<v Speaker 2>Police Academy six in nineteen eighty nine, and he plays

0:16:47.480 --> 0:16:51.240
<v Speaker 2>the titular Bud in Chud two Bud the Chud, also

0:16:51.320 --> 0:16:54.240
<v Speaker 2>from nineteen eighty nine. He's in Child's Play two from

0:16:54.360 --> 0:16:57.320
<v Speaker 2>nineteen ninety and he did. He has numerous TV credits

0:16:57.320 --> 0:17:01.640
<v Speaker 2>as well, including I Mean All Sorts of Stuff, multiple Tracks, Shit, Weird, Science,

0:17:01.760 --> 0:17:05.000
<v Speaker 2>Law and Order, and one Tales from the Crypt episode

0:17:05.040 --> 0:17:07.480
<v Speaker 2>The Man Who Is Death. His last credit was in

0:17:07.560 --> 0:17:08.280
<v Speaker 2>twenty twelve.

0:17:08.920 --> 0:17:16.119
<v Speaker 3>This character Stan is egocentric, hedonistic, seeking of pleasure and adulation,

0:17:16.320 --> 0:17:18.920
<v Speaker 3>and he wants to be respected for his skills at

0:17:19.280 --> 0:17:24.640
<v Speaker 3>assembling do it yourself home electronics installations, especially the new

0:17:24.760 --> 0:17:26.560
<v Speaker 3>satellite Dish.

0:17:26.240 --> 0:17:30.399
<v Speaker 2>Now playing his wife. The mom. Raquel Putterman is Mary

0:17:30.440 --> 0:17:35.240
<v Speaker 2>Warrenoff born nineteen forty three, another camp and genre legend

0:17:35.480 --> 0:17:37.760
<v Speaker 2>that we also mentioned in Chopping Mom because she has

0:17:37.760 --> 0:17:40.840
<v Speaker 2>a very small part in that. She started out as

0:17:40.880 --> 0:17:43.680
<v Speaker 2>a Warhol superstar what back in the sixties, I believe,

0:17:44.240 --> 0:17:47.640
<v Speaker 2>and acted in a ton of B movies, especially Corman films.

0:17:48.280 --> 0:17:50.320
<v Speaker 2>She also did a lot of TV and stage work.

0:17:51.040 --> 0:17:52.720
<v Speaker 2>I always smile when she shows up in a film

0:17:52.760 --> 0:17:56.720
<v Speaker 2>because she's generally an absolute delight. She often appeared in

0:17:56.760 --> 0:18:00.880
<v Speaker 2>films alongside friend and fellow actor Paul Martel, her director

0:18:00.920 --> 0:18:03.760
<v Speaker 2>and co star in nineteen eighty two's Eating Raoul. Her

0:18:03.800 --> 0:18:07.000
<v Speaker 2>other credits include seventy five's Death Race two thousand, which

0:18:07.040 --> 0:18:11.120
<v Speaker 2>is a very fun, kind of wacky Corman race movie

0:18:11.640 --> 0:18:15.240
<v Speaker 2>like Racing Across the Desert, nineteen seventy nine's Rock and

0:18:15.320 --> 0:18:18.440
<v Speaker 2>Roll High School, and nineteen eighty four's Night of the Comet.

0:18:18.960 --> 0:18:22.520
<v Speaker 2>She did one episode of The Monster's Horror Anthology TV show,

0:18:22.720 --> 0:18:25.320
<v Speaker 2>and she still occasionally acts. She was in two thousand

0:18:25.359 --> 0:18:26.240
<v Speaker 2>and nine's House of the.

0:18:26.200 --> 0:18:29.040
<v Speaker 3>Devil, Mary Warnow's great I always love to see her.

0:18:29.720 --> 0:18:34.440
<v Speaker 2>Yeah, in this she's an aerobics enthusiast and general self

0:18:34.480 --> 0:18:38.199
<v Speaker 2>absorbed mom. Apparently she was called in to read for

0:18:38.280 --> 0:18:40.440
<v Speaker 2>the role of Medusa, who will get to in a bit,

0:18:40.840 --> 0:18:43.320
<v Speaker 2>but then campaigned for the role of the mother instead

0:18:43.359 --> 0:18:46.120
<v Speaker 2>and she got it, and yeah, I think she's great

0:18:46.160 --> 0:18:48.600
<v Speaker 2>in this role, all right. And then we have Grandpa

0:18:48.760 --> 0:18:52.560
<v Speaker 2>Putterman played by Bert Remsen, who have nineteen twenty five

0:18:52.560 --> 0:18:56.440
<v Speaker 2>through nineteen ninety nine American character actor with a lot

0:18:56.440 --> 0:18:59.280
<v Speaker 2>of credits, a lot of TV credits, a lot of

0:18:59.280 --> 0:19:02.480
<v Speaker 2>them like war in Westerns going back to the early

0:19:02.560 --> 0:19:05.000
<v Speaker 2>nineteen fifties. He pops up in such films as fifty

0:19:05.080 --> 0:19:08.720
<v Speaker 2>nine's Port Chop Hill, fifty nine's Destination Space, He's in

0:19:08.800 --> 0:19:12.000
<v Speaker 2>nineteen seventy five's Nashville, he's in nineteen ninety's Dick Tracy,

0:19:12.480 --> 0:19:15.119
<v Speaker 2>he's in The Bodyguard from ninety two, and he's in

0:19:15.400 --> 0:19:18.040
<v Speaker 2>Maverick from ninety four. Like I say, his TV credits

0:19:18.040 --> 0:19:20.880
<v Speaker 2>are just really extensive and include things like the original

0:19:20.880 --> 0:19:25.080
<v Speaker 2>Outer Limits but also the Andy Griffith Show. Grandpa in

0:19:25.119 --> 0:19:29.840
<v Speaker 2>this film is a kooky conspiracy nuts survivalist who again

0:19:29.960 --> 0:19:33.080
<v Speaker 2>lives in the family's fallout shelter beneath the house, and

0:19:33.119 --> 0:19:38.880
<v Speaker 2>he's a he's an enthusiastic advocate of regenerated lizard tail jerky.

0:19:39.080 --> 0:19:41.159
<v Speaker 3>You know, I thought it was interesting that this is

0:19:41.160 --> 0:19:44.000
<v Speaker 3>a character who I would not be surprised to see

0:19:44.160 --> 0:19:50.359
<v Speaker 3>in a wacky satirical film of today. But I don't know,

0:19:50.400 --> 0:19:52.000
<v Speaker 3>he seems kind of ahead of his time. I guess

0:19:52.080 --> 0:19:55.560
<v Speaker 3>there were like apocalypse preppers in the eighties too, but

0:19:56.400 --> 0:20:00.320
<v Speaker 3>I don't know that it seems like a less volent

0:20:00.400 --> 0:20:01.919
<v Speaker 3>trope from that time.

0:20:02.480 --> 0:20:05.520
<v Speaker 2>Yeah, all right, now we mentioned Susie Petterman. Well, Susie

0:20:05.560 --> 0:20:10.080
<v Speaker 2>has a boyfriend. Her boyfriend is O D, which is

0:20:10.119 --> 0:20:12.879
<v Speaker 2>not an Irish name. As the character this chuck about

0:20:12.880 --> 0:20:15.399
<v Speaker 2>this in the film, but it's the initials O D

0:20:15.960 --> 0:20:20.040
<v Speaker 2>played by John Grys born nineteen fifty seven. Many of

0:20:20.080 --> 0:20:24.000
<v Speaker 2>you probably know John Gry's best as Uncle Rico in

0:20:24.000 --> 0:20:27.720
<v Speaker 2>two thousand and four as Napoleon Dynamite. He's great in that,

0:20:28.160 --> 0:20:30.199
<v Speaker 2>but he's been a fun, weird presence in TV and

0:20:30.240 --> 0:20:33.080
<v Speaker 2>film for a long time. Prior to Terror Vision, he

0:20:33.160 --> 0:20:36.680
<v Speaker 2>did various teen movies, including Real Genius in eighty five.

0:20:36.800 --> 0:20:39.720
<v Speaker 2>Other credits include Running Scared in eighty six. He pops

0:20:39.760 --> 0:20:42.080
<v Speaker 2>up in Monster Squad in eighty seven, Fright Night two

0:20:42.080 --> 0:20:44.639
<v Speaker 2>in eighty eight, The Grifters in nineteen ninety, Men in

0:20:44.720 --> 0:20:48.800
<v Speaker 2>Black in ninety seven, Taken Three in twenty fourteen, and

0:20:48.840 --> 0:20:51.880
<v Speaker 2>his TV credits include such shows as The nineties Outer Limits,

0:20:52.040 --> 0:20:58.359
<v Speaker 2>Sons of Anarchy, Lost, Creep Corp. LC, and The White Lotus.

0:20:58.440 --> 0:20:59.720
<v Speaker 2>So he's all over the place.

0:21:00.080 --> 0:21:02.800
<v Speaker 3>He is in The White Lotus, he's he's the wolf

0:21:02.880 --> 0:21:07.679
<v Speaker 3>Man in Monster Squad, he's okay, yeah, yeah, yeah. And

0:21:07.720 --> 0:21:10.480
<v Speaker 3>you know what, great respect to him in Terror Vision

0:21:10.520 --> 0:21:14.320
<v Speaker 3>because much like Diane Franklin, like he gets what's going on,

0:21:14.600 --> 0:21:17.640
<v Speaker 3>and in his case, he does not hold back at all.

0:21:17.680 --> 0:21:20.080
<v Speaker 3>He just like goes into this role teeth first.

0:21:21.119 --> 0:21:23.520
<v Speaker 2>Yeah. On the extras on the disk they interview him

0:21:23.520 --> 0:21:26.480
<v Speaker 2>and he's like, yeah, I would. We were just all in.

0:21:26.680 --> 0:21:28.080
<v Speaker 2>But at a time or two I'd come up to

0:21:28.119 --> 0:21:30.920
<v Speaker 2>Ted Nicolau and it be like, Ted, am I am

0:21:30.920 --> 0:21:31.760
<v Speaker 2>I doing too much?

0:21:31.800 --> 0:21:31.919
<v Speaker 4>Here?

0:21:31.960 --> 0:21:33.879
<v Speaker 2>Am I going? Is it this too over the top?

0:21:33.920 --> 0:21:37.119
<v Speaker 2>And Nikola would be like, no, No, it's perfect, it's perfect.

0:21:37.240 --> 0:21:38.200
<v Speaker 2>Keep doing what you're doing.

0:21:38.600 --> 0:21:38.800
<v Speaker 4>More.

0:21:38.880 --> 0:21:41.320
<v Speaker 3>Spittle should be flying out of your mouth every line

0:21:41.359 --> 0:21:41.800
<v Speaker 3>you deliver.

0:21:43.920 --> 0:21:46.120
<v Speaker 2>All right, now we're getting into just a we're gonna try.

0:21:46.160 --> 0:21:48.080
<v Speaker 2>I'm gonna try and grow a little shorter on these.

0:21:48.119 --> 0:21:50.399
<v Speaker 2>But we have some other bit characters here. There's a

0:21:50.480 --> 0:21:53.359
<v Speaker 2>character named Spiro who shows up with his girlfriend Cherry.

0:21:54.280 --> 0:21:57.800
<v Speaker 2>Spiro is played by Alejandro Ray, who lived nineteen thirty

0:21:57.840 --> 0:22:01.240
<v Speaker 2>through nineteen eighty seven. Argentinian born actor and occasional TV director,

0:22:01.480 --> 0:22:03.800
<v Speaker 2>active back into the nineteen fifties. Did a lot of

0:22:03.800 --> 0:22:07.200
<v Speaker 2>TV in Westerns, did seventy eight episodes of The Flying Nun,

0:22:07.520 --> 0:22:10.520
<v Speaker 2>an episode of Night Gallery pops up in nineteen eighties,

0:22:10.520 --> 0:22:13.760
<v Speaker 2>the Ninth Figuration, and you better know he did an

0:22:13.800 --> 0:22:14.840
<v Speaker 2>episode of The Love Book.

0:22:16.560 --> 0:22:19.359
<v Speaker 3>He's doing an episode of The Love Boat in this movie.

0:22:19.880 --> 0:22:23.080
<v Speaker 2>He is. Yeah, I guess he's supposed to be an insensitive,

0:22:23.160 --> 0:22:27.480
<v Speaker 2>over the top Euroster stereotype, specifically like a Greek stereotype.

0:22:27.640 --> 0:22:32.199
<v Speaker 2>I guess. I suppose there's the fact that Nicolau I

0:22:32.240 --> 0:22:35.159
<v Speaker 2>assume of Greek descent. I don't know, but yeah, Spiro

0:22:35.240 --> 0:22:38.000
<v Speaker 2>and his girlfriend Cherry are adventurous lovers who have been

0:22:38.000 --> 0:22:41.200
<v Speaker 2>invited to the Spiderman Home. Cherry is played by Randy

0:22:41.240 --> 0:22:44.280
<v Speaker 2>Brooks born nineteen fifty four. She did a lot of

0:22:44.320 --> 0:22:47.560
<v Speaker 2>action and crime oriented TV work. She was in nineteen

0:22:47.600 --> 0:22:50.240
<v Speaker 2>eighty three's The Man with Two Brains and nineteen eighty

0:22:50.280 --> 0:22:53.040
<v Speaker 2>six is Hamburger the Motion Picture. She also has a

0:22:53.040 --> 0:22:55.960
<v Speaker 2>bit part in the Michael Crichton written and directed film

0:22:56.040 --> 0:22:58.880
<v Speaker 2>Looker from nineteen eighty one. Oh.

0:22:59.119 --> 0:23:00.439
<v Speaker 3>I don't know if I ever even heard of that.

0:23:00.480 --> 0:23:03.239
<v Speaker 3>But what is Hamburger the Motion Picture? Is that like

0:23:03.520 --> 0:23:05.400
<v Speaker 3>a McDonald's tie in thing.

0:23:06.280 --> 0:23:08.200
<v Speaker 2>It's not what I'm familiar with. It looks like one

0:23:08.240 --> 0:23:12.480
<v Speaker 2>of these like over the top comedy films of the

0:23:12.560 --> 0:23:16.360
<v Speaker 2>time that either didn't resonate then and certainly hasn't continued

0:23:16.359 --> 0:23:18.719
<v Speaker 2>to resonate now. Like you never hear, I never hear

0:23:18.760 --> 0:23:21.560
<v Speaker 2>anything about it. Maybe it's great, but I've never seen it.

0:23:22.080 --> 0:23:24.239
<v Speaker 3>Oh, I just looked it up. Okay, it says it

0:23:24.320 --> 0:23:28.440
<v Speaker 3>is one of the nineteen eighties teen sex comedy movies.

0:23:28.640 --> 0:23:30.000
<v Speaker 2>All Right, there you go.

0:23:30.480 --> 0:23:33.359
<v Speaker 3>Not a not a wonderful genre that people love revisiting

0:23:34.720 --> 0:23:38.359
<v Speaker 3>this and the poster is just repulsive. It's just like

0:23:38.400 --> 0:23:40.760
<v Speaker 3>a bunch of people inside a Hamburger bun.

0:23:41.960 --> 0:23:47.159
<v Speaker 2>It it was acceptable in the eighties. But anyway, we

0:23:47.240 --> 0:23:48.760
<v Speaker 2>mentioned there was going to be a Medusa in this.

0:23:48.800 --> 0:23:51.959
<v Speaker 2>We do have a character named Medusa played by Jennifer

0:23:52.040 --> 0:23:55.199
<v Speaker 2>Richards born nineteen forty eight Pleasure. Essentially, this is a

0:23:55.280 --> 0:23:59.280
<v Speaker 2>late night horror host in the vein of Elvira. She

0:24:00.080 --> 0:24:02.400
<v Speaker 2>in this film. She also seems to have a nine

0:24:02.480 --> 0:24:05.240
<v Speaker 2>hundred number you can call, which also is like spot

0:24:05.280 --> 0:24:09.080
<v Speaker 2>on for memories of watching late night television, you know,

0:24:09.280 --> 0:24:11.520
<v Speaker 2>particularly in the nineties or I guess the late eighties.

0:24:12.200 --> 0:24:15.240
<v Speaker 2>Richard's credits include a fair amount of TV, including Night Court,

0:24:15.480 --> 0:24:17.920
<v Speaker 2>Mama's Family, and Star Trek The Next Generation.

0:24:18.480 --> 0:24:22.800
<v Speaker 3>Another teeth first performance. She's just like chomping the scenery.

0:24:23.200 --> 0:24:24.040
<v Speaker 3>She's doing great.

0:24:24.880 --> 0:24:28.879
<v Speaker 2>Speaking of teeth, we also have funny Carl Davis in this.

0:24:29.000 --> 0:24:31.920
<v Speaker 2>He plays his character Norton, who's the satellite dish guy.

0:24:32.760 --> 0:24:37.800
<v Speaker 2>I think most people know him from his most culturally

0:24:37.800 --> 0:24:41.320
<v Speaker 2>important role, and that is playing Rabbit in Transfers too.

0:24:42.640 --> 0:24:44.720
<v Speaker 3>You know, I was thinking where would more people know

0:24:44.840 --> 0:24:46.960
<v Speaker 3>him from, and it would probably be he's like the

0:24:47.000 --> 0:24:50.399
<v Speaker 3>guy who complains about his food at the Judge Reinhold's

0:24:50.480 --> 0:24:54.320
<v Speaker 3>restaurant in Fast Times at Ridgemont High. And I guess

0:24:54.160 --> 0:24:57.320
<v Speaker 3>he's also in Filma and Louise. Don't remember what he

0:24:57.400 --> 0:25:00.840
<v Speaker 3>is in that he but he Yeah. When I was like,

0:25:00.920 --> 0:25:03.359
<v Speaker 3>I recognize this guy. What do I recognize him from?

0:25:03.680 --> 0:25:07.359
<v Speaker 3>It was transfers To. He's the what like, he's a

0:25:07.480 --> 0:25:12.520
<v Speaker 3>hospital orderly who helps one of Jack Death's reincarnated time

0:25:12.600 --> 0:25:17.280
<v Speaker 3>travel wives escape from an institution controlled by the bad guys.

0:25:17.840 --> 0:25:21.200
<v Speaker 2>I believe that's it. I believe you nailed it, Joe. Okay, Yeah,

0:25:21.240 --> 0:25:25.159
<v Speaker 2>I would say Sonny Carl Davis is probably recognized for

0:25:25.240 --> 0:25:27.960
<v Speaker 2>films like Filma and Luise and Fast Times at Richmond High,

0:25:28.320 --> 0:25:33.320
<v Speaker 2>but he is known for playing Rabbit, specifically in transfers To.

0:25:33.640 --> 0:25:37.520
<v Speaker 2>But this character also came back in multiple Evil Bong movies,

0:25:37.560 --> 0:25:41.320
<v Speaker 2>so you know there's a whole He has an expanded

0:25:41.400 --> 0:25:46.400
<v Speaker 2>role within the Charles Band expanded cinematic universe. Right now,

0:25:46.440 --> 0:25:49.760
<v Speaker 2>going behind the scenes, we have to mention that John

0:25:49.800 --> 0:25:53.560
<v Speaker 2>Carl Beechler worked on this this film Born. He lived

0:25:53.600 --> 0:25:57.240
<v Speaker 2>nineteen fifty two through twenty nineteen. A practical special effects

0:25:57.240 --> 0:25:58.720
<v Speaker 2>and makeup legend.

0:25:58.760 --> 0:26:02.440
<v Speaker 3>John Carl Beckler to make slime. He liked to make

0:26:02.560 --> 0:26:06.480
<v Speaker 3>like makeup effects and creature models and stuff that were

0:26:06.480 --> 0:26:09.000
<v Speaker 3>covered in some sort of mucus.

0:26:09.520 --> 0:26:12.200
<v Speaker 2>Yeah, and there's a lot of mucus to go around

0:26:12.200 --> 0:26:16.240
<v Speaker 2>in this film. He's come up on the show before

0:26:16.359 --> 0:26:20.080
<v Speaker 2>because he did special effects on nineteen eighty six The Eliminators,

0:26:20.320 --> 0:26:23.440
<v Speaker 2>which I guess wasn't particularly mucusy, But he also worked

0:26:23.440 --> 0:26:27.360
<v Speaker 2>on nineteen eighty nine's Arena, which definitely had its sheriff mucus.

0:26:27.680 --> 0:26:31.480
<v Speaker 3>The Eliminators was the Bayou Betty movie, and the Arena

0:26:31.800 --> 0:26:35.840
<v Speaker 3>was the one where the guy fights people. He fights aliens.

0:26:35.840 --> 0:26:38.879
<v Speaker 3>He like has boxing matches with giant crickets.

0:26:38.640 --> 0:26:42.680
<v Speaker 2>That's right. Beekler worked on a number of cult classic

0:26:42.720 --> 0:26:46.359
<v Speaker 2>horror films, including eighty five's Reanimator eighty six Is From Beyond,

0:26:46.440 --> 0:26:49.919
<v Speaker 2>both very drippy movies. Just yeah, a master of flesh

0:26:49.920 --> 0:26:52.879
<v Speaker 2>and blood in films like this. He also had a

0:26:52.880 --> 0:26:56.600
<v Speaker 2>great career as a director, filming eighty six's trollll So

0:26:56.840 --> 0:26:59.439
<v Speaker 2>at the time of this movie, he was editing Troll

0:26:59.520 --> 0:27:02.000
<v Speaker 2>at night because they had just wrapped and he was

0:27:02.040 --> 0:27:04.520
<v Speaker 2>shooting this during the day, working on special effects on

0:27:04.560 --> 0:27:08.760
<v Speaker 2>this during the day. All in Rome, let's see. He

0:27:08.800 --> 0:27:12.000
<v Speaker 2>also directed eighty seven Cellar Dweller. He directed Friday the

0:27:12.040 --> 0:27:16.119
<v Speaker 2>Thirteenth and New Blood, and also nineteen nineties Goolies Go

0:27:16.160 --> 0:27:18.840
<v Speaker 2>to College, just to name a few. What are the

0:27:18.840 --> 0:27:22.160
<v Speaker 2>Goolies major in toilet studies?

0:27:22.640 --> 0:27:27.440
<v Speaker 3>Sure, he did the Friday the Thirteenth movie with the

0:27:27.720 --> 0:27:30.600
<v Speaker 3>psychic girl in it. It's the one that's Jason versus

0:27:30.640 --> 0:27:32.920
<v Speaker 3>the girl who has Telekinesis.

0:27:32.359 --> 0:27:34.639
<v Speaker 2>That one's great? I love that one. It's one of

0:27:34.640 --> 0:27:38.360
<v Speaker 2>the best. Yeah, and Jason looks at his best in that.

0:27:38.359 --> 0:27:39.120
<v Speaker 2>It's just amazing.

0:27:39.160 --> 0:27:42.040
<v Speaker 3>Look, agreed, that's the first Kane Hodder movie and has

0:27:42.119 --> 0:27:44.200
<v Speaker 3>one of the best Jason costume designs.

0:27:44.680 --> 0:27:48.240
<v Speaker 2>Yeah, absolutely well. In this he designed and built the

0:27:48.320 --> 0:27:51.159
<v Speaker 2>Hungry Beast, which we'll explain in the pit, based on

0:27:51.320 --> 0:27:55.600
<v Speaker 2>some ideas from Ted Nicolau. Apparently they wanted a monster

0:27:55.760 --> 0:27:58.960
<v Speaker 2>that looked horrifying and stupid at the same time. I

0:27:58.960 --> 0:28:01.639
<v Speaker 2>think they nailed it all right. Quick note on the

0:28:01.720 --> 0:28:05.200
<v Speaker 2>music here, So the score is by Richard Band. This

0:28:05.240 --> 0:28:08.480
<v Speaker 2>is Charles Band's brother born nineteen fifty three, who has

0:28:08.560 --> 0:28:13.320
<v Speaker 2>just worked extensively on Empire and Full Moon Pictures. So

0:28:13.560 --> 0:28:16.280
<v Speaker 2>just you know, if you can name a Full Moon picture,

0:28:16.320 --> 0:28:20.200
<v Speaker 2>he probably scored it. The score here is aggressively campy

0:28:20.240 --> 0:28:25.280
<v Speaker 2>and kooky, but effective. Apparently Nicolau was originally in talks

0:28:25.280 --> 0:28:28.919
<v Speaker 2>with both the Cramps and Frank Zappa about possibly scoring

0:28:28.960 --> 0:28:31.440
<v Speaker 2>the film, but and they didn't approach band at first

0:28:31.440 --> 0:28:33.040
<v Speaker 2>because they weren't sure he was going to be able

0:28:33.080 --> 0:28:36.840
<v Speaker 2>to really ratchet up the camp, but he accepted the challenge,

0:28:36.840 --> 0:28:38.280
<v Speaker 2>and I think it works pretty well.

0:28:38.560 --> 0:28:42.680
<v Speaker 3>Wow, I could see the Cramps or Frank Zappa being

0:28:42.720 --> 0:28:45.120
<v Speaker 3>perfect for this that. Yeah, both make sense.

0:28:45.840 --> 0:28:47.680
<v Speaker 2>But then they were able to bring in on the

0:28:47.760 --> 0:28:51.600
<v Speaker 2>soundtrack the American art rock band The Fibonaccis, who wrote

0:28:51.640 --> 0:28:54.400
<v Speaker 2>and recorded five tracks for the film, including off the

0:28:54.520 --> 0:28:58.840
<v Speaker 2>excellent theme song. They came out of the Los Angeles

0:28:58.960 --> 0:29:01.680
<v Speaker 2>art punk scene and were from eighty one through eighty eight,

0:29:01.720 --> 0:29:04.760
<v Speaker 2>and then I think they came back together in ninety two. Briefly.

0:29:05.520 --> 0:29:08.719
<v Speaker 2>Their songs pop up on another of a number of

0:29:08.800 --> 0:29:11.920
<v Speaker 2>sort of indie films, on eighty two's Android eighty seven

0:29:12.000 --> 0:29:16.960
<v Speaker 2>slam Dance and lead to vocalist Maggie Song also acted

0:29:17.000 --> 0:29:20.560
<v Speaker 2>in another eighties weird camp art horror film of note,

0:29:20.800 --> 0:29:23.840
<v Speaker 2>nineteen eighty nine's Doctor Caligari has nothing to do with

0:29:23.880 --> 0:29:28.160
<v Speaker 2>the cabinet Cabinet of Doctor Caligari, and I'm not sure

0:29:28.160 --> 0:29:30.040
<v Speaker 2>it's right for weird House, but it is a trip

0:29:30.720 --> 0:29:34.320
<v Speaker 2>if you were interested in that sort of film. Let's

0:29:34.320 --> 0:29:37.760
<v Speaker 2>hear just a taste of the theme song terror Vision

0:29:37.840 --> 0:29:40.720
<v Speaker 2>by the Fibonaccis. Give us a legal limit on this one.

0:29:40.800 --> 0:29:50.760
<v Speaker 2>JJ I love it. I'm not sure if we got

0:29:50.800 --> 0:29:54.240
<v Speaker 2>to hear much of the lyrics there, but they're pretty

0:29:54.240 --> 0:29:57.360
<v Speaker 2>great and they're like they're really on message. Here, cold

0:29:57.400 --> 0:30:01.160
<v Speaker 2>October night, Mom and Dad asleep, creeping as their bedroom door.

0:30:01.200 --> 0:30:03.720
<v Speaker 2>I hear the cries of sheep. I dance by the

0:30:03.800 --> 0:30:07.080
<v Speaker 2>light of the TV screen all night long. I watched

0:30:07.120 --> 0:30:10.160
<v Speaker 2>the Medusa's eyes turn green. But my own reflection I've

0:30:10.200 --> 0:30:11.520
<v Speaker 2>never seen love it.

0:30:12.120 --> 0:30:15.360
<v Speaker 3>Oh Okay, maybe I'm reading too deep into this, but

0:30:15.640 --> 0:30:18.400
<v Speaker 3>the cries of sheep is that so on one hand,

0:30:18.400 --> 0:30:20.840
<v Speaker 3>you could say that is like it's just a spooky

0:30:20.880 --> 0:30:23.720
<v Speaker 3>horror image sheep are being led to the slaughter, but

0:30:23.880 --> 0:30:26.200
<v Speaker 3>also it's like, ah, we are all sheep watching the

0:30:26.240 --> 0:30:29.680
<v Speaker 3>TV and just you know, doing whatever, reproducing whatever activities

0:30:29.680 --> 0:30:32.880
<v Speaker 3>we see on the screen. But also the line about

0:30:32.960 --> 0:30:35.760
<v Speaker 3>Medusa's eyes turned green. But my own reflection I've never

0:30:35.800 --> 0:30:37.800
<v Speaker 3>seen again. Am I reading too much into it that

0:30:37.880 --> 0:30:40.880
<v Speaker 3>this is saying like the because we are able to

0:30:41.440 --> 0:30:45.360
<v Speaker 3>just sort of like hypnotize ourselves with constant media, we

0:30:45.560 --> 0:30:47.600
<v Speaker 3>like never have time to self reflect.

0:30:48.240 --> 0:30:50.760
<v Speaker 2>Yeah, yeah, I think I think it's fair. I think

0:30:50.760 --> 0:30:55.840
<v Speaker 2>it's okay, a fair analysis. If you happen to be

0:30:55.880 --> 0:30:58.920
<v Speaker 2>a vinyl collector, you can get the original soundtrack and

0:30:58.960 --> 0:31:02.680
<v Speaker 2>score on vinyl from a company I'm not familiar with,

0:31:02.880 --> 0:31:07.400
<v Speaker 2>wr WTFWW Records, but it includes both the Richard Bands

0:31:07.440 --> 0:31:20.160
<v Speaker 2>score and those five tracks by the zibanachis all right, Joe, Well,

0:31:20.240 --> 0:31:23.200
<v Speaker 2>shall we go ahead and bang on the satellite dish

0:31:23.360 --> 0:31:25.840
<v Speaker 2>and tune into the plot? Right?

0:31:26.000 --> 0:31:28.680
<v Speaker 3>So, I don't think it would make sense to cover

0:31:28.800 --> 0:31:30.520
<v Speaker 3>every scene in the plot like we do with some

0:31:30.680 --> 0:31:34.200
<v Speaker 3>movies here, because this is more of a wacky satirical film,

0:31:34.840 --> 0:31:36.560
<v Speaker 3>So I don't know, it feels weird to do a

0:31:36.560 --> 0:31:38.560
<v Speaker 3>full scene by scene recap, but I think we will

0:31:38.880 --> 0:31:41.000
<v Speaker 3>zoom in pretty close on like the opening.

0:31:41.520 --> 0:31:42.160
<v Speaker 2>Yeah.

0:31:42.240 --> 0:31:46.680
<v Speaker 3>So after those flame textured Charles Band production tags go away,

0:31:47.080 --> 0:31:51.240
<v Speaker 3>the movie opens on a miniature model planet surface set

0:31:51.480 --> 0:31:54.320
<v Speaker 3>and there is a dark blue alien sky, a red

0:31:54.400 --> 0:31:57.400
<v Speaker 3>gas giant looming over the horizon, and a bunch of

0:31:57.520 --> 0:32:01.120
<v Speaker 3>towers and monuments and various structures cover and greebles. And

0:32:01.320 --> 0:32:04.240
<v Speaker 3>I always love this kind of thing, love a model

0:32:04.560 --> 0:32:05.480
<v Speaker 3>planet surface.

0:32:06.000 --> 0:32:08.840
<v Speaker 2>Yeah you can. You can definitely spot a piece of

0:32:10.040 --> 0:32:14.320
<v Speaker 2>USS Enterprise model kit in there upside down. Yeah.

0:32:14.400 --> 0:32:17.720
<v Speaker 3>I think there are also some vacuum cleaner attachment parts

0:32:17.840 --> 0:32:19.760
<v Speaker 3>that have and spray painted silver.

0:32:20.040 --> 0:32:20.920
<v Speaker 2>Yeah. Nice.

0:32:21.400 --> 0:32:22.959
<v Speaker 3>And then we get a little key at the bottom.

0:32:22.960 --> 0:32:27.840
<v Speaker 3>It says Planet Pluton Sanitation Department, and then there's a pause,

0:32:28.640 --> 0:32:31.880
<v Speaker 3>and then the third line appears. It says mutant creature

0:32:31.920 --> 0:32:35.840
<v Speaker 3>disposal unit. That got to laugh out of me. I

0:32:35.880 --> 0:32:40.760
<v Speaker 3>don't know that that was good. That's just like very specific.

0:32:41.920 --> 0:32:45.800
<v Speaker 3>So then we cut inside straight to an extreme close

0:32:45.920 --> 0:32:49.440
<v Speaker 3>up of this disgusting face. It's sort of like a

0:32:49.600 --> 0:32:55.680
<v Speaker 3>sentient slice of burned pizza, some gross, wet red wall

0:32:55.840 --> 0:32:59.320
<v Speaker 3>of skinless flesh with a single eyeball and a mouth

0:32:59.360 --> 0:33:02.320
<v Speaker 3>with barracu to teeth, and it is gargling at us.

0:33:03.040 --> 0:33:05.800
<v Speaker 3>Then we pull back and revealed that this face is

0:33:05.920 --> 0:33:09.200
<v Speaker 3>behind some kind of glass shield, and then there is

0:33:09.240 --> 0:33:13.400
<v Speaker 3>a humanoid alien with a scaly reptilian head banging on

0:33:13.440 --> 0:33:16.600
<v Speaker 3>the glass, and the humanoid alien moves over to a

0:33:16.600 --> 0:33:20.920
<v Speaker 3>control panel and yanks a lever which apparently incinerates the

0:33:20.960 --> 0:33:24.040
<v Speaker 3>wall of pizza monster behind the glass. You know, some

0:33:24.120 --> 0:33:27.080
<v Speaker 3>kind of energy fills the room. I guess like they

0:33:27.120 --> 0:33:29.280
<v Speaker 3>tried to do in the Green Slime to you know,

0:33:29.400 --> 0:33:32.520
<v Speaker 3>incinerate the the green slime that was clinging to the

0:33:33.000 --> 0:33:36.680
<v Speaker 3>suits that the astronauts brought back with them from the asteroid.

0:33:37.040 --> 0:33:39.840
<v Speaker 3>But much like in the Green Slime, it doesn't work.

0:33:39.920 --> 0:33:43.520
<v Speaker 3>Instead of the creature being incinerated, we see a tower

0:33:43.680 --> 0:33:47.120
<v Speaker 3>kind of shoot out a little bullet of electricity into

0:33:47.320 --> 0:33:51.680
<v Speaker 3>space and it flies around and then bounces between planets

0:33:51.720 --> 0:33:53.920
<v Speaker 3>like a pinball in a pinball cabinet, you know, hitting

0:33:53.920 --> 0:33:57.240
<v Speaker 3>the bumpers, and then it finally comes straight at the

0:33:57.280 --> 0:34:00.680
<v Speaker 3>screen and I think this means that the Pea entity

0:34:00.880 --> 0:34:01.760
<v Speaker 3>is coming to Earth.

0:34:02.600 --> 0:34:05.280
<v Speaker 2>Yeah, that seems like what's going to happen. And you know,

0:34:05.400 --> 0:34:07.560
<v Speaker 2>this is one of those films where they they showed

0:34:07.640 --> 0:34:11.520
<v Speaker 2>us the monster immediately, which I think works in two

0:34:11.600 --> 0:34:14.640
<v Speaker 2>ways for this film. For starters, the monster looks great,

0:34:15.040 --> 0:34:16.799
<v Speaker 2>Bee cler hit it out of the park here with

0:34:17.120 --> 0:34:20.480
<v Speaker 2>the Hungry Beast. But also the sort of movie this is.

0:34:20.560 --> 0:34:22.719
<v Speaker 2>This is not a movie that is built around the

0:34:22.719 --> 0:34:24.920
<v Speaker 2>suspense of what will the monster look like?

0:34:25.239 --> 0:34:28.560
<v Speaker 3>Well, yeah, because this is this is not a horror movie.

0:34:28.600 --> 0:34:32.560
<v Speaker 3>This is a comedy movie using the conventions of horror,

0:34:32.640 --> 0:34:36.439
<v Speaker 3>and you know, keeping the keeping the monsters form more

0:34:36.480 --> 0:34:39.799
<v Speaker 3>secret I think works better for the purpose of suspense.

0:34:41.040 --> 0:34:44.440
<v Speaker 3>There's something that is funnier about showing the monster right

0:34:44.440 --> 0:34:47.719
<v Speaker 3>at the beginning. Then we go to Earth and we

0:34:47.760 --> 0:34:50.280
<v Speaker 3>meet our core family. We already talked about these characters,

0:34:50.320 --> 0:34:53.640
<v Speaker 3>but briefly, there is Stan the father. That's Garrett Graham.

0:34:53.680 --> 0:34:55.719
<v Speaker 3>When you first meet him, he is fiddling with the

0:34:55.840 --> 0:34:59.360
<v Speaker 3>install it yourself satellite TV antenna that he just bought.

0:35:00.080 --> 0:35:01.560
<v Speaker 3>I think this is picking up on You know, this

0:35:01.600 --> 0:35:03.920
<v Speaker 3>movie is not alone in this that there is a

0:35:04.120 --> 0:35:10.239
<v Speaker 3>common trope in eighties movies of the suburban dad who

0:35:10.680 --> 0:35:15.840
<v Speaker 3>loves to takes great pride in installing expensive electronics himself,

0:35:15.880 --> 0:35:18.560
<v Speaker 3>you know, in his new sound system or in setting

0:35:18.680 --> 0:35:20.600
<v Speaker 3>up the new television and so forth.

0:35:21.120 --> 0:35:24.880
<v Speaker 2>Yeah, he's at once overconfident in his own abilities to

0:35:24.920 --> 0:35:28.759
<v Speaker 2>tinker with this stuff, but also has no patience for it.

0:35:29.160 --> 0:35:32.600
<v Speaker 2>And that is also very demanding of the expertise that's

0:35:32.600 --> 0:35:34.080
<v Speaker 2>called in to actually fix it.

0:35:34.400 --> 0:35:36.520
<v Speaker 3>Oh right, which is why we've got Sunny Carl Davis

0:35:36.560 --> 0:35:39.040
<v Speaker 3>just like standing there nearby. At first, I thought like, Okay,

0:35:39.200 --> 0:35:41.239
<v Speaker 3>is this guy supposed to be like a friend or

0:35:41.280 --> 0:35:44.239
<v Speaker 3>a neighbor of Garrett Graham's. But no, he is the

0:35:44.480 --> 0:35:48.840
<v Speaker 3>television antenna repair guy and he's standing there drinking drinking

0:35:48.880 --> 0:35:50.680
<v Speaker 3>beers out of Garrett Graham's fridge.

0:35:51.200 --> 0:35:54.280
<v Speaker 2>Oh not just any beers there, Heine's. They're Heinekens. This

0:35:54.280 --> 0:35:57.520
<v Speaker 2>this movie seems to have been sponsored by Heineken.

0:35:57.840 --> 0:36:00.360
<v Speaker 3>They say the word heinee of at least ten times times.

0:36:00.800 --> 0:36:03.880
<v Speaker 2>Yeah. I mean, if it's funny once, just keep doing it.

0:36:03.880 --> 0:36:06.400
<v Speaker 3>It'll be funny the seventh time you talk about guzzling

0:36:06.440 --> 0:36:08.319
<v Speaker 3>a heini Yeah.

0:36:08.680 --> 0:36:10.879
<v Speaker 2>We also have to note like at this point, we're

0:36:10.960 --> 0:36:13.320
<v Speaker 2>outside the house. We'll get to talk about the interior

0:36:13.320 --> 0:36:15.279
<v Speaker 2>of the house in a minute, but just outside, it's

0:36:15.719 --> 0:36:19.760
<v Speaker 2>clear that this was an interior set that was created

0:36:19.800 --> 0:36:23.239
<v Speaker 2>to look like, you know, the outside of this house

0:36:23.280 --> 0:36:27.120
<v Speaker 2>probably somewhere in suburban California. But it has this just

0:36:27.280 --> 0:36:30.359
<v Speaker 2>wonderful look because on one hand, it doesn't feel one

0:36:30.440 --> 0:36:33.080
<v Speaker 2>hundred percent fake. You know, it doesn't feel completely phony.

0:36:33.760 --> 0:36:38.840
<v Speaker 2>It feels accurate, but it also feels artificial enough that

0:36:39.239 --> 0:36:42.680
<v Speaker 2>we really get into this this wonderful zone that you know,

0:36:42.719 --> 0:36:44.680
<v Speaker 2>I would compare it to some of the films of

0:36:44.719 --> 0:36:48.360
<v Speaker 2>say Tim Burton artificial satirical America.

0:36:48.719 --> 0:36:51.400
<v Speaker 3>Yeah, yeah, I would not have thought of that comparison,

0:36:51.440 --> 0:36:54.319
<v Speaker 3>but yeah, the Tim Burton thing, it has a kind

0:36:54.360 --> 0:36:59.840
<v Speaker 3>of Edward Scissorhands quality to the satirical picture painted of

0:37:00.000 --> 0:37:05.319
<v Speaker 3>subourban America, except it is a little less precious, not

0:37:05.400 --> 0:37:08.960
<v Speaker 3>a little, a lot less precious and more wacky and disgusting.

0:37:09.400 --> 0:37:10.680
<v Speaker 2>Yeah.

0:37:10.880 --> 0:37:14.560
<v Speaker 3>Now inside the house we meet Raquel, that's the mother

0:37:14.680 --> 0:37:17.920
<v Speaker 3>played by Mary Warrenov and she's trying to do her aerobics.

0:37:18.120 --> 0:37:20.719
<v Speaker 3>This is another thing that I feel like there are

0:37:20.719 --> 0:37:24.240
<v Speaker 3>a million movies that have the you know, the wealthy

0:37:24.320 --> 0:37:29.160
<v Speaker 3>suburban mom from the eighties who's constantly wearing an aerobics

0:37:29.160 --> 0:37:32.120
<v Speaker 3>outfit and doing aerobics along with like a TV program.

0:37:32.520 --> 0:37:34.719
<v Speaker 2>Yeah, absolutely, absolute stereotype.

0:37:34.719 --> 0:37:39.280
<v Speaker 3>Here stereotypes continue with the daughter Suzig and she's dressed.

0:37:39.400 --> 0:37:42.160
<v Speaker 3>You know, it's a Pat Benatar kind of thing. There's spandex,

0:37:42.200 --> 0:37:46.160
<v Speaker 3>a pink sweater, you know, like thirty different necklaces and

0:37:46.200 --> 0:37:50.399
<v Speaker 3>beads and bracelets, multicolored hairdo that comes way up off

0:37:50.400 --> 0:37:53.160
<v Speaker 3>the top of her head, big big hair. The son Sherman.

0:37:54.040 --> 0:37:57.800
<v Speaker 3>He likes to play army. You know, that's his whole personality. Basically,

0:37:57.520 --> 0:37:59.640
<v Speaker 3>he likes to run around with toy guns, and then

0:37:59.719 --> 0:38:02.640
<v Speaker 3>later in the movie, it turns out his grandfather has

0:38:02.719 --> 0:38:05.080
<v Speaker 3>turned has trained him how to use like grenades and

0:38:05.120 --> 0:38:06.160
<v Speaker 3>real machine guns.

0:38:06.640 --> 0:38:09.839
<v Speaker 2>Yeah yeah, and I guess Gramps has done most of

0:38:09.880 --> 0:38:13.080
<v Speaker 2>the raising of the child, as Dad is too interested

0:38:13.120 --> 0:38:14.120
<v Speaker 2>in his own pursuits.

0:38:14.320 --> 0:38:17.319
<v Speaker 3>Yes, when we first meet Gramps, he comes through the

0:38:17.320 --> 0:38:22.080
<v Speaker 3>front door muttering about some conspiracy involving U two spy planes,

0:38:22.520 --> 0:38:25.840
<v Speaker 3>and he's carrying a sign about eating lizards to survive

0:38:25.880 --> 0:38:29.759
<v Speaker 3>the apocalypse. And we understand that Gramps's day job is

0:38:29.920 --> 0:38:32.600
<v Speaker 3>that he stands on a street corner downtown with this

0:38:32.719 --> 0:38:35.279
<v Speaker 3>sign and yells at people and hands out pamphlets about

0:38:35.280 --> 0:38:36.280
<v Speaker 3>the end of the world.

0:38:36.760 --> 0:38:39.239
<v Speaker 2>Yeah. Yeah, he's wearing this ridiculous outfit. There's like a

0:38:39.239 --> 0:38:43.240
<v Speaker 2>military uniform with plastic lizards glued to it and stuff.

0:38:43.320 --> 0:38:46.040
<v Speaker 2>It's so over the top, it's wonderful.

0:38:46.320 --> 0:38:48.399
<v Speaker 3>Now, well, Garrett Graham is working on the satellite dish.

0:38:48.440 --> 0:38:51.520
<v Speaker 3>Suddenly there was a giant bolt of lightning from space

0:38:51.640 --> 0:38:54.520
<v Speaker 3>and it comes down into the satellite dish. Somehow it

0:38:54.680 --> 0:38:57.640
<v Speaker 3>fixes the satellite dish and now the TV's working all right.

0:38:58.320 --> 0:39:00.840
<v Speaker 3>And so there's a scene where all the men they're

0:39:00.920 --> 0:39:03.640
<v Speaker 3>like holding this remote control for the TV, which is,

0:39:03.880 --> 0:39:06.440
<v Speaker 3>you know, the size is bigger than a laptop would be.

0:39:06.480 --> 0:39:09.640
<v Speaker 3>Now it's got all these dials and controls on it,

0:39:09.680 --> 0:39:12.600
<v Speaker 3>and they're flipping around to enjoy their own favorite channels.

0:39:12.600 --> 0:39:15.520
<v Speaker 3>So for a bit they watch like a martial arts movie,

0:39:16.000 --> 0:39:21.120
<v Speaker 3>and then they tune into just footage of like troops

0:39:21.120 --> 0:39:25.319
<v Speaker 3>marching around from some historical thing, and the Gramps is like, oh,

0:39:25.400 --> 0:39:29.040
<v Speaker 3>the troop movements. We've got to watch this. For some reason,

0:39:29.080 --> 0:39:31.160
<v Speaker 3>they just as a whole family stand there and watch

0:39:31.239 --> 0:39:34.799
<v Speaker 3>pornography for a minute. And then oh, and then they

0:39:34.800 --> 0:39:37.960
<v Speaker 3>turned that the daughter's requests. They put it on MTV

0:39:38.440 --> 0:39:43.000
<v Speaker 3>and it's some Nigel Toughnell type heavy metal singer going

0:39:43.040 --> 0:39:46.400
<v Speaker 3>like eh, And of course Susie is really into it,

0:39:46.440 --> 0:39:50.200
<v Speaker 3>but also Mary Warnov she's like, this is wrong. He's

0:39:50.239 --> 0:39:54.360
<v Speaker 3>so nasty, but clearly she is into heavy metal also secretly.

0:39:56.120 --> 0:39:58.799
<v Speaker 3>Now Grams does not like MTV. He says it is

0:39:58.880 --> 0:40:03.239
<v Speaker 3>brain rot, it is the intellectual conspiracy, and he you know,

0:40:03.480 --> 0:40:07.680
<v Speaker 3>changes the channel, which ends up being turned to what

0:40:07.800 --> 0:40:12.479
<v Speaker 3>is the MEDUSA program. It's called Medusa's midnight horror thon, which,

0:40:12.520 --> 0:40:17.360
<v Speaker 3>as you said earlier, Rob is an Elvira style comedically

0:40:17.400 --> 0:40:18.760
<v Speaker 3>seductive horror host.

0:40:19.400 --> 0:40:23.240
<v Speaker 2>Elvira, the Mistress of the Dark being the character portrayed

0:40:23.280 --> 0:40:28.560
<v Speaker 2>by Cassandra Peterson. That's a campy, over the top, voluptuous

0:40:29.200 --> 0:40:31.960
<v Speaker 2>kind of like Queen of the Night. You could compare

0:40:32.000 --> 0:40:38.399
<v Speaker 2>this character Elvira to Vampira of decades prior, who, of course,

0:40:38.440 --> 0:40:40.960
<v Speaker 2>pops up in the excellent Edwood movie Plan nine from

0:40:40.960 --> 0:40:41.640
<v Speaker 2>Outer Space.

0:40:42.040 --> 0:40:45.040
<v Speaker 3>At one point, I think Vampira tried to sue Elvira

0:40:45.160 --> 0:40:48.520
<v Speaker 3>for stealing her act, but I don't know how that

0:40:48.600 --> 0:40:49.520
<v Speaker 3>court case worked out.

0:40:50.040 --> 0:40:53.960
<v Speaker 2>We love them both, We're not going to choose sides now.

0:40:53.960 --> 0:40:58.680
<v Speaker 3>Of course, Gramps turns into the cartoon wolf when Medusa

0:40:58.760 --> 0:41:00.680
<v Speaker 3>comes on TV. You know, his eye as are shooting

0:41:00.760 --> 0:41:03.120
<v Speaker 3>six feet out of his head, and he comes up

0:41:03.160 --> 0:41:05.680
<v Speaker 3>with a way of rationalizing why it's okay to keep

0:41:05.719 --> 0:41:09.200
<v Speaker 3>watching this even though you know the MTV was brain rot.

0:41:09.600 --> 0:41:12.719
<v Speaker 3>He says, war stories and horror movies are educational. You know,

0:41:12.719 --> 0:41:17.840
<v Speaker 3>they're survival oriented. And I loved this because it reminds

0:41:17.880 --> 0:41:20.440
<v Speaker 3>me of one of my favorite bits of real world

0:41:20.520 --> 0:41:23.440
<v Speaker 3>video ever, which if you've never seen this before, you

0:41:23.480 --> 0:41:26.040
<v Speaker 3>should look it up. It is a nineteen seventy nine

0:41:26.200 --> 0:41:30.279
<v Speaker 3>reported segment by a local news station in Fort Worth,

0:41:30.400 --> 0:41:34.120
<v Speaker 3>Texas about the release of Ridley Scott's Alien, where they've

0:41:34.160 --> 0:41:37.040
<v Speaker 3>got a reporter on the ground interviewing people coming out

0:41:37.080 --> 0:41:40.040
<v Speaker 3>of the movie theater who have just watched Daien, including

0:41:40.080 --> 0:41:42.400
<v Speaker 3>people who brought their small children with them, and so

0:41:42.480 --> 0:41:45.480
<v Speaker 3>they're like asking, kids, you know, did you like was

0:41:45.520 --> 0:41:47.799
<v Speaker 3>the movie scary? Did you like it? So they talked

0:41:47.800 --> 0:41:49.920
<v Speaker 3>to this one boy and he's like, uh, yeah, it

0:41:49.960 --> 0:41:52.319
<v Speaker 3>was scary. Yeah, I'm glad I saw it. But then

0:41:52.360 --> 0:41:54.560
<v Speaker 3>they go up to this father who is there with

0:41:54.600 --> 0:41:58.040
<v Speaker 3>his wife and an elementary school age son, and the

0:41:58.080 --> 0:42:00.839
<v Speaker 3>reporter goes, are you sorry, sir you brought your son

0:42:00.880 --> 0:42:04.600
<v Speaker 3>along to see Alien? And the father is like, no, ma'am,

0:42:04.640 --> 0:42:06.600
<v Speaker 3>I think he needs to know that things like this

0:42:06.640 --> 0:42:09.359
<v Speaker 3>could happen in life. No, ma'am, I think you should

0:42:09.360 --> 0:42:09.719
<v Speaker 3>have seen it.

0:42:09.719 --> 0:42:12.960
<v Speaker 4>There's something that he needs to know that things could

0:42:13.040 --> 0:42:14.480
<v Speaker 4>like that could happen in life. You know.

0:42:14.600 --> 0:42:17.879
<v Speaker 2>I mean, on one hand, this is true. I mean,

0:42:18.000 --> 0:42:21.640
<v Speaker 2>Alien is a story that you can learn something from,

0:42:21.840 --> 0:42:22.120
<v Speaker 2>you know.

0:42:22.680 --> 0:42:25.240
<v Speaker 3>To be fair to Yeah, okay, I don't know about

0:42:25.400 --> 0:42:28.520
<v Speaker 3>things like this could happen depends on how loose you

0:42:28.560 --> 0:42:31.600
<v Speaker 3>are with things like this, But yeah, there are good

0:42:31.719 --> 0:42:34.440
<v Speaker 3>lessons in Alien, like, for example, if they had just

0:42:34.520 --> 0:42:37.080
<v Speaker 3>listened to Ripley and followed quarantine, none of this would

0:42:37.120 --> 0:42:37.760
<v Speaker 3>have ever happened.

0:42:37.960 --> 0:42:41.920
<v Speaker 2>Yeah, just follow protocol. An Alien is essentially a shake

0:42:41.960 --> 0:42:45.440
<v Speaker 2>hands with danger in space like this is what happens

0:42:45.800 --> 0:42:50.080
<v Speaker 2>when you don't follow protocol. Xenomorph run loud but.

0:42:50.160 --> 0:42:53.160
<v Speaker 3>Anyway, Gramp's seems to take the same attitude. In Terror

0:42:53.280 --> 0:42:58.399
<v Speaker 3>Vision MTV may be degeneracy, but lusty horror movies are educational.

0:42:58.480 --> 0:43:01.480
<v Speaker 3>The events of Terror Vision are contingencies that.

0:43:01.440 --> 0:43:03.719
<v Speaker 2>Should be prepared for absolutely.

0:43:04.560 --> 0:43:06.640
<v Speaker 3>At some point here there is a scene where the

0:43:06.719 --> 0:43:11.520
<v Speaker 3>parents meet Ode, who is Susie's boyfriend. And again this

0:43:11.680 --> 0:43:15.600
<v Speaker 3>is Uncle Rico from Napoleon Dynamite and he is in

0:43:15.719 --> 0:43:18.279
<v Speaker 3>full heavy metal gear. You know, he's got all the

0:43:18.640 --> 0:43:21.839
<v Speaker 3>leather and the studs, and he's got long hair, and

0:43:21.960 --> 0:43:24.760
<v Speaker 3>he is very bill and ted in personality.

0:43:24.920 --> 0:43:29.440
<v Speaker 2>Dude, Yeah, he's got chains. He's got a band shirt.

0:43:29.719 --> 0:43:33.640
<v Speaker 2>I think it says wasp like wasp on it. I'm

0:43:34.120 --> 0:43:36.439
<v Speaker 2>is this a real band? I really am not sure.

0:43:36.680 --> 0:43:39.160
<v Speaker 2>I don't know. Maybe it's his band, because we also

0:43:39.280 --> 0:43:41.360
<v Speaker 2>learned that he is a genius musician.

0:43:41.719 --> 0:43:43.600
<v Speaker 3>Oh yeah, we hear a bit of his band later,

0:43:43.760 --> 0:43:46.319
<v Speaker 3>not really enough to make an impression because they start

0:43:46.360 --> 0:43:48.440
<v Speaker 3>playing it for the monster later and the monster just

0:43:48.480 --> 0:43:52.440
<v Speaker 3>destroys the speakers. But anyway, they first see okay, their

0:43:52.520 --> 0:43:55.120
<v Speaker 3>daughter's got a heavy metal boyfriend, and they're all horrified.

0:43:55.400 --> 0:43:57.560
<v Speaker 3>But then it seems like they're trying to impress him,

0:43:57.600 --> 0:44:01.040
<v Speaker 3>which makes sense because Od is cool. You know. While

0:44:01.400 --> 0:44:04.160
<v Speaker 3>while waiting for Susie to get ready, he starts doing

0:44:04.239 --> 0:44:08.279
<v Speaker 3>air guitar by himself to no music except the squealing

0:44:08.320 --> 0:44:11.640
<v Speaker 3>of a lizard battle on the TV. So, like Gramps

0:44:11.680 --> 0:44:17.160
<v Speaker 3>and Sherman are watching Robot Monster. It's robot and it's

0:44:17.200 --> 0:44:21.120
<v Speaker 3>that scene where the lizards fight. But I wonder if

0:44:21.160 --> 0:44:24.200
<v Speaker 3>you noticed this, rob they're watching Robot Monster, but not

0:44:24.440 --> 0:44:27.040
<v Speaker 3>with original audio. It looks like it's a version of

0:44:27.080 --> 0:44:29.319
<v Speaker 3>the movie that has been redubbed. I don't know if

0:44:29.320 --> 0:44:30.600
<v Speaker 3>that was a rights thing or what.

0:44:31.280 --> 0:44:33.080
<v Speaker 2>Yeah, I don't know, but I did notice that that

0:44:33.120 --> 0:44:36.960
<v Speaker 2>they they clearly redubbed it for use here could have

0:44:36.960 --> 0:44:37.840
<v Speaker 2>been audio quality.

0:44:38.239 --> 0:44:40.439
<v Speaker 3>Yeah, So at one point, while they're in the living

0:44:40.480 --> 0:44:43.520
<v Speaker 3>room there. Odie looks at Gramps and he goes, hey,

0:44:43.760 --> 0:44:48.800
<v Speaker 3>oh dude, what you eaten? And yeah, he says, lizard

0:44:48.840 --> 0:44:52.080
<v Speaker 3>tale jerky want to stick And he says, no, thanks,

0:44:52.080 --> 0:44:56.880
<v Speaker 3>I just pigged out. But anyway, here we get an

0:44:56.880 --> 0:45:00.200
<v Speaker 3>opportunity for Gramps to describe his theory, handing od one

0:45:00.200 --> 0:45:04.359
<v Speaker 3>of his pamphlets. His theory is that lizard tails are

0:45:04.400 --> 0:45:07.680
<v Speaker 3>the perfect regenerating food source, because he says, you eat

0:45:07.680 --> 0:45:09.920
<v Speaker 3>the tail, the lizard don't give a hoot. He just

0:45:09.960 --> 0:45:11.960
<v Speaker 3>grows a new one. Then you eat that too.

0:45:12.360 --> 0:45:16.400
<v Speaker 2>Yeah, I'm not sure this actually works in real life,

0:45:16.440 --> 0:45:19.400
<v Speaker 2>but no, you know. But then again, one gets the

0:45:19.400 --> 0:45:23.480
<v Speaker 2>impression that that grandpa here has signed up for a

0:45:23.560 --> 0:45:26.160
<v Speaker 2>number of ideas that don't actually work in real life.

0:45:27.080 --> 0:45:30.080
<v Speaker 2>He's again clearly into a lot of conspiracy thinking.

0:45:30.560 --> 0:45:33.600
<v Speaker 3>Meanwhile, Garrett Graham and Mary warrenov are having a conversation

0:45:33.920 --> 0:45:37.200
<v Speaker 3>about the daughter's boyfriend and they're like, why do kids

0:45:37.320 --> 0:45:40.120
<v Speaker 3>dress like that? You know, Ode doesn't he know how

0:45:40.200 --> 0:45:42.920
<v Speaker 3>ridiculous he looks? And this is while Garrett Graham is

0:45:42.920 --> 0:45:47.280
<v Speaker 3>putting on his like swinger seduction outfit, which is a

0:45:47.320 --> 0:45:50.520
<v Speaker 3>shirt with a huge collar opened down to like the

0:45:50.560 --> 0:45:53.200
<v Speaker 3>his stomach and wearing a bunch of gold chains.

0:45:53.800 --> 0:45:56.520
<v Speaker 2>Oh yeah, the costuming is always on point. Earlier, when

0:45:56.560 --> 0:45:59.759
<v Speaker 2>he's working on the satellite dish, he has an ascot. Yes,

0:46:00.080 --> 0:46:00.560
<v Speaker 2>it's great.

0:46:01.000 --> 0:46:04.080
<v Speaker 3>There's also somewhere in here on the TV there's a

0:46:04.120 --> 0:46:08.799
<v Speaker 3>TV commercial for a TV called the Super TV, the

0:46:08.840 --> 0:46:12.440
<v Speaker 3>Super Television, which is shown rotating on a TV screen

0:46:12.680 --> 0:46:15.920
<v Speaker 3>on the TV screen, so the TV is showing a

0:46:15.960 --> 0:46:18.480
<v Speaker 3>TV that is showing a TV and they're all the

0:46:18.520 --> 0:46:19.280
<v Speaker 3>same TV.

0:46:20.239 --> 0:46:21.840
<v Speaker 2>Just a blissful holy moment.

0:46:22.400 --> 0:46:24.800
<v Speaker 3>The plot really gets going when Gramps tries to change

0:46:24.840 --> 0:46:26.799
<v Speaker 3>the channel again. He wants to look at like the

0:46:26.920 --> 0:46:30.120
<v Speaker 3>troop movements again so called. I think this looks like

0:46:30.160 --> 0:46:33.000
<v Speaker 3>these are just like old fascist newsreels or something. I

0:46:33.000 --> 0:46:35.680
<v Speaker 3>don't know what they are. But he ends up tuning

0:46:35.760 --> 0:46:39.920
<v Speaker 3>into the wrong thing. He's tuning into a monster. There's

0:46:40.000 --> 0:46:43.560
<v Speaker 3>just like a claw and belching sounds and an eyeball

0:46:43.840 --> 0:46:47.560
<v Speaker 3>on the TV screen. And they watched that for a while,

0:46:47.640 --> 0:46:49.920
<v Speaker 3>but it seems to be kind of boring because like

0:46:50.000 --> 0:46:52.000
<v Speaker 3>nothing's happening. It's just a monster there.

0:46:52.680 --> 0:46:55.520
<v Speaker 2>Yeah, this is, of course the hungry base that has

0:46:55.560 --> 0:47:00.640
<v Speaker 2>been zapped here from across the galaxy, and it's just

0:47:00.680 --> 0:47:02.799
<v Speaker 2>sort of hanging out somehow on the other side of

0:47:02.800 --> 0:47:03.959
<v Speaker 2>the TV screen.

0:47:04.040 --> 0:47:06.600
<v Speaker 3>Now before it actually emerges from the TV. At some

0:47:06.640 --> 0:47:09.560
<v Speaker 3>point they end up watching part of another real movie,

0:47:09.560 --> 0:47:12.920
<v Speaker 3>so they were doing Robot Monster earlier. Later they're watching

0:47:12.960 --> 0:47:16.840
<v Speaker 3>The Giant Claw, which is a sort of American kaiju

0:47:16.960 --> 0:47:19.879
<v Speaker 3>movie from nineteen fifty seven about a large bird from

0:47:19.920 --> 0:47:21.959
<v Speaker 3>outer space that attacks airplanes.

0:47:22.640 --> 0:47:26.520
<v Speaker 2>That's right, that's a Sam Katzman production, same producer of

0:47:27.360 --> 0:47:32.640
<v Speaker 2>a Creature with the Adam Brain. Oh okay, yeah, yeah.

0:47:31.880 --> 0:47:34.439
<v Speaker 3>But anyway, I guess even the Giant Claw cannot hold

0:47:34.480 --> 0:47:38.040
<v Speaker 3>their attention. So Gram's and Sherman fall asleep watching TV,

0:47:38.200 --> 0:47:42.120
<v Speaker 3>and then while they're asleep, a slime covered tentacle monster

0:47:42.320 --> 0:47:45.520
<v Speaker 3>slithers out of the screen of the TV, just like

0:47:45.560 --> 0:47:47.680
<v Speaker 3>the girl in the Ring and is now in three

0:47:47.719 --> 0:47:48.760
<v Speaker 3>dimensional reality.

0:47:49.400 --> 0:47:52.360
<v Speaker 2>Oh yes, and the Hungry Beast here is just amazing,

0:47:53.400 --> 0:47:58.360
<v Speaker 2>absolutely fantastic practical effects monster. It's a morphous and thang

0:47:58.600 --> 0:48:01.040
<v Speaker 2>like as in John Carpenter's The Thing, but at the

0:48:01.080 --> 0:48:04.160
<v Speaker 2>same time has just a completely bonker's look to it,

0:48:04.520 --> 0:48:08.080
<v Speaker 2>like there's some perhaps some rat think qualities. There also

0:48:08.200 --> 0:48:12.840
<v Speaker 2>qualities of just a big, happy dog, which will become

0:48:12.960 --> 0:48:16.960
<v Speaker 2>more apparent later on in the picture. Key appendages, if

0:48:17.000 --> 0:48:20.120
<v Speaker 2>we can call them, that seem to be an eyeball tentacle,

0:48:20.600 --> 0:48:24.040
<v Speaker 2>a claw tentacle, and a tongue like a big, fleshy

0:48:24.080 --> 0:48:27.840
<v Speaker 2>tongue that is rather amorphous, but also can kind of

0:48:27.880 --> 0:48:30.600
<v Speaker 2>form a secondary face and mouth for biting people.

0:48:31.520 --> 0:48:35.120
<v Speaker 3>Now, Gramps and Sherman have some encounters with this monster.

0:48:35.320 --> 0:48:37.880
<v Speaker 3>They get scared by it. Grams is convinced that it

0:48:37.920 --> 0:48:40.680
<v Speaker 3>was not a monster but a burglar, because he says,

0:48:41.040 --> 0:48:46.319
<v Speaker 3>quote sometimes them burglars wear halle Ween masks, and they

0:48:46.360 --> 0:48:50.840
<v Speaker 3>go to Grandpa's fallout shelter to arm themselves. Meanwhile, Norton,

0:48:51.000 --> 0:48:56.080
<v Speaker 3>the satellite dish repair man, comes back. This is Sunny

0:48:56.080 --> 0:48:59.600
<v Speaker 3>Carl Davis again. He's rooting around trying to fix the

0:48:59.600 --> 0:49:04.000
<v Speaker 3>satellite dish. He finds that the electronics box connected to

0:49:04.080 --> 0:49:07.040
<v Speaker 3>the base of the dish has overflowed with a sort

0:49:07.080 --> 0:49:10.000
<v Speaker 3>of coal slaw of alien slime and guts.

0:49:10.880 --> 0:49:13.319
<v Speaker 2>So he starts cleaning that out and you know what's

0:49:13.360 --> 0:49:13.920
<v Speaker 2>going to happen.

0:49:14.640 --> 0:49:17.719
<v Speaker 3>That's right, poor rabbit is doomed here. He gets I

0:49:17.800 --> 0:49:20.760
<v Speaker 3>think he is the first person eaten by the alien.

0:49:20.760 --> 0:49:33.279
<v Speaker 2>As it should be, as God wills it, And.

0:49:33.239 --> 0:49:36.160
<v Speaker 3>So here we're into a kind of general rampage. Middle

0:49:36.200 --> 0:49:38.800
<v Speaker 3>third of the movie. We do see the monster eat

0:49:39.000 --> 0:49:42.200
<v Speaker 3>Gramps at some point. What exactly is the process here?

0:49:42.239 --> 0:49:45.680
<v Speaker 3>It's sort of complicated. First, it puts the clamps on Gramps,

0:49:45.840 --> 0:49:47.960
<v Speaker 3>so it has a claw that's sort of a clamp

0:49:48.040 --> 0:49:52.680
<v Speaker 3>style claw, squeezes Grandpa's head and then folds his head

0:49:52.719 --> 0:49:55.480
<v Speaker 3>in half, and there is blood squirting everywhere, but I

0:49:55.480 --> 0:49:57.840
<v Speaker 3>don't know if it's supposed to be blood. It's not red.

0:49:57.960 --> 0:50:02.040
<v Speaker 3>It is a green liquid leaking out of a Grandpa's head.

0:50:02.200 --> 0:50:05.440
<v Speaker 3>So I guess the monster somehow turns his blood green

0:50:05.680 --> 0:50:07.760
<v Speaker 3>or is the green liquid coming from the monster?

0:50:08.200 --> 0:50:09.720
<v Speaker 2>Yeah, I don't know. It's kind of like a trolled

0:50:09.800 --> 0:50:12.280
<v Speaker 2>toification perhaps.

0:50:12.680 --> 0:50:17.360
<v Speaker 3>Yeah. Then Graham's disintegrates. He melts into a green puddle

0:50:17.480 --> 0:50:21.000
<v Speaker 3>on the floor, So melt movie status confirmed. And then

0:50:21.000 --> 0:50:25.480
<v Speaker 3>the monster starts vacuuming up the green slime and Grandpa's clothes,

0:50:25.520 --> 0:50:28.760
<v Speaker 3>but then spits out his dog tags and then Sherman

0:50:28.880 --> 0:50:31.279
<v Speaker 3>runs into the room just in time to see the

0:50:31.360 --> 0:50:34.239
<v Speaker 3>monster before it shockwarps into the television.

0:50:34.960 --> 0:50:38.040
<v Speaker 2>I have to add this whole death scene is all

0:50:38.080 --> 0:50:40.200
<v Speaker 2>the more shocking because it was done on wall to

0:50:40.239 --> 0:50:42.920
<v Speaker 2>wall carpeting, you know, like that just makes it all

0:50:42.960 --> 0:50:44.640
<v Speaker 2>the more worse. How are you gonna ever get that

0:50:44.680 --> 0:50:45.719
<v Speaker 2>slime up out of there?

0:50:46.040 --> 0:50:48.239
<v Speaker 3>Well, that is the thing. There are scenes of the

0:50:48.280 --> 0:50:51.880
<v Speaker 3>movie where I just kept recently noticing anew the work

0:50:51.920 --> 0:50:54.640
<v Speaker 3>that must have gone into making this house set the

0:50:54.800 --> 0:50:59.000
<v Speaker 3>gaudiest house in history. So there is like a combination

0:50:59.160 --> 0:51:03.920
<v Speaker 3>of neon and pastel color schemes like neon and pastel

0:51:04.040 --> 0:51:09.520
<v Speaker 3>upholstery on the furniture, just gold stuff everywhere, erotic artworks

0:51:09.560 --> 0:51:13.960
<v Speaker 3>on every wall, not good artworks, like tasteless erotic paintings

0:51:13.960 --> 0:51:16.600
<v Speaker 3>all over the place. It is kind of a Vegas

0:51:16.680 --> 0:51:21.200
<v Speaker 3>strip Easter egg themed marl Lago. And they keep calling

0:51:21.280 --> 0:51:22.360
<v Speaker 3>it the Pleasure Dome.

0:51:22.960 --> 0:51:26.640
<v Speaker 2>Yeah, that that sums it up. But yeah, to your point,

0:51:26.760 --> 0:51:31.360
<v Speaker 2>you keep seeing new details, new bits of art, new

0:51:32.080 --> 0:51:35.640
<v Speaker 2>curios on the shelf, and so forth. Yeah, a lot

0:51:35.640 --> 0:51:39.040
<v Speaker 2>of love and attention went into creating this monstrosity of

0:51:39.080 --> 0:51:39.480
<v Speaker 2>a house.

0:51:40.200 --> 0:51:43.200
<v Speaker 3>So some other things go on in here. Sherman calls

0:51:43.239 --> 0:51:45.359
<v Speaker 3>the cops, but they do not want to come and help.

0:51:45.400 --> 0:51:47.320
<v Speaker 3>At this point, At some point later in the movie,

0:51:47.320 --> 0:51:49.160
<v Speaker 3>a cop does come to the house, just to get

0:51:49.200 --> 0:51:52.840
<v Speaker 3>eaten by the monster. Of course, as as is canon

0:51:52.920 --> 0:51:55.800
<v Speaker 3>in all films of this sort, At some point also

0:51:56.040 --> 0:51:59.759
<v Speaker 3>Stan and Raquel come home with their dates and their

0:51:59.800 --> 0:52:02.160
<v Speaker 3>their whole thing is they are into swinging, so they

0:52:02.160 --> 0:52:06.440
<v Speaker 3>bring a couple home to swing with, and then there

0:52:06.239 --> 0:52:08.960
<v Speaker 3>are there are some funny elements to this whole romantic

0:52:09.000 --> 0:52:13.440
<v Speaker 3>farce subplot, like Stan trying to be as attractive as

0:52:13.440 --> 0:52:15.800
<v Speaker 3>he can is. Garrett Graham is quite funny in that

0:52:16.200 --> 0:52:20.120
<v Speaker 3>there are also some painfully unfunny things that haven't aged well,

0:52:20.160 --> 0:52:24.319
<v Speaker 3>that are just like a misunderstanding about Spiro, the guy

0:52:24.360 --> 0:52:27.879
<v Speaker 3>they bring home, being bisexual and interested in Stan, which

0:52:28.120 --> 0:52:31.920
<v Speaker 3>they did not understand, and that's like, that's pretty cringey.

0:52:32.800 --> 0:52:36.360
<v Speaker 2>Yeah, though, I guess if I'm being generous, most of

0:52:36.480 --> 0:52:39.120
<v Speaker 2>the a good portion of the cringe seems to be

0:52:39.200 --> 0:52:43.520
<v Speaker 2>placed on Garrett Graham's character for getting riled up over

0:52:43.560 --> 0:52:44.240
<v Speaker 2>the whole situation.

0:52:44.640 --> 0:52:46.760
<v Speaker 3>That's true, Like, I think a lot of other films

0:52:46.760 --> 0:52:49.360
<v Speaker 3>of this time would have made Spiro the target of

0:52:49.400 --> 0:52:52.080
<v Speaker 3>all the jokes in this thing, But actually more Garret

0:52:52.120 --> 0:52:54.440
<v Speaker 3>Graham is that the target of the jokes, I think.

0:52:54.680 --> 0:52:57.520
<v Speaker 2>Yeah, and I will add the erotic jacuzzi room also

0:52:57.600 --> 0:53:00.239
<v Speaker 2>starts paying off when the monster gets in to the

0:53:00.280 --> 0:53:05.040
<v Speaker 2>pool and starts eating people whilst pretending to be some

0:53:05.120 --> 0:53:06.200
<v Speaker 2>of the people that it is eaten.

0:53:06.560 --> 0:53:08.960
<v Speaker 3>That's right, So it eats both of the guest swingers

0:53:09.000 --> 0:53:12.920
<v Speaker 3>in the jacuzzi room and then also eats the two

0:53:12.960 --> 0:53:16.160
<v Speaker 3>main parents in the jacuzzi room. So all adults eaten, now.

0:53:16.560 --> 0:53:19.000
<v Speaker 2>Yeah, yeah, which it's kind of fit. It's like the

0:53:19.080 --> 0:53:21.560
<v Speaker 2>kids were kind of on their own anyway, without a

0:53:21.600 --> 0:53:24.680
<v Speaker 2>lot of guidance from the parental units and Grandpa, and

0:53:24.719 --> 0:53:26.960
<v Speaker 2>now they truly are on their own. The parents have

0:53:27.040 --> 0:53:29.400
<v Speaker 2>been completely consumed by the stuff that came out of

0:53:29.400 --> 0:53:30.680
<v Speaker 2>the television. Mmmm.

0:53:31.000 --> 0:53:34.040
<v Speaker 3>Ah, yeah, it's a metaphor. I see, Yeah, it's deep.

0:53:34.120 --> 0:53:37.760
<v Speaker 3>This movie real's deep. So at some point Sherman tries

0:53:37.840 --> 0:53:41.080
<v Speaker 3>to explain this is before the parents get eaten. When

0:53:41.160 --> 0:53:43.920
<v Speaker 3>Mary Warrenov comes home and finds him up and running around,

0:53:43.920 --> 0:53:46.879
<v Speaker 3>she's like, get you know, get in bed, but he's

0:53:46.880 --> 0:53:48.960
<v Speaker 3>trying to explain, No, a monster came out of the

0:53:48.960 --> 0:53:52.400
<v Speaker 3>TV and it ate Grandpa, and she's not interested in that,

0:53:52.480 --> 0:53:54.799
<v Speaker 3>but she is mad about the puddle of slime on

0:53:54.840 --> 0:53:57.360
<v Speaker 3>the living room floor, and there was a line that

0:53:57.440 --> 0:54:00.200
<v Speaker 3>really made me laugh because of I guess how it

0:54:00.239 --> 0:54:03.480
<v Speaker 3>was phrased, as Sherman says something like that's what Grandpa

0:54:03.640 --> 0:54:10.280
<v Speaker 3>turned into. Another funny scene from before All the Adults

0:54:10.320 --> 0:54:13.640
<v Speaker 3>Get Eaten is when Garrett Graham is showing off his

0:54:13.760 --> 0:54:18.319
<v Speaker 3>erotic jacuzzi room to the new friends and he's like

0:54:18.600 --> 0:54:21.399
<v Speaker 3>bragging about his sound system he installed in the room

0:54:21.480 --> 0:54:26.160
<v Speaker 3>and the supposedly Roman artworks on the walls, and there

0:54:26.320 --> 0:54:30.759
<v Speaker 3>is a Meanwhile, there's a reptile alien silently making imploring

0:54:30.840 --> 0:54:35.840
<v Speaker 3>gestures on the TV screen behind them, and then finally

0:54:35.880 --> 0:54:40.960
<v Speaker 3>the sound comes on on the TV and the guy's

0:54:41.000 --> 0:54:43.640
<v Speaker 3>going like, people of Earth, you must destroy your satellite

0:54:43.719 --> 0:54:47.440
<v Speaker 3>receivers and keep your televisions deactivated for two hundred years,

0:54:48.040 --> 0:54:50.480
<v Speaker 3>and going on with all this stuff, and then the

0:54:51.200 --> 0:54:54.279
<v Speaker 3>swingers who have come to the house are basically like,

0:54:54.320 --> 0:54:57.080
<v Speaker 3>what is this movie? It is making me feel very erotic.

0:54:58.760 --> 0:55:01.200
<v Speaker 2>I love that the alien is telling them to turn

0:55:01.239 --> 0:55:03.880
<v Speaker 2>the TVs off for two centuries, like it would have

0:55:03.920 --> 0:55:07.160
<v Speaker 2>been you know, it would have still been satirical if

0:55:07.160 --> 0:55:09.120
<v Speaker 2>they were like people of Earth, you can be saved

0:55:09.120 --> 0:55:11.520
<v Speaker 2>if you just turn your TVs off for twenty four hours,

0:55:11.560 --> 0:55:13.799
<v Speaker 2>because obviously we're not going to do that. I won't

0:55:13.800 --> 0:55:17.880
<v Speaker 2>do it, but to make it two hundred years, that's perfect.

0:55:18.320 --> 0:55:21.000
<v Speaker 3>Now, there are some funny bits in here. One thing

0:55:21.120 --> 0:55:24.239
<v Speaker 3>is that the Hungry Beast that comes out of the

0:55:24.280 --> 0:55:26.960
<v Speaker 3>TV after it eats people, it can sort of replicate them,

0:55:27.000 --> 0:55:30.839
<v Speaker 3>so it's like the thing in a way, and so

0:55:31.239 --> 0:55:35.719
<v Speaker 3>at some point replicates Grandpa. And there's a part where

0:55:35.760 --> 0:55:38.480
<v Speaker 3>Mary Warrenov is like yelling down into the bunker to

0:55:38.600 --> 0:55:43.760
<v Speaker 3>find Grandpa, and the monster recreates Grandpa's face and pokes

0:55:43.760 --> 0:55:45.680
<v Speaker 3>it out from behind a wall and it's just dripping

0:55:45.719 --> 0:55:48.800
<v Speaker 3>with ooze, and Mary Warrenov doesn't notice.

0:55:49.360 --> 0:55:51.520
<v Speaker 2>Yeah, I guess the joke here is that, yes, the

0:55:51.600 --> 0:55:56.040
<v Speaker 2>Hungry Beast is not a great impersonator, but everyone in

0:55:56.080 --> 0:55:58.759
<v Speaker 2>the world of this film is so self absorbed that

0:55:59.000 --> 0:56:01.239
<v Speaker 2>no one really noticed. They're just like, oh, I guess

0:56:01.280 --> 0:56:04.359
<v Speaker 2>that is Grandpa. I guess that is a mom, dad

0:56:04.400 --> 0:56:08.040
<v Speaker 2>and their friends. You know, nobody questions it. Now at

0:56:08.040 --> 0:56:11.120
<v Speaker 2>this point, again, adults are out the out of the picture.

0:56:11.200 --> 0:56:15.600
<v Speaker 2>It's just the youth who are left to stand up

0:56:15.640 --> 0:56:17.640
<v Speaker 2>to the monster. And you might expect the film to

0:56:17.680 --> 0:56:22.680
<v Speaker 2>take the sort of predictable, you know, battle direction here

0:56:22.719 --> 0:56:25.440
<v Speaker 2>where Okay, now the kids, the youth have to band

0:56:25.440 --> 0:56:27.440
<v Speaker 2>together to fight the monster. It seems like it's going

0:56:27.480 --> 0:56:29.759
<v Speaker 2>to maybe go that way or the movie's gonna end

0:56:29.920 --> 0:56:32.719
<v Speaker 2>prematurely one or the other. But we end up going

0:56:32.760 --> 0:56:34.480
<v Speaker 2>in a different direction. We end up going in an

0:56:34.480 --> 0:56:35.560
<v Speaker 2>et direction.

0:56:36.000 --> 0:56:37.920
<v Speaker 3>That's right, because what are the youth going to do

0:56:38.000 --> 0:56:41.120
<v Speaker 3>when when a monstrous entity comes from the television? They're

0:56:41.160 --> 0:56:43.200
<v Speaker 3>going to make an unholy alliance with it?

0:56:43.719 --> 0:56:46.920
<v Speaker 2>That's right, it's about to eat O D O D

0:56:47.440 --> 0:56:50.480
<v Speaker 2>puts his arms up, you know, like ah, and as

0:56:50.480 --> 0:56:53.160
<v Speaker 2>he does so, the monster stops for a second. The

0:56:53.160 --> 0:56:57.480
<v Speaker 2>monster pauses. The monster's looking at those like studs and chains,

0:56:57.880 --> 0:57:02.360
<v Speaker 2>and we get the monsters flashback to its alien master

0:57:03.040 --> 0:57:06.200
<v Speaker 2>in some distant part of the universe being nice to it,

0:57:06.880 --> 0:57:10.600
<v Speaker 2>raising it, giving it treats, and suddenly he's pacified. The

0:57:10.719 --> 0:57:12.160
<v Speaker 2>hungry beast is pacified.

0:57:12.600 --> 0:57:18.320
<v Speaker 3>Right, So the Beast's humanoid alien friend had gloves that

0:57:18.360 --> 0:57:22.280
<v Speaker 3>were like heavy metal leather studs. Yes, perfect, I mean

0:57:22.600 --> 0:57:24.200
<v Speaker 3>it is sweet actually.

0:57:25.800 --> 0:57:28.200
<v Speaker 2>Because again, they designed this creature so well that he

0:57:28.320 --> 0:57:31.440
<v Speaker 2>is monstrous and horrific, but also kind of looks like

0:57:31.480 --> 0:57:32.960
<v Speaker 2>a big, stupid, happy dog too.

0:57:33.520 --> 0:57:36.440
<v Speaker 3>Yeah. Od he says he looked at my studs and

0:57:36.520 --> 0:57:40.960
<v Speaker 3>cooled out. This dude's into metal. This is also the

0:57:40.960 --> 0:57:44.000
<v Speaker 3>part where Susie is like, he's so barfie.

0:57:44.680 --> 0:57:46.000
<v Speaker 2>He is very Barfye.

0:57:46.680 --> 0:57:49.800
<v Speaker 3>But they go about teaching the Barfee monster the ways

0:57:49.840 --> 0:57:52.360
<v Speaker 3>of Earth. So they're feeding him food, and I thought

0:57:52.400 --> 0:57:54.720
<v Speaker 3>it was funny that all of the food they feed

0:57:54.800 --> 0:57:58.440
<v Speaker 3>him is like hyper processed food that comes in plastic

0:57:58.520 --> 0:58:00.440
<v Speaker 3>boxes or cardboard boxes.

0:58:01.440 --> 0:58:03.280
<v Speaker 2>Yeah, and I think I could have missed something, but

0:58:03.320 --> 0:58:05.840
<v Speaker 2>I think the joke too is that he doesn't the

0:58:06.120 --> 0:58:08.280
<v Speaker 2>hungry beast doesn't actually want to eat the food. He

0:58:08.360 --> 0:58:10.520
<v Speaker 2>just wants to eat the packaging, like he just he

0:58:10.560 --> 0:58:11.520
<v Speaker 2>wants to eat garbage.

0:58:11.800 --> 0:58:16.080
<v Speaker 3>Yeah. They also teach him about music. They play Od's

0:58:16.200 --> 0:58:20.160
<v Speaker 3>music for him, but he like kicks, like stabs a

0:58:20.200 --> 0:58:23.280
<v Speaker 3>tentacle into one of the speakers and all that. They

0:58:23.360 --> 0:58:27.000
<v Speaker 3>teach the monster about TV, of course, the most important

0:58:27.080 --> 0:58:28.040
<v Speaker 3>invention on Earth.

0:58:28.560 --> 0:58:31.640
<v Speaker 2>Yeah, and so for a little bit it seems like they're,

0:58:31.920 --> 0:58:34.200
<v Speaker 2>you know, they're pacifying the monster, they're making friends with

0:58:34.240 --> 0:58:38.720
<v Speaker 2>the monster. But as it turns out, like this is

0:58:38.760 --> 0:58:41.760
<v Speaker 2>not going to work. They can only pacify the beast

0:58:41.840 --> 0:58:44.960
<v Speaker 2>for so long. The beast is is unpredictable, and we

0:58:45.000 --> 0:58:48.040
<v Speaker 2>eventually learned that this is why he was disposed of.

0:58:48.160 --> 0:58:51.520
<v Speaker 2>This is why he was essentially loaded into a teleporter

0:58:51.600 --> 0:58:54.440
<v Speaker 2>and beamed across the universe. And this is where Pluthar

0:58:54.920 --> 0:58:57.640
<v Speaker 2>shows up to save the day. This is, I believe,

0:58:57.680 --> 0:58:59.480
<v Speaker 2>the same alien we see at the beginning of the

0:58:59.520 --> 0:59:03.160
<v Speaker 2>picture disposing of the mutant. This is the same alien

0:59:03.200 --> 0:59:08.440
<v Speaker 2>that has been visible on the TV transmission saying people

0:59:08.440 --> 0:59:11.000
<v Speaker 2>of Earth, you must turn off your televisions for two centuries.

0:59:11.560 --> 0:59:14.600
<v Speaker 2>But now he has appeared in person, beamed through the

0:59:14.640 --> 0:59:18.280
<v Speaker 2>television into the living room, and he's wearing like a

0:59:18.320 --> 0:59:23.120
<v Speaker 2>spacesuit so that he can withstand Earth's atmosphere. And you know,

0:59:23.160 --> 0:59:26.560
<v Speaker 2>he spent the whole picture trying to warn them about

0:59:26.600 --> 0:59:29.400
<v Speaker 2>this monster and about the thread and how dangerous this

0:59:29.520 --> 0:59:33.120
<v Speaker 2>organism is. And now he's here and he's like, I

0:59:33.160 --> 0:59:36.320
<v Speaker 2>am here to help you. Let me help you. And

0:59:36.480 --> 0:59:39.880
<v Speaker 2>he even offers to resurrect the dead family members. Though

0:59:40.240 --> 0:59:42.480
<v Speaker 2>I thought this was this hilarious, he does add that

0:59:42.520 --> 0:59:45.880
<v Speaker 2>they will have to live in special aquariums. They are

0:59:45.920 --> 0:59:47.160
<v Speaker 2>genetically resurrected.

0:59:47.480 --> 0:59:50.640
<v Speaker 3>Yeah, but here we get the intersection with another plot

0:59:50.680 --> 0:59:52.880
<v Speaker 3>thread that's been developing. Wait did we even mention the

0:59:52.880 --> 0:59:54.560
<v Speaker 3>thing about Medusa yet? I don't think we did.

0:59:54.640 --> 0:59:57.440
<v Speaker 2>Oh you know, so they called the cops. The cops

0:59:57.720 --> 1:00:01.120
<v Speaker 2>showed up and the cop was killed by the monster. Yeah,

1:00:01.160 --> 1:00:03.920
<v Speaker 2>so they need someone. They were like, well, let's call Medusa.

1:00:04.080 --> 1:00:06.400
<v Speaker 2>She's into this stuff and she's a part of our

1:00:06.440 --> 1:00:09.480
<v Speaker 2>lives because she's on television. Let's call her. They want

1:00:09.480 --> 1:00:11.440
<v Speaker 2>to make money. I think, oh, that's right. This is

1:00:11.520 --> 1:00:14.520
<v Speaker 2>when they have seemingly befriended the creature and they're like, yeah,

1:00:14.600 --> 1:00:16.040
<v Speaker 2>let's make some money. Yeah.

1:00:16.080 --> 1:00:19.360
<v Speaker 3>So Susie calls up Medusa on the you know, the

1:00:19.400 --> 1:00:23.040
<v Speaker 3>TV horror host, the Alvira type lady, and says, I've

1:00:23.080 --> 1:00:25.160
<v Speaker 3>got something really scary for you that would be great

1:00:25.160 --> 1:00:26.840
<v Speaker 3>for your show. You know, give us some money and

1:00:27.120 --> 1:00:30.920
<v Speaker 3>and and you can have it, trying to sell the

1:00:30.960 --> 1:00:33.440
<v Speaker 3>monster to her, and Medusa is initially not interested. She

1:00:33.480 --> 1:00:36.680
<v Speaker 3>says she has several parties to go to, but they're like, well,

1:00:36.680 --> 1:00:38.800
<v Speaker 3>here's our address. You know, you can come by our

1:00:38.880 --> 1:00:41.800
<v Speaker 3>party later if you want to check out what we've

1:00:41.800 --> 1:00:42.360
<v Speaker 3>got to show.

1:00:42.400 --> 1:00:42.560
<v Speaker 2>You.

1:00:43.000 --> 1:00:44.920
<v Speaker 3>So you don't think Medusa is going to actually come

1:00:44.920 --> 1:00:46.640
<v Speaker 3>to their house, but I guess she does. Maybe those

1:00:46.680 --> 1:00:48.560
<v Speaker 3>other parties she went to were really lame.

1:00:49.200 --> 1:00:51.720
<v Speaker 2>Yeah, we don't know for sure, but she shows up.

1:00:52.000 --> 1:00:55.720
<v Speaker 2>She leaves her producer I think, in the vehicle, and

1:00:56.280 --> 1:00:59.640
<v Speaker 2>she comes in and she sees Pluthar talking to the children,

1:00:59.720 --> 1:01:02.560
<v Speaker 2>to the youths here, and he has like some sort

1:01:02.560 --> 1:01:04.840
<v Speaker 2>of a ray gun in his hand. So she decides

1:01:04.840 --> 1:01:07.280
<v Speaker 2>to save the day. Like her noble act is to

1:01:07.320 --> 1:01:11.760
<v Speaker 2>come up behind Pluthar and uh and and bash in

1:01:11.880 --> 1:01:15.720
<v Speaker 2>his dome that that like acrylic or glass dome that

1:01:15.840 --> 1:01:19.160
<v Speaker 2>is around his head. Bashes that in and then we

1:01:19.240 --> 1:01:24.080
<v Speaker 2>get this great scene where Pluthar's helmet depressurizes and his

1:01:24.080 --> 1:01:27.440
<v Speaker 2>head explodes inside it. So he here we go, this

1:01:27.560 --> 1:01:30.440
<v Speaker 2>was the one guy who could have saved everyone. Uh,

1:01:30.480 --> 1:01:33.120
<v Speaker 2>and now he's dead. He's sorta in the He's kind

1:01:33.120 --> 1:01:36.080
<v Speaker 2>of the Milton Arbogast of this picture.

1:01:36.040 --> 1:01:39.320
<v Speaker 3>The detective from Psycho. Yeah.

1:01:39.360 --> 1:01:42.640
<v Speaker 2>And Medusa's like, hey, yeah, you're welcome. I just saved you.

1:01:43.360 --> 1:01:46.040
<v Speaker 2>But of course she has not saved anyone. The monster

1:01:46.120 --> 1:01:50.320
<v Speaker 2>proceeds to eat absolutely everybody, and so the ending of

1:01:50.360 --> 1:01:52.600
<v Speaker 2>the picture we get. For the ending of the picture,

1:01:52.600 --> 1:01:56.320
<v Speaker 2>we get this classic The nightmare continues slash spreads. Ending

1:01:57.320 --> 1:02:00.080
<v Speaker 2>the hungry beast has eaten everyone in the house and

1:02:00.240 --> 1:02:04.240
<v Speaker 2>some it's taken on the form of Medusa sort of. Again,

1:02:04.360 --> 1:02:07.080
<v Speaker 2>it's not that the creature's not that good at mimicking

1:02:07.160 --> 1:02:11.920
<v Speaker 2>human beings, and it's mimicking of Medusa is just really awful.

1:02:12.200 --> 1:02:15.040
<v Speaker 2>It's only about half there. But again, people in this

1:02:15.080 --> 1:02:18.320
<v Speaker 2>world are completely self absorbed and not very attentive. So

1:02:18.360 --> 1:02:20.320
<v Speaker 2>she climbs in the back of her producer's vehicle and

1:02:20.360 --> 1:02:23.000
<v Speaker 2>she's like, let's go back to the TV station, and

1:02:23.080 --> 1:02:26.439
<v Speaker 2>so that's where they're headed, inevitably to spread more terror

1:02:26.520 --> 1:02:33.320
<v Speaker 2>vision across the earth. Cure the music, yep, tervision, and yeah,

1:02:33.360 --> 1:02:36.120
<v Speaker 2>it's played for Kookie laughs, and I love it despite

1:02:36.160 --> 1:02:39.320
<v Speaker 2>the fact that all of our characters died and perished

1:02:39.360 --> 1:02:40.320
<v Speaker 2>in the belly of a monster.

1:02:40.640 --> 1:02:43.520
<v Speaker 3>Well, it's a kind of perfect bogeyman figure in that regard.

1:02:43.600 --> 1:02:45.439
<v Speaker 3>So it's like, you know, kids, if you don't turn

1:02:45.480 --> 1:02:48.120
<v Speaker 3>off the TV in time, you will know what it

1:02:48.200 --> 1:02:50.479
<v Speaker 3>is to roast in the depths of a slore this day.

1:02:52.120 --> 1:02:55.680
<v Speaker 2>All right, So that is terror vision again. I think

1:02:55.720 --> 1:02:59.960
<v Speaker 2>a pretty pretty fabulous and fun bit of weird cinema

1:03:00.120 --> 1:03:03.120
<v Speaker 2>from the mid nineteen eighties didn't make much of a splash,

1:03:03.160 --> 1:03:05.040
<v Speaker 2>I think when it came out, but has developed a

1:03:05.120 --> 1:03:06.400
<v Speaker 2>cult following overtime.

1:03:06.720 --> 1:03:08.880
<v Speaker 3>I'm trying to think if this basic plot element were

1:03:08.960 --> 1:03:11.040
<v Speaker 3>used today, what it would be. A monster gets beamed

1:03:11.080 --> 1:03:11.760
<v Speaker 3>through TikTok.

1:03:11.840 --> 1:03:15.200
<v Speaker 2>I guess yeah, they would probably it would probably be

1:03:15.240 --> 1:03:17.240
<v Speaker 2>some sort of a social media thing, right, that would

1:03:17.240 --> 1:03:20.480
<v Speaker 2>be the main commentary. That's the TV is less of

1:03:20.560 --> 1:03:23.040
<v Speaker 2>the idiot box and now the idiot box is the

1:03:23.120 --> 1:03:24.000
<v Speaker 2>thing in our hands.

1:03:24.280 --> 1:03:25.840
<v Speaker 3>I mean they're both still idiot boxing.

1:03:26.240 --> 1:03:28.360
<v Speaker 2>Yes, there's still lots of idiots stay to go around

1:03:28.880 --> 1:03:30.600
<v Speaker 2>in media. But yeah, I guess we'd have to take

1:03:30.600 --> 1:03:33.160
<v Speaker 2>a slightly different form and satellite it's not really the

1:03:33.160 --> 1:03:35.360
<v Speaker 2>satellite now, it would be the Internet. So it would

1:03:35.360 --> 1:03:39.880
<v Speaker 2>be the hungry beast crawling through the Internet, and each

1:03:39.960 --> 1:03:43.960
<v Speaker 2>character would be like a different stereotype of how obsessed

1:03:44.000 --> 1:03:47.880
<v Speaker 2>we are with different corners of the Internet. But it

1:03:47.920 --> 1:03:50.200
<v Speaker 2>wouldn't be the same. It wouldn't be the same terror vision.

1:03:50.960 --> 1:03:52.560
<v Speaker 2>All right, well, we're going to go ahead and close

1:03:52.560 --> 1:03:55.480
<v Speaker 2>it out there, but just to remind you Stuff to

1:03:55.480 --> 1:03:58.840
<v Speaker 2>Blow Your Mind is primarily a science podcast with core

1:03:58.880 --> 1:04:02.520
<v Speaker 2>episodes on Tuesday and Thursdays. On Mondays we do a

1:04:02.520 --> 1:04:04.520
<v Speaker 2>listener mail. On Wednesday's we do a short form Monster

1:04:04.560 --> 1:04:07.240
<v Speaker 2>Factor Artifact episode, but on Fridays we set aside most

1:04:07.240 --> 1:04:09.720
<v Speaker 2>serious concerns to just watch a weird movie on Weird

1:04:09.720 --> 1:04:11.960
<v Speaker 2>House Cinema. And if you want a list of all

1:04:11.960 --> 1:04:13.960
<v Speaker 2>the movies we've covered over the year as well, you

1:04:13.960 --> 1:04:15.680
<v Speaker 2>can look in a couple of places. I blog about

1:04:15.680 --> 1:04:18.640
<v Speaker 2>these at simmutemusic dot com. But also if you go

1:04:18.680 --> 1:04:20.720
<v Speaker 2>to letterbox dot com, it's l E T T E

1:04:20.840 --> 1:04:23.120
<v Speaker 2>R B o x D dot com. You'll find our

1:04:23.240 --> 1:04:25.880
<v Speaker 2>username there. We are Weird House, and we have a

1:04:25.960 --> 1:04:28.280
<v Speaker 2>list there of all the movies we've covered so far,

1:04:28.320 --> 1:04:31.640
<v Speaker 2>and sometimes there's a glimpse ahead of what's coming up next.

1:04:32.480 --> 1:04:35.840
<v Speaker 2>We're we're in reruns next week, but the week after

1:04:35.880 --> 1:04:37.920
<v Speaker 2>that we do have a film picked out and you'll

1:04:37.920 --> 1:04:40.360
<v Speaker 2>see a hint of that on the letterboxed list.

1:04:40.800 --> 1:04:44.440
<v Speaker 3>Huge thanks as always to our excellent audio producer Jjposway.

1:04:44.600 --> 1:04:46.280
<v Speaker 3>If you would like to get in touch with us

1:04:46.280 --> 1:04:48.760
<v Speaker 3>with feedback on this episode or any other to suggest

1:04:48.760 --> 1:04:50.800
<v Speaker 3>a topic for the future, or just to say hello.

1:04:51.160 --> 1:04:53.960
<v Speaker 3>You can email us at contact Stuff to Blow Your

1:04:53.960 --> 1:05:01.480
<v Speaker 3>Mind dot com.

1:05:01.680 --> 1:05:04.640
<v Speaker 1>Stuff to Blow Your Mind is production of iHeartRadio. For

1:05:04.720 --> 1:05:08.560
<v Speaker 1>more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1:05:08.640 --> 1:05:10.400
<v Speaker 1>or wherever you listen to your favorite shows.