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

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Speaker 2: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is Joe McCormick. And today on Weird House Cinema,

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Speaker 3: we're going to be talking about the nineteen eighty one

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Speaker 3: American horror movie The Bugins, directed by James L. Conway,

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Speaker 3: starring Rebecca Balding and Fred McCarran.

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Speaker 2: Rob.

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Speaker 3: I think it's a bit of serendipity that you got

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Speaker 3: to watch this movie on an airplane on the way

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Speaker 3: back from actually being in some caverns like seen in

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Speaker 3: the movie The Buggins.

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Speaker 2: Well, yeah, as featured in The Buggins. Yes, actual caves,

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Speaker 2: which may come back to in some upcoming episodes of

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Speaker 2: Stuff to Blow Your Mind. But yeah, fresh off of

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Speaker 2: some adventures in some actual caves, I got to experience

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Speaker 2: these adventures in probably not actual caves. Yeah.

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Speaker 3: I read somewhere that the cave sets here or the

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Speaker 3: mine whatever, you know, the underground cavern sets were built

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Speaker 3: in a grocery store, I think.

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Speaker 2: Okay, but a look pretty good.

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Speaker 3: Yeah, But so you were on an airplane, maybe with

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Speaker 3: a head cold, watching The Buggins. That sounds like a

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Speaker 3: that's a mind space.

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Speaker 2: And clearly as the as the filmmakers intended, with me

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Speaker 2: occasionally having to like lean forward if there's like a

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Speaker 2: little bit of nudity in the film to keep the

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Speaker 2: people in the seats behind me from seeing it and

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Speaker 2: wondering what I'm watching, but not that there's a lot

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Speaker 2: of nudity in this one.

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Speaker 3: Yeah, So before you ask, yes, this is a movie,

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Speaker 3: I picked about eighty percent on the basis of the

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Speaker 3: title I came across. I'd never seen The Buggins before. Uh,

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Speaker 3: And I got to the title and I watched the trailer,

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Speaker 3: and the trailer is great because there's no narration for

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Speaker 3: most of it. It's just scenes from the movie, a

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Speaker 3: lot of screaming, you know, creature cam kind of looking

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Speaker 3: up from the floor, chasing people around. And then it

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Speaker 3: gets to the very end of the trailer and suddenly

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Speaker 3: a deep voice comes on. I don't know if it's

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Speaker 3: Don Lafontaine or whoever, but somebody comes on and says,

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Speaker 3: there is no escape the Buggins. That's all. It's like, okay,

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Speaker 3: well you got to watch this.

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Speaker 2: Yeah. It's almost like he didn't really know exactly how

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Speaker 2: to land the Boogins. How he felt about that. I

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Speaker 2: don't know how I feel about the Buggins. It makes

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Speaker 2: me think of Boogers. It makes me think of Boogieman

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Speaker 2: and boogey Men. And I think when you first brought

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Speaker 2: this movie up, I had a moment where it's like,

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Speaker 2: is I confused this film with the Willies and maybe

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Speaker 2: to a certain extent, creepyzoids, Like there are a.

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Speaker 3: Few critters, a little bit of that critters.

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Speaker 2: Yeah, a lot of silly monster named films, but the

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Speaker 2: one i'd seen before, Munchies.

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Speaker 3: Yeah, is okay, very important question by your criteria. Is

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Speaker 3: the Buggins a Gromlin's film? No, No, okay.

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Speaker 2: Yeah, these are just I don't want to spoil too

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Speaker 2: much about the creatures, though. I guess at this point

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Speaker 2: we'll go ahead and just remind you if you want to,

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Speaker 2: if you want to experience the Buggins without any additional knowledge,

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Speaker 2: now's a good time to jump off and go watch

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Speaker 2: the Boogins. But otherwise we're going to spoil stuff. I

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Speaker 2: will say that the creatures and the Boogins, the titular Boogins,

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Speaker 2: are not They're not clowning around. They are predatory monsters.

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Speaker 3: There's no mischief, there's no Grimlins quality they're they're not

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Speaker 3: making jokes. There are a lot of jokes in the film,

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Speaker 3: and there is mischief, but it's by the human characters. Yeah.

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Speaker 3: So The Buggins is a low budget I would have

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Speaker 3: to be honest and say slightly annoying, but in other

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Speaker 3: ways cozy and sort of adorable tunnel underground themed monster

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Speaker 3: movie set in the Colorado Rockies.

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Speaker 2: Yeah, I think that's a good read. I wasn't annoyed

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Speaker 2: by it. I guess my tolerance for annoyance and B

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Speaker 2: movies is pretty high at this point.

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Speaker 3: I mean, I'm not saying it's a bad time, Like

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Speaker 3: I really enjoyed The Buggins, but Roger I found moderately

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Speaker 3: too severely grading.

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Speaker 2: Okay, I'll go with moderately, But maybe I was just

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Speaker 2: I was just really chilled out on the plane for

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Speaker 2: this one. But I do agree with the coziness. I

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Speaker 2: felt like this movie had a really strong seventies sitcom

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Speaker 2: sort of vibe, a little bit like sex comedy sitcom,

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Speaker 2: like basically Three's Company, except without a laugh track. I

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Speaker 2: think you could have dropped a laugh track in here

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Speaker 2: and a nineteen seventies early eighties audience would have known

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Speaker 2: how to react. And you also have no like don

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Speaker 2: knots or anything. Instead of don knots, you have killer

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Speaker 2: rubber monsters. But yeah, in its own way, this made

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Speaker 2: it kind of charming. He felt kind of safe with

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Speaker 2: these characters, even though these characters, as we will learn,

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Speaker 2: are not safe.

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Speaker 3: Yeah. So, the premise of The Buggins is a a

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Speaker 3: couple of young mine workers guys in their twenties named

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Speaker 3: Mark and Roger rent a cabin. While they're not like

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Speaker 3: experienced mine workers, they're doing a summer contract or something

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Speaker 3: to clean up an abandoned silver mine in the mountains

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Speaker 3: of Colorado, and they invite up to join them at

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Speaker 3: the cabin, a couple of lady friends and also a

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Speaker 3: very cute, very doomed, and very talented dog. We'll have

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Speaker 3: more to say about the dog as we go on,

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Speaker 3: But while they're there in the cabin and working in

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Speaker 3: the mines, the characters discover a bloodthirsty evil has been

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Speaker 3: unleashed from the caverns below. So we mentioned the cozy

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Speaker 3: vibe of the movie, and one way I would put

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Speaker 3: this is that, and several other critics have written this

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Speaker 3: I wasn't the first to notice it, but I agree

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Speaker 3: with this assessment. The Buggins blends two familiar horror movie aesthetics,

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Speaker 3: and those two aesthetics are on one and the wiggly

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Speaker 3: nineteen fifties creature feature moves like the crawling Eye or

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Speaker 3: Earth versus the Spider, think, a kind of goofy rubber

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Speaker 3: monster and a g whiz sensibility. It blends that on

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Speaker 3: the one hand, and then on the other hand, the

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Speaker 3: nineteen eighties teen slasher movie like Friday the Thirteenth or

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Speaker 3: prom Night. And I would say that the way these

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Speaker 3: pieces come together is that the movie has the structure

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Speaker 3: and setting of the post Halloween slasher film, but it

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Speaker 3: has the soul, the rubber soul, and the cozy quaintness

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Speaker 3: of the drive in monster movie. Do you get what

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Speaker 3: I'm saying there?

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Speaker 2: Absolutely? Yeah, Like it doesn't really have any of the

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Speaker 2: mild to severe sleeves of like an early eighties slasher picture.

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Speaker 2: And yeah, the characters have more of that like nineteen

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Speaker 2: fifties nineteen sixties heart to them. Yeah.

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Speaker 3: Well, and the weird thing is there is a character

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Speaker 3: who is I think explicitly supposed to have a sleazy connotation,

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Speaker 3: but it's kind of a Scooby Doo version.

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Speaker 2: Yeah.

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Speaker 3: Yeah, it's very overt and silly.

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Speaker 2: Yeah yeah. You get the impression that he's maybe I'll talk. Yeah,

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Speaker 2: there's a lot. He talks a lot about how much

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Speaker 2: he wants to make the sex, but I don't think

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Speaker 2: it ever gets around to it. In this picture.

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Speaker 3: He does does well well. They're interrupted by the police

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Speaker 3: in the one scene where I don't know how far

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Speaker 3: they got.

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Speaker 2: Yeah, I don't know how much sexing actually occurred. It

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Speaker 2: seems like there was a definite cutoff plane and I'm

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Speaker 2: not sure they ever got it back around to picking

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Speaker 2: up where they left off.

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Speaker 3: So I looked into the reception history of The Boogins.

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Speaker 3: Did critics like the movie? Opinions seem mixed, But in

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Speaker 3: the July nineteen eighty two edition of the Twilight Zone magazine,

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Speaker 3: this movie got a humming endorsement from author Stephen King.

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Speaker 3: So Stephen King had stepped in to do guest film reviews.

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Speaker 3: I think the regular film critic was away for some reason,

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Speaker 3: and so he has a column in this issue of

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Speaker 3: Twilight Zone magazine called Digging the Buggins, in which he

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Speaker 3: called it quote a wildly energetic monster movie. Now, I

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Speaker 3: liked The Buggins, but I don't know if that's how

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Speaker 3: I would describe it.

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Speaker 2: Yeah, I think energetic is a stretch. It's pretty laid

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Speaker 2: back and relaxed for the most part. Yeah, so some

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Speaker 2: great scenes with tension to them, but yeah, even by

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Speaker 2: nineteen eighty one standards, I wouldn't say it's particularly energetic.

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Speaker 2: I mean, this is the same year that we got

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Speaker 2: the first Evil Dead film and Joe Dante's The Howling,

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Speaker 2: So yeah, those are.

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Speaker 3: Both much more energetic. Yeah, but there's a sort of

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Speaker 3: King's take, and haven't I wasn't able to find the

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Speaker 3: full text of this article. I don't think it's been

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Speaker 3: digitized online anywhere, but I found a blog post where

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Speaker 3: somebody was summarizing it, and they said that in this

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Speaker 3: film review, Stephen King scolds audiences for only wanting mad

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Speaker 3: slasher movies and for thinking themselves above a rubber monster.

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Speaker 3: You know, he's sort of making the case that a

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Speaker 3: classic nineteen fifty style rubber monster is a beautiful thing.

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Speaker 3: And there I would agree.

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Speaker 2: Yeah, I would agree with that. I love Stephen King.

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Speaker 2: I'm never going to stop loving Stephen King, but I

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Speaker 2: will add that he has never been shy about going

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Speaker 2: all in on something that he loves if it's like it.

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Speaker 2: Certainly if it's a new adaptation of his own work

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Speaker 2: that he digs. But yeah, he can be very enthusiastic

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Speaker 2: about the things that he likes.

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Speaker 3: Now, one thing I thought would be worth discussing about

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Speaker 3: The Buggins before we get into talking about the cast

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Speaker 3: and crew is the production company that put it out.

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Speaker 3: So let's do a sidebar on Taft International Pictures.

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Speaker 2: Yeah, this is very fascinating. As I'll get into it,

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Speaker 2: I read I was reading a little bit about this

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Speaker 2: via Michael Weldon's Psychotronic Film Guides.

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Speaker 3: Okay, so my main source on this was an AV

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Speaker 3: Club review of The Boogins by Keith Phipps, which went

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Speaker 3: a bit into the history of this company. It wasn't

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Speaker 3: originally Taft International Pictures. It was previously known as Sun

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Speaker 3: Classic Pictures, but Son with two ends like the guitar

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Speaker 3: amplifier brand.

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Speaker 2: Mm hmm, yeah, because I believe if you only had

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Speaker 2: one in, it's an adult publisher. So they had They're like,

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Speaker 2: I put another in on there and then then they'll

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Speaker 2: know it's for family content.

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Speaker 3: So Phipps referred to Sun Classic Pictures as quote one

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Speaker 3: of the most profitably disreputable film distributors in cinematic history,

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Speaker 3: despite not being an adult content thing. Instead, they were

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Speaker 3: disreputable due to their track record of putting out factually

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Speaker 3: decrepit documentaries and running shameless advertising and putting together like

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Speaker 3: TV and radio promo spots for the movies that would

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Speaker 3: promise way too much, way more than these movies we're

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Speaker 3: going to deliver. You know, you'd get some kind of

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Speaker 3: low budget, dubious documentary and it would be sold as

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Speaker 3: like the most amazing revelation in film history and that

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Speaker 3: sort of thing.

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Speaker 2: Yeah, yeah, that's my understanding. So this is a Sun

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Speaker 2: Classics was a Utah based company dealt mostly in documentaries,

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Speaker 2: but again not classy documentaries, sensational nineteen seventies docs that

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Speaker 2: we'd rightfully identify as conspiracy theory and cryptic cryptic flicks

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Speaker 2: today really sort of the forerunners, the mind poisoning forerunners

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Speaker 2: of later day conspiracy thought, I would.

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Speaker 3: Say, yeah, the media arm of that. So some examples

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Speaker 3: that they did religiously themed documentaries and also conspiracy ones,

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Speaker 3: historical conspiracy things. So one, for example is a famous

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Speaker 3: one called In Search of Noah's Arc from nineteen seventy six,

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Speaker 3: a movie that famously claimed to have found the final

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Speaker 3: resting place of Noah's Ark on a mountain in Turkey.

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Speaker 3: There's another one they put out called Beyond and Back

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Speaker 3: from nineteen seventy eight, which is a movie about near

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Speaker 3: death experiences and it's talking about people who went to

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Speaker 3: the afterlife and then said they came back. Another one

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Speaker 3: is called In Search of Historic Jesus from nineteen seventy nine,

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Speaker 3: where in his review Phipps includes a quote from the

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Speaker 3: TV spots promoting this film. The quote is, there are

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Speaker 3: eighteen years of Jesus's life. The Bible doesn't account for

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Speaker 3: where did he spend those missing years. You'll find new

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Speaker 3: answers in this startling motion picture. Obviously you won't. But anyway, yes,

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Speaker 3: they were putting out documentary content of that sort, but

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Speaker 3: they also you mentioned family friendly programming. In the seventies,

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Speaker 3: Sun Classic made a lot of money putting out stuff

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Speaker 3: like the Life and Times of Grizzly Adams starring Dan Haggerty,

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Speaker 3: both the movie from nineteen seventy four and its TV spinoff,

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Speaker 3: and these were big hits.

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Speaker 2: Yeah. Yeah, they also did these sort of like you

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Speaker 2: almost get the sense of these were adaptations of classics

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Speaker 2: for like students to watch. They did a seventy nine

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Speaker 2: adaptation of the follow The House of Usher, and then

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Speaker 2: also and I think that one had Martin Landau in it,

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Speaker 2: and then a TV adaptation of Sleepy Hollow starring Jeff Goldbloom.

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Speaker 2: We'll come back to that one. That one actually won

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Speaker 2: some awards for them.

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Speaker 3: I wonder if it's similar to the Roger Korman thinking

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Speaker 3: and adapting Poe Like, well, if you're adapting classic literature,

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Speaker 3: you get the benefit of both. It's out of copyright protection,

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Speaker 3: so it's public domain. And then also this is something

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Speaker 3: that people might watch in schools, so you get some

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Speaker 3: automatic uptake because it is quote classic literature, you but

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Speaker 3: it's also horror, you know, so you can kind of

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Speaker 3: lean into the more exploitation elements if you want to.

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Speaker 2: So a lot of so definitely some family friendly content. Yeah,

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Speaker 2: some dubious documentary work that is at times promoting things

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Speaker 2: like ancient aliens and also attempting to use scientific information

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Speaker 2: to prop up Christian theology. So an interesting company here.

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Speaker 3: But apart from the content Phipps pointed out how in

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Speaker 3: the seventies, Sun prospered through very particular marketing and distribution tactics.

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Speaker 3: So Sun used a distribution tactic known as four walling,

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Speaker 3: where instead of the normal method you would use when

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Speaker 3: you release a film of splitting box office sales with

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Speaker 3: the venue that's showing the film instead the distributor. In

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Speaker 3: four walling, the distributor would pay movie theaters a flat

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Speaker 3: fee to rent them out for a particular time, and

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Speaker 3: then the distributor would keep one hundred percent of the

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Speaker 3: ticket sales. And so Sun would do this, but instead

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Speaker 3: of releasing everywhere at once, they would target specific market.

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Speaker 3: So they might go to a you know, a small

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Speaker 3: town or rural local media market, rent out the local

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Speaker 3: theaters to show their movie, keep one hundred percent of

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Speaker 3: the ticket sales, and then just flood the local TV

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Speaker 3: and radio waves with an advertising campaign. And then they

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Speaker 3: would keep one hundred percent of the ticket sales, you know,

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Speaker 3: by funneling everybody in town into the theater to see

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Speaker 3: this Bible movie.

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Speaker 2: Yeah, and everyone has to know about the historic Jesus

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Speaker 2: because it's all we're hearing about.

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Speaker 3: And apparently they made pretty good money this way now.

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Speaker 3: For some reason, I wasn't sure about what caused this shift.

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Speaker 3: Maybe you had some information on this. But by about

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Speaker 3: nineteen seventy nine or eighty, something shifted and Sun which

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Speaker 3: had at this point adopted the new name of Taft

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Speaker 3: International Pictures, I think were they maybe acquired by another company.

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Speaker 2: It's my understanding that they were acquired at this point

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Speaker 2: by Taft Broadcasting, which it actually ties back to Published,

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Speaker 2: a public company that was owned by the brother of

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Speaker 2: Howard Taff, So it has some roots to it, Okay,

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Speaker 2: presidential roots, if you will.

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Speaker 3: So this company around the year nineteen eighty shifted from

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Speaker 3: making family entertainment like Grizzly Adams and religious documentaries and

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Speaker 3: conspiracy stuff too, science fiction and R rated horror. So

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Speaker 3: in the year nineteen eighty they released the sci fi

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Speaker 3: thriller Hangar eighteen with Darren McGavin of Oh I'm blanking

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Speaker 3: on the name of the show Culchak.

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Speaker 2: Yeah, yeah, yeah, yeah, The Nightstalker.

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Speaker 3: And also had Robert Vaughan from Battle Beyond the Stars

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Speaker 3: and the movies we've talked about. I think Hangar eighteen

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Speaker 3: was featured on a very early episode of Mystery Science

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Speaker 3: Theater three thousand. I don't know if you've seen this one.

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Speaker 2: I don't think I've seen that one, but that sounds right.

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Speaker 3: So that's nineteen eighty and then in nineteen eighty one

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Speaker 3: we get there are rated horror extravaganza The Buggins.

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Speaker 2: Yeah. One of the things that Michael Weldon points out

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Speaker 2: is that this was a lot raunchier than previous fare

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Speaker 2: from some classics. But I have to stress, like only

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Speaker 2: mildly ron raunchy compared to family films and rather tame documentaries.

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Speaker 2: I guess because it's like, yeah, there's a butt at

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Speaker 2: one point, what more can you say? Some talk of

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Speaker 2: sex and some amount of blood, a little bit of gore,

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Speaker 2: but nothing crazy, certainly by today's standards.

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Speaker 3: Though I did want to say I think the part

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Speaker 3: of the movie where we see a butt is one

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Speaker 3: of the funniest moments in the film because of a

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Speaker 3: cinematography choice where the camera does almost a crash zoom

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Speaker 3: on the butt, like it's the shining and there's a

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Speaker 3: bloody haget, except it's just somebody's butt.

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Speaker 2: I do not remember this particular zoom all that well.

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Speaker 2: I think this is probably a part of in my

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Speaker 2: viewing where I was kind of like hunching over to

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Speaker 2: make sure that the people behind me weren't questioning my viewing.

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Speaker 3: Habits scandalizing the family.

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Speaker 2: Yeah. Yeah, So technically this was not their first horror venture,

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Speaker 2: because you know I mentioned follow the House of Usher,

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Speaker 2: but it certainly would not be their last either. They

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Speaker 2: would go on to have a hand in the production

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Speaker 2: of nineteen eighty three's Kujo, nineteen eighty seven's The Monster Squad,

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Speaker 2: as well as nineteen eighty sevens The Running Man, which

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Speaker 2: of course was another loose Stephen King adaptation.

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Speaker 3: Okay, that is interesting. All three of these movies have

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Speaker 3: their fans. I think, you know, these are not totally

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Speaker 3: disregarded in horror history.

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Speaker 2: Yeah. I mean, I have to admit I've never seen

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Speaker 2: Kujo or read Kujo, so I don't have a lot

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Speaker 2: to say about that. Grew up with The Running Man,

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Speaker 2: you know, it's pretty wild. The Monster Squad recently rewatched.

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Speaker 2: I have mixed thoughts about it, but yeah, does have

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Speaker 2: great monsters in it.

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Speaker 3: Yeah. Now, one thing I think we need to address

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Speaker 3: in the beginning here is the title The Boogins. We

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Speaker 3: have been assuming, and I think we'll continue to assume

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Speaker 3: in the episode that the buggins is the name of

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Speaker 3: the type of creature that attacks that we have to

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Speaker 3: that's just an inference on our part, because the movie

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Speaker 3: doesn't say that. I think the word buggins is said

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Speaker 3: one time in the film, and it is said by

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Speaker 3: John Lormer's character as he is like collapsing to die

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Speaker 3: in a cave, and he just says buogin and it's

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Speaker 3: not clear exactly what he means, but it's while these

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Speaker 3: monsters are attacking, So I think it's got And there's

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Speaker 3: an s at the end of the word, so it's

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Speaker 3: like plural. So it's like, I think this has got

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Speaker 3: to be the name of the monsters. But I was

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Speaker 3: trying to get some clarity on where this word comes from,

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Speaker 3: what it means. I can't source this to anything really solid,

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Speaker 3: but at least in the IMDb trivia page, they say

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Speaker 3: that the buggins is not actually a term from the

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Speaker 3: mining world. It's not a monster of folklore or anything.

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Speaker 3: It is a word that was, as far as he knows,

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Speaker 3: invented by the screen writer David O'Malley quote using the

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Speaker 3: word boogieman as its root. His original title for the movie,

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Speaker 3: though it had already been used.

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Speaker 2: Okay, so can't call it a boogeyman called Buggins instead, Yeah,

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Speaker 2: which I don't know. Again, kind of a silly name.

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Speaker 2: It does, at least, you know, for us modern viewers,

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Speaker 2: it makes us think of things like gremlins. It sounds

359
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Speaker 2: a little war full of whimsy than it actually is, because, again,

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Speaker 2: as we'll find out, these are just predatory monsters from

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Speaker 2: the deep.

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Speaker 3: A few other things that different reviewers have noted about

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Speaker 3: the film that I also found notable inexplicable relationship with

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Speaker 3: the one dog in the movie. So, the characters in

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Speaker 3: the film have an extremely cute dog named Tiger, and

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Speaker 3: all they ever do is complain about how they don't

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Speaker 3: like Tiger and what a burden he is. I've never

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Speaker 3: heard people be this hard on a dog before, and

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Speaker 3: it's especially weird because the dog is very lovable and

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Speaker 3: a really good dog. Actor like, this dog is hitting

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Speaker 3: his marks, he pulls reaction shots for the camera. Tiger

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Speaker 3: is amazing.

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Speaker 2: Tiger is great. Yeah, Unfortunately, we have no idea the

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Speaker 2: name of this actual dog. Maybe the dog's name is

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Speaker 2: Tiger as well, but it's not one of these K

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Speaker 2: nine actors that is credited but it's an amazing performance, Yeah,

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Speaker 2: hitting his mark, reaction shots, a lot of screen time. Really,

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Speaker 2: we get like lots of scenes in which Tiger is

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Speaker 2: exploring the old house and then is having encounters with

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Speaker 2: the monster before we really get to see it. So

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Speaker 2: I would say, arguably the best the best performance in

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Speaker 2: the picture. And that's not and I'm not even doing

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Speaker 2: saying that to try and like shame the the human

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Speaker 2: actors here, Like Tiger is just that good.

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Speaker 3: Another thing that basically every reviewer makes a note of

386
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Speaker 3: is the weirdness of the character. Roger and I agree.

387
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Speaker 3: I think this has to be the single horniest character

388
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Speaker 3: ever written. Almost every single line of dialogue this character

389
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Speaker 3: speaks is about how he is ready for sex.

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Speaker 2: Yeah, it's true.

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Speaker 3: Like while he's at work, while he's doing anything, that's

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Speaker 3: what he's talking about.

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Speaker 2: Yeah. The the actor playing him, who will get to

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Speaker 2: in a bed, has this kind of kind of a

395
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Speaker 2: Dana Carvey vibe to him, Like it's a little bit

396
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Speaker 2: like Dana Carvey and it has that that like how

397
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Speaker 2: like how sleazy can a Dana Carvey character be that

398
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Speaker 2: sort of thing? So he ends up feeling, you know, fairly,

399
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Speaker 2: you know, he's fairly likable, Like, even though he keeps

400
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Speaker 2: talking about how he wants to have sex and he's

401
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Speaker 2: gonna have sex, like, he doesn't come off particularly gross

402
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Speaker 2: or threatening about it. It's just like he's a happy,

403
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Speaker 2: go lucky guy and he's excited to see his girlfriend again.

404
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Speaker 2: He hasn't seen her in you know, however long it's been.

405
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Speaker 3: He is a weirdly like a preopadic Garth's just strange

406
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Speaker 3: type of character portrayal. And the other thing I think

407
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Speaker 3: we have to mention is the unusual design of the Buggins.

408
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Speaker 3: I don't know whether to criticize or commend to the

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Speaker 3: movie for the Buggins design. I still have been thinking

410
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Speaker 3: about it for days and still haven't made up my

411
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Speaker 3: mind about it. Credit I think to the movie for

412
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Speaker 3: the Buggins reveal being quite an unusual type of monster.

413
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Speaker 3: I can't think of anything exactly like it, so it

414
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Speaker 3: feels kind of original. But also when you see it,

415
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Speaker 3: you're like, really, that's the thing. I don't know. It's

416
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Speaker 3: something about the size of it, and the anatomy is underwhelming,

417
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Speaker 3: but also different enough to be maybe kind of worthy.

418
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Speaker 3: I don't know what are your thoughts here.

419
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Speaker 2: I guess in general, I would say they were ambitious

420
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Speaker 2: enough to go for something other than just a man

421
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Speaker 2: in a monster suit. Yeah, but I think maybe they

422
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Speaker 2: should have gone with a man in a monster suit.

423
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Speaker 2: Like it's a mix. Like they they went for it,

424
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Speaker 2: and in some shots, like the final creature looks good

425
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Speaker 2: and at least is very interesting and original, but I

426
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Speaker 2: don't know that I love it, Like I wasn't even

427
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Speaker 2: it didn't leave me that curious even to go look

428
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Speaker 2: up like pictures of the full creature so much. I'm

429
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Speaker 2: just kind of like, well, I guess that's fine. But

430
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Speaker 2: they also seem to maybe realize well, probably a combination

431
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Speaker 2: of realizing what they had and also knowing that there's

432
00:24:29,440 --> 00:24:31,679
Speaker 2: a lot to be gained in not showing us the

433
00:24:31,720 --> 00:24:34,040
Speaker 2: full monster. So there's a lot of build up to

434
00:24:34,080 --> 00:24:37,119
Speaker 2: any reveals that we get. These monsters seem to have

435
00:24:37,160 --> 00:24:40,639
Speaker 2: some sort of like a tentacle attack, and so a

436
00:24:41,240 --> 00:24:43,280
Speaker 2: lot of good use is made of that, like characters

437
00:24:43,320 --> 00:24:47,200
Speaker 2: being grabbed and pulled off screen or downstairs or underneath things.

438
00:24:47,560 --> 00:24:51,680
Speaker 3: There are a couple of I think genuinely effective horror

439
00:24:51,720 --> 00:24:55,120
Speaker 3: images or set pieces in the movie. Not so much

440
00:24:55,200 --> 00:24:59,000
Speaker 3: once you finally get the Buggins reveal. But before we'll

441
00:24:59,000 --> 00:25:00,960
Speaker 3: get to this later. I I thought one scene that

442
00:25:01,119 --> 00:25:04,760
Speaker 3: actually looks pretty scary and was memorable was the scene

443
00:25:04,760 --> 00:25:07,640
Speaker 3: where it attacks through the intake grate on the floor,

444
00:25:07,880 --> 00:25:09,840
Speaker 3: you know, and the great bends down and it becomes

445
00:25:09,880 --> 00:25:10,160
Speaker 3: a pit.

446
00:25:10,320 --> 00:25:10,399
Speaker 2: Like.

447
00:25:10,480 --> 00:25:14,640
Speaker 3: I thought that was good, pretty scary looking, an unusual image,

448
00:25:15,440 --> 00:25:20,199
Speaker 3: almost in kind of a Jallo way, striking in the

449
00:25:20,240 --> 00:25:25,760
Speaker 3: way that it manipulates or uses strangely a familiar object

450
00:25:25,920 --> 00:25:28,080
Speaker 3: that we all have around us in our houses, you know.

451
00:25:28,240 --> 00:25:31,040
Speaker 2: Yeah, yeah, yeah, yeah, I would agree with that, And

452
00:25:31,840 --> 00:25:34,960
Speaker 2: I'd say also, they do a great job of making

453
00:25:35,000 --> 00:25:38,679
Speaker 2: sure that the Buggins is completely lethal. It is a

454
00:25:38,800 --> 00:25:42,159
Speaker 2: deadly adversary, and they treat it very seriously, and and

455
00:25:42,200 --> 00:25:43,320
Speaker 2: that rubs off on the viewer.

456
00:25:43,640 --> 00:25:46,520
Speaker 3: Yeah, Rob, you had an elevator pitch for this.

457
00:25:46,760 --> 00:25:49,679
Speaker 2: Yeah, it's basically the Minds of Maria, except Buggins instead

458
00:25:49,680 --> 00:25:51,840
Speaker 2: of Ballrock. The Buggins are our ball Rock.

459
00:25:52,160 --> 00:25:54,040
Speaker 3: I did not think about the minds of Maria, But

460
00:25:54,320 --> 00:25:57,000
Speaker 3: you're so right. They were warned not to go in,

461
00:25:57,280 --> 00:26:01,000
Speaker 3: the entrance was sealed. They had decided to go in anyway,

462
00:26:01,640 --> 00:26:04,399
Speaker 3: and they dug too deep and unleashed something.

463
00:26:04,440 --> 00:26:08,399
Speaker 2: Yeah. Yeah, this is a familiar trope in various various

464
00:26:08,400 --> 00:26:11,680
Speaker 2: horror movies, horror stories, even some Stephen King stories as well,

465
00:26:12,400 --> 00:26:15,199
Speaker 2: where you have some sort of a creature that is

466
00:26:15,240 --> 00:26:21,240
Speaker 2: either it's in some sort of like deep environment that

467
00:26:21,359 --> 00:26:25,080
Speaker 2: has been opened up, you know, a real environment or

468
00:26:25,119 --> 00:26:28,080
Speaker 2: a magical environment that has been accessed via human mining

469
00:26:28,160 --> 00:26:32,399
Speaker 2: and then is covered up again but then unlocked once more.

470
00:26:33,800 --> 00:26:36,800
Speaker 2: Now we could ask a lot of questions about how

471
00:26:36,840 --> 00:26:41,200
Speaker 2: this creature actually lives deep underground. What kind of triglafauna

472
00:26:41,400 --> 00:26:44,840
Speaker 2: is this, But you know, don't ask too many questions.

473
00:26:44,840 --> 00:26:47,280
Speaker 2: But I guess it eats something down there, but it's

474
00:26:47,359 --> 00:26:49,760
Speaker 2: more excited about eating humans and or dogs.

475
00:26:50,000 --> 00:26:54,119
Speaker 3: Well, actually I have some other thoughts about that.

476
00:26:54,320 --> 00:26:55,919
Speaker 2: Oh yeah, I.

477
00:26:55,840 --> 00:26:59,760
Speaker 3: Think it does not eat humans because we never see

478
00:26:59,760 --> 00:27:03,399
Speaker 3: it humans. It attacks humans, but the human corpses that

479
00:27:03,440 --> 00:27:05,639
Speaker 3: we find in the movie are completely They've got all

480
00:27:05,680 --> 00:27:07,960
Speaker 3: their flesh intact. I mean they're wounded and they.

481
00:27:08,000 --> 00:27:09,520
Speaker 2: Just kind of wounds the face and all.

482
00:27:09,720 --> 00:27:12,400
Speaker 3: Yeah, but it doesn't eat the flesh of the humans,

483
00:27:12,480 --> 00:27:16,359
Speaker 3: and that makes me think that something else is going on.

484
00:27:16,440 --> 00:27:19,480
Speaker 3: It's not attacking because it is a hungry predator. I'm

485
00:27:19,520 --> 00:27:22,880
Speaker 3: wondering if it's territorial or is it attacking to protect

486
00:27:22,880 --> 00:27:26,240
Speaker 3: its nest or whatever. You know, We just there's so

487
00:27:26,359 --> 00:27:29,480
Speaker 3: much we don't know about the ethology of the Bogins.

488
00:27:29,760 --> 00:27:33,879
Speaker 2: We need some sort of shady documentary to do a

489
00:27:33,960 --> 00:27:35,720
Speaker 2: jump in on this and give us some ideas.

490
00:27:36,080 --> 00:27:38,560
Speaker 3: Yeah, yeah, the Bugin's mine.

491
00:27:38,640 --> 00:27:42,199
Speaker 2: Yeah all right. Well at this point you're like, Okay,

492
00:27:42,320 --> 00:27:44,480
Speaker 2: I actually do need to go watch The Boogins. Well,

493
00:27:44,680 --> 00:27:47,480
Speaker 2: it's widely available for digital purchase in rental. Again, I

494
00:27:47,520 --> 00:27:50,040
Speaker 2: watched it on my phone on a flight, but you

495
00:27:50,040 --> 00:27:52,439
Speaker 2: can also get it on Blu Ray from Keno Lorber.

496
00:27:53,000 --> 00:27:54,879
Speaker 2: They put out a twenty twenty four release of the

497
00:27:54,920 --> 00:27:57,400
Speaker 2: film and it has a number of fun sounding extras

498
00:27:57,400 --> 00:27:59,800
Speaker 2: on it, so it seems to have despite being maybe

499
00:27:59,840 --> 00:28:02,800
Speaker 2: a obscure pick, it has a really solid physical release.

500
00:28:03,160 --> 00:28:04,520
Speaker 3: Should we talk about the connections.

501
00:28:05,560 --> 00:28:08,240
Speaker 2: Yeah, let's get into it here. And a lot of

502
00:28:08,240 --> 00:28:11,399
Speaker 2: these connections are going to tie directly into Sun Classics.

503
00:28:12,600 --> 00:28:15,159
Speaker 2: A lot of the people involved were Sun Classics folks

504
00:28:15,200 --> 00:28:16,720
Speaker 2: who at least started out with Sun.

505
00:28:16,560 --> 00:28:18,280
Speaker 3: Classics Sun Veterans.

506
00:28:18,440 --> 00:28:23,320
Speaker 2: Yeah, yeah, two ins two right. Yeah. So the director

507
00:28:23,359 --> 00:28:27,760
Speaker 2: here is James L. Conway born nineteen fifty American writer, director,

508
00:28:27,800 --> 00:28:30,760
Speaker 2: and producer who got his start with Sun Classics, beginning

509
00:28:30,760 --> 00:28:33,479
Speaker 2: with the seventy six documentary In Search of Noah's Art,

510
00:28:33,520 --> 00:28:36,560
Speaker 2: which we already mentioned, and then four episodes of the

511
00:28:36,600 --> 00:28:40,960
Speaker 2: TV spinoff of Son's Grizzly Adams film in seventy seven.

512
00:28:41,400 --> 00:28:46,120
Speaker 2: Subsequent Sun projects included The Lincoln Conspiracy and Last of

513
00:28:46,120 --> 00:28:49,840
Speaker 2: the Mohicans, as well as Incredible Rocky Mountain Race in

514
00:28:49,880 --> 00:28:54,080
Speaker 2: seventy seven, Beyond and Back and Donner Pass, The Road

515
00:28:54,080 --> 00:28:57,719
Speaker 2: to Survival in seventy eight, eight episodes of Greatest Heroes

516
00:28:57,760 --> 00:28:59,880
Speaker 2: of the Bible and The Fall of the House of

517
00:29:00,080 --> 00:29:02,880
Speaker 2: Usher in seventy nine, Hangar eighteen in nineteen eighty, and

518
00:29:02,960 --> 00:29:06,200
Speaker 2: Earthbound in eighty one, and this was of course followed

519
00:29:06,200 --> 00:29:10,440
Speaker 2: by The Buggins all right After The Buggins, he sticks

520
00:29:10,480 --> 00:29:13,760
Speaker 2: with Son a while longer on some more conspiracy docs

521
00:29:13,760 --> 00:29:18,040
Speaker 2: in the early eighties before turning increasingly back to TV directing,

522
00:29:18,400 --> 00:29:20,920
Speaker 2: and he goes on to have quite a career in television.

523
00:29:21,360 --> 00:29:24,240
Speaker 2: Among his credits, he directed the Seat of multiple Star

524
00:29:24,320 --> 00:29:28,280
Speaker 2: Trek episodes, so three episodes of Star Trek The Next Generation,

525
00:29:28,680 --> 00:29:31,640
Speaker 2: four episodes of Voyager seven, episodes of Deep Space, nine

526
00:29:31,720 --> 00:29:35,560
Speaker 2: five episodes of Enterprise, and then episodes of such shows

527
00:29:35,560 --> 00:29:40,120
Speaker 2: as Smallville, Supernatural, the Orville, and eight episodes of the Magicians,

528
00:29:40,400 --> 00:29:43,560
Speaker 2: a rather fun series based on the books of lev Grossman.

529
00:29:44,160 --> 00:29:46,080
Speaker 3: I've never seen it, but I saw that he had

530
00:29:46,800 --> 00:29:50,280
Speaker 3: I think he was involved in directing episodes of Charmed

531
00:29:50,600 --> 00:29:51,000
Speaker 3: the show.

532
00:29:51,280 --> 00:29:53,280
Speaker 2: Yeah, no, it Charmed as well. Yeah, there'll be a

533
00:29:53,280 --> 00:29:55,960
Speaker 2: connection here to his wife as well. That's that was

534
00:29:56,080 --> 00:29:58,280
Speaker 2: an Aaron Spelling Witches show, I believe.

535
00:29:58,440 --> 00:30:00,680
Speaker 3: I don't really know. I just saw Armed was like

536
00:30:00,720 --> 00:30:02,400
Speaker 3: often the first thing that would come up when you

537
00:30:02,440 --> 00:30:03,160
Speaker 3: google this guy.

538
00:30:03,360 --> 00:30:06,600
Speaker 2: Yeah, so, you know, very successful in television, and he

539
00:30:06,680 --> 00:30:09,400
Speaker 2: was nominated for a nineteen eighty one Primetime Emmy for

540
00:30:09,600 --> 00:30:12,760
Speaker 2: the Legend of Sleepy Hollow in the category of Outstanding

541
00:30:12,840 --> 00:30:13,720
Speaker 2: Children's Program.

542
00:30:14,040 --> 00:30:16,800
Speaker 3: Is this the one that had Jeff Goldblum in it?

543
00:30:16,840 --> 00:30:16,920
Speaker 2: Is?

544
00:30:17,160 --> 00:30:17,440
Speaker 3: Okay?

545
00:30:17,760 --> 00:30:20,880
Speaker 2: As Akabad Krane. I haven't seen it, but that's what

546
00:30:20,960 --> 00:30:24,640
Speaker 2: I've heard about for years and was excited to see

547
00:30:24,680 --> 00:30:25,480
Speaker 2: it tied in here.

548
00:30:26,320 --> 00:30:28,760
Speaker 3: Now, there was one name in the credits here I

549
00:30:28,840 --> 00:30:34,880
Speaker 3: was briefly confused about because the IMDb lists the screenwriters

550
00:30:35,000 --> 00:30:38,840
Speaker 3: as David O'Malley and Jim Kof, But in the movie

551
00:30:38,920 --> 00:30:42,440
Speaker 3: itself the script was credited to O'Malley and Bob Hunt.

552
00:30:42,480 --> 00:30:44,560
Speaker 3: But I think Bob Hunt is a pen name.

553
00:30:44,480 --> 00:30:47,560
Speaker 2: Right, Yeah, that's the pen name that Jim Coof uses here.

554
00:30:48,320 --> 00:30:52,280
Speaker 2: Born nineteen fifty one, writer and producer. This was his

555
00:30:52,320 --> 00:30:55,720
Speaker 2: first credited produced screenplay, but he'd go on to become

556
00:30:55,760 --> 00:30:57,920
Speaker 2: a pretty well known screenwriter. A lot of folks may

557
00:30:57,960 --> 00:31:01,040
Speaker 2: recognize his name from nineteen eighty one's A Hidden, ninety

558
00:31:01,080 --> 00:31:04,600
Speaker 2: eight Rush Hour, two thousand and four's National Treasure, twenty

559
00:31:04,600 --> 00:31:08,240
Speaker 2: sixteen's Money Monster, and a whole bunch of episodes of

560
00:31:08,280 --> 00:31:11,240
Speaker 2: TV's Grim which he also created and produced.

561
00:31:11,640 --> 00:31:14,520
Speaker 3: Okay, for a while, I've had The Hidden on the

562
00:31:14,560 --> 00:31:17,480
Speaker 3: list of movies to check out, potentially for Weird House.

563
00:31:17,520 --> 00:31:18,440
Speaker 3: I'm interested in that.

564
00:31:18,760 --> 00:31:22,040
Speaker 2: Yeah, Yeah, I haven't seen it, but it looks pretty fascinating.

565
00:31:22,320 --> 00:31:26,200
Speaker 2: I want to also point out that this screenwriter is

566
00:31:26,240 --> 00:31:31,160
Speaker 2: also tied into questionable nineteen seventies documentary work, because he

567
00:31:31,240 --> 00:31:35,280
Speaker 2: was apparently a researcher on the Leonard Nimoy hosted Insart

568
00:31:35,280 --> 00:31:38,720
Speaker 2: Shops series back in nineteen seventy eight. Wow, you get

569
00:31:38,720 --> 00:31:41,280
Speaker 2: the impression all these guys you know they were destined

570
00:31:41,320 --> 00:31:43,840
Speaker 2: for other things, but they were initially stuck in this

571
00:31:43,960 --> 00:31:47,680
Speaker 2: world of grimy, questionable documentaries in.

572
00:31:47,640 --> 00:31:49,760
Speaker 3: The Bermuda Triangle zone.

573
00:31:50,160 --> 00:31:53,240
Speaker 2: Yeah, they just had to escape it. That's our screenwriter.

574
00:31:53,440 --> 00:31:56,400
Speaker 2: But then we also have our one of our main screenwriter,

575
00:31:56,640 --> 00:31:59,520
Speaker 2: but we also have a story credit to Thomas C. Chapman,

576
00:31:59,600 --> 00:32:03,240
Speaker 2: who nineteen forty six through twenty eleven a SUN writer

577
00:32:03,400 --> 00:32:07,080
Speaker 2: and producer, whose first writing credit was seventy three's Deadly Fathoms.

578
00:32:07,480 --> 00:32:11,280
Speaker 2: That was a SUN a diving documentary film narrated by

579
00:32:11,360 --> 00:32:17,920
Speaker 2: Rod Serling and then David O'Malley story screenwriter. O'Malley got

580
00:32:17,920 --> 00:32:20,960
Speaker 2: his start on Deadly Fathoms, with subsequent work including various

581
00:32:21,000 --> 00:32:23,600
Speaker 2: SUN projects, but also seventy eight It's the House of

582
00:32:23,640 --> 00:32:26,960
Speaker 2: the Dead, two episodes of seventy nine's More Can Mindy,

583
00:32:27,360 --> 00:32:30,800
Speaker 2: and ninety three's Fatal Instinct, directed by Carl Reiner that

584
00:32:30,920 --> 00:32:35,040
Speaker 2: was I do vaguely remember trailers for this. This was

585
00:32:35,040 --> 00:32:40,160
Speaker 2: a Basic Instinct Instinct spoof that starred Armanda Sante, and

586
00:32:40,200 --> 00:32:42,400
Speaker 2: O'Malley has also worked as a director Away.

587
00:32:42,440 --> 00:32:44,160
Speaker 3: Based on the title, I guess that would be a

588
00:32:44,200 --> 00:32:48,520
Speaker 3: spoof of the nineties erotic thriller, generally like Fatal Instinct,

589
00:32:48,520 --> 00:32:50,080
Speaker 3: Fatal Attractions.

590
00:32:50,240 --> 00:32:52,560
Speaker 2: Yeah, I guess they kind of slammed two of them

591
00:32:52,560 --> 00:32:55,520
Speaker 2: together there. Yeah. I may have even seen part of

592
00:32:55,520 --> 00:32:56,920
Speaker 2: it on TV. I don't remember.

593
00:32:57,200 --> 00:32:58,280
Speaker 3: I've never seen this one.

594
00:32:59,040 --> 00:33:01,320
Speaker 2: All right, let's get into our cast here, starting with

595
00:33:01,480 --> 00:33:04,200
Speaker 2: our heroin, Trish played by Rebecca Balding.

596
00:33:04,800 --> 00:33:09,880
Speaker 3: Fundamentally likable heroine. Yes, absolutely, yeah. Rebecca Balding is a

597
00:33:10,160 --> 00:33:13,880
Speaker 3: very nice presence in this film, whatever else is going on,

598
00:33:14,280 --> 00:33:16,720
Speaker 3: she just seems like, you know, Trisha's got her head

599
00:33:16,720 --> 00:33:20,400
Speaker 3: on straight, and Rebecca Balding just does a very likable energy.

600
00:33:20,680 --> 00:33:25,040
Speaker 2: Absolutely yeah. So she lived nineteen forty eight through twenty

601
00:33:25,120 --> 00:33:29,400
Speaker 2: twenty two, Arkansas born. She'd been working in TV since

602
00:33:29,480 --> 00:33:32,520
Speaker 2: seventy six at this point, appearing on episodes of shows

603
00:33:32,560 --> 00:33:36,880
Speaker 2: like The Bionic Woman, Supertrain nineteen episodes of Soap That

604
00:33:37,040 --> 00:33:40,280
Speaker 2: was probably her biggest role at the time. She'd also

605
00:33:40,480 --> 00:33:45,120
Speaker 2: already done one other horror film, seventy nine Silent Scream,

606
00:33:45,200 --> 00:33:48,520
Speaker 2: which was produced and written by the Wheat Brothers who

607
00:33:48,600 --> 00:33:51,680
Speaker 2: had gone to give us Pitch Black, among other things,

608
00:33:52,000 --> 00:33:58,600
Speaker 2: and co starring Barbara Steele and Cameron Mitchell. So I'm

609
00:33:58,640 --> 00:34:01,360
Speaker 2: curious about that one. She'd continued to work in TV

610
00:34:01,520 --> 00:34:04,040
Speaker 2: through most of her career and had a recurring character

611
00:34:04,560 --> 00:34:08,120
Speaker 2: on TV's Charmed in the late nineties. Too early to

612
00:34:08,280 --> 00:34:10,160
Speaker 2: mid two thousands.

613
00:34:10,040 --> 00:34:16,400
Speaker 3: I have read anecdotes about Rebecca Balding and James L. Conway.

614
00:34:16,840 --> 00:34:20,040
Speaker 3: The version of the story I read is that they

615
00:34:20,120 --> 00:34:23,640
Speaker 3: met for The Bogins, like, she showed up for casting

616
00:34:23,719 --> 00:34:26,600
Speaker 3: and the moment they met, James L. Conway was like, Wow,

617
00:34:26,640 --> 00:34:28,759
Speaker 3: I think I'm in love with her. And then the

618
00:34:28,800 --> 00:34:32,440
Speaker 3: story goes that like two weeks into filming, she proposed

619
00:34:32,520 --> 00:34:34,480
Speaker 3: marriage to him and they got married.

620
00:34:34,760 --> 00:34:39,040
Speaker 2: Oh wow. So yeah, well yeah, and would remain married

621
00:34:39,360 --> 00:34:43,000
Speaker 2: until she passed away in twenty twenty two. But yeah,

622
00:34:43,160 --> 00:34:47,040
Speaker 2: and then would work together again obviously on Charmed. Yeah.

623
00:34:47,080 --> 00:34:50,120
Speaker 2: I agree, she's she's got great girl next door charm

624
00:34:50,160 --> 00:34:52,439
Speaker 2: in this film. You know, it's just really good.

625
00:34:52,760 --> 00:34:54,120
Speaker 3: The Bogins is a love story.

626
00:34:54,680 --> 00:34:58,719
Speaker 2: Yeah. Ultimately, I don't want any of the characters in

627
00:34:58,719 --> 00:35:01,360
Speaker 2: this film to be killed by slimy monsters from the

628
00:35:01,400 --> 00:35:04,880
Speaker 2: Silver Mine, but especially not Trish.

629
00:35:05,400 --> 00:35:08,880
Speaker 3: Okay, but so in the movie, Trish has a love interest,

630
00:35:09,040 --> 00:35:12,680
Speaker 3: and that is the character Mark played by Fred McCarran.

631
00:35:12,760 --> 00:35:15,840
Speaker 2: Right, right, and she does her characters does not know

632
00:35:15,960 --> 00:35:16,799
Speaker 2: Mark previously.

633
00:35:16,880 --> 00:35:19,239
Speaker 3: This is this is one of the weird things about

634
00:35:19,239 --> 00:35:21,359
Speaker 3: the setup of the film. We'll talk more about this later.

635
00:35:22,160 --> 00:35:25,480
Speaker 2: So Mark is played by Fred McCarran, who have nineteen

636
00:35:25,520 --> 00:35:28,600
Speaker 2: fifty one through two thousand and six American actor who's

637
00:35:29,080 --> 00:35:31,239
Speaker 2: credited TV in film work goes back to I think

638
00:35:31,280 --> 00:35:34,480
Speaker 2: around seventy seven. He shows up in a bit background

639
00:35:34,480 --> 00:35:38,360
Speaker 2: part in nineteen seventy sevens The Goodbye Girl, and before

640
00:35:38,920 --> 00:35:41,600
Speaker 2: this film, he also had a supporting role in nineteen

641
00:35:41,640 --> 00:35:44,640
Speaker 2: eighties Zana Dude. That's the roller skating movie that starred

642
00:35:44,640 --> 00:35:49,000
Speaker 2: Olivia Newton John. Subsequent to credits included eighty three's The

643
00:35:49,040 --> 00:35:53,880
Speaker 2: Star Chamber and various TV credits as well. So, yeah,

644
00:35:54,120 --> 00:35:57,399
Speaker 2: I really liked the character Mark here. Just a very

645
00:35:57,440 --> 00:36:02,440
Speaker 2: likable seventies, you know, late seventies, early eighties sitcom romantic

646
00:36:02,560 --> 00:36:03,359
Speaker 2: lead type. You know.

647
00:36:03,760 --> 00:36:07,240
Speaker 3: Well, yeah, he's a good compliment to Trisha. So Rebecca

648
00:36:07,280 --> 00:36:10,239
Speaker 3: Balding has girl next Door energy, Fred mccerrn has boy

649
00:36:10,280 --> 00:36:13,560
Speaker 3: next door energy. He's just a kind of nice, strapping

650
00:36:13,600 --> 00:36:17,480
Speaker 3: young lad who is He spends a lot of the

651
00:36:17,520 --> 00:36:20,120
Speaker 3: movie just humoring This guy will get to in a

652
00:36:20,160 --> 00:36:23,920
Speaker 3: minute Roger, Like they have this this dynamic where Roger

653
00:36:24,120 --> 00:36:28,960
Speaker 3: is just monologue, doing horny monologues and Fred Mccaherrn's just like,

654
00:36:29,360 --> 00:36:34,359
Speaker 3: you're crazy, man, But yeah he's sweet.

655
00:36:42,920 --> 00:36:46,440
Speaker 2: All right. So that's that's our main couple. But then

656
00:36:46,480 --> 00:36:50,200
Speaker 2: we also have this other couple. Jessica is Trisha's friend.

657
00:36:51,000 --> 00:36:55,520
Speaker 2: Trish and Jessica have come up together to visit the mountains.

658
00:36:56,239 --> 00:37:00,520
Speaker 2: Jessica is played by Anne Marie Martin born nineteen fifty seven.

659
00:37:00,680 --> 00:37:03,640
Speaker 2: Martin's acting credits go back to seventy six and include

660
00:37:03,840 --> 00:37:06,520
Speaker 2: various TV shows and such films as seventy nine as

661
00:37:06,520 --> 00:37:08,960
Speaker 2: The Shape of Things to Come and the nineteen eighty

662
00:37:09,040 --> 00:37:12,680
Speaker 2: slasher film prom Night, starting Leslie Nielsen and Jamie Lee Curtis.

663
00:37:13,040 --> 00:37:16,319
Speaker 3: Even without knowing that's the rest of her resume, I

664
00:37:16,400 --> 00:37:21,040
Speaker 3: somehow feel like Anne Marie Martin brings the slasher movie

665
00:37:21,160 --> 00:37:24,399
Speaker 3: energy with her into this film. Does that make any sense?

666
00:37:24,480 --> 00:37:27,400
Speaker 2: Yeah? Absolutely, Like once I saw she was in prom Night,

667
00:37:27,440 --> 00:37:30,279
Speaker 2: I'm like, I think I saw Prom Night ages ago.

668
00:37:30,360 --> 00:37:33,360
Speaker 2: I don't remember much about it, but I'm absolutely certain

669
00:37:33,400 --> 00:37:36,760
Speaker 2: her character dies in it. You can tell, like, where

670
00:37:36,800 --> 00:37:40,799
Speaker 2: are you build in the credits for a slasher film,

671
00:37:40,840 --> 00:37:42,839
Speaker 2: it's like, oh, yeah, you're in the victims zone for sure.

672
00:37:43,120 --> 00:37:45,200
Speaker 3: Yeah, that's a good point. I've never thought about it

673
00:37:45,280 --> 00:37:48,840
Speaker 3: like that, but basically, yeah, if you are neither top billing,

674
00:37:49,000 --> 00:37:52,920
Speaker 3: if you're like not top billed, and you're above like

675
00:37:53,440 --> 00:37:56,279
Speaker 3: seven or eighth build, you are definitely going down.

676
00:37:56,600 --> 00:38:01,520
Speaker 2: Yeah. So. Her subsequent films include ude eighty one's Halloween,

677
00:38:01,560 --> 00:38:05,400
Speaker 2: two eighty four's Runaway, and two hundred and ninety eight

678
00:38:05,440 --> 00:38:07,799
Speaker 2: episodes of Days of Our Lives from eighty two through

679
00:38:07,840 --> 00:38:12,759
Speaker 2: eighty five. Now that that Runaway credit is important to

680
00:38:13,400 --> 00:38:16,720
Speaker 2: mention here because she was married to popular novelist Michael

681
00:38:16,760 --> 00:38:19,759
Speaker 2: Crichton from eighty seven through two thousand and two, and

682
00:38:19,880 --> 00:38:23,359
Speaker 2: actually co wrote the nineteen ninety six film Twister with him.

683
00:38:23,440 --> 00:38:27,680
Speaker 3: Mm hmm, okay, yeah, I rewatched Twister a few years

684
00:38:27,719 --> 00:38:30,000
Speaker 3: back and that was a I remember it being a

685
00:38:30,040 --> 00:38:30,879
Speaker 3: pretty fun time.

686
00:38:30,960 --> 00:38:31,920
Speaker 2: Actually, yeah.

687
00:38:32,160 --> 00:38:35,040
Speaker 3: Yeah, it's a very it's kind of a silly movie

688
00:38:35,120 --> 00:38:38,239
Speaker 3: and that the sometimes you feel like the tornado really

689
00:38:38,280 --> 00:38:42,840
Speaker 3: has a mind, like it's chasing you know. But yeah,

690
00:38:43,160 --> 00:38:44,080
Speaker 3: it was a fun ride.

691
00:38:44,600 --> 00:38:47,279
Speaker 2: And Runaway I would I would be interested in coming

692
00:38:47,320 --> 00:38:50,319
Speaker 2: back to that one. Runaway. Oh, it's a It is

693
00:38:50,360 --> 00:38:56,560
Speaker 2: a silly movie with very very dangerous, very unconvincing robots, okay,

694
00:38:56,960 --> 00:39:02,520
Speaker 2: and some unique casting. All right, So that's Jessica. Jessica's

695
00:39:02,680 --> 00:39:06,640
Speaker 2: boyfriend is Roger, who we've been talking about a lot already.

696
00:39:07,080 --> 00:39:08,320
Speaker 2: Roger is our horn dog.

697
00:39:09,640 --> 00:39:12,080
Speaker 3: Whereas he calls himself hormone man.

698
00:39:12,000 --> 00:39:15,280
Speaker 2: Hormone man. Yes, that's right, he calls himself that. Nobody

699
00:39:15,280 --> 00:39:18,360
Speaker 2: else calls him that. Yeah, I really.

700
00:39:18,080 --> 00:39:20,879
Speaker 3: He has a whole hormone man act like he does

701
00:39:20,920 --> 00:39:21,239
Speaker 3: a bit.

702
00:39:22,320 --> 00:39:27,360
Speaker 2: He lays it on so thick. I am suspicious whether

703
00:39:27,560 --> 00:39:31,520
Speaker 2: Roger has actually had sex before. I think he's a

704
00:39:31,560 --> 00:39:34,240
Speaker 2: little little two out there with all of this stuff.

705
00:39:34,320 --> 00:39:36,399
Speaker 2: I think we're building up to his first time.

706
00:39:36,600 --> 00:39:39,799
Speaker 3: It conveys an insecurity and a nervousness.

707
00:39:39,880 --> 00:39:43,840
Speaker 2: Yeah yeah. And then again, he has this likable quality

708
00:39:43,920 --> 00:39:46,239
Speaker 2: to him where he doesn't He talks about sex all

709
00:39:46,280 --> 00:39:48,600
Speaker 2: the time, but doesn't come off as particularly sleazy.

710
00:39:49,080 --> 00:39:51,680
Speaker 3: So I think he crosses the line in a couple

711
00:39:51,680 --> 00:39:54,279
Speaker 3: of points, but most of the time he just comes

712
00:39:54,280 --> 00:39:55,000
Speaker 3: off as dorky.

713
00:39:55,080 --> 00:39:57,240
Speaker 2: Yeah yeah, yeah, more of a dork. I would agree

714
00:39:57,239 --> 00:40:01,560
Speaker 2: with that. So he's played here by Jeff harr I

715
00:40:01,560 --> 00:40:04,120
Speaker 2: couldn't find any dates on Jeff Harland, but he's still

716
00:40:04,120 --> 00:40:07,360
Speaker 2: around and I think still working. He'd worked in TV

717
00:40:07,440 --> 00:40:10,040
Speaker 2: for a few years prior to this film, popping up

718
00:40:10,040 --> 00:40:12,520
Speaker 2: on the likes of Morgan Mindy and Buck Rogers in

719
00:40:12,560 --> 00:40:16,800
Speaker 2: the twenty fifth century, and has remained active over the decades.

720
00:40:17,239 --> 00:40:19,400
Speaker 2: He pops up in an episode of Parks and Recreation,

721
00:40:20,239 --> 00:40:22,360
Speaker 2: and also he was he plays like a doctor in

722
00:40:22,440 --> 00:40:26,040
Speaker 2: one episode of the relaunch of the Roseanne series.

723
00:40:26,320 --> 00:40:29,439
Speaker 3: Oh interesting, I wonder, Well, I'm trying to think who

724
00:40:29,480 --> 00:40:31,480
Speaker 3: this guy could have been in Parks and rec.

725
00:40:31,600 --> 00:40:34,960
Speaker 2: He shows up in a single episode, and my family

726
00:40:35,000 --> 00:40:37,080
Speaker 2: is actually doing a big rewatch of Parks and rec

727
00:40:37,200 --> 00:40:39,120
Speaker 2: right now, and I think we're in the next to

728
00:40:39,120 --> 00:40:41,520
Speaker 2: the last series, and I don't think we've gotten to

729
00:40:41,560 --> 00:40:44,320
Speaker 2: his part yet. Oh but now I'm on the lookout.

730
00:40:44,560 --> 00:40:46,440
Speaker 3: If I just had to guess, I'd say he stands

731
00:40:46,520 --> 00:40:48,600
Speaker 3: up in a meeting to make it inane comment.

732
00:40:49,400 --> 00:40:51,480
Speaker 2: I saw a screenshot, and I think that would be

733
00:40:51,480 --> 00:40:53,080
Speaker 2: a good guess. But I saw a screenshot and I

734
00:40:53,080 --> 00:40:56,239
Speaker 2: think maybe he's a local business or politician type that

735
00:40:56,280 --> 00:40:58,640
Speaker 2: they're going to encounter later on. But I could be

736
00:40:58,680 --> 00:41:00,799
Speaker 2: wrong on that. It's also like that I've seen him

737
00:41:00,800 --> 00:41:05,160
Speaker 2: already and just was not looking to recognize anyone.

738
00:41:05,840 --> 00:41:08,640
Speaker 3: So the characters we just talked about are our main four,

739
00:41:08,719 --> 00:41:10,880
Speaker 3: some of twenty somethings in the movie, but there are

740
00:41:10,920 --> 00:41:13,360
Speaker 3: also a couple of other major characters who are the

741
00:41:13,520 --> 00:41:16,760
Speaker 3: older mind guys, like the boss at the Mind Brian.

742
00:41:17,520 --> 00:41:20,520
Speaker 2: Yeah, and we're gonna have less details on these guys,

743
00:41:20,520 --> 00:41:23,320
Speaker 2: but Brian is played by John Crawford who lived nineteen

744
00:41:23,320 --> 00:41:26,359
Speaker 2: twenty through twenty ten, and his credits include seventy twos,

745
00:41:26,360 --> 00:41:30,080
Speaker 2: The Poseidon Adventure. In seventy six is the Enforcer and

746
00:41:30,120 --> 00:41:32,359
Speaker 2: then his second in command if you will, is this

747
00:41:32,400 --> 00:41:36,160
Speaker 2: guy Dan played by Med Flory who lived twenty six

748
00:41:36,239 --> 00:41:39,640
Speaker 2: through twenty fourteen, and his credits include a supporting role

749
00:41:39,680 --> 00:41:41,520
Speaker 2: in sixty threes, The Nutty Professor.

750
00:41:42,320 --> 00:41:45,000
Speaker 3: Oh, and this movie also has a crazy Ralph character.

751
00:41:45,880 --> 00:41:46,359
Speaker 2: That's right.

752
00:41:46,760 --> 00:41:50,680
Speaker 3: Yeah, it's got John Lormer, who many people will remember

753
00:41:50,719 --> 00:41:53,400
Speaker 3: from creep Show. I Want My Cake.

754
00:41:55,239 --> 00:41:59,239
Speaker 2: That's the Yeah, the probably my least watched segment from

755
00:41:59,280 --> 00:42:01,759
Speaker 2: creep Show. I think I've sometimes skipped over that one.

756
00:42:02,160 --> 00:42:04,360
Speaker 2: But yeah, that's where a lot of people are going

757
00:42:04,440 --> 00:42:07,839
Speaker 2: to recognize him from but this is guy. Yeah. John

758
00:42:07,880 --> 00:42:10,960
Speaker 2: Lormer lived nineteen oh six through nineteen eighty six and

759
00:42:11,160 --> 00:42:16,080
Speaker 2: has a very long history with television. His TV credits

760
00:42:16,080 --> 00:42:18,839
Speaker 2: go back to I think the late nineteen forties, and

761
00:42:19,000 --> 00:42:21,200
Speaker 2: his credits include I can't even begin the list all

762
00:42:21,239 --> 00:42:23,600
Speaker 2: of them here, but include. It includes four episodes of

763
00:42:23,600 --> 00:42:26,360
Speaker 2: the original Twilight Zone, he pops up on The Andy

764
00:42:26,360 --> 00:42:30,800
Speaker 2: Griffith Show, the old sixties Batman series, the original Star Trek,

765
00:42:31,120 --> 00:42:34,680
Speaker 2: and much more. His film credits include nineteen seventy five's

766
00:42:34,760 --> 00:42:37,279
Speaker 2: Rooster Cogburn. He's also one of these guys that I

767
00:42:37,320 --> 00:42:40,200
Speaker 2: think pretty much always played an old man, one of

768
00:42:40,200 --> 00:42:41,040
Speaker 2: those actors.

769
00:42:41,560 --> 00:42:43,880
Speaker 3: Oh, who are the other ones who came up like that? Lately?

770
00:42:44,000 --> 00:42:46,120
Speaker 3: It's the guy plays the old man in home alone,

771
00:42:46,200 --> 00:42:48,400
Speaker 3: the old man at the airport who was in something

772
00:42:48,440 --> 00:42:48,880
Speaker 3: we saw.

773
00:42:49,080 --> 00:42:51,840
Speaker 2: Yeah, yeah, I don't know if we've talked about him directly,

774
00:42:51,840 --> 00:42:54,280
Speaker 2: but William Hickey is one of the actors I always

775
00:42:54,280 --> 00:42:56,000
Speaker 2: think of in this category, Like it seems like he

776
00:42:56,160 --> 00:42:59,320
Speaker 2: just always played an old man, even when he wasn't

777
00:42:59,360 --> 00:43:02,080
Speaker 2: that old of a a right, Yeah, all right, just

778
00:43:02,280 --> 00:43:04,600
Speaker 2: a few more credits behind the scenes here before we

779
00:43:04,600 --> 00:43:07,799
Speaker 2: get into the plot. We mentioned the Bogins. We've got

780
00:43:07,800 --> 00:43:09,880
Speaker 2: we have to we have to give credit to the

781
00:43:09,880 --> 00:43:14,520
Speaker 2: creators of the Bogins. Design and construction colon Boogin goes

782
00:43:14,560 --> 00:43:19,480
Speaker 2: to two individuals, Ken Horn and William Munns, and both

783
00:43:19,560 --> 00:43:22,000
Speaker 2: of these guys worked in a number of cool effects

784
00:43:22,000 --> 00:43:26,040
Speaker 2: pictures from the seventies and the eighties. So Horn his

785
00:43:26,120 --> 00:43:29,560
Speaker 2: credits include seventy sevens The Hills Have Eyes, seventy nine's

786
00:43:29,640 --> 00:43:34,160
Speaker 2: Tourist Trap, Hangar eighty eight, nineteen eighties, Battle Beyond the Stars,

787
00:43:34,480 --> 00:43:37,719
Speaker 2: The Legend of Sleepy Hollow nineteen eighties, The Return which

788
00:43:37,719 --> 00:43:42,120
Speaker 2: we've talked about, eighty one's Demonoid swamp Thing, eighty two's

789
00:43:42,160 --> 00:43:46,680
Speaker 2: Conan the Barbarian, and eighty seven's Creepyzoids Wow. And then

790
00:43:46,719 --> 00:43:50,960
Speaker 2: William Muns his credits include swamp Thing eighty two on that,

791
00:43:51,480 --> 00:43:53,920
Speaker 2: eighty two's The Beast Master, eighty five is The Return

792
00:43:53,960 --> 00:43:58,200
Speaker 2: of the Living Dead, and nineteen eighty eight's The Monsters Today. So,

793
00:43:58,600 --> 00:44:00,840
Speaker 2: you know, I think these guys definitely knew what they

794
00:44:00,880 --> 00:44:03,200
Speaker 2: were doing, and you know, given the you know, the

795
00:44:03,280 --> 00:44:06,719
Speaker 2: obvious constraints here, I feel like, again, I feel like

796
00:44:06,760 --> 00:44:10,480
Speaker 2: the Buggins looks pretty good. I just at the end

797
00:44:10,520 --> 00:44:11,920
Speaker 2: of the day, I'm like, maybe they should have gone

798
00:44:11,920 --> 00:44:14,520
Speaker 2: with a monstous suit Hindsight's twenty twenty.

799
00:44:14,840 --> 00:44:18,440
Speaker 3: Yeah, can I come? I'd say this maybe an example

800
00:44:18,520 --> 00:44:24,239
Speaker 3: of execution is more solid than the design, which is questionable.

801
00:44:24,880 --> 00:44:27,919
Speaker 3: Does that make sense? Like? Yeah, real is like, once

802
00:44:27,960 --> 00:44:30,799
Speaker 3: you've got your mission, here's what the Buggins is going

803
00:44:30,880 --> 00:44:33,640
Speaker 3: to look like. I feel like they executed that about

804
00:44:33,680 --> 00:44:34,960
Speaker 3: as well as it could have been done.

805
00:44:35,640 --> 00:44:39,360
Speaker 2: Yeah. Yeah, though they do have design and construction credits.

806
00:44:39,480 --> 00:44:40,160
Speaker 3: Yess that's true.

807
00:44:40,200 --> 00:44:44,200
Speaker 2: Yeah, they they would they would benefit from our praise

808
00:44:44,200 --> 00:44:47,879
Speaker 2: and our criticism here. Yeah, I don't know. I guess

809
00:44:47,880 --> 00:44:49,360
Speaker 2: one of my things is like, what is the buggin

810
00:44:49,440 --> 00:44:52,880
Speaker 2: supposed to be? Like what kind of triglafauna is it?

811
00:44:52,920 --> 00:44:55,000
Speaker 2: Is it like a cave cricket? Is it a turtle?

812
00:44:55,560 --> 00:44:57,080
Speaker 2: Is it an octopus? Like I thought it was going

813
00:44:57,160 --> 00:45:00,000
Speaker 2: to be a cave octopus before we actually found out

814
00:45:00,160 --> 00:45:02,680
Speaker 2: what it is. A reminder there's no such thing as

815
00:45:02,719 --> 00:45:04,200
Speaker 2: like a freshwater cave octopus.

816
00:45:04,200 --> 00:45:10,240
Speaker 3: But yeah, it's it's a spider turtle, rat octopus.

817
00:45:10,520 --> 00:45:13,480
Speaker 2: Yeah, it's okay. It's a weird hybrid concept, and I

818
00:45:13,480 --> 00:45:19,520
Speaker 2: guess given the design elements here, they did a pretty

819
00:45:19,520 --> 00:45:22,080
Speaker 2: good job. All right. Finally, the music here is by

820
00:45:22,080 --> 00:45:25,840
Speaker 2: Bob Summers. I have to say, pretty solid late seventies

821
00:45:25,880 --> 00:45:29,200
Speaker 2: early eighties kind of slasher theme music here. You know,

822
00:45:29,480 --> 00:45:31,759
Speaker 2: when we get into the tense moments, it does a

823
00:45:31,800 --> 00:45:32,359
Speaker 2: fine job.

824
00:45:32,600 --> 00:45:34,680
Speaker 3: Definitely works pretty well in the trailer.

825
00:45:34,960 --> 00:45:39,439
Speaker 2: Yeah, Summers. We've talked about Summers in passing before because

826
00:45:39,440 --> 00:45:44,480
Speaker 2: he did the score for The Eliminators, the mostly boat

827
00:45:44,520 --> 00:45:48,080
Speaker 2: based action adventure sci fi film that we watched a

828
00:45:48,120 --> 00:45:48,799
Speaker 2: few years back.

829
00:45:50,000 --> 00:45:55,200
Speaker 3: Scientist, Mercenary, Mandroid Ninja together they become the Eliminator.

830
00:45:55,360 --> 00:45:59,239
Speaker 2: Yeah. Yeah, So he'd worked on that. He worked on

831
00:45:59,239 --> 00:46:01,800
Speaker 2: a film called The Night, and he worked in the

832
00:46:01,880 --> 00:46:04,640
Speaker 2: music department on a number of films such as Sideways,

833
00:46:04,760 --> 00:46:07,640
Speaker 2: Night of the Comet and metal Storm. Also worked on

834
00:46:07,719 --> 00:46:09,600
Speaker 2: various Sun Classics projects.

835
00:46:10,560 --> 00:46:13,760
Speaker 3: Oh, metal Storm, the Destruction of Jared Sen exactly. Yeah,

836
00:46:13,800 --> 00:46:16,319
Speaker 3: there you go. All right, Well, are you ready to

837
00:46:16,400 --> 00:46:17,280
Speaker 3: talk about the plot?

838
00:46:17,440 --> 00:46:18,120
Speaker 2: Let's jump in.

839
00:46:18,600 --> 00:46:23,360
Speaker 3: We begin with a Taft International Pictures logo. Looks very classy,

840
00:46:23,440 --> 00:46:25,399
Speaker 3: copper text, gleaming. What do you think?

841
00:46:25,760 --> 00:46:27,920
Speaker 2: Yeah? I liked it. I got a little excited. You know,

842
00:46:27,960 --> 00:46:30,680
Speaker 2: it's kind of neat when you see a different film

843
00:46:30,719 --> 00:46:33,600
Speaker 2: production logo that you haven't seen before. You're like, oh,

844
00:46:33,920 --> 00:46:36,360
Speaker 2: feels a little different. I don't know exactly what to expect.

845
00:46:36,640 --> 00:46:39,279
Speaker 3: Some things like I didn't know this movie was made

846
00:46:39,280 --> 00:46:43,239
Speaker 3: by a bank kind of looks like it, yeah, yeah.

847
00:46:43,280 --> 00:46:45,640
Speaker 3: And then we get a red out and the title

848
00:46:45,880 --> 00:46:49,040
Speaker 3: is scribbled in a kind of cursive font in red

849
00:46:49,080 --> 00:46:51,680
Speaker 3: on a black background. And after this we moved to

850
00:46:51,800 --> 00:46:56,680
Speaker 3: a very Ken Burns style pan and zoom sequence over

851
00:46:56,760 --> 00:47:02,360
Speaker 3: some cpa toned old newspapers and photographs, old timey harmonica

852
00:47:02,440 --> 00:47:05,960
Speaker 3: music plays, and all these newspaper clippings are from the

853
00:47:06,040 --> 00:47:08,680
Speaker 3: eighteen eighties. At first, they're from a newspaper called the

854
00:47:08,719 --> 00:47:13,360
Speaker 3: Silver City Gazette, with headlines like silver strike in high country,

855
00:47:13,840 --> 00:47:17,600
Speaker 3: mother loads struck in rockies, hundreds pour into the mountains,

856
00:47:18,000 --> 00:47:22,600
Speaker 3: richest vein in history. And then you get photos that

857
00:47:22,680 --> 00:47:26,399
Speaker 3: show men standing proudly beside mine entrances or chipping away

858
00:47:26,440 --> 00:47:30,120
Speaker 3: at veins of oar with little picks. And then we

859
00:47:30,200 --> 00:47:32,600
Speaker 3: start getting different kinds of headlines. These are from the

860
00:47:32,680 --> 00:47:36,080
Speaker 3: nineteen tens. They say things like two more cave ins,

861
00:47:36,320 --> 00:47:40,600
Speaker 3: safety inspector do twenty seven trapped in mine miners feared

862
00:47:40,680 --> 00:47:45,280
Speaker 3: dead and then miners report attacks in mine, and finally

863
00:47:45,520 --> 00:47:46,600
Speaker 3: mine closed.

864
00:47:47,400 --> 00:47:50,160
Speaker 2: I'm assuming that the general vibe of this intro is

865
00:47:50,280 --> 00:47:53,319
Speaker 2: maybe in keeping with the documentaries that had come out

866
00:47:53,360 --> 00:47:54,760
Speaker 2: previously from Sun.

867
00:47:54,600 --> 00:47:58,439
Speaker 3: Classics Documentary Tactics. I didn't even make that connection, but yeah,

868
00:47:58,480 --> 00:48:02,239
Speaker 3: the kinburns, pan and zoom, and they had previously been

869
00:48:02,280 --> 00:48:04,880
Speaker 3: making all of these documentary films. That makes a lot

870
00:48:04,920 --> 00:48:05,239
Speaker 3: of sense.

871
00:48:05,360 --> 00:48:06,400
Speaker 2: Yeah, start with what you know.

872
00:48:07,200 --> 00:48:10,959
Speaker 3: So the action begins with a scene at the reopening

873
00:48:11,040 --> 00:48:14,440
Speaker 3: of an abandoned silver mine in the mountains, just outside

874
00:48:14,560 --> 00:48:18,120
Speaker 3: of a Colorado town called Silver City. So all around

875
00:48:18,160 --> 00:48:20,319
Speaker 3: the entrance snow is piled high and we can see

876
00:48:20,400 --> 00:48:24,960
Speaker 3: evergreen trees in the distance, a high altitude mountain environment.

877
00:48:25,880 --> 00:48:28,399
Speaker 3: And here we meet four characters. You've got the two

878
00:48:28,440 --> 00:48:31,400
Speaker 3: bosses in charge of the operation. You've got Brian played

879
00:48:31,440 --> 00:48:35,520
Speaker 3: by John Crawford, who has a likable enough demeanor, but

880
00:48:35,560 --> 00:48:38,160
Speaker 3: he's also a tough, no nonsense kind of guy. You know,

881
00:48:38,239 --> 00:48:40,879
Speaker 3: he's there to get work done. He's wearing a very

882
00:48:41,080 --> 00:48:45,120
Speaker 3: tight jean jacket. I feel like man wardrobe department. I

883
00:48:45,160 --> 00:48:46,840
Speaker 3: feel like they should have gotten him a better jacket.

884
00:48:48,400 --> 00:48:50,719
Speaker 3: And then you've got Dan played by Med Flory. So

885
00:48:50,800 --> 00:48:53,600
Speaker 3: both just kind of medium grizzled, older guys. They've got

886
00:48:53,600 --> 00:48:56,919
Speaker 3: some mining experience. Yeah, and then you've got the two

887
00:48:57,000 --> 00:49:00,759
Speaker 3: younger employees, these guys in their twenties played by Fred

888
00:49:00,840 --> 00:49:04,120
Speaker 3: McCarron and Roger are played by Jeff Harlan. Mark is

889
00:49:04,160 --> 00:49:07,360
Speaker 3: a strapping young lad. He is friendly, he's mild mannered.

890
00:49:07,680 --> 00:49:11,439
Speaker 3: And Roger, as we've been saying, is a nervous, sort

891
00:49:11,440 --> 00:49:15,759
Speaker 3: of obnoxious horn dog who has Dana Carvey energy.

892
00:49:16,640 --> 00:49:19,360
Speaker 2: And it's worth noting like none of these guys are

893
00:49:19,560 --> 00:49:22,480
Speaker 2: are bad at all, Like even our I think in

894
00:49:22,760 --> 00:49:26,800
Speaker 2: a picture from certainly from later on in the nineteen

895
00:49:26,840 --> 00:49:30,080
Speaker 2: eighties and certainly into the nineties, at least one of

896
00:49:30,120 --> 00:49:33,440
Speaker 2: the bosses here would have been a hard ass or

897
00:49:33,440 --> 00:49:35,360
Speaker 2: would have been a villain of some sort.

898
00:49:35,480 --> 00:49:37,399
Speaker 3: Yeah, yeah, but they're none of these are villains.

899
00:49:37,440 --> 00:49:39,960
Speaker 2: Yea. Yeah, they're pretty good bosses. They're very understanding, you know.

900
00:49:41,120 --> 00:49:46,560
Speaker 2: So I again that comfy vibe here. We're at least

901
00:49:46,560 --> 00:49:49,200
Speaker 2: when we're in the human realm, we're among friends. It's

902
00:49:49,239 --> 00:49:50,640
Speaker 2: the buggins we have to worry about.

903
00:49:50,840 --> 00:49:53,640
Speaker 3: That's a good point. Yeah, this is about human camaraderie

904
00:49:54,040 --> 00:49:58,359
Speaker 3: in the face of an overwhelming evil that is from below. Yeah,

905
00:49:59,120 --> 00:50:01,319
Speaker 3: So the boss is the chains off the gate and

906
00:50:01,320 --> 00:50:03,279
Speaker 3: they open up the tunnel and the younger guys haul

907
00:50:03,360 --> 00:50:06,640
Speaker 3: up a generator, and all of Roger's dialogue at this

908
00:50:06,680 --> 00:50:09,799
Speaker 3: point is stuff about He's like listing the number of

909
00:50:09,880 --> 00:50:12,680
Speaker 3: hours and minutes it's been since it was last six

910
00:50:12,719 --> 00:50:16,960
Speaker 3: o'clock and Mark and Roger are They also talk about

911
00:50:17,000 --> 00:50:18,960
Speaker 3: how they're new to mine work, so the older guys

912
00:50:19,000 --> 00:50:21,640
Speaker 3: have to show them the ropes. So the first phase

913
00:50:21,719 --> 00:50:24,280
Speaker 3: of reopening the mine seems to be setting up lights

914
00:50:24,320 --> 00:50:27,240
Speaker 3: and checking the old structural timbers and the mine shaft.

915
00:50:27,360 --> 00:50:30,360
Speaker 3: So Dan knocks on one of these old wooden props

916
00:50:30,360 --> 00:50:32,680
Speaker 3: with a hammer, and this big shower of dust falls

917
00:50:32,680 --> 00:50:35,920
Speaker 3: and he says that one's okay, which I thought was funny, like,

918
00:50:36,040 --> 00:50:39,480
Speaker 3: doesn't seem okay. But then while they're doing this, the

919
00:50:39,520 --> 00:50:42,560
Speaker 3: younger guys ask Dan why the mine was closed in

920
00:50:42,560 --> 00:50:44,520
Speaker 3: the first place, and he says, oh, they kept having

921
00:50:44,600 --> 00:50:47,719
Speaker 3: cave ins, And so we get to not quite look

922
00:50:47,760 --> 00:50:50,480
Speaker 3: at the camera and shrug, but almost that kind of

923
00:50:50,480 --> 00:50:53,799
Speaker 3: thing where where Roger is like, we're not getting paid

924
00:50:53,920 --> 00:50:58,400
Speaker 3: enough for this. So while the guys are busy wiring

925
00:50:58,440 --> 00:51:00,799
Speaker 3: up lights. They start talking about their sos and the

926
00:51:00,840 --> 00:51:05,640
Speaker 3: situation is they are going to be renting a cabin

927
00:51:05,800 --> 00:51:09,839
Speaker 3: while they're in town for this job, and Roger has

928
00:51:10,280 --> 00:51:13,560
Speaker 3: for the upcoming weekend, has invited his girlfriend Jessica to

929
00:51:13,600 --> 00:51:16,160
Speaker 3: come up from Denver and visit to stay over at

930
00:51:16,160 --> 00:51:22,280
Speaker 3: the cabin. Jessica is bringing with her her single friend Trish,

931
00:51:22,320 --> 00:51:24,280
Speaker 3: with whom she went to college. They went to journalism

932
00:51:24,360 --> 00:51:28,360
Speaker 3: school together, and Trish and Mark are supposed to be

933
00:51:28,480 --> 00:51:32,239
Speaker 3: each other's blind dates for the weekend. I feel like

934
00:51:32,280 --> 00:51:36,320
Speaker 3: I want to insert a buzzer sound here. The first

935
00:51:36,320 --> 00:51:38,759
Speaker 3: time I was watching this, that kind of went over

936
00:51:38,800 --> 00:51:40,839
Speaker 3: my head, But when I went back on it, I

937
00:51:40,880 --> 00:51:43,719
Speaker 3: was like, wait a minute, what it's a blind date,

938
00:51:44,280 --> 00:51:48,759
Speaker 3: a destination multi day blind date where you're staying in

939
00:51:48,800 --> 00:51:52,560
Speaker 3: the same house. I don't folks, do not do this

940
00:51:52,600 --> 00:51:56,080
Speaker 3: to your single friends a blind date. It's debatable whether

941
00:51:56,120 --> 00:51:58,400
Speaker 3: that's a good idea at all, But if you're going

942
00:51:58,440 --> 00:52:00,120
Speaker 3: to do a blind date, I feel like it has

943
00:51:59,920 --> 00:52:02,920
Speaker 3: to be short and easy to leave.

944
00:52:03,600 --> 00:52:06,279
Speaker 2: Yeah. Yeah, I mean, on one hand, maybe this is

945
00:52:06,400 --> 00:52:09,320
Speaker 2: acceptable in the eighties, but also it just it feels

946
00:52:09,400 --> 00:52:12,920
Speaker 2: like that sitcom energy you know where it's like, oh,

947
00:52:13,040 --> 00:52:14,480
Speaker 2: these two don't know each other, they're gonna make a

948
00:52:14,480 --> 00:52:18,280
Speaker 2: love connection. You know. It works well enough for the picture,

949
00:52:18,280 --> 00:52:20,160
Speaker 2: but doesn't hold up the close scrutiny.

950
00:52:20,680 --> 00:52:25,000
Speaker 3: Yeah, so Mark is skeptical about this multi day destination

951
00:52:25,120 --> 00:52:29,279
Speaker 3: blind date, but Roger is offering him assurances laced with

952
00:52:29,360 --> 00:52:33,000
Speaker 3: horny weirdness, like he's like, I saw Trish naked in

953
00:52:33,040 --> 00:52:34,399
Speaker 3: a hot tub, You're gonna like her.

954
00:52:36,080 --> 00:52:38,080
Speaker 2: Yeah, And they seem to have no plan for the weekend,

955
00:52:38,120 --> 00:52:42,439
Speaker 2: like there's no talk of I mean, obviously Roger has planned.

956
00:52:42,520 --> 00:52:45,120
Speaker 2: Roger has plans, but it's I'm not hearing anything about

957
00:52:45,160 --> 00:52:47,440
Speaker 2: the hikes they're planning to go on. It seems like

958
00:52:47,440 --> 00:52:50,879
Speaker 2: there's a vague plan to make spaghetti. But then it's

959
00:52:50,920 --> 00:52:53,440
Speaker 2: like the guys end up working most of the time anyway,

960
00:52:53,600 --> 00:52:56,880
Speaker 2: So yeah, it wasn't really well constructed this weekend.

961
00:52:57,520 --> 00:53:00,600
Speaker 3: When they never talk about skiing. But when we see

962
00:53:00,640 --> 00:53:03,080
Speaker 3: the ladies driving up in their car, they have skis

963
00:53:03,160 --> 00:53:05,120
Speaker 3: on the Vestroy car, so it's like maybe they had

964
00:53:05,120 --> 00:53:09,320
Speaker 3: plans to ski. But so once the older guys start

965
00:53:09,360 --> 00:53:11,680
Speaker 3: blasting the mine with dynamite to clear out some of

966
00:53:11,680 --> 00:53:15,080
Speaker 3: the old cavens, we cut away to Creeper Cam. There's

967
00:53:15,120 --> 00:53:17,680
Speaker 3: this old guy played by John Lormer, the guy from

968
00:53:17,760 --> 00:53:22,240
Speaker 3: Creep Show, standing on a snowy hill overlooking the mine entrance.

969
00:53:22,640 --> 00:53:25,400
Speaker 3: And when we first see him, he's in a plaid

970
00:53:25,440 --> 00:53:28,120
Speaker 3: coat with this big fleece collar and he's got it

971
00:53:28,160 --> 00:53:31,480
Speaker 3: flipped up like Dracula. He looks like Rocky Mountain Dracula

972
00:53:32,120 --> 00:53:33,360
Speaker 3: and Mountain Tracula.

973
00:53:33,680 --> 00:53:34,040
Speaker 2: He is.

974
00:53:34,120 --> 00:53:36,240
Speaker 3: Yeah, And for the first three quarters of the movie

975
00:53:36,280 --> 00:53:38,319
Speaker 3: there are going to be a lot of scenes of

976
00:53:38,400 --> 00:53:42,800
Speaker 3: this old guy lurking around outside wherever.

977
00:53:42,440 --> 00:53:44,799
Speaker 2: The characters are. And we know from the get go

978
00:53:44,880 --> 00:53:47,759
Speaker 2: what this guy's here for. This is the old dude

979
00:53:47,760 --> 00:53:50,359
Speaker 2: who's gonna warn us about the evil Like there's no

980
00:53:50,440 --> 00:53:53,000
Speaker 2: doubt about it. That's the old Doom.

981
00:53:53,920 --> 00:53:57,040
Speaker 3: He's that guy. Anyway, at the end of the workday,

982
00:53:57,120 --> 00:53:59,120
Speaker 3: Mark and Roger head out talking about how they have

983
00:53:59,160 --> 00:54:01,200
Speaker 3: to pack up so they can move into the cabin

984
00:54:01,320 --> 00:54:04,560
Speaker 3: the next day. Next we get to I think a

985
00:54:04,600 --> 00:54:08,399
Speaker 3: scene where the filmmakers realized, hold on, we can't make

986
00:54:08,440 --> 00:54:11,319
Speaker 3: the audience wait another hour before somebody gets killed by

987
00:54:11,320 --> 00:54:13,880
Speaker 3: the bugins, so we need to pull out a random

988
00:54:14,000 --> 00:54:17,960
Speaker 3: character to get to you know, become boogins meet here

989
00:54:18,000 --> 00:54:21,239
Speaker 3: at the beginning, So enter the character of did you

990
00:54:21,320 --> 00:54:24,080
Speaker 3: understand her as the land lady, like the owner of

991
00:54:24,120 --> 00:54:24,600
Speaker 3: the cabin?

992
00:54:24,920 --> 00:54:28,080
Speaker 2: I guess, so, I guess she's the landlady. Maybe she's

993
00:54:28,120 --> 00:54:30,399
Speaker 2: also a real litter as well.

994
00:54:31,200 --> 00:54:34,440
Speaker 3: Maybe. Yeah, So she's taking care of the cabin for

995
00:54:34,440 --> 00:54:36,480
Speaker 3: some reason, heading up to the cabin that Roger and

996
00:54:36,520 --> 00:54:38,880
Speaker 3: Mark have already rented, and she's getting it ready for

997
00:54:38,960 --> 00:54:40,680
Speaker 3: them to arrive the next day. I think she said

998
00:54:40,680 --> 00:54:43,000
Speaker 3: she has to get the heat going. So when we

999
00:54:43,040 --> 00:54:46,280
Speaker 3: first meet her, she's driving alone up the snowy mountain

1000
00:54:46,360 --> 00:54:49,000
Speaker 3: road in a wood paneled station wagon, and then a

1001
00:54:49,040 --> 00:54:51,279
Speaker 3: deer wanders into the middle of the road in front

1002
00:54:51,320 --> 00:54:54,840
Speaker 3: of her, and she somewhat comically exclaims, oh my god

1003
00:54:55,000 --> 00:54:58,959
Speaker 3: and swerves off the road. And then, without a whole

1004
00:54:58,960 --> 00:55:01,040
Speaker 3: lot of ado, she's like, well enough of that, and

1005
00:55:01,120 --> 00:55:03,640
Speaker 3: gets out of her wrecked car, leaves it in the ditch,

1006
00:55:03,719 --> 00:55:05,600
Speaker 3: and walks the rest of the way to the cabin.

1007
00:55:06,600 --> 00:55:08,480
Speaker 3: And then as soon as I saw the cabin, I

1008
00:55:08,600 --> 00:55:11,880
Speaker 3: was like, oh, the one that explodes in the trailer. Okay,

1009
00:55:12,480 --> 00:55:13,600
Speaker 3: they got to give that away.

1010
00:55:14,640 --> 00:55:16,120
Speaker 2: Now, is this character Martha?

1011
00:55:17,040 --> 00:55:19,960
Speaker 3: I don't remember if we ever learned her name. Yeah,

1012
00:55:20,200 --> 00:55:23,000
Speaker 3: why were you looking up who the actress is? Yeah?

1013
00:55:23,040 --> 00:55:25,240
Speaker 2: I was looking. There is a character named Martha played

1014
00:55:25,280 --> 00:55:30,640
Speaker 2: by Marcia Dangerfield, so possibly her. She was also in

1015
00:55:30,880 --> 00:55:35,000
Speaker 2: Footloose in eighty four. Oh, okay, in bats in ninety nine.

1016
00:55:35,520 --> 00:55:39,200
Speaker 2: But yeah, I'm like you, I don't remember her ever

1017
00:55:39,280 --> 00:55:40,240
Speaker 2: actually being named.

1018
00:55:41,680 --> 00:55:44,520
Speaker 3: Well, anyway, the cops might say her name later, but

1019
00:55:44,560 --> 00:55:46,799
Speaker 3: I don't remember what it is. Anyway. She arrives and

1020
00:55:46,840 --> 00:55:48,640
Speaker 3: she walks around in the house in the dark with

1021
00:55:48,680 --> 00:55:51,800
Speaker 3: a flashlight, cursing at things. She eventually gets the power

1022
00:55:51,840 --> 00:55:54,239
Speaker 3: on and she makes a phone call to somebody, explaining

1023
00:55:54,239 --> 00:55:56,800
Speaker 3: what happened and explaining that she will need to stay

1024
00:55:56,840 --> 00:56:00,759
Speaker 3: the night because her car is wrecked. Meanwhile, outside, John

1025
00:56:00,840 --> 00:56:03,800
Speaker 3: Lormer pulls up and starts sneaking around in the snow,

1026
00:56:04,200 --> 00:56:09,279
Speaker 3: peeping in windows and stuff, looking very pained. Then the

1027
00:56:09,360 --> 00:56:13,759
Speaker 3: landlord goes into the basement to light the furnace. The

1028
00:56:13,880 --> 00:56:17,920
Speaker 3: basement is a major location in this film. Many times

1029
00:56:18,000 --> 00:56:22,440
Speaker 3: characters have to go down into the basement. It's pretty

1030
00:56:22,480 --> 00:56:25,320
Speaker 3: standard in terms of layout. They didn't go out of

1031
00:56:25,360 --> 00:56:27,200
Speaker 3: their way to make it super creepy. It's just like

1032
00:56:27,239 --> 00:56:31,000
Speaker 3: a furnace water heater, stacks of cardboard boxes and old

1033
00:56:31,120 --> 00:56:36,000
Speaker 3: junk and wooden stairs descending from the kitchen. While she's

1034
00:56:36,000 --> 00:56:39,000
Speaker 3: down there, the landlady thinks she hears a sound there's

1035
00:56:39,000 --> 00:56:42,640
Speaker 3: something rustling behind the boxes, but then the sound goes

1036
00:56:42,680 --> 00:56:45,160
Speaker 3: away and she heads up to bed. Later we see

1037
00:56:45,200 --> 00:56:47,560
Speaker 3: her in bed with a book, and down below we

1038
00:56:47,640 --> 00:56:50,920
Speaker 3: get our first Boggin's point of view shot. It's kind

1039
00:56:50,920 --> 00:56:53,760
Speaker 3: of wobbling around on the basement floor and then slowly

1040
00:56:53,800 --> 00:56:56,359
Speaker 3: ooching up the stairs like an inch worm. You can

1041
00:56:56,480 --> 00:56:59,239
Speaker 3: kind of get the camera motion of it creeping. So

1042
00:56:59,320 --> 00:57:02,200
Speaker 3: the landlady something. She gets out of bed, goes to

1043
00:57:02,239 --> 00:57:05,440
Speaker 3: the kitchen cautiously and draws a knife from the block,

1044
00:57:05,800 --> 00:57:07,600
Speaker 3: but the knife is going to do her no good

1045
00:57:07,640 --> 00:57:11,400
Speaker 3: against the Bugin's menace. Suddenly, she sees something that we

1046
00:57:11,600 --> 00:57:15,960
Speaker 3: can't see approaching her. She screams, and then, in an

1047
00:57:16,000 --> 00:57:19,760
Speaker 3: attack that will be repeated several times in the movie,

1048
00:57:20,360 --> 00:57:24,440
Speaker 3: something seems to grab her by the ankle from below

1049
00:57:24,840 --> 00:57:28,760
Speaker 3: and yank her off her feet, and then it drags her, screaming,

1050
00:57:28,880 --> 00:57:33,120
Speaker 3: across the floor and down into the basement. Here I

1051
00:57:33,120 --> 00:57:36,760
Speaker 3: thought it might be good to do a sidebar on

1052
00:57:37,080 --> 00:57:40,200
Speaker 3: the characteristics of the Buggins attacks.

1053
00:57:41,280 --> 00:57:43,960
Speaker 2: Yeah, because this is something we'll see multiple times throughout

1054
00:57:43,960 --> 00:57:44,360
Speaker 2: the picture.

1055
00:57:45,960 --> 00:57:48,080
Speaker 3: It's kind of interesting. I think the movie is not

1056
00:57:48,240 --> 00:57:51,880
Speaker 3: totally unique in this regard. There are similar, you know,

1057
00:57:51,960 --> 00:57:55,200
Speaker 3: tricks employed in movies that have small monsters that attack

1058
00:57:55,240 --> 00:57:58,520
Speaker 3: from the ground level. But it is kind of interesting

1059
00:57:58,560 --> 00:58:00,440
Speaker 3: that the movie has a lot of shots from the

1060
00:58:00,560 --> 00:58:04,080
Speaker 3: ground lingering on people's feet and legs, a kind of

1061
00:58:04,120 --> 00:58:08,959
Speaker 3: predatory watching of people's feet and legs. And I think

1062
00:58:09,120 --> 00:58:12,840
Speaker 3: this is in part trying to take advantage of that

1063
00:58:13,080 --> 00:58:16,760
Speaker 3: fear that people have about things reaching out from under

1064
00:58:16,880 --> 00:58:19,840
Speaker 3: something and grabbing them by the feet. You know, there

1065
00:58:19,840 --> 00:58:22,720
Speaker 3: are different versions of this. I remember a more innocent version,

1066
00:58:22,880 --> 00:58:26,120
Speaker 3: like when I was a kid, I had a fear

1067
00:58:26,120 --> 00:58:29,040
Speaker 3: and understood it as a common fear among other children

1068
00:58:29,360 --> 00:58:32,160
Speaker 3: that something could reach out from under my bed and

1069
00:58:32,240 --> 00:58:34,760
Speaker 3: get my feet. So this would lead to, you know,

1070
00:58:34,760 --> 00:58:36,840
Speaker 3: if you're getting back in bed at night and it's

1071
00:58:36,920 --> 00:58:39,200
Speaker 3: dark and you're scared, you kind of like run and

1072
00:58:39,280 --> 00:58:41,360
Speaker 3: leap onto the bed, so you're never too close to

1073
00:58:41,440 --> 00:58:43,240
Speaker 3: the bed with your feet on the ground, so something

1074
00:58:43,280 --> 00:58:46,439
Speaker 3: couldn't reach out and get you. But I was also

1075
00:58:46,480 --> 00:58:49,880
Speaker 3: thinking about this in a more sinister fashion. The adult

1076
00:58:50,000 --> 00:58:54,960
Speaker 3: version is an urban legend that's actually very common. It

1077
00:58:55,080 --> 00:58:58,840
Speaker 3: is the parking lot slasher who hides under women's cars

1078
00:58:59,240 --> 00:59:02,320
Speaker 3: and slashes the victims achilles tendon while she's opening the

1079
00:59:02,360 --> 00:59:04,760
Speaker 3: car door, making it impossible for her to run away.

1080
00:59:05,320 --> 00:59:06,920
Speaker 3: I assume you've heard this before.

1081
00:59:06,800 --> 00:59:08,680
Speaker 2: You know. I don't think I heard this one before.

1082
00:59:08,680 --> 00:59:11,720
Speaker 2: It sounds very impractical, like, yes, you're going to hide

1083
00:59:11,720 --> 00:59:14,880
Speaker 2: out under a car like that's pretty cramped unless you're

1084
00:59:15,120 --> 00:59:18,080
Speaker 2: hanging out under big old trucks. And then once you've

1085
00:59:18,120 --> 00:59:21,920
Speaker 2: slashed the victim, you're going to crawl out and then

1086
00:59:21,960 --> 00:59:25,000
Speaker 2: attack them again. It seems like you're just gonna They're

1087
00:59:25,040 --> 00:59:26,560
Speaker 2: going to put the boots to you before you even

1088
00:59:26,600 --> 00:59:27,760
Speaker 2: craw out from underneath the car.

1089
00:59:28,040 --> 00:59:31,000
Speaker 3: So, yeah, I looked this up, and this is for

1090
00:59:31,040 --> 00:59:34,320
Speaker 3: the most part, not something that actually happened, at least

1091
00:59:34,880 --> 00:59:37,360
Speaker 3: I think there now. I'm not sure about the details.

1092
00:59:37,360 --> 00:59:39,400
Speaker 3: I think there may have been a case much later,

1093
00:59:39,640 --> 00:59:43,160
Speaker 3: like long after this was already an urban legend of

1094
00:59:43,200 --> 00:59:46,720
Speaker 3: something like this happening, But at least in the early times,

1095
00:59:46,720 --> 00:59:49,960
Speaker 3: when stories about this were spreading like wildfire, this was

1096
00:59:50,000 --> 00:59:52,600
Speaker 3: not happening. There are you know, no records at the

1097
00:59:52,600 --> 00:59:56,120
Speaker 3: time of anybody ever doing this. So it's just a

1098
00:59:56,200 --> 01:00:01,320
Speaker 3: thing that I think captured people's imagination because it just

1099
01:00:01,440 --> 01:00:04,640
Speaker 3: like taps into natural fears. We have fears about kind

1100
01:00:04,640 --> 01:00:08,520
Speaker 3: of you know, places people could be hiding. You're like

1101
01:00:08,600 --> 01:00:11,360
Speaker 3: not examining the practicality of how much space is there

1102
01:00:11,360 --> 01:00:15,120
Speaker 3: really under the car, how much. It's just like it's creepy,

1103
01:00:15,160 --> 01:00:17,200
Speaker 3: I think, in the same for the same reason that

1104
01:00:17,240 --> 01:00:19,480
Speaker 3: it's creepy to imagine a monster reaching out from under

1105
01:00:19,520 --> 01:00:19,920
Speaker 3: your bed.

1106
01:00:20,240 --> 01:00:24,000
Speaker 2: Yeah. I mean it probably comes down to like our

1107
01:00:24,120 --> 01:00:28,520
Speaker 2: natural tendency to be on the lookout for things like

1108
01:00:28,640 --> 01:00:31,440
Speaker 2: you know, serpents in the grass, or or the potential

1109
01:00:31,520 --> 01:00:34,880
Speaker 2: that that some sort of a naturally occurring like small

1110
01:00:35,000 --> 01:00:38,600
Speaker 2: cave or overhang might have some sort of a creature

1111
01:00:38,760 --> 01:00:40,560
Speaker 2: held up in it and if you get too close

1112
01:00:40,640 --> 01:00:43,440
Speaker 2: then they might you know, attack and self defense.

1113
01:00:44,280 --> 01:00:46,720
Speaker 3: Yeah, so I think the movie is trying to take

1114
01:00:46,760 --> 01:00:49,439
Speaker 3: advantage of that kind of fear. They're reaching out from

1115
01:00:49,560 --> 01:00:52,840
Speaker 3: under something and getting you by the feet fear, and

1116
01:00:52,920 --> 01:00:55,880
Speaker 3: so that is what the Buggins cam is tapping into

1117
01:00:55,960 --> 01:00:58,560
Speaker 3: in a way. So we see from the monster's point

1118
01:00:58,600 --> 01:01:00,600
Speaker 3: of view, as like feet and leg go by, but

1119
01:01:00,640 --> 01:01:03,760
Speaker 3: then also as people cower and scream as the monster

1120
01:01:03,840 --> 01:01:07,000
Speaker 3: is approaching from the floor looking up at them, and

1121
01:01:07,040 --> 01:01:10,640
Speaker 3: then also the attack. The Buggins attack almost always has

1122
01:01:10,680 --> 01:01:14,360
Speaker 3: a pulling or dragging action. The victim is seized by

1123
01:01:14,400 --> 01:01:18,439
Speaker 3: some extremity, usually by the feet, but sometimes by an arm,

1124
01:01:18,600 --> 01:01:21,160
Speaker 3: like if they reach into something and then dragged away.

1125
01:01:21,800 --> 01:01:24,360
Speaker 2: Yeah, and it seems like the Biggins has at least

1126
01:01:24,360 --> 01:01:27,400
Speaker 2: two tentacles going on some sort of arms. One is

1127
01:01:27,440 --> 01:01:30,760
Speaker 2: for grabbing and the other is for slashing at a distance.

1128
01:01:30,920 --> 01:01:33,800
Speaker 3: Yeah, it's got a nail on the end of the tentacle.

1129
01:01:42,280 --> 01:01:44,680
Speaker 3: So the next day the cops pull the landlady's car

1130
01:01:44,720 --> 01:01:46,840
Speaker 3: out of the ditch. There's no sign of her around

1131
01:01:47,520 --> 01:01:50,760
Speaker 3: and down at the mine, our boys are still exploring

1132
01:01:50,840 --> 01:01:53,960
Speaker 3: and they're mapping out the tunnels. They find a cave in,

1133
01:01:54,240 --> 01:01:57,320
Speaker 3: perhaps the one that closed the mine in nineteen twelve,

1134
01:01:57,640 --> 01:02:00,040
Speaker 3: and they start clearing away the rubble by hand. I

1135
01:02:00,040 --> 01:02:01,840
Speaker 3: don't know what you actually used to clear a rubble

1136
01:02:01,880 --> 01:02:03,360
Speaker 3: in a tunnel. Maybe you just pick him up, and

1137
01:02:03,400 --> 01:02:07,360
Speaker 3: maybe maybe that is what you do. But finally it

1138
01:02:07,440 --> 01:02:10,880
Speaker 3: is time to meet Jessica and Trish our main two

1139
01:02:11,480 --> 01:02:14,640
Speaker 3: women characters. So they're making a trip up the mountain.

1140
01:02:15,280 --> 01:02:18,000
Speaker 3: They're on the highway in Jessica's yellow Volkswagen, which is

1141
01:02:18,080 --> 01:02:22,320
Speaker 3: named Molly. Jessica is driving and Trish is navigating, though

1142
01:02:22,320 --> 01:02:26,760
Speaker 3: Trish is really struggling to decipher the map, and Trish

1143
01:02:26,840 --> 01:02:29,040
Speaker 3: makes a joke about the fact that Jessica is the

1144
01:02:29,120 --> 01:02:32,760
Speaker 3: kind of person who names her car. Jessica's defense is

1145
01:02:32,840 --> 01:02:35,080
Speaker 3: that at least she's not as bad as Roger. Again,

1146
01:02:35,120 --> 01:02:37,800
Speaker 3: this is her own boyfriend who names certain parts of

1147
01:02:37,880 --> 01:02:40,600
Speaker 3: his own body. And then she leans over to whisper.

1148
01:02:40,800 --> 01:02:41,960
Speaker 3: He calls it herman.

1149
01:02:42,880 --> 01:02:45,800
Speaker 2: Wow, what part does he call herman? Is the butt?

1150
01:02:46,040 --> 01:02:46,440
Speaker 2: I don't know.

1151
01:02:46,520 --> 01:02:48,480
Speaker 3: We could have no idea what part of the body

1152
01:02:48,480 --> 01:02:51,840
Speaker 3: it would be. Yeah, we'll have to assume his gallbladder

1153
01:02:51,920 --> 01:02:55,680
Speaker 3: is Hermann. So Jessica pulls over so they can let

1154
01:02:55,760 --> 01:02:58,800
Speaker 3: their dog, Tiger, have a bathroom break. Tiger is an

1155
01:02:58,840 --> 01:03:02,080
Speaker 3: off leash mania. He just runs off into the woods.

1156
01:03:02,360 --> 01:03:04,800
Speaker 3: They set him loose, and then they're kind of surprised

1157
01:03:04,800 --> 01:03:07,600
Speaker 3: when he doesn't immediately come back. They're like, why did

1158
01:03:07,600 --> 01:03:08,240
Speaker 3: he run away?

1159
01:03:08,400 --> 01:03:08,800
Speaker 2: I don't know.

1160
01:03:11,240 --> 01:03:13,720
Speaker 3: So the next scene Jessica and Trish are walking around

1161
01:03:13,800 --> 01:03:17,360
Speaker 3: in the snow calling for the dog and complaining about

1162
01:03:17,400 --> 01:03:19,240
Speaker 3: him and calling him names. You know, come here at

1163
01:03:19,240 --> 01:03:23,760
Speaker 3: Weasel Breath. I don't know if we've already discussed everything

1164
01:03:24,000 --> 01:03:26,280
Speaker 3: that needs to be said about this, but one of

1165
01:03:26,320 --> 01:03:29,480
Speaker 3: the most shocking things about this movie to me is

1166
01:03:29,560 --> 01:03:33,720
Speaker 3: the non stop expression of negative sentiment about this cute

1167
01:03:33,760 --> 01:03:37,320
Speaker 3: little dog. It feels almost like the screenwriters thought they

1168
01:03:37,360 --> 01:03:41,160
Speaker 3: should include a cute dog, but maybe they hated dogs

1169
01:03:41,560 --> 01:03:44,360
Speaker 3: and just assumed everybody else does too. What did you

1170
01:03:44,400 --> 01:03:44,960
Speaker 3: make of this?

1171
01:03:45,520 --> 01:03:51,280
Speaker 2: Oh, I don't know. They do trash talk the dog.

1172
01:03:51,120 --> 01:03:54,760
Speaker 3: A lot, non stop. They never say anything nice about

1173
01:03:54,760 --> 01:03:55,520
Speaker 3: the dog.

1174
01:03:55,360 --> 01:03:59,720
Speaker 2: But the dog is also absolutely cute and is one

1175
01:03:59,720 --> 01:04:02,560
Speaker 2: of the stars of the picture. And you know, we

1176
01:04:02,600 --> 01:04:04,800
Speaker 2: don't have we I don't think we as the viewer

1177
01:04:04,880 --> 01:04:06,840
Speaker 2: have reason to hate the dog. The dog's not going

1178
01:04:06,840 --> 01:04:10,280
Speaker 2: around doing things that deserve death by monster or anything.

1179
01:04:11,280 --> 01:04:13,600
Speaker 2: I don't know. It made me, I did. It did

1180
01:04:13,680 --> 01:04:16,360
Speaker 2: make me reflect a little bit on my relationship with

1181
01:04:16,400 --> 01:04:19,840
Speaker 2: my own pet, who's not a dog and is a cat.

1182
01:04:20,160 --> 01:04:22,439
Speaker 2: But you know, I probably talk a lot of trash

1183
01:04:22,480 --> 01:04:24,160
Speaker 2: about this cat. But at the end of the day,

1184
01:04:24,640 --> 01:04:29,120
Speaker 2: I love this cat, even even when she's you know,

1185
01:04:29,240 --> 01:04:32,400
Speaker 2: acting against me and actively jumping out at my feet

1186
01:04:32,440 --> 01:04:37,479
Speaker 2: from underneath things, oh interest, much like a Boogin's. So yeah,

1187
01:04:37,520 --> 01:04:39,280
Speaker 2: but yeah, they do spend a lot of time talking

1188
01:04:39,280 --> 01:04:40,120
Speaker 2: trash about Tiger.

1189
01:04:40,800 --> 01:04:42,640
Speaker 3: So after a while they get tired of looking for

1190
01:04:42,680 --> 01:04:44,480
Speaker 3: Tiger and they head back to the car. I don't

1191
01:04:44,480 --> 01:04:46,760
Speaker 3: know if I mean like they're planning on leaving without

1192
01:04:46,840 --> 01:04:48,640
Speaker 3: him or something. But then when they get there, Tiger

1193
01:04:48,720 --> 01:04:52,080
Speaker 3: is sitting on top of the Volkswagen like womp womp.

1194
01:04:52,360 --> 01:04:54,320
Speaker 2: Yeah again, you could have you could have dropped a

1195
01:04:54,400 --> 01:04:56,520
Speaker 2: laugh track on this film, and it would have worked

1196
01:04:56,520 --> 01:04:59,920
Speaker 2: perfectly for much of it. Like it's it clearly has

1197
01:05:00,080 --> 01:05:02,080
Speaker 2: that good natured comedy energy going on.

1198
01:05:02,640 --> 01:05:05,080
Speaker 3: The next scene is pretty funny. Back at the mine,

1199
01:05:05,240 --> 01:05:08,040
Speaker 3: the guys break through the rubble pile and just beyond it,

1200
01:05:08,560 --> 01:05:11,880
Speaker 3: the tunnel opens up into this big chamber. It's shimmering

1201
01:05:11,920 --> 01:05:14,720
Speaker 3: with purple light. They go in and it is an

1202
01:05:14,880 --> 01:05:18,520
Speaker 3: underground lake or pond. There's this big, you know, very

1203
01:05:18,600 --> 01:05:22,760
Speaker 3: still water, massive still water covered with fog. It's kind

1204
01:05:22,800 --> 01:05:25,280
Speaker 3: of atmospheric at first, you know, it's not the most

1205
01:05:25,280 --> 01:05:28,200
Speaker 3: expensive set ever, but it's you know, they get it

1206
01:05:28,320 --> 01:05:31,479
Speaker 3: gets an atmosphere. They followed the edges of the lake

1207
01:05:31,760 --> 01:05:34,040
Speaker 3: and we see things moving in the water below, but

1208
01:05:34,120 --> 01:05:37,200
Speaker 3: they don't see it. And then they come across a

1209
01:05:37,360 --> 01:05:43,040
Speaker 3: gigantic pile of clean, dry, bleached bones. One of the other,

1210
01:05:43,280 --> 01:05:45,760
Speaker 3: one of the older guys, picks up a human skull

1211
01:05:45,960 --> 01:05:50,240
Speaker 3: and says, that looks human. What else is it going

1212
01:05:50,320 --> 01:05:50,560
Speaker 3: to be?

1213
01:05:50,840 --> 01:05:53,200
Speaker 2: Well, you know, he's in his spare time, he reads

1214
01:05:53,280 --> 01:05:58,120
Speaker 2: up on human ancestors, and so he was very curious

1215
01:05:58,160 --> 01:06:00,600
Speaker 2: to see if this was indeed a modern human.

1216
01:06:00,400 --> 01:06:05,919
Speaker 3: Skulls Australopithecus in the cave. Yeah, so, you know, they've

1217
01:06:05,920 --> 01:06:09,200
Speaker 3: got this massive bone midden in the cave. In the cave,

1218
01:06:09,280 --> 01:06:11,640
Speaker 3: it seems to contain the bones of twenty or thirty

1219
01:06:11,720 --> 01:06:14,880
Speaker 3: human bodies. They're all mixed up and jumbled together, and

1220
01:06:14,920 --> 01:06:17,720
Speaker 3: they're like, what could have caused this? And they're like, well,

1221
01:06:18,000 --> 01:06:21,520
Speaker 3: it probably a gas leak or something. You know, these

1222
01:06:21,520 --> 01:06:23,000
Speaker 3: are the miners who died in here.

1223
01:06:23,240 --> 01:06:27,280
Speaker 2: Meanwhile, we just glimpse something like a large creature swimming

1224
01:06:27,360 --> 01:06:31,120
Speaker 2: in the underwater pool, but no cause for alarm. Let's

1225
01:06:31,120 --> 01:06:32,200
Speaker 2: just keep looking for that silver.

1226
01:06:32,960 --> 01:06:36,640
Speaker 3: So Trish and Jessica arrive at the cabin, Jess claims

1227
01:06:36,680 --> 01:06:39,520
Speaker 3: the room with a big brass bed for herself and Roger,

1228
01:06:39,640 --> 01:06:44,000
Speaker 3: and she starts testing out the bed like jumping on it,

1229
01:06:44,360 --> 01:06:48,240
Speaker 3: and it immediately breaks and falls to the floor. Meanwhile,

1230
01:06:48,360 --> 01:06:50,400
Speaker 3: Trish wants to take a shower, but she can't get

1231
01:06:50,400 --> 01:06:53,400
Speaker 3: hot water, so she goes to the basement to turn

1232
01:06:53,440 --> 01:06:56,160
Speaker 3: on the water heater, and while down there, she hears

1233
01:06:56,200 --> 01:07:00,280
Speaker 3: some odd noises and there's some suspense while she reeps

1234
01:07:00,280 --> 01:07:02,800
Speaker 3: around looking for the source of the scuffling. But this

1235
01:07:02,960 --> 01:07:06,200
Speaker 3: ends with a poodle scare because Tiger jumps out from

1236
01:07:06,240 --> 01:07:09,560
Speaker 3: behind some boxes. Next, we check back in with the

1237
01:07:09,560 --> 01:07:13,760
Speaker 3: boys at the mine. Roger is narrating in graphic detail

1238
01:07:13,840 --> 01:07:18,040
Speaker 3: his strategic plans for sex Well. The boss interrupts them

1239
01:07:18,080 --> 01:07:21,160
Speaker 3: to say that somebody has to drive to Denver overnight

1240
01:07:21,200 --> 01:07:23,640
Speaker 3: to pick up new maps that they're going to need

1241
01:07:23,680 --> 01:07:26,080
Speaker 3: for the next morning, and it's got to be Roger

1242
01:07:26,120 --> 01:07:29,200
Speaker 3: because the boss needs needs Mark there, I think for

1243
01:07:29,240 --> 01:07:33,200
Speaker 3: some electrical tasks, and Mark has the electrical knowledge and

1244
01:07:33,480 --> 01:07:37,160
Speaker 3: Roger is like, no, Boss, my girlfriend just got up here.

1245
01:07:37,160 --> 01:07:42,040
Speaker 3: It's been twelve days. But the boss does not sympathize,

1246
01:07:42,120 --> 01:07:44,400
Speaker 3: so they make plans for Roger to take the boss's

1247
01:07:44,440 --> 01:07:46,920
Speaker 3: pickup truck and he's gonna leave at three am for

1248
01:07:46,960 --> 01:07:47,480
Speaker 3: some reason.

1249
01:07:48,120 --> 01:07:50,600
Speaker 2: Yeah, yeah, I didn't fully understand the timing of all

1250
01:07:50,640 --> 01:07:53,080
Speaker 2: of this, but yeah he has. But he assures him

1251
01:07:53,120 --> 01:07:54,760
Speaker 2: it's like, look, you've got you don't have to leave

1252
01:07:54,800 --> 01:07:58,160
Speaker 2: till three am. Do whatever hormone Man stuff you have

1253
01:07:58,240 --> 01:08:01,120
Speaker 2: to do up until three am, but then you've got

1254
01:08:01,160 --> 01:08:02,960
Speaker 2: to go to Denver and pick up the maps.

1255
01:08:03,160 --> 01:08:05,560
Speaker 3: This is the first scene where Roger does a Hormone

1256
01:08:05,600 --> 01:08:09,720
Speaker 3: Man monologue. So he starts referring to himself as hormone Man,

1257
01:08:10,240 --> 01:08:13,240
Speaker 3: and he's narrating it like a Superman radio serial. You know,

1258
01:08:13,560 --> 01:08:17,840
Speaker 3: Hormone Man can leap tall buildings of sex. And while

1259
01:08:17,960 --> 01:08:20,920
Speaker 3: Hormone Man is yammering, we suddenly pan over to the

1260
01:08:20,960 --> 01:08:24,679
Speaker 3: grizzled old Codure and he's just like spying on Hormone Man.

1261
01:08:27,080 --> 01:08:29,000
Speaker 3: And so we're just gonna get a lot more creeping

1262
01:08:29,040 --> 01:08:30,880
Speaker 3: scenes throughout where the old Man is. You know, he's

1263
01:08:30,920 --> 01:08:33,160
Speaker 3: outside wherever they are, like looking at people.

1264
01:08:33,280 --> 01:08:35,040
Speaker 2: But it's still it's like, I'm not buying for a

1265
01:08:35,040 --> 01:08:37,439
Speaker 2: second that this guy's a threat. It's like he's here

1266
01:08:37,479 --> 01:08:40,240
Speaker 2: to tell us about the monster. There's no doubt about it.

1267
01:08:40,840 --> 01:08:44,320
Speaker 3: Yeah, yeah, of course. Yeah. His message is not I'm

1268
01:08:44,360 --> 01:08:47,320
Speaker 3: going to harm hormone man. It's that hormone Man is

1269
01:08:47,360 --> 01:08:48,479
Speaker 3: in danger and needs MP.

1270
01:08:48,760 --> 01:08:50,920
Speaker 2: But he's very anti social, He's I guess the whole time,

1271
01:08:50,920 --> 01:08:52,479
Speaker 2: He's like, should I tell him? Is now a good

1272
01:08:52,479 --> 01:08:54,360
Speaker 2: time for me? Don't? I don't want to come off

1273
01:08:54,360 --> 01:08:56,680
Speaker 2: as awkward or weird, but I've got to warn him

1274
01:08:56,680 --> 01:08:57,599
Speaker 2: about these boogets.

1275
01:08:59,240 --> 01:09:02,879
Speaker 3: So back in the cab our, Core cast is finally united.

1276
01:09:03,520 --> 01:09:07,160
Speaker 3: Jessica and hormone Man have a screaming tickle fight, and

1277
01:09:07,320 --> 01:09:10,120
Speaker 3: Trish and Mark's first meeting happens in the middle of this.

1278
01:09:10,320 --> 01:09:13,200
Speaker 3: So like, Mark comes in the front door balancing a

1279
01:09:13,200 --> 01:09:17,240
Speaker 3: bunch of boxes from the liquor store heavy Core's presence

1280
01:09:17,240 --> 01:09:20,200
Speaker 3: in this film, Core's banquet, and he's got a box

1281
01:09:20,600 --> 01:09:22,880
Speaker 3: of a vodka brand I'd never heard of, called barren

1282
01:09:23,000 --> 01:09:27,519
Speaker 3: Rothshield Vodka. Meanwhile, Trish gets out of the shower to

1283
01:09:27,600 --> 01:09:32,040
Speaker 3: investigate the screaming the tickle fight and is standing in

1284
01:09:32,080 --> 01:09:34,880
Speaker 3: the doorway half wrapped in a towel. And this is

1285
01:09:34,920 --> 01:09:37,719
Speaker 3: the part where we get that unintentionally funny moment where

1286
01:09:38,080 --> 01:09:41,559
Speaker 3: the camera does a Jallo style like glide zoom on

1287
01:09:41,640 --> 01:09:46,639
Speaker 3: Trish's butt, and then yeah, it's very weird, like it's

1288
01:09:46,840 --> 01:09:49,200
Speaker 3: the way a Jallo movie would like zoom on a

1289
01:09:49,240 --> 01:09:53,800
Speaker 3: bloody weapon, you know, like, oh, there's the clue. But

1290
01:09:53,920 --> 01:09:56,240
Speaker 3: so Mark and Trish are both embarrassed and they make

1291
01:09:56,240 --> 01:09:59,599
Speaker 3: an awkward introduction. But then later she comes out into

1292
01:09:59,600 --> 01:10:01,479
Speaker 3: the kitchen and joins Mark and they start to get

1293
01:10:01,520 --> 01:10:03,920
Speaker 3: to know each other. You know, they're bonding a bit

1294
01:10:04,439 --> 01:10:09,360
Speaker 3: over first scornful mockery of our beloved Tiger, including one

1295
01:10:09,360 --> 01:10:11,559
Speaker 3: part where Mark he's like, yeah, I went to school

1296
01:10:11,560 --> 01:10:15,400
Speaker 3: for electrical engineering. The reason is I'm trying to invent

1297
01:10:15,439 --> 01:10:17,760
Speaker 3: a dog sized electric chair for Tiger.

1298
01:10:18,640 --> 01:10:18,920
Speaker 2: What.

1299
01:10:19,360 --> 01:10:23,120
Speaker 3: Yeah, So they share some cores banquet, and then we

1300
01:10:23,200 --> 01:10:25,600
Speaker 3: get a bit of their backstory too. So Mark, you know,

1301
01:10:25,640 --> 01:10:28,240
Speaker 3: got out of electrical engineering school. He's working this mind

1302
01:10:28,320 --> 01:10:30,439
Speaker 3: job until he figures out what he wants to do next.

1303
01:10:30,880 --> 01:10:33,839
Speaker 3: Trish and Jessica went to journalism school together, and Trish

1304
01:10:34,000 --> 01:10:36,320
Speaker 3: just got a job at the Denver Post working on

1305
01:10:36,360 --> 01:10:39,799
Speaker 3: their Sunday magazine, so she is aspiring for a bigger

1306
01:10:39,840 --> 01:10:43,360
Speaker 3: career in journalism. And then there's a knock at the door.

1307
01:10:43,720 --> 01:10:46,120
Speaker 3: Who is it? It's the cops. They are trying to

1308
01:10:46,160 --> 01:10:49,240
Speaker 3: find the land lady who disappeared earlier. Her car was

1309
01:10:49,280 --> 01:10:51,479
Speaker 3: found in the ditch, but nobody knows where she is,

1310
01:10:52,000 --> 01:10:54,599
Speaker 3: so the cops come in and they have to end

1311
01:10:54,680 --> 01:10:58,080
Speaker 3: up interrupting Jessica and Hormone Man in the middle of

1312
01:10:58,160 --> 01:11:01,040
Speaker 3: whatever they're doing. So now since everybody is out of

1313
01:11:01,280 --> 01:11:03,640
Speaker 3: the cops, of course they don't find out anything, so

1314
01:11:03,720 --> 01:11:07,479
Speaker 3: they leave, and now that everybody's out of bed, our

1315
01:11:07,520 --> 01:11:09,799
Speaker 3: heroes decide to go into town to get some supper,

1316
01:11:10,000 --> 01:11:12,120
Speaker 3: and they're gonna leave Tiger by himself at the house

1317
01:11:12,160 --> 01:11:15,280
Speaker 3: to chew on Roger's shoes, so we stay with Tiger

1318
01:11:15,360 --> 01:11:19,200
Speaker 3: for a bit. Tiger again choose on hormone man shoes,

1319
01:11:19,720 --> 01:11:21,880
Speaker 3: and then he hears a noise in the basement and

1320
01:11:21,920 --> 01:11:25,400
Speaker 3: he goes to sniff it out once again. Wonderful dog

1321
01:11:25,479 --> 01:11:29,479
Speaker 3: reaction shots and growling and lip curling. Very expressive, little

1322
01:11:29,760 --> 01:11:32,680
Speaker 3: little curly haired dog. He yaps a bit at what's

1323
01:11:32,760 --> 01:11:35,559
Speaker 3: going on in the basement and this leads to a

1324
01:11:35,640 --> 01:11:38,439
Speaker 3: Buggins attack. We see Buggins Cam come up out of

1325
01:11:38,479 --> 01:11:41,479
Speaker 3: the basement into the kitchen and Tiger hides in a

1326
01:11:41,560 --> 01:11:44,240
Speaker 3: kitchen cabinet while we see the Buggins cam like rushing

1327
01:11:44,280 --> 01:11:47,799
Speaker 3: toward him. And at this point I just assumed Tiger

1328
01:11:47,960 --> 01:11:50,679
Speaker 3: was done for like already could put but he pops

1329
01:11:50,760 --> 01:11:53,800
Speaker 3: up again later, so I guess the cabinet door was

1330
01:11:53,920 --> 01:11:58,120
Speaker 3: enough protection, which is very funny in retrospect once we

1331
01:11:58,160 --> 01:12:01,120
Speaker 3: see the Buggins like flicking huge a furniture out of

1332
01:12:01,160 --> 01:12:02,040
Speaker 3: the way like nothing.

1333
01:12:02,760 --> 01:12:06,479
Speaker 2: Yeah. I wasn't surprised that Tiger survived this encounter because

1334
01:12:06,520 --> 01:12:09,320
Speaker 2: it seemed like the film had already devoted a lot

1335
01:12:09,360 --> 01:12:12,160
Speaker 2: of time to Tiger, and also just sort of the

1336
01:12:12,200 --> 01:12:15,240
Speaker 2: general knowledge that you shouldn't kill off a dog in

1337
01:12:15,280 --> 01:12:16,800
Speaker 2: a film if you can avoid it. Not that it's

1338
01:12:16,800 --> 01:12:19,840
Speaker 2: stopped plenty of films that we've watched for weirdout cinema.

1339
01:12:19,439 --> 01:12:20,439
Speaker 3: Well, but they do later.

1340
01:12:21,439 --> 01:12:24,320
Speaker 2: That's the weird thing. I don't remember Tiger dying, Yeah,

1341
01:12:24,880 --> 01:12:26,320
Speaker 2: pointed out to me when we get back to it.

1342
01:12:26,360 --> 01:12:30,559
Speaker 2: Maybe I was hiding the film from people or something.

1343
01:12:30,800 --> 01:12:33,160
Speaker 3: It happens off screen, but okay, it does happen.

1344
01:12:33,280 --> 01:12:35,840
Speaker 2: Yeah, Yeah, And I guess it's surprising that Tiger would

1345
01:12:35,880 --> 01:12:38,200
Speaker 2: eventually get killed in this It seems like tiger would

1346
01:12:38,200 --> 01:12:41,160
Speaker 2: be your survivor because he's again he's great. I would

1347
01:12:41,160 --> 01:12:45,000
Speaker 2: put this performance and the way they shot it like

1348
01:12:45,360 --> 01:12:49,080
Speaker 2: on par with Jonesy and Aliens. You know, easier to

1349
01:12:49,120 --> 01:12:52,439
Speaker 2: do with a dog than a cat. But still we're invested.

1350
01:12:52,840 --> 01:12:56,559
Speaker 3: Yeah, it's funny that you pointed out he's a survivor

1351
01:12:56,560 --> 01:12:58,360
Speaker 3: because he does have the eye of the tiger.

1352
01:12:58,600 --> 01:12:59,599
Speaker 2: M that's true.

1353
01:13:00,120 --> 01:13:02,800
Speaker 3: So at dinner, our four some they stumble out of

1354
01:13:02,800 --> 01:13:05,640
Speaker 3: a restaurant complaining about the bad food, and then they

1355
01:13:05,680 --> 01:13:08,640
Speaker 3: head over to the billiard hall where the bosses are

1356
01:13:08,640 --> 01:13:11,720
Speaker 3: shooting some pool. Because remember, hormone Man has to get

1357
01:13:11,720 --> 01:13:13,720
Speaker 3: the keys to the truck so he can do the

1358
01:13:13,760 --> 01:13:17,439
Speaker 3: overnight drive. So hormone Man takes the truck and the

1359
01:13:17,479 --> 01:13:18,400
Speaker 3: other three hang out.

1360
01:13:18,800 --> 01:13:21,560
Speaker 2: I want to point out this surprised me, and I

1361
01:13:21,600 --> 01:13:24,280
Speaker 2: think maybe speaks again to the good natured heart of

1362
01:13:24,320 --> 01:13:27,639
Speaker 2: this film. Roger has been talking this big game about

1363
01:13:27,720 --> 01:13:30,560
Speaker 2: the sex, and his bosses are even like, look, you

1364
01:13:30,600 --> 01:13:32,680
Speaker 2: can do whatever you want till till three am. That's

1365
01:13:32,680 --> 01:13:35,839
Speaker 2: when you have to leave. Roger instead of like pushing

1366
01:13:35,880 --> 01:13:39,200
Speaker 2: to the absolute limit of his time and then leaving

1367
01:13:39,280 --> 01:13:41,600
Speaker 2: for his work trip, is like I need to go

1368
01:13:41,200 --> 01:13:44,280
Speaker 2: to bed early so I can get up at three am.

1369
01:13:44,360 --> 01:13:47,080
Speaker 2: Like he's so he's ultimately so responsible. Yeah.

1370
01:13:47,160 --> 01:13:49,439
Speaker 3: Well, and he's telling the other people, He's like, y'all

1371
01:13:49,479 --> 01:13:51,680
Speaker 3: hang out, y'all have a good time. I'm gonna go.

1372
01:13:52,080 --> 01:13:53,320
Speaker 3: I gotta go do my thing.

1373
01:13:53,680 --> 01:13:53,920
Speaker 2: Yeah.

1374
01:13:54,760 --> 01:13:58,240
Speaker 3: And so the other three hang out at the billiard

1375
01:13:58,240 --> 01:14:02,360
Speaker 3: hall with the bosses. Yeah, and that's weird. Jessica, it

1376
01:14:02,400 --> 01:14:05,840
Speaker 3: turns out, is a pool hustler. She starts She's absolutely

1377
01:14:05,960 --> 01:14:10,200
Speaker 3: destroying Dan at pool for money, and he keeps going

1378
01:14:10,240 --> 01:14:14,880
Speaker 3: double or nothing and she keeps winning. Meanwhile, Mark and

1379
01:14:15,000 --> 01:14:18,880
Speaker 3: Trish sit at a table drinking with Brian and again

1380
01:14:19,040 --> 01:14:24,360
Speaker 3: hilarious that this destination multi day blind date has turned

1381
01:14:24,400 --> 01:14:27,439
Speaker 3: into getting drunk with my blind date's boss.

1382
01:14:27,720 --> 01:14:30,960
Speaker 2: Yeah. Luckily, everybody's just a likable character and to get

1383
01:14:30,960 --> 01:14:31,719
Speaker 2: along so well.

1384
01:14:32,520 --> 01:14:35,679
Speaker 3: However, Trish does learn some important clues in the scene.

1385
01:14:35,880 --> 01:14:38,400
Speaker 3: Brian tells her about the history of the mine, so

1386
01:14:38,439 --> 01:14:41,240
Speaker 3: she learns that there were cave ins. She learns about

1387
01:14:41,240 --> 01:14:43,599
Speaker 3: the big pile of human bones they just found. By

1388
01:14:43,640 --> 01:14:47,400
Speaker 3: the way, have they reported these unburied human remains to authorities?

1389
01:14:47,520 --> 01:14:48,600
Speaker 2: I don't think.

1390
01:14:49,320 --> 01:14:51,519
Speaker 3: Yeah, Because we go back to the mine later and

1391
01:14:51,560 --> 01:14:55,840
Speaker 3: they're still there. Nobody's done anything about him, so Trish

1392
01:14:55,960 --> 01:14:58,400
Speaker 3: gets interested in this and says she's going to go

1393
01:14:58,400 --> 01:15:00,559
Speaker 3: to the local newspaper office the next and check it

1394
01:15:00,560 --> 01:15:03,639
Speaker 3: all out. Also later in the scene, we get to

1395
01:15:03,680 --> 01:15:06,519
Speaker 3: see Mark and Trish getting into a bit of awkward

1396
01:15:06,600 --> 01:15:08,920
Speaker 3: but gentle flirting. They're kind of hitting it off now,

1397
01:15:09,680 --> 01:15:12,160
Speaker 3: and they decide they want to head back to the

1398
01:15:12,200 --> 01:15:15,439
Speaker 3: cabin for some romantic time in front of a roaring fire,

1399
01:15:16,000 --> 01:15:19,200
Speaker 3: so they leave Jessica playing pool with the mind bosses.

1400
01:15:20,280 --> 01:15:20,519
Speaker 2: Yep.

1401
01:15:21,560 --> 01:15:26,240
Speaker 3: The next scene is, unfortunately the death of hormone Man. Yeah,

1402
01:15:26,360 --> 01:15:28,920
Speaker 3: a hormone man comes home. He finds a mess all

1403
01:15:28,960 --> 01:15:31,240
Speaker 3: over the floor. He blames it on Tiger and then

1404
01:15:31,280 --> 01:15:33,080
Speaker 3: he runs around the house cussing at the dog, but

1405
01:15:33,080 --> 01:15:36,160
Speaker 3: he can't find the dog. Then hormone Man gets into bed.

1406
01:15:36,520 --> 01:15:40,160
Speaker 3: We know this won't be for long. Buggins Cam fires

1407
01:15:40,240 --> 01:15:43,120
Speaker 3: up in the basement starts zooming around, going around the

1408
01:15:43,160 --> 01:15:46,280
Speaker 3: boxes in the dark. Then Roger decides he needs to

1409
01:15:46,320 --> 01:15:49,479
Speaker 3: get out of bed and leave for his midnight road trip.

1410
01:15:50,120 --> 01:15:53,080
Speaker 3: But when he gets dressed he goes out to the garage,

1411
01:15:53,160 --> 01:15:56,200
Speaker 3: he is seized by the ankle from something under the

1412
01:15:56,240 --> 01:15:59,920
Speaker 3: truck and dragged screaming underneath. So more of this grab

1413
01:16:00,080 --> 01:16:01,519
Speaker 3: from underneath the car horror.

1414
01:16:01,920 --> 01:16:05,320
Speaker 2: Yeah, and he gets the full business. He gets the

1415
01:16:05,920 --> 01:16:07,439
Speaker 2: like the claw of the throat.

1416
01:16:07,600 --> 01:16:09,120
Speaker 3: Oh yeah, yeah, he gets messed up.

1417
01:16:09,320 --> 01:16:11,160
Speaker 2: Yeah, there's no doubt. Like it's not like, oh, we've

1418
01:16:11,160 --> 01:16:13,479
Speaker 2: got to save Roger later on, like Roger's toast.

1419
01:16:13,840 --> 01:16:16,080
Speaker 3: So by the time Trish and Mark get home, Roger

1420
01:16:16,160 --> 01:16:18,679
Speaker 3: is missing. They assume he's already left on his trip.

1421
01:16:18,760 --> 01:16:21,519
Speaker 3: So they build a big, roaring fire and they have

1422
01:16:21,640 --> 01:16:24,719
Speaker 3: sex on the living room floor. And in the middle

1423
01:16:24,720 --> 01:16:28,120
Speaker 3: of this there is yet more of what we initially

1424
01:16:28,160 --> 01:16:30,280
Speaker 3: assume is Boogin's cam, but it turns out to be

1425
01:16:30,320 --> 01:16:32,920
Speaker 3: Tiger cam. Something's creeping on them on the floor, but

1426
01:16:32,960 --> 01:16:36,240
Speaker 3: then it's Tiger and he's just like yep, yep, And

1427
01:16:36,439 --> 01:16:40,640
Speaker 3: so turns out Tiger is fine. While looking for the

1428
01:16:40,720 --> 01:16:44,400
Speaker 3: dog the next day, Mark finds a weird hole in

1429
01:16:44,520 --> 01:16:47,640
Speaker 3: the wall of the basement. It's partially boarded up, but

1430
01:16:47,680 --> 01:16:51,360
Speaker 3: not really, and this apparently leads off into a strange

1431
01:16:51,479 --> 01:16:54,120
Speaker 3: rock tunnel. He shines his flashlight down the hole but

1432
01:16:54,240 --> 01:16:57,880
Speaker 3: does not pursue it any further. Meanwhile, Jessica bakes a

1433
01:16:57,960 --> 01:17:00,960
Speaker 3: chocolate cake and talks with Trish about the prospect of

1434
01:17:01,040 --> 01:17:05,719
Speaker 3: marriage Trisha. Trisha is interested in getting married one day.

1435
01:17:06,120 --> 01:17:10,080
Speaker 3: Jessica rejects the idea, saying, can you imagine being married

1436
01:17:10,120 --> 01:17:14,240
Speaker 3: to Roger with eight horny little rugrats drinking beer? I

1437
01:17:14,320 --> 01:17:17,240
Speaker 3: was like, what, I think they'd only have beer if

1438
01:17:17,240 --> 01:17:18,000
Speaker 3: you gave it to him.

1439
01:17:18,240 --> 01:17:21,040
Speaker 2: Yeah, yeah, I don't know, but I guess she perhaps

1440
01:17:21,080 --> 01:17:25,360
Speaker 2: rightfully thinks that maybe Roger is not marriage material.

1441
01:17:25,479 --> 01:17:38,519
Speaker 3: He's not ready at least, yeah, maybe he will mature anyway.

1442
01:17:38,720 --> 01:17:41,599
Speaker 3: Trish heads off to the local newspaper office, the Silver

1443
01:17:41,640 --> 01:17:46,120
Speaker 3: City Gazette, to go into research mode. So while she's

1444
01:17:46,160 --> 01:17:50,559
Speaker 3: there digging into the archives about the mine, she talks

1445
01:17:50,560 --> 01:17:52,719
Speaker 3: with this older lady who has worked in the newspaper

1446
01:17:52,800 --> 01:17:55,000
Speaker 3: business for years, and this older lady is trying to

1447
01:17:55,040 --> 01:17:57,280
Speaker 3: pitch her stories. She's like, Oh, you should do a

1448
01:17:57,320 --> 01:18:00,639
Speaker 3: story on when the Denver Post had the first girl

1449
01:18:00,760 --> 01:18:01,519
Speaker 3: paper boys.

1450
01:18:03,040 --> 01:18:05,680
Speaker 2: Yeah, And then then Trisha's like, actually, I want to

1451
01:18:05,680 --> 01:18:08,280
Speaker 2: talk about the mining accidents. And for a second, I

1452
01:18:08,320 --> 01:18:10,280
Speaker 2: was kind of expecting it to be like, oh, we

1453
01:18:10,320 --> 01:18:13,280
Speaker 2: don't talk about the mining accidents around here, or get

1454
01:18:13,320 --> 01:18:15,639
Speaker 2: some resistance, but She's like, oh, yeah, yeah, that makes sense. Actually,

1455
01:18:15,760 --> 01:18:17,600
Speaker 2: let's research that now, let's do it.

1456
01:18:17,680 --> 01:18:20,800
Speaker 3: Yeah. So Trish learns all about the tragic history of

1457
01:18:20,840 --> 01:18:24,120
Speaker 3: the mine, the strange sightings, the cave ins, She learns

1458
01:18:24,160 --> 01:18:26,800
Speaker 3: of a man who was sent to a mental institution

1459
01:18:26,960 --> 01:18:30,040
Speaker 3: after trying to collapse the mine with dynamite, and then

1460
01:18:30,120 --> 01:18:33,680
Speaker 3: finally reports that some miners inside the mind said they

1461
01:18:33,720 --> 01:18:35,400
Speaker 3: were attacked by something.

1462
01:18:36,160 --> 01:18:37,880
Speaker 2: You know, I want to jump ahead to something that

1463
01:18:38,120 --> 01:18:40,280
Speaker 2: is going to be revealed later, but we've already gotten

1464
01:18:40,280 --> 01:18:44,679
Speaker 2: a sense off here, and that is that supposedly all

1465
01:18:44,720 --> 01:18:49,080
Speaker 2: of the houses in this area are connected via basement

1466
01:18:49,120 --> 01:18:50,679
Speaker 2: tunnels to the mines.

1467
01:18:51,560 --> 01:18:52,120
Speaker 3: Bizarre.

1468
01:18:52,320 --> 01:18:56,280
Speaker 2: Yeah, yeah, I mean it. We get some great payoff

1469
01:18:56,760 --> 01:19:00,880
Speaker 2: in the film with this, but it does not make

1470
01:19:00,920 --> 01:19:01,760
Speaker 2: logical sense to me.

1471
01:19:02,120 --> 01:19:04,599
Speaker 3: I don't think it makes any sense at all, except

1472
01:19:04,760 --> 01:19:07,280
Speaker 3: that they had to have a way for the Buggins

1473
01:19:07,320 --> 01:19:08,400
Speaker 3: to get into their house.

1474
01:19:08,640 --> 01:19:11,759
Speaker 2: Yeah, because you want it to be a mine menace movie,

1475
01:19:11,760 --> 01:19:14,519
Speaker 2: but also a basement menace movie, so you need a

1476
01:19:14,520 --> 01:19:16,360
Speaker 2: system of tuns connecting those things.

1477
01:19:16,479 --> 01:19:20,000
Speaker 3: So we are later told by John Lormer's character that

1478
01:19:20,120 --> 01:19:22,519
Speaker 3: all the houses in town are connected to the mine.

1479
01:19:22,560 --> 01:19:23,720
Speaker 3: By Sam hols.

1480
01:19:24,240 --> 01:19:26,080
Speaker 2: Maybe they were just like, we just want ways for

1481
01:19:26,240 --> 01:19:28,439
Speaker 2: people to get to work without having to go out

1482
01:19:28,479 --> 01:19:31,320
Speaker 2: in the snow. What if they could just cart directly

1483
01:19:31,320 --> 01:19:32,360
Speaker 2: from their basement too?

1484
01:19:32,400 --> 01:19:34,160
Speaker 3: Oh that's true. Yeah, it makes me think about like,

1485
01:19:34,439 --> 01:19:37,200
Speaker 3: you know, far far northern college campuses and stuff that

1486
01:19:37,840 --> 01:19:43,519
Speaker 3: underground passageways. So meanwhile, that day at work at the mine,

1487
01:19:43,560 --> 01:19:47,519
Speaker 3: there is vandalism. Someone has painted death on the mine entrance.

1488
01:19:47,760 --> 01:19:52,240
Speaker 3: I wonder who that was. Inside the mine, Mark and

1489
01:19:52,360 --> 01:19:55,120
Speaker 3: Dan are looking at this huge pile of human bones

1490
01:19:55,120 --> 01:19:59,720
Speaker 3: they found earlier, and Mark finally observes, He's like, you know,

1491
01:20:00,120 --> 01:20:01,960
Speaker 3: if these guys died from a cave in or a

1492
01:20:01,960 --> 01:20:05,840
Speaker 3: gas leak, wouldn't you find whole skeletons instead of this

1493
01:20:05,920 --> 01:20:10,120
Speaker 3: big pile of random bones all mixed up. And Dan says, yeah,

1494
01:20:10,160 --> 01:20:10,920
Speaker 3: that is odd.

1495
01:20:12,760 --> 01:20:14,400
Speaker 2: You have a dance kind of like that's that's above

1496
01:20:14,439 --> 01:20:16,920
Speaker 2: my pay grade though, I'm just here for the silver.

1497
01:20:17,240 --> 01:20:20,400
Speaker 3: Also here, the old coadure is like stealing sticks of

1498
01:20:20,479 --> 01:20:24,160
Speaker 3: dynamite out of the back of a truck. Trish comes

1499
01:20:24,160 --> 01:20:27,600
Speaker 3: to visit Mark at work and they start comparing discoveries.

1500
01:20:28,360 --> 01:20:31,640
Speaker 3: They learned that we learned that Jessica has found the

1501
01:20:31,680 --> 01:20:34,400
Speaker 3: boss's truck still in the garage at the cabin, So

1502
01:20:34,439 --> 01:20:38,719
Speaker 3: where's hormone man. Also, Trish tells Mark what she learned

1503
01:20:38,720 --> 01:20:42,000
Speaker 3: at the newspaper office. There's weird things are doing, and

1504
01:20:42,080 --> 01:20:43,760
Speaker 3: so Trish decides she's going to go back to the

1505
01:20:43,800 --> 01:20:46,120
Speaker 3: cabin to see what's up. And then back at the

1506
01:20:46,160 --> 01:20:49,720
Speaker 3: cabin here we get another Boogain's attack. So Jessica is

1507
01:20:49,760 --> 01:20:52,719
Speaker 3: in the shower singing she'll be coming around the mountain

1508
01:20:52,720 --> 01:20:53,519
Speaker 3: when she comes.

1509
01:20:54,080 --> 01:20:55,080
Speaker 2: Yeah, public domain.

1510
01:20:55,439 --> 01:21:00,000
Speaker 3: Yeah, and just notice like the inhabitants of this cat

1511
01:21:00,360 --> 01:21:03,679
Speaker 3: are really diligent about hygiene. There's just lots of bathing.

1512
01:21:04,040 --> 01:21:07,679
Speaker 2: Yeah. Well, I mean I feel like I'm if it's cold,

1513
01:21:08,320 --> 01:21:10,240
Speaker 2: taking a hot shower or something you can do, right,

1514
01:21:10,280 --> 01:21:10,800
Speaker 2: that's true.

1515
01:21:10,880 --> 01:21:13,880
Speaker 3: Yeah, So Tiger is barking at her through the door.

1516
01:21:14,320 --> 01:21:16,800
Speaker 3: She tells him to be quiet, and then while the

1517
01:21:16,840 --> 01:21:19,759
Speaker 3: water is running, guess what happens in the basement fires

1518
01:21:19,800 --> 01:21:22,680
Speaker 3: up the Buggins cam And then here we get to

1519
01:21:23,160 --> 01:21:24,800
Speaker 3: what I was saying earlier is I think the best

1520
01:21:24,800 --> 01:21:28,040
Speaker 3: horror set piece in the movie the intake grate. There's

1521
01:21:28,080 --> 01:21:31,080
Speaker 3: a furnace intake vent on the floor covered by a

1522
01:21:31,120 --> 01:21:35,519
Speaker 3: metal grate, and suddenly a tentacle reaches up through the

1523
01:21:35,560 --> 01:21:39,800
Speaker 3: grate and we see the metal folding down inwards in

1524
01:21:39,880 --> 01:21:43,720
Speaker 3: this uncanny way, almost like it's melting. And then the

1525
01:21:44,000 --> 01:21:48,320
Speaker 3: warped grate just becomes this ominous gaping hole in the floor,

1526
01:21:48,360 --> 01:21:51,760
Speaker 3: like a dark pit, and Tiger barks at it. He

1527
01:21:51,840 --> 01:21:55,639
Speaker 3: wanders up to investigate, and then suddenly, from beneath something

1528
01:21:55,760 --> 01:21:58,200
Speaker 3: zooms on Tiger and there's a squealing sound. So we

1529
01:21:58,240 --> 01:22:01,400
Speaker 3: don't see it, but this is the The implication is, oh,

1530
01:22:01,439 --> 01:22:02,439
Speaker 3: that it got Tiger.

1531
01:22:02,600 --> 01:22:04,479
Speaker 2: Oh man. See, I think I was in disbelief, like

1532
01:22:04,760 --> 01:22:07,679
Speaker 2: I just couldn't imagine Tiger would be dead at this point,

1533
01:22:07,720 --> 01:22:10,400
Speaker 2: Tiger's going to come back once more, but he does not.

1534
01:22:11,720 --> 01:22:13,639
Speaker 2: But I love the use of the grade here because

1535
01:22:13,680 --> 01:22:17,559
Speaker 2: I remember I think maybe maybe one of the houses

1536
01:22:17,560 --> 01:22:19,120
Speaker 2: that I grew up in had one of these, and

1537
01:22:19,160 --> 01:22:21,559
Speaker 2: I think maybe my grandparents' house had one. And as

1538
01:22:21,600 --> 01:22:24,519
Speaker 2: a kid, there is that weird sense of like there's

1539
01:22:24,560 --> 01:22:28,000
Speaker 2: an underworld down there. You know, you can see through

1540
01:22:28,000 --> 01:22:29,840
Speaker 2: the grate, and maybe you can see like an old penny,

1541
01:22:30,040 --> 01:22:33,280
Speaker 2: maybe a small toy that fell down there and can

1542
01:22:33,320 --> 01:22:36,160
Speaker 2: never be reclaimed or at least as far as you know,

1543
01:22:36,240 --> 01:22:37,280
Speaker 2: it cannot be reclaimed.

1544
01:22:37,600 --> 01:22:39,920
Speaker 3: We lived in houses with these, and strangely enough, our

1545
01:22:40,040 --> 01:22:42,960
Speaker 3: dog was always really freaked out by them, Like if

1546
01:22:42,960 --> 01:22:44,560
Speaker 3: he had to cross the grade in the floor, he

1547
01:22:44,560 --> 01:22:45,519
Speaker 3: would jump over it.

1548
01:22:45,600 --> 01:22:46,600
Speaker 2: He didn't want to step on it.

1549
01:22:47,840 --> 01:22:49,240
Speaker 3: I mean, maybe that had to do with just the

1550
01:22:49,240 --> 01:22:51,960
Speaker 3: sensation on his paws, but he also acted just generally

1551
01:22:52,000 --> 01:22:52,559
Speaker 3: afraid of.

1552
01:22:52,520 --> 01:22:55,679
Speaker 2: It's like there's dust down there. It's it's a weird vibe.

1553
01:22:56,400 --> 01:22:58,560
Speaker 3: And so anyway, the sound makes Jessica get out of

1554
01:22:58,600 --> 01:23:01,040
Speaker 3: the shower. She has to investigate. She wraps herself in

1555
01:23:01,040 --> 01:23:03,639
Speaker 3: a towel and goes looking, and while she's checking out

1556
01:23:03,640 --> 01:23:06,280
Speaker 3: the grate, she is attacked. Something grabs her by the

1557
01:23:06,400 --> 01:23:09,320
Speaker 3: arm and pulls her into the grate. She manages to

1558
01:23:09,360 --> 01:23:12,040
Speaker 3: get away, but her arm is all bloodied now and

1559
01:23:12,080 --> 01:23:14,519
Speaker 3: this turns into a chase. So we still don't see

1560
01:23:14,520 --> 01:23:16,920
Speaker 3: the full form of the monster, but it chases Jessica

1561
01:23:16,960 --> 01:23:20,000
Speaker 3: through the house. She's chucking things at it kind of

1562
01:23:20,000 --> 01:23:23,240
Speaker 3: half heartedly, just like tosses a kettle at it and stuff.

1563
01:23:23,640 --> 01:23:26,040
Speaker 3: She also puts obstacles in the way, and the monster

1564
01:23:26,200 --> 01:23:29,920
Speaker 3: bats aside furniture and doors and smashes through them like

1565
01:23:29,960 --> 01:23:34,519
Speaker 3: it's nothing. Eventually, she I think, retreats into the pantry.

1566
01:23:34,760 --> 01:23:36,960
Speaker 3: The monster smashes through the door and one of the

1567
01:23:37,000 --> 01:23:39,920
Speaker 3: tentacles gets her. It slashes at her neck with some

1568
01:23:40,000 --> 01:23:43,600
Speaker 3: kind of claw. Now back in the mine, in the

1569
01:23:43,640 --> 01:23:48,200
Speaker 3: cavern with the underground pond, things turn horrible. Dan finds

1570
01:23:48,280 --> 01:23:50,800
Speaker 3: the dead body of hormone man floating in the water,

1571
01:23:50,920 --> 01:23:53,040
Speaker 3: and his face is sort of melted off, but his

1572
01:23:53,120 --> 01:23:55,760
Speaker 3: body is not eaten, So again, Buggins don't seem to

1573
01:23:55,760 --> 01:24:00,640
Speaker 3: be eating people. And then there's a confrontation. Lormer is

1574
01:24:00,680 --> 01:24:03,200
Speaker 3: suddenly here in the room with a stick of dynamite

1575
01:24:03,200 --> 01:24:05,680
Speaker 3: and a lighter, and he's explaining how he has to

1576
01:24:05,680 --> 01:24:07,519
Speaker 3: blow up the mine again. He's got to get it

1577
01:24:07,560 --> 01:24:10,599
Speaker 3: closed because they've opened it and the evil has escaped.

1578
01:24:11,640 --> 01:24:15,680
Speaker 3: Though I was confused because if they just reopened the

1579
01:24:15,720 --> 01:24:18,959
Speaker 3: main mine shaft, what would that change about the Buggins

1580
01:24:19,000 --> 01:24:21,519
Speaker 3: getting to and from all the houses that are connected

1581
01:24:21,520 --> 01:24:22,720
Speaker 3: to the mine via tunnels.

1582
01:24:22,960 --> 01:24:25,120
Speaker 2: Yeah, I don't know. It raises so many questions about

1583
01:24:25,120 --> 01:24:27,160
Speaker 2: the tunnel infrastructure in this town. Yeah.

1584
01:24:28,120 --> 01:24:30,719
Speaker 3: So in the middle of this, Mark realizes that Jessica

1585
01:24:30,760 --> 01:24:33,040
Speaker 3: and Trish are in danger. So he rushes off to

1586
01:24:33,120 --> 01:24:35,280
Speaker 3: the house. He stops to call the police and send

1587
01:24:35,280 --> 01:24:38,840
Speaker 3: them ahead also but this leaves Brian and Dan in

1588
01:24:38,960 --> 01:24:42,559
Speaker 3: the mine with John Lormer, and before Lormer can use

1589
01:24:42,600 --> 01:24:45,639
Speaker 3: the dynamite to close the mine again, Dan is attacked

1590
01:24:45,680 --> 01:24:49,000
Speaker 3: by the monster and then John Lormer is also. He

1591
01:24:49,120 --> 01:24:51,120
Speaker 3: like sinks to the ground in terror, and this is

1592
01:24:51,120 --> 01:24:54,920
Speaker 3: the part where he sized the word buggins. And then

1593
01:24:54,960 --> 01:24:58,559
Speaker 3: he also gets got you know. Actually the tentacle reaches

1594
01:24:58,560 --> 01:25:00,880
Speaker 3: out from the water, grabs him by the head and

1595
01:25:00,960 --> 01:25:02,960
Speaker 3: drags him into the water by the head. That's kind

1596
01:25:02,960 --> 01:25:03,799
Speaker 3: of gross looking.

1597
01:25:03,640 --> 01:25:06,719
Speaker 2: At So at this point have we lost both silver

1598
01:25:06,800 --> 01:25:09,880
Speaker 2: mine bosses and the old Brian's still okay? Okay?

1599
01:25:11,240 --> 01:25:14,160
Speaker 3: Are they have been boggins again?

1600
01:25:14,240 --> 01:25:18,479
Speaker 2: It's without the nastiness of an actual slasher film. We

1601
01:25:18,680 --> 01:25:21,880
Speaker 2: have no deaths in this movie where we as the

1602
01:25:21,960 --> 01:25:25,400
Speaker 2: audience are supposed to enjoy it on some level, either

1603
01:25:25,439 --> 01:25:29,200
Speaker 2: in an understandable way or a nasty way, you know,

1604
01:25:29,320 --> 01:25:32,479
Speaker 2: or a judgmental way. Like Again, a different sort of

1605
01:25:32,479 --> 01:25:36,320
Speaker 2: picture would have like the nasty boss finally gets killed

1606
01:25:36,439 --> 01:25:41,800
Speaker 2: or the morally objectionable victim character finally gets attacked, But

1607
01:25:41,840 --> 01:25:46,000
Speaker 2: instead like everybody's reasonable, reasonably nice, and we don't want

1608
01:25:46,000 --> 01:25:48,639
Speaker 2: to see them killed by predatory monsters.

1609
01:25:48,840 --> 01:25:52,240
Speaker 3: Yeah, it does not have the quality that some slasher

1610
01:25:52,240 --> 01:25:55,880
Speaker 3: films have of resentful violence, where it's like you're seeing

1611
01:25:55,920 --> 01:25:58,320
Speaker 3: people get what's coming to them. It doesn't feel like that.

1612
01:25:59,800 --> 01:26:02,800
Speaker 3: So so back at the cabin, Trisha arrives and she

1613
01:26:02,880 --> 01:26:05,840
Speaker 3: finds the whole scene. So there's trash scattered all over

1614
01:26:05,880 --> 01:26:09,080
Speaker 3: the floor, water running in the shower, the gaping grate

1615
01:26:09,160 --> 01:26:12,200
Speaker 3: in the floor. It kind of reminds me of you

1616
01:26:12,280 --> 01:26:14,720
Speaker 3: get a scene like this in a lot of slasher

1617
01:26:14,760 --> 01:26:18,280
Speaker 3: movies of this era. It's like the scene where Laurie

1618
01:26:18,320 --> 01:26:21,000
Speaker 3: goes across the street to the other house in Halloween,

1619
01:26:21,080 --> 01:26:24,920
Speaker 3: where she's investigating figuring out what's going on. So it's

1620
01:26:24,960 --> 01:26:28,560
Speaker 3: a suspenseful investigation where the main heroine is trying to

1621
01:26:28,600 --> 01:26:33,080
Speaker 3: figure out what happened to everyone. Eventually, Trish comes across

1622
01:26:33,080 --> 01:26:35,719
Speaker 3: a blood stain on the floor where Jessica was killed,

1623
01:26:36,040 --> 01:26:38,080
Speaker 3: and there's a funny moment where she like kneels down.

1624
01:26:38,120 --> 01:26:40,360
Speaker 3: It's clearly just a puddle of blood on the floor.

1625
01:26:40,920 --> 01:26:43,960
Speaker 3: She reaches down and touches it, and then when she

1626
01:26:44,080 --> 01:26:47,479
Speaker 3: touches the blood. It's like, ugh, I don't know what

1627
01:26:47,600 --> 01:26:50,280
Speaker 3: she learned by touching it. Maybe it wasn't clear that

1628
01:26:50,320 --> 01:26:53,880
Speaker 3: it was wet, but the so there's a blood trail

1629
01:26:54,120 --> 01:26:56,679
Speaker 3: from that part of the floor leading down into the basement.

1630
01:26:56,880 --> 01:27:00,280
Speaker 3: Trish arms herself with a pitchfork and descends into the teller,

1631
01:27:01,000 --> 01:27:05,400
Speaker 3: finds more blood, touches it again, finds Jessica's body, and

1632
01:27:05,439 --> 01:27:07,439
Speaker 3: as she tries to climb the stairs and get away,

1633
01:27:07,520 --> 01:27:10,200
Speaker 3: there is a Buggins attack. Trisha is grabbed by the

1634
01:27:10,280 --> 01:27:13,200
Speaker 3: ankle from below the stairs, so once again there reaching

1635
01:27:13,240 --> 01:27:17,559
Speaker 3: for the feet thing. And while Trisha is being attacked

1636
01:27:17,560 --> 01:27:21,160
Speaker 3: by the Buggins, the cops and Mark arrive and the

1637
01:27:21,200 --> 01:27:23,760
Speaker 3: sheriff shoots the monster and so Trisha is able to

1638
01:27:23,800 --> 01:27:26,719
Speaker 3: get away from it and we finally get our first

1639
01:27:26,840 --> 01:27:31,040
Speaker 3: look at the Buggins. The Buggins reveal happens here and

1640
01:27:31,120 --> 01:27:35,440
Speaker 3: it is a big like what so it's a spider

1641
01:27:35,600 --> 01:27:38,840
Speaker 3: turtle that's kind of mammalian in the head a little

1642
01:27:38,840 --> 01:27:40,840
Speaker 3: bit and has tentacles.

1643
01:27:41,720 --> 01:27:43,960
Speaker 2: Yeah, you know what it makes me think of. There's

1644
01:27:44,000 --> 01:27:45,880
Speaker 2: a topic we discussed on Stuff to Build your Mind

1645
01:27:45,880 --> 01:27:48,920
Speaker 2: in the past about what happens when you have too

1646
01:27:48,960 --> 01:27:53,439
Speaker 2: many elements in a particular imaginary work. How Like if

1647
01:27:53,479 --> 01:27:55,240
Speaker 2: you have two things like, oh, it's part man, it's

1648
01:27:55,280 --> 01:27:58,559
Speaker 2: part horse, Like, okay, that's evocative, But if you have

1649
01:27:58,840 --> 01:28:01,760
Speaker 2: three to five things, Yeah, we don't necessarily know what

1650
01:28:01,800 --> 01:28:02,320
Speaker 2: to make of it.

1651
01:28:03,080 --> 01:28:04,760
Speaker 3: Okay, folks, we just had to go off Mike for

1652
01:28:04,800 --> 01:28:06,920
Speaker 3: a minute to figure out, try to remember what this

1653
01:28:06,960 --> 01:28:09,360
Speaker 3: thing was talking. It was when we did a core

1654
01:28:09,439 --> 01:28:13,559
Speaker 3: episode on a paper in the journal Cognitive Science from

1655
01:28:13,600 --> 01:28:16,639
Speaker 3: two thousand and six by norn zion at All called

1656
01:28:17,000 --> 01:28:21,759
Speaker 3: Memory and Mystery, the cultural selection of minimally counterintuitive Narratives.

1657
01:28:21,800 --> 01:28:23,559
Speaker 3: It's been a while since we talked about this, so

1658
01:28:24,520 --> 01:28:26,960
Speaker 3: I might not have all the details right, but basically

1659
01:28:27,000 --> 01:28:30,800
Speaker 3: it was looking into what is the right number of

1660
01:28:31,000 --> 01:28:34,200
Speaker 3: weird elements for a story or an image to have

1661
01:28:34,520 --> 01:28:38,160
Speaker 3: in order to be maximally memorable. Something that's totally mundane

1662
01:28:38,280 --> 01:28:41,639
Speaker 3: is not very memorable. If something is too weird, has

1663
01:28:41,720 --> 01:28:44,719
Speaker 3: too many things going on, it's also not that memorable.

1664
01:28:45,120 --> 01:28:47,599
Speaker 3: So it's like, you know, just having the right number

1665
01:28:47,720 --> 01:28:50,800
Speaker 3: of twists on a familiar idea is what makes it

1666
01:28:51,000 --> 01:28:52,240
Speaker 3: maximally memorable.

1667
01:28:52,640 --> 01:28:54,720
Speaker 2: Yeah, And I think that's the error here. There are

1668
01:28:54,800 --> 01:28:57,760
Speaker 2: too many elements that I'm just doesn't leave an impression.

1669
01:28:58,160 --> 01:29:01,600
Speaker 2: If they had just gone with say spider turtle or

1670
01:29:01,640 --> 01:29:05,559
Speaker 2: squid rat, then I would they would have left more

1671
01:29:05,560 --> 01:29:07,360
Speaker 2: of an impression. But instead they went for all of

1672
01:29:07,400 --> 01:29:09,360
Speaker 2: it at once, and my mind just doesn't really know

1673
01:29:09,400 --> 01:29:10,080
Speaker 2: what to think of it.

1674
01:29:10,400 --> 01:29:15,040
Speaker 3: Yeah, I think that's right anyway. So they shoot the

1675
01:29:15,080 --> 01:29:18,800
Speaker 3: Biggins and then the cops like it's all dead now, instead.

1676
01:29:18,479 --> 01:29:20,479
Speaker 2: Of and they got me here. I was a sucker,

1677
01:29:20,520 --> 01:29:23,799
Speaker 2: and I was like, okay, seems about right, and maybe

1678
01:29:24,000 --> 01:29:26,760
Speaker 2: it's kind of like that fifty sixties charm here. You know,

1679
01:29:26,840 --> 01:29:29,960
Speaker 2: so many of those pictures ended with law enforcement showing

1680
01:29:30,080 --> 01:29:33,400
Speaker 2: up and killing the threat. I was just like, all right,

1681
01:29:33,400 --> 01:29:36,360
Speaker 2: totally say with cops have here, They've done it, saved

1682
01:29:36,400 --> 01:29:37,280
Speaker 2: the day.

1683
01:29:37,880 --> 01:29:41,000
Speaker 3: But no, the Buggins then wakes up and it eats

1684
01:29:41,000 --> 01:29:43,320
Speaker 3: the cops face, bites him right on the face, and

1685
01:29:43,360 --> 01:29:46,160
Speaker 3: starts getting and we never get any explanation of the Buggins.

1686
01:29:46,240 --> 01:29:49,640
Speaker 3: By the way, so the house catches fire. There's no

1687
01:29:49,720 --> 01:29:52,160
Speaker 3: way to escape up the stairs, so Mark and Trish

1688
01:29:52,240 --> 01:29:54,800
Speaker 3: have to escape to wear into the tunnels.

1689
01:29:54,840 --> 01:29:57,040
Speaker 2: The tunnels. This is great, so it's paying off no

1690
01:29:57,040 --> 01:29:58,639
Speaker 2: matter how weird it is. It's paying off.

1691
01:29:59,120 --> 01:30:00,920
Speaker 3: They go through the hole in the well, we see

1692
01:30:00,920 --> 01:30:05,439
Speaker 3: the cabin explode, just explode, like the walls are made

1693
01:30:05,439 --> 01:30:08,840
Speaker 3: of c four uh. And they are again attacked in

1694
01:30:08,960 --> 01:30:12,400
Speaker 3: the tunnels by the Buggins. This At this point, Mark

1695
01:30:12,439 --> 01:30:14,960
Speaker 3: gets attacked and Trish saves him by smashing one of

1696
01:30:14,960 --> 01:30:18,559
Speaker 3: the creatures of the big timber beam. They encounter Brian,

1697
01:30:18,720 --> 01:30:21,080
Speaker 3: who is still alive at this point, but then Brian

1698
01:30:21,160 --> 01:30:24,240
Speaker 3: gets snatched from above and kind of hanged by a

1699
01:30:24,360 --> 01:30:29,959
Speaker 3: Buggins tentacle. That's creepy. Yeah, But then Trish and Mark flee.

1700
01:30:30,000 --> 01:30:33,400
Speaker 3: They go out to the mine entrance, which wait a minute,

1701
01:30:33,439 --> 01:30:36,479
Speaker 3: how far away was the cabin from the mine, Like

1702
01:30:36,560 --> 01:30:39,559
Speaker 3: they made it all the way. Yeah, So they make

1703
01:30:39,600 --> 01:30:41,920
Speaker 3: it out the mine entrance. The Buggins are chasing them,

1704
01:30:42,120 --> 01:30:44,920
Speaker 3: and they use dynamite to blast the tunnel shut in

1705
01:30:45,000 --> 01:30:48,040
Speaker 3: the end, which, on one hand, you're like, oh, okay,

1706
01:30:48,240 --> 01:30:51,200
Speaker 3: they're safe now. But wait a minute, there were still

1707
01:30:51,200 --> 01:30:53,160
Speaker 3: all those other tunnels, so the Buoguans could just go

1708
01:30:53,160 --> 01:30:54,479
Speaker 3: out the other way and come get them.

1709
01:30:54,600 --> 01:30:58,160
Speaker 2: Yeah. Yeah, have we truly isolated the Bugin's threat? And

1710
01:30:58,240 --> 01:31:00,920
Speaker 2: how many Biggins were down there? How many escaped, how

1711
01:31:00,920 --> 01:31:04,840
Speaker 2: many other Bogins related fatalities have occurred in the Tri

1712
01:31:04,960 --> 01:31:06,320
Speaker 2: County area. We just don't know.

1713
01:31:06,520 --> 01:31:11,040
Speaker 3: Bugin's danger remains, so Trish and Mark are okay, though

1714
01:31:11,080 --> 01:31:14,320
Speaker 3: they walk away while the credits roll in sad music plays,

1715
01:31:14,800 --> 01:31:16,800
Speaker 3: and that's the end of the Buggins.

1716
01:31:16,840 --> 01:31:19,479
Speaker 2: You know. Thinking back on it now, I can really

1717
01:31:19,479 --> 01:31:22,479
Speaker 2: see why Stephen King probably dug the movie so much,

1718
01:31:22,560 --> 01:31:25,679
Speaker 2: you know, because you can see a number of things

1719
01:31:25,680 --> 01:31:29,639
Speaker 2: that King is notable for digging, you know, the old

1720
01:31:29,640 --> 01:31:32,439
Speaker 2: fifties and sixties monster movies obviously, but also kind of

1721
01:31:32,479 --> 01:31:34,439
Speaker 2: like that, you know, he's very much a part of that,

1722
01:31:35,439 --> 01:31:40,000
Speaker 2: like nineteen eighties, like to a certain extent, nastier trend

1723
01:31:40,080 --> 01:31:44,160
Speaker 2: in horror, you know, also the sort of the working

1724
01:31:44,240 --> 01:31:49,280
Speaker 2: Joe vibes of it all and underground tunnels, you know,

1725
01:31:49,479 --> 01:31:53,439
Speaker 2: shades of Night Shift here to a certain extent, the

1726
01:31:53,560 --> 01:31:54,960
Speaker 2: Night Shift had better monsters.

1727
01:31:55,880 --> 01:32:01,160
Speaker 3: Yeah. I can see Stephen King just enjoying a silly

1728
01:32:01,200 --> 01:32:05,960
Speaker 3: monster movie, hm, maybe for way in ways that are

1729
01:32:06,000 --> 01:32:10,160
Speaker 3: not totally related to its objective merits. Yeah, and just

1730
01:32:10,200 --> 01:32:11,720
Speaker 3: wanting to go into battle for it.

1731
01:32:12,080 --> 01:32:16,120
Speaker 2: Yeah yeah, and uh yeah, and I honor that for sure. Yeah,

1732
01:32:16,280 --> 01:32:18,120
Speaker 2: because at the end of the day, Yeah, the Boogins

1733
01:32:18,200 --> 01:32:21,800
Speaker 2: is a very watchable, very fun film. The monsters feel dangerous.

1734
01:32:21,840 --> 01:32:23,479
Speaker 2: They might be a little goofy when you finally get

1735
01:32:23,520 --> 01:32:26,360
Speaker 2: to see them, but I mean, compared to other rubber

1736
01:32:26,400 --> 01:32:29,360
Speaker 2: monsters that we've that have been revealed to us in films,

1737
01:32:29,360 --> 01:32:31,160
Speaker 2: these things are not bad at all. I don't want

1738
01:32:31,160 --> 01:32:33,320
Speaker 2: to I don't want to make it sound like they're

1739
01:32:33,439 --> 01:32:35,400
Speaker 2: particularly crappy looking or anything.

1740
01:32:35,920 --> 01:32:39,240
Speaker 3: Something's not quite working perfectly with them, but they do

1741
01:32:39,360 --> 01:32:41,479
Speaker 3: work on some level. I mean, it's not the the

1742
01:32:41,560 --> 01:32:43,040
Speaker 3: Eye creatures.

1743
01:32:42,720 --> 01:32:45,679
Speaker 2: Right, They're not so goofy looking that we're just laughing

1744
01:32:45,680 --> 01:32:47,479
Speaker 2: out loud when we finally see them. We're just kind

1745
01:32:47,479 --> 01:32:50,000
Speaker 2: of like scratching your head, like, huh, that's in them,

1746
01:32:50,040 --> 01:32:50,719
Speaker 2: that's the Boogins.

1747
01:32:50,760 --> 01:32:57,880
Speaker 3: Okay, all right, yeah, okay, I see yeah, rat spider, turtle, octopus. Yeah, okay, hmm.

1748
01:32:58,760 --> 01:33:01,280
Speaker 3: Gives you something to think about. They go home. Chew

1749
01:33:01,320 --> 01:33:04,440
Speaker 3: on that a little bit. Why the rat, spider, turtle octopus?

1750
01:33:04,880 --> 01:33:07,240
Speaker 2: Where do they come from? Where indeed do they end

1751
01:33:07,320 --> 01:33:08,960
Speaker 2: up going? We have no idea. We just know that

1752
01:33:08,960 --> 01:33:10,760
Speaker 2: we shouldn't have disturbed them to begin with.

1753
01:33:11,920 --> 01:33:15,599
Speaker 3: One last question before we wrap up any more thoughts

1754
01:33:15,640 --> 01:33:20,960
Speaker 3: about can you see the legacy of like Bermuda Triangle

1755
01:33:21,040 --> 01:33:24,519
Speaker 3: and Bible documentaries in this horror movie? Does that come

1756
01:33:24,560 --> 01:33:26,000
Speaker 3: through it all? Like what's happening?

1757
01:33:26,120 --> 01:33:28,719
Speaker 2: I think so. I mean, we can definitely see the

1758
01:33:28,760 --> 01:33:32,000
Speaker 2: documentary influence on the initial setup, but also in the

1759
01:33:32,040 --> 01:33:36,519
Speaker 2: sense that in documentaries are typically stories in which is

1760
01:33:36,560 --> 01:33:38,519
Speaker 2: certainly when you think of like seventies and eighties, like,

1761
01:33:38,640 --> 01:33:40,519
Speaker 2: none of the humans are the bad guys, They're just

1762
01:33:40,600 --> 01:33:43,280
Speaker 2: normal people, you know, out there in the world. And

1763
01:33:43,320 --> 01:33:47,760
Speaker 2: then there is a mystery beyond human life, beyond normal life,

1764
01:33:47,960 --> 01:33:52,920
Speaker 2: and so the bookends closely matches up with that. There's

1765
01:33:53,280 --> 01:33:56,240
Speaker 2: some sort of strange mystery beyond us. But you know,

1766
01:33:56,360 --> 01:33:59,439
Speaker 2: the human characters are just for the most part, likable folks.

1767
01:34:00,120 --> 01:34:02,960
Speaker 3: Yeah, there is. I can see it in the going

1768
01:34:03,000 --> 01:34:05,880
Speaker 3: into the archives segment to like try and find the

1769
01:34:05,920 --> 01:34:08,800
Speaker 3: old stories that give you something sensational to talk about.

1770
01:34:09,080 --> 01:34:11,400
Speaker 3: I can also see, not to be mean, but in

1771
01:34:11,520 --> 01:34:14,840
Speaker 3: the feeling of trying to make more of something than

1772
01:34:14,880 --> 01:34:15,800
Speaker 3: there is there.

1773
01:34:16,880 --> 01:34:17,440
Speaker 2: Yeah.

1774
01:34:17,560 --> 01:34:18,360
Speaker 3: Yeah.

1775
01:34:18,439 --> 01:34:18,599
Speaker 2: Oh.

1776
01:34:18,640 --> 01:34:21,000
Speaker 3: And then finally also I would say in the sense

1777
01:34:21,040 --> 01:34:25,519
Speaker 3: of oh, making like Bermuda Triangle documentaries there's a kind

1778
01:34:25,520 --> 01:34:29,160
Speaker 3: of you were warned there's a danger out there, you know,

1779
01:34:29,200 --> 01:34:31,800
Speaker 3: we had the warning that we didn't listen to the

1780
01:34:31,800 --> 01:34:33,280
Speaker 3: prophetic voice sort of thing.

1781
01:34:33,600 --> 01:34:35,640
Speaker 2: Yeah, you can also see it as sort of a

1782
01:34:35,640 --> 01:34:38,560
Speaker 2: payoff to the frustration of making those documentaries where they're like,

1783
01:34:38,640 --> 01:34:40,160
Speaker 2: why don't we just make a horror movie and then

1784
01:34:40,160 --> 01:34:42,240
Speaker 2: we get to choose what the thing is and the

1785
01:34:42,280 --> 01:34:44,680
Speaker 2: thing is absolutely real, and then it can murder a

1786
01:34:44,680 --> 01:34:45,439
Speaker 2: whole bunch of people.

1787
01:34:45,479 --> 01:34:47,680
Speaker 3: You don't have to feel bad about making stuff up.

1788
01:34:47,960 --> 01:34:51,040
Speaker 2: Yeah, let's just like absolutely make something up, and then

1789
01:34:51,080 --> 01:34:53,240
Speaker 2: we can make it as cool as we want to

1790
01:34:53,280 --> 01:34:55,439
Speaker 2: make it and don't have to like read between the

1791
01:34:55,479 --> 01:34:58,880
Speaker 2: lines and like torture the data to try and summon

1792
01:34:58,960 --> 01:34:59,880
Speaker 2: the specter of them on.

1793
01:35:00,560 --> 01:35:05,920
Speaker 3: Yeah. Okay, Well, once again I enjoyed the Bogins. I

1794
01:35:05,960 --> 01:35:06,960
Speaker 3: hope you did too, Rob.

1795
01:35:07,200 --> 01:35:09,639
Speaker 2: Yeah, this one was a fun one, good pick. Sometimes

1796
01:35:09,640 --> 01:35:12,920
Speaker 2: it's the random title based choices that end up being

1797
01:35:12,920 --> 01:35:16,080
Speaker 2: the most rewarding. All right, well we're going to go

1798
01:35:16,120 --> 01:35:18,080
Speaker 2: and close it out here. Just a reminder to everyone

1799
01:35:18,120 --> 01:35:20,760
Speaker 2: out there. Stuff to Blow Your Mind is primarily a

1800
01:35:20,800 --> 01:35:25,040
Speaker 2: science and culture podcast. Core episodes on Tuesdays and Thursdays,

1801
01:35:25,760 --> 01:35:28,559
Speaker 2: but on Fridays we set aside most serious concerns to

1802
01:35:28,640 --> 01:35:31,240
Speaker 2: just watch a weird movie here on Weird House Cinema.

1803
01:35:31,479 --> 01:35:33,679
Speaker 2: We've been doing these for years. You can find episodes

1804
01:35:33,680 --> 01:35:36,519
Speaker 2: of Weird House Cinema in the archive wherever you get

1805
01:35:36,520 --> 01:35:40,200
Speaker 2: your audio podcasts. If you are on letterbox dot com,

1806
01:35:40,200 --> 01:35:42,160
Speaker 2: look us up we are Weird House and you'll find

1807
01:35:42,200 --> 01:35:44,360
Speaker 2: a nice list of all the movies we've covered over

1808
01:35:44,360 --> 01:35:47,400
Speaker 2: the years, and sometimes a peek ahead at what's coming

1809
01:35:47,400 --> 01:35:48,000
Speaker 2: out next.

1810
01:35:48,280 --> 01:35:52,000
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1811
01:35:52,320 --> 01:35:53,920
Speaker 3: If you would like to get in touch with us

1812
01:35:53,920 --> 01:35:56,280
Speaker 3: with feedback on this episode or any other, to suggest

1813
01:35:56,280 --> 01:35:58,280
Speaker 3: a topic for the future, or just to say hello,

1814
01:35:58,680 --> 01:36:00,960
Speaker 3: you can email us at con tact at Stuff to

1815
01:36:01,000 --> 01:36:08,920
Speaker 3: Blow your Mind dot com.

1816
01:36:09,040 --> 01:36:12,000
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1817
01:36:12,080 --> 01:36:14,880
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1818
01:36:15,040 --> 01:36:17,799
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