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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.

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Speaker 3: This is Rob Lamb and this is Joe McCormick.

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Speaker 2: For today's movie selection, we are returning to the early

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Speaker 2: nineteen nineties with what I think is one of the

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Speaker 2: weirder Stephen King films you could possibly ask for, and

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Speaker 2: that is Sleepwalkers, directed by Mick Garris.

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Speaker 3: Folks, you've heard of the ancient Greek play Oedipus Rex.

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Speaker 3: I think we could call this movie Oedipus Garfield.

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Speaker 4: What do you think?

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Speaker 2: Maybe? Maybe? Yeah. This is a film that is notable

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Speaker 2: for its incestuous cat people, but there's a lot more

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Speaker 2: going on there. It's a lot weirder than just that,

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Speaker 2: as we'll get into. This is one I definitely remember

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Speaker 2: the trailers for because I was already a pretty dedicated

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Speaker 2: Stephen King reader at this point and pretty much believed

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Speaker 2: he could do no wrong. I was just reading like

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Speaker 2: nothing but Stephen King books, and I considered the checklist

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Speaker 2: of his books in the back of the paperbacks, where

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Speaker 2: you could like send away for them. I considered this

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Speaker 2: be something of a syllabus for life. Oh and I

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Speaker 2: would do things like and this is this is horrible,

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Speaker 2: but I would have my lunch money for the week,

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Speaker 2: and instead of spending it on lunch at school, I

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Speaker 2: would pocket it all because at the end of a

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Speaker 2: week of not eating lunch, I would have enough money

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Speaker 2: to blow on a Stephen King paperback.

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Speaker 3: Well, now that I am a parent, I can't quite

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Speaker 3: encourage that sort of deceptive behavior. But on the other hand,

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Speaker 3: that's beautiful. I mean I love that.

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Speaker 2: This is why I never read Cycle of the Werewolf,

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Speaker 2: because it was illustrated and therefore cost a little bit more,

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Speaker 2: and I was like, I can't that's too rich for

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Speaker 2: my blood.

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Speaker 3: Oh man, Yeah, I never got to that one either. God,

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Speaker 3: I remember that same thing that the old like order

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Speaker 3: form pages you would get in the end of a paperback.

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Speaker 3: That was whoever came out up with that idea first

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Speaker 3: is brilliant marketing.

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Speaker 2: I kind of I encounter one every now and again

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Speaker 2: in an old paperback and I'm like, I want to

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Speaker 2: send off. I want to see what happens. It's like

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Speaker 2: writing into the Mystery Science Theater three thousand fan club.

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Speaker 2: It's like, I want to do it. You've got that address.

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Speaker 2: It's got to go somewhere.

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Speaker 3: Maybe it's still active. You ever read about those things

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Speaker 3: that are like they used to have those telephone tip

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Speaker 3: lines for like old computer games in the like late

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Speaker 3: eighties and early nineties.

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Speaker 2: At least like nine hundred numbers.

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Speaker 3: Yeah, you could pay money to call in for like

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Speaker 3: tips on how to beat a computer game. And some

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Speaker 3: of these lines stayed active for a long time.

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Speaker 2: Oh wow, Yeah, because it's just automated pre recorded messages, right,

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Speaker 2: I guess so. Yeah, huh.

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Speaker 3: Sorry that took us a feeling. Yes, Sleepwalkers, I agree

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Speaker 3: with you, Rob. This is a movie I saw when

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Speaker 3: I was younger, I think, on on cable and revisiting

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Speaker 3: it this week, it was so much weirder than I remembered,

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Speaker 3: and I remembered it being pretty darn weird.

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Speaker 2: Yeah. Same. I must have seen it on cable back

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Speaker 2: in the day. I think I rented it on DVD

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Speaker 2: at some point, you know, in the past twenty years,

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Speaker 2: but I probably didn't give it a dedicated viewing and

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Speaker 2: you know, enough to really appreciate how deeply bonkers it is.

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Speaker 2: It's full of tonal whiplash, monster madness. Stephen King late

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Speaker 2: twentieth century Americana and also a good half dozen cameos.

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Speaker 4: Yeah, you can.

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Speaker 3: Tell this movie has the feeling of like of a

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Speaker 3: party for horror nerds. Yeah, Like it feels like one

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Speaker 3: of those movies that was for the people making it

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Speaker 3: more than it was for the audience. And I'm not

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Speaker 3: complaining now being part of the audience, but you can

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Speaker 3: tell it was just kind of you know, throwing weird

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Speaker 3: cameos in for really no reason at all, except I

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Speaker 3: think just for you know, different horror authors and people

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Speaker 3: involved in in the you know, Stephen King's social circle

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Speaker 3: to have fun, you know, just oh, I.

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Speaker 4: Want to show up. I want to be in this movie.

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Speaker 3: Stephen King himself shows up of course. And also I

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Speaker 3: think what you're talking about with the tonal whiplash, where

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Speaker 3: it just cuts from like a very serious, somber moment

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Speaker 3: to the weirdest goofiest one liners you've ever seen, like

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Speaker 3: right back to back. It feels just like people playing around.

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Speaker 2: Yeah. Yeah, and then at the same time there are

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Speaker 2: stretches where it's like it's really serious. And we mentioned

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Speaker 2: the Incestuous Cat People. I will say that the Incestuous

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Speaker 2: Cat People is played pretty much straightforward. It's not played

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Speaker 2: for laughs. I think if it had been played for laughs,

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Speaker 2: the project would have been ruined. I don't think it

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Speaker 2: would be watchable. I think it would just be super

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Speaker 2: hammy and not in a pleasant way. But it's played straight.

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Speaker 2: The goofiness kind of arises from other aspects of the film,

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Speaker 2: and it's a large part of why it still mostly works.

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Speaker 3: It's played very serious in every scene that takes place

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Speaker 3: within the cat people's house. Yeah, but every scene that

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Speaker 3: takes place outside of their house has the chance to

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Speaker 3: go off the rails into zany town.

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Speaker 2: That's good. That's a good observation. Now, folks upfront, I

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Speaker 2: want to advise everyone that this this is a cat movie.

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Speaker 2: This is a movie that has a lot of love

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Speaker 2: for cats. But I need to warn you that there

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Speaker 2: is a fair amount of simulated violence against cats in

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Speaker 2: the picture. It was. It's all very much above board

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Speaker 2: as far as I understand. You can read about it

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Speaker 2: at Humanehollywood dot org. But you know, cats are the

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Speaker 2: good guys in this movie, but they got to take

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Speaker 2: a beating in order to have that big victory moment

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Speaker 2: laid in the picture.

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Speaker 3: Yeah, it might be under selling it a little bit

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Speaker 3: just to say some simulated violence. I mean you are

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Speaker 3: going to see like fake cats ripped in half hanging

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Speaker 3: from ropes and stuff.

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Speaker 4: Yeah, but they're fake. They're fake, they're fake.

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Speaker 2: The cats are all okay, I mean they're all dead

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Speaker 2: now because the cats don't live that long. But yeah,

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Speaker 2: but all the cat None of the cats were harmed

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Speaker 2: in the making of this picture. But if you're sensitive

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Speaker 2: to that sort of thing, you might want to skip it.

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Speaker 3: But also, as you say, ultimately a cat really is

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Speaker 3: the hero of the film.

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Speaker 2: Absolutely, yes, Clovis who will get to in at Clovis

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Speaker 2: and his fellow cats are the ones that are gonna

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Speaker 2: ultimately save the day. So you know, you could probably

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Speaker 2: put together an elevator pitch that really stresses this. But

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Speaker 2: another way to think about this, this is a film

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Speaker 2: that is deeply about this strange relationship and this strange

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Speaker 2: bond between a monster and the monster's mother. So in

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Speaker 2: a sense, this is Stephen King's Beowolf, except there's no

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Speaker 2: Beowolf to play opposite Grendall and Grendall's mother. In this case,

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Speaker 2: we have Clovis the cat.

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Speaker 3: Yeah, Clovis is the Beowolf. Clovis is Beowulf. You could

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Speaker 3: say that, how does the rest work it. The rest

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Speaker 3: doesn't work so well. I guess you could sort of

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Speaker 3: say that Tanya and her family are like Brothgar's mead

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Speaker 3: Hall and the monster attacks it, and then of course

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Speaker 3: they have to hire Clovis, the outside defender, to come

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Speaker 3: and kill the monster.

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Speaker 2: Yeah, and Clovis has other motivations as well, as we'll

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Speaker 2: get into. Clovis really one of the deeper characters in

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Speaker 2: this picture. This fits a film mostly about monsters and Clovis.

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Speaker 3: Do you remember the scenes where so Clovis is a

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Speaker 3: cat who we first meet as the pet of a

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Speaker 3: police officer, and he's riding around in the.

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Speaker 4: Police car, which he does ride along.

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Speaker 3: Hilarious idea to begin with, but also in every scene

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Speaker 3: where they wanted to have the police police officer character

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Speaker 3: like get out of the car and walk around while

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Speaker 3: Clovis is still supposed to be in the car, it's

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Speaker 3: obviously like a stuffed animal in there because it's holding still.

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Speaker 2: Well, you know, cats are famously difficult to direct. You know,

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Speaker 2: you can hear this from everyone. The Coen Brothers were

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Speaker 2: very very adamant about this. For example, you know, they're

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Speaker 2: very difficult. It's very difficult to get a cat to

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Speaker 2: do what you want or anything close to what you

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Speaker 2: want in a picture, and this is a picture that

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Speaker 2: has scenes with hundreds of cats. I have no idea

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Speaker 2: how they ultimately pull these shots off. Clovis hits his marks.

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Speaker 2: He's a good boy. Absolutely. We'll get into the feline

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Speaker 2: actor behind the performance here in a bit.

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Speaker 3: But oh, folks, you might be confused because we've been

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Speaker 3: talking about the monsters in the movie as cats and

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Speaker 3: then also about cats. So this is a movie, to clarify,

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Speaker 3: that has a lot of straightforward animal cats in it,

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Speaker 3: just like the cats you're familiar with. But then also

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Speaker 3: the monsters are where cat vampires. They're half human half

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Speaker 3: cat magical beings.

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Speaker 2: Yeah, kind of like hairless cat human hybrids that are

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Speaker 2: also energy vampires and shape shifters and wizards in their

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Speaker 2: own right. Yes, we'll learn in the second half of

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Speaker 2: the picture.

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Speaker 3: Yeah, the movie keeps introducing new powers for them, even

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Speaker 3: in like the last five minutes of the film. I

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Speaker 3: think it's literally five minutes from the end credits that

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Speaker 3: we learned they can they have telekinesis we have not

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Speaker 3: seen up until this point.

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Speaker 2: I mean, it makes a lot of sense because we

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Speaker 2: learn that they are old, they are ancient, they're long lived.

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Speaker 2: I mean, they're essentially demigods, like the children of bast

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Speaker 2: and so forth.

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Speaker 4: All right, should we do some trailer audio?

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Speaker 2: Yeah, let's listen to the trailer for this one. Just

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Speaker 2: a bit of it. We'll get some of that great

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Speaker 2: early nineties narration. You cannot be in love with this girl.

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Speaker 4: I don't know me, Tanya.

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Speaker 5: Behind their smile is a secret. Come in, don I

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Speaker 5: have something for you. I don't know who you are,

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Speaker 5: but I know you're not who you say you are.

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Speaker 5: Behind the secret is a hunger.

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Speaker 4: Does it have to be her?

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Speaker 5: And behind it all is the imagination of Stephen King.

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Speaker 4: He killed one of my men. He was scared of a.

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Speaker 5: Cat, Stephen King's Sleepwalkers.

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Speaker 2: All right, So if you're wondering, well, hey, where can

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Speaker 2: I watch Sleepwalkers before proceeding with the rest of the episode,

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Speaker 2: or maybe you want to, you know, get a copy

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Speaker 2: of it for later. Well, this was a major release,

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Speaker 2: and a successful release of that, I should pinpoint this

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Speaker 2: movie made money. You can easily get your hands on

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Speaker 2: a digital or physical version. I rented the standard no

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Speaker 2: frills Blu ray from Atlanta's own videodrome and picture looks great.

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Speaker 2: That's a great way to go about it. But Shout

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Speaker 2: Factory put out a special edition in several years back,

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Speaker 2: and I think this one's absolutely the way to go

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Speaker 2: if you can get your hands on it. I couldn't

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Speaker 2: get it shipped to me in time for this episode,

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Speaker 2: but it features new poster art by Devin Whitehead that

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Speaker 2: is absolutely amazing. It has Clovis the cat front and

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Speaker 2: center leaping out at you. I love this.

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Speaker 3: Yes, Clovis is leaping out of a big wad of

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Speaker 3: pink magic energy. Also, the two main monsters in the

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Speaker 3: film are the Sun Monster, are Grendall, Charles Brady and

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Speaker 3: Grendall's mother Mary Brady. They're leaping out of the magic energy.

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Speaker 3: And then also a car, yeah Transam, right, the Blue

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Speaker 3: trans The Blue trans Am is the central cool car

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Speaker 3: in the movie, and of course that has to go

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Speaker 3: on the poster. The car is a major character in

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Speaker 3: the film, Yes it is.

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Speaker 2: And oh man, some of you might be wondering what

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Speaker 2: kind of sucker pays extra to get like a cool

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Speaker 2: cover on a Blu Ray re release. Well I am

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Speaker 2: that sucker. I am the kind of person who does that,

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Speaker 2: And I'm very tempted to find a copy of this

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Speaker 2: and get it shipped to me. But also yet, Devin Whitehead,

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Speaker 2: you can look him up on Instagram, Devin draws. He

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Speaker 2: does a lot of these postss for re releases of

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Speaker 2: films and it's all amazing for it. Oh. I should

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Speaker 2: also add the Blu Ray also has a ton of

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Speaker 2: extras that look really cool that I am also jealous

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Speaker 2: that I wasn't able to get my hands on before

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Speaker 2: we recorded here.

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Speaker 3: I would like to learn more about this production, especially

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Speaker 3: given the cameo party elements we've already talked about.

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Speaker 2: Yeah, yeah, I do have a couple of details about

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Speaker 2: that as we go on. But yeah, I don't know

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Speaker 2: exactly how all of it came together other than Stephen

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Speaker 2: Kingscott buddies and you know, he calls him in. You know,

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Speaker 2: you might have a cameo in a picture. You might

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Speaker 2: get to jam with him in a rock and roll band.

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Speaker 2: It just varies, all right. Let's talk about the people

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Speaker 2: behind this movie, starting at the top with the director.

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Speaker 2: It's Mick Garris born nineteen fifty one, American horror filmmaker

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Speaker 2: and general horror officionado during the late seventies. He worked

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Speaker 2: his way up through various forms of sort of cinema

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Speaker 2: adjacent media, including a local LA cable access interview show

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Speaker 2: called Fantasy Film Festival, in which he interviewed such filmmaking

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Speaker 2: or as John Carpenter and Steven Spielberg. You can actually

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Speaker 2: find uploads of this on YouTube.

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Speaker 4: Is he a good interviewer?

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Speaker 2: Ah, you know, I didn't. It seemed like he was.

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Speaker 2: I didn't watch enough to really get a sense of it.

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Speaker 2: But he seemed to have a good rapport with these

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Speaker 2: various directors. Like a lot of his peers, mc gerris

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Speaker 2: grew up making like eight millimeter films, but his first

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Speaker 2: credited industry directorial work came in the form of making

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Speaker 2: of documentaries for such films as nineteen eighty ones The Howling,

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Speaker 2: eighty two's The Thing, and nineteen eighty five's The Goonies.

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Speaker 3: Huh, this is sort of making sense. Okay, So he's

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Speaker 3: interviewing horror filmmakers, he's doing making of documentaries about their films.

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Speaker 3: It almost seems like one of those fan turned creator arcs.

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Speaker 2: Yeah. Yeah, I mean all creators were fans at one point?

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Speaker 2: Are they better have been? So from there he goes

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Speaker 2: on to direct a pair of TV show at the

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Speaker 2: Duds Anthology episodes in nineteen eighty six. One airs on

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Speaker 2: the Magical World of Disney. It is titled Fuzzbucket and

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Speaker 2: it's an imaginary friends story, you know, for kids. And

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Speaker 2: then he also did an episode of Amazing Stories titled

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Speaker 2: Life on Death Row starring Patrick Swayzee. He followed this

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Speaker 2: up with nineteen eighty eight Critters Too The Main Course,

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Speaker 2: followed by some more TV work, including Psycho four, and

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Speaker 2: then this film, the first Stephen King film based entirely

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Speaker 2: on an original screenplay by Stephen King.

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Speaker 3: That is interesting. So this is the first one not

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Speaker 3: adapted from a novel or from some other media, And

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Speaker 3: I wonder if that difference contributes to the kind of loose, exploratory,

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Speaker 3: playful feel of this movie.

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Speaker 2: Yeah maybe so, Like it's I don't know that a

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Speaker 2: lot of information is really out there about how the

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Speaker 2: story came together. I think there's I've read some stuff

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Speaker 2: that seemed to indicate it might have been an old

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Speaker 2: story idea that King either or didn't get published or

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Speaker 2: didn't finish or you know, rework for some reason or another.

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Speaker 2: But you know, you can't help but watch it and

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Speaker 2: wonder what form it would have taken had he actually

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Speaker 2: written it as a novel. You know, what point of

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Speaker 2: views would we have. How much Clovis pov would we get.

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Speaker 2: I bet we would have had some nest King definitely

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Speaker 2: would do animal povs in some of his books.

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Speaker 3: I kind of wonder if it would have less of

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Speaker 3: the free wheeling zaniness if it were an adaptation of

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Speaker 3: a novel, because when you're adapting a novel, there's kind

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Speaker 3: of this feeling of responsibility, you know, taken to varying

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Speaker 3: levels of seriousness by different directors, but some feeling of

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Speaker 3: responsibility to the source material, whereas this being its own

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Speaker 3: original thing, you could just kind of let it all

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Speaker 3: hang out.

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Speaker 2: I do. I have a strong suspicion that if we

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Speaker 2: had seen Sleepwalkers as a novel, we would have had

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Speaker 2: a lot more insight into the mindset of the character

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Speaker 2: Charles Brady, the grindele monster of the pair, and sort

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Speaker 2: of his place as a character kind of caught between

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Speaker 2: two worlds, between the world of predatory monsters in the

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Speaker 2: world of living humans that are their prey.

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Speaker 3: That is hinted at in the movie, though it doesn't

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Speaker 3: feel like it really, it doesn't feel like the movie

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Speaker 3: really takes that theme seriously, if you know what I mean,

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Speaker 3: Because you know, he has a few lines about like, oh,

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Speaker 3: you know, am I actually falling in love with this

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Speaker 3: girl who's soul I'm trying to steal by sucking pink

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Speaker 3: magic out of her mouth? You know, it suggests that

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Speaker 3: in the dialogue. But then also he has shown to

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Speaker 3: be essentially a totally heartless, soulless character who just like

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Speaker 3: wants to like run down children with his car for fun.

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Speaker 2: Yeah, and I think that's that's that's kind of a

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Speaker 2: big missed opportunity with this film, And that's where the

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Speaker 2: film really breaks down, is that is that we don't

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Speaker 2: we don't really explore his character all that much, and

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Speaker 2: he just we tease the possibility that there's more there,

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Speaker 2: but then he does just become a mini called Madman Killer.

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Speaker 3: So the Madman stuff in the movie or mad Monster,

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Speaker 3: especially when you get to the Mary stuff later on,

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Speaker 3: is some of the most memorable stuff in the film.

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Speaker 3: Like it gets so wild.

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Speaker 2: Now. From what I've read, Garris was King's pick to

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Speaker 2: direct this picture. There was somebody else that they were

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Speaker 2: talking to about it, but they were pushing for major

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Speaker 2: changes the King didn't want, and so Garrison Kings seem

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Speaker 2: to have a good remote creative process going on. I've

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Speaker 2: seen some interviews where Mike Garris talks about this, and

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Speaker 2: they would like it was facts based. They were like

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Speaker 2: faxing the script back and forth and making some changes

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Speaker 2: here and there, and then they didn't actually meet in

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Speaker 2: person until they filmed the cameo later on in the picture,

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Speaker 2: and the.

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Speaker 3: First thing Stephen King said to him was.

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Speaker 2: Piano fax machine joke. The partnership here would continue with

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Speaker 2: Garris directing the nineteen ninety four TV mini series The Stand,

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Speaker 2: the nineteen ninety seven adaptation of The Shining, two thousand

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Speaker 2: and four's Riding the Bullet, two thousand and six is Desperation,

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Speaker 2: and twenty eleven's Bag of Bones. Now I have to

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Speaker 2: admit I don't think I've seen most of these. I've

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Speaker 2: seen parts of the Stand, and I know that that

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Speaker 2: TV mini series version of The Stand has its followers.

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Speaker 2: And of course I loved the book that was a

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Speaker 2: core King text back in the day.

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Speaker 3: I remember, I don't know if I ever watched the

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Speaker 3: whole thing of that adaptation of the Stand, but I've

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Speaker 3: seen parts of it. It has the very famous opening

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Speaker 3: where you're at the government lab and it's playing Don't

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Speaker 3: Fear the Reaper by Blue Oyster Cold.

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Speaker 2: Oh yeah. But anyway, I believe that Mick Garris has

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Speaker 2: the record so far for feature film adaptations of Stephen King.

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Speaker 2: On top of this, he's also directed episodes of Tales

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Speaker 2: from the Crypt and Masters of Horror, which he also created.

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Speaker 2: His screenplays and story credits also include nineteen eighty seven's

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Speaker 2: Batteries Not included, nineteen eighty nine is the Fly Too,

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Speaker 2: in nineteen ninety three's hocus Pocus. Garris has also written

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Speaker 2: some novels, but not nearly as many as the gentleman

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Speaker 2: behind the screenplay here, and that of course is Stephen

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Speaker 2: King born nineteen forty seven, the King of Horror himself,

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Speaker 2: the most successful horror novelist of all time and one

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Speaker 2: of the most successful novelist period, still writing, still publishing.

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Speaker 2: And you know, we can't hope to cover everything that

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Speaker 2: Stephen King has done here in this episode. So let's

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Speaker 2: sort of place ourselves around the year nineteen ninety two.

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Speaker 2: So at this point he'd already published something like twenty

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Speaker 2: five books under his own name and that of Richard Bachman,

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Speaker 2: as well as something like forty four short stories and

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Speaker 2: this and this all included some of his best known

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Speaker 2: work and some of his best work. And on the

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Speaker 2: film front, there were already multiple adaptations, including Stanley Kubrick's

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Speaker 2: The Shining from nineteen eighty. Other adaptations that he'd been

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Speaker 2: more involved in personally, generally on the writing side, but

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Speaker 2: sometimes acting as well include eighty two's Creep Show, eighty

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Speaker 2: five's Cats Eye and Silver Bullet, nineteen eighty six is

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Speaker 2: Maximum Overdrive, which is also his sole directorial credit, eighty

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Speaker 2: seven's creep Show two, and nineteen eighty nine's Pet Cemetery.

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Speaker 3: Acting in Creep Show being the central character in one

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Speaker 3: of the vignettes there.

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Speaker 2: That's right. His Oscar snowed performance is Jeordie Verel in

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Speaker 2: Creep Showyeah, not a cameo, but the title character in

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Speaker 2: that segment. A wild a wild performance for sure, But

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Speaker 2: generally when he appears in something, it is a little

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Speaker 2: cameo and it actually his His screen credits go back

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Speaker 2: to nineteen eighty one's Night Writers, directed by George Romero,

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Speaker 2: in which he played the HOGI man.

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Speaker 3: I would say legitimately in Sleepwalkers. His cameo is one

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Speaker 3: of the funniest parts of the movie.

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Speaker 2: It's quite good. Yeah, King King cameos. They vary in

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Speaker 2: length and intensity, but the King can be a lot

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Speaker 2: of fun. He shows up in Sons of Anarchy at

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Speaker 2: one point. Oh yeah, remember that he's what a he's

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Speaker 2: like a cleaner or a fixer.

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Speaker 3: Yeah, he's like a weird guy who tries to cover

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Speaker 3: up crime scenes, I think, But yeah, in this movie

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Speaker 3: he plays a weirdo.

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Speaker 2: Of course.

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Speaker 3: He plays like this strange, creepy owner of a cemetery

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Speaker 3: where the monster attacks the main girl in the movie,

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Speaker 3: and after the attack is over, he's walking around talking

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Speaker 3: to various police officers and just anybody who will listen.

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Speaker 3: He's like, look, I've got enough trouble. I don't need

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Speaker 3: this action.

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Speaker 2: Yeah, it's a fun cameo. So if you're a King fan,

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Speaker 2: this film's worth watching for a number of reasons, including that. Sleepwalkers,

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Speaker 2: of Course, as we mentioned, was his first produced original screenplay,

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Speaker 2: again possibly stemming from an unpublished story idea. But again,

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Speaker 2: I don't he's ever said much about it. I was

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Speaker 2: looking around to find any interview segments where he really

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Speaker 2: gets into Sleepwalkers and the genesis of the idea, and

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Speaker 2: I'm not sure it's really out there. I did run

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Speaker 2: across an interview where Garis pointed out that King's wife

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Speaker 2: Tabitha apparently put together a concept for a sequel to

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Speaker 2: Sleepwalkers that somehow are revolved around a women's basketball team,

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Speaker 2: But sadly, you know that did not come to fruition either.

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Speaker 4: I would love to see that catsketball.

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Speaker 2: Now. I do want to note that this film, Sleepwalkers,

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Speaker 2: this is an example of dead sober Stephen King. Stephen

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Speaker 2: King got sober in nineteen eighty seven after struggling with

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Speaker 2: some substance abuse in the years prior.

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Speaker 3: Which is funny because a lot of reviewers online, who

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Speaker 3: I guess are unaware of this timeline, pegs Sleepwalkers as

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Speaker 3: like peak cocaine madness Stephen King. And it is easy

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Speaker 3: to see how people could make this assumption because the

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Speaker 3: movie is so wild, and especially I think because of

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Speaker 3: the tonal whiplash that you already mentioned. But in reality,

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Speaker 3: I believe Stephen King has has sort of identified the

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Speaker 3: novel The Tommy Knockers as his peak of struggles with

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Speaker 3: drugs and alcohol. That was one of the last things

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Speaker 3: before he got sober, and he is. He has since

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Speaker 3: quite like tried to disown the Tommy Knockers, saying like, yeah,

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Speaker 3: I wrote it, but it's terrible. I don't know if

433
00:23:25,880 --> 00:23:31,520
Speaker 3: he's ever disowned Sleepwalkers. And maybe this, despite whatever whatever

434
00:23:31,600 --> 00:23:35,520
Speaker 3: is kind of working at weird frequencies within it, it

435
00:23:36,160 --> 00:23:39,920
Speaker 3: does seem to be an authentic product of the mind

436
00:23:39,960 --> 00:23:40,680
Speaker 3: of Stephen King.

437
00:23:40,960 --> 00:23:43,520
Speaker 2: Yeah. I don't think reviewers were necessarily kind to it,

438
00:23:43,600 --> 00:23:46,680
Speaker 2: but it at the time, but it, you know, it

439
00:23:47,000 --> 00:23:48,840
Speaker 2: was a success, and I think a lot of people

440
00:23:48,840 --> 00:23:52,040
Speaker 2: have come back to it and appreciate it, and you know,

441
00:23:52,080 --> 00:23:54,119
Speaker 2: in some ways it is an outlier, but there are

442
00:23:54,160 --> 00:23:57,600
Speaker 2: a lot of familiar King themes present in this. You know,

443
00:23:57,640 --> 00:24:01,280
Speaker 2: of course, we have the familiar theme small town America

444
00:24:02,080 --> 00:24:05,080
Speaker 2: getting invaded by some sort of ancient evil, and then

445
00:24:05,400 --> 00:24:09,159
Speaker 2: more specifically we're dealing with energy vampires, which you see

446
00:24:09,480 --> 00:24:12,560
Speaker 2: arguably and it you certainly see in the Dark Tower

447
00:24:12,640 --> 00:24:16,879
Speaker 2: series and also in Doctor Sleep, which features nomadic energy

448
00:24:16,960 --> 00:24:20,480
Speaker 2: vampires led by an enigmatic female leader. So you could

449
00:24:20,480 --> 00:24:23,560
Speaker 2: almost think about Doctor Sleep as being a return to

450
00:24:23,640 --> 00:24:25,120
Speaker 2: some of the themes from Sleepwalker.

451
00:24:25,440 --> 00:24:28,400
Speaker 3: I guess taking it a lot more seriously and basing

452
00:24:28,440 --> 00:24:32,520
Speaker 3: it more on serious characters that he had already created

453
00:24:32,560 --> 00:24:34,480
Speaker 3: and wanted to come back to, like Danny Torrens.

454
00:24:34,760 --> 00:24:35,720
Speaker 4: Yeah.

455
00:24:36,080 --> 00:24:39,359
Speaker 3: Yeah, you could sort of look at Sleepwalkers as a

456
00:24:40,400 --> 00:24:46,520
Speaker 3: gonzo reinterpretation of Salem's Lot, but with monsters more less

457
00:24:46,600 --> 00:24:50,119
Speaker 3: like traditional vampires and more like the monsters in Doctor Sleep.

458
00:24:50,480 --> 00:24:52,159
Speaker 4: Yeah, but also cats.

459
00:24:53,080 --> 00:24:55,360
Speaker 2: And I should point out that cats do feature into

460
00:24:55,359 --> 00:24:58,800
Speaker 2: a number of Stephen king works pet Cemetery, of course,

461
00:24:59,320 --> 00:25:04,120
Speaker 2: the cat from well obviously Cat's Eye, LT's theory of pets,

462
00:25:04,520 --> 00:25:07,760
Speaker 2: and we you know, we do occasionally get animal povs

463
00:25:07,920 --> 00:25:10,760
Speaker 2: in his writing. And again I can only assume Clovis

464
00:25:10,760 --> 00:25:13,480
Speaker 2: would have been given this treatment if Sleepwalkers had come

465
00:25:13,520 --> 00:25:16,200
Speaker 2: together as a novel instead of a film.

466
00:25:16,320 --> 00:25:18,879
Speaker 3: I like how in the outline you've included multiple pictures

467
00:25:18,880 --> 00:25:20,280
Speaker 3: of Stephen King holding a cat.

468
00:25:20,600 --> 00:25:23,280
Speaker 2: Yes, yes, one of them. He's like crawling with cats.

469
00:25:23,320 --> 00:25:25,680
Speaker 2: I think he has a big cat in his lap

470
00:25:25,720 --> 00:25:28,240
Speaker 2: and then a kitten on his head and on his shoulder.

471
00:25:36,920 --> 00:25:39,480
Speaker 2: All right, let's get into the cast here. We're going

472
00:25:39,560 --> 00:25:41,680
Speaker 2: to start with We're going to take it in chunk,

473
00:25:41,760 --> 00:25:44,240
Speaker 2: So we're going to start with our monster family with

474
00:25:44,280 --> 00:25:49,960
Speaker 2: the Brady family. Our Grendel character, Charles Brady, is played

475
00:25:49,960 --> 00:25:53,720
Speaker 2: by Brian Krause born nineteen sixty nine, American actor who

476
00:25:53,800 --> 00:25:56,560
Speaker 2: kicked things off playing teens on TV and I believe

477
00:25:56,680 --> 00:25:59,080
Speaker 2: nineteen eighty nine at the age of nineteen or twenty,

478
00:25:59,400 --> 00:26:02,000
Speaker 2: and by Night ninety one he'd appeared in the sequel

479
00:26:02,440 --> 00:26:07,280
Speaker 2: Return to the Blue Lagoon alongside Mila Djoviovic, and by

480
00:26:07,320 --> 00:26:09,640
Speaker 2: the time of Sleepwalkers, I believe he was twenty two

481
00:26:09,800 --> 00:26:12,639
Speaker 2: or twenty three, which I think is perfect because he

482
00:26:12,680 --> 00:26:15,440
Speaker 2: feels slightly too mature to be a teenager in this

483
00:26:15,640 --> 00:26:19,040
Speaker 2: which is perfectly in keeping with so many teen heartthrob

484
00:26:19,160 --> 00:26:24,119
Speaker 2: films and also horror films of the classic period, the

485
00:26:24,160 --> 00:26:26,119
Speaker 2: sort of films that this movie plays off off to

486
00:26:26,160 --> 00:26:29,240
Speaker 2: some degree, and since his character is actually some kind

487
00:26:29,240 --> 00:26:32,880
Speaker 2: of kind of immortal, supernatural predator, it also feels right

488
00:26:32,960 --> 00:26:34,600
Speaker 2: that he doesn't quite fit in.

489
00:26:34,960 --> 00:26:38,960
Speaker 3: Yes, but he also brings a thing that's come into

490
00:26:39,000 --> 00:26:43,520
Speaker 3: a lot of vampire type stories, which is incredible handsomeness

491
00:26:43,520 --> 00:26:48,320
Speaker 3: and charisma. Brian Kraus is a hunk, and the hunkiness

492
00:26:48,400 --> 00:26:51,320
Speaker 3: is just like blasting out of the TV screen when

493
00:26:51,359 --> 00:26:52,360
Speaker 3: he's in frame.

494
00:26:52,720 --> 00:26:56,280
Speaker 2: Yeah, yeah, first scene he's shirtless and then carve something

495
00:26:56,280 --> 00:26:59,640
Speaker 2: into his arm. We'll get to that now. Kraus would

496
00:26:59,640 --> 00:27:01,959
Speaker 2: go on to appear on TV's Tales from the Crypt,

497
00:27:02,160 --> 00:27:05,320
Speaker 2: He did thirty three episodes of Another World, and just

498
00:27:05,400 --> 00:27:08,040
Speaker 2: lots of TV appearances. Even pops up on Mad Men

499
00:27:08,119 --> 00:27:10,520
Speaker 2: in two thousand and eight, and he did voice acting

500
00:27:10,640 --> 00:27:13,600
Speaker 2: for the video game Fallout seventy six. In general, it

501
00:27:13,640 --> 00:27:15,639
Speaker 2: seems like he stayed very busy in a range of

502
00:27:15,680 --> 00:27:18,160
Speaker 2: acting gigs. Seems to play a lot of police officers

503
00:27:18,200 --> 00:27:22,520
Speaker 2: these days, in addition to his hunkiness. I generally think

504
00:27:22,520 --> 00:27:25,560
Speaker 2: he's quite good in this, even when his character's riding

505
00:27:25,680 --> 00:27:29,520
Speaker 2: veers off in different directions. You know, obviously he didn't

506
00:27:29,520 --> 00:27:33,320
Speaker 2: write the thing, but you know, he rides it out

507
00:27:33,400 --> 00:27:34,600
Speaker 2: as best he can here.

508
00:27:34,720 --> 00:27:37,439
Speaker 3: And sometimes he has to act with cat face makeup

509
00:27:37,480 --> 00:27:39,600
Speaker 3: on so yes, that's another thing too.

510
00:27:40,119 --> 00:27:45,720
Speaker 2: Yes, I do love how there's like different variations of

511
00:27:45,720 --> 00:27:48,840
Speaker 2: how cat like they are. There's like their true monstrous

512
00:27:48,880 --> 00:27:51,160
Speaker 2: cat form that we get glimpses of and then get

513
00:27:51,160 --> 00:27:53,800
Speaker 2: to see more in the finale, and they're just like

514
00:27:53,960 --> 00:27:57,520
Speaker 2: pure you know, full blown monsters, a full bodysuit effect.

515
00:27:57,880 --> 00:27:59,639
Speaker 2: But then there are times when they're in a fully

516
00:27:59,720 --> 00:28:03,920
Speaker 2: human in disguise and then other times it's like catface makeup,

517
00:28:04,280 --> 00:28:06,359
Speaker 2: and the makeup is quite good. Well, we'll get back

518
00:28:06,400 --> 00:28:09,280
Speaker 2: to the who's responsible for that? But in general I

519
00:28:09,280 --> 00:28:10,760
Speaker 2: loved all the practical effects here.

520
00:28:11,080 --> 00:28:14,880
Speaker 3: Yeah, they've got like nine different kinds of heads and faces,

521
00:28:14,920 --> 00:28:17,040
Speaker 3: and there's one scene where we get to see Charles

522
00:28:17,160 --> 00:28:20,000
Speaker 3: more through all of them when he is surprised by

523
00:28:20,000 --> 00:28:20,359
Speaker 3: a cat.

524
00:28:20,680 --> 00:28:24,440
Speaker 2: Oh yeah, at nine lives, why not? All right? Playing

525
00:28:25,000 --> 00:28:29,320
Speaker 2: Mary Brady, the Grindall's mother of the two is Alice

526
00:28:29,480 --> 00:28:33,440
Speaker 2: Kriega born nineteen fifty four South African born actress who

527
00:28:33,440 --> 00:28:36,280
Speaker 2: went on to find success first on the stage with

528
00:28:36,400 --> 00:28:39,920
Speaker 2: the Royal Shakespeare Company, I Believe and the small screen

529
00:28:40,280 --> 00:28:43,840
Speaker 2: for BBC Productions in the UK, before making the transition

530
00:28:44,040 --> 00:28:48,120
Speaker 2: into an eclectic mix of films and finally achieving greater

531
00:28:48,280 --> 00:28:52,560
Speaker 2: fame for a number of delightful villain roles in genre pictures.

532
00:28:52,880 --> 00:28:55,600
Speaker 2: In nineteen eighty one, she appeared in Chariots of Fire

533
00:28:56,360 --> 00:28:59,720
Speaker 2: as well as John Irvin's Ghost Story, based on a

534
00:28:59,760 --> 00:29:03,280
Speaker 2: novel by King Buddy and Talisman co author Peter Strab.

535
00:29:04,480 --> 00:29:07,000
Speaker 2: She followed this up with nineteen eighty five's King David.

536
00:29:07,040 --> 00:29:08,680
Speaker 2: That's the one that has George Eastman in it.

537
00:29:09,280 --> 00:29:10,720
Speaker 4: Oh, does he play Goliath?

538
00:29:11,000 --> 00:29:14,720
Speaker 2: Yeah? Yeah, George Eastman's Galaka. Yeah. Who else would he play?

539
00:29:15,080 --> 00:29:17,560
Speaker 4: I don't know, it seemed logical.

540
00:29:18,400 --> 00:29:22,800
Speaker 2: She was in nineteen eighty seventh Sheba, she was in

541
00:29:22,840 --> 00:29:26,400
Speaker 2: nineteen eighty seven's Barfly. But one of her most iconic

542
00:29:26,480 --> 00:29:29,960
Speaker 2: genre roles came later on in nineteen ninety six in

543
00:29:30,080 --> 00:29:33,240
Speaker 2: Star Trek First Contact, in which she of course plays

544
00:29:33,560 --> 00:29:38,360
Speaker 2: the Borg Queen, a delicious main antagonist. And this is

545
00:29:38,400 --> 00:29:41,200
Speaker 2: a character that she would later reprise on TV's Voyager,

546
00:29:41,680 --> 00:29:45,720
Speaker 2: as well as various voice acting gigs for Star Trek

547
00:29:45,800 --> 00:29:47,720
Speaker 2: shows and Star Trek video games.

548
00:29:48,080 --> 00:29:49,600
Speaker 4: Now am I remembering this? Right?

549
00:29:49,640 --> 00:29:51,880
Speaker 3: Of course, this would not be a reflection at all

550
00:29:52,040 --> 00:29:54,320
Speaker 3: on alis Kriega for playing the role.

551
00:29:54,360 --> 00:29:55,840
Speaker 4: But do I recall that.

552
00:29:55,760 --> 00:29:59,760
Speaker 3: The Borg Queen is a somewhat controversial character among Star

553
00:29:59,800 --> 00:30:02,520
Speaker 3: Trek fans because it's sort of a violation of the

554
00:30:02,520 --> 00:30:05,320
Speaker 3: principle of the Borg that they don't they don't have

555
00:30:05,400 --> 00:30:07,680
Speaker 3: a top down control or a leader or anything.

556
00:30:08,160 --> 00:30:10,400
Speaker 2: Yeah, that's my understanding, And I you know, I'm not

557
00:30:10,720 --> 00:30:13,080
Speaker 2: I'm not the biggest trekky out there, but I was

558
00:30:13,120 --> 00:30:16,760
Speaker 2: a regular viewer of Star Trek the Next Generation and

559
00:30:16,800 --> 00:30:18,880
Speaker 2: looking back, like, that's one of the things about the

560
00:30:18,880 --> 00:30:22,960
Speaker 2: Borg is that they're decentralized there, you know, they're they're

561
00:30:23,040 --> 00:30:26,080
Speaker 2: use social in their format, and therefore that's why they're

562
00:30:26,240 --> 00:30:28,760
Speaker 2: inhuman and such a threat to our individuality.

563
00:30:29,440 --> 00:30:29,680
Speaker 4: Uh.

564
00:30:29,800 --> 00:30:34,160
Speaker 2: At some point, Data's evil twin brother Lore like takes

565
00:30:34,200 --> 00:30:36,960
Speaker 2: over the Borg, and maybe for a while I thought, well,

566
00:30:36,960 --> 00:30:38,920
Speaker 2: that's why we end up with a board queen, because

567
00:30:38,960 --> 00:30:41,840
Speaker 2: Lore messed everything up. But then I was looking at

568
00:30:41,880 --> 00:30:43,960
Speaker 2: Memory Alpha and there's something about how the board Queen's

569
00:30:43,960 --> 00:30:46,760
Speaker 2: supposed to have been around for ages. So I don't

570
00:30:46,800 --> 00:30:52,000
Speaker 2: know where what where the lowercase Lore ends up deciding

571
00:30:52,040 --> 00:30:54,960
Speaker 2: all of this. But I will say I remember when

572
00:30:55,000 --> 00:30:58,640
Speaker 2: Star Trek First Contact came out. Part of me was

573
00:30:58,680 --> 00:31:01,520
Speaker 2: like the Boorg can't have a coin, that's wrong. But

574
00:31:01,640 --> 00:31:06,160
Speaker 2: then her performance is so wonderful that like you're just

575
00:31:06,160 --> 00:31:08,280
Speaker 2: one over. You're like, okay, you can have it. You're

576
00:31:08,280 --> 00:31:12,240
Speaker 2: the Queen. Yes, I put up no resistance. Resistance is futile.

577
00:31:13,600 --> 00:31:17,080
Speaker 2: Krika's other genre credits include two thousand and two's Reign

578
00:31:17,120 --> 00:31:20,000
Speaker 2: of Fire. Two thousand and six is Silent Hill, two

579
00:31:20,040 --> 00:31:23,360
Speaker 2: thousand and nine Solomon Kane, and twenty thirteen's Through the

580
00:31:23,440 --> 00:31:24,080
Speaker 2: Dark World.

581
00:31:24,480 --> 00:31:26,160
Speaker 3: Now, this is the kind of role that you could

582
00:31:26,160 --> 00:31:31,080
Speaker 3: imagine an actor having very different thoughts about. Either it

583
00:31:31,160 --> 00:31:34,400
Speaker 3: could be like, this is the weirdest thing I've ever

584
00:31:34,680 --> 00:31:38,000
Speaker 3: done and it's great, I'm gonna have fun, or like,

585
00:31:38,160 --> 00:31:40,720
Speaker 3: what have I gotten myself into? Am I destroying my

586
00:31:40,800 --> 00:31:42,880
Speaker 3: career by participating in this?

587
00:31:43,920 --> 00:31:44,640
Speaker 4: And it is?

588
00:31:45,000 --> 00:31:47,200
Speaker 3: She seems to embrace it, at least as far as

589
00:31:47,200 --> 00:31:49,760
Speaker 3: I can tell, Like she does she does the weird,

590
00:31:49,880 --> 00:31:53,959
Speaker 3: sensitive edible cat stuff, and then she also just like

591
00:31:54,040 --> 00:31:57,800
Speaker 3: goes full like terminator mode, Like she turns into Arnold

592
00:31:57,800 --> 00:32:02,120
Speaker 3: Schwartzenegger in the last third the movie, doing one liners

593
00:32:02,280 --> 00:32:06,360
Speaker 3: and doing them with evident relish. And Yeah, so I

594
00:32:06,640 --> 00:32:09,040
Speaker 3: thumbs up d Alis Kriega in Sleepwalkers.

595
00:32:09,280 --> 00:32:12,280
Speaker 2: Yeah I love her in this just she's just absolutely

596
00:32:12,280 --> 00:32:14,719
Speaker 2: committed to this role, no matter how weird it is,

597
00:32:15,200 --> 00:32:18,440
Speaker 2: imbuing it with really like shakespeare In intensity at times.

598
00:32:19,360 --> 00:32:22,880
Speaker 2: I think her performance absolutely elevates the film, and it

599
00:32:22,960 --> 00:32:25,520
Speaker 2: helps that her character is also a good bit more

600
00:32:25,560 --> 00:32:28,840
Speaker 2: consistent compared to Charles, though again she does go into

601
00:32:28,880 --> 00:32:31,400
Speaker 2: full blown terminator mode, But so does Grindall's mom, Like,

602
00:32:31,440 --> 00:32:33,200
Speaker 2: that's it's fitting. You know.

603
00:32:33,480 --> 00:32:36,320
Speaker 3: Does anybody get murdered with a corn cob in BeO Wolf?

604
00:32:36,440 --> 00:32:37,120
Speaker 4: I don't remember.

605
00:32:37,280 --> 00:32:38,840
Speaker 2: Well, you know that might have been lost in some

606
00:32:38,920 --> 00:32:42,880
Speaker 2: of the translations. Well, no, obviously they wouldn't have had corn.

607
00:32:42,920 --> 00:32:44,920
Speaker 2: They would you'd have to stab them with some other

608
00:32:45,040 --> 00:32:45,800
Speaker 2: kind of vegetable.

609
00:32:46,080 --> 00:32:49,120
Speaker 3: Yeah, Is there like a solid sheaf of wheat of

610
00:32:49,160 --> 00:32:49,720
Speaker 3: some kind?

611
00:32:51,000 --> 00:32:53,040
Speaker 2: There's probably you could be there's some sort of read

612
00:32:53,120 --> 00:32:57,320
Speaker 2: on this where like the Sleepwalkers as ancient fertility goddesses

613
00:32:57,400 --> 00:32:57,840
Speaker 2: or something.

614
00:32:58,600 --> 00:33:00,480
Speaker 4: Oh yeah, the Cult of series.

615
00:33:00,560 --> 00:33:03,640
Speaker 2: Sure, all right, now it's time to meet the Robertsons.

616
00:33:03,720 --> 00:33:06,960
Speaker 2: The Robertsons are our you know, good old fashioned American

617
00:33:07,040 --> 00:33:11,320
Speaker 2: family that's threatened by supernatural evil, beginning with the teen

618
00:33:11,440 --> 00:33:16,200
Speaker 2: daughter Tanya Robertson played by mitchin Amik born nineteen seventy.

619
00:33:16,640 --> 00:33:19,720
Speaker 3: This is basically our human protagonist. This is the main

620
00:33:19,840 --> 00:33:23,320
Speaker 3: good character who is threatened by the cat, the cat

621
00:33:23,480 --> 00:33:24,440
Speaker 3: energy vampires.

622
00:33:24,640 --> 00:33:28,520
Speaker 2: Yeah. Yeah, she's a good girl, you know, good American

623
00:33:28,600 --> 00:33:34,200
Speaker 2: teenager working at the movie theater and you know, has

624
00:33:34,880 --> 00:33:39,360
Speaker 2: a certain weakness for really hunky students at are high school.

625
00:33:39,840 --> 00:33:42,400
Speaker 2: Which is where our energy vampire happens to be hanging

626
00:33:42,480 --> 00:33:46,000
Speaker 2: out and is currently enrolled in her creative writing class.

627
00:33:46,000 --> 00:33:46,720
Speaker 2: As we'll discuss.

628
00:33:47,560 --> 00:33:50,800
Speaker 3: You know, one big media overlap I never noticed until

629
00:33:50,840 --> 00:33:54,160
Speaker 3: revisiting the movie this time is that Amic plays the

630
00:33:54,240 --> 00:33:56,520
Speaker 3: role of Shelley at the Diner in Twin Peaks.

631
00:33:57,040 --> 00:33:59,840
Speaker 2: That's right. Yeah, she's Shelley Johnson from both runs of

632
00:34:00,000 --> 00:34:02,440
Speaker 2: Twin Peaks as well as Twin Peaks fire Walk with

633
00:34:02,480 --> 00:34:05,080
Speaker 2: Me from nineteen ninety two. She was also in the

634
00:34:05,120 --> 00:34:08,400
Speaker 2: nineteen ninety three film Dream Lover, and early on in

635
00:34:08,400 --> 00:34:10,560
Speaker 2: her career she also popped up on an episode of

636
00:34:10,560 --> 00:34:12,719
Speaker 2: Star Trek The Next Generation. I think, just playing like

637
00:34:13,200 --> 00:34:15,880
Speaker 2: a random team you know of probably one of Wesley

638
00:34:15,960 --> 00:34:20,560
Speaker 2: Crusher's fellow students. But she's gone on to appear on

639
00:34:20,600 --> 00:34:23,359
Speaker 2: everything from like mad Men to American Horror Story. And

640
00:34:23,800 --> 00:34:27,760
Speaker 2: I'd say, you know, solid lead performance. Here saw pretty

641
00:34:27,880 --> 00:34:31,200
Speaker 2: standard horror movie stuff, but she saw agree.

642
00:34:31,280 --> 00:34:34,120
Speaker 3: She is a wholesome, well meaning character who is hard

643
00:34:34,200 --> 00:34:36,600
Speaker 3: not to love, and thus, even when the movie becomes

644
00:34:36,719 --> 00:34:40,680
Speaker 3: increasingly ludicrous, she does kind of ground it because you

645
00:34:40,719 --> 00:34:41,399
Speaker 3: are with her.

646
00:34:41,760 --> 00:34:45,399
Speaker 2: Yeah, all right, now let's meet her parents. First off,

647
00:34:45,440 --> 00:34:48,600
Speaker 2: we have mister Robertson played by an actor we've discussed

648
00:34:48,640 --> 00:34:53,439
Speaker 2: on Weird House before, Lyman Ward born nineteen forty one. Yes,

649
00:34:53,520 --> 00:34:56,120
Speaker 2: he was in nineteen eighty five's Creature that we discussed

650
00:34:56,120 --> 00:34:58,680
Speaker 2: on the show. But pretty much all of you are

651
00:34:58,680 --> 00:35:01,120
Speaker 2: going to know him or at least recognize him, perhaps

652
00:35:01,120 --> 00:35:03,880
Speaker 2: even without realizing it. From nineteen eighty six is Ferris

653
00:35:03,960 --> 00:35:07,560
Speaker 2: Bueller's Day Off, in which he plays the dad, Tom Buehler.

654
00:35:07,760 --> 00:35:11,920
Speaker 2: Now Tanya's mother, Miss Robertson, is played by Cindy Pickett

655
00:35:11,920 --> 00:35:15,240
Speaker 2: born nineteen forty seven. You'll recognize her as well because

656
00:35:15,280 --> 00:35:18,480
Speaker 2: she plays Ferris Bueller's mom in Ferris Bueller's Day Off.

657
00:35:19,520 --> 00:35:22,959
Speaker 2: Oh Boy. She also appeared in nineteen eighty nine's Deep

658
00:35:22,960 --> 00:35:26,279
Speaker 2: Star six and nineteen ninety three Son in Law, as

659
00:35:26,320 --> 00:35:27,759
Speaker 2: well as a couple of titles I just have to

660
00:35:27,800 --> 00:35:31,200
Speaker 2: mention these. No shade here, someone has to star in

661
00:35:31,280 --> 00:35:33,439
Speaker 2: movies like this. But she's also in nineteen ninety six

662
00:35:33,520 --> 00:35:36,400
Speaker 2: is Kid Cop and nineteen ninety eight's Atomic Dog.

663
00:35:37,400 --> 00:35:40,160
Speaker 3: Is Kid Cop a movie about a kid who is

664
00:35:40,200 --> 00:35:43,320
Speaker 3: a cop or a cop who enforces the law on children.

665
00:35:44,440 --> 00:35:49,279
Speaker 2: The former. Now this all gets weirder. So, first of

666
00:35:49,320 --> 00:35:52,080
Speaker 2: all again. Tanya's parents and Sleepwalkers are played by the

667
00:35:52,120 --> 00:35:57,319
Speaker 2: same actors who played Ferris Buehler's parents, and these two

668
00:35:57,320 --> 00:36:00,560
Speaker 2: actors were married in real life. And then it gets

669
00:36:00,600 --> 00:36:04,080
Speaker 2: even weirder. They apparently met and fell in love during

670
00:36:04,120 --> 00:36:08,160
Speaker 2: the production of Ferris Buehler's Day Off and divorced the

671
00:36:08,239 --> 00:36:10,160
Speaker 2: same year Sleepwalkers came out.

672
00:36:11,360 --> 00:36:15,759
Speaker 4: Could it be true? That doesn't that's so strange.

673
00:36:16,520 --> 00:36:19,160
Speaker 2: I mean, I'm probably very wrong on this, and I

674
00:36:19,160 --> 00:36:21,520
Speaker 2: don't want to pry into anybody's personal life, but it

675
00:36:21,600 --> 00:36:25,880
Speaker 2: seems possible that Sleepwalkers finished a marriage that began with

676
00:36:25,920 --> 00:36:29,799
Speaker 2: Ferris Bueller's Day Off. I don't know. It's a possibility,

677
00:36:29,920 --> 00:36:30,520
Speaker 2: is all I'm saying.

678
00:36:30,560 --> 00:36:34,200
Speaker 3: We have to assume it was unrelated to Sleepwalkers.

679
00:36:34,880 --> 00:36:36,480
Speaker 2: All right. So that's the family. That's the good old

680
00:36:36,520 --> 00:36:39,080
Speaker 2: American family. Most of the other characters in this film

681
00:36:39,080 --> 00:36:41,640
Speaker 2: are cops, so uns.

682
00:36:41,320 --> 00:36:45,280
Speaker 3: So many cops, cops walking in and out of frame.

683
00:36:45,320 --> 00:36:47,319
Speaker 3: And have we seen this cop before? I don't know,

684
00:36:47,400 --> 00:36:48,120
Speaker 3: I don't remember.

685
00:36:48,440 --> 00:36:50,720
Speaker 2: Yeah, and then we get like different divisions of law enforcement.

686
00:36:51,360 --> 00:36:54,720
Speaker 2: The main cop that we encounter is Sheriff Iris Stevens,

687
00:36:54,719 --> 00:36:57,920
Speaker 2: played by Jim Haney, who lived nineteen forty through twenty

688
00:36:57,960 --> 00:37:00,560
Speaker 2: twenty one American actor who worked in a lot of

689
00:37:00,680 --> 00:37:04,040
Speaker 2: TV shows, but also had memorable roles in Staying Together

690
00:37:04,120 --> 00:37:07,560
Speaker 2: in nineteen eighty nine, Bridges of Madison County in ninety five,

691
00:37:07,600 --> 00:37:10,240
Speaker 2: and The Peacemaker in ninety seven. His other credits include

692
00:37:10,280 --> 00:37:14,280
Speaker 2: John Carpenter's The Fog from nineteen eighty, nineteen nineties, Dark Angel,

693
00:37:14,320 --> 00:37:16,719
Speaker 2: which we've covered on the show, and even a bit

694
00:37:16,760 --> 00:37:19,320
Speaker 2: part as a cop in nineteen seventy nine's Time After

695
00:37:19,400 --> 00:37:20,960
Speaker 2: Time that we also talked about.

696
00:37:21,239 --> 00:37:24,440
Speaker 3: He is the only cop in the movie who is

697
00:37:24,480 --> 00:37:26,720
Speaker 3: not primarily a comedic character.

698
00:37:27,239 --> 00:37:31,520
Speaker 2: Yeah, because the next cop character that we see quite

699
00:37:31,560 --> 00:37:34,960
Speaker 2: a bit of is Deputy Sheriff Andy Simpson, played by

700
00:37:35,040 --> 00:37:38,919
Speaker 2: Dan Martin born nineteen fifty one. Image Award winning actor

701
00:37:38,960 --> 00:37:42,240
Speaker 2: whose credits include ninety four Is the Stand, ninety five's Heat,

702
00:37:42,520 --> 00:37:46,160
Speaker 2: two thousand's leprechan five in the Hood, and TV's The

703
00:37:46,160 --> 00:37:48,080
Speaker 2: Bold and the Beautiful. This is where he earned the

704
00:37:48,360 --> 00:37:49,040
Speaker 2: Image Award.

705
00:37:49,680 --> 00:37:52,000
Speaker 3: He is one of the most entertaining actors in the

706
00:37:52,040 --> 00:37:54,840
Speaker 3: movie the way he's so. This is the owner of Clovis.

707
00:37:54,920 --> 00:37:55,479
Speaker 4: This is the.

708
00:37:55,360 --> 00:37:58,759
Speaker 3: Cop who has the attack cat who rides along in

709
00:37:58,800 --> 00:38:01,920
Speaker 3: his squad car. And he's also the cop who first

710
00:38:02,040 --> 00:38:07,120
Speaker 3: encounters our monster characters and sort of forms a vendetta

711
00:38:07,160 --> 00:38:11,320
Speaker 3: mission against them. But he also is really funny because

712
00:38:11,360 --> 00:38:13,480
Speaker 3: they just have a lot of scenes of him muttering

713
00:38:13,520 --> 00:38:17,120
Speaker 3: to himself and making up songs to himself as as

714
00:38:17,160 --> 00:38:19,400
Speaker 3: he drives around in his car. I don't know what

715
00:38:19,480 --> 00:38:21,800
Speaker 3: these songs are. They're just like vulgar little ditties.

716
00:38:22,320 --> 00:38:25,839
Speaker 2: Yeah. Yeah, yeah, he's a likable character, but we also

717
00:38:25,840 --> 00:38:29,960
Speaker 2: have a really unlikable cop character though he State police,

718
00:38:30,440 --> 00:38:35,759
Speaker 2: and this is Captain Solmes played by Ron Pearlman movie Trivia.

719
00:38:35,840 --> 00:38:39,680
Speaker 3: In Sleepwalkers, Ron Perlman achieved the world record for the

720
00:38:39,800 --> 00:38:43,280
Speaker 3: longest tooth to tooth jawstretch film history.

721
00:38:44,160 --> 00:38:50,759
Speaker 2: Yeah just about yeah. Born nineteen fifty. This is somehow

722
00:38:50,840 --> 00:38:53,920
Speaker 2: our first Ron Pearlman movie. But I think everybody knows

723
00:38:54,000 --> 00:38:57,680
Speaker 2: Ron Perlman rugged American character actor with a very rugged look,

724
00:38:57,960 --> 00:39:03,520
Speaker 2: great face, gravelly voice, frequently cast as heavies and authority figures,

725
00:39:03,760 --> 00:39:06,680
Speaker 2: but with some key breakout roles, such as Amacor in

726
00:39:06,760 --> 00:39:11,040
Speaker 2: nineteen eighty One's Quest for Fire. Salvatore in nineteen eighty

727
00:39:11,080 --> 00:39:12,840
Speaker 2: six is the name of the Rose that's one of

728
00:39:12,840 --> 00:39:15,759
Speaker 2: my favorites. He's great in nineteen ninety five's The City

729
00:39:15,760 --> 00:39:18,440
Speaker 2: of Lost Children, and of course he's hell Boy in

730
00:39:18,480 --> 00:39:22,360
Speaker 2: Giamel del Toro's two hell Boy films. He also famously

731
00:39:22,400 --> 00:39:24,799
Speaker 2: played the Beast on TV's Beauty and the Beast from

732
00:39:24,920 --> 00:39:28,960
Speaker 2: eighty seven through nineteen ninety, and his voice work has

733
00:39:29,000 --> 00:39:32,839
Speaker 2: included such shows as Batman, the animated series and Adventure Time.

734
00:39:33,480 --> 00:39:35,920
Speaker 2: I have to say, though, this is one of your like,

735
00:39:36,719 --> 00:39:39,080
Speaker 2: this is a small role, and it's a pretty standard

736
00:39:39,160 --> 00:39:42,040
Speaker 2: Ron Pearlman role. There's not really nothing special here, nothing

737
00:39:42,040 --> 00:39:46,440
Speaker 2: to see here, folks. This is just your grumpy, antagonistic

738
00:39:46,560 --> 00:39:47,640
Speaker 2: Ron Pearlman character.

739
00:39:47,840 --> 00:39:51,800
Speaker 3: Yeah, just a nasty, malicious cop played for slapstick comedy,

740
00:39:52,640 --> 00:39:55,960
Speaker 3: especially when Alice Krieger gets to bite his fingers off.

741
00:39:56,120 --> 00:40:01,560
Speaker 3: That's right, but also strange choice that, Like, you get

742
00:40:01,920 --> 00:40:05,760
Speaker 3: Ron Pearlman to be in your movie about cat human

743
00:40:05,840 --> 00:40:07,839
Speaker 3: hybrids and he doesn't play one.

744
00:40:08,600 --> 00:40:10,000
Speaker 2: I mean maybe he was he was done with that

745
00:40:10,080 --> 00:40:11,839
Speaker 2: at this point. Maybe that was it. They were like,

746
00:40:12,239 --> 00:40:15,520
Speaker 2: a who would he play? There's no Grendel's dad in this,

747
00:40:15,760 --> 00:40:17,440
Speaker 2: But maybe he was just like, no, I'm done, I'm

748
00:40:17,440 --> 00:40:18,480
Speaker 2: done with that. Cat makeup.

749
00:40:18,560 --> 00:40:20,960
Speaker 3: He already did Beauty in the Beast because he's got

750
00:40:20,960 --> 00:40:23,719
Speaker 3: like cat makeup in that, doesn't he Yeah, basically looks

751
00:40:23,760 --> 00:40:24,480
Speaker 3: like a Sleepwalker.

752
00:40:24,560 --> 00:40:25,040
Speaker 5: Yeah.

753
00:40:25,239 --> 00:40:28,520
Speaker 2: That of course was a show that was George R. R. Martin. Yeah.

754
00:40:28,600 --> 00:40:31,600
Speaker 2: Line yeah. Oh. And then also we already mentioned Sons

755
00:40:31,600 --> 00:40:33,439
Speaker 2: of Anarchy. He of course was one of the stars

756
00:40:33,480 --> 00:40:34,400
Speaker 2: of Sons of Anarchy.

757
00:40:35,000 --> 00:40:37,279
Speaker 3: Wait, I just looked him up in Beauty and the Beast. Yeah,

758
00:40:37,320 --> 00:40:39,920
Speaker 3: he looks exactly like some of the cat faces. I mean,

759
00:40:40,000 --> 00:40:42,440
Speaker 3: as I mentioned, they have like nine different kinds of faces,

760
00:40:42,640 --> 00:40:44,800
Speaker 3: but he looks like one of the main cat faces

761
00:40:44,880 --> 00:40:47,719
Speaker 3: of the Sleepwalkers. So that is a that is a

762
00:40:47,760 --> 00:40:50,480
Speaker 3: strange overlap. I wonder if there was any makeup artists

763
00:40:50,520 --> 00:40:51,279
Speaker 3: overlap here.

764
00:40:51,480 --> 00:40:54,000
Speaker 2: It's possible. It's possible. We'll get to the makeup in

765
00:40:54,000 --> 00:40:57,239
Speaker 2: just a minute. But let's see, we need to round

766
00:40:57,239 --> 00:41:01,120
Speaker 2: out the cast and rounding out the law enforcement side

767
00:41:01,120 --> 00:41:04,800
Speaker 2: of things again. We have Officer Clovis, the cat played

768
00:41:04,800 --> 00:41:09,399
Speaker 2: by the feline actor Sparks. Dates are unknown. We don't

769
00:41:09,440 --> 00:41:12,480
Speaker 2: know when Sparks was born or when Sparks passed on

770
00:41:12,719 --> 00:41:16,480
Speaker 2: into the cat after life. This is this felion actor's

771
00:41:16,560 --> 00:41:19,839
Speaker 2: only film credit, but what a performance. I say, from

772
00:41:19,880 --> 00:41:22,200
Speaker 2: the bottom of my heart, thank you for your service, Sparks.

773
00:41:22,480 --> 00:41:25,560
Speaker 3: Yes, I hope Sparks received so many tins of sardines

774
00:41:25,600 --> 00:41:28,200
Speaker 3: for taking part in this film.

775
00:41:29,160 --> 00:41:33,080
Speaker 2: All right, let's see there is a there's a small

776
00:41:33,120 --> 00:41:36,120
Speaker 2: part in this by Glenn Shattocks. It plays mister Fallows.

777
00:41:37,080 --> 00:41:40,720
Speaker 2: Shattucks lived nineteen fifty two through twenty ten, American character actor,

778
00:41:40,760 --> 00:41:43,319
Speaker 2: best known for his work with Tim Burton, especially the

779
00:41:43,400 --> 00:41:46,799
Speaker 2: role of Atho in nineteen eighty eight's Beetlejuice, and he

780
00:41:46,880 --> 00:41:50,120
Speaker 2: voiced the mayor in nineteen ninety three's The Nightmare Before Christmas,

781
00:41:50,160 --> 00:41:52,160
Speaker 2: and also appears in two thousand and ones Planet of

782
00:41:52,200 --> 00:41:55,120
Speaker 2: the Apes. He plays a creep in this, a human creep.

783
00:41:54,920 --> 00:41:59,879
Speaker 3: A creepy creative writing teacher. Now, are we gonna mention

784
00:42:00,239 --> 00:42:04,440
Speaker 3: all of the celebrity and author cameos here or are

785
00:42:04,440 --> 00:42:06,759
Speaker 3: we going to save those like as we go through

786
00:42:06,760 --> 00:42:07,280
Speaker 3: the plot.

787
00:42:07,440 --> 00:42:09,279
Speaker 2: Yeah, We'll come back to these as we go through

788
00:42:09,280 --> 00:42:11,640
Speaker 2: the plot. I'm going to round out things here by

789
00:42:11,760 --> 00:42:17,240
Speaker 2: just mentioning in brief the project supervisor on the special

790
00:42:17,239 --> 00:42:23,240
Speaker 2: effects here was Tony Gardner, aligned with Altirian Studios, Gardner

791
00:42:23,280 --> 00:42:26,560
Speaker 2: has headed up Alter Studios for something like thirty years

792
00:42:26,840 --> 00:42:29,960
Speaker 2: and has worked special makeup effects and special effects on

793
00:42:29,960 --> 00:42:32,520
Speaker 2: such films as eighty seven's The Lost Boys, eighty eight's

794
00:42:32,560 --> 00:42:36,759
Speaker 2: The Blob, nineteen nineties Night Breed, and many others. He

795
00:42:36,840 --> 00:42:40,319
Speaker 2: was even on Stan Winston's Aliens Crew back in eighty six,

796
00:42:40,719 --> 00:42:43,279
Speaker 2: and he was also involved in the special effects for

797
00:42:43,360 --> 00:42:45,800
Speaker 2: nineteen eighty three's thriller the music video.

798
00:42:46,080 --> 00:42:48,319
Speaker 3: Oh Wow, every movie you listed, I think has great

799
00:42:48,320 --> 00:42:49,120
Speaker 3: special effects.

800
00:42:49,200 --> 00:42:51,960
Speaker 2: Yeah, and this film's got him too, Like I say,

801
00:42:52,920 --> 00:42:55,880
Speaker 2: I loved all the makeup effects in this Now, on

802
00:42:55,920 --> 00:42:59,040
Speaker 2: the music front, the composer here was Nicholas Pike born

803
00:42:59,120 --> 00:43:02,640
Speaker 2: nineteen fifty five, British composer whose scores include eighty six's

804
00:43:02,680 --> 00:43:07,040
Speaker 2: Graveyard Shift, Critters to eighty nine's Chud to Bud The Chud,

805
00:43:07,400 --> 00:43:10,800
Speaker 2: ninety seven's The Shining and five episodes of Masters of Horror.

806
00:43:11,520 --> 00:43:13,320
Speaker 3: I don't have a lot of memories one way or

807
00:43:13,360 --> 00:43:16,160
Speaker 3: another about the original score for the film, because the

808
00:43:16,200 --> 00:43:20,040
Speaker 3: most memorable musical moments in the movie are the use

809
00:43:20,080 --> 00:43:24,080
Speaker 3: of pre existing tracks, notably the Santo and Johnny track

810
00:43:24,120 --> 00:43:27,879
Speaker 3: from nineteen fifty nine Sleepwalk, which even if you don't

811
00:43:27,880 --> 00:43:30,440
Speaker 3: know that song by name, everybody, you would recognize it

812
00:43:30,440 --> 00:43:33,160
Speaker 3: if you heard it. It's got a very very familiar

813
00:43:33,560 --> 00:43:37,319
Speaker 3: steel guitar melody. For some reason, I associate it with

814
00:43:37,480 --> 00:43:40,200
Speaker 3: scenes in a movie in which somebody is dreaming about

815
00:43:40,200 --> 00:43:41,160
Speaker 3: a Hawaiian vacation.

816
00:43:41,880 --> 00:43:44,440
Speaker 2: Yeah, it does. What is that slide guitar? Are we hearing?

817
00:43:44,560 --> 00:43:44,799
Speaker 2: Is that?

818
00:43:45,040 --> 00:43:46,720
Speaker 4: I think it's steel guitar, steal guitar?

819
00:43:46,800 --> 00:43:51,240
Speaker 2: Okay, Yeah, it's a famous It's one of those tracks

820
00:43:51,400 --> 00:43:53,600
Speaker 2: that you might not know it by name, but if

821
00:43:53,640 --> 00:43:55,960
Speaker 2: you hear the tune, yeah, you'll recognize it for sure.

822
00:43:56,480 --> 00:43:59,200
Speaker 3: But also not just that needle drop. There's a moment

823
00:43:59,200 --> 00:44:02,320
Speaker 3: early on when we're when we were seeing the cops

824
00:44:02,400 --> 00:44:04,799
Speaker 3: walking around to scene sort of in the prologue, and

825
00:44:04,840 --> 00:44:08,839
Speaker 3: there's this very like sad, thoughtful, mournful music playing with

826
00:44:08,880 --> 00:44:12,600
Speaker 3: this voice just humming a tune without any words. I

827
00:44:12,640 --> 00:44:15,280
Speaker 3: was like, man, that voice that sounds so much like Enya?

828
00:44:15,280 --> 00:44:16,560
Speaker 4: What is this? I looked it up.

829
00:44:16,800 --> 00:44:19,080
Speaker 3: It is Enya. It's an India track.

830
00:44:19,320 --> 00:44:23,440
Speaker 2: That's right. Yeah, it's the track Bodica off of. It

831
00:44:23,480 --> 00:44:26,239
Speaker 2: was on her self titled album, her debut album, but

832
00:44:26,280 --> 00:44:30,000
Speaker 2: then that album was later renamed the Celts to correspond

833
00:44:30,080 --> 00:44:33,319
Speaker 2: with the music's use on a BBC documentary of the

834
00:44:33,320 --> 00:44:36,160
Speaker 2: same name. I was a big fan of her work

835
00:44:36,400 --> 00:44:39,279
Speaker 2: back in the nineties, and I think this is a

836
00:44:39,320 --> 00:44:41,560
Speaker 2: great track. This is one of her best. Not all

837
00:44:41,600 --> 00:44:43,160
Speaker 2: of her tracks are the sort of thing I would

838
00:44:43,160 --> 00:44:44,920
Speaker 2: have listened to today, Like some of them feel a

839
00:44:44,920 --> 00:44:48,839
Speaker 2: little dated in their new agingus, But this one's really good.

840
00:44:49,000 --> 00:44:53,839
Speaker 2: Just her ethereal vocals, a lot of cool synth, so

841
00:44:54,360 --> 00:44:56,800
Speaker 2: I think it's a really solid one, well used here.

842
00:44:57,160 --> 00:44:58,920
Speaker 2: And I believe this is also the track of the

843
00:44:58,920 --> 00:45:01,520
Speaker 2: fujis sampled in one of their hits.

844
00:45:01,719 --> 00:45:03,600
Speaker 3: I think this song was saying. I think I read

845
00:45:03,600 --> 00:45:05,520
Speaker 3: this song was sampled in a lot of other songs.

846
00:45:06,400 --> 00:45:10,800
Speaker 3: But yeah, it certainly it's very very moody track, big

847
00:45:11,000 --> 00:45:14,360
Speaker 3: dark mood that and you can see why it was

848
00:45:14,480 --> 00:45:17,919
Speaker 3: used at least at like four different points in the movie.

849
00:45:17,960 --> 00:45:20,280
Speaker 3: It's at the beginning, it's at a few different scenes,

850
00:45:20,320 --> 00:45:21,640
Speaker 3: and it's in the end credits.

851
00:45:22,040 --> 00:45:26,480
Speaker 2: Yeah, it gives it that kind of timeless weight, ancient

852
00:45:26,560 --> 00:45:29,240
Speaker 2: weight to the origins of these monstrous creatures.

853
00:45:30,120 --> 00:45:32,279
Speaker 3: Oh and then there's one more track like that. There's

854
00:45:32,320 --> 00:45:34,120
Speaker 3: a scene where they use Do You Love Me by

855
00:45:34,160 --> 00:45:34,879
Speaker 3: the Contours?

856
00:45:35,120 --> 00:45:37,319
Speaker 2: Oh yeah, yeah, and that's a great track as well.

857
00:45:45,200 --> 00:45:47,680
Speaker 3: Okay, you ready to talk about the plot, let's do it.

858
00:45:48,160 --> 00:45:51,480
Speaker 3: So we open in silence with some text on the screen.

859
00:45:51,680 --> 00:45:55,000
Speaker 3: It is an entry from a reference text called the

860
00:45:55,120 --> 00:45:59,839
Speaker 3: Chillicothe Encyclopedia of Arcane Knowledge, first edition, eighteen eighty four.

861
00:46:00,600 --> 00:46:02,080
Speaker 3: And I looked this up to see if this is

862
00:46:02,080 --> 00:46:02,680
Speaker 3: a real book.

863
00:46:02,719 --> 00:46:07,200
Speaker 2: It is not, Oh really, because I mean, I have

864
00:46:07,200 --> 00:46:09,840
Speaker 2: a copyright here. I have it next to my Necronomicon,

865
00:46:10,560 --> 00:46:13,560
Speaker 2: my book of Forbidden Cults. No, but seriously, you're correct.

866
00:46:13,560 --> 00:46:16,920
Speaker 2: This is a one of the many fictional forbidden occult tomes.

867
00:46:17,880 --> 00:46:19,240
Speaker 2: I'm a sucker for any of these.

868
00:46:19,360 --> 00:46:21,680
Speaker 3: When you own a copy of a book that doesn't exist,

869
00:46:21,760 --> 00:46:25,640
Speaker 3: that's always a cause for concern. But yeah, so it's

870
00:46:25,680 --> 00:46:31,200
Speaker 3: like an it's framed like an encyclopedia entry. It says sleepwalker. Sleepwalker.

871
00:46:31,239 --> 00:46:35,719
Speaker 3: That is the entry noun nomadic shape shifting creatures with

872
00:46:35,840 --> 00:46:40,320
Speaker 3: human and feline origins, Vulnerable to the deadly scratch of

873
00:46:40,360 --> 00:46:43,960
Speaker 3: a cat. The sleepwalker feeds upon the life force of

874
00:46:44,040 --> 00:46:48,719
Speaker 3: virginal human female's probable source of the vampire legend, and

875
00:46:48,719 --> 00:46:53,279
Speaker 3: then it's got the Chilicoat citation and several things about

876
00:46:53,280 --> 00:46:55,799
Speaker 3: this I love. First of all, this is one of

877
00:46:55,800 --> 00:46:58,560
Speaker 3: my favorite things to do when you like invent new

878
00:46:58,640 --> 00:47:01,640
Speaker 3: lore for your movie, is you suggest that the lore

879
00:47:01,800 --> 00:47:06,200
Speaker 3: element you just created was the inspiration for familiar lore.

880
00:47:06,640 --> 00:47:09,080
Speaker 3: So it's like, Oh, they got the idea for vampires

881
00:47:09,120 --> 00:47:10,520
Speaker 3: from the thing I just made up.

882
00:47:10,920 --> 00:47:15,360
Speaker 2: Yes, here is the true occurrences that inspired Mary Shelley

883
00:47:15,360 --> 00:47:16,399
Speaker 2: to write Frankenstein.

884
00:47:16,640 --> 00:47:17,520
Speaker 4: Yeah.

885
00:47:17,560 --> 00:47:21,440
Speaker 3: I also love that they say sleepwalkers are of human

886
00:47:21,600 --> 00:47:25,960
Speaker 3: and feline origins, and that just confused me because the

887
00:47:26,040 --> 00:47:30,000
Speaker 3: movie makes it seem like sleepwalkers are supernatural in origin,

888
00:47:30,600 --> 00:47:31,960
Speaker 3: but human and feline.

889
00:47:32,280 --> 00:47:33,160
Speaker 4: Does that mean that's like.

890
00:47:33,120 --> 00:47:36,320
Speaker 3: The result of sexual reproduction between a human and a cat.

891
00:47:36,560 --> 00:47:37,239
Speaker 4: What does that mean?

892
00:47:37,480 --> 00:47:39,440
Speaker 2: Yeah, I don't think that. I don't think it works.

893
00:47:40,080 --> 00:47:44,440
Speaker 2: I'm casting doubt on this detail. We should also probably

894
00:47:44,480 --> 00:47:48,680
Speaker 2: acknowledge that these creatures are called sleepwalkers. There's nothing about

895
00:47:48,719 --> 00:47:52,680
Speaker 2: them that lines up with the human phenomena of sleepwalking

896
00:47:52,800 --> 00:47:55,799
Speaker 2: or any kind of parisomnia. In fact, sleep doesn't really

897
00:47:55,800 --> 00:47:57,960
Speaker 2: seem to factor into anything they do at all.

898
00:47:58,520 --> 00:48:01,279
Speaker 3: Yeah, has nothing to do with sleep. I don't know this.

899
00:48:01,360 --> 00:48:05,640
Speaker 3: I'm just guessing, but I really strong guess. It's just

900
00:48:05,840 --> 00:48:09,560
Speaker 3: that Stephen King was like thinking of the song sleepwalk

901
00:48:10,000 --> 00:48:14,040
Speaker 3: and was like, Oh, that's a cool word for a monster, sleepwalkers,

902
00:48:14,080 --> 00:48:17,200
Speaker 3: and just sort of pegged that on to the cat

903
00:48:17,400 --> 00:48:20,839
Speaker 3: the wear cats he was already thinking about. And there's

904
00:48:20,840 --> 00:48:22,640
Speaker 3: no connection, really, it just sounded.

905
00:48:22,320 --> 00:48:24,080
Speaker 2: Cool, fair enough, really cool.

906
00:48:24,400 --> 00:48:24,840
Speaker 4: Anyway.

907
00:48:24,840 --> 00:48:26,960
Speaker 3: There's an eerie silence while you get to read this

908
00:48:27,080 --> 00:48:30,280
Speaker 3: encyclopedia entry, and I hope you don't read too slow,

909
00:48:30,320 --> 00:48:33,759
Speaker 3: because there's a boo scare on the encyclopedia. It's like

910
00:48:33,800 --> 00:48:37,160
Speaker 3: a sudden cat scratch. There's a cat scratch that appears

911
00:48:37,400 --> 00:48:41,520
Speaker 3: like on the so called page on the screen, scratches

912
00:48:41,560 --> 00:48:43,760
Speaker 3: through the page and then the whole thing catches fire

913
00:48:43,800 --> 00:48:44,600
Speaker 3: and burns away.

914
00:48:45,080 --> 00:48:48,919
Speaker 2: This feels wonderfully extreme when it happens, but it makes

915
00:48:48,920 --> 00:48:50,120
Speaker 2: a lot more sense later on.

916
00:48:50,520 --> 00:48:51,160
Speaker 4: Yeah.

917
00:48:51,239 --> 00:48:55,400
Speaker 3: So the action opens at a seaside house in Bodega Bay, California.

918
00:48:55,440 --> 00:48:58,360
Speaker 3: This was the location used for Alfred Hitchcock's The Birds

919
00:48:59,000 --> 00:49:02,719
Speaker 3: and also was used in The Fog, popular popular place

920
00:49:02,760 --> 00:49:05,440
Speaker 3: to shoot movies on the on the West Coast. And

921
00:49:05,480 --> 00:49:09,000
Speaker 3: we pan from the beach up to a seaside house

922
00:49:09,480 --> 00:49:12,680
Speaker 3: while while a woman's voice hums this plaintive melody.

923
00:49:12,719 --> 00:49:12,959
Speaker 4: Again.

924
00:49:13,000 --> 00:49:14,600
Speaker 3: This is the part where I was like, wait, is

925
00:49:14,600 --> 00:49:17,799
Speaker 3: that Enya? Yes, it is Enya. And one of the

926
00:49:17,840 --> 00:49:22,480
Speaker 3: first characters we see is no joke, Luke Skywalker, dressed

927
00:49:22,480 --> 00:49:26,120
Speaker 3: as a cop with aviators and a porno mustache, and

928
00:49:26,160 --> 00:49:29,640
Speaker 3: he's got like he's got blonde, his blonde hair slicked back,

929
00:49:30,120 --> 00:49:32,920
Speaker 3: and with his hair slicked back that way and the

930
00:49:32,960 --> 00:49:35,360
Speaker 3: whole way he's done up. Mark Hamill is looking like

931
00:49:35,480 --> 00:49:37,960
Speaker 3: Jack's from Sons of Anarchy, isn't he?

932
00:49:38,040 --> 00:49:41,000
Speaker 2: Yeah? Yeah, I mean he looks great here. I did

933
00:49:41,120 --> 00:49:43,759
Speaker 2: not remember that he was in this. The character's name

934
00:49:43,800 --> 00:49:45,359
Speaker 2: is Sheriff Jenkins. By the way, I don't know if

935
00:49:45,360 --> 00:49:48,719
Speaker 2: they ever actually say it. He's got the name tag. Yeah,

936
00:49:48,719 --> 00:49:50,840
Speaker 2: but I like the vibe of this character. I was

937
00:49:50,920 --> 00:49:53,520
Speaker 2: kind of hoping he'd be our Loomis, you know. But

938
00:49:54,000 --> 00:49:55,040
Speaker 2: he doesn't pop up again.

939
00:49:55,200 --> 00:49:57,160
Speaker 3: You know, he's just in the prologue. It's a cameo.

940
00:49:57,600 --> 00:49:59,800
Speaker 3: And somehow when I saw this movie when I was

941
00:50:01,040 --> 00:50:04,040
Speaker 3: I never caught that this was Mark Hamill, even though

942
00:50:04,080 --> 00:50:06,520
Speaker 3: you get a perfectly good look at him. And I

943
00:50:06,560 --> 00:50:08,960
Speaker 3: was obsessed with Star Wars. I don't know how this

944
00:50:09,040 --> 00:50:09,759
Speaker 3: went past me.

945
00:50:11,120 --> 00:50:13,920
Speaker 2: There's a lot to distract you elsewhere in the picture,

946
00:50:14,000 --> 00:50:16,680
Speaker 2: so it's forgivable if you forget him by the end

947
00:50:16,680 --> 00:50:16,840
Speaker 2: of it.

948
00:50:17,120 --> 00:50:17,399
Speaker 4: I guess.

949
00:50:17,440 --> 00:50:17,520
Speaker 2: So.

950
00:50:17,600 --> 00:50:20,040
Speaker 3: The movie's energy is so weird. A lot of things

951
00:50:20,120 --> 00:50:23,640
Speaker 3: just don't even register. So Sheriff Mark Hamill and his

952
00:50:23,719 --> 00:50:27,359
Speaker 3: deputy walk around the house and it is revealed that

953
00:50:27,400 --> 00:50:31,760
Speaker 3: there are dead cats hanging around everywhere, and the deputy

954
00:50:31,840 --> 00:50:35,720
Speaker 3: is reading off a sheet. He says, Martha and Carl Brodie,

955
00:50:35,880 --> 00:50:39,120
Speaker 3: mother and son. No one's seen them since Tuesday. The

956
00:50:39,160 --> 00:50:42,680
Speaker 3: car is a transam blue with yellow pin striping, and

957
00:50:42,719 --> 00:50:46,360
Speaker 3: then he gives license details and stuff, and a neighbor

958
00:50:46,440 --> 00:50:49,640
Speaker 3: lady walks up and says, god, I hope nothing horrible

959
00:50:49,680 --> 00:50:53,400
Speaker 3: has happened to them. They were so close. Oh lady,

960
00:50:53,480 --> 00:50:58,360
Speaker 3: you have no idea. So the deputy says, what do

961
00:50:58,400 --> 00:51:01,720
Speaker 3: you think happened? And Mark Hamil says, I don't.

962
00:51:01,560 --> 00:51:03,799
Speaker 4: Know, but somebody sure doesn't like.

963
00:51:03,920 --> 00:51:07,360
Speaker 3: Cats, as he is walking through a forest of dead

964
00:51:07,440 --> 00:51:10,040
Speaker 3: cats hanging in the air. This is one of a

965
00:51:10,160 --> 00:51:14,839
Speaker 3: number of things in the movie where I can't quite tell.

966
00:51:14,920 --> 00:51:18,160
Speaker 3: I think it is being done deliberately for comedy purposes.

967
00:51:18,440 --> 00:51:22,520
Speaker 3: But where characters just say absurdly obvious things, like there

968
00:51:22,560 --> 00:51:25,279
Speaker 3: is one part where they're walking through this yard that

969
00:51:25,360 --> 00:51:27,200
Speaker 3: has like a hundred cats in it, and one of

970
00:51:27,239 --> 00:51:31,319
Speaker 3: the cops says, a lot of cats. So the two

971
00:51:31,400 --> 00:51:34,000
Speaker 3: cops go inside the house with flashlights. They find more

972
00:51:34,040 --> 00:51:36,360
Speaker 3: dead cats, a bunch of blood smeared on the walls

973
00:51:36,400 --> 00:51:39,720
Speaker 3: and stuff, and then the sound of a cat moaning

974
00:51:39,840 --> 00:51:44,520
Speaker 3: inside a closet. So they slowly approach the closet and

975
00:51:44,640 --> 00:51:48,480
Speaker 3: tension builds and Mark Hamill reaches out slowly toward the

976
00:51:48,520 --> 00:51:51,279
Speaker 3: doorknob and then throws open the door, and then there

977
00:51:51,360 --> 00:51:55,560
Speaker 3: is a cat jump scare. Something's a little wonky about

978
00:51:55,600 --> 00:51:58,160
Speaker 3: the build up and pay off here, like the cat

979
00:51:58,280 --> 00:52:00,799
Speaker 3: jump scare is one of the most familiar things in

980
00:52:00,840 --> 00:52:04,200
Speaker 3: horror cinema. You know, you open it, you're you're scared

981
00:52:04,239 --> 00:52:06,319
Speaker 3: of something, You hear a little rattling or you know

982
00:52:06,400 --> 00:52:08,800
Speaker 3: you and you open a door and a cat jumps

983
00:52:08,800 --> 00:52:11,920
Speaker 3: out right now, and that's your your fake out jump scare.

984
00:52:12,120 --> 00:52:14,680
Speaker 3: But is it still a cat jump scare in spirit?

985
00:52:14,920 --> 00:52:17,600
Speaker 3: If you're already thinking about cats and the scene is

986
00:52:17,640 --> 00:52:19,920
Speaker 3: full of cats and you hear a cat me owing

987
00:52:19,960 --> 00:52:21,240
Speaker 3: on the other side of the door.

988
00:52:21,760 --> 00:52:25,280
Speaker 2: That's true. That's true. Also, do cat jump scares occur

989
00:52:25,560 --> 00:52:29,040
Speaker 2: in the wild in real life. I've never encountered one. Generally,

990
00:52:29,120 --> 00:52:31,120
Speaker 2: I've found that if a cat is spooked, they're often

991
00:52:31,360 --> 00:52:34,400
Speaker 2: going to stay back there in that closet or wherever. Yeah,

992
00:52:34,440 --> 00:52:36,600
Speaker 2: and they're going to run about like this, only after

993
00:52:37,000 --> 00:52:38,600
Speaker 2: they have gone to the litter box.

994
00:52:38,719 --> 00:52:41,440
Speaker 3: I don't feel like cats end up inside a closed

995
00:52:41,480 --> 00:52:44,600
Speaker 3: closet all that often. They close the door behind them.

996
00:52:44,640 --> 00:52:46,880
Speaker 3: You would have to close the door on them by accident.

997
00:52:46,960 --> 00:52:49,160
Speaker 2: It happens all the time in my house because you

998
00:52:49,200 --> 00:52:51,839
Speaker 2: open a cabinet or something that's not open all the time.

999
00:52:51,920 --> 00:52:53,440
Speaker 2: The cat's like, it's my job to go in there

1000
00:52:53,440 --> 00:52:56,279
Speaker 2: and explore, and then they get shotsy okay. But then

1001
00:52:56,320 --> 00:52:58,279
Speaker 2: when you're open it, they just walk out. It's not

1002
00:52:58,400 --> 00:52:59,440
Speaker 2: much of a jump scare.

1003
00:52:59,719 --> 00:52:59,879
Speaker 4: Yeah.

1004
00:53:00,520 --> 00:53:03,360
Speaker 3: But then also okay, the cops find a body, human

1005
00:53:03,360 --> 00:53:04,759
Speaker 3: body in the house. It is the body of a

1006
00:53:04,760 --> 00:53:08,080
Speaker 3: teenage girl, except she is shriveled up and desiccated like

1007
00:53:08,160 --> 00:53:11,359
Speaker 3: a mummy. And then they like look behind her ear

1008
00:53:11,440 --> 00:53:13,720
Speaker 3: and there is a single there is a rose tucked

1009
00:53:13,760 --> 00:53:16,799
Speaker 3: behind her ear, and then Mark Hamill looks at the

1010
00:53:16,840 --> 00:53:20,359
Speaker 3: camera and says it's a rose. Once again, it's like

1011
00:53:20,719 --> 00:53:25,600
Speaker 3: they didn't like cats. After this, we get a credit

1012
00:53:25,680 --> 00:53:29,440
Speaker 3: sequence with some mystical strings playing over images of ancient

1013
00:53:29,480 --> 00:53:35,319
Speaker 3: Egyptian carvings and statuary with vaguely feline themes, and also

1014
00:53:35,680 --> 00:53:38,920
Speaker 3: rob Actually, I took some screenshots of the artworks we

1015
00:53:38,960 --> 00:53:40,840
Speaker 3: see in the credits here, and I wondered if you

1016
00:53:40,880 --> 00:53:42,200
Speaker 3: had comments on anything.

1017
00:53:42,640 --> 00:53:45,600
Speaker 2: Oh, I love it all. I had to watch this twice. Yeah,

1018
00:53:45,760 --> 00:53:48,880
Speaker 2: went back through. I think there's just a nice selection

1019
00:53:49,000 --> 00:53:53,040
Speaker 2: of images that were well put together here. I don't

1020
00:53:53,040 --> 00:53:54,960
Speaker 2: know to what extent there, These are all like one

1021
00:53:55,000 --> 00:53:58,160
Speaker 2: hundred percent original. There's one piece that may be a

1022
00:53:58,239 --> 00:54:02,400
Speaker 2: detail from an actual pre existing work where they've been augmented,

1023
00:54:03,080 --> 00:54:07,000
Speaker 2: but these do look and feel like pages from perhaps

1024
00:54:07,080 --> 00:54:09,120
Speaker 2: that occult text that we cited at the beginning.

1025
00:54:09,360 --> 00:54:10,400
Speaker 4: Yeah, yeah, possibly.

1026
00:54:10,480 --> 00:54:13,600
Speaker 3: So we see a scene that looks like it's from

1027
00:54:13,640 --> 00:54:17,719
Speaker 3: the Garden of Eden. It's like of a naked humanoid

1028
00:54:17,800 --> 00:54:21,520
Speaker 3: female but with a cat head and cat face breastfeeding

1029
00:54:21,520 --> 00:54:24,799
Speaker 3: a child, a human child, but the cat face is

1030
00:54:24,840 --> 00:54:28,400
Speaker 3: a little too cartoony looking. For the rest of the image,

1031
00:54:28,719 --> 00:54:31,439
Speaker 3: it's kind of a it's like, you know, Garfield here

1032
00:54:31,480 --> 00:54:34,480
Speaker 3: in the mythological context, not quite that bad, but it

1033
00:54:34,560 --> 00:54:36,600
Speaker 3: is sort of like that. And then there's what looks

1034
00:54:36,640 --> 00:54:41,880
Speaker 3: like a photograph of a human, just fully human, embracing

1035
00:54:42,040 --> 00:54:44,600
Speaker 3: a leopard body with a human head on the neck.

1036
00:54:45,400 --> 00:54:45,760
Speaker 2: Creepy.

1037
00:54:46,040 --> 00:54:48,439
Speaker 3: Yeah, they look like they're in love. And then there

1038
00:54:48,560 --> 00:54:51,400
Speaker 3: is I actually did a zoom in on there's a

1039
00:54:51,440 --> 00:54:53,640
Speaker 3: part where we see a book open and it's a

1040
00:54:53,640 --> 00:54:59,120
Speaker 3: book full of text, and the book contains an illustration

1041
00:54:59,239 --> 00:55:01,320
Speaker 3: of what it will look like later in the movie

1042
00:55:01,600 --> 00:55:04,640
Speaker 3: when the sleepwalker is sucking somebody's soul out through their mouth,

1043
00:55:04,680 --> 00:55:06,920
Speaker 3: where there's like, you know, purple magic coming out of

1044
00:55:06,920 --> 00:55:09,760
Speaker 3: their mouth into the sleepwalker's mouth. But also I zoomed

1045
00:55:09,760 --> 00:55:12,799
Speaker 3: in on the text here to see is this a

1046
00:55:12,880 --> 00:55:14,920
Speaker 3: real text, a real book that they just did a

1047
00:55:14,920 --> 00:55:17,600
Speaker 3: little edit on. No, I think they composed a fully

1048
00:55:17,640 --> 00:55:21,160
Speaker 3: original book for just this shot, because I couldn't find

1049
00:55:21,160 --> 00:55:23,319
Speaker 3: a match to the text anywhere, and it seems to

1050
00:55:23,320 --> 00:55:27,640
Speaker 3: be text about sleepwalkers. And also, like paragraph to paragraph,

1051
00:55:27,880 --> 00:55:30,640
Speaker 3: the text varies in whether it's trying to stay on

1052
00:55:30,719 --> 00:55:34,400
Speaker 3: task and look like a real occult encyclopedia or whether

1053
00:55:34,440 --> 00:55:36,840
Speaker 3: it just starts saying weird stuff, like one of the

1054
00:55:36,880 --> 00:55:39,520
Speaker 3: paragraphs when you zoom in says so I said to

1055
00:55:39,560 --> 00:55:42,040
Speaker 3: Juan Itita, I don't think I've ever seen anything like

1056
00:55:42,080 --> 00:55:42,680
Speaker 3: this before.

1057
00:55:42,719 --> 00:55:43,319
Speaker 4: It's a cat.

1058
00:55:45,760 --> 00:55:49,560
Speaker 2: Well, it's still the presentation is good as long as

1059
00:55:49,600 --> 00:55:52,799
Speaker 2: you don't pause and zoom in, right, But I've been

1060
00:55:52,840 --> 00:55:55,640
Speaker 2: I love all this because it couches this idea of

1061
00:55:55,640 --> 00:56:01,759
Speaker 2: the sleepwalkers in human myth in his in a sense

1062
00:56:01,760 --> 00:56:04,240
Speaker 2: that sets the tone nicely. And it is worth pointing

1063
00:56:04,239 --> 00:56:07,239
Speaker 2: out that even the sleepwalkers as they're presented here are

1064
00:56:07,600 --> 00:56:12,280
Speaker 2: entirely a Stephen King creation. Cat human hybrids are very

1065
00:56:12,360 --> 00:56:16,240
Speaker 2: ancient and some of the oldest creations of human culture,

1066
00:56:16,560 --> 00:56:19,839
Speaker 2: and we can point to various examples from pretty much

1067
00:56:19,840 --> 00:56:24,920
Speaker 2: anywhere where humans and cats have coexisted. There may ultimately

1068
00:56:25,080 --> 00:56:30,680
Speaker 2: multimately be more feline cat hybrids in global mythology than

1069
00:56:30,719 --> 00:56:35,319
Speaker 2: there are canine or wolf human hybrids and human mythology.

1070
00:56:35,560 --> 00:56:40,400
Speaker 3: Have we somehow never done an October episode about wear

1071
00:56:40,440 --> 00:56:43,400
Speaker 3: cats or cat human monsters. I don't recall one.

1072
00:56:43,960 --> 00:56:46,520
Speaker 2: We should. There's plenty to talk about. You know, anywhere

1073
00:56:46,560 --> 00:56:51,800
Speaker 2: tigers have ranged or lions have ranged historically, you have myths.

1074
00:56:52,000 --> 00:56:54,560
Speaker 3: Anyway, after the credits, we come back in on a

1075
00:56:54,560 --> 00:56:57,680
Speaker 3: shot of a blue, two story house surrounded by trees,

1076
00:56:57,760 --> 00:57:00,440
Speaker 3: with an overgrown front yard and a white picket fence,

1077
00:57:01,239 --> 00:57:03,719
Speaker 3: and I just want to frame. I noticed early on

1078
00:57:03,800 --> 00:57:07,719
Speaker 3: the white picket fence the pickets. I think that's what

1079
00:57:07,760 --> 00:57:10,719
Speaker 3: they're called, the boards the picket fence. The pickets are

1080
00:57:10,960 --> 00:57:13,400
Speaker 3: very sharp on the top, and I was like, somebody's

1081
00:57:13,440 --> 00:57:14,400
Speaker 3: gonna get stabbed on that.

1082
00:57:14,520 --> 00:57:18,120
Speaker 2: And I was right, yep, somebody's gonna get Mortal Kombat

1083
00:57:18,120 --> 00:57:18,840
Speaker 2: for sure.

1084
00:57:18,760 --> 00:57:19,320
Speaker 4: That's right.

1085
00:57:20,360 --> 00:57:24,040
Speaker 3: And a text legend tells us that this is Travis, Indiana.

1086
00:57:25,440 --> 00:57:28,480
Speaker 3: So we're about to meet our sleepwalkers. Outside the house,

1087
00:57:28,520 --> 00:57:31,080
Speaker 3: there is a blue trans am parked in the driveway,

1088
00:57:31,480 --> 00:57:34,120
Speaker 3: so I think we know our missing mother and son

1089
00:57:34,160 --> 00:57:37,480
Speaker 3: are here from the prologue. And inside the house, somebody

1090
00:57:37,520 --> 00:57:40,080
Speaker 3: is listening to a record. It is again the Santo

1091
00:57:40,160 --> 00:57:43,160
Speaker 3: and Johnny song sleepwalk Now, is this a good place

1092
00:57:43,200 --> 00:57:46,880
Speaker 3: to talk about the record player? Because before we recorded

1093
00:57:46,880 --> 00:57:49,520
Speaker 3: this we really went down a rabbit hole being like,

1094
00:57:49,560 --> 00:57:51,840
Speaker 3: what is this thing? It seems like they have a

1095
00:57:52,000 --> 00:57:56,000
Speaker 3: record player that looks like it only plays seven inch

1096
00:57:56,160 --> 00:57:59,520
Speaker 3: vinyl singles, and I didn't even know that was really

1097
00:57:59,520 --> 00:58:02,360
Speaker 3: a thing. You would have a player that like can't

1098
00:58:02,400 --> 00:58:05,000
Speaker 3: fit a thirty three and a third record.

1099
00:58:05,440 --> 00:58:09,000
Speaker 2: Yeah, this is not something i'd seen anywhere else before.

1100
00:58:09,320 --> 00:58:12,200
Speaker 2: Like friends that that I have that are Vinyl enthusiasts,

1101
00:58:12,240 --> 00:58:14,960
Speaker 2: they don't have one of these. And I'm not really

1102
00:58:15,040 --> 00:58:17,080
Speaker 2: I don't really know much about records, but I know

1103
00:58:17,160 --> 00:58:18,760
Speaker 2: that this is a forty five. I know this is

1104
00:58:18,760 --> 00:58:22,960
Speaker 2: a single, and this thing seems designed to only play singles,

1105
00:58:23,120 --> 00:58:25,160
Speaker 2: and so yeah, we were talking about this like that,

1106
00:58:25,240 --> 00:58:29,240
Speaker 2: Why was this, mate? What is the sense of it?

1107
00:58:29,280 --> 00:58:32,640
Speaker 3: To quote Santa Claus. Yeah, well I didn't know either.

1108
00:58:32,920 --> 00:58:36,040
Speaker 3: I listened to records. I have a record collection, though

1109
00:58:36,080 --> 00:58:38,080
Speaker 3: I would not call myself a record collector. I just

1110
00:58:38,160 --> 00:58:40,480
Speaker 3: like I'm a music fan and have records that I like.

1111
00:58:41,360 --> 00:58:44,280
Speaker 3: So I pretty much only listened to full size albums

1112
00:58:44,320 --> 00:58:48,000
Speaker 3: to thirty threes and so, yeah, I did not understand

1113
00:58:48,080 --> 00:58:50,080
Speaker 3: what this device was for. But I guess at some

1114
00:58:50,160 --> 00:58:53,920
Speaker 3: point somebody wanted a record player that only played singles.

1115
00:58:54,760 --> 00:58:59,200
Speaker 2: Yeah. Yeah, JJ chimed in and had some good theories,

1116
00:58:59,320 --> 00:59:01,880
Speaker 2: which I think is sly arrived at the truth. But

1117
00:59:01,960 --> 00:59:05,280
Speaker 2: I also reached out to our friend and former producer

1118
00:59:05,360 --> 00:59:08,800
Speaker 2: Seth Nicholas Johnson about this, because, of course, Seth, you

1119
00:59:09,000 --> 00:59:12,240
Speaker 2: might remember from past appearances on the show, Big Record

1120
00:59:12,240 --> 00:59:15,440
Speaker 2: Guy knows tons about the ins and outs of records

1121
00:59:15,480 --> 00:59:20,360
Speaker 2: and how they work, and some record curios and so forth.

1122
00:59:20,680 --> 00:59:23,320
Speaker 2: He makes records, He makes the technical side. Yeah, he

1123
00:59:23,400 --> 00:59:27,400
Speaker 2: is a true record wizard, a vinyl wizard, if you will.

1124
00:59:27,760 --> 00:59:30,520
Speaker 2: And so we reached out to him and said, Seth,

1125
00:59:30,600 --> 00:59:33,280
Speaker 2: help us out what's going on here, and I want

1126
00:59:33,280 --> 00:59:36,560
Speaker 2: to read what he wrote back to us. Seth writes, quote,

1127
00:59:36,600 --> 00:59:39,240
Speaker 2: I'm going to make a strange equivalency, but it's true.

1128
00:59:39,360 --> 00:59:42,040
Speaker 2: In today's modern world, there are many people whose entire

1129
00:59:42,120 --> 00:59:46,240
Speaker 2: music experience is listening to singles on Spotify. This person

1130
00:59:46,320 --> 00:59:49,600
Speaker 2: has never once considered listening to a full album. This

1131
00:59:49,640 --> 00:59:53,120
Speaker 2: person existed in the nineteen fifties too. Their Spotify was

1132
00:59:53,120 --> 00:59:57,120
Speaker 2: a jukebox. The jukebox trained these listeners that the forty

1133
00:59:57,120 --> 01:00:01,240
Speaker 2: five rpm record was the only kind of record that mattered.

1134
01:00:01,720 --> 01:00:04,120
Speaker 2: Who has the time for a twelve inch record? Not

1135
01:00:04,240 --> 01:00:07,640
Speaker 2: these teeny boppers. This kind of record player, in many ways,

1136
01:00:07,880 --> 01:00:11,000
Speaker 2: was the at home version of a jukebox. It can't

1137
01:00:11,000 --> 01:00:13,720
Speaker 2: play a twelve inch record because why would you ever

1138
01:00:13,840 --> 01:00:15,200
Speaker 2: buy a twelve inch record?

1139
01:00:15,480 --> 01:00:17,400
Speaker 3: Oh okay, this kind of makes sense to me, And

1140
01:00:17,440 --> 01:00:20,440
Speaker 3: this is the opposite of one of the hypotheses I had.

1141
01:00:20,560 --> 01:00:23,840
Speaker 3: I was like, is this for like the super purest

1142
01:00:23,920 --> 01:00:26,880
Speaker 3: record collector who's like, oh, you still listen to albums

1143
01:00:26,920 --> 01:00:32,440
Speaker 3: I only collect you know, rare singles from the fifties. No,

1144
01:00:32,560 --> 01:00:35,320
Speaker 3: it sounds like Seth's idea is that. Maybe it's the opposite.

1145
01:00:35,320 --> 01:00:37,520
Speaker 3: It's more for the kind of casual listener who's not

1146
01:00:37,680 --> 01:00:40,600
Speaker 3: into full albums. They just like singles that they're familiar

1147
01:00:40,680 --> 01:00:42,600
Speaker 3: with from you know, the radio or the jukebox.

1148
01:00:42,920 --> 01:00:44,840
Speaker 2: Yeah. Yeah, we were looking around and you can you

1149
01:00:44,840 --> 01:00:47,560
Speaker 2: can buy these things used. Of course, they're asking as

1150
01:00:48,000 --> 01:00:50,920
Speaker 2: astronomical prices for him these days, but I'm to assume

1151
01:00:50,960 --> 01:00:53,800
Speaker 2: they were probably rather inexpensive back in the day compared

1152
01:00:53,800 --> 01:00:56,000
Speaker 2: to other record player options.

1153
01:00:56,560 --> 01:01:00,520
Speaker 3: Anyway, in this scene, we first meet our younger Sleepwalker

1154
01:01:00,640 --> 01:01:04,160
Speaker 3: played by Brian Krause. Charles Brody is his pseudonym in

1155
01:01:04,200 --> 01:01:07,760
Speaker 3: the current setting in Indiana, though I don't recall if

1156
01:01:07,800 --> 01:01:10,520
Speaker 3: we ever learn what their real names are, if they

1157
01:01:10,600 --> 01:01:13,720
Speaker 3: even have real names, because remember that we learned in

1158
01:01:13,720 --> 01:01:16,880
Speaker 3: the prologue they're using different names in California, so who knows.

1159
01:01:17,520 --> 01:01:22,080
Speaker 3: When we first meet Charles, he is shirtless, listening to Sleepwalk,

1160
01:01:22,280 --> 01:01:25,320
Speaker 3: sitting there in acid wash jeans with a belt, looking

1161
01:01:25,360 --> 01:01:28,240
Speaker 3: through a high school yearbook. I guess this is the

1162
01:01:28,320 --> 01:01:30,640
Speaker 3: high school where he is now undercover as a student,

1163
01:01:30,960 --> 01:01:33,360
Speaker 3: and he's just playing with a pocket knife. He takes

1164
01:01:33,400 --> 01:01:36,560
Speaker 3: a moment to carve the letter T into his arm,

1165
01:01:37,080 --> 01:01:39,280
Speaker 3: and then we cut down to the yearbook to see

1166
01:01:39,280 --> 01:01:43,560
Speaker 3: a picture of our human protagonist, Tanya Robertson. Presumably that's

1167
01:01:43,600 --> 01:01:46,200
Speaker 3: what the tea is for Tanya. And he even he

1168
01:01:46,320 --> 01:01:51,160
Speaker 3: drew a heart with an arrow through it around her picture, which, okay,

1169
01:01:51,880 --> 01:01:54,240
Speaker 3: how did he get the yearbook already? Like he just

1170
01:01:54,360 --> 01:01:57,760
Speaker 3: moved there and he's already got a yearbook? Is it

1171
01:01:57,800 --> 01:01:59,760
Speaker 3: maybe from the year before? I don't know.

1172
01:01:59,760 --> 01:02:02,080
Speaker 2: Maybe this is how they select talents. They just get

1173
01:02:02,160 --> 01:02:04,040
Speaker 2: the finished to get a hold of the yearbooks, and

1174
01:02:04,080 --> 01:02:05,480
Speaker 2: you know, they treat them like a menu.

1175
01:02:05,800 --> 01:02:07,760
Speaker 3: Yeah, Tanya's in a lot of clubs, by the way,

1176
01:02:07,920 --> 01:02:12,440
Speaker 3: she's National Merit Scholar, Science Fair, Photography club president, a

1177
01:02:12,480 --> 01:02:14,640
Speaker 3: lot of stuff. But also there's a little easter egg.

1178
01:02:14,960 --> 01:02:17,720
Speaker 3: If you look at a screenshot of the yearbook. You

1179
01:02:17,760 --> 01:02:20,200
Speaker 3: can see from the student next to her that the

1180
01:02:20,240 --> 01:02:22,760
Speaker 3: high school teams in Travis are the hell Cats.

1181
01:02:23,360 --> 01:02:24,440
Speaker 2: Oh nice.

1182
01:02:25,360 --> 01:02:28,520
Speaker 3: In the scene, we also meet Charles's mother, Mary, played

1183
01:02:28,520 --> 01:02:31,360
Speaker 3: by Alice Kriega. She is busy looking out the window

1184
01:02:31,480 --> 01:02:35,600
Speaker 3: with deep concern. She is watching a stray cat prowl

1185
01:02:35,640 --> 01:02:38,680
Speaker 3: around in the yard and the cat almost gets caught

1186
01:02:38,720 --> 01:02:42,240
Speaker 3: in a steel trap that they've set out and baited

1187
01:02:42,320 --> 01:02:45,360
Speaker 3: with some blob of meat. So their yard is just

1188
01:02:45,520 --> 01:02:49,320
Speaker 3: full of animal traps like the you know, the bear

1189
01:02:49,400 --> 01:02:50,480
Speaker 3: traps style.

1190
01:02:51,160 --> 01:02:52,520
Speaker 4: But the cat does not get caught.

1191
01:02:52,640 --> 01:02:56,280
Speaker 3: It gets away this time, and Mary is obviously distressed

1192
01:02:56,400 --> 01:03:00,400
Speaker 3: by the presence of a cat. This establishes the idea

1193
01:03:00,480 --> 01:03:05,600
Speaker 3: that everywhere the Sleepwalkers go their house is gradually surrounded

1194
01:03:05,640 --> 01:03:08,320
Speaker 3: by a sort of posse of stray cats that are

1195
01:03:08,400 --> 01:03:09,000
Speaker 3: hunting them.

1196
01:03:09,480 --> 01:03:11,320
Speaker 2: Now, at this point in the film, we don't know

1197
01:03:11,400 --> 01:03:14,280
Speaker 2: all of this yet. You could even maybe just suppose

1198
01:03:14,360 --> 01:03:18,400
Speaker 2: that she has some sort of phobia of cats or something,

1199
01:03:18,600 --> 01:03:21,000
Speaker 2: But yeah, this seems to be the case. Wherever they go,

1200
01:03:21,920 --> 01:03:25,680
Speaker 2: cats will accumulate until they build up enough critical mass

1201
01:03:26,040 --> 01:03:30,120
Speaker 2: to assault the Sleepwalkers and overcome them. You know, cats

1202
01:03:30,160 --> 01:03:35,320
Speaker 2: are wise and ancient sentinels against the darkness and will

1203
01:03:35,320 --> 01:03:39,040
Speaker 2: dispatch supernatural creatures that are their sworn enemies. This is

1204
01:03:39,040 --> 01:03:41,840
Speaker 2: something we see in various weird fiction works, and I'm

1205
01:03:41,840 --> 01:03:45,800
Speaker 2: sure the idea that's its roots ultimately and very ancient traditions,

1206
01:03:45,840 --> 01:03:50,240
Speaker 2: you know, because cats are weird. They are allies, but

1207
01:03:50,320 --> 01:03:52,960
Speaker 2: they're also up to their own business, and their own

1208
01:03:52,960 --> 01:03:54,960
Speaker 2: business might include slaying monsters.

1209
01:03:55,600 --> 01:03:57,640
Speaker 3: Now, there are a lot of themes in this movie

1210
01:03:57,680 --> 01:04:00,520
Speaker 3: where you could argue about how good it was for

1211
01:04:00,600 --> 01:04:03,240
Speaker 3: the story, or people can raise their eyebrows at I

1212
01:04:03,280 --> 01:04:06,200
Speaker 3: think it is a pretty objectively cool premise to have

1213
01:04:06,360 --> 01:04:09,040
Speaker 3: monsters where one of their core features is that they

1214
01:04:09,040 --> 01:04:14,640
Speaker 3: are pursued by stray cats. Just cats gather from all around.

1215
01:04:14,280 --> 01:04:15,440
Speaker 4: To hunt them.

1216
01:04:15,840 --> 01:04:16,840
Speaker 2: Yeah, I like it.

1217
01:04:16,880 --> 01:04:20,280
Speaker 3: But also though, speaking of weird themes, in this scene already,

1218
01:04:20,280 --> 01:04:24,000
Speaker 3: the movie starts cranking up the weirdness really fast into

1219
01:04:24,040 --> 01:04:28,080
Speaker 3: the edipal cat sex zone. Charles and Mary start dancing

1220
01:04:28,120 --> 01:04:31,040
Speaker 3: around to the song. They're doing twirls and dips, and

1221
01:04:31,120 --> 01:04:33,360
Speaker 3: they start talking about how Charles plans to go to

1222
01:04:33,400 --> 01:04:36,200
Speaker 3: the movies tonight because he is hoping to meet a

1223
01:04:36,200 --> 01:04:37,520
Speaker 3: particular girl in town.

1224
01:04:37,600 --> 01:04:38,360
Speaker 4: This is Tanya.

1225
01:04:38,760 --> 01:04:42,760
Speaker 3: Mary keeps asking is she nice, meaning like, can we

1226
01:04:42,800 --> 01:04:46,600
Speaker 3: steal her soul? And they banter a bit and he

1227
01:04:46,720 --> 01:04:50,120
Speaker 3: starts asking his mother, are you jealous? And she says concerned,

1228
01:04:50,640 --> 01:04:52,760
Speaker 3: And by the end of the scene they are kissing

1229
01:04:52,840 --> 01:04:55,360
Speaker 3: and running up to the bedroom and then we cut

1230
01:04:55,400 --> 01:04:57,760
Speaker 3: to a shot from outside the house and there is

1231
01:04:58,040 --> 01:05:02,080
Speaker 3: neon violet light pulse sing from the bedroom window. Well,

1232
01:05:02,120 --> 01:05:04,480
Speaker 3: a cat looks on from the front yard. Is this

1233
01:05:04,520 --> 01:05:05,640
Speaker 3: weird enough for you, folks?

1234
01:05:06,760 --> 01:05:10,840
Speaker 2: The cat is like Sleepwalker's confirmed. Please please alert the

1235
01:05:10,880 --> 01:05:14,600
Speaker 2: others with the assault begins in five days. But yes,

1236
01:05:14,680 --> 01:05:17,560
Speaker 2: this is so weird and like in you know, intentionally

1237
01:05:17,560 --> 01:05:22,600
Speaker 2: off putting obviously, you know, engaging in taboos, but also

1238
01:05:22,680 --> 01:05:25,720
Speaker 2: just very weird for a mainstream even a mainstream horror

1239
01:05:25,760 --> 01:05:28,880
Speaker 2: picture that was like the number one picture, like the

1240
01:05:28,880 --> 01:05:29,880
Speaker 2: week it came out.

1241
01:05:29,800 --> 01:05:32,320
Speaker 3: Like oh really, oh if you already said that, it

1242
01:05:32,560 --> 01:05:35,080
Speaker 3: went by me. I didn't realize it had been that successful.

1243
01:05:35,520 --> 01:05:37,680
Speaker 2: Yeah, yeah, I mean it was. You know, I don't

1244
01:05:37,680 --> 01:05:39,400
Speaker 2: think it was like one of the top blockbusters of

1245
01:05:39,400 --> 01:05:41,640
Speaker 2: the year or anything, but it was a successful picture.

1246
01:05:41,960 --> 01:05:44,440
Speaker 3: So next we go to the movie theater to meet Tanya,

1247
01:05:44,640 --> 01:05:47,320
Speaker 3: and you can see on the Marquee they're playing two movies.

1248
01:05:47,320 --> 01:05:49,720
Speaker 3: One is called They Bite and the other is called

1249
01:05:49,800 --> 01:05:52,640
Speaker 3: Scream Dreams. I feel like you could have worked on

1250
01:05:52,760 --> 01:05:54,680
Speaker 3: some more creative, funny titles there.

1251
01:05:54,920 --> 01:05:56,560
Speaker 2: I don't know. I like They Bite. Like I was

1252
01:05:56,560 --> 01:05:58,160
Speaker 2: trying to figure out what is it about. You think

1253
01:05:58,160 --> 01:06:03,320
Speaker 2: it's about ticks, about bed bugs. I don't know. Something bites,

1254
01:06:03,440 --> 01:06:06,520
Speaker 2: or maybe it's something that's not supposed to bite, like shoes.

1255
01:06:07,160 --> 01:06:11,560
Speaker 3: Maybe it's about computers with a b iy kind.

1256
01:06:11,360 --> 01:06:15,160
Speaker 2: Of and they actually bite, like dis drive floppy drives

1257
01:06:15,200 --> 01:06:17,120
Speaker 2: could come after you little mounds. Yeah.

1258
01:06:17,280 --> 01:06:21,520
Speaker 3: Yeah, So Tanya works at the concession stand in the lobby,

1259
01:06:22,080 --> 01:06:24,400
Speaker 3: and when we first catch up with her, she's vacuuming

1260
01:06:24,440 --> 01:06:27,280
Speaker 3: the carpet and she's rocking out to Do You Love

1261
01:06:27,320 --> 01:06:30,400
Speaker 3: Me by the contours on her headphones. And you know,

1262
01:06:30,960 --> 01:06:33,640
Speaker 3: this made me realize I am just a sucker for

1263
01:06:33,720 --> 01:06:38,200
Speaker 3: a scene where a character who thinks they're alone dances

1264
01:06:38,240 --> 01:06:41,720
Speaker 3: to music in their headphones. There's a great scene, I guess,

1265
01:06:41,800 --> 01:06:44,280
Speaker 3: especially in a horror movie. There's a great scene of

1266
01:06:44,280 --> 01:06:46,600
Speaker 3: this in the two thousand and nine Thy West movie

1267
01:06:46,640 --> 01:06:49,760
Speaker 3: House of the Devil, where the main character dances around

1268
01:06:49,760 --> 01:06:52,440
Speaker 3: a cursed house. Listening to one thing leads to another

1269
01:06:52,480 --> 01:06:55,400
Speaker 3: by the fix on her Walkman, I don't know why,

1270
01:06:55,400 --> 01:06:59,240
Speaker 3: I just I love these scenes. I mean, I guess

1271
01:06:59,240 --> 01:07:05,320
Speaker 3: particularly horror because it like it makes a character endearing

1272
01:07:05,440 --> 01:07:08,640
Speaker 3: to get to witness them having joy, but the fact

1273
01:07:08,680 --> 01:07:12,400
Speaker 3: that they're listening with the headphones on makes them vulnerable

1274
01:07:12,440 --> 01:07:15,280
Speaker 3: in a way because they're not aware of their environment.

1275
01:07:15,600 --> 01:07:17,520
Speaker 3: So at the same time you get to see them

1276
01:07:17,720 --> 01:07:21,520
Speaker 3: happy and care free, but also in a kind of

1277
01:07:21,600 --> 01:07:23,000
Speaker 3: danger they're unaware of.

1278
01:07:23,880 --> 01:07:26,320
Speaker 2: Yeah. Yeah, that's a good point. On top of just

1279
01:07:26,400 --> 01:07:29,680
Speaker 2: you know, music being a great way to establish something

1280
01:07:29,720 --> 01:07:32,240
Speaker 2: that your character likes in a way that's wordless, like

1281
01:07:32,400 --> 01:07:34,360
Speaker 2: here's the music they like. Now you get it, right,

1282
01:07:34,400 --> 01:07:37,000
Speaker 2: We don't even have to describe it to you. Yeah.

1283
01:07:37,000 --> 01:07:40,440
Speaker 3: And as we've mentioned already, Tanya is I think a

1284
01:07:40,680 --> 01:07:44,560
Speaker 3: very easily likable protagonist. Like it's hard to be on

1285
01:07:44,600 --> 01:07:47,920
Speaker 3: the monster side against Tanya, right, But anyway, while she's

1286
01:07:48,000 --> 01:07:50,520
Speaker 3: dancing to the contour, she bumps into Charles in the

1287
01:07:50,560 --> 01:07:53,400
Speaker 3: lobby and she gets a good scare. She like leaps

1288
01:07:53,440 --> 01:07:55,720
Speaker 3: back into a popcorn stand which has a bunch of

1289
01:07:55,800 --> 01:07:58,919
Speaker 3: loose boxes of popcorn stored on top, and they still all.

1290
01:07:58,840 --> 01:07:59,360
Speaker 4: Over the place.

1291
01:07:59,400 --> 01:08:02,080
Speaker 3: You got popcorn, hair, Why would you store the popcorn

1292
01:08:02,120 --> 01:08:02,439
Speaker 3: that way?

1293
01:08:02,520 --> 01:08:05,080
Speaker 2: Yeah, they should go in the bot right, there should

1294
01:08:05,080 --> 01:08:06,600
Speaker 2: be a place to store them in there so they're warm,

1295
01:08:06,600 --> 01:08:06,840
Speaker 2: That's what.

1296
01:08:06,840 --> 01:08:10,280
Speaker 3: Yeah, you would think so, But of course it's a

1297
01:08:10,320 --> 01:08:13,360
Speaker 3: meet cute. Charles is again a like one hundred watts

1298
01:08:13,400 --> 01:08:14,000
Speaker 3: super hunk.

1299
01:08:14,560 --> 01:08:15,440
Speaker 4: So Tanya is.

1300
01:08:15,400 --> 01:08:19,559
Speaker 3: Immediately smitten and she's very flustered, and he introduces himself.

1301
01:08:19,680 --> 01:08:21,800
Speaker 3: They talk about how he's new in town and how

1302
01:08:21,840 --> 01:08:25,479
Speaker 3: they have a creative writing class together at school. He says,

1303
01:08:25,840 --> 01:08:30,000
Speaker 3: with mister Fallows, the weird and the terrible, And this

1304
01:08:30,120 --> 01:08:31,760
Speaker 3: made me think I would like to draw up a

1305
01:08:31,840 --> 01:08:36,200
Speaker 3: list of Stephen King's stories where he inserts the character

1306
01:08:36,479 --> 01:08:40,840
Speaker 3: of a bizarre and sometimes evil creative writing teacher who

1307
01:08:40,880 --> 01:08:43,760
Speaker 3: is obsessed with the macabre, like, ah, yes, you know

1308
01:08:43,880 --> 01:08:48,599
Speaker 3: our fourth period writing workshop with Professor Freevan Fring. And

1309
01:08:49,640 --> 01:08:51,760
Speaker 3: I can't think of other examples right now, but I

1310
01:08:51,800 --> 01:08:54,280
Speaker 3: have a sense that he does this often, and it's

1311
01:08:54,800 --> 01:08:58,799
Speaker 3: kind of the opposite of the standard narcissistic author avatar

1312
01:08:58,840 --> 01:09:02,000
Speaker 3: who can do no wrong. Instead, it's like the author

1313
01:09:02,040 --> 01:09:05,960
Speaker 3: avatar here is somebody who's really creepy and loathsome hmmm.

1314
01:09:06,320 --> 01:09:08,880
Speaker 2: I'd have to go back and think about that. I mean,

1315
01:09:08,880 --> 01:09:12,760
Speaker 2: obviously there are a lot of author protagonists in his

1316
01:09:12,880 --> 01:09:14,880
Speaker 2: novels as well, but that's true.

1317
01:09:15,200 --> 01:09:18,120
Speaker 3: I guess the Shining Yeah, creative writing professor and author

1318
01:09:18,120 --> 01:09:18,920
Speaker 3: protagonist too.

1319
01:09:19,000 --> 01:09:22,160
Speaker 2: Yeah, but generally, you know, the Shining being an extreme

1320
01:09:22,200 --> 01:09:26,240
Speaker 2: example of this. They are off, they're often far from perfect. Ye, there,

1321
01:09:26,320 --> 01:09:29,400
Speaker 2: they're more they're ultimately kind of like the Stephen King

1322
01:09:29,479 --> 01:09:33,280
Speaker 2: idea of a working class best selling author. Yeah, yes,

1323
01:09:33,439 --> 01:09:35,519
Speaker 2: which is kind of like that's King's image, Like that's

1324
01:09:35,560 --> 01:09:38,960
Speaker 2: what you kind of think of, is like like liberal,

1325
01:09:39,000 --> 01:09:44,000
Speaker 2: working man, best selling author. Yeah, and professional weirdo. Oh.

1326
01:09:44,040 --> 01:09:47,599
Speaker 3: Also, the protagonist in Salem's Lot is an author, that's right.

1327
01:09:47,920 --> 01:09:49,679
Speaker 3: I don't think he's a creative writing teacher though.

1328
01:09:50,160 --> 01:09:52,559
Speaker 2: Yeah. But then you know, like the Dark Half, that's

1329
01:09:52,600 --> 01:09:56,599
Speaker 2: another author. One of the kids in it. Sorry I'm

1330
01:09:56,600 --> 01:10:00,720
Speaker 2: blinking on all their names. One of them is an author. Yeah,

1331
01:10:00,720 --> 01:10:01,519
Speaker 2: over and over again.

1332
01:10:01,800 --> 01:10:04,640
Speaker 3: Anyway, Charles, here, he tries to buy a popcorn and

1333
01:10:04,680 --> 01:10:09,000
Speaker 3: a medium mister pib but Tanya Tanya like, so he

1334
01:10:09,040 --> 01:10:10,639
Speaker 3: asked for it to put some money on the counter,

1335
01:10:10,680 --> 01:10:12,800
Speaker 3: and then Tanya like looks around and she gives it

1336
01:10:12,840 --> 01:10:17,160
Speaker 3: to him on the house. Oh she's a lawbreaker, and

1337
01:10:17,920 --> 01:10:22,839
Speaker 3: theater owners watch out, don't hire Tanya. But Charles claims

1338
01:10:22,840 --> 01:10:26,120
Speaker 3: to have just moved to town from a different place

1339
01:10:26,160 --> 01:10:30,759
Speaker 3: called Paradise Falls, Ohio. And while I know you cannot

1340
01:10:30,840 --> 01:10:33,639
Speaker 3: actually tell what state a person is from by looking

1341
01:10:33,680 --> 01:10:37,000
Speaker 3: at them, Charles is not from Ohio. Do they have

1342
01:10:37,160 --> 01:10:41,040
Speaker 3: surfing in Ohio? Like you've never seen somebody who looks

1343
01:10:41,280 --> 01:10:44,200
Speaker 3: as much like a Beach Boys song as Brian Krause.

1344
01:10:46,120 --> 01:10:48,360
Speaker 3: But anyway, they so they have a conversation. They flirt,

1345
01:10:48,400 --> 01:10:52,759
Speaker 3: and Tanya is not being subtle. She's like, Oh, where's

1346
01:10:52,800 --> 01:10:55,120
Speaker 3: your girlfriend? Do you have a girlfriend? Isn't it weird

1347
01:10:55,120 --> 01:10:57,160
Speaker 3: that we're both twenty five but still in high school?

1348
01:10:57,720 --> 01:11:00,760
Speaker 3: And he he offers her a ride home, but she

1349
01:11:00,840 --> 01:11:03,960
Speaker 3: does not accept, and she says like, oh, I'm getting

1350
01:11:03,960 --> 01:11:07,559
Speaker 3: a ride home with Lyman Ward. And also I noticed

1351
01:11:07,800 --> 01:11:10,360
Speaker 3: this weird framing where like, while they're flirting at the

1352
01:11:10,400 --> 01:11:14,879
Speaker 3: concession stand, there is a huge multicolored sign behind Tanya's head.

1353
01:11:14,640 --> 01:11:16,280
Speaker 4: That says slush.

1354
01:11:16,960 --> 01:11:19,439
Speaker 3: I don't know that's to suggest her her heart is

1355
01:11:19,479 --> 01:11:25,320
Speaker 3: melting like a slushy. But anyway, after the movie, Tanya's

1356
01:11:25,360 --> 01:11:27,639
Speaker 3: dad picks her up, and then we see Charles watching

1357
01:11:27,680 --> 01:11:31,080
Speaker 3: from the shadows outside the theater and he's muttering Tanya,

1358
01:11:31,400 --> 01:11:34,040
Speaker 3: and the Enya starts playing again and the mood gets

1359
01:11:34,160 --> 01:11:38,360
Speaker 3: very dark, but then it gets weirdly funny again because

1360
01:11:38,400 --> 01:11:41,240
Speaker 3: Charles walks back home. He's walking up the drive to

1361
01:11:41,280 --> 01:11:43,960
Speaker 3: the side door and there's there's a something like a

1362
01:11:44,040 --> 01:11:47,040
Speaker 3: jump scare, but it's a flashlight scare because a cop

1363
01:11:47,120 --> 01:11:50,240
Speaker 3: is there collecting stray cats in a big burlap sack.

1364
01:11:50,880 --> 01:11:53,400
Speaker 3: And Mary comes to the doorway to thank the officer

1365
01:11:53,439 --> 01:11:55,559
Speaker 3: for his help. She says, I would come out and

1366
01:11:55,600 --> 01:11:58,559
Speaker 3: thank you, but my allergy is so severe, and then

1367
01:11:58,600 --> 01:12:00,479
Speaker 3: the cop says, yeah, I got one and two.

1368
01:12:00,680 --> 01:12:09,040
Speaker 4: Mine's the irs allergic to the irs. Yuck yucky.

1369
01:12:10,560 --> 01:12:13,200
Speaker 3: Then the cop leaves and Charles and Mary have a

1370
01:12:13,240 --> 01:12:17,000
Speaker 3: debrief like she dwells on the menace of the gathering cats.

1371
01:12:17,360 --> 01:12:20,280
Speaker 3: Charles reports on his attempt to steal Tanya's life for us.

1372
01:12:20,320 --> 01:12:23,760
Speaker 3: He didn't get it yet, so Mary becomes enraged. She's like,

1373
01:12:24,000 --> 01:12:27,080
Speaker 3: I'm famished, Charles, and she starts swatting at him like

1374
01:12:27,120 --> 01:12:31,080
Speaker 3: an irritable kitty cat and then again just more off

1375
01:12:31,120 --> 01:12:40,120
Speaker 3: the charts edible cat weirdness in this scene.

1376
01:12:41,040 --> 01:12:43,200
Speaker 2: So we have teenage characters. We've got to go to

1377
01:12:43,280 --> 01:12:45,559
Speaker 2: high school. We've got to have some scenes in the school.

1378
01:12:45,560 --> 01:12:46,920
Speaker 2: And that's where we head to next.

1379
01:12:47,280 --> 01:12:50,000
Speaker 3: Right, right time to check in on that creative writing

1380
01:12:50,080 --> 01:12:54,880
Speaker 3: class with mister Fallows, the Weird and Terrible. So today

1381
01:12:54,920 --> 01:12:58,599
Speaker 3: in class, as luck would have it, Charles is reading

1382
01:12:58,640 --> 01:13:03,160
Speaker 3: aloud from a short story he wrote called Sleepwalkers. I

1383
01:13:03,280 --> 01:13:04,960
Speaker 3: transcribed it because it's good.

1384
01:13:05,040 --> 01:13:07,320
Speaker 4: So this is the story. He says.

1385
01:13:07,760 --> 01:13:12,519
Speaker 3: They were sleepwalkers hiding in human robes, feeding on virtue,

1386
01:13:13,120 --> 01:13:17,519
Speaker 3: loving to feed, feeding to breed. In the end, they ran.

1387
01:13:18,040 --> 01:13:20,880
Speaker 3: In the end, Robbie and his mother always had to

1388
01:13:20,960 --> 01:13:24,160
Speaker 3: run for one night. The men would come in their

1389
01:13:24,160 --> 01:13:27,519
Speaker 3: old cars, men with lights and guns, and to the

1390
01:13:27,520 --> 01:13:30,240
Speaker 3: boy and his mother, their curses and their screams of

1391
01:13:30,360 --> 01:13:34,759
Speaker 3: rage always sound the same, like the laughter of cruel gods.

1392
01:13:35,120 --> 01:13:37,920
Speaker 3: The time of happiness too brief to be anything, but

1393
01:13:38,080 --> 01:13:41,559
Speaker 3: golden had run out. And I guess that's the end.

1394
01:13:41,560 --> 01:13:45,880
Speaker 3: And people start clapping. Actually, Tanya starts clapping alone before

1395
01:13:45,920 --> 01:13:50,040
Speaker 3: everybody else. Despite the fact that this story seems to

1396
01:13:50,080 --> 01:13:53,200
Speaker 3: be a detailed description of how Charles plans to eat

1397
01:13:53,240 --> 01:13:58,120
Speaker 3: her soul and then regurgitate it to his mom.

1398
01:13:58,800 --> 01:14:02,040
Speaker 2: Yeah. Yeah, it's like just a straight up confession of

1399
01:14:02,280 --> 01:14:04,439
Speaker 2: all the crimes that he and his mom have committed.

1400
01:14:05,439 --> 01:14:06,760
Speaker 4: I on their cover a little bit.

1401
01:14:08,760 --> 01:14:12,760
Speaker 2: Someone with a little better ear for King's pros might

1402
01:14:12,800 --> 01:14:16,920
Speaker 2: also have some insight here. I wonder if this is

1403
01:14:18,560 --> 01:14:22,200
Speaker 2: maybe a little insight into what Sleepwalker's the novel by

1404
01:14:22,200 --> 01:14:26,679
Speaker 2: Stephen King, might have tasted a little bit like maybe,

1405
01:14:26,720 --> 01:14:29,240
Speaker 2: I don't know, it feels a well.

1406
01:14:29,280 --> 01:14:31,000
Speaker 3: I mean, I guess this is supposed to have been

1407
01:14:31,040 --> 01:14:32,840
Speaker 3: written by a high schooler, But then again, it was

1408
01:14:32,880 --> 01:14:34,639
Speaker 3: supposed to have been written by a high schooler who

1409
01:14:34,640 --> 01:14:36,439
Speaker 3: was actually maybe centuries.

1410
01:14:36,040 --> 01:14:36,920
Speaker 4: Or millennia old.

1411
01:14:37,280 --> 01:14:42,680
Speaker 3: Yeah, but then again, maybe it is written. There's like

1412
01:14:42,800 --> 01:14:46,120
Speaker 3: three levels of deception. It is written by an actual author,

1413
01:14:46,240 --> 01:14:48,240
Speaker 3: but it's supposed to sound like a high schooler, but

1414
01:14:48,280 --> 01:14:51,400
Speaker 3: it's actually an ancient being who is trying to sound

1415
01:14:51,400 --> 01:14:52,240
Speaker 3: like a high schooler.

1416
01:14:52,920 --> 01:14:56,439
Speaker 2: Yeah, wouldn't it be something if this were an actual

1417
01:14:56,479 --> 01:14:59,280
Speaker 2: snippet from something King wrote as a high schooler, though,

1418
01:14:59,560 --> 01:15:01,040
Speaker 2: something you know, unpublished.

1419
01:15:01,240 --> 01:15:05,719
Speaker 3: Oh that would be good. But remember so mister Follows.

1420
01:15:05,760 --> 01:15:08,640
Speaker 3: The teacher is played by Glenn Shaddocks from Like Beetlejuice

1421
01:15:08,640 --> 01:15:12,400
Speaker 3: and so Glenn Shaddocks is. He's like, very good, mister Brady,

1422
01:15:12,439 --> 01:15:13,200
Speaker 3: if that is.

1423
01:15:13,160 --> 01:15:14,080
Speaker 4: Your real name.

1424
01:15:14,280 --> 01:15:18,639
Speaker 3: He's overtly suspicious of him already. He's like asking him

1425
01:15:18,680 --> 01:15:22,559
Speaker 3: questions about didn't you say you came from Ohio? And

1426
01:15:22,720 --> 01:15:24,599
Speaker 3: Charles is like, what do what? Now?

1427
01:15:24,760 --> 01:15:25,040
Speaker 2: Where?

1428
01:15:27,000 --> 01:15:30,160
Speaker 3: But mister Follows, we see he's one of these teachers

1429
01:15:30,320 --> 01:15:33,080
Speaker 3: who runs his classroom like a petty tyrant. He likes

1430
01:15:33,120 --> 01:15:36,519
Speaker 3: to swat students with the ruler if he catches them

1431
01:15:36,600 --> 01:15:40,720
Speaker 3: drawing naughty sketches. And he tells one student, you must

1432
01:15:40,800 --> 01:15:42,880
Speaker 3: learn to keep your hands to yourself.

1433
01:15:43,120 --> 01:15:43,640
Speaker 4: Remember that.

1434
01:15:44,680 --> 01:15:47,719
Speaker 3: But anyway, the class goes on to discuss the story.

1435
01:15:48,120 --> 01:15:50,960
Speaker 3: Tanya says that she likes the story. She thinks it's

1436
01:15:51,240 --> 01:15:55,639
Speaker 3: sad because the sleepwalkers are outsiders. They're always driven away,

1437
01:15:55,920 --> 01:15:58,920
Speaker 3: and this leads into a moment where mister Follows says, now,

1438
01:15:58,960 --> 01:16:02,280
Speaker 3: we all understand that story has to have a beginning,

1439
01:16:02,400 --> 01:16:05,320
Speaker 3: a middle, and an end, but that's like saying a

1440
01:16:05,360 --> 01:16:09,960
Speaker 3: box has four sides. And then Charles interrupts him and says, actually,

1441
01:16:09,960 --> 01:16:14,200
Speaker 3: mister fellows a box has six sides. Ooh, pretty good,

1442
01:16:14,640 --> 01:16:17,200
Speaker 3: but not only that, like the class laughs and one

1443
01:16:17,240 --> 01:16:25,040
Speaker 3: guy goes busted to the extreme. So mister Follows is

1444
01:16:25,120 --> 01:16:28,240
Speaker 3: clearly embarrassed and angry now, and so after school we

1445
01:16:28,280 --> 01:16:31,479
Speaker 3: see him staring out the window at Charles, simmering with rage.

1446
01:16:31,760 --> 01:16:34,920
Speaker 3: He's plotting his revenge. And from here I guess we

1447
01:16:34,960 --> 01:16:37,200
Speaker 3: are starting to run a little bit short on time,

1448
01:16:37,280 --> 01:16:39,960
Speaker 3: so we shoul maybe skip more lightly over the plot

1449
01:16:40,000 --> 01:16:43,000
Speaker 3: machinations and just focus on some of the highlight scenes.

1450
01:16:43,920 --> 01:16:46,360
Speaker 3: So there's a scene between Tanya and her friends where

1451
01:16:46,360 --> 01:16:48,760
Speaker 3: they all talk about how dreamy Charles is, and then

1452
01:16:48,840 --> 01:16:51,320
Speaker 3: Charles shows up to offer Tanya a ride home in

1453
01:16:51,400 --> 01:16:54,640
Speaker 3: his trans am. They go to Tanya's house where he

1454
01:16:54,680 --> 01:16:56,479
Speaker 3: walks around her room and he gets to know her

1455
01:16:56,520 --> 01:16:58,559
Speaker 3: a little bit, like he looks at her photos. She

1456
01:16:58,600 --> 01:17:01,439
Speaker 3: has a photography hobby. We saw in the yearbook that

1457
01:17:01,479 --> 01:17:04,439
Speaker 3: she's in the president of the photography club, And there's

1458
01:17:04,479 --> 01:17:06,120
Speaker 3: one point where they like look at a black and

1459
01:17:06,120 --> 01:17:08,839
Speaker 3: white photo of rocks and he says, I like rocks.

1460
01:17:09,920 --> 01:17:12,200
Speaker 3: There is also a cheesy gag where her room is

1461
01:17:12,320 --> 01:17:15,479
Speaker 3: essentially made of underwear and she's like running around trying

1462
01:17:15,520 --> 01:17:19,080
Speaker 3: to hide it all before Charles sees it. But Charles

1463
01:17:19,120 --> 01:17:22,840
Speaker 3: then also meets Tanya's mother, who has a hobby of

1464
01:17:22,880 --> 01:17:28,000
Speaker 3: her own, gravestone rubbings. I would love to know how

1465
01:17:28,040 --> 01:17:31,760
Speaker 3: this made it into the story, but gravestone rubbings. And

1466
01:17:32,120 --> 01:17:36,280
Speaker 3: it comes out to the mother that Charles and Tanya

1467
01:17:36,320 --> 01:17:38,960
Speaker 3: have made plans the following day to go to a

1468
01:17:39,000 --> 01:17:41,800
Speaker 3: cemetery in town called home Land. This is a big

1469
01:17:41,840 --> 01:17:44,840
Speaker 3: set piece, so the teenage characters talk about it, and

1470
01:17:44,880 --> 01:17:48,280
Speaker 3: this is quite at once a red flag to the

1471
01:17:48,320 --> 01:17:51,519
Speaker 3: mom because it is understood to be the town makeout spot.

1472
01:17:52,600 --> 01:17:55,720
Speaker 3: But Charles is very smooth. He manages to cover for

1473
01:17:55,760 --> 01:17:58,920
Speaker 3: them by saying their plan is actually to go there

1474
01:17:58,960 --> 01:18:02,719
Speaker 3: to do grave rubs, again, the mom's favorite hobby, which

1475
01:18:02,760 --> 01:18:04,960
Speaker 3: for some reason he knows a lot about. Like she

1476
01:18:05,040 --> 01:18:07,280
Speaker 3: tries to catch him in a lie like asking questions

1477
01:18:07,280 --> 01:18:08,880
Speaker 3: like do you use powder or stick?

1478
01:18:08,960 --> 01:18:10,760
Speaker 4: And I don't know he knows how to answer that

1479
01:18:10,800 --> 01:18:11,439
Speaker 4: for some reason.

1480
01:18:11,760 --> 01:18:15,360
Speaker 2: Yeah, yeah, there's some some rubbing jokes shoehorned in here

1481
01:18:16,640 --> 01:18:17,840
Speaker 2: that land reasonably well.

1482
01:18:18,040 --> 01:18:22,000
Speaker 3: Yeah, So after this we get the I believe the

1483
01:18:22,040 --> 01:18:26,200
Speaker 3: first monster murder in the movie. Charles is driving down

1484
01:18:26,240 --> 01:18:29,120
Speaker 3: the highway, just blasting rock music in the trans am

1485
01:18:29,520 --> 01:18:32,720
Speaker 3: when he is suddenly almost run off the road by

1486
01:18:32,720 --> 01:18:36,080
Speaker 3: someone in a white Volkswagen, so he pulls over, and

1487
01:18:36,160 --> 01:18:40,560
Speaker 3: why it is mister Follows. The creative writing teacher Follows

1488
01:18:40,600 --> 01:18:44,160
Speaker 3: comes up and tries to menace Charles by suggesting that

1489
01:18:44,240 --> 01:18:46,400
Speaker 3: he knows he's using a fake identity and that his

1490
01:18:46,520 --> 01:18:50,760
Speaker 3: transcripts were forged, and it's implied that he's trying to

1491
01:18:50,760 --> 01:18:54,400
Speaker 3: do some kind of sexual blackmail against Charles. But Charles

1492
01:18:54,640 --> 01:18:59,160
Speaker 3: turns the tables and he goes cat mode, so like

1493
01:18:59,160 --> 01:19:02,360
Speaker 3: like Glenn Shaddick's leaning over him, and then Charles rips

1494
01:19:02,400 --> 01:19:05,360
Speaker 3: off his hand, gives it back to him and he's like,

1495
01:19:05,360 --> 01:19:07,960
Speaker 3: you're right, mister Follows. We should learn to keep our

1496
01:19:08,040 --> 01:19:10,320
Speaker 3: hands to ourselves. Here's yours.

1497
01:19:11,880 --> 01:19:13,800
Speaker 2: Yeah. This is the first of many scenes where we

1498
01:19:13,800 --> 01:19:17,120
Speaker 2: get to see that the Sleepwalkers can tear human bodies

1499
01:19:17,160 --> 01:19:19,719
Speaker 2: apart like their well cooked pork at any moment.

1500
01:19:20,560 --> 01:19:21,320
Speaker 4: Yeah, shredded.

1501
01:19:21,400 --> 01:19:24,559
Speaker 3: Yeah, so I have a question actually about sleepwalker biology

1502
01:19:24,600 --> 01:19:28,400
Speaker 3: because after this, Glen Shaddocks runs into the woods and

1503
01:19:28,600 --> 01:19:31,320
Speaker 3: Charles runs after him in cat mode. He's got a

1504
01:19:31,400 --> 01:19:34,559
Speaker 3: lie in face and he kills him in the woods,

1505
01:19:34,720 --> 01:19:37,600
Speaker 3: and it suggests that he eats him, like where we

1506
01:19:38,040 --> 01:19:40,880
Speaker 3: see from above where Glen Shattocks is lying on the

1507
01:19:40,920 --> 01:19:45,240
Speaker 3: ground and Charles is above him, like doing that thing

1508
01:19:45,280 --> 01:19:49,679
Speaker 3: you see in monster movies sometimes where the monster predator

1509
01:19:49,720 --> 01:19:52,240
Speaker 3: type being is just sort of shaking their face over

1510
01:19:52,280 --> 01:19:57,200
Speaker 3: the victim's throat. But this implies I think that Charles

1511
01:19:57,479 --> 01:20:00,400
Speaker 3: eats him, like physically eats his flesh, which is not

1512
01:20:00,439 --> 01:20:03,040
Speaker 3: what he plans to do to Tanya. Once again, the

1513
01:20:04,080 --> 01:20:06,960
Speaker 3: life force that they are stealing, their planning to steal

1514
01:20:06,960 --> 01:20:10,320
Speaker 3: from Tanya comes in the form of sucking purple magic

1515
01:20:10,439 --> 01:20:13,720
Speaker 3: out of her breath, like out through her mouth, from

1516
01:20:13,720 --> 01:20:17,000
Speaker 3: her lungs. This just seems like he's eating the guy.

1517
01:20:17,120 --> 01:20:20,240
Speaker 3: And I don't know if they also normally just eat people.

1518
01:20:20,840 --> 01:20:24,639
Speaker 2: Well, mom is cooking a chicken dinner later, I believe

1519
01:20:24,920 --> 01:20:28,240
Speaker 2: they eat regular food. Yeah, so maybe there's like a

1520
01:20:28,320 --> 01:20:32,000
Speaker 2: sustenance for their physical bodies and then some greater sustenance

1521
01:20:32,320 --> 01:20:36,680
Speaker 2: they require. Another theory I had is that eventually we

1522
01:20:36,760 --> 01:20:42,040
Speaker 2: see that mom Mary has additional powers well beyond that

1523
01:20:42,120 --> 01:20:45,439
Speaker 2: of her son, and it makes one wonder if essentially

1524
01:20:45,479 --> 01:20:47,960
Speaker 2: she is some sort of an ancient god like being

1525
01:20:48,080 --> 01:20:51,439
Speaker 2: and he is her demi god offspring, or he is

1526
01:20:51,479 --> 01:20:55,880
Speaker 2: her monstrous offspring that helps her and serves her. But

1527
01:20:56,800 --> 01:21:00,280
Speaker 2: she clearly has some greater accumulated power and maybe that's

1528
01:21:00,280 --> 01:21:04,360
Speaker 2: where the need for souls comes into play. Oh so what.

1529
01:21:04,360 --> 01:21:06,920
Speaker 3: If it's more like the Hunger, Like she's the Catherine

1530
01:21:06,960 --> 01:21:10,639
Speaker 3: Denov character and Charles is the David Bowie character.

1531
01:21:10,920 --> 01:21:13,920
Speaker 2: Yeah, something like that. I mean, ultimately, it's all monster

1532
01:21:13,960 --> 01:21:16,479
Speaker 2: business and we are we're not supposed to understand it.

1533
01:21:17,400 --> 01:21:19,519
Speaker 3: So the next scene we get. The next big scene

1534
01:21:19,560 --> 01:21:22,599
Speaker 3: is the police chase, which is great because it's where

1535
01:21:22,600 --> 01:21:25,840
Speaker 3: we first meet the actor Dan Martin playing Deputy Andy

1536
01:21:25,880 --> 01:21:29,720
Speaker 3: Simpson and his loyal police cat Clovis. So when we

1537
01:21:29,760 --> 01:21:32,280
Speaker 3: first joined them, they are staked out on the highway,

1538
01:21:32,320 --> 01:21:34,519
Speaker 3: parked beside the edge of the road, playing with one

1539
01:21:34,520 --> 01:21:37,880
Speaker 3: of those dangle toys, and the coffin is saying he's like,

1540
01:21:38,080 --> 01:21:40,759
Speaker 3: come on, boy, get the bad guy for daddy, get

1541
01:21:40,800 --> 01:21:45,400
Speaker 3: that mffort, and Clovis, the cat is just swatting with

1542
01:21:45,479 --> 01:21:47,640
Speaker 3: pleasure at the toy and it's adorable.

1543
01:21:47,960 --> 01:21:51,679
Speaker 2: Yeah. Clovis has a little tag that says, what clovis

1544
01:21:51,720 --> 01:21:54,639
Speaker 2: the attack cat. I think that is right.

1545
01:21:55,600 --> 01:21:58,360
Speaker 3: But meanwhile, while they're playing here in the in the car,

1546
01:21:58,680 --> 01:22:01,920
Speaker 3: Charles zooms by in his car at a million miles

1547
01:22:01,960 --> 01:22:06,640
Speaker 3: per hour and Deputy Andy joins in hot pursuit. So

1548
01:22:06,720 --> 01:22:09,280
Speaker 3: this turns into a whole car chase scene that goes

1549
01:22:09,320 --> 01:22:11,760
Speaker 3: all over the place. So I'm just gonna mention some

1550
01:22:11,920 --> 01:22:15,280
Speaker 3: elements of it. One is the shredding wee wall guitars

1551
01:22:15,800 --> 01:22:17,000
Speaker 3: to like, never let up.

1552
01:22:17,080 --> 01:22:17,920
Speaker 4: Those are really good.

1553
01:22:19,240 --> 01:22:21,240
Speaker 3: Another thing is that Charles seems to know a lot

1554
01:22:21,240 --> 01:22:26,080
Speaker 3: of stunt driving tricks. He's an experienced driver. And at

1555
01:22:26,120 --> 01:22:29,479
Speaker 3: one point they're like going through a school bus crossing

1556
01:22:29,520 --> 01:22:33,320
Speaker 3: where children are going across the street, and you know,

1557
01:22:33,560 --> 01:22:36,040
Speaker 3: they both see that they're approaching this, and Charles like

1558
01:22:36,120 --> 01:22:38,840
Speaker 3: looks at the kids and then just smiles before revving

1559
01:22:38,920 --> 01:22:42,320
Speaker 3: the engine even harder. Fortunately no children are harmed. We

1560
01:22:42,360 --> 01:22:44,439
Speaker 3: see like the crossing guard pulls the kid out of

1561
01:22:44,479 --> 01:22:47,160
Speaker 3: the way before Charles comes through. But it's like that

1562
01:22:47,240 --> 01:22:49,880
Speaker 3: scene in the Simpsons episode where there's like the true

1563
01:22:49,920 --> 01:22:53,680
Speaker 3: crime creep movie about Homer starring Dennis Franz, you know,

1564
01:22:53,800 --> 01:22:56,439
Speaker 3: and the girl goes no, mister Simpson. A cat is

1565
01:22:56,479 --> 01:22:58,920
Speaker 3: a living creature. Dennis France I.

1566
01:22:58,880 --> 01:23:02,280
Speaker 2: Don't care, I remember that, yeah, But.

1567
01:23:02,320 --> 01:23:06,759
Speaker 3: Anyway, Finally, Deputy Andy pulls up beside Charles in pursuit,

1568
01:23:06,840 --> 01:23:09,160
Speaker 3: so they're driving beside each other on the road, and

1569
01:23:09,240 --> 01:23:11,519
Speaker 3: at first Charles just laughs and gives him the finger,

1570
01:23:11,800 --> 01:23:14,799
Speaker 3: but then Clovis the cat pops up into the window,

1571
01:23:15,320 --> 01:23:17,920
Speaker 3: and this causes Charles to not only freak out, but

1572
01:23:18,000 --> 01:23:21,320
Speaker 3: to go into random morphin mode, where he cycles through

1573
01:23:21,360 --> 01:23:24,720
Speaker 3: like a dozen different kinds of heads that he has available,

1574
01:23:25,479 --> 01:23:28,240
Speaker 3: and the deputy witnesses all of the heads morphin and

1575
01:23:28,320 --> 01:23:32,280
Speaker 3: he gets weirded out. Rob Just below this in the outline,

1576
01:23:32,280 --> 01:23:35,479
Speaker 3: I've attached here a selection of some of the heads

1577
01:23:35,479 --> 01:23:38,160
Speaker 3: he goes through. This is not all of them. He

1578
01:23:38,920 --> 01:23:41,800
Speaker 3: has like a little boy human head, he has like

1579
01:23:41,920 --> 01:23:44,240
Speaker 3: sort of a kitten head, he has sort of a

1580
01:23:44,320 --> 01:23:46,679
Speaker 3: lion head, and then he has more kind of weird

1581
01:23:47,240 --> 01:23:50,320
Speaker 3: gummy rubbery monster creature heads that are a little bit

1582
01:23:50,400 --> 01:23:53,520
Speaker 3: cat like but also just sort of like gray aliens

1583
01:23:53,560 --> 01:23:56,799
Speaker 3: with huge black eyes. Then more of a gargoyle head

1584
01:23:56,840 --> 01:23:59,559
Speaker 3: with big pointy ears like elf ears, then more of

1585
01:23:59,560 --> 01:24:01,680
Speaker 3: a gargole oil head with a large cranium.

1586
01:24:01,760 --> 01:24:03,320
Speaker 4: It's just all over the place.

1587
01:24:03,800 --> 01:24:06,680
Speaker 2: It is an amazing sequence and you can pause it

1588
01:24:06,800 --> 01:24:11,960
Speaker 2: at any moment and just be enthralled by what you're given. Yeah,

1589
01:24:11,960 --> 01:24:15,160
Speaker 2: it's like Clovis has jumped to attention. Clovis is like, Dad,

1590
01:24:15,200 --> 01:24:17,760
Speaker 2: I'm on this. I see what this is. And he's like,

1591
01:24:17,840 --> 01:24:21,160
Speaker 2: oh crap, I'm busted by the cats. Yes, it freaks out.

1592
01:24:21,160 --> 01:24:21,879
Speaker 2: It's wonderful.

1593
01:24:22,080 --> 01:24:25,240
Speaker 3: And the deputy witnesses all the heads he's weirded out

1594
01:24:25,240 --> 01:24:29,000
Speaker 3: by it. But Charles finally escapes the situation by pulling

1595
01:24:29,040 --> 01:24:32,360
Speaker 3: off road. And then this is one of the sleepwalker powers.

1596
01:24:32,360 --> 01:24:36,520
Speaker 3: He can concentrate and do what they call making himself

1597
01:24:36,560 --> 01:24:40,080
Speaker 3: in the car dim. So sleepwalkers have the power to

1598
01:24:40,200 --> 01:24:42,880
Speaker 3: turn themselves and their vehicles invisible.

1599
01:24:44,520 --> 01:24:48,160
Speaker 2: Kay. This is kind of a callback to King's book

1600
01:24:48,200 --> 01:24:50,880
Speaker 2: Eyes of the Dragon, in which there is an invisibility

1601
01:24:51,680 --> 01:24:55,160
Speaker 2: spell that one of the characters utilizes. And it's just

1602
01:24:55,560 --> 01:24:57,959
Speaker 2: I don't know if he uses dim in that description,

1603
01:24:58,120 --> 01:25:00,320
Speaker 2: but there's this. He has a nice description of how

1604
01:25:00,360 --> 01:25:03,240
Speaker 2: it doesn't completely make you invisible, but kind of yeah,

1605
01:25:03,280 --> 01:25:07,240
Speaker 2: makes you dim and people miss you and all here

1606
01:25:07,280 --> 01:25:10,800
Speaker 2: though it is visually just the car straight up turns invisible.

1607
01:25:11,000 --> 01:25:13,640
Speaker 3: And then afterwards he's able to transform it into a

1608
01:25:13,640 --> 01:25:16,439
Speaker 3: different kind of car. It's like a different color and

1609
01:25:16,520 --> 01:25:17,200
Speaker 3: different model.

1610
01:25:17,520 --> 01:25:20,320
Speaker 2: I have more questions about that the car transformation later,

1611
01:25:21,200 --> 01:25:24,599
Speaker 2: but we get that scene where Simpson pulls off the road.

1612
01:25:24,680 --> 01:25:28,519
Speaker 2: He thinks he's lost him, but of course Clovis sees him.

1613
01:25:28,560 --> 01:25:32,599
Speaker 2: Clovis is staring right at the car. The invisibility trick

1614
01:25:32,640 --> 01:25:37,160
Speaker 2: does not work on the feeline Ancient Enemies of the Sleepwalkers.

1615
01:25:36,439 --> 01:25:38,479
Speaker 3: And Charles is yelling at the cat. He's like, get

1616
01:25:38,520 --> 01:25:39,439
Speaker 3: out of your cat.

1617
01:25:40,439 --> 01:25:42,760
Speaker 2: But we get a great shot here at Clovis in

1618
01:25:42,840 --> 01:25:48,000
Speaker 2: the window of the squad car with the with the shotgun.

1619
01:25:48,080 --> 01:25:50,240
Speaker 2: You know how they store the shotgun in the squad car,

1620
01:25:50,400 --> 01:25:52,960
Speaker 2: like pointing up right behind it. It really looks like

1621
01:25:53,040 --> 01:25:55,800
Speaker 2: Officer Clovis is on the job here. I love it.

1622
01:25:56,040 --> 01:25:59,880
Speaker 3: Yeah, So some big scenes in the movie after this.

1623
01:26:00,720 --> 01:26:03,240
Speaker 3: Of course, there's the scene where Charles and Tanya have

1624
01:26:03,400 --> 01:26:05,720
Speaker 3: their date to go to the cemetery. So they're going

1625
01:26:05,760 --> 01:26:10,040
Speaker 3: off to Homeland and the date starts off very flirty

1626
01:26:10,120 --> 01:26:13,240
Speaker 3: and fun, but of course at some point it's gonna

1627
01:26:13,280 --> 01:26:16,320
Speaker 3: have to to turn evil, and so there at one

1628
01:26:16,320 --> 01:26:19,040
Speaker 3: point they start kissing and then Charles just suddenly begins

1629
01:26:19,080 --> 01:26:23,800
Speaker 3: sucking her soul out, and he shifts very abruptly from

1630
01:26:23,880 --> 01:26:27,040
Speaker 3: his charming mode and maybe kind of a subtle menacing

1631
01:26:27,120 --> 01:26:31,759
Speaker 3: charm just into full late Elm Street sequel Freddy Krueger

1632
01:26:31,800 --> 01:26:35,040
Speaker 3: mode where he's making jokes like he's like, it doesn't

1633
01:26:35,080 --> 01:26:38,040
Speaker 3: have to hurt Tanya. Okay, I lied, it does have

1634
01:26:38,080 --> 01:26:38,479
Speaker 3: to hurt.

1635
01:26:39,520 --> 01:26:42,880
Speaker 2: Yeah, And this whole sequence feels very out of keeping

1636
01:26:42,920 --> 01:26:46,960
Speaker 2: with where everywhere we'd gone thus far. Yeah, there was this,

1637
01:26:47,160 --> 01:26:50,479
Speaker 2: There was a great scene but shortly before this where

1638
01:26:51,520 --> 01:26:55,320
Speaker 2: where we go by we go by the house and

1639
01:26:55,400 --> 01:26:58,599
Speaker 2: Tanya meets Mary, and I rather like that sequence where

1640
01:26:58,640 --> 01:27:03,080
Speaker 2: Mary's being like almost overtly hostile to her and like

1641
01:27:03,400 --> 01:27:06,759
Speaker 2: brandishing these big scissors and all. And at that point

1642
01:27:07,320 --> 01:27:09,439
Speaker 2: my wife watched part of this with me. She'd seen

1643
01:27:09,479 --> 01:27:11,240
Speaker 2: it back in the day, and she was like, well,

1644
01:27:11,240 --> 01:27:13,559
Speaker 2: why don't they just eat her soul here? Like, now's

1645
01:27:13,600 --> 01:27:16,720
Speaker 2: the time? Good question, It is a great question. I

1646
01:27:16,720 --> 01:27:19,280
Speaker 2: think this is ultimately a plot hole. I guess if

1647
01:27:19,280 --> 01:27:21,320
Speaker 2: you're being generous, you might say, well, it has to

1648
01:27:21,360 --> 01:27:23,519
Speaker 2: come from maybe their feeding has to come from a

1649
01:27:23,560 --> 01:27:28,240
Speaker 2: place of seduction, But that only seems initially meat.

1650
01:27:28,240 --> 01:27:29,639
Speaker 4: To use a term from it.

1651
01:27:29,680 --> 01:27:32,960
Speaker 2: Maybe if that is true, it seems to be only

1652
01:27:33,040 --> 01:27:36,360
Speaker 2: initially true because in this whole sequence with the Freddy

1653
01:27:36,400 --> 01:27:39,400
Speaker 2: Krueger ring and the chasing around, like he's just overtly

1654
01:27:39,720 --> 01:27:43,080
Speaker 2: attacking her. Yeah, and it seems like any necessity of

1655
01:27:43,120 --> 01:27:45,160
Speaker 2: seduction is just completely out the window.

1656
01:27:45,080 --> 01:27:47,920
Speaker 3: And he's making jokes about it. That's the Freddy Krugery thing.

1657
01:27:48,000 --> 01:27:52,040
Speaker 3: Like she she defends herself, like she repeatedly wounds Charles

1658
01:27:52,080 --> 01:27:54,360
Speaker 3: as they fight, but he just kind of keeps popping

1659
01:27:54,400 --> 01:27:56,200
Speaker 3: back up. At one point, she stabs him in the

1660
01:27:56,280 --> 01:27:56,680
Speaker 3: eye with.

1661
01:27:56,640 --> 01:27:59,080
Speaker 4: A cork scull. Oh yes, yes, and.

1662
01:27:59,040 --> 01:28:01,800
Speaker 3: Then he falls down and then he goes, just look

1663
01:28:01,840 --> 01:28:04,720
Speaker 3: at my shirt, Tanya, mother is gonna kill me.

1664
01:28:05,760 --> 01:28:07,760
Speaker 2: Yeah. Where did this all come from?

1665
01:28:08,000 --> 01:28:08,200
Speaker 5: Yeah?

1666
01:28:09,000 --> 01:28:12,479
Speaker 3: But here in this scene we we get a payback

1667
01:28:12,520 --> 01:28:15,759
Speaker 3: where Deputy Andy, Simpson and Clovis turn up once again.

1668
01:28:15,880 --> 01:28:18,599
Speaker 3: They show up to the rescue. They notice the blue

1669
01:28:18,600 --> 01:28:21,680
Speaker 3: trans am parked outside the cemetery, and they arrive on

1670
01:28:21,720 --> 01:28:26,280
Speaker 3: the scene. Deputy Andy tries to help Tanya, but unfortunately

1671
01:28:26,400 --> 01:28:28,880
Speaker 3: Charles shows up and stabs him in the ear with

1672
01:28:28,920 --> 01:28:30,680
Speaker 3: a pencil. I think the pencil they were going to

1673
01:28:30,760 --> 01:28:33,680
Speaker 3: use to do the grave rubbings and then declares him

1674
01:28:33,760 --> 01:28:37,840
Speaker 3: a kop kabob because I guess there's a stick running.

1675
01:28:37,640 --> 01:28:40,360
Speaker 2: Through Yeah, okay, it's unfortunate.

1676
01:28:42,240 --> 01:28:45,960
Speaker 3: But remember that sleepwalkers are vulnerable to the deadly scratch

1677
01:28:46,000 --> 01:28:48,840
Speaker 3: of a cat, and so also in the scene Clovis

1678
01:28:48,840 --> 01:28:52,400
Speaker 3: comes to the rescue, he attacks Charles, scratching him and

1679
01:28:52,479 --> 01:28:56,160
Speaker 3: this seems to sort of drain Charles's power to heal

1680
01:28:56,840 --> 01:29:00,800
Speaker 3: himself and drains his resiliency. He desperately flees the scene

1681
01:29:00,800 --> 01:29:03,240
Speaker 3: in his car, going back home to his mother and

1682
01:29:03,280 --> 01:29:05,160
Speaker 3: she takes care of his wounds.

1683
01:29:05,120 --> 01:29:07,880
Speaker 2: And we get that heartbreaking scene though, of Clovis comes

1684
01:29:07,880 --> 01:29:12,920
Speaker 2: over to his dead master and sits on Deputy Simpson's chest,

1685
01:29:13,360 --> 01:29:17,120
Speaker 2: and it's in this moment that Clovis swears eternal vengeance

1686
01:29:17,160 --> 01:29:21,360
Speaker 2: against sleepwalkers, like it was his ancient duty as a

1687
01:29:21,360 --> 01:29:24,719
Speaker 2: cat to kill sleepwalkers previously, but now it is personal.

1688
01:29:25,000 --> 01:29:27,800
Speaker 3: The cat morning scene, I was genuinely moved, and it

1689
01:29:27,880 --> 01:29:29,439
Speaker 3: comes right after kop Kabob.

1690
01:29:29,760 --> 01:29:41,960
Speaker 2: Yeah, so, at this point our monster has been Beowulf.

1691
01:29:42,160 --> 01:29:45,719
Speaker 2: He has been brutally injured by Tanya and by Clovis,

1692
01:29:46,040 --> 01:29:49,439
Speaker 2: and like Grendel in the story of Beowulf returns home to.

1693
01:29:49,400 --> 01:29:53,120
Speaker 3: The lair, right, so in the aftermath of the attack,

1694
01:29:53,200 --> 01:29:54,880
Speaker 3: this is probably the place we should mention that. There

1695
01:29:54,880 --> 01:29:59,120
Speaker 3: are just tons of cameos, like all of the author

1696
01:29:59,280 --> 01:30:03,639
Speaker 3: and horror world cameos of people showing up I guess

1697
01:30:03,680 --> 01:30:05,280
Speaker 3: at the crime scene. So this is where you get

1698
01:30:05,280 --> 01:30:09,000
Speaker 3: Stephen King wandering around telling everybody like, look, I'm not

1699
01:30:09,080 --> 01:30:11,599
Speaker 3: responsible for every pervert who comes in this cemetery.

1700
01:30:11,640 --> 01:30:12,920
Speaker 4: I don't need this kind of action.

1701
01:30:13,360 --> 01:30:16,240
Speaker 2: Yeah, and let's see who else do we get in

1702
01:30:16,240 --> 01:30:19,280
Speaker 2: this scene. I believe Clive Barker is on the case

1703
01:30:19,320 --> 01:30:24,439
Speaker 2: as a forensic tech. Yes, yeah, well you know, Stephen

1704
01:30:24,520 --> 01:30:26,719
Speaker 2: King once said I have seen the future of horror

1705
01:30:26,720 --> 01:30:28,920
Speaker 2: and his name is Clive Barker, so you know here

1706
01:30:28,960 --> 01:30:32,920
Speaker 2: he is here. Yeah, indeed, I believe Toby Hooper is

1707
01:30:32,960 --> 01:30:35,120
Speaker 2: also on the case. Here is another forensic tech.

1708
01:30:35,479 --> 01:30:35,959
Speaker 4: Amazing.

1709
01:30:36,280 --> 01:30:40,200
Speaker 2: Yeah, and let's see, I'm trying. I think we we're

1710
01:30:40,200 --> 01:30:42,680
Speaker 2: gonna get a couple of more later, but I'll go

1711
01:30:42,680 --> 01:30:44,599
Speaker 2: ahead and mention them now. We're gonna get a scene

1712
01:30:44,680 --> 01:30:46,880
Speaker 2: later where we're you know, doing the autopsies and so

1713
01:30:47,240 --> 01:30:49,800
Speaker 2: you know, lab technician work, and that's where we're gonna

1714
01:30:49,800 --> 01:30:53,920
Speaker 2: get lab technician John Landis, We're gonna get lab assistant

1715
01:30:54,120 --> 01:30:58,400
Speaker 2: Joe Dante, and we're also going to get Cynthia Garris,

1716
01:30:58,920 --> 01:31:01,240
Speaker 2: who is of course Mike Garris's.

1717
01:31:00,800 --> 01:31:03,720
Speaker 3: Wife Grammon so much in So Fast And also I

1718
01:31:03,800 --> 01:31:07,040
Speaker 3: think the you know, ninety nine percent of the people

1719
01:31:07,120 --> 01:31:10,440
Speaker 3: who see these movies would not have recognized who these people.

1720
01:31:10,200 --> 01:31:13,679
Speaker 2: Were, right, this is this was for the horror fans.

1721
01:31:13,720 --> 01:31:16,519
Speaker 2: I think this is for the horror geeks. I mean, honestly,

1722
01:31:16,560 --> 01:31:18,960
Speaker 2: I didn't even recognize Clive Barker at first, and I

1723
01:31:19,000 --> 01:31:21,800
Speaker 2: was on the lookout for him. He's so young in this,

1724
01:31:22,080 --> 01:31:23,559
Speaker 2: I'm just not used to seeing him this yet.

1725
01:31:23,920 --> 01:31:24,960
Speaker 4: Yeah.

1726
01:31:25,000 --> 01:31:29,080
Speaker 3: Okay, but so here we're accelerating toward the ending. So

1727
01:31:29,360 --> 01:31:34,719
Speaker 3: the movie concludes basically with Mary turning into Grendel's mom

1728
01:31:34,920 --> 01:31:37,760
Speaker 3: and going on a revenge to her. She decides to

1729
01:31:37,800 --> 01:31:41,400
Speaker 3: go to the Robertson home for revenge and to bring

1730
01:31:41,439 --> 01:31:44,160
Speaker 3: Tanya back so that she and Charles can both feed

1731
01:31:44,200 --> 01:31:47,559
Speaker 3: on Tanya. But the scene where she attacks the Robertson

1732
01:31:47,800 --> 01:31:51,320
Speaker 3: home this is also one of these crazy tonal whiplash

1733
01:31:51,360 --> 01:31:55,280
Speaker 3: scenes because you get like, oh, you know, parents grieving

1734
01:31:55,479 --> 01:31:59,440
Speaker 3: for like their child being in danger, like this consciousness

1735
01:31:59,439 --> 01:32:02,200
Speaker 3: of the more of their child and their child's suffering,

1736
01:32:02,640 --> 01:32:04,920
Speaker 3: and it's I don't know, it's like a horrible thing

1737
01:32:04,960 --> 01:32:07,599
Speaker 3: to imagine, and it's really tender the way the movie

1738
01:32:07,640 --> 01:32:10,760
Speaker 3: deals with those kind of relationships. But then also Mary

1739
01:32:10,800 --> 01:32:12,760
Speaker 3: shows up and starts stabbing people to death with a

1740
01:32:12,800 --> 01:32:16,120
Speaker 3: corn cob and saying like, no vegetables, no dessert.

1741
01:32:16,479 --> 01:32:18,479
Speaker 4: It's just off the wall.

1742
01:32:19,000 --> 01:32:23,240
Speaker 2: But again, Alice Kreega is so good that I still

1743
01:32:23,280 --> 01:32:24,479
Speaker 2: I buy it. I lap it all up.

1744
01:32:24,840 --> 01:32:27,000
Speaker 3: This is also the part of the movie where we

1745
01:32:27,080 --> 01:32:31,240
Speaker 3: meet Ron Pearlman, and Ron Pearlman tries to stop Alice

1746
01:32:31,320 --> 01:32:35,760
Speaker 3: Kriega from fleeing the scene and kidnapping Tanya, but she

1747
01:32:35,920 --> 01:32:39,919
Speaker 3: thwarts him by biting off his fingers and he screams

1748
01:32:39,960 --> 01:32:43,679
Speaker 3: in pain. And then there is an amazing moment where

1749
01:32:43,800 --> 01:32:47,800
Speaker 3: she takes I think is Ron Pearlman's Revolver and then

1750
01:32:48,000 --> 01:32:51,880
Speaker 3: shoots the police cars so they explode in a fireball,

1751
01:32:52,000 --> 01:32:53,640
Speaker 3: each one bullet fireball.

1752
01:32:53,840 --> 01:32:56,479
Speaker 2: She one shots each of the of the cop cars,

1753
01:32:57,000 --> 01:32:59,840
Speaker 2: just a perfect Marksman full terminator mode.

1754
01:33:00,720 --> 01:33:04,320
Speaker 3: Yeah, so Mary kidnaps Tanya takes her back to Casa

1755
01:33:04,360 --> 01:33:08,599
Speaker 3: Day Sleepwalker, where the cats have amassed in great, great numbers.

1756
01:33:08,640 --> 01:33:12,679
Speaker 3: Now they're overwhelming presence of cats outside and Mary comes

1757
01:33:12,760 --> 01:33:14,799
Speaker 3: up with a clever way to get inside because otherwise

1758
01:33:14,800 --> 01:33:16,160
Speaker 3: she'd have to go through the yard and there are

1759
01:33:16,160 --> 01:33:19,599
Speaker 3: too many cats. So she drives the police car that

1760
01:33:19,600 --> 01:33:23,200
Speaker 3: they stole through the wall into the house and then

1761
01:33:23,280 --> 01:33:26,599
Speaker 3: takes Tanya inside. She's trying to get the weak wounded

1762
01:33:26,680 --> 01:33:30,559
Speaker 3: Charles to suck out Tanya's soul, but the monsters are

1763
01:33:30,560 --> 01:33:33,679
Speaker 3: foiled yet again, this time by a combination of cop

1764
01:33:33,760 --> 01:33:37,040
Speaker 3: and cat. The one cop left the sheriff, basically the

1765
01:33:37,720 --> 01:33:41,600
Speaker 3: the one non comedy relief cop shows up and is

1766
01:33:41,680 --> 01:33:44,040
Speaker 3: like trying to help. He blows off the door and

1767
01:33:44,120 --> 01:33:47,559
Speaker 3: comes in to interfere. Of course, Mary ends up skewering

1768
01:33:47,600 --> 01:33:51,040
Speaker 3: him on the picket fence outside, but also the cats.

1769
01:33:51,040 --> 01:33:53,920
Speaker 3: It's just too much cats now. They can't overcome the

1770
01:33:54,000 --> 01:33:57,519
Speaker 3: power of cats and the cats. The cats win the day.

1771
01:33:57,720 --> 01:33:59,960
Speaker 2: The cats have decided that critical mass have been reached.

1772
01:34:00,200 --> 01:34:03,400
Speaker 2: Clovis is here. Clovis leads the charge in through I

1773
01:34:03,439 --> 01:34:06,559
Speaker 2: believe one of the upstairs windows. Yeah, and they're surging

1774
01:34:06,640 --> 01:34:10,439
Speaker 2: in before she can the soul suck, before the the

1775
01:34:10,760 --> 01:34:15,280
Speaker 2: you know, the partial resurrection can be achieved. And yeah,

1776
01:34:15,400 --> 01:34:17,639
Speaker 2: this is where we learn where we learned this already,

1777
01:34:17,640 --> 01:34:20,320
Speaker 2: but now we get to see it in action. That cats,

1778
01:34:20,479 --> 01:34:24,600
Speaker 2: when they're clawing, especially in great number at the sleepwalkers,

1779
01:34:24,840 --> 01:34:29,720
Speaker 2: their cuts like actually cause burns to the sleepwalker's flesh.

1780
01:34:29,840 --> 01:34:32,800
Speaker 3: Yes, like the like in the scratch through at the

1781
01:34:32,840 --> 01:34:35,960
Speaker 3: text at the beginning. Yeah, and so in the end,

1782
01:34:36,400 --> 01:34:40,280
Speaker 3: Tanya escapes the scene with Clovis in the police car

1783
01:34:40,880 --> 01:34:43,360
Speaker 3: as as the last of the Sleepwalkers go up in

1784
01:34:43,439 --> 01:34:45,800
Speaker 3: flames from all of the cat scratches. They've got cat

1785
01:34:45,800 --> 01:34:50,519
Speaker 3: scratch fever, very bad. And so yeah, they drive away,

1786
01:34:50,600 --> 01:34:52,479
Speaker 3: or they don't drive away. She actually like backs the

1787
01:34:52,520 --> 01:34:54,599
Speaker 3: car up into a tree, so they drive away by

1788
01:34:54,600 --> 01:34:57,600
Speaker 3: about fifty feet and then she's just sitting in the

1789
01:34:57,640 --> 01:34:59,960
Speaker 3: car with Clovis. In the last line of the movie

1790
01:35:00,360 --> 01:35:03,440
Speaker 3: is Tanya saying, it's just you and me now, Clovis.

1791
01:35:05,640 --> 01:35:09,080
Speaker 2: Oh man, so good, so good. I loved ever been

1792
01:35:09,160 --> 01:35:13,240
Speaker 2: of this film, even more bonkers than I remember. It's

1793
01:35:13,280 --> 01:35:19,280
Speaker 2: got some very fun performances in it, lots of cat action. Yeah,

1794
01:35:19,560 --> 01:35:22,280
Speaker 2: don't listen to the critics from the early nineties. They

1795
01:35:22,280 --> 01:35:23,600
Speaker 2: didn't know what they add.

1796
01:35:23,800 --> 01:35:26,880
Speaker 3: Any more business to address about sleepwalkers before we wrap

1797
01:35:26,920 --> 01:35:27,519
Speaker 3: it up today.

1798
01:35:27,760 --> 01:35:31,320
Speaker 2: Oh man, I don't know. We probably didn't do the

1799
01:35:31,439 --> 01:35:34,519
Speaker 2: terminator rampage complete justice because it is just it just

1800
01:35:34,520 --> 01:35:36,840
Speaker 2: comes out of nowhere and then it doesn't stop. Yes,

1801
01:35:36,840 --> 01:35:41,960
Speaker 2: and yeah, the corn cob stabbing, picket fencing, finger eating.

1802
01:35:42,560 --> 01:35:45,760
Speaker 2: There's a lot of cool telekinesis and her you think

1803
01:35:45,800 --> 01:35:47,639
Speaker 2: that her son is dead and she's like, you must

1804
01:35:47,680 --> 01:35:50,320
Speaker 2: dance with him, and she's gonna, like, at first, it

1805
01:35:50,320 --> 01:35:52,960
Speaker 2: seems like she's gonna telekinetically resurrect him and just kind

1806
01:35:53,000 --> 01:35:54,880
Speaker 2: of puppet him around and make her dance with him.

1807
01:35:54,880 --> 01:35:58,040
Speaker 2: But then he revives to some extent. So there's a

1808
01:35:58,120 --> 01:36:02,200
Speaker 2: lot of a lot of even kingsy horror packed into

1809
01:36:02,240 --> 01:36:04,080
Speaker 2: those last twenty minutes or so.

1810
01:36:04,479 --> 01:36:05,720
Speaker 4: Yeah, they kind of.

1811
01:36:07,479 --> 01:36:09,400
Speaker 3: When she first shows up and is like trying to

1812
01:36:09,400 --> 01:36:12,200
Speaker 3: make Charles dance with her, it's kind of Texas chainsaw

1813
01:36:12,240 --> 01:36:14,280
Speaker 3: like Grandpa was a one hitter kind of stuff.

1814
01:36:14,360 --> 01:36:14,559
Speaker 2: Yeah.

1815
01:36:14,600 --> 01:36:17,720
Speaker 3: Yeah, but no, I think Charles is still alive. They

1816
01:36:17,840 --> 01:36:20,000
Speaker 3: kind of they're kind of faking her out right, like

1817
01:36:20,520 --> 01:36:23,360
Speaker 3: he does sort of end up sucking the purple juice out.

1818
01:36:23,439 --> 01:36:24,720
Speaker 2: I mean, I feel like he's about dead.

1819
01:36:25,160 --> 01:36:26,439
Speaker 4: Yeah, yeah, he is about dead.

1820
01:36:26,520 --> 01:36:31,360
Speaker 2: Yeah, but a little soul sucking would fix things if

1821
01:36:31,400 --> 01:36:34,000
Speaker 2: they were able to pull it off. But thankfully they

1822
01:36:34,040 --> 01:36:35,519
Speaker 2: are not able to do so.

1823
01:36:35,560 --> 01:36:39,960
Speaker 3: Tanya keeps her soul and gains a new friend in Clovis. Yeah,

1824
01:36:40,560 --> 01:36:43,400
Speaker 3: unclear if her to be a little more bid, if

1825
01:36:43,400 --> 01:36:45,679
Speaker 3: her family is still alive. I don't think they result

1826
01:36:45,800 --> 01:36:47,960
Speaker 3: Her parents are at least what.

1827
01:36:48,240 --> 01:36:50,240
Speaker 2: They did not. Yeah, we didn't get a clear I

1828
01:36:50,280 --> 01:36:53,040
Speaker 2: think we see Dad is still breathing. Mom is like

1829
01:36:53,080 --> 01:36:56,520
Speaker 2: in a heap on the in the front yard. Who knows. Yeah,

1830
01:36:56,640 --> 01:36:59,400
Speaker 2: it's possible that some some cats came in to like

1831
01:36:59,439 --> 01:37:02,840
Speaker 2: lick them back back into back to health. You know,

1832
01:37:02,880 --> 01:37:05,240
Speaker 2: because the cats are on the case. It's possible.

1833
01:37:05,880 --> 01:37:06,880
Speaker 4: Oh, they can't say.

1834
01:37:07,280 --> 01:37:10,080
Speaker 3: If you've ever seen Catwoman with Halle Berry, cats can

1835
01:37:10,240 --> 01:37:13,200
Speaker 3: save you from mortal wounds, sort of climbing up on

1836
01:37:13,240 --> 01:37:14,400
Speaker 3: you and breathing in your face.

1837
01:37:14,479 --> 01:37:17,720
Speaker 2: It's close enough. I'll accept it. Yeah, I guess my

1838
01:37:17,840 --> 01:37:23,080
Speaker 2: hope here Clovis survives, Tanya survives. I think what happens

1839
01:37:23,200 --> 01:37:26,439
Speaker 2: clearly is that Tanya is going to go on to

1840
01:37:26,560 --> 01:37:30,960
Speaker 2: coach a women's basketball team, and Clovis is going to

1841
01:37:31,040 --> 01:37:33,800
Speaker 2: be the mascot, and somewhere out there in the world

1842
01:37:34,000 --> 01:37:38,480
Speaker 2: there is one more surviving Sleepwalker, and that sleepwalker wants revenge.

1843
01:37:38,840 --> 01:37:41,040
Speaker 2: I don't know where the rest goes. We'll have to

1844
01:37:41,160 --> 01:37:43,519
Speaker 2: ask Tabitha King about that, but I want to see it.

1845
01:37:43,880 --> 01:37:44,840
Speaker 4: That's good though.

1846
01:37:44,880 --> 01:37:47,880
Speaker 3: I thought you were going to say Tanya becomes like Buffy,

1847
01:37:47,880 --> 01:37:51,439
Speaker 3: the vampire slayer, but the Sleepwalker slayer, she has to

1848
01:37:51,520 --> 01:37:53,479
Speaker 3: hunt them all around. I guess in Buffy they always

1849
01:37:53,520 --> 01:37:55,280
Speaker 3: come to her. They come to her town, don't they.

1850
01:37:55,479 --> 01:37:57,439
Speaker 2: Yeah, yeah, I mean it works out like they were

1851
01:37:57,439 --> 01:37:59,800
Speaker 2: over a hell mouth, so it makes sense. All right. Well,

1852
01:37:59,840 --> 01:38:04,280
Speaker 2: that is Stephen King's sleep Walkers. Obviously, we'd love to

1853
01:38:04,320 --> 01:38:07,760
Speaker 2: hear from everyone out there regarding this film, but also

1854
01:38:08,000 --> 01:38:11,160
Speaker 2: Stephen king movies in general. What are some of your favorites,

1855
01:38:11,880 --> 01:38:15,080
Speaker 2: Do you have some guilty pleasures and so forth? All

1856
01:38:15,120 --> 01:38:17,960
Speaker 2: of that is fair game. We'd like to remind everyone

1857
01:38:17,960 --> 01:38:20,040
Speaker 2: out there that Stuff to Blow Your Mind is primarily

1858
01:38:20,040 --> 01:38:23,080
Speaker 2: a science and culture podcast with core episodes on Tuesdays

1859
01:38:23,080 --> 01:38:26,000
Speaker 2: and Thursdays. On Wednesdays we do a short form episode,

1860
01:38:26,000 --> 01:38:28,400
Speaker 2: and on Fridays we set aside most serious concerns to

1861
01:38:28,520 --> 01:38:31,680
Speaker 2: just talk about a weird film here on Weird House Cinema.

1862
01:38:31,800 --> 01:38:34,880
Speaker 2: You can follow us on Instagram at STBYM podcast. It's

1863
01:38:34,880 --> 01:38:36,840
Speaker 2: a great way to keep track of what's coming out,

1864
01:38:37,360 --> 01:38:40,320
Speaker 2: you know, certainly follow us wherever you get your podcast episodes,

1865
01:38:40,439 --> 01:38:41,840
Speaker 2: and if you just want to keep up with Weird

1866
01:38:41,840 --> 01:38:45,080
Speaker 2: House Cinema, we're on letterboxed. Our user name there is

1867
01:38:45,120 --> 01:38:47,680
Speaker 2: weird House. Follow us and you can see all the

1868
01:38:47,680 --> 01:38:49,759
Speaker 2: movies we've covered over the years, and sometimes a peek

1869
01:38:49,760 --> 01:38:50,759
Speaker 2: at what's coming next.

1870
01:38:51,200 --> 01:38:54,959
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1871
01:38:55,200 --> 01:38:56,720
Speaker 3: If you would like to get in touch with us

1872
01:38:56,800 --> 01:38:59,240
Speaker 3: with feedback on this episode or any other, to suggest

1873
01:38:59,320 --> 01:39:01,200
Speaker 3: topic for the few future, or just to say hello,

1874
01:39:01,360 --> 01:39:04,000
Speaker 3: you can email us at contact at stuff to Blow

1875
01:39:04,040 --> 01:39:12,040
Speaker 3: your Mind dot com.

1876
01:39:12,160 --> 01:39:15,120
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1877
01:39:15,200 --> 01:39:18,000
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1878
01:39:18,120 --> 01:39:20,880
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