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

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

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

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Speaker 3: we're going to be talking about the nineteen fifty eight

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Speaker 3: sci fi horror movie I Married a Monster from Outer Space,

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Speaker 3: directed by longtime Hollywood film editor Gene Fowler Junior, starring

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Speaker 3: Gloria Talbot and Tom Tryan spoiler warning. As always, I

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Speaker 3: figure we should put that right at the top. If

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Speaker 3: you're new to this show. We always end up talking

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Speaker 3: about the plot in some pretty extreme detail. So if

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Speaker 3: you want to go into this movie unspoiled, go check

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Speaker 3: it out. Now. I know it's a few decades late

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Speaker 3: now on that, but you know you still have the

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Speaker 3: chance if you want to pause here and go watch

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Speaker 3: the movie. I don't know where the best place to

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Speaker 3: start is, but maybe with the title I Married a

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Speaker 3: Monster from Outer Space that the wordiness of the title

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Speaker 3: really catches up with you when you're like typing it

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Speaker 3: a lot in the notes. It's one of those fifties

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Speaker 3: movies with an overly descriptive title, and yet unlike a

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Speaker 3: lot of these movies with really wordy titles. It's not

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Speaker 3: misleading like It Conquered the World. This one is wordy,

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Speaker 3: but as a plot summary, it's right on the money.

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Speaker 2: Yeah, this is exactly how it goes down.

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Speaker 3: Yeah. So the story is about a young woman named

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Speaker 3: Marge who begins to suspect that her very hunky new

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Speaker 3: husband Bill may actually be an alien in disguise, and

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Speaker 3: he is. This was a new movie for me. I

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Speaker 3: just saw it for the first time over the weekend.

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Speaker 3: I watched it with Rachel, and I was really pleasantly surprised.

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Speaker 3: I kind of picked it because, for one thing, because

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Speaker 3: of the funny title, and also because you know, I'd

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Speaker 3: read some people online saying it was worth a look.

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Speaker 3: I thought it was actually really good. There are definitely

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Speaker 3: some dated and goofy elements, and I'm excited to talk

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Speaker 3: about those as well. One of the funniest parts of

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Speaker 3: it being that you can literally never tell what time

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Speaker 3: it's supposed to be in the movie, because it's obviously

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Speaker 3: the middle of the night. Characters are asleep and they

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Speaker 3: get up out of bed and leave the house, but

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Speaker 3: it's shot in broad daylight. But the movie really does

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Speaker 3: hit hard on multiple levels. I think it's got a

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Speaker 3: quite strong script with pretty tight plotting that is smart

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Speaker 3: and interesting in several ways that we can talk about

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Speaker 3: as we go on. I think has really good central performances,

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Speaker 3: especially by Gloria Talbot and Tom Tryan. It has some

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Speaker 3: fantastic for the time visual effects. I'm thinking particularly of

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Speaker 3: the blooming smoke which steals men's souls. And I really

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Speaker 3: like the creature suits that we see as well. The

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Speaker 3: heads are somehow a combination of the Darth Vader helmet

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Speaker 3: with a cypress root. Paul It's kind of radiation suit

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Speaker 3: meets a vascular plant. So this all comes together and

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Speaker 3: makes for I think a really effective little film.

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Speaker 2: Absolutely, Yeah, I Married a Monster from Outer Space is

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Speaker 2: really solid. My first exposure to this movie, as with

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Speaker 2: a lot of classic B movies, came via nineteen eighty

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Speaker 2: two's It Came from Hollywood, which, well, if you're not

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Speaker 2: familiar with it, it was a clip field celebration of

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Speaker 2: classic Hollywood weirdness and some classic Hollywood awfulness with mild

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Speaker 2: riffing and some comedic skits by Dan Aykroyd, John Candy,

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Speaker 2: Cheech and Chong and then Gilda Radner they're all to

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Speaker 2: varying degrees very funny. No, not all the humors as

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Speaker 2: aged super well, but a lot of it is still

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Speaker 2: pretty solid, I do.

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Speaker 3: As far as the riffing goes, I don't think you

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Speaker 3: can do much better than we just sprayed for brains

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Speaker 3: last week.

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Speaker 2: Yeah, there's some good riffing in here, pre msd riffing.

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Speaker 2: But there were some clips from I Married a Monster

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Speaker 2: from Outer Space in it came from Hollywood, and the

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Speaker 2: monsters like really resonating. You're being bombarded with all these

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Speaker 2: different space monsters during these segments of this film. But

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Speaker 2: there was something about these that really stood out, this

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Speaker 2: kind of something about the sublime melding of black and

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Speaker 2: white photographic effects, solid costume work really had that kind

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Speaker 2: of classic Outer limits vibe to the creatures and so

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Speaker 2: much later on. I don't even remember when exactly I

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Speaker 2: did seek it out and I watched it in full,

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Speaker 2: but it was it wasn't as dedicated to viewing as

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Speaker 2: I gave it this week. So I remember watching it,

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Speaker 2: digging the effects and being like, oh, yeah, these effects

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Speaker 2: are really good, maybe laughing at some of the outdated elements,

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Speaker 2: but this time around, yeah, I thought the special effects

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Speaker 2: absolutely held up, but I was even more impressed with

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Speaker 2: everything else, particularly the lead performances and its thoughtful sci

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Speaker 2: fi treatment of distance and alienation within a married relationship.

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Speaker 3: Yeah, I would agree with all of that. Now, I

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Speaker 3: did want to talk about the movie's title a little

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Speaker 3: bit more, because it is not just wordy or overly descriptive.

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Speaker 3: It's actually an example of a recurring format. It's kind

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Speaker 3: of a meme title style, this confessional title that starts

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Speaker 3: with the word I. Other examples being things like I

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Speaker 3: was a shoplifter or I was a teenage werewolf, which

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Speaker 3: is actually was by the same director as today's movie.

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Speaker 3: It was from the year before. So I got interested

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Speaker 3: in this and I was looking to see if anybody

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Speaker 3: had written about where this meme title format originally came from.

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Speaker 3: And I found an interesting analysis in an article it's

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Speaker 3: actually about this film about I Married a Monster from

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Speaker 3: outer Space on Turner Classic Movies by Richard Harlan Smith,

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Speaker 3: and Smith explains as follows quote. Tabloid magazines enjoyed a

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Speaker 3: veritable golden age in the United States after the Second

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Speaker 3: World War, at a time when economic prosperity wetted. A

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Speaker 3: ravening national appetite for gossip, whether the subjects were unfortunate

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Speaker 3: nobody's or celebrity scandal magnets. Americans appreciated having the inside

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Speaker 3: scoop or the illusion thereof, particularly when spilled first person

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Speaker 3: singular within the pages of confidential whisper or the National Inquirer.

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Speaker 3: In Hollywood, the movies began to reflect this voyeuristic bent

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Speaker 3: with brazenly confessional titles along the lines of I was

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Speaker 3: a criminal from nineteen forty five, I was a male

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Speaker 3: warbride nineteen forty nine, and I was a shoplifter nineteen fifty.

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Speaker 3: So Smith is arguing here that it begins in nineteen

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Speaker 3: forties tabloids and gossip magazines. It's this phrasing that offers

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Speaker 3: a kind of lurid intimacy, like I'm going to tell

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Speaker 3: you a secret and it's going to be shocking. So

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Speaker 3: first it is a type of tabloid headline, and then

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Speaker 3: that format, or that sensibility at least, is brought over

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Speaker 3: into the marketing of films. So Smith goes on to

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Speaker 3: say that over time these I was a something films

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Speaker 3: tend to become more shocking and also more specific, and

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Speaker 3: they really start to focus on Weird Secrets about or

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Speaker 3: from within a marriage quote. In nineteen forty two, both

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Speaker 3: I Married an Angel and I Married a Witch posited

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Speaker 3: happy fantasy unions of humans and otherworldly creatures of uncommon beauty.

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Speaker 3: By the end of the decade, however, the mood had

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Speaker 3: darkened considerably, though their titles would be changed for theatrical release.

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Speaker 3: I Married a Communist aka the woman on Peer thirteen

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Speaker 3: from nineteen forty nine. That's a film noir. And also

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Speaker 3: I Married a dead Man aka no Man of her

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Speaker 3: Own from nineteen fifty broached a connubial incompatibility of epic proportions,

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Speaker 3: a marital malaise that reached its apotheosis in nineteen fifty

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Speaker 3: eight with I Married a Monster from outer Space.

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Speaker 2: Yeah. Yeah, this whole legacy of I Married a blank film,

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Speaker 2: it's pretty fascinating. I did read that I Married a

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Speaker 2: Communist was the initial title for Peer thirteen, then the

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Speaker 2: kind of the woman from on Peer thirteen, and then the kind.

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Speaker 3: Of backed off of it.

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Speaker 2: I guess audiences didn't like it as much, but but

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Speaker 2: in general, like you can definitely see the power of it.

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Speaker 2: You know, this this kind of the bait is that

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Speaker 2: there's a. You know, the will the would be filmgoer

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Speaker 2: is gonna have to contemplate the change and identity within

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Speaker 2: the confines of a married relationship. Uh, in a kind

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Speaker 2: of promisingly evocative way. So like that sweet loving person

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Speaker 2: that I married, Oops, they're actually a dracula, They're actually

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Speaker 2: a franket, stuff, and so forth.

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Speaker 3: Yeah, you can see why it's a successful pitch. It

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Speaker 3: packages a lot into a few words. It Uh, it

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Speaker 3: implies automatically relationship stakes and drama, human drama. Like you

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Speaker 3: can see how there I married a blank always seems

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Speaker 3: to imply surprise of some kind, which implies deception, which

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Speaker 3: you know, is something that the characters are going to

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Speaker 3: have to work through. So that's guaranteed drama on the

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Speaker 3: front end. And then also, of course I'm married a whatever.

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Speaker 3: Even if it's not going to be explicit, it implies

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Speaker 3: that there will be something about sex, you know, it

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Speaker 3: just like conjures the idea of sexual union into the mind.

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Speaker 3: Well yeah, like even sexual secrets will be discovered.

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Speaker 2: Yeah, Like even in this picture, which again is fifty

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Speaker 2: eight very much a bedroom door closed picture, still the

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Speaker 2: idea of sex and the idea of human reproduction is

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Speaker 2: very much an important part of the film. It just

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Speaker 2: is alluded to, you know, at times, you know, very

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Speaker 2: very chastily, very clinically in some regards. It's happening in

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Speaker 2: the background, but is absolutely essential to the plot.

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Speaker 3: I agree this movie is not very explicit in any way.

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Speaker 3: I mean, certainly not visually explicit, but the sexual and

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Speaker 3: reproductive themes of it are definitely central and one of

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Speaker 3: the strongest elements. Actually. Yeah, So this film I Married

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Speaker 3: a Monster from Outer Space was originally released as part

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Speaker 3: of a double feature with The Blob. Could you have

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Speaker 3: guessed the weird pairing, isn't it?

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Speaker 2: It's a great pairing, though. Imagine getting to see two

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Speaker 2: classics like this back to back. I mean, assuming you

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Speaker 2: were there to actually watch the film and not make out.

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Speaker 2: Some people were there to watch the film though.

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Speaker 3: I Married a Monster was originally supposed to be the

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Speaker 3: A film, with The Blob running second, but reactions from

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Speaker 3: test audiences made Paramount decide to flip the bill, so

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Speaker 3: I Married became the b title. If you ask me,

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Speaker 3: I've seen them both, I would argue that I Married

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Speaker 3: a Monster from Outer Space is the better of the

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Speaker 3: two movies, at least in terms of writing and acting

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Speaker 3: in cinematography. No slam in the Blob, but I think

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Speaker 3: this is the stronger film. But reports from the time

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Speaker 3: are that the Blob won out because it was in color.

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Speaker 3: It's hard to beat colored. This is what the teenagers

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Speaker 3: wanted at the time. Even if you have a lot

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Speaker 3: of other stuff going for you, if you're in black

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Speaker 3: and white, it's just hard to compete.

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Speaker 2: Yeah, yeah, the Blob is pretty brilliant in color. And yeah,

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Speaker 2: the Blob is an Alzheimer Steve McQueen star jelly. That

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Speaker 2: great title sequence with the Bert Backerac theme song, you know,

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Speaker 2: it establishes that there's a party that's about to happen.

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Speaker 2: So for the driving especially, that makes sense. But I'd

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Speaker 2: agree that I Married a Monster Is is a far

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Speaker 2: more contemplative work with effects that I think stand up

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Speaker 2: even better. I don't know, it's kind of hard to

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Speaker 2: compare because we're used to the Blob. The Blob has

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Speaker 2: kind of like a bigger pop culture shadow. But yeah,

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Speaker 2: the effects in this film are terrific, and at the

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Speaker 2: very least are in their own way, on par with

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Speaker 2: the Blog.

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Speaker 3: In this movie, they're terrific, but they're more modest. I

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Speaker 3: mean The Blob is an effects centric film, and this

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Speaker 3: is not. This is a tense, frightening, little relationship drama

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Speaker 3: with you know, aliens and alien special effects woven in. Yeah.

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Speaker 3: So if you've seen a bunch of other sci fi

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Speaker 3: horror movies from the drive in era, you will probably

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Speaker 3: not be very surprised by the core plot or premise

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Speaker 3: of the movie. I would say this one actually makes

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Speaker 3: use of two different alien invasion premises that were popular

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Speaker 3: at the time that you'll find in other films. So

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Speaker 3: maybe we should talk about both of them and how

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Speaker 3: they kind of work into the themes of this movie,

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Speaker 3: and how they work into themes of other movies, and

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Speaker 3: then how they work in differently in this one. So

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Speaker 3: one of these plot types is the aliens in human

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Speaker 3: skin plot. The premise is that the alien invasion is covert,

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Speaker 3: not over, so it's not a flying saucer attacking Washington.

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Speaker 3: It's you know, the aliens are blending in with us.

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Speaker 3: They're trying to seize power by blending in with human

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Speaker 3: society and pretending to be us or acting through us.

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Speaker 3: And this can take several forms. Sometimes these movies have

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Speaker 3: a kind of puppeteering premise where aliens take control of

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Speaker 3: human bodies directly, either through technology like a mind control

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Speaker 3: ray or by taking up residents inside us as some

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Speaker 3: kind of parasite. I think of the brain eaters. You know,

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Speaker 3: we've done plenty of movies like this. And then the

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Speaker 3: other major version is body duplication or body snatching, where

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Speaker 3: aliens copy the appearance of an earthling but remain themselves

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Speaker 3: on the inside.

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Speaker 2: And these are both. These are these are great choices

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Speaker 2: to make, especially with a scrappier B movie budget, right,

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Speaker 2: because you can if you can afford monster effects that

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Speaker 2: look pretty good, great, you can use them, but you

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Speaker 2: can use them sparingly. And if you've got actors who

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Speaker 2: are even just halfway decent at their job, you're gonna

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Speaker 2: be able to lean on those performances more and not

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Speaker 2: have to worry about what kind of you know, plaster

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Speaker 2: goop is attached to their faces.

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Speaker 3: Yeah, and of course you get instant tension and drama

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Speaker 3: from the idea of someone pretending to be something they're not.

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Speaker 2: Yeah, it absolutely works.

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Speaker 3: So a lot of these body snatching movies from the

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Speaker 3: fifties are now interpreted. I was actually wondering about this.

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Speaker 3: I should have looked it up before we recorded how

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Speaker 3: often it was interpreted this way at the time, but

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Speaker 3: at least retrospectively, they're now interpreted as Cold war paranoia,

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Speaker 3: you know, consciously or unconsciously expressing fears about communist infiltration,

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Speaker 3: Like they look just like your neighbors and your coworkers,

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Speaker 3: but secretly they are Red spies. You know, they're subversives

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Speaker 3: trying to destroy your way of life. I have seen

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Speaker 3: a few comments online that seem to casually lump I

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Speaker 3: married a monster from outer space in with those other

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Speaker 3: movies like, oh, it is another cold war political paranoia

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Speaker 3: body snatching movie, you know, assuming it's about fears of

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Speaker 3: secret political infiltration. I really don't agree with that reading.

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Speaker 3: I think the themes of identity and mistrust raised by

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Speaker 3: the body snatching plot here are actually in service of

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Speaker 3: a different constellation of ideas, mostly related to sex and gender.

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Speaker 3: Actually that and actually I'll come back to this in

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Speaker 3: a second, but the same ideas are raised by the

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Speaker 3: second main familiar sci fi premise this movie uses, which

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Speaker 3: is the reproductive conspiracy.

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Speaker 2: Yeah, yeah, I agree that this film seems mostly concerned

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Speaker 2: with relationships and distance in those relationships, and there are

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Speaker 2: various ways you can interpret that. I've noticed some online

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Speaker 2: re examining this film in terms of closeted nineteen fifty

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Speaker 2: sexual identity and orientation, and I can see where those

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Speaker 2: connections can be strongly made with a lot of it,

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Speaker 2: I think, hinging on what we now know about star

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Speaker 2: Tom Tryan's closet homosexuality, at least as far as his

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Speaker 2: public persona was concerned as first an actor and then

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Speaker 2: as a writer.

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Speaker 3: I would be interested to read about that. I would say,

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Speaker 3: I don't know at the surface level if I see

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Speaker 3: that kind of content intended within the film itself, but

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Speaker 3: maybe I don't know. Yeah, yeah, but anyway, So the

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Speaker 3: other thing that is, like a common type of fifties

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Speaker 3: sci fi horror movie plot that appears here is the

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Speaker 3: reproductive conspiracy. So the idea is space aliens have lost

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Speaker 3: the ability to reproduce sexually on their own. Often these

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Speaker 3: plots are because one of the sexes has been wiped

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Speaker 3: out by a catastrophe, so they decide they need to

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Speaker 3: mate with humans in order to continue their line. We

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Speaker 3: have covered several movies like this before, though always sillier

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Speaker 3: versions like Ship of Monsters from nineteen sixty. Actually one

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Speaker 3: of my favorite movies we've ever done on the show.

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Speaker 2: Yeah, love, and I can't believe you're arguing that it's

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Speaker 2: not serious.

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Speaker 3: Well, yeah, it's It's seriousness is masked by the heart

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Speaker 3: of a clown. There's that one. And then also Devil

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Speaker 3: Girl from Mars, which is less overtly silly than Ship

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Speaker 3: of Monsters, but is still pretty silly.

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Speaker 2: Yeah, it has a certain amount of cant to it.

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Speaker 3: Yeah. I would say that the reproductive plot in I

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Speaker 3: Married a Monster from Outer Space feels significantly more serious

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Speaker 3: and frightening than it does in those two movies, which

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Speaker 3: is partly due to just approach, you know, differences in

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Speaker 3: the writing like those movies are sillier, but also because

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Speaker 3: of the swap to gender dynamics, like in those movies

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Speaker 3: women from space need earth Men, which is usually played

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Speaker 3: for comedy in the movies. In I Married a Monster

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Speaker 3: from Outer Space, men from space are trying to have

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Speaker 3: offspring with Earth women, which that premise tends to create

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Speaker 3: a darker and more threatening tone. And I think I

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Speaker 3: think also in an interesting way, indirectly racist theme of

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Speaker 3: sexual autonomy and reproductive rights for women. I don't want

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Speaker 3: to overstate that element or overstate the feminist credentials of

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Speaker 3: this film. Because it is a drive in movie from

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Speaker 3: nineteen fifty eight, You're not going to get explicit discussion

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Speaker 3: of stuff like that on screen, but it does, I think,

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Speaker 3: raise those ideas in an interesting and provocative way. And

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Speaker 3: I think one cool power of speculative genres like science

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Speaker 3: fiction and horror is that within them you can sometimes

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Speaker 3: raise questions by implication and analogy which might not be

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Speaker 3: given a fair hearing by the same audience if you

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Speaker 3: just brought them up directly.

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Speaker 2: Yeah. Yeah, I think that's a great point, and I

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Speaker 2: would agree that it is treated with I mean that

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Speaker 2: this is saying men, but it is treated with a

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Speaker 2: lot more seriousness than say nineteen sixty eight's Mars Needs

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Speaker 2: Women or sixty fives Frankenstein Meets the Space Monster, in

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Speaker 2: which you have like bikini ladies brought into parade before

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Speaker 2: the Martian overlords so forth.

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Speaker 3: I guess, yeah, there are some movies like that that

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Speaker 3: also just treat it for comedy. Sometimes that for some

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Speaker 3: reason feels just more in bad taste.

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Speaker 2: Yea, we may have to come back to Frankenstein Meets

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Speaker 2: the Space Monster. Though there's a lot of as I

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Speaker 2: recall there's a lot of canned footage in there of

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Speaker 2: like planes and rockets and whatnot, but also some legitimately

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Speaker 2: goofy weirdness.

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Speaker 3: Is that the one with the bald guy with the

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Speaker 3: pointy ears.

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Speaker 2: Yeah, yeah, he's another one that I remember mostly from

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Speaker 2: it came from Hollywood.

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Speaker 3: Yeah, But anyway, I think maybe we can talk a

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Speaker 3: bit more about these themes when we get into the

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Speaker 3: plot section later in the episode.

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Speaker 2: Yeah. Yeah, I'm just going to throw out here real quick.

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Speaker 2: We've been doing Weird House Cinema for a few years now.

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Speaker 2: You can find all those episodes in the audio archive

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Speaker 2: wherever you get your podcast. We cover movies from different decades.

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Speaker 2: This is our twenty third Weird House Cinema selection from

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Speaker 2: the nineteen fifties, and I often will look and see, well,

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Speaker 2: what did Michael Weldon have to say about this film

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Speaker 2: and psychotronic Encyclopedia film or it's companion book, and he

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Speaker 2: describes this one as quote an overlooked, well made science

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Speaker 2: fiction hit that should appeal especially to women. I mean, yes,

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Speaker 2: but I mean I think it would appeal to everybody.

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Speaker 2: It's it's a pretty solid film, all right, Joe, do

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Speaker 2: you have an elevator pitch.

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Speaker 3: The title is already an elevator pitch. But yeah, the

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Speaker 3: other one is just what time is it? Totally unclear?

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Speaker 2: Yeah, yeah, is it day?

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Speaker 3: Is it night?

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Speaker 2: Sometimes there are there's some strong hints, like, well, they're

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Speaker 2: having a picnic outside surrounded by the people. It has

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Speaker 2: to be daytime.

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Speaker 3: The only business that's opened seems to be the bar,

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Speaker 3: so I think it's night.

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Speaker 2: Yeah, you're wearing your nightgown. Must be night. Though the

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Speaker 2: nightgowns of the late nineteen fifties are not that now

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Speaker 2: it's harder for us to necessarily distinguish if this is

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Speaker 2: a nightgown or this is a dayware. So yeah, all right.

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Speaker 2: If you were interested in watching I Married a Monster

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Speaker 2: from Outer Space, well, it is widely available. You can

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Speaker 2: stream it or buy it digitally in a number of places,

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Speaker 2: and if you would like to get a little physical

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Speaker 2: media while, it's available on Blu Ray from Imprint as

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Speaker 2: well as Shout Factory. Shout Factory put out a double

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Speaker 2: feature set that also includes nineteen fifty five's Conquest of Space.

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Speaker 2: All right, let's get into the folks behind this film,

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Speaker 2: starting with the director, who was also a producer on

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Speaker 2: this film. That's Gene Fowler Junior, who of nineteen seventeen

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Speaker 2: through nineteen ninety eight. I think we already alluded to

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Speaker 2: his past as an editor. He was actually an Academy

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Speaker 2: Award nominated film editor or would become one for nineteen

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Speaker 2: sixty four's It's a Mad, Mad, Mad Mad World. He

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Speaker 2: worked primarily as an editor of TV and film from

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Speaker 2: about thirty five through nineteen eighty five, but he also

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Speaker 2: directed a series of projects along the way, beginning with

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Speaker 2: the nineteen fifty two TV film China Smith, which spawned

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Speaker 2: a TV series of the same name, which he also directed,

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Speaker 2: and he followed that up with the nineteen fifty seven

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Speaker 2: trend setting hit I Was a Teenage Werewolf, starring a

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Speaker 2: young Michael Landon.

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Speaker 3: According to the Turner Classic Movies Retrospective by Richard Harlan

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Speaker 3: Smith I mentioned earlier, Fowler took the chance to helm

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Speaker 3: I Was a Teenage Werewolf because he wanted to try

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Speaker 3: his hand at directing, and then, based on the title,

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Speaker 3: he assumed nobody was gonna see this movie and he

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Speaker 3: was wrong.

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Speaker 2: Yeah, yeah, And it was a hit. The film was

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Speaker 2: enough of a success, and it hit enough of a

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Speaker 2: nerve with the teen powered pop culture of the day.

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Speaker 2: That it led to multiple mostly unrelated projects looking to

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Speaker 2: cash in on success, and then later It's cult following

401
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Speaker 2: a nostalgia factor, but basically a whole string of teensploystation

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Speaker 2: films followed, and these included Let's See I Was a

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Speaker 2: teenage Frankenstein from fifty seven, The Blood of Dracula from

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Speaker 2: fifty seven, which, despite the rather generic Dracula title, is

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Speaker 2: apparently essentially a teenage vampire movie.

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Speaker 3: Oh that's funny. I would have assumed that has Christopher

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Speaker 3: Lee in it.

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Speaker 2: Yeah, teenage cave Man from fifty eight, Teenagers from Outer

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Speaker 2: Space from fifty nine. That one has some really cool

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Speaker 2: effects in it as well.

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Speaker 3: One that one was on Mystery Science Theater was there's a.

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Speaker 2: There's in particular, the teens look a bit old. These

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Speaker 2: are your you know, your standard issue twenties and thirties teens.

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Speaker 2: But there's a great scene where somebody kills a dog

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Speaker 2: with a ray gun.

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Speaker 3: Points the ray gun at it, and then it just

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Speaker 3: turns into a skeleton. Yeah.

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Speaker 2: Yeah, really solid old time the effect. But yeah. Fowler

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Speaker 2: of though he'd moved on to a handful of nonspecuative

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Speaker 2: genre of films before coming back in fifty eight to

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Speaker 2: him today's film I Married a Monster from Outer Space,

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Speaker 2: which isn't a teen movie, but benefits from that same

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Speaker 2: sort of snappy title composition as we discussed, you know,

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Speaker 2: I Married a blank instantly draws you in.

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Speaker 3: Yeah.

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Speaker 2: So Fowler went on to direct I'll See nineteen fifty

427
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Speaker 2: nine's The Revel Set, also seen on Mystery Science Theater

428
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Speaker 2: three thousand, nineteen fifty nine's Here Come the Jets spoiler

429
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Speaker 2: the Jets are not warm in this case, and various

430
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Speaker 2: TV show episodes. He may have had a hand in

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Speaker 2: a final film, nineteen seventy eight's The Astral Factor later

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Speaker 2: re released as Invisible Strangler starring Robert Foxworth. The workpieces

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Speaker 2: the workpiece, but details on his involvement in that particular

434
00:24:29,720 --> 00:24:31,760
Speaker 2: film are sketchy, so I can't tell he actually had

435
00:24:31,760 --> 00:24:33,520
Speaker 2: anything to do with it, and if he did, do

436
00:24:33,640 --> 00:24:34,359
Speaker 2: what degree.

437
00:24:34,920 --> 00:24:38,320
Speaker 3: Fowler allegedly took the job to direct I Married a

438
00:24:38,320 --> 00:24:41,400
Speaker 3: Monster from Outer Space in part because he was promised

439
00:24:41,440 --> 00:24:46,240
Speaker 3: broad creative freedom. The one stipulation from the financiers was

440
00:24:46,280 --> 00:24:49,520
Speaker 3: that the aliens had to glow, and you know what,

441
00:24:49,640 --> 00:24:52,760
Speaker 3: I'll take that as far as creative metaling goes, I

442
00:24:52,760 --> 00:24:55,240
Speaker 3: think that idea works. It looks good. I like the

443
00:24:55,240 --> 00:24:55,960
Speaker 3: glowing aliens.

444
00:24:56,000 --> 00:24:58,840
Speaker 2: Yeah, as we'll come back to the glowing effect is

445
00:24:58,960 --> 00:25:02,360
Speaker 2: absolutely solid. So they nailed it. They nailed the one

446
00:25:02,400 --> 00:25:04,280
Speaker 2: thing that was required, and then they delivered on pretty

447
00:25:04,320 --> 00:25:07,760
Speaker 2: much everything else as well. All right. The screenplay for

448
00:25:07,800 --> 00:25:10,040
Speaker 2: this film comes to us from Lewis Vittis, who have

449
00:25:10,119 --> 00:25:13,560
Speaker 2: nineteen eleven through nineteen sixty nine. A screenwriter who frequently

450
00:25:13,640 --> 00:25:17,040
Speaker 2: worked with Fowler, including on Jets and Rebel Set. His

451
00:25:17,119 --> 00:25:20,919
Speaker 2: speculative titles include the nineteen sixty four sleepwalking thriller The

452
00:25:21,040 --> 00:25:24,840
Speaker 2: Eyes of Annie Jones and the nineteen fifty seven atomic

453
00:25:24,920 --> 00:25:28,720
Speaker 2: monster film Monster from Green Hell and By the Way

454
00:25:28,960 --> 00:25:31,480
Speaker 2: I Married. A Monster from Outer Space was remade as

455
00:25:31,520 --> 00:25:35,040
Speaker 2: a TV film in nineteen ninety eight, directed by Nancy Malone.

456
00:25:35,840 --> 00:25:38,760
Speaker 2: I have not seen it. I looked at some stills

457
00:25:38,800 --> 00:25:42,639
Speaker 2: from it, and as I expected from a nineteen nineties

458
00:25:42,680 --> 00:25:48,000
Speaker 2: TV film, I wasn't really impressed by what I saw.

459
00:25:48,560 --> 00:25:50,840
Speaker 2: Maybe the film is good, but I'm not so certain

460
00:25:50,840 --> 00:25:51,680
Speaker 2: about those effects.

461
00:25:52,200 --> 00:25:55,199
Speaker 3: Well. The poster for it, which we looked up is

462
00:25:55,280 --> 00:25:58,639
Speaker 3: the poster from Basic Instinct. Both the text and the

463
00:25:58,680 --> 00:26:01,320
Speaker 3: actors swapped out. That's an interesting choice.

464
00:26:01,400 --> 00:26:03,520
Speaker 2: Yeah, I don't know. It's like, this film does such

465
00:26:03,520 --> 00:26:06,320
Speaker 2: a great job with everything that it has, and its

466
00:26:06,320 --> 00:26:10,120
Speaker 2: effects are so stellar, especially for the time. Yeah, it's

467
00:26:11,520 --> 00:26:14,440
Speaker 2: It's a great concept though, and I celebrate the idea

468
00:26:14,520 --> 00:26:16,600
Speaker 2: that it was remade and maybe it is good it.

469
00:26:16,640 --> 00:26:19,240
Speaker 2: Folks out there, if you've seen I Married a Monster,

470
00:26:19,600 --> 00:26:21,840
Speaker 2: the remake of I Married a Monster from outer Space

471
00:26:22,359 --> 00:26:23,680
Speaker 2: right in and let's know what you thought.

472
00:26:24,400 --> 00:26:26,120
Speaker 3: Let's talk about Gloria Talbot, our star.

473
00:26:26,480 --> 00:26:29,400
Speaker 2: Yeah. Yeah, she has second billing, but she's our clear

474
00:26:29,440 --> 00:26:34,040
Speaker 2: protagonist here, Gloria Talbot playing Marge. She lived nineteen thirty

475
00:26:34,040 --> 00:26:37,320
Speaker 2: one through the year two thousand. Nineteen fifties, Brunette Starlett

476
00:26:37,320 --> 00:26:40,800
Speaker 2: perhaps best remembered for her various B movies, which also

477
00:26:40,840 --> 00:26:44,600
Speaker 2: include nineteen fifty seven's The Cyclops as well as Daughter

478
00:26:44,680 --> 00:26:48,080
Speaker 2: of Doctor Jekyl. And then there's nineteen sixties The Leech Woman,

479
00:26:48,320 --> 00:26:51,560
Speaker 2: another film that has been featured on Mystery Science Theater

480
00:26:51,680 --> 00:26:54,160
Speaker 2: three thousand and one that I remember being pretty fun

481
00:26:54,200 --> 00:26:56,159
Speaker 2: and having some legitimately creepy moments in it.

482
00:26:56,760 --> 00:27:00,199
Speaker 3: I want to see Daughter of Doctor Jekyl because for

483
00:27:00,240 --> 00:27:03,880
Speaker 3: several reasons, one of which is that it follows up

484
00:27:03,960 --> 00:27:07,439
Speaker 3: on the premise of Doctor Jekyl and Mister Hyde the novel,

485
00:27:07,960 --> 00:27:10,840
Speaker 3: which is that, as you'll recall, doctor Jekyll turns into

486
00:27:10,880 --> 00:27:11,520
Speaker 3: a werewolf.

487
00:27:13,920 --> 00:27:17,119
Speaker 2: Hmm all right, Yeah, there are a lot of I

488
00:27:17,160 --> 00:27:20,520
Speaker 2: feel like when it comes to some of the classic

489
00:27:20,600 --> 00:27:23,440
Speaker 2: literary monsters, Doctor Jekyl and Mister Hyde is one of

490
00:27:23,480 --> 00:27:29,160
Speaker 2: those where interpretations can vary in very specific but very

491
00:27:29,160 --> 00:27:32,040
Speaker 2: interesting ways, Like you can't. I don't know, we need

492
00:27:32,080 --> 00:27:33,800
Speaker 2: to come back at some point and do a jacculine

493
00:27:33,840 --> 00:27:36,720
Speaker 2: Hyde movie. I don't think we've actually done one, but

494
00:27:37,560 --> 00:27:39,400
Speaker 2: there are numerous choices to be made there.

495
00:27:39,840 --> 00:27:40,720
Speaker 3: Maybe this is the one.

496
00:27:40,800 --> 00:27:43,919
Speaker 2: Yeah. She also appeared in a number of Western She

497
00:27:43,960 --> 00:27:46,439
Speaker 2: did a lot of TV work, and that included various

498
00:27:46,480 --> 00:27:49,560
Speaker 2: Western TV properties as well. But I have to say

499
00:27:49,640 --> 00:27:53,320
Speaker 2: she's pretty great in this. I thought, yeah, perfectly wonderful

500
00:27:53,359 --> 00:27:57,760
Speaker 2: performance and while at the same time delivering on sort

501
00:27:57,760 --> 00:28:02,400
Speaker 2: of that nineteen fifties starling eye candy as well. Obviously

502
00:28:02,720 --> 00:28:07,879
Speaker 2: gorgeous woman opposite gorgeous lead male performance. Is that necessary

503
00:28:07,920 --> 00:28:10,320
Speaker 2: for a film, Well, if you're going to if it's

504
00:28:10,320 --> 00:28:12,320
Speaker 2: a nineteen fifties drive in it's kind of like, that's

505
00:28:12,320 --> 00:28:14,960
Speaker 2: the idea, these two will kiss, don't you want to

506
00:28:15,000 --> 00:28:15,320
Speaker 2: see it?

507
00:28:15,760 --> 00:28:18,919
Speaker 3: Yeah, Tom Tryon's hunkiness is its own kind of thing.

508
00:28:19,000 --> 00:28:21,120
Speaker 3: It's a major presence in the film, and I think

509
00:28:21,160 --> 00:28:23,960
Speaker 3: affects how the movie is received. And maybe we should

510
00:28:23,960 --> 00:28:26,320
Speaker 3: come back and talk to that, talk about that later,

511
00:28:26,880 --> 00:28:27,359
Speaker 3: but yes.

512
00:28:27,560 --> 00:28:27,679
Speaker 2: So.

513
00:28:27,720 --> 00:28:31,960
Speaker 3: Gloria Talbot was at least retrospectively known as a scream

514
00:28:32,080 --> 00:28:34,919
Speaker 3: queen of the fifties. She did a number of horror movies,

515
00:28:34,960 --> 00:28:39,880
Speaker 3: and apparently Talbot said in interviews that she considered working

516
00:28:39,920 --> 00:28:43,120
Speaker 3: on this movie a significant step up in her career.

517
00:28:43,640 --> 00:28:45,960
Speaker 3: Both of the horror movies she did in fifty seven

518
00:28:46,000 --> 00:28:49,760
Speaker 3: were very low budget. For example, I was reading some

519
00:28:49,800 --> 00:28:53,360
Speaker 3: stories about the production of The Daughter of Doctor Jekyl.

520
00:28:53,840 --> 00:28:57,160
Speaker 3: According to Talbot, the majority of the production took place

521
00:28:57,200 --> 00:29:00,520
Speaker 3: at somebody's house, and in the final film you could

522
00:29:00,560 --> 00:29:03,800
Speaker 3: occasionally see cars driving by in the street outside through

523
00:29:03,840 --> 00:29:05,720
Speaker 3: the windows, and the movie's supposed to take place in

524
00:29:05,800 --> 00:29:10,960
Speaker 3: like nineteen ten. Her other movie from fifty seven, The Cyclops,

525
00:29:11,160 --> 00:29:15,160
Speaker 3: was a bert I Gordon feature not regarded as one

526
00:29:15,160 --> 00:29:18,840
Speaker 3: of bert I Gordon's best movies. Mister Big, by the Way,

527
00:29:19,000 --> 00:29:21,880
Speaker 3: directed some other movies we've done in Weird House before

528
00:29:21,920 --> 00:29:24,200
Speaker 3: Attack of the Puppet People and The Magic Sword. We've

529
00:29:24,200 --> 00:29:25,000
Speaker 3: done another one.

530
00:29:25,600 --> 00:29:28,320
Speaker 2: No, I mean, we want to do The Amazing Colossal

531
00:29:28,400 --> 00:29:30,280
Speaker 2: Man at some point, but that one has been just

532
00:29:31,080 --> 00:29:33,960
Speaker 2: very hard to source legitimately for a long time. I

533
00:29:33,960 --> 00:29:37,320
Speaker 2: don't think it's received an official Blu Ray release. You

534
00:29:37,320 --> 00:29:39,400
Speaker 2: can't stream it anywhere. But I really want to come

535
00:29:39,400 --> 00:29:40,200
Speaker 2: back to that one.

536
00:29:40,400 --> 00:29:44,960
Speaker 3: It's in Blu Ray purgatory. Yeah. So by contrast, I

537
00:29:45,000 --> 00:29:48,720
Speaker 3: Married a Monster from Outer Space was a modest, mid

538
00:29:48,720 --> 00:29:53,000
Speaker 3: budget production, and in that article for TCM I mentioned

539
00:29:53,000 --> 00:29:57,760
Speaker 3: earlier by Smith, he mentioned he says that Talbot has

540
00:29:57,800 --> 00:30:01,800
Speaker 3: said she quote appreciated the relative luxury of the Paramount backlot.

541
00:30:03,520 --> 00:30:06,680
Speaker 3: A few more details from that article, which are most

542
00:30:06,720 --> 00:30:09,520
Speaker 3: of which are originally sourced to an interview Gloria Talbot

543
00:30:09,560 --> 00:30:13,560
Speaker 3: gave to the film historian Tom Weaver in nineteen eighty six. Overall,

544
00:30:13,720 --> 00:30:16,120
Speaker 3: she liked the experience of making this movie, and she

545
00:30:16,200 --> 00:30:19,920
Speaker 3: was proud of the final film, but noted a few frustrations.

546
00:30:20,360 --> 00:30:22,840
Speaker 3: One is that during the middle of production she developed

547
00:30:22,840 --> 00:30:26,360
Speaker 3: an absessed tooth ough yikes, and so I was looking

548
00:30:26,440 --> 00:30:29,040
Speaker 3: for that once I knew that detail, Like, can you

549
00:30:29,080 --> 00:30:31,600
Speaker 3: see the pain in any of the scenes. I don't

550
00:30:31,640 --> 00:30:32,880
Speaker 3: know if I can tell that.

551
00:30:32,960 --> 00:30:35,800
Speaker 2: I did not need to know that about my actors, please.

552
00:30:36,040 --> 00:30:37,719
Speaker 3: I don't know if I can tell that from the acting.

553
00:30:37,800 --> 00:30:41,240
Speaker 3: I mean, she is going through pain in some scenes.

554
00:30:41,320 --> 00:30:44,040
Speaker 2: Well, you don't use it if you got it, But yeah,

555
00:30:44,200 --> 00:30:46,040
Speaker 2: I don't need to know about their dental pain.

556
00:30:47,320 --> 00:30:50,440
Speaker 3: She also claims she found the screenwriter Lewis Vittis to

557
00:30:50,480 --> 00:30:54,280
Speaker 3: be something of a stickler. She says he would park

558
00:30:54,360 --> 00:30:57,400
Speaker 3: his body right underneath the camera and watch the actors

559
00:30:57,440 --> 00:30:59,640
Speaker 3: like a hawk to make sure that they did not

560
00:30:59,720 --> 00:31:02,680
Speaker 3: change a single word of his dialogue. Which that is

561
00:31:02,720 --> 00:31:05,480
Speaker 3: an approach, you know, that is maybe not an improv

562
00:31:05,560 --> 00:31:08,320
Speaker 3: friendly set. But uh then again, as a writer, I

563
00:31:08,320 --> 00:31:09,680
Speaker 3: can sympathize somewhat.

564
00:31:09,880 --> 00:31:11,880
Speaker 2: Yeah, yeah, I mean I don't know. I'm always the

565
00:31:11,920 --> 00:31:15,080
Speaker 2: mind like when I when I have written text that

566
00:31:15,160 --> 00:31:18,560
Speaker 2: an actor is going to read, I'm always kind of like,

567
00:31:18,680 --> 00:31:20,320
Speaker 2: is this is this good? I don't know, Like you

568
00:31:20,560 --> 00:31:22,200
Speaker 2: I'm going to pass the ball to you and then

569
00:31:22,240 --> 00:31:24,680
Speaker 2: you score the touchdown with it. That's kind of my approach.

570
00:31:25,200 --> 00:31:28,800
Speaker 2: Maybe I'm just that says more about my uh, you know,

571
00:31:28,920 --> 00:31:33,360
Speaker 2: my relationship with with acting and you know, and and writing.

572
00:31:33,400 --> 00:31:35,560
Speaker 3: But you know, I guess it would just depend what

573
00:31:35,560 --> 00:31:37,480
Speaker 3: they're doing with it, Like, yeah, I feel like they're

574
00:31:37,520 --> 00:31:39,840
Speaker 3: improving it. Oftentimes I would feel that way.

575
00:31:39,920 --> 00:31:42,440
Speaker 2: Yeah, But you know, there's a lot to be said

576
00:31:42,480 --> 00:31:45,000
Speaker 2: of both approaches. You know, Obviously a lot of filmmakers

577
00:31:45,040 --> 00:31:48,600
Speaker 2: have made some wonderful discoveries and created some great content

578
00:31:48,640 --> 00:31:52,840
Speaker 2: by enabling there and allowing their actors to bring stuff

579
00:31:52,840 --> 00:31:56,600
Speaker 2: to life in their own words. But if you're if

580
00:31:56,640 --> 00:31:58,880
Speaker 2: you're more of a script purist, and then you've got

581
00:31:58,880 --> 00:32:00,720
Speaker 2: good company with the likes of the Coe Brothers, who

582
00:32:01,080 --> 00:32:05,160
Speaker 2: pretty famously don't use much in the way of improv

583
00:32:05,240 --> 00:32:07,080
Speaker 2: on the part of their actors and pretty much stick

584
00:32:07,120 --> 00:32:07,680
Speaker 2: to the script.

585
00:32:08,080 --> 00:32:11,880
Speaker 3: Yeah. One final detail from that article is that Talbot

586
00:32:11,920 --> 00:32:15,960
Speaker 3: remembered her co star Tom Tryan playing her husband quote

587
00:32:16,000 --> 00:32:19,600
Speaker 3: as cordial but aloof and that Tryan hated making the film.

588
00:32:20,120 --> 00:32:22,520
Speaker 3: So it's a good experience for her at least as

589
00:32:22,560 --> 00:32:24,920
Speaker 3: far as she remembered, not so fun for him.

590
00:32:24,920 --> 00:32:28,080
Speaker 2: Well, that'll be interesting to contemplate because on one hand,

591
00:32:29,000 --> 00:32:32,120
Speaker 2: maybe he's able to bring that energy into his performance

592
00:32:32,160 --> 00:32:35,200
Speaker 2: because there is this you know this distance to him,

593
00:32:35,240 --> 00:32:38,160
Speaker 2: and there should be, because he is an alien for

594
00:32:38,240 --> 00:32:39,920
Speaker 2: most of the picture. Most of the picture, he is

595
00:32:39,960 --> 00:32:44,720
Speaker 2: an alien pretending to be a human named Bill, and

596
00:32:45,600 --> 00:32:50,800
Speaker 2: while he doesn't hate humanity, he is having an interesting

597
00:32:50,840 --> 00:32:53,600
Speaker 2: time trying to figure out how it works, especially from

598
00:32:53,640 --> 00:32:54,880
Speaker 2: an emotional perspective.

599
00:32:56,120 --> 00:33:00,600
Speaker 3: The character of the alien Bill, I think is really interesting,

600
00:33:00,840 --> 00:33:04,960
Speaker 3: and Tom Tryan's performance is really good. He of course,

601
00:33:05,960 --> 00:33:08,840
Speaker 3: it is valuable to the film that he is an

602
00:33:08,840 --> 00:33:12,960
Speaker 3: incredibly handsome actor, I think, because that changes the way

603
00:33:13,000 --> 00:33:19,040
Speaker 3: this character is received. That he has amid this amid

604
00:33:19,080 --> 00:33:22,520
Speaker 3: this coldness and the problems within the relationship. He does

605
00:33:22,640 --> 00:33:26,680
Speaker 3: have a kind of raw sexual appeal, and that keeps

606
00:33:26,720 --> 00:33:30,160
Speaker 3: things especially weird and complicated when we're working through these

607
00:33:30,200 --> 00:33:34,080
Speaker 3: scenes where he's displaying this coldness or you know, there's

608
00:33:34,160 --> 00:33:36,400
Speaker 3: this threat about what he represents.

609
00:33:36,760 --> 00:33:38,920
Speaker 2: Yeah, and I think one of the great things about

610
00:33:38,920 --> 00:33:41,560
Speaker 2: this film too, is that there's not a point in

611
00:33:41,600 --> 00:33:44,360
Speaker 2: the film where Bill is just like, oh, you got me.

612
00:33:44,440 --> 00:33:46,000
Speaker 2: I'm an alien and now I'm just going to be

613
00:33:46,040 --> 00:33:48,200
Speaker 2: a straight heel for the rest of the picture, Like

614
00:33:48,800 --> 00:33:52,960
Speaker 2: we're we end up in a much more thought provoking area,

615
00:33:53,480 --> 00:33:55,720
Speaker 2: where as we'll discuss you know, it's like his alien

616
00:33:55,800 --> 00:33:59,600
Speaker 2: nature is known, but he's also not like but he's

617
00:33:59,640 --> 00:34:02,880
Speaker 2: also trying to be more human. Like they're trying to

618
00:34:02,880 --> 00:34:04,920
Speaker 2: make it work even though one of them is an

619
00:34:04,920 --> 00:34:10,080
Speaker 2: alien from another planet. Yeah, so yeah. Tom trying Here

620
00:34:10,800 --> 00:34:14,200
Speaker 2: lived nineteen twenty six through nineteen ninety one. Golden Globe

621
00:34:14,239 --> 00:34:17,719
Speaker 2: nominated Actor for nineteen sixty fours The Cardinal. That was

622
00:34:17,800 --> 00:34:20,719
Speaker 2: an Auto Priminger film that co starred John Houston. It

623
00:34:20,800 --> 00:34:23,680
Speaker 2: was an inter war drama that took on various social

624
00:34:23,719 --> 00:34:26,359
Speaker 2: issues as well as the rise of fascism through a

625
00:34:26,440 --> 00:34:31,640
Speaker 2: Catholic lens. It was not a hit. And you know,

626
00:34:31,680 --> 00:34:36,920
Speaker 2: without knowing exactly how career concerns factor and had everything,

627
00:34:36,960 --> 00:34:40,680
Speaker 2: I wonder if Tryan's feelings about this movie might have

628
00:34:40,960 --> 00:34:44,640
Speaker 2: been related to that. Like, you know, in the Hollywood

629
00:34:44,640 --> 00:34:47,640
Speaker 2: of the nineteen fifties, generally speaking, like starring in a

630
00:34:47,719 --> 00:34:50,960
Speaker 2: horror movie or a sci fi film wasn't necessarily like

631
00:34:51,320 --> 00:34:53,640
Speaker 2: you're ascending the latter. I mean sometimes it worked out

632
00:34:53,680 --> 00:34:56,560
Speaker 2: that way. We were talking about the Blob. Steve McQueen. Obviously,

633
00:34:56,640 --> 00:34:59,240
Speaker 2: Steve McQueen went on to much bigger and greater things,

634
00:35:00,280 --> 00:35:03,200
Speaker 2: but it wasn't always seen as you know, a step

635
00:35:03,239 --> 00:35:04,080
Speaker 2: in the right direction.

636
00:35:04,880 --> 00:35:07,080
Speaker 3: Yes, and that wasn't just the nineteen fifties. I mean,

637
00:35:07,120 --> 00:35:09,880
Speaker 3: we were recently talking about actors reflecting on working in

638
00:35:09,880 --> 00:35:14,279
Speaker 3: the in the eighties, when it was still widely believed like, look,

639
00:35:14,280 --> 00:35:16,600
Speaker 3: you do horror movies, you're just not going to be

640
00:35:16,719 --> 00:35:19,439
Speaker 3: in mainstream movies. After that, people don't want to mess

641
00:35:19,440 --> 00:35:21,640
Speaker 3: with you. They think, okay, you're you're dealing in the

642
00:35:21,800 --> 00:35:24,680
Speaker 3: in the weird genres. You know, you're not part of

643
00:35:24,680 --> 00:35:26,200
Speaker 3: what we're doing now. Yeah.

644
00:35:26,200 --> 00:35:28,359
Speaker 2: Absolutely, this in a similar way, It's like they used

645
00:35:28,400 --> 00:35:29,799
Speaker 2: to say that about TV. I was like, oh, you're

646
00:35:29,840 --> 00:35:32,319
Speaker 2: doing TV. Now you're a TV actor. You're done with

647
00:35:32,400 --> 00:35:35,000
Speaker 2: mainstream cinema. And you know, nowadays it's a little more

648
00:35:35,000 --> 00:35:35,759
Speaker 2: complicated than that.

649
00:35:36,400 --> 00:35:39,160
Speaker 3: Yeah. Well, and obviously even at both of these times

650
00:35:39,200 --> 00:35:41,640
Speaker 3: in history, you could find exceptions people who went from

651
00:35:41,640 --> 00:35:43,160
Speaker 3: one to the other. But at least there was a

652
00:35:43,200 --> 00:35:47,440
Speaker 3: wide perception among actors that you know, in the genres

653
00:35:47,480 --> 00:35:49,759
Speaker 3: that's sort of on the downslope, or at least you're

654
00:35:49,800 --> 00:35:51,520
Speaker 3: you're not getting out of that valley.

655
00:35:51,400 --> 00:35:53,840
Speaker 2: Right, especially if you were a star player, if you

656
00:35:53,880 --> 00:35:56,080
Speaker 2: were if you were a featured player, as opposed to

657
00:35:56,080 --> 00:35:59,000
Speaker 2: a character actor who maybe sometimes character actors maybe had

658
00:35:59,000 --> 00:36:00,799
Speaker 2: a little bit more of along jayvity and a little

659
00:36:00,840 --> 00:36:04,480
Speaker 2: bit more ability to move between these sorts of things.

660
00:36:05,320 --> 00:36:10,879
Speaker 2: So Trian was mostly a serious dramatic actor who's only other,

661
00:36:11,000 --> 00:36:14,760
Speaker 2: even faintly horror sci fi related credit was nineteen sixty

662
00:36:14,840 --> 00:36:17,600
Speaker 2: two's Moon Pilot. This was a Disney comedy. This was

663
00:36:17,680 --> 00:36:19,399
Speaker 2: not a serious sci fi film, so it was only

664
00:36:19,480 --> 00:36:23,920
Speaker 2: marginally sci fi. His other credits include nineteen sixties The

665
00:36:23,960 --> 00:36:26,160
Speaker 2: Story of Ruth, sixty two Is The Longest Day, and

666
00:36:26,280 --> 00:36:30,640
Speaker 2: sixty five's In Harm's Way. However, just because he only

667
00:36:31,000 --> 00:36:33,880
Speaker 2: ever acted in one horror movie doesn't mean that he

668
00:36:33,920 --> 00:36:37,680
Speaker 2: didn't have a taste for horror as a genre, because

669
00:36:37,719 --> 00:36:42,120
Speaker 2: apparently the story goes that after he experienced Rosemary's Baby

670
00:36:42,120 --> 00:36:44,440
Speaker 2: in nineteen sixty eight, I think maybe was a combination

671
00:36:44,480 --> 00:36:47,960
Speaker 2: of seeing the film and reading the book, he wrote

672
00:36:48,000 --> 00:36:50,719
Speaker 2: his own horror novel. He switched careers, he dropped out

673
00:36:50,719 --> 00:36:53,800
Speaker 2: of acting, devoted himself to writing, and he wrote nineteen

674
00:36:53,880 --> 00:36:58,120
Speaker 2: seventy one's The Other, a supernatural horror tale about identical

675
00:36:58,160 --> 00:37:03,200
Speaker 2: twins that became a best sell. He adapted it himself

676
00:37:03,280 --> 00:37:07,000
Speaker 2: to screenplay for a film the following year, and you know,

677
00:37:07,080 --> 00:37:10,480
Speaker 2: from that point on just focused on writing. He followed

678
00:37:10,520 --> 00:37:13,719
Speaker 2: that book up with seventy three's Harvest Home, which was

679
00:37:13,719 --> 00:37:16,839
Speaker 2: made into a nineteen seventy eight mini series, The Dark

680
00:37:16,880 --> 00:37:19,960
Speaker 2: Secret of Harvest Home with Betty Davis, and then the

681
00:37:20,080 --> 00:37:23,239
Speaker 2: nineteen seventy eight Billy Wilder movie Fedora, was based on

682
00:37:23,239 --> 00:37:26,400
Speaker 2: one of his short stories. He wrote six more novels,

683
00:37:26,440 --> 00:37:31,000
Speaker 2: culminating with the posthumously released Night Magic in nineteen ninety five.

684
00:37:33,080 --> 00:37:36,279
Speaker 2: So yeah, I think he's pretty great in this. You know,

685
00:37:36,360 --> 00:37:40,040
Speaker 2: whatever attitudes he had about the project, he either uses

686
00:37:40,080 --> 00:37:43,120
Speaker 2: those or you know, gets those out of the way,

687
00:37:43,239 --> 00:37:46,040
Speaker 2: because it's just, you know, a great kind of distant,

688
00:37:46,320 --> 00:37:50,040
Speaker 2: brooding performance for the most part, that also has its own,

689
00:37:50,120 --> 00:37:52,480
Speaker 2: like weird alien heart to it, as we'll discuss. Like

690
00:37:53,920 --> 00:37:57,160
Speaker 2: we reached the point in the picture where he describes

691
00:37:57,520 --> 00:38:00,920
Speaker 2: to Marge that like he doesn't know what love is,

692
00:38:00,960 --> 00:38:02,920
Speaker 2: but he's trying to learn what love is, you know,

693
00:38:02,960 --> 00:38:05,400
Speaker 2: And I don't know you can single that line out

694
00:38:05,400 --> 00:38:07,000
Speaker 2: as being a little hammy, but I thought it was

695
00:38:07,040 --> 00:38:09,520
Speaker 2: pretty pretty strong within the context of the scene.

696
00:38:10,080 --> 00:38:13,280
Speaker 3: Oh, I feel like it only sounds hammy by virtue

697
00:38:13,320 --> 00:38:15,799
Speaker 3: of appearing out of context like this, I think in

698
00:38:15,840 --> 00:38:17,520
Speaker 3: the scene it hits pretty hard.

699
00:38:17,600 --> 00:38:21,360
Speaker 2: Yeah yeah, yeah, well acted on both counts. It's a

700
00:38:21,360 --> 00:38:25,440
Speaker 2: great scene between the two of them. Yeah, all right,

701
00:38:25,480 --> 00:38:27,799
Speaker 2: So we'll have more to say about these two performances

702
00:38:27,880 --> 00:38:31,680
Speaker 2: because these are the main performances there everyone there. There

703
00:38:31,680 --> 00:38:35,680
Speaker 2: are so many supporting fifties white guys in this movie

704
00:38:35,960 --> 00:38:39,480
Speaker 2: that I'm honestly not even gonna attempt to classify them

705
00:38:39,520 --> 00:38:40,640
Speaker 2: all and credit them all.

706
00:38:40,960 --> 00:38:43,120
Speaker 3: Because he's a note about this later. He just like

707
00:38:43,239 --> 00:38:45,080
Speaker 3: cannot keep up with all of Bill's friends.

708
00:38:45,160 --> 00:38:47,520
Speaker 2: Yeah. Bill has a number of friends, and you know,

709
00:38:47,560 --> 00:38:49,839
Speaker 2: they're all well acted, but they're not main characters. They're

710
00:38:49,880 --> 00:38:52,200
Speaker 2: just his buddies. And some of them are replaced by

711
00:38:52,239 --> 00:38:53,920
Speaker 2: aliens as well. Some of them are not.

712
00:38:54,960 --> 00:38:57,399
Speaker 3: Most of them, I think are replaced by aliens. Yeah,

713
00:38:57,640 --> 00:38:58,480
Speaker 3: and aren't they Yeah.

714
00:38:58,600 --> 00:39:00,799
Speaker 2: Yeah, So I'm not gonna mentioned them all. I'm just

715
00:39:00,840 --> 00:39:03,239
Speaker 2: going to mention a few of these supporting players here.

716
00:39:03,280 --> 00:39:06,439
Speaker 2: Some of them have interesting connections. First of all, there's

717
00:39:06,560 --> 00:39:10,080
Speaker 2: Officer Hank Swanson played by Peter Baldwin, who lived nineteen

718
00:39:10,120 --> 00:39:12,440
Speaker 2: thirty one through twenty seventeen. An actor of the fifties

719
00:39:12,440 --> 00:39:15,560
Speaker 2: and sixties whose credits include fifty eighth, The Space Children

720
00:39:15,920 --> 00:39:18,560
Speaker 2: and one episode of the original Outer Limits. He went

721
00:39:18,600 --> 00:39:21,840
Speaker 2: on to become a pretty prolific TV director on shows

722
00:39:21,880 --> 00:39:24,120
Speaker 2: like Newhart in The Wonder Years. I think he was

723
00:39:24,160 --> 00:39:26,400
Speaker 2: at least nominated for an Emmy for his work on

724
00:39:26,520 --> 00:39:30,319
Speaker 2: The Wonder Years. Oh okay, let's see. We also have

725
00:39:30,520 --> 00:39:33,960
Speaker 2: Doctor Wayne played by Ken Lynch, who lived nineteen ten

726
00:39:34,000 --> 00:39:37,840
Speaker 2: through nineteen ninety American character actor who often played cops

727
00:39:37,920 --> 00:39:40,400
Speaker 2: and detectives. And you can get that, you get that

728
00:39:40,560 --> 00:39:45,319
Speaker 2: energy off of this performance because I don't know, there's

729
00:39:45,320 --> 00:39:50,360
Speaker 2: something He's very authoritative, and he also ends up playing

730
00:39:50,760 --> 00:39:53,279
Speaker 2: that role. He ends up becoming more of the like

731
00:39:54,560 --> 00:39:57,399
Speaker 2: not really local law enforcement. He essentially becomes like the

732
00:39:57,520 --> 00:40:02,200
Speaker 2: vigilante leader once the people are brought around to Marge's story.

733
00:40:02,520 --> 00:40:05,120
Speaker 3: I want to talk about this later if it means anything,

734
00:40:05,160 --> 00:40:07,560
Speaker 3: And maybe it doesn't, or maybe it's not supposed to

735
00:40:07,600 --> 00:40:11,360
Speaker 3: mean anything, but like, why is it that Marge's doctor

736
00:40:12,120 --> 00:40:15,160
Speaker 3: ends up being the one trustworthy man in town?

737
00:40:15,400 --> 00:40:16,120
Speaker 2: Yeah?

738
00:40:16,200 --> 00:40:19,240
Speaker 3: Yeah, yeah, interesting.

739
00:40:18,880 --> 00:40:21,719
Speaker 2: Yeah, but anyway, he's good in this. His credits also

740
00:40:21,760 --> 00:40:25,400
Speaker 2: include fifty nine's North By Northwest and Anatomy of a Murder.

741
00:40:26,600 --> 00:40:28,759
Speaker 2: All right, I'm gonna skip over a few people here,

742
00:40:30,200 --> 00:40:31,920
Speaker 2: let's see. I'm gonna and I may come back to

743
00:40:31,960 --> 00:40:35,000
Speaker 2: them later as we get through the plot. Oh but

744
00:40:35,080 --> 00:40:38,239
Speaker 2: we have a character named Helen Rhodes. She's Helen is

745
00:40:38,239 --> 00:40:41,040
Speaker 2: one of Marge's friends, and she ends up married to

746
00:40:41,160 --> 00:40:43,400
Speaker 2: one of the guys Sam.

747
00:40:43,600 --> 00:40:45,480
Speaker 3: Yeah, that's the one guy whose name I know.

748
00:40:45,640 --> 00:40:47,920
Speaker 2: Okay, she ends up marrying Sam. And she's played by

749
00:40:48,040 --> 00:40:51,080
Speaker 2: Gene Carson, who lived nineteen twenty three through two thousand

750
00:40:51,120 --> 00:40:54,160
Speaker 2: and five. She appeared in the original Twilight Zone episode

751
00:40:54,200 --> 00:40:57,719
Speaker 2: A Most Unusual Camera, and she often played comedic roles

752
00:40:57,760 --> 00:41:01,200
Speaker 2: on TV. She had kind of like this kind of

753
00:41:01,200 --> 00:41:05,400
Speaker 2: this husky voice that she could like play up. For instance,

754
00:41:05,520 --> 00:41:08,080
Speaker 2: on The Andy Griffiths Show, she had a recurring role

755
00:41:08,120 --> 00:41:10,239
Speaker 2: with this character Daphney, who was one of these two

756
00:41:10,320 --> 00:41:12,400
Speaker 2: fun girls who had come to town and get Andy

757
00:41:12,400 --> 00:41:16,600
Speaker 2: into trouble. So a couple couple of blonds that were up.

758
00:41:16,600 --> 00:41:19,040
Speaker 3: To the fun girls from Mount Pilot.

759
00:41:19,239 --> 00:41:21,840
Speaker 2: Yeah, yeah, those are the Oka yeahose are them? Yeah?

760
00:41:22,000 --> 00:41:23,399
Speaker 2: I'm not to say they were up to no good.

761
00:41:23,480 --> 00:41:26,600
Speaker 2: I don't think they were necessarily criminals. But they were

762
00:41:26,680 --> 00:41:38,680
Speaker 2: fun ladies all right, going behind the camera, but also

763
00:41:38,800 --> 00:41:43,960
Speaker 2: someone in front of it too. We have he's uncredited officially,

764
00:41:44,040 --> 00:41:49,160
Speaker 2: but we have another monster suit superstar in this picture,

765
00:41:49,520 --> 00:41:52,120
Speaker 2: and that is Charles Gamora, who lived nineteen oh three

766
00:41:52,120 --> 00:41:54,840
Speaker 2: through nineteen sixty one. We've talked about him on the

767
00:41:54,840 --> 00:41:58,040
Speaker 2: show before. He was born in the Philippines, a Hollywood

768
00:41:58,040 --> 00:42:00,960
Speaker 2: makeup artist who became known is the King of the

769
00:42:00,960 --> 00:42:03,719
Speaker 2: Gorilla Men because he did a lot of gorilla costume

770
00:42:03,800 --> 00:42:07,360
Speaker 2: and monster suit work in his career, both in making

771
00:42:07,400 --> 00:42:09,560
Speaker 2: the costumes and then wearing them as well.

772
00:42:10,480 --> 00:42:15,080
Speaker 3: How many full time gorilla suit performers do you think

773
00:42:15,080 --> 00:42:17,360
Speaker 3: there were in Hollywood at any given time.

774
00:42:17,760 --> 00:42:20,560
Speaker 2: I mean, there's only going to be room for a few,

775
00:42:20,640 --> 00:42:23,920
Speaker 2: you only they're they're they're yeah, few and far between.

776
00:42:24,000 --> 00:42:27,000
Speaker 2: But even today we have some some folks who, in

777
00:42:27,080 --> 00:42:29,279
Speaker 2: their own way and with the current technology, are sort

778
00:42:29,280 --> 00:42:30,239
Speaker 2: of like the gorilla men.

779
00:42:31,239 --> 00:42:34,239
Speaker 3: But oh, like the Andy Cirkus. I'd say that.

780
00:42:34,400 --> 00:42:36,600
Speaker 2: I mean Andy Cirkus, you know, his abilities, you know,

781
00:42:36,640 --> 00:42:40,520
Speaker 2: certainly go beyond being a gorilla man. But yeah, absolutely

782
00:42:40,600 --> 00:42:42,440
Speaker 2: a gorilla man in the best sense of the word.

783
00:42:42,280 --> 00:42:45,040
Speaker 3: But a seasoned creature performer.

784
00:42:45,120 --> 00:42:49,920
Speaker 2: Yeah, yeah, so yeah. Gomora has like sixty makeup credits

785
00:42:49,920 --> 00:42:53,319
Speaker 2: on IMDb, but also sixty acting credits. Most of them

786
00:42:53,320 --> 00:42:57,920
Speaker 2: are gorillas. He designed and sculpted the excellent monster costume

787
00:42:57,960 --> 00:43:02,280
Speaker 2: in this picture and seemingly wore it. I was looking

788
00:43:02,280 --> 00:43:05,240
Speaker 2: at the book Keep Watching the Skies by film historian

789
00:43:05,280 --> 00:43:08,160
Speaker 2: Bill Warren, and he pointed out that in the original

790
00:43:08,239 --> 00:43:11,440
Speaker 2: script for I Married a Monster from Outer Space, the

791
00:43:11,520 --> 00:43:14,320
Speaker 2: alien is kind of as described as having a mask

792
00:43:14,440 --> 00:43:17,440
Speaker 2: that featured various breathing tubes running from a helmet to

793
00:43:17,520 --> 00:43:21,880
Speaker 2: the chest, so very much like a fifties helmet alien.

794
00:43:22,800 --> 00:43:27,200
Speaker 2: But in what is sometimes categorized as a miscommunication, Gemora

795
00:43:28,000 --> 00:43:32,040
Speaker 2: designed and sculpted these elements not as technology but as

796
00:43:32,239 --> 00:43:35,960
Speaker 2: organic parts of the creature's whole body. So tubes not

797
00:43:36,080 --> 00:43:39,080
Speaker 2: going from a helmet to the chest, but growing like

798
00:43:39,239 --> 00:43:41,720
Speaker 2: out of the face of the creature and then into

799
00:43:41,760 --> 00:43:44,960
Speaker 2: the torso of the creature. And the result is just

800
00:43:45,080 --> 00:43:48,359
Speaker 2: top notch. Here it looks, i mean, to my eye,

801
00:43:48,440 --> 00:43:51,719
Speaker 2: unlike anything we'd seen before, and really there's not a

802
00:43:51,760 --> 00:43:53,680
Speaker 2: lot that looks like it. You could you could make

803
00:43:53,719 --> 00:43:56,359
Speaker 2: an argument for it almost being gigorsque in a way.

804
00:43:56,440 --> 00:44:01,360
Speaker 2: Without that without like the Freudian energy of Geeker's design,

805
00:44:01,480 --> 00:44:04,439
Speaker 2: but very much in terms of just its fleshiness.

806
00:44:05,000 --> 00:44:07,600
Speaker 3: Oh yeah, man, it would fit in with the themes

807
00:44:07,640 --> 00:44:10,440
Speaker 3: of the movie if the costumes were more sexually charged.

808
00:44:10,480 --> 00:44:13,400
Speaker 3: They're not really at all. But it is absolutely the

809
00:44:13,440 --> 00:44:18,520
Speaker 3: case that it looks like a mix of technology and biology.

810
00:44:18,840 --> 00:44:21,919
Speaker 3: And so yeah, we get these hoses that play into

811
00:44:21,960 --> 00:44:24,799
Speaker 3: this gross, weird ripping thing that happens at the end

812
00:44:24,800 --> 00:44:28,640
Speaker 3: with dogs, which I can't wait to talk about. But yeah,

813
00:44:28,920 --> 00:44:31,960
Speaker 3: it's like that. But also I mentioned this earlier. To me,

814
00:44:33,160 --> 00:44:37,560
Speaker 3: the way the biological elements and the helmets look is

815
00:44:37,760 --> 00:44:41,279
Speaker 3: almost as much plant as it is animal. Do you

816
00:44:41,320 --> 00:44:43,040
Speaker 3: see what I'm saying. It has a kind of bark

817
00:44:43,239 --> 00:44:43,880
Speaker 3: like texture.

818
00:44:44,239 --> 00:44:46,600
Speaker 2: Yeah, it reminds one of things a little bit of

819
00:44:46,640 --> 00:44:49,399
Speaker 2: like swamp thing or man thing in that regard, very

820
00:44:49,560 --> 00:44:52,960
Speaker 2: rooty looking. And I think it's great that this works

821
00:44:52,960 --> 00:44:54,719
Speaker 2: so well in black and white because we don't get

822
00:44:54,719 --> 00:44:56,840
Speaker 2: a sense of the color, like it could be green,

823
00:44:56,880 --> 00:45:00,640
Speaker 2: it could be brown, it could be pale white, and

824
00:45:00,680 --> 00:45:02,680
Speaker 2: we don't have to fill in that blank. It takes

825
00:45:02,680 --> 00:45:05,760
Speaker 2: on this it feels it does feel kind of corpse

826
00:45:05,880 --> 00:45:06,719
Speaker 2: like in its own way.

827
00:45:07,840 --> 00:45:10,520
Speaker 3: Yeah, I didn't think about that with the color, but yeah,

828
00:45:10,520 --> 00:45:11,719
Speaker 3: it's a welcome ambiguity.

829
00:45:11,880 --> 00:45:16,000
Speaker 2: Yeah, all right. One more actor note, just because his

830
00:45:16,080 --> 00:45:19,040
Speaker 2: story is a little interesting and also his name's funny.

831
00:45:19,480 --> 00:45:22,400
Speaker 2: But we have a bartender that we see and the

832
00:45:22,400 --> 00:45:26,160
Speaker 2: bartender's name is Max but been. He's played by Slapsy

833
00:45:26,200 --> 00:45:30,200
Speaker 2: Maxy Rosenbloom, who lived nineteen oh four through nineteen seventy six,

834
00:45:30,280 --> 00:45:33,600
Speaker 2: a pro boxer or former pro boxer by this point,

835
00:45:33,880 --> 00:45:38,080
Speaker 2: so nicknamed apparently because of his open gloved boxing style.

836
00:45:38,520 --> 00:45:40,480
Speaker 2: I do not know what this means, but I guess

837
00:45:40,560 --> 00:45:42,759
Speaker 2: whatever it means, it made him look like he was

838
00:45:42,800 --> 00:45:44,840
Speaker 2: slapping people when he was boxing.

839
00:45:45,320 --> 00:45:47,759
Speaker 3: Slapping instead of punching. I don't know how would that work.

840
00:45:47,800 --> 00:45:50,040
Speaker 2: I'm not sure. I put the call out to our

841
00:45:50,520 --> 00:45:53,480
Speaker 2: boxing fans out there, what is open glove boxing style?

842
00:45:54,280 --> 00:45:57,759
Speaker 2: Why would you name him Slapsy? But at any rate,

843
00:45:57,800 --> 00:46:00,520
Speaker 2: he was I guess, well thought of in and out

844
00:46:00,520 --> 00:46:03,200
Speaker 2: of boxing circles and got into acting, played a lot

845
00:46:03,200 --> 00:46:06,040
Speaker 2: of heavies and is simply essentially worked out a niche

846
00:46:06,040 --> 00:46:10,400
Speaker 2: for himself playing lovable but sometimes comedic heavies, which is

847
00:46:10,480 --> 00:46:12,480
Speaker 2: essentially what he has here. Like he's kind of a

848
00:46:12,520 --> 00:46:15,759
Speaker 2: rough looking dude, but he clearly seems to have a

849
00:46:15,760 --> 00:46:17,839
Speaker 2: heart of gold and seems like, you know, kind of

850
00:46:17,880 --> 00:46:18,919
Speaker 2: a funny, silly guy.

851
00:46:19,520 --> 00:46:21,640
Speaker 3: And in one scene he gets mad at all the

852
00:46:21,680 --> 00:46:23,600
Speaker 3: aliens because they're not drinking alcohol.

853
00:46:23,680 --> 00:46:25,719
Speaker 2: Yeah, he's like, what's wrong with my liquor? You just

854
00:46:25,840 --> 00:46:27,319
Speaker 2: order it and you sit there and you don't even

855
00:46:27,360 --> 00:46:28,080
Speaker 2: talk to each other.

856
00:46:28,440 --> 00:46:30,600
Speaker 3: Yeah, it's our business if we want to order it

857
00:46:30,600 --> 00:46:33,360
Speaker 3: and not drink it. And then he presses the issue

858
00:46:33,400 --> 00:46:36,040
Speaker 3: and ends up punching Tom Tryan a bunch of times

859
00:46:36,040 --> 00:46:36,880
Speaker 3: and it does nothing.

860
00:46:37,040 --> 00:46:40,080
Speaker 2: Yeah, and maybe that would I think maybe the idea

861
00:46:40,120 --> 00:46:42,719
Speaker 2: here is that a lot of the viewers would know

862
00:46:42,880 --> 00:46:45,919
Speaker 2: that Slapsy Maxi should be able to punch somebody really hard.

863
00:46:46,440 --> 00:46:47,560
Speaker 3: Oh okay, Yeah.

864
00:46:47,920 --> 00:46:50,480
Speaker 2: But outside of that, he also apparently ran a nineteen

865
00:46:50,520 --> 00:46:54,400
Speaker 2: forties Hollywood nightclub called you guessed it, Slapsey Maxis.

866
00:46:54,960 --> 00:46:57,719
Speaker 3: It had a drink called the Slapsy Maxi and the

867
00:46:57,760 --> 00:46:59,200
Speaker 3: sandwich called the Slapsy Maxi.

868
00:46:59,239 --> 00:47:02,520
Speaker 2: I would hope, so, I would hope, So all right.

869
00:47:03,320 --> 00:47:06,640
Speaker 2: Special photographic effects in this film came from John P. Fulton,

870
00:47:06,640 --> 00:47:09,480
Speaker 2: who lived nineteen oh two through nineteen sixty six and

871
00:47:09,560 --> 00:47:13,919
Speaker 2: those those those photographic effects are on excellent display here.

872
00:47:14,280 --> 00:47:16,319
Speaker 2: We'll talk about all the various things that they do,

873
00:47:16,400 --> 00:47:19,760
Speaker 2: from making the aliens glow to that soul stealing black mist,

874
00:47:21,040 --> 00:47:24,600
Speaker 2: really terrific stuff. Fulton was a six time Academy Award

875
00:47:24,640 --> 00:47:27,880
Speaker 2: nominee for Special Effects and won the award twice for

876
00:47:28,000 --> 00:47:31,320
Speaker 2: nineteen forty six is wonder Man and nineteen fifty seven's

877
00:47:31,360 --> 00:47:33,840
Speaker 2: The Ten Commandments, so you know, the parting of the

878
00:47:33,840 --> 00:47:36,480
Speaker 2: Red Sea, I think. In particular, he worked on a

879
00:47:36,560 --> 00:47:39,879
Speaker 2: number of the classic universal horror films, including Frankenstein Meets

880
00:47:39,880 --> 00:47:43,120
Speaker 2: the Wolfman, Bride of Frankenstein, The Visible Man, and The Mummy.

881
00:47:43,440 --> 00:47:46,120
Speaker 2: He also worked on nineteen fifty seven's Funny Face and

882
00:47:46,160 --> 00:47:52,040
Speaker 2: sixty one's Breakfast at Tiffany's. And we'll just basically skip

883
00:47:52,040 --> 00:47:54,360
Speaker 2: over the music. The music here is all stock music.

884
00:47:55,040 --> 00:47:58,560
Speaker 2: The title music is I believe credited to Van Cleeve,

885
00:47:58,640 --> 00:48:01,440
Speaker 2: who lived nineteen ten through nineteen seventy. The music is

886
00:48:01,480 --> 00:48:04,200
Speaker 2: mostly what you would expect, leaning a good bit on

887
00:48:04,239 --> 00:48:06,560
Speaker 2: the melodrama of the scenes, and there is a lot

888
00:48:06,600 --> 00:48:08,560
Speaker 2: of melodrama in here, so it plays well.

889
00:48:09,160 --> 00:48:11,040
Speaker 3: All right, are you ready to talk about the plot

890
00:48:11,160 --> 00:48:14,000
Speaker 3: let's get into it. So we open on the planet

891
00:48:14,040 --> 00:48:16,600
Speaker 3: Earth hanging in space. Someday I would like to do

892
00:48:16,640 --> 00:48:21,280
Speaker 3: a breakdown of the broad differences between sci fi films

893
00:48:21,320 --> 00:48:24,800
Speaker 3: that begin in space versus the ones that begin on Earth.

894
00:48:26,000 --> 00:48:28,880
Speaker 3: I wonder if there's anything happening there, Like what's the difference?

895
00:48:28,920 --> 00:48:32,640
Speaker 3: Like why? How does it change the film when the

896
00:48:32,680 --> 00:48:36,160
Speaker 3: first thing we see is stars and the blackness instead

897
00:48:36,200 --> 00:48:37,480
Speaker 3: of just a scene on Earth.

898
00:48:37,600 --> 00:48:39,839
Speaker 2: Yeah? I mean we can instantly think of any number

899
00:48:39,840 --> 00:48:42,000
Speaker 2: of films that begin out of space looking at Earth.

900
00:48:42,040 --> 00:48:43,239
Speaker 2: But what if they just all did?

901
00:48:43,760 --> 00:48:44,080
Speaker 3: What if?

902
00:48:44,680 --> 00:48:47,359
Speaker 2: What if? What if every movie had to begin with

903
00:48:47,400 --> 00:48:49,479
Speaker 2: this shot? What would it mean? What would it change?

904
00:48:49,480 --> 00:48:52,960
Speaker 2: How would it change things? It breakfast? Tiffany's began with

905
00:48:53,200 --> 00:48:54,760
Speaker 2: a wide shot of the planet Earth.

906
00:48:54,920 --> 00:48:57,520
Speaker 3: I don't know, Jumanji begins with the Earth and the

907
00:48:57,920 --> 00:49:03,840
Speaker 3: moon rise. Yeah. So yeah, we open on the planet

908
00:49:03,880 --> 00:49:06,200
Speaker 3: Earth and you could see like the Milky Way galaxy

909
00:49:06,280 --> 00:49:11,040
Speaker 3: spanning the background. A very classic opening, and the opening

910
00:49:11,160 --> 00:49:13,600
Speaker 3: music is also very classic for this kind of film.

911
00:49:13,640 --> 00:49:16,640
Speaker 3: It's like a cold, eerie texture that sounds like twinkling

912
00:49:16,719 --> 00:49:20,719
Speaker 3: stars and then this blast of aggressive horns. This's climbing

913
00:49:20,719 --> 00:49:23,920
Speaker 3: and climbing sounds like an alien menace is drawing closer

914
00:49:23,960 --> 00:49:27,280
Speaker 3: and closer. Then we zoom in on Earth and eventually

915
00:49:27,360 --> 00:49:30,400
Speaker 3: drop in on a town somewhere in Middle America. I

916
00:49:30,400 --> 00:49:33,719
Speaker 3: think this town is called Norrisville, so it doesn't seem

917
00:49:33,760 --> 00:49:34,520
Speaker 3: to be a real location.

918
00:49:34,600 --> 00:49:36,360
Speaker 2: Ye might as well be Normalville.

919
00:49:36,560 --> 00:49:41,480
Speaker 3: Yeah, Normalville, Americaville, USA. And so the action begins at

920
00:49:41,480 --> 00:49:45,640
Speaker 3: a lakeside drinking establishment where a group of five or

921
00:49:45,680 --> 00:49:50,200
Speaker 3: six men are meeting for a bachelor party. Extremely handsome

922
00:49:50,239 --> 00:49:53,279
Speaker 3: bachelor Bill Ferrell this is Tom Tryan is about to

923
00:49:53,280 --> 00:49:56,400
Speaker 3: get married to his sweetheart Marge. This is Gloria Talbot,

924
00:49:56,719 --> 00:50:00,479
Speaker 3: and the boys are out having a few rounds. Now.

925
00:50:00,760 --> 00:50:03,560
Speaker 3: This is not one of those movie bachelor parties with

926
00:50:03,600 --> 00:50:06,560
Speaker 3: like strippers and loud music and high energy. This is

927
00:50:06,600 --> 00:50:10,520
Speaker 3: more like a funeral for bachelorod. It is a neutral

928
00:50:10,560 --> 00:50:14,480
Speaker 3: to bad vibe. Before we meet the boys, the camera

929
00:50:14,760 --> 00:50:17,200
Speaker 3: pauses with a couple of ladies drinking at the bar

930
00:50:17,800 --> 00:50:19,560
Speaker 3: and they're like, you know, what's up with those guys

931
00:50:19,560 --> 00:50:21,879
Speaker 3: over there? You know they're handsome guys, but we keep

932
00:50:21,880 --> 00:50:23,880
Speaker 3: making eyes at them, and not one of them has

933
00:50:23,920 --> 00:50:26,279
Speaker 3: come over to buy us a drink, And so the

934
00:50:26,360 --> 00:50:29,480
Speaker 3: ladies decide maybe the guys are all married, and then

935
00:50:29,520 --> 00:50:31,680
Speaker 3: what do you know, when we get over to the table,

936
00:50:32,320 --> 00:50:36,720
Speaker 3: it is indeed just a festival of complaining, complaining about women,

937
00:50:37,120 --> 00:50:40,040
Speaker 3: complaining about married life, old battlax stuff.

938
00:50:40,160 --> 00:50:43,799
Speaker 2: Yeah, the movie frequently goes here with our male characters,

939
00:50:43,840 --> 00:50:46,239
Speaker 2: and as a twenty twenty six of youer, it does

940
00:50:46,280 --> 00:50:49,320
Speaker 2: make me wonder how much of it is just snapshot

941
00:50:49,400 --> 00:50:51,640
Speaker 2: at the times you know, this is how men talk

942
00:50:51,680 --> 00:50:53,919
Speaker 2: and we're just trying to be real, and how much

943
00:50:53,920 --> 00:50:56,000
Speaker 2: of it is a deliberate part of the texture of

944
00:50:56,040 --> 00:50:59,640
Speaker 2: the film, in which a cosmic distance exists between the

945
00:50:59,680 --> 00:51:01,520
Speaker 2: men and women of contemporary America.

946
00:51:01,960 --> 00:51:04,200
Speaker 3: I think it's got to be intentional because of the

947
00:51:04,200 --> 00:51:07,000
Speaker 3: way it plays so directly into the themes of the

948
00:51:07,040 --> 00:51:10,960
Speaker 3: film of like, you know this distance in relationships and

949
00:51:11,040 --> 00:51:14,879
Speaker 3: you know things about men and women in marriage. But yeah,

950
00:51:14,920 --> 00:51:17,160
Speaker 3: I also had the same question of just like, I

951
00:51:17,160 --> 00:51:19,680
Speaker 3: don't know how common was it back then for regular

952
00:51:19,719 --> 00:51:22,279
Speaker 3: people to actually just talk like this, just we get

953
00:51:22,280 --> 00:51:27,360
Speaker 3: together and complain about marriage, ah, women, or is that

954
00:51:27,600 --> 00:51:29,600
Speaker 3: more something that was like really played up in the

955
00:51:29,680 --> 00:51:32,279
Speaker 3: movies because it made good dialogue, or they thought it did.

956
00:51:32,320 --> 00:51:37,239
Speaker 3: I don't know anyway, one of these guys is, and

957
00:51:37,280 --> 00:51:39,759
Speaker 3: again I cannot keep all of Bill's friends sorted out.

958
00:51:39,800 --> 00:51:42,720
Speaker 3: There's a bunch of them. One of these guys calls

959
00:51:42,719 --> 00:51:45,239
Speaker 3: for a drink. He calls the waiter over and he's like,

960
00:51:45,560 --> 00:51:47,719
Speaker 3: mister Ferrell is getting married in the morning. He needs

961
00:51:47,760 --> 00:51:50,920
Speaker 3: a stiff drink. He asks for freedom on the rocks.

962
00:51:51,239 --> 00:51:54,360
Speaker 3: I didn't get it, yeah, and then oh, he just

963
00:51:54,520 --> 00:51:58,560
Speaker 3: keeps going, piling on. Another guy's like, I'm already married.

964
00:51:58,600 --> 00:52:02,800
Speaker 3: I really need a drink. And then they decide that well,

965
00:52:03,040 --> 00:52:06,400
Speaker 3: every one of them either was married, is married, or

966
00:52:06,480 --> 00:52:08,520
Speaker 3: is about to get married, so they all have to

967
00:52:08,520 --> 00:52:12,880
Speaker 3: get hammered. They have no choice, but Bill, the guy

968
00:52:12,920 --> 00:52:15,600
Speaker 3: who's getting married in the morning. Bill is actually kind

969
00:52:15,600 --> 00:52:17,640
Speaker 3: of the odd man out. He's the only one who's

970
00:52:17,719 --> 00:52:22,000
Speaker 3: not sitting here complaining about women. So he, you know,

971
00:52:22,080 --> 00:52:24,160
Speaker 3: the rest of the guys are like, we must get

972
00:52:24,200 --> 00:52:27,279
Speaker 3: miserably drunk with the he man woman haters club, and

973
00:52:27,360 --> 00:52:29,480
Speaker 3: he's like, no, I need to go see my fiance.

974
00:52:29,680 --> 00:52:31,920
Speaker 3: So he gets up and leaves. He's going to stop

975
00:52:31,960 --> 00:52:34,239
Speaker 3: by and see Marge on the way home. And then

976
00:52:34,280 --> 00:52:37,239
Speaker 3: it takes a dark turn. One of the guys makes

977
00:52:37,280 --> 00:52:40,800
Speaker 3: a joke that's kind of over the line and provides

978
00:52:40,840 --> 00:52:43,840
Speaker 3: some foreshadowing. I think the guy says he has found

979
00:52:43,840 --> 00:52:46,680
Speaker 3: the only viable way for men to avoid the pain

980
00:52:46,800 --> 00:52:50,480
Speaker 3: and struggle of matrimony, which he says is mass suicide.

981
00:52:51,160 --> 00:52:53,360
Speaker 3: And at this point the other guys stop laughing and

982
00:52:53,400 --> 00:52:56,920
Speaker 3: they just kind of look forlorn. So it's like, I

983
00:52:56,920 --> 00:52:59,040
Speaker 3: think these guys have some issues about women. I think

984
00:52:59,040 --> 00:53:02,359
Speaker 3: they do, yes, or at least all of them except Bill.

985
00:53:03,360 --> 00:53:06,560
Speaker 3: Now there's one thing I wanted to note here that

986
00:53:06,719 --> 00:53:08,680
Speaker 3: it was kind of interesting. I don't know if it's

987
00:53:08,680 --> 00:53:11,640
Speaker 3: supposed to mean something, but on the way into the bar,

988
00:53:12,560 --> 00:53:16,279
Speaker 3: we pass by a man and a woman kissing passionately,

989
00:53:16,320 --> 00:53:19,359
Speaker 3: and a convertible in the parking lot, and a guy

990
00:53:19,440 --> 00:53:21,800
Speaker 3: who's walking by the car tries to get their attention

991
00:53:21,960 --> 00:53:24,759
Speaker 3: with a loud noise, but they just ignore him. And

992
00:53:24,800 --> 00:53:27,120
Speaker 3: then later, when Bill is coming out of the place,

993
00:53:27,160 --> 00:53:30,320
Speaker 3: he passes them again and they're still kissing. He stops

994
00:53:30,320 --> 00:53:32,760
Speaker 3: and looks at them for a second, almost kind of sadly,

995
00:53:33,520 --> 00:53:37,040
Speaker 3: and then suddenly the kissing stops, and the woman slaps

996
00:53:37,080 --> 00:53:39,320
Speaker 3: the man in the face and looks at him coldly.

997
00:53:39,920 --> 00:53:42,279
Speaker 3: You don't see what provoked that reaction, but it's an

998
00:53:42,320 --> 00:53:45,759
Speaker 3: interesting detail. I think it in a subtle way, just

999
00:53:45,880 --> 00:53:49,880
Speaker 3: raises things about tension in romantic relationships, ideas of crossing

1000
00:53:49,920 --> 00:53:53,880
Speaker 3: the line, or the idea that intimacy entails vulnerability and

1001
00:53:53,920 --> 00:53:54,920
Speaker 3: sometimes danger.

1002
00:53:55,320 --> 00:53:57,279
Speaker 2: Yeah. Yeah, I mean it could be as simple as like,

1003
00:53:57,360 --> 00:54:01,200
Speaker 2: oh wow, even this relationship which was going so great

1004
00:54:01,280 --> 00:54:04,160
Speaker 2: and has been going great for maybe twenty minutes, has

1005
00:54:04,200 --> 00:54:05,880
Speaker 2: suddenly it hit a rocky patch.

1006
00:54:06,280 --> 00:54:10,319
Speaker 3: Yeah, something went wrong. Yeah. So Bill gets in his

1007
00:54:10,400 --> 00:54:12,839
Speaker 3: car and drives away from this bar where he's been

1008
00:54:12,880 --> 00:54:15,719
Speaker 3: drinking with his friends. It's implied that he's they've been

1009
00:54:15,800 --> 00:54:19,440
Speaker 3: drinking a good bit, so I don't know. In nineteen fifties,

1010
00:54:20,480 --> 00:54:24,239
Speaker 3: the car is a mid fifties American station wagon with

1011
00:54:24,320 --> 00:54:26,960
Speaker 3: tail fins that feels the size and mass of an

1012
00:54:26,960 --> 00:54:29,960
Speaker 3: aircraft carrier. Every time it came on screen, we were

1013
00:54:30,000 --> 00:54:32,200
Speaker 3: in awe. We were like, it's the car. It's so big.

1014
00:54:32,280 --> 00:54:34,160
Speaker 2: Yeah, it's like some sort of massive plymouth.

1015
00:54:34,239 --> 00:54:39,080
Speaker 3: Right. Yeah, So Bill is driving drunk down a lakeside

1016
00:54:39,080 --> 00:54:42,160
Speaker 3: country road. This is the first of many what time

1017
00:54:42,239 --> 00:54:45,240
Speaker 3: is it supposed to be things The context would suggest evening,

1018
00:54:45,280 --> 00:54:48,320
Speaker 3: but The scene is shot in broad daylight, and suddenly

1019
00:54:48,360 --> 00:54:51,120
Speaker 3: Bill notices a man's body lying in the road, so

1020
00:54:51,160 --> 00:54:54,600
Speaker 3: he slams on the brakes, stops the car, and gets out,

1021
00:54:55,040 --> 00:54:57,080
Speaker 3: but then there's nobody there. He like looks in the

1022
00:54:57,160 --> 00:54:58,479
Speaker 3: road and it's empty. Yeah.

1023
00:54:58,520 --> 00:55:01,000
Speaker 2: Wait, at first it looks like the body's lifeless husk

1024
00:55:01,080 --> 00:55:03,480
Speaker 2: of some sort. But there's not really much follow up here,

1025
00:55:03,520 --> 00:55:04,640
Speaker 2: so I don't know what we were supposed to.

1026
00:55:05,239 --> 00:55:08,239
Speaker 3: The car bumps the body and it moves as if

1027
00:55:08,320 --> 00:55:10,200
Speaker 3: it's weightless, like hollow inside.

1028
00:55:10,680 --> 00:55:11,640
Speaker 2: Maybe it was a trap.

1029
00:55:12,040 --> 00:55:14,680
Speaker 3: Oh maybe. So it's like he gets out and it's

1030
00:55:14,680 --> 00:55:17,800
Speaker 3: not there anymore. And then suddenly, while while Bill is

1031
00:55:17,840 --> 00:55:23,280
Speaker 3: standing there, from off screen, a clawed, glowing reptilian hand

1032
00:55:23,440 --> 00:55:27,759
Speaker 3: with long crooked fingers reaches out and grabs Bill by

1033
00:55:27,800 --> 00:55:31,560
Speaker 3: the shoulder. He whirls around and he sees the alien.

1034
00:55:32,400 --> 00:55:35,520
Speaker 3: So interesting thing about I married a monster from outer

1035
00:55:35,600 --> 00:55:38,719
Speaker 3: space does not make you wait till the final reel

1036
00:55:38,880 --> 00:55:41,200
Speaker 3: to see the alien in its true form. You get

1037
00:55:41,239 --> 00:55:42,480
Speaker 3: to see it a few minutes in.

1038
00:55:42,640 --> 00:55:44,759
Speaker 2: Yeah, it's really kind of surprising because the glove is great.

1039
00:55:44,800 --> 00:55:46,759
Speaker 2: I love a good monster glove. But then you know

1040
00:55:46,840 --> 00:55:49,160
Speaker 2: the next step generally comes a bit later where you

1041
00:55:49,200 --> 00:55:50,840
Speaker 2: get to see the rest of or at least the

1042
00:55:50,880 --> 00:55:53,000
Speaker 2: face of the creature. But now he turns around, he

1043
00:55:53,080 --> 00:55:57,120
Speaker 2: sees it, and yeah, great, look to this creature. As

1044
00:55:57,160 --> 00:55:59,759
Speaker 2: I mentioned earlier, by all accounts, this film should have

1045
00:56:00,160 --> 00:56:03,160
Speaker 2: and very well could have had a generic space helmet

1046
00:56:03,200 --> 00:56:06,880
Speaker 2: wearing alien, but perhaps due to a miscommunication or maybe

1047
00:56:06,920 --> 00:56:11,600
Speaker 2: just pure creativity, we ended up with this fantastic organic

1048
00:56:11,680 --> 00:56:14,040
Speaker 2: design that's brought to the next level via the lighting

1049
00:56:14,040 --> 00:56:17,719
Speaker 2: and the special effects. The design also works especially well

1050
00:56:17,800 --> 00:56:20,880
Speaker 2: later on when we'll get the special effects shots of

1051
00:56:20,880 --> 00:56:24,959
Speaker 2: the actor's faces shifting to the creature's warped visage during

1052
00:56:25,000 --> 00:56:26,040
Speaker 2: flashes of lightning.

1053
00:56:26,480 --> 00:56:30,200
Speaker 3: Oh yeah, I love that. So when Bill sees the figure,

1054
00:56:30,560 --> 00:56:35,120
Speaker 3: something begins to emit, a high pitched, throbbing electronic sound.

1055
00:56:35,200 --> 00:56:37,319
Speaker 3: We will hear the sound at times throughout the movie,

1056
00:56:37,320 --> 00:56:41,759
Speaker 3: whenever the aliens are using their powers and Bill collapses

1057
00:56:41,800 --> 00:56:45,080
Speaker 3: against the car and then a bizarre thing happens. I

1058
00:56:45,120 --> 00:56:51,760
Speaker 3: love this effect. A slowly expanding, blooming cloud of dark

1059
00:56:51,960 --> 00:56:56,640
Speaker 3: smoke or mist flows into the movie frame. It's like

1060
00:56:56,680 --> 00:56:59,399
Speaker 3: a jet of ink expanding in a pool of water.

1061
00:56:59,480 --> 00:57:01,719
Speaker 3: But it's very, very dark. Very opaque. You can't see

1062
00:57:01,719 --> 00:57:05,840
Speaker 3: through it, and gradually it blots out Bill's form, and

1063
00:57:05,880 --> 00:57:07,840
Speaker 3: then when it recedes, Bill is gone.

1064
00:57:08,280 --> 00:57:11,160
Speaker 2: Yeah, looks amazing, Like this is one of the I'm

1065
00:57:11,160 --> 00:57:14,960
Speaker 2: not a you know, I'm not opposed to great digital

1066
00:57:14,960 --> 00:57:18,680
Speaker 2: effects by any means, but this is a practical effect.

1067
00:57:18,720 --> 00:57:22,360
Speaker 2: Just looks amazing, And in the context of watching it,

1068
00:57:22,360 --> 00:57:24,160
Speaker 2: I'm like, it just looks ahead of its time. It

1069
00:57:24,200 --> 00:57:27,200
Speaker 2: looks better than anything I can compare it to digitally.

1070
00:57:27,320 --> 00:57:33,160
Speaker 2: Just amazing. Yeah, dark, otherworldly cloud just creeping out.

1071
00:57:34,040 --> 00:57:37,880
Speaker 3: So the next morning we meet our protagonist Marge. Marge

1072
00:57:38,000 --> 00:57:40,520
Speaker 3: is at her wedding. She's wearing a white wedding dress

1073
00:57:40,520 --> 00:57:42,880
Speaker 3: and a veil, staring out the window of the chapel

1074
00:57:42,920 --> 00:57:45,240
Speaker 3: to see if Bill is going to arrive. He was

1075
00:57:45,320 --> 00:57:47,120
Speaker 3: supposed to come and see her the night before, like

1076
00:57:47,160 --> 00:57:49,959
Speaker 3: he said, but he never showed up. Andy never called

1077
00:57:50,000 --> 00:57:53,320
Speaker 3: to explain, and now he's late for the wedding itself.

1078
00:57:54,320 --> 00:57:58,200
Speaker 3: So Marge is obviously upset. She doesn't understand what's happening.

1079
00:57:58,800 --> 00:58:02,720
Speaker 3: She pulls as his groomsmen to interrogate them. She says,

1080
00:58:02,720 --> 00:58:05,240
Speaker 3: what exactly were you boys drinking last night? And two

1081
00:58:05,240 --> 00:58:08,080
Speaker 3: of them answer at the same time, but give different answers.

1082
00:58:08,080 --> 00:58:11,040
Speaker 3: One says wine and the other says beer. So I

1083
00:58:11,080 --> 00:58:13,120
Speaker 3: think maybe it was neither wine nor beer. I think

1084
00:58:13,520 --> 00:58:16,280
Speaker 3: it was a hard liquor kind of night. Yeah, And

1085
00:58:16,360 --> 00:58:19,360
Speaker 3: so they try to cover for Bill, but Marge is

1086
00:58:19,480 --> 00:58:23,560
Speaker 3: not impressed with their assurances, and this raises something about

1087
00:58:23,600 --> 00:58:28,000
Speaker 3: Marge's personality. I'm interested in the way she's characterized. She

1088
00:58:28,400 --> 00:58:35,000
Speaker 3: is not portrayed as an especially suspicious person, like. She

1089
00:58:35,200 --> 00:58:39,160
Speaker 3: is portrayed as somebody who really wants to trust and

1090
00:58:39,360 --> 00:58:42,600
Speaker 3: wants to see the good in her husband and make

1091
00:58:42,640 --> 00:58:46,720
Speaker 3: the relationship work. She's like not looking for fault in

1092
00:58:46,840 --> 00:58:49,800
Speaker 3: things or in people. And at the same time, she's

1093
00:58:49,920 --> 00:58:53,880
Speaker 3: not a dummy, like, she's not gullible, and that creates

1094
00:58:53,920 --> 00:58:57,760
Speaker 3: an interesting tension in her character that, like, she is

1095
00:58:57,960 --> 00:59:00,600
Speaker 3: quick to pick up on when there are problems and

1096
00:59:00,880 --> 00:59:05,000
Speaker 3: is sharp about observing things, but also has this emotional

1097
00:59:05,120 --> 00:59:09,880
Speaker 3: desire to maybe sometimes overlook problems and make things work

1098
00:59:09,920 --> 00:59:11,240
Speaker 3: out and make things all right.

1099
00:59:11,360 --> 00:59:14,520
Speaker 2: Yeah, but she has right to be concerned here, because again,

1100
00:59:14,600 --> 00:59:16,400
Speaker 2: he is late to his own wedding at this point

1101
00:59:16,440 --> 00:59:19,760
Speaker 2: and she hasn't heard from him in hours and hours.

1102
00:59:20,400 --> 00:59:23,120
Speaker 3: However, Suddenly Bill comes through the door. You know, better

1103
00:59:23,200 --> 00:59:25,960
Speaker 3: late than never, I guess. He comes in looking bewildered

1104
00:59:26,120 --> 00:59:29,640
Speaker 3: and at a loss for words. He apologizes for being late,

1105
00:59:29,680 --> 00:59:32,800
Speaker 3: and Marge rushes to kiss him. So they get married,

1106
00:59:32,880 --> 00:59:35,440
Speaker 3: and then they come out of the chapel. They sprint

1107
00:59:35,480 --> 00:59:38,240
Speaker 3: to the tail fin station wagon while their friends are

1108
00:59:38,240 --> 00:59:40,720
Speaker 3: throwing rice. You know it was a pre bird seed era.

1109
00:59:41,480 --> 00:59:43,280
Speaker 3: We're getting the rice going all over the car and

1110
00:59:43,280 --> 00:59:45,520
Speaker 3: you can see it bouncing off of the hood. And

1111
00:59:45,560 --> 00:59:48,840
Speaker 3: then they drive away, and for a very brief period

1112
00:59:48,880 --> 00:59:52,480
Speaker 3: it seems like Marge is truly happy. They drive along

1113
00:59:52,520 --> 00:59:55,480
Speaker 3: to their honeymoon destination with Bill at the wheel and

1114
00:59:55,560 --> 00:59:58,360
Speaker 3: Marge is sleeping with her head on his shoulder. But

1115
00:59:58,640 --> 01:00:01,840
Speaker 3: Bill does not have a peaceful expression like March does.

1116
01:00:01,920 --> 01:00:06,280
Speaker 3: He's looking grim and cautious. At one point while they're driving,

1117
01:00:06,360 --> 01:00:09,200
Speaker 3: Bill almost gets into a collision with another car turning

1118
01:00:09,200 --> 01:00:12,040
Speaker 3: onto the highway. The other guy stops and yells at

1119
01:00:12,080 --> 01:00:13,880
Speaker 3: him about how he should have had his lights on.

1120
01:00:14,640 --> 01:00:17,040
Speaker 3: Marge wakes up and points out that the guy is

1121
01:00:17,200 --> 01:00:21,840
Speaker 3: right the lights were off, but raises a question, how

1122
01:00:21,880 --> 01:00:24,480
Speaker 3: could Bill have been driving at all without his head

1123
01:00:24,560 --> 01:00:26,040
Speaker 3: lights when it's so dark outside.

1124
01:00:26,120 --> 01:00:28,440
Speaker 2: Oh he has dark vision, not a human.

1125
01:00:29,000 --> 01:00:31,800
Speaker 3: Another weird thing here. Bill snaps at Marge when she

1126
01:00:31,920 --> 01:00:35,600
Speaker 3: mentions the lights. You know, he would never snap like

1127
01:00:35,640 --> 01:00:38,680
Speaker 3: that before. It doesn't seem like the Bill she knows. Anyway.

1128
01:00:38,840 --> 01:00:41,680
Speaker 3: They make their way out to the resort where they're

1129
01:00:41,720 --> 01:00:44,000
Speaker 3: staying for their honeymoon. I'm not sure exactly where this

1130
01:00:44,080 --> 01:00:46,040
Speaker 3: is supposed to be, but they say it's on the ocean.

1131
01:00:46,120 --> 01:00:48,320
Speaker 3: It's on the sea, so it's like a hotel on

1132
01:00:48,400 --> 01:00:51,960
Speaker 3: a dark waterfront with churning black waves stretching out to

1133
01:00:52,000 --> 01:00:56,040
Speaker 3: the horizon. It's a very cool scene that where the

1134
01:00:56,200 --> 01:00:58,959
Speaker 3: you know, the weather and the landscape and indicates something

1135
01:00:59,000 --> 01:01:03,320
Speaker 3: about the relationship to Yeah, and as they settle in,

1136
01:01:03,640 --> 01:01:07,080
Speaker 3: Marge is again trying so hard to make things work,

1137
01:01:07,720 --> 01:01:11,040
Speaker 3: but something is off about Bill. He literally forgets her

1138
01:01:11,080 --> 01:01:13,640
Speaker 3: and leaves her in the car when they arrive. And

1139
01:01:13,680 --> 01:01:15,520
Speaker 3: this is an era where I think she's expecting he's

1140
01:01:15,520 --> 01:01:17,520
Speaker 3: supposed to come around and open her door for her,

1141
01:01:18,200 --> 01:01:20,880
Speaker 3: but he just forgets. He does not want to have

1142
01:01:21,040 --> 01:01:24,080
Speaker 3: a drink with her at the restaurant. He has developed

1143
01:01:24,120 --> 01:01:27,280
Speaker 3: a sudden aversion to alcohol, which he did not have before.

1144
01:01:27,360 --> 01:01:30,040
Speaker 2: This is really telling of the time period that it's

1145
01:01:30,080 --> 01:01:33,560
Speaker 2: a big red flag when your man is not having

1146
01:01:34,280 --> 01:01:39,040
Speaker 2: a tumbler of hard dark spirits every night, like on

1147
01:01:39,080 --> 01:01:42,000
Speaker 2: a weak night. It's like, something's the matter here. This

1148
01:01:42,080 --> 01:01:42,760
Speaker 2: is not healthy.

1149
01:01:43,200 --> 01:01:46,240
Speaker 3: Yeah, he did red flags for about men. He does

1150
01:01:46,320 --> 01:01:50,479
Speaker 3: not reach for the scotch. So and then also they're

1151
01:01:50,520 --> 01:01:53,280
Speaker 3: at the restaurant eating and he's just a cold fish.

1152
01:01:53,320 --> 01:01:57,680
Speaker 3: He's aloof he's barely talking. Marge is repeatedly trying to

1153
01:01:57,720 --> 01:01:59,600
Speaker 3: find things to engage him on. You can see her

1154
01:01:59,600 --> 01:02:02,920
Speaker 3: searching for conversation topics, and he just is not picking

1155
01:02:03,000 --> 01:02:03,880
Speaker 3: up what she's putting out.

1156
01:02:03,960 --> 01:02:06,800
Speaker 2: Yeah, they've only just gotten married. They surely haven't heard

1157
01:02:07,000 --> 01:02:09,520
Speaker 2: all of each other's stories yet, you know.

1158
01:02:09,960 --> 01:02:15,440
Speaker 3: Yeah, and all through this part, Bill, so there's a

1159
01:02:15,720 --> 01:02:18,480
Speaker 3: menacing element in that he seems to have changed and

1160
01:02:18,560 --> 01:02:23,080
Speaker 3: become cold. At the same time he is strangely innocent,

1161
01:02:23,760 --> 01:02:26,640
Speaker 3: almost childlike. At one point, the two of them are

1162
01:02:26,680 --> 01:02:29,880
Speaker 3: standing out on the balcony overlooking the water and there's

1163
01:02:29,920 --> 01:02:32,360
Speaker 3: a crack of thunder in the distance, and Bill asks

1164
01:02:32,440 --> 01:02:36,040
Speaker 3: what the sound was, and Marge tells him it was thunder,

1165
01:02:36,080 --> 01:02:38,840
Speaker 3: and he says thunder like he's learning a new word

1166
01:02:39,440 --> 01:02:42,880
Speaker 3: or experiencing it, Yeah, experiencing it for the first time.

1167
01:02:43,000 --> 01:02:47,160
Speaker 2: Yeah, because to be clear, yeah, Bill has been replaced

1168
01:02:47,160 --> 01:02:50,280
Speaker 2: by an alien at this point. Yeah. But it's like

1169
01:02:50,400 --> 01:02:54,480
Speaker 2: the alien is wearing like a copy of his body,

1170
01:02:54,600 --> 01:02:59,160
Speaker 2: but also wearing his thoughts and memories and his knowledge,

1171
01:02:59,280 --> 01:03:00,880
Speaker 2: but not in a way where like he just has

1172
01:03:01,320 --> 01:03:05,280
Speaker 2: instant natural access to it all. Like he's having to

1173
01:03:05,680 --> 01:03:07,760
Speaker 2: like sort of if it's like a costume. It's like

1174
01:03:07,760 --> 01:03:10,000
Speaker 2: he's having to like put his fingers into the glove

1175
01:03:10,080 --> 01:03:12,840
Speaker 2: and then see how that glove moves with his hand,

1176
01:03:13,240 --> 01:03:15,280
Speaker 2: so like he might, you know, he knows what thunder is,

1177
01:03:15,640 --> 01:03:18,200
Speaker 2: but has he experienced it before? Has he has he

1178
01:03:18,280 --> 01:03:21,240
Speaker 2: had had that sort of relationship to the concept, and

1179
01:03:21,280 --> 01:03:23,720
Speaker 2: so he's having to like, really he's having to learn

1180
01:03:23,800 --> 01:03:25,840
Speaker 2: everything in real time here.

1181
01:03:26,520 --> 01:03:29,240
Speaker 3: And you can see him trying to fake it. He's

1182
01:03:29,240 --> 01:03:32,440
Speaker 3: not doing a very good job, but he he gets

1183
01:03:32,520 --> 01:03:35,400
Speaker 3: the sense that he needs to say something to assure her.

1184
01:03:35,960 --> 01:03:38,480
Speaker 3: So he tells Marge he loves her more than anything,

1185
01:03:38,520 --> 01:03:43,120
Speaker 3: but the words feel awkward, something doesn't work, and Marge,

1186
01:03:43,160 --> 01:03:45,880
Speaker 3: seeming a little bit sad, goes inside. And then here's

1187
01:03:45,920 --> 01:03:50,760
Speaker 3: the part where we first see this weird, asymmetrical inhuman

1188
01:03:50,960 --> 01:03:55,640
Speaker 3: face superimposed over Bill's face. The lightning flashes and then

1189
01:03:55,760 --> 01:03:58,920
Speaker 3: an animated alien layer of his face is revealed.

1190
01:03:59,360 --> 01:04:04,840
Speaker 2: Yeah, looks really good, especially with that perfect hair and everything. Yeah. Again,

1191
01:04:04,880 --> 01:04:08,640
Speaker 2: that monster's weird organic vibe just melts so well here

1192
01:04:08,680 --> 01:04:10,320
Speaker 2: and just looks great in black and white.

1193
01:04:10,800 --> 01:04:19,560
Speaker 4: Yeah.

1194
01:04:19,640 --> 01:04:22,480
Speaker 2: Now, there's a there's a scene here on the Honeymoon

1195
01:04:22,520 --> 01:04:26,000
Speaker 2: that I really loved. There's a there's the blocking in

1196
01:04:26,000 --> 01:04:28,400
Speaker 2: particular of this one scene where Bill and Marge are

1197
01:04:28,480 --> 01:04:31,480
Speaker 2: chatting and there's a mirror in the shot, and we

1198
01:04:31,520 --> 01:04:35,840
Speaker 2: see reflected in the mirror the twin beds. So twin

1199
01:04:35,880 --> 01:04:39,800
Speaker 2: beds like this were, of course to a large degree,

1200
01:04:40,160 --> 01:04:43,280
Speaker 2: but not entirely a product of censorship of the day.

1201
01:04:44,080 --> 01:04:44,240
Speaker 3: Though.

1202
01:04:44,640 --> 01:04:47,520
Speaker 2: The story behind like why we see so many twin

1203
01:04:47,600 --> 01:04:50,640
Speaker 2: beds instead of like a king or queens size bed

1204
01:04:51,000 --> 01:04:55,520
Speaker 2: typically in like a married couple's bedroom, The actual story

1205
01:04:55,520 --> 01:04:57,720
Speaker 2: behind it is a bit more complex, but more complicated

1206
01:04:57,720 --> 01:05:01,760
Speaker 2: than I than I anticipated. I actually ran across a

1207
01:05:01,800 --> 01:05:06,200
Speaker 2: book by Hillary Hines titled A Cultural History of Twin Beds,

1208
01:05:06,880 --> 01:05:09,360
Speaker 2: and it pointed out that while media is part of

1209
01:05:09,400 --> 01:05:13,880
Speaker 2: the situation, twin beds were actually a seemingly popular sleeping

1210
01:05:13,960 --> 01:05:17,400
Speaker 2: arrangement for married couples between eighteen seventy and nineteen seventy

1211
01:05:17,840 --> 01:05:21,800
Speaker 2: for a number of reasons, including consumer preference, social mores,

1212
01:05:22,200 --> 01:05:26,360
Speaker 2: and product placement as well. But when it came to films,

1213
01:05:26,480 --> 01:05:29,160
Speaker 2: it did become a standard. I'm going to read a

1214
01:05:29,240 --> 01:05:32,520
Speaker 2: quote from this work. Quote. While the code referring to

1215
01:05:32,520 --> 01:05:36,000
Speaker 2: the Hayes code here itself did not specify the need

1216
01:05:36,040 --> 01:05:39,240
Speaker 2: for twin beds, by nineteen thirty seven the advice to

1217
01:05:39,320 --> 01:05:43,720
Speaker 2: movie makers was unequivocal. A double bed was too explicit

1218
01:05:44,000 --> 01:05:48,200
Speaker 2: in its sexual associations for safe presentation in films intended

1219
01:05:48,440 --> 01:05:52,040
Speaker 2: for the general cinema going public. Only twins had the

1220
01:05:52,160 --> 01:05:56,680
Speaker 2: necessary cultural delicacy. They had the advantage of implying marital

1221
01:05:56,760 --> 01:06:01,040
Speaker 2: sexual intimacy without showing a bed that might have facilitated it.

1222
01:06:01,640 --> 01:06:06,000
Speaker 3: Wow, I can't have film audiences knowing where babies come from.

1223
01:06:05,840 --> 01:06:08,600
Speaker 2: Right even though again, especially in this film, because we're

1224
01:06:08,640 --> 01:06:11,040
Speaker 2: about to like leap forward a year and part of

1225
01:06:11,080 --> 01:06:13,600
Speaker 2: what we learn is like they've been trying to conceive

1226
01:06:13,720 --> 01:06:17,360
Speaker 2: for a year, they've been having sex, and it's an

1227
01:06:17,360 --> 01:06:20,960
Speaker 2: important part of the storyline. But yeah, you had to

1228
01:06:21,080 --> 01:06:23,280
Speaker 2: in the words of the Hayes Code, what you had

1229
01:06:23,280 --> 01:06:26,680
Speaker 2: to think about the sacred intimacies of modern life or

1230
01:06:26,800 --> 01:06:31,200
Speaker 2: marital life. So in this particular scene, though I don't know,

1231
01:06:31,240 --> 01:06:33,320
Speaker 2: I thought it played really well, at least to the

1232
01:06:33,360 --> 01:06:37,560
Speaker 2: like the modern twenty twenty six viewer, because the twin

1233
01:06:38,480 --> 01:06:41,560
Speaker 2: I suspect it was unintended. But it just feels kind

1234
01:06:41,600 --> 01:06:45,280
Speaker 2: of palpable. You know that we have distance between this

1235
01:06:45,400 --> 01:06:49,040
Speaker 2: newly pronounced man and wife, the awkwardness of implied physical

1236
01:06:49,040 --> 01:06:52,360
Speaker 2: intimacy to follow in the symbol of those twin beds

1237
01:06:52,360 --> 01:06:55,720
Speaker 2: in the mirror, as if illustrating the golf between them,

1238
01:06:55,880 --> 01:06:59,160
Speaker 2: a golf that is at once between romantic partners and

1239
01:06:59,240 --> 01:07:03,040
Speaker 2: the golf between far flung planets, between different species with

1240
01:07:03,040 --> 01:07:04,600
Speaker 2: different evolutionary origins.

1241
01:07:05,120 --> 01:07:08,400
Speaker 3: Yeah, yeah, I did not notice that the first time

1242
01:07:08,440 --> 01:07:10,240
Speaker 3: I watched it, but I saw your note here and

1243
01:07:10,320 --> 01:07:12,400
Speaker 3: I caught that the second time. I think that works

1244
01:07:12,440 --> 01:07:14,480
Speaker 3: really well and it's subtle. It's like, yeah, like you said,

1245
01:07:14,480 --> 01:07:17,200
Speaker 3: it's reflected in the mirror while they're facing each other

1246
01:07:17,240 --> 01:07:17,680
Speaker 3: in the room.

1247
01:07:17,800 --> 01:07:19,680
Speaker 2: Yeah, I'm not sure how much of that is, just

1248
01:07:19,880 --> 01:07:22,080
Speaker 2: like the modern viewer looking back on it, how much

1249
01:07:22,080 --> 01:07:23,960
Speaker 2: of it was an intended part of the film, but

1250
01:07:24,320 --> 01:07:27,080
Speaker 2: it may have well been very intended. Like I said,

1251
01:07:27,080 --> 01:07:29,440
Speaker 2: it's a very well composed shot. And you know, they

1252
01:07:29,480 --> 01:07:31,400
Speaker 2: knew what the twin beds were about. They knew why

1253
01:07:31,400 --> 01:07:33,440
Speaker 2: they were using twin beds and films like this, and

1254
01:07:33,440 --> 01:07:38,160
Speaker 2: there's explicitly they're expressly trying to tell a story that

1255
01:07:38,240 --> 01:07:41,280
Speaker 2: has a major plot about human reproduction and sexual relations.

1256
01:07:41,840 --> 01:07:44,640
Speaker 3: So after this we cut to the future. A year

1257
01:07:44,720 --> 01:07:48,000
Speaker 3: has passed and in the transition we see Marge writing

1258
01:07:48,040 --> 01:07:50,680
Speaker 3: a letter to her mother. She says it's been a

1259
01:07:50,720 --> 01:07:54,080
Speaker 3: horrible first year of marriage. She is frightened and bewildered,

1260
01:07:54,360 --> 01:07:57,200
Speaker 3: and she writes, quote, Bill isn't the man I fell

1261
01:07:57,240 --> 01:08:01,280
Speaker 3: in love with. He's almost a stranger. There is a

1262
01:08:01,360 --> 01:08:04,880
Speaker 3: scene where two of Bill's friends from the bachelor party

1263
01:08:04,920 --> 01:08:08,600
Speaker 3: are drinking together at the Bar and Grill, a recurring

1264
01:08:08,640 --> 01:08:11,240
Speaker 3: location for the rest of the film. Surprising amount of

1265
01:08:11,240 --> 01:08:13,040
Speaker 3: this movie takes place at Bar and Grill.

1266
01:08:13,360 --> 01:08:14,840
Speaker 2: This is where Slapsy Maxie works.

1267
01:08:15,200 --> 01:08:18,080
Speaker 3: Yes, he's the bartender there, and it's also right next

1268
01:08:18,120 --> 01:08:22,240
Speaker 3: to a building call a store that sells church supplies

1269
01:08:22,680 --> 01:08:24,760
Speaker 3: that just says church supplies in the window. I like

1270
01:08:24,840 --> 01:08:25,360
Speaker 3: that detail.

1271
01:08:25,479 --> 01:08:27,840
Speaker 2: Yeah, it's one.

1272
01:08:27,880 --> 01:08:30,559
Speaker 3: Yeah, exactly. This is where you buy your wafers in bulk.

1273
01:08:30,880 --> 01:08:34,559
Speaker 3: It's like a costco for churches. And then so we

1274
01:08:34,680 --> 01:08:37,360
Speaker 3: join the couple of guys here in the bar, and

1275
01:08:37,400 --> 01:08:39,880
Speaker 3: they are still complaining about women. They're still on the

1276
01:08:39,920 --> 01:08:43,280
Speaker 3: same stuff. One of them, the guy named Sam, he

1277
01:08:43,760 --> 01:08:47,360
Speaker 3: you know, has enough complaining and he walks out, stumbling drunk,

1278
01:08:47,400 --> 01:08:50,439
Speaker 3: to head home. But on the way he stops to

1279
01:08:50,520 --> 01:08:52,920
Speaker 3: puke in an alley and then he gets smoke bloomed

1280
01:08:52,920 --> 01:08:54,679
Speaker 3: by the a lad and so they come get him.

1281
01:08:55,360 --> 01:08:57,880
Speaker 3: And then the next time we see him he has

1282
01:08:57,960 --> 01:09:01,800
Speaker 3: a very different vibe. In the very next scene, we

1283
01:09:01,960 --> 01:09:05,240
Speaker 3: learn that he has suddenly proposed to his girlfriend Helen,

1284
01:09:05,320 --> 01:09:08,400
Speaker 3: and now they're going to get married. There's also a

1285
01:09:08,439 --> 01:09:11,080
Speaker 3: scene a little bit later where we see a police

1286
01:09:11,080 --> 01:09:13,719
Speaker 3: officer get claimed by the smoke in the same alley.

1287
01:09:14,200 --> 01:09:17,120
Speaker 3: I think it's making the point that slowly, one by one,

1288
01:09:17,200 --> 01:09:19,120
Speaker 3: over the course of this year, the men of the

1289
01:09:19,120 --> 01:09:20,520
Speaker 3: town are being replaced.

1290
01:09:20,600 --> 01:09:23,920
Speaker 2: Yeah, the entire local patriarchy is being supplanted.

1291
01:09:24,960 --> 01:09:28,320
Speaker 3: There's also a scene where Marge goes to visit her doctor,

1292
01:09:28,439 --> 01:09:33,160
Speaker 3: doctor Wayne. Marge is concerned because, as we alluded to earlier.

1293
01:09:33,200 --> 01:09:35,080
Speaker 3: She and Bill have been trying to have children, but

1294
01:09:35,120 --> 01:09:38,320
Speaker 3: so far they haven't been able, and doctor Wayne gives

1295
01:09:38,320 --> 01:09:40,879
Speaker 3: her a checkup and says he can't find any evidence

1296
01:09:40,880 --> 01:09:43,240
Speaker 3: of a condition that would prevent her from getting pregnant,

1297
01:09:43,560 --> 01:09:46,320
Speaker 3: so he tries to give her some confidence. He reassures her,

1298
01:09:46,560 --> 01:09:48,880
Speaker 3: but he also suggests Bill come in for a checkup

1299
01:09:48,920 --> 01:09:52,439
Speaker 3: as well. Now after this we get into an early

1300
01:09:53,720 --> 01:09:56,880
Speaker 3: more menacing subplot of the movie, because for a lot

1301
01:09:56,920 --> 01:10:00,840
Speaker 3: of the film we're really balancing this question of exactly

1302
01:10:00,920 --> 01:10:04,599
Speaker 3: how dangerous is the alien Bill. We the audience already

1303
01:10:04,640 --> 01:10:07,599
Speaker 3: knows he's been replaced, but we're trying to figure out

1304
01:10:07,640 --> 01:10:10,000
Speaker 3: what is he going to do? How dangerous is he? What?

1305
01:10:10,080 --> 01:10:13,920
Speaker 3: You know, what kind of threat does he represent? So,

1306
01:10:14,160 --> 01:10:18,200
Speaker 3: in what comes off as a desperate attempt to inject

1307
01:10:18,240 --> 01:10:21,880
Speaker 3: some joy into their marriage, Marge buys a dog from

1308
01:10:21,920 --> 01:10:25,400
Speaker 3: a pet shop as an anniversary present for Bill, very

1309
01:10:25,479 --> 01:10:28,720
Speaker 3: weird domed cage. She's carrying the dog around in She

1310
01:10:28,880 --> 01:10:31,000
Speaker 3: like carries it up. It's this huge, almost kind of

1311
01:10:31,040 --> 01:10:35,240
Speaker 3: dog suitcase. But when she lifts the tarp off the

1312
01:10:35,240 --> 01:10:37,479
Speaker 3: top of the cage to show it to Bill, the

1313
01:10:37,560 --> 01:10:41,240
Speaker 3: dog cannot stand him. It growls and snaps at him

1314
01:10:41,280 --> 01:10:43,719
Speaker 3: on side. It's like a terminator, you know, dogs can't

1315
01:10:43,720 --> 01:10:47,400
Speaker 3: stand him. And Bill says, maybe dogs don't like me,

1316
01:10:47,720 --> 01:10:51,160
Speaker 3: and she says, but Bill, you've had dogs all your life.

1317
01:10:51,720 --> 01:10:54,639
Speaker 3: And then he says, maybe I'm a little out of practice.

1318
01:10:56,439 --> 01:10:59,600
Speaker 3: And then later in this scene he says, maybe he

1319
01:10:59,760 --> 01:11:02,080
Speaker 3: just needs a little time to get accustomed to me.

1320
01:11:03,760 --> 01:11:07,559
Speaker 3: Knowing the premise, you might assume this part comes off

1321
01:11:07,600 --> 01:11:11,880
Speaker 3: as like chilling and overwhelmingly threatening, But there's a complexity

1322
01:11:11,920 --> 01:11:14,519
Speaker 3: to Alien Bill that I really appreciate. Here. It's a

1323
01:11:14,600 --> 01:11:18,280
Speaker 3: kind of sadness, like he hoped maybe it wouldn't be

1324
01:11:18,479 --> 01:11:20,960
Speaker 3: this way, but he doesn't know how to fix it

1325
01:11:21,040 --> 01:11:22,040
Speaker 3: and wishes he could.

1326
01:11:22,320 --> 01:11:24,320
Speaker 2: Yeah, so he tells her go put it in the basement.

1327
01:11:25,600 --> 01:11:27,880
Speaker 3: Yeah, and then this leads to a horrible dog murder

1328
01:11:27,960 --> 01:11:30,320
Speaker 3: scene in the basement. I mean, the murder itself happens

1329
01:11:30,360 --> 01:11:34,000
Speaker 3: off off screen, but yeah. Bill goes down there and

1330
01:11:34,040 --> 01:11:36,120
Speaker 3: the dog is still snapping and growling at him, and

1331
01:11:36,120 --> 01:11:39,120
Speaker 3: he realizes, like this can't go on, you know, there's

1332
01:11:39,160 --> 01:11:40,960
Speaker 3: no way for him to continue with this dog in

1333
01:11:41,000 --> 01:11:43,680
Speaker 3: the house. So he kills the dog and then he

1334
01:11:44,040 --> 01:11:46,920
Speaker 3: tells a very implausible story to Marge to cover it up.

1335
01:11:47,120 --> 01:11:48,880
Speaker 2: It's like the dog slipped in a puddle March and

1336
01:11:48,960 --> 01:11:50,960
Speaker 2: is dead now No, I think he says that it's

1337
01:11:51,760 --> 01:11:53,960
Speaker 2: collar too tied or something.

1338
01:11:54,040 --> 01:11:57,960
Speaker 3: Yeah. So later Marge and Bill are sitting on the

1339
01:11:57,960 --> 01:12:00,919
Speaker 3: couch together and Marge brings up the top of children.

1340
01:12:01,560 --> 01:12:05,519
Speaker 3: She reiterates how much she really wants children, and she

1341
01:12:05,720 --> 01:12:08,880
Speaker 3: brings up how the doctor wanted to have Bill come

1342
01:12:08,920 --> 01:12:13,719
Speaker 3: for a checkup about this, to see if that maybe something,

1343
01:12:14,040 --> 01:12:15,960
Speaker 3: maybe something about Bill could be addressed to deal with

1344
01:12:16,000 --> 01:12:20,240
Speaker 3: fertility issues. Bill verbally agrees to do this, but you

1345
01:12:20,280 --> 01:12:23,759
Speaker 3: can see his frustration and even rage kind of contained

1346
01:12:23,840 --> 01:12:27,040
Speaker 3: under the surface. Marge steps away to answer the door,

1347
01:12:27,160 --> 01:12:30,320
Speaker 3: and when she's out of the room, Bill crushes this

1348
01:12:30,400 --> 01:12:33,120
Speaker 3: heavy metal cigarette lighter with his hand, so it's like

1349
01:12:33,280 --> 01:12:39,120
Speaker 3: he's he's feeling extremely frustrated with the situation, and this

1350
01:12:39,240 --> 01:12:43,320
Speaker 3: leads into a tense and interesting scene. It's a visit

1351
01:12:43,520 --> 01:12:49,599
Speaker 3: from Sam, the New Sam, the Alien Sam. There's one

1352
01:12:49,680 --> 01:12:52,040
Speaker 3: kind of interesting wrinkle here, which is that in some

1353
01:12:52,120 --> 01:12:55,680
Speaker 3: of these body Snatcher movies, the aliens can always recognize

1354
01:12:55,680 --> 01:12:58,400
Speaker 3: one another on site, even if they're disguised as humans,

1355
01:12:58,439 --> 01:13:02,559
Speaker 3: so the alien always knows another alien. In this movie,

1356
01:13:03,120 --> 01:13:06,599
Speaker 3: it seems like the disguise works against their own kind

1357
01:13:06,640 --> 01:13:10,160
Speaker 3: as well. So these aliens in human skin are kind

1358
01:13:10,200 --> 01:13:13,960
Speaker 3: of wary of each other at first, like I don't

1359
01:13:14,000 --> 01:13:16,120
Speaker 3: know if you're cool. I don't know if we can talk.

1360
01:13:16,560 --> 01:13:19,080
Speaker 2: Yeah. I like this detail. I wonder if the vibe

1361
01:13:19,120 --> 01:13:21,759
Speaker 2: was borrowed from says, sort of like deep cover crime

1362
01:13:21,880 --> 01:13:23,960
Speaker 2: or spy storytelling.

1363
01:13:24,439 --> 01:13:24,639
Speaker 3: Yeah.

1364
01:13:24,720 --> 01:13:26,720
Speaker 2: But in any event, it works well here, and it

1365
01:13:26,760 --> 01:13:30,360
Speaker 2: also plays well into various interpretations of the plot. You know,

1366
01:13:30,640 --> 01:13:33,400
Speaker 2: there's a deeper identity at play here. Is this deeper

1367
01:13:33,439 --> 01:13:37,040
Speaker 2: identity something to do with closeted sexuality? Is it akin

1368
01:13:37,160 --> 01:13:41,720
Speaker 2: to some generally unrecognized aspect of the self concerning attitudes

1369
01:13:41,720 --> 01:13:44,840
Speaker 2: and desires regarding the opposite sex? I mean it's all

1370
01:13:44,880 --> 01:13:45,920
Speaker 2: open to interpretation.

1371
01:13:46,960 --> 01:13:51,640
Speaker 3: Interesting. Yeah. Anyway, Alien Sam wants to share information with

1372
01:13:51,680 --> 01:13:55,320
Speaker 3: Alien Bill even when they're when they're alone together in

1373
01:13:55,360 --> 01:13:58,200
Speaker 3: the room, Sam is kind of dropping hints and Alien

1374
01:13:58,200 --> 01:14:00,439
Speaker 3: Bill resists at first, like he's I'm not sure he

1375
01:14:00,439 --> 01:14:03,200
Speaker 3: can trust him. They talk about alcohol. You know, I've

1376
01:14:03,240 --> 01:14:05,519
Speaker 3: lost my taste for the stuff. I've lost my taste

1377
01:14:05,520 --> 01:14:08,960
Speaker 3: for it too interesting, And this also brought to mind

1378
01:14:10,160 --> 01:14:12,759
Speaker 3: don't people have fans of a theory about the thing

1379
01:14:12,920 --> 01:14:15,799
Speaker 3: where like the thing can't consume alcohol or something?

1380
01:14:16,240 --> 01:14:18,519
Speaker 2: You know, I haven't read that one. But the next

1381
01:14:18,560 --> 01:14:21,280
Speaker 2: time I actually watch, is it Carpenter's the thing we're discussing?

1382
01:14:21,400 --> 01:14:21,599
Speaker 3: Yeah?

1383
01:14:21,640 --> 01:14:23,599
Speaker 2: Yeah, next time I watch where we watch it, I'll

1384
01:14:23,640 --> 01:14:24,479
Speaker 2: have to take that with me.

1385
01:14:26,680 --> 01:14:28,880
Speaker 3: I don't know if that's correct. I'm half remembering that,

1386
01:14:30,160 --> 01:14:33,840
Speaker 3: but anyway. At one point, the conversation shifts and Sam

1387
01:14:33,880 --> 01:14:36,200
Speaker 3: lowers his voice and he says, did you make many

1388
01:14:36,240 --> 01:14:40,320
Speaker 3: mistakes at first? But Bill is still kind of like

1389
01:14:40,400 --> 01:14:43,160
Speaker 3: holding back. He pretends he doesn't know what Sam's talking about.

1390
01:14:43,640 --> 01:14:46,439
Speaker 3: And Sam says humans are not too bright, their bodies

1391
01:14:46,479 --> 01:14:50,439
Speaker 3: are frail, but they do manage to enjoy themselves. And

1392
01:14:50,479 --> 01:14:54,160
Speaker 3: then he says they've improved the methane reservoirs in these bodies.

1393
01:14:54,200 --> 01:14:57,880
Speaker 3: You're due to report to the ship tonight. First Bill

1394
01:14:57,960 --> 01:15:02,000
Speaker 3: still plays dumb, but then final Sam unleashes that throbbing

1395
01:15:02,040 --> 01:15:05,479
Speaker 3: electronic sound and shows his you know the cartoon tree face,

1396
01:15:06,280 --> 01:15:10,439
Speaker 3: and again an interesting question about why Bill takes so

1397
01:15:10,520 --> 01:15:13,639
Speaker 3: much convincing but once it's undeniable Sam gives the orders,

1398
01:15:13,960 --> 01:15:16,960
Speaker 3: you've got to go to the ship tonight. So later

1399
01:15:17,040 --> 01:15:19,960
Speaker 3: that night, once again this is a very daylight filled

1400
01:15:20,080 --> 01:15:23,280
Speaker 3: kind of night, Marge pretends to be asleep because at

1401
01:15:23,280 --> 01:15:27,120
Speaker 3: this point she she already knows something is wrong with Bill,

1402
01:15:27,160 --> 01:15:29,720
Speaker 3: and she she wants to find out more. So she

1403
01:15:29,960 --> 01:15:33,680
Speaker 3: waits until Bill leaves the house and then follows him

1404
01:15:33,720 --> 01:15:36,680
Speaker 3: on foot in her nightgown, kind of draped awkwardly in

1405
01:15:36,720 --> 01:15:40,720
Speaker 3: a long overcoat, and so she follows him through the

1406
01:15:40,760 --> 01:15:43,200
Speaker 3: neighborhoods he's walking out on foot as well. At one

1407
01:15:43,200 --> 01:15:46,360
Speaker 3: point she hears a cat screech, and then following in

1408
01:15:46,400 --> 01:15:48,800
Speaker 3: Bill's path, she finds a dead cat in the road.

1409
01:15:49,280 --> 01:15:50,960
Speaker 3: I didn't understand why this happened.

1410
01:15:51,160 --> 01:15:53,880
Speaker 2: I think dogs are natural enemies of these aliens, and

1411
01:15:53,880 --> 01:15:56,280
Speaker 2: so are cats. So it's like sleepwalker.

1412
01:15:56,400 --> 01:15:58,320
Speaker 3: Yeah, he's attacked on site by cats.

1413
01:15:58,360 --> 01:16:01,200
Speaker 2: Yeah, we have only Officer Cloak was on the case here.

1414
01:16:01,600 --> 01:16:05,519
Speaker 3: Yeah. So she follows Bill to a forested ravine at

1415
01:16:05,560 --> 01:16:08,160
Speaker 3: the edge of town and watches him make his way

1416
01:16:08,160 --> 01:16:11,080
Speaker 3: into the woods, and then eventually she sees him make

1417
01:16:11,160 --> 01:16:16,200
Speaker 3: contact with the ship. So the alien form here somehow

1418
01:16:16,400 --> 01:16:21,040
Speaker 3: exits Bill's body, leaving it frozen standing in this pile

1419
01:16:21,080 --> 01:16:25,240
Speaker 3: of dead leaves, and Marge sees the alien's true form

1420
01:16:25,360 --> 01:16:28,719
Speaker 3: glowing in the dark. It leaves to head inside the ship.

1421
01:16:29,000 --> 01:16:30,760
Speaker 3: Then she goes over to Bill to try to get

1422
01:16:30,760 --> 01:16:34,360
Speaker 3: his attention, but he cannot be roused. He's unresponsive with

1423
01:16:34,439 --> 01:16:38,120
Speaker 3: eyes wide open, like he's frozen alive, and she touches

1424
01:16:38,200 --> 01:16:40,840
Speaker 3: him and he falls over, so she screams in horror

1425
01:16:40,840 --> 01:16:44,880
Speaker 3: and retreats to town. She ends up seeking help at

1426
01:16:45,000 --> 01:16:48,320
Speaker 3: where else the bar and grill, you know, like hot

1427
01:16:48,400 --> 01:16:51,320
Speaker 3: jazz music is playing inside. Everybody's drinking through the night,

1428
01:16:52,000 --> 01:16:54,519
Speaker 3: and she goes up to the bartender and a man

1429
01:16:54,600 --> 01:16:56,840
Speaker 3: sitting at the bar to try to get their help

1430
01:16:57,200 --> 01:17:00,479
Speaker 3: to explain what happened there is there's one of the

1431
01:17:00,479 --> 01:17:02,479
Speaker 3: guys sitting at the bar is this kind of creep

1432
01:17:02,479 --> 01:17:05,479
Speaker 3: who has a almost kind of a here's the guy

1433
01:17:05,479 --> 01:17:09,720
Speaker 3: who hosts Unsolved Mysteries. He has I don't know for

1434
01:17:09,760 --> 01:17:11,800
Speaker 3: why why. He kind of reminded me of that guy,

1435
01:17:11,920 --> 01:17:14,559
Speaker 3: but more of like a criminal vibe to him.

1436
01:17:15,439 --> 01:17:18,760
Speaker 2: Well, it's interesting that you should mention Robert Stack. He was,

1437
01:17:18,800 --> 01:17:22,240
Speaker 2: of course on the old Untouchables TV series of the

1438
01:17:22,240 --> 01:17:25,840
Speaker 2: fifties and sixties, and so was this guy really playing

1439
01:17:25,880 --> 01:17:27,519
Speaker 2: the creep? A guy who by the name of Steve

1440
01:17:27,600 --> 01:17:30,640
Speaker 2: London who lived nineteen twenty nine through twenty fourteen. I

1441
01:17:31,120 --> 01:17:32,880
Speaker 2: did make note of him because I was like, oh man,

1442
01:17:32,880 --> 01:17:36,120
Speaker 2: this guy's good. This is this is a nice, little

1443
01:17:36,200 --> 01:17:39,679
Speaker 2: creepy performance. He's like, clearly, this disturbed woman has come

1444
01:17:39,680 --> 01:17:42,599
Speaker 2: into the bar and he's trying to pick her up. Yes,

1445
01:17:42,680 --> 01:17:47,320
Speaker 2: so we'll see more from him. His is a small

1446
01:17:47,400 --> 01:17:50,360
Speaker 2: role but has a weird character art to it.

1447
01:17:50,720 --> 01:17:54,160
Speaker 3: Well, he presents a parallel threat, you know. It's a

1448
01:17:54,200 --> 01:17:57,439
Speaker 3: different kind of Yeah, it's interesting. So the men here

1449
01:17:57,479 --> 01:18:00,400
Speaker 3: at the bar do not take her story serious. They

1450
01:18:00,439 --> 01:18:02,519
Speaker 3: do not listen to her, and they do not offer

1451
01:18:02,640 --> 01:18:05,120
Speaker 3: genuine help. I mean, they pay attention to her, but

1452
01:18:05,120 --> 01:18:07,880
Speaker 3: it's the wrong kind of attention. The creep at the

1453
01:18:07,920 --> 01:18:12,000
Speaker 3: bar is reacting to her only as a potential sexual partner,

1454
01:18:12,000 --> 01:18:13,599
Speaker 3: so he tries to buy her a drink and hit

1455
01:18:13,720 --> 01:18:17,000
Speaker 3: on her. And it's interesting that these men are not

1456
01:18:17,240 --> 01:18:19,960
Speaker 3: aliens yet as far as we know, but they also

1457
01:18:20,160 --> 01:18:25,559
Speaker 3: cannot be relied on. So the next scene, she decides

1458
01:18:25,680 --> 01:18:28,240
Speaker 3: she needs somebody who can help her, so she goes

1459
01:18:28,280 --> 01:18:30,759
Speaker 3: to see her godfather, who happens to be the local

1460
01:18:30,800 --> 01:18:35,200
Speaker 3: police chief, Chief Collins. He is not dismissive like the

1461
01:18:35,200 --> 01:18:37,800
Speaker 3: men at the bar. He's dismissive in a different way.

1462
01:18:38,320 --> 01:18:40,639
Speaker 3: He has a kindly manner and he tries to put

1463
01:18:40,640 --> 01:18:44,479
Speaker 3: her fierce to rest. He listens and then he tells her, well,

1464
01:18:44,520 --> 01:18:46,400
Speaker 3: you know, I believe maybe you saw something, but it

1465
01:18:46,439 --> 01:18:50,360
Speaker 3: was probably caused by hysteria. But just in case she's right,

1466
01:18:50,439 --> 01:18:53,960
Speaker 3: he promises he'll look into it. And then after she leaves,

1467
01:18:54,040 --> 01:18:56,400
Speaker 3: the Chief turns to face the window and with the

1468
01:18:56,479 --> 01:18:59,240
Speaker 3: lightning flashes, we see, uh, oh, he's got that root

1469
01:18:59,240 --> 01:19:02,000
Speaker 3: ball face as well. Well he's got the alien face.

1470
01:19:02,040 --> 01:19:06,519
Speaker 3: So he's already been gotten. And so finally Marge really

1471
01:19:06,560 --> 01:19:09,120
Speaker 3: has no choice but to go home to Bill. She

1472
01:19:09,200 --> 01:19:12,439
Speaker 3: has made bids for help in these different locations and

1473
01:19:12,640 --> 01:19:16,120
Speaker 3: just nothing went anywhere. So she goes back home to Bill.

1474
01:19:16,439 --> 01:19:18,600
Speaker 3: When she gets there, he's sitting in the dark in

1475
01:19:18,680 --> 01:19:21,080
Speaker 3: a chair in the living room waiting for her, and

1476
01:19:21,200 --> 01:19:23,559
Speaker 3: together they go up to bed and it's just this

1477
01:19:24,000 --> 01:19:28,639
Speaker 3: kind of sad, menacing scene where there's like she doesn't

1478
01:19:28,640 --> 01:19:30,160
Speaker 3: know what else to do except to go home.

1479
01:19:30,280 --> 01:19:34,160
Speaker 2: Yeah, just continue to just go through the sugar d here.

1480
01:19:34,240 --> 01:19:34,920
Speaker 3: Yeah.

1481
01:19:35,000 --> 01:19:45,200
Speaker 4: Yeah.

1482
01:19:45,240 --> 01:19:47,479
Speaker 3: After this, at some point there is an there's a

1483
01:19:47,520 --> 01:19:50,320
Speaker 3: wedding rehearsal scene Helen and Sam are getting married. Of course,

1484
01:19:50,360 --> 01:19:53,200
Speaker 3: remember Sam is alien Sam now, but Helen is getting

1485
01:19:53,200 --> 01:19:57,719
Speaker 3: married to him. Marge at the wedding rehearsal pulls Helen

1486
01:19:57,760 --> 01:20:01,240
Speaker 3: aside after the runthrough, and she herries to convince Helen

1487
01:20:01,360 --> 01:20:03,920
Speaker 3: not to marry Sam, though she has a very hard

1488
01:20:03,920 --> 01:20:07,439
Speaker 3: time explaining why she shouldn't. She's saying, like, it may

1489
01:20:07,479 --> 01:20:09,760
Speaker 3: not be true of Sam, I just don't know. But

1490
01:20:09,880 --> 01:20:12,400
Speaker 3: Helen's like, what is it? What are you trying to say?

1491
01:20:12,760 --> 01:20:15,920
Speaker 3: And Helen is obviously not very happy to be hearing

1492
01:20:15,960 --> 01:20:20,000
Speaker 3: whatever this is. And she's trying to explain to Helen,

1493
01:20:20,080 --> 01:20:21,960
Speaker 3: but she doesn't get a chance. Bill comes in and

1494
01:20:21,960 --> 01:20:26,280
Speaker 3: interrupts them, and there's no opportunity to explain. She never

1495
01:20:26,600 --> 01:20:29,280
Speaker 3: gets a chance in the film to compare notes with

1496
01:20:29,320 --> 01:20:33,360
Speaker 3: another woman, Like she has a few female friends, but

1497
01:20:33,960 --> 01:20:37,479
Speaker 3: she doesn't really she's not given an opportunity to like

1498
01:20:37,720 --> 01:20:41,680
Speaker 3: have a deep and private interaction with them. You know,

1499
01:20:41,760 --> 01:20:45,240
Speaker 3: they can have brief, shallow interactions that are kind of

1500
01:20:45,320 --> 01:20:48,120
Speaker 3: like interrupted and managed by the men around them.

1501
01:20:48,280 --> 01:20:50,600
Speaker 2: Yeah, yeah, and going back to you know, what we

1502
01:20:50,640 --> 01:20:53,280
Speaker 2: said earlier about the scene at the bar, it's like

1503
01:20:53,560 --> 01:20:56,720
Speaker 2: we're increasingly in a situation where it's clear that, like

1504
01:20:58,120 --> 01:21:00,880
Speaker 2: pretty if you haven't been replaced by an alien being

1505
01:21:00,920 --> 01:21:03,200
Speaker 2: at this point, then you're probably just a local creep

1506
01:21:03,240 --> 01:21:04,960
Speaker 2: who is never going to be able to help you anyway,

1507
01:21:05,040 --> 01:21:08,760
Speaker 2: or you're just completely indifferent. So it's definitely not a

1508
01:21:08,800 --> 01:21:11,000
Speaker 2: scenario where it's like, oh, all the men have been

1509
01:21:11,040 --> 01:21:14,479
Speaker 2: replaced and now all the men are suspicious or no help.

1510
01:21:15,680 --> 01:21:18,240
Speaker 2: And I think that was certainly the better choice here,

1511
01:21:18,640 --> 01:21:22,040
Speaker 2: because there's probably you know, another on another shelf of

1512
01:21:22,040 --> 01:21:24,160
Speaker 2: the library of Babel, there's a version of this film

1513
01:21:24,200 --> 01:21:26,400
Speaker 2: where the aliens just replaced all the men in town

1514
01:21:26,880 --> 01:21:28,320
Speaker 2: and it would be less interesting.

1515
01:21:28,360 --> 01:21:30,760
Speaker 3: I think I agree with that. I think it is

1516
01:21:30,800 --> 01:21:34,080
Speaker 3: more interesting and kind of says more in that we

1517
01:21:34,080 --> 01:21:37,639
Speaker 3: were getting this mix of different kinds of threats from men,

1518
01:21:37,760 --> 01:21:42,160
Speaker 3: you know, and some are quite mundane. And then so

1519
01:21:43,000 --> 01:21:45,439
Speaker 3: there's this later scene between Bill and Marge at home.

1520
01:21:46,000 --> 01:21:48,160
Speaker 3: This is one of these scenes where Marge points the

1521
01:21:48,400 --> 01:21:50,560
Speaker 3: Bill has not touched his drink and he's like, I

1522
01:21:50,840 --> 01:21:53,000
Speaker 3: told you I have an allergy to alcohol.

1523
01:21:53,040 --> 01:21:57,000
Speaker 2: Now I don't go to the doctor ever, but assure

1524
01:21:57,160 --> 01:21:58,839
Speaker 2: let me assure you, I have an allergy.

1525
01:21:59,320 --> 01:22:05,680
Speaker 3: Yeah. And then Bill starts confronting Marge about her behavior

1526
01:22:05,840 --> 01:22:09,840
Speaker 3: and about her being weird. He's saying, what's wrong, he says,

1527
01:22:09,920 --> 01:22:13,479
Speaker 3: in the last year, you've changed. He says that to her,

1528
01:22:13,960 --> 01:22:16,360
Speaker 3: which I think is a great I think this term

1529
01:22:16,479 --> 01:22:18,120
Speaker 3: was not in wide use of the time, but a

1530
01:22:18,120 --> 01:22:21,080
Speaker 3: great use of gas lighting here. He's trying to make

1531
01:22:21,120 --> 01:22:23,960
Speaker 3: her feel like, no, she's the one who's acting weird. Yeah.

1532
01:22:24,040 --> 01:22:26,240
Speaker 2: Yeah, I'm gonna accuse you of the thing I've been doing.

1533
01:22:26,720 --> 01:22:30,000
Speaker 3: Yeah. So she goes up to bed, but then Bill

1534
01:22:30,120 --> 01:22:34,360
Speaker 3: watches out the window and outside the house there's the

1535
01:22:34,400 --> 01:22:36,680
Speaker 3: creep from the bar, the guy who reminded me of

1536
01:22:36,760 --> 01:22:41,280
Speaker 3: Robert Stack. He's like lurking outside the house on the street.

1537
01:22:41,760 --> 01:22:44,879
Speaker 3: We learn that he has been trying to follow Marge

1538
01:22:44,920 --> 01:22:47,920
Speaker 3: because he thinks her marriage is on the rocks and

1539
01:22:47,960 --> 01:22:49,920
Speaker 3: he thinks he can swoop in and pick her up.

1540
01:22:50,479 --> 01:22:53,400
Speaker 2: Yeah. But it's also interesting, isn't it that he's he's

1541
01:22:53,439 --> 01:22:56,000
Speaker 2: not really positioned this way, but he in many ways

1542
01:22:56,080 --> 01:23:01,000
Speaker 2: is also that outsider who I don't know, Like he's

1543
01:23:01,000 --> 01:23:02,040
Speaker 2: not here to save the day.

1544
01:23:02,560 --> 01:23:06,040
Speaker 3: But he in terms of plot structure, this character would

1545
01:23:06,120 --> 01:23:09,439
Speaker 3: be like that, Yeah, but he's not trying to be helpful.

1546
01:23:09,520 --> 01:23:13,080
Speaker 3: He's he is a different kind of predator Bill. Here

1547
01:23:13,240 --> 01:23:16,280
Speaker 3: he uses his alien powers to summon the alien friends,

1548
01:23:16,360 --> 01:23:19,360
Speaker 3: the ones in the police bodies. They arrive on scene,

1549
01:23:19,400 --> 01:23:22,040
Speaker 3: they confront the bar and grill guy and they kill him.

1550
01:23:22,160 --> 01:23:23,160
Speaker 3: They kill him.

1551
01:23:23,000 --> 01:23:26,519
Speaker 2: There, brutally shoot him in cold blood, just go down

1552
01:23:26,520 --> 01:23:30,160
Speaker 2: in the street. And then inside Mark is like, I've

1553
01:23:30,200 --> 01:23:33,479
Speaker 2: heard something, and Bill's like, don't worry, it's just police

1554
01:23:33,520 --> 01:23:37,400
Speaker 2: firing their guns in our neighborhood. Nothing to be concerned about.

1555
01:23:37,920 --> 01:23:41,439
Speaker 3: Yah, I mean, it's a chilling scene actually what he

1556
01:23:41,520 --> 01:23:44,439
Speaker 3: tells her. He says it's a car backfiring, and she's like,

1557
01:23:44,560 --> 01:23:48,639
Speaker 3: oh wow. Yeah. So anyway, we go to another scene

1558
01:23:48,640 --> 01:23:50,640
Speaker 3: at the bar. We're starting to see, i think, just

1559
01:23:50,840 --> 01:23:58,479
Speaker 3: more scenes of the aliens being directly violent and dangerous. So, uh,

1560
01:23:58,720 --> 01:24:01,320
Speaker 3: there's a scene at the bar where where Bill gets

1561
01:24:01,360 --> 01:24:04,400
Speaker 3: frustrated where with the way Marge is reacting to him.

1562
01:24:04,479 --> 01:24:06,800
Speaker 3: He goes out to the bar and grill and he

1563
01:24:06,880 --> 01:24:09,599
Speaker 3: goes drinking with Sam and one of the other guy friends,

1564
01:24:09,760 --> 01:24:13,559
Speaker 3: which is funny because they're all body snatched, but they're

1565
01:24:13,640 --> 01:24:17,439
Speaker 3: still doing the same. They're still getting together at a

1566
01:24:17,479 --> 01:24:21,160
Speaker 3: bar and complaining about their marriages and avoiding their wives.

1567
01:24:21,360 --> 01:24:23,439
Speaker 2: Yeah, and I think that that is one of the

1568
01:24:23,840 --> 01:24:28,080
Speaker 2: wonderful textures of the film, is that the men who

1569
01:24:28,080 --> 01:24:30,400
Speaker 2: have been replaced by aliens are still doing things that

1570
01:24:30,479 --> 01:24:34,720
Speaker 2: men do. And that's clearly part of the statement that

1571
01:24:34,800 --> 01:24:35,559
Speaker 2: is trying to make here.

1572
01:24:36,160 --> 01:24:38,519
Speaker 3: There's some plot explanation in the scene as well, like

1573
01:24:38,560 --> 01:24:41,080
Speaker 3: when they think nobody's around to hear them, they talk

1574
01:24:41,120 --> 01:24:45,320
Speaker 3: about their plan. One of them says that their scientists

1575
01:24:45,320 --> 01:24:48,200
Speaker 3: are still trying to find a way to make reproduction

1576
01:24:48,320 --> 01:24:51,639
Speaker 3: with human women possible. They're very close. Soon they'll find

1577
01:24:51,680 --> 01:24:54,280
Speaker 3: a way to make the germ cells compatible. So it's

1578
01:24:54,320 --> 01:24:57,000
Speaker 3: almost time. And this is the scene where we get

1579
01:24:57,000 --> 01:24:59,360
Speaker 3: the bartender Slapsey coming over to be like, what's the

1580
01:24:59,360 --> 01:25:03,040
Speaker 3: matter with my liquor? At one point he starts insulting

1581
01:25:03,080 --> 01:25:04,640
Speaker 3: the guys, and one of the I wrote down a

1582
01:25:04,640 --> 01:25:06,760
Speaker 3: line he said. He says, you're like a bunch of

1583
01:25:06,800 --> 01:25:11,639
Speaker 3: ghouls waiting for a corpse to ripen. Whoa nice But this, yeah,

1584
01:25:11,720 --> 01:25:14,160
Speaker 3: this is a scene where he starts punching Bill, and

1585
01:25:14,160 --> 01:25:17,040
Speaker 3: Bill just stands there, absorbing the blows and doing nothing,

1586
01:25:17,080 --> 01:25:20,800
Speaker 3: and the bartender is quite freaked out by this. And

1587
01:25:20,840 --> 01:25:23,800
Speaker 3: then the scene right after this is another frightening scene.

1588
01:25:23,800 --> 01:25:26,599
Speaker 3: It's the death of Francine, the woman who hangs out

1589
01:25:26,640 --> 01:25:30,640
Speaker 3: at the bar. There's implication, it's never stated explicitly, but

1590
01:25:30,760 --> 01:25:33,280
Speaker 3: implication that she's a sex worker. She hangs out at

1591
01:25:33,320 --> 01:25:36,960
Speaker 3: the bart flirting with men, and she leaves the bar

1592
01:25:37,040 --> 01:25:40,879
Speaker 3: alone after the music stops and sees a man standing

1593
01:25:40,880 --> 01:25:44,760
Speaker 3: across the street looking into a shop window. She approaches

1594
01:25:44,800 --> 01:25:48,400
Speaker 3: the man, tries to flirt with him, and then the

1595
01:25:48,439 --> 01:25:52,240
Speaker 3: scene takes this weird, eerie turn. She looks in the

1596
01:25:52,240 --> 01:25:55,920
Speaker 3: shop window and the man is looking at dolls, and

1597
01:25:56,120 --> 01:25:58,439
Speaker 3: she says, I'm crazy about dolls. Would you like to

1598
01:25:58,439 --> 01:26:02,200
Speaker 3: buy me a doll? And then the electronic worrying noise

1599
01:26:02,280 --> 01:26:05,320
Speaker 3: starts up and the man doesn't reply, and she gets

1600
01:26:05,320 --> 01:26:07,680
Speaker 3: angry because he won't say anything, and she says, if

1601
01:26:07,680 --> 01:26:09,600
Speaker 3: you was a gentleman, you'd at least speak to me.

1602
01:26:10,160 --> 01:26:12,960
Speaker 3: But then she sees his face and she screams and

1603
01:26:13,040 --> 01:26:16,280
Speaker 3: runs and he turns and he blasts her with some

1604
01:26:16,360 --> 01:26:19,679
Speaker 3: kind of laser that we have we seen the aliens

1605
01:26:19,760 --> 01:26:20,599
Speaker 3: use it up to this point.

1606
01:26:20,600 --> 01:26:23,000
Speaker 2: I don't think maybe the first the first place where

1607
01:26:23,000 --> 01:26:24,720
Speaker 2: we see it that the effect here is great. It

1608
01:26:24,720 --> 01:26:29,479
Speaker 2: doesn't turn vaporizes her and it looks super super cool,

1609
01:26:29,600 --> 01:26:30,080
Speaker 2: very clean.

1610
01:26:30,640 --> 01:26:34,760
Speaker 3: Yeah, and scary. I thought this is a scary scene. Yeah, yeah,

1611
01:26:34,800 --> 01:26:37,200
Speaker 3: along with the scene with the creep earlier, like the

1612
01:26:37,240 --> 01:26:40,720
Speaker 3: way the aliens are killing people is frightening. Yeah.

1613
01:26:40,720 --> 01:26:42,320
Speaker 2: I mean you can go back and forth about the

1614
01:26:42,439 --> 01:26:45,559
Speaker 2: implied morality of a film like this regarding a character

1615
01:26:45,680 --> 01:26:49,800
Speaker 2: like this, but like, she did nothing to deserve, no,

1616
01:26:50,560 --> 01:26:52,520
Speaker 2: to be vaporized on the city street.

1617
01:26:52,280 --> 01:26:56,000
Speaker 3: Here, totally. No, I mean, she's just a victim who

1618
01:26:56,040 --> 01:26:58,680
Speaker 3: I think the what she got in trouble because she

1619
01:26:58,760 --> 01:27:01,320
Speaker 3: saw the alien's face and so like she knew, so

1620
01:27:01,360 --> 01:27:06,320
Speaker 3: they couldn't let her live. So let's see, after this

1621
01:27:06,400 --> 01:27:09,360
Speaker 3: we get the death by oxygen scene. That's kind of

1622
01:27:09,400 --> 01:27:12,800
Speaker 3: weird thing and one of the more awkward things in

1623
01:27:12,840 --> 01:27:15,360
Speaker 3: this movie, I think is right in the middle of

1624
01:27:15,720 --> 01:27:19,639
Speaker 3: scenes that are working really well as horror and relationship drama,

1625
01:27:20,120 --> 01:27:24,839
Speaker 3: you get some more kind of hard science fiction content

1626
01:27:25,000 --> 01:27:28,400
Speaker 3: insurged in that's a little bit goofier, And this is

1627
01:27:28,439 --> 01:27:30,479
Speaker 3: one of those scenes I think I didn't mean to

1628
01:27:30,520 --> 01:27:34,879
Speaker 3: say hard science fiction, like highly scientifically accurate, but just

1629
01:27:34,000 --> 01:27:39,080
Speaker 3: dealing with the science fiction premises as physical realities. Some

1630
01:27:39,120 --> 01:27:42,040
Speaker 3: of those are some of the weirdest and most awkward

1631
01:27:42,120 --> 01:27:45,799
Speaker 3: parts of the movie. So, like, all of the married

1632
01:27:45,840 --> 01:27:47,519
Speaker 3: couples are out for a day at the lake. They're

1633
01:27:47,560 --> 01:27:50,800
Speaker 3: hanging out having a picnic. Sam and Helen are on

1634
01:27:51,320 --> 01:27:53,679
Speaker 3: They're out in the lake and in a row boat

1635
01:27:53,760 --> 01:27:56,639
Speaker 3: and Sam falls into the water. They pull him out

1636
01:27:56,640 --> 01:27:59,400
Speaker 3: of the water, and then doctor Wayne happens to be there,

1637
01:27:59,439 --> 01:28:01,679
Speaker 3: and I was really confused. I was like, wait, isn't

1638
01:28:01,760 --> 01:28:05,599
Speaker 3: he marches obg y N. But I think maybe it's

1639
01:28:05,720 --> 01:28:08,400
Speaker 3: just like it's a small town and doctor he's the

1640
01:28:08,400 --> 01:28:11,679
Speaker 3: general doctor. He does everything. Okay, Yeah, So doctor Wayne

1641
01:28:11,720 --> 01:28:15,000
Speaker 3: is there and he's got a he's got a giant

1642
01:28:15,080 --> 01:28:19,360
Speaker 3: oxygen tank and a face mask. Uh. And that's weird

1643
01:28:19,439 --> 01:28:21,120
Speaker 3: enough on it. Why does he have a suitcase full

1644
01:28:21,120 --> 01:28:25,960
Speaker 3: of oxygen tanks? But he gives Sam some oxygen after

1645
01:28:26,000 --> 01:28:29,200
Speaker 3: he's been pulled out of the water, and for some reason,

1646
01:28:29,280 --> 01:28:32,519
Speaker 3: when they give him oxygen, he dies. So the doctor says,

1647
01:28:32,560 --> 01:28:34,280
Speaker 3: you know, he was alive when we pulled him out.

1648
01:28:34,320 --> 01:28:37,320
Speaker 3: I'd say it was the oxygen that killed him, And we.

1649
01:28:37,479 --> 01:28:41,000
Speaker 2: The viewer know from earlier that apparently these these creatures

1650
01:28:42,280 --> 01:28:44,880
Speaker 2: depend on methane and they have to have methane reserve

1651
01:28:45,080 --> 01:28:46,160
Speaker 2: reserves in their body.

1652
01:28:46,640 --> 01:28:49,720
Speaker 3: Yeah, so the aliens are vulnerable to oxygen. Uh, and

1653
01:28:49,720 --> 01:28:53,519
Speaker 3: they have to keep these internal tanks to breathe. So

1654
01:28:53,720 --> 01:28:55,320
Speaker 3: there is a part in the middle of the movie

1655
01:28:55,320 --> 01:28:58,880
Speaker 3: where we see Marge making other attempts to try to

1656
01:28:58,880 --> 01:29:01,479
Speaker 3: fix the situation. He's resourceful. She comes up with a

1657
01:29:01,520 --> 01:29:04,280
Speaker 3: lot of ideas. She tries to call Washington d C.

1658
01:29:04,560 --> 01:29:06,559
Speaker 3: I don't know if I don't know who she was

1659
01:29:06,560 --> 01:29:08,360
Speaker 3: trying to call, like put me through to the President,

1660
01:29:08,520 --> 01:29:11,800
Speaker 3: but she learns from the operator that all the lines

1661
01:29:11,840 --> 01:29:15,680
Speaker 3: to Washington are out. She tries to send a telegram,

1662
01:29:15,760 --> 01:29:17,920
Speaker 3: but the guy at the Western Union office takes her

1663
01:29:17,960 --> 01:29:20,920
Speaker 3: telegram and then rips it up. When she leaves, she

1664
01:29:20,960 --> 01:29:23,240
Speaker 3: tries to drive out of town, but the roads are

1665
01:29:23,280 --> 01:29:26,240
Speaker 3: closed and she gets turned back. Almost like the Truman Show,

1666
01:29:26,400 --> 01:29:30,759
Speaker 3: she just can't leave. Finally, we get to a scene

1667
01:29:30,800 --> 01:29:33,840
Speaker 3: that is I think the heart of the film, the

1668
01:29:33,840 --> 01:29:37,519
Speaker 3: scene where she confronts Bill in the living room. So

1669
01:29:37,560 --> 01:29:39,479
Speaker 3: she comes home and they meet each other in this

1670
01:29:39,600 --> 01:29:43,400
Speaker 3: dark room, and she tells him that she knows. Bill says,

1671
01:29:43,400 --> 01:29:46,679
Speaker 3: how about some light? And Marge says, you don't need

1672
01:29:46,720 --> 01:29:50,680
Speaker 3: any and Bill says, don't be too sure, and then

1673
01:29:50,720 --> 01:29:53,040
Speaker 3: he asks her what she knows, and she says, I

1674
01:29:53,080 --> 01:29:56,200
Speaker 3: know you're not Bill. You're some thing that crept into

1675
01:29:56,240 --> 01:29:59,559
Speaker 3: Bill's body, something that can't even breathe the same air

1676
01:29:59,640 --> 01:30:02,880
Speaker 3: we do. Bill says, aren't you afraid to be telling

1677
01:30:02,920 --> 01:30:06,519
Speaker 3: me this? And she says yes. Does frightening women make

1678
01:30:06,560 --> 01:30:10,640
Speaker 3: you proud? Or is pride something monsters don't understand? And

1679
01:30:10,680 --> 01:30:14,200
Speaker 3: Bill says, we understand pride, but we can't afford it.

1680
01:30:14,960 --> 01:30:18,479
Speaker 3: So he's being open now he's admitting it. He levels

1681
01:30:18,520 --> 01:30:21,160
Speaker 3: with her and he explains the alien's backstory. I'm going

1682
01:30:21,240 --> 01:30:23,880
Speaker 3: to read from what he says. Quote. We came from

1683
01:30:23,880 --> 01:30:27,960
Speaker 3: a planet in the Andromeda constellation. Our son became unstable,

1684
01:30:28,120 --> 01:30:30,920
Speaker 3: so we built some spaceships enough to carry all our

1685
01:30:30,960 --> 01:30:34,559
Speaker 3: people safely away before our sun exploded. But it took

1686
01:30:34,640 --> 01:30:37,320
Speaker 3: time to build those ships, and in that time, as

1687
01:30:37,360 --> 01:30:41,400
Speaker 3: our son's rays became more intense, our women died, so

1688
01:30:41,520 --> 01:30:45,800
Speaker 3: they were doomed to extinction until they found Earth. And

1689
01:30:46,240 --> 01:30:48,880
Speaker 3: he says you have no idea how rare life is

1690
01:30:48,960 --> 01:30:53,120
Speaker 3: in those cold, countless miles of space. So I feel

1691
01:30:53,160 --> 01:30:55,639
Speaker 3: like we also might get the idea that this creature

1692
01:30:55,840 --> 01:30:58,799
Speaker 3: could be ancient. Who knows how long he's been alive.

1693
01:30:58,960 --> 01:31:00,120
Speaker 3: They don't specify that.

1694
01:31:00,760 --> 01:31:04,400
Speaker 2: Yeah, yeah, And I love that line about because essentially

1695
01:31:04,479 --> 01:31:07,040
Speaker 2: she's like, why us, you know, were not somewhere else,

1696
01:31:07,400 --> 01:31:09,439
Speaker 2: And he's like, yeah, you have no idea how rare

1697
01:31:09,520 --> 01:31:12,519
Speaker 2: life is, Like it's imp heavily imply we did not

1698
01:31:12,600 --> 01:31:15,120
Speaker 2: have a choice. You were maybe all we found.

1699
01:31:15,479 --> 01:31:17,639
Speaker 3: Yeah, we didn't pick you. You were the only ones.

1700
01:31:19,240 --> 01:31:23,080
Speaker 3: And then there's another There's several more really interesting exchanges.

1701
01:31:23,520 --> 01:31:26,679
Speaker 3: Marge says, did you love your women before they died?

1702
01:31:27,120 --> 01:31:30,559
Speaker 3: And Bill says no. Their species did not have love

1703
01:31:30,600 --> 01:31:34,559
Speaker 3: between the sexes. They came together briefly for breeding purposes only.

1704
01:31:35,240 --> 01:31:39,599
Speaker 3: But now here something is different. Bill says, quote something

1705
01:31:39,640 --> 01:31:43,320
Speaker 3: happened that we hadn't foreseen. Along with these bodies, we

1706
01:31:43,360 --> 01:31:48,920
Speaker 3: inherited other things as well, human desires, emotions, And Marge says,

1707
01:31:48,960 --> 01:31:51,800
Speaker 3: are you telling me you're learning how to love? And

1708
01:31:51,840 --> 01:31:54,880
Speaker 3: Bill says, I'm telling you I'm learning what love is.

1709
01:31:56,320 --> 01:32:01,879
Speaker 3: So it's an interesting complication. It doesn't make the aliens friendly,

1710
01:32:01,960 --> 01:32:05,360
Speaker 3: because what they're doing is still evil and horrible. But

1711
01:32:05,479 --> 01:32:09,800
Speaker 3: the aliens do not have they don't have the kind

1712
01:32:09,800 --> 01:32:13,840
Speaker 3: of intentional hate or maliciousness you see in some aliens

1713
01:32:13,880 --> 01:32:17,639
Speaker 3: from movies in the fifties. In their own way, they

1714
01:32:17,680 --> 01:32:22,840
Speaker 3: are trying to understand the emotional dimensions of marriage, but

1715
01:32:23,280 --> 01:32:26,720
Speaker 3: in a way that is wrong because it's an asymmetrical way,

1716
01:32:27,000 --> 01:32:29,800
Speaker 3: like it can never work because it exists within the

1717
01:32:29,840 --> 01:32:34,200
Speaker 3: context of a deception. They're not trying to be cruel,

1718
01:32:34,439 --> 01:32:38,160
Speaker 3: but they are nevertheless cruel. They're acting in a predatory

1719
01:32:38,200 --> 01:32:41,200
Speaker 3: way toward both the men and women of Earth. They're

1720
01:32:41,200 --> 01:32:44,519
Speaker 3: trying to dominate and control the bodies of both sexes

1721
01:32:44,960 --> 01:32:49,439
Speaker 3: without their consent, by stealing men's identities and eventually by

1722
01:32:49,520 --> 01:32:53,559
Speaker 3: deceiving women into procreating with them. And this leads into

1723
01:32:53,560 --> 01:32:57,360
Speaker 3: the exchange where Marge says, your race has no women,

1724
01:32:57,479 --> 01:33:00,799
Speaker 3: it can't have children, it will die out, and Bill says,

1725
01:33:00,920 --> 01:33:05,000
Speaker 3: eventually we'll have children with you. Marge says, what kind

1726
01:33:05,040 --> 01:33:11,600
Speaker 3: of children? And Bill says, our kind. So deeply frightening, disturbing,

1727
01:33:11,640 --> 01:33:14,240
Speaker 3: but interesting scene. And I think this comes back to

1728
01:33:14,920 --> 01:33:16,439
Speaker 3: one of the issues I brought up at the beginning

1729
01:33:16,479 --> 01:33:20,760
Speaker 3: of the episode, how it indirectly highlights issues about like

1730
01:33:20,840 --> 01:33:24,720
Speaker 3: bodily autonomy and reproductive rights, like the horror of the

1731
01:33:24,760 --> 01:33:28,439
Speaker 3: idea that the women in this in this story wouldn't

1732
01:33:28,520 --> 01:33:31,599
Speaker 3: ultimately have a say and when and how they have children,

1733
01:33:32,040 --> 01:33:35,280
Speaker 3: as well as bringing up ideas about how love can't

1734
01:33:35,400 --> 01:33:38,680
Speaker 3: really exist within a lie, even if the liar is

1735
01:33:38,800 --> 01:33:40,719
Speaker 3: trying to love in their own way.

1736
01:33:41,000 --> 01:33:45,080
Speaker 2: Yeah, yeah, it is. It's just yeah, it's so well composed.

1737
01:33:45,120 --> 01:33:47,400
Speaker 2: And again, this is this is something when i'd seen

1738
01:33:47,439 --> 01:33:49,600
Speaker 2: the film previously, I just I didn't really pick up on.

1739
01:33:50,160 --> 01:33:51,920
Speaker 2: You know, it's probably just what maybe even headed on

1740
01:33:52,000 --> 01:33:54,240
Speaker 2: in the background. It was mostly focusing on the monsters.

1741
01:33:54,240 --> 01:33:57,720
Speaker 2: But the human story here is so well composed.

1742
01:33:58,320 --> 01:34:01,679
Speaker 3: And then while we're on the subject of how those

1743
01:34:01,720 --> 01:34:04,759
Speaker 3: two common story types I mentioned earlier in the episode

1744
01:34:04,760 --> 01:34:08,519
Speaker 3: are manifesting here, I guess that's how the movie deals

1745
01:34:08,600 --> 01:34:11,960
Speaker 3: with the reproductive conspiracy and a kind of frightening and

1746
01:34:12,040 --> 01:34:15,479
Speaker 3: interesting way. But the other thing is the body snatching

1747
01:34:15,520 --> 01:34:20,400
Speaker 3: subplot and how that leads to this environment of distrust

1748
01:34:20,439 --> 01:34:24,760
Speaker 3: and paranoia. I mentioned earlier that I don't think this

1749
01:34:24,880 --> 01:34:26,680
Speaker 3: movie uses it the same way a lot of the

1750
01:34:26,720 --> 01:34:29,960
Speaker 3: others do to highlight ideas about the Cold War and

1751
01:34:30,040 --> 01:34:34,719
Speaker 3: political and filtration. Instead, this is using the body snatching

1752
01:34:34,760 --> 01:34:39,320
Speaker 3: and mistrust theme to highlight a tension and imbalance of

1753
01:34:39,360 --> 01:34:44,439
Speaker 3: power between the sexes. Throughout the movie, Marge keeps seeking

1754
01:34:44,600 --> 01:34:47,880
Speaker 3: help she has, but she has to appeal to men

1755
01:34:48,800 --> 01:34:52,000
Speaker 3: because in this movie, in this world, the men have

1756
01:34:52,120 --> 01:34:55,000
Speaker 3: all the guns and the keys and the dogs, and

1757
01:34:55,040 --> 01:34:58,439
Speaker 3: the power and the control over institutions and so like,

1758
01:34:58,680 --> 01:35:03,000
Speaker 3: really the power to do anything to stop this conspiracy.

1759
01:35:03,160 --> 01:35:06,200
Speaker 3: To stop it, you have to appeal to men somehow.

1760
01:35:06,720 --> 01:35:09,800
Speaker 3: But that doesn't work because any of the men she

1761
01:35:09,840 --> 01:35:11,640
Speaker 3: goes to talk to could be a part of the

1762
01:35:11,680 --> 01:35:15,880
Speaker 3: alien conspiracy, or even if they're not aliens, they could

1763
01:35:15,880 --> 01:35:18,720
Speaker 3: be somebody who is just not a reliable helper, someone

1764
01:35:18,760 --> 01:35:21,400
Speaker 3: who doesn't take her seriously, somebody who's just trying to

1765
01:35:21,760 --> 01:35:26,480
Speaker 3: get something from her. So Marge is portrayed as isolated

1766
01:35:26,520 --> 01:35:30,160
Speaker 3: from help and support in a world controlled by men

1767
01:35:30,200 --> 01:35:31,400
Speaker 3: who cannot be trusted.

1768
01:35:31,760 --> 01:35:34,679
Speaker 2: Yeah, and she's a strong character, but in a world

1769
01:35:34,720 --> 01:35:38,440
Speaker 2: that just does not give women a lot of options.

1770
01:35:38,920 --> 01:35:42,160
Speaker 3: Yeah, And so any man she appeals to, even when

1771
01:35:42,240 --> 01:35:44,479
Speaker 3: he claims to want to help her, like Chief Collins

1772
01:35:44,520 --> 01:35:47,680
Speaker 3: could secretly be working against her, and there's no way

1773
01:35:47,720 --> 01:35:51,160
Speaker 3: to tell from the outside. Guys who look human and

1774
01:35:51,240 --> 01:36:04,800
Speaker 3: seem nice might not actually be trustworthy. But anyway, I

1775
01:36:04,800 --> 01:36:07,280
Speaker 3: guess this brings us back to how does Marge actually

1776
01:36:07,320 --> 01:36:10,839
Speaker 3: beat the aliens. I don't know if this means anything.

1777
01:36:10,960 --> 01:36:13,160
Speaker 3: Maybe it's just kind of you know, they had to

1778
01:36:13,160 --> 01:36:16,160
Speaker 3: get to the end somehow, or maybe it does mean something.

1779
01:36:16,200 --> 01:36:19,200
Speaker 3: I don't know. She finally appeals to the one guy

1780
01:36:19,240 --> 01:36:22,559
Speaker 3: in town who can actually be trusted, and it's her doctor.

1781
01:36:23,880 --> 01:36:27,000
Speaker 3: As she goes and she explains things to doctor Wayne,

1782
01:36:27,240 --> 01:36:30,960
Speaker 3: and here I was expecting, I don't know, another scene

1783
01:36:31,000 --> 01:36:32,840
Speaker 3: of maybe he turns out to be an alien too,

1784
01:36:33,600 --> 01:36:36,880
Speaker 3: or he just doesn't listen to her and rebuffs her.

1785
01:36:37,200 --> 01:36:40,320
Speaker 3: But for whatever reason, he's just like, Okay, I understand

1786
01:36:40,360 --> 01:36:43,720
Speaker 3: what you're saying. She makes the case to him, he's convinced,

1787
01:36:43,760 --> 01:36:45,479
Speaker 3: and he's like, I'm gonna help you. I'm gonna figure

1788
01:36:45,479 --> 01:36:49,439
Speaker 3: out how. And the solution that Doctor Wayne comes up

1789
01:36:49,439 --> 01:36:53,559
Speaker 3: with is interesting. I also am wondering exactly what this

1790
01:36:53,680 --> 01:36:55,479
Speaker 3: means in the context of the movie. I don't know

1791
01:36:55,520 --> 01:36:59,080
Speaker 3: how much it is intended to mean but doctor Wayne

1792
01:36:59,120 --> 01:37:02,040
Speaker 3: is like, the only way I can figure out which

1793
01:37:02,160 --> 01:37:07,200
Speaker 3: men haven't yet been replaced by the aliens are the

1794
01:37:07,280 --> 01:37:10,840
Speaker 3: men who have recently fathered children. So he goes to

1795
01:37:10,920 --> 01:37:14,839
Speaker 3: the maternity ward and gets together a posse of new fathers.

1796
01:37:15,200 --> 01:37:17,479
Speaker 2: He goes down there, He's like, men, you're not doing anything.

1797
01:37:17,479 --> 01:37:18,320
Speaker 2: You're just setting around.

1798
01:37:20,360 --> 01:37:22,600
Speaker 3: Yeah, you have brand, you have, you have newborns. But

1799
01:37:23,240 --> 01:37:25,080
Speaker 3: it's time to get your guns and your dogs, and

1800
01:37:25,080 --> 01:37:26,439
Speaker 3: we're going to go destroy the aliens.

1801
01:37:26,479 --> 01:37:28,600
Speaker 2: Yes, so he raises up a breeder posse to go

1802
01:37:28,720 --> 01:37:30,080
Speaker 2: out and look for the aliens.

1803
01:37:30,439 --> 01:37:34,600
Speaker 3: Yeah. Yeah. So this leads up to the Final Confrontation,

1804
01:37:34,760 --> 01:37:39,720
Speaker 3: where this posse goes out to attack the spaceship and

1805
01:37:40,000 --> 01:37:43,200
Speaker 3: it turns out that there is a way to save

1806
01:37:43,240 --> 01:37:47,040
Speaker 3: the men, to save the men who have been body snatched. Robi,

1807
01:37:47,200 --> 01:37:49,439
Speaker 3: I know you had some notes on the final confrontation here.

1808
01:37:49,439 --> 01:37:50,240
Speaker 3: Do you want to talk about it?

1809
01:37:50,280 --> 01:37:53,960
Speaker 2: Yeah? Yeah, So, I mean, the basic situation is we're

1810
01:37:53,960 --> 01:37:56,519
Speaker 2: going to learn is that the men who are replaced

1811
01:37:56,520 --> 01:37:59,280
Speaker 2: their bodies are still alive, but in some form of

1812
01:37:59,320 --> 01:38:02,120
Speaker 2: suspended an mation aboard the alien spaceship. We didn't know

1813
01:38:02,160 --> 01:38:05,920
Speaker 2: that until until here in the final stages, and that's

1814
01:38:05,920 --> 01:38:08,040
Speaker 2: how we're going to be able to bring them back

1815
01:38:08,080 --> 01:38:12,920
Speaker 2: and have our you know, perfect resolution. And we also

1816
01:38:12,960 --> 01:38:15,200
Speaker 2: are going to quickly learn that not only can the

1817
01:38:15,640 --> 01:38:19,679
Speaker 2: aliens be killed by at least by dogs, not by guns,

1818
01:38:20,120 --> 01:38:24,760
Speaker 2: but dogs, we can also kill them by breaking the

1819
01:38:24,800 --> 01:38:27,880
Speaker 2: connection between the host bodies and the alien that is

1820
01:38:27,920 --> 01:38:30,120
Speaker 2: pretending to be that person out in the field.

1821
01:38:30,680 --> 01:38:31,200
Speaker 3: Yeah.

1822
01:38:31,280 --> 01:38:35,799
Speaker 2: In any either case, when the creatures die, they melt

1823
01:38:36,040 --> 01:38:39,439
Speaker 2: in this really horrifying way where like, like, you know,

1824
01:38:39,479 --> 01:38:41,839
Speaker 2: it's modern sensibilities in all, but it's kind of crazy

1825
01:38:41,880 --> 01:38:43,880
Speaker 2: that we have we have to show twin beds in

1826
01:38:43,920 --> 01:38:46,679
Speaker 2: this movie. But it's fine to watch even our top

1827
01:38:46,680 --> 01:38:49,320
Speaker 2: build star melt out into a pile of sick, like,

1828
01:38:49,479 --> 01:38:52,919
Speaker 2: you know, out of the the neck of his outfit,

1829
01:38:53,000 --> 01:38:55,519
Speaker 2: that sort of thing out of the cuffs of his coat.

1830
01:38:56,000 --> 01:38:59,599
Speaker 3: It's gross. I mean, it is like a thick, gushing,

1831
01:39:01,120 --> 01:39:05,080
Speaker 3: multi textured slime just pouring out of men's clothes.

1832
01:39:05,240 --> 01:39:07,879
Speaker 2: Yeah, but we end up getting into such an interesting

1833
01:39:07,920 --> 01:39:10,439
Speaker 2: place in the final stretches of this film because in

1834
01:39:10,479 --> 01:39:13,120
Speaker 2: one sense, it's very much a page from the nineteen

1835
01:39:13,160 --> 01:39:17,840
Speaker 2: fifties genre movie playbook Masculine Authority Figures race to save

1836
01:39:17,880 --> 01:39:21,000
Speaker 2: the day. But we've reached that point in the narrative

1837
01:39:21,000 --> 01:39:25,240
Speaker 2: here where our alien impostures are. They're not completely sympathetic,

1838
01:39:25,320 --> 01:39:28,760
Speaker 2: but they're not unsympathetic like we Again, we're in that

1839
01:39:28,800 --> 01:39:32,120
Speaker 2: weird area where they're doing something out of desperation to

1840
01:39:32,120 --> 01:39:35,640
Speaker 2: try and save their race. They're learning what love is,

1841
01:39:35,680 --> 01:39:38,640
Speaker 2: they're trying to adapt. They just like they don't know

1842
01:39:38,760 --> 01:39:41,639
Speaker 2: enough about humans to even know that they are evil.

1843
01:39:41,720 --> 01:39:43,080
Speaker 2: And in some respect, you know.

1844
01:39:43,640 --> 01:39:46,400
Speaker 3: Yeah, of what they're doing is clearly wrong, and we

1845
01:39:46,479 --> 01:39:50,080
Speaker 3: see in deep and profound ways how it's wrong. But

1846
01:39:50,280 --> 01:39:53,959
Speaker 3: also we learned that the aliens are themselves confused and afraid.

1847
01:39:54,200 --> 01:39:57,120
Speaker 2: Yeah, And they're increasingly confused and afraid during this theme

1848
01:39:57,160 --> 01:40:00,360
Speaker 2: because they realize, oh, the vigilantes here have each our

1849
01:40:00,400 --> 01:40:04,200
Speaker 2: spaceship and the use of the attack dogs is also

1850
01:40:04,320 --> 01:40:09,200
Speaker 2: rather vicious. Yeah. So they they'll leap up onto the

1851
01:40:09,280 --> 01:40:11,640
Speaker 2: onto the creatures and like rip their the tubes out

1852
01:40:11,680 --> 01:40:12,240
Speaker 2: of their neck.

1853
01:40:12,680 --> 01:40:14,960
Speaker 3: Yeah. The things that look like roots going into the

1854
01:40:15,000 --> 01:40:18,400
Speaker 3: trees of their heads, you know that are there hoses?

1855
01:40:18,439 --> 01:40:21,360
Speaker 3: I guess there are methane hoses. Those get ripped out

1856
01:40:21,400 --> 01:40:23,120
Speaker 3: and that causes the alien melting.

1857
01:40:23,200 --> 01:40:25,120
Speaker 2: Yeah, and these are like German shepherds. These are you know,

1858
01:40:25,520 --> 01:40:28,719
Speaker 2: police dogs, so they're pretty intimidating. They also do before

1859
01:40:28,760 --> 01:40:31,040
Speaker 2: the dogs attack, they do some sort of weird walk

1860
01:40:31,720 --> 01:40:33,080
Speaker 2: like they're in stealth mode. What is that?

1861
01:40:33,360 --> 01:40:36,040
Speaker 3: Yeah, you see the dogs creeping along on the That

1862
01:40:36,200 --> 01:40:37,760
Speaker 3: was interesting. I didn't know what to make of that.

1863
01:40:37,880 --> 01:40:39,799
Speaker 2: Yeah, so they'll do that creep and then they'll pounce,

1864
01:40:39,880 --> 01:40:43,240
Speaker 2: and then they'll kill an alien. And so yeah, the

1865
01:40:43,240 --> 01:40:46,120
Speaker 2: the the aliens here are being hunted by men with

1866
01:40:46,200 --> 01:40:51,360
Speaker 2: guns and dogs in the woods. And then yeah, this

1867
01:40:51,479 --> 01:40:54,719
Speaker 2: scene where they're unplugging the original bodies one by one,

1868
01:40:55,120 --> 01:40:58,000
Speaker 2: which causes the the impostors out in the field to

1869
01:40:58,040 --> 01:41:02,280
Speaker 2: suddenly die and die so horribly like the pain is

1870
01:41:02,320 --> 01:41:05,439
Speaker 2: I guess so excruciating that the aliens will turn their

1871
01:41:05,479 --> 01:41:09,320
Speaker 2: disintegration rays on each other to keep them from having

1872
01:41:09,400 --> 01:41:14,280
Speaker 2: to experience the full effect of that situation. Yeah, it's

1873
01:41:14,280 --> 01:41:16,439
Speaker 2: also reminiscent of what we would get decades later in

1874
01:41:16,479 --> 01:41:19,040
Speaker 2: the Matrix, where like unplugging people from the matrix and

1875
01:41:19,080 --> 01:41:22,000
Speaker 2: then having them die in the digital world.

1876
01:41:22,760 --> 01:41:23,120
Speaker 3: Yeah.

1877
01:41:23,200 --> 01:41:26,800
Speaker 2: Yeah, so yeah, and then I'll also throw in as

1878
01:41:26,800 --> 01:41:29,439
Speaker 2: well that the way that the original human bodies are

1879
01:41:29,439 --> 01:41:32,880
Speaker 2: positioned in the spaceship. They're kind of hanging, and so

1880
01:41:32,960 --> 01:41:35,639
Speaker 2: there's really this kind of sense of like execution at

1881
01:41:35,640 --> 01:41:39,000
Speaker 2: the gallows as they go, you know, in order sequentially

1882
01:41:39,080 --> 01:41:41,759
Speaker 2: like unhook this one kill an alien out in the field.

1883
01:41:42,000 --> 01:41:44,200
Speaker 2: And as they do this, they eventually get to the

1884
01:41:44,240 --> 01:41:48,400
Speaker 2: alien that has been impersonating Marge's husband.

1885
01:41:49,000 --> 01:41:52,800
Speaker 3: Right, So, ultimately Marge is reunited with the real Bill,

1886
01:41:52,920 --> 01:41:55,240
Speaker 3: who we know very little of actually.

1887
01:41:55,040 --> 01:41:57,320
Speaker 2: Yeah, and she probably knows little of him as well,

1888
01:41:57,360 --> 01:42:00,200
Speaker 2: because she spent the whole last year in a relationship

1889
01:42:00,240 --> 01:42:02,839
Speaker 2: with an alien being disguised as him.

1890
01:42:03,160 --> 01:42:05,920
Speaker 3: More time with the alien than with the real Bill, possibly,

1891
01:42:06,120 --> 01:42:08,240
Speaker 3: I don't know how long they knew each other before

1892
01:42:08,240 --> 01:42:13,080
Speaker 3: their marriage, but yeah, so they're reunited and you get

1893
01:42:13,080 --> 01:42:15,960
Speaker 3: a kind of happy ending there. But you also get

1894
01:42:15,960 --> 01:42:20,559
Speaker 3: this interesting broadcast right where the aliens become aware that

1895
01:42:20,600 --> 01:42:24,960
Speaker 3: they've been discovered and they send out a broadcast to

1896
01:42:25,040 --> 01:42:28,760
Speaker 3: this fleet of other alien ships. They're like, forget about Earth,

1897
01:42:28,800 --> 01:42:30,240
Speaker 3: it's not going to work here. We got to find

1898
01:42:30,240 --> 01:42:30,880
Speaker 3: a different planet.

1899
01:42:30,960 --> 01:42:35,240
Speaker 2: Yeah, Earthlings are too dangerous, and they leave and we

1900
01:42:35,280 --> 01:42:38,320
Speaker 2: get that we close out really with that wide shot

1901
01:42:38,360 --> 01:42:40,160
Speaker 2: again of Earth. At this time, they are all these

1902
01:42:40,400 --> 01:42:43,600
Speaker 2: different spaceships and they're like leaving the planet. So I

1903
01:42:43,600 --> 01:42:49,600
Speaker 2: don't know if this means that more invasions were planned,

1904
01:42:49,800 --> 01:42:52,519
Speaker 2: like this was just like the Seed invasion or was

1905
01:42:52,560 --> 01:42:55,280
Speaker 2: this happening all around the world in different communities.

1906
01:42:55,760 --> 01:42:56,200
Speaker 3: I don't know.

1907
01:42:56,800 --> 01:42:58,720
Speaker 2: Yeah, but there's a you know, so we get our

1908
01:42:58,760 --> 01:43:02,080
Speaker 2: happy ending. We get our you know, humans rally defeat

1909
01:43:02,080 --> 01:43:06,120
Speaker 2: the alien menace, but with a lot more nuanced than

1910
01:43:06,280 --> 01:43:08,240
Speaker 2: you generally get out of a movie like this from

1911
01:43:08,240 --> 01:43:11,240
Speaker 2: the nineteen fifties. Like you're left feeling like, Okay, this

1912
01:43:11,400 --> 01:43:14,080
Speaker 2: was a victory for humanity. It's not you know, it's

1913
01:43:14,080 --> 01:43:18,280
Speaker 2: certainly not shades of gray. But yeah, we feel some

1914
01:43:18,360 --> 01:43:20,479
Speaker 2: amount of sympathy for the aliens here as well.

1915
01:43:21,080 --> 01:43:23,800
Speaker 3: Yes, I mean it's a happy ending in that these

1916
01:43:23,840 --> 01:43:28,080
Speaker 3: aliens are rejected and like Marge is reunited with the

1917
01:43:28,120 --> 01:43:32,040
Speaker 3: real Bill. So that's the good part. But also, yeah,

1918
01:43:32,120 --> 01:43:36,959
Speaker 3: it's bittersweet because, for one thing, a lot of the

1919
01:43:37,040 --> 01:43:39,720
Speaker 3: threats that Marge was dealing with along the way, we're

1920
01:43:39,720 --> 01:43:40,720
Speaker 3: not even from the right.

1921
01:43:40,800 --> 01:43:43,000
Speaker 2: Yeah, all those threats are still very much in play.

1922
01:43:43,600 --> 01:43:46,960
Speaker 2: The world has not changed. Yeah, so we were left

1923
01:43:47,000 --> 01:43:50,800
Speaker 2: to contemplate that as well. Yeah, all right, Well, there

1924
01:43:50,840 --> 01:43:53,559
Speaker 2: you have it. I married a monster from outer space.

1925
01:43:54,880 --> 01:43:57,960
Speaker 2: As we've been discussing, stands up really well, Yeah, I

1926
01:43:58,080 --> 01:43:59,760
Speaker 2: was impressed with this one. It was great to come

1927
01:43:59,800 --> 01:44:02,160
Speaker 2: back can revisit it and really watch it in a

1928
01:44:02,200 --> 01:44:04,719
Speaker 2: way for the first time. A lot of these movies,

1929
01:44:04,800 --> 01:44:07,000
Speaker 2: you know, if I've seen it for Weird House before,

1930
01:44:07,040 --> 01:44:09,360
Speaker 2: that doesn't mean I've necessarily gotten to really settle in

1931
01:44:09,840 --> 01:44:13,120
Speaker 2: and appreciate it. So yeah, I really enjoyed this one.

1932
01:44:14,040 --> 01:44:15,720
Speaker 3: Are we going to come back and watch Daughter of

1933
01:44:15,800 --> 01:44:19,680
Speaker 3: Doctor Jekyl do the full Gloria Talbot film filmography? Maybe so?

1934
01:44:19,760 --> 01:44:22,360
Speaker 2: I mean, she was terrific in this I would not

1935
01:44:22,479 --> 01:44:24,800
Speaker 2: say no to another film featuring her.

1936
01:44:25,840 --> 01:44:28,560
Speaker 3: It doesn't have a reputation for being amazing, but it

1937
01:44:28,680 --> 01:44:30,200
Speaker 3: might be amazing in that other way.

1938
01:44:30,360 --> 01:44:34,040
Speaker 2: Yeah. Yeah, for that matter, I'm also interested in coming

1939
01:44:34,120 --> 01:44:36,000
Speaker 2: back and maybe doing The Blob at some point. I've

1940
01:44:36,000 --> 01:44:38,439
Speaker 2: always had The Blob is a film I have a

1941
01:44:38,479 --> 01:44:40,519
Speaker 2: lot of love for, But in a way I'd be

1942
01:44:40,720 --> 01:44:43,920
Speaker 2: kind of torn. Do we do the original fifties Blob

1943
01:44:44,000 --> 01:44:45,880
Speaker 2: or do we do the eighties Blob? The Eighties Blob

1944
01:44:46,040 --> 01:44:49,160
Speaker 2: is also a lot of fun, and does you know

1945
01:44:49,280 --> 01:44:53,880
Speaker 2: has amazing effects as well. I think I've found myself

1946
01:44:53,880 --> 01:44:56,120
Speaker 2: in that situation before where I'm like a classic blob

1947
01:44:56,400 --> 01:45:01,080
Speaker 2: blobb remake. Don't make me choose? All right? Well, just

1948
01:45:01,120 --> 01:45:03,959
Speaker 2: to remind everybody, Steff to Blow Your Mind is primarily

1949
01:45:04,000 --> 01:45:06,679
Speaker 2: a science and culture podcast with core episodes on Tuesdays

1950
01:45:06,720 --> 01:45:10,240
Speaker 2: and Thursdays, but on Fridays we set aside most serious

1951
01:45:10,280 --> 01:45:12,719
Speaker 2: concerns to talk about a weird film here on Weird

1952
01:45:12,840 --> 01:45:15,479
Speaker 2: House Cinema. We've been doing this for years now. You

1953
01:45:15,520 --> 01:45:19,320
Speaker 2: can find tons of episodes in the audio archives wherever

1954
01:45:19,400 --> 01:45:22,560
Speaker 2: you get your audio podcasts, and if you are on

1955
01:45:22,880 --> 01:45:25,679
Speaker 2: letterbox dot com, look us up. We are a weird house.

1956
01:45:25,760 --> 01:45:27,680
Speaker 2: On there you can find a list of all the

1957
01:45:27,760 --> 01:45:29,880
Speaker 2: movies we've covered over the years, and sometimes a peek

1958
01:45:29,880 --> 01:45:30,880
Speaker 2: ahead at what comes next.

1959
01:45:31,400 --> 01:45:34,000
Speaker 3: Ohen We've been reminded to say, now, if you happen

1960
01:45:34,040 --> 01:45:36,559
Speaker 3: to be watching us on Netflix, I think the way

1961
01:45:36,600 --> 01:45:39,240
Speaker 3: you can sort of subscribe there is to hit remind

1962
01:45:39,439 --> 01:45:42,360
Speaker 3: me on our show so new episodes will pop up

1963
01:45:42,400 --> 01:45:47,360
Speaker 3: for you. Or Hey, if you found us on Netflix,

1964
01:45:47,439 --> 01:45:49,920
Speaker 3: why not go subscribe to us wherever you get your

1965
01:45:49,920 --> 01:45:53,240
Speaker 3: audio podcasts. Please hop across platforms. We love that makes

1966
01:45:53,320 --> 01:45:53,960
Speaker 3: us very happy.

1967
01:45:54,040 --> 01:45:56,400
Speaker 2: Yeah, can you give us thumbs up on the Netflix platform,

1968
01:45:56,479 --> 01:45:58,599
Speaker 2: the one thumbs up, the two thumbs up, maybe there's

1969
01:45:58,640 --> 01:46:00,760
Speaker 2: a three. I don't know how they do that.

1970
01:46:01,600 --> 01:46:04,799
Speaker 3: I haven't checked, but yeah, so remind me on Netflix

1971
01:46:04,960 --> 01:46:08,840
Speaker 3: and subscribe wherever you get your audio podcasts. Huge thanks

1972
01:46:08,920 --> 01:46:12,519
Speaker 3: as always to our excellent audio producer JJ Posway. If

1973
01:46:12,560 --> 01:46:14,360
Speaker 3: you would like to get in touch with us with

1974
01:46:14,479 --> 01:46:17,120
Speaker 3: feedback on this episode or any other, to suggest a

1975
01:46:17,160 --> 01:46:19,240
Speaker 3: topic for the future, or just to say hello, you

1976
01:46:19,320 --> 01:46:22,120
Speaker 3: can email us at contact at stuff to Blow your

1977
01:46:22,160 --> 01:46:23,000
Speaker 3: Mind dot com.

1978
01:46:29,880 --> 01:46:32,800
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1979
01:46:32,920 --> 01:46:35,679
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1980
01:46:35,880 --> 01:46:38,599
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.