1
00:00:02,440 --> 00:00:05,519
Speaker 1: Welcome to Stuff to Blow your mind, a production of iHeartRadio.

2
00:00:13,000 --> 00:00:16,520
Speaker 2: Hey you welcome to Weird House Cinema. This is Rob Lamb.

3
00:00:16,440 --> 00:00:17,800
Speaker 3: And this is Joe McCormick.

4
00:00:18,640 --> 00:00:22,040
Speaker 2: As we've discussed before on the show, a great B movie,

5
00:00:22,480 --> 00:00:25,759
Speaker 2: or even a bad movie so bad it's a good

6
00:00:25,840 --> 00:00:29,400
Speaker 2: movie has to believe in itself. Absolutely. It has to

7
00:00:29,440 --> 00:00:33,800
Speaker 2: feature some mix of genuine talent, effort, and enthusiasm. It

8
00:00:33,840 --> 00:00:36,080
Speaker 2: has to leave you saying, man, look at what they

9
00:00:36,120 --> 00:00:39,839
Speaker 2: attempted or or look at what, at least in places

10
00:00:39,880 --> 00:00:43,480
Speaker 2: they actually pulled off. You know, there's always an audacity

11
00:00:43,520 --> 00:00:46,440
Speaker 2: to film. That a movie reaches any state of completion

12
00:00:46,600 --> 00:00:48,960
Speaker 2: and finds even a modicum of an audience is an

13
00:00:49,000 --> 00:00:53,960
Speaker 2: amazing accomplishment. And today's selection, I think is a testament

14
00:00:54,000 --> 00:00:56,720
Speaker 2: to all of this, because we're going to talk about

15
00:00:56,720 --> 00:01:00,200
Speaker 2: a film that is an amazing achievement, Steve Barquette's teen

16
00:01:00,280 --> 00:01:03,920
Speaker 2: ninety one Northern Californian odyssey Empire of the Dark.

17
00:01:04,319 --> 00:01:06,280
Speaker 3: I mean, I want to burst into a round of

18
00:01:06,280 --> 00:01:09,280
Speaker 3: applause just hearing you say those words. This movie is

19
00:01:09,360 --> 00:01:13,160
Speaker 3: an amazing achievement. I absolutely loved it.

20
00:01:14,000 --> 00:01:18,479
Speaker 2: Yeah, yeah, I feel like this one exists excitingly somewhere

21
00:01:18,520 --> 00:01:24,600
Speaker 2: between nineteen nineties The Final Sacrifice and nineteen seventy nine's Phantasm.

22
00:01:25,720 --> 00:01:29,640
Speaker 2: It's much better in many ways than The Final Sacrifice,

23
00:01:30,160 --> 00:01:33,360
Speaker 2: and not on the same level as Fantasm as well.

24
00:01:33,440 --> 00:01:35,800
Speaker 2: But to me at least, it feels like a cinematic

25
00:01:35,840 --> 00:01:38,600
Speaker 2: world akin to those films, a low budget of cold

26
00:01:38,640 --> 00:01:42,040
Speaker 2: adventure set in rural or small town North America, in

27
00:01:42,040 --> 00:01:46,480
Speaker 2: this case northern California. I believe film near Redding, California,

28
00:01:46,800 --> 00:01:51,560
Speaker 2: and it centers around a non traditional action oriented leading man.

29
00:01:52,280 --> 00:01:55,800
Speaker 2: So in the grand tradition of Reggie Banister and zap Rowsdawer,

30
00:01:56,040 --> 00:01:57,600
Speaker 2: here we have Richard Flynn.

31
00:01:57,920 --> 00:02:00,680
Speaker 3: I was thinking of Richard Flynn our party agonist. Here

32
00:02:00,760 --> 00:02:06,840
Speaker 3: is a cross between Rousedauer and Bob Odenkirk as Saul Goodman.

33
00:02:07,560 --> 00:02:08,320
Speaker 3: Don't you see that?

34
00:02:08,639 --> 00:02:10,680
Speaker 2: Yeah, yeah, I know exactly what you're talking about. There

35
00:02:10,720 --> 00:02:12,720
Speaker 2: were numerous times watching the film, or even before we

36
00:02:12,760 --> 00:02:14,400
Speaker 2: watch the Looking at Steels, where I was like, this

37
00:02:14,520 --> 00:02:17,160
Speaker 2: actor feels like a character from Mister Show.

38
00:02:17,440 --> 00:02:19,880
Speaker 3: Yes, yes, and we get to see him in this

39
00:02:19,960 --> 00:02:23,840
Speaker 3: movie with and without a mustache. I don't know which

40
00:02:23,880 --> 00:02:26,520
Speaker 3: way Steve Barquette goes in real life. But in the

41
00:02:26,600 --> 00:02:31,880
Speaker 3: movie he looks so disturbing without the mustache. It's like

42
00:02:32,000 --> 00:02:35,120
Speaker 3: his soul is disfigured by not having the mustache on

43
00:02:35,160 --> 00:02:35,600
Speaker 3: his face.

44
00:02:35,720 --> 00:02:39,200
Speaker 2: Oh, I wouldn't say that, but he wears a mustache.

45
00:02:39,240 --> 00:02:41,400
Speaker 3: Well, yes, no, that's what I mean. I don't mean

46
00:02:41,400 --> 00:02:43,360
Speaker 3: to insult the not I'm just saying like he was

47
00:02:43,440 --> 00:02:47,040
Speaker 3: born for this mustache. The character was I can't speak

48
00:02:47,080 --> 00:02:49,600
Speaker 3: because he disappears into the role. Who knows what the

49
00:02:49,639 --> 00:02:50,880
Speaker 3: real Steve Barqutte is.

50
00:02:50,919 --> 00:02:55,480
Speaker 2: Like, Yeah, and as we'll get to like he's I

51
00:02:55,520 --> 00:02:58,920
Speaker 2: think he's really fun in this, Like his passion is evident.

52
00:02:59,280 --> 00:03:00,000
Speaker 3: Yeah.

53
00:03:00,840 --> 00:03:02,799
Speaker 2: But again, at the same time, you know, not your

54
00:03:02,840 --> 00:03:05,400
Speaker 2: traditional leading man, and that's part of the charm of it.

55
00:03:05,440 --> 00:03:08,800
Speaker 2: I found at least one review on letterbox where someone

56
00:03:08,840 --> 00:03:11,600
Speaker 2: was like, I love this film because the hero reminds

57
00:03:11,600 --> 00:03:12,280
Speaker 2: me of my dad.

58
00:03:12,600 --> 00:03:12,800
Speaker 3: You know.

59
00:03:13,160 --> 00:03:16,880
Speaker 2: There's like action dad energy here. Oh yeah, And it

60
00:03:16,880 --> 00:03:18,720
Speaker 2: makes sense as well, because it is a father and

61
00:03:18,760 --> 00:03:19,519
Speaker 2: son efforts.

62
00:03:19,880 --> 00:03:22,639
Speaker 3: As full discuss one might speculate. And I don't want

63
00:03:22,680 --> 00:03:25,640
Speaker 3: to try to psychoanalyze Steve Barquette because again I don't

64
00:03:25,680 --> 00:03:27,839
Speaker 3: know what was going through his mind. But you could

65
00:03:27,919 --> 00:03:32,320
Speaker 3: read this movie as someone trying to grapple with feelings

66
00:03:32,320 --> 00:03:34,920
Speaker 3: of both love and ambivalence about fatherhood.

67
00:03:35,680 --> 00:03:39,240
Speaker 2: Yeah, yeah, the the deep read on Empire of the Dark.

68
00:03:39,360 --> 00:03:41,720
Speaker 3: Yeah. But also a lot of sword fighting in there.

69
00:03:41,760 --> 00:03:43,240
Speaker 3: That's a major theme as well.

70
00:03:43,440 --> 00:03:46,000
Speaker 2: Yes, yeah, and really fun sword fighting.

71
00:03:46,800 --> 00:03:47,040
Speaker 3: Again.

72
00:03:47,080 --> 00:03:49,280
Speaker 2: I want to stress you know, this film we're you know,

73
00:03:49,280 --> 00:03:51,240
Speaker 2: we're gonna have some fun with some aspects of it.

74
00:03:51,600 --> 00:03:54,280
Speaker 2: And it is a film that definitely has a cult following.

75
00:03:54,360 --> 00:03:56,440
Speaker 2: Is often described as so bad it's good, but a

76
00:03:56,440 --> 00:03:58,080
Speaker 2: lot of stuff in this film is just good. It's

77
00:03:58,160 --> 00:04:00,800
Speaker 2: just very entertaining. Like a lot of passion went into

78
00:04:00,840 --> 00:04:04,160
Speaker 2: making it, and you can in that passion just shines

79
00:04:05,040 --> 00:04:05,760
Speaker 2: off the film.

80
00:04:06,000 --> 00:04:10,800
Speaker 3: It has the the zesty flavor of a small town

81
00:04:11,040 --> 00:04:13,960
Speaker 3: film production, like a labor of love. Again, I don't

82
00:04:13,960 --> 00:04:16,960
Speaker 3: know if how accurately that would really describe it, but

83
00:04:17,520 --> 00:04:20,240
Speaker 3: this is not one of those B movies that is

84
00:04:20,320 --> 00:04:25,880
Speaker 3: made by like disinterested, workaday professionals from the LA film industry,

85
00:04:25,960 --> 00:04:28,920
Speaker 3: you know, sort of the second or third tier down there. Instead,

86
00:04:29,080 --> 00:04:35,400
Speaker 3: it is a B movie made by passionate and exceptional amateurs. Yes,

87
00:04:35,760 --> 00:04:38,880
Speaker 3: the cast feels like it's full of those people who

88
00:04:38,880 --> 00:04:43,920
Speaker 3: are like beloved small town characters people friends would describe

89
00:04:43,920 --> 00:04:46,400
Speaker 3: by saying, oh, she should be in the movies. Yeah,

90
00:04:46,440 --> 00:04:48,800
Speaker 3: you know, you can just imagine like people saying that

91
00:04:48,839 --> 00:04:50,680
Speaker 3: about all the people in this film.

92
00:04:51,200 --> 00:04:53,720
Speaker 2: Yeah, yeah, with a few people here and there that

93
00:04:54,320 --> 00:04:58,839
Speaker 2: have different Hollywood backgrounds, but yeah, a lot of locals,

94
00:04:58,920 --> 00:05:00,360
Speaker 2: a lot of local energy here.

95
00:05:00,480 --> 00:05:03,680
Speaker 3: But yeah, there are so many ways this fun amateur

96
00:05:04,080 --> 00:05:08,400
Speaker 3: film energy manifests. One is, if this makes any sense,

97
00:05:08,480 --> 00:05:13,640
Speaker 3: the in multiple scenes, the implausible sexual tension between characters.

98
00:05:14,160 --> 00:05:17,480
Speaker 3: This just like doesn't really make sense, but it's there.

99
00:05:18,400 --> 00:05:21,800
Speaker 3: Another one is the way almost all the characters in

100
00:05:21,839 --> 00:05:25,960
Speaker 3: the movie are presented as legendary in some way. It's like, oh,

101
00:05:26,120 --> 00:05:29,039
Speaker 3: Steve Flynn, there was never a better detective than him,

102
00:05:29,440 --> 00:05:32,120
Speaker 3: except Eddie Green there is never a better detective than

103
00:05:32,200 --> 00:05:36,320
Speaker 3: him either, and they're best of friends. And oh, in

104
00:05:36,520 --> 00:05:39,760
Speaker 3: zoup An, he's just like the greatest psychic there ever was, Like,

105
00:05:39,839 --> 00:05:41,640
Speaker 3: you know, it's like everybody's the greatest.

106
00:05:41,760 --> 00:05:43,960
Speaker 2: Well, you know, it's late. It's like dungeons and dragons.

107
00:05:44,000 --> 00:05:46,200
Speaker 2: You know, your your adventuring party should be made out

108
00:05:46,200 --> 00:05:50,240
Speaker 2: of be composed of exceptional individuals, and thus we have

109
00:05:50,320 --> 00:05:54,520
Speaker 2: exceptional characters in Empire of the Dark that are wrapped

110
00:05:54,600 --> 00:05:55,679
Speaker 2: up than this occult plot.

111
00:05:56,520 --> 00:05:58,320
Speaker 3: Like I'm thinking about the scene where we first see

112
00:05:58,360 --> 00:06:02,760
Speaker 3: Steve Barquette practice sword fighting with his sword fighting constructor,

113
00:06:02,839 --> 00:06:06,080
Speaker 3: which itself is it's a great scene, but they just

114
00:06:06,160 --> 00:06:08,560
Speaker 3: kind of throw in there. It's like, oh, by the way,

115
00:06:09,040 --> 00:06:11,360
Speaker 3: my friend, the character you haven't met yet, he's also

116
00:06:11,400 --> 00:06:13,680
Speaker 3: gotten really good at sword fighting. They just like and

117
00:06:13,760 --> 00:06:15,960
Speaker 3: throw that in there so that like later when he's

118
00:06:16,000 --> 00:06:18,000
Speaker 3: also gonna sword fight, it'll make sense.

119
00:06:18,520 --> 00:06:20,360
Speaker 2: Yeah, I think one of the great things about this

120
00:06:20,400 --> 00:06:22,480
Speaker 2: film is that, you know, there are a lot of

121
00:06:22,520 --> 00:06:26,560
Speaker 2: films with similar production values that are they're very much

122
00:06:26,560 --> 00:06:30,279
Speaker 2: in the exploitation domain. You know that they're on some

123
00:06:30,480 --> 00:06:33,040
Speaker 2: level that they are going after what can what are

124
00:06:33,040 --> 00:06:36,279
Speaker 2: people going to pay for? You know, what's what's what's hot,

125
00:06:36,880 --> 00:06:39,920
Speaker 2: you know what's grizzly or sexy enough to sell. And

126
00:06:40,040 --> 00:06:41,880
Speaker 2: you know this film has some gore in it, and

127
00:06:41,920 --> 00:06:43,920
Speaker 2: it has a little bit of a little bit of

128
00:06:44,000 --> 00:06:46,440
Speaker 2: sexual tension, as he already referenced, But on the whole,

129
00:06:47,080 --> 00:06:50,719
Speaker 2: it's the passion that shines through. Like like like Barquettes

130
00:06:50,720 --> 00:06:52,520
Speaker 2: set out to make a film with a lot of

131
00:06:52,520 --> 00:06:56,960
Speaker 2: sword fighting in it with a King Kong style monster

132
00:06:57,080 --> 00:06:58,800
Speaker 2: in it, like all the things that he loves, Like

133
00:06:58,839 --> 00:07:00,120
Speaker 2: it's a pyramid of his entry.

134
00:07:00,360 --> 00:07:03,560
Speaker 3: The King Kong style monster. He is so excited to

135
00:07:03,600 --> 00:07:06,440
Speaker 3: show you this monster. Halfway through the movie, I think

136
00:07:06,440 --> 00:07:09,440
Speaker 3: he forgets the rules he established at the beginning, like

137
00:07:09,480 --> 00:07:12,320
Speaker 3: that it can't escape into the world yet. Yeah, because

138
00:07:12,320 --> 00:07:14,200
Speaker 3: we have a scene where it comes out into the

139
00:07:14,200 --> 00:07:16,400
Speaker 3: world and then they just go back to the cave

140
00:07:16,440 --> 00:07:18,080
Speaker 3: and it's like, I don't know, will the monster be

141
00:07:18,160 --> 00:07:20,000
Speaker 3: set free?

142
00:07:20,600 --> 00:07:21,240
Speaker 2: Absolutely?

143
00:07:21,560 --> 00:07:24,400
Speaker 3: No shade. But it reminds me of like playing action

144
00:07:24,520 --> 00:07:26,720
Speaker 3: figures with my daughter, you know, like when you get

145
00:07:26,760 --> 00:07:29,440
Speaker 3: really excited about what this one's gonna do. Oh, what

146
00:07:29,480 --> 00:07:31,640
Speaker 3: Wolf can do is you know, you set out some

147
00:07:31,720 --> 00:07:33,560
Speaker 3: rules in the beginning, but then you just get so

148
00:07:33,640 --> 00:07:35,320
Speaker 3: carried away you can't really follow them.

149
00:07:35,840 --> 00:07:39,480
Speaker 2: Yeah, an almost childlike enthusiasm for sure. All right. I

150
00:07:39,520 --> 00:07:41,760
Speaker 2: do not have an elevator pitch for Empire of the Dark.

151
00:07:42,480 --> 00:07:46,200
Speaker 2: It's really hard to nail it down and condense it

152
00:07:46,800 --> 00:07:49,360
Speaker 2: in a way that refers to other films.

153
00:07:49,360 --> 00:07:52,800
Speaker 4: In a world where Hell is real and that people

154
00:07:52,920 --> 00:07:57,680
Speaker 4: have secret sons, one cop will go to Hell to

155
00:07:59,000 --> 00:07:59,920
Speaker 4: solve some problem.

156
00:08:00,760 --> 00:08:04,040
Speaker 2: It works for me. It works for me, all right. Likewise,

157
00:08:04,160 --> 00:08:06,200
Speaker 2: I don't know that this film ever had a traditional

158
00:08:06,240 --> 00:08:09,680
Speaker 2: trailer of any sort. But let's let's go ahead and

159
00:08:09,680 --> 00:08:11,680
Speaker 2: play just a little bit of audio to give you

160
00:08:11,720 --> 00:08:12,440
Speaker 2: just a taste here.

161
00:08:17,400 --> 00:08:50,959
Speaker 5: Wow, Angela, Angela, Angela.

162
00:08:50,280 --> 00:08:56,960
Speaker 2: All right, if you would like to see Empire of

163
00:08:57,000 --> 00:08:59,120
Speaker 2: the Dark before proceeding with the rest of the episode,

164
00:08:59,200 --> 00:09:01,800
Speaker 2: or you want to check it out later or rewatch it,

165
00:09:01,840 --> 00:09:04,280
Speaker 2: maybe you saw it in the past. Well, it's available

166
00:09:04,280 --> 00:09:08,640
Speaker 2: for streaming in various locations Legit streaming locations, and you

167
00:09:08,640 --> 00:09:11,800
Speaker 2: can also pick it up on Blu Ray from VCI Entertainment.

168
00:09:12,040 --> 00:09:13,520
Speaker 2: This is the disc you have, right, Joe.

169
00:09:13,600 --> 00:09:16,720
Speaker 3: It's a three disc collection, so it's a It comes

170
00:09:16,760 --> 00:09:21,200
Speaker 3: with a Blu Ray disc, a DVD, and a bonus

171
00:09:21,240 --> 00:09:24,240
Speaker 3: disc that has got I think like commentary and extra

172
00:09:24,320 --> 00:09:27,480
Speaker 3: features and stuff. I haven't gotten into all of the

173
00:09:27,480 --> 00:09:30,880
Speaker 3: bonus features yet, but it's loaded up nice and the

174
00:09:30,920 --> 00:09:34,480
Speaker 3: four K transfer looks great. I mean, this is I

175
00:09:34,480 --> 00:09:36,520
Speaker 3: don't want to oversell it. You know. This is not

176
00:09:36,600 --> 00:09:40,319
Speaker 3: like a Terrence Malick film or something. It's not like gorgeous,

177
00:09:40,400 --> 00:09:44,360
Speaker 3: but it it is not ugly. It is not it

178
00:09:44,440 --> 00:09:47,280
Speaker 3: is not drab and boring to look at, like, they

179
00:09:47,880 --> 00:09:52,280
Speaker 3: keep the frames mostly colorful, the shots are I mean,

180
00:09:52,320 --> 00:09:54,960
Speaker 3: there are some shots that are composed in funny ways,

181
00:09:55,000 --> 00:09:59,520
Speaker 3: but they generally keep it visually varied and interesting. Like

182
00:09:59,760 --> 00:10:02,120
Speaker 3: I've noticing how many of the sets have just like

183
00:10:02,280 --> 00:10:05,480
Speaker 3: random color variations in them. It's like they're trying to

184
00:10:05,480 --> 00:10:07,760
Speaker 3: give you something for your eyes to enjoy.

185
00:10:08,240 --> 00:10:10,040
Speaker 2: Yeah, I can't wait to discuss so some of the

186
00:10:10,040 --> 00:10:24,080
Speaker 2: more breathtaking sights in this particular movie. Yeah, all right, Well,

187
00:10:24,160 --> 00:10:28,000
Speaker 2: let's get into the cast and the crew here, starting

188
00:10:28,080 --> 00:10:31,520
Speaker 2: at the top with Steve Barquette. He plays Richard Flynn,

189
00:10:31,559 --> 00:10:34,800
Speaker 2: but he is also the director, the writer, the producer

190
00:10:35,040 --> 00:10:38,680
Speaker 2: or one of the producers. He's the editor, He is

191
00:10:39,080 --> 00:10:42,600
Speaker 2: a fight and sword choreographer, and he is a stunt man.

192
00:10:43,720 --> 00:10:46,440
Speaker 3: I'm just expecting it all expecting in the credits to

193
00:10:46,440 --> 00:10:51,720
Speaker 3: see Steve Barquette catering. Come on. Yeah, it's almost like

194
00:10:51,840 --> 00:10:55,479
Speaker 3: Neil Breen levels of all over the credits.

195
00:10:55,760 --> 00:10:57,679
Speaker 2: So who was this guy? Well? He lived nineteen fifty

196
00:10:57,720 --> 00:11:01,200
Speaker 2: through twenty twenty three, born Stephen of Fayad Barquette in

197
00:11:01,240 --> 00:11:04,839
Speaker 2: Oklahoma City and was a film fan from an early age.

198
00:11:05,800 --> 00:11:11,120
Speaker 2: Collecting and obsessing over classic Hollywood cinema. Clearly he was

199
00:11:11,160 --> 00:11:14,280
Speaker 2: a fan of King Kong. Again, this film features a

200
00:11:14,360 --> 00:11:18,320
Speaker 2: King Kong style monster, and I assume the kitchen scene

201
00:11:18,679 --> 00:11:20,880
Speaker 2: or the kitchen that factors into a couple of different

202
00:11:20,880 --> 00:11:23,080
Speaker 2: scenes in the movie had to have been his kitchen,

203
00:11:23,400 --> 00:11:25,920
Speaker 2: because you also see I think a King Kong poster

204
00:11:26,000 --> 00:11:27,920
Speaker 2: of some sort of King Kong merch that is proudly

205
00:11:27,920 --> 00:11:29,560
Speaker 2: displayed again in the kitchen.

206
00:11:29,679 --> 00:11:31,959
Speaker 3: Speaking of his merch, did I tell you that when

207
00:11:32,000 --> 00:11:34,720
Speaker 3: I was watching part of a video interview with him,

208
00:11:35,040 --> 00:11:38,160
Speaker 3: he has the exact same attack of the Crab Monster's

209
00:11:38,200 --> 00:11:40,480
Speaker 3: poster in his office that I have in mind. I

210
00:11:40,559 --> 00:11:42,640
Speaker 3: felt a real soul connection there.

211
00:11:42,720 --> 00:11:45,800
Speaker 2: Yeah, yeah, get I get that he was a big fan.

212
00:11:46,920 --> 00:11:49,520
Speaker 2: I saw I found a nineteen seventy film interview he

213
00:11:49,559 --> 00:11:54,040
Speaker 2: conducted in Tulsa with the actor Buster Krabby. This would

214
00:11:54,040 --> 00:11:55,760
Speaker 2: have this is a guy that played like Flash Gordon

215
00:11:55,800 --> 00:11:58,320
Speaker 2: and some of the old ceials, and they were talking

216
00:11:58,320 --> 00:12:00,760
Speaker 2: about the old serials. But this is like noineteen seventies,

217
00:12:00,800 --> 00:12:03,480
Speaker 2: like black and white TV, and he's the guy doing

218
00:12:03,480 --> 00:12:06,800
Speaker 2: the interview. Okay, And of course it's clear that he

219
00:12:06,880 --> 00:12:10,240
Speaker 2: was also a big fan of swashbuckling pictures because a

220
00:12:10,280 --> 00:12:12,839
Speaker 2: lot of swashes buckled in this film, especially in the

221
00:12:13,600 --> 00:12:17,040
Speaker 2: last quarter of the picture. So his first film credit

222
00:12:17,160 --> 00:12:19,719
Speaker 2: was a nineteen seventy three short film written by Ray

223
00:12:19,760 --> 00:12:23,160
Speaker 2: Bradbury called Night Collar. Not sure if this ever saw

224
00:12:23,200 --> 00:12:27,480
Speaker 2: the light of day, but it's listed in the well,

225
00:12:27,520 --> 00:12:30,400
Speaker 2: it's listed on the databasis, and it's also referenced in

226
00:12:30,440 --> 00:12:34,920
Speaker 2: his obituary. He apparently learned more about film when he

227
00:12:34,960 --> 00:12:38,079
Speaker 2: was able to visit sets and post production activities at

228
00:12:38,160 --> 00:12:41,560
Speaker 2: family friend Danny Thomas's studio, so he get a little

229
00:12:41,600 --> 00:12:44,480
Speaker 2: behind the scenes action, got to see how the sausage

230
00:12:44,480 --> 00:12:47,480
Speaker 2: was made. And then beginning in nineteen seventy eight, he

231
00:12:47,559 --> 00:12:51,559
Speaker 2: started working on this movie that would become The Aftermath.

232
00:12:52,559 --> 00:12:55,840
Speaker 2: He wrote it, directed it, starred in it, produced it.

233
00:12:55,840 --> 00:12:59,480
Speaker 2: It's a post apocalyptic adventure which also featured Sid Hague

234
00:12:59,600 --> 00:13:04,160
Speaker 2: and Lynn Margulis. This was Andy Kaufman's partner late in

235
00:13:04,200 --> 00:13:08,120
Speaker 2: his life, and then came Today's Picture nineteen ninety one's

236
00:13:08,120 --> 00:13:13,440
Speaker 2: Empire of the Dark fantasy horriswashbuckling adventure Yarn And after this,

237
00:13:13,559 --> 00:13:16,920
Speaker 2: according to his obituary that I read on Gold Country Media,

238
00:13:17,520 --> 00:13:19,840
Speaker 2: he left Hollywood. Not sure if this means he left

239
00:13:19,840 --> 00:13:23,680
Speaker 2: the actual geographical Hollywood or if he left Hollywood in

240
00:13:23,679 --> 00:13:27,360
Speaker 2: a spiritual sense, but he apparently kept touch and kept

241
00:13:27,360 --> 00:13:30,960
Speaker 2: in touch with his various Hollywood friends and acquaintances, and

242
00:13:31,040 --> 00:13:33,720
Speaker 2: so he continued to help out with smaller acting and

243
00:13:33,760 --> 00:13:37,120
Speaker 2: behind the scenes roles, particularly on the films of friend

244
00:13:37,480 --> 00:13:41,119
Speaker 2: fred Olin Ray, who is also one of the producers

245
00:13:41,120 --> 00:13:44,439
Speaker 2: of this film. Fred Olin Ray, I think he's come

246
00:13:44,520 --> 00:13:46,560
Speaker 2: up in passing before in the show. We've never talked

247
00:13:46,600 --> 00:13:49,280
Speaker 2: about a fred Olin Ray picture, but he was a boot.

248
00:13:49,400 --> 00:13:52,120
Speaker 2: He's a B movie director who directed such films as

249
00:13:52,200 --> 00:13:56,439
Speaker 2: nineteen eighties The Alien Dead, nineteen eighty three Scalps, and

250
00:13:56,640 --> 00:14:01,560
Speaker 2: nineteen eighty eights Hollywood Chainsaw Hookers. I apologize, I'm gonna

251
00:14:01,600 --> 00:14:04,920
Speaker 2: end up mentioning Hollywood Chainsaw Hookers a few different times

252
00:14:05,000 --> 00:14:07,400
Speaker 2: as it connects to other actors in this film.

253
00:14:07,640 --> 00:14:10,760
Speaker 3: That is the kind of movie I associate mainly with

254
00:14:10,760 --> 00:14:14,480
Speaker 3: fred Olin Ray, kind of like a sexy lady robot

255
00:14:14,520 --> 00:14:15,600
Speaker 3: that kills you movies.

256
00:14:16,040 --> 00:14:18,840
Speaker 2: Yes, yeah, that's that's the sort of picture that I

257
00:14:18,920 --> 00:14:22,360
Speaker 2: knew him mostly from making. But it was weird. I

258
00:14:22,360 --> 00:14:24,360
Speaker 2: was catching up on, well, what's what's Fred Owen Ray

259
00:14:24,360 --> 00:14:26,760
Speaker 2: been up to? And he's still making movies and it's

260
00:14:26,760 --> 00:14:30,560
Speaker 2: a weird mix of mostly feel good Christmas romances like

261
00:14:30,720 --> 00:14:33,400
Speaker 2: legit like not like, Oh, it looks like a Christmas romance,

262
00:14:33,440 --> 00:14:36,000
Speaker 2: but then the ladies come out with chainsaws. No like.

263
00:14:36,280 --> 00:14:38,080
Speaker 2: He seems to be making just a ton of just

264
00:14:38,120 --> 00:14:41,840
Speaker 2: straight up feel good Christmas movies with only the occasional

265
00:14:41,880 --> 00:14:43,120
Speaker 2: horror movie thrown in the mix.

266
00:14:43,320 --> 00:14:45,720
Speaker 3: Oh there's another guy. I forget the guy's name, but

267
00:14:45,800 --> 00:14:48,960
Speaker 3: I discovered him by accident a few years ago. There's

268
00:14:48,960 --> 00:14:53,600
Speaker 3: a guy who makes like feel good Canadian Christmas movies

269
00:14:53,800 --> 00:14:57,520
Speaker 3: and just like like disturbing horror films.

270
00:14:58,720 --> 00:15:01,160
Speaker 2: It's kind of I mean, he's coming back to exploitation

271
00:15:01,240 --> 00:15:03,840
Speaker 2: cinema to a certain extent. Like what do the people want?

272
00:15:03,880 --> 00:15:04,760
Speaker 2: What will they go for?

273
00:15:04,840 --> 00:15:05,000
Speaker 5: Well?

274
00:15:05,000 --> 00:15:08,240
Speaker 2: Will get their juices running? You know? Sometimes the answer is,

275
00:15:09,160 --> 00:15:12,600
Speaker 2: you know, it's it's bikinis and splashes of blood. Other

276
00:15:12,680 --> 00:15:17,040
Speaker 2: times it is romance during the holidays involving a prince.

277
00:15:17,240 --> 00:15:21,320
Speaker 2: So that exploitation energy, that that sort of Carnie vibe

278
00:15:21,320 --> 00:15:25,080
Speaker 2: can take you just about anywhere. So Barquette worked on

279
00:15:25,160 --> 00:15:29,440
Speaker 2: the following Fred Olnray films, eighty nine's Beverly Hills Vamp,

280
00:15:29,600 --> 00:15:32,680
Speaker 2: ninety one's Wizards of the Demon's Sword, ninety three is

281
00:15:32,760 --> 00:15:36,680
Speaker 2: Dark Universe, ninety fours, Dinosaur Island, ninety five's Bikini Drive

282
00:15:36,720 --> 00:15:40,160
Speaker 2: in Hard Bounty and Attack of the sixty Foot centerfolds

283
00:15:40,640 --> 00:15:44,880
Speaker 2: and and and also Droid Gunner, And also nineteen ninety

284
00:15:44,920 --> 00:15:47,800
Speaker 2: six is star Hunter, which is a Predator knockoff I

285
00:15:47,800 --> 00:15:51,040
Speaker 2: think Invisible Mom from the same year, Masseus from the

286
00:15:51,080 --> 00:15:54,280
Speaker 2: same year, and finally wrap it Assault in ninety seven.

287
00:15:54,520 --> 00:15:57,440
Speaker 2: So again, when you're really busting out these b movies,

288
00:15:57,480 --> 00:15:59,800
Speaker 2: it's you know, it's multiple per year, like it's this

289
00:15:59,880 --> 00:16:02,000
Speaker 2: is you know, Roger Korman energy, or at least as

290
00:16:02,040 --> 00:16:04,680
Speaker 2: much Roger Corman energy as a normal human conmuster.

291
00:16:04,880 --> 00:16:07,400
Speaker 3: It sounds like a lot of posters with machine guns

292
00:16:07,480 --> 00:16:07,800
Speaker 3: on them.

293
00:16:08,120 --> 00:16:10,960
Speaker 2: Yes, yeah, though I do want to stress that, like

294
00:16:11,480 --> 00:16:14,720
Speaker 2: fred Olin Ray movies, they're not all the same. Some

295
00:16:14,760 --> 00:16:16,880
Speaker 2: of them actually, some of them have pretty good casts.

296
00:16:17,040 --> 00:16:18,840
Speaker 2: Some of them are a little more clearly in the

297
00:16:18,880 --> 00:16:22,280
Speaker 2: exploitation bucket than others. There's a lot out there, and

298
00:16:22,400 --> 00:16:25,640
Speaker 2: I certainly haven't seen them all. One more note about

299
00:16:25,680 --> 00:16:28,760
Speaker 2: fred Olin Ray I only learned today that he was

300
00:16:28,880 --> 00:16:31,840
Speaker 2: also an indie pro wrestler in the late nineteen nineties.

301
00:16:32,120 --> 00:16:34,600
Speaker 3: I had absolutely no idea until you shared this with

302
00:16:34,680 --> 00:16:38,040
Speaker 3: me and you linked a clip show and Machi's in that.

303
00:16:38,720 --> 00:16:42,200
Speaker 3: It doesn't look like top level wrestling, so you said,

304
00:16:42,240 --> 00:16:45,000
Speaker 3: indie pro wrestler. This seems like more small events and

305
00:16:45,080 --> 00:16:46,120
Speaker 3: local kind of things.

306
00:16:46,280 --> 00:16:50,120
Speaker 2: Yeah, this would be like gymnasiums and National guardener armories

307
00:16:50,600 --> 00:16:54,240
Speaker 2: that sort of thing. But in this clip, fred Olin

308
00:16:54,320 --> 00:16:57,880
Speaker 2: Ray wrestling as Freddie Valentine. He gets in there occasionally

309
00:16:57,880 --> 00:17:00,960
Speaker 2: with the likes of Terry Funk and sab So guys

310
00:17:01,000 --> 00:17:02,720
Speaker 2: were very much indie legends of the day.

311
00:17:02,840 --> 00:17:05,520
Speaker 3: There's a lot of special effects involved. There's like people

312
00:17:05,760 --> 00:17:08,200
Speaker 3: they slam their head on a table and sparks shoot

313
00:17:08,200 --> 00:17:10,119
Speaker 3: off of it. I don't know what that's about. And

314
00:17:10,160 --> 00:17:11,920
Speaker 3: then he's in the ring with an alligator.

315
00:17:13,160 --> 00:17:16,280
Speaker 2: Yeah, yeah, I don't know about the alligator. There's something

316
00:17:16,320 --> 00:17:19,280
Speaker 2: on his instagram about it as like an alligator death

317
00:17:19,359 --> 00:17:21,600
Speaker 2: match or something. I don't know. I can't even imagine

318
00:17:21,600 --> 00:17:22,640
Speaker 2: how the rules for that work.

319
00:17:23,040 --> 00:17:25,640
Speaker 3: If you lose, do they make the alligator the champion

320
00:17:25,720 --> 00:17:26,920
Speaker 3: of the circuit.

321
00:17:27,080 --> 00:17:29,840
Speaker 2: I don't know the alligator's wearing the belt in some

322
00:17:29,880 --> 00:17:32,520
Speaker 2: of those shots, So maybe the alligator was the champion

323
00:17:32,600 --> 00:17:36,239
Speaker 2: going in. I'm not sure at any rate. Yeah, this

324
00:17:36,320 --> 00:17:37,920
Speaker 2: is a fact. I feel like I should have known

325
00:17:38,240 --> 00:17:41,199
Speaker 2: given some of my interests, but this one was a

326
00:17:41,240 --> 00:17:44,160
Speaker 2: new one for me. All right, Let's move on through

327
00:17:44,200 --> 00:17:46,640
Speaker 2: the rest of the cast here. Okay, so we've covered

328
00:17:46,880 --> 00:17:50,280
Speaker 2: our hero, our hero, Richard Flynn played by Steve Barquette.

329
00:17:50,920 --> 00:17:55,560
Speaker 2: Then we have a character named Terry Nash. We'll learn

330
00:17:55,680 --> 00:18:01,560
Speaker 2: this is possibly Richard Flynn's son, and it fittingly he

331
00:18:01,680 --> 00:18:06,200
Speaker 2: is played by Christopher Barkatt, who is Steve Barquette's actual son.

332
00:18:06,680 --> 00:18:11,359
Speaker 2: It's a beautiful moment of father and son bonding on screen.

333
00:18:12,119 --> 00:18:15,680
Speaker 2: And Christopher had also acted as a child in the Aftermath,

334
00:18:16,840 --> 00:18:19,760
Speaker 2: the previous the postbocalyptic film that his dad did, on

335
00:18:19,800 --> 00:18:24,320
Speaker 2: which he is also credited as a model builder. And

336
00:18:24,359 --> 00:18:27,320
Speaker 2: in fact, I've found an image here and I believe

337
00:18:27,400 --> 00:18:30,640
Speaker 2: this was shared by Christopher himself, where you see him

338
00:18:30,680 --> 00:18:34,520
Speaker 2: as a child hanging out with the various sets and

339
00:18:34,560 --> 00:18:37,280
Speaker 2: some toy dinosaurs from the Aftermath.

340
00:18:36,960 --> 00:18:39,080
Speaker 3: In Empire of the Dark. Much like his father, he

341
00:18:39,119 --> 00:18:42,280
Speaker 3: wears a notable mustache and they almost like use the

342
00:18:42,400 --> 00:18:45,200
Speaker 3: mustache to make it clear that, oh, this is your son.

343
00:18:47,400 --> 00:18:51,200
Speaker 2: I love Christopher Barquette in this because while his father,

344
00:18:51,320 --> 00:18:55,440
Speaker 2: Steve has has an undeniable charisma about him and is

345
00:18:55,600 --> 00:18:58,240
Speaker 2: like clearly putting a lot of passion, sometimes almost too

346
00:18:58,280 --> 00:19:03,080
Speaker 2: much passion into a given scene, Christopher is clearly like

347
00:19:03,320 --> 00:19:05,879
Speaker 2: not a born actor, and I think I think he

348
00:19:06,000 --> 00:19:08,240
Speaker 2: knows it. You know, he went on to work mostly

349
00:19:08,280 --> 00:19:10,479
Speaker 2: I think in production design and as far as films go.

350
00:19:11,119 --> 00:19:14,240
Speaker 2: So he has a very green energy on screen, which

351
00:19:14,400 --> 00:19:16,280
Speaker 2: can be a wonderful thing in a movie like this.

352
00:19:16,600 --> 00:19:20,480
Speaker 3: He is reserved, but it comes across as a kind

353
00:19:20,480 --> 00:19:26,160
Speaker 3: of nerdy little dignity. Yeah, yeah, it's nice, all right.

354
00:19:26,200 --> 00:19:29,520
Speaker 2: And then playing Terry's mother and Steve's long lost love,

355
00:19:29,680 --> 00:19:34,440
Speaker 2: we have Tara Hendrickson. She plays a character Angela Nash.

356
00:19:34,800 --> 00:19:38,400
Speaker 2: Dates not public record for her, nor were they available

357
00:19:38,400 --> 00:19:43,639
Speaker 2: for Christopher Barquette. But Tara Hendrickson is a musician and

358
00:19:43,680 --> 00:19:45,639
Speaker 2: an actress who's appeared in a lot of TV shows

359
00:19:45,640 --> 00:19:47,680
Speaker 2: and in small supporting roles over the years.

360
00:19:47,880 --> 00:19:50,320
Speaker 3: All right, let's talk about some of the antagonists. We get,

361
00:19:50,320 --> 00:19:52,200
Speaker 3: we got, we got a cult in this movie.

362
00:19:52,359 --> 00:19:54,960
Speaker 2: Yes, and this is the character Arkham, you know, like

363
00:19:55,080 --> 00:19:59,359
Speaker 2: Arkham Asylum, and he is played by Richard Harrison born

364
00:19:59,480 --> 00:20:06,840
Speaker 2: nineteenth thirty five, a veteran international action star. I wasn't

365
00:20:06,880 --> 00:20:09,920
Speaker 2: that familiar with this guy, and I started digging into

366
00:20:09,920 --> 00:20:13,600
Speaker 2: his filmography and it's so incredible. It just takes you everywhere.

367
00:20:13,800 --> 00:20:17,040
Speaker 3: I really got it in my head that this guy

368
00:20:17,080 --> 00:20:20,240
Speaker 3: had been in one of the Ninja movies we watched

369
00:20:20,320 --> 00:20:23,359
Speaker 3: last year when I watched Ninja three The Domination, but

370
00:20:23,400 --> 00:20:26,840
Speaker 3: he was not in it. I checked. He just seems

371
00:20:26,880 --> 00:20:28,680
Speaker 3: like he would have been in it. It would be

372
00:20:28,720 --> 00:20:29,359
Speaker 3: a safe.

373
00:20:29,080 --> 00:20:31,199
Speaker 2: Bet because he was in a lot of Ninja movies.

374
00:20:31,880 --> 00:20:34,480
Speaker 2: So he started out in the nineteen fifties in the

375
00:20:34,560 --> 00:20:37,679
Speaker 2: US as kind of a handsome, muscular bit actor, you know,

376
00:20:37,720 --> 00:20:40,359
Speaker 2: appearing I think more or less in the background in

377
00:20:40,359 --> 00:20:43,520
Speaker 2: films like nineteen fifty eight South Pacific. He pops up

378
00:20:43,520 --> 00:20:45,920
Speaker 2: in the nineteen sixty one Vincent Price film Master of

379
00:20:45,960 --> 00:20:50,040
Speaker 2: the World, but he was quickly lured overseas to the

380
00:20:50,040 --> 00:20:53,960
Speaker 2: wild world of Italian cinema, where he started appearing in

381
00:20:54,040 --> 00:20:58,920
Speaker 2: various peplam, spy and spaghetti westerns, including four different Myrtle

382
00:20:59,000 --> 00:21:04,240
Speaker 2: Lindsay films, including nineteen sixty four's Messalina Versus The Son

383
00:21:04,280 --> 00:21:08,280
Speaker 2: of Hercules. He stars as what is it Glaucus in this,

384
00:21:08,600 --> 00:21:12,280
Speaker 2: who I think was actually either like a minor sea

385
00:21:12,320 --> 00:21:15,520
Speaker 2: god god or the son of Minos and not an

386
00:21:15,520 --> 00:21:17,600
Speaker 2: actual son of Hercules. But you know, when you're doing

387
00:21:17,640 --> 00:21:20,600
Speaker 2: a nineteen sixties Italian film, you know it's all right

388
00:21:20,640 --> 00:21:22,119
Speaker 2: to ben the mythology a little bit.

389
00:21:22,760 --> 00:21:25,080
Speaker 3: I just had to look up to see if Richard

390
00:21:25,080 --> 00:21:27,800
Speaker 3: Harrison was in the last Umberto Lindsay movie I saw,

391
00:21:27,840 --> 00:21:31,119
Speaker 3: which was a House of Lost Souls. It's sort of

392
00:21:31,280 --> 00:21:38,000
Speaker 3: Umberto Lindsay's take on the Shining, but I think massively

393
00:21:38,040 --> 00:21:42,920
Speaker 3: scaled down ambitions That one I remember being a kind

394
00:21:42,960 --> 00:21:46,040
Speaker 3: of a good laugh. But no, he's not in that one, unfortunately.

395
00:21:46,400 --> 00:21:49,280
Speaker 2: I think He's mostly known for at least a couple

396
00:21:49,320 --> 00:21:53,600
Speaker 2: of different cannibal movies, not ones that we've covered on

397
00:21:53,640 --> 00:21:57,720
Speaker 2: the show before. But anyway, back back to Richard Harrison here.

398
00:21:58,520 --> 00:22:01,320
Speaker 2: He ends up branching out during the nineteen seventies to

399
00:22:01,320 --> 00:22:06,560
Speaker 2: become a truly international exploitation film star, appearing in European,

400
00:22:06,840 --> 00:22:11,359
Speaker 2: Hong Kong, Turkish, Filipino, and Egyptian films. These included the

401
00:22:11,440 --> 00:22:15,639
Speaker 2: nineteen seventy one Western his name was King opposite Klauskinski,

402
00:22:16,359 --> 00:22:20,080
Speaker 2: as well as the nineteen eighty Joe Domato film or

403
00:22:20,119 --> 00:22:24,199
Speaker 2: Gasmo Nero, along with so many ninja movies, Like I

404
00:22:24,200 --> 00:22:26,439
Speaker 2: can't even begin to describe how many ninja movies are

405
00:22:26,440 --> 00:22:30,160
Speaker 2: in this guy's filmography, including nineteen eighty five's Ninja Terminator

406
00:22:30,600 --> 00:22:34,080
Speaker 2: and nineteen eighty six is the Ninja Squad, both directed

407
00:22:34,119 --> 00:22:37,399
Speaker 2: by Godfrey Hoe and featuring Harrison in a red and

408
00:22:37,520 --> 00:22:42,120
Speaker 2: yellow Wholka Mania style ninja outfit outfit with a headband

409
00:22:42,440 --> 00:22:45,320
Speaker 2: that says ninja just so there's no confusion about how

410
00:22:45,359 --> 00:22:46,440
Speaker 2: he's coming to kill.

411
00:22:46,240 --> 00:22:48,320
Speaker 3: You, uh pre labeled.

412
00:22:48,520 --> 00:22:51,439
Speaker 2: Yeah, there's just so much wild stuff in this guy's filmography,

413
00:22:51,520 --> 00:22:55,119
Speaker 2: Like there's a nineteen eighty three Iranian comedy filmed in

414
00:22:55,160 --> 00:22:58,000
Speaker 2: Italy in which he plays President Grover Cleveland.

415
00:22:58,359 --> 00:23:00,640
Speaker 3: Oh, you can't make a comedy without Grove Cleveland.

416
00:23:02,359 --> 00:23:04,639
Speaker 2: It's just wild. Like I saw part of an interview

417
00:23:04,720 --> 00:23:06,680
Speaker 2: with him where he was like, you know, I probably

418
00:23:06,920 --> 00:23:09,399
Speaker 2: probably did too many cheap films. I don't know if

419
00:23:09,440 --> 00:23:13,320
Speaker 2: that's possible. You know, working professionals, you got to be

420
00:23:13,359 --> 00:23:15,320
Speaker 2: in you got to be in films, and they can't

421
00:23:15,359 --> 00:23:19,200
Speaker 2: all be top notch productions. Was he in too many

422
00:23:20,040 --> 00:23:23,959
Speaker 2: CD and Ean F grade films? Maybe? I don't know.

423
00:23:24,080 --> 00:23:28,240
Speaker 2: But he also directed four films, including nineteen eighty six's

424
00:23:28,280 --> 00:23:31,640
Speaker 2: Tarraf Force Commando, and has various writing credits as well,

425
00:23:32,119 --> 00:23:35,000
Speaker 2: I think, on six different films, including fred Olin Ray's

426
00:23:35,040 --> 00:23:36,640
Speaker 2: nineteen eighty seven film Scalps.

427
00:23:37,080 --> 00:23:40,200
Speaker 3: In this one, he plays the the cult big bad

428
00:23:40,280 --> 00:23:43,840
Speaker 3: who most of the cult activity is like his minions,

429
00:23:43,920 --> 00:23:46,160
Speaker 3: going out and doing stuff in the world. I think

430
00:23:46,200 --> 00:23:49,359
Speaker 3: I noticed that most or maybe all of Richard Harrisons

431
00:23:49,359 --> 00:23:51,520
Speaker 3: scenes are all in the same set. They're all in

432
00:23:51,520 --> 00:23:54,640
Speaker 3: that cave with the altar, making it seem like maybe

433
00:23:54,680 --> 00:23:56,399
Speaker 3: they shot him all around the same time.

434
00:23:56,520 --> 00:23:57,919
Speaker 2: But I just had the one day and then they

435
00:23:57,920 --> 00:23:59,960
Speaker 2: have one photograph of the mountain of parking lot.

436
00:24:00,240 --> 00:24:02,840
Speaker 3: God, that's right, Yes, the photo which might have been

437
00:24:02,880 --> 00:24:04,120
Speaker 3: at the studio parking lot.

438
00:24:04,200 --> 00:24:04,480
Speaker 2: Yeah.

439
00:24:04,560 --> 00:24:07,280
Speaker 3: Yeah, But he's but you know, he kind of he

440
00:24:07,320 --> 00:24:09,760
Speaker 3: gives it as all. He's not holding back. There's like

441
00:24:09,800 --> 00:24:11,639
Speaker 3: a scene where he sort of makes out with a

442
00:24:11,640 --> 00:24:13,879
Speaker 3: bloody knife and he goes for it.

443
00:24:14,040 --> 00:24:17,840
Speaker 2: Yeah. Yeah, yeah. He's probably the most seasoned actor in

444
00:24:17,880 --> 00:24:21,879
Speaker 2: the cast, and I think it shows and he was

445
00:24:21,920 --> 00:24:24,359
Speaker 2: clearly no stranger to films that might ask him to

446
00:24:24,480 --> 00:24:28,600
Speaker 2: sacrifice a victim or lick a bloody blade. He's like, yeah,

447
00:24:28,960 --> 00:24:31,640
Speaker 2: I'm down, let's do it all right. Moving on into

448
00:24:31,680 --> 00:24:34,040
Speaker 2: some more of the supporting staff here, and this is

449
00:24:34,080 --> 00:24:37,760
Speaker 2: where some of the fred Olin Ray connections are going

450
00:24:37,840 --> 00:24:41,800
Speaker 2: to really begin to surface. So we have a character

451
00:24:41,840 --> 00:24:45,520
Speaker 2: by the name of Madame Oleska, and she is she

452
00:24:45,560 --> 00:24:50,119
Speaker 2: has like a seer, she is aware of movements in

453
00:24:50,200 --> 00:24:51,800
Speaker 2: the supernatural realm.

454
00:24:51,960 --> 00:24:53,639
Speaker 3: She has knowledge of the dark arts.

455
00:24:53,920 --> 00:24:57,719
Speaker 2: Yeah, and she is played by Don Wildsmith born nineteen

456
00:24:57,760 --> 00:25:00,000
Speaker 2: sixty three. She is a fred Olin Ray B movie

457
00:25:00,119 --> 00:25:04,200
Speaker 2: repeat player. Her credits include nineteen eighty six's Armed Response.

458
00:25:04,840 --> 00:25:07,040
Speaker 2: That's an example of one of the fred Olin Ray

459
00:25:07,080 --> 00:25:09,199
Speaker 2: movies that has a pretty strong cast. I haven't seen it.

460
00:25:09,280 --> 00:25:11,159
Speaker 2: I can't speak to its quality, but it's got a

461
00:25:11,200 --> 00:25:13,679
Speaker 2: lot of good actors in it. She's also in nineteen

462
00:25:13,760 --> 00:25:17,439
Speaker 2: nineties Alienator, and she's in Hollywood Chainsaw Hookers. So she

463
00:25:17,480 --> 00:25:20,560
Speaker 2: also pops up in a non fred Olin Ray film.

464
00:25:20,640 --> 00:25:23,400
Speaker 2: Nineteen eighty six is Surf Nazis Must Die.

465
00:25:23,480 --> 00:25:26,320
Speaker 3: I don't know how many different movies she gets decapitated,

466
00:25:26,359 --> 00:25:28,000
Speaker 3: but I feel like that's got to be like a

467
00:25:28,119 --> 00:25:30,560
Speaker 3: checklist thing for an actor. At some point you're like,

468
00:25:30,600 --> 00:25:32,000
Speaker 3: I got to be in a film where my head

469
00:25:32,040 --> 00:25:34,440
Speaker 3: gets cut off and she gets it here, she gets

470
00:25:34,440 --> 00:25:34,840
Speaker 3: her check.

471
00:25:35,320 --> 00:25:38,040
Speaker 2: I do not remember if she is decapitated in Hollywood

472
00:25:38,119 --> 00:25:42,119
Speaker 2: Chainsaw Hookers. It is spent over two decades since I

473
00:25:42,160 --> 00:25:44,560
Speaker 2: saw that one, and I'm probably not going to rewatch

474
00:25:44,640 --> 00:25:48,960
Speaker 2: it anytime soon. But it's very likely it is a

475
00:25:49,000 --> 00:25:52,640
Speaker 2: film about about chainsaws. But I should also point out

476
00:25:52,800 --> 00:25:56,720
Speaker 2: it's not particularly accurate when it comes to Hollywood Chainsaw

477
00:25:56,880 --> 00:26:01,920
Speaker 2: or presumably hookers either, So there you go. But we

478
00:26:01,960 --> 00:26:06,800
Speaker 2: also have the male lead from Hollywood Chainsawhookers in this film,

479
00:26:07,280 --> 00:26:10,240
Speaker 2: John Henry Richardson playing Sheriff Eddie Green.

480
00:26:10,560 --> 00:26:13,639
Speaker 3: This is Flynn's dependable cop friend. You know, when we

481
00:26:13,680 --> 00:26:16,959
Speaker 3: first meet him, he's acting kind of agro on a

482
00:26:16,960 --> 00:26:19,560
Speaker 3: phone call, and I just assumed this guy, Oh, this

483
00:26:19,600 --> 00:26:21,119
Speaker 3: guy's going to be a jerk that we're going to

484
00:26:21,200 --> 00:26:23,240
Speaker 3: have to deal with through the movie. But then no, No,

485
00:26:23,320 --> 00:26:25,800
Speaker 3: it's like a total reversal where he's just like you

486
00:26:25,840 --> 00:26:28,200
Speaker 3: can always count on Eddie.

487
00:26:28,359 --> 00:26:31,600
Speaker 2: There's no real ambiguity in this picture. If we know

488
00:26:31,680 --> 00:26:34,000
Speaker 2: exactly who the good guys are and exactly who the

489
00:26:34,000 --> 00:26:37,760
Speaker 2: bad guys are. The only bit of ambiguity is is

490
00:26:37,760 --> 00:26:39,600
Speaker 2: that a real woman's face or does she secretly have

491
00:26:39,640 --> 00:26:41,320
Speaker 2: a monster face? But you know she's going to have

492
00:26:41,320 --> 00:26:45,680
Speaker 2: a monster face, so anyway, John Henry Richardson, another fred

493
00:26:45,680 --> 00:26:49,040
Speaker 2: Olin ray, regularly pops up. He's also an alienator in

494
00:26:49,160 --> 00:26:53,560
Speaker 2: various other films. He's also in Jim Winnarski's Munchie, which

495
00:26:53,560 --> 00:26:55,119
Speaker 2: is some sort of a Gromlin film that I have

496
00:26:55,200 --> 00:26:59,119
Speaker 2: not seen. Okay, all right. Another interesting character that we

497
00:26:59,160 --> 00:27:02,880
Speaker 2: have in this film is Guy Zupan, played by Joseph

498
00:27:02,920 --> 00:27:06,400
Speaker 2: Pilato who lived nineteen forty nine through twenty nineteen.

499
00:27:06,600 --> 00:27:10,240
Speaker 3: He has one of the funniest and most unexpected character

500
00:27:10,400 --> 00:27:13,639
Speaker 3: reappearances in this movie that I can recall in a

501
00:27:13,680 --> 00:27:15,399
Speaker 3: film in quite some time.

502
00:27:16,720 --> 00:27:19,639
Speaker 2: Yes, yeah, I can't wait to get to that. But

503
00:27:20,000 --> 00:27:23,280
Speaker 2: Joseph Pilato is an American actor, best known to many

504
00:27:23,320 --> 00:27:26,399
Speaker 2: of you, I imagine for his role as the villainous captain

505
00:27:26,440 --> 00:27:29,400
Speaker 2: Henry Rhodes. This is the guy who gets his torso

506
00:27:29,440 --> 00:27:32,280
Speaker 2: torn open by zombies and George Romero's nineteen eighty five

507
00:27:32,320 --> 00:27:33,399
Speaker 2: film Day of the Dead.

508
00:27:34,119 --> 00:27:38,040
Speaker 3: I would not have made this connection at all. I

509
00:27:38,240 --> 00:27:40,679
Speaker 3: totally remember this character in Day of the Dead, but

510
00:27:41,760 --> 00:27:43,919
Speaker 3: he's like, yeah, he's the villain in Day of the Dead,

511
00:27:44,040 --> 00:27:46,760
Speaker 3: the human villain. He's like, you know, because a big

512
00:27:46,800 --> 00:27:49,879
Speaker 3: theme of that movie is it takes place in a

513
00:27:49,920 --> 00:27:52,920
Speaker 3: bunker along after the zombies have taken over, and it's

514
00:27:52,960 --> 00:27:55,920
Speaker 3: this sort of like last bastion of humanity. They're trying

515
00:27:55,920 --> 00:27:58,200
Speaker 3: to figure out how many other humans are left out

516
00:27:58,200 --> 00:28:01,760
Speaker 3: there and where they are, and you've got the camp

517
00:28:01,760 --> 00:28:05,600
Speaker 3: of the scientists versus the military guys, and the military

518
00:28:05,600 --> 00:28:08,679
Speaker 3: guys are led by this kind of unstable captain who's like,

519
00:28:08,720 --> 00:28:10,840
Speaker 3: you never know if he's just going to be done

520
00:28:10,880 --> 00:28:13,440
Speaker 3: with it, and you know he's like, okay, yeah, I'm

521
00:28:13,480 --> 00:28:16,960
Speaker 3: done with you scientists anyway. So he's a very compelling

522
00:28:17,080 --> 00:28:19,439
Speaker 3: villain in that. But I did not realize this was

523
00:28:19,440 --> 00:28:20,560
Speaker 3: the same guy at all.

524
00:28:21,080 --> 00:28:23,640
Speaker 2: Yeah. Yeah. He also he was also in nineteen seventy

525
00:28:23,680 --> 00:28:25,560
Speaker 2: eight s Dawn of the Dead in a small role,

526
00:28:25,920 --> 00:28:28,359
Speaker 2: and he also pops up in Romero's and Night Writers

527
00:28:28,400 --> 00:28:31,679
Speaker 2: from eighty one. That's a weird one. That's a picture

528
00:28:31,720 --> 00:28:33,359
Speaker 2: that we've had listeners write in and say, hey, you

529
00:28:33,359 --> 00:28:36,080
Speaker 2: should cover Night Writers. Oh in. His other credits include

530
00:28:36,160 --> 00:28:38,320
Speaker 2: pulp Fiction from ninety four. I believe he has just

531
00:28:38,360 --> 00:28:40,200
Speaker 2: a very small role in that. And he's also in

532
00:28:40,280 --> 00:28:44,560
Speaker 2: nineteen ninety seven's Wish Master Choke on him. Indeed, all right,

533
00:28:45,480 --> 00:28:49,520
Speaker 2: you mentioned the sword training scene, and the sword trainer

534
00:28:49,960 --> 00:28:53,760
Speaker 2: is played by Jan Bryant. She also has has credit

535
00:28:53,840 --> 00:28:57,479
Speaker 2: for stunts in this and yeah, she plays our sword trainer.

536
00:28:57,520 --> 00:29:02,120
Speaker 2: And she is an actual sword master, choreographer, performer, and instructor.

537
00:29:02,960 --> 00:29:06,560
Speaker 2: She's done stunts and fight choreography work, you know, sword

538
00:29:06,960 --> 00:29:10,480
Speaker 2: fight choreography work in such projects as two thousand and threes,

539
00:29:10,560 --> 00:29:13,400
Speaker 2: Mastering Commander, the Far Side of the World, nineteen ninety

540
00:29:13,440 --> 00:29:16,640
Speaker 2: eight's The Mask of Zorro, ninety one's Hook, and ninety

541
00:29:16,640 --> 00:29:17,840
Speaker 2: two's Army of Darkness.

542
00:29:18,480 --> 00:29:22,360
Speaker 3: So in the movie she plays the main character's sword

543
00:29:22,480 --> 00:29:26,200
Speaker 3: training instructor. And but the sword training scene, it looks

544
00:29:26,240 --> 00:29:29,280
Speaker 3: like they're supposed to be just actually swinging like fully

545
00:29:29,320 --> 00:29:32,920
Speaker 3: sharpened broad swords at each other, and I was like,

546
00:29:33,040 --> 00:29:35,440
Speaker 3: what is that how sword training actually works? But then

547
00:29:35,480 --> 00:29:39,480
Speaker 3: they anticipate it, or not anticipate, they addressed it in

548
00:29:39,520 --> 00:29:42,720
Speaker 3: the scene. Flynn is like, Wow, I'm really thanks so

549
00:29:42,800 --> 00:29:45,960
Speaker 3: much for agreeing to just go like full sword, full

550
00:29:46,000 --> 00:29:49,040
Speaker 3: swords in practice with me. You know, this really boosts

551
00:29:49,040 --> 00:29:52,480
Speaker 3: my confidence. And I was wondering, like does that come

552
00:29:52,480 --> 00:29:54,840
Speaker 3: from her, like as a real sword instructor. Is she

553
00:29:54,960 --> 00:29:57,200
Speaker 3: like this would never happen? We need to address like

554
00:29:57,280 --> 00:29:58,440
Speaker 3: why they would.

555
00:29:58,200 --> 00:30:01,520
Speaker 2: Be like, yes, I am the I shall write around it.

556
00:30:02,040 --> 00:30:05,800
Speaker 2: So that's Jan Bryant. And then her husband, Dan Speaker,

557
00:30:05,960 --> 00:30:08,040
Speaker 2: is also in the film, and he's also a world

558
00:30:08,120 --> 00:30:12,840
Speaker 2: renowned sword master and stuntman. He plays the character Brian.

559
00:30:13,160 --> 00:30:16,200
Speaker 2: Brian is like the second in command cultist.

560
00:30:16,440 --> 00:30:19,760
Speaker 3: Yeah, yeah, Brian Devray. They say his last name every.

561
00:30:19,520 --> 00:30:23,160
Speaker 2: Time another performer, I have to say Jan Bryant. She

562
00:30:23,520 --> 00:30:27,160
Speaker 2: has a certain amount of like natural charisma there. Dan

563
00:30:27,880 --> 00:30:32,800
Speaker 2: in this role anyway, doesn't come off as natural of

564
00:30:32,920 --> 00:30:35,680
Speaker 2: a pure actor, you know, so I think maybe his

565
00:30:35,840 --> 00:30:40,120
Speaker 2: expertise is more behind the sword as opposed to you know,

566
00:30:40,200 --> 00:30:41,880
Speaker 2: up there spouting dialogue.

567
00:30:41,920 --> 00:30:44,760
Speaker 3: I agree, he has a certain twinkle in his eye

568
00:30:44,800 --> 00:30:47,480
Speaker 3: when he's standing there grinning like a chipmunk in the

569
00:30:47,600 --> 00:30:50,520
Speaker 3: Jawa hood while he's holding a knife over a baby.

570
00:30:50,840 --> 00:30:53,520
Speaker 2: Yes, yes, in general, though, I want to say big

571
00:30:53,560 --> 00:30:56,680
Speaker 2: hats off to Bryant and Speaker here and Steve Barquette,

572
00:30:56,680 --> 00:30:58,920
Speaker 2: because all of the sword play in this film is

573
00:30:58,960 --> 00:31:02,920
Speaker 2: genuinely a great deal of fun. Yeah, it's especially the

574
00:31:03,200 --> 00:31:06,280
Speaker 2: last quarter of the picture. It just buckles so much

575
00:31:06,320 --> 00:31:11,280
Speaker 2: swash and it's delightful. Yeah, all right. Two more behind

576
00:31:11,280 --> 00:31:15,120
Speaker 2: the scenes credits just to reference here. Jim Davidson is

577
00:31:15,200 --> 00:31:19,200
Speaker 2: credited for visual effects. Also dates unknown on him As

578
00:31:19,200 --> 00:31:21,320
Speaker 2: a visual effects artist. He's worked on everything from the

579
00:31:21,320 --> 00:31:24,960
Speaker 2: first two Reanimator films to Terminator two and Batman Returns

580
00:31:25,520 --> 00:31:30,760
Speaker 2: and much more. And then. The composer here is John W. Morgan,

581
00:31:30,920 --> 00:31:34,320
Speaker 2: who lived nineteen forty six through twenty twenty five. Composed

582
00:31:34,440 --> 00:31:37,920
Speaker 2: the score for a nineteen seventy short adaptation of Ray

583
00:31:37,960 --> 00:31:42,000
Speaker 2: Bradberry's A Sound of Thunder, also The Aftermath, and also

584
00:31:42,040 --> 00:31:45,560
Speaker 2: two thousand and four Starship Troopers two Hero of the Federation.

585
00:31:46,120 --> 00:31:49,400
Speaker 2: That's the one directed by Phil tippittt I don't.

586
00:31:49,280 --> 00:31:51,200
Speaker 3: Know if I can bring myself to watch a Starship

587
00:31:51,200 --> 00:31:55,160
Speaker 3: Troopers sequel directed by Phil Tippitt, though I mean, yeah,

588
00:31:55,240 --> 00:31:59,000
Speaker 3: I don't like I like Phil Tippet's effects. I don't know.

589
00:31:59,640 --> 00:32:01,440
Speaker 3: I love the original Starship Troopers.

590
00:32:01,600 --> 00:32:04,360
Speaker 2: I think I mentioned this. Obviously, we're big Phil Tippet fans,

591
00:32:04,640 --> 00:32:06,640
Speaker 2: and if we were to watch something he directed, it

592
00:32:06,640 --> 00:32:11,520
Speaker 2: would probably be his passion project Mad God. But I

593
00:32:11,640 --> 00:32:13,960
Speaker 2: mentioned this off to you off Mike before. But there's

594
00:32:14,440 --> 00:32:18,240
Speaker 2: a season two episode of TV's Poker Face in which

595
00:32:19,000 --> 00:32:22,480
Speaker 2: we have a character based on Phil Tippett surrounded by

596
00:32:22,520 --> 00:32:26,160
Speaker 2: Phil Tippet's actual models and sculptures and so forth.

597
00:32:27,680 --> 00:32:28,960
Speaker 3: I'll have to watch that sometime.

598
00:32:29,160 --> 00:32:32,680
Speaker 2: It's pretty fun. It's pretty fun anyway. John W. Morgan

599
00:32:32,720 --> 00:32:34,960
Speaker 2: here seems to have been something of a specialist in

600
00:32:35,000 --> 00:32:38,360
Speaker 2: the re recording of existing scores from old movies, particularly

601
00:32:38,360 --> 00:32:40,800
Speaker 2: movies from like the nineteen thirties, and I saw that

602
00:32:40,840 --> 00:32:45,320
Speaker 2: he has a credit for doing some score reconstruction work

603
00:32:45,360 --> 00:32:47,880
Speaker 2: on Peter Jackson's King Kong from two thousand and five.

604
00:32:57,320 --> 00:32:59,520
Speaker 3: Already you ready to get into the plot.

605
00:32:59,400 --> 00:33:00,600
Speaker 2: Let's do it. Jump in.

606
00:33:01,120 --> 00:33:04,719
Speaker 3: So the movie begins by showing us an object of

607
00:33:04,840 --> 00:33:09,440
Speaker 3: implied significance and power. And at first I was not sure,

608
00:33:10,480 --> 00:33:13,440
Speaker 3: like whether this object the movie is showing is supposed

609
00:33:13,480 --> 00:33:16,680
Speaker 3: to be understood as within the narrative or outside the narrative.

610
00:33:17,120 --> 00:33:20,960
Speaker 3: It is a physical artifact filmed in real space, shaped

611
00:33:21,040 --> 00:33:23,720
Speaker 3: kind of like a cross between a fish and a sword,

612
00:33:24,480 --> 00:33:27,000
Speaker 3: and it's like mounted up on a rack and illuminated

613
00:33:27,040 --> 00:33:29,120
Speaker 3: with these rainbow lights. But then we see a title.

614
00:33:29,160 --> 00:33:32,640
Speaker 3: It says the Nautilus Film Companies. I was like, oh, okay,

615
00:33:32,680 --> 00:33:34,320
Speaker 3: so this is supposed to be a submarine.

616
00:33:34,400 --> 00:33:35,840
Speaker 2: Yeah, it's like Disney's Nautilus.

617
00:33:35,880 --> 00:33:38,760
Speaker 3: Yeah, yeah, exactly. And this is supposed to be the

618
00:33:38,760 --> 00:33:41,080
Speaker 3: production company logo. It's like the Toho logo.

619
00:33:42,120 --> 00:33:45,240
Speaker 2: I love this though, when you get to see a

620
00:33:45,240 --> 00:33:48,160
Speaker 2: film company logo that you've never seen before and you

621
00:33:48,240 --> 00:33:50,160
Speaker 2: know you're not going to see more than a couple

622
00:33:50,160 --> 00:33:50,880
Speaker 2: of other times.

623
00:33:51,040 --> 00:33:54,960
Speaker 3: Yeah, yeah, what was this actual artifact? Where did this

624
00:33:55,000 --> 00:33:55,520
Speaker 3: come from?

625
00:33:56,480 --> 00:33:59,280
Speaker 2: It looks like somebody somebody's do it yourself model the

626
00:33:59,360 --> 00:34:02,760
Speaker 2: Nautilus and they're like, that's the logo, that's the studio.

627
00:34:03,200 --> 00:34:05,960
Speaker 3: So after that we pull up on another image with

628
00:34:06,080 --> 00:34:09,080
Speaker 3: moody lighting. But this one, I guess is actually supposed

629
00:34:09,120 --> 00:34:11,120
Speaker 3: to be in the story. It is Stone Hinge, or

630
00:34:11,160 --> 00:34:13,920
Speaker 3: at least a look alike. It's kind of a clone Hinge.

631
00:34:14,680 --> 00:34:17,160
Speaker 3: In silhouette, we see the big stones with a Jack

632
00:34:17,200 --> 00:34:20,880
Speaker 3: O'Lantern orange sky in the background, and then the clouds

633
00:34:20,920 --> 00:34:23,440
Speaker 3: move across the moon, and we can hear the wind howling.

634
00:34:23,920 --> 00:34:27,440
Speaker 3: And the next we're somewhere else underground in a vast cavern,

635
00:34:27,600 --> 00:34:31,240
Speaker 3: fuming with vapor. Among the crags of a cliff wall,

636
00:34:31,560 --> 00:34:34,440
Speaker 3: we see a monstrous face made out of stone. I

637
00:34:34,440 --> 00:34:37,080
Speaker 3: would describe it as a cross between a goat and

638
00:34:37,120 --> 00:34:38,440
Speaker 3: a Tyrannosaurus rex.

639
00:34:39,040 --> 00:34:41,200
Speaker 2: Yeah, there's a little bit of rain core energy to

640
00:34:41,239 --> 00:34:42,000
Speaker 2: this guy as well.

641
00:34:42,160 --> 00:34:45,480
Speaker 3: Yeah, a little bit of that absolutely now. Next, somewhere

642
00:34:45,480 --> 00:34:49,080
Speaker 3: else in this foggy cavern, we hear voices echoing, echoing

643
00:34:49,200 --> 00:34:51,360
Speaker 3: so much that it's kind of hard to understand what

644
00:34:51,400 --> 00:34:54,640
Speaker 3: they're saying. But I had to. I did some rewinding

645
00:34:54,680 --> 00:34:57,440
Speaker 3: here to make sure I was catching it all. So

646
00:34:57,520 --> 00:35:00,360
Speaker 3: here's what's up. You got two dudes in your standard

647
00:35:00,440 --> 00:35:03,920
Speaker 3: I worship the devil Robes, YEA. One guy is younger,

648
00:35:04,040 --> 00:35:06,399
Speaker 3: with dark hair and a beard, and the other guy

649
00:35:06,480 --> 00:35:09,160
Speaker 3: is older, looking a bit like a cross between Charlton

650
00:35:09,200 --> 00:35:13,279
Speaker 3: Heston and Ted Turner. He's got a robust mustache. This

651
00:35:13,360 --> 00:35:16,759
Speaker 3: movie is full of robust mustaches, and this guy is

652
00:35:17,000 --> 00:35:20,120
Speaker 3: of course Arkham. This is Richard Harrison.

653
00:35:21,080 --> 00:35:23,920
Speaker 2: One point about mustaches. I think it's worth noting that

654
00:35:23,960 --> 00:35:27,440
Speaker 2: this again is a film from nineteen ninety one, and

655
00:35:27,560 --> 00:35:32,279
Speaker 2: so much about it feels nineteen seventies, early nineteen eighties. Yeah,

656
00:35:32,360 --> 00:35:34,280
Speaker 2: Like to the point I was watching it, my wife

657
00:35:34,280 --> 00:35:36,160
Speaker 2: came in. I was like, check it out. This is

658
00:35:36,480 --> 00:35:38,800
Speaker 2: this is how I'm spending several hours in my week

659
00:35:39,440 --> 00:35:42,480
Speaker 2: this week. And she was like this. She just couldn't

660
00:35:42,480 --> 00:35:44,480
Speaker 2: believe that this was a movie that came out in

661
00:35:44,560 --> 00:35:46,279
Speaker 2: nineteen ninety one. She's like, no, this has to be

662
00:35:46,480 --> 00:35:48,400
Speaker 2: this has to be eighties or even seventies.

663
00:35:48,480 --> 00:35:50,280
Speaker 3: I agree, it feels older.

664
00:35:50,760 --> 00:35:52,839
Speaker 2: Yeah, and you see, and part of it is this

665
00:35:52,880 --> 00:35:56,239
Speaker 2: is a film with old, old and old soul in

666
00:35:56,239 --> 00:35:59,920
Speaker 2: many respects, but also it has like facial hair from

667
00:36:00,120 --> 00:36:00,640
Speaker 2: different era.

668
00:36:00,920 --> 00:36:05,280
Speaker 3: Yeah. So the characters are standing around in this dusty cave.

669
00:36:05,400 --> 00:36:08,200
Speaker 3: It's got torches, an altar, and a bunch of thick

670
00:36:08,680 --> 00:36:13,160
Speaker 3: nautical style chains. Gotta have some really big chains. And

671
00:36:13,200 --> 00:36:15,600
Speaker 3: then the altar, actually, I would say, appears to be

672
00:36:15,680 --> 00:36:19,759
Speaker 3: a wooden console table covered with a green tablecloth. On

673
00:36:19,800 --> 00:36:22,279
Speaker 3: top of the table, you got four little votive candles,

674
00:36:22,360 --> 00:36:24,640
Speaker 3: and then something that may be a fruit bowl, but

675
00:36:24,719 --> 00:36:27,120
Speaker 3: which they are actually using to be like the sacred

676
00:36:27,200 --> 00:36:29,520
Speaker 3: chalice of the devil. You know, the chalice of the

677
00:36:29,520 --> 00:36:32,680
Speaker 3: bloody throat. And then they've also you gotta have a

678
00:36:32,680 --> 00:36:36,120
Speaker 3: mystical dagger, so they got a mystical dagger. Off to

679
00:36:36,160 --> 00:36:39,440
Speaker 3: the side, there is also a lady in bright red

680
00:36:39,560 --> 00:36:44,759
Speaker 3: lingerie with a sheer red nightgown. She's wandering around like

681
00:36:44,800 --> 00:36:45,759
Speaker 3: she's hypnotized.

682
00:36:46,000 --> 00:36:48,680
Speaker 2: This is the most lingerie ever, Like this is Yeah,

683
00:36:48,719 --> 00:36:53,200
Speaker 2: this is like Victoria's Secrets nineteen ninety one to the max. Yeah,

684
00:36:53,440 --> 00:36:55,759
Speaker 2: if you were a thirteen year old in nineteen ninety one,

685
00:36:55,800 --> 00:36:58,000
Speaker 2: you just might assume that this is what ladies wear

686
00:36:58,080 --> 00:36:59,000
Speaker 2: underneath the clothing.

687
00:36:59,280 --> 00:37:03,040
Speaker 3: So the younger cult fellow says, this is the twentieth girl.

688
00:37:03,320 --> 00:37:07,400
Speaker 3: All the preparations have been completed, Master Arkham. And then

689
00:37:07,440 --> 00:37:10,239
Speaker 3: the older guy with the mustache says, does your young

690
00:37:10,280 --> 00:37:14,719
Speaker 3: bride suspect anything? And the younger guy says nothing. So,

691
00:37:15,120 --> 00:37:17,600
Speaker 3: is this lady in red here the bride? I was

692
00:37:17,600 --> 00:37:20,279
Speaker 3: confused the first time, But no, she is not the bride.

693
00:37:20,320 --> 00:37:23,920
Speaker 3: They're talking about somebody else. This lady is a random,

694
00:37:24,040 --> 00:37:27,920
Speaker 3: different person who's gonna be the lucky twentieth victim of

695
00:37:28,000 --> 00:37:32,920
Speaker 3: human sacrifice. Your young bride is his young bride Somewhere

696
00:37:32,920 --> 00:37:33,879
Speaker 3: else not shown here.

697
00:37:34,440 --> 00:37:37,560
Speaker 2: Yeah, the demon that we're gonna we're gonna eventually learn

698
00:37:37,840 --> 00:37:41,800
Speaker 2: that the demon's name is Malius, who apparently it requires

699
00:37:41,840 --> 00:37:44,960
Speaker 2: twenty victims, which feels like a lot. It really feels

700
00:37:44,960 --> 00:37:47,759
Speaker 2: to me like Mallius has just kind of softly retired

701
00:37:47,800 --> 00:37:51,359
Speaker 2: from attempted world domination and has just set his sacrifice

702
00:37:51,440 --> 00:37:54,480
Speaker 2: rate really high. So it's like, nobody's gonna actually summon

703
00:37:54,520 --> 00:37:57,160
Speaker 2: me twenty twenty victims. Okay, if you do twenty victims,

704
00:37:57,160 --> 00:37:58,879
Speaker 2: I'll show up. And he's like, they're not gonna do it.

705
00:37:58,960 --> 00:38:01,160
Speaker 3: Oh, it's like somebody wants to leave their item for

706
00:38:01,200 --> 00:38:03,480
Speaker 3: sale on marketplace, but they don't really want to sell it,

707
00:38:03,520 --> 00:38:04,879
Speaker 3: so they set the price too high.

708
00:38:04,920 --> 00:38:07,480
Speaker 2: Yeah, yes, yes, said it. Twenty victims. Nobody's going to

709
00:38:07,560 --> 00:38:07,759
Speaker 2: do that.

710
00:38:08,520 --> 00:38:11,399
Speaker 3: So after this, Master Arkham says another line that's hard

711
00:38:11,440 --> 00:38:13,960
Speaker 3: to hear. I think he says, the dark of the

712
00:38:14,000 --> 00:38:17,399
Speaker 3: Moon is nearly upon us. Though here's one where the

713
00:38:17,440 --> 00:38:19,759
Speaker 3: time that I watched this on the YouTube rip, the

714
00:38:19,760 --> 00:38:23,680
Speaker 3: YouTube subtitles translated it as art of the Moon is

715
00:38:23,800 --> 00:38:24,720
Speaker 3: merely a box.

716
00:38:25,640 --> 00:38:25,960
Speaker 2: Okay.

717
00:38:27,360 --> 00:38:29,600
Speaker 3: Master Arkham tells the younger guy, and his name is

718
00:38:29,600 --> 00:38:33,399
Speaker 3: Brian Devray, that he will soon become one of us.

719
00:38:34,360 --> 00:38:36,239
Speaker 3: And it was only after he said that that I

720
00:38:36,360 --> 00:38:39,080
Speaker 3: noticed there were actually some other little dudes in the

721
00:38:39,120 --> 00:38:42,319
Speaker 3: foreground here Robbie attached to the screenshot. I didn't notice them

722
00:38:42,360 --> 00:38:45,040
Speaker 3: the first like two times I watched the scene, these

723
00:38:45,080 --> 00:38:48,480
Speaker 3: other little guys in the foreground, watching the action right

724
00:38:48,600 --> 00:38:51,319
Speaker 3: in the position of Joel in the box, except they're

725
00:38:51,520 --> 00:38:54,200
Speaker 3: like dressed in the little brown culthoods like Jahwa's.

726
00:38:54,400 --> 00:38:55,800
Speaker 2: Oh wow, I didn't notice the seating.

727
00:38:55,960 --> 00:38:58,759
Speaker 3: They ought to be pointing and making little rifts.

728
00:38:59,280 --> 00:39:01,239
Speaker 2: I have to point out out this cave set that

729
00:39:01,239 --> 00:39:04,600
Speaker 2: we're on here pretty darn good. You know. It's definitely

730
00:39:04,600 --> 00:39:06,960
Speaker 2: a Star Trek level good cave set here.

731
00:39:07,040 --> 00:39:09,600
Speaker 3: I'd say my opinion is this part of the cave

732
00:39:09,640 --> 00:39:12,920
Speaker 3: set is in the medium quality zone. We'll get some

733
00:39:13,120 --> 00:39:17,000
Speaker 3: sets that look significantly worse and some that look significantly better.

734
00:39:17,160 --> 00:39:20,120
Speaker 2: I think, yeah, there's a there's a lot of sway

735
00:39:20,160 --> 00:39:21,840
Speaker 2: on the quality in this picture.

736
00:39:22,120 --> 00:39:25,600
Speaker 3: Yeah. So anyway, Master Arkham here tells Brian Devray that

737
00:39:25,640 --> 00:39:29,360
Speaker 3: he has to bring his wife again, remember the different person,

738
00:39:29,440 --> 00:39:32,040
Speaker 3: bring his wife and his infant son to this place

739
00:39:32,080 --> 00:39:36,120
Speaker 3: tonight so they can perform the ritual and Brian does

740
00:39:36,120 --> 00:39:40,200
Speaker 3: not need any convincing bring wife, infant son, got it now,

741
00:39:40,320 --> 00:39:43,560
Speaker 3: Master Arkham. He starts after this, he starts a sidebar

742
00:39:43,680 --> 00:39:46,080
Speaker 3: with his boss. He like wanders off to the side

743
00:39:46,920 --> 00:39:48,960
Speaker 3: and he lifts his arms up in the air and

744
00:39:49,000 --> 00:39:53,719
Speaker 3: starts shouting hear me Meleias. He promises Meleas that in

745
00:39:53,760 --> 00:39:56,640
Speaker 3: a few hours the ceremony will be completed and then

746
00:39:57,160 --> 00:40:00,200
Speaker 3: Meleias will be free for all times. So remember that

747
00:40:00,320 --> 00:40:03,680
Speaker 3: whatever they're doing the ceremonies, that's gonna set Melias free.

748
00:40:03,760 --> 00:40:07,840
Speaker 3: And then there's this little moment where there's like a lull,

749
00:40:07,880 --> 00:40:10,440
Speaker 3: like Arkham kind of calms down and wanders back to

750
00:40:10,520 --> 00:40:13,480
Speaker 3: the other people after yelling at Meleeas. But then he

751
00:40:13,600 --> 00:40:16,640
Speaker 3: starts up again with yes, Meleas, I will do your bidding,

752
00:40:17,000 --> 00:40:19,759
Speaker 3: which is funny in the same way as in like

753
00:40:19,840 --> 00:40:23,000
Speaker 3: Manos The Hands of Fate, when Torgo will stop talking

754
00:40:23,040 --> 00:40:25,319
Speaker 3: and you think the scene's over, and then there's a

755
00:40:25,360 --> 00:40:27,800
Speaker 3: long pote pause and he starts talking again.

756
00:40:28,000 --> 00:40:29,880
Speaker 2: Yeah. Yeah.

757
00:40:29,920 --> 00:40:33,160
Speaker 3: Also Master Arkham, well, while not having any red fingers

758
00:40:33,239 --> 00:40:35,560
Speaker 3: on his robe, is giving a little bit of the

759
00:40:35,600 --> 00:40:40,239
Speaker 3: Master from Manos, and Brian Devray is slightly Torgo though

760
00:40:40,239 --> 00:40:41,200
Speaker 3: a bit more suave.

761
00:40:41,600 --> 00:40:41,839
Speaker 2: Yeah.

762
00:40:41,920 --> 00:40:46,080
Speaker 3: Yeah, anyway, so master Arkham stabs the poor lady who's

763
00:40:46,080 --> 00:40:48,400
Speaker 3: standing here. He stabs her with the mystical dagger. She

764
00:40:48,760 --> 00:40:50,080
Speaker 3: instantly falls down.

765
00:40:49,960 --> 00:40:51,920
Speaker 2: Dead and right in the belly. Instant.

766
00:40:52,200 --> 00:40:54,280
Speaker 3: Yeah, and then he kind of makes out with the knife.

767
00:40:54,560 --> 00:40:56,719
Speaker 3: As I mentioned earlier, he's got a real good like

768
00:40:56,719 --> 00:41:03,279
Speaker 3: ooh the knife on his mouth. And as I was saying,

769
00:41:03,280 --> 00:41:06,080
Speaker 3: you know, most of the production values we've seen up

770
00:41:06,120 --> 00:41:10,600
Speaker 3: to this point, costume sets, etc. You could say, I

771
00:41:10,640 --> 00:41:13,560
Speaker 3: would argue, are like mid level or below. You know,

772
00:41:13,600 --> 00:41:16,040
Speaker 3: they're very much in the B movie range. But then

773
00:41:16,200 --> 00:41:21,480
Speaker 3: suddenly we are presented with what I really think is

774
00:41:21,640 --> 00:41:26,239
Speaker 3: actually a very admirable creature effect that is photographed beautifully.

775
00:41:26,719 --> 00:41:29,760
Speaker 3: So this human sacrifice wakes up some kind of monster.

776
00:41:29,840 --> 00:41:32,840
Speaker 3: I guess this is Melias, the dinosaur goat face that

777
00:41:32,880 --> 00:41:35,560
Speaker 3: we saw on the rock earlier. We hear it gurgleing

778
00:41:35,719 --> 00:41:38,720
Speaker 3: in the cave, and then we see the shadow first

779
00:41:38,719 --> 00:41:42,359
Speaker 3: of a giant three fingered et hand reach up into

780
00:41:42,400 --> 00:41:46,000
Speaker 3: a shaft of yellow orange lights surrounded by smoke, and

781
00:41:46,040 --> 00:41:48,840
Speaker 3: then the beast rears up and we see the dark

782
00:41:48,920 --> 00:41:52,120
Speaker 3: outline of its head against the glow as it roars.

783
00:41:52,760 --> 00:41:55,239
Speaker 3: Now the creature will not look quite as good when

784
00:41:55,239 --> 00:41:58,040
Speaker 3: we see it in direct lighting later, but in this scene,

785
00:41:58,080 --> 00:42:00,680
Speaker 3: I think it looks fantastic. Rael this part of the

786
00:42:00,680 --> 00:42:03,239
Speaker 3: movie with me too, and she was impressed.

787
00:42:03,600 --> 00:42:05,879
Speaker 2: Yeah. And again it's kind of surprising because this film

788
00:42:05,880 --> 00:42:07,320
Speaker 2: will be, you know, very much in that sort of

789
00:42:07,480 --> 00:42:12,440
Speaker 2: nid be movie range. Sometimes it'll dip down into ce

790
00:42:12,600 --> 00:42:15,800
Speaker 2: movie range, but then other times it'll really suddenly fire

791
00:42:15,880 --> 00:42:17,319
Speaker 2: up like this to the point where you're like, did

792
00:42:17,400 --> 00:42:21,000
Speaker 2: I take something? Is something kicking in? Why is this

793
00:42:21,000 --> 00:42:23,160
Speaker 2: film suddenly so effective? Yeah?

794
00:42:23,200 --> 00:42:26,239
Speaker 3: And then here's a great thing after this For a

795
00:42:26,360 --> 00:42:30,520
Speaker 3: second time, we get the production company credit. Remember, like

796
00:42:30,880 --> 00:42:33,399
Speaker 3: it already told you this was from the Nautilus Film

797
00:42:33,440 --> 00:42:36,440
Speaker 3: Company when it showed us the submarine sword. Now it

798
00:42:36,520 --> 00:42:39,359
Speaker 3: shows us the clone Hinge scenery again and hits us

799
00:42:39,360 --> 00:42:42,360
Speaker 3: with the Nautilus title card again. So after this, the

800
00:42:42,440 --> 00:42:45,520
Speaker 3: music turns from ominous to kind of sad as the

801
00:42:45,640 --> 00:42:48,680
Speaker 3: cast credits start rolling, just in time for us to

802
00:42:49,320 --> 00:42:52,560
Speaker 3: see the man of the ninety minute, Steve Barquette, Like

803
00:42:52,560 --> 00:42:54,520
Speaker 3: his name comes up on the screen and it shows

804
00:42:54,560 --> 00:42:57,759
Speaker 3: you a little shot of his face, except he looks

805
00:42:57,800 --> 00:43:00,600
Speaker 3: so sad. In the shot they selected, he's just staring

806
00:43:00,640 --> 00:43:03,520
Speaker 3: off into the distance as if he's thinking, like, how

807
00:43:03,600 --> 00:43:07,759
Speaker 3: am I going to pay for all these rented swords. Also,

808
00:43:07,880 --> 00:43:09,600
Speaker 3: during the rest of the credits, we are treated to

809
00:43:09,719 --> 00:43:12,719
Speaker 3: Gustav d'orre's illustrations from Dante's Inferno.

810
00:43:13,440 --> 00:43:16,080
Speaker 2: Yes, yes, these will keep popping up these. This is

811
00:43:16,239 --> 00:43:18,560
Speaker 2: clearly basically storyboarding for the picture.

812
00:43:18,840 --> 00:43:22,520
Speaker 3: Yeah. So, then after the credits, somehow we're still not

813
00:43:22,680 --> 00:43:24,799
Speaker 3: in the present action of the movie. We pick up

814
00:43:24,920 --> 00:43:28,120
Speaker 3: later in the prologue, which is twenty years before the

815
00:43:28,120 --> 00:43:28,640
Speaker 3: rest of the.

816
00:43:28,600 --> 00:43:31,360
Speaker 2: Movie, which I guess would put us in the nineteen seventies,

817
00:43:31,440 --> 00:43:34,200
Speaker 2: where again, so much of the film feels like it

818
00:43:34,320 --> 00:43:37,920
Speaker 2: is at home, and also all of these exterior location

819
00:43:38,200 --> 00:43:41,240
Speaker 2: establishment shots that we get also feel very nineteen seventies.

820
00:43:41,520 --> 00:43:43,960
Speaker 3: That's right. So we come up on a police station

821
00:43:44,120 --> 00:43:46,640
Speaker 3: at night with this a frame sign out front that

822
00:43:46,680 --> 00:43:49,719
Speaker 3: says police. I only mention this because we will get

823
00:43:49,719 --> 00:43:53,720
Speaker 3: some hilarious establishing shots of that sign many more times

824
00:43:53,760 --> 00:43:56,520
Speaker 3: in the movie, sometimes zooming in on the sign after

825
00:43:56,560 --> 00:43:59,320
Speaker 3: showing it to you, like to really emphasize the point,

826
00:43:59,360 --> 00:44:01,800
Speaker 3: this is where the police are rob Do you get it?

827
00:44:02,760 --> 00:44:05,360
Speaker 3: And then we get our first look at Steve Barquette

828
00:44:05,400 --> 00:44:08,279
Speaker 3: as our hero Richard Flynn. Later in the movie he

829
00:44:08,320 --> 00:44:11,000
Speaker 3: will have a mustache, but in this prologue we're supposed

830
00:44:11,000 --> 00:44:13,000
Speaker 3: to really get the full force of his youth and

831
00:44:13,160 --> 00:44:17,600
Speaker 3: innocence and vitality, so it's clean shaven Flynn again. He

832
00:44:17,719 --> 00:44:20,480
Speaker 3: really reminds me of Bob Odenkirk. Here he is in

833
00:44:20,680 --> 00:44:24,959
Speaker 3: a dingy police office with no visible windows, maps pinned

834
00:44:25,040 --> 00:44:27,960
Speaker 3: up on the wall, in full police uniform, with a

835
00:44:28,000 --> 00:44:30,760
Speaker 3: black tie, a badge, and a revolver on his hip

836
00:44:31,360 --> 00:44:34,040
Speaker 3: and Rob in this scene just look at the Something

837
00:44:34,080 --> 00:44:36,920
Speaker 3: about the lighting I think is making it look really squalid,

838
00:44:37,000 --> 00:44:40,040
Speaker 3: Like he's got high beams hitting him from two different angles,

839
00:44:40,080 --> 00:44:42,720
Speaker 3: so he's casting a double shadow on the wall.

840
00:44:43,040 --> 00:44:44,240
Speaker 2: Yeah. Yeah.

841
00:44:44,360 --> 00:44:47,600
Speaker 3: Anyway, the phone rings and Flynn answers seems to be

842
00:44:47,640 --> 00:44:50,279
Speaker 3: a collect call. He accepts the charges, and then we

843
00:44:50,320 --> 00:44:53,080
Speaker 3: get an establishing shot of what looks like a train

844
00:44:53,200 --> 00:44:56,239
Speaker 3: depot in Siberia. But I think this is supposed to

845
00:44:56,280 --> 00:44:59,200
Speaker 3: be the Maple Street warehouse, which we're about to hear

846
00:45:00,120 --> 00:45:04,440
Speaker 3: much made about. So this call is from Angela, Richard

847
00:45:04,480 --> 00:45:07,799
Speaker 3: Flynn's former lover. She says she has to see him

848
00:45:07,880 --> 00:45:11,480
Speaker 3: right away, and he's very confused because apparently she just

849
00:45:11,520 --> 00:45:14,200
Speaker 3: broke up with him like the day before, and she

850
00:45:14,239 --> 00:45:16,600
Speaker 3: said she could never see him again. They could never

851
00:45:16,600 --> 00:45:20,360
Speaker 3: see each other again. The problem is Angela is married

852
00:45:20,400 --> 00:45:22,960
Speaker 3: to somebody else and that caused a problem, as you

853
00:45:23,000 --> 00:45:26,880
Speaker 3: can as it, I guess it often does. But after

854
00:45:27,000 --> 00:45:29,760
Speaker 3: she implores him please meet up with me, he agrees

855
00:45:29,800 --> 00:45:31,560
Speaker 3: he's going to come meet her at the Maple Street

856
00:45:31,600 --> 00:45:34,080
Speaker 3: warehouse as soon as he gets off work. And then

857
00:45:34,160 --> 00:45:37,040
Speaker 3: suddenly the call is cut short because somebody in a

858
00:45:37,040 --> 00:45:40,200
Speaker 3: cult robe comes up behind Angela and snatches her away.

859
00:45:40,239 --> 00:45:42,839
Speaker 3: The line goes dead. It's hard to hear, but right

860
00:45:42,920 --> 00:45:45,480
Speaker 3: at the end of this phone call, I believe Richard

861
00:45:45,520 --> 00:45:50,040
Speaker 3: Flynn says women, It's like, well, yeah, women always like that.

862
00:45:50,040 --> 00:45:52,000
Speaker 3: They call you for help and they get abducted by

863
00:45:52,040 --> 00:45:53,200
Speaker 3: the minions of Malius.

864
00:45:53,719 --> 00:45:58,040
Speaker 2: Richard Flynn is just he's a very charismatic character, and

865
00:45:58,160 --> 00:46:02,439
Speaker 2: he has he has some that he injects here and there,

866
00:46:02,480 --> 00:46:05,799
Speaker 2: and then of course constant sex appeal. But yeah, there

867
00:46:05,800 --> 00:46:07,600
Speaker 2: are a few there are a few moments that are

868
00:46:07,840 --> 00:46:11,319
Speaker 2: supposed to be funny and in some cases legitimately are

869
00:46:11,360 --> 00:46:11,960
Speaker 2: to some degree.

870
00:46:12,760 --> 00:46:15,880
Speaker 3: So Flynn heads over to the Maple Street warehouse in

871
00:46:15,920 --> 00:46:18,960
Speaker 3: full copy uniform with the hat and the heads inside

872
00:46:19,000 --> 00:46:21,760
Speaker 3: for a look around. He's whistling, tossing his night stick

873
00:46:21,800 --> 00:46:22,880
Speaker 3: into the air for fun.

874
00:46:23,200 --> 00:46:27,479
Speaker 2: Yeah, really feels like a Mister Show sketch at this point,

875
00:46:27,640 --> 00:46:28,000
Speaker 2: it does.

876
00:46:28,120 --> 00:46:31,360
Speaker 3: Yeah, he like he's walking around in the warehouse. He

877
00:46:31,560 --> 00:46:34,359
Speaker 3: at one point knocks on some interior door and then

878
00:46:34,400 --> 00:46:37,719
Speaker 3: here's a distant scream. It's Angela. She calls for help.

879
00:46:37,760 --> 00:46:40,759
Speaker 3: She calls out Richard, help me. So this he goes

880
00:46:40,800 --> 00:46:44,279
Speaker 3: into action mode. Flynn pulls out his revolver, shoots the

881
00:46:44,280 --> 00:46:46,560
Speaker 3: lock on the door. But then we see the door

882
00:46:46,760 --> 00:46:49,120
Speaker 3: when it's open. It looks like something he could have

883
00:46:49,239 --> 00:46:53,080
Speaker 3: just pushed through. It's like thick cardboard basically. On the

884
00:46:53,120 --> 00:46:57,040
Speaker 3: other side, he is attacked by monsters in cult robes.

885
00:46:57,080 --> 00:46:59,520
Speaker 3: These are not just dudes in cult robes. They are

886
00:46:59,560 --> 00:47:03,799
Speaker 3: full on reptilian demonoids with rows of razor teeth, and

887
00:47:03,840 --> 00:47:05,320
Speaker 3: the demons also have swords.

888
00:47:05,960 --> 00:47:08,560
Speaker 2: Yeah, these guys are great. I love them. They're they're

889
00:47:08,640 --> 00:47:11,600
Speaker 2: kind of a combination of like ring rates but also

890
00:47:11,960 --> 00:47:15,040
Speaker 2: full sized phantasm dwarves. You know. Yeah, they've got the

891
00:47:15,360 --> 00:47:18,000
Speaker 2: monster faces that at times, you know, at times the

892
00:47:18,000 --> 00:47:20,319
Speaker 2: monster faces maybe come off a little bit Halloween mask,

893
00:47:20,400 --> 00:47:23,120
Speaker 2: but on closer inspection you can tell that a lot

894
00:47:23,120 --> 00:47:25,840
Speaker 2: of a lot of care went into their design and

895
00:47:25,880 --> 00:47:28,320
Speaker 2: then later and they also suffer a great deal of damage.

896
00:47:28,320 --> 00:47:32,240
Speaker 2: There are lots of shots of these guys getting shot, stabbed, decapitated,

897
00:47:32,239 --> 00:47:32,840
Speaker 2: and so forth.

898
00:47:33,239 --> 00:47:35,960
Speaker 3: Flynn messes them up. He fights them off with a

899
00:47:35,960 --> 00:47:40,240
Speaker 3: combination of revolver gunplay and hand to hand combat. Flynn

900
00:47:40,280 --> 00:47:42,600
Speaker 3: is very rambo. He's like a you know, he can

901
00:47:42,640 --> 00:47:46,160
Speaker 3: do it all, though in one scuffle he does get

902
00:47:46,160 --> 00:47:49,040
Speaker 3: stabbed in the shoulder, so he's he's wounded, but he's

903
00:47:49,040 --> 00:47:53,000
Speaker 3: forced to press on. And as Flynn plunges deeper into

904
00:47:53,040 --> 00:47:56,120
Speaker 3: the labyrinth of the Cursed Warehouse, he keeps hearing Angela

905
00:47:56,200 --> 00:47:58,960
Speaker 3: call out to him. We see somewhere in the stone

906
00:47:59,000 --> 00:48:02,120
Speaker 3: cavern that both Inla and a baby presumably this is

907
00:48:02,360 --> 00:48:06,080
Speaker 3: her infant son referenced earlier, are being held captive, and

908
00:48:06,280 --> 00:48:10,520
Speaker 3: Master Arkham and Brian Devray are standing over them with daggers,

909
00:48:10,520 --> 00:48:13,680
Speaker 3: grinning satanically, holding the daggers up like this dagger is

910
00:48:13,719 --> 00:48:16,280
Speaker 3: gonna come down any moment, but not yet, not yet

911
00:48:17,200 --> 00:48:20,399
Speaker 3: and so I guess this is the final human sacrifice,

912
00:48:20,480 --> 00:48:23,479
Speaker 3: the final sacrifice, if you will, that is gonna set

913
00:48:23,520 --> 00:48:28,600
Speaker 3: Melias free. So Angela, we keep cutting to her, and

914
00:48:28,640 --> 00:48:32,279
Speaker 3: she keeps screaming, Richard, help me save my baby a

915
00:48:32,320 --> 00:48:36,880
Speaker 3: lot many many times, and we will. It will feel

916
00:48:36,880 --> 00:48:39,760
Speaker 3: like it goes on a good bit here. Eventually Richard

917
00:48:39,840 --> 00:48:43,600
Speaker 3: finds a wall in the warehouse where a portal opens

918
00:48:43,760 --> 00:48:47,520
Speaker 3: to Hell. And yeah, it's just like the warehouse, like

919
00:48:47,560 --> 00:48:50,000
Speaker 3: you can see the electrical panels next to it, but

920
00:48:50,160 --> 00:48:51,960
Speaker 3: just one wall of the warehouse got a portal to Hell.

921
00:48:52,200 --> 00:48:53,520
Speaker 2: Yeah it's a big one too. You could drive a

922
00:48:53,520 --> 00:48:55,279
Speaker 2: truck through this thing. Maybe it's big part of it.

923
00:48:55,400 --> 00:48:58,320
Speaker 3: Yeah, it's kind of tattered. It's got like flat fluttering

924
00:48:58,640 --> 00:49:02,040
Speaker 3: kind of like tattered bits. I don't know, but it's

925
00:49:02,080 --> 00:49:04,560
Speaker 3: like spilling over with pulsing light. And they've got the

926
00:49:04,600 --> 00:49:08,040
Speaker 3: fog machine working hard. But he's like, well, I guess

927
00:49:08,080 --> 00:49:09,880
Speaker 3: no other choice. I got to run into Hell. So

928
00:49:09,880 --> 00:49:12,440
Speaker 3: he runs into Hell. All the time, we keep cutting

929
00:49:12,480 --> 00:49:14,840
Speaker 3: back to Angela calling out for help and seeing the

930
00:49:14,880 --> 00:49:17,520
Speaker 3: guys in the cult robes with the daggers. You know,

931
00:49:17,560 --> 00:49:21,440
Speaker 3: she is imperiled by the slowest descending knife in movie history.

932
00:49:21,920 --> 00:49:26,480
Speaker 3: And we see Master Arkham really concentrating. He's like this,

933
00:49:26,520 --> 00:49:29,600
Speaker 3: the knife is going down, and it made me realize, like,

934
00:49:29,680 --> 00:49:32,759
Speaker 3: why is the knife going so slow? Maybe it is

935
00:49:32,800 --> 00:49:36,200
Speaker 3: a case of the slow blade penetrating the shield. Right,

936
00:49:36,320 --> 00:49:38,319
Speaker 3: Is this a Chris knife kind of thing?

937
00:49:39,200 --> 00:49:42,960
Speaker 2: Hmm, yeah, I mean that's one read on it. I

938
00:49:43,000 --> 00:49:46,960
Speaker 2: will say that sacrificial stabbings do take place at a

939
00:49:47,080 --> 00:49:51,080
Speaker 2: just glacial pace in this film. Like the knife's coming

940
00:49:51,120 --> 00:49:55,279
Speaker 2: down here, it comes here, it comes any second now,

941
00:49:55,560 --> 00:49:56,399
Speaker 2: right through your heart.

942
00:49:56,560 --> 00:50:00,279
Speaker 3: Sometimes they recock the knife like they're almost down, they

943
00:50:00,280 --> 00:50:01,520
Speaker 3: lift it way back up again.

944
00:50:01,840 --> 00:50:04,680
Speaker 2: Well, you know, it's like they say, measure twice, stab.

945
00:50:04,400 --> 00:50:08,600
Speaker 3: Once, right exactly. Yes. So Flynn is running around trying

946
00:50:08,640 --> 00:50:11,480
Speaker 3: to find Angela and the baby to save them. As

947
00:50:11,520 --> 00:50:14,560
Speaker 3: he's going, he keeps stopping at these little vistas throughout Hell,

948
00:50:14,719 --> 00:50:18,399
Speaker 3: and we're treated to a very interesting milange of cheap

949
00:50:18,440 --> 00:50:21,600
Speaker 3: looking sets again, but also some pretty good looking sets

950
00:50:21,680 --> 00:50:25,040
Speaker 3: or models, and then some fantastic looking painted backgrounds.

951
00:50:25,440 --> 00:50:27,399
Speaker 2: Yeah, some of these Matt paintings remind me a bit

952
00:50:27,480 --> 00:50:30,759
Speaker 2: of those fantastic in tiers in Indiana. Jones and the

953
00:50:30,760 --> 00:50:33,120
Speaker 2: Temple Temple of Doom, which I guess that was the

954
00:50:33,120 --> 00:50:37,520
Speaker 2: Temple of Tim the titular temple of Doom. Yeah, in

955
00:50:37,560 --> 00:50:40,600
Speaker 2: this case though it is Hell or the Empire of

956
00:50:40,640 --> 00:50:41,120
Speaker 2: the Dark.

957
00:50:41,280 --> 00:50:43,280
Speaker 3: Some of the best looking stuff is like the painted

958
00:50:43,320 --> 00:50:45,640
Speaker 3: backgrounds here. But there's one set that looks pretty good.

959
00:50:45,719 --> 00:50:47,240
Speaker 3: Is it more in the mid level, but it's pretty

960
00:50:47,280 --> 00:50:50,879
Speaker 3: good where there's like a rickety wooden bridge spanning over

961
00:50:50,920 --> 00:50:54,360
Speaker 3: a chasm filled with hot lava. And they've really wanted

962
00:50:54,360 --> 00:50:56,359
Speaker 3: to get their money's worth with this one because it's

963
00:50:56,360 --> 00:50:58,520
Speaker 3: built out, and he runs across it so that it

964
00:50:58,560 --> 00:50:59,799
Speaker 3: gets a lot of screen time.

965
00:51:00,200 --> 00:51:03,520
Speaker 2: Yeah, I think it looks great. I buy And eventually

966
00:51:03,640 --> 00:51:05,760
Speaker 2: lots of people and things are going to be falling

967
00:51:05,800 --> 00:51:10,719
Speaker 2: into that lava and it's convincing disbelief completely suspended.

968
00:51:10,920 --> 00:51:14,799
Speaker 3: Anyway, Eventually Flynn stumbles across the ceremony where the two

969
00:51:14,880 --> 00:51:18,520
Speaker 3: Meleias devil guys are. They're slowly lowering their knives and

970
00:51:18,560 --> 00:51:22,480
Speaker 3: then Flynn pauses to aim his service revolver, then dramatically

971
00:51:22,480 --> 00:51:26,280
Speaker 3: calls out, I only have one more bullet.

972
00:51:26,880 --> 00:51:29,120
Speaker 2: And he's gonna have to shoot it across what seems

973
00:51:29,160 --> 00:51:30,760
Speaker 2: like a chasm.

974
00:51:30,200 --> 00:51:32,320
Speaker 3: YEA went miles away.

975
00:51:32,560 --> 00:51:36,600
Speaker 2: Yeah, and the matte painting slash sat here that we

976
00:51:36,600 --> 00:51:41,000
Speaker 2: we have does look incredible, Like just seeing this one still,

977
00:51:41,120 --> 00:51:43,000
Speaker 2: you would have to see this movie like it. It

978
00:51:43,040 --> 00:51:45,759
Speaker 2: feels like it has great doom vibes to it.

979
00:51:46,000 --> 00:51:48,640
Speaker 3: Absolutely. But the knives, of course are coming down. They're

980
00:51:48,680 --> 00:51:51,680
Speaker 3: coming down slowly, still, very slowly, and the camera keeps

981
00:51:51,680 --> 00:51:55,760
Speaker 3: cutting different thing cult guys knives, Angela, the baby, Flynn

982
00:51:56,000 --> 00:52:00,480
Speaker 3: say my baby and help me, over and over. Finally

983
00:52:00,520 --> 00:52:03,600
Speaker 3: Flynn makes his choice. He shoots Brian Devray to save

984
00:52:03,680 --> 00:52:08,040
Speaker 3: the baby, and the wicked Master Arkham stabs Angela, and

985
00:52:08,320 --> 00:52:12,160
Speaker 3: Flynn gives a real revenge of the sith no and

986
00:52:12,200 --> 00:52:16,520
Speaker 3: then goes and once after this cut, it seems like

987
00:52:16,560 --> 00:52:18,480
Speaker 3: actually maybe he wasn't that far away, because he just

988
00:52:18,560 --> 00:52:20,719
Speaker 3: runs right up after this. And he runs up and

989
00:52:20,760 --> 00:52:23,319
Speaker 3: he beats Master Arkham on the head with the butt

990
00:52:23,320 --> 00:52:25,880
Speaker 3: of his revolver, and I think it seems to seed

991
00:52:25,960 --> 00:52:29,040
Speaker 3: him to death. It kills him. Yeah, And so after

992
00:52:29,080 --> 00:52:32,400
Speaker 3: a quick tearful goodbye to Angela's body, he grabs the

993
00:52:32,440 --> 00:52:34,839
Speaker 3: baby and he runs back out of Hell, stopping for

994
00:52:34,920 --> 00:52:37,200
Speaker 3: a long time at the Rickety Lava Bridge so you

995
00:52:37,239 --> 00:52:39,840
Speaker 3: can get a good look at it, and then finally,

996
00:52:40,000 --> 00:52:43,439
Speaker 3: as sort of the cavern is collapsing, he dives back

997
00:52:43,480 --> 00:52:46,040
Speaker 3: through the portal in the wall with the baby, and

998
00:52:46,080 --> 00:52:48,839
Speaker 3: the wall magically seals itself back up, so now he's

999
00:52:48,920 --> 00:52:59,960
Speaker 3: just a cop pulleding the baby. So after the prologue

1000
00:53:00,080 --> 00:53:02,440
Speaker 3: we fade out and then we come back in with

1001
00:53:02,640 --> 00:53:06,480
Speaker 3: some Bambi springtime music. It's a beautiful morning. We're somewhere

1002
00:53:06,480 --> 00:53:09,399
Speaker 3: in the woods in the mountains of northern California. There's

1003
00:53:09,440 --> 00:53:13,440
Speaker 3: a rushing brook and waterfall, tall trees all around. It's beautiful,

1004
00:53:13,520 --> 00:53:16,320
Speaker 3: just a little slab of heaven. And here we also

1005
00:53:16,440 --> 00:53:20,880
Speaker 3: see the Maison de Flynn, our Flynn household. Here is

1006
00:53:20,880 --> 00:53:23,760
Speaker 3: a recurring setting for much of the rest of the film.

1007
00:53:24,120 --> 00:53:28,239
Speaker 3: It's a big, rustic wooden cabin with yellow and green accents,

1008
00:53:28,560 --> 00:53:30,480
Speaker 3: and some text on the screen tells us it is

1009
00:53:30,600 --> 00:53:31,720
Speaker 3: twenty years later.

1010
00:53:33,040 --> 00:53:37,279
Speaker 2: I have a strong suspicion that we get both the

1011
00:53:37,280 --> 00:53:40,360
Speaker 2: interiors and exteriors of this house, and that this is

1012
00:53:40,400 --> 00:53:41,959
Speaker 2: in fact Steve Barquette's house.

1013
00:53:42,040 --> 00:53:45,200
Speaker 3: That is also what I believe. I don't have anybody

1014
00:53:45,200 --> 00:53:48,080
Speaker 3: to confirm that, but it I think this is Steve

1015
00:53:48,120 --> 00:53:52,240
Speaker 3: Barkette's house. Yes, he just looks really cozy in it.

1016
00:53:52,160 --> 00:53:54,120
Speaker 3: It's like this is where he belongs.

1017
00:53:54,160 --> 00:53:58,280
Speaker 2: It's very lived in. You see movie memorabilia in places

1018
00:53:58,280 --> 00:53:59,960
Speaker 2: like the kitchen, So I think this is.

1019
00:54:00,080 --> 00:54:02,600
Speaker 3: This house, and I like the colors inside. This is

1020
00:54:02,640 --> 00:54:05,920
Speaker 3: like a good location to shoot, as I mentioned earlier,

1021
00:54:06,040 --> 00:54:09,680
Speaker 3: Like it's not just boring drab colors and all the

1022
00:54:09,840 --> 00:54:12,720
Speaker 3: like his kitchen is like green and yellow. It's weird

1023
00:54:12,840 --> 00:54:16,719
Speaker 3: colors that are nice to look at. For example, in

1024
00:54:16,760 --> 00:54:19,480
Speaker 3: the scene later where Terry gets seduced by a succubus

1025
00:54:19,560 --> 00:54:20,160
Speaker 3: in the kitchen.

1026
00:54:21,480 --> 00:54:25,480
Speaker 2: Yeah, and everything is fitningly feels very late seventies, early eighties,

1027
00:54:25,480 --> 00:54:28,760
Speaker 2: even though it is technically the early nineties at this point.

1028
00:54:28,880 --> 00:54:31,960
Speaker 3: Yeah. So again, it's twenty years later. Our hero now

1029
00:54:31,960 --> 00:54:34,920
Speaker 3: has a mustache it didn't before. He's sleeping on his

1030
00:54:35,040 --> 00:54:38,640
Speaker 3: side in bed, Harry chest bared to screen and his

1031
00:54:38,719 --> 00:54:42,920
Speaker 3: alarm goes off and he groans with displeasure. He's roused

1032
00:54:42,960 --> 00:54:46,160
Speaker 3: by his girlfriend Stacy. She is a ray of sunshine.

1033
00:54:46,239 --> 00:54:49,239
Speaker 3: She's giving him a little sing song voice sayings about

1034
00:54:49,239 --> 00:54:52,920
Speaker 3: how it's time to get up and he and he

1035
00:54:53,200 --> 00:54:56,200
Speaker 3: is just in Garfield mode, Garfield in his soul he

1036
00:54:56,239 --> 00:54:58,359
Speaker 3: does not like mondays he doesn't want to get out

1037
00:54:58,400 --> 00:54:58,719
Speaker 3: of bed.

1038
00:54:59,080 --> 00:55:02,120
Speaker 2: Yeah. He declares that her love of mornings is frankly disgusting,

1039
00:55:02,640 --> 00:55:04,480
Speaker 2: which is kind of legitimately funny.

1040
00:55:04,719 --> 00:55:08,000
Speaker 3: Yeah, it's hard to explain that the movie from this

1041
00:55:08,080 --> 00:55:11,600
Speaker 3: point on has a humorous tone that does not match

1042
00:55:11,680 --> 00:55:14,720
Speaker 3: the prologue at all. Like the prologue is totally dark.

1043
00:55:15,280 --> 00:55:18,200
Speaker 3: But starting here we get these things where Flynn will

1044
00:55:18,239 --> 00:55:21,680
Speaker 3: basically look into the camera and like shrug and be like,

1045
00:55:21,840 --> 00:55:24,200
Speaker 3: what do you what are you gonna do? Yeah?

1046
00:55:24,280 --> 00:55:27,040
Speaker 2: Yeah, In the prologue he's a heartbroken cop who's just

1047
00:55:27,080 --> 00:55:31,440
Speaker 2: had a traumatic experience with Coultist in another dimension. But

1048
00:55:31,520 --> 00:55:33,680
Speaker 2: this Rick we see now he's a happy, go lucky

1049
00:55:33,719 --> 00:55:35,960
Speaker 2: ladies man with a as we're about to see a

1050
00:55:36,160 --> 00:55:37,799
Speaker 2: driven interest in sword play.

1051
00:55:37,920 --> 00:55:39,839
Speaker 3: That's right, So we go straight after the wake up

1052
00:55:39,880 --> 00:55:42,520
Speaker 3: to the sword training scene. We're cutting in in the

1053
00:55:42,520 --> 00:55:47,000
Speaker 3: middle of a duel with Flynn dressed in sweatpants wildly

1054
00:55:47,120 --> 00:55:50,480
Speaker 3: swinging a broadsword at a woman dressed in athletic gear

1055
00:55:50,560 --> 00:55:52,960
Speaker 3: with the sword of her own. She's got fencing gloves on,

1056
00:55:53,719 --> 00:55:55,920
Speaker 3: and the woman yells at him, Rick, you're a little

1057
00:55:55,960 --> 00:56:00,520
Speaker 3: rough today. So they stop the duel, and she him

1058
00:56:00,600 --> 00:56:03,879
Speaker 3: why he decided to learn sword fighting techniques. He says

1059
00:56:03,920 --> 00:56:06,080
Speaker 3: he doesn't know, just got an urge a couple of

1060
00:56:06,200 --> 00:56:08,800
Speaker 3: years ago. And this is the part where I mentioned

1061
00:56:08,800 --> 00:56:11,359
Speaker 3: this earlier, where she says, you know, there aren't many

1062
00:56:11,400 --> 00:56:14,759
Speaker 3: instructors who would let you freestyle with live steel like this,

1063
00:56:16,200 --> 00:56:18,239
Speaker 3: and then Rick is just I'm in love with you,

1064
00:56:18,520 --> 00:56:21,920
Speaker 3: just wild sexual harassment in this scene, but the instructor

1065
00:56:22,000 --> 00:56:25,600
Speaker 3: laughs it off. It's like, nice, try, mister. Here's another

1066
00:56:25,640 --> 00:56:29,040
Speaker 3: moment where Rick basically like she She's like, nice, try mister,

1067
00:56:29,120 --> 00:56:32,080
Speaker 3: and Rick looks into the camera and he says, must

1068
00:56:32,120 --> 00:56:33,000
Speaker 3: be my breath.

1069
00:56:35,040 --> 00:56:37,000
Speaker 2: Yeah, yeah, yeah. They're begin to ham it up quite

1070
00:56:37,000 --> 00:56:37,279
Speaker 2: a bit.

1071
00:56:37,680 --> 00:56:42,000
Speaker 3: Yeah. So next we're going to meet some other characters.

1072
00:56:42,000 --> 00:56:45,640
Speaker 3: We meet Terry Nash. This is the character played by

1073
00:56:45,640 --> 00:56:50,319
Speaker 3: Steve Barquette's son in real life. This is the young mustache.

1074
00:56:50,360 --> 00:56:54,200
Speaker 3: And then we meet Eddie Green, the sheriff of Lava

1075
00:56:54,200 --> 00:56:56,640
Speaker 3: Springs I guess wherever this is, or a detective in

1076
00:56:56,719 --> 00:56:59,360
Speaker 3: Lava Springs. At least it wasn't exactly clear on his rank.

1077
00:56:59,719 --> 00:57:01,839
Speaker 3: So Terry shows up at the police station to speak

1078
00:57:01,880 --> 00:57:04,520
Speaker 3: with Eddie. We get again the establishing shots outside where

1079
00:57:04,560 --> 00:57:08,200
Speaker 3: it's like police, police, police, and Eddie is in the

1080
00:57:08,239 --> 00:57:12,320
Speaker 3: middle of a vulgar phone call with Milligan. You know Milligan.

1081
00:57:12,840 --> 00:57:16,800
Speaker 3: He's sawing a Milligan And every time Milligan talks, Eddie

1082
00:57:16,840 --> 00:57:20,280
Speaker 3: finds a way to repeat for the audience what Milligan said.

1083
00:57:20,640 --> 00:57:22,520
Speaker 3: The gist of the phone call is that there is

1084
00:57:22,560 --> 00:57:25,560
Speaker 3: a new demon slasher case in which young women are

1085
00:57:25,560 --> 00:57:29,040
Speaker 3: being murdered. Seems like, yeah, probably by a demonic cult.

1086
00:57:29,360 --> 00:57:32,280
Speaker 3: His men don't know what's going on, and he suggests

1087
00:57:32,360 --> 00:57:35,640
Speaker 3: they should bring in outside help. Who should they bring in, well,

1088
00:57:35,680 --> 00:57:38,680
Speaker 3: of course Richard Flynn. He may not be a police

1089
00:57:38,720 --> 00:57:42,040
Speaker 3: officer anymore, he's no longer a brother officer, but he's

1090
00:57:42,080 --> 00:57:43,320
Speaker 3: the best there ever was.

1091
00:57:43,880 --> 00:57:48,120
Speaker 2: Yeah, this small town, rural area is like the epicenter

1092
00:57:48,560 --> 00:57:53,440
Speaker 2: for cult related homicides in the nation, perhaps in the world.

1093
00:57:54,520 --> 00:57:57,919
Speaker 2: Should we turn to the federal agency for help here? No, no, no,

1094
00:57:58,000 --> 00:58:01,480
Speaker 2: I know a retired guy in the area. He's perfect

1095
00:58:01,480 --> 00:58:01,720
Speaker 2: for this.

1096
00:58:01,960 --> 00:58:04,440
Speaker 3: The amount of cult murders here reminds me of I

1097
00:58:04,480 --> 00:58:06,240
Speaker 3: think we've talked about this on the show before, but

1098
00:58:06,960 --> 00:58:09,320
Speaker 3: you watch some of Sons of Anarchy at really, at

1099
00:58:09,400 --> 00:58:11,480
Speaker 3: least right it's supposed to be a small town in

1100
00:58:11,520 --> 00:58:14,880
Speaker 3: northern California that has like ten thousand murders a year.

1101
00:58:15,240 --> 00:58:18,600
Speaker 2: Yeah, yeah, it's maybe it's a similar area. Maybe it's

1102
00:58:18,640 --> 00:58:22,320
Speaker 2: around around Reading. It's just all sorts of cult activity

1103
00:58:22,440 --> 00:58:25,480
Speaker 2: and outlaw MC he's just tearing it up.

1104
00:58:25,720 --> 00:58:28,800
Speaker 3: Yeah, So Milligan does not whoever Milligan is, does not

1105
00:58:29,040 --> 00:58:32,280
Speaker 3: want to bring Richard Flynn onto the case. So they

1106
00:58:32,320 --> 00:58:34,440
Speaker 3: have a disagreement about this and the call ends when

1107
00:58:34,480 --> 00:58:39,200
Speaker 3: young Terry wanders into Eddie's office. Terry explains his business here.

1108
00:58:39,240 --> 00:58:43,040
Speaker 3: He's trying to get in contact with Eddie's friend, Richard Flynn.

1109
00:58:43,040 --> 00:58:45,680
Speaker 3: What do you know, what a coinky dink. Flynn is

1110
00:58:45,720 --> 00:58:48,680
Speaker 3: a private detective now and he's working down the road

1111
00:58:48,800 --> 00:58:52,920
Speaker 3: in Lava Springs. Terry has tried writing to him and

1112
00:58:52,960 --> 00:58:55,320
Speaker 3: calling him, but he gets no response. It's like Flynn

1113
00:58:55,360 --> 00:58:58,200
Speaker 3: just doesn't want to talk to Terry, and Eddie says,

1114
00:58:58,320 --> 00:59:01,040
Speaker 3: it's not like Richard Flynn to do that. He doesn't

1115
00:59:01,040 --> 00:59:05,800
Speaker 3: cold shoulder people for no reason. Well, Terry says he

1116
00:59:05,800 --> 00:59:08,000
Speaker 3: thinks there might be a reason in his case. He

1117
00:59:08,080 --> 00:59:11,400
Speaker 3: explains that his mother was Angela n Ash. That's the

1118
00:59:11,480 --> 00:59:14,400
Speaker 3: Angela from the prologue so Eddie lean he knows some

1119
00:59:14,480 --> 00:59:16,680
Speaker 3: of this story. Eddie leans forward and he says, so

1120
00:59:16,920 --> 00:59:23,240
Speaker 3: you're the baby Terry presumably wants to meet the man

1121
00:59:23,480 --> 00:59:26,600
Speaker 3: who saved his life from Melias when he was a baby.

1122
00:59:27,480 --> 00:59:30,320
Speaker 3: I'm not sure exactly how much of the story he knows,

1123
00:59:30,520 --> 00:59:33,400
Speaker 3: does he? They don't make this clear, like, does he

1124
00:59:33,480 --> 00:59:37,320
Speaker 3: know that he was saved from hell? He's been to hell,

1125
00:59:37,440 --> 00:59:39,959
Speaker 3: but he was too young to remember it. Unclear again,

1126
00:59:40,040 --> 00:59:42,480
Speaker 3: But beyond that, he also has an important lead that

1127
00:59:42,520 --> 00:59:44,720
Speaker 3: he wants to share with the police. It is a

1128
00:59:44,760 --> 00:59:48,960
Speaker 3: polaroid of who is that why? It's Brian Devray and

1129
00:59:49,160 --> 00:59:52,840
Speaker 3: master Leo Arkham. Arkham is in what looks like a

1130
00:59:52,880 --> 00:59:56,880
Speaker 3: tracksuit or at least kind of a sports windbreaker. They're

1131
00:59:56,920 --> 00:59:59,160
Speaker 3: standing in the parking lot outside of what looks like

1132
00:59:59,200 --> 01:00:04,520
Speaker 3: a bank, and Eddie recognizes them instantly, but they're like, wait,

1133
01:00:04,600 --> 01:00:07,360
Speaker 3: look at the modern cars in fashion in this picture.

1134
01:00:07,680 --> 01:00:10,320
Speaker 3: This couldn't have been taken twenty years ago. This was

1135
01:00:10,400 --> 01:00:13,240
Speaker 3: taken two weeks ago, and those two were supposed to

1136
01:00:13,320 --> 01:00:17,440
Speaker 3: be dead. So that's all the convincing Eddie needs. He's like, Okay,

1137
01:00:17,480 --> 01:00:20,000
Speaker 3: I'm on board. I'm going to help you. Terry get

1138
01:00:20,040 --> 01:00:22,160
Speaker 3: some FaceTime with the great Richard Flynn.

1139
01:00:22,800 --> 01:00:25,840
Speaker 2: Yeah, the actor playing Arkham here, Richard Harris, and he's

1140
01:00:25,840 --> 01:00:28,880
Speaker 2: like wagging a finger at him in this picture, almost

1141
01:00:28,960 --> 01:00:30,640
Speaker 2: like saying they're not going to trick me into film

1142
01:00:30,680 --> 01:00:32,000
Speaker 2: in any additional scenes. Brother.

1143
01:00:34,680 --> 01:00:39,320
Speaker 3: So meanwhile, another subplot kicks off at Rick and Stacy's house.

1144
01:00:39,800 --> 01:00:43,520
Speaker 3: Stacy is some kind of newspaper reporter and the paper

1145
01:00:43,600 --> 01:00:48,120
Speaker 3: is sending her to interview a psychic investigator named guy Zupan.

1146
01:00:49,080 --> 01:00:51,600
Speaker 3: Rick says, kind of an odd assignment for you, isn't it,

1147
01:00:51,920 --> 01:00:56,440
Speaker 3: And she says not really, it's related to the demon

1148
01:00:56,560 --> 01:01:00,640
Speaker 3: slasher case. Oh, that explains it anyway. She heads out

1149
01:01:00,640 --> 01:01:05,400
Speaker 3: for the interview and Flynn accidentally so yeah, so she leaves.

1150
01:01:05,440 --> 01:01:07,680
Speaker 3: He's left alone at the kitchen table in the house,

1151
01:01:08,160 --> 01:01:12,240
Speaker 3: and he accidentally drops his Velcrow wallet on the floor,

1152
01:01:12,280 --> 01:01:17,400
Speaker 3: which falls open to some goth glamour shots of Angela

1153
01:01:17,560 --> 01:01:18,760
Speaker 3: from twenty years ago.

1154
01:01:19,080 --> 01:01:25,320
Speaker 2: Yeah. Yeah, really ridiculous looking headshot, you know, very very stylish,

1155
01:01:25,400 --> 01:01:26,920
Speaker 2: not the kind of thing you normally would see in

1156
01:01:26,920 --> 01:01:29,040
Speaker 2: a wallet. But hey, what do I like? I don't

1157
01:01:29,040 --> 01:01:31,520
Speaker 2: even have photos of my wallet anymore, So I guess

1158
01:01:31,720 --> 01:01:33,320
Speaker 2: I'm out of touch with this practice.

1159
01:01:33,440 --> 01:01:36,800
Speaker 3: She looks like a cross between a shampoo commercial and

1160
01:01:36,800 --> 01:01:41,520
Speaker 3: a lou Reed album cover. Yeah yeah, But he sees

1161
01:01:41,560 --> 01:01:45,080
Speaker 3: the photos in his Velcrow wallet and this sends Rick

1162
01:01:45,160 --> 01:01:49,440
Speaker 3: spiraling into a soft focus memory which consists of a

1163
01:01:49,680 --> 01:01:55,680
Speaker 3: frankly hilarious erotic scene between Flynn and Angela where he's

1164
01:01:55,720 --> 01:01:59,200
Speaker 3: his outfit in the scene is very good choices.

1165
01:01:59,760 --> 01:02:05,240
Speaker 2: Yeah, yes, this is a full undershirt on love scene

1166
01:02:05,320 --> 01:02:08,680
Speaker 2: Blue Tank Tom Yeah yeah, brings to mind Toast of

1167
01:02:08,680 --> 01:02:11,040
Speaker 2: London if anyone watched that show.

1168
01:02:12,280 --> 01:02:15,160
Speaker 3: But also in this erotic scene, there's a bunch of

1169
01:02:15,240 --> 01:02:18,800
Speaker 3: exposition as they have. Actually it's not in scene, it's

1170
01:02:18,880 --> 01:02:22,880
Speaker 3: like within the flashback. There is a further secondary flashback

1171
01:02:22,960 --> 01:02:27,520
Speaker 3: to breathy conversations they have had at other times about

1172
01:02:27,560 --> 01:02:30,640
Speaker 3: why she won't leave her satanic husband Brian Devray and

1173
01:02:30,760 --> 01:02:34,560
Speaker 3: run away with the Rickster. So Rick says, please don't

1174
01:02:34,560 --> 01:02:38,200
Speaker 3: marry Brian Devray. He says that religious group he hangs

1175
01:02:38,240 --> 01:02:41,600
Speaker 3: out with, there's something very wrong about that whole setup,

1176
01:02:42,680 --> 01:02:45,440
Speaker 3: but she has made up her mind. Basically. I like

1177
01:02:45,560 --> 01:02:49,360
Speaker 3: how this suggests that it's not fully secret that he's

1178
01:02:49,400 --> 01:02:51,600
Speaker 3: in this satanic cult. That's just like part of his

1179
01:02:51,960 --> 01:02:54,680
Speaker 3: you know, in the social scene, everybody knows. Oh yeah, Brian,

1180
01:02:54,760 --> 01:02:56,360
Speaker 3: he's part of the Melias cult.

1181
01:02:57,120 --> 01:03:02,160
Speaker 2: Yeah. It kind of a complex romance triangle that is

1182
01:03:02,200 --> 01:03:07,200
Speaker 2: being portrayed here for a movie that's not particularly invested

1183
01:03:07,280 --> 01:03:11,080
Speaker 2: in how human beings work. So we don't really fully

1184
01:03:11,120 --> 01:03:12,800
Speaker 2: understand all the ins and outs here.

1185
01:03:13,040 --> 01:03:15,400
Speaker 3: But she's got her mind made up. Basically, she says

1186
01:03:15,440 --> 01:03:18,440
Speaker 3: she loves Rick more than anything, but quote, our needs

1187
01:03:18,480 --> 01:03:22,080
Speaker 3: are different, and for that reason and presumably other reasons,

1188
01:03:22,120 --> 01:03:25,040
Speaker 3: they cannot be together. She's going to marry into the

1189
01:03:25,040 --> 01:03:26,120
Speaker 3: Cult of Melias and.

1190
01:03:26,200 --> 01:03:29,480
Speaker 2: They needs that Melius. That's what the needs are exactly.

1191
01:03:30,400 --> 01:03:33,520
Speaker 3: Rick pledges that, however far away, he will always love her.

1192
01:03:34,120 --> 01:03:36,640
Speaker 3: And anyway, we go on to the next thing in

1193
01:03:36,680 --> 01:03:39,240
Speaker 3: the present action of the movie, and this is a

1194
01:03:39,440 --> 01:03:43,920
Speaker 3: great sequence, the supermarket creep hunt. Yeah, so here we're

1195
01:03:43,920 --> 01:03:46,400
Speaker 3: going to get to see the Rickster in action doing

1196
01:03:46,440 --> 01:03:49,919
Speaker 3: what he does best. He is no longer a cop.

1197
01:03:49,960 --> 01:03:53,800
Speaker 3: He's a bounty hunter now, chasing down America's most wanted

1198
01:03:53,880 --> 01:03:57,520
Speaker 3: out of a three ring binder of mugshots and wrap

1199
01:03:57,560 --> 01:04:01,080
Speaker 3: sheets that he keeps in his Toyota pickup truck. So

1200
01:04:01,240 --> 01:04:04,600
Speaker 3: Rick pulls into a grocery store parking lot. He parks

1201
01:04:04,840 --> 01:04:08,120
Speaker 3: diagonally so that he's taken up at least three spaces,

1202
01:04:08,520 --> 01:04:10,480
Speaker 3: and then he gets out to scope out the scene.

1203
01:04:10,720 --> 01:04:13,200
Speaker 3: Sure enough, the creep that he is hunting is walking

1204
01:04:13,240 --> 01:04:16,480
Speaker 3: into the store right now. Now. At first, I assumed

1205
01:04:16,800 --> 01:04:18,880
Speaker 3: what was going on here is like, oh, okay, this

1206
01:04:18,960 --> 01:04:22,040
Speaker 3: criminal is hiding from the law. He's sneaking out of

1207
01:04:22,080 --> 01:04:26,440
Speaker 3: his you know, hideout to get some groceries. But I think, no,

1208
01:04:26,640 --> 01:04:28,360
Speaker 3: it seems like maybe this guy has come to the

1209
01:04:28,360 --> 01:04:32,480
Speaker 3: grocery store intending to commit crimes here at the store,

1210
01:04:33,600 --> 01:04:36,920
Speaker 3: or at least for some unspecified reason, he came heavily armed.

1211
01:04:37,080 --> 01:04:37,440
Speaker 2: Yeah.

1212
01:04:37,640 --> 01:04:40,320
Speaker 3: By the way, the grocery store is called Holiday Market.

1213
01:04:40,680 --> 01:04:43,080
Speaker 3: I just thought, well, I'll look that up. It seems

1214
01:04:43,080 --> 01:04:46,600
Speaker 3: this is a chain that still exists in California. Some

1215
01:04:46,800 --> 01:04:50,640
Speaker 3: really good early nineties grocery store nostalgia. Just looking at

1216
01:04:50,640 --> 01:04:52,400
Speaker 3: the shelves full of items here.

1217
01:04:52,560 --> 01:04:56,520
Speaker 2: Yeah, I found myself becoming lost in the location here

1218
01:04:56,600 --> 01:05:00,000
Speaker 2: because the great late eighties early nineties small town super

1219
01:05:00,520 --> 01:05:03,200
Speaker 2: vibe here. It feels very much like the one that

1220
01:05:03,280 --> 01:05:05,720
Speaker 2: I grew up with in my hometown. In fact, the

1221
01:05:05,720 --> 01:05:07,960
Speaker 2: one in my hometown still basically looks like this. It's

1222
01:05:07,960 --> 01:05:09,960
Speaker 2: still wow going back in time.

1223
01:05:10,360 --> 01:05:14,640
Speaker 3: There's an end cap on one of the aisles that

1224
01:05:14,760 --> 01:05:17,040
Speaker 3: has a header on. I can't even tell what's on

1225
01:05:17,080 --> 01:05:21,040
Speaker 3: the shelves there, but the header says incredible edibles. And

1226
01:05:21,280 --> 01:05:24,160
Speaker 3: I was like, wow, that's just a phrase that's from

1227
01:05:24,200 --> 01:05:26,600
Speaker 3: my childhood. I don't even remember what that refers to.

1228
01:05:26,760 --> 01:05:29,040
Speaker 3: But maybe my store had one of those.

1229
01:05:28,920 --> 01:05:34,200
Speaker 2: Two Yeah, now probably not. Probably not calling things incredible edibles.

1230
01:05:34,200 --> 01:05:38,560
Speaker 3: Probably means something else. Now. Yeah, Anyway, the scene goes

1231
01:05:38,600 --> 01:05:40,440
Speaker 3: on for a while. This is like a long scene,

1232
01:05:40,440 --> 01:05:43,880
Speaker 3: but long story short. The Rickster follows the creep into

1233
01:05:43,920 --> 01:05:47,760
Speaker 3: the store. He pretends to be browsing the baloney whenever

1234
01:05:47,800 --> 01:05:51,160
Speaker 3: the guy looks his way. And meanwhile, Eddie and Terry

1235
01:05:51,360 --> 01:05:54,720
Speaker 3: are driving around and they see Rick's truck parked outside

1236
01:05:54,760 --> 01:05:57,840
Speaker 3: the grocery store, so they pull up. They also park obliquely,

1237
01:05:57,960 --> 01:06:00,440
Speaker 3: so the two cars together look like they'res taking up

1238
01:06:00,480 --> 01:06:05,320
Speaker 3: like eight spaces and they go inside. And then right

1239
01:06:05,440 --> 01:06:09,160
Speaker 3: when Rick is about to grab the creep, Eddie sees

1240
01:06:09,240 --> 01:06:12,040
Speaker 3: him and he yells like, hello, fellow police officer.

1241
01:06:13,720 --> 01:06:16,280
Speaker 2: And that sets the creep off. He's like it's blasting time.

1242
01:06:16,520 --> 01:06:19,560
Speaker 3: That's right. The boloney cover is blown and the creep

1243
01:06:19,560 --> 01:06:22,440
Speaker 3: whips out his shotgun and goes berserk. This leads to

1244
01:06:22,520 --> 01:06:27,200
Speaker 3: a shootout and a hostage situation in the grocery store. Eventually,

1245
01:06:27,440 --> 01:06:30,120
Speaker 3: Terry the young stash. He comes through in a pinch

1246
01:06:30,560 --> 01:06:33,760
Speaker 3: and he distracts the creep by throwing a bag of

1247
01:06:33,800 --> 01:06:38,040
Speaker 3: bread at him, which, like, that's the item. He didn't

1248
01:06:38,040 --> 01:06:40,960
Speaker 3: throw like a can at him. It's a bag of bread.

1249
01:06:41,680 --> 01:06:44,000
Speaker 3: But this gives Flynn a chance to draw a bead

1250
01:06:44,040 --> 01:06:47,640
Speaker 3: on him and gun the creep down. Any more details

1251
01:06:47,640 --> 01:06:50,080
Speaker 3: you want to mention from the supermarket sequence.

1252
01:06:50,520 --> 01:06:51,960
Speaker 2: I would just say this is I think one of

1253
01:06:52,000 --> 01:06:54,240
Speaker 2: the first scenes where we realized that even the good

1254
01:06:54,280 --> 01:06:57,520
Speaker 2: guys are pretty cavalier about homicide. It's kind of like,

1255
01:06:57,720 --> 01:07:00,320
Speaker 2: you know, we had to shoot a guy, but hey,

1256
01:07:00,480 --> 01:07:04,640
Speaker 2: the sheriff was physically present, no paperwork required, everything square.

1257
01:07:04,800 --> 01:07:07,000
Speaker 3: Yeah, they're the good guys. They saved the day. But

1258
01:07:07,080 --> 01:07:09,080
Speaker 3: after they shoot the guy, they like walk up to

1259
01:07:09,200 --> 01:07:12,840
Speaker 3: his body on the grocery aisle floor and Eddie's like,

1260
01:07:12,920 --> 01:07:16,560
Speaker 3: he looks good down there. Flynn's like, that's where he belongs.

1261
01:07:17,720 --> 01:07:20,160
Speaker 2: On the floor next to the what sight was this

1262
01:07:20,200 --> 01:07:20,840
Speaker 2: the bread section?

1263
01:07:20,960 --> 01:07:22,000
Speaker 3: I think it's the bread Eyele.

1264
01:07:22,320 --> 01:07:24,480
Speaker 2: Does he really belong in the bread aisle? I don't know.

1265
01:07:24,600 --> 01:07:25,760
Speaker 2: I don't think that's the case.

1266
01:07:26,320 --> 01:07:29,360
Speaker 3: Look at all the canned chili brands on the I

1267
01:07:29,440 --> 01:07:32,400
Speaker 3: was just I can't even like Flynn is blocking some

1268
01:07:32,480 --> 01:07:35,160
Speaker 3: of them. It looks like they had like fourteen different

1269
01:07:35,240 --> 01:07:36,640
Speaker 3: kinds of canned chili back then.

1270
01:07:37,040 --> 01:07:41,080
Speaker 2: It looks like those little microwaveable chili cups are next

1271
01:07:41,080 --> 01:07:43,000
Speaker 2: to it. I feel like I look at those and

1272
01:07:43,040 --> 01:07:44,400
Speaker 2: I feel burns in my mouth.

1273
01:07:45,920 --> 01:07:49,000
Speaker 3: So Rick also has a flashback in this scene because

1274
01:07:49,160 --> 01:07:51,280
Speaker 3: there's one point where a lady is screaming, like, save

1275
01:07:51,360 --> 01:07:53,200
Speaker 3: my baby. This is you know, he's got to save

1276
01:07:53,240 --> 01:07:56,560
Speaker 3: the hostage, and she screams it the same way Angela

1277
01:07:56,600 --> 01:07:59,360
Speaker 3: did in the cave all those years ago. So we

1278
01:07:59,600 --> 01:08:02,680
Speaker 3: since the Flynn cannot get Arkham and Brian Defray out

1279
01:08:02,680 --> 01:08:05,720
Speaker 3: of his head anyway. After the dust settles, it's clear

1280
01:08:05,840 --> 01:08:09,760
Speaker 3: Eddie expects Flynn to appreciate how Terry Nash saved the

1281
01:08:09,840 --> 01:08:13,160
Speaker 3: day with that bread pitch, But when Flynn realizes who

1282
01:08:13,240 --> 01:08:16,840
Speaker 3: the kid is, he clams up and he abruptly walks away.

1283
01:08:16,880 --> 01:08:19,160
Speaker 3: It seems like he just can't deal with facing the

1284
01:08:19,280 --> 01:08:30,639
Speaker 3: child of Angela and Brian Defray. It's too painful for him.

1285
01:08:31,160 --> 01:08:33,840
Speaker 3: Next scene is the meeting between Stacy and the Great

1286
01:08:33,880 --> 01:08:38,400
Speaker 3: psychic guy Zupan. What do you think, rob is Zupan's

1287
01:08:38,439 --> 01:08:42,040
Speaker 3: hair a wig? He has some voluminous frosty hair, and

1288
01:08:42,120 --> 01:08:44,200
Speaker 3: he's wearing a three piece suit, so his look is

1289
01:08:44,320 --> 01:08:45,120
Speaker 3: quite distinctive.

1290
01:08:45,280 --> 01:08:47,559
Speaker 2: Yeah, I think so. I think this is one of

1291
01:08:47,600 --> 01:08:54,000
Speaker 2: the reasons we didn't recognize this actor. Glasses suit. Yeah,

1292
01:08:54,160 --> 01:08:56,479
Speaker 2: the hair, the hair, at least at the very least,

1293
01:08:56,560 --> 01:08:58,479
Speaker 2: it's done up in a very big way that I'm

1294
01:08:58,479 --> 01:08:59,280
Speaker 2: not used to seeing.

1295
01:08:59,400 --> 01:09:01,719
Speaker 3: His hair looks. It's like one of those artificial Christmas

1296
01:09:01,760 --> 01:09:03,720
Speaker 3: trees that has the snow on the branches.

1297
01:09:04,040 --> 01:09:05,960
Speaker 2: Yes, and frosting. Yeah.

1298
01:09:06,040 --> 01:09:09,040
Speaker 3: So the gist of this conversation is that Zupan does

1299
01:09:09,040 --> 01:09:12,160
Speaker 3: not normally speak to the press. He doesn't want publicity

1300
01:09:12,200 --> 01:09:13,599
Speaker 3: for his great psychic powers.

1301
01:09:14,240 --> 01:09:16,240
Speaker 2: Psychics are like that exactly.

1302
01:09:16,960 --> 01:09:19,720
Speaker 3: The reason he contacted her is that he knows who

1303
01:09:19,720 --> 01:09:22,720
Speaker 3: the Demon Slasher is, but he doesn't know where he is.

1304
01:09:23,520 --> 01:09:26,280
Speaker 3: Zupan says he has been searching for the demon Slasher

1305
01:09:26,320 --> 01:09:29,960
Speaker 3: for many years and he's followed this cult all around

1306
01:09:30,000 --> 01:09:32,200
Speaker 3: the world. Finally they have come back home, back to

1307
01:09:32,320 --> 01:09:35,840
Speaker 3: Lava Springs. He says, quote, ten girls have died, ten

1308
01:09:35,920 --> 01:09:39,360
Speaker 3: more will die before the next full moon. And he

1309
01:09:39,560 --> 01:09:42,599
Speaker 3: explains the cult did the same thing here twenty years ago,

1310
01:09:42,920 --> 01:09:46,360
Speaker 3: and one of the girls they murdered was Zupin's daughter.

1311
01:09:46,520 --> 01:09:49,280
Speaker 3: And we get a flashback to the hypnotized lady from

1312
01:09:49,360 --> 01:09:53,040
Speaker 3: the prologue. Here he's got a photo of her on

1313
01:09:53,080 --> 01:09:56,120
Speaker 3: the mantle and it's not but I almost expected it

1314
01:09:56,160 --> 01:09:58,640
Speaker 3: to be a frame from her death scene.

1315
01:09:59,040 --> 01:09:59,920
Speaker 2: The Red Lingerie.

1316
01:10:00,160 --> 01:10:04,840
Speaker 3: Yeah. So later the Rickster has a nightmare in which

1317
01:10:04,880 --> 01:10:07,799
Speaker 3: he's like back in the hell cave and he sees

1318
01:10:07,880 --> 01:10:11,479
Speaker 3: Angela surrounded by white light and fog. His bed, by

1319
01:10:11,479 --> 01:10:13,200
Speaker 3: the way, is also in the hell cave, with like

1320
01:10:13,280 --> 01:10:17,040
Speaker 3: the you know, the bannis, the headboard and everything, which

1321
01:10:17,080 --> 01:10:17,679
Speaker 3: looks funny.

1322
01:10:17,680 --> 01:10:20,639
Speaker 2: But fog machine full blast here. Yes, it looks pretty

1323
01:10:20,640 --> 01:10:22,080
Speaker 2: great for this sort of scene.

1324
01:10:22,120 --> 01:10:26,439
Speaker 3: Powerful fog storm billowing in. But then also I want

1325
01:10:26,439 --> 01:10:28,920
Speaker 3: to note in the stream, rick is wearing the same

1326
01:10:29,280 --> 01:10:33,040
Speaker 3: blue undershirt he was wearing in the erotic flashback scene

1327
01:10:33,040 --> 01:10:36,400
Speaker 3: from earlier, which presumably took place more than twenty years before.

1328
01:10:36,960 --> 01:10:39,720
Speaker 3: So at this point, like that tank top has some

1329
01:10:39,800 --> 01:10:42,720
Speaker 3: serious mileage. I know this is a dream, but he's

1330
01:10:42,840 --> 01:10:45,760
Speaker 3: dreaming of a tank top that he wore twenty years ago.

1331
01:10:46,120 --> 01:10:49,840
Speaker 2: I mean, sleep shirts can last a long time. They

1332
01:10:49,840 --> 01:10:54,280
Speaker 2: start falling apart, they become basically transparent, But it doesn't matter.

1333
01:10:54,280 --> 01:10:55,120
Speaker 2: It's your sleep shirt.

1334
01:10:55,240 --> 01:10:58,680
Speaker 3: That's true Anyway. In the stream, Angela tells Rick that

1335
01:10:58,720 --> 01:11:02,640
Speaker 3: she's not really dead. She is still alive somewhere and

1336
01:11:02,680 --> 01:11:05,920
Speaker 3: he has to come find her. Then, somewhere else we

1337
01:11:06,000 --> 01:11:09,160
Speaker 3: see that demon, the Meleas Demon, roaring in the glow

1338
01:11:09,200 --> 01:11:11,639
Speaker 3: of hell, and Rick is startled awake in his bed,

1339
01:11:11,720 --> 01:11:14,280
Speaker 3: and then he immediately gets a phone call from Eddie

1340
01:11:14,560 --> 01:11:16,920
Speaker 3: once again pleading with him to make some time for

1341
01:11:16,960 --> 01:11:19,960
Speaker 3: the kid for Terry Nash. So they're going to meet

1342
01:11:20,000 --> 01:11:22,479
Speaker 3: at nine o'clock in the morning at the Church of

1343
01:11:22,640 --> 01:11:25,759
Speaker 3: the Blessed Saint. He says, meet in Sister Mary's office,

1344
01:11:25,800 --> 01:11:27,680
Speaker 3: and Rick's like, oh, yeah, I know where that is.

1345
01:11:27,960 --> 01:11:33,120
Speaker 3: I was like, I bet he does. Okay, After this,

1346
01:11:33,280 --> 01:11:35,720
Speaker 3: there is oh, this is one of the scenes that

1347
01:11:36,040 --> 01:11:38,320
Speaker 3: I'm not sure it makes sense given the logic of

1348
01:11:38,360 --> 01:11:40,240
Speaker 3: the rest of the movie. So there is a lover's

1349
01:11:40,320 --> 01:11:45,080
Speaker 3: lane demon attack. It seems like the movie needs a

1350
01:11:45,080 --> 01:11:48,160
Speaker 3: monster attack, doesn't it where like the demon meleeas goes,

1351
01:11:48,200 --> 01:11:51,160
Speaker 3: except the demon is kind of too big to attack

1352
01:11:51,280 --> 01:11:55,000
Speaker 3: human size. It's like God zillicized. But they make it

1353
01:11:55,040 --> 01:11:56,840
Speaker 3: work anyway. So we head out to the woods in

1354
01:11:56,880 --> 01:11:59,559
Speaker 3: the middle of the night to a parked sports car

1355
01:11:59,640 --> 01:12:01,720
Speaker 3: with a couple making out inside. By the way, we

1356
01:12:01,760 --> 01:12:04,000
Speaker 3: cut to exterior shots of it, and it's a hot

1357
01:12:04,000 --> 01:12:08,880
Speaker 3: wheels car, but there is a full moon. The owls

1358
01:12:08,880 --> 01:12:11,800
Speaker 3: are hooting and you know, they're kissing, and suddenly the

1359
01:12:11,840 --> 01:12:14,120
Speaker 3: woman inside the car, she stops kissing, and she says,

1360
01:12:14,160 --> 01:12:16,960
Speaker 3: did you hear that? What was that sound? And the

1361
01:12:17,000 --> 01:12:19,320
Speaker 3: guy says, the first time I watched it, I think

1362
01:12:19,400 --> 01:12:21,439
Speaker 3: it sounded to me like he said, that's just my

1363
01:12:21,520 --> 01:12:26,320
Speaker 3: pants exploding. But I think he the second time it

1364
01:12:26,400 --> 01:12:30,280
Speaker 3: sounded like he said, that's just my shorts expanding. I

1365
01:12:30,320 --> 01:12:34,960
Speaker 3: don't know either way. Beautiful riding. But he later suggests

1366
01:12:34,960 --> 01:12:36,960
Speaker 3: that the sound was probably just a rabbit. And then

1367
01:12:37,120 --> 01:12:39,599
Speaker 3: of course it's not the shorts expanding or the rabbit,

1368
01:12:39,680 --> 01:12:43,200
Speaker 3: it's of course Melias. So from above here comes the

1369
01:12:43,240 --> 01:12:47,720
Speaker 3: giant demon attacks the car, scratches up the guy and

1370
01:12:48,280 --> 01:12:50,720
Speaker 3: kills him. I guess. Then the lady runs off into

1371
01:12:50,720 --> 01:12:54,040
Speaker 3: the woods. Demon follows her. I guess eats her too.

1372
01:12:54,120 --> 01:12:56,120
Speaker 3: I don't know. I guess it doesn't eat them because

1373
01:12:56,160 --> 01:12:57,559
Speaker 3: the police find the bodies later.

1374
01:12:57,760 --> 01:13:01,760
Speaker 2: Yeah, it just just kills them. Yeah, they are victims.

1375
01:13:01,800 --> 01:13:05,200
Speaker 2: And there are a lot of victims credited in the

1376
01:13:05,200 --> 01:13:08,559
Speaker 2: credits for this picture. Most of them are women, but

1377
01:13:08,640 --> 01:13:11,280
Speaker 2: we have at least one male victim who is credited,

1378
01:13:11,360 --> 01:13:13,360
Speaker 2: and none of them, for the most part, have any

1379
01:13:13,400 --> 01:13:17,040
Speaker 2: other acting credits. But there's one victim who's credited only

1380
01:13:17,080 --> 01:13:21,120
Speaker 2: as Dealer Dan. So we were talking about this off Mike,

1381
01:13:21,280 --> 01:13:24,000
Speaker 2: is this Dealer Dan? Is this Dealer Dan's big scene?

1382
01:13:24,240 --> 01:13:26,559
Speaker 3: This is Dealer Dan's big scene? And yeah, this is when,

1383
01:13:26,800 --> 01:13:28,639
Speaker 3: I mean the world knows him as the man whose

1384
01:13:28,680 --> 01:13:32,000
Speaker 3: pants were exploding, but also the scene where Dealer Dan

1385
01:13:32,080 --> 01:13:35,920
Speaker 3: eats it here in the woods. I'd like, how how

1386
01:13:35,960 --> 01:13:38,160
Speaker 3: does that interact with what we later learned about the

1387
01:13:38,160 --> 01:13:40,600
Speaker 3: fact that Meleus is supposed to be imprisoned under the

1388
01:13:40,640 --> 01:13:42,240
Speaker 3: earth and cannot roam free.

1389
01:13:43,320 --> 01:13:47,960
Speaker 2: Hmmm, I guess, yeah, it doesn't make sense. Yeah, he's

1390
01:13:48,000 --> 01:13:49,920
Speaker 2: not fully free, but he does get to come out

1391
01:13:49,960 --> 01:13:54,479
Speaker 2: and terrorize the neighborhood. Maybe he is permitted only to

1392
01:13:54,640 --> 01:13:59,719
Speaker 2: come out and kill within a very tight area surrounding

1393
01:13:59,760 --> 01:14:00,559
Speaker 2: lot springs.

1394
01:14:00,720 --> 01:14:03,120
Speaker 3: Maybe he's got like a time limit or a distance

1395
01:14:03,240 --> 01:14:04,080
Speaker 3: of proximity.

1396
01:14:04,120 --> 01:14:04,320
Speaker 2: Yeah.

1397
01:14:05,120 --> 01:14:08,920
Speaker 3: Anyway, after this attack, Terry Nash sits up in bed.

1398
01:14:09,200 --> 01:14:11,360
Speaker 3: He's somewhere else where, he's in his bed. He wakes

1399
01:14:11,439 --> 01:14:13,799
Speaker 3: up and he has had a vision of these events

1400
01:14:13,840 --> 01:14:16,040
Speaker 3: in his mind. So I guess Terry is psychic too.

1401
01:14:16,560 --> 01:14:18,719
Speaker 3: I don't think this has already come up in the movie,

1402
01:14:19,400 --> 01:14:23,200
Speaker 3: but he just knows, and he at least has Cult

1403
01:14:23,280 --> 01:14:26,680
Speaker 3: of Melias related remote viewing powers. So as soon as

1404
01:14:26,720 --> 01:14:28,479
Speaker 3: he wakes up, he calls Eddie on the phone and

1405
01:14:28,479 --> 01:14:30,000
Speaker 3: he's like, there's been another murder.

1406
01:14:30,240 --> 01:14:32,160
Speaker 2: Yeah, this area is a hotbed of psychics.

1407
01:14:32,400 --> 01:14:35,840
Speaker 3: Yeah. From here, we go on to another interview scene.

1408
01:14:35,920 --> 01:14:39,360
Speaker 3: So after meeting with guy Zupan, Stacy goes to chat

1409
01:14:39,439 --> 01:14:44,560
Speaker 3: with somebody that Zupan referred her to, somebody named Madame Oleska.

1410
01:14:44,680 --> 01:14:48,360
Speaker 3: This is another psychic and she's this lady is a

1411
01:14:48,360 --> 01:14:52,040
Speaker 3: fan of sequins. She's wearing a very shiny, sparkly dress,

1412
01:14:53,040 --> 01:14:56,280
Speaker 3: she's got interesting hair, and she is going to tell

1413
01:14:56,280 --> 01:15:00,599
Speaker 3: Stacy about the Dark of the Moon ceremony. Any other

1414
01:15:00,720 --> 01:15:02,960
Speaker 3: details you want to mention about Madame Aleska.

1415
01:15:03,160 --> 01:15:05,439
Speaker 2: Oh, I'll just say that this is this again. Is

1416
01:15:05,520 --> 01:15:10,719
Speaker 2: Don Wildsmith's playing Alesca, and you know, clearly graduated from

1417
01:15:10,800 --> 01:15:14,759
Speaker 2: the fred Olin Ray school of acting. I love everything

1418
01:15:14,800 --> 01:15:19,280
Speaker 2: about the performance. I love the ridiculously fake accent she's

1419
01:15:19,320 --> 01:15:21,520
Speaker 2: employing here, Just tremendous.

1420
01:15:21,800 --> 01:15:24,000
Speaker 3: Yeah, so we sort of already know the gist at

1421
01:15:24,000 --> 01:15:27,040
Speaker 3: this point, but she's going to explain that the Satanic

1422
01:15:27,120 --> 01:15:31,040
Speaker 3: cult here is called They're called the Perennials. She says,

1423
01:15:31,160 --> 01:15:34,400
Speaker 3: it is a terribly sadistic and savage religion, almost as

1424
01:15:34,439 --> 01:15:38,080
Speaker 3: old as man itself. They're called the Perennials because they

1425
01:15:38,120 --> 01:15:41,920
Speaker 3: never die. They have mastered a means of cloning, though

1426
01:15:41,960 --> 01:15:44,400
Speaker 3: not in a scientific sense, is what she says.

1427
01:15:44,720 --> 01:15:46,280
Speaker 2: Okay, magic cloning, gotcha?

1428
01:15:46,479 --> 01:15:49,120
Speaker 3: But does what does the cloning have to do with anything?

1429
01:15:49,160 --> 01:15:51,640
Speaker 3: Are they making copies of people? I don't remember that?

1430
01:15:52,400 --> 01:15:55,160
Speaker 2: Well, it's just it's how these villains are still alive

1431
01:15:55,240 --> 01:15:57,920
Speaker 2: after being murdered twenty years ago by our hero.

1432
01:15:58,320 --> 01:16:01,400
Speaker 3: Yeah, I guess so. She says they can only be

1433
01:16:01,479 --> 01:16:04,439
Speaker 3: killed with sacred steel, and that's a knife or a

1434
01:16:04,479 --> 01:16:08,720
Speaker 3: sword that has been blessed I guess by cleric. So

1435
01:16:08,800 --> 01:16:13,000
Speaker 3: Madame Molesca explains that while most Satanic cults are only

1436
01:16:13,160 --> 01:16:18,439
Speaker 3: inspired by Satan, the perennials are quote actually linked to him,

1437
01:16:18,840 --> 01:16:22,519
Speaker 3: so they are soldiers of Satan. But also I thought

1438
01:16:22,560 --> 01:16:28,000
Speaker 3: their master was Melias, not Satan. That's a little confusing. Also, anyway,

1439
01:16:28,080 --> 01:16:30,360
Speaker 3: don't get don't get caught on details like that, because

1440
01:16:30,400 --> 01:16:31,599
Speaker 3: it's time for an action scene.

1441
01:16:31,600 --> 01:16:33,320
Speaker 2: There's Satan approved. Satan.

1442
01:16:33,760 --> 01:16:38,000
Speaker 3: Yeah, a kid tested, Satan approved, and we're going to

1443
01:16:38,040 --> 01:16:41,120
Speaker 3: move on to a tremendous sword fighting scene from here.

1444
01:16:41,640 --> 01:16:44,920
Speaker 3: So the cult is laying a trap for Richard Flynn.

1445
01:16:45,360 --> 01:16:47,519
Speaker 3: We come up in the middle of the woods somewhere

1446
01:16:48,080 --> 01:16:50,800
Speaker 3: where a lady is appearing to have car trouble again.

1447
01:16:50,920 --> 01:16:54,200
Speaker 3: She's having car trouble, just like surrounded by trees, and

1448
01:16:54,240 --> 01:16:57,320
Speaker 3: the rickster pulls up in his truck. He offers to

1449
01:16:57,360 --> 01:16:59,400
Speaker 3: take a look at the engine for her, and while

1450
01:16:59,400 --> 01:17:02,360
Speaker 3: he's looking down under the hood, she pulls a dagger

1451
01:17:02,439 --> 01:17:05,479
Speaker 3: on him like she's gonna stab him, but he catches

1452
01:17:05,520 --> 01:17:08,439
Speaker 3: it just in time and slugs her. And then and

1453
01:17:08,479 --> 01:17:11,080
Speaker 3: then all of these all these cultists run out of

1454
01:17:11,120 --> 01:17:13,479
Speaker 3: the tree is like Rick is attacked by the guys

1455
01:17:13,479 --> 01:17:16,639
Speaker 3: in the robes again picture like Tall jahwas or kind

1456
01:17:16,680 --> 01:17:20,160
Speaker 3: of lower budget ring raths. They are armed with swords

1457
01:17:20,640 --> 01:17:23,880
Speaker 3: and then there is a massive roving sword fight through

1458
01:17:23,880 --> 01:17:28,040
Speaker 3: the woods over bridges that ends with Rick finally jumping

1459
01:17:28,080 --> 01:17:31,400
Speaker 3: off into the river to escape. And I love this

1460
01:17:31,439 --> 01:17:32,160
Speaker 3: fight scene.

1461
01:17:32,479 --> 01:17:34,960
Speaker 2: Yeah, yeah, there's a lot of passion went into this.

1462
01:17:35,080 --> 01:17:38,160
Speaker 2: There's a lot of fun, fun sword play, very exhausting

1463
01:17:38,240 --> 01:17:41,680
Speaker 2: looking sword play. Yeah, and it ends with with our

1464
01:17:41,720 --> 01:17:44,559
Speaker 2: hero taking a quick jump into the end of the river.

1465
01:17:44,800 --> 01:17:47,879
Speaker 3: You get the feeling the Rickster he cannot be stopped

1466
01:17:48,200 --> 01:17:50,840
Speaker 3: and like the sword fade, the sword fighting lessons really

1467
01:17:50,840 --> 01:17:53,640
Speaker 3: paid off. There's also I was thinking, what kind of

1468
01:17:53,760 --> 01:17:57,080
Speaker 3: action hero is he. He's kind of presented the way

1469
01:17:57,200 --> 01:18:00,360
Speaker 3: Indiana Jones is in in that like in one since

1470
01:18:00,400 --> 01:18:03,880
Speaker 3: he's really tough and a good fighter and all that,

1471
01:18:04,240 --> 01:18:08,320
Speaker 3: but there's also a comedic exasperatedness to him, like, oh

1472
01:18:08,400 --> 01:18:13,400
Speaker 3: not this again. Yes, anyway, the next scene is oh well,

1473
01:18:13,479 --> 01:18:15,519
Speaker 3: then the next scene he makes his appointment, so the

1474
01:18:15,600 --> 01:18:18,120
Speaker 3: Rixster is now dry even though he jumped in the river,

1475
01:18:18,200 --> 01:18:20,920
Speaker 3: and he's made it in time for the meeting. In

1476
01:18:21,080 --> 01:18:24,200
Speaker 3: Sister Mary's office at the church with Terry Nash and Eddie.

1477
01:18:25,040 --> 01:18:27,559
Speaker 3: Here we find out that these cultists keep trying to

1478
01:18:27,680 --> 01:18:30,320
Speaker 3: kidnap Terry. I don't think we've ever seen this happen.

1479
01:18:30,360 --> 01:18:34,040
Speaker 3: We're just told they tried to kidnap him, and Terry

1480
01:18:34,080 --> 01:18:37,360
Speaker 3: claims that Arkham and Brian Defray are still alive. The

1481
01:18:37,439 --> 01:18:40,519
Speaker 3: Rickster says he does not buy it. There is a

1482
01:18:40,760 --> 01:18:42,240
Speaker 3: rob I don't know if you caught the same thing.

1483
01:18:42,439 --> 01:18:45,840
Speaker 3: Very weird detail from the scene. Sister Mary says that

1484
01:18:45,960 --> 01:18:49,920
Speaker 3: not only did she raise Terry Nash, she raised his

1485
01:18:50,040 --> 01:18:54,240
Speaker 3: mother as well. Like, wait a minute, it's nineteen ninety.

1486
01:18:54,240 --> 01:18:59,120
Speaker 3: She looks about thirty maybes, so Terry is twenty years old.

1487
01:18:59,520 --> 01:19:02,439
Speaker 3: Angela seems like she was at least in her early

1488
01:19:02,479 --> 01:19:06,559
Speaker 3: to mid twenties in nineteen seventy one. So Sister Mary

1489
01:19:06,640 --> 01:19:10,240
Speaker 3: does not look anywhere near old enough to have raised Angela.

1490
01:19:10,760 --> 01:19:13,160
Speaker 3: She doesn't even really look old enough to have raised Terry.

1491
01:19:13,520 --> 01:19:16,400
Speaker 2: Yeah, no, not at all. Yeah, she looks very young.

1492
01:19:16,439 --> 01:19:16,599
Speaker 3: Really.

1493
01:19:16,680 --> 01:19:18,960
Speaker 2: When they introduce this nun, I was like, oh no,

1494
01:19:19,080 --> 01:19:23,280
Speaker 2: this is going to be another romantic interest for Rick

1495
01:19:23,360 --> 01:19:27,120
Speaker 2: here it doesn't go that direction, but yeah, there's no

1496
01:19:27,160 --> 01:19:29,800
Speaker 2: way this lady is old enough to have raised both

1497
01:19:29,800 --> 01:19:30,439
Speaker 2: of these people.

1498
01:19:30,560 --> 01:19:32,799
Speaker 3: There's some almost flirting between them.

1499
01:19:32,720 --> 01:19:35,200
Speaker 2: But because I mean, you can't help it, Rick, Rick's

1500
01:19:35,360 --> 01:19:39,320
Speaker 2: charisma is undeniable, you know, vows aside, she can't help

1501
01:19:39,320 --> 01:19:39,839
Speaker 2: it flirting.

1502
01:19:40,920 --> 01:19:44,040
Speaker 3: So somewhere in here, there's also a little peak inside

1503
01:19:44,080 --> 01:19:46,880
Speaker 3: life in the cult where the you know, Arkham and

1504
01:19:46,920 --> 01:19:49,160
Speaker 3: Devray are in. They're whipping a guy because he failed

1505
01:19:49,200 --> 01:19:51,720
Speaker 3: to kill Richard Flynn earlier, and you know, give him

1506
01:19:51,720 --> 01:19:56,360
Speaker 3: the dagger. There's a scene after this where Flynn is

1507
01:19:56,479 --> 01:19:58,920
Speaker 3: sleeping outside next to a campfire with a bottle of

1508
01:19:58,920 --> 01:20:01,479
Speaker 3: whiskey in his hand. He has more dreams about Angela.

1509
01:20:01,640 --> 01:20:04,799
Speaker 3: She appears and warns him of danger, and then Eddie

1510
01:20:04,920 --> 01:20:07,400
Speaker 3: comes up on the campfire to share the bottle of

1511
01:20:07,400 --> 01:20:09,920
Speaker 3: whiskey and they have a Manda man talk. It seems

1512
01:20:10,160 --> 01:20:13,200
Speaker 3: Flynn actually does believe the cult is back. He just

1513
01:20:13,240 --> 01:20:15,519
Speaker 3: doesn't know if he can trust that kid because he

1514
01:20:15,600 --> 01:20:18,600
Speaker 3: is the son of Brian Devray after all, or so

1515
01:20:18,760 --> 01:20:21,600
Speaker 3: he thinks. I don't know if folks out there have

1516
01:20:21,760 --> 01:20:25,599
Speaker 3: really caught on to where this is head agent. It's

1517
01:20:25,640 --> 01:20:29,479
Speaker 3: a little obvious, but anyway, he's convinced that something is

1518
01:20:29,600 --> 01:20:32,400
Speaker 3: up because he talks about how he randomly got an

1519
01:20:32,600 --> 01:20:35,599
Speaker 3: urge to learn sword fighting two years ago and now

1520
01:20:35,800 --> 01:20:40,760
Speaker 3: suddenly he's being attacked by men with swords. Doesn't that

1521
01:20:40,840 --> 01:20:41,559
Speaker 3: mean something?

1522
01:20:42,840 --> 01:20:44,639
Speaker 2: I mean, it would seem like he's the chosen one.

1523
01:20:44,640 --> 01:20:46,479
Speaker 2: But if he's truly the chosen one, it seems like

1524
01:20:46,560 --> 01:20:48,519
Speaker 2: maybe he would have been inspired to take up a

1525
01:20:48,600 --> 01:20:53,160
Speaker 2: ranged weapon. They could take out people with long swords

1526
01:20:53,160 --> 01:20:54,519
Speaker 2: before they close distance on it.

1527
01:20:54,800 --> 01:20:57,200
Speaker 3: It shouldn't be like super soaker full of holy water.

1528
01:20:57,439 --> 01:20:58,960
Speaker 3: That's got to be the better option, right.

1529
01:20:59,000 --> 01:21:01,200
Speaker 2: Yeah, yeah, yeah, you don't have to worry about accidentally

1530
01:21:01,240 --> 01:21:02,480
Speaker 2: hitting a bystander.

1531
01:21:02,720 --> 01:21:06,080
Speaker 3: Yeah. Anyway, there's also a scene here where we go

1532
01:21:06,200 --> 01:21:08,880
Speaker 3: back to Sister Mary's office and she lets him in

1533
01:21:08,960 --> 01:21:12,360
Speaker 3: on the secret. She implies to him that Terry is

1534
01:21:12,400 --> 01:21:15,479
Speaker 3: not Brian Devray's son, he's Rickster junior. And she does

1535
01:21:15,520 --> 01:21:18,679
Speaker 3: this by like showing him a picture of Terry Rick

1536
01:21:18,720 --> 01:21:20,720
Speaker 3: has seen. But he shows him a picture He's like,

1537
01:21:21,000 --> 01:21:24,280
Speaker 3: it's funny. He doesn't resemble Brian Devray at all, but

1538
01:21:24,400 --> 01:21:28,799
Speaker 3: he does resemble someone else. And then Flynn stares wide

1539
01:21:28,840 --> 01:21:35,559
Speaker 3: eyed at the camera like oh brother, yeah. So after this,

1540
01:21:35,680 --> 01:21:38,760
Speaker 3: Flynn finally hangs out with Terry and they bond over

1541
01:21:38,800 --> 01:21:41,719
Speaker 3: the fact that they are both receiving psychic dream messages

1542
01:21:41,760 --> 01:21:44,679
Speaker 3: from Angela. I wonder if she's dressed in the dream

1543
01:21:45,160 --> 01:21:50,240
Speaker 3: messages to Terry the way she is in Flynn's dreams anyway,

1544
01:21:50,840 --> 01:21:53,639
Speaker 3: but she's saying in these dreams, she's like, I'm still alive.

1545
01:21:53,720 --> 01:21:57,519
Speaker 3: You've got to come save me. After this, Flynn, Eddie,

1546
01:21:57,560 --> 01:22:00,240
Speaker 3: and Terry have a meeting with Madame Alesca had to

1547
01:22:00,240 --> 01:22:02,880
Speaker 3: get another scene with her, and she fills them in

1548
01:22:03,000 --> 01:22:06,040
Speaker 3: on the cult, the fact that Angela is still alive

1549
01:22:06,640 --> 01:22:09,840
Speaker 3: and that if the cult succeeds in their ritual, which

1550
01:22:09,880 --> 01:22:11,920
Speaker 3: is going to be, they're going to try to sacrifice

1551
01:22:12,040 --> 01:22:15,679
Speaker 3: Angela and Terry together. If they knew that, the demon

1552
01:22:15,720 --> 01:22:18,040
Speaker 3: will be set loose from his underground prison and he

1553
01:22:18,120 --> 01:22:21,120
Speaker 3: will be free to take over the world. So they

1554
01:22:21,160 --> 01:22:24,280
Speaker 3: need Angela for the sacrifice because she is like the

1555
01:22:24,320 --> 01:22:27,160
Speaker 3: most perfect human who ever lived. She is an angel

1556
01:22:27,280 --> 01:22:30,360
Speaker 3: of light. It's almost there right in her name. And

1557
01:22:30,640 --> 01:22:33,840
Speaker 3: once the cult finishes their standard twenty murders, which they're

1558
01:22:33,880 --> 01:22:36,080
Speaker 3: already close to completing, they're going to move on to

1559
01:22:36,120 --> 01:22:38,320
Speaker 3: the final ceremony with Angela and Terry.

1560
01:22:38,640 --> 01:22:40,479
Speaker 2: I was wondering about how this is supposed to work.

1561
01:22:40,520 --> 01:22:45,559
Speaker 2: Does Terry become like the body of Malius? Unclear?

1562
01:22:46,320 --> 01:22:48,439
Speaker 3: I think they're supposed to just sacrifice the both of

1563
01:22:48,439 --> 01:22:50,800
Speaker 3: them together and then Melias can just come out of

1564
01:22:50,800 --> 01:22:53,240
Speaker 3: his cave. It seems like that's what they're saying. Okay,

1565
01:22:53,280 --> 01:22:56,240
Speaker 3: all right, fair enough, but they so anyway, they've got

1566
01:22:56,240 --> 01:22:59,080
Speaker 3: to stop the ceremony from happening, obviously, or it will

1567
01:22:59,080 --> 01:23:01,760
Speaker 3: be the end of the world. So after this scene,

1568
01:23:01,760 --> 01:23:03,639
Speaker 3: I was like, oh, well, then it's clear you got

1569
01:23:03,680 --> 01:23:05,639
Speaker 3: to just put Terry on a plane at once, fly

1570
01:23:05,720 --> 01:23:07,680
Speaker 3: him off to Guam where the cult can't get him.

1571
01:23:07,760 --> 01:23:10,120
Speaker 2: Right, Yeah, you'd think at least get him out of

1572
01:23:10,120 --> 01:23:10,920
Speaker 2: the county.

1573
01:23:11,320 --> 01:23:14,639
Speaker 3: But no, that's not how it works. And then there's

1574
01:23:14,640 --> 01:23:16,600
Speaker 3: some funny if It almost feels like a scene is

1575
01:23:16,680 --> 01:23:19,760
Speaker 3: missing from the editor or something, because immediately after their

1576
01:23:19,840 --> 01:23:23,840
Speaker 3: scene with Madame Molesca, we go to a scene where

1577
01:23:23,920 --> 01:23:28,320
Speaker 3: Stacey walks into Madame Moleska's house sometime later, and it's

1578
01:23:28,360 --> 01:23:31,000
Speaker 3: all dark inside and Madame Moleska is sitting in a

1579
01:23:31,080 --> 01:23:34,920
Speaker 3: chair and she's not responding to Stacy's greetings and then

1580
01:23:34,960 --> 01:23:38,120
Speaker 3: Stacey walks up and her head falls off Madam Moleska.

1581
01:23:38,240 --> 01:23:39,840
Speaker 3: Her head just rolls off onto the floor.

1582
01:23:39,920 --> 01:23:41,720
Speaker 2: Yeah, there's like a rope around her neck. And at

1583
01:23:41,760 --> 01:23:43,600
Speaker 2: first you're like, oh, she's been strangling. It's like, oh, no,

1584
01:23:43,640 --> 01:23:44,640
Speaker 2: she's been decapitated.

1585
01:23:44,800 --> 01:23:48,160
Speaker 3: Yeah, so the cult got her sometime in between these

1586
01:23:48,200 --> 01:23:51,719
Speaker 3: two back to back scenes with her. But Rick, Eddie

1587
01:23:51,760 --> 01:23:53,719
Speaker 3: and Terry arrive on the scene and now they form

1588
01:23:53,720 --> 01:23:56,000
Speaker 3: a plan. They're going to hold up at Flynn's house

1589
01:23:56,040 --> 01:23:58,240
Speaker 3: and wait for the cult to come to them. But

1590
01:23:58,360 --> 01:24:02,040
Speaker 3: first Flynn says, sake steel. We'll give them all the

1591
01:24:02,120 --> 01:24:05,840
Speaker 3: sacred steel they can eat. So here we get a

1592
01:24:06,200 --> 01:24:10,000
Speaker 3: sweet sword training montage. If only it could play Eye

1593
01:24:10,000 --> 01:24:12,719
Speaker 3: of the Tiger, but this is an all time power

1594
01:24:12,800 --> 01:24:15,960
Speaker 3: up montage. All of the guys train with the sword

1595
01:24:16,000 --> 01:24:20,200
Speaker 3: instructor from earlier. We see Sister Mary blessing their blades

1596
01:24:20,240 --> 01:24:23,200
Speaker 3: with holy water. They like pose for the camera making

1597
01:24:23,320 --> 01:24:28,200
Speaker 3: crosses with their swords. She's putting these cross shaped daggers

1598
01:24:28,240 --> 01:24:30,280
Speaker 3: around their necks. It's awesome.

1599
01:24:30,600 --> 01:24:31,840
Speaker 2: Yeah, they're getting decked out.

1600
01:24:32,320 --> 01:24:35,200
Speaker 3: This crew is ready, so it's basically it's time for

1601
01:24:35,240 --> 01:24:38,160
Speaker 3: the final showdown. They're all at Rick's house. Rick falls

1602
01:24:38,200 --> 01:24:41,000
Speaker 3: asleep in a chair outside by the water. They've got

1603
01:24:41,000 --> 01:24:44,080
Speaker 3: some guards around the house, or I think they're cops,

1604
01:24:44,120 --> 01:24:46,960
Speaker 3: but I don't know. They're playing clothes officers. Those guys

1605
01:24:47,000 --> 01:24:50,080
Speaker 3: are quickly killed by cult monsters and the car trouble

1606
01:24:50,160 --> 01:24:54,120
Speaker 3: lady from earlier. The car trouble Lady then wanders into

1607
01:24:54,400 --> 01:24:58,000
Speaker 3: Rick's house and starts to do a demonic temptresus thing

1608
01:24:58,160 --> 01:25:01,840
Speaker 3: on Terry, the staging of which is really hilarious. She

1609
01:25:02,120 --> 01:25:04,080
Speaker 3: like is wearing a trench coat and then she like

1610
01:25:04,200 --> 01:25:06,799
Speaker 3: wanders into the kitchen, which is now filled with fog,

1611
01:25:07,400 --> 01:25:09,880
Speaker 3: and like takes the trench coat off, and she's in

1612
01:25:09,920 --> 01:25:13,000
Speaker 3: her underwear and she's like, Hi, Terry.

1613
01:25:12,560 --> 01:25:14,839
Speaker 2: More lingerie, Yeah, Victoria's secrets.

1614
01:25:14,960 --> 01:25:17,960
Speaker 3: Yeah, And she sort of sex hypnotizes Terry and they

1615
01:25:18,000 --> 01:25:21,759
Speaker 3: start to kiss, but then whoops, she's actually a hell monster.

1616
01:25:22,000 --> 01:25:23,280
Speaker 3: She's got a demon face.

1617
01:25:23,320 --> 01:25:26,400
Speaker 2: Yeah, but still has the same body as before. So

1618
01:25:27,960 --> 01:25:30,160
Speaker 2: I guess, you know, Terry could have been forgiven it

1619
01:25:30,240 --> 01:25:32,400
Speaker 2: be just stuck with it. But yeah, this whole scene

1620
01:25:32,439 --> 01:25:34,640
Speaker 2: is amazing, Like, I love how she you know, she

1621
01:25:34,720 --> 01:25:36,920
Speaker 2: wanders into the house out of a night that is

1622
01:25:37,000 --> 01:25:42,760
Speaker 2: dark with intensely illuminated smoke, and we're going to keep

1623
01:25:42,800 --> 01:25:48,360
Speaker 2: cutting back to Rick outside where it is broad daylight,

1624
01:25:48,800 --> 01:25:53,559
Speaker 2: like not day for night, just broad daylight, and in

1625
01:25:53,600 --> 01:25:58,120
Speaker 2: a way that like you couldn't have possibly missed this

1626
01:25:58,280 --> 01:26:00,240
Speaker 2: in the edit, it's just more of like, well, i'll

1627
01:26:00,680 --> 01:26:03,439
Speaker 2: I really want to get this movie finished. Yeah, here's

1628
01:26:03,439 --> 01:26:04,559
Speaker 2: what we what we have.

1629
01:26:04,920 --> 01:26:08,200
Speaker 3: Yeah, yeah, so he's in the chair, Yeah, broad daylight.

1630
01:26:08,240 --> 01:26:10,360
Speaker 3: But he wakes up and he like sneaks around and

1631
01:26:10,520 --> 01:26:13,439
Speaker 3: he sees what's happening, and in the end, Rick and

1632
01:26:13,600 --> 01:26:16,559
Speaker 3: Eddie fight off the cult attack. They survived the attack,

1633
01:26:16,600 --> 01:26:18,680
Speaker 3: but Terry is taken away to the underworld.

1634
01:26:18,920 --> 01:26:22,680
Speaker 2: Yeah, by Melias shows up, right, Oh I forgot about that.

1635
01:26:22,720 --> 01:26:22,920
Speaker 3: Yeah.

1636
01:26:23,000 --> 01:26:24,800
Speaker 2: Yeah, like the big guns move in.

1637
01:26:25,400 --> 01:26:28,160
Speaker 3: They thought he couldn't come out, but okay.

1638
01:26:28,040 --> 01:26:31,559
Speaker 2: Limited excursions, I guess. So really on the cultist side,

1639
01:26:31,600 --> 01:26:34,280
Speaker 2: we have the leader like and then the vice president,

1640
01:26:34,800 --> 01:26:41,040
Speaker 2: and then we have it seems like miscellaneous human cultists. Yeah,

1641
01:26:41,080 --> 01:26:43,640
Speaker 2: and then we have full on demon faced cultists, and

1642
01:26:43,680 --> 01:26:46,479
Speaker 2: then we have Melias who can also show up at

1643
01:26:46,560 --> 01:26:50,080
Speaker 2: least for short bursts of energy and assault.

1644
01:26:50,160 --> 01:26:52,519
Speaker 3: Yeah, a lot of different kinds of enemy classes. Some

1645
01:26:52,640 --> 01:26:55,719
Speaker 3: of the cultists in robes are humans and some are

1646
01:26:55,720 --> 01:27:00,559
Speaker 3: demons with monster masks. Yeah, uh so, now of course

1647
01:27:00,560 --> 01:27:03,400
Speaker 3: we got to go to the final showdown. The cult

1648
01:27:03,439 --> 01:27:06,320
Speaker 3: has Terry and Angela for the Dark of the Moon ceremony.

1649
01:27:06,520 --> 01:27:11,320
Speaker 3: Seems humankind is doomed unless one man can go in

1650
01:27:11,360 --> 01:27:14,280
Speaker 3: there with a machine gun and a sword and defeat

1651
01:27:14,320 --> 01:27:17,519
Speaker 3: all of Hell. So most of the rest of the

1652
01:27:17,560 --> 01:27:22,160
Speaker 3: movie is just one long, massive overkill action scene of

1653
01:27:22,360 --> 01:27:24,280
Speaker 3: the Rickster versus Hell.

1654
01:27:24,960 --> 01:27:29,160
Speaker 2: Yes, and it's amazing. There's just loving so much swashbuckling.

1655
01:27:30,040 --> 01:27:32,080
Speaker 2: They're running around through Hell. We'll get to go over

1656
01:27:32,120 --> 01:27:35,959
Speaker 2: that bridge a whole bunch of times. Lots of quality

1657
01:27:36,040 --> 01:27:40,519
Speaker 2: kills on the demon cultist bodies of demon cultist and

1658
01:27:40,640 --> 01:27:44,760
Speaker 2: humanoid colts couldest plummeting into lava lakes. Oh yeah, that

1659
01:27:44,920 --> 01:27:50,559
Speaker 2: sort of thing. It's just NonStop, so many legitimately cool moments,

1660
01:27:50,560 --> 01:27:54,200
Speaker 2: so many humorous moments. It's it's tremendous. There.

1661
01:27:54,320 --> 01:27:57,880
Speaker 3: Let's see to mention a few highlights from the final action,

1662
01:27:58,280 --> 01:28:00,840
Speaker 3: you know, the final third of the movie, All this action,

1663
01:28:01,360 --> 01:28:04,480
Speaker 3: the part where Rick is just being whipped by demons

1664
01:28:04,520 --> 01:28:08,000
Speaker 3: with whips and he's like, oh no, I can't I

1665
01:28:08,000 --> 01:28:09,960
Speaker 3: can't you know. They've got him cornered and they're just

1666
01:28:09,960 --> 01:28:10,639
Speaker 3: whipping him.

1667
01:28:10,520 --> 01:28:14,599
Speaker 2: Over to D four damage to me, over and over again.

1668
01:28:14,840 --> 01:28:18,200
Speaker 3: Yeah, and then he's saved by Terry. So Terry like

1669
01:28:18,280 --> 01:28:20,880
Speaker 3: wakes up from the sacrifice slab and he runs in

1670
01:28:20,960 --> 01:28:23,960
Speaker 3: with the sword and he gets the demons. So he

1671
01:28:24,080 --> 01:28:26,760
Speaker 3: comes to the rescue. Terry like proves his metal. You know.

1672
01:28:27,960 --> 01:28:31,479
Speaker 3: Then we get a great fight that is Flynn versus Arkham,

1673
01:28:32,320 --> 01:28:34,880
Speaker 3: where you know, Leo Arkham, the big bad guy, gains

1674
01:28:34,960 --> 01:28:38,479
Speaker 3: Richard Harrison and they're going to fight, but oh, Flynn

1675
01:28:38,479 --> 01:28:40,920
Speaker 3: has been caught without his sacred steel sword.

1676
01:28:41,160 --> 01:28:43,000
Speaker 2: Yeah, he has one of the cultest swords that's not

1677
01:28:43,000 --> 01:28:44,160
Speaker 2: going to work against the master.

1678
01:28:44,400 --> 01:28:46,639
Speaker 3: And Arkham points out the rules. He's like, that sword

1679
01:28:46,680 --> 01:28:50,960
Speaker 3: won't work against me. Your sword's over there, and he

1680
01:28:51,040 --> 01:28:53,320
Speaker 3: uses force lightning on Flynn.

1681
01:28:53,439 --> 01:28:55,680
Speaker 2: And it looks pretty good. It looks pretty good for a.

1682
01:28:55,600 --> 01:28:59,200
Speaker 3: B movie, Yeah, and he so he like force lightnings

1683
01:28:59,200 --> 01:29:03,559
Speaker 3: Flynn and then Flynn's on the ground and Arkham comes

1684
01:29:03,600 --> 01:29:05,519
Speaker 3: up to him and he raises the cult dagger and

1685
01:29:05,560 --> 01:29:08,280
Speaker 3: he's like, looks like we will have our sacrifice after all.

1686
01:29:08,720 --> 01:29:11,040
Speaker 3: But then I was like, wait, so it could have

1687
01:29:11,080 --> 01:29:13,760
Speaker 3: been Flynn instead of these. I thought it had to

1688
01:29:13,800 --> 01:29:15,040
Speaker 3: be Terry and Angela.

1689
01:29:15,720 --> 01:29:18,280
Speaker 2: Yeah. I love it when a movie suddenly gets really

1690
01:29:18,360 --> 01:29:20,840
Speaker 2: vague with what kind of sacrifices required. Reminds me a

1691
01:29:20,880 --> 01:29:23,200
Speaker 2: Monster Squad a bit, where it's like, so wait, wait,

1692
01:29:23,280 --> 01:29:25,439
Speaker 2: who could have been sacrificed? And why it seems like

1693
01:29:25,720 --> 01:29:27,040
Speaker 2: you're being particular for no reason.

1694
01:29:27,200 --> 01:29:29,640
Speaker 3: Yeah, but of course, how does Flynn, how is he

1695
01:29:29,680 --> 01:29:32,679
Speaker 3: going to get out of this? Remember earlier sister Mary

1696
01:29:32,760 --> 01:29:35,559
Speaker 3: gave him that little metal crucifix around his neck. Well,

1697
01:29:35,600 --> 01:29:38,040
Speaker 3: it turns out that can be also sacred steel. So

1698
01:29:38,080 --> 01:29:41,320
Speaker 3: he stabs Leo with the with the crucifix, got him.

1699
01:29:41,520 --> 01:29:44,280
Speaker 3: But then we haven't defeated all the bad guys because

1700
01:29:44,320 --> 01:29:47,439
Speaker 3: we get a Melius attack. And here this is the

1701
01:29:47,560 --> 01:29:51,040
Speaker 3: stop motion we were alluding to earlier. It's not the

1702
01:29:51,080 --> 01:29:54,240
Speaker 3: best ever, but it's not bad. It's pretty cool monster

1703
01:29:54,320 --> 01:29:54,880
Speaker 3: stop motion.

1704
01:29:55,120 --> 01:29:59,479
Speaker 2: Yeah, I mean you can the stop motion movies that

1705
01:29:59,520 --> 01:30:01,680
Speaker 2: we watched in Weird House tend to be of a

1706
01:30:01,840 --> 01:30:05,280
Speaker 2: very high or approaching high caliber. So you know, it's

1707
01:30:05,360 --> 01:30:07,720
Speaker 2: unfair to compare something like this to the works of

1708
01:30:07,760 --> 01:30:12,120
Speaker 2: the great Ray Harryhausen or to Phill Tippett for example.

1709
01:30:12,200 --> 01:30:16,360
Speaker 2: But that being said, it's totally fun. It's JANKI and

1710
01:30:16,439 --> 01:30:19,680
Speaker 2: cool and and he tears a guy in half. Who

1711
01:30:19,720 --> 01:30:21,000
Speaker 2: does he tear in half? Joe?

1712
01:30:21,120 --> 01:30:24,720
Speaker 3: Oh boy, we get the return of when this guy

1713
01:30:24,760 --> 01:30:28,599
Speaker 3: showed back up, I was aghast. It is the return

1714
01:30:28,640 --> 01:30:30,480
Speaker 3: of guy Zupan, remember.

1715
01:30:30,960 --> 01:30:33,000
Speaker 2: A character I'd completely forgotten.

1716
01:30:33,280 --> 01:30:36,960
Speaker 3: Yeah, with the frosty hair, and he's I think when

1717
01:30:37,000 --> 01:30:39,120
Speaker 3: he shows up again in Hell, he's still wearing his

1718
01:30:39,200 --> 01:30:40,400
Speaker 3: three piece suit and the.

1719
01:30:40,360 --> 01:30:42,439
Speaker 2: Overcoat dress for success.

1720
01:30:42,520 --> 01:30:44,840
Speaker 3: Yeah. Yeah, So he's wearing the suit and he's got

1721
01:30:44,840 --> 01:30:47,800
Speaker 3: a shotgun and he's like, I'm here, I'm fighting now.

1722
01:30:47,880 --> 01:30:52,000
Speaker 3: It starts shooting the monster and I didn't remember what

1723
01:30:52,040 --> 01:30:54,280
Speaker 3: happened to him, but he gets torn in half, you say.

1724
01:30:54,320 --> 01:30:56,320
Speaker 2: I think so, yeah, yeah, there is some sort of

1725
01:30:56,439 --> 01:30:58,360
Speaker 2: where he gets bitten in half something. We get some

1726
01:30:58,520 --> 01:31:02,200
Speaker 2: nice stuf motion monster mayhem here, but.

1727
01:31:02,240 --> 01:31:04,800
Speaker 3: We get so. Of course, this buys Flynn time to

1728
01:31:04,960 --> 01:31:07,280
Speaker 3: escape from Hell. So he runs out of the cave.

1729
01:31:07,320 --> 01:31:10,400
Speaker 3: But oh now, Meleeas is coming. Meleeas is coming to

1730
01:31:10,439 --> 01:31:12,759
Speaker 3: the mouth of the cave, and the whole time Eddie's

1731
01:31:12,800 --> 01:31:15,760
Speaker 3: been waiting outside with like a bomb rig to explode

1732
01:31:15,800 --> 01:31:17,120
Speaker 3: to close the mouth of Hell.

1733
01:31:17,640 --> 01:31:19,280
Speaker 2: Police issue hell Mouth closer.

1734
01:31:19,600 --> 01:31:21,439
Speaker 3: Yeah, so they close the mouth of it, they blow

1735
01:31:21,520 --> 01:31:24,720
Speaker 3: up the bomb, the hell Mouth closes and seems like

1736
01:31:24,760 --> 01:31:28,719
Speaker 3: the evil is defeated. So Flynn and Angela are of course,

1737
01:31:28,800 --> 01:31:31,160
Speaker 3: Angela is rescued. She's alive again, what do you know?

1738
01:31:31,320 --> 01:31:33,800
Speaker 3: And it seems like they're about to kiss, but then

1739
01:31:33,840 --> 01:31:37,200
Speaker 3: there is a last scare because oh, here's Brian Devray

1740
01:31:37,280 --> 01:31:40,160
Speaker 3: and he's running up and he's gonna he's gonna attack them.

1741
01:31:40,439 --> 01:31:44,240
Speaker 3: But Terry comes through and guns down Brian Devray and

1742
01:31:44,280 --> 01:31:48,160
Speaker 3: then Brian Devray somehow like falls on a sacred blessed

1743
01:31:48,200 --> 01:31:53,400
Speaker 3: steel sword. Yeah yeah, and they're like, uh, They're like,

1744
01:31:53,439 --> 01:31:56,479
Speaker 3: what did you say to him? Flynn whispers something to

1745
01:31:56,520 --> 01:31:58,360
Speaker 3: Brian Devray and they're like, what did you say to him?

1746
01:31:58,360 --> 01:32:00,160
Speaker 3: And he says I told him to go to hell. Well,

1747
01:32:00,800 --> 01:32:04,400
Speaker 3: and then that, of course, Flynn and Angela kiss, and

1748
01:32:04,439 --> 01:32:08,120
Speaker 3: it cuts to Terry and Eddie who are looking on

1749
01:32:08,240 --> 01:32:15,200
Speaker 3: happily and framed by a rainbow. Yeah yeah, it's a

1750
01:32:15,280 --> 01:32:17,160
Speaker 3: rainbow in the skies.

1751
01:32:16,640 --> 01:32:19,879
Speaker 2: Like yeah. With In this context, the rainbow is supposed

1752
01:32:19,880 --> 01:32:24,280
Speaker 2: to mean God's promised to never allow Melias to climb

1753
01:32:24,400 --> 01:32:26,439
Speaker 2: out of the hell mouth again, I guess that's what

1754
01:32:26,479 --> 01:32:26,880
Speaker 2: it means.

1755
01:32:27,240 --> 01:32:30,920
Speaker 3: Well, Rob, I think Empire of the Dark was such

1756
01:32:31,000 --> 01:32:33,800
Speaker 3: a wonderful find. This movie was not on my radar

1757
01:32:33,880 --> 01:32:36,800
Speaker 3: at all until you suggested it for the show, and

1758
01:32:37,120 --> 01:32:38,720
Speaker 3: it's it's a new fave for me.

1759
01:32:38,760 --> 01:32:42,320
Speaker 2: I forget who recommended it to me or what list

1760
01:32:42,400 --> 01:32:44,519
Speaker 2: I saw it on, but I came back around to

1761
01:32:44,560 --> 01:32:48,120
Speaker 2: it in a few days before our selection for this episode.

1762
01:32:48,240 --> 01:32:50,559
Speaker 2: And yeah, like I said, it has its own following

1763
01:32:51,000 --> 01:32:53,960
Speaker 2: their showings of this movie. So if you're if you,

1764
01:32:54,040 --> 01:32:55,880
Speaker 2: if you look out in the right places, you may

1765
01:32:55,880 --> 01:32:57,360
Speaker 2: get a chance to see this one on the big

1766
01:32:57,360 --> 01:33:02,479
Speaker 2: screen as intended. One question we didn't address, Joe, what

1767
01:33:02,680 --> 01:33:06,559
Speaker 2: is the Empire of the Dark? Should we take this literally?

1768
01:33:06,720 --> 01:33:09,720
Speaker 2: Is Hell that the hell dimension that Dark characters go

1769
01:33:09,800 --> 01:33:12,960
Speaker 2: into repeatedly? Is this the Empire of the Dark? Is

1770
01:33:13,040 --> 01:33:16,559
Speaker 2: our world the Empire of the Dark? Or is the

1771
01:33:16,560 --> 01:33:18,599
Speaker 2: Empire of the Dark a matter of the heart?

1772
01:33:19,960 --> 01:33:22,000
Speaker 3: These are all very good questions, though, you know it,

1773
01:33:22,360 --> 01:33:24,679
Speaker 3: the cult in the movie never feels all that much

1774
01:33:24,760 --> 01:33:27,840
Speaker 3: like an empire. It feels like very like they have

1775
01:33:27,920 --> 01:33:31,800
Speaker 3: not assumed power yet. You know, the cult is our

1776
01:33:31,840 --> 01:33:34,760
Speaker 3: heroes are not the plucky rebels rising up against the

1777
01:33:34,800 --> 01:33:38,400
Speaker 3: imperial authority. The cult in the movie is very like

1778
01:33:39,200 --> 01:33:40,360
Speaker 3: not yet ascendant.

1779
01:33:40,800 --> 01:33:43,000
Speaker 2: Yeah, I don't think they have the infrastructure to really

1780
01:33:45,040 --> 01:33:48,960
Speaker 2: become a global empire. Regional Maybe maybe they can tackle

1781
01:33:49,000 --> 01:33:50,200
Speaker 2: reading and that's about it.

1782
01:33:50,280 --> 01:33:52,759
Speaker 3: I think maybe the idea is, actually, this is probably

1783
01:33:52,800 --> 01:33:56,639
Speaker 3: what it means. The heroes are preventing the Empire of

1784
01:33:56,720 --> 01:34:01,120
Speaker 3: the Dark from being created. It off at the roots.

1785
01:34:01,400 --> 01:34:04,000
Speaker 2: There you go, that's the I think that's the correct interpretation.

1786
01:34:04,520 --> 01:34:06,280
Speaker 3: And there's a rainbow there to let you know that

1787
01:34:06,320 --> 01:34:06,799
Speaker 3: it worked.

1788
01:34:07,080 --> 01:34:07,519
Speaker 2: That's right.

1789
01:34:07,800 --> 01:34:09,200
Speaker 3: I can't get over that rainbow.

1790
01:34:09,240 --> 01:34:12,720
Speaker 2: It's so beautiful, so beautiful frame this one put it

1791
01:34:12,760 --> 01:34:16,800
Speaker 2: on the wall, all right, Well that was Empire of

1792
01:34:16,880 --> 01:34:19,240
Speaker 2: the Dark. Guess we know we have to have some

1793
01:34:19,320 --> 01:34:21,559
Speaker 2: fans of this picture out there. There's so much in

1794
01:34:21,600 --> 01:34:24,400
Speaker 2: this picture to discuss that we didn't even get to

1795
01:34:24,760 --> 01:34:28,559
Speaker 2: really everything. There's so many nice little details that are

1796
01:34:28,600 --> 01:34:32,160
Speaker 2: you know, either snapshots of the passion that went into it,

1797
01:34:32,360 --> 01:34:37,200
Speaker 2: or the or the budgetary constraints on this particular dream.

1798
01:34:37,920 --> 01:34:40,280
Speaker 2: But you know, all of it is just so authentic

1799
01:34:40,360 --> 01:34:43,400
Speaker 2: and wonderful, so tremendous fun. If you haven't seen it,

1800
01:34:43,439 --> 01:34:46,920
Speaker 2: definitely check it out. Yes, all right, In the meantime,

1801
01:34:46,960 --> 01:34:48,880
Speaker 2: we'll just remind you once more that Stuff to Blow

1802
01:34:48,880 --> 01:34:51,519
Speaker 2: Your Mind is primarily a science and culture podcast, with

1803
01:34:51,640 --> 01:34:54,400
Speaker 2: core episodes on Tuesdays and Thursdays, but on Fridays we

1804
01:34:54,400 --> 01:34:56,720
Speaker 2: set aside most serious concerns and just talk about a

1805
01:34:56,720 --> 01:35:00,240
Speaker 2: weird movie here on Weird House Cinema. You can follow

1806
01:35:00,240 --> 01:35:03,440
Speaker 2: Stuff to Blow your Mind on various social media platforms,

1807
01:35:03,640 --> 01:35:07,200
Speaker 2: but if you want to follow Weird House Cinema in particular, well,

1808
01:35:07,240 --> 01:35:09,759
Speaker 2: you can go to letterboxed dot com. We are Weird

1809
01:35:09,800 --> 01:35:12,639
Speaker 2: House there, and that's a great way to look back

1810
01:35:12,640 --> 01:35:14,040
Speaker 2: on all the films we've covered over the years and

1811
01:35:14,080 --> 01:35:16,280
Speaker 2: sometimes get a peek ahead at what comes next. And

1812
01:35:16,320 --> 01:35:19,440
Speaker 2: also wherever you get your podcasts, you can also subscribe

1813
01:35:19,479 --> 01:35:22,960
Speaker 2: to Weird House Cinema exclusively as a playlist. That's another

1814
01:35:23,000 --> 01:35:26,680
Speaker 2: option out there if that suits your listening preferences.

1815
01:35:27,160 --> 01:35:30,920
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1816
01:35:31,160 --> 01:35:32,720
Speaker 3: If you would like to get in touch with us

1817
01:35:32,720 --> 01:35:35,160
Speaker 3: with feedback on this episode or any other, to suggest

1818
01:35:35,200 --> 01:35:37,240
Speaker 3: a topic for the future, or just to say hello,

1819
01:35:37,360 --> 01:35:40,080
Speaker 3: you can email us at contact at Stuff to Blow

1820
01:35:40,120 --> 01:35:48,000
Speaker 3: Your Mind dot com.

1821
01:35:48,120 --> 01:35:51,040
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1822
01:35:51,160 --> 01:35:53,960
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1823
01:35:54,080 --> 01:35:57,320
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.